BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//https://music.washington.edu//NONSGML iCalcreator 2.41.90//
CALSCALE:GREGORIAN
METHOD:PUBLISH
UID:35323962-6436-4539-b761-316562663065
X-WR-RELCALID:7663eb4b-c942-4b71-ba05-45eecb92b950
X-WR-TIMEZONE:America/Los_Angeles
X-WR-CALNAME:Events Calendar
BEGIN:VTIMEZONE
TZID:America/Los_Angeles
TZUNTIL:20280312T100000Z
BEGIN:STANDARD
TZNAME:PST
DTSTART:20231105T020000
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
RDATE:20241103T020000
RDATE:20251102T020000
RDATE:20261101T020000
RDATE:20271107T020000
END:STANDARD
BEGIN:DAYLIGHT
TZNAME:PDT
DTSTART:20230312T020000
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
RDATE:20240310T020000
RDATE:20250309T020000
RDATE:20260308T020000
RDATE:20270314T020000
END:DAYLIGHT
END:VTIMEZONE
BEGIN:VEVENT
UID:365dc42c-d54a-4d0f-ba54-86d2cc489d6f
DTSTAMP:20260307T094251Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20230814T211149Z
DESCRIPTION:<p></p>\n<p>The UW WInd Ensemble (Timothy Salzman\, director) p
 erforms music prepared for the group's upcoming tour of South Korea. Progr
 am includes George Gershwin: Rhapsody in Blue (Robin\, McCabe\, piano)\; F
 ranz Doppler: Andante et Rondo (Donna Shin and Grace Jun\, flutes)\, and o
 thers. WIth Eun Ju Vivianna Oh\, soprano\,  and graduate conductors Shaun 
 Day\, Roger Wu Fu\, and David Stewart. </p>\n<hr>\n<h3>Program</h3>\n<p st yle=' 400\;'>American Overture – Joseph Wilcox Jenkins (b. 197
 3)  <br>Shaun Day\, conductor</p>\n<p>The Heart
  of the Morn – A Tribute to the Beauty of Korea (1987) – H. Owen Reed (191
 0-2014)  <br>Eun Ju Vivianna Oh\, soprano / lyricist<br>Roger Wu Fu\, cond
 uctor</p>\n<p>Variations on a Korean Folk Song 
 (1967) – John Barnes Chance (1932-1972)  <br>David Stewart\, conductor </p>\n<p>Rhapsody in Blue (1924) – George Gershwin
  (1898-1837) <br>Robin McCabe\, piano </p>\n<p>
 - intermission -</p>\n<p>Andante et Rondo (1870
 ) – Franz Doppler (1821-1883)/transcr. T. Salzman  <br>Donna Shin and Grac
 e Jun\, flutes</p>\n<p>Symphony No. 4 (1993) – 
 David Maslanka (1943-2017)  </p>\n<hr>\n<h3>Program Notes</h3>\n<p><strong>American Overture for Band</strong> was compos
 ed for the United States Army Field Band while the composer was on the arr
 anging staff for the group. The instrumentation of this work is based on t
 he players in the Field Band. In 2003\, at the request of the American Ban
 dmaster's Association\, a full score was developed by the composer to corr
 ect the previous versions of the work. An orchestral version of the work\,
  done by Derry Wilson Ochoa\, has been performed by the Indianapolis Symph
 ony and Nashville Symphony. The work was dedicated to the Army Field Band'
 s conductor\, Chester E. Whiting. It was written in a neomodal style\, bei
 ng flavored strongly with both Lydian and Mixolydian modes. Its musical ar
 chitecture is a very free adaptation of sonata form. The musical material 
 borders on the folk tune idiom although there are no direct quotes from an
 y folk tunes. The work calls for near-virtuoso playing by several sections
 \, especially the French horns\, and is a favorite of advanced high school
  and university bands. Although American Overture was <strong>Joseph Wilco
 x Jenkins’</strong> first band piece\, it remains his most successful work
  and\, in his words\, he is 'hard-pressed to duplicate its success.'</p>\n
 <p><strong>John Barnes Chance</strong> began co
 mposing while still a high school student as a percussionist in his school
  band and orchestra. After college Chance played with the Austin Symphony 
 Orchestra\, and also performed with the Fourth U.S. Army Band in San Anton
 io and the Eighth U.S. Army Band in Korea. Throughout his short career\, C
 hance composed for band\, orchestra\, chorus\, chamber groups and solo ins
 truments. <strong>Variations on a Korean Folk Song</strong> is based upon 
 a folk tune that the composer learned while serving the U.S. Army in Seoul
 \, Korea. The tune is known as Arrirang\, a song of love and heartbreak th
 at can be found in many variations\, with an origin that may date back 1\,
 000 years. </p>\n<p><strong>Owen Reed</strong> retired in 1976 from Mich
 igan State University after 35 years as a composition faculty member. Seve
 ral outstanding composers of wind band music were former students of his a
 nd his published compositions include a variety of works for orchestra\, b
 and\, voices\, opera\, and chamber music\, plus eight books on music theor
 y and composition. Of this evening’s work our soloist writes: </p>\n<p sty le=' 400\;'>“As the soloist for H. Owen Reed's enchanting piec
 e <strong>The Heart of the Morn\,</strong> I am honored to present a rendi
 tion that bridges cultures and generations. It features newly composed Kor
 ean lyrics\, a heartfelt homage to the natural beauty of Korea. The inspir
 ation for these lyrics comes from a deeply personal source – my mother\, M
 s. Jung Ja So. At 77 years old\, residing near the picturesque Chungju\, s
 urrounded by majestic mountains and serene lakes\, my mother embodies the 
 spirit and resilience of Korea. A talented singer and poet in her own righ
 t\, she was the natural choice to breathe new life into this composition. 
 Though not fluent in English\, her intuitive connection to music allowed h
 er to craft lyrics that capture the essence of Korea's splendor by immersi
 ng herself in the original song's melody. This rendition is not just a mus
 ical piece\; it's a tribute to dreams deferred and the unspoken sacrifices
  of a generation. My mother\, who always harbored aspirations of being a s
 inger\, set aside her dreams to dedicate her life to raising me and my sib
 lings. Now intertwined with Reed's music\, her words are a realization of 
 her artistic dreams and a testament to her enduring love and sacrifice. As
  I perform\, I carry not only the weight of my mother's unfulfilled aspira
 tions but also the beauty of her spirit and the strength of her character.
  This performance is a celebration of her\, the stunning landscapes of Kor
 ea\, and the universal language of music that connects us all. May this fu
 sion of Western composition and Korean poetry serve as a bridge between cu
 ltures\, resonating with the golden beauty of both Michigan mornings and K
 orean landscapes as we celebrate the universal power of music to transcend
  barriers and touch hearts. </p>\n<p><strong>Ko
 rean Lyrics</strong></p>\n<p>산 좋고 물 있어 아름다운 곳</p>\n<p>가랑비 춤추는 곳</p>\n<p>떨어지는 빗줄기</p>\n<p>운무와 같으니</p>\n<p>삻에 찌든 여정 뒤로 하고 떠난길</p>\n<p>월악
 산 내 작은 빗줄기</p>\n<p> </p>\n<p>산좋고 물있어 아름다운 곳</p>\n<p>가랑비 춤추는 곳</p>\n
 <p>하늘에 펼쳐진 이 작은 빗줄기</p>\n<p>내 사랑 내 노래 채우고 채워서</p>\n<p>월악산 저너머 보내리</p>\n<p> </p>\n<p>English Translation:</strong></p>\n<p>In a
  place where the mountains are beautiful and the waters flow\,</p>\n<p sty le=' 400\;'>Where the drizzle dances\,</p>\n<p>The falling raindrops\,</p>\n<p>Lik
 e a mist\,</p>\n<p>Leaving behind a life staine
 d with hardships\, embarking on a journey\,</p>\n<p>My little stream of rain in Mt. Woraksan.</p>\n<p> </p>\n<p>In a place where the mountain
 s are beautiful and the waters flow\,</p>\n<p>W
 here the drizzle dances\,</p>\n<p>This small st
 ream of rain spread across the sky\,</p>\n<p>Fi
 lling and overflowing with my love\, my song\,</p>\n<p>I will send it beyond Mt. Woraksan.</p>\n<p>(Korean Lyrics by Ms. Jung Ja So)</p>\n<p>
 Program note by Eun Ju Vivianna Oh</p>\n<p>Rhapsody in Blue</strong> was commissioned in January of 1924 by Paul 
 Whiteman\, the best-known American bandleader at the time\, for his concer
 t titled\, ‘An Experiment in Modern Music’\, with the goal of informing th
 e public audience to the importance and influence of jazz. It was premiere
 d on February 12\, 1924 at the Aeolian Theater in New York with Gershwin a
 s the soloist and was orchestrated by Ferde Grofé. The work was entitled b
 y composer <strong>George Gershwin’s</strong>  brother Ira Gershwin who wa
 s inspired by the abstract names of James Abbot McNeill Whistler’s paintin
 gs such as Arrangement in Gray and Black. This curious title piqued the in
 terest of the Gershwin brothers and they then created a musically equivale
 nt title with the word “blue” suggesting “the Blues” and in addition\, jaz
 z.</p>\n<p>Originally from Lviv\, Ukraine\, Franz Doppler</strong> was a central figure in developing national Hu
 ngarian music and is most famous for his works for flute. In 1853\, Dopple
 r\, his younger brother\, Karl\, and Ferenc Erkel were all involved in est
 ablishing the first Hungarian symphony orchestra. <strong>Andante et Rondo
 </strong> is no exception relative to the Hungarian influence present in m
 any of Doppler’s works. The first movement consists of traditional romanti
 c lyricism while the second movement is a jaunty\, light-hearted rondo.</p>\n<p><strong>David Maslanka</strong> was an Am
 erican composer of Polish descent who wrote for a variety of genres\, incl
 uding works for choir\, wind ensemble\, chamber music and symphony orchest
 ra. Best known for his wind ensemble compositions\, Maslanka published nea
 rly 130 pieces for that genre\, including 8 symphonies over 15 and a full 
 Mass. His compositional style is rhythmically intense\, highly tonal and m
 elodically oriented. His compositions have been performed throughout the w
 orld. The roots of <strong>Symphony No. 4</strong> are many. The hymn tune
  Old Hundred\, several other hymn tunes (the Bach chorales Only Trust in G
 od to Guide You and Christ Who Makes Us Holy)\, and original melodies whic
 h are hymn-like in nature\, form the backbone of Symphony No. 4.   </p>\n&lt;
 hr&gt;\n\n\n\n\n<h5>UNIVERSITY OF WASHINGTON WIND 
 ENSEMBLE<br></h5>\n<p>Timothy Salzman\, directo
 r</p>\n<p> FLUTE<br>Grace Jun\, Grad.\, Music P
 erformance\, Vancouver*<br>Lorin Green\, Grad.\, Music Performance\, Augus
 ta\, GA<br>Erin McAfee\, Grad.\, Music Performance\, Hoover\, AL<br>Yue Zh
 ong.\, Jr.\, Music Performance\, Shanghai\, China</p>\n<p>OBOE<br>Max Boyd\, Fr.\, Music Performance\, Seattle<br>Lauren 
 Majewski\, Jr.\, Global and Regional Studies\, Mercer Island*<br>Kamil Tar
 nawczyk\, Alumni.\, Music Performance/Theory\, Shoreline</p>\n<p>BASSOON<br>Annika Fisher\, Fr.\, Anthropology\, Lake For
 est Park<br>Rian Morgan\, So.\, Pre-Health Sciences/Music Performance\, De
 s Moines<br>Griffin Smith\, Sr.\, Philosophy/Music Performance\, Fayettevi
 lle\, AR*</p>\n<p>CLARINET  <br>Alex Gee\, Jr.\
 , Mechanical Engineering\, Camas<br>Jeremy Hu\, Fr.\, Engineering\, Taipei
 \, Taiwan<br>Cameron Lee\, Sr.\, Visual Communication Design/Informatics\,
  Mercer Island<br>Jason Liu\, Sr.\, Mathematics\, Camas   <br>Alessandro M
 artinez\, Fr.\, Engineering\, Olympia<br>David Stewart\, Grd.\, Wind Condu
 cting\, Mercer Island<br>Ysanne Webb\, Grd.\, Music Performance\, Lubbock\
 , TX*</p>\n<p>BASS CLARINET<br>Arthur Gim\, Fr.
 \, Engineering\, Bothell</p>\n<p>SAXOPHONE<br>K
 yle Grant\, Fr.\, Music Education\, Sumner<br>Joseph Shostak\, Sr.\, Mecha
 nical Engineering\, Snohomish<br>Alexander Yuan\, So.\, Computer Science\,
  Plainsboro\, NJ<br>Katie Zundel\, Jr.\, Music Performance/Engineering\, C
 linton*</p>\n<p>TRUMPET<br>Carter Archuleta\, S
 r.\, Physics/Astronomy\, Gig Harbor<br>Hans Faul\, So.\, Music Performance
 \, Seattle*<br>Kyle Jenkins\, Grd.\, Music Performance\, Sammamish<br>Caro
 line Kelly\, Sr.\, Environmental Science\, Chelan<br>Daniel Lyons\, Fr.\, 
 Music Performance\, Seattle  <br>Antti Mannisto\, So.\, Mechanical Enginee
 ring\, Bellevue</p>\n<p>HORN<br>Nicole Bogner\,
  Fr.\, Music Performance\, Mukilteo*<br>Kiyoshi Colon\, Jr.\, Chemistry\, 
 Everett<br>Ben Johnson\, Grad.\, Music Performance\, Puyallup*<br>Sydney K
 uhl\, Sr.\, Computer Science\, Prior Lake\, MN<br>Noelani Yonahara Stewart
 \, Jr.\, Political Science &amp; American Ethnic Studies\, San Francisco\, CA&lt;
 br&gt;Roger Wu Fu\, Grad.\, Wind Conducting\, Santiago\, Chile</p>\n<p>TROMBONE<br>Dion Archer-Roll\, Jr.\, Physics\, Vancou
 ver<br>Peter Lin\, Jr.\, ACMS\, Taipei\, Taiwan<br>Duncan Weiner\, Sr.\, L
 inguistics/Aeronautical and Astronautical Engineering\, Seattle<br>Nathana
 el Wyttenbach\, Fr.\, Music Composition\, Richland*</p>\n<p>EUPHONIUM<br>Simona Yaroslavsky\, Fr.\, Law\, Societies and J
 ustice\, Mercer Island  <br>Ellie Walker\, Jr.\, Music Education\, Kenmore
 *</p>\n<p>TUBA<br>Cole Henslee\, Jr.\, Music Pe
 rformance\, Lakewood<br>Devin Foster\, Grad.\, Music Performance\, Lithopo
 lis\, OH*<br>Foster Patterson\, So.\, Music Education\, Aberdeen</p>\n<p s tyle=' 400\;'>BASS<br>Beau Wood\, Grad.\, Music Performance\, 
 Longview</p>\n<p>PERCUSSION<br>Ryan Baker\, Jr.
 \, Music Composition\, Gig Harbor*<br>Kaisho Barnhill\, So.\, Music Educat
 ion/Psychology\, Vancouver<br>Momoka Fukushima\, Fr.\, Music Performance\,
  Issaquah<br>Jack Grenda\, So.\, International Relations\, Encinitas\, CA&lt;
 br&gt;Simon Harty\, Jr.\, Undeclared\, Boise\, ID  <br>Taryn Marks\, Grd.\, M
 usic Performance\, North Augusta\, SC*</p>\n<p>
 PIANO<br>Mia HyeJeon Kim\, Grad.\, Music Performance\, Seoul\, South Korea
  </p>\n<p>HARP<br>Kelly Guangyin Hou\, Sr.\, Mu
 sic Performance/Informatics\, Bellevue</p>\n<p>
 *principal</p>\n\n\n\n\n<h3>Biographies</h3>\n<p>Soprano <strong>Eun Ju Vivianna Oh</strong> is a Korean-American soprano
  whose journey through the music world has been filled with adventure and 
 accomplishment. As a recording artist\, music director\, teacher\, and mot
 her of two beautiful daughters\, she has embraced a multi-faceted career w
 hile steadfastly pursuing her passion for becoming an opera singer. Now\, 
 she is re-energizing her lifelong dream by pursuing a DMA (Doctor of Music
 al Arts) in Voice Performance. Her musical education began with piano less
 ons\, and at the age of seventeen\, she added singing under the tutelage o
 f renowned teachers such as Monserrat Alavedra\, Mary-Curtis Verna\, Carme
 n Pelton\, Cyndia Sieden\, Deanne Meek\, and Carrie Shaw at the University
  of Washington. Ms. Oh's talent has graced numerous operatic stages\, wher
 e she has taken on major roles\, including L'Orfeo\, Gianni Schicchi\, Le 
 Nozze di Figaro\, Xerses\, Der Rosenkavalier\, L'enfant et les sortilèges\
 , Hydrogen Jukebox\, The Old Maid and the Thief\, Arabella\, Carmen\, Don 
 Giovanni\, Glory Denied\, and many more. She recently performed Dvorak's T
 e Deum as a soprano soloist with the University of Washington's combined c
 hoir and University Symphony. With a Bachelor's and a Master's degree in V
 oice Performance from the University of Washington\, Ms. Oh possesses a so
 lid academic foundation to complement her artistic prowess. Her experience
  in the music industry is extensive\, having worked as a music director in
  the foreign film department at the Educational Broadcasting Station in Se
 oul\, Korea. She has collaborated with distinguished organizations\, inclu
 ding Disney Korea\, the Korean Broadcasting System\, and Hansol Education 
 Corp. In addition to her music direction accomplishments\, Eun Ju Vivianna
  has demonstrated her leadership as a music director and conductor at the 
 First Korean United Methodist Church in Tacoma\, Washington. She also taug
 ht music at Our Lady of Perpetual Help School in Santa Clarita\, CA. Previ
 ously\, Eun Ju Vivianna served as a predoctoral instructor at the Universi
 ty of Washington\, where she imparted her expertise in private voice lesso
 ns to both music majors and non-music majors. She manages a private music 
 studio in Seattle\, mentoring aspiring young singers and pianists. Her lat
 est venture includes organizing the Youth Musical Theater Show Choir Group
 \, which has found resonance in Seattle and its surrounding communities.</p>\n<p>Flutist<strong> Grace Jun</strong> is an
  active performer and teacher based in Seattle\, Washington. This summer\,
  Grace was selected to perform as principal flutist for the Solstice Symph
 ony Orchestra’s inaugural concert where she performed Brahms’ Symphony No.
  4. Other recent ensemble activities include being selected to perform wit
 h the NW Mahler Festival Orchestra and being welcomed back as principal of
  the University of Washington’s Symphony Orchestra and Wind Ensemble. Curr
 ently\, Grace is pursuing her Master of Music in Flute Performance at the 
 University of Washington (UW). In 2020\, she graduated with a Bachelor of 
 Music in Flute Performance and a Bachelor of Arts in Sociology from the UW
 . In 2019\, Grace went on tour to China with the UW’s Wind Ensemble to Xi’
 an\, Beijing\, and Chengdu and\, while in China\, was invited to lead a ma
 sterclass at the Xi’An Gaoxin No. 1 Primary School. Over the years\, Grace
  has performed in the masterclasses of Ransom Wilson\, Jonathan Keeble\, L
 eonard Garrison\, Aaron Goldman\, Juno Lee\, Judith Mendenhall\, Elizabeth
  Buck\, and other renowned flutists. She was also a featured performer at 
 the Sewanee Summer Music Festival (SSMF) at the University of the South (T
 N) in the summer of 2022. During her time at the SSMF\, she performed with
  both the Cumberland and Sewanee Orchestra\, and was chosen to be part of 
 the Sewanee Festival Orchestra. In the summers of 2018 and 2020\, Grace wa
 s a featured performer at the ARIA International Music Festival (MA). Prio
 r to this\, she performed as principal flute for the West Side Story with 
 the Seattle Symphony at Benaroya Hall\, under the baton of Maestro Ludovic
  Morlot. In February of 2023\, Grace was the runner up of the UW’s Concert
 o Competition\, earning honorable mention. She was awarded 2nd place in th
 e Arizona Flute Society Adult Division competition in 2021. In 2019\, she 
 was one of the three finalists for the Coeur d’Alene Symphony’s National Y
 oung Artist Concerto Competition. Lastly\, she earned third prize in the 2
 018 CederLuke Young Artist Competition (MT). Grace has spent the last 3 ye
 ars in Vancouver\, WA\, where she taught flute\, piano\, and kindergarten 
 music classes at a local music school\, Opus School of Music. Aside from h
 er group classes\, she had a thriving private studio of 50 students learni
 ng flute and piano.</p>
DTSTART;TZID=America/Los_Angeles:20240307T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:1
SUMMARY:: Wind Ensemble: South Korea Tour Preview Concert\, with Robin McCa
 be\, Donna Shin
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-03-08/wind-ensemble-south-kore
 a-tour-preview-concert-robin-mccabe-donna-shin
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The UW WInd Ensemble (Timothy Salzm
 an\, director) performs music prepared for the group's upcoming tour of So
 uth Korea. Program includes George Gershwin: Rhapsody in Blue (Robin\, McC
 abe\, piano)\; Franz Doppler: Andante et Rondo (Donna Shin and Grace Jun\,
  flutes)\, and others. WIth Eun Ju Vivianna Oh\, soprano\,  and graduate c
 onductors Shaun Day\, Roger Wu Fu\, and David Stewart. </p> <hr> <h3>Progr
 am</h3> <p>American Overture – Joseph Wilcox Je
 nkins (b. 1973) <span> <br></span><em>Shaun Day\, conductor</em></p> <p st yle=' 400\;'>The Heart of the Morn – A Tribute to the Beauty o
 f Korea (1987) – H. Owen Reed (1910-2014) <span> <br></span><em>Eun Ju Viv
 ianna Oh\, soprano / lyricist</em><br><em>Roger Wu Fu\, conductor</em></p>
  <p>Variations on a Korean Folk Song (1967) – J
 ohn Barnes Chance (1932-1972) <span> <br></span><em>David Stewart\, conduc
 tor </em></p> <p>Rhapsody in Blue (1924) – Geor
 ge Gershwin (1898-1837) <br><span><em>Robin McCabe\, piano</em> </span></p> <p>- intermission -</p> <p>Andante et Rondo (1870) – Franz Doppler (1821-1883)/transcr. T. S
 alzman <span> <br></span><em>Donna Shin and Grace Jun\, flutes</em></p> <p>Symphony No. 4 (1993) – David Maslanka (1943-2
 017) <span> </span></p> <hr> <h3>Program Notes</h3> <p><strong><em>American Overture for Band</em></strong> was composed 
 for the United States Army Field Band while the composer was on the arrang
 ing staff for the group. The instrumentation of this work is based on the 
 players in the Field Band. In 2003\, at the request of the American Bandma
 ster's Association\, a full score was developed by the composer to correct
  the previous versions of the work. An orchestral version of the work\, do
 ne by Derry Wilson Ochoa\, has been performed by the Indianapolis Symphony
  and Nashville Symphony. The work was dedicated to the Army Field Band's c
 onductor\, Chester E. Whiting. It was written in a neomodal style\, being 
 flavored strongly with both Lydian and Mixolydian modes. Its musical archi
 tecture is a very free adaptation of sonata form. The musical material bor
 ders on the folk tune idiom although there are no direct quotes from any f
 olk tunes. The work calls for near-virtuoso playing by several sections\, 
 especially the French horns\, and is a favorite of advanced high school an
 d university bands. Although <em>American Overture</em> was <strong>Joseph
  Wilcox Jenkins’</strong> first band piece\, it remains his most successfu
 l work and\, in his words\, he is 'hard-pressed to duplicate its success.'
 </p> <p><strong>John Barnes Chance</strong> beg
 an composing while still a high school student as a percussionist in his s
 chool band and orchestra. After college Chance played with the Austin Symp
 hony Orchestra\, and also performed with the Fourth U.S. Army Band in San 
 Antonio and the Eighth U.S. Army Band in Korea. Throughout his short caree
 r\, Chance composed for band\, orchestra\, chorus\, chamber groups and sol
 o instruments. <strong><em>Variations on a Korean Folk Song</em></strong> 
 is based upon a folk tune that the composer learned while serving the U.S.
  Army in Seoul\, Korea. The tune is known as <span>Arrirang\,</span> a son
 g of love and heartbreak that can be found in many variations\, with an or
 igin that may date back 1\,000 years.<span> </span></p> <p><strong>Owen 
 Reed</strong><span> retir
 ed in 1976 from Michigan State University after 35 years as a composition 
 faculty member. Several outstanding composers of wind band music were form
 er students of his and his published compositions include a variety of wor
 ks for orchestra\, band\, voices\, opera\, and chamber music\, plus eight 
 books on music theory and composition. Of this evening’s work our soloist 
 writes: </span></p> <p>“As the soloist for H. O
 wen Reed's enchanting piece <strong><em>The Heart of the Morn\,</em> I am honored to present a rendition that bridges cultures and generati
 ons. It features newly composed Korean lyrics\, a heartfelt homage to the 
 natural beauty of Korea. The inspiration for these lyrics comes from a dee
 ply personal source – my mother\, Ms. Jung Ja So. At 77 years old\, residi
 ng near the picturesque Chungju\, surrounded by majestic mountains and ser
 ene lakes\, my mother embodies the spirit and resilience of Korea. A talen
 ted singer and poet in her own right\, she was the natural choice to breat
 he new life into this composition. Though not fluent in English\, her intu
 itive connection to music allowed her to craft lyrics that capture the ess
 ence of Korea's splendor by immersing herself in the original song's melod
 y. This rendition is not just a musical piece\; it's a tribute to dreams d
 eferred and the unspoken sacrifices of a generation. My mother\, who alway
 s harbored aspirations of being a singer\, set aside her dreams to dedicat
 e her life to raising me and my siblings. Now intertwined with Reed's musi
 c\, her words are a realization of her artistic dreams and a testament to 
 her enduring love and sacrifice. As I perform\, I carry not only the weigh
 t of my mother's unfulfilled aspirations but also the beauty of her spirit
  and the strength of her character. This performance is a celebration of h
 er\, the stunning landscapes of Korea\, and the universal language of musi
 c that connects us all. May this fusion of Western composition and Korean 
 poetry serve as a bridge between cultures\, resonating with the golden bea
 uty of both Michigan mornings and Korean landscapes as we celebrate the un
 iversal power of music to transcend barriers and touch hearts. </p> <p sty le=' 400\;'><strong>Korean Lyrics</strong></p> <p>산 좋고 물 있어 아름다운 곳</p> <p>가랑비 춤추는 
 곳</p> <p>떨어지는 빗줄기</p> <p>운무와 같으니</p> <p>삻에 찌든 여정 뒤로 하고 떠난길</p> <p s tyle=' 400\;'>월악산 내 작은 빗줄기</p> <p> 
 </p> <p>산좋고 물있어 아름다운 곳</p> <p>가랑비 춤추는 곳</p> <p>하늘에 펼쳐진 이 작은 빗줄기</p>
  <p>내 사랑 내 노래 채우고 채워서</p> <p>월악산 저너머 보내리</p> <p> </p> <p><strong>English Translation:</strong></p> <p>In a place where the mountains are beautiful and the waters
  flow\,</p> <p>Where the drizzle dances\,</p> &lt;
 p style='font-weight: 400\;'&gt;The falling raindrops\,</p> <p>Like a mist\,</p> <p>Leaving behin
 d a life stained with hardships\, embarking on a journey\,</p> <p>My little stream of rain in Mt. Woraksan.</p> <p> </p> <p>In a place where 
 the mountains are beautiful and the waters flow\,</p> <p>Where the drizzle dances\,</p> <p>Thi
 s small stream of rain spread across the sky\,</p> <p>Filling and overflowing with my love\, my song\,</p> <p>I will send it beyond Mt. Woraksan.</p> <p>(Korean Lyrics by Ms. Jung Ja So)</p> <p><em>Program note by </em><em>Eun Ju Vivianna Oh</em></p> <p><strong><em>Rhapsody in Blue</em></strong> was commissi
 oned in January of 1924 by Paul Whiteman\, the best-known American bandlea
 der at the time\, for his concert titled\, ‘An Experiment in Modern Music’
 \, with the goal of informing the public audience to the importance and in
 fluence of jazz. It was premiered on February 12\, 1924 at the Aeolian The
 ater in New York with Gershwin as the soloist and was orchestrated by Ferd
 e Grofé. The work was entitled by composer <strong>George Gershwin’s <span> </span>brother Ira Gershwin who was inspired by the abstract na
 mes of James Abbot McNeill Whistler’s paintings such as <span>Arrangement 
 in Gray and Black</span>. This curious title piqued the interest of the Ge
 rshwin brothers and they then created a musically equivalent title with th
 e word “blue” suggesting “the Blues” and in addition\, jazz.</p> <p>Originally from Lviv\, Ukraine\, <strong>Franz Dopple
 r</strong> was a central figure in developing national Hungarian music and
  is most famous for his works for flute. In 1853\, Doppler\, his younger b
 rother\, Karl\, and Ferenc Erkel were all involved in establishing the fir
 st Hungarian symphony orchestra. <strong><em>Andante et Rondo</em></strong> is no exception relative to the Hungarian influence present in many of D
 oppler’s works. The first movement consists of traditional romantic lyrici
 sm while the second movement is a jaunty\, light-hearted rondo.</p> <p sty le=' 400\;'><strong>David Maslanka</strong> was an American co
 mposer of Polish descent who wrote for a variety of genres\, including wor
 ks for choir\, wind ensemble\, chamber music and symphony orchestra. Best 
 known for his wind ensemble compositions\, Maslanka published nearly 130 p
 ieces for that genre\, including 8 symphonies over 15 and a full Mass. His
  compositional style is rhythmically intense\, highly tonal and melodicall
 y oriented. His compositions have been performed throughout the world. The
  roots of <strong><em>Symphony No. 4</em></strong> are many. The hymn tune
  <em>Old Hundred</em>\, several other hymn tunes (the Bach chorales <em>On
 ly Trust in God to Guide You</em> and <em>Christ Who Makes Us Holy</em>)\,
  and original melodies which are hymn-like in nature\, form the backbone o
 f <em>Symphony No. 4.</em><span>   </span></p> <hr> <table> <tbody> <tr> <td> <h5>UNIVERSITY OF WASHINGTON WIND ENSEMBLE<br><em></em></h5> <p><em>Timothy Salzman\, director</em></p> <p> FLUTE<br>Grace Jun\, Grad.\, Music Performance\, Vancouve
 r*<br>Lorin Green\, Grad.\, Music Performance\, Augusta\, GA<br>Erin McAfe
 e\, Grad.\, Music Performance\, Hoover\, AL<br>Yue Zhong.\, Jr.\, Music Pe
 rformance\, Shanghai\, China</p> <p>OBOE<br>Max
  Boyd\, Fr.\, Music Performance\, Seattle<br>Lauren Majewski\, Jr.\, Globa
 l and Regional Studies\, Mercer Island*<br>Kamil Tarnawczyk\, Alumni.\, Mu
 sic Performance/Theory\, Shoreline</p> <p>BASSO
 ON<br>Annika Fisher\, Fr.\, Anthropology\, Lake Forest Park<br>Rian Morgan
 \, So.\, Pre-Health Sciences/Music Performance\, Des Moines<br>Griffin Smi
 th\, Sr.\, Philosophy/Music Performance\, Fayetteville\, AR*</p> <p>CLARINET <span> <br></span>Alex Gee\, Jr.\, Mechanica
 l Engineering\, Camas<br>Jeremy Hu\, Fr.\, Engineering\, Taipei\, Taiwan<b r>Cameron Lee\, Sr.\, Visual Communication Design/Informatics\, Mercer Isl
 and<br>Jason Liu\, Sr.\, Mathematics\, Camas<span>   <br></span>Alessandro
  Martinez\, Fr.\, Engineering\, Olympia<br>David Stewart\, Grd.\, Wind Con
 ducting\, Mercer Island<br><span>Ysanne Webb\, Grd.\, Music Performance\, 
 Lubbock\, TX*</span></p> <p>BASS CLARINET<br>Ar
 thur Gim\, Fr.\, Engineering\, Bothell</p> <p>S
 AXOPHONE<br>Kyle Grant\, Fr.\, Music Education\, Sumner<br>Joseph Shostak\
 , Sr.\, Mechanical Engineering\, Snohomish<br>Alexander Yuan\, So.\, Compu
 ter Science\, Plainsboro\, NJ<br>Katie Zundel\, Jr.\, Music Performance/En
 gineering\, Clinton*</p> <p>TRUMPET<br>Carter A
 rchuleta\, Sr.\, Physics/Astronomy\, Gig Harbor<br>Hans Faul\, So.\, Music
  Performance\, Seattle*<br>Kyle Jenkins\, Grd.\, Music Performance\, Samma
 mish<br>Caroline Kelly\, Sr.\, Environmental Science\, Chelan<br>Daniel Ly
 ons\, Fr.\, Music Performance\, Seattle<span>  <br></span>Antti Mannisto\,
  So.\, Mechanical Engineering\, Bellevue</p> <p>HORN<br>Nicole Bogner\, Fr.\, Music Performance\, Mukilteo*<br>Kiyoshi Co
 lon\, Jr.\, Chemistry\, Everett<br>Ben Johnson\, Grad.\, Music Performance
 \, Puyallup*<br>Sydney Kuhl\, Sr.\, Computer Science\, Prior Lake\, MN<br>
 Noelani Yonahara Stewart\, Jr.\, Political Science &amp; American Ethnic Studi
 es\, San Francisco\, CA<br>Roger Wu Fu\, Grad.\, Wind Conducting\, Santiag
 o\, Chile</p> <p>TROMBONE<br>Dion Archer-Roll\,
  Jr.\, Physics\, Vancouver<br>Peter Lin\, Jr.\, ACMS\, Taipei\, Taiwan<br>
 Duncan Weiner\, Sr.\, Linguistics/Aeronautical and Astronautical Engineeri
 ng\, Seattle<br>Nathanael Wyttenbach\, Fr.\, Music Composition\, Richland*
 </p> <p>EUPHONIUM<br>Simona Yaroslavsky\, Fr.\,
  Law\, Societies and Justice\, Mercer Island<span>  <br></span>Ellie Walke
 r\, Jr.\, Music Education\, Kenmore*</p> <p>TUB
 A<br>Cole Henslee\, Jr.\, Music Performance\, Lakewood<br>Devin Foster\, G
 rad.\, Music Performance\, Lithopolis\, OH*<br>Foster Patterson\, So.\, Mu
 sic Education\, Aberdeen</p> <p>BASS<br><span>B
 eau Wood\, Grad.\, Music Performance\, Longview</span></p> <p>PERCUSSION<br>Ryan Baker\, Jr.\, Music Composition\, Gig Ha
 rbor*<br>Kaisho Barnhill\, So.\, Music Education/Psychology\, Vancouver<br>Momoka Fukushima\, Fr.\, Music Performance\, Issaquah<br>Jack Grenda\, So
 .\, International Relations\, Encinitas\, CA<br>Simon Harty\, Jr.\, Undecl
 ared\, Boise\, ID<span>  <br></span>Taryn Marks\, Grd.\, Music Performance
 \, North Augusta\, SC*</p> <p>PIANO<br>Mia HyeJ
 eon Kim\, Grad.\, Music Performance\, Seoul\, South Korea </p> <p>HARP<br>Kelly Guangyin Hou\, Sr.\, Music Performance/In
 formatics\, Bellevue</p> <p>*principal</p> </td> </tr> </tbody> </table> <h3>Biographies</h3> <p><span>Soprano <strong>Eun Ju Vivianna Oh</strong> </span>is a Korean-Am
 erican soprano whose journey through the music world has been filled with 
 adventure and accomplishment. As a recording artist\, music director\, tea
 cher\, and mother of two beautiful daughters\, she has embraced a multi-fa
 ceted career while steadfastly pursuing her passion for becoming an opera 
 singer. Now\, she is re-energizing her lifelong dream by pursuing a DMA (D
 octor of Musical Arts) in Voice Performance. Her musical education began w
 ith piano lessons\, and at the age of seventeen\, she added singing under 
 the tutelage of renowned teachers such as Monserrat Alavedra\, Mary-Curtis
  Verna\, Carmen Pelton\, Cyndia Sieden\, Deanne Meek\, and Carrie Shaw at 
 the University of Washington. Ms. Oh's talent has graced numerous operatic
  stages\, where she has taken on major roles\, including <em>L'Orfeo</em>\
 , <em>Gianni Schicchi\, Le Nozze di Figaro\, Xerses\, Der Rosenkavalier\, 
 L'enfant et les sortilèges\, Hydrogen Jukebox\, The Old Maid and the Thief
 \, Arabella\, Carmen\, Don Giovanni\, Glory Denied\, </em>and many more. S
 he recently performed Dvorak's <em>Te Deum</em> as a soprano soloist with 
 the University of Washington's combined choir and University Symphony. Wit
 h a Bachelor's and a Master's degree in Voice Performance from the Univers
 ity of Washington\, Ms. Oh possesses a solid academic foundation to comple
 ment her artistic prowess. Her experience in the music industry is extensi
 ve\, having worked as a music director in the foreign film department at t
 he Educational Broadcasting Station in Seoul\, Korea. She has collaborated
  with distinguished organizations\, including Disney Korea\, the Korean Br
 oadcasting System\, and Hansol Education Corp. In addition to her music di
 rection accomplishments\, Eun Ju Vivianna has demonstrated her leadership 
 as a music director and conductor at the First Korean United Methodist Chu
 rch in Tacoma\, Washington. She also taught music at Our Lady of Perpetual
  Help School in Santa Clarita\, CA. Previously\, Eun Ju Vivianna served as
  a predoctoral instructor at the University of Washington\, where she impa
 rted her expertise in private voice lessons to both music majors and non-m
 usic majors. She manages a private music studio in Seattle\, mentoring asp
 iring young singers and pianists. Her latest venture includes organizing t
 he Youth Musical Theater Show Choir Group\, which has found resonance in S
 eattle and its surrounding communities.</p> <p>
 Flutist<strong> Grace Jun</strong> is an active performer and teacher base
 d in Seattle\, Washington. This summer\, Grace was selected to perform as 
 principal flutist for the Solstice Symphony Orchestra’s inaugural concert 
 where she performed Brahms’ Symphony No. 4. Other recent ensemble activiti
 es include being selected to perform with the NW Mahler Festival Orchestra
  and being welcomed back as principal of the University of Washington’s Sy
 mphony Orchestra and Wind Ensemble. Currently\, Grace is pursuing her Mast
 er of Music in Flute Performance at the University of Washington (UW). In 
 2020\, she graduated with a Bachelor of Music in Flute Performance and a B
 achelor of Arts in Sociology from the UW. In 2019\, Grace went on tour to 
 China with the UW’s Wind Ensemble to Xi’an\, Beijing\, and Chengdu and\, w
 hile in China\, was invited to lead a masterclass at the Xi’An Gaoxin No. 
 1 Primary School. Over the years\, Grace has performed in the masterclasse
 s of Ransom Wilson\, Jonathan Keeble\, Leonard Garrison\, Aaron Goldman\, 
 Juno Lee\, Judith Mendenhall\, Elizabeth Buck\, and other renowned flutist
 s. She was also a featured performer at the Sewanee Summer Music Festival 
 (SSMF) at the University of the South (TN) in the summer of 2022. During h
 er time at the SSMF\, she performed with both the Cumberland and Sewanee O
 rchestra\, and was chosen to be part of the Sewanee Festival Orchestra. In
  the summers of 2018 and 2020\, Grace was a featured performer at the ARIA
  International Music Festival (MA). Prior to this\, she performed as princ
 ipal flute for the <em>West Side Story</em> with the Seattle Symphony at B
 enaroya Hall\, under the baton of Maestro Ludovic Morlot. In February of 2
 023\, Grace was the runner up of the UW’s Concerto Competition\, earning h
 onorable mention. She was awarded 2nd place in the Arizona Flute Society A
 dult Division competition in 2021. In 2019\, she was one of the three fina
 lists for the Coeur d’Alene Symphony’s National Young Artist Concerto Comp
 etition. Lastly\, she earned third prize in the 2018 CederLuke Young Artis
 t Competition (MT). Grace has spent the last 3 years in Vancouver\, WA\, w
 here she taught flute\, piano\, and kindergarten music classes at a local 
 music school\, Opus School of Music. Aside from her group classes\, she ha
 d a thriving private studio of 50 students learning flute and piano.</p>
END:VEVENT
BEGIN:VEVENT
UID:900bf500-dead-43c9-a84a-82576849b9ee
DTSTAMP:20260307T094251Z
CATEGORIES:Faculty Performances\, Performances\, Student Activities and Per
 formances
CLASS:PUBLIC
CREATED:20230814T190455Z
DESCRIPTION:<p>David Alexander Rahbee conducts the University of Washington
  Symphony in a program of music by Eugene d’Albert\, W.A. Mozart\, Alexand
 er Borodin\, and Igor Stravinsky. With guest conductor Sunny Xia (Seattle 
 Symphony) and faculty bassoonist Paul Rafanelli. </p>\n<hr>\n<h2><strong>P
 rogram<br></strong></h2>\n<p>Eugen d’Albert (1864-1932): Prelude to Tiefla
 nd\, op.34</p>\n<p>W.A. Mozart (1756-1791): Bassoon Concerto in B-flat maj
 or\, K.191<br>I. Allegro<br>II. Andante ma adagio<br>III. Rondo: Tempo di 
 menuetto<br>Paul Rafanelli\, bassoon</p>\n<p>Intermission</p>\n<p>Alexande
 r Borodin (1869-1887): Polovtsian Dances from Prince Igor<br>Ryan Farris\,
  conductor</p>\n<p>Igor Stravinsky (1882-1971): Suite from The Firebird (1
 919 version)<br>Sunny Xia\, conductor</p>\n<hr>\n<h3>Program Notes</h3>\n&lt;
 p&gt;<strong>by Mica Weiland</strong>  </p>\n<p><s trong>Eugen d’Albert (1864-1932): Tiefland\, op. 34: Prelude (1924)<br></s>Eugen d’Albert was a Scottish-born pianist and composer. At the age 
 of 17\, he won a scholarship to continue his musical studies in Austria. I
 t was there that he discovered his affinity for Austro-German music and cu
 lture. He then moved to Germany where he became a student of Franz Liszt a
 nd began his career as a concert pianist. It was also during this time tha
 t d’Albert shifted his focus to composing\, producing a variety of piano\,
  vocal\, chamber\, and orchestral works as well as twenty-one operas. He w
 as also a respected editor and interpreter of German music\, specifically 
 the music of J.S. Bach. He was married six times\, his second wife being V
 enezuelan composer and pianist Teresa Carreño. In 1914 he relocated to Swi
 tzerland and gained citizenship. He died in 1932 in Latvia\, where he had 
 travelled to obtain a divorce from his sixth wife.   </p>\n<p>The opera Tiefland (The Lowlands) was composed and premiere
 d in 1903\, and it was only in 1924 that d’Albert decided to and extract a
 nd extend the prelude as an independent symphonic work. A shepherd in the 
 mountains sets out to find a bride. He throws a rock to the lowlands and t
 he house that the rock hits is where he will find her. They marry before r
 eturning to the mountains together. The overture opens with a clarinet sol
 o and highlights a rich orchestral texture that is pastoral in nature. Thi
 s opera is commonly performed in Germany and Austria and remains a part of
  their standard repertoire.</p>\n<p><strong>Wol
 fgang Amadeus Mozart (1756-1791): Bassoon Concerto in B-flat major\, K. 19
 1 (1774)<br></strong>One of the most recognizable names in the western cla
 ssical tradition\, Mozart composed over six-hundred works during his short
  life. He composed for every western classical genre including the opera\,
  symphonic\, chamber\, and concertante genres. His bassoon concerto was wr
 itten in 1774 when Mozart was just 18 years old and was his first concerto
  written for a wind instrument. This piece has established itself as one o
 f the most studied and performed pieces in the bassoon repertoire.</p>\n<p>The first movement is in a standard sonata for
 m with a lively orchestral introduction. Movement two is slow and lyrical\
 , Mozart used a theme from this movement in an aria at the beginning of ac
 t two of his opera The Marriage of Figaro. Finally\, the concerto ends wit
 h a spirited rondo\, bringing a joyful conclusion to the work.  </p>\n<p s tyle=' 400\;'><strong>Alexander Borodin (1833-1887): Polovtsia
 n Dances from Prince Igor (1869-1875)</strong><br> Borodin was born in Rus
 sia in 1833 and became interested in music at an early age. He was homesch
 ooled by his mother and took to playing the piano and staging plays during
  this time. As a teenager\, he developed a concurrent love for science and
  entered the St. Petersburg Medical-Surgical Academy where he specialized 
 in chemistry. A chemist by trade\, Borodin still managed to join the “Migh
 ty Handful\,” a group of Russian composers that influenced the trajectory 
 of Russian music. Since Borodin was dedicated to science and music\, his c
 ompositional output is smaller than that of other composers. He completed 
 two symphonies\, assorted chamber music\, and worked for years on his oper
 a Prince Igor.  </p>\n<p>Prince Igor may be his
  most well-known work\, but it was not finished at the time of his death i
 n 1887. He started work on the piece in 1869 and worked on it intermittent
 ly over the next 18 years. It was premiered in 1890 after being completed 
 by his colleagues Alexander Glazunov and Nikolai Rimsky-Korsakov. The Polo
 vtsian Dances take place after the titular character is taken captive by t
 he Polovtsian Khan. To lift the spirits of the prince\, the Khan orders a 
 group of dancers to entertain him. The piece begins with the servants’ son
 g\, reminiscing about their homeland. The dances pick up in jest and vigor
 \, following the dancers as they perform for the prince. The dance of the 
 men is loud and festive\, while the dance of the maidens is simple and swe
 et. Even though it is scored for orchestra with chorus\, it is commonly pe
 rformed without the chorus. The lush orchestration\, complex tone colors\,
  and lively character make this work enticing on the operatic stage and in
  the concert hall.   </p>\n<p><strong>Igor Stra
 vinsky (1882-1971): Suite from The Firebird (1919)<br></strong> Igor Strav
 insky was a pivotal figure in 20th century music and the development of we
 stern instrumental music. A notable facet of his career\, Stravinsky had a
 n enduring relationship with the Ballet Russes of which The Firebird was i
 ts first commission. Stravinsky was unestablished as a composer before thi
 s\, but his success and artistry were cemented overnight after the premier
 e. The Firebird premiered in 1910 with a much larger orchestration\, but w
 hen he extracted this suite\, he reduced the orchestration\, without losin
 g any of its opulence.  </p>\n<p>The story of T
 he Firebird is drawn from old Russian folklore and depicts a beautiful\, r
 are bird whose' feathers shimmer like flames and her defeat of an evil wiz
 ard\, Katchei the Deathless. Katchei captures beautiful young princesses a
 nd turns the knights who attempt to rescue them into stone. Prince Ivan\, 
 the story’s protagonist\, and the firebird work together to banish Katchei
  and free his victims.  </p>\n<p>The introducti
 on begins with a theme in the low strings that symbolize Prince Ivan stumb
 ling upon the enchanted garden of Katchei. Ivan discovers the firebird in 
 the garden\, represented by the fast trills and frenzied music that follow
 . The princesses captured by Katchei are observed by the prince in their r
 itual round dance which begins with a serene melody in the upper woodwinds
 . The delicate\, idyllic nature of this movement is quickly crushed by the
  entrance of Katchei and the beginning of the Infernal Dance. Here\, the f
 irebird casts a spell in order to protect Ivan\, forcing Katchei and his a
 ides to dance themselves to exhaustion. A lullaby then lulls the wizard to
  sleep\, and an optimistic call from the french horn announces the arrival
  of a new day. The finale follows the rescued captives and Prince Ivan cel
 ebrating their freedom as the piece draws to a euphoric conclusion. </p>\n
 <hr>\n\n\n\n\n<h4><strong>University of Washington Symphony Orchestra</h4>\n<p>David Alexander Rahbee\, Music Director and Conductor<br>Rya
 n Farris and Daren Weissfisch\, Assistant Conductors</p>\n<p><strong><u>Flute</u></strong><strong><br></strong>Katelyn Ca
 mpbell\, Flute Performance/Biochemistry<br>Grace Jun\, MM Flute Performanc
 e<br>Erin McAfee\, MM Flute Performance<br>Rachel Reyes\, DMA Flute Perfor
 mance</p>\n<p><strong></strong><strong><u>Picco
 lo</u></strong><strong><br></strong>Katelyn Campbell\, Flute Performance/B
 iochemistry<br>Grace Jun\, MM Flute Performance<br>Erin McAfee\, MM Flute 
 Performance<br><strong><br><u>Oboe</u><br></strong>Max Boyd\, Oboe Perform
 ance<br>Lauren Majewski\, BA Global &amp; Regional Studies</p>\n<p><strong><u>English Horn</u></strong><strong><br></strong>K
 amil Tarnawczyk\, Alum</p>\n<p><strong><u>Clari
 net</u></strong><strong><br></strong>Ysanne Webb\, DMA Clarinet Performanc
 e<strong><br></strong>Nick Zhang\, BS Computer Science</p>\n<p><strong><u></u></strong><strong><u>Bass Clarinet</u><strong><br></strong>Ysanne Webb\, Mathematics</p>\n<p><strong><u></u></strong><strong><u>Bassoon<br></u></strong>Ryan
  Kapsandy\, BM Bassoon Performance<br>Griffin Smith\, Music/Philosophy<br>
 Eric Shankland\, BA Music History<br>Eric Spradling\, BM Bassoon Performan
 ce</p>\n<p><strong><u>Contrabassoon<br></u>Griffin Smith\, Music/Philosophy</p>\n<p>&lt;
 strong&gt;<u>Horn</u>     <br></strong>Nicole Bogner\, Horn Performance<br></strong>Ben Johnson\, MM Horn Performance<br>Colin Laskarzewski\, B
 S Physics<strong><br></strong>Yihan Li\, Music<br>Sam Nutt\, Molecular &amp; C
 ellular Biology<br>Noelani Stewart\, BA Political Science</p>\n<p><strong><br><u>Trumpet<br></u></strong>Hans Faul\, Trum
 pet Performance<br>Kyle Jenkins\, MM Trumpet Performance<br>Daniel Lyons\,
  Trumpet Performance<strong><br></strong><br><strong><u>Trombone<br></u></strong>Peter Lin\, ACMS<br>Nathanael Wyttenbach\, Music Composition<strong> </strong></p>\n<p><strong><u>Bass Trombone</u></strong><strong><br></strong>Duncan Weiner\, Aero/Astro Engineering\, Li
 nguistics</p>\n<p><strong><u>Tuba<br></u>Joel Horton\, MM Tuba Performance<br>Adam Mtimet\, DMA Tuba Performance
 <br>Foster Patterson\, Music Education<strong><br></strong></p>\n<p><strong><u>Timpani<br></u></strong>Kaisho Barnhill\, 
 Music Education<br>Abigail George\, Applied Physics</p>\n<p><br><strong><u>Percussion<br></u></strong>Ryan Baker\, Music 
 Education<br>Kaisho Barnhill\, Music Education<br>Momoka Fukushima\, Music
  (Percussion)<br>Abigail George\, Applied Physics<br>Melissa Wang\, MM Per
 cussion</p>\n<p><strong><u>Piano &amp; Celesta<br>&lt;
 /u&gt;</strong>Chiao-Yu Wu\, DMA Piano Performance</p>\n<p><strong><u></u></strong><strong><u>Harp<br></u></strong>Kelly Hou
 \, Informatics/Harp Performance<br>Angie Kong\, Alum</p>\n<p><strong><u></u></strong><strong><u>Violin I<br></u></strong>
 Grace Pandra\, Violin Performance (Concertmaster)<br>Shinyoung Hwang\, Eng
 ineering/Violin Performance<br>Tia-Jane Fowler\, Computer Science/Music<br>Brooke Chen\, Public Health<br>Ido Avnon\, Computer Science/Education<br>
 Giulia Rosa\, Violin Performance<br>Justin Chae\, Computer Science<br>Alex
 ander Metzger\, Computer Science<br>David Mok\, Computer Engineering<br>Am
 elie Martin\, Physics/Mathematics<br>Ethan Wu\, Biochemistry<br>Kara Johns
 on\, Archeological Sciences<br>Quentin Brydon\, Pre-Nursing<br>Hao Xu\, Co
 mputer Science<strong><br></strong>Kai-En Cheng\, Economics<strong><br></s>Maya DaSilva\, Music/Law Societies &amp; Justice<br>Nagato Orita\, Pre-M
 ajor<strong><br></strong>Lyle Deng\, Computer Science</p>\n<p><strong><u>Violin II<br></u></strong>Hanu Nahm\, Violin Per
 formance/BS Microbiology (Principal)<br>Nicole Chen\, Informatics<br>Sean 
 Sasaki\, Music Education<br>Thea Higgins\, Industrial Engineering<br>Brand
 on Bailey\, Computer Science<strong><br></strong>Zak Azar\, Pre-Major<br>A
 lice Leppert\, Chemistry<br>Terra Bronson\, ECFS<strong><br></strong>Allis
 on Kam\, Speech and Hearing Sciences/Linguistics<br>Kate Everling\, Mathem
 atics<br>Victoria Zhuang\, Pre Sciences<strong><br></strong>Mia Grayson\, 
 Pre-Sciences<br>Fengrui Liu\, Pre-Social Health<br>Felicia Yeh\, Business 
 Administration<br>Kevin Lu\, Computer Science<br>Hannah Pena-Ruiz\, Music 
 History </p>\n<p><strong><u>Viola</u></strong>&lt;
 strong&gt;     <br></strong>Flora Cummings\, Viola Performance/Biology (Princ
 ipal)<br>Mica Weiland\, Viola Performance<br>Amy Lu\, Informatics<br>Abiga
 il Schidler\, Computer Science<br>Aribella Brushie\, Pre-Science<br>Helen 
 Hauschka\, Pre Social Sciences<br>Melany Nanayakkara\, Mathematics<strong>
 <br></strong>David Del Cid-Saavedra\, Education Studies<br>Melia Golden\, 
 Pre-Humanities<br>Alissa Harbani\, Bioengineering/Music<br><strong><br><u>
 Violoncello</u>         <br></strong>Sarah Johnson\, Cello Performance (Pr
 incipal)<br>Cory Chen\, Pre-Sciences<br>Nathan Evans\, Cello Performance<b r>Ignacio (Nacho) Tejeda\, PhD Mathematics<br>Ethan Kim\, Psychology<br>Mi
 na Wang\, Cello Performance<br>Amanda Song\, Business<br>Breanna Humphrey\
 , Microbiology<br>Katherine Kang\, Human Centered Design &amp; Engineering<br></strong>Ava Reese\, Anthropology<br>Andrew Vu\, Biology/Chemistry
 <br>Noah Croskey\, Engineering</p>\n<p>Bashir A
 bdel-Fattah\, PhD Mathematics</p>\n<p><strong>&lt;
 br&gt;<u>Bass</u>    <br></strong>Amelia Matsumoto\, Engineering (Principal)&lt;
 br&gt;Rina Ishii\, Environmental Science<strong><br></strong>Eddie Nikishina\
 , BM Music Performance<br>Alejandra Heringer\, English<br>Gabriella Kelley
 \, Philosophy: Ethics/Pre-Law<br>Beau Wood\, MM Jazz Studies</p>\n\n\n\n\n
 <h3><a href='https://www.sunny-xia.com' target='_blank' rel='noopener nore
 ferrer'>Sunny Xia</a></h3>\n<p class='font_8 wixui-rich-text__text'>Recogn
 ized for her innate musicality\, compelling presence\, and technical preci
 sion\, Chinese-born conductor Sunny Xuecong Xia’s ability to forge an imme
 diate and captivating connection with orchestras and audiences alike has l
 ed to engagements around the country. Recently appointed Douglas F. King A
 ssistant Conductor of the Seattle Symphony\, Xia begins her new position i
 n September 2022. As Assistant Conductor\, she will contribute to Seattle 
 Symphony’s Education and Community Engagement programs\, conduct the Famil
 y Concerts\, as well as serve as cover conductor for subscription concerts
  throughout her appointment.</p>\n<p class='font_8 wixui-rich-text__text'>
 In the 2021/2022 season\, Xia was selected as Conducting Fellow at the Cab
 rillo Festival of Contemporary Music\, where she made her festival debut l
 eading the world premiere of Marc Migó Cortés' Dumka in July 2022. She led
  a production of La bohème with the Chandler Opera Company to great succes
 s and appeared with double bassist Xavier Foley and violinist Eunice Kim i
 n Foley’s poignant work For Justice and Peace at Mesa Arts Center. Additio
 nal engagements included Assistant Conductor of the Phoenix Youth Symphony
  Orchestra and Cover Conductor for Arizona Musicfest. In the 2020/2021 sea
 son\, she appeared as guest conductor with the MusicaNova Orchestra and wa
 s invited to serve as Assistant Conductor at the National Music Festival a
 nd Pierre Monteux Music Festival.</p>\n<p class='font_8 wixui-rich-text__t
 ext'>A dynamic advocate for contemporary music\, Xia will be leading the S
 eattle Symphony in works by composers Katy Abbott\, Tan Dun\, Quinn Mason\
 , Angelique Poteat\, Gabriella Smith\, and Chen Yi in the 2022/2023 season
 . She has previously led the Cleveland Institute of Music New Music Ensemb
 le in music series such as the Cleveland NEOSonicFest and CIM New Music Se
 ries. She has several world premieres under her credit\, including Rodney 
 Rogers’ Concerto for Violin and String Orchestra with violinist Christiano
  Rodrigues and the MusicaNova Orchestra. She served as a Conducting Fellow
  in the 2020 Cortona Sessions for New Music Conductor and Advocate Virtual
  Summit.</p>\n<p class='font_8 wixui-rich-text__text'>Equally at home and 
 in the opera pit\, prior to leading La bohème with the Chandler Opera Comp
 any\, Xia has served as assistant conductor for productions of Hänsel und 
 Gretel\, Die Zauberflöte\, The Juniper Tree\, Le Rossignol and L’Enfant et
  les Sortilèges. Dedicated to bringing music to the community\, while in C
 leveland\, Xia organized and led concerts in retirement communities and el
 ementary schools\, including an interactive presentation of Prokofiev’s Pe
 ter and the Wolf in East Cleveland for an audience of 4th and 5th graders.
 </p>\n<p class='font_8 wixui-rich-text__text'>Highlights of the 2019-20 se
 ason included being selected by Marin Alsop as a Conducting Fellow in the 
 Peabody Conducting Workshop\, appointment as Apprentice Conductor at the N
 orth American New Opera Workshop (NANOWorks) and serving as Cover Conducto
 r for the Cleveland Orchestra Youth Orchestra. Additionally\, she led the 
 Cleveland Institute of Music Orchestra in the 2019 Benefit Concert “A Lega
 cy in Bloom: Celebrating Clara T. Rankin” with violinist Caroline Goulding
 .</p>\n<p class='font_8 wixui-rich-text__text'>Xia holds a dual master’s d
 egree in Orchestral Conducting and Violin Performance from the Cleveland I
 nstitute of Music where she studied under the tutelage of Carl Topilow and
  Jan Mark Sloman. She is currently a doctoral candidate at Arizona State U
 niversity where she studied under the guidance of Dr. Jeffery Meyer and Ti
 to Muñoz. She has had the privilege to be further mentored by a number of 
 prominent conductors\, including Marin Alsop\, JoAnn Falleta\, Giancarlo G
 uerrero\, Ludovic Morlot\, Larry Rachleff\, and Carl St.Clair. For two sum
 mers\, she attended the Monteux School and Music Festival as a Kurt &amp; Torj
  Wray Conducting Scholar. An accomplished violinist\, prior to becoming a 
 conductor\, Xia performed as a soloist with orchestras in China and Austra
 lia\, including the symphony orchestras of Harbin\, Zheijiang\, Hunan and 
 Guangxi\, and the Concertante Ensemble. While attending Cleveland Institut
 e of music\, she served as concertmaster of the CIM Orchestra.​</p>\n<p cl ass='font_8 wixui-rich-text__text'>​Originally from Guangzhou\, China\, Xi
 a relocated to Sydney\, Australia at the age of 14 on a sponsorship from t
 he Australian String Academy that allowed her to further her violin studie
 s with Peter Shi-xiang Zhang and Charmian Gadd. A talented basketball athl
 ete\, she competed in the semi-professional New South Wales Metro Junior L
 eague before focusing primarily on her musical pursuits. When not performi
 ng or enjoying a pick-up game\, she can be found reading\, kayaking\, or l
 earning languages. She speaks Cantonese\, English\, Mandarin and Teochew\,
  and is improving her German\, French and Italian.</p>
DTSTART;TZID=America/Los_Angeles:20240308T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:2
SUMMARY:: UW Symphony with Sunny Xia\, Paul Rafanelli
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-03-09/uw-symphony-sunny-xia-pa
 ul-rafanelli
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>David Alexander Rahbee conducts the U
 niversity of Washington Symphony in a program of music by Eugene d’Albert\
 , W.A. Mozart\, Alexander Borodin\, and Igor Stravinsky. With guest conduc
 tor Sunny Xia (Seattle Symphony) and faculty bassoonist Paul Rafanelli. </span></p> <hr> <h2><strong>Program<br></strong></h2> <p>Eugen d’Albert (18
 64-1932): Prelude to Tiefland\, op.34</p> <p>W.A. Mozart (1756-1791): Bass
 oon Concerto in B-flat major\, K.191<br><span>I. Allegro</span><span><br>I
 I. Andante ma adagio<br>III. Rondo: Tempo di menuetto</span><br><em>Paul R
 afanelli\, bassoon</em></p> <p><em>Intermission</em></p> <p>Alexander Boro
 din (1869-1887): Polovtsian Dances from <em>Prince Igor</em><br><em>Ryan F
 arris\, conductor</em></p> <p>Igor Stravinsky (1882-1971): Suite from <em>
 The Firebird</em> (1919 version)<br><em>Sunny Xia\, conductor</em></p> <hr> <h3>Program Notes</h3> <p><strong>by Mica Weiland</strong>  </p> <p styl e=' 400\;'><strong>Eugen d’Albert (1864-1932): <em>Tiefland\,&lt;
 /em&gt; op. 34: Prelude (1924)<br></strong>Eugen d’Albert was a Scottish-born
  pianist and composer. At the age of 17\, he won a scholarship to continue
  his musical studies in Austria. It was there that he discovered his affin
 ity for Austro-German music and culture. He then moved to Germany where he
  became a student of Franz Liszt and began his career as a concert pianist
 . It was also during this time that d’Albert shifted his focus to composin
 g\, producing a variety of piano\, vocal\, chamber\, and orchestral works 
 as well as twenty-one operas. He was also a respected editor and interpret
 er of German music\, specifically the music of J.S. Bach. He was married s
 ix times\, his second wife being Venezuelan composer and pianist Teresa Ca
 rreño. In 1914 he relocated to Switzerland and gained citizenship. He died
  in 1932 in Latvia\, where he had travelled to obtain a divorce from his s
 ixth wife.<span>  </span><span> </span></p> <p>
 The opera <em>Tiefland (The Lowlands) </em>was composed and premiered in 1
 903\, and it was only in 1924 that d’Albert decided to and extract and ext
 end the prelude as an independent symphonic work. A shepherd in the mounta
 ins sets out to find a bride. He throws a rock to the lowlands and the hou
 se that the rock hits is where he will find her. They marry before returni
 ng to the mountains together. The overture opens with a clarinet solo and 
 highlights a rich orchestral texture that is pastoral in nature. This oper
 a is commonly performed in Germany and Austria and remains a part of their
  standard repertoire.</p> <p><span></span>Wolfgang Amadeus Mozart (1756-1791): Bassoon Concerto in B-flat major\,
  K. 191 (1774)<br></strong>One of the most recognizable names in the weste
 rn classical tradition\, Mozart composed over six-hundred works during his
  short life. He composed for every western classical genre including the o
 pera\, symphonic\, chamber\, and concertante genres. His bassoon concerto 
 was written in 1774 when Mozart was just 18 years old and was his first co
 ncerto written for a wind instrument. This piece has established itself as
  one of the most studied and performed pieces in the bassoon repertoire.</p> <p>The first movement is in a standard sonat
 a form with a lively orchestral introduction. Movement two is slow and lyr
 ical\, Mozart used a theme from this movement in an aria at the beginning 
 of act two of his opera <em>The Marriage of Figaro</em>. Finally\, the con
 certo ends with a spirited rondo\, bringing a joyful conclusion to the wor
 k.<span>  </span></p> <p><span></span><strong>A
 lexander Borodin (1833-1887): Polovtsian Dances from <em>Prince Igor</em> 
 (1869-1875)</strong><br><span></span><span> </span>Borodin was born in Rus
 sia in 1833 and became interested in music at an early age. He was homesch
 ooled by his mother and took to playing the piano and staging plays during
  this time. As a teenager\, he developed a concurrent love for science and
  entered the St. Petersburg Medical-Surgical Academy where he specialized 
 in chemistry. A chemist by trade\, Borodin still managed to join the “Migh
 ty Handful\,” a group of Russian composers that influenced the trajectory 
 of Russian music. Since Borodin was dedicated to science and music\, his c
 ompositional output is smaller than that of other composers. He completed 
 two symphonies\, assorted chamber music\, and worked for years on his oper
 a <em>Prince Igor</em>.<span>  </span></p> <p>&lt;
 span&gt;</span><em><span></span>Prince Igor</em> may be his most well-known w
 ork\, but it was not finished at the time of his death in 1887. He started
  work on the piece in 1869 and worked on it intermittently over the next 1
 8 years. It was premiered in 1890 after being completed by his colleagues 
 Alexander Glazunov and Nikolai Rimsky-Korsakov. The Polovtsian Dances take
  place after the titular character is taken captive by the Polovtsian Khan
 . To lift the spirits of the prince\, the Khan orders a group of dancers t
 o entertain him. The piece begins with the servants’ song\, reminiscing ab
 out their homeland. The dances pick up in jest and vigor\, following the d
 ancers as they perform for the prince. The dance of the men is loud and fe
 stive\, while the dance of the maidens is simple and sweet. Even though it
  is scored for orchestra with chorus\, it is commonly performed without th
 e chorus. The lush orchestration\, complex tone colors\, and lively charac
 ter make this work enticing on the operatic stage and in the concert hall.
  <span>  </span></p> <p><span></span><span><span></span><strong>Igor Stravinsky (1882-1971): Suite from <em>The Fi
 rebird</em> (1919)<br></strong><span></span><span> </span>Igor Stravinsky 
 was a pivotal figure in 20th century music and the development of western 
 instrumental music. A notable facet of his career\, Stravinsky had an endu
 ring relationship with the Ballet Russes of which <em>The Firebird </em>wa
 s its first commission. Stravinsky was unestablished as a composer before 
 this\, but his success and artistry were cemented overnight after the prem
 iere. <em>The Firebird</em> premiered in 1910 with a much larger orchestra
 tion\, but when he extracted this suite\, he reduced the orchestration\, w
 ithout losing any of its opulence.<span>  </span></p> <p>The story of <em>The Firebird</em> is drawn from old Russian fol
 klore and depicts a beautiful\, rare bird whose' feathers shimmer like fla
 mes and her defeat of an evil wizard\, Katchei the Deathless. Katchei capt
 ures beautiful young princesses and turns the knights who attempt to rescu
 e them into stone. Prince Ivan\, the story’s protagonist\, and the firebir
 d work together to banish Katchei and free his victims.<span>  </span></p>
  <p>The introduction begins with a theme in the
  low strings that symbolize Prince Ivan stumbling upon the enchanted garde
 n of Katchei. Ivan discovers the firebird in the garden\, represented by t
 he fast trills and frenzied music that follow. The princesses captured by 
 Katchei are observed by the prince in their ritual round dance which begin
 s with a serene melody in the upper woodwinds. The delicate\, idyllic natu
 re of this movement is quickly crushed by the entrance of Katchei and the 
 beginning of the Infernal Dance. Here\, the firebird casts a spell in orde
 r to protect Ivan\, forcing Katchei and his aides to dance themselves to e
 xhaustion. A lullaby then lulls the wizard to sleep\, and an optimistic ca
 ll from the french horn announces the arrival of a new day. The finale fol
 lows the rescued captives and Prince Ivan celebrating their freedom as the
  piece draws to a euphoric conclusion.<span> </span></p> <hr> <table> <tbody> <tr> <td> <h4><strong>Un
 iversity of Washington Symphony Orchestra</strong></h4> <p><em>David Alexa
 nder Rahbee\, Music Director and Conductor</em><br><em>Ryan Farris and Dar
 en Weissfisch\, Assistant Conductors</em></p> <p><strong><u>Flute</u></strong><strong><br></strong>Katelyn Campbell\, Flu
 te Performance/Biochemistry<br>Grace Jun\, MM Flute Performance<br>Erin Mc
 Afee\, MM Flute Performance<br>Rachel Reyes\, DMA Flute Performance</p> <p><strong></strong><strong><u>Piccolo</u><strong><br></strong>Katelyn Campbell\, Flute Performance/Biochemistry<b r>Grace Jun\, MM Flute Performance<br>Erin McAfee\, MM Flute Performance<b r><strong><br><u>Oboe</u><br></strong>Max Boyd\, Oboe Performance<br>Laure
 n Majewski\, BA Global &amp; Regional Studies</p> <p><strong><u>English Horn</u></strong><strong><br></strong>Kamil Tarnawczy
 k\, Alum</p> <p><strong><u>Clarinet</u></strong><strong><br></strong>Ysanne Webb\, DMA Clarinet Performance<strong><br></strong>Nick Zhang\, BS Computer Science</p> <p>
 <strong><u></u></strong><strong><u>Bass Clarinet</u></strong><strong><br>&lt;
 /strong&gt;Ysanne Webb\, Mathematics</p> <p><u></u></strong><strong><u>Bassoon<br></u></strong>Ryan Kapsandy\, BM Ba
 ssoon Performance<br>Griffin Smith\, Music/Philosophy<br>Eric Shankland\, 
 BA Music History<br>Eric Spradling\, BM Bassoon Performance</p> <p><strong><u>Contrabassoon<br></u></strong>Griffin Smith
 \, Music/Philosophy</p> <p><strong><u>Horn</u> 
     <br></strong>Nicole Bogner\, Horn Performance<strong><br></strong>Ben 
 Johnson\, MM Horn Performance<br>Colin Laskarzewski\, BS Physics<strong><b r></strong>Yihan Li\, Music<br>Sam Nutt\, Molecular &amp; Cellular Biology<br>
 Noelani Stewart\, BA Political Science</p> <p>&lt;
 strong&gt;<br><u>Trumpet<br></u></strong>Hans Faul\, Trumpet Performance<br>K
 yle Jenkins\, MM Trumpet Performance<br>Daniel Lyons\, Trumpet Performance
 <strong><br></strong><br><strong><u>Trombone<br></u></strong>Peter Lin\, A
 CMS<br>Nathanael Wyttenbach\, Music Composition<strong> </strong></p> <p s tyle=' 400\;'><strong><u>Bass Trombone</u></strong><strong><br></strong>Duncan Weiner\, Aero/Astro Engineering\, Linguistics</p> <p styl e=' 400\;'><strong><u>Tuba<br></u></strong>Joel Horton\, MM Tu
 ba Performance<br>Adam Mtimet\, DMA Tuba Performance<br>Foster Patterson\,
  Music Education<strong><br></strong></p> <p><s trong><u>Timpani<br></u></strong>Kaisho Barnhill\, Music Education<br>Abig
 ail George\, Applied Physics</p> <p><br><strong><u>Percussion<br></u></strong>Ryan Baker\, Music Education<br>Kaisho Barn
 hill\, Music Education<br>Momoka Fukushima\, Music (Percussion)<br>Abigail
  George\, Applied Physics<br>Melissa Wang\, MM Percussion</p> <p><strong><u>Piano &amp; Celesta<br></u></strong>Chiao-Yu Wu\,
  DMA Piano Performance</p> <p><strong><u></u></strong><strong><u>Harp<br></u></strong>Kelly Hou\, Informatics/Harp Perfor
 mance<br>Angie Kong\, Alum</p> <p><strong><u></u></strong><strong><u>Violin I<br></u></strong>Grace Pandra\, Violin Perfo
 rmance (Concertmaster)<br>Shinyoung Hwang\, Engineering/Violin Performance
 <br>Tia-Jane Fowler\, Computer Science/Music<br>Brooke Chen\, Public Healt
 h<br>Ido Avnon\, Computer Science/Education<br>Giulia Rosa\, Violin Perfor
 mance<br>Justin Chae\, Computer Science<br>Alexander Metzger\, Computer Sc
 ience<br>David Mok\, Computer Engineering<br>Amelie Martin\, Physics/Mathe
 matics<br>Ethan Wu\, Biochemistry<br>Kara Johnson\, Archeological Sciences
 <br>Quentin Brydon\, Pre-Nursing<br>Hao Xu\, Computer Science<strong><br>&lt;
 /strong&gt;Kai-En Cheng\, Economics<strong><br></strong>Maya DaSilva\, Music/
 Law Societies &amp; Justice<br>Nagato Orita\, Pre-Major<strong><br></strong>Ly
 le Deng\, Computer Science</p> <p><strong><u>Vi
 olin II<br></u></strong>Hanu Nahm\, Violin Performance/BS Microbiology (Pr
 incipal)<br>Nicole Chen\, Informatics<br>Sean Sasaki\, Music Education<br>
 Thea Higgins\, Industrial Engineering<br>Brandon Bailey\, Computer Science
 <strong><br></strong>Zak Azar\, Pre-Major<br>Alice Leppert\, Chemistry<br>
 Terra Bronson\, ECFS<strong><br></strong>Allison Kam\, Speech and Hearing 
 Sciences/Linguistics<br>Kate Everling\, Mathematics<br>Victoria Zhuang\, P
 re Sciences<strong><br></strong>Mia Grayson\, Pre-Sciences<br>Fengrui Liu\
 , Pre-Social Health<br>Felicia Yeh\, Business Administration<br>Kevin Lu\,
  Computer Science<br>Hannah Pena-Ruiz\, Music History </p> <p><strong><u>Viola</u></strong><strong>     <br></strong>Flor
 a Cummings\, Viola Performance/Biology (Principal)<br>Mica Weiland\, Viola
  Performance<br>Amy Lu\, Informatics<br>Abigail Schidler\, Computer Scienc
 e<br>Aribella Brushie\, Pre-Science<br>Helen Hauschka\, Pre Social Science
 s<br>Melany Nanayakkara\, Mathematics<strong><br></strong>David Del Cid-Sa
 avedra\, Education Studies<br>Melia Golden\, Pre-Humanities<br>Alissa Harb
 ani\, Bioengineering/Music<br><strong><br><u>Violoncello</u>         <br>&lt;
 /strong&gt;Sarah Johnson\, Cello Performance (Principal)<br>Cory Chen\, Pre-S
 ciences<br>Nathan Evans\, Cello Performance<br>Ignacio (Nacho) Tejeda\, Ph
 D Mathematics<br>Ethan Kim\, Psychology<br>Mina Wang\, Cello Performance<b r>Amanda Song\, Business<br>Breanna Humphrey\, Microbiology<br>Katherine K
 ang\, Human Centered Design &amp; Engineering<strong><br></strong>Ava Reese\, 
 Anthropology<br>Andrew Vu\, Biology/Chemistry<br>Noah Croskey\, Engineerin
 g</p> <p>Bashir Abdel-Fattah\, PhD Mathematics&lt;
 /p&gt; <p><strong><br><u>Bass</u>    <br></strong>
 Amelia Matsumoto\, Engineering (Principal)<br>Rina Ishii\, Environmental S
 cience<strong><br></strong>Eddie Nikishina\, BM Music Performance<br>Aleja
 ndra Heringer\, English<br>Gabriella Kelley\, Philosophy: Ethics/Pre-Law<b r>Beau Wood\, MM Jazz Studies</p> </td> </tr> </tbody> </table> <h3><a hre f='https://www.sunny-xia.com' target='_blank' rel='noopener noreferrer'>Su
 nny Xia</a></h3> <p class='font_8 wixui-rich-text__text'><span class='colo
 r_15 wixui-rich-text__text'>Recognized for her innate musicality\, compell
 ing presence\, and technical precision\, Chinese-born conductor Sunny Xuec
 ong Xia’s ability to forge an immediate and captivating connection with or
 chestras and audiences alike has led to engagements around the country. Re
 cently appointed Douglas F. King Assistant Conductor of the Seattle Sympho
 ny\, Xia begins her new position in September 2022. As Assistant Conductor
 \, she will contribute to Seattle Symphony’s Education and Community Engag
 ement programs\, conduct the Family Concerts\, as well as serve as cover c
 onductor for subscription concerts throughout her appointment.</span></p> 
 <p class='font_8 wixui-rich-text__text'><span class='color_15 wixui-rich-t
 ext__text'>In the 2021/2022 season\, Xia was selected as Conducting Fellow
  at the Cabrillo Festival of Contemporary Music\, where she made her festi
 val debut leading the world premiere of Marc Migó Cortés' <span class='wix
 ui-rich-text__text'>Dumka</span> in July 2022. She led a production of La bohème </span>with the Chandler Opera 
 Company to great success and appeared with double bassist Xavier Foley and
  violinist Eunice Kim in Foley’s poignant work <span class='wixui-rich-tex
 t__text'>For Justice and Peace</span> at Mesa Arts Center. Additional enga
 gements included Assistant Conductor of the Phoenix Youth Symphony Orchest
 ra and Cover Conductor for Arizona Musicfest. In the 2020/2021 season\, sh
 e appeared as guest conductor with the MusicaNova Orchestra and was invite
 d to serve as Assistant Conductor at the National Music Festival and Pierr
 e Monteux Music Festival.</span></p> <p class='font_8 wixui-rich-text__tex
 t'><span class='color_15 wixui-rich-text__text'>A dynamic advocate for con
 temporary music\, Xia will be leading the Seattle Symphony in works by com
 posers Katy Abbott\, Tan Dun\, Quinn Mason\, Angelique Poteat\, Gabriella 
 Smith\, and Chen Yi in the 2022/2023 season. She has previously led the Cl
 eveland Institute of Music New Music Ensemble in music series such as the 
 Cleveland NEOSonicFest and CIM New Music Series. She has several world pre
 mieres under her credit\, including Rodney Rogers’ Concerto for Violin and
  String Orchestra with violinist Christiano Rodrigues and the MusicaNova O
 rchestra. She served as a Conducting Fellow in the 2020 Cortona Sessions f
 or New Music Conductor and Advocate Virtual Summit.</span></p> <p class='f
 ont_8 wixui-rich-text__text'><span class='color_15 wixui-rich-text__text'>
 Equally at home and in the opera pit\, prior to leading <span class='wixui
 -rich-text__text'>La bohème</span> with the Chandler Opera Company\, Xia h
 as served as assistant conductor for productions of <span class='wixui-ric
 h-text__text'>Hänsel und Gretel\, Die Zauberflöte\, The Juniper Tree\, Le 
 Rossignol </span>and <span class='wixui-rich-text__text'>L’Enfant et les S
 ortilèges</span>. Dedicated to bringing music to the community\, while in 
 Cleveland\, Xia organized and led concerts in retirement communities and e
 lementary schools\, including an interactive presentation of Prokofiev’s &lt;
 span class='wixui-rich-text__text'&gt;Peter and the Wolf</span> in East Cleve
 land for an audience of 4th and 5th graders.</span></p> <p class='font_8 w
 ixui-rich-text__text'><span class='color_15 wixui-rich-text__text'>Highlig
 hts of the 2019-20 season included being selected by Marin Alsop as a Cond
 ucting Fellow in the Peabody Conducting Workshop\, appointment as Apprenti
 ce Conductor at the North American New Opera Workshop (NANOWorks) and serv
 ing as Cover Conductor for the Cleveland Orchestra Youth Orchestra. Additi
 onally\, she led the Cleveland Institute of Music Orchestra in the 2019 Be
 nefit Concert “A Legacy in Bloom: Celebrating Clara T. Rankin” with violin
 ist Caroline Goulding.</span></p> <p class='font_8 wixui-rich-text__text'>
 <span class='color_15 wixui-rich-text__text'>Xia holds a dual master’s deg
 ree in Orchestral Conducting and Violin Performance from the Cleveland Ins
 titute of Music where she studied under the tutelage of Carl Topilow and J
 an Mark Sloman. She is currently a doctoral candidate at Arizona State Uni
 versity where she studied under the guidance of Dr. Jeffery Meyer and Tito
  Muñoz. She has had the privilege to be further mentored by a number of pr
 ominent conductors\, including Marin Alsop\, JoAnn Falleta\, Giancarlo Gue
 rrero\, Ludovic Morlot\, Larry Rachleff\, and Carl St.Clair. For two summe
 rs\, she attended the Monteux School and Music Festival as a Kurt &amp; Torj W
 ray Conducting Scholar. An accomplished violinist\, prior to becoming a co
 nductor\, Xia performed as a soloist with orchestras in China and Australi
 a\, including the symphony orchestras of Harbin\, Zheijiang\, Hunan and Gu
 angxi\, and the Concertante Ensemble. While attending Cleveland Institute 
 of music\, she served as concertmaster of the CIM Orchestra.</span><span c lass='color_15 wixui-rich-text__text'><span class='wixGuard wixui-rich-tex
 t__text'>​</span></span></p> <p class='font_8 wixui-rich-text__text'><span class='color_15 wixui-rich-text__text'>​Originally from Guangzhou\, China
 \, Xia relocated to Sydney\, Australia at the age of 14 on a sponsorship f
 rom the Australian String Academy that allowed her to further her violin s
 tudies with Peter Shi-xiang Zhang and Charmian Gadd. A talented basketball
  athlete\, she competed in the semi-professional New South Wales Metro Jun
 ior League before focusing primarily on her musical pursuits. When not per
 forming or enjoying a pick-up game\, she can be found reading\, kayaking\,
  or learning languages. She speaks Cantonese\, English\, Mandarin and Teoc
 hew\, and is improving her German\, French and Italian.</span></p>
END:VEVENT
BEGIN:VEVENT
UID:aeb0b1bb-5ece-4f34-bd5a-4e6b9478bef7
DTSTAMP:20260307T094251Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20240103T202128Z
DESCRIPTION:<p>A graduate degree recital by Larke Witten\, MM Choral Conduc
 ting\, presenting  'Atlas of the Heart\,' a choral conducting recital on B
 rene Brown's Mapping of Human Emotion. Featuring the University of Washing
 ton Recital Choir\, Treble Choir\, Cohort Ensemble\, and special guests.</p>\n<hr>\n<h3>Biography</h3>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20240308T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:3
SUMMARY:: Degree Recital: Larke Witten\, MM Choral Conducting
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-03-09/degree-recital-larke-wit
 ten-mm-choral-conducting
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>A graduate degree recital by Larke Witten\,
  MM Choral Conducting\, presenting  'Atlas of the Heart\,' a choral conduc
 ting recital on Brene Brown's <em>Mapping of Human Emotion. </em>Featuring
  the University of Washington Recital Choir\, Treble Choir\, Cohort Ensemb
 le\, and special guests.</p> <hr> <h3>Biography</h3> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:2bc80c29-7cd4-4af0-aab4-567cfad2c94b
DTSTAMP:20260307T094251Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240212T155330Z
DESCRIPTION:<p></p>\n<p>The UW Steelband (Shannon Dudley\, director) plays 
 a program of feel-good Caribbean music showcasing the versatile sounds of 
 the steel pan.</p>\n<hr>\n<h3><strong>UW Steelb
 and</strong></h3>\n<p>Shannon Dudley\, director
 <br>The UW steelband was founded by Ray Holman\, one of the pioneers of st
 eelband music in Trinidad and Tobago\, who served as Visiting Artist at th
 e UW School of Music from 1998 to 2000.  It is directed by Ethnomusicology
  professor Shannon Dudley\, who has played with steelbands in Trinidad and
  performs in Seattle with Dingolay. The UW steelband’s repertoire favors C
 aribbean dance styles\, including calypso\, soca and salsa\, and students 
 focus the rhythmic ensemble that this kind of dance music requires. </p>\n
 <h3>Notes on the instruments</h3>\n<p>The steel
  pan (sometimes called steel drum) was an innovation made by people of Afr
 ican descent in Trinidad for their carnival percussion ensembles. In the 1
 9th century these ensembles typically featured call and response singing a
 ccompanied by drums\, but colonial restrictions on drumming compelled them
  to try different things. Bamboo stamping tubes\, known as tamboo bamboo\,
  were popular in carnival during the early 20th century. In the 1930s tamb
 oo bamboo ensembles began incorporating metal containers of various kinds\
 , and at some point it was discovered that the surface of a metal drum cou
 ld be tuned to different pitches. Musical rivalry between neighborhoods dr
 ove the rapid development of this idea into a new melodic instrument by th
 e mid-1940s\, and ambitious steel bands learned to play music of all kinds
 \, from calypso to classical music. Today the steel pan is Trinidad and To
 bago’s national instrument and steel bands feature many different types of
  pan\, from the low booming basses to high-pitched tenors. Though modern s
 teel pans are crafted by expert tuners who use oscilloscopes to perfect th
 e overtones\, most of them are still built from 55-gallon steel barrels th
 at are made for shipping oil\, chemicals and other commodities. The steel 
 band’s roots in making music from discarded metal are also reflected in th
 e brake drum\, a discarded car part whose ringing clanging rhythm is the h
 eartbeat of the “engine room” alongside drumset\, scratcher\, congas and o
 ther percussion.</p>\n<hr>\n<h3>Program</h3>\n<p>(arrangements by Shannon Dudley\, except where noted otherwise)</p>\n<p>Noche de Luna (c. Oscar Aguirre\, arr. Joey Sch
 afer)</p>\n<p>Manicero (c. Moises Simón)</p>\n&lt;
 p style='font-weight: 400\;'&gt;What a Wonderful World (c. Thiele and Weiss\,
  arr. David Aarons)</p>\n<p>Pan in A Minor (c. 
 Aldwyn Roberts)</p>\n<p>Iron Love (c. Nailah Bl
 ackman\, arr. Kimani Bishop) </p>\n<p>Charlotte
  St. (c. Ray Holman)</p>\n<p><strong><u>Perform
 ers:<br></u></strong>Kimani Bishop<br>Damon Chan<br>Nick Fowler<br>Galin H
 ebert<br>Anita Kumar<br>Hamsa Shankar<br>Joseph Schafer<br>Jacob Schultz<b r>Nicole Setiawan</p>\n<p>Guest percussionist: 
 Marisol Berríos-Miranda</p>\n<hr>\n<h3>Director
  Biography</h3>
DTSTART;TZID=America/Los_Angeles:20240309T193000
LAST-MODIFIED:20240228T011623Z
SEQUENCE:4
SUMMARY:: UW Steelband
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-03-10/uw-steelband
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p><span>The UW Steelband (Shannon Dud
 ley\, director) plays a program of feel-good Caribbean music showcasing th
 e versatile sounds of the steel pan.</span></p> <hr> <h3><strong>UW Steelband</strong></h3> <p><em>Shannon Dudley\, director<br></em>The UW steelband was founded by Ray
  Holman\, one of the pioneers of steelband music in Trinidad and Tobago\, 
 who served as Visiting Artist at the UW School of Music from 1998 to 2000.
 <span>  </span>It is directed by Ethnomusicology professor Shannon Dudley\
 , who has played with steelbands in Trinidad and performs in Seattle with 
 <em>Dingolay</em>. The UW steelband’s repertoire favors Caribbean dance st
 yles\, including calypso\, soca and salsa\, and students focus the rhythmi
 c ensemble that this kind of dance music requires. </p> <h3>Notes on the i
 nstruments</h3> <p>The steel pan (sometimes cal
 led steel drum) was an innovation made by people of African descent in Tri
 nidad for their carnival percussion ensembles. In the 19<sup>th</sup> cent
 ury these ensembles typically featured call and response singing accompani
 ed by drums\, but colonial restrictions on drumming compelled them to try 
 different things. Bamboo stamping tubes\, known as <em>tamboo bamboo</em>\
 , were popular in carnival during the early 20<sup>th</sup> century. In th
 e 1930s <em>tamboo bamboo</em> ensembles began incorporating metal contain
 ers of various kinds\, and at some point it was discovered that the surfac
 e of a metal drum could be tuned to different pitches. Musical rivalry bet
 ween neighborhoods drove the rapid development of this idea into a new mel
 odic instrument by the mid-1940s\, and ambitious steel bands learned to pl
 ay music of all kinds\, from calypso to classical music. Today the steel p
 an is Trinidad and Tobago’s national instrument and steel bands feature ma
 ny different types of pan\, from the low booming basses to high-pitched te
 nors. Though modern steel pans are crafted by expert tuners who use oscill
 oscopes to perfect the overtones\, most of them are still built from 55-ga
 llon steel barrels that are made for shipping oil\, chemicals and other co
 mmodities. The steel band’s roots in making music from discarded metal are
  also reflected in the brake drum\, a discarded car part whose ringing cla
 nging rhythm is the heartbeat of the “engine room” alongside drumset\, scr
 atcher\, congas and other percussion.</p> <hr> <h3>Program</h3> <p><em>(arrangements by Shannon Dudley\, except where not
 ed otherwise)</em></p> <p>Noche de Luna (c. Osc
 ar Aguirre\, arr. Joey Schafer)</p> <p>Manicero
  (c. Moises Simón)</p> <p>What a Wonderful Worl
 d (c. Thiele and Weiss\, arr. David Aarons)</p> <p>Pan in A Minor (c. Aldwyn Roberts)</p> <p>I
 ron Love (c. Nailah Blackman\, arr. Kimani Bishop) </p> <p>Charlotte St. (c. Ray Holman)</p> <p><strong><u>Performers:<br></u></strong>Kimani Bishop<br>Damon Chan<br>Ni
 ck Fowler<br>Galin Hebert<br>Anita Kumar<br>Hamsa Shankar<br>Joseph Schafe
 r<br>Jacob Schultz<br>Nicole Setiawan</p> <p>Guest percussionist:</em> Marisol Berríos-Miranda</p> <hr> <h3>Director Biography</h3>
END:VEVENT
BEGIN:VEVENT
UID:53e8b2e1-be59-4f95-9295-276988b96866
DTSTAMP:20260307T094251Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240222T230016Z
DESCRIPTION:University Singers\, UW Glee Club\, and Treble Choir perform un
 der the direction of Egija Ungure\, Cee Adamson\, Michael McKenzie\, Evan 
 Norberg\, David Ferguson\, Larke Witten and Heidi Blythe\, accompanied by 
 Steve Swanson.<hr>\n<h3>Biographies</h3>
DTSTART;TZID=America/Los_Angeles:20240309T193000
LAST-MODIFIED:20240222T233005Z
SEQUENCE:5
SUMMARY:: UW Sings
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-03-10/uw-sings
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div>University Singers\, UW Glee Club\, and T
 reble Choir perform under the direction of Egija Ungure\, Cee Adamson\, Mi
 chael McKenzie\, Evan Norberg\, David Ferguson\, Larke Witten and Heidi Bl
 ythe\, accompanied by Steve Swanson.<hr></div> <h3>Biographies</h3>
END:VEVENT
BEGIN:VEVENT
UID:ffc8b9a3-bb72-4189-b541-e866ebca51b5
DTSTAMP:20260307T094251Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240112T181055Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20240312T120000
LAST-MODIFIED:20240112T181055Z
SEQUENCE:6
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-03-12/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:bdeab5fd-9213-434d-b048-13065e33fbe5
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240215T173442Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20240328T120000
LAST-MODIFIED:20240215T173442Z
SEQUENCE:7
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-03-28/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:0e80b32f-f861-4a1d-adcb-96bfbf9e514f
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances\, Visiting Artists and Schol
 ars
CLASS:PUBLIC
CREATED:20230810T223934Z
DESCRIPTION:<p>Acclaimed new music group the Mivos Quartet\, dubbed by the 
 Chicago Reader“ one of America’s most daring and ferocious new-music ensem
 bles\,” performs premieres by UW faculty composers Joël-François Durand an
 d Huck Hodge and works by Ambrose Akinmusire and Chikako Morishita in this
  guest artist performance.</p>\n<hr>\n<h3>Program</h3>\n<p class='elementT
 oProof'>Ambrose Akinmusire\, “May Our Centers Hold” (2023) <br>Joël-Franço
 is Durand\, Quatuor à cordes no.3 (2023-24) <br></p>\nIntermission\n<p>Chi
 kako Morishita\, Doll Time (2019) <br>Huck Hodge\, La gran soledad (2023) 
 <br>in memoriam Francisco Iovino <br><strong><br>I </strong>The sea devour
 s our grids and our lives<br><strong>II </strong>Monologue (in shadow)<br>
 <strong>III </strong>There’s a whispering immensity awake in these lifeles
 s stones<br><strong>IV </strong>Dialogue (with echo)<br><strong>V1 Diacope (Anaphora / Anadiplosis) | <strong>V2 </strong>Burden | <strong>
 V3 </strong>Dactyls (en séance avec Rube Goldberg)<br><strong>VI</strong> 
 Epilogue (in apostrophe)</p>\n<hr>\n<h3>Program
  Notes</h3>\n<p><strong>La gran soledad <br></s>in memoriam Francisco Iovino</p>\n<p>I: </strong>I painted a motorcycle that I found on a beach half buried
  and covered with algae. I like how the things that people abandon deterio
 rate and become inhuman and beautiful. <strong>(Tomás Gonzalez\, La luz di
 ficil)</strong></p>\n<p><strong>II: </strong>De
 ath is a bad thing\; that’s what the gods must think\; otherwise they’d di
 e too. <br><strong>(Sapp</strong><strong>ho\, as quoted in Aristotle\, Rhe
 t.)<br></strong>I thought the most beautiful thing in the world must be sh
 adow\, the million moving shapes and cul-de-sacs of shadow. There was shad
 ow in bureau drawers and closets and suitcases\, and shadow under houses a
 nd trees and stones\, and shadow at the back of people’s eyes and smiles\,
  and shadow\, miles and miles and miles of it\, on the night side of the e
 arth. <strong>(Sylvia Plath\, The Bell Jar)</strong></p>\n<p> <strong>III: </strong>Lonely stillness / a cicada’s cry / s
 eeping into the rocks <strong>(Matsuo Bashō)</strong></p>\n<p> <strong>IV: </strong>'From a mountain as high as this one\
 ,' he said to himself\, <br>'I shall be able to see the whole world at one
  glance\, and all the people . . .'<br>But he saw nothing\, save peaks of 
 rock that were sharpened like needles.<br>'Good morning\,' he said courteo
 usly.<br>'Good morning--Good morning--Good morning\,' answered the echo.<b r>'Who are you?' said the little prince.<br>'Who are you--Who are you--Who
  are you?' answered the echo.<br>'Be my friends. I am all alone\,' he said
 .<br>'I am all alone--all alone--all alone\,' answered the echo.<br>'What 
 a strange planet!' he thought. 'It is altogether dry\, and altogether poin
 ted\, <br>and altogether harsh and forbidding. And the people have no imag
 ination. <br>They repeat whatever one says to them . . . <br>On my planet 
 I had a flower\; she always was the first to speak . . .'<br><strong>(Anto
 ine de Saint-Exupéry\, The Little Prince)</strong></p>\n<p> There would be no love without echo. In myths\, the guarantee
  of mercy was in the acceptance of sacrifices\; but love\, the after-image
  of the sacrificial act\, pleads for this acceptance\, if it is not to fee
 l itself to be under a curse. […] Infatuated with technology\, [people] pr
 oject their hatred for the superfluous exertion of their existence onto th
 e expenditure of the energy that pleasure requires as a moment of its bein
 g\, all the way into its sublimations. In spite of the countless facilitat
 ions\, their lives remain an absurd toil\; and yet they have no patience f
 or the squandering of energy in happiness\, life’s secret. <strong>(Theodo
 r W. Adorno\, “Undeliverable” from Minima Moralia)</strong></p>\n<p><strong>V:</strong> I’d like to see a forklift lift a
  crate of forks. It’d be so damn literal! <strong>(Mitch Hedberg)<br></p>\n<p><strong>VI:</strong> my vast solit
 ude was suddenly filled with the entire universe <strong>(Tomás Gonzalez\,
  La luz dificil)</strong></p>\n<p>La gran soled
 ad — vast solitude — is a pervasive theme in La luz dificil by the Colombi
 an writer Tomás Gonzalez. In the novel\, David\, an elderly painter rapidl
 y descending into blindness\, reflects on the death of his son some twenty
  years in the past. The narration shifts periodically across the decades i
 n a way that disrupts the successive arrow of time and demonstrates that p
 ast memory and present experience continuously permeate one another. In hi
 s grief\, David frames the world with a painter’s eye. At one point he rec
 alls finding an abandoned motorcycle slowly disintegrating on a beach. Thi
 s image of an inhuman beauty arising out of the conflux of rigidly mechani
 cal design and fluid natural force is striking.</p>\n<p>We might normally consider the capacity to experience beauty a di
 stinctly human affair\, what sets us apart from creatures whose only conce
 rn is mere survival. Similarly\, we might think that strict\, mechanical g
 rids are characteristically inhuman. But nature does not show a preference
  for grids\; it is we who find 90° angles to be somehow “right.” To celebr
 ate the dissolution of grids is to come to terms with death\, with the end
  of our distinctness from the world\, with the return to inorganic nature.
  I suppose there is some beauty in this recognition\, but it is a harsh be
 auty\, a truly difficult light. I bring this up only as an attempt to work
  through the death of a close friend of mine. His death was sudden\, and b
 ecause his family could not access the contacts list on his phone\, relyin
 g instead on social media platforms I had long since departed\, I only lea
 rned of it after his funeral. </p>\n<p>Michel d
 e Montaigne\, channeling Cicero\, once wrote that “to philosophize is to l
 earn how to die.” The same could be said for composing music. Every piece 
 is a life lived in miniature\, an itinerary spanning the birth of new form
 s and their ultimate dissolution. And so it is with this piece\, in which 
 assorted musical grids pass over into oceanic textures. Along the way\, th
 e various movements resonate with writers who have been important to my li
 fe. Sappho’s shadow dwells in the fragment quoted by Aristotle and the med
 itations of Sylvia Plath\, as the cello adumbrates the violin in the secon
 d movement. Movement three imagines stumbling upon the forest scene descri
 bed by Bashō more than three centuries later\, where if you listen closely
 \, you might be able to hear the loneliness of the cicadas still murmuring
  in the rocks. The episode that follows reflects on the notion that love i
 s as intangible as an echo\, the presence of an absence\, the “after-image
  of sacrifice.” Sappho’s shadow makes a final appearance in movement five\
 ; there is a certain pithy humor in her aphorism that reminds me of the la
 conic one-liner delivery of the late stand-up comic Mitch Hedberg. For me\
 , the power of her words is in this elusive comedic quality\, the way she 
 wryly transforms the malaise of mortality into pleasure by virtue of the a
 bsurd. Perhaps Gonzalez had this sort of transformation in mind when he wr
 ote “my vast solitude was suddenly filled with the entire universe.”</p>\n
 <hr>\n<h3>Biographies</h3>\n<h3><a href='https://www.mivosquartet.com/' ta rget='_blank' rel='noopener noreferrer'>Mivos Quartet</a></h3>\n<p class>T
 he Mivos Quartet\, “one of America’s most daring and ferocious new-music e
 nsembles” (The Chicago Reader)\, is devoted to performing works of contemp
 orary composers and presenting diverse new music to international audience
 s. Since the quartet's beginning in 2008 they have performed and closely c
 ollaborated with an ever-expanding group of international composers repres
 enting a wide aesthetic range of contemporary composition. Highlights duri
 ng the 2022/23 season will include performances and residencies at Walker 
 Arts Center with Cécile McLorin Salvant and Ambrose Akinmusire\, UPenn\, E
 CLAT Festival (DE)\, Columbia University\, Peak Performances with Mary Hal
 vorson\, and the announcement of a new album of Steve Reich string quartet
 s. </p>\n<p class>Mivos is invested in commissioning\, premiering\, and gr
 owing the repertoire of new music for string quartet\, striving for rich c
 ollaborations with composers over extended periods of time. Recently\, Miv
 os has collaborated on new works with Jeffrey Mumford (LA Philharmonic/Lib
 rary of Congress)\, Michaela Catranis (Fondation Royaumont)\, Chikako Mori
 shita (rainy days festival)\, George Lewis (ECLAT Festival Commission)\, S
 am Pluta (Lucerne Festival Commission)\, Eric Wubbels (CMA Commission)\, K
 ate Soper\, Scott Wollschleger\, Patrick Higgins (Zs)\, and poet/musician 
 Saul Williams. For this work and the continuation of it\, the quartet was 
 the recipient of the 2019 Dwight and Ursula Mamlok Prize for Interpreters 
 of Contemporary Music. </p>\n<p class>Beyond expanding the string quartet 
 repertoire\, Mivos is committed to working with guest artists exploring mu
 lti-media projects and performing improvised music. Mivos has worked close
 ly with artists such as Cécile McLorin Salvant (Ogresse)\, Ambrose Akinmus
 ire (Origami Harvest)\, Ned Rothenberg\, Timucin Sahin\,  Nate Wooley\, an
 d most recently guitarist\, composer\, and 2019 MacArthur Fellow\, Mary Ha
 lvorson.</p>\n<p class>Mivos has performed to critical acclaim on prestigi
 ous series such as Noon to Midnight (USA)\, Lucerne Festival (CH)\, Jazz a
 t Lincoln Center (USA)\, the New York Phil Biennial (USA)\, Wien Modern (A
 T)\, the Darmstadt Internationalen Ferienkurse für Neue Musik (DE)\, rainy
  days festival (LU)\, Asphalt Festival (DE)\, HellHOT! New Music Festival 
 (Hong Kong)\, Shanghai New Music Week (CN)\, Música de Agora na Bahia (Bra
 zil)\, Aldeburgh Music (UK)\, and Lo Spririto della musica di Venezia (IT)
 . </p>\n<p class>In addition to their performance season\, Mivos is commit
 ted to the education of young composers and string players\, and is regula
 rly the quartet in residence at the Creative Musicians Retreat at the Wald
 en School (USA) and the Valencia International Performance Academy and Fes
 tival (ES). The quartet has conducted workshops at Columbia University\, H
 arvard University\, Boston University\, UC Berkeley\, US San Diego\, Duke 
 University\, Royal Northern College of Music (UK)\, Shanghai Conservatory 
 (China)\, University Malaya (Malaysia)\, Yong Siew Toh Conservatory (Singa
 pore)\, the Hong Kong Art Center\, and MIAM University in Istanbul (Turkey
 ) among others. Along with their work at educational institutions\, Mivos 
 grants the Mivos/Kanter String Quartet Composition Prize\, a yearly award 
 to support the work of emerging and mid-career composers residing in the U
 SA\, and the I-Creation prize\, a competition for composers of Chinese des
 cent worldwide.</p>\n<p class>The members of Mivos are violinists Olivia D
 e Prato and Maya Bennardo\, violist Victor Lowrie Tafoya\, and cellist Tyl
 er J. Borden. Mivos operates as a non-profit organization dedicated to per
 forming\, commissioning\, and collaborating on music being written today.&lt;
 /p&gt;\n<p></p>
DTSTART;TZID=America/Los_Angeles:20240329T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:8
SUMMARY:: Guest Artist Concert: Mivos Quartet\, Music of UW Composers
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-03-30/guest-artist-concert-miv
 os-quartet-music-uw-composers
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Acclaimed new music group the Mivos Quartet
 \, dubbed by the Chicago Reader“ one of America’s most daring and ferociou
 s new-music ensembles\,” performs premieres by UW faculty composers Joël-F
 rançois Durand and Huck Hodge and works by Ambrose Akinmusire and Chikako 
 Morishita in this guest artist performance.</p> <hr> <h3>Program</h3> <p c lass='elementToProof'><span>Ambrose Akinmusire\, “May Our Centers Hold” (2
 023) <br></span>Joël-François Durand\, Quatuor à cordes no.3 (2023-24) <br><span></span></p> <h6 class='elementToProof'><span>Intermission</span> <p>Chikako Morishita\, <em>Doll Time </em>(2019) <br>Huck Hodge\, <em>L
 a gran soledad </em>(2023) <br><em>in memoriam Francisco Iovino</em><em> &lt;
 br&gt;</em><strong><br>I </strong>The sea devours our grids and our lives<br>
 <strong>II </strong>Monologue (in shadow)<br><strong>III </strong>There’s 
 a whispering immensity awake in these lifeless stones<br><strong>IV Dialogue (with echo)<br><strong>V<sub>1</sub> </strong>Diacope (Anaphor
 a / Anadiplosis) | <strong>V<sub>2</sub> </strong>Burden | <strong>V<sub>3
 </sub> </strong>Dactyls (en séance avec Rube Goldberg)<br><strong>VI<em> </em>Epilogue (in apostrophe)</p> <hr> <h3><span></span><span>Program Notes</span></h3> <p><strong><em>La gran soledad <br></em></strong><em>in memoriam Francis
 co Iovino</em></p> <p><strong>I: </strong><em>I
  painted a motorcycle that I found on a beach half buried and covered with
  algae. I like how the things that people abandon deteriorate and become i
 nhuman and beautiful. </em><strong>(Tomás Gonzalez\, La luz dificil)</p> <p><strong>II: </strong><em>Death is a 
 bad thing\; that’s what the gods must think\; otherwise they’d die too. <b r></em><strong>(Sapp</strong><strong>ho\, as quoted in Aristotle\, Rhet.)&lt;
 br&gt;</strong><em>I thought the most beautiful thing in the world must be sh
 adow\, the million moving shapes and cul-de-sacs of shadow. There was shad
 ow in bureau drawers and closets and suitcases\, and shadow under houses a
 nd trees and stones\, and shadow at the back of people’s eyes and smiles\,
  and shadow\, miles and miles and miles of it\, on the night side of the e
 arth</em>. <strong>(Sylvia Plath\, The Bell Jar)</strong></p> <p><em> </em><strong>III: </strong><em>Lonely stillness / a
  cicada’s cry / seeping into the rocks </em><strong>(Matsuo Bashō)</strong></p> <p><em> </em><strong>IV: </strong><em>'Fr
 om a mountain as high as this one\,' he said to himself\, <br></em><em>'I 
 shall be able to see the whole world at one glance\, and all the people . 
 . .'<br></em><em>But he saw nothing\, save peaks of rock that were sharpen
 ed like needles.<br></em><em>'Good morning\,' he said courteously.<br></em><em>'Good morning--Good morning--Good morning\,' answered the echo.<br></em><em>'Who are you?' said the little prince.<br></em><em>'Who are you--Wh
 o are you--Who are you?' answered the echo.<br></em><em>'Be my friends. I 
 am all alone\,' he said.<br></em><em>'I am all alone--all alone--all alone
 \,' answered the echo.<br></em><em>'What a strange planet!' he thought. 'I
 t is altogether dry\, and altogether pointed\, <br></em><em>and altogether
  harsh and forbidding. And the people have no imagination. <br></em><em>Th
 ey repeat whatever one says to them . . . <br></em><em>On my planet I had 
 a flower\; she always was the first to speak . . .'<br></em><strong>(Antoi
 ne de Saint-Exupéry\, The Little Prince)</strong></p> <p><em> </em><em>There would be no love without echo. In myths\, th
 e guarantee of mercy was in the acceptance of sacrifices\; but love\, the 
 after-image of the sacrificial act\, pleads for this acceptance\, if it is
  not to feel itself to be under a curse. […] Infatuated with technology\, 
 [people] project their hatred for the superfluous exertion of their existe
 nce onto the expenditure of the energy that pleasure requires as a moment 
 of its being\, all the way into its sublimations. In spite of the countles
 s facilitations\, their lives remain an absurd toil\; and yet they have no
  patience for the squandering of energy in happiness\, life’s secret.</em>
  <strong>(Theodor W. Adorno\, “Undeliverable” from Minima Moralia)</strong></p> <p><strong>V:</strong><em> I’d like to se
 e a forklift lift a crate of forks. It’d be so damn literal! </em><strong>
 (Mitch Hedberg)<br></strong></p> <p><strong>VI:
 </strong><em> my vast solitude was suddenly filled with the entire univers
 e </em><strong>(Tomás Gonzalez\, La luz dificil)</strong></p> <p>La gran soledad — vast solitude — is a pervasive theme i
 n <em>La luz dificil</em> by the Colombian writer Tomás Gonzalez. In the n
 ovel\, David\, an elderly painter rapidly descending into blindness\, refl
 ects on the death of his son some twenty years in the past. The narration 
 shifts periodically across the decades in a way that disrupts the successi
 ve arrow of time and demonstrates that past memory and present experience 
 continuously permeate one another. In his grief\, David frames the world w
 ith a painter’s eye. At one point he recalls finding an abandoned motorcyc
 le slowly disintegrating on a beach. This image of an inhuman beauty arisi
 ng out of the conflux of rigidly mechanical design and fluid natural force
  is striking.</p> <p>We might normally consider
  the capacity to experience beauty a distinctly human affair\, what sets u
 s apart from creatures whose only concern is mere survival. Similarly\, we
  might think that strict\, mechanical grids are characteristically inhuman
 . But nature does not show a preference for grids\; it is we who find 90° 
 angles to be somehow “right.” To celebrate the dissolution of grids is to 
 come to terms with death\, with the end of our distinctness from the world
 \, with the return to inorganic nature. I suppose there is some beauty in 
 this recognition\, but it is a harsh beauty\, a truly difficult light. I b
 ring this up only as an attempt to work through the death of a close frien
 d of mine. His death was sudden\, and because his family could not access 
 the contacts list on his phone\, relying instead on social media platforms
  I had long since departed\, I only learned of it after his funeral. </p> 
 <p>Michel de Montaigne\, channeling Cicero\, on
 ce wrote that “to philosophize is to learn how to die.” The same could be 
 said for composing music. Every piece is a life lived in miniature\, an it
 inerary spanning the birth of new forms and their ultimate dissolution. An
 d so it is with this piece\, in which assorted musical grids pass over int
 o oceanic textures. Along the way\, the various movements resonate with wr
 iters who have been important to my life. Sappho’s shadow dwells in the fr
 agment quoted by Aristotle and the meditations of Sylvia Plath\, as the ce
 llo adumbrates the violin in the second movement. Movement three imagines 
 stumbling upon the forest scene described by Bashō more than three centuri
 es later\, where if you listen closely\, you might be able to hear the lon
 eliness of the cicadas still murmuring in the rocks. The episode that foll
 ows reflects on the notion that love is as intangible as an echo\, the pre
 sence of an absence\, the “after-image of sacrifice.” Sappho’s shadow make
 s a final appearance in movement five\; there is a certain pithy humor in 
 her aphorism that reminds me of the laconic one-liner delivery of the late
  stand-up comic Mitch Hedberg. For me\, the power of her words is in this 
 elusive comedic quality\, the way she wryly transforms the malaise of mort
 ality into pleasure by virtue of the absurd. Perhaps Gonzalez had this sor
 t of transformation in mind when he wrote “my vast solitude was suddenly f
 illed with the entire universe.”</p> <hr> <h3>Biographies</h3> <h3><a href='https://www.mivosquartet.com/' target='_blank' rel='noopener noreferrer'>Mivos Quartet</a></h3> <p class>The Mivos Quartet\, “one of America’s mos
 t daring and ferocious new-music ensembles” (The Chicago Reader)\, is devo
 ted to performing works of contemporary composers and presenting diverse n
 ew music to international audiences. Since the quartet's beginning in 2008
  they have performed and closely collaborated with an ever-expanding group
  of international composers representing a wide aesthetic range of contemp
 orary composition. Highlights during the 2022/23 season will include perfo
 rmances and residencies at Walker Arts Center with Cécile McLorin Salvant 
 and Ambrose Akinmusire\, UPenn\, ECLAT Festival (DE)\, Columbia University
 \, Peak Performances with Mary Halvorson\, and the announcement of a new a
 lbum of Steve Reich string quartets. </p> <p class>Mivos is invested in co
 mmissioning\, premiering\, and growing the repertoire of new music for str
 ing quartet\, striving for rich collaborations with composers over extende
 d periods of time. Recently\, Mivos has collaborated on new works with Jef
 frey Mumford (LA Philharmonic/Library of Congress)\, Michaela Catranis (Fo
 ndation Royaumont)\, Chikako Morishita (rainy days festival)\, George Lewi
 s (ECLAT Festival Commission)\, Sam Pluta (Lucerne Festival Commission)\, 
 Eric Wubbels (CMA Commission)\, Kate Soper\, Scott Wollschleger\, Patrick 
 Higgins (Zs)\, and poet/musician Saul Williams. For this work and the cont
 inuation of it\, the quartet was the recipient of the 2019 Dwight and Ursu
 la Mamlok Prize for Interpreters of Contemporary Music. </p> <p class>Beyo
 nd expanding the string quartet repertoire\, Mivos is committed to working
  with guest artists exploring multi-media projects and performing improvis
 ed music. Mivos has worked closely with artists such as Cécile McLorin Sal
 vant (Ogresse)\, Ambrose Akinmusire (Origami Harvest)\, Ned Rothenberg\, T
 imucin Sahin\,  Nate Wooley\, and most recently guitarist\, composer\, and
  2019 MacArthur Fellow\, Mary Halvorson.</p> <p class>Mivos has performed 
 to critical acclaim on prestigious series such as Noon to Midnight (USA)\,
  Lucerne Festival (CH)\, Jazz at Lincoln Center (USA)\, the New York Phil 
 Biennial (USA)\, Wien Modern (AT)\, the Darmstadt Internationalen Ferienku
 rse für Neue Musik (DE)\, rainy days festival (LU)\, Asphalt Festival (DE)
 \, HellHOT! New Music Festival (Hong Kong)\, Shanghai New Music Week (CN)\
 , Música de Agora na Bahia (Brazil)\, Aldeburgh Music (UK)\, and Lo Spriri
 to della musica di Venezia (IT). </p> <p class>In addition to their perfor
 mance season\, Mivos is committed to the education of young composers and 
 string players\, and is regularly the quartet in residence at the Creative
  Musicians Retreat at the Walden School (USA) and the Valencia Internation
 al Performance Academy and Festival (ES). The quartet has conducted worksh
 ops at Columbia University\, Harvard University\, Boston University\, UC B
 erkeley\, US San Diego\, Duke University\, Royal Northern College of Music
  (UK)\, Shanghai Conservatory (China)\, University Malaya (Malaysia)\, Yon
 g Siew Toh Conservatory (Singapore)\, the Hong Kong Art Center\, and MIAM 
 University in Istanbul (Turkey) among others. Along with their work at edu
 cational institutions\, Mivos grants the Mivos/Kanter String Quartet Compo
 sition Prize\, a yearly award to support the work of emerging and mid-care
 er composers residing in the USA\, and the I-Creation prize\, a competitio
 n for composers of Chinese descent worldwide.</p> <p class>The members of 
 Mivos are violinists Olivia De Prato and Maya Bennardo\, violist Victor Lo
 wrie Tafoya\, and cellist Tyler J. Borden. Mivos operates as a non-profit 
 organization dedicated to performing\, commissioning\, and collaborating o
 n music being written today.</p> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:a66bd398-a8d1-4496-bc9a-5c37fa1a3575
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20240319T161137Z
DESCRIPTION:<p>A doctoral degree recital by Cee E. Adamson\, DMA Vocal Perf
 ormance\, a student of Dr. Carrie Shaw. The program is titled “Of the sun\
 , the sea\, and the sky” and features selected works by Schubert\, Elgar\,
  Weill\, and more. With Steve Swanson\, piano.</p>\n<hr>\n<h2>Biographies&lt;
 /h2&gt;\n<p></p>
DTSTART;TZID=America/Los_Angeles:20240329T193000
LAST-MODIFIED:20240319T161227Z
SEQUENCE:9
SUMMARY:: Degree Recital: Cee E. Adamson\, DMA Vocal Performance
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-03-30/degree-recital-cee-e-ada
 mson-dma-vocal-performance
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>A doctoral degree recital by Cee E. Adamson
 \, DMA Vocal Performance\, a student of Dr. Carrie Shaw. <span>The program
  is titled “Of the sun\, the sea\, and the sky” and features selected work
 s by Schubert\, Elgar\, Weill\, and more. </span><span>With Steve Swanson\
 , piano.</span></p> <hr> <h2>Biographies</h2> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:11bd15f7-1ebc-4bec-920f-687a5572bca8
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20240205T190059Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<h2 class='x_MsoNormal'>Featured Performers</h2>\n\n\n\n\n\n\nFeaturing students fro
 m the piano and jazz departments.\n\n\n\n\n\n\n<p class='x_MsoNormal'> </p>\n\n<p class='x_MsoNormal'></p>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20240403T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:10
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-04-03/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <h2 class='x_MsoN
 ormal'><span>Featured Performers</span></h2> <div class='elementToProof'> 
 <div class='elementToProof'> <div class='elementToProof'> <div class='elem
 entToProof'> <div class='elementToProof'> <div class='x_elementToProof Con
 tentPasted0'> <div class='x_elementToProof ContentPasted0'>Featuring stude
 nts from the piano and jazz departments.</div> </div> </div> </div> </div>
  </div> </div> <p class='x_MsoNormal'><span> </span></p> <div> <p class='x
 _MsoNormal'><span></span></p> <p></p> </div>
END:VEVENT
BEGIN:VEVENT
UID:3e006801-733d-486a-b679-75e107d4990c
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240215T173504Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20240409T120000
LAST-MODIFIED:20240215T173504Z
SEQUENCE:11
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-04-09/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:f96fa043-2dd8-4aff-9f05-e15f0580ae09
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240329T224447Z
DESCRIPTION:<p>Melissa Wang (MM Percussion Studies\, MM Composition)\, a st
 udent of Bonnie Whiting and Huck Hodge\, presents 'The Beauty in All\,' a 
 recital presented in partial fulfillment of the requirements for the Maste
 r of Music Degree in Percussion Performance at the University of Washingto
 n. With Kaisho Barnhill\, Alex Fang\, Luke Fitzpatrick\, Abigail George\, 
 Simon Harty\, Taryn Marks\, Rachel Reyes\, Justin Zeitlinger\, and the UW 
 Percussion Ensemble. </p>\n<hr>\n<h3>Program</h3>\n<h4>The Beauty in All &lt;
 /h4&gt;\n<p><br>Self-Accusation (2014): Kate Neal (b. 1972) Text by Peter Han
 dke (b. 1942) </p>\n<p>Danza del Saqsampillo (2007): Gabriela Lena Frank (
 b. 1972) <br>Taryn Marks\, marimba </p>\n<p>The Golden Harvest (2023): Mar
 cin Pączkowski (b. 1983) <br>Luke Fitzpatrick\, violin\; Kaisho Barnhill\,
  piano </p>\n<p>Once in a Blue Moon (2024): Simon Harty (b. 2001) Melissa 
 Wang (b. 1999) <br>Simon Harty\, percussion </p>\n<p>Musica Spolia (2021):
  Katherine Balch (b. 1991) <br>Rachel Reyes\, flute\; Justin Zeitlinger\, 
 violin\; Alex Fang\, piano</p>\n<p>Hemispherectomy (2024): Abigail George 
 (b. 2001) Melissa Wang (b. 1999) <br>Abigail George\, drum set </p>\n<p>Da
 idai Iro - Orange (2013): Andy Akiho (b. 1979) <br>UW Percussion Ensemble 
 </p>\n<hr>\n<h3>Biography</h3>
DTSTART;TZID=America/Los_Angeles:20240411T193000
LAST-MODIFIED:20240329T224447Z
SEQUENCE:12
SUMMARY:: Degree Recital: Melissa Wang\, MM Percussion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-04-12/degree-recital-melissa-w
 ang-mm-percussion
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Melissa Wang (MM Percussion Studies\, MM Co
 mposition)\, a student of Bonnie Whiting and Huck Hodge\, presents 'The Be
 auty in All\,' a recital <span>presented in partial fulfillment of the req
 uirements for the Master of Music Degree in Percussion Performance at the 
 University of Washington. With Kaisho Barnhill\, Alex Fang\, Luke Fitzpatr
 ick\, Abigail George\, Simon Harty\, Taryn Marks\, Rachel Reyes\, Justin Z
 eitlinger\, and the UW Percussion Ensemble. </span></p> <hr> <h3>Program</h3> <h4>The Beauty in All </h4> <p><br>Self-Accusation (2014): Kate Neal (
 b. 1972) Text by Peter Handke (b. 1942) </p> <p>Danza del Saqsampillo (200
 7): Gabriela Lena Frank (b. 1972) <br><em>Taryn Marks\, marimba </em></p> 
 <p>The Golden Harvest (2023): Marcin Pączkowski (b. 1983) <br><em>Luke Fit
 zpatrick\, violin\; Kaisho Barnhill\, piano </em></p> <p>Once in a Blue Mo
 on (2024): Simon Harty (b. 2001) Melissa Wang (b. 1999) <br><em>Simon Hart
 y\, percussion </em></p> <p>Musica Spolia (2021): Katherine Balch (b. 1991
 ) <br><em>Rachel Reyes\, flute\; Justin Zeitlinger\, violin\; Alex Fang\, 
 piano</em></p> <p>Hemispherectomy (2024): Abigail George (b. 2001) Melissa
  Wang (b. 1999) <br><em>Abigail George\, drum set </em></p> <p>Daidai Iro 
 - Orange (2013): Andy Akiho (b. 1979) <br><em>UW Percussion Ensemble </em>
 </p> <hr> <h3>Biography</h3>
END:VEVENT
BEGIN:VEVENT
UID:b0400d6f-7352-4d84-b571-bb10bee5a2b1
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances\, Visiting Ar
 tists and Scholars
CLASS:PUBLIC
CREATED:20230811T000757Z
DESCRIPTION:<p></p>\n<p>UW piano students perform concerto movements with T
 acoma-based chamber orchestra Northwest Sinfonietta (David Alexander Rahbe
 e\, conductor).</p>\n<p>This event is made possible with support from the 
 Michiko Morita Miyamoto Professorships in Piano. </p>\n<hr>\n<h3>Program</h3>\n<p>Il Mondo della luna: Overture<strong> </strong>…………………………………………………
 ..Joseph Haydn (1732-1809) </p>\n<p>Piano Concerto No.1\, in C major\, op.
  15………………………..…..Ludwig van Beethoven (1770-1827)<br>I. Allegro con brio<b r>Hannah Bao (student of Cristina Valdes)</p>\n<p>Piano Concerto No.3\, in
  C minor\, op. 37………………………..…..Ludwig van Beethoven (1770-1827)<br>I. Alle
 gro con brio<br>Scott Fischer\, Jr. (student of Craig Sheppard)</p>\n<p>IN
 TERMISSION</p>\n<p>Piano Concerto No.2\, in D minor\, op. 40…………………………….….
 .Felix Mendelssohn (1809-1847)<br>II. Adagio\, molto sostenuto<br>III. Fin
 ale: Presto scherzando <br>Xinrui Huang (student of Craig Sheppard)</p>\n&lt;
 p&gt;Piano Concerto No.5\, in E-flat major\, op. 73\, Emperor…………..Ludwig van
  Beethoven (1770-1827)<br>I. Allegro<br>Cicy Li (student of Robin McCabe)&lt;
 /p&gt;\n<hr>\n<h3>Biographies</h3>\n<h3><a href='https://nwsinfonietta.org/' target='_blank' rel='noopener noreferrer'>Northwest Sinfonietta</a></h3>\n
 Founded in 1991\, Northwest Sinfonietta is the premiere\, professional cha
 mber orchestra in the Puget Sound area. As an ensemble of 34 musicians\, t
 he Sinfonietta (meaning 'little symphony' in Italian)\, is smaller than a 
 symphony orchestra and flexible in size\, able to fit in any size 'chamber
 .' We draw from over 400 years of art music and program a wide array of wo
 rks with intentional focus on representation of women and BIPOC composers.
 \n\nIn 2015 the Sinfonietta became one of the few orchestras in the world 
 to move to an Artistic Partner model of operations. This allows our musici
 ans to take a larger role in the vision and programming of the season\, wo
 rking closely with multiple talented conductors and performers. Northwest 
 Sinfonietta is currently working with three world-class conductors as Arti
 stic Partners\, Yaniv Attar\, Mei-Ann Chen and Jeffery Meyer. \n\nBeyond t
 he concert stage\, NWS provides a variety of education and community engag
 ement opportunities throughout Pierce County. NWS's robust education progr
 ams serve youth of all ages\, from pre-school through college with Musical
  Storytelling and low-sensory programs for young children\, classroom coac
 hing\, open rehearsal field trips\, side-by-side playing opportunities and
  a Youth Concerto Competition for middle- and high-school students\, and m
 asterclasses\, side-by-side playing and open rehearsals for college music 
 students. \n\nNorthwest Sinfonietta performs several concerts each season 
 in collaboration with local arts and culture organizations at a variety of
  venues\, expanding the reach and impact of our programs in the community.
  
DTSTART;TZID=America/Los_Angeles:20240412T193000
LAST-MODIFIED:20240425T190133Z
SEQUENCE:13
SUMMARY:: Northwest Sinfonietta with UW Piano Students
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-04-13/northwest-sinfonietta-uw
 -piano-students
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>UW piano students perform concerto 
 movements with Tacoma-based chamber orchestra Northwest Sinfonietta (David
  Alexander Rahbee\, conductor).</p> <p><em>This event is made possible wit
 h support from the Michiko Morita Miyamoto Professorships in Piano. </em>&lt;
 /p&gt; <hr> <h3>Program</h3> <p><em>Il Mondo della luna</em>: Overture<strong> </strong>…………………………………………………..Joseph Haydn (1732-1809) </p> <p>Piano Con
 certo No.1\, in C major\, op. 15………………………..…..Ludwig van Beethoven (1770-1
 827)<br>I. Allegro con brio<em><br>Hannah Bao (student of Cristina Valdes)
 </em></p> <p>Piano Concerto No.3\, in C minor\, op. 37………………………..…..Ludwig
  van Beethoven (1770-1827)<br>I. Allegro con brio<br><em>Scott Fischer\, J
 r. (student of Craig Sheppard)</em></p> <p>INTERMISSION</p> <p>Piano Conce
 rto No.2\, in D minor\, op. 40…………………………….…..Felix Mendelssohn (1809-1847)
 <br>II. Adagio\, molto sostenuto<br>III. Finale: Presto scherzando <br><em>Xinrui Huang (student of Craig Sheppard)</em></p> <p>Piano Concerto No.5\
 , in E-flat major\, op. 73\, <em>Emperor</em>…………..Ludwig van Beethoven (1
 770-1827)<br>I. Allegro<br><em>Cicy Li (student of Robin McCabe)</em></p> 
 <hr> <h3>Biographies</h3> <h3><a href='https://nwsinfonietta.org/' target='_blank' rel='noopener noreferrer'>Northwest Sinfonietta</a></h3> <div>Fou
 nded in 1991\, Northwest Sinfonietta is the premiere\, professional chambe
 r orchestra in the Puget Sound area. As an ensemble of 34 musicians\, the 
 Sinfonietta (meaning 'little symphony' in Italian)\, is smaller than a sym
 phony orchestra and flexible in size\, able to fit in any size 'chamber.' 
 We draw from over 400 years of art music and program a wide array of works
  with intentional focus on representation of women and BIPOC composers. <div></div> <div>In 2015 the Sinfonietta became one of the few orchest
 ras in the world to move to an Artistic Partner model of operations. This 
 allows our musicians to take a larger role in the vision and programming o
 f the season\, working closely with multiple talented conductors and perfo
 rmers. Northwest Sinfonietta is currently working with three world-class c
 onductors as Artistic Partners\, Yaniv Attar\, Mei-Ann Chen and Jeffery Me
 yer. </div> <div></div> <div>Beyond the concert stage\, NWS provides a var
 iety of education and community engagement opportunities throughout Pierce
  County. NWS's robust education programs serve youth of all ages\, from pr
 e-school through college with Musical Storytelling and low-sensory program
 s for young children\, classroom coaching\, open rehearsal field trips\, s
 ide-by-side playing opportunities and a Youth Concerto Competition for mid
 dle- and high-school students\, and masterclasses\, side-by-side playing a
 nd open rehearsals for college music students. </div> <div></div> <div>Nor
 thwest Sinfonietta performs several concerts each season in collaboration 
 with local arts and culture organizations at a variety of venues\, expandi
 ng the reach and impact of our programs in the community. </div>
END:VEVENT
BEGIN:VEVENT
UID:58da998a-9b0e-4e4f-b164-76743484f123
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20240411T200929Z
DESCRIPTION:<p>The School of Music hosts Perspec
 tives on Native American Flutes\, a conversation with flutists Gary Strout
 sos and John-Carlos Perea. The presentation provides an overview of cedar 
 flute origins from a Northern Plains perspective via Stroutsos's relations
 hip with Makoche Records. Stroutsos and Perea will then discuss Stroutsos'
 s work with the Öngtupqa trio and his performance with the leena or Hopi l
 ong flute.</p>\n<p>This event is part of a thre
 e-day artist residency featuring the Öngtupqa Trio\, in partnership with t
 he Indigenous Arts Collaboratory at the University of Washington April 17-
 20\, 2024\, to bring Hopi music\, culture\, history\, current environmenta
 l protection initiatives\, and other relevant topics to the UW community. 
 The Öngtupqa Trio is made up of Clark Tenakhongva\, Gary Stroutsos\, and M
 att Moon Nelson. For more information\, please visit <a href='https://urld
 efense.com/v3/__http://www.ongtupqa.com__\;!!K-Hz7m0Vt54!kSX6QsbAufloIljzy
 0X_9ty1onoNZ5GcfvqQadX68sdZGJ8wMG0PwJRLjsxkp6Vn55U1mNN7xCQhuJuZN0K2WlzQvhL
 3CalT$'>www.ongtupqa.com</a>. </p>\n<p>In other
  residency activities at the School of Music\, <a href='https://music.wash
 ington.edu/events/2024-04-19/guest-artist-concert-ongtupqa-trio' target='_
 blank' rel='noopener noreferrer'>a concert by the trio </a>is set for Frid
 ay\, April 19\, 7:30 p.m.\, in Brechemin Auditorium. Admission is free. </p>\n<h3>Biographies</h3>\n<p></p>\n<p><strong>Gary Stroutsos is a master flute player whose contemplative music and time-honored sto
 ries evoke the lands and cultures that he has studied over his 35-year car
 eer. Gary’s talents flow through a variety of world flutes\, but his maste
 ry of the Hopi long flute transports listeners to a spirit of place unlike
  any other. His music can be heard on the soundtrack of Ken Burns’ PBS doc
 umentary\, Lewis and Clark: Journey of the Corps of Discovery\, which led 
 to a command performance at the White House for President Bill Clinton. Ga
 ry was a founding artist for Makoché Records\, dedicated to the music of A
 merican Indian artists\, and was the only non-Native invited to record on 
 that label. His discography includes over 40 acclaimed recordings\, includ
 ing Remembering the Songs\, a CD and DVD project celebrating the old songs
  of three Indigenous tribes. His mission is to carry the music forward to 
 future generations and to promote stewardship of diverse cultures and the 
 natural environment. Gary traces his roots to Greece\, Italy\, and Lebanon
 \, and lives in Seattle.</p>\n<p><strong>John-C
 arlos Perea</strong> is an Associate Professor of Ethnomusicology in the U
 W School of Music. In addition to his scholarly activities\, Perea has pla
 yed cedar flute for over two decades as heard on his recordings First Danc
 e (2001) and Creation Story (2014). Cedar Flute Songs\, released digitally
  in 2023\, marks Perea’s first recording of solo and duet cedar flute musi
 c and features his own compositions alongside arrangements of works by Joh
 n Coltrane\, Duke Ellington\, Albert Ayler\, and Lewis Jordan.</p>
DTSTART;TZID=America/Los_Angeles:20240418T103000
LAST-MODIFIED:20240411T201100Z
SEQUENCE:14
SUMMARY:: Perspectives on Native American Flutes
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-04-18/perspectives-native-amer
 ican-flutes
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The School of Mu
 sic hosts <em>Perspectives on Native American Flutes</em>\, a conversation
  with flutists Gary Stroutsos and John-Carlos Perea. The presentation prov
 ides an overview of cedar flute origins from a Northern Plains perspective
  via Stroutsos's relationship with Makoche Records. Stroutsos and Perea wi
 ll then discuss Stroutsos's work with the Öngtupqa trio and his performanc
 e with the <em>leena</em> or Hopi long flute.</p> <p>This event is part of a three-day artist residency featuring the Öng
 tupqa Trio\, in partnership with the Indigenous Arts Collaboratory at the 
 University of Washington April 17-20\, 2024\, to bring Hopi music\, cultur
 e\, history\, current environmental protection initiatives\, and other rel
 evant topics to the UW community. The Öngtupqa Trio is made up of Clark Te
 nakhongva\, Gary Stroutsos\, and Matt Moon Nelson. For more information\, 
 please visit <a href='https://urldefense.com/v3/__http://www.ongtupqa.com_
 _\;!!K-Hz7m0Vt54!kSX6QsbAufloIljzy0X_9ty1onoNZ5GcfvqQadX68sdZGJ8wMG0PwJRLj
 sxkp6Vn55U1mNN7xCQhuJuZN0K2WlzQvhL3CalT$'>www.ongtupqa.com</a>. </p> <p st yle=' 400\;'>In other residency activities at the School of Mu
 sic\, <a href='https://music.washington.edu/events/2024-04-19/guest-artist
 -concert-ongtupqa-trio' target='_blank' rel='noopener noreferrer'>a concer
 t by the trio </a>is set for Friday\, April 19\, 7:30 p.m.\, in Brechemin 
 Auditorium. Admission is free. </p> <h3>Biograp
 hies</h3> <p></p> <p><strong>Gary Stroutsos</strong> is a master flute player whose contemplat
 ive music and time-honored stories evoke the lands and cultures that he ha
 s studied over his 35-year career. Gary’s talents flow through a variety o
 f world flutes\, but his mastery of the Hopi long flute transports listene
 rs to a spirit of place unlike any other. His music can be heard on the so
 undtrack of Ken Burns’ PBS documentary\, <em>Lewis and Clark: Journey of t
 he Corps of Discovery</em>\, which led to a command performance at the Whi
 te House for President Bill Clinton. Gary was a founding artist for Makoch
 é Records\, dedicated to the music of American Indian artists\, and was th
 e only non-Native invited to record on that label. His discography include
 s over 40 acclaimed recordings\, including <em>Remembering the Songs</em>\
 , a CD and DVD project celebrating the old songs of three Indigenous tribe
 s. His mission is to carry the music forward to future generations and to 
 promote stewardship of diverse cultures and the natural environment. Gary 
 traces his roots to Greece\, Italy\, and Lebanon\, and lives in Seattle.</p> <p><strong>John-Carlos Perea</strong> is an 
 Associate Professor of Ethnomusicology in the UW School of Music. In addit
 ion to his scholarly activities\, Perea has played cedar flute for over tw
 o decades as heard on his recordings <em>First Dance </em>(2001) and <em>C
 reation Story</em> (2014). <em>Cedar Flute Songs</em>\, released digitally
  in 2023\, marks Perea’s first recording of solo and duet cedar flute musi
 c and features his own compositions alongside arrangements of works by Joh
 n Coltrane\, Duke Ellington\, Albert Ayler\, and Lewis Jordan.</p>
END:VEVENT
BEGIN:VEVENT
UID:4d59394c-2c36-4660-ab3d-d454c6fb68ef
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Special Events\, Visiting Arti
 sts and Scholars
CLASS:PUBLIC
CREATED:20240225T201401Z
DESCRIPTION:<p>The Öngtupqa Trio\, featuring Clark Tenakhongva (Hopi singer
 \, recording artist\, and past vice chairman of the Hopi Tribe)\, shares m
 usic from their recent Hon Muru (Bear’s Ears) project. This concert is par
 t of a three-day UW residency by the trio.</p>\n<hr>\n<h3><b>Öngtupqa Trio
  Residency at the University of Washington</b></h3>\n<p class='xmsonormal'>The Öngtupqa Trio is partnering with the University of Washington April 1
 7-20\, 2024 to bring Hopi music\, culture\, history\, current environmenta
 l protection initiatives\, and other relevant topics to UW students during
  Spring Quarter 2024. The Öngtupqa Trio is made up of Clark Tenakhongva\, 
 Gary Stroutsos\, and Matt Moon Nelson. Clark is a Hopi singer and recordin
 g artist\, and served as Vice Chairman of the Hopi Tribe from 2018-2022. G
 ary is a gifted flute player with more than 45 albums to his credit\; he s
 pecializes in playing the Southwestern rim flute (known as leena to Hopi\,
  and is among the oldest known wind instruments in North America). Matt is
  a percussionist\, ethnomusicologist\, and world music radio DJ on KXCI-FM
 .</p>\n<h4 class='xmsonormal'>Related Activities</h4>\n\n\n\n<p><b class>W
 ed 4/17 12:00pm-2:00pm @ wǝ</b><b class>ɫ</b><b class>ǝb</b><b class>ʔ</b>
 <b class>altx</b><b class>ʷ:</b> <a href='https://caiis.uw.edu/calendar/?t
 rumbaEmbed=eventid%3D173905127%26seotitle%3DDistinguished-Lecture-by-Clark
 -Tenakhongva-Hopi%26view%3Devent%26-childview%3D' target='_blank' rel='noo
 pener noreferrer'>Distinguished Lecture by Clark Tenakhongva</a></p>\n\n\n
 \n\n<p><b class>Thurs 4/18 10:30am-12:00pm @ MUS Fishbowl:</b> <a href='//music.washington.edu/events/2024-04-18/perspectives-native-american-
 flutes' target='_blank' rel='noopener noreferrer'>Gary Stroutsos in conver
 sation with John-Carlos Perea</a>: Perspectives on Native American Flutes&lt;
 /p&gt;\n\n<hr>\n<p class='xmsonormal'></p>
DTSTART;TZID=America/Los_Angeles:20240419T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:15
SUMMARY::  Guest Artist Concert: The Öngtupqa Trio 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-04-20/guest-artist-concert-ong
 tupqa-trio
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The Öngtupqa Trio\, featuring Clark Tenakho
 ngva (Hopi singer\, recording artist\, and past vice chairman of the Hopi 
 Tribe)\, shares music from their recent Hon Muru (Bear’s Ears) project. Th
 is concert is part of a three-day UW residency by the trio.</p> <hr> <h3>&lt;
 b&gt;<span>Öngtupqa Trio Residency at the University of Washington</span></b>
 </h3> <p class='xmsonormal'><span>The Öngtupqa Trio is partnering with the
  University of Washington April 17-20\, 2024 to bring Hopi music\, culture
 \, history\, current environmental protection initiatives\, and other rele
 vant topics to UW students during Spring Quarter 2024. The Öngtupqa Trio i
 s made up of Clark Tenakhongva\, Gary Stroutsos\, and Matt Moon Nelson. Cl
 ark is a Hopi singer and recording artist\, and served as Vice Chairman of
  the Hopi Tribe from 2018-2022. Gary is a gifted flute player with more th
 an 45 albums to his credit\; he specializes in playing the Southwestern ri
 m flute (known as<span class='xapple-converted-space'> </span><i>leena</i>
 <span class='xapple-converted-space'> </span>to Hopi\, and is among the ol
 dest known wind instruments in North America). Matt is a percussionist\, e
 thnomusicologist\, and world music radio DJ on KXCI-FM.</span></p> <h4 cla ss='xmsonormal'><span>Related Activities</span></h4> <div class> <div dir='ltr' class> <div class> <p><span face='arial\, sans-serif'><b class>Wed 4/17 12:00pm-2:00pm @ wǝ</b><b cl ass>ɫ</b><b class>ǝb</b><b class>ʔ</b><b class>altx</b><b class>ʷ:</b> <a href='https://caiis.uw.edu/calendar/?trumbaEmbed=eventid%3D173905127%26seo
 title%3DDistinguished-Lecture-by-Clark-Tenakhongva-Hopi%26view%3Devent%26-
 childview%3D' target='_blank' rel='noopener noreferrer'>Distinguished Lect
 ure by Clark Tenakhongva</a></span></p> </div> </div> </div> <div class> &lt;
 p&gt;<span face='arial\, sans-serif'><b class>Thurs 4/18 10:30am-12:00pm @ MUS Fishbowl:</b> <a href='https:/
 /music.washington.edu/events/2024-04-18/perspectives-native-american-flute
 s' target='_blank' rel='noopener noreferrer'>Gary Stroutsos in conversatio
 n with John-Carlos Perea</a>: <em>Perspectives on Native American Flutes</em></span></p> </div> <hr> <p class='xmsonormal'></p>
END:VEVENT
BEGIN:VEVENT
UID:478ed819-dcd1-4798-ae4b-4fea0d1d1f1e
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Special Events\, Student Activities and P
 erformances
CLASS:PUBLIC
CREATED:20240405T193157Z
DESCRIPTION:<p>Acclaimed saxophonist Chris Speed headlines this special per
 formance\, part of the 2024 Improvised Music Project Festival (IMPFEST)\, 
 performing sets with UW Jazz Studies students and with faculty Cuong Vu\, 
 trumpet\, Ted Poor\, drums\, and Steve Rodby\, bass.</p>\n<p><strong>Festi
 val Background</strong><br>The School of Music and the student-run Improvi
 sed Music Project present IMPFest\, featuring UW Jazz Studies students and
  faculty Cuong Vu\, Ted Poor\, and Steve Rodby performing with guest artis
 ts of international renown.  2024 headliners are Chris Speed\, saxophone (
 4/24)\, Jun Iida\, trumpet (4/26)\, and Todd Sickafoose\, bass (4/27).</p>
 \n<hr>\n<h3><strong>Schedule</strong></h3>\n<p><strong><a href='https://mu
 sic.washington.edu/events/2024-04-24/improvised-music-project-festival-imp
 fest-chris-speed' target='_blank' rel='noopener noreferrer'>Wednesday\, Ap
 ril 24: Chris Speed\, saxophone</a><br></strong>7:30 pm\, Chapel Performan
 ce Space\, 4649 Sunnyside Ave N\, Seattle\, WA 98103</p>\n<p><a href='//music.washington.edu/events/2024-04-26/improvised-music-project-festiv
 al-impfest-jun-iida' target='_blank' rel='noopener noreferrer'><strong>Fri
 day\, April 26:</strong> <strong>Jun Iida\, trumpet</strong></a><br>7:30 p
 m\, Meany Studio Theater</p>\n<p><a href='https://music.washington.edu/eve
 nts/2024-04-27/improvised-music-project-festival-impfest-todd-sickafoose' target='_blank' rel='noopener noreferrer'><strong>Saturday\, April 27: <strong>Todd Sickafoose\, bass</strong></a><br>7:30 pm\, Meany Studi
 o Theater</p>\n<p>IMPFEST is made possible through generous support from S
 eattle's Raynier Foundation.</p>\n<hr>\n<h3>Biographies</h3>\n<h3><a href='https://www.juniidamusic.com' target='_blank' rel='noopener noreferrer'>&lt;
 /a&gt;<a href='http://www.chrisspeed.com' target='_blank' rel='noopener noref
 errer'>Chris Speed</a></h3>\n<p class><strong>Chris Speed</strong> is a te
 nor saxophonist\, clarinetist and composer\, whose work ranges widely\, fr
 om a jazz base out through various forms of folk\, classical and rock musi
 c. Affiliated with a bewildering variety of ensembles\, he has been a prom
 inent and influential voice in jazz and improvised music for three decades
 .<br><br>Born in 1967\, Speed grew up in the Seattle area where he met fut
 ure colleagues Jim Black and Andrew D'Angelo\, all of whom ended up in Bos
 ton in the late 80's where they formed <strong>Human Feel</strong> with gu
 itarist Kurt Rosenwinkel. (Scatter 1992\, Welcome to Malpesta 1994\, Speak
  To It 1996\, Galore 2007\, Party Favor EP 2016 and Gold 2019). After stud
 ies at New England Conservatory followed by a stint with the Artie Shaw Ba
 nd (led by Dick Johnson)\, Speed moved to New York City where he started w
 orking with Tim Berne and his band <strong>Bloodcount</strong>. (Unwound 1
 996\, Discretion 1997\, Saturation Point 1997\, The Seconds 2006).</p>\n<p class>Speed's fascination with the mysterious rhythms\, melodies and old-
 worldness of folk music from the Balkans led to the formation of <strong>P
 achora</strong> (Black\, guitarist Brad Shepik and bassist Skuli Sverrisso
 n)\, an ensemble that evolved from playing East European folk music covers
  regularly at the Knitting Factory to touring critically acclaimed origina
 l music throughout North America and Europe. (Pachora 1997\, Unn 1999\, As
 t 2000 and Astereotypical 2003). Chris' passion for folk music is also doc
 umented with the brass band Slavic Soul Party (In Makedonija 2002 Knitting
  Factory Records).</p>\n<p class><strong>Yeah NO\,</strong> Speed's band w
 ith Black/Sverrisson and Cuong Vu (trumpet) initially convened in the mid 
 90s as an experiment in decoding and scoring out group improvisations\, wh
 ich inspired an unusual book of music that also fused elements of jazz\, r
 ock\, eastern folk and weird minimalism. Thriving in NYC in the late 90s\,
  they also toured the States and Europe and made four recordings (Yeah NO 
 1997\, Deviantics 1998\, Emit 2000\, Swell Henry 2004).</p>\n<p class>The Clarinets\, </strong>an ongoing collaboration with Oscar Noriega a
 nd Anthony Burr\, explores the possibilities of the clarinet (multi-pitch 
 tones\, timbre deviation) in the context of group improvisation. This grou
 p blurs the boundary between composed chamber music and experimental impro
 visation and creates an acoustic ambient music of unusual grace and beauty
 .  They have three recordings\, The Clarinets (2006 featured on NPR’s Fres
 h Air)\, Keep On Going Like This (2012) and No Pressure (2019).</p>\n<p cl ass><strong>Endangered Blood</strong> (Jim Black\, Trevor Dunn Oscar Norie
 ga\, Speed) was formed in 2008 to play benefit concerts for saxophonist An
 drew D'Angelo\, who'd been diagnosed with a brain tumor. (D'Angelo eventua
 lly made a full recovery). Their music draws from the members' diverse bac
 kgrounds and influences\, combining post-bop\, 20th-century chromaticism\,
  traditional New Orleans funeral marches\, avant-garde jazz and post-punk 
 to create a sort of mad-scientist concoction. Its compositions are cerebra
 l\, but they're also gritty and full of energy. (Endangered Blood 2010\, W
 ork Your Magic 2013\, Don’t Freak Out 2018\, plus an appearance on NPR’s T
 iny Desk Concerts in 2012).</p>\n<p class>With the formation of the Chris Speed Trio</strong> in 2014 with drummer Dave King and bassist Chr
 is Tordini\, Speed has put an inimitable stamp on the classic sax-bass-dru
 ms format. This is a group returning from other explorations to work deep 
 within the jazz tradition\, bringing everything else they've learned back 
 in. Most compelling about this music is the incorporation of early jazz st
 yles in a way that is direct and deeply felt. The music is joyful and gene
 rous and Speed has an uncanny knack for coming up with tunes that can crea
 te a whole world of emotions and formal possibilities behind an often catc
 hy melodic surface. (Really OK 2014\, Platinum On Tap 2017\, Respect For Y
 our Toughness 2019\, Despite Obstacles 2023).<br><br><strong>Broken Shadow
 s</strong> (Tim Berne\, Reid Anderson\, Dave King\, Speed) is a quartet of
  kindred spirits communing over shared loves and common inspirations\; ban
 ded together to reinterpret the timeless sounds conjured by great artists 
 from the rural South and heartland of the country\, primarily Ornette Cole
 man and Julius Hemphill. The way saxophonists Berne and Speed perform this
  music with the bass-and-drum team of Anderson and King has a rocking\, ro
 ughhewn harmonic convergence wholly in keeping with the source materials\,
  even as their improvisations have a searching\, burning modernism of thei
 r own. (Broken Shadows 2019 re-released on <a href='https://intaktrec.band
 camp.com/album/broken-shadows' target>Intakt</a>).<br><br>In August of 202
 1\, Speed\, along with guitarist Ben Monder\, joined <strong>The Bad Plus 
 </strong>(with Reid Anderson and Dave King). The new (debut) record was re
 leased on <a href='https://editionrecords.com/releases/the-bad-plus-the-ba
 d-plus/'>Edition Records</a> September of 2022.<br><br>In 2006 Speed creat
 ed Skirl Records\, a label dedicated to Brooklyn based creative music\, no
 w with over 50 releases.  “As a document of the fertile Brooklyn scene\, S
 kirl has few equals\, skirting the boundaries between jazz\, rock\, electr
 onic\, classical and improvised music.” --AllAboutJazz   </p>
DTSTART;TZID=America/Los_Angeles:20240424T193000
LAST-MODIFIED:20240410T134058Z
SEQUENCE:16
SUMMARY:: Improvised Music Project Festival (IMPFEST): Chris Speed
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-04-25/improvised-music-project
 -festival-impfest-chris-speed
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Acclaimed saxophonist Chris Speed headlines
  this special performance\, part of the 2024 Improvised Music Project Fest
 ival (IMPFEST)\, performing sets with UW Jazz Studies students and with fa
 culty Cuong Vu\, trumpet\, Ted Poor\, drums\, and Steve Rodby\, bass.</p> 
 <p><strong>Festival Background</strong><br>The School of Music and the stu
 dent-run Improvised Music Project present IMPFest\, featuring UW Jazz Stud
 ies students and faculty Cuong Vu\, Ted Poor\, and Steve Rodby performing 
 with guest artists of international renown.  2024 headliners are Chris Spe
 ed\, saxophone (4/24)\, Jun Iida\, trumpet (4/26)\, and Todd Sickafoose\, 
 bass (4/27).</p> <hr> <h3><strong>Schedule</strong></h3> <p><strong><a hre f='https://music.washington.edu/events/2024-04-24/improvised-music-project
 -festival-impfest-chris-speed' target='_blank' rel='noopener noreferrer'>W
 ednesday\, April 24: Chris Speed\, saxophone</a><br></strong>7:30 pm\, Cha
 pel Performance Space\, 4649 Sunnyside Ave N\, Seattle\, WA 98103</p> <p>&lt;
 a href='https://music.washington.edu/events/2024-04-26/improvised-music-pr
 oject-festival-impfest-jun-iida' target='_blank' rel='noopener noreferrer'
 &gt;<strong>Friday\, April 26:</strong> <strong>Jun Iida\, trumpet</strong></a><br>7:30 pm\, Meany Studio Theater</p> <p><a href='https://music.washing
 ton.edu/events/2024-04-27/improvised-music-project-festival-impfest-todd-s
 ickafoose' target='_blank' rel='noopener noreferrer'><strong>Saturday\, Ap
 ril 27:</strong> <strong>Todd Sickafoose\, bass</strong></a><br><span>7:30
  pm\, Meany Studio Theater</span></p> <p><em>IMPFEST is made possible thro
 ugh generous support from Seattle's Raynier Foundation.</em></p> <hr> <h3>
 Biographies</h3> <h3><a href='https://www.juniidamusic.com' target='_blank
 ' rel='noopener noreferrer'></a><a href='http://www.chrisspeed.com' target='_blank' rel='noopener noreferrer'>Chris Speed</a></h3> <p class><strong>
 Chris Speed</strong> is a tenor saxophonist\, clarinetist and composer\, w
 hose work ranges widely\, from a jazz base out through various forms of fo
 lk\, classical and rock music. Affiliated with a bewildering variety of en
 sembles\, he has been a prominent and influential voice in jazz and improv
 ised music for three decades.<br><br>Born in 1967\, Speed grew up in the S
 eattle area where he met future colleagues Jim Black and Andrew D'Angelo\,
  all of whom ended up in Boston in the late 80's where they formed <strong>Human Feel</strong> with guitarist Kurt Rosenwinkel. (Scatter 1992\, Welc
 ome to Malpesta 1994\, Speak To It 1996\, Galore 2007\, Party Favor EP 201
 6 and Gold 2019). After studies at New England Conservatory followed by a 
 stint with the Artie Shaw Band (led by Dick Johnson)\, Speed moved to New 
 York City where he started working with Tim Berne and his band <strong>Blo
 odcount</strong>. (Unwound 1996\, Discretion 1997\, Saturation Point 1997\
 , The Seconds 2006).</p> <p class>Speed's fascination with the mysterious 
 rhythms\, melodies and old-worldness of folk music from the Balkans led to
  the formation of <strong>Pachora</strong> (Black\, guitarist Brad Shepik 
 and bassist Skuli Sverrisson)\, an ensemble that evolved from playing East
  European folk music covers regularly at the Knitting Factory to touring c
 ritically acclaimed original music throughout North America and Europe. (P
 achora 1997\, Unn 1999\, Ast 2000 and Astereotypical 2003). Chris' passion
  for folk music is also documented with the brass band Slavic Soul Party (
 In Makedonija 2002 Knitting Factory Records).</p> <p class><strong>Yeah NO
 \,</strong> Speed's band with Black/Sverrisson and Cuong Vu (trumpet) init
 ially convened in the mid 90s as an experiment in decoding and scoring out
  group improvisations\, which inspired an unusual book of music that also 
 fused elements of jazz\, rock\, eastern folk and weird minimalism. Thrivin
 g in NYC in the late 90s\, they also toured the States and Europe and made
  four recordings (Yeah NO 1997\, Deviantics 1998\, Emit 2000\, Swell Henry
  2004).</p> <p class><strong>The Clarinets\, </strong>an ongoing collabora
 tion with Oscar Noriega and Anthony Burr\, explores the possibilities of t
 he clarinet (multi-pitch tones\, timbre deviation) in the context of group
  improvisation. This group blurs the boundary between composed chamber mus
 ic and experimental improvisation and creates an acoustic ambient music of
  unusual grace and beauty.  They have three recordings\, The Clarinets (20
 06 featured on NPR’s Fresh Air)\, Keep On Going Like This (2012) and No Pr
 essure (2019).</p> <p class><strong>Endangered Blood</strong> (Jim Black\,
  Trevor Dunn Oscar Noriega\, Speed) was formed in 2008 to play benefit con
 certs for saxophonist Andrew D'Angelo\, who'd been diagnosed with a brain 
 tumor. (D'Angelo eventually made a full recovery). Their music draws from 
 the members' diverse backgrounds and influences\, combining post-bop\, 20t
 h-century chromaticism\, traditional New Orleans funeral marches\, avant-g
 arde jazz and post-punk to create a sort of mad-scientist concoction. Its 
 compositions are cerebral\, but they're also gritty and full of energy. (E
 ndangered Blood 2010\, Work Your Magic 2013\, Don’t Freak Out 2018\, plus 
 an appearance on NPR’s Tiny Desk Concerts in 2012).</p> <p class>With the 
 formation of the <strong>Chris Speed Trio</strong> in 2014 with drummer Da
 ve King and bassist Chris Tordini\, Speed has put an inimitable stamp on t
 he classic sax-bass-drums format. This is a group returning from other exp
 lorations to work deep within the jazz tradition\, bringing everything els
 e they've learned back in. Most compelling about this music is the incorpo
 ration of early jazz styles in a way that is direct and deeply felt. The m
 usic is joyful and generous and Speed has an uncanny knack for coming up w
 ith tunes that can create a whole world of emotions and formal possibiliti
 es behind an often catchy melodic surface. (Really OK 2014\, Platinum On T
 ap 2017\, Respect For Your Toughness 2019\, Despite Obstacles 2023).<br><b r><strong>Broken Shadows</strong> (Tim Berne\, Reid Anderson\, Dave King\,
  Speed) is a quartet of kindred spirits communing over shared loves and co
 mmon inspirations\; banded together to reinterpret the timeless sounds con
 jured by great artists from the rural South and heartland of the country\,
  primarily Ornette Coleman and Julius Hemphill. The way saxophonists Berne
  and Speed perform this music with the bass-and-drum team of Anderson and 
 King has a rocking\, roughhewn harmonic convergence wholly in keeping with
  the source materials\, even as their improvisations have a searching\, bu
 rning modernism of their own. (Broken Shadows 2019 re-released on <a href='https://intaktrec.bandcamp.com/album/broken-shadows' target>Intakt</a>).&lt;
 br&gt;<br>In August of 2021\, Speed\, along with guitarist Ben Monder\, joine
 d <strong>The Bad Plus </strong>(with Reid Anderson and Dave King). The ne
 w (debut) record was released on <a href='https://editionrecords.com/relea
 ses/the-bad-plus-the-bad-plus/'>Edition Records</a> September of 2022.<br>
 <br>In 2006 Speed created Skirl Records\, a label dedicated to Brooklyn ba
 sed creative music\, now with over 50 releases.  “As a document of the fer
 tile Brooklyn scene\, Skirl has few equals\, skirting the boundaries betwe
 en jazz\, rock\, electronic\, classical and improvised music.” --AllAboutJ
 azz   </p>
END:VEVENT
BEGIN:VEVENT
UID:187ce530-e363-4ccc-93d9-56b28120640d
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240215T173517Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20240425T120000
LAST-MODIFIED:20240215T173517Z
SEQUENCE:17
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-04-25/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:45fb0df7-31b1-4de2-aee3-53b4f15e73d2
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20230814T210607Z
DESCRIPTION:<p></p>\n<p>The UW Wind Ensemble (Timothy Salzman\, director) a
 nd Symphonic Band (Shaun Day\, director) present “Spotlight\,” performing 
 music by Nancy Galbraith\, Michael Daugherty\, Henk Badings\, and others. 
 Featuring winners of the 2024 Winds Concerto Competition: Devin Foster (tu
 ba)\, Kelly Hou (harp)\, and Cole Henslee (tuba).  </p>\n<hr>\n<h3>Program
 </h3>\n<p><strong>Symphonic Band</strong><br>Shaun Day\, director<br><br>E
 lfin Thunderbolt (1998): Nancy Galbraith (b. 1951)<br>Olivia Wang\, conduc
 tor<br><br>Reflections on the Mississippi (2015): Michael Daugherty (b. 19
 54)<br>I. Mist <br>II. Fury <br>III. Prayer <br>IV. Steamboat <br>Devin Fo
 ster\, tuba<br><br><strong>UW Wind Ensemble </strong><br>Timothy Salzman\,
  director</p>\n<p>Celebrations (1988): John Zdechlik (1937-2020)<br>David 
 Stewart\, conductor </p>\n<p><br><br>Concerto for Harp and Wind Orchestra 
 (1967): Henk Badings (1907-1987)<br>I. Lento - Allegro <br>Kelly Hou\, har
 p<br><br>Tuba Concerto (2023): Lauri Porra (b. 1977)<br>I. Agitato - Rubat
 o (colla parte) <br>II. Agitato <br>Cole Henslee\, tuba<br>Roger Wu Fu\, c
 onductor<br>U.S. Premiere</p>\n<hr>\n\n\n\n\n<h5><b>UNIVERSITY OF WASHINGT
 ON SYMPHONIC BAND <br>Shaun Day\, director</b></h5>\n<p>FLUTE <br>Patricia
  Chang\, Fr.\, Engineering\, San Jose CA <br>Richard Lin\, Fr.\, Engineeri
 ng\, San Diego CA <br>Tracia Pan\, Jr.\, Music Performance and Statistics\
 , Bellevue <br>Bethany Quevedo\, Sr.\, ACMS: DSS\, Issaquah <br>Peyton Ray
 \, Soph.\, Music Performance\, Denver\, CO <br>Felix Shen\, Fr.\, Engineer
 ing\, Phoenix\, AZ <br>Claire Wei\, Fr.\, Pre-Sciences\, Bellevue </p>\n<p>OBOE <br>Minh-Thi Butler\, Jr.\, Music Education\, Hoquiam <br>Lexi Koper
 ski\, Sr.\, Anthropology and Music History\, Chicago IL <br>Vichet Ros\, S
 oph.\, Music Composition\, Burien <br>Priyanka Talur\, Jr.\, Bioengineerin
 g\, Sammamish </p>\n<p>BASSOON <br>Victoria Everett\, Fr.\, Music\, Renton
  <br>Chloe Person\, Sr.\, Communications and Music\, Kenmore </p>\n<p>CLAR
 INET <br>Aditi Dwivedy\, Jr.\, Psychology &amp; Neuroscience\, Redmond <br>Mat
 ilda Gauss\, Soph.\, Materials Science and Engineering\, Bellevue <br>Cara
  Lisy\, Soph.\, Computer Science\, Maple Valley <br>Karsten Onarheim\, Sr.
 \, Pre-Sciences </p>\n<p>BASS CLARINET <br>Alen Poehlman\, Soph.\, Biochem
 istry\, Tacoma </p>\n<p>SAXOPHONE <br>Curtis Chung\, Soph.\, Mechanical En
 gineering\, Sunnyvale CA <br>Polina Dorogova\, Fr.\, Undeclared\, Gig Harb
 or <br>Ava Lim\, Sr.\, Human-Centered Design and Engineering\, Seattle <br>Chinmay Murthy\, Soph.\, Electrical and Computer Engineering\, Fremont CA
  <br>Jack Sawatzky\, Soph.\, Music Education\, Olympia <br>Eduardo Azevedo
  Simão Racy\, Fr.\, Computer Science\, Auburn </p>\n<p>TRUMPET <br>Felix C
 hao\, Soph.\, Environmental Science\, Los Angeles CA <br>Caroline Kelly\, 
 Sr.\, Environmental Science &amp; Terrestrial Resource Mgt\, Chelan <br>Euan M
 cCubbin\, Soph.\, Biology MCD\, Pullman <br>Ryan Rose\, Jr.\, Music Compos
 ition\, Vancouver <br>Teddy Seligman\, Soph.\, Aerospace Engineering\, San
  Mateo CA </p>\n<p>HORN <br>Ellis Haker\, Graduate\, Computer Science\, Lo
 s Angeles CA <br>Jonah Polissar\, Fr.\, Engineering/Music Minor\, Santa Cr
 uz CA <br>Elliana Wagner\, Soph.\, Undeclared\, Snohomish <br>Anthony Wen\
 , Fr.\, Informatics\, Seattle </p>\n<p>TROMBONE <br>Sam Chen\, Soph.\, \, 
 Snoqualmie <br>Emily Gay Soph.\, Music Education\, Port Orchard <br>Tom Le
 wis\, Soph.\, Mechanical Engineering\, Snoqualmie <br>Annika Natzke\, Fr.\
 , Psychology\, Rochester MN <br>Evan Mao\, Fr.\, Computer Science\, Redmon
 d <br>Evan Wu\, Fr.\, Engineering\, Foster City CA </p>\n<p>EUPHONIUM <br>
 May Coppinger\, Fr.\, Engineering <br>John Li\, Jr.\, Psychology\, Bellevu
 e </p>\n<p>TUBA <br>Jonathan Lopez\, Soph.\, Music Education\, <br>Justin 
 Sjodin\, Soph.\, Atmospheric Science - Meteorology\, Lexington MA <br>Coli
 n Tyrell\, Fr.\, Accounting\, Long Island NY </p>\n<p>PIANO <br>Ali Hamza\
 , Graduate\, Aeronautics &amp; Astronautics </p>\n<p>PERCUSSION <br>Cyan Duong
 \, Fr.\, Music\, <br>Ivy Moore\, Fr.\, Engineering and Percussion Performa
 nce\, Norfolk VA <br>Ruth Paulson\, Fr.\, Psychology\, Omaha NE <br>Luigi 
 Salvaggio\, Fr.\, Percussion Performance\, Manhattan Beach CA <br>Logan Ma
 ttingly\, Sr.\, Psychology\, Lake Stevens <br>Nathaniel Widmann\, Soph.\, 
 Pre-Sciences\, Puyallup </p>\n<h5><b>UNIVERSITY OF WASHINGTON WIND ENSEMBL
 E<br>Timothy Salzman\, director </b></h5>\n<p>FLUTE <br>Grace Jun\, Grad.\
 , Music Performance\, Vancouver* <br>Lorin Green\, Grad.\, Music Performan
 ce\, Augusta\, GA <br>Erin McAfee\, Grad.\, Music Performance\, Hoover\, A
 L <br>Yue Zhong.\, Jr.\, Music Performance\, Shanghai\, China </p>\n<p>OBO
 E <br>Max Boyd\, Fr.\, Music Performance\, Seattle <br>Lauren Majewski\, J
 r.\, Global and Regional Studies\, Mercer Island* </p>\n<p>BASSOON <br>Ann
 ika Fisher\, Fr.\, Anthropology\, Lake Forest Park <br>Rian Morgan\, So.\,
  Pre-Health Sciences/Music Performance\, Des Moines <br>Griffin Smith\, Sr
 .\, Philosophy/Music Performance\, Fayetteville\, AR* </p>\n<p>CLARINET <b r>Alex Gee\, Jr.\, Mechanical Engineering\, Camas <br>Jeremy Hu\, Fr.\, En
 gineering\, Taipei\, Taiwan <br>Cameron Lee\, Sr.\, Visual Communication D
 esign/Informatics\, Mercer Island <br>Jason Liu\, Sr.\, Mathematics\, Cama
 s <br>Alessandro Martinez\, Fr.\, Engineering\, Olympia <br>David Stewart\
 , Grd.\, Wind Conducting\, Mercer Island <br>Ysanne Webb\, Grd.\, Music Pe
 rformance\, Lubbock\, TX* </p>\n<p>BASS CLARINET <br>Arthur Gim\, Fr.\, En
 gineering\, Bothell </p>\n<p>SAXOPHONE <br>Kyle Grant\, Fr.\, Music Educat
 ion\, Sumner <br>Joseph Shostak\, Sr.\, Mechanical Engineering\, Snohomish
  <br>Alexander Yuan\, So.\, Computer Science\, Plainsboro\, NJ <br>Katie Z
 undel\, Jr.\, Music Performance/Engineering\, Clinton* </p>\n<p>TRUMPET <b r>Carter Archuleta\, Sr.\, Physics/Astronomy\, Gig Harbor <br>Hans Faul\, 
 So.\, Music Performance\, Seattle* <br>Kyle Jenkins\, Grd.\, Music Perform
 ance\, Sammamish <br>Caroline Kelly\, Sr.\, Environmental Science\, Chelan
  <br>Daniel Lyons\, Fr.\, Music Performance\, Seattle <br>Antti Mannisto\,
  So.\, Mechanical Engineering\, Bellevue </p>\n<p>HORN <br>Nicole Bogner\,
  Fr.\, Music Performance\, Mukilteo* <br>Kiyoshi Colon\, Jr.\, Chemistry\,
  Everett <br>Sydney Kuhl\, Sr.\, Computer Science\, Prior Lake\, MN <br>No
 elani Yonahara Stewart\, Jr.\, Political Science &amp; American Ethnic Studies
 \, San Francisco\, CA <br>Roger Wu Fu\, Grad.\, Wind Conducting\, Santiago
 \, Chile </p>\n<p>TROMBONE <br>Dion Archer-Roll\, Jr.\, Physics\, Vancouve
 r <br>Peter Lin\, Jr.\, ACMS\, Taipei\, Taiwan <br>Duncan Weiner\, Sr.\, L
 inguistics/Aeronautical and Astronautical Engineering\, Seattle <br>Nathan
 ael Wyttenbach\, Fr.\, Music Composition\, Richland* </p>\n<p>EUPHONIUM <b r>Simona Yaroslavsky\, Fr.\, Law\, Societies and Justice\, Mercer Island &lt;
 br&gt;Ellie Walker\, Jr.\, Music Education\, Kenmore* </p>\n<p>TUBA <br>Cole 
 Henslee\, Jr.\, Music Performance\, Lakewood <br>Devin Foster\, Grad.\, Mu
 sic Performance\, Lithopolis\, OH* <br>Foster Patterson\, So.\, Music Educ
 ation\, Aberdeen </p>\n<p>BASS <br>Amelia Matsumoto\, So.\, Music Performa
 nce\, Bellevue <br>Eddie Nikishina\, Sr.\, Music Performance\, Bellevue <b r>Beau Wood\, Grad.\, Music Performance\, Longview* </p>\n<p>PERCUSSION <b r>Ryan Baker\, Jr.\, Music Composition\, Gig Harbor* <br>Kaisho Barnhill\,
  So.\, Music Education/Psychology\, Vancouver <br>Momoka Fukushima\, Fr.\,
  Music Performance\, Issaquah <br>Jack Grenda\, So.\, International Relati
 ons\, Encinitas\, CA <br>Simon Harty\, Jr.\, Undeclared\, Boise\, ID <br>T
 aryn Marks\, Grd.\, Music Performance\, North Augusta\, SC* </p>\n<p>PIANO
  <br>Mia HyeJeon Kim\, Grad.\, Music Performance\, Seoul\, South Korea </p>\n<p>CELESTA <br>Rachel Huang\, Grad.\, Music Performance\, West Hills\, 
 LA </p>\n<p>HARP <br>Kelly Guangyin Hou\, Sr.\, Music Performance/Informat
 ics\, Bellevue </p>\n<p>*principal </p>\n\n\n\n\n<h3>Biographies</h3>\n<p>
 Tubist <strong>Devin Foster\,</strong> from Columbus\, Ohio\, first began 
 her musical studies on euphonium and tuba at the age of 11. She was admitt
 ed to several youth groups such as the Columbus Symphony Youth Orchestra\,
  Columbus Youth Symphonic Band\, and Columbus Youth Jazz Studio. Devin has
  received her Bachelor of Music degree in tuba performance at Capital Univ
 ersity with Tony Zilincik\, and is currently studying with John DiCesare a
 t the University of Washington for her Master of Music degree in tuba perf
 ormance. Recently\, she has performed with the Mukilteo Symphony Orchestra
  and Puget Sound Symphony Orchestra. She has also been seen performing wit
 h groups such as the Dublin Silver Brass Band\, Puget Brass\, and Women of
  Harmony Brass Quintet\, and has soloed with groups such as the Capital Un
 iversity Tuba/Euphonium Ensemble and the University of Washington Concert 
 Band. </p>\n<p><strong>Kelly Hou</strong> started playing the piano when s
 he was 6 and began the harp 9 years ago. She studied the harp with Alison 
 Austin when she was 13\, and later went on to study with Valerie Muzzolini
  at the University of Washington in 2020. Prior to college\, Kelly played 
 in the Seattle Youth Symphony for 4 years and placed 3rd in the WMEA State
  Solo and Ensemble contest in 2019. In 2022\, she was one of three winners
  of the Anne Adams Award. Currently\, she is pursuing both a degree in Inf
 ormatics and Music Performance and is a part of the University of Washingt
 on Symphony Orchestra as well as the University of Washington Wind Ensembl
 e. She has also played with the Washington Wind Ensemble\, Philharmonia No
 rthwest\, The Sound Ensemble\, and Eastside Symphony. </p>\n<p><strong>Col
 e Henslee</strong> is a third-year undergraduate tuba performance major fr
 om Lakewood\, WA. He started his college career studying with Don Harry at
  the Eastman School of Music in Rochester\, NY. There he performed with th
 e Eastman Wind Ensemble\, Eastman Brass Guild and various chamber groups. 
 Cole is in his first year at the University of Washington where he studies
  with John DiCesare. At the University of Washington he is a member of the
  Wind Ensemble\, Campus Philharmonia Orchestra and Husky Marching Band. An
  advocate of new music\, Cole has played with Eastman Musica Nova as well 
 as the University of Washington Modern Music Ensemble. He has also given p
 remieres of solo and chamber works for various student composers. </p>
DTSTART;TZID=America/Los_Angeles:20240425T193000
LAST-MODIFIED:20240614T181609Z
SEQUENCE:18
SUMMARY:: Wind Ensemble and Symphonic Band: Spotlight
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-04-26/wind-ensemble-and-sympho
 nic-band-spotlight
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The UW Wind Ensemble (Timothy Salzm
 an\, director) and Symphonic Band (Shaun Day\, director) present “Spotligh
 t\,” performing music by Nancy Galbraith\, Michael Daugherty\, Henk Bading
 s\, and others. Featuring winners of the 2024 Winds Concerto Competition: 
 Devin Foster (tuba)\, Kelly Hou (harp)\, and Cole Henslee (tuba).  </p>  <h3>Program</h3> <p><strong>Symphonic Band</strong><br><em>Shaun Day\, 
 director<br><br></em>Elfin Thunderbolt (1998): Nancy Galbraith (b. 1951)<b r><em>Olivia Wang\, conductor<br></em><br>Reflections on the Mississippi (
 2015): Michael Daugherty (b. 1954)<br>I. Mist <br>II. Fury<span class='App
 le-converted-space'> <br></span>III. Prayer<span class='Apple-converted-sp
 ace'> <br></span>IV. Steamboat<span class='Apple-converted-space'> </span>
 <br><em>Devin Foster\, tuba</em><br><br><strong>UW Wind Ensemble </strong>
 <br><em>Timothy Salzman\, director</em></p> <p>Celebrations (1988): John Z
 dechlik (1937-2020)<br><em>David Stewart\, conductor<span class='Apple-con
 verted-space'> </span></em></p> <p><br><br>Concerto for Harp and Wind Orch
 estra (1967): Henk Badings (1907-1987)<br>I. Lento - Allegro<i> <br></i>Kelly Hou\, harp</em><br><br>Tuba Concerto (2023): Lauri Porra (b. 1977)
 <br>I. Agitato - Rubato (colla parte)<span class='Apple-converted-space'> 
 <br></span>II. Agitato<span class='Apple-converted-space'> </span><br><em>
 Cole Henslee\, tuba<br>Roger Wu Fu\, conductor<br></em>U.S. Premiere</p> &lt;
 hr&gt; <table> <tbody> <tr> <td> <h5><b>UNIVERSITY OF WASHINGTON SYMPHONIC BAND<span class='Apple-convert
 ed-space'> <br>Shaun Day\, director</span></b></h5> <p>FLUTE<span class='A
 pple-converted-space'> <br></span>Patricia Chang\, Fr.\, Engineering\, San
  Jose CA<span class='Apple-converted-space'> <br></span>Richard Lin\, Fr.\
 , Engineering\, San Diego CA<span class='Apple-converted-space'> <br>Tracia Pan\, Jr.\, Music Performance and Statistics\, Bellevue<span clas s='Apple-converted-space'> <br></span>Bethany Quevedo\, Sr.\, ACMS: DSS\, 
 Issaquah<span class='Apple-converted-space'> <br></span>Peyton Ray\, Soph.
 \, Music Performance\, Denver\, CO<span class='Apple-converted-space'> <br></span>Felix Shen\, Fr.\, Engineering\, Phoenix\, AZ<span class='Apple-co
 nverted-space'> <br></span>Claire Wei\, Fr.\, Pre-Sciences\, Bellevue<span class='Apple-converted-space'> </span></p> <p>OBOE<span class='Apple-conv
 erted-space'> <br></span>Minh-Thi Butler\, Jr.\, Music Education\, Hoquiam
 <span class='Apple-converted-space'> <br></span>Lexi Koperski\, Sr.\, Anth
 ropology and Music History\, Chicago IL<span class='Apple-converted-space'> <br></span>Vichet Ros\, Soph.\, Music Composition\, Burien<span class='A
 pple-converted-space'> <br></span>Priyanka Talur\, Jr.\, Bioengineering\, 
 Sammamish<span class='Apple-converted-space'> </span></p> <p>BASSOON<span class='Apple-converted-space'> <br></span>Victoria Everett\, Fr.\, Music\,
  Renton<span class='Apple-converted-space'> <br></span>Chloe Person\, Sr.\
 , Communications and Music\, Kenmore<span class='Apple-converted-space'> &lt;
 /span&gt;</p> <p>CLARINET<span class='Apple-converted-space'> <br></span>Adit
 i Dwivedy\, Jr.\, Psychology &amp; Neuroscience\, Redmond<span class='Apple-co
 nverted-space'> <br></span>Matilda Gauss\, Soph.\, Materials Science and E
 ngineering\, Bellevue<span class='Apple-converted-space'> <br></span>Cara 
 Lisy\, Soph.\, Computer Science\, Maple Valley<span class='Apple-converted
 -space'> <br></span>Karsten Onarheim\, Sr.\, Pre-Sciences<span class='Appl
 e-converted-space'> </span></p> <p>BASS CLARINET<span class='Apple-convert
 ed-space'> <br></span>Alen Poehlman\, Soph.\, Biochemistry\, Tacoma<span c lass='Apple-converted-space'> </span></p> <p>SAXOPHONE<span class='Apple-c
 onverted-space'> <br></span>Curtis Chung\, Soph.\, Mechanical Engineering\
 , Sunnyvale CA<span class='Apple-converted-space'> <br></span>Polina Dorog
 ova\, Fr.\, Undeclared\, Gig Harbor<span class='Apple-converted-space'> <b r></span>Ava Lim\, Sr.\, Human-Centered Design and Engineering\, Seattle<s pan class='Apple-converted-space'> <br></span>Chinmay Murthy\, Soph.\, Ele
 ctrical and Computer Engineering\, Fremont CA<span class='Apple-converted-
 space'> <br></span>Jack Sawatzky\, Soph.\, Music Education\, Olympia<span class='Apple-converted-space'> <br></span>Eduardo Azevedo Simão Racy\, Fr.
 \, Computer Science\, Auburn<span class='Apple-converted-space'> </span></p> <p>TRUMPET<span class='Apple-converted-space'> <br></span>Felix Chao\, 
 Soph.\, Environmental Science\, Los Angeles CA<span class='Apple-converted
 -space'> <br></span>Caroline Kelly\, Sr.\, Environmental Science &amp; Terrest
 rial Resource Mgt\, Chelan<span class='Apple-converted-space'> <br></span>
 Euan McCubbin\, Soph.\, Biology MCD\, Pullman<span class='Apple-converted-
 space'> <br></span>Ryan Rose\, Jr.\, Music Composition\, Vancouver<span cl ass='Apple-converted-space'> <br></span>Teddy Seligman\, Soph.\, Aerospace
  Engineering\, San Mateo CA<span class='Apple-converted-space'> </span></p> <p>HORN<span class='Apple-converted-space'> <br></span>Ellis Haker\, Gra
 duate\, Computer Science\, Los Angeles CA<span class='Apple-converted-spac
 e'> <br></span>Jonah Polissar\, Fr.\, Engineering/Music Minor\, Santa Cruz
  CA<span class='Apple-converted-space'> <br></span>Elliana Wagner\, Soph.\
 , Undeclared\, Snohomish<span class='Apple-converted-space'> <br></span>An
 thony Wen\, Fr.\, Informatics\, Seattle<span class='Apple-converted-space'> </span></p> <p>TROMBONE<span class='Apple-converted-space'> <br></span>S
 am Chen\, Soph.\, \, Snoqualmie<span class='Apple-converted-space'> <br></span>Emily Gay Soph.\, Music Education\, Port Orchard<span class='Apple-co
 nverted-space'> <br></span>Tom Lewis\, Soph.\, Mechanical Engineering\, Sn
 oqualmie<span class='Apple-converted-space'> <br></span>Annika Natzke\, Fr
 .\, Psychology\, Rochester MN<span class='Apple-converted-space'> <br>Evan Mao\, Fr.\, Computer Science\, Redmond<span class='Apple-converted
 -space'> <br></span>Evan Wu\, Fr.\, Engineering\, Foster City CA<span clas s='Apple-converted-space'> </span></p> <p>EUPHONIUM<span class='Apple-conv
 erted-space'> <br></span>May Coppinger\, Fr.\, Engineering<span class='App
 le-converted-space'> <br></span>John Li\, Jr.\, Psychology\, Bellevue<span class='Apple-converted-space'> </span></p> <p>TUBA<span class='Apple-conv
 erted-space'> <br></span>Jonathan Lopez\, Soph.\, Music Education\,<span c lass='Apple-converted-space'> <br></span>Justin Sjodin\, Soph.\, Atmospher
 ic Science - Meteorology\, Lexington MA<span class='Apple-converted-space'> <br></span>Colin Tyrell\, Fr.\, Accounting\, Long Island NY<span class='
 Apple-converted-space'> </span></p> <p>PIANO<span class='Apple-converted-s
 pace'> <br></span>Ali Hamza\, Graduate\, Aeronautics &amp; Astronautics<span c lass='Apple-converted-space'> </span></p> <p>PERCUSSION<span class='Apple-
 converted-space'> <br></span>Cyan Duong\, Fr.\, Music\,<span class='Apple-
 converted-space'> <br></span>Ivy Moore\, Fr.\, Engineering and Percussion 
 Performance\, Norfolk VA<span class='Apple-converted-space'> <br></span>Ru
 th Paulson\, Fr.\, Psychology\, Omaha NE<span class='Apple-converted-space
 '> <br></span>Luigi Salvaggio\, Fr.\, Percussion Performance\, Manhattan B
 each CA<span class='Apple-converted-space'> <br></span>Logan Mattingly\, S
 r.\, Psychology\, Lake Stevens<span class='Apple-converted-space'> <br></s>Nathaniel Widmann\, Soph.\, Pre-Sciences\, Puyallup<span class='Apple-
 converted-space'> </span></p> <h5><b>UNIVERSITY OF WASHINGTON WIND ENSEMBL
 E<br><span class='Apple-converted-space'>Timothy Salzman\, director </span></b></h5> <p>FLUTE<span class='Apple-converted-space'> <br></span>Grace J
 un\, Grad.\, Music Performance\, Vancouver*<span class='Apple-converted-sp
 ace'> <br></span>Lorin Green\, Grad.\, Music Performance\, Augusta\, GA <br></span>Erin McAfee\, Grad.\, Music P
 erformance\, Hoover\, AL<span class='Apple-converted-space'> <br></span>Yu
 e Zhong.\, Jr.\, Music Performance\, Shanghai\, China<span class='Apple-co
 nverted-space'> </span></p> <p>OBOE<span class='Apple-converted-space'> <b r></span>Max Boyd\, Fr.\, Music Performance\, Seattle<span class='Apple-co
 nverted-space'> <br></span>Lauren Majewski\, Jr.\, Global and Regional Stu
 dies\, Mercer Island*<span class='Apple-converted-space'> </span></p> <p>B
 ASSOON<span class='Apple-converted-space'> <br></span>Annika Fisher\, Fr.\
 , Anthropology\, Lake Forest Park<span class='Apple-converted-space'> <br>
 </span>Rian Morgan\, So.\, Pre-Health Sciences/Music Performance\, Des Moi
 nes<span class='Apple-converted-space'> <br></span>Griffin Smith\, Sr.\, P
 hilosophy/Music Performance\, Fayetteville\, AR*<span class='Apple-convert
 ed-space'> </span></p> <p>CLARINET<span class='Apple-converted-space'> <br></span>Alex Gee\, Jr.\, Mechanical Engineering\, Camas<span class='Apple-
 converted-space'> <br></span>Jeremy Hu\, Fr.\, Engineering\, Taipei\, Taiw
 an<span class='Apple-converted-space'> <br></span>Cameron Lee\, Sr.\, Visu
 al Communication Design/Informatics\, Mercer Island<span class='Apple-conv
 erted-space'> <br></span>Jason Liu\, Sr.\, Mathematics\, Camas<span class='Apple-converted-space'> <br></span>Alessandro Martinez\, Fr.\, Engineerin
 g\, Olympia<span class='Apple-converted-space'> <br></span>David Stewart\,
  Grd.\, Wind Conducting\, Mercer Island<span class='Apple-converted-space'> <br></span>Ysanne Webb\, Grd.\, Music Performance\, Lubbock\, TX*<span c lass='Apple-converted-space'> </span></p> <p>BASS CLARINET<span class='App
 le-converted-space'> <br></span>Arthur Gim\, Fr.\, Engineering\, Bothell<s pan class='Apple-converted-space'> </span></p> <p>SAXOPHONE<span class='Ap
 ple-converted-space'> <br></span>Kyle Grant\, Fr.\, Music Education\, Sumn
 er<span class='Apple-converted-space'> <br></span>Joseph Shostak\, Sr.\, M
 echanical Engineering\, Snohomish<span class='Apple-converted-space'> <br>
 </span>Alexander Yuan\, So.\, Computer Science\, Plainsboro\, NJ<span clas s='Apple-converted-space'> <br></span>Katie Zundel\, Jr.\, Music Performan
 ce/Engineering\, Clinton*<span class='Apple-converted-space'> </span></p> 
 <p>TRUMPET<span class='Apple-converted-space'> <br></span>Carter Archuleta
 \, Sr.\, Physics/Astronomy\, Gig Harbor<span class='Apple-converted-space'> <br></span>Hans Faul\, So.\, Music Performance\, Seattle*<span class='Ap
 ple-converted-space'> <br></span>Kyle Jenkins\, Grd.\, Music Performance\,
  Sammamish<span class='Apple-converted-space'> <br></span>Caroline Kelly\,
  Sr.\, Environmental Science\, Chelan<span class='Apple-converted-space'> 
 <br></span>Daniel Lyons\, Fr.\, Music Performance\, Seattle<span class='Ap
 ple-converted-space'> <br></span>Antti Mannisto\, So.\, Mechanical Enginee
 ring\, Bellevue<span class='Apple-converted-space'> </span></p> <p>HORN <br></span>Nicole Bogner\, Fr.\, Music P
 erformance\, Mukilteo*<span class='Apple-converted-space'> <br></span>Kiyo
 shi Colon\, Jr.\, Chemistry\, Everett<span class='Apple-converted-space'> 
 <br></span>Sydney Kuhl\, Sr.\, Computer Science\, Prior Lake\, MN<span cla ss='Apple-converted-space'> <br></span>Noelani Yonahara Stewart\, Jr.\, Po
 litical Science &amp; American Ethnic Studies\, San Francisco\, CA<span class='Apple-converted-space'> <br></span>Roger Wu Fu\, Grad.\, Wind Conducting\
 , Santiago\, Chile<span class='Apple-converted-space'> </span></p> <p>TROM
 BONE<span class='Apple-converted-space'> <br></span>Dion Archer-Roll\, Jr.
 \, Physics\, Vancouver<span class='Apple-converted-space'> <br></span>Pete
 r Lin\, Jr.\, ACMS\, Taipei\, Taiwan<span class='Apple-converted-space'> &lt;
 br&gt;</span>Duncan Weiner\, Sr.\, Linguistics/Aeronautical and Astronautical
  Engineering\, Seattle<span class='Apple-converted-space'> <br></span>Nath
 anael Wyttenbach\, Fr.\, Music Composition\, Richland*<span class='Apple-c
 onverted-space'> </span></p> <p>EUPHONIUM<span class='Apple-converted-spac
 e'> <br></span>Simona Yaroslavsky\, Fr.\, Law\, Societies and Justice\, Me
 rcer Island<span class='Apple-converted-space'> <br></span>Ellie Walker\, 
 Jr.\, Music Education\, Kenmore*<span class='Apple-converted-space'> </p> <p>TUBA<span class='Apple-converted-space'> <br></span>Cole Henslee
 \, Jr.\, Music Performance\, Lakewood<span class='Apple-converted-space'> 
 <br></span>Devin Foster\, Grad.\, Music Performance\, Lithopolis\, OH* <br></span>Foster Patterson\, So.\, Music
  Education\, Aberdeen<span class='Apple-converted-space'> </span></p> <p>B
 ASS<span class='Apple-converted-space'> <br></span>Amelia Matsumoto\, So.\
 , Music Performance\, Bellevue<span class='Apple-converted-space'> <br></s>Eddie Nikishina\, Sr.\, Music Performance\, Bellevue<span class='Apple
 -converted-space'> <br></span>Beau Wood\, Grad.\, Music Performance\, Long
 view*<span class='Apple-converted-space'> </span></p> <p>PERCUSSION<span c lass='Apple-converted-space'> <br></span>Ryan Baker\, Jr.\, Music Composit
 ion\, Gig Harbor*<span class='Apple-converted-space'> <br></span>Kaisho Ba
 rnhill\, So.\, Music Education/Psychology\, Vancouver<span class='Apple-co
 nverted-space'> <br></span>Momoka Fukushima\, Fr.\, Music Performance\, Is
 saquah<span class='Apple-converted-space'> <br></span>Jack Grenda\, So.\, 
 International Relations\, Encinitas\, CA<span class='Apple-converted-space
 '> <br></span>Simon Harty\, Jr.\, Undeclared\, Boise\, ID<span class='Appl
 e-converted-space'> <br></span>Taryn Marks\, Grd.\, Music Performance\, No
 rth Augusta\, SC*<span class='Apple-converted-space'> </span></p> <p>PIANO
 <span class='Apple-converted-space'> <br></span>Mia HyeJeon Kim\, Grad.\, 
 Music Performance\, Seoul\, South Korea<span class='Apple-converted-space'> </span></p> <p>CELESTA<span class='Apple-converted-space'> <br></span>Ra
 chel Huang\, Grad.\, Music Performance\, West Hills\, LA<span class='Apple
 -converted-space'> </span></p> <p>HARP<span class='Apple-converted-space'>
  <br></span>Kelly Guangyin Hou\, Sr.\, Music Performance/Informatics\, Bel
 levue<span class='Apple-converted-space'> </span></p> <p>*principal<span c lass='Apple-converted-space'> </span></p> </td> </tr> </tbody> </table> Biographies</h3> <p>Tubist <strong>Devin Foster\,</strong> from Columbus
 \, Ohio\, first began her musical studies on euphonium and tuba at the age
  of 11. She was admitted to several youth groups such as the Columbus Symp
 hony Youth Orchestra\, Columbus Youth Symphonic Band\, and Columbus Youth 
 Jazz Studio. Devin has received her Bachelor of Music degree in tuba perfo
 rmance at Capital University with Tony Zilincik\, and is currently studyin
 g with John DiCesare at the University of Washington for her Master of Mus
 ic degree in tuba performance. Recently\, she has performed with the Mukil
 teo Symphony Orchestra and Puget Sound Symphony Orchestra. She has also be
 en seen performing with groups such as the Dublin Silver Brass Band\, Puge
 t Brass\, and Women of Harmony Brass Quintet\, and has soloed with groups 
 such as the Capital University Tuba/Euphonium Ensemble and the University 
 of Washington Concert Band.<span class='Apple-converted-space'> </span></p> <p><strong>Kelly Hou</strong> started playing the piano when she was 6 a
 nd began the harp 9 years ago. She studied the harp with Alison Austin whe
 n she was 13\, and later went on to study with Valerie Muzzolini at the Un
 iversity of Washington in 2020. Prior to college\, Kelly played in the Sea
 ttle Youth Symphony for 4 years and placed 3rd in the WMEA State Solo and 
 Ensemble contest in 2019. In 2022\, she was one of three winners of the An
 ne Adams Award. Currently\, she is pursuing both a degree in Informatics a
 nd Music Performance and is a part of the University of Washington Symphon
 y Orchestra as well as the University of Washington Wind Ensemble. She has
  also played with the Washington Wind Ensemble\, Philharmonia Northwest\, 
 The Sound Ensemble\, and Eastside Symphony.<span class='Apple-converted-sp
 ace'> </span></p> <p><strong>Cole Henslee</strong> is a third-year undergr
 aduate tuba performance major from Lakewood\, WA. He started his college c
 areer studying with Don Harry at the Eastman School of Music in Rochester\
 , NY. There he performed with the Eastman Wind Ensemble\, Eastman Brass Gu
 ild and various chamber groups. Cole is in his first year at the Universit
 y of Washington where he studies with John DiCesare. At the University of 
 Washington he is a member of the Wind Ensemble\, Campus Philharmonia Orche
 stra and Husky Marching Band. An advocate of new music\, Cole has played w
 ith Eastman Musica Nova as well as the University of Washington Modern Mus
 ic Ensemble. He has also given premieres of solo and chamber works for var
 ious student composers.<span class='Apple-converted-space'> </span></p>
END:VEVENT
BEGIN:VEVENT
UID:f88e7719-2965-42f6-b1eb-d669982e84c0
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Special Events\, Student Activities and P
 erformances
CLASS:PUBLIC
CREATED:20240405T193538Z
DESCRIPTION:<p>Trumpeter Jun Iida and band headline this special performanc
 e\, part of the 2024 Improvised Music Project Festival (IMPFEST). Opening 
 are UW Jazz Studies faculty Cuong Vu\, trumpet\, and Ted Poor\, drums.</p>
 \n<p><strong>Festival Background</strong><br>The School of Music and the s
 tudent-run Improvised Music Project present IMPFest\, featuring UW Jazz St
 udies students and faculty Cuong Vu\, Ted Poor\, and Steve Rodby performin
 g with guest artists of international renown.  2024 headliners are Chris S
 peed\, saxophone (4/24)\, Jun Iida\, trumpet (4/26)\, and Todd Sickafoose\
 , bass (4/27).</p>\n<hr>\n<p><strong>First Set: </strong> <br>Aadithya Man
 oj - alto saxophone <br>Cole McKittrick - guitar<br>Riley Tobin - bass<br>
 Cuong Vu - trumpet<br>Ted Poor - drums</p>\n<p><strong>Second Set:</strong> <br>Evergreen <br>Jun Iida (trumpet)<br>Xavier Lecouturier (drums)<br>Ke
 lsey Mines (bass)<br>Martin Budde (guitar)<br>Dylan Hayes (piano) </p>\n\n<h3><strong>Schedule</strong></h3>\n<p><strong><a href='https://music.
 washington.edu/events/2024-04-24/improvised-music-project-festival-impfest
 -chris-speed' target='_blank' rel='noopener noreferrer'>Wednesday\, April 
 24: Chris Speed\, saxophone</a><br></strong>7:30 pm\, Chapel Performance S
 pace\, 4649 Sunnyside Ave N\, Seattle\, WA 98103</p>\n<p><a href='https://
 music.washington.edu/events/2024-04-26/improvised-music-project-festival-i
 mpfest-jun-iida' target='_blank' rel='noopener noreferrer'><strong>Friday\
 , April 26:</strong> <strong>Jun Iida\, trumpet</strong></a><br>7:30 pm\, 
 Meany Studio Theater</p>\n<p><a href='https://music.washington.edu/events/
 2024-04-27/improvised-music-project-festival-impfest-todd-sickafoose' targ et='_blank' rel='noopener noreferrer'><strong>Saturday\, April 27:</strong> <strong>Todd Sickafoose\, bass</strong></a><br>7:30 pm\, Meany Studio Th
 eater</p>\n<p>IMPFEST is made possible through generous support from Seatt
 le's Raynier Foundation.</p>\n<hr>\n<h3>Biographies</h3>\n<h3><a href='//www.juniidamusic.com' target='_blank' rel='noopener noreferrer'>Jun I
 ida</a></h3>\n<p class>Trumpeter\, composer\, educator\, and recording art
 ist Jun Iida (Joon Ee-da) has quickly established himself as a highly soug
 ht after musician. A recording and performing artist\, Iida has performed 
 extensively throughout the U.S. at notable jazz clubs\, theaters\, and fes
 tivals with his sextet and as a sideman.</p>\n<p class>Originally from St.
  Louis\, MO\, Iida has lived in Seattle\, Pittsburgh\, Cleveland\, and Los
  Angeles\, and has recently relocated to New York City. Iida has internali
 zed the different styles of music from each region\, making his approach t
 o composing and arranging appealing and unexpected with his subtle amalgam
 ation of contemporary jazz\, blues\, pop\, hip-hop\, soul\, and classical 
 music.</p>\n<p class>The son of Japanese immigrants\, Iida’s mother\, a se
 mi-professional koto (Japanese harp) player\, had a profound influence on 
 his love of music. Iida says\, “My mother was always playing music around 
 the house. She loved all types of music\, especially classical\, and I spe
 nt my formative years listening to Brahms\, Tchaikovsky\, and Mendelssohn.
  My mother wanted to make sure we didn’t lose our culture and language\, s
 o she also taught us Japanese folk and children’s songs. But I also listen
 ed to jazz\, blues\, soul\, rock &amp; roll\, and hip-hop\, which were all pre
 valent in St. Louis when I was very young.”</p>\n<p class>Iida began study
 ing the piano when he was five years old and subsequently started playing 
 the trumpet when he was nine after listening to his mother’s Louis Armstro
 ng album\, Hello Dolly! Although Iida was mainly attracted to jazz when he
  was young\, his interests encompassed a wide range of styles\, and he per
 formed in several classical orchestras and wind ensembles throughout his h
 igh school and college years. Iida went on to study classical music at the
  Cleveland Institute of Music and jazz at Case Western Reserve University\
 , where he also studied aerospace engineering.</p>\n<p class>Iida’s debut 
 album as leader\, Evergreen\, was released January 19\, 2024 on Origin Rec
 ords.</p>\n<p class>“All compositions are reflective of both his Japanese 
 heritage and his command and fluency in jazz composition and stylings\, th
 e two worlds being complementary and mutually enriching on this showing. T
 he diversity of mood and style\, not to mention thoughtful programming of 
 tracks\, is a real strength of this album. All in all\, there is a great d
 eal to enjoy here.” <br>– London Jazz News</p>\n<p class>“Iida’s trumpet d
 elivers a lush\, mellow tone. His improvisations are thoughtfully presente
 d\, surprisingly inventive\, and highly inflected with ornamentations both
  classic jazz and Japanese-inflected elements. He swings in a style which 
 is totally unique. Evergreen is a texturally-varied debut album from Iida 
 and his exceptional musicians. It is colorful and\, at times\, enchanting\
 , stimulating both ear and mind.” <br>– All About Jazz</p>\n<p class>“Iida
  is able to bring in elements of his upbringing\, along with touches of cl
 assical\, and even hip-hop rhythms. As a result\, songs such as the title 
 track “Evergreen” and “Shiki No Uta” are uniquely contemporary yet forward
  leaning. Iida’s solos are elegant and engrossing while the band is given 
 moments to shine to make the entire album a treat. Evergreen by Jun Iida s
 mokes from beginning to end. It’s a fine way to start 2024.” <br>– Slang o
 f Ages</p>\n<h3><a href='https://www.toddsickafoose.com' target='_blank' r el='noopener noreferrer'></a></h3>
DTSTART;TZID=America/Los_Angeles:20240426T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:19
SUMMARY:: Improvised Music Project Festival (IMPFEST): Jun Iida
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-04-27/improvised-music-project
 -festival-impfest-jun-iida
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Trumpeter Jun Iida and band headline this s
 pecial performance\, part of the 2024 Improvised Music Project Festival (I
 MPFEST). Opening are UW Jazz Studies faculty Cuong Vu\, trumpet\, and Ted 
 Poor\, drums.</p> <p><strong>Festival Background</strong><br>The School of
  Music and the student-run Improvised Music Project present IMPFest\, feat
 uring UW Jazz Studies students and faculty Cuong Vu\, Ted Poor\, and Steve
  Rodby performing with guest artists of international renown.  2024 headli
 ners are Chris Speed\, saxophone (4/24)\, Jun Iida\, trumpet (4/26)\, and 
 Todd Sickafoose\, bass (4/27).</p> <hr> <p><strong>First Set: </strong> <b r>Aadithya Manoj - alto saxophone <br>Cole McKittrick - guitar<br>Riley To
 bin - bass<br>Cuong Vu - trumpet<br>Ted Poor - drums</p> <p><strong>Second
  Set:</strong> <br><em>Evergreen <br></em>Jun Iida (trumpet)<br>Xavier Lec
 outurier (drums)<br>Kelsey Mines (bass)<br>Martin Budde (guitar)<br>Dylan 
 Hayes (piano) </p> <hr> <h3><strong>Schedule</strong></h3> <p><strong><a h ref='https://music.washington.edu/events/2024-04-24/improvised-music-proje
 ct-festival-impfest-chris-speed' target='_blank' rel='noopener noreferrer'>Wednesday\, April 24: Chris Speed\, saxophone</a><br></strong>7:30 pm\, C
 hapel Performance Space\, 4649 Sunnyside Ave N\, Seattle\, WA 98103</p> <p><a href='https://music.washington.edu/events/2024-04-26/improvised-music-
 project-festival-impfest-jun-iida' target='_blank' rel='noopener noreferre
 r'><strong>Friday\, April 26:</strong> <strong>Jun Iida\, trumpet</strong>
 </a><br>7:30 pm\, Meany Studio Theater</p> <p><a href='https://music.washi
 ngton.edu/events/2024-04-27/improvised-music-project-festival-impfest-todd
 -sickafoose' target='_blank' rel='noopener noreferrer'><strong>Saturday\, 
 April 27:</strong> <strong>Todd Sickafoose\, bass</strong></a><br><span>7:
 30 pm\, Meany Studio Theater</span></p> <p><em>IMPFEST is made possible th
 rough generous support from Seattle's Raynier Foundation.</em></p> <hr> Biographies</h3> <h3><a href='https://www.juniidamusic.com' target='_bla
 nk' rel='noopener noreferrer'>Jun Iida</a></h3> <p class>Trumpeter\, compo
 ser\, educator\, and recording artist Jun Iida (Joon Ee-da) has quickly es
 tablished himself as a highly sought after musician. A recording and perfo
 rming artist\, Iida has performed extensively throughout the U.S. at notab
 le jazz clubs\, theaters\, and festivals with his sextet and as a sideman.
 </p> <p class>Originally from St. Louis\, MO\, Iida has lived in Seattle\,
  Pittsburgh\, Cleveland\, and Los Angeles\, and has recently relocated to 
 New York City. Iida has internalized the different styles of music from ea
 ch region\, making his approach to composing and arranging appealing and u
 nexpected with his subtle amalgamation of contemporary jazz\, blues\, pop\
 , hip-hop\, soul\, and classical music.</p> <p class>The son of Japanese i
 mmigrants\, Iida’s mother\, a semi-professional koto (Japanese harp) playe
 r\, had a profound influence on his love of music. Iida says\, “My mother 
 was always playing music around the house. She loved all types of music\, 
 especially classical\, and I spent my formative years listening to Brahms\
 , Tchaikovsky\, and Mendelssohn. My mother wanted to make sure we didn’t l
 ose our culture and language\, so she also taught us Japanese folk and chi
 ldren’s songs. But I also listened to jazz\, blues\, soul\, rock &amp; roll\, 
 and hip-hop\, which were all prevalent in St. Louis when I was very young.
 ”</p> <p class>Iida began studying the piano when he was five years old an
 d subsequently started playing the trumpet when he was nine after listenin
 g to his mother’s Louis Armstrong album\, Hello Dolly! Although Iida was m
 ainly attracted to jazz when he was young\, his interests encompassed a wi
 de range of styles\, and he performed in several classical orchestras and 
 wind ensembles throughout his high school and college years. Iida went on 
 to study classical music at the Cleveland Institute of Music and jazz at C
 ase Western Reserve University\, where he also studied aerospace engineeri
 ng.</p> <p class>Iida’s debut album as leader\, Evergreen\, was released J
 anuary 19\, 2024 on Origin Records.</p> <p class><em>“All compositions are
  reflective of both his Japanese heritage and his command and fluency in j
 azz composition and stylings\, the two worlds being complementary and mutu
 ally enriching on this showing. The diversity of mood and style\, not to m
 ention thoughtful programming of tracks\, is a real strength of this album
 . All in all\, there is a great deal to enjoy here.”</em> <br>– London Jaz
 z News</p> <p class><em>“Iida’s trumpet delivers a lush\, mellow tone. His
  improvisations are thoughtfully presented\, surprisingly inventive\, and 
 highly inflected with ornamentations both classic jazz and Japanese-inflec
 ted elements. He swings in a style which is totally unique. Evergreen is a
  texturally-varied debut album from Iida and his exceptional musicians. It
  is colorful and\, at times\, enchanting\, stimulating both ear and mind.”
  </em><br>– All About Jazz</p> <p class>“<em>Iida is able to bring in elem
 ents of his upbringing\, along with touches of classical\, and even hip-ho
 p rhythms. As a result\, songs such as the title track “Evergreen” and “Sh
 iki No Uta” are uniquely contemporary yet forward leaning. Iida’s solos ar
 e elegant and engrossing while the band is given moments to shine to make 
 the entire album a treat. Evergreen by Jun Iida smokes from beginning to e
 nd. It’s a fine way to start 2024.”</em> <br>– Slang of Ages</p> <h3><a hr ef='https://www.toddsickafoose.com' target='_blank' rel='noopener noreferr
 er'></a></h3>
END:VEVENT
BEGIN:VEVENT
UID:8da489cf-2847-4838-99f9-60d70ea646ba
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances\, Student Activities and Per
 formances
CLASS:PUBLIC
CREATED:20230814T180235Z
DESCRIPTION:<p>David Alexander Rahbee conducts the University of Washington
  Symphony and winners of the UW Concerto Competition—Kai-En Cheng\, violin
 \; Rachel Reyes\, flute\; and Ella Kalinichenko\, piano—in a program inclu
 ding winning concerto excerpts\, a UW student composition by graduate stud
 ent Yonatan Ron\, Silvestre Revueltas's Sensemayá\, and Overture to Le roi
  d'Ys\, by Éduard Lalo.   </p>\n<hr>\n<h2><strong>Program<br></strong></h2>\n<p>Flute Concerto\, op. 30a: Hisatada Otaka (1911-1951)<br>Allegro con 
 spirito–Lento–Molto vivace<br>Rachel Reyes\, flute</p>\n<p>What Stood Stil
 l Goes Down Hill: Yonatan Ron (b. 1992)<br>Ryan Farris\, conductor</p>\n<p>The Butterfly Lovers’ Violin Concerto (abridged)<strong>: </strong>Chen G
 ang (b. 1935) &amp; He Zhanhao (b. 1933) <br>Kai-En Cheng\, violin</p>\n<p>-In
 termission-</p>\nPiano Concerto No. 3\, in C minor\, Op. 37………………………..Ludw
 ig van Beethoven (1770-1827)<br>I. Allegro con brio\n<p>Ella Kalinichenko\
 , piano</p>\nSensemayá: Silvestre Revueltas (1899-1940)\n<p> Ryan Farris\,
  conductor</p>\nOverture to Le roi d'Ys: Éduard Lalo (1823-1888)\n<hr>\nProgram Notes</h3>\n<p><strong>Hisatada Otaka
 </strong> (1911-1951) was a highly respected Japanese conductor and compos
 er credited with composing the first Japanese flute concerto and cello con
 certo. Otaka spent his early years  studying composition\, conducting\, an
 d piano between Vienna and Japan then officially returned to conduct the J
 apan Symphony Orchestra in 1940. From his long lasting personal relationsh
 ips with excellent flutists\, he developed an affinity for the flute and s
 aw his Concerto for Flute and Orchestra\, Op. 30b (1948/51) as inevitable.
  Otaka’s works blend German Romanticism and Japanese aesthetics. The livel
 y first movement of the concerto explores the “beauty of sound structure” 
 and begins with an improvisatory theme that diverges into impressive virtu
 osity. The lyrical second movement contemplates a “nostalgia for nature” a
 nd the energetic final movement boasts a “natural flow of sounds and lets 
 every consecutively emerging sound presage the next element of the flow.” 
 After Otaka’s sudden passing in 1951\, his student Hikaru Hayashi complete
 d orchestrating the final movement. Hayashi also consulted flutist Masao Y
 oshida who premiered the work for revisions to the flute solo part. The pi
 ano reduction is arranged by his son\, Atsutada Otaka.<br>–Rachel Reyes</p>\n<p>What Stood Still Goes Down Hill is a refl
 ection on an experience I often had during my youth – where I would quietl
 y practice scales in my room on a poor-sounding\, cheap classical guitar\,
  while noises from the rest of the house would intervene and blend with it
 . These external sounds came from various sources\, ranging from the music
 -records my father would change compulsively in the neighboring room\, thr
 ough early 2000s TV shows my mom would watch in the living room\, to the V
 ideogame-sounds that popped out from my older brother’s room next door. As
  the piece unfolds\, what initially presented itself as familiar\, gradual
 ly becomes more difficult to recognize and distinguish as an independent s
 ound unit — given that it fuses and blends with the surrounding sounds\, a
 s if melting into the ever-transforming textural masses carried by the res
 t of the orchestra. The piece involves immediate imitations of rapidly cas
 cading passages among the strings\, where descending scales are set to pla
 y a 1/3\, 1/5 or 1/7 of a second apart\, making it difficult to grasp the 
 independence of each individual desk\, resulting in a perplexing effect.<b r>–Yonatan Ron</p>\n<p>The Butterfly Lovers Vio
 lin Concerto\, composed in 1959 by <strong>Chen Gang and He Zhanhao at the Shanghai Conservatory of Music\, merges traditional Chinese melo
 dies with Western orchestration. Inspired by the legendary tale of doomed 
 lovers transformed into butterflies\, this piece is renowned for its emoti
 onal depth\, conveyed through the violin's portrayal of the main character
 s\, Liang Shanbo and Zhu Yingtai. This concerto is a masterpiece of cultur
 al fusion\, incorporating pentatonic scales and imitating Chinese folk ins
 truments within a Western symphonic framework. It follows a single movemen
 t divided into sections that reflect the narrative's emotional spectrum\, 
 from joy to despair\, culminating in a poignant finale. The Butterfly Love
 rs Violin Concerto has achieved global acclaim\, becoming a symbol of East
 -West musical integration and a beloved piece in the violin repertoire for
  its storytelling prowess and innovative composition.<br>– Kai-En Cheng</p>\n<p><strong>Beethoven</strong> began contempl
 ating ideas for the Piano Concerto No. 3 in C minor as early as 1796\, but
  he only began the composition process in earnest during autumn of 1799. B
 y April 2\, 1800\, the first movement had essentially reached completion\,
  yet the rest of the concerto movements would not be completed until 1803!
  Despite the prolonged compositional process\, Beethoven’s Piano Concerto 
 No. 3 exhibits a remarkably cohesive vocabulary and a tightly structured f
 orm. The first movement\, marked 'Allegro con brio' (fast with spirit)\, i
 ntroduces the pervasive influence of C minor\, a key Beethoven associated 
 with pathos and a sense of dramatic\, even desperate\, struggle. The orche
 stral introduction begins gently\, yet swiftly transitions into a powerful
  contrast with a second theme: a melodious tune in the relative major key.
  Once the stage is set\, the soloist enters with impetuous scales that int
 roduce the statement of the main theme. From here the music goes on a jour
 ney of main themes adorned with virtuosic flourishes\, and captivating exc
 hanges between soloist and orchestra. After the first orchestral tutti\, t
 he main theme is reintroduced in the sunny key of D major. However\, this 
 doesn't last for long as the music quickly drives towards the commanding C
  minor entrance of the cadenza. The cadenza further expands the dramatic c
 haracter of the concerto with powerful octaves and exhilarating arpeggio r
 uns\, highlighting Beethoven’s virtuosic nature. Following the customary t
 rills concluding the cadenza\, the orchestra re-enters and\, together with
  the pianist\, drives the first movement to a powerful end!<br>–Ella Kalin
 ichenko</p>\n<p>Inspired by a 1934 poem by the 
 Cuban poet Nicolás Guillén\, Sensemayá is perhaps the most famous work by 
 Mexican composer <strong>Silvestre Revueltas.</strong> The full title of G
 uillén’s poem translates to “Chant for Killing a Snake” and depicts a folk
 loric Afro-Cuban ritual of killing and sacrificing a snake with glass-like
  eyes. The essence of the poem\, which pits life against death\, and the s
 nake against its executioners\, is ideally captured by Revueltas\, particu
 larly in the version for full orchestra premiered by the composer at the P
 alacio de Bellas Artes in Mexico City on Dec. 15\, 1938. “The obsessive rh
 ythms [the work is in 7/8 and occasionally 7/16 time]\, the slithering\, p
 ictorial wind writing\, and the threatening brass all combine to create a 
 raw evocation of the ceremony\,” wrote one critic\, “comparable to what St
 ravinsky did for pagan Russia in The Rite of Spring.”<br>-Ryan Farris </p>
 \n<p><strong>Édouard-Victoire-Antoine Lalo completed his education at the Paris Conservatoire before working as 
 a violinist\, teacher\, and later composer. In 1865 he married contralto J
 ulie Besnier de Maligny\, who encouraged his interest in opera and inspire
 d him to write Le roi d’Ys. The plot revolves around the King of Y’s\, an 
 ancient mythical city submerged off the coast of Brittany. The overture wa
 s completed in 1888. The opening statement revolves around a regal theme\,
  painting a picture of the grand hall of the submerged palace. Several the
 mes from the opera are heard\, featuring woodwind solos\, brass fanfares\,
  an extended cello solo\, all suggesting the emotions of love\, longing\, 
 betrayal\, and fate that all unfold during the opera. The music then build
 s in intensity with renewed vigor\, creating a sense of drama and anticipa
 tion\, bringing the work to a rousing conclusion.<br>-Mica Weiland</p>\n\n
 \n\n\n<h5><strong>University of Washington Symphony Orchestra</strong></h5>\n<p>David Alexander Rahbee\, Music Director and Conductor<br>Ryan Farris
  and Daren Weissfisch\, Assistant Conductors</p>\n<p><strong><u></u><strong><u></u></strong><strong><u>Flute</u></strong><strong><br>Katelyn Campbell\, Flute Performance/Biochemistry<br>Grace Jun\, MM Flu
 te Performance<br>Erin McAfee\, MM Flute Performance<br>Yue Zhong\, BM Flu
 te Performance</p>\n<p><strong></strong><strong><u>Piccolo<br></u></strong>Grace Jun\, MM Flute Performance<br>Erin McAfe
 e\, MM Flute Performance<br><strong><br><u>Oboe</u><br></strong>Max Boyd\,
  Oboe Performance<br>Lauren Majewski\, BA Global &amp; Regional Studies</p>\n&lt;
 p style='font-weight: 400\;'&gt;<strong><u>English Horn</u></strong><strong>&lt;
 br&gt;</strong>Kamil Tarnawczyk\, Alumnus</p>\n<p>
 <strong><u>Clarinet</u></strong><strong><br></strong>Ysanne Webb\, DMA Cla
 rinet Performance<strong><br></strong>Nick Zhang\, BS Computer Science</p>
 \n<p><strong><u></u></strong><strong><u>E-Flat 
 Clarinet</u></strong><strong><br></strong>Cameron Lee\, VCD &amp; Informatics&lt;
 /p&gt;\n<p><strong><u>Bass Clarinet</u></strong><s trong><br></strong>Jason Liu\, Mathematics</p>\n<p><strong><u>Bassoon<br></u></strong>Ryan Kapsandy\, BM Bassoon Performa
 nce<br>Griffin Smith\, Music/Philosophy<br>Eric Shankland\, BA Music Histo
 ry<br>Eric Spradling\, BM Bassoon Performance</p>\n<p><strong><u>Contrabassoon<br></u></strong>Griffin Smith\, Music/Phil
 osophy<br><br><strong><u>Horn</u>     <br></strong>Nicole Bogner\, Horn Pe
 rformance<strong><br></strong>Ben Johnson\, MM Horn Performance<br>Colin L
 askarzewski\, BS Physics<strong><br></strong>Yihan Li\, Applied Music<br>S
 am Nutt\, Molecular &amp; Cellular Biology<br>Noelani Stewart\, BA Political S
 cience<br><strong><br><u>Trumpet<br></u></strong>Hans Faul\, Trumpet Perfo
 rmance<br>Kyle Jenkins\, MM Trumpet Performance<br>Daniel Lyons\, Trumpet 
 Performance<br>Antti Männistö\, Mechanical Engineering<strong><br></strong><br><strong><u>Trombone<br></u></strong>Peter Lin\, ACMS<br>Nathanael Wyt
 tenbach\, Music Composition<strong> </strong></p>\n<p><strong><u>Bass Trombone</u></strong><strong><br></strong>Duncan We
 iner\, Aero-Astro Engineering/Linguistics</p>\n<p><strong><u>Tuba<br></u></strong>Joel Horton\, MM Tuba Performance<br>Ad
 am Mtimet\, DMA Tuba Performance<strong><br></strong></p>\n<p><strong><u>Timpani<br></u></strong>Abigail George\, Applied
  Physics<br><br><strong><u>Percussion<br></u></strong>Ryan Baker\, Music C
 omposition/Psychology<br>Kaisho Barnhill\, Music Education<br>Cyan Duong\,
  Music Education<br>Momoka Fukushima\, Music (Percussion)<br>Abigail Georg
 e\, Applied Physics<br>Ivy Moore\, Engineering/Percussion<br>Luigi Salvagg
 io\, Music Performance</p>\n<p><strong><u>Piano
  &amp; Celesta<br></u></strong>Chiao-Yu Wu\, DMA Piano Performance</p>\n<p sty le=' 400\;'><strong><u>Harp<br></u></strong>Kelly Hou\, BM Har
 p/Informatics</p>\n<p><strong><u>Violin I<br></u></strong>Grace Pandra\, Violin Performance (Concertmaster)<br>Tia-Jane F
 owler\, Computer Science/Music<br>Shinyoung Hwang\, Engineering/Violin Per
 formance<br>Brooke Chen\, Public Health<br>Ido Avnon\, Computer Science/Ed
 ucation<br>Justin Chae\, Computer Science<br>David Mok\, Computer Engineer
 ing<br>Alexander Metzger\, Computer Science<br>Ethan Wu\, Biochemistry<br>
 Kara Johnson\, Archeological Sciences<br>Quentin Brydon\, Pre-Nursing<br>A
 melie Martin\, Physics/Mathematics<br>Lyle Deng\, Computer Science<strong>
 <br></strong>Maya DaSilva\, Music/Law Societies &amp; Justice<br>Hao Xu\, Comp
 uter Science<strong><br></strong>Kai-En Cheng\, Economics </p>\n<p><strong><u>Violin II<br></u></strong>Hanu Nahm\, Violi
 n Performance/BS Microbiology (Principal)<br>Nicole Chen\, Informatics<br>
 Sean Sasaki\, Music Education<br>Brandon Bailey\, Computer Science<strong>
 <br></strong>Thea Higgins\, Industrial Engineering<br>Zak Azar\, Pre-Major
 <br>Terra Bronson\, ECFS<strong><br></strong>Allison Kam\, Speech and Hear
 ing Sciences/Linguistics<br>Alice Leppert\, Chemistry<br>Kate Everling\, M
 athematics<br>Victoria Zhuang\, Pre Sciences<br>Ling Yang\, Anthropology<b r>Kevin Lu\, Computer Science<br>Felicia Yeh\, Business Administration<br>
 Fengrui Liu\, Pre-Social Health<br>Hannah Pena-Ruiz\, Music History</p>\n&lt;
 p style='font-weight: 400\;'&gt;<strong><u>Viola</u></strong><strong>     <br></strong>Flora Cummings\, Viola Performance/Biology (Co-Principal)<br>Mic
 a Weiland\, Viola Performance (Co-Principal)<br>Abigail Schidler\, Compute
 r Science<br>Aribella Brushie\, Pre-Science<strong><br></strong>David Del 
 Cid-Saavedra\, Education Studies<br>Melia Golden\, Pre-Humanities<br>Helen
  Hauschka\, Pre Social Sciences<br>Alissa Harbani\, Bioengineering/Music<b r>Melany Nanayakkara\, Mathematics<br>Careu Tapang\, Pre-Sciences<br><br><u>Violoncello</u>         <br></strong>Sarah Johnson\, Cello Perfo
 rmance (Principal)<br>Cory Chen\, Pre-Sciences<br>Ethan Kim\, Psychology<b r>Ignacio (Nacho) Tejeda\, PhD Mathematics<br>Mina Wang\, Cello Performanc
 e<br>Katherine Kang\, Human Centered Design &amp; Engineering<br>Amanda Song\,
  Business<br>Breanna Humphrey\, Microbiology<br>Andrew Vu\, Biology/Chemis
 try<strong><br></strong>Ava Reese\, Anthropology<br>Elijah Kashman\, Engin
 eering Undeclared<br>Noah Croskey\, Engineering Undeclared<br>Bashir Abdel
 -Fattah\, PhD Mathematics<br><strong><br><u>Bass</u>    <br></strong>Ameli
 a Matsumoto\, Engineering (Principal)<br>Rina Ishii\, Environmental Scienc
 e<strong><br></strong>Eddie Nikishina\, BM Music Performance<br>Alejandra 
 Heringer\, English<br>Gabriella Kelley\, Philosophy: Ethics/Pre-Law<br>Bea
 u Wood\, MM Jazz Studies</p>\n\n\n\n\n<h2> Biog
 raphies</h2>\n<p><strong>Rachel Reyes</strong> 
 is a performer and teacher from Snohomish\, WA. Recently\, Reyes won the 2
 024 UW Concerto Competition and 2023 National Flute Association (NFA) Mast
 erclass Competition. She performed at the NFA convention in Phoenix\, AZ a
 nd was a fellow at the 2023 Imani Winds Chamber Music Festival. Other winn
 ings include the 2023 Jacqueline Avent Concerto Competition\, 2022 Arizona
  Flute Society (AFS) Graduate Competition\, and 2021 AFS Collegiate Compet
 ition. She serves as a Teaching Assistant and studies with Donna Shin in p
 ursuit of a DMA at the University of Washington (UW). She currently perfor
 ms with the UW Symphony Orchestra and Modern Music Ensemble. Rachel receiv
 ed her MM from Arizona State University (ASU) where she studied with Dr. E
 lizabeth Buck. At ASU\, Reyes performed with the Symphony Orchestra\, Wind
  Ensemble\, Studio Orchestra\, and 5quint Wind Quintet. She also completed
  her undergraduate studies at UW. In addition to national performances\, R
 eyes has performed in the Philippines and in China. In 2019\, she went on 
 a performance tour and taught in China with the UW Wind Ensemble. She has 
 spent summers at the Sewanee Summer Music Festival\, Brevard Summer Music 
 Institute\, and ARIA International Summer Academy.</p>\n<p>Born in Montclair\, NJ\, (1992) and raised in Israel\, <strong>Yonatan Ron</strong> began his musical journey at age 10\, learning class
 ical guitar and music theory. He studied independently under composer and 
 guitarist Ruben Seroussi\, head of the composition department and Guitar p
 erformance at Tel-Aviv University. Ron participated in the CEME festival h
 eld by ‘Meitar Ensemble’\, hosting figures such as G.F Haas &amp; Philippe Ler
 oux\, among others. He was among the first young composers accepted into M
 eitar Ensemble’s “Tedarim program” from 2015 to 2016. Ron obtained his B.A
 . in 2021 from The Koninklijk Conservatorium\, The Hague\, NL. Currently p
 ursuing his M.M. in Composition at The University of Washington under the 
 guidance of Prof. Huck Hodge and Prof. Yigit Kolat. Ron’s works are publis
 hed in the ‘Israeli Composers League’ and are frequently commissioned by T
 he Israeli Music Festiva. Yonatan received several awards\, including: ‘CC
 C’ (Calefax Composition Contest) 1st Prize award - 2018. The ‘The Israeli 
 Prime Minister Award for Music Composition’ - 2019. The ‘Abraham and Felic
 ija Klohn Prize’ - 2019\, and the ‘Siday Fellowship for Musical Creativity
 ’ in 2018 and 2019. Ron’s music involves seemingly ordinary materials that
  follow gradational transformations\, often until a point of unrecognizabi
 lity. He employs techniques associated with early music\, and is inspired 
 by fields ranging from painting\, through meteorology\, to mathematics and
  psychology.</p>\n<p><strong>Kai-En Cheng is a senior pursuing a double major in Economics and Political Economi
 cs\, with a minor in Data Science. Born into a family deeply immersed in m
 usic—his mother a pianist and his brother\, I-Hao Cheng\, a violinist stud
 ying at the Curtis Institute of Music\, Kai-En's passion for music was nur
 tured from a very young age. He spent the majority of his elementary years
  under the guidance of Prof. Mikhail Kopelman at Eastman\, a crucial perio
 d in his early development as a violinist. Upon returning to Taiwan after 
 his elementary education\, Kai-En made his mark in the competitive scene\,
  securing numerous awards in both municipal and national violin competitio
 ns\, a testament to his skill and dedication. Currently\, he is a student 
 of Prof. Ronald Patterson. Kai-En's journey showcases not only his excepti
 onal musical talent but also his strong academic aspirations. After gradua
 tion\, he plans to pursue a master’s degree in Data Science\, while contin
 uing to advance his violin studies.</p>\n<p>Ella Kalinichenko </strong>is a rising pianist from the state of Wash
 ington\, whose musical journey is defined by dedication\, talent\, and a d
 eep-seated love for the art of music. Ella earned her Bachelor's degree in
  Piano Performance from Pacific Lutheran University\, guided by Dr. Oksana
  Ejokina\, and is now pursuing her Masters at the University of Washington
  under the tutelage of Dr. Christina Valdes. In addition to performing sol
 o\, Ella discovered a passion for collaborative piano\, becoming a trusted
  collaborator among her peers. Regularly assisting fellow students in audi
 tion preparations and recitals\, she has also plugged herself to school an
 d community choirs\, contributing to the local musical landscape. Within h
 er local church\, Ella assumes a vital role in the school of music offerin
 g her skills as an accompanist for choirs and soloists. Her commitment to 
 fostering musical unity and inspiration has made her an integral part of t
 he congregation. Ella’s outstanding performances\, whether solo or as coll
 aborative pianist\, have been raved about by faculty\, students\, donors\,
  and community members. Ella has had multiple opportunities to perform as 
 a soloist with orchestra as well as participate in masterclasses throughou
 t Washington and Oregon. Beyond academic pursuits\, Ella's recent professi
 onal engagements include performing in Benaroya Hall in Seattle\, working 
 with Tacoma Symphony\, taking part in the music organizations of many loca
 l festivals and conferences\, and teaching piano privately from her music 
 studio at home.</p>
DTSTART;TZID=America/Los_Angeles:20240426T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:20
SUMMARY:: UW Symphony with Concerto\, Composition Competition Winners
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-04-27/uw-symphony-concerto-com
 position-competition-winners
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>David Alexander Rahbee conducts the U
 niversity of Washington Symphony and winners of the UW Concerto Competitio
 n—Kai-En Cheng\, violin\; Rachel Reyes\, flute\; and Ella Kalinichenko\, p
 iano—in a program including winning concerto excerpts\, a UW student compo
 sition by graduate student Yonatan Ron\, Silvestre Revueltas's Sensemayá\,
  and Overture to <em>Le roi d'Ys\, </em>by<em> </em>Éduard Lalo.  </span>&lt;
 span&gt;<span class='gmail-Apple-converted-space'> </span></span></p> <hr> <strong>Program<br></strong></h2> <p>Flute Concerto\, op. 30a: Hisatada 
 Otaka (1911-1951)<em><br></em>Allegro con spirito–Lento–Molto vivace<em><b r>Rachel Reyes\, flute</em></p> <p>What Stood Still Goes Down Hill: Yonata
 n Ron (b. 1992)<em><br>Ryan Farris\, conductor</em></p> <p><em>The Butterf
 ly Lovers’</em> Violin Concerto (abridged)<strong>: </strong>Chen Gang (b.
  1935) &amp; He Zhanhao (b. 1933) <br><em>Kai-En Cheng\, violin</em></p> <p>-Intermission-</em></p> <div>Piano Concerto No. 3\, in C minor\, Op. 37…
 ……………………..Ludwig van Beethoven (1770-1827)<br>I. Allegro con brio</div> <p><em>Ella Kalinichenko\, piano</em></p> <div><em>Sensemayá</em><em>: </em>
 Silvestre Revueltas (1899-1940)</div> <p> <em>Ryan Farris\, conductor</em>
 </p> <div>Overture to <em>Le roi d'Ys</em><em>: </em>Éduard Lalo (1823-188
 8)</div> <hr> <h3>Program Notes</h3> <p><strong>Hisatada Otaka</strong> (1911-1951) was a highly respected Japanese condu
 ctor and composer credited with composing the first Japanese flute concert
 o and cello concerto. Otaka spent his early years  studying composition\, 
 conducting\, and piano between Vienna and Japan then officially returned t
 o conduct the Japan Symphony Orchestra in 1940. From his long lasting pers
 onal relationships with excellent flutists\, he developed an affinity for 
 the flute and saw his <em>Concerto for Flute and Orchestra\, Op. 30b</em> 
 (1948/51) as inevitable. Otaka’s works blend German Romanticism and Japane
 se aesthetics. The lively first movement of the concerto explores the “bea
 uty of sound structure” and begins with an improvisatory theme that diverg
 es into impressive virtuosity. The lyrical second movement contemplates a 
 “nostalgia for nature” and the energetic final movement boasts a “natural 
 flow of sounds and lets every consecutively emerging sound presage the nex
 t element of the flow.” After Otaka’s sudden passing in 1951\, his student
  Hikaru Hayashi completed orchestrating the final movement. Hayashi also c
 onsulted flutist Masao Yoshida who premiered the work for revisions to the
  flute solo part. The piano reduction is arranged by his son\, Atsutada Ot
 aka.<br>–Rachel Reyes</p> <p><em>What Stood Sti
 ll Goes Down Hill</em> is a reflection on an experience I often had during
  my youth – where I would quietly practice scales in my room on a poor-sou
 nding\, cheap classical guitar\, while noises from the rest of the house w
 ould intervene and blend with it. These external sounds came from various 
 sources\, ranging from the music-records my father would change compulsive
 ly in the neighboring room\, through early 2000s TV shows my mom would wat
 ch in the living room\, to the Videogame-sounds that popped out from my ol
 der brother’s room next door. As the piece unfolds\, what initially presen
 ted itself as familiar\, gradually becomes more difficult to recognize and
  distinguish as an independent sound unit — given that it fuses and blends
  with the surrounding sounds\, as if melting into the ever-transforming te
 xtural masses carried by the rest of the orchestra. The piece involves imm
 ediate imitations of rapidly cascading passages among the strings\, where 
 descending scales are set to play a 1/3\, 1/5 or 1/7 of a second apart\, m
 aking it difficult to grasp the independence of each individual desk\, res
 ulting in a perplexing effect.<br>–Yonatan Ron</p> <p>The Butterfly Lovers Violin Concerto\, composed in 1959 by <strong>
 Chen Gang and He Zhanhao</strong> at the Shanghai Conservatory of Music\, 
 merges traditional Chinese melodies with Western orchestration. Inspired b
 y the legendary tale of doomed lovers transformed into butterflies\, this 
 piece is renowned for its emotional depth\, conveyed through the violin's 
 portrayal of the main characters\, Liang Shanbo and Zhu Yingtai. This conc
 erto is a masterpiece of cultural fusion\, incorporating pentatonic scales
  and imitating Chinese folk instruments within a Western symphonic framewo
 rk. It follows a single movement divided into sections that reflect the na
 rrative's emotional spectrum\, from joy to despair\, culminating in a poig
 nant finale. The Butterfly Lovers Violin Concerto has achieved global accl
 aim\, becoming a symbol of East-West musical integration and a beloved pie
 ce in the violin repertoire for its storytelling prowess and innovative co
 mposition.<br>– Kai-En Cheng</p> <p><strong>Bee
 thoven</strong> began contemplating ideas for the Piano Concerto No. 3 in 
 C minor as early as 1796\, but he only began the composition process in ea
 rnest during autumn of 1799. By April 2\, 1800\, the first movement had es
 sentially reached completion\, yet the rest of the concerto movements woul
 d not be completed until 1803! Despite the prolonged compositional process
 \, Beethoven’s Piano Concerto No. 3 exhibits a remarkably cohesive vocabul
 ary and a tightly structured form. The first movement\, marked 'Allegro co
 n brio' (fast with spirit)\, introduces the pervasive influence of C minor
 \, a key Beethoven associated with pathos and a sense of dramatic\, even d
 esperate\, struggle. The orchestral introduction begins gently\, yet swift
 ly transitions into a powerful contrast with a second theme: a melodious t
 une in the relative major key. Once the stage is set\, the soloist enters 
 with impetuous scales that introduce the statement of the main theme. From
  here the music goes on a journey of main themes adorned with virtuosic fl
 ourishes\, and captivating exchanges between soloist and orchestra. After 
 the first orchestral tutti\, the main theme is reintroduced in the sunny k
 ey of D major. However\, this doesn't last for long as the music quickly d
 rives towards the commanding C minor entrance of the cadenza. The cadenza 
 further expands the dramatic character of the concerto with powerful octav
 es and exhilarating arpeggio runs\, highlighting Beethoven’s virtuosic nat
 ure. Following the customary trills concluding the cadenza\, the orchestra
  re-enters and\, together with the pianist\, drives the first movement to 
 a powerful end!<br>–Ella Kalinichenko</p> <p>In
 spired by a 1934 poem by the Cuban poet Nicolás Guillén\,<span> </span><em>Sensemayá</em><span> </span>is perhaps the most famous work by Mexican co
 mposer <strong>Silvestre Revueltas.</strong> The full title of Guillén’s p
 oem translates to “Chant for Killing a Snake” and depicts a folkloric Afro
 -Cuban ritual of killing and sacrificing a snake with glass-like eyes. The
  essence of the poem\, which pits life against death\, and the snake again
 st its executioners\, is ideally captured by Revueltas\, particularly in t
 he version for full orchestra premiered by the composer at the Palacio de 
 Bellas Artes in Mexico City on Dec. 15\, 1938. “The obsessive rhythms [the
  work is in 7/8 and occasionally 7/16 time]\, the slithering\, pictorial w
 ind writing\, and the threatening brass all combine to create a raw evocat
 ion of the ceremony\,” wrote one critic\, “comparable to what Stravinsky d
 id for pagan Russia in <em>The Rite of Spring.”<br></em><em>-Ryan Farris</em> </p> <p><strong>Édouard-Victoire-Antoine La
 lo</strong> completed his education at the Paris Conservatoire before work
 ing as a violinist\, teacher\, and later composer. In 1865 he married cont
 ralto Julie Besnier de Maligny\, who encouraged his interest in opera and 
 inspired him to write <em>Le roi d’Ys</em>. The plot revolves around the K
 ing of Y’s\, an ancient mythical city submerged off the coast of Brittany.
  The overture was completed in 1888. The opening statement revolves around
  a regal theme\, painting a picture of the grand hall of the submerged pal
 ace. Several themes from the opera are heard\, featuring woodwind solos\, 
 brass fanfares\, an extended cello solo\, all suggesting the emotions of l
 ove\, longing\, betrayal\, and fate that all unfold during the opera. The 
 music then builds in intensity with renewed vigor\, creating a sense of dr
 ama and anticipation\, bringing the work to a rousing conclusion.<br>-Mica
  Weiland</p> <table> <tbody> <tr> <td> <h5><strong>University of Washington Symphony Orchestra</strong></h5> <p><em>David Alexander Rahbee\, Music Director and Conductor<br>Rya
 n Farris and Daren Weissfisch\, Assistant Conductors</em></p> <p><strong>&lt;
 u&gt;</u></strong><strong><u></u></strong><strong><u>Flute</u></strong><br></strong>Katelyn Campbell\, Flute Performance/Biochemistry<br>Grace 
 Jun\, MM Flute Performance<br>Erin McAfee\, MM Flute Performance<br>Yue Zh
 ong\, BM Flute Performance</p> <p><strong><strong><u>Piccolo<br></u></strong>Grace Jun\, MM Flute Performance<br>Erin McAfee\, MM Flute Performance<br><strong><br><u>Oboe</u><br></strong>Max Boyd\, Oboe Performance<br>Lauren Majewski\, BA Global &amp; Regional Stu
 dies</p> <p><strong><u>English Horn</u></strong><strong><br></strong>Kamil Tarnawczyk\, Alumnus</p> <p><strong><u>Clarinet</u></strong><strong><br></strong>Ysanne Webb\
 , DMA Clarinet Performance<strong><br></strong>Nick Zhang\, BS Computer Sc
 ience</p> <p><strong><u></u></strong><strong><u>E-Flat Clarinet</u></strong><strong><br></strong>Cameron Lee\, VCD &amp; Info
 rmatics</p> <p><strong><u>Bass Clarinet</u><strong><br></strong>Jason Liu\, Mathematics</p> <p><strong><u>Bassoon<br></u></strong>Ryan Kapsandy\, BM Bassoon Pe
 rformance<br>Griffin Smith\, Music/Philosophy<br>Eric Shankland\, BA Music
  History<br>Eric Spradling\, BM Bassoon Performance</p> <p><strong><u>Contrabassoon<br></u></strong>Griffin Smith\, Music
 /Philosophy<br><br><strong><u>Horn</u>     <br></strong>Nicole Bogner\, Ho
 rn Performance<strong><br></strong>Ben Johnson\, MM Horn Performance<br>Co
 lin Laskarzewski\, BS Physics<strong><br></strong>Yihan Li\, Applied Music
 <br>Sam Nutt\, Molecular &amp; Cellular Biology<br>Noelani Stewart\, BA Politi
 cal Science<br><strong><br><u>Trumpet<br></u></strong>Hans Faul\, Trumpet 
 Performance<br>Kyle Jenkins\, MM Trumpet Performance<br>Daniel Lyons\, Tru
 mpet Performance<br>Antti Männistö\, Mechanical Engineering<strong><br></s><br><strong><u>Trombone<br></u></strong>Peter Lin\, ACMS<br>Nathanae
 l Wyttenbach\, Music Composition<strong> </strong></p> <p><strong><u>Bass Trombone</u></strong><strong><br></strong>Dunca
 n Weiner\, Aero-Astro Engineering/Linguistics</p> <p><strong><u>Tuba<br></u></strong>Joel Horton\, MM Tuba Performance<br>Adam Mtimet\, DMA Tuba Performance<strong><br></strong></p> <p><strong><u>Timpani<br></u></strong>Abigail George\, Appli
 ed Physics<br><br><strong><u>Percussion<br></u></strong>Ryan Baker\, Music
  Composition/Psychology<br>Kaisho Barnhill\, Music Education<br>Cyan Duong
 \, Music Education<br>Momoka Fukushima\, Music (Percussion)<br>Abigail Geo
 rge\, Applied Physics<br>Ivy Moore\, Engineering/Percussion<br>Luigi Salva
 ggio\, Music Performance</p> <p><strong><u>Pian
 o &amp; Celesta<br></u></strong>Chiao-Yu Wu\, DMA Piano Performance</p> <p sty le=' 400\;'><strong><u>Harp<br></u></strong>Kelly Hou\, BM Har
 p/Informatics</p> <p><strong><u>Violin I<br></u></strong>Grace Pandra\, Violin Performance (Concertmaster)<br>Tia-Jane Fo
 wler\, Computer Science/Music<br>Shinyoung Hwang\, Engineering/Violin Perf
 ormance<br>Brooke Chen\, Public Health<br>Ido Avnon\, Computer Science/Edu
 cation<br>Justin Chae\, Computer Science<br>David Mok\, Computer Engineeri
 ng<br>Alexander Metzger\, Computer Science<br>Ethan Wu\, Biochemistry<br>K
 ara Johnson\, Archeological Sciences<br>Quentin Brydon\, Pre-Nursing<br>Am
 elie Martin\, Physics/Mathematics<br>Lyle Deng\, Computer Science<strong>&lt;
 br&gt;</strong>Maya DaSilva\, Music/Law Societies &amp; Justice<br>Hao Xu\, Compu
 ter Science<strong><br></strong>Kai-En Cheng\, Economics </p> <p><strong><u>Violin II<br></u></strong>Hanu Nahm\, Violin 
 Performance/BS Microbiology (Principal)<br>Nicole Chen\, Informatics<br>Se
 an Sasaki\, Music Education<br>Brandon Bailey\, Computer Science<strong><b r></strong>Thea Higgins\, Industrial Engineering<br>Zak Azar\, Pre-Major<b r>Terra Bronson\, ECFS<strong><br></strong>Allison Kam\, Speech and Hearin
 g Sciences/Linguistics<br>Alice Leppert\, Chemistry<br>Kate Everling\, Mat
 hematics<br>Victoria Zhuang\, Pre Sciences<br>Ling Yang\, Anthropology<br>
 Kevin Lu\, Computer Science<br>Felicia Yeh\, Business Administration<br>Fe
 ngrui Liu\, Pre-Social Health<br>Hannah Pena-Ruiz\, Music History</p> <p s tyle=' 400\;'><strong><u>Viola</u></strong><strong>     <br></strong>Flora Cummings\, Viola Performance/Biology (Co-Principal)<br>Mica W
 eiland\, Viola Performance (Co-Principal)<br>Abigail Schidler\, Computer S
 cience<br>Aribella Brushie\, Pre-Science<strong><br></strong>David Del Cid
 -Saavedra\, Education Studies<br>Melia Golden\, Pre-Humanities<br>Helen Ha
 uschka\, Pre Social Sciences<br>Alissa Harbani\, Bioengineering/Music<br>M
 elany Nanayakkara\, Mathematics<br>Careu Tapang\, Pre-Sciences<br><strong>
 <br><u>Violoncello</u>         <br></strong>Sarah Johnson\, Cello Performa
 nce (Principal)<br>Cory Chen\, Pre-Sciences<br>Ethan Kim\, Psychology<br>I
 gnacio (Nacho) Tejeda\, PhD Mathematics<br>Mina Wang\, Cello Performance<b r>Katherine Kang\, Human Centered Design &amp; Engineering<br>Amanda Song\, Bu
 siness<br>Breanna Humphrey\, Microbiology<br>Andrew Vu\, Biology/Chemistry
 <strong><br></strong>Ava Reese\, Anthropology<br>Elijah Kashman\, Engineer
 ing Undeclared<br>Noah Croskey\, Engineering Undeclared<br>Bashir Abdel-Fa
 ttah\, PhD Mathematics<br><strong><br><u>Bass</u>    <br></strong>Amelia M
 atsumoto\, Engineering (Principal)<br>Rina Ishii\, Environmental Science<s trong><br></strong>Eddie Nikishina\, BM Music Performance<br>Alejandra Her
 inger\, English<br>Gabriella Kelley\, Philosophy: Ethics/Pre-Law<br>Beau W
 ood\, MM Jazz Studies</p> </td> </tr> </tbody> </table> <h2> Biographies</h2> <p><strong>Rache
 l Reyes</strong> is a performer and teacher from Snohomish\, WA. Recently\
 , Reyes won the 2024 UW Concerto Competition and 2023 National Flute Assoc
 iation (NFA) Masterclass Competition. She performed at the NFA convention 
 in Phoenix\, AZ and was a fellow at the 2023 Imani Winds Chamber Music Fes
 tival. Other winnings include the 2023 Jacqueline Avent Concerto Competiti
 on\, 2022 Arizona Flute Society (AFS) Graduate Competition\, and 2021 AFS 
 Collegiate Competition. She serves as a Teaching Assistant and studies wit
 h Donna Shin in pursuit of a DMA at the University of Washington (UW). She
  currently performs with the UW Symphony Orchestra and Modern Music Ensemb
 le. Rachel received her MM from Arizona State University (ASU) where she s
 tudied with Dr. Elizabeth Buck. At ASU\, Reyes performed with the Symphony
  Orchestra\, Wind Ensemble\, Studio Orchestra\, and 5quint Wind Quintet. S
 he also completed her undergraduate studies at UW. In addition to national
  performances\, Reyes has performed in the Philippines and in China. In 20
 19\, she went on a performance tour and taught in China with the UW Wind E
 nsemble. She has spent summers at the Sewanee Summer Music Festival\, Brev
 ard Summer Music Institute\, and ARIA International Summer Academy.</p> <p>Born in Montclair\, NJ\, (1992) and raised in 
 Israel\, <strong>Yonatan Ron</strong> began his musical journey at age 10\
 , learning classical guitar and music theory. He studied independently und
 er composer and guitarist Ruben Seroussi\, head of the composition departm
 ent and Guitar performance at Tel-Aviv University. Ron participated in the
  CEME festival held by ‘Meitar Ensemble’\, hosting figures such as G.F Haa
 s &amp; Philippe Leroux\, among others. He was among the first young composers
  accepted into Meitar Ensemble’s “Tedarim program” from 2015 to 2016. Ron 
 obtained his B.A. in 2021 from The Koninklijk Conservatorium\, The Hague\,
  NL. Currently pursuing his M.M. in Composition at The University of Washi
 ngton under the guidance of Prof. Huck Hodge and Prof. Yigit Kolat. Ron’s 
 works are published in the ‘Israeli Composers League’ and are frequently c
 ommissioned by The Israeli Music Festiva. Yonatan received several awards\
 , including: ‘CCC’ (Calefax Composition Contest) 1st Prize award - 2018. T
 he ‘The Israeli Prime Minister Award for Music Composition’ - 2019. The ‘A
 braham and Felicija Klohn Prize’ - 2019\, and the ‘Siday Fellowship for Mu
 sical Creativity’ in 2018 and 2019. Ron’s music involves seemingly ordinar
 y materials that follow gradational transformations\, often until a point 
 of unrecognizability. He employs techniques associated with early music\, 
 and is inspired by fields ranging from painting\, through meteorology\, to
  mathematics and psychology.</p> <p><strong>Kai
 -En Cheng</strong> is a senior pursuing a double major in Economics and Po
 litical Economics\, with a minor in Data Science. Born into a family deepl
 y immersed in music—his mother a pianist and his brother\, I-Hao Cheng\, a
  violinist studying at the Curtis Institute of Music\, Kai-En's passion fo
 r music was nurtured from a very young age. He spent the majority of his e
 lementary years under the guidance of Prof. Mikhail Kopelman at Eastman\, 
 a crucial period in his early development as a violinist. Upon returning t
 o Taiwan after his elementary education\, Kai-En made his mark in the comp
 etitive scene\, securing numerous awards in both municipal and national vi
 olin competitions\, a testament to his skill and dedication. Currently\, h
 e is a student of Prof. Ronald Patterson. Kai-En's journey showcases not o
 nly his exceptional musical talent but also his strong academic aspiration
 s. After graduation\, he plans to pursue a master’s degree in Data Science
 \, while continuing to advance his violin studies.</p> <p><strong>Ella Kalinichenko </strong>is a rising pianist from the
  state of Washington\, whose musical journey is defined by dedication\, ta
 lent\, and a deep-seated love for the art of music. Ella earned her Bachel
 or's degree in Piano Performance from Pacific Lutheran University\, guided
  by Dr. Oksana Ejokina\, and is now pursuing her Masters at the University
  of Washington under the tutelage of Dr. Christina Valdes. In addition to 
 performing solo\, Ella discovered a passion for collaborative piano\, beco
 ming a trusted collaborator among her peers. Regularly assisting fellow st
 udents in audition preparations and recitals\, she has also plugged hersel
 f to school and community choirs\, contributing to the local musical lands
 cape. Within her local church\, Ella assumes a vital role in the school of
  music offering her skills as an accompanist for choirs and soloists. Her 
 commitment to fostering musical unity and inspiration has made her an inte
 gral part of the congregation. Ella’s outstanding performances\, whether s
 olo or as collaborative pianist\, have been raved about by faculty\, stude
 nts\, donors\, and community members. Ella has had multiple opportunities 
 to perform as a soloist with orchestra as well as participate in mastercla
 sses throughout Washington and Oregon. Beyond academic pursuits\, Ella's r
 ecent professional engagements include performing in Benaroya Hall in Seat
 tle\, working with Tacoma Symphony\, taking part in the music organization
 s of many local festivals and conferences\, and teaching piano privately f
 rom her music studio at home.</p>
END:VEVENT
BEGIN:VEVENT
UID:c5b6ae15-5aac-490e-b9b2-a7120467b713
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Special Events\, Student Activities and P
 erformances
CLASS:PUBLIC
CREATED:20230811T213158Z
DESCRIPTION:<p>Renowned bassist Todd Sickafoose headlines this special perf
 ormance\, part of the 2024 Improvised Music Project Festival (IMPFEST)\, p
 erforming sets with UW Jazz Studies students and with faculty Cuong Vu\, t
 rumpet\, Ted Poor\, drums\, and Steve Rodby\, bass.</p>\n<p><strong>Festiv
 al Background</strong><br>The School of Music and the student-run Improvis
 ed Music Project present IMPFest\, featuring UW Jazz Studies students and 
 faculty Cuong Vu\, Ted Poor\, and Steve Rodby performing with guest artist
 s of international renown.  2024 headliners are Chris Speed\, saxophone (4
 /24)\, Jun Iida\, trumpet (4/26)\, and Todd Sickafoose\, bass (4/27).</p>
 \n<hr>\n<p><strong>First Set:</strong><br>Todd Sickafoose - bass and compo
 sitions<br>Yotam Snir - tenor saxophone<br>Jai Lasker - guitar<br>Markus T
 euton - guitar<br>Natalie Song - piano<br>Solomon Lubell - bass<br>Lily Dr
 opkin - drums<br>EJ Brannan - drums</p>\n<p><strong>Second Set:<br>Todd Sickafoose - bass and compositions<br>Cuong Vu - trumpet<br>Ted Poo
 r - drums</p>\n<hr>\n<h3><strong>Schedule</strong></h3>\n<p><strong><a hre f='https://music.washington.edu/events/2024-04-24/improvised-music-project
 -festival-impfest-chris-speed' target='_blank' rel='noopener noreferrer'>W
 ednesday\, April 24: Chris Speed\, saxophone</a><br></strong>7:30 pm\, Cha
 pel Performance Space\, 4649 Sunnyside Ave N\, Seattle\, WA 98103</p>\n<p>
 <a href='https://music.washington.edu/events/2024-04-26/improvised-music-p
 roject-festival-impfest-jun-iida' target='_blank' rel='noopener noreferrer
 '><strong>Friday\, April 26:</strong> <strong>Jun Iida\, trumpet</strong>&lt;
 /a&gt;<br>7:30 pm\, Meany Studio Theater</p>\n<p><a href='https://music.washi
 ngton.edu/events/2024-04-27/improvised-music-project-festival-impfest-todd
 -sickafoose' target='_blank' rel='noopener noreferrer'><strong>Saturday\, 
 April 27:</strong> <strong>Todd Sickafoose\, bass</strong></a><br>7:30 pm\
 , Meany Studio Theater</p>\n<p>IMPFEST is made possible through generous s
 upport from Seattle's Raynier Foundation.</p>\n<hr>\n<h3>Biographies</h3>
 \n<h3><a href='https://www.juniidamusic.com' target='_blank' rel='noopener
  noreferrer'></a><a href='https://www.toddsickafoose.com' target='_blank' rel='noopener noreferrer'>Todd Sickafoose</a></h3>\n<p class>Todd Sickafoo
 se is a Tony and Grammy award-winning composer\, producer\, arranger\, orc
 hestrator\, bandleader and double bassist. He has performed on hundreds of
  recordings\, toured internationally\, appeared at music venues and festiv
 als from Carnegie Hall to New Orleans Jazz &amp; Heritage Festival\, and playe
 d on national television and radio programs including the Tonight Show wit
 h Jay Leno\, Late Show with Conan O’Brien\, The Artists Den\, and NPR’s Mo
 untain Stage. Known as a musical cross-breeder who stretches across genres
 \, Sickafoose has been described by the San Francisco Chronicle as “a capt
 ivating improviser\, imaginative composer\, and master of collaboration”.&lt;
 /p&gt;\n<p class>In 2004\, Sickafoose began performing and recording in a duo
  format with folk poet\, activist and cultural icon Ani DiFranco. Their re
 lationship has developed for nearly two decades – together they have made 
 7 albums\, two concert DVDs\, and performed over 1000 shows.</p>\n<p class>In 2007\, Sickafoose began working on Anaïs Mitchell's folk opera\, Hades
 town\, wearing many hats including arranger/orchestrator and music produce
 r. After years of development and regional productions\, the show opened a
 t the Walter Kerr Theater on Broadway in 2019 and won 8 Tony Awards\, incl
 uding Best Musical and Best Orchestrations for Sickafoose and collaborator
  Michael Chorney. Sickafoose produced the Hadestown Original Broadway Cast
  Recording which won a 2019 Grammy for Best Musical Theater Recording. Had
 estown continues to run both on Broadway and a North American Tour\, and w
 ill open on London’s West End in early 2024.</p>\n<p class>Straddling the 
 worlds of folk\, indie rock\, jazz and chamber music\, Sickafoose’s own ba
 nd Tiny Resistors has performed at the North Sea Jazz Festival\, Stern Gro
 ve Festival\, Angel City Jazz Festival and been featured on many “Best-Of”
  lists including the Village Voice and JazzTimes. Writing for Tiny Resisto
 rs\, he recently composed Bear Proof\, a long-form chamber jazz hybrid com
 missioned by the Doris Duke Foundation.</p>\n<h3><a href='http://www.chris
 speed.com' target='_blank' rel='noopener noreferrer'></a></h3>
DTSTART;TZID=America/Los_Angeles:20240427T193000
LAST-MODIFIED:20240424T224229Z
SEQUENCE:21
SUMMARY:: Improvised Music Project Festival (IMPFEST): Todd Sickafoose
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-04-28/improvised-music-project
 -festival-impfest-todd-sickafoose
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Renowned bassist Todd Sickafoose headlines 
 this special performance\, part of the 2024 Improvised Music Project Festi
 val (IMPFEST)\, performing sets with UW Jazz Studies students and with fac
 ulty Cuong Vu\, trumpet\, Ted Poor\, drums\, and Steve Rodby\, bass.</p> &lt;
 p&gt;<strong>Festival Background</strong><br>The School of Music and the stud
 ent-run Improvised Music Project present IMPFest\, featuring UW Jazz Studi
 es students and faculty Cuong Vu\, Ted Poor\, and Steve Rodby performing w
 ith guest artists of international renown.  2024 headliners are Chris Spee
 d\, saxophone (4/24)\, Jun Iida\, trumpet (4/26)\, and Todd Sickafoose\, b
 ass (4/27).</p> <hr> <p><strong>First Set:</strong><br>Todd Sickafoose - b
 ass and compositions<br>Yotam Snir - tenor saxophone<br>Jai Lasker - guita
 r<br>Markus Teuton - guitar<br>Natalie Song - piano<br>Solomon Lubell - ba
 ss<br>Lily Dropkin - drums<br>EJ Brannan - drums</p> <p><strong>Second Set
 :<br></strong>Todd Sickafoose - bass and compositions<br>Cuong Vu - trumpe
 t<br>Ted Poor - drums</p> <hr> <h3><strong>Schedule</strong></h3> <p><a href='https://music.washington.edu/events/2024-04-24/improvised-musi
 c-project-festival-impfest-chris-speed' target='_blank' rel='noopener nore
 ferrer'>Wednesday\, April 24: Chris Speed\, saxophone</a><br></strong>7:30
  pm\, Chapel Performance Space\, 4649 Sunnyside Ave N\, Seattle\, WA 98103
 </p> <p><a href='https://music.washington.edu/events/2024-04-26/improvised
 -music-project-festival-impfest-jun-iida' target='_blank' rel='noopener no
 referrer'><strong>Friday\, April 26:</strong> <strong>Jun Iida\, trumpet</strong></a><br>7:30 pm\, Meany Studio Theater</p> <p><a href='https://musi
 c.washington.edu/events/2024-04-27/improvised-music-project-festival-impfe
 st-todd-sickafoose' target='_blank' rel='noopener noreferrer'><strong>Satu
 rday\, April 27:</strong> <strong>Todd Sickafoose\, bass</strong></a><br>&lt;
 span&gt;7:30 pm\, Meany Studio Theater</span></p> <p><em>IMPFEST is made poss
 ible through generous support from Seattle's Raynier Foundation.</em></p> 
 <hr> <h3>Biographies</h3> <h3><a href='https://www.juniidamusic.com' targe t='_blank' rel='noopener noreferrer'></a><a href='https://www.toddsickafoo
 se.com' target='_blank' rel='noopener noreferrer'>Todd Sickafoose</a></h3>
  <p class>Todd Sickafoose is a Tony and Grammy award-winning composer\, pr
 oducer\, arranger\, orchestrator\, bandleader and double bassist. He has p
 erformed on hundreds of recordings\, toured internationally\, appeared at 
 music venues and festivals from Carnegie Hall to New Orleans Jazz &amp; Herita
 ge Festival\, and played on national television and radio programs includi
 ng the Tonight Show with Jay Leno\, Late Show with Conan O’Brien\, The Art
 ists Den\, and NPR’s Mountain Stage. Known as a musical cross-breeder who 
 stretches across genres\, Sickafoose has been described by the <em>San Fra
 ncisco Chronicle</em> as “a captivating improviser\, imaginative composer\
 , and master of collaboration”.</p> <p class>In 2004\, Sickafoose began pe
 rforming and recording in a duo format with folk poet\, activist and cultu
 ral icon Ani DiFranco. Their relationship has developed for nearly two dec
 ades – together they have made 7 albums\, two concert DVDs\, and performed
  over 1000 shows.</p> <p class>In 2007\, Sickafoose began working on Anaïs
  Mitchell's folk opera\, Hadestown\, wearing many hats including arranger/
 orchestrator and music producer. After years of development and regional p
 roductions\, the show opened at the Walter Kerr Theater on Broadway in 201
 9 and won 8 Tony Awards\, including Best Musical and Best Orchestrations f
 or Sickafoose and collaborator Michael Chorney. Sickafoose produced the Ha
 destown Original Broadway Cast Recording which won a 2019 Grammy for Best 
 Musical Theater Recording. Hadestown continues to run both on Broadway and
  a North American Tour\, and will open on London’s West End in early 2024.
 </p> <p class>Straddling the worlds of folk\, indie rock\, jazz and chambe
 r music\, Sickafoose’s own band Tiny Resistors has performed at the North 
 Sea Jazz Festival\, Stern Grove Festival\, Angel City Jazz Festival and be
 en featured on many “Best-Of” lists including the Village Voice and JazzTi
 mes. Writing for Tiny Resistors\, he recently composed Bear Proof\, a long
 -form chamber jazz hybrid commissioned by the Doris Duke Foundation.</p> &lt;
 h3&gt;<a href='http://www.chrisspeed.com' target='_blank' rel='noopener noref
 errer'></a></h3>
END:VEVENT
BEGIN:VEVENT
UID:4aef1b30-7610-40ef-84a9-8f9cbf315447
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20240422T124617Z
DESCRIPTION:<p class='elementToProof'> “Unimagined Corners\,” a degree reci
 tal by Cee E. Adamson\, DMA Vocal Performance/Choral Conducting\, a studen
 t of Dr. Geoffrey Boers. Featuring the UW Recital Choir\, UW Cohort Ensemb
 le\, and University Singers. With Steve Swanson\, piano.</p>\n<hr>\n<h3>Bi
 ography</h3>
DTSTART;TZID=America/Los_Angeles:20240427T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:22
SUMMARY:: Degree Recital: Cee E. Adamson\, DMA\, Vocal Performance/Choral C
 onducting
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-04-28/degree-recital-cee-e-ada
 mson-dma-vocal-performancechoral-conducting
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p class='elementToProof'><span> “Unimagined C
 orners\,” a degree recital by Cee E. Adamson\, DMA Vocal Performance/Chora
 l Conducting\, a student of Dr. Geoffrey Boers. Featuring the UW Recital C
 hoir\, UW Cohort Ensemble\, and University Singers. With </span><span>Stev
 e Swanson\, piano.</span></p> <hr> <h3>Biography</h3>
END:VEVENT
BEGIN:VEVENT
UID:c69e624d-fc99-4b76-8d39-42d75915f0be
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20230810T214605Z
DESCRIPTION:<p></p>\n<p>Fingers will fly\, with air traffic control require
 d at the two keyboards when faculty pianists Robin McCabe\, Cristina Valdé
 s and Craig Sheppard join forces with guest artist Rachelle McCabe to pres
 ent dynamic and festive arrangements for Two Pianos\, Eight Hands.</p>\n\n<h3>Program</h3>\n<p><strong>W.A. Mozart </strong>(1756-1791): Overture to The Magic Flute<br>Piano 1:  Cristina Vald
 és\, Rachelle McCabe<br>Piano 2:  Craig Sheppard\, Robin McCabe</p>\n<p st yle=' 400\;'><strong>Franz Schuber</strong>t (1797-1828): Gran
 d Rondo in A major\, D. 951<br>Rachelle McCabe and Craig Sheppard</p>\n<p><strong>Igor Stravinsky</strong> (1882-1971): T
 he Firebird Suite (Transcribed by Joo-Hye Lee)<br>Danse Infernale<br>Berce
 use <br>Finale<br>Piano 1: Robin McCabe\, Rachelle McCabe<br>Piano 2: Crai
 g Sheppard\, Cristina Valdés</p>\n<p><strong>In
 termission</strong></p>\n<p><strong>Leonard Ber
 nstein</strong> (1918-1990): Overture to Candide<br>Transcribed by Laurent
  Beeckmans<br>Piano 1: Cristina Valdés\, Craig Sheppard<br>Piano 2:   Robi
 n McCabe\, Rachelle McCabe</p>\n<p><strong>Céci
 le Chaminade</strong> (1857-1944): Pièces Romantiques\, Opus 55<br>Primave
 ra<br>La Chaise à Porteurs<br>Idylle Arabe<br>Sérénade d’Automne<br>Rigaud
 on<br>Danse Hindoue<br>Cristina Valdés and Robin McCabe</p>\n<p><strong>Georges Bizet</strong> (1838-1875): Fantasy on Th
 emes from Carmen<br>Transcribed by Mack Wilberg<br>Piano 1: Craig Sheppard
 \, Rachelle McCabe<br>Piano 2: Robin McCabe\, Cristina Valdés</p>\n<hr>\n&lt;
 h3&gt;Program Note</h3>\n<p><strong>Thoughts on To
 night’s Program<br></strong>We pianists spend a <u>LOT</u> of time alone a
 t the keyboard. Unlike members of an orchestra or opera company\, for exam
 ple\, we work almost entirely alone\, honing our craft.  So\, imagine the 
 joy and elation that comes in partnering with others of our same species\,
  to celebrate and relish the power of the piano!!</p>\n<p>This\, then\, is the spirit of tonight’s program.  Now why\, yo
 u might ask\, are we trespassing on and poaching from the repertoire of op
 era\, symphony and musical theater? Don’t we have enough of our own piano 
 literature to keep us contented?</p>\n<p>The an
 swer to this lies in our conviction that the piano as an instrument has th
 e power to evoke limitless possibilities of timbre\, color and texture. Th
 rough the piano we can conjure up the world of different instrumental “voi
 ces” and atmospheres. “The piano possesses its own occult powers\,” said c
 ritic Alex Ross in a recent New Yorker review of transcriptions performed 
 by Igor Levit at Carnegie Hall. </p>\n<p>Throug
 h the piano\, and in the hands of a good pianist\, our instrument <u>can &lt;
 /u&gt;be a “virtual” orchestra. The cleverly-constructed transcriptions we br
 ing you this evening will hopefully affirm this. And\, most importantly\, 
 we hope that <u>you </u>will enjoy your immersion into this enticing world
 \, with the four of us.<br>—Program notes ©2024\, Robin McCabe </p>\n<hr>
 \n<h3>Biographies</h3>\n<h3><strong><a href='//liberalarts.oregonstate.edu/users/rachelle-mc-cabe' target='_blank' rel='noopener noreferrer'>Rachelle McCabe</a></strong></h3>\n<p><strong></strong>Rachelle McCabe\, professor emerita of music at Oregon State Univer
 sity\, enjoys an international career as a concert pianist and artist teac
 her. She has performed as soloist and chamber musician throughout the Unit
 ed States and the United Kingdom\, as well as in China\, Canada\, Southeas
 t Asia\, and France. She has held teaching residencies in Hong Kong\, Kual
 a Lumpur\, Singapore\, and British Columbia. </p>\n<p>Rachelle McCabe is t
 he artistic director of Corvallis-OSU Piano International with its prestig
 ious Steinway Piano Series\, workshops\, and educational outreach programs
 . In lieu of live concerts during the pandemic lockdown\, Rachelle directe
 d an exciting virtual piano festival presenting more than 20 world-renowne
 d pianists in exclusive performances. The festival is available at Corvall
 ispiano.org.  Rachelle also directs the OSU Chamber Music Workshop and the
  OSU Piano Institute\, both summer programs.</p>\n<p>Believing in the powe
 r of collaborative arts to help bring about change\, Rachelle has created 
 innovative programs and videos with writer/philosopher Kathleen Dean Moore
  and various other poets\, artists\, and scientists to address the global 
 crisis of climate change and extinction. McCabe and Moore have performed t
 heir compelling program\, Variations on a Theme of Extinction\, in many ci
 ties across the USA\, Canada\, and Scotland\, and a film version which wea
 ves Rachelle’s studio performance of Rachmaninoff’s Variations on a Theme 
 of Corelli with Kathleen’s spoken narrative in various Oregon locations is
  found on YouTube.</p>\n<p>Rachelle McCabe is a highly respected teacher a
 nd since completing her 35-year professorship at Oregon State in 2021\, sh
 e keeps an independent studio of highly motivated students. In demand as a
  guest artist teacher and adjudicator\, her current schedule includes mast
 er classes and festivals as well as concerts in Hong Kong\, Atlanta\, Port
 land\, Eugene\, and Seattle.</p>\n<p>Rachelle holds a doctorate (DMA) from
  The University of Michigan\, a master's degree from The Juilliard School\
 , and a bachelor’s degree from The University of Washington. Her teachers 
 were Willard Schultz\, Bela Siki\, Ania Dorfmann\, Gyorgy Sandor\, and The
 odore Lettvin. </p>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20240430T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:23
SUMMARY:: Faculty Concert:  Robin McCabe\, Craig Sheppard\, Cristina Valdés
 \, Rachelle McCabe: Piano Power!
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-01/faculty-concert-robin-mc
 cabe-craig-sheppard-cristina-valdes-rachelle-mccabe-piano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Fingers will fly\, with air traffic
  control required at the two keyboards when faculty pianists Robin McCabe\
 , Cristina Valdés and Craig Sheppard join forces with guest artist Rachell
 e McCabe to present dynamic and festive arrangements for Two Pianos\, Eigh
 t Hands.</p> <hr> <h3>Program</h3> <p><strong>W
 .A. Mozart </strong>(1756-1791): Overture to <em>The Magic Flute<br>Piano 
 1:  Cristina Valdés\, Rachelle McCabe</em><br><em>Piano 2:  Craig Sheppard
 \, Robin McCabe</em></p> <p><strong>Franz Schub
 er</strong>t (1797-1828<span>)</span><span>: </span>Grand Rondo in A major
 \, D. 951<br><em>Rachelle McCabe and Craig Sheppard</em></p> <p><strong>Igor Stravinsky</strong> (1882-1971): <em>The Fir
 ebird Suite </em>(Transcribed by Joo-Hye Lee)<br>Danse Infernale<br><span>
 </span>Berceuse<span> <br></span>Finale<br><em>Piano 1: Robin McCabe\, Rac
 helle McCabe</em><br><em>Piano 2: Craig Sheppard\, Cristina Valdés</em></p> <p><strong>Intermission</strong></p> <p><strong>Leonard Bernstein</strong> (1918-1990<span>)
 :</span><span> </span>Overture to <em>Candide<br></em><span></span>Transcr
 ibed by Laurent Beeckmans<br><span></span><em>Piano 1: Cristina Valdés\, C
 raig Sheppard</em><br><em>Piano 2:   Robin McCabe\, Rachelle McCabe</em></p> <p><strong>Cécile Chaminade</strong> (1857-1
 944):<span> </span>Pièces Romantiques\, Opus 55<br>Primavera<br><span>La Chaise à Porteurs<br>Idylle Arabe<br>Sérénade d’Automne<br>Rigaudon&lt;
 br&gt;Danse Hindoue<br><em>Cristina Valdés and Robin McCabe</em></p> <p><strong>Georges Bizet</strong><span> (1838-1875): </span>Fantasy on Themes from <em>Carmen<br></em><span></span>Transcribed by
  Mack Wilberg<br><span></span><em>Piano 1: Craig Sheppard\, Rachelle McCab
 e</em><br><em>Piano 2: Robin McCabe\, Cristina Valdés</em></p> <hr> <h3>Pr
 ogram Note</h3> <p><strong>Thoughts on Tonight’
 s Program<br></strong>We pianists spend a <u>LOT</u> of time alone at the 
 keyboard. Unlike members of an orchestra or opera company\, for example\, 
 we work almost entirely alone\, honing our craft.<span>  </span>So\, imagi
 ne the joy and elation that comes in partnering with others of our same sp
 ecie<em>s</em>\, to celebrate and relish the power of the piano!!</p> <p s tyle=' 400\;'>This\, then\, is the spirit of tonight’s program
 .<span>  </span>Now why\, you might ask\, are we trespassing on and poachi
 ng from the repertoire of opera\, symphony and musical theater? Don’t we h
 ave enough of our own piano literature to keep us contented?</p> <p>The answer to this lies in our conviction that the pi
 ano as an instrument has the power to evoke limitless possibilities of tim
 bre\, color and texture. Through the piano we can conjure up the world of 
 different instrumental “voices” and atmospheres. “The piano possesses its 
 own occult powers\,” said critic Alex Ross in a recent <em>New Yorker</em>
  review of transcriptions performed by Igor Levit at Carnegie Hall. </p> &lt;
 p style='font-weight: 400\;'&gt;Through the piano\, and in the hands of a goo
 d pianist\, our instrument <u>can </u>be a “virtual” orchestra. The clever
 ly-constructed transcriptions we bring you this evening will hopefully aff
 irm this. And\, most importantly\, we hope that <u>you </u>will enjoy your
  immersion into this enticing world\, with the four of us.<br>—Program not
 es ©2024\, Robin McCabe </p> <hr> <h3>Biographi
 es</h3> <h3><strong><a href='https://liberalarts.oregonstate.edu/users/rac
 helle-mc-cabe' target='_blank' rel='noopener noreferrer'>Rachelle McCabe</a></strong></h3> <p><strong></strong>Rachelle McCabe\, professor emerita o
 f music at Oregon State University\, enjoys an international career as a c
 oncert pianist and artist teacher. She has performed as soloist and chambe
 r musician throughout the United States and the United Kingdom\, as well a
 s in China\, Canada\, Southeast Asia\, and France. She has held teaching r
 esidencies in Hong Kong\, Kuala Lumpur\, Singapore\, and British Columbia.
  </p> <p>Rachelle McCabe is the artistic director of Corvallis-OSU Piano I
 nternational with its prestigious Steinway Piano Series\, workshops\, and 
 educational outreach programs. In lieu of live concerts during the pandemi
 c lockdown\, Rachelle directed an exciting virtual piano festival presenti
 ng more than 20 world-renowned pianists in exclusive performances. The fes
 tival is available at Corvallispiano.org.<span>  </span>Rachelle also dire
 cts the OSU Chamber Music Workshop and the OSU Piano Institute\, both summ
 er programs.</p> <p>Believing in the power of collaborative arts to help b
 ring about change\, Rachelle has created innovative programs and videos wi
 th writer/philosopher Kathleen Dean Moore and various other poets\, artist
 s\, and scientists to address the global crisis of climate change and exti
 nction. McCabe and Moore have performed their compelling program\,<span> &lt;
 /span&gt;<em>Variations on a Theme of Extinction</em>\, in many cities across
  the USA\, Canada\, and Scotland\, and a film version which weaves Rachell
 e’s studio performance of Rachmaninoff’s Variations on a Theme of Corelli 
 with Kathleen’s spoken narrative in various Oregon locations is found on Y
 ouTube.</p> <p>Rachelle McCabe is a highly respected teacher and since com
 pleting her 35-year professorship at Oregon State in 2021\, she keeps an i
 ndependent studio of highly motivated students. In demand as a guest artis
 t teacher and adjudicator\, her current schedule includes master classes a
 nd festivals as well as concerts in Hong Kong\, Atlanta\, Portland\, Eugen
 e\, and Seattle.</p> <p>Rachelle holds a doctorate (DMA) from The Universi
 ty of Michigan\, a master's degree from The Juilliard School\, and a bache
 lor’s degree from The University of Washington. Her teachers were Willard 
 Schultz\, Bela Siki\, Ania Dorfmann\, Gyorgy Sandor\, and Theodore Lettvin
 .<span> </span></p> <p><span></span></p>
END:VEVENT
BEGIN:VEVENT
UID:424ce1ba-4b7a-4b12-ab43-3b0889b733a9
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20240205T190120Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<h2 class='x_MsoNormal'>Featured Performers</h2>\n\n\n\n\n\n\nPerformers to be annou
 nced!\n\n\n\n\n\n\n<p class='x_MsoNormal'> </p>\n\n<p class='x_MsoNormal'>
 </p>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20240501T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:24
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-01/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <h2 class='x_MsoN
 ormal'><span>Featured Performers</span></h2> <div class='elementToProof'> 
 <div class='elementToProof'> <div class='elementToProof'> <div class='elem
 entToProof'> <div class='elementToProof'> <div class='x_elementToProof Con
 tentPasted0'> <div class='x_elementToProof ContentPasted0'>Performers to b
 e announced!</div> </div> </div> </div> </div> </div> </div> <p class='x_M
 soNormal'><span> </span></p> <div> <p class='x_MsoNormal'><span></span></p> <p></p> </div>
END:VEVENT
BEGIN:VEVENT
UID:83512dd6-435e-4771-9634-36b589335827
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20231017T171804Z
DESCRIPTION:<p></p>\n<p>Associate professor of ethnomusicology John-Carlos 
 Perea presents a concert of cedar flute songs featuring arrangements of ja
 zz standards by Coltrane\, Ellington\, Ayler\, and Jordan. With special gu
 ests Jessica Bissett Perea (voice)\, Rose Martin (percussion\, voice)\, Je
 ss Pena Manalo (voice)\, and Marc Seales (piano).</p>\n<hr>\n<h3>Program</h3>\n<p> <b>Prayer Blossom <br></b>(composed and arranged by Martin and Pe
 rea) </p>\n<p><b>Don’t Cry <br></b>(powwow song learned from Dr. Bernard H
 oehner-Peji\, arranged for flute by Perea) </p>\n<p><b>The Photograph <br>
 </b>(learned from Hoehner-Peji) </p>\n<p><b>Ghosts <br></b>(Albert Ayler\,
  arranged for flute by Perea) </p>\n<p><b>Farther Along <br></b>(learned f
 rom Mavis Staples\, arranged by Peña Manalo and Perea) </p>\n<p><b>Smell o
 f the Rain <br></b>(Perea) </p>\n<p><b>Tattoo <br></b>(Lewis Jordan) </p>
 \n<p><b>Blue Horse Special <br></b>(powwow song learned from Hoehner-Peji\
 , arranged for flute and voice by Bissett Perea and Perea in honor of Hoeh
 ner-Peji’s 100th birthday) </p>\n<p><b>Come Sunday <br></b>(Duke Ellington
 \, arranged for flute and piano by Seales and Perea) </p>\n<p><b>Song for 
 Josephine <br></b>(Perea\, arranged for flute and piano by Seales and Pere
 a) </p>\n<p><b>Naima <br></b>(John Coltrane\, arranged for flute\, piano\,
  and voice by Seales and Perea) </p>\n<hr>\n<h3><b>Personnel</b></h3>\n<p>
 <b>John-Carlos Perea <br></b>cedar flutes\, voice </p>\n<p><b>Jessica Biss
 ett Perea <br></b>voice </p>\n<p><b>Rose Martin <br></b>percussion\, voice
  </p>\n<p><b>Jess Peña Manalo <br></b>voice </p>\n<p><b>Marc Seales <br></b>piano</p>\n<hr>\n<h3>Thank You</h3>\n<p>Thanks to <b>Jessica</b>\, <b>Ro
 se</b>\, <b>Jess</b>\, and <b>Marc </b>for sharing sounds and space\, the 
 <b>Perea </b>and <b>Hoehner </b>families\, student\, staff\, and faculty c
 olleagues in the UW School of Music and American Indian Studies\, flute bu
 ilders <b>Ken Light </b>and <b>Guillermo Martinez</b>\, <b>Masaru Koga</b>
 \, <b>Hafez Modirzadeh</b>\, <b>Gary Stroutsos</b>\, <b>Ann </b>and <b>Cla
 rk Tenakhongva </b>and the <b>Öngtupqa ensemble</b>\, and the students of 
 Music 512\, 251\, 534\, and 445 during the 2023-24 academic year. </p>\n\n<p></p>\n<h3>Biographies</h3>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20240501T193000
LAST-MODIFIED:20240501T210128Z
SEQUENCE:25
SUMMARY:: Faculty Concert: John-Carlos Perea
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-02/faculty-concert-john-car
 los-perea
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span></span></p> <p><span>Associate profes
 sor of ethnomusicology John-Carlos Perea presents a concert of cedar flute
  songs featuring arrangements of jazz standards by Coltrane\, Ellington\, 
 Ayler\, and Jordan. With special guests Jessica Bissett Perea (voice)\, Ro
 se Martin (percussion\, voice)\, Jess Pena Manalo (voice)\, and Marc Seale
 s (piano).</span></p> <hr> <h3>Program</h3> <p><span><span class='Apple-co
 nverted-space'> </span></span><b><i>Prayer Blossom<span class='Apple-conve
 rted-space'> <br></span></i></b>(composed and arranged by Martin and Perea
 )<span class='Apple-converted-space'> </span></p> <p><b><i>Don’t Cry<span class='Apple-converted-space'> <br></span></i></b>(powwow song learned fro
 m Dr. Bernard Hoehner-Peji\, arranged for flute by Perea)<span class='Appl
 e-converted-space'> </span></p> <p><b><i>The Photograph<span class='Apple-
 converted-space'> <br></span></i></b>(learned from Hoehner-Peji)<span clas s='Apple-converted-space'> </span></p> <p><b><i>Ghosts<span class='Apple-c
 onverted-space'> <br></span></i></b>(Albert Ayler\, arranged for flute by 
 Perea)<span class='Apple-converted-space'> </span></p> <p><b><i>Farther Al
 ong<span class='Apple-converted-space'> <br></span></i></b>(learned from M
 avis Staples\, arranged by Peña Manalo and Perea)<span class='Apple-conver
 ted-space'> </span></p> <p><b><i>Smell of the Rain<span class='Apple-conve
 rted-space'> <br></span></i></b>(Perea)<span class='Apple-converted-space'> </span></p> <p><b><i>Tattoo<span class='Apple-converted-space'> <br></i></b>(Lewis Jordan)<span class='Apple-converted-space'> </span></p> 
 <p><b><i>Blue Horse Special<span class='Apple-converted-space'> <br></span></i></b>(powwow song learned from Hoehner-Peji\, arranged for flute and v
 oice by Bissett Perea and Perea in honor of Hoehner-Peji’s 100<span>th </s>birthday)<span class='Apple-converted-space'> </span></p> <p><b><i>Com
 e Sunday<span class='Apple-converted-space'> <br></span></i></b>(Duke Elli
 ngton\, arranged for flute and piano by Seales and Perea)<span class='Appl
 e-converted-space'> </span></p> <p><b><i>Song for Josephine<span class='Ap
 ple-converted-space'> <br></span></i></b>(Perea\, arranged for flute and p
 iano by Seales and Perea)<span class='Apple-converted-space'> </span></p> 
 <p><b><i>Naima<span class='Apple-converted-space'> <br></span></i></b>(Joh
 n Coltrane\, arranged for flute\, piano\, and voice by Seales and Perea)<s pan class='Apple-converted-space'> </span></p> <hr> <h3><b>Personnel</b></h3> <p><b>John-Carlos Perea<span class='Apple-converted-space'> <br></span></b>cedar flutes\, voice<span class='Apple-converted-space'> </span></p> 
 <p><b>Jessica Bissett Perea<span class='Apple-converted-space'> <br></span></b>voice<span class='Apple-converted-space'> </span></p> <p><b>Rose Mart
 in<span class='Apple-converted-space'> <br></span></b>percussion\, voice<s pan class='Apple-converted-space'> </span></p> <p><b>Jess Peña Manalo<span class='Apple-converted-space'> <br></span></b>voice<span class='Apple-con
 verted-space'> </span></p> <p><b>Marc Seales<span class='Apple-converted-s
 pace'> <br></span></b>piano</p> <hr> <h3>Thank You</h3> <p>Thanks to <b>Je
 ssica</b>\, <b>Rose</b>\, <b>Jess</b>\, and <b>Marc </b>for sharing sounds
  and space\, the <b>Perea </b>and <b>Hoehner </b>families\, student\, staf
 f\, and faculty colleagues in the UW School of Music and American Indian S
 tudies\, flute builders <b>Ken Light </b>and <b>Guillermo Martinez</b>\, &lt;
 b&gt;Masaru Koga</b>\, <b>Hafez Modirzadeh</b>\, <b>Gary Stroutsos</b>\, <b>A
 nn </b>and <b>Clark Tenakhongva </b>and the <b>Öngtupqa ensemble</b>\, and
  the students of Music 512\, 251\, 534\, and 445 during the 2023-24 academ
 ic year.<span class='Apple-converted-space'> </span></p> <hr> <p></p> <h3>
 Biographies</h3> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:dae21c2f-0d0e-44f2-812b-feff15504387
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances\, Visiting Ar
 tists and Scholars
CLASS:PUBLIC
CREATED:20230811T001828Z
DESCRIPTION:<p></p>\n<p>Julia Tai leads the Seattle Modern Orchestra and me
 mbers of the UW Modern Music Ensemble (Cristina Valdés\, director) in a pr
 ogram featuring the West Coast premiere of Clocks for Seeing by guest comp
 oser Anthony Cheung and world premieres by UW graduate students Justin Zei
 tlinger\, Joe Krycia\, Melissa Wang\, and Yonatan Ron. With guest faculty 
 Carrie Shaw\, soprano. </p>\n<hr>\n<h3>Program</h3>\n<p>artifact: Elegy fo
 r ensemble* (2024): Justin Zeitlinger (b. 2000)<br>simulacrum I\, for five
  instruments<br>simulacrum II\, for ten instruments<br>simulacrum III\, fo
 r fifteen instruments</p>\n<p>Times sway. Echoes\, decay… for seven instru
 ments* (2024): Yonatan Ron (b. 1992)<br>I. Times sway<br>II. Echoes\, deca
 y…<br></p>\n<p>Red Blood Spills and Pools the Same* (2024): Melissa Wang\;
  Text by Wayne Allen Jones (b. 1999)<br>Carrie Shaw\, soprano<br></p>\n<p>
 <b>- Intermission -</b></p>\n<p>Clocks for Seeing for six musicians** (202
 3): Anthony Cheung (b. 1982)<br>I.<br>II.<br>III.<br> IV.<br> </p>\n<p>Unt
 iteld for ensemble* (2024):  Joe Krycia (b. 1993)</p>\n<p>“Clocks for Seei
 ng” was commissioned by the Talea Ensemble\, and funded by the Chamber Mus
 ic America Classical Commissioning Program\, with generous funding provide
 d by The Mellon Foundation.</p>\n<p>*World premiere<br>**West Coast premie
 re</p>\n<hr>\n<h3><b>Personnel</b></h3>\n<p><b>Seattle Modern Orchestra</b></p>\n<p>Clarinet/Bass Clarinet: Angelique Poteat</p>\n<p>Oboe: Dan Willi
 ams</p>\n<p>Alto Saxophone: Soren Hamm</p>\n<p>Trumpet: Alexander White</p>\n<p>Violin I: Luke Fitzpatrick</p>\n<p>Viola: Rose Hashimoto</p>\n<p>Cel
 lo: Ha-Yang Kim</p>\n<p>Piano: Cristina Valdés</p>\n<p><b>UW Modern Music 
 Ensemble</b></p>\n<p>Flute/Piccolo/Bass Flute: Rachel Reyes</p>\n<p>Flute/
 Alto Flute: Katelyn Campbell</p>\n<p>Bassoon: Ryan Kaspandy</p>\n<p>Trombo
 ne: Nate Wyttenbach</p>\n<p>Tuba: Cole Henslee</p>\n<p>French Horn: Nicole
  Bogner</p>\n<p>Violin II: Justin Zeitlinger</p>\n<p>Viola: Abigail Schidl
 er</p>\n<p>Bass: Eddie Nikishina</p>\n<p>Electric Guitar: Nick Mendonsa</p>\n<p>Piano: Ella Kalinichenko</p>\n<p>Piano/Keyboard: Alex Fang</p>\n<p>P
 ercussion: Rose Martin\, Melissa Wang</p>\n<hr>\n<h3><b></b>Program Notes&lt;
 /h3&gt;\n<p><b></b></p>\n<p><b>Justin Zeitlinger: artifact: Elegy for ensembl
 e<br></b>One of the earliest full-length pieces I ever wrote is Fantasy fo
 r String Quintet (2014)\; the second movement is titled “Elegia.” (I canno
 t recall what compelled me to write an elegy at thirteen years old!) artif
 act: Elegy is an attempt to reflect on this work of my past and to examine
  the nature of the elegy\, which here serves to mourn not bodily death but
  the constant smaller dissolutions of identity intrinsic to lived experien
 ce.</p>\n<p>To begin\, a live audio recording of “Elegia” was taken into A
 udacity\, then tempo-compressed and re-expanded to its original length thr
 ee separate times in increasing degrees of compression. To perform this op
 eration\, Audacity uses a high-quality tempo change algorithm called sub-b
 and sinusoidal modeling synthesis (SBSMS). In short\, SBSMS performs a sho
 rt-time Fourier transform (STFT) of the input sound in fixed chunks\, or w
 indows\, and reconstructs its frequencies using oscillators over the new t
 arget length. The nature of the windowing inherently constrains the freque
 ncy and time resolution with each successive compression and re-expansion 
 of the file\, which not only corrupts the accuracy of the its spectral con
 tent but also adds unintended presences in the sound\, called artifacts. T
 he “artifact” in the title thus serves a double meaning\, referring also t
 o “Elegia” as a distant relic of my personal past. </p>\n<p>The final laye
 r of reconstruction was the transcription of these renderings for an ensem
 ble of acoustic instruments. With the help of the Orchidea package for Max
 \, I drafted orchestrations of the new sound files. Further algorithmic pr
 ocessing of each instrument’s onsets\, durations\, and dynamics was done i
 n bach to mimic the particular expressive qualities of the files\, while p
 reserving the metrical and structural framework of the original. The three
  pieces that comprise artifact: Elegy call upon the performers to artifici
 ally patch together the disparate sonic content as one organism—by necessi
 ty\, they grow in ensemble size as well as rhythmic and microtonal complex
 ity. In the third piece\, the full string quintet of “Elegia” is restored 
 along with ten other instruments. </p>\n<p>I have taken to labeling the wr
 itten pieces as “simulacra\,” drawing upon the concept of the hyperreal de
 veloped by French philosopher Jean Baudrillard (1929–2007). In presenting 
 three copies with no original\, the line between identifiable reality and 
 representation is subjected to a poignant process of blurring and ultimate
  collapse. </p>\n<p><b>Yonatan Ron: Times sway. Echoes\, decay… for seven 
 instruments<br></b>The piece explores different types of oscillations\, th
 ese may present themselves in the form of a simple\, repeated melodic inte
 rval at a regular rate\, or complex\, acoustic beats that occur when an in
 terval smaller than a semi-tone is sustained. This notion of stable &amp; regu
 lar ratios is also used to serve the majority of rhythmic &amp; metric detail 
 in the piece.</p>\n<p>The first movement is based on cascading\, scalic pa
 tterns that transform into slow melodic-steps and vice versa. While the te
 xture is mostly polyphonic\, many phrases and strata intersect with hetero
 phony as well as homophony due to the voices’ proximity in range\, or simi
 larity in timbre and rhythm. This movement starts and develops with dense 
 contrapuntal textures and concludes with sparsely voiced chords.</p>\n<p>T
 he second movement resonates with the concepts of the first and serves as 
 an echo of the materials explored in it. Differently than the first moveme
 nt\, apart from the imitations at its beginning\, in this movement - the d
 egree of autonomy among voices is high\, given that voices differ from eac
 h other in either rhythm\, timbre\, or range.</p>\n<p>Both movements devel
 op in an interrupted continuous way. There are barely any sudden changes\,
  raptures\, nor rests\, so that when they occur\, their dramatic impact se
 ems substantial.</p>\n<p><b>Melissa Wang: Red Blood Spills and Pools the S
 ame<br></b>Red Blood Spills and Pools the Same was inspired by Wayne Allen
  Jones's poem 'jua huwaka ngozi nyeupe' (white skin peels when burned). Th
 is work highlights combinations of short percussive sounds such as flute t
 ongue pizzicatos\, voiced 'ss ss'\, scraping fingernails on drum heads\, d
 rum sticks sliding across the piano keys\, and muted piano strings. </p>\n
 <p>jua huwaka ngozi nyeupe (white skin peels when burned)</p>\n<p>damu yot
 e ni sawa (red blood spills and pools the same)</p>\n<p>roho ziko wazi kam
 a miungu (souls are clear like gods)</p>\n<p>– Wayne Allen Jones<br><br></p>\n<p><b>Anthony Cheung: Clocks for Seeing for six musicians (2023)<br></b>“For me the noise of Time is not sad: I love bells\, clocks\, watches – 
 and I recall that at first photographic implements were related to techniq
 ues of cabinetmaking and the machinery of precision: cameras\, in short\, 
 were clocks for seeing\, and perhaps in me someone very old still hears in
  the photographic mechanism the living sound of the wood.”</p>\n<p>Roland 
 Barthes\, Camera Lucida</p>\n<h3></h3>\n<p><b>Joe Krycia: Untiteld for ens
 emble<br></b>Looking back on my compositional output now that I am at the 
 end of my Doctoral studies\, I've noticed how many different stylistic shi
 fts I have gone through\, including how quick I've been to abandon a style
  to explore something new. I no longer feel the need to isolate these styl
 istic interests\, and instead want to synthesize all of my interests in ev
 ery piece I compose going forward. In Untiteld\, you will hear tonality\, 
 noise\, technical complexity\, drone\, repetition and free improv\, often 
 all at once.</p>\n<hr>\n<h3>Biographies</h3>\n<h3><a href='https://juliata
 i.com' target='_blank' rel='noopener noreferrer'>Julia Tai</a></h3>\n<p>Pr
 aised by the Seattle Times as “poised yet passionate\,” <b>Julia Tai </b>i
 s one of today’s most dynamic conductors on the international stage. She h
 as conducted orchestras all over the world. Currently\, she is the Music D
 irector of Missoula Symphony Orchestra &amp; Chorale\, and the Co-Artistic Dir
 ector of the Seattle Modern Orchestra. Recognized as a prominent innovator
  of the contemporary music world\, she has worked with legendary composers
 \, performers\, and ensembles such as Jonathan Harvey\, Tristan Murail\, R
 obert Aitken\, Séverine Ballon\, Claire Chase\, Stephen Drury\, Graeme Jen
 nings\, Garth Knox\, Carol Robinson\, Steven Schick\, International Contem
 porary Ensemble and Ensemble Modern. Under her direction\, Seattle Modern 
 Orchestra is a grant recipient of NewMusicUSA\, The Amphion Foundation\, T
 he Aaron Copland Fund for Music\, Washington State Arts Commission\, 4Cult
 ure\, and Seattle Office of Arts and Culture.</p>\n<h3><a href='https://ww
 w.seattlemodernorchestra.org/' target='_blank' rel='noopener noreferrer'>S
 eattle Modern Orchestra</a></h3>\n<p>Founded in 2010\, Seattle Modern Orch
 estra (SMO) is the only large ensemble in the Pacific Northwest solely ded
 icated to the music of the 20th and 21st centuries. Led by co-artistic dir
 ectors <strong>Julia Tai </strong>and<strong> Jérémy Jolley</strong>\, SMO
  commissions and premieres new works from an international lineup of compo
 sers\, in addition to presenting important pieces from the contemporary re
 pertoire that are rarely if ever heard by Seattle audiences. The ensemble 
 “operates at that exciting cusp between old and new\, between tradition an
 d innovation” (Vanguard Seattle) curating new sounds and experiences for c
 oncert goers in the region.</p>\n<p>SMO provides audiences with performanc
 es of the best in contemporary chamber and orchestral music\, and develops
  radio talks\, lectures\, and other forms of outreach in an accessible and
  inviting format all designed to expand the listener’s appreciation and aw
 areness of the music of today.</p>\n<h3><a href='https://urldefense.com/v3
 /__https://seattlemodernorchestra.us2.list-manage.com/track/click?u=76a289
 52572e75edde376e24f&amp;id=f2654b435e&amp;e=53bbf09200__\;!!K-Hz7m0Vt54!llZXkPC0If
 n-aVWSc_Wj3IJ1NvqUtKV2N8HGfORLjye41xmA4uecYeGgQvQD-F0xVSwagraJ2ibenw_mnsmp
 yj6KhoSS_w$' target='_blank' rel='noopener noreferrer'>Anthony Cheung</a> 
 </h3>\n<p>Composer and pianist <strong>Anthony Cheung</strong> writes musi
 c that explores the senses\, a wide palette of instrumental play and affec
 t\, improvisational traditions\, reimagined musical artifacts\, and multip
 le layers of textual meaning. Described as “gritty\, inventive and wonderf
 ully assured” (San Francisco Chronicle) and praised for its “instrumental 
 sensuality” (Chicago Tribune)\, his music reveals an interest in the ambig
 uity of sound sources and constantly shifting transformations of tuning an
 d timbre. As critic Paul Griffiths writes\, “Anthony Cheung has an intense
 ly accurate sense of where his notes are going\, and how and why…[his musi
 c’s] precision is responsible for a wealth of sonic magic.”</p>\n<h3><a hr ef='https://music.washington.edu/ensembles/modern-music-ensemble' target='
 _blank' rel='noopener noreferrer'>Modern Music Ensemble</a></h3>\n<p>Perfo
 rming repertoire spanning from the 20th century to works by living compose
 rs\, the <b>Modern Music Ensemble</b> presents three academic year concert
 s focused on diverse and innovative programming. Under the directorship of
  Cristina Valdés since 2016\, the ensemble has given numerous premieres an
 d performed the works of both established and younger composers such as Pa
 tricia Alessandrini\, Katie Balch\, Olga Neuwirth\, Chaya Czernowin\, Anna
  Thorvaldsdóttir\, Beat Furer\, Kaija Saariaho\, George Lewis\, Wang Lu\, 
 José-Luis Hurtado\, Pierre Boulez\, Oliver Schneller\, Carlos Sanchez-Guti
 errez and Ania Vu\, amongst many others. The ensemble works regularly with
  visiting composers\, conductors\, and coaches/performers. Guests have inc
 luded Stephen Drury\, Garth Knox\, Ursula Oppens\, and Ludovic Morlot.</p>
 \n<h3><a href='https://music.washington.edu/people/carrie-shaw' target='_b
 lank' rel='noopener noreferrer'>Carrie Shaw</a></h3>\n<p>Praised in the Ne
 w York Times “as graceful vocally as she was in her movements”\, “consiste
 ntly stylish” (Boston Globe)\, and as a “cool\, precise soprano” (Chicago 
 Tribune)\, <b>Carrie Henneman Shaw</b> is a two-time McKnight Fellowship f
 or Performing Musicians winner (2010\, 2017). She has premiered major work
 s by such Minnesota composers as Jocelyn Hagen and Abbie Betinis\, whose a
 nnual Christmas carols she records for Minnesota Public Radio\, and sung A
 merican premieres by such composers as Georg Friedrich Haas\, Hans Thomall
 a\, and Augusta Read Thomas. In addition to her work as an interpreter of 
 contemporary works\, Carrie specializes in music of the 17th century and h
 as performed operatic roles with one of America’s leading Baroque opera co
 mpanies\, Boston Early Music Festival. Carrie is a member of Chicago’s Ens
 emble Dal Niente\, Quince Ensemble\, and uluuul. She holds degrees in Engl
 ish and voice performance from Lawrence University and a doctorate from th
 e University of Minnesota.</p>
DTSTART;TZID=America/Los_Angeles:20240503T193000
LAST-MODIFIED:20240503T154205Z
SEQUENCE:26
SUMMARY:: Seattle Modern Orchestra with UW Modern Music Ensemble: Music of 
 UW Student Composers
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-04/seattle-modern-orchestra
 -uw-modern-music-ensemble-music-uw-student-composers
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Julia Tai leads the Seattle Modern 
 Orchestra and members of the UW Modern Music Ensemble (Cristina Valdés\, d
 irector) in a program <span>featuring the West Coast premiere of </span>Clocks for Seeing</em><span> by guest composer </span>Anthony Cheung and world premieres by UW graduate students </span>Justin Zeitlinger\, 
 Joe Krycia\, Melissa Wang<span>\, and </span>Yonatan Ron. With guest facul
 ty Carrie Shaw\, soprano. </p> <hr> <h3>Program</h3> <p><span></span><span>artifact: Elegy for
  ensemble* (2024):</span> <span>Justin Zeitling
 er </span><span>(b. 2000)<br></span><span>simulacrum I\, for five instruments<br></span><span>simulacrum II\, for ten instruments<br></span>&lt;
 span style='font-weight: 400\;'&gt;simulacrum III\, for fifteen instruments</span></p> <p><span><span>Times sway. Echoes\, d
 ecay… for seven instruments* (2024):</span> <span>Yonatan Ron </span><span>(b. 1992)<br></span><span>I. Times sway<br></span><span>II. Echoes\, deca
 y…<br></span></span></p> <p><span>Red Blood Spi
 lls and Pools the Same* (2024): </span><span>Me
 lissa Wang\; </span><span>Text by Wayne Allen J
 ones</span> <span>(b. 1999)<br><em>Carrie Shaw\
 , soprano<br></em></span></p> <p><b>- Intermission -</b></p> <p><span styl e=' 400\;'>Clocks for Seeing for six musicians** (2023): <span>Anthony Cheung </span><span>(b. 1982)<br></span><span>I.<br>II.<br>III.<br> IV.<br> </span></p> <p><span>Untiteld for ensemble* (2024
 ): </span> <span>Joe Krycia </span><span>(b. 1993)</span></p> <p><span><em>“Clocks for Seeing” was commissioned by the Talea Ensemble\, and funded b
 y the Chamber Music America Classical Commissioning Program\, with generou
 s funding provided by The Mellon Foundation.</em></span></p> <p><span><em>
 *World premiere<br>**West Coast premiere</em></span></p> <hr> <h3><b>Perso
 nnel</b></h3> <p><b>Seattle Modern Orchestra</b></p> <p><span>Clarinet/Bass Clarinet: Angelique Poteat</span></p> <p>Oboe: Dan Williams</span></p> <p><span>Alto Saxophone: Soren Hamm</span></p> <p><span>Trumpet: Alexander White</span></p> <p><span>Violin I: Luke Fitzpatrick</span></p> <p><span>Viola: Rose Hashimoto</span></p> <p><span>Cello: Ha-Yang Kim</span></p> <p><span>Piano: Cristina Valdés</span></p> <p><b>UW Modern Music Ensemble</b>
 </p> <p><span>Flute/Piccolo/Bass Flute: Rachel 
 Reyes</span></p> <p><span>Flute/Alto Flute: Kat
 elyn Campbell</span></p> <p><span>Bassoon: Ryan
  Kaspandy</span></p> <p><span>Trombone: Nate Wy
 ttenbach</span></p> <p><span>Tuba: Cole Henslee
 </span></p> <p><span>French Horn: Nicole Bogner
 </span></p> <p><span>Violin II: Justin Zeitling
 er</span></p> <p><span>Viola: Abigail Schidler&lt;
 /span&gt;</p> <p><span>Bass: Eddie Nikishina</span></p> <p><span>Electric Guitar: Nick Mendonsa</span></p> <p><span>Piano: Ella Kalinichenko</p> <p><span>Piano/Keyboard: Alex Fang</p> <p><span>Percussion: Rose Martin\, Melis
 sa Wang</span></p> <hr> <h3><b></b><span></span>Program Notes</h3> <p><b></b></p> <p><b>Justin Zeitlinger: artifact: Eleg
 y for ensemble<br></b><span>One of the earliest
  full-length pieces I ever wrote is </span><i><span>Fantasy for String Quintet</span></i><span> (2014)\; the second movement is titled “Elegia.” (I cannot recall what c
 ompelled me to write an elegy at thirteen years old!) </span><i><span styl e=' 400\;'>artifact: Elegy </span></i><span>is an attempt to reflect on this work of my past and to examine t
 he nature of the elegy\, which here serves to mourn not bodily death but t
 he constant smaller dissolutions of identity intrinsic to lived experience
 .</span></p> <p><span>To begin\, a live audio r
 ecording of “Elegia” was taken into Audacity\, then tempo-compressed and r
 e-expanded to its original length three separate times in increasing degre
 es of compression. To perform this operation\, Audacity uses a high-qualit
 y tempo change algorithm called </span><i><span>sub-band sinusoidal modeling synthesis</span></i><span> (SBSMS). In short\, SBSMS performs a short-time Fourier transfor
 m (STFT) of the input sound in fixed chunks\, or windows\, and reconstruct
 s its frequencies using oscillators over the new target length. The nature
  of the windowing inherently constrains the frequency and time resolution 
 with each successive compression and re-expansion of the file\, which not 
 only corrupts the accuracy of the its spectral content but also adds unint
 ended presences in the sound\, called </span><i><span>artifacts</span></i><span>. The “artifac
 t” in the title thus serves a double meaning\, referring also to “Elegia” 
 as a distant relic of my personal past. </span></p> <p><span>The final layer of reconstruction was the transcription of t
 hese renderings for an ensemble of acoustic instruments. With the help of 
 the </span><i><span>Orchidea</span></i><span st yle=' 400\;'> package for Max\, I drafted orchestrations of th
 e new sound files. Further algorithmic processing of each instrument’s ons
 ets\, durations\, and dynamics was done in </span><i><span>bach</span></i><span> to mimic the 
 particular expressive qualities of the files\, while preserving the metric
 al and structural framework of the original. The three pieces that compris
 e </span><i><span>artifact: Elegy </span></i><s pan>call upon the performers to artificially pa
 tch together the disparate sonic content as one organism—by necessity\, th
 ey grow in ensemble size as well as rhythmic and microtonal complexity. In
  the third piece\, the full string quintet of “Elegia” is restored along w
 ith ten other instruments. </span></p> <p><span>I have taken to labeling the written pieces as “simulacra\,” drawing upon
  the concept of the </span><i><span>hyperreal</span></i><span> developed by French philosopher
  Jean Baudrillard (1929–2007). In presenting three copies with no original
 \, the line between identifiable reality and representation is subjected t
 o a poignant process of blurring and ultimate collapse. </span></p> <p><b>
 Yonatan Ron: Times sway. Echoes\, decay… for seven instruments<br></b>The piece explores different types of oscilla
 tions\, these may present themselves in the form of a simple\, repeated me
 lodic interval at a regular rate\, or complex\, acoustic beats that occur 
 when an interval smaller than a semi-tone is sustained. This notion of sta
 ble &amp; regular ratios is also used to serve the majority of rhythmic &amp; metr
 ic detail in the piece.</span></p> <p><span>The
  first movement is based on cascading\, scalic patterns that transform int
 o slow melodic-steps and vice versa. While the texture is mostly polyphoni
 c\, many phrases and strata intersect with heterophony as well as homophon
 y due to the voices’ proximity in range\, or similarity in timbre and rhyt
 hm. This movement starts and develops with dense contrapuntal textures and
  </span><span>concludes with sparsely voiced ch
 ords.</span></p> <p><span>The second movement r
 esonates with the concepts of the first and serves as an echo of the mater
 ials explored in it. Differently than the first movement\, apart from the 
 imitations at its </span><span>beginning\, in t
 his movement - the degree of autonomy among voices is high\, given that vo
 ices </span><span>differ from each other in eit
 her rhythm\, timbre\, or range.</span></p> <p><span>Both movements develop in an interrupted continuous way. There are ba
 rely any sudden changes\, raptures\, nor rests\, so that when they occur\,
  their dramatic impact seems substantial.</span></p> <p><b>Melissa Wang: R
 ed Blood Spills and Pools the Same<br></b><i><span>Red Blood Spills and Pools the Same </span></i><span>was inspired by Wayne Allen Jones's poem 'jua huwaka ngozi nyeup
 e' (white skin peels when burned). This work highlights combinations of sh
 ort percussive sounds such as flute tongue pizzicatos\, voiced 'ss ss'\, s
 craping fingernails on drum heads\, drum sticks sliding across the piano k
 eys\, and muted piano strings. </span></p> <p><span>jua huwaka ngozi nyeupe (white skin peels when burned)</span></p> <p>
 <span>damu yote ni sawa (red blood spills and p
 ools the same)</span></p> <p><span>roho ziko wa
 zi kama miungu (souls are clear like gods)</span></p> <p><span>– Wayne Allen Jones</span><br><br></p> <p><b>Anthony Cheun
 g: Clocks for Seeing for six musicians (2023)<br></b><span>“For me the noise of Time is not sad: I love bells\, clocks\, 
 watches – and I recall that at first photographic implements were related 
 to techniques of cabinetmaking and the machinery of precision: cameras\, i
 n short\, were clocks for seeing\, and perhaps in me someone very old stil
 l hears in the photographic mechanism the living sound of the wood.”</span></p> <p><span>Roland Barthes\, </span><i><span>Camera Lucida</span></i></p> <h3></h3> <p><b>J
 oe Krycia: Untiteld for ensemble<br></b><span>L
 ooking back on my compositional output now that I am at the end of my Doct
 oral studies\, </span><span>I've noticed how ma
 ny different stylistic shifts I have gone through\, including how quick I'
 ve been to abandon a style to explore something new. I no longer feel the 
 need to isolate these stylistic interests\, and instead want to synthesize
  all of my interests in every piece I compose going forward. In </span><i>
 <span>Untiteld</span></i><span>\, you will hear tonality\, noise\, technical complexity\, dron
 e\, repetition and free improv\, often all at once.</span></p> <hr> <h3>Bi
 ographies</h3> <h3><a href='https://juliatai.com' target='_blank' rel='noo
 pener noreferrer'>Julia Tai</a></h3> <p><span>Praised by the Seattle Times
  as “poised yet passionate\,” </span><b>Julia Tai </b><span>is one of toda
 y’s most dynamic conductors on the international stage. She has conducted 
 orchestras all over the world. Currently\, she is the Music Director of Mi
 ssoula Symphony Orchestra &amp; Chorale\, and the Co-Artistic Director of the 
 Seattle Modern Orchestra. Recognized as a prominent innovator of the conte
 mporary music world\, she has worked with legendary composers\, performers
 \, and ensembles such as Jonathan Harvey\, Tristan Murail\, Robert Aitken\
 , Séverine Ballon\, Claire Chase\, Stephen Drury\, Graeme Jennings\, Garth
  Knox\, Carol Robinson\, Steven Schick\, International Contemporary Ensemb
 le and Ensemble Modern. Under her direction\, Seattle Modern Orchestra is 
 a grant recipient of NewMusicUSA\, The Amphion Foundation\, The Aaron Copl
 and Fund for Music\, Washington State Arts Commission\, 4Culture\, and Sea
 ttle Office of Arts and Culture.</span></p> <h3><a href='https://www.seatt
 lemodernorchestra.org/' target='_blank' rel='noopener noreferrer'>Seattle 
 Modern Orchestra</a></h3> <p>Founded in 2010\, Seattle Modern Orchestra (S
 MO) is the only large ensemble in the Pacific Northwest solely dedicated t
 o the music of the 20th and 21st centuries. Led by co-artistic directors<s pan> </span><strong>Julia Tai<span> </span></strong>and<strong> Jérémy Jol
 ley</strong>\, SMO commissions and premieres new works from an internation
 al lineup of composers\, in addition to presenting important pieces from t
 he contemporary repertoire that are rarely if ever heard by Seattle audien
 ces. The ensemble “operates at that exciting cusp between old and new\, be
 tween tradition and innovation” (Vanguard Seattle) curating new sounds and
  experiences for concert goers in the region.</p> <p>SMO provides audience
 s with performances of the best in contemporary chamber and orchestral mus
 ic\, and develops radio talks\, lectures\, and other forms of outreach in 
 an accessible and inviting format all designed to expand the listener’s ap
 preciation and awareness of the music of today.</p> <h3><a href='https://u
 rldefense.com/v3/__https://seattlemodernorchestra.us2.list-manage.com/trac
 k/click?u=76a28952572e75edde376e24f&amp;id=f2654b435e&amp;e=53bbf09200__\;!!K-Hz7m
 0Vt54!llZXkPC0Ifn-aVWSc_Wj3IJ1NvqUtKV2N8HGfORLjye41xmA4uecYeGgQvQD-F0xVSwa
 graJ2ibenw_mnsmpyj6KhoSS_w$' target='_blank' rel='noopener noreferrer'>Ant
 hony Cheung</a> </h3> <p><span>Composer and pianist </span><span><strong>A
 nthony Cheung</strong></span><span> writes music that explores the senses\
 , a wide palette of instrumental play and affect\, improvisational traditi
 ons\, reimagined musical artifacts\, and multiple layers of textual meanin
 g. Described as “gritty\, inventive and wonderfully assured” (</span><em>S
 an Francisco Chronicle</em><span>) and praised for its “instrumental sensu
 ality” (</span><em>Chicago Tribune</em><span>)\, his music reveals an inte
 rest in the ambiguity of sound sources and constantly shifting transformat
 ions of tuning and timbre. As critic Paul Griffiths writes\, “Anthony Cheu
 ng has an intensely accurate sense of where his notes are going\, and how 
 and why…[his music’s] precision is responsible for a wealth of sonic magic
 .”</span></p> <h3><a href='https://music.washington.edu/ensembles/modern-m
 usic-ensemble' target='_blank' rel='noopener noreferrer'>Modern Music Ense
 mble</a></h3> <p><span>Performing repertoire sp
 anning from the 20th century to works by living composers\, the </span><b>
 Modern Music Ensemble</b><span> presents three 
 academic year concerts focused on diverse and innovative programming. Unde
 r the directorship of Cristina Valdés since 2016\, the ensemble has given 
 numerous premieres and performed the works of both established and younger
  composers such as Patricia Alessandrini\, Katie Balch\, Olga Neuwirth\, C
 haya Czernowin\, Anna Thorvaldsdóttir\, Beat Furer\, Kaija Saariaho\, Geor
 ge Lewis\, Wang Lu\, José-Luis Hurtado\, Pierre Boulez\, Oliver Schneller\
 , Carlos Sanchez-Gutierrez and Ania Vu\, amongst many others. The ensemble
  works regularly with visiting composers\, conductors\, and coaches/perfor
 mers. Guests have included Stephen Drury\, Garth Knox\, Ursula Oppens\, an
 d Ludovic Morlot.</span></p> <h3><span><a href='https://music.washington.edu/people/carrie-shaw' target='_blank' rel='noo
 pener noreferrer'>Carrie Shaw</a></span></h3> <p><span>Praised in the New York Times “as graceful vocally as she was in h
 er movements”\, “consistently stylish” (Boston Globe)\, and as a “cool\, p
 recise soprano” (Chicago Tribune)\, </span><b>Carrie Henneman Shaw</b> is a two-time McKnight Fellowship for Perfor
 ming Musicians winner (2010\, 2017). She has premiered major works by such
  Minnesota composers as Jocelyn Hagen and Abbie Betinis\, whose annual Chr
 istmas carols she records for Minnesota Public Radio\, and sung American p
 remieres by such composers as Georg Friedrich Haas\, Hans Thomalla\, and A
 ugusta Read Thomas. In addition to her work as an interpreter of contempor
 ary works\, Carrie specializes in music of the 17th century and has perfor
 med operatic roles with one of America’s leading Baroque opera companies\,
  Boston Early Music Festival. Carrie is a member of Chicago’s Ensemble Dal
  Niente\, Quince Ensemble\, and uluuul. She holds degrees in English and v
 oice performance from Lawrence University and a doctorate from the Univers
 ity of Minnesota.</span></p>
END:VEVENT
BEGIN:VEVENT
UID:0c708e40-32e0-449c-b1f9-c020e45729fb
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Master Classes\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20240110T235054Z
DESCRIPTION:Guest organist Kimberly Marshall\, professor of organ at Arizon
 a State University\, presents a lecture and master class: 'The Organ Works
  of J.S. Bach\,' in this special event co-sponsored by the UW School of Mu
 sic and the Seattle Chapter of the American Guild of Organists. Support fo
 r this event is through the Paul B. Fritts Endowed Faculty Fellowship in O
 rgan.\n<hr>\n<h3 class='elementToProof'>Biography</h3>\n<h3 class='element
 ToProof'><a href='https://www.kimberlymarshall.com/' target='_blank' rel='
 noopener noreferrer'>Kimberly Marshall</a></h3>\n\n\n\n\n\n<p class='font_
 8 wixui-rich-text__text'>Kimberly Marshall is known worldwide for her comp
 elling programs and presentations of organ music. Her distinguished achiev
 ement in organ performance and scholarship was recognized by the Royal Col
 lege of Organists in 2022 with their highest award. She is an accomplished
  teacher\, giving master classes internationally. She currently holds the 
 Patricia and Leonard Goldman Endowed Professorship in Organ at Arizona Sta
 te University and the Hedda Andersson Visiting Professorship at the Malmö 
 Academy of Music.</p>\n\n\n\n\n\n\n\n\n\n\n\n<p class='font_8 wixui-rich-t
 ext__text'>Marshall has performed and presented her research at 11 nationa
 l conventions of the AGO.  A review of her recital in Washington\, DC in J
 uly 2010 praised her as “a multi-faceted musician” who “pushed the organ t
 o its limit with her virtuosic demands in playing and registration….This w
 as a royal performance by one of our royalty!” During the summer of 2013\,
  she appeared in Amsterdam\, Seoul and Sweden\; in 2014\, she was a featur
 ed artist on performance series in England\, Germany\, France\, New York a
 nd San Diego. A highlight of 2015 was Marshall’s concert on the earliest s
 urviving instrument in the Netherlands\, built in 1511. In 2016\, she play
 ed recitals in Philadelphia\, Bolivia\, Amsterdam and Vienna\, while her e
 ngagements in 2017 included the opening recital for the AGO regional conve
 ntion in Salt Lake City and an inaugural recital of the new Fritts organ f
 or the Basilica at the University of Notre-Dame. In July 2018\, she was ch
 osen as the organ soloist with orchestra for the final concert of the AGO 
 national convention in the Kauffman Center\, Kansas City\, where she was e
 xtolled for “the ease and facility” with which she performed the “virtuosi
 c pedal cadenza.” (The American Organist\, Oct 2018).</p>\n<p class='font_
 8 wixui-rich-text__text'>In 2019\, Kimberly Marshall inaugurated the new K
 lais organ in St. Petri Cathedral\, Malmö\, the largest instrument in Scan
 dinavia.  She appeared at the Boston Early Music Festival and gave the ope
 ning concert for the national convention of the Organ Historical Society i
 n Dallas. Her expertise in early Spanish and Italian repertoire was acknow
 ledged by invitations to perform on the Spanish baroque-style organ at Obe
 rlin Conservatory and the Italian-baroque inspired organ at Christ Church 
 Cathedral\, Cincinnati. She performed and taught at the Goteborg Internati
 onal Organ Academy in 2020\, 2021 and 2022\, opening the Malmö Organ festi
 val in May 2022. In the same month\, she gave the first guest concert at W
 ashington National Cathedral since the pandemic\, to an enthusiastic audie
 nce.</p>\n<p class='font_8 wixui-rich-text__text'>​Performer\, scholar\, a
 nd educator\, Kimberly Marshall is a committed advocate of the organ.  She
  works to promote the instrument in both local and global communities. She
  is regularly consulted by churches searching for organists and music dire
 ctors\, as well as by institutions seeking advice on instrument installati
 ons.  She is the advisor on organs for the Musical Instrument Museum (MIM)
  in Phoenix and has made videos in Guanajuato (Mexico)\, Toulouse (France)
  and Florence (Italy) for their exhibits.  An authority on the organ’s ric
 h history over the past 2000 years\, she is devoted to continuing this tra
 dition of artistic ingenuity into the next millennium.</p>\n<hr>\n<h4 clas s='font_8 wixui-rich-text__text'>Other Events in This Series</h4>\n<p clas s='font_8 wixui-rich-text__text'><a href='https://music.washington.edu/eve
 nts/2024-02-05/organ-lecture-series-carole-terry-organ' target='_blank' re l='noopener noreferrer'>Feb. 5\, 2024: Carole Terry: 'How the body works w
 hen playing piano\, organ\, or harpsichord” </a></p>\n<hr>\n<p class='font
 _8 wixui-rich-text__text'></p>
DTSTART;TZID=America/Los_Angeles:20240504T100000
LAST-MODIFIED:20240111T190808Z
SEQUENCE:27
SUMMARY:: External Event: Organ Lecture Series: Kimberly Marshall\, 'The Or
 gan Works of J.S. Bach'
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-04/external-event-organ-lec
 ture-series-kimberly-marshall-organ-works-js-bach
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div class='elementToProof'>Guest organist Kim
 berly Marshall\, professor of organ at Arizona State University\, presents
  a lecture and master class: 'The Organ Works of J.S. Bach\,' in this spec
 ial event co-sponsored by the UW School of Music and the Seattle Chapter o
 f the American Guild of Organists. Support for this event is through the P
 aul B. Fritts Endowed Faculty Fellowship in Organ.</div> <hr> <h3 class='e
 lementToProof'>Biography</h3> <h3 class='elementToProof'><a href='https://
 www.kimberlymarshall.com/' target='_blank' rel='noopener noreferrer'>Kimbe
 rly Marshall</a></h3> <div class='elementToProof'> <section id='comp-lhl5i
 ll5' class='Oqnisf comp-lhl5ill5 wixui-section' data-block-level-container='ClassicSection' tabindex='-1'> <div data-mesh-id='comp-lhl5ill5inlineCon
 tent' data-testid='inline-content' class> <div data-mesh-id='comp-lhl5ill5
 inlineContent-gridContainer' data-testid='mesh-container-content'> <div id='comp-l670ctvb' class='KcpHeO tz5f0K comp-l670ctvb wixui-rich-text' data- testid='richTextElement'> <p class='font_8 wixui-rich-text__text'><span cl ass='wixui-rich-text__text'>Kimberly Marshall is known worldwide for her c
 ompelling programs and presentations of organ music. Her distinguished ach
 ievement in organ performance and scholarship was recognized by the Royal 
 College of Organists in 2022 with their highest award. She is an accomplis
 hed teacher\, giving master classes internationally. She currently holds t
 he Patricia and Leonard Goldman Endowed Professorship in Organ at Arizona 
 State University and the Hedda Andersson Visiting Professorship at the Mal
 mö Academy of Music.</span></p> </div> </div> </div> </section> <section i d='comp-lhl5ill51' class='Oqnisf comp-lhl5ill51 wixui-section' data-block- level-container='ClassicSection' tabindex='-1'> <div id='bgLayers_comp-lhl
 5ill51' data-hook='bgLayers' class='MW5IWV'> <div id='bgMedia_comp-lhl5ill
 51' class='VgO9Yg'></div> </div> <div data-mesh-id='comp-lhl5ill51inlineCo
 ntent' data-testid='inline-content' class> <div data-mesh-id='comp-lhl5ill
 51inlineContent-gridContainer' data-testid='mesh-container-content'> <div id='comp-l670ctvc1' class='KcpHeO tz5f0K comp-l670ctvc1 wixui-rich-text' d ata-testid='richTextElement'> <p class='font_8 wixui-rich-text__text'><span class='color_8 wixui-rich-text__text
 '>Marshall has performed and presented her research at 11 national convent
 ions of the AGO.  A review of her recital in Washington\, DC in July 2010 
 praised her as “a multi-faceted musician” who “pushed the organ to its lim
 it with her virtuosic demands in playing and registration….This was a roya
 l performance by one of our royalty!” During the summer of 2013\, she appe
 ared in Amsterdam\, Seoul and Sweden\; in 2014\, she was a featured artist
  on performance series in England\, Germany\, France\, New York and San Di
 ego. A highlight of 2015 was Marshall’s concert on the earliest surviving 
 instrument in the Netherlands\, built in 1511. In 2016\, she played recita
 ls in Philadelphia\, Bolivia\, Amsterdam and Vienna\, while her engagement
 s in 2017 included the opening recital for the AGO regional convention in 
 Salt Lake City and an inaugural recital of the new Fritts organ for the Ba
 silica at the University of Notre-Dame. In July 2018\, she was chosen as t
 he organ soloist with orchestra for the final concert of the AGO national 
 convention in the Kauffman Center\, Kansas City\, where she was extolled f
 or “the ease and facility” with which she performed the “virtuosic pedal c
 adenza.” (The American Organist\, Oct 2018).</span></span></p> <p class='f
 ont_8 wixui-rich-text__text'><span class='wixui-rich-text__text'><span cla ss='color_8 wixui-rich-text__text'>In 2019\, Kimberly Marshall inaugurated
  the new Klais organ in St. Petri Cathedral\, Malmö\, the largest instrume
 nt in Scandinavia.  She appeared at the Boston Early Music Festival and ga
 ve the opening concert for the national convention of the Organ Historical
  Society in Dallas. Her expertise in early Spanish and Italian repertoire 
 was acknowledged by invitations to perform on the Spanish baroque-style or
 gan at Oberlin Conservatory and the Italian-baroque inspired organ at Chri
 st Church Cathedral\, Cincinnati. She performed and taught at the Goteborg
  International Organ Academy in 2020\, 2021 and 2022\, opening the Malmö O
 rgan festival in May 2022. In the same month\, she gave the first guest co
 ncert at Washington National Cathedral since the pandemic\, to an enthusia
 stic audience.</span></span></p> <p class='font_8 wixui-rich-text__text'>&lt;
 span class='wixui-rich-text__text'&gt;<span class='color_8 wixui-rich-text__t
 ext'><span class='wixGuard wixui-rich-text__text'>​</span>Performer\, scho
 lar\, and educator\, Kimberly Marshall is a committed advocate of the orga
 n.  She works to promote the instrument in both local and global communiti
 es. She is regularly consulted by churches searching for organists and mus
 ic directors\, as well as by institutions seeking advice on instrument ins
 tallations.  She is the advisor on organs for the Musical Instrument Museu
 m (MIM) in Phoenix and has made videos in Guanajuato (Mexico)\, Toulouse (
 France) and Florence (Italy) for their exhibits.  An authority on the orga
 n’s rich history over the past 2000 years\, she is devoted to continuing t
 his tradition of artistic ingenuity into the next millennium.</span></span></p> <hr> <h4 class='font_8 wixui-rich-text__text'><span class='wixui-ric
 h-text__text'><span class='color_8 wixui-rich-text__text'>Other Events in 
 This Series</span></span></h4> <p class='font_8 wixui-rich-text__text'><span class='color_8 wixui-rich-text__tex
 t'><a href='https://music.washington.edu/events/2024-02-05/organ-lecture-s
 eries-carole-terry-organ' target='_blank' rel='noopener noreferrer'>Feb. 5
 \, 2024: Carole Terry: <span>'</span><span>How the body works when playing
  piano\, organ\, or harpsichord”</span><span> </span></a></span></span></p> <hr> <p class='font_8 wixui-rich-text__text'></p> </div> </div> </div> &lt;
 /section&gt; </div>
END:VEVENT
BEGIN:VEVENT
UID:e43023d4-c2fc-419d-96fe-2bb8c61cedb3
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20240410T203135Z
DESCRIPTION:<p>A degree recital by Flora Cummings\, BM\, Viola Performance\
 , a student of Melia Watras\, performing works by Bach\, Hess\, and Clark.
  With guest musicians Mia HyeYeon Kim and Elinor Cummings</p>\n<hr>\n<h3 d ir='auto'>PROGRAM</h3>\nJ.S. Bach: Cello Suite No. 2<br>Traditional: Scott
 ish Fiddle Set<br>Nigel Hess: Theme from Ladies in Lavender \nRebecca Clar
 ke: Sonata for Viola and Piano<hr>
DTSTART;TZID=America/Los_Angeles:20240504T133000
LAST-MODIFIED:20240410T204258Z
SEQUENCE:28
SUMMARY:: Degree Recital: Flora Cummings\, viola
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-04/degree-recital-flora-cum
 mings-viola
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>A degree recital by Flora Cummings\, BM\, V
 iola Performance\, a student of Melia Watras\, performing works by Bach\, 
 Hess\, and Clark. With guest musicians Mia HyeYeon Kim and Elinor Cummings
 </p> <hr> <h3 dir='auto'>PROGRAM</h3> <div dir='auto'>J.S. Bach: Cello Sui
 te No. 2<br>Traditional: Scottish Fiddle Set<br>Nigel Hess: Theme from <em>Ladies in Lavender</em> </div> <div dir='auto'>Rebecca Clarke: Sonata for
  Viola and Piano<hr></div>
END:VEVENT
BEGIN:VEVENT
UID:09f74cd2-fe11-4973-8c03-76b887c1e3ec
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240215T173620Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20240507T120000
LAST-MODIFIED:20240215T173620Z
SEQUENCE:29
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-07/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:17ddca55-a2fa-41a6-b1e5-6a048aea3449
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20240507T022145Z
DESCRIPTION:<p>A master’s degree recital by Joel Horton (MM\, Tuba)\, a stu
 dent of John DiCesare\, performing works by Prokofiev\, Mahler\, Anna Baad
 svik\, and Dvorak. with Alexander Kostadinov\, piano\; and Cole Henslee\, 
 organ. </p>\n<hr>\n<h3 class='field-content'>Program</h3>\n<p> <strong>Ser
 gei Prokofiev</strong> (1891-1953) Arr. <strong>Charles Vernon</strong><br>Romeo and Juliet Suite No. 1 Op. 64 for Tuba and Piano 29’:   <br>Alexand
 er Kostadinov\, Piano </p>\n<p>-Intermission- </p>\n<p><strong>Gustav Mahl
 er</strong> (1860-1911) Arr. <strong>Joseph Caldarise </strong><br>“Urlich
 t” from Symphony No. 2 “Resurrection Symphony” 6’: <br>Cole Henslee\, Orga
 n </p>\n<p><strong>Anna Baadsvik</strong> (b. 1996) <br>New Kid 7’ <br>Col
 e Henslee\, Organ </p>\n<p><strong>Antonin Dvorak</strong> (1841-1904) Arr
 . <strong>Andrew Markel</strong> and <strong>Emily Horton</strong> <br>“Fr
 om the New World” Symphony No. 9\, Mvt. II “Largo” 7’ <br>Cole Henslee\, O
 rgan </p>
DTSTART;TZID=America/Los_Angeles:20240507T190000
LAST-MODIFIED:20240507T023412Z
SEQUENCE:30
SUMMARY:: Degree Recital: Joel Horton\, MM\, Tuba
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-08/degree-recital-joel-hort
 on-mm-tuba
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>A master’s degree recital by Joel Horton (M
 M\, Tuba)\, a student of John DiCesare\, performing works by Prokofiev\, M
 ahler\, Anna Baadsvik\, and Dvorak. with Alexander Kostadinov\, piano\; an
 d Cole Henslee\, organ. </p> <hr> <h3 class='field-content'>Program</h3> &lt;
 p&gt; <strong>Sergei Prokofiev</strong> (1891-1953) Arr. <strong>Charles Vern
 on</strong><br>Romeo and Juliet Suite No. 1 Op. 64 for Tuba and Piano 29’:
   <span class='Apple-converted-space'> <br></span><i>Alexander Kostadinov\
 , Piano<span class='Apple-converted-space'> </span></i></p> <p>-Intermissi
 on-<span class='Apple-converted-space'> </span></p> <p><strong>Gustav Mahl
 er</strong> (1860-1911)<span class='Apple-converted-space'> </span>Arr. <s trong>Joseph Caldarise<span class='Apple-converted-space'> </span></strong><br>“Urlicht” from Symphony No. 2 “Resurrection Symphony” 6’: <span class='Apple-converted-space'><br></span><i>Cole Henslee\, Organ<span class='Ap
 ple-converted-space'> </span></i></p> <p><strong>Anna Baadsvik</strong> (b
 . 1996) <br>New Kid 7’ <br><i>Cole Henslee\, Organ<span class='Apple-conve
 rted-space'> </span></i></p> <p><strong>Antonin Dvorak</strong> (1841-1904
 )<span class='Apple-converted-space'> </span>Arr. <strong>Andrew Markel</s> and <strong>Emily Horton</strong><span class='Apple-converted-space
 '> <br></span>“From the New World” Symphony No. 9\, Mvt. II “Largo” 7’ <br></span><i>Cole Henslee\, Organ<span c lass='Apple-converted-space'> </span></i></p>
END:VEVENT
BEGIN:VEVENT
UID:59fb5241-84b2-405a-839a-5813f0c25658
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20240429T151016Z
DESCRIPTION:<p>A degree recital by Karen Haining (BM\, Piano Performance)\,
  student of Robin McCabe\, performing works by Bach\, Beethoven\, Chopin\,
  Liszt\, and Gershwin. </p>\n<hr>\n<h3>Program</h3>\n<strong>J.S. Bach:</s> French Suite No. 5 in G Major\, BWV 816\n<strong>Ludwig van Beethov
 en:</strong> Sonata No. 17 in D Minor\, Op. 31\, No. 2 (“Tempest')\nFrédéric Chopin:</strong> Waltz in F Major\, Op. 34\, No. 3\n<strong>Cho
 pin:</strong> Nocturne in F Major\, Op. 15\, No. 1\n<strong>Chopin: Mazurka in A Minor\, Op. 17\, No. 4\n<strong>Franz Liszt:</strong> Ball
 ade No. 2 in B Minor\, S. 171\n<strong>George Gershwin:</strong> Impromptu
  in Two Keys<hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20240511T133000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:31
SUMMARY:: Degree Recital: Karen Haining\, BM\, Piano Performance
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-11/degree-recital-karen-hai
 ning-bm-piano-performance
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>A degree recital by Karen Haining (BM\, Pia
 no Performance)\, student of Robin McCabe\, performing works by Bach\, Bee
 thoven\, Chopin\, Liszt\, and Gershwin. </p> <hr> <h3>Program</h3> <div><s trong>J.S. Bach:</strong> French Suite No. 5 in G Major\, BWV 816</div> <strong>Ludwig van Beethoven:</strong> Sonata No. 17 in D Minor\, Op. 3
 1\, No. 2 (“Tempest')</div> <div><strong>Frédéric Chopin:</strong> Waltz i
 n F Major\, Op. 34\, No. 3</div> <div><strong>Chopin:</strong> Nocturne in
  F Major\, Op. 15\, No. 1</div> <div><strong>Chopin:</strong> Mazurka in A
  Minor\, Op. 17\, No. 4</div> <div><strong>Franz Liszt:</strong> Ballade N
 o. 2 in B Minor\, S. 171</div> <div><strong>George Gershwin:</strong> Impr
 omptu in Two Keys<hr></div> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:ea02f5df-e71f-481c-9f6e-64c77028f685
DTSTAMP:20260307T094252Z
CATEGORIES:Master Classes\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20240110T233444Z
DESCRIPTION:<p></p>\n<p>Guest violinist Cameron Daly of the Callisto Quarte
 t (quartet-in-residence at Yale University) conducts a chamber masterclass
  with UW music students. This event includes a question-and-answer session
  with Daly\, who will share his experiences working as both a professional
  chamber musician and full-time software engineer at Qualtrics.</p>\n<hr>
 \n<h3>Biography</h3>\n<h3><a href='https://www.callistoquartet.com/about/c
 ameron' target='_blank' rel='noopener noreferrer'>Cameron Daly</a></h3>\n&lt;
 p&gt;A passionate chamber musician with a diverse background\, Cameron Daly (
 b. 1996) joined the Callisto Quartet after a two year tenure with the Napl
 es Philharmonic. He has appeared as a soloist with the Yale Symphony Orche
 stra as a winner of the William-Waite Concerto Competition\, and served as
  concertmaster of the Yale Symphony\, the Yale Philharmonia\, and the Tang
 lewood Music Center Orchestra. Cameron is the recipient of Yale’s Terry E.
  and Irene Sharp prize\, the Wrexham Prize for Music\, the Yale School of 
 Music’s Alumni Association Prize\, as well as distinction in the Global Af
 fairs major for his work on a quantitative framework for the World Bank’s 
 International Finance Corporation’s use in analyzing and anticipating the 
 development impact of private equity fund managers in Sub-Saharan Africa. 
 He holds degrees from both Yale College and the Yale School of Music\, hav
 ing studied U.S.-Russian relations and Soviet history (B.A. cum laude\, Gl
 obal Affairs ‘18) in addition to music (M.M. Violin Performance ‘20). A st
 udent of Wendy Sharp and Ani Kavafian\, Cameron has performed at the Chamb
 er Music Society of Lincoln Center\, and the Taos\, Tanglewood\, and Aspen
  music festivals. He has collaborated with artists including Andrés Díaz\,
  James Ehnes\, Milena Pajaro-van de Stadt\, and Peter Winograd. Chamber mu
 sic being his greatest artistic joy\, Cameron is honored to be continuing 
 the Callisto Quartet’s tradition of musical excellence.</p>
DTSTART;TZID=America/Los_Angeles:20240512T190000
LAST-MODIFIED:20240111T000859Z
SEQUENCE:32
SUMMARY:: Chamber Master Class: Cameron Daly\, violin
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-13/chamber-master-class-cam
 eron-daly-violin
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Guest violinist Cameron Daly of the
  Callisto Quartet (quartet-in-residence at Yale University) conducts a cha
 mber masterclass with UW music students. This event includes a question-an
 d-answer session with Daly\, who will share his experiences working as bot
 h a professional chamber musician and full-time software engineer at Qualt
 rics.</p> <hr> <h3>Biography</h3> <h3><a href='https://www.callistoquartet
 .com/about/cameron' target='_blank' rel='noopener noreferrer'>Cameron Daly
 </a></h3> <p><span>A passionate chamber musician with a diverse background
 \, Cameron Daly (b. 1996) joined the Callisto Quartet after a two year ten
 ure with the Naples Philharmonic. He has appeared as a soloist with the Ya
 le Symphony Orchestra as a winner of the William-Waite Concerto Competitio
 n\, and served as concertmaster of the Yale Symphony\, the Yale Philharmon
 ia\, and the Tanglewood Music Center Orchestra. Cameron is the recipient o
 f Yale’s Terry E. and Irene Sharp prize\, the Wrexham Prize for Music\, th
 e Yale School of Music’s Alumni Association Prize\, as well as distinction
  in the Global Affairs major for his work on a quantitative framework for 
 the World Bank’s International Finance Corporation’s use in analyzing and 
 anticipating the development impact of private equity fund managers in Sub
 -Saharan Africa. He holds degrees from both Yale College and the Yale Scho
 ol of Music\, having studied U.S.-Russian relations and Soviet history (B.
 A. </span><i>cum laude</i><span>\, Global Affairs ‘18) in addition to musi
 c (M.M. Violin Performance ‘20). A student of Wendy Sharp and Ani Kavafian
 \, Cameron has performed at the Chamber Music Society of Lincoln Center\, 
 and the Taos\, Tanglewood\, and Aspen music festivals. He has collaborated
  with artists including Andrés Díaz\, James Ehnes\, Milena Pajaro-van de S
 tadt\, and Peter Winograd. Chamber music being his greatest artistic joy\,
  Cameron is honored to be continuing the Callisto Quartet’s tradition of m
 usical excellence.</span></p>
END:VEVENT
BEGIN:VEVENT
UID:8f3a932e-e912-4011-be8d-49eec3a5022e
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20230811T004814Z
DESCRIPTION:<p>Guest pianist Artur Pizarro performs works by Chopin\, Schum
 ann\, Fauré\, and Rachmaninoff in this solo piano recital.</p>\n<hr>\n<p>&lt;
 strong&gt;Note: Artur Pizarro also leads a master class with UW piano student
 s on Tuesday\, May 14\, 5 pm. Details <a href='https://music.washington.ed
 u/events/2024-05-14/guest-pianist-master-class-artur-pizarro' target='_bla
 nk' rel='noopener noreferrer'>here.</a></strong><a href='https://music.was
 hington.edu/events/2024-05-14/guest-pianist-master-class-artur-pizarro' ta rget='_blank' rel='noopener noreferrer'>  </a></p>\n<hr>\n<h3>Program</h3>
 \n\n\n<p type='cite'><strong>Chopin:</strong> Barcarolle\, Opus 60<br clas s><strong>Schumann:</strong> Sonata in F sharp minor\, Opus 11<br class>  
         Intermission<br class><strong>Fauré:</strong> Eight Pièces Brèves&lt;
 br class&gt;<strong>Rachmaninoff:</strong> Sonata #2\, Opus 36 (1931 version)
 </p>\n<hr>\n\n<h3>Biographies</h3>\n<h3>Artur Pizarro</h3>\n<p>Born in Lis
 bon\, Portugal in 1968\, Artur Pizarro gave his first public performance a
 t the age of three and made his television début on Portuguese television 
 at the age of four. He had been introduced to the instrument by his matern
 al grandmother\, pianist Berta da Nóbrega\, and her piano-duo partner\, Ca
 mpos Coelho who was a student of Vianna da Motta\, Ricardo Viñes and Isido
 r Philipp. From 1974 to 1990 Artur studied with Sequeira Costa who had als
 o been a student of Vianna da Motta and of Mark Hamburg\, Edwin Fischer\, 
 Marguerite Long and Jacques Février. This distinguished lineage immersed A
 rtur in the tradition of the ‘Golden Age’ of pianism and gave him a broad 
 education in both the German and French piano schools and repertoire. Duri
 ng a brief interruption of his studies in the USA\, Artur also studied wit
 h Jorge Moyano in Lisbon\, and in Paris worked with Aldo Ciccolini\, Géry 
 Moutier and Bruno Rigutto.</p>\n<p>Artur won first prizes in the 1987 Vian
 na da Motta Competition\, the 1988 Greater Palm Beach Symphony Competition
  and won first prize at the 1990 Leeds International Pianoforte Competitio
 n\, which marked the beginning of an international concert career.</p>\n<p>Artur Pizarro performs internationally in recital\, chamber music and wit
 h the world’s leading orchestras and conductors including Sir Simon Rattle
 \, Philippe Entremont\, Yan Pascal Tortelier\, Sir Andrew Davis\, Esa-Pekk
 a Salonen\, Yuri Temirkanov\, Vladimir Fedoseyev\, Ilan Volkov\, Franz Wel
 ser- Most\, Tugan Sokhiev\, Yakov Kreizberg\, Yannick Nézet-Séguin\, Libor
  Pešek\, Vladimir Jurowski\, Ion Marin\, John Wilson and the late Sir Char
 les Mackerras.</p>\n<p>Artur is an active chamber musician and has perform
 ed at chamber music festivals throughout the world. Artur Pizarro has reco
 rded extensively for Collins Classics\, Hyperion Records\, Linn Records\, 
 Brilliant Classics\, Klara\, Naxos\, Danacord\, Odradek Records and Phoeni
 x Edition.</p>\n<p>Artur Pizarro has received various awards from his nati
 ve Portugal for services to classical music and culture including the Port
 uguese Press Award\, the Portuguese Society of Authors award\, the Medal o
 f Culture of the City of Funchal and the Medal of Cultural Merit from the 
 Portuguese Government.</p>\n<p>Artur Pizarro has created his private teach
 ing studio in Oeiras\, Portugal where he coaches students of various ages 
 and levels.</p>\n<p> </p>
DTSTART;TZID=America/Los_Angeles:20240513T193000
LAST-MODIFIED:20240425T155454Z
SEQUENCE:33
SUMMARY:: Guest Pianist Recital: Artur Pizarro
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-14/guest-pianist-recital-ar
 tur-pizarro
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Guest pianist Artur Pizarro performs works 
 by Chopin\, Schumann\, Fauré\, and Rachmaninoff in this solo piano recital
 .</p> <hr> <p><strong>Note: Artur Pizarro also leads a master class with U
 W piano students on Tuesday\, May 14\, 5 pm. Details <a href='https://musi
 c.washington.edu/events/2024-05-14/guest-pianist-master-class-artur-pizarr
 o' target='_blank' rel='noopener noreferrer'>here.</a></strong><a href='//music.washington.edu/events/2024-05-14/guest-pianist-master-class-ar
 tur-pizarro' target='_blank' rel='noopener noreferrer'>  </a></p> <hr> <h3>Program</h3> <div> <div> <p type='cite'><strong>Chopin:</strong> Barcarol
 le\, Opus 60<br class><strong>Schumann:</strong> Sonata in F sharp minor\,
  Opus 11<br class>          Intermission<br class><strong>Fauré:</strong> 
 Eight Pièces Brèves<br class><strong>Rachmaninoff:</strong> Sonata #2\, Op
 us 36 (1931 version)</p> <hr></div> </div> <h3>Biographies</h3> <h3>Artur 
 Pizarro</h3> <p>Born in Lisbon\, Portugal in 1968\, Artur Pizarro gave his
  first public performance at the age of three and made his television débu
 t on Portuguese television at the age of four. He had been introduced to t
 he instrument by his maternal grandmother\, pianist Berta da Nóbrega\, and
  her piano-duo partner\, Campos Coelho who was a student of Vianna da Mott
 a\, Ricardo Viñes and Isidor Philipp. From 1974 to 1990 Artur studied with
  Sequeira Costa who had also been a student of Vianna da Motta and of Mark
  Hamburg\, Edwin Fischer\, Marguerite Long and Jacques Février. This disti
 nguished lineage immersed Artur in the tradition of the ‘Golden Age’ of pi
 anism and gave him a broad education in both the German and French piano s
 chools and repertoire. During a brief interruption of his studies in the U
 SA\, Artur also studied with Jorge Moyano in Lisbon\, and in Paris worked 
 with Aldo Ciccolini\, Géry Moutier and Bruno Rigutto.</p> <p>Artur won fir
 st prizes in the 1987 Vianna da Motta Competition\, the 1988 Greater Palm 
 Beach Symphony Competition and won first prize at the 1990 Leeds Internati
 onal Pianoforte Competition\, which marked the beginning of an internation
 al concert career.</p> <p>Artur Pizarro performs internationally in recita
 l\, chamber music and with the world’s leading orchestras and conductors i
 ncluding Sir Simon Rattle\, Philippe Entremont\, Yan Pascal Tortelier\, Si
 r Andrew Davis\, Esa-Pekka Salonen\, Yuri Temirkanov\, Vladimir Fedoseyev\
 , Ilan Volkov\, Franz Welser- Most\, Tugan Sokhiev\, Yakov Kreizberg\, Yan
 nick Nézet-Séguin\, Libor Pešek\, Vladimir Jurowski\, Ion Marin\, John Wil
 son and the late Sir Charles Mackerras.</p> <p>Artur is an active chamber 
 musician and has performed at chamber music festivals throughout the world
 . Artur Pizarro has recorded extensively for Collins Classics\, Hyperion R
 ecords\, Linn Records\, Brilliant Classics\, Klara\, Naxos\, Danacord\, Od
 radek Records and Phoenix Edition.</p> <p>Artur Pizarro has received vario
 us awards from his native Portugal for services to classical music and cul
 ture including the Portuguese Press Award\, the Portuguese Society of Auth
 ors award\, the Medal of Culture of the City of Funchal and the Medal of C
 ultural Merit from the Portuguese Government.</p> <p>Artur Pizarro has cre
 ated his private teaching studio in Oeiras\, Portugal where he coaches stu
 dents of various ages and levels.</p> <p> </p>
END:VEVENT
BEGIN:VEVENT
UID:f57c1090-4ef7-40f9-8c66-8ab4470d411f
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Special Events
CLASS:PUBLIC
CREATED:20240508T194629Z
DESCRIPTION:<p>Dr. Stephen Price hosts a live fundraiser via Zoom <strong>M
 ay 14 through 16\, 4 to 6 p.m. </strong>This special event will raise fund
 s for Friends of Organ and features special performances and remarks from 
 students\, faculty\, alumni\, and friends.</p>\n<p><a href='https://washin
 gton.zoom.us/j/92388255141' target='_blank' rel='noopener noreferrer' clas s='button'>Join the LIVESTREAM</a></p>\n<h3 id='campaignStory' ng-bind-htm l='vm.serverModel.CampaignText' class='ng-binding'>Organ Program Fundraise
 r</h3>\n<p ng-bind-html='vm.serverModel.CampaignText' class='ng-binding'>M
 issed the livestream but still want to support the Organ Program at the Un
 iversity of Washington? The Organ Program Fundraiser allows the greater co
 mmunity to support organ studies offered in the School of Music. The fund 
 covers the maintenance cost for the three practice instruments (two instru
 ments built by Paul Fritts and one instrument from the Organ clearing hous
 e) and the Fritts organ in the Walker-Ames room (Kane Hall).</p>\n<p ng-bi nd-html='vm.serverModel.CampaignText' class='ng-binding'>The fund also sup
 ports rental agreements with churches in Seattle to use their spaces for o
 rgan lessons\, student practice\, and recitals. Currently\, the organ prog
 ram utilizes St. Mark's Cathedral\, Plymouth Church\, St. James Cathedral\
 , University Presbyterian\, and St. Alphonsus Church.</p>\n<p ng-bind-html='vm.serverModel.CampaignText' class='ng-binding'>The instruments housed i
 n these venues offer a diverse learning opportunity to study organs built 
 in different styles\, including American Classic\, French Romantic\, Germa
 n Baroque\, German Romantic\, French Romantic\, and Neo-Classic instrument
 s. In the 80-year-plus history of the organ program\, relationships with a
 rea churches have been a hallmark of the program\, allowing students to en
 gage in community outreach and build relationships with area churches\, mu
 sic directors\, choirs\, instrumental ensembles\, and the larger musical c
 ommunity in Seattle. </p>\n<p><a href='https:
 //together.uw.edu/Campaign/school-of-music---organ-program-fundraiser1?fbc
 lid=IwZXh0bgNhZW0CMTAAAR0xsHiGvtrt4jb5FFTNZ1s4tuXp4A7X3kKwT6jKThfRa4ahvH8k
 RRhF3fg_aem_AYZ8E6t0wkYh6svUDOtouDqIUvS1oLgJCszVtnGpwXLJebmvC8jm93WcfhpODV
 QIhT2K7wTvaPSPTzdiEK-lCFgM' target='_blank' rel='noopener noreferrer' clas s='button'>Donate here</a></p>
DTSTART;TZID=America/Los_Angeles:20240514T160000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:34
SUMMARY:: Online Event: Live Fund Drive\, UW Organ Program
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-14/online-event-live-fund-d
 rive-uw-organ-program
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div class='row'> <div class='col-md-12 '> <p>
 Dr. Stephen Price hosts a live fundraiser via Zoom <strong>May 14 through 
 16\, 4 to 6 p.m. </strong>This special event will raise funds for Friends 
 of Organ and features special performances and remarks from students\, fac
 ulty\, alumni\, and friends.</p> <p><a href='https://washington.zoom.us/j/
 92388255141' target='_blank' rel='noopener noreferrer' class='button'>Join
  the LIVESTREAM</a></p> <h3 id='campaignStory' ng-bind-html='vm.serverMode
 l.CampaignText' class='ng-binding'>Organ Program Fundraiser</h3> <p ng-bin d-html='vm.serverModel.CampaignText' class='ng-binding'>Missed the livestr
 eam but still want to support the Organ Program at the University of Washi
 ngton? The Organ Program Fundraiser allows the greater community to suppor
 t organ studies offered in the School of Music. The fund covers the mainte
 nance cost for the three practice instruments (two instruments built by Pa
 ul Fritts and one instrument from the Organ clearing house) and the Fritts
  organ in the Walker-Ames room (Kane Hall).</p> <p ng-bind-html='vm.server
 Model.CampaignText' class='ng-binding'>The fund also supports rental agree
 ments with churches in Seattle to use their spaces for organ lessons\, stu
 dent practice\, and recitals. Currently\, the organ program utilizes St. M
 ark's Cathedral\, Plymouth Church\, St. James Cathedral\, University Presb
 yterian\, and St. Alphonsus Church.</p> <p ng-bind-html='vm.serverModel.Ca
 mpaignText' class='ng-binding'>The instruments housed in these venues offe
 r a diverse learning opportunity to study organs built in different styles
 \, including American Classic\, French Romantic\, German Baroque\, German 
 Romantic\, French Romantic\, and Neo-Classic instruments. In the 80-year-p
 lus history of the organ program\, relationships with area churches have b
 een a hallmark of the program\, allowing students to engage in community o
 utreach and build relationships with area churches\, music directors\, cho
 irs\, instrumental ensembles\, and the larger musical community in Seattle
 . </p> <p><a href='https://together.uw.edu/Ca
 mpaign/school-of-music---organ-program-fundraiser1?fbclid=IwZXh0bgNhZW0CMT
 AAAR0xsHiGvtrt4jb5FFTNZ1s4tuXp4A7X3kKwT6jKThfRa4ahvH8kRRhF3fg_aem_AYZ8E6t0
 wkYh6svUDOtouDqIUvS1oLgJCszVtnGpwXLJebmvC8jm93WcfhpODVQIhT2K7wTvaPSPTzdiEK
 -lCFgM' target='_blank' rel='noopener noreferrer' class='button'>Donate he
 re</a></p> </div> </div>
END:VEVENT
BEGIN:VEVENT
UID:80967344-a21c-4aa3-a80c-0caff17d3eb7
DTSTAMP:20260307T094252Z
CATEGORIES:Master Classes\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20230811T004955Z
DESCRIPTION:<p>Renowned concert pianist Artur Pizarro leads a master class 
 with UW piano students.</p>\n<hr>\n<p><strong>Note: Artur Pizarro also per
 forms a solo recital on Monday\, May 13\, 7:30 pm. Details <a href='https:
 //music.washington.edu/events/2024-05-13/guest-pianist-recital-artur-pizar
 ro' target='_blank' rel='noopener noreferrer'>here.</a> </strong></p>\n<hr>\n<h3>Biographies</h3>\n<h3>Artur Pizarro</h3>\n<p>Born in Lisbon\, Portu
 gal in 1968\, Artur Pizarro gave his first public performance at the age o
 f three and made his television début on Portuguese television at the age 
 of four. He had been introduced to the instrument by his maternal grandmot
 her\, pianist Berta da Nóbrega\, and her piano-duo partner\, Campos Coelho
  who was a student of Vianna da Motta\, Ricardo Viñes and Isidor Philipp. 
 From 1974 to 1990 Artur studied with Sequeira Costa who had also been a st
 udent of Vianna da Motta and of Mark Hamburg\, Edwin Fischer\, Marguerite 
 Long and Jacques Février. This distinguished lineage immersed Artur in the
  tradition of the ‘Golden Age’ of pianism and gave him a broad education i
 n both the German and French piano schools and repertoire. During a brief 
 interruption of his studies in the USA\, Artur also studied with Jorge Moy
 ano in Lisbon\, and in Paris worked with Aldo Ciccolini\, Géry Moutier and
  Bruno Rigutto.</p>\n<p>Artur won first prizes in the 1987 Vianna da Motta
  Competition\, the 1988 Greater Palm Beach Symphony Competition and won fi
 rst prize at the 1990 Leeds International Pianoforte Competition\, which m
 arked the beginning of an international concert career.</p>\n<p>Artur Piza
 rro performs internationally in recital\, chamber music and with the world
 ’s leading orchestras and conductors including Sir Simon Rattle\, Philippe
  Entremont\, Yan Pascal Tortelier\, Sir Andrew Davis\, Esa-Pekka Salonen\,
  Yuri Temirkanov\, Vladimir Fedoseyev\, Ilan Volkov\, Franz Welser- Most\,
  Tugan Sokhiev\, Yakov Kreizberg\, Yannick Nézet-Séguin\, Libor Pešek\, Vl
 adimir Jurowski\, Ion Marin\, John Wilson and the late Sir Charles Mackerr
 as.</p>\n<p>Artur is an active chamber musician and has performed at chamb
 er music festivals throughout the world. Artur Pizarro has recorded extens
 ively for Collins Classics\, Hyperion Records\, Linn Records\, Brilliant C
 lassics\, Klara\, Naxos\, Danacord\, Odradek Records and Phoenix Edition.&lt;
 /p&gt;\n<p>Artur Pizarro has received various awards from his native Portugal
  for services to classical music and culture including the Portuguese Pres
 s Award\, the Portuguese Society of Authors award\, the Medal of Culture o
 f the City of Funchal and the Medal of Cultural Merit from the Portuguese 
 Government.</p>\n<p>Artur Pizarro has created his private teaching studio 
 in Oeiras\, Portugal where he coaches students of various ages and levels.
 </p>\n<p> </p>
DTSTART;TZID=America/Los_Angeles:20240514T170000
LAST-MODIFIED:20230811T005134Z
SEQUENCE:35
SUMMARY:: Guest Pianist Master Class: Artur Pizarro
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-15/guest-pianist-master-cla
 ss-artur-pizarro
END:VEVENT
BEGIN:VEVENT
UID:f57c1090-4ef7-40f9-8c66-8ab4470d411f
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Special Events
CLASS:PUBLIC
CREATED:20240508T194629Z
DESCRIPTION:<p>Dr. Stephen Price hosts a live fundraiser via Zoom <strong>M
 ay 14 through 16\, 4 to 6 p.m. </strong>This special event will raise fund
 s for Friends of Organ and features special performances and remarks from 
 students\, faculty\, alumni\, and friends.</p>\n<p><a href='https://washin
 gton.zoom.us/j/92388255141' target='_blank' rel='noopener noreferrer' clas s='button'>Join the LIVESTREAM</a></p>\n<h3 id='campaignStory' ng-bind-htm l='vm.serverModel.CampaignText' class='ng-binding'>Organ Program Fundraise
 r</h3>\n<p ng-bind-html='vm.serverModel.CampaignText' class='ng-binding'>M
 issed the livestream but still want to support the Organ Program at the Un
 iversity of Washington? The Organ Program Fundraiser allows the greater co
 mmunity to support organ studies offered in the School of Music. The fund 
 covers the maintenance cost for the three practice instruments (two instru
 ments built by Paul Fritts and one instrument from the Organ clearing hous
 e) and the Fritts organ in the Walker-Ames room (Kane Hall).</p>\n<p ng-bi nd-html='vm.serverModel.CampaignText' class='ng-binding'>The fund also sup
 ports rental agreements with churches in Seattle to use their spaces for o
 rgan lessons\, student practice\, and recitals. Currently\, the organ prog
 ram utilizes St. Mark's Cathedral\, Plymouth Church\, St. James Cathedral\
 , University Presbyterian\, and St. Alphonsus Church.</p>\n<p ng-bind-html='vm.serverModel.CampaignText' class='ng-binding'>The instruments housed i
 n these venues offer a diverse learning opportunity to study organs built 
 in different styles\, including American Classic\, French Romantic\, Germa
 n Baroque\, German Romantic\, French Romantic\, and Neo-Classic instrument
 s. In the 80-year-plus history of the organ program\, relationships with a
 rea churches have been a hallmark of the program\, allowing students to en
 gage in community outreach and build relationships with area churches\, mu
 sic directors\, choirs\, instrumental ensembles\, and the larger musical c
 ommunity in Seattle. </p>\n<p><a href='https:
 //together.uw.edu/Campaign/school-of-music---organ-program-fundraiser1?fbc
 lid=IwZXh0bgNhZW0CMTAAAR0xsHiGvtrt4jb5FFTNZ1s4tuXp4A7X3kKwT6jKThfRa4ahvH8k
 RRhF3fg_aem_AYZ8E6t0wkYh6svUDOtouDqIUvS1oLgJCszVtnGpwXLJebmvC8jm93WcfhpODV
 QIhT2K7wTvaPSPTzdiEK-lCFgM' target='_blank' rel='noopener noreferrer' clas s='button'>Donate here</a></p>
DTSTART;TZID=America/Los_Angeles:20240515T160000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:36
SUMMARY:: Online Event: Live Fund Drive\, UW Organ Program
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-14/online-event-live-fund-d
 rive-uw-organ-program
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div class='row'> <div class='col-md-12 '> <p>
 Dr. Stephen Price hosts a live fundraiser via Zoom <strong>May 14 through 
 16\, 4 to 6 p.m. </strong>This special event will raise funds for Friends 
 of Organ and features special performances and remarks from students\, fac
 ulty\, alumni\, and friends.</p> <p><a href='https://washington.zoom.us/j/
 92388255141' target='_blank' rel='noopener noreferrer' class='button'>Join
  the LIVESTREAM</a></p> <h3 id='campaignStory' ng-bind-html='vm.serverMode
 l.CampaignText' class='ng-binding'>Organ Program Fundraiser</h3> <p ng-bin d-html='vm.serverModel.CampaignText' class='ng-binding'>Missed the livestr
 eam but still want to support the Organ Program at the University of Washi
 ngton? The Organ Program Fundraiser allows the greater community to suppor
 t organ studies offered in the School of Music. The fund covers the mainte
 nance cost for the three practice instruments (two instruments built by Pa
 ul Fritts and one instrument from the Organ clearing house) and the Fritts
  organ in the Walker-Ames room (Kane Hall).</p> <p ng-bind-html='vm.server
 Model.CampaignText' class='ng-binding'>The fund also supports rental agree
 ments with churches in Seattle to use their spaces for organ lessons\, stu
 dent practice\, and recitals. Currently\, the organ program utilizes St. M
 ark's Cathedral\, Plymouth Church\, St. James Cathedral\, University Presb
 yterian\, and St. Alphonsus Church.</p> <p ng-bind-html='vm.serverModel.Ca
 mpaignText' class='ng-binding'>The instruments housed in these venues offe
 r a diverse learning opportunity to study organs built in different styles
 \, including American Classic\, French Romantic\, German Baroque\, German 
 Romantic\, French Romantic\, and Neo-Classic instruments. In the 80-year-p
 lus history of the organ program\, relationships with area churches have b
 een a hallmark of the program\, allowing students to engage in community o
 utreach and build relationships with area churches\, music directors\, cho
 irs\, instrumental ensembles\, and the larger musical community in Seattle
 . </p> <p><a href='https://together.uw.edu/Ca
 mpaign/school-of-music---organ-program-fundraiser1?fbclid=IwZXh0bgNhZW0CMT
 AAAR0xsHiGvtrt4jb5FFTNZ1s4tuXp4A7X3kKwT6jKThfRa4ahvH8kRRhF3fg_aem_AYZ8E6t0
 wkYh6svUDOtouDqIUvS1oLgJCszVtnGpwXLJebmvC8jm93WcfhpODVQIhT2K7wTvaPSPTzdiEK
 -lCFgM' target='_blank' rel='noopener noreferrer' class='button'>Donate he
 re</a></p> </div> </div>
END:VEVENT
BEGIN:VEVENT
UID:f57c1090-4ef7-40f9-8c66-8ab4470d411f
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Special Events
CLASS:PUBLIC
CREATED:20240508T194629Z
DESCRIPTION:<p>Dr. Stephen Price hosts a live fundraiser via Zoom <strong>M
 ay 14 through 16\, 4 to 6 p.m. </strong>This special event will raise fund
 s for Friends of Organ and features special performances and remarks from 
 students\, faculty\, alumni\, and friends.</p>\n<p><a href='https://washin
 gton.zoom.us/j/92388255141' target='_blank' rel='noopener noreferrer' clas s='button'>Join the LIVESTREAM</a></p>\n<h3 id='campaignStory' ng-bind-htm l='vm.serverModel.CampaignText' class='ng-binding'>Organ Program Fundraise
 r</h3>\n<p ng-bind-html='vm.serverModel.CampaignText' class='ng-binding'>M
 issed the livestream but still want to support the Organ Program at the Un
 iversity of Washington? The Organ Program Fundraiser allows the greater co
 mmunity to support organ studies offered in the School of Music. The fund 
 covers the maintenance cost for the three practice instruments (two instru
 ments built by Paul Fritts and one instrument from the Organ clearing hous
 e) and the Fritts organ in the Walker-Ames room (Kane Hall).</p>\n<p ng-bi nd-html='vm.serverModel.CampaignText' class='ng-binding'>The fund also sup
 ports rental agreements with churches in Seattle to use their spaces for o
 rgan lessons\, student practice\, and recitals. Currently\, the organ prog
 ram utilizes St. Mark's Cathedral\, Plymouth Church\, St. James Cathedral\
 , University Presbyterian\, and St. Alphonsus Church.</p>\n<p ng-bind-html='vm.serverModel.CampaignText' class='ng-binding'>The instruments housed i
 n these venues offer a diverse learning opportunity to study organs built 
 in different styles\, including American Classic\, French Romantic\, Germa
 n Baroque\, German Romantic\, French Romantic\, and Neo-Classic instrument
 s. In the 80-year-plus history of the organ program\, relationships with a
 rea churches have been a hallmark of the program\, allowing students to en
 gage in community outreach and build relationships with area churches\, mu
 sic directors\, choirs\, instrumental ensembles\, and the larger musical c
 ommunity in Seattle. </p>\n<p><a href='https:
 //together.uw.edu/Campaign/school-of-music---organ-program-fundraiser1?fbc
 lid=IwZXh0bgNhZW0CMTAAAR0xsHiGvtrt4jb5FFTNZ1s4tuXp4A7X3kKwT6jKThfRa4ahvH8k
 RRhF3fg_aem_AYZ8E6t0wkYh6svUDOtouDqIUvS1oLgJCszVtnGpwXLJebmvC8jm93WcfhpODV
 QIhT2K7wTvaPSPTzdiEK-lCFgM' target='_blank' rel='noopener noreferrer' clas s='button'>Donate here</a></p>
DTSTART;TZID=America/Los_Angeles:20240516T160000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:37
SUMMARY:: Online Event: Live Fund Drive\, UW Organ Program
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-14/online-event-live-fund-d
 rive-uw-organ-program
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div class='row'> <div class='col-md-12 '> <p>
 Dr. Stephen Price hosts a live fundraiser via Zoom <strong>May 14 through 
 16\, 4 to 6 p.m. </strong>This special event will raise funds for Friends 
 of Organ and features special performances and remarks from students\, fac
 ulty\, alumni\, and friends.</p> <p><a href='https://washington.zoom.us/j/
 92388255141' target='_blank' rel='noopener noreferrer' class='button'>Join
  the LIVESTREAM</a></p> <h3 id='campaignStory' ng-bind-html='vm.serverMode
 l.CampaignText' class='ng-binding'>Organ Program Fundraiser</h3> <p ng-bin d-html='vm.serverModel.CampaignText' class='ng-binding'>Missed the livestr
 eam but still want to support the Organ Program at the University of Washi
 ngton? The Organ Program Fundraiser allows the greater community to suppor
 t organ studies offered in the School of Music. The fund covers the mainte
 nance cost for the three practice instruments (two instruments built by Pa
 ul Fritts and one instrument from the Organ clearing house) and the Fritts
  organ in the Walker-Ames room (Kane Hall).</p> <p ng-bind-html='vm.server
 Model.CampaignText' class='ng-binding'>The fund also supports rental agree
 ments with churches in Seattle to use their spaces for organ lessons\, stu
 dent practice\, and recitals. Currently\, the organ program utilizes St. M
 ark's Cathedral\, Plymouth Church\, St. James Cathedral\, University Presb
 yterian\, and St. Alphonsus Church.</p> <p ng-bind-html='vm.serverModel.Ca
 mpaignText' class='ng-binding'>The instruments housed in these venues offe
 r a diverse learning opportunity to study organs built in different styles
 \, including American Classic\, French Romantic\, German Baroque\, German 
 Romantic\, French Romantic\, and Neo-Classic instruments. In the 80-year-p
 lus history of the organ program\, relationships with area churches have b
 een a hallmark of the program\, allowing students to engage in community o
 utreach and build relationships with area churches\, music directors\, cho
 irs\, instrumental ensembles\, and the larger musical community in Seattle
 . </p> <p><a href='https://together.uw.edu/Ca
 mpaign/school-of-music---organ-program-fundraiser1?fbclid=IwZXh0bgNhZW0CMT
 AAAR0xsHiGvtrt4jb5FFTNZ1s4tuXp4A7X3kKwT6jKThfRa4ahvH8kRRhF3fg_aem_AYZ8E6t0
 wkYh6svUDOtouDqIUvS1oLgJCszVtnGpwXLJebmvC8jm93WcfhpODVQIhT2K7wTvaPSPTzdiEK
 -lCFgM' target='_blank' rel='noopener noreferrer' class='button'>Donate he
 re</a></p> </div> </div>
END:VEVENT
BEGIN:VEVENT
UID:777139b1-7169-48ea-b3ca-d9905ed81405
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20230814T233546Z
DESCRIPTION:Students from the UW piano studios perform works by Bach\, Debu
 ssy\, Schubert\, and Scriabin. <hr>\n<h3>Program</h3>\n<p><strong>Johann S
 ebastian BACH</strong>  (1685-1750)<br>Partita #2 in C minor\, BWV826 (172
 6)<br>Sinfonia                                                            
                       <br>Allemande<br>Courante<br>Sarabande<br>Rondeau<br>Capriccio<br>TONY SUN</p>\n<p><strong>Franz SC
 HUBERT </strong>(1797-1828)<br>Impromptu in C minor\, D899#1 (1827)       
 <strong>                                                <br></strong></strong><strong></strong>ALYSSA HIRONAKA</p>\n<p><strong>Claude DEBUSS
 Y</strong> (1862-1918)<br>La Fille aux Cheveux de Lin (prelude #8 – 1910) 
 <br><br><strong>Franz LISZT</strong> (1811-1886)<br>Hungarian Rhapsody #6 
 in D flat (1846-53) <br>NICOLE STANKOVIC</p>\n<p> INTERMISSION </p>\n<p> &lt;
 strong&gt;Alexander SCRIABIN </strong>(1872-1915)<br>Sonata #4 in F# Major\, 
 Opus 30 (1903)<br>Andante                                                 
                                                       <br>Prestissimo vola
 ndo<br>JIAYI WANG</p>\n<p><strong>Franz SCHUBERT</strong>  (1797-1828)<br>
 Sonata in A minor\, D784 (1823)<br>Allegro giusto                         
                                                            <br>Andante<br>
 Allegro vivace<br>ELLA KALINICHENKO</p>\n<hr>\n<h3>Director Bios</h3>
DTSTART;TZID=America/Los_Angeles:20240516T193000
LAST-MODIFIED:20240516T152334Z
SEQUENCE:38
SUMMARY:: Brechemin Piano Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-17/brechemin-piano-series
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div class='field field-name-body field-type-t
 ext-with-summary field-label-hidden'> <div class='field-items'> <div class='field-item even'>Students from the UW piano studios perform works by Bac
 h\, Debussy\, Schubert\, and Scriabin. <hr> <h3>Program</h3> <p><strong>Jo
 hann Sebastian BACH</strong>  (1685-1750)<br>Partita #2 in C minor\, BWV82
 6 (1726)<br>Sinfonia                                                      
                             <br>Allemande<br>Courante<br>Sarabande<br>Rond
 eau<br>Capriccio<br><em>TONY SUN</em></p> <p><s trong>Franz SCHUBERT </strong>(1797-1828)<br>Impromptu in C minor\, D899#1
  (1827)       <strong><span>                                              
   <br></span></strong><strong><span></span></strong><strong></strong><em>A
 LYSSA HIRONAKA</em></p> <p><strong>Claude DEBUSSY</strong> (1862-1918)<br>
 La Fille aux Cheveux de Lin (prelude #8 – 1910) <br><br><strong>Franz LISZ
 T</strong> (1811-1886)<br>Hungarian Rhapsody #6 in D flat (1846-53) <br>NICOLE STANKOVIC</em></p> <p> INTERMISSION </p> <p> <strong>Alexander SC
 RIABIN </strong>(1872-1915)<br>Sonata #4 in F# Major\, Opus 30 (1903)<br>A
 ndante                                                                    
                                    <br>Prestissimo volando<br><em>JIAYI WA
 NG</em></p> <p><strong>Franz SCHUBERT</strong>  (1797-1828)<br>Sonata in A
  minor\, D784 (1823)<br>Allegro giusto                                    
                                                 <br>Andante<br>Allegro viv
 ace<br><em>ELLA KALINICHENKO</em></p> <hr> <h3>Director Bios</h3> </div> &lt;
 /div&gt; </div>
END:VEVENT
BEGIN:VEVENT
UID:2ae2d436-7bfa-47e5-b8fc-33c3cf9b9664
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20230810T220812Z
DESCRIPTION:<p>Ethnomusicology Visiting Artist Boka Kouyaté is joined by hi
 s UW students and special guests the Djeliyah Band in an evening of West A
 frican music and dance. </p>\n<hr>\n<h3>PROGRAM</h3>\n<p>Djeliyah / Lamban
 <br>Kémebourema<br>Farakourou<br>Fêfo<br>Banine<br>Mamiwata<br>Balakouland
 jan</p>\n<p><br>Intermission<br><br>Malissadjo<br>Soli<br>Kèlè<br>Didadí<b r>So'ko'<br>My Brother<br>Kèdo</p>\n<hr>\n<h3>Personnel</h3>\n<h4><strong>Boka Kouyate and the Djeliyah Band<br></strong>
 </h4>\n<p>Boka Kouyate - balafón\, vocals\, gui
 tar<br>Naby Camara - balafón<br>Leif Totusek - lead/solo guitar<br>Daniel 
 Mbumba - bass guitar<br>Foluso Mimy - djembe and vocals<br>Afua Kouyate - 
 shaker and dance<br>Paul Huppler - drumset<br>Nailah Bulley - dundún and d
 ance<br>Mamadi Conde - dance</p>\n<h4><strong><br></strong><strong>UW Worl
 d Music Ensemble Students<br></strong></h4>\n<p>Rowan Bever<br>Finley Brown<br>Nick Fowler<br>Leo Freedman<br>Abigail Geo
 rge<br>Alex Guthery<br>Galin Hebert<br>Zachary Leeb<br>Minghao Li<br>Elene
  Liu<br>Sage Ramberg<br>Markus Teuton<br>Richie Torres-Antunez<br>Wenwen W
 ei</p>\n<hr>\n<h3>Biography</h3>\n<p>Aboubacar 
 'Boka' Kouyate is a singer and multi-instrumentalist (balafón\, guitar\, d
 jembe) from Guinea.  Boka is a member of West Africa’s most famous family 
 of Mande hereditary musicians\, also referred to as griots or jalis/djelys
 .  Boka was born into a griot tradition\, the son of Djely Nounke Kouyaté\
 , a guitarist\, balafonist and a traditional storyteller\, and Djéné Dioub
 ate\, a Djely popular singer in Guinea.  Boka began singing with his mom a
 t a young age\, strapped to her back as a child while moving from ceremony
  to ceremony.  His father's balafón playing and traditional stories made u
 p Boka's first musical education.  Soon after\, Boka attended French schoo
 l for many years\, where he began writing his own songs\, and went on to e
 arn a Microbiology degree from the University of Kankan in 2010. With his 
 voice and the djembe drum\, Boka toured throughout West Africa from 2000 t
 o 2014 with many famous Guinean artists\, such as Requins De Ballakala.</p>\n<p>After moving to the United States in earl
 y 2014\, Boka Kouyaté Co-founded Kouyaté Arts\, an interactive performance
  company of drummers\, dancers and singers.  He is the lead vocalist and c
 omposer of the Djeliyah Band\, creatively connecting a fusion of tradition
 al Djely music to the world.  He teaches and composes his original music\,
  as well as traditional djembe and balafón rhythms\, and songs from Guinea
 .  Tonight he will be joined by his UW students from MUSIC 389: World Musi
 c Ensemble\, as well as special guests\, to culminate the end of his visit
 ing artist residency this quarter.</p>\n<hr>
DTSTART;TZID=America/Los_Angeles:20240516T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:39
SUMMARY:: Ethnomusicology Visiting Artist Concert: Aboubacar “Boka” Kouyate
 ́\, West African music
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-17/ethnomusicology-visiting
 -artist-concert-aboubacar-boka-kouyate-west-african-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>Ethnomusicology Visiting Artist Boka 
 Kouyaté is joined by his UW students and special guests the Djeliyah Band 
 in an evening of West African music and dance. </span></p> <hr> <h3>PROGRA
 M</h3> <p>Djeliyah / Lamban<br>Kémebourema<br>Farakourou<br>Fêfo<br>Banine
 <br>Mamiwata<br>Balakoulandjan</p> <p><br>Intermission<br><br>Malissadjo<b r>Soli<br>Kèlè<br>Didadí<br>So'ko'<br>My Brother<br>Kèdo</p> <hr> <h3>Pers
 onnel</h3> <h4><strong>Boka Kouyate and the Dje
 liyah Band<br></strong></h4> <p>Boka Kouyate - 
 balafón\, vocals\, guitar<br>Naby Camara - balafón<br>Leif Totusek - lead/
 solo guitar<br>Daniel Mbumba - bass guitar<br>Foluso Mimy - djembe and voc
 als<br>Afua Kouyate - shaker and dance<br>Paul Huppler - drumset<br>Nailah
  Bulley - dundún and dance<br>Mamadi Conde - dance</p> <h4><strong><br></s><strong>UW World Music Ensemble Students<br></strong></h4> <p>Rowan Bever<br>Finley Brown<br>Nick Fowler<br>Leo Fre
 edman<br>Abigail George<br>Alex Guthery<br>Galin Hebert<br>Zachary Leeb<br>Minghao Li<br>Elene Liu<br>Sage Ramberg<br>Markus Teuton<br>Richie Torres
 -Antunez<br>Wenwen Wei</p> <hr> <h3>Biography</h3> <p>Aboubacar 'Boka' Kouyate is a singer and multi-instrumentalist (bal
 afón\, guitar\, djembe) from Guinea.  Boka is a member of West Africa’s mo
 st famous family of Mande hereditary musicians\, also referred to as griot
 s or jalis/djelys.  Boka was born into a griot tradition\, the son of Djel
 y Nounke Kouyaté\, a guitarist\, balafonist and a traditional storyteller\
 , and Djéné Dioubate\, a Djely popular singer in Guinea.  Boka began singi
 ng with his mom at a young age\, strapped to her back as a child while mov
 ing from ceremony to ceremony.  His father's balafón playing and tradition
 al stories made up Boka's first musical education.  Soon after\, Boka atte
 nded French school for many years\, where he began writing his own songs\,
  and went on to earn a Microbiology degree from the University of Kankan i
 n 2010. With his voice and the djembe drum\, Boka toured throughout West A
 frica from 2000 to 2014 with many famous Guinean artists\, such as Requins
  De Ballakala.</p> <p>After moving to the Unite
 d States in early 2014\, Boka Kouyaté Co-founded Kouyaté Arts\, an interac
 tive performance company of drummers\, dancers and singers.  He is the lea
 d vocalist and composer of the Djeliyah Band\, creatively connecting a fus
 ion of traditional Djely music to the world.  He teaches and composes his 
 original music\, as well as traditional djembe and balafón rhythms\, and s
 ongs from Guinea.  Tonight he will be joined by his UW students from MUSIC
  389: World Music Ensemble\, as well as special guests\, to culminate the 
 end of his visiting artist residency this quarter.</p> <hr>
END:VEVENT
BEGIN:VEVENT
UID:164d5f03-da3b-4cc4-b74a-d44d19393163
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20230810T211301Z
DESCRIPTION:<p></p>\n<p>Faculty pianist Marc Seales is joined by UW colleag
 ues Steve Rodby (bass) and John-Carlos Perea (flute) and special guests Th
 omas Marriott (trumpet) and Moyes Lucas (drums) for this concert of origin
 al tunes and unique arrangements of jazz and pop classics.</p>\n<hr>\n<h3>
 Biographies</h3>\n<h3>Moyes Lucas<strong><br></strong></h3>\n<p>Los Angeles drummer Moyes Luca
 s developed his love for the drums at an early age\, from the time his dad
  took him to his first parade. His father\, a part-time drummer and sax pl
 ayer\, introduced his son to the talents and sounds of jazz greats like Ma
 x Roach\, Philly Joe Jones\, Art Blakely\, and The Heath Brothers.</p>\n<p>Growing up\, Lucas appreciated several musical
  styles and grew intrigued with the sounds of the band Chicago\, especiall
 y the integration of the horns. He played their music continually\, using 
 anything he could to simulate a drum set. Understanding that he needed a r
 eal drum set to improve his own talents\, he got a paper-route\, repaired 
 lawnmowers\, and eventually saved up the $300 he needed to buy his first s
 et of drums: a used Ludwig drum set\, complete with cymbals.</p>\n<p>Moyes attended Western Washington University\, where
  he was greatly influenced by Bill Cole\, director of the jazz department.
  He earned money playing in local jazz taverns and doing studio work. Afte
 r college he moved to Seattle. By this time his musical style included roc
 k.</p>\n<p>Today Moyes lives in the Los Angeles
  area and continues to work and tour with many talented artists.</p>\n<h3><a href='https://thomasmarriott.net' target='_b
 lank' rel='noopener noreferrer'>Thomas Marriott</a></h3>\n<p>Trumpeter\, c
 omposer\, and producer Thomas Marriott is a force for jazz on the west coa
 st. He’s paid dues beside jazz elders such as Maynard Ferguson\, Roy McCur
 dy\, Roger Humphries\, Mike Clark and Stix Hooper\, and has been called on
  by contemporary standard-bearers like Joe Locke\, Orrin Evans\, Steve Wil
 son\, and Charlie Hunter.</p>\n<p>A chameleon of musical styles\, Marriott
 ’s horn has been in-demand with bands like the Grammy-Award winning Spanis
 h Harlem Orchestra\, Captain Black Big Band\, Ivan Neville’s Dumpstafunk\,
  hip-hop pioneer Deltron 3030 \, and vocalists Kurt Elling\, Ernestine And
 erson\, Michael Feinstein and Rosemary Clooney.</p>\n<p>His own albums\, 1
 4 in all\, have reached number one on the jazz radio airplay charts\, earn
 ed 4 1/2 stars in Downbeat\, and have been featured on NPR. Thomas Marriot
 t has won 9 Golden Ear Awards\, the Carmine Caruso Trumpet Competition\, i
 s the youngest inductee into the Seattle Jazz Hall of Fame\, spent more th
 an 20 seasons as a soloist with the Seattle Repertory Jazz Orchestra and i
 s founder of Seattle Jazz Fellowship\, a non-profit arts organization dedi
 cated to promoting jazz music and jazz culture in Seattle. In 2024 he was 
 named a “Jazz Hero” by the Jazz Journalists Association. </p>
DTSTART;TZID=America/Los_Angeles:20240517T193000
LAST-MODIFIED:20240516T172724Z
SEQUENCE:40
SUMMARY:: Faculty Concert: Marc Seales\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-18/faculty-concert-marc-sea
 les-piano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Faculty pianist Marc Seales is join
 ed by UW colleagues Steve Rodby (bass) and John-Carlos Perea (flute) and s
 pecial guests Thomas Marriott (trumpet) and Moyes Lucas (drums) for this c
 oncert of original tunes and unique arrangements of jazz and pop classics.
 </p> <hr> <h3>Biographies</h3> <h3>Moyes Lucas&lt;
 strong&gt;<br></strong></h3> <p>Los Angeles drumme
 r Moyes Lucas developed his love for the drums at an early age\, from the 
 time his dad took him to his first parade. His father\, a part-time drumme
 r and sax player\, introduced his son to the talents and sounds of jazz gr
 eats like Max Roach\, Philly Joe Jones\, Art Blakely\, and The Heath Broth
 ers.</p> <p>Growing up\, Lucas appreciated seve
 ral musical styles and grew intrigued with the sounds of the band Chicago\
 , especially the integration of the horns. He played their music continual
 ly\, using anything he could to simulate a drum set. Understanding that he
  needed a real drum set to improve his own talents\, he got a paper-route\
 , repaired lawnmowers\, and eventually saved up the $300 he needed to buy 
 his first set of drums: a used Ludwig drum set\, complete with cymbals.</p> <p>Moyes attended Western Washington Universi
 ty\, where he was greatly influenced by Bill Cole\, director of the jazz d
 epartment. He earned money playing in local jazz taverns and doing studio 
 work. After college he moved to Seattle. By this time his musical style in
 cluded rock.</p> <p>Today Moyes lives in the Lo
 s Angeles area and continues to work and tour with many talented artists.&lt;
 /p&gt; <h3><a href='https://thomasmarriott.net' ta rget='_blank' rel='noopener noreferrer'>Thomas Marriott</a></h3> <p>Trumpe
 ter\, composer\, and producer Thomas Marriott is a force for jazz on the w
 est coast. He’s paid dues beside jazz elders such as Maynard Ferguson\, Ro
 y McCurdy\,<span class='Apple-converted-space'> Roger Humphries\, </span>M
 ike Clark and Stix Hooper\, and has been called on by contemporary standar
 d-bearers like Joe Locke\, Orrin Evans\, Steve Wilson\, and Charlie Hunter
 .</p> <p>A chameleon of musical styles\, Marriott’s horn has been in-deman
 d with bands like the Grammy-Award winning Spanish Harlem Orchestra\, Capt
 ain Black Big Band\, Ivan Neville’s Dumpstafunk\, hip-hop pioneer Deltron 
 3030 \, and vocalists Kurt Elling\, Ernestine Anderson\, Michael Feinstein
  and Rosemary Clooney.</p> <p>His own albums\, 14 in all\, have reached nu
 mber one on the jazz radio airplay charts\, earned 4 1/2 stars in Downbeat
 \, and have been featured on NPR. Thomas Marriott has won 9 Golden Ear Awa
 rds\,<span class='Apple-converted-space'> the Carmine Caruso Trumpet Compe
 tition\, </span>is the youngest inductee into the Seattle Jazz Hall of Fam
 e\, spent more than 20 seasons as a soloist with the Seattle Repertory Jaz
 z Orchestra and is founder of Seattle Jazz Fellowship\, a non-profit arts 
 organization dedicated to promoting jazz music and jazz culture in Seattle
 . In 2024 he was named a “Jazz Hero” by the Jazz Journalists Association. 
 </p>
END:VEVENT
BEGIN:VEVENT
UID:5dd08947-5c81-439d-94e8-792be8e03d62
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20240509T000540Z
DESCRIPTION:<p>A degree recital by Cassidy Cheong (MM\, Voice)\, a student 
 of Carrie Shaw\, performing works by Purcell\, Debussy\, Mozart\, and othe
 rs. With Steve Swanson\, piano.</p>\n<hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20240517T193000
LAST-MODIFIED:20240509T160610Z
SEQUENCE:41
SUMMARY:: Degree Recital: Cassidy Cheong\, MM Voice
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-18/degree-recital-cassidy-c
 heong-mm-voice
END:VEVENT
BEGIN:VEVENT
UID:1d03c30c-6d25-410b-8d70-3bfa54734f18
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20231019T213229Z
DESCRIPTION:<p>The Campus Philharmonia Orchestras presents a Spring Quarter
  concert. Featuring guest violinist Eden Pawlos\, winner of the Key to Cha
 nge Concerto Competition\, performing Movement 1 of Bach’s Violin Concerto
  No. 1 in A minor with the orchestra. Daren Weissfisch\, Ryan Farris\, and
  Mica Weiland conduct. </p>\n<hr>\n<h2>Program</h2>\n\n<p><b>Beethoven: </b>Overture to The<b> </b>Creatures of Prometheus\, op.43</p>\n<p><b>J. S. 
 Bach: </b>Violin Concerto No.1\, in A minor\, BWV 1041 <br>Mvt I<br>Eden P
 awlos\, violin <br>(Winner of the 2024 Key to Change concerto competition)
 </p>\n<p><strong>Holmès:</strong> Ludus pro patria: La Nuit et l’Amour</p>
 \n<p><b>Chabrier: </b>España </p>\n<p><b>Gershwin: </b>Summertime (arr. Bi
 rtel)</p>\n<p><b>Moncayo: </b>Huapango </p>\n<hr>\n\n\n\n\n<h4><strong>Campus Philharmonia Section A</strong></h4>\n<p st yle=' 400\;'><strong>Flute &amp; Piccolo<br></strong>Elizabeth Nil
 es<br>Hana Sugihara<br>Ella Thompson</p>\n<p><s trong>Oboe &amp; English Horn<br></strong>Tressa Paulson<br>Katherine Dawson</p>\n<p><strong>Clarinet<br></strong>Oskar Abian
 <br>Ramona Moon<br>Cameron Lee</p>\n<p><strong>
 Bassoon<br></strong>Pascal Lovre<br>Isabelle Lavoie</p>\n<p><strong>Horn<br></strong>Sydney Jackson<br>Dhruv Ashok<br>Nic
 ole Bogner</p>\n<p><strong>Trumpet<br></strong>
 McKenna Sweet<br>Felix Chao</p>\n<p><strong>Tro
 mbone <br></strong>Dion Archer-Roll<br>Emily Gay</p>\n<p><strong>Bass Trombone<br></strong>Duncan Weiner</p>\n<p><strong>Tuba<br></strong>Johnathon Lopez</p>\n<p><strong>Timpani<br></strong>Jack Sanford</p>\n<p styl e=' 400\;'><strong>Percussion<br></strong>Olivia Wang<br>Delan
 ie Montoya</p>\n<p><strong>First Violin<br>Scott Li<br>Cristina Kosilkina<br>Lucia Brady<br>Kate Tseng<br>Paige 
 Monsod<br>Cora Taylor<br>Mia Kim<br>Thomas Welch<br>Scotia Oullette<br>Isk
 a Popovic<br>Kohei Tamura<br>Baker Wong<br>Anthony McKeirnan<br>Andrew Gla
 dnick<br>Wenjun (Angelina) Jiang<br>Andrea Yu<br>Lisel Shyam</p>\n<p><strong>Second Violin<br></strong>Claire Li<br>Emma 
 Lee Freeman<br>Snigdha Mahankali<br>Mikayla Nicole Samonte<br>Sage Jacobs&lt;
 br&gt;Eric Ye<br>Kyra Harding<br>Gabrielle Morris<br>Ellie Anderson<br>Kendra
  Del Rosario Arias<br>Danielle Wilson<br>Abigayle Cariño<br>Armand Meyer<b r>Emily Chen<br>Fangzhou Xie<br>Karien Tadros<br>Tejaaswini Jayaprakash<br>Anirudh Kumar</p>\n<p><strong>Viola<br>Joseph Young<br>Owen Wong<br>Lucia Lin<br>Jolene Nguyen<br>Colin Watson&lt;
 br&gt;Shea Lee<br>Hibbah Khan<br>Imogen Rich<br>Keira Morrissey<br>Pranathi R
 amesh<br>Aya Alayli<br>Ariel Lin<br>Laura Vonessen</p>\n<p><strong>Cello<br></strong>Edward Qin<br>Ann-Marie Vo<br>Ping W
 ang<br>Abigail McClure<br>Ethan Hynes<br>Jasleen Kaur<br>Shannon Hamilton&lt;
 br&gt;Aubrianna Hohmann<br>Ziyu Xia<br>Remi Vernon<br>Melissa Lin<br>Juhee Ku
 k</p>\n<p><strong>Bass<br></strong>Joseph Henry
  Esteban<br>Gracious Wyatt Draher<strong></strong><strong> </strong></p>\n
 <h4><strong>Campus Philharmonia Section B</h4>\n<p><strong>Flute &amp; Piccolo<br>Johnathan Mikosz<br>Keila Uchimura</p>\n<p><s trong>Oboe <br></strong>Jocelyn Kunze</p>\n<p>&lt;
 strong&gt;Clarinet<br></strong>Matthew Shell<br>Rohan Vokkarne<br>Neha Arunku
 mar</p>\n<p><strong>Bassoon<br></strong>Eric Sp
 radling<br>Eric Shankland</p>\n<p><strong>Horn&lt;
 br&gt;</strong>Kiyoshi Colon<br>Sam Nutt<br>Chinmay Murthy</p>\n<p><strong>Trumpet<br></strong>Theo Llewelyn<br>Nico Masputr
 a</p>\n<p><strong>Trombone<br></strong>Abigail 
 Paul</p>\n<p><strong>Tuba<br></strong>Cole Hens
 lee</p>\n<p><strong>Timpani &amp; Percussion<br></s>Olivia Wang<br>Delanie Montoya</p>\n<p><s trong>First Violin<br></strong>Chelsea Xian<br>Claire Park<br>Renee Yeung&lt;
 br&gt;Steven Li<br>Simar Khanuja<br>Tanya Naveen<br>Nathan Yu<br>Naomi Kern<b r>Rylan Ferron-Jones<br>Nicole Privat<br>Angela Wei<br>Alisa Coyne <br>Eli
 as Graham<br>Abigail Reed<br>Maia Nix<br>Sahiti Peddibhotla<br>Luna Jacobs
 <br>Jacob Berg <br>Oliver Zeng<br>Klae Howard<br>Sandy Huang</p>\n<p><strong>Second Violin<br></strong>Stephen White<br>A
 ra Zaratsyan<br>Allyssa Vandi<br>Cyndee Li<br>Tiffany Do<br>Narumi Umemoto
 <br>Lindsay Han<br>Shivani Kottantharayil<br>Imraa Omar<br>Kendra Stauffer
 <br>Kelly Perea Garnica<br>Hannah Ditto<br>Namrata Harish<br>Kate Lynn Kur
 osky<br>Allegra McAlpin<br>Laura Schubert<br>Lola Velush<br>Taylor Hu</p>
 \n<p><strong>Viola<br></strong>Adriana Ching<br>Samantha Trinh<br>Dennise Aguilar Cano<br>Denby Frank<br>Adam Nixon<br>He
 nry Hess<br>Heidi Chang<br>Penelope Crichton <br>Gabriel Lewis<br>Erik Pet
 ersen</p>\n<p><strong>Cello<br></strong>Hazel A
 brahamson-Amerine <br>Anderson Yuan<br>Violet Monserate<br>Aurora Cong<br>
 Isobelle O’Reilly<br>Chanssen Pineda<br>Ella Gebers<br>Jenna Miller<br>Fre
 ya Salsbury<br>Seya Masalkar<br>Bardia Nasrulai<br>Sydney Koeppen<br>Miran
 da Nayak<br>Vivienne Wang</p>\n<p><strong>Bass&lt;
 br&gt;</strong>Wren Bui</p>\n\n\n\n\n<h3>Biographies</h3>\n<h3>Eden Pawlos<br></h3>\n<p>Eden Pawlos is an 11th grader at Kentridge High School. She is 
 a student of Key to Change Studio\, and first started learning the violin 
 over Zoom during the pandemic three years ago. She is the first-place winn
 er of the Jessie Montgomery Senior Division at their annual Solo String Fe
 stival. She has performed on Classical King FM’s Northwest Focus Live and 
 Unmute The Voices radio shows and performed as a soloist with the Federal 
 Way Symphony\, Northwest Symphony Orchestra\, and the Seattle Symphony. Sh
 e has also performed for Dr. Jill Biden\, the First Lady of the United Sta
 tes. </p>\n<p>Outside of playing the violin\, she loves painting\, spendin
 g time with her friends and family\, and listening to and making music. Af
 ter high school\, Eden plans to attend a four-year university\, where she 
 hopes to study something\, she loves. Eden studies the violin with Dr. Qui
 nton Morris and Noah Geller. </p>\n<h3><a href='https://www.keytochangestu
 dio.org' target='_blank' rel='noopener noreferrer'>Key to Change</a></h3>
 \n<p>Key to Change empowers communities by working alongside students\, te
 achers\, parents\, and guardians to build consensus\, meet teacher needs\,
  and create a holistic environment where students can flourish. Key to Cha
 nge removes the barrier to entry for underserved students and students of 
 color with an inclusive approach that helps build trust and connection. By
  offering excellent music instruction below the market rate\, Key to Chang
 e extends the benefits of a classical music education to a new generation 
 of young musicians.</p>
DTSTART;TZID=America/Los_Angeles:20240518T150000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:42
SUMMARY:: Campus Philharmonia 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-18/campus-philharmonia
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The Campus Philharmonia Orchestras presents
  a Spring Quarter concert. Featuring guest violinist Eden Pawlos\, winner 
 of the Key to Change Concerto Competition\, performing Movement 1 of Bach’
 s Violin Concerto No. 1 in A minor with the orchestra. Daren Weissfisch\, 
 Ryan Farris\, and Mica Weiland conduct. </p> <hr> <h2>Program</h2> <div> &lt;
 p&gt;<span><b>Beethoven: </b>Overture to <i>The</i><b><i> </i></b><i>Creature
 s of Prometheus</i>\, op.43</span></p> <p><span><b>J. S. Bach: </b>Violin 
 Concerto No.1\, in A minor\, BWV 1041<span class='gmail-Apple-converted-sp
 ace'> <br></span></span><span>Mvt I<br></span><em>Eden Pawlos\, violin <br></em><span>(Winner of the 2024 Key to Change concerto competition)</span>
 </p> <p><span><strong>Holmès:</strong> Ludus pro patria: La Nuit et l’Amou
 r</span></p> <p><span><b>Chabrier: </b><i>España<span class='gmail-Apple-c
 onverted-space'> </span></i></span></p> <p><span><b>Gershwin: </b><i>Summe
 rtime </i>(arr. Birtel)</span></p> <p><span><b>Moncayo: </b><i>Huapango </span></i></span></p> <hr> <table> <tbody> <tr> <td> <h4 styl e=' 400\;'><strong>Campus Philharmonia Section A</strong></h4>
  <p><strong>Flute &amp; Piccolo<br></strong>Elizabe
 th Niles<br>Hana Sugihara<br>Ella Thompson</p> <p><strong>Oboe &amp; English Horn<br></strong>Tressa Paulson<br>Katherine Daw
 son</p> <p><strong>Clarinet<br></strong>Oskar A
 bian<br>Ramona Moon<br>Cameron Lee</p> <p>Bassoon<br></strong>Pascal Lovre<br>Isabelle Lavoie</p> <p><strong>Horn<br></strong>Sydney Jackson<br>Dhruv Ashok<br>N
 icole Bogner</p> <p><strong>Trumpet<br></strong>McKenna Sweet<br>Felix Chao</p> <p><strong>Tro
 mbone <br></strong>Dion Archer-Roll<br>Emily Gay</p> <p><strong>Bass Trombone<br></strong>Duncan Weiner</p> <p><strong>Tuba<br></strong>Johnathon Lopez</p> <p><strong>Timpani<br></strong>Jack Sanford</p> <p><strong>Percussion<br></strong>Olivia Wang<br>Delanie M
 ontoya</p> <p><strong>First Violin<br></strong>
 Scott Li<br>Cristina Kosilkina<br>Lucia Brady<br>Kate Tseng<br>Paige Monso
 d<br>Cora Taylor<br>Mia Kim<br>Thomas Welch<br>Scotia Oullette<br>Iska Pop
 ovic<br>Kohei Tamura<br>Baker Wong<br>Anthony McKeirnan<br>Andrew Gladnick
 <br>Wenjun (Angelina) Jiang<br>Andrea Yu<br>Lisel Shyam</p> <p><strong>Second Violin<br></strong>Claire Li<br>Emma Lee Fr
 eeman<br>Snigdha Mahankali<br>Mikayla Nicole Samonte<br>Sage Jacobs<br>Eri
 c Ye<br>Kyra Harding<br>Gabrielle Morris<br>Ellie Anderson<br>Kendra Del R
 osario Arias<br>Danielle Wilson<br>Abigayle Cariño<br>Armand Meyer<br>Emil
 y Chen<br>Fangzhou Xie<br>Karien Tadros<br>Tejaaswini Jayaprakash<br>Aniru
 dh Kumar</p> <p><strong>Viola<br></strong>Josep
 h Young<br>Owen Wong<br>Lucia Lin<br>Jolene Nguyen<br>Colin Watson<br>Shea
  Lee<br>Hibbah Khan<br>Imogen Rich<br>Keira Morrissey<br>Pranathi Ramesh<b r>Aya Alayli<br>Ariel Lin<br>Laura Vonessen</p> <p><strong>Cello<br></strong>Edward Qin<br>Ann-Marie Vo<br>Ping Wang<br>A
 bigail McClure<br>Ethan Hynes<br>Jasleen Kaur<br>Shannon Hamilton<br>Aubri
 anna Hohmann<br>Ziyu Xia<br>Remi Vernon<br>Melissa Lin<br>Juhee Kuk</p> <p><strong>Bass<br></strong>Joseph Henry Esteban&lt;
 br&gt;Gracious Wyatt Draher<strong></strong><strong> </strong></p> <h4><strong>Campus Philharmonia Section B</strong></h4> &lt;
 p style='font-weight: 400\;'&gt;<strong>Flute &amp; Piccolo<br></strong>Johnathan
  Mikosz<br>Keila Uchimura</p> <p><strong>Oboe &lt;
 br&gt;</strong>Jocelyn Kunze</p> <p><strong>Clarin
 et<br></strong>Matthew Shell<br>Rohan Vokkarne<br>Neha Arunkumar</p> <p st yle=' 400\;'><strong>Bassoon<br></strong>Eric Spradling<br>Eri
 c Shankland</p> <p><strong>Horn<br></strong>Kiy
 oshi Colon<br>Sam Nutt<br>Chinmay Murthy</p> <p><strong>Trumpet<br></strong>Theo Llewelyn<br>Nico Masputra</p> <p><strong>Trombone<br></strong>Abigail Paul</p> <p><strong>Tuba<br></strong>Cole Henslee</p> <p><strong>Timpani &amp; Percussion<br></strong>Olivia Wang<b r>Delanie Montoya</p> <p><strong>First Violin<b r></strong>Chelsea Xian<br>Claire Park<br>Renee Yeung<br>Steven Li<br>Sima
 r Khanuja<br>Tanya Naveen<br>Nathan Yu<br>Naomi Kern<br>Rylan Ferron-Jones
 <br>Nicole Privat<br>Angela Wei<br>Alisa Coyne <br>Elias Graham<br>Abigail
  Reed<br>Maia Nix<br>Sahiti Peddibhotla<br>Luna Jacobs<br>Jacob Berg <br>O
 liver Zeng<br>Klae Howard<br>Sandy Huang</p> <p><strong>Second Violin<br></strong>Stephen White<br>Ara Zaratsyan<br>Allys
 sa Vandi<br>Cyndee Li<br>Tiffany Do<br>Narumi Umemoto<br>Lindsay Han<br>Sh
 ivani Kottantharayil<br>Imraa Omar<br>Kendra Stauffer<br>Kelly Perea Garni
 ca<br>Hannah Ditto<br>Namrata Harish<br>Kate Lynn Kurosky<br>Allegra McAlp
 in<br>Laura Schubert<br>Lola Velush<br>Taylor Hu</p> <p><strong>Viola<br></strong>Adriana Ching<br>Samantha Trinh<br>Denn
 ise Aguilar Cano<br>Denby Frank<br>Adam Nixon<br>Henry Hess<br>Heidi Chang
 <br>Penelope Crichton <br>Gabriel Lewis<br>Erik Petersen</p> <p><strong>Cello<br></strong>Hazel Abrahamson-Amerine <br>An
 derson Yuan<br>Violet Monserate<br>Aurora Cong<br>Isobelle O’Reilly<br>Cha
 nssen Pineda<br>Ella Gebers<br>Jenna Miller<br>Freya Salsbury<br>Seya Masa
 lkar<br>Bardia Nasrulai<br>Sydney Koeppen<br>Miranda Nayak<br>Vivienne Wan
 g</p> <p><strong>Bass<br></strong>Wren Bui</p> 
 </td> </tr> </tbody> </table> <h3>Biographies</h3> <h3>Eden Pawlos<br></span></h3> <p><span>Eden Pawlos is an 11th grader at Kentridge High Sc
 hool. She is a student of Key to Change Studio\, and first started learnin
 g the violin over Zoom during the pandemic three years ago. She is the fir
 st-place winner of the Jessie Montgomery Senior Division at their annual S
 olo String Festival. She has performed on Classical King FM’s Northwest Fo
 cus Live and Unmute The Voices radio shows and performed as a soloist with
  the Federal Way Symphony\, Northwest Symphony Orchestra\, and the Seattle
  Symphony. She has also performed for Dr. Jill Biden\, the First Lady of t
 he United States. </span></p> <p><span>Outside of playing the violin\, she
  loves painting\, spending time with her friends and family\, and listenin
 g to and making music. After high school\, Eden plans to attend a four-yea
 r university\, where she hopes to study something\, she loves. </span>Eden studies the violin with Dr. Quinton Morris and Noah Geller. </span>
 </p> <h3><a href='https://www.keytochangestudio.org' target='_blank' rel='
 noopener noreferrer'>Key to Change</a></h3> <p><span>Key to Change empower
 s communities by working alongside students\, teachers\, parents\, and gua
 rdians to build consensus\, meet teacher needs\, and create a holistic env
 ironment where students can flourish. Key to Change removes the barrier to
  entry for underserved students and students of color with an inclusive ap
 proach that helps build trust and connection. By offering excellent music 
 instruction below the market rate\, Key to Change extends the benefits of 
 a classical music education to a new generation of young musicians.</span>
 </p> </div>
END:VEVENT
BEGIN:VEVENT
UID:f8e4ee10-c3db-4142-9403-4ca3116da8a1
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20240510T223315Z
DESCRIPTION:<p>A degree recital by Katie Zundel (BM\, Saxophone Performance
 )\, a student of Michael Brockman\, performing works by Eugene Bozza\, Jac
 ques Ibert\, Jeanine Rueff\, Sergei Rachmaninoff\, and John Worley. With R
 achel Huang\, piano. </p>\n<hr>\n<h3>Program</h3>\n<strong>Eugene Bozza</s> (1905-1991)<br>Aria for Alto Saxophone and Piano\n<br><br>\n<strong>Jacques Ibert </strong> (1890-1962)<br>Concertino da Camera \nI. Allegro 
 con Moto <br>II. Larghetto – Animato Molto<br><br>\n<strong>Jeanine Rueff 
 </strong> (1922-1999)<br>Sonate for Solo Saxophone\nI. Allegro <br>II. Ada
 gio<br>III. Prestissimo - Scherzando<br><br>- Intermission -<br><br>Sergei Rachmaninoff</strong> (1873-1943) Arr. Ralph Martino<br>Vocalise 
 \n<br><br><strong>John Worley</strong>  (1919-1999)<br>Sonata for Alto Sax
 ophone and Piano<br>I. Andante Moderato\, “with intensity” <br>II. Adagio\
 , dolce espressivo\, “with contemplation”<br>III. Freely\, “with exhilarat
 ion” – Allegro con Brio
DTSTART;TZID=America/Los_Angeles:20240519T133000
LAST-MODIFIED:20240510T223315Z
SEQUENCE:43
SUMMARY:: Degree Recital: Katie Zundel\, saxophone
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-19/degree-recital-katie-zun
 del-saxophone
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>A degree recital by <span>Katie Zundel (BM\
 , Saxophone Performance)\, a student of Michael Brockman\, performing work
 s by Eugene Bozza\, Jacques Ibert\, Jeanine Rueff\, Sergei Rachmaninoff\, 
 and John Worley. With Rachel Huang\, piano. </span></p> <hr> <h3>Program</h3> <div><strong>Eugene Bozza</strong> (1905-1991)<br>Aria for Alto Saxoph
 one and Piano</div> <div><br><br></div> <div><strong>Jacques Ibert  (1890-1962)<br>Concertino da Camera </div> <div>I. Allegro con Moto <br>II. Larghetto – Animato Molto<br><br></div> <div><strong>Jeanine Rueff </strong> (1922-1999)<br>Sonate for Solo Saxophone</div> <div>I. Allegro <br>II. Adagio<br>III. Prestissimo - Scherzando<br><br>- Intermission -<br><b r><strong>Sergei Rachmaninoff</strong> (1873-1943) Arr. Ralph Martino<br>V
 ocalise </div> <div><br><br><strong>John Worley</strong>  (1919-1999)<br>S
 onata for Alto Saxophone and Piano<br>I. Andante Moderato\, “with intensit
 y” <br>II. Adagio\, dolce espressivo\, “with contemplation”<br>III. Freely
 \, “with exhilaration” – Allegro con Brio</div>
END:VEVENT
BEGIN:VEVENT
UID:f7d621ec-1b9a-4f67-8018-e9c06ac99a6d
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20230810T211742Z
DESCRIPTION:<p>Artist-in-Residence Tekla Cunningham\, violin\, and guest pi
 anist Sheila Weidendorf present 'Between Heaven and Earth: A Year with Bra
 hms\,” a performance of the Brahms violin sonatas. </p>\n<hr>\n<h3>Program
 </h3>\n\n\n\n\n<strong>Sonata in G major for violin and piano\, op. 78: Jo
 hannes Brahms </strong>(1833-1897)<strong>  </strong>\nVivace ma non tropp
 o\nAdagio\nAllegro molto moderato\n \n<strong>Sonata in A major for violin
  and piano\, op. 100 </strong>\nAllegro amabile\nAndante tranquillo – Viva
 ce – Andante – Vivace de più – Andante – Vivace \nAllegretto grazioso (qu
 asi Andante)<br><br>\n\n\n\n\n<p>Intermission</p>\n<p><strong>Sonata in D 
 minor\, op. 108 <br></strong>Allegro<br>Adagio<br>Un poco presto e con sen
 timento <br>Presto agitato</p>\n\n\n\n\n<hr>\n<h3>Biographies</h3>\n<h3 cl ass='font_2 wixui-rich-text__text'><a href='https://www.sheilamakesmusic.c
 om' target='_blank' rel='noopener noreferrer'>Sheila Weidendorf</a></h3>\n
 <p class='font_9 wixui-rich-text__text'>Sheila Weidendorf performs western
  classical chamber music and extemporaneous keyboard meditations\, collabo
 rating with a classical trio\, Trio Rasa\, and with an improvisational tri
 o\, Trio Improviso. She also has been immersed in a long-term and ongoing 
 Brahms project with violinist Tekla Cunningham. Weidendorf holds a BA in P
 iano and Music History from the University of Minnesota School of Music an
 d an MA in Feminist Theological Studies from United Theological Seminary o
 f the Twin Cities\, in Minneapolis\, Minnesota. A resident of Freeland\, W
 ashington\, she is the keyboardist for Trinity Lutheran Church on Whidbey 
 Island. </p>
DTSTART;TZID=America/Los_Angeles:20240519T173000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:44
SUMMARY:: Rescheduled: Faculty Concert: Tekla Cunningham with Sheila Weiden
 dorf 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-20/rescheduled-faculty-conc
 ert-tekla-cunningham-sheila-weidendorf
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Artist-in-Residence Tekla Cunningham\, viol
 in\, and guest pianist Sheila Weidendorf present 'Between Heaven and Earth
 : A Year with Brahms\,” a performance of the Brahms violin sonatas. </p> &lt;
 hr&gt; <h3>Program</h3> <div dir='ltr' data-setdir='false'> <div class='ydp4d
 dfa7c3page' title='Page 1'> <div class='ydp4ddfa7c3layoutArea'> <div class='ydp4ddfa7c3column'> <div dir='ltr' data-setdir='false'><strong>Sonata in
  G major for violin and piano\, op. 78: Johannes Brahms </strong>(1833-189
 7)<strong>  </strong></div> <div>Vivace ma non troppo</div> <div><span>Ada
 gio</span></div> <div><span>Allegro molto moderato</span></div> <div><span> </span></div> <div><strong>Sonata in A major for violin and piano\, op. 
 100 </strong></div> <div>Allegro amabile</div> <div><span>Andante tranquil
 lo – Vivace – Andante – Vivace de più – Andante – Vivace </span></div> <span>Allegretto grazioso (quasi Andante)<br><br></span></div> </div> &lt;
 /div&gt; <div class='ydp4ddfa7c3layoutArea'> <div class='ydp4ddfa7c3column'> 
 <p><span>Intermission</span></p> <p><strong>Sonata in D minor\, op. 108 <b r></strong>Allegro<span><br>Adagio</span><span><br>Un poco presto e con se
 ntimento <br></span><span>Presto agitato</span></p> </div> </div> </div> &lt;
 /div&gt; <hr> <h3>Biographies</h3> <h3 class='font_2 wixui-rich-text__text'>&lt;
 a href='https://www.sheilamakesmusic.com' target='_blank' rel='noopener no
 referrer'&gt;Sheila Weidendorf</a></h3> <p class='font_9 wixui-rich-text__tex
 t'>Sheila Weidendorf performs western classical chamber music and extempor
 aneous keyboard meditations\, collaborating with a classical trio\, Trio R
 asa\, and with an improvisational trio\, Trio Improviso. She also has been
  immersed in a long-term and ongoing Brahms project with violinist Tekla C
 unningham. <span class='wixui-rich-text__text'>Weidendorf holds a BA in Pi
 ano and Music History from the University of Minnesota School of Music and
  an </span><span class='wixui-rich-text__text'>MA in Feminist Theological 
 Studies from </span><span class='wixui-rich-text__text'>United Theological
  Seminary of the Twin Cities\, in Minneapolis\, Minnesota. A resident of F
 reeland\, Washington\, s</span>he is the keyboardist for Trinity Lutheran 
 Church on Whidbey Island. </p>
END:VEVENT
BEGIN:VEVENT
UID:0ff35250-d5a7-4bbd-939f-1481daf33fe2
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20230815T032847Z
DESCRIPTION:<p>The UW Baroque Ensemble (Tekla Cunningham\, director) perfor
 ms orchestral suites from Henry Purcell's 'The Fairy Queen' and John Eccle
 s' 'The Mad Lover' as well as works by G.F. Handel.</p>\n<hr>\n<h3 class='
 p1'>Director Biography</h3>
DTSTART;TZID=America/Los_Angeles:20240520T193000
LAST-MODIFIED:20240508T182416Z
SEQUENCE:45
SUMMARY:: Baroque Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-21/baroque-ensemble
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The UW Baroque Ensemble (Tekla Cunningham\,
  director) performs <span>orchestral suites from Henry Purcell's 'The Fair
 y Queen' and John Eccles' 'The Mad Lover' as well as works by G.F. Handel.
 </span></p> <hr> <h3 class='p1'>Director Biography</h3>
END:VEVENT
BEGIN:VEVENT
UID:49a6f679-4c1a-4a87-abdc-1cf6ed443f9a
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20230815T010225Z
DESCRIPTION:<p>Phyllis Byrdwell leads the UW Gospel Choir in songs of prais
 e\, jubilation\, and other expressions of the Gospel tradition.</p>\n<hr>
 \n<h3>Program</h3>\n<p>Anthem of Praise<br>Richard Smallwood<br><br>Wonder
 ful Is Your Name<br>Hezekiah Walker<br><br>Grant Me A Blessing<br>Donald V
 ail<br><br> I Want To Be Ready<br>Spiritual arr. Byrdwell<br>soloists: Aid
 en Shek\, Adriana Cruz<br><br>Healing<br>Richard Smallwood<br><br>Hosanna!
  Hosanna!<br>Kirk Franklin</p>\n<p>Lean On Me<br>Bill Withers<br>soloists:
  Daniel Lee\, Mark Hobbs</p>\n<p>Joyful\, Joyful<br>Ludwig van Beethoven<b r>(9th Symphony)<br>soloist: Isabelle Villanueva<br><br>You Are My Strengt
 h  <br>William Murphy<br>soloist: Timilehin Toye</p>\n<p>Sacrifice of Prai
 se<br>Dorothy Norwood<br>Callers: Jorryn Decker Clement\, Ethan Kwan\, Ale
 xander Trias</p>\n<p></p>\n\n\n\n\n<h4>UW GOSPE
 L CHOIR</h4>\n<p><strong>MUSICIANS</strong><br>Phyllis M. Byrdwell\, Direc
 tor\, Keyboard<br>Tony Mobley\, Bass Guitar<br>Fred Byrdwell\, Percussioni
 st<br>Patricia L. Hunter\, Percussionist</p>\n<p><strong>SOPRANO</strong>&lt;
 br&gt;Adriana Cruz\, Biochemistry<br>Brittany Stowers\, undeclared<br>Claire 
 Lee\, undeclared<br>Bara Bodlakova\, Journalism<br>Amanda Nguyen\, Sociolo
 gy<br>Mirabel Coverston\, Civil Engineering<br>Timilehin Toye\, Global Hea
 lth<br>Karla Jo. Tupper\, RN.\, Community member<br>Mindi Han\, Exchange S
 tudent</p>\n<p><strong>ALTO</strong><br>Sage Ramberg\, Ethnomusicology<br>
 Felisha Barnes\, undeclared<br>Claudia Gipson\, undeclared<br>Juliane Smit
 h\, History<br>Nishtha Kamari\, Neuroscience<br>Emily Petro\, Public/ Glob
 al Health<br>Paige Michal\, Music Education<br>Isabelle Villanuevz\, Vocal
  Performance\, Psychology<br>Kalia Hobbs Rutz\, TA<br>Tova Beck\, Communit
 y Member<br>Mimi Beck\, Community Member<br></p>\n<p><strong>TENOR</strong><br>Alexander Trias\, Plant Biology<br>Dimitri Afatasi\, undeclared<br>Jo
 rryn Decker Clement\, Bioengineering<br>Gavin Westland\, Jazz Studies<br>A
 idan Shekela\, Political Science<br>Daniel Lee\, Business<br>Ethan Kwan\, 
 Informatics<br>Carmela Stewart\, Food Systems Nutrition &amp; Health<br>Fernan
 do Jimenez\, Human Centered Design &amp; Engineering<br>Akko Maifeld-Carucci\,
  Architecture<br>Zefan Lu\, Informatics &amp; Applied Mathematics<br></p>\n<p>
 <strong>BASS</strong><br>Gabriel Wan\, Integrated Social Studies<br>Kasey 
 Brown\, undeclared<br>Kaisho Barnhill\, Music Education and Psychology<br>
 Harry Han\, undeclared<br>Viet Ly\, Electrical and Computer Engineering<br>Finch Brown\, Community\, Environmental Planning<br>Victor Retama\, Aeron
 autics &amp; Astronautics Engineering<br>Kyle Grant\, Music Education…saxophon
 e performance<br>Matthew Young\, Community Member</p>\nMark Hobbs\, Honora
 ry choir member\n\n\n\n<h3>Director Bio</h3>
DTSTART;TZID=America/Los_Angeles:20240520T193000
LAST-MODIFIED:20240516T185020Z
SEQUENCE:46
SUMMARY:: Gospel Choir
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-21/gospel-choir
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>Phyllis Byrdwell leads the UW Gospel 
 Choir in songs of praise\, jubilation\, and other expressions of the Gospe
 l tradition.</span></p> <hr> <h3><span></span><em></em>Program</h3> <p>Ant
 hem of Praise<br>Richard Smallwood<br><br>Wonderful Is Your Name<br>Hezeki
 ah Walker<br><br>Grant Me A Blessing<br>Donald Vail<br><br> I Want To Be R
 eady<br>Spiritual arr. Byrdwell<br><em>soloists: Aiden Shek\, Adriana Cruz
 </em><br><br>Healing<br>Richard Smallwood<br><br>Hosanna! Hosanna!<br>Kirk
  Franklin</p> <p>Lean On Me<br>Bill Withers<br><em>soloists: Daniel Lee\, 
 Mark Hobbs</em></p> <p>Joyful\, Joyful<br>Ludwig van Beethoven<br>(9th Sym
 phony)<br><em>soloist: Isabelle Villanueva</em><br><br>You Are My Strength
   <br>William Murphy<br><em>soloist: Timilehin Toye</em></p> <p>Sacrifice 
 of Praise<br>Dorothy Norwood<br><em>Callers: Jorryn Decker Clement\, Ethan
  Kwan\, Alexander Trias</em></p> <p></p> <table> <tbody> <tr> <td> <h4>UW G
 OSPEL CHOIR</h4> <p><strong>MUSICIANS</strong><br>Phyllis M. Byrdwell\, Di
 rector\, Keyboard<br>Tony Mobley\, Bass Guitar<br>Fred Byrdwell\, Percussi
 onist<br>Patricia L. Hunter\, Percussionist</p> <p><strong>SOPRANO</strong><br>Adriana Cruz\, Biochemistry<br>Brittany Stowers\, undeclared<br>Clair
 e Lee\, undeclared<br>Bara Bodlakova\, Journalism<br>Amanda Nguyen\, Socio
 logy<br>Mirabel Coverston\, Civil Engineering<br>Timilehin Toye\, Global H
 ealth<br>Karla Jo. Tupper\, RN.\, Community member<br>Mindi Han\, Exchange
  Student</p> <p><strong>ALTO</strong><br><span>Sage Ramberg\, </span><span>Ethnomusicology</span><span><br>Felisha Barnes\, </span><span>undeclared&lt;
 /span&gt;<span><br>Claudia Gipson\, </span><span>undeclared</span><span><br>J
 uliane Smith\, </span><span>History</span><span><br>Nishtha Kamari\, <span>Neuroscience</span><span><br>Emily Petro\, </span><span>Public/ Gl
 obal Health</span><span><br>Paige Michal\, </span><span>Music Education</s><span><br>Isabelle Villanuevz\, </span><span>Vocal Performance\, Psych
 ology<br></span><span>Kalia Hobbs Rutz\, </span><span>TA</span><span><br>T
 ova Beck\, </span><span>Community Member</span><span><br>Mimi Beck\, <span>Community Member<br></span></p> <p><strong>TENOR</strong><br><span>Alexander Trias\, Plant Biology<br>Dimitri Afatasi\, undeclared<br>Jorryn
  Decker Clement\, Bioengineering<br>Gavin Westland\, Jazz Studies<br>Aidan
  Shekela\, Political Science<br>Daniel Lee\, Business<br>Ethan Kwan\, Info
 rmatics<br>Carmela Stewart\, Food Systems Nutrition &amp; Health<br>Fernando J
 imenez\, Human Centered Design &amp; Engineering<br>Akko Maifeld-Carucci\, Arc
 hitecture<br>Zefan Lu\, Informatics &amp; Applied Mathematics<br></span></p> &lt;
 p&gt;<strong>BASS</strong><br>Gabriel Wan\, Integrated Social Studies<br>Kase
 y Brown\, undeclared<br>Kaisho Barnhill\, Music Education and Psychology<b r>Harry Han\, undeclared<br>Viet Ly\, Electrical and Computer Engineering&lt;
 br&gt;Finch Brown\, Community\, Environmental Planning<br>Victor Retama\, Aer
 onautics &amp; Astronautics Engineering<br>Kyle Grant\, Music Education…saxoph
 one performance<br>Matthew Young\, Community Member</p> <span>Mark Hobbs\,
  </span><span>Honorary choir member</span></td> </tr> </tbody> </table> Director Bio</h3>
END:VEVENT
BEGIN:VEVENT
UID:9ea52a26-d752-4172-93aa-c9bf906e4089
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20230815T032035Z
DESCRIPTION:<p>Students of Thomas Harper and Carrie Shaw perform works from
  the vocal repertoire.</p>\n<hr>\n<h2>DIRECTOR BIOS</h2>
DTSTART;TZID=America/Los_Angeles:20240521T160000
LAST-MODIFIED:20230815T032035Z
SEQUENCE:47
SUMMARY:: Voice Division Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-21/voice-division-recital
END:VEVENT
BEGIN:VEVENT
UID:52402241-0bd7-4ae5-a85c-a5d09092fc8d
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240503T190345Z
DESCRIPTION:<p>Piano students of Craig Sheppard perform the complete Schube
 rt Impromptus.</p>\n<hr>\n<h3>Program<br><br><strong>The Complete Schubert
  Impromptus</strong></h3>\n<p><strong>FRANZ SCHUBERT (1797-1828) <br><br>&lt;
 /strong&gt;<strong>Four Impromptus\, D. 899 (Op. 90)</strong><br>No. 1 in C M
 inor Alyssa Hironaka <br>No. 2 in E-flat Major <br>Alex Fang <br>No. 3 in 
 G-flat Major <br>Jam (Jingyang) Huang <br>No. 4 in A-flat Major<br>Aidan D
 ealy </p>\n<p>- Intermission -</p>\n<p><strong>Four Impromptus\, D. 935 (O
 p. 142)</strong> <br>No. 1 in F Minor <br>Mia HyeYeon Kim <br>No. 2 in A-f
 lat Major <br>Xinrui Huang <br>No. 3 in B-flat Major <br>Katherine Lee <br>No. 4 in F Minor <br>Scott Fisher\, Jr.</p>\n<hr>\n<h3>Biography</h3>
DTSTART;TZID=America/Los_Angeles:20240521T193000
LAST-MODIFIED:20240510T225224Z
SEQUENCE:48
SUMMARY:: Craig Sheppard Studio Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-22/craig-sheppard-studio-re
 cital
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Piano students of Craig Sheppard perform th
 e complete Schubert Impromptus.</p> <hr> <h3>Program<br><br><strong>The Co
 mplete Schubert Impromptus</strong></h3> <p><strong>FRANZ SCHUBERT (1797-1
 828) <br><br></strong><strong>Four Impromptus\, D. 899 (Op. 90)</strong><b r>No. 1 in C Minor<em> Alyssa Hironaka</em> <br>No. 2 in E-flat Major <br>
 <em>Alex Fang</em> <br>No. 3 in G-flat Major <br><em>Jam (Jingyang) Huang&lt;
 /em&gt; <br>No. 4 in A-flat Major<br><em>Aidan Dealy </em></p> <p>- Intermiss
 ion -</p> <p><strong>Four Impromptus\, D. 935 (Op. 142)</strong> <br>No. 1
  in F Minor <br><em>Mia HyeYeon Kim </em><br>No. 2 in A-flat Major <br><em>Xinrui Huang</em> <br>No. 3 in B-flat Major <br><em>Katherine Lee</em> <b r>No. 4 in F Minor <br><em>Scott Fisher\, Jr.</em></p> <hr> <h3>Biography&lt;
 /h3&gt;
END:VEVENT
BEGIN:VEVENT
UID:e2794225-8068-48ce-92ab-2fb284c8f737
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20230814T225622Z
DESCRIPTION:<p>The Studio Jazz Ensemble performs big band arrangements and 
 repertory selections. The Modern Band performs innovative arrangements of 
 jazz standards\, selections from the outer limits of the genre\, and new o
 riginal compositions.</p>\n<hr>\n<h3>Program</h3>\n<p></p>\n<h4> Modern Ba
 nd </h4>\n<p>Here you came and there you'll go <br>to be why the grass gro
 ws <br>to be why the eyes close <br>when a kiss under the moon <br>feels l
 ike the light of the sun <br>inspired Me <br>to kiss you. </p>\n<p>Can I b
 e for while you wait? <br>To borrow stories from a <br>greyhound next to u
 s on the <br>interstate <br>On our way to the next place </p>\n<p>I'll ill
 ustrate <br>what I see deep inside your <br>fingerprint face <br>You're th
 e most recent reason <br>for this liminal feeling <br>that every morning i
 s a funeral <br>and every night is a wedding </p>\n<p>One of us is ending 
 as the other is <br>becoming <br>a lit fuse with little left to do <br>but
  color our sky with the infinite <br>in You. </p>\n<p>Decorated delusions 
 <br>Far away conclusions <br>Patient inspiration <br>Everchanging solution
 s <br>to a problem that is not </p>\n<p>I believe we are free </p>\n<p>Fal
 ling isn't fatal <br>I prayed to be <br>You: the ground beneath </p>\n<p>B
 are-minded <br>standing in You <br>I am reminded: <br>We are what we're lo
 oking for. </p>\n<p>Use Us to find It <br>- Jack Kennelly </p>\n<p><b>Prel
 ogue: Transition </b>Modern Band <br><b>Can I Be For While You Wait </b>Ja
 cob Lipp <br><b>The Most Recent Reason </b>Beau Wood <br><b>Chemical Burn 
 </b>Jacob Lipp <br><b>Solution </b>EJ Brannan <br><b>Believe in Freedom </b>Jai Lasker <br><b>The Ground Beneath </b>EJ Brannan <br><b>S.O.S. (Smell
  of Spring) </b>Shai Permilovsky </p>\n<h4><b>Studio Jazz Ensemble </b>\n<p><b>It’s Just Talk </b>Pat Metheny arr. Bob Curnow <br><b>Dream of t
 he Return </b>Pat Metheny arr. Bob Curnow <br><b>Whirly Bird </b>Neal Heft
 i arr. Sammy Nestico <br><b>In a Mellotone </b>Duke Ellington arr. Frank F
 oster <br><b>Don’t Be That Way </b>Benny Goodman/ Edgar Sampson/ Mitchell 
 Parish arr. Matt Catingub </p>\n<hr>\n<h3><b>PERSONNEL </b></h3>\n<h4><b>M
 odern Band <br></b></h4>\n<p>EJ Brannan\, drums <br>Jai Lasker\, guitar <b r>Jacob Lipp\, saxophone <br>Shai Permilovsky\, piano <br>Beau Wood\, bass
  <br>Jack Kennelly\, poet\, guest speaker  </p>\n<h4><b>Studio Jazz Ensemb
 le </b></h4>\n<p><b>TROMBONE<br> </b>Richie Torres-Antunez <br>Alex Weber 
 <br>Peter Joaquin Koenig <br>Daniel K. Matsumoto\, 1st trombone <br>Alec R
 aring </p>\n<p><b>TRUMPET <br></b>Ben F. Von Jess <br>Noah Kim\, 1st trump
 et <br>Gavin Elias </p>\n<p><b></b><b>SAXOPHONE <br></b>Leo Zhang\, alto s
 ax <br>Joshua Cheng\, alto sax <br>Liam Jaeden Salas\, tenor sax <br>Imant
 s Smidchens\, tenor sax </p>\n<p><b>BASS <br></b>Elise Corinne Soper </p>
 \n<p><b>DRUMS <br></b>Dante Reiger </p>\n<p><b>PIANO <br></b>Gavin Westlun
 d </p>\n<hr>\n<h3>Director Bios</h3>\n<h3 class='p1'><strong></strong></h3>
DTSTART;TZID=America/Los_Angeles:20240522T193000
LAST-MODIFIED:20240522T180905Z
SEQUENCE:49
SUMMARY:: Studio Jazz Ensemble and Modern Band
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-23/studio-jazz-ensemble-and
 -modern-band
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The Studio Jazz Ensemble performs big band 
 arrangements and repertory selections. The Modern Band performs innovative
  arrangements of jazz standards\, selections from the outer limits of the 
 genre\, and new original compositions.</p> <hr> <h3>Program</h3> <p></p> &lt;
 h4&gt;<span class='Apple-converted-space'> </span>Modern Band<span class='App
 le-converted-space'> </span></h4> <p><i>Here you came and there you'll go 
 <br></i><i>to be why the grass grows <br>to be why the eyes close <br>when
  a kiss under the moon <br>feels like the light of the sun <br>inspired Me
  <br>to kiss you.<span class='Apple-converted-space'> </span></i></p> <p>&lt;
 i&gt;Can I be for while you wait? <br>To borrow stories from a <br>greyhound 
 next to us on the <br>interstate <br>On our way to the next place<span cla ss='Apple-converted-space'> </span></i></p> <p><i>I'll illustrate <br>what
  I see deep inside your <br></i><i>fingerprint face <br>You're the most re
 cent reason <br>for this liminal feeling <br>that every morning is a funer
 al <br>and every night is a wedding<span class='Apple-converted-space'> </span></i></p> <p><i>One of us is ending as the other is <br>becoming <br>a
  lit fuse with little left to do <br>but color our sky with the infinite &lt;
 br&gt;in You.<span class='Apple-converted-space'> </span></i></p> <p><i>Decor
 ated delusions <br>Far away conclusions <br>Patient inspiration <br>Everch
 anging solutions <br>to a problem that is not<span class='Apple-converted-
 space'> </span></i></p> <p><i>I believe we are free<span class='Apple-conv
 erted-space'> </span></i></p> <p><i>Falling isn't fatal <br>I prayed to be
  <br>You: the ground beneath<span class='Apple-converted-space'> </span></i></p> <p><i>Bare-minded <br>standing in You <br>I am reminded: <br>We are
  what we're looking for.<span class='Apple-converted-space'> </span></i></p> <p><i>Use Us to find It<span class='Apple-converted-space'> <br></span>
 </i>- Jack Kennelly<span class='Apple-converted-space'> </span></p> <p><b>
 Prelogue: Transition </b>Modern Band<span class='Apple-converted-space'> &lt;
 br&gt;</span><b>Can I Be For While You Wait </b>Jacob Lipp<span class='Apple-
 converted-space'> <br></span><b>The Most Recent Reason </b>Beau Wood<span class='Apple-converted-space'> <br></span><b>Chemical Burn </b>Jacob Lipp&lt;
 span class='Apple-converted-space'&gt; <br></span><b>Solution </b>EJ Brannan&lt;
 span class='Apple-converted-space'&gt; <br></span><b>Believe in Freedom </b>J
 ai Lasker<span class='Apple-converted-space'> <br></span><b>The Ground Ben
 eath </b>EJ Brannan<span class='Apple-converted-space'> <br></span><b>S.O.
 S. (Smell of Spring) </b>Shai Permilovsky<span class='Apple-converted-spac
 e'> </span></p> <h4><b>Studio Jazz Ensemble<span class='Apple-converted-sp
 ace'> </span></b></h4> <p><b>It’s Just Talk </b>Pat Metheny arr. Bob Curno
 w<span class='Apple-converted-space'> <br></span><b>Dream of the Return </b>Pat Metheny arr. Bob Curnow<span class='Apple-converted-space'> <br><b>Whirly Bird </b>Neal Hefti arr. Sammy Nestico<span class='Apple-conv
 erted-space'> <br></span><b>In a Mellotone </b>Duke Ellington arr. Frank F
 oster<span class='Apple-converted-space'> <br></span><b>Don’t Be That Way 
 </b>Benny Goodman/ Edgar Sampson/ Mitchell Parish arr. Matt Catingub<span class='Apple-converted-space'> </span></p> <hr> <h3><b>PERSONNEL<span clas s='Apple-converted-space'> </span></b></h3> <h4><b>Modern Band<span class='Apple-converted-space'> <br></span></b></h4> <p>EJ Brannan\, drums <br>Ja
 i Lasker\, guitar <br>Jacob Lipp\, saxophone <br>Shai Permilovsky\, piano 
 <br>Beau Wood\, bass <br>Jack Kennelly\, poet\, guest speaker<span class='
 Apple-converted-space'> </span><span class='Apple-converted-space'> </span></p> <h4><b>Studio Jazz Ensemble<span class='Apple-converted-space'> </b></h4> <p><b>TROMBONE<br> </b>Richie Torres-Antunez <br>Alex Weber &lt;
 br&gt;Peter Joaquin Koenig<span class='Apple-converted-space'> <br></span>Dan
 iel K. Matsumoto\, 1<span>st </span>trombone <br>Alec Raring<span class='A
 pple-converted-space'> </span></p> <p><b>TRUMPET<span class='Apple-convert
 ed-space'> <br></span></b>Ben F. Von Jess<span class='Apple-converted-spac
 e'> <br></span>Noah Kim\, 1st trumpet<span class='Apple-converted-space'> 
 <br></span>Gavin Elias<span class='Apple-converted-space'> </span></p> <p>
 <b></b><b>SAXOPHONE<span class='Apple-converted-space'> <br></span></b>Leo
  Zhang\, alto sax<span class='Apple-converted-space'> <br></span>Joshua Ch
 eng\, alto sax<span class='Apple-converted-space'> <br></span>Liam Jaeden 
 Salas\, tenor sax<span class='Apple-converted-space'> <br></span>Imants Sm
 idchens\, tenor sax<span class='Apple-converted-space'> </span></p> <p><b>
 BASS<span class='Apple-converted-space'> <br></span></b>Elise Corinne Sope
 r<span class='Apple-converted-space'> </span></p> <p><b>DRUMS <br></b>Dant
 e Reiger<span class='Apple-converted-space'> </span></p> <p><b>PIANO<span class='Apple-converted-space'> <br></span></b>Gavin Westlund<span class='A
 pple-converted-space'> </span></p> <hr> <h3>Director Bios</h3> <h3 class='
 p1'><strong></strong></h3>
END:VEVENT
BEGIN:VEVENT
UID:973c78b8-e727-4aaf-a4b1-6f795276bd69
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240515T215610Z
DESCRIPTION:<p>Piano students of Cristina Valdés perform music by Chopin\, 
 Rachmaninoff\, Debussy\, Scriabin\, Berg\, and others.</p>\n<hr>\n<h3>Prog
 ram</h3>\n<p>French Suite No. 6 in E Major\, BWV 817: Johann Sebastian Bac
 h   (1685-1750)<br>Allemande                                 <br>Courante 
 <br>Sarabande <br>Gavotte<br>Polonaise<br>Menuet<br>Bourrée<br>Gigue      
                                                               <br><b>Ella 
 Kalinichenko\, </b>M.M.\, Piano Performance</p>\n<h3></h3>\n<p>Concert Etu
 de no. 3 in D-flat major\, “Un Sospiro”: Franz Liszt (1811-1886)<br><b>Eug
 enie Suen\, </b>B.A.\, Instrumental Performance</p>\n<h3></h3>\n<p>Etude O
 p. 10\, No. 9 in F minor:  Frédéric Chopin (1810-1849)  <br>Prelude Op. 32
 \, No. 13 in D-flat Major: Sergei Rachmaninoff (1873-1943)<br><b>Peter Lin
 \, </b>B.S.\, ACMS</p>\n<p>L'isle Joyeuse:  Claude Debussy (1862-1918)<br>
 <b>Jiayi Wang\, </b>Ph.D.\,  Physics</p>\n<p>***intermission***<br><br></p>\n<p>Nocturne Op.32\, No.1 in B Major: Frédéric Chopin: (1810-1849)<br>Pr
 elude No.1: La Colombe: Olivier Messiaen (1908-1992)<br><b>Alina Yin\, </b>B.A.\, Instrumental Performance</p>\n<h3></h3>\n<p>quelques petites médit
 ations sur le piano: Eva-Maria Houben (b.1955)<br><b>Shai Permilovsky\, </b>B.M\, Jazz Studies</p>\n<p>Ballade No.1 in G minor\, Op.23: Frédéric Cho
 pin (1810-1849)<br><b>Hannah Bao\, </b>B.M.\, Piano Performance </p>\n<hr>
 \n<h3></h3>\n<h3>Biography</h3>
DTSTART;TZID=America/Los_Angeles:20240522T193000
LAST-MODIFIED:20240522T014408Z
SEQUENCE:50
SUMMARY:: Cristina Valdés Studio Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-23/cristina-valdes-studio-r
 ecital
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Piano students of Cristina Valdés perform m
 usic by Chopin\, Rachmaninoff\, Debussy\, Scriabin\, Berg\, and others.</p> <hr> <h3>Program</h3> <p><span>French Suite N
 o. 6 in E Major\, BWV 817: </span><span>Johann 
 Sebastian Bach <span> </span> <span>(1685-1750)<br></span></span><span sty le=' 400\;'>Allemande                                 </span>&lt;
 span style='font-weight: 400\;'&gt;<br></span><span>Courante <br></span><span>Sarabande <br><span>Gavotte<br></span><span>Polonaise<br></span><span>Menuet<br></span><span>Bourrée<br></span><span>Gigue</span><span>           
                            </span> <span>      
                        <br></span><b>Ella Kalinichenko\, </b><span>M.M.\, Piano Performance</span></p> <h3></h3> <p><span>Concert Etude no. 3 in D-flat major\, “Un Sosp
 iro”:</span> <span>Franz Liszt </span><span sty le=' 400\;'>(1811-1886)<br></span><b>Eugenie Suen\, </b><span>B.A.\, Instrumental Performance</span></p> <h3>
 </h3> <p><span>Etude Op. 10\, No. 9 in F minor:
  </span><span> </span><span>Frédéric Chopin </span><span>(1810-1849
 )</span><span>  <br></span><span>Prelude Op. 32\, No. 13 in D-flat Major: </span><span>Sergei Rachmaninoff </span><span>(1873-1943)<br></span><b>Peter Lin\, </b><span>B.S.\, ACMS</span></p> <p><span>L'isle Jo
 yeuse: </span><span> </span><span>Claude Debussy </span><span>(1862
 -1918)<br></span><b>Jiayi Wang\, </b><span>Ph.D
 .\,  Physics</span></p> <p><i><span>***intermis
 sion***</span></i><br><br></p> <p><span>Nocturn
 e Op.32\, No.1 in B Major:</span> <span>Frédéri
 c Chopin: </span><span>(1810-1849)<br></span><s pan>Prelude No.1: La Colombe: </span><span styl e=' 400\;'>Olivier Messiaen </span><span>(1908-1992)<br></span><b>Alina Yin\, </b><span>B.A.\, Instrumental Performance</span></p> <h3></h3> <p><span>quelques petites méditations sur le piano: </span>Eva-Maria Houben</span><span> </span><span>(b.1955)<br></span><b>Shai Permilovsky\, </b><span>B.M\, Jazz Studie
 s</span></p> <p><span>Ballade No.1 in G minor\,
  Op.23: </span><span>Frédéric Chopin </span>(1810-1849)<br></span><b>Hannah Bao\, </b><s pan>B.M.\, Piano Performance </span></p> <hr> &lt;
 h3&gt;</h3> <h3>Biography</h3>
END:VEVENT
BEGIN:VEVENT
UID:6b3a96ac-5fe3-4807-8694-8bdd867918cd
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240215T173636Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20240523T120000
LAST-MODIFIED:20240215T173636Z
SEQUENCE:51
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-23/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:22ad8672-78e3-446c-8bff-dc061570f86d
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20230814T212521Z
DESCRIPTION:<p></p>\n<p>The UW Percussion Ensemble (Bonnie Whiting\, direct
 or) performs music by Caroline Shaw\,  Elena Rykova\, and Qu Xiao-Song\, p
 lus open scores by Pauline Oliveros\, George Lewis\, and Stacey Bowers. Al
 so featured: first-year undergraduates in ragtime arrangements for xylopho
 ne and marimba. </p>\n<hr>\n<h2><strong></strong>Program</h2>\n<p><strong>
 University of Washington Percussion Ensemble</strong><br>Thursday\, May 23
 rd\, 7:30 pm\, Meany Studio Theatre<br>Bonnie Whiting\, director</p>\n<p>P
 attern Study no. 2 (1976): Stacey Bowers</p>\n<p>Subito Dodo (2017): Elena
  Rykova</p>\n<p>The Well and The Gentle (1983): Pauline Oliveros</p>\n<p>D
 rums of Xi (1991): QU Xiao-Song</p>\n<p>-PAUSE (5 min)-</p>\n<p>Hemisphere
 ctomy (2024): Melissa Wang/Abigail George</p>\n<p>Artificial Life 2007\, P
 age 1 (2007): George Lewis</p>\n<p>Taxidermy (2012)-: Caroline Shaw</p>\n&lt;
 p&gt;Ragtime Suite (arr. Bob Becker\, 1990): George Hamilton Green<br> Log Ca
 bin Blues (1924): Cyan Duong\, xylophone<br> Rainbow Ripples (1926): Luigi
  Salvaggio\, xylophone<br> The Whistler (1924): Ivy Moore\, xylophone<br> 
 Triplets (1924): Momoka Fukushima\, xylophone</p>\n<hr>\n<p></p>\n<h4>The 
 UW Percussion Ensemble</h4>\n<p>Ryan Baker\, Cyan Duong\, Scott Farkas\, M
 omoka Fukushima\, Abigail George\, Simon Harty\, Gabriel Kennedy-Gibbens\,
  Taryn Marks\, Rose Martin\, Ivy Moore\, Grace Rosing\, Luigi Salvaggio\, 
 Gracia Wang\, Melissa Wang\, Nat Yamamoto</p>\n<h4>Acknowledgements</h4>\n
 <p>Many thanks to: Rose Martin (our graduate student coach and TA)\, Kaish
 o Barnhill (our student worker)\, the Meany Center staff\, the UW School o
 f Music staff\, and our Director Joël-François Durand<br>The University of
  Washington acknowledges the Coast Salish peoples of this land\, the land 
 which touches the shared waters of all tribes and bands within the Suquami
 sh\, Tulalip and Muckleshoot nations.</p>\n<hr>\n<h3>Program Notes</h3>\n&lt;
 p&gt;<strong>PATTERN STUDY #2</strong> by Stacey Bowers\, dedicated to the Bl
 ackearth Percussion Group\, was written in 1976. Twenty-four patterns are 
 repeated and improvised over a seven-note bass line that is repeated throu
 ghout. These patterns can be played in any order\, repeated as often as de
 sired\, and used as a basis for improvisation. The work can be played by a
 ny pitched instruments and often incorporates drums or other rhythm instru
 ments to sustain a pulse. The form emerges from the resultant improvisatio
 n.</p>\n<p>Elena Rykova wrote <strong>SUBITO DODO</strong> (2017) for 5 pl
 ayers and prepared table. She writes: <br>It appeared out of the blue on m
 y street. I was surprised to the extent that I didn’t think to take a phot
 o or video of this bird. The next time we met\, on the same street\, it wa
 s running purposefully as if hunting. I tried to chase it\, but he was muc
 h quicker than me. Both times\, there was no one else around\; not even a 
 car- just him and me. The bird was bigger than a duck or any other America
 n bird that may normally roam the streets of Cambridge. I like to think of
  that bird as a Dodo. This occasion caused me to consider the way in which
  my imagination affects my perception of reality\, blending my thinking wi
 th daydreaming\, which has made this kind of piece appear. Out of the blue
 . In my head.</p>\n<p><strong>THE WELL AND THE GENTLE</strong> (1983)\, wa
 s commissioned by the Relache new music ensemble and is one of the more po
 pular of Oliveros' text-based intuitive pieces. Musicians are given a diff
 erent scale for each of the two sections with one rhythmic motif for the s
 econd section and instructions for musical interaction.</p>\n<p>QU Xiao-So
 ng’s <strong>DRUMS OF XI</strong> was composed for Percussion Group Cincin
 nati\, and is an excerpt of the composer’s larger percussion sextet\, Xi. 
 Earlier this month\, the group was lucky to have a coaching with percussio
 nist Allen Otte\, founding member of PGC.</p>\n<p><strong>HEMISPHERECTOMY&lt;
 /strong&gt;\, co-composed by Abigail George and Melissa Wang for drum set and
  marimba\, explores striking combinations of techniques\, such as resonato
 r play on the marimba and rattling chains on drum heads.</p>\n<p>Without a
  notated score\, George Lewis’s <strong>ARTIFICIAL LIFE</strong> (2007) in
 stead comprises a set of instructions for a flexible group of instruments\
 , guiding them through a complex and highly structured\, yet in many ways 
 open-ended improvisation: no conductor is required\, and many dimensions o
 f the performance\, including duration and instrumentation\, are up to the
  performers. Commissioned for the Glasgow Improvisers Orchestra by the Sco
 ttish Arts Council\, the work may be performed by musicians with any or no
  experience with musical improvisation.</p>\n<p>Why <strong>“TAXIDERMY”</s>? I just find the word strangely compelling\, and it evokes somethin
 g grand\, awkward\, epic\, silent\, funny\, and just a bit creepy — all ch
 aracteristics of this piece\, in a way. The repeated phrase toward the end
  (“the detail of the pattern is movement”) is a little concept I love tryi
 ng (and failing) to imagine. It comes from T.S. Eliot’s beautiful and perp
 lexing Burnt Norton (from the Four Quartets)\, and I’ve used it before in 
 other work — as a kind of whimsical existentialist mantra. –Caroline Shaw&lt;
 /p&gt;\n<p>In the mid-1920’s virtuoso xylophone soloist George Hamilton Green
  created intricate\, blisteringly fast “novelty” rags for percussionists t
 o play. A century later\, we’re using a set of these pieces (arranged by B
 ob Becker in the 1990’s) to feature our fantastic first-year percussion st
 udents in a rousing concert closer.</p>\n<hr>\n<h3>Director Biography</h3>
 \n<p></p>
DTSTART;TZID=America/Los_Angeles:20240523T193000
LAST-MODIFIED:20240521T193548Z
SEQUENCE:52
SUMMARY:: Percussion Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-24/percussion-ensemble
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The UW Percussion Ensemble (Bonnie 
 Whiting\, director) performs <span>music by Caroline Shaw\,  Elena Rykova\
 , and Qu Xiao-Song\, plus open scores by Pauline Oliveros\, George Lewis\,
  and Stacey Bowers. Also featured: first-year undergraduates in ragtime ar
 rangements for xylophone and marimba. </span></p> <hr> <h2><strong>Program</h2> <p><strong>University of Washington Percussion Ensemble<br>Thursday\, May 23rd\, 7:30 pm\, Meany Studio Theatre<br><em>Bonni
 e Whiting\, director</em></p> <p>Pattern Study no. 2 (1976): Stacey Bowers
 </p> <p>Subito Dodo (2017): Elena Rykova</p> <p>The Well and The Gentle (1
 983): Pauline Oliveros</p> <p>Drums of Xi (1991): QU Xiao-Song</p> <p>-PAU
 SE (5 min)-</p> <p>Hemispherectomy (2024): Melissa Wang/Abigail George</p>
  <p>Artificial Life 2007\, Page 1 (2007): George Lewis</p> <p>Taxidermy (2
 012)-: Caroline Shaw</p> <p>Ragtime Suite (arr. Bob Becker\, 1990): George
  Hamilton Green<br> Log Cabin Blues (1924): <em>Cyan Duong\, xylophone</em><br> Rainbow Ripples (1926): <em>Luigi Salvaggio\, xylophone</em><br> The
  Whistler (1924): <em>Ivy Moore\, xylophone</em><br> Triplets (1924): <em>
 Momoka Fukushima\, xylophone</em></p> <hr> <p></p> <h4>The UW Percussion E
 nsemble</h4> <p>Ryan Baker\, Cyan Duong\, Scott Farkas\, Momoka Fukushima\
 , Abigail George\, Simon Harty\, Gabriel Kennedy-Gibbens\, Taryn Marks\, R
 ose Martin\, Ivy Moore\, Grace Rosing\, Luigi Salvaggio\, Gracia Wang\, Me
 lissa Wang\, Nat Yamamoto</p> <h4>Acknowledgements</h4> <p>Many thanks to:
  Rose Martin (our graduate student coach and TA)\, Kaisho Barnhill (our st
 udent worker)\, the Meany Center staff\, the UW School of Music staff\, an
 d our Director Joël-François Durand<br>The University of Washington acknow
 ledges the Coast Salish peoples of this land\, the land which touches the 
 shared waters of all tribes and bands within the Suquamish\, Tulalip and M
 uckleshoot nations.</p> <hr> <h3>Program Notes</h3> <p><strong>PATTERN STU
 DY #2</strong> by Stacey Bowers\, dedicated to the Blackearth Percussion G
 roup\, was written in 1976. Twenty-four patterns are repeated and improvis
 ed over a seven-note bass line that is repeated throughout. These patterns
  can be played in any order\, repeated as often as desired\, and used as a
  basis for improvisation. The work can be played by any pitched instrument
 s and often incorporates drums or other rhythm instruments to sustain a pu
 lse. The form emerges from the resultant improvisation.</p> <p>Elena Rykov
 a wrote <strong>SUBITO DODO</strong> (2017) for 5 players and prepared tab
 le. She writes: <br>It appeared out of the blue on my street. I was surpri
 sed to the extent that I didn’t think to take a photo or video of this bir
 d. The next time we met\, on the same street\, it was running purposefully
  as if hunting. I tried to chase it\, but he was much quicker than me. Bot
 h times\, there was no one else around\; not even a car- just him and me. 
 The bird was bigger than a duck or any other American bird that may normal
 ly roam the streets of Cambridge. I like to think of that bird as a Dodo. 
 This occasion caused me to consider the way in which my imagination affect
 s my perception of reality\, blending my thinking with daydreaming\, which
  has made this kind of piece appear. Out of the blue. In my head.</p> <p>&lt;
 strong&gt;THE WELL AND THE GENTLE</strong> (1983)\, was commissioned by the R
 elache new music ensemble and is one of the more popular of Oliveros' text
 -based intuitive pieces. Musicians are given a different scale for each of
  the two sections with one rhythmic motif for the second section and instr
 uctions for musical interaction.</p> <p>QU Xiao-Song’s <strong>DRUMS OF XI
 </strong> was composed for Percussion Group Cincinnati\, and is an excerpt
  of the composer’s larger percussion sextet\, Xi. Earlier this month\, the
  group was lucky to have a coaching with percussionist Allen Otte\, foundi
 ng member of PGC.</p> <p><strong>HEMISPHERECTOMY</strong>\, co-composed by
  Abigail George and Melissa Wang for drum set and marimba\, explores strik
 ing combinations of techniques\, such as resonator play on the marimba and
  rattling chains on drum heads.</p> <p>Without a notated score\, George Le
 wis’s <strong>ARTIFICIAL LIFE</strong> (2007) instead comprises a set of i
 nstructions for a flexible group of instruments\, guiding them through a c
 omplex and highly structured\, yet in many ways open-ended improvisation: 
 no conductor is required\, and many dimensions of the performance\, includ
 ing duration and instrumentation\, are up to the performers. Commissioned 
 for the Glasgow Improvisers Orchestra by the Scottish Arts Council\, the w
 ork may be performed by musicians with any or no experience with musical i
 mprovisation.</p> <p>Why <strong>“TAXIDERMY”</strong>? I just find the wor
 d strangely compelling\, and it evokes something grand\, awkward\, epic\, 
 silent\, funny\, and just a bit creepy — all characteristics of this piece
 \, in a way. The repeated phrase toward the end (“the detail of the patter
 n is movement”) is a little concept I love trying (and failing) to imagine
 . It comes from T.S. Eliot’s beautiful and perplexing Burnt Norton (from t
 he Four Quartets)\, and I’ve used it before in other work — as a kind of w
 himsical existentialist mantra. –Caroline Shaw</p> <p>In the mid-1920’s vi
 rtuoso xylophone soloist George Hamilton Green created intricate\, blister
 ingly fast “novelty” rags for percussionists to play. A century later\, we
 ’re using a set of these pieces (arranged by Bob Becker in the 1990’s) to 
 feature our fantastic first-year percussion students in a rousing concert 
 closer.</p> <hr> <h3>Director Biography</h3> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:b1cb47cf-338d-48ce-8fdd-2e0ec2f869b8
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20230815T024137Z
DESCRIPTION:<p>The University Singers\, Treble Choir\, and UW Glee Club pre
 sent an eclectic program of music from around the world\, folk tunes\, and
  arrangements of popular music standards.</p>\n\n<hr>\n<h3>Program</h3>\n
 \n<p> </p>\n\n<h4> <b>Glee Club</b></h4>\n\n<p>Directed By: <br>\nDavid Fe
 rguson - DMA <br>\nMichael McKenzie - DMA <br>\nEvan Norberg - DMA </p>\n
 \n<p>Collaborative Pianist - Steve Swanson </p>\n\n<p><b>Arrow </b><br>\nP
 oetry by: Ruth Whitman <br>\nMusic by Jocelyn Hagen </p>\n\n<p><b>Ya Mahla
  </b><br>\nPoetry by: Al Sheikh Ahmad Ashour <br>\nOriginal Music: Daoud H
 osni <br>\nArr. Shireen Abu-Khader </p>\n\n<p><b>Run </b><br>\nWords and M
 usic: Tedder/Kutzle/Spry/Nathaniel <br>\nArr. Jacob Narverud </p>\n\n<p><b>Goodbye\, Then </b><br>\nPoetry: Doug Wilhide <br>\nMusic: Timothy C. Tak
 ach </p>\n\n<h4><b>UNIVERSITY SINGERS </b></h4>\n\n<p>Directed by: <br>\nC
 ee Adamson - DMA <br>\nTatiana Boggs - DMA <br>\nEgija Claire - MM </p>\n
 \n<p>Collaborative Pianist - Steve Swanson </p>\n\n<p><b>Music of Life </b><br>\nWords by George Parsons Lathrop<br>\nMusic by B.E. Boykin </p>\n\n&lt;
 p&gt;<b>Ba </b><br>\nMusic by Judith Kay </p>\n\n<p><b>Saule brida rudzu lauk
 u </b><br>\nLatvian folk song <br>\nArr. Ilona Rupaine\, Einars Lipskis <b r>\nSoloists - Samantha Oledan Grover\, Lauren Heinen\, Sofia Dambrosia\, 
 D Dearie </p>\n\n<h4><b>TREBLE CHOIR </b></h4>\n\n<p>Directed by: <br>\nLa
 rke Witten - MM <br>\nHeidi Blythe - DMA </p>\n\n<p>Collaborative Pianist\
 , Steve Swanson </p>\n\n<p><b>Take this Gift </b><br>\nWords by Tracy Wong
 /Cherie Chai <br>\nMusic by Tracy Wong <br>\nPercussion\, Hannah Carpenter
  </p>\n\n<p><b>How Can I Keep From Singing? </b><br>\nTraditional Quaker H
 ymn <br>\nArr. Gwyneth Walker </p>\n\n<p><b>I Denna Ljuva Sommartid </b><b r>\nTraditional Swedish <br>\nSwedish text by Joachim Von Duben <br>\nArr.
  Kim Andre Arnesen <br>\nSoloist\, Vivi Ochoa </p>\n\n<p><b>You Do Not Wal
 k Alone </b><br>\nTraditional Irish Blessing <br>\nElaine Hagenberg </p>\n
 \n<h4>COMBINED CHOIR </h4>\n\n<p>Directed by: <br>\nTatiana Boggs - DMA <b r>\nCollaborative Pianist\, Steve Swanson </p>\n\n<p><b>Little Blue </b><b r>\nBy Jacob Collier\, arr. Jeff Tincher </p>\n\n\n	\n		\n			\n			<h3><b>PERSONNEL 
 </b></h3>\n\n			<h4><b>GLEE  </b></h4>\n\n			<p>Adrian Wong Cascante <br>\n			Aiden
  Hochstatter <br>\n			Al Snow <br>\n			Alex Beck <br>\n			Alex Trias <br>\n			Alexande
 r Zhang <br>\n			Alfie Xu <br>\n			Andrea Chen <br>\n			Andrew Nguyen <br>\n			Andy We
 n <br>\n			Antares Yuan <br>\n			Aryam Chhazal <br>\n			Avi Mittal <br>\n			Bill Li <b r>\n			Carmela Stewart <br>\n			Edén Alvarado <br>\n			Christian Sanchez <br>\n			Dann
 y Vizenor <br>\n			David Ferguson <br>\n			Evan Norberg <br>\n			Ezra Acevedo <br>
 \n			Fay Ma <br>\n			Gavin Morrow <br>\n			Hannah Carpenter <br>\n			Hao Shen <br>\n			Ja
 ckson Terhark <br>\n			Jandel Cabasura <br>\n			Jenson Zhang <br>\n			Jiajun Li <br>\n			Katherine Agent <br>\n			Lana Colinares <br>\n			Madeline Rivera <br>\n			Marál 
 Saikhanaa <br>\n			Mario D'Ambrosio <br>\n			Matthew Magbanua <br>\n			Max Cheung &lt;
 br&gt;\n			Maxwell Wang <br>\n			Michael McKenzie <br>\n			Minami Yasuda <br>\n			Pascale
  Yong Sarguna Packia Raj <br>\n			Paul Johns <br>\n			Praveer Jain <br>\n			Sarah C
 arpenter <br>\n			Shammu Meyyappan <br>\n			Thomas Wardian <br>\n			Toby Weng <br>
 \n			Vishwa Neelakandan <br>\n			Wayne Wang <br>\n			Yao Yao <br>\n			Zerong Wang </p>
 \n\n			<h4><b>UW SINGERS </b></h4>\n\n			<p>Ana Cunningham <br>\n			Lucas Holloway-
 Figueroa <br>\n			Nhi Ha Nguyen <br>\n			Belle Pearson <br>\n			Grace Curry <br>\n			A
 lif Nasrin <br>\n			Wei Gao <br>\n			Alexis Destefano <br>\n			Yolanda Fu <br>\n			Ava
  Herman <br>\n			Sabrina Hsiao Lin <br>\n			Maya Malinowski <br>\n			Lena Millard-K
 ish <br>\n			Cecilia Wang <br>\n			Rachel Lily Hu <br>\n			Connie Amundson <br>\n			Je
 nny Spellmon <br>\n			Sofia Dambrosia <br>\n			Lexie J Yingst <br>\n			Anna Tsou <b r>\n			Ella Jinhee Thompson <br>\n			Noa Resnikoff <br>\n			Cynthia Lin <br>\n			Saman
 tha Oledan Grover <br>\n			Kendra Fabiola Del Rosario Arias <br>\n			Katie Davis
  <br>\n			Ekaterina R Bogdanova <br>\n			Isamar Chavez <br>\n			Madi Winegrad <br>
 \n			Sharon Kung <br>\n			Danna Awad <br>\n			Emily Fable <br>\n			Lauren Heinen <br>
 \n			Hope Kuchan <br>\n			Sophie Mansour <br>\n			Yash Verma <br>\n			Gage Tyler Santa
  Cruz <br>\n			Kevin Luo <br>\n			Tommy Mac <br>\n			Vincent Bailon <br>\n			Eric Wu &lt;
 br&gt;\n			D Dearie <br>\n			Seongjae Kim <br>\n			John Lu <br>\n			Lester Jush Quitorian
 o <br>\n			Yash Varde <br>\n			Johnathan Zhang </p>\n\n			<h4><b>TREBLE CHOIR </b>&lt;
 /h4&gt;\n\n			<p>Isabel Azarcon <br>\n			Aradhana Babu <br>\n			Michele Batzaya <br>\n
 			Camille Chloe Berger <br>\n			Emily Marie Blake <br>\n			Ella Bouker <br>\n			Taylo
 r Burbacher <br>\n			Amber Calderon <br>\n			Hannah Carpenter <br>\n			Sarah Carpen
 ter <br>\n			Isamar Chavez <br>\n			Helen Chen <br>\n			Lauren Chenoweth <br>\n			Jord
 an Cheung <br>\n			Hana Chollar <br>\n			Samantha Corcoran <br>\n			Chaitna Deshmuk
 h <br>\n			Loreley Drees <br>\n			Arghavan Fakhremoghaddam <br>\n			Athena Forsythe
  <br>\n			Aria Fowler <br>\n			Berlin Gharst <br>\n			Gina Goble <br>\n			Amy Gretch &lt;
 br&gt;\n			Sophie Hall <br>\n			Ella Heide <br>\n			Natalie Heitkamp <br>\n			Caixin Huan
 g <br>\n			Jingyang Huang <br>\n			Sammi Huang <br>\n			Abby Hussein <br>\n			Takoda J
 essen <br>\n			Kourtney Jones-Kendrix <br>\n			Sydney Jordan <br>\n			Indira Katiya
 r <br>\n			Sania Kowkuntla <br>\n			Cadence Lay <br>\n			Julia Lee <br>\n			Meiyao Li 
 <br>\n			Emily Ma <br>\n			Ana Marriott <br>\n			Isadora Miller <br>\n			Tatiana Miran
 da Benavides <br>\n			Miki Mo <br>\n			Catinca Mosley <br>\n			Vivi Ochoa <br>\n			Del
 aney Orzol <br>\n			Camille Ott <br>\n			Esther Prabahkar <br>\n			Ella Ramos-O'Nei
 ll <br>\n			Mia Rapp <br>\n			Alexandria Retteghieri <br>\n			Lola Rogin <br>\n			Sall
 y Schafer <br>\n			Marina Sellers <br>\n			Audrey Simonnet <br>\n			Cassie Smith <b r>\n			Jackie Smith <br>\n			Al Snow <br>\n			Eugenie Suen <br>\n			Aliya Thompson <br>\n			Phyllicia Tjandra <br>\n			Alex Trias <br>\n			Anna Vu <br>\n			Sophie Wammer <b r>\n			Aria Wang <br>\n			Adrienne Wegerer <br>\n			Megan West <br>\n			Haley Westberg
  <br>\n			Sophie Wheaton <br>\n			Talina White </p>\n			\n		\n	\n\n\n<h3>Biographies</h3>
DTSTART;TZID=America/Los_Angeles:20240523T193000
LAST-MODIFIED:20250728T171257Z
SEQUENCE:53
SUMMARY:: UW Sings 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-23/uw-sings
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>The University Singers\, Treble Choir
 \, and UW Glee Club present an eclectic program of music from around the w
 orld\, folk tunes\, and arrangements of popular music standards.</span></p> <hr> <h3>Program</h3> <p> </p> <h4><span class='Apple-converted-space'> 
 <b>Glee Club</b></span></h4> <p>Directed By:<span class='Apple-converted-s
 pace'> </span><br> David Ferguson - DMA<span class='Apple-converted-space'> </span><br> Michael McKenzie - DMA<span class='Apple-converted-space'> &lt;
 /span&gt;<br> Evan Norberg - DMA<span class='Apple-converted-space'> </span>&lt;
 /p&gt; <p>Collaborative Pianist - Steve Swanson<span class='Apple-converted-s
 pace'> </span></p> <p><b>Arrow<span class='Apple-converted-space'> </span>
 </b><br> Poetry by: Ruth Whitman<span class='Apple-converted-space'> <br> Music by Jocelyn Hagen<span class='Apple-converted-space'> </span>&lt;
 /p&gt; <p><b>Ya Mahla<span class='Apple-converted-space'> </span></b><br> Poe
 try by: Al Sheikh Ahmad Ashour<span class='Apple-converted-space'> </span>
 <br> Original Music: Daoud Hosni<span class='Apple-converted-space'> <br> Arr. Shireen Abu-Khader<span class='Apple-converted-space'> </span>
 </p> <p><b>Run<span class='Apple-converted-space'> </span></b><br> Words a
 nd Music: Tedder/Kutzle/Spry/Nathaniel<span class='Apple-converted-space'>
  </span><br> Arr. Jacob Narverud<span class='Apple-converted-space'> </p> <p><b>Goodbye\, Then<span class='Apple-converted-space'> </span></b><br> Poetry: Doug Wilhide<span class='Apple-converted-space'> </span><br>
  Music: Timothy C. Takach<span class='Apple-converted-space'> </span></p> 
 <h4><b>UNIVERSITY SINGERS<span class='Apple-converted-space'> </span></b>&lt;
 /h4&gt; <p>Directed by:<span class='Apple-converted-space'> </span><br> Cee A
 damson - DMA<span class='Apple-converted-space'> </span><br> Tatiana Boggs
  - DMA<span class='Apple-converted-space'> </span><br> Egija Claire - MM<s pan class='Apple-converted-space'> </span></p> <p>Collaborative Pianist - 
 Steve Swanson<span class='Apple-converted-space'> </span></p> <p><b>Music 
 of Life </b><br> Words by George Parsons Lathrop<br> Music by B.E. Boykin&lt;
 span class='Apple-converted-space'&gt; </span></p> <p><b>Ba<span class='Apple
 -converted-space'> </span></b><br> Music by Judith Kay<span><i><span class='Apple-converted-space'> </span></i></span></p> <p><b>Saule brida rudzu l
 auku<span class='Apple-converted-space'> </span></b><br> Latvian folk song
 <span class='Apple-converted-space'> </span><br> Arr. Ilona Rupaine\, Eina
 rs Lipskis<span class='Apple-converted-space'> </span><br> <em>Soloists - 
 Samantha Oledan Grover\, Lauren Heinen\, Sofia Dambrosia\, D Dearie<span c lass='Apple-converted-space'> </span></em></p> <h4><b>TREBLE CHOIR<span cl ass='Apple-converted-space'> </span></b></h4> <p>Directed by:<span class='
 Apple-converted-space'> </span><br> Larke Witten - MM<span class='Apple-co
 nverted-space'> </span><br> Heidi Blythe - DMA<span class='Apple-converted
 -space'> </span></p> <p>Collaborative Pianist\, Steve Swanson<span class='
 Apple-converted-space'> </span></p> <p><b>Take this Gift<span class='Apple
 -converted-space'> </span></b><br> Words by Tracy Wong/Cherie Chai<span cl ass='Apple-converted-space'> </span><br> Music by Tracy Wong<span class='A
 pple-converted-space'> </span><br> Percussion\, Hannah Carpenter<span clas s='Apple-converted-space'> </span></p> <p><b>How Can I Keep From Singing?&lt;
 span class='Apple-converted-space'&gt; </span></b><br> Traditional Quaker Hym
 n<span class='Apple-converted-space'> </span><br> Arr. Gwyneth Walker<span class='Apple-converted-space'> </span></p> <p><b>I Denna Ljuva Sommartid&lt;
 span class='Apple-converted-space'&gt; </span></b><br> Traditional Swedish </span><br> Swedish text by Joachim Von 
 Duben<span class='Apple-converted-space'> </span><br> Arr. Kim Andre Arnes
 en<span class='Apple-converted-space'> </span><br> <em>Soloist\, Vivi Ocho
 a<span class='Apple-converted-space'> </span></em></p> <p><b>You Do Not Wa
 lk Alone<span class='Apple-converted-space'> </span></b><br> Traditional I
 rish Blessing<span class='Apple-converted-space'> </span><br> Elaine Hagen
 berg<span class='Apple-converted-space'> </span></p> <h4>COMBINED CHOIR </span></h4> <p>Directed by:<span class='Apple-converted-space'> </span><br> Tatiana Boggs - DMA<span class='Apple
 -converted-space'> </span><br> Collaborative Pianist\, Steve Swanson<span class='Apple-converted-space'> </span></p> <p><b>Little Blue<span class='A
 pple-converted-space'> </span></b><br> By Jacob Collier\, arr. Jeff Tinche
 r<span class='Apple-converted-space'> </span></p> <table> <tbody> <tr> <td> <h3><b>PERSONNEL<span clas s='Apple-converted-space'> </span></b></h3> <h4><b>GLEE <span class='Apple
 -converted-space'> </span></b></h4> <p>Adrian Wong Cascante<span class='Ap
 ple-converted-space'> </span><br> Aiden Hochstatter<span class='Apple-conv
 erted-space'> </span><br> Al Snow<span class='Apple-converted-space'> <br> Alex Beck<span class='Apple-converted-space'> </span><br> Alex Tri
 as<span class='Apple-converted-space'> </span><br> Alexander Zhang<span cl ass='Apple-converted-space'> </span><br> Alfie Xu<span class='Apple-conver
 ted-space'> </span><br> Andrea Chen<span class='Apple-converted-space'> </span><br> Andrew Nguyen<span class='Apple-converted-space'> </span><br> An
 dy Wen<span class='Apple-converted-space'> </span><br> Antares Yuan<span c lass='Apple-converted-space'> </span><br> Aryam Chhazal<span class='Apple-
 converted-space'> </span><br> Avi Mittal<span class='Apple-converted-space
 '> </span><br> Bill Li<span class='Apple-converted-space'> </span><br> Car
 mela Stewart<span class='Apple-converted-space'> </span><br> <span><span><span>Edén</span></span></span> Alvarado<span class='Apple-conv
 erted-space'> </span><br> Christian Sanchez<span class='Apple-converted-sp
 ace'> </span><br> Danny Vizenor<span class='Apple-converted-space'> </span><br> David Ferguson<span class='Apple-converted-space'> </span><br> Evan 
 Norberg<span class='Apple-converted-space'> </span><br> Ezra Acevedo<span class='Apple-converted-space'> </span><br> Fay Ma<span class='Apple-conver
 ted-space'> </span><br> Gavin Morrow<span class='Apple-converted-space'> &lt;
 /span&gt;<br> Hannah Carpenter<span class='Apple-converted-space'> </span><br> Hao Shen<span class='Apple-converted-space'> </span><br> Jackson Terhark
 <span class='Apple-converted-space'> </span><br> Jandel Cabasura<span clas s='Apple-converted-space'> </span><br> Jenson Zhang<span class='Apple-conv
 erted-space'> </span><br> Jiajun Li<span class='Apple-converted-space'> </span><br> Katherine Agent<span class='Apple-converted-space'> </span><br> 
 Lana Colinares<span class='Apple-converted-space'> </span><br> Madeline Ri
 vera<span class='Apple-converted-space'> </span><br> Marál Saikhanaa<span class='Apple-converted-space'> </span><br> Mario D'Ambrosio<span class='Ap
 ple-converted-space'> </span><br> Matthew Magbanua<span class='Apple-conve
 rted-space'> </span><br> Max Cheung<span class='Apple-converted-space'> </span><br> Maxwell Wang<span class='Apple-converted-space'> </span><br> Mic
 hael McKenzie<span class='Apple-converted-space'> </span><br> Minami Yasud
 a<span class='Apple-converted-space'> </span><br> Pascale Yong Sarguna Pac
 kia Raj<span class='Apple-converted-space'> </span><br> Paul Johns<span cl ass='Apple-converted-space'> </span><br> Praveer Jain<span class='Apple-co
 nverted-space'> </span><br> Sarah Carpenter<span class='Apple-converted-sp
 ace'> </span><br> Shammu Meyyappan<span class='Apple-converted-space'> </s><br> Thomas Wardian<span class='Apple-converted-space'> </span><br> To
 by Weng<span class='Apple-converted-space'> </span><br> Vishwa Neelakandan
 <span class='Apple-converted-space'> </span><br> Wayne Wang<span class='Ap
 ple-converted-space'> </span><br> Yao Yao<span class='Apple-converted-spac
 e'> </span><br> Zerong Wang<span class='Apple-converted-space'> </span></p> <h4><b>UW SINGERS<span class='Apple-converted-space'> </span></b></h4> &lt;
 p&gt;Ana Cunningham<span class='Apple-converted-space'> </span><br> Lucas Hol
 loway-Figueroa<span class='Apple-converted-space'> </span><br> Nhi Ha Nguy
 en<span class='Apple-converted-space'> </span><br> Belle Pearson<span clas s='Apple-converted-space'> </span><br> Grace Curry<span class='Apple-conve
 rted-space'> </span><br> Alif Nasrin<span class='Apple-converted-space'> &lt;
 /span&gt;<br> Wei Gao<span class='Apple-converted-space'> </span><br> Alexis 
 Destefano<span class='Apple-converted-space'> </span><br> Yolanda Fu<span class='Apple-converted-space'> </span><br> Ava Herman<span class='Apple-co
 nverted-space'> </span><br> Sabrina Hsiao Lin<span class='Apple-converted-
 space'> </span><br> Maya Malinowski<span class='Apple-converted-space'> </span><br> Lena Millard-Kish<span class='Apple-converted-space'> </span><br> Cecilia Wang<span class='Apple-converted-space'> </span><br> Rachel Lily
  Hu<span class='Apple-converted-space'> </span><br> Connie Amundson<span c lass='Apple-converted-space'> </span><br> Jenny Spellmon<span class='Apple
 -converted-space'> </span><br> Sofia Dambrosia<span class='Apple-converted
 -space'> </span><br> Lexie J Yingst<span class='Apple-converted-space'> </span><br> Anna Tsou<span class='Apple-converted-space'> </span><br> Ella J
 inhee Thompson<span class='Apple-converted-space'> </span><br> Noa Resniko
 ff<span class='Apple-converted-space'> </span><br> Cynthia Lin<span class='Apple-converted-space'> </span><br> Samantha Oledan Grover<span class='Ap
 ple-converted-space'> </span><br> Kendra Fabiola Del Rosario Arias<span cl ass='Apple-converted-space'> </span><br> Katie Davis<span class='Apple-con
 verted-space'> </span><br> Ekaterina R Bogdanova<span class='Apple-convert
 ed-space'> </span><br> Isamar Chavez<span class='Apple-converted-space'> &lt;
 /span&gt;<br> Madi Winegrad<span class='Apple-converted-space'> </span><br> S
 haron Kung<span class='Apple-converted-space'> </span><br> Danna Awad<span class='Apple-converted-space'> </span><br> Emily Fable<span class='Apple-
 converted-space'> </span><br> Lauren Heinen<span class='Apple-converted-sp
 ace'> </span><br> Hope Kuchan<span class='Apple-converted-space'> </span>&lt;
 br&gt; Sophie Mansour<span class='Apple-converted-space'> </span><br> Yash Ve
 rma<span class='Apple-converted-space'> </span><br> Gage Tyler Santa Cruz&lt;
 span class='Apple-converted-space'&gt; </span><br> Kevin Luo<span class='Appl
 e-converted-space'> </span><br> Tommy Mac<span class='Apple-converted-spac
 e'> </span><br> Vincent Bailon<span class='Apple-converted-space'> </span>
 <br> Eric Wu<span class='Apple-converted-space'> </span><br> D Dearie<span class='Apple-converted-space'> </span><br> Seongjae Kim<span class='Apple
 -converted-space'> </span><br> John Lu<span class='Apple-converted-space'>
  </span><br> Lester Jush Quitoriano<span class='Apple-converted-space'> </span><br> Yash Varde<span class='Apple-converted-space'> </span><br> Johna
 than Zhang<span class='Apple-converted-space'> </span></p> <h4><b>TREBLE C
 HOIR<span class='Apple-converted-space'> </span></b></h4> <p>Isabel Azarco
 n<span class='Apple-converted-space'> </span><br> Aradhana Babu<span class='Apple-converted-space'> </span><br> Michele Batzaya<span class='Apple-co
 nverted-space'> </span><br> Camille Chloe Berger<span class='Apple-convert
 ed-space'> </span><br> Emily Marie Blake<span class='Apple-converted-space
 '> </span><br> Ella Bouker<span class='Apple-converted-space'> </span><br>
  Taylor Burbacher<span class='Apple-converted-space'> </span><br> Amber Ca
 lderon<span class='Apple-converted-space'> </span><br> Hannah Carpenter </span><br> Sarah Carpenter<span class='
 Apple-converted-space'> </span><br> Isamar Chavez<span class='Apple-conver
 ted-space'> </span><br> Helen Chen<span class='Apple-converted-space'> </s><br> Lauren Chenoweth<span class='Apple-converted-space'> </span><br> 
 Jordan Cheung<span class='Apple-converted-space'> </span><br> Hana Chollar
 <span class='Apple-converted-space'> </span><br> Samantha Corcoran<span cl ass='Apple-converted-space'> </span><br> Chaitna Deshmukh<span class='Appl
 e-converted-space'> </span><br> Loreley Drees<span class='Apple-converted-
 space'> </span><br> Arghavan Fakhremoghaddam<span class='Apple-converted-s
 pace'> </span><br> Athena Forsythe<span class='Apple-converted-space'> </s><br> Aria Fowler<span class='Apple-converted-space'> </span><br> Berli
 n Gharst<span class='Apple-converted-space'> </span><br> Gina Goble<span c lass='Apple-converted-space'> </span><br> Amy Gretch<span class='Apple-con
 verted-space'> </span><br> Sophie Hall<span class='Apple-converted-space'>
  </span><br> Ella Heide<span class='Apple-converted-space'> </span><br> Na
 talie Heitkamp<span class='Apple-converted-space'> </span><br> Caixin Huan
 g<span class='Apple-converted-space'> </span><br> Jingyang Huang<span clas s='Apple-converted-space'> </span><br> Sammi Huang<span class='Apple-conve
 rted-space'> </span><br> Abby Hussein<span class='Apple-converted-space'> 
 </span><br> Takoda Jessen<span class='Apple-converted-space'> </span><br> 
 Kourtney Jones-Kendrix<span class='Apple-converted-space'> </span><br> Syd
 ney Jordan<span class='Apple-converted-space'> </span><br> Indira Katiyar&lt;
 span class='Apple-converted-space'&gt; </span><br> Sania Kowkuntla<span class='Apple-converted-space'> </span><br> Cadence Lay<span class='Apple-conver
 ted-space'> </span><br> Julia Lee<span class='Apple-converted-space'> <br> Meiyao Li<span class='Apple-converted-space'> </span><br> Emily Ma
 <span class='Apple-converted-space'> </span><br> Ana Marriott<span class='
 Apple-converted-space'> </span><br> Isadora Miller<span class='Apple-conve
 rted-space'> </span><br> Tatiana Miranda Benavides<span class='Apple-conve
 rted-space'> </span><br> Miki Mo<span class='Apple-converted-space'> <br> Catinca Mosley<span class='Apple-converted-space'> </span><br> Vivi
  Ochoa<span class='Apple-converted-space'> </span><br> Delaney Orzol<span class='Apple-converted-space'> </span><br> Camille Ott<span class='Apple-c
 onverted-space'> </span><br> Esther Prabahkar<span class='Apple-converted-
 space'> </span><br> Ella Ramos-O'Neill<span class='Apple-converted-space'>
  </span><br> Mia Rapp<span class='Apple-converted-space'> </span><br> Alex
 andria Retteghieri<span class='Apple-converted-space'> </span><br> Lola Ro
 gin<span class='Apple-converted-space'> </span><br> Sally Schafer<span cla ss='Apple-converted-space'> </span><br> Marina Sellers<span class='Apple-c
 onverted-space'> </span><br> Audrey Simonnet<span class='Apple-converted-s
 pace'> </span><br> Cassie Smith<span class='Apple-converted-space'> </span><br> Jackie Smith<span class='Apple-converted-space'> </span><br> Al Snow
 <span class='Apple-converted-space'> </span><br> Eugenie Suen<span class='
 Apple-converted-space'> </span><br> Aliya Thompson<span class='Apple-conve
 rted-space'> </span><br> Phyllicia Tjandra<span class='Apple-converted-spa
 ce'> </span><br> Alex Trias<span class='Apple-converted-space'> </span><br> Anna Vu<span class='Apple-converted-space'> </span><br> Sophie Wammer </span><br> Aria Wang<span class='Apple-
 converted-space'> </span><br> Adrienne Wegerer<span class='Apple-converted
 -space'> </span><br> Megan West<span class='Apple-converted-space'> </span><br> Haley Westberg<span class='Apple-converted-space'> </span><br> Sophi
 e Wheaton<span class='Apple-converted-space'> </span><br> Talina White </span></p> </td> </tr> </tbody> </table>
  <h3>Biographies</h3>
END:VEVENT
BEGIN:VEVENT
UID:5b726900-35cb-4004-bf66-47cd5c7cb7bc
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances\, Student Activities and Per
 formances
CLASS:PUBLIC
CREATED:20230815T034814Z
DESCRIPTION:<p>In preparation for UW Choirs’ Summer 2024 tour of Czechia\, 
 Austria and Hungary\, the Chamber Singers (Geoffrey Boers) and University 
 Chorale (Giselle Wyers\, director) present “Wonderful World\,” featuring w
 orks spanning the globe and the diverse styles of the American Songbook.  
  </p>\n<hr>\n<h2><strong></strong> Program</h2>\n<h4>'Wonderful World'</h4>\n<h4></h4>\n<h4>UW
  Chamber Singers</h4>\n<p>Geoffrey Boers\, dire
 ctor</p>\n<p>Leron\, Leron Sinta: Saunder Choi&lt;
 br&gt;Egija Claire Ungure\, conductor</p>\n<p>Scha
 ffe in Mir\, Gott. Op. 29 No. 2: Johannes Brahms<br>Geoffrey Boers\, condu
 ctor</p>\n<p>Pater Noster:  Jakob Handl<br>Scot
 t Fikse\, conductor</p>\n<p>Daemon\, Irrepit Ca
 llidus: György Orbán<br>Larke Witten\, conductor</p>\n<p>Now Our Meeting’s Over:  arr. Jocelyn Hagen<br>Evan Norberg\, co
 nductor</p>\n<p><strong>INTERMISSION</strong><s trong> </strong></p>\n<h4>University Chorale<br>Giselle Wyers\, director</h4>\n<p>Twin Stars: 
  **Composed by Seattle University choirs\,  Giselle Wyers\, arranger <br>A
  group choral composition project\, sponsored by the Pigott Endowment for 
 the Arts\, Dr. Leann-Conley Holcom\, Director of Choral Activities\, Seatt
 le University)<br>Serena Chin\, piano<br></p>\n<p>Beautiful-Broken:  Taylor Bellamy (b. 1993)<br>SOLOISTS: Claire Killian
 \, soprano\; Naomi-Hal Hoffman\, alto</p>\n<p>I
  Am: Sophie Ma (b. 2001)<br>SOLOISTS: Lainey Graham\, soprano\;  Jessica T
 haxton\, alto\; Michael Lim\, tenor\; Dustin Peng\, bass</p>\n<p>Miloserdiya Dveri: Alexander Kastalsky (1856-1926)<br>Sc
 ott Fikse\, conductor</p>\n<p>Christus Factus E
 st:  Anton Bruckner (1824-1896)</p>\n<p>Apple T
 ree (Aurora):  arr. Katerina Gimon (b. 1993)<br>Jonah Ladish-Orlich\, Adri
 an Wong Cascante\, Jessica Thaxton\, Leah Peterson\,  percussion</p>\n<h4><strong>Combined Choirs</strong><strong> </h4>\n<p>Crowded Table: arr. Andrea Ramsey&lt;
 br&gt;Geoffrey Boers\, conductor</p>\n<hr>\n<h2>Notes and Translations</h2>\n
 <p><strong>Leron\, Leron Sinta: Saunder Choi   
 <br></strong>'Leron Leron Sinta' is a traditional Filipino folk song that 
 originated during the Spanish colonial period in the Philippines. It was o
 ften sung by farmers while working in the fields or during their leisure t
 ime. The timeless melody is deeply rooted in Philippine culture\, and Choi
 's masterful arrangement brings new life to the song\, highlighting its ri
 ch history. Saunder Choir\, a contemporary composer and arranger\, also le
 nds his unique perspective to this classic folk song with his arrangement.
  He demonstrates his masterful use of different choral textures and dynami
 c contrasts\, creating a sound that captures the essence of the Filipino m
 usical tradition. </p>\n<p>The arrangement take
 s the listener on a journey through the heart of the song with its gentle\
 , flowing melodies and lively\, rhythmic interludes\, celebrating the time
 less appeal of this tune. As we present Saunder Choi's arrangement of 'Ler
 on Leron Sinta' tonight\, we invite you to immerse yourself in the beauty 
 and charm of this beloved Filipino folk song. Through its enduring melody 
 and rich history\, 'Leron Leron Sinta' continues to captivate audiences ar
 ound the world.</p>\n<p>Leron\, leron\, my love
 \, <br>Blossoms of the papaya tree<br>with a bamboo basket (climbs tree)<b r>He'd gather some fruits.<br>When he reached the top\,<br>The branch brok
 e<br>Oh what a trick of fate<br>He had to search for another!</p>\n<p styl e=' 400\;'>Wake up\, Neneng\,<br>Let's pick some tamarind frui
 ts<br>Take the bamboo basket\,<br>To put the ripe ones in<br>Upon reaching
  the top<br>The branches swayed<br>Hold on tight\, Neneng\,<br>As you migh
 t fall. </p>\n<p>I will love<br>A fearless man&lt;
 br&gt;He got seven guns\,<br>Nine knives<br>The journey he will take\,<br>Is 
 the table distance<br>With a plate of pancit<br>The foe he will engage!</p>\n<p><strong>Schaffe in Mir\, Gott: Johannes B
 rahms<br></strong>Psalm 51:10–12 <br>Create in me a clean heart\, O God\; 
 and renew a right spirit within me.<br>Cast me not away from your presence
 \; and take not your holy spirit from me.<br>Restore unto me the joy of yo
 ur salvation\; and uphold me [with your] free spirit.</p>\n<p>Brahms was an admirer and a scholar of Baroque music\, part
 icularly the music of Johann Sebastian Bach. Brahms collected historic mus
 ic of the time and conducted a choir that was expert in ancient music—they
  were pioneers of performing early music\, a practice which goes on to tod
 ay!</p>\n<p>Brahms was taken by the motets of B
 ach and wrote numerous motets of his own which reflected Bach’s style. Bot
 h Brahms and Bach\, though over a century apart\, shared similar compositi
 onal form even as they reflected vastly different harmonic language. Each 
 verse of the text is set in a different form. For Brahms\, the pleading “c
 reate in me” text is expressed through long developing melodies which toge
 ther create achingly beautiful harmony.The darker\, more plaintive text “c
 ast me not away…” is expressed in a dense and ancient fugue. Brahms plays 
 with the old-fashioned form of the fugue (like a round\, or canon—thin “Ro
 w\, Row\, Row Your Boat)\, by starting themes upside down\,twice as long\,
  and echoing one beat apart. The thick dense texture is both hard to sing 
 and expressive of human longing for love\, acceptance\, and healing.</p>\n
 <p><strong>Pater Noster:  Jakob Handl<br>Jacob Handl (c. 1550–1591)\, also known by the surname “Gallus\,” was a
  well-travelled composer who spent much of his life in what are today Czec
 h\, Austrian\, and Polish lands. In addition to being a prolific composer\
 , he was a monk\, choir master\, and member of the Viennese court chapel. 
 Handl is associated with the Counter-Reformation in Bohemia\, known for mi
 xing Franco-Flemish polyphony with Venetian polychoral style. His Pater No
 ster is an example of this rich Venetian influence with its antiphonal cho
 ir “surround-sound” effects and rich harmony in eight-part divisi declarin
 g the words of the Lord’s Prayer\, or Our Father. </p>\n<p><strong>Translation </strong><br>Adapted from the original Ara
 maic text of the Our Father\, or Lord’s Prayer </p>\n<p>O creator in heaven\, from whom life comes\,<br>Help us to honor 
 your name.<br>Let your will be done\,<br>As in heaven\, so on earth.<br>Gi
 ve us wisdom for our daily needs\,<br>And forgive us for the wrongs we hav
 e done\,<br>As we forgive others who have wronged us.<br>Let us not be los
 t in superficial things.<br>Free us from what holds us back from our true 
 purpose.<br>Amen.</p>\n<p><strong>Daemon\, Irre
 pit Callidus: György Orbán<br></strong>Daemon Irrepit Callidus is Romanian
  born Hungarian\, György Orbán’s (1947-) perhaps most well-known choral wo
 rk in the United States. Here\, the juxtaposition of good and evil represe
 nts the two opposing ideas of sacred and secular. This vivid composition i
 s written from the standpoint of human imagination and fear and as part of
  the recurring theme of seeking protection from the forces of darkness. Th
 e struggle between good and evil is represented vividly in the presence of
  a stubborn\, ostinato like eighth-note pulse\, in the fast tempo indicati
 on (Allegro)\, and in the extensive use of chromaticism. The manic and uns
 ettling chanting on the oscillating minor second eighth-note figures seems
  to evoke some sort of exorcism or tribal incantation. Notice text paintin
 g of the words: Inescatur\, impinguatur\, dilatatus (overgrows\, encroache
 s\, stretches.)</p>\n<p>Orbán studied\, then ta
 ught at the Cluj-Napoca Academy of Music until 1979 when he emigrated from
  Romania to Hungary\, becoming professor of composition at the Liszt Acade
 my of Music\, Budapest\, in 1982. </p>\n<p>The 
 shrewd demon creeps in\, <br>Lures the heart with marks of honor\, <br>Mix
 es lies in with praise\, song and dance. <br>What the demon gives may be l
 ovely\, <br>But it is less precious than the heart of Jesus. <br>The flesh
  is hunted by sensuality\; <br>Gluttony clings to our senses\; <br>The fle
 sh overgrows\, encroaches\, stretches. <br>The flesh may give pleasure\, &lt;
 br&gt;But it is less precious than the heart of Jesus. </p>\n<p>Add together the thousands <br>And thousands of joys in the 
 world. <br>They will never satisfy nor keep at bay the fires of the heart.
 <br>The universe may be very enticing\, <br>But it is less precious than t
 he heart of Jesus.</p>\n<p><strong>Twin Stars: 
 Seattle University Choirs<br></strong>Composed by Seattle University choir
 s\,  Giselle Wyers\, arranger\; Serena Chin\, piano. Twin Stars is a group
  choral composition project\, sponsored by the Pigott Endowment for the Ar
 ts and led by Dr. Leann-Conley Holcom\, Director of Choral Activities\, Se
 attle University.</p>\n<p><strong>Beautiful-Bro
 ken: Taylor Bellamy</strong></p>\n<p>\n  \n    
   \n    \n            \n\n\n\n      \n\n\n  \n</p>\n<p> <strong>Miloserdiya Dveri: Alexander Kastalsky<br></strong>(from 
 Church Slavonic):</p>\n<p>The doors of thy merc
 y open unto us\,<br>O most blessed Mother of God</p>\n<p>That we who put our hope in thee may not perish<br>but may be de
 livered through Thee<br>from all calamities </p>\n<p>For Thou art the salvation of your people.<br><br></p>\n<p><strong>Christus Factus Est:  Anton Bruckner</strong><br>(from Latin):</p>\n<p>Christ became obedient f
 or us<br>unto death on the cross</p>\n<p>Theref
 ore God exalted Him and gave Him<br>a name which is above all names</p>\n&lt;
 p style='font-weight: 400\;'&gt;Apple Tree (Aurora): arr. Katerina Gimon (b. 
 1993)</p>\n<hr>\n<h2>Biographies</h2>\n<h3 class='font_8 wixui-rich-text__
 text'><a href='https://www.sunny-xia.com' target='_blank' rel='noopener no
 referrer'></a></h3>
DTSTART;TZID=America/Los_Angeles:20240524T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:54
SUMMARY:: Chamber Singers and University Chorale: “Wonderful World'
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-25/chamber-singers-and-univ
 ersity-chorale-wonderful-world
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>In preparation for UW Choirs’ Summer 2024 t
 our of <span>Czechia\, Austria and Hungary</span>\, the Chamber Singers (G
 eoffrey Boers) and University Chorale (Giselle Wyers\, director) present “
 Wonderful World\,” featuring works spanning the globe and the diverse styl
 es of the American Songbook. <span> </span><span><span class='gmail-Apple-
 converted-space'> </span></span></p> <hr> <h2><strong></strong> Program <h4>'Wonderful World'</h4> <h4></h4> <h4 sty le=' 400\;'>UW Chamber Singers</h4> <p><em>Geoffrey Boers\, director</em></p> <p>L
 eron\, Leron Sinta<span>: </span>Saunder Choi<br><em>Egija Claire Ungure\,
  conductor</em></p> <p>Schaffe in Mir\, Gott.<s pan> </span>Op. 29 No. 2:<span> </span>Johannes Brahms<br><em>Geoffrey Boe
 rs\, conductor</em></p> <p>Pater Noster: <span>
  </span>Jakob Handl<br><em>Scott Fikse\, conductor</em></p> <p>Daemon\, Irrepit Callidus<span>: </span>György Orbán<br>Larke Witten\, conductor</em></p> <p>Now Our 
 Meeting’s Over: <span> </span>arr. Jocelyn Hagen<br><em>Evan Norberg\, con
 ductor</em></p> <p><em></em><strong>INTERMISSIO
 N</strong><strong> </strong></p> <h4>University
  Chorale<br>Giselle Wyers\, director</h4> <p><s pan></span>Twin Stars:  **Composed by Seattle University choirs\,<span>  &lt;
 /span&gt;Giselle Wyers\, <em>arranger</em> <br><em>A group choral composition
  project\, sponsored by the Pigott Endowment for the Arts\, Dr. Leann-Conl
 ey Holcom\, Director of Choral Activities\, Seattle University)<br>Serena 
 Chin\, piano<br></em></p> <p>Beautiful-Broken: 
 <span> </span>Taylor Bellamy (b. 1993)<br><em>SOLOISTS: Claire Killian\, s
 oprano\; Naomi-Hal Hoffman\, alto</em></p> <p>I
  Am: Sophie Ma (b. 2001)<br><em>SOLOISTS: Lainey Graham\, soprano\;  Jessi
 ca Thaxton\, alto\; Michael Lim\, tenor\; Dustin Peng\, bass</em></p> <p s tyle=' 400\;'>Miloserdiya Dveri: Alexander Kastalsky (1856-192
 6)<br><em>Scott Fikse\, conductor</em></p> <p>C
 hristus Factus Est: <span> </span>Anton Bruckner (1824-1896)</p> <p>Apple Tree (Aurora): <span> </span>arr. Katerina Gimo
 n (b. 1993)<br><em>Jonah Ladish-Orlich\, Adrian Wong Cascante\, Jessica Th
 axton\, Leah Peterson\,  percussion</em></p> <h4><strong>Combined Choirs</strong><strong> </strong></h4> <p>Crowded Table<span>: </span>arr. Andrea Ramsey<br>Geoffrey B
 oers\, <em>conductor</em></p> <hr> <h2>Notes and Translations</h2> <p styl e=' 400\;'><strong><em>Leron\, Leron Sinta: </em>Saunder Choi&lt;
 em&gt;   <br></em></strong>'Leron Leron Sinta' is a traditional Filipino folk
  song that originated during the Spanish colonial period in the Philippine
 s. It was often sung by farmers while working in the fields or during thei
 r leisure time. The timeless melody is deeply rooted in Philippine culture
 \, and Choi's masterful arrangement brings new life to the song\, highligh
 ting its rich history. Saunder Choir\, a contemporary composer and arrange
 r\, also lends his unique perspective to this classic folk song with his a
 rrangement. He demonstrates his masterful use of different choral textures
  and dynamic contrasts\, creating a sound that captures the essence of the
  Filipino musical tradition. </p> <p>The arrang
 ement takes the listener on a journey through the heart of the song with i
 ts gentle\, flowing melodies and lively\, rhythmic interludes\, celebratin
 g the timeless appeal of this tune. As we present Saunder Choi's arrangeme
 nt of 'Leron Leron Sinta' tonight\, we invite you to immerse yourself in t
 he beauty and charm of this beloved Filipino folk song. Through its enduri
 ng melody and rich history\, 'Leron Leron Sinta' continues to captivate au
 diences around the world.</p> <p>Leron\, leron\
 , my love\, <br>Blossoms of the papaya tree<br>with a bamboo basket (climb
 s tree)<br>He'd gather some fruits.<br>When he reached the top\,<br>The br
 anch broke<br>Oh what a trick of fate<br>He had to search for another!</p>
  <p>Wake up\, Neneng\,<br>Let's pick some tamar
 ind fruits<br>Take the bamboo basket\,<br>To put the ripe ones in<br>Upon 
 reaching the top<br>The branches swayed<br>Hold on tight\, Neneng\,<br>As 
 you might fall. </p> <p>I will love<br>A fearle
 ss man<br>He got seven guns\,<br>Nine knives<br>The journey he will take\,
 <br>Is the table distance<br>With a plate of pancit<br>The foe he will eng
 age!</p> <p><strong><em>Schaffe in Mir\, Gott: 
 </em>Johannes Brahms<br></strong><em>Psalm 51:10–12 <br></em><em>Create in
  me a clean heart\, O God\; and renew a right spirit within me.</em><em><b r>Cast me not away from your presence\; and take not your holy spirit from
  me.<br>Restore unto me the joy of your salvation\; and uphold me [with yo
 ur] free spirit.</em></p> <p>Brahms was an admi
 rer and a scholar of Baroque music\, particularly the music of Johann Seba
 stian Bach. Brahms collected historic music of the time and conducted a ch
 oir that was expert in ancient music—they were pioneers of performing earl
 y music\, a practice which goes on to today!</p> <p>Brahms was taken by the motets of Bach and wrote numerous motets of h
 is own which reflected Bach’s style. Both Brahms and Bach\, though over a 
 century apart\, shared similar compositional form even as they reflected v
 astly different harmonic language. Each verse of the text is set in a diff
 erent form. For Brahms\, the pleading “create in me” text is expressed thr
 ough long developing melodies which together create achingly beautiful har
 mony.The darker\, more plaintive text “cast me not away…” is expressed in 
 a dense and ancient fugue. Brahms plays with the old-fashioned form of the
  fugue (like a round\, or canon—thin “Row\, Row\, Row Your Boat)\, by star
 ting themes upside down\,twice as long\, and echoing one beat apart. The t
 hick dense texture is both hard to sing and expressive of human longing fo
 r love\, acceptance\, and healing.</p> <p><em>Pater Noster: </em> Jakob Handl<br></strong>Jacob Handl (c. 1550–15
 91)\, also known by the surname “Gallus\,” was a well-travelled composer w
 ho spent much of his life in what are today Czech\, Austrian\, and Polish 
 lands. In addition to being a prolific composer\, he was a monk\, choir ma
 ster\, and member of the Viennese court chapel. Handl is associated with t
 he Counter-Reformation in Bohemia\, known for mixing Franco-Flemish polyph
 ony with Venetian polychoral style. His Pater Noster is an example of this
  rich Venetian influence with its antiphonal choir “surround-sound” effect
 s and rich harmony in eight-part divisi declaring the words of the Lord’s 
 Prayer\, or <em>Our Father. </em></p> <p>Translation </strong><br><em>Adapted from the original Aramaic text of t
 he Our Father\, or Lord’s Prayer </em></p> <p>O
  creator in heaven\, from whom life comes\,<br>Help us to honor your name.
 <br>Let your will be done\,<br>As in heaven\, so on earth.<br>Give us wisd
 om for our daily needs\,<br>And forgive us for the wrongs we have done\,<b r>As we forgive others who have wronged us.<br>Let us not be lost in super
 ficial things.<br>Free us from what holds us back from our true purpose.<b r>Amen.</p> <p><strong><em>Daemon\, Irrepit Cal
 lidus: </em>György Orbán<br></strong><em>Daemon Irrepit Callidus</em> is R
 omanian born Hungarian\, György Orbán’s (1947-) perhaps most well-known ch
 oral work in the United States. Here\, the juxtaposition of good and evil 
 represents the two opposing ideas of sacred and secular. This vivid compos
 ition is written from the standpoint of human imagination and fear and as 
 part of the recurring theme of seeking protection from the forces of darkn
 ess. The struggle between good and evil is represented vividly in the pres
 ence of a stubborn\, ostinato like eighth-note pulse\, in the fast tempo i
 ndication (Allegro)\, and in the extensive use of chromaticism. The manic 
 and unsettling chanting on the oscillating minor second eighth-note figure
 s seems to evoke some sort of exorcism or tribal incantation. Notice text 
 painting of the words: <em>Inescatur\, impinguatur\, dilatatus (</em>overg
 rows\, encroaches\, stretches.)</p> <p>Orbán st
 udied\, then taught at the Cluj-Napoca Academy of Music until 1979 when he
  emigrated from Romania to Hungary\, becoming professor of composition at 
 the Liszt Academy of Music\, Budapest\, in 1982. </p> <p>The shrewd demon creeps in\, <br>Lures the heart with marks of h
 onor\, <br>Mixes lies in with praise\, song and dance. <br>What the demon 
 gives may be lovely\, <br>But it is less precious than the heart of Jesus.
  <br>The flesh is hunted by sensuality\; <br>Gluttony clings to our senses
 \; <br>The flesh overgrows\, encroaches\, stretches. <br>The flesh may giv
 e pleasure\, <br>But it is less precious than the heart of Jesus. </p> <p>Add together the thousands <br>And thousands of
  joys in the world. <br>They will never satisfy nor keep at bay the fires 
 of the heart.<br>The universe may be very enticing\, <br>But it is less pr
 ecious than the heart of Jesus.</p> <p><strong>
 <em>Twin Stars: </em>Seattle University Choirs<br></strong>Composed by Sea
 ttle University choirs\,<span>  </span>Giselle Wyers\, arranger\; Serena C
 hin\, <em>piano. Twin Stars </em>is a group choral composition project\, s
 ponsored by the Pigott Endowment for the Arts and led by Dr. Leann-Conley 
 Holcom\, Director of Choral Activities\, Seattle University.</p> <p><strong><em>Beautiful-Broken</em><span>: </span>Taylo
 r Bellamy</strong></p> <p><article width='1114' height='1066'> <div class='field-wrapper field field-media--field-media-i
 mage field-name-field-media-image field-type-image field-label-hidden'>  <div class='field-item'> <img loading='lazy' src='
 /sites/music/files/styles/large/public/images/tylernote.jpg?itok=6UhZypGQ' width='447' height='428' alt='Tyler program note' title='Tyler note'>  </div> </div> </article> </p> <p><em> </em>
 <strong><em>Miloserdiya Dveri</em>: Alexander Kastalsky<br></strong>(from 
 Church Slavonic):</p> <p>The doors of thy mercy
  open unto us\,<br>O most blessed Mother of God</p> <p>That we who put our hope in thee may not perish<br>but may be deli
 vered through Thee<br>from all calamities </p> <p>For Thou art the salvation of your people.<br><br></p> <p><strong><em>Christus Factus Est: </em> Anton Bruckner<br>(from Latin):</p> <p>Christ became obedie
 nt for us<br>unto death on the cross</p> <p>The
 refore God exalted Him and gave Him<br>a name which is above all names</p>
  <p><em>Apple Tree (Aurora): </em>arr. Katerina
  Gimon (b. 1993)</p> <hr> <h2>Biographies</h2> <h3 class='font_8 wixui-ric
 h-text__text'><a href='https://www.sunny-xia.com' target='_blank' rel='noo
 pener noreferrer'></a></h3>
END:VEVENT
BEGIN:VEVENT
UID:b341d233-a38b-4411-907c-14947d651ea5
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20230824T203209Z
DESCRIPTION:<p>Guitar students of Michael Partington present 'Opposites Att
 ract?!?' a concert of chamber music from 19th Century Europe and solo musi
 c from 20th Century Latin America\, including works by Haydn\, Puccini\, C
 arulli\, Brouwer\, Pujol\, Ramirez\, and Powell. With guest vocalist Olive
 r Callahan. </p>\n<hr>\n<h3>Program</h3>\n<p>Tr
 io (arr. Teuchert) : Franz Joseph Haydn (1732-1809)<br>I: Presto<br>II: Ad
 agio Cantabile<br>III: Menuett<br>Eric Lin\, Matthew Ro\, Michael Partingt
 on</p>\n<p>Preludio Triston: Maximo Diego Pujol
  (b.1957)<br>Wil Moreau </p>\n<p>Vals Sem Nome:
  Baden Powell de Aquino (1937-2000)<br>Matthew Ro</p>\n<p>Nocturne\, Op. 128 No. 1:  Ferdinando Carulli (1770-1841)<br>I:
  Andante<br>II: Allegretto<br>Wil Moreau\, Matthew Ro </p>\n<p><strong><u>Intermission</u></strong></p>\n<p>Duo\, Op.34 No. 2:  Ferdinando Carulli<br>I: Largo<br>II: Ro
 ndo<br>Thomas Wardian\, Michael Partington </p>\n<p>Balada para Martín Fierro:  Ariel Ramirez (1921-2010)<br>Eric Lin</p>
 \n<p>Estudios Sencillos: Leo Brouwer (b.1937)<b r>I: Movido<br>II: Coral – Lento<br>VII: Lo más rápido possible<br>VI: A p
 iacere<br>XV: Sarabande<br>X:<br>Thomas Wardian</p>\n<p>5 songs:  Domenico Puccini (1772-1815)<br>I: Aure amiche<br>II: O
 rgoglioso fiumicello<br>III: Senza l’amabile<br>IV: Ah\, non è vano il pia
 nto<br>V: Sopra il suo stelo<br>Oliver Callahan\, Thomas Wardian</p>\n<hr>
 \n<h3>Director Bio</h3>
DTSTART;TZID=America/Los_Angeles:20240524T193000
LAST-MODIFIED:20240523T233930Z
SEQUENCE:55
SUMMARY:: Guitar Studio Recital: Opposites Attract?!?
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-25/guitar-studio-recital-op
 posites-attract
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Guitar students of Michael Partington prese
 nt 'Opposites Attract?!?' a concert of c<span>hamber music from 19th Centu
 ry Europe and solo music from 20th Century Latin America\, including works
  by Haydn\, Puccini\, Carulli\, Brouwer\, Pujol\, Ramirez\, and Powell. Wi
 th guest vocalist Oliver Callahan. </span></p> <hr> <h3>Program</h3> <p st yle=' 400\;'>Trio (arr. Teuchert)<span> : </span>Franz Joseph 
 Haydn (1732-1809)<br>I: Presto<br>II: Adagio Cantabile<br>III: Menuett<br>
 <em>Eric Lin\, Matthew Ro\, Michael Partington</em></p> <p><em></em>Preludio Triston<span>: </span>Maximo Diego Pujol (b.
 1957)<br><em>Wil Moreau</em> </p> <p>Vals Sem N
 ome<span>: </span>Baden Powell de Aquino (1937-2000)<br><em>Matthew Ro</em></p> <p>Nocturne\, Op. 128 No. 1:<span>  Ferdinando Carulli (1770-1841)<br>I: Andante<br>II: Allegretto<br><em>Wi
 l Moreau\, Matthew Ro</em><em> </em></p> <p><u>Intermission</u></strong></p> <p>Duo\, 
 Op.34 No. 2: <span> </span>Ferdinando Carulli<br>I: Largo<br>II: Rondo<br>
 <em>Thomas Wardian\, Michael Partington</em><em> </em></p> <p>Balada para Martín Fierro: <span> </span>Ariel Ramirez (192
 1-2010)<br><em>Eric Lin</em></p> <p><em></em>Es
 tudios Sencillos<span>: </span>Leo Brouwer (b.1937)<br>I: Movido<br>II: Co
 ral – Lento<br>VII: Lo más rápido possible<br>VI: A piacere<br>XV: Saraban
 de<br>X:<br><em>Thomas Wardian</em></p> <p>5 so
 ngs: <span> </span>Domenico Puccini (1772-1815)<br>I: Aure amiche<br>II: O
 rgoglioso fiumicello<br>III: Senza l’amabile<br>IV: Ah\, non è vano il pia
 nto<br>V: Sopra il suo stelo<br><em>Oliver Callahan\, Thomas Wardian</em>&lt;
 /p&gt; <hr> <h3>Director Bio</h3>
END:VEVENT
BEGIN:VEVENT
UID:ffb151ee-a4b2-4fd7-a03c-07d9deee3f1f
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20230823T225646Z
DESCRIPTION:<p></p>\n<p>The UW Wind Ensemble (Timothy Salzman\, director) a
 nd Symphonic Band (Shaun Day\, director) present 'Timeless\,' performing m
 usic by Omar Thomas\, Jennifer Jolley\, Antón Alcalde\, Jun Nagao\, Huck H
 odge\, and Ottorino Respighi.</p>\n<hr>\n<h3>Program</h3>\n<h4>University 
 of Washington Symphonic Band<br>Shaun Day\, director</h4>\n<p>A Mother of 
 A Revolution! (2019) – Omar Thomas (b. 1984)<br>Ryan Baker\, conductor</p>
 \n<p>The Eyes of the World are Upon You (2017) – Jennifer Jolley (b. 1981)
 </p>\n<p>Symphony no. 1: Marea Negra (2009/24) – Antón Alcalde (b. 1992)<b r>I. Amencer nas Rías Baixas<br>II. Prestige<br>III. Marea Negra<br>IV. Ma
 rea Branca</p>\n<h4>University of Washington Saxophone Octet</h4>\n<p>Octe
 t for Saxophone (2000) – Jun Nagao (長生 淳) (b. 1964)</p>\n<h4>University of
  Washington Wind Ensemble<br>Timothy Salzman\, conductor</h4>\n<p>from the
  language of shadows (2011) – Huck Hodge (b. 1977)<br>I. Prologue in Heave
 n<br>II. Tenebrae<br>III. Of signs and erring stars<br>IV. Inveiglement<br>V. Epilogue: Now body\, turn to air</p>\n<p>Concerto for Marimba (1999) –
  Eric Ewazen (b. 1954)<br>II. Andante Cantabile<br>Taryn Marks\, marimba</p>\n<p>Huntingtower (1932) – Ottorino Respighi (1875-1936)<br>Shaun Day\, 
 conductor</p>\n<hr>\n<h3>PROGRAM NOTES</h3>\n<p><strong>A Mother of A Revo
 lution!</strong> is a celebration of the bravery of trans women\, and in p
 articular\, Marsha “Pay It No Mind” Johnson. Marsha is credited with being
  one of the instigators of the famous Stonewall uprising of June 28\, 1969
  – one of the pivotal events of the LGBTQ liberation movement of the 20th 
 century – which is commemorated annually during the worldwide Gar Pride ce
 lebrations.</p>\n<p>Existing as a trans woman\, especially a trans woman o
 f color\, and daring to live authentically\, creating space for oneself in
  a transphobic world is one of the bravest acts I can imagine. Over 20 tra
 ns women were murdered in the United States in 2018 alone. There is no dem
 ographic more deserving\, and frankly\, long overdue for highlighted heroi
 sm and bravery. The disco vibe in the latter half is meant to honor a sacr
 ed space held amongst LGBTQ persons – a space to love\, live\, mourn\, hea
 l\, strategize\, connect\, and dance in defiance of those outside forces w
 ho would seek to do LGBTQ persons harm simply for daring to exist and take
  up space.</p>\n<p>We pump our fists to honor the life\, heroism\, activis
 m\, and bravery of Marsha P. Johnson\, to honor the legacy of the Stonewal
 l Revolution\, to honor the memory of the trans lives violently ended due 
 to fear and hatred\, and in honor of trans women worldwide who continue to
  exist unapologetically and who demanded to be seen.<br>–Program note by c
 omposer</p>\n<p><strong>The Eyes of the World Are Upon You</strong> is tak
 en from Alejandra Garza’s article “’The Eyes of the World Are Upon You\, T
 exas’: How the Austin Newspapers Covered the UT Tower Shooting” from the w
 ebsite Behind the Tower: New Histories of the UT Tower Shooting. UT Austin
  was the scene of the nation’s first campus mass shooting. On Monday\, Aug
 ust 1\, 1966\, Charles Whitman murdered his mother and wife\, then climbed
  to the top of the University of Texas Tower and fired his first shots jus
 t before noon. The killing spree went on for ninety-six minutes until Whit
 man was gunned down\; seventeen people were killed.</p>\n<p>It has been ov
 er fifty years since this shocking event\, and many things have changed. T
 here are now campus police forces and significant improvements to mental h
 ealth services were also made in the aftermath of the shooting. The UT Tow
 er Shooting is both a tragic living history\, as well as a celebration of 
 resilience. As stated by the UT Austin President Gregory L. Fenves at the 
 Tower Memorial Rededication\, “We will never eliminate the memory of the h
 orror that consumed this campus on August 1\, 1966. Nor should we try. But
  by focusing on the good – on the stories of the heroes and lives of the s
 urvivors here with us this afternoon – we can finally begin to remember an
 d endure our burden of the past.”<br>This piece is a celebration of life: 
 to those who died that day\, but also to those who survived.<br>–Program n
 ote by composer</p>\n<p><strong>Symphony no. 1: Marea Negra</strong> is An
 tón Alcalde’s first work cataloged (opus 1)\, written when he was 15 years
  old. It is a symphonic poem divided into four movements that describe the
  natural catastrophe produced by the Prestige oil spill.</p>\n<p>The Prest
 ige oil spill was an oil spill in Galicia caused by the sinking of the oil
  tanker MV Prestige in 2002. The spill polluted thousands of kilometers of
  coastline and more than one thousand beaches on the Spanish\, French\, an
 d Portuguese coasts and caused great harm to the local fishing industry. I
 t is the largest environmental disaster in the history of both Spain and P
 ortugal. In the subsequent months\, thousands of volunteers joined the pub
 lic company TRAGSA (a firm chosen by the regional government to deal with 
 the cleanup) to help clean the affected coastline. The massive cleaning ca
 mpaign was a success\, recovering most portions of the coastline from the 
 effects of the oil spill and the accumulated usual contamination. A year a
 fter the spill\, Galicia had more Blue Flags for its beaches (an award for
  those with the highest standards in the European Union) than in the previ
 ous years.<br>–Program note by composer</p>\n<p><strong>Octet for Saxophon
 es</strong> was written for a joint concert with the Aurelia Quartet from 
 the Netherlands\, commissioned by the Trouvere Quartet. It was composed in
  October 2000 and premiered in Amsterdam that December\, followed by perfo
 rmances in Tokyo and Hiroshima.</p>\n<p>The composition is not for eight s
 axophones because of this background\; it is written for two quartets (S. 
 A. T. B.). Imagine a scenario from the distant past where two groups of tr
 aveling musicians meet on a street corner. They decide to perform together
  and engage in a friendly competition\, each trying not to be outdone by t
 he other. As they play\, they get drawn into each other’s music\, intensif
 ying their passion for the performance. I wrote with such a scene in mind\
 , and I hope that the joy of ensemble playing is felt above all else when 
 it is performed.<br>–Program note by composer</p>\n<p>Huck Hodge is a comp
 oser of “harmonically fresh work'\, 'full of both sparkle and thunder” (Ne
 w York Times). His music has been praised for its “immediate impact” (Chic
 ago Tribune)\, its 'clever\, attractive\, streamlined' qualities (NRC Hand
 elsblad\, Amsterdam) and its ability to 'conjure up worlds of musical magi
 c” with “power and charisma' (Gramophone Magazine\, London). His musical c
 ollaborations include those with members of Ensemble Modern and the Berlin
  Philharmonic\, the Seattle Symphony\, the Orchestra of the League of Comp
 osers\, the Aleph\, ASKO/Schönberg\, Dal Niente\, Divertimento\, SurPlus a
 nd Talea ensembles\, the Daedalus\, JACK\, Mivos\, and Pacifica string qua
 rtets\, and numerous other ensembles. His music has been performed at Carn
 egie Hall\, Lincoln Center and at numerous major festivals throughout the 
 world — the New York Philharmonic Biennial\, Berliner Festspiele\, Gaudeam
 us Muziekweek\, Shanghai New Music Week\, ISCM World Music Days\, and many
  others. His published music is licensed and distributed by Alexander Stre
 et Press and Babel Scores (Paris). Recordings of his music appear on the N
 ew World and Albany record labels. Hodge was educated at Columbia Universi
 ty and at the Staatliche Hochschule für Musik und Darstellende Kunst in St
 uttgart\, Germany where he studied with Fred Lerdahl\, Tristan Murail\, Ma
 rco Stroppa\, and Georg Wötzer. His major awards include the Charles Ives 
 Living\, the largest music award conferred by the American Academy of Arts
  and Letters\, the Rome Prize\, the Gaudeamus Prize\, and fellowships from
  the Guggenheim Foundation\, the Koussevitzky Foundation in the Library of
  Congress\, the Fromm Foundation at Harvard University\, the American Comp
 osers Forum\, the Barlow Endowment\, Music at the Anthology\, the Siemens 
 Musikstiftung and the Deutscher Akademischer Austauschdienst\, among many 
 others. Hodge is Professor and Chair of the Composition program at the Uni
 versity of Washington. Of this evening’s work\, he writes:</p>\n<p>Several
  aspects of <strong>from the language of shadows</strong> were inspired by
  images from F.W. Murnau’s 1926 masterpiece of expressionistic cinema Faus
 t. I was immediately drawn to the striking and stark blending of bright an
 d dark lighting in the film as well as the angularly dramatic imagery. The
  titles of the movements are taken from Goethe as well as from Christopher
  Marlowe’s 1604 play Doctor Faustus. Marlowe\, a contemporary of Shakespea
 re\, is today comparatively unknown\, owing in some part to his death at t
 he age of 29 under mysterious circumstances (he is said to have been a spy
 ).<br>In Prologue in Heaven\, Mephistopheles and the angels discuss the fa
 te of mankind and a wager is born to wrest the soul of Faust. Tenebrae\, L
 atin for shadows and the name of a service held at the height of Lent\, re
 calls the imagery of Murnau’s cinematic plague scene. Of signs and erring 
 stars is a line taken from a scene of Marlowe’s\, in which Faust summons M
 ephistopheles. Inveiglement evokes a scene in which the Devil tempts Faust
  with the treasures of youth and power. The title of the epilogue is taken
  from the damnation monologue in Marlowe. Faust reminisces on the lost ple
 asures of his life. The clock strikes twelve and he exclaims\, “O\, it str
 ikes\, it strikes! Now body\, turn to air…”</p>\n<p>Over 25 universities c
 omprised the consortium that commissioned from the language of shadows and
  the University of Washington Wind Ensemble\, conducted by Timothy Salzman
  premiered the work on March 26th\, 2011 at the College Band Directors Nat
 ional conference held at the University of Washington.<br>–Program note by
  composer</p>\n<p>Eric Ewazen was born in Cleveland\, Ohio in 1954. He rec
 eived a BM degree from the Eastman School of Music and went on to receive 
 a MM degree and a DMA degree from the Juilliard School. He has an extensiv
 e list of reputable teachers that include Milton Babbitt\, Samuel Adler\, 
 Warren Benson\, Joseph Schwantner\, and Gunther Schuller. Throughout his c
 areer Dr. Ewazen has been the recipient of many awards and honors. His wor
 ks are recorded on Summit Records\, d'Note Records\, CRS Records\, New Wor
 ld\, Clique Track\, Helicon\, Hyperion\, Cala\, Albany\, and EMI Classics.
  Dr. Ewazen has had recent premieres of his works given by the Charleston 
 Symphony\, Virginia Symphony\, Orquesta Sinfonica de Tenerife in Spain\, O
 rquesta Sinfonica Carlos Chavez in Mexico City\, Orchestre de la Garde Rep
 ublicaine in Paris\, the Jeju Music Festival Wind Ensemble in Korea\, and 
 the Moment Musicale Orchestra of Taiwan. Dr. Ewazen has been a guest at ov
 er 100 different universities around the United States and the world. He h
 as served as a faculty member at the Juilliard School since 1980.</p>\n<p>
 Ewazen’s <strong>Concerto for Marimba</strong> was commissioned by marimbi
 st She-e Wu and composed in 1999. The piece is dedicated to the “Taipei fi
 refighters of Taiwan for their bravery during the tragic earthquake of Sep
 tember 20th\, 1999.”</p>\n<p>Ottorino Respighi wrote <strong>Huntingtower&lt;
 /strong&gt; in 1932 on a commission from Edwin Franko Goldman and the America
 n Bandmasters’ Association for a tribute concert to the then recently dece
 ased John Philip Sousa. His inspiration for the piece was Huntingtower Cas
 tle in central Scotland. The experience of visiting this 15th-century cast
 le inspired Respighi to write this sometimes heroic\, sometimes romantic\,
  but mostly grim overture.</p>\n<hr>\n\n\n\n\n<h4>UNIVERSITY OF WASHINGTON SYMPHONIC BAND</h4>\n<p>FLUTE<br>Patricia Chang\, Fr.\, Engineering\, San Jose CA<br>Richard 
 Lin\, Fr.\, Engineering\, San Diego CA<br>Tracia Pan\, Jr.\, Music Perform
 ance and Statistics\, Bellevue<br>Bethany Quevedo\, Sr.\, ACMS: DSS\, Issa
 quah<br>Peyton Ray\, Soph.\, Music Performance\, Denver\, CO<br>Felix Shen
 \, Fr.\, Engineering\, Phoenix\, AZ<br>Claire Wei\, Fr.\, Music Performanc
 e\, Bellevue</p>\n<p>OBOE<br>Minh-Thi Butler\, 
 Jr.\, Music Education\, Hoquiam<br>Lexi Koperski\, Sr.\, Anthropology and 
 Music History\, Chicago IL <br>Vichet Ros\, Soph.\, Music Education\, Buri
 en<br>Priyanka Talur\, Jr.\, Bioengineering\, Sammamish </p>\n<p>BASSOON<br>Victoria Everett\, Fr.\, Music\, Renton <br>C
 hloe Person\, Sr.\, Communications and Music\, Kenmore</p>\n<p>CLARINET<br>Aditi Dwivedy\, Jr.\, Psychology &amp; Neuroscienc
 e\, Redmond<br>Matilda Gauss\, Soph.\, Materials Science and Engineering\,
  Bellevue<br>Cara Lisy\, Soph.\, Computer Science\, Maple Valley<br>Karste
 n Onarheim\, Sr.\, Pre-Sciences</p>\n<p>BASS CL
 ARINET<br>Alen Poehlman\, Soph.\, Biochemistry\, Tacoma </p>\n<p>SAXOPHONE<br>Curtis Chung\, Soph.\, Mechanical Engineeri
 ng\, Sunnyvale CA<br>Polina Dorogova\, Fr.\, Undeclared\, Gig Harbor<br>Av
 a Lim\, Sr.\, Human-Centered Design and Engineering\, Seattle<br>Chinmay M
 urthy\, Soph.\, Engineering Undeclared\, Fremont CA<br>Jack Sawatzky\, Sop
 h.\, Music Education\, Olympia<br>Eduardo Azevedo Simão Racy\, Fr.\, Compu
 ter Science\, Auburn<br><br>TRUMPET<br>Felix Chao\, Soph.\, Environmental 
 Science\, Los Angeles CA<br>Caroline Kelly\, Sr.\, Environmental Science &amp;
  Terrestrial Resource Mgt\, Chelan<br>Euan McCubbin\, Soph.\, Biology MCD\
 , Pullman<br>Ryan Rose\, Jr.\, Music Composition\, Vancouver<br>Teddy Seli
 gman\, Soph.\, Aerospace Engineering\, San Mateo CA<br>Carter Archuleta\, 
 Sr.\, Physics/Astronomy\, Gig Harbor</p>\n<p>HO
 RN<br>Ellis Haker\, Graduate\, Computer Science\, Los Angeles CA<br>Jonah 
 Polissar\, Fr.\, Engineering/Music Minor\, Santa Cruz CA<br>Elliana Wagner
 \, Soph.\, Undeclared\, Snohomish<br>Anthony Wen\, Fr.\, Informatics\, Sea
 ttle </p>\n<p>TROMBONE<br>Sam Chen\, Soph.\, En
 gineering\, Snoqualmie<br>Emily Gay Soph.\, Music Education\, Port Orchard
 <br>Tom Lewis\, Soph.\, Mechanical Engineering\, Snoqualmie<br>Annika Natz
 ke\, Fr.\, Psychology\, Rochester MN<br>Evan Mao\, Fr.\, Computer Science\
 , Redmond<br>Evan Wu\, Fr.\, Engineering\, Foster City CA</p>\n<p>EUPHONIUM<br>May Coppinger\, Fr.\, Engineering<br>John 
 Li\, Jr.\, Psychology\, Bellevue</p>\n<p>TUBA<b r>Jonathan Lopez\, Soph.\, Music Education\, <br>Justin Sjodin\, Soph.\, A
 tmospheric Science - Meteorology\, Lexington MA<br>Colin Tyrell\, Fr.\, Ac
 counting\, Long Island NY</p>\n<p>PIANO<br>Rich
 ard Li\, Soph. Chemistry/Pre-Med\, Shanghai China</p>\n<p>PERCUSSION<br>Cyan Duong\, Fr.\, Music\, Monroe<br>Ivy Moore\, 
 Fr.\, Engineering and Percussion Performance\, Norfolk VA<br>Ruth Paulson\
 , Fr.\, Psychology\, Omaha NE<br>Luigi Salvaggio\, Fr.\, Percussion Perfor
 mance\, Manhattan Beach CA<br>Logan Mattingly\, Sr.\, Psychology\, Lake St
 evens<br>Nathaniel Widmann\, Soph.\, Pre-Sciences\, Puyallup</p>\n<p> </p>\n<h4>UNIVERSITY OF 
 WASHINGTON SAXOPHONE OCTET</h4>\n<p>SOPRANO SAX
 OPHONE<br>Kyle Grant\, Fr.\, Music Education\, Sumner<br>Curtis Chung\, So
 ph.\, Mechanical Engineering\, Sunnyvale\, CA</p>\n<p>ALTO SAXOPHONE<br>Alexander Yuan\, Soph.\, Computer Science\, Plain
 sboro\, NJ<br>Chinmay Murthy\, Soph.\, Electrical and Computer Engineering
 \, Fremont\, CA</p>\n<p>TENOR SAXOPHONE<br>Jose
 ph Shostak\, Sr.\, Mechanical Engineering\, Snohomish<br>Jony Wang\, Soph.
 \, Psychology Pre-Med\, Broomfield\, CO</p>\n<p>BARITONE SAXOPHONE<br>Katie Zundel\, Jr.\, Music Performance/Mathematics\
 , Clinton<br>Vichet Ros\, Soph.\, Music Education\, Burien<br> </p>\n<h4 s tyle=' 400\;'>UNIVERSITY OF WASHINGTON WIND ENSEMBLE</h4>\n<p>FLUTE<br>Grace Jun\, Grad.\, Music Performance\
 , Vancouver*<br>Claire Wei\, Fr.\, Music Performance\, Bellevue<br>Erin Mc
 Afee\, Grad.\, Music Performance\, Hoover\, AL<br>Yue Zhong.\, Jr.\, Music
  Performance\, Shanghai\, China </p>\n<p>OBOE<b r>Max Boyd\, Fr.\, Music Performance\, Seattle<br>Lauren Majewski\, Jr.\, 
 Global and Regional Studies\, Mercer Island*<br> </p>\n<p>BASSOON<br>Annika Fisher\, Fr.\, Anthropology\, Lake Forest Par
 k<br>Rian Morgan\, So.\, Pre-Health Sciences/Music Performance\, Des Moine
 s<br>Griffin Smith\, Sr.\, Philosophy/Music Performance\, Fayetteville\, A
 R*</p>\n<p>CLARINET  <br>Alex Gee\, Jr.\, Mecha
 nical Engineering\, Camas<br>Jeremy Hu\, Fr.\, Engineering\, Taipei\, Taiw
 an<br>Cameron Lee\, Sr.\, Visual Communication Design/Informatics\, Mercer
  Island<br>Jason Liu\, Sr.\, Mathematics\, Camas   <br>Alessandro Martinez
 \, Fr.\, Engineering\, Olympia<br>David Stewart\, Grd.\, Wind Conducting\,
  Mercer Island<br>Ysanne Webb\, Grd.\, Music Performance\, Lubbock\, TX*</p>\n<p>BASS CLARINET<br>Arthur Gim\, Fr.\, Engi
 neering\, Bothell </p>\n<p>SAXOPHONE<br>Kyle Gr
 ant\, Fr.\, Music Education\, Sumner<br>Joseph Shostak\, Sr.\, Mechanical 
 Engineering\, Snohomish<br>Alexander Yuan\, So.\, Computer Science\, Plain
 sboro\, NJ<br>Katie Zundel\, Jr.\, Music Performance/Engineering\, Clinton
 *</p>\n<p>TRUMPET<br>Carter Archuleta\, Sr.\, P
 hysics/Astronomy\, Gig Harbor<br>Hans Faul\, So.\, Music Performance\, Sea
 ttle*<br>Kyle Jenkins\, Grd.\, Music Performance\, Sammamish<br>Caroline K
 elly\, Sr.\, Environmental Science\, Chelan<br>Daniel Lyons\, Fr.\, Music 
 Performance\, Seattle  <br>Antti Mannisto\, So.\, Mechanical Engineering\,
  Bellevue</p>\n<p>HORN<br>Nicole Bogner\, Fr.\,
  Music Performance\, Mukilteo*<br>Kiyoshi Colon\, Jr.\, Chemistry\, Everet
 t<br>Sydney Kuhl\, Sr.\, Computer Science\, Prior Lake\, MN<br>Noelani Yon
 ahara Stewart\, Jr.\, Political Science &amp; American Ethnic Studies\, San Fr
 ancisco\, CA<br>Roger Wu Fu\, Grad.\, Wind Conducting\, Santiago\, Chile</p>\n<p>TROMBONE<br>Dion Archer-Roll\, Jr.\, Phy
 sics\, Vancouver<br>Peter Lin\, Jr.\, ACMS\, Taipei\, Taiwan<br>Duncan Wei
 ner\, Sr.\, Linguistics/Aeronautical and Astronautical Engineering\, Seatt
 le<br>Nathanael Wyttenbach\, Fr.\, Music Composition\, Richland*</p>\n<p s tyle=' 400\;'>EUPHONIUM<br>Simona Yaroslavsky\, Fr.\, Law\, So
 cieties and Justice\, Mercer Island  <br>Ellie Walker\, Jr.\, Music Educat
 ion\, Kenmore*</p>\n<p>TUBA<br>Cole Henslee\, J
 r.\, Music Performance\, Lakewood<br>Devin Foster\, Grad.\, Music Performa
 nce\, Lithopolis\, OH*<br>Foster Patterson\, So.\, Music Education\, Aberd
 een</p>\n<p>BASS<br>Amelia Matsumoto\, So.\, Mu
 sic Performance\, Bellevue<br>Eddie Nikishina\, Sr.\, Music Performance\, 
 Bellevue<br>Beau Wood\, Grad.\, Music Performance\, Longview* </p>\n<p sty le=' 400\;'>PERCUSSION<br>Ryan Baker\, Jr.\, Music Composition
 \, Gig Harbor*<br>Kaisho Barnhill\, So.\, Music Education/Psychology\, Van
 couver<br>Momoka Fukushima\, Fr.\, Music Performance\, Issaquah<br>Jack Gr
 enda\, Jr.\, International Relations\, Encinitas\, CA<br>Simon Harty\, Jr.
 \, Undeclared\, Boise\, ID  <br>Taryn Marks\, Grd.\, Music Performance\, N
 orth Augusta\, SC*</p>\n<p>PIANO<br>Mia HyeJeon
  Kim\, Grad.\, Music Performance\, Seoul\, South Korea<br>Rachel Huang\, G
 rad.\, Music Performance\, West Hills\, LA</p>\n<p>HARP<br>Kelly Guangyin Hou\, Sr.\, Music Performance/Informatics\, Bel
 levue </p>\n<p>*principal</p>\n\n\n\n\n<h3>Biog
 raphies<br>Taryn Marks</h3>\n<p>Taryn Marks is a first-year Masters of Mus
 ic Performance-Percussion major from North Augusta\, South Carolina\, unde
 r the direction of Dr. Bonnie Whiting. Her love for music started as a chi
 ld\, growing up hearing different genres of music from rock to rap to pop 
 and soul. She started playing percussion in sixth grade under the directio
 n of Ms. Jamie Powell\, where her love and involvement for music significa
 ntly increased. By the time she was under the direction of Mr. Chuck Deen 
 and Mr. Blake Fowler at North Augusta High School\, she was a part of the 
 Symphonic Band\, the Wind Ensemble\, Region Band\, and the North Augusta H
 igh School Jacket Regiment. In Fall 2017\, she moved to the SC Governor’s 
 School for the Arts and Humanities in Greenville\, South Carolina as a par
 t of the Music Department\, under the direction of Dr. David Hamilton and 
 Mr. Everett Beale\, going into depth in orchestral and percussion repertoi
 re. In Fall 2019\, she started her college career at Furman University in 
 Greenville\, SC\, under the direction of Dr. Omar Carmenates. She was a pa
 rt of the Paladin Regiment\, Symphonic Band\, Furman Symphony Orchestra\, 
 Pit Orchestra for Pauper Players\, and Furman Percussion Ensemble. With th
 e Furman Percussion Ensemble\, she has gone to the Percussive Arts Society
  International Convention twice\, being a part of the New Music Concert in
  2019 and the International Percussion Ensemble Competition Concert in 202
 2\, where the ensemble was one of the winners and performed five world pre
 mieres on the international stage. She also participated in an internship 
 for Kinds of Kings in Summer 2021\, as well as summer research in audio re
 cording and post-production in Summer 2022. Outside of music\, she partici
 pated in multiple organizations and on-campus jobs\, receiving accolades f
 or her work in DEI initiatives throughout the music department and the Uni
 versity. She graduated from Furman Magna Cum Laude with a Bachelors of Mus
 ic Performance-Percussion in May 2023. While at the University of Washingt
 on\, she has performed in the University of Washington Percussion Ensemble
 \, Wind Ensemble\, and Modern Music Ensemble. Through these ensembles\, sh
 e has had the opportunity to perform multiple world premieres\, participat
 ing in masterclasses by Gwendolyn Dease and Allen Otte\, performing at the
  WCCW Outreach Event\, Woosong University in Daejeon\, South Korea\, and t
 he Pacific Northwest Festival in Portland Oregon. When she is not in the p
 ractice room or doing academic work\, she is learning new recipes\, sights
 eeing\, trying new foods\, reading\, catching up on new music\, TV shows\,
  and movies\, hanging out with friends\, finding different ways of advocat
 ing for others\, and checking in on her family on the East Coast. She is g
 rateful for everyone that is attending tonight\, helping her throughout he
 r journey of music-making\, and for the people that made her who she is to
 day.</p>
DTSTART;TZID=America/Los_Angeles:20240528T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:56
SUMMARY:: Wind Ensemble and Symphonic Band: Timeless
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-29/wind-ensemble-and-sympho
 nic-band-timeless
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The UW Wind Ensemble (Timothy Salzm
 an\, director) and Symphonic Band (Shaun Day\, director) present 'Timeless
 \,' performing music by Omar Thomas\, Jennifer Jolley\, Antón Alcalde\, Ju
 n Nagao\, Huck Hodge\, and Ottorino Respighi.</p> <hr> <h3>Program</h3> University of Washington Symphonic Band<br>Shaun Day\, director</h4> <p>
 A Mother of A Revolution! (2019) – Omar Thomas (b. 1984)<br><em>Ryan Baker
 \, conductor</em></p> <p>The Eyes of the World are Upon You (2017) – Jenni
 fer Jolley (b. 1981)</p> <p>Symphony no. 1: Marea Negra (2009/24) – Antón 
 Alcalde (b. 1992)<br>I. Amencer nas Rías Baixas<br>II. Prestige<br>III. Ma
 rea Negra<br>IV. Marea Branca</p> <h4>University of Washington Saxophone O
 ctet</h4> <p>Octet for Saxophone (2000) – Jun Nagao (長生 淳) (b. 1964)</p> &lt;
 h4&gt;University of Washington Wind Ensemble<br>Timothy Salzman\, conductor</h4> <p>from the language of shadows (2011) – Huck Hodge (b. 1977)<br>I. Pr
 ologue in Heaven<br>II. Tenebrae<br>III. Of signs and erring stars<br>IV. 
 Inveiglement<br>V. Epilogue: Now body\, turn to air</p> <p>Concerto for Ma
 rimba (1999) – Eric Ewazen (b. 1954)<br>II. Andante Cantabile<br><em>Taryn
  Marks\, marimba</em></p> <p>Huntingtower (1932) – Ottorino Respighi (1875
 -1936)<br><em>Shaun Day\, conductor</em></p> <hr> <h3>PROGRAM NOTES</h3> &lt;
 p&gt;<strong>A Mother of A Revolution!</strong> is a celebration of the brave
 ry of trans women\, and in particular\, Marsha “Pay It No Mind” Johnson. M
 arsha is credited with being one of the instigators of the famous Stonewal
 l uprising of June 28\, 1969 – one of the pivotal events of the LGBTQ libe
 ration movement of the 20th century – which is commemorated annually durin
 g the worldwide Gar Pride celebrations.</p> <p>Existing as a trans woman\,
  especially a trans woman of color\, and daring to live authentically\, cr
 eating space for oneself in a transphobic world is one of the bravest acts
  I can imagine. Over 20 trans women were murdered in the United States in 
 2018 alone. There is no demographic more deserving\, and frankly\, long ov
 erdue for highlighted heroism and bravery. The disco vibe in the latter ha
 lf is meant to honor a sacred space held amongst LGBTQ persons – a space t
 o love\, live\, mourn\, heal\, strategize\, connect\, and dance in defianc
 e of those outside forces who would seek to do LGBTQ persons harm simply f
 or daring to exist and take up space.</p> <p>We pump our fists to honor th
 e life\, heroism\, activism\, and bravery of Marsha P. Johnson\, to honor 
 the legacy of the Stonewall Revolution\, to honor the memory of the trans 
 lives violently ended due to fear and hatred\, and in honor of trans women
  worldwide who continue to exist unapologetically and who demanded to be s
 een.<br>–Program note by composer</p> <p><strong>The Eyes of the World Are
  Upon You</strong> is taken from Alejandra Garza’s article “’The Eyes of t
 he World Are Upon You\, Texas’: How the Austin Newspapers Covered the UT T
 ower Shooting” from the website Behind the Tower: New Histories of the UT 
 Tower Shooting. UT Austin was the scene of the nation’s first campus mass 
 shooting. On Monday\, August 1\, 1966\, Charles Whitman murdered his mothe
 r and wife\, then climbed to the top of the University of Texas Tower and 
 fired his first shots just before noon. The killing spree went on for nine
 ty-six minutes until Whitman was gunned down\; seventeen people were kille
 d.</p> <p>It has been over fifty years since this shocking event\, and man
 y things have changed. There are now campus police forces and significant 
 improvements to mental health services were also made in the aftermath of 
 the shooting. The UT Tower Shooting is both a tragic living history\, as w
 ell as a celebration of resilience. As stated by the UT Austin President G
 regory L. Fenves at the Tower Memorial Rededication\, “We will never elimi
 nate the memory of the horror that consumed this campus on August 1\, 1966
 . Nor should we try. But by focusing on the good – on the stories of the h
 eroes and lives of the survivors here with us this afternoon – we can fina
 lly begin to remember and endure our burden of the past.”<br>This piece is
  a celebration of life: to those who died that day\, but also to those who
  survived.<br>–Program note by composer</p> <p><strong>Symphony no. 1: Mar
 ea Negra</strong> is Antón Alcalde’s first work cataloged (opus 1)\, writt
 en when he was 15 years old. It is a symphonic poem divided into four move
 ments that describe the natural catastrophe produced by the Prestige oil s
 pill.</p> <p>The Prestige oil spill was an oil spill in Galicia caused by 
 the sinking of the oil tanker MV Prestige in 2002. The spill polluted thou
 sands of kilometers of coastline and more than one thousand beaches on the
  Spanish\, French\, and Portuguese coasts and caused great harm to the loc
 al fishing industry. It is the largest environmental disaster in the histo
 ry of both Spain and Portugal. In the subsequent months\, thousands of vol
 unteers joined the public company TRAGSA (a firm chosen by the regional go
 vernment to deal with the cleanup) to help clean the affected coastline. T
 he massive cleaning campaign was a success\, recovering most portions of t
 he coastline from the effects of the oil spill and the accumulated usual c
 ontamination. A year after the spill\, Galicia had more Blue Flags for its
  beaches (an award for those with the highest standards in the European Un
 ion) than in the previous years.<br>–Program note by composer</p> <p>Octet for Saxophones</strong> was written for a joint concert with the 
 Aurelia Quartet from the Netherlands\, commissioned by the Trouvere Quarte
 t. It was composed in October 2000 and premiered in Amsterdam that Decembe
 r\, followed by performances in Tokyo and Hiroshima.</p> <p>The compositio
 n is not for eight saxophones because of this background\; it is written f
 or two quartets (S. A. T. B.). Imagine a scenario from the distant past wh
 ere two groups of traveling musicians meet on a street corner. They decide
  to perform together and engage in a friendly competition\, each trying no
 t to be outdone by the other. As they play\, they get drawn into each othe
 r’s music\, intensifying their passion for the performance. I wrote with s
 uch a scene in mind\, and I hope that the joy of ensemble playing is felt 
 above all else when it is performed.<br>–Program note by composer</p> <p>H
 uck Hodge is a composer of “harmonically fresh work'\, 'full of both spark
 le and thunder” (New York Times). His music has been praised for its “imme
 diate impact” (Chicago Tribune)\, its 'clever\, attractive\, streamlined' 
 qualities (NRC Handelsblad\, Amsterdam) and its ability to 'conjure up wor
 lds of musical magic” with “power and charisma' (Gramophone Magazine\, Lon
 don). His musical collaborations include those with members of Ensemble Mo
 dern and the Berlin Philharmonic\, the Seattle Symphony\, the Orchestra of
  the League of Composers\, the Aleph\, ASKO/Schönberg\, Dal Niente\, Diver
 timento\, SurPlus and Talea ensembles\, the Daedalus\, JACK\, Mivos\, and 
 Pacifica string quartets\, and numerous other ensembles. His music has bee
 n performed at Carnegie Hall\, Lincoln Center and at numerous major festiv
 als throughout the world — the New York Philharmonic Biennial\, Berliner F
 estspiele\, Gaudeamus Muziekweek\, Shanghai New Music Week\, ISCM World Mu
 sic Days\, and many others. His published music is licensed and distribute
 d by Alexander Street Press and Babel Scores (Paris). Recordings of his mu
 sic appear on the New World and Albany record labels. Hodge was educated a
 t Columbia University and at the Staatliche Hochschule für Musik und Darst
 ellende Kunst in Stuttgart\, Germany where he studied with Fred Lerdahl\, 
 Tristan Murail\, Marco Stroppa\, and Georg Wötzer. His major awards includ
 e the Charles Ives Living\, the largest music award conferred by the Ameri
 can Academy of Arts and Letters\, the Rome Prize\, the Gaudeamus Prize\, a
 nd fellowships from the Guggenheim Foundation\, the Koussevitzky Foundatio
 n in the Library of Congress\, the Fromm Foundation at Harvard University\
 , the American Composers Forum\, the Barlow Endowment\, Music at the Antho
 logy\, the Siemens Musikstiftung and the Deutscher Akademischer Austauschd
 ienst\, among many others. Hodge is Professor and Chair of the Composition
  program at the University of Washington. Of this evening’s work\, he writ
 es:</p> <p>Several aspects of <strong>from the language of shadows</strong> were inspired by images from F.W. Murnau’s 1926 masterpiece of expressio
 nistic cinema Faust. I was immediately drawn to the striking and stark ble
 nding of bright and dark lighting in the film as well as the angularly dra
 matic imagery. The titles of the movements are taken from Goethe as well a
 s from Christopher Marlowe’s 1604 play Doctor Faustus. Marlowe\, a contemp
 orary of Shakespeare\, is today comparatively unknown\, owing in some part
  to his death at the age of 29 under mysterious circumstances (he is said 
 to have been a spy).<br>In Prologue in Heaven\, Mephistopheles and the ang
 els discuss the fate of mankind and a wager is born to wrest the soul of F
 aust. Tenebrae\, Latin for shadows and the name of a service held at the h
 eight of Lent\, recalls the imagery of Murnau’s cinematic plague scene. Of
  signs and erring stars is a line taken from a scene of Marlowe’s\, in whi
 ch Faust summons Mephistopheles. Inveiglement evokes a scene in which the 
 Devil tempts Faust with the treasures of youth and power. The title of the
  epilogue is taken from the damnation monologue in Marlowe. Faust reminisc
 es on the lost pleasures of his life. The clock strikes twelve and he excl
 aims\, “O\, it strikes\, it strikes! Now body\, turn to air…”</p> <p>Over 
 25 universities comprised the consortium that commissioned from the langua
 ge of shadows and the University of Washington Wind Ensemble\, conducted b
 y Timothy Salzman premiered the work on March 26th\, 2011 at the College B
 and Directors National conference held at the University of Washington.<br>–Program note by composer</p> <p>Eric Ewazen was born in Cleveland\, Ohio
  in 1954. He received a BM degree from the Eastman School of Music and wen
 t on to receive a MM degree and a DMA degree from the Juilliard School. He
  has an extensive list of reputable teachers that include Milton Babbitt\,
  Samuel Adler\, Warren Benson\, Joseph Schwantner\, and Gunther Schuller. 
 Throughout his career Dr. Ewazen has been the recipient of many awards and
  honors. His works are recorded on Summit Records\, d'Note Records\, CRS R
 ecords\, New World\, Clique Track\, Helicon\, Hyperion\, Cala\, Albany\, a
 nd EMI Classics. Dr. Ewazen has had recent premieres of his works given by
  the Charleston Symphony\, Virginia Symphony\, Orquesta Sinfonica de Tener
 ife in Spain\, Orquesta Sinfonica Carlos Chavez in Mexico City\, Orchestre
  de la Garde Republicaine in Paris\, the Jeju Music Festival Wind Ensemble
  in Korea\, and the Moment Musicale Orchestra of Taiwan. Dr. Ewazen has be
 en a guest at over 100 different universities around the United States and
  the world. He has served as a faculty member at the Juilliard School sinc
 e 1980.</p> <p>Ewazen’s <strong>Concerto for Marimba</strong> was commissi
 oned by marimbist She-e Wu and composed in 1999. The piece is dedicated to
  the “Taipei firefighters of Taiwan for their bravery during the tragic ea
 rthquake of September 20th\, 1999.”</p> <p>Ottorino Respighi wrote <strong>Huntingtower</strong> in 1932 on a commission from Edwin Franko Goldman a
 nd the American Bandmasters’ Association for a tribute concert to the then
  recently deceased John Philip Sousa. His inspiration for the piece was Hu
 ntingtower Castle in central Scotland. The experience of visiting this 15t
 h-century castle inspired Respighi to write this sometimes heroic\, someti
 mes romantic\, but mostly grim overture.</p> <hr> <table> <tbody> <tr> <td> <h4>UNIVERSITY OF WASHINGTON SYMPHONIC BAND</h4> <p>FLUTE<br>Patricia Chang\, Fr.\, Engineering\, San Jose CA<br>Richard
  Lin\, Fr.\, Engineering\, San Diego CA<br>Tracia Pan\, Jr.\, Music Perfor
 mance and Statistics\, Bellevue<br>Bethany Quevedo\, Sr.\, ACMS: DSS\, Iss
 aquah<br>Peyton Ray\, Soph.\, Music Performance\, Denver\, CO<br>Felix She
 n\, Fr.\, Engineering\, Phoenix\, AZ<br>Claire Wei\, Fr.\, Music Performan
 ce\, Bellevue</p> <p>OBOE<br>Minh-Thi Butler\, 
 Jr.\, Music Education\, Hoquiam<br>Lexi Koperski\, Sr.\, Anthropology and 
 Music History\, Chicago IL <br>Vichet Ros\, Soph.\, Music Education\, Buri
 en<br>Priyanka Talur\, Jr.\, Bioengineering\, Sammamish </p> <p>BASSOON<br>Victoria Everett\, Fr.\, Music\, Renton <br>Ch
 loe Person\, Sr.\, Communications and Music\, Kenmore</p> <p><span>CLARINET<br></span><span>Aditi Dwivedy\, Jr.\, Psychol
 ogy &amp; Neuroscience\, Redmond<br></span>Matilda Gauss\, Soph.\, Materials S
 cience and Engineering\, Bellevue<br>Cara Lisy\, Soph.\, Computer Science\
 , Maple Valley<br>Karsten Onarheim\, Sr.\, Pre-Sciences</p> <p>BASS CLARINET<br>Alen Poehlman\, Soph.\, Biochemistry\, Ta
 coma </p> <p>SAXOPHONE<br>Curtis Chung\, Soph.\
 , Mechanical Engineering\, Sunnyvale CA<br>Polina Dorogova\, Fr.\, Undecla
 red\, Gig Harbor<br>Ava Lim\, Sr.\, Human-Centered Design and Engineering\
 , Seattle<br>Chinmay Murthy\, Soph.\, Engineering Undeclared\, Fremont CA&lt;
 br&gt;Jack Sawatzky\, Soph.\, Music Education\, Olympia<br>Eduardo Azevedo Si
 mão Racy\, Fr.\, Computer Science\, Auburn<br><br>TRUMPET<br>Felix Chao\, 
 Soph.\, Environmental Science\, Los Angeles CA<br>Caroline Kelly\, Sr.\, E
 nvironmental Science &amp; Terrestrial Resource Mgt\, Chelan<br>Euan McCubbin\
 , Soph.\, Biology MCD\, Pullman<br>Ryan Rose\, Jr.\, Music Composition\, V
 ancouver<br>Teddy Seligman\, Soph.\, Aerospace Engineering\, San Mateo CA&lt;
 br&gt;Carter Archuleta\, Sr.\, Physics/Astronomy\, Gig Harbor</p> <p>HORN<br>Ellis Haker\, Graduate\, Computer Science\, Los
  Angeles CA<br>Jonah Polissar\, Fr.\, Engineering/Music Minor\, Santa Cruz
  CA<br>Elliana Wagner\, Soph.\, Undeclared\, Snohomish<br>Anthony Wen\, Fr
 .\, Informatics\, Seattle </p> <p>TROMBONE<br>S
 am Chen\, Soph.\, Engineering\, Snoqualmie<br>Emily Gay Soph.\, Music Educ
 ation\, Port Orchard<br>Tom Lewis\, Soph.\, Mechanical Engineering\, Snoqu
 almie<br>Annika Natzke\, Fr.\, Psychology\, Rochester MN<br>Evan Mao\, Fr.
 \, Computer Science\, Redmond<br>Evan Wu\, Fr.\, Engineering\, Foster City
  CA</p> <p>EUPHONIUM<br>May Coppinger\, Fr.\, E
 ngineering<br>John Li\, Jr.\, Psychology\, Bellevue</p> <p>TUBA<br>Jonathan Lopez\, Soph.\, Music Education\, <br>Justin 
 Sjodin\, Soph.\, Atmospheric Science - Meteorology\, Lexington MA<br>Colin
  Tyrell\, Fr.\, Accounting\, Long Island NY</p> <p>PIANO<br>Richard Li\, Soph. Chemistry/Pre-Med\, Shanghai China</p> <p>PERCUSSION<br>Cyan Duong\, Fr.\, Music\, Monroe
 <br>Ivy Moore\, Fr.\, Engineering and Percussion Performance\, Norfolk VA&lt;
 br&gt;<span>Ruth Paulson\, Fr.\, Psychology\, Omaha NE<br></span>Luigi Salvag
 gio\, Fr.\, Percussion Performance\, Manhattan Beach CA<br>Logan Mattingly
 \, Sr.\, Psychology\, Lake Stevens<br>Nathaniel Widmann\, Soph.\, Pre-Scie
 nces\, Puyallup</p> <p><span></span> </p> <h4 s tyle=' 400\;'>UNIVERSITY OF WASHINGTON SAXOPHONE OCTET</h4> <p>SOPRANO SAXOPHONE<br>Kyle Grant\, Fr.\, Music 
 Education\, Sumner<br>Curtis Chung\, Soph.\, Mechanical Engineering\, Sunn
 yvale\, CA</p> <p>ALTO SAXOPHONE<br>Alexander Y
 uan\, Soph.\, Computer Science\, Plainsboro\, NJ<br>Chinmay Murthy\, Soph.
 \, Electrical and Computer Engineering\, Fremont\, CA</p> <p>TENOR SAXOPHONE<br>Joseph Shostak\, Sr.\, Mechanical Enginee
 ring\, Snohomish<br>Jony Wang\, Soph.\, Psychology Pre-Med\, Broomfield\, 
 CO</p> <p>BARITONE SAXOPHONE<br>Katie Zundel\, 
 Jr.\, Music Performance/Mathematics\, Clinton<br>Vichet Ros\, Soph.\, Musi
 c Education\, Burien<br> </p> <h4>UNIVERSITY OF
  WASHINGTON WIND ENSEMBLE</h4> <p>FLUTE<br>Grac
 e Jun\, Grad.\, Music Performance\, Vancouver*<br>Claire Wei\, Fr.\, Music
  Performance\, Bellevue<br>Erin McAfee\, Grad.\, Music Performance\, Hoove
 r\, AL<br>Yue Zhong.\, Jr.\, Music Performance\, Shanghai\, China </p> <p>OBOE<br>Max Boyd\, Fr.\, Music Performance\, Se
 attle<br>Lauren Majewski\, Jr.\, Global and Regional Studies\, Mercer Isla
 nd*<br> </p> <p>BASSOON<br>Annika Fisher\, Fr.\
 , Anthropology\, Lake Forest Park<br>Rian Morgan\, So.\, Pre-Health Scienc
 es/Music Performance\, Des Moines<br>Griffin Smith\, Sr.\, Philosophy/Musi
 c Performance\, Fayetteville\, AR*</p> <p>CLARI
 NET <span> <br></span>Alex Gee\, Jr.\, Mechanical Engineering\, Camas<br>J
 eremy Hu\, Fr.\, Engineering\, Taipei\, Taiwan<br>Cameron Lee\, Sr.\, Visu
 al Communication Design/Informatics\, Mercer Island<br>Jason Liu\, Sr.\, M
 athematics\, Camas<span>   <br></span>Alessandro Martinez\, Fr.\, Engineer
 ing\, Olympia<br>David Stewart\, Grd.\, Wind Conducting\, Mercer Island<br><span>Ysanne Webb\, Grd.\, Music Performance\, Lubbock\, TX*</span></p> &lt;
 p style='font-weight: 400\;'&gt;BASS CLARINET<br>Arthur Gim\, Fr.\, Engineeri
 ng\, Bothell </p> <p>SAXOPHONE<br>Kyle Grant\, 
 Fr.\, Music Education\, Sumner<br>Joseph Shostak\, Sr.\, Mechanical Engine
 ering\, Snohomish<br>Alexander Yuan\, So.\, Computer Science\, Plainsboro\
 , NJ<br>Katie Zundel\, Jr.\, Music Performance/Engineering\, Clinton*</p> 
 <p>TRUMPET<br>Carter Archuleta\, Sr.\, Physics/
 Astronomy\, Gig Harbor<br>Hans Faul\, So.\, Music Performance\, Seattle*<b r>Kyle Jenkins\, Grd.\, Music Performance\, Sammamish<br>Caroline Kelly\, 
 Sr.\, Environmental Science\, Chelan<br>Daniel Lyons\, Fr.\, Music Perform
 ance\, Seattle<span>  <br></span>Antti Mannisto\, So.\, Mechanical Enginee
 ring\, Bellevue</p> <p>HORN<br>Nicole Bogner\, 
 Fr.\, Music Performance\, Mukilteo*<br>Kiyoshi Colon\, Jr.\, Chemistry\, E
 verett<br>Sydney Kuhl\, Sr.\, Computer Science\, Prior Lake\, MN<br>Noelan
 i Yonahara Stewart\, Jr.\, Political Science &amp; American Ethnic Studies\, S
 an Francisco\, CA<br>Roger Wu Fu\, Grad.\, Wind Conducting\, Santiago\, Ch
 ile</p> <p>TROMBONE<br>Dion Archer-Roll\, Jr.\,
  Physics\, Vancouver<br>Peter Lin\, Jr.\, ACMS\, Taipei\, Taiwan<br>Duncan
  Weiner\, Sr.\, Linguistics/Aeronautical and Astronautical Engineering\, S
 eattle<br>Nathanael Wyttenbach\, Fr.\, Music Composition\, Richland*</p> &lt;
 p style='font-weight: 400\;'&gt;EUPHONIUM<br>Simona Yaroslavsky\, Fr.\, Law\,
  Societies and Justice\, Mercer Island<span>  <br></span>Ellie Walker\, Jr
 .\, Music Education\, Kenmore*</p> <p>TUBA<br>C
 ole Henslee\, Jr.\, Music Performance\, Lakewood<br>Devin Foster\, Grad.\,
  Music Performance\, Lithopolis\, OH*<br>Foster Patterson\, So.\, Music Ed
 ucation\, Aberdeen</p> <p>BASS<br><span>Amelia 
 Matsumoto\, So.\, Music Performance\, Bellevue<br></span><span>Eddie Nikis
 hina\, Sr.\, Music Performance\, Bellevue<br></span><span>Beau Wood\, Grad
 .\, Music Performance\, Longview*</span><span> </span></p> <p>PERCUSSION<br>Ryan Baker\, Jr.\, Music Composition\, Gig Ha
 rbor*<br>Kaisho Barnhill\, So.\, Music Education/Psychology\, Vancouver<br>Momoka Fukushima\, Fr.\, Music Performance\, Issaquah<br>Jack Grenda\, Jr
 .\, International Relations\, Encinitas\, CA<br>Simon Harty\, Jr.\, Undecl
 ared\, Boise\, ID <span> <br></span>Taryn Marks\, Grd.\, Music Performance
 \, North Augusta\, SC*</p> <p>PIANO<br>Mia HyeJ
 eon Kim\, Grad.\, Music Performance\, Seoul\, South Korea<br>Rachel Huang\
 , Grad.\, Music Performance\, West Hills\, LA</p> <p>HARP<br>Kelly Guangyin Hou\, Sr.\, Music Performance/Informatics\, B
 ellevue </p> <p>*principal</p> </td> </tr>  </table> <h3>Biographies<br>Taryn Marks</h3> <p>Taryn Marks is a firs
 t-year Masters of Music Performance-Percussion major from North Augusta\, 
 South Carolina\, under the direction of Dr. Bonnie Whiting. Her love for m
 usic started as a child\, growing up hearing different genres of music fro
 m rock to rap to pop and soul. She started playing percussion in sixth gra
 de under the direction of Ms. Jamie Powell\, where her love and involvemen
 t for music significantly increased. By the time she was under the directi
 on of Mr. Chuck Deen and Mr. Blake Fowler at North Augusta High School\, s
 he was a part of the Symphonic Band\, the Wind Ensemble\, Region Band\, an
 d the North Augusta High School Jacket Regiment. In Fall 2017\, she moved 
 to the SC Governor’s School for the Arts and Humanities in Greenville\, So
 uth Carolina as a part of the Music Department\, under the direction of Dr
 . David Hamilton and Mr. Everett Beale\, going into depth in orchestral an
 d percussion repertoire. In Fall 2019\, she started her college career at 
 Furman University in Greenville\, SC\, under the direction of Dr. Omar Car
 menates. She was a part of the Paladin Regiment\, Symphonic Band\, Furman 
 Symphony Orchestra\, Pit Orchestra for Pauper Players\, and Furman Percuss
 ion Ensemble. With the Furman Percussion Ensemble\, she has gone to the Pe
 rcussive Arts Society International Convention twice\, being a part of the
  New Music Concert in 2019 and the International Percussion Ensemble Compe
 tition Concert in 2022\, where the ensemble was one of the winners and per
 formed five world premieres on the international stage. She also participa
 ted in an internship for Kinds of Kings in Summer 2021\, as well as summer
  research in audio recording and post-production in Summer 2022. Outside o
 f music\, she participated in multiple organizations and on-campus jobs\, 
 receiving accolades for her work in DEI initiatives throughout the music d
 epartment and the University. She graduated from Furman Magna Cum Laude wi
 th a Bachelors of Music Performance-Percussion in May 2023. While at the U
 niversity of Washington\, she has performed in the University of Washingto
 n Percussion Ensemble\, Wind Ensemble\, and Modern Music Ensemble. Through
  these ensembles\, she has had the opportunity to perform multiple world p
 remieres\, participating in masterclasses by Gwendolyn Dease and Allen Ott
 e\, performing at the WCCW Outreach Event\, Woosong University in Daejeon\
 , South Korea\, and the Pacific Northwest Festival in Portland Oregon. Whe
 n she is not in the practice room or doing academic work\, she is learning
  new recipes\, sightseeing\, trying new foods\, reading\, catching up on n
 ew music\, TV shows\, and movies\, hanging out with friends\, finding diff
 erent ways of advocating for others\, and checking in on her family on the
  East Coast. She is grateful for everyone that is attending tonight\, help
 ing her throughout her journey of music-making\, and for the people that m
 ade her who she is today.</p>
END:VEVENT
BEGIN:VEVENT
UID:f608f0c9-8594-4245-8095-1dd87aac9573
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20230814T200223Z
DESCRIPTION:<p></p>\n<p>Small combos perform original music and arrangement
 s of jazz standards\, modern classics\, and deep cuts from the popular mus
 ic repertoire over two consecutive nights of performance. </p>\n<hr>\n<h3>
 Program<br></h3>\n<p><strong><br>Death Cab for Vutie</strong><br>Cuong Vu\
 , advisor<br></p>\n<p>This Here: <strong>Bobby Timmons<br></strong>Schizop
 hrenia : <strong>Wayne Shorter<br></strong>Witchcraft: <strong>Cy Coleman&lt;
 br&gt;</strong>Inner City Blues (Makes Me Wanna Holler): <strong>Marvin Gaye 
 and James Nyx Jr.<br></strong>Lily Dropkin\, drums\; Cole McKittrick\, gui
 tar\; Natalie Song\, piano\; Riley Tobin\, bass </p>\n<p class='Body' alig n='center'><strong>Seales the Deal<br></strong>
 Marc Seales\, advisor</p>\n<p class='Body'>Guarujá: Randy Brecker<br>FTB: 
 Robert Glasper<br>The Thump: Marquis Hill<br>Pariah: Braxton Cook<br>Não T
 em Nada Não: Marcos Valle<br>Ethan Horn\, drums\; Jacob Lipp\, saxophone\;
  Shai Permilovsky\, piano and rhodes\; Markus Teuton\, guitar\; Don Tran\,
  bass</p>\n<hr>\n<h3>Biographies: Faculty Advisors</h3>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20240529T193000
LAST-MODIFIED:20240529T185232Z
SEQUENCE:57
SUMMARY:: Jazz Innovations\, Part 1
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-30/jazz-innovations-part-1
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Small combos perform original music
  and arrangements of jazz standards\, modern classics\, and deep cuts from
  the popular music repertoire over two consecutive nights of performance. 
 </p> <hr> <h3>Program<br><span></span></h3> <p><span><strong><br>Death Cab
  for Vutie</strong><br></span><em>Cuong Vu</em><span><em>\, advisor</em><b r></span><span></span></p> <p><span>This Here: </span><strong>Bobby Timmon
 s<br></strong><span>Schizophrenia : </span><strong>Wayne Shorter<br><span>Witchcraft: </span><strong>Cy Coleman<br></strong><span>Inner Cit
 y Blues (Makes Me Wanna Holler): </span><strong>Marvin Gaye and James Nyx 
 Jr.<br></strong><em>Lily Dropkin\, drums\; Cole McKittrick\, guitar\; Nata
 lie Song\, piano\; Riley Tobin</em><span><em>\, bass</em></span><span> </span></p> <p class='Body' align='center'><span></span><span></span><strong>Seales the Dea
 l<br></strong><em>Marc Seales\, advisor</em></p> <p class='Body'><span>Gua
 rujá: </span><span>Randy Brecker</span><span><br>FTB: </span><span>Robert 
 Glasper</span><span><br>The Thump: </span><span>Marquis Hill</span><span>&lt;
 br&gt;Pariah: </span><span>Braxton Cook</span><span lang='ES'><br>Não Tem Nad
 a Não</span><span lang='ES'><span>: </span>Marcos Valle<br></span><em>Etha
 n Horn\, drums\; Jacob Lipp\, saxophone\; Shai Permilovsky\, piano and rho
 des\; </em><em><span lang='FR'>Markus Teuton\, </span><span lang='FR'>guit
 ar\;</span><span lang='FR'> Don Tran\,</span></em><span lang='FR'><em> bas
 s</em></span></p> <hr> <h3>Biographies: Faculty Advisors</h3> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:28d02c59-166a-46f1-87f6-32d1c681bcd7
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20231127T204004Z
DESCRIPTION:<p>Student chamber groups coached by UW Strings faculty perform
  an end-of-quarter recital. </p>
DTSTART;TZID=America/Los_Angeles:20240530T170000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:58
SUMMARY:: Chamber Music Showcase
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-31/chamber-music-showcase
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div class='body field'> <div class='field-ite
 ms'> <div class='field-item even'> <p>Student chamber groups coached by UW
  Strings faculty perform an end-of-quarter recital. </p> </div> </div> 
END:VEVENT
BEGIN:VEVENT
UID:77ccff52-b151-4f15-922a-067ebbc378f0
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20230814T200605Z
DESCRIPTION:<p></p>\n<p>Small combos perform original music and arrangement
 s of jazz standards\, modern classics\, and deep cuts from the popular mus
 ic repertoire over two consecutive nights of performance. </p>\n<hr>\n<h3>
 Program</h3>\n<p><strong>The Stablemates</strong> <br>Ted Poor\, advisor &lt;
 br&gt;<br>Backyard Groove: <strong>Kenny Grant</strong> <br>7.5: <strong>Bill
  Stewart</strong> <br>Free: <strong>Ornette Coleman</strong> <br>Afro Blue
 : <strong>Mongo Santamaria</strong> <br><br>Yotam Snir\, tenor sax\; Aadit
 hya Manoj\, alto sax\; EJ Brannan\, drums Jai Lasker\, guitar\; Solomon Lu
 bell\, bass</p>\n<p><strong>The Yeah No’s</strong> <br>Toby Miller\, advis
 or <br>Interruption (Off Balance): <strong>Mason Palmer</strong> <br>SR 24
 1: <strong>Marek Magana</strong> <br>I’ll Save You the Trouble: <strong>Ga
 vin Westland</strong> <br>Little Sunflower: <strong>Freddie Hubbard <br><br>Martin Nguyen\, alto sax\; Sebastian Remedios\, alto sax\; Maso
 n Palmer\, guitar Gavin Westland\, piano\; Marek Magana\, bass\; Aiden Cha
 n\, drums</p>\n<p><strong>(The Band Name Is) Due Friday</strong> <br>Steve
  Rodby\, advisor </p>\n<p>The Journey Ahead: <strong>Noah Brown</strong> &lt;
 br&gt;Prism: <strong>Keith Jarrett </strong><br>Apricity: <strong>Andrew Frie
 drich</strong> <br>Social Call: <strong>Gigi Gryce</strong></p>\n<p>Andrew
  Friedrich\, guitar\; Owen Gwinn\, tenor and soprano sax\; Noah Brown\, pi
 ano\; Beau Wood\, acoustic bass\; Toby Miller\, drums and cymbals</p>\n<hr>\n<h3>Biographies: Faculty Advisors</h3>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20240530T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:59
SUMMARY:: Jazz Innovations\, Part 2
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-05-31/jazz-innovations-part-2
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Small combos perform original music
  and arrangements of jazz standards\, modern classics\, and deep cuts from
  the popular music repertoire over two consecutive nights of performance. 
 </p> <hr> <h3>Program</h3> <p><strong>The Stablemates</strong> <br><em>Ted
  Poor\, advisor</em> <br><br>Backyard Groove: <strong>Kenny Grant</strong>
  <br>7.5: <strong>Bill Stewart</strong> <br>Free: <strong>Ornette Coleman&lt;
 /strong&gt; <br>Afro Blue: <strong>Mongo Santamaria</strong> <br><br><em>Yota
 m Snir\, tenor sax\; Aadithya Manoj\, alto sax\; EJ Brannan\, drums Jai La
 sker\, guitar\; Solomon Lubell\, bass</em></p> <p><strong>The Yeah No’s</s> <br><em>Toby Miller\, advisor</em> <br>Interruption (Off Balance): 
 <strong>Mason Palmer</strong> <br>SR 241: <strong>Marek Magana</strong> <b r>I’ll Save You the Trouble: <strong>Gavin Westland</strong> <br>Little Su
 nflower: <strong>Freddie Hubbard </strong><br><br><em>Martin Nguyen\, alto
  sax\; Sebastian Remedios\, alto sax\; Mason Palmer\, guitar Gavin Westlan
 d\, piano\; Marek Magana\, bass\; Aiden Chan\, drums</em></p> <p><strong>(
 The Band Name Is) Due Friday</strong> <br><em>Steve Rodby\, advisor </em>&lt;
 /p&gt; <p>The Journey Ahead: <strong>Noah Brown</strong> <br>Prism: <strong>K
 eith Jarrett </strong><br>Apricity: <strong>Andrew Friedrich</strong> <br>
 Social Call: <strong>Gigi Gryce</strong></p> <p><em>Andrew Friedrich\, gui
 tar\; Owen Gwinn\, tenor and soprano sax\; Noah Brown\, piano\; Beau Wood\
 , acoustic bass\; Toby Miller\, drums and cymbals</em></p> <hr> <h3>Biogra
 phies: Faculty Advisors</h3> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:78dc3515-b19a-4f6d-b22d-d35b771ab029
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances\, Student Activities and Per
 formances
CLASS:PUBLIC
CREATED:20230814T183643Z
DESCRIPTION:<p>Geoffrey Boers leads this year-end program by the University
  of Washington Symphony (David Alexander Rahbee\, director) and combined U
 W Choirs.    </p>\n<hr>\n<h2><strong>Program<br></strong></h2>\n<p>Three S
 pirituals:  <strong>Adolphus Hailstork</strong> (b. 1940)<br>I. Every-time
  I Feel the Spirit<br>II. Kum Ba Yah<br>III. Oh Freedom<br>Daren Weissfisc
 h\, conductor<br>Singers: Mallory McCollum\, soprano\, Cee Adamson\, mezzo
 -soprano\, Zachary Fitzgerald\, tenor\, Justin Birchell\, baritone<br><br>
 “Goin’ Home” from Symphony No. 9\, op.95 From the New World: <strong>Anton
 ín Dvořák</strong> (1841-1904)<br>Cee Adamson\, voice</p>\n<p>Earth Sympho
 ny: <strong>Jake Runestad</strong> (b. 1986)</p>\n<p></p>\n<p>What a Wonde
 rful World: <strong>Bob Thiele &amp; George David Weiss </strong>arr.<strong> 
 Matthäus Crepaz</strong></p>\n<hr>\n<h3>Program Notes</h3>\n\n<strong>Thre
 e Spirituals for Orchestra: Adolphus Hailstork</strong><br>Adolphus Hailst
 ork\, born in Rochester\, New York in 1941\, is a leading American compose
 r and a Cultural Laureate of Virginia. Educated at Howard University\, the
  Manhattan School of Music\, and Michigan State University\, where he earn
 ed his PhD\, Hailstork has taught at various universities and is currently
  on the faculty of Old Dominion University in Virginia. Known for his tech
 nical prowess\, expressive directness\, and accessible style\, Hailstork's
  compositions span a wide range of genres\, often incorporating African-Am
 erican traditions.\n\nHis 2005 composition\, 'Three Spirituals for Orchest
 ra\,' exemplifies his ability to blend traditional music with contemporary
  orchestration. The composer said\, 'I just sing. My whole fundamental app
 roach to music is lyrical\, because I came up as a singer. The vocal line\
 , the singing line\, is absolutely fundamental to my artistry.' This suite
  was created to celebrate the reopening of the Crispus Attucks Theater in 
 Norfolk\, Virginia and features three movements based on traditional spiri
 tual songs. \n\nThe first movement\, 'Everytime I Feel the Spirit\,' begin
 s with a call-and-response introduction featuring a dynamic dialogue betwe
 en strings and woodwinds followed by a prominent trumpet fanfare. The spir
 itual melody is then taken up by a solo bassoon and the violas\, but prese
 nted in an unexpected underlying phrase structure.\n\nIn the second moveme
 nt\, 'Kum Ba Yah\,' the English horn introduces the familiar tune\, suppor
 ted by a solemn string accompaniment. This movement is characterized by ri
 ch harmonies and nuanced suspensions\, with the clarinet employing jazzy a
 nd expressive glissando techniques to subtly develop the melody before the
  English horn returns to close the movement poignantly. \n\nThe final move
 ment\, 'Oh Freedom\,' is a celebratory finale with intricate woodwind inte
 rludes and robust string writing. Hailstork subjects the spiritual melody 
 to fragmentation as it bounces around the orchestra from one section to an
 other. The full brass section and percussion add exciting textures\, culmi
 nating in a declamation of the hymn driven by a repetitive snare drum rhyt
 hm and a blues-inspired bass line. The suite concludes triumphantly with t
 he main motif played in unison.\n\n'Three Spirituals for Orchestra' is an 
 example of Hailstork's mission to include the black experience in the conc
 ert halls. In his own words\, he says\, 'I’ve wanted to use African Americ
 an materials in monumental ways for our people\, because I wanted our peop
 le to have a reason to go to the concert hall. I used to say\, “African Am
 erican culture does not have to stop at the doors of the symphony hall.” I
  thought it would be a good idea for me to create works in which black peo
 ple listening to it would hear something of their own musical experience r
 eflected. They could still say\, “Hey\, I’ve heard that lick in church bef
 ore. There is something there that is a reflection of my experience as a b
 lack person in this country.” Now\, that’s cultural nationalism.'\n<p><br>Earth Symphony:  Jake Runestad<br></strong>Over hundreds of years 
 of musical creation\, composers developed the symphonic form into a potent
 \, large-scale framework for exploring profound ideas. The sheer number of
  musicians involved and long duration of the work\, allow the time\, space
 \, and sonic possibilities for a significant musical journey. For this com
 mission from True Concord Voices &amp; Orchestra\, I knew that creating a larg
 e work for these forces would necessitate a significant story to tell — on
 e of relevance and power\, drawn from our beautiful and complex human expe
 riences. Everyday we hear of more fires\, floods\, hurricanes\, droughts\,
  tsunamis\, extinctions\, and diseases that impact life around the globe. 
 The earth is changing\, due to the impact of human behavior\, and how we r
 espond to these changes will determine the survival of our species.</p>\n
 \n<br>Through brainstorming with my frequent collaborator\, poet/librettis
 t Todd Boss\, we decided that giving voice to Mother Earth would be a powe
 rful approach for this piece. Todd created a sweeping\, gorgeous\, and com
 pelling five-part monologue of a mother telling the history of her childre
 n — how they admired her\, harmed her\, and ultimately how she recovered.&lt;
 br&gt;<br>Her story begins in a pre-life genesis that tracks the evolution of
  humans\, whose apprehension of Earth’s laws endear them to her as nothing
  short of miraculous (her beloved “Mirabilia”). Movement 1: “Evolution” hi
 nts at the musical themes of each subsequent section and establishes a son
 ic relationship between Earth (D Major) and humankind (Eb Major)\, which i
 s explored throughout the work. Movement 2: “Ambition” dramatizes humanity
 ’s fall from grace by retelling the Greek myth of Icarus and harkening to 
 ancient instruments and melodies (including the Seikilos Epitaph — the old
 est\, complete musical composition yet discovered). Movement 3: “Destructi
 on” charges through a series of ecological cataclysms — forest fire\, stor
 ms\, earthquakes — illustrated by growling brass\, raging percussion\, and
  shrieking woodwinds. Movement 4: “Lament” expresses Earth’s grief in a lo
 ving farewell to humanity that echoes Henry Purcell’s 17th-century aria\, 
 “When I Am Laid in Earth” (Dido’s Lament)\, and its iconic descending bass
 -line chaconne. Movement 5: “Recovery” finds Earth restoring balance and m
 oving on\, into a deep spacetime like the one from which she emerged. By a
 nthropomorphizing Earth herself\, drawing on the familiar earth-mother tro
 pe\, “Earth Symphony” enables entry into our own ecological shame\, guilt\
 , responsibility\, potential\, and redemption\, all from a wide-angled\, t
 ime-telescoped lens\, thereby asking our most immediately pressing environ
 mental questions in an entirely new way.\n\n\n\n\n\n\n\n\n\n<h4>UW CHAMBER
  SINGERS </h4>\n<p><strong>Soprano 1</strong><br>Egija Ungure<br>June Rick
 s<br>Kyla Marshall<br>Jaden Ritscher<br>Soprano 2<br>Naomi-Hal Hoffman<br>
 Mavis Chan<br>Cassidy Cheong<br>Nandini Rathod<br><strong><br>Alto 1<br>Tatiana Boggs<br>Lainey Graham<br>Heidi Blythe<br>Ruby Whelan<br>La
 uren Reynolds</p>\n<p><strong>Alto 2</strong><br>Cee Adamson<br>Haley West
 berg<br>Sydney Belden<br>Jaja Reduque<br>Larke Witten<br>Heather Halverson
 <br><br><strong>Tenor 1</strong><br>Chad Miller<br>David Ferguson<br>Maggi
 e Petersen</p>\n<p><strong>Tenor 2</strong><br>Brayden Schwartz<br>Caleb S
 trader<br>Emmanuel (Manny) Noyola-Juarez<br><br><strong>Bass 1</strong><br>Matthew Judd<br>Dustin Peng<br>William Henry<br>Justin Birchell<br><br><s trong>Bass 2</strong><br>Scott Fikse<br>Michael McKenzie<br>Charlie Dawson
 <br>Evan Norberg<br>Logan Cox</p>\n<h4>UW CHORALE </h4>\n<p><strong>Sopran
 os</strong><br>Anne Tinker<br>Chloe Chapman<br>Chloe O'Keefe<br>Claire Kil
 lian<br>Elizabeth Brown<br>Felicia Tzeng<br>Sofia Groff<br>Nia Chandramoul
 i<br>Emily Shields<br>Kiana Gregorich<br>Katelyn Wales<br>Lauren Chenoweth
 <br>Lena Lee<br>Meena Kuduva<br>Meliza Redulla<br>Olivia Spaid<br>Shriya P
 rasanna<br>Sophie Root<br>Sydney Huang<br>Tara Zohlfaghari<br><br><strong>
 Altos</strong><br>Akhila Narayanan<br>Alexis Georgiades<br>Alina Galata (t
 hey/she)<br>Dominique Mallo<br>Ella L'Heureux<br>Emily Colombo<br>Haley We
 stberg<br>Jaja Reduque<br>Jessica Thaxton<br>Lainey Graham<br>Leah Peterso
 n<br>Lyla Cain<br>Maya Shah<br>Naomi Hal Hoffman (they/them)<br>Natalie Pe
 terson<br>Ruby Whelan<br>Silvana Segura<br>Sophie Ma<br><br><strong>Tenors
 </strong><br>Adrian Wong Cascante<br>A J Johnson<br>Alexander Trias<br>Cal
 eb Strader<br>Eric Gagliano<br>Caleb Chan<br>Gray Creech<br>Hannah Carpent
 er<br>Haoran Peng<br>Jackie Smith<br>Karsten Lomax<br>Luke Van Sickle<br>M
 ichael Lim<br>Michael Lu<br>Tim Resca<br>Madeline Rivera<br>Tyler Santos<b r>Luis Javier<br><br><strong>Basses</strong><br>Aiden Maynard<br>Andrew Ho
 ch (Hoak)<br>Brady Lindell<br>Charlie Dawson<br>Benjamin Jaudon<br>Daniel 
 Troyan<br>Dario Rojas<br>Dustin Peng<br>Gavin Morrow<br>Jonah Ladish-Orlic
 h<br>Logan Cox<br>Luke Granger<br>Taylor Bellamy<br>Thayden Boome<br>Will 
 Henry<br>Zaref Anderson<br>Zane Bowmer-Vath<br>Mario D'Ambrosio<br>Dreyden
  Brown</p>\n<h4>University of Washington Symphony Orchestra<br></h4>\n<p>D
 avid Alexander Rahbee\, Music Director and Conductor<br>Ryan Farris and Da
 ren Weissfisch\, Assistant Conductors<br></p>\n<p><strong>Flute</strong><b r>Katelyn Campbell\, Flute Performance/Biochemistry<br>Grace Jun\, MM Flut
 e Performance<br>Erin McAfee\, MM Flute Performance<br>Rachel Reyes\, DMA 
 Flute Performance<br>Yue Zhong\, BM Flute Performance</p>\n<p><strong>Picc
 olo</strong><br>Katelyn Campbell\, Flute Performance/Biochemistry <br>Erin
  McAfee\, MM Flute Performance</p>\n<p><strong>Oboe</strong><br>Max Boyd\,
  Oboe Performance<br>Lauren Majewski\, BA Global &amp; Regional Studies</p>\n&lt;
 p&gt;<strong>English Horn</strong><br>Max Boyd\, Oboe Performance</p>\n<p>Clarinet</strong><br>Ysanne Webb\, DMA Clarinet Performance<br>Nick Z
 hang\, BS Computer Science</p>\n<p><strong>Bassoon</strong><br>Ryan Kapsan
 dy\, BM Bassoon Performance<br>Griffin Smith\, Music/Philosophy<br>Eric Sh
 ankland\, BA Music History<br>Eric Spradling\, BM Bassoon Performance</p>
 \n<p><strong>Horn</strong> <br>Nicole Bogner\, Horn Performance<br>Ben Joh
 nson\, MM Horn Performance<br>Colin Laskarzewski\, BS Physics<br>Yihan Li\
 , Applied Music<br>Sam Nutt\, Molecular &amp; Cellular Biology<br>Noelani Stew
 art\, BA Political Science<br>Roger Wu Fu\, DMA Wind Conducting</p>\n<p><s trong>Trumpet</strong><br>Carter Archuleta\, Astronomy/Biophysics<br>Hans 
 Faul\, Trumpet Performance<br>Kyle Jenkins\, MM Trumpet Performance</p>\n&lt;
 p&gt;<strong>Trombone</strong><br>Peter Lin\, ACMS<br>Nathanael Wyttenbach\, 
 Music Composition</p>\n<p><strong>Bass Trombone</strong><br>Duncan Weiner\
 , Aero-Astro Engineering/Linguistics</p>\n<p><strong>Tuba</strong><br>Joel
  Horton\, MM Tuba Performance<br>Adam Mtimet\, DMA Tuba Performance</p>\n&lt;
 p&gt;<strong>Timpani</strong><br>Abigail George\, Physics/Music Performance</p>\n<p><strong>Percussion</strong><br>Ryan Baker\, Music Composition/Psych
 ology<br>Kaisho Barnhill\, Music Education<br>Abigail George\, Physics/Mus
 ic Performance</p>\n<p><strong>Piano</strong><br>Serena Chin-Daniel\, staf
 f</p>\n<p><strong>Harp</strong><br>Kelly Hou\, BM Harp/Informatics</p>\n<p><strong>Violin I</strong><br>Grace Pandra\, Violin Performance (Concertma
 ster)<br>Hanu Nahm\, Violin Performance/BS Microbiology<br>Shinyoung Hwang
 \, Engineering/Violin Performance<br>Justin Chae\, Computer Science<br>Ale
 xander Metzger\, Computer Science<br>Ido Avnon\, Computer Science/Educatio
 n<br>Brooke Chen\, Public Health<br>Kara Johnson\, Archeological Sciences&lt;
 br&gt;Kai-En Cheng\, Economics<br>Amelie Martin\, Physics/Mathematics<br>Quen
 tin Brydon\, Pre-Nursing<br>Hao Xu\, Computer Science<br>David Mok\, Compu
 ter Engineering<br>Ethan Wu\, Biochemistry<br>Lyle Deng\, Computer Science
 <br>Maya DaSilva\, Music/Law Societies &amp; Justice</p>\n<p><strong>Violin II
 </strong><br>Tia-Jane Fowler\, Computer Science/Music (Principal)<br>Nicol
 e Chen\, Informatics<br>Alice Leppert\, Chemistry<br>Sean Sasaki\, Music E
 ducation<br>Zak Azar\, Pre-Major<br>Thea Higgins\, Industrial Engineering&lt;
 br&gt;Brandon Bailey\, Computer Science<br>Terra Bronson\, ECFS<br>Allison Ka
 m\, Speech and Hearing Sciences/Linguistics<br>Kevin Lu\, Computer Science
 <br>Kate Everling\, Mathematics<br>Ling Yang\, Anthropology<br>Victoria Zh
 uang\, Pre Sciences<br>Fengrui Liu\, Pre-Social Health<br>Felicia Yeh\, Bu
 siness Administration<br>Hannah Pena-Ruiz\, Music History</p>\n<p><strong>
 Viola</strong> <br>Flora Cummings\, Viola Performance/Biology (Co-Principa
 l)<br>Mica Weiland\, Viola Performance (Co-Principal)<br>Abigail Schidler\
 , Computer Science<br>Helen Hauschka\, Pre Social Sciences<br>Aribella Bru
 shie\, Pre-Science<br>David Del Cid-Saavedra\, Education Studies<br>Melia 
 Golden\, Pre-Humanities<br>Melany Nanayakkara\, Mathematics<br>Alissa Harb
 ani\, Bioengineering/Music<br>Careu Tapang\, Pre-Sciences</p>\n<p><strong>
 Violoncello</strong> <br>Sarah Johnson\, Cello Performance (Principal)<br>
 Cory Chen\, Pre-Sciences<br>Nathan Evans\, Cello Performance<br>Ethan Kim\
 , Psychology<br>Ignacio (Nacho) Tejeda\, PhD Mathematics<br>Mina Wang\, Ce
 llo Performance<br>Katherine Kang\, Human Centered Design &amp; Engineering<br>Amanda Song\, Business<br>Breanna Humphrey\, Microbiology<br>Andrew Vu\, 
 Biology/Chemistry<br>Ava Reese\, Anthropology<br>Elijah Kashman\, Engineer
 ing Undeclared<br>Noah Croskey\, Engineering Undeclared<br>Bashir Abdel-Fa
 ttah\, PhD Mathematics</p>\n<p><strong>Bass</strong> <br>Amelia Matsumoto\
 , Engineering (Principal)<br>Rina Ishii\, Environmental Science<br>Eddie N
 ikishina\, BM Music Performance<br>Alejandra Heringer\, English<br>Gabriel
 la Kelley\, Philosophy: Ethics/Pre-Law<br>Beau Wood\, MM Jazz Studies</p>
 \n\n\n\n\n<h2>Biographies</h2>\n<h3 class='font
 _8 wixui-rich-text__text'><a href='https://www.sunny-xia.com' target='_bla
 nk' rel='noopener noreferrer'></a></h3>
DTSTART;TZID=America/Los_Angeles:20240531T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:60
SUMMARY:: UW Symphony with UW Choirs: “What a Wonderful World'
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-06-01/uw-symphony-uw-choirs-wh
 at-wonderful-world
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>Geoffrey Boers leads this year-end pr
 ogram by the University of Washington Symphony (David Alexander Rahbee\, d
 irector) and combined UW Choirs.   </span><span><span class='gmail-Apple-c
 onverted-space'> </span></span></p> <hr> <h2><strong>Program<br></strong>&lt;
 /h2&gt; <p>Three Spirituals:  <strong>Adolphus Hailstork</strong> (b. 1940)<b r>I. Every-time I Feel the Spirit<br>II. Kum Ba Yah<br>III. Oh Freedom<br>
 <em>Daren Weissfisch\, conductor</em><br><em>Singers: Mallory McCollum\, s
 oprano\, Cee Adamson\, mezzo-soprano\, Zachary Fitzgerald\, tenor\, Justin
  Birchell\, baritone</em><br><br>“Goin’ Home” from Symphony No. 9\, op.95 
 From the New World: <strong>Antonín Dvořák</strong> (1841-1904)<br><em>Cee
  Adamson\, voice</em></p> <p>Earth Symphony: <strong>Jake Runestad</strong> (b. 1986)</p> <p></p> <p>What a Wonderful World: <strong>Bob Thiele &amp; Ge
 orge David Weiss </strong>arr.<strong> Matthäus Crepaz</strong></p> <hr> &lt;
 h3&gt;Program Notes</h3> <div> <div dir='auto'><strong>Three Spirituals for O
 rchestra: Adolphus Hailstork</strong><br>Adolphus Hailstork\, born in Roch
 ester\, New York in 1941\, is a leading American composer and a Cultural L
 aureate of Virginia. Educated at Howard University\, the Manhattan School 
 of Music\, and Michigan State University\, where he earned his PhD\, Hails
 tork has taught at various universities and is currently on the faculty of
  Old Dominion University in Virginia. Known for his technical prowess\, ex
 pressive directness\, and accessible style\, Hailstork's compositions span
  a wide range of genres\, often incorporating African-American traditions.
 </div> <div dir='auto'></div> <div dir='auto'>His 2005 composition\, 'Thre
 e Spirituals for Orchestra\,' exemplifies his ability to blend traditional
  music with contemporary orchestration. The composer said\, 'I just sing. 
 My whole fundamental approach to music is lyrical\, because I came up as a
  singer. The vocal line\, the singing line\, is absolutely fundamental to 
 my artistry.' This suite was created to celebrate the reopening of the Cri
 spus Attucks Theater in Norfolk\, Virginia and features three movements ba
 sed on traditional spiritual songs. </div> <div dir='auto'></div> <div dir='auto'>The first movement\, 'Everytime I Feel the Spirit\,' begins with a
  call-and-response introduction featuring a dynamic dialogue between strin
 gs and woodwinds followed by a prominent trumpet fanfare. The spiritual me
 lody is then taken up by a solo bassoon and the violas\, but presented in 
 an unexpected underlying phrase structure.</div> <div dir='auto'></div> In the second movement\, 'Kum Ba Yah\,' the English horn int
 roduces the familiar tune\, supported by a solemn string accompaniment. Th
 is movement is characterized by rich harmonies and nuanced suspensions\, w
 ith the clarinet employing jazzy and expressive glissando techniques to su
 btly develop the melody before the English horn returns to close the movem
 ent poignantly. </div> <div dir='auto'></div> <div dir='auto'>The final mo
 vement\, 'Oh Freedom\,' is a celebratory finale with intricate woodwind in
 terludes and robust string writing. Hailstork subjects the spiritual melod
 y to fragmentation as it bounces around the orchestra from one section to 
 another. The full brass section and percussion add exciting textures\, cul
 minating in a declamation of the hymn driven by a repetitive snare drum rh
 ythm and a blues-inspired bass line. The suite concludes triumphantly with
  the main motif played in unison.</div> <div dir='auto'></div> <div dir='a
 uto'>'Three Spirituals for Orchestra' is an example of Hailstork's mission
  to include the black experience in the concert halls. In his own words\, 
 he says\, 'I’ve wanted to use African American materials in monumental way
 s for our people\, because I wanted our people to have a reason to go to t
 he concert hall. I used to say\, “African American culture does not have t
 o stop at the doors of the symphony hall.” I thought it would be a good id
 ea for me to create works in which black people listening to it would hear
  something of their own musical experience reflected. They could still say
 \, “Hey\, I’ve heard that lick in church before. There is something there 
 that is a reflection of my experience as a black person in this country.” 
 Now\, that’s cultural nationalism.'</div> <p><strong><i><br>Earth Symphony
 : </i> Jake Runestad<br></strong>Over hundreds of years of musical creatio
 n\, composers developed the symphonic form into a potent\, large-scale fra
 mework for exploring profound ideas. The sheer number of musicians involve
 d and long duration of the work\, allow the time\, space\, and sonic possi
 bilities for a significant musical journey. For this commission from True 
 Concord Voices &amp; Orchestra\, I knew that creating a large work for these f
 orces would necessitate a significant story to tell — one of relevance and
  power\, drawn from our beautiful and complex human experiences. Everyday 
 we hear of more fires\, floods\, hurricanes\, droughts\, tsunamis\, extinc
 tions\, and diseases that impact life around the globe. The earth is chang
 ing\, due to the impact of human behavior\, and how we respond to these ch
 anges will determine the survival of our species.</p> </div> <div><br>Thro
 ugh brainstorming with my frequent collaborator\, poet/librettist Todd Bos
 s\, we decided that giving voice to Mother Earth would be a powerful appro
 ach for this piece. Todd created a sweeping\, gorgeous\, and compelling fi
 ve-part monologue of a mother telling the history of her children — how th
 ey admired her\, harmed her\, and ultimately how she recovered.<br><br>Her
  story begins in a pre-life genesis that tracks the evolution of humans\, 
 whose apprehension of Earth’s laws endear them to her as nothing short of 
 miraculous (her beloved “Mirabilia”). Movement 1: “Evolution” hints at the
  musical themes of each subsequent section and establishes a sonic relatio
 nship between Earth (D Major) and humankind (Eb Major)\, which is explored
  throughout the work. Movement 2: “Ambition” dramatizes humanity’s fall fr
 om grace by retelling the Greek myth of Icarus and harkening to ancient in
 struments and melodies (including the Seikilos Epitaph — the oldest\, comp
 lete musical composition yet discovered). Movement 3: “Destruction” charge
 s through a series of ecological cataclysms — forest fire\, storms\, earth
 quakes — illustrated by growling brass\, raging percussion\, and shrieking
  woodwinds. Movement 4: “Lament” expresses Earth’s grief in a loving farew
 ell to humanity that echoes Henry Purcell’s 17th-century aria\, “When I Am
  Laid in Earth” (Dido’s Lament)\, and its iconic descending bass-line chac
 onne. Movement 5: “Recovery” finds Earth restoring balance and moving on\,
  into a deep spacetime like the one from which she emerged. By anthropomor
 phizing Earth herself\, drawing on the familiar earth-mother trope\, “Eart
 h Symphony” enables entry into our own ecological shame\, guilt\, responsi
 bility\, potential\, and redemption\, all from a wide-angled\, time-telesc
 oped lens\, thereby asking our most immediately pressing environmental que
 stions in an entirely new way.</div> <div> <div> <div dir='ltr' class='gma
 il_signature' data-smartmail='gmail_signature'></div> </div> </div> <table> <tbody> <tr> <td> <h4>UW C
 HAMBER SINGERS </h4> <p><strong>Soprano 1</strong><br>Egija Ungure<br>June
  Ricks<br>Kyla Marshall<br>Jaden Ritscher<br>Soprano 2<br>Naomi-Hal Hoffma
 n<br>Mavis Chan<br>Cassidy Cheong<br>Nandini Rathod<br><strong><br>Alto 1&lt;
 /strong&gt;<br>Tatiana Boggs<br>Lainey Graham<br>Heidi Blythe<br>Ruby Whelan&lt;
 br&gt;Lauren Reynolds</p> <p><strong>Alto 2</strong><br>Cee Adamson<br>Haley 
 Westberg<br>Sydney Belden<br>Jaja Reduque<br>Larke Witten<br>Heather Halve
 rson<br><br><strong>Tenor 1</strong><br>Chad Miller<br>David Ferguson<br>M
 aggie Petersen</p> <p><strong>Tenor 2</strong><br>Brayden Schwartz<br>Cale
 b Strader<br>Emmanuel (Manny) Noyola-Juarez<br><br><strong>Bass 1</strong>
 <br>Matthew Judd<br>Dustin Peng<br>William Henry<br>Justin Birchell<br><br><strong>Bass 2</strong><br>Scott Fikse<br>Michael McKenzie<br>Charlie Daw
 son<br>Evan Norberg<br>Logan Cox</p> <h4>UW CHORALE </h4> <p><strong>Sopra
 nos</strong><br>Anne Tinker<br>Chloe Chapman<br>Chloe O'Keefe<br>Claire Ki
 llian<br>Elizabeth Brown<br>Felicia Tzeng<br>Sofia Groff<br>Nia Chandramou
 li<br>Emily Shields<br>Kiana Gregorich<br>Katelyn Wales<br>Lauren Chenowet
 h<br>Lena Lee<br>Meena Kuduva<br>Meliza Redulla<br>Olivia Spaid<br>Shriya 
 Prasanna<br>Sophie Root<br>Sydney Huang<br>Tara Zohlfaghari<br><br><strong>Altos</strong><br>Akhila Narayanan<br>Alexis Georgiades<br>Alina Galata (
 they/she)<br>Dominique Mallo<br>Ella L'Heureux<br>Emily Colombo<br>Haley W
 estberg<br>Jaja Reduque<br>Jessica Thaxton<br>Lainey Graham<br>Leah Peters
 on<br>Lyla Cain<br>Maya Shah<br>Naomi Hal Hoffman (they/them)<br>Natalie P
 eterson<br>Ruby Whelan<br>Silvana Segura<br>Sophie Ma<br><br><strong>Tenor
 s</strong><br>Adrian Wong Cascante<br>A J Johnson<br>Alexander Trias<br>Ca
 leb Strader<br>Eric Gagliano<br>Caleb Chan<br>Gray Creech<br>Hannah Carpen
 ter<br>Haoran Peng<br>Jackie Smith<br>Karsten Lomax<br>Luke Van Sickle<br>
 Michael Lim<br>Michael Lu<br>Tim Resca<br>Madeline Rivera<br>Tyler Santos&lt;
 br&gt;Luis Javier<br><br><strong>Basses</strong><br>Aiden Maynard<br>Andrew H
 och (Hoak)<br>Brady Lindell<br>Charlie Dawson<br>Benjamin Jaudon<br>Daniel
  Troyan<br>Dario Rojas<br>Dustin Peng<br>Gavin Morrow<br>Jonah Ladish-Orli
 ch<br>Logan Cox<br>Luke Granger<br>Taylor Bellamy<br>Thayden Boome<br>Will
  Henry<br>Zaref Anderson<br>Zane Bowmer-Vath<br>Mario D'Ambrosio<br>Dreyde
 n Brown</p> <h4>University of Washington Symphony Orchestra<br><em></em></h4> <p><em>David Alexander Rahbee\, Music Director and Conductor</em><br>&lt;
 em&gt;Ryan Farris and Daren Weissfisch\, Assistant Conductors<br></em></p> <p><strong>Flute</strong><br>Katelyn Campbell\, Flute Performance/Biochemist
 ry<br>Grace Jun\, MM Flute Performance<br>Erin McAfee\, MM Flute Performan
 ce<br>Rachel Reyes\, DMA Flute Performance<br>Yue Zhong\, BM Flute Perform
 ance</p> <p><strong>Piccolo</strong><br>Katelyn Campbell\, Flute Performan
 ce/Biochemistry <br>Erin McAfee\, MM Flute Performance</p> <p><strong>Oboe
 </strong><br>Max Boyd\, Oboe Performance<br>Lauren Majewski\, BA Global &amp; 
 Regional Studies</p> <p><strong>English Horn</strong><br>Max Boyd\, Oboe P
 erformance</p> <p><strong>Clarinet</strong><br>Ysanne Webb\, DMA Clarinet 
 Performance<br>Nick Zhang\, BS Computer Science</p> <p><strong>Bassoon<br>Ryan Kapsandy\, BM Bassoon Performance<br>Griffin Smith\, Music/P
 hilosophy<br>Eric Shankland\, BA Music History<br>Eric Spradling\, BM Bass
 oon Performance</p> <p><strong>Horn</strong> <br>Nicole Bogner\, Horn Perf
 ormance<br>Ben Johnson\, MM Horn Performance<br>Colin Laskarzewski\, BS Ph
 ysics<br>Yihan Li\, Applied Music<br>Sam Nutt\, Molecular &amp; Cellular Biolo
 gy<br>Noelani Stewart\, BA Political Science<br>Roger Wu Fu\, DMA Wind Con
 ducting</p> <p><strong>Trumpet</strong><br>Carter Archuleta\, Astronomy/Bi
 ophysics<br>Hans Faul\, Trumpet Performance<br>Kyle Jenkins\, MM Trumpet P
 erformance</p> <p><strong>Trombone</strong><br>Peter Lin\, ACMS<br>Nathana
 el Wyttenbach\, Music Composition</p> <p><strong>Bass Trombone</strong><br>Duncan Weiner\, Aero-Astro Engineering/Linguistics</p> <p><strong>Tuba</s><br>Joel Horton\, MM Tuba Performance<br>Adam Mtimet\, DMA Tuba Perf
 ormance</p> <p><strong>Timpani</strong><br>Abigail George\, Physics/Music 
 Performance</p> <p><strong>Percussion</strong><br>Ryan Baker\, Music Compo
 sition/Psychology<br>Kaisho Barnhill\, Music Education<br>Abigail George\,
  Physics/Music Performance</p> <p><strong>Piano</strong><br>Serena Chin-Da
 niel\, staff</p> <p><strong>Harp</strong><br>Kelly Hou\, BM Harp/Informati
 cs</p> <p><strong>Violin I</strong><br>Grace Pandra\, Violin Performance (
 Concertmaster)<br>Hanu Nahm\, Violin Performance/BS Microbiology<br>Shinyo
 ung Hwang\, Engineering/Violin Performance<br>Justin Chae\, Computer Scien
 ce<br>Alexander Metzger\, Computer Science<br>Ido Avnon\, Computer Science
 /Education<br>Brooke Chen\, Public Health<br>Kara Johnson\, Archeological 
 Sciences<br>Kai-En Cheng\, Economics<br>Amelie Martin\, Physics/Mathematic
 s<br>Quentin Brydon\, Pre-Nursing<br>Hao Xu\, Computer Science<br>David Mo
 k\, Computer Engineering<br>Ethan Wu\, Biochemistry<br>Lyle Deng\, Compute
 r Science<br>Maya DaSilva\, Music/Law Societies &amp; Justice</p> <p><strong>V
 iolin II</strong><br>Tia-Jane Fowler\, Computer Science/Music (Principal)&lt;
 br&gt;Nicole Chen\, Informatics<br>Alice Leppert\, Chemistry<br>Sean Sasaki\,
  Music Education<br>Zak Azar\, Pre-Major<br>Thea Higgins\, Industrial Engi
 neering<br>Brandon Bailey\, Computer Science<br>Terra Bronson\, ECFS<br>Al
 lison Kam\, Speech and Hearing Sciences/Linguistics<br>Kevin Lu\, Computer
  Science<br>Kate Everling\, Mathematics<br>Ling Yang\, Anthropology<br>Vic
 toria Zhuang\, Pre Sciences<br>Fengrui Liu\, Pre-Social Health<br>Felicia 
 Yeh\, Business Administration<br>Hannah Pena-Ruiz\, Music History</p> <p>&lt;
 strong&gt;Viola</strong> <br>Flora Cummings\, Viola Performance/Biology (Co-P
 rincipal)<br>Mica Weiland\, Viola Performance (Co-Principal)<br>Abigail Sc
 hidler\, Computer Science<br>Helen Hauschka\, Pre Social Sciences<br>Aribe
 lla Brushie\, Pre-Science<br>David Del Cid-Saavedra\, Education Studies<br>Melia Golden\, Pre-Humanities<br>Melany Nanayakkara\, Mathematics<br>Alis
 sa Harbani\, Bioengineering/Music<br>Careu Tapang\, Pre-Sciences</p> <p><s trong>Violoncello</strong> <br>Sarah Johnson\, Cello Performance (Principa
 l)<br>Cory Chen\, Pre-Sciences<br>Nathan Evans\, Cello Performance<br>Etha
 n Kim\, Psychology<br>Ignacio (Nacho) Tejeda\, PhD Mathematics<br>Mina Wan
 g\, Cello Performance<br>Katherine Kang\, Human Centered Design &amp; Engineer
 ing<br>Amanda Song\, Business<br>Breanna Humphrey\, Microbiology<br>Andrew
  Vu\, Biology/Chemistry<br>Ava Reese\, Anthropology<br>Elijah Kashman\, En
 gineering Undeclared<br>Noah Croskey\, Engineering Undeclared<br>Bashir Ab
 del-Fattah\, PhD Mathematics</p> <p><strong>Bass</strong> <br>Amelia Matsu
 moto\, Engineering (Principal)<br>Rina Ishii\, Environmental Science<br>Ed
 die Nikishina\, BM Music Performance<br>Alejandra Heringer\, English<br>Ga
 briella Kelley\, Philosophy: Ethics/Pre-Law<br>Beau Wood\, MM Jazz Studies
 </p> </td> </tr> </tbody> </table> <h2>Biograph
 ies</h2> <h3 class='font_8 wixui-rich-text__text'><a href='https://www.sun
 ny-xia.com' target='_blank' rel='noopener noreferrer'></a></h3>
END:VEVENT
BEGIN:VEVENT
UID:bad5234c-23e3-4676-9d23-20f89baf0565
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20240520T162853Z
DESCRIPTION:<p>A degree recital by Michelle Witt (DMA violin)\, a student o
 f Rachel Lee Priday\, performing works by Shostakovich and Brahms. With Al
 ex Kostadinov\, piano. </p>\n<hr>\n<h3><strong>PROGRAM</strong></h3>\n<p>&lt;
 strong&gt;Dmitri Shostakovich: </strong>Sonata for Violin and Piano in G majo
 r\, Op. 134</p>\n<p><strong>Johannes Brahms:</strong> Violin Sonata No.3\,
  Op.108</p>\n<hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20240531T193000
LAST-MODIFIED:20240524T190600Z
SEQUENCE:61
SUMMARY:: Degree Recital: Michelle Witt\, DMA violin
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-06-01/degree-recital-michelle-
 witt-dma-violin
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>A degree recital by Michelle Witt (DMA viol
 in)\, a student of Rachel Lee Priday\, performing<span> works by Shostakov
 ich and Brahms. With Alex Kostadinov\, piano. </span></p> <hr> <h3><strong>PROGRAM</strong></h3> <p><strong>Dmitri Shostakovich:<em> </em></strong>S
 onata for Violin and Piano<span> in G major\, Op. 134</span></p> <p>Johannes Brahms:</strong> Violin Sonata No.3\, Op.108</p> <hr> <p><span>
 </span></p>
END:VEVENT
BEGIN:VEVENT
UID:27d7db46-0f15-4a54-8887-9331cb33acd7
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20240517T174045Z
DESCRIPTION:<p> Mavis Chan (BM\, Voice)\, a stud
 ent of Dr. Carrie Shaw\, presents a senior degree recital\, 'Memories to H
 old Onto\,' performing works from Loewe\, Poulenc\, Previn\, and others. W
 ith Dhayoung Yoon\, piano.</p>\n<hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20240601T133000
LAST-MODIFIED:20240517T174915Z
SEQUENCE:62
SUMMARY:: Degree Recital: Mavis Chan\, BM Voice
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-06-01/degree-recital-mavis-cha
 n-bm-voice
END:VEVENT
BEGIN:VEVENT
UID:887eb7c9-2d54-4d3f-bb0c-b125b2f96dc1
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20230814T220707Z
DESCRIPTION:<p>The UW Composition program presents a year-end concert of wo
 rks by student composers.</p>\n<hr>\n<h3 class='gmail-p2'>Program</h3>\n<p><strong>The Chicken Wars — Alex Ryan</strong><br>for voice\, viola\, bass
 oon\, and piano</p>\n<p>Alex Ryan\, voice<br>Abigail Schidler\, viola<br>G
 riffin Smith\, bassoon<br>Kaisho Barnhill\, piano</p>\n<p><strong>Memory —
  Taylor James Bellamy</strong><br>for fixed media</p>\n<p><strong>The Four
  Guardians — Elly Lee</strong><br>for voice\, tuba\, cello\, and double ba
 ss</p>\n<p>Elly Lee\, voice<br>Foster Patterson\, tuba<br>Serena Tideman\,
  cello<br>Eddie Nikishina\, double bass</p>\n<p><strong>Café concret — Rya
 n Baker</strong><br>for fixed media</p>\n<p><strong>In the Garden Suite — 
 Serena Tideman </strong><br>for flute\, tuba\, percussion\, harp\, piano\,
  cello\, double bass\, and electronics<br>I. Nightingales <br>II. Interlud
 e <br>III. Sunday Morning</p>\n<p>Rachel Reyes\, flute<br>Cole Henslee\, t
 uba<br>Foster Patterson\, tuba<br>Melissa Wang\, percussion<br>Kelly Guang
 yin Hou\, harp<br>Chiao-Yu Wu\, piano<br>Serena Tideman\, cello<br>Eddie N
 ikishina\, double bass<br>Elly Lee\, electronics</p>\n<p>INTERMISSION</p>
 \n<p><strong>From Silence to Quiet — Eddie Nikishina</strong><br>for voice
 \, tuba\, cello\, and double bass</p>\n<p>Elly Lee\, voice<br>Foster Patte
 rson\, tuba<br>Serena Tideman\, cello<br>Eddie Nikishina\, double bass<br>
 <br></p>\n<p><strong>Samenstück (excerpts) — Justin Zeitlinger</strong><br>for fixed media<br>398112639.wav<br>278326434.wav <br>283485835.wav</p>\n
 <p><strong>The Tiger and the Gotgam — Foster Patterson</strong><br>for voi
 ce\, tuba\, cello\, and double bass<br><br>Elly Lee\, voice<br>Foster Patt
 erson\, tuba<br>Serena Tideman\, cello<br>Eddie Nikishina\, double bass</p>\n<p><strong>What's it like to be you? — Sophie Ma</strong><br>for fixed 
 media</p>\n<p><strong>Into the Blue — Ryan Rose</strong><br>for voice\, vi
 olin\, double bass\, percussion\, and piano</p>\n<p>Sophie Ma\, voice<br> 
 Justin Zeitlinger\, violin<br>Eddie Nikishina\, double bass<br>Ryan Baker\
 , Melissa Wang\, percussion<br>Kaisho Barnhill\, piano</p>\n<hr>\n<h3>Prog
 ram Notes</h3>\n<p><strong>The Chicken Wars - Alex Ryan<br></strong>This p
 iece is a study of the melody and harmony underlying narrative oration. Pi
 tches were drawn from a recording of this monologue and harmonies were der
 ived from those pitches. In many cases\, the subjective assignment of pitc
 h to a given syllable changed on different listenings\, and in those cases
  intervals were assigned\, which further clarified harmonies. The piece is
  intended as a collaborative storytelling effort meant to highlight the mu
 sicality of speech.</p>\n<p><strong>The Four Guardians - Elly Lee<br>Over a distant mountain\, there’s a golden land where honey flows<br>O
 ver the brilliant sky\, the four guardians dance<br><br>At sunrise on a wa
 rm spring day\, across the green forest<br>At noon in the hot summer\, thr
 ough the red flames<br>At sunset on a cool autumn day\, through a field fi
 lled with white iron<br>At midnight in the cold winter\, crossing the blac
 k sea</p>\n<p>The image of the sky leads to the earth\,<br>Guardians of th
 e universe\, lead us to the right way</p>\n<p>Ah\, the four symbols shine 
 brightly<br>Retreat\, as darkness and chaos won't stop us<br>Ah\, nature a
 nd man have become one<br>Praise\, as balance and harmony will last foreve
 r</p>\n<p>At dawn\, a blue dragon flies to the east<br>At midday\, a red b
 ird glides to the south<br>At dusk\, a white tiger runs to the west<br>At 
 midnight\, a black turtle crawls to the north</p>\n<p>The image of the sky
  leads to the earth\,<br>Guardians of the universe\, lead us to the right 
 way</p>\n<p>Ah\, the four symbols shine brightly<br>Retreat\, as darkness 
 and chaos won't stop us<br>Ah\, nature and man have become one<br>Praise\,
  as balance and harmony will last forever</p>\n<p>Ah\, four gods are looki
 ng over us<br>Make way\, not even time and space can stop them<br>Ah\, the
  sky and the earth are united<br>Forever\, continuing reincarnation and pe
 ace</p>\n<p>Ah\, the four symbols shine brightly<br>Retreat\, as darkness 
 and chaos won't stop us<br>Ah\, nature and man have become one<br>Praise\,
  as balance and harmony will last forever</p>\n<p><strong>In the Garden Su
 ite - Serena Tideman<br></strong>In the Garden Suite is inspired by nighti
 ngales\, both those of Beatrice Harrison’s garden<br>and the one of the fa
 iry tale by Hans Christian Anderson\, and also the nightingales in<br>Berl
 in that improvisers serenade. Beatrice Harrison was the “favorite cellist”
  of Edward<br>Elgar\, and made the first recording of the Elgar Cello Conc
 erto with the composer<br>conducting. She also made a popular weekly BBC b
 roadcast playing cello with birds in her<br>garden until WWII bombing forc
 ed the radio show to go silent. In the Nightingale fairytale\,<br>the Empe
 ror covets the beautiful singing nightingale and has it brought from the p
 alace<br>gardens to a golden cage inside the palace. Then someone gives hi
 m the gift of a<br>mechanical nightingale\, and he forgets about the real 
 nightingale. After his mechanical<br>nightingale breaks\, he is heartbroke
 n and on his deathbed. The real nightingale\, free of its<br>cage\, attemp
 ts to serenade him one last time before returning to the garden. The piece
 <br>utilizes elements of “musique concrete” and field recordings of birds\
 , including an archival<br>recording from Beatrice Harrison’s garden\, as 
 well as some stylistic influence from Elgar’s<br>elegiac melancholy and a 
 “mechanical bird” made from a “beepbox” loop. Visualizing<br>lush gardens 
 and also the death of gardens\, to be replaced 100 years later with buildi
 ngs\,<br>and then in certain places\, the wildness regains tractions. “Com
 pose for your friends”<br>recommends Nico Muhly. For “In the Garden Suite”
  I have tried to compose for my friends\,<br>and for the heroic ghosts of 
 yesteryear. Even if at times it is melancholy\, it also has<br>moments of 
 peace and mirth.</p>\n<p><strong>From Silence to Quiet - Eddie Nikishina<b r></strong>Through the gradual building of a melody and revoicing of harmo
 nies\, From Silence to Quiet follows the changing perspectives of a person
  seeking to understand and accept an aspect of their identity. Unknowing A
 lways\, always on the brink of words Silence blares\, refusing Wordless di
 n\, chilling conclusion Why? Disapprove of this\, without knowing why Reas
 ons indistinct become true Why this? To stand and watch trials of once car
 efree mirrors Is to be grateful Grateful to fear Unsettled Halting Silent 
 Still Longing to soften from silence to quiet Unseen by contention\, unmov
 ed by warmth</p>\n<p><strong>Samenstück - Justin Zeitlinger<br></strong>I 
 am presenting here a few of the individual audio tracks that make up my in
 stallation piece<br>Samenstück (for five hanging cassette players)\, which
  was shown at the UW Biology Greenhouse as part of the exhibition An uncan
 ny garden on May 22–24\, 2024. Below is the description that accompanied<b r>the installation:</p>\n<p>Samenstück is a sound installation consisting 
 of five independent 45-minute cassette tapes. Each one employs granular an
 d concatenative synthesis techniques from samples of classical music that 
 invoke or depict plant life\, in various “ripe” (heavily altered) / “unrip
 e” (quotation) and “seed” (chopped) / “plant” (linear) forms. The cassette
  tapes and the music they play comment on the relationship between analog 
 technology and nature\, as well as uncover the web of themes that these cl
 assical works import in their associations with nature: love\, longing\, G
 od\, alienation\, human folly. Additional decorative strands of cassette t
 ape visually connect the medium of the sound with the organic plant bodies
 .</p>\n<p>As the tapes run out\, each one must be manually rewinded\, caus
 ing the “channels” to fall out of sync and an irreproducibly-evolving soun
 dscape to emerge over time.</p>\n<p>For this concert version\, the tracks 
 are played as individual sound-objects—one at a time—to offer an alternati
 ve (and perhaps more focused) perspective from the soundscape inside the g
 reenhouse.</p>\n<p><strong>The Tiger and the Gotgam - Foster Patterson<br>
 </strong>This setting of the Korean folk story\, “The Tiger and the Gotgam
 ” (also known as “The Rabbit’s Tail”) for chamber ensemble and narrator re
 volves around the cultural and musical function of the minor third. From t
 he symmetry of the diminished seventh chord\, to the depiction of children
  in music\, to its cadential function in the south-western Korean styles S
 anjo and Pansori\, to the many calls\, taunts\, and cheers that have devel
 oped throughout history and across different cultures\, this piece aims to
  wring this interval of all its implicative juices and then further twist 
 it into evocative shapes with the help of rhythmic patterns(Jangdan) from 
 the Sanjo and Pansori traditions. I hope you enjoy this story of mischief 
 and misunderstandings\, and of course\, watch out for the Gotgam. </p>\n<p><strong>Into the Blue - Ryan Rose<br></strong>The ocean\, sometimes refer
 red to as the blue\, can be very calming with its oscillating waves and it
 s great\, everchanging stasis. At the same time\, the deep waters hold gre
 at mysteries and can seem very dangerous. The phrase out of the blue is us
 ed to depict how something happened to you unexpectedly. Inversely\, into 
 the blue could mean that you willingly dive into the unknown\, facing the 
 potential scare directly. At times\, one may find themselves stuck in the 
 stasis of the everyday\, waiting for life to act on them\, but choosing to
  take the risks of action leads to a meaningful life. Rather than waiting 
 for life to happen\, jump into the blue and see what it holds.</p>\n<hr>\n
 <h3> Director Biographies</h3>
DTSTART;TZID=America/Los_Angeles:20240601T193000
LAST-MODIFIED:20240530T191227Z
SEQUENCE:63
SUMMARY:: Composition Studio
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-06-02/composition-studio
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>The UW Composition program presents a
  year-end concert of works by student composers.</span></p> <hr> <h3 class='gmail-p2'>Program</h3> <p><strong>The Chicken Wars — Alex Ryan</strong>&lt;
 br&gt;for voice\, viola\, bassoon\, and piano</p> <p>Alex Ryan\, voice<br>Abi
 gail Schidler\, viola<br>Griffin Smith\, bassoon<br>Kaisho Barnhill\, pian
 o</p> <p><strong>Memory — Taylor James Bellamy</strong><br>for fixed media
 </p> <p><strong>The Four Guardians — Elly Lee</strong><br>for voice\, tuba
 \, cello\, and double bass</p> <p>Elly Lee\, voice<br>Foster Patterson\, t
 uba<br>Serena Tideman\, cello<br>Eddie Nikishina\, double bass</p> <p>Café concret — Ryan Baker</strong><br>for fixed media</p> <p><strong>I
 n the Garden Suite — Serena Tideman </strong><br>for flute\, tuba\, percus
 sion\, harp\, piano\, cello\, double bass\, and electronics<br>I. Nighting
 ales <br>II. Interlude <br>III. Sunday Morning</p> <p>Rachel Reyes\, flute
 <br>Cole Henslee\, tuba<br>Foster Patterson\, tuba<br>Melissa Wang\, percu
 ssion<br>Kelly Guangyin Hou\, harp<br>Chiao-Yu Wu\, piano<br>Serena Tidema
 n\, cello<br>Eddie Nikishina\, double bass<br>Elly Lee\, electronics</p> &lt;
 p&gt;INTERMISSION</p> <p><strong>From Silence to Quiet — Eddie Nikishina<br>for voice\, tuba\, cello\, and double bass</p> <p>Elly Lee\, voice
 <br>Foster Patterson\, tuba<br>Serena Tideman\, cello<br>Eddie Nikishina\,
  double bass<br><br></p> <p><strong>Samenstück (excerpts) — Justin Zeitlin
 ger</strong><br>for fixed media<br>398112639.wav<br>278326434.wav <br>2834
 85835.wav</p> <p><strong>The Tiger and the Gotgam — Foster Patterson<br>for voice\, tuba\, cello\, and double bass<br><br>Elly Lee\, voice&lt;
 br&gt;Foster Patterson\, tuba<br>Serena Tideman\, cello<br>Eddie Nikishina\, 
 double bass</p> <p><strong>What's it like to be you? — Sophie Ma</strong>&lt;
 br&gt;for fixed media</p> <p><strong>Into the Blue — Ryan Rose</strong><br>fo
 r voice\, violin\, double bass\, percussion\, and piano</p> <p>Sophie Ma\,
  voice<br> Justin Zeitlinger\, violin<br>Eddie Nikishina\, double bass<br>
 Ryan Baker\, Melissa Wang\, percussion<br>Kaisho Barnhill\, piano</p> <hr>
  <h3>Program Notes</h3> <p><strong><em>The Chicken Wars</em> - Alex Ryan<b r></strong>This piece is a study of the melody and harmony underlying narr
 ative oration. Pitches were drawn from a recording of this monologue and h
 armonies were derived from those pitches. In many cases\, the subjective a
 ssignment of pitch to a given syllable changed on different listenings\, a
 nd in those cases intervals were assigned\, which further clarified harmon
 ies. The piece is intended as a collaborative storytelling effort meant to
  highlight the musicality of speech.</p> <p><strong><em>The Four Guardians
 </em> - Elly Lee<br></strong>Over a distant mountain\, there’s a golden la
 nd where honey flows<br>Over the brilliant sky\, the four guardians dance&lt;
 br&gt;<br>At sunrise on a warm spring day\, across the green forest<br>At noo
 n in the hot summer\, through the red flames<br>At sunset on a cool autumn
  day\, through a field filled with white iron<br>At midnight in the cold w
 inter\, crossing the black sea</p> <p>The image of the sky leads to the ea
 rth\,<br>Guardians of the universe\, lead us to the right way</p> <p>Ah\, 
 the four symbols shine brightly<br>Retreat\, as darkness and chaos won't s
 top us<br>Ah\, nature and man have become one<br>Praise\, as balance and h
 armony will last forever</p> <p>At dawn\, a blue dragon flies to the east&lt;
 br&gt;At midday\, a red bird glides to the south<br>At dusk\, a white tiger r
 uns to the west<br>At midnight\, a black turtle crawls to the north</p> <p>The image of the sky leads to the earth\,<br>Guardians of the universe\, 
 lead us to the right way</p> <p>Ah\, the four symbols shine brightly<br>Re
 treat\, as darkness and chaos won't stop us<br>Ah\, nature and man have be
 come one<br>Praise\, as balance and harmony will last forever</p> <p>Ah\, 
 four gods are looking over us<br>Make way\, not even time and space can st
 op them<br>Ah\, the sky and the earth are united<br>Forever\, continuing r
 eincarnation and peace</p> <p>Ah\, the four symbols shine brightly<br>Retr
 eat\, as darkness and chaos won't stop us<br>Ah\, nature and man have beco
 me one<br>Praise\, as balance and harmony will last forever</p> <p><strong><em>In the Garden Suite</em> - Serena Tideman<br></strong><span><em>In th
 e Garden Suite</em> is inspired by nightingales\, both those of Beatrice H
 arrison’s garden<br>and the one of the fairy tale by Hans Christian Anders
 on\, and also the nightingales in<br>Berlin that improvisers serenade. Bea
 trice Harrison was the “favorite cellist” of Edward<br>Elgar\, and made th
 e first recording of the Elgar Cello Concerto with the composer<br>conduct
 ing. She also made a popular weekly BBC broadcast playing cello with birds
  in her<br>garden until WWII bombing forced the radio show to go silent. I
 n the Nightingale fairytale\,<br>the Emperor covets the beautiful singing 
 nightingale and has it brought from the palace<br>gardens to a golden cage
  inside the palace. Then someone gives him the gift of a<br>mechanical nig
 htingale\, and he forgets about the real nightingale. After his mechanical
 <br>nightingale breaks\, he is heartbroken and on his deathbed. The real n
 ightingale\, free of its<br>cage\, attempts to serenade him one last time 
 before returning to the garden. The piece<br>utilizes elements of “musique
  concrete” and field recordings of birds\, including an archival<br>record
 ing from Beatrice Harrison’s garden\, as well as some stylistic influence 
 from Elgar’s<br>elegiac melancholy and a “mechanical bird” made from a “be
 epbox” loop. Visualizing<br>lush gardens and also the death of gardens\, t
 o be replaced 100 years later with buildings\,<br>and then in certain plac
 es\, the wildness regains tractions. “Compose for your friends”<br>recomme
 nds Nico Muhly. For “In the Garden Suite” I have tried to compose for my f
 riends\,<br>and for the heroic ghosts of yesteryear. Even if at times it i
 s melancholy\, it also has<br>moments of peace and mirth.</span></p> <p><s trong><em>From Silence to Quiet</em> - Eddie Nikishina<br></strong>Through
  the gradual building of a melody and revoicing of harmonies\, <em>From Si
 lence to Quiet</em> follows the changing perspectives of a person seeking 
 to understand and accept an aspect of their identity. Unknowing Always\, a
 lways on the brink of words Silence blares\, refusing Wordless din\, chill
 ing conclusion Why? Disapprove of this\, without knowing why Reasons indis
 tinct become true Why this? To stand and watch trials of once carefree mir
 rors Is to be grateful Grateful to fear Unsettled Halting Silent Still Lon
 ging to soften from silence to quiet Unseen by contention\, unmoved by war
 mth</p> <p><strong><em>Samenstück</em> - Justin Zeitlinger<br></strong>I a
 m presenting here a few of the individual audio tracks that make up my ins
 tallation piece<br><em>Samenstück</em> (for five hanging cassette players)
 \, which was shown at the UW Biology Greenhouse as part of the exhibition 
 <em>An uncanny garden</em> on May 22–24\, 2024. Below is the description t
 hat accompanied<br>the installation:</p> <p><em>Samenstück</em> is a sound
  installation consisting of five independent 45-minute cassette tapes. Eac
 h one employs granular and concatenative synthesis techniques from samples
  of classical music that invoke or depict plant life\, in various “ripe” (
 heavily altered) / “unripe” (quotation) and “seed” (chopped) / “plant” (li
 near) forms. The cassette tapes and the music they play comment on the rel
 ationship between analog technology and nature\, as well as uncover the we
 b of themes that these classical works import in their associations with n
 ature: love\, longing\, God\, alienation\, human folly. Additional decorat
 ive strands of cassette tape visually connect the medium of the sound with
  the organic plant bodies.</p> <p>As the tapes run out\, each one must be 
 manually rewinded\, causing the “channels” to fall out of sync and an irre
 producibly-evolving soundscape to emerge over time.</p> <p>For this concer
 t version\, the tracks are played as individual sound-objects—one at a tim
 e—to offer an alternative (and perhaps more focused) perspective from the 
 soundscape inside the greenhouse.</p> <p><strong><em>The Tiger and the Got
 gam</em> - Foster Patterson<br></strong>This setting of the Korean folk st
 ory\, “The Tiger and the Gotgam” (also known as “The Rabbit’s Tail”) for c
 hamber ensemble and narrator revolves around the cultural and musical func
 tion of the minor third. From the symmetry of the diminished seventh chord
 \, to the depiction of children in music\, to its cadential function in th
 e south-western Korean styles Sanjo and Pansori\, to the many calls\, taun
 ts\, and cheers that have developed throughout history and across differen
 t cultures\, this piece aims to wring this interval of all its implicative
  juices and then further twist it into evocative shapes with the help of r
 hythmic patterns(Jangdan) from the Sanjo and Pansori traditions. I hope yo
 u enjoy this story of mischief and misunderstandings\, and of course\, wat
 ch out for the Gotgam. </p> <p><strong><em>Into the Blue</em> - Ryan Rose&lt;
 br&gt;</strong>The ocean\, sometimes referred to as the blue\, can be very ca
 lming with its oscillating waves and its great\, everchanging stasis. At t
 he same time\, the deep waters hold great mysteries and can seem very dang
 erous. The phrase out of the blue is used to depict how something happened
  to you unexpectedly. Inversely\, into the blue could mean that you willin
 gly dive into the unknown\, facing the potential scare directly. At times\
 , one may find themselves stuck in the stasis of the everyday\, waiting fo
 r life to act on them\, but choosing to take the risks of action leads to 
 a meaningful life. Rather than waiting for life to happen\, jump into the 
 blue and see what it holds.</p> <hr> <h3> Director Biographies</h3> <div c lass> <div dir='auto' class></div> </div>
END:VEVENT
BEGIN:VEVENT
UID:e12e1c5b-2366-4039-8daa-e6fe0bbac33e
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240110T234025Z
DESCRIPTION:<p>Cello students of Sarah Rommel perform a year-end studio rec
 ital. </p>\n<hr>\n<h3>Director Biography</h3>
DTSTART;TZID=America/Los_Angeles:20240602T150000
LAST-MODIFIED:20240110T234025Z
SEQUENCE:64
SUMMARY:: Cello Studio Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-06-02/cello-studio-recital
END:VEVENT
BEGIN:VEVENT
UID:24b3d75f-879c-4a4d-be5d-a48ab428456d
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20240507T154710Z
DESCRIPTION:<p>A master’s degree recital by Nicole Stankovic (MM\, Piano Pe
 rformance)\, a student of Robin McCabe\, performing works by Beethoven\, L
 iszt\, Debussy\, and  Chopin.</p>\n<hr>\n<h3>Biography</h3>
DTSTART;TZID=America/Los_Angeles:20240602T180000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:65
SUMMARY:: Degree Recital: Nicole Stankovic\, MM\, Piano Performance
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-06-03/degree-recital-nicole-st
 ankovic-mm-piano-performance
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>A master’s degree recital by Nicole Stankov
 ic (MM\, Piano Performance)\, a student of Robin McCabe\, performing<i> </i>works by Beethoven\, Liszt\, Debussy\, and  Chopin.</p> <hr> <h3>Biograp
 hy</h3>
END:VEVENT
BEGIN:VEVENT
UID:e8d3ab07-037c-4561-9064-c71507c0ca60
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240215T173658Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20240604T120000
LAST-MODIFIED:20240215T173658Z
SEQUENCE:66
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-06-04/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:d920fe25-e7d7-4636-8310-d99f6273b061
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20240205T204513Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<h2 class='x_MsoNormal'>Featured Performers</h2>\n\n\n\n\n\n\nStudent performers to 
 be announced!\n\n\n\n\n\n\n<p class='x_MsoNormal'> </p>\n\n<p class='x_Mso
 Normal'></p>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20240605T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:67
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-06-05/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <h2 class='x_MsoN
 ormal'><span>Featured Performers</span></h2> <div class='elementToProof'> 
 <div class='elementToProof'> <div class='elementToProof'> <div class='elem
 entToProof'> <div class='elementToProof'> <div class='x_elementToProof Con
 tentPasted0'> <div class='x_elementToProof ContentPasted0'>Student perform
 ers to be announced!</div> </div> </div> </div> </div> </div> </div> <p cl ass='x_MsoNormal'><span> </span></p> <div> <p class='x_MsoNormal'><span></span></p> <p></p> </div>
END:VEVENT
BEGIN:VEVENT
UID:a61e87e0-0506-48e1-92c2-ca1e5e44300d
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240215T173711Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20240620T120000
LAST-MODIFIED:20240215T173711Z
SEQUENCE:68
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-06-20/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:7d4ebac3-4b70-47a7-a946-f89f37d7bfb5
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240215T173724Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20240702T120000
LAST-MODIFIED:20240215T173724Z
SEQUENCE:69
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-07-02/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:b79b7005-2846-4ac6-b566-d32fd3b19ac6
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20240529T160422Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<h2 class='x_MsoNormal'>Featured Performers</h2>\n\n\n\n\n\n\nSchool of Music Studen
 ts &amp; Alumni - View Program <a href='/sites/music/files/documents/allen_lib
 rary_concert_-_july_3.pdf'>HERE</a>\n\n\n<strong>Christine Chu</strong>\, 
 violin\n<strong>Selina Siow</strong>\, violin\n<strong>David Lin</strong>\
 , piano\n\n\n\n\n\n\n<p class='x_MsoNormal'> </p>\n\n<p class='x_MsoNormal
 '></p>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20240703T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:70
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-07-03/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <h2 class='x_MsoN
 ormal'><span>Featured Performers</span></h2> <div class='elementToProof'> 
 <div class='elementToProof'> <div class='elementToProof'> <div class='elem
 entToProof'> <div class='elementToProof'> <div class='x_elementToProof Con
 tentPasted0'> <div class='x_elementToProof ContentPasted0'>School of Music
  Students &amp; Alumni - View Program <a href='/sites/music/files/documents/al
 len_library_concert_-_july_3.pdf'>HERE</a></div> <div class='x_elementToPr
 oof ContentPasted0'></div> <div class='x_elementToProof ContentPasted0'></div> <div class='x_elementToProof ContentPasted0'><strong>Christine Chu</s>\, violin</div> <div class='x_elementToProof ContentPasted0'><strong>Selina Siow</strong>\, violin</div> <div class='x_elementToProof ContentP
 asted0'><strong>David Lin</strong>\, piano</div> </div> </div> </div>  </div> </div> <p class='x_MsoNormal'><span> </span></p> <div> <p class='x_MsoNormal'><span></span></p> <p></p> </div>
END:VEVENT
BEGIN:VEVENT
UID:f9fb4af7-986b-45df-8af4-b8a57cee6ce5
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240215T173736Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20240717T120000
LAST-MODIFIED:20240528T212033Z
SEQUENCE:71
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-07-17/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:f923faef-6835-4da6-b98f-b74e7653e448
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240215T173750Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20240806T120000
LAST-MODIFIED:20240215T173750Z
SEQUENCE:72
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-08-06/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:98025641-7657-4383-978c-45f1b197452b
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240215T173812Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20240822T120000
LAST-MODIFIED:20240215T173812Z
SEQUENCE:73
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-08-22/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:7426363f-aeb5-4bee-9c7e-1f37846e8ff4
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240702T161851Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20240903T120000
LAST-MODIFIED:20240702T161851Z
SEQUENCE:74
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-09-03/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:81141394-46b5-468e-984a-d03d917fac98
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240702T162308Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20240919T120000
LAST-MODIFIED:20240702T162308Z
SEQUENCE:75
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-09-19/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:8403e2b6-5f0a-4daf-9cc8-99c7ad0ed0fc
DTSTAMP:20260307T094252Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20240722T180504Z
DESCRIPTION:<p>Auditions are for entrance to the UW School of Music in Fall
  Quarter\, 2024. Audition sign ups are required and can be <a href='https:
 //music.washington.edu/audition-sign-ups'>made online</a>.</p>\n\n<p>Your 
 performance audition will be limited to 10-15 minutes\, including entrance
 \, performance and exit. Voice and Music Education auditions require addit
 ional evaluation. Please review <a href='/suggested-audition-repertoire'>S
 uggested Audition Repertoire</a> to plan for your audition for  your inten
 ded major.  You may contact the <a href='/people/faculty'>studio faculty</a> with questions regarding audition repertoire. <strong>Please contact <a href='mailto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a> with any other question
 s or concerns.</strong>  </p>\n<p><strong></strong></p>
DTSTART;TZID=America/Los_Angeles:20240920T000000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:76
SUMMARY:: Fall 2024 New Major and Non-Major Faculty Lesson Auditions (for c
 urrent UW students)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-09-20/fall-2024-new-major-and-
 non-major-faculty-lesson-auditions-current-uw-students
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>Auditions are for entrance to 
 the UW School of Music in Fall Quarter\, 2024. Audition sign ups are requi
 red and can be <a href='https://music.washington.edu/audition-sign-ups'>ma
 de online</a>.</p> </blockquote> <p><span>Your performance audition will b
 e limited to 10-15 minutes\, including entrance\, performance and exit. Vo
 ice and Music Education auditions require additional evaluation. Please re
 view </span><a href='/suggested-audition-repertoire'>Suggested Audition Re
 pertoire</a><span> to plan for your audition for  your intended major.  Yo
 u may contact the </span><a href='/people/faculty'>studio faculty</a><span> with questions regarding audition repertoire. </span><strong>Please cont
 act <a href='mailto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a> with any other qu
 estions or concerns.</strong><span>  </span></p> <p><strong></strong></p>
END:VEVENT
BEGIN:VEVENT
UID:5268e244-2018-4565-90af-ac91438734e5
DTSTAMP:20260307T094252Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20210625T165856Z
DESCRIPTION:<p align='center'>The Modern Band is a jazz rooted ensemble wit
 h a primary focus on repertoire that encompasses innovative trends in jazz
  of the last decade. </p>\n\n<p>Ensemble members will also be exposed to a
  wide range of musical influences that have pushed the boundaries of jazz 
 as an art form forward into its current state.  Students are encouraged to
  write original material for the ensemble while searching for the musical 
 innovations of the artists of their generation to apply to the sound of th
 e group and its repertoire.</p>\n<p>The objective of the musical experienc
 e is for the ensemble members to collectively experiment with and apply th
 eir own individual musical musings and aesthetics towards creating a perso
 nalized and original body of work while looking towards innovation to help
  them forward.</p>\n<p><strong>Audition:</strong><strong>­<br></strong>Thu
 rsday\, September 26\, 2024<br>12:30 pm - 1:30 pm<br>no sign up necessary&lt;
 br&gt;<a href='https://music.washington.edu/ensemble-auditions-placements'>Mo
 re Info</a></p>\n<p><strong></strong>Students are encouraged to bring repe
 rtoire of their choosing to perform solo or with any combination of instru
 mentalists that are available at the time. Students should audition with w
 hat they are most comfortable with\, however improvisation in a modern sty
 le of your choosing and/or free improvisation are recommended. Students ma
 y further be asked to perform an improvisation with any combination of mus
 icians that will be auditioning.</p>\n<p>**Examples of possible audition r
 epertoire to choose from include a jazz standard\, a Monk or an Ornette or
 iginal\, a selection from Schoenberg's 'Book of Hanging Gardens' or an Ive
 s 'Song'\, a Beatles classic to a Radiohead tune\, to any piece from one o
 f today's musical artists of personal inspiration. Student originals are e
 ncouraged.</p>\n<p><strong>Studio Jazz Ensemble – MUSEN 346/546 B<br>Rehea
 rsals are Tuesdays and Thursdays\, 12:30 pm – 2:20 pm</strong></p>\n<hr>\n
 <h2>Director Bio</h2>
DTSTART;TZID=America/Los_Angeles:20240926T123000
LAST-MODIFIED:20240722T165727Z
SEQUENCE:77
SUMMARY:: Fall 2024 Studio Jazz Modern Band Auditions
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-09-26/fall-2024-studio-jazz-mo
 dern-band-auditions
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p align='center'>The Modern Band
  is a jazz rooted ensemble with a primary focus on repertoire that encompa
 sses innovative trends in jazz of the last decade. </p> </blockquote> <p>E
 nsemble members will also be exposed to a wide range of musical influences
  that have pushed the boundaries of jazz as an art form forward into its c
 urrent state.  Students are encouraged to write original material for the 
 ensemble while searching for the musical innovations of the artists of the
 ir generation to apply to the sound of the group and its repertoire.</p> &lt;
 p&gt;The objective of the musical experience is for the ensemble members to c
 ollectively experiment with and apply their own individual musical musings
  and aesthetics towards creating a personalized and original body of work 
 while looking towards innovation to help them forward.</p> <p><strong>Audi
 tion:</strong><strong>­<br></strong>Thursday\, September 26\, 2024<br>12:3
 0 pm - 1:30 pm<br><span>no sign up necessary</span><br><a href='https://mu
 sic.washington.edu/ensemble-auditions-placements'>More Info</a></p> <p></strong>Students are encouraged to bring repertoire of their choosin
 g to perform solo or with any combination of instrumentalists that are ava
 ilable at the time. Students should audition with what they are most comfo
 rtable with\, however improvisation in a modern style of your choosing and
 /or free improvisation are recommended. Students may further be asked to p
 erform an improvisation with any combination of musicians that will be aud
 itioning.</p> <p><em>**<em>Examples of possible audition repertoire to cho
 ose from include a jazz standard\, a Monk or an Ornette original\, a selec
 tion from Schoenberg's 'Book of Hanging Gardens' or an Ives 'Song'\, a Bea
 tles classic to a Radiohead tune\, to any piece from one of today's musica
 l artists of personal inspiration. Student originals are encouraged</em>.&lt;
 /em&gt;</p> <p><strong>Studio Jazz Ensemble – MUSEN 346/546 B<br>Rehearsals a
 re Tuesdays and Thursdays\, 12:30 pm – 2:20 pm</strong></p> <hr> <h2>Direc
 tor Bio</h2>
END:VEVENT
BEGIN:VEVENT
UID:1d2042f4-d98e-4a61-9f85-a0d649b8d671
DTSTAMP:20260307T094252Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20210625T170711Z
DESCRIPTION:<p>The Small Jazz Ensembles provide a great opportunity for mus
 icians to regularly rehearse\, and perform jazz standards\, originals\, an
 d covers with their fellow students.</p>\n\n<p><strong>Audition Date - Thursday\, September 26\, 2024<br><strong>Time</strong> - 2:30 pm - 
 3:20 pm<br><strong>Room</strong> - 35 (on the lowest floor of the Music Bu
 ilding)</p>\n<p>No sign up necessary.</p>\n<h2>Audition process</h2>\n<p>S
 tudents will be asked to perform preselected jazz standards\, solo over ch
 ord changes\, as well as sight read. Lead sheets will be available.  There
  are multiple combos created each quarter in which students are placed by 
 faculty based on their audition performance. Lead sheets and charts will b
 e provided for all players at the audition.</p>\n<p align='center'><strong>Jazz Workshop - MUSEN – 345/545<br></strong><strong>Rehearsals are Tuesda
 ys and Thursdays\, 2:30 – 3:20*</strong><br></p>\n<p><strong>*Placement into ensembles will be posted on the bulletin b
 oard next to room 14 (Music Building) after auditions.</strong></p>\n<hr>
 \n<h2>Director Bio: </h2>
DTSTART;TZID=America/Los_Angeles:20240926T143000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:78
SUMMARY:: Fall 2024 Small Jazz Ensembles (Jazz Combo) Auditions
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-09-26/fall-2024-small-jazz-ens
 embles-jazz-combo-auditions
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The Small Jazz Ensembles provi
 de a great opportunity for musicians to regularly rehearse\, and perform j
 azz standards\, originals\, and covers with their fellow students.</p> </b> <p><strong>Audition Date</strong> - Thursday\, <span>September 
 26\, 2024</span><br><strong>Time</strong> - 2:30 pm - 3:20 pm<br><strong>R
 oom</strong> - 35 (on the lowest floor of the Music Building)</p> <p><span>No sign up necessary.</span></p> <h2>Audition process</h2> <p>Students wi
 ll be asked to perform preselected jazz standards\, solo over chord change
 s\, as well as sight read. Lead sheets will be available.  There are multi
 ple combos created each quarter in which students are placed by faculty ba
 sed on their audition performance. Lead sheets and charts will be provided
  for all players at the audition.</p> <p align='center'><strong>Jazz Works
 hop - MUSEN – 345/545<br></strong><strong>Rehearsals are Tuesdays and Thur
 sdays\, 2:30 – 3:20*</strong><em><br></em></p> <p><em><strong>*Placement into ensembles will be posted on the bulletin 
 board next to room 14 (Music Building) after auditions.</strong></em></p> 
 <hr> <h2>Director Bio: </h2>
END:VEVENT
BEGIN:VEVENT
UID:21e70bb5-ded1-40c9-b30e-888b97ccd01e
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240702T161956Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20241001T120000
LAST-MODIFIED:20240702T161956Z
SEQUENCE:79
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-01/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:60fbce7c-b5ad-49d0-a6b5-c5a9784ca8f4
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20240801T171517Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<h2 class='x_MsoNormal'>Featured Performers</h2>\n\n\n\n\n\n\nView program details &lt;
 a href='/sites/music/files/documents/october_2_allen_library_concert.pdf'&gt;
 HERE</a>.\n\n\n\n\n\n\n<p class='x_MsoNormal'> </p>\n\n<p class='x_MsoNorm
 al'></p>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20241002T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:80
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-02/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <h2 class='x_MsoN
 ormal'><span>Featured Performers</span></h2> <div class='elementToProof'> 
 <div class='elementToProof'> <div class='elementToProof'> <div class='elem
 entToProof'> <div class='elementToProof'> <div class='x_elementToProof Con
 tentPasted0'> <div class='x_elementToProof ContentPasted0'>View program de
 tails <a href='/sites/music/files/documents/october_2_allen_library_concer
 t.pdf'>HERE</a>.</div> </div> </div> </div> </div> </div> </div> <p class='x_MsoNormal'><span> </span></p> <div> <p class='x_MsoNormal'><span></span></p> <p></p> </div>
END:VEVENT
BEGIN:VEVENT
UID:31e7650f-0268-4241-a346-771eb5b26754
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20240806T160422Z
DESCRIPTION:<p></p>\n<p>Violinist Rachel Lee Priday celebrates the release 
 of her solo debut album\, Fluid Dynamics\, with a live multi-media world p
 remiere performance. The result of a unique collaboration between ocean sc
 ientist Dr. Georgy Manucharyan of UW's School of Oceanography and Rachel L
 ee Priday\, Fluid Dynamics combines videos of fluid motion experiments wit
 h new commissions from leading young American composers Gabriella Smith\, 
 Timo Andres\, Paul Wiancko\, Leilehua Lanzilotti\, Cristina Spinei\, and C
 hristopher Cerrone. With Cristina Valdés\, piano.</p>\n<strong>Personnel</strong><br>Rachel Lee Priday\, violin\nCristina Valdés\, piano\nFilms by D
 r. Georgy Manucharyan\nVideo Installation and Set Design by Juniper Shuey&lt;
 br&gt;<br>\n<p>The project was developed at the University of Washington thro
 ugh the Mellon Faculty Fellows program and received further support throug
 h a Kreielsheimer and Jones Large Grant.</p>\n<hr>\n<h3>Program</h3>\n<h3>
 </h3>\nLeilehua Lanzilotti\, ko’u inoa (2017)\n<br>Gabriella Smith\, Entan
 gled on a Rotating Planet (2022)\n\n<p></p>\nPaul Wiancko\, Waterworks (20
 23)\n\n<p></p>\nCristina Spinei\, Convection Loops for Violin and Loop Ped
 al (2022)\n\n<p></p>\nTimo Andres\, Three Suns (2018)\n\n<p></p>\nLeilehua
  Lanzilotti\, to speak in a forgotten language (2022)<br>i. <br>ii. <br>ii
 i. <br><br>\nSHORT PAUSE\n \nChristopher Cerrone\, Sonata for Violin and P
 iano (2015)\ni. Fast and focused\, with gradually increasing intensity<br>
 ii. Still and spacious\, but always moving forward<br>iii. Dramatic\, viol
 ent\, rhythmic\, very precise\n<hr>\n<h3>Liner Notes</h3>\n<h3></h3>\n\n<p>‘Loving these…’ \, ‘so so cool…’\,  ‘a beautiful metaphor… ’\, ‘a choreog
 raphy of colours…’ No\, these are not quotations from glowing reviews of R
 achel Lee Priday’s playing\, but the next best thing: they are the reactio
 ns of her composer-collaborators on being asked to take part in this proje
 ct\, an intriguing and musically rich partnership between Rachel\, six com
 posers… and an oceanographer.</p>\n<p>In the autumn of 2019\, Rachel joine
 d the School of Music at the University of Washington and was asked to att
 end an orientation day with other new faculty. ‘Georgy was literally the f
 irst person I saw when I opened the door\,’ she recalls. ‘And of course we
  talked about what we were just hired to do. A couple of weeks later we go
 t a coffee on campus and walked to his fancy Ocean Sciences building. He t
 old me then that he studies chaos\, which I thought sounded pretty intrigu
 ing!’</p>\n<p>Georgy Manucharyan was a new faculty member of Washington’s 
 School of Oceanography\, where he researches what he describes as ‘the phy
 sics of the ocean – how currents move\, and what causes their motion. The 
 science I do is really complicated\, but we try to demonstrate the underly
 ing concepts using fluid dynamics experiments in the lab.’ And that\, curi
 ously enough\, is how this project began. Georgy spent the next year produ
 cing videos of these experiments and began experimenting with using classi
 cal music to ‘amplify’\, as he puts it\, the message of the movements visi
 ble on-screen. He was hoping to put the finished projects up online: ‘kids
  could get inspired to do music\, or fluid dynamics\, or oceanography… or 
 just become aware of environmental and climate change issues.’</p>\n<p>But
  there was a limit to what Georgy felt able to do alone. ‘I can’t play! I’
 m not a musician\,’ he admits regretfully. So he sent some of his early at
 tempts to Rachel to get her feedback on his music-video pairings\, and ask
 ed her to suggest other pieces that suit these filmed experiments. ‘In tal
 king to him more\,’ Rachel explains\, ‘I found it interesting that every t
 ime he does the same experiment it comes out differently: even though the 
 principles are the same\, you just never know what’s going to happen. And 
 I related that to what a performer does – to performance and interpretatio
 n\, chance and timing\, how every time we play it’s different.’ Rachel mov
 ed from suggesting pre-existing pieces to contacting composers in order to
  commission new work. There was\, importantly\, no fixed brief: just the c
 hance to view some of the videos\, decide what might work\, and how the mu
 sic and film footage might interact. And gradually\, as more and more comp
 osers eagerly took up the challenge\, a larger project – of this album\, a
 nd of live musical performances with visuals – was born.</p>\n<p>The first
  newly completed work was by composer and ecologist Gabriella Smith. As lu
 ck would have it\, she too had just moved to Seattle and visited Georgy’s 
 lab to see some of his experiments in person. Her Entangled on a Rotating 
 Planet uses a geostrophic adjustment experiment\, simulating the interplay
  of wind and water at a surface level. The score is measured roughly in ti
 me rather than bar lines\, so there is built-in room for manoeuvre\; and t
 he player is asked to make ‘fluttering\, shimmering’ or ‘messy’ pitch gest
 ures that either merge seamlessly into something new or are cut off and se
 nt reeling in a new direction.  By contrast Cristina Spinei\, who is highl
 y regarded for her work with a range of distinguished American dance compa
 nies\, wanted a tight brief and pre-cut video to ‘choreograph’ musically. 
 ‘She wrote it to the second for that video\,’ Rachel tells me. And it show
 s: Convection Loops takes the name of its experiment at face value\, Spine
 i deploying a loop pedal to gradually stack layer upon layer of solo violi
 n lines as the colour inks drop\, swirl\, and are pulled through the water
 . It is a beautiful\, mesmeric work that casts each colour as a kind of da
 ncer in its own right.</p>\n<p>It’s striking that a number of the composer
 s writing for this project are themselves string players: Smith is a violi
 nist\, Paul Wiancko is a cellist (Wiancko plays with the Kronos Quartet)\,
  whilst Leilehua Lanzilotti is a violist. Lanzilotti’s ko’u inoa was compo
 sed in 2017 as a concert work – ‘a homesick bariolage based on the anthem 
 Hawai’i Aloha’ which she first composed as a way to feel connected to her 
 home country of Hawaii whilst spending time in Germany. The title translat
 es to ‘my name is’\, and its minimally notated\, free-flowing score asks f
 or the violinist to seek out the overtones and variety of colours availabl
 e by moving their bow from the normal playing position across the strings\
 , up towards the fingerboard and back down towards the bridge of the instr
 ument. The player is also asked to hum a succession of consonants and vowe
 ls through the closing section as they play. The piece pairs beautifully w
 ith the wave experiment that brings attention to a major problem of ocean 
 pollution. Rachel then commissioned to speak in a forgotten language for h
 er project with Georgy. Lanzilotti (who insisted on reading as much of Geo
 rgy’s research as possible in preparation) was watching a video of a conve
 ction experiment\, and ‘was inspired by a moment when a woman’s face seeme
 d to emerge to her’ through the twirling currents of the water. The title 
 is taken from the poem Witness by W.S. Merwin (1927-2019)\, an American wr
 iter and environmental activist\, and once again uses sparse notation and 
 extended unusual techniques to explore overtones\, over-pressured bowing\,
  white noise\, and whispers. This level of indeterminacy in the score allo
 ws for the performance time to vary by several minutes – this is not\, in 
 other words\, an attempt to match the film second-by-second\, but rather a
 llows for freedom in the way the two interlock\, presenting further opport
 unities for expanding and reshaping the work in a pure concert rendition.&lt;
 /p&gt;\n<p>Paul Wiancko’s Waterworks turns the entire film-to-music process o
 n its head. Inspired by the violence and energy of a whirling red vortex\,
  it spins along in ‘joyfully mechanical’ circling figuration\, often in do
 uble stops\, sometimes in sudden and unexpected new directions. Wiancko co
 mposed his piece as a freestanding entity and the video was then cut to fi
 t. ‘Something about the rapid changes/alterations/additions to the constan
 t energy of the vortex speaks to my music well\,’ he observes.  ‘And the r
 ed dye brings in some interesting notes of drama/science/violence.’</p>\n&lt;
 p&gt;The remaining works on this disc Rachel describes as ‘old friends of min
 e’. She commissioned Timo Andres’ Three Suns in 2018 and they gave its fil
 med premiere during the Coronavirus pandemic. The suns of the title refer 
 to repeated figurations which\, as they rise\, ‘gradually take on varied c
 haracters\, threatening to pull apart the structure.’ The whole is framed 
 by a slow-moving\, chordal chorale\, the calm before and after the storm –
  whilst the faster music is matched on screen with the luminous beauty of 
 rainbow-refracting surface tension patterns on bubbles. Finally\, Christop
 her Cerrone’s Violin Sonata was written for Rachel in 2015. (Cerrone wryly
  recalls in his notes for the piece that he remembers telling his college 
 composition teacher\, ‘I swear I will never write a piece for violin and p
 iano’.) It has the same sense of high energy and colour at its opening as 
 several of the other works on this disc\, but this time the performance in
 struction comes at around 35 bars in to ‘sneak in piano gradually’\, the v
 olume and intensity of the two players’ lines eventually building to what 
 Cerrone describes as ‘a roaring and vibrant chorale’. The pianist leads us
  directly into the second movement\, the violin joining with a series of e
 ver-varying articulations and effects on each bow stroke. Rachel was struc
 k by how appropriate to the project this movement\, in particular\, seemed
  to be: ‘the piano and violin get out of sync progressively and then at a 
 certain moment it snaps back in time’ – a perfect match for a video showin
 g light illuminating complex interference patterns of two-dimensional turb
 ulence on the surface of a soap bubble. A furiously fast finale\, all stab
 bing attack and ringing chords\, eventually gentles and the sun bursts thr
 ough for the final few pages\, the chorale harmonies of the first movement
  returning.</p>\n<p>Was this impressive array of different inspirations\, 
 figurations\, moods\, styles and working methods what Georgy Manucharyan e
 xpected when he and Rachel began to collaborate? ‘It was completely new! F
 ull of suspense and very sharp transitions.’ He sings a little passage and
  giggles. ‘Fluid dynamics is sort of smooth\, right? And most of the music
  I’ve listened to is Romantic music. This new music has a thousand chords 
 played in a few seconds and I was like woah\, what is this?!’ (Rachel was 
 clearly sympathetic to this view: ‘All these pieces are pretty physical wh
 en you’re playing them!\,’ she says.) As he got used to these new soundwor
 lds\, Georgy realised that the composers had often picked up on different 
 aspects or levels of motion in the experiments than those he had been focu
 ssing on from a scientific perspective. ‘Then I understood what the compos
 er was seeing in the video.’ It’s been a learning process for all\, clearl
 y. ‘And an exceptionally fulfilling experience\,’ Georgy agrees. The live 
 show will follow shortly\, in versions tailored for every space from fully
 -equipped theatres to museums and other venues. ‘Maybe even aquariums!’\, 
 Rachel beams. This is a fascinating on-going experiment – compositional\, 
 performative\, and scientific – with many more exciting tests still to run
 .<br>—Katy Hamilton </p>\n<hr>\n<h3>Biographies</h3>\n<h3><a href='https:/
 /www.ocean.washington.edu/home/Georgy%20Manucharyan' target='_blank' rel='
 noopener noreferrer'>Georgy Manucharyan</a></h3>\n<p>Dr. Georgy Manucharya
 n’s research resides at a synergetic overlap between geophysical fluid dyn
 amics\, physical oceanography\, and climate dynamics. His research relates
  to mesoscale ocean turbulence\, submesoscale sea ice-ocean interactions\,
  mathematical models of sea ice dynamics\,  laboratory experiments with ro
 tating fluids\, remote sensing\, as well as exploring applications of Deep
  Learning Neural Networks to theoretical problems in ocean turbulence.  He
  is assistant professor in the University of Washington School of Oceanogr
 aphy.</p>
DTSTART;TZID=America/Los_Angeles:20241008T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:81
SUMMARY:: Faculty Recital: Rachel Lee Priday\, Fluid Dynamics 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-09/faculty-recital-rachel-l
 ee-priday-fluid-dynamics
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Violinist Rachel Lee Priday celebra
 tes the release of her solo debut album\, <i>Fluid Dynamics\, </i>with a l
 ive multi-media<i> </i>world premiere performance. The result of a unique 
 collaboration between ocean scientist Dr. Georgy Manucharyan of UW's Schoo
 l of Oceanography and Rachel Lee Priday\, <em>Fluid Dynamics</em> combines
  videos of fluid motion experiments with new commissions from leading youn
 g American composers Gabriella Smith\, Timo Andres\, Paul Wiancko\, Leileh
 ua Lanzilotti\, Cristina Spinei\, and Christopher Cerrone. With Cristina V
 aldés\, piano.</p> <div><strong>Personnel</strong><br>Rachel Lee Priday\, 
 violin</div> <div>Cristina Valdés\, piano</div> <div>Films by Dr. Georgy M
 anucharyan</div> <div>Video Installation and Set Design by Juniper Shuey<b r><br></div> <p><em>The project was developed at the University of Washing
 ton through the Mellon Faculty Fellows program and received further suppor
 t through a Kreielsheimer and Jones Large Grant.</em></p> <div><hr></div> 
 <h3>Program</h3> <h3></h3> <div><span>Leilehua Lanzilotti\, </span><em>ko’
 u inoa</em><span> (2017)</span></div> <div><i><br></i><span>Gabriella Smit
 h\, </span><em>Entangled on a Rotating Planet</em><span> (2022)</span> <div> <p></p> <span>Paul Wiancko\, </span><em>Waterworks</em><span> (20
 23)</span></div> <div> <p></p> <span>Cristina Spinei\, </span><em>Convecti
 on Loops for Violin and Loop Pedal</em><span> (2022)</span></div> <div> <p></p> <span>Timo Andres\, </span><em>Three Suns</em><span> (2018)</span></div> <div> <p></p> <span>Leilehua Lanzilotti\, </span><em>to speak in a fo
 rgotten language </em><span>(2022)</span><br><span>i. </span><br><span>ii.
  </span><br><span>iii. </span><br><span><br></span></div> <div><span>SHORT
  PAUSE</span></div> <div><span> </span></div> <div><span>Christopher Cerro
 ne\, </span><em>Sonata for Violin and Piano </em><span>(2015)</span></div>
  <div><span>i. Fast and focused\, with gradually increasing intensity<br><span>ii. Still and spacious\, but always moving forward</span><br>&lt;
 span&gt;iii. Dramatic\, violent\, rhythmic\, very precise</span></div> <hr> &lt;
 h3&gt;Liner Notes</h3> <h3></h3> <div> <p><span>‘Loving these…’ \, ‘so so coo
 l…’\,  ‘a beautiful metaphor… ’\, ‘a choreography of colours…’ No\, these 
 are not quotations from glowing reviews of Rachel Lee Priday’s playing\, b
 ut the next best thing: they are the reactions of her composer-collaborato
 rs on being asked to take part in this project\, an intriguing and musical
 ly rich partnership between Rachel\, six composers… and an oceanographer.&lt;
 /span&gt;</p> <p><span>In the autumn of 2019\, Rachel joined the School of Mu
 sic at the University of Washington and was asked to attend an orientation
  day with other new faculty. ‘Georgy was literally the first person I saw 
 when I opened the door\,’ she recalls. ‘And of course we talked about what
  we were just hired to do. A couple of weeks later we got a coffee on camp
 us and walked to his fancy Ocean Sciences building. He told me then that h
 e studies chaos\, which I thought sounded pretty intriguing!’</span></p> &lt;
 p&gt;<span>Georgy Manucharyan was a new faculty member of Washington’s School
  of Oceanography\, where he researches what he describes as ‘the physics o
 f the ocean – how currents move\, and what causes their motion. The scienc
 e I do is really complicated\, but we try to demonstrate the underlying co
 ncepts using fluid dynamics experiments in the lab.’ And that\, curiously 
 enough\, is how this project began. Georgy spent the next year producing v
 ideos of these experiments and began experimenting with using classical mu
 sic to ‘amplify’\, as he puts it\, the message of the movements visible on
 -screen. He was hoping to put the finished projects up online: ‘kids could
  get inspired to do music\, or fluid dynamics\, or oceanography… or just b
 ecome aware of environmental and climate change issues.’</span></p> <p>But there was a limit to what Georgy felt able to do alone. ‘I can’t pl
 ay! I’m not a musician\,’ he admits regretfully. So he sent some of his ea
 rly attempts to Rachel to get her feedback on his music-video pairings\, a
 nd asked her to suggest other pieces that suit these filmed experiments. ‘
 In talking to him more\,’ Rachel explains\, ‘I found it interesting that e
 very time he does the same experiment it comes out differently: even thoug
 h the principles are the same\, you just never know what’s going to happen
 . And I related that to what a performer does – to performance and interpr
 etation\, chance and timing\, how every time we play it’s different.’ Rach
 el moved from suggesting pre-existing pieces to contacting composers in or
 der to commission new work. There was\, importantly\, no fixed brief: just
  the chance to view some of the videos\, decide what might work\, and how 
 the music and film footage might interact. And gradually\, as more and mor
 e composers eagerly took up the challenge\, a larger project – of this alb
 um\, and of live musical performances with visuals – was born.</span></p> 
 <p><span>The first newly completed work was by composer and ecologist Gabr
 iella Smith. As luck would have it\, she too had just moved to Seattle and
  visited Georgy’s lab to see some of his experiments in person. Her Entang
 led on a Rotating Planet uses a geostrophic adjustment experiment\, simula
 ting the interplay of wind and water at a surface level. The score is meas
 ured roughly in time rather than bar lines\, so there is built-in room for
  manoeuvre\; and the player is asked to make ‘fluttering\, shimmering’ or 
 ‘messy’ pitch gestures that either merge seamlessly into something new or 
 are cut off and sent reeling in a new direction.  By contrast Cristina Spi
 nei\, who is highly regarded for her work with a range of distinguished Am
 erican dance companies\, wanted a tight brief and pre-cut video to ‘choreo
 graph’ musically. ‘She wrote it to the second for that video\,’ Rachel tel
 ls me. And it shows: Convection Loops takes the name of its experiment at 
 face value\, Spinei deploying a loop pedal to gradually stack layer upon l
 ayer of solo violin lines as the colour inks drop\, swirl\, and are pulled
  through the water. It is a beautiful\, mesmeric work that casts each colo
 ur as a kind of dancer in its own right.</span></p> <p><span>It’s striking
  that a number of the composers writing for this project are themselves st
 ring players: Smith is a violinist\, Paul Wiancko is a cellist (Wiancko pl
 ays with the Kronos Quartet)\, whilst Leilehua Lanzilotti is a violist. La
 nzilotti’s ko’u inoa was composed in 2017 as a concert work – ‘a homesick 
 bariolage based on the anthem Hawai’i Aloha’ which she first composed as a
  way to feel connected to her home country of Hawaii whilst spending time 
 in Germany. The title translates to ‘my name is’\, and its minimally notat
 ed\, free-flowing score asks for the violinist to seek out the overtones a
 nd variety of colours available by moving their bow from the normal playin
 g position across the strings\, up towards the fingerboard and back down t
 owards the bridge of the instrument. The player is also asked to hum a suc
 cession of consonants and vowels through the closing section as they play.
  The piece pairs beautifully with the wave experiment that brings attentio
 n to a major problem of ocean pollution. Rachel then commissioned to speak
  in a forgotten language for her project with Georgy. Lanzilotti (who insi
 sted on reading as much of Georgy’s research as possible in preparation) w
 as watching a video of a convection experiment\, and ‘was inspired by a mo
 ment when a woman’s face seemed to emerge to her’ through the twirling cur
 rents of the water. The title is taken from the poem Witness by W.S. Merwi
 n (1927-2019)\, an American writer and environmental activist\, and once a
 gain uses sparse notation and extended unusual techniques to explore overt
 ones\, over-pressured bowing\, white noise\, and whispers. This level of i
 ndeterminacy in the score allows for the performance time to vary by sever
 al minutes – this is not\, in other words\, an attempt to match the film s
 econd-by-second\, but rather allows for freedom in the way the two interlo
 ck\, presenting further opportunities for expanding and reshaping the work
  in a pure concert rendition.</span></p> <p><span>Paul Wiancko’s Waterwork
 s turns the entire film-to-music process on its head. Inspired by the viol
 ence and energy of a whirling red vortex\, it spins along in ‘joyfully mec
 hanical’ circling figuration\, often in double stops\, sometimes in sudden
  and unexpected new directions. Wiancko composed his piece as a freestandi
 ng entity and the video was then cut to fit. ‘Something about the rapid ch
 anges/alterations/additions to the constant energy of the vortex speaks to
  my music well\,’ he observes.  ‘And the red dye brings in some interestin
 g notes of drama/science/violence.’</span></p> <p><span>The remaining work
 s on this disc Rachel describes as ‘old friends of mine’. She commissioned
  Timo Andres’ Three Suns in 2018 and they gave its filmed premiere during 
 the Coronavirus pandemic. The suns of the title refer to repeated figurati
 ons which\, as they rise\, ‘gradually take on varied characters\, threaten
 ing to pull apart the structure.’ The whole is framed by a slow-moving\, c
 hordal chorale\, the calm before and after the storm – whilst the faster m
 usic is matched on screen with the luminous beauty of rainbow-refracting s
 urface tension patterns on bubbles. Finally\, Christopher Cerrone’s Violin
  Sonata was written for Rachel in 2015. (Cerrone wryly recalls in his note
 s for the piece that he remembers telling his college composition teacher\
 , ‘I swear I will never write a piece for violin and piano’.) It has the s
 ame sense of high energy and colour at its opening as several of the other
  works on this disc\, but this time the performance instruction comes at a
 round 35 bars in to ‘sneak in piano gradually’\, the volume and intensity 
 of the two players’ lines eventually building to what Cerrone describes as
  ‘a roaring and vibrant chorale’. The pianist leads us directly into the s
 econd movement\, the violin joining with a series of ever-varying articula
 tions and effects on each bow stroke. Rachel was struck by how appropriate
  to the project this movement\, in particular\, seemed to be: ‘the piano a
 nd violin get out of sync progressively and then at a certain moment it sn
 aps back in time’ – a perfect match for a video showing light illuminating
  complex interference patterns of two-dimensional turbulence on the surfac
 e of a soap bubble. A furiously fast finale\, all stabbing attack and ring
 ing chords\, eventually gentles and the sun bursts through for the final f
 ew pages\, the chorale harmonies of the first movement returning.</span></p> <p><span>Was this impressive array of different inspirations\, figurati
 ons\, moods\, styles and working methods what Georgy Manucharyan expected 
 when he and Rachel began to collaborate? ‘It was completely new! Full of s
 uspense and very sharp transitions.’ He sings a little passage and giggles
 . ‘Fluid dynamics is sort of smooth\, right? And most of the music I’ve li
 stened to is Romantic music. This new music has a thousand chords played i
 n a few seconds and I was like woah\, what is this?!’ (Rachel was clearly 
 sympathetic to this view: ‘All these pieces are pretty physical when you’r
 e playing them!\,’ she says.) As he got used to these new soundworlds\, Ge
 orgy realised that the composers had often picked up on different aspects 
 or levels of motion in the experiments than those he had been focussing on
  from a scientific perspective. ‘Then I understood what the composer was s
 eeing in the video.’ It’s been a learning process for all\, clearly. ‘And 
 an exceptionally fulfilling experience\,’ Georgy agrees. The live show wil
 l follow shortly\, in versions tailored for every space from fully-equippe
 d theatres to museums and other venues. ‘Maybe even aquariums!’\, Rachel b
 eams. This is a fascinating on-going experiment – compositional\, performa
 tive\, and scientific – with many more exciting tests still to run.<br>—Ka
 ty Hamilton </span></p> <hr></div> <h3>Biographies</h3> <h3><a href='//www.ocean.washington.edu/home/Georgy%20Manucharyan' target='_blank' rel='noopener noreferrer'>Georgy Manucharyan</a></h3> <p><span>Dr. Georgy Man
 ucharyan’s research resides at a synergetic overlap between geophysical fl
 uid dynamics\, physical oceanography\, and climate dynamics. His research 
 relates to mesoscale ocean turbulence\, submesoscale sea ice-ocean interac
 tions\, mathematical models of sea ice dynamics\,  laboratory experiments 
 with rotating fluids\, remote sensing\, as well as exploring applications 
 of Deep Learning Neural Networks to theoretical problems in ocean turbulen
 ce.  He is assistant professor in the University of Washington School of O
 ceanography.</span></p>
END:VEVENT
BEGIN:VEVENT
UID:293ea59a-20de-4b96-bb45-bc46b1a1aaf2
DTSTAMP:20260307T094252Z
CATEGORIES:Special Events\, Talks\, Visiting Artists and Scholars\, Worksho
 ps
CLASS:PUBLIC
CREATED:20241004T224455Z
DESCRIPTION:<p>Grammy winning composer and pianist Kris Davis leads a works
 hop with UW Jazz Studies students\, with a focus on her work establishing 
 and running her record label <a href='https://urldefense.com/v3/__https:/p
 yroclasticrecords.com/__\;!!K-Hz7m0Vt54!nzyDxg_B9wLcrg_M8uM1qhjRA2pMDscx0U
 DygWNiJNvHO6SsNiIcWUZYRCAzYfqLhQuZTdTcRVScymk$'>Pyroclastic Records</a>. &lt;
 /p&gt;\n<hr>\n<p><strong>Note:</strong> <strong>Kris Davis also performs a fr
 ee concert with her trio\, featuring Robert Hurst and Jonathan Blake\, at 
 7:30 pm.</strong> Details <strong><a href='https://music.washington.edu/ev
 ents/2024-10-09/kris-davis-trio-featuring-robert-hurst-johnathan-blake' ta rget='_blank' rel='noopener noreferrer'>here.</a></strong> </p>\n<hr>\n<h3>Biography</h3>\n<h4>Kris Davis<br></h4>\n<p>Kris Davis is a Grammy award-
 winning pianist and composer described by The New York Times as a beacon f
 or “deciding where to hear jazz [in New York] on a given night.” Davis has
  released 24 recordings as a leader or co-leader and collaborated with art
 ists such as Terri Lyne Carrington\, Dave Holland\, John Zorn\, Craig Tabo
 rn\, Ingrid Laubrock\, Tyshawn Sorey and Esperanza Spalding.  She was name
 d a 2021 Doris Duke Artist alongside Wayne Shorter and Danilo Perez\, Pian
 ist of the Year by DownBeat magazine in 2022 and 2020\, and Pianist and Co
 mposer of the Year by the Jazz Journalists Association in 2021.  In 2019\,
  Kris Davis’ “Diatom Ribbons” was named jazz album of the year by both the
  New York Times and the NPR Music Jazz Critics Poll.  The album draws from
  the musical worlds of free improvisation\, spoken word\, electronica\, ma
 instream jazz\, R&amp;B and rock.  In September 2023\, Davis released ‘Diatom 
 Ribbons – Live at the Village Vanguard’ featuring Grammy winner and NEA Ja
 zz Master Terri Lyne Carrington on drums\, Julian Lage on guitar\, Val Jea
 nty on turntables and electronics\, and Trevor Dunn on bass.  Davis is the
  Associate Program Director of Creative Development at the Berklee Institu
 te of Jazz and Gender Justice and the founder of Pyroclastic Records. Davi
 s is a Steinway Artist. </p>
DTSTART;TZID=America/Los_Angeles:20241009T143000
LAST-MODIFIED:20241004T224555Z
SEQUENCE:82
SUMMARY:: Workshop: Kris Davis\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-09/workshop-kris-davis-pian
 o
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Grammy winning composer and pianist Kris Da
 vis leads a workshop with UW Jazz Studies students\, with a <span>focus on
  her work establishing and running her record label </span><a href='https:
 //urldefense.com/v3/__https:/pyroclasticrecords.com/__\;!!K-Hz7m0Vt54!nzyD
 xg_B9wLcrg_M8uM1qhjRA2pMDscx0UDygWNiJNvHO6SsNiIcWUZYRCAzYfqLhQuZTdTcRVScym
 k$'>Pyroclastic Records</a><span>. </span></p> <hr> <p><span><strong>Note:
 </strong> <strong>Kris Davis also performs a free concert with her trio\, 
 featuring Robert Hurst and Jonathan Blake\, at 7:30 pm.</strong> Details &lt;
 strong&gt;<a href='https://music.washington.edu/events/2024-10-09/kris-davis-
 trio-featuring-robert-hurst-johnathan-blake' target='_blank' rel='noopener
  noreferrer'>here.</a></strong> </span></p> <hr> <h3><span>Biography</span></h3> <h4>Kris Davis<br><span class></span></h4> <p><span class>Kris Davi
 s is a Grammy award-winning pianist and composer described by The New York
  Times as a beacon for </span><span class>“</span><span class>deciding whe
 re to hear jazz [in New York] on a given night.” </span>Davis has released
  24 recordings as a leader or co-leader and collaborated with artists such
  as Terri Lyne Carrington\, Dave Holland\, John Zorn\, Craig Taborn\, Ingr
 id Laubrock\, Tyshawn Sorey and Esperanza Spalding.  She was named a 2021 
 Doris Duke Artist alongside Wayne Shorter and Danilo Perez\, Pianist of th
 e Year by DownBeat magazine in 2022 and 2020\, and Pianist and Composer of
  the Year by the Jazz Journalists Association in 2021.  <span class>In 201
 9\, Kris Davis’ </span><span class>“</span><span class>Diatom Ribbons” was
  named jazz album of the year by both the New York Times and the NPR Music
  Jazz Critics Poll.</span><span class>  </span><span class>The album draws
  from the musical worlds of free improvisation\, spoken word\, electronica
 \, mainstream jazz\, R&amp;B and rock.</span><span class>  </span><span class>
 In September 2023\, Davis released ‘Diatom Ribbons – Live at the Village V
 anguard’ featuring Grammy winner and NEA Jazz Master Terri Lyne Carrington
  on drums\, Julian Lage on guitar\, Val Jeanty on turntables and electroni
 cs\, and Trevor Dunn on bass. </span><span class> </span><span class>Davis
  is the Associate Program Director of Creative Development at the Berklee 
 Institute of Jazz and Gender Justice and the founder of Pyroclastic Record
 s. Davis is a Steinway Artist. </span></p>
END:VEVENT
BEGIN:VEVENT
UID:7c55a165-5dce-4ee3-a73a-a83a5dcb9672
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Special Events\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20240911T180709Z
DESCRIPTION:<p></p>\n<p>University of Washington Jazz Studies presents a fr
 ee show by the Kris Davis Trio— Grammy winning pianist/composer Kris Davis
 \, bassist Robert Hurst\, and drummer Johnathan Blake—performing in suppor
 t of  Davis’s new album 'Run the Gauntlet\,” out on Sept. 27 from  Pyrocla
 stic Records. Students from the Jazz Studies program open. </p>\n<p>This p
 erformance is made possible with generous support from Seattle's Raynier I
 nstitute and Foundation.</p>\n<p>Note: Davis also leads a workshop with UW
  Jazz Studies students at 2:30 pm\, with a focus on her work establishing 
 and running her record label <a href='https://urldefense.com/v3/__https:/p
 yroclasticrecords.com/__\;!!K-Hz7m0Vt54!nzyDxg_B9wLcrg_M8uM1qhjRA2pMDscx0U
 DygWNiJNvHO6SsNiIcWUZYRCAzYfqLhQuZTdTcRVScymk$'>Pyroclastic Records.</a> D
 etails <strong><a href='https://music.washington.edu/events/2024-10-09/wor
 kshop-kris-davis-piano' target='_blank' rel='noopener noreferrer'>here.</a></strong></p>\n<hr>\n<h4>Project Details</h4>
 \n<p>'Run the Gauntlet” emerges as the latest a
 lbum from Kris Davis\, accompanied by the extraordinary talents of bassist
  Robert Hurst and drummer Johnathan Blake. Seamlessly melding composition 
 with improvisation\, this album stands as a testament to Davis’ singular v
 oice within the jazz landscape.</p>\n<p>The tit
 le\, ‘Run the Gauntlet\,’ serves as a metaphor for overcoming challenges t
 o achieve one's goals. In this project\, Davis pays homage to six trailbla
 zing women pianists who have left an indelible mark on her journey as a pi
 anist and composer: Geri Allen\, Carla Bley\, Renee Rosnes\, Angelica Sanc
 hez\, Marilyn Crispell\, and Sylvie Courvoisier. These remarkable women no
 t only navigated the male-dominated field of jazz but also profoundly infl
 uenced Davis's development as a pianist and composer. By dedicating the al
 bum to these extraordinary women\, Davis honors their resilience and groun
 dbreaking contributions as leaders in the jazz community.</p>\n<hr>\n<h3>B
 iographies</h3>\n<h4>Kris Davis<br></h4>\n<p>Kris Davis is a Grammy award-
 winning pianist and composer described by The New York Times as a beacon f
 or “deciding where to hear jazz [in New York] on a given night.” Davis has
  released 24 recordings as a leader or co-leader and collaborated with art
 ists such as Terri Lyne Carrington\, Dave Holland\, John Zorn\, Craig Tabo
 rn\, Ingrid Laubrock\, Tyshawn Sorey and Esperanza Spalding.  She was name
 d a 2021 Doris Duke Artist alongside Wayne Shorter and Danilo Perez\, Pian
 ist of the Year by DownBeat magazine in 2022 and 2020\, and Pianist and Co
 mposer of the Year by the Jazz Journalists Association in 2021.  In 2019\,
  Kris Davis’ “Diatom Ribbons” was named jazz album of the year by both the
  New York Times and the NPR Music Jazz Critics Poll.  The album draws from
  the musical worlds of free improvisation\, spoken word\, electronica\, ma
 instream jazz\, R&amp;B and rock.  In September 2023\, Davis released ‘Diatom 
 Ribbons – Live at the Village Vanguard’ featuring Grammy winner and NEA Ja
 zz Master Terri Lyne Carrington on drums\, Julian Lage on guitar\, Val Jea
 nty on turntables and electronics\, and Trevor Dunn on bass.  Davis is the
  Associate Program Director of Creative Development at the Berklee Institu
 te of Jazz and Gender Justice and the founder of Pyroclastic Records. Davi
 s is a Steinway Artist. </p>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20241009T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:83
SUMMARY:: Kris Davis Trio\, featuring Robert Hurst &amp; Johnathan Blake
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-10/kris-davis-trio-featurin
 g-robert-hurst-johnathan-blake
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>University of Washington Jazz Studi
 es presents a free show by the Kris Davis Trio— Grammy winning pianist/com
 poser Kris Davis\, bassist Robert Hurst\, and drummer Johnathan Blake—perf
 orming in support of  Davis’s new album 'Run the Gauntlet\,” out on Sept. 
 27 from  Pyroclastic Records. Students from the Jazz Studies program open.
  </p> <p><em>This performance is made possible with generous support from 
 Seattle's Raynier Institute and Foundation.</em></p> <p><em><span>Note: Da
 vis also leads a workshop with UW Jazz Studies students at 2:30 pm\, with 
 a </span><span>focus on her work establishing and running her record label
  </span><a href='https://urldefense.com/v3/__https:/pyroclasticrecords.com
 /__\;!!K-Hz7m0Vt54!nzyDxg_B9wLcrg_M8uM1qhjRA2pMDscx0UDygWNiJNvHO6SsNiIcWUZ
 YRCAzYfqLhQuZTdTcRVScymk$'>Pyroclastic Records.</a> Details <strong><a hre f='https://music.washington.edu/events/2024-10-09/workshop-kris-davis-pian
 o' target='_blank' rel='noopener noreferrer'>here.</a></strong></em></p> &lt;
 hr&gt; <h4>Project Details</h4> <p>'Run the Gauntlet” emerges as the latest album from Kris Davis
 \, accompanied by the extraordinary talents of bassist Robert Hurst and dr
 ummer Johnathan Blake. Seamlessly melding composition with improvisation\,
  this album stands as a testament to Davis’ singular voice within the jazz
  landscape.</p> <p>The title\, ‘Run the Gauntle
 t\,’ serves as a metaphor for overcoming challenges to achieve one's goals
 . In this project\, Davis pays homage to six trailblazing women pianists w
 ho have left an indelible mark on her journey as a pianist and composer: G
 eri Allen\, Carla Bley\, Renee Rosnes\, Angelica Sanchez\, Marilyn Crispel
 l\, and Sylvie Courvoisier. These remarkable women not only navigated the 
 male-dominated field of jazz but also profoundly influenced Davis's develo
 pment as a pianist and composer. By dedicating the album to these extraord
 inary women\, Davis honors their resilience and groundbreaking contributio
 ns as leaders in the jazz community.</p> <hr> <h3>Biographies</h3> <h4>Kri
 s Davis<br><span class></span></h4> <p><span class>Kris Davis is a Grammy 
 award-winning pianist and composer described by The New York Times as a be
 acon for </span><span class>“</span><span class>deciding where to hear jaz
 z [in New York] on a given night.” </span>Davis has released 24 recordings
  as a leader or co-leader and collaborated with artists such as Terri Lyne
  Carrington\, Dave Holland\, John Zorn\, Craig Taborn\, Ingrid Laubrock\, 
 Tyshawn Sorey and Esperanza Spalding.  She was named a 2021 Doris Duke Art
 ist alongside Wayne Shorter and Danilo Perez\, Pianist of the Year by Down
 Beat magazine in 2022 and 2020\, and Pianist and Composer of the Year by t
 he Jazz Journalists Association in 2021.  <span class>In 2019\, Kris Davis
 ’ </span><span class>“</span><span class>Diatom Ribbons” was named jazz al
 bum of the year by both the New York Times and the NPR Music Jazz Critics 
 Poll.</span><span class>  </span><span class>The album draws from the musi
 cal worlds of free improvisation\, spoken word\, electronica\, mainstream 
 jazz\, R&amp;B and rock.</span><span class>  </span><span class>In September 2
 023\, Davis released ‘Diatom Ribbons – Live at the Village Vanguard’ featu
 ring Grammy winner and NEA Jazz Master Terri Lyne Carrington on drums\, Ju
 lian Lage on guitar\, Val Jeanty on turntables and electronics\, and Trevo
 r Dunn on bass. </span><span class> </span><span class>Davis is the Associ
 ate Program Director of Creative Development at the Berklee Institute of J
 azz and Gender Justice and the founder of Pyroclastic Records. Davis is a 
 Steinway Artist. </span></p> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:6332c4d8-3da6-48f8-9f8d-9d9a65479b89
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20241004T180219Z
DESCRIPTION:<p>Dr. Joseph Keola Donaghy (University of Hawai'i Maui College
 )\, author of “Mele on the Mauna\,” explores the role of music in building
  solidarity\, inspiration\, and activism in contentious confrontations abo
 ut protecting the Maunakea volcano on the island of Hawaiʻi in his talk\, 
 'Mele on the Mauna: Perpetuating Genealogies of Hawaiian Musical Activism 
 on Maunakea.'</p>\n<hr>\n<h4><strong>Abstract<b r></strong></h4>\n<p><strong>Mele on the Mauna:
  Perpetuating Genealogies of Hawaiian Musical Activism on Maunakea<br>This presentation explores how music\, especially haku mele (Hawaiian
  language composers) and performers\, played a crucial role in defending M
 aunakea in the face of colonizer aggression. Haku mele created new songs a
 t unprecedented levels\, and musicians flocked to the mauna (mountain) to 
 perform them\, illuminating how music played a powerful role in building s
 olidarity\, inspiration\, and activism among the mauna’s protectors and th
 eir supporters.</p>\n<h4>Series Background</h4>\n<p>THEME\, an annual coll
 oquium of UW faculty and students of Theory\, History\, Ethnomusicology\, 
 and Music Education\, is held on select Friday afternoons throughout the a
 cademic year.  Talks are at 4 p.m in the School of Music Fishbowl unless o
 therwise noted. Admission is free. </p>\n<h4>Speaker Biography</h4>\n<p>Dr
 . Keola Donaghy holds a B.A. in Hawaiian Studies and M.A. in Hawaiian Lang
 uage and Literature from the University of Hawai‘i at Hilo\, a Graduate Ce
 rtificate in Telecommunications and Information Resource Managmement (TIRM
 ) from UH-Mānoa\, and a Ph.D. in Music (ethnomusicology focus) from the Un
 iversity of Otago in Aotearoa (New Zealand). His is a member of the Board 
 of Governors of the Hawai‘i Academy of Recording Arts\, and an active memb
 er of the Society of Ethnomusicology\, and the International Council of Tr
 aditional Music. He also serves on the Board of Directors of PBS Hawai‘i.&lt;
 /p&gt;\n<p>Keola is a prolific haku mele (composer of Hawaiian poetry)\, whos
 e compositions have been recorded by Keali‘i Reichel\, Kenneth Makuakāne\,
  Kainani Kahaunaele\, Amy Hānaiali‘i\, The Pandanus Club\, The De Lima ‘Oh
 ana\, O’Brian Eselu\, Patrick Landeza\, and Steven Espaniola. His co-compo
 sition “Aloha Keauhou” (with Makuakāne) was performed by the senior women 
 at the 2012 Kamehameha Schools Song Contest. He produced the Institute of 
 Hawaiian Music’s Nā Hōkū Hanohano Award-winning compilation “Aloha ‘Ia Nō 
 ‘O Maui\,” and has received numerous nominations for the Nā Hōkū Hanohano 
 Awards as a composer\, producer\, and liner note annotator. Keola is the F
 aculty Coordinator of the Institute of Hawaiian Music and Music Studies at
  UH-MC. He teaches Hawaiian and world music\, music theory and applied mus
 ic.</p>
DTSTART;TZID=America/Los_Angeles:20241011T160000
LAST-MODIFIED:20241004T180219Z
SEQUENCE:84
SUMMARY:: THEME Lecture Series: Joseph Keola Donaghy\, 'Mele on the Mauna'
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-11/theme-lecture-series-jos
 eph-keola-donaghy-mele-mauna
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>Dr. Joseph Keola Donaghy (University 
 of Hawai'i Maui College)\, author of “Mele on the Mauna\,” explores the ro
 le of music in building solidarity\, inspiration\, and activism in content
 ious confrontations about protecting the Maunakea volcano on the island of
  Hawaiʻi in his talk\, 'Mele on the Mauna: Perpetuating Genealogies of Haw
 aiian Musical Activism on Maunakea.'</span></p> <hr> <h4><strong>Abstract<br></strong></h4> <p><strong>Mele on the Mauna<span>: </span>Perpetuating Genealogies of Hawai
 ian Musical Activism on Maunakea<br></strong><span>This presentation explo
 res how music\, especially haku mele (Hawaiian language composers) and per
 formers\, played a crucial role in defending Maunakea in the face of colon
 izer aggression. Haku mele created new songs at unprecedented levels\, and
  musicians flocked to the mauna (mountain) to perform them\, illuminating 
 how music played a powerful role in building solidarity\, inspiration\, an
 d activism among the mauna’s protectors and their supporters.</span></p> &lt;
 h4&gt;<span>Series Background</span></h4> <p><span>THEME\, an annual colloqui
 um of UW faculty and students of Theory\, History\, Ethnomusicology\, and 
 Music Education\, is held on select Friday afternoons throughout the acade
 mic year.  T</span><span>alks are at 4 p.m in the School of Music Fishbowl
  unless otherwise noted. Admission is free. </span></p> <h4><span>Speaker 
 Biography</span></h4> <p>Dr. Keola Donaghy holds a B.A. in Hawaiian Studie
 s and M.A. in Hawaiian Language and Literature from the University of Hawa
 i‘i at Hilo\, a Graduate Certificate in Telecommunications and Information
  Resource Managmement (TIRM) from UH-Mānoa\, and a Ph.D. in Music (ethnomu
 sicology focus) from the University of Otago in Aotearoa (New Zealand). Hi
 s is a member of the Board of Governors of the Hawai‘i Academy of Recordin
 g Arts\, and an active member of the Society of Ethnomusicology\, and the 
 International Council of Traditional Music. He also serves on the Board of
  Directors of PBS Hawai‘i.</p> <p>Keola is a prolific haku mele (composer 
 of Hawaiian poetry)\, whose compositions have been recorded by Keali‘i Rei
 chel\, Kenneth Makuakāne\, Kainani Kahaunaele\, Amy Hānaiali‘i\, The Panda
 nus Club\, The De Lima ‘Ohana\, O’Brian Eselu\, Patrick Landeza\, and Stev
 en Espaniola. His co-composition “Aloha Keauhou” (with Makuakāne) was perf
 ormed by the senior women at the 2012 Kamehameha Schools Song Contest. He 
 produced the Institute of Hawaiian Music’s Nā Hōkū Hanohano Award-winning 
 compilation “Aloha ‘Ia Nō ‘O Maui\,” and has received numerous nominations
  for the Nā Hōkū Hanohano Awards as a composer\, producer\, and liner note
  annotator. Keola is the Faculty Coordinator of the Institute of Hawaiian 
 Music and Music Studies at UH-MC. He teaches Hawaiian and world music\, mu
 sic theory and applied music.</p>
END:VEVENT
BEGIN:VEVENT
UID:fbb8dcec-2c1e-46bf-8074-0a0df35d4b56
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances\, Visiting Artists and Schol
 ars
CLASS:PUBLIC
CREATED:20240807T221954Z
DESCRIPTION:<p>Members of acclaimed Chicago-base
 d Ensemble Dal Niente—Connie Volk\, flute\, and Katie Jimoh\, clarinet—joi
 n faculty soprano Carrie Shaw in performing works for voice and winds by V
 olk\, Luis Naòn\, Jérôme Combier\, and a newly commissioned work by Sky Ma
 cklay.  Shaw is joined by soprano Danielle Reutter-Harrah in performing du
 ets for voice by Farzia Fallah.</p>\n<hr>\n<h3>
 Program</h3>\n<p>Ich und du\, Baum und Regen (2009): Farzia Fallah (b. 198
 0) <br>Danielle Reutter-Harrah and Carrie Shaw\, voice<br><br>Ultimos Movi
 mientos (2014) *US premiere*: Luis Naon (b. 1961)</p>\n<p>I. Puntuaciones&lt;
 br&gt;II. Materia Es el Motivo<br>III. Onán en la Escritura<br>IV. Madre Mate
 ria<br>V. Métrica<br>VI. Pasan los Muertos<br>VII. Hastío de la Trama</p>
 \n<p>Katherine Jimoh\, clarinet<br>(Recorded sounds\, Francoise Kubler\, s
 oprano\, and Armand Angstert\, clarinet)<br><br></p>\n<p>Mnemonic Songs (2
 024): Sky Macklay (b. 1988) <br>Newly commissioned arrangement<br><br>I. O
 pening Prayer<br>II. Auricularia auricula<br>III. Laetiporus sulphureus<br>IV. Tremella mesenterica<br>V. Pleurotus ostreatus<br>VI. Morchella escul
 enta<br>VII. Cantharellus cibarius<br>VIII. Omphalotus illudens<br>IX. Bol
 etus edulis<br>X. Psilocybe cubensis</p>\n<p>Constance Volk\, flute<br>Kat
 ie Jimoh\, clarinet in Bb and bass clarinet</p>\n<p>PAUSE</p>\n<p>not quit
 e existing leaves little to fake (2024):  Constance Volk<br><br>Constance 
 Volk\, flutes<br>Katherine Jimoh\, clarinets</p>\n<p><br>The Last Ebb (201
 9) Jerome Combier (b. 1970) <br>I. du silence (ground)<br>II. long sole so
 und (roundelay)<br>III. The last ebb (cradle song)<br>IV. The summer rains
  on my life (passacaglia)</p>\n<p>Constance Volk\, flute and bass flute<br>Katie Jimoh\, clarinet in Bb and bass clarinet</p>\n<hr>\n<h3>Notes and Translations</h3>\n<p>I’m so grateful to Katie\,
  Connie\, and Danielle for joining me in this program\, and to Sky for ind
 ulging my nerd love for her harmonica trees. I love electronics and the co
 mplexities that we are now capable of achieving in microtonal and aleatori
 c notation\, but I equally love ideas that result in physical objects that
  the audience can easily take in\, and the harmonishroom is everything I h
 oped it would be.</p>\n<p>In teaching performance\, I often find myself wa
 nting to push back against the idea of written word as a starting point fo
 r artistic growth\; the ‘civilization of paper and signs’ as Rodolfo Fogwi
 ll puts it\, originally comes from shadowy places in the mind that must be
  drawn up and out imperfectly onto a page. The things that we capture in b
 ooks and scores were once full of breath and blood and life and informed b
 y memories and glimpses of things that are real and true in themselves. Wh
 en we put them onto paper\, they become shareable in a way\, immortal in a
  way\, but also a tool of control\, a labor of human failure (perhaps a re
 ason to keep working)\, a way to reconstruct bits and pieces of what once 
 existed into a narrative that serves us. So to my fellow singers in the au
 dience\, I invite you to consider how your thoughts become breath and soun
 d and how you can explore the idea of starting your creative life from the
  constantly shifting  flickers and echoes of your own inner voice.</p>\n<p><b> Ich und Du\, Baum und Regen<br></b>Music by Farzia Fallah<br>Text by 
 Ahmad Shamloo</p>\n<p>I am the spring<br>You are the earth<br>I am the ear
 th<br>You are the tree<br>I am the tree<br>You are the spring.<br>Caressed
  by rain’s fingers<br>I become a garden <br>Exhalted in the middle of the 
 forest.</p>\n<p><b>Mnemonic Songs for Mushroom Hunters<br></b>By Sky Mackl
 ay</p>\n<ol>\n<li><b> Opening prayer</b></li>\n</ol>\n<p>Oh my! Oh my!<br>
 Oh\, mycelium in earth and in trees\,<br>Hollowed be thy fruiting bodies.&lt;
 br&gt;Give us this day the moisture to fill your cells.<br>Give us keen eyes 
 to see you well.<br>Grant us the wisdom to eat only the mushroom<br>That w
 e definitively I.D.!</p>\n<ol start='2'>\n<li><b> Auricularia aricula</b>&lt;
 /li&gt;\n</ol>\n<p>The woods have ears<br>When a tree is dying.<br>Auriculari
 a aricula</p>\n<p>Genus: Auricularia<br>Ear-shaped to hear an aria<br>Auri
 cularia</p>\n<p>Species: auricula<br>Sucking life from trees like Dracula&lt;
 br&gt;Auricula</p>\n<p>Auricularia aricula<br>Aria Dracula\,<br>Suck and hear
 <br>Wood ears.</p>\n<p>Stemless and brown\, moist and gelatinous<br>Growin
 g alone or in an overlapping group\,<br>Perfect for hot and sour soup.</p>
 \n<ol start='3'>\n<li><b> Laetiporus sulphureus</b></li>\n</ol>\n<p>Laetip
 orus sulphureus<br>I hear it tastes like chicken.</p>\n<p>Looks like spray
  foam insulation\,<br>With orange and yellow pigmentation.</p>\n<p>Laetipo
 rus<br>Lae as in laying eggs <br>Laetiporus like a chicken chorus\, (cluck
  cluck cluck)<br>Sulphureus<br>Sulphur yellow and so luxurious!<br>And I h
 ear it tastes like chicken\, chicken of the woods.<br><br></p>\n<ol start='4'>\n<li><b> Tremella mesenterica</b></li>\n</ol>\n<p>Old Tremella lives 
 deep in the woods\, the children in town all say she’s a witch.<br>Her hou
 se may be small and she hasn’t a car\, but measured in butter\, Tremella i
 s rich!</p>\n<p>Tremella mesenterica\,<br>Bright yella mass hysterica!</p>
 \n<p>She hunts and she gathers the branch-perching brains\, so tiny and gl
 oopy it takes her all week.<br>To find enough fungus to simmer and dry int
 o candy the brave trick-or-treaters will seek.</p>\n<p>Tremella mesenteric
 a\, witch’s butter <br>Bright yella mass hysterica</p>\n<p>On Halloween ni
 ght when she opens her door\, the parents are shocked by her savory teat.&lt;
 br&gt;Unwrapped homemade candy is sketchy and weird\, “she’s dangerous!” is t
 he word on the street.</p>\n<p>Tremella mesenterica\, witch’s butter witch
 ’s<br>Bright yella mass hysterica\, riches utter riches</p>\n<p>“Avoid her
 ” they write on the neighborhood app\, it’s vital to keep all the children
  away!<br>She cackles and writes “more for me!” on the post\, and feasts i
 n peace on her witch’s buffet.</p>\n<p>Tremella mesenterica\, witch’s butt
 er witch’s<br>Bright yella mass hysterica\, riches utter riches<br><br></p>\n<ol start='5'>\n<li><b> Pleurotus ostreatus</b></li>\n</ol>\n<p>Pleurot
 us ostreatus\, <br>Bay oysters on the loose\,<br>Without the ocean juice\,
 <br>Folic among the moose.</p>\n<p>Pleurotus ostreatus\, <br>Use trees to 
 reproduce\,<br>But never on a spruce\,<br>Only decidu-oos.<br><br></p>\n<p>Pleurotus ostreatus\, <br>Stacked up like a caboose\,<br>Gilled stems hel
 p you deduce\,<br>Delicious ostreatus.</p>\n<p> </p>\n<ol start='6'>\n<li>
 <b> Morchella esculenta</b></li>\n</ol>\n<p>Spring rains bring out your um
 brella\,<br>Spring rains bring out the Morchella\,<br>Morchella esculenta\
 , tasty morels!</p>\n<p>Everybody wants esculenta\,<br>On their pasta\, in
  their polenta\,<br>Morchella esculenta\, tasty morels!</p>\n<p>Hollow on 
 the inside\,<br>Honeycomb cap\, <br>Spring rains bring out your umbrella\,
 <br>Spring rains bring out the Morchella\,<br>Morchella esculenta\, tasty 
 morels!</p>\n<p>Everybody wants esculenta\,<br>On their pasta\, in their p
 olenta\,<br>Morchella esculenta\, tasty morels!</p>\n<p>Hollow on the insi
 de\,<br>Honeycomb cap\, morel<br>Rising from the ashes\, tasty morels!<br>
 Morel!</p>\n<ol start='7'>\n<li><b> Cantharellus cibarius</b></li>\n</ol>
 \n<p>Assuming I name my hypothetical future daughter after a mushroom\,<br>she will be Chanterelle!</p>\n<p>Cantharellus<br>can’t be jealous<br>of a
 ny other delicacy<br>with flavor this nutty and heavenly </p>\n<p>Canthare
 llus cibarius<br>color of a yellow bus but lighter inside.</p>\n<p>Canthar
 ellus<br>I will be zealously<br>looking under every tree<br>checking for s
 hallow gills that make a V.</p>\n<p>Cantharellus cibarius<br>color of a ye
 llow bus but lighter inside.</p>\n<p>Ah ha! Ah ha! Ah ha!<br>Checking for 
 shallow gills that make a V!</p>\n<ol start='8'>\n<li><b> Omphalotus illud
 ens</b></li>\n</ol>\n<p>Omphalotus illudens\, <br>also known as Jack ‘O La
 nter-ens\,<br>bioluminescent mushroom friends.</p>\n<p>They may look like 
 a Chanterelle\,<br>but eating them will take you to digestive hell. <br>Le
 arn the differences well.</p>\n<p>Jacks are pumpkin orange through and thr
 ough\,<br>While inside Chanterelles is a whiter hue.<br>Jacks grow in conn
 ected groups.<br>Chanterelles grow alone.</p>\n<p><b>Cadenza: Chanterelle 
 or Jack ‘O Lantern? </b></p>\n<p>Is it a<br>Chanterelle or Jack ‘O Lantern
 ?</p>\n<ol start='9'>\n<li><b> Boletus edulis</b></li>\n</ol>\n<p>bo bo bo
  bo bo bole bole bole bloe<br>roly poly bolete!<br>Boletus edulis<br>West 
 coast king\, west coast king!<br>Tap the cap\, spread the spores<br>Sponge
 y pores<br>bo bo boletus so so so majestic! <br><br></p>\n<ol start='10'>
 \n<li><b> Psilocybe cubensis</b> </li>\n</ol>\n<p>Oh my\, Psilocybe<br>Oh 
 my\, Psilocybe<br>Psilocybe cubensis</p>\n<p>Oh\, mycelium in earth and in
  trees\,<br>Hollowed be thy fruiting bodies.<br>Give us this day the moist
 ure to fill your cells.<br>Give us keen eyes to see you well.<br>Grant us 
 the wisdom\, grant us the wisdom\, grant us the wisdom</p>\n<p>Grant us th
 e wisdom in an overlapping group<br>wisdom in an overlapping group<br>bay 
 oysters on the loop<br>wisdom in an overlapping group<br>bay oysters on th
 e loop\, bay oysters on the loop</p>\n<p>Are pumpkins orange through and t
 hrough?<br>While inside Chanterelles is a lighter you.<br>Inside Chanterel
 les is a lighter you.<br>A lighter you.<br>Grant us the wisdom\, to eat on
 ly the mushroom\, that we definitively I AM GOD!</p>\n<p><b>Ultimos Movimi
 entos<br></b>Music by Luis Naón<br>Text by Rodolfo Enrique Fogwill</p>\n\n
 \n\n\n<ol>\n<li>Puntuaciones</li>\n</ol>\n<br>
 \n<p>La coma\, el intervalo</p>\n<p>de respirar\, El punto :</p>\n<p>la se
 ñal de su espera</p>\n<p>de lo que viene.</p>\n<p>Es el que lee y oye</p>
 \n<p>su voz o alguna voz\, venida</p>\n<p>de la memoria o de un fondo</p>
 \n<p>Supuesto\, imaginario.</p>\n<br>\n<p>Y lo que queda en el papel.</p>
 \n<p>Trabajo humano\, la civilizacion</p>\n<p>de los papeles y los signos\
 ,</p>\n<p>el tiempo\, y el polve que sepulta</p>\n<p>tantas cosas inútiles
  que yacen :¡libros!</p>\n<br>\n<p>Y todo eso y la libertada :</p>\n<p>Ban
 deras de abundancia</p>\n<p>y olvido.</p>\n\n\n<ol>\n<li>Punctuations</li>\n</ol>\n<br>\n<p>The comma\, the interval</p>
 \n<p>of breathing\, The period :</p>\n<p>the sign of waiting</p>\n<p>of wh
 at is to come.</p>\n<p>It is that which reads and hears</p>\n<p>your voice
  or some voice\, that comes</p>\n<p>from memory or the bottom of something
 </p>\n<p>Supposed\, imaginary.</p>\n<br>\n<p>And that which remains on pap
 er.</p>\n<p>Human work\, the civilization</p>\n<p>of papers and signs\,</p>\n<p>time\, and the dust that buries</p>\n<p>so many useless things lying
  around: books!</p>\n<br>\n<p>And all that and freedom:</p>\n<p>Flags of a
 bundance</p>\n<p>and forgetfulness.</p>\n\n\n\n\n<p>II. Materia es el moti
 vo</p>\n<br>\n<p>Sí: es la materia.</p>\n<p>Causa y finalidad del ruido de
 l poema.</p>\n<p>Motivo : movimiento.</p>\n<p>Ruido para la nuez de la gar
 ganta</p>\n<p>y la piedra que gira en la cabeza</p>\n<p>y a veces entrecho
 ca</p>\n<p>piedras y brillos</p>\n<p>de sangre.</p>\n<p>Sangre materia.</p>\n<p>Pulso : número entrecortado de la sangre.</p>\n<p>El pulso es el mot
 ivo\,</p>\n<p>y la insistencia del motivo y del cuerpo.</p>\n<p>El cuerpo 
 insiste : traza</p>\n<p>marcas\, versos\, señales</p>\n<p>de la mente en l
 a mente</p>\n<p>Materia del deseo.</p>\n\n\n<p>II. Matter is the motive </p>\n<br>\n<p>Yes: it is the matter.</p>\n<p>Cause and purpose of the noise
  in the poem.</p>\n<p>Reason : movement.</p>\n<p>Noise for the nut of the 
 throat</p>\n<p>and for the stone that spins in the head</p>\n<p>and someti
 mes it clashes</p>\n<p>stones and sparkles</p>\n<p>of blood.</p>\n<p>Blood
  matter.</p>\n<p>Pulse: choppy count of blood.</p>\n<p>The pulse is the mo
 tive\,</p>\n<p>and the insistence of the motive and of the body.</p>\n<p>T
 he body insists: trace</p>\n<p>marks\, verses\, signs</p>\n<p>from mind to
  mind</p>\n<p>Matter of desire.</p>\n\n\n\n\n<p>III. Onán en la escritura&lt;
 /p&gt;\n<br>\n<p>La escrituras cuentan</p>\n<p>otra historia de Onán</p>\n<p>
 Su repudio parcial</p>\n<p>de la mujer\, la viuda</p>\n<p>de su hermano</p>\n<p>impuesta por la ley.</p>\n<p>El deseo de su cuerpo</p>\n<p>- hundirl
 o\, penetrarlo - ardía.</p>\n<br>\n<p>Pero el desprecio de su estirpe </p>
 \n<p>lo llevaba a vertir</p>\n<p>sus jugos en la tierra</p>\n<p>negándole 
 los hijos</p>\n<p>a esa mujer\, y por ella</p>\n<p>a La Ley.</p>\n<br>\n<p>Amaba Onán</p>\n<p>como un carnerdo</p>\n<p>o como un toro</p>\n<p>pero s
 ólo reproducía</p>\n<p>sus actos\, no carne</p>\n<p>ni cuerpos para la gue
 rra</p>\n<p>ni para los trabajos del rey y los profetas.</p>\n\n\n<p>III. 
 Onán in the scriptures</p>\n<br>\n<p>The scriptures tell</p>\n<p>another s
 tory of Onan</p>\n<p>His partial rejection</p>\n<p>of the woman\, the wido
 w</p>\n<p>of his brother\,</p>\n<p>imposed upon him by law.</p>\n<p>The de
 sire of his body</p>\n<p>- sinking it\, penetrating it - burned.</p>\n<br>
 \n<p>But the contempt of her lineage </p>\n<p>made him pour</p>\n<p>his ju
 ices on the earth</p>\n<p>denying His children\, </p>\n<p>to that woman\, 
 and through her</p>\n<p>to The Law.</p>\n<br>\n<p>Onan loved</p>\n<p>like 
 a ram</p>\n<p>or like a bull</p>\n<p>but he only reproduced</p>\n<p>their 
 actions\, not meat</p>\n<p>nor bodies for war</p>\n<p>nor for the works of
  the king and the prophets.</p>\n\n\n\n\n<p>IV. Madre Materia</p>\n<p>Hace
  lo inmaterial</p>\n<p>desde los ruidos</p>\n<p>limpiándolos\, borrando ec
 os</p>\n<p>recombiando</p>\n<p>para que sean sonidos</p>\n<p>y vibren just
 o</p>\n<p>sin existir</p>\n<p>en el espacio\,</p>\n<p>en la materia del ai
 r</p>\n<br>\n<p>Casi lo inmaterial logrado.</p>\n<br>\n<p>Pero después de 
 cada palabra</p>\n<p>recupera su mundo :</p>\n<p>sombras\, ecos\, recuerdo
 s</p>\n<p>ideas embrionarias</p>\n<p>efectos de otros mundos</p>\n<p>inesp
 erados.</p>\n<br>\n<p>Es el fracaso</p>\n<p>de la materia humana.</p>\n<br>\n<p>Es el trabajo humano </p>\n<p>Con el fracaso interpretado :</p>\n<p>
 buena razón para insistir.</p>\n\n\n<p>IV. Mother Matter</p>\n<p>Makes the
  immaterial </p>\n<p>Out of noises\, </p>\n<p>cleaning them\, erasing echo
 es\, </p>\n<p>recombining </p>\n<p>so that they become sounds </p>\n<p>and
  vibrate </p>\n<p>without existing </p>\n<p>in space\, </p>\n<p>in the mat
 ter of air. </p>\n<br>\n<p>Almost the immaterial achieved.</p>\n<br>\n<p>B
 ut after each word </p>\n<p>recovers its world : </p>\n<p>shadows\, echoes
 \, memories </p>\n<p>embryonic ideas </p>\n<p>effects of other worlds</p>
 \n<p>unexpected.</p>\n<br>\n<p>It is the failure </p>\n<p>of human matter.
 </p>\n<br>\n<p>It is human work </p>\n<p>With failure interpreted : </p>\n
 <p>A good reason to carry on.</p>\n\n\n\n\n<p>V. Métrica</p>\n<p>A la hora
  del té\, si oye el sonido </p>\n<p>té\, ve una tacita </p>\n<p>en el cent
 ro del verso</p>\n<p> y a la derecha e izquierda </p>\n<p>la simetría bila
 teral </p>\n<p>de dos manos </p>\n<p>qui dividen el día </p>\n<p>en grupos
  </p>\n<p>de cinco sílabas.</p>\n<br>\n<p>Horas endecasílabas del té.</p>
 \n<p>Horas en punto de la tarde.</p>\n<p>Horas a punto de escaparse </p>\n
 <p>por el vacío de la frase </p>\n<p>que descubre </p>\n<p>una memoria de 
 té y de madre </p>\n<p>en la lengua materna.</p>\n\n\n<p>V. Metric</p>\n<p>At tea time\, if you hear the sound </p>\n<p>tea\, you see a little cup &lt;
 /p&gt;\n<p>in the center of the verse </p>\n<p>and to the right and left </p>
 \n<p>the bilateral symmetry </p>\n<p>of two hands </p>\n<p>that divide the
  day </p>\n<p>into groups </p>\n<p>of five syllables.</p>\n<br>\n<p>Hendec
 asyllabic hours of tea.</p>\n<p>Hours just in the afternoon.</p>\n<p>Hours
  about to escape </p>\n<p>through the emptiness of the phrase </p>\n<p>tha
 t reveals </p>\n<p>a memory of tea and of  mother </p>\n<p>in the mother t
 ongue.</p>\n\n\n\n\n<p>VI. Pasan Los Muertos</p>\n<br>\n<p>Y cuántos son\,
  y cómo </p>\n<p>su suman por la gracia </p>\n<p>de disolverse\,</p>\n<p>y
  la magia </p>\n<p>de su sagrada descomposición.</p>\n<p>Y el arte de ente
 rrarlos\, negarlos </p>\n<p>y volverlos relatos </p>\n<p>en la memoria.</p>\n<p>Un desfile de nombres\, imágenes veladas\, </p>\n<p>sonrisas\, rictu
 s\, guiños </p>\n<p>de una luz que pasó.</p>\n<p>O de una sombra que atrav
 iesa el tiempo </p>\n<p>con todo el movimiento del día.</p>\n\n\n<p>VI. Th
 e Dead Pass</p>\n<br>\n<p>And how many there are\, and how </p>\n<p>they a
 dd up by the grace </p>\n<p>of dissolving\,</p>\n<p>and the magic </p>\n<p>of their sacred decomposition.</p>\n<p>And the art of burying them\, deny
 ing them</p>\n<p>and turning them into stories </p>\n<p>in memory.</p>\n<p>A parade of names\, veiled images\, </p>\n<p>smiles\, winces\, winks </p>
 \n<p>of a light that passed.</p>\n<p>Or a shadow that crosses time </p>\n&lt;
 p&gt;with all the movement of the day.</p>\n\n\n\n\n<p>VII. Hastio de la Tram
 a</p>\n<p>No es el hastío </p>\n<p>ni el hasta ahí geométrico </p>\n<p>ni 
 el hartazgo </p>\n<p>de los dibujos </p>\n<p>ni la torsión calculada del h
 ilo.</p>\n<br>\n<p>Será la regularidad\, la causa </p>\n<p>repetitiva de l
 as formas\, </p>\n<p>la paciencia del hombre como renuncia\, </p>\n<p>y lo
  que se dispone a ser : </p>\n<p>un hacer que no acierta a saber </p>\n<p>
 qué es\, e insiste </p>\n<p>y teje su trama </p>\n<p>alrededor del vacío.&lt;
 /p&gt;\n\n\n<p>VII. Plot Ennui</p>\n<p>It is not the boredom </p>\n<p>or this
  “up to here” geometry</p>\n<p>or the dreary repetition </p>\n<p>of the dr
 awings </p>\n<p>or the calculated twisting of the thread.</p>\n<br>\n<p>It
  will be the regularity\, </p>\n<p>the repetitive cause of forms\, </p>\n&lt;
 p&gt;the patience of man as renunciation\, </p>\n<p>and what he prepares to b
 e : </p>\n<p>a doing that does not know </p>\n<p>what it is\, and carries 
 on </p>\n<p>and weaves </p>\n<p>its plot around the void.</p>\n\n\n\n\n<p>
 <b>The Last Ebb</b></p>\n<p>Music by Jérôme Combier</p>\n<p>Text by Samuel
  Beckett</p>\n\n\n\n\n<p>I. du silence (ground)</p>\n<p>musique de l’indif
 férence<br>cœur temps air feu sable<br>du silence éboulement d’amours<br>c
 ouvre leurs voix et que<br>je ne m’entende plus<br>me taire</p>\n<p>(trans
 lated by Beckett)</p>\n\n\n<p>I. The Music of Indifference</p>\n<p>The mus
 ic of indifference<br>heart time air fire sand<br>of silence the landslip 
 of loves<br>cover their voices and let me <br>no longer hear myself <br>be
  silent.</p>\n\n\n\n\n<p>II. long sole sound (roundelay)</p>\n<p>on all th
 at strand<br>at end of day<br>steps sole sound<br>long sole sound<br>until
  unbidden stay<br>then no sound<br>until unbidden go<br>steps sole sound<b r>long sole sound<br>on all that strand<br>at end of day</p>\n\n\n\n\n\n<p>III. The last ebb (cradle song)</p>\n<p>again the last ebb<br>the dead sh
 ingle<br>the turning then the steps<br>Toward the lighted town </p>\n\n\n
 \n\n\n<p>IV. The summer rain rains on my life (passacaglia)</p>\n<p>My way
  is in the sand flowing<br>between the shingle and the dune<br>the summer 
 rain rains on my life\,<br>on me my life harrying fleeing<br>to its beginn
 ing to its end</p>\n<p>My peace is there in the receding mist<br>when I ma
 y cease from treading these long shifting thresholds<br>and live the space
  of a door<br>that opens and shuts</p>\n\n\n\n\n\n<h3>Biographies</h3>\n<a href='https://www.dalniente.com/about' target='_blank' rel='noopener 
 noreferrer'>Ensemble Dal Niente</a></h4>\n<p>Ensemble Dal Niente performs 
 new and experimental chamber music with dedication\, virtuosity\, and an e
 xploratory spirit. Flexible and adaptable\, Dal Niente’s roster of 27 musi
 cians presents an uncommonly broad range of contemporary music\, guiding l
 isteners towards music that transforms existing ideas and subverts convent
 ion. Audiences coming to Dal Niente shows can expect distinctive productio
 ns—from fully staged operas to multimedia spectacles to intimate solo perf
 ormances—that are curated to pique curiosity and connect art\, culture\, a
 nd people.</p>\n<p><b>Katherine Jimoh</b>\, clarinetist\, vocalist\, piani
 st\, singer-songwriter and goldsmith lives in Chicago and works as a freel
 ance musician and jeweler. She is a member of Ensemble Dal Niente\, Univer
 sity of Chicago’s Grossman Ensemble and Chicago Wind Project. Working side
 -by-side with living composers while surrounded by colleagues who speciali
 ze in new music provides constant inspiration and creativity. </p>\n<p>Kat
 herine leads her four-piece band\, Katet as singer-songwriter and pianist.
  When tonality is achieved in an utterly unpredictable way\, Katherine fee
 ls satisfied with her songwriting. Complex harmonies matched with mixed me
 ters\, drones and simple vocal lines equals Katet.</p>\n<p><b></b></p>\n<p><b>Constance Volk</b> is a musician\, a painter\, and an illustrator. She
  is a member of Ensemble Dal Niente\, the Grossman Ensemble and the Chicag
 o Wind project. She has collaborated with Lookingglass Theater\, Eighth Bl
 ackbird\, and Third Coast Percussion. She has exhibited paintings at Bridg
 eport Art Center\, Miller Beach Arts and Creative District\, and Rendezvou
 s Arts. Her illustrations are featured with ‘Density Seeds’\, an offshoot 
 of the ‘Density 2036’ solo flute repertoire project. Constance is the crea
 tor of ‘Connie’s Characters’\, a series of mix and match coloring books fu
 ll of wacky weirdos. Her paintings\, poster art\, coloring books and music
  can be found at <a href='http://constancevolk.com/'>constancevolk.com</a>
 </p>\n<h3><br><br st yle=' 400\;'></h3>\n<h3></h3>\n<h3></h3>
DTSTART;TZID=America/Los_Angeles:20241011T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:85
SUMMARY:: Faculty Recital: Carrie Shaw and Guests
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-12/faculty-recital-carrie-s
 haw-and-guests
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>Members of
  acclaimed Chicago-based Ensemble Dal Niente—Connie</span> Volk\, flute\, 
 and Katie Jimoh\, clarinet<span>—</span>join faculty soprano Carrie Shaw i
 n performing works for voice and winds by Volk\, Luis Naòn\, Jérôme Combie
 r\, and a newly commissioned work by Sky Macklay.  Shaw is joined by sopra
 no <span>Danielle Reutter-Harrah in performing duets for voice by Farzia F
 allah.</span></p> <hr> <h3>Program</h3> <p><i>&lt;
 span style='font-weight: 400\;'&gt;Ich und du\, Baum und Regen </span></i>(2009):</span> <span>Farzia Fallah (b. 1980) <br></span><span>Da
 nielle Reutter-Harrah and Carrie Shaw\, voice<br><br></span><i><span>Ultimos Movimientos</span></i><span> (2014)</span> <span>*US premiere*:&lt;
 /span&gt; <span>Luis Naon (b. 1961)</span></p> <p>
 <span>I. Puntuaciones<br></span><span>II. Materia Es el Motivo<br></span><span>III. Onán en la Escritura<br></span><span>IV. Madre Materia<br></span><span>V. Mét
 rica<br></span><span>VI. Pasan los Muertos<br>&lt;
 /span&gt;<span>VII. Hastío de la Trama</span></p> 
 <p><span>Katherine Jimoh\, clarinet</span><em>&lt;
 span style='font-weight: 400\;'&gt;<br></span></em><span>(Recorded sounds\, Francoise Kubler\, soprano\, and Armand Angstert
 \, clarinet)</span><br><br></p> <p><i><span>Mne
 monic Songs</span></i><span> (2024):</span> Sky Macklay (b. 1988) <br></span><i><span st yle=' 400\;'>Newly commissioned arrangement<br><br></span></i>
 <span>I. Opening Prayer<br></span><span>II. Auricularia auricula<br></span><span>III. Laetiporus sulphureus<br></span><span>IV. Tremella mesenterica<br></span><span>V. Pleurotus ostreatus<br></span><span>VI. 
 Morchella esculenta<br></span><span>VII. Cantha
 rellus cibarius<br></span><span>VIII. Omphalotu
 s illudens<br></span><span>IX. Boletus edulis<b r></span><span>X. Psilocybe cubensis</span></p>
  <p><span>Constance Volk\, flute<br></span>Katie Jimoh\, clarinet in Bb and bass clarine
 t</span></p> <p><span>PAUSE</span></p> <p><i><s pan>not quite existing leaves little to fake</s></i><span> (2024): </span> <span>Constance Volk<br><br></span><span>Constance Volk\, flutes<br></span><span>Ka
 therine Jimoh\, clarinets</span></p> <p><span>&lt;
 /span&gt;<em><span><br></span><span>The Last Ebb</span><span> (2019)</span> <span>Jerome Combier (b. 1970)</span> <br></em><span>I. du silence (ground)<br></span><s pan>II. long sole sound (roundelay)<br></span>&lt;
 span style='font-weight: 400\;'&gt;III. The last ebb (cradle song)<br></span>
 <span>IV. The summer rains on my life (passacag
 lia)</span></p> <p><em><span>Constance Volk\, f
 lute and bass flute<br></span><span>Katie Jimoh
 \, clarinet in Bb and bass clarinet</span></em></p> <hr> <h3>Notes and Translations</h3> <p><span>I’m so grateful to Katie\, Connie\, and Danielle for joining me in thi
 s program\, and to Sky for indulging my nerd love for her harmonica trees.
  I love electronics and the complexities that we are now capable of achiev
 ing in microtonal and aleatoric notation\, but I equally love ideas that r
 esult in physical objects that the audience can easily take in\, and the h
 armonishroom is everything I hoped it would be.</span></p> <p><span>In teaching performance\, I often find myself wanting
  to push back against the idea of written word as a starting point for art
 istic growth\; the ‘civilization of paper and signs’ as Rodolfo Fogwill pu
 ts it\, originally comes from shadowy places in the mind that must be draw
 n up and out imperfectly onto a page. The things that we capture in books 
 and scores were once full of breath and blood and life and informed by mem
 ories and glimpses of things that are real and true in themselves. When we
  put them onto paper\, they become shareable in a way\, immortal in a way\
 , but also a tool of control\, a labor of human failure (perhaps a reason 
 to keep working)\, a way to reconstruct bits and pieces of what once exist
 ed into a narrative that serves us. So to my fellow singers in the audienc
 e\, I invite you to consider how your thoughts become breath and sound and
  how you can explore the idea of starting your creative life from the cons
 tantly shifting  flickers and echoes of your own inner voice.</span></p> &lt;
 p&gt;<b> Ich und Du\, Baum und Regen<br></b>Music by Farzia Fallah<br><span s tyle=' 400\;'>Text by Ahmad Shamloo</span></p> <p><span>I am the spring<br></span><span>You are the earth<br></span><span>I am th
 e earth<br></span><span>You are the tree<br></s><span>I am the tree<br></span><span>You are the spring.<br></span><span>Caressed by rain’s fingers<br></span><span>I become a garden <br></span><span>Exhalte
 d in the middle of the forest.</span></p> <p><b>Mnemonic Songs for Mushroo
 m Hunters<br></b>By Sky Macklay</p> <ol> <li><b> Opening prayer</b></li> &lt;
 /ol&gt; <p><span>Oh my! Oh my!<br></span><span sty le=' 400\;'>Oh\, mycelium in earth and in trees\,<br></span><s pan>Hollowed be thy fruiting bodies.<br></span>
 <span>Give us this day the moisture to fill you
 r cells.<br></span><span>Give us keen eyes to s
 ee you well.<br></span><span>Grant us the wisdo
 m to eat only the mushroom<br></span><span>That
  we definitively I.D.!</span></p> <ol start='2'> <li><b> Auricularia aricu
 la</b></li> </ol> <p><span>The woods have ears&lt;
 br&gt;</span><span>When a tree is dying.<br></span><span>Auricularia aricula</span></p> <p><span>Genus: Auricularia<br></span><span>Ear-shaped to hear an aria<br></span><span>Auricularia</span></p> <p><span>Spec
 ies: auricula<br></span><span>Sucking life from
  trees like Dracula<br></span><span>Auricula</s></p> <p><span>Auricularia aricula<br></span><span>Aria Dracula\,<br></span><span>Suck and hear<br></span><span>Wood ears.</span></p> <p><span>Stemless and br
 own\, moist and gelatinous<br></span><span>Grow
 ing alone or in an overlapping group\,<br></span><span>Perfect for hot and sour soup.</span></p> <ol start='3'> <li><b> L
 aetiporus sulphureus</b></li> </ol> <p><span>La
 etiporus sulphureus<br></span><span>I hear it t
 astes like chicken.</span></p> <p><span>Looks l
 ike spray foam insulation\,<br></span><span>Wit
 h orange and yellow pigmentation.</span></p> <p>Laetiporus<br><span>Lae as in laying eggs <br></span><span>Laetiporus like a chicken chorus\, (cluck cluck cluck)<br></s><span>Sulphureus<br></span><span>Sulphur yellow and so luxurious!<br></span><span>And I hear it tastes like chicken\, chicken of the wood
 s.<br><br></span></p> <ol start='4'> <li><b> Tremella mesenterica</b></li>
  </ol> <p><span>Old Tremella lives deep in the 
 woods\, the children in town all say she’s a witch.<br></span><span>Her house may be small and she hasn’t a car\, but mea
 sured in butter\, Tremella is rich!</span></p> <p><span>Tremella mesenterica\,<br></span><span>Bright yella mass hysterica!</span></p> <p><span>She hunts and she gathers the branch-perching brains\, so tiny and gloo
 py it takes her all week.<br></span><span>To fi
 nd enough fungus to simmer and dry into candy the brave trick-or-treaters 
 will seek.</span></p> <p><span>Tremella mesente
 rica\, witch’s butter <br></span><span>Bright y
 ella mass hysterica</span></p> <p><span>On Hall
 oween night when she opens her door\, the parents are shocked by her savor
 y teat.<br></span><span>Unwrapped homemade cand
 y is sketchy and weird\, “she’s dangerous!” is the word on the street.</p> <p><span>Tremella mesenterica\, witch’s
  butter witch’s<br></span><span>Bright yella ma
 ss hysterica\, riches utter riches</span></p> <p><span>“Avoid her” they write on the neighborhood app\, it’s vital to kee
 p all the children away!<br></span><span>She ca
 ckles and writes “more for me!” on the post\, and feasts in peace on her w
 itch’s buffet.</span></p> <p><span>Tremella mes
 enterica\, witch’s butter witch’s<br></span><span>Bright yella mass hysterica\, riches utter riches<br><br></span></p>  <li><b> Pleurotus ostreatus</b></li> </ol> <p><span>Pleurotus ostreatus\, <br></span><span>Bay oysters on the loose\,<br></span><span>Without the ocean juice\,<br></span><span>Folic among the moose.</span></p> <p><span>Ple
 urotus ostreatus\, <br></span><span>Use trees t
 o reproduce\,<br></span><span>But never on a sp
 ruce\,<br></span><span>Only decidu-oos.<br><br>
 </span></p> <p><span>Pleurotus ostreatus\, <br>
 </span><span>Stacked up like a caboose\,<br></s><span>Gilled stems help you deduce\,<br></s><span>Delicious ostreatus.</span></p> <p><s pan> </span></p> <ol start='6'> <li><b> Morchel
 la esculenta</b></li> </ol> <p><span>Spring rai
 ns bring out your umbrella\,<br></span><span>Sp
 ring rains bring out the Morchella\,<br></span><span>Morchella esculenta\, tasty morels!</span></p> <p><span>Everybody wants esculenta\,<br></span><span>On their pasta\, in their polenta\,<br></span><span>Morchella esculenta\, tasty morels!</span></p> <p><span s tyle=' 400\;'></span><span>Hollow o
 n the inside\,<br></span><span>Honeycomb cap\, 
 <br></span>Spring rains bring out your umbrella\,<br><span>Spring rains bring out the Morchella\,<br></span><span>Morchella esculenta\, tasty morels!</span></p> <p>Everybody wants esculenta\,<br></span><span s tyle=' 400\;'>On their pasta\, in their polenta\,<br></span><s pan>Morchella esculenta\, tasty morels!</span>&lt;
 /p&gt; <p><span>Hollow on the inside\,<br></span>&lt;
 span style='font-weight: 400\;'&gt;Honeycomb cap\, morel<br></span><span styl e=' 400\;'>Rising from the ashes\, tasty morels!<br></span>Morel!</span></p> <ol start='7'> <li><b> Can
 tharellus cibarius</b></li> </ol> <p><span>Assu
 ming I name my hypothetical future daughter after a mushroom\,<br></span>&lt;
 span style='font-weight: 400\;'&gt;she will be Chanterelle!</span></p> <p>Cantharellus<br></span><span>can’t be jealous<br></span><span>of
  any other delicacy<br></span><span>with flavor
  this nutty and heavenly </span></p> <p><span>C
 antharellus cibarius<br></span><span>color of a
  yellow bus but lighter inside.</span></p> <p><span>Cantharellus<br></span><span>I will be zea
 lously<br></span><span>looking under every tree
 <br></span><span>checking for shallow gills tha
 t make a V.</span></p> <p><span>Cantharellus ci
 barius<br></span><span>color of a yellow bus bu
 t lighter inside.</span></p> <p><span>Ah ha! Ah
  ha! Ah ha!<br></span><span>Checking for shallo
 w gills that make a V!</span></p> <ol start='8'> <li><b> Omphalotus illude
 ns</b></li> </ol> <p><span>Omphalotus illudens\
 , <br></span><span>also known as Jack ‘O Lanter
 -ens\,<br></span><span>bioluminescent mushroom 
 friends.</span></p> <p><span>They may look like
  a Chanterelle\,<br></span><span>but eating the
 m will take you to digestive hell. <br></span><span>Learn the differences well.</span></p> <p><span>Jacks are pumpkin orange through and through\,<br></span><span>While inside Chanterelles is a whiter hue.<br></span><span>Jacks grow in connected groups.<br><span>Chanterelles grow alone.</span></p> <p>
 <b>Cadenza: Chanterelle or Jack ‘O Lantern? </b></p> <p><span>Is it a<br></span><span>Chantere
 lle or Jack ‘O Lantern?</span></p> <ol start='9'> <li><b> Boletus edulis</b></li> </ol> <p><span>bo bo bo bo bo bole bole
  bole bloe<br></span><span>roly poly bolete!<br></span><span>Boletus edulis<br></span><span st yle=' 400\;'>West coast king\, west coast king!<br></span>Tap the cap\, spread the spores<br></span>Spongey pores<br></span><span>bo bo boletus so so so majestic! <br><br></span></p> <ol star t='10'> <li><b> Psilocybe cubensis</b> </li> </ol> <p><span>Oh my\, Psilocybe<br></span><span>
 Oh my\, Psilocybe<br></span><span>Psilocybe cub
 ensis</span></p> <p><span>Oh\, mycelium in eart
 h and in trees\,<br></span><span>Hollowed be th
 y fruiting bodies.<br></span><span>Give us this
  day the moisture to fill your cells.<br></span><span>Give us keen eyes to see you well.<br></span><span>Grant us the wisdom\, grant us the wisdom\, grant us the wisdom
 </span></p> <p><span>Grant us the wisdom in an 
 overlapping group<br></span><span>wisdom in an 
 overlapping group<br></span><span>bay oysters o
 n the loop<br></span><span>wisdom in an overlap
 ping group<br></span><span>bay oysters on the l
 oop\, bay oysters on the loop</span></p> <p><span></span><span>Are pumpkins orange through and
  through?<br></span><span>While inside Chantere
 lles is a lighter you.<br></span><span>Inside C
 hanterelles is a lighter you.<br></span><span>A
  lighter you.<br></span>Grant us the wisdom\, to eat only the mushroom\, t
 hat we definitively I AM GOD!</p> <p><b>Ultimos Movimientos<br></b>Music b
 y Luis Naón<br><span>Text by Rodolfo Enrique Fo
 gwill</span></p> <table> <tbody> <tr> <td> <ol> <li><span>Puntuaciones</span></li> </ol> <br> 
 <p><span>La coma\, el intervalo</span></p> <p>&lt;
 span style='font-weight: 400\;'&gt;de respirar\, El punto :</span></p> <p>la señal de su espera</span></p> <p><span st yle=' 400\;'>de lo que viene.</span></p> <p><span>Es el que lee y oye</span></p> <p><span>su voz o alguna voz\, venida</span></p> <p><span>de la memoria o de un fondo</span></p> <p><span>Supuesto\, imaginario.</span></p> <br> <p><span>Y lo que queda en el papel.</span></p> <p><span>Trabajo humano\, la civilizacion</span></p> <p><span>de los papeles y los signos\,</span></p> <p><span>el tiempo\, y el polve que sepulta</span></p> <p>tantas cosas inútiles que yacen :¡libros!</s></p> <br> <p><span>Y todo eso y la libertad
 a :</span></p> <p><span>Banderas de abundancia&lt;
 /span&gt;</p> <p><span>y olvido.</span></p> </td> 
 <td> <ol> <li><span>
 Punctuations</span></li> </ol> <br> <p><span>Th
 e comma\, the interval</span></p> <p><span>of b
 reathing\, The period :</span></p> <p><span>the
  sign of waiting</span></p> <p><span>of what is
  to come.</span></p> <p><span>It is that which 
 reads and hears</span></p> <p><span>your voice 
 or some voice\, that comes</span></p> <p><span>
 from memory or the bottom of something</span></p> <p><span>Supposed\, imaginary.</span></p> <br> <p><span>And that which remains on paper.</span></p> <p><span>Human work\, the civilization</span></p> <p><span>of papers and signs\,</span></p> <p><span>time\, and the dust that buries</span></p> <p><span>so many useless things lying around: books!</span></p> <br> <p><span>And all that and freedom:</span></p> <p><span>Flags of abundance</span></p> <p><span>and forgetfulness.</span></p> </td> </tr> <tr> <td> <p><span>II. Materia es el motivo</span></p> <br> <p><span>Sí: es la materia.</p> <p><span>Causa y finalidad del ruido del
  poema.</span></p> <p><span>Motivo : movimiento
 .</span></p> <p><span>Ruido para la nuez de la 
 garganta</span></p> <p><span>y la piedra que gi
 ra en la cabeza</span></p> <p><span>y a veces e
 ntrechoca</span></p> <p><span>piedras y brillos
 </span></p> <p><span>de sangre.</span></p> <p>&lt;
 span style='font-weight: 400\;'&gt;Sangre materia.</span></p> <p><span>Pulso : número entrecortado de la sangre.</span></p> 
 <p><span>El pulso es el motivo\,</span></p> <p>
 <span>y la insistencia del motivo y del cuerpo.
 </span></p> <p><span>El cuerpo insiste : traza&lt;
 /span&gt;</p> <p><span>marcas\, versos\, señales</span></p> <p><span>de la mente en la mente</p> <p><span>Materia del deseo.</span></p> &lt;
 /td&gt; <td> <p><span>II. Matter is the motive </s></p> <br> <p><span>Yes: it is the matter.</span></p> <p><span>Cause and purpose of the noi
 se in the poem.</span></p> <p><span>Reason : mo
 vement.</span></p> <p><span>Noise for the nut o
 f the throat</span></p> <p><span>and for the st
 one that spins in the head</span></p> <p><span>
 and sometimes it clashes</span></p> <p><span>st
 ones and sparkles</span></p> <p><span>of blood.
 </span></p> <p><span>Blood matter.</span></p> &lt;
 p&gt;<span>Pulse: choppy count of blood.</span></p> <p><span>The pulse is the motive\,</span></p>
  <p><span>and the insistence of the motive and 
 of the body.</span></p> <p><span>The body insis
 ts: trace</span></p> <p><span>marks\, verses\, 
 signs</span></p> <p><span>from mind to mind</p> <p><span>Matter of desire.</span></p> &lt;
 /td&gt; </tr> <tr> <td> <p><span>III. Onán en la e
 scritura</span></p> <br> <p><span>La escrituras
  cuentan</span></p> <p><span>otra historia de O
 nán</span></p> <p><span>Su repudio parcial</p> <p><span>de la mujer\, la viuda</span></p> <p><span>de su hermano</span></p> <p><span s tyle=' 400\;'>impuesta por la ley.</span></p> <p><span>El deseo de su cuerpo</span></p> <p><span>- hundirlo\, penetrarlo - ardía.</span></p> <br> <p><span s tyle=' 400\;'>Pero el desprecio de su estirpe </span></p> <p>&lt;
 span style='font-weight: 400\;'&gt;lo llevaba a vertir</span></p> <p><span st yle=' 400\;'>sus jugos en la tierra</span></p> <p><span>negándole los hijos</span></p> <p><span>a esa mujer\, y por ella</span></p> <p><span>a La Ley.</span></p> <br> <p><span>
 Amaba Onán</span></p> <p><span>como un carnerdo
 </span></p> <p><span>o como un toro</span></p> 
 <p><span>pero sólo reproducía</span></p> <p>sus actos\, no carne</span></p> <p><span sty le=' 400\;'>ni cuerpos para la guerra</span></p> <p><span styl e=' 400\;'>ni para los trabajos del rey y los profetas.</span>
 </p> </td> <td> <p><span>III. Onán in the scrip
 tures</span></p> <br> <p><span>The scriptures t
 ell</span></p> <p><span>another story of Onan</span></p> <p><span>His partial rejection</span>
 </p> <p><span>of the woman\, the widow</span></p> <p><span>of his brother\,</span></p> <p>imposed upon him by law.</span></p> <p><span>The desire of his body</span></p> <p><span styl e=' 400\;'>- sinking it\, penetrating it - burned.</span></p> 
 <br> <p><span>But the contempt of her lineage &lt;
 /span&gt;</p> <p><span>made him pour</span></p> <p><span>his juices on the earth</span></p> <p><s pan>denying His children\, </span></p> <p><span>to that woman\, and through her</span></p> <p>
 <span>to The Law.</span></p> <br> <p><span styl e=' 400\;'>Onan loved</span></p> <p><span>like a ram</span></p> <p><span>or like a
  bull</span></p> <p><span>but he only reproduce
 d</span></p> <p><span>their actions\, not meat&lt;
 /span&gt;</p> <p><span>nor bodies for war</span></p> <p><span>nor for the works of the king and t
 he prophets.</span></p> </td> </tr> <tr> <td> <p><span>IV. Madre Materia</span></p> <p><span>H
 ace lo inmaterial</span></p> <p><span>desde los
  ruidos</span></p> <p><span>limpiándolos\, borr
 ando ecos</span></p> <p><span>recombiando</span></p> <p><span>para que sean sonidos</span></p>
  <p><span>y vibren justo</span></p> <p><span st yle=' 400\;'>sin existir</span></p> <p><span>en el espacio\,</span></p> <p><span>e
 n la materia del air</span></p> <br> <p><span>C
 asi lo inmaterial logrado.</span></p> <br> <p><span>Pero después de cada palabra</span></p> <p><span>recupera su mundo :</span></p> <p><span>
 sombras\, ecos\, recuerdos</span></p> <p><span>
 ideas embrionarias</span></p> <p><span>efectos 
 de otros mundos</span></p> <p><span>inesperados
 .</span></p> <br> <p><span>Es el fracaso</span>
 </p> <p><span>de la materia humana.</span></p> 
 <br> <p><span>Es el trabajo humano </span></p> 
 <p><span>Con el fracaso interpretado :</span></p> <p><span>buena razón para insistir.</span></p> </td> <td> <p><span>IV. Mother Matter</span>
 </p> <p><span>Makes the immaterial </span></p> 
 <p><span>Out of noises\, </span></p> <p><span s tyle=' 400\;'>cleaning them\, erasing echoes\, </span></p> <p>
 <span>recombining </span></p> <p><span>so that they become sounds </span></p> <p><span>and vibrate </span></p> <p><span>without existing </span></p> <p><span>in 
 space\, </span></p> <p><span>in the matter of a
 ir. </span></p> <br> <p><span>Almost the immate
 rial achieved.</span></p> <br> <p><span>But aft
 er each word </span></p> <p><span>recovers its 
 world : </span></p> <p><span>shadows\, echoes\,
  memories </span></p> <p><span>embryonic ideas 
 </span></p> <p><span>effects of other worlds</s></p> <p><span>unexpected.</span></p> <br> &lt;
 p&gt;<span>It is the failure </span></p> <p><span>of human matter.</span></p> <br> <p><span>It is human work </span></p> <p><span>With failure interpreted : </span></p> <p><span>A good reason to carry on.</span></p> </td> </tr> <tr> <td> 
 <p><span>V. Métrica</span></p> <p><span>A la hora del té\, si oye el sonido </span></p> <p>té\, ve una tacita </span></p> <p><span styl e=' 400\;'>en el centro del verso</span></p> <p><span> y a la derecha e izquierda </span></p> <p><span>la simetría bilateral </span></p> <p><span>de dos manos </span></p> <p><span>qui dividen el día </span></p> <p><span>en 
 grupos </span></p> <p><span>de cinco sílabas.</span></p> <br> <p><span>Horas endecasílabas del
  té.</span></p> <p><span>Horas en punto de la t
 arde.</span></p> <p><span>Horas a punto de esca
 parse </span></p> <p><span>por el vacío de la f
 rase </span></p> <p><span>que descubre </span>&lt;
 /p&gt; <p><span>una memoria de té y de madre </p> <p><span>en la lengua materna.</span></p> </td> <td> <p><span>V. Metric</span></p> <p>&lt;
 span style='font-weight: 400\;'&gt;At tea time\, if you hear the sound </span></p> <p><span>tea\, you see a little cup </p> <p><span>in the center of the verse </p> <p><span>and to the right and left </p> <p><span>the bilateral symmetry </span>
 </p> <p><span>of two hands </span></p> <p><span>that divide the day </span></p> <p><span>into groups </span></p> <p><span>of five syllables.</span></p> <br> <p><span>Hendecasyllabic hours of tea.</span></p> <p><span>Hours just in the afternoon.</span></p> <p><span>Hours about to escape </span></p> <p><span>through the emptiness of the phrase </span></p> <p><span>that reveals </span></p> <p><span>a memory of tea and of  mother </span></p> <p><span>in the mother tongue.</span></p> </td> </tr> <tr> <td> <p><span st yle=' 400\;'>VI. Pasan Los Muertos</span></p> <br> <p><span st yle=' 400\;'>Y cuántos son\, y cómo </span></p> <p><span>su suman por la gracia </span></p> <p><span>de disolverse\,</span></p> <p><span>y la magia </span></p> <p><span>de su s
 agrada descomposición.</span></p> <p><span>Y el
  arte de enterrarlos\, negarlos </span></p> <p><span>y volverlos relatos </span></p> <p><span>
 en la memoria.</span></p> <p><span>Un desfile d
 e nombres\, imágenes veladas\, </span></p> <p><span>sonrisas\, rictus\, guiños </span></p> <p><span>de una luz que pasó.</span></p> <p><span>
 O de una sombra que atraviesa el tiempo </span></p> <p><span>con todo el movimiento del día.</span></p> </td> <td> <p>VI. The Dead Pass</span></p> <br> <p><span s tyle=' 400\;'>And how many there are\, and how </span></p> <p>
 <span>they add up by the grace </span></p> <p>&lt;
 span style='font-weight: 400\;'&gt;of dissolving\,</span></p> <p><span>and the magic </span></p> <p><span>of their sacred decomposition.</span></p> <p><span>And the art of burying them\, denying them</span></p> <p>and turning them into stories </span></p> <p>
 <span>in memory.</span></p> <p><span>A parade of names\, veiled images\, </span></p> <p><span>smiles\, winces\, winks </span></p> <p><span st yle=' 400\;'>of a light that passed.</span></p> <p><span>Or a shadow that crosses time </span></p> <p><span s tyle=' 400\;'>with all the movement of the day.</span></p>  </tr> <tr> <td> <p><span>VII. Hastio de la T
 rama</span></p> <p><span>No es el hastío </span></p> <p><span>ni el hasta ahí geométrico </p> <p><span>ni el hartazgo </span></p> <p>&lt;
 span style='font-weight: 400\;'&gt;de los dibujos </span></p> <p><span>ni la torsión calculada del hilo.</span></p> <br> <p>
 <span>Será la regularidad\, la causa </span></p> <p><span>repetitiva de las formas\, </span></p> <p><span>la paciencia del hombre como renunc
 ia\, </span></p> <p><span>y lo que se dispone a
  ser : </span></p> <p><span>un hacer que no aci
 erta a saber </span></p> <p><span>qué es\, e in
 siste </span></p> <p><span>y teje su trama </p> <p><span>alrededor del vacío.</span></p> </td> <td> <p><span>VII. Plot Ennui</span></p> <p><span>It is not the boredom </span></p> <p><span>or this “up to here” geometry</span></p>
  <p><span>or the dreary repetition </span></p> 
 <p><span>of the drawings </span></p> <p><span s tyle=' 400\;'>or the calculated twisting of the thread.</span>
 </p> <br> <p><span>It will be the regularity\, 
 </span></p> <p><span>the repetitive cause of fo
 rms\, </span></p> <p><span>the patience of man 
 as renunciation\, </span></p> <p><span>and what
  he prepares to be : </span></p> <p><span>a doi
 ng that does not know </span></p> <p><span>what
  it is\, and carries on </span></p> <p><span>an
 d weaves </span></p> <p><span>its plot around t
 he void.</span></p> </td> </tr> </tbody> </table> <p><b>The Last Ebb</b></p> <p><span>Music by Jérôme Combier</span></p> 
 <p><span>Text by Samuel Beckett</span></p>  <tbody> <tr> <td> <p><span>I. du silence (g
 round)</span></p> <p><span>musique de l’indiffé
 rence</span><span><br></span><span>cœur temps air feu sable</span><span><br></span><span>du silence éboulement d’a
 mours</span><span><br></span><span>couvre leurs voix et que</span><span><br></span><span>je ne m’entende plus<span><br></span><span>me taire</span></p> <p><span>(translated b
 y Beckett)</span></p> </td> <td> <p><span>I. Th
 e Music of Indifference</span></p> <p><span>The
  music of indifference<br></span><span>heart ti
 me air fire sand<br></span><span>of silence the
  landslip of loves<br></span><span>cover their 
 voices and let me <br></span><span>no longer he
 ar myself <br></span><span>be silent.</span></p> </td> </tr> <tr> <td> <p><span>II. long sole 
 sound (roundelay)</span></p> <p><span>on all th
 at strand<br></span><span>at end of day<br><span>steps sole sound<br></span><span>long sole sound<br></span><span>until unbidden stay<br></span><span>then
  no sound<br></span><span>until unbidden go<br>
 </span><span>steps sole sound<br></span><span s tyle=' 400\;'>long sole sound<br></span><span>on all that strand<br></span><span>a
 t end of day</span></p> </td> <td></td> </tr> <tr> <td> <p><span>III. The last ebb (cradle song)</span></p> <p><span styl e=' 400\;'>again the last ebb<br></span><span>the dead shingle<br></span><span>the
  turning then the steps<br></span><span>Toward 
 the lighted town </span></p> </td> <td></td> </tr> <tr> <td> <p><span styl e=' 400\;'>IV. The summer rain rains on my life (passacaglia)&lt;
 /span&gt;</p> <p><span>My way is in the sand flowi
 ng<br></span><span>between the shingle and the 
 dune<br></span><span>the summer rain rains on m
 y life\,<br></span><span>on me my life harrying
  fleeing<br></span><span>to its beginning to it
 s end</span></p> <p><span>My peace is there in 
 the receding mist<br></span><span>when I may ce
 ase from treading these long shifting thresholds<br></span><span>and live the space of a door<br></span><span>that opens and shuts</span></p> </td> <td></td> </tr>  </table> <h3>Biographies</h3> <h4><a href='https://www.dalniente.com/
 about' target='_blank' rel='noopener noreferrer'>Ensemble Dal Niente</a></h4> <p><span>Ensemble Dal Niente performs new and experimental chamber mus
 ic with dedication\, virtuosity\, and an exploratory spirit. Flexible and 
 adaptable\, Dal Niente’s roster of 27 musicians presents an uncommonly bro
 ad range of contemporary music\, guiding listeners towards music that tran
 sforms existing ideas and subverts convention. Audiences coming to Dal Nie
 nte shows can expect distinctive productions—from fully staged operas to m
 ultimedia spectacles to intimate solo performances—that are curated to piq
 ue curiosity and connect art\, culture\, and people.</span></p> <p><span s tyle=' 400\;'></span><b>Katherine Jimoh</b><span>\, clarinetist\, vocalist\, pianist\, singer-songwriter and 
 goldsmith lives in Chicago and works as a freelance musician and jeweler. 
 She is a member of Ensemble Dal Niente\, University of Chicago’s Grossman 
 Ensemble and Chicago Wind Project. Working side-by-side with living compos
 ers while surrounded by colleagues who specialize in new music provides co
 nstant inspiration and creativity. </span></p> <p><span>Katherine leads her four-piece band\, Katet as singer-songwriter 
 and pianist. When tonality is achieved in an utterly unpredictable way\, K
 atherine feels satisfied with her songwriting. Complex harmonies matched w
 ith mixed meters\, drones and simple vocal lines equals Katet.</span></p> 
 <p><b></b></p> <p><b>Constance Volk</b><span> i
 s a musician\, a painter\, and an illustrator. She is a member of Ensemble
  Dal Niente\, the Grossman Ensemble and the Chicago Wind project. She has 
 collaborated with Lookingglass Theater\, Eighth Blackbird\, and Third Coas
 t Percussion. She has exhibited paintings at Bridgeport Art Center\, Mille
 r Beach Arts and Creative District\, and Rendezvous Arts. Her illustration
 s are featured with ‘Density Seeds’\, an offshoot of the ‘Density 2036’ so
 lo flute repertoire project. Constance is the creator of ‘Connie’s Charact
 ers’\, a series of mix and match coloring books full of wacky weirdos. Her
  paintings\, poster art\, coloring books and music can be found at </span>
 <a href='http://constancevolk.com/'><span>const
 ancevolk.com</span></a></p> <h3><br><br></h3> <h3></h3> <h3></h3>
END:VEVENT
BEGIN:VEVENT
UID:a4b0f425-cc76-4f81-881d-10626e957c29
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20241004T204759Z
DESCRIPTION:<p></p>\n<p>Alex Fang (DMA\, Piano Performance)\, a student of 
 Craig Sheppard\, performs Johannes Brahms: Piano Concerto No. 2 in B-flat 
 major\, Op. 83. With collaborative pianist Mia HyeYeon Kim.</p>\n<hr>\n<p>
 <strong>Note: The performance will be livestreamed.</strong> <br><strong>&lt;
 a href='https://www.youtube.com/live/kUEVkixAnqI' target='_blank' rel='noo
 pener noreferrer'&gt;Join the livestream</a></strong></p>\n<hr>\n<h4>Program:
 </h4>\n<strong>Johannes Brahms</strong> (1833-1897)\nPiano Concerto No. 2 
 in B-flat Major\, Op. 83\nI. Allegro non troppo\nII. Allegro appassionato
 \nIII. Andante\nIV. Allegretto grazioso–Un poco più presto\n<hr>\n<h4>Biog
 raphies</h4>
DTSTART;TZID=America/Los_Angeles:20241013T133000
LAST-MODIFIED:20241030T185741Z
SEQUENCE:86
SUMMARY:: DMA Recital: Alex Fang\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-13/dma-recital-alex-fang-pi
 ano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Alex Fang (DMA\, Piano Performance)
 \, a student of Craig Sheppard\, performs Johannes Brahms: Piano Concerto 
 No. 2 in B-flat major\, Op. 83. With collaborative pianist <span>Mia HyeYe
 on Kim.</span></p> <hr> <p><em><strong>Note: The performance will be lives
 treamed.</strong></em> <br><strong><a href='https://www.youtube.com/live/k
 UEVkixAnqI' target='_blank' rel='noopener noreferrer'>Join the livestream&lt;
 /a&gt;</strong></p> <hr> <h4>Program:</h4> <div><strong>Johannes Brahms (1833-1897)</div> <div>Piano Concerto No. 2 in B-flat Major\, Op. 83</div> <div>I. Allegro non troppo</div> <div>II. Allegro appassionato</div> 
 <div>III. Andante</div> <div>IV. Allegretto grazioso–Un poco più presto <hr> <h4>Biographies</h4>
END:VEVENT
BEGIN:VEVENT
UID:63ea6d8a-07a0-454e-8924-0beed1a3ecec
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240702T162011Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20241017T120000
LAST-MODIFIED:20240702T162011Z
SEQUENCE:87
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-17/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:ba044724-ad6d-493f-aee6-4e788855d1ef
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances\, Student Activities and Per
 formances
CLASS:PUBLIC
CREATED:20240807T222440Z
DESCRIPTION:<p></p>\n<p>Pianist Cristina Valdés 
 performs Charles Ives’ monumental Concord Sonata and Arnold Schoenberg’s T
 hree Pieces Op. 11 and his Six Little Piano Pieces Op. 19 in observance of
  the 150th birthday of these two iconic composers. With Rachel Reyes\, flu
 te. </p>\n<hr>\n<h3>Program</h3>\nDrei Klaviers
 tücke\, Op. 11 (1909) -<b> Arnold Schoenberg </b>(1874-1951)<b><br></b>I. 
 Mässige <br>II. Mässige <br>III. Bewegte \n\nSechs kleine Klavierstücke\, 
 Op. 19 (1911) - <strong><strong>Arnold Schoenberg </strong></strong><br>I.
  Leicht\, zart <br>II. Sehr langsame <br>IV. Rasch\, aber leicht <br>V. Et
 was rasch <br>VI. Sehr langsam \n\n<b></b>\nPiano Sonata No. 2\, 'Concord\
 , Mass.\, 1840–60' (1909-15) -<strong> Charles Ives</strong> (1874-1954)\n
 I. 'Emerson' <br>II. 'Hawthorne' <br>III. 'The Alcotts' <br>IV. 'Thoreau'&lt;
 hr&gt;\n<h3>Notes</h3>\n<p>2024 marks the 150th bi
 rthday of two of the most important and innovative composers of the 20th c
 entury: Arnold Schoenberg and Charles Ives. Though their styles and philos
 ophies were quite different from one another\, their search for new modes 
 of expression pushed the established boundaries of musical language and ch
 anged the landscape of classical music.  </p>\n<p>Schoenberg’s quest for “
 musical prose” led him to abandon tonality as a way to more effectively de
 pict the complexities of the human experience. Removing all constraints be
 came the way for him to achieve the utmost human expression.  Ives\, howev
 er\, chose the path of looking back to tradition and incorporating the use
  of hymns and popular tunes in his concert music\, and choosing compositio
 nal forms such as the tone poem\, which was distinctly Romantic. Despite i
 ncorporating  more traditional elements in his music\, Ives was revolution
 ary in his use of polytonality and avant-garde techniques such as quarter 
 tones\, tone clusters\, and polyrhythms. Like Schoenberg\, dissonance was 
 a way for Ives to express the complexity and depth of human emotions.</p>
 \n<p>The pieces chosen for tonight’s concert are some of their most well-k
 nown works\, and also just happen to be my favorites! They are works which
  showcase the unique sound world of each composer\, and highlight what an 
 exciting time the early twentieth century was for musical innovation.</p>
 \n<hr>\n<h3>Biography</h3>\n<b> </b>
DTSTART;TZID=America/Los_Angeles:20241023T193000
LAST-MODIFIED:20241018T224739Z
SEQUENCE:88
SUMMARY:: Faculty Recital: Cristina Valdés\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-24/faculty-recital-cristina
 -valdes-piano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Pianist 
 Cristina Valdés performs Charles Ives’ monumental Concord Sonata and Arnol
 d Schoenberg’s Three Pieces Op. 11 and his Six Little Piano Pieces Op. 19 
 in observance of the 150th birthday of these two iconic composers. With Ra
 chel Reyes\, flute. </p> <hr> <h3>Program</h3> 
 <div><i><i><span title='German-language text'><i lang='de'>Drei Klavierstü
 cke\, Op. 11 (1909) -</i></span></i></i><span title='German-language text'><b> Arnold Schoenberg </b></span><span title='German-language text'>(1874
 -1951)</span><i><i><span title='German-language text'><i lang='de'><b><br>
 </b></i></span></i></i><span title='German-language text'>I. </span><span title='German-language text'>Mässige<span class='gmail-Apple-converted-spa
 ce'> <br></span>II. Mässige<span class='gmail-Apple-converted-space'> <br>
 </span>III. Bewegte<span class='gmail-Apple-converted-space'> </span> <div></div> <i><span title='German-language text'><i lang='de'>Sechs kl
 eine Klavierstücke</i></span></i><em>\, Op. 19 (1911) - </em><strong>Arnold Schoenberg </strong></strong><br>I. Leicht\, zart <br>II. Sehr l
 angsame <br>IV. Rasch\, aber leicht <br>V. Etwas rasch <br>VI. Sehr langsa
 m </div> <div></div> <div><i><b><span title='German-language text'><i lang='de'></i></span></b></i> <div><span color='#000000'><i>Piano<span class='gmail-Apple-converted-space'> </span>Sonata<span class='gmail-Apple-converted-space'> </span>No. 2\,<span class='gmail-Appl
 e-converted-space'> '</span>Concord</i><span><i>\, Mass.\, 1840–60' (1909-
 15) </i>-<strong> Charles Ives</strong> (1874-1954)</span></span></div> <span>I. 'E</span><span><span>merson' <br>II. 'Hawthorne' <br>III. 'The
  Alcotts' <br>IV. 'Thoreau'</span></span><hr><span></span></div> <h3>Notes</h3> <p><span>2024 
 marks the 150th birthday of two of the most important and innovative compo
 sers of the 20th century: Arnold Schoenberg and Charles Ives. Though their
  styles and philosophies were quite different from one another\, their sea
 rch for new modes of expression pushed the established boundaries of music
 al language and changed the landscape of classical music.  </span></p> <p>
 <span>Schoenberg’s quest for “musical prose” le
 d him to abandon tonality as a way to more effectively depict the complexi
 ties of the human experience. Removing all constraints became the way for 
 him to achieve the utmost human expression.  Ives\, however\, chose the pa
 th of looking back to tradition and incorporating the use of hymns and pop
 ular tunes in his concert music\, and choosing compositional forms such as
  the tone poem\, which was distinctly Romantic. Despite incorporating  mor
 e traditional elements in his music\, Ives was revolutionary in his use of
  polytonality and avant-garde techniques such as quarter tones\, tone clus
 ters\, and polyrhythms. Like Schoenberg\, dissonance was a way for Ives to
  express the complexity and depth of human emotions.</span></p> <p><span s tyle=' 400\;'>The pieces chosen for tonight’s concert are some
  of their most well-known works\, and also just happen to be my favorites!
  They are works which showcase the unique sound world of each composer\, a
 nd highlight what an exciting time the early twentieth century was for mus
 ical innovation.</span></p> <hr> <h3>Biography&lt;
 /h3&gt; <span color='#202122' face='sans-serif' size='3'><span><b><i> </i></b></span></span></div>
END:VEVENT
BEGIN:VEVENT
UID:146f0708-027c-451b-85b5-ae7d9506eeae
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240807T222921Z
DESCRIPTION:<p>Members of the UW Wind Ensemble (Timothy Salzman\, director)
  perform music by Paul Dukas\, Astor Piazzolla\, Edward Elgar\, Charles-Fr
 ançois Gounod\, Eugène Bozza\, Felix Mendelsson\, Anna Clyde\, and others.
  With graduate student conductors David Stewart\, Yuman Wu\, and Solomon E
 ncina. </p>\n<hr>\n<p>Program</p>\n<p><b>Fanfare pour précéder La Péri </b>(1912) - <b>Paul Abraham Dukas </b>(1865-1935) <br>Brass choir </p>\n<p>&lt;
 b&gt;Histoire du Tango </b>(1986) - <b>Astor Piazzolla </b>(1921-1992) <br>I.
  Bordel 1900 <br>Clarinet choir </p>\n<p><b>Nimrod from Enigma Variations 
 </b>(1898) - <b>Edward Elgar </b>(1857-1924) <br>Clarinet choir </p>\n<p>&lt;
 b&gt;Petite symphonie pour neuf instruments à vent </b>(1885) - <b>Charles-Fr
 ançois Gounod </b>(1818-1893) <br>I. Adagio - Allegretto <br>Solomon Encin
 a\, conductor </p>\n<p><b>Andante et Scherzo </b>(1938) - <b>Eugène Bozza 
 </b>(1905-1991) <br>Saxophone quartet </p>\n<p><b>Danny Boy </b>(1910/1983
 ) - <b>Frederic Weatherly </b>(1848-1929) Arr. <b>James Olcott <br></b>Tru
 mpet choir </p>\n<p><b>Sonata VI for Cello and Continuo </b>(1732) - <b>Be
 nedetto Marcello </b>(1686-1739) <br>I. Andante <br>III. Grave <br>IV. All
 egro <br>Tuba and String Bass duet </p>\n<p><b>Mini Trio for Two Oboes and
  Cor Anglais - Allan Stephenson </b>(1949-2021) <br>Oboe trio </p>\n<p><b>
 Three Miniatures </b>(1997) - <b>David Uber </b>(1921-2007) <br>Trombone q
 uartet </p>\n<p><b>Tiger Rag - </b>Arr. <b>Jack Gale </b>(1936- 2022) <br>
 Trombone quartet </p>\n<p><b>Notturno Op. 24 </b>(1826) - <b>Felix Mendels
 sohn </b>(1809-1847) <br>Yuman Wu\, conductor </p>\n<p><b>Rhumba - Michael
  Coolen </b>(b. 1946) <br>Flute choir </p>\n<p><b>Florentiner March </b>(1
 907) - <b>Julius Fučik</b>\, (1872-1916) Arr. <b>John T. Martin <br></b>Tu
 ba-Euphonium Ensemble </p>\n<p><b>Overflow </b>(2020) - <b>Anna Clyne </b>
 (b. 1980) <br>David Stewart\, conductor </p>\n<hr>\n<h3>Program Notes</h3>
 \n<p>In seventy years of life\, <b>Paul Abraham Dukas </b>left behind only
  seven major compositions and five minor works. This was not because Dukas
  was a slow worker or lazy\; he was one of the most self-critical composer
 s in history\, destroying or hiding many of his works which he felt to be 
 unworthy. His last complete work was <b>La Peri\, </b>a ballet commissione
 d in 1911 by Serge Diaghilev for the Ballets Russes. Upon completion of th
 e work Dukas retired from composing and began a career as a composition te
 acher and served as a music critic. Among his students were Spanish compos
 er Joaquin Rodrigo and French composer Olivier Messiaen. </p>\n<p>Born in 
 Argentina <b>Astor Piazzolla </b>grew up with the tango implanted in his s
 oul. As a youthful composer\, however\, he abandoned his musical inheritan
 ce and began to write music inspired by early 20th-century European compos
 ers. As luck would have it\, he moved to Paris to study with the fabled Na
 dia Boulanger\, and she saved him from his misguided path. In his words\, 
 “When I met her\, I showed her my kilos of symphonies and sonatas. She sta
 rted to read them and came out with a horrible judgment. ‘It’s very well w
 ritten\,’ she said\, ‘but here you are like Stravinsky\, here like Bartók\
 , here like Ravel — but I cannot find Piazzolla.’ After I confessed to her
  that I was a cabaret tango musician\, she asked me to play on the piano s
 ome bars of a tango of my own. She suddenly opened her eyes\, took my hand
  and told me\, ‘You idiot\, that’s Piazzolla!’ And I took all the music I 
 composed\, ten years of my life\, and sent it to hell in two seconds.” He 
 took Boulanger’s advice to heart and it became his passion to bring the ta
 ngo\, which began as a seductive partner dance in the brothels and dance h
 alls of Argentina\, to the world’s concert halls. In 1985\, he wrote The H
 istory of the Tango to capture its evolution during the 100 years since it
 s beginning. To accompany the music\, he left a program note for each of t
 he four movements: <b>Bordell\, 1900: </b>“The tango originated in Buenos 
 Aires in 1882. It was first played on the guitar and flute. Arrangements t
 hen came to include the piano\, and later\, the concertina. This music is 
 full of grace and liveliness. It paints a picture of the good-natured chat
 ter of the French\, Italian\, and Spanish women who peopled those bordello
 s as they teased the policemen\, thieves\, sailors\, and riffraff who came
  to see them. This is a high-spirited tango.” </p>\n<p><b>Nimrod </b>is th
 e name given to the ninth and best-known variation in the Enigma Variation
 s\, an orchestral work of 14 variations each designed to be a portrait of 
 one of 14 members of <b>Edward Elgar's </b>family and circle of friends. A
  celebrated work\, Nimrod is a portrait of Augustus J. Jaeger\, Elgar's ed
 itor and publisher. This serene variation portrays a story\, rather than p
 ersonifies Jaeger\, representing the years of advice and encouragement giv
 en to Elgar by his friend. Supporting Elgar throughout depressive episodes
  and lack of confidence in his work\, Jaeger once reminded him of Beethove
 n's music\, which only increased in beauty\, despite the composer's simila
 r anxieties. In tribute to this moment\, Nimrod's opening evokes a subtle 
 hint of the second moment theme from Beethoven's Piano Sonata No. 8 'Pathé
 tique'\, which Jaeger had sung to him for inspiration. </p>\n<p><b>Charles
 -François Gounod </b>was originally commissioned to write a chamber work f
 or winds by his friend Paul Taffanel\, flute professor at the Paris Conser
 vatoire. Gounod structured the instrumentation of <b>Petite symphonie pour
  neuf instruments à vent </b>to mirror that of classical Mozart wind octet
 s: two oboes\, two clarinets\, two bassoons and two horns. Gounod also inc
 luded a singular flute part in honor of Taffanel. The entire work is a fou
 r-movement structure\, continuing the homage to classical-era wind serenad
 es\, the first movement an Adagio introduction followed by an Allegretto i
 n sonata form. </p>\n<p><b>Andante et Scherzo </b>for saxophone quartet wa
 s written for Marcel Mule’s quartet. The music clearly follows the Impress
 ionist spirit of French music at the turn of the century. The Andante flow
 s in gently rocking colours\, the Scherzo swirls away in lively fashion\; 
 it is carefree performance music in the best sense of the word – entirely 
 in the spirit of those representatives of <b>Eugène Bozza’s </b>own genera
 tion in France (from Poulenc to Françaix) who continued to avail themselve
 s particularly consistently of tonal means. </p>\n<p><b>Danny Boy </b>is a
  traditional folk song with lyrics originally written in 1910 by an Englis
 h Lawyer\, Frederic Weatherly\, and set to the Irish melody of “Londonderr
 y Air” in 1913. It became one of the most popular songs of the early 20th 
 century\, and many interpret the lyrics to be sung by a parent whose child
  is going off to war. In 1983\, James Olcott adapted the melody to trumpet
  sextet\, featuring two piccolo trumpets carrying the tune’s soaring melod
 ies (for added intonation challenge of course\, thanks James). We will not
  be singing the lyrics because we will be occupied with our trumpets\, but
  feel free to sing along to the cheery tune! </p>\n<p>Oh\, Danny boy\, the
  pipes\, the pipes are calling <br>From glen to glen\, and down the mounta
 in side. <br>The summer's gone\, and all the roses falling\, <br>It's you\
 , it's you must go and I must bide. <br>But come ye back when summer's in 
 the meadow\, <br>Or when the valley's hushed and white with snow\, <br>It'
 s I'll be there in sunshine or in shadow\,— <br>Oh\, Danny boy\, Oh Danny 
 boy\, I love you so! </p>\n<p>But when ye come\, and all the flowers are d
 ying\, <br>If I am dead\, as dead I well may be\, <br>Ye'll come and find 
 the place where I am lying\, <br>And kneel and say an Avé there for me. <b r>And I shall hear\, though soft you tread above me\, <br>And all my grave
  will warmer\, sweeter be\, <br>For you will bend and tell me that you lov
 e me\, <br>And I shall sleep in peace until you come to me! </p>\n<p><b>Be
 nedetto Marcello’s Six Sonatas for Cello and Continuo </b>surfaced late in
  his career\, after he was well established as a composer of religious wor
 ks and concerti. These short pieces for solo cello translate well to many 
 other instruments and will be performed today down an octave from written 
 pitch to showcase the low registers of the tuba and bass. </p>\n<p><b>Alla
 n Stephenson </b>was a British-born composer who lived out most of his mus
 ical career in South Africa\, after he left his native country at age 24 t
 o join the Cape Town Symphony Orchestra as principal cellist. Stephenson g
 rew to be a very successful composer in South Africa following his years o
 f work there\, with one of his most well-known pieces being an act from th
 e Mandala Trilogy\, an opera documenting Nelson Mandela's life. Throughout
  his life Stephenson wrote over 110 works including operas\, symphonies\, 
 concertos\, and chamber music that continue to be enjoyed today. </p>\n<p>
 <b>Felix Mendelssohn </b>composed <b>Notturno </b>Op. 24\, when he was jus
 t 17. Scored for flute\, oboes\, clarinets\, horns\, bassoons\, contrabass
 oon\, and trumpet\, the work highlights Mendelssohn’s skill in blending ly
 rical beauty with rich textures and dynamic contrasts. While the title sug
 gests a calm\, nocturnal atmosphere\, the piece balances serene\, reflecti
 ve passages with lively\, energetic moments\, showcasing both delicacy and
  boldness. It remains a beloved work in the wind ensemble repertoire for i
 ts charm and rhythmic vitality. </p>\n<p><b>Michael Coolen</b>\, Professor
  of Ethnomusicology and Music\, has been the recipient of the five Fulbrig
 ht Fellowships\, four NEH Summer Seminar Fellowships\, Oregon State Univer
 sity College of Liberal Arts Teacher of the Year\, and many other awards a
 nd honors. He has lived\, worked\, and taught in Africa\, Europe\, and New
  Zealand. In addition to coordinating theory and composition studies at Or
 egon State University\, he is also Director of the Sound Design Studio and
  Recording Studio. His interest in world music and cultures is reflected i
 n many of his compositions. Among them are numerous African and Latin-Amer
 ican arrangements and compositions he has written for piano\, woodwind\, a
 nd brass ensembles\, marimba ensembles\, steel drum ensembles\, and vocal 
 choirs. The <b>Rhumba </b>(pronounced here “roombah”) is designed to encou
 rage eye contact and interaction between performers and audience members. 
 </p>\n<p>Often referred to as an 'Italian Grand March\,' <b>Florentiner </b>is often referred to as <b>Julius Fučik's </b>most popular work\, supers
 eding his well-known 'Entrance of the Gladiators.' Fučik was a prominent f
 igure in promoting legitimate and deemable 'worthwhile' wind band repertoi
 re through his involvement as bandmaster of the Austro-Hungarian Army's 86
 th Infantry Regiment. 'Florentiner' itself contains numerous themes and li
 lting figures\, often referred to as the effort of thematic works in an op
 eretta. Playful interjections can be heard between militaristic and even s
 erious thematic sections. The work is perceived as highly playful\, lighth
 earted\, spiteful\, and even highly sarcastic. </p>\n<p><b>Overflow </b>is
  a wind dectet inspired by Emily Dickinson’s poem\, By The Sea\, in which 
 we experience the ocean’s power over the poet’s imagination - both allurin
 g\, unsettling and dangerous. The line from which this piece takes its tit
 le “Would overflow with Pearl” reminded me of an image from Jelaluddin Rum
 i’s poem Where Everything is Music whereby the tiniest motion of a pearl o
 n the ocean floor can cause great waves above. The opening sonority of Ove
 rflow also draws inspiration from Rumi’s words of a “slow and powerful roo
 t that we can’t see” with a low B-flat\, the lowest pitch of the ensemble 
 emerging from silence. </p>\n<hr>\n\n\n\n\n<h3><b>UNIVERSITY OF WASHINGTON
  WIND ENSEMBLE </b></h3>\n<p><b>FLUTE <br></b>Erin McAfee\, Grad.\, Music 
 Performance\, Hoover\, AL* <br>Tracia Pan\, Sr.\, Music Performance and St
 atistics\, Bellevue <br>Grace Playstead\, Grd.\, Music Performance\, Olymp
 ia <br>Peyton Ray\, Jr.\, Music Performance\, Denver\, CO <br>Claire Wei\,
  So.\, Music Performance\, Bellevue* <br>Yue Zhong.\, Sr.\, Music Performa
 nce\, Shanghai\, China </p>\n<p><b>OBOE <br></b>Max Bolen\, Fr.\, Marine B
 iology\, Ballard <br>Minh-Thi Butler\, Jr.\, Music Education\, Hoquiam <br>Lauren Majewski\, Sr.\, International Studies\, Mercer Island* <br>Vichet
  Ros\, Jr.\, Music Education\, Burien </p>\n<p><b>BASSOON <br></b>Annika F
 isher\, So.\, Anthropology\, Lake Forest Park <br>Alex Fraley\, Fr.\, Musi
 c Performance\, Kenmore <br>Rian Morgan\, Jr.\, Nutritional Science/Music 
 Performance\, Des Moines* <br>Arina Pushkina\, Fr.\, Engineering\, Woodinv
 ille </p>\n<p><b>CLARINET <br></b>Arthur Gim\, So.\, Mechanical Engineerin
 g\, Bothell <br>Jeremy Hu\, So.\, Engineering\, Taipei\, Taiwan <br>Alessa
 ndro Martinez\, So.\, Environmental Engineering\, Olympia <br>Alen Poehlma
 n\, Jr.\, Biochemistry\, Tacoma <br>Luqi Wang\, Grd.\, Music Performance\,
  Dalian\, China <br>Ysanne Webb\, Grd.\, Music Performance\, Lubbock\, TX*
  </p>\n<p><b>BASS CLARINET <br></b>Cameron DeLuca\, Grd.\, Music Performan
 ce\, Hawthorne\, CA </p>\n<p><b>SAXOPHONE <br></b>Curtis Chung\, Jr.\, Mec
 hanical Engineering\, Sunnyvale\, CA <br>Kyle Grant\, So.\, Music Educatio
 n/Music Performance\, Sumner <br>Amy Kang\, Fr.\, Engineering\, Portland\,
  OR <br>Katie Zundel\, Sr.\, Music Performance/Engineering\, Clinton* </p>
 \n<p><b>TRUMPET <br></b>Erika Berreth\, So.\, </p>\n<p>Erika Berreth\, So.
 \, Computer Science\, Redmond <br>Ellie Fajer\, SEFS Research Staff\, Litt
 leton\, CO* <br>Hans Faul\, Jr.\, Music Performance\, Seattle <br>Kyle Jen
 kins\, Grd.\, Music Performance\, Sammamish <br>Daniel Lyons\, So.\, Music
  Performance\, Lake Forest Park <br>Antti Mannisto\, Jr.\, Mechanical Engi
 neering\, Bellevue <br>Kevin Thomas\, Fr.\, Music Education\, Spokane\, WA
  </p>\n<p><b>HORN <br></b>Ellis Haker\, Graduate\, Computer Science\, Los 
 Angeles CA <br>Steven Li\, So.\, Music Performance\, Beijing\, China <br>E
 lise Moe\, Fr.\, Music Performance\, Everett*</p>\n<p>Kiyoshi Colon\, Alum
 ni.\, Chemistry\, Everett </p>\n<p><b>TROMBONE <br></b>Dion Archer-Roll\, 
 Sr.\, Physics\, Vancouver <br>Eliana Koenig\, So.\, Mechanical Engineering
 \, Mesa\, AZ <br>Duncan Weiner\, Sr.\, Linguistics/Aeronautical and Astron
 autical Engineering\, Seattle <br>Nathanael Wyttenbach\, So.\, Music Perfo
 rmance/International Studies\, Richland* </p>\n<p><b>EUPHONIUM <br></b>Nic
 o Ferreria\, So.\, Biology\, Bellevue <br>Simona Yaroslavsky\, So.\, Psych
 ology/Law\, Societies and Justice\, Mercer Island* </p>\n<p><b>TUBA <br></b>Cole Henslee\, Sr.\, Music Performance\, Lakewood <br>Foster Patterson\,
  Jr.\, Music Education\, Aberdeen <br>Chris Seay\, Grd.\, Music Performanc
 e\, Belmont\, NC* </p>\n<p><b>BASS <br></b>Eddie Nikishina\, Sr.\, Music P
 erformance\, Bellevue </p>\n<p><b>PERCUSSION <br></b>Ryan Baker\, Sr.\, Mu
 sic Composition/Psychology\, Gig Harbor <br>Cyan Duong\, So.\, Music Educa
 tion\, Monroe <br>Solomon Encina\, Grd.\, Wind Conducting\, Rancho Cucamon
 ga\, CA <br>Momoka Fukushima\, So.\, Music Performance\, Issaquah* <br>Tar
 yn Marks\, Grd.\, Music Performance\, North Augusta\, SC* <br>Ivy Moore\, 
 So.\, Engineering and Percussion Performance\, Norfolk VA <br>Luigi Salvag
 gio\, So.\, Music Performance\, Manhattan Beach\, CA </p>\n<p><b>PIANO <br></b>Rachel Huang\, Grad.\, Music Performance\, West Hills\, LA </p>\n<p>&lt;
 b&gt;DOCTORAL STUDENT CONDUCTORS <br></b>Solomon Encina\, Rancho Cucamonga\, 
 CA <br>David Stewart\, Mercer Island <br>Yuman Wu\, Tianjin\, China </p>\n
 <p>*principal</p>\n\n\n\n\n<h3>Biographies</h3>\n<hr><hr><hr>\n<p><b></b>&lt;
 /p&gt;
DTSTART;TZID=America/Los_Angeles:20241027T133000
LAST-MODIFIED:20241024T215439Z
SEQUENCE:89
SUMMARY:: Wind Ensemble Chamber Winds
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-27/wind-ensemble-chamber-wi
 nds
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Members of the UW Wind Ensemble (Timothy Sa
 lzman\, director) perform music by Paul Dukas\, Astor Piazzolla\, Edward E
 lgar\, Charles-François Gounod\, Eugène Bozza\, Felix Mendelsson\, Anna Cl
 yde\, and others. With graduate student conductors David Stewart\, Yuman W
 u\, and Solomon Encina. </p> <hr> <p>Program</p> <p><b>Fanfare pour précéd
 er La Péri </b>(1912) - <b>Paul Abraham Dukas </b>(1865-1935)<span class='
 Apple-converted-space'> <br></span><i>Brass choir<span class='Apple-conver
 ted-space'> </span></i></p> <p><b>Histoire du Tango </b>(1986) - <b>Astor 
 Piazzolla </b>(1921-1992)<span class='Apple-converted-space'> <br></span>I
 . Bordel 1900<span class='Apple-converted-space'> <br></span><i>Clarinet c
 hoir </i></p> <p><b>Nimrod from Enigma Variations </b>(1898) - <b>Edward E
 lgar </b>(1857-1924)<span class='Apple-converted-space'> <br></span><i>Cla
 rinet choir<span class='Apple-converted-space'> </span></i></p> <p><b>Peti
 te symphonie pour neuf instruments à vent </b>(1885) - <b>Charles-François
  Gounod </b>(1818-1893)<span class='Apple-converted-space'> <br></span>I. 
 Adagio - Allegretto<span class='Apple-converted-space'> <br></span><i>Solo
 mon Encina\, conductor </i></p> <p><b>Andante et Scherzo </b>(1938) - <b>E
 ugène Bozza </b>(1905-1991)<span class='Apple-converted-space'> <br></span><i>Saxophone quartet<span class='Apple-converted-space'> </span></i></p> 
 <p><b>Danny Boy </b>(1910/1983) - <b>Frederic Weatherly </b>(1848-1929) Ar
 r. <b>James Olcott<span class='Apple-converted-space'> <br></span></b><i>T
 rumpet choir<span class='Apple-converted-space'> </span></i></p> <p><b>Son
 ata VI for Cello and Continuo </b>(1732) - <b>Benedetto Marcello </b>(1686
 -1739)<span class='Apple-converted-space'> <br></span>I. Andante<span clas s='Apple-converted-space'> <br></span>III. Grave<span class='Apple-convert
 ed-space'> <br></span>IV. Allegro<span class='Apple-converted-space'> <br>
 </span><i>Tuba and String Bass duet<span class='Apple-converted-space'> </span></i></p> <p><b>Mini Trio for Two Oboes and Cor Anglais - Allan Stephe
 nson </b>(1949-2021)<span class='Apple-converted-space'> <br></span><i>Obo
 e trio<span class='Apple-converted-space'> </span></i></p> <p><b>Three Min
 iatures </b>(1997) - <b>David Uber </b>(1921-2007)<span class='Apple-conve
 rted-space'> <br></span><i>Trombone quartet<span class='Apple-converted-sp
 ace'> </span></i></p> <p><b>Tiger Rag - </b>Arr. <b>Jack Gale </b>(1936- 2
 022)<span class='Apple-converted-space'> <br></span><i>Trombone quartet </span></i></p> <p><b>Notturno Op. 24 </b>(1826) - <b>Felix Mendelssohn </b>(1809-1847)<span class='Apple-converte
 d-space'> <br></span><i>Yuman Wu\, conductor<span class='Apple-converted-s
 pace'> </span></i></p> <p><b>Rhumba - Michael Coolen </b>(b. 1946)<span cl ass='Apple-converted-space'> <br></span><i>Flute choir<span class='Apple-c
 onverted-space'> </span></i></p> <p><b>Florentiner March </b>(1907) - <b>J
 ulius Fučik</b>\, (1872-1916) Arr. <b>John T. Martin<span class='Apple-con
 verted-space'> <br></span></b><i>Tuba-Euphonium Ensemble<span class='Apple
 -converted-space'> </span></i></p> <p><b>Overflow </b>(2020) - <b>Anna Cly
 ne </b>(b. 1980)<span class='Apple-converted-space'> <br></span><i>David S
 tewart\, conductor<span class='Apple-converted-space'> </span></i></p> <hr> <h3>Program Notes</h3> <p>In seventy years of life\, <b>Paul Abraham Duk
 as </b>left behind only seven major compositions and five minor works. Thi
 s was not because Dukas was a slow worker or lazy\; he was one of the most
  self-critical composers in history\, destroying or hiding many of his wor
 ks which he felt to be unworthy. His last complete work was <b><i>La Peri&lt;
 /i&gt;\, </b>a ballet commissioned in 1911 by Serge Diaghilev for the Ballets
  Russes. Upon completion of the work Dukas retired from composing and bega
 n a career as a composition teacher and served as a music critic. Among hi
 s students were Spanish composer Joaquin Rodrigo and French composer Olivi
 er Messiaen.<span class='Apple-converted-space'> </span></p> <p>Born in Ar
 gentina <b>Astor Piazzolla </b>grew up with the tango implanted in his sou
 l. As a youthful composer\, however\, he abandoned his musical inheritance
  and began to write music inspired by early 20th-century European composer
 s. As luck would have it\, he moved to Paris to study with the fabled Nadi
 a Boulanger\, and she saved him from his misguided path. In his words\, “W
 hen I met her\, I showed her my kilos of symphonies and sonatas. She start
 ed to read them and came out with a horrible judgment. ‘It’s very well wri
 tten\,’ she said\, ‘but here you are like Stravinsky\, here like Bartók\, 
 here like Ravel — but I cannot find Piazzolla.’ After I confessed to her t
 hat I was a cabaret tango musician\, she asked me to play on the piano som
 e bars of a tango of my own. She suddenly opened her eyes\, took my hand a
 nd told me\, ‘You idiot\, that’s Piazzolla!’ And I took all the music I co
 mposed\, ten years of my life\, and sent it to hell in two seconds.” He to
 ok Boulanger’s advice to heart and it became his passion to bring the tang
 o\, which began as a seductive partner dance in the brothels and dance hal
 ls of Argentina\, to the world’s concert halls. In 1985\, he wrote <i>The 
 History of the Tango </i>to capture its evolution during the 100 years sin
 ce its beginning. To accompany the music\, he left a program note for each
  of the four movements: <b><i>Bordell\, 1900: </i></b>“The tango originate
 d in Buenos Aires in 1882. It was first played on the guitar and flute. Ar
 rangements then came to include the piano\, and later\, the concertina. Th
 is music is full of grace and liveliness. It paints a picture of the good-
 natured chatter of the French\, Italian\, and Spanish women who peopled th
 ose bordellos as they teased the policemen\, thieves\, sailors\, and riffr
 aff who came to see them. This is a high-spirited tango.”<span class='Appl
 e-converted-space'> </span></p> <p><b><i>Nimrod </i></b>is the name given 
 to the ninth and best-known variation in <i>the Enigma Variations\, </i>an
  orchestral work of 14 variations each designed to be a portrait of one of
  14 members of <b>Edward Elgar's </b>family and circle of friends. A celeb
 rated work\, <i>Nimrod </i>is a portrait of Augustus J. Jaeger\, Elgar's e
 ditor and publisher. This serene variation portrays a story\, rather than 
 personifies Jaeger\, representing the years of advice and encouragement gi
 ven to Elgar by his friend. Supporting Elgar throughout depressive episode
 s and lack of confidence in his work\, Jaeger once reminded him of Beethov
 en's music\, which only increased in beauty\, despite the composer's simil
 ar anxieties. In tribute to this moment\, <i>Nimrod's </i>opening evokes a
  subtle hint of the second moment theme from Beethoven's Piano Sonata No. 
 8 'Pathétique'\, which Jaeger had sung to him for inspiration.<span class='Apple-converted-space'> </span></p> <p><b>Charles-François Gounod </b>was
  originally commissioned to write a chamber work for winds by his friend P
 aul Taffanel\, flute professor at the Paris Conservatoire. Gounod structur
 ed the instrumentation of <b><i>Petite symphonie pour neuf instruments à v
 ent </i></b>to mirror that of classical Mozart wind octets: two oboes\, tw
 o clarinets\, two bassoons and two horns. Gounod also included a singular 
 flute part in honor of Taffanel. The entire work is a four-movement struct
 ure\, continuing the homage to classical-era wind serenades\, the first mo
 vement an Adagio introduction followed by an Allegretto in sonata form. </span></p> <p><b><i>Andante et Scherzo 
 </i></b>for saxophone quartet was written for Marcel Mule’s quartet. The m
 usic clearly follows the Impressionist spirit of French music at the turn 
 of the century. The <i>Andante </i>flows in gently rocking colours\, the &lt;
 i&gt;Scherzo </i>swirls away in lively fashion\; it is carefree performance m
 usic in the best sense of the word – entirely in the spirit of those repre
 sentatives of <b>Eugène Bozza’s </b>own generation in France (from Poulenc
  to Françaix) who continued to avail themselves particularly consistently 
 of tonal means.<span class='Apple-converted-space'> </span></p> <p><b><i>D
 anny Boy </i></b>is a traditional folk song with lyrics originally written
  in 1910 by an English Lawyer\, Frederic Weatherly\, and set to the Irish 
 melody of “Londonderry Air” in 1913. It became one of the most popular son
 gs of the early 20th century\, and many interpret the lyrics to be sung by
  a parent whose child is going off to war. In 1983\, James Olcott adapted 
 the melody to trumpet sextet\, featuring two piccolo trumpets carrying the
  tune’s soaring melodies (for added intonation challenge of course\, thank
 s James). We will not be singing the lyrics because we will be occupied wi
 th our trumpets\, but feel free to sing along to the cheery tune!<span cla ss='Apple-converted-space'> </span></p> <p>Oh\, Danny boy\, the pipes\, th
 e pipes are calling <br>From glen to glen\, and down the mountain side. <b r>The summer's gone\, and all the roses falling\, <br>It's you\, it's you 
 must go and I must bide. <br>But come ye back when summer's in the meadow\
 , <br>Or when the valley's hushed and white with snow\, <br>It's I'll be t
 here in sunshine or in shadow\,— <br>Oh\, Danny boy\, Oh Danny boy\, I lov
 e you so!<span class='Apple-converted-space'> </span></p> <p>But when ye c
 ome\, and all the flowers are dying\, <br>If I am dead\, as dead I well ma
 y be\, <br>Ye'll come and find the place where I am lying\, <br>And kneel 
 and say an Avé there for me. <br>And I shall hear\, though soft you tread 
 above me\, <br>And all my grave will warmer\, sweeter be\, <br>For you wil
 l bend and tell me that you love me\, <br>And I shall sleep in peace until
  you come to me!<span class='Apple-converted-space'> </span></p> <p><b>Ben
 edetto Marcello’s <i>Six Sonatas for Cello and Continuo </i></b>surfaced l
 ate in his career\, after he was well established as a composer of religio
 us works and concerti. These short pieces for solo cello translate well to
  many other instruments and will be performed today down an octave from wr
 itten pitch to showcase the low registers of the tuba and bass.<span class='Apple-converted-space'> </span></p> <p><b>Allan Stephenson </b>was a Bri
 tish-born composer who lived out most of his musical career in South Afric
 a\, after he left his native country at age 24 to join the Cape Town Symph
 ony Orchestra as principal cellist. Stephenson grew to be a very successfu
 l composer in South Africa following his years of work there\, with one of
  his most well-known pieces being an act from the <i>Mandala Trilogy\, </i>an opera documenting Nelson Mandela's life. Throughout his life Stephenso
 n wrote over 110 works including operas\, symphonies\, concertos\, and cha
 mber music that continue to be enjoyed today.<span class='Apple-converted-
 space'> </span></p> <p><b>Felix Mendelssohn </b>composed <b><i>Notturno </i></b>Op. 24\, when he was just 17. Scored for flute\, oboes\, clarinets\,
  horns\, bassoons\, contrabassoon\, and trumpet\, the work highlights Mend
 elssohn’s skill in blending lyrical beauty with rich textures and dynamic 
 contrasts. While the title suggests a calm\, nocturnal atmosphere\, the pi
 ece balances serene\, reflective passages with lively\, energetic moments\
 , showcasing both delicacy and boldness. It remains a beloved work in the 
 wind ensemble repertoire for its charm and rhythmic vitality.<span class='
 Apple-converted-space'> </span></p> <p><b>Michael Coolen</b>\, Professor o
 f Ethnomusicology and Music\, has been the recipient of the five Fulbright
  Fellowships\, four NEH Summer Seminar Fellowships\, Oregon State Universi
 ty College of Liberal Arts Teacher of the Year\, and many other awards and
  honors. He has lived\, worked\, and taught in Africa\, Europe\, and New Z
 ealand. In addition to coordinating theory and composition studies at Oreg
 on State University\, he is also Director of the Sound Design Studio and R
 ecording Studio. His interest in world music and cultures is reflected in 
 many of his compositions. Among them are numerous African and Latin-Americ
 an arrangements and compositions he has written for piano\, woodwind\, and
  brass ensembles\, marimba ensembles\, steel drum ensembles\, and vocal ch
 oirs. The <b><i>Rhumba </i></b>(pronounced here “roombah”) is designed to 
 encourage eye contact and interaction between performers and audience memb
 ers.<span class='Apple-converted-space'> </span></p> <p>Often referred to 
 as an 'Italian Grand March\,' <b><i>Florentiner </i></b>is often referred 
 to as <b>Julius Fučik's </b>most popular work\, superseding his well-known
  'Entrance of the Gladiators.' Fučik was a prominent figure in promoting l
 egitimate and deemable 'worthwhile' wind band repertoire through his invol
 vement as bandmaster of the Austro-Hungarian Army's 86th Infantry Regiment
 . 'Florentiner' itself contains numerous themes and lilting figures\, ofte
 n referred to as the effort of thematic works in an operetta. Playful inte
 rjections can be heard between militaristic and even serious thematic sect
 ions. The work is perceived as highly playful\, lighthearted\, spiteful\, 
 and even highly sarcastic.<span class='Apple-converted-space'> </span></p>
  <p><b><i>Overflow </i></b>is a wind dectet inspired by Emily Dickinson’s 
 poem\, <i>By The Sea\, </i>in which we experience the ocean’s power over t
 he poet’s imagination - both alluring\, unsettling and dangerous. The line
  from which this piece takes its title “Would overflow with Pearl” reminde
 d me of an image from Jelaluddin Rumi’s poem Where Everything is Music whe
 reby the tiniest motion of a pearl on the ocean floor can cause great wave
 s above. The opening sonority of Overflow also draws inspiration from Rumi
 ’s words of a “slow and powerful root that we can’t see” with a low B-flat
 \, the lowest pitch of the ensemble emerging from silence.<span class='App
 le-converted-space'> </span></p> <hr> <table>  <tr> <td> <h3><b>UNIVERSITY OF WASHINGTON WIND ENSEMBLE<span class='Apple-conver
 ted-space'> </span></b></h3> <p><b>FLUTE<span class='Apple-converted-space
 '> <br></span></b>Erin McAfee\, Grad.\, Music Performance\, Hoover\, AL* &lt;
 br&gt;Tracia Pan\, Sr.\, Music Performance and Statistics\, Bellevue <br>Grac
 e Playstead\, Grd.\, Music Performance\, Olympia <br>Peyton Ray\, Jr.\, Mu
 sic Performance\, Denver\, CO <br>Claire Wei\, So.\, Music Performance\, B
 ellevue* <br>Yue Zhong.\, Sr.\, Music Performance\, Shanghai\, China<span class='Apple-converted-space'> </span></p> <p><b>OBOE<span class='Apple-co
 nverted-space'> <br></span></b>Max Bolen\, Fr.\, Marine Biology\, Ballard 
 <br>Minh-Thi Butler\, Jr.\, Music Education\, Hoquiam <br>Lauren Majewski\
 , Sr.\, International Studies\, Mercer Island* <br>Vichet Ros\, Jr.\, Musi
 c Education\, Burien<span class='Apple-converted-space'> </span></p> <p><b>BASSOON<span class='Apple-converted-space'> <br></span></b>Annika Fisher\
 , So.\, Anthropology\, Lake Forest Park <br>Alex Fraley\, Fr.\, Music Perf
 ormance\, Kenmore <br>Rian Morgan\, Jr.\, Nutritional Science/Music Perfor
 mance\, Des Moines* <br>Arina Pushkina\, Fr.\, Engineering\, Woodinville<s pan class='Apple-converted-space'> </span></p> <p><b>CLARINET<span class='
 Apple-converted-space'> <br></span></b>Arthur Gim\, So.\, Mechanical Engin
 eering\, Bothell <br>Jeremy Hu\, So.\, Engineering\, Taipei\, Taiwan <br>A
 lessandro Martinez\, So.\, Environmental Engineering\, Olympia <br>Alen Po
 ehlman\, Jr.\, Biochemistry\, Tacoma <br>Luqi Wang\, Grd.\, Music Performa
 nce\, Dalian\, China <br>Ysanne Webb\, Grd.\, Music Performance\, Lubbock\
 , TX*<span class='Apple-converted-space'> </span></p> <p><b>BASS CLARINET&lt;
 span class='Apple-converted-space'&gt; <br></span></b>Cameron DeLuca\, Grd.\,
  Music Performance\, Hawthorne\, CA<span class='Apple-converted-space'> </span></p> <p><b>SAXOPHONE<span class='Apple-converted-space'> <br></span>&lt;
 /b&gt;Curtis Chung\, Jr.\, Mechanical Engineering\, Sunnyvale\, CA <br>Kyle G
 rant\, So.\, Music Education/Music Performance\, Sumner <br>Amy Kang\, Fr.
 \, Engineering\, Portland\, OR <br>Katie Zundel\, Sr.\, Music Performance/
 Engineering\, Clinton*<span class='Apple-converted-space'> </span></p> <p>
 <b>TRUMPET<span class='Apple-converted-space'> <br></span></b>Erika Berret
 h\, So.\,<span class='Apple-converted-space'> </span></p> <p>Erika Berreth
 \, So.\, Computer Science\, Redmond <br>Ellie Fajer\, SEFS Research Staff\
 , Littleton\, CO* <br>Hans Faul\, Jr.\, Music Performance\, Seattle <br>Ky
 le Jenkins\, Grd.\, Music Performance\, Sammamish <br>Daniel Lyons\, So.\,
  Music Performance\, Lake Forest Park <br>Antti Mannisto\, Jr.\, Mechanica
 l Engineering\, Bellevue <br>Kevin Thomas\, Fr.\, Music Education\, Spokan
 e\, WA<span class='Apple-converted-space'> </span></p> <p><b>HORN<span cla ss='Apple-converted-space'> <br></span></b>Ellis Haker\, Graduate\, Comput
 er Science\, Los Angeles CA <br>Steven Li\, So.\, Music Performance\, Beij
 ing\, China <br>Elise Moe\, Fr.\, Music Performance\, Everett*</p> <p>Kiyo
 shi Colon\, Alumni.\, Chemistry\, Everett<span class='Apple-converted-spac
 e'> </span></p> <p><b>TROMBONE<span class='Apple-converted-space'> <br></s></b>Dion Archer-Roll\, Sr.\, Physics\, Vancouver <br>Eliana Koenig\, S
 o.\, Mechanical Engineering\, Mesa\, AZ <br>Duncan Weiner\, Sr.\, Linguist
 ics/Aeronautical and Astronautical Engineering\, Seattle <br>Nathanael Wyt
 tenbach\, So.\, Music Performance/International Studies\, Richland*<span c lass='Apple-converted-space'> </span></p> <p><b>EUPHONIUM<span class='Appl
 e-converted-space'> <br></span></b>Nico Ferreria\, So.\, Biology\, Bellevu
 e <br>Simona Yaroslavsky\, So.\, Psychology/Law\, Societies and Justice\, 
 Mercer Island*<span class='Apple-converted-space'> </span></p> <p><b>TUBA&lt;
 span class='Apple-converted-space'&gt; <br></span></b>Cole Henslee\, Sr.\, Mu
 sic Performance\, Lakewood <br>Foster Patterson\, Jr.\, Music Education\, 
 Aberdeen <br>Chris Seay\, Grd.\, Music Performance\, Belmont\, NC*<span cl ass='Apple-converted-space'> </span></p> <p><b>BASS<span class='Apple-conv
 erted-space'> <br></span></b>Eddie Nikishina\, Sr.\, Music Performance\, B
 ellevue<span class='Apple-converted-space'> </span></p> <p><b>PERCUSSION<s pan class='Apple-converted-space'> <br></span></b>Ryan Baker\, Sr.\, Music
  Composition/Psychology\, Gig Harbor <br>Cyan Duong\, So.\, Music Educatio
 n\, Monroe <br>Solomon Encina\, Grd.\, Wind Conducting\, Rancho Cucamonga\
 , CA <br>Momoka Fukushima\, So.\, Music Performance\, Issaquah* <br>Taryn 
 Marks\, Grd.\, Music Performance\, North Augusta\, SC* <br>Ivy Moore\, So.
 \, Engineering and Percussion Performance\, Norfolk VA <br>Luigi Salvaggio
 \, So.\, Music Performance\, Manhattan Beach\, CA<span class='Apple-conver
 ted-space'> </span></p> <p><b>PIANO<span class='Apple-converted-space'> <b r></span></b>Rachel Huang\, Grad.\, Music Performance\, West Hills\, LA </span></p> <p><b>DOCTORAL STUDENT CONDU
 CTORS<span class='Apple-converted-space'> <br></span></b>Solomon Encina\, 
 Rancho Cucamonga\, CA <br>David Stewart\, Mercer Island <br>Yuman Wu\, Tia
 njin\, China<span class='Apple-converted-space'> </span></p> <p>*principal
 </p> </td> </tr> </tbody> </table> <h3>Biographies</h3> <hr><hr><hr> <p><b></b></p>
END:VEVENT
BEGIN:VEVENT
UID:620f2a6d-9460-4d42-91a6-c8d43746140f
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20240822T225650Z
DESCRIPTION:<p></p>\n<p>Guest pianist Murray McLachlan leads a master class
  with UW piano students. </p>\n<hr>\n<h3></h3>
DTSTART;TZID=America/Los_Angeles:20241028T133000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:90
SUMMARY:: Guest Pianist Master Class: Murray McLachlan
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-28/guest-pianist-master-cla
 ss-murray-mclachlan
END:VEVENT
BEGIN:VEVENT
UID:d88fc042-180f-485c-ad23-74c30b3c4634
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20240808T231216Z
DESCRIPTION:<p></p>\n<p>The School of Music presents a recital by guest pia
 nist Murray McLachlan\, performing works by Bach-Busoni\, Beethoven\, John
  McLeod\, Chopin\, Ravel\, and Liszt. McLachlan is professor of piano at t
 he Royal Northern College of Music\, visiting professor of piano at the Un
 iversity of St. Andrews and head of keyboard at Chetham’s School of Music 
 in Manchester\, England. </p>\n<hr>\n<h3>Program</h3>\n<p><strong>Bach-Busoni</strong>: Chaconne<br><strong>Beethoven: Sonata in E op. 109<br><strong>John McLeod</strong>: Sonata no 1 (1
 978)</p>\n<p>INTERVAL</p>\n<p><strong>Chopin:</strong> Berceuse in D flat<br><strong>Ravel:</s> Jeux d’Eaux<br><strong>Liszt:</strong> Dante Sonata</p>\n<hr>\n<h3>
 Biography</h3>\n<h3><a href='http://www.murraym
 clachlan.com ' target='_blank' rel='noopener noreferrer'>Murray McLachlan&lt;
 /a&gt;</h3>\n<p>Since making his professional debu
 t in 1986 at the age of 21 under the baton of Sir Alexander Gibson\, Murra
 y McLachlan has consistently received outstanding critical acclaim. Educat
 ed at Chetham’s School of Music and Cambridge University\, his mentors inc
 luded Ronald Stevenson\, David Hartigan\, Ryszard Bakst\, Peter Katin and 
 Norma Fisher. <br><br>His recording career began in 1988 and immediately a
 ttracted international attention. Recordings of contemporary music have wo
 n numerous accolades\, including full star ratings\, as well as ‘rosette’ 
 and ‘key recording’ status in the Penguin Guide to CDs\, and ‘Disc of the 
 month’ and ‘Record of the month ‘in ‘Music on the Web’ and ‘The Herald.’ I
 n 2020 he recorded the complete piano works of Edward Gregson for Naxos an
 d 2019 the Ruth Gipps concerto with the RLPO under Charles Peebles for SOM
 M. 2023 saw the release of a five CD box set world Premiere recording cycl
 e of the complete piano sonatas of Geoffrey Allen (1926-2021). </p>\n<p st yle=' 400\;'><br>McLachlan’s repertoire includes over 40 conce
 rtos and 25 recital programmes. He has given first performances of works b
 y many composers and has appeared as soloist with most of the leading UK o
 rchestras. His recognition has been far-reaching\, bringing invitations to
  perform on all five continents. <br><br>McLachlan is Professor of Piano a
 t the Royal Northern College of Music and visiting Professor of Piano at t
 he University of St. Andrews. Since 1997 he has been Head of Keyboard at C
 hetham’s School of Music in Manchester. He has taught many musicians who h
 ave gone on to have successful careers as musicians\, winning numerous pri
 zes and performing internationally.</p>\n<p> In
  2001 he founded the world famous Chetham’s International Summer School an
 d Festival for Pianists <a href='http://www.pianosummerschool.com/'>www.pi
 anosummerschool.com</a>  which is now in its 22nd season. Billed as ‘The F
 riendliest Summer School if the World’ it is the largest event of its kind
  devoted exclusively to piano and annually attracts over three hundred par
 ticipants and an international faculty of over sixty celebrated pianist-te
 achers<br><br><br>As well as performing and teaching Murray McLachlan is w
 ell known internationally for his numerous articles on Piano technique and
  repertoire. In particular he has written for International Piano magazine
  in a column which is now in its twenty-second year. His three books on te
 chnique ‘The Foundations of technique\,’ ‘Piano Technique in Practice’ and
  ‘The Psychology of Piano Technique’ were published by Faber\, have been r
 eprinted several times and received wide international acclaim.</p>\n<p st yle=' 400\;'> McLachlan is Vice President of EPTA UK\, having 
 previously been chair from 2007-2021. Additionally\, he was awarded a knig
 hthood by the Order of St John for services to Maltese Music. He is also p
 atron of the Aberdeen Youth Orchestra and Vice President of the Northeast 
 of Scotland Music School. In 2013 the University of Dundee awarded Murray 
 McLachlan and honorary doctorate for services to music and education </p>
 \n<p> </p>
DTSTART;TZID=America/Los_Angeles:20241028T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:91
SUMMARY:: Guest Pianist Recital: Murray McLachlan
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-29/guest-pianist-recital-mu
 rray-mclachlan
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The School of Music presents a reci
 tal by guest pianist Murray McLachlan\, performing<span> works by Bach-Bus
 oni\, Beethoven\, John McLeod\, Chopin\, Ravel\, and Liszt. McLachlan is &lt;
 /span&gt;p<span>rofessor of piano at the Royal Northern College of Music\, vi
 siting professor of piano at the University of St. Andrews and head of key
 board at Chetham’s School of Music in Manchester\, England. </span></p>  <h3>Program</h3> <p><strong>Bach-Busoni: Chaconne<br><strong>Beethoven</strong>: Sonata in E op. 109<br>John McLeod</strong>: Sonata no 1 (1978)</p> <p>INTERVAL</p> <p><strong>Chopin:</strong> Be
 rceuse in D flat<br><strong>Ravel:</strong> Jeux d’Eaux<br><strong>Liszt:&lt;
 /strong&gt; Dante Sonata</p> <hr> <h3>Biography</h3> <h3><a href='http://www.murraymclachlan.com ' target='_blank' rel='noop
 ener noreferrer'>Murray McLachlan</a></h3> <p>&lt;
 span&gt;Since making his professional debut in 1986 at the age of 21 under th
 e baton of Sir Alexander Gibson\, Murray McLachlan has consistently receiv
 ed outstanding critical acclaim. Educated at Chetham’s School of Music and
  Cambridge University\, his mentors included Ronald Stevenson\, David Hart
 igan\, Ryszard Bakst\, Peter Katin and Norma Fisher. <br><br>His recording
  career began in 1988 and immediately attracted international attention. R
 ecordings of contemporary music have won numerous accolades\, including fu
 ll star ratings\, as well as ‘rosette’ and ‘key recording’ status in the P
 enguin Guide to CDs\, and ‘Disc of the month’ and ‘Record of the month ‘in
  ‘Music on the Web’ and ‘The Herald.’ In 2020 he recorded the complete pia
 no works of Edward Gregson for Naxos and 2019 the Ruth Gipps concerto with
  the RLPO under Charles Peebles for SOMM. 2023 saw the release of a five C
 D box set world Premiere recording cycle of the complete piano sonatas of 
 Geoffrey Allen (1926-2021). </span></p> <p><br>McLachlan’s repertoire includes over 40 concertos and 25 recital pro
 grammes. He has given first performances of works by many composers and ha
 s appeared as soloist with most of the leading UK orchestras. His recognit
 ion has been far-reaching\, bringing invitations to perform on all five co
 ntinents. <br><br>McLachlan is Professor of Piano at the Royal Northern Co
 llege of Music and visiting Professor of Piano at the University of St. An
 drews. Since 1997 he has been Head of Keyboard at Chetham’s School of Musi
 c in Manchester. He has taught many musicians who have gone on to have suc
 cessful careers as musicians\, winning numerous prizes and performing inte
 rnationally.</span></p> <p><span> In 2001 he fo
 unded the world famous Chetham’s International Summer School and Festival 
 for Pianists <a href='http://www.pianosummerschool.com/'>www.pianosummersc
 hool.com</a>  which is now in its 22<sup>nd</sup> season. Billed as ‘The F
 riendliest Summer School if the World’ it is the largest event of its kind
  devoted exclusively to piano and annually attracts over three hundred par
 ticipants and an international faculty of over sixty celebrated pianist-te
 achers<br><br><br>As well as performing and teaching Murray McLachlan is w
 ell known internationally for his numerous articles on Piano technique and
  repertoire. In particular he has written for International Piano magazine
  in a column which is now in its twenty-second year. His three books on te
 chnique ‘The Foundations of technique\,’ ‘Piano Technique in Practice’ and
  ‘The Psychology of Piano Technique’ were published by Faber\, have been r
 eprinted several times and received wide international acclaim.</span></p>
  <p><span> McLachlan is Vice President of EPTA 
 UK\, having previously been chair from 2007-2021. Additionally\, he was aw
 arded a knighthood by the Order of St John for services to Maltese Music. 
 He is also patron of the Aberdeen Youth Orchestra and Vice President of th
 e Northeast of Scotland Music School. In 2013 the University of Dundee awa
 rded Murray McLachlan and honorary doctorate for services to music and edu
 cation </span></p> <p><span> </span></p>
END:VEVENT
BEGIN:VEVENT
UID:198e2f87-e8cb-426b-bf33-4986a1a492b3
DTSTAMP:20260307T094252Z
CATEGORIES:Master Classes\, Special Events\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20241016T172919Z
DESCRIPTION:<p>Celebrated concert pianist Emanuel Ax leads a master class w
 ith UW music students. A brief question-and-answer session follows.</p>\n&lt;
 p&gt;This event is made possible by the Meany Center for the Performing Arts\
 , presenting Emanuel Ax in concert on Tuesday\, October 29 at Meany Hall. 
 <strong><a href='https://meanycenter.org/tickets/2024-10/production/emanue
 l-ax' target='_blank' rel='noopener noreferrer'>Learn more here.</a></p>\n<hr>\n<h3>Master Class Program</h3>\n<p><strong>Ludwig van Beethoven:</strong> Sonata in A flat major\,  Opus 11
 0  (Segment to be decided) <br>                Jingshi  Zhao\, piano </p>
 \n<p><strong>J.S. Brahms: </strong>Violin and P
 iano Sonata in D minor\, No. 3\, Opus 108<br>                Annika Kounts
 \, violin<br>                Cicy Li\, piano</p>\n<p><strong>Frederick Chopin</strong>: <br>Etude Op. 25 No. 3 in F major
 <br>Etude Op. 25 No. 7 in C# minor<br>Etude Op. 25 no. 9 in Gb major <br> 
                Ella Kalinichenko\, piano</p>\n<p></p>\n<hr>\n<h3>Biography
 </h3>\n<h3><a href='http://emanuelax.com' target='_blank' rel='noopener no
 referrer'>Emanuel Ax</a></h3>\n<p>Born to Polish parents in what is today 
 Lviv\, Ukraine\, Emanuel Ax moved to Winnipeg\, Canada\, with his family w
 hen he was a young boy. Mr. Ax made his New York debut in the Young Concer
 t Artists Series\, and in 1974 won the first Arthur Rubinstein Internation
 al Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of You
 ng Concert Artists\, followed four years later by the Avery Fisher Prize.&lt;
 /p&gt;\n\n<p>The 2024/25 season begins with a continuation of the Beethoven F
 or Three touring and recording project with partners Leonidas Kavakos and 
 Yo-Yo Ma which takes them to European festivals including BBC Proms\, Dres
 den\, Hamburg\, Vienna and Luxembourg. As guest soloist he will appear dur
 ing the New York Philharmonic’s opening week which will mark his 47th annu
 al visit to the orchestra. During the season he will return to the Clevela
 nd and Philadelphia orchestras\, National\, San Diego\, Nashville and Pitt
 sburgh symphonies and Rochester Philharmonic. A fall recital tour from Tor
 onto and Boston moves west to include San Francisco\, Seattle and Los Ange
 les culminating in the spring in Chicago and his annual Carnegie Hall appe
 arance. A special project in duo with clarinetist Anthony McGill takes the
 m from the west coast through the mid-west to Georgia and Carnegie Hall an
 d in chamber music with Itzhak Perlman and Friends to Los Angeles\, Santa 
 Barbara and San Francisco. An extensive European tour will include concert
 s in Paris\, Oslo\, Cologne\, Hamburg\, Berlin\, Warsaw and Israel.</p>\n&lt;
 p&gt;Mr. Ax has been a Sony Classical exclusive recording artist since 1987 a
 nd following the success of the Brahms Trios with Kavakos and Ma\, the tri
 o launched an ambitious\, multi-year project to record all the Beethoven T
 rios and Symphonies arranged for trio of which the first three discs have 
 been released. He has received GRAMMY® Awards for the second and third vol
 umes of his cycle of Haydn’s piano sonatas. He has also made a series of G
 RAMMY-winning recordings with Yo-Yo Ma of the Beethoven and Brahms sonatas
  for cello and piano. In the 2004/05 season Mr. Ax contributed to an Inter
 national EMMY® Award-Winning BBC documentary commemorating the Holocaust t
 hat aired on the 60th anniversary of the liberation of Auschwitz. In 2013\
 , Mr. Ax’s recording Variations received the Echo Klassik Award for Solo R
 ecording of the Year (19th Century Music/Piano).</p>\n<p>Mr. Ax is a Fello
 w of the American Academy of Arts and Sciences and holds honorary doctorat
 es of music from Skidmore College\, New England Conservatory of Music\, Ya
 le University\, and Columbia University.</p>\n\n<p>For more information ab
 out Mr. Ax’s career\, please visit <a href='http://www.emanuelax.com/'>www
 .EmanuelAx.com</a>.</p>\n<p>Born to Polish parents in what is today Lviv\,
  Ukraine\, Emanuel Ax moved to Winnipeg\, Canada\, with his family when he
  was a young boy. Mr. Ax made his New York debut in the Young Concert Arti
 sts Series\, and in 1974 won the first Arthur Rubinstein International Pia
 no Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Con
 cert Artists\, followed four years later by the Avery Fisher Prize.</p>\n
 \n<p>The 2024/25 season begins with a continuation of the Beethoven For Th
 ree touring and recording project with partners Leonidas Kavakos and Yo-Yo
  Ma which takes them to European festivals including BBC Proms\, Dresden\,
  Hamburg\, Vienna and Luxembourg. As guest soloist he will appear during t
 he New York Philharmonic’s opening week which will mark his 47th annual vi
 sit to the orchestra. During the season he will return to the Cleveland an
 d Philadelphia orchestras\, National\, San Diego\, Nashville and Pittsburg
 h symphonies and Rochester Philharmonic. A fall recital tour from Toronto 
 and Boston moves west to include San Francisco\, Seattle and Los Angeles c
 ulminating in the spring in Chicago and his annual Carnegie Hall appearanc
 e. A special project in duo with clarinetist Anthony McGill takes them fro
 m the west coast through the mid-west to Georgia and Carnegie Hall and in 
 chamber music with Itzhak Perlman and Friends to Los Angeles\, Santa Barba
 ra and San Francisco. An extensive European tour will include concerts in 
 Paris\, Oslo\, Cologne\, Hamburg\, Berlin\, Warsaw and Israel.</p>\n<p>Mr.
  Ax has been a Sony Classical exclusive recording artist since 1987 and fo
 llowing the success of the Brahms Trios with Kavakos and Ma\, the trio lau
 nched an ambitious\, multi-year project to record all the Beethoven Trios 
 and Symphonies arranged for trio of which the first three discs have been 
 released. He has received GRAMMY® Awards for the second and third volumes 
 of his cycle of Haydn’s piano sonatas. He has also made a series of GRAMMY
 -winning recordings with Yo-Yo Ma of the Beethoven and Brahms sonatas for 
 cello and piano. In the 2004/05 season Mr. Ax contributed to an Internatio
 nal EMMY® Award-Winning BBC documentary commemorating the Holocaust that a
 ired on the 60th anniversary of the liberation of Auschwitz. In 2013\, Mr.
  Ax’s recording Variations received the Echo Klassik Award for Solo Record
 ing of the Year (19th Century Music/Piano).</p>\n<p>Mr. Ax is a Fellow of 
 the American Academy of Arts and Sciences and holds honorary doctorates of
  music from Skidmore College\, New England Conservatory of Music\, Yale Un
 iversity\, and Columbia University.</p>
DTSTART;TZID=America/Los_Angeles:20241030T103000
LAST-MODIFIED:20241025T193245Z
SEQUENCE:92
SUMMARY:: Guest Pianist Master Class: Emanuel Ax
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-30/guest-pianist-master-cla
 ss-emanuel-ax
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Celebrated concert pianist Emanuel Ax leads
  a master class with UW music students. A brief question-and-answer sessio
 n follows.</p> <p><em>This event is made possible by the Meany Center for 
 the Performing Arts\, presenting Emanuel Ax in concert on Tuesday\, Octobe
 r 29 at Meany Hall. <strong><a href='https://meanycenter.org/tickets/2024-
 10/production/emanuel-ax' target='_blank' rel='noopener noreferrer'>Learn 
 more here.</a></strong></em></p> <hr> <h3>Master Class Program</h3> <p sty le=' 400\;'><strong>Ludwig van Beethoven:</strong> Sonata in A
  flat major\,  Opus 110  (Segment to be decided) <br>                Jings
 hi  Zhao\, piano </p> <p><strong>J.S. Brahms: &lt;
 /strong&gt;Violin and Piano Sonata in D minor\, No. 3\, Opus 108<br>         
        Annika Kounts\, violin<br>                Cicy Li\, piano</p> <p st yle=' 400\;'><strong>Frederick Chopin</strong>: <br>Etude Op. 
 25 No. 3 in F major<br>Etude Op. 25 No. 7 in C# minor<br>Etude Op. 25 no. 
 9 in Gb major <br><em>                </em>Ella Kalinichenko\, piano</p> &lt;
 p&gt;</p> <hr> <h3>Biography</h3> <h3><a href='http://emanuelax.com' target='
 _blank' rel='noopener noreferrer'>Emanuel Ax</a></h3> <p>Born to Polish pa
 rents in what is today Lviv\, Ukraine\, Emanuel Ax moved to Winnipeg\, Can
 ada\, with his family when he was a young boy. Mr. Ax made his New York de
 but in the Young Concert Artists Series\, and in 1974 won the first Arthur
  Rubinstein International Piano Competition in Tel Aviv. In 1975 he won th
 e Michaels Award of Young Concert Artists\, followed four years later by t
 he Avery Fisher Prize.</p> <div class='read-more__content' tabindex='-1'> 
 <p>The 2024/25 season begins with a continuation of the Beethoven For Thre
 e touring and recording project with partners Leonidas Kavakos and Yo-Yo M
 a which takes them to European festivals including BBC Proms\, Dresden\, H
 amburg\, Vienna and Luxembourg. As guest soloist he will appear during the
  New York Philharmonic’s opening week which will mark his 47th annual visi
 t to the orchestra. During the season he will return to the Cleveland and 
 Philadelphia orchestras\, National\, San Diego\, Nashville and Pittsburgh 
 symphonies and Rochester Philharmonic. A fall recital tour from Toronto an
 d Boston moves west to include San Francisco\, Seattle and Los Angeles cul
 minating in the spring in Chicago and his annual Carnegie Hall appearance.
  A special project in duo with clarinetist Anthony McGill takes them from 
 the west coast through the mid-west to Georgia and Carnegie Hall and in ch
 amber music with Itzhak Perlman and Friends to Los Angeles\, Santa Barbara
  and San Francisco. An extensive European tour will include concerts in Pa
 ris\, Oslo\, Cologne\, Hamburg\, Berlin\, Warsaw and Israel.</p> <p>Mr. Ax
  has been a Sony Classical exclusive recording artist since 1987 and follo
 wing the success of the Brahms Trios with Kavakos and Ma\, the trio launch
 ed an ambitious\, multi-year project to record all the Beethoven Trios and
  Symphonies arranged for trio of which the first three discs have been rel
 eased. He has received GRAMMY<sup>®</sup> Awards for the second and third 
 volumes of his cycle of Haydn’s piano sonatas. He has also made a series o
 f GRAMMY-winning recordings with Yo-Yo Ma of the Beethoven and Brahms sona
 tas for cello and piano. In the 2004/05 season Mr. Ax contributed to an In
 ternational EMMY<sup>®</sup> Award-Winning BBC documentary commemorating t
 he Holocaust that aired on the 60th anniversary of the liberation of Ausch
 witz. In 2013\, Mr. Ax’s recording <em>Variations</em> received the Echo K
 lassik Award for Solo Recording of the Year (19th Century Music/Piano).</p> <p>Mr. Ax is a Fellow of the American Academy of Arts and Sciences and h
 olds honorary doctorates of music from Skidmore College\, New England Cons
 ervatory of Music\, Yale University\, and Columbia University.</p> </div> 
 <p>For more information about Mr. Ax’s career\, please visit <a href='//www.emanuelax.com/'>www.EmanuelAx.com</a>.</p> <p>Born to Polish parent
 s in what is today Lviv\, Ukraine\, Emanuel Ax moved to Winnipeg\, Canada\
 , with his family when he was a young boy. Mr. Ax made his New York debut 
 in the Young Concert Artists Series\, and in 1974 won the first Arthur Rub
 instein International Piano Competition in Tel Aviv. In 1975 he won the Mi
 chaels Award of Young Concert Artists\, followed four years later by the A
 very Fisher Prize.</p> <div class='read-more__content' tabindex='-1'> <p>T
 he 2024/25 season begins with a continuation of the Beethoven For Three to
 uring and recording project with partners Leonidas Kavakos and Yo-Yo Ma wh
 ich takes them to European festivals including BBC Proms\, Dresden\, Hambu
 rg\, Vienna and Luxembourg. As guest soloist he will appear during the New
  York Philharmonic’s opening week which will mark his 47th annual visit to
  the orchestra. During the season he will return to the Cleveland and Phil
 adelphia orchestras\, National\, San Diego\, Nashville and Pittsburgh symp
 honies and Rochester Philharmonic. A fall recital tour from Toronto and Bo
 ston moves west to include San Francisco\, Seattle and Los Angeles culmina
 ting in the spring in Chicago and his annual Carnegie Hall appearance. A s
 pecial project in duo with clarinetist Anthony McGill takes them from the 
 west coast through the mid-west to Georgia and Carnegie Hall and in chambe
 r music with Itzhak Perlman and Friends to Los Angeles\, Santa Barbara and
  San Francisco. An extensive European tour will include concerts in Paris\
 , Oslo\, Cologne\, Hamburg\, Berlin\, Warsaw and Israel.</p> <p>Mr. Ax has
  been a Sony Classical exclusive recording artist since 1987 and following
  the success of the Brahms Trios with Kavakos and Ma\, the trio launched a
 n ambitious\, multi-year project to record all the Beethoven Trios and Sym
 phonies arranged for trio of which the first three discs have been release
 d. He has received GRAMMY<sup>®</sup> Awards for the second and third volu
 mes of his cycle of Haydn’s piano sonatas. He has also made a series of GR
 AMMY-winning recordings with Yo-Yo Ma of the Beethoven and Brahms sonatas 
 for cello and piano. In the 2004/05 season Mr. Ax contributed to an Intern
 ational EMMY<sup>®</sup> Award-Winning BBC documentary commemorating the H
 olocaust that aired on the 60th anniversary of the liberation of Auschwitz
 . In 2013\, Mr. Ax’s recording <em>Variations</em> received the Echo Klass
 ik Award for Solo Recording of the Year (19th Century Music/Piano).</p> <p>Mr. Ax is a Fellow of the American Academy of Arts and Sciences and holds
  honorary doctorates of music from Skidmore College\, New England Conserva
 tory of Music\, Yale University\, and Columbia University.</p> </div>
END:VEVENT
BEGIN:VEVENT
UID:9d3518f2-48e3-46e9-b245-e432efcbe3f0
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Special Events\, Visiting Arti
 sts and Scholars
CLASS:PUBLIC
CREATED:20240814T210605Z
DESCRIPTION:<p></p>\n<p>America’s oldest professional musical organization\
 , the Marine Band\, has performed for every U.S. president since John Adam
 s. This concert features a variety of patriotic favorites\, concert band c
 lassics\, and orchestral transcriptions. </p>\n<hr>\n<p><strong>Note: No l
 arge bags allowed. Some tickets for this performance are now available\, a
 nd patrons may also join the waiting list at the venue box office starting
  one hour before the concert. All unclaimed seats will be released to the 
 waiting list at 7:15 pm. </strong></p>\n<hr>\n<h3>Program</h3>\n<p><strong>John Philip Sousa* (1854–1932) March\, “Nobles of the Mystic Shrine”<br>edited by The United States Marine Band<br> <br><strong>John Willi
 ams (b. 1932) “Flight to Neverland” from Hook</strong><br>arranged by Paul
  Lavender<br><br> <strong>Johann Sebastian Bach (1685–1750) Fantasia and F
 ugue in C minor\, BWV 537</strong><br>arranged by Edward Elgar<br>transcri
 bed by LtCol Ryan Nowlin*<br> Frank Simon (1886–1967) “Miss Blue Bonnet”<b r>arranged by GySgt Chris Larios* GySgt Chris Larios\, cornet soloist</p>
 \n<p><strong>Omar Thomas (b. 1984) Come Sunday (2018)</strong><br>Testimon
 y<br>Shout!</p>\n<p>INTERMISSION</p>\n<p><strong>Gustav Holst (1874–1934):
  Moorside March from A Moorside Suite</strong><br>transcribed by Gordon Ja
 cob<br> <br><strong>Viet Cuong (b. 1990): Moth (2013)</strong><br> arrange
 d by GySgt Scott Ninmer* </p>\n<p><strong>A Tribute to Ella</strong><br>“A
 -Tisket\, A-Tasket”<br>“Oh\, Lady\, Be Good!”<br>“It Don’t Mean a Thing (I
 f It Ain’t Got that Swing)”<br>SSgt Hannah Davis\, soprano</p>\n<p><strong>John Philip Sousa* (1854–1932): March\, “The Stars and Stripes Forever”</strong><br>edited by The United States Marine Band<br> arranged by Thomas 
 Knox* (1937–2004) </p>\n<p><strong>A Salute to the Armed Forces of the Uni
 ted States of America</strong><br>SSgt Hannah Davis\, concert moderator</p>\n<hr>\n<h3>Biographies</h3>\n<h5><strong>MARINE BAND</strong></h5>\n<p>E
 stablished by an Act of Congress in 1798\, the United States Marine Band i
 s America’s oldest continuously active professional musical organization. 
 Its mission is unique—to provide music for the President of the United Sta
 tes and the Commandant of the Marine Corps.</p>\n<p>President John Adams i
 nvited the Marine Band to make its White House debut on New Year’s Day\, 1
 801\, in the then-unfinished Executive Mansion. In March of that year\, th
 e band performed for Thomas Jefferson’s inauguration and it is believed th
 at it has performed for every presidential inaugural since. In Jefferson\,
  the band found its most visionary advocate. An accomplished musician hims
 elf\, Jefferson recognized the unique relationship between the band and th
 e Chief Executive and he is credited with giving the Marine Band its title
 \, “The President’s Own.”</p>\n<p>Whether performing for State Dinners or 
 South Lawn arrivals\, events of national significance\, or receptions\, Ma
 rine Band musicians appear at the White House an average of 200 times each
  year. These performances range from small ensembles such as a solo pianis
 t\, jazz combo or brass quintet to a country band\, dance band or full con
 cert band. The diversity of music often presented at the Executive Mansion
  makes versatility an important requirement for Marine Band members. Music
 ians are selected at auditions much like those of major symphony orchestra
 s\, and they enlist in the U.S. Marine Corps for permanent duty with the M
 arine Band. Most of today’s members are graduates of the nation’s finest m
 usic schools\, and more than 60 percent hold advanced degrees in music.</p>\n<p>In addition to its White House mission\, “The President’s Own” perfo
 rms an annual season showcase series of indoor concerts and a popular outd
 oor summer concert series on the National Mall. Musicians from the band ar
 e frequently highlighted in solo performances and participate in more inti
 mate chamber ensemble recitals that feature a wide range of smaller instru
 mental groups. Marine Band musicians also perform in many different types 
 of ceremonies and events throughout the Washington\, D.C.\, metropolitan a
 rea including the Presidential Inauguration\, Full Honors funerals at Arli
 ngton National Cemetery\, Honor Flight ceremonies for veterans at the Nati
 onal World War II Memorial\, Friday Evening Parades at Marine Barracks\, W
 ashington\, D.C.\, and educational programs in schools throughout the Nati
 onal Capital Region.</p>\n<p>Each fall\, the Marine Band travels throughou
 t a portion of the continental United States during its concert tour\, a t
 radition initiated in 1891 by “The March King” John Philip Sousa\, who was
  the band’s legendary 17th Director. As Director from 1880–92\, Sousa brou
 ght “The President’s Own” to an unprecedented level of excellence and shap
 ed the band into a world-famous musical organization. Since Sousa’s time\,
  the band’s musical reach has extended beyond America’s borders on several
  occasions with performances in England\, Norway\, Ireland\, the Netherlan
 ds\, Switzerland\, Singapore\, and the former Soviet Union. During Sousa’s
  tenure\, the Marine Band was one of the first musical ensembles to make s
 ound recordings. By 1892\, more than 200 different titles were available f
 or sale\, placing Sousa’s marches among the first and most popular pieces 
 ever recorded.</p>\n<p>While the Marine Band is firmly dedicated to preser
 ving the unique musical traditions established over its long history\, it 
 is equally committed to serving as a leading ensemble in the development o
 f new repertoire for winds. In 2000\, “The President’s Own” commissioned D
 avid Rakowski’s Ten of a Kind\, a piece honored as a finalist for the Puli
 tzer Prize in music in 2002. In 2007\, the band commissioned “Scamp” by Pu
 litzer Prize-winning composer Melinda Wagner\, and the Marine Band premièr
 ed Scott Lindroth’s Passage at the 2010 Midwest Clinic in Chicago. In 2011
 \, the band commissioned and premièred Flourishes and Meditations on a Ren
 aissance Theme by Michael Gandolfi at the American Bandmasters Association
 ’s annual convention in Norfolk\, Va. Most recently\, music written for th
 e Marine Band has included Gerard Schwarz’ Above and Beyond\, Jacob Bancks
 ’ The Information Age and Laurence Bitensky to write Fearsome Critters\, t
 he latter of which was premièred at the Texas Bandmasters Association Conv
 ention in San Antonio in July 2012.</p>\n<p>On July 11\, 1998\, the Marine
  Band celebrated its 200th anniversary with a command performance at the W
 hite House and a gala concert at the John F. Kennedy Center for the Perfor
 ming Arts in Washington attended by President and Mrs. Clinton. Also durin
 g its bicentennial year\, the Marine Band was the only ensemble inducted i
 nto the inaugural class of the American Classical Music Hall of Fame in Ci
 ncinnati.</p>\n<p>Given its status among American musical organizations\, 
 “The President’s Own” continues to attract prominent guest conductors from
  major orchestras around the globe\, including Osmo Vänskä\, Leonard Slatk
 in\, José Serebrier and Gerard Schwarz. On July 12\, 2003\, the Marine Ban
 d returned to the Kennedy Center to celebrate its 205th anniversary in a c
 oncert featuring guest conductor John Williams\, renowned composer of Amer
 ican film and concert works and laureate conductor of the Boston Pops Orch
 estra. Williams returned to the podium in 2008 to conduct the final concer
 t of the Living History concert series celebrating the Marine Band’s 210th
  anniversary. In honor of the Marine Band’s 215th birthday\, John Williams
  composed and dedicated an original work to the Marine Band aptly titled “
 For ‘The President’s Own.’”</p>\n<p>The Marine Band’s integral role in the
  national culture and in the government’s official life has affirmed the i
 mportance of the arts as a bridge between people. Since 1798\, the Marine 
 Band’s mission has been to provide music for the President of the United S
 tates and the Commandant of the Marine Corps. As the only musical organiza
 tion with that mission\, the Marine Band looks to the future\, viewing its
  history and tradition as the foundation upon which to build its third cen
 tury of bringing music to the White House and to the American people.</p>
 \n\n\n<h3 class='atitle'><a href='https://www.marineband.marines.mil/About
 /Members/Article/2599889/lt-col-ryan-nowlin/' target='_blank' rel='noopene
 r noreferrer'>Director: Lt. Col. Ryan Nowlin </a></h3>\n\n\n\n<p paraeid='
 {c790ea3e-c60d-48c6-812c-3f5ed2d9d19a}{68}' paraid='1763899340'>Director L
 t. Col. Ryan Nowlin joined “The President’s Own” United States Marine Band
  in August 2010 as staff arranger. He was appointed Assistant Director and
  commissioned a first lieutenant in July 2014\, was promoted to the rank o
 f captain in July 2016\, was appointed Executive Officer and Associate Dir
 ector in May 2018\, and earned the rank of Major in January 2020. He was p
 romoted to his current rank in December 2023. On Dec. 20\, 2023\, during a
  Change of Command Ceremony officiated by Assistant Commandant of the Mari
 ne Corps General Christopher J. Mahoney\, Lt. Col. Nowlin became the 29th 
 Director of 'The President's Own' United States Marine Band.</p>\n<p parae id='{c790ea3e-c60d-48c6-812c-3f5ed2d9d19a}{78}' paraid='385518759'>With “T
 he President’s Own\,” Lt. Col. Nowlin has arranged and composed a variety 
 of music for the Marine Band\, Marine Chamber Orchestra\, and small ensemb
 les. His arrangements are frequently included in high-profile national eve
 nts to include a 2013 collaboration with Beyoncé (“The Star-Spangled Banne
 r”) and Kelly Clarkson (“America”) for the second inauguration of Presiden
 t Barack Obama as well as an arrangement of “The Star-Spangled Banner” for
  Jordin Sparks in honor of the anthem’s 200th anniversary at Fort McHenry 
 (2014.) His setting of “Amazing Grace” is regularly included as part of th
 e annual Marine Corps Worship Service held at the National Cathedral in Wa
 shington\, D.C. In 2013\, Lt. Col. Nowlin’s concert march “The Montford Po
 int Marines” honoring the first African Americans to serve in the United S
 tates Marine Corps was premiered for President and Mrs. Obama at the Frida
 y Evening Parade at Marine Barracks Washington. In 2018\, he composed the 
 march “Century of Service” in honor of 100 years of women’s service in the
  Corps.</p>\n<p paraeid='{c790ea3e-c60d-48c6-812c-3f5ed2d9d19a}{78}' parai d='385518759'>Lt. Col. Nowlin’s music has been heard in performance at cou
 ntless White House events including receptions\, state dinners\, and Indep
 endence Day celebrations on the South Lawn. His wind band transcriptions h
 ave been recorded on five Marine Band albums to include “From the Keyboard
 ” (Bach’s Toccata and Fugue in D minor)\; “Picture Studies” (David Conte’s
  A Copland Portrait)\; “Arioso” (Bach’s Fantasia and Fugue in C minor)\; “
 A Leonard Bernstein Tribute” (Leonard Bernstein’s Scenes from A White Hous
 e Cantata)\; and “Monuments” (Jennifer Higdon’s blue cathedral.) </p>\n<p paraeid='{c790ea3e-c60d-48c6-812c-3f5ed2d9d19a}{78}' paraid='385518759'>Lt
 . Col. Nowlin has enjoyed conducting the Marine Band and Chamber Orchestra
  in public performances during their winter/spring concert series and at s
 ummer concerts on the National Mall\, as well as at ceremonies and nationa
 l events at the U.S. Capitol\, Washington National Cathedral\, and at the 
 White House. Additionally\, he has conducted the band at Wolf Trap Nationa
 l Park for the Performing Arts in Vienna\, Va.\, at The Midwest Clinic in 
 Chicago\, at the 2022 WASBE International Conference in Prague\, on the Ma
 rine Band’s national concert tours\, and on the band’s international tours
  to Japan (2019) and Europe (2022).</p>\n<p paraeid='{c790ea3e-c60d-48c6-8
 12c-3f5ed2d9d19a}{78}' paraid='385518759'>Lt. Col. Nowlin has served as a 
 producer for nineteen Marine Band albums to include each annual release si
 nce 2014\, The Complete Marches of John Philip Sousa recording project sin
 ce its inception\, and the album “John Williams and ‘The President’s Own’”
 . Additionally\, he served as a producer for the Emmy award-winning progra
 m “New England Triptych” in partnership with the All-Star Orchestra.<br>Lt
 . Col. Nowlin is also the unit’s Education Officer. A music educator and h
 igh school band director before joining “The President’s Own\,” Lt. Col. N
 owlin is a dedicated advocate for music education. He currently manages Ma
 rine Band educational outreach initiatives such as Music in the Schools\, 
 Music in the High Schools\, Tour Educational Outreach\, and the Concerto C
 ompetition for High School Musicians\, and has been involved in the Marine
  Band’s Young People’s Concerts since 2011. </p>\n<p paraeid='{c790ea3e-c6
 0d-48c6-812c-3f5ed2d9d19a}{78}' paraid='385518759'>Lt. Col. Nowlin is a 19
 96 graduate of North Royalton High School in Ohio. He earned both a Bachel
 or of Arts in Music Education and his Master of Music in Music Education a
 nd Conducting in 2004 from Bowling Green State University in Ohio\, where 
 he studied horn with Herbert Spencer\, Jr. and conducting with Bruce Moss 
 and Emily Freeman Brown. He has also studied composition with prolific com
 poser Anne McGinty and has participated in workshops and master classes wi
 th several renowned conductors and educators including H. Robert Reynolds\
 , Mallory Thompson\, Harry Begian\, and Frederick Fennell. </p>\n<p paraei d='{c790ea3e-c60d-48c6-812c-3f5ed2d9d19a}{78}' paraid='385518759'>In addit
 ion to his duties with the United States Marine Band\, Lt. Col. Nowlin fre
 quently appears as a guest conductor with high school honor and all-state 
 bands\, community and municipal bands\, and with university ensembles acro
 ss the country. His published music and methods are used in lessons and pe
 rformances around the globe\, and he can frequently be found providing cli
 nics and master classes to teachers and students around the country.</p>\n
 <p paraeid='{c790ea3e-c60d-48c6-812c-3f5ed2d9d19a}{78}' paraid='385518759'></p>
DTSTART;TZID=America/Los_Angeles:20241030T193000
LAST-MODIFIED:20241031T010355Z
SEQUENCE:93
SUMMARY:: 'The President's Own' United States Marine Band
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-31/presidents-own-united-st
 ates-marine-band
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>America’s oldest professional music
 al organization\, the Marine Band\, has performed for every U.S. president
  since John Adams. This concert features a variety of patriotic favorites\
 , concert band classics\, and orchestral transcriptions. </p> <hr> <p>Note: No large bags allowed. Some tickets for this performance are now
  available\, and patrons may also join the waiting list at the venue box o
 ffice starting one hour before the concert. All unclaimed seats will be re
 leased to the waiting list at 7:15 pm. </strong></p> <hr> <h3>Program</h3>
  <p><strong>John Philip Sousa* (1854–1932) March\, “Nobles of the Mystic S
 hrine”</strong><br><em>edited by The United States Marine Band</em><br> <b r><strong>John Williams (b. 1932) “Flight to Neverland” from Hook</strong>
 <br><em>arranged by Paul Lavender</em><br><br> <strong>Johann Sebastian Ba
 ch (1685–1750) Fantasia and Fugue in C minor\, BWV 537</strong><br>arrange
 d by Edward Elgar<br>transcribed by LtCol Ryan Nowlin*<br> Frank Simon (18
 86–1967) “Miss Blue Bonnet”<br><em>arranged by GySgt Chris Larios* GySgt C
 hris Larios\, cornet soloist</em></p> <p><strong>Omar Thomas (b. 1984) Com
 e Sunday (2018)</strong><br>Testimony<br>Shout!</p> <p>INTERMISSION</p> <p><strong>Gustav Holst (1874–1934): Moorside March from A Moorside Suite</s><br><em>transcribed by Gordon Jacob</em><br> <br><strong>Viet Cuong 
 (b. 1990): Moth (2013)</strong><br> <em>arranged by GySgt Scott Ninmer* </em></p> <p><strong>A Tribute to Ella</strong><br>“A-Tisket\, A-Tasket”<br>
 “Oh\, Lady\, Be Good!”<br>“It Don’t Mean a Thing (If It Ain’t Got that Swi
 ng)”<br><em>SSgt Hannah Davis\, soprano</em></p> <p><strong>John Philip So
 usa* (1854–1932): March\, “The Stars and Stripes Forever”</strong><br>edit
 ed by The United States Marine Band<br> <em>arranged by Thomas Knox* (1937
 –2004) </em></p> <p><strong>A Salute to the Armed Forces of the United Sta
 tes of America</strong><br>SSgt Hannah Davis\, concert moderator</p> <hr> 
 <h3>Biographies</h3> <h5><strong>MARINE BAND</strong></h5> <p>Established 
 by an Act of Congress in 1798\, the United States Marine Band is America’s
  oldest continuously active professional musical organization. Its mission
  is unique—to provide music for the President of the United States and the
  Commandant of the Marine Corps.</p> <p>President John Adams invited the M
 arine Band to make its White House debut on New Year’s Day\, 1801\, in the
  then-unfinished Executive Mansion. In March of that year\, the band perfo
 rmed for Thomas Jefferson’s inauguration and it is believed that it has pe
 rformed for every presidential inaugural since. In Jefferson\, the band fo
 und its most visionary advocate. An accomplished musician himself\, Jeffer
 son recognized the<span> </span><span>unique relationship between the band
  and the Chief Executive and he is credited with giving the Marine Band it
 s title\, “The President’s Own.”</span></p> <p><span>Whether performing fo
 r State Dinners or South Lawn arrivals\, events of national significance\,
  or receptions\, Marine Band musicians appear at the White House an averag
 e of 200 times each year. These performances range from small ensembles su
 ch as a solo pianist\, jazz combo or brass quintet to a country band\, dan
 ce band or full concert band. The diversity of music often presented at th
 e Executive Mansion makes versatility an important requirement for Marine 
 Band members. Musicians are selected at auditions much like those of major
  symphony orchestras\, and they enlist in the U.S. Marine Corps for perman
 ent duty with the Marine Band. Most of today’s members are graduates of th
 e nation’s finest music schools\, and more than 60 percent hold advanced d
 egrees in music.</span></p> <p><span>In addition to its White House missio
 n\, “The President’s Own” performs an annual season showcase series of ind
 oor concerts and a popular outdoor summer concert series on the National M
 all. Musicians from the band are frequently highlighted in solo performanc
 es and participate in more intimate chamber ensemble recitals that feature
  a wide range of smaller instrumental groups. Marine Band musicians also p
 erform in many different types of ceremonies and events throughout the Was
 hington\, D.C.\, metropolitan area including the Presidential Inauguration
 \, Full Honors funerals at Arlington National Cemetery\, Honor Flight cere
 monies for veterans at the National World War II Memorial\, Friday Evening
  Parades at Marine Barracks\, Washington\, D.C.\, and educational programs
  in schools throughout the National Capital Region.</span></p> <p><span>Ea
 ch fall\, the Marine Band travels throughout a portion of the continental 
 United States during its concert tour\, a tradition initiated in 1891 by “
 The March King” John Philip Sousa\, who was the band’s legendary 17th Dire
 ctor. As Director from 1880–92\, Sousa brought “The President’s Own” to an
  unprecedented level of excellence and shaped the band into a world-famous
  musical organization. Since Sousa’s time\, the band’s musical reach has e
 xtended beyond America’s borders on several occasions with performances in
  England\, Norway\, Ireland\, the Netherlands\, Switzerland\, Singapore\, 
 and the former Soviet Union. During Sousa’s tenure\, the Marine Band was o
 ne of the first musical ensembles to make sound recordings. By 1892\, more
  than 200 different titles were available for sale\, placing Sousa’s march
 es among the first and most popular pieces ever recorded.</span></p> <p><s pan>While the Marine Band is firmly dedicated to preserving the unique mus
 ical traditions established over its long history\, it is equally committe
 d to serving as a leading ensemble in the development of new repertoire fo
 r winds. In 2000\, “The President’s Own” commissioned David Rakowski’s <em>Ten of a Kind</em>\, a piece honored as a finalist for the Pulitzer Prize
  in music in 2002. In 2007\, the band commissioned “Scamp” by Pulitzer Pri
 ze-winning composer Melinda Wagner\, and the Marine Band premièred Scott L
 indroth’s <em>Passage</em> at the 2010 Midwest Clinic in Chicago. In 2011\
 , the band commissioned and premièred <em>Flourishes and Meditations on a 
 Renaissance Theme</em> by Michael Gandolfi at the American Bandmasters Ass
 ociation’s annual convention in Norfolk\, Va. Most recently\, music writte
 n for the Marine Band has included Gerard Schwarz’ <em>Above and Beyond\, Jacob Bancks’ <em>The Information Age</em> and Laurence Bitensky to w
 rite <em>Fearsome Critters</em>\, the latter of which was premièred at the
  Texas Bandmasters Association Convention in San Antonio in July 2012.</p> <p><span>On July 11\, 1998\, the Marine Band celebrated its 200th 
 anniversary with a command performance at the White House and a gala conce
 rt at the John F. Kennedy Center for the Performing Arts in Washington att
 ended by President and Mrs. Clinton. Also during its bicentennial year\, t
 he Marine Band was the only ensemble inducted into the inaugural class of 
 the American Classical Music Hall of Fame in Cincinnati.</span></p> <p>Given its status among American musical organizations\, “The President’
 s Own” continues to attract prominent guest conductors from major orchestr
 as around the globe\, including Osmo Vänskä\, Leonard Slatkin\, José Sereb
 rier and Gerard Schwarz. On July 12\, 2003\, the Marine Band returned to t
 he Kennedy Center to celebrate its 205<sup>th</sup> anniversary in a conce
 rt featuring guest conductor John Williams\, renowned composer of American
  film and concert works and laureate conductor of the Boston Pops Orchestr
 a. Williams returned to the podium in 2008 to conduct the final concert of
  the <em>Living History</em> concert series celebrating the Marine Band’s 
 210<sup>th</sup> anniversary. In honor of the Marine Band’s 215<sup>th birthday\, John Williams composed and dedicated an original work to the
  Marine Band aptly titled “For ‘The President’s Own.’”</span></p> <p><span>The Marine Band’s integral role in the national culture and in the govern
 ment’s official life has affirmed the importance of the arts as a bridge b
 etween people. Since 1798\, the Marine Band’s mission has been to provide 
 music for the President of the United States and the Commandant of the Mar
 ine Corps. As the only musical organization with that mission\, the Marine
  Band looks to the future\, viewing its history and tradition as the found
 ation upon which to build its third century of bringing music to the White
  House and to the American people.</span></p> <div class='row'> <div class='col-12'> <h3 class='atitle'><a href='https://www.marineband.marines.mil/
 About/Members/Article/2599889/lt-col-ryan-nowlin/' target='_blank' rel='no
 opener noreferrer'>Director: Lt. Col. Ryan Nowlin </a></h3> </div> </div> 
 <div class='body'> <p paraeid='{c790ea3e-c60d-48c6-812c-3f5ed2d9d19a}{68}' paraid='1763899340'>Director Lt. Col. Ryan Nowlin joined “The President’s
  Own” United States Marine Band in August 2010 as staff arranger. He was a
 ppointed Assistant Director and commissioned a first lieutenant in July 20
 14\, was promoted to the rank of captain in July 2016\, was appointed Exec
 utive Officer and Associate Director in May 2018\, and earned the rank of 
 Major in January 2020. He was promoted to his current rank in December 202
 3. On Dec. 20\, 2023\, during a Change of Command Ceremony officiated by A
 ssistant Commandant of the Marine Corps General Christopher J. Mahoney\, L
 t. Col. Nowlin became the 29th Director of 'The President's Own' United St
 ates Marine Band.</p> <p paraeid='{c790ea3e-c60d-48c6-812c-3f5ed2d9d19a}{7
 8}' paraid='385518759'>With “The President’s Own\,” Lt. Col. Nowlin has ar
 ranged and composed a variety of music for the Marine Band\, Marine Chambe
 r Orchestra\, and small ensembles. His arrangements are frequently include
 d in high-profile national events to include a 2013 collaboration with Bey
 oncé (“The Star-Spangled Banner”) and Kelly Clarkson (“America”) for the s
 econd inauguration of President Barack Obama as well as an arrangement of 
 “The Star-Spangled Banner” for Jordin Sparks in honor of the anthem’s 200t
 h anniversary at Fort McHenry (2014.) His setting of “Amazing Grace” is re
 gularly included as part of the annual Marine Corps Worship Service held a
 t the National Cathedral in Washington\, D.C. In 2013\, Lt. Col. Nowlin’s 
 concert march “The Montford Point Marines” honoring the first African Amer
 icans to serve in the United States Marine Corps was premiered for Preside
 nt and Mrs. Obama at the Friday Evening Parade at Marine Barracks Washingt
 on. In 2018\, he composed the march “Century of Service” in honor of 100 y
 ears of women’s service in the Corps.</p> <p paraeid='{c790ea3e-c60d-48c6-
 812c-3f5ed2d9d19a}{78}' paraid='385518759'>Lt. Col. Nowlin’s music has bee
 n heard in performance at countless White House events including reception
 s\, state dinners\, and Independence Day celebrations on the South Lawn. H
 is wind band transcriptions have been recorded on five Marine Band albums 
 to include “From the Keyboard” (Bach’s Toccata and Fugue in D minor)\; “Pi
 cture Studies” (David Conte’s<span> </span><em>A Copland Portrait</em>)\; 
 “Arioso” (Bach’s Fantasia and Fugue in C minor)\; “A Leonard Bernstein Tri
 bute” (Leonard Bernstein’s Scenes from<span> </span><em>A White House Cant
 ata</em>)\; and “Monuments” (Jennifer Higdon’s<span> </span><em>blue cathe
 dral</em>.) </p> <p paraeid='{c790ea3e-c60d-48c6-812c-3f5ed2d9d19a}{78}' p araid='385518759'>Lt. Col. Nowlin has enjoyed conducting the Marine Band a
 nd Chamber Orchestra in public performances during their winter/spring con
 cert series and at summer concerts on the National Mall\, as well as at ce
 remonies and national events at the U.S. Capitol\, Washington National Cat
 hedral\, and at the White House. Additionally\, he has conducted the band 
 at Wolf Trap National Park for the Performing Arts in Vienna\, Va.\, at Th
 e Midwest Clinic in Chicago\, at the 2022 WASBE International Conference i
 n Prague\, on the Marine Band’s national concert tours\, and on the band’s
  international tours to Japan (2019) and Europe (2022).</p> <p paraeid='{c
 790ea3e-c60d-48c6-812c-3f5ed2d9d19a}{78}' paraid='385518759'>Lt. Col. Nowl
 in has served as a producer for nineteen Marine Band albums to include eac
 h annual release since 2014\, The Complete Marches of John Philip Sousa re
 cording project since its inception\, and the album “John Williams and ‘Th
 e President’s Own’”. Additionally\, he served as a producer for the Emmy a
 ward-winning program “New England Triptych” in partnership with the All-St
 ar Orchestra.<br>Lt. Col. Nowlin is also the unit’s Education Officer. A m
 usic educator and high school band director before joining “The President’
 s Own\,” Lt. Col. Nowlin is a dedicated advocate for music education. He c
 urrently manages Marine Band educational outreach initiatives such as Musi
 c in the Schools\, Music in the High Schools\, Tour Educational Outreach\,
  and the Concerto Competition for High School Musicians\, and has been inv
 olved in the Marine Band’s Young People’s Concerts since 2011. </p> <p par aeid='{c790ea3e-c60d-48c6-812c-3f5ed2d9d19a}{78}' paraid='385518759'>Lt. C
 ol. Nowlin is a 1996 graduate of North Royalton High School in Ohio. He ea
 rned both a Bachelor of Arts in Music Education and his Master of Music in
  Music Education and Conducting in 2004 from Bowling Green State Universit
 y in Ohio\, where he studied horn with Herbert Spencer\, Jr. and conductin
 g with Bruce Moss and Emily Freeman Brown. He has also studied composition
  with prolific composer Anne McGinty and has participated in workshops and
  master classes with several renowned conductors and educators including H
 . Robert Reynolds\, Mallory Thompson\, Harry Begian\, and Frederick Fennel
 l. </p> <p paraeid='{c790ea3e-c60d-48c6-812c-3f5ed2d9d19a}{78}' paraid='38
 5518759'>In addition to his duties with the United States Marine Band\, Lt
 . Col. Nowlin frequently appears as a guest conductor with high school hon
 or and all-state bands\, community and municipal bands\, and with universi
 ty ensembles across the country. His published music and methods are used 
 in lessons and performances around the globe\, and he can frequently be fo
 und providing clinics and master classes to teachers and students around t
 he country.</p> <p paraeid='{c790ea3e-c60d-48c6-812c-3f5ed2d9d19a}{78}' pa raid='385518759'></p> </div>
END:VEVENT
BEGIN:VEVENT
UID:75d9cd95-851d-49a0-9d00-33c6bc383090
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances\, Visiting Ar
 tists and Scholars
CLASS:PUBLIC
CREATED:20240807T223240Z
DESCRIPTION:<p>Dr. Stephen Price is joined by students\, colleagues\, and f
 riends of the UW Organ Studies program in this concert of spooky organ cla
 ssics and Halloween fun.</p>\n<hr>\n<h3>Program</h3>\n<p>Toccata and Fugue in D minor\, BWV 565 – <strong>Johann Sebastia
 n Bach</strong> (1685-1750)<br>Stef Price\, Fritts Organ\; Tyleen Stults\,
  Orgelkit\; Cole Henslee\; Calcant</p>\n<p>Erlk
 önig D.328 – Franz Schubert (1797-1828)<br>Cee Adamson\, mezzo-soprano\; S
 tef Price </p>\n<p>Prelude and Fugue in G minor
 \, BWV 558 –<strong> Johann Sebastian Bach</strong><br>Cole Henslee </p>\n
 <p>Hexenlied (Witches’ Song) Op.8\, No.8 – Felix Mendelssohn</strong> (1809-1847)<br>Isabelle Villanueva\, mezzo-
 soprano\; Stef Price</p>\n<p>Prelude on “Ein fe
 ste Burg” – Text / Tune: <strong>Martin Luther</strong> (1483-1546)</p>\n&lt;
 p style='font-weight: 400\;'&gt;'Though devils all the world should fill\, al
 l eager to devour us...' (vs. 3)<br>Improvisation by Tyleen Stults </p>\n&lt;
 p style='font-weight: 400\;'&gt;“Ein feste Burg ist unser Gott” – Organ versi
 on by <strong>Helmut Walcha</strong> (1907-1991)<br>Tyleen Stults</p>\n<p>*Pumpkin Carol: “The Twelve Days of Halloween”&lt;
 br&gt;Audience Participation</p>\n<p>Fantasia on M
 ission Impossible – <strong>Lalo Schifrin</strong> (b. 1932) transcribed b
 y Paul Ayres<br>Stef Price</p>\n<p>“Jabba the H
 utt” – <strong>John Williams</strong> (b. 1932) arranged by Scott Sutherla
 nd<br>Cole Henslee\, tuba\; Stef Price</p>\n<p>
 “Poor Unfortunate Souls”<br>Lyrics: <strong>Howard Ashman</strong> (1950-1
 991) / Music: <strong>Alan Menken</strong> (b. 1942)<br>Savannah Rutherfor
 d\, mezzo-soprano\; Stef Price </p>\n<p>Toccata
  in B minor – <strong>Eugène Gigout</strong> (1844-1925)<br>Tyleen Stults&lt;
 /p&gt;\n<hr>\n<h4> Lyrics</h4>\n<p><strong>The Twelve Days of Halloween</strong><br>Lyrics: Charl
 es M. Schulz (1922-2000) / Music: Frederic Austin (1872-1952)<br><br>On th
 e twelfth day of Halloween\, my true love gave to me\,</p>\n<ol>\n<li>An o
 wl in an old\, dead tree.</li>\n<li>Two trick-or-treaters\,</li>\n<li>Thre
 e black cats\,</li>\n</ol>\n<p><strong>Interlud
 e</strong></p>\n<ol start='4'>\n<li>Four skeletons\,</li>\n<li>Five scary 
 spooks\,</li>\n<li>Six goblins gobbling\,</li>\n</ol>\n<p><strong>Interlude</strong></p>\n<ol start='7'>\n<li>Seven pumpk
 ins glowing\,</li>\n<li>Eight monsters shrieking\,</li>\n<li>Nine ghosts-a
 -booing</li>\n</ol>\n<p><strong>Interlude</p>\n<ol start='10'>\n<li>Ten ghouls-a-groaning\,</li>\n<li>Eleven mas
 ks-a-leering\,</li>\n<li>Twelve bats-a-flying\,<hr></li>\n</ol>\n<h3></h3>
 \n<h3>Biography</h3>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20241031T193000
LAST-MODIFIED:20241021T190547Z
SEQUENCE:94
SUMMARY:: Halloween Organ Concert
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-01/halloween-organ-concert
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Dr. Stephen Price is joined by students\, c
 olleagues\, and friends of the UW Organ Studies program in this concert of
  spooky organ classics and Halloween fun.</p> <hr> <h3>Program</h3> <p sty le=' 400\;'>Toccata and Fugue in D minor\, BWV 565 – <strong>J
 ohann Sebastian Bach</strong> (1685-1750)<br><em>Stef Price\, Fritts Organ
 \; Tyleen Stults\, Orgelkit\; Cole Henslee\; Calcant</em></p> <p><em>Erlkönig </em>D.328 – Franz Schubert (1797-1828)<br>
 <em>Cee Adamson\, mezzo-soprano\; Stef Price</em> </p> <p>Prelude and Fugue in G minor\, BWV 558 –<strong> Johann Sebasti
 an Bach</strong><br><em>Cole Henslee </em></p> <p><em>Hexenlied</em><span> (Witches’ Song) Op.8\, No.8 – <strong>Felix Me
 ndelssohn</strong> (1809-1847)<br></span><em>Isabelle Villanueva\, mezzo-s
 oprano\; Stef Price</em></p> <p>Prelude on “<em>Ein feste Burg”</em> – Text / Tune: <strong>Martin Luther</strong> (1483-
 1546)</p> <p>'<em>Though devils all the world s
 hould fill\, all eager to devour us...</em>' (<em>vs. 3)<br></em>Improvisa
 tion by Tyleen Stults </p> <p><em>“Ein feste Bu
 rg ist unser Gott”</em> – Organ version by <strong>Helmut Walcha</strong> 
 (1907-1991)<br><em>Tyleen Stults</em></p> <p>*P
 umpkin Carol: “The Twelve Days of Halloween”<br><em>Audience Participation
 </em></p> <p>Fantasia on Mission Impossible – &lt;
 strong&gt;Lalo Schifrin</strong> (b. 1932) transcribed by Paul Ayres<br><em>S
 tef Price</em></p> <p>“Jabba the Hutt” – John Williams</strong> (b. 1932) arranged by Scott Sutherland<br><em>Col
 e Henslee\, tuba\; Stef Price</em></p> <p>“Poor
  Unfortunate Souls”<br>Lyrics: <strong>Howard Ashman</strong> (1950-1991) 
 / Music: <strong>Alan Menken</strong> (b. 1942)<br><em>Savannah Rutherford
 \, mezzo-soprano\; Stef Price</em> </p> <p>Tocc
 ata in B minor – <strong>Eugène Gigout</strong> (1844-1925)<br><em>Tyleen 
 Stults</em></p> <hr> <h4> Lyrics</h4> <p><strong>The Twelve Days of Halloween</strong><br>Lyri
 cs: Charles M. Schulz (1922-2000) / Music: Frederic Austin (1872-1952)<br>
 <br>On the twelfth day of Halloween\, my true love gave to me\,</p> <ol> &lt;
 li&gt;An owl in an old\, dead tree.</li> <li>Two trick-or-treaters\,</li> <li>Three black cats\,</li> </ol> <p><strong><em>I
 nterlude</em></strong></p> <ol start='4'> <li>Four skeletons\,</li> <li>Fi
 ve scary spooks\,</li> <li>Six goblins gobbling\,</li> </ol> <p><strong><em>Interlude</em></strong></p> <ol start='7'> Seven pumpkins glowing\,</li> <li>Eight monsters shrieking\,</li> <li>Ni
 ne ghosts-a-booing</li> </ol> <p><strong><em>In
 terlude</em></strong></p> <ol start='10'> <li>Ten ghouls-a-groaning\,</li>
  <li>Eleven masks-a-leering\,</li> <li>Twelve bats-a-flying\,<hr></li>  <h3><span></span></h3> <h3>Biography</h3> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:719b78e7-f7a8-48e5-876b-17d8fc7a8a1c
DTSTAMP:20260307T094252Z
CATEGORIES:Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20241016T223638Z
DESCRIPTION:<p>The School of Music welcomes guest scholar Sean Powell\, pro
 fessor of music at the University of North Texas\, whose talk\, 'The Ideol
 ogy of Competition in School Music\,' is delivered as part of the 2024-25 
 THEME Lecture Series.</p>\n<hr>\n<h3>Abstract</h3>\n<p>Competition is seen
  by many music teachers\, students\, and supporters as natural and inevita
 ble—a taken-for-granted aspect of music education or an irresistible force
 \, rather than a choice. This talk uncovers this ideological nature of com
 petition\, examining its effect on student learning\, teacher agency\, and
  equity within music education and considers ways in which music educators
  might reconsider the role of competition in their teaching practice.</p>
 \n<hr>\n<h3>Series Background</h3>\n<p>THEME\, an annual colloquium of UW 
 faculty and students of Theory\, History\, Ethnomusicology\, and Music Edu
 cation\, is held on select Friday afternoons throughout the academic year.
   Talks are at 4 p.m in the School of Music Fishbowl unless otherwise note
 d. Admission is free. </p>\n<hr>\n<h3>Biography</h3>\n<h3>Sean Robert Powe
 ll</h3>\n<p><strong>Sean Robert Powell</strong> is Professor and Chair of 
 Music Education at the University of North Texas where he teaches graduate
  courses in sociology\, philosophy\, qualitative research\, and music teac
 her education.</p>\n<p>Dr. Powell serves as the Chair of the Society for M
 usic Teacher Education. He is a member of the Editorial Review Boards of t
 he Journal of Research in Music Education and Action\, Criticism\, and The
 ory for Music Education\, and is a former board member of the Journal of M
 usic Teacher Education and Music Educators Journal. </p>\n<p>An active sch
 olar\, Dr. Powell’s research interests include competition\, agency and st
 ructure\, identity\, post-qualitative inquiry\, neoliberal education polic
 y\, music teacher education\, social theory\, and the sociology of music e
 ducation. His work has been published in the Journal of Research in Music 
 Education\; Bulletin of the Council for Research in Music Education\; Phil
 osophy of Music Education Review\; Research Studies in Music Education\; J
 ournal of Music Teacher Education\; Arts Education Policy Review\; Music E
 ducation Research\; Action\, Criticism\, and Theory for Music Education\; 
 and the Journal of Band Research\, and he has presented research\, worksho
 ps\, and guest lectures at national and international venues. Dr. Powell h
 as contributed chapters to the Oxford Handbook of Music Teacher Education 
 in the United States\, Narratives and Reflections in Music Education: List
 ening to Voices Seldom Heard\, and the upcoming SAGE Handbook of School Mu
 sic Education. He is author of The Ideology of Competition in School Music
  and co-editor of Sociological Thinking in Music Education: International 
 Intersections (both books published by Oxford University Press).</p>
DTSTART;TZID=America/Los_Angeles:20241101T160000
LAST-MODIFIED:20241018T180741Z
SEQUENCE:95
SUMMARY:: THEME Lecture: Sean Robert Powell (University of North Texas)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-01/theme-lecture-sean-rober
 t-powell-university-north-texas
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The School of Music welcomes guest scholar 
 Sean Powell\, professor of music at the University of North Texas\, whose 
 talk\, '<span>The Ideology of Competition in School Music\,' is delivered 
 as part of the 2024-25 THEME Lecture Series.</span></p> <hr> <h3>Abstract&lt;
 /h3&gt; <p><span>Competition is seen by many music teachers\, students\, and 
 supporters as natural and inevitable—a taken-for-granted aspect of music e
 ducation or an irresistible force\, rather than a choice. This talk uncove
 rs this ideological nature of competition\, examining its effect on studen
 t learning\, teacher agency\, and equity within music education and consid
 ers ways in which music educators might reconsider the role of competition
  in their teaching practice.</span></p> <hr> <h3>Series Background</h3> <p><span>THEME\, an annual colloquium of UW faculty and students of Theory\,
  History\, Ethnomusicology\, and Music Education\, is held on select Frida
 y afternoons throughout the academic year.  T</span><span>alks are at 4 p.
 m in the School of Music Fishbowl unless otherwise noted. Admission is fre
 e. </span></p> <hr> <h3>Biography</h3> <h3><span>Sean Robert Powell</span>
 </h3> <p><strong>Sean Robert Powell</strong> is Professor and Chair of Mus
 ic Education at the University of North Texas where he teaches graduate co
 urses in sociology\, philosophy\, qualitative research\, and music teacher
  education.</p> <p>Dr. Powell serves as the Chair of the Society for Music
  Teacher Education. He is a member of the Editorial Review Boards of the &lt;
 em&gt;Journal of Research in Music Education </em>and <em>Action\, Criticism\
 , and Theory for Music Education\, </em>and is a former board member of th
 e<em> Journal of Music Teacher Education </em>and <em>Music Educators Jour
 nal. </em></p> <p>An active scholar\, Dr. Powell’s research interests incl
 ude competition\, agency and structure\, identity\, post-qualitative inqui
 ry\, neoliberal education policy\, music teacher education\, social theory
 \, and the sociology of music education. His work has been published in th
 e <em>Journal of Research in Music Education</em>\; <em>Bulletin of the Co
 uncil for Research in Music Education\; Philosophy of Music Education Revi
 ew\; Research Studies in Music Education\; Journal of Music Teacher Educat
 ion\; Arts Education Policy Review\; Music Education Research\; Action\, C
 riticism\, and Theory for Music Education\; </em>and the <em>Journal of Ba
 nd Research</em>\, and he has presented research\, workshops\, and guest l
 ectures at national and international venues. Dr. Powell has contributed c
 hapters to the <em>Oxford Handbook of Music Teacher Education in the Unite
 d States\, Narratives and Reflections in Music Education: Listening to Voi
 ces Seldom Heard</em>\, and the upcoming <em>SAGE Handbook of School Music
  Education. </em>He is author of <em>The Ideology of Competition in School
  Music </em>and co-editor of <em>Sociological Thinking in Music Education:
  International Intersections </em>(both books published by Oxford Universi
 ty Press).</p>
END:VEVENT
BEGIN:VEVENT
UID:68d0c936-ff69-43f1-99b8-86c3a38007c5
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances\, Student Activities and Per
 formances
CLASS:PUBLIC
CREATED:20240807T223836Z
DESCRIPTION:<p></p>\n<p>David Alexander Rahbee leads the UW Symphony in a p
 rogram of works by Ludwig van Beethoven and Akira Ifukube. With Percussion
  Studies Chair Bonnie Whiting\, marimba.</p>\n<hr>\n<h4>Program</h4>\n<p>&lt;
 strong&gt;Ludwig van Beethoven </strong>(1770-1828): Fidelio overture\, op.72
 c</p>\n<p><strong>Akira Ifukube </strong>(1914-2006): Lauda concertata\, f
 or marimba and orchestra<br>Bonnie Whiting\, marimba</p>\n<p><strong>Beeth
 oven:</strong> Symphony No. 5 in C minor\, op. 67<br>I. Allegro con brio<b r>II. Andante con moto<br>III. Allegro<br>IV. Allegro</p>\n<hr>\n<h3>Progr
 am Notes</h3>\n<p><strong>Ludwig van Beethoven</strong> (1770-1827): Overt
 ure to Fidelio\, op. 72 (1814)<strong><br>Beethoven wrote four overtures for this only opera Fidelio before he c
 hose this one as its permanent opening. The three previous overtures bear 
 the name Leonore\; named after the protagonist of the story. A woman calle
 d Leonore disguises herself as a man named Fidelio in order to break her w
 rongfully accused husband out of jail. The composer was dissatisfied with 
 his versions of the Leonore overtures and wrote a completely new overture 
 to Fidelio. This overture captures the intense emotional landscape of the 
 opera\, blending dramatic tension with moments of hope and triumph. Even t
 hough the emotion from Fidelio is captured in the overture\, Beethoven sta
 yed away from explicitly referencing musical themes from the body of the o
 pera. The overarching impression of the piece is that of a determined jour
 ney\; and its rousing finale foreshadows the triumph of the opera’s forces
  for good.<br>-Mica Weiland </p>\n<p><strong>Ak
 ira Ifukube</strong> (1914-2006) is renowned for his vast catalog of film 
 scores: especially his work on Studio Toho’s iconic kaiju (giant monster) 
 films. His relentless\, lurching mixed-meter Godzilla March propelled the 
 monster forward in the 1954 classic film and reprised in many subsequent i
 terations\, including last year’s thrilling Godzilla Minus One. Ifukube’s 
 own writings and legacy\, however  lean pointedly away from this wildly po
 pular film work\, focusing instead on his long tenure at Tokyo University\
 , and his expansive  list of concert works. Many of his pieces simultaneou
 sly utilize his early musical immersion in the rural Ainu traditions of hi
 s native Hokkaido\, his studies in the Eurocentric classical tradition wit
 h Alexander Tcherepnin\, and his decades of positionality near the center 
 of musical culture in Tokyo. Tonight’s offering blends all three of these 
 elements\, with some added movie magic: the disjunct melody that begins th
 is concerto is a transposed version of his theme from the main title in 19
 64’s Mothra vs. Godzilla.</p>\n<p><strong>Lauda
  Concertata</strong> (1976) was originally written for xylophone virtuoso 
 Yoichi Hiraoka (1907–1981): a musician renowned for technical fluidity and
  blisteringly fast “novelty” arrangements. He commissioned the work to cel
 ebrate his fifty-year career\, but ultimately found that the concerto did 
 not fit his unique playing style. Ifukube filed the work away\, along with
  many sketches and drafts\, until 1979\, when marimbist Keiko Abe premiere
 d it with the Japan Shinsei Symphony Orchestra (today\, the Tokyo Philharm
 onic Orchestra.)  In many ways\, Abe has been the individual most responsi
 ble for the international export of the marimba as a solo instrument. When
  she brought the piece to Carnegie Hall for the American Symphony Orchestr
 a’s Music of Japan concert in 1981\, she helped to solidify the place of t
 his larger\, lower marimba in a virtuosic orchestral context.  In addition
  to her active performance career\, she composes and commissions for the i
 nstrument\, and continues to maintain a vibrant teaching life into her eig
 hth decade. In the mid-1980’s her close relationship with the Yamaha corpo
 ration led to the construction of the first commercially-available five-oc
 tave marimba\, now considered the industry standard solo instrument.  Abe 
 wrote about her first rehearsal of Lauda Concertata in Tokyo\, when she tr
 ied to play the original xylophone concerto on her larger marimba:</p>\n<p>While I was waiting for my entrance I was over
 whelmed by the formidable sound of the music and the emotion of the conduc
 tor. When my entrance came\, I played the first chords full of energy. But
  then I became startled and my head went blank. I realized that the sound 
 of my marimba was so poor and its timbre seemed almost ridiculous to me\, 
 so much so that I nearly wanted to cry.</p>\n<p>After the rehearsal\, she brought Ifukube back to her studio\, and they w
 orked together to rearrange the piece so that she could use her marimba’s 
 expressive range to the fullest extent. In the spirit of this revision\, t
 onight’s performance will use the full range of the five-octave marimba\, 
 adding extra notes that didn’t exist on the instrument until 1984 in the o
 pening and cadenza sections. </p>\n<p>In the no
 tes from the premiere in 1979\, Ifukube wrote: 'The gentle\, ode-like musi
 cal hymn is mainly played by the orchestra\, while the marimba is treated 
 strictly as a percussion instrument\, sometimes almost barbaric\, rather t
 han a keyboard instrument. By combining these two different elements\, so 
 to speak\, through the coexistence of prayer and entertainment\, I tried t
 o evoke my experience of humanity.'<br>-Bonnie Whiting </p>\n<p><strong>Lu
 dwig van Beethoven</strong><strong> (1770-1827)
 :</strong> <strong>Symphony No. 5 in C minor\, 
 op. 67 (1807-1808)</strong></p>\n<p>Premiered i
 n Vienna on December 22nd\, 1808\, Beethoven’s 5th symphony has retained i
 ts place as one of the most recognizable pieces in the western classical r
 epertory. This symphony has the shortest first movement out of any of Beet
 hoven’s symphonies\, but it is constantly bursting with energy despite its
  compact form. Premiered three years after Napoleon seized Vienna\, the fi
 fth symphony can be viewed as an allegory for the emotional journey of the
  Viennese people during that time.</p>\n<p>The 
 first movement builds upon the famous four-note opening to create an atmos
 phere of angst and turmoil before the second theme\, which incorporates ho
 pe and innocence into otherwise stormy music. Near the middle of the movem
 ent\, we hear a dialogue between the woodwinds and strings\, getting softe
 r and softer before re-approaching the opening theme. The opening movement
  ends with a raucous coda that leaves a feeling of unrest with the listene
 r.  </p>\n<p>The second movement is a set of va
 riations on two themes. The first is a hymn-like song in the violas and ce
 llos\; the second is an eager march that brings in the trumpets and timpan
 i. These two themes can be thought of as ways to approach the impending po
 litical strife. The hymn represents prayer\, and the march represents the 
 militia. The opening melody returns in the violins\, with the rest of the 
 orchestra joining in to envelop the room in hope and beauty.  </p>\n<p sty le=' 400\;'>Movement three is a scherzo that mixes mystery and
  comedy masterfully. It starts in the cellos with a secretive melody\, the
 n explodes into a variation of the opening four-notes. The music returns t
 o the opening motif before disappearing into a jaunty fugue\, hinting at t
 he triumph to come. Linked to the scherzo with a seamless transition that 
 creates massive tension\, this piece is the first major symphony to musica
 lly lead to the opening of its own finale. From the downbeat\, the entire 
 fourth movement emanates heroism and excitement. This is also the first ti
 me that the piccolo\, contrabassoon and trombone were given parts in a sym
 phony\, thus being a major step towards the enlargement of the orchestra i
 n the decades to follow. After an especially driving coda\, the symphony e
 nds with elation and grandeur.  <br>-Mica Weiland</p>\n\n\n\n\n<h4><strong>University of Washington Symphony Orchestra</strong></h4>\n<p>David Alexa
 nder Rahbee\, Music Director and Conductor<br>Ryan Farris and Robert Stahl
 y\, Assistant Conductors</p>\n<p><strong><u>Flute<br></u></strong>Erin McA
 fee\, MM Flute Performance<br>Grace Playstead\, MM Flute Performance<br>Pe
 yton Ray\, Music<br>Claire Wei\, Music<br>Yue Zhong\, BM Flute Performance
 <strong> </strong></p>\n<p><strong><u>Piccolo<br></u></strong>Erin McAfee\
 , MM Flute Performance<br>Grace Playstead\, MM Flute Performance<br><br><u>Oboe</u><br></strong>Minh-Thi Butler\, BM Music Education/Oboe Pe
 rformance<br>Lauren Majewski\, BA Global &amp; Regional Studies </p>\n<p><u>English Horn</u></strong><strong><br></strong>Max Boyd\, Music</p>\n
 <p><strong><u>Clarinet</u></strong><strong><br></strong>Ysanne Webb\, DMA 
 Clarinet Performance<strong><br></strong>Nick Zhang\, BS Computer Science&lt;
 /p&gt;\n<p><strong><u>Bass Clarinet</u></strong><strong><br></strong>Cameron 
 DeLuca\, DMA Clarinet Performance</p>\n<p><strong><u>Bassoon<br></u>Ryan Kapsandy\, BM Bassoon Performance<br>Rian Morgan\, Music/Nutrition
 al Science<br>Eric Spradling\, BM Bassoon Performance </p>\n<p><strong><u>
 Contrabassoon<br></u></strong>Eric Shankland\, BA Music History<br>Eric Sp
 radling\, BM Bassoon Performance<br><br><strong><u>Horn</u>     <br>Nicole Bogner\, BM Horn Performance<br>Colin Laskarzewski\, BS Physics&lt;
 br&gt;Elise Moe\, BM Horn Performance<br>Sam Nutt\, Molecular &amp; Cellular Biol
 ogy<br>Johan Polissar\, Aeronautics &amp; Astronautics<br><strong><br><u>Trump
 et<br></u></strong>Hans Faul\, BM Trumpet Performance<br>Kyle Jenkins\, MM
  Trumpet Performance<br>Antti Männistö\, Mechanical Engineering<br>Drew Th
 eran\, MM Trumpet Performance<strong><br></strong><br><strong><u>Trombone&lt;
 br&gt;</u></strong>Jonathan Elsner\, Applied &amp; Computational Mathematics<br>N
 eal Muppidi\, BM Trombone Performance<br>Nathanael Wyttenbach\, Music Comp
 osition<strong> </strong></p>\n<p><strong><u>Bass Trombone</u></strong><br></strong>Duncan Weiner\, Aero-Astro Engineering/Linguistics</p>\n
 <p><strong><u>Tuba<br></u></strong>Adam Mtimet\, DMA Tuba Performance<br></strong></p>\n<p><strong><u>Timpani<br></u></strong>Kaisho Barnhil
 l\, BM Music Education\, Psychology<br>Abigail George\, Applied Physics/BM
  Percussion Performance<br><br><strong><u>Percussion<br></u></strong>Kaish
 o Barnhill\, Music Education\, Psychology<br>Tyler Smith\, MM Percussion P
 erformance</p>\n<p><strong><u>Harp</u></strong><strong><br></strong>Kelly 
 Hou\, Alumna</p>\n<p><strong><u>Violin I</u></strong></p>\n<p>Grace Pandra
 \, Violin Performance/Business Administration (Concertmaster)<br>Hanu Nahm
 \, Violin Performance/BS Microbiology<br>David Teves-Tan\, Pre-Sciences<br>Hai-Ryung Jang\, DMA Violin Performance<br>Nahuel Weber-Jacobsen\, Social
  Sciences<br>Brooke Chen\, Public Health<br>Justin Chae\, Computer Science
 <br>Ido Avnon\, MS Computer Sciences &amp; Engineering<br>Brandon Bailey\, Com
 puter Science<br>Nicole Chen\, Informatics<br>David Mok\, Computer Enginee
 ring<br>Anja Westra\, Marine Biology<br>Adora Wu\, Computer Science<br>Ame
 lie Martin\, Mathematics<br>Jie Zhou\, Music<br>Alex Metzger\, Computer Sc
 ience<br>Emily Chen\, Pre-Arts<br>Giulia Rosa\, Music </p>\n<p><strong><u>
 Violin II<br></u></strong>Taylor DeCastro\, MM Violin Performance (Princip
 al)<br>Michaela Klesse\, Music<br>Sean Sasaki\, Music Education<br>Talal K
 heiry\, Pre-Sciences<br>Alice Leppert\, Chemistry<br>Cristina Kosilkina\, 
 Pre-Sciences<br>Jasmine Palikhya\, International Studies<br>Victoria Zhuan
 g\, Pre-Sciences<br>Ling Yang\, Anthropology<br>Keira Gan\, Engineering<br>Kate Everling\, Applied Mathematics<br>Justene Li\, Pre-Sciences<br>Felic
 ia Yeh\, Business Administration<br>Freya Frahm\, Computer Sciences/BM Pia
 no Performance<br>Hannah Pena-Ruiz\, Music History</p>\n<p><strong><u>Viol
 a</u></strong><strong>     <br></strong>Flora Cummings\, Viola Performance
 /Biology (Co-Principal)<br>Mica Weiland\, Viola Performance (Co-Principal)
 <br>Abigail Schidler\, Computer Science/Music Theory<br>Emma Boyce\, Music
 <br>Mia Grayson\, Biochemistry<br>Melia Golden\, Biochemistry<br>Hailey Na
 ppen\, Pre Sciences<br>Annika Johnson\, Pre-Sciences<br>Alan Fan\, Interna
 tional Studies<br>Aribella Brushie\, Pre-Sciences<br>Alissa Harbani\, Bioe
 ngineering/Music<br>Melany Nanayakkara\, Mathematics<br><strong><br><u>Vio
 loncello</u>         <br></strong>Cory Chen\, BA in Music/Intended Neurosc
 ience (Principal)<br>Loni Yin\, Pre-Sciences<br>Nathan Evans\, BA Music Hi
 story<br>Ignacio (Nacho) Tejeda\, PhD Mathematics<br>Jack Ruffner\, Pre-So
 cial Sciences<br>Alastair Goodchild\, Engineering<br>Ava Reese\, Aquatic a
 nd Fishery Sciences<br>Andrew Vu\, Chemistry<br>Katherine Kang\, Human Cen
 tered Design &amp; Engineering<br>Noah Croskey\, Industrial Engineering<br>Eli
  Kashman\, Bioengineering<br>Ally Wu\, Electrical Engineering<br>Bashir Ab
 del-Fattah\, PhD Mathematics<br>Manyi Guo\, PhD Mathematics<br><strong><br><u>Bass</u>    <br></strong>Nathan Eskridge\, MM Bass Performance (Princi
 pal)<br>Eddie Nikishina\, Educational Studies<br>Amelia Matsumoto\, BM Bas
 s Performance<br>Gabriella Kelley\, English<br>Joshua Bonifas\, Pre-Educat
 ion</p>\n\n\n\n\n<h3>Biographies</h3>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20241101T193000
LAST-MODIFIED:20241028T203330Z
SEQUENCE:96
SUMMARY:: UW Symphony Orchestra with Bonnie Whiting
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-02/uw-symphony-orchestra-bo
 nnie-whiting
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>David Alexander Rahbee leads the UW
  Symphony in a program of works by Ludwig van Beethoven and Akira Ifukube.
  With Percussion Studies Chair Bonnie Whiting\, marimba.</p> <hr> <h4>Prog
 ram</h4> <p><strong>Ludwig van Beethoven </strong>(1770-1828): Fidelio ove
 rture\, op.72c</p> <p><strong>Akira Ifukube </strong>(1914-2006): Lauda co
 ncertata\, for marimba and orchestra<br>Bonnie Whiting\, marimba</p> <p><s trong>Beethoven:</strong> Symphony No. 5 in C minor\, op. 67<br>I. Allegro
  con brio<br>II. Andante con moto<br>III. Allegro<br>IV. Allegro</p> <hr> 
 <h3>Program Notes</h3> <p><strong>Ludwig van Beethoven</strong> (1770-1827
 ): Overture to <em>Fidelio\, </em>op. 72 (1814)<strong><br></strong>Beethoven wrote four overtures for this only opera Fi
 delio before he chose this one as its permanent opening. The three previou
 s overtures bear the name Leonore\; named after the protagonist of the sto
 ry. A woman called Leonore disguises herself as a man named Fidelio in ord
 er to break her wrongfully accused husband out of jail. The composer was d
 issatisfied with his versions of the Leonore overtures and wrote a complet
 ely new overture to Fidelio. This overture captures the intense emotional 
 landscape of the opera\, blending dramatic tension with moments of hope an
 d triumph. Even though the emotion from Fidelio is captured in the overtur
 e\, Beethoven stayed away from explicitly referencing musical themes from 
 the body of the opera. The overarching impression of the piece is that of 
 a determined journey\; and its rousing finale foreshadows the triumph of t
 he opera’s forces for good.<br>-Mica Weiland </p> <p><strong>Akira Ifukube</strong> (1914-2006) is renowned for his vast 
 catalog of film scores: especially his work on Studio Toho’s iconic <em>ka
 iju</em> (giant monster) films. His relentless\, lurching mixed-meter <em>
 Godzilla March</em> propelled the monster forward in the 1954 classic film
  and reprised in many subsequent iterations\, including last year’s thrill
 ing <em>Godzilla Minus One</em>. Ifukube’s own writings and legacy\, howev
 er<span>  </span>lean pointedly away from this wildly popular film work\, 
 focusing instead on his long tenure at Tokyo University\, and his expansiv
 e<span>  </span>list of concert works. Many of his pieces simultaneously u
 tilize his early musical immersion in the rural <em>Ainu</em> traditions o
 f his native Hokkaido\, his studies in the Eurocentric classical tradition
  with Alexander Tcherepnin\, and his decades of positionality near the cen
 ter of musical culture in Tokyo. Tonight’s offering blends all three of th
 ese elements\, with some added movie magic: the disjunct melody that begin
 s this concerto is a transposed version of his theme from the main title i
 n 1964’s <em>Mothra vs. Godzilla</em>.</p> <p>&lt;
 strong&gt;Lauda Concertata</strong> (1976) was originally written for xylopho
 ne virtuoso Yoichi Hiraoka (1907–1981): a musician renowned for technical 
 fluidity and blisteringly fast “novelty” arrangements. He commissioned the
  work to celebrate his fifty-year career\, but ultimately found that the c
 oncerto did not fit his unique playing style. Ifukube filed the work away\
 , along with many sketches and drafts\, until 1979\, when marimbist Keiko 
 Abe premiered it with the Japan Shinsei Symphony Orchestra (today\, the To
 kyo Philharmonic Orchestra.)<span>  </span>In many ways\, Abe has been the
  individual most responsible for the international export of the marimba a
 s a solo instrument. When she brought the piece to Carnegie Hall for the A
 merican Symphony Orchestra’s Music of Japan concert in 1981\, she helped t
 o solidify the place of this larger\, lower marimba in a virtuosic orchest
 ral context.<span>  </span>In addition to her active performance career\, 
 she composes and commissions for the instrument\, and continues to maintai
 n a vibrant teaching life into her eighth decade. In the mid-1980’s her cl
 ose relationship with the Yamaha corporation led to the construction of th
 e first commercially-available five-octave marimba\, now considered the in
 dustry standard solo instrument.<span>  </span>Abe wrote about her first r
 ehearsal of Lauda Concertata in Tokyo\, when she tried to play the origina
 l xylophone concerto on her larger marimba:</p> <p>While I was waiting for my entrance I was overwhelmed by the formidabl
 e sound of the music and the emotion of the conductor. When my entrance ca
 me\, I played the first chords full of energy. But then I became startled 
 and my head went blank. I realized that the sound of my marimba was so poo
 r and its timbre seemed almost ridiculous to me\, so much so that I nearly
  wanted to cry.</p> <p>After the rehearsal\, sh
 e brought Ifukube back to her studio\, and they worked together to rearran
 ge the piece so that she could use her marimba’s expressive range to the f
 ullest extent. In the spirit of this revision\, tonight’s performance will
  use the full range of the five-octave marimba\, adding extra notes that d
 idn’t exist on the instrument until 1984 in the opening and cadenza sectio
 ns. </p> <p>In the notes from the premiere in 1
 979\, Ifukube wrote: 'The gentle\, ode-like musical hymn is mainly played 
 by the orchestra\, while the marimba is treated strictly as a percussion i
 nstrument\, sometimes almost barbaric\, rather than a keyboard instrument.
  By combining these two different elements\, so to speak\, through the coe
 xistence of prayer and entertainment\, I tried to evoke my experience of h
 umanity.'<br>-Bonnie Whiting </p> <p><strong>Ludwig van Beethoven</strong>
 <strong> (1770-1827):</strong> <strong><em>Symphony No. 5 in C minor\, op. 67 </em>(1807-1808)
 </strong></p> <p>Premiered in Vienna on Decembe
 r 22nd\, 1808\, Beethoven’s 5th symphony has retained its place as one of 
 the most recognizable pieces in the western classical repertory. This symp
 hony has the shortest first movement out of any of Beethoven’s symphonies\
 , but it is constantly bursting with energy despite its compact form. Prem
 iered three years after Napoleon seized Vienna\, the fifth symphony can be
  viewed as an allegory for the emotional journey of the Viennese people du
 ring that time.</p> <p>The first movement build
 s upon the famous four-note opening to create an atmosphere of angst and t
 urmoil before the second theme\, which incorporates hope and innocence int
 o otherwise stormy music. Near the middle of the movement\, we hear a dial
 ogue between the woodwinds and strings\, getting softer and softer before 
 re-approaching the opening theme. The opening movement ends with a raucous
  coda that leaves a feeling of unrest with the listener.<span>  </span></p> <p>The second movement is a set of variations
  on two themes. The first is a hymn-like song in the violas and cellos\; t
 he second is an eager march that brings in the trumpets and timpani. These
  two themes can be thought of as ways to approach the impending political 
 strife. The hymn represents prayer\, and the march represents the militia.
  The opening melody returns in the violins\, with the rest of the orchestr
 a joining in to envelop the room in hope and beauty.<span>  </span></p> <p>Movement three is a scherzo that mixes mystery
  and comedy masterfully. It starts in the cellos with a secretive melody\,
  then explodes into a variation of the opening four-notes. The music retur
 ns to the opening motif before disappearing into a jaunty fugue\, hinting 
 at the triumph to come. Linked to the scherzo with a seamless transition t
 hat creates massive tension\, this piece is the first major symphony to mu
 sically lead to the opening of its own finale. From the downbeat\, the ent
 ire fourth movement emanates heroism and excitement. This is also the firs
 t time that the piccolo\, contrabassoon and trombone were given parts in a
  symphony\, thus being a major step towards the enlargement of the orchest
 ra in the decades to follow. After an especially driving coda\, the sympho
 ny ends with elation and grandeur.<span>  <br></span>-Mica Weiland</p>  <tbody> <tr> <td> <h4>&lt;
 strong&gt;University of Washington Symphony Orchestra</strong></h4> <p><em>Da
 vid Alexander Rahbee\, Music Director and Conductor</em><br><em>Ryan Farri
 s and Robert Stahly\, Assistant Conductors</em></p> <p><strong><u>Flute<br></u></strong>Erin McAfee\, MM Flute Performance<br>Grace Playstead\, MM F
 lute Performance<br>Peyton Ray\, Music<br>Claire Wei\, Music<br>Yue Zhong\
 , BM Flute Performance<strong> </strong></p> <p><strong><u>Piccolo<br></u>
 </strong>Erin McAfee\, MM Flute Performance<br>Grace Playstead\, MM Flute 
 Performance<br><strong><br><u>Oboe</u><br></strong>Minh-Thi Butler\, BM Mu
 sic Education/Oboe Performance<br>Lauren Majewski\, BA Global &amp; Regional S
 tudies </p> <p><strong><u>English Horn</u></strong><strong><br></strong>Ma
 x Boyd\, Music</p> <p><strong><u>Clarinet</u></strong><strong><br></strong>Ysanne Webb\, DMA Clarinet Performance<strong><br></strong>Nick Zhang\, B
 S Computer Science</p> <p><strong><u>Bass Clarinet</u></strong><strong><br></strong>Cameron DeLuca\, DMA Clarinet Performance</p> <p><strong><u>Bass
 oon<br></u></strong>Ryan Kapsandy\, BM Bassoon Performance<br>Rian Morgan\
 , Music/Nutritional Science<br>Eric Spradling\, BM Bassoon Performance </p> <p><strong><u>Contrabassoon<br></u></strong>Eric Shankland\, BA Music Hi
 story<br>Eric Spradling\, BM Bassoon Performance<br><br><strong><u>Horn</u>     <br></strong>Nicole Bogner\, BM Horn Performance<br>Colin Laskarzews
 ki\, BS Physics<br>Elise Moe\, BM Horn Performance<br>Sam Nutt\, Molecular
  &amp; Cellular Biology<br>Johan Polissar\, Aeronautics &amp; Astronautics<br><br><u>Trumpet<br></u></strong>Hans Faul\, BM Trumpet Performance<br>K
 yle Jenkins\, MM Trumpet Performance<br>Antti Männistö\, Mechanical Engine
 ering<br>Drew Theran\, MM Trumpet Performance<strong><br></strong><br><u>Trombone<br></u></strong>Jonathan Elsner\, Applied &amp; Computational 
 Mathematics<br>Neal Muppidi\, BM Trombone Performance<br>Nathanael Wyttenb
 ach\, Music Composition<strong> </strong></p> <p><strong><u>Bass Trombone&lt;
 /u&gt;</strong><strong><br></strong>Duncan Weiner\, Aero-Astro Engineering/Li
 nguistics</p> <p><strong><u>Tuba<br></u></strong>Adam Mtimet\, DMA Tuba Pe
 rformance<strong><br></strong></p> <p><strong><u>Timpani<br></u></strong>K
 aisho Barnhill\, BM Music Education\, Psychology<br>Abigail George\, Appli
 ed Physics/BM Percussion Performance<br><br><strong><u>Percussion<br></u>&lt;
 /strong&gt;Kaisho Barnhill\, Music Education\, Psychology<br>Tyler Smith\, MM
  Percussion Performance</p> <p><strong><u>Harp</u></strong><strong><br></s>Kelly Hou\, Alumna</p> <p><strong><u>Violin I</u></strong></p> <p>Gr
 ace Pandra\, Violin Performance/Business Administration (Concertmaster)<br>Hanu Nahm\, Violin Performance/BS Microbiology<br>David Teves-Tan\, Pre-S
 ciences<br>Hai-Ryung Jang\, DMA Violin Performance<br>Nahuel Weber-Jacobse
 n\, Social Sciences<br>Brooke Chen\, Public Health<br>Justin Chae\, Comput
 er Science<br>Ido Avnon\, MS Computer Sciences &amp; Engineering<br>Brandon Ba
 iley\, Computer Science<br>Nicole Chen\, Informatics<br>David Mok\, Comput
 er Engineering<br>Anja Westra\, Marine Biology<br>Adora Wu\, Computer Scie
 nce<br>Amelie Martin\, Mathematics<br>Jie Zhou\, Music<br>Alex Metzger\, C
 omputer Science<br>Emily Chen\, Pre-Arts<br>Giulia Rosa\, Music </p> <p><s trong><u>Violin II<br></u></strong>Taylor DeCastro\, MM Violin Performance
  (Principal)<br>Michaela Klesse\, Music<br>Sean Sasaki\, Music Education<b r>Talal Kheiry\, Pre-Sciences<br>Alice Leppert\, Chemistry<br>Cristina Kos
 ilkina\, Pre-Sciences<br>Jasmine Palikhya\, International Studies<br>Victo
 ria Zhuang\, Pre-Sciences<br>Ling Yang\, Anthropology<br>Keira Gan\, Engin
 eering<br>Kate Everling\, Applied Mathematics<br>Justene Li\, Pre-Sciences
 <br>Felicia Yeh\, Business Administration<br>Freya Frahm\, Computer Scienc
 es/BM Piano Performance<br>Hannah Pena-Ruiz\, Music History</p> <p><strong><u>Viola</u></strong><strong>     <br></strong>Flora Cummings\, Viola Per
 formance/Biology (Co-Principal)<br>Mica Weiland\, Viola Performance (Co-Pr
 incipal)<br>Abigail Schidler\, Computer Science/Music Theory<br>Emma Boyce
 \, Music<br>Mia Grayson\, Biochemistry<br>Melia Golden\, Biochemistry<br>H
 ailey Nappen\, Pre Sciences<br>Annika Johnson\, Pre-Sciences<br>Alan Fan\,
  International Studies<br>Aribella Brushie\, Pre-Sciences<br>Alissa Harban
 i\, Bioengineering/Music<br>Melany Nanayakkara\, Mathematics<br><strong><b r><u>Violoncello</u>         <br></strong>Cory Chen\, BA in Music/Intended
  Neuroscience (Principal)<br>Loni Yin\, Pre-Sciences<br>Nathan Evans\, BA 
 Music History<br>Ignacio (Nacho) Tejeda\, PhD Mathematics<br>Jack Ruffner\
 , Pre-Social Sciences<br>Alastair Goodchild\, Engineering<br>Ava Reese\, A
 quatic and Fishery Sciences<br>Andrew Vu\, Chemistry<br>Katherine Kang\, H
 uman Centered Design &amp; Engineering<br>Noah Croskey\, Industrial Engineerin
 g<br>Eli Kashman\, Bioengineering<br>Ally Wu\, Electrical Engineering<br>B
 ashir Abdel-Fattah\, PhD Mathematics<br>Manyi Guo\, PhD Mathematics<br><br><u>Bass</u>    <br></strong>Nathan Eskridge\, MM Bass Performance
  (Principal)<br>Eddie Nikishina\, Educational Studies<br>Amelia Matsumoto\
 , BM Bass Performance<br>Gabriella Kelley\, English<br>Joshua Bonifas\, Pr
 e-Education</p> </td> </tr> </tbody> </table> <h3>Biographies</h3> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:16764eae-813d-46a7-8c85-2a7d55158036
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals
CLASS:PUBLIC
CREATED:20241030T165333Z
DESCRIPTION:<p>Xinrui Huang (DMA\, Piano Performance)\, a student of Craig 
 Sheppard\, performs Felix Mendelssohn: Piano Concerto No.2 in D Minor\, Op
 . 40 and Dmitri Shostakovich: Piano Concerto No.2 in F Major\, Op. 102. Wi
 th collaborative pianist Mia HyeYeon Kim.</p>\n<hr>\n<h4>Program:</h4>\n<s trong>Felix Mendelssohn </strong>(1809-1847)\nPiano Concerto No.2 in D Min
 or\, Op. 40\nI. Allegro appassionato\nII. Adagio - Molto sostenuto<br>III.
  Finale - Presto scherzando\n<strong></strong>\n<p></p>\n<strong>Intermiss
 ion</strong>\n<br><strong></strong>\n<br><br>\n<strong>Dmitri Shostakovich
 </strong> (1906-1975)\nPiano Concerto No.2 in F Major\, Op. 102\nI. Allegr
 o\nII. Andante <br>III. Allegro\n<hr>\n<br>\n<h4>Biographies</h4>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20241104T190000
LAST-MODIFIED:20241030T190639Z
SEQUENCE:97
SUMMARY:: DMA Recital: Xinrui Huang\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-05/dma-recital-xinrui-huang
 -piano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>Xinrui Huang (DMA\, Piano Performance
 )\, a student of Craig Sheppard\, performs Felix Mendelssohn: Piano Concer
 to No.2 in D Minor\, Op. 40 and Dmitri Shostakovich: Piano Concerto No.2 i
 n F Major\, Op. 102. With collaborative pianist </span><span>Mia HyeYeon K
 im.</span></p> <hr> <h4>Program:</h4> <div><strong>Felix Mendelssohn (1809-1847)</div> <div>Piano Concerto No.2 in D Minor\, Op. 40</div> &lt;
 div&gt;I. Allegro appassionato</div> <div>II. Adagio - Molto sostenuto<br>III
 . Finale - Presto scherzando</div> <div><strong></strong></div> <p></p> <strong>Intermission</strong></div> <div><br><strong></strong></div> <br><br> <div><strong>Dmitri Shostakovich</strong> (1906-1975)</div> Piano Concerto No.2 in F Major\, Op. 102</div> <div>I. Allegro</div> II. Andante <br>III. Allegro</div> <div><hr></div> <div><br> <h4>Biogra
 phies</h4> <p></p> </div> </div>
END:VEVENT
BEGIN:VEVENT
UID:e89a69e1-0ab8-43bd-b860-2c55b253b084
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240702T162040Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20241105T120000
LAST-MODIFIED:20240702T162040Z
SEQUENCE:98
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-05/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:aa3f7072-fe89-49d3-9ff5-9d606046e6c2
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20240801T171535Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<h2 class='x_MsoNormal'>Featured Performers</h2>\n\n\n\n\n\n\nView program details &lt;
 a href='/sites/music/files/documents/november_6_allen_library_concert.pdf'
 &gt;HERE</a>.\n\n\n\n\n\n\n<p class='x_MsoNormal'> </p>\n\n<p class='x_MsoNor
 mal'></p>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20241106T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:99
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-06/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <h2 class='x_MsoN
 ormal'><span>Featured Performers</span></h2> <div class='elementToProof'> 
 <div class='elementToProof'> <div class='elementToProof'> <div class='elem
 entToProof'> <div class='elementToProof'> <div class='x_elementToProof Con
 tentPasted0'> <div class='x_elementToProof ContentPasted0'>View program de
 tails <a href='/sites/music/files/documents/november_6_allen_library_conce
 rt.pdf'>HERE</a>.</div> </div> </div> </div> </div> </div> </div> <p class='x_MsoNormal'><span> </span></p> <div> <p class='x_MsoNormal'><span></p> <p></p> </div>
END:VEVENT
BEGIN:VEVENT
UID:032372f5-1861-4eb4-9d61-cce0f71bc076
DTSTAMP:20260307T094252Z
CATEGORIES:Performances
CLASS:PUBLIC
CREATED:20241004T213133Z
DESCRIPTION:<p>The UW's Department of Digital Arts and Experimental Media p
 resents its Fall Quarter Concert\, 'Fictions in Fugue.'</p>\n<hr>\n<h4>Pro
 gram Details </h4>\n'In classical music\, a fugue is a contrapuntal\, poly
 phonic compositional technique in two or more voices\, built on a subject 
 that is introduced at the beginning in imitation\, which recurs frequently
  throughout the course of the composition.'<br><br>Fictions in Fugue is an
  interdisciplinary collaboration by new media artists/performers who come 
 together to activate Meany Theater as a space in fugue and fragmentation. 
 Combining interactive storytelling\, Extended Reality technologies and Mac
 hine Learning experiments\, a series of embodied narratives emerge through
 out the evening. Inspired by the short story 'The Spiral' by Italo Calvino
 \, formlessness and “indeterminate ways of feeling oneself there” emerge a
 s vignettes of narrative possibilities.  <br><br>\n<h4>Artists/Performers&lt;
 /h4&gt;\n<p>Ashley Menestrina<br>Cristina Brambila<br>Althea Rao<br>Derek Cre
 scenti<br>Eunsun Choi<br>Emily Schoen Branch<br>Sadaf Sadri<br>Maria Thrae
 n<br>Alex Lee Place<br>Laura Luna Castillo<br>Ziyu (Rose) Xu<br>Daniel Pet
 erson</p>\n<p><a href='https://dxarts.washington.edu/events/2024-11-07/dxa
 rts-fall-concert' target='_blank' rel='noopener noreferrer'>Learn more her
 e</a></p>
DTSTART;TZID=America/Los_Angeles:20241107T193000
LAST-MODIFIED:20241018T003642Z
SEQUENCE:100
SUMMARY:: External Event: DXARTS Fall Concert: Fictions in Fugue
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-08/external-event-dxarts-fa
 ll-concert-fictions-fugue
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The UW's Department of Digital Arts and Exp
 erimental Media presents its Fall Quarter Concert\, 'Fictions in Fugue.'</p> <hr> <h4>Program Details </h4> <div>'In classical music\, a fugue is a 
 contrapuntal\, polyphonic compositional technique in two or more voices\, 
 built on a subject that is introduced at the beginning in imitation\, whic
 h recurs frequently throughout the course of the composition.'<br><br>Fict
 ions in Fugue is an interdisciplinary collaboration by new media artists/p
 erformers who come together to activate Meany Theater as a space in fugue 
 and fragmentation. Combining interactive storytelling\, Extended Reality t
 echnologies and Machine Learning experiments\, a series of embodied narrat
 ives emerge throughout the evening. Inspired by the short story 'The Spira
 l' by Italo Calvino\, formlessness and “indeterminate ways of feeling ones
 elf there” emerge as vignettes of narrative possibilities.  <br><br></div>
  <h4>Artists/Performers</h4> <p>Ashley Menestrina<br>Cristina Brambila<br>
 Althea Rao<br>Derek Crescenti<br>Eunsun Choi<br>Emily Schoen Branch<br>Sad
 af Sadri<br>Maria Thraen<br>Alex Lee Place<br>Laura Luna Castillo<br>Ziyu 
 (Rose) Xu<br>Daniel Peterson</p> <p><a href='https://dxarts.washington.edu
 /events/2024-11-07/dxarts-fall-concert' target='_blank' rel='noopener nore
 ferrer'>Learn more here</a></p>
END:VEVENT
BEGIN:VEVENT
UID:8e1ef625-57b8-4ace-814a-b429acc2d649
DTSTAMP:20260307T094252Z
CATEGORIES:Performances
CLASS:PUBLIC
CREATED:20241004T213150Z
DESCRIPTION:<p>The UW's Department of Digital Arts and Experimental Media p
 resents its Fall Quarter Concert\, 'Fictions in Fugue.'</p>\n<hr>\n<h4>Pro
 gram Detail </h4>\n'In classical music\, a fugue is a contrapuntal\, polyp
 honic compositional technique in two or more voices\, built on a subject t
 hat is introduced at the beginning in imitation\, which recurs frequently 
 throughout the course of the composition.'<br><br>Fictions in Fugue is an 
 interdisciplinary collaboration by new media artists/performers who come t
 ogether to activate Meany Theater as a space in fugue and fragmentation. C
 ombining interactive storytelling\, Extended Reality technologies and Mach
 ine Learning experiments\, a series of embodied narratives emerge througho
 ut the evening. Inspired by the short story 'The Spiral' by Italo Calvino\
 , formlessness and “indeterminate ways of feeling oneself there” emerge as
  vignettes of narrative possibilities.  <hr>\n<h4>Artists/Performers</h4>
 \n<p>Ashley Menestrina<br>Cristina Brambila<br>Althea Rao<br>Derek Crescen
 ti<br>Eunsun Choi<br>Emily Schoen Branch<br>Sadaf Sadri<br>Maria Thraen<br>Alex Lee Place<br>Laura Luna Castillo<br>Ziyu (Rose) Xu<br>Daniel Peterso
 n</p>\n<p><a href='https://dxarts.washington.edu/events/2024-11-07/dxarts-
 fall-concert' target='_blank' rel='noopener noreferrer'>Learn more here</a></p>
DTSTART;TZID=America/Los_Angeles:20241108T193000
LAST-MODIFIED:20241018T003449Z
SEQUENCE:101
SUMMARY:: External Event: DXARTS Fall Concert: Fictions in Fugue
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-09/external-event-dxarts-fa
 ll-concert-fictions-fugue
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The UW's Department of Digital Arts and Exp
 erimental Media presents its Fall Quarter Concert\, 'Fictions in Fugue.'</p> <hr> <h4>Program Detail </h4> <div>'In classical music\, a fugue is a c
 ontrapuntal\, polyphonic compositional technique in two or more voices\, b
 uilt on a subject that is introduced at the beginning in imitation\, which
  recurs frequently throughout the course of the composition.'<br><br>Ficti
 ons in Fugue is an interdisciplinary collaboration by new media artists/pe
 rformers who come together to activate Meany Theater as a space in fugue a
 nd fragmentation. Combining interactive storytelling\, Extended Reality te
 chnologies and Machine Learning experiments\, a series of embodied narrati
 ves emerge throughout the evening. Inspired by the short story 'The Spiral
 ' by Italo Calvino\, formlessness and “indeterminate ways of feeling onese
 lf there” emerge as vignettes of narrative possibilities.  <hr></div> <h4>
 Artists/Performers</h4> <p>Ashley Menestrina<br>Cristina Brambila<br>Althe
 a Rao<br>Derek Crescenti<br>Eunsun Choi<br>Emily Schoen Branch<br>Sadaf Sa
 dri<br>Maria Thraen<br>Alex Lee Place<br>Laura Luna Castillo<br>Ziyu (Rose
 ) Xu<br>Daniel Peterson</p> <p><a href='https://dxarts.washington.edu/even
 ts/2024-11-07/dxarts-fall-concert' target='_blank' rel='noopener noreferre
 r'>Learn more here</a></p>
END:VEVENT
BEGIN:VEVENT
UID:8415800a-c667-4a83-9142-a2c836e96dc6
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20240808T234529Z
DESCRIPTION:<p></p>\n<p>The School of Music joins with the Seattle Flute So
 ciety (SFS) for its Flute Celebration Day\, featuring Professor Zhao Rong 
 “Peter' Chen\, School of Music alumnus and faculty member at China Conserv
 atory of Music and other highly regarded institutions throughout China. Hi
 s performance is followed by additional performances from the Seattle Flut
 e Society Flute Choir and other SFS members. With pianists Robin McCabe\, 
 Yue Li\, and October Chen.</p>\n<hr>\n<h3>Program</h3>\n<p class='p1'>W.A. Mozart:</strong> Rondo in D Major<br>Robin McCabe\, piano</p>\n<p class='p2'><strong>Chinese Music</strong><br>Songs on Fishing Boats at Du
 sk<br>On the Prairies of Inner Mongolia<br>Yue Li\, piano</p>\n<p class='p
 1'><strong>W.A. Mozart </strong>- Piano Sonata in C\, K. 545\, Allegro<br>
 October Chen\, piano</p>\n<p class='p1'><strong>Vladamir Tsybin</strong> -
  Concert Allegro No. 3<br>Yue Li\, piano<br><br><strong>Tan Mizi:</strong>
  Flute And Drum Under The Setting Sun <br>unaccompanied flute solo</p>\n<p class='p2'><strong>Georges Hüe</strong> - Fantaisie<br>with Seattle Flute
  Society Flute Ensemble (Sandra Saathoff\, conductor)</p>\n<hr>\n<h3>Artis
 t Biography</h3>\n<h3>Zhao-Rong Chen</h3>\n<p>Zhao-Rong Chen currently ser
 ves as Professor of flute at the China Conservatory of Music. He also teac
 hes at Tianjin Conservatory of Music and the School of Arts of Renmin Univ
 ersity of China. He is the first mainland Chinese flutist to receive a Doc
 tor of Musical Arts degree in the USA. After graduating from the Universit
 y of Bridgeport\, he received a Master of Music degree from Yale Universit
 y and a Doctor of Music Arts from the University of Washington. He is Gues
 t Flute Professor at Yunnan Arts University and serves as deputy Secretary
  General of the China Flute Association. While pursuing his dream as a flu
 tist in the USA\, Chen studied with Yale University's renowned Ransom Wils
 on\, American flute soloist Robert Stallman\, the Hartt School flute profe
 ssor John Wion\, the University of Washington’s flute professor Donna Shin
  and Dr. Zart Dombourian-Ebay\, University of Bridgeport flute professor B
 arbara Siesel\, and others. Chen has performed in the world's most prestig
 ious concert halls including Carnegie Hall in New York\, Woolsey Hall and 
 Sprague Memorial Hall at Yale University\, and Musical Hall at the Nationa
 l Center for the Performing Arts in Beijing.</p>\n<h3>Yue Li</h3>\n<p>Yue 
 Li is a member of the piano faculty at the Conducting Department of the Ch
 ina Conservatory of Music. In 2008 she entered the undergraduate program o
 f the Central Conservatory of Music as a student of Professor Qifang Li ul
 timately receiving a master's degree in piano performance. Yue Li has won 
 several competitions including first place in the Jilin Province Youth Pia
 no Competition in 2000\, the gold medal in the China Art New Star Selectio
 n Competition in 2001\, and the Outstanding Performance Award at the Milan
  International Piano Art Festival in 2009. In 2013\, she won the gold meda
 l and the Outstanding Art Instructor Award in the Nanning International Fl
 ute Competition. She also performed a solo piece at the Chopin Birthday Co
 ncert at the Zhongshan Concert Hall in 2010 as well as a solo piece at the
  Liszt Birthday Concert at the Zhongshan Concert Hall in 2011. Since 2013\
 , she has been a full-time piano accompanist for the flute teaching and re
 search department of Professor Tongde Zhu of the Central Conservatory of M
 usic. She is widely sought after as a piano accompanist. In 2014\, she ser
 ved as accompanist at the Beijing International Flute Art Festival. In 201
 7\, she was invited to participate in the Singapore International Flute Ar
 t Festival as a piano accompanist. She performed as piano accompanist at t
 he Osaka and Kobe Music Art Festivals in Japan in 2023. In January 2024\, 
 she served as piano accompanist at the 3rd International Flute Art Festiva
 l in South Korea. Yue Li has served as a full-time piano instructor at the
  Conducting Department of the China Conservatory of Music since 2018.</p>
 \n<h3>October Chen</h3>\n<p>October Chen\, age 7\, is a first-grade studen
 t at the Beijing Zhong-Guan-Cun Primary School. She began piano lessons at
  the age of four under the tutelage of her mother Yue Li. She won first pl
 ace at the 3rd Vancouver International Piano Competition &amp; Vancouver Inter
 national Piano Festival 2024 and first place at the 30th Johannes Brahms I
 nternational Music Competition Children's Competition 2024 in Beijing.</p>
DTSTART;TZID=America/Los_Angeles:20241110T160000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:102
SUMMARY:: Guest Artist Concert: Zhao-Rong 'Peter' Chen\, flute
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-11/guest-artist-concert-zha
 o-rong-peter-chen-flute
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The School of Music joins with the 
 Seattle Flute Society (SFS) for its Flute Celebration Day\, featuring Prof
 essor Zhao Rong “Peter' Chen\, School of Music alumnus and faculty member 
 at China Conservatory of Music and other highly regarded institutions thro
 ughout China. His performance is followed by additional performances from 
 the Seattle Flute Society Flute Choir and other SFS members. With pianists
  Robin McCabe\, Yue Li\, and October Chen.</p> <hr> <h3>Program</h3> <p cl ass='p1'><span class='s1'><strong>W.A. Mozart:</strong> Rondo in D Major<b r><em>Robin McCabe\, piano</em></span></p> <p class='p2'><strong>Chinese M
 usic</strong><br><span class='s1'>Songs on Fishing Boats at Dusk<br></span><span class='s1'>On the Prairies of Inner Mongolia<br><em>Yue Li\, piano&lt;
 /em&gt;</span></p> <p class='p1'><span class='s1'><strong>W.A. Mozart - Piano Sonata in C\, K. 545\, Allegro<br></span><em><span class='s1'>Oc
 tober Chen\, piano</span></em></p> <p class='p1'><span class='s1'><strong>
 Vladamir Tsybin</strong> - Concert Allegro No. 3<br><em>Yue Li\, piano</em><br></span><span class='s1'><br><strong>Tan Mizi:</strong> Flute And Drum
  Under The Setting Sun <br><em>unaccompanied flute solo</em></span></p> <p class='p2'><span class='s1'></span><span class='s1'><strong>Georges Hüe</strong> - Fantaisie<br></span><em><span class='s1'>with Seattle Flute Soci
 ety Flute Ensemble (Sandra Saathoff\, conductor)</span></em></p> <hr> <h3>
 Artist Biography</h3> <h3><span>Zhao-Rong Chen</span></h3> <p>Zhao-Rong Ch
 en currently serves as Professor of flute at the China Conservatory of Mus
 ic. He also teaches at Tianjin Conservatory of Music and the School of Art
 s of Renmin University of China. He is the first mainland Chinese flutist 
 to receive a Doctor of Musical Arts degree in the USA. After graduating fr
 om the University of Bridgeport\, he received a Master of Music degree fro
 m Yale University and a Doctor of Music Arts from the University of Washin
 gton. He is Guest Flute Professor at Yunnan Arts University and serves as 
 deputy Secretary General of the China Flute Association. While pursuing hi
 s dream as a flutist in the USA\, Chen studied with Yale University's reno
 wned Ransom Wilson\, American flute soloist Robert Stallman\, the Hartt Sc
 hool flute professor John Wion\, the University of Washington’s flute prof
 essor Donna Shin and Dr. Zart Dombourian-Ebay\, University of Bridgeport f
 lute professor Barbara Siesel\, and others. Chen has performed in the worl
 d's most prestigious concert halls including Carnegie Hall in New York\, W
 oolsey Hall and Sprague Memorial Hall at Yale University\, and Musical Hal
 l at the National Center for the Performing Arts in Beijing.</p> <h3>Yue L
 i</h3> <p>Yue Li is a member of the piano faculty at the Conducting Depart
 ment of the China Conservatory of Music. In 2008 she entered the undergrad
 uate program of the Central Conservatory of Music as a student of Professo
 r Qifang Li ultimately receiving a master's degree in piano performance. Y
 ue Li has won several competitions including first place in the Jilin Prov
 ince Youth Piano Competition in 2000\, the gold medal in the China Art New
  Star Selection Competition in 2001\, and the Outstanding Performance Awar
 d at the Milan International Piano Art Festival in 2009. In 2013\, she won
  the gold medal and the Outstanding Art Instructor Award in the Nanning In
 ternational Flute Competition. She also performed a solo piece at the Chop
 in Birthday Concert at the Zhongshan Concert Hall in 2010 as well as a sol
 o piece at the Liszt Birthday Concert at the Zhongshan Concert Hall in 201
 1. Since 2013\, she has been a full-time piano accompanist for the flute t
 eaching and research department of Professor Tongde Zhu of the Central Con
 servatory of Music. She is widely sought after as a piano accompanist. In 
 2014\, she served as accompanist at the Beijing International Flute Art Fe
 stival. In 2017\, she was invited to participate in the Singapore Internat
 ional Flute Art Festival as a piano accompanist. She performed as piano ac
 companist at the Osaka and Kobe Music Art Festivals in Japan in 2023. In J
 anuary 2024\, she served as piano accompanist at the 3rd International Flu
 te Art Festival in South Korea. Yue Li has served as a full-time piano ins
 tructor at the Conducting Department of the China Conservatory of Music si
 nce 2018.</p> <h3>October Chen</h3> <p>October Chen\, age 7\, is a first-g
 rade student at the Beijing Zhong-Guan-Cun Primary School. She began piano
  lessons at the age of four under the tutelage of her mother Yue Li. She w
 on first place at the 3rd Vancouver International Piano Competition &amp; Vanc
 ouver International Piano Festival 2024 and first place at the 30th Johann
 es Brahms International Music Competition Children's Competition 2024 in B
 eijing.</p>
END:VEVENT
BEGIN:VEVENT
UID:fa35aed3-1ad3-49bd-84fb-728b62aa3a30
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20240823T200144Z
DESCRIPTION:<p></p>\n<p>Faculty artist Stephen Price\, organ\, is joined by
  UW colleague Rachel Lee Priday\, violin\, in performing the Suite for Vio
 lin and Organ\, Op. 150\, by Joseph Rheinberger\, as well as solo organ wo
 rks from the French Symphonic tradition. Price is the UW's inaugural Paul 
 B. Fritts Endowed Faculty Fellow in Organ Studies. </p>\n<hr>\n<h3>Biograp
 hies</h3>
DTSTART;TZID=America/Los_Angeles:20241112T193000
LAST-MODIFIED:20241025T205627Z
SEQUENCE:103
SUMMARY:: Faculty Recital: Stephen Price\, organ
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-13/faculty-recital-stephen-
 price-organ
END:VEVENT
BEGIN:VEVENT
UID:290a16f1-aaf1-46f8-81cb-45436377d7c4
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T182124Z
DESCRIPTION:<p></p>\n<p>UW Jazz Studies students perform in small combos ov
 er two consecutive nights of original tunes\, homage to the greats of jazz
 \, and experiments in composing and arranging. </p>\n<hr>\n<h3>Program</h3>\n<p></p>\n<p><b>3+1+1 <br></b>Ted Poor\, advisor<br><br>Fee-Fi-Fo-Fum:<b> Wayne Shorter </b></p>\n<p>Ms Baja:<b> Kenny Garrett </b></p>\n<p>Beau S
 oir:<b> Gavin Westland </b></p>\n<p>Springs:<b> Toshihiro Akamatsu </b></p>\n<p><b>Aiden Chan</b>\, drums\; <b>Don Tran</b>\, bass\; <b>Gavin Westla
 nd</b>\, piano\; <b>Martin Nguyen</b>\, alto sax\; <b>Gus Scharler</b>\, t
 enor sax </p>\n<hr>\n<p><b>The Blue Horse Ensemble <br></b>John-Carlos Per
 ea\, advisor</p>\n<p>Witchi Tai To:<b> Jim Pepper </b></p>\n<p>To G.S.:<b>
   John-Carlos Perea </b></p>\n<p>For Jim Pepper:<b>  William Parker </b></p>\n<p>Blue Horse Special\,<b> </b>taught to <b>John-Carlos Perea </b>by &lt;
 b&gt;Barney Hoehner </b></p>\n<p><b>Ari Okin</b>\, voice\; <b>Graham Cobden</b>\, alto sax\; <b>Yotam Snir</b>\, tenor sax\; <b>Cole McKittrick</b>\, g
 uitar\; <b>AJ Marto</b>\, electric bass\; <b>Toby Miller</b>\, drums\; <b>
 John-Carlos Perea</b>\, fretless electric bass\, cedar flute\, voice\, per
 cussion </p>\n<hr>\n<h3>Director Biographies</h3>
DTSTART;TZID=America/Los_Angeles:20241113T193000
LAST-MODIFIED:20241108T184620Z
SEQUENCE:104
SUMMARY:: Jazz Innovations I
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-14/jazz-innovations-i
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>UW Jazz Studies students perform in
  small combos over two consecutive nights of original tunes\, homage to th
 e greats of jazz\, and experiments in composing and arranging. </p> <hr> &lt;
 h3&gt;Program</h3> <p></p> <p><b>3+1+1 <br></b><em>Ted Poor\, advisor<br><br>
 </em>Fee-Fi-Fo-Fum:<b> Wayne Shorter<span class='Apple-converted-space'> &lt;
 /span&gt;</b></p> <p>Ms Baja:<b> Kenny Garrett<span class='Apple-converted-sp
 ace'> </span></b></p> <p>Beau Soir:<b> Gavin Westland<span class='Apple-co
 nverted-space'> </span></b></p> <p>Springs:<b> Toshihiro Akamatsu<span cla ss='Apple-converted-space'> </span></b></p> <p><em><b>Aiden Chan</b>\, dru
 ms\; <b>Don Tran</b>\, bass\; <b>Gavin Westland</b>\, piano\;<span class='
 Apple-converted-space'> </span><b>Martin Nguyen</b>\, alto sax\; <b>Gus Sc
 harler</b>\, tenor sax<span class='Apple-converted-space'> </span></em></p> <hr> <p><b>The Blue Horse Ensemble <br></b><em>John-Carlos Perea<span cl ass='Apple-converted-space'>\, advisor</span></em></p> <p>Witchi Tai To:<b> Jim Pepper<span class='Apple-converted-space'> </span></b></p> <p>To G.S
 .:<b>  John-Carlos Perea<span class='Apple-converted-space'> </span></b></p> <p>For Jim Pepper:<b>  William Parker<span class='Apple-converted-space
 '> </span></b></p> <p>Blue Horse Special\,<b> </b>taught to <b>John-Carlos
  Perea </b>by <b>Barney Hoehner<span class='Apple-converted-space'> </span></b></p> <p><em><b>Ari Okin</b>\, voice\; <b>Graham Cobden</b>\, alto sax
 \; <b>Yotam Snir</b>\, tenor sax\; <b>Cole McKittrick</b>\, guitar\; <b>AJ
  Marto</b>\, electric bass\; <b>Toby Miller</b>\, drums\; <b>John-Carlos P
 erea</b>\, fretless electric bass\, cedar flute\, voice\, percussion<span class='Apple-converted-space'> </span></em></p> <hr> <h3>Director Biograph
 ies</h3>
END:VEVENT
BEGIN:VEVENT
UID:82820d22-8430-468b-a01b-5001c17d0f19
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T182340Z
DESCRIPTION:<p></p>\n<p>UW Jazz Studies students perform in small combos ov
 er two consecutive nights of original tunes\, homage to the greats of jazz
 \, and experiments in composing and arranging. </p>\n<hr>\n<h3>Program</h3>\n<p><b>Entourage - 35<br></b>Marc Seales\, advisor</p>\n<p>Games:<b> Nat
  Adderley </b></p>\n<p>So What:<b> Miles Davis </b></p>\n<p>A Night In Tun
 isia:<b> Dizzy Gillespie and Frank Paparelli </b></p>\n<p>Strasbourg/ St. 
 Denis:<b> Roy Hargrove </b></p>\n<p><b>Spencer Read</b>\, drums\; <b>Gabri
 ella Kelley</b>\, bass\; <b>Hari Sethuraman</b>\, piano\; <b>Alex Phelps</b>\, trombone\; <b>Mason Palmer</b>\, guitar\; <b>Brian Zhang</b>\, alto s
 ax </p>\n<hr>\n<p><b>Meany (b)Rats <br></b>Steve Rodby\, advisor</p>\n<p>B
 ird Food:<b> Ornette Coleman </b>arr. <b>Natalie Song </b></p>\n<p>Ida Lup
 ino:<b> Carla Bley </b></p>\n<p>Very Early:<b> Bill Evans </b></p>\n<p>Cha
 nge Of The Guard:<b> Kamasi Washington </b></p>\n<p><b>Owen Gwinn</b>\, te
 nor sax\; <b>Aadithya Manoj</b>\, alto sax\; <b>Natalie Song</b>\, piano\;
  <b>Riley Tobin</b>\, bass\; <b>Ethan Horn</b>\, drums\; <strong>Marko Vid
 ich\,</strong> guitar </p>\n<hr>\n<h3>Director Biographies</h3>
DTSTART;TZID=America/Los_Angeles:20241114T193000
LAST-MODIFIED:20241113T120512Z
SEQUENCE:105
SUMMARY:: Jazz Innovations II
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-15/jazz-innovations-ii
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>UW Jazz Studies students perform in
  small combos over two consecutive nights of original tunes\, homage to th
 e greats of jazz\, and experiments in composing and arranging. </p> <hr> &lt;
 h3&gt;Program</h3> <p><b>Entourage - 35<br></b><em>Marc Seales\, advisor</em>
 </p> <p>Games:<b> Nat Adderley<span class='Apple-converted-space'> </span>
 </b></p> <p>So What:<b> Miles Davis<span class='Apple-converted-space'> </span></b></p> <p>A Night In Tunisia:<b> Dizzy Gillespie and Frank Paparell
 i<span class='Apple-converted-space'> </span></b></p> <p>Strasbourg/ St. D
 enis:<b> Roy Hargrove<span class='Apple-converted-space'> </span></b></p> 
 <p><em><b>Spencer Read</b>\, drums\; <b>Gabriella Kelley</b>\, bass\; <b>H
 ari Sethuraman</b>\, piano\; <b>Alex Phelps</b>\, trombone\; <b>Mason Palm
 er</b>\, guitar\; <b>Brian Zhang</b>\, alto sax<span class='Apple-converte
 d-space'> </span></em></p> <hr> <p><b>Meany (b)Rats<span class='Apple-conv
 erted-space'> <br></span></b>Steve Rodby\, advisor</p> <p>Bird Food:<b> Or
 nette Coleman </b>arr. <b>Natalie Song<span class='Apple-converted-space'>
  </span></b></p> <p>Ida Lupino:<b> Carla Bley<span class='Apple-converted-
 space'> </span></b></p> <p>Very Early:<b> Bill Evans<span class='Apple-con
 verted-space'> </span></b></p> <p>Change Of The Guard:<b> Kamasi Washingto
 n<span class='Apple-converted-space'> </span></b></p> <p><em><b>Owen Gwinn
 </b>\, tenor sax\; <b>Aadithya Manoj</b>\, alto sax\; <b>Natalie Song</b>\
 , piano\; <b>Riley Tobin</b>\, bass\; <b>Ethan Horn</b>\, drums\; <span><s trong>Marko Vidich\,</strong> guitar</span><span class='Apple-converted-sp
 ace'> </span></em></p> <hr> <h3><span class='Apple-converted-space'>Direct
 or Biographies</span></h3>
END:VEVENT
BEGIN:VEVENT
UID:c2acbac1-60f0-4979-9f6d-8ea88d290cac
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances\, Student Activities and Per
 formances
CLASS:PUBLIC
CREATED:20240807T233836Z
DESCRIPTION:<p></p>\n<p>Pianist Craig Sheppard i
 s joined by Rachel Lee Priday\, violin\; Noah Geller\, viola\; and Efe Bal
 tacigil\, cello\, in performing Gabriel Fauré Piano Quartet #1 in C minor\
 , Opus 15\; and Piano Quartet #2 in G minor\, Opus 45.</p>\n<hr>\n<h3>Prog
 ram</h3>\n<p><strong>Gabriel FAURÉ</strong> (1845-1924) </p>\n<p>PIANO QUA
 RTET #1 in C minor\, Opus 15 (1879 – revised 1883)<br>Allegro molto modera
 to<br>Scherzo: Allegro vivo<br>Adagio<br>Allegro molto<br><br></p>\n<p>INT
 ERMISSION </p>\n<p>PIANO QUARTET #2 in G minor\, Opus 45 (1885-1887)<br>Al
 legro molto moderato<br>Allegro molto<br>Adagio molto <br>Allegro molto</p>\n<hr>\n<h3>Program Notes</h3>\n<p>© Alyssa Hironaka\, 2024. </p>\n<p><strong>Piano Quartet No. 1 in C Minor\, Op. 15</strong></p>\n<p>Fauré wrote his first piano quartet between 1876-187
 9\, years of both great success and hardship. In January 1877\, Fauré prem
 iered his Violin Sonata No. 1 in A Major\, Op. 13 with violinist Marie Tay
 au to enthusiastic praise. He was also deeply in love with Marianne Viardo
 t\, the sister of Paul Viardot\, the dedicatee of his first violin sonata.
  As Fauré’s relationship with Marianne progressed\, he began composing his
  first piano quartet. They got engaged in July 1877\, but never married\; 
 Marianne chose to end their engagement less than four months later.  Fauré
  was devastated and his depression worried\, likely heightened by his serv
 ice in the Franco-Prussian War (1870-1871).  On the other hand\, he was al
 so known to be a very charming and fun individual. Therefore\, his first p
 iano quartet\, set in the stormy key of C Minor\, contains a plethora of e
 motions. The first movement has a bold and melancholy character shown thro
 ugh both dense and refined textures in the piano\, resembling music of oth
 er Romantics (notably Brahms). The intensity of the opening theme is contr
 asted by a lyrical and serene second theme in the relative major of E-flat
 \, and eventually the parallel key of C Major. The second movement is danc
 e-like and humorous\, revealing Fauré’s playful side\; it is vibrant and f
 ull of life. The solemn and reflective third movement offers a glimpse int
 o the sensitive and troubled side of Fauré’s soul. Written in 2/4\, this m
 ovement resembles a funeral march. It is worth noting that Fauré began wor
 k on his requiem in 1877 while writing this piano quartet. The fourth move
 ment is an 1883 rewrite of the original\, which Fauré presumably destroyed
 . Like the second movement\, it is exciting and full of energy\, and is ba
 sed on two themes heard earlier in the piano quartet.<br><br></p>\n<p styl e=' 400\;'><strong>Piano Quartet No. 2 in G Minor\, Op. 45 </s></p>\n<p>Seven years after the well-recei
 ved premiere of his first piano quartet on Valentine’s Day 1880\, Fauré co
 mpleted and premiered his second piano quartet\, dedicated to the great pi
 anist and conductor\, Hans von Bülow. While the first piano quartet largel
 y showcases the piano\, the second quartet does the opposite. Here\, the s
 trings are often front and center\, accompanied by much virtuoso writing i
 n the piano part. Like the first piano quartet\, the second quartet also o
 ffers a peek into Fauré’s psyche. The first movement begins with a restles
 sness in the piano that underpins a unison melody of longing in the string
 s. The storminess of the opening is contrasted by calmer\, lyrical section
 s throughout\, this contrast appearing as a tug-of-war between the two key
 s of G Major and G Minor as the movement progresses. The short second move
 ment\, like the Scherzo of the first piano quartet\, is animated\, full of
  energy\, dance-like.  Syncopated rhythms in the piano give it a certain u
 rgency. The slow movement is the heart of the quartet\, with an unforgetta
 ble passion and tenderness. Fauré noted that he unconsciously recalled chi
 ldhood memories of the sounds of bells while composing this movement. The 
 turbulence of the fourth movement\, unusual in Fauré’s output\, alternates
  constantly between light and darkness.  In the coda\, out of the shadows\
 , it suddenly rises up\, radiant and triumphant.</p>\n<hr>\n<p>This evenin
 g\, Craig Sheppard and Rachel Lee Priday are delighted to be joined by two
  members of the Seattle Symphony\, Efe Baltacigil (principal cellist) and 
 Noah Geller (concertmaster)\, who is playing viola in this performance. </p>\n<p>These quartets are being performed in commemoration of the 100th an
 niversary of Gabriel Fauré’s death (November 4\, 1924). </p>\n<hr>\n<h3 st yle=' 400\;'>Biographies</h3>\n<h3><a href='https://www.seattl
 esymphony.org/en/about/meetthemusicians/theorchestra/artists/first-violin/
 geller-noah' target='_blank' rel='noopener noreferrer'>Noah Geller</a></h3>\n<p>Seattle Symphony first violinist Noah Geller comes to Seattle from t
 he Kansas City Symphony\, where he was Concertmaster since 2012. Prior to 
 this\, he held posts in The Philadelphia Orchestra as a first violin secti
 on member and later as Acting Assistant Concertmaster. He attended The Jui
 lliard School for both his Bachelor and Master of Music degrees and has al
 so performed with many chamber and festival organizations around the U.S. 
 including the Marlboro Music Festival\, Orpheus Chamber Orchestra\, Tangle
 wood Music Center\, and here in the Pacific Northwest at the Olympic Music
  Festival in Port Townsend\, Washington.</p>\n<p>Geller and his wife\, per
 cussionist Mari Yoshinaga\, and their dog\, Monkey\, reside in Seattle. He
  performs on a violin by Justin Hess made in 2020.</p>\n<h3>Efe Baltacigil
 </h3>\n<p>Turkish cellist Efe Baltacigil finished his undergraduate studie
 s in Istanbul\, Turkey\, before attending the Curtis Institute of Music in
  Philadelphia. During his last year of study\, at the age of 23\, he won t
 he Associate Principal Cello position at the famous Philadelphia Orchestra
 .</p>\n<p>Since 2011\, he has held the position of Principal Cellist at th
 e Seattle Symphony\, and has appeared as a soloist with the Berlin Philhar
 monic and Sir Simon Rattle\, the Philadelphia Orchestra\, and the Seattle 
 Symphony. Efe has had recital and concerto debuts in Carnegie Hall and has
  been a senior member of the Marlboro Music Festival in Vermont since 2017
 .</p>\n<p>Efe performed as a soloist for Seattle Symphony’s 2022 Opening N
 ight Gala and performed Shostakovich’s First Cello Concerto with SSO in Oc
 tober 2023.</p>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20241118T193000
LAST-MODIFIED:20241118T165836Z
SEQUENCE:106
SUMMARY:: Faculty Recital: Craig Sheppard\, Fauré Piano Quartets
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-19/faculty-recital-craig-sh
 eppard-faure-piano-quartets
END:VEVENT
BEGIN:VEVENT
UID:558f3675-3bbf-496b-bec9-67d38982e269
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T193254Z
DESCRIPTION:<p></p>\n<p>UW voice students of Thomas Harper and Carrie Shaw 
 present their quarterly recital</p>\n<hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20241119T160000
LAST-MODIFIED:20240808T193254Z
SEQUENCE:107
SUMMARY:: Voice Division Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-20/voice-division-recital
END:VEVENT
BEGIN:VEVENT
UID:09593d9b-463d-4e45-b604-4107ff207b4b
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20240808T232605Z
DESCRIPTION:<p></p>\n<p>The School of Music presents a master class by the 
 celebrated Russian pianist Mikhail Voskresensky\, renowned concert perform
 er and artist-in-residence at the Juilliard School of Music. </p>\n<hr>\n&lt;
 h3&gt;Artist Biography</h3>\n<p>The last celebrate
 d pianist representing the old Russian school in the 20th century\, Mikhai
 l Voskresensky “proved an imposing\, magnetic presence” as noted by Los An
 geles Times. He has given hundreds of recitals on stages of Salzburg Mozar
 teum\, St. Petersburg Grand Philharmonic Hall\, Prague Rudolfinum\, Tokyo 
 Bunka Kaikan Hall\, Beijing Forbidden City Hall\, Moscow Conservatory Gran
 d Hall\, Mexico City Palacio de Bellas Artes\, Budapest Franz Liszt Academ
 y\, Rio de Janeiro Theatro Municipal\, just to name a few.</p>\n<p>Mr. Voskresensky has soloed with some finest orchestra
 s like Leipzig Gewandhaus Orchester\, St. Petersburg Philharmonic\, China 
 Philharmonic\, Bolshoi Theater Orchestra\, Warsaw National Philharmonic\, 
 Russian National Orchestra\, Shanghai Philharmonic\, Moscow Philharmonic\,
  Hungarian Radio Symphony\, Mariinsky Orchestra\, Christchurch Symphony an
 d many others.</p>\n<p>He enjoyed performing wi
 th more than 100 conductors including extraordinary Franz Konwitschny\, Ye
 vgeny Svetlanov\, Kurt Mazur\, Kirill Kondrashin\, Charles Dutoit\, Gennad
 y Rozhdestvensky\, John Pritchard\, Arvīds Jansons and Yury Temirkanov.</p>\n<p>The memorable moment of Mr. Voskresensky’
 s artistic life was a study with Dmitry Shostakovich on his Second Piano C
 oncerto which received its European Premiere at the Prague Spring Festival
  in the presence of the composer. He also championed contemporary works de
 dicated to him by Edison Denisov and Yuri Butsko\, and presented World Pre
 mieres of newly discovered Sonata E flat minor by Scriabin and Piano Conce
 rto by Taneev. He distinguished himself with the feats like All Chopin in 
 9 recitals\, All Beethoven’s Sonatas in 7 recitals\, All 27 Mozart Concert
 os in 4 seasons and recordings\, All Scriabin Sonatas in recordings. His o
 ther numerous discs were released by labels Melodia\, Triton\, Victor\, Cl
 assical Records\, Aquarius and Supraphon.</p>\n<p>Mr. Voskresensky has graduated from Moscow Tchaikovsky Conservatory and
  since his early successes at competitions including top prizes at the Fir
 st Schumann International Competition and First Van Cliburn International 
 Competition\, he has reached the artistic heights and earned accolades lik
 e the title of National Artist of Russia\, Order of the Rising Sun by The 
 Emperor of Japan and Nikolai Rubinstein Gold Medal. Following the steps of
  his teacher Lev Oborin\, he rose to become one of the most influential pr
 ofessors in the history of his alma mater. His preeminent teaching is in d
 emand in many world’s major conservatories and universities. This success 
 can be measured by the fact that his students have won 120 top prizes at w
 orld’s major international competitions.</p>\n<p>Born in Berdiansk\, Ukraine\, Mr. Voskresensky protested the unjust war 
 waged by Russia in 2022 and left the country. Upon the arrival in the USA 
 he has seen an overwhelming support and interest in the media and the musi
 c community. The Atlantic welcomed him with the article and CNN featured h
 im in Amanpour show. His recent and future engagements include concerts an
 d masterclasses at Aspen\, PianoTexas and Northern Lights Festivals\, East
 man School of Music\, Oberlin Conservatory\, Bard College\, Georgia Univer
 sity\, Rowan University\, John Perry Academy of Music\, The Chamber Orches
 tra of Philadelphia.</p>\n<p>Currently Mr. Vosk
 resensky is Artist-in-residence at the Juilliard School in New York.</p>
DTSTART;TZID=America/Los_Angeles:20241120T160000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:108
SUMMARY:: Guest Pianist Master Class: Mikhail Voskresensky
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-21/guest-pianist-master-cla
 ss-mikhail-voskresensky
END:VEVENT
BEGIN:VEVENT
UID:1c9a8c42-2c32-49e9-88f8-d2df42187ecf
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Faculty Performances\, Visiting Artists and S
 cholars
CLASS:PUBLIC
CREATED:20241120T200354Z
DESCRIPTION:<p>This four-day gathering focuses on participatory practices\,
  especially music and dance\, that encourage people of diverse skills and 
 abilities to engage creatively.  </p>\n<p>Events are at the UW Waterfront 
 Activities Center (3710 Montlake Blvd NE\, Seattle\, WA 98195) and the Sea
 ttle Amistad School (1501 10th Ave E\, Seattle\, WA 98102) and are free an
 d open to the public.</p>\n<p>Details and a full schedule of events can be
  found <a href='https://seattleparticipatoryartsnetwork.my.canva.site/#ful
 l-speakers-list' target='_blank' rel='noopener noreferrer'>here.</a></p>
DTSTART;TZID=America/Los_Angeles:20241121T000000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:109
SUMMARY:: External Event: Seattle Participatory Arts Network Conference
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-21/external-event-seattle-p
 articipatory-arts-network-conference
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>This four-day gathering focuses on pa
 rticipatory practices\, especially music and dance\, that encourage people
  of diverse skills and abilities to engage creatively.  </span></p> <p>Events are at the UW Waterfront Activities Center (3710 Montlake Blvd N
 E\, Seattle\, WA 98195) and the Seattle Amistad School (1501 10th Ave E\, 
 Seattle\, WA 98102) and are free and open to the public.</span></p> <p>Details and a full schedule of events can be found <a href='https://sea
 ttleparticipatoryartsnetwork.my.canva.site/#full-speakers-list' target='_b
 lank' rel='noopener noreferrer'>here.</a></span></p>
END:VEVENT
BEGIN:VEVENT
UID:8849929b-fb3f-4097-97f3-e6dbb9ada10f
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240702T162057Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20241121T120000
LAST-MODIFIED:20240702T162057Z
SEQUENCE:110
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-21/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:78ee9248-840f-4bac-b365-3442d4b8b067
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T205923Z
DESCRIPTION:<p></p>\n<p>The Campus Band (Solomon Encina\, conductor) and Co
 ncert Band (David Stewart\, Yuman Wu\, conductor) present 'Colors in Motio
 n\,' a program of music by Malcom Arnold\, Brian Balmages\, Todd Starlter\
 , Frank Erickson\, John Barnes Chance\, and others.</p>\n<hr>\n<h3>Program
 </h3>\n<h4><br>University of Washington Campus 
 Band<br></h4>\n<p>Solomon Encina\, director</p>
 \n<p><strong>Ignition </strong>(2011): Todd Sta
 lter (b. 1966)<br><br><strong>Air For Band</strong> (1956): Frank Erickson
  (1923 - 1996)<br><br><strong>To A New Dawn </strong>(2000):  Philip Spark
 e (b. 1951)</p>\n<p><strong>University of Washi
 ngton Saxophone Quartet<br></strong><strong>Quatuor Pour Saxophones (1949): Faustin Jeanjean (1900-1979) and Maurice Jeanjean (1897-1968)<b r>III. Papillons (Scherzo)<br>IV. Concert Sur La Place (Humoristique)<br>&lt;
 br&gt;<strong>Super Smash Bros. Brawl - Main Theme</strong> (2008): Nobuo Uem
 atsu (b. 1959) arr. Chinmay Murthy (b. 2004)</p>\n<h4><br>University of Washington Concert Band<br><br></h4>\n<p>David Stewart\, Yuman Wu\, directors</p>\n<p><strong>Prelude\, Siciliano and Rondo</strong> (1963/1979
 ): Malcolm Arnold (1921-2006) trans. John P. Painter (1928-1996)<br>I. Pre
 lude<br>II. Siciliano<br>III. Rondo<br><br><strong>Rippling Watercolors</s> (2015) : Brian Balmages (b. 1975)<br><br><strong>Incantation and Da
 nce</strong> (1963): John Barnes Chance (1932-1972)</p>\n<hr>\n<h3>PROGRAM NOTES</h3>\n<p>Ignition</strong> is a blindingly fast\, raucously energetic concert o
 pener that derives its title from the consecutive rising three-note cells 
 that are the building blocks for the work. However\, the energy unleashed 
 in the music and the imagery of the title serve both as a metaphor for the
  “spark” of creativity\, and as a “celebration in sound” for those who fin
 d and follow their own true life’s passion and pass it along to others\, “
 igniting” the flame for another generation. (program note from publisher)&lt;
 /p&gt;\n<p>One of the stronger tendencies of twent
 ieth century music has been a return to certain aspects of music of the Ba
 roque and Classical periods. Compositions falling into this category are r
 eferred to as “neo classic.” <strong>Air for Band</strong> is such a piece
 . The form (binary) was quite common in the Baroque period and the melody 
 and harmonies were strongly influenced by the works of Bach. (program note
  from score)</p>\n<p><strong>To A New Dawn was commissioned by the United States Continental Army Band\, Captain
  Timothy J. Holtan\, Commander and Conductor. The brief was for a piece to
  celebrate the 3rd Millennium\, and it was the composer’s aim to provide a
  work which\, as well as looking forward to the challenges of the new cent
 ury\, also contained moments of reflection about the last one. After a bri
 ght introduction featuring the trumpets\, a perky theme\, passing quickly 
 through several keys\, appears on the woodwinds. A solo trumpet takes up a
  new theme over bubbling quavers (eighth notes) and this leads to a rhythm
 ic figure on low clarinets\, followed by the upper woodwinds. A brass inte
 rlude follows and\, after a short bridge passage\, an oboe takes up a cont
 rasting legato tune that builds to a climax. An andante section follows wi
 th solos for horn and flugel horn (or trumpet) and a florid flute cadenza.
  A passionate climax leads back to the faster music and\, eventually to a 
 full recapitulation\, revisiting the earlier material before a lively coda
  close the work as it began. (program note from publisher)</p>\n<p> </p>\n<p>While relatively 
 minor composers overall\, Faustin and Maurice Jeanjean’s <strong>Quatuor P
 our Saxophones</strong> has nonetheless established a place in the foundat
 ional saxophone quartet repertoire. Like numerous other important works fo
 r the genre\, it was written for the Quatuor de la Garde Republicaine\, th
 e saxophone section from France’s premier military wind ensemble. The quar
 tet\, first established by saxophonist Marcel Mule in 1927\, would proceed
  to cement the saxophone’s place in the chamber music medium. Finished by 
 Faustin JeanJean in 1949\, thirteen years after Mule had left the Garde Re
 publicaine\, this quartet consists of four programmatic movements\, two of
  which will be presented here. Papillons is an intense composition full of
  tension and dramatic shifts in style in a cascading triple-meter. Concert
  sur la place (Concert on the Square) is a humorous finale set in a lively
  duple-meter\, featuring short solo interjections from each voice.</p>\n<p>The main theme from <strong>Super Smash Bros. 
 Brawl\,</strong> originally composed by Nobuo Uematsu\, is a powerful\, ci
 nematic piece that has become an iconic part of the gaming world. Written 
 for the 2008 release of Super Smash Bros. Brawl on the Nintendo Wii\, the 
 theme combines Latin choral lyrics\, intense orchestration\, and a dramati
 c melody to set the tone for the game’s epic battles. This saxophone quart
 et arrangement captures the grandeur and excitement of the original\, tran
 slating it into a rich\, immersive soundscape that showcases the versatili
 ty of the saxophone family.</p>\n<p><strong>Pre
 lude\, Sicilliano and Rondo</strong> was first written in 1963 for brass b
 and under the title Little Suite for Brass. Paynter’s arrangement for wind
  bands includes woodwinds and additional percussion but retains the breezy
  effervescence of the original work. All three movements are written in sh
 ort\, clear\, five-part song forms. The A-B-A-C-A is instantly apparent to
  the listener while giving the composer’s imaginative melodies a natural\,
  almost folklike\, settings. The Prelude begins bombastically in a fanfare
  style but reaches a middle climax and winds down to a quiet return of the
  opening measures\, which fade to silence. The liltingly expressive Sicili
 ano is both slower and more expressive than the other movements\, thus all
 owing solo instruments and smaller choirs of sound to be heard. It also en
 ds quietly. The rollicking five-part Rondo provides a romping finale in wh
 ich the technical facility of the modern wind band is set forth in boastfu
 l brilliance. (program note from Program Notes for Band)</p>\n<p><strong>Rippling Watercolors</strong> came from a simple
  set of watercolors. When children get hold of these and use their imagina
 tion\, the most amazing things can happen. Children can see things that ad
 ults never see. They open our minds while we help them grow and learn. Wit
 h a little imagination\, these watercolors can become a magnificent sunris
 e or sunset over the ocean\, a gorgeous view from a mountaintop\, or an im
 age of a supernova in space. The smallest drop can change the pattern and 
 create something entirely new\, either with a brush or entirely within nat
 ure. It is my hope that my daughters grow up with an infinite palette of w
 atercolors\, and that every drop creates a new\, fantastic world. (program
  note by composer)</p>\n<p><strong>Incantation 
 and Dance</strong> came into being during <strong>John Barnes Chance’s residency at Greensboro and was originally called Nocturne and Dance
 – it went on to become his first published piece for band. Its initial “in
 cantation\,” presented in the lowest register of the flutes\, presents mos
 t of the melodic material of the piece. Chance uses elements of bitonality
  throughout the opening section to create a “sound world mystically remove
 d from itself.” This continues as the dance elements begin to coalesce. Ov
 er a sustained bitonal chord (E-flat major over an A pedal)\, percussion i
 nstruments enter one by one\, establishing the rhythmic framework of the d
 ance to come. A whip crack sets off furious brass outbursts. When the danc
 e proper finally arrives\, its asymmetrical accents explicitly suggest a 9
 /8 + 7/8 feel\, chafing at the structure of 4/4 time. (program note from W
 ind Band Literature)</p>\n\n\n\n\n<h4>UNIVERSITY OF WASHINGTON CAMPUS BAND
 <br><br></h4>\n<p><strong>FLUTE<br></strong>Brinda Arun\, Freshman\, Pre-S
 ciences\, Redmond<br>Lydia Blair\, Freshman\, Engineering\, Seattle<br>Emi
 ly Charles\, Sophomore\, Marine Biology\, New Boston\, NH<br>Peg Curtin\, 
 Community Member\, Seattle<br>Victoria Ebert\, Grad\, Ph.D. Computer Scien
 ce &amp; Engineering\, Portland\, OR<br>Sarah Edwards\, Freshman\, Undeclared 
 Engineering\, Mukilteo<br>Julia Frazer\, Freshman\, Computer Science\, Oys
 terville<br>Maria Granzeier\, Sophomore\, Biochemistry\, Rockford\, IL<br>
 Hareesh Iyer\, Grad\, Ph.D. Materials Science &amp; Engineering\, San Jose\, C
 A<br>Satoshi Jono\, Sophomore\, Global Studies\, Tokyo\, Japan<br>Sanskrit
 i Joshi\, Grad\, Ph.D. in Electrical &amp; Computer Engineering\, Dublin\, OH&lt;
 br&gt;Nora Katiyar\, Sophomore\, Art\, Cleveland\, OH<br>Chiche Okemgbo\, Fre
 shman\, Pre-Architecture\, Medical Lake<br>Isabelle Paulsen\, Freshman\, P
 re-Science\, Snohomish<br>Maya Rasche\, Freshman\, Undeclared Arts &amp; Scien
 ces\, Kirkland</p>\n<p><strong>OBOE<br></strong>Kaitlin Brouillard\, Commu
 nity Member\, Redmond\, OR</p>\n<p><strong>BASSOON<br></strong>Hunter Berg
 strom\, Freshman\, Undeclared\, Snoqualmie<br>Krish Doshi\, Freshman\, Com
 puter Science\, Bothell</p>\n<p><strong>CLARINET<br></strong>Dani Balleste
 ros\, Freshman\, Computer Science\, Snoqualmie<br>Lucianna Caro\, Freshman
 \, Environmental Science\, Snoqualmie/North Bend<br>Natasha Crepeau\, Grad
 \, Ph.D. Math\, Brooklyn\, NY<br>Catherine Ensch\, Community Member\, Seat
 tle<br>Natalie Kerns\, Freshman\, Music Education\, Port Orchard<br>Sonali
  Kumar\, Freshman\, Engineering\, Portland\, OR<br>Jonathan Li\, Junior\, 
 Aeronautics &amp; Astronautics Engineering\, Bernardsville\, NJ<br>Marisa Oish
 i\, Freshman\, Informatics\, Bremerton<br>Sage Ramberg\, Law\, Society &amp; J
 ustice/Ethnomusicology\, St. Paul\, MN<br>Bailey Stachelski\, Freshman\, P
 re-Major Arts &amp; Sciences\, Snoqualmie<br>Kenzie Winchell\, Sophomore\, Psy
 chology\, Spanaway<br>Helen Yang\, Community Member\, Bellevue</p>\n<p>BASS CLARINET<br></strong>Ian Bosman-Rodriguez\, Freshman\, Edmonds<b r>Conrad Gauss\, Freshman\, Engineering\, Bellevue<br>Akshat Ghuge\, Fresh
 man\, Informatics\, Dallas\, TX</p>\n<p><strong>ALTO SAXOPHONE<br></strong>Abhinadan Basak\, Sophomore\, Mechanical Engineering\, Bothell<br>Xander 
 Bishop\, Senior\, Geography Data Science\, Kelso<br>Andrew Eisenhauer\, Ju
 nior\, Biology/Environmental Science and Resource Management\, Bellingham&lt;
 br&gt;Kevin Feng\, Community Member\, Seattle<br>Ellie Kiffe\, Freshman\, Met
 eorology\, Marysville<br>Maria Mendez Tomas\, Junior\, Biology/Physiology\
 , Vancouver<br>Chikara Nakamura\, Freshman\, Pre-Social Sciences\, Tokyo\,
  Japan<br>Rebecca Qian\, Freshman\, Speech &amp; Hearing Sciences\, Seattle<br>Lexi Vasbinder\, Community Member\, Jackson\, MI</p>\n<p><strong>TENOR SA
 XOPHONE<br></strong>Jackson Butterfield\, Freshman\, Creative Writing/Film
  Studies\, Maple Valley</p>\n<p><strong>TRUMPET<br></strong>Maddie Bartlet
 t\, Freshman\, Computer Science\, Ritzville<br>Joy Businge\, Freshman\, En
 gineering\, Puyallup<br>Clark Chin\, Junior\, Informatics\, Issaquah<br>Tr
 acy Chin\, Grad Ph.D. Math\, San Diego\, CA<br>Paige Jenkins\, Junior\, Po
 litical Science\, Whidbey Island<br>Rhoss Manley\, Sophomore\, Biochemistr
 y\, Kirkland<br>Louisa Paulsen\, Freshman\, Undeclared Engineering\, Puyal
 lup</p>\n<p><strong>HORN<br></strong>Andrew Chen\, Community Member\, Othe
 llo<br>George Widdon\, Sophomore\, Global &amp; Regional Studies\, Littleton\,
  CO</p>\n<p><strong>TROMBONE<br></strong>Cade Ballew\, Grad\, Ph.D. Applie
 d Math\, Norman\, OK<br>Jaeseo Choi\, Junior\, Electrical &amp; Computer Engin
 eering\, Seoul\, South Korea<br>Oskar Cole\, Freshman\, Computer Science\,
  Redmond<br>Nikkil Kini\, Freshman\, Pre-Sciences\, Coppell\, TX<br>Mateo 
 Roldan\, Grad\, Ph.D. Organizational Behavior\, Ft. Lauderdale\, FL</p>\n&lt;
 p&gt;<strong>EUPHONIUM<br></strong>Victoria Rose\, Community Member\, Hillsbo
 ro\, WV</p>\n<p><strong>TUBA<br></strong>Benito Correa\, Junior\, Computer
  Engineering\, Mount Vernon</p>\n<p><strong>PERCUSSION<br></strong>Avi Bos
 e\, Grad\, Master’s Civil Engineering\, Brooklyn\, NY<br>Meha Farrokhi\, F
 reshman\, Biochemistry\, Vancouver\, Canada<br>Patrick Henry\, Freshman\, 
 Psychology\, Vancouver<br>Dante Rieger\, Junior\, Mechanical Engineering\,
  Marysville<br>Kyra Schlezinger\, Senior\, Atmospheric &amp; Climate Science\,
  Burlingame\, CA<br>Yinuo Xu\, Sophomore\, Chemistry\, Guangzhou\, China</p>\n<strong><br></strong>\n<h4><strong></strong>UW SAXOPHONE QUARTET<br><b r></h4>\n<p><strong>SOPRANO SAXOPHONE<br></strong>Curtis Chung\, Jr.\, Mec
 hanical Engineering\, Sunnyvale\, CA</p>\n<p><strong>ALTO SAXOPHONE<br></s>Chinmay Murthy\, Jr.\, Electrical and Computer Engineering\, Fremont
 \, CA</p>\n<p><strong>TENOR SAXOPHONE<br></strong>Jony Wang\, Jr.\, Psycho
 logy Pre-Med\, Broomfield\, CO</p>\n<p><strong>BARITONE SAXOPHONE<br>Vichet Ros\, Jr.\, Music Education\, Burien<br> </p>\n<h4>UNIVERSITY O
 F WASHINGTON CONCERT BAND<br><br></h4>\n<p>FLUTE<br></strong>Mimmi Beck\, Community Member\, Gig Harbor<br>Briann
 a Blanchard\, Junior\, Environmental Public Health\, Shoreline<br>Kendra C
 olyer\, Community Member\, Seattle<br>Maggie Cook\, Grad\, Molecular Engin
 eering\, Union\, KY<br>Hayley Cox\, Sophomore\, Aerospace and Astronautica
 l Engineering\, Shoreline<br>Fanny Hang\, Senior\, ACMS\, Wuxi\, China<br>
 Maggie Hedrick\, Sophomore\, Mechanical Engineering\, Kettle Falls<br>Alli
 son Huang\, Senior\, Finance &amp; Information Systems\, Fremont\, CA<br>Abiga
 il Klein\, Freshman\, Computer Science\, Burien<br>Kristy Le\, Sophomore\,
  Art\, Burien<br>Fletcher Lohrentz\, Sophomore\, Physics &amp; Astronomy\, Sho
 reline<br>Noah Mason\, Junior\, Mechanical Engineering\, Bellingham<br>Ziw
 en Meng\, Sophomore\, Informatics\, China<br>Jason Pham\, Sophomore\, Biol
 ogy/Physiology\, Lacey<br>Keming Qiu\, Sophomore\, Biochemistry\, Bellevue
 <br>Alex Runnels\, Freshman\, Linguistics\, Burien<br>Kayla Simerson\, Sop
 homore\, Geology\, Shoreline<br>Brigitta Sipőcz\, Community Member\, Seatt
 le<br>Dennis Toepker\, Community Member\, Bellevue<br>Esther Wang\, Sophom
 ore\, Biochemistry\, Taoyuan\, Taiwan<br>Julia Winget\, Freshman\, Earth a
 nd Space Science Physics\, Cincinnati\, OH</p>\n<p> <strong>OBOE<br></strong>Stacy Schulze\, Community Member\, Richmond\
 , TX</p>\n<p><strong>CLARINET<br></strong>Cin A
 hrens\, Junior\, Computer Science and Mathematics\, White Salmon<br>CC Ahr
 ens\, Junior\, Computer Science\, and Mathematics\, White Salmon<br>Aaron\
 , Junior\, Public Health\, Bellevue<br>Jovani Azpeitia\, Grad\, Psychology
 \, Kirkland<br>David Chen\, Freshman\, Engineering\, Vancouver<br>Jah Chen
 \, Junior\, Informatics\, Bellevue<br>Gael Chun-Rivas\, Freshman\, Enginee
 ring\, Honolulu\, HI<br>Eliezer\, Sophomore\, Psychology\, Puyallup<br>Mar
 ina Figueroa-Rowen\, Grad\, N/A\, Long Beach\, CA<br>David Graham\, Commun
 ity Member\, London\, England<br>Elizabeth Hirman\, Junior\, MCD Biology\,
  Mill Creek<br>Nel Jacobs\, Community Member\, Seattle<br>Kevin Kim\, Soph
 omore\, Computer Science\, Vancouver<br>June Lopez\, Community Member\, Le
 esburg\, VA<br>Ayari Lopez\, Freshman\, Engineering undeclared\, San Diego
 \, CA<br>Ameena Majeed\, Sophomore\, Biology\, Seattle<br>Ella Morrow\, So
 phomore\, Biology\, Vancouver<br>Grace Rodger\, Junior\, Psychology\, Dupo
 nt</p>\n<p><strong>BASS CLARINET<br></strong>Sr
 ikrishna Gurumurthy\, Freshman\, Biology\, Redmond<br>Kaitlin Singer\, Gra
 d\, Epidemiology\, Macomb\, MI<br>Michael Stella\, Freshman\, Political Sc
 ience/Economics\, Puyallup  </p>\n<p><strong>AL
 TO SAXOPHONE<br></strong>Xin Cen\, Junior\, Molecular\, Cellular\, and Dev
 elopmental Biology\, Bellevue<br>Matthew Holmes\, Grad\, Aero &amp; Astro\, Wi
 nters\, CA<br>Ethan Kaplan\, Junior\, Electrical and Computer Engineering\
 , Seattle<br>Aurysia Ko\, Junior\, Business Administration - Marketing and
  Information Systems\, Lynnwood<br>Becca Langstraat\, Community Member\, S
 eattle<br>Arnav Mazumder\, Sophomore\, Computer Science\, Dallas\, TX<br>J
 oalda Morancy\, Grad\, Aerospace\, Seattle<br>Trey Sutherland\, Community 
 Member\, Everett<br>Jason Taylor\, Sophomore\, Community Member\, Indianap
 olis\, IN</p>\n<p><strong>TENOR SAXOPHONE<br></strong>Paige Delaney\, Junior\, Architecture\, West Seattle<br>Ronan Fiat\
 , Junior\, Chemical Engineering\, Seattle<br>Ethan Young\, Junior\, Premaj
 or\, Port Orchard</p>\n<p><strong>BARITONE SAXO
 PHONE<br></strong>Matthew Ohliger\, Sophomore\, Environmental Public Healt
 h\, Montgomery\, AL</p>\n<p><strong>BASSOON<br>
 </strong>Olivia Whitford\, Sophomore\, Oceanography\, Seattle             
                                                                           
                                                                           
                                                                           
                                                                           
                                                                           
    </p>\n<p><strong>FRENCH HORN<br></strong>Kar
 en Mildes\, Community Member\, Bothell<br>Jonah Miyashiro\, Senior\, Biolo
 gy\, Honolulu\, HI                  <br>Kristie Williams\, Alumna\, Napa V
 alley\, CA</p>\n<p><strong>TRUMPET<br></strong>
 Sam Brusstar\, Sophomore\, Presciences\, Chicago\, IL<br>Oliver Fraser\, C
 ommunity Member\, Lake Forest Park<br>Zach Grimm\, Junior\, Mechanical Eng
 ineering\, Camas<br>Ethan Gu\, Freshman\, Biochemistry\, Yakima<br>Alex Li
 n\, Freshman\, ENGRUD\, Vancouver<br>Chad Miller\, Grad\, Psychology\, Lan
 sing\, KS<br>Annabelle Mirhashemi\, Grad\, Social Work\, CA<br>Connor Mitc
 hell\, Senior\, Civil Engineering\, Tumwater<br>Adam Rehmann\, Sophomore\,
  Mechanical Engineering\, Vancouver<br>Jonathan Sarmiento\, Senior\, Mecha
 nical Engineering\, Manson</p>\n<p><strong>TROM
 BONE<br></strong>Shaan Chetanwala\, Junior\, Music Theory\, Seattle<br>Myc
 ah Davis\, Community Member\, Burien<br>Luke Gillin\, Sophomore\, Biology 
 Physiology\, Ho Chi Minh City\, Vietnam<br>Mark Han\, Freshman\, Informati
 cs\, Beijing\, China<br>Wyatt Langstraat\, Community Member\, Seattle<br>E
 lliott Mantock\, Community Member\, Burien<br>Jasmine Schoch\, Senior\, Co
 mputer Science\, Leesburg\, VA<br>Kai Kelika Turner\, Freshman\, Business\
 , Bremerton<br>Will Vanderburght\, Junior\, Political Science and Internat
 ional Studies\, Vancouver<br>Naomi Williams\, Community Member (music teac
 her)\, Lynnwood</p>\n<p><strong>EUPHONIUM      
  <br></strong>Jenna Thomson\, Freshmen\, Environmental Science\, Anchorage
 \, AK</p>\n<p><strong>TUBA<br></strong>Jason La
 i\, Freshmen\, Mechanical Engineering\, Camas</p>\n<p><strong>PERCUSSION<br></strong>Jian-Hong Chen\, Junior\, Mechanical
  Engineering\, Taipei\, Taiwan<br>Meha Farrokhi\, Freshman\, Biochemistry\
 , Vancouver\, British Columbia<br>Charlotte Greene\, Junior\, Atmospheric 
 Sciences: Climate\, Lynden<br>Kendall Johnson\, Grad\, Mechanical Engineer
 ing\, La Conner<br>Clara Stanbury\, Grad\, Oceanography\, Auburn\, AL<br>J
 aden Zika\, Sophomore\, Psychology\, Livermore\, CA</p>
DTSTART;TZID=America/Los_Angeles:20241121T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:111
SUMMARY:: Campus and Concert Bands: Colors in Motion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-22/campus-and-concert-bands
 -colors-motion
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The Campus Band (Solomon Encina\, c
 onductor) and Concert Band (David Stewart\, Yuman Wu\, conductor) present 
 'Colors in Motion\,' a program of music by Malcom Arnold\, Brian Balmages\
 , Todd Starlter\, Frank Erickson\, John Barnes Chance\, and others.</p>  <h3>Program</h3> <h4><br>University of Washi
 ngton Campus Band<br><em></em></h4> <p><em>Solo
 mon Encina\, director</em></p> <p><strong>Ignit
 ion </strong>(2011)<span>: </span>Todd Stalter (b. 1966)<br><br><strong>Ai
 r For Band</strong> (1956):<span> </span>Frank Erickson (1923 - 1996)<br>&lt;
 br&gt;<strong>To A New Dawn </strong>(2000):<span>  </span>Philip Sparke (b. 
 1951)</p> <p><strong>University of Washington S
 axophone Quartet<br></strong><strong>Quatuor Pour Saxophones</strong> (194
 9): Faustin Jeanjean (1900-1979) and Maurice Jeanjean (1897-1968)<br>III. 
 Papillons (Scherzo)<br>IV. Concert Sur La Place (Humoristique)<br><br>Super Smash Bros. Brawl - Main Theme</strong> (2008)<span>: </span>Nob
 uo Uematsu (b. 1959) arr. Chinmay Murthy (b. 2004)</p> <h4><br>University of Washington Concert Band<br><br><em></em></h4> <p><em>David Stewart\, Yuman Wu\, directors</em></p> <p><strong>Prelude\, Siciliano and Rond
 o</strong> (1963/1979)<span>: </span>Malcolm Arnold (1921-2006) trans. Joh
 n P. Painter (1928-1996)<br>I. Prelude<br>II. Siciliano<br>III. Rondo<br>&lt;
 br&gt;<strong>Rippling Watercolors</strong> (2015)<span> : </span>Brian Balma
 ges (b. 1975)<br><br><strong>Incantation and Dance</strong> (1963): John B
 arnes Chance (1932-1972)</p> <hr> <h3>PROGRAM N
 OTES</h3> <p><strong><em>Ignition</em></strong>
  is a blindingly fast\, raucously energetic concert opener that derives it
 s title from the consecutive rising three-note cells that are the building
  blocks for the work. However\, the energy unleashed in the music and the 
 imagery of the title serve both as a metaphor for the “spark” of creativit
 y\, and as a “celebration in sound” for those who find and follow their ow
 n true life’s passion and pass it along to others\, “igniting” the flame f
 or another generation. <em>(program note from publisher)</em></p> <p>One of the stronger tendencies of twentieth century 
 music has been a return to certain aspects of music of the Baroque and Cla
 ssical periods. Compositions falling into this category are referred to as
  “neo classic.” <strong><em>Air for Band</em></strong> is such a piece. Th
 e form (binary) was quite common in the Baroque period and the melody and 
 harmonies were strongly influenced by the works of Bach. <em>(program note
  from score)</em></p> <p><strong><em>To A New D
 awn</em></strong> was commissioned by the United States Continental Army B
 and\, Captain Timothy J. Holtan\, Commander and Conductor. The brief was f
 or a piece to celebrate the 3<sup>rd</sup> Millennium\, and it was the com
 poser’s aim to provide a work which\, as well as looking forward to the ch
 allenges of the new century\, also contained moments of reflection about t
 he last one. After a bright introduction featuring the trumpets\, a perky 
 theme\, passing quickly through several keys\, appears on the woodwinds. A
  solo trumpet takes up a new theme over bubbling quavers (eighth notes) an
 d this leads to a rhythmic figure on low clarinets\, followed by the upper
  woodwinds. A brass interlude follows and\, after a short bridge passage\,
  an oboe takes up a contrasting legato tune that builds to a climax. An an
 dante section follows with solos for horn and flugel horn (or trumpet) and
  a florid flute cadenza. A passionate climax leads back to the faster musi
 c and\, eventually to a full recapitulation\, revisiting the earlier mater
 ial before a lively coda close the work as it began. <em>(program note fro
 m publisher)</em></p> <p> </p> <p>While relatively minor composers overall\, Faustin and Mauri
 ce Jeanjean’s <strong><em>Quatuor Pour Saxophones</em></strong> has noneth
 eless established a place in the foundational saxophone quartet repertoire
 . Like numerous other important works for the genre\, it was written for t
 he Quatuor de la Garde Republicaine\, the saxophone section from France’s 
 premier military wind ensemble. The quartet\, first established by saxopho
 nist Marcel Mule in 1927\, would proceed to cement the saxophone’s place i
 n the chamber music medium. Finished by Faustin JeanJean in 1949\, thirtee
 n years after Mule had left the Garde Republicaine\, this quartet consists
  of four programmatic movements\, two of which will be presented here. Pap
 illons is an intense composition full of tension and dramatic shifts in st
 yle in a cascading triple-meter. Concert sur la place (Concert on the Squa
 re) is a humorous finale set in a lively duple-meter\, featuring short sol
 o interjections from each voice.</p> <p>The mai
 n theme from <strong><em>Super Smash Bros. Brawl\,</em></strong> originall
 y composed by Nobuo Uematsu\, is a powerful\, cinematic piece that has bec
 ome an iconic part of the gaming world. Written for the 2008 release of Su
 per Smash Bros. Brawl on the Nintendo Wii\, the theme combines Latin chora
 l lyrics\, intense orchestration\, and a dramatic melody to set the tone f
 or the game’s epic battles. This saxophone quartet arrangement captures th
 e grandeur and excitement of the original\, translating it into a rich\, i
 mmersive soundscape that showcases the versatility of the saxophone family
 .</p> <p><strong><em>Prelude\, Sicilliano and R
 ondo</em></strong> was first written in 1963 for brass band under the titl
 e <em>Little Suite for Brass.</em> Paynter’s arrangement for wind bands in
 cludes woodwinds and additional percussion but retains the breezy efferves
 cence of the original work. All three movements are written in short\, cle
 ar\, five-part song forms. The A-B-A-C-A is instantly apparent to the list
 ener while giving the composer’s imaginative melodies a natural\, almost f
 olklike\, settings. The Prelude begins bombastically in a fanfare style bu
 t reaches a middle climax and winds down to a quiet return of the opening 
 measures\, which fade to silence. The liltingly expressive Siciliano is bo
 th slower and more expressive than the other movements\, thus allowing sol
 o instruments and smaller choirs of sound to be heard. It also ends quietl
 y. The rollicking five-part Rondo provides a romping finale in which the t
 echnical facility of the modern wind band is set forth in boastful brillia
 nce. <em>(program note from Program Notes for Band)</em></p> <p><strong><em>Rippling Watercolors</em></strong> came from 
 a simple set of watercolors. When children get hold of these and use their
  imagination\, the most amazing things can happen. Children can see things
  that adults never see. They open our minds while we help them grow and le
 arn. With a little imagination\, these watercolors can become a magnificen
 t sunrise or sunset over the ocean\, a gorgeous view from a mountaintop\, 
 or an image of a supernova in space. The smallest drop can change the patt
 ern and create something entirely new\, either with a brush or entirely wi
 thin nature. It is my hope that my daughters grow up with an infinite pale
 tte of watercolors\, and that every drop creates a new\, fantastic world. 
 <em>(program note by composer)</em></p> <p><em>Incantation and Dance</em></strong> came into being during <strong>John Barnes Chance’s</strong> residency at Greensboro and was originally 
 called <em>Nocturne and Dance</em>– it went on to become his first publish
 ed piece for band. Its initial “incantation\,” presented in the lowest reg
 ister of the flutes\, presents most of the melodic material of the piece. 
 Chance uses elements of bitonality throughout the opening section to creat
 e a “sound world mystically removed from itself.” This continues as the da
 nce elements begin to coalesce. Over a sustained bitonal chord (E-flat maj
 or over an A pedal)\, percussion instruments enter one by one\, establishi
 ng the rhythmic framework of the dance to come. A whip crack sets off furi
 ous brass outbursts. When the dance proper finally arrives\, its asymmetri
 cal accents explicitly suggest a 9/8 + 7/8 feel\, chafing at the structure
  of 4/4 time. (p<em>rogram note from Wind Band Literature)</em></p> <table> <tbody> <tr> <td> <h4>UNIVERSITY OF WASHINGTON CAMPUS BAND<br><br></h4> 
 <p><strong>FLUTE<br></strong>Brinda Arun\, Freshman\, Pre-Sciences\, Redmo
 nd<br>Lydia Blair\, Freshman\, Engineering\, Seattle<br>Emily Charles\, So
 phomore\, Marine Biology\, New Boston\, NH<br>Peg Curtin\, Community Membe
 r\, Seattle<br>Victoria Ebert\, Grad\, Ph.D. Computer Science &amp; Engineerin
 g\, Portland\, OR<br>Sarah Edwards\, Freshman\, Undeclared Engineering\, M
 ukilteo<br>Julia Frazer\, Freshman\, Computer Science\, Oysterville<br>Mar
 ia Granzeier\, Sophomore\, Biochemistry\, Rockford\, IL<br>Hareesh Iyer\, 
 Grad\, Ph.D. Materials Science &amp; Engineering\, San Jose\, CA<br>Satoshi Jo
 no\, Sophomore\, Global Studies\, Tokyo\, Japan<br>Sanskriti Joshi\, Grad\
 , Ph.D. in Electrical &amp; Computer Engineering\, Dublin\, OH<br>Nora Katiyar
 \, Sophomore\, Art\, Cleveland\, OH<br>Chiche Okemgbo\, Freshman\, Pre-Arc
 hitecture\, Medical Lake<br>Isabelle Paulsen\, Freshman\, Pre-Science\, Sn
 ohomish<br>Maya Rasche\, Freshman\, Undeclared Arts &amp; Sciences\, Kirkland&lt;
 /p&gt; <p><strong>OBOE<br></strong>Kaitlin Brouillard\, Community Member\, Re
 dmond\, OR</p> <p><strong>BASSOON<br></strong>Hunter Bergstrom\, Freshman\
 , Undeclared\, Snoqualmie<br>Krish Doshi\, Freshman\, Computer Science\, B
 othell</p> <p><strong>CLARINET<br></strong>Dani Ballesteros\, Freshman\, C
 omputer Science\, Snoqualmie<br>Lucianna Caro\, Freshman\, Environmental S
 cience\, Snoqualmie/North Bend<br>Natasha Crepeau\, Grad\, Ph.D. Math\, Br
 ooklyn\, NY<br>Catherine Ensch\, Community Member\, Seattle<br>Natalie Ker
 ns\, Freshman\, Music Education\, Port Orchard<br>Sonali Kumar\, Freshman\
 , Engineering\, Portland\, OR<br>Jonathan Li\, Junior\, Aeronautics &amp; Astr
 onautics Engineering\, Bernardsville\, NJ<br>Marisa Oishi\, Freshman\, Inf
 ormatics\, Bremerton<br>Sage Ramberg\, Law\, Society &amp; Justice/Ethnomusico
 logy\, St. Paul\, MN<br>Bailey Stachelski\, Freshman\, Pre-Major Arts &amp; Sc
 iences\, Snoqualmie<br>Kenzie Winchell\, Sophomore\, Psychology\, Spanaway
 <br>Helen Yang\, Community Member\, Bellevue</p> <p><strong>BASS CLARINET&lt;
 br&gt;</strong>Ian Bosman-Rodriguez\, Freshman\, Edmonds<br>Conrad Gauss\, Fr
 eshman\, Engineering\, Bellevue<br>Akshat Ghuge\, Freshman\, Informatics\,
  Dallas\, TX</p> <p><strong>ALTO SAXOPHONE<br></strong>Abhinadan Basak\, S
 ophomore\, Mechanical Engineering\, Bothell<br>Xander Bishop\, Senior\, Ge
 ography Data Science\, Kelso<br>Andrew Eisenhauer\, Junior\, Biology/Envir
 onmental Science and Resource Management\, Bellingham<br>Kevin Feng\, Comm
 unity Member\, Seattle<br>Ellie Kiffe\, Freshman\, Meteorology\, Marysvill
 e<br>Maria Mendez Tomas\, Junior\, Biology/Physiology\, Vancouver<br>Chika
 ra Nakamura\, Freshman\, Pre-Social Sciences\, Tokyo\, Japan<br>Rebecca Qi
 an\, Freshman\, Speech &amp; Hearing Sciences\, Seattle<br>Lexi Vasbinder\, Co
 mmunity Member\, Jackson\, MI</p> <p><strong>TENOR SAXOPHONE<br></strong>J
 ackson Butterfield\, Freshman\, Creative Writing/Film Studies\, Maple Vall
 ey</p> <p><strong>TRUMPET<br></strong>Maddie Bartlett\, Freshman\, Compute
 r Science\, Ritzville<br>Joy Businge\, Freshman\, Engineering\, Puyallup<b r>Clark Chin\, Junior\, Informatics\, Issaquah<br>Tracy Chin\, Grad Ph.D. 
 Math\, San Diego\, CA<br>Paige Jenkins\, Junior\, Political Science\, Whid
 bey Island<br>Rhoss Manley\, Sophomore\, Biochemistry\, Kirkland<br>Louisa
  Paulsen\, Freshman\, Undeclared Engineering\, Puyallup</p> <p><strong>HOR
 N<br></strong>Andrew Chen\, Community Member\, Othello<br>George Widdon\, 
 Sophomore\, Global &amp; Regional Studies\, Littleton\, CO</p> <p><strong>TROM
 BONE<br></strong>Cade Ballew\, Grad\, Ph.D. Applied Math\, Norman\, OK<br>
 Jaeseo Choi\, Junior\, Electrical &amp; Computer Engineering\, Seoul\, South K
 orea<br>Oskar Cole\, Freshman\, Computer Science\, Redmond<br>Nikkil Kini\
 , Freshman\, Pre-Sciences\, Coppell\, TX<br>Mateo Roldan\, Grad\, Ph.D. Or
 ganizational Behavior\, Ft. Lauderdale\, FL</p> <p><strong>EUPHONIUM<br></strong>Victoria Rose\, Community Member\, Hillsboro\, WV</p> <p><strong>TU
 BA<br></strong>Benito Correa\, Junior\, Computer Engineering\, Mount Verno
 n</p> <p><strong>PERCUSSION<br></strong>Avi Bose\, Grad\, Master’s Civil E
 ngineering\, Brooklyn\, NY<br>Meha Farrokhi\, Freshman\, Biochemistry\, Va
 ncouver\, Canada<br>Patrick Henry\, Freshman\, Psychology\, Vancouver<br>D
 ante Rieger\, Junior\, Mechanical Engineering\, Marysville<br>Kyra Schlezi
 nger\, Senior\, Atmospheric &amp; Climate Science\, Burlingame\, CA<br>Yinuo X
 u\, Sophomore\, Chemistry\, Guangzhou\, China</p> <strong><br></strong> <strong></strong>UW SAXOPHONE QUARTET<br><br></h4> <p><strong>SOPRANO SA
 XOPHONE<br></strong>Curtis Chung\, Jr.\, Mechanical Engineering\, Sunnyval
 e\, CA</p> <p><strong>ALTO SAXOPHONE<br></strong>Chinmay Murthy\, Jr.\, El
 ectrical and Computer Engineering\, Fremont\, CA</p> <p><strong>TENOR SAXO
 PHONE<br></strong>Jony Wang\, Jr.\, Psychology Pre-Med\, Broomfield\, CO</p> <p><strong>BARITONE SAXOPHONE<br></strong>Vichet Ros\, Jr.\, Music Educ
 ation\, Burien<br> </p> <h4>UNIVERSITY OF WASHINGTON CONCERT BAND<br><br>&lt;
 /h4&gt; <p><strong>FLUTE<br></strong>Mimmi Beck\, 
 Community Member\, Gig Harbor<br>Brianna Blanchard\, Junior\, Environmenta
 l Public Health\, Shoreline<br>Kendra Colyer\, Community Member\, Seattle&lt;
 br&gt;Maggie Cook\, Grad\, Molecular Engineering\, Union\, KY<br>Hayley Cox\,
  Sophomore\, Aerospace and Astronautical Engineering\, Shoreline<br>Fanny 
 Hang\, Senior\, ACMS\, Wuxi\, China<br>Maggie Hedrick\, Sophomore\, Mechan
 ical Engineering\, Kettle Falls<br>Allison Huang\, Senior\, Finance &amp; Info
 rmation Systems\, Fremont\, CA<br>Abigail Klein\, Freshman\, Computer Scie
 nce\, Burien<br>Kristy Le\, Sophomore\, Art\, Burien<br>Fletcher Lohrentz\
 , Sophomore\, Physics &amp; Astronomy\, Shoreline<br>Noah Mason\, Junior\, Mec
 hanical Engineering\, Bellingham<br>Ziwen Meng\, Sophomore\, Informatics\,
  China<br>Jason Pham\, Sophomore\, Biology/Physiology\, Lacey<br>Keming Qi
 u\, Sophomore\, Biochemistry\, Bellevue<br>Alex Runnels\, Freshman\, Lingu
 istics\, Burien<br>Kayla Simerson\, Sophomore\, Geology\, Shoreline<br>Bri
 gitta Sipőcz\, Community Member\, Seattle<br>Dennis Toepker\, Community Me
 mber\, Bellevue<br>Esther Wang\, Sophomore\, Biochemistry\, Taoyuan\, Taiw
 an<br>Julia Winget\, Freshman\, Earth and Space Science Physics\, Cincinna
 ti\, OH</p> <p><span> </span><strong>OBOE<br></strong>Stacy Schulze\, Community Member\, Richmond\, TX</p> <p><strong>CLARINET<br></strong>Cin Ahrens\, Junior\, Compute
 r Science and Mathematics\, White Salmon<br>CC Ahrens\, Junior\, Computer 
 Science\, and Mathematics\, White Salmon<br>Aaron\, Junior\, Public Health
 \, Bellevue<br>Jovani Azpeitia\, Grad\, Psychology\, Kirkland<br>David Che
 n\, Freshman\, Engineering\, Vancouver<br>Jah Chen\, Junior\, Informatics\
 , Bellevue<br>Gael Chun-Rivas\, Freshman\, Engineering\, Honolulu\, HI<br>
 Eliezer\, Sophomore\, Psychology\, Puyallup<br>Marina Figueroa-Rowen\, Gra
 d\, N/A\, Long Beach\, CA<br>David Graham\, Community Member\, London\, En
 gland<br>Elizabeth Hirman\, Junior\, MCD Biology\, Mill Creek<br>Nel Jacob
 s\, Community Member\, Seattle<br>Kevin Kim\, Sophomore\, Computer Science
 \, Vancouver<br>June Lopez\, Community Member\, Leesburg\, VA<br>Ayari Lop
 ez\, Freshman\, Engineering undeclared\, San Diego\, CA<br>Ameena Majeed\,
  Sophomore\, Biology\, Seattle<br>Ella Morrow\, Sophomore\, Biology\, Vanc
 ouver<br>Grace Rodger\, Junior\, Psychology\, Dupont</p> <p><strong>BASS CLARINET<br></strong>Srikrishna Gurumurthy\, Fre
 shman\, Biology\, Redmond<br>Kaitlin Singer\, Grad\, Epidemiology\, Macomb
 \, MI<br>Michael Stella\, Freshman\, Political Science/Economics\, Puyallu
 p<span>  </span></p> <p><strong>ALTO SAXOPHONE&lt;
 br&gt;</strong>Xin Cen\, Junior\, Molecular\, Cellular\, and Developmental Bi
 ology\, Bellevue<br>Matthew Holmes\, Grad\, Aero &amp; Astro\, Winters\, CA<br>Ethan Kaplan\, Junior\, Electrical and Computer Engineering\, Seattle<br>
 Aurysia Ko\, Junior\, Business Administration - Marketing and Information 
 Systems\, Lynnwood<br>Becca Langstraat\, Community Member\, Seattle<br>Arn
 av Mazumder\, Sophomore\, Computer Science\, Dallas\, TX<br>Joalda Morancy
 \, Grad\, Aerospace\, Seattle<br>Trey Sutherland\, Community Member\, Ever
 ett<br>Jason Taylor\, Sophomore\, Community Member\, Indianapolis\, IN</p>
  <p><strong>TENOR SAXOPHONE<br></strong>Paige D
 elaney\, Junior\, Architecture\, West Seattle<br>Ronan Fiat\, Junior\, Che
 mical Engineering\, Seattle<br>Ethan Young\, Junior\, Premajor\, Port Orch
 ard</p> <p><strong>BARITONE SAXOPHONE<br>Matthew Ohliger\, Sophomore\, Environmental Public Health\, Montgomery\
 , AL</p> <p><strong>BASSOON<br></strong>Olivia 
 Whitford\, Sophomore\, Oceanography\, Seattle<span>                       
                                                                           
                                                                           
                                                                           
                                                                           
                                                                    </span>
 </p> <p><strong>FRENCH HORN<br></strong>Karen M
 ildes\, Community Member\, Bothell<br>Jonah Miyashiro\, Senior\, Biology\,
  Honolulu\, HI<span>                  <br></span>Kristie Williams\, Alumna
 \, Napa Valley\, CA</p> <p><strong>TRUMPET<br>&lt;
 /strong&gt;Sam Brusstar\, Sophomore\, Presciences\, Chicago\, IL<br>Oliver Fr
 aser\, Community Member\, Lake Forest Park<br>Zach Grimm\, Junior\, Mechan
 ical Engineering\, Camas<br>Ethan Gu\, Freshman\, Biochemistry\, Yakima<br>Alex Lin\, Freshman\, ENGRUD\, Vancouver<br>Chad Miller\, Grad\, Psycholo
 gy\, Lansing\, KS<br>Annabelle Mirhashemi\, Grad\, Social Work\, CA<br>Con
 nor Mitchell\, Senior\, Civil Engineering\, Tumwater<br>Adam Rehmann\, Sop
 homore\, Mechanical Engineering\, Vancouver<br>Jonathan Sarmiento\, Senior
 \, Mechanical Engineering\, Manson</p> <p>TROMBONE<br></strong>Shaan Chetanwala\, Junior\, Music Theory\, Seattle
 <br>Mycah Davis\, Community Member\, Burien<br>Luke Gillin\, Sophomore\, B
 iology Physiology\, Ho Chi Minh City\, Vietnam<br>Mark Han\, Freshman\, In
 formatics\, Beijing\, China<br>Wyatt Langstraat\, Community Member\, Seatt
 le<br>Elliott Mantock\, Community Member\, Burien<br>Jasmine Schoch\, Seni
 or\, Computer Science\, Leesburg\, VA<br>Kai Kelika Turner\, Freshman\, Bu
 siness\, Bremerton<br>Will Vanderburght\, Junior\, Political Science and I
 nternational Studies\, Vancouver<br>Naomi Williams\, Community Member (mus
 ic teacher)\, Lynnwood</p> <p><strong>EUPHONIUM
 <span>       <br></span></strong>Jenna Thomson\, Freshmen\, Environmental 
 Science\, Anchorage\, AK</p> <p><strong>TUBA<br></strong>Jason Lai\, Freshmen\, Mechanical Engineering\, Camas</p> <p sty le=' 400\;'><strong>PERCUSSION<br></strong>Jian-Hong Chen\, Ju
 nior\, Mechanical Engineering\, Taipei\, Taiwan<br>Meha Farrokhi\, Freshma
 n\, Biochemistry\, Vancouver\, British Columbia<br>Charlotte Greene\, Juni
 or\, Atmospheric Sciences: Climate\, Lynden<br>Kendall Johnson\, Grad\, Me
 chanical Engineering\, La Conner<br>Clara Stanbury\, Grad\, Oceanography\,
  Auburn\, AL<br>Jaden Zika\, Sophomore\, Psychology\, Livermore\, CA</p> &lt;
 /td&gt; </tr> </tbody> </table>
END:VEVENT
BEGIN:VEVENT
UID:1c9a8c42-2c32-49e9-88f8-d2df42187ecf
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Faculty Performances\, Visiting Artists and S
 cholars
CLASS:PUBLIC
CREATED:20241120T200354Z
DESCRIPTION:<p>This four-day gathering focuses on participatory practices\,
  especially music and dance\, that encourage people of diverse skills and 
 abilities to engage creatively.  </p>\n<p>Events are at the UW Waterfront 
 Activities Center (3710 Montlake Blvd NE\, Seattle\, WA 98195) and the Sea
 ttle Amistad School (1501 10th Ave E\, Seattle\, WA 98102) and are free an
 d open to the public.</p>\n<p>Details and a full schedule of events can be
  found <a href='https://seattleparticipatoryartsnetwork.my.canva.site/#ful
 l-speakers-list' target='_blank' rel='noopener noreferrer'>here.</a></p>
DTSTART;TZID=America/Los_Angeles:20241122T000000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:112
SUMMARY:: External Event: Seattle Participatory Arts Network Conference
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-21/external-event-seattle-p
 articipatory-arts-network-conference
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>This four-day gathering focuses on pa
 rticipatory practices\, especially music and dance\, that encourage people
  of diverse skills and abilities to engage creatively.  </span></p> <p>Events are at the UW Waterfront Activities Center (3710 Montlake Blvd N
 E\, Seattle\, WA 98195) and the Seattle Amistad School (1501 10th Ave E\, 
 Seattle\, WA 98102) and are free and open to the public.</span></p> <p>Details and a full schedule of events can be found <a href='https://sea
 ttleparticipatoryartsnetwork.my.canva.site/#full-speakers-list' target='_b
 lank' rel='noopener noreferrer'>here.</a></span></p>
END:VEVENT
BEGIN:VEVENT
UID:bc1b8dcc-5d88-4374-a02b-5e9aff2eb459
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T175951Z
DESCRIPTION:<p> </p>\n\n<p>The University Singers\, Treble Choir\, and UW G
 lee Club present an eclectic program of music from around the world\, folk
  tunes\, and arrangements of popular music standards.</p>\n\n<hr>\n<h3>Pro
 gram</h3>\n\n<p> </p>\n\n<h4> <b>GLEE </b></h4>\n\n<p>Directed By: <br>\nD
 avid Ferguson - DMA Student <br>\nAdam Freemantle- MM Student <br>\nEgija 
 Claire - MM Student <br>\nCollaborative Pianist - Steve Swanson </p>\n\n<p><b>Santiana </b><br>\nSea Shanty\, arranged by Sean Barnette </p>\n\n<p>&lt;
 b&gt;Rīta un vakara dziesma (Morning and Evening Song) </b><br>\nMusic: Raimo
 nds Tiguls <br>\nPoetry: Rasa Bugavičute-Pēce </p>\n\n<p><b>Prairie Spring
  </b><br>\nMusic: Isaac Lovdahl <br>\nText: Willa Cather </p>\n\n<p><b>Sta
 nd Up (from Harriet: The Musical) </b><br>\nMusic and Lyrics by Cynthia Er
 ivo and Joshuah Brian Campbell </p>\n\n<h4><b>UNIVERSITY SINGERS </b></h4>
 \n\n<p>Directed by: <br>\nMichael McKenzie - DMA Student <br>\nAlexandra R
 ameau - MM Student <br>\nCollaborative Pianist - Steve Swanson </p>\n\n<p>
 <b>Lumen </b><br>\nMusic: Abbie Betinis </p>\n\n<p><b>Heart of Stone </b>&lt;
 br&gt;\nWords and Music: Toby Marlow and Lucy Moss\, arr. Andy Beck </p>\n\n&lt;
 p&gt;<b>Chasing Visions </b><br>\nWords and Music: Don Macdonald </p>\n\n<p>&lt;
 b&gt;Glory Bound </b><br>\nWords and Music: Ruth Moody\, ad. Michael McKenzie
  </p>\n\n<h4><b>TREBLE CHOIR </b></h4>\n\n<p>Directed by: <br>\nHelen Wood
 ruff - MM Student <br>\nHeidi Blythe - DMA Student <br>\nCollaborative Pia
 nist\, Steve Swanson </p>\n\n<p><b>Song of Miriam </b><br>\nElaine Hagenbe
 rg </p>\n\n<p><b>Landslide </b><br>\nStevie Nicks\, arr. Mary Anne Muglia 
 </p>\n\n<p><b>Light of a Clear Blue Morning </b><br>\nDolly Parton\, arr. 
 Craig Hella Johnson </p>\n\n<p>Soloist: Mari Hirayama <br>\nTrio: Helen Ch
 en\, Sydney Jordan\, LJ LeBlanc <br>\nInstrumentalist: Ling Yang </p>\n\n&lt;
 p&gt;<b>Hope is a Thing With Feathers </b><br>\nEmma Lou Diemer<b> </b></p>\n
 \n<h4><br>\n<b>COMBINED CHOIRS </b></h4>\n\n<p><b>Journey On </b><br>\nWor
 ds and Lyrics by Derrick Fox </p>\n\n\n	\n		\n			\n			<h4><b>GLEE </b></h4>\n\n			<p>E
 zra Acevedo <br>\n			Edén Alvarado <br>\n			Alex Beck <br>\n			Sarah Carpenter <br>
 \n			Hannah Carpenter <br>\n			Andrea Chen <br>\n			Egija Claire <br>\n			Mario D'Ambr
 osio <br>\n			Nicolo Dolge <br>\n			Zilin Fang <br>\n			David Ferguson <br>\n			Adam F
 reemantle <br>\n			Jonas Golm <br>\n			Gabe Harlev <br>\n			Jack Hawley <br>\n			Aiden
  Hochstatter <br>\n			Paul Johns <br>\n			Yuna Kawashima <br>\n			Joshua Kingsley &lt;
 br&gt;\n			Jack Li <br>\n			Elijah Marucheck <br>\n			Pasquale Masuccio <br>\n			Avi Mitt
 al <br>\n			Hunter Parker <br>\n			Pascale Yong Sarguna Packia Raj <br>\n			Maral S
 aikhanaa <br>\n			Hao Shen <br>\n			Cole Siegrist <br>\n			Carmela Stewart <br>\n			Ka
 te Taricani <br>\n			Josiah Thulin <br>\n			Caleb Tobing <br>\n			Danny Vizenor <br>\n			Thomas Wardian <br>\n			Jenson Zhang </p>\n\n			<h4><b>UNIVERSITY SINGERS </b></h4>\n\n			<p>Aiden Clegg <br>\n			Aislinn Radek <br>\n			Ana Maria Cunningham <b r>\n			Belle Pearson <br>\n			Brooklynn Ginsburg <br>\n			Camryn Smith <br>\n			Chloe 
 Chai <br>\n			Coleman Brenner <br>\n			Diya Nahar <br>\n			Don Percival <br>\n			Elija
 h Graham <br>\n			Felix Solem <br>\n			Gabe Harlev <br>\n			Grace Curry <br>\n			Irene
  Cai <br>\n			Johnny Nguyen <br>\n			Josie Augustavo <br>\n			Julian Zhang <br>\n			Ka
 tie Davis <br>\n			Ken Kanadi <br>\n			Kristen Li <br>\n			Kyle Grant <br>\n			Lexie P
 ayton <br>\n			Li-Neishin Co <br>\n			Lilah Johnson <br>\n			Lyric Hawk <br>\n			Madel
 yn Price <br>\n			Madi Winegrad <br>\n			Mari Hirayama <br>\n			Marissa Romeo <br>
 \n			Minh Nguyen <br>\n			Noah Berhan <br>\n			Pragnya Gudipati <br>\n			Rain Anderson
  <br>\n			Riley Gudgel <br>\n			Samantha Corcoran <br>\n			Samantha Grover <br>\n			Sa
 muel Terk <br>\n			Sophie Mansour <br>\n			Vincent Bailon </p>\n\n			<h4><b>TREBLE 
 CHOIR </b></h4>\n\n			<p>Haruka Abe <br>\n			Hope Ambachew <br>\n			Maggie Anderson
  <br>\n			Ava Babcock <br>\n			Aradhana Babu <br>\n			Leah Barracoso <br>\n			Freya Be
 nnett <br>\n			Emily Marie Blake <br>\n			Lucy Brandt <br>\n			Taylor Nicole Burbac
 her <br>\n			Emily Cady <br>\n			Olivia Cady <br>\n			Chrisina Cai <br>\n			Isamar Cha
 vez <br>\n			Helen Chen <br>\n			Isabella Jin Chen <br>\n			Karen Chen <br>\n			Tsz Wa
 i Chen <br>\n			Hannah Cheng <br>\n			Ella Collins <br>\n			Kirsten Conover <br>\n			J
 J DeNunzio <br>\n			Kay Eastwood <br>\n			Olivia Flesher <br>\n			Julia Fraczek <br>\n			Zanne Gerrard <br>\n			Berlin Aariana Gharst <br>\n			Amy Gretch <br>\n			Abigai
 l Michaela Grove <br>\n			Samantha Oledan Grover <br>\n			Gail Guisinger <br>\n			S
 imran Gupta <br>\n			Emma Guyon <br>\n			Ava Herman <br>\n			Rebecca Himeda <br>\n			M
 ari Hirayama <br>\n			Sammi Huang <br>\n			Stella Hudson <br>\n			Abby Hussein <br>
 \n			Takoda Jessen <br>\n			Sydney Jordan <br>\n			Grace Catherine Kamila <br>\n			Yun
 a Kawashima <br>\n			Christina Kim <br>\n			Alex Kittnar <br>\n			Nishtha Kumar <br>\n			Alex Lardent <br>\n			Cadence Lay <br>\n			LJ LeBlanc <br>\n			Chloe Lian <br>\n
 			Christine Lin <br>\n			MaryGrace Linsley <br>\n			Miklayne Lowe <br>\n			Emily Ma &lt;
 br&gt;\n			Estella Marchand <br>\n			Ana Marriott <br>\n			Annabelle Carlota Marin <br>\n			Isadora Miller <br>\n			Tatiana Monserrat<br>\n			Miranda Benavides <br>\n			Cat
 inca Mosley <br>\n			Debora Mugisha <br>\n			Rebecca Kathleen Munk <br>\n			Alinah 
 Nepean <br>\n			Delaney Orzol <br>\n			Camille Ott <br>\n			Ava Pakzad Sedigh <br>
 \n			Grace Pardini <br>\n			Vienne M Peterson <br>\n			Emily Ann Pinneo <br>\n			Esthe
 r S Prabahkar <br>\n			Maddie Pryde <br>\n			Vydhourie R T Thiyageswaran <br>\n			M
 ia Rapp <br>\n			Emma Reed <br>\n			Alexandria Maria Retteghieri <br>\n			Lola Rogi
 n <br>\n			Megan E Romesberg <br>\n			Ofelia M Sanchez <br>\n			Sarah Katherine Sch
 afer <br>\n			Malia Dawn Schomaker <br>\n			Marina Rae Sellers <br>\n			Audrey Simo
 nnet <br>\n			Andal Rajalakshmi Sridhar <br>\n			Madeline Stroup <br>\n			Kate Tari
 cani <br>\n			Gauri Thaliyil <br>\n			Aliya Thompson <br>\n			Alex Trias <br>\n			Char
 lene Valerio <br>\n			Aria Wang <br>\n			Adrienne Wegerer <br>\n			Talina White <br>\n			Ava Wilhite <br>\n			Taryn Elizabeth Wilhite <br>\n			Ling Yang <b> </b></p>
 \n			\n		\n	\n\n\n<h3>Conductor Biographies</h3>\n\n<h3> </h3>
DTSTART;TZID=America/Los_Angeles:20241122T193000
LAST-MODIFIED:20250728T171101Z
SEQUENCE:113
SUMMARY:: UW Sings
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-22/uw-sings
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p> <p><span>The University Singers\, Tre
 ble Choir\, and UW Glee Club present an eclectic program of music from aro
 und the world\, folk tunes\, and arrangements of popular music standards.&lt;
 /span&gt;</p> <hr> <h3>Program</h3> <p> </p> <h4><span><span class='Apple-con
 verted-space'> </span></span><b>GLEE<span class='Apple-converted-space'> &lt;
 /span&gt;</b></h4> <p>Directed By:<span class='Apple-converted-space'> </span><br> David Ferguson - DMA Student<span class='Apple-converted-space'> </s><br> Adam Freemantle- MM Student<span class='Apple-converted-space'> &lt;
 /span&gt;<br> Egija Claire - MM Student<span class='Apple-converted-space'> &lt;
 /span&gt;<br> Collaborative Pianist - Steve Swanson<span class='Apple-convert
 ed-space'> </span></p> <p><b>Santiana<span class='Apple-converted-space'> 
 </span></b><br> Sea Shanty\, arranged by Sean Barnette<span class='Apple-c
 onverted-space'> </span></p> <p><b>Rīta un vakara dziesma (Morning and Eve
 ning Song)<span class='Apple-converted-space'> </span></b><br> Music: Raim
 onds Tiguls<span class='Apple-converted-space'> </span><br> Poetry: Rasa B
 ugavičute-Pēce<span class='Apple-converted-space'> </span></p> <p><b>Prair
 ie Spring<span class='Apple-converted-space'> </span></b><br> Music: Isaac
  Lovdahl<span class='Apple-converted-space'> </span><br> Text: Willa Cathe
 r<span class='Apple-converted-space'> </span></p> <p><b>Stand Up (from Har
 riet: The Musical)<span class='Apple-converted-space'> </span></b><br> Mus
 ic and Lyrics by Cynthia Erivo and Joshuah Brian Campbell<span class='Appl
 e-converted-space'> </span></p> <h4><b>UNIVERSITY SINGERS<span class='Appl
 e-converted-space'> </span></b></h4> <p>Directed by:<span class='Apple-con
 verted-space'> </span><br> Michael McKenzie - DMA Student<span class='Appl
 e-converted-space'> </span><br> Alexandra Rameau - MM Student<span class='
 Apple-converted-space'> </span><br> Collaborative Pianist - Steve Swanson&lt;
 span class='Apple-converted-space'&gt; </span></p> <p><b>Lumen<span class='Ap
 ple-converted-space'> </span></b><br> Music: Abbie Betinis<span class='App
 le-converted-space'> </span></p> <p><b>Heart of Stone<span class='Apple-co
 nverted-space'> </span></b><br> Words and Music: Toby Marlow and Lucy Moss
 \, arr. Andy Beck<span class='Apple-converted-space'> </span></p> <p><b>Ch
 asing Visions<span class='Apple-converted-space'> </span></b><br> Words an
 d Music: Don Macdonald<span class='Apple-converted-space'> </span></p> <p>
 <b>Glory Bound<span class='Apple-converted-space'> </span></b><br> Words a
 nd Music: Ruth Moody\, ad. Michael McKenzie<span class='Apple-converted-sp
 ace'> </span></p> <h4><b>TREBLE CHOIR<span class='Apple-converted-space'> 
 </span></b></h4> <p>Directed by:<span class='Apple-converted-space'> <br> Helen Woodruff - MM Student<span class='Apple-converted-space'> </s><br> Heidi Blythe - DMA Student<span class='Apple-converted-space'> </span><br> Collaborative Pianist\, Steve Swanson<span class='Apple-converte
 d-space'> </span></p> <p><b>Song of Miriam<span class='Apple-converted-spa
 ce'> </span></b><br> Elaine Hagenberg<span class='Apple-converted-space'> 
 </span></p> <p><b>Landslide<span class='Apple-converted-space'> </span></b><br> Stevie Nicks\, arr. Mary Anne Muglia<span class='Apple-converted-spa
 ce'> </span></p> <p><b>Light of a Clear Blue Morning<span class='Apple-con
 verted-space'> </span></b><br> Dolly Parton\, arr. Craig Hella Johnson </span></p> <p><em>Soloist: Mari Hirayama
 <span class='Apple-converted-space'> </span><br> Trio: Helen Chen\, Sydney
  Jordan\, LJ LeBlanc<span class='Apple-converted-space'> </span><br> Instr
 umentalist: Ling Yang<span class='Apple-converted-space'> </span></em></p>
  <p><em><b>Hope is a Thing With Feathers<span class='Apple-converted-space
 '> </span></b></em><br> <span class='Apple-converted-space'>Emma Lou Dieme
 r</span><b><span class='Apple-converted-space'> </span></b></p> <h4><br> &lt;
 b&gt;COMBINED CHOIRS<span class='Apple-converted-space'> </span></b></h4> <p>
 <b>Journey On<span class='Apple-converted-space'> </span></b><br> Words an
 d Lyrics by Derrick Fox<span class='Apple-converted-space'> </span></p>  <tbody> <tr> <td> <h4>
 <b>GLEE<span class='Apple-converted-space'> </span></b></h4> <p>Ezra Aceve
 do<span class='Apple-converted-space'> </span><br> <span><span><span>Edén </span></span></span>Alvarado<span class='Apple-converted-spac
 e'> </span><br> Alex Beck<span class='Apple-converted-space'> </span><br> 
 Sarah Carpenter<span class='Apple-converted-space'> </span><br> Hannah Car
 penter<span class='Apple-converted-space'> </span><br> Andrea Chen<span cl ass='Apple-converted-space'> </span><br> Egija Claire<span class='Apple-co
 nverted-space'> </span><br> Mario D'Ambrosio<span class='Apple-converted-s
 pace'> </span><br> Nicolo Dolge<span class='Apple-converted-space'> </span><br> Zilin Fang<span class='Apple-converted-space'> </span><br> David Fer
 guson<span class='Apple-converted-space'> </span><br> Adam Freemantle<span class='Apple-converted-space'> </span><br> Jonas Golm<span class='Apple-c
 onverted-space'> </span><br> Gabe Harlev<span class='Apple-converted-space
 '> </span><br> Jack Hawley<span class='Apple-converted-space'> </span><br>
  Aiden Hochstatter<span class='Apple-converted-space'> </span><br> Paul Jo
 hns<span class='Apple-converted-space'> </span><br> Yuna Kawashima<span cl ass='Apple-converted-space'> </span><br> Joshua Kingsley<span class='Apple
 -converted-space'> </span><br> Jack Li<span class='Apple-converted-space'>
  </span><br> Elijah Marucheck<span class='Apple-converted-space'> </span>&lt;
 br&gt; Pasquale Masuccio<span class='Apple-converted-space'> </span><br> Avi 
 Mittal<span class='Apple-converted-space'> </span><br> Hunter Parker<span class='Apple-converted-space'> </span><br> Pascale Yong Sarguna Packia Raj
 <span class='Apple-converted-space'> </span><br> Maral Saikhanaa<span clas s='Apple-converted-space'> </span><br> Hao Shen<span class='Apple-converte
 d-space'> </span><br> Cole Siegrist<span class='Apple-converted-space'> </span><br> Carmela Stewart<span class='Apple-converted-space'> </span><br> 
 Kate Taricani<span class='Apple-converted-space'> </span><br> Josiah Thuli
 n<span class='Apple-converted-space'> </span><br> Caleb Tobing<span class='Apple-converted-space'> </span><br> Danny Vizenor<span class='Apple-conve
 rted-space'> </span><br> Thomas Wardian<span class='Apple-converted-space'> </span><br> Jenson Zhang<span class='Apple-converted-space'> </span></p>
  <h4><b>UNIVERSITY SINGERS<span class='Apple-converted-space'> </span></b>
 </h4> <p>Aiden Clegg<span class='Apple-converted-space'> </span><br> Aisli
 nn Radek<span class='Apple-converted-space'> </span><br> Ana Maria Cunning
 ham<span class='Apple-converted-space'> </span><br> Belle Pearson<span cla ss='Apple-converted-space'> </span><br> Brooklynn Ginsburg<span class='App
 le-converted-space'> </span><br> Camryn Smith<span class='Apple-converted-
 space'> </span><br> Chloe Chai<span class='Apple-converted-space'> </span>
 <br> Coleman Brenner<span class='Apple-converted-space'> </span><br> Diya 
 Nahar<span class='Apple-converted-space'> </span><br> Don Percival<span cl ass='Apple-converted-space'> </span><br> Elijah Graham<span class='Apple-c
 onverted-space'> </span><br> Felix Solem<span class='Apple-converted-space
 '> </span><br> Gabe Harlev<span class='Apple-converted-space'> </span><br>
  Grace Curry<span class='Apple-converted-space'> </span><br> Irene Cai </span><br> Johnny Nguyen<span class='App
 le-converted-space'> </span><br> Josie Augustavo<span class='Apple-convert
 ed-space'> </span><br> Julian Zhang<span class='Apple-converted-space'> </span><br> Katie Davis<span class='Apple-converted-space'> </span><br> Ken 
 Kanadi<span class='Apple-converted-space'> </span><br> Kristen Li<span cla ss='Apple-converted-space'> </span><br> Kyle Grant<span class='Apple-conve
 rted-space'> </span><br> Lexie Payton<span class='Apple-converted-space'> 
 </span><br> Li-Neishin Co<span class='Apple-converted-space'> </span><br> 
 Lilah Johnson<span class='Apple-converted-space'> </span><br> Lyric Hawk<s pan class='Apple-converted-space'> </span><br> Madelyn Price<span class='A
 pple-converted-space'> </span><br> Madi Winegrad<span class='Apple-convert
 ed-space'> </span><br> Mari Hirayama<span class='Apple-converted-space'> &lt;
 /span&gt;<br> Marissa Romeo<span class='Apple-converted-space'> </span><br> M
 inh Nguyen<span class='Apple-converted-space'> </span><br> Noah Berhan </span><br> Pragnya Gudipati<span class='
 Apple-converted-space'> </span><br> Rain Anderson<span class='Apple-conver
 ted-space'> </span><br> Riley Gudgel<span class='Apple-converted-space'> &lt;
 /span&gt;<br> Samantha Corcoran<span class='Apple-converted-space'> </span><b r> Samantha Grover<span class='Apple-converted-space'> </span><br> Samuel 
 Terk<span class='Apple-converted-space'> </span><br> Sophie Mansour<span c lass='Apple-converted-space'> </span><br> Vincent Bailon<span class='Apple
 -converted-space'> </span></p> <h4><b>TREBLE CHOIR<span class='Apple-conve
 rted-space'> </span></b></h4> <p>Haruka Abe<span class='Apple-converted-sp
 ace'> </span><br> Hope Ambachew<span class='Apple-converted-space'> </span><br> Maggie Anderson<span class='Apple-converted-space'> </span><br> Ava 
 Babcock<span class='Apple-converted-space'> </span><br> Aradhana Babu<span class='Apple-converted-space'> </span><br> Leah Barracoso<span class='App
 le-converted-space'> </span><br> Freya Bennett<span class='Apple-converted
 -space'> </span><br> Emily Marie Blake<span class='Apple-converted-space'>
  </span><br> Lucy Brandt<span class='Apple-converted-space'> </span><br> T
 aylor Nicole Burbacher<span class='Apple-converted-space'> </span><br> Emi
 ly Cady<span class='Apple-converted-space'> </span><br> Olivia Cady<span c lass='Apple-converted-space'> </span><br> Chrisina Cai<span class='Apple-c
 onverted-space'> </span><br> Isamar Chavez<span class='Apple-converted-spa
 ce'> </span><br> Helen Chen<span class='Apple-converted-space'> </span><br> Isabella Jin Chen<span class='Apple-converted-space'> </span><br> Karen 
 Chen<span class='Apple-converted-space'> </span><br> Tsz Wai Chen<span cla ss='Apple-converted-space'> </span><br> Hannah Cheng<span class='Apple-con
 verted-space'> </span><br> Ella Collins<span class='Apple-converted-space'> </span><br> Kirsten Conover<span class='Apple-converted-space'> </span>&lt;
 br&gt; JJ DeNunzio<span class='Apple-converted-space'> </span><br> Kay Eastwo
 od<span class='Apple-converted-space'> </span><br> Olivia Flesher<span cla ss='Apple-converted-space'> </span><br> Julia Fraczek<span class='Apple-co
 nverted-space'> </span><br> Zanne Gerrard<span class='Apple-converted-spac
 e'> </span><br> Berlin Aariana Gharst<span class='Apple-converted-space'> 
 </span><br> Amy Gretch<span class='Apple-converted-space'> </span><br> Abi
 gail Michaela Grove<span class='Apple-converted-space'> </span><br> Samant
 ha Oledan Grover<span class='Apple-converted-space'> </span><br> Gail Guis
 inger<span class='Apple-converted-space'> </span><br> Simran Gupta<span cl ass='Apple-converted-space'> </span><br> Emma Guyon<span class='Apple-conv
 erted-space'> </span><br> Ava Herman<span class='Apple-converted-space'> &lt;
 /span&gt;<br> Rebecca Himeda<span class='Apple-converted-space'> </span><br> 
 Mari Hirayama<span class='Apple-converted-space'> </span><br> Sammi Huang&lt;
 span class='Apple-converted-space'&gt; </span><br> Stella Hudson<span class='
 Apple-converted-space'> </span><br> Abby Hussein<span class='Apple-convert
 ed-space'> </span><br> Takoda Jessen<span class='Apple-converted-space'> &lt;
 /span&gt;<br> Sydney Jordan<span class='Apple-converted-space'> </span><br> G
 race Catherine Kamila<span class='Apple-converted-space'> </span><br> Yuna
  Kawashima<span class='Apple-converted-space'> </span><br> Christina Kim<s pan class='Apple-converted-space'> </span><br> Alex Kittnar<span class='Ap
 ple-converted-space'> </span><br> Nishtha Kumar<span class='Apple-converte
 d-space'> </span><br> Alex Lardent<span class='Apple-converted-space'> </s><br> Cadence Lay<span class='Apple-converted-space'> </span><br> LJ Le
 Blanc<span class='Apple-converted-space'> </span><br> Chloe Lian<span clas s='Apple-converted-space'> </span><br> Christine Lin<span class='Apple-con
 verted-space'> </span><br> MaryGrace Linsley<span class='Apple-converted-s
 pace'> </span><br> Miklayne Lowe<span class='Apple-converted-space'> <br> Emily Ma<span class='Apple-converted-space'> </span><br> Estella Ma
 rchand<span class='Apple-converted-space'> </span><br> Ana Marriott<span c lass='Apple-converted-space'> </span><br> Annabelle Carlota Marin<span cla ss='Apple-converted-space'> </span><br> Isadora Miller<span class='Apple-c
 onverted-space'> </span><br> Tatiana Monserrat<br> Miranda Benavides<span class='Apple-converted-space'> </span><br> Catinca Mosley<span class='Appl
 e-converted-space'> </span><br> Debora Mugisha<span class='Apple-converted
 -space'> </span><br> Rebecca Kathleen Munk<span class='Apple-converted-spa
 ce'> </span><br> Alinah Nepean<span class='Apple-converted-space'> </span>
 <br> Delaney Orzol<span class='Apple-converted-space'> </span><br> Camille
  Ott<span class='Apple-converted-space'> </span><br> Ava Pakzad Sedigh </span><br> Grace Pardini<span class='App
 le-converted-space'> </span><br> Vienne M Peterson<span class='Apple-conve
 rted-space'> </span><br> Emily Ann Pinneo<span class='Apple-converted-spac
 e'> </span><br> Esther S Prabahkar<span class='Apple-converted-space'> </s><br> Maddie Pryde<span class='Apple-converted-space'> </span><br> Vydh
 ourie R T Thiyageswaran<span class='Apple-converted-space'> </span><br> Mi
 a Rapp<span class='Apple-converted-space'> </span><br> Emma Reed<span clas s='Apple-converted-space'> </span><br> Alexandria Maria Retteghieri<span c lass='Apple-converted-space'> </span><br> Lola Rogin<span class='Apple-con
 verted-space'> </span><br> Megan E Romesberg<span class='Apple-converted-s
 pace'> </span><br> Ofelia M Sanchez<span class='Apple-converted-space'> </span><br> Sarah Katherine Schafer<span class='Apple-converted-space'> <br> Malia Dawn Schomaker<span class='Apple-converted-space'> </span><b r> Marina Rae Sellers<span class='Apple-converted-space'> </span><br> Audr
 ey Simonnet<span class='Apple-converted-space'> </span><br> Andal Rajalaks
 hmi Sridhar<span class='Apple-converted-space'> </span><br> Madeline Strou
 p<span class='Apple-converted-space'> </span><br> Kate Taricani<span class='Apple-converted-space'> </span><br> Gauri Thaliyil<span class='Apple-con
 verted-space'> </span><br> Aliya Thompson<span class='Apple-converted-spac
 e'> </span><br> Alex Trias<span class='Apple-converted-space'> </span><br>
  Charlene Valerio<span class='Apple-converted-space'> </span><br> Aria Wan
 g<span class='Apple-converted-space'> </span><br> Adrienne Wegerer<span cl ass='Apple-converted-space'> </span><br> Talina White<span class='Apple-co
 nverted-space'> </span><br> Ava Wilhite<span class='Apple-converted-space'> </span><br> Taryn Elizabeth Wilhite<span class='Apple-converted-space'> 
 </span><br> Ling Yang<span class='Apple-converted-space'> </span><b><span class='Apple-converted-space'> </span></b></p> </td> </tr> </tbody>  <h3>Conductor Biographies</h3> <h3> </h3>
END:VEVENT
BEGIN:VEVENT
UID:1c9a8c42-2c32-49e9-88f8-d2df42187ecf
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Faculty Performances\, Visiting Artists and S
 cholars
CLASS:PUBLIC
CREATED:20241120T200354Z
DESCRIPTION:<p>This four-day gathering focuses on participatory practices\,
  especially music and dance\, that encourage people of diverse skills and 
 abilities to engage creatively.  </p>\n<p>Events are at the UW Waterfront 
 Activities Center (3710 Montlake Blvd NE\, Seattle\, WA 98195) and the Sea
 ttle Amistad School (1501 10th Ave E\, Seattle\, WA 98102) and are free an
 d open to the public.</p>\n<p>Details and a full schedule of events can be
  found <a href='https://seattleparticipatoryartsnetwork.my.canva.site/#ful
 l-speakers-list' target='_blank' rel='noopener noreferrer'>here.</a></p>
DTSTART;TZID=America/Los_Angeles:20241123T000000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:114
SUMMARY:: External Event: Seattle Participatory Arts Network Conference
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-21/external-event-seattle-p
 articipatory-arts-network-conference
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>This four-day gathering focuses on pa
 rticipatory practices\, especially music and dance\, that encourage people
  of diverse skills and abilities to engage creatively.  </span></p> <p>Events are at the UW Waterfront Activities Center (3710 Montlake Blvd N
 E\, Seattle\, WA 98195) and the Seattle Amistad School (1501 10th Ave E\, 
 Seattle\, WA 98102) and are free and open to the public.</span></p> <p>Details and a full schedule of events can be found <a href='https://sea
 ttleparticipatoryartsnetwork.my.canva.site/#full-speakers-list' target='_b
 lank' rel='noopener noreferrer'>here.</a></span></p>
END:VEVENT
BEGIN:VEVENT
UID:68dfce2c-f275-400e-b487-439ace4ed19f
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240927T182133Z
DESCRIPTION:The Campus Philharmonia Orchestras (Ryan Farris and Robert Stah
 ly\, conductors) perform works by Mozart\, Schubert\, Borodin\, Duparc\, a
 nd Smetana.<hr>\n<h3>Program<br><br></h3>\n<p><strong>Wolfgang Amadeus Moz
 art: </strong>Overture to The Marriage of Figaro</p>\n<p><strong>Franz Sch
 ubert:</strong> Symphony No.6 in C major\, D. 589    </p>\n<p><strong>Alex
 ander Borodin:</strong> Symphony No. 3 in A minor (orchd. Glazunov)    </p>\n<p><strong>Henri Duparc:</strong> Aux étoiles (To the Stars) </p>\n<p>&lt;
 strong&gt;Bedřich Smetana:</strong> Three Dances from The Bartered Bride </p>
 \n<hr>\n<h3>Biographies</h3>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20241123T150000
LAST-MODIFIED:20241123T010214Z
SEQUENCE:115
SUMMARY:: Campus Philharmonia Orchestras
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-23/campus-philharmonia-orch
 estras
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div>The Campus Philharmonia Orchestras (Ryan 
 Farris and Robert Stahly\, conductors) perform works by Mozart\, Schubert\
 , Borodin\, Duparc\, and Smetana.<hr></div> <h3><span face='times new roma
 n\, serif' times new>Program<br><br></span></h3> <p><span face='times new roman\, serif'><strong><span>Wolfga
 ng Amadeus Mozart: </span></strong>Overture to <em>The Marriage of Figaro&lt;
 /em&gt;</span></p> <p><span face='times new roman\, serif'><strong>Franz Schu
 bert:</strong> Symphony No.6 in C major\, D. 589    </span></p> <p><strong>Alexander Borodin:</strong> Symphony No. 3 in A minor (orchd. Glazunov)  
   </p> <p><strong>Henri Duparc:</strong> <em>Aux étoiles (To the Stars) </em></p> <p><strong>Bedřich Smetana:</strong> Three Dances from <em>The Bar
 tered Bride </em></p> <hr> <h3>Biographies</h3> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:1c9a8c42-2c32-49e9-88f8-d2df42187ecf
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Faculty Performances\, Visiting Artists and S
 cholars
CLASS:PUBLIC
CREATED:20241120T200354Z
DESCRIPTION:<p>This four-day gathering focuses on participatory practices\,
  especially music and dance\, that encourage people of diverse skills and 
 abilities to engage creatively.  </p>\n<p>Events are at the UW Waterfront 
 Activities Center (3710 Montlake Blvd NE\, Seattle\, WA 98195) and the Sea
 ttle Amistad School (1501 10th Ave E\, Seattle\, WA 98102) and are free an
 d open to the public.</p>\n<p>Details and a full schedule of events can be
  found <a href='https://seattleparticipatoryartsnetwork.my.canva.site/#ful
 l-speakers-list' target='_blank' rel='noopener noreferrer'>here.</a></p>
DTSTART;TZID=America/Los_Angeles:20241124T000000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:116
SUMMARY:: External Event: Seattle Participatory Arts Network Conference
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-21/external-event-seattle-p
 articipatory-arts-network-conference
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>This four-day gathering focuses on pa
 rticipatory practices\, especially music and dance\, that encourage people
  of diverse skills and abilities to engage creatively.  </span></p> <p>Events are at the UW Waterfront Activities Center (3710 Montlake Blvd N
 E\, Seattle\, WA 98195) and the Seattle Amistad School (1501 10th Ave E\, 
 Seattle\, WA 98102) and are free and open to the public.</span></p> <p>Details and a full schedule of events can be found <a href='https://sea
 ttleparticipatoryartsnetwork.my.canva.site/#full-speakers-list' target='_b
 lank' rel='noopener noreferrer'>here.</a></span></p>
END:VEVENT
BEGIN:VEVENT
UID:00192ca8-0b59-4aac-b1a9-7e71ab0be6ca
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T225052Z
DESCRIPTION:<p></p>\n<p>The UW Baroque Ensemble (Tekla Cunningham\, directo
 r)\, presents a program of sonatas and cantata by J.S. Bach.</p>\n<hr>\n<strong>PROGRAM</strong></h3>\n<p><strong>UW 
 Baroque Ensemble<br></strong>Cassidy Choeng\, soprano<br>Selina Siow and T
 ekla Cunningham\, baroque violins<br>Bryan Boehnke\, recorder<br>Logan Tsa
 i\, Tyleen Stults and Scott Fisher\, harpsichord<br><br></p>\n<p>Trio Sonata in G\, BWV 1039:  <strong>Johann Sebastian B
 ach</strong> (1685-1750)<br>Adagio<br>Allegro ma non presto<br>Adagio e pi
 ano<br>Presto</p>\n<p>Sonata in D minor for rec
 order and continuo\, BWV 997: <strong> </strong><strong>J.S. Bach<br>Preludio<br>Sarabande<br>Gigue-Double</p>\n<p>Weichet nur\, betrübte Schatten\, BWV 202:  <strong>J.S. Bach</strong>&lt;
 /p&gt;\n\n\n\n\n<p>Aria</p>\n<p>Weichet nur\, betrübte Schatten\,<br>Frost un
 d Winde\, geht zur Ruh!<br>Florens Lust<br>Will der Brust<br>Nichts als fr
 ohes Glück verstatten\,<br>Denn sie träget Blumen zu.</p>\n\n\n<p> </p>\n&lt;
 p&gt;Give way now\, dismal shadows\,<br>Frost and wind\, go to rest!<br>Flora
 's delight<br>will grant our hearts<br>nothing but joyful fortune\,<br>for
  she comes bearing flowers.</p>\n\n\n\n\n<p> </p>\n<p>Recit</p>\n<p>Die We
 lt wird wieder neu\,<br>Auf Bergen und in Gründen<br>Will sich die Anmut d
 oppelt schön verbinden\,<br>Der Tag ist von der Kälte frei.</p>\n\n\n<p> &lt;
 /p&gt;\n<p> </p>\n<p>The world becomes new again\,<br>on hills and in valleys
 <br>beauty will unite and be doubly fair\,<br>the day is free from cold.</p>\n\n\n\n\n<p>Aria</p>\n<p>Phoebus eilt mit schnellen Pferden<br>Durch di
 e neugeborne Welt.<br>Ja\, weil sie ihm wohlgefällt\,<br>Will er selbst ei
 n Buhler werden.</p>\n\n\n<p> </p>\n<p>Phoebus hurries with swift horses<b r>through the newborn world\,<br>Yes\, since this delights him so much\,<b r>he himself wants to become a lover.</p>\n\n\n\n\n<p> </p>\n<p>Recit<br>D
 rum sucht auch Amor sein Vergnügen\,<br>Wenn Purpur in den Wiesen lacht\,&lt;
 br&gt;Wenn Florens Pracht sich herrlich macht\,<br>Und wenn in seinem Reich\,
 <br>Den schönen Blumen gleich\,<br>Auch Herzen feurig siegen.</p>\n\n\n<p>
  </p>\n<p> </p>\n<p>Therefore Love also seeks his delight\,<br>when purple
  laughs in the meadows\,<br>when Flora's splendour becomes glorious\,<br>a
 nd when in his kingdom\,<br>like the beautiful flowers<br>hearts also are 
 victorious in their ardour.</p>\n\n\n\n\n<p> </p>\n<p>Aria</p>\n<p>Wenn di
 e Frühlingslüfte streichen<br>Und durch bunte Felder wehn\,<br>Pflegt auch
  Amor auszuschleichen\,<br>Um nach seinem Schmuck zu sehn\,<br>Welcher\, g
 laubt man\, dieser ist\,<br>Dass ein Herz das andre küsst.</p>\n\n\n<p> </p>\n<p> </p>\n<p>When the spring breezes blow<br>and waft through the colo
 urful fields\,<br>it is Love's custom also to sneak out<br>to see what is 
 his own glory<br>-and that\, people believe\, is this:<br>when one heart k
 isses another.</p>\n\n\n\n\n<p> </p>\n<p>Recit</p>\n<p>Und dieses ist das 
 Glücke\,<br>Dass durch ein hohes Gunstgeschicke<br>Zwei Seelen einen Schmu
 ck erlanget\,<br>An dem viel Heil und Segen pranget.</p>\n\n\n<p> </p>\n<p> </p>\n<p>And this is good fortune\,<br>when through a lofty gift of fate
 <br>two souls obtain one jewel\,<br>which is resplendent with health and b
 lessing.</p>\n\n\n\n\n<p>Aria</p>\n<p>Sich üben im Lieben\,<br>In Scherzen
  sich herzen<br>Ist besser als Florens vergängliche Lust.<br>Hier quellen 
 die Wellen\,<br>Hier lachen und wachen<br>Die siegenden Palmen auf Lippen 
 und Brust.</p>\n\n\n<p> </p>\n<p>To become adept in love\,<br>to jest and 
 caress<br>is better than Flora's passing pleasure.<br>Here the waves flow\
 ,<br>here laugh and watch<br>the palms of victory on lips and breast.</p>
 \n\n\n\n\n<p> </p>\n<p>Recit</p>\n<p>So sei das Band der keuschen Liebe\,&lt;
 br&gt;Verlobte Zwei\,<br>Vom Unbestand des Wechsels frei!<br>Kein jäher Fall&lt;
 br&gt;Noch Donnerknall<br>Erschrecke die verliebten Triebe!</p>\n\n\n<p> </p>
 \n<p> </p>\n<p>May the union of chaste love\,<br>beloved couple\,<br>be fr
 ee from the fickleness of change!<br>May no sudden accident\,<br>no thunde
 rclap<br>frighten your amorous desires.</p>\n\n\n\n\n<p>Aria</p>\n<p>Sehet
  in Zufriedenheit<br>Tausend helle Wohlfahrtstage\,<br>Dass bald bei der F
 olgezeit<br>Eure Liebe Blumen trage!</p>\n\n\n<p> </p>\n<p>See in contentm
 ent<br>a thousand bright and prosperous days\,<br>so that soon as time pas
 ses<br>your love may bear its flower!</p>\n<hr>\n<p> </p>\n\n\n\n\n<p styl e=' 400\;'></p>\n<h3>Director Biography</h3>
DTSTART;TZID=America/Los_Angeles:20241124T150000
LAST-MODIFIED:20241122T011112Z
SEQUENCE:117
SUMMARY:: Baroque Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-24/baroque-ensemble
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The UW Baroque Ensemble (Tekla Cunn
 ingham\, director)\, presents a program of sonatas and cantata by J.S. Bac
 h.</p> <hr> <h3><strong>PROGRAM</strong></h3> &lt;
 p&gt;<strong>UW Baroque Ensemble<br></strong><em>Cassidy Choeng\, soprano</em><br><em>Selina Siow and Tekla Cunningham\, baroque violins</em><br><em>Br
 yan Boehnke\, recorder</em><br><em>Logan Tsai\, Tyleen Stults and Scott Fi
 sher\, harpsichord<br><br></em></p> <p>Trio Son
 ata in G\, BWV 1039: <span> </span><strong>Johann Sebastian Bach</strong> 
 (1685-1750)<br>Adagio<br>Allegro ma non presto<br>Adagio e piano<br>Presto
 </p> <p>Sonata in D minor for recorder and cont
 inuo\, BWV 997:<span> <strong> </strong></span><strong>J.S. Bach<br>Preludio<br>Sarabande<br>Gigue-Double</p> <p>Weichet nur\, betrübte Schatten\, BWV 202: <span> </span><strong>J.S. Bac
 h</strong></p> <table> <tbody> <tr> <td width='
 312'> <p>Aria</p> <p>Weichet nur\, betrübte Schatten\,<br>Frost und Winde\
 , geht zur Ruh!<br>Florens Lust<br>Will der Brust<br>Nichts als frohes Glü
 ck verstatten\,<br>Denn sie träget Blumen zu.</p> </td> <td width='312'> &lt;
 p&gt;<em> </em></p> <p><em>Give way now\, dismal shadows\,<br>Frost and wind\
 , go to rest!<br>Flora's delight<br>will grant our hearts<br>nothing but j
 oyful fortune\,<br>for she comes bearing flowers.</em></p> </td> </tr> <tr> <td width='312'> <p> </p> <p>Recit</p> <p>Die Welt wird wieder neu\,<br>
 Auf Bergen und in Gründen<br>Will sich die Anmut doppelt schön verbinden\,
 <br>Der Tag ist von der Kälte frei.</p> </td> <td width='312'> <p><em> </p> <p><em> </em></p> <p><em>The world becomes new again\,<br>on hills 
 and in valleys<br>beauty will unite and be doubly fair\,<br>the day is fre
 e from cold.</em></p> </td> </tr> <tr> <td width='312'> <p>Aria</p> <p>Pho
 ebus eilt mit schnellen Pferden<br>Durch die neugeborne Welt.<br>Ja\, weil
  sie ihm wohlgefällt\,<br>Will er selbst ein Buhler werden.</p> </td> <td width='312'> <p> </p> <p><em>Phoebus hurries with swift horses<br>through 
 the newborn world\,<br>Yes\, since this delights him so much\,<br>he himse
 lf wants to become a lover.</em></p> </td> </tr> <tr> <td width='312'> <p>
  </p> <p>Recit<br>Drum sucht auch Amor sein Vergnügen\,<br>Wenn Purpur in 
 den Wiesen lacht\,<br>Wenn Florens Pracht sich herrlich macht\,<br>Und wen
 n in seinem Reich\,<br>Den schönen Blumen gleich\,<br>Auch Herzen feurig s
 iegen.</p> </td> <td width='312'> <p> </p> <p><em> </em></p> <p><em>Theref
 ore Love also seeks his delight\,<br>when purple laughs in the meadows\,<b r>when Flora's splendour becomes glorious\,<br>and when in his kingdom\,<b r>like the beautiful flowers<br>hearts also are victorious in their ardour
 .</em></p> </td> </tr> <tr> <td width='312'> <p> </p> <p>Aria</p> <p>Wenn 
 die Frühlingslüfte streichen<br>Und durch bunte Felder wehn\,<br>Pflegt au
 ch Amor auszuschleichen\,<br>Um nach seinem Schmuck zu sehn\,<br>Welcher\,
  glaubt man\, dieser ist\,<br>Dass ein Herz das andre küsst.</p> </td> <td width='312'> <p> </p> <p><em> </em></p> <p><em>When the spring breezes bl
 ow<br>and waft through the colourful fields\,<br>it is Love's custom also 
 to sneak out<br>to see what is his own glory<br>-and that\, people believe
 \, is this:<br>when one heart kisses another.</em></p> </td> </tr> <tr>  <p> </p> <p>Recit</p> <p>Und dieses ist das Glücke\,<br>Das
 s durch ein hohes Gunstgeschicke<br>Zwei Seelen einen Schmuck erlanget\,<b r>An dem viel Heil und Segen pranget.</p> </td> <td width='312'> <p> </p> 
 <p><em> </em></p> <p><em>And this is good fortune\,<br>when through a loft
 y gift of fate<br>two souls obtain one jewel\,<br>which is resplendent wit
 h health and blessing.</em></p> </td> </tr> <tr> <td width='312'> <p>Aria&lt;
 /p&gt; <p>Sich üben im Lieben\,<br>In Scherzen sich herzen<br>Ist besser als 
 Florens vergängliche Lust.<br>Hier quellen die Wellen\,<br>Hier lachen und
  wachen<br>Die siegenden Palmen auf Lippen und Brust.</p> </td> <td width='312'> <p> </p> <p><em>To become adept in love\,<br>to jest and caress<br>
 is better than Flora's passing pleasure.<br>Here the waves flow\,<br>here 
 laugh and watch<br>the palms of victory on lips and breast.</em></p> </td>
  </tr> <tr> <td width='312'> <p> </p> <p>Recit</p> <p>So sei das Band der 
 keuschen Liebe\,<br>Verlobte Zwei\,<br>Vom Unbestand des Wechsels frei!<br>Kein jäher Fall<br>Noch Donnerknall<br>Erschrecke die verliebten Triebe!&lt;
 /p&gt; </td> <td width='312'> <p> </p> <p><em> </em></p> <p><em>May the union
  of chaste love\,<br>beloved couple\,<br>be free from the fickleness of ch
 ange!<br>May no sudden accident\,<br>no thunderclap<br>frighten your amoro
 us desires.</em></p> </td> </tr> <tr> <td width='312'> <p>Aria</p> <p>Sehe
 t in Zufriedenheit<br>Tausend helle Wohlfahrtstage\,<br>Dass bald bei der 
 Folgezeit<br>Eure Liebe Blumen trage!</p> </td> <td width='312'> <p> </p> 
 <p><em>See in contentment<br>a thousand bright and prosperous days\,<br>so
  that soon as time passes<br>your love may bear its flower!</em></p> <hr> 
 <p><em></em> </p> </td> </tr> </tbody> </table> <p></p> <h3>Director Biography</h3>
END:VEVENT
BEGIN:VEVENT
UID:23fd60a8-e3b5-4cfe-9fdb-64a8dba43e65
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T212755Z
DESCRIPTION:<p></p>\n<p>Students from the UW keyboard program compete for o
 utside judges for a chance to perform with the UW Symphony.</p>\n<hr>\n<h3>Program</h3>\n<p><strong>Competitor: Kane Lefe
 i Chang</strong>\; Accompanist: <strong>Isabella Jingshi Zhao<br></strong>
 Performing: Saint-Saens: Piano Concerto No.5 in F major Op.103\, “Egyptian
 ”\,  2nd and 3rd movements</p>\n<p><strong>Comp
 etitor: Olivia Hsu</strong>\; Accompanist: <strong>Ella Kalinichenko<br></strong>Performing: Mozart: Piano Concerto in A major\, K. 488\, 3rd moveme
 nt (Allegro assai)</p>\n<p><strong>Competitor: 
 Chiao-Yu Wu</strong>\; Accompanist: <strong>Ian Huh</strong> <br>Performin
 g: Rachmaninoff: Piano Concerto No. 2. in C minor\, Op. 18\, 1st movement&lt;
 /p&gt;\n<p><strong>Competitor: Jeffrey Tso</strong>\; Accompanist: <strong>Hannah Bao<br></strong>Performing: Rachmaninoff: 
 Piano Concerto No. 2 in C minor\, Opus 18\, 3rd movement</p>\n<p><strong>Competitor: Sandy Huang</strong>\; Accompanist: 
 <strong>Cicy Li<br></strong>Performing: Saint-Saëns: Piano Concerto No. 5 
 in F Major\, Opus 103\, “Egyptian”\, 1st movement </p>\n<p><strong>Competitor: Karen Haining</strong>\; Accompanist: Ian Huh<br></strong>Performing: Mendelssohn: Piano Concerto No. 1 in G
  minor\, Op. 25\, 2nd and 3rd movements </p>\n<p><strong>Competitor: Jiayi Wang</strong>\; Accompanist: <strong>Hannah Ba
 o</strong>.<br>Performing: Poulenc Piano Concerto in C# Minor\, FP146\, 1s
 t and 3rd movements </p>\n<p><strong>Competitor
 : Katherine Lee</strong>\; Accompanist: <strong>Mia Hyeyeon Kim<br>Performing: Grieg Piano Concerto in a minor op. 16\, 1st movement</p>\n&lt;
 p style='font-weight: 400\;'&gt;<strong>Competitor: Alex Fang</strong>\; Acco
 mpanist: <strong>Mia Hyeyeon Kim<br></strong>Performing: Brahms Piano Conc
 erto No. 2\, Op. 83\, 1st movement</p>
DTSTART;TZID=America/Los_Angeles:20241125T173000
LAST-MODIFIED:20241122T160453Z
SEQUENCE:118
SUMMARY:: Concerto Competition: Keyboard
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-26/concerto-competition-key
 board
END:VEVENT
BEGIN:VEVENT
UID:8dce3f92-fcbf-4e97-a200-296ac329d747
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240927T183441Z
DESCRIPTION:<p>Students of Christine Lee present a chamber music showcase.&lt;
 /p&gt;\n<hr>\n<h3>Biography</h3>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20241126T133000
LAST-MODIFIED:20240927T183441Z
SEQUENCE:119
SUMMARY:: Chamber Music Showcase
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-26/chamber-music-showcase
END:VEVENT
BEGIN:VEVENT
UID:df7dc8c5-d6f6-445d-9ba4-d2128d6a36de
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T204446Z
DESCRIPTION:<p></p>\n<p>The UW Percussion Ensemble (Bonnie Whiting\, direct
 or)\, explores North American Experimentalism from 1942-present in its col
 lage concert 'Credo in US (you and me)\,' performing John Cage's Credo in 
 US\, as well as works by Jonathan Bingham\, Rich Burkhardt\, Randolph Cole
 man\, inti figgis-vizueta\, Edward Miller\, Juri Sea\, and Sebastian Zhang
 .</p>\n<hr>\n<h4>Program Detail</h4>\n<p>John Cage's Credo in US\, one of 
 the earliest examples of Postmodern collage techniques in music\, juxtapos
 es pre-recorded canonical classics\, live radio\, fanciful text\, and foun
 d as well as traditional percussion. UWPE presents this work from 1942 alo
 ngside newer music from North America in a collage concert that features i
 nnovation in notation\, performer choice\, improvisation\, text\, groove\,
  and spatialization. Come celebrate Cage's classic work as well as music b
 y Jonathan Bingham (Essay for Percussion\, 2020)\, Rick Burkhardt (Simulca
 st\, 2002)\, Randolph Coleman (Soundprint III\, 1972)\,  inti figgis-vizue
 ta (to give you form and breath\, 2019)\, Edward Miller (Around\, 1972)\, 
 Juri Seo (Wah\, 2014)\, and Sebastian Zhang (Birdfrog\, 2024.)</p>\n<hr>\n
 <h3>Program</h3>\n<p> Soundprint III: A Requiem
  for Ezra Pound (1972: <strong>Randolph Coleman</strong> (b. 1937)</p>\n<p>Wah (2014): <strong>Juri Seo</strong> (b. 1981
 )</p>\n<p>Simulcast (2002): <strong>Rick Burkha
 rdt</strong></p>\n<p>Essay for Percussion (2020
 ): <strong>Jonathan Bingham</strong> (b. 1989)</p>\n<p>To give you form and breath (2019): <strong>inti figgis-vizueta</s> (b. 1993)</p>\n<p>Birdfrog (2024): Sebastian Zhang</strong> (b. 2003)</p>\n<p>A
 round (1972): <strong>Edward Miller</strong> (1930-2013)</p>\n<p>Credo in US (1942): <strong>John Cage</strong> (1912-199
 2)</p>\n<p><strong>The UW Percussion Ensemble<br></strong>Aiden Lok Fung C
 han\, Cyan Duong\, Abigail George\, Colin Lehman\, Taryn Marks\, Jamison M
 aciel\, Alexander McLean\, Rose Martin\, Ivy Moore\, Zane Raissis\, Luigi 
 Salvaggio\, Tyler Smith\,Nat Yamamoto<br>Bonnie Whiting\, Director</p>\n<p><strong>Guest performers on Soundprint III<br></strong>Dancer: Cameo Leth
 em\, Trombone: Richie Torres: Percussion: Alex Ford\, Tobias Miller\, Matt
 hew Walton</p>\n<hr>\n<h4>Acknowledgements</h4>\n<p>Many thanks to: Taryn Marks (our TA and grad student worker)\, Abigai
 l George (our student worker)\,  the Meany Center staff\, Doug Niemela and
  the School of Music staff\, as well as our Director Joël-François Durand&lt;
 /p&gt;\n<p>The University of Washington acknowledg
 es the Coast Salish peoples of this land\, the land which touches the shar
 ed waters of all tribes and bands within the Suquamish\, Tulalip and Muckl
 eshoot nations.</p>\n<p><strong>Randolph Colema
 n’s SOUNDPRINT III: a REQUIEM for EZRA POUND </strong>integrates whispered
  passages from Pound’s Canto 90\; the majority of the percussive sound wor
 ld that delicately surrounds the hall tonight is derived from the sibilanc
 e of the consonants in this passage. Listen for slow shifts in texture\, t
 imbre\, and pitch as you watch nearly-imperceptible movement from the danc
 er.</p>\n<hr>\n<h3><strong></strong>Director Bi
 ography</h3>
DTSTART;TZID=America/Los_Angeles:20241126T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:120
SUMMARY:: Percussion Ensemble: Credo in US (you and me)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-27/percussion-ensemble-cred
 o-us-you-and-me
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p><span>The UW Percussion Ensemble (B
 onnie Whiting\, director)\, explores </span>North American Experimentalism
  from 1942-present in its collage concert 'Credo in US (you and me)\,' per
 forming John Cage's <em>Credo in US\,</em> as well as works by Jonathan Bi
 ngham\, Rich Burkhardt\, Randolph Coleman\, inti figgis-vizueta\, Edward M
 iller\, Juri Sea\, and Sebastian Zhang.</p> <hr> <h4><span>Program Detail&lt;
 /span&gt;</h4> <p><span>John Cage's </span><i>Credo in US</i><span>\, one of 
 the earliest examples of Postmodern collage techniques in music\, juxtapos
 es pre-recorded canonical classics\, live radio\, fanciful text\, and foun
 d as well as traditional percussion. UWPE presents this work from 1942 alo
 ngside newer music from North America in a collage concert that features i
 nnovation in notation\, performer choice\, improvisation\, text\, groove\,
  and spatialization. Come celebrate Cage's classic work as well as music b
 y Jonathan Bingham (</span><i>Essay for Percussion\, </i><span>2020)\, Ric
 k Burkhardt (</span><i>Simulcast\, </i><span>2002)\, Randolph Coleman (</s><i>Soundprint III\, </i><span>1972)\,  inti figgis-vizueta (</span><i>
 to give you form and breath\, </i><span>2019)\, Edward Miller (</span><i>A
 round\, </i><span>1972)\, Juri Seo (</span><i>Wah\, </i><span>2014)\, and 
 Sebastian Zhang (</span><i>Birdfrog\, </i><span>2024.)</span></p> <hr> <h3>Program</h3> <p> Soundprint III: A Requiem for
  Ezra Pound (1972: <strong>Randolph Coleman</strong> (b. 1937)</p> <p styl e=' 400\;'>Wah (2014): <strong>Juri Seo</strong> (b. 1981)</p>
  <p>Simulcast (2002): <strong>Rick Burkhardt</s></p> <p>Essay for Percussion (2020): Jonathan Bingham</strong> (b. 1989)</p> <p>
 To give you form and breath (2019): <strong>inti figgis-vizueta</strong> (
 b. 1993)</p> <p>Birdfrog (2024): <strong>Sebast
 ian Zhang</strong> (b. 2003)</p> <p>Around (197
 2): <strong>Edward Miller</strong> (1930-2013)</p> <p>Credo in US (1942): <strong>John Cage</strong> (1912-1992)</p> <p>&lt;
 strong&gt;The UW Percussion Ensemble<br></strong>Aiden Lok Fung Chan\, Cyan D
 uong\, Abigail George\, Colin Lehman\, Taryn Marks\, Jamison Maciel\, Alex
 ander McLean\, Rose Martin\, Ivy Moore\, Zane Raissis\, Luigi Salvaggio\, 
 Tyler Smith\,Nat Yamamoto<br>Bonnie Whiting\, Director</p> <p><strong>Gues
 t performers on Soundprint III<br></strong>Dancer: Cameo Lethem\, Trombone
 : Richie Torres: Percussion: Alex Ford\, Tobias Miller\, Matthew Walton</p> <hr> <h4>Acknowledgements</h4> <p>Many thanks
  to: Taryn Marks (our TA and grad student worker)\, Abigail George (our st
 udent worker)\,<span>  </span>the Meany Center staff\, Doug Niemela and th
 e School of Music staff\, as well as our Director Joël-François Durand</p>
  <p>The University of Washington acknowledges t
 he Coast Salish peoples of this land\, the land which touches the shared w
 aters of all tribes and bands within the Suquamish\, Tulalip and Mucklesho
 ot nations.</p> <p><strong>Randolph Coleman’s S
 OUNDPRINT III: a REQUIEM for EZRA POUND </strong>integrates whispered pass
 ages from Pound’s <em>Canto 90</em>\; the majority of the percussive sound
  world that delicately surrounds the hall tonight is derived from the sibi
 lance of the consonants in this passage. Listen for slow shifts in texture
 \, timbre\, and pitch as you watch nearly-imperceptible movement from the 
 dancer.</p> <hr> <h3><strong></strong>Director 
 Biography</h3>
END:VEVENT
BEGIN:VEVENT
UID:1e82d8e5-8c18-48b0-9145-2b4628375a9b
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T174125Z
DESCRIPTION:<p></p>\n<p>Phyllis Byrdwell leads the 100-voice Gospel Choir i
 n songs of praise\, jubilation\, and other expressions from the Gospel tra
 dition. </p>\n<hr>\n<h3>Program</h3>\n\n<p class='Body'><b>I Will Bless Th
 e Lord: </b> Joe Pace</p>\n<p class='Body'><b>How Excellent! </b>Richard S
 mallwood<br>(From Psalm 8:1)<b> </b></p>\n<p class='Body'><b>Everything Th
 at Hath Breath: </b>Richard Smallwood<br>Alexander Trias\, soloist </p>\n&lt;
 p class='Body'&gt;<b>(it will get) Better: </b>Hezekiah Walker</p>\n<p class='Body'><b>My Help: </b>Brooklyn Tabernacle Choir<br>(From Psalm 121)<br>Ka
 lia Rutz\, soloist</p>\n<p class='Body'><b>Call Him Up: </b>Keith Pringle 
  </p>\n<p class='Body'><b>Joy! </b>Whitney Houston<br>(From the movie\, Th
 e Preacher’s Wife)<br>Kira Mumbai\, soloist </p>\n<p class='Body'><b>Even 
 Me:</b> Anthony Brown</p>\n<p class='Body'><b>Again I Say Rejoice!! </b> I
 srael Houghton  </p>\n<p class='Body'><b>We Are The World: </b> Quincy Jon
 es\, Michael Jackson<br>Choir and audience</p>\n\n\n<p class='Body' align='center'>We are the World\, We are the children
 <br>We are the ones to make a brighter day<br>So let’s start giving.</p>\n
 <p class='Body' align='center'>There’s a choice
  we’re making.<br>We’re saving our own lives<br>It’s true we’ll make a bet
 ter day<br>Just you and me.</p>\n\n\n\n\n\n<h3>UW Gospel Choir</h3>\n<h4>M
 usicians</h4>\n<p>Phyllis M. Byrdwell\, Director\, Keyboard<br>Tony Mobley
 \, Bass Guitar<br>Fred Byrdwell\, Drummer<br>Patricia Hunter\, Percussioni
 st </p>\n<h4>Choir Personnel<br>Autumn Quarter 2024</h4>\n<p><strong><br>SOPRANO</strong><br>Shelly Su\,  Econ &amp; Intl Stu
 dies<br>Brittney Stowers\, Genetic Counseling<br>Suwan Chambers\, Chemistr
 y<br>Kelsey Carvajal\, Neuroscience<br>Adrian Cruz\, Biochemistry<br>Kira 
 Mungai\, Communications<br>Melina Redulla\,  Musci Ed.<br>Josephine Chia\,
  Pre-Science </p>\n<p><strong>ALTO</strong><br>
 Aliyah Cleveland\, Public Health-Global Health<br>Emma Beck\, Math<br>Sara
 h Higash\, Intl Student<br>Hannah Milnes\, Pre-Sciences<br>Tova Beck\, Arc
 hitecture<br>Kalia Hobbs Rutz\, TA</p>\n<br><strong>TENOR</strong>\n<p sty le=' 400\;'>Joseph Dedinsky\, Math<br>Knowledge Ortiz-Do\, Psy
 chology<br>Alexander Trias\, Plant Biology<br>Sean Sasaki\, Music Educatio
 n</p>\n<p><strong>BASS</strong><br>Corey Mack\,
  Engineering (undeclared)<br>Drew Theran\, Trumpet Performance<br>Ziyu Che
 n\, Economics<br>Matthew Young\, Community Member<br>Adrian Rodriguez\, Hu
 man Centered Design and Engineering</p>\n\n\n\n\n<h3>Biographies</h3>\n<h3></h3>
DTSTART;TZID=America/Los_Angeles:20241202T193000
LAST-MODIFIED:20241202T231010Z
SEQUENCE:121
SUMMARY:: UW Gospel Choir
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-03/uw-gospel-choir
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><i></i></p> <p>Phyllis Byrdwell leads the 1
 00-voice Gospel Choir in songs of praise\, jubilation\, and other expressi
 ons from the Gospel tradition. </p> <hr> <h3>Program</h3> <div class='Word
 Section1'> <p class='Body'><b><span>I Will Bless The Lord: </span></b> </span><span>Joe Pace</span></p> <p class='Body'><b><span>How Excellent
 ! </span></b><span>Richard Smallwood<br></span><i><span>(From Psalm 8:1)</span></i><b><span> </span></b></p> <p class='Body'><b><span>Eve
 rything That Hath Breath<span>: </span></span></b><span>Richard Smallwood&lt;
 br&gt;</span><span>Alexander Trias</span><span>\, <i>soloist</i></span><i> </span></i></p> <p class='Body'><b><span>(it will get) Bett
 er<span>: </span></span></b><span>Hezekiah Walker</span></p> <p class='Bod
 y'><span></span><b><span>My Help<span>: </span></span></b><span>Brooklyn Tabernacle Choir<br></span><i><span>(From Psalm 121)<br></span>&lt;
 /i&gt;<span>Kalia Rutz</span><span>\,<i> soloist</i></span></p> <p class='Bod
 y'><b><span>Call Him Up: </span></b><span>Keith Pringle</span><span> 
 </span><span> </span></p> <p class='Body'><b><span>Joy! &lt;
 /span&gt;</b><span>Whitney Houston<br></span><i><span>(From the movie\, </i><span>The Preacher’s Wife)<br></span><span>Kira Mumbai</span><span>\
 ,<i> soloist</i></span><i><span> </span></i></p> <p class='Body
 '><b><span>Even Me:</span></b><span> </span><span>Anthony Brown</span></p>
  <p class='Body'><b><span>Again I Say Rejoice!! </span></b><span> </span>&lt;
 span&gt;Israel Houghton</span><span> </span><span> </p> <p class='Body'><b><span>We Are The World: </span></b><span> <span>Quincy Jones\, Michael Jackson<br></span><i><span>Choir and audien
 ce</span></i></p> </div> <div class='WordSection2'> <p class='Body' align='center'><i><span>We are the World\, We are the
  children<br></span></i><i><span>We are the ones to make a brighter day<br></span></i><i><span>So let’s start giving.</span></i></p> <p class='Body' align='center'><i><span>There’s a choice we’re
  making.<br></span></i><i><span>We’re saving our own lives<br></span></i>&lt;
 i&gt;<span>It’s true we’ll make a better day<br></span></i><i><span>Just you 
 and me.</span></i></p> </div> <table>  <tr> <td> <h3>UW Gospel Choir</h3> <h4>Musici
 ans</h4> <p>Phyllis M. Byrdwell\, Director\, Keyboard<br>Tony Mobley\, Bas
 s Guitar<br>Fred Byrdwell\, Drummer<br>Patricia Hunter\, Percussionist </p> <h4>Choir Personnel<br>Autumn Quarter 2024</h4> <p><strong><br>SOPRANO</strong><br>Shelly Su<span>\, </span><span> Econ &amp; Intl Studies<br>Brittney Stowers<span>\, </span>Genetic Counseli
 ng<br>Suwan Chambers<span>\, </span>Chemistry<br>Kelsey Carvajal<span>\, &lt;
 /span&gt;Neuroscience<br>Adrian Cruz<span>\, </span>Biochemistry<br>Kira Mung
 ai<span>\, </span>Communications<br>Melina Redulla\, <span> </span>Musci E
 d.<br>Josephine Chia\, Pre-Science </p> <p>ALTO</strong><br>Aliyah Cleveland<span>\, </span>Public Health-Global 
 Health<br>Emma Beck<span>\, </span>Math<br>Sarah Higash\, Intl Student<br>
 Hannah Milnes<span>\, </span>Pre-Sciences<br>Tova Beck<span>\, </span>Arch
 itecture<br>Kalia Hobbs Rutz<span>\, </span>TA</p> <span><br></span><strong>TENOR</strong> <p>
 Joseph Dedinsky<span>\, </span>Math<br>Knowledge Ortiz-Do<span>\, </span>P
 sychology<br>Alexander Trias<span>\, </span>Plant Biology<br>Sean Sasaki<s pan>\, </span>Music Education</p> <p><strong>BA
 SS</strong><br>Corey Mack<span>\, </span>Engineering (undeclared)<br>Drew 
 Theran<span>\, </span>Trumpet Performance<br>Ziyu Chen<span>\, </span>Econ
 omics<br>Matthew Young<span>\, </span>Community Member<br>Adrian Rodriguez
 <span>\, </span>Human Centered Design and Engineering</p> </td> </tr>  </table> <h3>Biographies</h3> <h3></h3>
END:VEVENT
BEGIN:VEVENT
UID:50567ff3-4e04-4876-8798-e645986eaccf
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T200215Z
DESCRIPTION:<p></p>\n<p>The Studio Jazz Ensemble (the UW Big Band-Marc Seal
 es\, director) and Modern Ensemble (Stephanie Richards\, director) present
  a shared program of repertory selections\, original music\, and inspired 
 arrangements.  </p>\n<hr>\n<h3>Program</h3>\n<h4>Modern Band<strong><br></strong></h4>\n<p>Ste
 phanie Richards – advisor<br><strong><br>X – The Wheel: </strong> Jai Lask
 er<br><strong>On the Trail:</strong> Ferde Grofe<br><strong>Monk’s Dream:&lt;
 /strong&gt; Thelonious Monk<br><strong>C Jam Blues:</strong> Duke Ellington<b r><strong>Kiss: </strong>Rory Somers</p>\n<p>Co
 le McKittrick\, guitar\; Jai Lasker\, guitar\; Riley Tobin\, bass\; Tobias
  Miller\, drums\; Coen Rios\, tenor sax\; Rory Somers\, trumpet\; Natalie 
 Song\, piano</p>\n<hr>\n<h4>Studio Jazz Ensembl
 e</h4>\n<p>Marc Seales – advisor<br><br><strong>The Days of Wine and Roses: </strong> Henry Mancini<br>arr. Clarke/Boland
 <br><strong>Things Are Getting Better: </strong> Julian Adderley<br>arr. R
 ob McConnell<br><strong>Latin Dance: </strong> Bob Mintzer<br><strong>Slid
 e’s Derangement: </strong> Slide Hampton</p>\n<p><strong>Trombones</strong><br>Josiah Bizure\, bass trombone<br>Eliana Ko
 enig\, trombone 2<br>Alex Weber\, trombone 1 (lead)<br>Mack Henry\, trombo
 ne 3<br><br><strong>Trumpets<br></strong>Timmy Brock\, trumpet 5<br>Teddy 
 Seligman\, trumpet 4<br>Aidan Brannon\, trumpet 3<br>Gavin Soleibe\, trump
 et 2<br>Benjamin Jess\, trumpet 1 (lead)<br><strong><br></strong><strong>S
 axophones</strong><br>Jason Lai\, baritone sax<br>Joey Kyne\, tenor sax<br>Kevin Eng\, alto (lead)<br>Danica Raymundo\, alto sax<br>Liam Salas\, ten
 or sax<br><strong><br></strong><strong>Rhythm Section</strong><br>Gavin We
 stland\, piano<br>Elise Soper\, bass<br>Ruben Thomas\, drums<br></p>\n<hr>
 \n<h3>Biographies</h3>
DTSTART;TZID=America/Los_Angeles:20241202T193000
LAST-MODIFIED:20241202T231735Z
SEQUENCE:122
SUMMARY:: Studio Jazz Ensemble and Modern Band
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-03/studio-jazz-ensemble-and
 -modern-band
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><i></i></p> <p>The Studio Jazz Ensemble (th
 e UW Big Band-Marc Seales\, director) and Modern Ensemble (Stephanie Richa
 rds\, director) present a shared program of repertory selections\, origina
 l music\, and inspired arrangements.  </p> <hr> <h3>Program</h3> <h4>Modern Band<strong><br></strong></h4> <p><em>Stephanie Richards – advisor</em><br><strong><br>X – T
 he Wheel: </strong><span> </span>Jai Lasker<br><strong>On the Trail:<span> </span>Ferde Grofe<br><strong>Monk’s Dream:</strong><span> Thelonious Monk<br><strong>C Jam Blues:</strong><span> </span>Duke Ellin
 gton<br><strong>Kiss<span>: </span></strong>Rory Somers</p> <p><em>Cole McKittrick\, guitar\; Jai Lasker\, guitar\; Riley
  Tobin\, bass\; Tobias Miller\, drums\; <span>C
 oen Rios\, </span><span>tenor sax</span><span s tyle=' 400\;'>\; Rory Somers\, </span><span>trumpet</span><span>\; Natalie Song\, 
 </span><span>piano</span></em></p> <hr> <h4 sty le=' 400\;'>Studio Jazz Ensemble</h4> <p><em>Marc Seales – advisor</em><br><br><strong>The Days of Wine and R
 oses: </strong><span> </span>Henry Mancini<br>arr. Clarke/Boland<br>Things Are Getting Better: </strong><span> </span>Julian Adderley<br>arr
 . Rob McConnell<br><strong>Latin Dance: </strong><span> </span>Bob Mintzer
 <br><strong>Slide’s Derangement: </strong><span> </span>Slide Hampton</p> 
 <p><strong>Trombones</strong><br>Josiah Bizure\
 , bass trombone<br>Eliana Koenig\, trombone 2<br>Alex Weber\, trombone 1 &lt;
 em&gt;(lead)<br></em>Mack Henry\, trombone 3<br><br><strong>Trumpets<br>Timmy Brock\, trumpet 5<br>Teddy Seligman\, trumpet 4<br>Aidan Brannon
 \, trumpet 3<br>Gavin Soleibe\, trumpet 2<br>Benjamin Jess\, trumpet 1 (lead)<br></em><strong><br></strong><strong>Saxophones</strong><br>Jason 
 Lai\, baritone sax<br>Joey Kyne\, tenor sax<br>Kevin Eng\, alto <em>(lead)
 <br></em>Danica Raymundo\, alto sax<br>Liam Salas\, tenor sax<br><em><span><strong><br></strong></span></em><span><strong>Rhythm Section</strong></span><span><br>Gavin Westland\, piano<br>Elise Soper\, bass<br>Ruben
  Thomas\, </span><span>drums</span><em><span st yle=' 400\;'><br></span></em></p> <hr> <h3>Biographies</h3>
END:VEVENT
BEGIN:VEVENT
UID:c6d5c4f0-a63a-4425-932e-086b01111181
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240702T162120Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20241203T120000
LAST-MODIFIED:20240702T162120Z
SEQUENCE:123
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-03/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:cd1ad3d3-568c-49a4-a12b-0ec56e9cd775
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances\, Visiting Ar
 tists and Scholars
CLASS:PUBLIC
CREATED:20240808T211804Z
DESCRIPTION:<p></p>\n<p>Autumn Quarter Ethnomusicology Visiting Artist Migu
 el Ballumbrosio presents a performance of Afro-Peruvian dance and music tr
 aditions from the region of Chincha\, where several generations of his fam
 ily have been prominent culture bearers. He is joined by guest artists De 
 Cajón and by his UW students from Music and Dance.</p>\n<hr>\n<h3>Program</h3>\n<p><strong>Mig
 uel Ballumbrosio<br>UW Ethnomusicology Community Artist in Residence\, Win
 ter 2024<br></strong><strong>Afro-Peruvian Music and Dance </strong></p>\n
 <p><strong> </strong><strong><u></u></strong><s trong>De Cajón Project <br></strong>Festejo Amador Contrapunto de zapateo
  </p>\n<p><strong></strong><strong>Presentation
  of musical instruments by students <br></strong>Traditional Afro-Peruvian
  instruments: cajón\, cajita\, quijada Other instruments that are used to
 day: campana\, batajones\, congas<strong> </strong></p>\n<p><strong>“Ensamble Cajón” “Valentín” </strong>(landó rhythm
 ) </p>\n<p><strong>Dance presentation </strong>
 (zapateo)</p>\n<hr>\n<h4><strong></strong>The A
 rtists</h4>\n<p><strong>Miguel Ballumbrosio </s>was born in Chincha\, Peru\, in 1976\, the 11th of 15 children. His 
 father\, Amador Ballumbrosio\, was an important culture bearer in his Afro
  Peruvian community who has been recognized by the Peruvian government as 
 a national treasure. From the age of four Miguel danced zapateo for the Vi
 rgen del Carmen\, and today he is the leader of the Atajo de Negritos del 
 Carmen\, which is celebrated every December in his community.</p>\n<p styl e=' 400\;'>Miguel’s talent also attracted attention from outsi
 de his home community at an early age. At age 14 he began to tour internat
 ionally with the rock musician Miki Gonzales\, and he later immigrated to 
 Lima\, where he played with different Afroperuvian groups (Cofradía Negra
 \, Teatro Milenio) and the funk-fusion band La Pura Purita. In 2002 he tra
 veled to France with Grupo Milenio\, and later he moved to Spain\, where h
 e continued to perform with international artists.</p>\n<p>From 2004-2016 Miguel was based in Paris\, where he performed 
 on cajón and zapateo (foot percussion) with the Paris Jazz big band\, Min
 ino Garay y Los Tambores del Sur\, Los Frapadingos\, Inca Mandinga and int
 ernational artists such as Chucho Valdes\, Giovanni Hidalgo\, Gonzalo Ruba
 lcaba. He has taught Afro-Peruvian music and instrument building at severa
 l schools and community centers in Paris\, including La Cité de la Musiqu
 e Philarmonique de Paris\, and has also continued to offer workshops inter
 nationally.</p>\n<p>Eight years ago Miguel bega
 n building the Centro Cultural Amador Ballumbrosio in his hometown of Chin
 cha\, a space for the people and their traditions\, to promote and preserv
 e Afro- peruvian and Afro-andino culture. He has returned home to continue
  the legacy of his father\, Amador Ballumbrosio.</p>\n<p><strong>DE CAJóN Project</strong>\, a Seattle-based performance
  group born of the rich musical heritage of African descent Peruvians\, ha
 s been performing in the Pacific Northwest since 2009. “De cajón” is a Pe
 ruvian expression that means “for sure!” “rain or shine!” “without questio
 n!” Cajón is also the name of a box-shaped drum\, the driving percussive 
 element at the heart of Afro-Peruvian music. As a performing group DE CAJo
 ́N strives to offer a vibrant reclamation of Afro-Peruvian music and dance
 \, both its historic roots and contemporary manifestations\, through works
 hops and music performances for diverse audiences. </p>\n<p>DE CAJóN founder and director is Seattle-based artist and an
 thropologist <strong>Monica Rojas- Stewart\, </strong>a community arts act
 ivist and pioneering performer and educator of Afro-Peruvian culture\, and
  of the broader Afro-Latinx arts movement in the Pacific Northwest. She is
  joined in this concert by De Cajón members <strong>Eduardo Montero (bass)\, and <strong>Roberto Bonaccorso </strong>(guitar and vocals).&lt;
 strong&gt; </strong></p>\n<hr>\n<h4>Students in MU
 SAP 389 A Au 24: World Music</h4>\n<p>Rowan Bev
 er<br>Finley Brown<br>Haley Chavez<br>Grace Clarke<br>Ashley Cook<br>Penny
  Crichton<br>Hannah Daniels<br>Yifan Han<br>Minghao Li<br>Yilin “Elene” Li
 u<br>Rayne Mescallado<br>Ari Okin<br>Nate Paris<br>Juan Posada<br>Sage Ram
 berg<br>Ash Snow<br>Markus Teuton<br>Wenwen “Kiki” Wei<br>Paula Zhong</p>
 \n<h4><strong>Students in Dance 244A Afro-Peruvian Zapateo (step dance)</s></h4>\n<p> Vivian Lian<br>Sixian Liu<br>Zimo Liu<br>Ashlyn Morgan<br>Koyomi Nanaumi <br>Madeline Robertson<br>Sara Wang<br>Zinnia Wang<br>Iren
 e Xin Jie Lau<br>Tessa Xu<br>Yixin Zhang<br>Anne Zhao<br>Ziyu Zhao</p>
DTSTART;TZID=America/Los_Angeles:20241203T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:124
SUMMARY:: Ethnomusicology Visiting Artist Concert: Miguel Ballumbrosio\, Af
 ro-Peruvian Music and Dance
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-04/ethnomusicology-visiting
 -artist-concert-miguel-ballumbrosio-afro-peruvian-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Autumn Quarter Ethnomusicology Visi
 ting Artist Miguel Ballumbrosio presents a performance of Afro-Peruvian da
 nce and music traditions from the region of Chincha\, where several genera
 tions of his family have been prominent culture bearers. He is joined by g
 uest artists De Cajón and by his UW students from Music and Dance.</p> <hr> <h3>Program</h3> <p><strong>Miguel Ballumbrosio<br>UW Ethnomusicology Community Artist in Re
 sidence\, Winter 2024<br></strong><strong>Afro-Peruvian Music and Dance </strong></p> <p><strong> </strong><strong><u></u></strong><strong><span>De Cajón Project <br></span></strong><span>Festej
 o Amador Contrapunto de zapateo </span></p> <p>
 <strong><span></span></strong><strong>Presentation of musical instruments 
 by students <br></strong>Traditional Afro-Peruvian instruments: cajón\, c
 ajita\, quijada Other instruments that are used today: campana\, batajones
 \, congas<strong> </strong></p> <p><strong>“Ensamble Cajón” “Valentín” </span></strong><span>(landó rhythm) </p> <p><strong>Dance presentation </strong>
 (zapateo)</p> <hr> <h4><strong></strong>The Art
 ists</h4> <p><strong>Miguel Ballumbrosio was born in Chincha\, Peru\, in 1976\, the 11th of 15 children. His fat
 her\, Amador Ballumbrosio\, was an important culture bearer in his Afro Pe
 ruvian community who has been recognized by the Peruvian government as a n
 ational treasure. From the age of four Miguel danced zapateo for the Virge
 n del Carmen\, and today he is the leader of the Atajo de Negritos del Car
 men\, which is celebrated every December in his community.</p> <p>Miguel’s talent also attracted attention from outside h
 is home community at an early age. At age 14 he began to tour internationa
 lly with the rock musician Miki Gonzales\, and he later immigrated to Lima
 \, where he played with different Afroperuvian groups (Cofradía Negra\, T
 eatro Milenio) and the funk-fusion band La Pura Purita. In 2002 he travele
 d to France with Grupo Milenio\, and later he moved to Spain\, where he co
 ntinued to perform with international artists.</p> <p>From 2004-2016 Miguel was based in Paris\, where he performed on ca
 jón and zapateo (foot percussion) with the Paris Jazz big band\, Minino G
 aray y Los Tambores del Sur\, Los Frapadingos\, Inca Mandinga and internat
 ional artists such as Chucho Valdes\, Giovanni Hidalgo\, Gonzalo Rubalcaba
 . He has taught Afro-Peruvian music and instrument building at several sch
 ools and community centers in Paris\, including La Cité de la Musique Phi
 larmonique de Paris\, and has also continued to offer workshops internatio
 nally.</p> <p>Eight years ago Miguel began buil
 ding the Centro Cultural Amador Ballumbrosio in his hometown of Chincha\, 
 a space for the people and their traditions\, to promote and preserve Afro
 - peruvian and Afro-andino culture. He has returned home to continue the l
 egacy of his father\, Amador Ballumbrosio.</p> <p><strong>DE CAJóN Project</strong>\, a Seattle-based performance group 
 born of the rich musical heritage of African descent Peruvians\, has been 
 performing in the Pacific Northwest since 2009. “De cajón” is a Peruvian 
 expression that means “for sure!” “rain or shine!” “without question!” Caj
 ón is also the name of a box-shaped drum\, the driving percussive element
  at the heart of Afro-Peruvian music. As a performing group DE CAJóN stri
 ves to offer a vibrant reclamation of Afro-Peruvian music and dance\, both
  its historic roots <em>and </em>contemporary manifestations\, through wor
 kshops and music performances for diverse audiences. </p> <p>DE CAJóN founder and director is Seattle-based artist and a
 nthropologist <strong>Monica Rojas- Stewart\, </strong>a community arts ac
 tivist and pioneering performer and educator of Afro-Peruvian culture\, an
 d of the broader Afro-Latinx arts movement in the Pacific Northwest. She i
 s joined in this concert by De Cajón members <strong>Eduardo Montero (bass)\, and <strong>Roberto Bonaccorso </strong>(guitar and vocals).
 <strong> </strong></p> <hr> <h4>Students in MUS
 AP 389 A Au 24: World Music</h4> <p>Rowan Bever
 <br>Finley Brown<br>Haley Chavez<br>Grace Clarke<br>Ashley Cook<br>Penny C
 richton<br>Hannah Daniels<br>Yifan Han<br>Minghao Li<br>Yilin “Elene” Liu&lt;
 br&gt;Rayne Mescallado<br>Ari Okin<br>Nate Paris<br>Juan Posada<br>Sage Rambe
 rg<br>Ash Snow<br>Markus Teuton<br>Wenwen “Kiki” Wei<br>Paula Zhong</p> <strong>Students in Dance 244A Afro-Peruvian Zapateo (step dance)</h4> <p><span> Vivian Lian<br>Sixian Liu<br>Zimo Liu<br>Ashlyn Morgan<b r>Koyomi Nanaumi <br></span>Madeline Robertson<br>Sara Wang<br>Zinnia Wang
 <br>Irene Xin Jie Lau<br>Tessa Xu<br>Yixin Zhang<br>Anne Zhao<br>Ziyu Zhao
 </p>
END:VEVENT
BEGIN:VEVENT
UID:f4cd65d9-521c-4767-baf0-a67629db6782
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20240801T171553Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<h2 class='x_MsoNormal'>Featured Performers</h2>\n\n\n\n\n\n\nSee program details <a href='/sites/music/files/documents/december_4.pdf'>HERE</a>. \n\n\n\n\n\n
 \n<p class='x_MsoNormal'> </p>\n\n<p class='x_MsoNormal'></p>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20241204T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:125
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-04/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <h2 class='x_MsoN
 ormal'><span>Featured Performers</span></h2> <div class='elementToProof'> 
 <div class='elementToProof'> <div class='elementToProof'> <div class='elem
 entToProof'> <div class='elementToProof'> <div class='x_elementToProof Con
 tentPasted0'> <div class='x_elementToProof ContentPasted0'>See program det
 ails <a href='/sites/music/files/documents/december_4.pdf'>HERE</a>. </div> </div> </div> </div> </div> </div> </div> <p class='x_MsoNormal'><span> 
 </span></p> <div> <p class='x_MsoNormal'><span></span></p> <p></p> </div>
END:VEVENT
BEGIN:VEVENT
UID:68cfbeb4-2b5d-405d-bc3b-53ca17d6df09
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T173011Z
DESCRIPTION:<p> </p>\n\n<p>The Chamber Singers (Geoffrey Boers\, director) 
 and University Chorale (Giselle Wyers\, director) present their Winter Qua
 rter program. The Chamber Singers presents a set of works celebrating prec
 ious and treasured things\, including movements from Amex Berko’s Sacred P
 lace\, and music by Trent Reznor (Nine Inch Nails)\, Jake Runestad\, Eric 
 Whitacre\, and others. With Rachel Lee Priday violin\, Christine Lee\, cel
 lo\, and Serena Chin\, piano\, </p>\n\nThe University Chorale performs cho
 ral folk settings from across the globe\, including traditional American s
 hape note and American spirituals\, and works from England\, Norway\, Mexi
 co\, and Hungary. With guest conductor David Puderbaugh\, Assistant Direct
 or of Choral Activities at University of Iowa.\n<hr>\n\n \n\n<h3>Program</h3>\n\n<h4>University Chorale<b> </b></h4>\n\n<p>'The Loudest Whisper<b> '
 </b><br>\n<b>Giselle Wyers</b>\, conductor<br>\n<b>David Puderbaugh</b>\, 
 guest conductor<br>\n<b>Serena Chin</b>\, collaborative pianist </p>\n\n<p>Star in the East - Sacred Harp hymn<b> Reginald Heber</b>\, arr. in the S
 outhern Harmony </p>\n\n<p>Solbonn<b> - </b>Norwegian folksong arr. <b>Gje
 rmund Larsen </b></p>\n\n<p>Four Slovak Folksongs<b> - Bela Bartok </b>(mv
 ts. 1 – 4) <br>\nDavid Puderbaugh\, guest conductor\; Serena Chin\, piano 
 </p>\n\n<p>An Aboriginal Song -<b> Veljo Tormis </b><br>\nDavid Puderbaugh
 \, conductor\; Serena Chin\, shaman drum </p>\n\n<p>Ain’t a That Good News
  -<b> </b>arr. <b>Stacey Gibbs </b>(contemporary) </p>\n\n<p>Scarborough F
 air<b> - </b>arr. <b>Fraser Wilson </b>(contemporary) </p>\n\n<p>La Muerte
  Sonriente (The Smiling Death)<b> - Diana Syrse </b><br>\nPercussion: Hann
 ah Carpenter\, Danny Vizenor\, Jonah Ladish-Orlich\, Serena Chin\; Zachary
  Fitzgerald\, solo tenor </p>\n\n<hr>\n<h4>Chamber Singers</h4>\n\n\n<p st yle=' 400\;'>'Sacred Place and Sacred Places'<br>\nGeoffrey Bo
 ers\, conductor<br>\nSerena Chin\, collaborative keyboard artist<br>\nIngr
 id Veruhlsdonk\, collaborative rehearsal keyboard artist<br>\nRachel Prida
 y\, violin<br>\nChristine Lee\, cello<br>\nClara Johnson\, Evan Norberg\, 
 and Michael McKenzie assistant conductors</p>\n\n<p><strong>Sacred Nature</strong><br>\nSacred Place: Mvt. 1 Amidah: Alex
  Berko<br>\nCome to the Woods: Jake Runestad</p>\n\n<p><strong>Sacred Life</strong><br>\nSacred Place: Mvt. 3 Shema: Alex Berkop</strong><br>\nKyla Jean Marshall\, soprano<br>\nBraeden Sc
 hwarz\, tenor</p>\n\n<p>Beauty is Life:  Jake R
 unestad</p>\n\n<p><strong>Sacred Love: Healing 
 and Renewa</strong><br>\nSacred Place: Mvt. 4 Mi Shebeirach</p>\n\n<p styl e=' 400\;'>Hurt: <strong>Trent Reznor\, arr. Eric Whitacre<br>\nJaden Ritscher\, soprano</p>\n\n<p>I
  Sing Because… <strong>Will Todd</strong></p>\n\n<p>Real: <strong>James Deignan</strong><br>\nMichael McKenzie\,  conduct
 or </p>\n\n<hr>\n<h4>University Chorale Notes a
 nd Text</h4>\n\n<p><strong>Star in the East Sac
 red Harp hymn\, composed Reginald Heber\, arr. in the Southern Harmony\, 1
 835 </strong></p>\n\n<ol>\n	<li>Hail the blest m
 orn\, see the great Mediator\, Down from the regions of glory descend! She
 pherds\, go worship the Babe in the manger\, Lo\, for His guard the bright
  angels attend.</li>\n</ol>\n\n<p>Refrain: Brig
 htest and best of the sons of the morning! Dawn on our darkness\, and lend
  us Thine aid\; Star in the east\, the horizon adorning\, Guide where our 
 Infant Redeemer was laid.</p>\n\n<ol start='2'>\n	<li>Cold on His cradle the dewdrops are shining\, Low lies His head with
  the beasts of the stall\; Angels adore Him\, with slumbers reclining\, Ma
 ker\, Redeemer\, and Savior of all.</li>\n	<li>S
 ay\, shall we yield Him some costly devotion\, Odors of Eden\, and off’rin
 gs divine? Gems from the mountain\, and pearls from the ocean\, Myrrh from
  the forest\, and gold from the mine?</li>\n	<li>Vainly we offer each ample oblation\, Vainly with gold would His favor se
 cure\; Richer by far is the heart’s adoration\, Dearer to God are the pray
 ers of the poor.</li>\n</ol>\n\n<p><strong>Solb
 onn- Norwegian folksong\, arr. Gjermund Larsen </strong><br>\nSung in Norw
 egian\, lyrics drawn from a Norwegian traditional lullaby<br>\nLova\, lova
 \, lina.<br>\nLord let the sun shine.<br>\nUpon the hills and trees.<br>\n
 Upon people and herds.<br>\nUpon fields and meadows.<br>\nUpon Virgin Mary
 ’s red golden bed.<br>\nSolos: Jessica Thaxton\, fiddle and Meliza Redulla
  and Sophie Root\, sopranos</p>\n\n<p><strong>F
 our Slovak Folksongs by Bela Bartok  (1881-1945)</strong><br>\nConducted b
 y guest conductor Dr. David Puderbaugh<br>\nSerena Chin\, piano</p>\n\n<p>Text\, sung in Hungarian:<br>\n<strong>Movement
  1:</strong><br>\nThe mother wed\, wed the daughter far away from herself.
 <br>\nShe forbid her\, she ordered her\, don’t go towards me\, daughter.<b r>\nDaughter: I will make myself to be a mottled bird.<br>\nI will fly to 
 my mother and sit there on a garden lily.<br>\nMom comes out and says: Wha
 t’s this bird who sings so sadly?<br>\nHey\, hey\, mottled bird\, go to fo
 reign country. Don’t break the lily!<br>\nDaughter: You wed me to a bad ma
 n\, to a foreign country.<br>\nTruly I feel bad\, dear mother\, for being 
 with a bad man.</p>\n\n<p><strong>Movement 2:</strong><br>\nOn the mountain\, I had such a good sleep\, as on an eider do
 wn.<br>\nWe have gathered the hay already.<br>\nWhat are we going to do? W
 e go down from the hill to the valley.</p>\n\n<p><strong>Movement 3: </strong><br>\nShe drank with joy.<br>\nShe ate with
  joy.<br>\nShe danced with joy.<br>\nHer little skirt\, she did not even c
 rinkle it.<br>\nYou did not give four coppers\, as I did\, so that you can
  dance.<br>\nNo one was willing to dance with me!</p>\n\n<p><strong>Movement 4: </strong><br>\nLet the bagpipe blow<br>\n
 We go to our sweetheart!<br>\nHey\, let it blow merrily\, Hey\, sure\, we’
 ll go there!<br>\nBlow your bagpipe! I still have two coppers\; Hey\, one 
 for the piper\, the other for the innkeeper. He was quite a goat\, that le
 d the flock! Hey\, but he doesn’t lead anymore. Hey\, he broke his leg!</p>\n\n<p><strong>An Aboriginal Song Veljo Tormis
  (1930-2017)</strong><br>\nDavid Puderbaugh\, conductor<br>\nSerena Chin\,
  shaman drum</p>\n\n<p>The text is sung to a si
 ngle word “Tabu” (which translates as “taboo”)</p>\n\n<p><strong>Ain’t a That Good News arr. Stacey Gibbs  (contemporary)
 </strong><br>\nI got a crown up in a the kingdom\, Ain’t a that good news&lt;
 br&gt;\nI’m a gonna lay down this world\,<br>\nGonna shoulder up-a my cross\;
 <br>\nThen I’m gonna take it home to my Jesus\, ain’t a that-a good news.&lt;
 br&gt;\nI got a Savior in-a the kingdom\, Ain’t a that good news<br>\nI’m a g
 onna lay down this world\,<br>\nGonna shoulder up-a my cross\;<br>\nThen I
 ’m gonna take it home to my Jesus\, ain’t a that-a good news.<br>\nI got a
  harp up in a the kingdom\, Ain’t a that good news<br>\nI’m a gonna lay do
 wn this world\,<br>\nGonna shoulder up-a my cross\;<br>\nThen I’m gonna ta
 ke it home to my Jesus\, ain’t a that-a good news.<br>\nLord I’m gonna sho
 ut for joy\, ain’t a that a good news?</p>\n\n<p><strong>Scarborough Fair arr. Fraser Wilson (contemporary)</strong><br>
 \nAre you going to Scarborough Fair?<br>\nParsley\, sage\, rosemary and th
 yme.<br>\nRemember me to one who lives there.<br>\nShe once was a true lov
 e of mine.<br>\nAsk her to make me a cambric shirt\,<br>\nParsley\, sage\,
  rosemary and thyme.<br>\nWithout any seam nor needlework\,<br>\nShe once 
 was a true love of mine.<br>\nTell him to find me an acre of land\,<br>\nP
 arsley\, sage\, rosemary and thyme.<br>\nBetween the salt water and the se
 a sand\,<br>\nHe once was a true love of mine.</p>\n\n<p><strong>La Muerte Sonriente (The Smiling Death): composed Diana 
 Syrse  (b. 1984) </strong><br>\nPercussion: Hannah Carpenter\, Danny Vizen
 or\, Jonah Ladish-Orlich\, Serena Chin<br>\nZachary Fitzgerald\, solo teno
 r</p>\n\n<p>Translation: Sung in Spanish</p>\n
 \n<p>The smiling death<br>\nis dressed by memor
 ies that are ornamented<br>\nby flowers made of fabric Body of bones<br>\n
 fine and slender.</p>\n\n<p>The white death of 
 perfect bones<br>\nis waiting to be liberated<br>\nfrom flesh\, blood\, pu
 lse and breath.</p>\n\n<p>The cheerful death<br>\ndresses in an elegant way because she is going to meet life itself.</p>
 \n\n<p>The joyful death<br>\nremains behind eac
 h smile and behind every lost love that goes to different skies depending 
 on their faith.</p>\n\n<p>Our deaths<br>\nthat 
 sometime<br>\nbeaten in our dimension walk among us silently.</p>\n\n<p st yle=' 400\;'>Sacred death\,<br>\na death dreamed by us smiling
  death<br>\nthe death that sings\, flirtatious death\, unexpected death<br>\nthe death that crumbles the bones of the soul.</p>\n\n<p>The smiling death walk between offerings and watches her sile
 nt in colored.</p>\n\n<p>One night every year<b r>\nskulls dance<br>\neat\, laugh and sing<br>\nand we dance elbow by elbo
 w following the beat of nostalgy of Mexican music</p>\n\n<p>In here the cacao grows<br>\nbetween dances and percussions. 
 Over there the sugar<br>\nbetween flutes and flowers.</p>\n\n<p>The smiling death laughs and dances cold death\,<br>\nwhi
 te death.</p>\n\n<p>smiling death<br>\nthe deat
 h that sings\, flirtatious death\, unexpected death<br>\nthe death that cr
 umbles the bones of the soul.</p>\n\n<p>Because
  death between bread<br>\nand chocolate<br>\nis not an absence of life<br>
 \nit is a skull made of white sugar\,<br>\nit is a skinny with a hat betwe
 en orange flowers that lay</p>\n\n<p>on her bel
 oved cemetery.</p>\n\n<hr>\n<h4>Notes from Geof
 frey Boers</h4>\n\n<p>Tonight’s Chamber Singers
  portion of The Loudest Whisper\, is an exploration that things\, just by 
 being\, speak “loudly” to us\, at times with no sound at all. Nature\, Lif
 e\, Love are wonders that we might deem as “sacred\,” precious\, treasured
 .</p>\n\n<p>The concert centers around\, and wa
 s inspired by a new work by Alex Berko entitled Sacred Place. Inspired by 
 a Jewish service\, the six-movement work\, (three of which we will sing to
 night)\, is not sacred in a religious sense. Rather\, it is a collection o
 f poems and writings by Wendell Berry\, John Muir\,William Stafford\, and 
 a short snippet of the Mi Shebeirach which is a Jewish blessing for health
  and healing.</p>\n\n<p>The three movements we 
 will sing tonight are surrounded by other works that celebrate the same “s
 acredness” of the Berko work. We will hear more of John Muir in Runestad’s
  Come to the Woods\, a story of Muir’s desire to go into the woods to expe
 rience a “most amazing windstorm.” The choir paints pictures of wind\, a s
 torm\, the calming\, and the after-quiet. The choir will sing “Beauty is l
 ife when life unveils her holy face” as an uplifitng chant in th Runestad’
 s setting of Kahlil Gibran.</p>\n\n<p>In singin
 g about love\, we sing a challenging set of three songs which explore the 
 inevitable hurt that occurs in relationship\, the act of forgiveness\, and
  the process of healing. Hurt was written by Trent Reznor of the band Nine
  Inch Nails and later infamously covered by Johnny Cash. It speaks of regr
 et and deep honesty of a life of creating hurt\, and asking to be loved ag
 ain. We follow with I Sing Because…which says over and over “I sing becaus
 e you loved me once\,” and it seems the singer says that love is enough to
  endure a lifetime—forgiveness indeed. We close with Real\, with a text fr
 om The Velveteen Rabbit:</p>\n\n<p>“Real isn’t 
 how you are made\,” said the Skin Horse. “It’s a thing </p>\n\n<p>that happens to you when someone loves you\, for a long
 \, long\, time.</p>\n\n<p>Not just to play with
 \, but REALLY loves you. Then you become</p>\n\n<p>real.</p>\n\n<p>We found these final pieces
  to be both challenging and fulfilling after the intense journey of this p
 rogram. Our need to process the rich\, but profoundly sad and emotional te
 xt of Hurt\, led us to create “Word Clouds\,” AI generated pictures made f
 rom words that our choir members shared—both from the text we are singing 
 as well as elements from their own lives. What follows here are three Word
  Clouds for\, in order\, Hurt\, I Sing Because\, and Real.</p>\n\n<p> </p>\n\n\n  \n      \n    \n            \n\n\n\n   
    \n\n\n  \n\n\n<p> </p>\n\n\n  \n      \n    
 \n            \n\n\n\n      \n\n\n  \n\n\n<p> &lt;
 /p&gt;\n\n\n  \n      \n    \n            \n\n\n\n      \n\n\n  \n\n\n<p styl e=' 400\;'> </p>\n\n<p> </p>\n\n\n&lt;
 hr&gt;\n\n	\n		\n			\n			<h4>University Chorale<b> </b></h4>\n\n			<p><b>Sopranos </b><br>\n			Claire Killian<br>\n			Devyn Mattson<br>\n			Elizabeth Brown<br>\n			Emily Shiel
 ds<br>\n			Evelyn Jones<br>\n			Hope Villareal<br>\n			Jolee Zamira<br>\n			Katelyn Wa
 les<br>\n			Kirsten Conover<br>\n			Lauren Chenoweth<br>\n			Mackenzie Martin<br>\n
 			Meena Kuduva<br>\n			Meliza Redulla<br>\n			Nila Chandramouli<br>\n			Olivia Spaid&lt;
 br&gt;\n			Quinn Ewing<br>\n			Sofia Groff<br>\n			Sophia Conner<br>\n			Sophie Root<br>
 \n			Tara Zolfaghari </p>\n\n			<p><b>Altos </b><br>\n			Alexis Georgiades<br>\n			Ali
 na Galata<br>\n			Anna Vu<br>\n			Anne Tinker<br>\n			Claudia Kahana<br>\n			Dominique
  Mallo<br>\n			Emily Colombo<br>\n			Emily Dong<br>\n			Haley Westberg<br>\n			Jaja Re
 duque<br>\n			Jessica Thaxton<br>\n			Julianna Cullen<br>\n			Juniper Blessing<br>
 \n			Kiana Gregorich<br>\n			Lainey Graham<br>\n			Leah Peterson<br>\n			Maya Shah<br>
 \n			Natalie Peterson<br>\n			Samara Chacko<br>\n			Sydney Jordan<br>\n			Zoya Mir </p>\n\n			<p><b>Tenors </b><br>\n			Adrian Wong Cascante<br>\n			Alex Trias<br>\n			Cale
 b Strader<br>\n			Elijah Marucheck<br>\n			Eric Gagliano<br>\n			Gray Creech<br>\n			H
 annah Carpenter<br>\n			Haoran Peng<br>\n			Jackie Smith<br>\n			Luis Javier<br>\n			M
 addie Rivera<br>\n			Michael Lim<br>\n			Michael Lu<br>\n			Tim Resca<br>\n			Tyler Sa
 ntos<br>\n			William Gao<br>\n			Zachary Fitzgerald </p>\n\n			<p><b>Basses </b><br>\n			A.J. Johnson<br>\n			Aidan Maynard<br>\n			Chance Kelley<br>\n			Charlie Dawson&lt;
 br&gt;\n			Edén Alvarado<br>\n			Cole Siegrist<br>\n			Danny Troyan<br>\n			Danny Vizenor
 <br>\n			DaShaundre Steele<br>\n			Dreyden Brown<br>\n			Gavin Morrow<br>\n			Jonah La
 dish-Orlich<br>\n			Kwabena Ledbetter<br>\n			Luke Granger<br>\n			Mario D’Ambrosio
 <br>\n			Matthew Magbanua<br>\n			Robbie Troyan<br>\n			Taylor Bellamy<br>\n			Thayden
  Boome </p>\n\n			<h4>Chamber Singers</h4>\n\n			<p><b>Soprano 1 </b><br>\n			Helen
  Woodruff<br>\n			Kyla Marshall<br>\n			Jaden Ritscher<br>\n			June Ricks<br>\n			Laur
 en Chenoweth </p>\n\n			<p><b>Soprano 2 </b><br>\n			Clara Johnson<br>\n			Soledad 
 Mayorga-Maldonado<br>\n			Egija Claire<br>\n			Annika Iyer<br>\n			Nandini Rathod &lt;
 /p&gt;\n\n			<p><b>Alto 1 </b><br>\n			Shriya Prasanna<br>\n			Nila Chandramouli<br>\n
 			Emily Colombo<br>\n			Heidi Blythe<br>\n			Lainey Graham </p>\n\n			<p><b>Alto 2 </b><br>\n			Jackie Smith<br>\n			Haley Westberg<br>\n			Alexandra Rameau<br>\n			Maya S
 hah<br>\n			Jaminfaye Reduque </p>\n\n			<p><b>Tenor 1 </b><br>\n			Maggie Petersen
 <br>\n			Hannah Carpenter<br>\n			Nicholas Renaud<br>\n			Michael Lim<br>\n			Brayden 
 Schwartz </p>\n\n			<p><b>Tenor 2 </b><br>\n			Gabriel Stefanides<br>\n			Gray Cree
 ch<br>\n			Manny Noyola-Juarez<br>\n			David Ferguson<br>\n			Caleb Strader </p>\n
 \n			<p><b>Bass 1 </b><br>\n			Alexander Trias<br>\n			Edén Alvarado<br>\n			Arshia As
 hari<br>\n			Luis Javier </p>\n\n			<p><b>Bass 2 </b><br>\n			Michael McKenzie<br>
 \n			Adam Freemantle<br>\n			Scott Fikse<br>\n			Evan Norberg<br>\n			Kyle Mahoney </p>\n			\n		\n	\n\n\n<h3>Biographies</h3>\n\n<h3> </h3>
DTSTART;TZID=America/Los_Angeles:20241204T193000
LAST-MODIFIED:20250728T172254Z
SEQUENCE:126
SUMMARY:: Chamber Singers and University Chorale: The Loudest Whisper
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-04/chamber-singers-and-univ
 ersity-chorale-loudest-whisper
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p> <p>The Chamber Singers (Geoffrey Boer
 s\, director) and University Chorale (Giselle Wyers\, director) present th
 eir Winter Quarter program. The Chamber Singers<span> presents a set of wo
 rks celebrating precious and treasured things\, including movements from A
 mex Berko’s Sacred Place\, and music by Trent Reznor (Nine Inch Nails)\, J
 ake Runestad\, Eric Whitacre\, and others. With Rachel Lee Priday violin\,
  Christine Lee\, cello\, and Serena Chin\, piano\, </span></p> <div>The Un
 iversity Chorale performs choral folk settings from across the globe\, inc
 luding traditional American shape note and American spirituals\, and works
  from England\, Norway\, Mexico\, and Hungary. With guest conductor David 
 Puderbaugh\, Assistant Director of Choral Activities at University of Iowa
 . <hr></div> <div> </div> <h3>Program</h3> <h4>University Chorale<b><span class='Apple-converted-space'> </span></b></h4> <p><span><i>'The Loudest W
 hisper</i><b><i> '</i></b></span><br> <b>Giselle Wyers</b>\, conductor<br>
  <b>David Puderbaugh</b>\, guest conductor<br> <b>Serena Chin</b>\, collab
 orative pianist<span class='Apple-converted-space'> </span></p> <p>Star in
  the East - Sacred Harp hymn<b> Reginald Heber</b>\, arr. in the Southern 
 Harmony<span class='Apple-converted-space'> </span></p> <p>Solbonn<b> - </b>Norwegian folksong arr. <b>Gjermund Larsen<span class='Apple-converted-s
 pace'> </span></b></p> <p>Four Slovak Folksongs<b> - Bela Bartok </b><i>(m
 vts. 1 – 4)<span class='Apple-converted-space'> </span></i><br> <em>David 
 Puderbaugh\, guest conductor\; Serena Chin\, piano</em><span class='Apple-
 converted-space'> </span></p> <p>An Aboriginal Song -<b> Veljo Tormis<span class='Apple-converted-space'> </span></b><br> <em>David Puderbaugh\, con
 ductor\; Serena Chin\, shaman drum</em><span class='Apple-converted-space'> </span></p> <p>Ain’t a That Good News -<b> </b>arr. <b>Stacey Gibbs </b>
 (contemporary)<span class='Apple-converted-space'> </span></p> <p>Scarboro
 ugh Fair<b> - </b>arr. <b>Fraser Wilson </b>(contemporary)<span class='App
 le-converted-space'> </span></p> <p>La Muerte Sonriente (The Smiling Death
 )<b> - Diana Syrse<span class='Apple-converted-space'> </span></b><br> <em>Percussion: Hannah Carpenter\, Danny Vizenor\, Jonah Ladish-Orlich\, Sere
 na Chin\; Zachary Fitzgerald\, solo tenor<span class='Apple-converted-spac
 e'> </span></em></p> <hr> <h4>Chamber Singers</h4> <div> <p><em>'Sacred Place and Sacred Places'</em><br> Geoffrey Boers\
 , <em>conductor</em><br> Serena Chin\, <em>collaborative keyboard artist</em><br> Ingrid Veruhlsdonk\, <em>collaborative rehearsal keyboard artist</em><br> Rachel Priday\, <em>violin</em><br> Christine Lee\, <em>cello</em>
 <br> Clara Johnson\, Evan Norberg\, and Michael McKenzie <em>assistant con
 ductors</em></p> <p><strong>Sacred Nature<br> Sacred Place: Mvt. 1 <em>Amidah: </em>Alex Berko<br> Come to the W
 oods<span>: </span>Jake Runestad</p> <p><strong>Sacred Life</strong><br> Sacred Place: Mvt. 3 <em>Shema: </em><strong>Ale
 x Berkop</strong><br> Kyla Jean Marshall\, <em>soprano</em><br> Braeden Sc
 hwarz\, <em>tenor</em></p> <p>Beauty is Life: &lt;
 span&gt; </span>Jake Runestad</p> <p><strong>Sacre
 d Love: Healing and Renewa</strong><br> Sacred Place: Mvt. 4 Mi Shebeirach
 </p> <p>Hurt<span>: </span><strong>Trent Reznor
 \, arr. Eric Whitacre</strong><br> Jaden Ritscher\, <em>soprano</em></p> &lt;
 p style='font-weight: 400\;'&gt;I Sing Because…<span> </span><strong>Will Tod
 d</strong></p> <p>Real<span>: </span><strong>Ja
 mes Deignan</strong><br> Michael McKenzie\, <em><span> </span>conductor </p> <hr> <h4>University Chorale Notes and T
 ext</h4> <p><strong>Star in the East Sacred Har
 p hymn\, composed Reginald Heber\, arr. in the Southern Harmony\, 1835 </s></p> <ol> <li>Hail the blest morn\, see t
 he great Mediator\, Down from the regions of glory descend! Shepherds\, go
  worship the Babe in the manger\, Lo\, for His guard the bright angels att
 end.</li> </ol> <p>Refrain: Brightest and best 
 of the sons of the morning! Dawn on our darkness\, and lend us Thine aid\;
  Star in the east\, the horizon adorning\, Guide where our Infant Redeemer
  was laid.</p> <ol start='2'> <li>Cold on His c
 radle the dewdrops are shining\, Low lies His head with the beasts of the 
 stall\; Angels adore Him\, with slumbers reclining\, Maker\, Redeemer\, an
 d Savior of all.</li> <li>Say\, shall we yield 
 Him some costly devotion\, Odors of Eden\, and off’rings divine? Gems from
  the mountain\, and pearls from the ocean\, Myrrh from the forest\, and go
 ld from the mine?</li> <li>Vainly we offer each
  ample oblation\, Vainly with gold would His favor secure\; Richer by far 
 is the heart’s adoration\, Dearer to God are the prayers of the poor.</li>
  </ol> <p><strong>Solbonn- Norwegian folksong\,
  arr. Gjermund Larsen </strong><br> Sung in Norwegian\, lyrics drawn from 
 a Norwegian traditional lullaby<br> Lova\, lova\, lina.<br> Lord let the s
 un shine.<br> Upon the hills and trees.<br> Upon people and herds.<br> Upo
 n fields and meadows.<br> Upon Virgin Mary’s red golden bed.<br> <em>Solos
 : Jessica Thaxton\, fiddle and Meliza Redulla and Sophie Root\, sopranos</em></p> <p><strong>Four Slovak Folksongs by Bel
 a Bartok  (1881-1945)</strong><br> Conducted by guest conductor Dr. David 
 Puderbaugh<br> Serena Chin\, piano</p> <p>Text\
 , sung in Hungarian:<br> <strong>Movement 1:</strong><br> The mother wed\,
  wed the daughter far away from herself.<br> She forbid her\, she ordered 
 her\, don’t go towards me\, daughter.<br> Daughter: I will make myself to 
 be a mottled bird.<br> I will fly to my mother and sit there on a garden l
 ily.<br> Mom comes out and says: What’s this bird who sings so sadly?<br> 
 Hey\, hey\, mottled bird\, go to foreign country. Don’t break the lily!<br> Daughter: You wed me to a bad man\, to a foreign country.<br> Truly I fe
 el bad\, dear mother\, for being with a bad man.</p> <p><strong>Movement 2:</strong><br> On the mountain\, I had such a g
 ood sleep\, as on an eider down.<br> We have gathered the hay already.<br>
  What are we going to do? We go down from the hill to the valley.</p> <p s tyle=' 400\;'><strong>Movement 3: </strong><br> She drank with
  joy.<br> She ate with joy.<br> She danced with joy.<br> Her little skirt\
 , she did not even crinkle it.<br> You did not give four coppers\, as I di
 d\, so that you can dance.<br> No one was willing to dance with me!</p> <p><strong>Movement 4: </strong><br> Let the bagp
 ipe blow<br> We go to our sweetheart!<br> Hey\, let it blow merrily\, Hey\
 , sure\, we’ll go there!<br> Blow your bagpipe! I still have two coppers\;
  Hey\, one for the piper\, the other for the innkeeper. He was quite a goa
 t\, that led the flock! Hey\, but he doesn’t lead anymore. Hey\, he broke 
 his leg!</p> <p><strong>An Aboriginal Song Velj
 o Tormis (1930-2017)</strong><br> David Puderbaugh\, conductor<br> Serena 
 Chin\, shaman drum</p> <p>The text is sung to a
  single word “Tabu” (which translates as “taboo”)</p> <p><strong>Ain’t a That Good News arr. Stacey Gibbs <span> </span>(
 contemporary)</strong><br> I got a crown up in a the kingdom\, Ain’t a tha
 t good news<br> I’m a gonna lay down this world\,<br> Gonna shoulder up-a 
 my cross\;<br> Then I’m gonna take it home to my Jesus\, ain’t a that-a go
 od news.<br> I got a Savior in-a the kingdom\, Ain’t a that good news<br> 
 I’m a gonna lay down this world\,<br> Gonna shoulder up-a my cross\;<br> T
 hen I’m gonna take it home to my Jesus\, ain’t a that-a good news.<br> I g
 ot a harp up in a the kingdom\, Ain’t a that good news<br> I’m a gonna lay
  down this world\,<br> Gonna shoulder up-a my cross\;<br> Then I’m gonna t
 ake it home to my Jesus\, ain’t a that-a good news.<br> Lord I’m gonna sho
 ut for joy\, ain’t a that a good news?</p> <p>&lt;
 strong&gt;Scarborough Fair arr. Fraser Wilson (contemporary)</strong><br> Are
  you going to Scarborough Fair?<br> Parsley\, sage\, rosemary and thyme.<b r> Remember me to one who lives there.<br> She once was a true love of min
 e.<br> Ask her to make me a cambric shirt\,<br> Parsley\, sage\, rosemary 
 and thyme.<br> Without any seam nor needlework\,<br> She once was a true l
 ove of mine.<br> Tell him to find me an acre of land\,<br> Parsley\, sage\
 , rosemary and thyme.<br> Between the salt water and the sea sand\,<br> He
  once was a true love of mine.</p> <p><strong>L
 a Muerte Sonriente (The Smiling Death): composed Diana Syrse <span> </span>(b. 1984) </strong><br> Percussion: Hannah Carpenter\, Danny Vizenor\, Jo
 nah Ladish-Orlich\, Serena Chin<br> Zachary Fitzgerald\, solo tenor</p> <p>Translation: Sung in Spanish</p> <p>The smiling death<br> is dressed by memories that are orn
 amented<br> by flowers made of fabric Body of bones<br> fine and slender.&lt;
 /p&gt; <p>The white death of perfect bones<br> is 
 waiting to be liberated<br> from flesh\, blood\, pulse and breath.</p> <p>The cheerful death<br> dresses in an elegant wa
 y because she is going to meet life itself.</p> <p>The joyful death<br> remains behind each smile and behind every lost l
 ove that goes to different skies depending on their faith.</p> <p>Our deaths<br> that sometime<br> beaten in our dimensio
 n walk among us silently.</p> <p>Sacred death\,
 <br> a death dreamed by us smiling death<br> the death that sings\, flirta
 tious death\, unexpected death<br> the death that crumbles the bones of th
 e soul.</p> <p>The smiling death walk between o
 fferings and watches her silent in colored.</p> <p>One night every year<br> skulls dance<br> eat\, laugh and sing<br> and
  we dance elbow by elbow following the beat of nostalgy of Mexican music</p> <p>In here the cacao grows<br> between dance
 s and percussions. Over there the sugar<br> between flutes and flowers.</p> <p>The smiling death laughs and dances cold d
 eath\,<br> white death.</p> <p>smiling death<br> the death that sings\, flirtatious death\, unexpected death<br> the deat
 h that crumbles the bones of the soul.</p> <p>B
 ecause death between bread<br> and chocolate<br> is not an absence of life
 <br> it is a skull made of white sugar\,<br> it is a skinny with a hat bet
 ween orange flowers that lay</p> <p>on her belo
 ved cemetery.</p> <hr> <h4>Notes from Geoffrey 
 Boers</h4> <p>Tonight’s Chamber Singers portion
  of <em>The Loudest Whisper\, </em>is an exploration that things\, just by
  being\, speak “loudly” to us\, at times with no sound at all. Nature\, Li
 fe\, Love are wonders that we might deem as “sacred\,” precious\, treasure
 d.</p> <p>The concert centers around\, and was 
 inspired by a new work by Alex Berko entitled <em>Sacred Place. </em>Inspi
 red by a Jewish service\, the six-movement work\, (three of which we will 
 sing tonight)\, is not sacred in a religious sense. Rather\, it is a colle
 ction of poems and writings by Wendell Berry\, John Muir\,William Stafford
 \, and a short snippet of the <em>Mi Shebeirach</em> which is a Jewish ble
 ssing for health and healing.</p> <p>The three 
 movements we will sing tonight are surrounded by other works that celebrat
 e the same “sacredness” of the Berko work. We will hear more of John Muir 
 in Runestad’s <em>Come to the Woods\, </em>a story of Muir’s desire to go 
 into the woods to experience a “most amazing windstorm.” The choir paints 
 pictures of wind\, a storm\, the calming\, and the after-quiet. The choir 
 will sing “Beauty is life when life unveils her holy face” as an uplifitng
  chant in th Runestad’s setting of Kahlil Gibran.</p> <p>In singing about love\, we sing a challenging set of three songs
  which explore the inevitable hurt that occurs in relationship\, the act o
 f forgiveness\, and the process of healing. <em>Hurt </em>was written by T
 rent Reznor of the band Nine Inch Nails and later infamously covered by Jo
 hnny Cash. It speaks of regret and deep honesty of a life of creating hurt
 \, and asking to be loved again. We follow with <em>I Sing Because…</em>wh
 ich says over and over “I sing because you loved me once\,” and it seems t
 he singer says that love is enough to endure a lifetime—forgiveness indeed
 . We close with <em>Real\, </em>with a text from <em>The Velveteen Rabbit:
 </em></p> <p><em>“Real isn’t how you are made\,
 ” said the Skin Horse. “It’s a thing </em></p> <p><em>that happens to you when someone loves you\, for a long\, long\, ti
 me.</em></p> <p><em>Not just to play with\, but
  REALLY loves you. Then you become</em></p> <p>
 <em>real.</em></p> <p>We found these final piec
 es to be both challenging and fulfilling after the intense journey of this
  program. Our need to process the rich\, but profoundly sad and emotional 
 text of Hurt\, led us to create “Word Clouds\,” AI generated pictures made
  from words that our choir members shared—both from the text we are singin
 g as well as elements from their own lives. What follows here are three Wo
 rd Clouds for\, in order\, <em>Hurt\, I Sing Because\, and Real.</em></p> 
 <p> </p> <article height='121' width='264'>  <div class='field-ite
 ms'> <div class='field-item'> <img loading='lazy' src='/sites/music/files/
 styles/large/public/images/loveandhurt.jpg?itok=7ba9rX3f' width='264' heig ht='121' alt='Love and Hurt poem'> </div> </div> </div> </article> <p styl e=' 400\;'> </p> <article height='214' width='194'> <div class='field-wrapper field field-media--field-media-image field-name-field-medi
 a-image field-type-image field-label-hidden'> <div class='field-items'>  <img loading='lazy' src='/sites/music/files/styles/
 large/public/images/isingbecause.jpg?itok=wYEun5mL' width='194' height='21
 4' alt> </div> </div> </div> </article> <p> </p> <article height='295' width='185'> <div class='field-wrapper field field
 -media--field-media-image field-name-field-media-image field-type-image fi
 eld-label-hidden'> <div class='field-items'> <div class='field-item'> <img loading='lazy' src='/sites/music/files/styles/large/public/images/real.jp
 g?itok=RDJElZ2K' width='185' height='295' alt> </div> </div> </div>  <p> </p> <p> </p> </div> <hr> <table> <tbody> <tr> <td> <h4>University Chorale<b><span class='Apple-converted-space'>
  </span></b></h4> <p><b>Sopranos<span class='Apple-converted-space'> </b><br> Claire Killian<br> Devyn Mattson<br> Elizabeth Brown<br> Emily 
 Shields<br> Evelyn Jones<br> Hope Villareal<br> Jolee Zamira<br> Katelyn W
 ales<br> Kirsten Conover<br> Lauren Chenoweth<br> Mackenzie Martin<br> Mee
 na Kuduva<br> Meliza Redulla<br> Nila Chandramouli<br> Olivia Spaid<br> Qu
 inn Ewing<br> Sofia Groff<br> Sophia Conner<br> Sophie Root<br> Tara Zolfa
 ghari<span class='Apple-converted-space'> </span></p> <p><b>Altos<span cla ss='Apple-converted-space'> </span></b><br> Alexis Georgiades<br> Alina Ga
 lata<br> Anna Vu<br> Anne Tinker<br> Claudia Kahana<br> Dominique Mallo<br> Emily Colombo<br> Emily Dong<br> Haley Westberg<br> Jaja Reduque<br> Jes
 sica Thaxton<br> Julianna Cullen<br> Juniper Blessing<br> Kiana Gregorich&lt;
 br&gt; Lainey Graham<br> Leah Peterson<br> Maya Shah<br> Natalie Peterson<br>
  Samara Chacko<br> Sydney Jordan<br> Zoya Mir<span class='Apple-converted-
 space'> </span></p> <p><b>Tenors<span class='Apple-converted-space'> </b><br> Adrian Wong Cascante<br> Alex Trias<br> Caleb Strader<br> Elija
 h Marucheck<br> Eric Gagliano<br> Gray Creech<br> Hannah Carpenter<br> Hao
 ran Peng<br> Jackie Smith<br> Luis Javier<br> Maddie Rivera<br> Michael Li
 m<br> Michael Lu<br> Tim Resca<br> Tyler Santos<br> William Gao<br> Zachar
 y Fitzgerald<span class='Apple-converted-space'> </span></p> <p><b>Basses&lt;
 span class='Apple-converted-space'&gt; </span></b><br> A.J. Johnson<br> Aidan
  Maynard<br> Chance Kelley<br> Charlie Dawson<br> <span><span><span>Edén</span></span></span> Alvarado<br> Cole Siegrist<br> Danny Troya
 n<br> Danny Vizenor<br> DaShaundre Steele<br> Dreyden Brown<br> Gavin Morr
 ow<br> Jonah Ladish-Orlich<br> Kwabena Ledbetter<br> Luke Granger<br> Mari
 o D’Ambrosio<br> Matthew Magbanua<br> Robbie Troyan<br> Taylor Bellamy<br>
  Thayden Boome<span class='Apple-converted-space'> </span></p> <h4>Chamber
  Singers</h4> <p><b>Soprano 1<span class='Apple-converted-space'> </span>&lt;
 /b&gt;<br> Helen Woodruff<br> Kyla Marshall<br> Jaden Ritscher<br> June Ricks
 <br> Lauren Chenoweth<span class='Apple-converted-space'> </span></p> <p>&lt;
 b&gt;Soprano 2<span class='Apple-converted-space'> </span></b><br> Clara John
 son<br> Soledad Mayorga-Maldonado<br> Egija Claire<br> Annika Iyer<br> Nan
 dini Rathod<span class='Apple-converted-space'> </span></p> <p><b>Alto 1<s pan class='Apple-converted-space'> </span></b><br> Shriya Prasanna<br> Nil
 a Chandramouli<br> Emily Colombo<br> Heidi Blythe<br> Lainey Graham<span c lass='Apple-converted-space'> </span></p> <p><b>Alto 2<span class='Apple-c
 onverted-space'> </span></b><br> Jackie Smith<br> Haley Westberg<br> Alexa
 ndra Rameau<br> Maya Shah<br> Jaminfaye Reduque<span class='Apple-converte
 d-space'> </span></p> <p><b>Tenor 1<span class='Apple-converted-space'> </span></b><br> Maggie Petersen<br> Hannah Carpenter<br> Nicholas Renaud<br>
  Michael Lim<br> Brayden Schwartz<span class='Apple-converted-space'> </p> <p><b>Tenor 2<span class='Apple-converted-space'> </span></b><br> 
 Gabriel Stefanides<br> Gray Creech<br> Manny Noyola-Juarez<br> David Fergu
 son<br> Caleb Strader<span class='Apple-converted-space'> </span></p> <p>&lt;
 b&gt;Bass 1<span class='Apple-converted-space'> </span></b><br> Alexander Tri
 as<br> <span><span><span s tyle='Aptos\,sans-serif'>Edén</span></span></span> Alvarado<br> Arshia Ashari<br> Luis Javier<span class='Apple-converted-space'> </span></p> <p><b>Bass 2<span class='Apple-converted-space'> </span></b><br> Mic
 hael McKenzie<br> Adam Freemantle<br> Scott Fikse<br> Evan Norberg<br> Kyl
 e Mahoney<span class='Apple-converted-space'> </span></p> </td> </tr>  </table> <h3>Biographies</h3> <h3> </h3>
END:VEVENT
BEGIN:VEVENT
UID:ce1eca96-1cf9-412b-8f53-0bea2bc58ad1
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T193853Z
DESCRIPTION:<p></p>\n<p>The Wind Ensemble (Timothy Salzman\, director) and 
 Symphonic Band (David Stewart\, Yuman Wu\, directors) present a program of
  music by Percy Grainger\, J.S. Bach\,  Lindsay Bronnenkant\, Joseph Schwa
 ntner\, Vincent Persichetti\, and Henk Badings. With Donna Shin\, flute. &lt;
 /p&gt;\n<hr>\n<h3>Program</h3>\n<h4>University of Washington Symphonic Band</h4>\n<p><b>David Stewart</b>\, <b>Yuman Wu </b>directors </p>\n<p><b>Child
 ren’s March </b>(1918/1995) - <b>Percy Grainger </b>(1882-1961) </p>\n<p>&lt;
 b&gt;Prelude and Fugue in G Minor -  J.S. Bach </b>(1685-1750) transcr. <b>Ro
 land Moehlmann </b></p>\n<p><b>Tarot (2021) - Lindsay Bronnenkant </b>(b. 
 1988) <br>I. The Fool <br>II. The King of Cups <br>III. The Tower </p>\nUniversity of Washington Wind Ensemble<b> <br></b></h4>\n<p><b>Timothy S
 alzman\, </b>conductor </p>\n<p><b>'... And The Mountains Rising Nowhere' 
 </b>(1977) - <b>Joseph Schwantner </b>(b. 1943) </p>\n<p><b>Symphony No. 6
  </b>(1956) - <b>Vincent Persichetti </b>(1915-1987) <br>I. Adagio allegro
  <br>II. Adagio sostenuto <br>III. Allegretto <br>IV. Vivace <br><b>Yuman 
 Wu\, David Stewart\, Solomon Encina</b>\, conductors </p>\n<p><b>Concerto 
 for Flute and Wind Symphony Orchestra </b>(1963) - <b>Henk Badings </b>(19
 07-1987) <br>I. Allegro <br>II. Adagio <br>III. Vivace <br><b>Donna Shin\,
  </b>flute </p>\n<hr>\n\n\n\n\n<h4>UNIVERSITY OF WASHINGTON SYMPHONIC BAND
  </h4>\n<p><b>FLUTE <br></b>Brooke Bart\, Freshman\, Scandinavian Studies 
 / Music\, Endwell\, NY <br>Cindy Franklin\, Freshman\, Business Administra
 tion\, Sammamish <br>Charis Tam\, Freshman\, Computer Science\, Bellevue &lt;
 br&gt;Richard Lin\, sophomore\, Aeronautics and Astronautics\, San Diego\, CA
  <br>Selena Zheng\, Freshman\, Pre-science\, Irvine\, CA <br>Peyton Welsch
 \, Sophomore\, Chemical Engineering\, Seattle </p>\n<p><b>OBOE <br></b>Ren
 zo Aquino\, Sophomore\, Computer Engineering + Computer Science\, Tacoma &lt;
 br&gt;Dylan Huynh\, Freshman\, Political Science\, Sammamish <br>Meagan Paxma
 n\, Freshman\, Pre-Sciences\, Vancouver <br>Vichet Ros\, Junior\, Music Ed
 ucation\, Burien </p>\n<p><b>CLARINET <br></b>Isaac Briefer\, Sophomore\, 
 Physics\, Anacortes <br>Maggie Chen\, Freshman\, Environmental Studies\, R
 inggold\, GA <br>Caitlin Dong\, Freshman\, Pre-Sciences\, Music Performanc
 e\, Englewood\, CO <br>Aditi Dwivedy\, Junior\, Psychology\, Biology\, and
  Neuroscience\, Bellevue <br>Matilda Gauss\, Junior\, Materials Science an
 d Engineering\, Bellevue <br>Camila Diaz\, Freshman\, Music Education\, Qu
 incy <br>Cara Lisy\, Senior\, Computer Science\, Maple Valley <br>Karsten 
 Onarheim\, Senior\, Mechanical Engineering\, Silverdale <br>Varshini Sridh
 ar\, Freshman\, Biochemistry (pre-sciences)\, Chaska\, MN </p>\n<p><b>BASS
  CLARINET <br></b>Willow Chartrand\, Freshman\, Pre-sciences\, Los Alamos\
 , NM </p>\n<p><b>ALTO SAXOPHONE <br></b>Polina Dorogova\, Sophomore\, Psyc
 hology and Music-Instrumental Performance\, Gig Harbor <br>Chinmay Murthy\
 , Junior\, Electrical &amp; Computer Engineering\, Fremont\, CA <br>Kaua Rober
 ton\, Freshman\, Music - Undecided\, Spokane <br>Eduardo Azevedo Simão Rac
 y\, Sophomore\, Computer Science\, Auburn </p>\n<p><b>TENOR SAXOPHONE <br>
 </b>Jackson Sawatzky\, Junior (4th year in school)\, Music Education\, Oly
 mpia </p>\n<p><b>BARI SAXOPHONE <br></b>Lydia Crook\, Senior\, Atmospheric
  Science and International Studies\, Berkeley\, CA </p>\n<p><b>BASSOON <br></b>Victoria Everett\, Sophomore\, Music BA\, Renton <br>Andromeda Jacobs
 on\, Junior\, Statistics\, San José\, CA <br>Bridget Navarro\, Community M
 ember\, Physiology\, Mercer Island </p>\n<p><b>FRENCH HORN <br></b>Katie B
 ulis\, Freshman\, Math\, Physics\, Gig Harbor <br>Matthew Jewesson\, Fresh
 men\, Pre social-sciences\, Austin\, TX <br>Maddox Unocic\, Freshman\, ENG
 RUD\, Redmond <br>Elliana Wagner\, Junior\, Biochemistry\, Snohomish </p>
 \n<p><b>TRUMPET <br></b>Nicholas C Chang\, sophomore\, Pre-Sciences\, Seat
 tle <br>Ben von Jess\, Sophomore\, Music Education\, Renton <br>David Lu\,
  Freshman\, Computer Engineering\, Kenmore <br>Kevin Nguyen Thomas\, Fresh
 man\, Music Education\, Spokane <br>Felix Chao\, Junior\, Biology\, ESRM\,
  Los Angeles\, CA <br>Euan McCubbin\, Junior\, Biology MCD\, Pullman <br>R
 yan Rose\, Senior\, Music Composition\, Vancouver <br>Vaughn Schnelle\, Ju
 nior\, Music History\, West Seattle </p>\n<p><b>TROMBONE <br></b>Emily Gay
 \, Junior\, music education\, Port Orchard <br>Jason Lai\, Freshman\, Mech
 anical Engineering\, Camas <br>Tom Lewis\, Junior\, Mechanical Engineering
 \, Snoqualmie <br>Evan Mao\, Sophomore\, Computer Science\, Redmond <br>Ri
 chie Torres-Antúnez\, Sophomore\, Music\, Mattawa </p>\n<p><b>EUPHONIUM <b r></b>May Coppinger\, Sophomore\, Mechanical Engineering\, Kirkland </p>\n
 <p><b>TUBA <br></b>Jonathan Lopez\, Sophomore\, Music Education (Instrumen
 tal Emphasis)\, Issaquah <br>Colin Tyrrell\, Sophomore\, Accounting\, Mont
 auk\, NY </p>\n<p><b>PERCUSSION <br></b>Daniel Lindsey\, Freshman\, Politi
 cal Science\, Vancouver <br>Colin Lehman\, Freshman\, Music Performance\, 
 Moses Lake <br>Alex McLean\, Freshman\, Environmental Science\, Snoqualmie
  <br>Ava Ruth Paulson\, Sophomore\, Psychology and Sociology\, Omaha\, NE 
 <br>Aadhav Saravanan\, Freshman\, Nursing\, Redmond <br>Kaytie Twelves\, F
 reshman\, History\, Vancouver </p>\n<h4></h4>\n<h4>UNIVERSITY OF WASHINGTO
 N WIND ENSEMBLE </h4>\n<p><b>FLUTE <br></b>Erin McAfee\, Grad.\, Music Per
 formance\, Hoover\, AL* <br>Tracia Pan\, Sr.\, Music Performance and Stati
 stics\, Bellevue <br>Grace Playstead\, Grd.\, Music Performance\, Olympia 
 <br>Peyton Ray\, Jr.\, Music Performance\, Denver\, CO <br>Claire Wei\, So
 .\, Music Performance\, Bellevue* <br>Yue Zhong.\, Sr.\, Music Performance
 \, Shanghai\, China </p>\n<p><b>OBOE <br></b>Max Bolen\, Fr.\, Marine Biol
 ogy\, Ballard <br>Minh-Thi Butler\, Jr.\, Music Education\, Hoquiam <br>La
 uren Majewski\, Sr.\, International Studies\, Mercer Island* <br>Vichet Ro
 s\, Jr.\, Music Education\, Burien </p>\n<p><b>BASSOON <br></b>Annika Fish
 er\, So.\, Anthropology\, Lake Forest Park <br>Alex Fraley\, Fr.\, Music P
 erformance\, Kenmore <br>Rian Morgan\, Jr.\, Nutritional Science/Music Per
 formance\, Des Moines* <br>Arina Pushkina\, Fr.\, Engineering\, Woodinvill
 e </p>\n<p><b>CLARINET <br></b>Arthur Gim\, So.\, Mechanical Engineering\,
  Bothell <br>Jeremy Hu\, So.\, Engineering\, Taipei\, Taiwan <br>Alessandr
 o Martinez\, So.\, Environmental Engineering\, Olympia <br>Alen Poehlman\,
  Jr.\, Biochemistry\, Tacoma <br>Luqi Wang\, Grd.\, Music Performance\, Da
 lian\, China <br>Ysanne Webb\, Grd.\, Music Performance\, Lubbock\, TX* </p>\n<p><b>BASS CLARINET <br></b>Cameron DeLuca\, Grd.\, Music Performance\
 , Hawthorne\, CA </p>\n<p><b>SAXOPHONE <br></b>Curtis Chung\, Jr.\, Mechan
 ical Engineering\, Sunnyvale\, CA <br>Kyle Grant\, So.\, Music Education/M
 usic Performance\, Sumner <br>Amy Kang\, Fr.\, Engineering\, Portland\, OR
  <br>Katie Zundel\, Sr.\, Music Performance/Engineering\, Clinton* </p>\n&lt;
 p&gt;<b>TRUMPET <br></b>Erika Berreth\, So.\, Computer Science\, Redmond <br>
 Ellie Fajer\, SEFS Research Staff\, Littleton\, CO* <br>Hans Faul\, Jr.\, 
 Music Performance\, Seattle <br>Kyle Jenkins\, Grd.\, Music Performance\, 
 Sammamish <br>Daniel Lyons\, So.\, Music Performance\, Lake Forest Park <b r>Antti Mannisto\, Jr.\, Mechanical Engineering\, Bellevue </p>\n<p><b>HOR
 N <br></b>Ellis Haker\, Graduate\, Computer Science\, Los Angeles CA <br>S
 teven Li\, So.\, Music Performance\, Beijing\, China <br>Becky Miller\, Co
 mmunity Member\, Woodinville <br>Elise Moe\, Fr.\, Music Performance\, Eve
 rett* <br>Kiyoshi Colon\, Alumni.\, Chemistry\, Everett </p>\n<p><b>TROMBO
 NE <br></b>Dion Archer-Roll\, Sr.\, Physics\, Vancouver <br>Eliana Koenig\
 , So.\, Mechanical Engineering\, Mesa\, AZ <br>Duncan Weiner\, Sr.\, Lingu
 istics/Aeronautical and Astronautical Engineering\, Seattle <br>Nathanael 
 Wyttenbach\, So.\, Music Performance/International Studies\, Richland* </p>\n<p><b>EUPHONIUM <br></b>Nico Ferreria\, So.\, Biology\, Bellevue <br>Si
 mona Yaroslavsky\, So.\, Psychology/Law\, Societies and Justice\, Mercer I
 sland* </p>\n<p><b>TUBA <br></b>Cole Henslee\, Sr.\, Music Performance\, L
 akewood <br>Foster Patterson\, Jr.\, Music Education\, Aberdeen <br>Chris 
 Seay\, Grd.\, Music Performance\, Belmont\, NC* </p>\n<p><b>BASS <br></b>E
 ddie Nikishina\, Sr.\, Music Performance\, Bellevue </p>\n<p><strong>PERCU
 SSION</strong> <br>Ryan Baker\, Sr.\, Music Composition/Psychology\, Gig H
 arbor <br>Cyan Duong\, So.\, Music Education\, Monroe <br>Solomon Encina\,
  Grd.\, Wind Conducting\, Rancho Cucamonga\, CA <br>Momoka Fukushima\, So.
 \, Music Performance\, Issaquah* <br>Taryn Marks\, Grd.\, Music Performanc
 e\, North Augusta\, SC* <br>Ivy Moore\, So.\, Engineering and Percussion P
 erformance\, Norfolk VA <br>Luigi Salvaggio\, So.\, Music Performance\, Ma
 nhattan Beach\, CA </p>\n<p><b>PIANO <br></b>Rachel Huang\, Grad.\, Music 
 Performance\, West Hills\, LA </p>\n<p><b>DOCTORAL STUDENT CONDUCTORS <br>
 </b>Solomon Encina\, Rancho Cucamonga\, CA <br>David Stewart\, Mercer Isla
 nd <br>Yuman Wu\, Tianjin\, China </p>\n<p>*principal </p>\n<p></p>\n\n\n
 \n\n<h3>Biographies</h3>
DTSTART;TZID=America/Los_Angeles:20241205T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:127
SUMMARY:: Wind Ensemble and Symphonic Band with Donna Shin: Quintessence 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-06/wind-ensemble-and-sympho
 nic-band-donna-shin-quintessence
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The Wind Ensemble (Timothy Salzman\
 , director) and Symphonic Band (David Stewart\, Yuman Wu\, directors) pres
 ent a program of music by Percy Grainger\, J.S. Bach\,  Lindsay Bronnenkan
 t\, Joseph Schwantner\, Vincent Persichetti\, and Henk Badings. With Donna
  Shin\, flute. </p> <hr> <h3>Program</h3> <h4>University of Washington Sym
 phonic Band</h4> <p><b>David Stewart</b>\, <b>Yuman Wu </b>directors<span class='Apple-converted-space'> </span></p> <p><b>Children’s March </b>(191
 8/1995) - <b>Percy Grainger </b>(1882-1961)<span class='Apple-converted-sp
 ace'> </span></p> <p><b>Prelude and Fugue in G Minor -  J.S. Bach </b>(168
 5-1750) transcr. <b>Roland Moehlmann<span class='Apple-converted-space'> &lt;
 /span&gt;</b></p> <p><b>Tarot (2021) - Lindsay Bronnenkant </b>(b. 1988)<span class='Apple-converted-space'> <br></span>I. The Fool<span class='Apple-c
 onverted-space'> <br></span>II. The King of Cups<span class='Apple-convert
 ed-space'> <br></span>III. The Tower<span class='Apple-converted-space'> &lt;
 /span&gt;</p> <h4>University of Washington Wind Ensemble<b> <br></b></h4> <p>
 <b>Timothy Salzman\, </b>conductor<span class='Apple-converted-space'> </s></p> <p><b>'... And The Mountains Rising Nowhere' </b>(1977) - <b>Jose
 ph Schwantner </b>(b. 1943)<span class='Apple-converted-space'> </span></p> <p><b>Symphony No. 6 </b>(1956) - <b>Vincent Persichetti </b>(1915-1987)
 <span class='Apple-converted-space'> <br></span><i>I. Adagio allegro<span class='Apple-converted-space'> <br></span></i><i>II. Adagio sostenuto<span class='Apple-converted-space'> <br></span></i><i>III. Allegretto<span cla ss='Apple-converted-space'> <br></span></i><i>IV. Vivace<span class='Apple
 -converted-space'> <br></span></i><b>Yuman Wu\, David Stewart\, Solomon En
 cina</b>\, conductors<span class='Apple-converted-space'> </span></p> <p>&lt;
 b&gt;Concerto for Flute and Wind Symphony Orchestra </b>(1963) - <b>Henk Badi
 ngs </b>(1907-1987)<span class='Apple-converted-space'> <br></span><i>I. A
 llegro<span class='Apple-converted-space'> <br></span></i><i>II. Adagio <br></span></i>III. Vivace<span class='A
 pple-converted-space'> <br></span><b>Donna Shin\, </b>flute </p> <hr>  <tbody> <tr> <td> <h4>UN
 IVERSITY OF WASHINGTON SYMPHONIC BAND<span class='Apple-converted-space'> 
 </span></h4> <p><b>FLUTE<span class='Apple-converted-space'> <br></span></b>Brooke Bart\, Freshman\, Scandinavian Studies / Music\, Endwell\, NY <br></span>Cindy Franklin\, Freshman\, Bu
 siness Administration\, Sammamish<span class='Apple-converted-space'> <br>
 </span>Charis Tam\, Freshman\, Computer Science\, Bellevue<span class='App
 le-converted-space'> <br></span>Richard Lin\, sophomore\, Aeronautics and 
 Astronautics\, San Diego\, CA<span class='Apple-converted-space'> <br>Selena Zheng\, Freshman\, Pre-science\, Irvine\, CA<span class='Apple-c
 onverted-space'> <br></span>Peyton Welsch\, Sophomore\, Chemical Engineeri
 ng\, Seattle<span class='Apple-converted-space'> </span></p> <p><b>OBOE <br></span></b>Renzo Aquino\, Sophomore\
 , Computer Engineering + Computer Science\, Tacoma<span class='Apple-conve
 rted-space'> <br></span>Dylan Huynh\, Freshman\, Political Science\, Samma
 mish<span class='Apple-converted-space'> <br></span>Meagan Paxman\, Freshm
 an\, Pre-Sciences\, Vancouver<span class='Apple-converted-space'> <br>Vichet Ros\, Junior\, Music Education\, Burien<span class='Apple-conver
 ted-space'> </span></p> <p><b>CLARINET<span class='Apple-converted-space'>
  <br></span></b>Isaac Briefer\, Sophomore\, Physics\, Anacortes<span class='Apple-converted-space'> <br></span>Maggie Chen\, Freshman\, Environmenta
 l Studies\, Ringgold\, GA<span class='Apple-converted-space'> <br></span>C
 aitlin Dong\, Freshman\, Pre-Sciences\, Music Performance\, Englewood\, CO
 <span class='Apple-converted-space'> <br></span>Aditi Dwivedy\, Junior\, P
 sychology\, Biology\, and Neuroscience\, Bellevue<span class='Apple-conver
 ted-space'> <br></span>Matilda Gauss\, Junior\, Materials Science and Engi
 neering\, Bellevue<span class='Apple-converted-space'> <br></span>Camila D
 iaz\, Freshman\, Music Education\, Quincy<span class='Apple-converted-spac
 e'> <br></span>Cara Lisy\, Senior\, Computer Science\, Maple Valley<span c lass='Apple-converted-space'> <br></span>Karsten Onarheim\, Senior\, Mecha
 nical Engineering\, Silverdale<span class='Apple-converted-space'> <br></s>Varshini Sridhar\, Freshman\, Biochemistry (pre-sciences)\, Chaska\, M
 N<span class='Apple-converted-space'> </span></p> <p><b>BASS CLARINET<span class='Apple-converted-space'> <br></span></b>Willow Chartrand\, Freshman
 \, Pre-sciences\, Los Alamos\, NM<span class='Apple-converted-space'> </p> <p><b>ALTO SAXOPHONE<span class='Apple-converted-space'> <br></b>Polina Dorogova\, Sophomore\, Psychology and Music-Instrumental Perf
 ormance\, Gig Harbor<span class='Apple-converted-space'> <br></span>Chinma
 y Murthy\, Junior\, Electrical &amp; Computer Engineering\, Fremont\, CA<span class='Apple-converted-space'> <br></span>Kaua Roberton\, Freshman\, Music
  - Undecided\, Spokane<span class='Apple-converted-space'> <br></span>Edua
 rdo Azevedo Simão Racy\, Sophomore\, Computer Science\, Auburn<span class='Apple-converted-space'> </span></p> <p><b>TENOR SAXOPHONE<span class='App
 le-converted-space'> <br></span></b>Jackson Sawatzky\, Junior (4th year in
  school)\, Music Education\, Olympia<span class='Apple-converted-space'> &lt;
 /span&gt;</p> <p><b>BARI SAXOPHONE<span class='Apple-converted-space'> <br></span></b>Lydia Crook\, Senior\, Atmospheric Science and International Stud
 ies\, Berkeley\, CA<span class='Apple-converted-space'> </span></p> <p><b>
 BASSOON<span class='Apple-converted-space'> <br></span></b>Victoria Everet
 t\, Sophomore\, Music BA\, Renton<span class='Apple-converted-space'> <br>
 </span>Andromeda Jacobson\, Junior\, Statistics\, San José\, CA<span class='Apple-converted-space'> <br></span>Bridget Navarro\, Community Member\, 
 Physiology\, Mercer Island<span class='Apple-converted-space'> </span></p>
  <p><b>FRENCH HORN<span class='Apple-converted-space'> <br></span></b>Kati
 e Bulis\, Freshman\, Math\, Physics\, Gig Harbor<span class='Apple-convert
 ed-space'> <br></span>Matthew Jewesson\, Freshmen\, Pre social-sciences\, 
 Austin\, TX<span class='Apple-converted-space'> <br></span>Maddox Unocic\,
  Freshman\, ENGRUD\, Redmond<span class='Apple-converted-space'> <br>Elliana Wagner\, Junior\, Biochemistry\, Snohomish<span class='Apple-con
 verted-space'> </span></p> <p><b>TRUMPET<span class='Apple-converted-space
 '> <br></span></b>Nicholas C Chang\, sophomore\, Pre-Sciences\, Seattle <br></span>Ben von Jess\, Sophomore\, Mu
 sic Education\, Renton<span class='Apple-converted-space'> <br></span>Davi
 d Lu\, Freshman\, Computer Engineering\, Kenmore<span class='Apple-convert
 ed-space'> <br></span>Kevin Nguyen Thomas\, Freshman\, Music Education\, S
 pokane<span class='Apple-converted-space'> <br></span>Felix Chao\, Junior\
 , Biology\, ESRM\, Los Angeles\, CA<span class='Apple-converted-space'> <b r></span>Euan McCubbin\, Junior\, Biology MCD\, Pullman<span class='Apple-
 converted-space'> <br></span>Ryan Rose\, Senior\, Music Composition\, Vanc
 ouver<span class='Apple-converted-space'> <br></span>Vaughn Schnelle\, Jun
 ior\, Music History\, West Seattle<span class='Apple-converted-space'> </s></p> <p><b>TROMBONE<span class='Apple-converted-space'> <br></span></b>Emily Gay\, Junior\, music education\, Port Orchard<span class='Apple-con
 verted-space'> <br></span>Jason Lai\, Freshman\, Mechanical Engineering\, 
 Camas<span class='Apple-converted-space'> <br></span>Tom Lewis\, Junior\, 
 Mechanical Engineering\, Snoqualmie<span class='Apple-converted-space'> <b r></span>Evan Mao\, Sophomore\, Computer Science\, Redmond<span class='App
 le-converted-space'> <br></span>Richie Torres-Antúnez\, Sophomore\, Music\
 , Mattawa<span class='Apple-converted-space'> </span></p> <p><b>EUPHONIUM&lt;
 span class='Apple-converted-space'&gt; <br></span></b>May Coppinger\, Sophomo
 re\, Mechanical Engineering\, Kirkland<span class='Apple-converted-space'>
  </span></p> <p><b>TUBA<span class='Apple-converted-space'> <br></span></b>Jonathan Lopez\, Sophomore\, Music Education (Instrumental Emphasis)\, Is
 saquah<span class='Apple-converted-space'> <br></span>Colin Tyrrell\, Soph
 omore\, Accounting\, Montauk\, NY<span class='Apple-converted-space'> </p> <p><b>PERCUSSION<span class='Apple-converted-space'> <br></span></b>Daniel Lindsey\, Freshman\, Political Science\, Vancouver<span class='Ap
 ple-converted-space'> <br></span>Colin Lehman\, Freshman\, Music Performan
 ce\, Moses Lake<span class='Apple-converted-space'> <br></span>Alex McLean
 \, Freshman\, Environmental Science\, Snoqualmie<span class='Apple-convert
 ed-space'> <br></span>Ava Ruth Paulson\, Sophomore\, Psychology and Sociol
 ogy\, Omaha\, NE<span class='Apple-converted-space'> <br></span>Aadhav Sar
 avanan\, Freshman\, Nursing\, Redmond<span class='Apple-converted-space'> 
 <br></span>Kaytie Twelves\, Freshman\, History\, Vancouver<span class='App
 le-converted-space'> </span></p> <h4></h4> <h4>UNIVERSITY OF WASHINGTON WI
 ND ENSEMBLE<span class='Apple-converted-space'> </span></h4> <p><b>FLUTE<s pan class='Apple-converted-space'> <br></span></b>Erin McAfee\, Grad.\, Mu
 sic Performance\, Hoover\, AL*<span class='Apple-converted-space'> <br></s>Tracia Pan\, Sr.\, Music Performance and Statistics\, Bellevue<span cl ass='Apple-converted-space'> <br></span>Grace Playstead\, Grd.\, Music Per
 formance\, Olympia<span class='Apple-converted-space'> <br></span>Peyton R
 ay\, Jr.\, Music Performance\, Denver\, CO<span class='Apple-converted-spa
 ce'> <br></span>Claire Wei\, So.\, Music Performance\, Bellevue*<span clas s='Apple-converted-space'> <br></span>Yue Zhong.\, Sr.\, Music Performance
 \, Shanghai\, China<span class='Apple-converted-space'> </span></p> <p><b>
 OBOE<span class='Apple-converted-space'> <br></span></b>Max Bolen\, Fr.\, 
 Marine Biology\, Ballard<span class='Apple-converted-space'> <br></span>Mi
 nh-Thi Butler\, Jr.\, Music Education\, Hoquiam<span class='Apple-converte
 d-space'> <br></span>Lauren Majewski\, Sr.\, International Studies\, Merce
 r Island*<span class='Apple-converted-space'> <br></span>Vichet Ros\, Jr.\
 , Music Education\, Burien<span class='Apple-converted-space'> </span></p>
  <p><b>BASSOON<span class='Apple-converted-space'> <br></span></b>Annika F
 isher\, So.\, Anthropology\, Lake Forest Park<span class='Apple-converted-
 space'> <br></span>Alex Fraley\, Fr.\, Music Performance\, Kenmore<span cl ass='Apple-converted-space'> <br></span>Rian Morgan\, Jr.\, Nutritional Sc
 ience/Music Performance\, Des Moines*<span class='Apple-converted-space'> 
 <br></span>Arina Pushkina\, Fr.\, Engineering\, Woodinville<span class='Ap
 ple-converted-space'> </span></p> <p><b>CLARINET<span class='Apple-convert
 ed-space'> <br></span></b>Arthur Gim\, So.\, Mechanical Engineering\, Both
 ell<span class='Apple-converted-space'> <br></span>Jeremy Hu\, So.\, Engin
 eering\, Taipei\, Taiwan<span class='Apple-converted-space'> <br></span>Al
 essandro Martinez\, So.\, Environmental Engineering\, Olympia<span class='
 Apple-converted-space'> <br></span>Alen Poehlman\, Jr.\, Biochemistry\, Ta
 coma<span class='Apple-converted-space'> <br></span>Luqi Wang\, Grd.\, Mus
 ic Performance\, Dalian\, China<span class='Apple-converted-space'> <br></span>Ysanne Webb\, Grd.\, Music Performance\, Lubbock\, TX*<span class='Ap
 ple-converted-space'> </span></p> <p><b>BASS CLARINET<span class='Apple-co
 nverted-space'> <br></span></b>Cameron DeLuca\, Grd.\, Music Performance\,
  Hawthorne\, CA<span class='Apple-converted-space'> </span></p> <p><b>SAXO
 PHONE<span class='Apple-converted-space'> <br></span></b>Curtis Chung\, Jr
 .\, Mechanical Engineering\, Sunnyvale\, CA<span class='Apple-converted-sp
 ace'> <br></span>Kyle Grant\, So.\, Music Education/Music Performance\, Su
 mner<span class='Apple-converted-space'> <br></span>Amy Kang\, Fr.\, Engin
 eering\, Portland\, OR<span class='Apple-converted-space'> <br></span>Kati
 e Zundel\, Sr.\, Music Performance/Engineering\, Clinton*<span class='Appl
 e-converted-space'> </span></p> <p><b>TRUMPET<span class='Apple-converted-
 space'> <br></span></b>Erika Berreth\, So.\, Computer Science\, Redmond <br></span>Ellie Fajer\, SEFS Research S
 taff\, Littleton\, CO*<span class='Apple-converted-space'> <br></span>Hans
  Faul\, Jr.\, Music Performance\, Seattle<span class='Apple-converted-spac
 e'> <br></span>Kyle Jenkins\, Grd.\, Music Performance\, Sammamish<span cl ass='Apple-converted-space'> <br></span>Daniel Lyons\, So.\, Music Perform
 ance\, Lake Forest Park<span class='Apple-converted-space'> <br></span>Ant
 ti Mannisto\, Jr.\, Mechanical Engineering\, Bellevue<span class='Apple-co
 nverted-space'> </span></p> <p><b>HORN<span class='Apple-converted-space'>
  <br></span></b>Ellis Haker\, Graduate\, Computer Science\, Los Angeles CA
 <span class='Apple-converted-space'> <br></span>Steven Li\, So.\, Music Pe
 rformance\, Beijing\, China<span class='Apple-converted-space'> <br></span>Becky Miller\, Community Member\, Woodinville<span class='Apple-converted
 -space'> <br></span>Elise Moe\, Fr.\, Music Performance\, Everett*<span cl ass='Apple-converted-space'> <br></span>Kiyoshi Colon\, Alumni.\, Chemistr
 y\, Everett<span class='Apple-converted-space'> </span></p> <p><b>TROMBONE
 <span class='Apple-converted-space'> <br></span></b>Dion Archer-Roll\, Sr.
 \, Physics\, Vancouver<span class='Apple-converted-space'> <br></span>Elia
 na Koenig\, So.\, Mechanical Engineering\, Mesa\, AZ<span class='Apple-con
 verted-space'> <br></span>Duncan Weiner\, Sr.\, Linguistics/Aeronautical a
 nd Astronautical Engineering\, Seattle<span class='Apple-converted-space'>
  <br></span>Nathanael Wyttenbach\, So.\, Music Performance/International S
 tudies\, Richland*<span class='Apple-converted-space'> </span></p> <p><b>E
 UPHONIUM<span class='Apple-converted-space'> <br></span></b>Nico Ferreria\
 , So.\, Biology\, Bellevue<span class='Apple-converted-space'> <br></span>
 Simona Yaroslavsky\, So.\, Psychology/Law\, Societies and Justice\, Mercer
  Island*<span class='Apple-converted-space'> </span></p> <p><b>TUBA<span c lass='Apple-converted-space'> <br></span></b>Cole Henslee\, Sr.\, Music Pe
 rformance\, Lakewood<span class='Apple-converted-space'> <br></span>Foster
  Patterson\, Jr.\, Music Education\, Aberdeen<span class='Apple-converted-
 space'> <br></span>Chris Seay\, Grd.\, Music Performance\, Belmont\, NC*<s pan class='Apple-converted-space'> </span></p> <p><b>BASS<span class='Appl
 e-converted-space'> <br></span></b>Eddie Nikishina\, Sr.\, Music Performan
 ce\, Bellevue<span class='Apple-converted-space'> </span></p> <p><strong>P
 ERCUSSION</strong><span class='Apple-converted-space'> <br></span>Ryan Bak
 er\, Sr.\, Music Composition/Psychology\, Gig Harbor<span class='Apple-con
 verted-space'> <br></span>Cyan Duong\, So.\, Music Education\, Monroe<span class='Apple-converted-space'> <br></span>Solomon Encina\, Grd.\, Wind Co
 nducting\, Rancho Cucamonga\, CA<span class='Apple-converted-space'> <br>&lt;
 /span&gt;Momoka Fukushima\, So.\, Music Performance\, Issaquah*<span class='A
 pple-converted-space'> <br></span>Taryn Marks\, Grd.\, Music Performance\,
  North Augusta\, SC*<span class='Apple-converted-space'> <br></span>Ivy Mo
 ore\, So.\, Engineering and Percussion Performance\, Norfolk VA<span class='Apple-converted-space'> <br></span>Luigi Salvaggio\, So.\, Music Perform
 ance\, Manhattan Beach\, CA<span class='Apple-converted-space'> </span></p> <p><b>PIANO<span class='Apple-converted-space'> <br></span></b>Rachel Hu
 ang\, Grad.\, Music Performance\, West Hills\, LA<span class='Apple-conver
 ted-space'> </span></p> <p><b>DOCTORAL STUDENT CONDUCTORS<span class='Appl
 e-converted-space'> <br></span></b>Solomon Encina\, Rancho Cucamonga\, CA&lt;
 span class='Apple-converted-space'&gt; <br></span>David Stewart\, Mercer Isla
 nd<span class='Apple-converted-space'> <br></span>Yuman Wu\, Tianjin\, Chi
 na<span class='Apple-converted-space'> </span></p> <p>*principal<span clas s='Apple-converted-space'> </span></p> <p></p> </td> </tr> </tbody>  <h3>Biographies</h3>
END:VEVENT
BEGIN:VEVENT
UID:004fee07-615b-44a8-8d40-5e021ab87e40
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T221928Z
DESCRIPTION:<p></p>\n<p>UW keyboard students perform music from the piano r
 epertoire. </p>\n<hr>\n<h3>Program</h3>\n<p>Son
 ata in A flat Major\, Opus 110 (1821) - <strong>Ludwig van BEETHOVEN (1770-1827)<br>Moderato cantabile molto espressivo                    
                                  <br>Allegro molto<br>Adagio ma non troppo
  – Allegro ma non troppo<br>ISABELLA (JINGSHI) ZHAO</p>\n<p>Theme and Vari
 ations in C sharp minor\, Opus 73 (1895) - <strong>Gabriel FAURÉ</strong> 
 (1845-1924)<br>RACHEL HUANG</p>\n<p>Variations sérieuses\, Opus 54 (1841) 
 - <strong>Felix MENDELSSOHN</strong>  (1809-1847)<br>JAM (JINGYANG) HUANG 
 </p>\n<p>A SHORT INTERMISSION</p>\n<p>Valses nobles et sentimentales (1911
 ) - <strong>Maurice RAVEL</strong> (1875-1937)<br>KANE (LEFEI) CHANG</p>\n
 <p>Variations on a Theme of Corelli\, Opus 42 (1931) - <strong>Sergei RACH
 MANINOFF</strong>  (1873-1943)<br>CICY LI</p>\n<p>Étude No. 3 after Pagani
 ni\, La Campanella\, S.141 (1851) - <strong>Franz LISZT</strong> (1811-188
 6)<br>HANNAH BAO </p>\n<p>Fantasie in B minor\, Opus 28 (1900) - <strong>A
 lexander SCRIABI</strong>N (1872-1915)<br>ELLA KALINICHENKO</p>
DTSTART;TZID=America/Los_Angeles:20241205T193000
LAST-MODIFIED:20241203T130527Z
SEQUENCE:128
SUMMARY:: Brechemin Piano Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-06/brechemin-piano-series
END:VEVENT
BEGIN:VEVENT
UID:c4861957-42b2-4163-9040-f7cc32d2d471
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240807T225049Z
DESCRIPTION:<p>David Alexander Rahbee leads the UW Symphony in a program of
  works by Bedřich Smetana and Anton Bruckner.</p>\n<hr>\n<h4>Program</h4>
 \n<p><strong></strong>from Symphony No. 6\, in A major: <strong>Anton Bruc
 kner</strong> (1824-1896)<br>I. Majestoso</p>\n<p>Šárka\, from Má Vlast (My Country): <strong>Bedřich Smetana</strong> (1
 824-1884) </p>\n<p>Intermission</p>\n<p>from String Quintet in F major (arranged for string or
 chestra): <strong>Bruckner</strong><br>III. Adagio</p>\n<p>The Moldau (Vltava)\, from Má Vlast: <strong>Smetana</strong>&lt;
 br&gt;Ryan Dakota Farris\, conductor </p>\n<hr>\n<h3>Program Notes</h3>\n<p>This program features
  excerpts from larger works\, thoughtfully curated to represent the essent
 ial building blocks of a four-movement symphony. The first movement\, from
  Anton Bruckner's Symphony No. 6\, sets a dramatic foundation\, while Bedř
 ich Smetana’s Šárka serves as a lively and vigorous scherzo\, evoking the 
 energy of a typical second movement. Bruckner returns with the deeply emot
 ional Adagio from his String Quintet in F Major\, and Smetana’s iconic Mol
 dau brings the program to a sparkling conclusion\, acting as a brilliant a
 nd vibrant finale. This program also commemorates the 200th anniversary of
  the birth of both composers\, celebrating their enduring contributions to
  music.</p>\n<p><strong>Anton Bruckner </strong>(1824-1896)<br>Symphony no. 6 in A major\, WAB 106\, mvt I (1879-1881)</p>\n<p>Anton Bruckner was a composer\, teacher\,
  and organist\, born in Austria in 1824. His father\, a schoolteacher\, wa
 s also his first music instructor\, which influenced Bruckner’s early expo
 sure to music. After the death of his father when he was just 13\, Bruckne
 r was sent to a monastery\, where he deepened his passion for the organ.</p>\n<p>Bruckner is perhaps best known for his s
 ymphonies\, and he was a trailblazer in developing the large-scale symphon
 ic form. His music is deeply rooted in the traditions of his predecessors—
 Beethoven\, Schubert\, and Wagner—with the latter playing a significant ro
 le in shaping Bruckner's use of intricate harmonies. At the same time\, hi
 s rich experience as an organist is evident\, especially in his mastery of
  complex harmonic structures and expansive forms.</p>\n<p>Bruckner’s Symphony No. 6 is a prime example of his distinctive
  compositional style\, highlighting many of the elements that define his m
 usic. Listeners can hear rhythmic patterns that blend both simple and comp
 lex meters\, stately pauses between phrases\, and dramatic harmonic modula
 tions that create a sense of unfolding tension and release. In the first m
 ovement of the symphony\, a driving rhythm in the upper strings establishe
 s an energetic pulse\, setting the stage for a dark\, brooding theme in th
 e lower strings that will persist throughout the movement. As the music un
 folds\, Bruckner skillfully weaves together both new and familiar material
 \, evoking the sense of an organ improvisation. This connection to the org
 an is particularly evident in the frequent pauses that punctuate the movem
 ent\, allowing the sound to linger and dissipate\, much as it would on the
  organ itself. The movement's rich and varied harmonic modulations build t
 o a deeply satisfying coda\, culminating in an apotheosis that feels both 
 inevitable and uniquely Brucknerian\, with a sense of grandeur and finalit
 y that only he could achieve.</p>\n<p><strong>B
 edřich Smetana</strong> (1824-1884)<br>Šárka from Má Vlast (1875)</p>\n<p>Bedřich Smetana was a composer known for his op
 eras and symphonic poems\, but more largely thought of as being the father
  of Czech music. Born in Bohemia\, (now the Czech Republic) Smetana began 
 studying music at an early age under the tutelage of his father. His caree
 r took him to Sweden before permanently returning to Prague in 1862\, wher
 e he played a pivotal role in the establishment of their national opera ho
 use\; and thus\, his journey to create a distinctly Czech sound began.  </p>\n<p>After the completion of multiple operas\
 , as well as the loss of his hearing\, Smetana began work on his cycle of 
 six symphonic poems entitled Má Vlast 'My Fatherland'\, of which Šárka is 
 the third. This cycle of works captures Czech pride and remains one of the
  most popular orchestral works to come out of any culture. Unlike the Mold
 au\, (more on that later!) Šárka is based on a brutal and gory Czech legen
 d which is perfectly immortalized in the music.  In Smetana’s own retellin
 g of the tale:</p>\n<p>“Šárka ties herself to a
  tree as bait and waits to be saved by the princely knight Ctirad\, deceiv
 ing him into believing that she is an unwilling captive of the rebelling w
 omen. Once released by Ctirad\, who has fallen in love with her\, Šárka se
 rves him and his comrades with drugged mead and once they have fallen asle
 ep\, she sounds a hunting horn: an agreed signal to the other women. The s
 tory ends with the warrior maidens murdering the sleeping men.”</p>\n<p st yle=' 400\;'>A galloping triplet rhythm in the strings represe
 nts Ctirad on his horse on his way to rescue Šárka\, and the luscious clar
 inet solo early in the movement illustrates Ctirad falling in love. Next\,
  the party erupts with vivacious music and the bassoon cuts through the te
 xture with a nasal pitch\, evoking a snore as the men drift off to sleep. 
 The horns call out as Šárka summons the maidens\, and the piece ends in a 
 furious vivo as the massacre ensues.  </p>\n<p>
 <strong><br>Anton Bruckner </strong>(1824-1896)<br>Adagio from String Quin
 tet in F major\, WAB 112 (1878-1879)</p>\n<p>Br
 uckner's String Quintet in F Major is his most profound and expansive cham
 ber work. Originally scored for two violins\, two violas\, and cello\, the
  addition of the second viola lends a rich\, almost otherworldly depth to 
 the already stirring music. While the quintet incorporates many elements o
 f Bruckner's symphonic writing\, it takes a more compact form than much of
  his other work. When arranged for string orchestra\, it expands upon the 
 emotional depth that can be achieved with just five instruments.</p>\n<p s tyle=' 400\;'>The third movement\, Adagio\, is lush and intens
 ely emotional. The melody unfolds immediately in the violins\, flowing thr
 ough the sections before giving way to a transitional passage that feels a
 lmost improvisatory\, led by the second violas. Much like the rhythmic dri
 ve that propels his symphonies\, this transitional rhythm evolves througho
 ut the Adagio\, reflecting the music's shifting emotional landscape. Sweet
 \, reminiscent passages are interjected by prominent marcato ideas\, creat
 ing a flawless juxtaposition between intimacy and grandeur.<br>-Mica Weila
 nd</p>\n<p><br><strong>Bedřich Smetana</strong>
  (1824-1884)<br>The Moldau from Má Vlast (1874)</p>\n<p>Returning to Smetana’s Má vlast\, The Moldau is the second of the
  six works in the cycle. Although the work has become famous under this na
 me\, its original title is Vltava\, the name of the river over which spans
  the bridge in Prague crowded by tourists today. Moldau is the German name
  for the river\, which foreign oppressors used during the long years of Cz
 ech domination by German-speaking countries\; it was not used by Smetana\,
  nor today by anyone else in modern-day Czechia.</p>\n<p>It is easy to follow the “story” of this tone poem\, because Sme
 tana painted the different elements in the changing trip down the river mo
 st evocatively.  Moreover\, he left us signposts in his own written notes.
  The river begins high in the hills as a small mountain stream\, heard in 
 the burbling woodwinds and strings. It courses through the forests and mea
 dows\, passing along the way a rustic peasant wedding heard through a folk
  dance. It then moves into darkness\, illuminated only by the moon\, and w
 e hear mermaids dancing serenely in the night. The famous St. John’s Rapid
 s inspire a stormy passage\, with swirling whitewater. The music broadens 
 majestically (with the river) as we approach Prague\, and Smetana calls up
 on the brass to paint the imposing crags of the rocks of Vyšehrad —the mag
 nificent overlook in Prague\, home of the mythological origin of the Czech
  people. Incidentally\, both Smetana and Antonin Dvořák are buried there i
 n Vyšehrad Cemetery\, the resting place of the cultural heroes of the Czec
 h people. Finally\, the music soars to its emotional heights as the river 
 leaves Prague on its way to the sea.<br>-Ryan D. Farris</p>\n\n\n\n\n<h3>&lt;
 strong&gt;University of Washington Symphony Orchestra</strong></h3>\n<p>David
  Alexander Rahbee\, Music Director and Conductor<br>Ryan Farris and Robert
  Stahly\, Assistant Conductors</p>\n<p><strong><u>Flute<br></u></strong>Er
 in McAfee\, MM Flute Performance<br>Grace Playstead\, MM Flute Performance
 <br>Peyton Ray\, Music<br>Claire Wei\, Music<br>Yue Zhong\, BM Flute Perfo
 rmance</p>\n<p><strong></strong><strong><u>Piccolo<br></u></strong>Erin Mc
 Afee\, MM Flute Performance<br>Grace Playstead\, MM Flute Performance<br>&lt;
 strong&gt;<br><u>Oboe<br></u></strong>Max Bolen\, Marine Biology<br>Minh-Thi 
 Butler\, BM Music Education</p>\n<p><strong><u>Clarinet</u></strong><br></strong>Ysanne Webb\, DMA Clarinet Performance<strong><br></strong>
 Nick Zhang\, BS Computer Science</p>\n<p><strong><u>Bassoon<br></u>Rian Morgan\, Music/Nutritional Science<br>Eric Shankland\, BA Music His
 tory<br>Eric Spradling\, BM Bassoon Performance<br><br><strong><u>Horn</u>
      <br></strong>Nicole Bogner\, BM Horn Performance<br>Colin Laskarzewsk
 i\, BS Physics<br>Elise Moe\, BM Horn Performance<br>Sam Nutt\, Molecular 
 &amp; Cellular Biology<br>Jonah Polissar\, Aeronautics &amp; Astronautics</p>\n<p>
 <strong><br><u>Trumpet<br></u></strong>Hans Faul\, BM Trumpet Performance&lt;
 br&gt;Kyle Jenkins\, MM Trumpet Performance<br>Antti Männistö\, Mechanical En
 gineering<br>Drew Theran\, MM Trumpet Performance<strong><br></strong><br>
 <strong><u>Trombone<br></u></strong>Jonathan Elsner\, Applied &amp; Computatio
 nal Mathematics<br>Neal Muppidi\, BM Trombone Performance<br>Nathanael Wyt
 tenbach\, Music Composition<strong> </strong></p>\n<p><strong><u>Bass Trom
 bone</u></strong><strong><br></strong>Duncan Weiner\, Aero-Astro Engineeri
 ng/Linguistics</p>\n<p><strong><u>Tuba<br></u></strong>Adam Mtimet\, DMA T
 uba Performance<br>Chris Seay\, DMA Tuba Performance<strong><br></strong>&lt;
 /p&gt;\n<p><strong><u>Timpani<br></u></strong>Kaisho Barnhill\, BM Music Educ
 ation\, Psychology<br>Abigail George\, Applied Physics/BM Percussion Perfo
 rmance<br><br><strong><u>Percussion<br></u></strong>Kaisho Barnhill\, Musi
 c Education\, Psychology<br>Tyler Smith\, MM Percussion Performance<br>Mom
 oka Fukushima\, Percussion Performance</p>\n<p><strong><u>Harp</u></strong><strong><br></strong>Kelly Hou\, Alumna</p>\n<p><strong><u>Violin I<br></u></strong>Grace Pandra\, Violin Performance/Business Administration (Co-c
 oncertmaster)<br>Hanu Nahm\, Violin Performance/BS Microbiology (Co-concer
 tmaster)<br>David Teves-Tan\, Pre-Sciences<br>Hai-Ryung Jang\, DMA Violin 
 Performance<br>Justin Chae\, Computer Science<br>Brooke Chen\, Public Heal
 th<br>Nahuel Weber-Jacobsen\, Social Sciences<br>Ido Avnon\, MS Computer S
 ciences &amp; Engineering<br>David Mok\, Computer Engineering<br>Nicole Chen\,
  Informatics<br>Brandon Bailey\, Computer Science<br>Amelie Martin\, Mathe
 matics<br>Anja Westra\, Marine Biology<br>Adora Wu\, Computer Science<br>J
 ie Zhou\, Music<br>Alex Metzger\, Computer Science<br>Emily Chen\, Pre-Art
 s<br>Giulia Rosa\, Music </p>\n<p><strong><u>Violin II<br></u></strong>Tay
 lor DeCastro\, MM Violin Performance (Principal)<br>Michaela Klesse\, Musi
 c<br>Sean Sasaki\, Music Education<br>Talal Kheiry\, Pre-Sciences<br>Alice
  Leppert\, Chemistry<br>Victoria Zhuang\, Pre-Sciences<br>Kate Everling\, 
 Applied Mathematics<br>Cristina Kosilkina\, Pre-Sciences<br>Jasmine Palikh
 ya\, International Studies<br>Ling Yang\, Anthropology<br>Keira Gan\, Engi
 neering<br>Justene Li\, Pre-Sciences<br>Felicia Yeh\, Business Administrat
 ion<br>Freya Frahm\, Computer Sciences/BM Piano Performance<br>Hannah Pena
 -Ruiz\, Music History </p>\n<p><strong><u>Viola</u></strong><strong>     &lt;
 br&gt;</strong>Flora Cummings\, Viola Performance/Biology (Co-Principal)<br>M
 ica Weiland\, Viola Performance (Co-Principal)<br>Abigail Schidler\, Compu
 ter Science/Music Theory<br>Emma Boyce\, Music<br>Mia Grayson\, Biochemist
 ry<br>Melia Golden\, Biochemistry<br>Hailey Nappen\, Pre-Sciences<br>Annik
 a Johnson\, Pre-Sciences<br>Alan Fan\, International Studies<br>Aribella B
 rushie\, Pre-Sciences<br>Alissa Harbani\, Bioengineering/Music<br>Melany N
 anayakkara\, Mathematics<br><strong><br><u>Violoncello</u>         <br></s>Cory Chen\, BA in Music/Intended Neuroscience (Principal)<br>Loni Yi
 n\, Pre-Sciences<br>Nathan Evans\, BA Music History<br>Ignacio (Nacho) Tej
 eda\, PhD Mathematics<br>Alastair Goodchild\, Engineering<br>Katherine Kan
 g\, Human Centered Design &amp; Engineering<br>Jack Ruffner\, Pre-Social Scien
 ces<br>Ava Reese\, Aquatic and Fishery Sciences<br>Eli Kashman\, Bioengine
 ering<br>Andrew Vu\, Chemistry<br>Noah Croskey\, Industrial Engineering<br>Ally Wu\, Electrical Engineering<br>Bashir Abdel-Fattah\, PhD Mathematics
 <br>Manyi Guo\, PhD Mathematics<br><strong><br><u>Bass</u>    <br></strong>Eddie Nikishina\, Educational Studies (Principal)<br>Amelia Matsumoto\, B
 M Bass Performance<br>Nathan Eskridge\, MM Bass Performance<br>Joshua Boni
 fas\, Pre-Education<br>Gabriella Kelley\, English</p>\n\n\n\n\n<h3>Biograp
 hies</h3>
DTSTART;TZID=America/Los_Angeles:20241206T193000
LAST-MODIFIED:20241205T040418Z
SEQUENCE:129
SUMMARY:: UW Symphony Orchestra: 'Smetana and Bruckner at 200'
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-07/uw-symphony-orchestra-sm
 etana-and-bruckner-200
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>David Alexander Rahbee leads the UW Symphon
 y in a program of works by <span>Bedřich </span>Smetana and Anton Bruckner
 .</p> <hr> <h4>Program</h4> <p><strong></strong>from Symphony No. 6\, in A
  major: <strong>Anton Bruckner</strong> (1824-1896)<br>I. Majestoso</p> <p><em>Šárka\, </em>from<em> Má Vlast (My Country
 ): </em><strong>Bedřich Smetana</strong> (1824-1884) </p> <p><em>Intermission</em></p> <p>from
  String Quintet in F major (arranged for string orchestra): <strong>Bruckn
 er</strong><br>III. Adagio</p> <p><em>The Molda
 u (Vltava)\, </em>from<em> Má Vlast: </em><strong>Smetana</strong><br><em>
 Ryan Dakota Farris\, conductor</em><em> </em></p> <hr> <h3>Program Notes</h3> <p>This program 
 features excerpts from larger works\, thoughtfully curated to represent th
 e essential building blocks of a four-movement symphony. The first movemen
 t\, from Anton Bruckner's <em>Symphony No. 6</em>\, sets a dramatic founda
 tion\, while Bedřich Smetana’s <em>Šárka</em> serves as a lively and vigor
 ous scherzo\, evoking the energy of a typical second movement. Bruckner re
 turns with the deeply emotional <em>Adagio</em> from his <em>String Quinte
 t in F Major</em>\, and Smetana’s iconic <em>Moldau</em> brings the progra
 m to a sparkling conclusion\, acting as a brilliant and vibrant finale. Th
 is program also commemorates the 200th anniversary of the birth of both co
 mposers\, celebrating their enduring contributions to music.</p> <p><strong>Anton Bruckner </strong>(1824-1896)<br><em>Sy
 mphony no. 6 in A major</em>\, WAB 106\, mvt I (1879-1881)</p> <p>Anton Bruckner was a composer\, teacher\, and organist\
 , born in Austria in 1824. His father\, a schoolteacher\, was also his fir
 st music instructor\, which influenced Bruckner’s early exposure to music.
  After the death of his father when he was just 13\, Bruckner was sent to 
 a monastery\, where he deepened his passion for the organ.</p> <p>Bruckner is perhaps best known for his symphonies\, and
  he was a trailblazer in developing the large-scale symphonic form. His mu
 sic is deeply rooted in the traditions of his predecessors—Beethoven\, Sch
 ubert\, and Wagner—with the latter playing a significant role in shaping B
 ruckner's use of intricate harmonies. At the same time\, his rich experien
 ce as an organist is evident\, especially in his mastery of complex harmon
 ic structures and expansive forms.</p> <p>Bruck
 ner’s <em>Symphony No. 6</em> is a prime example of his distinctive compos
 itional style\, highlighting many of the elements that define his music. L
 isteners can hear rhythmic patterns that blend both simple and complex met
 ers\, stately pauses between phrases\, and dramatic harmonic modulations t
 hat create a sense of unfolding tension and release. In the first movement
  of the symphony\, a driving rhythm in the upper strings establishes an en
 ergetic pulse\, setting the stage for a dark\, brooding theme in the lower
  strings that will persist throughout the movement. As the music unfolds\,
  Bruckner skillfully weaves together both new and familiar material\, evok
 ing the sense of an organ improvisation. This connection to the organ is p
 articularly evident in the frequent pauses that punctuate the movement\, a
 llowing the sound to linger and dissipate\, much as it would on the organ 
 itself. The movement's rich and varied harmonic modulations build to a dee
 ply satisfying coda\, culminating in an apotheosis that feels both inevita
 ble and uniquely Brucknerian\, with a sense of grandeur and finality that 
 only he could achieve.</p> <p><span></span>Bedřich Smetana</strong> (1824-1884)<br><em>Šárka</em> from <em>Má Vla
 st </em>(1875)</p> <p>Bedřich Smetana was a com
 poser known for his operas and symphonic poems\, but more largely thought 
 of as being the father of Czech music. Born in Bohemia\, (now the Czech Re
 public) Smetana began studying music at an early age under the tutelage of
  his father. His career took him to Sweden before permanently returning to
  Prague in 1862\, where he played a pivotal role in the establishment of t
 heir national opera house\; and thus\, his journey to create a distinctly 
 Czech sound began.<span>  </span></p> <p>After 
 the completion of multiple operas\, as well as the loss of his hearing\, S
 metana began work on his cycle of six symphonic poems entitled <em>Má Vlas
 t </em>'My Fatherland'\, of which <em>Šárka </em>is the third. This cycle 
 of works captures Czech pride and remains one of the most popular orchestr
 al works to come out of any culture. Unlike the Moldau\, (more on that lat
 er!) <em>Šárka </em>is based on a brutal and gory Czech legend which is pe
 rfectly immortalized in the music. <span> </span>In Smetana’s own retellin
 g of the tale:</p> <p>“Šárka ties herself to a 
 tree as bait and waits to be saved by the princely knight Ctirad\, deceivi
 ng him into believing that she is an unwilling captive of the rebelling wo
 men. Once released by Ctirad\, who has fallen in love with her\, Šárka ser
 ves him and his comrades with drugged mead and once they have fallen aslee
 p\, she sounds a hunting horn: an agreed signal to the other women. The st
 ory ends with the warrior maidens murdering the sleeping men.”</p> <p styl e=' 400\;'>A galloping triplet rhythm in the strings represent
 s Ctirad on his horse on his way to rescue Šárka\, and the luscious clarin
 et solo early in the movement illustrates Ctirad falling in love. Next\, t
 he party erupts with vivacious music and the bassoon cuts through the text
 ure with a nasal pitch\, evoking a snore as the men drift off to sleep. Th
 e horns call out as Šárka summons the maidens\, and the piece ends in a fu
 rious vivo as the massacre ensues.<span>  </span></p> <p><strong><br>Anton Bruckner </strong>(1824-1896)<br><em>Adagio from String Quintet in F major\, WAB 112 (1878-1879)</p> <p>Bruckner's <em>String Quintet in F Major</em> is his most 
 profound and expansive chamber work. Originally scored for two violins\, t
 wo violas\, and cello\, the addition of the second viola lends a rich\, al
 most otherworldly depth to the already stirring music. While the quintet i
 ncorporates many elements of Bruckner's symphonic writing\, it takes a mor
 e compact form than much of his other work. When arranged for string orche
 stra\, it expands upon the emotional depth that can be achieved with just 
 five instruments.</p> <p>The third movement\, &lt;
 em&gt;Adagio</em>\, is lush and intensely emotional. The melody unfolds immed
 iately in the violins\, flowing through the sections before giving way to 
 a transitional passage that feels almost improvisatory\, led by the second
  violas. Much like the rhythmic drive that propels his symphonies\, this t
 ransitional rhythm evolves throughout the <em>Adagio</em>\, reflecting the
  music's shifting emotional landscape. Sweet\, reminiscent passages are in
 terjected by prominent marcato ideas\, creating a flawless juxtaposition b
 etween intimacy and grandeur.<br>-Mica Weiland</p> <p><br><strong>Bedřich Smetana</strong> (1824-1884)<br><em>The Moldau&lt;
 /em&gt; from <em>Má Vlast </em>(1874)</p> <p>Retur
 ning to Smetana’s <em>Má vlast\, The Moldau</em> is the second of the six 
 works in the cycle. Although the work has become famous under this name\, 
 its original title is <em>Vltava\,</em> the name of the river over which s
 pans the bridge in Prague crowded by tourists today. Moldau is the German 
 name for the river\, which foreign oppressors used during the long years o
 f Czech domination by German-speaking countries\; it was not used by Smeta
 na\, nor today by anyone else in modern-day Czechia.</p> <p>It is easy to follow the “story” of this tone poem\, because 
 Smetana painted the different elements in the changing trip down the river
  most evocatively.  Moreover\, he left us signposts in his own written not
 es. The river begins high in the hills as a small mountain stream\, heard 
 in the burbling woodwinds and strings. It courses through the forests and 
 meadows\, passing along the way a rustic peasant wedding heard through a f
 olk dance. It then moves into darkness\, illuminated only by the moon\, an
 d we hear mermaids dancing serenely in the night. The famous St. John’s Ra
 pids inspire a stormy passage\, with swirling whitewater. The music broade
 ns majestically (with the river) as we approach Prague\, and Smetana calls
  upon the brass to paint the imposing crags of the rocks of Vyšehrad —the 
 magnificent overlook in Prague\, home of the mythological origin of the Cz
 ech people. Incidentally\, both Smetana and Antonin Dvořák are buried ther
 e in Vyšehrad Cemetery\, the resting place of the cultural heroes of the C
 zech people. Finally\, the music soars to its emotional heights as the riv
 er leaves Prague on its way to the sea.<br>-Ryan D. Farris</p> <table styl e=' 840px\;'> <tbody> <tr> <td> <h3><strong>U
 niversity of Washington Symphony Orchestra</strong></h3> <p>David Alexande
 r Rahbee\, Music Director and Conductor<br>Ryan Farris and Robert Stahly\,
  Assistant Conductors</p> <p><strong><u>Flute<br></u></strong>Erin McAfee\
 , MM Flute Performance<br>Grace Playstead\, MM Flute Performance<br>Peyton
  Ray\, Music<br>Claire Wei\, Music<br>Yue Zhong\, BM Flute Performance</p>
  <p><strong></strong><strong><u>Piccolo<br></u></strong>Erin McAfee\, MM F
 lute Performance<br>Grace Playstead\, MM Flute Performance<br><strong><br>
 <u>Oboe<br></u></strong>Max Bolen\, Marine Biology<br>Minh-Thi Butler\, BM
  Music Education</p> <p><strong><u>Clarinet</u></strong><strong><br>Ysanne Webb\, DMA Clarinet Performance<strong><br></strong>Nick Zhang\,
  BS Computer Science</p> <p><strong><u>Bassoon<br></u></strong>Rian Morgan
 \, Music/Nutritional Science<br>Eric Shankland\, BA Music History<br>Eric 
 Spradling\, BM Bassoon Performance<br><br><strong><u>Horn</u>     <br>Nicole Bogner\, BM Horn Performance<br>Colin Laskarzewski\, BS Physic
 s<br>Elise Moe\, BM Horn Performance<br>Sam Nutt\, Molecular &amp; Cellular Bi
 ology<br>Jonah Polissar\, Aeronautics &amp; Astronautics</p> <p><strong><br><u>Trumpet<br></u></strong>Hans Faul\, BM Trumpet Performance<br>Kyle Jenkin
 s\, MM Trumpet Performance<br>Antti Männistö\, Mechanical Engineering<br>D
 rew Theran\, MM Trumpet Performance<strong><br></strong><br><strong><u>Tro
 mbone<br></u></strong>Jonathan Elsner\, Applied &amp; Computational Mathematic
 s<br>Neal Muppidi\, BM Trombone Performance<br>Nathanael Wyttenbach\, Musi
 c Composition<strong> </strong></p> <p><strong><u>Bass Trombone</u><strong><br></strong>Duncan Weiner\, Aero-Astro Engineering/Linguistics&lt;
 /p&gt; <p><strong><u>Tuba<br></u></strong>Adam Mtimet\, DMA Tuba Performance&lt;
 br&gt;Chris Seay\, DMA Tuba Performance<strong><br></strong></p> <p><strong>&lt;
 u&gt;Timpani<br></u></strong>Kaisho Barnhill\, BM Music Education\, Psycholog
 y<br>Abigail George\, Applied Physics/BM Percussion Performance<br><br><u>Percussion<br></u></strong>Kaisho Barnhill\, Music Education\, Psy
 chology<br>Tyler Smith\, MM Percussion Performance<br>Momoka Fukushima\, P
 ercussion Performance</p> <p><strong><u>Harp</u></strong><strong><br>Kelly Hou\, Alumna</p> <p><strong><u>Violin I<br></u></strong>Grace Pa
 ndra\, Violin Performance/Business Administration (Co-concertmaster)<br>Ha
 nu Nahm\, Violin Performance/BS Microbiology (Co-concertmaster)<br>David T
 eves-Tan\, Pre-Sciences<br>Hai-Ryung Jang\, DMA Violin Performance<br>Just
 in Chae\, Computer Science<br>Brooke Chen\, Public Health<br>Nahuel Weber-
 Jacobsen\, Social Sciences<br>Ido Avnon\, MS Computer Sciences &amp; Engineeri
 ng<br>David Mok\, Computer Engineering<br>Nicole Chen\, Informatics<br>Bra
 ndon Bailey\, Computer Science<br>Amelie Martin\, Mathematics<br>Anja West
 ra\, Marine Biology<br>Adora Wu\, Computer Science<br>Jie Zhou\, Music<br>
 Alex Metzger\, Computer Science<br>Emily Chen\, Pre-Arts<br>Giulia Rosa\, 
 Music </p> <p><strong><u>Violin II<br></u></strong>Taylor DeCastro\, MM Vi
 olin Performance (Principal)<br>Michaela Klesse\, Music<br>Sean Sasaki\, M
 usic Education<br>Talal Kheiry\, Pre-Sciences<br>Alice Leppert\, Chemistry
 <br>Victoria Zhuang\, Pre-Sciences<br>Kate Everling\, Applied Mathematics&lt;
 br&gt;Cristina Kosilkina\, Pre-Sciences<br>Jasmine Palikhya\, International S
 tudies<br>Ling Yang\, Anthropology<br>Keira Gan\, Engineering<br>Justene L
 i\, Pre-Sciences<br>Felicia Yeh\, Business Administration<br>Freya Frahm\,
  Computer Sciences/BM Piano Performance<br>Hannah Pena-Ruiz\, Music Histor
 y </p> <p><strong><u>Viola</u></strong><strong>     <br></strong>Flora Cum
 mings\, Viola Performance/Biology (Co-Principal)<br>Mica Weiland\, Viola P
 erformance (Co-Principal)<br>Abigail Schidler\, Computer Science/Music The
 ory<br>Emma Boyce\, Music<br>Mia Grayson\, Biochemistry<br>Melia Golden\, 
 Biochemistry<br>Hailey Nappen\, Pre-Sciences<br>Annika Johnson\, Pre-Scien
 ces<br>Alan Fan\, International Studies<br>Aribella Brushie\, Pre-Sciences
 <br>Alissa Harbani\, Bioengineering/Music<br>Melany Nanayakkara\, Mathemat
 ics<br><strong><br><u>Violoncello</u>         <br></strong>Cory Chen\, BA 
 in Music/Intended Neuroscience (Principal)<br>Loni Yin\, Pre-Sciences<br>N
 athan Evans\, BA Music History<br>Ignacio (Nacho) Tejeda\, PhD Mathematics
 <br>Alastair Goodchild\, Engineering<br>Katherine Kang\, Human Centered De
 sign &amp; Engineering<br>Jack Ruffner\, Pre-Social Sciences<br>Ava Reese\, Aq
 uatic and Fishery Sciences<br>Eli Kashman\, Bioengineering<br>Andrew Vu\, 
 Chemistry<br>Noah Croskey\, Industrial Engineering<br>Ally Wu\, Electrical
  Engineering<br>Bashir Abdel-Fattah\, PhD Mathematics<br>Manyi Guo\, PhD M
 athematics<br><strong><br><u>Bass</u>    <br></strong>Eddie Nikishina\, Ed
 ucational Studies (Principal)<br>Amelia Matsumoto\, BM Bass Performance<br>Nathan Eskridge\, MM Bass Performance<br>Joshua Bonifas\, Pre-Education<b r>Gabriella Kelley\, English</p> </td> </tr> </tbody> </table> <h3>Biograp
 hies</h3>
END:VEVENT
BEGIN:VEVENT
UID:166346da-7088-406c-8ef6-e31e6d6768f1
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20241126T204722Z
DESCRIPTION:<p></p>\n<p>Wayward Music Series and Seattle arts organization 
 Non Sequitur present a concert of works by UW faculty composer Huck Hodge\
 , performed by School of Music faculty and alumni.</p>\n<p>Note: This off-
 campus event is presented by an outside arts organization\; it is not host
 ed by the School of Music.</p>\n<p><strong><a href='https://www.waywardmus
 ic.org/event/nonseq-huck-hodge/' target='_blank' rel='noopener noreferrer'>View complete concert details</a></strong></p>\n<hr>\n<p><strong>Performe
 rs:</strong><br>Abbey Blackwell\, double bass<br>Jeff Bowen\, guitar<br>Lu
 ke Fitzpatrick\, violin<br>Huck Hodge\, melodica<br>Naeim Rahmani\, guitar
 <br>Brian Schappals: clarinet<br>Laure Struber\, piano<br>Cristina Valdes\
 , piano<br>Neil Welch\, saxophone<br>Bonnie Whiting\, percussion<br>Marcin
  Pączkowski\, conductor</p>\n<p>Curated by <a href='https://www.naeimrahma
 ni.com/' target='_blank' rel='noopener noreferrer'>Naeim Rahmani</a> for N
 onsequitur’s NonSeq series.</p>\n<hr>\n<h4>Series background</h4>\n<p>Each
  month\, <a href='http://www.nseq.org/' target='_blank' rel='noopener nore
 ferrer'>Nonsequitur</a> and a community of like-minded organizations and a
 rtists present ten concerts of adventurous and experimental music in the g
 orgeous <a href='http://chapelspace.blogspot.com/' target='_blank' rel='no
 opener noreferrer'>Chapel Performance Space</a> at the <a href='http://www
 .historicseattle.org/projects/gsc.aspx' target='_blank' rel='noopener nore
 ferrer'>Good Shepherd Center</a> (which sits on the traditional homelands 
 of the <a href='https://www.duwamishtribe.org/' rel='noopener noreferrer' target='_blank'>Duwamish people</a>): contemporary/post-classical composit
 ion\, free improvisation and the outer limits of jazz\, electronic/electro
 acoustic music\, new instruments\, phonography\, sound art\, and other inn
 ovative musics.</p>\n<hr>\n<h3>Biography</h3>
DTSTART;TZID=America/Los_Angeles:20241206T200000
LAST-MODIFIED:20241126T212753Z
SEQUENCE:130
SUMMARY:: External Event: Huck Hodge portrait concert
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-07/external-event-huck-hodg
 e-portrait-concert
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Wayward Music Series and Seattle ar
 ts organization Non Sequitur present a concert of works by UW faculty comp
 oser Huck Hodge\, performed by School of Music faculty and alumni.</p> <p>
 <em>Note: This off-campus event is presented by an outside arts organizati
 on\; it is not hosted by the School of Music.</em></p> <p><strong><a href='https://www.waywardmusic.org/event/nonseq-huck-hodge/' target='_blank' re l='noopener noreferrer'>View complete concert details</a></strong></p> <hr> <p><strong>Performers:</strong><br>Abbey Blackwell\, double bass<br>Jeff
  Bowen\, guitar<br>Luke Fitzpatrick\, violin<br>Huck Hodge\, melodica<br>N
 aeim Rahmani\, guitar<br>Brian Schappals: clarinet<br>Laure Struber\, pian
 o<br>Cristina Valdes\, piano<br>Neil Welch\, saxophone<br>Bonnie Whiting\,
  percussion<br>Marcin Pączkowski\, conductor</p> <p>Curated by <a href='//www.naeimrahmani.com/' target='_blank' rel='noopener noreferrer'>Nae
 im Rahmani</a> for Nonsequitur’s NonSeq series.</p> <hr> <h4>Series backgr
 ound</h4> <p><span>Each month\, </span><a href='http://www.nseq.org/' targ et='_blank' rel='noopener noreferrer'>Nonsequitur</a><span> and a communit
 y of like-minded organizations and artists present ten concerts of adventu
 rous and experimental music in the gorgeous </span><a href='http://chapels
 pace.blogspot.com/' target='_blank' rel='noopener noreferrer'>Chapel Perfo
 rmance Space</a><span> at the </span><a href='http://www.historicseattle.o
 rg/projects/gsc.aspx' target='_blank' rel='noopener noreferrer'>Good Sheph
 erd Center</a><span> (which sits on the traditional homelands of the <a href='https://www.duwamishtribe.org/' rel='noopener noreferrer' targe t='_blank'>Duwamish people</a><span>): contemporary/post-classical composi
 tion\, free improvisation and the outer limits of jazz\, electronic/electr
 oacoustic music\, new instruments\, phonography\, sound art\, and other in
 novative musics.</span></p> <hr> <h3>Biography</h3>
END:VEVENT
BEGIN:VEVENT
UID:1f8e5323-6121-4df3-907e-cfca6c082385
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T202602Z
DESCRIPTION:<p></p>\n<p>The University of Washington Modern Music Ensemble 
 (Cristina Valdés\, director) performs music by Jean Ahn\, Arnold Schoenber
 g\, Eva-Maria Houben\, Rebecca Saunders\, Charles Ives\, Erin Gee\, and Go
 lfam Khayam. </p>\n<hr>\n<h3>Program</h3>\n<p>Salt for improvisers and pia
 no (2007/2016): <strong>Jean Ahn</strong> (b. 1976)<br>Rachel Reyes\, flut
 e<br>Cameron DeLuca\, clarinet<br>Cole Henslee\, tuba<br>Taylor DeCastro\,
  violin<br>Olivia Hsu\, piano<br>Tyler Smith\, percussion<br><br></p>\n<p>
 Songs from Book of the Hanging Gardens Op.15 (1908-1909) - <strong>Arnold 
 Schoenberg</strong> (1874 - 1951)<br>No. 3 - MäBig <br>No. 4 - Gahend<br>C
 assidy Cheong\, voice<br>Ella Kalinichenko\, piano</p>\n<p>Erwartung 3 (20
 18) -  <strong>Eva-Maria Houben</strong> (b. 1955) <br>Rachel Reyes\, flut
 e<br>Cameron DeLuca\, clarinet<br>Cole Henslee\, tuba<br>Taylor DeCastro\,
  violin<br>Ella Kalinichenko\, piano<br>Tyler Smith\, percussion</p>\n<h3>
 </h3>\n<p>The Underside of Green (1994) -   <strong>Rebecca Saunders (b. 1967)<br>Cameron DeLuca\, clarinet<br>Taylor DeCastro\, violin<br>
 Ella Kalinichenko\, piano</p>\n<p><b>— </b>intermission —</p>\n<p>Largo\, 
 Op. 73 for violin\, clarinet\, and piano (1902) - <strong>Charles Ives </s>(1874-1954)<br>Cameron DeLuca\, clarinet<br>Taylor DeCastro\, violin
 <br>Ella Kalinichenko\, piano</p>\n<p>Mouthpiece 28 (2016) - <strong>Erin 
 Gee</strong>   (b. 1974)<br>Cassidy Cheong\, voice<br>Rachel Reyes\, flute
 <br>Cameron DeLuca\, clarinet<br>Taylor DeCastro\, violin<br>Tyler Smith\,
  percussion<br><br></p>\n<p>Lost Wind (2019) - <strong>Golfam Khayam (b. 1982)<br>Rachel Reyes\, flute<br>Tyler Smith\, percussion</p>\n<hr>\n<h3>Program Notes</h3>\n<p><b></b><b>Salt for improvisers and piano (20
 07/2016) <br></b>Salt began its life in 2005\, when I found myself driven 
 by a chord of six notes. First I made a progression moving the chord by pa
 rallel motion. Then I changed the inner voices\, rotated the notes\, inver
 ted the chord\, juxtaposed it with its mirror and other transpositions of 
 the chord\, and added more notes to the chord. To color the chord\, I adde
 d non-harmonic tones as ornamentation. These non-harmonic tones normally r
 esolve to the harmonic tones\, and thus end up doubling the chord tones th
 emselves. In short\, I experimented with all the possibilities opened up b
 y this one chord. The idea of transforming a single chord without losing i
 ts fundamentals\, combined with the sparkling image of the ornaments\, rem
 inded me of the properties of salt. Thus was born the title of the composi
 tion. Just as salt preserves its taste no matter what it is mixed with\, t
 he essence of the original chord of the piece is not lost throughout the e
 ntire work. In order to enhance the metaphor\, the electronics used in the
  piece—built on the resonance model of the main chord with spectral transf
 ormation—employ the actual sound of dropping\, spreading and touching salt
 . Finally\, the title Salt also reflects my Christian faith and my musing 
 on the words “Ye are the salt of the earth.” Thus the piece has the touch\
 , taste and also the meaning of salt.<br>—Jean Ahn</p>\n<p><b>Das Buch der
  hängenden Gärten</b><b> (Book of Hanging Gardens)\, Op. 15<br></b>Arnold 
 Schoenberg’s Das Buch der hängenden Gärten (Book of Hanging Gardens)\, Op.
  15\, is a landmark work in the composer’s early period\, marking a signif
 icant turning point in his development as a modernist. Composed between 19
 08 and 1909\, this song cycle is set to a German translation of poems by t
 he Austrian poet Stefan George. Consisting of 15 songs for voice and piano
 \, the cycle unfolds the story of a failed love affair - tragically ending
  with the woman's departure and the disintegration of the garden\, which s
 erves as the symbolic landscape for the narrative.</p>\n<p>In Songs No. 3 
 and No. 4\, the protagonist’s emotional journey to reach his beloved is po
 rtrayed. The third song reveals the lover’s emotional vulnerability\, awe\
 , and yearning for acceptance. Schoenberg accentuates this internal strugg
 le with jagged dissonances and a persistent rhythmic motive that propels t
 he music forward\, mirroring the protagonist’s anxious longing. In the fou
 rth song\, the lover contemplates a profound emotional state characterized
  by both desire and inhibition. Schoenberg’s highly chromatic setting inte
 nsifies the sense of yearning and spiritual surrender. At times\, the pian
 o often doubles the voice\, creating an intimate\, almost confessional son
 ority. In other moments\, Schoenberg employs wide vocal glissandos\, furth
 er amplifying the internal turmoil and the tension between restraint and o
 verwhelming emotion.</p>\n<p><b>erwartung 3 (2018)<br></b>Known for her in
 trospective approach to composition\, Eva-Maria Houben (b. 1955) draws ins
 piration from Arnold Schoenberg’s Erwartung\, Op. 15 for the aptly titled 
 erwartung 3 for ensemble. Schoenberg’s one-act monodrama Erwartung concern
 s an apprehensive woman searching for her lost lover in a dark forest only
  to discover he has passed away. Houben presents a dense chord taken direc
 tly from Schoenberg\, but gives the ensemble directions to use this chord 
 as “a kind of landscape. exploring a still undiscovered landscape. enterin
 g a world that is not yet known. encountering (perhaps) something unknown.
  detecting where music might be found.” Further directions encourage perfo
 rmers to enjoy “the beauty and fragility of one’s own sounds” and the “nei
 ghbourhoods and distances in the midst of the ensemble.” In Houben’s sound
  world\, the intense emotions of Schoenberg’s original Erwartung can take 
 a new life. </p>\n<p><b>the underside of green (1994)<br></b>„At this junc
 ture we ought to say something about lights and colours. It is evident tha
 t colours vary according to light\, as every colour appears different when
  in shade\, and placed under rays of light. Shade makes a colour dimmer\, 
 and light makes it brighter and clear. Colour is swallowed by the dark.“</p>\n<p> Loeon Battista Alberti: On painting (1435)<br> „Emerald\, Ruby\, J
 acinth\, Chalcedony\, Jasper. Colour\, like these jewels\, is precious. Ev
 en more precious\, it cannot be possessed. Colour slips through the finger
 s and escapes. You can´t lock it in a jewel box as it vanishes in the dark
 .“</p>\n<p>Derek Jarman: Chroma (1994)<br>the underside of green\, CRIMSON
  – Molly´s Song 1 (1995) and Molly´s Song 3 – shades of crimson (1996) mak
 e up a cycle of compositions that were influenced by Molly Bloom´s closing
  monologue in James Joyce´s Ulysses. This relentless and intense monologue
  flows unpunctuated for 35 pages: </p>\n<p>„...and O that awful deep down 
 torrent O and the sea the sea crimson sometimes like fire and the glorious
  sunsets and ...yes ...“  <br>— Rebecca Saunders</p>\n<p><b>Largo\, Op. 73
  for violin\, clarinet\, and piano (1902)<br></b>Composed during the early
  years of his career\, Largo was originally the second movement of a violi
 n sonata Charles Ives wrote while he was a student at Yale. He later revis
 ed it for violin\, clarinet\, and piano\, and first published it in 1901 (
 though some sources date it to 1902). It stands as one of Ives' early work
 s\, written at a time when he was starting to experiment with more unconve
 ntional musical ideas. While the piece is purely instrumental\, without th
 e folk tunes or hymns often associated with his later works\, it still ref
 lects Ives' growing interest in expanding the modern traditions.</p>\n<p>L
 argo follows the form of a classical slow movement\, beginning and ending 
 in G Major with a calm\, lyrical theme for violin and piano. The clarinet 
 enters at a faster andante tempo\, leading into a lively ragtime section t
 hat introduces all three instruments. The music is marked by complex meter
 s in the piano and asymmetrical melodic lines in the violin and clarinet\,
  resulting in dissonant counterpoint and a distinctly twentieth-century so
 und.</p>\n<p><b>Lost Wind (2019)<br></b>'Lost Wind' (2019) is a hidden mon
 ologue</p>\n<p>A monologue within oneself as reflected in resonance of the
  Gong…</p>\n<p>Wandering in thoughts\, lost in its own land\, whispering t
 he scream\, shouting out the silence... Finding rays of light\, a breeze o
 f hope…</p>\n<p>In Darkness\, in lightness.<br>—Golfam Khayam</p>\n<p><b>M
 outhpiece 28 (2016)<br></b>The Mouthpieces began as solo vocal works\, dev
 oid of semantic text or language and notated with the International Phonet
 ic Alphabet. In the Mouthpiece series\, the voice is an instrument of soun
 d production rather than a vehicle of identity. Linguistic meaning is not 
 the goal. The construction of the vocal text is often based on linguistic 
 structure—vowel-consonant formation and the principle of the allophone—and
  is relatively quiet\, with an emphasis on the breath. My goal has been to
  construct intricate and subtle patterns of a diverse array of vocal sound
 s. </p>\n<p>I work with a concept I created\, called the 'super mouth'\, i
 n which the instrumental sounds imitate and expand the possibilities of th
 e solo vocal sounds. The mouth and voice can make pops/whispers and can si
 ng and whistle etc.\, but when the entire ensemble becomes like a 'super m
 outh'\, it can combine the changing 'tone'\, the percussive\, and the airy
  elements of the voice and mix them with similar sounds performed by the m
 usicians\, creating a sound world that is more expansive and varied than w
 hat a single voice could create alone.</p>\n<p>In the works for voice and 
 ensemble\, the articulatory possibilities of the mouth are often mapped on
 to the instruments\, mirroring and expanding the vocal sounds to form a ki
 nd of 'super-mouth' that can move beyond the physical limitations of a sin
 gle vocal tract. Merging the voice with both the instruments and with brea
 th\, and repeatedly returning to formlessness through “a more (or less) pr
 onounced utterance of the mouth”. Degrees of pronounced utterance.  This h
 as been the main idea behind the entire Mouthpiece series\, which began in
  2000 and consists of about 30 works for solo voice\, voice and ensemble\,
  choir\, voice and orchestra\, string quartet\, opera and other combinatio
 ns.  Not pre-meaning\, simply never in the direction of meaning. <br>—Erin
  Gee</p>\n<h4>Composer Biographies</h4>\n<p><b>Jean Ahn (b. 1976)<br></b>A
  native of Korea\, composer Jean Ahn (b. 1976) began her music studies in 
 piano and composition at an early age. Her creative output includes works 
 ranging from solo instruments and chamber music to full orchestra\, as wel
 l as choral\, dance\, and electroacoustic music. She received First Prize 
 at the Renée Fisher Competition and the Sejong Korean Music Competition. S
 he has also received awards from the the Korean National Music Composers A
 ssociation\, the De Lorenzo Prize in Music Composition\, and the Isadora D
 uncan Award for  Saltdoll.  She was a Finalist for the Toulmin Prize (Leag
 ue of Orchestra Commissioning Competition) in 2019 and 2020\, and was a Fi
 nalist for the American Prize. </p>\n<p>She is the director of Ensemble AR
 I and is a lecturer at UC Berkeley.  She is also the music director for CH
 IM studio\, teaching music to special needs students.</p>\n<p><b>Arnold Sc
 hoenberg (1874-1951)<br></b>Arnold Schoenberg (1874-1951) was an Austrian 
 composer and painter. Much of Schoenberg's music was not understood at fir
 st\, and it is a known historical fact that many of his orchestras were re
 ceived poorly at their first performance\, yet the second performance woul
 d attract all sorts of praise. Schoenberg’s twelve-tone technique would be
  used by several decorated musicians\, including Pierre Boulez\, Luigi Non
 o\, and his students Alban Berg and Anton Webern. His collaborations with 
 Alban Berg and Anton Webern were marked by twelve-tone compositions\, alon
 g with some works that bordered on Mahlerian Romanticism. Thus\, Arnold Sc
 hoenberg\, Alban Berg\, and Anton Webern were given the title of ‘The Seco
 nd Viennese School’ for their exceptional influence in music.<br>—Noel Mor
 ris</p>\n<p><b>Eva-Maria Houben (b. 1955)<br></b>Eva-Maria Houben (b. 1955
 ) studied Music Education at Folkwang-Musikhochschule Essen and the organ 
 with Gisbert Schneider. Following her exams she taught both German and Mus
 ic Education at Secondary School. She received her doctorate and postdocto
 ral lecturing qualification in musicology and was called for lectures at G
 erhard-Mercator-Universität Duisburg and Robert-Schumann-Hochschule Düssel
 dorf. Since 1993 she has been lecturing at Dortmund University`s “Institut
  für Musik und Musikwissenschaft”\, with both music theory and contemporar
 y music as her focus. She performs works for organ and piano\, as soloist 
 as well as a member of duo\, trio\, ensemble.</p>\n<p><b>Rebecca Saunders 
 (b.1967)<br></b>With her distinctive and intensely striking sonic language
 \, Berlin-based British composer Rebecca Saunders (b.1967) is a leading in
 ternational representative of her generation.<br>Saunders pursues an inten
 se interest in the sculptural and spatial properties of organised sound an
 d seeks a close collaborative dialogue with a variety of contemporary musi
 cians and artists.<br>Born in London\, she studied composition with Nigel 
 Osborne and Wolfgang Rihm. Saunders has received numerous prizes\, includi
 ng the Ernst von Siemens Music Prize 2019\, and most recently received the
  Golden Lion for Music from the Venice Biennale 2024. She received an Hono
 rary Doctorate from the Universities of Huddersfield in 2018 and Edinburgh
  in 2023. She is a member of the Academies of Arts in Berlin\, Dresden and
  Munich.</p>\n<p><b>Charles Ives (1874-1954)<br></b>Born in Danbury\, Conn
 ecticut in 1874\, Charles Ives pursued what is perhaps one of the most ext
 raordinary and paradoxical careers in American music history. Businessman 
 by day and composer by night\, Ives’s vast output has gradually brought hi
 m recognition as the most original and significant American composer of th
 e late 19th and early 20th centuries. Inspired by transcendentalist philos
 ophy\, Ives sought a highly personalized musical expression through the mo
 st innovative and radical technical means possible. A fascination with bi-
 tonal forms\, poly-rhythms\, and quotation was nurtured by his father who 
 Ives would later acknowledge as the primary creative influence on his musi
 cal style. Studies at Yale with Horatio Parker guided expert control over 
 large-scale forms. Ironically\, much of Ives’s work would not be heard unt
 il his virtual retirement from music and business in 1930 due to severe he
 alth problems. The conductor Nicolas Slonimsky\, music critic Henry Bellam
 ann\, pianist John Kirkpatrick and the composers Lou Harrison and Henry Co
 well all played a key role in introducing Ives’s music to a wider audience
 . In 1947\, Ives was awarded the Pulitzer Prize for his Symphony No. 3\, a
 ccording to him a much deserved modicum of international renown. By his de
 ath in 1954\, he had witnessed a rise from obscurity to a position of unsu
 rpassed eminence among the world’s leading performers and musical institut
 ions.<br>—Richard E. Rodda</p>\n<p><b>Golfam Khayam</b> <b>(b. 1982)<br></b>Iranian composer &amp; improviser\, Golfam Khayam's (b. 1982) career reflect
 s her unique musical language through the integration of her native musica
 l elements within a contemporary experimental musical framework. Golfam ha
 s appeared extensively as performer\, composer\, and her music is being pe
 rformed worldwide\, spreading her musical message in various projects whic
 h has been featured as in Elbphilharmonie\, NPR ”songs we love'\, Danish C
 ultural Radio\, BBC3\, Deutchewele\, Royal Festival Hall\, Ojai festival.&lt;
 /p&gt;\n<p>Winner of numerous competitions\, scholarships\, and prizes. She h
 as been named as the selected composer at the International Music Council\
 , Rostrum of composers in the 'Windows on the World' category in 2016 base
 d in Paris. Winner of Residency in Festival Aix en Provence. She received 
 HES-SO full fellowship award for the research project of  'New Vocabulary'
  shedding light on the concept of synthesis and cross culture fusion in co
 ntemporary music . She has been actively giving workshops on the subject o
 f improvisation and synthesis as guest lecturer which includes Aarhus Roya
 l Academy\, Copenhagen Royal Music Academy\, Geneva University\, Luzern Mu
 sic University. She is selected as composer in residence for ENOA network 
 for Opera creation journey with Palau de les Arts Reina Sofía. She is curr
 ently Assistant Professor at Art University of Tehran.</p>\n<p><b>Erin Gee
  (b. 1974)<br></b>Erin Gee (b. 1974) was named to the short list of the mo
 st prominent composer-vocalists of the twenty-first century by Alex Ross\,
  music critic for The New Yorker\, in January 2014\, and has subsequently 
 received a Koussevitsky award\, a Bogliasco Fellowship and the Arts and Le
 tters Award in Music from the American Academy of Arts and Letters. She is
  best known for her Mouthpiece Series\, which is a series of 37 pieces and
  growing. In these works\, Erin Gee constructs elaborate and nuanced patte
 rns of a variety of vocal sounds using non-traditional vocal methods. None
  of the vocal sounds are meant to convey meaning and the voice is employed
 \, rather\, as a sound instrument\, not a vehicle of identity. In the Mout
 hpieces\, the voice does not seek to convey linguistic meaning\, aiming in
 stead for esthetic\, cognitive\, and emotional resonances. </p>\n<p>The Mo
 uthpieces started out as solo vocal compositions and is notated using the 
 International Phonetic Alphabet. It all began with a single solo voice pie
 ce in 2000\, which she first performed as a graduate student\, and has sin
 ce grown to works for orchestra\, opera\, vocal ensemble\, large chamber e
 nsemble\, and string quartet\, all of which have been performed internatio
 nally with some of the best new music ensembles. Many renowned colleges\, 
 including MIT\, University of Pennsylvania\, Smith College\, and Mills Col
 lege\, teach her works in their composition and musicology departments\, a
 nd she has lectured at Harvard\, UC Berkeley\, Dartmouth\, and Wellesley. 
 </p>\n<p>A Guggenheim fellow\, Rome Prize Fellow and Radcliffe Fellow\, Er
 in Gee studied with Beat Furrer in Graz\, Austria and received her Ph.D. f
 rom the Kunstuniversität Graz in 2007.</p>\n<hr>\n<h3>Director Biography</h3>
DTSTART;TZID=America/Los_Angeles:20241207T193000
LAST-MODIFIED:20241205T230551Z
SEQUENCE:131
SUMMARY:: Modern Music Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-08/modern-music-ensemble
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The University of Washington Modern
  Music Ensemble (Cristina Valdés\, director) performs music by Jean Ahn\, 
 Arnold Schoenberg\, Eva-Maria Houben\, Rebecca Saunders\, Charles Ives\, E
 rin Gee\, and Golfam Khayam. </p> <hr> <h3>Program</h3> <p><span>Salt for improvisers and piano (2007/2016): </span><span><strong>Jean Ahn</strong> </span><span>(b. 1976)<br></span><em><span>Rachel Reyes\, flute<br></span><span>Cameron
  DeLuca\, clarinet<br></span><span>Cole Henslee
 \, tuba<br></span><span>Taylor DeCastro\, violi
 n<br></span><span>Olivia Hsu\, piano<br></span>
 <span>Tyler Smith\, percussion</span></em><br>&lt;
 br&gt;</p> <p><span>Songs from Book of the Hanging
  Gardens Op.15 (1908-1909)</span> <span>- <span><strong>Arnold Schoenberg</strong> (187
 4 - 1951)<br></span><span>No. 3 - MäBig</span> 
 <br><span>No. 4 - Gahend<br></span><em><span st yle=' 400\;'>Cassidy Cheong\, voice<br></span><span>Ella Kalinichenko\, piano</span></em></p> <p><span>Erwartung 3 (2018)</span> -<span> </span> <span><strong>Eva-Maria Houben&lt;
 /strong&gt; (b. 1955) <br></span><em>Rachel Reyes\, flute</em><br><em><span s tyle=' 400\;'>Cameron DeLuca\, clarinet<br></span><span>Cole Henslee\, tuba<br></span><span>Taylor DeCastro\, violin<br></span><span>Ella Kalinichenko\, piano<br></span><span>T
 yler Smith\, percussion</span></em></p> <h3></h3> <p><span>The Underside of Green (1994)</span> -<span>  </span> <span><strong>Rebecca Saunde
 rs</strong> (b. 1967)<br></span><em><span>Camer
 on DeLuca\, clarinet<br></span><span>Taylor DeC
 astro\, violin<br></span><span>Ella Kalinichenk
 o\, piano</span></em></p> <p><b><i>— </i></b><i><span>intermission —</span></i></p> <p><span>L
 argo\, Op. 73 for violin\, clarinet\, and piano (1902) -</span><span> </span><span><strong>Cha
 rles Ives </strong>(1874-1954)<br></span><em><span>Cameron DeLuca\, clarinet<br></span><span>T
 aylor DeCastro\, violin<br></span><span>Ella Ka
 linichenko\, piano</span></em></p> <p><span>Mou
 thpiece 28 (2016)</span> - <span><strong>Erin G
 ee</strong> <span> </span> <span>(b. 1974)<br></span></span><em><span styl e=' 400\;'>Cassidy Cheong\, voice<br></span><span>Rachel Reyes\, flute<br></span><span>Cameron DeLuca\, clarinet<br></span><span>
 Taylor DeCastro\, violin<br></span><span>Tyler 
 Smith\, percussion</span></em><br><br></p> <p><span>Lost Wind (2019) - </span><span><strong>Go
 lfam Khayam</strong> </span><span>(b. 1982)<br>
 </span><em><span>Rachel Reyes\, flute<br></span><span>Tyler Smith\, percussion</span></em></p>
  <hr> <h3>Program Notes</h3> <p><b></b><b>Salt for improvisers and piano (
 2007/2016) <br></b><i><span>Salt</span></i> began its life in 2005\, when I found myself
  driven by a chord of six notes. First I made a progression moving the cho
 rd by parallel motion. Then I changed the inner voices\, rotated the notes
 \, inverted the chord\, juxtaposed it with its mirror and other transposit
 ions of the chord\, and added more notes to the chord. To color the chord\
 , I added non-harmonic tones as ornamentation. These non-harmonic tones no
 rmally resolve to the harmonic tones\, and thus end up doubling the chord 
 tones themselves. In short\, I experimented with all the possibilities ope
 ned up by this one chord. The idea of transforming a single chord without 
 losing its fundamentals\, combined with the sparkling image of the ornamen
 ts\, reminded me of the properties of salt. Thus was born the title of the
  composition. Just as salt preserves its taste no matter what it is mixed 
 with\, the essence of the original chord of the piece is not lost througho
 ut the entire work. In order to enhance the metaphor\, the electronics use
 d in the piece—built on the resonance model of the main chord with spectra
 l transformation—employ the actual sound of dropping\, spreading and touch
 ing salt. Finally\, the title Salt also reflects my Christian faith and my
  musing on the words “Ye are the salt of the earth.” Thus the piece has th
 e touch\, taste and also the meaning of salt.<br>—</span><span>Jean Ahn</span></p> <p><b><i>Das Buch der hängenden Gärten
 </i></b><b> (Book of Hanging Gardens)\, Op. 15<br></b><span>Arnold Schoenberg’s </span><i><span>Das Buch der hängenden Gärten (Book of Hanging Gardens)\, Op. 15\,</span></i><span> is a landmark work in the composer’
 s early period\, marking a significant turning point in his development as
  a modernist. Composed between 1908 and 1909\, this song cycle is set to a
  German translation of poems by the Austrian poet Stefan George. Consistin
 g of 15 songs for voice and piano\, the cycle unfolds the story of a faile
 d love affair - tragically ending with the woman's departure and the disin
 tegration of the garden\, which serves as the symbolic landscape for the n
 arrative.</span></p> <p><span>In </span><i>Songs No. 3</span></i><span> and </span><i><span>No. 4</span></i>
 <span>\, the protagonist’s emotional journey to
  reach his beloved is portrayed. The third song reveals the lover’s emotio
 nal vulnerability\, awe\, and yearning for acceptance. Schoenberg accentua
 tes this internal struggle with jagged dissonances and a persistent rhythm
 ic motive that propels the music forward\, mirroring the protagonist’s anx
 ious longing. In the fourth song\, the lover contemplates a profound emoti
 onal state characterized by both desire and inhibition. Schoenberg’s highl
 y chromatic setting intensifies the sense of yearning and spiritual surren
 der. </span><span>At times\, the piano often do
 ubles the voice\, creating an intimate\, almost confessional sonority. In 
 other moments\, Schoenberg employs wide vocal glissandos\, further amplify
 ing the internal turmoil and the tension between restraint and overwhelmin
 g emotion.</span></p> <p><b>erwartung 3 (2018)<br></b><span>Known for her introspective approach to composition\, Eva-Mar
 ia Houben (b. 1955) draws inspiration from Arnold Schoenberg’s </span><i>&lt;
 span style='font-weight: 400\;'&gt;Erwartung\, Op. 15</span></i><span> for the aptly titled </span><i><span>erwartung 3</span></i> <span>for ens
 emble. Schoenberg’s one-act monodrama </span><i><span>Erwartung </span></i><span>concerns an a
 pprehensive woman searching for her lost lover in a dark forest only to di
 scover he has passed away. Houben presents a dense chord taken directly fr
 om Schoenberg\, but gives the ensemble directions to use this chord as “a 
 kind of landscape. exploring a still undiscovered landscape. entering a wo
 rld that is not yet known. encountering (perhaps) something unknown. detec
 ting where music might be found.” Further directions encourage performers 
 to enjoy “the beauty and fragility of one’s own sounds” and the “neighbour
 hoods and distances in the midst of the ensemble.” In Houben’s sound world
 \, the intense emotions of Schoenberg’s original </span><i><span>Erwartung</span></i><span> ca
 n take a new life. </span></p> <p><b>the underside of green (1994)<br></b>
 <span>„At this juncture we ought to say somethi
 ng about lights and colours. It is evident that colours vary according to 
 light\, as every colour appears different when in shade\, and placed under
  rays of light. Shade makes a colour dimmer\, and light makes it brighter 
 and clear. Colour is swallowed by the dark.“</span></p> <p><span> Loeon Battista Alberti: </span><i><span>On painting</span></i><span> (1435)
 <br></span><span> „Emerald\, Ruby\, Jacinth\, C
 halcedony\, Jasper. Colour\, like these jewels\, is precious. Even more pr
 ecious\, it cannot be possessed. Colour slips through the fingers and esca
 pes. You can´t lock it in a jewel box as it vanishes in the dark.“</span>&lt;
 /p&gt; <p><span>Derek Jarman:</span><i><span> Chroma</span></i><span> 
 (1994)<br></span><i><span>the underside of gree
 n\, CRIMSON – Molly´s Song 1</span></i><span> (
 1995) and Molly´s Song 3 – shades of crimson (1996) make up a cycle of com
 positions that were influenced by Molly Bloom´s closing monologue in James
  Joyce´s </span><i><span>Ulysses. </span></i><s pan>This relentless and intense monologue flows
  unpunctuated for 35 pages: </span></p> <p><span>„...and O that awful deep down torrent O and the sea the sea crimson som
 etimes like fire and the glorious sunsets and ...yes ...“  <br>—</span> Rebecca Saunders</span></p> <p><b>Largo\, O
 p. 73 for violin\, clarinet\, and piano (1902)<br></b><span>Composed during the early years of his career\, </span><i>Largo</span></i><span> was originally the second movement of a violin sonata Charles Ives w
 rote while he was a student at Yale. He later revised it for violin\, clar
 inet\, and piano\, and first published it in 1901 (though some sources dat
 e it to 1902). It stands as one of Ives' early works\, written at a time w
 hen he was starting to experiment with more unconventional musical ideas. 
 While the piece is purely instrumental\, without the folk tunes or hymns o
 ften associated with his later works\, it still reflects Ives' growing int
 erest in expanding the modern traditions.</span></p> <p><i><span>Largo</span></i><span> follow
 s the form of a classical slow movement\, beginning and ending in G Major 
 with a calm\, lyrical theme for violin and piano. The clarinet enters at a
  faster andante tempo\, leading into a lively ragtime section that introdu
 ces all three instruments. The music is marked by complex meters in the pi
 ano and asymmetrical melodic lines in the violin and clarinet\, resulting 
 in dissonant counterpoint and a distinctly twentieth-century sound.</span>
 </p> <p><b>Lost Wind (2019)<br></b><i><span>'Lo
 st Wind' (2019)</span></i><span> is a hidden mo
 nologue</span></p> <p><span>A monologue within 
 oneself as reflected in resonance of the Gong…</span></p> <p><span>Wandering in thoughts\, lost in its own land\, whisper
 ing the scream\, shouting out the silence... Finding rays of light\, a bre
 eze of hope…</span></p> <p><span>In Darkness\, 
 in lightness.<br>—</span><span>Golfam Khayam</s></p> <p><b>Mouthpiece 28 (2016)<br></b><span>The Mouthpieces began as solo vocal works\, devoid of semantic text or l
 anguage and notated with the International Phonetic Alphabet. In the Mouth
 piece series\, the voice is an instrument of sound production rather than 
 a vehicle of identity. Linguistic meaning is not the goal. The constructio
 n of the vocal text is often based on linguistic structure—vowel-consonant
  formation and the principle of the allophone—and is relatively quiet\, wi
 th an emphasis on the breath. My goal has been to construct intricate and 
 subtle patterns of a diverse array of vocal sounds. </span></p> <p><span s tyle=' 400\;'>I work with a concept I created\, called the 'su
 per mouth'\, in which the instrumental sounds imitate and expand the possi
 bilities of the solo vocal sounds. The mouth and voice can make pops/whisp
 ers and can sing and whistle etc.\, but when the entire ensemble becomes l
 ike a 'super mouth'\, it can combine the changing 'tone'\, the percussive\
 , and the airy elements of the voice and mix them with similar sounds perf
 ormed by the musicians\, creating a sound world that is more expansive and
  varied than what a single voice could create alone.</span></p> <p><span s tyle=' 400\;'>In the works for voice and ensemble\, the articu
 latory possibilities of the mouth are often mapped onto the instruments\, 
 mirroring and expanding the vocal sounds to form a kind of 'super-mouth' t
 hat can move beyond the physical limitations of a single vocal tract. Merg
 ing the voice with both the instruments and with breath\, and repeatedly r
 eturning to formlessness through “a more (or less) pronounced utterance of
  the mouth”. Degrees of pronounced utterance.  This has been the main idea
  behind the entire Mouthpiece series\, which began in 2000 and consists of
  about 30 works for solo voice\, voice and ensemble\, choir\, voice and or
 chestra\, string quartet\, opera and other combinations.  Not pre-meaning\
 , simply never in the direction of meaning. <br>—</span><span>Erin Gee</span></p> <h4>Composer Biographies</h4> <p><b>Jea
 n Ahn (b. 1976)<br></b><span>A native of Korea\
 , composer Jean Ahn</span> <span>(b. 1976) bega
 n her music studies in piano and composition at an early age. Her creative
  output includes works ranging from solo instruments and chamber music to 
 full orchestra\, as well as choral\, dance\, and electroacoustic music. Sh
 e received First Prize at the Renée Fisher Competition and the Sejong Kore
 an Music Competition. She has also received awards from the the Korean Nat
 ional Music Composers Association\, the De Lorenzo Prize in Music Composit
 ion\, and the Isadora Duncan Award for  Saltdoll.  She was a Finalist for 
 the Toulmin Prize (League of Orchestra Commissioning Competition) in 2019 
 and 2020\, and was a Finalist for the American Prize. </span></p> <p><span>She is the director of Ensemble ARI and is a l
 ecturer at UC Berkeley.  She is also the music director for CHIM studio\, 
 teaching music to special needs students.</span></p> <p><b>Arnold Schoenbe
 rg (1874-1951)<br></b><span>Arnold Schoenberg (
 1874-1951) was an Austrian composer and painter. Much of Schoenberg's musi
 c was not understood at first\, and it is a known historical fact that man
 y of his orchestras were received poorly at their first performance\, yet 
 the second performance would attract all sorts of praise. Schoenberg’s twe
 lve-tone technique would be used by several decorated musicians\, includin
 g Pierre Boulez\, Luigi Nono\, and his students Alban Berg and Anton Weber
 n. His collaborations with Alban Berg and Anton Webern were marked by twel
 ve-tone compositions\, along with some works that bordered on Mahlerian Ro
 manticism. Thus\, Arnold Schoenberg\, Alban Berg\, and Anton Webern were g
 iven the title of ‘The Second Viennese School’ for their exceptional influ
 ence in music.<br>—</span><span>Noel Morris</p> <p><b>Eva-Maria Houben (b. 1955)<br></b>Eva-Maria Houben (b. 1955)
  studied Music Education at Folkwang-Musikhochschule Essen and the organ w
 ith Gisbert Schneider. Following her exams she taught both German and Musi
 c Education at Secondary School. She received her doctorate and postdoctor
 al lecturing qualification in musicology and was called for lectures at Ge
 rhard-Mercator-Universität Duisburg and Robert-Schumann-Hochschule Düsseld
 orf. Since 1993 she has been lecturing at Dortmund University`s “Institut 
 für Musik und Musikwissenschaft”\, with both music theory and contemporary
  music as her focus. She performs works for organ and piano\, as soloist a
 s well as a member of duo\, trio\, ensemble.</p> <p><b>Rebecca Saunders (b
 .1967)<br></b><span>With her distinctive and in
 tensely striking sonic language\, Berlin-based British composer Rebecca Sa
 unders (b.1967) is a leading international representative of her generatio
 n.<br></span><span>Saunders pursues an intense 
 interest in the sculptural and spatial properties of organised sound and s
 eeks a close collaborative dialogue with a variety of contemporary musicia
 ns and artists.<br></span><span>Born in London\
 , she studied composition with Nigel Osborne and Wolfgang Rihm. Saunders h
 as received numerous prizes\, including the Ernst von Siemens Music Prize 
 2019\, and most recently received the Golden Lion for Music from the Venic
 e Biennale 2024. She received an Honorary Doctorate from the Universities 
 of Huddersfield in 2018 and Edinburgh in 2023. She is a member of the Acad
 emies of Arts in Berlin\, Dresden and Munich.</span></p> <p><b>Charles Ive
 s (1874-1954)<br></b><span>Born in Danbury\, Co
 nnecticut in 1874\, Charles Ives</span> <span>p
 ursued what is perhaps one of the most extraordinary and paradoxical caree
 rs in American music history. Businessman by day and composer by night\, I
 ves’s vast output has gradually brought him recognition as the most origin
 al and significant American composer of the late 19th and early 20th centu
 ries. Inspired by transcendentalist philosophy\, Ives sought a highly pers
 onalized musical expression through the most innovative and radical techni
 cal means possible. A fascination with bi-tonal forms\, poly-rhythms\, and
  quotation was nurtured by his father who Ives would later acknowledge as 
 the primary creative influence on his musical style. Studies at Yale with 
 Horatio Parker guided expert control over large-scale forms. Ironically\, 
 much of Ives’s work would not be heard until his virtual retirement from m
 usic and business in 1930 due to severe health problems. The conductor Nic
 olas Slonimsky\, music critic Henry Bellamann\, pianist John Kirkpatrick a
 nd the composers Lou Harrison and Henry Cowell all played a key role in in
 troducing Ives’s music to a wider audience. In 1947\, Ives was awarded the
  Pulitzer Prize for his </span><i><span>Symphon
 y No. 3</span></i><span>\, according to him a m
 uch deserved modicum of international renown. By his death in 1954\, he ha
 d witnessed a rise from obscurity to a position of unsurpassed eminence am
 ong the world’s leading performers and musical institutions.<br></span>—</span><span>Ric
 hard E. Rodda</span></p> <p><b>Golfam Khayam</b> <b>(b. 1982)<br></b><span>Iranian composer &amp; improviser\, Golfam Khayam'
 s (b. 1982) career reflects her unique musical language through the integr
 ation of her native musical elements within a contemporary experimental mu
 sical framework. Golfam has appeared extensively as performer\, composer\,
  and her music is being performed worldwide\, spreading her musical messag
 e in various projects which has been featured as in Elbphilharmonie\, NPR 
 ”songs we love'\, Danish Cultural Radio\, BBC3\, Deutchewele\, Royal Festi
 val Hall\, Ojai festival.</span></p> <p><span>W
 inner of numerous competitions\, scholarships\, and prizes. She has been n
 amed as the selected composer at the International Music Council\, Rostrum
  of composers in the 'Windows on the World' category in 2016 based in Pari
 s. Winner of Residency in Festival Aix en Provence. She received HES-SO fu
 ll fellowship award for the research project of  'New Vocabulary' shedding
  light on the concept of synthesis and cross culture fusion in contemporar
 y music . She has been actively giving workshops on the subject of improvi
 sation and synthesis as guest lecturer which includes Aarhus Royal Academy
 \, Copenhagen Royal Music Academy\, Geneva University\, Luzern Music Unive
 rsity. She is selected as composer in residence for ENOA network for Opera
  creation journey with Palau de les Arts Reina Sofía. She is currently Ass
 istant Professor at Art University of Tehran.</span></p> <p><b>Erin Gee (b
 . 1974)<br></b><span>Erin Gee (b. 1974)</span> 
 <span>was named to the short list of the most p
 rominent composer-vocalists of the twenty-first century by Alex Ross\, mus
 ic critic for The New Yorker\, in January 2014\, and has subsequently rece
 ived a Koussevitsky award\, a Bogliasco Fellowship and the Arts and Letter
 s Award in Music from the American Academy of Arts and Letters. She is bes
 t known for her Mouthpiece Series\, which is a series of 37 pieces and gro
 wing. In these works\, Erin Gee constructs elaborate and nuanced patterns 
 of a variety of vocal sounds using non-traditional vocal methods. None of 
 the vocal sounds are meant to convey meaning and the voice is employed\, r
 ather\, as a sound instrument\, not a vehicle of identity. In the Mouthpie
 ces\, the voice does not seek to convey linguistic meaning\, aiming instea
 d for esthetic\, cognitive\, and emotional resonances. </span></p> <p>The Mouthpieces started out as solo vocal com
 positions and is notated using the International Phonetic Alphabet. It all
  began with a single solo voice piece in 2000\, which she first performed 
 as a graduate student\, and has since grown to works for orchestra\, opera
 \, vocal ensemble\, large chamber ensemble\, and string quartet\, all of w
 hich have been performed internationally with some of the best new music e
 nsembles. Many renowned colleges\, including MIT\, University of Pennsylva
 nia\, Smith College\, and Mills College\, teach her works in their composi
 tion and musicology departments\, and she has lectured at Harvard\, UC Ber
 keley\, Dartmouth\, and Wellesley. </span></p> <p><span>A Guggenheim fellow\, Rome Prize Fellow and Radcliffe Fellow\, Er
 in Gee studied with Beat Furrer in Graz\, Austria and received her Ph.D. f
 rom the Kunstuniversität Graz in 2007.</span></p> <hr> <h3>Director Biogra
 phy</h3>
END:VEVENT
BEGIN:VEVENT
UID:a720257c-4b43-4916-96be-950d6c15a3c7
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20241203T183909Z
DESCRIPTION:<p>Rachel Huang\, a piano student of Robin McCabe\, performs mu
 sic by Muzio Clementi\, J.S. Bach\, Gabriel Fauré\, and Earl Wild in her d
 octoral degree recital.</p>\n<hr>\n<p></p>\n<h3>Program</h3>\n<strong>Muzi
 o Clementi</strong> - Sonata in B minor\, op. 40 no. 2\n<strong>J.S. Bach&lt;
 /strong&gt; - Toccata in D major\, BWV 912\n<strong>Gabriel Fauré</strong> - 
 Theme and Variations in C sharp minor\, op. 73\n<strong>Earl Wild</strong>
  - 7 Virtuoso Etudes after Gershwin: No. 3 Man I Love\, No. 4 Embraceable 
 You\, No. 7 Fascinating Rhythm\n<p></p>
DTSTART;TZID=America/Los_Angeles:20241208T110000
LAST-MODIFIED:20241203T183909Z
SEQUENCE:132
SUMMARY:: Degree Recital: Rachel Huang\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-08/degree-recital-rachel-hu
 ang-piano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Rachel Huang\, a piano student of Robin McC
 abe\, performs music by Muzio Clementi\, J.S. Bach\, Gabriel Fauré\, and E
 arl Wild in her doctoral degree recital.</p> <hr> <p></p> <h3>Program</h3>
  <div><strong>Muzio Clementi</strong> - Sonata in B minor\, op. 40 no. 2</div> <div><strong>J.S. Bach</strong> - Toccata in D major\, BWV 912</div> 
 <div><strong>Gabriel Fauré</strong> - Theme and Variations in C sharp mino
 r\, op. 73</div> <div><strong>Earl Wild</strong> - 7 Virtuoso Etudes after
  Gershwin: No. 3 Man I Love\, No. 4 Embraceable You\, No. 7 Fascinating Rh
 ythm</div> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:9bcf8dd8-1fab-45e0-bf1f-1999efae64c2
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240927T183019Z
DESCRIPTION:<p>Cello students of Sarah Rommel present an end-of-quarter rec
 ital.</p>\n<hr>\n<h3>Director Bio</h3>
DTSTART;TZID=America/Los_Angeles:20241208T140000
LAST-MODIFIED:20240927T183019Z
SEQUENCE:133
SUMMARY:: Cello Studio Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-08/cello-studio-recital
END:VEVENT
BEGIN:VEVENT
UID:584b8aa6-8e2e-4821-b805-4a456ba3b389
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T213833Z
DESCRIPTION:<p></p>\n<p>The UW Composition program presents an evening of w
 orks by student composers Eddie Mospan\, Alex Ryan\, Ryan Baker\, and Nich
 olas Mendonsa\,<strong> </strong>plus an improv session with UW composers 
 and friends. </p>\n<hr>\n<h3>Program</h3>\n<p></p>\n\n<p>minimal counterpo
 int — <strong>Eddie Mospan</strong><br>Hanu Nahm\, violin<br>Mica Weiland\
 , viola<br>Eddie Mospan\, contrabass</p>\n<p>Run for It — <strong>Alex Rya
 n</strong><br>Justin Zeitlinger\, violin<br>Cory Chen\, cello<br>Kaisho Ba
 rnhill\, piano</p>\n<p>untitled — <strong>Ryan Baker</strong><br>for fixed
  media</p>\n<p>imaginary webbing of the mouth — <strong>Nicholas Mendonsa&lt;
 /strong&gt;<br>Nicholas Mendonsa\, electric guitar<br>Justin Zeitlinger\, vio
 la<br>Eddie Mospan\, contrabass<br>Kaisho Barnhill\, piano</p>\n<p>Improv 
 Session — featuring UW composers &amp; friends</p>\n<hr>\n<h3>Program Notes\n<p><b>maginary webbing of the mouth -- Nicholas Mendonsa<br></b>Early 
 in my time in this program I’d aimed for high concept meta ideas\, with va
 rying degrees of (un)success.  Ironically\, the bigger the idea\, the smal
 ler the performing forces I worked with.  <br>During a composition lesson 
 last spring I’d started scheming a piece for strings\, with the suggestion
  of adding piano.  Starting to work with my initial materials (a relativel
 y scalar set of 6 pitches) I suddenly wondered\, “why the hell am I writin
 g for strings?”  The idea I had at the time struck me as vapid\, with an u
 nderlying assumption of obligation.<br>My gym session listening has lately
  often comprised of works by\, among others\, Alfred Schnittke\, Giacinto 
 Scelsi\, and the university’s own Joël-François Durand (no kidding.  I lov
 e wailing on my pecs to this stuff). Initially unbeknownst to me\, over ti
 me I’d moved beyond my impulses towards meta-conceptuality and reengaged m
 y fundamental love of sound.  Being a synesthete I decided merely to gener
 ate my own sensational side effects\, and since I didn’t care for the harm
 onic/melodic ideas of the aforementioned endeavor\, I decided I didn’t nee
 d scale or melody.  Inspired by Scelsi and Durand (and enjoying the oral s
 ensations the sonic textures triggered) I reduced the harmonic material to
  a single note\, microtonally varied while weaving a degree measured chaos
  through clashing rhythmic subdivisions of attack and movement\, while the
  piano offers a (very) basic nod to spectralist philosophy while satiating
  my love of apocalyptic low end.  Now I’d found my necessity to write for 
 strings.<br>This is\, in effect\, my reset.</p>\n \n\n\n<b>Run For It -- A
 lex Ryan</b>\n'Run For It' began as a whimsical musical interpretation of 
 a nature documentary depicting an iguana running for its life across a bea
 ch of hungry snakes. That original movement refused to come into focus and
  was abandoned\, but these two movements are meant to express the rising t
 ension before the flight and the frantic race that ensues. The 'Fug-not-O'
  is an informal exercise in stretto form. \n\n\n<hr>\n<h3>Director Biograp
 hies</h3>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20241208T193000
LAST-MODIFIED:20241206T214231Z
SEQUENCE:134
SUMMARY:: Composition Studio
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-09/composition-studio
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The UW Composition program presents
  an evening of works by student composers Eddie Mospan\, Alex Ryan\, Ryan 
 Baker\, and Nicholas Mendonsa\,<strong> </strong>plus an improv session wi
 th UW composers and friends. </p> <hr> <h3>Program</h3> <p></p> <div> <p>m
 inimal counterpoint — <strong>Eddie Mospan</strong><br><em><span>Hanu Nahm\, violin<br></span><span>Mica Weiland\, viola<br>
 </span><span>Eddie Mospan
 \, contrabass</span></em></p> <p>Run for It — <strong>Alex Ryan</strong><b r><em><span>Justin Zeitli
 nger\, violin<br></span><span>Cory Chen\, cello<br></span><span>Kaisho Barnhill\, piano</span></em></p> <p>untitled — Ryan Baker</strong><br><span>for fixed media</span></p> <p>imaginary webbing of the mouth — Nicholas Mendonsa</strong><br><em><span>Nicholas Mendonsa\, electric guitar<br></span><span styl e=' 1rem\;'>Justin Zeitlinger\, viola<br>
 </span><span>Eddie Mospan
 \, contrabass<br></span><span>Kaisho Barnhill\, piano</span></em></p> <p>Improv Session — featuring
  UW composers &amp; friends</p> <hr></div> <h3>Program Notes</h3> <p><b>magina
 ry webbing of the mouth -- Nicholas Mendonsa<br></b><span>Early in my time
  in this program I’d aimed for high concept meta ideas\, with varying degr
 ees of (un)success.  Ironically\, the bigger the idea\, the smaller the pe
 rforming forces I worked with.  </span><br><span>During a composition less
 on last spring I’d started scheming a piece for strings\, with the suggest
 ion of adding piano.  Starting to work with my initial materials (a relati
 vely scalar set of 6 pitches) I suddenly wondered\, “why the hell am I wri
 ting for strings?”  The idea I had at the time struck me as vapid\, with a
 n underlying assumption of obligation.</span><br><span>My gym session list
 ening has lately often comprised of works by\, among others\, Alfred Schni
 ttke\, Giacinto Scelsi\, and the university’s own Joël-François Durand (no
  kidding.  I love wailing on my pecs to this stuff). Initially unbeknownst
  to me\, over time I’d moved beyond my impulses towards meta-conceptuality
  and reengaged my fundamental love of sound.  Being a synesthete I decided
  merely to generate my own sensational side effects\, and since I didn’t c
 are for the harmonic/melodic ideas of the aforementioned endeavor\, I deci
 ded I didn’t need scale or melody.  Inspired by Scelsi and Durand (and enj
 oying the oral sensations the sonic textures triggered) I reduced the harm
 onic material to a single note\, microtonally varied while weaving a degre
 e measured chaos through clashing rhythmic subdivisions of attack and move
 ment\, while the piano offers a (very) basic nod to spectralist philosophy
  while satiating my love of apocalyptic low end.  Now I’d found my necessi
 ty to write for strings.</span><br><span>This is\, in effect\, my reset.</span></p> <div><span class='gmail_signature_prefix'> </span></div> <div> &lt;
 div dir='ltr'&gt; <div><b>Run For It -- Alex Ryan</b></div> <div>'Run For It'
  began as a whimsical musical interpretation of a nature documentary depic
 ting an iguana running for its life across a beach of hungry snakes. That 
 original movement refused to come into focus and was abandoned\, but these
  two movements are meant to express the rising tension before the flight a
 nd the frantic race that ensues. The 'Fug-not-O' is an informal exercise i
 n stretto form. </div> </div> </div> <hr> <h3>Director Biographies</h3> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:4bf504c3-eab1-49a1-b1cb-abe3b7e0e5b8
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240702T162136Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20241219T120000
LAST-MODIFIED:20240702T162136Z
SEQUENCE:135
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-19/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:ebd3f521-bdae-45ef-a340-a3f9b8fe78c0
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240930T163505Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20250107T120000
LAST-MODIFIED:20240930T163505Z
SEQUENCE:136
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-01-07/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:576d88c9-1443-460a-af92-d4da123f307d
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20240801T171613Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<h2 class='x_MsoNormal'>Featured Performers</h2>\n\n\n\n\n\n\nUW Saxophone Ensemble 
 \n\nFull program <a href='/sites/music/files/documents/january_8.pdf'>HERE
 </a>\n\n\n\n\n\n\n\n<p class='x_MsoNormal'></p>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250108T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:137
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-01-08/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <h2 class='x_MsoN
 ormal'><span>Featured Performers</span></h2> <div class='elementToProof'> 
 <div class='elementToProof'> <div class='elementToProof'> <div class='elem
 entToProof'> <div class='elementToProof'> <div class='x_elementToProof Con
 tentPasted0'> <div class='x_elementToProof ContentPasted0'><span>UW Saxoph
 one Ensemble </span></div> <div class='x_elementToProof ContentPasted0'><s pan></span></div> <div class='x_elementToProof ContentPasted0'><span>Full 
 program <a href='/sites/music/files/documents/january_8.pdf'>HERE</a></div> </div> </div> </div> </div> </div> </div> <div> <p class='x_MsoNo
 rmal'><span></span></p> <p></p> </div>
END:VEVENT
BEGIN:VEVENT
UID:7acc7bea-d12d-4264-9c5b-5768dafe8ed1
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T172406Z
DESCRIPTION:<p></p>\n<p>Stage director Kelly Kitchens and music director An
 drew Romanick lead UW Voice students in performing excerpts from Benjamin 
 Britten’s Turn of the Screw and Engelbert Humperdinck’s Hansel and Gretel.
  With members of the UW Symphony (Ryan D. Farris\, conductor).</p>\n<p>Notes: No Late Seating! This production presents themes that may not 
 be appropriate for children.</strong> Please call the Meany Box Office (20
 6-543-4880\, 12 to 4 pm Monday through Friday) to request a reservation fo
 r Visual Description technology. </p>\n<hr>\n<h3><b> SYNOPSES </b></h3>\n&lt;
 p&gt;THE TURN OF THE SCREW<br>Based on Henry James’s chilling novella\, Benja
 min Britten’s opera The Turn of the Screw tells the story of a governess d
 esperate to protect her wards from evil as they experience strange encount
 ers at a remote country house. But are the apparitions what they seem? A m
 asterpiece of suspense and ambiguity\, this opera continues to keep audien
 ces on the edge of their seats.  </p>\n<p>HANSEL AND GRETEL<br>Based on th
 e fairy tale by the Brothers Grimm\, Engelbert Humperdinck’s beloved opera
  follows the harrowing journey of two siblings abandoned by their impoveri
 shed parents and now facing the perilous world on their own. After being l
 ured by treats\, Hansel and Gretel find themselves trapped in a house of h
 orrors. If they want to make it out alive\, they have to find the courage 
 and the wits to escape Sugarface.</p>\n<hr>\n<h3><b>PRODUCTION TEAM  </b>&lt;
 /h3&gt;\n<p>Kelly Kitchens\, Stage Director<br>Andrew Romanick\, Music Direct
 or<br>Ryan D. Farris\, Conductor<br>Trevor Cushman\, Lighting Designer<br>
 Chelsea Cook\, Costume Designer<br>Robin McCartney\, Scenic and Props Desi
 gner<br>Nathan Young and Ian McGeoy\, Video Coordinators<br>Savannah Ruthe
 rford\, Assistant Director and Stage Manager<br>Gabe Stefanides\, Assistan
 t Stage Manager<br>Mara Mihali\, Assistant Stage Manage</p>\n<h3>CAST </h3>\n<p><strong>(In order of appearance)</strong></p>\n<h4>Hansel and Gretel
 </h4>\n<p>Mallory McCollum: Dew<br>Sarah Santos: Gretel<br>Isabelle Villan
 ueva: Hansel<br>Karen Dunstan: Sugarface</p>\n<h4>Turn of the Screw</h4>\n
 <p>Tri V. Nguyen: Prologue<br>Adia Bown: Governess<br>Zachary Fitzgerald: 
 Quint<br>Lainey Graham: Miles<br>Cassidy Cheong: Flora <br>Sydney Belden: 
 Miss Jessel<br>Maria Soledad Mayorga Maldonado: Mrs. Grose</p>\n<p><strong>ORCHESTRA PERSONNEL<br></strong>Rachel Reyes - Flute/Piccolo/Alto Flute<b r>Minh-Thi Butler - Oboe/English Horn<br>Ysanne Webb - Clarinet<br>Cameron
  DeLuca - Clarinet/Bass Clarinet<br>Ryan Kapsandy - Bassoon<br>Nicole Bogn
 er - Horn<br>Elise Moe - Horn<br>Kyle Jenkins - Trumpet<br>Nathaniel Wytte
 nbach - Trombone<br>Abigail George - Timpani/Percussion<br>Kaisho Barnhill
  - Percussion<br>Kelly Hou - Harp<br>Kane Chang - Piano/Celeste<br>Grace P
 andra - Violin<br>Hanu Nahm - Violin<br>Flora Cummings - Viola<br>Cory Che
 n - Cello<br>Nathan Eskridge - Bass</p>\n<hr>\n<h3><b>PROGRAM NOTE  </b><b r></h3>\n<p>Opera Workshop\, University of Washington\, School of Music<br>Selections from Hansel &amp; Gretel and The Turn of the Screw</p>\n<p><b>Hans
 el and Gretel</b><b> <br></b>The fairy tale of Hansel and Gretel by the Br
 others Grimm has captivated audiences for generations with its compelling 
 and harrowing journey of two abandoned young people forced to forge their 
 way through a world filled with darkness and danger. The story continues t
 o resonate with audiences and offers countless opportunities for adaptatio
 n and interpretation.</p>\n<p>Engelbert Humperdinck's operatic rendition o
 f Hansel and Gretel (1893) is renowned for its lush\, expressive score tha
 t blends elements of German Romanticism with folk influences. The music is
  rich in orchestral color and memorable melodies\, powerfully capturing th
 e fairy tale's atmosphere and emotional range. With its masterful blend of
  melodic richness\, dramatic tension\, and thematic cohesion\, Humperdinck
 's Hansel and Gretel remains one of the most beloved works in the operatic
  repertoire.</p>\n<p>In this production’s reimagining of the classic story
 \, the setting shifts from the familiar fairy-tale world to an analogous c
 ontemporary context: the global Great Recession of 2008-2009. During this 
 time\, the world was gripped by the worst financial crisis since the Great
  Depression. The Great Recession's widespread unemployment\, foreclosures\
 , and poverty left countless families struggling to survive and forced the
 m to make impossible decisions while on--and often beyond--the brink of di
 saster. </p>\n<p>This interpretation of Hansel and Gretel invites audience
 s to reconsider the fairy-tale archetypes\, exploring them beyond their fa
 nciful elements\, and seeing them rather as reflections of the real and ur
 gent struggles facing humanity in a fractured world. Whether in an enchant
 ed forest or in a nonfictional world of economic devastation\, Hansel and 
 Gretel serves as a warning and a reflection of how much fight even uncerta
 in survival necessitates in treacherous circumstances.</p>\n<p><b>Turn of 
 the Screw<br></b>Benjamin Britten’s The Turn of the Screw (1954)\, based o
 n Henry James's gothic novella of the same name\, delves into the unsettli
 ng realm of psychological horror\, where nothing is quite what it seems. S
 et in a remote country estate\, the opera tells the story of an unnamed Go
 verness tasked with caring for two seemingly innocent children\, Miles and
  Flora\, who become entwined in eerie and inexplicable events. The Governe
 ss\, determined to protect her wards from what she perceives as unseen evi
 l\, encounters the spectral figures of two former servants\, Peter Quint a
 nd Miss Jessel. Are these apparitions real? Or are they figments of the go
 verness’s disturbed imagination? </p>\n<p>The chilling atmosphere of The T
 urn of the Screw evokes a Brontë-esque sense of isolation and a foreboding
  mood of Hitchcockian tension—building with a psychological intensity that
  leaves the audience questioning the nature of the threat. Britten’s adapt
 ation preserves the novel’s ambiguity\, ensuring that its supernatural ele
 ments remain open to interpretation. The opera does not present the ghosts
  as clear-cut manifestations of evil\; instead\, it leaves their motives a
 nd often their presence uncertain. </p>\n<p>The music in The Turn of the S
 crew is as taut and elusive as the story itself. Britten\, a composer know
 n for his precision\, constructs a musical world that mirrors the novella’
 s psychological complexity. The opera’s form is driven by a dynamic use of
  theme and variations\, a technique that Britten employed to shape the dra
 ma. The variations punctuate the opera’s rapid succession of scenes\, addi
 ng layers of tension and shifting moods\, much like the story's constant o
 scillation between reality and illusion.</p>\n<p>Britten’s opera remains a
  masterpiece of ambiguity. Moment to moment it weaves an ever-building\, m
 agnetic atmosphere of uncertainty and unease\, as hinted by the title. Aki
 n to the governess’s own unreliable perspective\, the opera leaves its mea
 ning open-ended\, allowing audiences to draw their own conclusions about t
 he nature of evil and the reliability of perception.</p>\n<hr>\n<h3>Biogra
 phies</h3>\n<p><b>Isabelle Villanueva<br></b>Isabelle Villanueva is a Juni
 or pursuing a double degree in Vocal Performance and Psychology\, with a p
 assion for merging these fields to explore music-based therapies in Pediat
 ric Psychology. She serves as a research assistant for the Culture\, Diver
 sity\, and Health Lab\, focusing on mitigating healthcare disparities. A f
 ive-time Puget Sound NATS champion\, Isabelle recently performed as Venus 
 in Philemon und Baucis. She expresses deep gratitude to the cast and crew 
 for their contributions to this memorable production. Isabelle’s Junior De
 gree Recital is scheduled for May 2025.</p>\n<p><strong>Lainey Graham<br>&lt;
 /strong&gt;Lainey is a sophomore studying vocal performance under Dr. Carrie 
 Shaw\, and is working toward a double degree in history with hopes to even
 tually teach. She sings with the University Chorale and Chamber Singers at
  UW. Lainey is from the Denver area\, and prior to starting college\, she 
 spent a year interning at an outdoor school in Evergreen\, CO\, where she 
 once narrowly avoided an encounter with a moose. Outside of music\, Lainey
  is enjoys listening to podcasts\, painting\, and taking photos of the cro
 ws on campus.”</p>\n<p><strong>Adia Bowen</strong><br>Adia Bowen Tsi Sʔuyu
 ʔaɫ is in her final year at the University of Washington\, where she is co
 mpleting dual degrees in American Indian Studies and Vocal Performance. Sh
 e was awarded first place in the Northwest Collegiate Soprano Division of 
 the 2023-2024 NATS Competition last december. Adia’s love for both musical
  theater and opera drives her artistic pursuits. Her recent credits includ
 e Suor Angelica in the opera Suor Angelica at Western Washington Universit
 y\, La Musique in UW’s Les Arts Florissants\, and Sister 13 in the world p
 remiere of the musical Come on Get Tappy! with Outright Onstage. She was a
 lso part of the chorus for Tacoma Opera’s La Bohème in October 2023. Adia 
 is a 2024-2025 Tacoma Opera Young Artist\, where she will appear as Nella 
 in their upcoming production of Gianni Schicchi in February 2025. In March
 \, she will perform as a soloist with the Seattle Symphony in The Healing 
 Heart of the First People of This Land.</p>\n<p><strong>Cassidy </strong>&lt;
 b&gt;Cheong</b><br>Cassidy Cheong is currently pursuing her Master of Music d
 egree in Vocal Performance at the University of Washington where she is st
 udying with Dr. Carrie Shaw. She is a 2024-2025 Tacoma Opera Young Artist\
 , as well as a recent graduate with honors from Swarthmore College with a 
 BA in Music and Political Science. Cassidy received the 2022 Boyd Barnard 
 Prize for musical excellence\, 2023 Peter Gram Swing Prize in Music\, and 
 the 2023 Lucretia Mott Award. In addition to opera\, she is passionate abo
 ut performing early music\, contemporary music\, and beyond. Recent perfor
 mance credits include La suora infermiera in Puccini’s Suor Angelica at Qu
 eens Summer Vocal Institute\, La poësie in Marc-Antoine Charpentier’s Les 
 arts florissants with the University of Washington\, Lowbrow Opera Collect
 ive’s production of Sweets by Kate\, and featured soloist in Vivaldi’s Glo
 ria with the Magnolia Chorale. </p>\n<p><strong>Sydney Belden</strong><br>
 Sydney is so excited to spook you as Miss Jessel! Syd graduated this year 
 from UW with a BM in Vocal Performance and a BA in Environmental Studies. 
 She also was a member of the Alpha Chi Omega sorority and was an intern fo
 r the Seattle Subway Foundation for her Environmental Capstone. In the pas
 t she sang as a performing member for the Ladies Musical Club of Seattle\,
  a chorister for the Puget Sound Concert Opera\, an ambassador for the Sea
 ttle Opera Guild (where she was a finalist in their 2021 Singer’s Developm
 ent Awards)\, and was a Choral Section Leader Intern at UCUCC. In Summer 2
 023\, she had the pleasure of performing in Austria (Belinda in Dido and A
 neas) and Germany (Zweite Dame in Die Zauberflöte). Currently\, she is a 
 member of the Tacoma Opera's Young and Emerging Artist Program and has per
 formed in their productions of Carmen\, La Boheme\, and Madama Butterfly. 
 Sydney is extremely grateful for the kindness\, guidance\, and support of 
 her directors\, friends\, colleagues\, and family. </p>\n<p><strong>Sarah 
 Santos</strong><br>Sarah Santos\, soprano\, hails from Houston\, Texas\, a
 nd holds a Master’s of Music in Voice Performance from the University of W
 ashington. She has performed as Farinelli’s Trainer in David T. Little’s V
 inkensport\, Maria in West Side Story\, and was praised by Broadway World 
 for her ‘glorious high notes’ as Constance in The Sorceror. Sarah is an em
 erging artist with Tacoma Opera and is also a member of Choral Arts Northw
 est under the direction of Tim Westerhaus. Sarah enjoys watching shows wit
 h her friends\, leveling up her hikes\, and napping with her cat\, Obi.</p>\n<p><strong>Zachary Fitzgerald</strong><br>A tenor for the ages' and new
  to the Pacific Northwest Zachary Fitzgerald has performed internationally
  within the Lorenzo Malfatti Academia Vocale di Lucca\, Tacoma opera\, Cin
 cinnati Opera\, and Kent State Opera. Along with his performance resume Za
 chary most recently finished studies at Kent State receiving master's degr
 ees in Vocal Performance and Choral Conducting. Zach will now complete his
  Doctorate in Vocal Performance studying with Professor Tom Harper at the 
 University of Washington. Special thanks to Dr. Mary Sue Hyatt\, Timothy C
 ulver\, and Mark and Valerie Kennedy for their support of Zach's voice. Vi
 sit Zacharyfitzgeraldtenor.com for even more information about his singing
 .</p>\n<p><strong>Karen Dunstan</strong><br>Karen Dunstan (she/he/they) is
  a soprano hailing from Ypsilanti\, Michigan. Karen performs in the Seattl
 e area\, most recently in Lowbrow OC’s production of Sweets by Kate\, and 
 upcoming as Zita in Tacoma Opera’s production of Gianni Schicchi. A Univer
 sity of Washington alumnus\, Karen played Holy St. Francis’ Trainer in UW’
 s Opera Workshop 2022 production of Vinkensport\, and Baucis in the 2023 p
 roduction of Philemon und Baucis. Karen will be playing the Witch once mor
 e in NOISE: Northwest Opera In Schools\, Etcetera Spring 2025 production o
 f Hansel and Gretel. Karen is passionate about inclusivity and broad acces
 s to opera\, particularly with regard to queer representation\, and examin
 ed the history of queer representation in opera in their project “Someone 
 Will Remember Us: Queer Narratives in Opera and Art Song”. They are thrill
 ed to be playing their first pants role.</p>\n<p><strong>Mallory McCollum&lt;
 /strong&gt;<br>Mallory holds a BM in Music Education with a credential to tea
 ch K-12 Band\, Choral\, Orchestral\, and General music\, and a Master’s of
  Music in Vocal Performance. She is currently studying with Thomas Harper 
 while pursuing her Doctorate in Vocal Performance at the University of Was
 hington. Mallory has also been fortunate to study direction and production
  with Kelly Kitchens\, and most recently assisted directed the University 
 of Washington (UW) 2023 Opera (Philemon und Bachis) and UW’s Spring and Fa
 ll 2023-24 Opera Scenes. She has sung several operatic roles\, including R
 ose Maurant in Street Scene\, Rosalinde in Die Fledermaus\, Mabel in The P
 irates of Penzance\, and as Diana in Philemon und Bachis. Mallory has also
  played Marian Paroo in The Music Man\,  Esther Smith in Meet Me in St. Lo
 uis\, and Eliza Doolittle in My Fair Lady.</p>\n<p><strong>Soledad Mayorga
 -Maldonado</strong><br>Soledad Mayorga-Maldonado is a Chilean soprano born
 \, raced and trained in Santiago de Chile. She was a soprano for ten years
  both in the Camerata Vocal and Symphonic Choir of Universidad de Chile\, 
 where she has also been a soloist with several national and international 
 conductors\, in works by Mozart\, Bach and Mendelssohn\, among others\, al
 ong with the National Symphony Orchestra of Chile.</p>\n<p>In her role as 
 a trainer of new generations\, she was a professor in the Music Pedagogy C
 areer at the University of Valparaiso\, where she was in charge of the Voi
 ce Education course. From 2024 she is pursuing her Master's Degree in Voca
 l Performance at the UW.</p>\n<p><strong>Trí Nguyễn</strong><br> Tri Nguye
 n is a Tenor from Everett\, Washington. Previously involved in Haydn's Phi
 lemon und Baucis at UW as a chorus member &amp; cover\, Tri has also sung as E
 unuco &amp; Chorus in Verdi's Il Corsaro at Puget Sound Concert Opera and as P
 rincipe Yamadori in Puccini's Madama Butterfly with Tacoma Opera. This Feb
 ruary\, he will rejoin the Tacoma Opera cast as Gherardo in Puccini's Gian
 ni Schicchi\, his first sizable role in a professional opera company. Outs
 ide of opera\, you may find Tri as a student at UW studying Mechanical Eng
 ineering and Computer Science\, as he prepares to be a corporate slave and
  opera singer after graduating this year.</p>\n<h3></h3>
DTSTART;TZID=America/Los_Angeles:20250111T193000
LAST-MODIFIED:20250107T234247Z
SEQUENCE:138
SUMMARY:: Opera Workshop: Excerpts\, Turn of the Screw\; Hansel and Gretel
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-01-12/opera-workshop-excerpts-
 turn-screw-hansel-and-gretel
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><i></i></p> <p>Stage director Kelly Kitchen
 s and music director Andrew Romanick lead UW Voice students in performing 
 excerpts from Benjamin Britten’s <em>Turn of the Screw</em> and Engelbert 
 Humperdinck’s <em>Hansel and Gretel.</em> With members of the UW Symphony 
 (Ryan D. Farris\, conductor).</p> <p><strong>Notes: No Late Seating! This 
 production presents themes that may not be appropriate for children. Please call the Meany Box Office (<span>206-543-4880\, 12 to 4 pm Mond
 ay through Friday) </span>to request a reservation for Visual Description 
 technology. </p> <hr> <h3><b> SYNOPSES </b></h3> <p><i><span>THE TURN OF THE SCREW<br></span></i><span>Based on Henry James’s chilling novella\, Benjamin Britten’s oper
 a </span><i><span>The Turn of the Screw </span>
 </i><span>tells the story of a governess desper
 ate to protect her wards from evil as they experience strange encounters a
 t a remote country house. But are the apparitions what they seem? A master
 piece of suspense and ambiguity\, this opera continues to keep audiences o
 n the edge of their seats. </span><span> </span></p> <p><i><span>HANSEL AND GRETEL<br></span>&lt;
 /i&gt;<span>Based on the fairy tale by the Brother
 s Grimm\, Engelbert Humperdinck’s beloved opera follows the harrowing jour
 ney of two siblings abandoned by their impoverished parents and now facing
  the perilous world on their own. After being lured by treats\, Hansel and
  Gretel find themselves trapped in a house of horrors. If they want to mak
 e it out alive\, they have to find the courage and the wits to escape Suga
 rface.</span></p> <hr> <h3><b>PRODUCTION TEAM  </b></h3> <p><span>Kelly Kitchens\, Stage Director<br></span><span>Andrew Romanick\, Music Director<br></span><span>Ryan D. Farris\, Conductor<br></span><span>Trevor Cushman\, Lighting Designer<br></span><span>Chelsea Cook\, Costume Designer<br></span><span styl e=' 400\;'>Robin McCartney\, Scenic and Props Designer<br><span>Nathan Young and Ian McGeoy\, Video Co
 ordinators<br></span><span>Savannah Rutherford\
 , Assistant Director and Stage Manager<br></span><span>Gabe Stefanides\, Assistant Stage Manager<br></span><span>Mara Mihali\, Assistant Stage Manage</span></p> <h3>CAST </span></h3> <p><strong>(In order of ap
 pearance)</strong></p> <h4>Hansel and Gretel</h4> <p><span>Mallory McCollum: Dew<br></span><span>Sarah Santos: Gretel<br></span><span>Isabell
 e Villanueva: Hansel<br></span><span>Karen Duns
 tan: Sugarface</span></p> <h4>Turn of the Screw</h4> <p><span>Tri V. Nguyen: Prologue<br></span><span>Adia Bown: Governess<br></span><span>Za
 chary Fitzgerald: Quint<br></span><span>Lainey 
 Graham: Miles<br></span><span>Cassidy Cheong: F
 lora <br></span><span>Sydney Belden: Miss Jesse
 l<br></span><span>Maria Soledad Mayorga Maldona
 do: Mrs. Grose</span></p> <p><strong>ORCHESTRA PERSONNEL<br></strong>Rache
 l Reyes - Flute/Piccolo/Alto Flute<br>Minh-Thi Butler - Oboe/English Horn&lt;
 br&gt;Ysanne Webb - Clarinet<br>Cameron DeLuca - Clarinet/Bass Clarinet<br>Ry
 an Kapsandy - Bassoon<br>Nicole Bogner - Horn<br>Elise Moe - Horn<br>Kyle 
 Jenkins - Trumpet<br>Nathaniel Wyttenbach - Trombone<br>Abigail George - T
 impani/Percussion<br>Kaisho Barnhill - Percussion<br>Kelly Hou - Harp<br>K
 ane Chang - Piano/Celeste<br>Grace Pandra - Violin<br>Hanu Nahm - Violin<b r>Flora Cummings - Viola<br>Cory Chen - Cello<br>Nathan Eskridge - Bass</p> <hr> <h3><b>PROGRAM NOTE  </b><span><br></h3> <p><span>Opera Workshop\, University of
  Washington\, School of Music<br></span><span>S
 elections from </span><i><span>Hansel &amp; Gretel&lt;
 /span&gt;</i><span> and </span><i><span>The Turn of the Screw</span></i></p> <p><b><i>Hansel and 
 Gretel</i></b><b> <br></b><span>The fairy tale 
 of </span><i><span>Hansel and Gretel</span></i>
 <span> by the Brothers Grimm has captivated aud
 iences for generations with its compelling and harrowing journey of two ab
 andoned young people forced to forge their way through a world filled with
  darkness and danger. The story continues to resonate with audiences and o
 ffers countless opportunities for adaptation and interpretation.</span></p> <p><span>Engelbert Humperdinck's operatic ren
 dition of </span><i><span>Hansel and Gretel </s></i><span>(1893) is renowned for its lush\,
  expressive score that blends elements of German Romanticism with folk inf
 luences. The music is rich in orchestral color and memorable melodies\, po
 werfully capturing the fairy tale's atmosphere and emotional range. With i
 ts masterful blend of melodic richness\, dramatic tension\, and thematic c
 ohesion\, Humperdinck's </span><i><span>Hansel 
 and Gretel</span></i><span> remains one of the 
 most beloved works in the operatic repertoire.</span></p> <p><span>In this production’s reimagining of the classic story\
 , the setting shifts from the familiar fairy-tale world to an analogous co
 ntemporary context: the global Great Recession of 2008-2009. During this t
 ime\, the world was gripped by the worst financial crisis since the Great 
 Depression. The Great Recession's widespread unemployment\, foreclosures\,
  and poverty left countless families struggling to survive and forced them
  to make impossible decisions while on--and often beyond--the brink of dis
 aster. </span></p> <p><span>This interpretation
  of </span><i><span>Hansel and Gretel</span></i><span> invites audiences to reconsider the fai
 ry-tale archetypes\, exploring them beyond their fanciful elements\, and s
 eeing them rather as reflections of the real and urgent struggles facing h
 umanity in a fractured world. Whether in an enchanted forest or in a nonfi
 ctional world of economic devastation\, </span><i><span>Hansel and Gretel</span></i><span> ser
 ves as a warning and a reflection of how much fight even uncertain surviva
 l necessitates in treacherous circumstances.</span></p> <p><b><i>Turn of t
 he Screw<br></i></b><span>Benjamin Britten’s </span><i><span>The Turn of the Screw</span></i>&lt;
 span style='font-weight: 400\;'&gt; (1954)\, based on Henry James's gothic no
 vella of the same name\, delves into the unsettling realm of psychological
  horror\, where nothing is quite what it seems. Set in a remote country es
 tate\, the opera tells the story of an unnamed Governess tasked with carin
 g for two seemingly innocent children\, Miles and Flora\, who become entwi
 ned in eerie and inexplicable events. The Governess\, determined to protec
 t her wards from what she perceives as unseen evil\, encounters the spectr
 al figures of two former servants\, Peter Quint and Miss Jessel. Are these
  apparitions real? Or are they figments of the governess’s disturbed imagi
 nation? </span></p> <p><span>The chilling atmos
 phere of </span><i><span>The Turn of the Screw&lt;
 /span&gt;</i><span> evokes a Brontë-esque sense of
  isolation and a foreboding mood of Hitchcockian tension—building with a p
 sychological intensity that leaves the audience questioning the nature of 
 the threat. Britten’s adaptation preserves the novel’s ambiguity\, ensurin
 g that its supernatural elements remain open to interpretation. The opera 
 does not present the ghosts as clear-cut manifestations of evil\; instead\
 , it leaves their motives and often their presence uncertain. </span></p> 
 <p><span>The music in </span><i><span>The Turn of the Screw</span></i><span> is as taut and elusive as the story itself. Britten\, a composer
  known for his precision\, constructs a musical world that mirrors the nov
 ella’s psychological complexity. The opera’s form is driven by a dynamic u
 se of theme and variations\, a technique that Britten employed to shape th
 e drama. The variations punctuate the opera’s rapid succession of scenes\,
  adding layers of tension and shifting moods\, much like the story's const
 ant oscillation between reality and illusion.</span></p> <p><span>Britten’s opera remains a masterpiece of ambiguity. Mom
 ent to moment it weaves an ever-building\, magnetic atmosphere of uncertai
 nty and unease\, as hinted by the title. Akin to the governess’s own unrel
 iable perspective\, the opera leaves its meaning open-ended\, allowing aud
 iences to draw their own conclusions about the nature of evil and the reli
 ability of perception.</span></p> <hr> <h3><span></span>Biographies</h3> <p><b>Isabelle Villanueva<br></b>Isabelle Villan
 ueva is a Junior pursuing a double degree in Vocal Performance and Psychol
 ogy\, with a passion for merging these fields to explore music-based thera
 pies in Pediatric Psychology. She serves as a research assistant for the C
 ulture\, Diversity\, and Health Lab\, focusing on mitigating healthcare di
 sparities. A five-time Puget Sound NATS champion\, Isabelle recently perfo
 rmed as Venus in Philemon und Baucis. She expresses deep gratitude to the 
 cast and crew for their contributions to this memorable production. Isabel
 le’s Junior Degree Recital is scheduled for May 2025.</p> <p><strong>Laine
 y Graham<br></strong>Lainey is a sophomore studying vocal performance unde
 r Dr. Carrie Shaw\, and is working toward a double degree in history with 
 hopes to eventually teach. She sings with the University Chorale and Chamb
 er Singers at UW. Lainey is from the Denver area\, and prior to starting c
 ollege\, she spent a year interning at an outdoor school in Evergreen\, CO
 \, where she once narrowly avoided an encounter with a moose. Outside of m
 usic\, Lainey is enjoys listening to podcasts\, painting\, and taking phot
 os of the crows on campus.”</p> <p><strong>Adia Bowen</strong><br>Adia Bow
 en Tsi Sʔuyuʔaɫ is in her final year at the University of Washington\, whe
 re she is completing dual degrees in American Indian Studies and Vocal Per
 formance. She was awarded first place in the Northwest Collegiate Soprano 
 Division of the 2023-2024 NATS Competition last december. Adia’s love for 
 both musical theater and opera drives her artistic pursuits. Her recent cr
 edits include Suor Angelica in the opera Suor Angelica at Western Washingt
 on University\, La Musique in UW’s Les Arts Florissants\, and Sister 13 in
  the world premiere of the musical Come on Get Tappy! with Outright Onstag
 e. She was also part of the chorus for Tacoma Opera’s La Bohème in October
  2023. Adia is a 2024-2025 Tacoma Opera Young Artist\, where she will appe
 ar as Nella in their upcoming production of Gianni Schicchi in February 20
 25. In March\, she will perform as a soloist with the Seattle Symphony in 
 The Healing Heart of the First People of This Land.</p> <p><strong>Cassidy
  </strong><b>Cheong</b><br>Cassidy Cheong is currently pursuing her Master
  of Music degree in Vocal Performance at the University of Washington wher
 e she is studying with Dr. Carrie Shaw. She is a 2024-2025 Tacoma Opera Yo
 ung Artist\, as well as a recent graduate with honors from Swarthmore Coll
 ege with a BA in Music and Political Science. Cassidy received the 2022 Bo
 yd Barnard Prize for musical excellence\, 2023 Peter Gram Swing Prize in M
 usic\, and the 2023 Lucretia Mott Award. In addition to opera\, she is pas
 sionate about performing early music\, contemporary music\, and beyond. Re
 cent performance credits include La suora infermiera in Puccini’s Suor Ang
 elica at Queens Summer Vocal Institute\, La poësie in Marc-Antoine Charpen
 tier’s Les arts florissants with the University of Washington\, Lowbrow Op
 era Collective’s production of Sweets by Kate\, and featured soloist in Vi
 valdi’s Gloria with the Magnolia Chorale. </p> <p><strong>Sydney Belden</s><br>Sydney is so excited to spook you as Miss Jessel! Syd graduated 
 this year from UW with a BM in Vocal Performance and a BA in Environmental
  Studies. She also was a member of the Alpha Chi Omega sorority and was an
  intern for the Seattle Subway Foundation for her Environmental Capstone. 
 In the past she sang as a performing member for the Ladies Musical Club of
  Seattle\, a chorister for the Puget Sound Concert Opera\, an ambassador f
 or the Seattle Opera Guild (where she was a finalist in their 2021 Singer’
 s Development Awards)\, and was a Choral Section Leader Intern at UCUCC. I
 n Summer 2023\, she had the pleasure of performing in Austria (Belinda in 
 Dido and Aneas) and Germany (Zweite Dame in Die Zauberflöte). Currently\,
  she is a member of the Tacoma Opera's Young and Emerging Artist Program a
 nd has performed in their productions of Carmen\, La Boheme\, and Madama B
 utterfly. Sydney is extremely grateful for the kindness\, guidance\, and s
 upport of her directors\, friends\, colleagues\, and family. </p> <p>Sarah Santos</strong><br>Sarah Santos\, soprano\, hails from Houston\, 
 Texas\, and holds a Master’s of Music in Voice Performance from the Univer
 sity of Washington. She has performed as Farinelli’s Trainer in David T. L
 ittle’s Vinkensport\, Maria in West Side Story\, and was praised by Broadw
 ay World for her ‘glorious high notes’ as Constance in The Sorceror. Sarah
  is an emerging artist with Tacoma Opera and is also a member of Choral Ar
 ts Northwest under the direction of Tim Westerhaus. Sarah enjoys watching 
 shows with her friends\, leveling up her hikes\, and napping with her cat\
 , Obi.</p> <p><strong>Zachary Fitzgerald</strong><br>A tenor for the ages'
  and new to the Pacific Northwest Zachary Fitzgerald has performed interna
 tionally within the Lorenzo Malfatti Academia Vocale di Lucca\, Tacoma ope
 ra\, Cincinnati Opera\, and Kent State Opera. Along with his performance r
 esume Zachary most recently finished studies at Kent State receiving maste
 r's degrees in Vocal Performance and Choral Conducting. Zach will now comp
 lete his Doctorate in Vocal Performance studying with Professor Tom Harper
  at the University of Washington. Special thanks to Dr. Mary Sue Hyatt\, T
 imothy Culver\, and Mark and Valerie Kennedy for their support of Zach's v
 oice. Visit Zacharyfitzgeraldtenor.com for even more information about his
  singing.</p> <p><strong>Karen Dunstan</strong><br>Karen Dunstan (she/he/t
 hey) is a soprano hailing from Ypsilanti\, Michigan. Karen performs in the
  Seattle area\, most recently in Lowbrow OC’s production of Sweets by Kate
 \, and upcoming as Zita in Tacoma Opera’s production of Gianni Schicchi. A
  University of Washington alumnus\, Karen played Holy St. Francis’ Trainer
  in UW’s Opera Workshop 2022 production of Vinkensport\, and Baucis in the
  2023 production of Philemon und Baucis. Karen will be playing the Witch o
 nce more in NOISE: Northwest Opera In Schools\, Etcetera Spring 2025 produ
 ction of Hansel and Gretel. Karen is passionate about inclusivity and broa
 d access to opera\, particularly with regard to queer representation\, and
  examined the history of queer representation in opera in their project “S
 omeone Will Remember Us: Queer Narratives in Opera and Art Song”. They are
  thrilled to be playing their first pants role.</p> <p><strong>Mallory McC
 ollum</strong><br>Mallory holds a BM in Music Education with a credential 
 to teach K-12 Band\, Choral\, Orchestral\, and General music\, and a Maste
 r’s of Music in Vocal Performance. She is currently studying with Thomas H
 arper while pursuing her Doctorate in Vocal Performance at the University 
 of Washington. Mallory has also been fortunate to study direction and prod
 uction with Kelly Kitchens\, and most recently assisted directed the Unive
 rsity of Washington (UW) 2023 Opera (Philemon und Bachis) and UW’s Spring 
 and Fall 2023-24 Opera Scenes. She has sung several operatic roles\, inclu
 ding Rose Maurant in Street Scene\, Rosalinde in Die Fledermaus\, Mabel in
  The Pirates of Penzance\, and as Diana in Philemon und Bachis. Mallory ha
 s also played Marian Paroo in The Music Man\,  Esther Smith in Meet Me in 
 St. Louis\, and Eliza Doolittle in My Fair Lady.</p> <p><strong>Soledad Ma
 yorga-Maldonado</strong><br>Soledad Mayorga-Maldonado is a Chilean soprano
  born\, raced and trained in Santiago de Chile. She was a soprano for ten 
 years both in the Camerata Vocal and Symphonic Choir of Universidad de Chi
 le\, where she has also been a soloist with several national and internati
 onal conductors\, in works by Mozart\, Bach and Mendelssohn\, among others
 \, along with the National Symphony Orchestra of Chile.</p> <p>In her role
  as a trainer of new generations\, she was a professor in the Music Pedago
 gy Career at the University of Valparaiso\, where she was in charge of the
  Voice Education course. From 2024 she is pursuing her Master's Degree in 
 Vocal Performance at the UW.</p> <p><strong>Trí Nguyễn</strong><br> Tri Ng
 uyen is a Tenor from Everett\, Washington. Previously involved in Haydn's 
 Philemon und Baucis at UW as a chorus member &amp; cover\, Tri has also sung a
 s Eunuco &amp; Chorus in Verdi's Il Corsaro at Puget Sound Concert Opera and a
 s Principe Yamadori in Puccini's Madama Butterfly with Tacoma Opera. This 
 February\, he will rejoin the Tacoma Opera cast as Gherardo in Puccini's G
 ianni Schicchi\, his first sizable role in a professional opera company. O
 utside of opera\, you may find Tri as a student at UW studying Mechanical 
 Engineering and Computer Science\, as he prepares to be a corporate slave 
 and opera singer after graduating this year.</p> <h3></h3>
END:VEVENT
BEGIN:VEVENT
UID:0d4a37ed-6caa-4258-b99c-cee3ee954b8e
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T212927Z
DESCRIPTION:<p></p>\n<p>UW students of woodwinds\, brass\, and percussion c
 ompete for outside judges for a chance to perform with the UW Symphony. Ad
 judicators for this competition are oboist Shannon Spicciati and trumpeter
  Brian Shaw. </p>\n<hr>\n<h3>Program</h3>\n<p><br><strong>Horn Concerto No
 . 1\, Op. 11 (1886): Richard Strauss (1864-1949)</strong><br>I. Allegro<br></strong>II. Andante<br>III. Allegro<br>Nicole Bogner\, horn<br>A
 lex Kostandinov\, piano<br>Nicole Bogner is a Bachelor of Music degree stu
 dent and studies with Prof. John Turman.</p>\n<p><strong>Fantaisie (1913): Georges Hüe (1858-1948)</strong><br>Tracia Pan
 \, flute<br>Jieun Kim\, piano<br>Tracia Pan is a Bachelor of Music degree 
 student and studies with Prof. Donna Shin.</p>\n<p><strong>Prism Rhapsody (1995): Keiko Abe (b. 1937)</strong><br>Kaisho 
 Barnhill\, marimba<br>Kiwa Mizutani\, piano<br>Kaisho Barnhill is a Bachel
 or of Music degree student and studies with Prof. Bonnie Whiting.</p>\n<p><strong>Concerto (1926): Carl Nielsen (1865-193
 1)</strong><br>I. Allegretto un poco – Adagio ma non troppo – Allegretto –
  Poco adagio – Tempo di marcia<br>Peyton Ray\, flute<br>Jieun Kim\, piano&lt;
 br&gt;Peyton Ray is a Bachelor of Music degree student and studies with Prof.
  Donna Shin. </p>\n<p><strong>Concerto for tuba
  and orchestra (2004): Barbara York (1949-2020)</strong><br>I. Tranquillo&lt;
 br&gt;Adam Mtimet\, tuba<br>Alexander Kostadinov\, piano<br>Adam Mtimet is a 
 Doctor of Musical Arts degree student and studies with Prof. John DiCesare
 .<br><br><strong>Bass Concerto: Michele Mangani (b. 1966)</strong><br>I. A
 llegro<br>Cameron DeLuca\, bass clarinet<br>Kiwa Mizutani\, piano<br>Camer
 on DeLuca is a Doctor of Musical Arts degree student and studies with Prof
 . Ben Lulich.</p>\n<p><strong>Concerto for Mari
 mba and Strings (2006): Emmanuel Séjourné (b. 1961)</strong><br>I. Tempo s
 ouple<br>II. Rhythmique\, énergique\,<br>Abigail George\, marimba<br>Tyler
  Smith\, piano<br>Abigail George is a Bachelor of Music degree students an
 d studies with Prof. Bonnie Whiting.</p>\n<p><s trong>Variazioni su un’arietta di Pergolesi (1953): Ottmar Nussio (1902–19
 90)</strong><br>Ryan Kapsandy\, bassoon<br>Alex Kostadinov\, piano<br>Ryan
  Kapsandy is Bachelor of Music degree student and studies with Prof. Paul 
 Rafanelli. </p>\n<p><strong>Hungarian Pastoral 
 Fantasy: Franz Doppler (1884-1920)</strong><br>Claire Wei\, flute<br>Jieun
  Kim\, piano<br>Claire Wei is a Bachelor of Music degree student and studi
 es with Prof. Donna Shin. </p>\n<p><strong>Vill
 anelle (1905): Paul Dukas (1865-1935)<br></strong>Sam Nutt\, horn<br>Alex 
 Kostandinov\, piano<br>Sam Nutt is a Molecular and Cellular Bio PhD candid
 ate and studies with Prof. John Turman.</p>\n<p><strong>Concerto in D Major\, K. 314: Wolfgang Amadeus Mozart (1756-1791)
 </strong><br>I. Allegro aperto<br>III.  Allegro<br>Yue Zhong\, flute<br>Ji
 eun Kim\, piano<br>Yue Zhong is a Bachelor of Music degree student and stu
 dies with Prof. Donna Shin.</p>\n<p><strong>Con
 certo for Bass Tuba (1955): Ralph Vaughan Williams (1872-1958)</strong><br>I. Prelude- Allegro moderato<br>II. Romanza- Andante sostenuto<br>III. Fi
 nale- Rondo alla tedesca<br>Chris Seay\, tuba<br>Alexander Kostadinov\, pi
 ano<br>Chris Seay is a Doctor of Musical Arts degree student and studies w
 ith Prof. John DiCesare.</p>\n<p></p>\n\nConcerto for Alto Saxophone\, op. 109 (1934): Alexander Glazunov (1865-1
 936)</strong><br>Kyle Grant\, alto saxophone\nKiwa Mizutani\, piano\nKyle 
 Grant is a Bachelor of Music degree student and studies with Prof. Michael
  Brockman. \n\n<hr>\n<h3>Adjudicator Biographie
 s</h3>\n<p><strong>Shannon Spicciati </strong>e
 njoys an active performance and teaching career in the Seattle metropolita
 n area. She is currently principal oboist of the Northwest Sinfonietta and
  Auburn Symphony. She has performed extensively with the Seattle Symphony 
 and Seattle Opera on oboe and English horn\, and has been featured as solo
 ist with SSO multiple times. As a teacher\, Ms. Spicciati has held faculty
  positions at Pacific Lutheran University and the University of Washington
 \, and has taught and coached middle and high school students for more tha
 n 25 years. Ms. Spicciati performs regularly with Pacific Northwest Ballet
  orchestra\, and has played with the Oregon Symphony\, Tacoma Symphony\, O
 regon Ballet Theatre\, and numerous other ensembles. She has participated 
 in festivals including the Oregon Coast Music Festival\, Icicle Creek Musi
 c Festival in Leavenworth\, WA\, the Marrowstone Music Festival and the Sc
 hlossfestspiele in Heidelberg\, Germany. Ms. Spicciati holds degrees from 
 the Eastman School of Music\, and the University of Washington.</p>\n<p>A 
 native of Southern Illinois\,<strong> Brian Shaw</strong> is Co-Principal 
 Trumpet of the Dallas Winds and is Principal Trumpet of Santa Fe Pro Music
 a (NM)\, Spire Baroque Orchestra (Kansas City)\, and is a core member of t
 he Pacific Northwest Ballet Orchestra. He is noted for his versatility\, p
 erforming and recording regularly as a classical and jazz trumpeter on mod
 ern instruments and period instruments as well. He has released three reco
 rdings as a soloist\, including the 2014 album redshift with the Dallas Wi
 nds. Brian is very active as a jazz arranger and has just co-written a bio
 graphy of jazz legend Kenny Wheeler\, which will be published by Equinox B
 ooks (UK) in February 2025. As a teacher\, Dr. Shaw continues as guest ins
 tructor of Baroque trumpet at the Eastman School of Music and leads a robu
 st private studio after leaving his former position as Professor of Trumpe
 t and Jazz Studies at Louisiana State University\, which he held for 15 ye
 ars. He lives near Seattle with his wife\, Lana\, their sons\, Thomas and 
 Elliot\, and dog Ernie.</p>
DTSTART;TZID=America/Los_Angeles:20250121T190000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:139
SUMMARY:: Concerto Competition: Woodwinds\, Brass\, Percussion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-01-22/concerto-competition-woo
 dwinds-brass-percussion
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>UW students of woodwinds\, brass\, 
 and percussion compete for outside judges for a chance to perform with the
  UW Symphony. Adjudicators for this competition are oboist Shannon Spiccia
 ti and trumpeter Brian Shaw. </p> <hr> <h3>Program</h3> <p><br><strong>Hor
 n Concerto No. 1\, Op. 11 (1886): Richard Strauss (1864-1949)</strong><br>
 <span><span>I. Al
 legro</span><strong><span><br></span></span><span>II. Andan
 te<br></span><span></span>III. Allegro<br><em>Nicole Bogner\, horn</em><br><em>Alex Kostandinov\, piano</em><br>Nicole Bogner is a Bachelor of Music
  degree student and studies with Prof. John Turman.</p> <p><strong>Fantaisie (1913): Georges Hüe (1858-1948)</strong><br>
 <em>Tracia Pan\, flute</em><br><em>Jieun Kim\, piano</em><br>Tracia Pan is
  a Bachelor of Music degree student and studies with Prof. Donna Shin.</p>
  <p><strong>Prism Rhapsody (1995): Keiko Abe (b
 . 1937)</strong><br><em>Kaisho Barnhill\, marimba</em><br><em>Kiwa Mizutan
 i\, piano</em><br>Kaisho Barnhill is a Bachelor of Music degree student an
 d studies with Prof. Bonnie Whiting.</p> <p>Concerto (1926)<span>: </span>Carl Nielsen (1865-1931)</strong><br><s pan>I. Allegretto un poco
  – Adagio ma non troppo – Allegretto – Poco adagio – Tempo di marcia<br></span><em>Peyton Ray\, flute</em><br><em>Jieun Kim\, piano</em><br>Peyton R
 ay is a Bachelor of Music degree student and studies with Prof. Donna Shin
 . </p> <p><strong>Concerto for tuba and orchest
 ra (2004): Barbara York (1949-2020)</strong><br>I. Tranquillo<br><em>Adam 
 Mtimet\, tuba</em><br><em>Alexander Kostadinov\, piano</em><br>Adam Mtimet
  is a Doctor of Musical Arts degree student and studies with Prof. John Di
 Cesare.<br><br><strong>Bass Concerto: Michele Mangani (b. 1966)</strong><b r><span>I. Allegro<br></s><em>Cameron DeLuca\, bass clarinet</em><br><em>Kiwa Mizutani\, piano</em><br>Cameron DeLuca is a Doctor of Musical Arts degree student and studi
 es with Prof. Ben Lulich.</p> <p><strong>Concer
 to for Marimba and Strings (2006): Emmanuel Séjourné (b. 1961)</strong><br>I. Tempo souple<br>II. Rhythmique\, énergique\,<br><em>Abigail George\, m
 arimba</em><br><em>Tyler Smith\, piano</em><br>Abigail George is a Bachelo
 r of Music degree students and studies with Prof. Bonnie Whiting.</p> <p s tyle=' 400\;'><strong>Variazioni su un’arietta di Pergolesi (1
 953): Ottmar Nussio (1902–1990)</strong><br><em>Ryan Kapsandy\, bassoon<br><em>Alex Kostadinov\, piano</em><br>Ryan Kapsandy is Bachelor of Mus
 ic degree student and studies with Prof. Paul Rafanelli. </p> <p><strong>Hungarian Pastoral Fantasy: Franz Doppler (1884-
 1920)</strong><br><em>Claire Wei\, flute</em><br><em>Jieun Kim\, piano</em><br>Claire Wei is a Bachelor of Music degree student and studies with Pro
 f. Donna Shin. </p> <p><strong>Villanelle (1905
 )<span>: </span>Paul Dukas (1865-1935)<br></strong><em>Sam Nutt\, horn</em><br><em>Alex Kostandinov\, piano</em><br>Sam Nutt is a Molecular and Cell
 ular Bio PhD candidate and studies with Prof. John Turman.</p> <p><strong>Concerto in D Major\, K. 314: Wolfgang Amadeus 
 Mozart (1756-1791)</strong><br><span>I. Allegro aperto<br></span>III.<span>  </span>Allegro<br><em>
 Yue Zhong\, flute</em><br><em>Jieun Kim\, piano</em><br>Yue Zhong is a Bac
 helor of Music degree student and studies with Prof. Donna Shin.</p> <p st yle=' 400\;'><strong>Concerto for Bass Tuba (1955)<span>: Ralph Vaughan Williams (1872-1958)</strong><br>I. Prelude- Allegro mode
 rato<br>II. Romanza- Andante sostenuto<br>III. Finale- Rondo alla tedesca&lt;
 br&gt;<em>Chris Seay\, tuba</em><br><em>Alexander Kostadinov\, piano</em><br>
 Chris Seay is a Doctor of Musical Arts degree student and studies with Pro
 f. John DiCesare.</p> <p></p> <div> <div class='elementToProof'><strong>Concerto for Alto Saxophone\, op. 109 (1934): Ale
 xander Glazunov (1865-1936)</strong><br><em>Kyle Grant\, alto saxophone</div> <div class='elementToProof'><em>Kiwa Mizutani\, piano</em></div> 
 <div class='elementToProof'>Kyle Grant is a Bachelor of Music degree stude
 nt and studies with Prof. Michael Brockman. </div> </div> <hr> <h3>Adjudicator Biographies</h3> <p><strong>Shannon Spicciati </strong>enjoys an active performance and t
 eaching career in the Seattle metropolitan area. She is currently principa
 l oboist of the Northwest Sinfonietta and Auburn Symphony. She has perform
 ed extensively with the Seattle Symphony and Seattle Opera on oboe and Eng
 lish horn\, and has been featured as soloist with SSO multiple times. As a
  teacher\, Ms. Spicciati has held faculty positions at Pacific Lutheran Un
 iversity and the University of Washington\, and has taught and coached mid
 dle and high school students for more than 25 years. Ms. Spicciati perform
 s regularly with Pacific Northwest Ballet orchestra\, and has played with 
 the Oregon Symphony\, Tacoma Symphony\, Oregon Ballet Theatre\, and numero
 us other ensembles. She has participated in festivals including the Oregon
  Coast Music Festival\, Icicle Creek Music Festival in Leavenworth\, WA\, 
 the Marrowstone Music Festival and the Schlossfestspiele in Heidelberg\, G
 ermany. Ms. Spicciati holds degrees from the Eastman School of Music\, and
  the University of Washington.</p> <p><span>A n
 ative of Southern Illinois\,<strong> Brian Shaw</strong> is Co-Principal T
 rumpet of the Dallas Winds and is Principal Trumpet of Santa Fe Pro Musica
  (NM)\, Spire Baroque Orchestra (Kansas City)\, and is a core member of th
 e Pacific Northwest Ballet Orchestra. He is noted for his versatility\, pe
 rforming and recording regularly as a classical and jazz trumpeter on mode
 rn instruments and period instruments as well. He has released three recor
 dings as a soloist\, including the 2014 album <em>redshift </em>with the D
 allas Winds. Brian is very active as a jazz arranger and has just co-writt
 en a biography of jazz legend Kenny Wheeler\, which will be published by E
 quinox Books (UK) in February 2025. As a teacher\, Dr. Shaw continues as g
 uest instructor of Baroque trumpet at the Eastman School of Music and lead
 s a robust private studio after leaving his former position as Professor o
 f Trumpet and Jazz Studies at Louisiana State University\, which he held f
 or 15 years. He lives near Seattle with his wife\, Lana\, their sons\, Tho
 mas and Elliot\, and dog Ernie.</span></p>
END:VEVENT
BEGIN:VEVENT
UID:b1153141-989d-449b-a81f-0f3b2bf146cc
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240930T163525Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20250123T120000
LAST-MODIFIED:20240930T163525Z
SEQUENCE:140
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-01-23/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:b13483f3-bd7d-45ae-8237-650445273dfe
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20240808T231628Z
DESCRIPTION:<p></p>\n<p>The School of Music presents a recital by pianist G
 il Kalish\, professor of music and head of performance activities at Stony
  Brook University in New York. He performs works by Leoš Janáček\, J.S. Ba
 ch\, and Charles Ives\, including Ives's Sonata No. 1. </p>\n<hr>\n<p>Note: </strong>Gil Kalish also leads a master class with UW piano stud
 ents on Jan. 30 at 3:30 pm\, in Brechemin Auditorium. Details <a href='//music.washington.edu/events/2025-01-30/guest-pianist-master-class-gil
 -kalish?mkt_tok=MTMxLUFRTy0yMjUAAAGX55G-cWANhWNvqMb2qSF4bar5XpJEYdCCM9A9SY
 AeXaLXSjM6X4yYAmdPRzhiDYA2utoDzNAFPkqM9OtTzkaL' target='_blank' rel='noope
 ner noreferrer'>here</a></p>\n<hr>\n\n<h3>Program</h3>\n<strong></strong>
 \n<strong>Leoš Janáček:</strong> On An Overgrown Path -1901-1911<br>1) Our
  Evenings<br>2) A blown Away Leaf<br>3) Come With Us<br>4) The Madonna Of 
 Frydek<br>5) They Chattered Like Swallows<br>6) Words Fail<br>7) Good Nigh
 t<br>8) Unutterable Anguish<br>9) In Tears<br>10 The Barn Owl Has Not Flow
 n Away<br><br>\n<strong>J.S. Bach:</strong> Partita 6 in E minor - 1731<br>    Toccata<br>     Allemande<br>     Corrente<br>     Air<br>     Saraba
 nde<br>     Tempo di Gavotta<br>     Gigue<br><br>\n \nShort Pause \n \n<s trong>Charles Ives: </strong> Sonata No. 1 for Piano  - 1901-1910<br>1 - A
 dagio con moto<br>2A - Allegro moderato\, 2B 'In The Inn' - Allegro<br>3 -
  Largo\; Allegro<br>4a -Quarter note =88-100\, 4b Allegro\, Presto<br>5 - 
 Andante maestoso\n\n<hr>\n<h3>Biography</h3>\n<p>As head of the performanc
 e faculty at Stony Brook University\, Gilbert Kalish had done much to crea
 te the uniquely supportive and stimulating environment of Stony Brook's mu
 sic department. Through his activites as performer and educator\, he has b
 ecome a major figure in American music making. A native New Yorker\, Mr. K
 alish studied with Leonard Shure\, Julius Hereford and Isabelle Vengerova.
  He is a frequent guest artist with many of the world's most distinguished
  chamber ensembles. He was a founding member of the Contemporary Chamber E
 nsemble\, a pioneering new music group that flourished during the 1960's a
 nd '70's. He is noted for his partnerships with other artists\, including 
 cellists Timothy Eddy and Joel Krosnick\, soprano Dawn Upshaw\, and\, perh
 aps most memorably\, his thirty-year collaboration with mezzo-soprano Jan 
 DeGaetani. In addition to teaching at Stony Brook\, he has also served on 
 the faculties of the Tanglewood Music Center\, the Banff Centre and the St
 eans Institute at Ravinia. Mr. Kalish's discography of some 100 recordings
  encompasses classical repertory\, 20th-century masterworks and new compos
 itions. In 1995 the University of Chicago presented him with the Paul From
 m Award for distinguished service to the music of our time.<br><br>Gilbert
  Kalish leads a musical life of unusual variety and breadth. As educator h
 e is Leading Professor and Head of Performance Activities at the State Uni
 versity of New York at Stony Brook. From 1968-1997 he was a faculty member
  of the Tanglewood Music Center and served as the 'Chairman of the Faculty
 ' at Tanglewood from 1985-1997. He often serves as guest faculty at distin
 guished music institutions such as the Banff Centre and the Steans Institu
 te at Ravinia\, and is renowned for his master class presentations.<br><br>Mr. Kalish's discography of some 100 recordings encompasses classical rep
 ertory\, 20th Century masterworks and new compositions. Of special note ar
 e his solo recordings of Charles Ives' Concord Sonata and Sonatas of Josep
 h Haydn\, an immense discography of vocal music with Jan DeGaetani and lan
 dmarks of the 20th Century by composers such as Carter\, Crumb\, Shapey an
 d Schoenberg. In 1995 he was presented with the Paul Fromm Award by the Un
 iversity of Chicago Music Department for distinguished service to the musi
 c of our time.</p>
DTSTART;TZID=America/Los_Angeles:20250129T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:141
SUMMARY:: Guest Pianist Recital: Gil Kalish
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-01-30/guest-pianist-recital-gi
 l-kalish
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The School of Music presents a reci
 tal by pianist Gil Kalish\, professor of music and head of performance act
 ivities at Stony Brook University in New York. He performs works by Leoš J
 anáček\, J.S. Bach\, and Charles Ives\, including Ives's Sonata No. 1. </p> <hr> <p><em><strong>Note: </strong></em>Gil Kalish also leads a master c
 lass with UW piano students on Jan. 30 at 3:30 pm\, in Brechemin Auditoriu
 m. Details <a href='https://music.washington.edu/events/2025-01-30/guest-p
 ianist-master-class-gil-kalish?mkt_tok=MTMxLUFRTy0yMjUAAAGX55G-cWANhWNvqMb
 2qSF4bar5XpJEYdCCM9A9SYAeXaLXSjM6X4yYAmdPRzhiDYA2utoDzNAFPkqM9OtTzkaL' tar get='_blank' rel='noopener noreferrer'>here</a></p> <hr> <div> <h3><span c olor='#0000ff'>Program</span></h3> <div><span color='#0000ff'><strong></span></div> <div><span color='#0000ff'><strong>Leoš Janáček: On An Overgrown Path -1901-1911<br>1) Our Evenings<br>2) A blown Away L
 eaf<br>3) Come With Us<br>4) The Madonna Of Frydek<br>5) They Chattered Li
 ke Swallows<br>6) Words Fail<br>7) Good Night<br>8) Unutterable Anguish<br>9) In Tears<br>10 The Barn Owl Has Not Flown Away<br><br></span></div> <span color='#0000ff'><strong>J.S. Bach:</strong> Partita 6 in E minor 
 - 1731<br>    Toccata<br>     Allemande<br>     Corrente<br>     Air<br>  
    Sarabande<br>     Tempo di Gavotta<br>     Gigue<br><br></span></div> &lt;
 div&gt;<span color='#0000ff'> </span></div> <div><span color='#0000ff'>Short 
 Pause </span></div> <div><span color='#0000ff'> </span></div> <div><span c olor='#0000ff'><strong>Charles Ives: </strong> Sonata No. 1 for Piano  - 1
 901-1910<br>1 - Adagio con moto<br>2A - Allegro moderato\, 2B 'In The Inn'
  - Allegro<br>3 - Largo\; Allegro<br>4a -Quarter note =88-100\, 4b Allegro
 \, Presto<br>5 - Andante maestoso</span></div> </div> <hr> <h3>Biography</h3> <p><span>As head of the performance faculty at Stony Brook University\
 , Gilbert Kalish had done much to create the uniquely supportive and stimu
 lating environment of Stony Brook's music department. Through his activite
 s as performer and educator\, he has become a major figure in American mus
 ic making. A native New Yorker\, Mr. Kalish studied with Leonard Shure\, J
 ulius Hereford and Isabelle Vengerova. He is a frequent guest artist with 
 many of the world's most distinguished chamber ensembles. He was a foundin
 g member of the Contemporary Chamber Ensemble\, a pioneering new music gro
 up that flourished during the 1960's and '70's. He is noted for his partne
 rships with other artists\, including cellists Timothy Eddy and Joel Krosn
 ick\, soprano Dawn Upshaw\, and\, perhaps most memorably\, his thirty-year
  collaboration with mezzo-soprano Jan DeGaetani. In addition to teaching a
 t Stony Brook\, he has also served on the faculties of the Tanglewood Musi
 c Center\, the Banff Centre and the Steans Institute at Ravinia. Mr. Kalis
 h's discography of some 100 recordings encompasses classical repertory\, 2
 0th-century masterworks and new compositions. In 1995 the University of Ch
 icago presented him with the Paul Fromm Award for distinguished service to
  the music of our time.<br></span><br><span>Gilbert Kalish leads a musical
  life of unusual variety and breadth. As educator he is Leading Professor 
 and Head of Performance Activities at the State University of New York at 
 Stony Brook. From 1968-1997 he was a faculty member of the Tanglewood Musi
 c Center and served as the 'Chairman of the Faculty' at Tanglewood from 19
 85-1997. He often serves as guest faculty at distinguished music instituti
 ons such as the Banff Centre and the Steans Institute at Ravinia\, and is 
 renowned for his master class presentations.</span><br><br><span>Mr. Kalis
 h's discography of some 100 recordings encompasses classical repertory\, 2
 0th Century masterworks and new compositions. Of special note are his solo
  recordings of Charles Ives' Concord Sonata and Sonatas of Joseph Haydn\, 
 an immense discography of vocal music with Jan DeGaetani and landmarks of 
 the 20th Century by composers such as Carter\, Crumb\, Shapey and Schoenbe
 rg. In 1995 he was presented with the Paul Fromm Award by the University o
 f Chicago Music Department for distinguished service to the music of our t
 ime.</span></p>
END:VEVENT
BEGIN:VEVENT
UID:667a2864-739c-4ed2-9a36-94600d85d1df
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20240808T231735Z
DESCRIPTION:<p></p>\n<p>Guest pianist Gil Kalish\, professor of music and h
 ead of performance activities at Stony Brook University\, leads a master c
 lass with UW piano students. </p>\n<hr>\n<h3>Biography</h3>\n<p></p>\n<p>A
 s head of the performance faculty at Stony Brook University\, Gilbert Kali
 sh had done much to create the uniquely supportive and stimulating environ
 ment of Stony Brook's music department. Through his activites as performer
  and educator\, he has become a major figure in American music making. A n
 ative New Yorker\, Mr. Kalish studied with Leonard Shure\, Julius Hereford
  and Isabelle Vengerova. He is a frequent guest artist with many of the wo
 rld's most distinguished chamber ensembles. He was a founding member of th
 e Contemporary Chamber Ensemble\, a pioneering new music group that flouri
 shed during the 1960's and '70's. He is noted for his partnerships with ot
 her artists\, including cellists Timothy Eddy and Joel Krosnick\, soprano 
 Dawn Upshaw\, and\, perhaps most memorably\, his thirty-year collaboration
  with mezzo-soprano Jan DeGaetani. In addition to teaching at Stony Brook\
 , he has also served on the faculties of the Tanglewood Music Center\, the
  Banff Centre and the Steans Institute at Ravinia. Mr. Kalish's discograph
 y of some 100 recordings encompasses classical repertory\, 20th-century ma
 sterworks and new compositions. In 1995 the University of Chicago presente
 d him with the Paul Fromm Award for distinguished service to the music of 
 our time.<br><br>Gilbert Kalish leads a musical life of unusual variety an
 d breadth. As educator he is Leading Professor and Head of Performance Act
 ivities at the State University of New York at Stony Brook. From 1968-1997
  he was a faculty member of the Tanglewood Music Center and served as the 
 'Chairman of the Faculty' at Tanglewood from 1985-1997. He often serves as
  guest faculty at distinguished music institutions such as the Banff Centr
 e and the Steans Institute at Ravinia\, and is renowned for his master cla
 ss presentations.<br><br>Mr. Kalish's discography of some 100 recordings e
 ncompasses classical repertory\, 20th Century masterworks and new composit
 ions. Of special note are his solo recordings of Charles Ives' Concord Son
 ata and Sonatas of Joseph Haydn\, an immense discography of vocal music wi
 th Jan DeGaetani and landmarks of the 20th Century by composers such as Ca
 rter\, Crumb\, Shapey and Schoenberg. In 1995 he was presented with the Pa
 ul Fromm Award by the University of Chicago Music Department for distingui
 shed service to the music of our time.</p>
DTSTART;TZID=America/Los_Angeles:20250130T153000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:142
SUMMARY:: Guest Pianist Master Class: Gil Kalish
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-01-30/guest-pianist-master-cla
 ss-gil-kalish
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Guest pianist Gil Kalish\, professo
 r of music and head of performance activities at Stony Brook University\, 
 leads a master class with UW piano students. </p> <hr> <h3>Biography</h3> 
 <p></p> <p><span>As head of the performance faculty at Stony Brook Univers
 ity\, Gilbert Kalish had done much to create the uniquely supportive and s
 timulating environment of Stony Brook's music department. Through his acti
 vites as performer and educator\, he has become a major figure in American
  music making. A native New Yorker\, Mr. Kalish studied with Leonard Shure
 \, Julius Hereford and Isabelle Vengerova. He is a frequent guest artist w
 ith many of the world's most distinguished chamber ensembles. He was a fou
 nding member of the Contemporary Chamber Ensemble\, a pioneering new music
  group that flourished during the 1960's and '70's. He is noted for his pa
 rtnerships with other artists\, including cellists Timothy Eddy and Joel K
 rosnick\, soprano Dawn Upshaw\, and\, perhaps most memorably\, his thirty-
 year collaboration with mezzo-soprano Jan DeGaetani. In addition to teachi
 ng at Stony Brook\, he has also served on the faculties of the Tanglewood 
 Music Center\, the Banff Centre and the Steans Institute at Ravinia. Mr. K
 alish's discography of some 100 recordings encompasses classical repertory
 \, 20th-century masterworks and new compositions. In 1995 the University o
 f Chicago presented him with the Paul Fromm Award for distinguished servic
 e to the music of our time.<br></span><br><span>Gilbert Kalish leads a mus
 ical life of unusual variety and breadth. As educator he is Leading Profes
 sor and Head of Performance Activities at the State University of New York
  at Stony Brook. From 1968-1997 he was a faculty member of the Tanglewood 
 Music Center and served as the 'Chairman of the Faculty' at Tanglewood fro
 m 1985-1997. He often serves as guest faculty at distinguished music insti
 tutions such as the Banff Centre and the Steans Institute at Ravinia\, and
  is renowned for his master class presentations.</span><br><br><span>Mr. K
 alish's discography of some 100 recordings encompasses classical repertory
 \, 20th Century masterworks and new compositions. Of special note are his 
 solo recordings of Charles Ives' Concord Sonata and Sonatas of Joseph Hayd
 n\, an immense discography of vocal music with Jan DeGaetani and landmarks
  of the 20th Century by composers such as Carter\, Crumb\, Shapey and Scho
 enberg. In 1995 he was presented with the Paul Fromm Award by the Universi
 ty of Chicago Music Department for distinguished service to the music of o
 ur time.</span></p>
END:VEVENT
BEGIN:VEVENT
UID:414f229a-418b-438d-9a62-74d62ae03836
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240930T163544Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20250205T110000
LAST-MODIFIED:20250204T163534Z
SEQUENCE:143
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-05/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:88d6e87a-f701-433f-ae5c-0f2e1c2a5ff4
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20240801T171631Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<p><b>Echo
 es of the African Diaspora:</b></p>\n<p><b>Art Songs &amp; Spirituals</b></p>
 \n<p><b>in Celebration of Black History Month</b></p>\n<p class='x_MsoNorm
 al'>Program information <a href='/sites/music/files/documents/black_histor
 y_month_recital_-_winter_2025_february_2.pdf'>HERE</a>.</p>\n\n<p>Performer information <a href='/s
 ites/music/files/documents/black_history_month_recital_-_bios_-_winter_202
 5_february.pdf'>HERE</a>.</p>\n<p class='x_MsoNormal'><br></p>
DTSTART;TZID=America/Los_Angeles:20250205T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:144
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-05/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <p><b><i>Echoes o
 f the African Diaspora:</i></b></p> <p><b><i>Art Songs &amp; Spirituals</i></b></p> <p><b><i>in Celebration of Black History Month</i></b></p> <p class='x_MsoNormal'><span>Progr
 am information </span><a href='/sites/music/files/documents/black_history_
 month_recital_-_winter_2025_february_2.pdf'>HERE</a><span>.</span></p> <div> <p>Performer information <a href='/sites/music/
 files/documents/black_history_month_recital_-_bios_-_winter_2025_february.
 pdf'>HERE</a>.</p> <p class='x_MsoNormal'><br><span></span></p> </div>
END:VEVENT
BEGIN:VEVENT
UID:8c99bfb1-07f7-4c93-807d-f4727e55dea6
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances\, Student Activities and Per
 formances
CLASS:PUBLIC
CREATED:20240807T225607Z
DESCRIPTION:<p></p>\n<p>David Alexander Rahbee leads the UW Symphony in 'Wi
 th Love\, from Scotland\,' a program of works by Thea Musgrave\, Fanny Men
 delssohn Hensel\, and Felix Mendelssohn. With faculty guests Carrie Shaw\,
  soprano\, and Frederick Reece\, narrator. </p>\n<hr>\n<h4>Program</h4>\n&lt;
 h4&gt;With Love\, from Scotland</h4>\n<p><br>Loch Ness\, A Postcard from Scot
 land: <strong>Thea Musgrave</strong> (b. 1928)</p>\n<p>Six Songs\, Op. 7: 
 <strong>Fanny Mendelssohn Hensel</strong> (1805-1847) orchestrated by Davi
 d A. Rahbee<br>1\, Nachtwanderer<br>2. Erwin<br>3. Frühling<br>4. Du bist 
 die Ruh<br>5. Bitte<br>6. Dein ist mein Herz<br>Carrie Shaw\, soprano</p>
 \n<p>Intermission</p>\n<p>Symphony No. 3\, in A minor\, Op. 56\, “Scottish”:<strong> </strong>
 <strong>Felix Mendelssohn</strong> (1809-1847)<br>I. Andante con moto–Alle
 gro un poco agitato<br>II. Vivace non troppo<br>III. Adagio<br>IV. Allegro
  vivacissimo–Allegro maestoso assai</p>\n<hr>\n<h3>Program Notes</h3>\n<p>by Mica Weiland</p>\n<p><strong>Thea Musgrave </strong>(b. 1928)<br><strong>Loch Ness\; A Post
 card from Scotland </strong>(comp. 2012)</p>\n<p>Thea Musgrave\, a Scottish composer born in Edinburgh in 1928\, studied 
 under the renowned Nadia Boulanger at the Paris Conservatoire and Aaron Co
 pland at the Tanglewood Institute. Over her career\, she has produced a ri
 ch and varied body of work\, including many orchestral pieces\, concerti\,
  and operas. Her compositional style is characterized by its dramatic inte
 nsity and theatrical flair\, particularly evident in Loch Ness.</p>\n<p st yle=' 400\;'>Loch Ness: A Postcard from Scotland is a vivid to
 ne poem inspired by the legendary Scottish tale of the Loch Ness monster. 
 In this piece\, the monster is represented by the tuba\, whose long\, broo
 ding solos punctuate the music. Emerging from the mist—evoked by the shimm
 ering harmonics of the strings—the creature is gradually bathed in warmth 
 as the trumpets shine through. The piece quotes an ancient Scottish melody
  as the sun sets\, signaling the monster’s retreat into the water with a f
 inal\, dramatic splash. As the moon rises and the water calms\, the piece 
 ends in peaceful serenity.  </p>\n<p><strong>Fa
 nny Mendelssohn Hensel</strong> (1805-1847)  <br><strong>Six Songs op. 7</strong> (orch. Rahbee) (comp. 1839-1846) </p>\n<p>Fanny Mendelssohn was bo
 rn in Hamburg in 1805\, the eldest of four children\, including her younge
 r brother Felix. She grew up in Berlin\, where she received a solid musica
 l education and became known for her talent as both a pianist and composer
 . However\, as she came of age\, her father discouraged her musical ambiti
 ons\, pushing her instead toward the conventional role of a homemaker—what
  society expected of women at the time. Despite stepping away from public 
 composition\, Fanny continued to write music in private. Her output includ
 es a string quartet\, a piano trio\, a piano quartet\, an orchestral overt
 ure\, four cantatas\, more than 125 piano pieces\, and over 250 lieder. Mo
 st of these works went unpublished during her lifetime\, and many were mis
 takenly attributed to her brother Felix. A gifted melodist\, her Six Songs
  op. 7 are a testament to her compositional prowess.</p>\n<p><strong>I. Na
 chtwanderer</strong> “Night wanderer”<br>A misty\, peaceful song that illu
 strates walking under the moonlight. </p>\n<p><strong>II. Erwin<br>A delicate\, yearning love song which includes many musical themes and m
 etaphors relating to springtime and flowers. </p>\n<p><strong>III. Frühlin
 g</strong> 'Spring'<br>A vibrant song that opens with the chime of bells\,
  soon blending in effects that evoke the fluttering of birds' wings and th
 e blossoming of flowers.</p>\n<p><strong>IV. Du bist die Ruh “</strong>You
  are at peace”<br>A flowing song that evokes both the pain and the peace t
 hat love brings.</p>\n<p><strong>V. Bitte<br></strong>A dark and somber so
 ng with a dream-like quality.</p>\n<p><strong>VI. Dein ist mein Herz “Yours is my heart”<br>A lush song that weaves together themes of long
 ing and springtime\, bringing the song cycle to a harmonious and satisfyin
 g conclusion. </p>\n<p> <strong>Felix Mendelsso
 hn (1809-1847)</strong><br><strong>Symphony No.3\, op.56\, A minor “Scotti
 sh” (comp. 1829-1842)</strong></p>\n<p><strong>
  </strong>On July 30\, 1829\, Felix Mendelssohn wrote to his parents from 
 Edinburgh:<br>In the twilight today we went to the [Holyrood] Palace where
  Queen Mary [Stuart] lived and loved. There is a little room to be seen th
 ere with a spiral staircase at its door. . .. The chapel beside it has now
  lost its roof. It is overgrown with grass and ivy\, and at the broken alt
 ar\, Mary was crowned Queen of Scotland. Everything is ruined\, decayed\, 
 and open to the sky. I believe I have found there the beginning of my Scot
 ch Symphony.</p>\n<p>Felix Mendelssohn was born
  in 1809 in Hamburg. At just 20 years old\, he embarked on a memorable tri
 p to Scotland\, where he began sketching ideas for his third symphony. Alt
 hough these early sketches date back to 1829\, Mendelssohn's Symphony No. 
 3 was not completed until 1842\, making it the last symphony he finished. 
 It is believed that the opening 16 bars of the symphony were inspired by h
 is description of the Holyrood Palace in his writings\, capturing the spir
 it of his Scottish journey.</p>\n<p>The work be
 gins with a somber\, ethereal theme introduced by the violas and oboes\, s
 etting a reflective mood before transitioning into an agitated exposition.
  Throughout the first movement\, the initial colors of the opening bars re
 surface\, allowing the composer to vividly convey his experience of Scotla
 nd. The symphony is structured so that each movement flows seamlessly into
  the next\, with each one further developing the themes introduced earlier
 . After a reprise of the opening motif\, the second movement emerges with 
 a lively\, spirited energy. Here\, the strings create an airy texture that
  beautifully supports the melody played by the clarinets. The folk-inspire
 d melodies\, infused with the distinctive Scotch-snap rhythm\, draw clear 
 influence from traditional Scottish music.</p>\n<p>The third movement is defined by its delicate pizzicato\, which drifts
  throughout\, balanced by an underlying sense of immense gravity. Initiall
 y unassuming\, it gradually leads us through smooth\, flowing legato passa
 ges in the violins and cellos before building into a grand march\, with th
 e winds and brass taking center stage. The finale introduces a lively\, da
 nce-like rhythm\, its sharp edges creating a sense of urgency. Amid this d
 ance\, a fugue emerges\, adding tension and anticipation for what is to co
 me. The coda offers the movement’s greatest surprise\, concluding with a r
 egal theme in A major. This majestic ending perfectly wraps up the symphon
 y\, providing a fitting and powerful conclusion to a complex and stormy ma
 sterpiece.</p>\n<p></p>\n\n\n\n\n<h4>University
  of Washington Symphony Orchestra</h4>\n<p>David Alexander Rahbee\, Music 
 Director and Conductor<br>Ryan Farris and Robert Stahly\, Assistant Conduc
 tors</p>\n<p><strong><u>Flute<br></u></strong>Erin McAfee\, MM Flute Perfo
 rmance<br>Tracia Pan\, Flute Performance\, Statistics<br>Grace Playstead\,
  MM Flute Performance<br>Rachel Reyes\, DMA Woodwinds<br>Claire Wei\, BM\,
  Music</p>\n<p><strong></strong><strong><u>Piccolo<br></u></strong>Erin Mc
 Afee\, MM Flute Performance<br><strong><br><u>Oboe</u><br></strong>Max Bol
 en\, Marine Biology<br>Minh-Thi Butler\, BM Music Education</p>\n<p><u>English Horn<br></u></strong>Max Boyd\, Oboe Performance</p>\n<p><u>Clarinet</u></strong><strong><br></strong>Ysanne Webb\, DMA Clarine
 t Performance<strong><br></strong>Nick Zhang\, BS Computer Science</p>\n<p><strong><u></u></strong><strong><u>Bass Clarinet<br></u></strong>Cameron 
 DeLuca\, DMA Clarinet Performance</p>\n<p><strong><u>Bassoon<br></u>Ryan Kapsandy\, BM Bassoon Performance<br>Rian Morgan\, Music/Nutrition
 al Science<br>Eric Shankland\, BA Music History<br>Eric Spradling\, BM Bas
 soon Performance</p>\n<p><strong><u></u></strong><strong><u>Contrabassoon&lt;
 br&gt;</u></strong>Alex Fraley\, Music Education<br><br><strong><u>Horn</u>  
    <br></strong>Nicole Bogner\, BM Horn Performance<br>Colin Laskarzewski\
 , BS Physics<br>Elise Moe\, BM Horn Performance<br>Sam Nutt\, Molecular &amp; 
 Cellular Biology<br>Noelani Stewart\, Political Science\, American Ethnic 
 Studies</p>\n<p><strong><br><u>Trumpet<br></u></strong>Hans Faul\, BM Trum
 pet Performance<br>Kyle Jenkins\, MM Trumpet Performance<br>Antti Männistö
 \, Mechanical Engineering<br>Drew Theran\, MM Trumpet Performance<strong>&lt;
 br&gt;</strong><br><strong><u>Trombone<br></u></strong>Jonathan Elsner\, Appl
 ied &amp; Computational Mathematics<br>Neal Muppidi\, BM Trombone Performance&lt;
 br&gt;Nathanael Wyttenbach\, Music Composition<strong> </strong></p>\n<p><u>Bass Trombone</u></strong><strong><br></strong>Duncan Weiner\, Aero
 -Astro Engineering/Linguistics</p>\n<p><strong><u>Tuba<br></u></strong>Chr
 is Seay\, DMA Tuba Performance<strong><br></strong></p>\n<p><strong><u>Tim
 pani<br></u></strong>Abigail George\, Applied Physics/BM Percussion Perfor
 mance<br><br><strong><u>Percussion<br></u></strong>Kaisho Barnhill\, Music
  Education\, Psychology<br>Momoka Fukushima\, Percussion Performance<br>Iv
 y Moore\, Bioresource Science and Engineering</p>\n<p><strong><u></u><strong><u>Harp</u></strong><strong><br></strong>Kelly Hou\, Alumna</p>\n<p><strong><u></u></strong><strong><u></u></strong><strong><u></u><strong><u>Violin I<br></u></strong>Grace Pandra\, Violin Performance/
 Business Administration (Co-concertmaster)<br>Hanu Nahm\, Violin Performan
 ce/BS Microbiology (Co-concertmaster)<br>David Teves-Tan\, Pre-Sciences<br>Hai-Ryung Jang\, DMA Violin Performance<br>Nahuel Weber-Jacobsen\, Social
  Sciences<br>Ido Avnon\, MS Computer Sciences &amp; Engineering<br>Justin Chae
 \, Computer Science<br>Amelie Martin\, Mathematics<br>Brandon Bailey\, Com
 puter Science<br>David Mok\, Computer Engineering<br>Adora Wu\, Computer S
 cience<br>Nicole Chen\, Informatics<br>Alex Metzger\, Computer Science<br>
 Jie Zhou\, Music<br>Giulia Rosa\, Music<br>Lyle Deng\, Computer Science</p>\n<p><strong><u>Violin II<br></u></strong>Taylor DeCastro\, MM Violin Per
 formance (Principal)<br>Michaela Klesse\, Music<br>Sean Sasaki\, Music Edu
 cation<br>Thea Higgins\, Industrial Engineering: Data Science<br>Alice Lep
 pert\, Chemistry<br>Talal Kheiry\, Pre-Sciences<br>Rylan Ferron-Jones\, Ci
 vil Engineering<br>Anja Westra\, Marine Biology<br>Jasmine Palikhya\, Inte
 rnational Studies<br>Victoria Zhuang\, Pre-Sciences<br>Justene Li\, Pre-Sc
 iences<br>Danny Zhang\, Pre-Sciences<br>Fengrui Liu\, Finance<br>Freya Fra
 hm\, Computer Sciences/BM Piano Performance<br>Hannah Pena-Ruiz\, Music Hi
 story</p>\n<p><strong><u>Viola</u></strong><strong>     <br></strong>Flora
  Cummings\, Viola Performance/Biology (Co-Principal)<br>Mica Weiland\, Vio
 la Performance (Co-Principal)<br>Abigail Schidler\, Computer Science/Music
  Theory<br>Emma Boyce\, Music<br>Annika Johnson\, Pre-Sciences<br>Melia Go
 lden\, Biochemistry<br>Mia Grayson\, Biochemistry<br>Hailey Nappen\, Pre S
 ciences<br>David Del Cid-Saavedra\, Education Studies<br>Alan Fan\, Intern
 ational Studies<br>Aribella Brushie\, Pre-Sciences<br>Alissa Harbani\, Bio
 engineering/Music<br>Melany Nanayakkara\, Mathematics<br><strong><br><u>Vi
 oloncello</u>         <br></strong>Cory Chen\, BA in Music/Intended Neuros
 cience (Principal)<br>Loni Yin\, Pre-Sciences<br>Nathan Evans\, BA Music H
 istory<br>Alastair Goodchild\, Engineering<br>Katherine Kang\, Human Cente
 red Design &amp; Engineering<br>Ignacio (Nacho) Tejeda\, PhD Mathematics<br>Ja
 ck Ruffner\, Pre-Social Sciences<br>Mina Wang\, Informatics<br>Ava Reese\,
  Aquatic and Fishery Sciences<br>Eli Kashman\, Bioengineering<br>Andrew Vu
 \, Chemistry<br>Amanda Song\, Accounting and Marketing<br>Noah Croskey\, I
 ndustrial Engineering<br>Ally Wu\, Electrical Engineering<br>Bashir Abdel-
 Fattah\, PhD Mathematics<br><strong><br><u>Bass</u>    <br></strong>Amelia
  Matsumoto\, BM Bass Performance (Principal)<br>Eddie Nikishina\, Educatio
 nal Studies<br>Nathan Eskridge\, MM Bass Performance<br>Gabriella Kelley\,
  English<br>Joshua Bonifas\, Pre-Education<br>Ethan Park\, Biology </p>\n
 \n\n\n\n<h3>Biographies</h3>
DTSTART;TZID=America/Los_Angeles:20250207T193000
LAST-MODIFIED:20250129T201140Z
SEQUENCE:145
SUMMARY:: UW Symphony Orchestra with Carrie Shaw\, Frederick Reece
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-08/uw-symphony-orchestra-ca
 rrie-shaw-frederick-reece
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>David Alexander Rahbee leads the UW
  Symphony in 'With Love\, from Scotland\,' a program of works by Thea Musg
 rave\, Fanny Mendelssohn Hensel\, and Felix Mendelssohn. With faculty gues
 ts Carrie Shaw\, soprano\, and Frederick Reece\, narrator. </p> <hr> <h4>P
 rogram</h4> <h4><i>With Love\, from Scotland</i></h4> <p><i><br></i><em>Lo
 ch Ness\, A Postcard from Scotland: </em><strong>Thea Musgrave</strong> (b
 . 1928)</p> <p>Six Songs\, Op. 7<em>: </em><strong>Fanny Mendelssohn Hense
 l</strong> (1805-1847) orchestrated by David A. Rahbee<br>1\, Nachtwandere
 r<br>2. Erwin<br>3. Frühling<br>4. Du bist die Ruh<br>5. Bitte<br>6. Dein 
 ist mein Herz<em><br></em><em>Carrie Shaw\, soprano</em></p> <p>Intermis
 sion</p> <p>Symphony No. 3\, in A minor\, Op. 5
 6<em>\, “Scottish”:<strong> </strong></em><strong>Felix Mendelssohn (1809-1847)<br>I. Andante con moto–Allegro un poco agitato<br>II. Vivac
 e non troppo<br>III. Adagio<br>IV. Allegro vivacissimo–Allegro maestoso as
 sai</p> <hr> <h3>Program Notes</h3> <p><em>by M
 ica Weiland</em></p> <p><strong>Thea Musgrave &lt;
 /strong&gt;(b. 1928)<br><strong><em>Loch Ness\; A Postcard from Scotland</em>
  </strong>(comp. 2012)</p> <p>Thea Musgrave\, a
  Scottish composer born in Edinburgh in 1928\, studied under the renowned 
 Nadia Boulanger at the Paris Conservatoire and Aaron Copland at the Tangle
 wood Institute. Over her career\, she has produced a rich and varied body 
 of work\, including many orchestral pieces\, concerti\, and operas. Her co
 mpositional style is characterized by its dramatic intensity and theatrica
 l flair\, particularly evident in <em>Loch Ness</em>.</p> <p><em>Loch Ness: A Postcard from Scotland</em> is a vivid tone
  poem inspired by the legendary Scottish tale of the Loch Ness monster. In
  this piece\, the monster is represented by the tuba\, whose long\, broodi
 ng solos punctuate the music. Emerging from the mist—evoked by the shimmer
 ing harmonics of the strings—the creature is gradually bathed in warmth as
  the trumpets shine through. The piece quotes an ancient Scottish melody a
 s the sun sets\, signaling the monster’s retreat into the water with a fin
 al\, dramatic splash. As the moon rises and the water calms\, the piece en
 ds in peaceful serenity. <span> </span></p> <p>
 <strong>Fanny Mendelssohn Hensel</strong> (1805-1847) <span> <br></span><s trong><em>Six Songs</em> op. 7</strong> (orch. Rahbee) (comp. 1839-1846)<s pan> </span></p> <p>Fanny Mendelssohn was born in Hamburg in 1805\, the el
 dest of four children\, including her younger brother Felix. She grew up i
 n Berlin\, where she received a solid musical education and became known f
 or her talent as both a pianist and composer. However\, as she came of age
 \, her father discouraged her musical ambitions\, pushing her instead towa
 rd the conventional role of a homemaker—what society expected of women at 
 the time. Despite stepping away from public composition\, Fanny continued 
 to write music in private. Her output includes a string quartet\, a piano 
 trio\, a piano quartet\, an orchestral overture\, four cantatas\, more tha
 n 125 piano pieces\, and over 250 lieder. Most of these works went unpubli
 shed during her lifetime\, and many were mistakenly attributed to her brot
 her Felix. A gifted melodist\, her <em>Six Songs</em> op. 7 are a testamen
 t to her compositional prowess.</p> <p><strong>I. Nachtwanderer</strong><s pan> </span>“Night wanderer”<br>A misty\, peaceful song that illustrates w
 alking under the moonlight.<span> </span></p> <p><strong>II. Erwin<br>A delicate\, yearning love song which includes many musical themes an
 d metaphors relating to springtime and flowers.<span> </span></p> <p>III. Frühling</strong><span> </span>'Spring'<br>A vibrant song that ope
 ns with the chime of bells\, soon blending in effects that evoke the flutt
 ering of birds' wings and the blossoming of flowers.</p> <p><strong>IV. Du
  bist die Ruh “</strong>You are at peace”<br>A flowing song that evokes bo
 th the pain and the peace that love brings.</p> <p><strong>V. Bitte<br></s>A dark and somber song with a dream-like quality.</p> <p><strong>VI.
  Dein ist mein Herz</strong> “Yours is my heart”<br>A lush song that weave
 s together themes of longing and springtime\, bringing the song cycle to a
  harmonious and satisfying conclusion.<span> </span></p> <p><span> </span><strong>Felix Mendelssohn (1809-1847)</strong>&lt;
 br&gt;<strong><em>Symphony No.3\, op.56\, A minor “Scottish” </em>(comp. 1829
 -1842)</strong></p> <p><span></span><strong> </span></strong>On July 30\, 1829\, Felix Mendelssohn wrote to his par
 ents from Edinburgh:<br>In the twilight today we went to the [Holyrood] Pa
 lace where Queen Mary [Stuart] lived and loved. There is a little room to 
 be seen there with a spiral staircase at its door. . .. The chapel beside 
 it has now lost its roof. It is overgrown with grass and ivy\, and at the 
 broken altar\, Mary was crowned Queen of Scotland. Everything is ruined\, 
 decayed\, and open to the sky. I believe I have found there the beginning 
 of my Scotch Symphony.</p> <p>Felix Mendelssohn
  was born in 1809 in Hamburg. At just 20 years old\, he embarked on a memo
 rable trip to Scotland\, where he began sketching ideas for his third symp
 hony. Although these early sketches date back to 1829\, Mendelssohn's Symp
 hony No. 3 was not completed until 1842\, making it the last symphony he f
 inished. It is believed that the opening 16 bars of the symphony were insp
 ired by his description of the Holyrood Palace in his writings\, capturing
  the spirit of his Scottish journey.</p> <p>The
  work begins with a somber\, ethereal theme introduced by the violas and o
 boes\, setting a reflective mood before transitioning into an agitated exp
 osition. Throughout the first movement\, the initial colors of the opening
  bars resurface\, allowing the composer to vividly convey his experience o
 f Scotland. The symphony is structured so that each movement flows seamles
 sly into the next\, with each one further developing the themes introduced
  earlier. After a reprise of the opening motif\, the second movement emerg
 es with a lively\, spirited energy. Here\, the strings create an airy text
 ure that beautifully supports the melody played by the clarinets. The folk
 -inspired melodies\, infused with the distinctive Scotch-snap rhythm\, dra
 w clear influence from traditional Scottish music.</p> <p>The third movement is defined by its delicate pizzicato\, which
  drifts throughout\, balanced by an underlying sense of immense gravity. I
 nitially unassuming\, it gradually leads us through smooth\, flowing legat
 o passages in the violins and cellos before building into a grand march\, 
 with the winds and brass taking center stage. The finale introduces a live
 ly\, dance-like rhythm\, its sharp edges creating a sense of urgency. Amid
  this dance\, a fugue emerges\, adding tension and anticipation for what i
 s to come. The coda offers the movement’s greatest surprise\, concluding w
 ith a regal theme in A major. This majestic ending perfectly wraps up the 
 symphony\, providing a fitting and powerful conclusion to a complex and st
 ormy masterpiece.</p> <p></p> <table> <tbody> <tr> <td> <h4>University of W
 ashington Symphony Orchestra</h4> <p><em>David Alexander Rahbee\, Music Di
 rector and Conductor</em><br><em>Ryan Farris and Robert Stahly\, Assistant
  Conductors</em></p> <p><strong><u>Flute<br></u></strong>Erin McAfee\, MM 
 Flute Performance<br>Tracia Pan\, Flute Performance\, Statistics<br>Grace 
 Playstead\, MM Flute Performance<br>Rachel Reyes\, DMA Woodwinds<br>Claire
  Wei\, BM\, Music</p> <p><strong></strong><strong><u>Piccolo<br></u>Erin McAfee\, MM Flute Performance<br><strong><br><u>Oboe</u><br>Max Bolen\, Marine Biology<br>Minh-Thi Butler\, BM Music Education</p> 
 <p><strong><u>English Horn<br></u></strong>Max Boyd\, Oboe Performance</p>
  <p><strong><u>Clarinet</u></strong><strong><br></strong>Ysanne Webb\, DMA
  Clarinet Performance<strong><br></strong>Nick Zhang\, BS Computer Science
 </p> <p><strong><u></u></strong><strong><u>Bass Clarinet<br></u></strong>C
 ameron DeLuca\, DMA Clarinet Performance</p> <p><strong><u>Bassoon<br></u>
 </strong>Ryan Kapsandy\, BM Bassoon Performance<br>Rian Morgan\, Music/Nut
 ritional Science<br>Eric Shankland\, BA Music History<br>Eric Spradling\, 
 BM Bassoon Performance</p> <p><strong><u></u></strong><strong><u>Contrabas
 soon<br></u></strong>Alex Fraley\, Music Education<br><br><strong><u>Horn&lt;
 /u&gt;     <br></strong>Nicole Bogner\, BM Horn Performance<br>Colin Laskarze
 wski\, BS Physics<br>Elise Moe\, BM Horn Performance<br>Sam Nutt\, Molecul
 ar &amp; Cellular Biology<br>Noelani Stewart\, Political Science\, American Et
 hnic Studies</p> <p><strong><br><u>Trumpet<br></u></strong>Hans Faul\, BM 
 Trumpet Performance<br>Kyle Jenkins\, MM Trumpet Performance<br>Antti Männ
 istö\, Mechanical Engineering<br>Drew Theran\, MM Trumpet Performance<br></strong><br><strong><u>Trombone<br></u></strong>Jonathan Elsner\, 
 Applied &amp; Computational Mathematics<br>Neal Muppidi\, BM Trombone Performa
 nce<br>Nathanael Wyttenbach\, Music Composition<strong> </strong></p> <p>&lt;
 strong&gt;<u>Bass Trombone</u></strong><strong><br></strong>Duncan Weiner\, A
 ero-Astro Engineering/Linguistics</p> <p><strong><u>Tuba<br></u></strong>C
 hris Seay\, DMA Tuba Performance<strong><br></strong></p> <p><strong><u>Ti
 mpani<br></u></strong>Abigail George\, Applied Physics/BM Percussion Perfo
 rmance<br><br><strong><u>Percussion<br></u></strong>Kaisho Barnhill\, Musi
 c Education\, Psychology<br>Momoka Fukushima\, Percussion Performance<br>I
 vy Moore\, Bioresource Science and Engineering</p> <p><strong><u></u><strong><u>Harp</u></strong><strong><br></strong>Kelly Hou\, Alumna</p> <p><strong><u></u></strong><strong><u></u></strong><strong><u></u><strong><u>Violin I<br></u></strong>Grace Pandra\, Violin Performance/B
 usiness Administration (Co-concertmaster)<br>Hanu Nahm\, Violin Performanc
 e/BS Microbiology (Co-concertmaster)<br>David Teves-Tan\, Pre-Sciences<br>
 Hai-Ryung Jang\, DMA Violin Performance<br>Nahuel Weber-Jacobsen\, Social 
 Sciences<br>Ido Avnon\, MS Computer Sciences &amp; Engineering<br>Justin Chae\
 , Computer Science<br>Amelie Martin\, Mathematics<br>Brandon Bailey\, Comp
 uter Science<br>David Mok\, Computer Engineering<br>Adora Wu\, Computer Sc
 ience<br>Nicole Chen\, Informatics<br>Alex Metzger\, Computer Science<br>J
 ie Zhou\, Music<br>Giulia Rosa\, Music<br>Lyle Deng\, Computer Science</p>
  <p><strong><u>Violin II<br></u></strong>Taylor DeCastro\, MM Violin Perfo
 rmance (Principal)<br>Michaela Klesse\, Music<br>Sean Sasaki\, Music Educa
 tion<br>Thea Higgins\, Industrial Engineering: Data Science<br>Alice Leppe
 rt\, Chemistry<br>Talal Kheiry\, Pre-Sciences<br>Rylan Ferron-Jones\, Civi
 l Engineering<br>Anja Westra\, Marine Biology<br>Jasmine Palikhya\, Intern
 ational Studies<br>Victoria Zhuang\, Pre-Sciences<br>Justene Li\, Pre-Scie
 nces<br>Danny Zhang\, Pre-Sciences<br>Fengrui Liu\, Finance<br>Freya Frahm
 \, Computer Sciences/BM Piano Performance<br>Hannah Pena-Ruiz\, Music Hist
 ory</p> <p><strong><u>Viola</u></strong><strong>     <br></strong>Flora Cu
 mmings\, Viola Performance/Biology (Co-Principal)<br>Mica Weiland\, Viola 
 Performance (Co-Principal)<br>Abigail Schidler\, Computer Science/Music Th
 eory<br>Emma Boyce\, Music<br>Annika Johnson\, Pre-Sciences<br>Melia Golde
 n\, Biochemistry<br>Mia Grayson\, Biochemistry<br>Hailey Nappen\, Pre Scie
 nces<br>David Del Cid-Saavedra\, Education Studies<br>Alan Fan\, Internati
 onal Studies<br>Aribella Brushie\, Pre-Sciences<br>Alissa Harbani\, Bioeng
 ineering/Music<br>Melany Nanayakkara\, Mathematics<br><strong><br><u>Violo
 ncello</u>         <br></strong>Cory Chen\, BA in Music/Intended Neuroscie
 nce (Principal)<br>Loni Yin\, Pre-Sciences<br>Nathan Evans\, BA Music Hist
 ory<br>Alastair Goodchild\, Engineering<br>Katherine Kang\, Human Centered
  Design &amp; Engineering<br>Ignacio (Nacho) Tejeda\, PhD Mathematics<br>Jack 
 Ruffner\, Pre-Social Sciences<br>Mina Wang\, Informatics<br>Ava Reese\, Aq
 uatic and Fishery Sciences<br>Eli Kashman\, Bioengineering<br>Andrew Vu\, 
 Chemistry<br>Amanda Song\, Accounting and Marketing<br>Noah Croskey\, Indu
 strial Engineering<br>Ally Wu\, Electrical Engineering<br>Bashir Abdel-Fat
 tah\, PhD Mathematics<br><strong><br><u>Bass</u>    <br></strong>Amelia Ma
 tsumoto\, BM Bass Performance (Principal)<br>Eddie Nikishina\, Educational
  Studies<br>Nathan Eskridge\, MM Bass Performance<br>Gabriella Kelley\, En
 glish<br>Joshua Bonifas\, Pre-Education<br>Ethan Park\, Biology </p> </td>
  </tr> </tbody> </table> <h3>Biographies</h3>
END:VEVENT
BEGIN:VEVENT
UID:952de4cc-3141-4474-9fd1-12b6a4c68670
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T202117Z
DESCRIPTION:<p>Students of Michael Partington present guitar solo\, duo and
  quartet music by Manuel de Falla\, Georges Bizet\, Fernando Sor\, Mauro G
 iuliani\, and others.</p>\n<hr>\n<h3>Program</h3>\n<p><strong><br></strong>Fernando Sor (1778-1839)<br><strong>Waltz Op. 
 44b No. 1</strong>                                                        
                                                                           
                                         <br><br><strong>Waltz Op. 44b No. 
 3<br></strong><strong>Carnavalito </strong>(Peru)                         
                                                                           
                                                                           
                        arr. Yvon Rivoal<br><strong>Cueca</strong> (Bolivia
 )<br>Molly Curry\, Fernando Recinos</p>\n<p>Jos
 e Luis Merlin (b. 1952)<br><strong>Evocacion</strong>                     
                                                                           
                                                                           
                        <br><strong>Zamba<br></strong>Wil Moreau </p>\n<p s tyle=' 400\;'>Heitor Villa-Lobos (1887-1959)<br><strong>Prelud
 e No. 1</strong>                                                          
                                                                           
                                          <br>Nathan Lee </p>\n<p>Mauro Giuliani (1781-1829)<br><strong>Allegro con spirit
 o\, Op. 15</strong>                                                       
                                                                           
                        <br>Thomas Wardian</p>\n<p>Georges Bizet (1838-1875)<br><strong>Aragonaise</strong>               
                                                                           
                                                                           
                         <br><strong>Habanera</strong>                     
                                                                           
                                                                           
                             arr. William Kanengiser</p>\n<p>Manuel de Falla (1876-1946)<br><strong>La Vida Breve</strong>
                                                                           
                                                                           
                               <br>arr. David Gaudreau<br>Nathan Lee\, Eric
  Lin\, Wil Moreau\, Thomas Wardian</p>\n<hr>\n<h3>Director Bio</h3>
DTSTART;TZID=America/Los_Angeles:20250207T193000
LAST-MODIFIED:20250207T191947Z
SEQUENCE:146
SUMMARY:: Guitar Studio Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-08/guitar-studio-recital
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Students of Michael Partington present guit
 ar solo\, duo and quartet music by Manuel de Falla\, Georges Bizet\, Ferna
 ndo Sor\, Mauro Giuliani\, and others.</p> <hr> <h3>Program</h3> <p><span><strong><br></strong>Fernando Sor (1778-1839)<b r><strong>Waltz Op. 44b No. 1</strong></span><span>                       
                                                                           
                                                                          &lt;
 br&gt;<br></span><span><strong>Waltz Op. 44b No. 3<br></strong></span><span>&lt;
 strong&gt;<em>Carnavalito </em></strong></span><span>(Peru)                  
                                                                           
                                                                           
                               arr. </span><span>Yvon Rivoal</span><span><b r><strong><em>Cueca</em></strong> (Bolivia)<br></span><em>Molly Curry\, Fe
 rnando Recinos</em></p> <p>Jose Luis Merlin (b.
  1952)<br><strong>Evocacion</strong>                                      
                                                                           
                                                                           
       <br><strong>Zamba<br></strong>Wil Moreau </p> <p><span>Heitor Villa-Lobos (1887-1959)<br><strong>Prelude No. 1</span><span>                                                         
                                                                           
                                           </span><span><br></span><em>Nath
 an Lee </em></p> <p><span>Mauro Giuliani (1781-
 1829)<em><br></em><strong><em>Allegro con spirito\, Op. 15</em></strong></span><span>                                                               
                                                                           
                </span><span><br></span><em>Thomas Wardian</em></p> <p styl e=' 400\;'><span>Georges Bizet (1838-1875)<br><em></em><strong><em>Aragonaise</em></strong></span><span>                                
                                                                           
                                                                           
        </span><span><br><strong><em>Habanera</em></strong>                
                                                                           
                                                                           
                                  arr. </span><span>William </span><span>Ka
 nengiser</span></p> <p><span>Manuel de Falla (1
 876-1946)<br><strong><em>La Vida Breve</em></strong></span><span>         
                                                                           
                                                                           
                      </span><span><br></span><span>arr. </span>David Gaudr
 eau<br><em><span>Nathan Lee\, Eric Lin\, Wil Mo
 reau\, Thomas Wardian</span></em></p> <hr> <h3>Director Bio</h3>
END:VEVENT
BEGIN:VEVENT
UID:fa076fc9-4466-4714-9127-8f62f963ed01
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals
CLASS:PUBLIC
CREATED:20241120T231946Z
DESCRIPTION:<p>Doctoral student Heidi Blythe (DMA Choral Conducting) presen
 ts a degree recital\, 'Whispering Hush\,' featuring the UW Cohort Ensemble
 \, Recital Choir\, and Treble Choir. With Stephen Swanson\, collaborative 
 pianist\; Holly Eckert\, concertmaster\; and members of FCCB Chancel Choir
 \, UCUCC Chancel Choir\, St. Thomas Medina Choir\, and St. James Cathedral
  Choir.</p>\n<hr>\n<h3>Biography</h3>
DTSTART;TZID=America/Los_Angeles:20250208T160000
LAST-MODIFIED:20241120T232331Z
SEQUENCE:147
SUMMARY:: Degree Recital: Heidi Blythe\, DMA Choral Conducting
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-09/degree-recital-heidi-bly
 the-dma-choral-conducting
END:VEVENT
BEGIN:VEVENT
UID:5e0c6446-6749-4749-aba2-c00dae2caeae
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals
CLASS:PUBLIC
CREATED:20250128T150904Z
DESCRIPTION:<p></p>\nAlex Fang (DMA Piano Performance)\, a student of Craig
  Sheppard\, performs works by Chopin\, Beethoven\, and Ravel in this docto
 ral degree recital.<hr>\n\n<strong>Note:</strong> This event will be live-
 streamed. <a href='https://youtube.com/live/4cRiJrZf3HA?feature=share' tar get='_blank' rel='noopener noreferrer'>Join the Livestream </a>\n<hr>\n<h3>Program</h3>\n<p><strong>Frédéric Chopin (1810-1849)</strong><br>Polonais
 e-Fantaisie\, Op. 61<br><br><strong>Ludwig van Beethoven (1770-1827)<br>Piano Sonata No. 32 in C Minor\, Op. 111<br>I. Maestoso – Allegro c
 on brio ed appassionato<br>II. Arietta. Adagio molto semplice cantabile<br><br>-intermission-<br><br><strong>Maurice Ravel (1875-1937)</strong><br>G
 aspard de la nuit<br>I. Ondine<br>II. Le Gibet<br>III. Scarbo</p>\n<hr>\n&lt;
 h3&gt;Biography</h3>
DTSTART;TZID=America/Los_Angeles:20250208T163000
LAST-MODIFIED:20250204T014702Z
SEQUENCE:148
SUMMARY:: Degree Recital: Alex Fang\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-09/degree-recital-alex-fang
 -piano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <div>Alex Fang (DMA Piano Performance)
 \, a student of Craig Sheppard\, performs works by Chopin\, Beethoven\, an
 d Ravel in this doctoral degree recital.<hr></div> <div></div> <div>Note:</strong> This event will be live-streamed. <a href='https://youtub
 e.com/live/4cRiJrZf3HA?feature=share' target='_blank' rel='noopener norefe
 rrer'>Join the Livestream </a></div> <div><hr></div> <h3>Program</h3> <p>&lt;
 strong&gt;Frédéric Chopin (1810-1849)</strong><br>Polonaise-Fantaisie\, Op. 6
 1<br><br><strong>Ludwig van Beethoven (1770-1827)</strong><br>Piano Sonata
  No. 32 in C Minor\, Op. 111<br>I. Maestoso – Allegro con brio ed appassio
 nato<br>II. Arietta. Adagio molto semplice cantabile<br><br>-intermission-
 <br><br><strong>Maurice Ravel (1875-1937)</strong><br>Gaspard de la nuit<b r>I. Ondine<br>II. Le Gibet<br>III. Scarbo</p> <hr> <h3>Biography</h3>
END:VEVENT
BEGIN:VEVENT
UID:291ad884-461e-4128-bdb9-027104fe19d0
DTSTAMP:20260307T094252Z
CATEGORIES:Performances
CLASS:PUBLIC
CREATED:20241004T213242Z
DESCRIPTION:<p>The UW's Department of Digital Arts and Experimental Media p
 resents its Fall Quarter Concert.</p>\n<hr>\n<p><a href='https://dxarts.wa
 shington.edu/events/2024-11-07/dxarts-fall-concert' target='_blank' rel='n
 oopener noreferrer'>Learn more here</a></p>
DTSTART;TZID=America/Los_Angeles:20250212T193000
LAST-MODIFIED:20241004T213242Z
SEQUENCE:149
SUMMARY:: External Event: DXARTS Winter Concert
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-13/external-event-dxarts-wi
 nter-concert
END:VEVENT
BEGIN:VEVENT
UID:a342338b-c75b-42d1-9453-33715260267d
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T213025Z
DESCRIPTION:<p></p>\n<p>UW strings students compete for outside judges for 
 a chance to perform with the UW Symphony. Adjudicators for this competitio
 n are conductor Sunny Xuecong Xia and violist Mara Gearman.</p>\n<hr>\n<h3>Program<br><br></h3>\n<p>Competitor: <strong>Hanu Nahm\,</strong> violin&lt;
 br&gt;<strong>Alexander Kostadinov\,</strong> piano<br><br>Violin Concerto No
 . 2 in G minor\, Op. 63: <strong>Sergei Prokofiev<br></strong>I. Allegro m
 oderato </p>\n<p>Competitor: <strong>Flora Cumm
 ings\,</strong> viola\; <strong>Mia HyeYeon Kim</strong>\, piano</p>\n<p s tyle=' 400\;'>Viola Concerto in C minor\, Op. 25: <strong>York
  Bowen<br></strong>I. Allegro assai           </p>\n<p>Competitor: <strong>Eddie Mospan\,</strong> double bass\; <strong>
 Megan McElroy\,</strong> piano<br><br>Double Bass Concerto No. 2 in B mino
 r: <strong>Giovanni Bottesini<br></strong>I. Allegro<br>II. Andante</p>\n&lt;
 hr&gt;\n<h3>Adjudicator Biographies</h3>\n<p>Recognized for her innate musicality\, compelling pr
 esence\, and technical precision\, conductor <strong>Sunny Xuecong Xia’</s>s ability to forge an immediate and captivating connection with orch
 estras and singers alike has led to engagements around the globe. Xia join
 ed the Seattle Symphony at the beginning of the 2022/2023 season as Dougla
 s F. King Assistant Conductor and was quickly promoted to Associate Conduc
 tor. Recent and upcoming engagements include the San Diego Symphony\, Phoe
 nix Symphony\, Tucson Symphony\, Olympia Symphony\, and Chandler Opera The
 ater. </p>\n<p>In the 2023/2024 season\, Xia le
 d the Seattle Symphony in over a dozen programs featuring soloists such as
  Conrad Tao\, Noah Geller\, and Mahani Teave. Highlights include the world
  premiere of Composer-in-Residence\, Angelique Poteat’s Dear Humanity for 
 Youth Chorus and Orchestra\, a work that harnesses the power of 50 voices 
 and full orchestra to confront climate change\, the Celebrate Asia program
  with violinist Kerson Leong\, and the Merriman-Ross Family Young Composer
 s Workshop Concert that featured 10 world premieres. She served as Tan Dun
 ’s assistant during the composer’s acclaimed residency presenting his six-
 Act oratorio\, Buddha Passion. Xia has additionally served as Cover Conduc
 tor at the St. Louis Symphony Orchestra under Dame Jane Glover and James G
 affigan. <br><br>Equally at home in the opera pit\, Xia recently led a pro
 duction of La bohème with the Chandler Opera Company to great success. She
  has previously served as assistant conductor for productions of Così fan 
 tutte\, Hänsel und Gretel\, Die Zauberflöte\, The Juniper Tree\, Le Rossig
 nol\, and L’Enfant et les Sortilèges\, among others. A dynamic interpreter
  of contemporary music\, Xia has over a dozen world premieres under her cr
 edit. In 2022\, Xia was named a Conducting Fellow at the Cabrillo Festival
  of Contemporary Music where she made her festival debut leading the world
  premiere of Marc Migó Cortés' Dumka. Recent performances have featured wo
 rks by Gabriella Smith\, Angelique Poteat\, Samuel Adams\, Jerod Tate\, Ju
 hi Bansal\, Gabriela Ortiz\, and Tan Dun. She has previously led the Cleve
 land Institute of Music New Music Ensemble in series such as the Cleveland
  NEOSonicFest and CIM New Music Series. </p>\n<p>Xia holds a dual master’s degree in Conducting and Violin Performance fr
 om the Cleveland Institute of Music and a doctoral degree from Arizona Sta
 te University. At the Seattle Symphony\, she is mentored by Ludovic Morlot
  and Xian Zhang. For three summers\, she attended the Monteux School and M
 usic Festival as a Kurt &amp; Torj Wray Conducting Scholar. An accomplished vi
 olinist\, she performed as a soloist with orchestras in China and Australi
 a\, including the symphony orchestras of Harbin\, Zheijiang\, Hunan and Gu
 angxi\, and the Concertante Ensemble. While attending Cleveland Institute 
 of music\, she has served as concertmaster of the CIM Orchestra. Her princ
 ipal mentors include Michael Jinbo\, Jeffery Meyer\, Tito Muñoz\, Jan Mark
  Sloman\, and Carl Topilow.</p>\n<p>Originally 
 from Guangzhou\, China\, Xia relocated to Sydney\, Australia at the age of
  14 on a scholarship from the Australian String Academy that allowed her t
 o further her violin studies with Peter Shi-xiang Zhang and Charmian Gadd.
  A talented basketball athlete\, she competed in the New South Wales Metro
  Junior League before focusing primarily on her musical pursuits. When not
  performing or enjoying a pick-up game\, she can be found reading\, hiking
 \, or learning languages. She speaks Cantonese\, English\, Mandarin\, and 
 Teochew\, and is improving upon her French\, German\, and Italian.</p>\n<p><strong>Mara Gearman\, </strong>born and raise
 d in Seattle\, Washington\, embarked on her musical journey at a tender ag
 e\, delving into the world of strings under the guidance of her mother. Be
 ginning with the violin through the Suzuki method at the age of two. Howev
 er\, it was at the age of nine that she made a pivotal shift\, transitioni
 ng to the viola\, a decision that would shape her future career.</p>\n<p s tyle=' 400\;'>Throughout her formative years\, Mara earned awa
 rds in various competitions\, highlighting her excellence on the viola. No
 tably\, the prestigious RoundTop Music Festival and the Strings Seminar in
  New York City.</p>\n<p>After graduating from G
 arfield High School in 1997\, Mara's musical journey continued at the Curt
 is Institute of Music from 1997 to 2002\, where she studied with Karen Tut
 tle and Roberto Diaz.</p>\n<p>Expanding her hor
 izons\, Mara attended Verbier Masterclasses\, the Netherlands' Masterclass
  course led by Nobuko Imai\, the Sarasota Music Festival\, Domaine Forget 
 Chamber Music and Solo Courses\, Banff Masterclasses\, and the NAC Young A
 rtists Program under the guidance of Pinchas Zukerman. She has immersed he
 rself in acclaimed masterclasses and festivals globally\, learning from lu
 minaries such as Nobuko Imai and Pinchas Zukerman.</p>\n<p>An enthusiastic educator\, Mara taught at esteemed institution
 s such as Central Washington University and Cornish College of the Arts. H
 er commitment to nurturing young talents extends beyond the classroom\, as
  she has organized and led intensive chamber music courses at both high sc
 hool and college levels\, fostering the next generation of musicians.</p>
 \n<p>During the 2023-2024 concert season\, Mara
  performed alongside esteemed collaborators\, transitioning between solo p
 erformances and ensemble settings. Notable highlights include her mesmeriz
 ing renditions alongside Conrad Tao at the Seattle Symphony\, delivering s
 oul-stirring interpretations of Joe Hisaishi's compositions and the intric
 ate works of Samuel Adams. Mara also collaborated with pianist Paige Mallo
 y in a poignant performance of Paul Chihara's viola and piano sonata.</p>
 \n<p>In addition to her orchestral and solo end
 eavors\, Mara has performed with chamber ensembles such as the Barston Str
 ing Quartet and Trio Tara. Mara performs with the Oregon Symphony\, is a p
 rinciple in the Kansas City Symphony\, and section and assistant principle
  in the Seattle Symphony. Currently\, Mara is currently acting principal v
 iola of the Seattle Symphony.</p>
DTSTART;TZID=America/Los_Angeles:20250214T150000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:150
SUMMARY:: Concerto Competition: Strings
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-14/concerto-competition-str
 ings
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>UW strings students compete for out
 side judges for a chance to perform with the UW Symphony. Adjudicators for
  this competition are conductor Sunny Xuecong Xia and violist Mara Gearman
 .</p> <hr> <h3>Program<br><br></h3> <p>Competitor: <strong>Hanu Nahm\, violin<br><strong>Alexander Kostadinov\,</strong> piano<br><br>Violi
 n Concerto No. 2 in G minor\, Op. 63<span>: </span><strong>Sergei Prokofie
 v<br></strong>I. Allegro moderato </p> <p>Compe
 titor: <strong>Flora Cummings\,</strong> viola\; <strong>Mia HyeYeon Kim</strong>\, piano</p> <p>Viola Concerto in C mino
 r\, Op. 25<span>: </span><strong>York Bowen<br></strong>I. Allegro assai<s pan>           </span></p> <p>Competitor: Eddie Mospan\,</strong> double bass\; <strong>Megan McElroy\,</strong> 
 piano<br><br>Double Bass Concerto No. 2 in B minor<span>: </span><strong>G
 iovanni Bottesini<br></strong>I. Allegro<br>II. Andante</p> <hr> <h3>Adjudicator Biographies</h3> <p><span>Recognized for her innate musicality\, compelling presence\, 
 and technical precision\, conductor <strong>Sunny Xuecong Xia’</strong>s a
 bility to forge an immediate and captivating connection with orchestras an
 d singers alike has led to engagements around the globe. Xia joined the Se
 attle Symphony at the beginning of the 2022/2023 season as Douglas F. King
  Assistant Conductor and was quickly promoted to Associate Conductor. Rece
 nt and upcoming engagements include the San Diego Symphony\, Phoenix Symph
 ony\, Tucson Symphony\, Olympia Symphony\, and Chandler Opera Theater. </s></p> <p><span>In the 2023/2024 season\, Xia
  led the Seattle Symphony in over a dozen programs featuring soloists such
  as Conrad Tao\, Noah Geller\, and Mahani Teave. Highlights include the wo
 rld premiere of Composer-in-Residence\, Angelique Poteat’s</span><span> </span><span>Dear Humanity</span><span> </span><span>for Youth Chorus and Or
 chestra\, a work that harnesses the power of 50 voices and full orchestra 
 to confront climate change\, the Celebrate Asia program with violinist Ker
 son Leong\, and the Merriman-Ross Family Young Composers Workshop Concert 
 that featured 10 world premieres. She served as Tan Dun’s assistant during
  the composer’s acclaimed residency presenting his six-Act oratorio\,<span> </span><span>Buddha Passion</span><span>. Xia has additionally se
 rved as Cover Conductor at the St. Louis Symphony Orchestra under Dame Jan
 e Glover and James Gaffigan. <br></span><br><span>Equally at home in the o
 pera pit\, Xia recently led a production of</span><span> </span><span>La b
 ohème</span><span> </span><span>with the Chandler Opera Company to great s
 uccess. She has previously served as assistant conductor for productions o
 f</span><span> </span><span>Così fan tutte</span><span>\,</span><span> </s><span>Hänsel und Gretel</span><span>\,</span><span> </span><span>Die Z
 auberflöte</span><span>\,</span><span> </span><span>The Juniper Tree</span><span>\,</span><span> </span><span>Le Rossignol</span><span>\, and</span>
 <span> </span><span>L’Enfant et les Sortilèges</span><span>\, among others
 . A dynamic interpreter of contemporary music\, Xia has over a dozen world
  premieres under her credit. In 2022\, Xia was named a Conducting Fellow a
 t the Cabrillo Festival of Contemporary Music where she made her festival 
 debut leading the world premiere of Marc Migó Cortés'</span><span> </span>
 <span>Dumka</span><span>. Recent performances have featured works by Gabri
 ella Smith\, Angelique Poteat\, Samuel Adams\, Jerod Tate\, Juhi Bansal\, 
 Gabriela Ortiz\, and Tan Dun. She has previously led the Cleveland Institu
 te of Music New Music Ensemble in series such as the Cleveland NEOSonicFes
 t and CIM New Music Series. </span></p> <p>Xia holds a dual master’s degree in Conducting and Violin Performance fr
 om the Cleveland Institute of Music and a doctoral degree from Arizona Sta
 te University. At the Seattle Symphony\, she is mentored by Ludovic Morlot
  and Xian Zhang. For three summers\, she attended the Monteux School and M
 usic Festival as a Kurt &amp; Torj Wray Conducting Scholar. An accomplished vi
 olinist\, she performed as a soloist with orchestras in China and Australi
 a\, including the symphony orchestras of Harbin\, Zheijiang\, Hunan and Gu
 angxi\, and the Concertante Ensemble. While attending Cleveland Institute 
 of music\, she has served as concertmaster of the CIM Orchestra. Her princ
 ipal mentors include Michael Jinbo\, Jeffery Meyer\, Tito Muñoz\, Jan Mark
  Sloman\, and Carl Topilow.</span></p> <p><span>Originally from Guangzhou\, China\, Xia relocated to Sydney\, Australia a
 t the age of 14 on a scholarship from the Australian String Academy that a
 llowed her to further her violin studies with Peter Shi-xiang Zhang and Ch
 armian Gadd. A talented basketball athlete\, she competed in the New South
  Wales Metro Junior League before focusing primarily on her musical pursui
 ts. When not performing or enjoying a pick-up game\, she can be found read
 ing\, hiking\, or learning languages. She speaks Cantonese\, English\, Man
 darin\, and Teochew\, and is improving upon her French\, German\, and Ital
 ian.</span></p> <p><strong>Mara Gearman\, born and raised in Seattle\, Washington\, embarked on her musical jour
 ney at a tender age\, delving into the world of strings under the guidance
  of her mother. Beginning with the violin through the Suzuki method at the
  age of two. However\, it was at the age of nine that she made a pivotal s
 hift\, transitioning to the viola\, a decision that would shape her future
  career.</p> <p>Throughout her formative years\
 , Mara earned awards in various competitions\, highlighting her excellence
  on the viola. Notably\, the prestigious RoundTop Music Festival and the S
 trings Seminar in New York City.</p> <p>After g
 raduating from Garfield High School in 1997\, Mara's musical journey conti
 nued at the Curtis Institute of Music from 1997 to 2002\, where she studie
 d with Karen Tuttle and Roberto Diaz.</p> <p>Ex
 panding her horizons\, Mara attended Verbier Masterclasses\, the Netherlan
 ds' Masterclass course led by Nobuko Imai\, the Sarasota Music Festival\, 
 Domaine Forget Chamber Music and Solo Courses\, Banff Masterclasses\, and 
 the NAC Young Artists Program under the guidance of Pinchas Zukerman. She 
 has immersed herself in acclaimed masterclasses and festivals globally\, l
 earning from luminaries such as Nobuko Imai and Pinchas Zukerman.</p> <p s tyle=' 400\;'>An enthusiastic educator\, Mara taught at esteem
 ed institutions such as Central Washington University and Cornish College 
 of the Arts. Her commitment to nurturing young talents extends beyond the 
 classroom\, as she has organized and led intensive chamber music courses a
 t both high school and college levels\, fostering the next generation of m
 usicians.</p> <p>During the 2023-2024 concert s
 eason\, Mara performed alongside esteemed collaborators\, transitioning be
 tween solo performances and ensemble settings. Notable highlights include 
 her mesmerizing renditions alongside Conrad Tao at the Seattle Symphony\, 
 delivering soul-stirring interpretations of Joe Hisaishi's compositions an
 d the intricate works of Samuel Adams. Mara also collaborated with pianist
  Paige Malloy in a poignant performance of Paul Chihara's viola and piano 
 sonata.</p> <p>In addition to her orchestral an
 d solo endeavors\, Mara has performed with chamber ensembles such as the B
 arston String Quartet and Trio Tara. Mara performs with the Oregon Symphon
 y\, is a principle in the Kansas City Symphony\, and section and assistant
  principle in the Seattle Symphony. Currently\, Mara is currently acting p
 rincipal viola of the Seattle Symphony.</p>
END:VEVENT
BEGIN:VEVENT
UID:ca9f51fd-8687-4346-80c4-8a20c6913dcd
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T193052Z
DESCRIPTION:<p></p>\n<p>UW voice students of Thomas Harper and Carrie Shaw 
 present their quarterly recital</p>\n<hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250218T160000
LAST-MODIFIED:20240808T193052Z
SEQUENCE:151
SUMMARY:: Voice Division Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-19/voice-division-recital
END:VEVENT
BEGIN:VEVENT
UID:b0313ec5-1a7e-4d13-9bb5-e33b0267deeb
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T182619Z
DESCRIPTION:<p></p>\n<p>UW Jazz Studies students perform in small combos ov
 er two consecutive nights of original tunes\, homage to the greats of jazz
 \, and experiments in composing and arranging. </p>\n<hr>\n<h3>Program</h3>\n<h4><b>ModalLisa <br>Cuong Vu - </b>Advisor <br><br></h4>\n<p>Yes and N
 o<b> - Wayne Shorter </b>arr. <b>Aiden Chan </b></p>\n<p>Lightened Nights&lt;
 b&gt; - Martin Nguyen </b></p>\n<p>Nereci - <strong>Djava</strong><b> </b><b>
 Marizinha </b>arr.<b> Don Tran</b></p>\n<p>Full Circle<b> - Martin Nguyen 
 </b></p>\n<p><b>Aiden Chan</b>\, drums\; <b>Don Tran</b>\, bass\; <b>Gavin
  Westland</b>\, piano\; <b>Martin Nguyen</b>\, alto sax\; <b>Gus Scharler&lt;
 /b&gt;\, tenor sax </p>\n<h4><br>The Six In Five</h4>\n<h4><b>Steve Rodby - &lt;
 /b&gt;Advisor </h4>\n<p><b><br></b>Step Tempest<b> - Herbie Nichols </b></p>
 \n<p>Nightfall<b> - Charlie Haden </b></p>\n<p>Isotope<b> - Joe Henderson 
  </b>arr. <b>Natalie Song </b></p>\n<p>High Noon<b> - Chris Potter </b></p>\n<p><b>Owen Gwinn</b>\, tenor sax\; <b>Aadithya Manoj</b>\, alto sax\; &lt;
 b&gt;Natalie Song</b>\, pianol <b>Riley Tobin</b>\, bass\; <b>Ethan Horn</b>\
 , drums\; <b>Marko Vidich</b>\, guitar </p>
DTSTART;TZID=America/Los_Angeles:20250219T193000
LAST-MODIFIED:20250220T010138Z
SEQUENCE:152
SUMMARY:: Jazz Innovations I
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-20/jazz-innovations-i
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>UW Jazz Studies students perform in
  small combos over two consecutive nights of original tunes\, homage to th
 e greats of jazz\, and experiments in composing and arranging. </p> <hr> &lt;
 h3&gt;Program</h3> <h4><b>ModalLisa <br>Cuong Vu - </b>Advisor<span class='Ap
 ple-converted-space'> <br><br></span></h4> <p>Yes and No<b> - Wayne Shorte
 r </b>arr. <b>Aiden Chan<span class='Apple-converted-space'> </span></b></p> <p>Lightened Nights<b> - Martin Nguyen<span class='Apple-converted-spac
 e'> </span></b></p> <p>Nereci - <strong>Djava</strong><b> </b><b>Marizinha
  </b>arr.<b> Don Tran</b></p> <p>Full Circle<b> - Martin Nguyen<span class='Apple-converted-space'> </span></b></p> <p><em><b>Aiden Chan</b>\, drums
 \; <b>Don Tran</b>\, bass\; <b>Gavin Westland</b>\, piano\; <b>Martin Nguy
 en</b>\, alto sax\; <b>Gus Scharler</b>\, tenor sax<span class='Apple-conv
 erted-space'> </span></em></p> <h4><br>The Six In Five</h4> <h4><b>Steve R
 odby - </b>Advisor<span class='Apple-converted-space'> </span></h4> <p><b>
 <br></b>Step Tempest<b> - Herbie Nichols<span class='Apple-converted-space
 '> </span></b></p> <p>Nightfall<b> - Charlie Haden<span class='Apple-conve
 rted-space'> </span></b></p> <p>Isotope<b> - Joe Henderson<span class='App
 le-converted-space'>  </span></b>arr. <b>Natalie Song<span class='Apple-co
 nverted-space'> </span></b></p> <p>High Noon<b> - Chris Potter<span class='Apple-converted-space'> </span></b></p> <p><em><b>Owen Gwinn</b>\, tenor 
 sax\; <b>Aadithya Manoj</b>\, alto sax\; <b>Natalie Song</b>\, pianol <b>R
 iley Tobin</b>\, bass\; <b>Ethan Horn</b>\, drums\; <b>Marko Vidich</b>\, 
 guitar<span class='Apple-converted-space'> </span></em></p>
END:VEVENT
BEGIN:VEVENT
UID:c93000e7-2663-4862-8d5f-ad3cbf093a50
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240930T163558Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20250220T120000
LAST-MODIFIED:20240930T163558Z
SEQUENCE:153
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-20/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:eb18fead-6930-40b9-a439-8dfbc6a659f0
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances\, Visiting Ar
 tists and Scholars
CLASS:PUBLIC
CREATED:20240809T000138Z
DESCRIPTION:<p></p>\n<p>Guest orchestra Harmonia (William White\, director)
  performs winning concerto excerpts by Rachmaninoff\, Poulenc\, Brahms\, a
 nd Grieg with UW piano students Jeffrey Tso\, Jiayi Wang\, Alex Fang\, and
  Katherine Lee.</p>\n<p>This performance is made possible with support fro
 m the Willard Schultz Piano Fund in the School of Music. </p>\n<hr>\n<h3>P
 rogram</h3>\n<p><strong>Edvard Grieg  (1843-1907): </strong>Piano<strong> 
 </strong>Concerto in A minor\, op. 16\, <br>1. Allegro molto moderato<br>&lt;
 strong&gt;Katherine Lee<br></strong></p>\n<p><strong>Johannes Brahms (1833-18
 97):  Piano Concerto No. 2 in B-flat\, op. 83\, <br> 1. Allegro non troppo
 <br>Alex Fang<br><br></strong>-Intermission-<br><br><strong>Francis Poulen
 c </strong>(1899-1963):  Piano Concerto <br>1. Allegretto <br>3. Rondeau à
  la française<strong><br>Jiayi Wang</strong><br></p>\n<p><strong>Sergei </strong><strong>Rachmaninoff </strong>(1873-1943):  Piano Concerto No. 2 in
  C minor<br>3. Allegro scherzando<br><strong>Jeffrey Tso</strong><br></p>
 \n<hr>\n<h3>Biographies</h3>\n<p><b>Katherine Lee</b> is a fourth-year und
 ergraduate majoring in piano performance with a minor in business. Born in
  Seattle\, she spent most of her childhood and early teenage years in Taiw
 an before returning to Seattle in 2017. Coming from a musical family\, Kat
 herine began studying the violin with her late grandfather at the age of t
 hree and started piano lessons before the age of four. She previously stud
 ied piano with Jessica Choe and briefly with Oana Rusu Tomai. She is curre
 ntly studying under Professor Craig Sheppard.</p>\n<p><strong>Alex Fang</s> is pursuing his doctorate under the guidance of Craig Sheppard at t
 he University of Washington. He received his masters from the San Francisc
 o Conservatory of Music and his bachelors from Northwestern University\, w
 here he additionally completed a combined bachelors/masters in computer sc
 ience. Notable performances include Rachmaninoff’s Piano Concerto No. 1 wi
 th the San Francisco Conservatory of Music Orchestra\, Brahms's Piano Conc
 erto No. 2 with the Bainbridge Symphony Orchestra\, and chamber performanc
 es alongside faculty members at Icicle Creek Chamber Music Festival in Lea
 venworth.</p>\n<p><strong></strong><b>Jiayi Wang </b>is a PhD student in p
 hysics at the University of Washington\, focusing on computational biophys
 ics to uncover the physics of life. Born and raised in Beijing\, she has a
 lways been drawn to science and has played piano since age five. In colleg
 e\, she discovered a strong interest in music and ended up double majoring
  in physics and music. She studied piano with Dr.Christopher Atzinger at S
 t.Olaf College and is now under Dr.Cristina Valdes’s instruction. Jiayi en
 joys being creative in both her research and performance. In her free time
 \, she likes hiking\, eating delicious food\, playing with her guinea pig\
 , and occasionally composing music. </p>\n<p type='cite'><strong>Jeffrey T
 so</strong> is a freshman at the University of Washington studying compute
 r science and piano performance. He began learning the piano at the age of
  four and is currently studying with Dr. Cristina Valdés. Along with winni
 ng the Colliver top prize award at the 2024 Monday Musical competition\, r
 ecent accolades include an alternate placement in the Oregon MTNA Senior P
 iano Competition and first prize at the Oregon Federation of Music Clubs M
 arjorie Trotter Memorial Scholarship Competition. Outside of music\, Jeffr
 ey enjoys playing chess and racquet sports with his friends.</p>\n<h3>Harm
 onia</h3>\n<p><strong>Harmonia</strong> is a vocal-instrumental ensemble u
 nique among Pacific Northwest musical organizations\, combining <a href='//www.harmoniaseattle.org/about/musicians/'>a 70-member orchestra wit
 h a 55-voice chorus</a> to perform oratorio masterworks alongside symphoni
 c and a cappella repertoire\, world premieres and chamber music.</p>\n<p>F
 ounded by <strong><a href='http://www.osscs.org/shangrow/tributes/'>George
  Shangrow</a></strong> in 1969 as the <strong>Seattle Chamber Singers\, from its inception the group performed a diverse array of music — w
 orks of the Medieval\, Renaissance and Baroque periods to contemporary pie
 ces and world premieres — accompanied by an ad hoc group of instrumentalis
 ts for Bach cantatas and Handel oratorios (many of which received their fi
 rst Seattle performances at SCS concerts).</p>\n<p>A decade later\, in 197
 9\, Shangrow formed an orchestra at the request of these musicians\, calli
 ng it the <strong>Broadway Chamber Symphony</strong> (after the Broadway P
 erformance Hall on Seattle’s Capitol Hill\, where it gave its first concer
 ts). The orchestra’s name soon became the <strong>Broadway Symphony and then (beginning with the 1991–1992 season) <strong>Orchestra Seattl
 e</strong>. With Shangrow on the podium (or conducting from the harpsichor
 d)\, the combined ensembles became renowned for performances of the Bach P
 assions and numerous Handel oratorios — particularly Messiah. During the “
 Bach Year” of 1985\, the organization presented 35 concerts devoted to doz
 ens upon dozens of Bach’s works to celebrate the 300th anniversary of the 
 composer’s birth.</p>\n<p>Over the past five decades\, the ensemble has pe
 rformed all of the greatest choral-orchestral masterpieces\, from Beethove
 n’s Ninth and Missa Solemnis to Stravinsky’s Symphony of Psalms\, Mendelss
 ohn’s Elijah to Brahms’ German Requiem\, and Haydn’s The Creation and The 
 Seasons to Britten’s War Requiem. Meanwhile\, the orchestra\, partnering w
 ith world-class soloists\, has explored the symphonic repertoire\, program
 ming beloved warhorses alongside seldom-performed gems. Throughout\, Shang
 row championed the music of local composers (in particular Huntley Beyer\,
  Robert Kechley\, Roupen Shakarian and Carol Sams\, pictured below)\, pres
 enting well over 100 world premieres.</p>\n<p>George Shangrow lost his lif
 e in a car crash on July 31\, 2010\, an event that shocked not only our mu
 sicians and our audiences\, but the entire Pacific Northwest musical commu
 nity. Over the ensuing three seasons\, the volunteer performers of our orc
 hestra and chorus partnered with a number of distinguished guest conductor
 s to carry on the astounding musical legacy Shangrow created. A search pro
 cess during the 2012–2013 season led to the selection of <strong><a href='//www.harmoniaseattle.org/about/clinton/'>Clinton Smith</a></strong>
  as the group’s second music director. Clinton led the ensemble for four s
 easons.</p>\n<p>The 2017–2018 season brought four music-director candidate
 s to the podium\, resulting in <strong><a href='https://www.harmoniaseattl
 e.org/about/white/'>William White</a> </strong>being named music director 
 and principal conductor beginning with the 2018–2019 season. White’s tenur
 e has already been marked by several notable developments: a season devote
 d to the works of Lili Boulanger\; the organization’s 50th anniversary cel
 ebrations\; a pandemic year commissioning project\; and the adoption of a 
 new name: Harmonia.</p>\n<h3>William White</h3>\n<p>The <a href='https://h
 armoniaseattle.org/concerts/'>2024–2025 season</a> marks William White’s s
 eventh as Harmonia’s music director. Maestro White is a conductor\, compos
 er\, teacher\, writer and performer whose musical career has spanned genre
 s and crossed disciplines. For four seasons (2011–2015) he served as assis
 tant conductor of the Cincinnati Symphony Orchestra\, working closely with
  music director Louis Langrée and an array of guest artists\, including Jo
 hn Adams\, Philip Glass\, Jennifer Higdon\, Itzhak Perlman and James Conlo
 n. A noted pedagogue\, he has led some of the nation’s finest youth orches
 tra programs\, including Portland’s Metropolitan Youth Symphony and the Ci
 ncinnati Symphony Youth Orchestra.</p>\n<p>Mr. White has long-standing ass
 ociations with a number of musical organizations\, including the Chicago S
 ymphony Orchestra\, the Pierre Monteux School for Conductors and the Inter
 lochen Academy. In addition\, Mr. White maintains a significant career as 
 a composer of music for the concert stage\, theater\, cinema\, church\, ra
 dio and film. His music — which includes a symphony\, an oratorio\, chambe
 r music of all varieties\, and several works intended for young audiences 
 — has been performed throughout North America as well as in Asia and Europ
 e. Several of his works have been recorded on the MSR Classics\, Cedille a
 nd Parma record labels. Recordings of his music can be heard at <a href='//www.willcwhite.com'>www.willcwhite.com</a>\, where he also maintains
  a blog and publishing business.</p>\n<p>Mr. White earned a master’s degre
 e in conducting from Indiana University’s Jacobs School of Music\, studyin
 g symphonic and operatic repertoire with David Effron and Arthur Fagan. He
  received a Bachelor of Arts in Music from the University of Chicago\, whe
 re his principal teachers were composer Easley Blackwood and conductor Bar
 bara Schubert. In 2004\, he began attending the Pierre Monteux School for 
 Conductors under the tutelage of Michael Jinbo\, later serving as the scho
 ol’s conducting associate\, and then as its composer-in-residence.</p>\n<p>Hailing from Bethesda\, Maryland\, Mr. White began his musical training a
 s a violist. (You can keep any jokes to yourself.) He is active as a clini
 cian\, arranger and guest conductor\, particularly of his own works. Mr. W
 hite is editor of <a href='https://toneprose.substack.com/'>Tone Prose</a>
 \, a weekly Substack newsletter about the ever-changing world of classical
  music. From 2020 to 2022\, he produced and co-hosted <a href='https://cgf
 .buzzsprout.com/'>The Classical Gabfest</a> podcast and he has dabbled in 
 the world of educational YouTube videos with <a href='https://www.youtube.
 com/playlist?list=PLN03Jej5DL9v1K_TcPeFf0j9anetWKA0N'>Ask a Maestro</a>.</p>\n<p>On May 3\, 2018\, William White was named the third music director 
 of Orchestra Seattle and the Seattle Chamber Singers\, now known as Harmon
 ia.</p>\n\n\n\n\n\n\n<h4 dir='ltr'><b></b><b></b>Harmonia<br>William White
 \, director<br><br></h4>\n<p dir='ltr'><b>Flute<br></b>Lisa Hirayama<br>El
 ana Sabovic Matt*</p>\n<p><b>Oboe<br></b>Evan Sanchez*<br>Margaret Siple</p>\n<p><b>Clarinet<br></b>Chris Peterson*<br>Gregory Glatzer</p>\n<p><b>Ba
 ssoon<br></b>Jeff Eldridge*<br>David Wall</p>\n<p><b>Horn<br></b>JJ Barret
 t<br>Barney Blough<br>Robin Stangland*<br>Carey LaMothe</p>\n\n\n<p><b>Tru
 mpet<br></b>Nick Simko*<br>Walter Cano</p>\n<p><b>Trombone<br></b>John Gri
 ffin*<br>Albert Huang<br>Bruce Reed</p>\n<p><b></b><b>Tuba<br></b>David Br
 ewer</p>\n<p><b></b><b>Timpani<br></b>Dan Oie</p>\n<p><b>Percussion<br></b>Kathie Flood<br>Abigail George</p>\n<p dir='ltr'><b></b><b>Violin<br></b>
 Leah Anderson<br>Susan Beals<br>Lauren Daugherty<br>Dean Drescher<br>Jason
  Forman<br>Stephen Hegg<br>Jason Hershey<br>Fritz Klein<br>Ellyn Liu<br>Ma
 rk Lutz<br>Jean Provine<br>Stephen Provine**<br>Kenna Smith-Shangrow*<br>C
 hris Sheehy<br>June Spector<br>Jerry Tong</p>\n<p dir='ltr'><b>Viola</b><b r>Colleen Chlastawa<br>Deborah Daoust<br>Grant Hanner*<br>Maren Kilmer<br>
 Katherine McWilliams<br>Haakan Olson<br><br><b>Cello<br></b>Liam Frye-Maso
 n<br>Christy Johnson<br>Max Lieblich<br>Kira McDaniel<br>Katie Sauter Mess
 ick*<br>Annie Roberts</p>\n\n<b>Bass</b>\nJo Hansen*\nKevin McCarthy\n<p d ir='ltr'>Eddie Mospan</p>\n<p>*principal<br>**concertmaster</p>\n<p dir='l
 tr'></p>
DTSTART;TZID=America/Los_Angeles:20250220T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:154
SUMMARY:: Guest Orchestra Concert: Harmonia with UW Piano Students
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-21/guest-orchestra-concert-
 harmonia-uw-piano-students
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Guest orchestra Harmonia (William W
 hite\, director) performs winning concerto excerpts by Rachmaninoff\, Poul
 enc\, Brahms\, and Grieg with UW piano students <span>Jeffrey Tso\, Jiayi 
 Wang\, Alex Fang\, and Katherine Lee.</span></p> <p><em>This performance i
 s made possible with support from the Willard Schultz Piano Fund in the Sc
 hool of Music. </em></p> <hr> <h3>Program</h3> <p><strong><span>Edvard Gri
 eg <span> (1843-1907):</span> </span></strong>P
 iano<strong><span> </span></strong><span>Concer
 to in A minor\, op. 16\, <br>1. Allegro molto moderato<br></span><strong>&lt;
 span&gt;<em>Katherine Lee</em><br></span></strong></p> <p><strong><span>Johan
 nes Brahms <span>(1833-1897):  Piano Concerto N
 o. 2 in B-flat\, op. 83\, <br> 1. Allegro non troppo</span><br><em>Alex Fa
 ng</em><br><br></span></strong>-Intermission-<br><br><span><strong>Francis
  Poulenc </strong></span><span>(1899-1963):  Pi
 ano Concerto <br></span><span>1. Allegretto <br>3. Rondeau à la française</span><span><strong><br><em>Jiayi Wang</em><br></span></p> <p><strong>Sergei </strong><span><strong>Rachmaninoff
  </strong></span><span>(1873-1943):  Piano Conc
 erto No. 2 in C minor<br>3. Allegro scherzando</span><span><br><strong><em>Jeffrey Tso</em></strong><br></span></p> <hr> <h3>Biographies</h3> <p><b>
 Katherine Lee</b><span> is a fourth-year underg
 raduate majoring in piano performance with a minor in business. Born in Se
 attle\, she spent most of her childhood and early teenage years in Taiwan 
 before returning to Seattle in 2017. Coming from a musical family\, Kather
 ine began studying the violin with her late grandfather at the age of thre
 e and started piano lessons before the age of four. She previously studied
  piano with Jessica Choe and briefly with Oana Rusu Tomai. She is currentl
 y studying under Professor Craig Sheppard.</span></p> <p><span><strong>Alex Fang</strong><span> is pursuing his doctorate
  under the guidance of Craig Sheppard at the University of Washington. He 
 received his masters from the San Francisco Conservatory of Music and his 
 bachelors from Northwestern University\, where he additionally completed a
  combined bachelors/masters in computer science. Notable performances incl
 ude Rachmaninoff’s Piano Concerto No. 1 with the San Francisco Conservator
 y of Music Orchestra\, Brahms's Piano Concerto No. 2 with the Bainbridge S
 ymphony Orchestra\, and </span><span>chamber performances alongside facult
 y members at Icicle Creek Chamber Music Festival in Leavenworth.</span></s></p> <p><strong></strong><b>Jiayi Wang </b>is a PhD student in physics
  at the University of Washington\, focusing on computational biophysics to
  uncover the physics of life. Born and raised in Beijing\, she has always 
 been drawn to science and has played piano since age five. In college\, sh
 e discovered a strong interest in music and ended up double majoring in ph
 ysics and music. She studied piano with Dr.Christopher Atzinger at St.Olaf
  College and is now under Dr.Cristina Valdes’s instruction. Jiayi enjoys b
 eing creative in both her research and performance. In her free time\, she
  likes hiking\, eating delicious food\, playing with her guinea pig\, and 
 occasionally composing music.<span class='Apple-converted-space'> </span>&lt;
 /p&gt; <p type='cite'><span><strong>Jeffrey Tso</strong> is a freshman at the
  University of Washington studying computer science and piano performance.
  He began learning the piano at the age of four and is currently studying 
 with Dr. Cristina Valdés. Along with winning the Colliver top prize award 
 at the 2024 Monday Musical competition\, recent accolades include an alter
 nate placement in the Oregon MTNA Senior Piano Competition and first prize
  at the Oregon Federation of Music Clubs Marjorie Trotter Memorial Scholar
 ship Competition. Outside of music\, Jeffrey enjoys playing chess and racq
 uet sports with his friends.</span></p> <h3>Harmonia</h3> <p><strong>Harmo
 nia</strong><span> is a vocal-instrumental ensemble unique among Pacific N
 orthwest musical organizations\, combining </span><a href='https://www.har
 moniaseattle.org/about/musicians/'>a 70-member orchestra with a 55-voice c
 horus</a><span> to perform oratorio masterworks alongside symphonic and </span><em>a cappella</em><span> repertoire\, world premieres and chamber mu
 sic.</span></p> <p>Founded by <strong><a href='http://www.osscs.org/shangr
 ow/tributes/'>George Shangrow</a></strong> in 1969 as the <strong>Seattle 
 Chamber Singers</strong>\, from its inception the group performed a divers
 e array of music — works of the Medieval\, Renaissance and Baroque periods
  to contemporary pieces and world premieres — accompanied by an ad hoc gro
 up of instrumentalists for Bach cantatas and Handel oratorios (many of whi
 ch received their first Seattle performances at SCS concerts).</p> <p>A de
 cade later\, in 1979\, Shangrow formed an orchestra at the request of thes
 e musicians\, calling it the <strong>Broadway Chamber Symphony</strong> (a
 fter the Broadway Performance Hall on Seattle’s Capitol Hill\, where it ga
 ve its first concerts). The orchestra’s name soon became the <strong>Broad
 way Symphony</strong> and then (beginning with the 1991–1992 season) Orchestra Seattle</strong>. With Shangrow on the podium (or conducting 
 from the harpsichord)\, the combined ensembles became renowned for perform
 ances of the Bach Passions and numerous Handel oratorios — particularly Messiah</em>. During the “Bach Year” of 1985\, the organization presente
 d 35 concerts devoted to dozens upon dozens of Bach’s works to celebrate t
 he 300th anniversary of the composer’s birth.</p> <p>Over the past five de
 cades\, the ensemble has performed all of the greatest choral-orchestral m
 asterpieces\, from Beethoven’s Ninth and <em>Missa Solemnis</em> to Stravi
 nsky’s <em>Symphony of Psalms</em>\, Mendelssohn’s <em>Elijah</em> to Brah
 ms’ <em>German Requiem</em>\, and Haydn’s <em>The Creation</em> and <em>Th
 e Seasons</em> to Britten’s <em>War Requiem</em>. Meanwhile\, the orchestr
 a\, partnering with world-class soloists\, has explored the symphonic repe
 rtoire\, programming beloved warhorses alongside seldom-performed gems. Th
 roughout\, Shangrow championed the music of local composers (in particular
  Huntley Beyer\, Robert Kechley\, Roupen Shakarian and Carol Sams\, pictur
 ed below)\, presenting well over 100 world premieres.</p> <p>George Shangr
 ow lost his life in a car crash on July 31\, 2010\, an event that shocked 
 not only our musicians and our audiences\, but the entire Pacific Northwes
 t musical community. Over the ensuing three seasons\, the volunteer perfor
 mers of our orchestra and chorus partnered with a number of distinguished 
 guest conductors to carry on the astounding musical legacy Shangrow create
 d. A search process during the 2012–2013 season led to the selection of <s trong><a href='https://www.harmoniaseattle.org/about/clinton/'>Clinton Smi
 th</a></strong> as the group’s second music director. Clinton led the ense
 mble for four seasons.</p> <p><span>The 2017–2018 season brought four musi
 c-director candidates to the podium\, resulting in </span><strong><a href='https://www.harmoniaseattle.org/about/white/'>William White</a> </strong>
 <span>being named music director and principal conductor beginning with th
 e 2018–2019 season. White’s tenure has already been marked by several nota
 ble developments: a season devoted to the works of Lili Boulanger\; the or
 ganization’s 50th anniversary celebrations\; a pandemic year commissioning
  project\; and the adoption of a new name: Harmonia.</span></p> <h3><span>
 William White</span></h3> <p><span>The </span>&lt;
 a href='https://harmoniaseattle.org/concerts/'&gt;<span>2024–2025 season</span></a><span> marks W
 illiam White’s seventh as Harmonia’s music director. Maestro White is a co
 nductor\, composer\, teacher\, writer and performer whose musical career h
 as spanned genres and crossed disciplines. For four seasons (2011–2015) he
  served as assistant conductor of the Cincinnati Symphony Orchestra\, work
 ing closely with music director Louis Langrée and an array of guest artist
 s\, including John Adams\, Philip Glass\, Jennifer Higdon\, Itzhak Perlman
  and James Conlon. A noted pedagogue\, he has led some of the nation’s fin
 est youth orchestra programs\, including Portland’s Metropolitan Youth Sym
 phony and the Cincinnati Symphony Youth Orchestra.</span></p> <p><span sty le=' 400\;'>Mr. White has long-standing associations with a nu
 mber of musical organizations\, including the Chicago Symphony Orchestra\,
  the Pierre Monteux School for Conductors and the Interlochen Academy. In 
 addition\, Mr. White maintains a significant career as a composer of music
  for the concert stage\, theater\, cinema\, church\, radio and film. His m
 usic — which includes a symphony\, an oratorio\, chamber music of all vari
 eties\, and several works intended for young audiences — has been performe
 d throughout North America as well as in Asia and Europe. Several of his w
 orks have been recorded on the MSR Classics\, Cedille and Parma record lab
 els. Recordings of his music can be heard at </span><span><a href='http://www.willcwhite.com'>www.willcwhite.com</a><span>\, where he also maintains a blog and p
 ublishing business.</span></p> <p><span>Mr. Whi
 te earned a master’s degree in conducting from Indiana University’s Jacobs
  School of Music\, studying symphonic and operatic repertoire with David E
 ffron and Arthur Fagan. He received a Bachelor of Arts in Music from the U
 niversity of Chicago\, where his principal teachers were composer Easley B
 lackwood and conductor Barbara Schubert. In 2004\, he began attending the 
 Pierre Monteux School for Conductors under the tutelage of Michael Jinbo\,
  later serving as the school’s conducting associate\, and then as its comp
 oser-in-residence.</span></p> <p><span>Hailing 
 from Bethesda\, Maryland\, Mr. White began his musical training as a violi
 st. (You can keep any jokes to yourself.) He is active as a clinician\, ar
 ranger and guest conductor\, particularly of his own works. Mr. White is e
 ditor of </span><a href='https://toneprose.substack.com/'><span>Tone Prose</span></a><span>\, 
 a weekly Substack newsletter about the ever-changing world of classical mu
 sic. From 2020 to 2022\, he produced and co-hosted </span><a href='https:/
 /cgf.buzzsprout.com/'><i><span>The Classical Ga
 bfest</span></i></a><span> podcast and he has d
 abbled in the world of educational YouTube videos with </span><a href='//www.youtube.com/playlist?list=PLN03Jej5DL9v1K_TcPeFf0j9anetWKA0N'><i>
 <span>Ask a Maestro</span></i></a><span>.</span></p> <p><span>On Ma
 y 3\, 2018\, William White was named the third music director of Orchestra
  Seattle and the Seattle Chamber Singers\, now known as Harmonia.</span></p> <table> <tbody> <tr> <td>
  <div dir='ltr'></div> <div dir='ltr'> <h4 dir='ltr'><b></b><b></b>Harmoni
 a<br>William White\, director<br><br></h4> <p dir='ltr'><b>Flute<br></b>Li
 sa Hirayama<br>Elana Sabovic Matt*</p> <p><b>Oboe<br></b>Evan Sanchez*<br>
 Margaret Siple</p> <p><b>Clarinet<br></b>Chris Peterson*<br>Gregory Glatze
 r</p> <p><b>Bassoon<br></b>Jeff Eldridge*<br>David Wall</p> <p><b>Horn<br>
 </b>JJ Barrett<br>Barney Blough<br>Robin Stangland*<br>Carey LaMothe</p> &lt;
 /div&gt; <div dir='ltr'> <p><b>Trumpet<br></b>Nick Simko*<br>Walter Cano</p> 
 <p><b>Trombone<br></b>John Griffin*<br>Albert Huang<br>Bruce Reed</p> <p>&lt;
 b&gt;</b><b>Tuba<br></b>David Brewer</p> <p><b></b><b>Timpani<br></b>Dan Oie&lt;
 /p&gt; <p><b>Percussion<br></b>Kathie Flood<br>Abigail George</p> <p dir='ltr
 '><b></b><b>Violin<br></b>Leah Anderson<br>Susan Beals<br>Lauren Daugherty
 <br>Dean Drescher<br>Jason Forman<br>Stephen Hegg<br>Jason Hershey<br>Frit
 z Klein<br>Ellyn Liu<br>Mark Lutz<br>Jean Provine<br>Stephen Provine**<br>
 Kenna Smith-Shangrow*<br>Chris Sheehy<br>June Spector<br>Jerry Tong</p> <p dir='ltr'><b>Viola</b><br>Colleen Chlastawa<br>Deborah Daoust<br>Grant Ha
 nner*<br>Maren Kilmer<br>Katherine McWilliams<br>Haakan Olson<br><br><b>Ce
 llo<br></b>Liam Frye-Mason<br>Christy Johnson<br>Max Lieblich<br>Kira McDa
 niel<br>Katie Sauter Messick*<br>Annie Roberts</p> <div></div> <div><b>Bas
 s</b></div> <div>Jo Hansen*</div> <div>Kevin McCarthy</div> <p dir='ltr'>E
 ddie Mospan</p> <p><span>*principal<br></span>&lt;
 span style='font-weight: 400\;'&gt;**concertmaster</span></p> <p dir='ltr'></p> </div> </td> </tr> </tbody> </table>
END:VEVENT
BEGIN:VEVENT
UID:ca75cd59-10a3-46d0-89e6-7557b7bbc589
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T182507Z
DESCRIPTION:<p></p>\n<p>UW Jazz Studies students perform in small combos ov
 er two consecutive nights of original tunes\, homage to the greats of jazz
 \, and experiments in composing and arranging. </p>\n<hr>\n<h3>Program</h3>\n<h4> <b>35 - 2025 <br></b><b>Marc Seales\, advisor</b></h4>\n<p><b><br>
 </b>Notta Blues -<b> Alex Phelps </b></p>\n<p>Chega De Saudade<b> - Antoni
 o Carlos Jobim </b>arr. <b>Gabriella Kelley </b></p>\n<p>Song From June<b>
  - Hari Sethuraman </b></p>\n<p>Red-Green<b> - Spencer Read </b></p>\n<p>&lt;
 b&gt;Gabriella Kelley</b>\, bass\; <b>Mason Palmer</b>\, guitar\; <b>Spencer 
 Read</b>\, drums <b>Hari Sethuraman</b>\, piano\; <b>Alex Phelps</b>\, tro
 mbone </p>\n<h4>Tremendous Restraint<b> <br></b><b>John-Carlos Perea\, adv
 isor</b></h4>\n<p><b><br></b>Tricotism<b> - Oscar Pettiford </b></p>\n<p>L
 ost Nations<b> - Joe Lovano </b></p>\n<p>Come On Let's Go<b> - Mark Izu </b></p>\n<p><b>Yotam Snir</b>\, sax\; <b>Graham Cobden</b>\, sax\; <b>Aki O
 kin</b>\, vocals\; <b>Cole McKittrick</b>\, guitar\; <b>AJ Marto</b>\, bas
 s\; <b>Toby Miller</b>\, drums </p>\n<h4><b>Thwee Eweven <br></b><b>Ted Po
 or\, advistor </b></h4>\n<p>Stablemates -<b> Benny Golson </b></p>\n<p>Kwo
 oked Stweet -<b> Dayna Stephens </b></p>\n<p>Apples Are Blue\, but the Sky
  Is Green<b> - Alex Koo </b></p>\n<p><b>A Portrait of Fola - Marquis Hill 
 </b></p>\n<p><b>Rory Somers</b>\, trumpet<b>\; Coen Rios</b>\, sax\; <b>Ja
 i Lasker</b>\, guitar\; <b>Solomon Lubell</b>\, bass\; <b>Toby Miller</b>\
 , drums </p>
DTSTART;TZID=America/Los_Angeles:20250220T193000
LAST-MODIFIED:20250219T223256Z
SEQUENCE:155
SUMMARY:: Jazz Innovations II
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-21/jazz-innovations-ii
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>UW Jazz Studies students perform in
  small combos over two consecutive nights of original tunes\, homage to th
 e greats of jazz\, and experiments in composing and arranging. </p> <hr> &lt;
 h3&gt;Program</h3> <h4><span><span class='Apple-converted-space'> </span><b>35 - 2025<span class='Apple-converted-space'> <br></span></b><b>Marc
  Seales\, advisor</b></h4> <p><b><br></b>Notta Blues -<b> Alex Phelps </b>
 </p> <p>Chega De Saudade<b> - Antonio Carlos Jobim<span class='Apple-conve
 rted-space'> </span></b>arr. <b>Gabriella Kelley<span class='Apple-convert
 ed-space'> </span></b></p> <p>Song From June<b> - Hari Sethuraman<span cla ss='Apple-converted-space'> </span></b></p> <p>Red-Green<b> - Spencer Read
 <span class='Apple-converted-space'> </span></b></p> <p><em><b>Gabriella K
 elley</b>\, bass\; <b>Mason Palmer</b>\, guitar\; <b>Spencer Read</b>\, dr
 ums <b>Hari Sethuraman</b>\, piano\; <b>Alex Phelps</b>\, trombone</em> </span></p> <h4>Tremendous Restraint<b> 
 <br></b><b>John-Carlos Perea\, advisor</b></h4> <p><b><br></b>Tricotism<b>
  - Oscar Pettiford<span class='Apple-converted-space'> </span></b></p> <p>
 Lost Nations<b> - Joe Lovano<span class='Apple-converted-space'> </span></b></p> <p>Come On Let's Go<b> - Mark Izu<span class='Apple-converted-space
 '> </span></b></p> <p><b>Yotam Snir</b>\, sax\; <b>Graham Cobden</b>\, sax
 \; <b>Aki Okin</b>\, vocals\;<span class='Apple-converted-space'> </span>&lt;
 b&gt;Cole McKittrick</b>\, guitar\; <b>AJ Marto</b>\, bass\; <b>Toby Miller</b>\, drums<span class='Apple-converted-space'> </span></p> <h4><b>Thwee Ew
 even <br></b><b>Ted Poor\, advistor<span class='Apple-converted-space'> </span></b></h4> <p>Stablemates -<b> Benny Golson<span class='Apple-converte
 d-space'> </span></b></p> <p>Kwooked Stweet -<b> Dayna Stephens<span class='Apple-converted-space'> </span></b></p> <p>Apples Are Blue\, but the Sky
  Is Green<b> - Alex Koo<span class='Apple-converted-space'> </span></b></p> <p><b>A Portrait of Fola - Marquis Hill<span class='Apple-converted-spac
 e'> </span></b></p> <p><em><b>Rory Somers</b>\, trumpet<b>\; Coen Rios</b>
 \, sax\; <b>Jai Lasker</b>\, guitar\; <b>Solomon Lubell</b>\, bass\; <b>To
 by Miller</b>\, drums<span class='Apple-converted-space'> </span></em></p>
END:VEVENT
BEGIN:VEVENT
UID:dd2cfe27-b603-4a26-aca0-a67dd5e27d84
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250102T152551Z
DESCRIPTION:<p>Jessica Bissett Perea\, associate
  professor of American Indian Studies at the University of Washington and 
 adjunct associate professor of Music History presents “Learning to Arrive”
 : Why Co-Creation and Worldmaking in Music Research Matters Now\,' in this
  installment of the THEME Lecture series. </p>\n<hr>\n<h4>Abstract</h4>\n<p>This talk explains
  the significance of convening art- and place-based community making sessi
 ons to densify music research in more relational ways for human and more-t
 han-human Peoples. Focusing on North Pacific contexts generally\, and Indi
 genous Peoples of what is now known as Washington more specifically\, I dr
 aw from emerging work at the intersections of Music &amp; Sound Studies and Na
 tive American &amp; Indigenous Studies to offer possibilities for expanding av
 ailable/existing epistemologies\, analytics\, and processes in music resea
 rch. I offer three examples\, which include: (1) reattuning with places/sp
 aces through the UW 'Indigenous Walking Tour'\; (2) listening in time with
  Indigenous creations at the Burke Museum\; and (3) preparing for The Heal
 ing Heart of the First People of This Land with the UW Orchestra (Feb 2026
 ). These three examples detail processes that enable participants to “recl
 aim history\, rethink [our] places in it\, and reimagine a future” infused
  with new ways of being\, thinking\, and doing (Lipsitz and the Alliance f
 or California Traditional Arts 2020).</p>\n<p></p>\n<hr>\n<h4>Series Backg
 round</h4>\n<p>THEME\, an annual colloquium of UW faculty and students of 
 Theory\, History\, Ethnomusicology\, and Music Education\, is held on sele
 ct Friday afternoons throughout the academic year.  Talks are at 4 p.m in 
 the School of Music Fishbowl unless otherwise noted. Admission is free. </p>\n<hr>\n<h3>Biography</h3>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250221T160000
LAST-MODIFIED:20250130T214029Z
SEQUENCE:156
SUMMARY:: THEME Lecture Series: Jessica Bissett Perea (University of Washin
 gton)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-22/theme-lecture-series-jes
 sica-bissett-perea-university-washington
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Jessica Bissett 
 Perea\, associate professor of American Indian Studies at the University o
 f Washington and adjunct associate professor of Music History presents “Le
 arning to Arrive”: Why Co-Creation and Worldmaking in Music Research Matte
 rs Now\,' in this installment of the THEME Lecture series. </p> <hr> <h4 s tyle=' 400\;'>Abstract</h4> <p>This
  talk explains the significance of convening art- and place-based communit
 y making sessions to densify music research in more relational ways for hu
 man and more-than-human Peoples. Focusing on North Pacific contexts genera
 lly\, and Indigenous Peoples of what is now known as Washington more speci
 fically\, I draw from emerging work at the intersections of Music &amp; Sound 
 Studies and Native American &amp; Indigenous Studies to offer possibilities fo
 r expanding available/existing epistemologies\, analytics\, and processes 
 in music research. I offer three examples\, which include: (1) reattuning 
 with places/spaces through the UW 'Indigenous Walking Tour'\; (2) listenin
 g in time with Indigenous creations at the Burke Museum\; and (3) preparin
 g for <em>The Healing Heart of the First People of This Land</em> with the
  UW Orchestra (Feb 2026). These three examples detail processes that enabl
 e participants to “<em>reclaim</em> history\,<em> rethink</em> [our] place
 s in it\, and <em>reimagine</em> a future” infused with new ways of being\
 , thinking\, and doing (Lipsitz and the Alliance for California Traditiona
 l Arts 2020).</p> <p></p> <hr> <h4><span>Series Background</span></h4> <p>
 <span>THEME\, an annual colloquium of UW faculty and students of Theory\, 
 History\, Ethnomusicology\, and Music Education\, is held on select Friday
  afternoons throughout the academic year.  T</span><span>alks are at 4 p.m
  in the School of Music Fishbowl unless otherwise noted. Admission is free
 . </span></p> <hr> <h3>Biography</h3> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:7b90602f-ef9a-4e29-8206-854cff862ae8
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T225334Z
DESCRIPTION:<p></p>\n<p>The UW Baroque Ensemble (Tekla Cunningham\, directo
 r) performs music from the 17th century\, including works by Merula\, Font
 ana\, and Castello.</p>\n<hr>\n<h3>Director Biography</h3>
DTSTART;TZID=America/Los_Angeles:20250224T193000
LAST-MODIFIED:20250214T171948Z
SEQUENCE:157
SUMMARY:: Baroque Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-25/baroque-ensemble
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The UW Baroque Ensemble (Tekla Cunn
 ingham\, director) performs music from the 17th century\, including works 
 by <span>Merula\, Fontana\, and Castello.</span></p> <hr> <h3>Director Bio
 graphy</h3>
END:VEVENT
BEGIN:VEVENT
UID:84656410-6858-4679-964c-08db261aa38f
DTSTAMP:20260307T094252Z
CATEGORIES:Master Classes\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250214T004801Z
DESCRIPTION:<p></p>\nChristopher Stroh\, assistant director of music and or
 ganist at Seattle's St. James Catholic Cathedral\, leads a master class on
  improvisation with students from the UW Organ studio and Keyboard Harmony
  474 class. Co-sponsored by the UW School of Music and the Seattle Chapter
  of the American Guild of Organists. Support for this event is through the
  Paul B. Fritts Endowed Faculty Fellowship in Organ.\n<hr>\n<h3 class='ele
 mentToProof'>Biography</h3>\n<p class='elementToProof'>Christopher Stroh s
 erves as Assistant Director of Music and Organist at St. James Cathedral\,
  Seattle. Chris served previously at The Basilica of Saint Mary\, Co-Cathe
 dral\, Minneapolis\, as Organist and Liturgical Music Associate from Septe
 mber 2006 until July 2021 and as Organ Scholar at the Cathedral of Saint P
 aul\, Saint Paul\, Minnesota\, from 2005 until 2006. <br><br>Christopher a
 ttained Baccalaureate and Master's Degrees in organ performance\, with emp
 hases in sacred music\, choral conducting\, liturgy\, and theology at Sain
 t John's University and Graduate School of Theology\, Collegeville\, Minne
 sota. Teachers include Joanne Pearson\, Kim Kasling\, James Biery\, Marily
 n Biery\, David Jenkins\, Don Saliers\, Axel Theimer\, and Leo Nestor. <br><br>Christopher's recent notable appearances include serving as organist 
 for worship services during the 2022 National Convention of the American G
 uild of Organists in Seattle. He has also collaborated with Seattle's Emer
 ald Ensemble performing English Coronation music for choir and organ\, and
  Alfred Desenclos' Requiemfor choir and organ with St. James Cathedral's C
 antorei ensemble\, under the direction of Joseph Adam. Several of Christop
 her's solo and collaborative organ performances can be heard on American P
 ublic Media's <a href='https://www.pipedreams.org/' target='_blank' rel='n
 oopener noreferrer'>Pipedreams</a>. <br><br>Christopher is an active membe
 r of the Conference of Roman Catholic Cathedral Musicians and presently se
 rves as Dean of the Seattle Chapter of the American Guild of Organists.</p>\n<hr>\n<h3 class='elementToProof'>Upcoming Events in this Series</h3>\n
 \n<a href='https://music.washington.edu/events/2025-05-10/external-event-o
 rgan-masterclass-jonathan-moyer-oberlin-conservatory' target='_blank' rel='noopener noreferrer'>Saturday\, May 10\, 2025: Jonathan Moyer\, Oberlin C
 onservatory: Influences and Impact on Johann Sebastian Bach</a>
DTSTART;TZID=America/Los_Angeles:20250226T190000
LAST-MODIFIED:20250214T010602Z
SEQUENCE:158
SUMMARY:: External Event: Organ Masterclass: Christopher Stroh\, St. James 
 Cathedral
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-27/external-event-organ-mas
 terclass-christopher-stroh-st-james-cathedral
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <div class='elementToProof'>Christophe
 r Stroh\, assistant director of music and organist at Seattle's St. James 
 Catholic Cathedral\, leads a master class on improvisation with students f
 rom the UW Organ studio and Keyboard Harmony 474 class. C<span>o-sponsored
  by the UW School of Music and the Seattle Chapter of the American Guild o
 f Organists. Support for this event is through the Paul B. Fritts Endowed 
 Faculty Fellowship in Organ.</span></div> <hr> <h3 class='elementToProof'>
 Biography</h3> <p class='elementToProof'><span>Christopher Stroh serves as
  Assistant Director of Music and Organist at St. James Cathedral\, Seattle
 . Chris served previously at The Basilica of Saint Mary\, Co-Cathedral\, M
 inneapolis\, as Organist and Liturgical Music Associate from September 200
 6 until July 2021 and as Organ Scholar at the Cathedral of Saint Paul\, Sa
 int Paul\, Minnesota\, from 2005 until 2006. </span><br><br><span>Christop
 her attained Baccalaureate and Master's Degrees in organ performance\, wit
 h emphases in sacred music\, choral conducting\, liturgy\, and theology at
  Saint John's University and Graduate School of Theology\, Collegeville\, 
 Minnesota. Teachers include Joanne Pearson\, Kim Kasling\, James Biery\, M
 arilyn Biery\, David Jenkins\, Don Saliers\, Axel Theimer\, and Leo Nestor
 . </span><br><br><span>Christopher's recent notable appearances include se
 rving as organist for worship services during the 2022 National Convention
  of the American Guild of Organists in Seattle. He has also collaborated w
 ith Seattle's Emerald Ensemble performing English Coronation music for cho
 ir and organ\, and Alfred Desenclos' </span><em>Requiem</em><span>for choi
 r and organ with St. James Cathedral's Cantorei ensemble\, under the direc
 tion of Joseph Adam. Several of Christopher's solo and collaborative organ
  performances can be heard on American Public Media's </span><a href='//www.pipedreams.org/' target='_blank' rel='noopener noreferrer'>Pipedre
 ams</a><span>. </span><br><br><span><span>Christopher is an active member 
 of the Conference of Roman Catholic Cathedral Musicians and presently serv
 es as Dean of the Seattle Chapter of the American Guild of Organists.</span></p> <hr> <h3 class='elementToProof'>Upcoming Events in this Seri
 es<span></span></h3> <div class='elementToProof'> <div class='elementToPro
 of'><a href='https://music.washington.edu/events/2025-05-10/external-event
 -organ-masterclass-jonathan-moyer-oberlin-conservatory' target='_blank' re l='noopener noreferrer'>Saturday\, May 10\, 2025: Jonathan Moyer\, Oberlin
  Conservatory: <em>Influences and Impact on Johann Sebastian Bach</em></a>
 </div> <div class='elementToProof'><em></em></div> </div>
END:VEVENT
BEGIN:VEVENT
UID:0351a832-15f3-4541-a0a9-9a52dbc8d972
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T222017Z
DESCRIPTION:<p></p>\n<p>UW piano students Scott Fisher\, Jr.\, Ella Kalinch
 enko\, Aidan Dealy\, Karen Haining\, and Jingshi Zhao perform music from t
 he piano repertoire\, including works by Bach\, Beethoven\, Debussy\, Faur
 é\, and Mussorgsky. </p>\n<hr>\n<h3>Program</h3>\n<p>Partita No.6 in E minor\, BWV830 (1731):  <strong>Johann Sebastian B
 ACH </strong> (1685-1750)<br>Toccata                                      
                                               <br>Allemande<br>Corrente<br>Air<br>Sarabande<br>Tempo di Gavotta<br>Gigue<br>SCOTT FISHER\, JR.</p>\n
 <p>Sonata in E Major\, Opus 109 (1820) :  Ludwig van BEETHOVEN</strong>  (1770-1827)<br>Vivace ma non troppo     
         <br> Prestissimo<br>Gesangvoll mit inngister Empfindung<br>(Andant
 e molto cantabile ed espressivo)<br>ELLA KALINICHENKO</p>\n<p>INTERMISSION </p>\n<p>From Image
 s Oubliées (1894) : <strong>Claude Debussy</strong>  (1862-1918)<br>Lent (
 mélancolique et doux)                                                <br>É
 tude retrouvée (1915)<br>AIDAN DEALY </p>\n<p>B
 arcarolle No.3\, Opus 42 (1885) : <strong>Gabriel FAURÉ</strong> (1845-192
 4)<br>KAREN HAINING</p>\n<p>Pictures at an Exhi
 bition (1874):  <strong>Modest MUSSORGSKY</strong>  (1839-1881)<br> Promen
 ade                                                                       
          <br> Gnomus<br> Promenade<br>Il Vecchio Castello (Old Castle)<br>
 Promenade<br>Tuileries (children disputing after playing)<br>Promenade<br>
 Bydlo (Cattle)<br>Promenade<br>Ballet of unhatched chicks<br>Samuel Goldbe
 rg and Schmuyle<br>Promenade<br>Limoges (The Market)<br>Catacombs<br>Cum m
 ortuis in lingua mortua (With the dead in their language) <br>Baba Yaga <b r>The Great Gate of Kiev<br>JINGSHI ZHAO</p>
DTSTART;TZID=America/Los_Angeles:20250227T193000
LAST-MODIFIED:20250224T170201Z
SEQUENCE:159
SUMMARY:: Brechemin Piano Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-28/brechemin-piano-series
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>UW piano students Scott Fisher\, Jr
 .\, Ella Kalinchenko\, Aidan Dealy\, Karen Haining\, and Jingshi Zhao perf
 orm music from the piano repertoire\, including works by Bach\, Beethoven\
 , Debussy\, Fauré\, and Mussorgsky. </p> <hr> <h3>Program</h3> <p>Partita No.6 in E minor\, BWV830 (1731):  <strong>Johan
 n Sebastian BACH </strong> (1685-1750)<br>Toccata                         
                                                            <br>Allemande<b r>Corrente<br>Air<br>Sarabande<br>Tempo di Gavotta<br>Gigue<br><em>SCOTT F
 ISHER\, JR.</em></p> <p>Sonata in E Major\, Opu
 s 109 (1820) :  <strong>Ludwig van BEETHOVEN</strong>  (1770-1827)<br>Viva
 ce ma non troppo             <br> Prestissimo<br>Gesangvoll mit inngister 
 Empfindung<br>(Andante molto cantabile ed espressivo)<br><em>ELLA KALINICH
 ENKO</em></p> <p><em>INTERMISSION</em><em> </em></p> <p><em>From </em>Images Oubliées (1894) :
  <strong>Claude Debussy</strong>  (1862-1918)<br>Lent (mélancolique et dou
 x)                                                <br>Étude retrouvée (191
 5)<br><em>AIDAN DEALY </em></p> <p>Barcarolle N
 o.3\, Opus 42 (1885) : <strong>Gabriel FAURÉ</strong> (1845-1924)<br><em>K
 AREN HAINING</em></p> <p>Pictures at an Exhibit
 ion (1874):  <strong>Modest MUSSORGSKY</strong>  (1839-1881)<br> Promenade
                                                                           
       <br> Gnomus<br> Promenade<br>Il Vecchio Castello (Old Castle)<br>Pro
 menade<br>Tuileries (children disputing after playing)<br>Promenade<br>Byd
 lo (Cattle)<br>Promenade<br>Ballet of unhatched chicks<br>Samuel Goldberg 
 and Schmuyle<br>Promenade<br>Limoges (The Market)<br>Catacombs<br>Cum mort
 uis in lingua mortua (With the dead in their language) <br>Baba Yaga <br>T
 he Great Gate of Kiev<br><em>JINGSHI ZHAO</em></p>
END:VEVENT
BEGIN:VEVENT
UID:76e13f3a-4fdb-4215-a315-a753dc664b30
DTSTAMP:20260307T094252Z
CATEGORIES:Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250213T000423Z
DESCRIPTION:<p>Abigail Fine\, assistant professor of musicology at the Univ
 ersity of Oregon\, presents a guest scholar lecture\, 'Preservation Mania:
  Composers\, Relics\, and the 'Beautiful Death.'”</p>\n<hr>\n<h4>Abstract: Preservation Mania: Composers\, Relics\, and t
 he “Beautiful Death” </h4>\n<p>A telling neolog
 ism appeared in late nineteenth-century Germany and Austria: Denkmalwut\, 
 or “monument-mania\,” a critique of the many statues\, editions\, and muse
 ums that made long-dead artists last. The period’s festivals\, monuments\,
  and choral odes are well-known to musicology (Rehding 2009\; Minor 2012)\
 , but the impulse to preserve far exceeds the familiar stuff of civic hist
 ory. When German and Austrian music-lovers enchanted composers’ bodies\, h
 ouses\, and objects as incorruptible relics\, shrines\, and talismans\, th
 ey enacted a relic culture that was both affectionate and destructive. Wit
 h the exhumation\, embalming\, and display of composers came a heightened 
 awareness of art music’s zombie culture\, its “beautiful dead” (Ariès 1974
 ) laid out in funerary rituals or wandering the modern city as curious ana
 chronisms in literary fiction and satire. </p>\n<p>This talk examines how devotees to Austro-German composers preserved b
 odily traces in ways that teetered between piety and desecration\, and tha
 t folded habits of colonial hoarding back onto Europe’s own “high culture.
 ” In part one\, I show how music-loving doctors of the nineteenth century 
 saw relics as medical specimens that might solve the divine mystery of gen
 ius\; the continued study of those remains today\, from hair-testing to ge
 nome sequencing\, preserves the composer as if in formaldehyde. In part tw
 o\, I examine a moment when the museum culture of the “beautiful death” to
 ok a more literal turn. In the early twentieth century\, Bruckner-lovers p
 rocessed into a crypt by candlelight to behold the composer’s waxen body t
 hrough a window. The stubborn persistence of the embalmed body confronted 
 devotees with startling indignities\, from the co-optation of Bruckner’s d
 eath cult by the Nazis to the restoration of his corpse in 1996\, which tr
 ansformed a Catholic relic into an anthropological artifact. These materia
 l remainders show how a desire for eternal life and beautiful death has be
 en the engine of European heritage\, and how canons are perpetuated by the
  impulse to collect\, display\, and possess the composer’s body.</p>\n<hr>
 \n<h4>Biography</h4>\n<p><strong>Abigail Fine</strong> is an Assistant Professor of Musicology
  at the University of Oregon. Her research puts musicological questions in
  dialogue with offbeat artifacts—relics\, amateur lyric\, albums and visit
 ors’ books\, postcards\, and other ephemera—that lie at the margins of the
  discipline. Through these materials she examines how the politics of heri
 tage\, the formation of canons\, and practices of art-religion were enacte
 d on the ground in popular culture. Her work has appeared in 19th-Century 
 Music\, Music &amp; Letters\, and the Yale Journal of Music and Religion. Her 
 book\, titled The Composer Embalmed: Relic Culture from Piety to Kitsch\, 
 is forthcoming from the University of Chicago Press in 2025.</p>\n<p> </p>\n<p> </p>
DTSTART;TZID=America/Los_Angeles:20250228T133000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:160
SUMMARY:: Visiting Scholar Lecture: Abigail Fine: Preservation Mania: Compo
 sers\, Relics\, and the “Beautiful Death”
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-28/visiting-scholar-lecture
 -abigail-fine-preservation-mania-composers-relics-and
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>Abigail Fine\, assistant professor of
  musicology at the University of Oregon\, presents a guest scholar lecture
 \, 'Preservation Mania: Composers\, Relics\, and the 'Beautiful Death.'”</span></p> <hr> <h4>Abstract: Preservation Mania
 : Composers\, Relics\, and the “Beautiful Death” </h4> <p>A telling neologism appeared in late nineteenth-century Germany
  and Austria: <em>Denkmalwut</em>\, or “monument-mania\,” a critique of th
 e many statues\, editions\, and museums that made long-dead artists last. 
 The period’s festivals\, monuments\, and choral odes are well-known to mus
 icology (Rehding 2009\; Minor 2012)\, but the impulse to preserve far exce
 eds the familiar stuff of civic history. When German and Austrian music-lo
 vers enchanted composers’ bodies\, houses\, and objects as incorruptible r
 elics\, shrines\, and talismans\, they enacted a relic culture that was bo
 th affectionate and destructive. With the exhumation\, embalming\, and dis
 play of composers came a heightened awareness of art music’s zombie cultur
 e\, its “beautiful dead” (Ariès 1974) laid out in funerary rituals or wand
 ering the modern city as curious anachronisms in literary fiction and sati
 re. </p> <p>This talk examines how devotees to 
 Austro-German composers preserved bodily traces in ways that teetered betw
 een piety and desecration\, and that folded habits of colonial hoarding ba
 ck onto Europe’s own “high culture.” In part one\, I show how music-loving
  doctors of the nineteenth century saw relics as medical specimens that mi
 ght solve the divine mystery of genius\; the continued study of those rema
 ins today\, from hair-testing to genome sequencing\, preserves the compose
 r as if in formaldehyde. In part two\, I examine a moment when the museum 
 culture of the “beautiful death” took a more literal turn. In the early tw
 entieth century\, Bruckner-lovers processed into a crypt by candlelight to
  behold the composer’s waxen body through a window. The stubborn persisten
 ce of the embalmed body confronted devotees with startling indignities\, f
 rom the co-optation of Bruckner’s death cult by the Nazis to the restorati
 on of his corpse in 1996\, which transformed a Catholic relic into an anth
 ropological artifact. These material remainders show how a desire for eter
 nal life and beautiful death has been the engine of European heritage\, an
 d how canons are perpetuated by the impulse to collect\, display\, and pos
 sess the composer’s body.</p> <hr> <h4>Biograph
 y</h4> <p><strong>Abigail Fine</strong> is an A
 ssistant Professor of Musicology at the University of Oregon. Her research
  puts musicological questions in dialogue with offbeat artifacts—relics\, 
 amateur lyric\, albums and visitors’ books\, postcards\, and other ephemer
 a—that lie at the margins of the discipline. Through these materials she e
 xamines how the politics of heritage\, the formation of canons\, and pract
 ices of art-religion were enacted on the ground in popular culture. Her wo
 rk has appeared in <em>19<sup>th</sup>-Century Music</em>\, <em>Music &amp; Le
 tters</em>\, and the <em>Yale Journal of Music and Religion</em>. Her book
 \, titled <em>The Composer Embalmed: Relic Culture from Piety to Kitsch\, is forthcoming from the University of Chicago Press in 2025.</p> <p s tyle=' 400\;'> </p> <p><span> </p>
END:VEVENT
BEGIN:VEVENT
UID:200bf93e-4a46-4837-a286-08bfc672b0ab
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals
CLASS:PUBLIC
CREATED:20250128T150209Z
DESCRIPTION:<p>Graduate student Jingshi Zhao (DMA Piano)\, a student of Cra
 ig Sheppard\, performs works by Beethoven\, Scriabin\, and Mussorgsky in h
 er doctoral degree recital. </p>\n<hr>\n<h3>Program</h3>\n<strong>Beethove
 n:</strong> Piano Sonata No.31 in A-Flat Major\, Op.110 \n<strong>Scriabin
 :</strong> Piano Sonata No.2 in G-Sharp Minor\, Op.19\n<p dir='auto'>Mussorgsky:</strong> Pictures at an Exhibition </p>\n<hr>\n<h3 dir='aut
 o'>Biography</h3>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250301T163000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:161
SUMMARY:: Degree Recital: Jingshi Zhao\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-02/degree-recital-jingshi-z
 hao-piano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>Graduate student Jingshi Zhao (DMA Pi
 ano)\, a student of Craig Sheppard\, performs works by Beethoven\, Scriabi
 n\, and Mussorgsky in her doctoral degree recital. </span></p> <hr> <h3>Pr
 ogram</h3> <div dir='auto'><strong>Beethoven:</strong> Piano Sonata No.31 
 in A-Flat Major\, Op.110 </div> <div dir='auto'><strong>Scriabin:</strong>
  Piano Sonata No.2 in G-Sharp Minor\, Op.19</div> <p dir='auto'><strong>Mu
 ssorgsky:</strong> Pictures at an Exhibition </p> <hr> <h3 dir='auto'>Biog
 raphy</h3> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:8e450c6b-dbad-47d1-8309-9ed5e0343ba5
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T210520Z
DESCRIPTION:<p></p>\n<p>The Campus Band (Solomon Encina\, conductor) and Co
 ncert Band (David Stewart\, Yuman Wu\, conductors) present 'Passages\,' a 
 program of music by Clifton Williams\, Frank Ticheli\, Masanori Taruya\, R
 ossano Galante\, Samuel Hazo\, Fred J. Allen\, and others. This concert al
 so includes the debut of a new community ensemble\, the University Band. &lt;
 /p&gt;\n<hr>\n<h2>Program</h2>\n<h4>Concert Band</h4>\n<p>David Stewart\, Yum
 an Wu\, conductors<br><br>Chant and Jubilo: <strong>W. Francis McBeth<br>Loch Lomond: <strong>Frank Ticheli</strong><br>Last Letter From Mu
 rdoch: <strong>Masanori Taruya</strong></p>\n<h4>Campus Band</h4>\n<p>Solo
 mon Encina\, conductor<br><br>Fortress: <strong>Frank Ticheli </strong>(b.
  1958)<br><br>A Childhood Remembed (2013): <strong>Rossano Galante (b. 1967)<br><br>Symphonic Suite (1957): <strong>Clifton Williams (1923 - 1976)<strong><br></strong>I. Intrada<br>II. Chorale<br>III. Mar
 ch<br>IV. Antique Dance<br>V. Jubiliee<br><strong><br></strong></p>\n<h4>U
 W University Band</h4>\n<p>Solomon Encina\, Dav
 id Stewart\, directors</p>\n<p>Rush (2006) – <s trong>Samuel Hazo</strong> (b. 1966)</p>\n<p> W
 hen the Stars Began to Fall (1992) – <strong>Fred J. Allen</strong> (b. 19
 53)</p>\n<p> An Original Suite (1928) – <strong>Gordon Jacob</strong> (1895 - 1984)<br>I. March<br>II. Intermezzo<br>III.
  Finale</p>\n<hr>\n<h2>Program Notes</h2>\n<p><strong>Chant and Jubilo was commissioned by Jerry Loveall for the Four States Bandmasters Co
 nvention in Texarkana\, Texas\, and was first performed by the Four States
  Bandmasters Band in January of 1962 with the composer conducting. It is a
  work in two connected contrasting movements. The melodic material in the 
 Chant is derived from a ninth century Greek hymn of rogation. It is a moda
 l movement reminiscent of the early church organum and should be done in a
  very sensitive manner\, with the Jubilo contrasting with its explosive lo
 wer brass and percussion. The composer also used this source material in h
 is Hymn for Band\, a junior high piece written two years earlier.<br>- Pro
 gram Note by Jesse Leyva</p>\n<p><strong>Ticheli’s setting</strong> of the
  famous folksong is simple yet charming\, preserving faithfully the melody
  and adding interesting harmonic vocabulary. Loch Lomond tells the tale of
  two Scottish soldiers who were imprisoned at Carlisle Castle in England\,
  following the Battle of Culloden Moor. One of the soldiers was to be exec
 uted\, while the other was to be set free. According to Celtic legend\, th
 ose who died in foreign lands had their spirits travel to their homelands 
 through the “low road\,” the route for the souls of the departed. The song
  is from the point of view of the soldier to be executed\, who tells his f
 riend “ye’ll tak’ the high road and I’ll tak’ the low road\,” in effect sa
 ying that the freed soldier will return alive\, while he himself would ret
 urn in spirit. He remembers his past and the “bonnie lass” (pretty girl) h
 e will never see again\, and sadly accepts death.<br><strong>Loch Lomond</strong> was commissioned by the Stewarton Academy Senior Wind Ensemble of 
 East Ayrshire\, Scotland\, Nigel Durno\, conductor. It received its premie
 re on 18 June 2002 by the commissioning ensemble at Royal Concert Hall in 
 Glasgow\, Scotland.<br>- Program Notes by Nikk Pilato</p>\n<p><strong>Last
  Letter from Murdoch:</strong> The Titanic\, which departed for New York a
 s the world's largest luxury cruise ship in April 1912\, sank to the botto
 m of the ocean without finishing its maiden voyage. Murdoch was the first 
 officer on board the Titanic and one of the crew who bravely rescued passe
 ngers until the last moment the ship sank.<br>During his voyage\, it was h
 is daily routine to write letters to his family\, which spelled out his co
 ncerns for his family as well as his current situation. The 'last letter' 
 from Murdoch may have talked about the boats crowded with passengers\, the
  beautiful view of the Atlantic Ocean\, and the accident that foreshadowed
  the sinking.<br>The piece depicts the scenery and the thoughts that Murdo
 ch would have written in the letter\, with a Celtic melody. I hope you lis
 ten and play as if you were reading the last letter from Murdoch.<br>- Pro
 gram Note by composer</p>\n<p><strong>Fortress</strong> was composed as a 
 tribute to the composer's former band director\, Robert Floyd of Richardso
 n\, Texas. Although Ticheli was already an international award winner\, th
 is was his first published work for concert band.<br>The first 19 bars of 
 Fortress are taken from the composer's piano score for a 1987 theater prod
 uction of Moliere's Don Juan. Of the dozens of short snips\, each of which
  portrays a different character\, this passage represents the dual persona
 lity of Don Alonso -- on the one hand chivalrous and honor bound\; on the 
 other hand sinister and ruthless.<br>- Program Note by composer</p>\n<p><s trong>A Childhood Remembed:</strong> Close your eyes and imagine a time of
  carefree days and magical star-filled nights. Sprightly melodic lines pla
 y tag with more lyrical\, lush sonorities\, taking audiences back to their
  own childhoods. This light composition captures youth and innocence throu
 gh the eyes of a child.<br>- Program Note from publisher</p>\n<p><strong>S
 ymphonic Suite:</strong> The suite consists of five movements related thro
 ugh the use of the principal theme. In each movement a new theme is also i
 ntroduced\, and in the last movement several themes are developed simultan
 eously. The suite begins with an Intrada which suggests a solemn processio
 nal in fanfare style. The following movement\, Chorale\, is based on a mel
 ody in the first cornet which has more than a hint of blue in it. March is
  marked allegro vivo and is based on a short fanfare-like motif heard at t
 he beginning. After many repetitions it works up to a fine climax for full
  band at the end. The Antique Dance features a modal melody in the flute w
 ith percussion accompaniment. Jubilee is the climactic movement of the sui
 te. Marked allegro con brio\, it is written in sonorous triadic harmony th
 roughout. With a few contrasting sections\, the movement is based primaril
 y on a chordal-rhythmic motif.<br>- Notes from “Program Notes for Band” an
 d Gene A. Braught</p>\n<p>This commission was the idea of Jodi Tuthill at 
 Wenger Corporation. Two years ago\, she approached me with the idea of Wen
 ger celebrating their 60th anniversary by commissioning a piece for wind b
 and. Their anniversary would be noted by the commission\, and band directo
 rs would have an extra piece in their repertoire courtesy of Wenger. Durin
 g its composition\, <strong>Rush</strong> actually turned into a piece I n
 ever thought I would write: Ride Pt. II. I used percussive patterns that I
  heard from the machinery at the Wenger Plant during my visit to Owatonna\
 , Minn. Once those rhythmic patterns were established\, I added some theme
 s that were upbeat and celebratory. After the piece was about half done\, 
 I thought to myself that it picks up right where my piece Ride left off. W
 hen it was totally completed\, there was no doubt in my mind. People were 
 going to call it a 'follow-up' tune whether I labeled it as such or not. T
 he composition was all done and I still hadn't thought of a title for what
  was basically Ride 2. I mentioned this to David Starnes at Kennesaw Mount
 ain High School. Later that same day I thought of the name Rush and liked 
 the way it fit. The next morning\, David called me and said\, 'Sam\, I hav
 e the perfect name for Ride part II. Tell me if you like it... Rush.'<br>-
  Program Note by composer<br><br><strong>My Lord\, What a Mornin'</strong>
  is one of many anonymous spirituals sung in the fields and in worship by 
 African-American slaves in the 19th century. In this setting\, sonorities 
 of the band are utilized that express a longing for the end of time\, when
  there will be no sorrow\, no pain. The last line of the refrain serves as
  the title for this setting.<br>- Program Note from score</p>\n<p><strong>
 An Original Suite</strong> (1928) was originally entitled Suite for Milita
 ry Band\, and was composed while Jacob was a student at the Royal Academy 
 of Music. The publishing company Boosey &amp; Hawkes gave the suite its title.
  Jacob did not like the title and unsuccessfully tried to have it changed.
  The reason for the designation of An Original Suite is explained by Jacob
 :<br>At the time very little original music was being written for what was
  the “military” band\, so the title was a way of distinguishing that it wa
 s an original work rather than an arrangement -- not that the music was ve
 ry original in itself ... The slow movement is Irish rather than English “
 folky.” The reason being that Londonderry Air was extremely popular and mu
 ch admired by the 1920s.<br>- Program Note from University of North Texas 
 Concert Band concert program\, 23 November 2015</p>\n\n\n\n\n<p><strong>UN
 IVERSITY OF WASHINGTON CONCERT BAND</strong></p>\n<p>FLUTE<br>Mimmi Beck\,
  Community Member\, Gig Harbor\, WA <br>Brianna Blanchard\, Jr.\, Environm
 ental Public Health\, Shoreline\, WA <br>Hayley Cox\, So.\, Aerospace &amp; As
 tronautical Engineering\, Kenmore\, WA <br>Fanny Hang\, Sr.\, ACMS\, Wuxi\
 , China<br>Maggie Hedrick\, So.\, Mechanical Engineering\, Kettle Falls\, 
 wA <br>Allison Huang\, Sr.\, Finance &amp; Information Systems\, Fremont\, CA&lt;
 br&gt;Fletcher Lohrentz\, So.\, Physics &amp; Astronomy\, Shoreline\, WA <br>Ziwe
 n Meng\, So.\, Informatics\, China<br>Jason Pham\, So.\, Biology (Physiolo
 gy)\, Olympia\, WA <br>Keming Qiu\, So.\, Biochemistry\, Bellevue\, WA <br>Alex Runnels\, Fr.\, Linguistics\, Burien\, WA <br>Kayla Simerson\, So.\,
  Ecology &amp; Geology\, Shoreline\, WA <br>Dennis Toepker\, Community Member\
 , Bellevue\, WA <br>Alana Wacker\, Fr.\, Pre-Science\, Belmont\, CA<br>Est
 her Wang\, So.\, Biochemistry\, Taoyuan\, Taiwan\, WA<br>Julia Winget\, Fr
 .\, Earth and Space Sciences &amp; Physics\, Cincinnati\, OH<br>Elia Woods\, F
 r.\, Civil Engineering\, Phoenix\, AZ</p>\n<p>OBOE<br>Lillian Petersen\, F
 r.\, Finance\, Deming\, WA <br>Stacy Schulze\, Community Member\, Richmond
 \, TX</p>\n<p>CLARINET<br>CC Ahrens\, Jr.\, Computer Science and Mathemati
 cs\, White Salmon\, WA<br>Cin Ahrens\, Jr.\, Computer Science and Mathemat
 ics\, White Salmon\, WA <br>Jovani Azpeitia\, Graduate\, Social Psychology
 \, Kirkland\, WA <br>Jah Chen\, Jr.\, Informatics\, Bellevue\, WA<br>Gael 
 Chun-Rivas\, Fr.\, Engineering\, Honolulu\, HI<br>Elizabeth Hirman\, Jr.\,
  MCD Biology\, Mill Creek\, WA<br>Ashley Howard\, Graduate\, Oceanography\
 , Denton\, TX<br>Aaron Hwang\, Jr.\, Medical Anthropology\, Bellevue\, WA&lt;
 br&gt;Eliana Jablon\, Fr.\, Psychology\, Los Angeles\, CA<br>Nel Jacobs\, Com
 munity Member\, Seattle\, wA<br>Eliezer Jeon\, So.\, Psychology\, Puyallup
 \, WA <br>Kevin Kim\, So.\, Computer Science\, Vancouver\, WA <br>Clay Kur
 an\, So.\, Physics\, Seattle\, WA<br>Karl Lee\, Jr.\, Informatics\, Puyall
 up\, WA<br>Ayari Lopez\, Fr.\, Engineering\, San Diego\, CA<br>Ameena Maje
 ed\, So.\, Biology\, Seattle\, WA<br>Thomas Mangold\, Jr.\, Mechanical Eng
 ineering\, Mercer Island\, WA<br>Esmeralda Marquez\, Jr.\, Medical Laborat
 ory Science\, Tacoma\, WA<br>Nathan Melhuish\, Fr.\, Undecided\, Shoreline
 \, WA<br>Daisy Mendoza-Cid\, Fr.\, Psychology and Public Health\, Quincy\,
  WA<br>Wyatt Triebold\, So.\, Marine Biology\, Puyallup\, WA<br>Heather Wi
 lliams\, Fr.\, Community\, Environment\, and Planning\, Palo Alto\, CA</p>
 \n<p>BASS CLARINET<br>Srikrishna Gurumurthy\, Fr.\, Biology\, Redmond\, WA
 <br>Cassandra Humarang\, Jr.\, Mathematics\, Everett\, WA<br>Flora McAllis
 ter\, Community Member\, Seattle\, WA</p>\n<p>ALTO SAXOPHONE<br>Xin Cen\, 
 Jr.\, EEC Biology\, Bellevue\, WA<br>Matthew Holmes\, Graduate\, Aero &amp; As
 tro\, Winters\, CA<br>Ananya Juneja\, Fr.\, Pre-Arts and Humanities\, Kirk
 land\, WA (Originally New Delhi\, India)<br>Ethan Kaplan\, Jr.\, Electrica
 l and Computer Engineering\, Seattle\, WA<br>Becca Langstraat\, Community 
 Member\, Seattle\, WA<br>Arnav Mazumder\, So.\, Computer Science\, Dallas\
 , TX<br>Joalda Morancy\, Graduate\, Aerospace\, Seattle\, WA<br>Elina Plor
 insh\, Jr.\, Biology\, Everett\, WA<br>Jason Taylor\, Community Member\, I
 ndianapolis\, IN<br>Jenna Thomson\, Fr.\, ESRM\, Anchorage\, AK<br>Naomi W
 illiams\, Community Member and Piano\, Lynnwood\, WA<br>Roxann Wrynn\, Fr.
 \, Pre-Sciences Chemistry\, Newport\, WA</p>\n<p>TENOR SAXOPHONE<br>Ronan 
 Fiat\, Jr.\, Chemical Engineering\, Seattle\, WA<br>Ethan Young\, Jr.\, Pr
 emajor\, Port Orchard\, WA</p>\n<p>BARITONE SAXOPHONE<br>Matthew Ohliger\,
  So.\, Environmental Public Health\, Montgomery\, AL</p>\n<p>BASSOON<br>Ak
 ira Morishita\, Jr.\, Molecular\, Cellular\, and Developmental Biology\, B
 ellevue\, WA<br>Olivia Whitford\, So.\, Oceanography\, Seattle\, WA</p>\n&lt;
 p&gt;HORN<br>Andrew Chen\, Community Member\, Informatics / Psychology\, Othe
 llo\, WA<br>Karen Mildes\, Community Member\, Bothell\, WA<br>Jonah Miyash
 iro\, Sr.\, Biology: Molecular\, Cellular\, and Developmental\, Honolulu\,
  HI<br>Kevin Yuan\, Fr.\, Industrial Design\, Vancouver\, WA</p>\n<p>TRUMP
 ET<br>Sam Brusstar\, So.\, Pre-Sciences\, Chicago\, IL<br>Oliver Fraser\, 
 Community Member\, Astronomy\, Lake Forest Park\, WA<br>Zach Grimm\, Jr.\,
  Mechanical Engineering\, Vancouver\, WA<br>Delaney Hurlimann\, So.\, Biol
 ogy\, Burlington\, WA<br>Elisabeth Lanter\, So.\, Chemical Engineering\, S
 horeline\, WA<br>Gabe Lapingcao\, Community Member\, Computer Science and 
 Software Engineering\, Everett\, WA<br>Trevor Leen\, Sr.\, Industrial Desi
 gn\, Brier\, WA<br>Katie Love\, Community Member\, Los Altos\, CA<br>Jonat
 han Mattingly\, Graduate\, Immunology\, Homer Glen\, IL<br>Chad Miller\, C
 ommunity Member\, Psychology\, Lansing\, KS<br>Annabelle Mirhashemi\, Grad
 uate\, Social Work\, Los Angeles\, CA<br>Connor Mitchell\, Sr.\, Civil Eng
 ineering\, Tumwater\, WA<br>Adam Rehmann\, So.\, Mechanical Engineering\, 
 Vancouve\, WA<br>Matt Schroeder\, Community Member\, Orlando\, FL</p>\n<p>
 TROMBONE<br>Aribella Brushie\, So.\, Pre-Sciences\, San Diego\, CA<br>Ryan
  Camacho\, Fr.\, Marine Biology\, Tamuning\, Guam<br>Mycah Davis\, Communi
 ty Member\, Burien\, WA<br>Wyatt Langstraat\, Community Member\, Seattle\,
  WA<br>Elliott Mantock\, Community Member\, Computer Science\, Burien\, WA
 <br>Megan O’Neill\, Jr.\, Aeronautics &amp; Astronautics\, Shoreline\, WA <br>
 Kai Turner\, Fr.\, Business\, Bremerton\, WA<br>Will Vanderburght\, Jr.\, 
 Political Science\, Vancouver\, WA<br>Matthew Young\, Community Member\, P
 ort Orchard\, WA</p>\n<p>EUPHONIUM<br>Nico Ferreria\, So.\, Biology\, Euph
 onium\, Bellevue\, WA<br>Joseph Martinez\, So.\, Civil Engineering\, Eupho
 nium\, Lake Forest Park\, WA <br>Noah Mason\, Jr.\, Mechanical Engineering
 \, Euphonium\, Bellingham\, WA <br>Yoshi Nakanishi\, Jr.\, Mechanical Engi
 neering\, Euphonium\, Bellevue\, WA<br>Connor Whelan\, Fr.\, Engineering U
 ndeclared\, Euphonium\, Seattle\, WA</p>\n<p>TUBA<br>Chris Jacobus\, Commu
 nity Member\, Kent\, WA<br>Jason Lai\, Fr.\, Mechanical Engineering\, Cama
 s\, WA<br>Will Searson\, So.\, Geography\, Minneapolis\, MN</p>\n<p>PERCUS
 SION<br>Rene Babasa\, Community Member\, Media and Communications\, Everet
 t\, WA<br>Auryanna Brown\, Fr.\, Construction Management\, Graham\, WA<br>
 Jian-Hong Chen\, Jr.\, Mechanical Engineering\, Taipei\, Taiwan<br>Charlot
 te Greene\, Jr.\, Meteorology and Climate Science\, Lynden\, WA<br>Kendall
  Johnson\, Graduate\, Mechanical Engineering\, La Conner\, WA <br>Elijah M
 arucheck\, Fr.\, Engineering\, Bellevue\, WA<br>Meliza Redulla\, Sr.\, Mus
 ic Education\, Auburn\, WA <br>Clara Stanbury\, Graduate\, Oceanography\, 
 Auburn\, AL<br>Jaden Zika\, So.\, Psychology\, Livermore\, CA</p>\n<p>PIAN
 O<br>Naomi Williams\, Community Member\, Lynnwood</p>\n<p>STRING BASS<br>J
 ason Lai\, Fr.\, Mechanical Engineering\, Camas</p>\n<p><strong>UNIVERSITY
  OF WASHINGTON CAMPUS BAND</strong></p>\n<p>PICCOLO<br>Kaida Hollingsworth
 \, Political Science and Law\, Societies\, and Justice\, Port Orchard\, WA
 </p>\n<p>FLUTE<br>Brinda Arun\, Fr.\, Pre Sciences\, Redmond\, WA<br>Emily
  Charles\, So.\, Marine Biology\, New Boston\, NH<br>Grace Collins-Price\,
  Jr.\, Anthropology\, Louisville\, TN<br>Sarah Edwards\, Fr.\, Engineering
 \, Mukilteo\, WA<br>Julian Frazer\, Fr.\, Pre-Sciences\, Oysterville\, WA&lt;
 br&gt;Maria Granzeier\, So.\, Biochemistry\, Molecular Cellular and Developme
 ntal Biology\, Rockford\, Il<br>Meribeth Hastings\, Sr.\, Anthropology\, R
 ockton\, Il<br>Hareesh Iyer\, Jr.\, Graduate\, Materials Science and Engin
 eering\, San Jose\, CA<br>Sanskriti Joshi\, Graduate\, Electrical and Comp
 uter Engineering\, Columbus\, OH<br>Nora Katiyar\, So.\, Art\, Cleveland\,
  OH<br>Chiche Okemgbo\, Fr.\, Real Estate\, Medical Lake\, WA<br>Isabelle 
 Paulsen\, Fr.\, Marine Biology\, Snohomish\, WA<br>Maya Rasche\, Fr.\, Pre
  Arts and Science\, Kirkland\, WA</p>\n<p>OBOE<br>Kaitlin Brouillard\, Com
 munity Member\, Redmond\, OR</p>\n<p>BASSOON<br>Hunter Bergstrom\, Fr.\, B
 iochemistry\, Snoqualmie\, WA<br>Ella Schwartz\, Jr.\, Political Science\,
  Juneau\, AK</p>\n<p>CLARINET<br>Dani Ballesteros\, Fr.\, Computer Science
 \, Snoqualmie\, WA<br>Luz Caro\, Fr..\, Environmental Science\, Snoqualmie
 \, WA<br>David Chen\, Fr.\, Health Informatics\, Information and Managemen
 t and Communications\, Vancouver\, WA<br>Conner Coughran\, Fr.\, Computer 
 Science\, Snoqualmie\, WA<br>Catherine Ensch\, Community Member\, Seattle\
 , WA<br>Ainsley Haynes\, So.\, Psychology\, Longview\, WA<br>Natalie Kerns
 \, Fr.\, Music Education\, Port Orchard\, WA<br>Jonathan Li\, Jr.\, Aerosp
 ace Engineering\, Bernardsville\, NJ<br>Ella Morrow\, So.\, Biochemistry a
 nd Psychology\, Vancouver\, WA<br>Adrian Shaw\, Sr.\, Marine Biology\, Sea
 ttle\, WA<br>Bailey Stachelski\, Fr.\, Pre Arts and Sciences\, North Bend\
 , WA<br>Kenzie Winchell\, So.\, Psychology\, Spanaway\, WA</p>\n<p>BASS CL
 ARINET<br>Akshat Ghuge\, Fr.\, Informatics\, Dallas\, TX</p>\n<p>ALTO SAXO
 PHONE<br>Ashley Adrian\, Jr.\, American Indian Studies and American Ethnic
  Studies\, Sammamish\, WA<br>Adhinandan Basak\, So.\, Mechanical Engineeri
 ng\, Bothell\, WA<br>Egesu Berkmen\, Sr.\, Communications\, Maui\, HI<br>X
 ander Bishop\, Sr.\, Geography Data Science\, Kelso\, WA<br>Thomas Cepolli
 na\, Sr.\, Physics\, Sammamish\, WA<br>Andrew Eisenhauer\, Jr.\, Environme
 ntal Science and Terrestrial Resource Management\, Biology\, Bellingham\, 
 WA<br>Andrew Gambel\, Community Member\, Seattle WA<br>Ellie Kiffe\, Fr.\,
  Meteorology\, Marysville\, WA<br>Colleen McKisson\, So.\, Psychology\, So
 ciology\, Shoreline\, WA<br>Maria Mendez Thomas\, Sr.\, Physiology\, Vanco
 uver\, WA<br>Athena Otto Von Askervold\, Jr.\, Global Health\, Seattle\, W
 A<br>Brianna Philipp\, So.\, Biochemistry\, Woodinville\, WA<br>Rebecca Qi
 an\, Fr.\, Speech and Hearing Sciences\, Redmond\, WA<br>Isis Salvador de 
 Jesus\, So.\, Architecture\, Seattle\, WA</p>\n<p>TENOR SAXOPHONE<br>Logan
  Harris\, Jr.\, Oceanography\, Issaquah\, WA</p>\n<p>HORN<br>Timothy Brock
 \, Fr.\, Criminal Justice\, Seattle\, WA<br>George Whiddon\, So.\, Interna
 tional Studies\, Littleton\, CO</p>\n<p>TRUMPET<br>Clark Chin\, Jr.\, Info
 rmatics\, Issaquah\, WA<br>Tracy Chin\, Graduate\, Math\, San Diego\, CA<b r>Jack Hawley\, Fr.\, Music Education\, Seattle\, WA<br>Rhoss Manley\, So.
 \, Biochemistry\, Kirkland\, WA</p>\n<p>TROMBONE<br>Jaeseo Choi\, So.\, El
 ectrical and Computer Engineering\, Seoul\, South Korea<br>Oskar Cole\, Fr
 .\, Computer Science\, Redmond\, WA<br>Nikhil Kini\, Fr.\, Microbiology\, 
 Coppell\, TX<br>Aditi Nair\, Fr.\, Engineering\, Lake Bluff\, Il</p>\n<p>E
 UPHONIUM<br>Anthony Benware\, Community Member\, Charleston\, SC<br>Nathan
  Ford\, Graduate\, Electrical Engineering Education\, Sammamish\, WA<br>Na
 te Herrick\, Jr.\, Scandinavian Area Studies\, Law Societies and Justice\,
  Puyallup\, WA<br>Sophia Weissman\, Jr.\, Neuroscience\, Melrose\, WA</p>
 \n<p>TUBA<br>Benito Correa\, Computer Engineering\, Mount Vernon\, WA<br>P
 eter Smith\, So.\, Undeclared\, Redmond\, WA</p>\n<p>PERCUSSION<br>Avi Bos
 e\, Graduate\, Civil Engineering\, Brooklyn\, NY<br>Alec Busby-Frey\, Sr.\
 , Civil Engineering\, Longview\, WA<br>Meha Farrokhi\, Fr.\, Biochemistry\
 , Vancouver\, Canada<br>Patrick Henry\, Fr.\, Biochemistry\, Vancouver\, W
 A<br>Kyra Schlezinger\, Sr.\, Atmospheric and Climate Science\, Meteorolog
 y\, Burlingame\, CA<br>Yinuo Xu\, So.\, Chemistry\, Guangzhou\, China</p>
 \n<p><strong>UNIVERSITY OF WASHINGTON UNIVERSITY BAND</strong></p>\n<p>PIC
 COLO<br>Jacob Reese\, Graduate\, Civil Engineering\, Olympia\, WA</p>\n<p>
 FLUTE<br>Maritza Barragán Orozco\, Sr.\, Linguistics\, Spanish\, Prosser\,
  WA<br>Lydia Blair\, Fr.\, Engineering\, Seattle\, WA<br>Robin Choi\, Fr.\
 , Political Science\, Mukilteo\, WA<br>Spencer Crosbie\, Jr.\, Early Child
 hood and Family Studies\, Walla Walla\, WA<br>Allison Ferrell\, Sr.\, Ecol
 ogy Evolution\, and Conservation Biology\, Seattle\, WA<br>Lucy Nowicki\, 
 Jr.\, Psychology\, Philosophy\, Centralia\, WA<br>Royee Shen\, Fr.\, Engin
 eering\, Bothell\, WA<br>Sammy Weaver\, Fr.\, Engineering\, Boulder\, CO<b r>Jennifer Raschke\, Fr.\, Psychology\, Frisco\, TX</p>\n<p>OBOE<br>Maila 
 Deutsche\, Santa Rosa\, CA<br>Ava Ponomarchuk\, Fr.\, History\, Shoreline\
 , WA<br>Brandon Tsai\, Fr.\, Shoreline\, WA</p>\n<p>BASSOON<br>Krish Doshi
 \, Fr.\, Computer Science\, Bothell\, WA</p>\n<p>CLARINET<br>Juliana Broga
 n\, Jr.\, Nursing\, Woodinville\, WA<br>Jasper Crossley Blasio\, So.\, Geo
 graphy\, Seattle\, WA<br>Kelsey Jenkins\, Jr.\, Intended Psychology\, Clar
 ksville\, TN<br>Olea Jorgensen\, Fr.\, Undeclared\, Seattle\, WA<br>Hannah
  Lesniak\, So.\, Chemical Engineering\, Yakima\, WA<br>Eric Lian\, Sr.\, B
 iochemistry\, Beijing\, China<br>Jaimi Lutes\, Sr.\, Environmental Science
  and Resource Management\, Earth and Space Science\, Biology\, Quantitativ
 e Science\, Boulder\, CA<br>Jayah Mack\, Fr.\, Engineering Undeclared\, Va
 ncouver\, WA<br>Annabel McDonald\, So.\, Pre Sciences\, Houston\, TX<br>Ja
 ne McKelvey\, So.\, Biochemistry\, Seattle\, WA<br>Rowan Preedy\, So.\, Ma
 terials Science and Engineering\, Seattle\, WA<br>Raul Robles\, Sr.\, Micr
 obiology\, Prosser\, WA<br>Esme Ford\, Fr.\, Pre Sciences\, Seattle\, WA</p>\n<p>BASS CLARINET<br>Kieran Ewing\, Fr.\, Aerospace Engineering\, Seatt
 le\, WA</p>\n<p>ALTO SAXOPHONE<br>Eduardo Azevedo Simão Racy\, So.\, Compu
 ter Science\, Auburn\, WA<br>Madison Calma\, Jr.\, Business Administration
 \, Accounting\, Environmental Studies\, Olympia\, WA<br>Olina\, Dalton-GIl
 bertson\, Jr.\, Social Work\, Ilwaco\, WA<br>Mak Murphy\, Jr.\, Pre Scienc
 es\, Lakewood\, WA<br>Ayaan Premji\, So.\, Mathematics\, Camas\, WA<br>Alo
 ndra Quiroga\, Communi8ty Member\, Edmonds\, WA<br>Sebastian Roederer\, So
 .\, Physics\, English\, Dayton\, OH<br>Kylie Schoessler\, Fr.\, Pre Social
  Science\, Auburn\, WA</p>\n<p>TENOR SAXOPHONE<br>Natalie Breeden\, Jr.\, 
 Environmental Studies\, Longview\, WA<br>Ben Fowlkes\, So.\, Bioengineerin
 g\, Puyallup\, WA<br>Jaden Frese\, So.\, Civil Engineering\, Glenview\, Il
 </p>\n<p>BARITONE SAXOPHONE<br>Jason Lai\, Fr.\, Mechanical Engineering\, 
 Camas\, WA</p>\n<p>TRUMPET<br>Erika Berreth\, So.\, Undeclared\, Redmond\,
  WA<br>Maine Bilardello\, Fr.\, Engineering\, San Carlos\, CA<br>Aidan Bra
 nnon\, Fr.\, Chemistry\, Seattle\, WA<br>Logan Carte\, Jr.\, Aeronautics a
 nd Astronautics\, Olympia\, WA<br>Aditi Dwivedy\, Sr.\, Psychology\, Neuro
 science\, Biology\, Physiology\, Bellevue\, WA<br>Jonah Grey\, Jr.\, Compu
 ter Engineering\, Seattle\, WA<br>Natalie Hofkes\, Fr.\, Undeclared\, West
  Seattle\, WA<br>Brady Imperial\, Sr.\, Environmental Sciences\, San Diego
 \, CA<br>Jake Levin\, Jr.\, Marine Biology\, Mercer Island\, WA<br>Ashelyn
 n\, Lum\, Jr.\, Physics\, Sammamish\, WA<br>Patrick Mercier\, So.\, Law\, 
 Societies and Justice\, Olympia\, WA<br>Zak Osborn\, So.\, Political Scien
 ce\, Tucson\, AZ<br>Trenton Owens\, Fr.\, Drama\, Vancouver\, WA<br>Sophie
  Pinck\, Sr.\, Psychology\, Bellevue\, WA<br>Benjamin Ratner\, Fr.\, Engin
 eering\, Seattle\, WA<br>Hank Ros\, Bothell\, WA<br>Persephone Taylor\, So
 .\, Urban Studies\, Community Development\, Sumner\, WA<br>Justin Yu\, So.
 \, Computer Engineering\, Vancouver\, WA</p>\n<p>TROMBONE<br>Josie Boyles\
 , Jr.\, Math Education\, Puyallup\, WA<br>Aribella Brushie\, So.\, Pre Sci
 ence\, San Diego\, CA<br>Christine Buchanan\, Fr.\, Biochemistry\, Lake Os
 wego\, OR<br>Joshua Kuo\, Environmental Science\, Seattle WA<br>Alex May\,
  Fr.\, Engineering\, Issaquah\, WA<br>John O’Neill\, Community Member\, Se
 attle\, WA<br>Megan O’Neill\, Jr.\, Aeronautics and Astronautics\, Shoreli
 ne\, WA<br>Karon Rasmussen\, Jr.\, Drama\, Graham\, WA<br>Franny Reynolds\
 , So.\, Psychology\, Santa Monica\, CA<br>Emma Tampinco\, Jr.\, Computer E
 ngineering\, Burlington\, WA</p>\n<p>EUPHONIUM<br>Zac Petrillo\, So.\, Psy
 chology\, Seattle\, WA<br>Hayden Yap\, Community Member\, Newbury Park\, C
 A<br>John Yi\, Sr.\, Psychology and Biology\, Bellevue\, WA</p>\n<p>TUBA<b r>Viggy Ravilla\, Fr.\, Biochemistry\, Issaquah\, WA<br>Henry St. Pierre N
 elson\, Fr.\, Pre Sciences\, Issaquah\, WA</p>\n<p>PERCUSSION<br>Calder Br
 oadhead\, So.\, Atmospheric Science\, Seattle\, WA<br>Amy Cai\, Sr.\, Inte
 raction Design\, Woodinville\, WA<br>Cyan Duong\, So.\, Music Education\, 
 Monroe\, WA<br>Marques Locke\, Sr.\, Biochemistry and Computer Science\, B
 ellevue\, WA<br>Mateo Marquez\, Jr.\, Psychology\, Seattle\, WA<br>Hannah 
 Park\, So.\, Political Science\, Economics\, Bellevue\, WA<br>Henry Rice\,
  Fr.\, Engineering\, Richland\, WA</p>\n<p></p>\n\n\n\n\n<h2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20250303T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:162
SUMMARY:: Campus\, Concert\, and University Bands: Passages
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-04/campus-concert-and-unive
 rsity-bands-passages
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The Campus Band (Solomon Encina\, c
 onductor) and Concert Band (David Stewart\, Yuman Wu\, conductors) present
  'Passages\,' a program of music by Clifton Williams\, Frank Ticheli\, Mas
 anori Taruya\, Rossano Galante\, Samuel Hazo\, Fred J. Allen\, and others.
  This concert also includes the debut of a new community ensemble\, the Un
 iversity Band. </p> <hr> <h2>Program</h2> <h4>Concert Band</h4> <p><em>Dav
 id Stewart\, Yuman Wu\, conductors<br><br></em>Chant and Jubilo: <strong>W
 . Francis McBeth</strong><br>Loch Lomond: <strong>Frank Ticheli</strong><b r>Last Letter From Murdoch: <strong>Masanori Taruya</strong></p> <h4>Campu
 s Band</h4> <p><em>Solomon Encina\, conductor<br></em><br>Fortress: Frank Ticheli </strong>(b. 1958)<br><br>A Childhood Remembed (2013): Rossano Galante </strong>(b. 1967)<br><br>Symphonic Suite (1957): Clifton Williams </strong>(1923 - 1976)<strong><br></strong>I. Intrad
 a<br>II. Chorale<br>III. March<br>IV. Antique Dance<br>V. Jubiliee<br><br></strong></p> <h4>UW University Band</h4> <p><em>Solomon Encina\, David Stewart\, directors</em></p> <p>Rush (2006) – <strong>Samuel Hazo</strong> (b. 1966)</p>
  <p> When the Stars Began to Fall (1992) – Fred J. Allen</strong> (b. 1953)</p> <p> An
  Original Suite (1928) – <strong>Gordon Jacob</strong> (1895 - 1984)<br>I.
  March<br>II. Intermezzo<br>III. Finale</p> <hr> <h2>Program Notes</h2> <p><strong>Chant and Jubilo</strong> was commissioned by Jerry Loveall for t
 he Four States Bandmasters Convention in Texarkana\, Texas\, and was first
  performed by the Four States Bandmasters Band in January of 1962 with the
  composer conducting. It is a work in two connected contrasting movements.
  The melodic material in the Chant is derived from a ninth century Greek h
 ymn of rogation. It is a modal movement reminiscent of the early church or
 ganum and should be done in a very sensitive manner\, with the Jubilo cont
 rasting with its explosive lower brass and percussion. The composer also u
 sed this source material in his Hymn for Band\, a junior high piece writte
 n two years earlier.<br>- Program Note by Jesse Leyva</p> <p><strong>Tiche
 li’s setting</strong> of the famous folksong is simple yet charming\, pres
 erving faithfully the melody and adding interesting harmonic vocabulary. L
 och Lomond tells the tale of two Scottish soldiers who were imprisoned at 
 Carlisle Castle in England\, following the Battle of Culloden Moor. One of
  the soldiers was to be executed\, while the other was to be set free. Acc
 ording to Celtic legend\, those who died in foreign lands had their spirit
 s travel to their homelands through the “low road\,” the route for the sou
 ls of the departed. The song is from the point of view of the soldier to b
 e executed\, who tells his friend “ye’ll tak’ the high road and I’ll tak’ 
 the low road\,” in effect saying that the freed soldier will return alive\
 , while he himself would return in spirit. He remembers his past and the “
 bonnie lass” (pretty girl) he will never see again\, and sadly accepts dea
 th.<br><strong>Loch Lomond</strong> was commissioned by the Stewarton Acad
 emy Senior Wind Ensemble of East Ayrshire\, Scotland\, Nigel Durno\, condu
 ctor. It received its premiere on 18 June 2002 by the commissioning ensemb
 le at Royal Concert Hall in Glasgow\, Scotland.<br>- Program Notes by Nikk
  Pilato</p> <p><strong>Last Letter from Murdoch:</strong> The Titanic\, wh
 ich departed for New York as the world's largest luxury cruise ship in Apr
 il 1912\, sank to the bottom of the ocean without finishing its maiden voy
 age. Murdoch was the first officer on board the Titanic and one of the cre
 w who bravely rescued passengers until the last moment the ship sank.<br>D
 uring his voyage\, it was his daily routine to write letters to his family
 \, which spelled out his concerns for his family as well as his current si
 tuation. The 'last letter' from Murdoch may have talked about the boats cr
 owded with passengers\, the beautiful view of the Atlantic Ocean\, and the
  accident that foreshadowed the sinking.<br>The piece depicts the scenery 
 and the thoughts that Murdoch would have written in the letter\, with a Ce
 ltic melody. I hope you listen and play as if you were reading the last le
 tter from Murdoch.<br>- Program Note by composer</p> <p><strong>Fortress</strong> was composed as a tribute to the composer's former band director\,
  Robert Floyd of Richardson\, Texas. Although Ticheli was already an inter
 national award winner\, this was his first published work for concert band
 .<br>The first 19 bars of Fortress are taken from the composer's piano sco
 re for a 1987 theater production of Moliere's Don Juan. Of the dozens of s
 hort snips\, each of which portrays a different character\, this passage r
 epresents the dual personality of Don Alonso -- on the one hand chivalrous
  and honor bound\; on the other hand sinister and ruthless.<br>- Program N
 ote by composer</p> <p><span><strong>A Childhood Remembed:</strong> </span>Close your eyes and imagine a time of carefree days and magical star-fill
 ed nights. Sprightly melodic lines play tag with more lyrical\, lush sonor
 ities\, taking audiences back to their own childhoods. This light composit
 ion captures youth and innocence through the eyes of a child.<br>- Program
  Note from publisher</p> <p><strong>Symphonic Suite:</strong> The suite co
 nsists of five movements related through the use of the principal theme. I
 n each movement a new theme is also introduced\, and in the last movement 
 several themes are developed simultaneously. The suite begins with an Intr
 ada which suggests a solemn processional in fanfare style. The following m
 ovement\, Chorale\, is based on a melody in the first cornet which has mor
 e than a hint of blue in it. March is marked allegro vivo and is based on 
 a short fanfare-like motif heard at the beginning. After many repetitions 
 it works up to a fine climax for full band at the end. The Antique Dance f
 eatures a modal melody in the flute with percussion accompaniment. Jubilee
  is the climactic movement of the suite. Marked allegro con brio\, it is w
 ritten in sonorous triadic harmony throughout. With a few contrasting sect
 ions\, the movement is based primarily on a chordal-rhythmic motif.<br>- N
 otes from “Program Notes for Band” and Gene A. Braught</p> <p>This commiss
 ion was the idea of Jodi Tuthill at Wenger Corporation. Two years ago\, sh
 e approached me with the idea of Wenger celebrating their 60th anniversary
  by commissioning a piece for wind band. Their anniversary would be noted 
 by the commission\, and band directors would have an extra piece in their 
 repertoire courtesy of Wenger. During its composition\, <strong>Rush actually turned into a piece I never thought I would write: Ride Pt. I
 I. I used percussive patterns that I heard from the machinery at the Wenge
 r Plant during my visit to Owatonna\, Minn. Once those rhythmic patterns w
 ere established\, I added some themes that were upbeat and celebratory. Af
 ter the piece was about half done\, I thought to myself that it picks up r
 ight where my piece Ride left off. When it was totally completed\, there w
 as no doubt in my mind. People were going to call it a 'follow-up' tune wh
 ether I labeled it as such or not. The composition was all done and I stil
 l hadn't thought of a title for what was basically Ride 2. I mentioned thi
 s to David Starnes at Kennesaw Mountain High School. Later that same day I
  thought of the name Rush and liked the way it fit. The next morning\, Dav
 id called me and said\, 'Sam\, I have the perfect name for Ride part II. T
 ell me if you like it... Rush.'<br>- Program Note by composer<br><br>My Lord\, What a Mornin'</strong> is one of many anonymous spirituals s
 ung in the fields and in worship by African-American slaves in the 19th ce
 ntury. In this setting\, sonorities of the band are utilized that express 
 a longing for the end of time\, when there will be no sorrow\, no pain. Th
 e last line of the refrain serves as the title for this setting.<br>- Prog
 ram Note from score</p> <p><strong>An Original Suite</strong> (1928) was o
 riginally entitled Suite for Military Band\, and was composed while Jacob 
 was a student at the Royal Academy of Music. The publishing company Boosey
  &amp; Hawkes gave the suite its title. Jacob did not like the title and unsuc
 cessfully tried to have it changed. The reason for the designation of An O
 riginal Suite is explained by Jacob:<br>At the time very little original m
 usic was being written for what was the “military” band\, so the title was
  a way of distinguishing that it was an original work rather than an arran
 gement -- not that the music was very original in itself ... The slow move
 ment is Irish rather than English “folky.” The reason being that Londonder
 ry Air was extremely popular and much admired by the 1920s.<br>- Program N
 ote from University of North Texas Concert Band concert program\, 23 Novem
 ber 2015</p> <table> <tbody> <tr> <td> <p><strong>UNIVERSITY OF WASHINGTON
  CONCERT BAND</strong></p> <p>FLUTE<br>Mimmi Beck\, Community Member\, Gig
  Harbor\, WA <br>Brianna Blanchard\, Jr.\, Environmental Public Health\, S
 horeline\, WA <br>Hayley Cox\, So.\, Aerospace &amp; Astronautical Engineering
 \, Kenmore\, WA <br>Fanny Hang\, Sr.\, ACMS\, Wuxi\, China<br>Maggie Hedri
 ck\, So.\, Mechanical Engineering\, Kettle Falls\, wA <br>Allison Huang\, 
 Sr.\, Finance &amp; Information Systems\, Fremont\, CA<br>Fletcher Lohrentz\, 
 So.\, Physics &amp; Astronomy\, Shoreline\, WA <br>Ziwen Meng\, So.\, Informat
 ics\, China<br>Jason Pham\, So.\, Biology (Physiology)\, Olympia\, WA <br>
 Keming Qiu\, So.\, Biochemistry\, Bellevue\, WA <br>Alex Runnels\, Fr.\, L
 inguistics\, Burien\, WA <br>Kayla Simerson\, So.\, Ecology &amp; Geology\, Sh
 oreline\, WA <br>Dennis Toepker\, Community Member\, Bellevue\, WA <br>Ala
 na Wacker\, Fr.\, Pre-Science\, Belmont\, CA<br>Esther Wang\, So.\, Bioche
 mistry\, Taoyuan\, Taiwan\, WA<br>Julia Winget\, Fr.\, Earth and Space Sci
 ences &amp; Physics\, Cincinnati\, OH<br>Elia Woods\, Fr.\, Civil Engineering\
 , Phoenix\, AZ</p> <p>OBOE<br>Lillian Petersen\, Fr.\, Finance\, Deming\, 
 WA <br>Stacy Schulze\, Community Member\, Richmond\, TX</p> <p>CLARINET<br>CC Ahrens\, Jr.\, Computer Science and Mathematics\, White Salmon\, WA<br>Cin Ahrens\, Jr.\, Computer Science and Mathematics\, White Salmon\, WA &lt;
 br&gt;Jovani Azpeitia\, Graduate\, Social Psychology\, Kirkland\, WA <br>Jah 
 Chen\, Jr.\, Informatics\, Bellevue\, WA<br>Gael Chun-Rivas\, Fr.\, Engine
 ering\, Honolulu\, HI<br>Elizabeth Hirman\, Jr.\, MCD Biology\, Mill Creek
 \, WA<br>Ashley Howard\, Graduate\, Oceanography\, Denton\, TX<br>Aaron Hw
 ang\, Jr.\, Medical Anthropology\, Bellevue\, WA<br>Eliana Jablon\, Fr.\, 
 Psychology\, Los Angeles\, CA<br>Nel Jacobs\, Community Member\, Seattle\,
  wA<br>Eliezer Jeon\, So.\, Psychology\, Puyallup\, WA <br>Kevin Kim\, So.
 \, Computer Science\, Vancouver\, WA <br>Clay Kuran\, So.\, Physics\, Seat
 tle\, WA<br>Karl Lee\, Jr.\, Informatics\, Puyallup\, WA<br>Ayari Lopez\, 
 Fr.\, Engineering\, San Diego\, CA<br>Ameena Majeed\, So.\, Biology\, Seat
 tle\, WA<br>Thomas Mangold\, Jr.\, Mechanical Engineering\, Mercer Island\
 , WA<br>Esmeralda Marquez\, Jr.\, Medical Laboratory Science\, Tacoma\, WA
 <br>Nathan Melhuish\, Fr.\, Undecided\, Shoreline\, WA<br>Daisy Mendoza-Ci
 d\, Fr.\, Psychology and Public Health\, Quincy\, WA<br>Wyatt Triebold\, S
 o.\, Marine Biology\, Puyallup\, WA<br>Heather Williams\, Fr.\, Community\
 , Environment\, and Planning\, Palo Alto\, CA</p> <p>BASS CLARINET<br>Srik
 rishna Gurumurthy\, Fr.\, Biology\, Redmond\, WA<br>Cassandra Humarang\, J
 r.\, Mathematics\, Everett\, WA<br>Flora McAllister\, Community Member\, S
 eattle\, WA</p> <p>ALTO SAXOPHONE<br>Xin Cen\, Jr.\, EEC Biology\, Bellevu
 e\, WA<br>Matthew Holmes\, Graduate\, Aero &amp; Astro\, Winters\, CA<br>Anany
 a Juneja\, Fr.\, Pre-Arts and Humanities\, Kirkland\, WA (Originally New D
 elhi\, India)<br>Ethan Kaplan\, Jr.\, Electrical and Computer Engineering\
 , Seattle\, WA<br>Becca Langstraat\, Community Member\, Seattle\, WA<br>Ar
 nav Mazumder\, So.\, Computer Science\, Dallas\, TX<br>Joalda Morancy\, Gr
 aduate\, Aerospace\, Seattle\, WA<br>Elina Plorinsh\, Jr.\, Biology\, Ever
 ett\, WA<br>Jason Taylor\, Community Member\, Indianapolis\, IN<br>Jenna T
 homson\, Fr.\, ESRM\, Anchorage\, AK<br>Naomi Williams\, Community Member 
 and Piano\, Lynnwood\, WA<br>Roxann Wrynn\, Fr.\, Pre-Sciences Chemistry\,
  Newport\, WA</p> <p>TENOR SAXOPHONE<br>Ronan Fiat\, Jr.\, Chemical Engine
 ering\, Seattle\, WA<br>Ethan Young\, Jr.\, Premajor\, Port Orchard\, WA</p> <p>BARITONE SAXOPHONE<br>Matthew Ohliger\, So.\, Environmental Public H
 ealth\, Montgomery\, AL</p> <p>BASSOON<br>Akira Morishita\, Jr.\, Molecula
 r\, Cellular\, and Developmental Biology\, Bellevue\, WA<br>Olivia Whitfor
 d\, So.\, Oceanography\, Seattle\, WA</p> <p>HORN<br>Andrew Chen\, Communi
 ty Member\, Informatics / Psychology\, Othello\, WA<br>Karen Mildes\, Comm
 unity Member\, Bothell\, WA<br>Jonah Miyashiro\, Sr.\, Biology: Molecular\
 , Cellular\, and Developmental\, Honolulu\, HI<br>Kevin Yuan\, Fr.\, Indus
 trial Design\, Vancouver\, WA</p> <p>TRUMPET<br>Sam Brusstar\, So.\, Pre-S
 ciences\, Chicago\, IL<br>Oliver Fraser\, Community Member\, Astronomy\, L
 ake Forest Park\, WA<br>Zach Grimm\, Jr.\, Mechanical Engineering\, Vancou
 ver\, WA<br>Delaney Hurlimann\, So.\, Biology\, Burlington\, WA<br>Elisabe
 th Lanter\, So.\, Chemical Engineering\, Shoreline\, WA<br>Gabe Lapingcao\
 , Community Member\, Computer Science and Software Engineering\, Everett\,
  WA<br>Trevor Leen\, Sr.\, Industrial Design\, Brier\, WA<br>Katie Love\, 
 Community Member\, Los Altos\, CA<br>Jonathan Mattingly\, Graduate\, Immun
 ology\, Homer Glen\, IL<br>Chad Miller\, Community Member\, Psychology\, L
 ansing\, KS<br>Annabelle Mirhashemi\, Graduate\, Social Work\, Los Angeles
 \, CA<br>Connor Mitchell\, Sr.\, Civil Engineering\, Tumwater\, WA<br>Adam
  Rehmann\, So.\, Mechanical Engineering\, Vancouve\, WA<br>Matt Schroeder\
 , Community Member\, Orlando\, FL</p> <p>TROMBONE<br>Aribella Brushie\, So
 .\, Pre-Sciences\, San Diego\, CA<br>Ryan Camacho\, Fr.\, Marine Biology\,
  Tamuning\, Guam<br>Mycah Davis\, Community Member\, Burien\, WA<br>Wyatt 
 Langstraat\, Community Member\, Seattle\, WA<br>Elliott Mantock\, Communit
 y Member\, Computer Science\, Burien\, WA<br>Megan O’Neill\, Jr.\, Aeronau
 tics &amp; Astronautics\, Shoreline\, WA <br>Kai Turner\, Fr.\, Business\, Bre
 merton\, WA<br>Will Vanderburght\, Jr.\, Political Science\, Vancouver\, W
 A<br>Matthew Young\, Community Member\, Port Orchard\, WA</p> <p>EUPHONIUM
 <br>Nico Ferreria\, So.\, Biology\, Euphonium\, Bellevue\, WA<br>Joseph Ma
 rtinez\, So.\, Civil Engineering\, Euphonium\, Lake Forest Park\, WA <br>N
 oah Mason\, Jr.\, Mechanical Engineering\, Euphonium\, Bellingham\, WA <br>Yoshi Nakanishi\, Jr.\, Mechanical Engineering\, Euphonium\, Bellevue\, W
 A<br>Connor Whelan\, Fr.\, Engineering Undeclared\, Euphonium\, Seattle\, 
 WA</p> <p>TUBA<br>Chris Jacobus\, Community Member\, Kent\, WA<br>Jason La
 i\, Fr.\, Mechanical Engineering\, Camas\, WA<br>Will Searson\, So.\, Geog
 raphy\, Minneapolis\, MN</p> <p>PERCUSSION<br>Rene Babasa\, Community Memb
 er\, Media and Communications\, Everett\, WA<br>Auryanna Brown\, Fr.\, Con
 struction Management\, Graham\, WA<br>Jian-Hong Chen\, Jr.\, Mechanical En
 gineering\, Taipei\, Taiwan<br>Charlotte Greene\, Jr.\, Meteorology and Cl
 imate Science\, Lynden\, WA<br>Kendall Johnson\, Graduate\, Mechanical Eng
 ineering\, La Conner\, WA <br>Elijah Marucheck\, Fr.\, Engineering\, Belle
 vue\, WA<br>Meliza Redulla\, Sr.\, Music Education\, Auburn\, WA <br>Clara
  Stanbury\, Graduate\, Oceanography\, Auburn\, AL<br>Jaden Zika\, So.\, Ps
 ychology\, Livermore\, CA</p> <p>PIANO<br>Naomi Williams\, Community Membe
 r\, Lynnwood</p> <p>STRING BASS<br>Jason Lai\, Fr.\, Mechanical Engineerin
 g\, Camas</p> <p><strong>UNIVERSITY OF WASHINGTON CAMPUS BAND</strong></p>
  <p>PICCOLO<br>Kaida Hollingsworth\, Political Science and Law\, Societies
 \, and Justice\, Port Orchard\, WA</p> <p>FLUTE<br>Brinda Arun\, Fr.\, Pre
  Sciences\, Redmond\, WA<br>Emily Charles\, So.\, Marine Biology\, New Bos
 ton\, NH<br>Grace Collins-Price\, Jr.\, Anthropology\, Louisville\, TN<br>
 Sarah Edwards\, Fr.\, Engineering\, Mukilteo\, WA<br>Julian Frazer\, Fr.\,
  Pre-Sciences\, Oysterville\, WA<br>Maria Granzeier\, So.\, Biochemistry\,
  Molecular Cellular and Developmental Biology\, Rockford\, Il<br>Meribeth 
 Hastings\, Sr.\, Anthropology\, Rockton\, Il<br>Hareesh Iyer\, Jr.\, Gradu
 ate\, Materials Science and Engineering\, San Jose\, CA<br>Sanskriti Joshi
 \, Graduate\, Electrical and Computer Engineering\, Columbus\, OH<br>Nora 
 Katiyar\, So.\, Art\, Cleveland\, OH<br>Chiche Okemgbo\, Fr.\, Real Estate
 \, Medical Lake\, WA<br>Isabelle Paulsen\, Fr.\, Marine Biology\, Snohomis
 h\, WA<br>Maya Rasche\, Fr.\, Pre Arts and Science\, Kirkland\, WA</p> <p>
 OBOE<br>Kaitlin Brouillard\, Community Member\, Redmond\, OR</p> <p>BASSOO
 N<br>Hunter Bergstrom\, Fr.\, Biochemistry\, Snoqualmie\, WA<br>Ella Schwa
 rtz\, Jr.\, Political Science\, Juneau\, AK</p> <p>CLARINET<br>Dani Balles
 teros\, Fr.\, Computer Science\, Snoqualmie\, WA<br>Luz Caro\, Fr..\, Envi
 ronmental Science\, Snoqualmie\, WA<br>David Chen\, Fr.\, Health Informati
 cs\, Information and Management and Communications\, Vancouver\, WA<br>Con
 ner Coughran\, Fr.\, Computer Science\, Snoqualmie\, WA<br>Catherine Ensch
 \, Community Member\, Seattle\, WA<br>Ainsley Haynes\, So.\, Psychology\, 
 Longview\, WA<br>Natalie Kerns\, Fr.\, Music Education\, Port Orchard\, WA
 <br>Jonathan Li\, Jr.\, Aerospace Engineering\, Bernardsville\, NJ<br>Ella
  Morrow\, So.\, Biochemistry and Psychology\, Vancouver\, WA<br>Adrian Sha
 w\, Sr.\, Marine Biology\, Seattle\, WA<br>Bailey Stachelski\, Fr.\, Pre A
 rts and Sciences\, North Bend\, WA<br>Kenzie Winchell\, So.\, Psychology\,
  Spanaway\, WA</p> <p>BASS CLARINET<br>Akshat Ghuge\, Fr.\, Informatics\, 
 Dallas\, TX</p> <p>ALTO SAXOPHONE<br>Ashley Adrian\, Jr.\, American Indian
  Studies and American Ethnic Studies\, Sammamish\, WA<br>Adhinandan Basak\
 , So.\, Mechanical Engineering\, Bothell\, WA<br>Egesu Berkmen\, Sr.\, Com
 munications\, Maui\, HI<br>Xander Bishop\, Sr.\, Geography Data Science\, 
 Kelso\, WA<br>Thomas Cepollina\, Sr.\, Physics\, Sammamish\, WA<br>Andrew 
 Eisenhauer\, Jr.\, Environmental Science and Terrestrial Resource Manageme
 nt\, Biology\, Bellingham\, WA<br>Andrew Gambel\, Community Member\, Seatt
 le WA<br>Ellie Kiffe\, Fr.\, Meteorology\, Marysville\, WA<br>Colleen McKi
 sson\, So.\, Psychology\, Sociology\, Shoreline\, WA<br>Maria Mendez Thoma
 s\, Sr.\, Physiology\, Vancouver\, WA<br>Athena Otto Von Askervold\, Jr.\,
  Global Health\, Seattle\, WA<br>Brianna Philipp\, So.\, Biochemistry\, Wo
 odinville\, WA<br>Rebecca Qian\, Fr.\, Speech and Hearing Sciences\, Redmo
 nd\, WA<br>Isis Salvador de Jesus\, So.\, Architecture\, Seattle\, WA</p> 
 <p>TENOR SAXOPHONE<br>Logan Harris\, Jr.\, Oceanography\, Issaquah\, WA</p> <p>HORN<br>Timothy Brock\, Fr.\, Criminal Justice\, Seattle\, WA<br>Geor
 ge Whiddon\, So.\, International Studies\, Littleton\, CO</p> <p>TRUMPET<b r>Clark Chin\, Jr.\, Informatics\, Issaquah\, WA<br>Tracy Chin\, Graduate\
 , Math\, San Diego\, CA<br>Jack Hawley\, Fr.\, Music Education\, Seattle\,
  WA<br>Rhoss Manley\, So.\, Biochemistry\, Kirkland\, WA</p> <p>TROMBONE<b r>Jaeseo Choi\, So.\, Electrical and Computer Engineering\, Seoul\, South 
 Korea<br>Oskar Cole\, Fr.\, Computer Science\, Redmond\, WA<br>Nikhil Kini
 \, Fr.\, Microbiology\, Coppell\, TX<br>Aditi Nair\, Fr.\, Engineering\, L
 ake Bluff\, Il</p> <p>EUPHONIUM<br>Anthony Benware\, Community Member\, Ch
 arleston\, SC<br>Nathan Ford\, Graduate\, Electrical Engineering Education
 \, Sammamish\, WA<br>Nate Herrick\, Jr.\, Scandinavian Area Studies\, Law 
 Societies and Justice\, Puyallup\, WA<br>Sophia Weissman\, Jr.\, Neuroscie
 nce\, Melrose\, WA</p> <p>TUBA<br>Benito Correa\, Computer Engineering\, M
 ount Vernon\, WA<br>Peter Smith\, So.\, Undeclared\, Redmond\, WA</p> <p>P
 ERCUSSION<br>Avi Bose\, Graduate\, Civil Engineering\, Brooklyn\, NY<br>Al
 ec Busby-Frey\, Sr.\, Civil Engineering\, Longview\, WA<br>Meha Farrokhi\,
  Fr.\, Biochemistry\, Vancouver\, Canada<br>Patrick Henry\, Fr.\, Biochemi
 stry\, Vancouver\, WA<br>Kyra Schlezinger\, Sr.\, Atmospheric and Climate 
 Science\, Meteorology\, Burlingame\, CA<br>Yinuo Xu\, So.\, Chemistry\, Gu
 angzhou\, China</p> <p><strong>UNIVERSITY OF WASHINGTON UNIVERSITY BAND</s></p> <p>PICCOLO<br>Jacob Reese\, Graduate\, Civil Engineering\, Olym
 pia\, WA</p> <p>FLUTE<br>Maritza Barragán Orozco\, Sr.\, Linguistics\, Spa
 nish\, Prosser\, WA<br>Lydia Blair\, Fr.\, Engineering\, Seattle\, WA<br>R
 obin Choi\, Fr.\, Political Science\, Mukilteo\, WA<br>Spencer Crosbie\, J
 r.\, Early Childhood and Family Studies\, Walla Walla\, WA<br>Allison Ferr
 ell\, Sr.\, Ecology Evolution\, and Conservation Biology\, Seattle\, WA<br>Lucy Nowicki\, Jr.\, Psychology\, Philosophy\, Centralia\, WA<br>Royee Sh
 en\, Fr.\, Engineering\, Bothell\, WA<br>Sammy Weaver\, Fr.\, Engineering\
 , Boulder\, CO<br>Jennifer Raschke\, Fr.\, Psychology\, Frisco\, TX</p> <p>OBOE<br>Maila Deutsche\, Santa Rosa\, CA<br>Ava Ponomarchuk\, Fr.\, Histo
 ry\, Shoreline\, WA<br>Brandon Tsai\, Fr.\, Shoreline\, WA</p> <p>BASSOON&lt;
 br&gt;Krish Doshi\, Fr.\, Computer Science\, Bothell\, WA</p> <p>CLARINET<br>
 Juliana Brogan\, Jr.\, Nursing\, Woodinville\, WA<br>Jasper Crossley Blasi
 o\, So.\, Geography\, Seattle\, WA<br>Kelsey Jenkins\, Jr.\, Intended Psyc
 hology\, Clarksville\, TN<br>Olea Jorgensen\, Fr.\, Undeclared\, Seattle\,
  WA<br>Hannah Lesniak\, So.\, Chemical Engineering\, Yakima\, WA<br>Eric L
 ian\, Sr.\, Biochemistry\, Beijing\, China<br>Jaimi Lutes\, Sr.\, Environm
 ental Science and Resource Management\, Earth and Space Science\, Biology\
 , Quantitative Science\, Boulder\, CA<br>Jayah Mack\, Fr.\, Engineering Un
 declared\, Vancouver\, WA<br>Annabel McDonald\, So.\, Pre Sciences\, Houst
 on\, TX<br>Jane McKelvey\, So.\, Biochemistry\, Seattle\, WA<br>Rowan Pree
 dy\, So.\, Materials Science and Engineering\, Seattle\, WA<br>Raul Robles
 \, Sr.\, Microbiology\, Prosser\, WA<br>Esme Ford\, Fr.\, Pre Sciences\, S
 eattle\, WA</p> <p>BASS CLARINET<br>Kieran Ewing\, Fr.\, Aerospace Enginee
 ring\, Seattle\, WA</p> <p>ALTO SAXOPHONE<br>Eduardo Azevedo Simão Racy\, 
 So.\, Computer Science\, Auburn\, WA<br>Madison Calma\, Jr.\, Business Adm
 inistration\, Accounting\, Environmental Studies\, Olympia\, WA<br>Olina\,
  Dalton-GIlbertson\, Jr.\, Social Work\, Ilwaco\, WA<br>Mak Murphy\, Jr.\,
  Pre Sciences\, Lakewood\, WA<br>Ayaan Premji\, So.\, Mathematics\, Camas\
 , WA<br>Alondra Quiroga\, Communi8ty Member\, Edmonds\, WA<br>Sebastian Ro
 ederer\, So.\, Physics\, English\, Dayton\, OH<br>Kylie Schoessler\, Fr.\,
  Pre Social Science\, Auburn\, WA</p> <p>TENOR SAXOPHONE<br>Natalie Breede
 n\, Jr.\, Environmental Studies\, Longview\, WA<br>Ben Fowlkes\, So.\, Bio
 engineering\, Puyallup\, WA<br>Jaden Frese\, So.\, Civil Engineering\, Gle
 nview\, Il</p> <p>BARITONE SAXOPHONE<br>Jason Lai\, Fr.\, Mechanical Engin
 eering\, Camas\, WA</p> <p>TRUMPET<br>Erika Berreth\, So.\, Undeclared\, R
 edmond\, WA<br>Maine Bilardello\, Fr.\, Engineering\, San Carlos\, CA<br>A
 idan Brannon\, Fr.\, Chemistry\, Seattle\, WA<br>Logan Carte\, Jr.\, Aeron
 autics and Astronautics\, Olympia\, WA<br>Aditi Dwivedy\, Sr.\, Psychology
 \, Neuroscience\, Biology\, Physiology\, Bellevue\, WA<br>Jonah Grey\, Jr.
 \, Computer Engineering\, Seattle\, WA<br>Natalie Hofkes\, Fr.\, Undeclare
 d\, West Seattle\, WA<br>Brady Imperial\, Sr.\, Environmental Sciences\, S
 an Diego\, CA<br>Jake Levin\, Jr.\, Marine Biology\, Mercer Island\, WA<br>Ashelynn\, Lum\, Jr.\, Physics\, Sammamish\, WA<br>Patrick Mercier\, So.\
 , Law\, Societies and Justice\, Olympia\, WA<br>Zak Osborn\, So.\, Politic
 al Science\, Tucson\, AZ<br>Trenton Owens\, Fr.\, Drama\, Vancouver\, WA<b r>Sophie Pinck\, Sr.\, Psychology\, Bellevue\, WA<br>Benjamin Ratner\, Fr.
 \, Engineering\, Seattle\, WA<br>Hank Ros\, Bothell\, WA<br>Persephone Tay
 lor\, So.\, Urban Studies\, Community Development\, Sumner\, WA<br>Justin 
 Yu\, So.\, Computer Engineering\, Vancouver\, WA</p> <p>TROMBONE<br>Josie 
 Boyles\, Jr.\, Math Education\, Puyallup\, WA<br>Aribella Brushie\, So.\, 
 Pre Science\, San Diego\, CA<br>Christine Buchanan\, Fr.\, Biochemistry\, 
 Lake Oswego\, OR<br>Joshua Kuo\, Environmental Science\, Seattle WA<br>Ale
 x May\, Fr.\, Engineering\, Issaquah\, WA<br>John O’Neill\, Community Memb
 er\, Seattle\, WA<br>Megan O’Neill\, Jr.\, Aeronautics and Astronautics\, 
 Shoreline\, WA<br>Karon Rasmussen\, Jr.\, Drama\, Graham\, WA<br>Franny Re
 ynolds\, So.\, Psychology\, Santa Monica\, CA<br>Emma Tampinco\, Jr.\, Com
 puter Engineering\, Burlington\, WA</p> <p>EUPHONIUM<br>Zac Petrillo\, So.
 \, Psychology\, Seattle\, WA<br>Hayden Yap\, Community Member\, Newbury Pa
 rk\, CA<br>John Yi\, Sr.\, Psychology and Biology\, Bellevue\, WA</p> <p>T
 UBA<br>Viggy Ravilla\, Fr.\, Biochemistry\, Issaquah\, WA<br>Henry St. Pie
 rre Nelson\, Fr.\, Pre Sciences\, Issaquah\, WA</p> <p>PERCUSSION<br>Calde
 r Broadhead\, So.\, Atmospheric Science\, Seattle\, WA<br>Amy Cai\, Sr.\, 
 Interaction Design\, Woodinville\, WA<br>Cyan Duong\, So.\, Music Educatio
 n\, Monroe\, WA<br>Marques Locke\, Sr.\, Biochemistry and Computer Science
 \, Bellevue\, WA<br>Mateo Marquez\, Jr.\, Psychology\, Seattle\, WA<br>Han
 nah Park\, So.\, Political Science\, Economics\, Bellevue\, WA<br>Henry Ri
 ce\, Fr.\, Engineering\, Richland\, WA</p> <p></p> </td> </tr> </tbody> </table> <h2>Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:ae2272d7-5e56-43c8-8f62-0d88daea72ed
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240930T163615Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20250304T120000
LAST-MODIFIED:20240930T163615Z
SEQUENCE:163
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-04/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:4411c64d-519f-48ea-8545-83ef0a25dc99
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T203019Z
DESCRIPTION:<p></p>\n<p>The University of Washington Modern Music Ensemble 
 (Cristina Valdés\, director) performs works by Jonathan Harvey\, Wolfgang 
 Rihm\, Luciano Berio\, Nicole Lizée\, and an improvised duet for ensemble 
 and conductor\, led by School of Music professor Steph Richards.  </p>\n\n<h2>Program</h2>\n<p>Still for tuba and electronics (1997):  <b>Jonath
 an Harvey </b>(1939-2012)<br><b>Cole Henslee\,</b> tuba</p>\n<p>Drei Vorsp
 iele zu einer Insel (2003): <b>Wolfgang Rihm </b>(1952-2024)<br>Sehr ruhig
 <br>Sehr rasch<br>Sehr ruhig<br><b>Rachel Reyes\,</b> flute\; <b>Taylor De
 Castro\,</b> violin\; <b>Tyler Smith\,</b> percussion</p>\n<p>O King (1968
 ):  <b>Luciano Berio </b>(1925-2003)<br><b>Cassidy Cheong\,</b> voice\; <b>Rachel Reyes\,</b> flute\; <b>Cameron DeLuca\,</b> clarinet\; <b>Taylor D
 eCastro\,</b> violin\; <b>Christine Lee\,</b> cello\; <b>Olivia Hsu\,</b> 
 piano</p>\n<p>Music for Body-Without-Organs (2011): <b>Nicole Lizée. </b>(
 b. 1973)<br><b>Rachel Reyes\,</b> flute &amp; bass flute\; <b>Cameron Deluca\,
 </b> clarinet\, bass clarinet &amp; harmonica\; <b>Taylor DeCastro\,</b> violi
 n\; <b>Christine Lee\,</b> cello\; <b>Ella Kalinichenko\,</b> piano\; <b>T
 yler Smith\,</b> percussion</p>\n<p>Conduction #148<b> </b>(2025): <strong>Steph Richards </strong>(b. 1982)<br>an improvised duet for ensemble and 
 conductor  <br><b>Cassidy Cheong\,</b> voice\; <b>Rachel Reyes\,</b> flute
 \; <b>Cameron DeLuca\,</b> clarinet\;  <b>Cole Henslee\,</b> tuba\; <b>Tay
 lor DeCastro\,</b> violin\; <b>Olivia Hsu\,</b> piano\; <b>Tyler Smith\,</b> percussion\;  <b>Steph Richards\, </b>conductor</p>\n<hr>\n<h2>Program 
 Notes</h2>\n<p><strong>Still for tuba and electronics (1997)</strong><br>K
 nown for his musical ideas and technological innovations\, English compose
 r Jonathan Harvey (1939-2012) was deeply influenced by spirituality and so
 ught a musical space beyond time–a “new type of music”. This search for a 
 free\, flexible musical language led him to utilize the capabilities of el
 ectronics to further explore a new sonic landscape he coined as “the new P
 ythagoreanism” in the late 1990s. His work for solo tuba and electronics\,
  Still (1997)\, calls for the soloist to improvise around a series of eigh
 t chords. The combination of sustained reverberated chords and free improv
 isation create eight new musical scenes.<br>—Rachel Reyes<br><br><strong>O
  King (1968)</strong><br>Moved by the death of the American civil-rights a
 ctivist\, Martin Luther King Jr.\, Luciano Berio (1925-2003) wrote a short
  piece with the text consisting solely of his name. O King (1968) was init
 ially composed for voice\, flute\, B-flat clarinet\, violin\, cello\, pian
 o and calls for the voice to blend in as a part of the ensemble. The vocal
  part begins with just the vowels followed by the consonants of Martin Lut
 her King Jr.’s name. At the climax of the piece\, the voice soars above th
 e ensemble and gives his name in full during the final few measures. Follo
 wing the completion of the chamber version\, Berio included a symphonic ed
 ition of this piece as the second movement of Sinfonia (1968-69) for eight
  amplified voices and orchestra.<br>—Rachel Reyes</p>\n<p><strong>Music fo
 r Body-Without-Organs (2011)<br></strong>Deleuze and Guattari’s body-witho
 ut-organs is defined as an anomalous shapeshifter—it is fluid\, boundless\
 , mutable\, and in a continual process of ‘becoming’—no longer confined by
  the medical profession’s corporeal boundaries. In her book Deleuze and Ho
 rror Film author Anna Powell analyses horror film from a Deleuzian perspec
 tive and conceptualizes the body-without-organs as it applies to certain f
 ilms and characters from the genre. Cronenberg’s Videodrome\, Tourneur’s C
 at People\, Verhoeven’s Hollow Man are some of the films that feature this
  type of entity. She also looks in great depth at the literal body-without
 -organs: i.e. the character Frank Cotton in Clive Barker’s Hellraiser whos
 e organs gradually restore themselves throughout the film after being torn
  to shreds by the Cenobites.<br>Music for Body-Without-Organs is a sonic r
 epresentation of this continuous process of movement and flux and the fusi
 on of elements to form new entities. It is what I imagine these characters
  would dance or listen to while going about their business. The work is co
 ntinuously shifting and mutating. It has moments of trance-like material\,
  elements of glitch\, psychedelic touches\, and a distorted interpretation
  of ambient music.<br> While composing the piece I also envisioned a strik
 ing scene from Herk Harvey’s 1962 cult classic Carnival of Souls. It invol
 ves the main character Mary Henry\, who is perhaps a zombie\, possessed\, 
 or simply undead (it is never really made clear\, only that there is somet
 hing “off” about her). While practicing hymns alone in church one night sh
 e falls into a trance. The hymns suddenly mutate into eerie and twisted me
 lodies. Her pointed toes begin to work the organ’s pedals with fierce aban
 don. Her fingers rapidly caress the keys with more and more urgency while 
 she sways and contorts her body to the music. As she moves deeper into a t
 rance\, ghouls materialize and begin dancing to her demonic music. Arrivin
 g in time to avert the song’s conclusion\, the church’s minister appears\,
  pulls her hands off of the keys and proclaims the music sacrilege. <br>—N
 icole Lizée</p>\n<p><strong>Drei Vorspiele zu einer Insel (2003)</strong>&lt;
 br&gt;The highly prolific composer Wolfgang Rihm (1952-2024) was one of the l
 eading figures of the new wave of German music in the 1970s that leaned mo
 re towards free expression and emotion over structuralism. His profound in
 terests in visual arts\, literature\, and philosophy greatly influenced hi
 s works. Having described himself as a “pathless wanderer”\, his works exp
 lore an unrestrained musical climate–free to meander and move towards unfo
 reseen possibilities of colors and forms. Drei Vorspiele zu einer Insel (2
 003) or Three Preludes for an Island showcase Rihm’s musical ideals in thr
 ee short movements for flute\, violin\, and percussion. Each movement trav
 erses diverse musical climates moving from ethereal motifs\, cacophonous e
 xplosions\, and long winding melodies that disappear into the atmosphere.&lt;
 br&gt;Rachel Reyes<br><br><strong>Conduction #148 (2025)</strong><br>an impro
 vised duet for ensemble and conductor<br>—Steph Richards</p>\n<hr>\n<h2>Bi
 ographies</h2>
DTSTART;TZID=America/Los_Angeles:20250304T193000
LAST-MODIFIED:20250228T221954Z
SEQUENCE:164
SUMMARY:: Modern Music Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-05/modern-music-ensemble
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The University of Washington Modern
  Music Ensemble (Cristina Valdés\, director) performs works by Jonathan Ha
 rvey\, Wolfgang Rihm\, Luciano Berio\, Nicole Lizée\, and an improvised du
 et for ensemble and conductor\, led by School of Music professor Steph Ric
 hards.  </p> <hr> <h2>Program</h2> <p>Still<span> for tuba and electronics (1997): </span><span> </span><b>Jonathan Harvey </b><span>(1939-20
 12)<br></span><b>Cole Henslee\,</b><span> tuba&lt;
 /span&gt;</p> <p>Drei Vorspiele zu einer Insel<span> (2003): </span><b>Wolfgang Rihm </b><span>(1
 952-2024)<br></span><span>Sehr ruhig<br></span>
 <span>Sehr rasch<br></span><span>Sehr ruhig<br></span><b>Rachel Reyes\,</b><span> flute\; </span><b>Taylor DeCastro\,</b><span> violin\; </span><b>Tyler Smith\,</b><span> percussion</span></p> <p>O King<span>
  (1968): </span><span> </span><b>Luciano Berio 
 </b><span>(1925-2003)<br></span><b>Cassidy Cheo
 ng\,</b><span> voice\; </span><b>Rachel Reyes\,
 </b><span> flute\; </span><b>Cameron DeLuca\,</b><span> clarinet\; </span><b>Taylor DeCastro\,
 </b><span> violin\; </span><b>Christine Lee\,</b><span> cello\; </span><b>Olivia Hsu\,</b> piano</span></p> <p>Music for Body-Without-O
 rgans <span>(2011): </span><b>Nicole Lizée. </b><span>(b. 1973)<br></span><b>Rachel Reyes\,</b><span> flute &amp; bass flute\; </span><b>Cameron 
 Deluca\,</b><span> clarinet\, bass clarinet &amp; h
 armonica\; </span><b>Taylor DeCastro\,</b><span> violin\; </span><b>Christine Lee\,</b><span> 
 cello\; </span><b>Ella Kalinichenko\,</b><span>
  piano\; </span><b>Tyler Smith\,</b><span> perc
 ussion</span></p> <p>Conduction #148<b> </b><span>(2025): <strong>Steph Richards </strong>(b. 1982)<br><span>an improvise
 d duet for ensemble and conductor</span></span><span>  <br></span><b>Cassidy Cheong\,</b><span> voice\; </span><b>Rachel Reyes\,</b><span> fl
 ute\; </span><b>Cameron DeLuca\,</b><span> clar
 inet\;  </span><b>Cole Henslee\,</b><span> tuba
 \; </span><b>Taylor DeCastro\,</b><span> violin
 \; </span><b>Olivia Hsu\,</b><span> piano\; </s><b>Tyler Smith\,</b><span> percussion\;  </span><b>Steph Richards\, </b><span>conductor</s></p> <hr> <h2>Program Notes</h2> <p><strong>Still for tuba and electro
 nics (1997)</strong><br>Known for his musical ideas and technological inno
 vations\, English composer Jonathan Harvey (1939-2012) was deeply influenc
 ed by spirituality and sought a musical space beyond time–a “new type of m
 usic”. This search for a free\, flexible musical language led him to utili
 ze the capabilities of electronics to further explore a new sonic landscap
 e he coined as “the new Pythagoreanism” in the late 1990s. His work for so
 lo tuba and electronics\, Still (1997)\, calls for the soloist to improvis
 e around a series of eight chords. The combination of sustained reverberat
 ed chords and free improvisation create eight new musical scenes.<br>—Rach
 el Reyes<br><br><strong>O King (1968)</strong><br>Moved by the death of th
 e American civil-rights activist\, Martin Luther King Jr.\, Luciano Berio 
 (1925-2003) wrote a short piece with the text consisting solely of his nam
 e. O King (1968) was initially composed for voice\, flute\, B-flat clarine
 t\, violin\, cello\, piano and calls for the voice to blend in as a part o
 f the ensemble. The vocal part begins with just the vowels followed by the
  consonants of Martin Luther King Jr.’s name. At the climax of the piece\,
  the voice soars above the ensemble and gives his name in full during the 
 final few measures. Following the completion of the chamber version\, Beri
 o included a symphonic edition of this piece as the second movement of Sin
 fonia (1968-69) for eight amplified voices and orchestra.<br>—Rachel Reyes
 </p> <p><strong>Music for Body-Without-Organs (2011)<br></strong>Deleuze a
 nd Guattari’s body-without-organs is defined as an anomalous shapeshifter—
 it is fluid\, boundless\, mutable\, and in a continual process of ‘becomin
 g’—no longer confined by the medical profession’s corporeal boundaries. In
  her book Deleuze and Horror Film author Anna Powell analyses horror film 
 from a Deleuzian perspective and conceptualizes the body-without-organs as
  it applies to certain films and characters from the genre. Cronenberg’s V
 ideodrome\, Tourneur’s Cat People\, Verhoeven’s Hollow Man are some of the
  films that feature this type of entity. She also looks in great depth at 
 the literal body-without-organs: i.e. the character Frank Cotton in Clive 
 Barker’s Hellraiser whose organs gradually restore themselves throughout t
 he film after being torn to shreds by the Cenobites.<br>Music for Body-Wit
 hout-Organs is a sonic representation of this continuous process of moveme
 nt and flux and the fusion of elements to form new entities. It is what I 
 imagine these characters would dance or listen to while going about their 
 business. The work is continuously shifting and mutating. It has moments o
 f trance-like material\, elements of glitch\, psychedelic touches\, and a 
 distorted interpretation of ambient music.<br> While composing the piece I
  also envisioned a striking scene from Herk Harvey’s 1962 cult classic Car
 nival of Souls. It involves the main character Mary Henry\, who is perhaps
  a zombie\, possessed\, or simply undead (it is never really made clear\, 
 only that there is something “off” about her). While practicing hymns alon
 e in church one night she falls into a trance. The hymns suddenly mutate i
 nto eerie and twisted melodies. Her pointed toes begin to work the organ’s
  pedals with fierce abandon. Her fingers rapidly caress the keys with more
  and more urgency while she sways and contorts her body to the music. As s
 he moves deeper into a trance\, ghouls materialize and begin dancing to he
 r demonic music. Arriving in time to avert the song’s conclusion\, the chu
 rch’s minister appears\, pulls her hands off of the keys and proclaims the
  music sacrilege. <br>—Nicole Lizée</p> <p><strong>Drei Vorspiele zu einer
  Insel (2003)</strong><br>The highly prolific composer Wolfgang Rihm (1952
 -2024) was one of the leading figures of the new wave of German music in t
 he 1970s that leaned more towards free expression and emotion over structu
 ralism. His profound interests in visual arts\, literature\, and philosoph
 y greatly influenced his works. Having described himself as a “pathless wa
 nderer”\, his works explore an unrestrained musical climate–free to meande
 r and move towards unforeseen possibilities of colors and forms. Drei Vors
 piele zu einer Insel (2003) or Three Preludes for an Island showcase Rihm’
 s musical ideals in three short movements for flute\, violin\, and percuss
 ion. Each movement traverses diverse musical climates moving from ethereal
  motifs\, cacophonous explosions\, and long winding melodies that disappea
 r into the atmosphere.<br>Rachel Reyes<br><br><strong>Conduction #148 (202
 5)</strong><br>an improvised duet for ensemble and conductor<br>—Steph Ric
 hards</p> <hr> <h2>Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:d5b41092-e02a-49f3-8802-3018f3139f41
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20240801T171647Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<h2 class='x_MsoNormal'>Featured Performers</h2>\n\n\n\n\n\n\n<strong>UW Fantastic F
 lutes</strong>\n\nSee program information <a href='/sites/music/files/docu
 ments/allen_library_concert_march_2025.pdf'>HERE</a>\n\n\n\n\n\n\n<p class='x_MsoNormal'> </p>\n\n<p class='x_MsoNormal'></p>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250305T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:165
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-05/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <h2 class='x_MsoN
 ormal'><span>Featured Performers</span></h2> <div class='elementToProof'> 
 <div class='elementToProof'> <div class='elementToProof'> <div class='elem
 entToProof'> <div class='elementToProof'> <div class='x_elementToProof Con
 tentPasted0'> <div class='x_elementToProof ContentPasted0'><strong>UW Fant
 astic Flutes</strong></div> <div class='x_elementToProof ContentPasted0'>&lt;
 /div&gt; <div class='x_elementToProof ContentPasted0'>See program information
  <a href='/sites/music/files/documents/allen_library_concert_march_2025.pd
 f'>HERE</a></div> </div> </div> </div> </div> </div> </div> <p class='x_Ms
 oNormal'><span> </span></p> <div> <p class='x_MsoNormal'><span></span></p>
  <p></p> </div>
END:VEVENT
BEGIN:VEVENT
UID:f58e0989-30e3-4903-b8cb-763bf98b6b5b
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T173336Z
DESCRIPTION:<p> </p>\n\n<p>The Chamber Singers (Geoffrey Boers\, director) 
 and University Chorale (Giselle Wyers\, director) present their Winter Qua
 rter concert. The UW Choirs welcome Kamiak High School Choir\, making a gu
 est appearance on this concert featuring repertoire from England\, Sweden\
 , Indonesia\, Latvia and elsewhere.</p>\n\n<hr>\n<h2>Program</h2>\n\n<h3>K
 amiak High School </h3>\n\n<p>NANCY J. DUCK-JEFFERSON\, conductor </p>\n\n
 <p><b>The Conversion of Saul - </b>Z. Randall Stroope <br>\n<br>\n<b>Way O
 ver in Beulah Lan’ - </b>Stacey Gibbs </p>\n\n<hr>\n<h3>University Chorale
 </h3>\n\n<p>Giselle Weyers\, director<br>\nSERENA CHIN\, piano <br>\nSCOTT
  FIKSE\, NICHOLAS RENAUD\, and HELEN WOODRUFF\, Graduate Teaching Assistan
 ts </p>\n\n<p><b>Like As the Hart - </b>Herbert Howells (1892 – 1983) <br>
 \n<br>\n<b>I denna ljuva sommartid </b>(In this Sweet Summertime) - Clark 
 William Lawlor (b. 1980) <br>\n<br>\n<b>Nachtlied - </b>Robert Schumann (1
 810 - 1856) <br>\nNicholas Renaud\, conductor <br>\n<br>\n<b>The Storm fro
 m </b><b>The Seasons - </b>Franz Joseph Haydn (1732 - 1809) <br>\nHelen Wo
 odruff\, conductor <br>\n<br>\n<b>Hela Rotan - </b>Indonesian folk song\, 
 arr. Ken Steven (b. 1993) </p>\n\n<hr>\n<h3>Chamber Singers</h3>\n\n<p>Geo
 ffrey Boers\, director<br>\nSERENA CHIN\, piano <br>\nINGRID VERHULSDONK\,
  rehearsal accompanist <br>\nCLARA JOHNSON\, MICHAEL MCKENZIE\, and EVAN N
 ORBERG\, Graduate Teaching Assistants <br>\n </p>\n\n<p><strong>Domine\, a
 d adjuvandum me festina Lord my God\, assist me now Il Padre:</strong> G.B
 . Martini (1706-1784)<br>\nEvan Norberg\, conductor</p>\n\n<p><b>Mass for 
 Double Choir </b>Frank Martin (1890-1974) <br>\n1. Kyrie <br>\n2. Gloria &lt;
 /p&gt;\n\n<p><b>Hymn to St. Cecelia: </b>Benenjamin Britten (1916-1976) </p>
 \n\n<p><b>Unclouded Day: </b>Shawn Kirchner (b. 1970) <br>\nClara Johnson\
 , conductor </p>\n\n<p><b>Sacred Place: </b>Alex Berko (b. 1995)<br>\nIV. 
 Mi Shebeirach  </p>\n\n<hr>\n<h2>Program Note</h2>\n\n<p>A Note from Geoff
 rey Boers<br>\nWelcome to tonight’s program The Promise of Living. Ever he
 ard the saying “Growing old is not for the faint of heart?” In some ways a
  “promise” of living is that life is full of mountaintop experiences and a
 lso deep challenges. Another “promise” is that life is best when it is sha
 red—with friends and loved ones\, communities of like minded people\, fami
 ly\, and the creation around us. Tonight’s program reflects these promises
  in a variety of ways.</p>\n\n<p>Our second half program explores lifetime
  connections of faith\, friendship\, work\, community\, and creation. The 
 set begins with a work nearly 300 years old\, Martini’s motet\, Domine\, a
 s adjuvandum me. Even as a solemn anthem and prayer for help\, Martini uti
 lized dance-like rhythms popular in that time. The result is a reverent ye
 t celebratory “sac-ular” (not a word\, but a portmanteau of sacred and sec
 ular) song. Next we sing two movements of Frank Martin’s remarkable Mass f
 or Double Choir. Though the work uses the texts of the Roman Catholic rite
 \, the work was written to expressive beauty and depth. He wrote this prof
 ound and orchestral work in the early 1920’s as a “vocal-orchestra” expres
 sion of sheer beauty. He deemed it too hard and humbly (and incorrectly )a
 ssumed no one could perform this work. So he stuck the manuscript in his d
 esk where it laid for four decades. It was not until just before the end o
 f his life that the work was performed and then published. It is a hugely 
 popular work among professional choirs\, and we are honored (and challenge
 d) to sing for you tonight.</p>\n\n<p>At the outbreak of WWII poet William
  Auden and his soon to be famed partner Benjamin Britten left England and 
 came to America to escape the war. Though both were pacifists\, two years 
 later they felt compelled to return and help their country as they could. 
 On the boat crossing the Atlantic\, Auden penned his poem Anthem\, an ode 
 to St. Cecelia\, the patron saint of musicians\, and also a symbolic lette
 r to his lover. Britten later set the poem as Hymn to St. Cecelia as a set
  of three songs or sections\, adjoined by the prayer “ Blessed Cecelia\, a
 ppear in visions to all musicians\, appear and inspire. Translated daughte
 r come down and startle composing mortals with immortal fire.” The first s
 ong refers to a fourth century nun\, Sister Cecelia\, who served in Rome\,
  and is purported to have invented the organ. Images of a swan not singing
  until its death\, the creation of an organ sound\, are all images related
  to Sir Benjamin. The second song is a sonic flight worthy of a Midsummer’
 s Night Dream! “I cannot grow” “I only play” “when (we) know (we) can now 
 do nothing by suffering” flit and float\, and call out to Britten to be in
 spired\, grow deeply\, be more positive\, more creative. In the final sect
 ion the choir sings sustained tones as a final conversation between the lo
 vers\, as if they have become the organ. The instruments of the orchestra 
 come to life and are given qualities of the living—first a violin\, a timp
 ani\, a flute\, a trumpet—all calling to be healed and inspired.</p>\n\n<p>Unclouded day is an early American Christian camp hymn. The idea of an un
 clouded sky came from Reverend Josiah Alwood who\, in 1879 was riding home
  one evening when he spotted a rainbow–in an unclouded sky! Seeing there w
 as just one small rain cloud that created this rainbow\, he felt that seei
 ng a rainbow at night in an unclouded sky was a miracle. He awoke the next
  day and wrote this hymn. A happy and enthusiastic song\, it speaks of the
  joy and beauty of a “ Heavenly home.” Shouts of heavenly joy were commonp
 lace at this time where parents so often buried their children and lives w
 ere often short. </p>\n\n<p>We close with movement four of Alex Berko’s re
 markable Sacred Place. While not a sacred work in the religious sense\,(pe
 rhaps another “sacular” work)\, Berko captures the “sacredness” of the wor
 ld around us and in the relationships we share. The fourth movement is Mi 
 Shebeirach\, a Jewish blessing of healing for the whole body. A “promise” 
 of living is that bodies—be they our own\, or a corporate “body” sometimes
  experience dis-ease. Our “body-politic\,” our post-covid culture\, our ec
 onomy are all bodies experiencing dis-ease. May this be a blessing\, a sou
 rce of strength\, and a Promise of Living for you. </p>\n\n<hr>\n\n	\n		\n			\n			&lt;
 h2&gt;<b>Kamiak High School Choir</b></h2>\n\n			<p>THE B NATURALS <br>\n			TENOR &lt;
 br&gt;\n			<b>Nathan Reed </b><br>\n			<b>Paul Abwao </b></p>\n\n			<p>LEAD <br>\n			<b>S
 am Burson </b><br>\n			<b>Indru Lantoria </b></p>\n\n			<p>BARITONE <br>\n			<b>Tim
 on Nguyenphuoc </b><br>\n			<b>David Brady </b><br>\n			<b>Jacob Schamberger </b></p>\n\n			<p>BASS <br>\n			<b>Mark Bogdanson </b><br>\n			<b>Jae Hwang </b><br>\n
 			<b>Gabe Quist </b></p>\n\n			<p>STARRY KNIGHTS <br>\n			TENOR <br>\n			<b>Katie Zou
  </b><br>\n			<b>Arianna Amador </b><br>\n			<br>\n			LEAD <br>\n			<b>Everest Tanalep
 y </b><br>\n			<b>Maya Morrison </b></p>\n\n			<p>BARITONE <br>\n			<b>Brenna Quist
  </b><br>\n			<b>Isabelle Rice </b><br>\n			<b>Rachel Kim </b></p>\n\n			<p>BASS <b r>\n			<b>Addy Rhynard </b><br>\n			<b>Brooklyn Huguenin </b><br>\n			<b>Suah Park 
 </b></p>\n\n			<h2><br>\n			<b>UW Chorale</b></h2>\n\n			<p>SOPRANO <br>\n			<b>Claire
  Killian </b><br>\n			<b>Devyn Mattson </b><br>\n			<b>Emily Shields </b><br>\n			&lt;
 b&gt;Katelyn Wales </b><br>\n			<b>Kirsten Conover </b><br>\n			<b>Lauren Chenoweth
  </b><br>\n			<b>Meliza Redulla </b><br>\n			<b>Olivia Spaid </b><br>\n			<b>Sofia 
 Groff </b><br>\n			<b>Aria Fowler </b><br>\n			<b>Elizabeth Brown </b><br>\n			<b>E
 velyn Jones </b><br>\n			<b>Hope Villareal </b><br>\n			<b>Jolee Zamira </b><br>
 \n			<b>Mackenzie Martin </b><br>\n			<b>Nila Chandramouli </b><br>\n			<b>Quinn Ew
 ing </b><br>\n			<b>Sophia Conner </b><br>\n			<b>Sophie Root </b><br>\n			<b>Shriy
 a Prasanna </b><br>\n			<b>Tara Zolfaghari </b></p>\n\n			<p>ALTO <br>\n			<b>Alexi
 s Georgiades </b><br>\n			<b>Anna Vu </b><br>\n			<b>Anne Tinker </b><br>\n			<b>Cl
 audia Kahana </b><br>\n			<b>Dominique Mallo </b><br>\n			<b>Emily Dong </b><br>
 \n			<b>Jessica Thaxton </b><br>\n			<b>Julianna Cullen </b><br>\n			<b>Lainey Grah
 am </b><br>\n			<b>Natalie Peterson </b><br>\n			<b>Samara Chacko </b><br>\n			<b>H
 eidi Longmeier </b><br>\n			<b>Emily Colombo </b><br>\n			<b>Haley Westberg </b>
 <br>\n			<b>Jaja Reduque </b><br>\n			<b>Juniper Blessing </b><br>\n			<b>Leah Pete
 rson </b><br>\n			<b>Maya Shah </b><br>\n			<b>Sydney Jordan </b><br>\n			<b>Jenny 
 Ou </b><br>\n			<b>Maddie Rivera </b></p>\n\n			<p>TENOR <br>\n			<b>Zoya Mir </b>&lt;
 br&gt;\n			<b>Alex Trias </b><br>\n			<b>Hannah Carpenter </b><br>\n			<b>Jackie Smith
  </b><br>\n			<b>Eric Gagliano </b><br>\n			<b>Adrian Wong Cascante </b><br>\n			<b>Caleb Strader </b><br>\n			<b>Elijah Maruchek </b><br>\n			<b>Gray Creech </b>&lt;
 br&gt;\n			<b>Haoran Peng </b><br>\n			<b>Michael Lim </b><br>\n			<b>Tim Resca </b><b r>\n			<b>Tyler Santos </b><br>\n			<b>William Gao </b></p>\n\n			<p>BASS <br>\n			<b>
 A.J. Johnson </b><br>\n			<b>Chance Kelley </b><br>\n			<b>Charlie Dawson </b><b r>\n			<b>Danny Troyan </b><br>\n			<b>Danny Vizenor </b><br>\n			<b>DaShaundre Ste
 ele </b><br>\n			<b>Gavin Morrow </b><br>\n			<b>Jonah Ladish-Orlich </b><br>\n			&lt;
 b&gt;Luke Granger </b><br>\n			<b>Mario D'Ambrosio </b><br>\n			<b>Thayden Boome </b><br>\n			<strong>Edén</strong><b> Alvarado </b><br>\n			<b>Cole Siegrist </b>&lt;
 br&gt;\n			<b>Kwabena Ledbetter </b><br>\n			<b>Matthew Magbanua </b><br>\n			<b>Robbi
 e Troyan </b><br>\n			<b>Taylor Bellamy </b><br>\n			<b>Andrew Hoch </b><br>\n			<b>Benjamin Jaudon </b></p>\n\n			<h2><br>\n			<br>\n			<b>UW Chamber Singers </b>\n\n			<p>SOPRANOS <br>\n			<b>Helen Woodruff </b><br>\n			<b>Kyla Marshall </b>&lt;
 br&gt;\n			<b>Jaden Ritscher </b><br>\n			<b>June Ricks </b><br>\n			<b>Lauren Chenowe
 th </b><br>\n			<b>Clara Johnson </b><br>\n			<b>Soledad Mayorga-Maldonado </b>&lt;
 br&gt;\n			<b>Egija Claire </b><br>\n			<b>Annika Iyer </b><br>\n			<b>Nandini Rathod 
 </b></p>\n\n			<p>ALTOS <br>\n			<b>Shriya Prasanna </b><br>\n			<b>Nila Chandramou
 li </b><br>\n			<b>Emily Colombo </b><br>\n			<b>Heidi Blythe </b><br>\n			<b>Laine
 y Graham </b><br>\n			<b>Jackie Smith </b><br>\n			<b>Haley Westberg </b><br>\n			&lt;
 b&gt;Alexandra Rameau </b><br>\n			<b>Maya Shah </b><br>\n			<b>Jaminfaye Reduque &lt;
 /b&gt;</p>\n\n			<p>TENORS <br>\n			<b>Maggie Petersen </b><br>\n			<b>Maddie Rivera &lt;
 /b&gt;<br>\n			<b>Hannah Carpenter </b><br>\n			<b>Nicholas Renaud </b><br>\n			<b>Mic
 hael Lim </b><br>\n			<b>Brayden Schwartz </b><br>\n			<b>Gabriel Stefanides </b><br>\n			<b>Gray Creech </b><br>\n			<b>Manny Noyola-Juarez </b><br>\n			<b>David 
 Ferguson </b><br>\n			<b>Caleb Strader </b></p>\n\n			<p>BASSES <br>\n			<b>Alexand
 er Trias </b><br>\n			<b>Charlie Dawson </b><br>\n			<strong>Edén</strong><b> Al
 varado </b><br>\n			<b>Arshia Ashari </b><br>\n			<b>Luis Javier </b><br>\n			<b>Mi
 chael McKenzie </b><br>\n			<b>Adam Freemantle </b><br>\n			<b>Scott Fikse </b>&lt;
 br&gt;\n			<b>Evan Norberg </b><br>\n			<b>Kyle Maho </b></p>\n			\n		\n	\n\n\n<h2>Biogra
 phies</h2>\n\n<p> </p>\n\n<h3>Nancy Duck Jefferson\, conductor</h3>\n\n<p>
 Nancy Duck Jefferson earned her B.A. in Music Education at Pacific Luthera
 n University and her M.A. in Music Education from the University of Washin
 gton. In 1999 she became Choral Director at Kamiak High School\, a positio
 n she still holds. An active member of the National Association for Music 
 Education (NAfME) and Washington Music Educators Association (WMEA) \, she
  was the organization’s 2017 High School Music Educator of the Year\, chos
 en for her “strength and quality of work\, for her long-term and extensive
  leadership at the regional and state level\, and as a powerful advocate f
 or music direction.”  In 2018 she was inducted into the WMEA Hall of Fame.
 </p>
DTSTART;TZID=America/Los_Angeles:20250307T193000
LAST-MODIFIED:20250728T172108Z
SEQUENCE:166
SUMMARY:: Chamber Singers and University Chorale: The Promise of Living
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-07/chamber-singers-and-univ
 ersity-chorale-promise-living
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p> <p>The Chamber Singers (Geoffrey Boer
 s\, director) and University Chorale (Giselle Wyers\, director) present th
 eir Winter Quarter concert. The UW Choirs welcome <span>Kamiak High School
  Choir\, making a guest appearance on this concert featuring repertoire fr
 om England\, Sweden\, Indonesia\, Latvia and elsewhere.</span></p> <hr> Program</h2> <h3>Kamiak High School </h3> <p>NANCY J. DUCK-JEFFERSON\, c
 onductor </p> <p><b>The Conversion of Saul - </b>Z. Randall Stroope<span c lass='Apple-converted-space'> </span><br> <br> <b>Way Over in Beulah Lan’ 
 - </b>Stacey Gibbs<span class='Apple-converted-space'> </span></p> <hr> University Chorale</h3> <p><em>Giselle Weyers\, director</em><br> SERENA
  CHIN\, <i>piano<span class='Apple-converted-space'> </span></i><br> SCOTT
  FIKSE\, NICHOLAS RENAUD\, and HELEN WOODRUFF\, <i>Graduate Teaching Assis
 tants<span class='Apple-converted-space'> </span></i></p> <p><b>Like As th
 e Hart - </b>Herbert Howells (1892 – 1983)<span class='Apple-converted-spa
 ce'> </span><br> <br> <b>I denna ljuva sommartid </b>(In this Sweet Summer
 time) - Clark William Lawlor<span class='Apple-converted-space'> </span>(b
 . 1980)<span class='Apple-converted-space'> </span><br> <br> <b>Nachtlied 
 - </b>Robert Schumann<span class='Apple-converted-space'> </span>(1810 - 1
 856)<span class='Apple-converted-space'> </span><br> <em>Nicholas Renaud\,
  conductor<span class='Apple-converted-space'> </span></em><br> <br> <b>Th
 e Storm from </b><b><i>The Seasons - </i></b>Franz Joseph Haydn<span class='Apple-converted-space'> </span>(1732 - 1809)<span class='Apple-converted
 -space'> </span><br> <em>Helen Woodruff\, conductor<span class='Apple-conv
 erted-space'> </span></em><br> <br> <b>Hela Rotan - </b>Indonesian folk so
 ng\, arr. Ken Steven<span class='Apple-converted-space'> </span>(b. 1993)&lt;
 span class='Apple-converted-space'&gt; </span></p> <hr> <h3>Chamber Singers</h3> <p><em>Geoffrey Boers\, director</em><br> SERENA CHIN\, <i>piano<span class='Apple-converted-space'> </span></i><br> INGRID VERHULSDONK\, <i>reh
 earsal accompanist<span class='Apple-converted-space'> </span></i><br> CLA
 RA JOHNSON\, MICHAEL MCKENZIE\, and EVAN NORBERG\, <i>Graduate Teaching As
 sistants<span class='Apple-converted-space'> </span></i><br>  </p> <p>Domine\, ad adjuvandum me festina Lord my God\, assist me now Il Padre
 :</strong> G.B. Martini (1706-1784)<br> <em>Evan Norberg\, conductor</em>&lt;
 /p&gt; <p><b>Mass for Double Choir </b>Frank Martin<span class='Apple-convert
 ed-space'> (1890-1974) </span><br> 1. <i>Kyrie </i><br> <i>2. Gloria<span class='Apple-converted-space'> </span></i></p> <p><b>Hymn to St. Cecelia: 
 </b>Benenjamin Britten<span class='Apple-converted-space'> </span>(1916-19
 76)<span class='Apple-converted-space'> </span></p> <p><b>Unclouded Day: &lt;
 /b&gt;Shawn Kirchner<span class='Apple-converted-space'> </span>(b. 1970) </span><br> <em>Clara Johnson\, conductor
 <span class='Apple-converted-space'> </span></em></p> <p><b>Sacred Place: 
 </b>Alex Berko<span class='Apple-converted-space'> (b. 1995)</span><br> IV
 . Mi Shebeirach <span class='Apple-converted-space'> </span></p> <hr> <h2>
 Program Note</h2> <p><em>A Note from Geoffrey Boers</em><br> Welcome to to
 night’s program The Promise of Living. Ever heard the saying “Growing old 
 is not for the faint of heart?” In some ways a “promise” of living is that
  life is full of mountaintop experiences and also deep challenges. Another
  “promise” is that life is best when it is shared—with friends and loved o
 nes\, communities of like minded people\, family\, and the creation around
  us. Tonight’s program reflects these promises in a variety of ways.</p> &lt;
 p&gt;Our second half program explores lifetime connections of faith\, friends
 hip\, work\, community\, and creation. The set begins with a work nearly 3
 00 years old\, Martini’s motet\, Domine\, as adjuvandum me. Even as a sole
 mn anthem and prayer for help\, Martini utilized dance-like rhythms popula
 r in that time. The result is a reverent yet celebratory “sac-ular” (not a
  word\, but a portmanteau of sacred and secular) song. Next we sing two mo
 vements of Frank Martin’s remarkable Mass for Double Choir. Though the wor
 k uses the texts of the Roman Catholic rite\, the work was written to expr
 essive beauty and depth. He wrote this profound and orchestral work in the
  early 1920’s as a “vocal-orchestra” expression of sheer beauty. He deemed
  it too hard and humbly (and incorrectly )assumed no one could perform thi
 s work. So he stuck the manuscript in his desk where it laid for four deca
 des. It was not until just before the end of his life that the work was pe
 rformed and then published. It is a hugely popular work among professional
  choirs\, and we are honored (and challenged) to sing for you tonight.</p>
  <p>At the outbreak of WWII poet William Auden and his soon to be famed pa
 rtner Benjamin Britten left England and came to America to escape the war.
  Though both were pacifists\, two years later they felt compelled to retur
 n and help their country as they could. On the boat crossing the Atlantic\
 , Auden penned his poem Anthem\, an ode to St. Cecelia\, the patron saint 
 of musicians\, and also a symbolic letter to his lover. Britten later set 
 the poem as Hymn to St. Cecelia as a set of three songs or sections\, adjo
 ined by the prayer “ Blessed Cecelia\, appear in visions to all musicians\
 , appear and inspire. Translated daughter come down and startle composing 
 mortals with immortal fire.” The first song refers to a fourth century nun
 \, Sister Cecelia\, who served in Rome\, and is purported to have invented
  the organ. Images of a swan not singing until its death\, the creation of
  an organ sound\, are all images related to Sir Benjamin. The second song 
 is a sonic flight worthy of a Midsummer’s Night Dream! “I cannot grow” “I 
 only play” “when (we) know (we) can now do nothing by suffering” flit and 
 float\, and call out to Britten to be inspired\, grow deeply\, be more pos
 itive\, more creative. In the final section the choir sings sustained tone
 s as a final conversation between the lovers\, as if they have become the 
 organ. The instruments of the orchestra come to life and are given qualiti
 es of the living—first a violin\, a timpani\, a flute\, a trumpet—all call
 ing to be healed and inspired.</p> <p>Unclouded day is an early American C
 hristian camp hymn. The idea of an unclouded sky came from Reverend Josiah
  Alwood who\, in 1879 was riding home one evening when he spotted a rainbo
 w–in an unclouded sky! Seeing there was just one small rain cloud that cre
 ated this rainbow\, he felt that seeing a rainbow at night in an unclouded
  sky was a miracle. He awoke the next day and wrote this hymn. A happy and
  enthusiastic song\, it speaks of the joy and beauty of a “ Heavenly home.
 ” Shouts of heavenly joy were commonplace at this time where parents so of
 ten buried their children and lives were often short.<span class='Apple-co
 nverted-space'> </span></p> <p>We close with movement four of Alex Berko’s
  remarkable <i>Sacred Place</i>. While not a sacred work in the religious 
 sense\,(perhaps another “sacular” work)\, Berko captures the “sacredness” 
 of the world around us and in the relationships we share. The fourth movem
 ent is <i>Mi Shebeirach\, </i>a Jewish blessing of healing for the whole b
 ody. A “promise” of living is that bodies—be they our own\, or a corporate
  “body” sometimes experience dis-ease. Our “body-politic\,” our post-covid
  culture\, our economy are all bodies experiencing dis-ease. May this be a
  blessing\, a source of strength\, and a Promise of Living for you.<span c lass='Apple-converted-space'> </span></p> <hr> <table> <tbody> <tr> <td> <h2><b>Kamiak High School Cho
 ir</b></h2> <p>THE B NATURALS<span class='Apple-converted-space'> </span>&lt;
 br&gt; TENOR<span class='Apple-converted-space'> </span><br> <b>Nathan Reed<s pan class='Apple-converted-space'> </span></b><br> <b>Paul Abwao<span clas s='Apple-converted-space'> </span></b></p> <p>LEAD<span class='Apple-conve
 rted-space'> </span><br> <b>Sam Burson<span class='Apple-converted-space'>
  </span></b><br> <b>Indru Lantoria<span class='Apple-converted-space'> </s></b></p> <p>BARITONE<span class='Apple-converted-space'> </span><br> &lt;
 b&gt;Timon Nguyenphuoc<span class='Apple-converted-space'> </span></b><br> <b>David Brady<span class='Apple-converted-space'> </span></b><br> <b>Jacob 
 Schamberger<span class='Apple-converted-space'> </span></b></p> <p>BASS </span><br> <b>Mark Bogdanson<span class='Apple-converted-space'> </span></b><br> <b>Jae Hwang<span class='Apple-c
 onverted-space'> </span></b><br> <b>Gabe Quist<span class='Apple-converted
 -space'> </span></b></p> <p>STARRY KNIGHTS<span class='Apple-converted-spa
 ce'> </span><br> TENOR<span class='Apple-converted-space'> </span><br> <b>
 Katie Zou<span class='Apple-converted-space'> </span></b><br> <b>Arianna A
 mador<span class='Apple-converted-space'> </span></b><br> <br> LEAD<span c lass='Apple-converted-space'> </span><br> <b>Everest Tanalepy<span class='
 Apple-converted-space'> </span></b><br> <b>Maya Morrison<span class='Apple
 -converted-space'> </span></b></p> <p>BARITONE<span class='Apple-converted
 -space'> </span><br> <b>Brenna Quist<span class='Apple-converted-space'> &lt;
 /span&gt;</b><br> <b>Isabelle Rice<span class='Apple-converted-space'> </span></b><br> <b>Rachel Kim<span class='Apple-converted-space'> </span></b></p> <p>BASS<span class='Apple-converted-space'> </span><br> <b>Addy Rhynard&lt;
 span class='Apple-converted-space'&gt; </span></b><br> <b>Brooklyn Huguenin<s pan class='Apple-converted-space'> </span></b><br> <b>Suah Park<span class='Apple-converted-space'> </span></b></p> <h2><br> <b>UW Chorale</b></h2> 
 <p>SOPRANO<span class='Apple-converted-space'> </span><br> <b>Claire Killi
 an<span class='Apple-converted-space'> </span></b><br> <b>Devyn Mattson </span></b><br> <b>Emily Shields<span cl ass='Apple-converted-space'> </span></b><br> <b>Katelyn Wales<span class='
 Apple-converted-space'> </span></b><br> <b>Kirsten Conover<span class='App
 le-converted-space'> </span></b><br> <b>Lauren Chenoweth<span class='Apple
 -converted-space'> </span></b><br> <b>Meliza Redulla<span class='Apple-con
 verted-space'> </span></b><br> <b>Olivia Spaid<span class='Apple-converted
 -space'> </span></b><br> <b>Sofia Groff<span class='Apple-converted-space'> </span></b><br> <b>Aria Fowler<span class='Apple-converted-space'> </b><br> <b>Elizabeth Brown<span class='Apple-converted-space'> </span>&lt;
 /b&gt;<br> <b>Evelyn Jones<span class='Apple-converted-space'> </span></b><br> <b>Hope Villareal<span class='Apple-converted-space'> </span></b><br> <b>Jolee Zamira<span class='Apple-converted-space'> </span></b><br> <b>Macke
 nzie Martin<span class='Apple-converted-space'> </span></b><br> <b>Nila Ch
 andramouli<span class='Apple-converted-space'> </span></b><br> <b>Quinn Ew
 ing<span class='Apple-converted-space'> </span></b><br> <b>Sophia Conner<s pan class='Apple-converted-space'> </span></b><br> <b>Sophie Root<span cla ss='Apple-converted-space'> </span></b><br> <b>Shriya Prasanna<span class='Apple-converted-space'> </span></b><br> <b>Tara Zolfaghari<span class='Ap
 ple-converted-space'> </span></b></p> <p>ALTO<span class='Apple-converted-
 space'> </span><br> <b>Alexis Georgiades<span class='Apple-converted-space
 '> </span></b><br> <b>Anna Vu<span class='Apple-converted-space'> </span>&lt;
 /b&gt;<br> <b>Anne Tinker<span class='Apple-converted-space'> </span></b><br>
  <b>Claudia Kahana<span class='Apple-converted-space'> </span></b><br> <b>
 Dominique Mallo<span class='Apple-converted-space'> </span></b><br> <b>Emi
 ly Dong<span class='Apple-converted-space'> </span></b><br> <b>Jessica Tha
 xton<span class='Apple-converted-space'> </span></b><br> <b>Julianna Culle
 n<span class='Apple-converted-space'> </span></b><br> <b>Lainey Graham </span></b><br> <b>Natalie Peterson<span class='Apple-converted-space'> </span></b><br> <b>Samara Chacko<span class='Apple-converted-space'> </span></b><br> <b>Heidi Longmeier<span class='A
 pple-converted-space'> </span></b><br> <b>Emily Colombo<span class='Apple-
 converted-space'> </span></b><br> <b>Haley Westberg<span class='Apple-conv
 erted-space'> </span></b><br> <b>Jaja Reduque<span class='Apple-converted-
 space'> </span></b><br> <b>Juniper Blessing<span class='Apple-converted-sp
 ace'> </span></b><br> <b>Leah Peterson<span class='Apple-converted-space'>
  </span></b><br> <b>Maya Shah<span class='Apple-converted-space'> </span>&lt;
 /b&gt;<br> <b>Sydney Jordan<span class='Apple-converted-space'> </span></b><b r> <b>Jenny Ou<span class='Apple-converted-space'> </span></b><br> <b>Madd
 ie Rivera<span class='Apple-converted-space'> </span></b></p> <p>TENOR </span><br> <b>Zoya Mir<span class='Apple
 -converted-space'> </span></b><br> <b>Alex Trias<span class='Apple-convert
 ed-space'> </span></b><br> <b>Hannah Carpenter<span class='Apple-converted
 -space'> </span></b><br> <b>Jackie Smith<span class='Apple-converted-space
 '> </span></b><br> <b>Eric Gagliano<span class='Apple-converted-space'> </span></b><br> <b>Adrian Wong Cascante<span class='Apple-converted-space'> 
 </span></b><br> <b>Caleb Strader<span class='Apple-converted-space'> </b><br> <b>Elijah Maruchek<span class='Apple-converted-space'> </span>&lt;
 /b&gt;<br> <b>Gray Creech<span class='Apple-converted-space'> </span></b><br>
  <b>Haoran Peng<span class='Apple-converted-space'> </span></b><br> <b>Mic
 hael Lim<span class='Apple-converted-space'> </span></b><br> <b>Tim Resca&lt;
 span class='Apple-converted-space'&gt; </span></b><br> <b>Tyler Santos<span c lass='Apple-converted-space'> </span></b><br> <b>William Gao<span class='A
 pple-converted-space'> </span></b></p> <p>BASS<span class='Apple-converted
 -space'> </span><br> <b>A.J. Johnson<span class='Apple-converted-space'> &lt;
 /span&gt;</b><br> <b>Chance Kelley<span class='Apple-converted-space'> </span></b><br> <b>Charlie Dawson<span class='Apple-converted-space'> </span></b><br> <b>Danny Troyan<span class='Apple-converted-space'> </span></b><br> 
 <b>Danny Vizenor<span class='Apple-converted-space'> </span></b><br> <b>Da
 Shaundre Steele<span class='Apple-converted-space'> </span></b><br> <b>Gav
 in Morrow<span class='Apple-converted-space'> </span></b><br> <b>Jonah Lad
 ish-Orlich<span class='Apple-converted-space'> </span></b><br> <b>Luke Gra
 nger<span class='Apple-converted-space'> </span></b><br> <b>Mario D'Ambros
 io<span class='Apple-converted-space'> </span></b><br> <b>Thayden Boome </span></b><br> <strong><span><span><span>Edén</span></span></span></strong><b> Alvarado<span class='A
 pple-converted-space'> </span></b><br> <b>Cole Siegrist<span class='Apple-
 converted-space'> </span></b><br> <b>Kwabena Ledbetter<span class='Apple-c
 onverted-space'> </span></b><br> <b>Matthew Magbanua<span class='Apple-con
 verted-space'> </span></b><br> <b>Robbie Troyan<span class='Apple-converte
 d-space'> </span></b><br> <b>Taylor Bellamy<span class='Apple-converted-sp
 ace'> </span></b><br> <b>Andrew Hoch<span class='Apple-converted-space'> &lt;
 /span&gt;</b><br> <b>Benjamin Jaudon<span class='Apple-converted-space'> </b></p> <h2><br> <br> <b>UW Chamber Singers<span class='Apple-converte
 d-space'> </span></b></h2> <p>SOPRANOS<span class='Apple-converted-space'>
  </span><br> <b>Helen Woodruff<span class='Apple-converted-space'> </span>
 </b><br> <b>Kyla Marshall<span class='Apple-converted-space'> </span></b>&lt;
 br&gt; <b>Jaden Ritscher<span class='Apple-converted-space'> </span></b><br> 
 <b>June Ricks<span class='Apple-converted-space'> </span></b><br> <b>Laure
 n Chenoweth<span class='Apple-converted-space'> </span></b><br> <b>Clara J
 ohnson<span class='Apple-converted-space'> </span></b><br> <b>Soledad Mayo
 rga-Maldonado<span class='Apple-converted-space'> </span></b><br> <b>Egija
  Claire<span class='Apple-converted-space'> </span></b><br> <b>Annika Iyer
 <span class='Apple-converted-space'> </span></b><br> <b>Nandini Rathod </span></b></p> <p>ALTOS<span class='Appl
 e-converted-space'> </span><br> <b>Shriya Prasanna<span class='Apple-conve
 rted-space'> </span></b><br> <b>Nila Chandramouli<span class='Apple-conver
 ted-space'> </span></b><br> <b>Emily Colombo<span class='Apple-converted-s
 pace'> </span></b><br> <b>Heidi Blythe<span class='Apple-converted-space'>
  </span></b><br> <b>Lainey Graham<span class='Apple-converted-space'> </b><br> <b>Jackie Smith<span class='Apple-converted-space'> </span></b><br> <b>Haley Westberg<span class='Apple-converted-space'> </span></b><br> <b>Alexandra Rameau<span class='Apple-converted-space'> </span></b><br> 
 <b>Maya Shah<span class='Apple-converted-space'> </span></b><br> <b>Jaminf
 aye Reduque<span class='Apple-converted-space'> </span></b></p> <p>TENORS&lt;
 span class='Apple-converted-space'&gt; </span><br> <b>Maggie Petersen<span cl ass='Apple-converted-space'> </span></b><br> <b>Maddie Rivera<span class='
 Apple-converted-space'> </span></b><br> <b>Hannah Carpenter<span class='Ap
 ple-converted-space'> </span></b><br> <b>Nicholas Renaud<span class='Apple
 -converted-space'> </span></b><br> <b>Michael Lim<span class='Apple-conver
 ted-space'> </span></b><br> <b>Brayden Schwartz<span class='Apple-converte
 d-space'> </span></b><br> <b>Gabriel Stefanides<span class='Apple-converte
 d-space'> </span></b><br> <b>Gray Creech<span class='Apple-converted-space
 '> </span></b><br> <b>Manny Noyola-Juarez<span class='Apple-converted-spac
 e'> </span></b><br> <b>David Ferguson<span class='Apple-converted-space'> 
 </span></b><br> <b>Caleb Strader<span class='Apple-converted-space'> </b></p> <p>BASSES<span class='Apple-converted-space'> </span><br> <b>Al
 exander Trias<span class='Apple-converted-space'> </span></b><br> <b>Charl
 ie Dawson<span class='Apple-converted-space'> </span></b><br> <strong><span><span>Edén</span></span></span></strong><b> Alvarado<s pan class='Apple-converted-space'> </span></b><br> <b>Arshia Ashari<span c lass='Apple-converted-space'> </span></b><br> <b>Luis Javier<span class='A
 pple-converted-space'> </span></b><br> <b>Michael McKenzie<span class='App
 le-converted-space'> </span></b><br> <b>Adam Freemantle<span class='Apple-
 converted-space'> </span></b><br> <b>Scott Fikse<span class='Apple-convert
 ed-space'> </span></b><br> <b>Evan Norberg<span class='Apple-converted-spa
 ce'> </span></b><br> <b>Kyle Maho<span class='Apple-converted-space'> </b></p> </td> </tr> </tbody> </table> <h2>Biographies</h2> <p> </p> <span>Nancy Duck Jefferson\, conductor</span></h3> <p><span>Nancy Duck J
 efferson earned her B.A. in Music Education at Pacific Lutheran University
  and her M.A. in Music Education from the University of Washington. In 199
 9 she became Choral Director at Kamiak High School\, a position she still 
 holds. An active member of the National Association for Music Education (N
 AfME) and Washington Music Educators Association (WMEA) \, she was the org
 anization’s 2017 High School Music Educator of the Year\, chosen for her “
 strength and quality of work\, for her long-term and extensive leadership 
 at the regional and state level\, and as a powerful advocate for music dir
 ection.”  </span><span>In 2018 she was inducted into the WMEA Hall of Fame
 .</span></p>
END:VEVENT
BEGIN:VEVENT
UID:597daa60-1858-48e1-a706-5ffd5ef5bbe0
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240927T182711Z
DESCRIPTION:The Campus Philharmonia Orchestras (Ryan Farris and Robert Stah
 ly\, conductors) perform music by Vaughan Williams\, Arthur Sullivan\, Edv
 ard Grieg\, and Jean Sibelius on their Winter Quarter concert. With guest 
 conductors from the choral conducting program: Scott Fikse\, Nic Renaud\, 
 Adam Freemantle\, Helen Woodruff\, Alexandra Rameau.\n\n\n\n\n<hr>\n<h2>Pr
 ogram</h2>\n<p><strong>Vaughan Williams: Fantasia on a theme by Thomas Tal
 lis<br>Vaughan Williams:</strong> English Folksong Suite (orchd. Gordon Ja
 cob)<br><strong>Arthur Sullivan:</strong> Pirates of Penzance excerpts (wi
 th chorus and vocal soloists)<br><strong>Edvard Grieg:</strong> Symphonic 
 Dances\, op.64<br><strong>Jean Sibelius:</strong> Finlandia\, op.26</p>\n&lt;
 hr&gt;\n<h2>Biographies</h2>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250308T150000
LAST-MODIFIED:20250224T224219Z
SEQUENCE:167
SUMMARY:: Campus Philharmonia Orchestras
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-08/campus-philharmonia-orch
 estras
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div>The Campus Philharmonia Orchestras (Ryan 
 Farris and Robert Stahly\, conductors) perform music by Vaughan Williams\,
  Arthur Sullivan\, Edvard Grieg\, and Jean Sibelius on their Winter Quarte
 r concert. With guest conductors from the choral conducting program: Scott
  Fikse\, Nic Renaud\, Adam Freemantle\, Helen Woodruff\, Alexandra Rameau.
 </div> <div></div> <div> <div></div> </div> <hr> <h2>Program</h2> <p>Vaughan Williams: Fantasia on a theme by Thomas Tallis<br>Vaughan Willi
 ams:</strong> English Folksong Suite <span>(orchd. Gordon Jacob)</span><br><strong>Arthur Sullivan:</strong> <i>Pirates of Penzance </i>excerpts (wi
 th chorus and vocal soloists)<br><strong>Edvard Grieg:</strong> Symphonic 
 Dances\, op.64<br><strong>Jean Sibelius:</strong> Finlandia\, op.26</p>  <h2>Biographies</h2> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:be41e6cc-a15e-4631-ad2a-ad0c30be242d
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T213858Z
DESCRIPTION:<p></p>\n<p>The UW Composition Program presents an evening of o
 riginal music by UW student composers Nicholas Mendonsa\, Ryan Rose\, Tayl
 or James Bellamy\, Eddie Mospan\, and Sandesh Nagaraj.</p>\n<hr>\n<h3>Prog
 ram</h3>\n<p>+ - 45 = X — <strong>Nicholas Mendonsa</strong><br> Nicholas 
 Mendonsa\, guitars</p>\n<p>Shadow of Forest —<strong> Ryan Rose</strong><b r> David Teves-Tan\, violin<br> Justin Zeitlinger\, viola<br> Cory Chen\, 
 cello<br> Kaisho Barnhill\, piano</p>\n<p>To Wear the Wind — <strong>Taylo
 r James Bellamy</strong><br> Taylor James Bellamy\, electronics</p>\n<p>Ac
 adian Storm — <strong>Eddie Mospan</strong> <br> Rachel Reyes\, alto flute
 <br> Nick Zhang\, clarinet<br> Katherine Zundel\, baritone saxophone <br> 
 Alex Fraley\, bassoon</p>\n<p>Muthlub — <strong>Sandesh Nagaraj</strong><b r> Sandesh Nagaraj\, guitar\, electronics<br> Peter Tracy\, cello</p>\n<hr>\n<h2>Director Biographies</h2>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250308T193000
LAST-MODIFIED:20250304T173021Z
SEQUENCE:168
SUMMARY:: Composition Studio
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-09/composition-studio
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The UW Composition Program presents
  an evening of original music by UW student composers Nicholas Mendonsa\, 
 Ryan Rose\, Taylor James Bellamy\, Eddie Mospan\, and Sandesh Nagaraj.</p>
  <hr> <h3>Program</h3> <p>+ - 45 = X — <strong>Nicholas Mendonsa</strong>&lt;
 br&gt; <em>Nicholas Mendonsa\, guitars</em></p> <p>Shadow of Forest —<strong>
  Ryan Rose</strong><br> <em>David Teves-Tan\, violin</em><br><em> Justin Z
 eitlinger\, viola</em><br><em> Cory Chen\, cello</em><br><em> Kaisho Barnh
 ill\, piano</em></p> <p>To Wear the Wind — <strong>Taylor James Bellamy</s><br> <em>Taylor James Bellamy\, electronics</em></p> <p>Acadian Stor
 m — <strong>Eddie Mospan</strong> <br> <em>Rachel Reyes\, alto flute</em>&lt;
 br&gt;<em> Nick Zhang\, clarinet</em><br><em> Katherine Zundel\, baritone sax
 ophone </em><br><em> Alex Fraley\, bassoon</em></p> <p>Muthlub — <strong>S
 andesh Nagaraj</strong><br> <em>Sandesh Nagaraj\, guitar\, electronics</em><br><em> Peter Tracy\, cello</em></p> <hr> <h2>Director Biographies</h2> 
 <p></p>
END:VEVENT
BEGIN:VEVENT
UID:3ac91bc6-db7e-4e50-8f30-bddc6f5ccc71
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T200753Z
DESCRIPTION:<p></p>\n<p>The Studio Jazz Ensemble (the UW Big Band-Marc Seal
 es\, director) and Modern Ensemble (Cuong Vu\, director) present a shared 
 program of repertory selections\, original music\, and inspired arrangemen
 ts.  </p>\n<hr>\n<h2>Program</h2>\n<h3><br>UW Modern Band</h3>\n<p>Cuong V
 u\, director<br><br>Aspiral by <strong>Cole McKittrick</strong><br>Blue Ev
 ening by <strong>Coen Rios</strong><br>Coming and Going by <strong>Natalie
  Song</strong><br>Pipe Song by <strong>Rory Somers</strong><br>Helio Disc 
 by <strong>Jai Kobi Kaleo'okalani Lasker</strong></p>\n<p>Jai Kobi Kaleo'o
 kalani Lasker\, guitar\; Tobias Miller\, drums\; Cole McKittrick\, guitar\
 ; Coen Rios\, tenor sax\; Rory Somers\, trumpet\; Natalie Song\, piano\; R
 iley Tobin\, bass\;</p>\n<hr>\n<h2>Studio Jazz Ensemble</h2>\n<p>Marc Seal
 es\, director<br><br>Program to be announced</p>\n<hr>\n<h3>Biographies\n<h3></h3>
DTSTART;TZID=America/Los_Angeles:20250310T193000
LAST-MODIFIED:20250305T211226Z
SEQUENCE:169
SUMMARY:: Studio Jazz Ensemble and Modern Band
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-11/studio-jazz-ensemble-and
 -modern-band
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><i></i></p> <p>The Studio Jazz Ensemble (th
 e UW Big Band-Marc Seales\, director) and Modern Ensemble (Cuong Vu\, dire
 ctor) present a shared program of repertory selections\, original music\, 
 and inspired arrangements.  </p> <hr> <h2>Program</h2> <h3><br>UW Modern B
 and</h3> <p><em>Cuong Vu\, director</em><br><br>Aspiral by <strong>Cole Mc
 Kittrick</strong><br>Blue Evening by <strong>Coen Rios</strong><br>Coming 
 and Going by <strong>Natalie Song</strong><br>Pipe Song by <strong>Rory So
 mers</strong><br>Helio Disc by <strong>Jai Kobi Kaleo'okalani Lasker</p> <p>Jai Kobi Kaleo'okalani Lasker\, guitar\; Tobias Miller\, drums\
 ; Cole McKittrick\, guitar\; Coen Rios\, tenor sax\; Rory Somers\, trumpet
 \; Natalie Song\, piano\; Riley Tobin\, bass\;</p> <hr> <h2>Studio Jazz En
 semble</h2> <p><em>Marc Seales\, directo</em>r<br><br>Program to be announ
 ced</p> <hr> <h3>Biographies</h3> <h3></h3>
END:VEVENT
BEGIN:VEVENT
UID:d94893ba-04c2-43dc-8b14-b4b85d6efce2
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250213T000932Z
DESCRIPTION:<p>Phyllis Byrdwell leads the UW Gospel choir in a program of m
 usic from the Gospel tradition.</p>\n<hr>\n<h2>Program</h2>\n<p>Wonderful 
 Is Your Name- Hezekiah Walker</p>\n<p>Joy! Joy! joy!-Tommy Walker <br>Sam 
 Klebanoff\, soloist </p>\n<p>I’ll Tell It! - New Jersey Mass Choir <br>Sha
 yla Sutliff\, Knowledge Ortiz-Do\, soloists </p>\n<p>Free At Last - arr. B
 yrdwell (Excerpts from Dr. Martin Luther King\, Jr. speech) <br>Felisha Ba
 rnes\, soloist </p>\n<p>O Happy Day! -  Edwin Hawkins <br>The Lord Is My L
 ight -Andre Crouch <br>Dr. Patricia Hunter\, soloist </p>\n<p>Smile - Kirk
  Franklin</p>\n<p>How Excellent! -  Florida Mass Choir</p>\n<p>Worship The
  Lord/I Get Excited - Edwin Hawkins/ Bishop GE Patterson (medley) arr. Byr
 dwell</p>\n<hr>\n\n\n\n\n<h3><b>UW Gospel Choir\, Winter 2025<br><br></b>&lt;
 /h3&gt;\n<p><b>SOPRANO <br></b>Nicole Yanchenko Reisz Psychology <br>Alma Ser
 gaziyeva Exchange Student <br>Lucy Tervo Engineering <br>Mirabel Coverston
  Civil Engineering <br>Tuleen Stults Organ <br>Leila Ghazi Noun Comparativ
 e History of Ideas <br>Sonia Yu Food Systems\, Nutrition &amp; Health <br>Cait
 lin Wassell Pre-Sciences <br>Diya Nahar Pre-Sciences <br>McKenna Kernan Ne
 uroscience <br>Abigail Grove Psychology <br>Veronica Sonauez Chemistry <br>Minhee Park Immunology <br>Mary Anne Christy Community <br>Bella Zhang El
 ectrical and Computer Engineering <br>Aurelia B. Fryer </p>\n<p><b>ALTO <b r></b>Felisha Barnes Community Member <br>Diane Chapel Community member <b r>Joann Kim Community Member <br>Zoe Demirbag Psychology <br>Sara Higashi 
 Community Member <br>Aliyah Cleveland Community Member <br>Julia Geppert P
 sychology (Bothell) <br>Mira Litt Marine Biology <br>Shayla Sutliff Compre
 hensive Physics <br>Sophia Dahl Bioengineering <br>Shreya Samanth Neurosci
 ence <br>Angie Liu Pre-Science and Art </p>\n<p><b>TENOR <br></b>Ronnie Ku
 an Psychology <br>Bryan Albizures Social Work <br>Alex Trias Plant Biology
  <br>Cicuren McNeely Informatics <br>Owen Vasang Material Science Engineer
 ing <br>Sam Klebanoff Immunology </p>\n<p><b>BASS <br></b>Ryan Kennedy BM 
 Bassoon Performance <br>Kasey Brown Community Member <br>Gabriel Wan Integ
 rated Social Sciences <br>Mark Alexander Community Member <br>Matthew Youn
 g Community Member <br>Kabir Maheshwari Economics&amp;Informatics <br>Knowledg
 e Ortiz-Do Psychology <br>Drew Theran MM Trumpet Performance <br>Gabe Harl
 eu Psychology <br>Corey Mack Engineering(undated) <br>Nicolo Dolge ESRM <b r>Dillion Pham Finance <br>Brian Cao Computer Science </p>\n\n\n\n\n<h2>Bi
 ography</h2>
DTSTART;TZID=America/Los_Angeles:20250310T193000
LAST-MODIFIED:20250306T225811Z
SEQUENCE:170
SUMMARY:: External Event: UW Gospel Choir
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-11/external-event-uw-gospel
 -choir
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Phyllis Byrdwell leads the UW Gospel choir 
 in a program of music from the Gospel tradition.</p> <hr> <h2>Program</h2>
  <p>Wonderful Is Your Name- Hezekiah Walker</p> <p>Joy! Joy! joy!-Tommy Wa
 lker <br><em>Sam Klebanoff\, soloist </em></p> <p>I’ll Tell It! - New Jers
 ey Mass Choir <br><em>Shayla Sutliff\, Knowledge Ortiz-Do\, soloists </em>
 </p> <p>Free At Last - arr. Byrdwell (Excerpts from Dr. Martin Luther King
 \, Jr. speech) <br><em>Felisha Barnes\, soloist </em></p> <p>O Happy Day! 
 -  Edwin Hawkins <br>The Lord Is My Light -Andre Crouch <br><em>Dr. Patric
 ia Hunter\, soloist </em></p> <p>Smile - Kirk Franklin</p> <p>How Excellen
 t! -  Florida Mass Choir</p> <p>Worship The Lord/I Get Excited - Edwin Haw
 kins/ Bishop GE Patterson (medley) arr. Byrdwell</p> <hr> <table> <tbody> <tr> <td> <h3><b>UW Gospel C
 hoir\, Winter 2025<br><br></b></h3> <p><b>SOPRANO<span class='Apple-conver
 ted-space'> <br></span></b>Nicole Yanchenko Reisz Psychology<span class='A
 pple-converted-space'> <br></span>Alma Sergaziyeva Exchange Student<span c lass='Apple-converted-space'> <br></span>Lucy Tervo Engineering<span class='Apple-converted-space'> <br></span>Mirabel Coverston Civil Engineering<s pan class='Apple-converted-space'> <br></span>Tuleen Stults Organ<span cla ss='Apple-converted-space'> <br></span>Leila Ghazi Noun Comparative Histor
 y of Ideas<span class='Apple-converted-space'> <br></span>Sonia Yu Food Sy
 stems\, Nutrition &amp; Health<span class='Apple-converted-space'> <br></span>
 Caitlin Wassell Pre-Sciences<span class='Apple-converted-space'> <br>Diya Nahar Pre-Sciences<span class='Apple-converted-space'> <br></span>M
 cKenna Kernan Neuroscience<span class='Apple-converted-space'> <br></span>
 Abigail Grove Psychology<span class='Apple-converted-space'> <br></span>Ve
 ronica Sonauez Chemistry<span class='Apple-converted-space'> <br></span>Mi
 nhee Park Immunology<span class='Apple-converted-space'> <br></span>Mary A
 nne Christy Community<span class='Apple-converted-space'> <br></span>Bella
  Zhang Electrical and Computer Engineering<span class='Apple-converted-spa
 ce'> <br></span>Aurelia B. Fryer<span class='Apple-converted-space'> </p> <p><b>ALTO<span class='Apple-converted-space'> <br></span></b>Felis
 ha Barnes Community Member<span class='Apple-converted-space'> <br></span>
 Diane Chapel Community member<span class='Apple-converted-space'> <br>Joann Kim Community Member<span class='Apple-converted-space'> <br>Zoe Demirbag Psychology<span class='Apple-converted-space'> <br></span>
 Sara Higashi Community Member<span class='Apple-converted-space'> <br>Aliyah Cleveland Community Member<span class='Apple-converted-space'> &lt;
 br&gt;</span>Julia Geppert Psychology (Bothell)<span class='Apple-converted-s
 pace'> <br></span>Mira Litt Marine Biology<span class='Apple-converted-spa
 ce'> <br></span>Shayla Sutliff Comprehensive Physics<span class='Apple-con
 verted-space'> <br></span>Sophia Dahl Bioengineering<span class='Apple-con
 verted-space'> <br></span>Shreya Samanth Neuroscience<span class='Apple-co
 nverted-space'> <br></span>Angie Liu Pre-Science and Art<span class='Apple
 -converted-space'> </span></p> <p><b>TENOR<span class='Apple-converted-spa
 ce'> <br></span></b>Ronnie Kuan Psychology<span class='Apple-converted-spa
 ce'> <br></span>Bryan Albizures Social Work<span class='Apple-converted-sp
 ace'> <br></span>Alex Trias Plant Biology<span class='Apple-converted-spac
 e'> <br></span>Cicuren McNeely Informatics<span class='Apple-converted-spa
 ce'> <br></span>Owen Vasang Material Science Engineering<span class='Apple
 -converted-space'> <br></span>Sam Klebanoff Immunology<span class='Apple-c
 onverted-space'> </span></p> <p><b>BASS<span class='Apple-converted-space'> <br></span></b>Ryan Kennedy BM Bassoon Performance<span class='Apple-con
 verted-space'> <br></span>Kasey Brown Community Member<span class='Apple-c
 onverted-space'> <br></span>Gabriel Wan Integrated Social Sciences<span cl ass='Apple-converted-space'> <br></span>Mark Alexander Community Member <br></span>Matthew Young Community Membe
 r<span class='Apple-converted-space'> <br></span>Kabir Maheshwari Economic
 s&amp;Informatics<span class='Apple-converted-space'> <br></span>Knowledge Ort
 iz-Do Psychology<span class='Apple-converted-space'> <br></span>Drew Thera
 n MM Trumpet Performance<span class='Apple-converted-space'> <br></span>Ga
 be Harleu Psychology<span class='Apple-converted-space'> <br></span>Corey 
 Mack Engineering(undated)<span class='Apple-converted-space'> <br></span>N
 icolo Dolge ESRM<span class='Apple-converted-space'> <br></span>Dillion Ph
 am Finance<span class='Apple-converted-space'> <br></span>Brian Cao Comput
 er Science<span class='Apple-converted-space'> </span></p> </td> </tr>  </table> <h2>Biography</h2>
END:VEVENT
BEGIN:VEVENT
UID:3d136e2e-09d8-4027-94e9-99509a6bb6b9
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T194012Z
DESCRIPTION:<p></p>\n<p>The Wind Ensemble (Timothy Salzman\, director) and 
 Symphonic Band (David Stewart\, Yuman Wu\, directors) present a program of
  music by Ricardo Mollá\, Yasuhide Ito\, Ryan George\, Zhou Tian\, John Ma
 ckey\, and others. With special guest\, artist-in-residence John DiCesare\
 , tuba.</p>\n<hr>\n<h2>Program</h2>\n<p><br><strong>University of Washingt
 on Symphonic Band</strong><br>David Stewart\, Yuman Wu\, conductors<br><br>Caccia and Chorale (1976) - <strong>Clifton Williams</strong> (1923-1976)
 <br>Aurora Awakes (2009) - <strong>John Mackey</strong> (b. 1973)<br>Machu
  Picchu (2005) - <strong>Satoshi Yagisawa</strong> (b. 1975)</p>\n<hr>\n<p><strong>University of Washington Wind Ensemble</strong><br>Timothy Salzma
 n\, conductor<br><br>Amaia (2024) – <strong>Ricardo Mollá</strong> (b. 199
 2)<br>1. Gazteluga Txe<br>2. Amaia’s Letter<br>3. The Final Element<br>Joh
 n DiCesare\, tuba</p>\n<p>Gloriosa (1990) – <strong>Yasuhide Ito</strong> 
 (b. 1960)<br>1. Oratio<br>2. Cantus<br>3. Dies Festus<br>David Stewart\, c
 onductor</p>\n<hr>\n<h2>Program Notes</h2>\n<p>Composer <strong>Clifton Wi
 lliams</strong> provided the following program note on this work: “While i
 t remains open to question whether music can convey any message other than
  a purely musical one\, composers often tend to attempt philosophical\, pi
 ctorial\, or other aspects within a musical framework. Such is the case wi
 th Caccia and Chorale\, two title words borrowed from Italian because of t
 heir allegorical significance. The first\, Caccia\, means hunt or chase\, 
 and is intended to reflect the preoccupation of most people in the world w
 ith a constant pursuit of materialism. The Chorale is\, by contrast\, an u
 rgent and insistent plea for greater humanity\, a return to religious or e
 thical concepts.”<br><br><strong>John Mackey</strong> holds a Master’s deg
 ree from The Juilliard School and a Bachelor of Fine Arts degree from the 
 Cleveland Institute of Music\, where he studied with John Corigliano and D
 onald Erb\, respectively. His works have been performed at the Sydney Oper
 a House\; the Brooklyn Academy of Music\; Carnegie Hall\; the Kennedy Cent
 er\; Weill Recital Hall\; Jacob's Pillow Dance Festival\; Italy's Spoleto 
 Festival\; Alice Tully Hall\; the Joyce Theater\; Dance Theater Workshop\;
  and throughout Italy\, Chile\, Japan\, Colombia\, Austria\, Brazil\, Germ
 any\, England\, Australia\, New Zealand\, and the United States. John has 
 received numerous commissions from the Parsons Dance Company\, as well as 
 com¬missions from the Cleveland Orchestra Youth Orchestra\, New York City 
 Ballet’s Cho¬reographic Institute\, the Dallas Theater Center\, the Alvin 
 Ailey Dance Company\, the New York Youth Symphony\, Ailey 2\, Concert Arti
 sts Guild\, Peridance Ensemble\, and Jeanne Ruddy Dance\, among many other
 s.<br>Aurora Awakes is a piece about the heralding of the coming of light\
 , with the com¬poser’s principal inspiration coming from Aurora\, the Roma
 n goddess of the dawn\, a mythological figure frequently associated with b
 eauty and light. Built in two substantial sections\, the piece moves from 
 a place of remarkable stillness to an unbridled explosion of energy – from
  darkness to light\, placid grey to startling rainbows of color. Direct mu
 sical quotation from two diverse sources are also found in the work. The f
 irst is an ostinato-based on the familiar guitar introduction to U2’s “Whe
 re The Streets Have No Name.” Though the strains of The Edge’s guitar have
  been metamorphosed into the insistent repetitions of keyboard percussion\
 , the aesthetic is similar – a distant proclama¬tion that grows steadily i
 n fervor. The other quotation is a sly reference to Gustav Holst’s First S
 uite in Eb for Military Band. The brilliant Eb chord that closes the Chaco
 nne of that work is orchestrated (nearly) identically as the final sonorit
 y of Aurora Awakes – producing an unmistakably vibrant timbre that won’t b
 e missed by aficionados of the repertoire.<br>Aurora Awakes won both the A
 merican Bandmasters Association’s 2009 Ostwald Prize and the National Band
  Association’s 2009 William D. Revelli Award.<br>—program note by Jake Wal
 lace<br><br><strong>Satoshi Yagisawa</strong> graduated from Musashino Aca
 demia Musicae's Composition Department and completed the master's program 
 at the same university's Graduate School of Music Research. He is currentl
 y an associate professor at Kobe College and a visiting professor at Nagoy
 a University of Arts\, where he teaches composition\, wind music and music
  theory. His major works are well-loved not only in Japan but also in the 
 United States\, Europe\, and various Asian countries. On November 9\, 2019
 \, his piece was chosen for the 'Fanfare to Welcome Their Majesties' at th
 e National Celebration for the Enthronement of the Emperor and Empress\, a
 nd his music was also selected for the opening ceremony of the Tokyo 2020 
 Paralympics. One of his compositions was chosen as a test piece for the hi
 storically prestigious Certamen Internacional de Bandas de Música Ciudad d
 e Valencia in Spain. He received the 21st Japan Wind and Percussion Academ
 y Award in the Composition and Arrangement category in 2011 and the JBA Sh
 itaya Encouragement Award that same year.<br><br>Explaining the significan
 ce of Machu Picchu begins with remembering the Incan empire at its zenith\
 , and its tragic encounter with the Spanish conquistadors. The great 16th 
 century empire that unified most of Andean South America had as its capita
 l the golden city of Cuzco. Francisco Pizarro\, while stripping the city o
 f massive quantities of gold\, in 1533 also destroyed Cuzco’s Sun Temple\,
  shrine of the founding deity of the Incan civilization. While that act sy
 mbolized the end of the empire\, 378 years later an archaeologist from Yal
 e University\, Hiram Bingham\, rediscovered “Machu Picchu\,” a glorious mo
 untaintop Incan city that had escaped the attention of the invaders. At th
 e central high point of the city stands its most important shrine\, the In
 tihuatana\, or “hitching post of the sun\,” a column of stone rising from 
 a block of granite the size of a grand piano\, where a priest would 'tie t
 he sun to the stone' at winter solstice to ensure its seasonal return. Fin
 ding the last remaining Sun Temple of a great city inspired the belief tha
 t perhaps the royal lineage stole away to his holy place during Pizarro’s 
 conquest. After considering these remarkable ideas\, I wished to musically
  describe that magnificent citadel and trace some of the mysteries sealed 
 in Machu Picchu’s past. Three principal ideas dominate the piece: 1) the s
 himmering golden city of Cuzco set in the dramatic scenery of the Andes\, 
 2) the destructiveness of violent invasion\, and 3) the re-emergence of In
 can glory as the City in the Sky again reached for the sun.<br>—program no
 te by composer<br><br><strong>Ricardo Mollá</strong> is a Spanish tromboni
 st\, composer and conductor living in New York City.<br>He received his ba
 chelor’s degree in trombone at the Conservatorio Superior de Música Oscar 
 Esplá in Alicante (Spain) and the Hochschule für Musik\, Theatre und Medie
 n Hannover (Germany) with Javier García and Jonas Bylund\, respectively. P
 ersonally invited by Joseph Alessi\, principal trombone of the New York Ph
 ilharmonic\, he was awarded a scholarship by the Artists’ Society of Spain
  (AIE) and Foundation JONDE-BBVA to study at the prestigious Juilliard Sch
 ool of New York where he is [2024] pursuing a master’s degree in classical
  music. His debut as a soloist was in Carnegie Hall (Recital Weill) after 
 winning the first prize in the New York Artist International Competition. 
 As a trombone soloist\, he has performed in the Lucerne Festival (Switzerl
 and)\, the ManiFeste IRCAM of Paris (France)\, the Spanish Brass Festival 
 (Spain)\, the Recontre International des Cuivres (Belgium)\, Letnia Akaemi
 a (Poland)\, the FOCUS! Festival of New York (U.S.A.)\, and the Internatio
 nal Trombone Festival. He has collaborated with many professional orchestr
 as\, playing under the baton of conductors such as Pierre Boulez\, Simon R
 attle\, Riccardo Chailly\, Fabio Luisi\, Alan Gilbert\, Heinz Holliger\, M
 atthias Pintscher\, David Robertson\, and Esa-Pekka Salonen\, among others
 . In the field of pedagogy\, Mollá has been invited to give courses\, mast
 erclasses\, and talks in Europe\, North America\, South America and Asia. 
 Ricardo currently [2024] splits his time between working as a trombone sol
 oist\, composing and giving talks about stage fright. Throughout his caree
 r Ricardo has received awards in more than twenty national and internation
 al competitions\, including the Concurso Permanente Juventudes Musicales o
 f Spain\, the INTERMUSICA International Competition (Austria)\, Die Hannov
 ersche Börse der Musiktalente (Germany)\, the Recontre International des C
 uivres de l’IMEP (Belgium)\, the Concorso Internationale Citta di Chieri (
 Italy)\, and the International Virtuoso Competition (USA).<br>Amaia is a s
 tory of transformation and personal growth set on the Cantabrian coast of 
 northern Spain. The young protagonist\, Amaia\, embarks on a dreamlike jou
 rney through emblematic places such as Gaztelugatxe and San Sebastián\, wi
 th the aim of learning to control the four natural elements: water\, earth
 \, fire\, and air. Throughout her adventure\, she encounters mythical bein
 gs from Basque mythology\, such as the Lamiak\, Olentzero\, and Basajaun\,
  who teach her valuable lessons about the elements and life. The plot reac
 hes its climax in a battle against a devastating storm at the ‘Peine del V
 iento’\, where Amaia fights not only against the forces of nature but also
  against the emotional pain caused by the loss of her father\, who died at
  sea. This battle symbolizes her internal struggle and her process of over
 coming. The story of Amaia is an allegory of the maturation process and fa
 cing pain\, showing how\, through the overcoming of external and internal 
 challenges\, a girl can find the strength to move forward and renew hersel
 f.<br>The work was commissioned by Joseph Awad and dedicated to Carol Jant
 sch\, principal tubist of the Philadelphia Orchestra.<br>—program note by 
 composer<br><br><strong>Yasuhide Ito\,</strong> professor at Senzoku Gakue
 n College of Music\, has earned international acclaim for his compositiona
 l endeavors. He has more than 1000 works including more than 90 wind band 
 works. 'Gloriosa” (1990 Ongaku No Tomo Sha\; Bravo Music\, international d
 istributor) is one of the most frequently performed masterworks in the wor
 ld\, having the distinction of appearing in a standard Japanese high schoo
 l music textbook. “Festal Scenes” (TRN) saw its US premiere with Ito himse
 lf conducting\, marking his first international appearance at the 1987 ABA
 -JBA joint convention. Ito’s compositional talent covers a variety of musi
 cal media. His piano ensemble series\, “Guru-guru Piano” (Ongaku No Tomo S
 ha\, 8 volumes) expands the scope of four-handed performance. His 2001 ope
 ra “Mr. Cinderella” received much critical acclaim and greatly impacted th
 e Japanese opera scene. By request from his hometown of Hamamatsu\, he com
 posed music for the official city song rededicated in 2007. In honor of th
 ose affected by the tragic East Japan Earthquake\, Ito collaborated with f
 amous poet Ryoichi Wago\, offering songs of gifts and prayer. His kindness
  and generosity through music has touched many lives. Ito’s distinguished 
 musical career includes guest conducting the Tokyo Kosei Wind Orchestra fo
 r their ‘Asian Concert Tour 2002’ on behalf of maestro Frederick Fennell\,
  and the International Youth Wind Orchestra at WASBE 2005 in Singapore. He
  is in high demand as a guest conductor\, clinician\, lecturer\, and educa
 tor in Asian countries such as Taiwan\, Hong Kong\, Korea and Singapore\, 
 and gives　clinics for WASBE and other band festivals worldwide. Ito was bo
 rn in Hamamatsu\, Shizuoka Prefecture\, Japan in 1960. His musical career 
 began with childhood piano lessons and later compositional studies while i
 n high school. He graduated from the Tokyo University of Fine Arts and Mus
 ic with a bachelor of music degree in composition. Ito's musical talent ha
 s been recognized through awards at the Shizuoka Music Competition (piano\
 , first prize\, 1980)\, Japan Music Competition (composition\, third prize
 \, 1982)\, the Competition for Saxophone Music (1987) and the Bandmasters 
 Academic Society of Japan (the Academy Prize\, 1994\; Research Branch Priz
 e\, 2012).<br>In the beginning of the Edo era (1603~1867) of Japan\, the o
 riginal melodies of many chants that Kirishitan (Christians) had sung were
  getting distorted\, and their texts were also corrupted as the Tokugawa S
 hogunate Government banned Christianity. For example\, the Latin word Glor
 iosa changed to 'gururiyoza.' The first movement\, Oratio\, is composed on
  the theme of a Gregorian chant and consists of 13 variations in the form 
 of a chaconne. The second movement\, Cantus\, is based on the Chant of Sai
 nt Juan which had been sung by the Kirishitan\, and Dies Festus\, the thir
 d movement\, is based on a transformed melody of the folksong Nagasaki Bur
 a-Bura Bushi.<br>This work was commissioned by The Sasebo Band of Japan Ma
 ritime Self-Defense Force (Nagasaki prefecture).<br>—program note by compo
 ser</p>\n<hr>\n\n\n\n\n<h4>UNIVERSITY OF WASHIN
 GTON SYMPHONIC BAND</h4>\n<p>FLUTE<br>Samuel Al
 ampay\, Sr.\, Mathematics\, University Place<br>Brooke Bart\, Fr.\, Scandi
 navian Studies / Music\, Endwell\, NY<br>Cindy Franklin\, Fr.\, Business A
 dministration\, Sammamish<br>Richard Lin\, So.\, Aeronautics and Astronaut
 ics\, San Diego\, CA<br>Selena Zheng\, Fr.\, Pre-Science\, Irvine\, CA</p>
 \n<p>OBOE<br>Dylan Huynh\, Fr.\, Political Scie
 nce\, Sammamish<br>Meagan Paxman\, Fr.\, Pre-Sciences\, Vancouver<br>Viche
 t Ros\, Jr.\, Music Education\, Burien</p>\n<p>
 CLARINET<br>Ezra Marinell Raquel Agpaoa\, Fr.\, Music Education\, Everett&lt;
 br&gt;Maura Brennan\, Fr.\, English\, Renton<br>Isaac Briefer\, So.\, Physics
 \, Anacortes<br>Willow Chartrand\,Fr.\,Pre-Sciences\, Los Alamos\, NM<br>M
 aggie Chen\, Fr.\, Environmental Studies\, Ringgold\, GA<br>Caitlin Dong\,
  Fr.\, Pre-Sciences / Music Performance\, Englewood\, CO<br>Aditi Dwivedy\
 , Jr.\, Psychology\, Biology\, and Neuroscience\, Bellevue<br>Matilda Gaus
 s\, Jr.\, Materials Science and Engineering\, Bellevue<br>Camila Diaz Sala
 s\, Fr.\, Music Education\, Quincy<br>Cara Lisy\, Sr.\, Computer Science\,
  Maple Valley<br>Karsten Onarheim\, Sr.\, Mechanical Engineering\, Silverd
 ale<br>Varshini Sridhar\, Fr.\, Biochemistry (Pre-Sciences)\, Chaska\, MN&lt;
 /p&gt;\n<p>BASS CLARINET<br>Conrad Gauss\, Fr.\, E
 ngineering\, Bellevue<br>Michael Stella\, Fr.\, Political Science\, Puyall
 up</p>\n<p>ALTO SAXOPHONE<br>Polina Dorogova\, 
 So.\, Psychology and Music-Instrumental Performance\, Gig Harbor<br>Chinma
 y Murthy\, Jr.\, Electrical &amp; Computer Engineering\, Fremont\, CA<br>Chika
 ra Nakamura\, Fr.\, Arts &amp; Sciences\, Tokyo\, Japan<br>Kaua Roberton\, Fr.
 \, Music Education\, Spokane</p>\n<p>TENOR SAXO
 PHONE<br>Eduardo Azevedo Simão Racy\, So.\, Computer Science\, Auburn<br>J
 ackson Sawatzky\, Jr.\, Music Education\, Olympia</p>\n<p>BARI SAXOPHONE<br>Daniel Song\, Fr.\, Engineering Undecided\, B
 othell</p>\n<p>BASSOON<br>Victoria Everett\, So
 .\, Music BA\, Renton<br>Andromeda Jacobson\, Jr.\, Mathematics\, San José
 \, CA<br>Bridget Navarro\, Community Member\, Physiology\, Mercer Island</p>\n<p>FRENCH HORN<br>Katie Bulis\, Fr.\, Math 
 and Physics\, Gig Harbor<br>Matthew Jewesson\, Fr.\, Pre-Social Sciences\,
  Austin\, TX<br>Maddox Unocic\, Fr.\, Civil Engineering\, Redmond<br>Ellia
 na Wagner\, Jr.\, Biochemistry\, Snohomish</p>\n<p>TRUMPET<br>Nicholas Chang\, So.\, Pre-Sciences\, Seattle<br>Ben von Je
 ss\, So.\, Music Education\, Renton<br>David Lu\, Fr.\, Computer Engineeri
 ng\, Kenmore<br>Ryan Rose\, Sr.\, Music Composition\, Vancouver<br>Euan Mc
 Cubbin\, Jr.\, Biology MCD\, Pullman<br>Vaughn Schnelle\, Jr.\, Music Hist
 ory\, West Seattle<br>Kevin Thomas\, Fr.\, Music Education\, Spokane</p>\n
 <p>TROMBONE<br>Samuel Chen\, Jr.\, Human Center
 ed Design and Engineering\, Snoqualmie<br>Emily Gay\, Jr.\, Music Educatio
 n\, Port Orchard<br>Richie Torres-Antúnez\, So.\, Music\, Mattawa<br>Jason
  Lai\, Fr.\, Mechanical Engineering\, Camas<br>Hayk Sarian\, Fr.\, Music a
 nd Applied/Computational Math\, Coventry\, RI</p>\n<p>EUPHONIUM<br>May Coppinger\, So.\, Mechanical Engineering\, Kirklan
 d<br>Tom Lewis\, Jr.\, Mechanical Engineering\, Snoqualmie</p>\n<p>TUBA<br>Nathanael Vitorino\, Fr.\, Engineering\, Vanco
 uver<br>Colin Tyrrell\, So.\, Finance and Information Systems\, Montauk\, 
 NY</p>\n<p>PERCUSSION<br>Avi Bose\, Grad\, Mast
 er’s Civil Engineering\, Brooklyn\, NY<br>Auryanna Brown\, Fr.\, Construct
 ion Management\, Graham<br>Ava Ruth Paulson\, So.\, Psychology and Sociolo
 gy\, Omaha\, NE<br>Alexander McLean\, Fr.\, Environmental Science\, Snoqua
 lmie<br>Colin Lehman\, Fr.\, Music Performance\, Moses Lake<br>Kendall Joh
 nson\, Grad.\, Mechanical Engineering\, La Conner<br>Kaytie Twelves\, Fres
 hman\, History\, Vancouver </p>\n<p>PIANO<br>Da
 niel Lindsay\, Fr.\, Political Science\, Vancouver</p>\n<h4>UNIVERSITY OF WASHINGTON WIND ENSEMBLE</h4>\n<p>FLUTE<br>Erin McAfee\, Grad.\, Music Performance\, Hoover\, 
 AL*<br>Grace Playstead\, Grd.\, Music Performance\, Olympia<br>Peyton Ray\
 , Jr.\, Music Performance\, Denver\, CO<br>Claire Wei\, So.\, Music Perfor
 mance\, Bellevue*<br>Yue Zhong.\, Sr.\, Music Performance\, Shanghai\, Chi
 na</p>\n<p>OBOE<br>Max Bolen\, Fr.\, Marine Bio
 logy\, Ballard<br>Minh-Thi Butler\, Jr.\, Music Education\, Hoquiam<br>Lau
 ren Majewski\, Sr.\, International Studies\, Mercer Island* </p>\n<p>BASSOON<br>Annika Fisher\, So.\, Anthropology\, Lake
  Forest Park<br>Alex Fraley\, Fr.\, Music Performance\, Kenmore<br>Rian Mo
 rgan\, Jr.\, Nutritional Science/Music Performance\, Des Moines*<br>Arina 
 Pushkina\, Fr.\, Engineering\, Woodinville</p>\n<p>CLARINET  <br>Arthur Gim\, So.\, Mechanical Engineering\, Bothell<br>J
 eremy Hu\, So.\, Engineering\, Taipei\, Taiwan<br>Alessandro Martinez\, So
 .\, Environmental Engineering\, Olympia<br>Alen Poehlman\, Jr.\, Biochemis
 try\, Tacoma<br>Luqi Wang\, Grd.\, Music Performance\, Dalian\, China<br>Y
 sanne Webb\, Grd.\, Music Performance\, Lubbock\, TX*</p>\n<p>BASS CLARINET<br>Cameron DeLuca\, Grd.\, Music Performance\
 , Hawthorne\, CA</p>\n<p>SAXOPHONE<br>Curtis Ch
 ung\, Jr.\, Mechanical Engineering\, Sunnyvale\, CA<br>Kyle Grant\, So.\, 
 Music Education/Music Performance\, Sumner<br>Amy Kang\, Fr.\, Engineering
 \, Portland\, OR<br>Katie Zundel\, Sr.\, Music Performance/Engineering\, C
 linton*</p>\n<p>TRUMPET<br>Erika Berreth\, So.\
 , Computer Science\, Redmond<br>Hans Faul\, Jr.\, Music Performance\, Seat
 tle*<br>Kyle Jenkins\, Grd.\, Music Performance\, Sammamish<br>Daniel Lyon
 s\, So.\, Music Performance\, Lake Forest Park<br>Antti Mannisto\, Jr.\, M
 echanical Engineering\, Bellevue</p>\n<p>HORN<b r>Becky Miller\, Community Member\, Woodinville<br>Elise Moe\, Fr.\, Music
  Performance\, Everett*<br>Kiyoshi Colon\, Alumni.\, Chemistry\, Everett<b r>Anna Barbee\, Alumni\, DMA Music Performance\, Tacoma</p>\n<p>TROMBONE<br>Dion Archer-Roll\, Sr.\, Physics\, Vancouver&lt;
 br&gt;Auden Durant\, Graduate\, Music Performance\, Bellevue<br>Eliana Koenig
 \, So.\, Mechanical Engineering\, Mesa\, AZ<br>Evan Mao\, So.\, Computer S
 cience\, Redmond<br>Nathanael Wyttenbach\, So.\, Music Performance/Interna
 tional Studies\, Richland*</p>\n<p>EUPHONIUM<br>Nico Ferreria\, So.\, Biology\, Bellevue<br>Simona Yaroslavsky\, So.\, Ps
 ychology/Law\, Societies and Justice\, Mercer Island*</p>\n<p>TUBA<br>Cole Henslee\, Sr.\, Music Performance\, Lakewood<b r>Foster Patterson\, Jr.\, Music Education\, Aberdeen<br>Chris Seay\, Grd.
 \, Music Performance\, Belmont\, NC*</p>\n<p>PE
 RCUSSION<br>Ryan Baker\, Sr.\, Music Composition/Psychology\, Gig Harbor<b r>Cyan Duong\, So.\, Music Education\, Monroe<br>Solomon Encina\, Grd.\, W
 ind Conducting\, Rancho Cucamonga\, CA<br>Momoka Fukushima\, So.\, Music P
 erformance\, Issaquah*<br>Taryn Marks\, Grd.\, Music Performance\, North A
 ugusta\, SC*<br>Ivy Moore\, So.\, Engineering and Percussion Performance\,
  Norfolk VA<br>Luigi Salvaggio\, So.\, Music Performance\, Manhattan Beach
 \, CA</p>\n<p>PIANO<br>Rachel Huang\, Grad.\, M
 usic Performance\, West Hills\, LA</p>\n<p>BASS
 <br>Jason Lai\, Fr.\, Mechanical Engineering\, Camas</p>\n<p>DOCTORAL STUDENT CONDUCTORS<br>Solomon Encina\, Rancho Cucam
 onga\, CA<br>David Stewart\, Mercer Island<br>Yuman Wu\, Tianjin\, China</p>\n<p>*principal</p>\n\n\n\n\n<h3>Biographies&lt;
 /h3&gt;
DTSTART;TZID=America/Los_Angeles:20250311T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:171
SUMMARY:: Wind Ensemble and Symphonic Band: Transformation
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-12/wind-ensemble-and-sympho
 nic-band-transformation
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The Wind Ensemble (Timothy Salzman\
 , director) and Symphonic Band (David Stewart\, Yuman Wu\, directors) pres
 ent a program of music by Ricardo Mollá\, Yasuhide Ito\, Ryan George\, Zho
 u Tian\, John Mackey\, and others. With special guest\, artist-in-residenc
 e John DiCesare\, tuba.</p> <hr> <h2>Program</h2> <p><br><strong>Universit
 y of Washington Symphonic Band</strong><br><em>David Stewart\, Yuman Wu\, 
 conductors</em><br><br>Caccia and Chorale (1976) - <strong>Clifton William
 s</strong> (1923-1976)<br>Aurora Awakes (2009) - <strong>John Mackey (b. 1973)<br>Machu Picchu (2005) - <strong>Satoshi Yagisawa</strong> (
 b. 1975)</p> <hr> <p><strong>University of Washington Wind Ensemble<br><em>Timothy Salzman\, conductor<br></em><br>Amaia (2024) – <strong>R
 icardo Mollá</strong> (b. 1992)<br>1. Gazteluga Txe<br>2. Amaia’s Letter<b r>3. The Final Element<br><em>John DiCesare\, tuba</em></p> <p>Gloriosa (1
 990) – <strong>Yasuhide Ito</strong> (b. 1960)<br>1. Oratio<br>2. Cantus<b r>3. Dies Festus<br><em>David Stewart\, conductor</em></p> <hr> <h2>Progra
 m Notes</h2> <p>Composer <strong>Clifton Williams</strong> provided the fo
 llowing program note on this work: “While it remains open to question whet
 her music can convey any message other than a purely musical one\, compose
 rs often tend to attempt philosophical\, pictorial\, or other aspects with
 in a musical framework. Such is the case with Caccia and Chorale\, two tit
 le words borrowed from Italian because of their allegorical significance. 
 The first\, Caccia\, means hunt or chase\, and is intended to reflect the 
 preoccupation of most people in the world with a constant pursuit of mater
 ialism. The Chorale is\, by contrast\, an urgent and insistent plea for gr
 eater humanity\, a return to religious or ethical concepts.”<br><br>John Mackey</strong> holds a Master’s degree from The Juilliard School a
 nd a Bachelor of Fine Arts degree from the Cleveland Institute of Music\, 
 where he studied with John Corigliano and Donald Erb\, respectively. His w
 orks have been performed at the Sydney Opera House\; the Brooklyn Academy 
 of Music\; Carnegie Hall\; the Kennedy Center\; Weill Recital Hall\; Jacob
 's Pillow Dance Festival\; Italy's Spoleto Festival\; Alice Tully Hall\; t
 he Joyce Theater\; Dance Theater Workshop\; and throughout Italy\, Chile\,
  Japan\, Colombia\, Austria\, Brazil\, Germany\, England\, Australia\, New
  Zealand\, and the United States. John has received numerous commissions f
 rom the Parsons Dance Company\, as well as com¬missions from the Cleveland
  Orchestra Youth Orchestra\, New York City Ballet’s Cho¬reographic Institu
 te\, the Dallas Theater Center\, the Alvin Ailey Dance Company\, the New Y
 ork Youth Symphony\, Ailey 2\, Concert Artists Guild\, Peridance Ensemble\
 , and Jeanne Ruddy Dance\, among many others.<br>Aurora Awakes is a piece 
 about the heralding of the coming of light\, with the com¬poser’s principa
 l inspiration coming from Aurora\, the Roman goddess of the dawn\, a mytho
 logical figure frequently associated with beauty and light. Built in two s
 ubstantial sections\, the piece moves from a place of remarkable stillness
  to an unbridled explosion of energy – from darkness to light\, placid gre
 y to startling rainbows of color. Direct musical quotation from two divers
 e sources are also found in the work. The first is an ostinato-based on th
 e familiar guitar introduction to U2’s “Where The Streets Have No Name.” T
 hough the strains of The Edge’s guitar have been metamorphosed into the in
 sistent repetitions of keyboard percussion\, the aesthetic is similar – a 
 distant proclama¬tion that grows steadily in fervor. The other quotation i
 s a sly reference to Gustav Holst’s First Suite in Eb for Military Band. T
 he brilliant Eb chord that closes the Chaconne of that work is orchestrate
 d (nearly) identically as the final sonority of Aurora Awakes – producing 
 an unmistakably vibrant timbre that won’t be missed by aficionados of the 
 repertoire.<br>Aurora Awakes won both the American Bandmasters Association
 ’s 2009 Ostwald Prize and the National Band Association’s 2009 William D. 
 Revelli Award.<br>—program note by Jake Wallace<br><br><strong>Satoshi Yag
 isawa</strong> graduated from Musashino Academia Musicae's Composition Dep
 artment and completed the master's program at the same university's Gradua
 te School of Music Research. He is currently an associate professor at Kob
 e College and a visiting professor at Nagoya University of Arts\, where he
  teaches composition\, wind music and music theory. His major works are we
 ll-loved not only in Japan but also in the United States\, Europe\, and va
 rious Asian countries. On November 9\, 2019\, his piece was chosen for the
  'Fanfare to Welcome Their Majesties' at the National Celebration for the 
 Enthronement of the Emperor and Empress\, and his music was also selected 
 for the opening ceremony of the Tokyo 2020 Paralympics. One of his composi
 tions was chosen as a test piece for the historically prestigious Certamen
  Internacional de Bandas de Música Ciudad de Valencia in Spain. He receive
 d the 21st Japan Wind and Percussion Academy Award in the Composition and 
 Arrangement category in 2011 and the JBA Shitaya Encouragement Award that 
 same year.<br><br>Explaining the significance of Machu Picchu begins with 
 remembering the Incan empire at its zenith\, and its tragic encounter with
  the Spanish conquistadors. The great 16th century empire that unified mos
 t of Andean South America had as its capital the golden city of Cuzco. Fra
 ncisco Pizarro\, while stripping the city of massive quantities of gold\, 
 in 1533 also destroyed Cuzco’s Sun Temple\, shrine of the founding deity o
 f the Incan civilization. While that act symbolized the end of the empire\
 , 378 years later an archaeologist from Yale University\, Hiram Bingham\, 
 rediscovered “Machu Picchu\,” a glorious mountaintop Incan city that had e
 scaped the attention of the invaders. At the central high point of the cit
 y stands its most important shrine\, the Intihuatana\, or “hitching post o
 f the sun\,” a column of stone rising from a block of granite the size of 
 a grand piano\, where a priest would 'tie the sun to the stone' at winter 
 solstice to ensure its seasonal return. Finding the last remaining Sun Tem
 ple of a great city inspired the belief that perhaps the royal lineage sto
 le away to his holy place during Pizarro’s conquest. After considering the
 se remarkable ideas\, I wished to musically describe that magnificent cita
 del and trace some of the mysteries sealed in Machu Picchu’s past. Three p
 rincipal ideas dominate the piece: 1) the shimmering golden city of Cuzco 
 set in the dramatic scenery of the Andes\, 2) the destructiveness of viole
 nt invasion\, and 3) the re-emergence of Incan glory as the City in the Sk
 y again reached for the sun.<br>—program note by composer<br><br><strong>R
 icardo Mollá</strong> is a Spanish trombonist\, composer and conductor liv
 ing in New York City.<br>He received his bachelor’s degree in trombone at 
 the Conservatorio Superior de Música Oscar Esplá in Alicante (Spain) and t
 he Hochschule für Musik\, Theatre und Medien Hannover (Germany) with Javie
 r García and Jonas Bylund\, respectively. Personally invited by Joseph Ale
 ssi\, principal trombone of the New York Philharmonic\, he was awarded a s
 cholarship by the Artists’ Society of Spain (AIE) and Foundation JONDE-BBV
 A to study at the prestigious Juilliard School of New York where he is [20
 24] pursuing a master’s degree in classical music. His debut as a soloist 
 was in Carnegie Hall (Recital Weill) after winning the first prize in the 
 New York Artist International Competition. As a trombone soloist\, he has 
 performed in the Lucerne Festival (Switzerland)\, the ManiFeste IRCAM of P
 aris (France)\, the Spanish Brass Festival (Spain)\, the Recontre Internat
 ional des Cuivres (Belgium)\, Letnia Akaemia (Poland)\, the FOCUS! Festiva
 l of New York (U.S.A.)\, and the International Trombone Festival. He has c
 ollaborated with many professional orchestras\, playing under the baton of
  conductors such as Pierre Boulez\, Simon Rattle\, Riccardo Chailly\, Fabi
 o Luisi\, Alan Gilbert\, Heinz Holliger\, Matthias Pintscher\, David Rober
 tson\, and Esa-Pekka Salonen\, among others. In the field of pedagogy\, Mo
 llá has been invited to give courses\, masterclasses\, and talks in Europe
 \, North America\, South America and Asia. Ricardo currently [2024] splits
  his time between working as a trombone soloist\, composing and giving tal
 ks about stage fright. Throughout his career Ricardo has received awards i
 n more than twenty national and international competitions\, including the
  Concurso Permanente Juventudes Musicales of Spain\, the INTERMUSICA Inter
 national Competition (Austria)\, Die Hannoversche Börse der Musiktalente (
 Germany)\, the Recontre International des Cuivres de l’IMEP (Belgium)\, th
 e Concorso Internationale Citta di Chieri (Italy)\, and the International 
 Virtuoso Competition (USA).<br>Amaia is a story of transformation and pers
 onal growth set on the Cantabrian coast of northern Spain. The young prota
 gonist\, Amaia\, embarks on a dreamlike journey through emblematic places 
 such as Gaztelugatxe and San Sebastián\, with the aim of learning to contr
 ol the four natural elements: water\, earth\, fire\, and air. Throughout h
 er adventure\, she encounters mythical beings from Basque mythology\, such
  as the Lamiak\, Olentzero\, and Basajaun\, who teach her valuable lessons
  about the elements and life. The plot reaches its climax in a battle agai
 nst a devastating storm at the ‘Peine del Viento’\, where Amaia fights not
  only against the forces of nature but also against the emotional pain cau
 sed by the loss of her father\, who died at sea. This battle symbolizes he
 r internal struggle and her process of overcoming. The story of Amaia is a
 n allegory of the maturation process and facing pain\, showing how\, throu
 gh the overcoming of external and internal challenges\, a girl can find th
 e strength to move forward and renew herself.<br>The work was commissioned
  by Joseph Awad and dedicated to Carol Jantsch\, principal tubist of the P
 hiladelphia Orchestra.<br>—program note by composer<br><br><strong>Yasuhid
 e Ito\,</strong> professor at Senzoku Gakuen College of Music\, has earned
  international acclaim for his compositional endeavors. He has more than 1
 000 works including more than 90 wind band works. 'Gloriosa” (1990 Ongaku 
 No Tomo Sha\; Bravo Music\, international distributor) is one of the most 
 frequently performed masterworks in the world\, having the distinction of 
 appearing in a standard Japanese high school music textbook. “Festal Scene
 s” (TRN) saw its US premiere with Ito himself conducting\, marking his fir
 st international appearance at the 1987 ABA-JBA joint convention. Ito’s co
 mpositional talent covers a variety of musical media. His piano ensemble s
 eries\, “Guru-guru Piano” (Ongaku No Tomo Sha\, 8 volumes) expands the sco
 pe of four-handed performance. His 2001 opera “Mr. Cinderella” received mu
 ch critical acclaim and greatly impacted the Japanese opera scene. By requ
 est from his hometown of Hamamatsu\, he composed music for the official ci
 ty song rededicated in 2007. In honor of those affected by the tragic East
  Japan Earthquake\, Ito collaborated with famous poet Ryoichi Wago\, offer
 ing songs of gifts and prayer. His kindness and generosity through music h
 as touched many lives. Ito’s distinguished musical career includes guest c
 onducting the Tokyo Kosei Wind Orchestra for their ‘Asian Concert Tour 200
 2’ on behalf of maestro Frederick Fennell\, and the International Youth Wi
 nd Orchestra at WASBE 2005 in Singapore. He is in high demand as a guest c
 onductor\, clinician\, lecturer\, and educator in Asian countries such as 
 Taiwan\, Hong Kong\, Korea and Singapore\, and gives　clinics for WASBE and
  other band festivals worldwide. Ito was born in Hamamatsu\, Shizuoka Pref
 ecture\, Japan in 1960. His musical career began with childhood piano less
 ons and later compositional studies while in high school. He graduated fro
 m the Tokyo University of Fine Arts and Music with a bachelor of music deg
 ree in composition. Ito's musical talent has been recognized through award
 s at the Shizuoka Music Competition (piano\, first prize\, 1980)\, Japan M
 usic Competition (composition\, third prize\, 1982)\, the Competition for 
 Saxophone Music (1987) and the Bandmasters Academic Society of Japan (the 
 Academy Prize\, 1994\; Research Branch Prize\, 2012).<br>In the beginning 
 of the Edo era (1603~1867) of Japan\, the original melodies of many chants
  that Kirishitan (Christians) had sung were getting distorted\, and their 
 texts were also corrupted as the Tokugawa Shogunate Government banned Chri
 stianity. For example\, the Latin word Gloriosa changed to 'gururiyoza.' T
 he first movement\, Oratio\, is composed on the theme of a Gregorian chant
  and consists of 13 variations in the form of a chaconne. The second movem
 ent\, Cantus\, is based on the Chant of Saint Juan which had been sung by 
 the Kirishitan\, and Dies Festus\, the third movement\, is based on a tran
 sformed melody of the folksong Nagasaki Bura-Bura Bushi.<br>This work was 
 commissioned by The Sasebo Band of Japan Maritime Self-Defense Force (Naga
 saki prefecture).<br>—program note by composer</p> <hr> <table width='856' height='44'> <tbody> <tr> <td> <h4>UNIVERSITY OF WASHINGTON SYMPHONIC BAND</h4> <p>FLUTE<br>Samuel Alampay\, Sr.\, Mathematics\, University Plac
 e<br>Brooke Bart\, Fr.\, Scandinavian Studies / Music\, Endwell\, NY<br>Ci
 ndy Franklin\, Fr.\, Business Administration\, Sammamish<br>Richard Lin\, 
 So.\, Aeronautics and Astronautics\, San Diego\, CA<br>Selena Zheng\, Fr.\
 , Pre-Science\, Irvine\, CA</p> <p>OBOE<br>Dyla
 n Huynh\, Fr.\, Political Science\, Sammamish<br>Meagan Paxman\, Fr.\, Pre
 -Sciences\, Vancouver<br>Vichet Ros\, Jr.\, Music Education\, Burien</p> &lt;
 p style='font-weight: 400\;'&gt;CLARINET<br>Ezra Marinell Raquel Agpaoa\, Fr.
 \, Music Education\, Everett<br>Maura Brennan\, Fr.\, English\, Renton<br>
 Isaac Briefer\, So.\, Physics\, Anacortes<br>Willow Chartrand\,Fr.\,Pre-Sc
 iences\, Los Alamos\, NM<br>Maggie Chen\, Fr.\, Environmental Studies\, Ri
 nggold\, GA<br>Caitlin Dong\, Fr.\, Pre-Sciences / Music Performance\, Eng
 lewood\, CO<br>Aditi Dwivedy\, Jr.\, Psychology\, Biology\, and Neuroscien
 ce\, Bellevue<br>Matilda Gauss\, Jr.\, Materials Science and Engineering\,
  Bellevue<br>Camila Diaz Salas\, Fr.\, Music Education\, Quincy<br>Cara Li
 sy\, Sr.\, Computer Science\, Maple Valley<br>Karsten Onarheim\, Sr.\, Mec
 hanical Engineering\, Silverdale<br>Varshini Sridhar\, Fr.\, Biochemistry 
 (Pre-Sciences)\, Chaska\, MN</p> <p>BASS CLARIN
 ET<br>Conrad Gauss\, Fr.\, Engineering\, Bellevue<br>Michael Stella\, Fr.\
 , Political Science\, Puyallup</p> <p>ALTO SAXO
 PHONE<br>Polina Dorogova\, So.\, Psychology and Music-Instrumental Perform
 ance\, Gig Harbor<br>Chinmay Murthy\, Jr.\, Electrical &amp; Computer Engineer
 ing\, Fremont\, CA<br>Chikara Nakamura\, Fr.\, Arts &amp; Sciences\, Tokyo\, J
 apan<br>Kaua Roberton\, Fr.\, Music Education\, Spokane</p> <p>TENOR SAXOPHONE<br>Eduardo Azevedo Simão Racy\, So.\, Comp
 uter Science\, Auburn<br>Jackson Sawatzky\, Jr.\, Music Education\, Olympi
 a</p> <p>BARI SAXOPHONE<br>Daniel Song\, Fr.\, 
 Engineering Undecided\, Bothell</p> <p>BASSOON&lt;
 br&gt;Victoria Everett\, So.\, Music BA\, Renton<br>Andromeda Jacobson\, Jr.\
 , Mathematics\, San José\, CA<br>Bridget Navarro\, Community Member\, Phys
 iology\, Mercer Island</p> <p>FRENCH HORN<br>Ka
 tie Bulis\, Fr.\, Math and Physics\, Gig Harbor<br>Matthew Jewesson\, Fr.\
 , Pre-Social Sciences\, Austin\, TX<br>Maddox Unocic\, Fr.\, Civil Enginee
 ring\, Redmond<br>Elliana Wagner\, Jr.\, Biochemistry\, Snohomish</p> <p s tyle=' 400\;'>TRUMPET<br>Nicholas Chang\, So.\, Pre-Sciences\,
  Seattle<br>Ben von Jess\, So.\, Music Education\, Renton<br>David Lu\, Fr
 .\, Computer Engineering\, Kenmore<br>Ryan Rose\, Sr.\, Music Composition\
 , Vancouver<br>Euan McCubbin\, Jr.\, Biology MCD\, Pullman<br>Vaughn Schne
 lle\, Jr.\, Music History\, West Seattle<br>Kevin Thomas\, Fr.\, Music Edu
 cation\, Spokane</p> <p>TROMBONE<br>Samuel Chen
 \, Jr.\, Human Centered Design and Engineering\, Snoqualmie<br>Emily Gay\,
  Jr.\, Music Education\, Port Orchard<br>Richie Torres-Antúnez\, So.\, Mus
 ic\, Mattawa<br>Jason Lai\, Fr.\, Mechanical Engineering\, Camas<br>Hayk S
 arian\, Fr.\, Music and Applied/Computational Math\, Coventry\, RI</p> <p>EUPHONIUM<br>May Coppinger\, So.\, Mechanical E
 ngineering\, Kirkland<br>Tom Lewis\, Jr.\, Mechanical Engineering\, Snoqua
 lmie</p> <p>TUBA<br>Nathanael Vitorino\, Fr.\, 
 Engineering\, Vancouver<br>Colin Tyrrell\, So.\, Finance and Information S
 ystems\, Montauk\, NY</p> <p>PERCUSSION<br>Avi 
 Bose\, Grad\, Master’s Civil Engineering\, Brooklyn\, NY<br>Auryanna Brown
 \, Fr.\, Construction Management\, Graham<br>Ava Ruth Paulson\, So.\, Psyc
 hology and Sociology\, Omaha\, NE<br>Alexander McLean\, Fr.\, Environmenta
 l Science\, Snoqualmie<br>Colin Lehman\, Fr.\, Music Performance\, Moses L
 ake<br>Kendall Johnson\, Grad.\, Mechanical Engineering\, La Conner<br>Kay
 tie Twelves\, Freshman\, History\, Vancouver </p> <p>PIANO<br>Daniel Lindsay\, Fr.\, Political Science\, Vancouver</p> UNIVERSITY OF WASHINGTON WIND ENSEMBLE</h4> &lt;
 p style='font-weight: 400\;'&gt;FLUTE<br>Erin McAfee\, Grad.\, Music Performa
 nce\, Hoover\, AL*<br>Grace Playstead\, Grd.\, Music Performance\, Olympia
 <br>Peyton Ray\, Jr.\, Music Performance\, Denver\, CO<br>Claire Wei\, So.
 \, Music Performance\, Bellevue*<br>Yue Zhong.\, Sr.\, Music Performance\,
  Shanghai\, China</p> <p>OBOE<br>Max Bolen\, Fr
 .\, Marine Biology\, Ballard<br>Minh-Thi Butler\, Jr.\, Music Education\, 
 Hoquiam<br>Lauren Majewski\, Sr.\, International Studies\, Mercer Island* 
 </p> <p>BASSOON<br>Annika Fisher\, So.\, Anthro
 pology\, Lake Forest Park<br>Alex Fraley\, Fr.\, Music Performance\, Kenmo
 re<br>Rian Morgan\, Jr.\, Nutritional Science/Music Performance\, Des Moin
 es*<br>Arina Pushkina\, Fr.\, Engineering\, Woodinville</p> <p>CLARINET  <br>Arthur Gim\, So.\, Mechanical Engineering\, 
 Bothell<br>Jeremy Hu\, So.\, Engineering\, Taipei\, Taiwan<br>Alessandro M
 artinez\, So.\, Environmental Engineering\, Olympia<br>Alen Poehlman\, Jr.
 \, Biochemistry\, Tacoma<br>Luqi Wang\, Grd.\, Music Performance\, Dalian\
 , China<br>Ysanne Webb\, Grd.\, Music Performance\, Lubbock\, TX*</p> <p s tyle=' 400\;'>BASS CLARINET<br>Cameron DeLuca\, Grd.\, Music P
 erformance\, Hawthorne\, CA</p> <p>SAXOPHONE<br>Curtis Chung\, Jr.\, Mechanical Engineering\, Sunnyvale\, CA<br>Kyle Gran
 t\, So.\, Music Education/Music Performance\, Sumner<br>Amy Kang\, Fr.\, E
 ngineering\, Portland\, OR<br>Katie Zundel\, Sr.\, Music Performance/Engin
 eering\, Clinton*</p> <p>TRUMPET<br>Erika Berre
 th\, So.\, Computer Science\, Redmond<br>Hans Faul\, Jr.\, Music Performan
 ce\, Seattle*<br>Kyle Jenkins\, Grd.\, Music Performance\, Sammamish<br>Da
 niel Lyons\, So.\, Music Performance\, Lake Forest Park<br>Antti Mannisto\
 , Jr.\, Mechanical Engineering\, Bellevue</p> <p>HORN<br>Becky Miller\, Community Member\, Woodinville<br>Elise Moe\, Fr.
 \, Music Performance\, Everett*<br>Kiyoshi Colon\, Alumni.\, Chemistry\, E
 verett<br>Anna Barbee\, Alumni\, DMA Music Performance\, Tacoma</p> <p sty le=' 400\;'>TROMBONE<br>Dion Archer-Roll\, Sr.\, Physics\, Van
 couver<br>Auden Durant\, Graduate\, Music Performance\, Bellevue<br>Eliana
  Koenig\, So.\, Mechanical Engineering\, Mesa\, AZ<br>Evan Mao\, So.\, Com
 puter Science\, Redmond<br>Nathanael Wyttenbach\, So.\, Music Performance/
 International Studies\, Richland*</p> <p>EUPHON
 IUM<br>Nico Ferreria\, So.\, Biology\, Bellevue<br>Simona Yaroslavsky\, So
 .\, Psychology/Law\, Societies and Justice\, Mercer Island*</p> <p>TUBA<br>Cole Henslee\, Sr.\, Music Performance\, Lakew
 ood<br>Foster Patterson\, Jr.\, Music Education\, Aberdeen<br>Chris Seay\,
  Grd.\, Music Performance\, Belmont\, NC*</p> <p>PERCUSSION<br>Ryan Baker\, Sr.\, Music Composition/Psychology\, Gig Harb
 or<br>Cyan Duong\, So.\, Music Education\, Monroe<br>Solomon Encina\, Grd.
 \, Wind Conducting\, Rancho Cucamonga\, CA<br>Momoka Fukushima\, So.\, Mus
 ic Performance\, Issaquah*<br>Taryn Marks\, Grd.\, Music Performance\, Nor
 th Augusta\, SC*<br>Ivy Moore\, So.\, Engineering and Percussion Performan
 ce\, Norfolk VA<br>Luigi Salvaggio\, So.\, Music Performance\, Manhattan B
 each\, CA</p> <p>PIANO<br>Rachel Huang\, Grad.\
 , Music Performance\, West Hills\, LA</p> <p>BA
 SS<br>Jason Lai\, Fr.\, Mechanical Engineering\, Camas</p> <p>DOCTORAL STUDENT CONDUCTORS<br>Solomon Encina\, Rancho Cuca
 monga\, CA<br>David Stewart\, Mercer Island<br>Yuman Wu\, Tianjin\, China&lt;
 /p&gt; <p>*principal</p> </td> </tr> </tbody>  <h3>Biographies</h3>
END:VEVENT
BEGIN:VEVENT
UID:3181ff62-fcb0-4f94-aef4-dd918f8b8ba0
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances\, Visiting Ar
 tists and Scholars
CLASS:PUBLIC
CREATED:20240809T000808Z
DESCRIPTION:<p></p>\n<p>Seattle Modern Orchestra (SMO) completes its third 
 annual residency at the UW with a 70th birthday celebration of UW Composit
 ion Professor and School of Music Director Joël-François Durand. SMO prese
 nts an evening of world premieres\, conducted by UW alum Julia Tai\, with 
 works written in tribute to Durand by his former students Byron Au Yong\, 
 Jeff Bowen\, Yiğit Kolat\, Eric Flesher\, and Ryan Hare\, plus a world pre
 miere by graduate student composer Yonatan Ron. </p>\n<hr>\n<h2>Program\n<p>Guest Ensemble: Seattle Modern Orchestra<br>70th Birthday Celebrati
 on Concert in Honor of Joël-François Durand <br>Featuring Alumni and Stude
 nt Works</p>\n<p>Still Moves (2025): <strong>Yonatan Ron</strong></p>\n<p>
 La descente de l'ange (2022): <strong>Joël-François Durand</strong></p>\n&lt;
 p&gt;Five Verses (2025): <strong>Eric Flesher</strong></p>\n<p>Toward the Eig
 hth Climate (2025): <strong>Jeffrey Bowen</strong></p>\n<p>Toccata “au fil
  de la plume” (2024): <strong>Ryan M. Hare</strong></p>\n<p>La quatrième m
 élodie (2024/25): <strong>Yiğit Kolat</strong></p>\n<p>Stars Whisper 星星低语 
 Les Murmures des Étoiles (2025): <strong>Byron Au Yong</strong></p>\n<p>Ju
 lia Tai\, conductor <br>Sarah Pyle\, flute/piccolo <br>Rachel Yoder\, clar
 inets <br>Luke Fitzpatrick\, violin  <br>Christine Lee\, cello <br>Cristin
 a Valdés\, piano and keyboards <br>Bonnie Whiting\, percussion</p>\n<hr>\n
 <h2>Program Notes</h2>\n<p>JOËL-FRANÇOIS DURAND<br><strong>La descente de 
 l'ange</strong> for Bb clarinet and violin was written in 2022 and is the 
 fourth in a series of works in which I explore the use of the acoustic phe
 nomenon of first-order beats as musical gestures to create structural and 
 formal materials. In this piece\, the appearance of the intervals that cre
 ate the beats is reached very progressively: generally speaking\, the musi
 cal phrases use intervals that get smaller and smaller\, so that the ear i
 s slowly guided into this world of very small intervals.</p>\n<p>The forma
 l trajectory is composed of a series of metamorphosis of the original gest
 ure: in each step\, the notion of melodic and harmonic interval changes sl
 ightly. At first\, we hear a somewhat typical\, descending melodic line in
  the clarinet\, constantly disturbed by the sliding lines of the violin (f
 irst “disturbance”). The ambitus of the melodic lines gets progressively s
 maller and\, eventually\, all the melodic motions are contained within a m
 inor 2nd. These movements are centered around D\, and soon even these tiny
  melodic movements stop\; all that remains is the D. But as the intervals 
 were getting smaller\, the phenomenon of first-order beats started to beco
 me more and more apparent. Eventually\, the D “disappears” because it is n
 ot moving anymore\, and the beats themselves take center stage. The very n
 otion of pitch is replaced by the static movement of the beat patterns. We
  have now reached the center of the metamorphosis: our perception has prog
 ressively shifted because the perspective in which the notes are presented
  has radically changed.</p>\n<p>Retrospectively\, we can now realize that 
 the first measures of the piece already announced the zooming-in that cons
 titutes the trajectory toward this last step\; and we see that the germ fo
 r the beats that take center stage was already present in the descending m
 elodic lines: it was actually the “disturbance” created by the violin line
  against the clarinet’s. It is then clear that the formal concept of the p
 iece is not just a “variation” on the melodic lines heard in the first sec
 tion\, but the idea of disturbance between the two instruments.</p>\n<p>BY
 RON AU YONG<br><strong>Stars Whisper</strong> <strong>星星低</strong><strong>
 语</strong><strong> Les Murmures des Étoiles<br></strong>During my first co
 mposition lesson with Joël Durand\, I shared a sketch for violin and piano
 \, inspired by music from John Cage\, who had recently passed away. Joël a
 sked me what I wanted to accomplish from this simple score. I replied that
  I felt stuck with fragments\, so he encouraged me to study musical forms 
 as well as non-musical structures. Eight weeks later\, I had a 32-page com
 position called The Moon Embalmed in Phosphorus\, inspired by Alban Berg's
  Violin Concerto\, medieval rhythmic modes\, and an overall trajectory pro
 mpted by the big bang theory. </p>\n<p>30 years later\, I continue with th
 e modernist dilemma of fragmentation\, but with the knowledge and skills I
  learned while studying with Joël. Stars Whisper 星星低语 Les Murmures des Éto
 iles includes 28 sonic moments that are in clusters of seven related to th
 e cardinal directions (north-south-east-west)\, as well as the seasons (wi
 nter\, summer\, spring\, autumn). The ensemble plays together as if readin
 g a star map to create sonic constellations inspired by the 28 Mansions of
  Chinese cosmology. that traces the movement of the moon—and in this offer
 ing—through the whispering of the stars.</p>\n<p><strong></strong>JEFFREY 
 BOWEN<br><strong>Toward the Eighth Climate<br></strong>The “eighth climate
 ” of the title refers to an order of reality posited by the 12th-century P
 ersian mystic and philosopher Suhrawardī and elaborated by the 20th-centur
 y French philosopher Henry Corbin (in whose writings Joël-François Durand 
 and I share an interest). For Suhrawardī and Corbin\, this eighth climate 
 is an intermediate domain\, existing between the world of the sensible (th
 at which we experience through our senses) and the realm of the intelligib
 le (i.e. the realm of ideas\, forms\, and archetypes\, accessible through 
 intellectual reflection).  </p>\n<p>Engaged metaphorically within the comp
 ositional environment of this short piece\, this idea of an intermediate r
 ealm evoked for me an intriguing threshold space—between perception of dis
 tinct acoustical phenomena and an apprehension of their interrelationships
  within larger musical entities. Contemplating a movement toward this thre
 shold suggested a musical trajectory that gradually leads a short melodic 
 formula (derived from the dastgāhs of traditional Persian music) from a st
 ate of fragmentation and distortion toward (but never quite reaching) alig
 nment and stability—inviting the listener to co-construct this central mus
 ical object through active imagination.</p>\n<p><strong></strong>ERIC FLES
 HER<br><strong>Five Verses<br></strong>Five Verses was created from a basi
 c span of time containing rhythmic structures at various points. Beyond th
 is\, I (somewhat uncharacteristically) had no real plan\; I read through t
 his span in five turns (i.e.\, “verses”)\, backwards and forwards\, each t
 ime choosing structures at different time points. These served as a formal
  background for the piece\, whose worlds of pitch and timbre were mostly i
 ntuitively derived. I then allowed ideas and textures to evolve over the c
 ourse of the five verses.  </p>\n<p>RYAN M. HARE<br><strong>Toccata “au fi
 l de la plume”<br></strong>Joël-François Durand was my primary composition
  teacher and the chair of my doctoral committee at the UW\, and there can 
 be no question that his ideas and music have had a strong\, lasting influe
 nce on my own. While the music I write doesn’t often seem on the surface t
 o sound much like Joël’s\, on a deeper level\, in the musical structure an
 d in the manipulation of music material\, the influence may be consistentl
 y discerned. Because it honors Joël’s importance to me and my great admira
 tion for his music\, in this piece\, Toccata “au fil de la plume” for viol
 in\, cello\, vibraphone\, and piano\, I leaned on these elements in a more
  clearly salient way. <br><br>The French expression “au fil de la plume” w
 as one I encountered in Joël’s book\, Joël-François Durand in the Mirrorla
 nd (Seattle: University of Washington Press\, 2005). Many of the ideas the
 rein had been shared with me previously in lessons\, and so their appearan
 ce and consolidation in the book has meant that I return to it fairly regu
 larly\, and in fact did so just before starting on this commission. The ex
 pression means “along the line of the pen\,” referring to writing one’s id
 eas down just as they come\, from the imagination straight to the paper. T
 his is a critical topic in Joël’s book: pre-compositional planning versus 
 allowing the imagination to flow unfettered\, whether to be considered in 
 terms of balance\, or indeed in terms of collisions and clashes. <br><br>T
 he foundation for this Toccata lies in the cello part\, which is lifted st
 raight from my composition for unaccompanied double bass\, Lyric Étude No.
  17 (2021). On top of this\, I have layered on counterpoint in the other i
 nstruments\, some of which was planned in advance and executed strictly\, 
 and some of which was interpolated against the base material freely and qu
 asi improvisationally. </p>\n<p>YİĞİT KOLAT<br><strong>La quatrième mélodi
 e<br></strong>The title La quatrième mélodie relates to Durand’s 2004 arti
 cle “Melody—Three Situations: Un Feu distinct\, La Terre et le feu\, Athan
 or.” In this article\, the composer describes three unique situations wher
 e melodic lines assume different roles in shaping the music. Durand’s rece
 nt work appears to introduce a fourth situation\, where the fundamental un
 ity between pitch\, rhythm\, and timbre is emphasized. A hallmark of this 
 “fourth melody” is the perceptual phenomenon of beating patterns arising f
 rom frequencies in close proximity.</p>\n<p>Despite what the title might i
 mply\, a “fourth melody” never fully appears in this piece. Instead\, we e
 ncounter only failed emulations—gestures that seem poised to form a fourth
  melody but always fall short. Even an excerpt from Durand’s Geister\, sch
 webende Geister\, repeated as a refrain\, is prevented from becoming one. 
 The irony is that\, despite all the struggle in the musical narrative\, th
 e work ultimately stems from a process that generates musical materials vi
 a a mathematical representation of beating patterns. </p>\n<p>YONATAN RON&lt;
 br&gt;<strong>Still Moves<br></strong>In discussions on coherence in Western 
 concert music\, collages were often viewed as incoherent and jumbled forms
  due to their fusional nature\, which led to a perceived lack of consisten
 cy. This criticism doesn’t necessarily apply to arts that are presented as
  static objects\, like sculpture\, painting\, or architectural design—wher
 e coherence is judged by the unity of the (static) form. In contrast\, thi
 s issue is relevant for art “in actus”—art that evolves over time\, such a
 s music\, theatre\, video\, and dance—where coherence is assessed based on
  the temporal evolution and where forms gradually unfold.</p>\n<p>The moti
 vation for this piece began with my curiosity about what it would take to 
 compose a collage that is uninterrupted and continuous\, yet clearly commu
 nicates as a collage made of distinct materials\, which\, also when seemin
 g to reappear\, have been reformed to merely allude to their initial prese
 ntation.</p>\n<p>As the piece unfolds\, fundamentally different ideas tran
 sform into one another\, with each transition ensuring that one parameter—
 pitch collection\, register\, dynamics\, duration\, or timbre—remains unch
 anged across successive ideas.</p>\n<p>The image I envisioned while compos
 ing was that of a dark ride at an amusement park\, where the emphasis lies
  in the paradox of expecting the unexpected.</p>\n<hr>\n<h2>Biographies\n<h3><a href='https://www.seattlemodernorchestra.org' target='_blank' r el='noopener noreferrer'>Seattle Modern Orchestra</a></h3>\n<p>Founded in 
 2010\, Seattle Modern Orchestra (SMO) is the only large ensemble in the Pa
 cific Northwest dedicated solely to the music of the 20th and 21st centuri
 es. Led by co-artistic directors Julia Tai and Bonnie Whiting\, SMO commis
 sions and premieres new works from an international lineup of composers\, 
 in addition to presenting  important pieces from the contemporary repertoi
 re that are rarely\, if ever\, heard by Seattle audiences. The  ensemble “
 operates at that exciting cusp between old and new\, between tradition and
  innovation” (Vanguard Seattle) curating new sounds and experiences for co
 ncert goers in the region.  </p>\n<p>Co-Artistic Directors: Julia Tai and 
 Bonnie Whiting <br>Founding Director: Jérémy Jolley <br>Managing Director:
  Michelle Cheng <br>IT Specialist: David Schneider <br>Administrative Coor
 dinator: Mina Pariseau </p>\n<p><strong>Byron Au Yong</strong> creates mus
 ical works that have been featured at American Conservatory Theater\, Hawa
 i'i Opera\, International Festival of Arts &amp; Ideas\, Nashville Opera\, and
  more. Honors include a Creative Capital Award and Sundance Institute/Time
  Warner Foundation Fellowship. He holds degrees in theater\, dance\, and m
 usic from NYU\, UCLA\, and the University of Washington\, and currently se
 rves as an Associate Professor and Director of Arts Leadership at Seattle 
 University. He studied with Joël Durand from 1992-1996.</p>\n<p><strong>Je
 ffrey Bowen</strong>’s compositional works feature gradually evolving proc
 esses and explorations of liminal spaces\, and have been performed by Pasc
 al Gallois\, Maja Cerar\, Beta Collide\, Ensemble DissonArt\, and the Lumi
 nosity Orchestra\, among other ensembles in the USA and Europe. He has rec
 ently presented work at the University of Washington’s Harry Partch Festiv
 al\, the New York City Electroacoustic Music Festival\, the International 
 Computer Music Conference\, the SEAMUS national conference\, and as a resi
 dent artist at the Atlantic Center for the Arts. Recent projects have been
  supported by the Jack Straw Foundation and by Seattle’s 4Culture and Arti
 st Trust organizations\, and his work What Will Sound (was already sound)\
 , for violin and electronics\, was released by Parma Records in 2020. His 
 music has been recognized with a First Prize in the 30th International Com
 position Competition “Città di Barletta\,” and with second prizes from the
  European Composer Competition in 2021 and from the American Prize in 2023
 . He is currently based in Seattle\, where he teaches music theory and gui
 tar at Seattle University and is co-director of the Inverted Space Ensembl
 e. He completed his doctoral studies in composition at the University of W
 ashington under Joël-François Durand.</p>\n<p>Eric Flesher earned his DMA 
 in Music Composition at the University of Washington\, studying under Joël
 -François Durand. His previous teachers include Paul-Heinz Dittrich\, Alex
 ander Goehr\, and Aurelio de la Vega. He has served on the faculties of Un
 iversity of Washington\, Central Washington University\, and Edmonds Colle
 ge and has additionally spent decades teaching privately. His recent music
  has primarily involved modular synthesizers\, often taking natural sound 
 sources both as inspiration and as a means of creating sound worlds.</p>\n
 <p>Born 1970 in Reno\, Nevada\, <strong>Ryan M. Hare</strong>\, composer a
 nd bassoonist\, now lives in Pullman\, Washington. He earned tenure and th
 e rank of full Professor at Washington State University\, where he taught 
 composition\, bassoon\, and music theory from 2003 until 2020\, when he de
 cided to take a voluntary early retirement in order to focus his attention
  on composing.</p>\n<p>Ryan’s music has been performed at a large variety 
 of venues and festivals worldwide\, in as diverse locations as Tokyo and D
 armstadt\, and in the United Kingdom\, South America\, Southeast Asia\, an
 d China. Commissioners include Fred Korman\, who was the longtime former p
 rincipal oboist of the Oregon Symphony\, and the Washington Music Teachers
  Association\, who awarded Ryan 'Washington State Composer of the Year' in
  2012. Further commissions have come from the Walla Walla Symphony\, Mid-C
 olumbia Symphony\, Washington Idaho Symphony\, Marysville Chamber Music\, 
 Common Tone Arts\, Affinity Chamber Players\, the University of Idaho Vand
 aleers Concert Choir\, and the Lake Forest College Orchestra\, among other
 s. His music has been championed by performers and ensembles around the wo
 rld\, with notable recognition from New Music USA\, Artist Trust\, and the
  American Prize. In addition\, a number of Ryan's compositions are publish
 ed by TrevCo Music Publishing and ALEA Publishing\, and his composition Ta
 ratantara: Flourish for Orchestra was recorded by the London Symphony Orch
 estra.</p>\n<p><strong>Yiğit Kolat</strong>’s music draws inspirations and
  expressions from a wide array of topics ranging from bytebeats to the app
 lication and ethics of artificial intelligence in music. The complicated p
 olitical and social landscape of his native Turkey is a recurring theme in
  his diverse output. His works\, described as “touching and convincing...a
  multi-sensory universe\,” (K. Saariaho) have been recognized by a prestig
 ious array of international organizations\, including the Tōru Takemitsu C
 omposition Award\, the Queen Elisabeth Competition\, and the Concours Inte
 rnational de Composition Henri Dutilleux. His music has been featured thro
 ughout the United States\, Europe\, and Asia by leading ensembles\, among 
 them the Tokyo Philharmonic\, Nieuw Ensemble\, and Talea Ensemble. He has 
 presented his research at conferences such as Conference on AI Music Creat
 ivity (University of Oxford)\, Spectralisms International Conference (IRCA
 M)\, and Reëmbodied Sound Symposium (Columbia University). Kolat currently
  teaches at the University of Washington\, where he completed his doctoral
  studies under Joël-François Durand.   </p>\n<p><strong>Yonatan Ron began his musical journey as a guitar player. He later studied composit
 ion independently under composer and guitarist Ruben Seroussi\, head of th
 e composition department at Tel-Aviv University. Ron occasionally particip
 ated in the CEME festival held by Meitar Ensemble\, hosting masterclasses 
 given by composers such as G.F Haas\, Philippe Leroux\, and Ivan Fedele\, 
 among others. He later obtained his B.A. in 2021 from The Koninklijk Conse
 rvatorium\, The Hague\, NL and in 2024 he pursued his master’s in composit
 ion at The University of Washington where he currently studies for his Doc
 toral degree.</p>\n<p>In his music\, he favors working with a variety of c
 omplementary materials and their transformations rather than traditional\,
  dialectic\, development-driven composition. Often the compositional strat
 egy revolves around a hierarchy of presentiment\, suspense\, and thrill\, 
 while prioritizing continuity and anticipation. He draws inspiration from 
 a variety of fields\, ranging from visual arts\, through mathematics and p
 sychology\, to music history and theory.</p>\n<p>Ron’s works are published
  by the ‘ICL’ and are frequently commissioned by the Israeli Music Festiva
 l. His awards include 1st Prize at the 2018 Calefax Composition Contest\, 
 the Israeli Prime Minister Award for Music Composition (2019)\, the Abraha
 m and Felicija Klohn Prize (2019)\, and the Siday Fellowship for Musical C
 reativity (2018\, 2019).</p>\n<p>Praised by the
  Seattle Times as “poised yet passionate\,” <strong>Julia Tai </strong>has
  conducted orchestras around the world. Recognized as a prominent innovato
 r of the contemporary music world\, she has worked with legendary composer
 s\, performers\, and ensembles such as Seattle Chamber Players\, Internati
 onal Contemporary Ensemble\, and Ensemble Modern. She is currently the Mus
 ic Director of Missoula Symphony Orchestra &amp; Chorale\, and the Co-Artistic
  Director of the Seattle Modern Orchestra. </p>\n<p><strong>Sarah Pyle\,</strong> flutist\, currently lives in Bremerton\
 , Washington and works on projects involving  intersections of visual art\
 , music\, and nature. She is a specialist in contemporary music and holds 
 degrees in flute performance and environmental studies from Oberlin Colleg
 e &amp; Conservatory. </p>\n<p>Seattle-based clarin
 etist <strong>Rachel Yoder </strong>performs in a variety of solo\, chambe
 r and large ensemble roles\, including frequent appearances with the Seatt
 le Modern Orchestra\, Yakima Symphony Orchestra\, and Odd Partials clarine
 t/electronics duo. She is instructor of clarinet at Western Washington Uni
 versity and editor of The Clarinetjournal.  </p>\n<p><strong>Luke Fitzpatrick </strong>is a multi-instrumentalist\, compo
 ser and artistic director of Inverted Space\, a Seattle-based new music co
 llective. He has performed as a touring member of the Harry Partch Ensembl
 e as well as with Deltron 3030\, Terence Blanchard and the E-Collective an
 d has appeared on recordings released by Ablaze and Centaur records. Luke 
 is currently concertmaster of Seattle Philharmonic Orchestra\, Seattle Fes
 tival Orchestra and Federal Way Symphony. He is a founding member of the S
 tring Quartet Pure Flavor and performs with Temple Mozaic\, an improvisati
 onal music and dance collective alongside Smerk\, Orb and Free. Besides mu
 sic related things\, Luke is an avid dancer and enjoys biking\, eating sus
 hi and collecting shoes. <strong> </strong></p>\n<p>A Paris Fulbright Fellow recipient\, <strong>Christine Lee</strong> p
 ursues a wide range of creative\, musical projects\; while  her passion is
  in chamber music\, she also devotes her time towards teaching and solo en
 gagements. In  the ‘24-’25 season\, Christine began her third year as Arti
 st-in-Residence faculty member at the University of Washington School of M
 usic\, where she coordinates and coaches both undergraduate and graduate l
 evel chamber ensembles. </p>\n<p>Recently haile
 d by Fanfare Magazine as “excellent” and “clearly sensitive\,” pianist Cristina Valdés</strong> is known for presenting innovative concerts 
 with repertoire ranging from Bach to Xenakis\, has toured extensively with
  the Bang On a Can “All Stars\,” and has performed with Seattle Chamber Pl
 ayers\, the Mabou Mines Theater Company\, the Parsons Dance Company\, and 
 Antares. She is currently an Artist-in Residence at the University of Wash
 ington\, and Director of the UW Modern Music Ensemble.  </p>\n<p><strong>Bonnie Whiting</strong>’s work centers on the re
 lationship between percussive sound and the voice\, performing\, commissio
 ning\, improvising\, composing\, and championing music for the speaking an
 d singing percussionist.  She has released solo albums on the New Focus Re
 cordings and Mode Records labels. She is Co-Artistic Director of Seattle M
 odern Orchestra and she has performed with the country's leading new music
  groups: Ensemble Dal Niente\, International Contemporary Ensemble\, Talea
   Ensemble\, and red fish blue fish percussion group. She is Chair of Perc
 ussion Studies and Associate Professor of Music at the University of Washi
 ngton.</p>
DTSTART;TZID=America/Los_Angeles:20250312T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:172
SUMMARY:: Guest Orchestra Concert: Seattle Modern Orchestra\, Tribute: Joël
 -François Durand
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-13/guest-orchestra-concert-
 seattle-modern-orchestra-tribute-joel-francois-durand
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span></span></p> <p><span>Seattle Modern Orchestra (SMO) compl
 etes its third annual residency at the UW with a 70th birthday celebration
  of UW Composition Professor and School of Music Director Joël-François Du
 rand. SMO presents an evening <span>of world premieres\, conducted by UW a
 lum Julia Tai\, with works written in tribute to Durand by</span> his form
 er students Byron Au Yong\, Jeff Bowen\, Yiğit Kolat\, Eric Flesher\, and 
 Ryan Hare\, plus a world premiere by graduate student composer Yonatan Ron
 . </span></p> <hr> <h2><span>Program</span></h2> <p><span>Guest Ensemble: Seattle Modern Orche
 stra<br></span><span>70th Birthday Celebration 
 Concert in Honor of Joël-François Durand <br></span><span>Featuring Alumni and Student Works</span></p> <p><span>Still Moves (2025): <strong>Yonatan Ron</strong></span>
 </p> <p><span>La descente de l'ange (2022): Joël-François Durand</strong></span></p> <p><span>Five Verses (2025): <strong>Eric Flesher</strong></span></p> <p><s pan>Toward the Eighth Climate (2025): <strong>J
 effrey Bowen</strong></span></p> <p><span>Tocca
 ta “au fil de la plume” (2024): <strong>Ryan M. Hare</strong></span></p> &lt;
 p&gt;<span>La quatrième mélodie (2024/25): <strong>Yiğit Kolat</strong></span></p> <p><span>Stars
  Whisper 星星低语 Les Murmures des Étoiles (2025): <strong>Byron Au Yong</span></p> <p><span>Julia Tai\, conductor &lt;
 br&gt;</span><span>Sarah Pyle\, flute/piccolo <br>
 </span><span>Rachel Yoder\, clarinets <br><span>Luke Fitzpatrick\, violin  <br></span>&lt;
 span style='font-weight: 400\;'&gt;Christine Lee\, cello <br></span><span sty le=' 400\;'>Cristina Valdés\, piano and keyboards <br></span>&lt;
 span style='font-weight: 400\;'&gt;Bonnie Whiting\, percussion</span></p> <hr> <h2>Program Notes</h2> <p>JOËL-FRANÇOIS DURAND<br><strong><em>La descent
 e de l'ange</em></strong> for Bb clarinet and violin was written in 2022 a
 nd is the fourth in a series of works in which I explore the use of the ac
 oustic phenomenon of first-order beats as musical gestures to create struc
 tural and formal materials. In this piece\, the appearance of the interval
 s that create the beats is reached very progressively: generally speaking\
 , the musical phrases use intervals that get smaller and smaller\, so that
  the ear is slowly guided into this world of very small intervals.</p> <p>
 The formal trajectory is composed of a series of metamorphosis of the orig
 inal gesture: in each step\, the notion of melodic and harmonic interval c
 hanges slightly. At first\, we hear a somewhat typical\, descending melodi
 c line in the clarinet\, constantly disturbed by the sliding lines of the 
 violin (first “disturbance”). The ambitus of the melodic lines gets progre
 ssively smaller and\, eventually\, all the melodic motions are contained w
 ithin a minor 2nd. These movements are centered around D\, and soon even t
 hese tiny melodic movements stop\; all that remains is the D. But as the i
 ntervals were getting smaller\, the phenomenon of first-order beats starte
 d to become more and more apparent. Eventually\, the D “disappears” becaus
 e it is not moving anymore\, and the beats themselves take center stage. T
 he very notion of pitch is replaced by the static movement of the beat pat
 terns. We have now reached the center of the metamorphosis: our perception
  has progressively shifted because the perspective in which the notes are 
 presented has radically changed.</p> <p>Retrospectively\, we can now reali
 ze that the first measures of the piece already announced the zooming-in t
 hat constitutes the trajectory toward this last step\; and we see that the
  germ for the beats that take center stage was already present in the desc
 ending melodic lines: it was actually the “disturbance” created by the vio
 lin line against the clarinet’s. It is then clear that the formal concept 
 of the piece is not just a “variation” on the melodic lines heard in the f
 irst section\, but the idea of disturbance between the two instruments.</p> <p>BYRON AU YONG<br><strong><em>Stars Whisper</em></strong> <strong>星星低&lt;
 /strong&gt;<strong>语</strong><strong> <em>Les Murmures des Étoiles<br></em></strong>During my first composition lesson with Joël Durand\, I shared a sk
 etch for violin and piano\, inspired by music from John Cage\, who had rec
 ently passed away. Joël asked me what I wanted to accomplish from this sim
 ple score. I replied that I felt stuck with fragments\, so he encouraged m
 e to study musical forms as well as non-musical structures. Eight weeks la
 ter\, I had a 32-page composition called <em>The Moon Embalmed in Phosphor
 us</em>\, inspired by Alban Berg's <em>Violin Concerto</em>\, medieval rhy
 thmic modes\, and an overall trajectory prompted by the big bang theory. &lt;
 /p&gt; <p>30 years later\, I continue with the modernist dilemma of fragmenta
 tion\, but with the knowledge and skills I learned while studying with Joë
 l. <em>Stars Whisper</em> 星星低语 <em>Les Murmures des Étoiles</em> includes 
 28 sonic moments that are in clusters of seven related to the cardinal dir
 ections (north-south-east-west)\, as well as the seasons (winter\, summer\
 , spring\, autumn). The ensemble plays together as if reading a star map t
 o create sonic constellations inspired by the 28 Mansions of Chinese cosmo
 logy. that traces the movement of the moon—and in this offering—through th
 e whispering of the stars.</p> <p><strong></strong>JEFFREY BOWEN<br><em>Toward the Eighth Climate<br></em></strong>The “eighth climate” of t
 he title refers to an order of reality posited by the 12th-century Persian
  mystic and philosopher Suhrawardī and elaborated by the 20th-century Fren
 ch philosopher Henry Corbin (in whose writings Joël-François Durand and I 
 share an interest). For Suhrawardī and Corbin\, this eighth climate is an 
 intermediate domain\, existing between the world of the sensible (that whi
 ch we experience through our senses) and the realm of the intelligible (i.
 e. the realm of ideas\, forms\, and archetypes\, accessible through intell
 ectual reflection).  </p> <p>Engaged metaphorically within the composition
 al environment of this short piece\, this idea of an intermediate realm ev
 oked for me an intriguing threshold space—between perception of distinct a
 coustical phenomena and an apprehension of their interrelationships within
  larger musical entities. Contemplating a movement toward this threshold s
 uggested a musical trajectory that gradually leads a short melodic formula
  (derived from the <em>dastgāhs</em> of traditional Persian music) from a 
 state of fragmentation and distortion toward (but never quite reaching) al
 ignment and stability—inviting the listener to co-construct this central m
 usical object through active imagination.</p> <p><strong></strong>ERIC FLE
 SHER<br><strong><em>Five Verses<br></em></strong><em>Five Verses </em>was 
 created from a basic span of time containing rhythmic structures at variou
 s points. Beyond this\, I (somewhat uncharacteristically) had no real plan
 \; I read through this span in five turns (i.e.\, “verses”)\, backwards an
 d forwards\, each time choosing structures at different time points. These
  served as a formal background for the piece\, whose worlds of pitch and t
 imbre were mostly intuitively derived. I then allowed ideas and textures t
 o evolve over the course of the five verses.  </p> <p>RYAN M. HARE<br><em>Toccata “au fil de la plume”<br></em></strong>Joël-François Durand
  was my primary composition teacher and the chair of my doctoral committee
  at the UW\, and there can be no question that his ideas and music have ha
 d a strong\, lasting influence on my own. While the music I write doesn’t 
 often seem on the surface to sound much like Joël’s\, on a deeper level\, 
 in the musical structure and in the manipulation of music material\, the i
 nfluence may be consistently discerned. Because it honors Joël’s importanc
 e to me and my great admiration for his music\, in this piece\, <em>Toccat
 a “au fil de la plume” </em>for violin\, cello\, vibraphone\, and piano\, 
 I leaned on these elements in a more clearly salient way. <br><br>The Fren
 ch expression “<em>au fil de la plume</em>” was one I encountered in Joël’
 s book\, <em>Joël-François Durand in the Mirrorland</em> (Seattle: Univers
 ity of Washington Press\, 2005). Many of the ideas therein had been shared
  with me previously in lessons\, and so their appearance and consolidation
  in the book has meant that I return to it fairly regularly\, and in fact 
 did so just before starting on this commission. The expression means “alon
 g the line of the pen\,” referring to writing one’s ideas down just as the
 y come\, from the imagination straight to the paper. This is a critical to
 pic in Joël’s book: pre-compositional planning versus allowing the imagina
 tion to flow unfettered\, whether to be considered in terms of balance\, o
 r indeed in terms of collisions and clashes. <br><br>The foundation for th
 is <em>Toccata</em> lies in the cello part\, which is lifted straight from
  my composition for unaccompanied double bass\, <em>Lyric Étude No. 17</em> (2021). On top of this\, I have layered on counterpoint in the other ins
 truments\, some of which was planned in advance and executed strictly\, an
 d some of which was interpolated against the base material freely and quas
 i improvisationally. </p> <p>YİĞİT KOLAT<br><strong><em>La quatrième mélod
 ie<br></em></strong>The title <em>La quatrième mélodie </em>relates to Dur
 and’s 2004 article “Melody—Three Situations: <em>Un Feu distinct\, La Terr
 e et le feu\, Athanor.</em>” In this article\, the composer describes thre
 e unique situations where melodic lines assume different roles in shaping 
 the music. Durand’s recent work appears to introduce a fourth situation\, 
 where the fundamental unity between pitch\, rhythm\, and timbre is emphasi
 zed. A hallmark of this “fourth melody” is the perceptual phenomenon of be
 ating patterns arising from frequencies in close proximity.</p> <p>Despite
  what the title might imply\, a “fourth melody” never fully appears in thi
 s piece. Instead\, we encounter only failed emulations—gestures that seem 
 poised to form a fourth melody but always fall short. Even an excerpt from
  Durand’s <em>Geister\, schwebende Geister\,</em> repeated as a refrain\, 
 is prevented from becoming one. The irony is that\, despite all the strugg
 le in the musical narrative\, the work ultimately stems from a process tha
 t generates musical materials via a mathematical representation of beating
  patterns. </p> <p>YONATAN RON<br><strong><em>Still Moves<br></em></strong>In discussions on coherence in Western concert music\, collages were ofte
 n viewed as incoherent and jumbled forms due to their fusional nature\, wh
 ich led to a perceived lack of consistency. This criticism doesn’t necessa
 rily apply to arts that are presented as static objects\, like sculpture\,
  painting\, or architectural design—where coherence is judged by the unity
  of the (static) form. In contrast\, this issue is relevant for art “in ac
 tus”—art that evolves over time\, such as music\, theatre\, video\, and da
 nce—where coherence is assessed based on the temporal evolution and where 
 forms gradually unfold.</p> <p>The motivation for this piece began with my
  curiosity about what it would take to compose a collage that is uninterru
 pted and continuous\, yet clearly communicates as a collage made of distin
 ct materials\, which\, also when seeming to reappear\, have been reformed 
 to merely allude to their initial presentation.</p> <p>As the piece unfold
 s\, fundamentally different ideas transform into one another\, with each t
 ransition ensuring that one parameter—pitch collection\, register\, dynami
 cs\, duration\, or timbre—remains unchanged across successive ideas.</p> &lt;
 p&gt;The image I envisioned while composing was that of a dark ride at an amu
 sement park\, where the emphasis lies in the paradox of expecting the unex
 pected.</p> <hr> <h2><span></span><span>Biographies</span></h2> <h3><a href='https://www.seatt
 lemodernorchestra.org' target='_blank' rel='noopener noreferrer'>Seattle M
 odern Orchestra</a></h3> <p><span></span><span>Founded in 2010\, Seattle Modern Orchestra (SMO
 ) is the only large ensemble in the Pacific Northwest dedicated solely to 
 the music of the 20th and 21st centuries. Led by co-artistic directors Jul
 ia Tai and Bonnie Whiting\, SMO commissions and premieres new works from a
 n international lineup of composers\, in addition to presenting  important
  pieces from the contemporary repertoire that are rarely\, if ever\, heard
  by Seattle audiences. The  ensemble “operates at that exciting cusp betwe
 en old and new\, between tradition and innovation” (Vanguard Seattle) cura
 ting new sounds and experiences for concert goers in the region.  </span>&lt;
 /p&gt; <p><span>Co-Artistic Directors: Julia Tai a
 nd Bonnie Whiting <br></span><span>Founding Dir
 ector: Jérémy Jolley <br></span><span>Managing 
 Director: Michelle Cheng <br></span><span>IT Sp
 ecialist: David Schneider <br></span><span>Admi
 nistrative Coordinator: Mina Pariseau </span></p> <p><strong>Byron Au Yong
 </strong> creates musical works that have been featured at American Conser
 vatory Theater\, Hawai'i Opera\, International Festival of Arts &amp; Ideas\, 
 Nashville Opera\, and more. Honors include a Creative Capital Award and Su
 ndance Institute/Time Warner Foundation Fellowship. He holds degrees in th
 eater\, dance\, and music from NYU\, UCLA\, and the University of Washingt
 on\, and currently serves as an Associate Professor and Director of Arts L
 eadership at Seattle University. He studied with Joël Durand from 1992-199
 6.</p> <p><strong>Jeffrey Bowen</strong>’s compositional works feature gra
 dually evolving processes and explorations of liminal spaces\, and have be
 en performed by Pascal Gallois\, Maja Cerar\, Beta Collide\, Ensemble Diss
 onArt\, and the Luminosity Orchestra\, among other ensembles in the USA an
 d Europe. He has recently presented work at the University of Washington’s
  Harry Partch Festival\, the New York City Electroacoustic Music Festival\
 , the International Computer Music Conference\, the SEAMUS national confer
 ence\, and as a resident artist at the Atlantic Center for the Arts. Recen
 t projects have been supported by the Jack Straw Foundation and by Seattle
 ’s 4Culture and Artist Trust organizations\, and his work <em>What Will So
 und (was already sound)</em>\, for violin and electronics\, was released b
 y Parma Records in 2020. His music has been recognized with a First Prize 
 in the 30th International Composition Competition “Città di Barletta\,” an
 d with second prizes from the European Composer Competition in 2021 and fr
 om the American Prize in 2023. He is currently based in Seattle\, where he
  teaches music theory and guitar at Seattle University and is co-director 
 of the Inverted Space Ensemble. He completed his doctoral studies in compo
 sition at the University of Washington under Joël-François Durand.</p> <p>
 Eric Flesher earned his DMA in Music Composition at the University of Wash
 ington\, studying under Joël-François Durand. His previous teachers includ
 e Paul-Heinz Dittrich\, Alexander Goehr\, and Aurelio de la Vega. He has s
 erved on the faculties of University of Washington\, Central Washington Un
 iversity\, and Edmonds College and has additionally spent decades teaching
  privately. His recent music has primarily involved modular synthesizers\,
  often taking natural sound sources both as inspiration and as a means of 
 creating sound worlds.</p> <p>Born 1970 in Reno\, Nevada\, <strong>Ryan M.
  Hare</strong>\, composer and bassoonist\, now lives in Pullman\, Washingt
 on. He earned tenure and the rank of full Professor at Washington State Un
 iversity\, where he taught composition\, bassoon\, and music theory from 2
 003 until 2020\, when he decided to take a voluntary early retirement in o
 rder to focus his attention on composing.</p> <p>Ryan’s music has been per
 formed at a large variety of venues and festivals worldwide\, in as divers
 e locations as Tokyo and Darmstadt\, and in the United Kingdom\, South Ame
 rica\, Southeast Asia\, and China. Commissioners include Fred Korman\, who
  was the longtime former principal oboist of the Oregon Symphony\, and the
  Washington Music Teachers Association\, who awarded Ryan 'Washington Stat
 e Composer of the Year' in 2012. Further commissions have come from the Wa
 lla Walla Symphony\, Mid-Columbia Symphony\, Washington Idaho Symphony\, M
 arysville Chamber Music\, Common Tone Arts\, Affinity Chamber Players\, th
 e University of Idaho Vandaleers Concert Choir\, and the Lake Forest Colle
 ge Orchestra\, among others. His music has been championed by performers a
 nd ensembles around the world\, with notable recognition from New Music US
 A\, Artist Trust\, and the American Prize. In addition\, a number of Ryan'
 s compositions are published by TrevCo Music Publishing and ALEA Publishin
 g\, and his composition <em>Taratantara: Flourish for Orchestra</em> was r
 ecorded by the London Symphony Orchestra.</p> <p><strong>Yiğit Kolat’s music draws inspirations and expressions from a wide array of topics
  ranging from bytebeats to the application and ethics of artificial intell
 igence in music. The complicated political and social landscape of his nat
 ive Turkey is a recurring theme in his diverse output. His works\, describ
 ed as “touching and convincing...a multi-sensory universe\,” (K. Saariaho)
  have been recognized by a prestigious array of international organization
 s\, including the Tōru Takemitsu Composition Award\, the Queen Elisabeth C
 ompetition\, and the Concours International de Composition Henri Dutilleux
 . His music has been featured throughout the United States\, Europe\, and 
 Asia by leading ensembles\, among them the Tokyo Philharmonic\, Nieuw Ense
 mble\, and Talea Ensemble. He has presented his research at conferences su
 ch as Conference on AI Music Creativity (University of Oxford)\, Spectrali
 sms International Conference (IRCAM)\, and Reëmbodied Sound Symposium (Col
 umbia University). Kolat currently teaches at the University of Washington
 \, where he completed his doctoral studies under Joël-François Durand.   &lt;
 /p&gt; <p><strong>Yonatan Ron</strong> began his musical journey as a guitar 
 player. He later studied composition independently under composer and guit
 arist Ruben Seroussi\, head of the composition department at Tel-Aviv Univ
 ersity. Ron occasionally participated in the CEME festival held by Meitar 
 Ensemble\, hosting masterclasses given by composers such as G.F Haas\, Phi
 lippe Leroux\, and Ivan Fedele\, among others. He later obtained his B.A. 
 in 2021 from The Koninklijk Conservatorium\, The Hague\, NL and in 2024 he
  pursued his master’s in composition at The University of Washington where
  he currently studies for his Doctoral degree.</p> <p>In his music\, he fa
 vors working with a variety of complementary materials and their transform
 ations rather than traditional\, dialectic\, development-driven compositio
 n. Often the compositional strategy revolves around a hierarchy of present
 iment\, suspense\, and thrill\, while prioritizing continuity and anticipa
 tion. He draws inspiration from a variety of fields\, ranging from visual 
 arts\, through mathematics and psychology\, to music history and theory.</p> <p>Ron’s works are published by the ‘ICL’ and are frequently commission
 ed by the Israeli Music Festival. His awards include 1st Prize at the 2018
  Calefax Composition Contest\, the Israeli Prime Minister Award for Music 
 Composition (2019)\, the Abraham and Felicija Klohn Prize (2019)\, and the
  Siday Fellowship for Musical Creativity (2018\, 2019).</p> <p>Praised by the Seattle Times as “poised yet passionate\,” 
 <strong>Julia Tai </strong>has conducted orchestras around the world. Reco
 gnized as a prominent innovator of the contemporary music world\, she has 
 worked with legendary composers\, performers\, and ensembles such as Seatt
 le Chamber Players\, International Contemporary Ensemble\, and Ensemble Mo
 dern. She is currently the Music Director of Missoula Symphony Orchestra &amp;
  Chorale\, and the Co-Artistic Director of the Seattle Modern Orchestra. &lt;
 /p&gt; <p><strong>Sarah Pyle\,</strong> flutist\, 
 currently lives in Bremerton\, Washington and works on projects involving 
  intersections of visual art\, music\, and nature. She is a specialist in 
 contemporary music and holds degrees in flute performance and environmenta
 l studies from Oberlin College &amp; Conservatory. </p> <p>Seattle-based clarinetist <strong>Rachel Yoder </strong>performs i
 n a variety of solo\, chamber and large ensemble roles\, including frequen
 t appearances with the Seattle Modern Orchestra\, Yakima Symphony Orchestr
 a\, and Odd Partials clarinet/electronics duo. She is instructor of clarin
 et at Western Washington University and editor of <em>The Clarinet</em>jou
 rnal.  </p> <p><strong>Luke Fitzpatrick is a multi-instrumentalist\, composer and artistic director of Inverted 
 Space\, a Seattle-based new music collective. He has performed as a tourin
 g member of the Harry Partch Ensemble as well as with Deltron 3030\, Teren
 ce Blanchard and the E-Collective and has appeared on recordings released 
 by Ablaze and Centaur records. Luke is currently concertmaster of Seattle 
 Philharmonic Orchestra\, Seattle Festival Orchestra and Federal Way Sympho
 ny. He is a founding member of the String Quartet Pure Flavor and performs
  with Temple Mozaic\, an improvisational music and dance collective alongs
 ide Smerk\, Orb and Free. Besides music related things\, Luke is an avid d
 ancer and enjoys biking\, eating sushi and collecting shoes. <strong> </p> <p>A Paris Fulbright Fellow recipient
 \, <strong>Christine Lee</strong> pursues a wide range of creative\, music
 al projects\; while  her passion is in chamber music\, she also devotes he
 r time towards teaching and solo engagements. In  the ‘24-’25 season\, Chr
 istine began her third year as Artist-in-Residence faculty member at the U
 niversity of Washington School of Music\, where she coordinates and coache
 s both undergraduate and graduate level chamber ensembles. </p> <p>Recently hailed by Fanfare Magazine as “excellent” and
  “clearly sensitive\,” pianist <strong>Cristina Valdés</strong> is known f
 or presenting innovative concerts with repertoire ranging from Bach to Xen
 akis\, has toured extensively with the Bang On a Can “All Stars\,” and has
  performed with Seattle Chamber Players\, the Mabou Mines Theater Company\
 , the Parsons Dance Company\, and Antares. She is currently an Artist-in R
 esidence at the University of Washington\, and Director of the UW Modern M
 usic Ensemble.  </p> <p><strong>Bonnie Whiting&lt;
 /strong&gt;’s work centers on the relationship between percussive sound and t
 he voice\, performing\, commissioning\, improvising\, composing\, and cham
 pioning music for the speaking and singing percussionist.  She has release
 d solo albums on the New Focus Recordings and Mode Records labels. She is 
 Co-Artistic Director of Seattle Modern Orchestra and she has performed wit
 h the country's leading new music groups: Ensemble Dal Niente\, Internatio
 nal Contemporary Ensemble\, Talea  Ensemble\, and red fish blue fish percu
 ssion group. She is Chair of Percussion Studies and Associate Professor of
  Music at the University of Washington.</p>
END:VEVENT
BEGIN:VEVENT
UID:a20d8bae-2869-4ed1-b317-5fea9ac81f9e
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances\, Special Events
CLASS:PUBLIC
CREATED:20241029T193159Z
DESCRIPTION:<p></p>\n\n\nViolist/composer Melia Watras celebrates 'The almo
 nd tree duos\,' her latest album on Planet M Records. Featuring the world 
 premiere recording of Watras’s composition of the same name\, the work’s t
 itle references the symbol of hope and new beginnings in Oscar Wilde’s 'Th
 e Canterville Ghost.' In this preview celebration\, Watras is joined onsta
 ge by artists from the album: violinists Tekla Cunningham\, Rachel Lee Pri
 day\, and Michael Jinsoo Lim\, with performances\, short music films\, and
  a Q &amp; A.<hr>\n\n<h3>Biography</h3>
DTSTART;TZID=America/Los_Angeles:20250314T133000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:173
SUMMARY:: Melia Watras\, CD Preview Party: the almond tree duos
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-14/melia-watras-cd-preview-
 party-almond-tree-duos
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <div> <div></div> <div>Violist/compose
 r Melia Watras celebrates 'The almond tree duos\,' her latest album on Pla
 net M Records. Featuring the world premiere recording of Watras’s composit
 ion of the same name\, the work’s title references the symbol of hope and 
 new beginnings in Oscar Wilde’s 'The Canterville Ghost.' In this preview c
 elebration\, Watras is joined onstage by artists from the album: violinist
 s Tekla Cunningham\, Rachel Lee Priday\, and Michael Jinsoo Lim\, with per
 formances\, short music films\, and a Q &amp; A.<hr></div> </div> <h3>Biograph
 y</h3>
END:VEVENT
BEGIN:VEVENT
UID:edc6bd41-e075-430a-80fa-3e946f257d3d
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250102T153453Z
DESCRIPTION:<p></p>\n<p>Lisa Barg\, associate professor of Music History at
  McGill University\, presents “Dancing with Billy Strayhorn” in this insta
 llment of the THEME Lecture Series.  </p>\n<hr>\n<h2>Abstract</h2>\n<p sty le=' 400\;'>Choreographer/writer/director/filmmaker David Rous
 sève’s 2018 dance piece\, Halfway to Dawn\, performed by his company REALI
 TY\, explores the life\, music and legacy of Black queer composer\, arrang
 er\, and pianist Billy Strayhorn (1915-1967). The title of the piece pays 
 homage to an expression Billy Strayhorn coined to evoke the intimate atmos
 phere of his favorite time of day\, those few overnight hours just before 
 dawn. On a deeper level\, however\, Roussève’s work mines this expression 
 for its metaphorical significance—for how it speaks to the personal and pr
 ofessional complexities of Strayhorn’s experiences as a Black queer jazz m
 usician working in the shadows of his longtime creative partner\, Duke Ell
 ington\; and for how it gestures toward a liminal temporality\, opening up
  a space in which to imagine a dialogue between a Black queer past and pre
 sent. Roussève’s concept for Halfway to Dawn\, which he has described as a
  kind of “postmodern musical\,” critically arranges biography and fiction\
 , probing the elusive and silenced spaces and ways of knowing\, being and 
 feeling at the border of or\, more precisely\, in-between fact and fiction
 . The work unfolds over two acts which move through and freely combine an 
 array of narrative and abstract elements: Roussève’s amalgam of modern/pos
 tmodern movement\, jazz\, and Black social dance\; a layered sonic accompa
 niment consisting of Strayhorn’s recorded music and an original digital so
 undscape\; and projected narrative text and abstract video art.</p>\n<p st yle=' 400\;'>My talk discusses Roussève’s choreographic explor
 ation of Strayhorn’s life and jazz legacy in relation to a larger danced h
 istory of Strayhorn’s music. Extending the concept of queer collaboration 
 that I develop in my recent book Queer Arrangements: Billy Strayhorn and M
 idcentury Jazz Collaboration (2023)\, my talk considers this danced histor
 y through a focus on several recorded compositions and arrangements from 1
 956-1960 as (re)performed and (re)embodied in two modern ballets. The firs
 t of these\, The Road to Phoebe Snow\, a 1959 ballet by the African Americ
 an choreographer and dancer Talley Beatty\, a close friend and collaborato
 r of Strayhorn\, was premiered with Beatty’s company at the Jacob’s Pillow
  Festival in the summer of 1960\, and subsequently became a repertoire pie
 ce for the Alvin Ailey Dance Company under the direction of Beatty over th
 e following two decades. The second work is a filmed ballet adaptation by 
 the French-Senegalese choreographer and dancer Maurice Béjart of the Ellin
 gton-Strayhorn Shakespearean-themed Suite\, Such Sweet Thunder\, produced 
 for Belgian and German television that same year (1960). Considering these
  two ballets side-by-side exposes significant contrasts in theatrics\, per
 formance contexts\, and representational practices and possibilities. Yet 
 as choreo-musical jazz-dance compilations these transatlantic works embody
  entangled queer histories and identities\, ones operated within and again
 st the boundaries of race\, gender and sexuality in both dance and jazz. D
 rawing on approaches from dance studies\, performance studies\, and femini
 st jazz studies\, I position these danced encounters with Strayhorn’s musi
 c as both a kind of ephemeral archive of Black queer modernism\, and a res
 ource for accessing new jazz historical routes. Here\, my discussion of ho
 w contemporary and midcentury choreographers and dancers have imagined bod
 ies set to Strayhorn’s recordings builds on recent work on danced historie
 s of jazz that advocate a turn toward the body and embodiment in studying 
 jazz (Tucker\, 2014\; Wells\, 2021).</p>\n<hr>\n<h2>Series Background</h2>
 \n<p>THEME\, an annual colloquium of UW faculty and students of Theory\, H
 istory\, Ethnomusicology\, and Music Education\, is held on select Friday 
 afternoons throughout the academic year.  Talks are at 4 p.m in the School
  of Music Fishbowl unless otherwise noted. Admission is free. </p>\n<hr>\n
 <h2>Biography</h2>\n<p>Lisa Barg received her B.A. in Arts from Antioch Co
 llege (1987)\, and her M.A. (1994) and Ph.D. (2001) in Music History from 
 the State University of New York at Stony Brook. She is currently serving 
 as the Associate Dean for Graduate Studies. Professor Barg is the Co-edito
 r-In-Chief of Women and Music: A Journal of Gender and Culture.</p>\n<p>Pr
 ofessor Barg’s research centers issues of gender\, race\, and sexuality in
  20th-century music. She has published articles on race and modernist oper
 a\, Duke Ellington\, Billy Strayhorn\, Melba Liston and Paul Robeson. She 
 received the Kurt Weill Prize for Distinguished Scholarship in Music Theat
 er for her article “Black Voices/White Sounds: Race and Representation in 
 Virgil Thomson’s Four Saints and Three Acts\,” and her article “Queer Enco
 unters in the Music of Billy Strayhorn” was awarded the Philip Brett Award
  for exceptional musicological work in the field of gay\, lesbian\, bisexu
 al\, transgender/transsexual studies. As a member of the Melba Liston Rese
 arch Collective\, Professor Barg served as a guest co-editor for a special
  issue of the Black Music Research Journaldevoted to the career and legacy
  of Melba Liston.</p>\n<p>Professor Barg’s research has been funded by the
  Social Sciences and Humanities Council of Canada (SSHRC)\, including most
  recently as the principal investigator for “Collaborative Creativity: Sou
 nd Recording and Music Making.” Her forthcoming book Queer Arrangements: B
 illy Strayhorn and Midcentury Jazz Collaboration (Wesleyan University Pres
 s\, 2023)\, is a new study of Strayhorn that examines his music and career
  at the intersection of jazz and Black queer history. Professor Barg teach
 es undergraduate courses in twentieth and twenty-first century music and o
 pera\, women and music\, and music and dance. Her graduate seminars have e
 xamined topics in gender and jazz\, feminist musicology\, global musical m
 odernisms\, critical dance studies\, and avant-garde performance.</p>
DTSTART;TZID=America/Los_Angeles:20250314T160000
LAST-MODIFIED:20250226T182042Z
SEQUENCE:174
SUMMARY:: THEME Lecture Series: Lisa Barg (McGill University)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-14/theme-lecture-series-lis
 a-barg-mcgill-university
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p><span>Lisa Barg\, associate profess
 or of Music History at McGill University\, presents “Dancing with Billy St
 rayhorn” in this installment of the THEME Lecture Series.  </span></p> <hr> <h2><span>Abstract</span></h2> <p>Choreograph
 er/writer/director/filmmaker David Roussève’s 2018 dance piece\, <em>Halfw
 ay to Dawn\,</em> performed by his company REALITY\, explores the life\, m
 usic and legacy of Black queer composer\, arranger\, and pianist Billy Str
 ayhorn (1915-1967). The title of the piece pays homage to an expression Bi
 lly Strayhorn coined to evoke the intimate atmosphere of his favorite time
  of day\, those few overnight hours just before dawn. On a deeper level\, 
 however\, Roussève’s work mines this expression for its metaphorical signi
 ficance—for how it speaks to the personal and professional complexities of
  Strayhorn’s experiences as a Black queer jazz musician working in the sha
 dows of his longtime creative partner\, Duke Ellington\; and for how it ge
 stures toward a liminal temporality\, opening up a space in which to imagi
 ne a dialogue between a Black queer past and present. Roussève’s concept f
 or <em>Halfway to Dawn</em>\, which he has described as a kind of “postmod
 ern musical\,” critically arranges biography and fiction\, probing the elu
 sive and silenced spaces and ways of knowing\, being and feeling at the bo
 rder of or\, more precisely\, in-between fact and fiction. The work unfold
 s over two acts which move through and freely combine an array of narrativ
 e and abstract elements: Roussève’s amalgam of modern/postmodern movement\
 , jazz\, and Black social dance\; a layered sonic accompaniment consisting
  of Strayhorn’s recorded music and an original digital soundscape\; and pr
 ojected narrative text and abstract video art.</p> <p>My talk discusses Roussève’s choreographic exploration of Strayhorn
 ’s life and jazz legacy in relation to a larger danced history of Strayhor
 n’s music. Extending the concept of queer collaboration that I develop in 
 my recent book <em>Queer Arrangements: Billy Strayhorn and Midcentury Jazz
  Collaboration</em> (2023)\, my talk considers this danced history through
  a focus on several recorded compositions and arrangements from 1956-1960 
 as (re)performed and (re)embodied in two modern ballets. The first of thes
 e\, <em>The Road to Phoebe Snow</em>\, a 1959 ballet by the African Americ
 an choreographer and dancer Talley Beatty\, a close friend and collaborato
 r of Strayhorn\, was premiered with Beatty’s company at the Jacob’s Pillow
  Festival in the summer of 1960\, and subsequently became a repertoire pie
 ce for the Alvin Ailey Dance Company under the direction of Beatty over th
 e following two decades. The second work is a filmed ballet adaptation by 
 the French-Senegalese choreographer and dancer Maurice Béjart of the Ellin
 gton-Strayhorn Shakespearean-themed Suite\, <em>Such Sweet Thunder</em>\, 
 produced for Belgian and German television that same year (1960). Consider
 ing these two ballets side-by-side exposes significant contrasts in theatr
 ics\, performance contexts\, and representational practices and possibilit
 ies. Yet as choreo-musical jazz-dance compilations these transatlantic wor
 ks embody entangled queer histories and identities\, ones operated within 
 and against the boundaries of race\, gender and sexuality in both dance an
 d jazz. Drawing on approaches from dance studies\, performance studies\, a
 nd feminist jazz studies\, I position these danced encounters with Strayho
 rn’s music as both a kind of ephemeral archive of Black queer modernism\, 
 and a resource for accessing new jazz historical routes. Here\, my discuss
 ion of how contemporary and midcentury choreographers and dancers have ima
 gined bodies set to Strayhorn’s recordings builds on recent work on danced
  histories of jazz that advocate a turn toward the body and embodiment in 
 studying jazz (Tucker\, 2014\; Wells\, 2021).</p> <hr> <h2><span>Series Ba
 ckground</span></h2> <p><span>THEME\, an annual colloquium of UW faculty a
 nd students of Theory\, History\, Ethnomusicology\, and Music Education\, 
 is held on select Friday afternoons throughout the academic year.  T</span><span>alks are at 4 p.m in the School of Music Fishbowl unless otherwise 
 noted. Admission is free. </span></p> <hr> <h2>Biography</h2> <p>Lisa Barg
  received her B.A. in Arts from Antioch College (1987)\, and her M.A. (199
 4) and Ph.D. (2001) in Music History from the State University of New York
  at Stony Brook. She is currently serving as the Associate Dean for Gradua
 te Studies. Professor Barg is the Co-editor-In-Chief of <i>Women and Music
 : A Journal of Gender and Culture</i>.</p> <p>Professor Barg’s research ce
 nters issues of gender\, race\, and sexuality in 20th-century music. She h
 as published articles on race and modernist opera\, Duke Ellington\, Billy
  Strayhorn\, Melba Liston and Paul Robeson. She received the Kurt Weill Pr
 ize for Distinguished Scholarship in Music Theater for her article “Black 
 Voices/White Sounds: Race and Representation in Virgil Thomson’s <i>Four S
 aints and Three Acts</i>\,” and her article “Queer Encounters in the Music
  of Billy Strayhorn” was awarded the Philip Brett Award for exceptional mu
 sicological work in the field of gay\, lesbian\, bisexual\, transgender/tr
 anssexual studies. As a member of the Melba Liston Research Collective\, P
 rofessor Barg served as a guest co-editor for a special issue of the <i>Bl
 ack Music Research Journal</i>devoted to the career and legacy of Melba Li
 ston.</p> <p>Professor Barg’s research has been funded by the Social Scien
 ces and Humanities Council of Canada (SSHRC)\, including most recently as 
 the principal investigator for “Collaborative Creativity: Sound Recording 
 and Music Making.” Her forthcoming book <i>Queer Arrangements: Billy Stray
 horn and Midcentury Jazz Collaboration </i>(Wesleyan University Press\, 20
 23)\, is a new study of Strayhorn that examines his music and career at th
 e intersection of jazz and Black queer history. Professor Barg teaches und
 ergraduate courses in twentieth and twenty-first century music and opera\,
  women and music\, and music and dance. Her graduate seminars have examine
 d topics in gender and jazz\, feminist musicology\, global musical moderni
 sms\, critical dance studies\, and avant-garde performance.</p>
END:VEVENT
BEGIN:VEVENT
UID:a99c4cb8-ff44-4ed7-a51d-22421c915f16
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances\, Student Activities and Per
 formances
CLASS:PUBLIC
CREATED:20240807T232049Z
DESCRIPTION:<p> </p>\n\n<p>David Alexander Rahbee leads the UW Symphony and
  combined UW Choirs in a program of works by Haydn\, Schumann\, and Ravel.
  Centerpiece of the program is 'The Haydn Experience II\,” an  “imaginary 
 symphony' of music by Joseph Haydn\, designed by David A. Rahbee. </p>\n\n
 <hr>\n<h4>Program</h4>\n\n<p>The Haydn Experience II:<strong> </strong>Mus
 ic by <strong>Franz Joseph Haydn</strong> (1732-1809) and <strong>Michael 
 Haydn</strong> (1737-1806)<br>\ndesigned by David A. Rahbee after an origi
 nal concept by Sir Simon Rattle<strong> </strong><br>\n<br>\nL’isola disab
 itata (Deserted Island) Overture<br>\nMvt 4: Andante–Presto\, from Symphon
 y No. 72\, D major<br>\nMarch for the Royal Society of Musicians<br>\nMvt 
 2: Andante\, from Symphony No. 38\, C major\, Echo<br>\nDer Furchtsame (Th
 e Fearful) [vocal canon]<br>\nStorm from The Seasons<br>\nMvt 2\; Finale: 
 Fugato\, from Symphony No. 28\, C major (Michael Haydn)<br>\nLiebe der Kun
 st (Love of Art) [vocal canon]<br>\nMvt 4: Allegro assai\, from Symphony N
 o. 90\, C major<br>\n </p>\n\n<p>Nachtlied\, Op.108: <strong>Robert Schuma
 nn </strong>(1810-1856)</p>\n\n<p>Daphnis et Chloé: Suite No.2: <strong>Ma
 urice Ravel </strong>(1875-1937) <br>\nLever du jour <br>\nPantomime <br>
 \nDanse générale </p>\n\n<p>(in celebration of Ravel’s 150th birthday) </p>\n\n<hr>\n<h2>Program Notes<br>\n </h2>\n\n<h4>Franz Joseph Haydn (1732-1809)\; Michael Haydn (1737-1806): The Haydn Exp
 erience II </h4>\n\n<p>(Music by Franz Joseph\,
  and Michael Haydn. Constructed by David A. Rahbee\, based on an original 
 idea by Sir Simon Rattle.)<br>\n<br>\nSeveral years ago\, when I learned t
 hat conductor Sir Simon Rattle\, who I admire and respect greatly\, would 
 present a concert of an “Imaginary Symphony” made up of many different mov
 ements and sections of works by Joseph Haydn\, I was skeptical. Rattle has
  indeed been one the most important and inspirational musicians I have lea
 rned from and followed closely since the late 1990s\; however I thought th
 is was\, quite frankly\, a strange idea. After experiencing the performanc
 e\, though\, I realized how GREAT the idea actually is. I realized that bo
 th musicians and audiences need to experience Haydn in this way- presentin
 g the wide ranging and varied music of this composer\, whose legacy has al
 ways been undisputed\, but whose music remains largely unfamiliar. It give
 s us a perspective and a chance to appreciate this music with a wider lens
  and more intensely\, rather than hearing one of his pieces an under-rehea
 rsed overture. Rattle said\, “Joseph Haydn is like an iceberg\,” and that 
 the average concert-goer is familiar with only a small percentage of his t
 otal output. At that performance\, Sir Simon asked the audience to hold th
 e applause till the end. On the contrary\, I actually would encourage the 
 audience to clap between movements - if and when you truly feel motivated 
 to do so - and not just because of a pause in the music\, or silence and o
 r because one feels obliged. I set out to create the 'Haydn Experience' in
  2018\, my own version of this “Imaginary Symphony”\, inspired by Rattle\,
  but also adding other elements and tailoring it to also provide important
  opportunities for our orchestra members. I have created a totally new one
  for this performance. The result will hopefully provide performers and au
 diences with an experience that helps them recognize and appreciate the ge
 nius of Haydn’s music\, its uncommon fusion of popular and noble styles\, 
 its humor and originality\, and above all\, in my opinion\, honest and dir
 ect expressiveness. He confidently said “Meine Sprache versteht Man durch 
 die ganze Welt” (People understand my language all around the world.)\; it
  is my hope that this experience will leave you in full accordance!<br>\n—
 David A. Rahbee</p>\n\n<h4>Robert Schumann (181
 0-1856): Nachtlied\, Op. 108 (1848)</h4>\n\n<p>
 Robert Schumann’s Nachtlied\, Op. 108\, for eight-part chorus and orchestr
 a\, gently guides the listener into the serene\, dreamlike realm of sleep.
  Composed in 1849\, over the course of just a week\, this work is set to a
  poem by Friedrich Hebbel that explores the theme of death\, starting its 
 journey with fear\, and ending with acceptance. The piece opens with haunt
 ing mystery\, as a short\, fragmented motif is obsessively repeated\, draw
 ing the listener into a world of quiet unease. In its final moments\, a de
 licate descending pizzicato line fades away like a fleeting ghost\, and th
 e clarinet emerges as a wistful\, reflective voice\, adding to the sense o
 f introspective calm. —Mica Weiland</p>\n\n<h4>
 Maurice Ravel (1875-1937): Daphnis et Chloé Suite no. 2 (comp. 1909-1912)&lt;
 /h4&gt;\n\n<p>Maurice Ravel\, a renowned French co
 mposer\, pianist\, and conductor\, is often considered a central figure in
  the Impressionist movement—though he himself rejected this label. His mus
 ic is celebrated for its intricate orchestration and innovative approach t
 o musical form. Known for his genre-defying compositional style\, Ravel se
 amlessly utilized elements of Baroque\, Classical\, folk\, and jazz music 
 in his works. As a prolific composer\, he created a vast body of work\, in
 cluding symphonic pieces\, concertos\, chamber music\, and the ballet Daph
 nis et Chloé. This hour-long ballet is Ravel’s longest composition\, score
 d for large orchestra and wordless chorus.</p>\n\n<p>Set on the Greek island of Lesbos\, the ballet tells the story of th
 e shepherd Daphnis\, who falls in love with the shepherdess Chloé. A rejec
 ted suitor\, the cowherd Dorcon\, complicates their love triangle. When pi
 rates abduct Chloé\, Daphnis is powerless to stop them. However\, with the
  help of the nymphs of Pan and the god himself\, Chloé is rescued. The bal
 let culminates in a stunning depiction of dawn—one of the score’s most cel
 ebrated moments—and the joyful reunion of the lovers.</p>\n\n<p>The second suite\, drawn from the full ballet\, opens wit
 h the evocation of daybreak. The flutes and clarinets create a misty\, eth
 ereal texture\, while the low strings subtly linger in the background. The
  music mirrors the start of the day\, with birdsong and a lush melody that
  evokes the warmth of the rising sun. An extended flute solo then represen
 ts the moment when Daphnis and Chloé mime the story of Pan and Syrinx. The
  suite closes with a dramatic shift to driving rhythms and frenzied energy
 \, symbolizing the joyous celebration and reunion of Daphnis and Chloé.<br>\n—Mica Weiland</p>\n\n<hr>\n\n	\n		\n			\n			<h3>University of Washington Symphon
 y Orchestra</h3>\n\n			<p>David Alexander Rahbee\, Music Director and Conduct
 or<br>\n			Ryan Farris and Robert Stahly\, Assistant Conductors</p>\n\n			<p><u>Flute</u></strong><br>\n			Erin McAfee\, MM Flute Performance<br>\n			Tr
 acia Pan\, Flute Performance\, Statistics<br>\n			Rachel Reyes\, DMA Woodwind
 s<br>\n			Claire Wei\, Music<br>\n			Yue Zhong\, BA Flute Performance </p>\n\n			<p><strong><u>Piccolo</u></strong><br>\n			Grace Playstead\, MM Flute Performan
 ce </p>\n\n			<p><strong><u>Alto Flute</u></strong><br>\n			Yue Zhong\, BA Flute
  Performance<br>\n			<br>\n			<strong><u>Oboe</u></strong><br>\n			Max Bolen\, Mari
 ne Biology<br>\n			Max Boyd\, Oboe Performance<br>\n			Minh-Thi Butler\, BM Musi
 c Education </p>\n\n			<p><strong><u>English Horn</u></strong><br>\n			Max Boyd\
 , Oboe Performance</p>\n\n			<p><strong><u>Clarinet</u></strong><br>\n			Ysanne 
 Webb\, DMA Clarinet Performance<br>\n			Nick Zhang\, BS Computer Science </p>
 \n\n			<p><strong><u>E-Flat Clarinet</u></strong><br>\n			Luqi Wang\, DMA Clarin
 et Performance<strong><u> </u></strong></p>\n\n			<p><strong><u>Bass Clarinet
 </u></strong><br>\n			Cameron DeLuca\, DMA Clarinet Performance </p>\n\n			<p><s trong><u>Bassoon</u></strong><br>\n			Ryan Kapsandy\, BM Bassoon Performance&lt;
 br&gt;\n			Rian Morgan\, Music/Nutritional Science<br>\n			Eric Shankland\, BA Musi
 c History<br>\n			Eric Spradling\, BM Bassoon Performance</p>\n\n			<p><strong>&lt;
 u&gt;Contrabassoon</u></strong><br>\n			Alex Fraley\, Music Education<br>\n			Eric 
 Shankland\, BA Music History<br>\n			<br>\n			<strong><u>Horn</u>     </strong>&lt;
 br&gt;\n			Nicole Bogner\, BM Horn Performance<br>\n			Colin Laskarzewski\, BS Phys
 ics<br>\n			Elise Moe\, BM Horn Performance<br>\n			Sam Nutt\, Molecular &amp; Cellu
 lar Biology<br>\n			Noelani Stewart\, Political Science\, American Ethnic Stu
 dies</p>\n\n			<p><br>\n			<strong><u>Trumpet</u></strong><br>\n			Hans Faul\, BM T
 rumpet Performance<br>\n			Kyle Jenkins\, MM Trumpet Performance<br>\n			Antti M
 ännistö\, Mechanical Engineering<br>\n			Drew Theran\, MM Trumpet Performance
 <br>\n			<br>\n			<strong><u>Trombone</u></strong><br>\n			Jonathan Elsner\, Applie
 d &amp; Computational Mathematics<br>\n			Neal Muppidi\, BM Trombone Performance&lt;
 br&gt;\n			Nathanael Wyttenbach\, Music Composition</p>\n\n			<p><strong><u>Bass Tr
 ombone</u></strong><br>\n			Duncan Weiner\, Aero-Astro Engineering/Linguistic
 s </p>\n\n			<p><strong><u>Tuba</u></strong><br>\n			Adam Mtimet\, DMA Tuba Perf
 ormance</p>\n\n			<p><strong><u>Timpani</u></strong><br>\n			Kaisho Barnhill\, M
 usic Education\, Psychology<br>\n			Momoka Fukushima\, Percussion Performance
 <br>\n			Abigail George\, Applied Physics/BM Percussion Performance<br>\n			<br>
 \n			<strong><u>Percussion</u></strong><br>\n			Ryan Baker\, BM Music Compositio
 n\, BA Psychology<br>\n			Kaisho Barnhill\, Music Education\, Psychology<br>
 \n			Momoka Fukushima\, Percussion Performance<br>\n			Abigail George\, Applied 
 Physics/BM Percussion Performance<br>\n			Ivy Moore\, Bioresource Science and
  Engineering<br>\n			Luigi Salvaggio\, Percussion Performance<br>\n			Tyler Smit
 h\, MM Percussion Performance<strong><u> </u></strong></p>\n\n			<p><strong>&lt;
 u&gt;Harp</u></strong><br>\n			Kelly Hou\, Alumna<br>\n			Jared Parsons\, guest<u> </u></strong></p>\n\n			<p><strong><u>Violin I</u></strong><br>\n			Grac
 e Pandra\, Violin Performance/Business Administration (Concertmaster)<br>
 \n			Hanu Nahm\, Violin Performance/BS Microbiology<br>\n			David Teves-Tan\, Pr
 e-Sciences<br>\n			Hai-Ryung Jang\, DMA Violin Performance<br>\n			Justin Chae\,
  Computer Science<br>\n			Michaela Klesse\, Music<br>\n			Nahuel Weber-Jacobsen\
 , Social Sciences<br>\n			Ido Avnon\, MS Computer Sciences &amp; Engineering<br>
 \n			David Mok\, Computer Engineering<br>\n			Amelie Martin\, Mathematics<br>\n			B
 randon Bailey\, Computer Science<br>\n			Adora Wu\, Computer Science<br>\n			Jie
  Zhou\, Music<br>\n			Alex Metzger\, Computer Science<br>\n			Giulia Rosa\, Musi
 c<br>\n			Lyle Deng\, Computer Science </p>\n\n			<p><strong><u>Violin II</u></s><br>\n			Taylor DeCastro\, MM Violin Performance (Principal)<br>\n			Nicol
 e Chen\, Informatics<br>\n			Sean Sasaki\, Music Education<br>\n			Thea Higgins\
 , Industrial Engineering: Data Science<br>\n			Rylan Ferron-Jones\, Civil Eng
 ineering<br>\n			Alice Leppert\, Chemistry<br>\n			Talal Kheiry\, Pre-Sciences<b r>\n			Anja Westra\, Marine Biology<br>\n			Danny Zhang\, Pre-Sciences<br>\n			Vict
 oria Zhuang\, Pre-Sciences<br>\n			Jasmine Palikhya\, International Studies<b r>\n			Justene Li\, Pre-Sciences<br>\n			Fengrui Liu\, Finance<br>\n			Freya Frahm\
 , Computer Sciences/BM Piano Performance<br>\n			Hannah Pena-Ruiz\, Music His
 tory </p>\n\n			<p><strong><u>Viola</u></strong><strong>     </strong></p>\n
 \n			<p>Flora Cummings\, Viola Performance/Biology (Co-Principal)<br>\n			Mica W
 eiland\, Viola Performance (Co-Principal)<br>\n			Abigail Schidler\, Computer
  Science/Music Theory<br>\n			Emma Boyce\, Music<br>\n			Melia Golden\, Biochemi
 stry<br>\n			Mia Grayson\, Biochemistry<br>\n			Annika Johnson\, Pre-Sciences<br>\n			Hailey Nappen\, Pre Sciences<br>\n			Alan Fan\, International Studies<br>
 \n			Aribella Brushie\, Pre-Sciences<br>\n			David Del Cid-Saavedra\, Language i
 n Education<br>\n			Alissa Harbani\, Bioengineering/Music<br>\n			Melany Nanayak
 kara\, Mathematics<br>\n			<br>\n			<strong><u>Violoncello</u>         </strong>
 <br>\n			Cory Chen\, BA in Music/Intended Neuroscience (Principal)<br>\n			Loni 
 Yin\, Pre-Sciences<br>\n			Nathan Evans\, BA Music History<br>\n			Ignacio (Nach
 o) Tejeda\, PhD Mathematics<br>\n			Alastair Goodchild\, Engineering<br>\n			Ama
 nda Song\, Accounting and Marketing<br>\n			Jack Ruffner\, Pre-Social Science
 s<br>\n			Katherine Kang\, Human Centered Design &amp; Engineering<br>\n			Mina Wang
 \, Informatics<br>\n			Ava Reese\, Aquatic and Fishery Sciences<br>\n			Eli Kash
 man\, Bioengineering<br>\n			Andrew Vu\, Chemistry<br>\n			Noah Croskey\, Indust
 rial Engineering<br>\n			Ally Wu\, Electrical Engineering<br>\n			Bashir Abdel-F
 attah\, PhD Mathematics<br>\n			<br>\n			<strong><u>Bass</u>    </strong><br>\n			A
 melia Matsumoto\, BM Bass Performance (Principal)<br>\n			Eddie Mospan\, BM B
 ass Performance<br>\n			Nathan Eskridge\, MM Bass Performance<br>\n			Gabriella 
 Kelley\, English<br>\n			Josh Bonifas\, Music/ELS<br>\n			Ethan Park\, Biology</p>\n\n			<p> </p>\n\n			<h3>University Chorale</h3>\n
 \n			<p>Giselle Wyers\, director </p>\n\n			<p><strong>Sopranos</strong><br>\n			Claire Killian<br>\n			De
 vyn Mattson<br>\n			Emily Shields<br>\n			Katelyn Wales<br>\n			Kirsten Conover<br>
 \n			Lauren Chenoweth<br>\n			Meliza Redulla<br>\n			Olivia Spaid<br>\n			Sofia Groff&lt;
 br&gt;\n			Aria Fowler<br>\n			Elizabeth Brown<br>\n			Evelyn Jones<br>\n			Hope Villarea
 l<br>\n			Jolee Zamira<br>\n			Mackenzie Martin<br>\n			Nila Chandramouli<br>\n			Quin
 n Ewing<br>\n			Sophia Conner<br>\n			Sophie Root<br>\n			Shriya Prasanna<br>\n			Tara
  Zolfaghari<br>\n			 </p>\n\n			<p><strong>Altos<br>\n			Alexis Georgiades<br>\n			Anna Vu<br>\n			Anne Tinker<br>\n			Claudia Kah
 ana<br>\n			Dominique Mallo<br>\n			Emily Dong<br>\n			Jessica Thaxton<br>\n			Juliann
 a Cullen<br>\n			Lainey Graham<br>\n			Natalie Peterson<br>\n			Samara Chacko<br>\n
 			Heidi Longmeier<br>\n			Emily Colombo<br>\n			Haley Westberg<br>\n			Jaminfaye Redu
 que<br>\n			Juniper Blessing<br>\n			Leah Peterson<br>\n			Maya Shah<br>\n			Sydney Jo
 rdan<br>\n			Jenny Ou<br>\n			Maddie Rivera </p>\n\n			<p><strong>Tenors</strong><br>\n			Zoya Mir<br>\n			Alex Trias<br>\n			Hannah Carpen
 ter<br>\n			Jackie Smith<br>\n			Eric Gagliano<br>\n			Adrian Wong Cascante<br>\n			Ca
 leb Strader<br>\n			Elijah Maruchek<br>\n			Gray Creech<br>\n			Haoran Peng<br>\n			Mi
 chael Lim<br>\n			Tim Resca<br>\n			Tyler Santos<br>\n			William Gao </p>\n\n			<p sty le=' 400\;'><strong>Basses</strong><br>\n			A.J. Johnson<br>\n			Cha
 nce Kelley<br>\n			Charlie Dawson<br>\n			Danny Troyan<br>\n			Danny Vizenor<br>\n			D
 aShaundre Steele<br>\n			Gavin Morrow<br>\n			Jonah Ladish-Orlich<br>\n			Luke Gran
 ger<br>\n			Mario D'Ambrosio<br>\n			Thayden Boome<br>\n			Edén Alvarado<br>\n			Cole 
 Siegrist<br>\n			Kwabena Ledbetter<br>\n			Matthew Magbanua<br>\n			Robbie Troyan<b r>\n			Taylor Bellamy<br>\n			Andrew Hoch<br>\n			Benjamin Jaudon </p>\n\n			<h3>Chamber Singers</h3>\n\n			<p>Geoffrey Boers\, director<br>\n			<br>\n			<strong>Soprano 1</strong><br>\n			Hel
 en Woodruff<br>\n			Kyla Marshall<br>\n			Jaden Ritscher<br>\n			June Ricks<br>\n			La
 uren Chenoweth </p>\n\n			<p><strong>Soprano 2<br>\n			Clara Johnson<br>\n			Soledad Mayorga-Maldonado<br>\n			Egija Claire&lt;
 br&gt;\n			Annika Iyer<br>\n			Nandini Rathod </p>\n\n			<p><strong>Alto 1</strong><br>\n			Shriya Prasanna<br>\n			Nila Chandramouli<br>\n
 			Emily Colombo<br>\n			Heidi Blythe<br>\n			Lainey Graham </p>\n\n			<p><strong>Alto 2</strong><br>\n			Jackie Smith<br>\n			Haley Westbe
 rg<br>\n			Alexandra Rameau<br>\n			Maya Shah<br>\n			Jaminfaye Reduque </p>\n\n			<p><strong>Tenor 1 </strong><br>\n			Maggie Peterson&lt;
 br&gt;\n			Maddie Rivera<br>\n			Hannah Carpenter<br>\n			Nicholas Renaud<br>\n			Michael
  Lim<br>\n			Brayden Schwartz </p>\n\n			<p><strong>T
 enor 2</strong><br>\n			Gabe Stefanides<br>\n			Gray Creech<br>\n			Manny Noyola-Ju
 arez<br>\n			David Ferguson<br>\n			Caleb Strader </p>\n\n			<p><strong>Bass 1</strong><br>\n			Alex Trias<br>\n			Charlie Dawson<br>\n			E
 dén Alvarado<br>\n			Arshia Ashari<br>\n			Luis Javier<strong> </strong></p>\n\n
 			<p><strong>Bass 2</strong><br>\n			Michael McKenzi
 <br>\n			Adam Freemantle<br>\n			Scott Fikse<br>\n			Evan Norberg<br>\n			Kyle Mahoney
 </p>\n			\n		\n	\n\n\n<h3>Biographies</h3>\n\n<p> </p>
DTSTART;TZID=America/Los_Angeles:20250314T193000
LAST-MODIFIED:20250728T171500Z
SEQUENCE:175
SUMMARY:: UW Symphony Orchestra with UW Choirs
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-14/uw-symphony-orchestra-uw
 -choirs
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p> <p>David Alexander Rahbee leads the U
 W Symphony and combined UW Choirs in a program of works by Haydn\, Schuman
 n\, and Ravel. Centerpiece of the program is 'The Haydn Experience II\,” a
 n  “imaginary symphony' of music by Joseph Haydn\, designed by David A. Ra
 hbee. </p> <hr> <h4>Program</h4> <p>The Haydn Experience II:<strong> Music by <strong>Franz Joseph Haydn</strong> (1732-1809) and <strong>M
 ichael Haydn</strong> (1737-1806)<br> designed by David A. Rahbee after an
  original concept by Sir Simon Rattle<strong> </strong><br> <br> <em>L’iso
 la disabitata (Deserted Island)</em> Overture<br> Mvt 4: Andante–Presto\, 
 from Symphony No. 72\, D major<br> <em>March for the Royal Society of Musi
 cians</em><br> Mvt 2: Andante\, from Symphony No. 38\, C major\, <em>Echo&lt;
 /em&gt;<br> <em>Der Furchtsame</em> (The Fearful) [vocal canon]<br> <em>Storm
 </em> from <em>The Seasons</em><br> Mvt 2\; Finale: Fugato\, from Symphony
  No. 28\, C major (Michael Haydn)<br> <em>Liebe der Kunst (Love of Art) [vocal canon]<br> Mvt 4: Allegro assai\, from Symphony No. 90\, C major
 <br>  </p> <p>Nachtlied\, Op.108: <strong>Robert Schumann </strong>(1810-1
 856)</p> <p>Daphnis et Chloé: Suite No.2: <strong>Maurice Ravel </strong>(
 1875-1937) <br> <i>Lever du jour<span class='Apple-converted-space'> </i><br> <i>Pantomime<span class='Apple-converted-space'> </span></i><br> <i>Danse générale<span class='Apple-converted-space'> </span></i></p> <p>(in celebration of Ravel’s 150<span>th </span>birthday)<span class='Apple
 -converted-space'> </span></p> <hr> <h2>Program Notes<br>  </h2> <h4>Franz Joseph Haydn (1732-1809)\; Michael Haydn (1737
 -1806): <em>The Haydn Experience II </em></h4> <p>(Music by Franz Joseph\, and Michael Haydn. Constructed by David A. Rah
 bee\, based on an original idea by Sir Simon Rattle.)<br> <br> Several yea
 rs ago\, when I learned that conductor Sir Simon Rattle\, who I admire and
  respect greatly\, would present a concert of an “Imaginary Symphony” made
  up of many different movements and sections of works by Joseph Haydn\, I 
 was skeptical. Rattle has indeed been one the most important and inspirati
 onal musicians I have learned from and followed closely since the late 199
 0s\; however I thought this was\, quite frankly\, a strange idea. After ex
 periencing the performance\, though\, I realized how GREAT the idea actual
 ly is. I realized that both musicians and audiences need to experience Hay
 dn in this way- presenting the wide ranging and varied music of this compo
 ser\, whose legacy has always been undisputed\, but whose music remains la
 rgely unfamiliar. It gives us a perspective and a chance to appreciate thi
 s music with a wider lens and more intensely\, rather than hearing one of 
 his pieces an under-rehearsed overture. Rattle said\, “Joseph Haydn is lik
 e an iceberg\,” and that the average concert-goer is familiar with only a 
 small percentage of his total output. At that performance\, Sir Simon aske
 d the audience to hold the applause till the end. On the contrary\, I actu
 ally would encourage the audience to clap between movements - if and when 
 you truly feel motivated to do so - and not just because of a pause in the
  music\, or silence and or because one feels obliged. I set out to create 
 the 'Haydn Experience' in 2018\, my own version of this “Imaginary Symphon
 y”\, inspired by Rattle\, but also adding other elements and tailoring it 
 to also provide important opportunities for our orchestra members. I have 
 created a totally new one for this performance. The result will hopefully 
 provide performers and audiences with an experience that helps them recogn
 ize and appreciate the genius of Haydn’s music\, its uncommon fusion of po
 pular and noble styles\, its humor and originality\, and above all\, in my
  opinion\, honest and direct expressiveness. He confidently said “Meine Sp
 rache versteht Man durch die ganze Welt” (People understand my language al
 l around the world.)\; it is my hope that this experience will leave you i
 n full accordance!<br> —David A. Rahbee</p> <h4>Robert Schumann (1810-1856): <em>Nachtlied\, Op. 108</em> (1848)</h4> <p>Robert Schumann’s <em>Nachtlied</em>\, Op. 108\
 , for eight-part chorus and orchestra\, gently guides the listener into th
 e serene\, dreamlike realm of sleep. Composed in 1849\, over the course of
  just a week\, this work is set to a poem by Friedrich Hebbel that explore
 s the theme of death\, starting its journey with fear\, and ending with ac
 ceptance. The piece opens with haunting mystery\, as a short\, fragmented 
 motif is obsessively repeated\, drawing the listener into a world of quiet
  unease. In its final moments\, a delicate descending pizzicato line fades
  away like a fleeting ghost\, and the clarinet emerges as a wistful\, refl
 ective voice\, adding to the sense of introspective calm. —Mica Weiland</p> <h4>Maurice Ravel (1875-1937): <em>Daphnis et
  Chloé</em> Suite no. 2 (comp. 1909-1912)</h4> <p>Maurice Ravel\, a renowned French composer\, pianist\, and conductor\, 
 is often considered a central figure in the Impressionist movement—though 
 he himself rejected this label. His music is celebrated for its intricate 
 orchestration and innovative approach to musical form. Known for his genre
 -defying compositional style\, Ravel seamlessly utilized elements of Baroq
 ue\, Classical\, folk\, and jazz music in his works. As a prolific compose
 r\, he created a vast body of work\, including symphonic pieces\, concerto
 s\, chamber music\, and the ballet <em>Daphnis et Chloé</em>. This hour-lo
 ng ballet is Ravel’s longest composition\, scored for large orchestra and 
 wordless chorus.</p> <p>Set on the Greek island
  of Lesbos\, the ballet tells the story of the shepherd Daphnis\, who fall
 s in love with the shepherdess Chloé. A rejected suitor\, the cowherd Dorc
 on\, complicates their love triangle. When pirates abduct Chloé\, Daphnis 
 is powerless to stop them. However\, with the help of the nymphs of Pan an
 d the god himself\, Chloé is rescued. The ballet culminates in a stunning 
 depiction of dawn—one of the score’s most celebrated moments—and the joyfu
 l reunion of the lovers.</p> <p>The second suit
 e\, drawn from the full ballet\, opens with the evocation of daybreak. The
  flutes and clarinets create a misty\, ethereal texture\, while the low st
 rings subtly linger in the background. The music mirrors the start of the 
 day\, with birdsong and a lush melody that evokes the warmth of the rising
  sun. An extended flute solo then represents the moment when Daphnis and C
 hloé mime the story of Pan and Syrinx. The suite closes with a dramatic sh
 ift to driving rhythms and frenzied energy\, symbolizing the joyous celebr
 ation and reunion of Daphnis and Chloé.<br> <span>—Mica Weiland</span></p>
  <hr> <table> <tbody> <tr> <td> <h3>University of Washington Symphony Orchestra</h3> <p><em>David Alex
 ander Rahbee\,</em> Music Director and Conductor<br> <em>Ryan Farris and R
 obert Stahly\,</em> Assistant Conductors</p> <p><strong><u>Flute</u><br> Erin McAfee\, MM Flute Performance<br> Tracia Pan\, Flute Performa
 nce\, Statistics<br> Rachel Reyes\, DMA Woodwinds<br> Claire Wei\, Music<b r> Yue Zhong\, BA Flute Performance </p> <p><strong><u>Piccolo</u></strong><br> Grace Playstead\, MM Flute Performance </p> <p><strong><u>Alto Flute
 </u></strong><br> Yue Zhong\, BA Flute Performance<br> <br> <strong><u>Obo
 e</u></strong><br> Max Bolen\, Marine Biology<br> Max Boyd\, Oboe Performa
 nce<br> Minh-Thi Butler\, BM Music Education </p> <p><strong><u>English Ho
 rn</u></strong><br> Max Boyd\, Oboe Performance</p> <p><strong><u>Clarinet
 </u></strong><br> Ysanne Webb\, DMA Clarinet Performance<br> Nick Zhang\, 
 BS Computer Science </p> <p><strong><u>E-Flat Clarinet</u></strong><br> Lu
 qi Wang\, DMA Clarinet Performance<strong><u> </u></strong></p> <p><strong><u>Bass Clarinet</u></strong><br> Cameron DeLuca\, DMA Clarinet Performan
 ce </p> <p><strong><u>Bassoon</u></strong><br> Ryan Kapsandy\, BM Bassoon 
 Performance<br> Rian Morgan\, Music/Nutritional Science<br> Eric Shankland
 \, BA Music History<br> Eric Spradling\, BM Bassoon Performance</p> <p><u>Contrabassoon</u></strong><br> Alex Fraley\, Music Education<br> E
 ric Shankland\, BA Music History<br> <br> <strong><u>Horn</u>     </strong><br> Nicole Bogner\, BM Horn Performance<br> Colin Laskarzewski\, BS Phys
 ics<br> Elise Moe\, BM Horn Performance<br> Sam Nutt\, Molecular &amp; Cellula
 r Biology<br> Noelani Stewart\, Political Science\, American Ethnic Studie
 s</p> <p><br> <strong><u>Trumpet</u></strong><br> Hans Faul\, BM Trumpet P
 erformance<br> Kyle Jenkins\, MM Trumpet Performance<br> Antti Männistö\, 
 Mechanical Engineering<br> Drew Theran\, MM Trumpet Performance<br> <br> &lt;
 strong&gt;<u>Trombone</u></strong><br> Jonathan Elsner\, Applied &amp; Computatio
 nal Mathematics<br> Neal Muppidi\, BM Trombone Performance<br> Nathanael W
 yttenbach\, Music Composition</p> <p><strong><u>Bass Trombone</u></strong>
 <br> Duncan Weiner\, Aero-Astro Engineering/Linguistics </p> <p><strong><u>Tuba</u></strong><br> Adam Mtimet\, DMA Tuba Performance</p> <p><strong>&lt;
 u&gt;Timpani</u></strong><br> Kaisho Barnhill\, Music Education\, Psychology&lt;
 br&gt; Momoka Fukushima\, Percussion Performance<br> Abigail George\, Applied
  Physics/BM Percussion Performance<br> <br> <strong><u>Percussion</u><br> Ryan Baker\, BM Music Composition\, BA Psychology<br> Kaisho Barn
 hill\, Music Education\, Psychology<br> Momoka Fukushima\, Percussion Perf
 ormance<br> Abigail George\, Applied Physics/BM Percussion Performance<br>
  Ivy Moore\, Bioresource Science and Engineering<br> Luigi Salvaggio\, Per
 cussion Performance<br> Tyler Smith\, MM Percussion Performance<strong><u>
  </u></strong></p> <p><strong><u>Harp</u></strong><br> Kelly Hou\, Alumna&lt;
 br&gt; Jared Parsons\, guest<strong><u> </u></strong></p> <p><strong><u>Violi
 n I</u></strong><br> Grace Pandra\, Violin Performance/Business Administra
 tion (Concertmaster)<br> Hanu Nahm\, Violin Performance/BS Microbiology<br> David Teves-Tan\, Pre-Sciences<br> Hai-Ryung Jang\, DMA Violin Performan
 ce<br> Justin Chae\, Computer Science<br> Michaela Klesse\, Music<br> Nahu
 el Weber-Jacobsen\, Social Sciences<br> Ido Avnon\, MS Computer Sciences &amp;
  Engineering<br> David Mok\, Computer Engineering<br> Amelie Martin\, Math
 ematics<br> Brandon Bailey\, Computer Science<br> Adora Wu\, Computer Scie
 nce<br> Jie Zhou\, Music<br> Alex Metzger\, Computer Science<br> Giulia Ro
 sa\, Music<br> Lyle Deng\, Computer Science </p> <p><strong><u>Violin II</u></strong><br> Taylor DeCastro\, MM Violin Performance (Principal)<br> Ni
 cole Chen\, Informatics<br> Sean Sasaki\, Music Education<br> Thea Higgins
 \, Industrial Engineering: Data Science<br> Rylan Ferron-Jones\, Civil Eng
 ineering<br> Alice Leppert\, Chemistry<br> Talal Kheiry\, Pre-Sciences<br>
  Anja Westra\, Marine Biology<br> Danny Zhang\, Pre-Sciences<br> Victoria 
 Zhuang\, Pre-Sciences<br> Jasmine Palikhya\, International Studies<br> Jus
 tene Li\, Pre-Sciences<br> Fengrui Liu\, Finance<br> Freya Frahm\, Compute
 r Sciences/BM Piano Performance<br> Hannah Pena-Ruiz\, Music History </p> 
 <p><strong><u>Viola</u></strong><strong>     </strong></p> <p>Flora Cummin
 gs\, Viola Performance/Biology (Co-Principal)<br> Mica Weiland\, Viola Per
 formance (Co-Principal)<br> Abigail Schidler\, Computer Science/Music Theo
 ry<br> Emma Boyce\, Music<br> Melia Golden\, Biochemistry<br> Mia Grayson\
 , Biochemistry<br> Annika Johnson\, Pre-Sciences<br> Hailey Nappen\, Pre S
 ciences<br> Alan Fan\, International Studies<br> Aribella Brushie\, Pre-Sc
 iences<br> David Del Cid-Saavedra\, Language in Education<br> Alissa Harba
 ni\, Bioengineering/Music<br> Melany Nanayakkara\, Mathematics<br> <br> <s trong><u>Violoncello</u>         </strong><br> Cory Chen\, BA in Music/Int
 ended Neuroscience (Principal)<br> Loni Yin\, Pre-Sciences<br> Nathan Evan
 s\, BA Music History<br> Ignacio (Nacho) Tejeda\, PhD Mathematics<br> Alas
 tair Goodchild\, Engineering<br> Amanda Song\, Accounting and Marketing<br> Jack Ruffner\, Pre-Social Sciences<br> Katherine Kang\, Human Centered D
 esign &amp; Engineering<br> Mina Wang\, Informatics<br> Ava Reese\, Aquatic an
 d Fishery Sciences<br> Eli Kashman\, Bioengineering<br> Andrew Vu\, Chemis
 try<br> Noah Croskey\, Industrial Engineering<br> Ally Wu\, Electrical Eng
 ineering<br> Bashir Abdel-Fattah\, PhD Mathematics<br> <br> <strong><u>Bas
 s</u>    </strong><br> Amelia Matsumoto\, BM Bass Performance (Principal)&lt;
 br&gt; Eddie Mospan\, BM Bass Performance<br> Nathan Eskridge\, MM Bass Perfo
 rmance<br> Gabriella Kelley\, English<br> Josh Bonifas\, Music/ELS<br> Eth
 an Park\, Biology</p> <p> </p> <h3>University C
 horale</h3> <p><em>Giselle Wyers\, director </p> <p><strong>Sopranos</strong><br> Claire 
 Killian<br> Devyn Mattson<br> Emily Shields<br> Katelyn Wales<br> Kirsten 
 Conover<br> Lauren Chenoweth<br> Meliza Redulla<br> Olivia Spaid<br> Sofia
  Groff<br> Aria Fowler<br> Elizabeth Brown<br> Evelyn Jones<br> Hope Villa
 real<br> Jolee Zamira<br> Mackenzie Martin<br> Nila Chandramouli<br> Quinn
  Ewing<br> Sophia Conner<br> Sophie Root<br> Shriya Prasanna<br> Tara Zolf
 aghari<br>  </p> <p><strong>Altos</strong><br> 
 Alexis Georgiades<br> Anna Vu<br> Anne Tinker<br> Claudia Kahana<br> Domin
 ique Mallo<br> Emily Dong<br> Jessica Thaxton<br> Julianna Cullen<br> Lain
 ey Graham<br> Natalie Peterson<br> Samara Chacko<br> Heidi Longmeier<br> E
 mily Colombo<br> Haley Westberg<br> Jaminfaye Reduque<br> Juniper Blessing
 <br> Leah Peterson<br> Maya Shah<br> Sydney Jordan<br> Jenny Ou<br> Maddie
  Rivera </p> <p><strong>Tenors</strong><br> Zoy
 a Mir<br> Alex Trias<br> Hannah Carpenter<br> Jackie Smith<br> Eric Gaglia
 no<br> Adrian Wong Cascante<br> Caleb Strader<br> Elijah Maruchek<br> Gray
  Creech<br> Haoran Peng<br> Michael Lim<br> Tim Resca<br> Tyler Santos<br>
  William Gao </p> <p><strong>Basses</strong><br> A.J. Johnson<br> Chance Kelley<br> Charlie Dawson<br> Danny Troyan<br> D
 anny Vizenor<br> DaShaundre Steele<br> Gavin Morrow<br> Jonah Ladish-Orlic
 h<br> Luke Granger<br> Mario D'Ambrosio<br> Thayden Boome<br> <span><span><span>Edén</span></span></span> Alvarado<br> Cole Siegrist<br>
  Kwabena Ledbetter<br> Matthew Magbanua<br> Robbie Troyan<br> Taylor Bella
 my<br> Andrew Hoch<br> Benjamin Jaudon </p> <h3>Chamber Singers</h3> <p><em>Geoffrey Boers\, d
 irector</em><br> <br> <strong>Soprano 1</strong><br> Helen Woodruff<br> Ky
 la Marshall<br> Jaden Ritscher<br> June Ricks<br> Lauren Chenoweth </p> <p><strong>Soprano 2</strong><br> Clara Johnson<b r> Soledad Mayorga-Maldonado<br> Egija Claire<br> Annika Iyer<br> Nandini 
 Rathod </p> <p><strong>Alto 1</strong><br> Shri
 ya Prasanna<br> Nila Chandramouli<br> Emily Colombo<br> Heidi Blythe<br> L
 ainey Graham </p> <p><strong>Alto 2</strong><br> Jackie Smith<br> Haley Westberg<br> Alexandra Rameau<br> Maya Shah<br> J
 aminfaye Reduque </p> <p><strong>Tenor 1 <br> Maggie Peterson<br> Maddie Rivera<br> Hannah Carpenter<br> Nichola
 s Renaud<br> Michael Lim<br> Brayden Schwartz </p> <p><strong>Tenor 2</strong><br> Gabe Stefanides<br> Gray Creech<br> Ma
 nny Noyola-Juarez<br> David Ferguson<br> Caleb Strader </p> <p><strong>Bass 1</strong><br> Alex Trias<br> Charlie Dawson&lt;
 br&gt; <span><span><span styl e='Aptos\,sans-serif'>Edén</span></span></span> Alvarado<br> A
 rshia Ashari<br> Luis Javier<strong> </strong></p> <p><strong>Bass 2</strong><br> Michael McKenzi<br> Adam Freemantle<br>
  Scott Fikse<br> Evan Norberg<br> Kyle Mahoney</p> </td> </tr> </tbody> </table> <h3>Biographies</h3> <p> </p>
END:VEVENT
BEGIN:VEVENT
UID:6f62db70-90bc-4c6e-9848-d9341bce50a2
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240930T163631Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20250320T120000
LAST-MODIFIED:20240930T163631Z
SEQUENCE:176
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-20/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:47754925-9381-4f0c-8f72-ea45b132c47a
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events
CLASS:PUBLIC
CREATED:20250123T210907Z
DESCRIPTION:<p>Seattle-based community group Noto Earthquake Disaster Relie
 f Benefit Committee presents 'Harmony Across Cultures\,' benefitting the 2
 024 Noto earthquake disaster relief. The program includes traditional Mong
 olian and Japanese music from the Tohoku region (Miyagi Prefecture) with t
 he Seattle Japanese Chorus Community.  Featured artists are  Shakuhachi pl
 ayer Otomo Dozan\, Mongolian folk singer Borjigin Yilina\, and dance group
  Kimigaya Wakamatsu Kagura.</p>\n<p><a href='https://sites.google.com/view
 /noto-benefit-concert/home' target='_blank' rel='noopener noreferrer' titl e='Program Information'>Program Information</a></p>\n<hr>\n<p><strong>Note
 :</strong> A Tea Ceremony is scheduled for 2:30 pm in Room 101</p>\n<hr>\n
 <h3><a href='https://songsofhope.info/AboutUs' target='_blank' rel='noopen
 er noreferrer'></a></h3>
DTSTART;TZID=America/Los_Angeles:20250330T150000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:177
SUMMARY:: External Event: Harmony Across Cultures
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-30/external-event-harmony-a
 cross-cultures
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Seattle-based community group Noto Earthqua
 ke Disaster Relief Benefit Committee presents 'Harmony Across Cultures\,' 
 benefitting the 2024 Noto earthquake disaster relief. The program includes
  traditional Mongolian and Japanese music from the Tohoku region (Miyagi P
 refecture) with the Seattle Japanese Chorus Community.  Featured artists a
 re  Shakuhachi player Otomo Dozan\, Mongolian folk singer Borjigin Yilina\
 , and dance group Kimigaya Wakamatsu Kagura.</p> <p><a href='https://sites
 .google.com/view/noto-benefit-concert/home' target='_blank' rel='noopener 
 noreferrer' title='Program Information'>Program Information</a></p> <hr> &lt;
 p&gt;<i><strong>Note:</strong> A </i><i>Tea Ceremony is scheduled for 2:30 pm
  in Room 101</i></p> <hr> <h3><a href='https://songsofhope.info/AboutUs' t arget='_blank' rel='noopener noreferrer'></a></h3>
END:VEVENT
BEGIN:VEVENT
UID:32aff5e6-62aa-442e-9e56-23e8b0e82b4f
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20240809T003851Z
DESCRIPTION:<p></p>\n<p>Pianist Catherine Kautsky\, chair of the keyboard d
 epartment at Lawrence University\, Appleton\, WI\, presents a lecture-reci
 tal: “Debussy’s Paris: Poets\, Politics and the Piano.”</p>\n<hr>\n<h3>Art
 ist Biography</h3>\n<h4>Catherine Kautsky</h4>
 \n<p>Catherine Kautsky\, Chair of Keyboard at L
 awrence University in Appleton\, WI\, has been lauded by the New York Time
 s as “a pianist who can play Mozart and Schubert as though their sentiment
 s and habits of speech coincided exactly with hers … The music spoke direc
 tly to the listener\, with neither obfuscation nor pretense.” She was the 
 2016 winner of the Lawrence Excellence in Teaching Award\, the 2013 winner
  of the university’s Faculty Convocation Award\, and in 2017 she was honor
 ed with the George and Marjorie Olsen Chandler Chair in Music.</p>\n<p sty le=' 400\;'>Her recording of the Debussy Preludes\, released b
 y Centaur in September\, 2014\, was said to “bring out all the power\, maj
 esty\, and mystery of Debussy’s conception\,“ and a recording of the compl
 ete Brahms Sonatas for Violin and Piano was released in 2019 to top review
 s.</p>\n<p>Ms. Kautsky\, whose teachers include
 d Rosina Lhevinne\, Gyorgy Sebok\, Leon Fleisher\, Martin Canin\, and Gilb
 ert Kalish\, has concertized widely\, performing in major halls such as Al
 ice Tully Hall\, Carnegie Recital Hall\, the Phillips Collection\, Jordan 
 Hall\, and the Chicago Cultural Center. She has soloed with numerous orche
 stras\, including the St. Louis Symphony and Milwaukee Chamber Orchestra\,
  and appeared frequently on public radio. She has spent two sabbaticals in
  Paris and played abroad in France\, England\, Italy\, Spain\, Poland\, Ch
 ina\, Hong Kong\, Korea\, Thailand\, Brazil\, Australia\, Russia\, and Sou
 th Africa.</p>\n<p>Known as both a solo and col
 laborative performer\, Ms. Kautsky has performed chamber music at the Aspe
 n\, Tanglewood\, and Grand Teton Festivals\, and presented masterclasses o
 n five continents\, including 2018 appearances in Hong Kong\, Ho Chi Minh 
 City\, and Hanoi.</p>\n<p>Ms. Kautsky\, whose s
 tudents have won prizes across the country and gone on to leading graduate
  programs\, has taught at Lawrence University Conservatory of Music since 
 1987\, with a six-year hiatus as piano faculty and chair of the Keyboard D
 ept. at University of Wisconsin-Madison.</p>\n<p>Known for her cross-disciplinary interests\, she was awarded the Arts In
 stitute Creative Arts Award at UW-Madison and has presented frequently at 
 national conferences on such topics as “On the Trail of Chopin and George 
 Sand\,” “WWI: A Centenary Look at the Musical Wars\, “ and “Celebrating De
 bussy and the Arts du Spectacle.” Her articles have appeared in Clavier Co
 mpanion\, American Music Teacher\, and International Piano\, and her book\
 , Debussy’s Paris: Piano Portraits of the Belle Epoque\, was published by 
 Rowman &amp; Littlefield in September 2017. Reviewed by Booklist as 'a fascina
 ting fusion of music\, literature\, and social history\,' it has won accol
 ades from eminent pianists across the country.  Ms. Kautsky is also deeply
  concerned with the role music plays in society and administers a series o
 f prison concerts in Wisconsin as well as heading a chapter of Music for F
 ood.</p>\n<p>Ms Kautsky recently released a 24-
 video set\, “Great Works for the Piano” for Great Courses/Wondrium\, and i
 s also presenting courses on piano literature for the Juilliard Extension 
 Division and the 92nd Str. Y of New York City. She holds a bachelor’s degr
 ee from the New England Conservatory\, a master’s from the Juilliard Schoo
 l\, and a doctorate from the State University of New York at Stony Brook.&lt;
 /p&gt;\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250401T170000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:178
SUMMARY:: Guest Pianist Lecture Recital: Catherine Kautsky
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-02/guest-pianist-lecture-re
 cital-catherine-kautsky
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Pianist Catherine Kautsky\, chair o
 f the keyboard department at Lawrence University\, Appleton\, WI\, present
 s a lecture-recital: “Debussy’s Paris: Poets\, Politics and the Piano.”</p> <hr> <h3>Artist Biography</h3> <h4>Catherine 
 Kautsky</h4> <p>Catherine Kautsky\, Chair of Ke
 yboard at Lawrence University in Appleton\, WI\, has been lauded by the Ne
 w York Times as “a pianist who can play Mozart and Schubert as though thei
 r sentiments and habits of speech coincided exactly with hers … The music 
 spoke directly to the listener\, with neither obfuscation nor pretense.” S
 he was the 2016 winner of the Lawrence Excellence in Teaching Award\, the 
 2013 winner of the university’s Faculty Convocation Award\, and in 2017 sh
 e was honored with the George and Marjorie Olsen Chandler Chair in Music.&lt;
 /p&gt; <p>Her recording of the Debussy <em>Prelude
 s</em>\, released by Centaur in September\, 2014\, was said to “bring out 
 all the power\, majesty\, and mystery of Debussy’s conception\,“ and a rec
 ording of the complete Brahms <em>Sonatas for Violin and Piano</em> was re
 leased in 2019 to top reviews.</p> <p>Ms. Kauts
 ky\, whose teachers included Rosina Lhevinne\, Gyorgy Sebok\, Leon Fleishe
 r\, Martin Canin\, and Gilbert Kalish\, has concertized widely\, performin
 g in major halls such as Alice Tully Hall\, Carnegie Recital Hall\, the Ph
 illips Collection\, Jordan Hall\, and the Chicago Cultural Center. She has
  soloed with numerous orchestras\, including the St. Louis Symphony and Mi
 lwaukee Chamber Orchestra\, and appeared frequently on public radio. She h
 as spent two sabbaticals in Paris and played abroad in France\, England\, 
 Italy\, Spain\, Poland\, China\, Hong Kong\, Korea\, Thailand\, Brazil\, A
 ustralia\, Russia\, and South Africa.</p> <p>Kn
 own as both a solo and collaborative performer\, Ms. Kautsky has performed
  chamber music at the Aspen\, Tanglewood\, and Grand Teton Festivals\, and
  presented masterclasses on five continents\, including 2018 appearances i
 n Hong Kong\, Ho Chi Minh City\, and Hanoi.</p> <p>Ms. Kautsky\, whose students have won prizes across the country and go
 ne on to leading graduate programs\, has taught at Lawrence University Con
 servatory of Music since 1987\, with a six-year hiatus as piano faculty an
 d chair of the Keyboard Dept. at University of Wisconsin-Madison.</p> <p s tyle=' 400\;'>Known for her cross-disciplinary interests\, she
  was awarded the Arts Institute Creative Arts Award at UW-Madison and has 
 presented frequently at national conferences on such topics as “On the Tra
 il of Chopin and George Sand\,” “WWI: A Centenary Look at the Musical Wars
 \, “ and “Celebrating Debussy and the Arts du Spectacle.” Her articles hav
 e appeared in Clavier Companion\, American Music Teacher\, and Internation
 al Piano\, and her book\, <em>Debussy’s Paris: Piano Portraits of the Bell
 e Epoque\,</em> was published by Rowman &amp; Littlefield in September 2017. R
 eviewed by Booklist as 'a fascinating fusion of music\, literature\, and s
 ocial history\,' it has won accolades from eminent pianists across the cou
 ntry.<span>  </span>Ms. Kautsky is also deeply concerned with the role mus
 ic plays in society and administers a series of prison concerts in Wiscons
 in as well as heading a chapter of Music for Food.</p> <p>Ms Kautsky recently released a 24-video set\, “Great Works for 
 the Piano” for <em>Great Courses/Wondrium</em><span>\, </span>and is also 
 presenting courses on piano literature for the Juilliard Extension Divisio
 n and the 92<sup>nd</sup> Str. Y of New York City. She holds a bachelor’s 
 degree from the New England Conservatory\, a master’s from the Juilliard S
 chool\, and a doctorate from the State University of New York at Stony Bro
 ok.</p> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:b9c76ad2-7e93-436f-b2ba-982d8af110b9
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20240801T171708Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<h2 class='x_MsoNormal'>Featured Performers</h2>\n\n\n\n\n\n\nUW Chamber Singers\nPr
 ogram details <a href='/sites/music/files/documents/april_2_allen_library_
 concert.pdf'>HERE</a>\n\n\n\n\n\n\n<p class='x_MsoNormal'> </p>\n\n<p clas s='x_MsoNormal'></p>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250402T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:179
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-02/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <h2 class='x_MsoN
 ormal'><span>Featured Performers</span></h2> <div class='elementToProof'> 
 <div class='elementToProof'> <div class='elementToProof'> <div class='elem
 entToProof'> <div class='elementToProof'> <div class='x_elementToProof Con
 tentPasted0'> <div class='x_elementToProof ContentPasted0'>UW Chamber Sing
 ers</div> <div class='x_elementToProof ContentPasted0'>Program details <a href='/sites/music/files/documents/april_2_allen_library_concert.pdf'>HERE
 </a></div> </div> </div> </div> </div> </div> </div> <p class='x_MsoNormal
 '><span> </span></p> <div> <p class='x_MsoNormal'><span></span></p> <p></p> </div>
END:VEVENT
BEGIN:VEVENT
UID:10ff3a3f-f2a9-40d7-9926-3c614dc06c60
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20240808T233332Z
DESCRIPTION:<p></p>\n<p>The violin and piano duo—Maya Bennardo (violin) and
  Karl Larson (piano)—performs music by recent Rome Prize winner (and Schoo
 l of Music alumnus) Anthony Vine\, Maya Bennardo\, and UW graduate student
  composers Yonatan Ron and Justin Zeitlinger. </p>\n<hr>\n<h3>Program </h3>\n<p>No Abyss is Dead (2025) by Yonatan Ron</p>\n<p><br>Worshipful Compan
 y (2024) by Anthony Vine</p>\n<p><br>Pause</p>\n<p><br>dormant gardens ii.
  (2024) by Maya Bennardo</p>\n<p><br>fizzle / forage (2025) by Justin Zeit
 linger</p>\n<hr>\n<h2><br>Program Notes</h2>\n<p><strong>No Abyss is Dead 
 (2025) by Yonatan Ron</strong><br>In western traditions\, the abyss is a c
 oncept fundamentally associated with something unfathomable\, dark\, chaot
 ic\, something which relates to the void or the underworld\, to an ending\
 , if not hell or death. This narrative is greatly explored in Christianity
  and Judaism\, with its origins traceable as early as the the book of Gene
 sis\, where in the second verse\, the word 'abyss' (tehóm) appears exactly
  between “darkness” and “the spirit of god”. <br>— Yonatan Ron</p>\n<p>dormant gardens ii. (2024) by Maya Bennardo</strong><br>Chorales are 
 elemental. They are formed from a single melody\, traditionally taken from
  a hymn or song\, and supported by other voices which all move uniformly t
 ogether. Due to their simple and rudimentary design\, chorales are often u
 sed as pedagogical tools for young students to study part writing\, harmon
 y\, and form. But the chorales written by Bach and other composers of the 
 past were not conceived as exercises\, but rather to communicate biblical 
 texts\, like psalms\, in vernacular settings that were simple enough for l
 arge congregations of amateur musicians to sing. Chorales interest me beca
 use they are functional yet deeply aesthetic. They have what the potter an
 d writer Alison Britton might call a “double presence.”</p>\n<p>I have wri
 tten a book of chorales called 'Worshipful Company.' Expressions range fro
 m the solemnity of ancient liturgical music to the sentimentality of moder
 n Catholic hymns to the innocence of music theory homework. Like the first
  chorales written by Martin Luther\, they are structurally simple and imme
 diate in expression. But they are without words\, and not sung but rather 
 bowed and hammered. Why this music for violin and piano registers as 'sung
 ' to me is a reminder that the voice is the substance of so many things. -
  Anthony Vine<br>dormant gardens ii is the latest in an ongoing series of 
 works and explorations based on winter walks around my home in Stockholm\,
  Sweden. They are meditations on the waning light\, crisp sea air\, and th
 e neighboring gardens and forests\, dormant but vibrating with soft energy
 . <br>—Maya Bennardo</p>\n<p><strong>fizzle / forage (2025) by Justin Zeit
 linger</strong><br>Bright at last close of a dark day the sun shines out a
 t last and goes down. Sitting quite still at valley window normally turn h
 ead now and see it the sun low in the southwest sinking. Even get up certa
 in moods and go stand by western window quite still watching it sink and t
 hen the afterglow. Always quite still some reason some time past this hour
  at open window facing south in small upright wicker chair with armrests. 
 Eyes stare out unseeing till first movement some time past close though un
 seeing still while still light. Quite still again then all quite quiet app
 arently till eyes open again while still light though less. Normally turn 
 head now ninety degrees to watch sun which if already gone then fading aft
 erglow. Even get up certain moods and go stand by western window till quit
 e dark and even some evenings some reason long after. Eyes then open again
  while still light and close again in what if not quite a single movement 
 almost. Quite still again then at open window facing south over the valley
  in this wicker chair though actually close inspection not still at all bu
 t trembling all over. Close inspection namely detail by detail all over to
  add up finally to this whole not still at all but trembling all over. But
  casually in this failing light impression dead still even the hands clear
 ly trembling and the breast faint rise and fall. Legs side by side broken 
 right angles at the knees as in that old statue some old god twanged at su
 nrise and again at sunset. Trunk likewise dead plumb right up to top of sk
 ull seen from behind including nape clear of chairback. Arms likewise brok
 en right angles at the elbows forearms along armrests just right length fo
 rearms and rests for hands clenched lightly to rest on ends. So quite stil
 l again then all quite quiet apparently eyes closed which to anticipate wh
 en they open again if they do in time then dark or some degree of starligh
 t or moonlight or both. Normally watch night fall however long from this n
 arrow chair or standing by western window quite still either case. Quite s
 till namely staring at some one thing alone such as tree or bush a detail 
 alone if near if far the whole if far enough till it goes. Or by eastern w
 indow certain moods staring at some point on the hillside such as that bee
 ch in whose shade once quite still till it goes. Chair some reason always 
 same place same position facing south as though clamped down whereas in re
 ality no lighter no more movable imaginable. Or anywhere any ope staring o
 ut at nothing just failing light quite still till quite dark though of cou
 rse no such thing just less light still when less did not seem possible. Q
 uite still then all this time eyes open when discovered then closed then o
 pen and closed again no other movement any kind though of course not still
  at all when suddenly or so it looks this movement impossible to follow le
 t alone describe. The right hand slowly opening leaves the armrest taking 
 with it the whole forearm complete with elbow and slowly rises opening fur
 ther as it goes and turning a little deasil till midway to the head it hes
 itates and hangs half open trembling in mid air. Hangs there as if half in
 clined to return that is sink back slowly closing as it goes and turning t
 he other way till as and where it began clenched lightly on end of rest. H
 ere because of what comes now not midway to the head but almost there befo
 re it hesitates and hangs there trembling as if half inclined etc. Half no
  but on the verge when in its turn the head moves from its place forward a
 nd down among the ready fingers where no sooner received and held it weigh
 s on down till elbow meeting armrest brings this last movement to an end a
 nd all still once more. Here back a little way to that suspense before hea
 d to rescue as if hand’s need the greater and on down in what if not quite
  a single movement almost till elbow against rest. All quite still again t
 hen head in hand namely thumb on outer edge of right socket index ditto le
 ft and middle on left cheekbone plus as the hours pass lesser contacts eac
 h more or less now more now less with the faint stirrings of the various p
 arts as night wears on. As if even in the dark eyes closed not enough and 
 perhaps even more than ever necessary against that no such thing the furth
 er shelter of the hand. Leave it all so quite still or try listening to th
 e sounds all quite still head in hand listening for a sound. — Fizzle 7 (S
 till)\, Samuel Beckett (1976<br>— Justin Zeitlinger</p>\n<h2>Artist Biogra
 phy</h2>\n<h3>Bennardo Larson Duo</h3>\n<p>The Bennardo-Larson Duo is an N
 YC/Stockholm-based contemporary classical duo committed to the performance
  and promotion of forward- thinking works for violin and piano. Comprised 
 of Maya Bennardo (violin) and Karl Larson (piano)\, the duo is dedicated t
 o aesthetically diverse programming that illuminates new repertoire for th
 eir instrumentation alongside intrepid works from the past. The Bennardo-L
 arson Duo was formed in 2016 when they undertook the task of learning and 
 performing Charles Ives’s complete works for violin and piano\, which they
  presented on their annual ‘Ives of March’ concerts from 2017-2019. Since 
 then\, the duo has steadily built a repertoire of pre-existing and newly-c
 ommissioned works for violin and piano.</p>\n<p>The Bennardo-Larson duo ha
 s been featured on the MATA Festival at the Kitchen in New York\, NY\, the
  Bowerbird Series in Philadelphia\, PA\, the Toledo Museum of Art’s ‘Great
  Performances Series’ in Toledo\, OH\, the Music Mansion in Providence\, R
 I\, and Khimaira in Stockholm\, Sweden. Their programming features the com
 plete Sonatas for Violin and Piano by Charles Ives\, Morton Feldman’s monu
 mental ‘For John Cage\,’ and ‘a wind's whisper\,’ a program featuring work
 s by John Cage\, Michael Pisaro\, Eva Maria Houben\, and two commissions b
 y Adrian Knight and Kristofer Svensson. In April of 2024\, the duo will pr
 esent the world premiere of two substantial new commissions by Anthony Vin
 e and Maya Bennardo on the Bowerbird Series in Philadelphia\, PA. These tw
 o new works will be the focal point of the upcoming 2024-2025 season and t
 wo new albums\, which will be released in late-2025</p>
DTSTART;TZID=America/Los_Angeles:20250404T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:180
SUMMARY:: Guest Artist Concert: Bennardo Larson Duo
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-05/guest-artist-concert-ben
 nardo-larson-duo
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The violin and piano duo<span>—<span>Maya Bennardo (violin) and Karl Larson (piano)—performs music by recent Rome Prize winner (and School of Music alumnus) Anthony Vine
 \, Maya Bennardo\, and UW graduate student composers Yonatan Ron and Justi
 n Zeitlinger. </p> <hr> <h3>Program </h3> <p>No Abyss is Dead (2025) by Yo
 natan Ron</p> <p><br>Worshipful Company (2024) by Anthony Vine</p> <p><br>
 Pause</p> <p><br>dormant gardens ii. (2024) by Maya Bennardo</p> <p><br>fi
 zzle / forage (2025) by Justin Zeitlinger</p> <hr> <h2><br>Program Notes</h2> <p><strong>No Abyss is Dead (2025) by Yonatan Ron</strong><br>In weste
 rn traditions\, the abyss is a concept fundamentally associated with somet
 hing unfathomable\, dark\, chaotic\, something which relates to the void o
 r the underworld\, to an ending\, if not hell or death. This narrative is 
 greatly explored in Christianity and Judaism\, with its origins traceable 
 as early as the the book of Genesis\, where in the second verse\, the word
  'abyss' (tehóm) appears exactly between “darkness” and “the spirit of god
 ”. <br>— Yonatan Ron</p> <p><strong>dormant gardens ii. (2024) by Maya Ben
 nardo</strong><br>Chorales are elemental. They are formed from a single me
 lody\, traditionally taken from a hymn or song\, and supported by other vo
 ices which all move uniformly together. Due to their simple and rudimentar
 y design\, chorales are often used as pedagogical tools for young students
  to study part writing\, harmony\, and form. But the chorales written by B
 ach and other composers of the past were not conceived as exercises\, but 
 rather to communicate biblical texts\, like psalms\, in vernacular setting
 s that were simple enough for large congregations of amateur musicians to 
 sing. Chorales interest me because they are functional yet deeply aestheti
 c. They have what the potter and writer Alison Britton might call a “doubl
 e presence.”</p> <p>I have written a book of chorales called 'Worshipful C
 ompany.' Expressions range from the solemnity of ancient liturgical music 
 to the sentimentality of modern Catholic hymns to the innocence of music t
 heory homework. Like the first chorales written by Martin Luther\, they ar
 e structurally simple and immediate in expression. But they are without wo
 rds\, and not sung but rather bowed and hammered. Why this music for violi
 n and piano registers as 'sung' to me is a reminder that the voice is the 
 substance of so many things. - Anthony Vine<br>dormant gardens ii is the l
 atest in an ongoing series of works and explorations based on winter walks
  around my home in Stockholm\, Sweden. They are meditations on the waning 
 light\, crisp sea air\, and the neighboring gardens and forests\, dormant 
 but vibrating with soft energy. <br>—Maya Bennardo</p> <p><strong>fizzle /
  forage (2025) by Justin Zeitlinger</strong><br>Bright at last close of a 
 dark day the sun shines out at last and goes down. Sitting quite still at 
 valley window normally turn head now and see it the sun low in the southwe
 st sinking. Even get up certain moods and go stand by western window quite
  still watching it sink and then the afterglow. Always quite still some re
 ason some time past this hour at open window facing south in small upright
  wicker chair with armrests. Eyes stare out unseeing till first movement s
 ome time past close though unseeing still while still light. Quite still a
 gain then all quite quiet apparently till eyes open again while still ligh
 t though less. Normally turn head now ninety degrees to watch sun which if
  already gone then fading afterglow. Even get up certain moods and go stan
 d by western window till quite dark and even some evenings some reason lon
 g after. Eyes then open again while still light and close again in what if
  not quite a single movement almost. Quite still again then at open window
  facing south over the valley in this wicker chair though actually close i
 nspection not still at all but trembling all over. Close inspection namely
  detail by detail all over to add up finally to this whole not still at al
 l but trembling all over. But casually in this failing light impression de
 ad still even the hands clearly trembling and the breast faint rise and fa
 ll. Legs side by side broken right angles at the knees as in that old stat
 ue some old god twanged at sunrise and again at sunset. Trunk likewise dea
 d plumb right up to top of skull seen from behind including nape clear of 
 chairback. Arms likewise broken right angles at the elbows forearms along 
 armrests just right length forearms and rests for hands clenched lightly t
 o rest on ends. So quite still again then all quite quiet apparently eyes 
 closed which to anticipate when they open again if they do in time then da
 rk or some degree of starlight or moonlight or both. Normally watch night 
 fall however long from this narrow chair or standing by western window qui
 te still either case. Quite still namely staring at some one thing alone s
 uch as tree or bush a detail alone if near if far the whole if far enough 
 till it goes. Or by eastern window certain moods staring at some point on 
 the hillside such as that beech in whose shade once quite still till it go
 es. Chair some reason always same place same position facing south as thou
 gh clamped down whereas in reality no lighter no more movable imaginable. 
 Or anywhere any ope staring out at nothing just failing light quite still 
 till quite dark though of course no such thing just less light still when 
 less did not seem possible. Quite still then all this time eyes open when 
 discovered then closed then open and closed again no other movement any ki
 nd though of course not still at all when suddenly or so it looks this mov
 ement impossible to follow let alone describe. The right hand slowly openi
 ng leaves the armrest taking with it the whole forearm complete with elbow
  and slowly rises opening further as it goes and turning a little deasil t
 ill midway to the head it hesitates and hangs half open trembling in mid a
 ir. Hangs there as if half inclined to return that is sink back slowly clo
 sing as it goes and turning the other way till as and where it began clenc
 hed lightly on end of rest. Here because of what comes now not midway to t
 he head but almost there before it hesitates and hangs there trembling as 
 if half inclined etc. Half no but on the verge when in its turn the head m
 oves from its place forward and down among the ready fingers where no soon
 er received and held it weighs on down till elbow meeting armrest brings t
 his last movement to an end and all still once more. Here back a little wa
 y to that suspense before head to rescue as if hand’s need the greater and
  on down in what if not quite a single movement almost till elbow against 
 rest. All quite still again then head in hand namely thumb on outer edge o
 f right socket index ditto left and middle on left cheekbone plus as the h
 ours pass lesser contacts each more or less now more now less with the fai
 nt stirrings of the various parts as night wears on. As if even in the dar
 k eyes closed not enough and perhaps even more than ever necessary against
  that no such thing the further shelter of the hand. Leave it all so quite
  still or try listening to the sounds all quite still head in hand listeni
 ng for a sound. — Fizzle 7 (Still)\, Samuel Beckett (1976<br>— Justin Zeit
 linger</p> <h2>Artist Biography</h2> <h3>Bennardo Larson Duo</h3> <p>The B
 ennardo-Larson Duo is an NYC/Stockholm-based contemporary classical duo co
 mmitted to the performance and promotion of forward- thinking works for vi
 olin and piano. Comprised of Maya Bennardo (violin) and Karl Larson (piano
 )\, the duo is dedicated to aesthetically diverse programming that illumin
 ates new repertoire for their instrumentation alongside intrepid works fro
 m the past. The Bennardo-Larson Duo was formed in 2016 when they undertook
  the task of learning and performing Charles Ives’s complete works for vio
 lin and piano\, which they presented on their annual ‘Ives of March’ conce
 rts from 2017-2019. Since then\, the duo has steadily built a repertoire o
 f pre-existing and newly-commissioned works for violin and piano.</p> <p>T
 he Bennardo-Larson duo has been featured on the MATA Festival at the Kitch
 en in New York\, NY\, the Bowerbird Series in Philadelphia\, PA\, the Tole
 do Museum of Art’s ‘Great Performances Series’ in Toledo\, OH\, the Music 
 Mansion in Providence\, RI\, and Khimaira in Stockholm\, Sweden. Their pro
 gramming features the complete Sonatas for Violin and Piano by Charles Ive
 s\, Morton Feldman’s monumental ‘For John Cage\,’ and ‘a wind's whisper\,’
  a program featuring works by John Cage\, Michael Pisaro\, Eva Maria Hoube
 n\, and two commissions by Adrian Knight and Kristofer Svensson. In April 
 of 2024\, the duo will present the world premiere of two substantial new c
 ommissions by Anthony Vine and Maya Bennardo on the Bowerbird Series in Ph
 iladelphia\, PA. These two new works will be the focal point of the upcomi
 ng 2024-2025 season and two new albums\, which will be released in late-20
 25</p>
END:VEVENT
BEGIN:VEVENT
UID:fe811052-e63b-4d44-891b-870f42031914
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals
CLASS:PUBLIC
CREATED:20250404T124156Z
DESCRIPTION:<p>Ella Kalinichenko\, piano\, a student of Cristina Valdés\, p
 erforms works by Beethoven\, Scriabin\, and Chopin in her master's degree 
 recital.</p>\n<hr>\n<h3>Program</h3>\n<p><strong>Piano Sonata in E major O
 p. 109:</strong> <strong>Ludwig Van Beethoven (</strong>1770 - 1827)<br>Vi
 vace\, ma non troppo. Sempre legato <br>Prestissimo<br>Gesangvoll\, mit in
 nigster Empfindung (Andante molto cantabile ed espressivo)<br><br><strong>
 Fantasy Op. 28 in B minor:  Alexander Scriabin</strong> (1872 - 1915)</p>
 \n<p>- Intermission -<br><br><strong>12 Etudes Op. 25: <b>Frederic Chopin 
 </b></strong>(1810 - 1849)<strong> <br></strong>No. 1 in A minor <br>No. 2
  in F minor <br>No. 3 in F major<br>No. 4 in A minor<br>No. 5 in E minor<b r>No. 6 in G# minor<br>No. 7 in C# minor<br>No. 8 in Ab major<br>No. 9 in 
 Gb major<br>No. 10 in B minor<br>No. 11 in A minor<br>No. 12 in C minor</p>\n<hr>\n<h2>Biography</h2>
DTSTART;TZID=America/Los_Angeles:20250405T193000
LAST-MODIFIED:20250404T145857Z
SEQUENCE:181
SUMMARY:: Master's Degree Recital: Ella Kalinichenko\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-06/masters-degree-recital-e
 lla-kalinichenko-piano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>Ella Kalinichenko\, piano\, a student
  of Cristina Valdés\, performs works by Beethoven\, Scriabin\, and Chopin 
 in her master's degree recital.</span></p> <hr> <h3>Program</h3> <p>Piano Sonata in E major Op. 109:</strong> <strong>Ludwig Van Beethoven (
 </strong>1770 - 1827)<br><span>Vivace\, ma non troppo. Sempre legato <br>Prestissimo<br></span>Gesa
 ngvoll\, mit innigster Empfindung (Andante molto cantabile ed espressivo)&lt;
 br&gt;<br><strong>Fantasy Op. 28 in B minor:  Alexander Scriabin</strong> (18
 72 - 1915)</p> <p>- Intermission -<br><br><strong>12 Etudes Op. 25: <b>Fre
 deric Chopin </b></strong>(1810 - 1849)<strong> <br></strong>No. 1 in A mi
 nor <br>No. 2 in F minor <br>No. 3 in F major<br>No. 4 in A minor<br>No. 5
  in E minor<br>No. 6 in G# minor<br>No. 7 in C# minor<br>No. 8 in Ab major
 <br>No. 9 in Gb major<br>No. 10 in B minor<br>No. 11 in A minor<br>No. 12 
 in C minor</p> <hr> <h2>Biography</h2>
END:VEVENT
BEGIN:VEVENT
UID:192582ae-7609-4573-950e-7fc08bf45060
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240930T163652Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20250408T120000
LAST-MODIFIED:20240930T163652Z
SEQUENCE:182
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-08/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:d09372ea-64ba-4cf8-ac39-e674269b0cf8
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250403T195202Z
DESCRIPTION:<p>The student-run Improvised Music Project presents performanc
 es by a rotating cast of UW jazz ensembles every Wednesday in April at Ver
 million Art Gallery and Bar. Accessible by lightrail\, all performances ar
 e free and open for all ages. </p>\n<p>This concert series promotes the up
 coming IMP festival at the UW's Meany Studio Theater on April 25 and 26\, 
 with guest artists Bill Frisell\, Josh Johnson\, and Luke Bergman. </p>\n&lt;
 hr&gt;\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250409T193000
LAST-MODIFIED:20250403T195202Z
SEQUENCE:183
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-10/external-event-imp-showc
 ase-vermillion
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>The student-run Improvised Music Proj
 ect presents performances by a rotating cast of UW jazz ensembles every We
 dnesday in April at Vermillion Art Gallery and Bar</span><span>. Accessibl
 e by lightrail\, all performances are free and open for all ages. </span>&lt;
 /p&gt; <p><em>This concert series promotes the upcoming IMP festival at the U
 W's Meany Studio Theater on April 25 and 26\, with guest artists Bill Fris
 ell\, Josh Johnson\, and Luke Bergman. </em></p> <hr> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:165f110c-fd0f-4f39-9293-12aa47721ea4
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20240808T000844Z
DESCRIPTION:<p></p>\n<p>Artist-in-residence Tekl
 a Cunningham presents 'Bach in Motion\,' a recital combining music for sol
 o baroque violin with the choreography of Anna Mansbridge. This collaborat
 ion between the School of Music and the newly minted Seattle Bach Festival
  includes music by Telemann\, de Visèe\, Merula\, and a newly commissioned
  work by Melia Watras\, as well as Bach’s iconic Caisson as embodied by da
 ncers Tshedzom Tingkhye and Alejandro Frederickson in new choreography by 
 Mansbridge. </p>\n<hr>\n\n<h2>Program</h2>\n<h3></h3>\n<h3>Bach in Motion&lt;
 /h3&gt;\n<p>Fantasia in E flat major for solo violin\, TWV 40:20: <strong>Geo
 rg Phillip Telemann</strong> (1681-1767)</p>\n<p>Prelude\, Logistille\, Ch
 aconne des Harlequins: <strong>Robert de Visèe</strong> (1652-1730)</p>\n&lt;
 p&gt;Recitative e danza for solo violin: <strong>Melia Watras</strong></p>\n&lt;
 p&gt;Foll’è ben che si crede: <strong>Tarquinio Merula</strong> (1595 -1665)&lt;
 /p&gt;\n<p>Partita in d minor for solo violin\, BWV 1004: <strong>J.S. Bach</strong> (1685-1750)</p>\n<p>Tekla Cunningham\, baroque violin<br>John Lent
 i\, theorbo<br>Tshedzom Tingkhye\, dancer<br>Alejandro Frederickson\, danc
 er<br>Anna Mansbridge: Choreography\, in collaboration with the dancers<br>Andrew Smith\, lighting designer</p>\n<hr>\n<h2>Program Notes</h2>\n\n<p>
 by Tekla Cunningham (TC) and John Lenti (JL)</p>\n\n<h3></h3>\n<p><strong>
 Telemann’s fantasias for solo violin</strong> were published n 1735\, abou
 t 15 years after JS Bach’s more extravagantly conceived Sonatas and Partit
 as. Bach and Telemann enjoyed a warm personal and professional friendship 
 (Telemann was godfather to Bach’s son Carl Philipp Emmanuel). The Fantasia
 s are simpler and shorter than Bach’s solo pieces for violin\, and overflo
 w with the Telemann’s trademark melodic grace\, charm and humor. The Fanta
 sia in E flat major begins with a simple conversation between a descending
  scale in the bass and a simple dolce melody in the upper register. A spir
 ited Allegro is followed by a brooding Largo. The final Presto is winking\
 , scurrying and playful by turn. (TC)</p>\n<p><strong>Robert de Visée was a musician in the court of Louis XIV who numbered among his many 
 duties playing the monarch to sleep on occasion. De Visée’s arrangements o
 f popular orchestral numbers from Lully’s operas would have been golden ol
 dies by the time he was playing them for the aging Sun King. “Logistille” 
 is a lullaby that becalms titular hero of Lully’s Roland\, and while the “
 Chaconne des Harlequins” is a grotesque clown dance in the farcical ballet
  Le Bourgeois Gentilhomme\, it sounds kind of sweet on the theorbo. (JL)</p>\n<p><strong>Melia Watras’</strong> piece Recitativo e danza was commiss
 ioned for this program. Inspired by baroque forms\, the Recitative is a pr
 ayerful mediation. The danza evolves from vigorous and sturdy beginning to
  whirling\, circling crescendo of energy and movement. (TC)</p>\n<p>Tarquinio Merula’s “Foll’è ben”</strong> is one of humanity’s perfect lo
 ve songs and it makes a charming instrumental corrente. Its first stanza i
 s roughly “He’s good and crazy if he thinks he can use flattery or threats
  to make me walk away from my baby\; my imprisoned heart doesn’t want to b
 reak free\, all y’all go on and talk all you want.” (JL)</p>\n<p><strong>B
 ach’s D minor partita</strong> comprised of 4 dance movements crowned by a
 n extended Ciaccona. The opening Allemanda is a philosophical and ambling 
 piece\, followed by a muscular Italian-style Corrente. The Sarabanda is on
 e of the most lonely\, piercing and reflective of Bach’s solo movements\, 
 and contrasts with the sprightly dance of the Giga that follows. Written a
 fter the death of his first wife\, the Ciaconna unfolds in variations on t
 he same bass pattern. From the grand opening statement\, the opening secti
 on in d minor flows through a seemly inexhaustible range of elaborations o
 n the theme\, some simple and tender\, some with more propulsive and drivi
 ng energy. Swirls of scales ascend and break into an extended arpeggio sec
 tion that seems to be a kind of spiritual outcry\, followed by a return of
  the stately opening theme and a turn to D major. This section begins pray
 erfully and simply\, and the music is radiant\, peaceful\, hopeful. An ecs
 tatic energy develops as it reaches ever higher in register. A second arpe
 ggiated section\, this time in the major\, is a bridge to the final sectio
 n of the piece\, which returns to d minor. After the preceding emotional s
 torms and moments of light and hope\, this concluding section is a poignan
 t exhalation and return to melancholy. The variations here are more subdue
 d than in the opening section\, and when the opening Ciaccona theme return
 s at the very end\, there is a sense of having returned home after an ardu
 ous journey. A bit battered\, a bit weary\, but with a satisfying sense of
  completing the circle.</p>\n<p></p>\n\n<h3>Bio
 graphy</h3>\n<h3><a href='https://www.seattlesymphony.org/en/about/meetthe
 musicians/theorchestra/artists/first-violin/geller-noah' target='_blank' r el='noopener noreferrer'></a></h3>
DTSTART;TZID=America/Los_Angeles:20250410T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:184
SUMMARY:: Faculty Recital: Tekla Cunningham\, Bach in Motion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-11/faculty-recital-tekla-cu
 nningham-bach-motion
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Artist-i
 n-residence Tekla Cunningham presents 'Bach in Motion\,' a recital combini
 ng music for solo baroque violin with the choreography of Anna Mansbridge.
  This collaboration between the School of Music and the newly minted Seatt
 le Bach Festival includes music by Telemann\, de Visèe\, Merula\, and a ne
 wly commissioned work by Melia Watras\, as well as Bach’s iconic Caisson a
 s embodied by dancers Tshedzom <span>Tingkhye</span> and Alejandro Frederi
 ckson in new choreography by Mansbridge. </p> <hr> <div dir='ltr' data-set dir='false'> <h2>Program</h2> <h3></h3> <h3>Bach in Motion</h3> <p>Fantasi
 a in E flat major for solo violin\, TWV 40:20: <strong>Georg Phillip Telem
 ann</strong> (1681-1767)</p> <p>Prelude\, Logistille\, Chaconne des Harleq
 uins: <strong>Robert de Visèe</strong> (1652-1730)</p> <p>Recitative e dan
 za for solo violin: <strong>Melia Watras</strong></p> <p>Foll’è ben che si
  crede: <strong>Tarquinio Merula</strong> (1595 -1665)</p> <p>Partita in d
  minor for solo violin\, BWV 1004: <strong>J.S. Bach</strong> (1685-1750)&lt;
 /p&gt; <p>T<span>ekla Cunningham\, baroque violin<br>John Lenti\, theorbo<br>
 Tshedzom Tingkhye</span>\, dancer<br>Alejandro Frederickson\, dancer<br>An
 na Mansbridge: Choreography\, in collaboration with the dancers<br><span>A
 ndrew Smith\, lighting designer</span></p> <hr> <h2>Program Notes</h2>  <p>by Tekla Cunningham (TC) and John Lent
 i (JL)</p> </div> <h3></h3> <p><strong>Telemann’s fantasias for solo violi
 n</strong> were published n 1735\, about 15 years after JS Bach’s more ext
 ravagantly conceived Sonatas and Partitas. Bach and Telemann enjoyed a war
 m personal and professional friendship (Telemann was godfather to Bach’s s
 on Carl Philipp Emmanuel). The Fantasias are simpler and shorter than Bach
 ’s solo pieces for violin\, and overflow with the Telemann’s trademark mel
 odic grace\, charm and humor. The Fantasia in E flat major begins with a s
 imple conversation between a descending scale in the bass and a simple dol
 ce melody in the upper register. A spirited Allegro is followed by a brood
 ing Largo. The final Presto is winking\, scurrying and playful by turn. (T
 C)</p> <p><strong>Robert de Visée</strong> was a musician in the court of 
 Louis XIV who numbered among his many duties playing the monarch to sleep 
 on occasion. De Visée’s arrangements of popular orchestral numbers from Lu
 lly’s operas would have been golden oldies by the time he was playing them
  for the aging Sun King. “Logistille” is a lullaby that becalms titular he
 ro of Lully’s Roland\, and while the “Chaconne des Harlequins” is a grotes
 que clown dance in the farcical ballet Le Bourgeois Gentilhomme\, it sound
 s kind of sweet on the theorbo. (JL)</p> <p><strong>Melia Watras’</strong>
  piece Recitativo e danza was commissioned for this program. Inspired by b
 aroque forms\, the Recitative is a prayerful mediation. The danza evolves 
 from vigorous and sturdy beginning to whirling\, circling crescendo of ene
 rgy and movement. (TC)</p> <p><strong>Tarquinio Merula’s “Foll’è ben” is one of humanity’s perfect love songs and it makes a charming instr
 umental corrente. Its first stanza is roughly “He’s good and crazy if he t
 hinks he can use flattery or threats to make me walk away from my baby\; m
 y imprisoned heart doesn’t want to break free\, all y’all go on and talk a
 ll you want.” (JL)</p> <p><strong>Bach’s D minor partita</strong> comprise
 d of 4 dance movements crowned by an extended Ciaccona. The opening Allema
 nda is a philosophical and ambling piece\, followed by a muscular Italian-
 style Corrente. The Sarabanda is one of the most lonely\, piercing and ref
 lective of Bach’s solo movements\, and contrasts with the sprightly dance 
 of the Giga that follows. Written after the death of his first wife\, the 
 Ciaconna unfolds in variations on the same bass pattern. From the grand op
 ening statement\, the opening section in d minor flows through a seemly in
 exhaustible range of elaborations on the theme\, some simple and tender\, 
 some with more propulsive and driving energy. Swirls of scales ascend and 
 break into an extended arpeggio section that seems to be a kind of spiritu
 al outcry\, followed by a return of the stately opening theme and a turn t
 o D major. This section begins prayerfully and simply\, and the music is r
 adiant\, peaceful\, hopeful. An ecstatic energy develops as it reaches eve
 r higher in register. A second arpeggiated section\, this time in the majo
 r\, is a bridge to the final section of the piece\, which returns to d min
 or. After the preceding emotional storms and moments of light and hope\, t
 his concluding section is a poignant exhalation and return to melancholy. 
 The variations here are more subdued than in the opening section\, and whe
 n the opening Ciaccona theme returns at the very end\, there is a sense of
  having returned home after an arduous journey. A bit battered\, a bit wea
 ry\, but with a satisfying sense of completing the circle.</p> <p></p>  <h3>Biography</h3> <h3><a href='https://www
 .seattlesymphony.org/en/about/meetthemusicians/theorchestra/artists/first-
 violin/geller-noah' target='_blank' rel='noopener noreferrer'></a></h3>
END:VEVENT
BEGIN:VEVENT
UID:156827d9-596e-45e3-b332-c5f65e390225
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals
CLASS:PUBLIC
CREATED:20250404T151442Z
DESCRIPTION:Guitarist Cole McKittrick (BM\, Jazz Studies)\, a student of St
 even Rodby\, presents 'A Tribute to Stevie Wonder' in this BM degree recit
 al. With Rory Somers\, trumpet\; Coen Rios\, saxophone\; Natalie Song\, pi
 ano\; Riley Tobin\, bass\; Ethan Horn\, drumset.\n<hr>\n<h2>Program</h2>\n
 <strong>A Tribute to Stevie Wonder</strong>\n(All works composed by Stevie
  Wonder)<br><br>\n\nSeems So Long<br>Visions<br>Tuesday Heartbreak<br>You'
 ve Got It Bad Girl<br>Summer Soft<br>If It's Magic<br>Superwoman<br>Where 
 Were You When I Needed You<br><br>\n<strong>Musicians</strong><br>Cole McK
 ittrick\, guitar<br>Rory Somers\, trumpet<br>Coen Rios\, saxophone<br>Nata
 lie Song\, piano<br>Riley Tobin\, bass<br>Ethan Horn\, drumset
DTSTART;TZID=America/Los_Angeles:20250410T193000
LAST-MODIFIED:20250404T155025Z
SEQUENCE:185
SUMMARY:: Degree Recital: Cole McKittrick\, Jazz Studies: A Tribute to Stev
 ie Wonder
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-11/degree-recital-cole-mcki
 ttrick-jazz-studies-tribute-stevie-wonder
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div dir='ltr'> <div dir='ltr'> <div></div> </div> <div>Guitarist Cole McKittrick (BM\, Jazz Studies)\, a student o
 f Steven Rodby\, presents 'A Tribute to Stevie Wonder' in this BM degree r
 ecital. With <span>Rory Somers\, trumpet\; </span><span>Coen Rios\, saxoph
 one\; </span><span>Natalie Song\, piano\; </span><span>Riley Tobin\, bass\
 ; </span><span><span>Ethan Horn\, drumset.</span></span></div> <div><hr></div> <h2>Program</h2> <div><em><strong>A Tribute to Stevie Wonder</strong>
 </em></div> <div>(All works composed by Stevie Wonder)<br><br></div> <div>
 </div> <div>Seems So Long<br>Visions<br>Tuesday Heartbreak<br>You've Got I
 t Bad Girl<br>Summer Soft<br>If It's Magic<br>Superwoman<br>Where Were You
  When I Needed You<br><br></div> <div><strong>Musicians</strong><br>Cole M
 cKittrick\, guitar<br>Rory Somers\, trumpet<br>Coen Rios\, saxophone<br>Na
 talie Song\, piano<br>Riley Tobin\, bass<br>Ethan Horn\, drumset</div>  </div>
END:VEVENT
BEGIN:VEVENT
UID:b71e9c85-de5e-470a-9312-76ab84014d6c
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250102T154127Z
DESCRIPTION:<p></p>\n<p>James O. Young\, professor of Philosophy at the Uni
 versity of Victoria\, presents <b>“Music and Moral Development\,”  </b>in 
 this virtual installment of the THEME Lecture Series.  </p>\n<hr>\n<p>Note:</strong> This is an online event. <a href='https://washington.zo
 om.us/j/91032782085' target='_blank' rel='noopener noreferrer'>Join the Zo
 om session.</a></p>\n<hr>\n<h4>Abstract</h4>\n<p>Almost every culture and every era has adopted a version of the ethos th
 eory. (The word ‘ethos’ comes from the Greek word for moral character.) Ac
 cording to the ethos theory\, people who listen to or\, perhaps\, sing or 
 play\, the right sort of music will undergo moral development and become m
 ore virtuous. The theory also predicts that people who listen to or\, perh
 aps\, sing or play\, the wrong sort of music will become worse people and 
 suffer from moral decay. This essay will trace the origins of the ethos th
 eory in ancient Greece and ancient China and then survey some of the recen
 t experimental literature that may provide support for the theory. The con
 clusion of this paper is that some evidence suggests that ancient Greek an
 d Chinese thinkers were right to think that some music promotes moral deve
 lopment. This evidence is encouraging but nowhere near conclusive.</p>\n\n<h4>Series Background</h4>\n<p>THEME\, an annual colloquium of UW facu
 lty and students of Theory\, History\, Ethnomusicology\, and Music Educati
 on\, is held on select Friday afternoons throughout the academic year.  Ta
 lks are at 4 p.m in the School of Music Fishbowl unless otherwise noted. A
 dmission is free. </p>\n<hr>\n<h3>Biography</h3>\n<p>James O. Young\, FRSC
  is Professor of Philosophy. He works on philosophy of art and philosophy 
 of language. His work in philosophy of language focuses on theories of tru
 th and on the debate between realists and anti-realists. In philosophy of 
 art\, he is particularly interested in philosophy of music\, art as a sour
 ce of knowledge\, and ontological and moral questions raised by reflection
  on the arts. He also has an emerging interest in the history of aesthetic
 s and the history of eighteenth-century philosophy. Current projects inclu
 de a translation of Anne Dacier’s Of the Causes of the Corruption of Taste
  (with Michel-Antoine Xhignesse) and a study of the ethos theory of music 
 (the view that music can have an effect of listeners’ characters). Dr. You
 ng was elected a Fellow of the Royal Society of Canada in 2015. He is the 
 recipient of the 2022 David H. Turpin Gold Medal for Career Achievement in
  Research.</p>\n<p>Dr Young has a practical as well as a philosophical int
 erest in music. He is an amateur harpsichordist and is Artistic Director E
 meritus of the Early Music Society of the Islands .</p>\n<p>Dr Young is th
 e author of Global Anti-realism (Avebury\, 1995)\, Art and Knowledge (Rout
 ledge\, 2001)\, Cultural Appropriation and the Arts (Wiley-Blackwell\, 200
 8)\, Critique of Pure Music (Oxford\, 2014)\, Filosofía de la Música. Resp
 uestas a Peter Kivy(Calanda\, 2017)\, Radically Rethinking Copyright in th
 e Arts: A Philosophical Perspective(Routledge\, 2020) and A History of Wes
 tern Philosophy of Music (Cambridge\, 2023). He has translated\, annotated
  and introduced Charles Batteux’s The Fine Arts Reduced to a Single Princi
 ple (Oxford\, 2015) and\, with Margaret Cameron\, Jean-Baptiste Du Bos’ Cr
 itical Reflections on Poetry and Painting (Brill\, 2021). He edited the fo
 ur-volume collection Aesthetics: Critical Concepts in Philosophy (Routledg
 e\, 2005)\, Semantics of Aesthetic Judgements (Oxford\, 2017) and co-edite
 d The Ethics of Cultural Appropriation (Wiley-Blackwell\, 2009) with Conra
 d Brunk. In addition to his books\, Dr Young has written over seventy arti
 cles in refereed journals and many book chapters. </p>
DTSTART;TZID=America/Los_Angeles:20250411T160000
LAST-MODIFIED:20250404T012033Z
SEQUENCE:186
SUMMARY:: THEME Lecture Series: James O. Young (University of Victoria)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-11/theme-lecture-series-jam
 es-o-young-university-victoria
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p><span>James O. Young\, professor of
  Philosophy at the University of Victoria\, presents <b>“Music and Moral D
 evelopment\,”  </b>in this virtual installment of the THEME Lecture Series
 .  </span></p> <hr> <p><em><strong>Note:</strong> This is an online event.
  <a href='https://washington.zoom.us/j/91032782085' target='_blank' rel='n
 oopener noreferrer'>Join the Zoom session.</a></em></p> <hr> <h4><span>Abs
 tract</span></h4> <p>Almost every culture and e
 very era has adopted a version of the ethos theory. (The word ‘ethos’ come
 s from the Greek word for moral character.) According to the ethos theory\
 , people who listen to or\, perhaps\, sing or play\, the right sort of mus
 ic will undergo moral development and become more virtuous. The theory als
 o predicts that people who listen to or\, perhaps\, sing or play\, the wro
 ng sort of music will become worse people and suffer from moral decay. Thi
 s essay will trace the origins of the ethos theory in ancient Greece and a
 ncient China and then survey some of the recent experimental literature th
 at may provide support for the theory. The conclusion of this paper is tha
 t some evidence suggests that ancient Greek and Chinese thinkers were righ
 t to think that some music promotes moral development. This evidence is en
 couraging but nowhere near conclusive.</p> <hr> <h4>Series Background</h4>
  <p><span>THEME\, an annual colloquium of UW faculty and students of Theor
 y\, History\, Ethnomusicology\, and Music Education\, is held on select Fr
 iday afternoons throughout the academic year.  T</span><span>alks are at 4
  p.m in the School of Music Fishbowl unless otherwise noted. Admission is 
 free. </span></p> <hr> <h3>Biography</h3> <p>James O. Young\, FRSC is Prof
 essor of Philosophy. He works on philosophy of art and philosophy of langu
 age. His work in philosophy of language focuses on theories of truth and o
 n the debate between realists and anti-realists. In philosophy of art\, he
  is particularly interested in philosophy of music\, art as a source of kn
 owledge\, and ontological and moral questions raised by reflection on the 
 arts. He also has an emerging interest in the history of aesthetics and th
 e history of eighteenth-century philosophy. Current projects include a tra
 nslation of Anne Dacier’s <em>Of the Causes of the Corruption of Taste</em> (with Michel-Antoine Xhignesse) and a study of the ethos theory of music
  (the view that music can have an effect of listeners’ characters). Dr. Yo
 ung was elected a Fellow of the Royal Society of Canada in 2015. He is the
  recipient of the 2022 David H. Turpin Gold Medal for Career Achievement i
 n Research.</p> <p>Dr Young has a practical as well as a philosophical int
 erest in music. He is an amateur harpsichordist and is Artistic Director E
 meritus of the Early Music Society of the Islands .</p> <p>Dr Young is the
  author of<em> </em><em>Global Anti-realism</em><em> </em>(Avebury\, 1995)
 \, <em>Art and Knowledge</em> (Routledge\, 2001)\, <em>Cultural Appropriat
 ion and the Arts </em>(Wiley-Blackwell\, 2008)\, <em>Critique of Pure Musi
 c</em> (Oxford\, 2014)\, <em>Filosofía de la Música. Respuestas a Peter Ki
 vy</em>(Calanda\, 2017)\, <em>Radically Rethinking Copyright in the Arts: 
 A Philosophical Perspective</em>(Routledge\, 2020) and <em>A History of We
 stern Philosophy of Music</em> (Cambridge\, 2023). He has translated\, ann
 otated and introduced Charles Batteux’s <em>The Fine Arts Reduced to a Sin
 gle Principle</em> (Oxford\, 2015) and\, with Margaret Cameron\, Jean-Bapt
 iste Du Bos’ <em>Critical Reflections on Poetry and Painting</em> (Brill\,
  2021). He edited the four-volume collection <em>Aesthetics: Critical Conc
 epts in Philosophy </em>(Routledge\, 2005)\, <em>Semantics of Aesthetic Ju
 dgements</em> (Oxford\, 2017) and co-edited <em>The Ethics of Cultural App
 ropriation </em>(Wiley-Blackwell\, 2009) with Conrad Brunk. In addition to
  his books\, Dr Young has written over seventy articles in refereed journa
 ls and many book chapters. </p>
END:VEVENT
BEGIN:VEVENT
UID:13b0427b-0fad-4169-855e-67b977379059
DTSTAMP:20260307T094252Z
CATEGORIES:Master Classes\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250328T173352Z
DESCRIPTION:<p>Members of the acclaimed Eroica Trio lead master classes wit
 h UW music students and young Seattle musicians and participate in a quest
 ion-and-answer session during the group's three-day residency at the Schoo
 l of Music. A full schedule of class sessions is below. </p>\n<hr>\n<h2>Ma
 ster Class Schedule<br><br></h2>\n<h4></h4>\n<h4>Tuesday\, April 15</h4>\n
 <p><strong>Master Class:</strong> 10:30am -12:30pm<br><strong><br>Antonín 
 Dvorak:</strong> “Dumky” Trio\, Movt. 2<br>David Teves-Tan (violin)\, Loni
  Yin (cello)\, Jeffrey Tso (piano)<br><strong><br>Johannes Brahms:</strong> Clarinet Quintet\, Movt. 1<br>I. Allegro<br>SOVO Quartet - Hanu Nahm and
  Sean Sasaki (violins)\, Joey Young (viola)\, Nathan Evans (cello)\, feat.
  Nick Zhang (clarinet)</p>\n<hr>\n<p><strong>Master Class:</strong> 1:30-3
 :30pm - “Younger Seattle”<br><strong><br>Eli Antony:</strong>  “Forest Fan
 tasia\,” for Cello and Piano<br>Eli Antony (cellist/composer) and Chiao-Yu
  Wu (piano)<br><strong><br>Johannes Brahms:</strong> “Sonatensatz” Scherzo
  for violin and piano in c minor<br>Matthew Tian (violin) and Cicy Li (pia
 no)  <br><strong><br>Johannes Brahms:</strong> Sonata #2 in A Major\, Op. 
 100\, movement 1<br>Galen Belding (violin) and Cicy Li (piano)</p>\n<hr>\n
 <p><strong>Master Class: </strong>4:30pm-6:30pm</p>\n<p><strong>Gabriel Fa
 uré: </strong>Piano Quartet No. 1\, Movt. 1<br>Allegro molto moderato<br>G
 race Pandra (violin) Danielle Tsao (viola)\, Sarah Johnson (cello) Cicy Li
  (piano)</p>\n<p><strong>Ludwig van Beethoven: </strong>Sonata No. 8\, Op.
  30 No. 3\, Movt. 1<br><strong>Sergei Prokofiev:</strong> Violin Sonata No
 . 2 in D Major Op. 94a\, Movt. 1<br>Emily Acri (violin) and Li-Cheng Hung 
 (piano)</p>\n<hr>\n<h4>Thursday\, April 17</h4>\n<p><strong>Master Class:&lt;
 /strong&gt; 10:30am-12:30pm</p>\n<p><strong>Clara Schumann:</strong> Piano Tr
 io in g minor\, Movts. 1 &amp; 3<br>Taylor deCastro (violin)\, Alex Fang (pian
 o)\, Isabella Kodama (cello)</p>\n<hr>\n<p><strong>Master Class:</strong> 
 4:30pm-6:30pm</p>\n<p><strong>Beethoven:</strong> Piano Trio Op. 1\, No. 3
 \, Mvt. 1<br>Eura Trio: Rachel Jung (violin)\, Taiyo Oishi (piano)\, and C
 harlie Lee (cello)</p>\n<p><strong>Q and A</strong> <strong>with the artis
 ts</strong></p>\n<p>All classes are in Brechemin Auditorium.</p>\n<hr>\nBiography</h2>\n<p></p>\n\n\n\n\n\n\n\n<p class='news_story'>The Grammy 
 nominated Eroica Trio enraptures audiences with flawless technical virtuos
 ity\, irresistible enthusiasm and sensual elegance. The three women who ma
 ke up this celebrated ensemble electrify the concert stage with their pass
 ionate performances. The New York Times writes\, “There is an edge of the 
 seat intensity to every note they produce”.</p>\n<p class='news_story'>The
  Trio won the prestigious Naumburg Award\, resulting in a highly successfu
 l Lincoln Center debut and has since toured the United States\, Europe\, M
 iddle East\, South America and Asia. While maintaining their demanding con
 cert schedule\, the Eroica Trio has released eight critically lauded recor
 dings for Angel/EMI classics Records\, garnering them multiple Grammy nomi
 nations. The first all female chamber ensemble to reach the top echelon of
  the field\, the women of the Eroica Trio has shattered the age-old gender
  barrier\, leading the vanguard and inspiring many to follow.</p>\n<p clas s='news_story'>The unique history of the players of the Eroica Trio goes a
 ll the way back to childhood. Sara Sant’Ambrogio and Erika Nickrenz first 
 met at age 12\, when Erika came to study with Sara’s Grandmother\, the fou
 nder of Red Fox Music Camp. Two years later\, Sara collaborated with violi
 nist Sara Parkins at the renowned Meadowmount School of Music\, where they
  became fast friends\, and later became roommates when they were both stud
 ents at The Curtis Institute of Music. Sara Parkins and Erika Nickrenz als
 o met in their teens\, playing together as students at the Pre-College div
 ision of The Juilliard School and at the Tanglewood Music Center. That sam
 e year the Eroica Trio was formed at The Juilliard School. This intricate 
 web of early connections helped forge a lifelong bond between the three wo
 men of the Eroica Trio.</p>\n<p class='news_story'>The Eroica Trio perform
 s the Beethoven Triple Concerto more frequently than any other trio in the
  world\, having appeared with renowned symphonies such as Chicago\, St. Lo
 uis\, San Francisco\, Mostly Mozart Orchestra\, Nashville\, Indianapolis\,
  Atlanta\, Pittsburgh\, Houston\, New Jersey and Seattle. In addition\, Th
 e Trio has performed the work abroad with Orquesta Sinfonica de Euskadi in
  Spain\, Haydn Orchestra in Italy\, with the Royal Philharmonic Orchestra 
 and Budapest Symphony in Germany\, and on multiple tours in the United Sta
 tes with the Cincinnati Symphony as well as with the Prague Chamber Orches
 tra. The Eroica Trio’s recording of the Beethoven Triple with the Prague C
 hamber Orchestra was so successful it landed this piece on Billboards Top 
 20 for the first time in recording history. The Trio appeared on the Germa
 n television program “Klassich!” performing the Beethoven Triple Concerto 
 with the Munich Symphony\, which was aired throughout Europe. A multi-city
  tour of North America with the Vienna Symphony Orchestra\, under the bato
 n of Maestro Fabio Luisi\, culminated in a sold out performance on the “Gr
 eat Performers at Lincoln Center” series in Avery Fisher Hall in New York 
 City.</p>\n<p class='news_story'>Highlights this season include a mini-ser
 ies\, Eroica Trio and Friends\, in Calderwood Hall in the Isabella Stewart
  Gardner Museum with principal Clarinetist of the Atlanta Symphony Laura A
 rdan and Violist of the Emerson Quartet\, Lawrence Dutton. Another excitin
 g project for the trio\, Tango Ahora\, featuring two new Concerti for the 
 Trio and Bandoneon by Argentinean composers Emilio Kauderer and Daniel Bin
 elli\, recording in Prague fall of 2106 and premiering Kauderer’s Concerto
  with the Orquesta Sinfonica Nacional in Buenos Aires in March 2017. Along
  with tours of the continental U.S.\, Mexico and Hawaii\, the trio will pl
 ay a recital in Symphony Space in NYC as part of the “Cutting Edge” series
  will include works written for them by Bruce Wolosoff and Pulitzer Prize 
 winner Kevin Puts.</p>\n<p class='news_story'>The Eroica Trio has appeared
  on numerous television programs\, including ABC’s The View\, CNN’s Showbi
 z Today\, CBS and ABC News\, the CBS Morning Show and Saturday Morning\, A
 &amp;E’s Breakfast with the Arts\, The Isaac Mizrahi Show\, Pure Oxygen\, Bloo
 mberg TV and Fox’s The Crier Report. Eroica!\, a special documentary about
  the Trio and its commissioning of a new triple concerto by Kevin Kaska\, 
 premiered on the PBS series Independent Lens and has had multiple airings 
 worldwide. The group has been featured in such magazines as Elle\, Glamour
 \, Vanity Fair\, Detour\, Marie Claire\, Gotham\, Entrée\, Bon Appétit\, T
 ime Out New York\, Gramophone\, Piano\, Vivace\, Auditorium\, and Chamber 
 Music. In addition\, the ladies have graced the covers of magazines as div
 erse as Fanfare\, Cigar\, Strings\, Tall\, and Strad. Grand Marnier® creat
 ed a new cocktail dubbed “The Eroica” which was unveiled for the release o
 f their “Pasión” recording. Chateau Sainte Michelle\, a vineyard in Seattl
 e\, also named one of its Gold Medal winning Reislings in honor of the Tri
 o.</p>\n<p class='news_story'>Whether the Eroica Trio is interpreting the 
 Baroque Masters\, the power and strength of Beethoven\, the jazzy tunes of
  Schoenfield or the Bluegrass toe tapping rhythms of Mark O’Connor\, their
  performances are deeply personal and continue to thrill audiences around 
 the world. To quote the San Francisco Examiner\, “It has been decades sinc
 e this country has produced a chamber music organization with this much pa
 ssion…”</p>
DTSTART;TZID=America/Los_Angeles:20250415T103000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:187
SUMMARY:: Eroica Trio Residency: Master Classes
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-15/eroica-trio-residency-ma
 ster-classes
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Members of the acclaimed Eroica Trio lead m
 aster classes with UW music students and young Seattle musicians and parti
 cipate in a question-and-answer session during the group's three-day resid
 ency at the School of Music. A full schedule of class sessions is below. &lt;
 /p&gt; <hr> <h2>Master Class Schedule<br><br></h2> <h4></h4> <h4>Tuesday\, Ap
 ril 15</h4> <p><strong>Master Class:</strong> 10:30am -12:30pm<br><em></em><strong><br>Antonín Dvorak:</strong> “Dumky” Trio\, Movt. 2<br><em>David 
 Teves-Tan (violin)\, Loni Yin (cello)\, Jeffrey Tso (piano)</em><br><br>Johannes Brahms:</strong> Clarinet Quintet\, Movt. 1<br>I. Allegro<b r><em>SOVO Quartet - Hanu Nahm and Sean Sasaki (violins)\, Joey Young (vio
 la)\, Nathan Evans (cello)\, feat. Nick Zhang (clarinet)</em></p> <hr> <p>
 <strong>Master Class:</strong> 1:30-3:30pm - <em>“Younger Seattle”<br></em><span><strong><br>Eli Antony:</strong>  “Forest Fantasia\,” for Cello and
  Piano<br></span><em>Eli Antony (cellist/composer) and Chiao-Yu Wu (piano)
 </em><br><strong><br>Johannes Brahms:</strong> <span>“Sonatensatz” Scherzo
  for violin and piano in c minor<br></span><em>Matthew Tian (violin) and C
 icy Li (piano)  </em><br><strong><br>Johannes Brahms:</strong> <span>Sonat
 a #2 in A Major\, Op. 100\, movement 1<br></span><em>Galen Belding (violin
 ) and Cicy Li (piano)</em></p> <hr> <p><strong>Master Class: </strong>4:30
 pm-6:30pm</p> <p><strong>Gabriel Fauré: </strong>Piano Quartet No. 1\, Mov
 t. 1<br>Allegro molto moderato<br><em>Grace Pandra (violin) Danielle Tsao 
 (viola)\, Sarah Johnson (cello) Cicy Li (piano)</em></p> <p><strong>Ludwig
  van Beethoven: </strong>Sonata No. 8\, Op. 30 No. 3\, Movt. 1<br><strong>
 Sergei Prokofiev:</strong> Violin Sonata No. 2 in D Major Op. 94a\, Movt. 
 1<br><em>Emily Acri (violin) and Li-Cheng Hung (piano)</em></p> <hr> <h4>T
 hursday\, April 17</h4> <p><strong>Master Class:</strong> 10:30am-12:30pm&lt;
 /p&gt; <p><span><strong>Clara Schumann:</strong> Piano Trio in g minor\, Movt
 s. 1 &amp; 3<br></span><em>Taylor deCastro (violin)\, Alex Fang (piano)\, Isab
 ella Kodama (cello)</em></p> <hr> <p><strong>Master Class:</strong> 4:30pm
 -6:30pm</p> <p><span><strong>Beethoven:</strong> Piano Trio Op. 1\, No. 3\
 , Mvt. 1<br></span><em>Eura Trio: Rachel Jung (violin)\, Taiyo Oishi (pian
 o)\, and Charlie Lee (cello)</em></p> <p><strong>Q and A</strong> <strong>
 with the artists</strong></p> <p><em>All classes are in Brechemin Auditori
 um.</em></p> <hr> <h2>Biography</h2> <p></p> <div class='body field'> <div class='field-items'> <div class='field-item even'> <div class='body field
 '> <div class='field-items'> <div class='field-item even'> <div id='conten
 t-box'> <p class='news_story'>The Grammy nominated Eroica Trio enraptures 
 audiences with flawless technical virtuosity\, irresistible enthusiasm and
  sensual elegance. The three women who make up this celebrated ensemble el
 ectrify the concert stage with their passionate performances. The New York
  Times writes\, “There is an edge of the seat intensity to every note they
  produce”.</p> <p class='news_story'>The Trio won the prestigious Naumburg
  Award\, resulting in a highly successful Lincoln Center debut and has sin
 ce toured the United States\, Europe\, Middle East\, South America and Asi
 a. While maintaining their demanding concert schedule\, the Eroica Trio ha
 s released eight critically lauded recordings for Angel/EMI classics Recor
 ds\, garnering them multiple Grammy nominations. The first all female cham
 ber ensemble to reach the top echelon of the field\, the women of the Eroi
 ca Trio has shattered the age-old gender barrier\, leading the vanguard an
 d inspiring many to follow.</p> <p class='news_story'>The unique history o
 f the players of the Eroica Trio goes all the way back to childhood. Sara 
 Sant’Ambrogio and Erika Nickrenz first met at age 12\, when Erika came to 
 study with Sara’s Grandmother\, the founder of Red Fox Music Camp. Two yea
 rs later\, Sara collaborated with violinist Sara Parkins at the renowned M
 eadowmount School of Music\, where they became fast friends\, and later be
 came roommates when they were both students at The Curtis Institute of Mus
 ic. Sara Parkins and Erika Nickrenz also met in their teens\, playing toge
 ther as students at the Pre-College division of The Juilliard School and a
 t the Tanglewood Music Center. That same year the Eroica Trio was formed a
 t The Juilliard School. This intricate web of early connections helped for
 ge a lifelong bond between the three women of the Eroica Trio.</p> <p clas s='news_story'>The Eroica Trio performs the Beethoven Triple Concerto more
  frequently than any other trio in the world\, having appeared with renown
 ed symphonies such as Chicago\, St. Louis\, San Francisco\, Mostly Mozart 
 Orchestra\, Nashville\, Indianapolis\, Atlanta\, Pittsburgh\, Houston\, Ne
 w Jersey and Seattle. In addition\, The Trio has performed the work abroad
  with Orquesta Sinfonica de Euskadi in Spain\, Haydn Orchestra in Italy\, 
 with the Royal Philharmonic Orchestra and Budapest Symphony in Germany\, a
 nd on multiple tours in the United States with the Cincinnati Symphony as 
 well as with the Prague Chamber Orchestra. The Eroica Trio’s recording of 
 the Beethoven Triple with the Prague Chamber Orchestra was so successful i
 t landed this piece on Billboards Top 20 for the first time in recording h
 istory. The Trio appeared on the German television program “Klassich!” per
 forming the Beethoven Triple Concerto with the Munich Symphony\, which was
  aired throughout Europe. A multi-city tour of North America with the Vien
 na Symphony Orchestra\, under the baton of Maestro Fabio Luisi\, culminate
 d in a sold out performance on the “Great Performers at Lincoln Center” se
 ries in Avery Fisher Hall in New York City.</p> <p class='news_story'>High
 lights this season include a mini-series\, Eroica Trio and Friends\, in Ca
 lderwood Hall in the Isabella Stewart Gardner Museum with principal Clarin
 etist of the Atlanta Symphony Laura Ardan and Violist of the Emerson Quart
 et\, Lawrence Dutton. Another exciting project for the trio\, Tango Ahora\
 , featuring two new Concerti for the Trio and Bandoneon by Argentinean com
 posers Emilio Kauderer and Daniel Binelli\, recording in Prague fall of 21
 06 and premiering Kauderer’s Concerto with the Orquesta Sinfonica Nacional
  in Buenos Aires in March 2017. Along with tours of the continental U.S.\,
  Mexico and Hawaii\, the trio will play a recital in Symphony Space in NYC
  as part of the “Cutting Edge” series will include works written for them 
 by Bruce Wolosoff and Pulitzer Prize winner Kevin Puts.</p> <p class='news
 _story'>The Eroica Trio has appeared on numerous television programs\, inc
 luding ABC’s The View\, CNN’s Showbiz Today\, CBS and ABC News\, the CBS M
 orning Show and Saturday Morning\, A&amp;E’s Breakfast with the Arts\, The Isa
 ac Mizrahi Show\, Pure Oxygen\, Bloomberg TV and Fox’s The Crier Report. E
 roica!\, a special documentary about the Trio and its commissioning of a n
 ew triple concerto by Kevin Kaska\, premiered on the PBS series Independen
 t Lens and has had multiple airings worldwide. The group has been featured
  in such magazines as Elle\, Glamour\, Vanity Fair\, Detour\, Marie Claire
 \, Gotham\, Entrée\, Bon Appétit\, Time Out New York\, Gramophone\, Piano\
 , Vivace\, Auditorium\, and Chamber Music. In addition\, the ladies have g
 raced the covers of magazines as diverse as Fanfare\, Cigar\, Strings\, Ta
 ll\, and Strad. Grand Marnier® created a new cocktail dubbed “The Eroica” 
 which was unveiled for the release of their “Pasión” recording. Chateau Sa
 inte Michelle\, a vineyard in Seattle\, also named one of its Gold Medal w
 inning Reislings in honor of the Trio.</p> <p class='news_story'>Whether t
 he Eroica Trio is interpreting the Baroque Masters\, the power and strengt
 h of Beethoven\, the jazzy tunes of Schoenfield or the Bluegrass toe tappi
 ng rhythms of Mark O’Connor\, their performances are deeply personal and c
 ontinue to thrill audiences around the world. To quote the San Francisco E
 xaminer\, “It has been decades since this country has produced a chamber m
 usic organization with this much passion…”</p> </div> </div> </div> </div>
  </div> </div> </div>
END:VEVENT
BEGIN:VEVENT
UID:1054dedf-ecad-47fb-a308-4e56c649bb35
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250403T195228Z
DESCRIPTION:<p>The student-run Improvised Music Project presents performanc
 es by a rotating cast of UW jazz ensembles every Wednesday in April at Ver
 million Art Gallery and Bar. Accessible by lightrail\, all performances ar
 e free and open for all ages. </p>\n<p>This concert series promotes the up
 coming IMP festival at the UW's Meany Studio Theater on April 25 and 26\, 
 with guest artists Bill Frisell\, Josh Johnson\, and Luke Bergman. </p>\n&lt;
 hr&gt;\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250416T193000
LAST-MODIFIED:20250403T195228Z
SEQUENCE:188
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-17/external-event-imp-showc
 ase-vermillion
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>The student-run Improvised Music Proj
 ect presents performances by a rotating cast of UW jazz ensembles every We
 dnesday in April at Vermillion Art Gallery and Bar</span><span>. Accessibl
 e by lightrail\, all performances are free and open for all ages. </span>&lt;
 /p&gt; <p><em>This concert series promotes the upcoming IMP festival at the U
 W's Meany Studio Theater on April 25 and 26\, with guest artists Bill Fris
 ell\, Josh Johnson\, and Luke Bergman. </em></p> <hr> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:5faa6a0b-5276-45f2-bd88-1e3d979349c1
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20240808T235445Z
DESCRIPTION:<p></p>\n<p>The renowned Eroica Trio—Erika Nickrenz\, piano\; S
 ara Parkins\, violin\; and Sara Sant’Ambrogio\, cello—performs works by J.
 S. Bach\, Tomaso Albinoni\, Fritz Kreisler\, George Gershwin\, and Johanne
 s Brahms in this concert concluding the group's three-day residency at the
  School of Music.</p>\n<hr>\n<h3>Program</h3>\n<p></p>\n<p>Chaconne\, from
  Partita no. 2 in d minor -<b> Johann Sebastian Bach </b>(1685–July 1750)&lt;
 b&gt;<br></b>arr. by <b>Anne Dudley </b>for the <b>Eroica Trio </b><b></b></p>\n<p>Adagio -<b> Tomaso Albinoni </b>(1671 – 1751)<b><br></b>arr. by the 
 <b>Eroica Trio </b><b></b></p>\n<p>Miniature Viennese March<b> - Fritz Kre
 isler </b>(1875 – 1962)</p>\n<p>Porgy and Bess Fantasy for Piano Trio<b> -
  George Gershwin </b>(1898-1937)<b> <br></b>arr. by <b>Kenji Bunch </b>for
  the <b>Eroica Trio </b><b></b></p>\n<p>INTERMISSION </p>\n<p>Piano Trio N
 o. 2 in C Major\, Opus 87<b> - Johannes Brahms </b>(1833-1897)</p>\n<hr>\n
 <p></p>\n<h3>Artist Biography</h3>\n<h2>Eroica Trio</h2>\n\n<p class='news
 _story'>The Grammy nominated Eroica Trio enraptures audiences with flawles
 s technical virtuosity\, irresistible enthusiasm and sensual elegance. The
  three women who make up this celebrated ensemble electrify the concert st
 age with their passionate performances. The New York Times writes\, “There
  is an edge of the seat intensity to every note they produce”.</p>\n<p cla ss='news_story'>The Trio won the prestigious Naumburg Award\, resulting in
  a highly successful Lincoln Center debut and has since toured the United 
 States\, Europe\, Middle East\, South America and Asia. While maintaining 
 their demanding concert schedule\, the Eroica Trio has released eight crit
 ically lauded recordings for Angel/EMI classics Records\, garnering them m
 ultiple Grammy nominations. The first all female chamber ensemble to reach
  the top echelon of the field\, the women of the Eroica Trio has shattered
  the age-old gender barrier\, leading the vanguard and inspiring many to f
 ollow.</p>\n<p class='news_story'>The unique history of the players of the
  Eroica Trio goes all the way back to childhood. Sara Sant’Ambrogio and Er
 ika Nickrenz first met at age 12\, when Erika came to study with Sara’s Gr
 andmother\, the founder of Red Fox Music Camp. Two years later\, Sara coll
 aborated with violinist Sara Parkins at the renowned Meadowmount School of
  Music\, where they became fast friends\, and later became roommates when 
 they were both students at The Curtis Institute of Music. Sara Parkins and
  Erika Nickrenz also met in their teens\, playing together as students at 
 the Pre-College division of The Juilliard School and at the Tanglewood Mus
 ic Center. That same year the Eroica Trio was formed at The Juilliard Scho
 ol. This intricate web of early connections helped forge a lifelong bond b
 etween the three women of the Eroica Trio.</p>\n<p class='news_story'>The 
 Eroica Trio performs the Beethoven Triple Concerto more frequently than an
 y other trio in the world\, having appeared with renowned symphonies such 
 as Chicago\, St. Louis\, San Francisco\, Mostly Mozart Orchestra\, Nashvil
 le\, Indianapolis\, Atlanta\, Pittsburgh\, Houston\, New Jersey and Seattl
 e. In addition\, The Trio has performed the work abroad with Orquesta Sinf
 onica de Euskadi in Spain\, Haydn Orchestra in Italy\, with the Royal Phil
 harmonic Orchestra and Budapest Symphony in Germany\, and on multiple tour
 s in the United States with the Cincinnati Symphony as well as with the Pr
 ague Chamber Orchestra. The Eroica Trio’s recording of the Beethoven Tripl
 e with the Prague Chamber Orchestra was so successful it landed this piece
  on Billboards Top 20 for the first time in recording history. The Trio ap
 peared on the German television program “Klassich!” performing the Beethov
 en Triple Concerto with the Munich Symphony\, which was aired throughout E
 urope. A multi-city tour of North America with the Vienna Symphony Orchest
 ra\, under the baton of Maestro Fabio Luisi\, culminated in a sold out per
 formance on the “Great Performers at Lincoln Center” series in Avery Fishe
 r Hall in New York City.</p>\n<p class='news_story'>Highlights this season
  include a mini-series\, Eroica Trio and Friends\, in Calderwood Hall in t
 he Isabella Stewart Gardner Museum with principal Clarinetist of the Atlan
 ta Symphony Laura Ardan and Violist of the Emerson Quartet\, Lawrence Dutt
 on. Another exciting project for the trio\, Tango Ahora\, featuring two ne
 w Concerti for the Trio and Bandoneon by Argentinean composers Emilio Kaud
 erer and Daniel Binelli\, recording in Prague fall of 2106 and premiering 
 Kauderer’s Concerto with the Orquesta Sinfonica Nacional in Buenos Aires i
 n March 2017. Along with tours of the continental U.S.\, Mexico and Hawaii
 \, the trio will play a recital in Symphony Space in NYC as part of the “C
 utting Edge” series will include works written for them by Bruce Wolosoff 
 and Pulitzer Prize winner Kevin Puts.</p>\n<p class='news_story'>The Eroic
 a Trio has appeared on numerous television programs\, including ABC’s The 
 View\, CNN’s Showbiz Today\, CBS and ABC News\, the CBS Morning Show and S
 aturday Morning\, A&amp;E’s Breakfast with the Arts\, The Isaac Mizrahi Show\,
  Pure Oxygen\, Bloomberg TV and Fox’s The Crier Report. Eroica!\, a specia
 l documentary about the Trio and its commissioning of a new triple concert
 o by Kevin Kaska\, premiered on the PBS series Independent Lens and has ha
 d multiple airings worldwide. The group has been featured in such magazine
 s as Elle\, Glamour\, Vanity Fair\, Detour\, Marie Claire\, Gotham\, Entré
 e\, Bon Appétit\, Time Out New York\, Gramophone\, Piano\, Vivace\, Audito
 rium\, and Chamber Music. In addition\, the ladies have graced the covers 
 of magazines as diverse as Fanfare\, Cigar\, Strings\, Tall\, and Strad. G
 rand Marnier® created a new cocktail dubbed “The Eroica” which was unveile
 d for the release of their “Pasión” recording. Chateau Sainte Michelle\, a
  vineyard in Seattle\, also named one of its Gold Medal winning Reislings 
 in honor of the Trio.</p>\n<p class='news_story'>Whether the Eroica Trio i
 s interpreting the Baroque Masters\, the power and strength of Beethoven\,
  the jazzy tunes of Schoenfield or the Bluegrass toe tapping rhythms of Ma
 rk O’Connor\, their performances are deeply personal and continue to thril
 l audiences around the world. To quote the San Francisco Examiner\, “It ha
 s been decades since this country has produced a chamber music organizatio
 n with this much passion…”</p>\n\n<h4><a href='https://www.ekmeles.com' ta rget='_blank' rel='noopener noreferrer'></a></h4>
DTSTART;TZID=America/Los_Angeles:20250416T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:189
SUMMARY:: Guest Artist Concert: Eroica Trio
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-17/guest-artist-concert-ero
 ica-trio
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The renowned Eroica Trio—Erika Nick
 renz\, piano\; Sara Parkins\, violin\; and Sara Sant’Ambrogio\, cello—perf
 orms works by J.S. Bach\, Tomaso Albinoni\, Fritz Kreisler\, George Gershw
 in\, and Johannes Brahms in this concert concluding the group's three-day 
 residency at the School of Music.</p> <hr> <h3>Program</h3> <p></p> <p>Cha
 conne\, from Partita no. 2 in d minor -<b> Johann Sebastian Bach<span clas s='Apple-converted-space'> </span></b><span class='Apple-converted-space'>
 (</span><span class='Apple-converted-space'>1685–July 1750)</span><b><span class='Apple-converted-space'><br></span></b>arr. by <b>Anne Dudley </b>f
 or the <b>Eroica Trio<span class='Apple-converted-space'> </span></b><b></b></p> <p>Adagio -<b> Tomaso Albinoni<span class='Apple-converted-space'> 
 </span></b><span class='Apple-converted-space'>(</span><span class='Apple-
 converted-space'>1671 – 1751)</span><b><span class='Apple-converted-space'><br></span></b>arr. by the <b>Eroica Trio<span class='Apple-converted-spa
 ce'> </span></b><b></b></p> <p>Miniature Viennese March<b> - Fritz Kreisle
 r<span class='Apple-converted-space'> </span></b><span class='Apple-conver
 ted-space'>(</span><span class='Apple-converted-space'>1875 – 1962)</span>
 </p> <p>Porgy and Bess Fantasy for Piano Trio<b> - George Gershwin </b>(18
 98-1937)<b><span class='Apple-converted-space'> <br></span></b>arr. by <b>
 Kenji Bunch </b>for the <b>Eroica Trio<span class='Apple-converted-space'>
  </span></b><b></b></p> <p>INTERMISSION<span class='Apple-converted-space'> </span></p> <p>Piano Trio No. 2 in C Major\, Opus 87<b> - Johannes Brahm
 s<span class='Apple-converted-space'> </span></b><span class='Apple-conver
 ted-space'>(1833-1897)</span></p> <hr> <p></p> <h3>Artist Biography</h3> &lt;
 h2&gt;Eroica Trio</h2> <div id='content-box'> <p class='news_story'>The Gramm
 y nominated Eroica Trio enraptures audiences with flawless technical virtu
 osity\, irresistible enthusiasm and sensual elegance. The three women who 
 make up this celebrated ensemble electrify the concert stage with their pa
 ssionate performances. The New York Times writes\, “There is an edge of th
 e seat intensity to every note they produce”.</p> <p class='news_story'>Th
 e Trio won the prestigious Naumburg Award\, resulting in a highly successf
 ul Lincoln Center debut and has since toured the United States\, Europe\, 
 Middle East\, South America and Asia. While maintaining their demanding co
 ncert schedule\, the Eroica Trio has released eight critically lauded reco
 rdings for Angel/EMI classics Records\, garnering them multiple Grammy nom
 inations. The first all female chamber ensemble to reach the top echelon o
 f the field\, the women of the Eroica Trio has shattered the age-old gende
 r barrier\, leading the vanguard and inspiring many to follow.</p> <p clas s='news_story'>The unique history of the players of the Eroica Trio goes a
 ll the way back to childhood. Sara Sant’Ambrogio and Erika Nickrenz first 
 met at age 12\, when Erika came to study with Sara’s Grandmother\, the fou
 nder of Red Fox Music Camp. Two years later\, Sara collaborated with violi
 nist Sara Parkins at the renowned Meadowmount School of Music\, where they
  became fast friends\, and later became roommates when they were both stud
 ents at The Curtis Institute of Music. Sara Parkins and Erika Nickrenz als
 o met in their teens\, playing together as students at the Pre-College div
 ision of The Juilliard School and at the Tanglewood Music Center. That sam
 e year the Eroica Trio was formed at The Juilliard School. This intricate 
 web of early connections helped forge a lifelong bond between the three wo
 men of the Eroica Trio.</p> <p class='news_story'>The Eroica Trio performs
  the Beethoven Triple Concerto more frequently than any other trio in the 
 world\, having appeared with renowned symphonies such as Chicago\, St. Lou
 is\, San Francisco\, Mostly Mozart Orchestra\, Nashville\, Indianapolis\, 
 Atlanta\, Pittsburgh\, Houston\, New Jersey and Seattle. In addition\, The
  Trio has performed the work abroad with Orquesta Sinfonica de Euskadi in 
 Spain\, Haydn Orchestra in Italy\, with the Royal Philharmonic Orchestra a
 nd Budapest Symphony in Germany\, and on multiple tours in the United Stat
 es with the Cincinnati Symphony as well as with the Prague Chamber Orchest
 ra. The Eroica Trio’s recording of the Beethoven Triple with the Prague Ch
 amber Orchestra was so successful it landed this piece on Billboards Top 2
 0 for the first time in recording history. The Trio appeared on the German
  television program “Klassich!” performing the Beethoven Triple Concerto w
 ith the Munich Symphony\, which was aired throughout Europe. A multi-city 
 tour of North America with the Vienna Symphony Orchestra\, under the baton
  of Maestro Fabio Luisi\, culminated in a sold out performance on the “Gre
 at Performers at Lincoln Center” series in Avery Fisher Hall in New York C
 ity.</p> <p class='news_story'>Highlights this season include a mini-serie
 s\, Eroica Trio and Friends\, in Calderwood Hall in the Isabella Stewart G
 ardner Museum with principal Clarinetist of the Atlanta Symphony Laura Ard
 an and Violist of the Emerson Quartet\, Lawrence Dutton. Another exciting 
 project for the trio\, Tango Ahora\, featuring two new Concerti for the Tr
 io and Bandoneon by Argentinean composers Emilio Kauderer and Daniel Binel
 li\, recording in Prague fall of 2106 and premiering Kauderer’s Concerto w
 ith the Orquesta Sinfonica Nacional in Buenos Aires in March 2017. Along w
 ith tours of the continental U.S.\, Mexico and Hawaii\, the trio will play
  a recital in Symphony Space in NYC as part of the “Cutting Edge” series w
 ill include works written for them by Bruce Wolosoff and Pulitzer Prize wi
 nner Kevin Puts.</p> <p class='news_story'>The Eroica Trio has appeared on
  numerous television programs\, including ABC’s The View\, CNN’s Showbiz T
 oday\, CBS and ABC News\, the CBS Morning Show and Saturday Morning\, A&amp;E’
 s Breakfast with the Arts\, The Isaac Mizrahi Show\, Pure Oxygen\, Bloombe
 rg TV and Fox’s The Crier Report. Eroica!\, a special documentary about th
 e Trio and its commissioning of a new triple concerto by Kevin Kaska\, pre
 miered on the PBS series Independent Lens and has had multiple airings wor
 ldwide. The group has been featured in such magazines as Elle\, Glamour\, 
 Vanity Fair\, Detour\, Marie Claire\, Gotham\, Entrée\, Bon Appétit\, Time
  Out New York\, Gramophone\, Piano\, Vivace\, Auditorium\, and Chamber Mus
 ic. In addition\, the ladies have graced the covers of magazines as divers
 e as Fanfare\, Cigar\, Strings\, Tall\, and Strad. Grand Marnier® created 
 a new cocktail dubbed “The Eroica” which was unveiled for the release of t
 heir “Pasión” recording. Chateau Sainte Michelle\, a vineyard in Seattle\,
  also named one of its Gold Medal winning Reislings in honor of the Trio.&lt;
 /p&gt; <p class='news_story'>Whether the Eroica Trio is interpreting the Baro
 que Masters\, the power and strength of Beethoven\, the jazzy tunes of Sch
 oenfield or the Bluegrass toe tapping rhythms of Mark O’Connor\, their per
 formances are deeply personal and continue to thrill audiences around the 
 world. To quote the San Francisco Examiner\, “It has been decades since th
 is country has produced a chamber music organization with this much passio
 n…”</p> </div> <h4><a href='https://www.ekmeles.com' target='_blank' rel='
 noopener noreferrer'></a></h4>
END:VEVENT
BEGIN:VEVENT
UID:13b0427b-0fad-4169-855e-67b977379059
DTSTAMP:20260307T094252Z
CATEGORIES:Master Classes\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250328T173352Z
DESCRIPTION:<p>Members of the acclaimed Eroica Trio lead master classes wit
 h UW music students and young Seattle musicians and participate in a quest
 ion-and-answer session during the group's three-day residency at the Schoo
 l of Music. A full schedule of class sessions is below. </p>\n<hr>\n<h2>Ma
 ster Class Schedule<br><br></h2>\n<h4></h4>\n<h4>Tuesday\, April 15</h4>\n
 <p><strong>Master Class:</strong> 10:30am -12:30pm<br><strong><br>Antonín 
 Dvorak:</strong> “Dumky” Trio\, Movt. 2<br>David Teves-Tan (violin)\, Loni
  Yin (cello)\, Jeffrey Tso (piano)<br><strong><br>Johannes Brahms:</strong> Clarinet Quintet\, Movt. 1<br>I. Allegro<br>SOVO Quartet - Hanu Nahm and
  Sean Sasaki (violins)\, Joey Young (viola)\, Nathan Evans (cello)\, feat.
  Nick Zhang (clarinet)</p>\n<hr>\n<p><strong>Master Class:</strong> 1:30-3
 :30pm - “Younger Seattle”<br><strong><br>Eli Antony:</strong>  “Forest Fan
 tasia\,” for Cello and Piano<br>Eli Antony (cellist/composer) and Chiao-Yu
  Wu (piano)<br><strong><br>Johannes Brahms:</strong> “Sonatensatz” Scherzo
  for violin and piano in c minor<br>Matthew Tian (violin) and Cicy Li (pia
 no)  <br><strong><br>Johannes Brahms:</strong> Sonata #2 in A Major\, Op. 
 100\, movement 1<br>Galen Belding (violin) and Cicy Li (piano)</p>\n<hr>\n
 <p><strong>Master Class: </strong>4:30pm-6:30pm</p>\n<p><strong>Gabriel Fa
 uré: </strong>Piano Quartet No. 1\, Movt. 1<br>Allegro molto moderato<br>G
 race Pandra (violin) Danielle Tsao (viola)\, Sarah Johnson (cello) Cicy Li
  (piano)</p>\n<p><strong>Ludwig van Beethoven: </strong>Sonata No. 8\, Op.
  30 No. 3\, Movt. 1<br><strong>Sergei Prokofiev:</strong> Violin Sonata No
 . 2 in D Major Op. 94a\, Movt. 1<br>Emily Acri (violin) and Li-Cheng Hung 
 (piano)</p>\n<hr>\n<h4>Thursday\, April 17</h4>\n<p><strong>Master Class:&lt;
 /strong&gt; 10:30am-12:30pm</p>\n<p><strong>Clara Schumann:</strong> Piano Tr
 io in g minor\, Movts. 1 &amp; 3<br>Taylor deCastro (violin)\, Alex Fang (pian
 o)\, Isabella Kodama (cello)</p>\n<hr>\n<p><strong>Master Class:</strong> 
 4:30pm-6:30pm</p>\n<p><strong>Beethoven:</strong> Piano Trio Op. 1\, No. 3
 \, Mvt. 1<br>Eura Trio: Rachel Jung (violin)\, Taiyo Oishi (piano)\, and C
 harlie Lee (cello)</p>\n<p><strong>Q and A</strong> <strong>with the artis
 ts</strong></p>\n<p>All classes are in Brechemin Auditorium.</p>\n<hr>\nBiography</h2>\n<p></p>\n\n\n\n\n\n\n\n<p class='news_story'>The Grammy 
 nominated Eroica Trio enraptures audiences with flawless technical virtuos
 ity\, irresistible enthusiasm and sensual elegance. The three women who ma
 ke up this celebrated ensemble electrify the concert stage with their pass
 ionate performances. The New York Times writes\, “There is an edge of the 
 seat intensity to every note they produce”.</p>\n<p class='news_story'>The
  Trio won the prestigious Naumburg Award\, resulting in a highly successfu
 l Lincoln Center debut and has since toured the United States\, Europe\, M
 iddle East\, South America and Asia. While maintaining their demanding con
 cert schedule\, the Eroica Trio has released eight critically lauded recor
 dings for Angel/EMI classics Records\, garnering them multiple Grammy nomi
 nations. The first all female chamber ensemble to reach the top echelon of
  the field\, the women of the Eroica Trio has shattered the age-old gender
  barrier\, leading the vanguard and inspiring many to follow.</p>\n<p clas s='news_story'>The unique history of the players of the Eroica Trio goes a
 ll the way back to childhood. Sara Sant’Ambrogio and Erika Nickrenz first 
 met at age 12\, when Erika came to study with Sara’s Grandmother\, the fou
 nder of Red Fox Music Camp. Two years later\, Sara collaborated with violi
 nist Sara Parkins at the renowned Meadowmount School of Music\, where they
  became fast friends\, and later became roommates when they were both stud
 ents at The Curtis Institute of Music. Sara Parkins and Erika Nickrenz als
 o met in their teens\, playing together as students at the Pre-College div
 ision of The Juilliard School and at the Tanglewood Music Center. That sam
 e year the Eroica Trio was formed at The Juilliard School. This intricate 
 web of early connections helped forge a lifelong bond between the three wo
 men of the Eroica Trio.</p>\n<p class='news_story'>The Eroica Trio perform
 s the Beethoven Triple Concerto more frequently than any other trio in the
  world\, having appeared with renowned symphonies such as Chicago\, St. Lo
 uis\, San Francisco\, Mostly Mozart Orchestra\, Nashville\, Indianapolis\,
  Atlanta\, Pittsburgh\, Houston\, New Jersey and Seattle. In addition\, Th
 e Trio has performed the work abroad with Orquesta Sinfonica de Euskadi in
  Spain\, Haydn Orchestra in Italy\, with the Royal Philharmonic Orchestra 
 and Budapest Symphony in Germany\, and on multiple tours in the United Sta
 tes with the Cincinnati Symphony as well as with the Prague Chamber Orches
 tra. The Eroica Trio’s recording of the Beethoven Triple with the Prague C
 hamber Orchestra was so successful it landed this piece on Billboards Top 
 20 for the first time in recording history. The Trio appeared on the Germa
 n television program “Klassich!” performing the Beethoven Triple Concerto 
 with the Munich Symphony\, which was aired throughout Europe. A multi-city
  tour of North America with the Vienna Symphony Orchestra\, under the bato
 n of Maestro Fabio Luisi\, culminated in a sold out performance on the “Gr
 eat Performers at Lincoln Center” series in Avery Fisher Hall in New York 
 City.</p>\n<p class='news_story'>Highlights this season include a mini-ser
 ies\, Eroica Trio and Friends\, in Calderwood Hall in the Isabella Stewart
  Gardner Museum with principal Clarinetist of the Atlanta Symphony Laura A
 rdan and Violist of the Emerson Quartet\, Lawrence Dutton. Another excitin
 g project for the trio\, Tango Ahora\, featuring two new Concerti for the 
 Trio and Bandoneon by Argentinean composers Emilio Kauderer and Daniel Bin
 elli\, recording in Prague fall of 2106 and premiering Kauderer’s Concerto
  with the Orquesta Sinfonica Nacional in Buenos Aires in March 2017. Along
  with tours of the continental U.S.\, Mexico and Hawaii\, the trio will pl
 ay a recital in Symphony Space in NYC as part of the “Cutting Edge” series
  will include works written for them by Bruce Wolosoff and Pulitzer Prize 
 winner Kevin Puts.</p>\n<p class='news_story'>The Eroica Trio has appeared
  on numerous television programs\, including ABC’s The View\, CNN’s Showbi
 z Today\, CBS and ABC News\, the CBS Morning Show and Saturday Morning\, A
 &amp;E’s Breakfast with the Arts\, The Isaac Mizrahi Show\, Pure Oxygen\, Bloo
 mberg TV and Fox’s The Crier Report. Eroica!\, a special documentary about
  the Trio and its commissioning of a new triple concerto by Kevin Kaska\, 
 premiered on the PBS series Independent Lens and has had multiple airings 
 worldwide. The group has been featured in such magazines as Elle\, Glamour
 \, Vanity Fair\, Detour\, Marie Claire\, Gotham\, Entrée\, Bon Appétit\, T
 ime Out New York\, Gramophone\, Piano\, Vivace\, Auditorium\, and Chamber 
 Music. In addition\, the ladies have graced the covers of magazines as div
 erse as Fanfare\, Cigar\, Strings\, Tall\, and Strad. Grand Marnier® creat
 ed a new cocktail dubbed “The Eroica” which was unveiled for the release o
 f their “Pasión” recording. Chateau Sainte Michelle\, a vineyard in Seattl
 e\, also named one of its Gold Medal winning Reislings in honor of the Tri
 o.</p>\n<p class='news_story'>Whether the Eroica Trio is interpreting the 
 Baroque Masters\, the power and strength of Beethoven\, the jazzy tunes of
  Schoenfield or the Bluegrass toe tapping rhythms of Mark O’Connor\, their
  performances are deeply personal and continue to thrill audiences around 
 the world. To quote the San Francisco Examiner\, “It has been decades sinc
 e this country has produced a chamber music organization with this much pa
 ssion…”</p>
DTSTART;TZID=America/Los_Angeles:20250417T103000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:190
SUMMARY:: Eroica Trio Residency: Master Classes
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-15/eroica-trio-residency-ma
 ster-classes
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Members of the acclaimed Eroica Trio lead m
 aster classes with UW music students and young Seattle musicians and parti
 cipate in a question-and-answer session during the group's three-day resid
 ency at the School of Music. A full schedule of class sessions is below. &lt;
 /p&gt; <hr> <h2>Master Class Schedule<br><br></h2> <h4></h4> <h4>Tuesday\, Ap
 ril 15</h4> <p><strong>Master Class:</strong> 10:30am -12:30pm<br><em></em><strong><br>Antonín Dvorak:</strong> “Dumky” Trio\, Movt. 2<br><em>David 
 Teves-Tan (violin)\, Loni Yin (cello)\, Jeffrey Tso (piano)</em><br><br>Johannes Brahms:</strong> Clarinet Quintet\, Movt. 1<br>I. Allegro<b r><em>SOVO Quartet - Hanu Nahm and Sean Sasaki (violins)\, Joey Young (vio
 la)\, Nathan Evans (cello)\, feat. Nick Zhang (clarinet)</em></p> <hr> <p>
 <strong>Master Class:</strong> 1:30-3:30pm - <em>“Younger Seattle”<br></em><span><strong><br>Eli Antony:</strong>  “Forest Fantasia\,” for Cello and
  Piano<br></span><em>Eli Antony (cellist/composer) and Chiao-Yu Wu (piano)
 </em><br><strong><br>Johannes Brahms:</strong> <span>“Sonatensatz” Scherzo
  for violin and piano in c minor<br></span><em>Matthew Tian (violin) and C
 icy Li (piano)  </em><br><strong><br>Johannes Brahms:</strong> <span>Sonat
 a #2 in A Major\, Op. 100\, movement 1<br></span><em>Galen Belding (violin
 ) and Cicy Li (piano)</em></p> <hr> <p><strong>Master Class: </strong>4:30
 pm-6:30pm</p> <p><strong>Gabriel Fauré: </strong>Piano Quartet No. 1\, Mov
 t. 1<br>Allegro molto moderato<br><em>Grace Pandra (violin) Danielle Tsao 
 (viola)\, Sarah Johnson (cello) Cicy Li (piano)</em></p> <p><strong>Ludwig
  van Beethoven: </strong>Sonata No. 8\, Op. 30 No. 3\, Movt. 1<br><strong>
 Sergei Prokofiev:</strong> Violin Sonata No. 2 in D Major Op. 94a\, Movt. 
 1<br><em>Emily Acri (violin) and Li-Cheng Hung (piano)</em></p> <hr> <h4>T
 hursday\, April 17</h4> <p><strong>Master Class:</strong> 10:30am-12:30pm&lt;
 /p&gt; <p><span><strong>Clara Schumann:</strong> Piano Trio in g minor\, Movt
 s. 1 &amp; 3<br></span><em>Taylor deCastro (violin)\, Alex Fang (piano)\, Isab
 ella Kodama (cello)</em></p> <hr> <p><strong>Master Class:</strong> 4:30pm
 -6:30pm</p> <p><span><strong>Beethoven:</strong> Piano Trio Op. 1\, No. 3\
 , Mvt. 1<br></span><em>Eura Trio: Rachel Jung (violin)\, Taiyo Oishi (pian
 o)\, and Charlie Lee (cello)</em></p> <p><strong>Q and A</strong> <strong>
 with the artists</strong></p> <p><em>All classes are in Brechemin Auditori
 um.</em></p> <hr> <h2>Biography</h2> <p></p> <div class='body field'> <div class='field-items'> <div class='field-item even'> <div class='body field
 '> <div class='field-items'> <div class='field-item even'> <div id='conten
 t-box'> <p class='news_story'>The Grammy nominated Eroica Trio enraptures 
 audiences with flawless technical virtuosity\, irresistible enthusiasm and
  sensual elegance. The three women who make up this celebrated ensemble el
 ectrify the concert stage with their passionate performances. The New York
  Times writes\, “There is an edge of the seat intensity to every note they
  produce”.</p> <p class='news_story'>The Trio won the prestigious Naumburg
  Award\, resulting in a highly successful Lincoln Center debut and has sin
 ce toured the United States\, Europe\, Middle East\, South America and Asi
 a. While maintaining their demanding concert schedule\, the Eroica Trio ha
 s released eight critically lauded recordings for Angel/EMI classics Recor
 ds\, garnering them multiple Grammy nominations. The first all female cham
 ber ensemble to reach the top echelon of the field\, the women of the Eroi
 ca Trio has shattered the age-old gender barrier\, leading the vanguard an
 d inspiring many to follow.</p> <p class='news_story'>The unique history o
 f the players of the Eroica Trio goes all the way back to childhood. Sara 
 Sant’Ambrogio and Erika Nickrenz first met at age 12\, when Erika came to 
 study with Sara’s Grandmother\, the founder of Red Fox Music Camp. Two yea
 rs later\, Sara collaborated with violinist Sara Parkins at the renowned M
 eadowmount School of Music\, where they became fast friends\, and later be
 came roommates when they were both students at The Curtis Institute of Mus
 ic. Sara Parkins and Erika Nickrenz also met in their teens\, playing toge
 ther as students at the Pre-College division of The Juilliard School and a
 t the Tanglewood Music Center. That same year the Eroica Trio was formed a
 t The Juilliard School. This intricate web of early connections helped for
 ge a lifelong bond between the three women of the Eroica Trio.</p> <p clas s='news_story'>The Eroica Trio performs the Beethoven Triple Concerto more
  frequently than any other trio in the world\, having appeared with renown
 ed symphonies such as Chicago\, St. Louis\, San Francisco\, Mostly Mozart 
 Orchestra\, Nashville\, Indianapolis\, Atlanta\, Pittsburgh\, Houston\, Ne
 w Jersey and Seattle. In addition\, The Trio has performed the work abroad
  with Orquesta Sinfonica de Euskadi in Spain\, Haydn Orchestra in Italy\, 
 with the Royal Philharmonic Orchestra and Budapest Symphony in Germany\, a
 nd on multiple tours in the United States with the Cincinnati Symphony as 
 well as with the Prague Chamber Orchestra. The Eroica Trio’s recording of 
 the Beethoven Triple with the Prague Chamber Orchestra was so successful i
 t landed this piece on Billboards Top 20 for the first time in recording h
 istory. The Trio appeared on the German television program “Klassich!” per
 forming the Beethoven Triple Concerto with the Munich Symphony\, which was
  aired throughout Europe. A multi-city tour of North America with the Vien
 na Symphony Orchestra\, under the baton of Maestro Fabio Luisi\, culminate
 d in a sold out performance on the “Great Performers at Lincoln Center” se
 ries in Avery Fisher Hall in New York City.</p> <p class='news_story'>High
 lights this season include a mini-series\, Eroica Trio and Friends\, in Ca
 lderwood Hall in the Isabella Stewart Gardner Museum with principal Clarin
 etist of the Atlanta Symphony Laura Ardan and Violist of the Emerson Quart
 et\, Lawrence Dutton. Another exciting project for the trio\, Tango Ahora\
 , featuring two new Concerti for the Trio and Bandoneon by Argentinean com
 posers Emilio Kauderer and Daniel Binelli\, recording in Prague fall of 21
 06 and premiering Kauderer’s Concerto with the Orquesta Sinfonica Nacional
  in Buenos Aires in March 2017. Along with tours of the continental U.S.\,
  Mexico and Hawaii\, the trio will play a recital in Symphony Space in NYC
  as part of the “Cutting Edge” series will include works written for them 
 by Bruce Wolosoff and Pulitzer Prize winner Kevin Puts.</p> <p class='news
 _story'>The Eroica Trio has appeared on numerous television programs\, inc
 luding ABC’s The View\, CNN’s Showbiz Today\, CBS and ABC News\, the CBS M
 orning Show and Saturday Morning\, A&amp;E’s Breakfast with the Arts\, The Isa
 ac Mizrahi Show\, Pure Oxygen\, Bloomberg TV and Fox’s The Crier Report. E
 roica!\, a special documentary about the Trio and its commissioning of a n
 ew triple concerto by Kevin Kaska\, premiered on the PBS series Independen
 t Lens and has had multiple airings worldwide. The group has been featured
  in such magazines as Elle\, Glamour\, Vanity Fair\, Detour\, Marie Claire
 \, Gotham\, Entrée\, Bon Appétit\, Time Out New York\, Gramophone\, Piano\
 , Vivace\, Auditorium\, and Chamber Music. In addition\, the ladies have g
 raced the covers of magazines as diverse as Fanfare\, Cigar\, Strings\, Ta
 ll\, and Strad. Grand Marnier® created a new cocktail dubbed “The Eroica” 
 which was unveiled for the release of their “Pasión” recording. Chateau Sa
 inte Michelle\, a vineyard in Seattle\, also named one of its Gold Medal w
 inning Reislings in honor of the Trio.</p> <p class='news_story'>Whether t
 he Eroica Trio is interpreting the Baroque Masters\, the power and strengt
 h of Beethoven\, the jazzy tunes of Schoenfield or the Bluegrass toe tappi
 ng rhythms of Mark O’Connor\, their performances are deeply personal and c
 ontinue to thrill audiences around the world. To quote the San Francisco E
 xaminer\, “It has been decades since this country has produced a chamber m
 usic organization with this much passion…”</p> </div> </div> </div> </div>
  </div> </div> </div>
END:VEVENT
BEGIN:VEVENT
UID:dfabbe52-3a22-417a-be7a-a2931a6d4121
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20240809T001249Z
DESCRIPTION:<p></p>\n<p><strong>NOTE: This event has been postponed and wil
 l be rescheduled to a future date.</strong></p>\n<hr>\n<p>John-Carlos Pere
 a and guests perform “Improvising Home” for jazz ensemble. Originally comm
 issioned by the San Francisco Arts Commission and composed by Perea in 201
 6\, this performance revisits and reinterprets the score following Perea’s
  2023 arrival at the UW\, where he serves as Ethnomusicology associate pro
 fessor and adjunct associate professor of American Indian Studies. </p>\n&lt;
 hr&gt;\n<h3>Artist Biography</h3>\n<p><strong></strong></p>\n<h4><a href='//www.seattlemodernorchestra.org' target='_blank' rel='noopener norefer
 rer'></a></h4>
DTSTART;TZID=America/Los_Angeles:20250418T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:191
SUMMARY:: Postponed: Faculty Concert: John-Carlos Perea\, 'Improvising Home
 '
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-19/postponed-faculty-concer
 t-john-carlos-perea-improvising-home
END:VEVENT
BEGIN:VEVENT
UID:a51ea8c4-4c2c-4fcd-a3d8-98c423d0508b
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250416T152840Z
DESCRIPTION:<p></p>\n<p>Natalie Song (BM\, Jazz Studies)\, a student of Ted
  Poor\, presents her senior recital\, a performance by the Natalie Song Tr
 io—Natalie Song (piano)\, Riley Tobin (bass)\, and Tobias Miller (drums). 
  With Cole McKittrick\, guitar.</p>\n<hr>\n<h2> Program</h2>\n\nThe More I
  See You - <strong>Harry Warren</strong>\n\nGreen In Blue - <strong>Bill E
 vans</strong>\n\nTime Remembered - <strong>Bill Evans</strong>\n\nMonk's M
 ood - <strong>Thelonious Monk</strong>\n\nMoonlight in Vermont - <strong>J
 ohn Blackburn and Karl Suessdorf</strong>\n\nIsotope -<strong> Joe Henders
 on</strong> \n\n\nTobias Miller\, drums\; Natalie Song\, piano\; Riley Tob
 in\, bass\nwith Cole McKittrick\, guitar \n\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250419T133000
LAST-MODIFIED:20250416T192627Z
SEQUENCE:192
SUMMARY:: Senior Recital: Natalie Song\, Jazz Studies
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-19/senior-recital-natalie-s
 ong-jazz-studies
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Natalie Song (BM\, Jazz Studies)\, 
 a student of Ted Poor\, presents her senior recital\, a performance by the
  Natalie Song Trio—Natalie Song (piano)\, Riley Tobin (bass)\, and Tobias 
 Miller (drums).  With<span> Cole McKittrick\, guitar.</span></p> <hr> <h2>
 <span> </span>Program</h2> <div class='ApplePlainTextBody'> <div>The More 
 I See You - <strong>Harry Warren</strong></div> <div></div> <div>Green In 
 Blue - <strong>Bill Evans</strong></div> <div></div> <div>Time Remembered 
 - <strong>Bill Evans</strong></div> <div></div> <div>Monk's Mood - <strong>Thelonious Monk</strong></div> <div></div> <div>Moonlight in Vermont - <s trong>John Blackburn and Karl Suessdorf</strong></div> <div></div> <div>Is
 otope -<strong> Joe Henderson</strong> </div> <div></div> <div></div> <div>Tobias Miller\, drums\; Natalie Song\, piano\; Riley Tobin\, bass</div> &lt;
 div&gt;with Cole McKittrick\, guitar </div> </div> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:bcfa09b0-9c74-4c3e-9fd2-f78faaf3e8c7
DTSTAMP:20260307T094252Z
CATEGORIES:Student Activities and Performances
CLASS:PUBLIC
CREATED:20250415T170003Z
DESCRIPTION:<p>Students from Craig Sheppard's UW piano student present a sp
 ring recital.</p>\n<hr>\n<h2>Program</h2>\n<p>C
 raig Sheppard Piano Studio Recital<br>Brechemin Auditorium | Saturday\, Ap
 ril 19\, 2025 | 4:00 p.m.</p>\n<p>Nocturne in B Major\, Op. 32 No. 1 - Frédéric Chopin</strong> (1810-1849)<br>Alyssa Hironaka</p>\n<p>Fantasie in C Major\, Op. 17 -<strong> Robert Schuma
 nn</strong> (1810-1856)<br>I. Durchaus fantastisch und <br>leidenschaftlic
 h vorzutragen\; <br>Im Legenden-Ton<br>Kane Leifei Chang</p>\n<p>Sechs Kla
 vierstücke\, Op. 118 - <strong>Johannes Brahm</strong>s (1833-1897)<br> I.
  Intermezzo in A Minor <br> II. Intermezzo in A Major<br>Xinrui Huang</p>
 \n<p>Napoli Suite for Piano\, FP. 40 - <strong>Francis Poulenc</strong> (1
 899-1963)<br> III. Caprice Italien<br>Isabella Jingshi Zhao</p>\n<p>Ballad
 e No. 4 in F Minor\, Op. 52 - <strong>Frédéric Chopin</strong> (1810-1849)
 <br>Mia HyeYeon Kim</p>\n<p>Paisajes - <strong>
 Federico Mompou</strong> (1893-1987)<br>II. El Lago<br>Aidan Dealy </p>\n&lt;
 p style='font-weight: 400\;'&gt;Waltz in A-flat Major\, Op. 34 No. 1 -<strong> Frédéric Chopin</strong> (1810-1849)<br>Scott Fisher Jr.</p>\n<p>Consolation No. 3\, S. 172 - <strong>Franz Liszt (1811-1886)<br>Jam Jingyang Huang </p>\n<p>Jeux d’eau - <strong>Mauric
 e Ravel</strong> (1875-1937)<br>Katherine Lee</p>\n<p>Goyescas\, Op. 11 - 
  <strong>Enrique Granados</strong> (1867-1916)<br> Book I: “Quejas\, o la 
 Maja y el Ruiseñor” (“The Maiden and the Nightingale”) <br>Alex Fang<br><b r>Concert Étude No. 1 in C Major\, Op. 40 - <strong>Nikolai Kapustin (1937-2020)<br>Scott Fisher Jr.</p>\n<p>Pro
 fessor Sheppard congratulates 2025 graduates Dr. Mia HyeYeon Kim (DMA\, Pi
 ano Performance)\, Scott Fisher Jr. (BM\, Piano Performance)\, Katherine L
 ee (BM\, Piano Performance)\, and Aidan Dealy (BS\, Geophysics).</p>\n<p s tyle=' 400\;'></p>
DTSTART;TZID=America/Los_Angeles:20250419T160000
LAST-MODIFIED:20250416T191911Z
SEQUENCE:193
SUMMARY:: Craig Sheppard Studio Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-19/craig-sheppard-studio-re
 cital
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Students from Craig Sheppard's UW piano stu
 dent present a spring recital.</p> <hr> <h2>Pro
 gram</h2> <p><span>Craig Sheppard Piano Studio 
 Recital</span><span><br></span><span>Brechemin Auditorium | Saturday\, April 19\, 2025 | 4:00 
 p.m.</span></p> <p>Nocturne in B Major\, Op. 32 No. 1 - <strong>Frédéric C
 hopin</strong> (1810-1849)<br>Alyssa Hironaka</p> <p><i>Fantasie in C Major</i>\, Op. 17 -<strong> Robert Schumann (1810-1856)<br><span>I
 . Durchaus fantastisch und <br></span><span>leidenschaftlich vorzutragen\; <br></span><span>Im Legenden-Ton<br></span><em>Ka
 ne Leifei Chang</em></p> <p><i>Sechs Klavierstücke</i>\, Op. 118 - <strong>Johannes Brahm</strong>s (1833-1897)<br> I. Intermezzo in A Minor <br> II
 . Intermezzo in A Major<br><em>Xinrui Huang</em></p> <p><i>Napoli Suite fo
 r Piano</i>\, FP. 40 - <strong>Francis Poulenc</strong> (1899-1963)<br> II
 I. Caprice Italien<br><em>Isabella Jingshi Zhao</em></p> <p>Ballade No. 4 
 in F Minor\, Op. 52 - <strong>Frédéric Chopin</strong> (1810-1849)<br><em>
 Mia HyeYeon Kim</em></p> <p><i>Paisajes - </i>&lt;
 strong&gt;Federico Mompou</strong> (1893-1987)<br><span>II. El Lago<br></span><em>Aidan Dealy </em></p> <p>Waltz in A-flat Major\, Op. 34 No. 1 - Frédéric Chopin</strong> (1810-1849)<br><em>Scott Fisher Jr.</em></p>
  <p>Consolation No. 3\, S. 172 - <strong>Franz 
 Liszt</strong> (1811-1886)<br><em>Jam Jingyang Huang </em></p> <p>Jeux d’e
 au - <strong>Maurice Ravel</strong> (1875-1937)<br><em>Katherine Lee</em>&lt;
 /p&gt; <p><i>Goyescas</i>\, Op. 11 -  <strong>Enrique Granados</strong> (1867
 -1916)<br> Book I: “Quejas\, o la Maja y el Ruiseñor” (“The Maiden and the
  Nightingale”) <br><em>Alex Fang<br></em><br>Concert Étude No. 1 in C Majo
 r\, Op. 40 - <strong>Nikolai Kapustin</strong> (1937-2020)<br><em>Scott Fi
 sher Jr.</em></p> <p><span></span><em>Professor
  Sheppard congratulates 2025 graduates Dr. Mia HyeYeon Kim (DMA\, Piano Pe
 rformance)\, Scott Fisher Jr. (BM\, Piano Performance)\, Katherine Lee (BM
 \, Piano Performance)\, and Aidan Dealy (BS\, Geophysics).</em></p> <p sty le=' 400\;'></p>
END:VEVENT
BEGIN:VEVENT
UID:417350d3-b234-44b6-b063-5fb9358e5813
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20240808T001601Z
DESCRIPTION:<p></p>\n<p>The renowned trumpeter a
 nd newly appointed UW professor of music joins with composer/drummer Qasim
  Naqvi in presenting the world premiere of Talk Show\, a renegade experime
 nt in music\, theatre\, and performance. With theatre direction by Chi-Wan
 g Yang and video design by Jeff Larson—newly appointed faculty at the UW S
 chool of Drama. </p>\n<hr>\n<h2>Program </h2>\n
 <p><b>Talk Show</b> (World Premiere)<br>Tuesday April 22\, 2025 7:30p\, Me
 any Hall</p>\n<p><b>Created by</b>: Steph Richards\, Chi-wang Yang\, Jeff 
 Larson\, Qasim Naqvi<br><b>Featuring:</b> Steph Richards (trumpet\, flugel
 horn\, water\, resonating percussion)\, Qasim Naqvi (analog synthesizers\,
  drumset)\, Cole Mckittrick (sandwich guy)\, Natalie Song (projectiles)<br><b>Directed by:</b> Chi-wang Yang<br><b>Video Design:</b> Jeff Larson<br>
 <b>Video Programming:</b> Nick O’Leary</p>\n<p><br>Edgy\, irreverent\, and
  darkly humorous\, Talk Show draws inspiration from the sensationalized an
 d often surreal narratives of '80s daytime television—stories at once grot
 esque\, operatic\, and unsettlingly familiar—the piece evokes a hypnotic s
 ense of disquiet. Much like the experience of scrolling through today’s re
 lentlessly absurd and chaotic headlines\, Talk Show captures a cultural mo
 ment where the lines between reality and spectacle blur\, holding our atte
 ntion even as it disturbs. Through its incisive synthesis of sound\, image
 \, and stagecraft\, the work offers a striking reflection of the times in 
 which we live. </p>\n<p>The composition employs analogue synthesis to proc
 ess and transform audio material sourced from vintage talk shows. These so
 nic elements are reflected\, refracted\, and manipulated to create a disor
 ienting yet richly musical landscape. The trumpet engages in a similar dia
 logue of transformation\, performed into resonant objects such as timpani\
 , snare drums\, and vessels of water—each responding sympathetically to th
 e instrument’s vibrations without electronic manipulation. These resonance
 s are then re-amplified\, employing processes of reflection\, resonance\, 
 and refraction to shape the acoustic texture.</p>\n<p>A roaming live camer
 a functions as a third member of the ensemble\, capturing real-time footag
 e from the stage\, audience\, and backstage areas. These images are layere
 d with archival graphics and visual motifs drawn from 1980s talk show Sall
 y Jessy Raphael\, creating a visually immersive and temporally fractured e
 nvironment. The stage itself is laid bare—without curtains\, masking\, or 
 scenic scaffolding—exposing the performers in a state of raw vulnerability
  and inviting the audience into a space where spectacle and intimacy colli
 de.</p>\n<p>Incubated at UW with faculty Steph Richards (School of Music)\
 , Chi-wang Yang and Jeff Larson (School of Drama) and musician/composer Qa
 sim Naqvi\, this project investigates innovative forms of making through e
 xperimentation and creative interdisciplinary faculty\, student and alumni
  collaboration.  Traversing boundaries of form and genre\, Talk Show is so
 nically adventurous as it is theatrically provocative.</p>\n<h3>Acknowlede
 gments</h3>\n<p>This collaboration could not have happened without the bri
 lliant creative help of Eric Cho\, Video Graphics Editor\, and Teia O'Mall
 ey\, Puppet Fabrication and the Meany production team. Additional special 
 thanks to Jennifer Law and Tres Tracy Ballon. </p>\n<hr>\n<h3>Biographies</h3>\n<p><b>Qasim Naqvi</b> is a drummer\, comp
 oser\, producer and one of the founding members of the group Dawn of Midi.
  The band’s most recent album “Dysnomia\,” which has recently been re-rele
 ased on the UK-based label Erased Tapes\, has received worldwide acclaim. 
 “Dysnomia” has been featured in The New Yorker’s year-end list of best alb
 ums\, NPR’s year end list of best albums\, Rolling Stone Magazine\, Interv
 iew Magazine\, Pitchfork Magazine\, Radiolab\, The New York Times\, The Lo
 s Angeles Times\, Spin Magazine\, The Wall Street Journal and other public
 ations.</p>\n<p>When he is not touring with DOM\, he composes music for fi
 lm\, dance\, theater and chamber ensembles both domestically and abroad. Q
 asim's soundtracks and arrangements for film have appeared on HBO\, NBC\, 
 PBS\, The Sundance Channel\, The New York Times\, The Tribeca Film Festiva
 l\, The Academy Awards\, The Sundance Film Festival\, dOCUMENTA 13 and oth
 ers. He has written works for the yMusic Ensemble\, Now Ensemble\, The Loo
 s Ensemble\, The New Century Players\, The Contemporary Music Ensemble of 
 NYU and Nimbus Dance Works. Future collaborations for 2016 include premier
 es for Yarn and Wire\, The London Contemporary Orchestra\, The Chicago Sym
 phony Orchestra\, Tigue and others. He has completed fellowships at Harves
 t Works\, Art Omi\, Akademie Schloss Solitude and Steim. Awards include gr
 ants from the New York Foundation for the Arts and Chamber Music America. 
 Qasim holds a Bachelors Degree in Performance from Mannes College of Music
  (1999) and a Masters Degree in Composition and Performance from the Calif
 ornia Institute of the Arts (2008). He studied composition with Wolfgang V
 on Schweinitz\, James Tenney\, Michael Jon Fink\, Anne LeBaron and Marc Sa
 bat. Qasim is also on faculty at The New School for Jazz and Contemporary 
 Music. He currently lives in Brooklyn\, New York.</p>\n<p><b>Steph Richard
 s</b> is a dynamic improvisor and composer renowned for her innovative app
 roach to the trumpet and her interdisciplinary artistic practice. Describe
 d by The New York Times as “boldly inventive\,” Richards has forged a uniq
 ue creative path that bridges avant-garde experimentation with broad artis
 tic collaboration.</p>\n<p>Her work spans a wide array of disciplines\, in
 corporating film\, poetry\, electronics\, choreography\, and more. Her acc
 laimed 2019 album Supersense—featuring renowned improvisers Jason Moran\, 
 Stomu Takeishi\, and Kenny Wollesen—includes a collaboration with multimed
 ia artist Sean Raspet\, who created abstract scents designed to interact w
 ith the music\, resulting in a multisensory listening experience. Her reco
 rdings have earned critical accolades\, including “Record of the Year” hon
 ors from both The New York Times and DownBeat.</p>\n<p>Richards’ musical l
 anguage has been shaped through collaborations with visionary artists such
  as Henry Threadgill\, Anthony Braxton\, Muhal Richard Abrams\, and John Z
 orn\, as well as art-pop luminaries Yoko Ono\, St. Vincent\, David Byrne\,
  and Laurie Anderson. As an improviser\, she has performed alongside leadi
 ng voices in jazz and experimental music\, including Ravi Coltrane\, Rosco
 e Mitchell\, Mary Halvorson\, and Jeff Parker. Her work as a conductor\, i
 nspired by Butch Morris’ concept of “Conduction\,” has led her to direct o
 rchestras internationally.</p>\n<p>In addition to her solo work\, Richards
  has been an integral part of numerous ensembles\, premiering hundreds of 
 new works. She is a founding member of Bang on a Can’s Asphalt Orchestra a
 nd a frequent collaborator with groups such as the International Contempor
 ary Ensemble (ICE)\, Anthony Braxton’s Tricentric Orchestra\, and Henry Th
 readgill’s Kestra. She has also performed with the Kronos Quartet and work
 ed with prominent composers including Nico Muhly\, Tyondai Braxton\, and J
 ohn Luther Adams\, as well as the late interdisciplinary artist Mike Kelle
 y and choreographers Paul Taylor\, Susan Marshall\, David Dorfman\, and th
 e Merce Cunningham Company.</p>\n<p><b>Richards has served on faculties at
  the University of California\, San Diego\, the Banff International Worksh
 op in Jazz and Creative Music\, and the Chosen Vale Trumpet Seminar. She h
 as earned degrees from the Eastman School of Music (BMus\, Performers Cert
 ificate)\, McGill University (MMus) and the California Institute of the Ar
 ts (MA). She recently joined the faculty at the University of Washington w
 here she continues to champion interdisciplinary and experimental work. Ri
 chards is a Yamaha Performing Artist.</b></p>\n<p><b>Chi-wang Yang </b>is 
 a theater director\, interdisciplinary artist\, and educator. Whether in t
 he form of plays\, operas\, concerts or installation\; his work is physica
 l\, experimental\, and collaborative. He is committed to expanding notions
  of identity and theatrical form and to exploring strange encounters of bo
 dy\, emotion and technology.</p>\n<p>He is a founding member and co-artist
 ic director of video performance collective Cloud Eye Control. His work ha
 s been presented internationally at theaters\, museums\, and festivals inc
 luding REDCAT\, SFMoMA\, Fusebox Festival\, PICA TBA\, San Francisco Inter
 national Film Festival\, EXIT Festival (France)\, Santiago a Mil (Chile)\,
  Manipulate (Scotland)\, Havana Film Festival\, and the Edinburgh Fringe. 
 Recent projects include directing the world premiere of Scene with Cranes 
 written by Octavio Solis.</p>\n<p>Prior to UW\, Yang taught at the Califor
 nia Institute of the Arts\, School of Theater where he also served as Asso
 ciate Artistic Director of the CalArts Center for New Performance. He rece
 ived his MFA in Theater Directing and Integrated Media at the California I
 nstitute of the Arts\, and his BA from Brown University. Other training in
 cludes the SITI Company (NYC and Skidmore).</p>\n<p>He is the recipient of
  the Princess Grace George C. Wolfe Theater Award for Directing\, as well 
 as a recipient of the MAP Fund\, New England Foundation for the Arts (NEFA
 )\, National Theater Project Grant\, and National Performance Network (NPN
 )\, Creation Fund Grant. </p>\n<p><b>JEFF LARSON</b> is a designer\, educa
 tor and curator of live and mediated performance. A long time collaborator
  with Big Dance Theater\, with whom he won a Bessie Award\, Jeff’s design 
 work has been featured have been featured at venues including: the Brookly
 n Academy of Music\, New York Live Arts\, The Kitchen\, Jacob’s Pillow\, W
 alker Arts Center\, MCA (Chicago)\, Berkeley Rep and internationally in Be
 rlin and throughout France. He was the co-curator of the Obie-Award winnin
 g CATCH! performance series. Jeff has taught at NYU’s Department of Design
  for Stage and Film\, the Theatre Department at Hamilton College before mo
 ving to UW</p>
DTSTART;TZID=America/Los_Angeles:20250422T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:194
SUMMARY:: Faculty Concert: Steph Richards with Qasim Naqvi: Talk Show
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-23/faculty-concert-steph-ri
 chards-qasim-naqvi-talk-show
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The reno
 wned trumpeter and newly appointed UW professor of music joins with compos
 er/drummer <span>Qasim Naqvi in </span>presenting the world premiere of Talk Show\,</em> a renegade experiment in music\, theatre\, and performa
 nce. With <span>theatre direction by Chi-Wang Yang and video design by Jef
 f Larson—newly appointed faculty at the UW School of Drama. </span></p>  <h2>Program </h2> <p><b>Talk Show</b><span s tyle=' 400\;'> (</span><i><span>Wor
 ld Premiere)</span></i><i><span><br></span></i>
 <span>Tuesday April 22\, 2025 7:30p\, Meany Hal
 l</span></p> <p><b>Created by</b><span>: Steph 
 Richards\, Chi-wang Yang\, Jeff Larson\, Qasim Naqvi</span><span><br></span><b>Featuring:</b><span> Steph Richards (trumpet\, flugelhorn\, water\, resonating percussion
 )\, Qasim Naqvi (analog synthesizers\, drumset)\, Cole Mckittrick (sandwic
 h guy)\, Natalie Song (projectiles)</span><span><br></span><b>Directed by:</b><span> Chi-wang 
 Yang</span><span><br></span><b>Video Design:</b><span> Jeff Larson</span><span><br></span><b>Video Programming:</b><span> Nick O’Leary</span></p> <p><span><br></span><span>Edgy\, irreverent\, and darkly humor
 ous\, </span><i><span>Talk Show</span></i><span> draws inspiration from the sensationalized an
 d often surreal narratives of '80s daytime television—stories at once grot
 esque\, operatic\, and unsettlingly familiar—the piece evokes a hypnotic s
 ense of disquiet. Much like the experience of scrolling through today’s re
 lentlessly absurd and chaotic headlines\, </span><i><span>Talk Show</span></i><span> captures 
 a cultural moment where the lines between reality and spectacle blur\, hol
 ding our attention even as it disturbs. Through its incisive synthesis of 
 sound\, image\, and stagecraft\, the work offers a striking reflection of 
 the times in which we live. </span></p> <p><span>The composition employs analogue synthesis to process and transform audi
 o material sourced from vintage talk shows. These sonic elements are refle
 cted\, refracted\, and manipulated to create a disorienting yet richly mus
 ical landscape. The trumpet engages in a similar dialogue of transformatio
 n\, performed into resonant objects such as timpani\, snare drums\, and ve
 ssels of water—each responding sympathetically to the instrument’s vibrati
 ons without electronic manipulation. These resonances are then re-amplifie
 d\, employing processes of reflection\, resonance\, and refraction to shap
 e the acoustic texture.</span></p> <p><span>A r
 oaming live camera functions as a third member of the ensemble\, capturing
  real-time footage from the stage\, audience\, and backstage areas. These 
 images are </span><span>layered with archival g
 raphics and visual motifs drawn from 1980s talk show Sally Jessy Raphael</span><span>\, </span><span>creating a visually immersive and temporally fractured environment.
  The stage itself is laid bare—without curtains\, masking\, or scenic scaf
 folding—exposing the performers in a state of raw vulnerability and inviti
 ng the audience into a space where spectacle and intimacy collide.</span>&lt;
 /p&gt; <p><span>Incubated at UW with faculty Steph
  Richards (School of Music)\, Chi-wang Yang and Jeff Larson (School of Dra
 ma) and musician/composer Qasim Naqvi\, this project investigates innovati
 ve forms of making through experimentation and creative interdisciplinary 
 faculty\, student and alumni collaboration.  Traversing boundaries of form
  and genre\, </span><i><span>Talk Show </span>&lt;
 /i&gt;<span>is sonically adventurous as it is thea
 trically provocative.</span></p> <h3><span>Ackn
 owledegments</span></h3> <p><span>This collabor
 ation could not have happened without the brilliant creative help of <span>Eric Cho\, Video Graphics Editor\, and 
 Teia O'Malley\, Puppet Fabrication and the Meany production team. Addition
 al special thanks to Jennifer Law and Tres Tracy Ballon. </span></p> <hr> 
 <h3>Biographies</h3> <p><b>Qasim Naqvi</b><span> is a drummer\, composer\, producer and one of
  the founding members of the group Dawn of Midi. The band’s most recent al
 bum “Dysnomia\,” which has recently been re-released on the UK-based label
  Erased Tapes\, has received worldwide acclaim. “Dysnomia” has been featur
 ed in The New Yorker’s year-end list of best albums\, NPR’s year end list 
 of best albums\, Rolling Stone Magazine\, Interview Magazine\, Pitchfork M
 agazine\, Radiolab\, The New York Times\, The Los Angeles Times\, Spin Mag
 azine\, The Wall Street Journal and other publications.</span></p> <p>When he is not touring with DOM\, he composes
  music for film\, dance\, theater and chamber ensembles both domestically 
 and abroad. Qasim's soundtracks and arrangements for film have appeared on
  HBO\, NBC\, PBS\, The Sundance Channel\, The New York Times\, The Tribeca
  Film Festival\, The Academy Awards\, The Sundance Film Festival\, dOCUMEN
 TA 13 and others. He has written works for the yMusic Ensemble\, Now Ensem
 ble\, The Loos Ensemble\, The New Century Players\, The Contemporary Music
  Ensemble of NYU and Nimbus Dance Works. Future collaborations for 2016 in
 clude premieres for Yarn and Wire\, The London Contemporary Orchestra\, Th
 e Chicago Symphony Orchestra\, Tigue and others. He has completed fellowsh
 ips at Harvest Works\, Art Omi\, Akademie Schloss Solitude and Steim. Awar
 ds include grants from the New York Foundation for the Arts and Chamber Mu
 sic America. Qasim holds a Bachelors Degree in Performance from Mannes Col
 lege of Music (1999) and a Masters Degree in Composition and Performance f
 rom the California Institute of the Arts (2008). He studied composition wi
 th Wolfgang Von Schweinitz\, James Tenney\, Michael Jon Fink\, Anne LeBaro
 n and Marc Sabat. Qasim is also on faculty at The New School for Jazz and 
 Contemporary Music. He currently lives in Brooklyn\, New York.</span></p> 
 <p><b>Steph Richards</b><span> is a dynamic imp
 rovisor and composer renowned for her innovative approach to the trumpet a
 nd her interdisciplinary artistic practice. Described by The</span><i> New York Times</span></i><span> as “boldly inventive\,” Richards has forged a unique creati
 ve path that bridges avant-garde experimentation with broad artistic colla
 boration.</span></p> <p><span>Her work spans a 
 wide array of disciplines\, incorporating film\, poetry\, electronics\, ch
 oreography\, and more. Her acclaimed 2019 album </span><i><span>Supersense</span></i><span>—fe
 aturing renowned improvisers Jason Moran\, Stomu Takeishi\, and Kenny Woll
 esen—includes a collaboration with multimedia artist Sean Raspet\, who cre
 ated abstract scents designed to interact with the music\, resulting in a 
 multisensory listening experience. Her recordings have earned critical acc
 olades\, including “Record of the Year” honors from both </span><i><span s tyle=' 400\;'>The New York Times</span></i><span> and </span><i><span>DownBeat</i><span>.</span></p> <p><span>Richards’ musical language has been shaped through collabor
 ations with visionary artists such as Henry Threadgill\, Anthony Braxton\,
  Muhal Richard Abrams\, and John Zorn\, as well as art-pop luminaries Yoko
  Ono\, St. Vincent\, David Byrne\, and Laurie Anderson. As an improviser\,
  she has performed alongside leading voices in jazz and experimental music
 \, including Ravi Coltrane\, Roscoe Mitchell\, Mary Halvorson\, and Jeff P
 arker. Her work as a conductor\, inspired by Butch Morris’ concept of “Con
 duction\,” has led her to direct orchestras internationally.</span></p> <p><span>In addition to her solo work\, Richards 
 has been an integral part of numerous ensembles\, premiering hundreds of n
 ew works. She is a founding member of Bang on a Can’s </span><i><span styl e=' 400\;'>Asphalt Orchestra </span></i><span>and a frequent collaborator with groups such as the </span><i>&lt;
 span style='font-weight: 400\;'&gt;International Contemporary Ensemble (</i><span>ICE)\, Anthony Braxton’s </span><i>
 <span>Tricentric Orchestra\,</span></i><span st yle=' 400\;'> and Henry Threadgill’s </span><i><span>Kestra</span></i><span>. She 
 has also performed with the Kronos Quartet and worked with prominent compo
 sers including Nico Muhly\, Tyondai Braxton\, and John Luther Adams\, as w
 ell as the late interdisciplinary artist Mike Kelley and choreographers Pa
 ul Taylor\, Susan Marshall\, David Dorfman\, and the Merce Cunningham Comp
 any.</span></p> <p><b><span>Richards has served
  on faculties at the University of California\, San Diego\, the Banff Inte
 rnational Workshop in Jazz and Creative Music\, and the Chosen Vale Trumpe
 t Seminar. She has earned degrees from the Eastman School of Music (</span><i><span>BMus\, Performers Certificate)\, </i><span>McGill University (</span><i><span>MMus</span></i><span>) and the California Institute of the Arts (</span><i><span>MA).</span></i><span> She recent
 ly joined the faculty at the University of Washington where she continues 
 to champion interdisciplinary and experimental work. Richards is a Yamaha 
 Performing Artist.</span></b></p> <p><b>Chi-wang Yang </b><span>is a theater director\, interdisciplinary artist\, and ed
 ucator. Whether in the form of plays\, operas\, concerts or installation\;
  his work is physical\, experimental\, and collaborative. He is committed 
 to expanding notions of identity and theatrical form and to exploring stra
 nge encounters of body\, emotion and technology.</span></p> <p><span>He is a founding member and co-artistic director of 
 video performance collective Cloud Eye Control. His work has been presente
 d internationally at theaters\, museums\, and festivals including REDCAT\,
  SFMoMA\, Fusebox Festival\, PICA TBA\, San Francisco International Film F
 estival\, EXIT Festival (France)\, Santiago a Mil (Chile)\, Manipulate (Sc
 otland)\, Havana Film Festival\, and the Edinburgh Fringe. Recent projects
  include directing the world premiere of Scene with Cranes written by Octa
 vio Solis.</span></p> <p><span>Prior to UW\, Ya
 ng taught at the California Institute of the Arts\, School of Theater wher
 e he also served as Associate Artistic Director of the CalArts Center for 
 New Performance. He received his MFA in Theater Directing and Integrated M
 edia at the California Institute of the Arts\, and his BA from Brown Unive
 rsity. Other training includes the SITI Company (NYC and Skidmore).</span>
 </p> <p><span>He is the recipient of the Prince
 ss Grace George C. Wolfe Theater Award for Directing\, as well as a recipi
 ent of the MAP Fund\, New England Foundation for the Arts (NEFA)\, Nationa
 l Theater Project Grant\, and National Performance Network (NPN)\, Creatio
 n Fund Grant. </span></p> <p><b>JEFF LARSON</b><span> is a designer\, educator and curator of live and mediated performan
 ce. A long time collaborator with Big Dance Theater\, with whom he won a B
 essie Award\, Jeff’s design work has been featured have been featured at v
 enues including: the Brooklyn Academy of Music\, New York Live Arts\, The 
 Kitchen\, Jacob’s Pillow\, Walker Arts Center\, MCA (Chicago)\, Berkeley R
 ep and internationally in Berlin and throughout France. He was the co-cura
 tor of the Obie-Award winning CATCH! performance series. Jeff has taught a
 t NYU’s Department of Design for Stage and Film\, the Theatre Department a
 t Hamilton College before moving to UW</span></p>
END:VEVENT
BEGIN:VEVENT
UID:4d6edd77-aedc-4886-b3ee-8e3cf2ece53a
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250403T195248Z
DESCRIPTION:<p>The student-run Improvised Music Project presents performanc
 es by a rotating cast of UW jazz ensembles every Wednesday in April at Ver
 million Art Gallery and Bar. Accessible by lightrail\, all performances ar
 e free and open for all ages. </p>\n<p>This concert series promotes the up
 coming IMP festival at the UW's Meany Studio Theater on April 25 and 26\, 
 with guest artists Bill Frisell\, Josh Johnson\, and Luke Bergman. </p>\n&lt;
 hr&gt;\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250423T193000
LAST-MODIFIED:20250403T195248Z
SEQUENCE:195
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-24/external-event-imp-showc
 ase-vermillion
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>The student-run Improvised Music Proj
 ect presents performances by a rotating cast of UW jazz ensembles every We
 dnesday in April at Vermillion Art Gallery and Bar</span><span>. Accessibl
 e by lightrail\, all performances are free and open for all ages. </span>&lt;
 /p&gt; <p><em>This concert series promotes the upcoming IMP festival at the U
 W's Meany Studio Theater on April 25 and 26\, with guest artists Bill Fris
 ell\, Josh Johnson\, and Luke Bergman. </em></p> <hr> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:e0ea536a-5368-4de0-9c87-065b097910bc
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240930T163703Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20250424T120000
LAST-MODIFIED:20240930T163703Z
SEQUENCE:196
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-24/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:0e5292f4-b007-4e22-b1f6-3c09bad4ba55
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20240808T000421Z
DESCRIPTION:<p></p>\n<p>Professor Robin McCabe b
 rings pianistic virtuosity to the Meany mainstage\, performing solo works 
 of Ravel and Fauré in the first half of her program. In the second half\, 
 she is joined by groups of her students in rousing transcriptions for two 
 pianos\, eight hands\, including arrangements of Bizet’s “Carmen Fantasy\,
 ”  the overture from Mozart's 'Marriage of Figaro\,' and a barn-burning ve
 rsion of John Philip Sousa's “Stars and Stripes Forever.” <br><br>Students
  performing with Professor McCabe: Honoka Cater\, Karen Haining\, Rachel H
 uang\, Sandy Huang\, Dejia Kong\, Cicy Li\, Yuchen Qi\, Nicole Kuo Stankov
 ic\, Alexandra Tsirkel\, Chelsea Zhang\, and Hanyan Zheng.</p>\n<hr>\n<h3>Program</h3>\n<p><br><strong>Sonatine - Maurice
  Ravel</strong> (1875-1937)<br> Modere<br> Menuet<br> Anime</p>\n<p><br><s trong>Improvisation (From Opus 84) - Gabriel Fauré </strong>(1845-1924)<br>Theme and Variations\, Opus 73<br>Impromptu No.3 in A flat Major</p>\n<h4><br>Interval<br><br>Music for Two Pianos\, Eight Hands</h4>\n<p><strong>&lt;
 br&gt;Overture from “The Marriage of Figaro” - W.A. Mozart </strong>(1756-179
 1)<br> Robin McCabe <br> Honoka Cater</p>\n<p>Sandy Huang<br> Rachel Huang
 <br><br></p>\n<p><strong>Rondo in C - Bedrich Smetana </strong> (1824-1884
 )<br> Karen Haining<br> Dejia Kong</p>\n<p>Chelsea Zhang<br> Robin McCabe&lt;
 /p&gt;\n<p><strong>Fantasy on Themes from “Carmen” - Georges Bizet </strong>(
 1838-1875)<br>(Transcribed by Mack Wilberg) <br>Cicy Li<br> Yuchen Qi<br> 
 <br> Robin McCabe<br> Nicole Stankovic</p>\n<p><br><strong>“The Stars and 
 Stripes Forever” - John Philip Sousa </strong>(1854-1932)<br>(Transcribed 
 by Mack Wilberg) </p>\n<p>Alexandra Tsirkel<br>Robin McCabe</p>\n<p>Cicy L
 i<br> Hanyan Zheng</p>\n<hr>\n<h3>Biography</h3>\n<h3><a href='https://www.seattlesymphony.org/en/about/meetthemusicians/
 theorchestra/artists/first-violin/geller-noah' target='_blank' rel='noopen
 er noreferrer'></a></h3>
DTSTART;TZID=America/Los_Angeles:20250424T193000
LAST-MODIFIED:20250423T223018Z
SEQUENCE:197
SUMMARY:: Faculty Recital: Robin McCabe\, Around Robin
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-25/faculty-recital-robin-mc
 cabe-around-robin
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Professo
 r Robin McCabe brings pianistic virtuosity to the Meany mainstage\, perfor
 ming solo works of Ravel and Fauré in the first half of her program. In th
 e second half\, she is joined by groups of her students in rousing transcr
 iptions for two pianos\, eight hands\, including arrangements of Bizet’s “
 Carmen Fantasy\,”  the overture from Mozart's 'Marriage of Figaro\,' and a
  barn-burning version of John Philip Sousa's “Stars and Stripes Forever.” 
 <br><br>Students performing with Professor McCabe: Honoka Cater\, Karen Ha
 ining\, Rachel Huang\, Sandy Huang\, Dejia Kong\, Cicy Li\, Yuchen Qi\, Ni
 cole Kuo Stankovic\, Alexandra Tsirkel\, Chelsea Zhang\, and Hanyan Zheng.
 </p> <hr> <h3>Program</h3> <p><br><strong>Sonat
 ine - Maurice Ravel</strong> (1875-1937)<br> Modere<br> Menuet<br> Anime</p> <p><br><strong>Improvisation (From Opus 84) - Gabriel Fauré </strong>(1
 845-1924)<br>Theme and Variations\, Opus 73<br>Impromptu No.3 in A flat Ma
 jor</p> <h4><br>Interval<br><br>Music for Two Pianos\, Eight Hands</h4> <p><strong><br>Overture from “The Marriage of Figaro” - W.A. Mozart </strong>(1756-1791)<br> Robin McCabe <br> Honoka Cater</p> <p>Sandy Huang<br> Rac
 hel Huang<br><br></p> <p><strong>Rondo in C - Bedrich Smetana </strong> (1
 824-1884)<br> Karen Haining<br> Dejia Kong</p> <p>Chelsea Zhang<br> Robin 
 McCabe</p> <p><strong>Fantasy on Themes from “Carmen” - Georges Bizet (1838-1875)<br><em>(Transcribed by Mack Wilberg) </em><br>Cicy Li<br>
  Yuchen Qi<br> <br> Robin McCabe<br> Nicole Stankovic</p> <p><br><strong>“
 The Stars and Stripes Forever” - John Philip Sousa </strong>(1854-1932)<br><em>(Transcribed by Mack Wilberg) </em></p> <p>Alexandra Tsirkel<br>Robin
  McCabe</p> <p>Cicy Li<br> Hanyan Zheng</p> <hr> <h3>Biography</h3> <h3><a href='https://www.seattlesymphony.org/en/about
 /meetthemusicians/theorchestra/artists/first-violin/geller-noah' target='_
 blank' rel='noopener noreferrer'></a></h3>
END:VEVENT
BEGIN:VEVENT
UID:5aefeaca-2db3-4257-aec9-80558557d86f
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20240809T001633Z
DESCRIPTION:<p></p>\n<p>Guitarist Bill Frisell headlines Night One of IMPFE
 ST\, joined by  Luke Bergman (lap steel) and  Josh Johnson (saxophone)\, p
 erforming with faculty Steve Rodby (bass)\, Ted Poor (drums)\, Cuong Vu (t
 rumpet)\, and UW Jazz Studies students.</p>\n<p>Notecard patrons: Seating 
 is limited\; please order tickets in advance. </p>\n<h3><strong>Schedule</strong></h3>\n<p><strong>Friday\, April 25: The music of Bill Frisell and 
 Luke Bergman</strong><br>Bill Frisell (guitar)\, Luke Bergman (lap steel)\
 , Josh Johnson (saxophone)\, <br><strong>Jazz Studies Faculty:</strong> St
 eve Rodby (bass)\, Ted Poor (drums)\, Cuong Vu (trumpet)<br><strong>Jazz S
 tudies Students:</strong> Jai Lasker\, guitar\; Solomon Lubell\, bass\; To
 bias Miller\, drums\; Martin Nguyen\, alto sax\; Gus Scharler\, tenor sax\
 ; Rory Somers\, trumpet\; Natalie Song\, piano <br><br><strong>Saturday\, 
 April 26: The Music of Josh Johnson</strong><br>Josh Johnson (saxophone)\,
  Luke Bergman (electric bass)<br>Jazz Studies Faculty: Steve Rodby (bass)\
 , Ted Poor (drums)\, Cuong Vu (trumpet)<br><strong>Jazz Studies Students: 
 </strong>Aiden Chan\, drums\; Ethan Horn\, drums\; Aadithya Manoj\, alto s
 ax\; Cole McKittrick\, guitar\; Coen Rios\, tenor sax\; Riley Tobin\, bass
 \; Don Tran\, bass\; Gavin Westland\, piano\;</p>\n<hr>\n<h2>IMPFEST</h2>
 \n<p>The School of Music and the student-run Improvised Music Project pres
 ent IMPFest\, featuring guest artists Bill Frisell\, Josh Johnson and Luke
  Bergman performing with faculty Steve Rodby\, Ted Poor\, Cuong Vu and UW 
 Jazz Studies students. </p>\n<hr>\n<h3>Biography</h3>\n<h3>Bill Frisell\n<p class>Bill Frisell’s career as a guitarist and composer has spanned
  more than 40 years and many celebrated recordings\, whose catalog has bee
 n cited by Downbeat as 'the best recorded output of the decade.'</p>\n<p c lass>In recent years\, Frisell has forged a distinctive and fruitful colla
 boration with the Blue Note label\, releasing HARMONY\, Valentine and FOUR
  to great acclaim.</p>\n<p class>'Frisell has had a lot of practice puttin
 g high concept into a humble package. Long hailed as one of the most disti
 nctive and original improvising guitarists of our time\, he has also earne
 d a reputation for teasing out thematic connections with his music... Ther
 e’s a reason that Jazz at Lincoln Center had him program a series called R
 oots of Americana.'  - New York Times</p>\n<p class>Recognized as one of A
 merica’s 21 most vital and productive performing artists\, Frisell was nam
 ed an inaugural Doris Duke Artist in 2012.  He is also a recipient of gran
 ts from United States Artists\, Meet the Composer among others.  In 2016\,
  he was a beneficiary of the first FreshGrass Composition commission to pr
 eserve and support innovative grassroots music.  Upon San Francisco Jazz o
 pening their doors in 2013\, he served as one of their Resident Artistic D
 irectors.  Bill is the subject of a documentary film by director Emma Fran
 z\, entitled Bill Frisell: A Portrait\, which examines his creative proces
 s in depth\, as well as an extensive biography by Philip Watson\, Beautifu
 l Dreamer: The Guitarist Who Changed The Sound of American Music.</p>
DTSTART;TZID=America/Los_Angeles:20250425T193000
LAST-MODIFIED:20250423T223632Z
SEQUENCE:198
SUMMARY:: Improvised Music Project Festival (IMPFEST): Music of Bill Frisel
 l and Luke Bergman
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-26/improvised-music-project
 -festival-impfest-music-bill-frisell-and-luke-bergman
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p><span>Guitarist Bill Frisell headli
 nes Night One of IMPFEST\, joined by  Luke Bergman (lap steel) and  Josh J
 ohnson (saxophone)\, performing with faculty Steve Rodby (bass)\, Ted Poor
  (drums)\, Cuong Vu (trumpet)\, and UW Jazz Studies students.</span></p> &lt;
 p&gt;<i>Notecard patrons: Seating is limited\; please order tickets in advanc
 e. </i></p> <h3><strong>Schedule</strong></h3> <p><strong>Friday\, April 2
 5: The music of Bill Frisell and Luke Bergman</strong><br>Bill Frisell (gu
 itar)\, Luke Bergman (lap steel)\, Josh Johnson (saxophone)\, <br><strong>
 Jazz Studies Faculty:</strong> Steve Rodby (bass)\, Ted Poor (drums)\, Cuo
 ng Vu (trumpet)<br><strong>Jazz Studies Students:</strong> <span>Jai Laske
 r\, guitar\; Solomon Lubell\, bass\; Tobias Miller\, drums\; Martin Nguyen
 \, alto sax\; Gus Scharler\, tenor sax\; Rory Somers\, trumpet\; Natalie S
 ong\, piano </span><br><br><strong>Saturday\, April 26: The Music of Josh 
 Johnson</strong><br>Josh Johnson (saxophone)\, Luke Bergman (electric bass
 )<br>Jazz Studies Faculty: Steve Rodby (bass)\, Ted Poor (drums)\, Cuong V
 u (trumpet)<br><strong>Jazz Studies Students: </strong><span>Aiden Chan\, 
 drums\; Ethan Horn\, drums\; Aadithya Manoj\, alto sax\; Cole McKittrick\,
  guitar\; Coen Rios\, tenor sax\; Riley Tobin\, bass\; Don Tran\, bass\; G
 avin Westland\, piano\;</span></p> <hr> <h2>IMPFEST</h2> <p><span>The Scho
 ol of Music and the student-run Improvised Music Project present IMPFest\,
  featuring guest artists Bill Frisell\, Josh Johnson and Luke Bergman perf
 orming with faculty Steve Rodby\, Ted Poor\, Cuong Vu and UW Jazz Studies 
 students. </span></p> <hr> <h3>Biography</h3> <h3>Bill Frisell</h3> <p cla ss>Bill Frisell’s career as a guitarist and composer has spanned more than
  40 years and many celebrated recordings\, whose catalog has been cited by
  Downbeat as 'the best recorded output of the decade.'</p> <p class>In rec
 ent years\, Frisell has forged a distinctive and fruitful collaboration wi
 th the Blue Note label\, releasing HARMONY\, Valentine and FOUR to great a
 cclaim.</p> <p class>'Frisell has had a lot of practice putting high conce
 pt into a humble package. Long hailed as one of the most distinctive and o
 riginal improvising guitarists of our time\, he has also earned a reputati
 on for teasing out thematic connections with his music... There’s a reason
  that Jazz at Lincoln Center had him program a series called Roots of Amer
 icana.'  - New York Times</p> <p class>Recognized as one of America’s 21 m
 ost vital and productive performing artists\, Frisell was named an inaugur
 al Doris Duke Artist in 2012.  He is also a recipient of grants from Unite
 d States Artists\, Meet the Composer among others.  In 2016\, he was a ben
 eficiary of the first FreshGrass Composition commission to preserve and su
 pport innovative grassroots music.  Upon San Francisco Jazz opening their 
 doors in 2013\, he served as one of their Resident Artistic Directors.  Bi
 ll is the subject of a documentary film by director Emma Franz\, entitled 
 Bill Frisell: A Portrait\, which examines his creative process in depth\, 
 as well as an extensive biography by Philip Watson\, Beautiful Dreamer: Th
 e Guitarist Who Changed The Sound of American Music.</p>
END:VEVENT
BEGIN:VEVENT
UID:09a5ba33-e332-485c-ae9a-306f9f76d24f
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals
CLASS:PUBLIC
CREATED:20250415T165301Z
DESCRIPTION:<p></p>\nHanu Nahm (BM\, Violin Performance)\, a student of Rac
 hel Lee Priday\, presents “Die Wiener Klassiker” ('The Viennese First Scho
 ol')\, a junior degree recital focused on music by Haydn\, Mozart\, and Be
 ethoven.  With the SOVO Quartet-Hanu Nahm and Grace Pandra (violins)\, Joe
 y Young (viola)\, and Nathan Evans (cello)\; Alex Kostadinov (piano)\; and
  Kane Chang (piano). <hr>\n<h2 dir='auto'>Program</h2>\n<strong>FRANZ JOSE
 PH HAYDN</strong> (1732-1809)<br>String Quartet in Bb Major\, Op. 76\, No.
  4\, 'Sunrise' (8’)<br>I. Allegro con spirito<br>The SOVO Quartet: Hanu Na
 hm &amp; Grace Pandra (violins)\, Joey Young (viola)\, Nathan Evans (cello)<br><br><strong>WOLFGANG AMADEUS MOZART</strong> (1756-1791)<br>Violin Concer
 to No. 5 in A Major\, K. 219\, “Turkish” (28’)<br>I: Allegro aperto<br>II:
  Adagio<br>III: Rondeau: Tempo di Menuetto<br>Alex Kostadinov\, piano<br>&lt;
 br&gt;<strong>LUDWIG VAN BEETHOVEN</strong> (1770-1827)<br>Sonata No. 8 for V
 iolin and Piano in G Major\, Op. 30 No. 3 (18’)<br>I: Allegro assai<br>II:
  Temo di minuetto\, ma molto moderato e grazioso<br>III: Allegro vivace<br>Kane Chang\, piano\n<strong></strong>
DTSTART;TZID=America/Los_Angeles:20250425T193000
LAST-MODIFIED:20250416T180704Z
SEQUENCE:199
SUMMARY:: Degree Recital: Hanu Nahm\, violin
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-26/degree-recital-hanu-nahm
 -violin
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <div dir='auto'><span>Hanu Nahm (BM\, 
 Violin Performance)\, a student of Rachel Lee Priday\, presents </span><span><span><span>“Die Wiener Klassiker” ('The Viennese First School')\
 , a junior degree recital focused on music by Haydn\, Mozart\, and Beethov
 en.  With the SOVO Quartet-Hanu Nahm and Grace Pandra (violins)\, Joey You
 ng (viola)\, and Nathan Evans (cello)\; Alex Kostadinov (piano)\; and Kane
  Chang (piano). </span></span></span></span><hr><span><span><span></span>&lt;
 /span&gt;</span></div> <h2 dir='auto'>Program</h2> <div dir='auto'><strong>FR
 ANZ JOSEPH HAYDN</strong> (1732-1809)<br>String Quartet in Bb Major\, Op. 
 76\, No. 4\, 'Sunrise' (8’)<br>I. Allegro con spirito<br><em>The SOVO Quar
 tet: Hanu Nahm &amp; Grace Pandra (violins)\, Joey Young (viola)\, Nathan Evan
 s (cello)</em><br><br><strong>WOLFGANG AMADEUS MOZART</strong> (1756-1791)
 <br>Violin Concerto No. 5 in A Major\, K. 219\, “Turkish” (28’)<br>I: Alle
 gro aperto<br>II: Adagio<br>III: Rondeau: Tempo di Menuetto<br><em>Alex Ko
 stadinov\, piano</em><br><br><strong>LUDWIG VAN BEETHOVEN</strong> (1770-1
 827)<br>Sonata No. 8 for Violin and Piano in G Major\, Op. 30 No. 3 (18’)&lt;
 br&gt;I: Allegro assai<br>II: Temo di minuetto\, ma molto moderato e grazioso
 <br>III: Allegro vivace<br><em>Kane Chang\, piano</em></div> <div dir='aut
 o'><strong></strong></div>
END:VEVENT
BEGIN:VEVENT
UID:fbca8fd2-e7f8-4693-812f-50ba27b68e18
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20240809T001657Z
DESCRIPTION:<p></p>\n<p>Saxophonist Josh Johnson headlines Night Two of IMP
 FEST\, joined by multi-instrumentalist Luke Bergman in performing with Sch
 ool of Music faculty Steve Rodby\, Ted Poor\, Cuong Vu and UW Jazz Studies
  students. Presented with generous support from Seattle’s Raynier Foundati
 on.</p>\n<p>Note: Notecard patrons: Seating is limited\; please order tick
 ets in advance. </p>\n<hr>\n<h2>IMPFEST</h2>\n<p>The School of Music and t
 he student-run Improvised Music Project present IMPFest\, featuring renown
 ed guest artists Bill Frisell\, Josh Johnson and Luke Bergman performing w
 ith faculty Steve Rodby\, Ted Poor\, Cuong Vu and UW Jazz Studies students
 .</p>\n<hr>\n<h3><strong>Schedule</strong></h3>\n<p><strong>Friday\, April
  25: The music of Bill Frisell and Luke Bergman</strong><br>Bill Frisell (
 guitar)\, Luke Bergman (guitar)\, Josh Johnson (saxophone)<br><strong>Jazz
  Studies Faculty:</strong> Steve Rodby (bass)\, Ted Poor (drums)\, Cuong V
 u (trumpet)<br><strong>Jazz Studies Students:</strong>  Jai Lasker\, guita
 r\; Solomon Lubell\, bass\; Tobias Miller\, drums\; Martin Nguyen\, alto s
 ax\; Gus Scharler\, tenor sax\; Rory Somers\, trumpet\; Natalie Song\, pia
 no </p>\n<p><strong>Saturday\, April 26: The Music of Josh Johnson</strong><br>Josh Johnson (saxophone)\, Luke Bergman (guitar)<br><strong>Jazz Stud
 ies Faculty:</strong> Steve Rodby (bass)\, Ted Poor (drums)\, Cuong Vu (tr
 umpet)<br><strong>Jazz Studies Students:</strong> Aiden Chan\, drums\; Eth
 an Horn\, drums\; Aadithya Manoj\, alto sax\; Cole McKittrick\, guitar\; C
 oen Rios\, tenor sax\; Riley Tobin\, bass\; Don Tran\, bass\; Gavin Westla
 nd\, piano\;</p>\n<hr>\n<h2>Biography</h2>\n<p class><strong>Josh Johnson&lt;
 /strong&gt;  is a saxophonist\, composer\, multi-instrumentalist\, and Grammy
  Award-winning producer. His second solo album\, Unusual Object\, a striki
 ng work of futuristic jazz and modern composition\, was recently released 
 on Northern Spy Records. This spare work for processed saxophone and subtl
 e samples shows Johnson further sharpening his unique compositional voice.
  Unusual Object\, Johnson says\, “is a development and documentation of a 
 more personal world of sound. What’s it like for me to create the context 
 for my sound\, to frame it myself?”</p>\n<p class>His solo debut Freedom E
 xercise (Northern Spy) was featured in Rolling Stone’s Best Music of 2020 
 and Bandcamp’s Best Jazz Albums of 2020. Pitchfork called the record “exce
 llent\, daringly melodic” and PostGenre praised it as “a songwriting marve
 l”.</p>\n<p class>Johnson is a regular collaborator with some of contempor
 ary music’s most innovative artists\, including Jeff Parker\, Makaya McCra
 ven\, Nate Mercereau\, Marquis Hill\, and Kiefer. Parker’s widely-acclaime
 d 2022 record Mondays at the Enfield Tennis Academy features Johnson on sa
 xophone and effects as part of the longstanding quartet. This is the most 
 recent in a series of Parker’s records to highlight Johnson\, with the lat
 ter also contributing saxophone and synths to 2016’s The New Breed and 202
 0’s Suite for Max Brown. Johnson is a member of the quintet\, SML who rece
 ntly released their debut album\, Small Medium Large\, on International An
 them Recording Company to wide acclaim.</p>\n<p class>Between 2018 and 202
 2 Johnson held the role of Musical Director for soul singer Leon Bridges\,
  with whom he also played keyboards and saxophone. During his time with Br
 idges\, Johnson performed throughout Europe\, North America\, Asia and Aus
 tralia\, with performances at the Hollywood Bowl\, Glastonbury and the Syd
 ney Opera House. Along with Nate Walcott (Bright Eyes)\, Johnson arranged 
 14 of Bridges’ songs for a performance with London’s Royal Philharmonic Or
 chestra\, also contributing a choral arrangement and directing the concert
 . </p>\n<p class>Johnson produced and appears on Meshell Ndegeocello’s 202
 3 album\, The Omnichord Real Book\, which was awarded the 2024 Grammy for 
 Best Alternative Jazz Album. He can also be heard on wide-ranging records 
 by artist such as Harry Styles\, the Red Hot Chili Peppers\, Moonchild\, B
 roken Bells\, Miley Cyrus\, Louis Cole and Carlos Niño\, among others. He 
 currently resides in Los Angeles.</p>\n<p> </p>\n<hr>\n<h3></h3>\n<p></strong></p>\n<h4><a href='https://www.seattlemodernorchestra.org' tar get='_blank' rel='noopener noreferrer'></a></h4>
DTSTART;TZID=America/Los_Angeles:20250426T193000
LAST-MODIFIED:20250423T223851Z
SEQUENCE:200
SUMMARY:: Improvised Music Project Festival (IMPFEST): Music of Josh Johnso
 n
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-27/improvised-music-project
 -festival-impfest-music-josh-johnson
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p><span>Saxophonist Josh Johnson head
 lines Night Two of IMPFEST\, joined by multi-instrumentalist Luke Bergman 
 in performing with School of Music faculty Steve Rodby\, Ted Poor\, Cuong 
 Vu and UW Jazz Studies students. </span><em>Presented with generous suppor
 t from Seattle’s Raynier Foundation.</em></p> <p><i>Note: </i><i>Notecard 
 patrons: Seating is limited\; please order tickets in advance. </i></p>  <h2>IMPFEST</h2> <p><span>The School of Music and the student-run Impro
 vised Music Project present IMPFest\, featuring renowned guest artists Bil
 l Frisell\, Josh Johnson and Luke Bergman performing with faculty Steve Ro
 dby\, Ted Poor\, Cuong Vu and UW Jazz Studies students.</span></p> <hr> <strong>Schedule</strong></h3> <p><strong>Friday\, April 25: The music o
 f Bill Frisell and Luke Bergman</strong><br>Bill Frisell (guitar)\, Luke B
 ergman (guitar)\, Josh Johnson (saxophone)<br><strong>Jazz Studies Faculty
 :</strong> Steve Rodby (bass)\, Ted Poor (drums)\, Cuong Vu (trumpet)<br>&lt;
 strong&gt;Jazz Studies Students:</strong> <span> </span><span>Jai Lasker\, gu
 itar\; Solomon Lubell\, bass\; Tobias Miller\, drums\; Martin Nguyen\, alt
 o sax\; Gus Scharler\, tenor sax\; Rory Somers\, trumpet\; Natalie Song\, 
 piano </span></p> <p><strong>Saturday\, April 26: The Music of Josh Johnso
 n</strong><br>Josh Johnson (saxophone)\, Luke Bergman (guitar)<br><strong>
 Jazz Studies Faculty:</strong> Steve Rodby (bass)\, Ted Poor (drums)\, Cuo
 ng Vu (trumpet)<br><strong>Jazz Studies Students:</strong> <span>Aiden Cha
 n\, drums\; Ethan Horn\, drums\; Aadithya Manoj\, alto sax\; Cole McKittri
 ck\, guitar\; Coen Rios\, tenor sax\; Riley Tobin\, bass\; Don Tran\, bass
 \; Gavin Westland\, piano\;</span></p> <hr> <h2>Biography</h2> <p class><s pan class='sqsrte-text-highlight' data-text-attribute-id='a1975956-30cf-42
 ba-991d-ddf4a3e5e72d'><strong>Josh Johnson</strong></span>  is a saxophoni
 st\, composer\, multi-instrumentalist\, and Grammy Award-winning producer.
  His second solo album\, Unusual Object\, a striking work of futuristic ja
 zz and modern composition\, was recently released on Northern Spy Records.
  This spare work for processed saxophone and subtle samples shows Johnson 
 further sharpening his unique compositional voice. Unusual Object\, Johnso
 n says\, “is a development and documentation of a more personal world of s
 ound. What’s it like for me to create the context for my sound\, to frame 
 it myself?”</p> <p class>His solo debut Freedom Exercise (Northern Spy) wa
 s featured in Rolling Stone’s Best Music of 2020 and Bandcamp’s Best Jazz 
 Albums of 2020. Pitchfork called the record “excellent\, daringly melodic”
  and PostGenre praised it as “a songwriting marvel”.</p> <p class>Johnson 
 is a regular collaborator with some of contemporary music’s most innovativ
 e artists\, including Jeff Parker\, Makaya McCraven\, Nate Mercereau\, Mar
 quis Hill\, and Kiefer. Parker’s widely-acclaimed 2022 record Mondays at t
 he Enfield Tennis Academy features Johnson on saxophone and effects as par
 t of the longstanding quartet. This is the most recent in a series of Park
 er’s records to highlight Johnson\, with the latter also contributing saxo
 phone and synths to 2016’s The New Breed and 2020’s Suite for Max Brown. J
 ohnson is a member of the quintet\, SML who recently released their debut 
 album\, <em>Small Medium Large</em>\, on International Anthem Recording Co
 mpany to wide acclaim.</p> <p class>Between 2018 and 2022 Johnson held the
  role of Musical Director for soul singer Leon Bridges\, with whom he also
  played keyboards and saxophone. During his time with Bridges\, Johnson pe
 rformed throughout Europe\, North America\, Asia and Australia\, with perf
 ormances at the Hollywood Bowl\, Glastonbury and the Sydney Opera House. A
 long with Nate Walcott (Bright Eyes)\, Johnson arranged 14 of Bridges’ son
 gs for a performance with London’s Royal Philharmonic Orchestra\, also con
 tributing a choral arrangement and directing the concert. </p> <p class>Jo
 hnson produced and appears on Meshell Ndegeocello’s 2023 album\, <em>The O
 mnichord Real Book\,</em> which was awarded the 2024 Grammy for Best Alter
 native Jazz Album. He can also be heard on wide-ranging records by artist 
 such as Harry Styles\, the Red Hot Chili Peppers\, Moonchild\, Broken Bell
 s\, Miley Cyrus\, Louis Cole and Carlos Niño\, among others. He currently 
 resides in Los Angeles.</p> <p><i> </i></p> <hr> <h3></h3> <p><strong></p> <h4><a href='https://www.seattlemodernorchestra.org' target='_bl
 ank' rel='noopener noreferrer'></a></h4>
END:VEVENT
BEGIN:VEVENT
UID:c92b876f-2003-40f0-8dcc-45baff129927
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T194133Z
DESCRIPTION:<p></p>\n<p>The Wind Ensemble (Timothy Salzman\, director) and 
 Symphonic Band (David Stewart\, Solomon Encina\, Yuman Wu\, directors) pre
 sent 'Radiance\,' a program of music by Christopher Cerrone\, Ralph Vaugha
 n Williams\, and others. With faculty artist-in-residence Carrie Shaw\, so
 prano\, and winners of the Winds Concerto Competition. </p>\n<hr>\n<h2>Pro
 gram</h2>\n<h3>University of Washington Symphonic Band</h3>\n<p>David Stew
 art\, Solomon Encina\, Yuman Wu director</p>\n<p>Early Light (1995) - Carolyn Bremer</strong> (1957-2018)</p>\n<p>Carmen Fantasie Brillante 
 (1880) - <strong>François Borne</strong> (1840-1920) arr. <strong>Marc Oli
 ver</strong><br>Erin McAfee\, flute</p>\n<p>Concerto for Bass Tuba in F mi
 nor (1954) - <strong>Ralph Vaughan Williams</strong> (1872-1958)<br>I. Pre
 lude<br>II. Romanza<br>III. Rondo alla Tedesca<br>Chris Seay\, tuba</p>\n&lt;
 h3&gt;University of Washington Wind Ensemble</h3>\n<p>Timothy Salzman\, condu
 ctor</p>\n<p>Precious Metal: A Concerto for Flute and Winds (2010) - D. J. Sparr</strong> (b. 1975)<br>I. Silver Strettos<br>Claire Wei\, fl
 ute</p>\n<p>Darkening\, Then Brightening (2024) - <strong>Christopher Cerr
 one</strong> (b. 1984)<br>I. Here<br>II. My Heart<br>III. Darkening\, Then
  Brightening<br>IV. What Do Women Want?<br>V. Mermaid Song<br>Carrie Shaw\
 , UW faculty soprano</p>\n<p>Black Dog (2002) - <strong>Scott McAllister</strong> (b. 1969)<br>Ysanne Webb\, clarinet</p>\n\n\n\n\n<h4 class='p1'>UN
 IVERSITY OF WASHINGTON SYMPHONIC BAND</h4>\n<p class='p2'><strong>FLUTE</s><br>Samuel Alampay\, Sr.\, Mathematics\, University Place<br>Brooke 
 Bart\, Fr.\, Scandinavian Studies / Music\, Endwell\, NY<br>Cindy Franklin
 \, Fr.\, Business Administration\, Sammamish<br>Richard Lin\, So.\, Aerona
 utics and Astronautics\, San Diego\,CA<br>Selena Zheng\, Fr.\, Pre-Science
 \, Irvine\, CA</p>\n<p class='p2'><strong>OBOE</strong><br>Dylan Huynh\, F
 r.\, Political Science\, Sammamish<br>Meagan Paxman\, Fr.\, Pre-Sciences\,
  Vancouver</p>\n<p class='p2'><strong>CLARINET</strong><br>Ezra Marinell R
 aquel Agpaoa\, Fr.\, Music Education\, Everett<br>Maura Brennan\, Fr.\, En
 glish\, Renton<br>Willow Chartrand\, Fr.\, Pre-Sciences\, Los Alamos\, NM&lt;
 br&gt;Maggie Chen\, Fr.\, Environmental Studies\, Ringgold\, GA<br>Caitlin Do
 ng\, Fr.\, Pre-Sciences / Music Performance\, Englewood\, CO<br>Aditi Dwiv
 edy\, Jr.\, Psychology\, Biology\, and Neuroscience\, Bellevue<br>Camila D
 iaz Salas\, Fr.\, Music Education\, Quincy<br>Cara Lisy\, Sr.\, Computer S
 cience\, Maple Valley<br>Karsten Onarheim\, Sr.\, Mechanical Engineering\,
  Silverdale<br>Varshini Sridhar\, Fr.\, Biochemistry (Pre-Sciences)\, Chas
 ka\, MN</p>\n<p class='p2'><strong>BASSOON</strong><br>Victoria Everett\, 
 So.\, Music BA\, Renton<br>Andromeda Jacobson\, Jr.\, Mathematics\, San Jo
 sé\, CA<br>Bridget Navarro\, Community Member\, Physiology\, Mercer Island
 </p>\n<p class='p2'><strong>HORN</strong><br>Anthony Wen\, So.\, Computer 
 Science and Informatics\, Seattle<br>Matthew Jewesson\, Fr.\, Pre-Social S
 ciences\, Austin\, TX<br>Maddox Unocic\, Fr.\, Civil Engineering\, Redmond
 <br>Elliana Wagner\, Jr.\, Biochemistry\, Snohomish<br>Anthony Wen\, So\, 
 Computer Science/Informatics\, Seattle</p>\n<p class='p2'><strong>TRUMPET&lt;
 /strong&gt;<br>Nicholas Chang\, So.\, Pre-Sciences\, Seattle<br>Ben von Jess\
 , So.\, Music Education\, Renton<br>David Lu\, Fr.\, Computer Engineering\
 , Kenmore<br>Ryan Rose\, Sr.\, Music Composition\, Vancouver<br>Euan McCub
 bin\, Jr.\, Biology MCD\, Pullman<br>Vaughn Schnelle\, Jr.\, Music History
 \, West Seattle<br>Kevin Thomas\, Fr.\, Music Education\, Spokane</p>\n<p class='p2'><strong>TROMBONE</strong><br>Emily Gay\, Jr.\, Music Education\
 , Port Orchard<br>Richie Torres-Antúnez\, So.\, Music\, Mattawa<br>Jason L
 ai\, Fr.\, Mechanical Engineering\, Camas</p>\n<p class='p2'><strong>BASS 
 CLARINET</strong><br>Conrad Gauss\, Fr.\, Engineering\, Bellevue<br>Michae
 l Stella\, Fr.\, Political Science\, Puyallup<br>Eduardo Azevedo Simão Rac
 y\, So.\, Computer Science\, Auburn</p>\n<p class='p2'><strong>ALTO SAXOPH
 ONE</strong><br>Lydia Crook\, Sr.\, Atmospheric Science/International Stud
 ies\, Berkeley\, CA<br>Chikara Nakamura\, Fr.\, Arts and Sciences\, Tokyo\
 , Japan<br>Daniel Song\, Fr.\, Engineering Undecided\, Bothell</p>\n<p cla ss='p2'><strong>EUPHONIUM</strong><br>May Coppinger\, So.\, Mechanical Eng
 ineering\, Kirkland<br>Tom Lewis\, Jr.\, Mechanical Engineering\, Snoqualm
 ie</p>\n<p class='p2'><strong>TUBA</strong><br>Jonathan Lopez\, Sophomore\
 , Music Education\, Issaquah<br>Nathanael Vitorino\, Fr.\, Engineering\, V
 ancouver<br>Colin Tyrrell\, So.\, Finance and Information Systems\, Montau
 k\, NY</p>\n<p class='p2'><strong>TENOR SAXOPHONE</strong><br>Polina Dorog
 ova\, So.\, Psychology and Music Performance\, Gig Harbor</p>\n<p class='p
 2'><strong>PERCUSSION</strong><br>Daniel Lindsay\, Fr.\, Political Science
 \, Vancouver<br>Owen McDade\, Fr.\, Engineering\, Falls City<br>Alexander 
 McLean\, Fr.\, Environmental Science\, Snoqualmie<br>Kendall Johnson\, Gra
 d.\, Mechanical Engineering\, La Conner<br>Kaytie Twelves\, Freshman\, His
 tory\, Vancouver</p>\n<p class='p2'><strong>BARI SAXOPHONE</strong><br>Kau
 a Roberton\, Fr.\, Music Education\, Spokane</p>\n<p class='p1'></p>\n<h4 class='p1'>UNIVERSITY OF WASHINGTON WIND ENSEMBLE</h4>\n<p class='p2'><br>FLUTE</strong><br>Erin McAfee\, Grd.\, Music Performance\, Hoover\
 , AL*<br>Grace Playstead\, Grd.\, Music Performance\, Olympia<br>Peyton Ra
 y\, Jr.\, Music Performance\, Denver\, CO<br>Claire Wei\, So.\, Music Perf
 ormance\, Bellevue*<br>Yue Zhong.\, Sr.\, Music Performance\, Shanghai\, C
 hina</p>\n<p class='p2'><strong>OBOE</strong><br>Max Bolen\, Fr.\, Marine 
 Biology\, Ballard<br>Minh-Thi Butler\, Jr.\, Music Education\, Hoquiam<br>
 Lauren Majewski\, Sr.\, International Studies\, Mercer Island*</p>\n<p cla ss='p2'><strong>BASSOON</strong><br>Annika Fisher\, So.\, Anthropology\, L
 ake Forest Park<br>Alex Fraley\, Fr.\, Music Performance\, Kenmore<br>Rian
  Morgan\, Jr.\, Nutritional Science/Music Performance\, Des Moines*<br>Ari
 na Pushkina\, Fr.\, Engineering\, Woodinville</p>\n<p class='p2'><strong>C
 LARINET</strong><br>Arthur Gim\, So.\, Mechanical Engineering\, Bothell<br>Jeremy Hu\, So.\, Engineering\, Taipei\, Taiwan<br>Alessandro Martinez\, 
 So.\, Environmental Engineering\, Olympia<br>Alen Poehlman\, Jr.\, Biochem
 istry\, Tacoma<br>Luqi Wang\, Grd.\, Music Performance\, Dalian\, China<br>Ysanne Webb\, Grd.\, Music Performance\, Lubbock\, TX*</p>\n<p class='p2'><strong>BASS CLARINET</strong><br>Cameron DeLuca\, Grd.\, Music Performan
 ce\, Hawthorne\, CA</p>\n<p class='p2'><strong>SAXOPHONE</strong><br>Curti
 s Chung\, Jr.\, Mechanical Engineering\, Sunnyvale\, CA<br>Kyle Grant\, So
 .\, Music Education/Music Performance\, Sumner<br>Amy Kang\, Fr.\, Enginee
 ring\, Portland\, OR<br>Katie Zundel\, Sr.\, Music Performance/Engineering
 \, Clinton*</p>\n<p class='p2'><strong>TRUMPET</strong><br>Erika Berreth\,
  So.\, Computer Science\, Redmond<br>Hans Faul\, Jr.\, Music Performance\,
  Seattle*<br>Kyle Jenkins\, Grd.\, Music Performance\, Sammamish<br>Daniel
  Lyons\, So.\, Music Performance\, Lake Forest Park<br>Antti Mannisto\, Jr
 .\, Mechanical Engineering\, Bellevue</p>\n<p class='p3'><strong>HORN<br>Becky Miller\, Community Member\, Woodinville<br>Elise Moe\, Fr.\,
  Music Performance\, Everett*<br>Kiyoshi Colon\, Alumni.\, Chemistry\, Eve
 rett<br>Anna Barbee\, Alumni\, DMA Music Performance\, Tacoma</p>\n<p clas s='p2'><strong>TROMBONE</strong><br>Dion Archer-Roll\, Sr.\, Physics\, Van
 couver<br>Auden Durant\, Graduate\, Music Performance\, Bellevue<br>Eliana
  Koenig\, So.\, Mechanical Engineering\, Mesa\, AZ<br>Evan Mao\, So.\, Com
 puter Science\, Redmond<br>Nathanael Wyttenbach\, So.\, Music Performance/
 International Studies\, Richland*</p>\n<p class='p2'><strong>EUPHONIUM<br>Nico Ferreria\, So.\, Biology\, Bellevue<br>Simona Yaroslavsky\, 
 So.\, Psychology/Law\, Societies and Justice\, Mercer Island*</p>\n<p clas s='p2'><strong>TUBA</strong><br>Cole Henslee\, Sr.\, Music Performance\, L
 akewood<br>Foster Patterson\, Jr.\, Music Education\, Aberdeen<br>Chris Se
 ay\, Grd.\, Music Performance\, Belmont\, NC*</p>\n<p class='p2'><strong>B
 ASS</strong><br>Jason Lai\, Fr.\, Mechanical Engineering\, Camas</p>\n<p c lass='p2'><strong>PERCUSSION</strong><br>Ryan Baker\, Sr.\, Music Composit
 ion/Psychology\, Gig Harbor<br>Solomon Encina\, Grd.\, Wind Conducting\, R
 ancho Cucamonga\, CA<br>Abigail George\, Sr.\, Music Performance/Applied P
 hysics\, Redmond<br>Momoka Fukushima\, So.\, Music Performance\, Issaquah*
 <br>Colin Lehman\, Fr.\, Music Performance\, Moses Lake<br>Luigi Salvaggio
 \, So.\, Music Performance\, Manhattan Beach\, CA</p>\n<p class='p2'>PIANO</strong><br>Rachel Huang\, Grad.\, Music Performance\, West Hills
 \, LA</p>\n<p class='p2'><strong>DOCTORAL STUDENT CONDUCTORS</strong><br>S
 olomon Encina\, Rancho Cucamonga\, CA<br>David Stewart\, Mercer Island<br>
 Yuman Wu\, Tianjin\, China</p>\n<p class='p2'>*principal</p>\n\n\n\n\n<h3>
 Biographies</h3>
DTSTART;TZID=America/Los_Angeles:20250501T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:201
SUMMARY:: Wind Ensemble and Symphonic Band: Radiance
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-02/wind-ensemble-and-sympho
 nic-band-radiance
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The Wind Ensemble (Timothy Salzman\
 , director) and Symphonic Band (David Stewart\, Solomon Encina\, Yuman Wu\
 , directors) present 'Radiance\,' a program of music by Christopher Cerron
 e\, Ralph Vaughan Williams\, and others. With faculty artist-in-residence 
 Carrie Shaw\, soprano\, and winners of the Winds Concerto Competition. </p> <hr> <h2>Program</h2> <h3>University of Washington Symphonic Band</h3> &lt;
 p&gt;<em>David Stewart\, Solomon Encina\, Yuman Wu director</em></p> <p>Early
  Light (1995) - <strong>Carolyn Bremer</strong> (1957-2018)</p> <p>Carmen 
 Fantasie Brillante (1880) - <strong>François Borne</strong> (1840-1920) ar
 r. <strong>Marc Oliver</strong><br><em>Erin McAfee\, flute</em></p> <p>Con
 certo for Bass Tuba in F minor (1954) - <strong>Ralph Vaughan Williams (1872-1958)<br>I. Prelude<br>II. Romanza<br>III. Rondo alla Tedesca&lt;
 br&gt;Chris Seay\, tuba</p> <h3>University of Washington Wind Ensemble</h3> &lt;
 p&gt;<em>Timothy Salzman\, conductor</em></p> <p>Precious Metal: A Concerto f
 or Flute and Winds (2010) -<strong> D. J. Sparr</strong> (b. 1975)<br>I. S
 ilver Strettos<br><em>Claire Wei\, flute</em></p> <p>Darkening\, Then Brig
 htening (2024) - <strong>Christopher Cerrone</strong> (b. 1984)<br>I. Here
 <br>II. My Heart<br>III. Darkening\, Then Brightening<br>IV. What Do Women
  Want?<br>V. Mermaid Song<br><em>Carrie Shaw\, UW faculty soprano</em></p>
  <p>Black Dog (2002) - <strong>Scott McAllister</strong> (b. 1969)<br><em>
 Ysanne Webb\, clarinet</em></p> <table> <tbody> <tr> <td> <h4 class='p1'>UNIVERSITY OF WASHINGTON SYMP
 HONIC BAND</h4> <p class='p2'><strong>FLUTE</strong><br>Samuel Alampay\, S
 r.\, Mathematics\, University Place<br>Brooke Bart\, Fr.\, Scandinavian St
 udies / Music\, Endwell\, NY<br>Cindy Franklin\, Fr.\, Business Administra
 tion\, Sammamish<br>Richard Lin\, So.\, Aeronautics and Astronautics\, San
  Diego\,CA<br>Selena Zheng\, Fr.\, Pre-Science\, Irvine\, CA</p> <p class='p2'><strong>OBOE</strong><br>Dylan Huynh\, Fr.\, Political Science\, Samm
 amish<br>Meagan Paxman\, Fr.\, Pre-Sciences\, Vancouver</p> <p class='p2'>
 <strong>CLARINET</strong><br>Ezra Marinell Raquel Agpaoa\, Fr.\, Music Edu
 cation\, Everett<br>Maura Brennan\, Fr.\, English\, Renton<br>Willow Chart
 rand\, Fr.\, Pre-Sciences\, Los Alamos\, NM<br>Maggie Chen\, Fr.\, Environ
 mental Studies\, Ringgold\, GA<br>Caitlin Dong\, Fr.\, Pre-Sciences / Musi
 c Performance\, Englewood\, CO<br>Aditi Dwivedy\, Jr.\, Psychology\, Biolo
 gy\, and Neuroscience\, Bellevue<br>Camila Diaz Salas\, Fr.\, Music Educat
 ion\, Quincy<br>Cara Lisy\, Sr.\, Computer Science\, Maple Valley<br>Karst
 en Onarheim\, Sr.\, Mechanical Engineering\, Silverdale<br>Varshini Sridha
 r\, Fr.\, Biochemistry (Pre-Sciences)\, Chaska\, MN</p> <p class='p2'>BASSOON</strong><br>Victoria Everett\, So.\, Music BA\, Renton<br>Andr
 omeda Jacobson\, Jr.\, Mathematics\, San José\, CA<br>Bridget Navarro\, Co
 mmunity Member\, Physiology\, Mercer Island</p> <p class='p2'><strong>HORN
 </strong><br>Anthony Wen\, So.\, Computer Science and Informatics\, Seattl
 e<br>Matthew Jewesson\, Fr.\, Pre-Social Sciences\, Austin\, TX<br>Maddox 
 Unocic\, Fr.\, Civil Engineering\, Redmond<br>Elliana Wagner\, Jr.\, Bioch
 emistry\, Snohomish<br>Anthony Wen\, So\, Computer Science/Informatics\, S
 eattle</p> <p class='p2'><strong>TRUMPET</strong><br>Nicholas Chang\, So.\
 , Pre-Sciences\, Seattle<br>Ben von Jess\, So.\, Music Education\, Renton&lt;
 br&gt;David Lu\, Fr.\, Computer Engineering\, Kenmore<br>Ryan Rose\, Sr.\, Mu
 sic Composition\, Vancouver<br>Euan McCubbin\, Jr.\, Biology MCD\, Pullman
 <br>Vaughn Schnelle\, Jr.\, Music History\, West Seattle<br>Kevin Thomas\,
  Fr.\, Music Education\, Spokane</p> <p class='p2'><strong>TROMBONE<br>Emily Gay\, Jr.\, Music Education\, Port Orchard<br>Richie Torres-An
 túnez\, So.\, Music\, Mattawa<br>Jason Lai\, Fr.\, Mechanical Engineering\
 , Camas</p> <p class='p2'><strong>BASS CLARINET</strong><br>Conrad Gauss\,
  Fr.\, Engineering\, Bellevue<br>Michael Stella\, Fr.\, Political Science\
 , Puyallup<br>Eduardo Azevedo Simão Racy\, So.\, Computer Science\, Auburn
 </p> <p class='p2'><strong>ALTO SAXOPHONE</strong><br>Lydia Crook\, Sr.\, 
 Atmospheric Science/International Studies\, Berkeley\, CA<br>Chikara Nakam
 ura\, Fr.\, Arts and Sciences\, Tokyo\, Japan<br>Daniel Song\, Fr.\, Engin
 eering Undecided\, Bothell</p> <p class='p2'><strong>EUPHONIUM</strong><br>May Coppinger\, So.\, Mechanical Engineering\, Kirkland<br>Tom Lewis\, Jr
 .\, Mechanical Engineering\, Snoqualmie</p> <p class='p2'><strong>TUBA<br>Jonathan Lopez\, Sophomore\, Music Education\, Issaquah<br>Nathan
 ael Vitorino\, Fr.\, Engineering\, Vancouver<br>Colin Tyrrell\, So.\, Fina
 nce and Information Systems\, Montauk\, NY</p> <p class='p2'><strong>TENOR
  SAXOPHONE</strong><br>Polina Dorogova\, So.\, Psychology and Music Perfor
 mance\, Gig Harbor</p> <p class='p2'><strong>PERCUSSION</strong><br>Daniel
  Lindsay\, Fr.\, Political Science\, Vancouver<br>Owen McDade\, Fr.\, Engi
 neering\, Falls City<br>Alexander McLean\, Fr.\, Environmental Science\, S
 noqualmie<br>Kendall Johnson\, Grad.\, Mechanical Engineering\, La Conner&lt;
 br&gt;Kaytie Twelves\, Freshman\, History\, Vancouver</p> <p class='p2'>BARI SAXOPHONE</strong><br>Kaua Roberton\, Fr.\, Music Education\, Spok
 ane</p> <p class='p1'></p> <h4 class='p1'>UNIVERSITY OF WASHINGTON WIND EN
 SEMBLE</h4> <p class='p2'><strong><br>FLUTE</strong><br>Erin McAfee\, Grd.
 \, Music Performance\, Hoover\, AL*<br>Grace Playstead\, Grd.\, Music Perf
 ormance\, Olympia<br>Peyton Ray\, Jr.\, Music Performance\, Denver\, CO<br>Claire Wei\, So.\, Music Performance\, Bellevue*<br>Yue Zhong.\, Sr.\, Mu
 sic Performance\, Shanghai\, China</p> <p class='p2'><strong>OBOE</strong>
 <br>Max Bolen\, Fr.\, Marine Biology\, Ballard<br>Minh-Thi Butler\, Jr.\, 
 Music Education\, Hoquiam<br>Lauren Majewski\, Sr.\, International Studies
 \, Mercer Island*</p> <p class='p2'><strong>BASSOON</strong><br>Annika Fis
 her\, So.\, Anthropology\, Lake Forest Park<br>Alex Fraley\, Fr.\, Music P
 erformance\, Kenmore<br>Rian Morgan\, Jr.\, Nutritional Science/Music Perf
 ormance\, Des Moines*<br>Arina Pushkina\, Fr.\, Engineering\, Woodinville&lt;
 /p&gt; <p class='p2'><strong>CLARINET</strong><br>Arthur Gim\, So.\, Mechanic
 al Engineering\, Bothell<br>Jeremy Hu\, So.\, Engineering\, Taipei\, Taiwa
 n<br>Alessandro Martinez\, So.\, Environmental Engineering\, Olympia<br>Al
 en Poehlman\, Jr.\, Biochemistry\, Tacoma<br>Luqi Wang\, Grd.\, Music Perf
 ormance\, Dalian\, China<br>Ysanne Webb\, Grd.\, Music Performance\, Lubbo
 ck\, TX*</p> <p class='p2'><strong>BASS CLARINET</strong><br>Cameron DeLuc
 a\, Grd.\, Music Performance\, Hawthorne\, CA</p> <p class='p2'><strong>SA
 XOPHONE</strong><br>Curtis Chung\, Jr.\, Mechanical Engineering\, Sunnyval
 e\, CA<br>Kyle Grant\, So.\, Music Education/Music Performance\, Sumner<br>Amy Kang\, Fr.\, Engineering\, Portland\, OR<br>Katie Zundel\, Sr.\, Musi
 c Performance/Engineering\, Clinton*</p> <p class='p2'><strong>TRUMPET<br>Erika Berreth\, So.\, Computer Science\, Redmond<br>Hans Faul\, J
 r.\, Music Performance\, Seattle*<br>Kyle Jenkins\, Grd.\, Music Performan
 ce\, Sammamish<br>Daniel Lyons\, So.\, Music Performance\, Lake Forest Par
 k<br>Antti Mannisto\, Jr.\, Mechanical Engineering\, Bellevue</p> <p class='p3'><strong>HORN</strong><br>Becky Miller\, Community Member\, Woodinvil
 le<br>Elise Moe\, Fr.\, Music Performance\, Everett*<br>Kiyoshi Colon\, Al
 umni.\, Chemistry\, Everett<br>Anna Barbee\, Alumni\, DMA Music Performanc
 e\, Tacoma</p> <p class='p2'><strong>TROMBONE</strong><br>Dion Archer-Roll
 \, Sr.\, Physics\, Vancouver<br>Auden Durant\, Graduate\, Music Performanc
 e\, Bellevue<br>Eliana Koenig\, So.\, Mechanical Engineering\, Mesa\, AZ<b r>Evan Mao\, So.\, Computer Science\, Redmond<br>Nathanael Wyttenbach\, So
 .\, Music Performance/International Studies\, Richland*</p> <p class='p2'>
 <strong>EUPHONIUM</strong><br>Nico Ferreria\, So.\, Biology\, Bellevue<br>
 Simona Yaroslavsky\, So.\, Psychology/Law\, Societies and Justice\, Mercer
  Island*</p> <p class='p2'><strong>TUBA</strong><br>Cole Henslee\, Sr.\, M
 usic Performance\, Lakewood<br>Foster Patterson\, Jr.\, Music Education\, 
 Aberdeen<br>Chris Seay\, Grd.\, Music Performance\, Belmont\, NC*</p> <p c lass='p2'><strong>BASS</strong><br>Jason Lai\, Fr.\, Mechanical Engineerin
 g\, Camas</p> <p class='p2'><strong>PERCUSSION</strong><br>Ryan Baker\, Sr
 .\, Music Composition/Psychology\, Gig Harbor<br>Solomon Encina\, Grd.\, W
 ind Conducting\, Rancho Cucamonga\, CA<br>Abigail George\, Sr.\, Music Per
 formance/Applied Physics\, Redmond<br>Momoka Fukushima\, So.\, Music Perfo
 rmance\, Issaquah*<br>Colin Lehman\, Fr.\, Music Performance\, Moses Lake&lt;
 br&gt;Luigi Salvaggio\, So.\, Music Performance\, Manhattan Beach\, CA</p> <p class='p2'><strong>PIANO</strong><br>Rachel Huang\, Grad.\, Music Perform
 ance\, West Hills\, LA</p> <p class='p2'><strong>DOCTORAL STUDENT CONDUCTO
 RS</strong><br>Solomon Encina\, Rancho Cucamonga\, CA<br>David Stewart\, M
 ercer Island<br>Yuman Wu\, Tianjin\, China</p> <p class='p2'>*principal</p> </td> </tr> </tbody> </table> <h3>Biographies</h3>
END:VEVENT
BEGIN:VEVENT
UID:a797088a-fa4a-43a1-ba32-511d953872dc
DTSTAMP:20260307T094252Z
CATEGORIES:Special Events\, Talks
CLASS:PUBLIC
CREATED:20250409T191849Z
DESCRIPTION:<p>The University of Washington Music History program hosts a b
 ook launch celebration and talk by assistant professor Frederick Reece upo
 n the publication of his new book\, Forgery in Musical Composition (Oxford
  University Press). </p>\n<hr>\n<h2>About the Book</h2>\n<p>We all know ab
 out art forgeries\, but why write fake classical music? In Forgery in Musi
 cal Composition\, Frederick Reece investigates the methods and motives of 
 mysterious musicians who sign famous historical names like Haydn\, Mozart\
 , and Schubert to their own original works. Analyzing a series of genuinel
 y fake sonatas\, concertos\, and symphonies in detail\, Reece's study expo
 ses the shadowy roles that forgeries have played in shaping perceptions of
  authenticity\, creativity\, and the self within classical music culture f
 rom the 1790s to the 1990s.</p>\n<p>Holding a magnifying glass to a wide a
 rray of phony works\, Forgery in Musical Composition explains how skillful
  fakers have succeeded in the past while also proposing active steps that 
 scholars and musicians can take to better identify deceptive compositions 
 in the future. Pursuing his topic from case to case\, Reece observes that 
 fake historical masterpieces have often seduced listeners not simply by im
 itating old works\, but rather by mirroring modern cultural beliefs about 
 innovation\, identity\, and meaning in music. Here forged compositions hav
 e important truths to tell us about knowing and valuing works of art preci
 sely because they are not what they appear.</p>\n<hr>\n<h2>Biography</h2>
 \n<p></p>
DTSTART;TZID=America/Los_Angeles:20250502T133000
LAST-MODIFIED:20250410T020226Z
SEQUENCE:202
SUMMARY:: Book Launch Celebration: Frederick Reece\, Forgery in Musical Com
 position
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-02/book-launch-celebration-
 frederick-reece-forgery-musical-composition
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The University of Washington Music History 
 program hosts a book launch celebration and talk by assistant professor Fr
 ederick Reece upon the publication of his new book\, <em>Forgery in Musica
 l Composition</em> (Oxford University Press). </p> <hr> <h2>About the Book
 </h2> <p>We all know about art forgeries\, but why write fake classical mu
 sic? In <em>Forgery in Musical Composition\,</em> Frederick Reece investig
 ates the methods and motives of mysterious musicians who sign famous histo
 rical names like Haydn\, Mozart\, and Schubert to their own original works
 . Analyzing a series of genuinely fake sonatas\, concertos\, and symphonie
 s in detail\, Reece's study exposes the shadowy roles that forgeries have 
 played in shaping perceptions of authenticity\, creativity\, and the self 
 within classical music culture from the 1790s to the 1990s.</p> <p>Holding
  a magnifying glass to a wide array of phony works\, <em>Forgery in Musica
 l Composition</em> explains how skillful fakers have succeeded in the past
  while also proposing active steps that scholars and musicians can take to
  better identify deceptive compositions in the future. Pursuing his topic 
 from case to case\, Reece observes that fake historical masterpieces have 
 often seduced listeners not simply by imitating old works\, but rather by 
 mirroring modern cultural beliefs about innovation\, identity\, and meanin
 g in music. Here forged compositions have important truths to tell us abou
 t knowing and valuing works of art precisely because they are not what the
 y appear.</p> <hr> <h2>Biography</h2> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:461a922e-30e6-414a-9602-cfb5f8ecd52f
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances\, Student Activities and Per
 formances
CLASS:PUBLIC
CREATED:20240807T232516Z
DESCRIPTION:<p></p>\n<p>David Alexander Rahbee leads the UW Symphony in a p
 rogram of music by Jessie Montgomery (Robert Stahly\, conductor)\, Cécile 
 Chaminade\, Francis Poulenc\, and Dmitri Shostakovich. With faculty guest 
 Donna Shin\, flute. </p>\n<hr>\n<h2>Program</h2>\n<p>Hymn for Everyone:  &lt;
 strong&gt;Jessie Montgomery</strong> (b. 1981)<br>Robert Stahly\, conductor<b r><br>Flute Concertino\, Op. 107: <strong>Cécile Chaminade</strong> (1857-
 1944)<br><br>Flute Sonata: <strong>Francis Poulenc</strong> (1899-1957)\; 
 orchestrated by <strong>Lennox Berkeley</strong> (1903-1989)<br>I. Allegro
  moderato<br>II. Cantilena: Assez lent<br>III. Presto giocoso<br>Donna Shi
 n\, flute<br><br>Intermission<br><br>Symphony No. 9\, in E-flat major\, Op
 . 70:  <strong>Dmitri Shostakovich</strong> (1906-1975)<br>I. Allegro<br>I
 I. Moderato<br>III. Presto<br>IV. Largo<br>V. Allegretto<br><br>(in commem
 oration of the 50th anniversary of the composer’s death)</p>\n<hr>\n<h2>Pr
 ogram Notes</h2>\n<p>By Mica Weiland</p>\n<p><strong>Jessie Montgomery (b.
  1981) - Hymn for Everyone (2021)</strong><br>Jessie Montgomery is an Amer
 ican composer and violinist whose work spans a diverse range of styles and
  instrumental configurations. From 2021 to 2024\, she served as the compos
 er-in-residence with the Chicago Symphony Orchestra. In Hymn for Everyone\
 , composed during the height of the COVID-19 pandemic\, Montgomery reflect
 s on themes of unity and collective experience. Inspired by a melody that 
 came to her following a long hike\, the work functions as a musical medita
 tion on togetherness. This sense of unity is conveyed through the orchestr
 ation\, as the central theme is passed among various 'choirs' of instrumen
 tal sections\, resulting in a rich tapestry of timbral color and texture. 
 Through this compositional approach\, Montgomery underscores both the cohe
 sion of the orchestra and a broader metaphor for human solidarity.</p>\n<p><br><strong>Cécile Chaminade (1857-1944): Concertino for Flute in D major
 \, Op. 107 (1902)<br></strong>Cécile Chaminade was a French composer and p
 ianist born into a musically inclined family\, receiving her earliest pian
 o instruction from her mother. Although she was evaluated and approved to 
 study at the Conservatoire de Paris\, her father ultimately prohibited her
  enrollment\, believing it inappropriate for a young woman of her social s
 tanding. Nevertheless\, Chaminade pursued her musical education privately 
 with instructors affiliated with the Conservatoire. Among her most endurin
 gly popular works is the Concertino for Flute\, a piece celebrated for its
  lighthearted and lyrical character. The orchestration provides a buoyant 
 and supportive foundation for the expressive\, song-like lines of the solo
  flute\, resulting in a work that has become a staple of both the orchestr
 al and solo flute repertoire.<br><br><strong>Franic Poulenc (1899-1963) - 
 Flute Sonata (orch. Berkeley) (1957/1977)<br></strong>Francis Poulenc\, bo
 rn in Paris in 1899\, was a prominent French composer and pianist. Notably
 \, parallels can be drawn between Poulenc and Cécile Chaminade\, particula
 rly in their early musical development and the barriers they faced in purs
 uing formal music education. Although for different reasons—Chaminade due 
 to societal expectations for women of her class and Poulenc due to his fat
 her’s disapproval—both were initially denied access to traditional conserv
 atory training. Like Chaminade\, Poulenc received his first piano instruct
 ion from his mother and continued his studies privately. <br>In the 1920s\
 , Poulenc became a member of Les Six\, a group of early 20th-century Frenc
 h composers who sought to move away from the dense\, Romantic orchestral t
 extures of the Germanic tradition\, favoring clarity\, wit\, and a distinc
 tively French sensibility.<br>Poulenc composed his Flute Sonata late in hi
 s career\, following a commission from the Library of Congress. During thi
 s period\, he was also working on one of his most important works\, the op
 era\, Dialogues des Carmélites. The Sonata reflects his deep engagement wi
 th vocal music at the time\, evident in its lyrical phrasing and vocal-lik
 e lines. Poulenc himself expressed a preference for composing for woodwind
 s over strings\, as he considered their timbre and expressive capabilities
  to be closer to that of the human voice. The piece gained widespread popu
 larity and was eventually orchestrated. In 1976\, flautist James Galway ap
 proached English composer Sir Lennox Berkeley\, a longtime friend of Poule
 nc\, to create an orchestral version of the sonata. The task turned out to
  be quite challenging because of the pianistic nature of the accompaniment
 . Despite the difficulty\, Berkeley honored Poulenc’s brilliance with a me
 ticulous and faithful orchestration that achieved a widespread popularity 
 similar to that of the original work.<br>The Sonata consists of three move
 ments. The first is marked by virtuosic demands on the performer\, includi
 ng elaborate trills and rapid ornamental flourishes. The second movement i
 s a melancholic cantilena\, evoking a vocal style characterized by flowing
 \, lyrical expression. The final movement concludes the work with brillian
 ce and vivacity\, bringing the piece to an energetic and spirited close.</p>\n<p><strong>Dmitri Shostakovich (1906-1975) - Symphony no. 9 in Eb majo
 r\, Op. 70 (1945)<br></strong>Dmitri Shostakovich\, a composer and pianist
  born in early 20th-century Soviet Russia\, is widely recognized for his v
 ast and diverse body of work\, which includes operas\, ballets\, film scor
 es\, chamber music\, concertos\, and symphonies. His compositional output 
 is inextricably linked with his complex and often fraught relationship wit
 h the Soviet government\, a tension that is frequently reflected in his mu
 sic. Originally conceived as a grandiose celebration of the Soviet victory
  over Nazi Germany in World War II\, Shostakovich declared that his ninth 
 symphony would feature large-scale orchestration\, soloists\, and chorus. 
 However\, Shostakovich ultimately abandoned that initial vision and compos
 ed a very different Ninth Symphony—more modest in scale and ironic in tone
 .<br>Rather than the monumental work the public had anticipated\, the resu
 lting symphony spans just over 30 minutes and employs a relatively convent
 ional Romantic-era orchestration. Yet what it lacks in grandeur\, it compe
 nsates for with biting sarcasm\, unexpected emotional depth\, and stylisti
 c ingenuity. Across its five movements\, the symphony maintains a remarkab
 le sense of cohesion despite its stark contrasts in character and mood\, c
 onsistently engaging the listener with its unpredictability and wit.<br>Th
 e first movement draws on Classical-era idioms\, evoking the lightness and
  clarity of Mozart with its buoyant textures and memorable melodies. Howev
 er\, Shostakovich infuses the movement with his distinctive voice\, employ
 ing syncopated accents in surprising places and integrating a quasi-milita
 ristic march beneath an extended violin solo. The second movement is a hau
 nting waltz that begins with a solemn chorale in the woodwinds\, soon devo
 lving into a more aggressive and unhinged character. An omnipresent pizzic
 ato figure in the low strings heightens the movement’s sense of instabilit
 y and impending dread. As the violins and violas enter to introduce the wa
 ltz theme\, the music oscillates between momentum and collapse. The moveme
 nt concludes with a piercing and disorienting piccolo solo\, accompanied b
 y the persistent pizzicato\, leaving a lingering sense of psychological un
 ease.<br>The final three movements are performed attacca\, without pause\,
  forming a continuous arc to the symphony’s conclusion. The third movement
  opens in stark contrast to the previous one\, featuring a sprightly theme
  in the clarinet and flute that evokes a sense of carefree exuberance. How
 ever\, this lightness is soon interrupted by a martial trumpet solo over a
  restless accompaniment\, before the music fades into a whispered conclusi
 on. The fourth movement emerges seamlessly from this silence with a brass 
 fanfare\, out of which a deeply expressive bassoon solo rises. Shostakovic
 h subtly references other iconic ninth symphonies in this movement\, inclu
 ding those of Beethoven and Mahler\, through brief musical quotations embe
 dded in the bassoon's lines.<br>The final movement begins right after the 
 bassoon’s mournful lament\, quickly escalating into an increasingly frenet
 ic tempo. As the music builds in energy and intensity\, it culminates in a
 n explosive surge of rhythmic drive and aggression. Brimming with Shostako
 vich's signature sarcasm and sharp wit\, the finale reintroduces militaris
 tic motifs heard earlier in the piece. Its bold\, panache-filled conclusio
 n provides a perfect closing to the symphony\, leaving the audience cravin
 g more.</p>\n<hr>\n\n\n\n\n<h3>University of Washington Symphony Orchestra
 </h3>\n<p>David Alexander Rahbee\, Music Director and Conductor<br>Ryan Da
 kota Farris and Robert Stahly\, Assistant Conductors</p>\n<p><strong>Flute
 </strong><br>Erin McAfee\, MM Flute Performance<br>Tracia Pan\, Flute Perf
 ormance\, Statistics<br>Rachel Reyes\, DMA Woodwinds<br>Claire Wei\, BM Fl
 ute Performance<br>Yue Zhong\, BA Flute Performance</p>\n<p><strong>Piccol
 o</strong><br>Grace Playstead\, MM Flute Performance<br>Claire Wei\, Music
 <br><br><strong>Oboe</strong><br>Max Bolen\, Marine Biology<br>Max Boyd\, 
 Oboe Performance<br>Minh-Thi Butler\, BM Oboe Performance</p>\n<p><strong>
 English Horn</strong><br>Max Bolen\, Marine Biology</p>\n<p><br><strong>Cl
 arinet</strong><br>Ysanne Webb\, DMA Clarinet Performance<br>Nick Zhang\, 
 BS Computer Science<br>Luqi Wang\, DMA Clarinet Performance</p>\n<p><br><s trong>Bassoon</strong><br>Ryan Kapsandy\, BM Bassoon Performance<br>Rian M
 organ\, Music/Nutritional Science<br>Eric Shankland\, BA Music History<br>
 Eric Spradling\, BM Bassoon Performance</p>\n<p><strong>Contrabassoon<br>Eric Spradling\, BM Bassoon Performance</p>\n<p><strong>Horn <br>Nicole Bogner\, BM Horn Performance<br>Colin Laskarzewski\, BS Phy
 sics<br>Elise Moe\, BM Horn Performance<br>Sam Nutt\, Molecular &amp; Cellular
  Biology<br>Noelani Stewart\, Political Science\, American Ethnic Studies&lt;
 /p&gt;\n<p><br><strong>Trumpet</strong><br>Hans Faul\, BM Trumpet Performance
 <br>Kyle Jenkins\, MM Trumpet Performance<br>Antti Männistö\, Mechanical E
 ngineering<br>Drew Theran\, MM Trumpet Performance</p>\n<p><br><strong>Tro
 mbone</strong><br>Jonathan Elsner\, Applied &amp; Computational Mathematics<br>Neal Muppidi\, BM Trombone Performance<br>Nathanael Wyttenbach\, Music Co
 mposition</p>\n<p><strong>Bass Trombone</strong><br>Duncan Weiner\, Aero-A
 stro Engineering/Linguistics</p>\n<p><strong>Tuba</strong><br>Adam Mtimet\
 , DMA Tuba Performance<br>Chris Seay\, DMA Tuba Performance</p>\n<p><br><s trong>Timpani</strong><br>Kaisho Barnhill\, Music Education\, Psychology<b r>Ivy Moore\, Bioresource Science and Engineering<br>Cyan Duong\, Music Ed
 ucation</p>\n<p><br><strong>Percussion</strong><br>Kaisho Barnhill\, Music
  Education\, Psychology<br>Ivy Moore\, Bioresource Science and Engineering
 <br>Cyan Duong\, Music Education<br>Regan Wong\, Microbiology</p>\n<p><br>
 <strong>Harp</strong><br>Kelly Hou\, Alumna</p>\n<p><strong>Violin I<br>Hanu Nahm\, Violin Performance/BS Microbiology (Concertmaster)<br>T
 aylor DeCastro\, MM Violin Performance<br>Hai-Ryung Jang\, DMA Violin Perf
 ormance<br>David Teves-Tan\, Pre-Sciences<br>Justin Chae\, Computer Scienc
 e<br>Ido Avnon\, MS Computer Science &amp; Engineering<br>David Mok\, Computer
  Engineering<br>Amelie Martin\, Mathematics<br>Alex Metzger\, Computer Sci
 ence<br>Brandon Bailey\, Computer Science<br>Adora Wu\, Computer Science<b r>Nicole Chen\, Informatics<br>Lyle Deng\, Computer Science<br>Avery Parry
 \, Biochemistry<br>Grace Hwang\, BA Music\, ECE<br>Giulia Rosa\, Music<br>
 Renee Yeung\, CPO</p>\n<p><br><strong>Violin II</strong><br>Grace Pandra\,
  Violin Performance/Business Administration (Principal)<br>Michaela Klesse
 \, Music<br>Thea Higgins\, Industrial Engineering: Data Science<br>Alice L
 eppert\, Chemistry<br>Cristina Kosilkina\, BS Biochemistry<br>Danny Zhang\
 , Pre-Sciences<br>Victoria Zhuang\, Informatics and Geography: Data Scienc
 e<br>Kate Everling\, Applied Mathematics<br>Jasmine Palikhya\, Internation
 al Studies<br>Ling Yang\, Medical Anthropology and Global Health<br>Anja W
 estra\, Marine Biology<br>Justene Li\, Pre-Sciences<br>Caleb Anderson\, Ma
 thematics<br>Freya Frahm\, Computer Sciences/BM Piano Performance<br>Felic
 ia Yeh\, Business Administration<br>Hannah Pena-Ruiz\, Music History</p>\n
 <p><br><strong>Viola</strong> <br>Flora Cummings\, Viola Performance/Biolo
 gy (Co-Principal)<br>Mica Weiland\, Viola Performance (Co-Principal)<br>Em
 ma Boyce\, Music<br>Abigail Schidler\, Computer Science/Music Theory<br>An
 nika Johnson\, Earth and Space Sciences: Physics<br>Melia Golden\, Biochem
 istry<br>Mia Grayson\, Biochemistry<br>Hailey Nappen\, Pre Sciences<br>Dav
 id Del Cid-Saavedra\, Multilingual Education Studies<br>Aribella Brushie\,
  Pre-Sciences<br>Alan Fan\, International Studies<br>Alissa Harbani\, Bioe
 ngineering/Music<br>Melany Nanayakkara\, Material Science Engineering/Chem
 istry</p>\n<p><br><strong>Violoncello </strong><br>Cory Chen\, BA in Music
 /Intended Neuroscience (Principal)<br>Loni Yin\, Pre-Sciences<br>Nathan Ev
 ans\, BA Music History<br>Katherine Kang\, Human Centered Design &amp; Enginee
 ring<br>Ignacio (Nacho) Tejeda\, PhD Mathematics<br>Jack Ruffner\, Pre-Soc
 ial Sciences<br>Amanda Song\, Accounting and Marketing<br>Eli Kashman\, Bi
 oengineering<br>Mina Wang\, Informatics<br>Ally Wu\, Electrical Engineerin
 g<br>Andrew Vu\, Chemistry/Biochemistry/Math<br>Noah Croskey\, Industrial 
 Engineering<br>Bashir Abdel-Fattah\, PhD Mathematics</p>\n<p><br><strong>B
 ass</strong> <br>Eddie Mospan\, BM Bass Performance (Principal)<br>Ethan P
 ark\, Biology<br>Josh Bonifas\, Music/ELS<br>Amelia Matsumoto\, BM Bass Pe
 rformance<br>Gabriella Kelley\, English<br>Nathan Eskridge\, MM Bass Perfo
 rmance</p>\n\n\n\n\n<h3>Biographies</h3>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250502T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:203
SUMMARY:: UW Symphony Orchestra with Donna Shin\, flute
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-03/uw-symphony-orchestra-do
 nna-shin-flute
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>David Alexander Rahbee leads the UW
  Symphony in a program of music by Jessie Montgomery (Robert Stahly\, cond
 uctor)\, Cécile Chaminade\, Francis Poulenc\, and Dmitri Shostakovich. Wit
 h faculty guest Donna Shin\, flute. </p> <hr> <h2>Program</h2> <p>Hymn for
  Everyone:  <strong>Jessie Montgomery</strong> (b. 1981)<br><em>Robert Sta
 hly\, conductor</em><br><br>Flute Concertino\, Op. 107: <strong>Cécile Cha
 minade</strong> (1857-1944)<br><br>Flute Sonata: <strong>Francis Poulenc</strong> (1899-1957)\; orchestrated by <strong>Lennox Berkeley</strong> (19
 03-1989)<br>I. Allegro moderato<br>II. Cantilena: Assez lent<br>III. Prest
 o giocoso<br><em>Donna Shin\, flute</em><br><br>Intermission<br><br>Sympho
 ny No. 9\, in E-flat major\, Op. 70:  <strong>Dmitri Shostakovich</strong>
  (1906-1975)<br>I. Allegro<br>II. Moderato<br>III. Presto<br>IV. Largo<br>
 V. Allegretto<br><br><em>(in commemoration of the 50th anniversary of the 
 composer’s death)</em></p> <hr> <h2>Program Notes</h2> <p><em>By Mica Weil
 and</em></p> <p><strong>Jessie Montgomery (b. 1981) - Hymn for Everyone (2
 021)</strong><br>Jessie Montgomery is an American composer and violinist w
 hose work spans a diverse range of styles and instrumental configurations.
  From 2021 to 2024\, she served as the composer-in-residence with the Chic
 ago Symphony Orchestra. In Hymn for Everyone\, composed during the height 
 of the COVID-19 pandemic\, Montgomery reflects on themes of unity and coll
 ective experience. Inspired by a melody that came to her following a long 
 hike\, the work functions as a musical meditation on togetherness. This se
 nse of unity is conveyed through the orchestration\, as the central theme 
 is passed among various 'choirs' of instrumental sections\, resulting in a
  rich tapestry of timbral color and texture. Through this compositional ap
 proach\, Montgomery underscores both the cohesion of the orchestra and a b
 roader metaphor for human solidarity.</p> <p><br><strong>Cécile Chaminade 
 (1857-1944): Concertino for Flute in D major\, Op. 107 (1902)<br></strong>
 Cécile Chaminade was a French composer and pianist born into a musically i
 nclined family\, receiving her earliest piano instruction from her mother.
  Although she was evaluated and approved to study at the Conservatoire de 
 Paris\, her father ultimately prohibited her enrollment\, believing it ina
 ppropriate for a young woman of her social standing. Nevertheless\, Chamin
 ade pursued her musical education privately with instructors affiliated wi
 th the Conservatoire. Among her most enduringly popular works is the Conce
 rtino for Flute\, a piece celebrated for its lighthearted and lyrical char
 acter. The orchestration provides a buoyant and supportive foundation for 
 the expressive\, song-like lines of the solo flute\, resulting in a work t
 hat has become a staple of both the orchestral and solo flute repertoire.&lt;
 br&gt;<br><strong>Franic Poulenc (1899-1963) - Flute Sonata (orch. Berkeley) 
 (1957/1977)<br></strong>Francis Poulenc\, born in Paris in 1899\, was a pr
 ominent French composer and pianist. Notably\, parallels can be drawn betw
 een Poulenc and Cécile Chaminade\, particularly in their early musical dev
 elopment and the barriers they faced in pursuing formal music education. A
 lthough for different reasons—Chaminade due to societal expectations for w
 omen of her class and Poulenc due to his father’s disapproval—both were in
 itially denied access to traditional conservatory training. Like Chaminade
 \, Poulenc received his first piano instruction from his mother and contin
 ued his studies privately. <br>In the 1920s\, Poulenc became a member of L
 es Six\, a group of early 20th-century French composers who sought to move
  away from the dense\, Romantic orchestral textures of the Germanic tradit
 ion\, favoring clarity\, wit\, and a distinctively French sensibility.<br>
 Poulenc composed his Flute Sonata late in his career\, following a commiss
 ion from the Library of Congress. During this period\, he was also working
  on one of his most important works\, the opera\, Dialogues des Carmélites
 . The Sonata reflects his deep engagement with vocal music at the time\, e
 vident in its lyrical phrasing and vocal-like lines. Poulenc himself expre
 ssed a preference for composing for woodwinds over strings\, as he conside
 red their timbre and expressive capabilities to be closer to that of the h
 uman voice. The piece gained widespread popularity and was eventually orch
 estrated. In 1976\, flautist James Galway approached English composer Sir 
 Lennox Berkeley\, a longtime friend of Poulenc\, to create an orchestral v
 ersion of the sonata. The task turned out to be quite challenging because 
 of the pianistic nature of the accompaniment. Despite the difficulty\, Ber
 keley honored Poulenc’s brilliance with a meticulous and faithful orchestr
 ation that achieved a widespread popularity similar to that of the origina
 l work.<br>The Sonata consists of three movements. The first is marked by 
 virtuosic demands on the performer\, including elaborate trills and rapid 
 ornamental flourishes. The second movement is a melancholic cantilena\, ev
 oking a vocal style characterized by flowing\, lyrical expression. The fin
 al movement concludes the work with brilliance and vivacity\, bringing the
  piece to an energetic and spirited close.</p> <p><strong>Dmitri Shostakov
 ich (1906-1975) - Symphony no. 9 in Eb major\, Op. 70 (1945)<br></strong>D
 mitri Shostakovich\, a composer and pianist born in early 20th-century Sov
 iet Russia\, is widely recognized for his vast and diverse body of work\, 
 which includes operas\, ballets\, film scores\, chamber music\, concertos\
 , and symphonies. His compositional output is inextricably linked with his
  complex and often fraught relationship with the Soviet government\, a ten
 sion that is frequently reflected in his music. Originally conceived as a 
 grandiose celebration of the Soviet victory over Nazi Germany in World War
  II\, Shostakovich declared that his ninth symphony would feature large-sc
 ale orchestration\, soloists\, and chorus. However\, Shostakovich ultimate
 ly abandoned that initial vision and composed a very different Ninth Symph
 ony—more modest in scale and ironic in tone.<br>Rather than the monumental
  work the public had anticipated\, the resulting symphony spans just over 
 30 minutes and employs a relatively conventional Romantic-era orchestratio
 n. Yet what it lacks in grandeur\, it compensates for with biting sarcasm\
 , unexpected emotional depth\, and stylistic ingenuity. Across its five mo
 vements\, the symphony maintains a remarkable sense of cohesion despite it
 s stark contrasts in character and mood\, consistently engaging the listen
 er with its unpredictability and wit.<br>The first movement draws on Class
 ical-era idioms\, evoking the lightness and clarity of Mozart with its buo
 yant textures and memorable melodies. However\, Shostakovich infuses the m
 ovement with his distinctive voice\, employing syncopated accents in surpr
 ising places and integrating a quasi-militaristic march beneath an extende
 d violin solo. The second movement is a haunting waltz that begins with a 
 solemn chorale in the woodwinds\, soon devolving into a more aggressive an
 d unhinged character. An omnipresent pizzicato figure in the low strings h
 eightens the movement’s sense of instability and impending dread. As the v
 iolins and violas enter to introduce the waltz theme\, the music oscillate
 s between momentum and collapse. The movement concludes with a piercing an
 d disorienting piccolo solo\, accompanied by the persistent pizzicato\, le
 aving a lingering sense of psychological unease.<br>The final three moveme
 nts are performed attacca\, without pause\, forming a continuous arc to th
 e symphony’s conclusion. The third movement opens in stark contrast to the
  previous one\, featuring a sprightly theme in the clarinet and flute that
  evokes a sense of carefree exuberance. However\, this lightness is soon i
 nterrupted by a martial trumpet solo over a restless accompaniment\, befor
 e the music fades into a whispered conclusion. The fourth movement emerges
  seamlessly from this silence with a brass fanfare\, out of which a deeply
  expressive bassoon solo rises. Shostakovich subtly references other iconi
 c ninth symphonies in this movement\, including those of Beethoven and Mah
 ler\, through brief musical quotations embedded in the bassoon's lines.<br>The final movement begins right after the bassoon’s mournful lament\, qui
 ckly escalating into an increasingly frenetic tempo. As the music builds i
 n energy and intensity\, it culminates in an explosive surge of rhythmic d
 rive and aggression. Brimming with Shostakovich's signature sarcasm and sh
 arp wit\, the finale reintroduces militaristic motifs heard earlier in the
  piece. Its bold\, panache-filled conclusion provides a perfect closing to
  the symphony\, leaving the audience craving more.</p> <hr> <table> <tbody> <tr> <td> <h3>University o
 f Washington Symphony Orchestra</h3> <p><em>David Alexander Rahbee\, Music
  Director and Conductor</em><br><em>Ryan Dakota Farris and Robert Stahly\,
  Assistant Conductors</em></p> <p><strong>Flute</strong><br>Erin McAfee\, 
 MM Flute Performance<br>Tracia Pan\, Flute Performance\, Statistics<br>Rac
 hel Reyes\, DMA Woodwinds<br>Claire Wei\, BM Flute Performance<br>Yue Zhon
 g\, BA Flute Performance</p> <p><strong>Piccolo</strong><br>Grace Playstea
 d\, MM Flute Performance<br>Claire Wei\, Music<br><br><strong>Oboe</strong><br>Max Bolen\, Marine Biology<br>Max Boyd\, Oboe Performance<br>Minh-Thi
  Butler\, BM Oboe Performance</p> <p><strong>English Horn</strong><br>Max 
 Bolen\, Marine Biology</p> <p><br><strong>Clarinet</strong><br>Ysanne Webb
 \, DMA Clarinet Performance<br>Nick Zhang\, BS Computer Science<br>Luqi Wa
 ng\, DMA Clarinet Performance</p> <p><br><strong>Bassoon</strong><br>Ryan 
 Kapsandy\, BM Bassoon Performance<br>Rian Morgan\, Music/Nutritional Scien
 ce<br>Eric Shankland\, BA Music History<br>Eric Spradling\, BM Bassoon Per
 formance</p> <p><strong>Contrabassoon</strong><br>Eric Spradling\, BM Bass
 oon Performance</p> <p><strong>Horn</strong> <br>Nicole Bogner\, BM Horn P
 erformance<br>Colin Laskarzewski\, BS Physics<br>Elise Moe\, BM Horn Perfo
 rmance<br>Sam Nutt\, Molecular &amp; Cellular Biology<br>Noelani Stewart\, Pol
 itical Science\, American Ethnic Studies</p> <p><br><strong>Trumpet<br>Hans Faul\, BM Trumpet Performance<br>Kyle Jenkins\, MM Trumpet Perf
 ormance<br>Antti Männistö\, Mechanical Engineering<br>Drew Theran\, MM Tru
 mpet Performance</p> <p><br><strong>Trombone</strong><br>Jonathan Elsner\,
  Applied &amp; Computational Mathematics<br>Neal Muppidi\, BM Trombone Perform
 ance<br>Nathanael Wyttenbach\, Music Composition</p> <p><strong>Bass Tromb
 one</strong><br>Duncan Weiner\, Aero-Astro Engineering/Linguistics</p> <p>
 <strong>Tuba</strong><br>Adam Mtimet\, DMA Tuba Performance<br>Chris Seay\
 , DMA Tuba Performance</p> <p><br><strong>Timpani</strong><br>Kaisho Barnh
 ill\, Music Education\, Psychology<br>Ivy Moore\, Bioresource Science and 
 Engineering<br>Cyan Duong\, Music Education</p> <p><br><strong>Percussion&lt;
 /strong&gt;<br>Kaisho Barnhill\, Music Education\, Psychology<br>Ivy Moore\, 
 Bioresource Science and Engineering<br>Cyan Duong\, Music Education<br>Reg
 an Wong\, Microbiology</p> <p><br><strong>Harp</strong><br>Kelly Hou\, Alu
 mna</p> <p><strong>Violin I</strong><br>Hanu Nahm\, Violin Performance/BS 
 Microbiology (Concertmaster)<br>Taylor DeCastro\, MM Violin Performance<br>Hai-Ryung Jang\, DMA Violin Performance<br>David Teves-Tan\, Pre-Sciences
 <br>Justin Chae\, Computer Science<br>Ido Avnon\, MS Computer Science &amp; En
 gineering<br>David Mok\, Computer Engineering<br>Amelie Martin\, Mathemati
 cs<br>Alex Metzger\, Computer Science<br>Brandon Bailey\, Computer Science
 <br>Adora Wu\, Computer Science<br>Nicole Chen\, Informatics<br>Lyle Deng\
 , Computer Science<br>Avery Parry\, Biochemistry<br>Grace Hwang\, BA Music
 \, ECE<br>Giulia Rosa\, Music<br>Renee Yeung\, CPO</p> <p><br><strong>Viol
 in II</strong><br>Grace Pandra\, Violin Performance/Business Administratio
 n (Principal)<br>Michaela Klesse\, Music<br>Thea Higgins\, Industrial Engi
 neering: Data Science<br>Alice Leppert\, Chemistry<br>Cristina Kosilkina\,
  BS Biochemistry<br>Danny Zhang\, Pre-Sciences<br>Victoria Zhuang\, Inform
 atics and Geography: Data Science<br>Kate Everling\, Applied Mathematics<b r>Jasmine Palikhya\, International Studies<br>Ling Yang\, Medical Anthropo
 logy and Global Health<br>Anja Westra\, Marine Biology<br>Justene Li\, Pre
 -Sciences<br>Caleb Anderson\, Mathematics<br>Freya Frahm\, Computer Scienc
 es/BM Piano Performance<br>Felicia Yeh\, Business Administration<br>Hannah
  Pena-Ruiz\, Music History</p> <p><br><strong>Viola</strong> <br>Flora Cum
 mings\, Viola Performance/Biology (Co-Principal)<br>Mica Weiland\, Viola P
 erformance (Co-Principal)<br>Emma Boyce\, Music<br>Abigail Schidler\, Comp
 uter Science/Music Theory<br>Annika Johnson\, Earth and Space Sciences: Ph
 ysics<br>Melia Golden\, Biochemistry<br>Mia Grayson\, Biochemistry<br>Hail
 ey Nappen\, Pre Sciences<br>David Del Cid-Saavedra\, Multilingual Educatio
 n Studies<br>Aribella Brushie\, Pre-Sciences<br>Alan Fan\, International S
 tudies<br>Alissa Harbani\, Bioengineering/Music<br>Melany Nanayakkara\, Ma
 terial Science Engineering/Chemistry</p> <p><br><strong>Violoncello <br>Cory Chen\, BA in Music/Intended Neuroscience (Principal)<br>Loni Y
 in\, Pre-Sciences<br>Nathan Evans\, BA Music History<br>Katherine Kang\, H
 uman Centered Design &amp; Engineering<br>Ignacio (Nacho) Tejeda\, PhD Mathema
 tics<br>Jack Ruffner\, Pre-Social Sciences<br>Amanda Song\, Accounting and
  Marketing<br>Eli Kashman\, Bioengineering<br>Mina Wang\, Informatics<br>A
 lly Wu\, Electrical Engineering<br>Andrew Vu\, Chemistry/Biochemistry/Math
 <br>Noah Croskey\, Industrial Engineering<br>Bashir Abdel-Fattah\, PhD Mat
 hematics</p> <p><br><strong>Bass</strong> <br>Eddie Mospan\, BM Bass Perfo
 rmance (Principal)<br>Ethan Park\, Biology<br>Josh Bonifas\, Music/ELS<br>
 Amelia Matsumoto\, BM Bass Performance<br>Gabriella Kelley\, English<br>Na
 than Eskridge\, MM Bass Performance</p> </td> </tr> </tbody> </table> <h3>
 Biographies</h3> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:13479b3f-7711-4159-a5b5-2b1583476928
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals
CLASS:PUBLIC
CREATED:20250414T213231Z
DESCRIPTION:<p>Sandy Huang (BA\, piano)\, a student of Robin McCabe\, perfo
 rms music by Beethoven\, Debussy\, Liszt\, and Schumann on her bachelor's 
 degree recital.</p>\n<hr>\n<p>This recital will be live-streamed.</p>\n<p>
 <strong><a href='https://youtube.com/live/lY5FMkXYB0I?feature=share' targe t='_blank' rel='noopener noreferrer'> Join the livestream </a></strong></p>\n<hr>\n<h2>Program</h2>\n<strong>Ludwig van Beethoven:</strong> Piano So
 nata No. 12\, Op. 26 in A-Flat Major<br>1. Andante con variazioni<br>2. Sc
 herzo\, Allegro molto - Trio<br>3. Marcia funebre sulla more d'un eroe\, M
 aestoso andante<br>4. Allegro<br> <br><strong>Franz Liszt:</strong> 'Gnome
 nreigen' in F-Sharp minor\, S. 145 No. 2<br><br>Intermission<br> <br>Robert Schumann:</strong> Abegg Variations\, Op. 1<br><br><strong>Claud
 e Debussy:</strong> Suite Bergamasque\, L. 75<br>1. Prélude<br>2. Menuet<b r>3. Clair de lune<br>4. Passepied
DTSTART;TZID=America/Los_Angeles:20250503T160000
LAST-MODIFIED:20250427T161720Z
SEQUENCE:204
SUMMARY:: Degree Recital: Sandy Huang\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-03/degree-recital-sandy-hua
 ng-piano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Sandy Huang (BA\, piano)\, a student of Rob
 in McCabe\, performs music by Beethoven\, Debussy\, Liszt\, and Schumann o
 n her bachelor's degree recital.</p> <hr> <p>This recital will be live-str
 eamed.</p> <p><strong><a href='https://youtube.com/live/lY5FMkXYB0I?featur
 e=share' target='_blank' rel='noopener noreferrer'> Join the livestream </a></strong></p> <hr> <h2>Program</h2> <div><strong>Ludwig van Beethoven:</strong> Piano Sonata No. 12\, Op. 26 in A-Flat Major<br>1. Andante con var
 iazioni<br>2. Scherzo\, Allegro molto - Trio<br>3. Marcia funebre sulla mo
 re d'un eroe\, Maestoso andante<br>4. Allegro<br> <br><strong>Franz Liszt:
 </strong> 'Gnomenreigen' in F-Sharp minor\, S. 145 No. 2<br><br>Intermissi
 on<br> <br><strong>Robert Schumann:</strong> Abegg Variations\, Op. 1<br>&lt;
 br&gt;<strong>Claude Debussy:</strong> Suite Bergamasque\, L. 75<br>1. Prélud
 e<br>2. Menuet<br>3. Clair de lune<br>4. Passepied</div>
END:VEVENT
BEGIN:VEVENT
UID:7ec2079c-63cb-4a24-94b7-3c1a9e301648
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250424T233418Z
DESCRIPTION:<p></p>\n<p>Xinrui Huang (DMA Piano)\, a student of Craig Shepp
 ard\, performs works by Robert Schumann\, Johannes Brahms\, and Tan Dun in
  this solo piano degree recital.</p>\n<hr>\n<h2>Program</h2>\n<p>Kindersze
 nen\, Op. 15 (Scenes from Childhood) - <strong>Robert Schumann</strong><br>1. A Tale of Distant Lands (1810-1856)<br>2. A Curious Story<br>3. Blind 
 Man’s Bluff<br>4. Pleading Child<br>5. Happy Enough<br>6. An Important Eve
 nt<br>7. Reverie<br>8. At the Fireside<br>9. Knight of the Hobbyhorse<br>1
 0. Almost Too Serious<br>11. Frightening<br>12. Child Falling Asleep<br>13
 . The Poet Speaks</p>\n<p>Klavierstücke\, Op. 118（Six Pieces for Piano) - 
  <strong>Johannes Brahms</strong><br>1. Intermezzo in A Minor (1833-1897)&lt;
 br&gt;2. Intermezzo in A Major<br>3. Ballade in G Minor<br>4. Intermezzo in F
  Minor<br>5. Romance in F Major<br>6. Intermezzo in E-Flat Minor</p>\n<p>E
 ight Memories in Watercolor (1978) - <strong>Tan Dun</strong> (b. 1957)<br>1. Missing Moon <br>2. Staccato Beans<br>3. Herdboy’s Song<br>4. Blue Nun
 <br>5. Red Wilderness<br>6. Ancient Burial<br>7. Floating Clouds<br>8. Sun
 rain</p>\n<hr>\n<h2>Biography </h2>
DTSTART;TZID=America/Los_Angeles:20250505T173000
LAST-MODIFIED:20250430T032927Z
SEQUENCE:205
SUMMARY:: DMA Recital: Xinrui Huang\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-06/dma-recital-xinrui-huang
 -piano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><i></i></p> <p>Xinrui Huang (DMA Piano)\, a
  student of Craig Sheppard\, performs works by Robert Schumann\, Johannes 
 Brahms\, and Tan Dun in this solo piano degree recital.</p> <hr> <h2>Progr
 am</h2> <p>Kinderszenen\, Op. 15 (Scenes from Childhood) - <strong>Robert 
 Schumann</strong><br>1. A Tale of Distant Lands (1810-1856)<br>2. A Curiou
 s Story<br>3. Blind Man’s Bluff<br>4. Pleading Child<br>5. Happy Enough<br>6. An Important Event<br>7. Reverie<br>8. At the Fireside<br>9. Knight of
  the Hobbyhorse<br>10. Almost Too Serious<br>11. Frightening<br>12. Child 
 Falling Asleep<br>13. The Poet Speaks</p> <p>Klavierstücke\, Op. 118（Six P
 ieces for Piano) -  <strong>Johannes Brahms</strong><br>1. Intermezzo in A
  Minor (1833-1897)<br>2. Intermezzo in A Major<br>3. Ballade in G Minor<br>4. Intermezzo in F Minor<br>5. Romance in F Major<br>6. Intermezzo in E-F
 lat Minor</p> <p>Eight Memories in Watercolor (1978) - <strong>Tan Dun (b. 1957)<br>1. Missing Moon <br>2. Staccato Beans<br>3. Herdboy’s S
 ong<br>4. Blue Nun<br>5. Red Wilderness<br>6. Ancient Burial<br>7. Floatin
 g Clouds<br>8. Sunrain</p> <hr> <h2>Biography </h2>
END:VEVENT
BEGIN:VEVENT
UID:39647a86-7b92-46b0-8c98-0d2139a5b555
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20240807T235909Z
DESCRIPTION:<p></p>\n<p>Violist/composer Melia Watras and writer Sean Harve
 y unveil their latest collaboration\, Broken Bell\, a mashup of a concert 
 and a play. The program consists of Harvey’s theater piece\, interwoven wi
 th world premieres of compositions by Watras and music by Alan Hovhaness. 
 Joining Watras onstage are actors James Schilling (Dacha Theater) and Amy 
 Thone (UW faculty)\, Seattle Symphony members Elisa Barston (violin) and E
 ric Han (cello)\, Pacific Northwest Ballet concertmaster Michael Jinsoo Li
 m and UW viola student Flora Cummings. Broken Bell is directed Sheila Dani
 els\, Chair of the Theater Department at Cornish College of the Arts. </p>
 \n<hr>\n<h3>Program Notes</h3>\n<p>by Melia Wat
 ras except where indicated</p>\n<p><strong>Sean Harvey:</strong> Broken Be
 ll<br>Homo erectus is an early species of human that died out just over 10
 0\,000 years ago after living and thriving as an apex predator throughout 
 southern and eastern Africa\, Europe\, Asia and Indonesia for approximatel
 y two million years. They are believed to have invented the use of fire. T
 here are relatively few remains of homo erectus extant and what we know of
  them is mostly conjecture. <br> <br></p>\n<p type='cite'>Broken Bell posi
 ts a world tens of thousands of years in the future when the last of the d
 inosaurs—the  birds—have finally died out and there are few remains of our
  species left. A successor hominid species combs what meager ruins they ca
 n find for hints of what our lives were like. In the process they come acr
 oss sheet music from tonight’s performance\, but can’t make heads or tails
  of it. <br>—Sean Harvey</p>\n<p class='Body'><b></b><b></b><b>Melia Watra
 s: Salix lasiandra sings </b>for viola solo (2021)<br>The willow sings to 
 the fiddler.<br>Dedicated to the conspicuously fabulous Flora Cummings.</p>\n<p class='Body'><b>Melia Watras: Rapsodia </b>for string quartet (2024)
 <br>In Rapsodia\, I expanded material and techniques from my composition f
 or two violins\, Sphere\, written for the celebrated artist\, industrial a
 nd architectural designer Ron Arad’s installation\, The Quartet\, at the R
 oyal Academy Exhibition Summer 2024\, in London. <br><br>Rapsodia features
  all four instruments playing independently\, lining up at certain structu
 ral points. The resulting combinations give the work\, at times\, rhythmic
  complexity while simultaneously maintaining a sense of simplicity within 
 each voice’s line. <br><br class='Body'><b>Alan Hovhaness: Chahagir</b> fo
 r solo viola\, Op. 56a<br>Alan Hovhaness (1912-2000) was one of America’s 
 most prolific 20th-century composers\, with 434 opus numbers to his credit
 \, including 67 symphonies. Chahgir\, which means “torch-bearer” in Armeni
 an\, was written in 1944\, during a period which saw Hovhaness begin his e
 xploration of his Armenian heritage and the use of ancient modes of Armeni
 a and the surrounding regions and countries. Hovhaness spent the last 3 de
 cades of his life living in Seattle. Upon his move to the Pacific Northwes
 t\, he remarked\, 'I like the mountains very much. I don't have to go to S
 witzerland\, I expect to stay here.' <br><br><b>Melia Watras: </b><b>Memor
 ies - shadows - dreams </b>for string quartet (2024)<br>Mother bathes baby
  pitch C in the ocean. As C blinks and laughs\, a giant manta ray comes cl
 ose to shore. What a gift for C’s future. <br><br>Along a thin\, dirt road
 \, a low roof reveals its secrets. Creatures resembling small shrimp are s
 ide by side\, back to back\, tightly together\, creating tiles. Fins made 
 of a shell material act as legs. Dancing in unison they sculpt the air wit
 h their almost transparent\, iridescent limbs.<br><br>Through a fingertip\
 , pitch D connects with a dashed outline of themself in another dimension.
 </p>\n<p class='Body'>An orb reminiscent of a giant peanut butter cup on i
 ts side appears in the air and hovers at eye view. Emitting light it speak
 s in a tongue not of Earth. The intensity grows to such a height we pass o
 ut and crumple to the floor.<br><br>Flying in circles as high as the tree 
 tops\, the laughing old lady remembers. The old man smiles and chuckles to
 o.</p>\n<p class='Body'><b>Thank you </b>to all of the artists and to ever
 yone at the UW School of Music and the Meany Center for the Performing Art
 s who helped make tonight’s concert possible. <br>—Melia Watras</p>\n<hr>
 \n<h2 class='Body'>Biographies</h2>\n<p class='Body'>Praised for her “glow
 ing sound” and “technical aplomb” (The Strad)\, violinist <b>Elisa Barston
  </b>is the Seattle Symphony’s Principal Second Violin. Prior to the appoi
 ntment\, she served as the Associate Concertmaster of the St. Louis Sympho
 ny Orchestra for eight seasons and was a first violin section member of Th
 e Cleveland Orchestra. As a soloist and chamber musician\, Barston has per
 formed extensively throughout the United States\, Europe and Asia\, appear
 ing with the Chicago Symphony\, the Los Angeles Philharmonic\, and the St.
  Louis and Taipei symphony orchestras\, among many others. In 1986\, she m
 ade her European debut with the English Chamber Orchestra at the request o
 f Sir Yehudi Menuhin. Barston studied at the University of Southern Califo
 rnia and Indiana University.</p>\n<p class='Body'><b>Flora Cummings </b>is
  a Seattle native and a third-year music student double majoring in Music 
 and Wildlife Conservation at the University of Washington\, where she stud
 ies with Professor Melia Watras and holds the Milton Katims Viola Scholars
 hip. She began violin lessons at age six with Laura Martin\, before studyi
 ng viola with Dr. Alessandra Barrett (a former student of Watras) and viol
 in with Dr. Sarah Pizzichemi. Flora was the runner-up in the North Corner 
 Chamber Orchestra’s 2020 concerto competition\, and placed first in the Wa
 shington State Solo Viola Competition in 2022. She joined the Seattle Coll
 aborative Orchestra in high school and was a soloist with the ensemble her
  senior year. Flora is an avid chamber music player and loves to play Scot
 tish fiddle music - playing with her family band and performing at the 201
 8 “More Music@the Moore” showcase for young talent. In October\, 2023\, sh
 e won the prestigious Silver Pendant Competition for Scottish Gaelic learn
 ers at the Royal National Mòd\, held in Oban\, Scotland. Winners of the co
 mpetition are recognized as among the best emerging Gaelic vocalists in th
 e world. She received top marks in both music and Gaelic\, earning her a c
 hance to sing for broadcast on BBC television\, as well as live on BBC Rad
 io nan Gàidheal. Flora plays on a 2017 viola by Portland maker David Van Z
 andt.</p>\n<p class='Body'><b>Sheila Daniels </b>is a multi-disciplinary T
 heater Maker. Directing work includes Indecent (Seattle Rep)\, The Wolves 
 (ACT)\, A Streetcar Named Desire\, Crime and Punishment and multiple other
  credits with INTIMAN Theatre\; Dancing At Lughnasa (TANTRUM): Jackie &amp; Me
  (Seattle Children’s Theatre)\; According to Coyote (Children’s Theatre Co
 mpany of Minneapolis)\; A Winter’s Tale\, Much Ado About Nothing and multi
 ple other credits with Seattle Shakespeare Company\; Lydia\, The Normal He
 art\, Breaking the Code (Strawberry Theatre Workshop)\; This Wide Night (S
 eattle Public Theatre)\; Waiting for Lefty\, God’s Country (CHAC) and Anap
 hylaxis (Throwing Bones/IRT\, NYC). As a deviser/choreographer Sheila has 
 self-produced multiple Movement-based works of rarely told women’s stories
  and co-created with other artists including Martha Enson and UMO. Upcomin
 g projects include documentary film\, Hidden Bodies: Stereotyping and Sham
 ing of the Femme Body in American Theater and directing Eleanor Burgess’ T
 he Niceties for INTIMAN.</p>\n<p class='Body'>Korean-born Canadian cellist
  <b>Eric Han</b> made his concerto debut with the Toronto Symphony Orchest
 ra at the age of 14. Following his debut\, he had many engagements with To
 ronto Sinfonietta\, Toronto Chamber Players and Boston’s Symphony by the S
 ea. As a guest artist and Artist in Residence\, Han has participated at va
 rious festivals including the Moritzburg Festival\, La Jolla SummerFest\, 
 Music@Menlo and Sarasota Music Festival\, among others. Han studied with D
 avid Hetherington at the Glenn Gould School\, and holds a Bachelor of Musi
 c from the Colburn School of Music under the tutelage of Ronald Leonard. H
 an is a graduate of the Curtis Institute of Music\, where he studied with 
 Peter Wiley and Carter Brey.  Han plays on a cello made by Frank Ravatin o
 n generous loan to him by the Maestro Foundation.</p>\n<p class='Body'><b>
 Sean Harvey</b> is a writer\, musician and traveler. He is an AI Expert at
  the Department of Homeland Security\, where he was the first hire for DHS
 ' AI Corps\, an organization that protects public safety and civil rights 
 in regard to artificial intelligence. He is also an affiliate with Harvard
  Law School's Berkman Klein Center for Internet &amp; Society. Sean is the pub
 lisher of The Roko Report\, a weekly newsletter on AI that is part substan
 tive and part satirical. Previously he authored travel guides for the Roug
 h Guides series.<b> </b></p>\n<p class='Body'>Violinist <b>Michael Jinsoo 
 Lim</b> has been praised by Gramophone for playing with “delicious abandon
 ” and hailed by the Los Angeles Times as a “conspicuously accomplished cha
 mpion of contemporary music\,” while his performances have been described 
 as “a tour de force” and “bewitching” by the Seattle Times. Concertmaster 
 and solo violinist for the internationally-acclaimed Pacific Northwest Bal
 let\, Lim’s solo appearances with the company include performances in Pari
 s\, New York City\, Los Angeles\, Washington DC and Seattle\, in concertos
  by Stravinsky\, Prokofiev\, Bach\, Max Richter and others. Lim was co-fou
 nder of the award-winning Corigliano Quartet\, with whom he toured and rec
 orded for twenty years and appeared on over a dozen albums\, including the
  groups’s Naxos label CD which was honored as one of The New Yorker’s Ten 
 Best Classical Recordings of the Year. His discography can be found on Nax
 os\, Planet M\, Sono Luminus\, DreamWorks\, Albany\, Bridge\, CRI\, Bayer 
 Records\, RIAX and New Focus. His new solo album Kinetic\, featuring world
  premieres of newly-commissioned works by Leilehua Lanzilotti\, Paola Pres
 tini and Melia Watras\, was released in 2025. Lim has served on the facult
 y of the Banff Centre\, taught at Indiana University as a guest professor\
 , and currently serves on the faculty of Cornish College of the Arts.</p>
 \n<p class='Body'><b>James Schilling</b> (he/him) is a Seattle-based actor
 \, educator\, playwright\, and musician. He is passionate about new\, imme
 rsive\, &amp; devised work\, collaborative storytelling\, disruption of theatr
 ical conventions\, tabletop roleplaying\, and making theatre for &amp; with un
 derserved communities (especially people who are incarcerated). He has wor
 ked with Village Theatre\, The 5th Avenue Theatre\, ACT Theatre\, Seattle 
 Children's Theatre\, Seattle Shakespeare Company\, Book-It Repertory Theat
 re\, Taproot Theatre\, ArtsWest\, Freehold Theatre\, The 14/48 Projects\, 
 Washington Ensemble Theatre\, Macha Theatre Works\, Dacha Theatre\, and ot
 hers. James works as a teaching artist independently and with Seattle Chil
 dren's Theatre\; he specializes in teaching improv\, acting\, playwriting\
 , clown\, devising\, tabletop roleplaying\, and social emotional wellness 
 through theatre. James is a graduate of Cornish College of the Arts with a
  B.F.A in Theatre - Original Works and is a proud company member of Dacha 
 Theatre.</p>\n<p class='Body'><b>Amy Thone</b> has been a working actor in
  Seattle for 30 years\, and is a proud member of Actor's Equity. Over that
  span\, favorite Seattle theatres\, productions and roles include: Speech 
 and Debate\, God of Carnage\, Romeo and Juliet\, Much Ado About Nothing\, 
 Ghosts (Seattle Repertory Theatre)\, Cleopatra\, Prospero\, Lady Macbeth\,
  Titania\, the Chorus\, Beatrice\, Cassius\, Shylock (Seattle Shakespeare 
 Company)\, King John and Titus Adronicus (Upstart Crow!)\, 10+ shows with 
 the Seattle Children's Theatre\, and  Frost/Nixon\, Leni\, Our Town (Straw
 berry Theatre Workshop). Amy is very proud of having been a Founding Membe
 r of the now-departed New Century Theatre Company\, for which she did Fest
 en\, Big Meal\, My Name is Asher Lev\, The Trial\, The Adding Machine\, an
 d Holy Days. </p>\n<p class='Body'>Ms. Thone is the recipient of a Strange
 r Genius Award\, and 3 Seattle Gregory Awards (six nominations). She has t
 aught at Cornish College of the Arts for twenty years\, and at UW for ten.
  Her passion is teaching Shakespeare\, but also enjoys teaching text analy
 sis\, auditioning\, and advanced contemporary acting.</p>\n<p class='Body'><b>Melia Watras </b>has been hailed by Gramophone as “an artist of comman
 ding and poetic personality” and by The Stradas “staggeringly virtuosic.” 
 As a violist\, composer and collaborative artist\, she has sustained a dis
 tinguished career as a creator and facilitator of new music and art.<br><b r>Watras’s much-lauded work as a recording artist spans nearly three decad
 es\, with 10 solo albums and 13 others as violist of the acclaimed Corigli
 ano Quartet. Her recordings have been described as “an exquisite world in 
 which beauty and dreams flirt with sorrow” (The WholeNote)\, “a rare balan
 ce of emotional strength and technical delicacy” (The American Record Guid
 e)\, “a beautiful celebration of 21st century viola music” (The Strad)\, a
 nd “astounding and both challenging and addictive to listen to” (Strings).
 <br><br>Her compositions have been performed throughout the US and in Euro
 pe\, broadcast on National Public Radio’s Performance Today\, and can be f
 ound on the albums The almond tree duos\; Kinetic\; Partita Party\; Play/W
 rite\; String Masks\; 3 Songs for Bellows\, Buttons and Keys\; Firefly Son
 gs\; Schumann Resonances and 26.<br><br>Watras is currently Professor of V
 iola and Chair of Strings at the University of Washington School of Music\
 , where she holds the Ruth Sutton Waters Endowed Professorship. In 2024\, 
 the American Viola Society commissioned a new composition by Watras and pr
 esented her with the prestigious Maurice W. Riley Award\, for her distingu
 ished contributions to the viola as a performer\, composer\, teacher and l
 eader.</p>
DTSTART;TZID=America/Los_Angeles:20250505T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:206
SUMMARY:: Faculty Recital: Melia Watras\, Broken Bell
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-06/faculty-recital-melia-wa
 tras-broken-bell
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p><span>Violist/composer Melia Watras
  and writer Sean Harvey unveil their latest collaboration\, </span><i>Brok
 en Bell</i><span>\, a mashup of a concert and a play. The program consists
  of Harvey’s theater piece\, interwoven with world premieres of compositio
 ns by Watras and music by Alan Hovhaness. Joining Watras onstage are actor
 s James Schilling (Dacha Theater) and Amy Thone (UW faculty)\, Seattle Sym
 phony members Elisa Barston (violin) and Eric Han (cello)\, Pacific Northw
 est Ballet concertmaster Michael Jinsoo Lim and UW viola student Flora Cum
 mings. </span><i>Broken Bell </i><span>is directed Sheila Daniels\, Chair 
 of the Theater Department at Cornish College of the Arts. </span></p> <hr>
  <h3>Program Notes</h3> <p>by Melia Watras exce
 pt where indicated</p> <p><strong>Sean Harvey:</strong> <em>Broken Bell<br><i><span lang='EN'>Homo erectus</span></i><span lang='EN'> is an ear
 ly species of human that died out just over 100\,000 years ago after livin
 g and thriving as an apex predator throughout southern and eastern Africa\
 , Europe\, Asia and Indonesia for approximately two million years. They ar
 e believed to have invented the use of fire. There are relatively few rema
 ins of <i>homo erectus</i> extant and what we know of them is mostly conje
 cture. <br> <br><em></em></span></p> <p type='cite'><i>Broken Bell</i> pos
 its a world tens of thousands of years in the future when the last of the 
 dinosaurs—the  birds—have finally died out and there are few remains of ou
 r species left. <span lang='EN'>A successor hominid species combs what mea
 ger ruins they can find for hints of what our lives were like. In the proc
 ess they come across sheet music from tonight’s performance\, but can’t ma
 ke heads or tails of it. <br></span><span>—</span><span lang='EN'>Sean Har
 vey</span></p> <p class='Body'><b><span lang='EN'></span></b><b><span lang='EN'></span></b><b><span lang='EN'>Melia Watras: Salix lasiandra sings </span></b><span lang='EN'>for viola solo (2021)<br></span><span>The willow 
 sings to the fiddler.<br></span><span>Dedicated to the conspicuously fabul
 ous Flora Cummings.</span></p> <p class='Body'><span></span><b>
 <span lang='EN'>Melia Watras: Rapsodia </span></b><span lang='EN'>for stri
 ng quartet (2024)<br></span><span lang='EN'>In <i>Rapsodia</i>\, I expande
 d material and techniques from my composition for two violins\, <i>Sphere&lt;
 /i&gt;\,</span><span> written for the celebrated artist\, industrial and arch
 itectural designer Ron Arad’s installation\, <i>The Quartet</i>\, at the R
 oyal Academy Exhibition Summer 2024\, in London. <br><br>Rapsodia features
  all four instruments playing independently\, lining up at certain structu
 ral points. The resulting combinations give the work\, at times\, rhythmic
  complexity while simultaneously maintaining a sense of simplicity within 
 each voice’s line.</span> <br><br class='Body'><b><span>Alan Hovhaness: Ch
 ahagir</span></b><span> for solo viola\, Op. 56a<br></span><span>Alan Hovh
 aness (1912-2000) was one of America’s most prolific 20th-century composer
 s\, with 434 opus numbers to his credit\, including 67 symphonies. <i>Chah
 gir</i>\, which means “torch-bearer” in Armenian\, was written in 1944\, d
 uring a period which saw Hovhaness begin his exploration of his Armenian h
 eritage and the use of ancient modes of Armenia and the surrounding region
 s and countries. Hovhaness spent the last 3 decades of his life living in 
 Seattle. Upon his move to the Pacific Northwest\, he remarked\, 'I like th
 e mountains very much. I don't have to go to Switzerland\, I expect to sta
 y here.' <br><br><b><span lang='EN'>Melia Watras: </span></b><b><span>Memo
 ries - shadows - dreams </span></b><span>for string quartet (2024)<br><span>Mother bathes baby pitch C in the ocean. As C blinks and laughs\,
  a giant manta ray comes close to shore. What a gift for C’s future. <br>&lt;
 br&gt;</span></span><span>Along a thin\, dirt road\, a low roof reveals its s
 ecrets. Creatures resembling small shrimp are side by side\, back to back\
 , tightly together\, creating tiles. Fins made of a shell material act as 
 legs. Dancing in unison they sculpt the air with their almost transparent\
 , iridescent limbs.<br><br></span><span>Through a fingertip\, pitch D conn
 ects with a dashed outline of themself in another dimension.</span></p> <p class='Body'><span>An orb reminiscent of a giant peanut butter cup on its
  side appears in the air and hovers at eye view. Emitting light it speaks 
 in a tongue not of Earth. The intensity grows to such a height we pass out
  and crumple to the floor.<br><br></span><span>Flying in circles as high a
 s the tree tops\, the laughing old lady remembers. The old man smiles and 
 chuckles too.</span></p> <p class='Body'><b><span>Thank you </span></b><span>to all of the artists and to ev
 eryone at </span><span>the</span><span> UW School of Music and the Meany C
 enter for the Performing Arts who helped make tonight’s concert possible. 
 <br></span></span><span>—</span><span lang='EN'>Melia Watras</span></p>  <h2 class='Body'><span lang='EN'>Biographies</span></h2> <p class='Body
 '><span>Praised for her “glowing sound” and “technical aplomb” (<i>The Str
 ad</i>)\, violinist <b>Elisa Barston </b>is the Seattle Symphony’s Princip
 al Second Violin. Prior to the appointment\, she served as the Associate C
 oncertmaster of the St. Louis Symphony Orchestra for eight seasons and was
  a first violin section member of The Cleveland Orchestra. As a soloist an
 d chamber musician\, Barston has performed extensively throughout the Unit
 ed States\, Europe and Asia\, appearing with the Chicago Symphony\, the Lo
 s Angeles Philharmonic\, and the St. Louis and Taipei symphony orchestras\
 , among many others. In 1986\, she made her European debut with the Englis
 h Chamber Orchestra at the request of Sir Yehudi Menuhin. Barston studied 
 at the University of Southern California and Indiana University.</span></p> <p class='Body'><b><span>Flora Cummings </span></b><span>is a Seattle na
 tive and a third-year music student double majoring in Music and Wildlife 
 Conservation at the University of Washington\, where she studies with Prof
 essor Melia Watras and holds the Milton Katims Viola Scholarship. She bega
 n violin lessons at age six with Laura Martin\, before studying viola with
  Dr. Alessandra Barrett (a former student of Watras) and violin with Dr. S
 arah Pizzichemi. Flora was the runner-up in the North Corner Chamber Orche
 stra’s 2020 concerto competition\, and placed first in the Washington Stat
 e Solo Viola Competition in 2022. She joined the Seattle Collaborative Orc
 hestra in high school and was a soloist with the ensemble her senior year.
  Flora is an avid chamber music player and loves to play Scottish fiddle m
 usic - playing with her family band and performing at the 2018 “More Music
 @the Moore” showcase for young talent. In October\, 2023\, she won the pre
 stigious Silver Pendant Competition for Scottish Gaelic learners at the Ro
 yal National Mòd\, held in Oban\, Scotland. Winners of the competition are
  recognized as among the best emerging Gaelic vocalists in the world. She 
 received top marks in both music and Gaelic\, earning her a chance to sing
  for broadcast on BBC television\, as well as live on BBC Radio nan Gàidhe
 al. </span><span>Flora plays on a 2017 viola by Portland maker David Van Z
 andt.</span></p> <p class='Body'><b><span>Sheila Daniels </span></b><span>
 is a multi-disciplinary Theater Maker. Directing work includes <i>Indecent
 </i> (Seattle Rep)\, <i>The Wolves </i>(ACT)\, <i>A Streetcar Named Desire
 </i>\, <i>Crime and Punishment</i> and multiple other credits with INTIMAN
  Theatre\; <i>Dancing At Lughnasa</i> (TANTRUM): <i>Jackie &amp; Me</i> (Seatt
 le Children’s Theatre)\; <i>According to Coyote </i>(Children’s Theatre Co
 mpany of Minneapolis)\; <i>A Winter’s Tale</i>\, <i>Much Ado About Nothing
 </i> and multiple other credits with Seattle Shakespeare Company\; <i>Lydi
 a</i>\, <i>The Normal Heart</i>\, <i>Breaking the Code</i> (Strawberry The
 atre Workshop)\; <i>This Wide Night</i> (Seattle Public Theatre)\; <i>Wait
 ing for Lefty</i>\, <i>God’s Country</i> (CHAC) and <i>Anaphylaxis</i> (Th
 rowing Bones/IRT\, NYC). As a deviser/choreographer Sheila has self-produc
 ed multiple Movement-based works of rarely told women’s stories and co-cre
 ated with other artists including Martha Enson and UMO. Upcoming projects 
 include documentary film\, <i>Hidden Bodies: Stereotyping and Shaming of t
 he Femme Body in American Theater</i> and directing Eleanor Burgess’ <i>Th
 e Niceties</i> for INTIMAN.</span></p> <p class='Body'><span>Korean-born C
 anadian cellist <b>Eric Han</b> made his concerto debut with the Toronto S
 ymphony Orchestra at the age of 14. Following his debut\, he had many enga
 gements with Toronto Sinfonietta\, Toronto Chamber Players and Boston’s Sy
 mphony by the Sea. As a guest artist and Artist in Residence\, Han has par
 ticipated at various festivals including the Moritzburg Festival\, La Joll
 a SummerFest\, Music@Menlo and Sarasota Music Festival\, among others. Han
  studied with David Hetherington at the Glenn Gould School\, and holds a B
 achelor of Music from the Colburn School of Music under the tutelage of Ro
 nald Leonard. Han is a graduate of the Curtis Institute of Music\, where h
 e studied with Peter Wiley and Carter Brey.  </span><span>Han plays on a c
 ello made by Frank Ravatin on generous loan to him by the Maestro Foundati
 on.</span></p> <p class='Body'><b><span>Sean Harvey</span></b><span> is a 
 writer\, musician and traveler. He is an AI Expert at the Department of Ho
 meland Security\, where he was the first hire for DHS' AI Corps\, an organ
 ization that protects public safety and civil rights in regard to artifici
 al intelligence. He is also an affiliate with Harvard Law School's Berkman
  Klein Center for Internet &amp; Society. Sean is the publisher of <i>The Roko
  Report</i>\, a weekly newsletter on AI that is part substantive and part 
 satirical. Previously he authored travel guides for the <i>Rough Guides</i> series.<b> </b></span></p> <p class='Body'><span>Violinist <b>Michael Ji
 nsoo Lim</b> has been praised by <i>Gramophone </i>for playing with “delic
 ious abandon” and hailed by the <i>Los Angeles Times</i> as a “conspicuous
 ly accomplished champion of contemporary music\,” while his performances h
 ave been described as “a tour de force” and “bewitching” by the <i>Seattle
  Times</i>. Concertmaster and solo violinist for the internationally-accla
 imed Pacific Northwest Ballet\, Lim’s solo appearances with the company in
 clude performances in Paris\, New York City\, Los Angeles\, Washington DC 
 and Seattle\, in concertos by Stravinsky\, Prokofiev\, Bach\, Max Richter 
 and others. Lim was co-founder of the award-winning Corigliano Quartet\, w
 ith whom he toured and recorded for twenty years and appeared on over a do
 zen albums\, including the groups’s Naxos label CD which was honored as on
 e of <i>The New Yorker’s</i> Ten Best Classical Recordings of the Year. Hi
 s discography can be found on Naxos\, Planet M\, Sono Luminus\, DreamWorks
 \, Albany\, Bridge\, CRI\, Bayer Records\, RIAX and New Focus. His new sol
 o album <i>Kinetic</i>\, featuring world premieres of newly-commissioned w
 orks by Leilehua Lanzilotti\, Paola Prestini and Melia Watras\, was releas
 ed in 2025. Lim has served on the faculty of the Banff Centre\, taught at 
 Indiana University as a guest professor\, and currently serves on the facu
 lty of Cornish College of the Arts.</span></p> <p class='Body'><b><span>Ja
 mes Schilling</span></b><span> (he/him) is a Seattle-based actor\, educato
 r\, playwright\, and musician. He is passionate about new\, immersive\, &amp; 
 devised work\, collaborative storytelling\, disruption of theatrical conve
 ntions\, tabletop roleplaying\, and making theatre for &amp; with underserved 
 communities (especially people who are incarcerated). He has worked with V
 illage Theatre\, The 5th Avenue Theatre\, ACT Theatre\, Seattle Children's
  Theatre\, Seattle Shakespeare Company\, Book-It Repertory Theatre\, Tapro
 ot Theatre\, ArtsWest\, Freehold Theatre\, The 14/48 Projects\, Washington
  Ensemble Theatre\, Macha Theatre Works\, Dacha Theatre\, and others. Jame
 s works as a teaching artist independently and with Seattle Children's The
 atre\; he specializes in teaching improv\, acting\, playwriting\, clown\, 
 devising\, tabletop roleplaying\, and social emotional wellness through th
 eatre. James is a graduate of Cornish College of the Arts with a B.F.A in 
 Theatre - Original Works and is a proud company member of Dacha Theatre.</span></p> <p class='Body'><b><span>Amy Thone</span></b><span> has been a w
 orking actor in Seattle for 30 years\, and is a proud member of Actor's Eq
 uity. Over that span\, favorite Seattle theatres\, productions and roles i
 nclude: <i>Speech and Debate</i>\, <i>God of Carnage</i>\, <i>Romeo and Ju
 liet</i>\, <i>Much Ado About Nothing</i>\, <i>Ghosts</i> (Seattle Repertor
 y Theatre)\, Cleopatra\, Prospero\, Lady Macbeth\, Titania\, the Chorus\, 
 Beatrice\, Cassius\, Shylock (Seattle Shakespeare Company)\, <i>King John&lt;
 /i&gt; and Titus Adronicus (Upstart Crow!)\, 10+ shows with the Seattle Child
 ren's Theatre\, and  <i>Frost/Nixon</i>\, <i>Leni</i>\, <i>Our Town </i>(S
 trawberry Theatre Workshop). Amy is very proud of having been a Founding M
 ember of the now-departed New Century Theatre Company\, for which she did 
 <i>Festen</i>\, <i>Big Meal</i>\, <i>My Name is Asher Lev</i>\, <i>The Tri
 al\, The Adding Machine</i>\, and Holy Days. </span></p> <p class='Body'>&lt;
 span&gt;Ms. Thone is the recipient of a Stranger Genius Award\, and 3 Seattle
  Gregory Awards (six nominations). </span><span>She has taught at Cornish 
 College of the Arts for twenty years\, and at UW for ten. Her passion is t
 eaching Shakespeare\, but also enjoys teaching text analysis\, auditioning
 \, and advanced contemporary acting.</span></p> <p class='Body'><b><span>M
 elia Watras </span></b><span>has been hailed by <i>Gramophone</i> as “an a
 rtist of commanding and poetic personality” and by <i>The Strad</i>as “sta
 ggeringly virtuosic.” As a violist\, composer and collaborative artist\, s
 he has sustained a distinguished career as a creator and facilitator of ne
 w music and art.<br></span><span><br>Watras’s much-lauded work as a record
 ing artist spans nearly three decades\, with 10 solo albums and 13 others 
 as violist of the acclaimed Corigliano Quartet. Her recordings have been d
 escribed as “an exquisite world in which beauty and dreams flirt with sorr
 ow” (<i>The WholeNote</i>)\, “a rare balance of emotional strength and tec
 hnical delicacy” (<i>The American Record Guide</i>)\, “a beautiful celebra
 tion of 21st century viola music” (<i>The Strad</i>)\, and “astounding and
  both challenging and addictive to listen to” (<i>Strings</i>).<br></span>
 <span><br>Her compositions have been performed throughout the US and in Eu
 rope\, broadcast on National Public Radio’s <i>Performance Today</i>\, and
  can be found on the albums <i>The almond tree duos\;</i> <i>Kinetic</i>\;
  <i>Partita Party</i>\; <i>Play/Write</i>\; <i>String Masks</i>\; <i>3 Son
 gs for Bellows\, Buttons and Keys</i>\; <i>Firefly Songs</i>\; <i>Schumann
  Resonances</i> and <i>26</i>.<br></span><span><br>Watras is currently Pro
 fessor of Viola and Chair of Strings at the University of Washington Schoo
 l of Music\, where she holds the Ruth Sutton Waters Endowed Professorship.
  In 2024\, the American Viola Society commissioned a new composition by Wa
 tras and presented her with the prestigious Maurice W. Riley Award\, for h
 er distinguished contributions to the viola as a performer\, composer\, te
 acher and leader.</span></p>
END:VEVENT
BEGIN:VEVENT
UID:85905cd4-d7d9-4406-af3f-9df907d4d5aa
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240930T163732Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20250506T120000
LAST-MODIFIED:20240930T163732Z
SEQUENCE:207
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-06/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:cc550615-f374-4290-b28c-6abf56cd51b5
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20240801T171735Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<h2 class='x_MsoNormal'>Featured Performers</h2>\n\n\n\n\n\n\nFeaturing the UW Guita
 r Ensemble.\nProgram details <a href='/sites/music/files/documents/allen_l
 ibrary_may_7.pdf'>HERE</a>.\n\n\n\n\n\n\n\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250507T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:208
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-07/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <h2 class='x_MsoN
 ormal'><span>Featured Performers</span></h2> <div class='elementToProof'> 
 <div class='elementToProof'> <div class='elementToProof'> <div class='elem
 entToProof'> <div class='elementToProof'> <div class='x_elementToProof Con
 tentPasted0'> <div class='x_elementToProof ContentPasted0'>Featuring the U
 W Guitar Ensemble.</div> <div class='x_elementToProof ContentPasted0'>Prog
 ram details <a href='/sites/music/files/documents/allen_library_may_7.pdf'>HERE</a>.</div> </div> </div> </div> </div> </div> </div> <div> <p></p> &lt;
 /div&gt;
END:VEVENT
BEGIN:VEVENT
UID:bfe53c1a-295f-4ad6-9633-f0e2b23399dc
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances\, Visiting Artists and Schol
 ars
CLASS:PUBLIC
CREATED:20241017T022605Z
DESCRIPTION:<p></p>\n<p>Lumina Women's Ensemble is joined by guests Tracy C
 owart (gothic harp and alto)\, and UW faculty artist Carrie Shaw (soprano)
 \, in performing 'The Celestial Woman\,' a program of chant and polyphony 
 by composers including 9th-century Byzantine Abbess Kassia\, 11th-c. Hilde
 gard von Bingen\, and Notre Dame Master Perotin.</p>\n<hr>\n<h2>Program\n<p><strong>The Promise</strong><br>Salve\, mater salvatoris - Anon. En
 glish Sequence (12th century)\; Oxford Bodleian 343\, folio Xv <br>Ave Mar
 ia\, gracia plena - Anon. Codex Las Huelgas (c. 1300)<br>Sancta Maria (2:3
 0) - John Dunstable (1390-1453)</p>\n<p><br><strong>The Vision</strong><br>Marienleich (part 1) - Heinrich von Meissen\, “Frauenlob” (c. 1250-1318)&lt;
 br&gt;Christina\, the Martyr\, Holding the Cross - Kassia (810-865)<br>Vevari
 menon ton ophthalmon mu - Byzantine Chant</p>\n<p><br><strong>The Mother</strong><br>Ave Maris Stella - Jacob Obrecht (c. 1450-1505)<br>There is no 
 Rose - Anonymous (c. 1420)\; Trinity College\, Cambridge manuscript<br>O M
 agnum Mysterium - Cristobal de Morales (1500-1553)<br>Angelus ad Virginem 
 - Anon. 14th century\, popular carol</p>\n<p><br><strong>The Daughter <br>Marienleich - von Meissen<br>Salvatoris Hodie - Perotin (1160-124
 5)</p>\n<p><br><strong>The Road to the Cross and Tomb</strong><br>O Rubor 
 - Sanguinis Hildegard von Bingen (1098-1179)<br>Stabat Iuxta Christi Cruce
 m - Anon. Codex Las Huelgas (c. 1300)<br>Maria Magdalena - Michael Praetor
 ius (1571-1621)</p>\n<p><br><strong>Queen of Heaven</strong><br>Veni\, vir
 go beatissima/Veni\, sancte Spiritus - Montpellier Codex (c. 1250-1300)<br>Virgo sidus aureum - Anon. Codex Las Huelgas (c. 1300)<br>Alleluia (from 
 the Mass for the Feast of the Assumption) - Gregorian Chant<br>Assumpta es
 t Maria - Gregor Aichinger (1561-1628)</p>\n<hr>\n<p><strong><a href='//docs.google.com/document/d/1yVRmbYFz0jHjut4AG2VeL0Qf50UCH2btB91W6GdkO7
 U/edit?tab=t.0' target='_blank' rel='noopener noreferrer'>View Lyrics and 
 Translations</a></strong></p>\n<hr>\n<h2>Program Notes</h2>\n<p>Fortunatel
 y for those of us in the 21st-century who like to dream about the distant 
 past\, a substantial amount of visual art from the Middle Ages in Europe a
 nd the former Byzantine Empire has survived to the present day\, scattered
  in museums and collections all over the world\, to give us hints about th
 eir world. The seemingly endless paintings of the Virgin Mary and women sa
 ints\, sometimes painted alongside wealthy patronesses in a psychedelic fe
 at of time travel\, all with flawlessly serene brows\, Instagram-ready ski
 n and fabulously draping gowns\, provide us with valuable information abou
 t the mental images that medieval creators and audiences were likely to ha
 ve held in their minds when reading poetry and listening to music that in 
 some way framed the idea of Women - both as characters in a story and as v
 essels of something divine. Today\, Lumina with guests Tracy Cowart and Ca
 rrie Shaw are thrilled to present a wide-ranging program of music for treb
 le voices and harp that will demonstrate many perspectives of ‘women in mu
 sic’ from the era.</p>\n<p>I’ve known the women of Lumina and Tracy for ma
 ny years\, and the thrilling part of our work together has been to imagine
  the way in which our voices can play with each other and what the effect 
 can be. In some pieces\, you will hear our sound as the serene\, detached 
 beauty of the impossibly perfect Lady\, and in others\, you may hear a hin
 t of dance music creep in\, bringing hints of secular vigor into texts tha
 t celebrate the Virgin in a more ecstatic way\, and in still others\, you 
 will hear us sublimate our ‘selves’ in service of resonating the perfect m
 ath of the universe - a tiny window into God’s realm. In all cases\, we ho
 pe you enjoy the exploration of the Celestial Woman.</p>\n<p>The earliest 
 works on our program are Byzantine chants\, including one by the Byzantine
 -Greek abbess Kassia. Dramatic details of her life and the hymns that she 
 authored and composed during her life have fortunately been passed down th
 rough the Byzantine church\, which is how she\, as a woman\, has not disap
 peared into history\, although the documents that substantiate her works a
 nd her biography today date from long after she was dead\, so we can only 
 speculate how much of what we now possess truly came from Kassia directly.
  Nevertheless\, it is hard not to be drawn in by the story of a wealthy gi
 rl\, courted by the Byzantine emperor\, spurned then persecuted for her wo
 rship of icons\, and in the end turned abbess of a convent where she wrote
  colorful and inspiring chants. While women did not play a role in leading
  liturgical music in the Byzantine church\, we hope you will indulge our r
 e-imagining of her adoration of Christina\, the Martyr\, as a work for a w
 oman’s voice.</p>\n<p>The other\, perhaps more famous\, abbess on the prog
 ram is Hildegard von Bingen. Although Hildegard was beatified about 150 ye
 ars after her death\, her story was almost unknown for more than 800 years
 \, until scholarly interest in her music and writings grew in the 20th cen
 tury. In Hildegard\, we have a woman writing music for other women\, the w
 omen in her convent. Six hundred years after her life\, there would be som
 ething of a tourist industry around hearing women in convents on the other
  side of a screen\, performing virtuosic sacred music\, but in her time\, 
 this was a matter purely of elevating the daily lives of the women under h
 er care. Hildegard was a very successful nun (if there is such a thing)\, 
 ascending to lead her convent and to found two others\, and after her deat
 h\, a monk collected her works for preservation. Her enormous collection o
 f letters\, philosophical writings\, visions\, and music miraculously surv
 ived the centuries (in one case\, surviving a WWII bombing in a bank vault
 )\, and now inspire many composers to see in our past evidence of women fi
 nding ways to be creative despite the limitations of their gender in their
  time.</p>\n<p>And we are\, of course\, performing a number of works with 
 ‘Marian’ texts\, that is\, texts about the star of every medieval artist’s
  show\, the Virgin Mary\, some in Latin and some in vernacular. The forms 
 are varied - sequences\, antiphons\, prayers\, mass parts - and include th
 e unison chant style that is familiar to fans of medieval music\, but also
  two-\, three-\, and four-part polyphony. With treble voices\, composing f
 or four parts that share a range is an interesting compositional challenge
 . A choir with tenors and basses can space out melodic lines in a way that
  stay out of each others’ ways\, if you will. A group of ‘like’ voices how
 ever weave tightly\, making it sometimes difficult to tell who is singing 
 what and when. The charm is in the exchange and rollercoaster sensation of
  alternately rising above the others and diving down into the texture.</p>
 \n<hr>\n<h2>Biographies<a href='https://www.luminawomensensemble.com' targ et='_blank' rel='noopener noreferrer'><br>Lumina</a></h2>\n<p>Lumina is a 
 professional women’s ensemble dedicated to the mystery\, beauty\, and hope
  inherent in music.<br>Our programming draws from a rich well of musical s
 ources\, including Medieval chants\, Renaissance motets\, folk song tradit
 ions\, and works by living and local composers. <br>Our goal is to share t
 he spiritual experience of music through performance\, participation\, and
  education.<br>Based in the Twin Cities of Minneapolis and St. Paul\, Minn
 esota\, we have collaborated with faith communities\, schools\, and choral
  organizations to present concerts\, special church services\, and <a href='https://www.classicalmpr.org/story/2017/12/27/meet-class-notes-artist-lu
 mina'>e</a><a href='https://www.luminawomensensemble.com/educational-progr
 ams-1'>ducational programs</a>.</p>\n<p><br><b>Linda Kachelmeier\, </b>Art
 istic Director and Alto<br>Linda Kachelmeier is a singer\, composer\, pian
 ist and conductor. Linda has performed with such diverse professional grou
 ps as The Dale Warland Singers\, VocalEssence\, Glorious Revolution Baroqu
 e\, Dare to Breathe\, and the internationally acclaimed early music group\
 , The Rose Ensemble\, of which she is a founding member.</p>\n<p>Besides L
 UMINA\, Linda can be seen as a freelance singer in various groups around t
 he Twin Cities. As a composer\, she was awarded a 2017 McKnight Fellowship
 \, and is a two-time recipient of both the Jerome Composers Commissioning 
 Program for Emerging Composers\, and the Faith Partners residency through 
 the American Composers Forum.  Since 1991 she has been Director of Music a
 t First Presbyterian Church in South St. Paul.</p>\n<p><b>Angela Grundstad
 \, </b><b>Soprano<br></b>Angela Grundstad hails from Iowa\, where she star
 ted her musical journey performing with groups such as the Des Moines Voca
 l Arts Ensemble\, StageWest Theatre Company\, Soli Deo Gloria Cantorum\, D
 es Moines Metro Opera\, and as adjunct voice faculty at Drake University. 
  She received her Bachelor's Degree from Simpson College where she was a m
 ember of the internationally known Madrigal Singers\, and her Master of Mu
 sic Degree from Louisiana State University.</p>\n<p>Angela started singing
  with Lumina Women's ensemble when the group was founded in 2014.  She is 
 also a member of the Mirandola Ensemble and Consortium Carrissimi. Angela 
 is very fortunate to have performed with Vocal Essence Ensemble Singers\, 
 Glorious Revolution Baroque\, Magpies and Ravens\, and various other freel
 ance groups in the Twin Cities.  She is currently a section leader and voi
 ce instructor at Holy Family Catholic Church in St. Louis Park.</p>\n<p><b>Kim Sueoka\, </b><b>Soprano<br></b>Kim is an active performer and teachin
 g artist with Lumina\, Lau Hawaiian Collective\, and COMPAS. She also deli
 ghts in her work as a music enrichment facilitator at EXPO Elementary Scho
 ol in St. Paul and a staff singer and vocal coach at St. Paul’s Episcopal 
 Church in Minneapolis. She is an artist-in-residence at Hamline University
 ’s Center for Global Environmental Education and an associate teaching art
 ist with Kairos Alive. </p>\n<p>Kim received bachelor's and master's degre
 es in vocal performance at The University of Evansville and the University
  of Minnesota. She has performed nationally and internationally with The R
 ose Ensemble and appeared as a guest artist with the Neuss Chamber Orchest
 ra\, Minneapolis Institute of Art\, Ames Chamber Artists\, Des Moines Chor
 al Society\, and the Flint Hills International Children’s Festival. </p>\n
 <p>Her solo recordings include Clear or Cloudy: The Lute Songs of Dowland 
 with lutenist Phillip Rukavina\, Wai: Hawaiian Fresh Water Songs with Lau 
 Hawaiian Collective\, and The River Inside of Trees with composers Todd Ha
 rper and Paul Cantrell. </p>\n<p><b>Tracy Cowart\, Alto and harp<br></b>A 
 musical omnivore living up to her childhood nickname “the goat\,” mezzo-so
 prano Tracy Cowart enjoys a wide range of musical interests\, from twelfth
 -century monophony to American old-time music. Praised by the New York Tim
 es as “the real attraction” with a voice that is “light and lithe\,” Tracy
  has performed with period ensembles including Apollo’s Fire\, La Donna Mu
 sicale\, Musica Sacra\, the Newberry Consort\, Rose of the Compass\, Sever
 all Friends\, and the Washington Bach Consort. Upcoming recording projects
  include The Gentle Shepherd (the earliest extant Scottish ballad opera) w
 ith Makaris\, and neo-medieval arrangements of Hildegard von Bingen and He
 rrad von Hohenburg with Freelance Nun\, with whom she also continues to ex
 plore 18th-century New England Anthems. Also known for her interpretations
  of new music\, Tracy has performed with the Great Noise Ensemble\, sung c
 abaret with the Richmond Festival of Music\, and toured with Weird Uncle\,
  an experimental group that fuses medieval modes\, jug band\, and electron
 ica.</p>\n<p>Tracy received her B.S.B.A. in Business Administration from A
 merican University\, her M.M. in Early Music from the Longy School of Musi
 c\, and her D.M.A. in Historical Performance Practice from Case Western Re
 serve University\; she is currently faculty at the Amherst Early Music Fes
 tival and at Fordham University\, where she teaches voice and co-led the C
 ollegium Musicum. She has been a guest-artist/lecturer at Pennsylvania Sta
 te University\, Fairmont State University\, Bucknell University\, and the 
 Society for Seventeenth Century Music. Tracy is also an avid forager\, ama
 teur herbalist\, and a card-carrying member of the NY Mycological Society.
 </p>\n<p><b>Carrie Shaw\, Soprano<br></b>Praised in the New York Times “as
  graceful vocally as she was in her movements”\, “consistently stylish” (B
 oston Globe)\, and as a “cool\, precise soprano” (Chicago Tribune)\, Carri
 e Henneman Shaw is a two-time McKnight Fellowship for Performing Musicians
  winner (2010\, 2017). She has premiered major works by such Minnesota com
 posers as Jocelyn Hagen and Abbie Betinis\, whose annual Christmas carols 
 she records for Minnesota Public Radio\, and sung American premieres by su
 ch composers as Georg Friedrich Haas\, Hans Thomalla\, and Augusta Read Th
 omas. In addition to her work as an interpreter of contemporary works\, Ca
 rrie specializes in music of the 17th century and has performed operatic r
 oles with one of America’s leading Baroque opera companies\, Boston Early 
 Music Festival. Carrie is a member of Chicago’s Ensemble Dal Niente\, Quin
 ce Ensemble\, and Kwan Pauly Shaw trio. She holds degrees in English and v
 oice performance from Lawrence University and a doctorate from the Univers
 ity of Minnesota. She is acting chair of voice performance at the Universi
 ty of Washington in Seattle.</p>
DTSTART;TZID=America/Los_Angeles:20250507T193000
LAST-MODIFIED:20250505T154147Z
SEQUENCE:209
SUMMARY:: Guest Artist Concert: Lumina Women’s Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-08/guest-artist-concert-lum
 ina-womens-ensemble
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span></span></p> <p><span>Lumina Women's E
 nsemble is joined by guests Tracy Cowart (gothic harp and alto)\, and UW f
 aculty artist Carrie Shaw (soprano)\, in performing 'The Celestial Woman\,
 ' a program of chant and polyphony by composers including 9th-century Byza
 ntine Abbess Kassia\, 11th-c. Hildegard von Bingen\, and Notre Dame Master
  Perotin.</span></p> <hr> <h2><span>Program</span></h2> <p><strong>The Pro
 mise</strong><br>Salve\, mater salvatoris - Anon. English Sequence (12th c
 entury)\; Oxford Bodleian 343\, folio Xv <br>Ave Maria\, gracia plena - An
 on. Codex Las Huelgas (c. 1300)<br>Sancta Maria (2:30) - John Dunstable (1
 390-1453)</p> <p><br><strong>The Vision</strong><br>Marienleich (part 1) -
  Heinrich von Meissen\, “Frauenlob” (c. 1250-1318)<br>Christina\, the Mart
 yr\, Holding the Cross - Kassia (810-865)<br>Vevarimenon ton ophthalmon mu
  - Byzantine Chant</p> <p><br><strong>The Mother</strong><br>Ave Maris Ste
 lla - Jacob Obrecht (c. 1450-1505)<br>There is no Rose - Anonymous (c. 142
 0)\; Trinity College\, Cambridge manuscript<br>O Magnum Mysterium - Cristo
 bal de Morales (1500-1553)<br>Angelus ad Virginem - Anon. 14th century\, p
 opular carol</p> <p><br><strong>The Daughter</strong> <br>Marienleich - vo
 n Meissen<br>Salvatoris Hodie - Perotin (1160-1245)</p> <p><br><strong>The
  Road to the Cross and Tomb</strong><br>O Rubor - Sanguinis Hildegard von 
 Bingen (1098-1179)<br>Stabat Iuxta Christi Crucem - Anon. Codex Las Huelga
 s (c. 1300)<br>Maria Magdalena - Michael Praetorius (1571-1621)</p> <p><br><strong>Queen of Heaven</strong><br>Veni\, virgo beatissima/Veni\, sancte
  Spiritus - Montpellier Codex (c. 1250-1300)<br>Virgo sidus aureum - Anon.
  Codex Las Huelgas (c. 1300)<br>Alleluia (from the Mass for the Feast of t
 he Assumption) - Gregorian Chant<br>Assumpta est Maria - Gregor Aichinger 
 (1561-1628)</p> <hr> <p><strong><a href='https://docs.google.com/document/
 d/1yVRmbYFz0jHjut4AG2VeL0Qf50UCH2btB91W6GdkO7U/edit?tab=t.0' target='_blan
 k' rel='noopener noreferrer'>View Lyrics and Translations</a></strong></p>
  <hr> <h2>Program Notes</h2> <p><span>Fortunate
 ly for those of us in the 21st-century who like to dream about the distant
  past\, a substantial amount of visual art from the Middle Ages in Europe 
 and the former Byzantine Empire has survived to the present day\, scattere
 d in museums and collections all over the world\, to give us hints about t
 heir world. The seemingly endless paintings of the Virgin Mary and women s
 aints\, sometimes painted alongside wealthy patronesses in a psychedelic f
 eat of time travel\, all with flawlessly serene brows\, Instagram-ready sk
 in and fabulously draping gowns\, provide us with valuable information abo
 ut the mental images that medieval creators and audiences were likely to h
 ave held in their minds when reading poetry and listening to music that in
  some way framed the idea of Women - both as characters in a story and as 
 vessels of something divine. Today\, Lumina with guests Tracy Cowart and C
 arrie Shaw are thrilled to present a wide-ranging program of music for tre
 ble voices and harp that will demonstrate many perspectives of ‘women in m
 usic’ from the era.</span></p> <p><span>I’ve kn
 own the women of Lumina and Tracy for many years\, and the thrilling part 
 of our work together has been to imagine the way in which our voices can p
 lay with each other and what the effect can be. In some pieces\, you will 
 hear our sound as the serene\, detached beauty of the impossibly perfect L
 ady\, and in others\, you may hear a hint of dance music creep in\, bringi
 ng hints of secular vigor into texts that celebrate the Virgin in a more e
 cstatic way\, and in still others\, you will hear us sublimate our ‘selves
 ’ in service of resonating the perfect math of the universe - a tiny windo
 w into God’s realm. In all cases\, we hope you enjoy the exploration of th
 e Celestial Woman.</span></p> <p><span>The earl
 iest works on our program are Byzantine chants\, including one by the Byza
 ntine-Greek abbess Kassia. Dramatic details of her life and the hymns that
  she authored and composed during her life have fortunately been passed do
 wn through the Byzantine church\, which is how she\, as a woman\, has not 
 disappeared into history\, although the documents that substantiate her wo
 rks and her biography today date from long after she was dead\, so we can 
 only speculate how much of what we now possess truly came from Kassia dire
 ctly. Nevertheless\, it is hard not to be drawn in by the story of a wealt
 hy girl\, courted by the Byzantine emperor\, spurned then persecuted for h
 er worship of icons\, and in the end turned abbess of a convent where she 
 wrote colorful and inspiring chants. While women did not play a role in le
 ading liturgical music in the Byzantine church\, we hope you will indulge 
 our re-imagining of her adoration of Christina\, the Martyr\, as a work fo
 r a woman’s voice.</span></p> <p><span>The othe
 r\, perhaps more famous\, abbess on the program is Hildegard von Bingen. A
 lthough Hildegard was beatified about 150 years after her death\, her stor
 y was almost unknown for more than 800 years\, until scholarly interest in
  her music and writings grew in the 20th century. In Hildegard\, we have a
  woman writing music for other women\, the women in her convent. Six hundr
 ed years after her life\, there would be something of a tourist industry a
 round hearing women in convents on the other side of a screen\, performing
  virtuosic sacred music\, but in her time\, this was a matter purely of el
 evating the daily lives of the women under her care. Hildegard was a very 
 successful nun (if there is such a thing)\, ascending to lead her convent 
 and to found two others\, and after her death\, a monk collected her works
  for preservation. Her enormous collection of letters\, philosophical writ
 ings\, visions\, and music miraculously survived the centuries (in one cas
 e\, surviving a WWII bombing in a bank vault)\, and now inspire many compo
 sers to see in our past evidence of women finding ways to be creative desp
 ite the limitations of their gender in their time.</span></p> <p><span sty le=' 400\;'>And we are\, of course\, performing a number of wo
 rks with ‘Marian’ texts\, that is\, texts about the star of every medieval
  artist’s show\, the Virgin Mary\, some in Latin and some in vernacular. T
 he forms are varied - sequences\, antiphons\, prayers\, mass parts - and i
 nclude the unison chant style that is familiar to fans of medieval music\,
  but also two-\, three-\, and four-part polyphony. With treble voices\, co
 mposing for four parts that share a range is an interesting compositional 
 challenge. A choir with tenors and basses can space out melodic lines in a
  way that stay out of each others’ ways\, if you will. A group of ‘like’ v
 oices however weave tightly\, making it sometimes difficult to tell who is
  singing what and when. The charm is in the exchange and rollercoaster sen
 sation of alternately rising above the others and diving down into the tex
 ture.</span></p> <hr> <h2><span>Biographies</span><a href='https://www.lum
 inawomensensemble.com' target='_blank' rel='noopener noreferrer'><br>Lumin
 a</a></h2> <p>Lumina is a professional women’s ensemble dedicated to the m
 ystery\, beauty\, and hope inherent in music.<br>Our programming draws fro
 m a rich well of musical sources\, including Medieval chants\, Renaissance
  motets\, folk song traditions\, and works by living and local composers. 
 <br>Our goal is to share the spiritual experience of music through perform
 ance\, participation\, and education.<br>Based in the Twin Cities of Minne
 apolis and St. Paul\, Minnesota\, we have collaborated with faith communit
 ies\, schools\, and choral organizations to present concerts\, special chu
 rch services\, and <a href='https://www.classicalmpr.org/story/2017/12/27/
 meet-class-notes-artist-lumina'>e</a><a href='https://www.luminawomensense
 mble.com/educational-programs-1'>ducational programs</a>.</p> <p><br><b>Li
 nda Kachelmeier\, </b><span>Artistic Director a
 nd Alto<br></span><span>Linda Kachelmeier is a 
 singer\, composer\, pianist and conductor. Linda has performed with such d
 iverse professional groups as The Dale Warland Singers\, VocalEssence\, Gl
 orious Revolution Baroque\, Dare to Breathe\, and the internationally accl
 aimed early music group\, The Rose Ensemble\, of which she is a founding m
 ember.</span></p> <p><span>Besides LUMINA\, Lin
 da can be seen as a freelance singer in various groups around the Twin Cit
 ies. As a composer\, she was awarded a 2017 McKnight Fellowship\, and is a
  two-time recipient of both the Jerome Composers Commissioning Program for
  Emerging Composers\, and the Faith Partners residency through the America
 n Composers Forum.  Since 1991 she has been Director of Music at First Pre
 sbyterian Church in South St. Paul.</span></p> <p><b>Angela Grundstad\, </b><b>Soprano<br></b><span>Angela Grundstad hail
 s from Iowa\, where she started her musical journey performing with groups
  such as the Des Moines Vocal Arts Ensemble\, StageWest Theatre Company\, 
 Soli Deo Gloria Cantorum\, Des Moines Metro Opera\, and as adjunct voice f
 aculty at Drake University.  She received her Bachelor's Degree from Simps
 on College where she was a member of the internationally known Madrigal Si
 ngers\, and her Master of Music Degree from Louisiana State University.</s></p> <p><span>Angela started singing with L
 umina Women's ensemble when the group was founded in 2014.  She is also a 
 member of the Mirandola Ensemble and Consortium Carrissimi. Angela is very
  fortunate to have performed with Vocal Essence Ensemble Singers\, Gloriou
 s Revolution Baroque\, Magpies and Ravens\, and various other freelance gr
 oups in the Twin Cities.  She is currently a section leader and voice inst
 ructor at Holy Family Catholic Church in St. Louis Park.</span></p> <p><b>
 Kim Sueoka\, </b><b>Soprano<br></b><span>Kim is
  an active performer and teaching artist with Lumina\, Lau Hawaiian Collec
 tive\, and COMPAS. She also delights in her work as a music enrichment fac
 ilitator at EXPO Elementary School in St. Paul and a staff singer and voca
 l coach at St. Paul’s Episcopal Church in Minneapolis. She is an artist-in
 -residence at Hamline University’s Center for Global Environmental Educati
 on and an associate teaching artist with Kairos Alive. </span></p> <p>Kim received bachelor's and master's degrees 
 in vocal performance at The University of Evansville and the University of
  Minnesota. She has performed nationally and internationally with The Rose
  Ensemble and appeared as a guest artist with the Neuss Chamber Orchestra\
 , Minneapolis Institute of Art\, Ames Chamber Artists\, Des Moines Choral 
 Society\, and the Flint Hills International Children’s Festival. </span></p> <p><span>Her solo recordings include</span> 
 <i><span>Clear or Cloudy: The Lute Songs of Dow
 land</span></i><span> with lutenist Phillip Ruk
 avina\,</span> <i><span>Wai: Hawaiian Fresh Wat
 er Songs</span></i><span> with Lau Hawaiian Col
 lective\, and</span> <i><span>The River Inside 
 of Trees</span></i><span> with composers Todd H
 arper and Paul Cantrell. </span></p> <p><b>Tracy Cowart\, Alto and harp<br></b><span>A musical omnivore living up to her 
 childhood nickname “the goat\,” mezzo-soprano Tracy Cowart enjoys a wide r
 ange of musical interests\, from twelfth-century monophony to American old
 -time music. Praised by the New York Times as “the real attraction” with a
  voice that is “light and lithe\,” Tracy has performed with period ensembl
 es including Apollo’s Fire\, La Donna Musicale\, Musica Sacra\, the Newber
 ry Consort\, Rose of the Compass\, Severall Friends\, and the Washington B
 ach Consort. Upcoming recording projects include The Gentle Shepherd (the 
 earliest extant Scottish ballad opera) with Makaris\, and neo-medieval arr
 angements of Hildegard von Bingen and Herrad von Hohenburg with Freelance 
 Nun\, with whom she also continues to explore 18th-century New England Ant
 hems. Also known for her interpretations of new music\, Tracy has performe
 d with the Great Noise Ensemble\, sung cabaret with the Richmond Festival 
 of Music\, and toured with Weird Uncle\, an experimental group that fuses 
 medieval modes\, jug band\, and electronica.</span></p> <p><span>Tracy received her B.S.B.A. in Business Administration f
 rom American University\, her M.M. in Early Music from the Longy School of
  Music\, and her D.M.A. in Historical Performance Practice from Case Weste
 rn Reserve University\; she is currently faculty at the Amherst Early Musi
 c Festival and at Fordham University\, where she teaches voice and co-led 
 the Collegium Musicum. She has been a guest-artist/lecturer at Pennsylvani
 a State University\, Fairmont State University\, Bucknell University\, and
  the Society for Seventeenth Century Music. Tracy is also an avid forager\
 , amateur herbalist\, and a card-carrying member of the NY Mycological Soc
 iety.</span></p> <p><b>Carrie Shaw\, Soprano<br></b><span>Praised in the New York Times “as graceful vocally as she was i
 n her movements”\, “consistently stylish” (Boston Globe)\, and as a “cool\
 , precise soprano” (Chicago Tribune)\, Carrie Henneman Shaw is a two-time 
 McKnight Fellowship for Performing Musicians winner (2010\, 2017). She has
  premiered major works by such Minnesota composers as Jocelyn Hagen and Ab
 bie Betinis\, whose annual Christmas carols she records for Minnesota Publ
 ic Radio\, and sung American premieres by such composers as Georg Friedric
 h Haas\, Hans Thomalla\, and Augusta Read Thomas. In addition to her work 
 as an interpreter of contemporary works\, Carrie specializes in music of t
 he 17th century and has performed operatic roles with one of America’s lea
 ding Baroque opera companies\, Boston Early Music Festival. Carrie is a me
 mber of Chicago’s Ensemble Dal Niente\, Quince Ensemble\, and Kwan Pauly S
 haw trio. She holds degrees in English and voice performance from Lawrence
  University and a doctorate from the University of Minnesota. She is actin
 g chair of voice performance at the University of Washington in Seattle.</span></p>
END:VEVENT
BEGIN:VEVENT
UID:b240ae9c-c163-4320-86ae-75fc5b6694c6
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250505T192253Z
DESCRIPTION:<p></p>\n<p>Piano students of Cristina Valdés perform works by 
 Chopin\, Brahms\, Debussy\, Bach\, Gubaidalina\, Prokofiev\, and Chaminade
  in this studio recital. </p>\n<hr>\n<h2>Program</h2>\n<p>Concert Etude Op
  35\, No.2\, “Autumn” - <strong>Cécile Chaminade</strong> (1857-1944)<br>J
 iayi Wang\, Ph.D.\, Physics</p>\n<p><br>Prelude and Fugue No.6 in D Minor\
 , BWV875 - <strong>Johann Sebastian Bach</strong> (1685-1750)<br><br>Sarca
 sms\, Op.17 - <strong>Sergei Prokofiev </strong>(1891-1953)<br>I. Tempesto
 so <br>II. Allegro rubato<br>Olivia Hsu\, B.M.\, Piano Performance</p>\n<p>Ballade Op.10 No.1 - <strong>Johannes Brahms</strong> (1833-1897)<br><br>Prelude No.2\, Book 1: “Brouillards” - <strong>
 Claude Debussy</strong> (1862-1918)<br>Prelude No. 5\, Book 1: “Les collin
 es d'Anacapri” <br>Jeffrey Tso\, B.M.\, Piano Performance</p>\n<p>Musical Toys - <strong>Sofia Gubaidulina</strong> (1931
 -2025)<br>I. Mechanical Accordion<br>II. Magical Roundabout<br>VI. Song of
  the Fisherman<br>X. The Elk Clearing<br>XII. The Echo <br>Natalie Song\, 
 B.M.\, Jazz Studies</p>\n<p>Etude No. 1\, Book 1: “pour les cinq doigts d'
 après Monsieur Czerny” - <strong>Claude Debussy</strong> (1862-1918)</p>\n
 <p>A Little Suite for Christmas\, A.D. 1979 -  <strong>George Crumb (1929-2022)<br>Freya Frahm\, B.M.\, Piano Performance</p>\n<p></p>\n<p>
 from Etudes Op. 25 - <strong>Frédéric Chopin</strong> (1810-1849) <br>No. 
 6 in G# minor<br>No. 7 in C# minor<br>No. 10 in B minor<br>No. 11 in A min
 or<br>No. 12 in C minor<br>Ella Kalinichenko\, M.M.\, Piano Performance</p>\n<hr>\n<p></p>\n<h2>Director Bio</h2>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250508T193000
LAST-MODIFIED:20250509T015621Z
SEQUENCE:210
SUMMARY:: Valdés Piano Studio Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-09/valdes-piano-studio-reci
 tal
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Piano students of Cristina Valdés p
 erform works by Chopin\, Brahms\, Debussy\, Bach\, Gubaidalina\, Prokofiev
 \, and Chaminade in this studio recital. </p> <hr> <h2>Program</h2> <p>Con
 cert Etude Op 35\, No.2\, “Autumn” - <strong>Cécile Chaminade</strong> (18
 57-1944)<br><em>Jiayi Wang\, Ph.D.\, Physics</em></p> <p><br>Prelude and F
 ugue No.6 in D Minor\, BWV875 - <strong>Johann Sebastian Bach</strong> (16
 85-1750)<br><br>Sarcasms\, Op.17 - <strong>Sergei Prokofiev </strong>(1891
 -1953)<br>I. Tempestoso <br>II. Allegro rubato<br><em>Olivia Hsu\, B.M.\, 
 Piano Performance</em></p> <p>Ballade Op.10 No.
 1 - <strong>Johannes Brahms</strong> (1833-1897)<br><br>Prelude No.2\, Boo
 k 1: “Brouillards” - <strong>Claude Debussy</strong> (1862-1918)<br>Prelud
 e No. 5\, Book 1: “Les collines d'Anacapri” <br><em>Jeffrey Tso\, B.M.\, P
 iano Performance</em></p> <p>Musical Toys - Sofia Gubaidulina</strong> (1931-2025)<br>I. Mechanical Accordion<br>
 II. Magical Roundabout<br>VI. Song of the Fisherman<br>X. The Elk Clearing
 <br>XII. The Echo <br><em>Natalie Song\, B.M.\, Jazz Studies</em></p> <p>E
 tude No. 1\, Book 1: “pour les cinq doigts d'après Monsieur Czerny” - Claude Debussy</strong> (1862-1918)</p> <p>A Little Suite for Christma
 s\, A.D. 1979 -  <strong>George Crumb</strong> (1929-2022)<br><em>Freya Fr
 ahm\, B.M.\, Piano Performance</em></p> <p></p> <p>from Etudes Op. 25 - <s trong>Frédéric Chopin</strong> (1810-1849) <br>No. 6 in G# minor<br>No. 7 
 in C# minor<br>No. 10 in B minor<br>No. 11 in A minor<br>No. 12 in C minor
 <br><em>Ella Kalinichenko\, M.M.\, Piano Performance</em></p> <hr> <p></p>
  <h2>Director Bio</h2> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:33280b75-1a12-4355-8f96-a073eee56843
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250430T192241Z
DESCRIPTION:<p></p>\nStudents from the UW Voice program present an evening 
 of musical theater ensembles and solos organized around themes of breaking
  up and falling in love. The program includes scenes from:\n \nCompany by 
 Stephen Sondheim\nA Chorus Line by Marvin Hamlisch and Edward Kleban\nThe 
 Light in the Piazza by Adam Guettel\nSunset Boulevard by Andrew Lloyd Webb
 er\nThe Sound of Music by Richard Rogers and Oscar Hammerstein II\n\nas we
 ll as solo numbers from:\n9 to 5 by Dolly Parton\nNatasha\, Pierre\, and t
 he Great Comet of 1812 by Dave Malloy\nThe Hunchback of Notre Dame by Alan
  Menken and Stephen Schwartz\nSaturday Night by Stephen Sondheim
DTSTART;TZID=America/Los_Angeles:20250509T180000
LAST-MODIFIED:20250506T224957Z
SEQUENCE:211
SUMMARY:: Opera Workshop
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-10/opera-workshop
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <div>Students from the UW Voice progra
 m present an evening of musical theater ensembles and solos organized arou
 nd themes of breaking up and falling in love. The program includes scenes 
 from:</div> <div><i> </i></div> <div><i>Company</i> by Stephen Sondheim <div><i>A Chorus Line</i> by Marvin Hamlisch and Edward Kleban</div> &lt;
 div&gt;<i>The Light in the Piazza</i> by Adam Guettel</div> <div><i>Sunset Bo
 ulevard</i> by Andrew Lloyd Webber</div> <div><i>The Sound of Music</i> by
  Richard Rogers and Oscar Hammerstein II</div> <div></div> <div>as well as
  solo numbers from:</div> <div><i>9 to 5</i> by Dolly Parton</div> <div><i>Natasha\, Pierre\, and the Great Comet of 1812 </i>by Dave Malloy</div> &lt;
 div&gt;<i>The Hunchback of Notre Dame</i> by Alan Menken and Stephen Schwartz
 </div> <div><i>Saturday Night</i> by Stephen Sondheim</div> <div></div>  <div dir='ltr' class='gmail_signature' data-smartmail='gmail_signature
 '> <div dir='ltr'></div> </div> </div>
END:VEVENT
BEGIN:VEVENT
UID:9ad12fc2-be74-4b54-892a-bc0644eb0f7b
DTSTAMP:20260307T094252Z
CATEGORIES:Master Classes\, Student Activities and Performances\, Visiting 
 Artists and Scholars
CLASS:PUBLIC
CREATED:20250214T010002Z
DESCRIPTION:<p></p>\nDr. Jonathan Moyer\, chair of the organ program at Obe
 rlin Conservatory\, presents 'Influences and Impact on Johann Sebastian Ba
 ch\,' a masterclass with students from the UW organ studio. Co-sponsored b
 y the School of Music and the Seattle Chapter of the American Guild of Org
 anists. Support for this event is through the Paul B. Fritts Endowed Facul
 ty Fellowship in Organ.\n<hr>\n<h3 class='elementToProof'>Biography</h3>\n
 <p></p>\n<p>Jonathan William Moyer specializes in a vast repertoire from t
 he renaissance to the 21st century and has performed throughout the United
  States as well as in Europe and Japan. The Baltimore Sun has described hi
 s playing as “ever-expressive\, stylish\, and riveting.”</p>\n<p>In additi
 on to his role at Oberlin\, Moyer serves as organist of the Church of the 
 Covenant in Cleveland and has been a visiting lecturer in organ at the Hoc
 hschule für Musik in Lübeck\, Germany. Recent concerts include Bachkirche 
 (Arnstadt)\, St. Jakobikirche (Lübeck)\, Ludgerikirche (Norden)\, Laurensk
 erk (Alkmaar)\, Marktkirchethe (Hannover)\, the National Convention of the
  American Organ Historical Society (Rochester\, N.Y.)\, the National Shrin
 e of the Immaculate Conception (Washington\, D.C.)\, St. Sulpice (Paris)\,
  Notre Dame de Bergerac\, and J.S. Bach’s complete Clavierübung III at the
  German Reformed Church in Budapest. He has performed with the Boston Symp
 hony Orchestra\, Boston Pops\, the Tanglewood Festival Orchestra\, Richmon
 d Symphony Orchestra\, the Oberlin Orchestra\, Apollo’s Fire\, Quire Cleve
 land\, Concert Artists of Baltimore\, and the Handel Choir of Baltimore\, 
 among others. </p>\n<p>At the Church of the Covenant\, Moyer oversees two 
 remarkable pipe organs: an E.M. Skinner/Aeolian Skinner/Holtkamp and Richa
 rds Fowkes\, Op. 19.</p>\n<p>Moyer holds an artist diploma in organ from O
 berlin Conservatory\, where he was a student of James David Christie and O
 livier Latry. He earned a DMA and graduate performance diploma in organ fr
 om the Peabody Institute as a student of Donald Sutherland and Gillian Wei
 r\, and he also completed a master's degree in piano as a student of Ann S
 chein. He earned a bachelor of music in piano from Bob Jones University\, 
 where he was a student of Laurence Morton. He further studied with organis
 ts Susan Landale\, Marie-Claire Alain\, Guy Bovet\, and Michael Radulescu.
  In 2008 Moyer earned second prize in the Sixth International Musashino Or
 gan Competition in Tokyo\, and in 2005 he was a finalist in the St. Albans
  International Organ Competition. He is represented by WindWerk Artists.</p>
DTSTART;TZID=America/Los_Angeles:20250510T100000
LAST-MODIFIED:20250214T010455Z
SEQUENCE:212
SUMMARY:: External Event: Organ Masterclass: Jonathan Moyer\, Oberlin Conse
 rvatory
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-10/external-event-organ-mas
 terclass-jonathan-moyer-oberlin-conservatory
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <div class='elementToProof'>Dr. Jonath
 an Moyer\, chair of the organ program at Oberlin Conservatory\, presents '
 Influences and Impact on Johann Sebastian Bach\,' a masterclass with stude
 nts from the UW organ studio. Co-sponsored by the School of Music and the 
 Seattle Chapter of the American Guild of Organists. <span>Support for this
  event is through the Paul B. Fritts Endowed Faculty Fellowship in Organ.&lt;
 /span&gt;</div> <hr> <h3 class='elementToProof'>Biography</h3> <p></p> <p>Jon
 athan William Moyer specializes in a vast repertoire from the renaissance 
 to the 21st century and has performed throughout the United States as well
  as in Europe and Japan. <em>The Baltimore Sun</em> has described his play
 ing as “ever-expressive\, stylish\, and riveting.”</p> <p>In addition to h
 is role at Oberlin\, Moyer serves as organist of the Church of the Covenan
 t in Cleveland and has been a visiting lecturer in organ at the Hochschule
  für Musik in Lübeck\, Germany. Recent concerts include Bachkirche (Arnsta
 dt)\, St. Jakobikirche (Lübeck)\, Ludgerikirche (Norden)\, Laurenskerk (Al
 kmaar)\, Marktkirchethe (Hannover)\, the National Convention of the Americ
 an Organ Historical Society (Rochester\, N.Y.)\, the National Shrine of th
 e Immaculate Conception (Washington\, D.C.)\, St. Sulpice (Paris)\, Notre 
 Dame de Bergerac\, and J.S. Bach’s complete <em>Clavierübung III</em> at t
 he German Reformed Church in Budapest. He has performed with the Boston Sy
 mphony Orchestra\, Boston Pops\, the Tanglewood Festival Orchestra\, Richm
 ond Symphony Orchestra\, the Oberlin Orchestra\, Apollo’s Fire\, Quire Cle
 veland\, Concert Artists of Baltimore\, and the Handel Choir of Baltimore\
 , among others. </p> <p>At the Church of the Covenant\, Moyer oversees two
  remarkable pipe organs: an E.M. Skinner/Aeolian Skinner/Holtkamp and Rich
 ards Fowkes\, Op. 19.</p> <p>Moyer holds an artist diploma in organ from O
 berlin Conservatory\, where he was a student of James David Christie and O
 livier Latry. He earned a DMA and graduate performance diploma in organ fr
 om the Peabody Institute as a student of Donald Sutherland and Gillian Wei
 r\, and he also completed a master's degree in piano as a student of Ann S
 chein. He earned a bachelor of music in piano from Bob Jones University\, 
 where he was a student of Laurence Morton. He further studied with organis
 ts Susan Landale\, Marie-Claire Alain\, Guy Bovet\, and Michael Radulescu.
  In 2008 Moyer earned second prize in the Sixth International Musashino Or
 gan Competition in Tokyo\, and in 2005 he was a finalist in the St. Albans
  International Organ Competition. He is represented by WindWerk Artists.</p>
END:VEVENT
BEGIN:VEVENT
UID:6024fba6-bcb6-4f1b-9da6-1f58bfbb82ca
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals
CLASS:PUBLIC
CREATED:20250509T182353Z
DESCRIPTION:<p>Chloe Lian (MM\, Voice Performance)\, a student of Thomas Ha
 rper\, performs works by Robert Schumann\, Richard Strauss\, Gabriel Faure
 ́\, and others on her master's degree recital. </p>\n<hr>\n<h2>Program</h2>\n<p>Ma rendi pur contento                                               
  Vincenzo Bellini (1801-1835)<br>Per pietà\, bell’idol mio</p>\n<p><strong>Frauenliebe und -leben                                               Robert Schumann (1810-1856)</p>\n<ol>\n<li>Seit ich ihn gesehen</li>
 \n<li>Er\, der Herrlichste von allen</li>\n<li>Ich kann's nicht fassen\, n
 icht glauben</li>\n<li>Du Ring an meinem Finger</li>\n<li>Helft mir\, ihr 
 Schwestern</li>\n<li>Süßer Freund\, du blickest mich verwundert an</li>\n&lt;
 li&gt;An meinem Herzen\, an meiner Brust</li>\n<li>Nun hast du mir den ersten
  Schmerz getan</li>\n</ol>\n<p>- Intermission -</p>\n<p><strong>Poème d’un
  jour                                                         </strong>Gab
 riel Fauré (1845-1924)<br>Rencontre <br>Toujours <br>Adieu</p>\n<p>From <s trong>Songs of Spring                                                 Richard Faith (1962-2021)</p>\n<ol>\n<li>Desire in spring</li>\n<li>F
 irefly</li>\n<li>The Blackbird</li>\n</ol>\n<p>Die Nacht                  
                                                      Richard Strauss (1864
 -1949)<br>Breit über mein Haupt <br>Schön sind\, doch kalt<br>Du meines He
 rzens Krönelein</p>\n<hr>\n<h2>Biography</h2>\n<p></p>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250510T163000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:213
SUMMARY:: Degree Recital: Chloe Lian\, voice
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-10/degree-recital-chloe-lia
 n-voice
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>Chloe Lian (MM\, Voice Performance)\,
  a student of Thomas Harper\, performs works by Robert Schumann\, Richard 
 Strauss\, Gabriel Fauré\, and others on her master's degree recital. </p> <hr> <h2>Program</h2> <p><span>Ma rendi pur contento              
                                   Vincenzo Bellini (1801-1835)<br></span>&lt;
 span&gt;Per pietà\, bell’idol mio</span></p> <p><strong><em><span>Frauenliebe
  und -leben                                               </span></em><span>Robert Schumann (1810-1856)</span></p> <ol> <li>Seit ich ihn ge
 sehen</li> <li>Er\, der Herrlichste von allen</li> <li>Ich kann's nicht fa
 ssen\, nicht glauben</li> <li>Du Ring an meinem Finger</li> <li>Helft mir\
 , ihr Schwestern</li> <li>Süßer Freund\, du blickest mich verwundert an <li>An meinem Herzen\, an meiner Brust</li> <li>Nun hast du mir den ers
 ten Schmerz getan</li> </ol> <p><span>- Intermission -</span></p> <p><em><span>Poème d’un jour                                              
            </span></em></strong><span>Gabriel Fauré (1845-1924)<br></span>
 Rencontre <br>Toujours <br>Adieu</p> <p><span>From <strong><em>Songs of Sp
 ring                                                 </em></strong>Richard
  Faith (1962-2021)</span></p> <ol> <li><span>Desire in spring</span></li> 
 <li>Firefly</li> <li><span>The Blackbird</span></li> </ol> <p><span>Die Na
 cht                                                                       
 Richard Strauss (1864-1949)<br></span><span>Breit über mein Haupt <br>Schö
 n sind\, doch kalt<br></span><span>Du meines Herzens Krönelein</span></p> 
 <hr> <h2><span>Biography</span></h2> <p><span></span></p> <p><span></span>
 </p>
END:VEVENT
BEGIN:VEVENT
UID:8a768664-fa73-4d16-b80c-cdf00a96b2f8
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T184229Z
DESCRIPTION:<p></p>\n<p>UW Jazz Studies students perform in small combos ov
 er two consecutive nights of original tunes\, homage to the greats of jazz
 \, and experiments in composing and arranging. </p>\n<hr>\n<p></p>\n<h2>Pr
 ogram<b></b></h2>\n<h4>35 Quintet<b><br></b></h4>\n<p>Marc Seales<b> - </b>Advisor </p>\n<p>Spring Sprang Sprung<b> - Spencer Read </b><b></b></p>\n
 <p>Springarious<b> - Alex Phelps </b><b></b></p>\n<p>Pensativa<b> - Clare 
 Fischer </b><b></b></p>\n<p>Untitled Original 11386 -<b> John Coltrane </b><b></b></p>\n<p><b>Gabriella Kelly</b>\, bass\; <b>Mason Palmer</b>\, gui
 tar\; <b>Alexander Phelps</b>\, trombone/piano\; <b>Brian Zhang</b>\, alto
  sax\; <b>Spencer Read</b>\, drums </p>\n<h2>Blue Horse Ensemble<b> <br></b></h2>\n<p>John-Carlos Perea<b> - </b>Advisor </p>\n<p>Grand Entry Song -
  Taught by <b>Barney Hoehner </b>to <b>John-Carlos Perea </b><b></b></p>\n
 <p>Second Mountain<b> - John-Carlos Perea <br></b>(Excerpt from <b>Improvi
 sing Home) </b><b></b></p>\n<p>Tattoo -<b> Lewis Jordan </b><b></b></p>\n&lt;
 p&gt;All songs arranged by the ensemble <b></b></p>\n<p><b>Graham Cobden</b>\
 , alto saxophone\; <b>AJ Marto</b>\, electric bass\; <b>Cole Mckittrick</b>\, electric guitar\; <b>Tobias Miller</b>\, drums\; <b>Ari Okin</b>\, voi
 ce\; <b>Che Sehyun</b>\, changgo\; <b>Yotam Snir</b>\, tenor saxophone </p>\n<h2>No Moe Ted <b></b></h2>\n<p>Kasa Overall - Advisor </p>\n<p>Mambo I
 nfluenciado<b> - Chucho Valdes </b><b></b></p>\n<p>Ping-Pong Kan Kan<b> - 
 Tito Puente\, Wayne Shorter\; </b>arranged by <b>Toby Miller </b><b></b></p>\n<p>No Moe -<b> Sonny Rollins </b><b></b></p>\n<p>Law Years -<b> Ornett
 e Coleman </b><b></b></p>\n<p><b>Rory Somers</b>\, trumpet\; <b>Coen Rios&lt;
 /b&gt;\, tenor sax\; <b>Toby Miller</b>\, drums\; <b>Jai Kobi Kaleo’okalani</b>\, guitar\; <b>Solomon Lubell</b>\, bass </p>
DTSTART;TZID=America/Los_Angeles:20250514T193000
LAST-MODIFIED:20250514T215010Z
SEQUENCE:214
SUMMARY:: Jazz Innovations I
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-15/jazz-innovations-i
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>UW Jazz Studies students perform in
  small combos over two consecutive nights of original tunes\, homage to th
 e greats of jazz\, and experiments in composing and arranging. </p> <hr> &lt;
 p&gt;</p> <h2>Program<b></b></h2> <h4>35 Quintet<b><br></b><em></em></h4> <p>
 <em>Marc Seales</em><b> - </b>Advisor<span class='Apple-converted-space'> 
 </span></p> <p>Spring Sprang Sprung<b> - Spencer Read<span class='Apple-co
 nverted-space'> </span></b><b></b></p> <p>Springarious<b> - Alex Phelps </span></b><b></b></p> <p>Pensativa<b> -
  Clare Fischer<span class='Apple-converted-space'> </span></b><b></b></p> 
 <p>Untitled Original 11386 -<b> John Coltrane<span class='Apple-converted-
 space'> </span></b><b></b></p> <p><b>Gabriella Kelly</b>\, bass\; <b>Mason
  Palmer</b>\, guitar\; <b>Alexander Phelps</b>\, trombone/piano\; <b>Brian
  Zhang</b>\, alto sax\; <b>Spencer Read</b>\, drums<span class='Apple-conv
 erted-space'> </span></p> <h2>Blue Horse Ensemble<b> <br></b></h2> <p><em>
 John-Carlos Perea</em><b> - </b>Advisor<span class='Apple-converted-space'> </span></p> <p>Grand Entry Song - Taught by <b>Barney Hoehner </b>to <b>
 John-Carlos Perea<span class='Apple-converted-space'> </span></b><b></b></p> <p>Second Mountain<b> - John-Carlos Perea<span class='Apple-converted-s
 pace'> <br></span></b>(Excerpt from <b><i>Improvising Home)<span class='Ap
 ple-converted-space'> </span></i></b><b><i></i></b></p> <p>Tattoo -<b> Lew
 is Jordan<span class='Apple-converted-space'> </span></b><b></b></p> <p>All songs arranged by the ensemble<span class='Apple-converted-space'> &lt;
 /span&gt;</em><b></b></p> <p><b>Graham Cobden</b>\, alto saxophone\; <b>AJ Ma
 rto</b>\, electric bass\; <b>Cole Mckittrick</b>\, electric guitar\; <b>To
 bias Miller</b>\, drums\; <b>Ari Okin</b>\, voice\; <b>Che Sehyun</b>\, ch
 anggo\; <b>Yotam Snir</b>\, tenor saxophone<span class='Apple-converted-sp
 ace'> </span></p> <h2>No Moe Ted<span class='Apple-converted-space'> <b></b></h2> <p><em>Kasa Overall</em> - Advisor<span class='Apple-conver
 ted-space'> </span></p> <p>Mambo Influenciado<b> - Chucho Valdes<span clas s='Apple-converted-space'> </span></b><b></b></p> <p>Ping-Pong Kan Kan<b> 
 - Tito Puente\, Wayne Shorter\; </b>arranged by <b>Toby Miller<span class='Apple-converted-space'> </span></b><b></b></p> <p>No Moe -<b> Sonny Rolli
 ns<span class='Apple-converted-space'> </span></b><b></b></p> <p>Law Years
  -<b> Ornette Coleman<span class='Apple-converted-space'> </span></b><b></b></p> <p><b>Rory Somers</b>\, trumpet\; <b>Coen Rios</b>\, tenor sax\; <b>Toby Miller</b>\, drums\;<span class='Apple-converted-space'> </span><b>J
 ai Kobi Kaleo’okalani</b>\, guitar\; <b>Solomon Lubell</b>\, bass </p>
END:VEVENT
BEGIN:VEVENT
UID:ebf62cf2-4a76-4308-ae6f-b42f252c361a
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20240807T234817Z
DESCRIPTION:<p></p>\n<p>Chair of the UW piano program presents a program of
  works by French composers\, including Fauré’s 6th Nocturne\, Franck’s Pre
 lude\, Chorale and Fugue\, Joël-François Durand’s Enfance: Quatre Tableaux
 \, and works by Ravel\, including Miroirs\, and the two-piano version of L
 a Valse. With guest pianist (and former student of Sheppard) ZeZe Xue.</p>
 \n<hr>\n<h2>Program</h2>\n<p>Nocturne\, Opus 63 #6 in D flat (1894) - Gabriel Fauré</strong> <br> (1845-1924)</p>\n<p>Enfance : Quatre Table
 aux (Four Scenes of Childhood -2015) -<strong> Joël-François Durand  (b. 1954)<br> Jeux (Games)<br> Rêves (Dreams) <br> Bataille (A Fight) 
 <br> Les voyants (The Clairvoyants)</p>\n<p>Prélude\, Choral et Fugue (188
 4) - <strong>César Franck </strong>(1822-1890)</p>\n<p>INTERMISSION</p>\n&lt;
 p&gt;Miroirs (Mirrors - 1904-05) - <strong>Maurice Ravel</strong> (1875-1937)
 <br> Noctuelles (Night moths) <br> Oiseaux tristes (Sad birds)<br> Une bar
 que sur l’océan (A boat on the ocean)<br> Alborada del gracioso (The court
  fool at dawn)<br> La vallée des cloches (The valley of bells)</p>\n<p>La 
 Valse (two-piano version – 1919-20)<br>with ZEZE XUE</p>\n<hr>\n<h2>Progra
 m Notes</h2>\n<p>This is the first all-French program that I’ve given in M
 eany since 2013\, when I performed Debussy’s Études\, Estampes\, and Image
 s I and II. The previous year\, I had performed the two books of Debussy P
 réludes. For the present program\, it has been fun to return after fifty-f
 ive years to my first (and only performances to date) of the Fauré Nocturn
 e. Joël-François Durand’s Enfance is new to me\, as is the Franck Prélude\
 , Choral et Fugue. I performed Ravel’s Miroirs here in 2000\, and I’ve don
 e the two-piano version of La Valse more recently with my colleague\, Robi
 n McCabe\, playing secondo piano. Tonight\, with my former student\, the b
 rilliant ZeZe Xue\, I will be playing primo piano\, and thus will be able 
 to say that I’ve finally learned the whole piece!</p>\n<p>The Nocturne in 
 D flat of Opus 63 is one of <strong>Gabriel Fauré’s</strong> most enduring
  works for solo piano. The legendary pianist\, Alfred Cortot\, waxed lyric
 al about it\, as did Aaron Copland and\, more recently\, the well known pi
 ano critic\, Bryce Morrison. The breadth and dignity of the opening theme 
 is juxtaposed with a syncopated recitativo section\, and intense harmonies
  portray recurring outpourings of passion throughout. The work comes full 
 circle at the end - quietly\, tenderly\, and at peace.</p>\n<p><strong>Joe
 l-François Durand’s</strong> Enfance is a delightful set of four pieces. I
 n the first\, Jeux\, two kids are at play\, each with an equal voice. They
  listen to one another\, they cajole one another\, they bicker\, and in th
 e end\, they fight\, until the lower voice has simply ‘had it’ and jumps t
 o the lowest register of the piano. The upper voice follows\, and they con
 tinue fighting until the lights go out! The dream world in Rêves is full o
 f non-sequiturs\, thoughts not quite completing themselves\, minute variat
 ions in chordal progressions lending an uneasy feeling. Bataille brings th
 e two kids back into battle\, each one spouting seven-syllable iterations 
 in major and minor seconds\, all based on the well-known French nursery rh
 yme Ah! Vous dirai-je maman. The insistence in the upper voice is challeng
 ed by nagging staccati in the lower voice. The two voices begin to interru
 pt each other in sycopation\, getting louder and faster as they grow furth
 er apart. Les voyants is a study in fleeting color\, much of it in the upp
 er register. A recurring D in the sixth octave mesmerizes the listener\, a
 nd chordal anxiety at the end rises out of the mists.</p>\n<p><strong>Césa
 r Franck</strong> was Belgian by birth and lived most of his life in Paris
 . Although trained as a pianist\, he was better known as an organist and w
 as associated for years with Sainte-Clotilde\, a cathedral not far from th
 e Invalides in the seventh arrondissement. The magnificent three-manual Ca
 vaillé-Cort organ at Sainte-Clotilde undoubtedly played a role in his defi
 ning work for solo piano\, the Prélude\, Choral et Fugue of 1884\, a perio
 d which also gave us his Variations symphoniques for piano and orchestra (
 1885) and the famous violin-piano sonata of 1886. The Prélude\, Choral et 
 Fugue includes many pages of improvisation for which Franck was well known
 . The grandeur of church music is heard in the chorale\, the falling secon
 ds in the fugue are redolent of moments in the great B minor Mass of J.S. 
 Bach\, and the combination of the opening and fugal themes in the final pa
 ges\, orchestral in scope\, might well have been inspired by the organ at 
 Sainte-Clotilde’s. The dies irae is close at hand throughout\, as is the a
 ugmented fourth\, diavolus in musica. The work represents a stirring and i
 ntensely passionate monument to both the Baroque and the late Romantic.</p>\n<p><strong>Maurice Ravel</strong> and Claude Debussy had an intense\, i
 f unrecognized\, rivalry in the early years of the twentieth century. It i
 s probably no coincidence that Miroirs appeared during the same decade as 
 Debussy’s Estampes and Images I and II\, although it is not for us to judg
 e who ‘got there first’. Both were phenomenal colorists with enormous imag
 inations. Each of the tonal poems in Miroirs was dedicated to a different 
 friend in his group of ‘artistic outcasts’ (their own description!) known 
 as Les Apaches. Who can forget the Noctuelles flitting about\, falling mom
 entarily to the ground\, subdued and sad but not defeated\, then managing 
 to revive themselves and flitting about a second time before vanishing int
 o the night air? It is said that Oiseaux tristes was inspired by a blackbi
 rd at dawn in a forest close to Ravel’s house. The birds are frightened mo
 mentarily by an unknown source\, then settle back into their mournful song
 . Une barque sur l’océan starts out benignly\, but this boat must be prett
 y strong to withstand the intense storms at sea that are heard intermitten
 tly. Between storms\, a distant voice cries out ‘Is anyone there?’ The wor
 k finishes with the same calm as it starts. Alborada del gracioso shows th
 e Spanish court jester at his most capricious\, a wild dancer at daybreak 
 whose energy is both rigorous and boundless. La vallée des cloches juxtapo
 ses layers of sound echoing from the surrounding hills\, frequently throug
 h a shroud of mist.</p>\n<p>La Valse was written at the end of World War I
 \, during which Ravel lost several close friends. At times\, it mirrors th
 e cataclysm of the war itself and the collapse of the Old Order. It might 
 also represent a night of debauchery\, during which the guests become irre
 mediably drunk and out of control. Perhaps it represents both. This is for
  the listener to decide!<br>—Program notes copyright Craig Sheppard 2025.&lt;
 /p&gt;\n<hr>\n<h2>Biography</h2>\n<h3><a href='//www.seattlesymphony.org/en/about/meetthemusicians/theorchestra/artist
 s/first-violin/geller-noah' target='_blank' rel='noopener noreferrer'></a>
 </h3>
DTSTART;TZID=America/Los_Angeles:20250515T193000
LAST-MODIFIED:20250515T220324Z
SEQUENCE:215
SUMMARY:: Faculty Recital: Craig Sheppard
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-16/faculty-recital-craig-sh
 eppard
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Chair of the UW piano program prese
 nts a program of works by French composers\, including Fauré’s 6th Nocturn
 e\, Franck’s Prelude\, Chorale and Fugue\, Joël-François Durand’s Enfance:
  Quatre Tableaux\, and works by Ravel\, including Miroirs\, and the two-pi
 ano version of La Valse. With guest pianist (and former student of Sheppar
 d) ZeZe Xue.</p> <hr> <h2>Program</h2> <p>Nocturne\, Opus 63 #6 in D flat 
 (1894) - <strong>Gabriel Fauré</strong> <br> (1845-1924)</p> <p>Enfance : 
 Quatre Tableaux (Four Scenes of Childhood -2015) -<strong> Joël-François D
 urand  </strong>(b. 1954)<br> Jeux (Games)<br> Rêves (Dreams) <br> Bataill
 e (A Fight) <br> Les voyants (The Clairvoyants)</p> <p>Prélude\, Choral et
  Fugue (1884) - <strong>César Franck </strong>(1822-1890)</p> <p>INTERMISS
 ION</p> <p>Miroirs (Mirrors - 1904-05) - <strong>Maurice Ravel</strong> (1
 875-1937)<br> Noctuelles (Night moths) <br> Oiseaux tristes (Sad birds)<br> Une barque sur l’océan (A boat on the ocean)<br> Alborada del gracioso (
 The court fool at dawn)<br> La vallée des cloches (The valley of bells)</p> <p>La Valse (two-piano version – 1919-20)<br><em>with ZEZE XUE</em></p> 
 <hr> <h2>Program Notes</h2> <p>This is the first all-French program that I
 ’ve given in Meany since 2013\, when I performed Debussy’s Études\, Estamp
 es\, and Images I and II. The previous year\, I had performed the two book
 s of Debussy Préludes. For the present program\, it has been fun to return
  after fifty-five years to my first (and only performances to date) of the
  Fauré Nocturne. Joël-François Durand’s Enfance is new to me\, as is the F
 ranck Prélude\, Choral et Fugue. I performed Ravel’s Miroirs here in 2000\
 , and I’ve done the two-piano version of La Valse more recently with my co
 lleague\, Robin McCabe\, playing secondo piano. Tonight\, with my former s
 tudent\, the brilliant ZeZe Xue\, I will be playing primo piano\, and thus
  will be able to say that I’ve finally learned the whole piece!</p> <p>The
  Nocturne in D flat of Opus 63 is one of <strong>Gabriel Fauré’s</strong> 
 most enduring works for solo piano. The legendary pianist\, Alfred Cortot\
 , waxed lyrical about it\, as did Aaron Copland and\, more recently\, the 
 well known piano critic\, Bryce Morrison. The breadth and dignity of the o
 pening theme is juxtaposed with a syncopated recitativo section\, and inte
 nse harmonies portray recurring outpourings of passion throughout. The wor
 k comes full circle at the end - quietly\, tenderly\, and at peace.</p> <p><strong>Joel-François Durand’s</strong> Enfance is a delightful set of fo
 ur pieces. In the first\, Jeux\, two kids are at play\, each with an equal
  voice. They listen to one another\, they cajole one another\, they bicker
 \, and in the end\, they fight\, until the lower voice has simply ‘had it’
  and jumps to the lowest register of the piano. The upper voice follows\, 
 and they continue fighting until the lights go out! The dream world in Rêv
 es is full of non-sequiturs\, thoughts not quite completing themselves\, m
 inute variations in chordal progressions lending an uneasy feeling. Batail
 le brings the two kids back into battle\, each one spouting seven-syllable
  iterations in major and minor seconds\, all based on the well-known Frenc
 h nursery rhyme Ah! Vous dirai-je maman. The insistence in the upper voice
  is challenged by nagging staccati in the lower voice. The two voices begi
 n to interrupt each other in sycopation\, getting louder and faster as the
 y grow further apart. Les voyants is a study in fleeting color\, much of i
 t in the upper register. A recurring D in the sixth octave mesmerizes the 
 listener\, and chordal anxiety at the end rises out of the mists.</p> <p>&lt;
 strong&gt;César Franck</strong> was Belgian by birth and lived most of his li
 fe in Paris. Although trained as a pianist\, he was better known as an org
 anist and was associated for years with Sainte-Clotilde\, a cathedral not 
 far from the Invalides in the seventh arrondissement. The magnificent thre
 e-manual Cavaillé-Cort organ at Sainte-Clotilde undoubtedly played a role 
 in his defining work for solo piano\, the Prélude\, Choral et Fugue of 188
 4\, a period which also gave us his Variations symphoniques for piano and 
 orchestra (1885) and the famous violin-piano sonata of 1886. The Prélude\,
  Choral et Fugue includes many pages of improvisation for which Franck was
  well known. The grandeur of church music is heard in the chorale\, the fa
 lling seconds in the fugue are redolent of moments in the great B minor Ma
 ss of J.S. Bach\, and the combination of the opening and fugal themes in t
 he final pages\, orchestral in scope\, might well have been inspired by th
 e organ at Sainte-Clotilde’s. The dies irae is close at hand throughout\, 
 as is the augmented fourth\, diavolus in musica. The work represents a sti
 rring and intensely passionate monument to both the Baroque and the late R
 omantic.</p> <p><strong>Maurice Ravel</strong> and Claude Debussy had an i
 ntense\, if unrecognized\, rivalry in the early years of the twentieth cen
 tury. It is probably no coincidence that Miroirs appeared during the same 
 decade as Debussy’s Estampes and Images I and II\, although it is not for 
 us to judge who ‘got there first’. Both were phenomenal colorists with eno
 rmous imaginations. Each of the tonal poems in Miroirs was dedicated to a 
 different friend in his group of ‘artistic outcasts’ (their own descriptio
 n!) known as Les Apaches. Who can forget the Noctuelles flitting about\, f
 alling momentarily to the ground\, subdued and sad but not defeated\, then
  managing to revive themselves and flitting about a second time before van
 ishing into the night air? It is said that Oiseaux tristes was inspired by
  a blackbird at dawn in a forest close to Ravel’s house. The birds are fri
 ghtened momentarily by an unknown source\, then settle back into their mou
 rnful song. Une barque sur l’océan starts out benignly\, but this boat mus
 t be pretty strong to withstand the intense storms at sea that are heard i
 ntermittently. Between storms\, a distant voice cries out ‘Is anyone there
 ?’ The work finishes with the same calm as it starts. Alborada del gracios
 o shows the Spanish court jester at his most capricious\, a wild dancer at
  daybreak whose energy is both rigorous and boundless. La vallée des cloch
 es juxtaposes layers of sound echoing from the surrounding hills\, frequen
 tly through a shroud of mist.</p> <p>La Valse was written at the end of Wo
 rld War I\, during which Ravel lost several close friends. At times\, it m
 irrors the cataclysm of the war itself and the collapse of the Old Order. 
 It might also represent a night of debauchery\, during which the guests be
 come irremediably drunk and out of control. Perhaps it represents both. Th
 is is for the listener to decide!<br>—Program notes copyright Craig Sheppa
 rd 2025.</p> <hr> <h2>Biography</h2> <h3><a hre f='https://www.seattlesymphony.org/en/about/meetthemusicians/theorchestra/
 artists/first-violin/geller-noah' target='_blank' rel='noopener noreferrer
 '></a></h3>
END:VEVENT
BEGIN:VEVENT
UID:cbf8a935-0e0c-4403-b82a-fdbe31a50cf5
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T183442Z
DESCRIPTION:<p></p>\n<p>UW Jazz Studies students perform in small combos ov
 er two consecutive nights of original tunes\, homage to the greats of jazz
 \, and experiments in composing and arranging. </p>\n<hr>\n<h2>Program</h2>\n<h3><strong> A Cat Named Tom </strong><b></b></h3>\n<p><b>Cuong Vu </b>
 - Advisor </p>\n<p>Overture for Tom -<b> Gavin Westland </b><b></b></p>\n&lt;
 p&gt;Late Summer -<b> Gus Scharler\, Gavin Westland </b><b></b></p>\n<p>Tow R
 one (Interlude) - <b>Coen Rios </b><b></b></p>\n<p>Monsieur Petite -<b> Ai
 den Chan </b><b></b></p>\n<p>Slipp -<b> Don Viet Tran </b><b></b></p>\n<p>
 Santé -<b> Gavin Westland </b><b></b></p>\n<p><b>Aiden Chan</b>\, drums\; 
 <b>Gavin Westland</b>\, piano\; <b>Gus Scharler</b>\, tenor sax <b>Don Vie
 t Tran</b>\, acoustic bass\; <b>Cole McKittrick</b>\, poetry </p>\n<h3>The
  Six In Five</h3>\n<p><b>Steve Rodby </b>- Advisor </p>\n<p>Cyclic Episode
  -<b> Sam Rivers </b><b></b></p>\n<p>In a Silent Way -<b> Joe Zawinul </b>
 <b></b></p>\n<p>Benny’s Tune -<b> Lionel Loueke </b><b></b></p>\n<p>Actual
  Proof -<b> Herbie Hancock </b><b></b></p>\n<p><b>Owen Gwinn</b>\, tenor s
 ax\; <b>Aadithya Manoj</b>\, alto sax\; <b>Natalie Song</b>\, piano\; <b>R
 iley Tobin</b>\, bass\; <b>Ethan Horn</b>\, drums\; <b>Marko Vidich</b>\, 
 guitar </p>\n<hr>\n<h2>Director Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20250515T193000
LAST-MODIFIED:20250516T002845Z
SEQUENCE:216
SUMMARY:: Jazz Innovations II
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-16/jazz-innovations-ii
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>UW Jazz Studies students perform in
  small combos over two consecutive nights of original tunes\, homage to th
 e greats of jazz\, and experiments in composing and arranging. </p> <hr> &lt;
 h2&gt;Program</h2> <h3><strong><span class='Apple-converted-space'> </span>A 
 Cat Named Tom<span class='Apple-converted-space'> </span></strong><b></b>&lt;
 /h3&gt; <p><em><b>Cuong Vu </b>- Advisor<span class='Apple-converted-space'> 
 </span></em></p> <p>Overture for Tom -<b> Gavin Westland<span class='Apple
 -converted-space'> </span></b><b></b></p> <p>Late Summer -<b> Gus Scharler
 \, Gavin Westland<span class='Apple-converted-space'> </span></b><b></b></p> <p>Tow Rone (Interlude) - <b>Coen Rios<span class='Apple-converted-spac
 e'> </span></b><b></b></p> <p>Monsieur Petite -<b> Aiden Chan<span class='
 Apple-converted-space'> </span></b><b></b></p> <p>Slipp -<b> Don Viet Tran
 <span class='Apple-converted-space'> </span></b><b></b></p> <p>Santé -<b> 
 Gavin Westland<span class='Apple-converted-space'> </span></b><b></b></p> 
 <p><b>Aiden Chan</b>\, drums\; <b>Gavin Westland</b>\, piano\; <b>Gus Scha
 rler</b>\, tenor sax <b>Don Viet Tran</b>\, acoustic bass\; <b>Cole McKitt
 rick</b>\, poetry<span class='Apple-converted-space'> </span></p> <h3>The 
 Six In Five</h3> <p><em><b>Steve Rodby </b>- Advisor<span class='Apple-con
 verted-space'> </span></em></p> <p>Cyclic Episode -<b> Sam Rivers<span cla ss='Apple-converted-space'> </span></b><b></b></p> <p>In a Silent Way -<b>
  Joe Zawinul<span class='Apple-converted-space'> </span></b><b></b></p> <p>Benny’s Tune -<b> Lionel Loueke<span class='Apple-converted-space'> </b><b></b></p> <p>Actual Proof -<b> Herbie Hancock<span class='Apple-co
 nverted-space'> </span></b><b></b></p> <p><b>Owen Gwinn</b>\, tenor sax\; 
 <b>Aadithya Manoj</b>\, alto sax\; <b>Natalie Song</b>\, piano\;<span clas s='Apple-converted-space'> </span><b>Riley Tobin</b>\, bass\; <b>Ethan Hor
 n</b>\, drums\; <b>Marko Vidich</b>\, guitar<span class='Apple-converted-s
 pace'> </span></p> <hr> <h2>Director Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:dc770a0f-c2cf-417d-a22f-f33566acce41
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T225418Z
DESCRIPTION:<p></p>\n<p>UW music students of Tekla Cunningham present a pro
 gram of concertos and concerto grossi\, performing works by Bach\, Stradel
 la\, Vivaldi\, and Handel. </p>\n<hr>\n<h2>Program</h2>\n<h3></h3>\n\n<p s tyle=' 400\;'>Concerto in a minor for harpsichord and strings\
 , BWV 593 (after Vivaldi)  - <strong> J.S. Bach</strong> (1685-1750)<br>Al
 legro<br>Adagio<br>Allegro<br>Logan Tsui\, harpsichord</p>\n<p>Sinfonia Prima  -  <strong>Alessandro Stradella</strong> (
 1643-1682)</p>\n<p>Concerto for recorder and st
 rings in D major\, RV 443  -<strong> Antonio Vivaldi</strong> (1678-1741)&lt;
 br&gt;Allegro<br>Largo<br>Allegro molto<br>Bryan Boehnke\, recorder</p>\n<p s tyle=' 400\;'>Aria: Lo seguitai felice from L'olimpiade\, RV 7
 25 - <strong> Antonio Vivaldi</strong><br>Cassidy Cheong\, soprano </p>\n&lt;
 p style='font-weight: 400\;'&gt;Concerto Grosso Op. 3 No. 2 in B flat major -
   <strong>Georg Frederick Handel</strong> (1685-1759)<br>Vivace<br>Largo<b r>Allegro<br>(Menuet)<br>(Gavotte)</p>\n<h3>UW 
 Baroque Ensemble</h3>\n<p>Cassidy Cheong\, sopr
 ano\; Bryan Boehnke and Anna Simms\, recorders\; Taylor DeCastro\, Tia-Jan
 e Fowler\, Giula Rosa\, Selina Siow\, baroque violins\; Tekla Cunningham\,
  baroque viola\;  Ryan Farris\, baroque cello</p>\n\n<hr>\n<h3>Director Bi
 ography</h3>
DTSTART;TZID=America/Los_Angeles:20250519T193000
LAST-MODIFIED:20250520T005234Z
SEQUENCE:217
SUMMARY:: Baroque Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-20/baroque-ensemble
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>UW music students of Tekla Cunningh
 am present a program of <span>concertos and concerto grossi\, performing w
 orks by Bach\, Stradella\, Vivaldi\, and Handel. </span></p> <hr> <h2>Prog
 ram</h2> <h3></h3> <div dir='ltr' data-setdir='false'> <p>Concerto in a minor for harpsichord and strings\, BWV 593 (afte
 r Vivaldi)  - <strong> J.S. Bach</strong> (1685-1750)<br>Allegro<br>Adagio
 <br>Allegro<br><em>Logan Tsui\, harpsichord</em></p> <p>Sinfonia Prima  -  <strong>Alessandro Stradella</strong> (1643-16
 82)</p> <p>Concerto for recorder and strings in
  D major\, RV 443  -<strong> Antonio Vivaldi</strong> (1678-1741)<br>Alleg
 ro<br>Largo<br>Allegro molto<br><em>Bryan Boehnke\, recorder</em></p> <p s tyle=' 400\;'>Aria: Lo seguitai felice from L'olimpiade\, RV 7
 25 - <strong> Antonio Vivaldi</strong><br><em>Cassidy Cheong\, soprano </p> <p>Concerto Grosso Op. 3 No. 2 in B flat
  major -  <strong>Georg Frederick Handel</strong> (1685-1759)<br>Vivace<br>Largo<br>Allegro<br>(Menuet)<br>(Gavotte)</p> <h3>UW Baroque Ensemble</h3> <p>Cassidy Cheong\
 , soprano\; Bryan Boehnke and Anna Simms\, recorders\; Taylor DeCastro\, T
 ia-Jane Fowler\, Giula Rosa\, Selina Siow\, baroque violins\; Tekla Cunnin
 gham\, baroque viola\;  Ryan Farris\, baroque cello</p> </div> <hr> <h3>Di
 rector Biography</h3>
END:VEVENT
BEGIN:VEVENT
UID:b3aac893-d3c6-4993-9b40-16b4526b4218
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250503T000643Z
DESCRIPTION:<p></p>\n\nMichelle Witt (DMA\, Violin)\, a student of Rachel L
 ee Priday\, presents 'Dances and Dialogues\,' a doctoral degree recital fe
 aturing works by Bach\, Mozart\, Bartók\, and Pärt. With Alex Kostadinov\,
  piano and harpsichord.\n\n<hr>\n<h2 dir='ltr'>Program</h2>\n\nViolin Conc
 erto in A minor\, BWV 1041: <strong> Johann Sebastian Bach</strong> (1685–
 1750)\n\n Sonata for Violin and Piano in B-flat major\, K. 454: <strong>Wo
 lfgang Amadeus Mozart</strong> (1756–1791)\n\nRomanian Folk Dances: Béla Bartók</strong> (1881–1945)\n\nPärt: Fratres:  Arvo Pärt (b.1935)\n<h2 id='ms-outlook-mobile-body-separator-line' dir='ltr'>Biography</h2>\n<p>Michelle Witt joined the University of Washington in August 2011 as 
 the Artistic Director of UW World Series and Executive Director of Meany H
 all\, and led a transition unifying both organizations as Meany Center for
  the Performing Arts in 2016.</p>\n<p></p>\n<p dir='ltr'>During her tenure
 \, Michelle's leadership has resulted in a ten-fold increase in the Center
 's artistic endowment\, expanding programming across dance\, music\, theat
 er and multimedia performance\, and numerous high profile commissions and 
 collaborations\, such as Meany’s Artistic Partner program with Bill T. Jon
 es\, Marc Bamuthi Joseph\, Rhiannon Giddens and Peter Sellars.</p>\n<p dir='ltr'>On the UW campus she has launched long-term partnerships with a wid
 e range of faculty and staff\, including the UW Resilience Lab\, the  Prov
 ost’s “Dialogue Across Difference Initiative\,” and collaboratively spearh
 eading the Mellon Creative Fellowships Initiative and the Arts &amp; Creativit
 y Initiative.  Michelle has worked tirelessly to cultivate a wide variety 
 of institutional collaborations across the city of Seattle\, including wit
 h organizations such as Seattle Public Schools\, Daybreak Star Indian Cult
 ural Center\, Langston Seattle and many others. </p>\n<p dir='ltr'>Michell
 e has extensive arts leadership experience and has served as Executive Dir
 ector of the nationally acclaimed San Francisco-based dance company Robert
  Moses’ Kin\, in Associate and Executive Director positions with Stanford 
 University Lively Arts (now Stanford Live)\, University of California\, Sa
 nta Cruz Arts &amp; Lectures\, and the Performing Arts division of the Sun Val
 ley Center for the Arts in Idaho\, where she developed innovative artistic
  programming and educational residencies in music\, dance\, theater and fi
 lm. Michelle has distinguished herself as a leader in supporting and champ
 ioning new\, culturally diverse creative work in the performing arts and b
 ringing artists into meaningful dialogue with communities and scholars\, b
 oth nationally and internationally. </p>\n<p dir='ltr'>Michelle has served
  on the Executive Committee of the Board of the International Society for 
 the Performing Arts\, where she was a leader of their Global Fellows Progr
 am for nearly 10 years. She has also served on the Boards of Chamber Music
  America and California Presenters\, and on numerous conference and grant 
 panels\, including the NEA and Villa Albertine\, and until recently was co
 -chair of the Seattle Cultural Roundtable of arts and culture leaders acro
 ss the city. Currently\, Michelle serves on the Development Committee of t
 he International Society of the Performing Arts\, the steering committee o
 f the International Presenting Commons\, and is a member of the Major Univ
 ersity Presenters consortium.  </p>\n<p dir='ltr'>Michelle is currently AB
 D (all but dissertation) in a Doctor of Musical Arts degree from the Unive
 rsity of Washington\, and is writing about the interdisciplinary creative 
 process. Michelle holds a certificate from WACUBO’s Executive Leadership a
 nd Management Institute at Stanford and is the recipient of a Clifton Webb
  Graduate Academic Fellowship from UCLA where she studied the Philosophy o
 f Aesthetics and Music Performance. Michelle also spent many years as a pr
 ofessional violinist and has taught at the University of North Carolina\, 
 Chapel Hill\, the University of California\, Santa Cruz and the University
  of Washington\, Seattle.</p>
DTSTART;TZID=America/Los_Angeles:20250520T100000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:218
SUMMARY:: DMA Recital: Michelle Witt\, violin 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-20/dma-recital-michelle-wit
 t-violin
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <div dir='ltr'> <div dir='ltr'>Michell
 e Witt (DMA\, Violin)\, a student of Rachel Lee Priday\, presents 'Dances 
 and Dialogues\,' a doctoral degree recital featuring works by Bach\, Mozar
 t\, Bartók\, and Pärt. With Alex Kostadinov\, piano and harpsichord.</div>
  </div> <div dir='ltr'><hr></div> <h2 dir='ltr'>Program</h2> <div dir='ltr
 '></div> <div dir='ltr'>Violin Concerto in A minor\, BWV 1041: <strong> Jo
 hann Sebastian Bach</strong> (1685–1750)</div> <div dir='ltr'></div> <div>
  Sonata for Violin and Piano in B-flat major\, K. 454: <strong>Wolfgang Am
 adeus Mozart</strong> (1756–1791)</div> <div dir='ltr'></div> <div>Romania
 n Folk Dances: <strong>Béla Bartók</strong> (1881–1945)</div> <div dir='lt
 r'></div> <div>Pärt: Fratres:  Arvo Pärt (b.1935)<hr></div> <h2 id='ms-out
 look-mobile-body-separator-line' dir='ltr'>Biography</h2> <p><span>Michell
 e Witt joined the University of Washington in August 2011 as the Artistic 
 Director of UW World Series and Executive Director of Meany Hall\, and led
  a transition unifying both organizations as Meany Center for the Performi
 ng Arts in 2016.</span></p> <p><span></span></p> <p dir='ltr'>During her t
 enure\, Michelle's leadership has resulted in a ten-fold increase in the C
 enter's artistic endowment\, expanding programming across dance\, music\, 
 theater and multimedia performance\, and numerous high profile commissions
  and collaborations\, such as Meany’s Artistic Partner program with Bill T
 . Jones\, Marc Bamuthi Joseph\, Rhiannon Giddens and Peter Sellars.</p> <p dir='ltr'>On the UW campus she has launched long-term partnerships with a
  wide range of faculty and staff\, including the UW Resilience Lab\, the  
 Provost’s “Dialogue Across Difference Initiative\,” and collaboratively sp
 earheading the Mellon Creative Fellowships Initiative and the Arts &amp; Creat
 ivity Initiative.  Michelle has worked tirelessly to cultivate a wide vari
 ety of institutional collaborations across the city of Seattle\, including
  with organizations such as Seattle Public Schools\, Daybreak Star Indian 
 Cultural Center\, Langston Seattle and many others. </p> <p dir='ltr'>Mich
 elle has extensive arts leadership experience and has served as Executive 
 Director of the nationally acclaimed San Francisco-based dance company Rob
 ert Moses’ Kin\, in Associate and Executive Director positions with Stanfo
 rd University Lively Arts (now Stanford Live)\, University of California\,
  Santa Cruz Arts &amp; Lectures\, and the Performing Arts division of the Sun 
 Valley Center for the Arts in Idaho\, where she developed innovative artis
 tic programming and educational residencies in music\, dance\, theater and
  film. Michelle has distinguished herself as a leader in supporting and ch
 ampioning new\, culturally diverse creative work in the performing arts an
 d bringing artists into meaningful dialogue with communities and scholars\
 , both nationally and internationally. </p> <p dir='ltr'>Michelle has serv
 ed on the Executive Committee of the Board of the International Society fo
 r the Performing Arts\, where she was a leader of their Global Fellows Pro
 gram for nearly 10 years. She has also served on the Boards of Chamber Mus
 ic America and California Presenters\, and on numerous conference and gran
 t panels\, including the NEA and Villa Albertine\, and until recently was 
 co-chair of the Seattle Cultural Roundtable of arts and culture leaders ac
 ross the city. Currently\, Michelle serves on the Development Committee of
  the International Society of the Performing Arts\, the steering committee
  of the International Presenting Commons\, and is a member of the Major Un
 iversity Presenters consortium.  </p> <p dir='ltr'>Michelle is currently A
 BD (all but dissertation) in a Doctor of Musical Arts degree from the Univ
 ersity of Washington\, and is writing about the interdisciplinary creative
  process. Michelle holds a certificate from WACUBO’s Executive Leadership 
 and Management Institute at Stanford and is the recipient of a Clifton Web
 b Graduate Academic Fellowship from UCLA where she studied the Philosophy 
 of Aesthetics and Music Performance. Michelle also spent many years as a p
 rofessional violinist and has taught at the University of North Carolina\,
  Chapel Hill\, the University of California\, Santa Cruz and the Universit
 y of Washington\, Seattle.</p>
END:VEVENT
BEGIN:VEVENT
UID:11051512-cbf0-47e4-8674-3642afcd2e5f
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T192742Z
DESCRIPTION:<p></p>\n<p>UW voice students of Thomas Harper and Carrie Shaw 
 present their quarterly recital</p>\n<hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250520T160000
LAST-MODIFIED:20240808T192742Z
SEQUENCE:219
SUMMARY:: Voice Division Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-20/voice-division-recital
END:VEVENT
BEGIN:VEVENT
UID:ac31f4bf-e3cf-460b-94f5-d3261c3f7a5b
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T222049Z
DESCRIPTION:<p></p>\n<p>UW keyboard students perform music from the piano r
 epertoire. </p>\n<hr>\n<h3>Program<br><br></h3>\n<p>Three Preludes (1926) 
 - <strong>George GERSHWIN </strong> (1898-1937) <br>Allegro ben ritmato e 
 deciso                     <br>Andante con moto <br>Agitato  <br><b>SCOTT 
 FISHER\, JR.</b>  </p>\n<p>Nocturne in B Major\, Opus 32#1 (1837) -<b>  Fr
 édéric CHOPIN</b>  (1810-1849)  <b><br></b><b>ALYSSA HIRONAKA</b>  </p>\n&lt;
 p&gt;Sonata in A flat Major\, Opus 110 (1821) -<b> Ludwig van BEETHOVEN</b><s trong> (1770-1827) </strong><br>Moderato cantabile molto espressivo     <b r>Allegro molto  <br>Adagio ma non troppo – Allegro ma non troppo <br><b>K
 ANE LEFEI CHANG</b>  </p>\n<p>Sarcasms\, Opu 17 (1914) - <b>Serge PROKOFIE
 FF</b> (1891-1953) <br>1. Tempestuoso <br><b>OLIVIA HSU</b> </p>\n<p>from 
 Visions fugitives\, Opus 22 (1915-17)  -<b> Serge PROKOFIEFF<br></b><b>JAM
  JINGYANG HUANG</b>  </p>\n<p>Concert Etude Opus 35#2\, Autumn -<b> Cécile
  CHAMINADE </b>(1857-1944) <br><b>JIAYI WANG</b>  </p>\n<p>from Préludes. 
 Books I and II -<b> Claude DEBUSSY  </b> (1862-1918)<br>Brouillards       
   <br>Les collines d’Anacapri <br> <b>JEFFREY TSO</b> </p>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250520T193000
LAST-MODIFIED:20250518T212655Z
SEQUENCE:220
SUMMARY:: Brechemin Piano Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-21/brechemin-piano-series
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>UW keyboard students perform music 
 from the piano repertoire. </p> <hr> <h3>Program<br><br></h3> <p>Three Pre
 ludes (1926) - <strong>George GERSHWIN </strong> (1898-1937) <br>Allegro b
 en ritmato e deciso                     <br>Andante con moto <br>Agitato<s pan> &lt;
 /span&gt;<span> <br></span><b>SCOTT FISHER\, JR.</b><span> 
 </span><span> </span></p> <p>Nocturne in B Major\,
  Opus 32#1 (1837) -<b>  Frédéric CHOPIN</b><span>  (1810-1849) </span> <b><br></b><b>ALYSSA HIRONAKA</b><span> </span><span> </span></p> <p>Sona
 ta in A flat Major\, Opus 110 (1821) -<b> Ludwig van BEETHOVEN</b><span da><strong> (1770-1827) <br></span>Moderato cantabile molto espressivo     <br>Allegro molto  &lt;
 br&gt;Adagio ma non troppo – Allegro ma non troppo<span> <br></span><span></span><b>KANE LEFEI CHANG</b><span> </span> </span></p> <p>Sarcasms\, Opu 17 (1914) - <b>Serge PROKOFIEFF</b>&lt;
 span data-ccp-props='{'134233279':true\,'201341983':0\,'335559740':259\,'4
 69777462':[14880]\,'469777927':[0]\,'469777928':[1]}'&gt; </span>(1891-1953)&lt;
 span data-ccp-props='{'201341983':0\,'335559685':1051\,'335559740':259\,'4
 69777462':[14880]\,'469777927':[0]\,'469777928':[1]}'&gt; <br></span>1. Tempe
 stuoso <br><b>OLIVIA HSU</b><span> </span></p> <p><i>from</i> Visions fugitives\, Opus 
 22 (1915-17)  -<b> Serge PROKOFIEFF<br></b><b>JAM JINGYANG HUANG</b><span> </span><span> </span></p>
  <p>Concert Etude Opus 35#2\, <i>Autumn</i><i> -</i><b> Cécile CHAMINADE<i><span data-contrast='auto'> </span></i></b><i>(1857-1944)</i><i> <br></i>
 <b>JIAYI WANG</b><span> </span><span> </span></p> <p><i>from </i>Préludes. Books I and II -<b> Claud
 e DEBUSSY  </b> (1862-1918)<br>Brouillards         <br>Les collines d’Anac
 apri <br><span> </span><b>JEFFREY TSO</b><s pan> </span>&lt;
 /p&gt; <p></p>
END:VEVENT
BEGIN:VEVENT
UID:3868bfd8-b0c4-495a-ad73-06ce4eca7bda
DTSTAMP:20260307T094252Z
CATEGORIES:Performances
CLASS:PUBLIC
CREATED:20241004T213453Z
DESCRIPTION:<p>The UW's Department of Digital Arts and Experimental Media p
 resents its Spring Quarter concert\, a celebration of the music of compose
 r John Chowning.</p>\n<hr>\n<p><a href='https://dxarts.washington.edu/even
 ts/2025-05-21/dxarts-spring-concert' target='_blank' rel='noopener norefer
 rer'>Learn more here</a></p>\n<p></p>\n\n\n<hr>\n<h2 dir='ltr'>Composer Bi
 ography</h2>\nComposer John Chowning is considered one of the pioneers of 
 Computer Music. His contributions to this field\, such as the invention of
  FM Digital Synthesis\, had a strong cultural impact in the worlds of both
  classical and popular music. His invention allowed the production of one 
 of the most popular digital synthesizers\, the Yamaha DX7\, which sold mil
 lions of units in the 1980s and was used by virtually every band from that
  era. Revenues from the licensing of this technology to Yamaha Corporation
  allowed Chowning to create the Center for Computer Research in Music and 
 Acoustics (CCRMA) at Stanford University\, one of the most important Compu
 ter Music research centers in the world.\n<br>Chowning's most important co
 ntribution to the world of music\, however\, can be found in his compositi
 ons\, all considered masterpieces of Computer Music: Sabelithe (1971)\, Tu
 renas (1972)\, Stria (1977)\, and Phoné (1981). These pieces will be playe
 d during the concert over a state-of-the-art ambisonic sound system. The p
 rogram will also include Chowning’s piece\, Voices (2011)\, for soprano an
 d live electronics\, performed by soprano Maureen Chowning.
DTSTART;TZID=America/Los_Angeles:20250521T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:221
SUMMARY:: External Event: DXARTS Spring Concert: Celebrating John Chowning
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-22/external-event-dxarts-sp
 ring-concert-celebrating-john-chowning
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The UW's Department of Digital Arts and Exp
 erimental Media presents its Spring Quarter concert\, a celebration of the
  music of composer John Chowning.</p> <hr> <p><a href='https://dxarts.wash
 ington.edu/events/2025-05-21/dxarts-spring-concert' target='_blank' rel='n
 oopener noreferrer'>Learn more here</a></p> <p></p> <div dir='ltr'></div> 
 <div dir='ltr'></div> <hr> <h2 dir='ltr'>Composer Biography</h2> <div dir='ltr'>Composer John Chowning is considered one of the pioneers of Computer
  Music. His contributions to this field\, such as the invention of FM Digi
 tal Synthesis\, had a strong cultural impact in the worlds of both classic
 al and popular music. His invention allowed the production of one of the m
 ost popular digital synthesizers\, the Yamaha DX7\, which sold millions of
  units in the 1980s and was used by virtually every band from that era. Re
 venues from the licensing of this technology to Yamaha Corporation allowed
  Chowning to create the Center for Computer Research in Music and Acoustic
 s (CCRMA) at Stanford University\, one of the most important Computer Musi
 c research centers in the world.</div> <div dir='ltr'><br>Chowning's most 
 important contribution to the world of music\, however\, can be found in h
 is compositions\, all considered masterpieces of Computer Music: <i>Sabeli
 the</i> (1971)\, <i>Turenas</i> (1972)\, <i>Stria</i> (1977)\, and <i>Phon
 é</i> (1981). These pieces will be played during the concert over a state-
 of-the-art ambisonic sound system. The program will also include Chowning’
 s piece\, <i>Voices</i> (2011)\, for soprano and live electronics\, perfor
 med by soprano Maureen Chowning.</div>
END:VEVENT
BEGIN:VEVENT
UID:23b4f1c3-fef4-43d6-b1c9-659bcdfdda3c
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240930T163743Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20250522T120000
LAST-MODIFIED:20240930T163743Z
SEQUENCE:222
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-22/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:fa63fc8f-85a8-465d-90ab-dabe62b0aec2
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20240808T235008Z
DESCRIPTION:<p></p>\n<p>Dedicated to the presentation of new and rarely-hea
 rd works and gems of the historical avant garde\, Ekmeles Vocal Ensemble t
 urns its attention to works by UW faculty composers in this program of pre
 mieres by William Dougherty\, Joël-François Durand\, and Huck Hodge\, plus
  a preview of a work by American composer/violist Catherine Lamb.</p>\n<hr>\n<h3>Program</h3>\n<p><strong>Huck Hodge </strong>(b. 1977):<strong> </s>matrix matrī</p>\n<p><strong>Joël-François Durand </strong>(b. 1954
 ): Messe à six voix</p>\n<p><strong>William Dougherty </strong>(b. 1988):&lt;
 strong&gt; </strong>the weeping and the gnashing</p>\n<p><strong>Catherine La
 mb </strong>(1982): moveable frames (preview)</p>\n<hr>\n<h3>Program Notes
 </h3>\n<p><strong>matrix matrī</strong><br>For those etymologically inclin
 ed\, it’s worth noting that a miscellany of words like mother\, matter\, m
 adrigal and matrical (the adjectival form of matrix) all spring from the s
 ame maternal root: *mater. I mention this foray into linguistic archaeolog
 y only because of the light it sheds on the poetic substrate of language\,
  the ways in which the ghosts of forgotten meanings shapeshift into seemin
 gly isolated modern concepts\, all connected by the thin thread of metapho
 r. Ordinary language\, with apologies to Nietzsche\, is nothing but a mobi
 le army of metaphors and metonyms that become literal by overuse\, like co
 ins that lose their embossing and come to be seen only as metal\, no longe
 r as coins. Meaning is born of metaphor\, of the human power to transmute 
 experience into a matrix of symbols. From the associative logic of dream i
 mages to the imaginative babble of childhood make-believe\, literal langua
 ge begins in poetry.</p>\n<p>Most likely\, it also ends there. This past f
 all my mother passed away. In the last few days\, her grip on the literal 
 use of language progressively slipped and she lapsed frequently into a kin
 d of Lautdichtung\, where you could infer\, for the most part\, what she w
 anted to say by tracing back from a string of phonemes to near homophones.
  Toward the end\, she summoned a spell of lucidity and asked me\, “Does my
  tongue just shake or am I really talking?” When I commented on how poetic
  this sounded she replied\, “Gee\, no Shakespeare shaking me today\, every
 one is leaving because I’ve gone away.”</p>\n<p>The lyrics and other vocal
  sounds in matrix matrī (matrix for mother) are drawn from this passing mo
 ment. The piece also begins with\, and frequently orbits around\, a musica
 l monogram on my mother’s name: A(nne) H-[d]O-D-G-E\, producing an assembl
 y of pitches identical to the medieval Hexachordum Durum (G\,A\,B\,C\,D\,E
  / Γ: ut re mi fa sol la). The changeable appearances of this sonority (an
 d its complement: C#\,D#\,F\,F#\,G#\,A#) traverse a maze spanning 1500 yea
 rs through the domains of Boethius and Zarlino\, Pythagorean and Just Into
 nations\, and my own matrix of microtonal hexachordal detours. Winding thi
 s warp\, the piece materializes a variety of madrigalisms (word-painting) 
 and matricalisms (grids\, rhythmic and otherwise)\, while exploring the so
 nic substrate of language and meaning.<br>—Huck Hodge</p>\n<p><strong>Mess
 e à six voix</strong> (2025)<br>One starting point for my decision to set 
 in music the text of the mass was my very ambiguous relation with Latin. O
 n the one hand\, it was the first “foreign” language to which I was expose
 d when going to church as a child. The memory of this period seems now war
 m and pleasant\, in its earliest years at any rate—a feeling that didn't l
 ast in my teenage years! On the other hand\, Latin classes in middle schoo
 l (a mandatory practice at the time) most certainly did not repeat these e
 arly blissful experiences\, and I was actually expelled from the class aft
 er two years. However\, when it came to choosing a text for my piece\, Lat
 in became the most natural choice\, both because the text of the Latin mas
 s still resonates deeply and because of its roots in an historically dista
 nt past. In fact\, this connection with the past extended much further bac
 k than my youth\, because of my interest in some of the earliest works wri
 tten in that genre\, the Messe de Saint Marcel and the Messe de Tournai fr
 om the 13th and 14th centuries\, in particular through their renderings by
  French musicologist and singer Marcel Pérès with his ensemble Organum\, i
 n the 1980-90s\, as well as through their recordings of earlier church mus
 ic of the Byzantine period.</p>\n<p>For the Messe à six voix (“Mass at six
  voices”) I chose four of the traditional texts of the catholic mass\, Kyr
 ie\, Gloria\, Sanctus\, Agnus Dei in their commonly used language\, Greek 
 for the first\, Latin for the other three. A notable departure from the tr
 adition of this genre is my choice for the Gloria of the text found in the
  Lesser Doxology\, which is shorter and closer to the beginning of the St 
 John Gospel (“In the beginning was the Word”) than the longer\, more commo
 n version\, the Gloria in excelsis set in music in most masses since Macha
 ut’s Messe de Nostre Dame (this shorter Gloria text is actually found in t
 he Messe de Saint Marcel mentioned above). I should add that I ask the sin
 gers to use the French Latin pronunciation\, as another way to activate th
 is bridge to the distant image of the model—an imaginary past flowing into
  the present. And to stay a little longer with the question of the Gloria\
 , I wove inside this text three lines which are said to have originated fr
 om the 15th century Christian alchemist Christian Rosenkreuz: Ex Deo Nasci
 mur\, In Christo Morimur\, Per Spiritum Sanctum Reviviscimus. They serve t
 o illustrate and further enrich the meaning of the Gloria\, and offer mome
 nts of reflection in the musical narrative.</p>\n<p>On a more musical leve
 l\, the Messe à six voix continues my ongoing exploration of the musical p
 otential inherent in the acoustic phenomenon of the first-order beats\, so
 nic disturbances that occur when two tones of very close frequencies are h
 eard together. Their proximity creates a confusion in the inner ear and th
 e brain\, which then perceive only one tone pulsated by a series of beats 
 whose number per second correspond to the arithmetic difference between th
 e two frequencies (for example\, the combinations of frequencies of 220 Hz
  and 224 Hz create 4 beats per second). In the last few years\, I have sou
 ght to use this acoustic phenomenon to create fruitful degrees of tension 
 inside the musical discourse. These are heard at various moments in the Me
 sse à six voix to extend the melodic\, harmonic and timbral dimensions.</p>\n<p>Kyrie<br>Kyrie eleison\,<br>Christe eleison\,<br>Kyrie eleison.</p>
 \n<p>Gloria<br>Gloria Patri\, et Filio\, et Spiritui Sancto\,<br>Ex Deo Na
 scimur<br>Sicut erat in principio\, <br>In Christo Morimur<br>et nunc\, et
  semper\, <br>et in sæcula sæculorum. <br>Per Spiritum Sanctum Reviviscimu
 s<br>Amen.</p>\n<p>Sanctus – Benedictus<br>Dominus Deus sabaoth.<br>Pleni 
 sunt cæli et terra gloria tua.<br>Hosanna in excelsis.<br>Benedictus qui v
 enit in nomine Domini.<br>Hosanna in excelsis.</p>\n<p>Agnus Dei<br>Agnus 
 Dei\, qui tollis peccata mundi\, miserere nobis.<br>Agnus Dei\, qui tollis
  peccata mundi\, miserere nobis.<br>Agnus Dei\, qui tollis peccata mundi\,
  dona nobis pacem.<br>—Joël-François Durand</p>\n<p><strong>the weeping an
 d the gnashing</strong><br>the weeping and the gnashing is a reflection on
  suffering—both intimate and collective. Drawing from the Latin Agnus Dei 
 and Memento Mori texts\, the piece sinks under its own weight\, unfolding 
 as a lament for a world unraveling. Voices stretch\, fracture\, and collap
 se\, and at its most fragile moment\, a countertenor cries out into the vo
 id. It is a piece about precarity—of life\, of memory\, of our planet. It 
 is also\, inescapably\, a piece about my newborn son\, for whom I grieve a
 nd hope in equal measure.<br>—William Dougherty</p>\n<p></p>\n<p class='el
 ementToProof'><strong>sruti vs harmonicity</strong><br>In North Indian Cla
 ssical dhrupad music\, sruti defines the harmonic space. One vocalist inte
 racts aside the atmospheric agent of the tanpura by means of an elemental\
 , individual vocal timbre meeting the spectral activity of four cyclically
  resonating strings. The harmonic space is at the same time precise as it 
 is non-definitive. Precision in the sense of exploring the limitations tha
 t define the particular integrity/rasa of a raag—which contains a certain 
 level of variability unable to be defined in mathematical language. The ac
 tivation of harmonic space is felt through the act of sruti\, or stretchin
 g—which intuitively curves through and initiates psycho-acoustic sensation
 s against the framework of the tanpura's spectrality.</p>\n<p class='eleme
 ntToProof'>The vocalist produces open and resonant vowel formations or pho
 nemes at the root (or edge) of language\, with the intentionality of direc
 ting the listening intention explicitly towards the sound experience. The 
 voice is as human synthesis\, and completely destroys the concept of “the 
 new.”</p>\n<p class='elementToProof'>My work has been consistently influen
 ced and inspired by the richness of the dhrupadi practice and tradition fo
 r the last twenty years\, more or less explicitly\, depending on the piece
 . There are\, however\, two critical components to my working methodology 
 in direct opposition to the dhrupadi experience—both the written score and
  mathematical harmonicity\, thus keeping it far outside the tradition and 
 I must admit\, it is a crass comparison. I only wish to acknowledge the in
 fluence and areas where there might be insight into my guiding principles 
 or musical desires\, whether or not they are felt externally or understood
 .</p>\n<p class='elementToProof'>Sruti\, or\, the act of stretching in psy
 cho-acoustic space\, is how I began a pathway into a rigorous harmonic pra
 ctice\, and is what led me to seek out phenomenologists. It was through th
 e direct\, sensorial experience of elemental tones in interaction\, which 
 led me to define the harmonic world via relationships\, and thus towards n
 umbers. I use Rational Intonation to understand the potentiality of harmon
 ic space in the ensemble realm\, with the knowledge that it is not the end
  result\, but only a pathway in. The listening directive can be a shared e
 xperience amongst a musical ensemble\, when there is a clear harmonic lang
 uage given—clear intentionality towards the total sound. So my primary foc
 us has been in the area of harmonicity\, which is inherently a collective 
 experience in the hyper-sensorial realm.</p>\n<p class='elementToProof'>Mo
 veable Frames is for six vocalists sounding through nine frames consisting
  of unfolding\, harmonically oriented phrases. The change of a frame alter
 s the orienting core relation—which gives the collection of tones a sense 
 of modality—depending on where the frame lies. This is an ensemble act of 
 keeping the integrity of the frame while at the same time moving within/ag
 ainst it.<br>—Catherine Lamb<br></p>\n<hr>\n<h2>Biographies</h2>\n<h3><a h ref='https://www.ekmeles.com' target='_blank' rel='noopener noreferrer'>Ek
 meles Vocal Ensemble</a></h3>\n<p>Ekmeles is a vocal ensemble dedicated to
  the performance of new and rarely-heard works\, and gems of the historica
 l avant garde.<b> </b>They have a special focus on microtonal works\, and 
 have been praised for their “extraordinary sense of pitch” by the New York
  Times. They are the recipients of the Ernst von Siemens Music Foundation’
 s 2023 Ensemble Prize\, the first American group to receive the honor.<br>
 <br>As part of their work expanding the possibilities of tuning and techni
 que in vocal music\, Ekmeles has given world premieres by composers includ
 ing John Luther Adams\, Taylor Brook\, Courtney Bryan\, Ann Cleare\, Zosha
  Di Castri\, Erin Gee\, Martin Iddon\, Hannah Kendall\, George Lewis\, Chr
 istopher Trapani and James Weeks.<br><br>In addition to creating their own
  repertoire\, Ekmeles is dedicated to bringing the best of contemporary vo
 cal music to the United States that would otherwise go unheard. They have 
 given US premieres by composers including Joanna Bailie\, Carola Bauckholt
 \, Aaron Cassidy\, Beat Furrer\, Stefano Gervasoni\, Georg Friedrich Haas\
 , Evan Johnson\, Bernhard Lang\, Liza Lim\, Claus-Steffen Mahnkopf\, Lucia
  Ronchetti\, Wolfgang Rihm\, Rebecca Saunders\, Salvatore Sciarrino\, Math
 ias Spahlinger\, and Agatha Zubel.</p>\n<h3><a href='https://www.sacredrea
 lism.org/artists/catherine-lamb/' target='_blank' rel='noopener noreferrer
 '>Catherine Lamb</a></h3>\n<p>In the music of Catherine Lamb (b. 1982\, Ol
 ympia\, Washington USA)\, the mathematics of harmony are explored through 
 the physicality of the material world. Lamb gives voice to crystalline str
 uctures of the harmonic series through subtleties of friction\, pressure\,
  breath\, and bow changes that shape how the idealized harmonies speak. Th
 e musical forms she constructs connect the sonic with the tactile and the 
 visual\, rendering transparent what once was opaque\, transmuting flesh to
  bone\, passing from shadow into light. These dualities and metaphors refl
 ect Lamb’s deep interest in the fundamental nature of sound and often find
  themselves in the titles of her pieces: shade/gradient (2012)\, point/wav
 e (2015)\, interius/exterius (2022). </p>\n<p>Lamb’s approach to tuning an
 d pacing are informed by her studies with microtonal composer James Tenney
  and experimental filmmaker and Dhrupad musician Mani Kaul at the Californ
 ia Institute of the Arts. Like her mentors\, Lamb has been a champion of t
 he music of others\, an ardent collaborator\, and a key figure in various 
 vibrant musical communities. While living in Los Angeles\, Lamb co-founded
  singing by numbers\, a women’s choir that aimed to create new pedagogical
  approaches to microtonal singing with vocalists from a wide range of musi
 cal backgrounds. The convergence of musical explorations with feminist pra
 ctices is also found in her collaboration with violinist and violist Johnn
 y Chang\, in which they “recover and interpret” the long-forgotten music o
 f a fictitious female musician\, Viola Torros. In doing so\, they question
  and blur the origins of early European music and call attention to the ex
 clusion of real female musicians in the historical record.</p>\n<p>Lamb is
  one of the most celebrated and in-demand composers of her generation. Her
  work has been commissioned by premiere new music ensembles such as the JA
 CK Quartet\, Yarn/Wire\, Dedalus\, and Ensemble Musikfabrik. Her writings 
 and recordings are published in KunstMusik\, Open Space Magazine\, New Wor
 ld Records\, Another Timbre\, Other Minds\, Sound American\, and Sacred Re
 alism. In 2016 to 2017\, she was an artist-in-residence at the Akademie Sc
 hloss Solitude in Stuttgart\, Germany. In 2018\, she was given a Foundatio
 n for Contemporary Arts Grants to Artists. In 2020\, she was awarded the p
 restigious Ernst von Siemens Composer’s Prize. She currently resides in Be
 rlin where she contributes to many new-music initiatives including the exp
 erimental music label Sacred Realism and the Harmonic Space Orchestra.</p>
DTSTART;TZID=America/Los_Angeles:20250522T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:223
SUMMARY:: Guest Artist Concert: Ekmeles Vocal Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-23/guest-artist-concert-ekm
 eles-vocal-ensemble
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Dedicated to the presentation of ne
 w and rarely-heard works and gems of the historical avant garde\, Ekmeles 
 Vocal Ensemble turns its attention to works by UW faculty composers in thi
 s program of premieres by William Dougherty\, Joël-François Durand\, and H
 uck Hodge<span>\, plus a preview of a work by American composer/violist Ca
 therine Lamb.</span></p> <hr> <h3>Program</h3> <p><strong>Huck Hodge (b. 1977):<strong> </strong>matrix matrī</p> <p><strong>Joël-François
  Durand </strong>(b. 1954): <span>Messe à six voix</span></p> <p><strong>W
 illiam Dougherty </strong>(b. 1988):<strong> </strong>the weeping and the 
 gnashing</p> <p><strong>Catherine Lamb </strong>(1982): moveable frames (p
 review)</p> <hr> <h3>Program Notes</h3> <p><strong>matrix matrī</strong><b r><span>For those etymologically inclined\, it’s worth noting that a misce
 llany of words like mother\, matter\, madrigal and matrical (the adjectiva
 l form of matrix) all spring from the same maternal root: *mater. I mentio
 n this foray into linguistic archaeology only because of the light it shed
 s on the poetic substrate of language\, the ways in which the ghosts of fo
 rgotten meanings shapeshift into seemingly isolated modern concepts\, all 
 connected by the thin thread of metaphor. Ordinary language\, with apologi
 es to Nietzsche\, is nothing but a mobile army of metaphors and metonyms t
 hat become literal by overuse\, like coins that lose their embossing and c
 ome to be seen only as metal\, no longer as coins. Meaning is born of meta
 phor\, of the human power to transmute experience into a matrix of symbols
 . From the associative logic of dream images to the imaginative babble of 
 childhood make-believe\, literal language begins in poetry.</span></p> <p>
 Most likely\, it also ends there. This past fall my mother passed away. In
  the last few days\, her grip on the literal use of language progressively
  slipped and she lapsed frequently into a kind of Lautdichtung\, where you
  could infer\, for the most part\, what she wanted to say by tracing back 
 from a string of phonemes to near homophones. Toward the end\, she summone
 d a spell of lucidity and asked me\, “Does my tongue just shake or am I re
 ally talking?” When I commented on how poetic this sounded she replied\, “
 Gee\, no Shakespeare shaking me today\, everyone is leaving because I’ve g
 one away.”</p> <p>The lyrics and other vocal sounds in <em>matrix matrī (matrix for mother) are drawn from this passing moment. The piece also 
 begins with\, and frequently orbits around\, a musical monogram on my moth
 er’s name: A(nne) H-[d]O-D-G-E\, producing an assembly of pitches identica
 l to the medieval Hexachordum Durum (G\,A\,B\,C\,D\,E / Γ: ut re mi fa sol
  la). The changeable appearances of this sonority (and its complement: C#\
 ,D#\,F\,F#\,G#\,A#) traverse a maze spanning 1500 years through the domain
 s of Boethius and Zarlino\, Pythagorean and Just Intonations\, and my own 
 matrix of microtonal hexachordal detours. Winding this warp\, the piece ma
 terializes a variety of madrigalisms (word-painting) and matricalisms (gri
 ds\, rhythmic and otherwise)\, while exploring the sonic substrate of lang
 uage and meaning.<br>—Huck Hodge</p> <p><strong>Messe à six voix</strong> 
 (2025)<br>One starting point for my decision to set in music the text of t
 he mass was my very ambiguous relation with Latin. On the one hand\, it wa
 s the first “foreign” language to which I was exposed when going to church
  as a child. The memory of this period seems now warm and pleasant\, in it
 s earliest years at any rate—a feeling that didn't last in my teenage year
 s! On the other hand\, Latin classes in middle school (a mandatory practic
 e at the time) most certainly did not repeat these early blissful experien
 ces\, and I was actually expelled from the class after two years. However\
 , when it came to choosing a text for my piece\, Latin became the most nat
 ural choice\, both because the text of the Latin mass still resonates deep
 ly and because of its roots in an historically distant past. In fact\, thi
 s connection with the past extended much further back than my youth\, beca
 use of my interest in some of the earliest works written in that genre\, t
 he <em>Messe de Saint Marcel</em> and the <em>Messe de Tournai</em> from t
 he 13th and 14th centuries\, in particular through their renderings by Fre
 nch musicologist and singer Marcel Pérès with his ensemble Organum\, in th
 e 1980-90s\, as well as through their recordings of earlier church music o
 f the Byzantine period.</p> <p>For the <em>Messe à six voix</em> (“Mass at
  six voices”) I chose four of the traditional texts of the catholic mass\,
  Kyrie\, Gloria\, Sanctus\, Agnus Dei in their commonly used language\, Gr
 eek for the first\, Latin for the other three. A notable departure from th
 e tradition of this genre is my choice for the Gloria of the text found in
  the Lesser Doxology\, which is shorter and closer to the beginning of the
  St John Gospel (“In the beginning was the Word”) than the longer\, more c
 ommon version\, the Gloria in excelsis set in music in most masses since M
 achaut’s <em>Messe de Nostre Dame</em> (this shorter Gloria text is actual
 ly found in the <em>Messe de Saint Marcel</em> mentioned above). I should 
 add that I ask the singers to use the French Latin pronunciation\, as anot
 her way to activate this bridge to the distant image of the model—an imagi
 nary past flowing into the present. And to stay a little longer with the q
 uestion of the Gloria\, I wove inside this text three lines which are said
  to have originated from the 15th century Christian alchemist Christian Ro
 senkreuz: Ex Deo Nascimur\, In Christo Morimur\, Per Spiritum Sanctum Revi
 viscimus. They serve to illustrate and further enrich the meaning of the G
 loria\, and offer moments of reflection in the musical narrative.</p> <p>O
 n a more musical level\, the <em>Messe à six voix</em> continues my ongoin
 g exploration of the musical potential inherent in the acoustic phenomenon
  of the first-order beats\, sonic disturbances that occur when two tones o
 f very close frequencies are heard together. Their proximity creates a con
 fusion in the inner ear and the brain\, which then perceive only one tone 
 pulsated by a series of beats whose number per second correspond to the ar
 ithmetic difference between the two frequencies (for example\, the combina
 tions of frequencies of 220 Hz and 224 Hz create 4 beats per second). In t
 he last few years\, I have sought to use this acoustic phenomenon to creat
 e fruitful degrees of tension inside the musical discourse. These are hear
 d at various moments in the <em>Messe à six voix</em> to extend the melodi
 c\, harmonic and timbral dimensions.</p> <p>Kyrie<br>Kyrie eleison\,<br>Ch
 riste eleison\,<br>Kyrie eleison.</p> <p>Gloria<br>Gloria Patri\, et Filio
 \, et Spiritui Sancto\,<br>Ex Deo Nascimur<br>Sicut erat in principio\, <b r>In Christo Morimur<br>et nunc\, et semper\, <br>et in sæcula sæculorum. 
 <br>Per Spiritum Sanctum Reviviscimus<br>Amen.</p> <p>Sanctus – Benedictus
 <br>Dominus Deus sabaoth.<br>Pleni sunt cæli et terra gloria tua.<br>Hosan
 na in excelsis.<br>Benedictus qui venit in nomine Domini.<br>Hosanna in ex
 celsis.</p> <p>Agnus Dei<br>Agnus Dei\, qui tollis peccata mundi\, miserer
 e nobis.<br>Agnus Dei\, qui tollis peccata mundi\, miserere nobis.<br>Agnu
 s Dei\, qui tollis peccata mundi\, dona nobis pacem.<br>—Joël-François Dur
 and</p> <p><strong>the weeping and the gnashing</strong><em><br>the weepin
 g and the gnashing</em><span> is a reflection on suffering—both intimate a
 nd collective. Drawing from the Latin Agnus Dei and Memento Mori texts\, t
 he piece sinks under its own weight\, unfolding as a lament for a world un
 raveling. Voices stretch\, fracture\, and collapse\, and at its most fragi
 le moment\, a countertenor cries out into the void. It is a piece about pr
 ecarity—of life\, of memory\, of our planet. It is also\, inescapably\, a 
 piece about my newborn son\, for whom I grieve and hope in equal measure.&lt;
 br&gt;—William Dougherty</span></p> <p><span></span></p> <p class='elementToP
 roof'><strong>sruti vs harmonicity</strong><br><span>In North Indian Class
 ical <i>dhrupad</i> music\, <i>sruti</i> defines the harmonic space. One v
 ocalist interacts aside the <i>atmospheric agent</i> of the tanpura by mea
 ns of an elemental\, individual vocal timbre meeting the spectral activity
  of four cyclically resonating strings. The harmonic space is at the same 
 time precise as it is non-definitive. Precision in the sense of exploring 
 the limitations that define the particular integrity/rasa of a raag—which 
 contains a certain level of variability unable to be defined in mathematic
 al language. The activation of harmonic space is felt through the act of &lt;
 i&gt;sruti</i>\, or stretching—which intuitively curves through and initiates
  psycho-acoustic sensations against the framework of the tanpura's spectra
 lity.</span></p> <p class='elementToProof'><span>The vocalist produces ope
 n and resonant vowel formations or phonemes at the root (or edge) of langu
 age\, with the intentionality of directing the listening intention explici
 tly towards the sound experience. The voice is as human synthesis\, and co
 mpletely destroys the concept of “the new.”</span></p> <p class='elementTo
 Proof'><span>My work has been consistently influenced and inspired by the 
 richness of the dhrupadi practice and tradition for the last twenty years\
 , more or less explicitly\, depending on the piece. There are\, however\, 
 two critical components to my working methodology in direct opposition to 
 the dhrupadi experience—both the written score and mathematical harmonicit
 y\, thus keeping it far outside the tradition and I must admit\, it is a c
 rass comparison. I only wish to acknowledge the influence and areas where 
 there might be insight into my guiding principles or musical desires\, whe
 ther or not they are felt externally or understood.</span></p> <p class='e
 lementToProof'><span><i>Sruti</i>\, or\, the act of stretching in psycho-a
 coustic space\, is how I began a pathway into a rigorous harmonic practice
 \, and is what led me to seek out phenomenologists. It was through the dir
 ect\, sensorial experience of elemental tones in interaction\, which led m
 e to define the harmonic world via relationships\, and thus towards number
 s. I use <i>Rational Intonation</i> to understand the potentiality of harm
 onic space in the ensemble realm\, with the knowledge that it is not the e
 nd result\, but only a pathway in. The listening directive can be a shared
  experience amongst a musical ensemble\, when there is a clear harmonic la
 nguage given—clear intentionality towards the total sound. So my primary f
 ocus has been in the area of <i>harmonicity\, </i>which is inherently a co
 llective experience in the hyper-sensorial realm.</span></p> <p class='ele
 mentToProof'><span><i>Moveable Frames</i> is for six vocalists sounding th
 rough nine <i>frames</i> consisting of unfolding\, harmonically oriented p
 hrases. The change of a frame alters the orienting core relation—which giv
 es the collection of tones a sense of modality—depending on where the fram
 e lies. This is an ensemble act of keeping the integrity of the frame whil
 e at the same time moving within/against it.<br>—Catherine Lamb<br></span>
 </p> <hr> <h2>Biographies</h2> <h3><a href='https://www.ekmeles.com' targe t='_blank' rel='noopener noreferrer'>Ekmeles Vocal Ensemble</a></h3> <p>Ek
 meles is a vocal ensemble dedicated to the performance of new and rarely-h
 eard works\, and gems of the historical avant garde.<b> </b><span>They hav
 e a special focus on microtonal works\, and have been praised for their “e
 xtraordinary sense of pitch” by the </span><i>New York Times</i><span>. Th
 ey are the recipients of the Ernst von Siemens Music Foundation’s 2023 Ens
 emble Prize\, the first American group to receive the honor.</span><br><br><span>As part of their work expanding the possibilities of tuning and tec
 hnique in vocal music\, Ekmeles has given world premieres by composers inc
 luding John Luther Adams\, Taylor Brook\, Courtney Bryan\, Ann Cleare\, Zo
 sha Di Castri\, Erin Gee\, Martin Iddon\, Hannah Kendall\, George Lewis\, 
 Christopher Trapani and James Weeks.</span><br><br><span>In addition to cr
 eating their own repertoire\, Ekmeles is dedicated to bringing the best of
  contemporary vocal music to the United States that would otherwise go unh
 eard. They have given US premieres by composers including Joanna Bailie\, 
 Carola Bauckholt\, Aaron Cassidy\, Beat Furrer\, Stefano Gervasoni\, Georg
  Friedrich Haas\, Evan Johnson\, Bernhard Lang\, Liza Lim\, Claus-Steffen 
 Mahnkopf\, Lucia Ronchetti\, Wolfgang Rihm\, Rebecca Saunders\, Salvatore 
 Sciarrino\, Mathias Spahlinger\, and Agatha Zubel.</span></p> <h3><a href='https://www.sacredrealism.org/artists/catherine-lamb/' target='_blank' re l='noopener noreferrer'>Catherine Lamb</a></h3> <p>In the music of Catheri
 ne Lamb (b. 1982\, Olympia\, Washington USA)\, the mathematics of harmony 
 are explored through the physicality of the material world. Lamb gives voi
 ce to crystalline structures of the harmonic series through subtleties of 
 friction\, pressure\, breath\, and bow changes that shape how the idealize
 d harmonies speak. The musical forms she constructs connect the sonic with
  the tactile and the visual\, rendering transparent what once was opaque\,
  transmuting flesh to bone\, passing from shadow into light. These dualiti
 es and metaphors reflect Lamb’s deep interest in the fundamental nature of
  sound and often find themselves in the titles of her pieces: <i>shade/gra
 dient</i> (2012)\, <i>point/wave</i> (2015)\, <i>interius/exterius</i> (20
 22). </p> <p>Lamb’s approach to tuning and pacing are informed by her stud
 ies with microtonal composer James Tenney and experimental filmmaker and D
 hrupad musician Mani Kaul at the California Institute of the Arts. Like he
 r mentors\, Lamb has been a champion of the music of others\, an ardent co
 llaborator\, and a key figure in various vibrant musical communities. Whil
 e living in Los Angeles\, Lamb co-founded <i>singing by numbers</i>\, a wo
 men’s choir that aimed to create new pedagogical approaches to microtonal 
 singing with vocalists from a wide range of musical backgrounds. The conve
 rgence of musical explorations with feminist practices is also found in he
 r collaboration with violinist and violist Johnny Chang\, in which they “r
 ecover and interpret” the long-forgotten music of a fictitious female musi
 cian\, Viola Torros. In doing so\, they question and blur the origins of e
 arly European music and call attention to the exclusion of real female mus
 icians in the historical record.</p> <p>Lamb is one of the most celebrated
  and in-demand composers of her generation. Her work has been commissioned
  by premiere new music ensembles such as the JACK Quartet\, Yarn/Wire\, De
 dalus\, and Ensemble Musikfabrik. Her writings and recordings are publishe
 d in KunstMusik\, Open Space Magazine\, New World Records\, Another Timbre
 \, Other Minds\, Sound American\, and Sacred Realism. In 2016 to 2017\, sh
 e was an artist-in-residence at the Akademie Schloss Solitude in Stuttgart
 \, Germany. In 2018\, she was given a Foundation for Contemporary Arts Gra
 nts to Artists. In 2020\, she was awarded the prestigious Ernst von Siemen
 s Composer’s Prize. She currently resides in Berlin where she contributes 
 to many new-music initiatives including the experimental music label Sacre
 d Realism and the Harmonic Space Orchestra.</p>
END:VEVENT
BEGIN:VEVENT
UID:e73a29a8-2372-4510-924e-3521f09890ce
DTSTAMP:20260307T094252Z
CATEGORIES:Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250403T160712Z
DESCRIPTION:<p dir='ltr'><br>Frank Lehman\, associate professor of music at
  Tufts University\, presents 'The Perfect Luke-Alike: Musical Rhymes and R
 eferences in the Skywalker Saga\,' in the final installment of the 2024-25
  THEME Lecture Series. </p>\n<hr>\n<h2 dir='ltr'>Abstract</h2>\n<p><strong>'The Perfect Luke-Alike: Musical Rhymes and Re
 ferences in the Skywalker Saga”<br></strong>Everyone likes the feeling whe
 n they discover a musical similarity\, a connection between one piece and 
 another. But as fun as the game of spot-the-influence can be\, it does not
  constitute musical insight. That is particularly true of film music\, whe
 re some of today’s most densely referential and intertextually omnivorous 
 compositions reside. A perennial issue in the discourse surrounding John W
 illiams’s music for the Star Wars series is its purported indebtedness to 
 other works. Stravinsky\, Holst\, Korngold—the list of cited influences is
  long\, and the motivations for pointing them out varied. In this presenta
 tion\, I’ll approach the nature of influence in the Skywalker Saga from tw
 o angles. First\, external inspirations such as the Rite of Spring\, The P
 lanets\, and Kings Row\, whose ties to the series are somehow both overstr
 essed and under-analyzed by many commentators. The second focus is on refe
 rences strictly within the Saga’s enclosed musical universe\; not just lit
 eral thematic recurrences\, which are of course rife\, but also subtler ec
 hoes and processes\, many facilitated by uniquely cinematic demands and co
 nstraints on the composer. Along the way\, I’ll dispel some facile misconc
 eptions about compositional similarity and offer a musical rehabilitation 
 of George Lucas’s unfairly maligned notion of the “rhyme.”</p>\n<hr>\n<h2 dir='ltr'>Biography</h2>\n<p>Frank Lehman is an
  Associate Professor of Music at Tufts University in Medford\, Massachuset
 ts. He is the author of Hollywood Harmony: Musical Wonder and the Sound of
  Cinema with Oxford University\, and the editor of Film Music Analysis: St
 udying the Score. In addition to publications in traditional academic venu
 es\, Frank is active in the public musicology community and has seen his w
 ork featured in The Chronicle of Higher Education\, NPR\, The Boston Globe
 \, The Washington Post\, and The New York Times\, and many (perhaps too ma
 ny) podcasts. He has recently completed The Skywalker Symphonies: Musical 
 Storytelling in Star Wars\, contracted with OUP and forthcoming soon\, and
  is soon to commence work on the Cambridge Companion to John Williams.</p>
DTSTART;TZID=America/Los_Angeles:20250523T160000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:224
SUMMARY:: THEME Lecture Series: Frank Lehman (Tufts University)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-23/theme-lecture-series-fra
 nk-lehman-tufts-university
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p dir='ltr'><span face='georgia\, serif'><br>
 Frank Lehman\, associate professor of music at Tufts University\, presents
  </span>'The Perfect Luke-Alike: Musical Rhymes and References in the Skyw
 alker Saga\,' in the final installment of the 2024-25 THEME Lecture Series
 . </p> <hr> <h2 dir='ltr'>Abstract</h2> <p>'The Perfect Luke-Alike: Musical Rhymes and References in the Skywalke
 r Saga”<br></strong>Everyone likes the feeling when they discover a musica
 l similarity\, a connection between one piece and another. But as fun as t
 he game of spot-the-influence can be\, it does not constitute musical insi
 ght. That is particularly true of film music\, where some of today’s most 
 densely referential and intertextually omnivorous compositions reside. A p
 erennial issue in the discourse surrounding John Williams’s music for the 
 <em>Star Wars</em> series is its purported indebtedness to other works. St
 ravinsky\, Holst\, Korngold—the list of cited influences is long\, and the
  motivations for pointing them out varied. In this presentation\, I’ll app
 roach the nature of influence in the Skywalker Saga from two angles. First
 \, external inspirations such as the <em>Rite of Spring</em>\, <em>The Pla
 nets</em>\, and <em>Kings Row</em>\, whose ties to the series are somehow 
 both overstressed and under-analyzed by many commentators. The second focu
 s is on references strictly <em>within</em> the Saga’s enclosed musical un
 iverse\; not just literal thematic recurrences\, which are of course rife\
 , but also subtler echoes and processes\, many facilitated by uniquely cin
 ematic demands and constraints on the composer. Along the way\, I’ll dispe
 l some facile misconceptions about compositional similarity and offer a mu
 sical rehabilitation of George Lucas’s unfairly maligned notion of the “rh
 yme.”</p> <hr> <h2 dir='ltr'><span>Biography</span></h2> <p>Frank Lehman is an Associate Professor of Music at Tufts Univ
 ersity in Medford\, Massachusetts. He is the author of <em>Hollywood Harmo
 ny: Musical Wonder and the Sound of Cinema</em> with Oxford University\, a
 nd the editor of<em> Film Music Analysis: Studying the Score</em>. In addi
 tion to publications in traditional academic venues\, Frank is active in t
 he public musicology community and has seen his work featured in The Chron
 icle of Higher Education\, NPR\, The Boston Globe\, The Washington Post\, 
 and The New York Times\, and many (perhaps too many) podcasts. He has rece
 ntly completed <em>The Skywalker Symphonies: Musical Storytelling in Star 
 Wars</em>\, contracted with OUP and forthcoming soon\, and is soon to comm
 ence work on the <em>Cambridge Companion to John Williams</em>.</p>
END:VEVENT
BEGIN:VEVENT
UID:062499e2-c823-4369-9e0e-aaf3b9aac06c
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T201846Z
DESCRIPTION:<p>Guitar students of Michael Partington present their quarterl
 y recital\, performing folksongs from Turkey\, Latin America\, and the Bri
 tish Isles\, as well as works by Leo Brouwer\, John Dowland\, and Jose Lui
 s Merlin. The students—Thomas Wardian\, Molly Curry\, Fernando Recinos\, B
 havik Soni\, Eric Lin\, Wil Moreau\, Nathan Lee\, and Rayne Mescallado—are
  joined by instrumentalists from the UW music instrumental studios—Kyle Gr
 ant\, saxophone\; Grace Playstead\, flute\; and Selina Siow\, violin.  </p>\n<hr>\n<h3>Program</h3>\n<h3></h3>\n<p align='center'>Two Turkish Folksongs: <strong>Ahmet Khanneci</strong> (b.1957)<b r>Urfa'nin Etrafi<br>Ay giz<br><b>Kyle Grant\, saxophone and Thomas Wardia
 n</b> </p>\n<p>Three Latin American Folksongs :
   Arr. <strong>Thorlaksson</strong><br>Cançao<br>El Cachimbo<br>Faz hoje u
 m ano<br><b>Molly Curry\, Fernando Recinos\, Bhavik Soni<br></b> </p>\n<p>Danza del Antiplano:  <strong>Leo Brouwer (b.1939)<br><b>Eric Lin</b></p>\n<p align='center'>Preludium : <strong> John Dowland</strong> (1563-1626)<br>A Fancy 
 P6                                                                        
                                                                           
                                                             <br><b>Thomas 
 Wardian</b> </p>\n<p>Evocacion y Joropo: Jose Luis Merlin</strong> (b. 1952)<br><b>Grace Playstead\, flute and Wi
 l Moreau</b> </p>\n<p>Two Folksongs from the Br
 itish Isles:  <strong>Arr. Flower</strong><br>Cherry Tree Carol<br>My Last
  Farewell to Stirling<br><b>Nathan Lee and Eric Lin</b> </p>\n<p>Pavane Op. 50: <strong>Gabriel Fauré </strong>(1845-1924
 )<br><b>Selina Siow\, violin and Rayne Mescallado</b></p>\n<hr>\n<h3>Direc
 tor Bio</h3>
DTSTART;TZID=America/Los_Angeles:20250523T193000
LAST-MODIFIED:20250522T220354Z
SEQUENCE:225
SUMMARY:: Guitar Studio Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-24/guitar-studio-recital
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Guitar students of Michael Partington prese
 nt their quarterly recital\, performing folksongs from Turkey\, Latin Amer
 ica\, and the British Isles\, as well as works by Leo Brouwer\, John Dowla
 nd\, and Jose Luis Merlin. The students—Thomas Wardian\, Molly Curry\, Fer
 nando Recinos\, Bhavik Soni\, Eric Lin\, Wil Moreau\, Nathan Lee\, and Ray
 ne Mescallado—are joined by instrumentalists from the UW music instrumenta
 l studios—Kyle Grant\, saxophone\; Grace Playstead\, flute\; and Selina Si
 ow\, violin.  </p> <hr> <h3>Program</h3> <h3></h3> <p align='center'><span>Two Turkish Folksongs: <strong>Ahmet Khanneci&lt;
 /strong&gt; (b.1957)<br></span><i><span lang='EN-GB'>Urfa'nin Etrafi<br>Ay gi
 z<br></span></i><b><span>Kyle Grant\, saxophone and Thomas Wardian</span>&lt;
 /b&gt;<span></span><span> </span></p> <p><span>Three Latin American Folksongs :  Arr. <strong>Thorlaks
 son</strong><br><i>Cançao<br>El Cachimbo<br>Faz hoje um ano<br></i></span>
 <b><span>Molly Curry\, Fernando Recinos\, Bhavik Soni<br></span></b><span>
  </span></p> <p><span>Danza del Anti
 plano:  <strong>Leo Brouwer</strong> (b.1939)<br></span><b><span>Eric Lin&lt;
 o:p&gt;</span></b></p> <p align='center'></span><span>Preludium : <strong> John Dowland</strong> (156
 3-1626)<br></span><span>A Fancy P6                                        
                                                                           
                                                                           
                   <br></span><b><span>Thomas Wardian</span></b><span>
  </span></p> <p><span>Evocacion y Joropo:
  <strong>Jose Luis Merlin</strong> (b. 1952)<br></span><b><span>Grace Play
 stead\, flute and Wil Moreau</span></b><span> </span></p> <p st yle=' left\;'><span>Two Folksongs from the British Isles:  Arr. Flower</strong><br></span><span><i>Cherry Tree Carol<br></i><i><span>My Last Farewell to Stirling<br></span></i><b><span>Nathan Lee 
 and Eric Lin</span></b><span> </span></p> <p><span>Pavane Op. 50: <strong>Gabriel Fauré </strong>(1845-1924)<b r></span><b><span>Selina Siow\, violin and Rayne Mescallado</span></b></p>
  <hr> <h3>Director Bio</h3>
END:VEVENT
BEGIN:VEVENT
UID:9dcb357b-ce9b-45fa-b1f9-aa8e620bf689
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T203431Z
DESCRIPTION:<p></p>\n<p>The Modern Music Ensemble (Cristina Valdés\, direct
 or) performs music by pioneering experimental composer George Lewis\, facu
 lty composers William Dougherty and Melia Watras\, and world premieres by 
 UW student composers Eddie Mospan\, Nicholas Mendonsa\, Justin Zeitlinger\
 , and Arshia Askari in this year-end performance.</p>\n<hr>\n<h3>Program</h3>\n<p>[IIIIIIIIII] for quartet and mixed media -<b>  Justin Zeitlinger &lt;
 /b&gt;(b. 2000)<b><br></b><b>Cameron DeLuca</b>\, bass clarinet\; <b>Cole Hen
 slee</b>\, tuba\; <b>Taylor DeCastro</b>\, violin\; <b>Ella Kalinichenko</b>\, piano</p>\n<p>Acadian Storm* - <b>Eddie Mospan </b>(b. 2001)<b><br></b><b>Rachel Reyes</b>\, alto flute\; <b>Cameron DeLuca</b>\, bass clarinet
 \; <b>Cole Henslee</b>\, tuba\; <b>Giulia Rosa</b>\, violin\; <b>Taylor De
 Castro</b>\, viola\; <b>Olivia Hsu</b>\, piano\; <b>Tyler Smith</b>\, perc
 ussion</p>\n<p>Overture of Unsupervised Logic* - <b>Nicholas Mendonsa </b>
 (b. 1984)<b><br></b><b>Cameron DeLuca</b>\, bass clarinet\; <b>Cole Hensle
 e</b>\, tuba\; <b>Taylor DeCastro</b>\, violin\; <b>Chris Young</b>\, cell
 o\; <b>Nicholas Mendonsa</b>\, baritone guitar\; <b>Ella Kalinichenko</b>\
 , piano\; <b>Tyler Smith</b>\, percussion</p>\n<p>a splash quite unnoticed
 * - <b>Arshia Ashari</b> (b. 2001)<b><br></b><b>Cassidy Cheong</b>\, voice
 \; <b>Rachel Reyes</b>\, flute\; <b>Cameron DeLuc</b>a\, clarinet\; <b>Col
 e Henslee</b>\, tuba\; <b>Taylor DeCastro</b>\, violin\; <b>Chris Young</b>\, cello\; <b>Ella Kalinichenko</b>\, piano</p>\n<p>⎯  Intermission⎯</p>
 \n<p>a stillness of zero sensation (2015) -  <b>William Dougherty </b> (b.
  1988)<br><b>Rachel Reyes</b>\, flute\; <b>Cameron DeLuca</b>\, bass clari
 net\; <b>Giulia Rosa</b>\, violin\; <b>Chris Young</b>\, cello\;   <b>Oliv
 ia Hsu</b>\, piano\; <b>Tyler Smith\,</b> percussion</p>\n<p>Schumann Reso
 nances for clarinet and piano (2015/2025)* - <b>Melia Watras</b> (b. 1969)
 <b><br></b><b>Cameron DeLuca</b>\, clarinet\; <b>Ella Kalinichenko</b>\, p
 iano</p>\n<p>Hexis\, for sextet (2013)<b> - </b><b>George Lewis </b>(b. 19
 52)<br><b>Rachel Reyes</b>\, flutes\; <b>Cameron DeLuca</b>\, clarinets\; 
 <b>Taylor DeCastro</b>\, violin\; <b>Chris Young</b>\, cello\; <b>Ella Kal
 inichenko</b>\, piano\; <b>Tyler Smith</b>\, percussion</p>\n<p>* = world 
 premiere</p>\n<hr>\n<h2>Program Notes</h2>\n<p class='p1'><strong>Acadian 
 Storm</strong><br>The concept for this piece emerged in the summer of 2024
 \, while I was at the Pierre Monteux festival near Acadia National Park. W
 hile I was there\, I had the opportunity to experience two remarkably inte
 nse thunderstorms. Having grown up in Seattle\, I was used to rain\, but I
  had rarely encountered a true downpour like the ones I witnessed that sum
 mer. I found myself looking and listening for patterns in the rain and thu
 nder\, as if an event of such magnitude had to be driven by a logical mech
 anism. There\, of course\, isn’t a mathematical pattern to rain\, but it s
 till seemed at times that the structure I was expecting was nearly discern
 ible\, just barely beyond the capability of my perception. I tried to recr
 eate the experience of listening in this way with this piece. It is based 
 on a rotating rhythmic pattern. If you listen carefully enough\, you might
  be able to predict how the pattern will change. But you are also free to 
 listen to the piece in a relaxed way\, allowing your mind to wander freely
  among any of the sounds you hear.<br>-Eddie Mospan</p>\n<p class='p2'>Overture of Unsupervised Logic</strong><br>Like my most recent pieces
 \, I abandoned multiple preliminary iterations of the ideas herein before 
 writing this version in the final two weeks before I aimed to submit it. M
 any of my colleagues have produced beautiful\, impossibly deep and detaile
 d renderings of concepts and narratives\, and I honestly sometimes feel in
 adequate in comparison. But I’m ultimately about the sound and sensation\,
  all this and nothing more. And I’ve continued to embrace the feeling that
  I don’t actually need an articulated concept in order to render my engage
 ment with this world. I’m here to create spaces simultaneously tactile and
  ghostly. This piece is both conflict and a culmination\, an embrace and a
  war with certain techniques my esteemed professors have been pushing me t
 o develop\, namely an organicist approach to thematic development. This pi
 ece is probably the least experimental I’ve done in this program\, particu
 larly after shelving its hyper-experimental second iteration. I went into 
 this version with an organicist mindset\, but it’s the 21st century\, and 
 I’m immutably digressive. Logic\, instinct\, pleasure\, paralysis\, medita
 tion. Accessibility and inaccessibility\, varying degrees of tonality\, di
 scomforted and unresolved\, all existing for its own sake\, its dualities 
 threatening towards mutually assured destruction but\, at least briefly\, 
 forming an uneasy alliance\, the results ephemeral by their very necessity
 . <br>“Logic left unsupervised will eat itself” -someone<br>-Nicholas Mend
 onsa</p>\n<p class='p2'><strong>a splash quite unnoticed</strong><br>This 
 piece was inspired by my exposure to William Carlos Williams’ “Landscape w
 ith the Fall of Icarus\, ”a short poem based on Pieter Bruegel the Elder’s
  painting of the same name. The music features this work juxtaposed with e
 xcerpts from T. S. Eliot’s “The Love Song of J. Alfred Prufrock\, ”one of 
 the most renowned poems of the twentieth century. This comparison of the t
 wo poems attempts to form a dialogue between Eliot’s first–person expressi
 ons of angst\, as hidden in the corner of Bruegel’s frame\, and Williams’ 
 recounting of the painted farmer’s almost–comical indifference to them. Wh
 ile Eliot and Prufrock speak of having no choice but to make a choice\, wh
 ere every choice is ontologically just as (in)significant as the next choi
 ce\, and ask for (but do not want to hear) an answer to their dreaded “Wha
 t is it?”\, Williams and Bruegel whisper in response that\, perhaps\, the 
 answer is hardly of any importance at all\, and that one’s sense of insign
 ificance is far less significant than one would like to admit! Although th
 is rebuttal is an attractive one\, it can just as well be no more than a n
 aïve romanticization. But\, even so\, I believe that in those moments when
  one reaches the realization that yet another life has been measured out w
 ith coffee spoons\, Icarus’ neglected struggles can be a reminder of the c
 onsolation there is to find within the magnificent embrace of unimportance
 .<br>-Arshia Ashari</p>\n<p class='p2'><strong>a stillness of zero sensati
 on (2015)</strong><br>Written specifically for Jan Krzywicki and the Templ
 e New Music Ensemble in 2015\, a stillness of zero sensation is a work tha
 t engages with delicate\, imperfect\, and unstable sounds. The title\, tak
 en from a particularly harrowing (and poetic) passage in David Foster Wall
 ace’s Infinite Jest\, describes the moment immediately before a drug addic
 t\, going through withdrawal from cough syrup\, has a seizure on a subway 
 train caused by a severe allergic reaction to the scent of fellow passenge
 r’s deodorant: “He suddenly felt nothing\, or rather Nothing\, a pre-torna
 dic stillness of zero sensation\, as if he were the very space he occupied
 .” The work’s harmony is based entirely on seven bars of J.S. Bach’s Fugue
  in A major BWV 864 from Book I of the Well-Tempered Clavier. This seven b
 ar excerpt – one that lasts about 10 seconds in most recordings – was time
 -stretched to encompass the entire 13-minute duration of the piece. Each c
 hord slowly melts into the next\, subverting the inherently teleological n
 ature of Bach’s harmonic practice. And yet\, even at such extreme lengths\
 , the sense of tension and release\, which is so much a part of tonal harm
 ony\, is still subtly present. Rather than treating the arrival of each ch
 ord as a focal point though\, it is the space in-between—a vast world unto
  itself—that this work most seeks to explore.<br>-William Dougherty</p>\n&lt;
 p class='p2'&gt;<strong>Schumann Resonances for clarinet and piano (2015/2025
 )</strong><br>In 2025\, Cristina Valdés\, my extraordinary colleague and d
 irector of the Modern Music Ensemble at the University of Washington\, ask
 ed me if I would like to work with her and her group. She suggested that I
  make a transcription of my piece Schumann Resonances (originally for viol
 a and piano) for the clarinetist and pianist to perform. Cristina cited we
 ll-known shared viola/clarinet repertoire from the past. For violists\, th
 e Brahms transcriptions of his clarinet sonatas are a fulcrum of our canon
 . Resonating Schumann for the clarinet seems fitting. Dedicated to the mar
 velous musical explorers Cristina Valdés\, clarinetist Cameron DeLuca and 
 pianist Ella Kalinichenko.<br>-Melia Watras</p>\n<p class='p2'><strong>Geo
 rge Lewis: Hexis\, for sextet (2013)</strong><br>This is the third in a se
 ries of pieces I’ve composed that\, like Tractatus and Mnemosis (both 2012
 )\, explore notions of temporality and historical change. William Peterson
  interprets the 1st-century Roman rhetorician Quintilian’s use of the Gree
 k word hexis as describing “the fixed tendency that results from repeated 
 acts. ”As classical scholar Glyn P. Norton has observed\, “Just as kairos\
 , in the Aristotelian tradition\, defines how we respond ethically to cont
 ingent events\, so hexis retains a similar ethical value by showing how wh
 at we do\, rather than paste itself to a kind of tensile\, modular ethics 
 recalling Stoic firmitas\, is conditioned largely by our behavioral supple
 ness. ” In both the writings of Quintilian and Pliny’s Letters\, hexis bec
 omes a hallmark of superior rhetorical extemporization--improvisation. In 
 Hexis\, it is the listener who improvises rather than the performers\; the
  work is meant to manifest a behavioral suppleness that encourages us to c
 atch the bus and go along for the ride\, unburdened by teleologies\, motiv
 ic elaboration\, or global form. All three pieces draw inspiration from Fr
 iedrich Nietzsche’s classic 1882 conception of the eternal recurrence\, an
 d proposition 6.4311 of Ludwig Wittgenstein’s 1921 Tractatus Logico-Philos
 ophicus. Both philosophers treat history\, memory and experience as existe
 ntially recursive\, allowing progress to coexist with stasis\, an apparent
  paradox that this piece confronts.<br>-George Lewis</p>\n<hr>\n<h2>Direct
 or Biography</h2>
DTSTART;TZID=America/Los_Angeles:20250523T193000
LAST-MODIFIED:20250523T010539Z
SEQUENCE:226
SUMMARY:: Modern Music Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-24/modern-music-ensemble
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The Modern Music Ensemble (Cristina
  Valdés\, director) performs music by pioneering experimental composer Geo
 rge Lewis\, faculty composers William Dougherty and Melia Watras\, and wor
 ld premieres by UW student composers Eddie Mospan\, Nicholas Mendonsa\, Ju
 stin Zeitlinger\, and Arshia Askari in this year-end performance.</p> <hr>
  <h3>Program</h3> <p>[IIIIIIIIII] for quartet and mixed media -<b>  Justin
  Zeitlinger </b>(b. 2000)<b><br></b><em><b>Cameron DeLuca</b><span>\, bass clarinet\; </span><b>Cole Henslee</b><span sty le=' 400\;'>\, tuba\; </span><b>Taylor DeCastro</b><span>\, violin\; </span><b>Ella Kalinichenko</b><span sty le=' 400\;'>\, piano</span></em></p> <p>Acadian Storm<span sty le=' 400\;'>* -</span> <b>Eddie Mospan </b>(b. 2001)<b><br></b><em><b>Rachel Reyes</b><span>\, alto flute\; &lt;
 /span&gt;<b>Cameron DeLuca</b><span>\, bass clarin
 et\; </span><b>Cole Henslee</b><span>\, tuba\; 
 </span><b>Giulia Rosa</b><span>\, violin\; <b>Taylor DeCastro</b><span>\, viola\; <b>Olivia Hsu</b><span>\, piano\; </span><b>T
 yler Smith</b><span>\, percussion</span></em></p> <p>Overture of Unsupervised Logic<span>* - <b>Nicholas Mendonsa </b>(b. 1984)<b><br></b><em><b>Cameron DeLuca</b><span>\, bass clarinet\; </span><b>Cole Hensl
 ee</b><span>\, tuba\; </span><b>Taylor DeCastro
 </b><span>\, violin\; </span><b>Chris Young</b>
 <span>\, cello\; </span><b>Nicholas Mendonsa</b><span>\, baritone guitar\; </span><b>Ella Kali
 nichenko</b><span>\, piano\; </span><b>Tyler Sm
 ith</b><span>\, percussion</span></em></p> <p>a
  splash quite unnoticed<span>*</span> - <b>Arsh
 ia Ashari</b> (b. 2001)<b><br></b><em><b>Cassidy Cheong</b><span>\, voice\; </span><b>Rachel Reyes</b><span>\, flute\; </span><b>Cameron DeLuc</b><span>a\, clarinet\; </span><b>Cole Henslee</b><span>\, tuba\; </span><b>Taylor DeCastro</b><span>\, violin\; </span><b>Chris Young</b><span>\, cello\; </span><b>Ella Kalinichenko</b><span>\, piano</span></em></p> <p><i><span>⎯  I
 ntermission⎯</span></i></p> <p>a stillness of zero sensation (2015) -<span>  </span><b>William Dougherty </b> (b. 1988)<b r><em><b>Rachel Reyes</b><span>\, flute\; <b>Cameron DeLuca</b><span>\, bass clarinet\;
  </span><b>Giulia Rosa</b><span>\, violin\; </s><b>Chris Young</b><span>\, cello\;   </span><b>Olivia Hsu</b><span>\, piano\; </span><b>Ty
 ler Smith\,</b><span> percussion</span></em></p> <p>Schumann Resonances for clarinet and piano (2015/2025)<span>*</span> - <b>Melia Watras</b> (b. 1969)<b><br></b><em>&lt;
 b&gt;Cameron DeLuca</b><span>\, clarinet\; </span>
 <b>Ella Kalinichenko</b><span>\, piano</span></em></p> <p><i>Hexis</i>\, for sextet (2013)<b> - </b><b>George Lewis </b>(
 b. 1952)<br><em><b>Rachel Reyes</b><span>\, flu
 tes\; </span><b>Cameron DeLuca</b><span>\, clar
 inets\; </span><b>Taylor DeCastro</b><span>\, v
 iolin\; </span><b>Chris Young</b><span>\, cello
 \; </span><b>Ella Kalinichenko</b><span>\, pian
 o\; </span><b>Tyler Smith</b><span>\, percussio
 n</span></em></p> <p><span>* = world premiere</span></p> <hr> <h2><span></span>Program Notes</h2> <p class='p1'><strong>Acadian Storm</strong><br>The concept for this p
 iece emerged in the summer of 2024\, while I was at the Pierre Monteux fes
 tival near Acadia National Park. While I was there\, I had the opportunity
  to experience two remarkably intense thunderstorms. Having grown up in Se
 attle\, I was used to rain\, but I had rarely encountered a true downpour 
 like the ones I witnessed that summer. I found myself looking and listenin
 g for patterns in the rain and thunder\, as if an event of such magnitude 
 had to be driven by a logical mechanism. There\, of course\, isn’t a mathe
 matical pattern to rain\, but it still seemed at times that the structure 
 I was expecting was nearly discernible\, just barely beyond the capability
  of my perception. I tried to recreate the experience of listening in this
  way with this piece. It is based on a rotating rhythmic pattern. If you l
 isten carefully enough\, you might be able to predict how the pattern will
  change. But you are also free to listen to the piece in a relaxed way\, a
 llowing your mind to wander freely among any of the sounds you hear.<br>-E
 ddie Mospan</p> <p class='p2'><strong>Overture of Unsupervised Logic<br>Like my most recent pieces\, I abandoned multiple preliminary itera
 tions of the ideas herein before writing this version in the final two wee
 ks before I aimed to submit it. Many of my colleagues have produced beauti
 ful\, impossibly deep and detailed renderings of concepts and narratives\,
  and I honestly sometimes feel inadequate in comparison. But I’m ultimatel
 y about the sound and sensation\, all this and nothing more. And I’ve cont
 inued to embrace the feeling that I don’t actually need an articulated con
 cept in order to render my engagement with this world. I’m here to create 
 spaces simultaneously tactile and ghostly. This piece is both conflict and
  a culmination\, an embrace and a war with certain techniques my esteemed 
 professors have been pushing me to develop\, namely an organicist approach
  to thematic development. This piece is probably the least experimental I’
 ve done in this program\, particularly after shelving its hyper-experiment
 al second iteration. I went into this version with an organicist mindset\,
  but it’s the 21st century\, and I’m immutably digressive. Logic\, instinc
 t\, pleasure\, paralysis\, meditation. Accessibility and inaccessibility\,
  varying degrees of tonality\, discomforted and unresolved\, all existing 
 for its own sake\, its dualities threatening towards mutually assured dest
 ruction but\, at least briefly\, forming an uneasy alliance\, the results 
 ephemeral by their very necessity. <br>“Logic left unsupervised will eat i
 tself” -someone<br>-Nicholas Mendonsa</p> <p class='p2'><strong>a splash q
 uite unnoticed</strong><br>This piece was inspired by my exposure to Willi
 am Carlos Williams’ “Landscape with the Fall of Icarus\, ”a short poem bas
 ed on Pieter Bruegel the Elder’s painting of the same name. The music feat
 ures this work juxtaposed with excerpts from T. S. Eliot’s “The Love Song 
 of J. Alfred Prufrock\, ”one of the most renowned poems of the twentieth c
 entury. This comparison of the two poems attempts to form a dialogue betwe
 en Eliot’s first–person expressions of angst\, as hidden in the corner of 
 Bruegel’s frame\, and Williams’ recounting of the painted farmer’s almost–
 comical indifference to them. While Eliot and Prufrock speak of having no 
 choice but to make a choice\, where every choice is ontologically just as 
 (in)significant as the next choice\, and ask for (but do not want to hear)
  an answer to their dreaded “What is it?”\, Williams and Bruegel whisper i
 n response that\, perhaps\, the answer is hardly of any importance at all\
 , and that one’s sense of insignificance is far less significant than one 
 would like to admit! Although this rebuttal is an attractive one\, it can 
 just as well be no more than a naïve romanticization. But\, even so\, I be
 lieve that in those moments when one reaches the realization that yet anot
 her life has been measured out with coffee spoons\, Icarus’ neglected stru
 ggles can be a reminder of the consolation there is to find within the mag
 nificent embrace of unimportance.<br>-Arshia Ashari</p> <p class='p2'>a stillness of zero sensation (2015)</strong><br>Written specifically 
 for Jan Krzywicki and the Temple New Music Ensemble in 2015\, a stillness 
 of zero sensation is a work that engages with delicate\, imperfect\, and u
 nstable sounds. The title\, taken from a particularly harrowing (and poeti
 c) passage in David Foster Wallace’s Infinite Jest\, describes the moment 
 immediately before a drug addict\, going through withdrawal from cough syr
 up\, has a seizure on a subway train caused by a severe allergic reaction 
 to the scent of fellow passenger’s deodorant: “He suddenly felt nothing\, 
 or rather Nothing\, a pre-tornadic stillness of zero sensation\, as if he 
 were the very space he occupied.” The work’s harmony is based entirely on 
 seven bars of J.S. Bach’s Fugue in A major BWV 864 from Book I of the Well
 -Tempered Clavier. This seven bar excerpt – one that lasts about 10 second
 s in most recordings – was time-stretched to encompass the entire 13-minut
 e duration of the piece. Each chord slowly melts into the next\, subvertin
 g the inherently teleological nature of Bach’s harmonic practice. And yet\
 , even at such extreme lengths\, the sense of tension and release\, which 
 is so much a part of tonal harmony\, is still subtly present. Rather than 
 treating the arrival of each chord as a focal point though\, it is the spa
 ce in-between—a vast world unto itself—that this work most seeks to explor
 e.<br>-William Dougherty</p> <p class='p2'><strong>Schumann Resonances for
  clarinet and piano (2015/2025)</strong><br>In 2025\, Cristina Valdés\, my
  extraordinary colleague and director of the Modern Music Ensemble at the 
 University of Washington\, asked me if I would like to work with her and h
 er group. She suggested that I make a transcription of my piece Schumann R
 esonances (originally for viola and piano) for the clarinetist and pianist
  to perform. Cristina cited well-known shared viola/clarinet repertoire fr
 om the past. For violists\, the Brahms transcriptions of his clarinet sona
 tas are a fulcrum of our canon. Resonating Schumann for the clarinet seems
  fitting. Dedicated to the marvelous musical explorers Cristina Valdés\, c
 larinetist Cameron DeLuca and pianist Ella Kalinichenko.<br>-Melia Watras&lt;
 /p&gt; <p class='p2'><strong>George Lewis: Hexis\, for sextet (2013)</strong>
 <br>This is the third in a series of pieces I’ve composed that\, like Trac
 tatus and Mnemosis (both 2012)\, explore notions of temporality and histor
 ical change. William Peterson interprets the 1st-century Roman rhetorician
  Quintilian’s use of the Greek word hexis as describing “the fixed tendenc
 y that results from repeated acts. ”As classical scholar Glyn P. Norton ha
 s observed\, “Just as kairos\, in the Aristotelian tradition\, defines how
  we respond ethically to contingent events\, so hexis retains a similar et
 hical value by showing how what we do\, rather than paste itself to a kind
  of tensile\, modular ethics recalling Stoic firmitas\, is conditioned lar
 gely by our behavioral suppleness. ” In both the writings of Quintilian an
 d Pliny’s Letters\, hexis becomes a hallmark of superior rhetorical extemp
 orization--improvisation. In Hexis\, it is the listener who improvises rat
 her than the performers\; the work is meant to manifest a behavioral suppl
 eness that encourages us to catch the bus and go along for the ride\, unbu
 rdened by teleologies\, motivic elaboration\, or global form. All three pi
 eces draw inspiration from Friedrich Nietzsche’s classic 1882 conception o
 f the eternal recurrence\, and proposition 6.4311 of Ludwig Wittgenstein’s
  1921 Tractatus Logico-Philosophicus. Both philosophers treat history\, me
 mory and experience as existentially recursive\, allowing progress to coex
 ist with stasis\, an apparent paradox that this piece confronts.<br>-Georg
 e Lewis</p> <hr> <h2>Director Biography</h2>
END:VEVENT
BEGIN:VEVENT
UID:57900205-7ce0-41f4-9e46-48e7708e086e
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T201119Z
DESCRIPTION:<p></p>\n<p>The Studio Jazz Ensemble (the UW Big Band-Marc Seal
 es\, director) and Modern Band (Cuong Vu\, director) present a shared prog
 ram of repertory selections\, original music\, and inspired arrangements. 
  The Studio Jazz Ensemble pays tribute to Roy Cummings\, the late\, former
  longtime director of the Studio Jazz Ensemble\, in a set dedicated to his
  memory. </p>\n<hr>\n<h3>Modern Band</h3>\n<p>Cuong Vu\, director<br><br>M
 uch to Give - Cole McKittrick</p>\n<p>Manteca Groove - BLUEs.WEAVE</p>\n<p>Tomorrow Is Yesterday - Coen Rios</p>\n<p>Could Be Stranger - Natalie Son
 g<br><br>Jai Kobi Kaleo'okalani\, guitar\; Cole McKittrick\, guitar\; Tobi
 as Miller\, drums\; Coen Rios\, tenor sax\; Rory Somers\, trumpet\; Natali
 e Song\, piano\; Riley Tobin\, bass</p>\n<hr>\n<h3>Studio Jazz Ensemble\n<p>Marc Seales\, director</p>\n<p>Hip Hop - Bob Mintzer</p>\n<p>The He
 art of the Matter - Bob Mintzer</p>\n<p>Morning Dance - Jay Beckenstein\, 
  arr. John Higgins</p>\n<p>Love Walked In - George and Ira Gershwin  arr. 
 Kim Richmond</p>\n<p>Cottontail - Duke Ellington  arr. Alan Blaylock</p>\n
 <p>Bow Down to Washington - arr. Roy Cummings</p>\n<p>Trombones: Alex Webe
 r (lead)\, Jamison Schmidt\, Josiah Bizure\, Mark Henry<br>Trumpets: Benja
 min von Jess (lead)\, Aidan Brannon\, Colin Eneberg\, Jameson Gibbs\, Timm
 y Brock<br>Saxophones: Kevin Em (lead)\, Danian Raymundo\, Ashton Garcia\,
  Joey Kyne\, Wesley Loechelt\, Parker Duncan<br>Rhythm: Elise Soper\, Jade
 n Zika\, Teddy Seligman<br><br><strong>Some Studio Jazz Ensemble Alumni</s><br>Brad Allison\, Thomas Marriott\, Mike Van Bebber\, Dave Marriott
 \, Jr.\, Scott Brown\, Mark Taylor\, Travis Ranney\, Andrew Glynn\, Michae
 l Glynn\, Steve Korn\, Marc Seales</p>\n<p><strong>Colleagues</strong><br>
 Michael Brockman\, Marc Seales</p>\n<hr>\n<p>Tribute to Roy Cummings</p>\n
 <h3>\n  \n      \n    \n            \n\n\n\n      \n\n\n  \n</h3>\nIn his 
 30 years at the School of Music\, trumpeter Roy Cummings influenced the mu
 sical training of thousands of students\, introducing them to the greats o
 f the jazz art form and encouraging their professional and musical aspirat
 ions. He also was a cofounder of the School’s Jazz Studies Program\, servi
 ng as its chair from 1979 to 1993.\n<p>Cummings’ career at UW began in 197
 0 when he became a trumpet instructor after earning music and music educat
 ion degrees at UW\, and continued with his longtime leadership of the Stud
 io Jazz Ensemble. He continued to teach at the School until his untimely d
 eath in January 2000\, when he suffered a heart attack in the Music Buildi
 ng on his way to teach a class. Cummings was a passionate spokesperson for
  the importance of music and humanities education\, and his opinions on th
 e matter remain relevant today.</p>\n<p>“Jazz education in the state of Wa
 shington is in pretty good shape\,” he said in a 1985 interview in the Oly
 mpiannewspaper\, “but it as well as all music education and humanities cur
 ricula are falling on hard times. Humanities education funding is playing 
 second fiddle to the sciences. We can’t all be scientists. We need the hum
 an expression and humanities to relax. Music is a big part of that.” The p
 erforming arts\, he said\, are as necessary to the well-being of humankind
  as a balanced diet\, and humanities education should be funded as well as
  sciences\, physics\, and nuclear sciences.</p>\n<p>“These guys are nuclea
 r\, too\,” he said in reference to the student  musicians of the Studio Ja
 zz Ensemble. “There’s some real explosions with these guys.”</p>\n<hr>\nSidebar: Roy M. Cummings Endowed Scholarship Supports Rising 
 Stars in Jazz</h4>\n<p class='p1'>Support from the Roy M. Cummings Endowed
  Scholarship has enabled promising young jazz musicians to focus on their 
 music studies while taking advantage of performance opportunities both at 
 school and out in the clubs and coffeehouses that play host to the city’s 
 most forward-thinking\, musically adept\, and creative young musicians.</p>\n<p class='p1'>“I see the scholarship as having afforded the recipients 
 more time to focus on music while rewarding them for their hard work\,” sa
 ys Jazz Studies Chair Cuong Vu. “This kind of support is essential for us 
 to not only keep sustaining these talented and driven young people\, but a
 lso attracting more to the UW School of Music.” Gifts to the Roy M. Cummin
 gs Endowed Scholarship Fund helps the School of Music attract top students
  to the program and provides financial assistance to undergraduates studyi
 ng jazz at UW.</p>\n<p class='p1'>To make a gift\, or for more information
 \, please call 206.685.6997\, or make a gift online <a href='/support-us' target='_blank' rel='noopener noreferrer'>here</a>.</p>\n<hr>\n<h3>Biograp
 hies</h3>\n<h3></h3>
DTSTART;TZID=America/Los_Angeles:20250527T193000
LAST-MODIFIED:20250527T154733Z
SEQUENCE:227
SUMMARY:: Studio Jazz Ensemble and Modern Band: Roy Cummings Tribute
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-28/studio-jazz-ensemble-and
 -modern-band-roy-cummings-tribute
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><i></i></p> <p>The Studio Jazz Ensemble (th
 e UW Big Band-Marc Seales\, director) and Modern Band (Cuong Vu\, director
 ) present a shared program of repertory selections\, original music\, and 
 inspired arrangements.  The Studio Jazz Ensemble pays tribute to Roy Cummi
 ngs\, the late\, former longtime director of the Studio Jazz Ensemble\, in
  a set dedicated to his memory. </p> <hr> <h3>Modern Band</h3> <p><em>Cuon
 g Vu\, director</em><br><br>Much to Give - Cole McKittrick</p> <p>Manteca 
 Groove - BLUEs.WEAVE</p> <p>Tomorrow Is Yesterday - Coen Rios</p> <p>Could
  Be Stranger - Natalie Song<br><br><em>Jai Kobi Kaleo'okalani\, guitar\; C
 ole McKittrick\, guitar\; Tobias Miller\, drums\; Coen Rios\, tenor sax\; 
 Rory Somers\, trumpet\; Natalie Song\, piano\; Riley Tobin\, bass</em></p>
  <hr> <h3>Studio Jazz Ensemble</h3> <p><em>Marc Seales\, director</em></p>
  <p>Hip Hop - Bob Mintzer</p> <p>The Heart of the Matter - Bob Mintzer</p>
  <p>Morning Dance - Jay Beckenstein\,  arr. John Higgins</p> <p>Love Walke
 d In - George and Ira Gershwin  arr. Kim Richmond</p> <p>Cottontail - Duke
  Ellington  arr. Alan Blaylock</p> <p>Bow Down to Washington - arr. Roy Cu
 mmings</p> <p><em>Trombones: Alex Weber (lead)\, Jamison Schmidt\, Josiah 
 Bizure\, Mark Henry</em><br><em>Trumpets: Benjamin von Jess (lead)\, Aidan
  Brannon\, Colin Eneberg\, Jameson Gibbs\, Timmy Brock</em><br><em>Saxopho
 nes: Kevin Em (lead)\, Danian Raymundo\, Ashton Garcia\, Joey Kyne\, Wesle
 y Loechelt\, Parker Duncan</em><br><em>Rhythm: Elise Soper\, Jaden Zika\, 
 Teddy Seligman</em><br><br><strong>Some Studio Jazz Ensemble Alumni<br>Brad Allison\, Thomas Marriott\, Mike Van Bebber\, Dave Marriott\, J
 r.\, Scott Brown\, Mark Taylor\, Travis Ranney\, Andrew Glynn\, Michael Gl
 ynn\, Steve Korn\, Marc Seales</p> <p><strong>Colleagues</strong><br>Micha
 el Brockman\, Marc Seales</p> <hr> <p><span encode sa ns compressed open>Tribute to Roy Cummings</span></p> <h3>&lt;
 article class='image-portrait-small' width='100' height='125'&gt; <div class='field-wrapper field field-media--field-media-image field-name-field-media
 -image field-type-image field-label-hidden'> <div class='field-items'>  <img loading='lazy' src='/sites/music/files/styles/p
 ortrait_small/public/images/roycummings_0.jpg?h=83636498&amp;itok=jLGn_ssz' wi dth='100' height='125' alt title='Roy Cummings'> </div> </div> </div>  </h3> <div><span>In his 30 years at the School of Music\, trumpeter
  Roy Cummings influenced the musical training of thousands of students\, i
 ntroducing them to the greats of the jazz art form and encouraging their p
 rofessional and musical aspirations. He also was a cofounder of the School
 ’s Jazz Studies Program\, serving as its chair from 1979 to 1993.</span></div> <p>Cummings’ career at UW began in 1970 when he became a trumpet inst
 ructor after earning music and music education degrees at UW\, and continu
 ed with his longtime leadership of the Studio Jazz Ensemble. He continued 
 to teach at the School until his untimely death in January 2000\, when he 
 suffered a heart attack in the Music Building on his way to teach a class.
  Cummings was a passionate spokesperson for the importance of music and hu
 manities education\, and his opinions on the matter remain relevant today.
 </p> <p>“Jazz education in the state of Washington is in pretty good shape
 \,” he said in a 1985 interview in the <em>Olympian</em>newspaper\, “but i
 t as well as all music education and humanities curricula are falling on h
 ard times. Humanities education funding is playing second fiddle to the sc
 iences. We can’t all be scientists. We need the human expression and human
 ities to relax. Music is a big part of that.” The performing arts\, he sai
 d\, are as necessary to the well-being of humankind as a balanced diet\, a
 nd humanities education should be funded as well as sciences\, physics\, a
 nd nuclear sciences.</p> <p>“These guys are nuclear\, too\,” he said in re
 ference to the student  musicians of the Studio Jazz Ensemble. “There’s so
 me real explosions with these guys.”</p> <hr> <h4 class='p1'>Sidebar: Roy 
 M. Cummings Endowed Scholarship Supports Rising Stars in Jazz</h4> <p clas s='p1'>Support from the Roy M. Cummings Endowed Scholarship has enabled pr
 omising young jazz musicians to focus on their music studies while taking 
 advantage of performance opportunities both at school and out in the clubs
  and coffeehouses that play host to the city’s most forward-thinking\, mus
 ically adept\, and creative young musicians.</p> <p class='p1'>“I see the 
 scholarship as having afforded the recipients more time to focus on music 
 while rewarding them for their hard work\,” says Jazz Studies Chair Cuong 
 Vu. “This kind of support is essential for us to not only keep sustaining 
 these talented and driven young people\, but also attracting more to the U
 W School of Music.” Gifts to the Roy M. Cummings Endowed Scholarship Fund 
 helps the School of Music attract top students to the program and provides
  financial assistance to undergraduates studying jazz at UW.</p> <p class='p1'><em>To make a gift\, or for more information\, please call 206.685.69
 97\, or make a gift online <a href='/support-us' target='_blank' rel='noop
 ener noreferrer'>here</a>.</em></p> <hr> <h3>Biographies</h3> <h3></h3>
END:VEVENT
BEGIN:VEVENT
UID:b8ccfddc-0f69-4761-9a33-a89e0363806b
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250528T184509Z
DESCRIPTION:<p>The student-run Improvised Music Project presents performanc
 es by a rotating cast of UW jazz studies students\, faculty\, and special 
 guests every first and third Wednesday\, 6 to 10 pm\, at Vermillion Art Ga
 llery and Bar. Accessible by lightrail\, all performances are free and ope
 n for all ages. </p>\n<hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250528T180000
LAST-MODIFIED:20250528T185322Z
SEQUENCE:228
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-29/external-event-imp-showc
 ase-vermillion
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>The student-run Improvised Music Proj
 ect presents performances by a rotating cast of UW jazz studies students\,
  faculty\, and special guests every first and third Wednesday\, 6 to 10 pm
 \, at Vermillion Art Gallery and Bar</span><span>. Accessible by lightrail
 \, all performances are free and open for all ages. </span></p> <hr> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:9084c636-be0e-4702-b9fe-a73674e1c15d
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T175755Z
DESCRIPTION:<p> </p>\n\n<p>The University Singers\, Treble Choir\, and UW G
 lee Club present an eclectic program of music from around the world\, folk
  tunes\, and arrangements of popular music standards. With graduate conduc
 tors David Ferguson\, Adam Freemantle\, Egija Claire\, Michael McKenzie\, 
 Alexandra Rameau\, Heidi Wyllis Blythe\, Tatiana Boggs\, and Helen Woodruf
 f and collaborative pianists Steve Swanson and Chiao-Yu Wu.</p>\n\n<hr>\n&lt;
 h3&gt;Program</h3>\n\n<h4><br>\nGlee<b> </b></h4>\n\n<p>Directors: David Ferg
 uson - DMA Student\; Adam Freemantle- MM Student \; Egija Claire - MM Stud
 ent<br>\nCollaborative Pianist - Steve Swanson </p>\n\n<p><b>Carnavalito: 
 </b>Bolivian Folk Song\, arr. by Will Lopes</p>\n\n<p><b>Dachrilis Simgher
 a: </b>Traditional Georgian Folk Song</p>\n\n<p><b>Talking to the Moon: </b>Bruno Mars\, arr. by D. Vizenor</p>\n\n<p><b>Bohemian Rhapsody: </b>Word
 s and Music by Freddie Mercury</p>\n\n<hr>\n<h4>University Singers</h4>\n
 \n<p>Directors: Michael McKenzie - DMA Student\; Alexandra Rameau - MM Stu
 dent<br>\nCollaborative Pianist - Chiao-Yu Wu</p>\n\n<p><b>Shine </b>Music
 : Matt Podd and Adam Podd Words: Monik Walters and Matt Podd</p>\n\n<p><b>
 O Love </b>Music: Elaine Hagenberg Words: George Matheson</p>\n\n<p><b>Goo
 d-Night </b>Music: Matthew Emery Words: Paul Laurence Dunbar</p>\n\n<p><b>
 Dance in the Graveyards </b>Words and Music: Eric Holljes and Ian Holljes 
 arr. Justin Havard </p>\n\n<hr>\n<h4>Treble Choir</h4>\n\n<p>Directors: He
 idi Blythe\, DMA\; Tatiana Boggs\, DMA\; Helen Woodruff\, MM<br>\nCollabor
 ative Pianist Steve Swanson</p>\n\n<p><b>Breathe -</b> Jeremy Landig</p>\n
 \n<p><b>Desert Song - </b>Music and Lyrics\, säje\; Arr. Erin Bentlage<br>
 \nGuitarist: Sydney Jordan</p>\n\n<p><b>Famine Song - </b>Vida Arr. Matthe
 w Culloton<br>\nSoloists: Rebecca Himeda\, Freya Bennett\, &amp; Mari Hirayama
 </p>\n\n<p><b>Shosholoza </b>Traditional South African<br>\nSoloists: Tako
 da Jessen\, Alex Trias\, Alex Retteghieri </p>\n\n<hr>\n\n	\n		\n			\n			<h4>UW Gle
 e</h4>\n\n			<p>Aiden Hochstatter<br>\n			Adam Freemantle<br>\n			Alex Beck<br>\n			Al
 ex Trias<br>\n			Alexander Wiman<br>\n			Andi van der Burght<br>\n			Avi Mittal<br>
 \n			Barbara Benda<br>\n			Caleb Shin<br>\n			Carmela Stewart<br>\n			Edén Alvarado<br>\n			Danny Vizenor<br>\n			David Ferguson<br>\n			Egija Claire<br>\n			Elias Carlson&lt;
 br&gt;\n			Ezra Acevedo<br>\n			Giovanni Gollotti<br>\n			Hannah Carpenter<br>\n			Hao Sh
 en<br>\n			Jack Hawley<br>\n			Jack Li<br>\n			Jason (Shii-Shiuan) Huang<br>\n			Jonat
 han Tao<br>\n			Jonas Golm<br>\n			Josiah Thulin<br>\n			Justin Bowman<br>\n			Kai-Jin
 g Lee<br>\n			Layla Zeng<br>\n			Mario D'Ambrosio<br>\n			MJ Carpenter<br>\n			Pascale
  Packia<br>\n			Raj Paul Johns<br>\n			Raziel Spinosa Holguin<br>\n			Sarah Carpent
 er<br>\n			Thomas Wardian<br>\n			Will Gao<br>\n			Zhuojun Wang</p>\n\n			<h4>Universi
 ty Singers</h4>\n\n			<p>SOPRANOS<br>\n			Victoria Avenson<br>\n			Suwan Chambers<b r>\n			Josephine Chia<br>\n			Loreley Drees<br>\n			Mari Hirayama<br>\n			Anja Lovegre
 n<br>\n			Diya Nahar<br>\n			Leilani Narez<br>\n			Madelyn Price<br>\n			Marissa Romer
 o<br>\n			Nathalia Santos Paiva<br>\n			Audrey Simonnet<br>\n			Camille Tetreault</p>\n\n			<p>ALTOS <br>\n			Abi Adam<br>\n			Andi van der Burght<br>\n			Ava Cairns<br>
 \n			Samantha Corcoran<br>\n			Sofia D'Ambrosia<br>\n			Lilah Johnson<br>\n			Lingjuan
  Kuang<br>\n			Sophie Mansour<br>\n			Gia Nguyen<br>\n			Anastasia Olaru<br>\n			Lexie
  Parton<br>\n			Noa Resnikoff<br>\n			Nura Sherif<br>\n			Serenna Shock<br>\n			Camryn
  Smith<br>\n			Elaina Sung<br>\n			Polina Shuklina</p>\n\n			<p>TENORS<br>\n			Coleman
  Brenner<br>\n			Brielle Buenarte<br>\n			Aiden Clegg<br>\n			Katie Davis<br>\n			Ana 
 Lise Devery<br>\n			Faith Ellis<br>\n			Riley Gudgel<br>\n			Ruby Hart<br>\n			Lyric H
 awk<br>\n			Jennie Jeon<br>\n			Cody Kennedy<br>\n			Chloe Snyder<br>\n			Ozias Tumima
 na<br>\n			Julian Zhang<br>\n			Caleb Tobing</p>\n\n			<p>BASS <br>\n			Cole Brimmer<b r>\n			Florian Chiu<br>\n			Benjamin Ferrel<br>\n			Manuel Gomez Lopez<br>\n			Elijah 
 Graham<br>\n			Gabe Harlev<br>\n			Stanley Intihar<br>\n			Johnny Nguyen<br>\n			Antho
 ny Pacurar<br>\n			Felix Solem<br>\n			Raziel Spinosa Holguin<br>\n			Samuel Terk<b r>\n			Taylor James Bellamy<br>\n			Ethan Price</p>\n\n			<h4>Treble Choir</h4>\n\n
 			<p>Luna Ahumada<br>\n			Lucy Aitken<br>\n			Maggie Anderson<br>\n			Isabelle Barndi
 cort<br>\n			Leah Barracoso<br>\n			Tanvi Bedekar<br>\n			Aidin Behroozi<br>\n			Freya
  Bennett<br>\n			Abigail Benson<br>\n			Cami Berger<br>\n			Lucy Brandt<br>\n			Emily 
 Cady<br>\n			Olivia Cady<br>\n			Irene Cai<br>\n			Aysem Cam<br>\n			Isamar Chavez<br>
 \n			Isabella Chen<br>\n			Helen Chen<br>\n			Ella Collins<br>\n			Cassidy Davis<br>\n
 			Chaitna Deshmukh<br>\n			Aliya Fischels<br>\n			Olivia Flesher<br>\n			Julia Fracze
 k<br>\n			Berlin Gharst*<br>\n			Reagan Green<br>\n			Samantha Grover<br>\n			Gail Gui
 singer <br>\n			Ava Herman<br>\n			Rebecca Himeda<br>\n			Mari Hirayama<br>\n			Maddie
  Ho<br>\n			Megan Hong<br>\n			Tatum Hunter<br>\n			Abby Hussein<br>\n			Takoda Jessen
 <br>\n			Sydney Jordan*<br>\n			Shiori Kasahara<br>\n			Nishtha Kumar<br>\n			Robin La
 rson<br>\n			Cadence Lay<br>\n			Elly Lee<br>\n			Christine Lin<br>\n			Mary Grace Lin
 sley<br>\n			Cece Lovelace<br>\n			Ana Marriott<br>\n			Isadora Miller*<br>\n			Ariana
  Milo<br>\n			Catinca Mosely*<br>\n			Alinah Nepean<br>\n			Kaitlyn Nguyen<br>\n			Del
 aney Orzol<br>\n			Camille Ott<br>\n			Ava Pakzad<br>\n			Emily Pinneo<br>\n			Alexand
 ria Retteghieri<br>\n			Manali Sawant<br>\n			Sally Schafer<br>\n			Marina Sellers&lt;
 br&gt;\n			Madeline Stroup<br>\n			Connie Sun<br>\n			Kate Taricani<br>\n			Nathania Tasi
 co<br>\n			Camille Tetreault <br>\n			Aliya Thompson<br>\n			Alex Tischler<br>\n			Ale
 x Trias<br>\n			Aria Wang<br>\n			Adrienne Wegerer*<br>\n			Talina White<br>\n			Court
 ney Wigmore<br>\n			Yuhan Zhang</p>\n\n			<p>*section leader and/or officer </p>
 \n			\n		\n	\n\n\n<h3>Biographies</h3>
DTSTART;TZID=America/Los_Angeles:20250529T193000
LAST-MODIFIED:20250728T171653Z
SEQUENCE:229
SUMMARY:: UW Sings
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-29/uw-sings
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p> <p><span>The University Singers\, Tre
 ble Choir\, and UW Glee Club present an eclectic program of music from aro
 und the world\, folk tunes\, and arrangements of popular music standards. 
 With graduate conductors David Ferguson\, Adam Freemantle\, Egija Claire\,
  Michael McKenzie\, Alexandra Rameau\, Heidi Wyllis Blythe\, Tatiana Boggs
 \, and Helen Woodruff and collaborative pianists Steve Swanson and Chiao-Y
 u Wu.</span></p> <hr> <h3>Program</h3> <h4><br> <span>Glee<b> </b></span>&lt;
 /h4&gt; <p><span>Directors: David Ferguson - DMA Student\; Adam Freemantle- M
 M Student \; Egija Claire - MM Student<br> Collaborative Pianist - Steve S
 wanson </span></p> <p><b>Carnavalito: </b>Bolivian Folk Song\, arr. by Wil
 l Lopes</p> <p><b>Dachrilis Simghera: </b>Traditional Georgian Folk Song</p> <p><b>Talking to the Moon: </b>Bruno Mars\, arr. by D. Vizenor</p> <p>&lt;
 b&gt;Bohemian Rhapsody: </b>Words and Music by Freddie Mercury</p> <hr> <h4>U
 niversity Singers</h4> <p>Directors: Michael McKenzie - DMA Student\; Alex
 andra Rameau - MM Student<br> Collaborative Pianist - Chiao-Yu Wu</p> <p>&lt;
 b&gt;Shine </b>Music: Matt Podd and Adam Podd Words: Monik Walters and Matt P
 odd</p> <p><b>O Love </b>Music: Elaine Hagenberg Words: George Matheson</p> <p><b>Good-Night </b>Music: Matthew Emery Words: Paul Laurence Dunbar</p> <p><b>Dance in the Graveyards </b>Words and Music: Eric Holljes and Ian 
 Holljes arr. Justin Havard<span class='Apple-converted-space'> </span></p>
  <hr> <h4>Treble Choir</h4> <p>Directors: Heidi Blythe\, DMA\; Tatiana Bog
 gs\, DMA\; Helen Woodruff\, MM<br> Collaborative Pianist Steve Swanson</p>
  <p><b>Breathe -</b> Jeremy Landig</p> <p><b>Desert Song - </b>Music and L
 yrics\, säje\; Arr. Erin Bentlage<br> Guitarist: Sydney Jordan</p> <p><b>F
 amine Song - </b>Vida<span class='Apple-converted-space'> </span>Arr. Matt
 hew Culloton<br> Soloists: Rebecca Himeda\, Freya Bennett\, &amp; Mari Hirayam
 a</p> <p><b>Shosholoza </b>Traditional South African<br> Soloists: Takoda 
 Jessen\, Alex Trias\, Alex Retteghieri<span class='Apple-converted-space'>
  </span></p> <hr> <table> <tbody> <tr> <td> <h4>UW Glee</h4> <p>Aiden Hochstatter<br> Adam Freemantle&lt;
 br&gt; Alex Beck<br> Alex Trias<br> Alexander Wiman<br> Andi van der Burght<b r> Avi Mittal<br> Barbara Benda<br> Caleb Shin<br> Carmela Stewart<br> <span><span>Edén</span></span></span> Alvarado<br> Danny Vi
 zenor<br> David Ferguson<br> Egija Claire<br> Elias Carlson<br> Ezra Aceve
 do<br> Giovanni Gollotti<br> Hannah Carpenter<br> Hao Shen<br> Jack Hawley
 <br> Jack Li<br> Jason (Shii-Shiuan) Huang<br> Jonathan Tao<br> Jonas Golm
 <br> Josiah Thulin<br> Justin Bowman<br> Kai-Jing Lee<br> Layla Zeng<br> M
 ario D'Ambrosio<br> MJ Carpenter<br> Pascale Packia<br> Raj Paul Johns<br>
  Raziel Spinosa Holguin<br> Sarah Carpenter<br> Thomas Wardian<br> Will Ga
 o<br> Zhuojun Wang</p> <h4>University Singers</h4> <p>SOPRANOS<br> Victori
 a Avenson<br> Suwan Chambers<br> Josephine Chia<br> Loreley Drees<br> Mari
  Hirayama<br> Anja Lovegren<br> Diya Nahar<br> Leilani Narez<br> Madelyn P
 rice<br> Marissa Romero<br> Nathalia Santos Paiva<br> Audrey Simonnet<br> 
 Camille Tetreault</p> <p>ALTOS<span class='Apple-converted-space'> </span>
 <br> Abi Adam<br> Andi van der Burght<br> Ava Cairns<br> Samantha Corcoran
 <br> Sofia D'Ambrosia<br> Lilah Johnson<br> Lingjuan Kuang<br> Sophie Mans
 our<br> Gia Nguyen<br> Anastasia Olaru<br> Lexie Parton<br> Noa Resnikoff&lt;
 br&gt; Nura Sherif<br> Serenna Shock<br> Camryn Smith<br> Elaina Sung<br> Pol
 ina Shuklina</p> <p>TENORS<br> Coleman Brenner<br> Brielle Buenarte<br> Ai
 den Clegg<br> Katie Davis<br> Ana Lise Devery<br> Faith Ellis<br> Riley Gu
 dgel<br> Ruby Hart<br> Lyric Hawk<br> Jennie Jeon<br> Cody Kennedy<br> Chl
 oe Snyder<br> Ozias Tumimana<br> Julian Zhang<br> Caleb Tobing</p> <p>BASS
 <span class='Apple-converted-space'> </span><br> Cole Brimmer<br> Florian 
 Chiu<br> Benjamin Ferrel<br> Manuel Gomez Lopez<br> Elijah Graham<br> Gabe
  Harlev<br> Stanley Intihar<br> Johnny Nguyen<br> Anthony Pacurar<br> Feli
 x Solem<br> Raziel Spinosa Holguin<br> Samuel Terk<br> Taylor James Bellam
 y<br> Ethan Price</p> <h4>Treble Choir</h4> <p>Luna Ahumada<br> Lucy Aitke
 n<br> Maggie Anderson<br> Isabelle Barndicort<br> Leah Barracoso<br> Tanvi
  Bedekar<br> Aidin Behroozi<br> Freya Bennett<br> Abigail Benson<br> Cami 
 Berger<br> Lucy Brandt<br> Emily Cady<br> Olivia Cady<br> Irene Cai<br> Ay
 sem Cam<br> Isamar Chavez<br> Isabella Chen<br> Helen Chen<br> Ella Collin
 s<br> Cassidy Davis<br> Chaitna Deshmukh<br> Aliya Fischels<br> Olivia Fle
 sher<br> Julia Fraczek<br> Berlin Gharst*<br> Reagan Green<br> Samantha Gr
 over<br> Gail Guisinger<span class='Apple-converted-space'> </span><br> Av
 a Herman<br> Rebecca Himeda<br> Mari Hirayama<br> Maddie Ho<br> Megan Hong
 <br> Tatum Hunter<br> Abby Hussein<br> Takoda Jessen<br> Sydney Jordan*<br> Shiori Kasahara<br> Nishtha Kumar<br> Robin Larson<br> Cadence Lay<br> E
 lly Lee<br> Christine Lin<br> Mary Grace Linsley<br> Cece Lovelace<br> Ana
  Marriott<br> Isadora Miller*<br> Ariana Milo<br> Catinca Mosely*<br> Alin
 ah Nepean<br> Kaitlyn Nguyen<br> Delaney Orzol<br> Camille Ott<br> Ava Pak
 zad<br> Emily Pinneo<br> Alexandria Retteghieri<br> Manali Sawant<br> Sall
 y Schafer<br> Marina Sellers<br> Madeline Stroup<br> Connie Sun<br> Kate T
 aricani<br> Nathania Tasico<br> Camille Tetreault<span class='Apple-conver
 ted-space'> </span><br> Aliya Thompson<br> Alex Tischler<br> Alex Trias<br> Aria Wang<br> Adrienne Wegerer*<br> Talina White<br> Courtney Wigmore<br> Yuhan Zhang</p> <p>*section leader and/or officer<span class='Apple-conv
 erted-space'> </span></p> </td> </tr> </tbody> </table> <h3>Biographies
END:VEVENT
BEGIN:VEVENT
UID:7679c53a-6df8-4613-a4ed-34e523678853
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T204641Z
DESCRIPTION:<p></p>\n<p>The UW Percussion Ensemble (Bonnie Whiting\, direct
 or) and the UW Steelband (Gary Gibson\, interim director) present an end-o
 f-year percussion bash.  The Percussion Ensemble performs chamber music by
  Joe Moore\, Jason Treuting\, Anders Koppel\, and Ivan Trevino. The group 
 also presents the world premiere of Greg Stuart's Oxbow (written for UWPE 
 in 2020) and presents Tim Feeney's Iomramh: these pieces feature slowly-sh
 ifting timbral landscapes for 12+ percussionists exploring sounds at the t
 hreshold of audibility. The ten-member UW Steelband presents a a mixed pro
 gram of Trinidadian calypso\, Brazilian samba\, son monutuno (salsa)\, Ame
 rican pop\, and more.</p>\n<hr>\n<h2>Program</h2>\n<h3>2025 Percussion Bas
 h</h3>\n<h4><strong><br></strong>University of Washington Percussion Ensem
 ble<br><b></b></h4>\n<p>Bonnie Whiting\, Director<b><br></b><br>Oxbow (202
 0) - Greg Stuart (b. 1979)</p>\n<p>Jupiter from “The Planets” (c.a.1914-16
 ) - Gustav Holst (1874-1934). arr. Nathan Daughtrey</p>\n<p>Life is (__) (
 2018) - Jason Treuting (b. 1972)</p>\n<p>Toccata (1990) - Anders Koppel (b
 . 1947)</p>\n<p>Almaty (2015) - Ivan Trevino (b. 1983)</p>\n<p>Bon Temps (
 2018) - Joe W. Moore III (b. 1986)</p>\n<p>Iomramh (2019) -Tim Feeney (b. 
 1975)</p>\n<p><strong>The UW Percussion Ensemble</strong><br>Kaisho Barnhi
 ll\, Cyan Duong\, Momoka Fukushima\, Abigail George\, Simon Harty\, Colin 
 Lehman\, Taryn Marks\, <br>Alexander McLean\, Rose Martin\, Ivy Moore\, Lu
 igi Salvaggio\, Tyler Smith\, Nat Yamamoto<br>Bonnie Whiting\, Director</p>\n<p>INTERMISSION</p>\n<p></p>\n<h4>UW Steelband <br><b></b></h4>\n<p>Gar
 y Gibson\, Director</p>\n<p>Pan Rising - B. Sharpe arr. Shannon Dudley</p>
 \n<p>Brazil - A. Barroso arr. Gibson</p>\n<p>Iron Love - N. Blackman arr. 
 Kimani Bishop</p>\n<p>Downtown - T. Hatch arr. Gibson</p>\n<p>El Manicero-
  M. Simons arr. Dudley</p>\n<p>The Hammer - D. Rudder Arr. Gibson</p>\n<p>
 <strong>The UW Steel Band</strong><br>Kimani Bishop\, Calder Broadhead\, D
 amon Chan\, Yuna Dodobara\, Shannon Dudley\, Marques Nathan Locke\, Hannah
  Parke\, Joey Schafer\, Jacob Schultz\, Nicole Setiwan\, Elena Shafner\, w
 ith Simon Harty\, glockenspiel<br>Gary Gibson\, Guest Director</p>\n<hr>\n
 <h2>Acknowledgements</h2>\n<p>Many thanks to: Rose Martin (our TA and grad
  student worker)\, Tyler Smith (our student worker)\, the Meany Center sta
 ff\, Doug Niemela and the School of Music staff\, as well as our Director 
 Joël-François Durand</p>\n<hr>\n<h2>Program Notes</h2>\n<p><strong>Oxbow (
 2020): Greg Stuart</strong><br>to Bonnie Whiting and the University of Was
 hington Percussion Ensemble<br>for ensemble<br>An oxbow lake is a U-shaped
  lake that forms when a wide meander of a river is cut off\, creating a fr
 eestanding<br>body of water. This landform is so named for its distinctive
  curved shape\, which resembles the bow pin of an oxbow.<br>In this piece 
 the performers create a trajectory\, in discrete stages\, from continuousl
 y sustained noises (i.e.\, constant\, but variable\, “white noise” like so
 unds) to sounds that have more resonance\, sustain\, and are discontinuous
  (i.e.\, have gaps\, either in amplitude\, or spacing). This trajectory\, 
 in each player’s part\, has three distinct stages: <br>A) sustained noise 
 B) a combination of sustained noise and resonance and C) resonance.</p>\n&lt;
 p&gt;At the beginning of the piece the players should sound as a single\, but
  composite\, timbral river (i.e.\, a sonic “mass” with little differentiat
 ion). As time passes\, and the river begins to meander\, a segment of its 
 “flow” will be cut off from the main channel. An “oxbow lake” will start t
 o form when players combine their initial noise sound with their resonance
  sound. The emerging oxbow will exhibit an entirely new set of relationshi
 ps from the continuous flow of the river. Eventually\, only the oxbow soun
 d will remain. The oxbow sound should be full of resonance but should also
  be porous (i.e.\, players will not play all of the<br>time). The overall 
 feeling of the piece should be like going from sustained noise to a shifti
 ng group of ringing harmonic clouds\, from constant white-noise to a “fiel
 d” or ringing harmonies and deep rumbles.</p>\n<p><strong>Life is ( ) was written for So Percussion shortly after Amid the Noise was releas
 ed on Cantaloupe Music. Since then\, it has often been included in perform
 ances of that work. Like all of Amid the Noise\, it has flexible instrumen
 tation\, and though it is most often performed as a percussion quartet\, i
 t can be played by any instruments and can even be played by larger groups
 . <br>The piece is constructed by asking the performers to agree on sectio
 ns of newspaper and mining those sections for words to use in building the
  structure. In this way\, not only is each performance unique in its instr
 umentation\, but it is also unique in the rhythms and (subsequently) the m
 elodies that arise from these words. -Jason Treuting</p>\n<p><strong>Almat
 y</strong> (2015) is a percussion octet written for the 2015 PASIC All-Sta
 r Percussion Ensemble. The piece is scored for one 5.0 octave marimba\, on
 e 4.3 octave marimba\, vibraphone\, and five crotale parts utilizing a muf
 fling technique throughout the piece.<br>In March\, 2015\, I performed in 
 Almaty\, Kazakhstan. The city and its people left a lasting impression on 
 me\, and inspired me to write this music\, along with this short poem:</p>
 \n<p>I found a place that appreciates music<br>for what it is…not what it 
 appears to be.<br>I found a place where art prevails over money\,<br>where
  art prevails over subscribers and followers. <br>I found a place that is 
 cold in temperature\, but warm in humanity\,<br>where people love to be en
 lightened. <br>I found a place where people dress like hipsters\,<br>and h
 ug like parents.<br>I found a place that feels pure. -Ivan Trevino</p>\n<p><strong>Bon Temps</strong> was written for my good friend Gustavo Miranda
  and his students at Nicholls State University. The title Bon Temps comes 
 from the Louisiana saying\, 'Laissez les bon temps rouler' or 'Let the goo
 d times roll.' NSU premiered this piece on their percussion ensemble the f
 all semester of 2018. I hope you have a good time learning and performing 
 this piece! -Joe W. Moore</p>\n<p>Folk tradition in the Blasket Islands of
  western Ireland held that a person who takes to the water in a fishing cu
 rrach might find the skin hull of the boat vibrating with a strange music 
 given by the faeries. A sharp listener might be able to catch a bit of it 
 by fiddling along and could then bring the music back to the land of the l
 iving. The Pórt na bPúcaí is an example of music of this origin\, differen
 t from the body of traditional song. More recent and more scientific reaso
 ning suggests that the story describes the songs of humpback whales reverb
 erating up through the water to people rowing out to sea on what is essent
 ially a giant drumhead. There are great recordings of the tune by Tommy Pe
 oples\, Martin Hayes and Dennis Cahill\, and Liam O’Flynn\,<br>among many 
 others\, and Seamus Heaney writes wonderfully in the world of the myth in 
 the poem The Given Note.<br>-Tim Feeney\, on his <strong>Iomramh</strong> 
 (2019)</p>\n<hr>\n<h2>Biographies</h2>\n<h3><a href='https://www.twotreesm
 usic.com' target='_blank' rel='noopener noreferrer'>Gary Gibson</a></h3>\n
 <p></p>\n<p>Gary Gibson is a percussionist with a long and diverse local p
 erformance history\, including section percussion on film soundtracks with
  musicians of the Seattle Symphony\, working in the pit at Seattle’s 5th A
 venue and Paramount theaters\, drumming with almost every big band in town
 \, playing vibraphone in numerous local jazz groups\, and\, of course\, pl
 aying steel pan at hundreds of engagements both public and private.</p>\n&lt;
 p&gt;He has recorded four critically acclaimed albums of original progressive
  music featuring the steel pan\, is the winner of two out of three categor
 ies of Trinidad’s “Symphony &amp; Steel” composition contest\, and is a winner
  of Trinidad’s “Panorama National Steel Band Championship.” He is known in
 ternationally as a clinician and concert/recording artist\, and makes nume
 rous trips each year to adjudicate at steel band festivals or be a guest c
 oncert artist with college and high school steel band groups around the co
 untry. In 2024\, he was the keynote presenter and performer at the Nationa
 l Society of Steel Band Educators (NSSBE) national conference in Austin\, 
 TX.Gibson’s current position is Executive and Artistic Director at Steel M
 agic Northwest\, a non-profit he founded in 2014 that provides after-schoo
 l steelband for kids in the Edmonds and Kent communities\, as well as an a
 dult community band.</p>
DTSTART;TZID=America/Los_Angeles:20250529T193000
LAST-MODIFIED:20250529T050120Z
SEQUENCE:230
SUMMARY:: Percussion Ensemble and UW Steelband
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-30/percussion-ensemble-and-
 uw-steelband
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The UW Percussion Ensemble (Bonnie 
 Whiting\, director) and the UW Steelband (Gary Gibson\, interim director) 
 present an end-of-year percussion bash.  The Percussion Ensemble performs 
 chamber music by Joe Moore\, Jason Treuting\, Anders Koppel\, and Ivan Tre
 vino. The group also presents the world premiere of Greg Stuart's <i>Oxbow
 </i> (written for UWPE in 2020) and presents Tim Feeney's Iomramh: these p
 ieces feature slowly-shifting timbral landscapes for 12+ percussionists ex
 ploring sounds at the threshold of audibility. The ten-member UW Steelband
  presents a a mixed program of Trinidadian calypso\, Brazilian samba\, son
  monutuno (salsa)\, American pop\, and more.</p> <hr> <h2>Program</h2> <h3>2025 Percussion Bash</h3> <h4><strong><br></strong>University of Washingt
 on Percussion Ensemble<br><b></b></h4> <p><em>Bonnie Whiting\, Director<b><br></b><br>Oxbow (2020) - Greg Stuart (b. 1979)</p> <p>Jupiter from 
 “The Planets” (c.a.1914-16) - Gustav Holst (1874-1934). arr. Nathan Daught
 rey</p> <p>Life is (__) (2018) - Jason Treuting (b. 1972)</p> <p>Toccata (
 1990) - Anders Koppel (b. 1947)</p> <p>Almaty (2015) - Ivan Trevino (b. 19
 83)</p> <p>Bon Temps (2018) - Joe W. Moore III (b. 1986)</p> <p>Iomramh (2
 019) -Tim Feeney (b. 1975)</p> <p><strong>The UW Percussion Ensemble<br><span>Kaisho Barnhill\, </span>Cyan Duong\, Momoka Fukushima\, Abig
 ail George\, Simon Harty\, Colin Lehman\, Taryn Marks\, <br>Alexander McLe
 an\, Rose Martin\, Ivy Moore\, Luigi Salvaggio\, Tyler Smith\, Nat Yamamot
 o<br>Bonnie Whiting\, Director</p> <p>INTERMISSION</p> <p></p> <h4>UW Stee
 lband <br><b></b></h4> <p><em>Gary Gibson\, Director</em></p> <p>Pan Risin
 g - B. Sharpe arr. Shannon Dudley</p> <p>Brazil - A. Barroso arr. Gibson</p> <p>Iron Love - N. Blackman arr. Kimani Bishop</p> <p>Downtown - T. Hatc
 h arr. Gibson</p> <p>El Manicero- M. Simons arr. Dudley</p> <p>The Hammer 
 - D. Rudder Arr. Gibson</p> <p><strong>The UW Steel Band</strong><br>Kiman
 i Bishop\, Calder Broadhead\, Damon Chan\, Yuna Dodobara\, Shannon Dudley\
 , Marques Nathan Locke\, Hannah Parke\, Joey Schafer\, Jacob Schultz\, Nic
 ole Setiwan\, Elena Shafner\, with Simon Harty\, glockenspiel<br>Gary Gibs
 on\, Guest Director</p> <hr> <h2>Acknowledgements</h2> <p>Many thanks to: 
 Rose Martin (our TA and grad student worker)\, Tyler Smith (our student wo
 rker)\, the Meany Center staff\, Doug Niemela and the School of Music staf
 f\, as well as our Director Joël-François Durand</p> <hr> <h2>Program Note
 s</h2> <p><strong>Oxbow (2020): Greg Stuart</strong><br>to Bonnie Whiting 
 and the University of Washington Percussion Ensemble<br>for ensemble<br>An
  oxbow lake is a U-shaped lake that forms when a wide meander of a river i
 s cut off\, creating a freestanding<br>body of water. This landform is so 
 named for its distinctive curved shape\, which resembles the bow pin of an
  oxbow.<br>In this piece the performers create a trajectory\, in discrete 
 stages\, from continuously sustained noises (i.e.\, constant\, but variabl
 e\, “white noise” like sounds) to sounds that have more resonance\, sustai
 n\, and are discontinuous (i.e.\, have gaps\, either in amplitude\, or spa
 cing). This trajectory\, in each player’s part\, has three distinct stages
 : <br>A) sustained noise B) a combination of sustained noise and resonance
  and C) resonance.</p> <p>At the beginning of the piece the players should
  sound as a single\, but composite\, timbral river (i.e.\, a sonic “mass” 
 with little differentiation). As time passes\, and the river begins to mea
 nder\, a segment of its “flow” will be cut off from the main channel. An “
 oxbow lake” will start to form when players combine their initial noise so
 und with their resonance sound. The emerging oxbow will exhibit an entirel
 y new set of relationships from the continuous flow of the river. Eventual
 ly\, only the oxbow sound will remain. The oxbow sound should be full of r
 esonance but should also be porous (i.e.\, players will not play all of th
 e<br>time). The overall feeling of the piece should be like going from sus
 tained noise to a shifting group of ringing harmonic clouds\, from constan
 t white-noise to a “field” or ringing harmonies and deep rumbles.</p> <p>&lt;
 strong&gt;Life is ( )</strong> was written for So Percussion shortly after Am
 id the Noise was released on Cantaloupe Music. Since then\, it has often b
 een included in performances of that work. Like all of Amid the Noise\, it
  has flexible instrumentation\, and though it is most often performed as a
  percussion quartet\, it can be played by any instruments and can even be 
 played by larger groups. <br>The piece is constructed by asking the perfor
 mers to agree on sections of newspaper and mining those sections for words
  to use in building the structure. In this way\, not only is each performa
 nce unique in its instrumentation\, but it is also unique in the rhythms a
 nd (subsequently) the melodies that arise from these words. -Jason Treutin
 g</p> <p><strong>Almaty</strong> (2015) is a percussion octet written for 
 the 2015 PASIC All-Star Percussion Ensemble. The piece is scored for one 5
 .0 octave marimba\, one 4.3 octave marimba\, vibraphone\, and five crotale
  parts utilizing a muffling technique throughout the piece.<br>In March\, 
 2015\, I performed in Almaty\, Kazakhstan. The city and its people left a 
 lasting impression on me\, and inspired me to write this music\, along wit
 h this short poem:</p> <p>I found a place that appreciates music<br>for wh
 at it is…not what it appears to be.<br>I found a place where art prevails 
 over money\,<br>where art prevails over subscribers and followers. <br>I f
 ound a place that is cold in temperature\, but warm in humanity\,<br>where
  people love to be enlightened. <br>I found a place where people dress lik
 e hipsters\,<br>and hug like parents.<br>I found a place that feels pure. 
 -Ivan Trevino</p> <p><strong>Bon Temps</strong> was written for my good fr
 iend Gustavo Miranda and his students at Nicholls State University. The ti
 tle Bon Temps comes from the Louisiana saying\, 'Laissez les bon temps rou
 ler' or 'Let the good times roll.' NSU premiered this piece on their percu
 ssion ensemble the fall semester of 2018. I hope you have a good time lear
 ning and performing this piece! -Joe W. Moore</p> <p>Folk tradition in the
  Blasket Islands of western Ireland held that a person who takes to the wa
 ter in a fishing currach might find the skin hull of the boat vibrating wi
 th a strange music given by the faeries. A sharp listener might be able to
  catch a bit of it by fiddling along and could then bring the music back t
 o the land of the living. The Pórt na bPúcaí is an example of music of thi
 s origin\, different from the body of traditional song. More recent and mo
 re scientific reasoning suggests that the story describes the songs of hum
 pback whales reverberating up through the water to people rowing out to se
 a on what is essentially a giant drumhead. There are great recordings of t
 he tune by Tommy Peoples\, Martin Hayes and Dennis Cahill\, and Liam O’Fly
 nn\,<br>among many others\, and Seamus Heaney writes wonderfully in the wo
 rld of the myth in the poem The Given Note.<br>-Tim Feeney\, on his Iomramh</strong> (2019)</p> <hr> <h2>Biographies</h2> <h3><a href='//www.twotreesmusic.com' target='_blank' rel='noopener noreferrer'>Gary G
 ibson</a></h3> <p></p> <p>Gary Gibson is a percussionist with a long and d
 iverse local performance history\, including section percussion on film so
 undtracks with musicians of the Seattle Symphony\, working in the pit at S
 eattle’s 5th Avenue and Paramount theaters\, drumming with almost every bi
 g band in town\, playing vibraphone in numerous local jazz groups\, and\, 
 of course\, playing steel pan at hundreds of engagements both public and p
 rivate.</p> <p>He has recorded four critically acclaimed albums of origina
 l progressive music featuring the steel pan\, is the winner of two out of 
 three categories of Trinidad’s “Symphony &amp; Steel” composition contest\, an
 d is a winner of Trinidad’s “Panorama National Steel Band Championship.” H
 e is known internationally as a clinician and concert/recording artist\, a
 nd makes numerous trips each year to adjudicate at steel band festivals or
  be a guest concert artist with college and high school steel band groups 
 around the country. In 2024\, he was the keynote presenter and performer a
 t the National Society of Steel Band Educators (NSSBE) national conference
  in Austin\, TX.Gibson’s current position is Executive and Artistic Direct
 or at Steel Magic Northwest\, a non-profit he founded in 2014 that provide
 s after-school steelband for kids in the Edmonds and Kent communities\, as
  well as an adult community band.</p>
END:VEVENT
BEGIN:VEVENT
UID:1daf5a07-6823-40f5-baf4-be67c70b2a4e
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T173655Z
DESCRIPTION:<p></p>\n<p>The Chamber Singers (Geoffrey Boers\, director) and
  University Chorale (Giselle Wyers\, director) present 'Blue Planet\,' a p
 rogram of works demonstrating multiple cultures through crossover genre\, 
 syncretic styles\, and the African diaspora in the United States. With spe
 cial guest Professor Marc Seales\, piano.</p>\n<hr>\n<h2>Program</h2>\n<h3>University Chorale</h3>\n<p><strong>Scott Fiks
 e\, Nicholas Renaud\, Helen Woodruff\, conductors<br></strong><strong>Sere
 na Chin\, collaborative pianist</strong></p>\n<p>Portones Abiertos y Rostros Brilliantes - Paul Basler (b. 1963)</p>\n<p>Ka Wai 'Apo Lani  - Queen Liliʻuokalani (1838-1
 917) arr. Dorothy K Gillett<br>Juniper Blessing\, soloist\; Quinn Ewing\, 
 Maya Shah\, Caleb Strader\, Danny Vizenor\, vocal quartet</p>\n<p>To the Hands - Caroline Shaw (b. 1982)<br>I. Prelude<br>II. In Medio (in the midst)<br>IV. ever ever ever<br>V. Litany of the Dis
 placed<br>VI. I will hold you<br>Katelyn Wales\, Sofia Groff\, Sophie Root
 \, Quinn Ewing\, Jessica Thaxton\, Haley Westberg\, Caleb Strader\, Michae
 l Lim\, Jack Hawley\, Andrew Hoch\, soloists\; Luis Nenninger\, Caroline F
 aflak\, violins\; Eddie Nicholson\, viola\; Erika Fiebig\, cello\; Attila 
 Kiss\, bass</p>\n<p>TaReKiTa
  -  Reena Esmail (b. 1983)</p>\n<p>Rise Up\, My
  Love\, My Fair One -  Healey Willan (1880-1968)</p>\n<p>Three Shakespeare Songs -Ralph Vaughan Williams (1872-1958)<br>I
 I. The Cloud-Capp’d Towers</p>\n<p>Les Voyageur
 s de la Gatineau  - French Canadian Folk Song. arr. Jennifer McMillan<br>J
 essica Thaxton\, violin</p>\n<h3>Chamber Singer
 s</h3>\n<p><b>Dr. Geoffrey Boers\, </b><b>Conductor<br></b><b>Clara Johnso
 n\, Michael McKenzie\, Evan Norberg\, </b><b>Assistant Conductors<br></b>&lt;
 b&gt;Serena Chin\, </b><b>Collaborative Pianist<br></b><strong>And Special Gu
 est:</strong><b> </b><b>Marc Seales\, </b><b>Piano</b></p>\n<p><strong>As 
 the Day Goes: Waking Up and Awakening!</strong></p>\n<p>So Breaks the Sun 
 - Shavon Lloyd (b. 1997)<br>Michael McKenzie\, conductor</p>\n<p>The Wakin
 g - Giselle Wyers (b. 1969)<br>Serena Chin\, piano</p>\n<p>This Day\, O So
 ul Jake Houser <br><br>Ophelia Songs - Evan Ingalls <br>Clara Johnson\, co
 nductor\; Serena Chin\, piano<br>________<br>Spirituals and Jazz Settings&lt;
 br&gt;With Marc Seales\, piano\; Don Tran\, bass\; Toby Miller\, drums<br><br>Daniel\, Daniel\, Servant of the Lord - trad. Spiritual\, arr. Undine Moo
 re (1904-1989)</p>\n<p>Inside a Silent Tear - arr. Dave Barduhn<br>Evan No
 rberg\, conductor</p>\n<p>A Prayer (a cappella) - Ken Burton (b. 1970)</p>
 \n<p>His Eye is On the Sparrow - Martin/Gabriel\, arr. Zanaida Stewart Rob
 les </p>\n<p>Soon Its Gonna Rain - Schmidt/Jones\, arr. Dave Barduhn </p>
 \n<hr>\n<h3>Lyrics and Translations</h3>\n<p><s trong>Portones Abiertos y Rostros Brilliantes<br></strong>Open Gates and G
 lowing Faces</p>\n<p>Of course I am happy\,<br>
 Wouldn’t you be? When I look<br>At open gates and see a garden full of lif
 e\, </p>\n<p>Of good health and smiles of glowi
 ng<br>            Faces … it ignites my spirit </p>\n<p>I have never been more excited to be<br>            Alive<br>And 
 in the radiance of peace that grows\, I<br>            Know that when I<br>Surrender to sleep and the ocean of night<br>Cradles my dreams\,<br>I can
  only be in one state of being…</p>\n<p>Complet
 ely open…<br>            —Gabriel Navar </p>\n<p><strong>Ka Wai 'Apo Lani<br></strong>Royal and Sacred Taro-Leaf-Caught R
 aindrops</p>\n<p>1. Reminiscent of being in the presence of a body of wate
 r<br>the heavy presence of royal and sacred taro-leaf-caught raindrops\,<b r>The eighth of the rulers is the fiery taro leaf sacrifice\,<br>The leapi
 ng flames\, the ruling glow of the land. </p>\n<p>CHORUS<br>When compassion comes\,<br>There will be full approval<br>Fro
 m Kane's pool of sacred waters\, The foundation\, the root of the land.</p>\n<p>2. It possesses and brings chiefly deport
 ment with her majesty\,<br>The precious crescent lei\,<br>My subjects find
  relief in the many offerings<br>given from the heart\,<br>Together with t
 hose of my own ancestry. </p>\n<p>3. Words come like a pressing needle\,<b r>Don't shy away from your subjects\,<br>While you have this responsibilit
 y\,<br>While you feel so strongly about this.<br><br>Translation\, Hui Han
 ai</p>\n<p> </p>\n<p><strong>To the Hands<br></strong><strong>II. In Medio<br></strong>In the Midst <br><br>what are th
 ose wounds<br>what are those wounds in the midst of your hands<br>in the m
 idst<br>what are those wounds<br>what are those wounds in the midst of our
  hands<br> </p>\n<p><strong>Les Voyageurs de la
  Gatineau<br></strong>The Travelers on the Gatineau</p>\n<p>We set off for a canoe trip on the Gatineau<br>More often on 
 foot and the load on our backs<br>There\, we thought of our youth that we 
 had spent so badly<br>Running in the inns\, spending our money </p>\n<p st yle=' 400\;'>When we reached these shores\, from lake to lake 
 to the camp<br>It is here that we are destined to build\, my dear children
 <br>To build a cabin what we call a camp<br>A camp but of spruce\, round w
 ood not square</p>\n<p>Let everyone take their 
 place\, here is where we will sleep<br>We will sleep on the bed of branche
 s that we will gather<br>Put branches a hundred times\, but branches of fi
 r<br>And to be more comfortable\, the largest under the back </p>\n<p styl e=' 400\;'>Ah! if I ever return to the country where I come fr
 om<br>I will make a man of myself and not a good-for-nothing<br>I will lea
 ve the cabin in these distant woods<br>I will take care of my wife without
  running into the camps</p>\n<p>I will leave th
 e cabin in these distant woods<br>I will take care of my wife without runn
 ing into the camps   </p>\n<p> </p>\n<h3></h3>
 \n<p><strong>So Breaks the Sun:  Ben Johnson<br></strong>So breaks the sun
  earth's rugged chains\,<br>    Wherein rude winter bound her veins\;<br>S
 o grows both stream and source of price\,<br>      That lately fettered we
 re with ice.<br>So naked trees get crisped heads\,<br>      And colored co
 ats the roughest meads\,<br>And all get vigor\, youth\, and spright\,<br> 
      That are but looked on by his light.</p>\n<p><strong>The Waking: Theo
 dore Roethke<br></strong>I strolled across<br>An open field\;<br>The sun w
 as out\;<br>Heat was happy.<br>This way! This way!<br>The wren’s throat sh
 immered\,<br>Either to other\,<br>The blossoms sang.<br>The stones sang\,&lt;
 br&gt;The little ones did\,<br>And the flowers jumped<br>Like small goats.<br>A ragged fringe<br>Of daisys waved\;<br>I wasn’t alone<br>In a grove of a
 pples.<br>Far in the wood<br>A nestling sighed\;<br>The dew loosened<br>It
 s morning smells.<br>I came where the river<br>Ran over stones:<br>My ears
  knew<br>An early joy.<br>And all the waters<br>Of all the streams<br>Sang
  in my veins<br>That summer day.</p>\n<p><strong>This Day\, O Soul: Walt W
 hitman<br></strong>This day\, O soul\, I give you a wondrous mirror\;<br>L
 ong in the dark\, in tarnish and cloud it lay - But the cloud<br>has pass'
 d\, and the tarnish gone\;<br>. . . Behold\, O soul! it is now a clean and
  bright mirror\, <br>Faithfully showing you all the things of the world.<b r><br></p>\n<p><strong>Ophelia Songs:  William Shakespeare<br></strong>How
  should I your true love know From another one?<br>By his cockle hat and s
 taff\, And his sandal shoon.<br>He is dead and gone\, lady\, He is dead an
 d gone\;<br>At his head a grass-green turf\, At his heels a stone.<br>They
  bore him barefac'd on the bier\;<br>And on his grave rain many a tear\,—&lt;
 br&gt;Fare you well\, my dove!<br>You must sing\, Down-a-down\, call him a-do
 wn-a.<br>To-morrow is Saint Valentine's day\, All in the morning betime\,&lt;
 br&gt;And I\, a maid at your window\, To be your Valentine!<br>And will he no
 t come again? And will he not come again?<br>No\, no\, he is dead\,<br>Gon
 e to his death-bed\,<br>He never will come again. His beard was white as s
 now\, All flaxen was his poll:<br>He is gone\, he is gone\,<br>And we cast
  away moan: Heaven 'a mercy on his soul!</p>\n<p><strong>Daniel\, Daniel\,
  Servant of the Lord</strong><br>Oh\, the king cried\, <br>Oh\, Daniel\, D
 aniel\, oh!<br>A-that-a Hebrew Daniel\, <br>Daniel\, Daniel\, oh! <br>Oh\,
  Daniel\, Daniel\, <br>Servant of the Lord!</p>\n<p>Among the Hebrew natio
 n\, <br>One Hebrew Daniel was found<br>They put him in the lion's den<br>H
 e stayed there all night long.</p>\n<p>Now the King in his sleep was troub
 led<br>And early in the morning he rose<br>To find God sent His angels dow
 n<br>To Lock the Lion's jaws.</p>\n<p>Oh\, the king cried\, <br>Oh\, Danie
 l\, Daniel\, oh!<br>Servant of the Lord</p>\n<p><strong>Inside a Silent Te
 ar<br></strong>Inside a silent tear\, I have a silent dream<br>That someti
 mes sails across the patterns of my mind<br>The silence follows me and dre
 ams just disappear<br>And then I find myself inside a silent tear</p>\n<p>
 Sometimes I laugh too much<br>To lose the loneliness<br>I'm not the laughi
 ng kind<br>I can't say anything I really want to say<br>I guess I try so h
 ard I stumble on the way</p>\n<p>I'm always finding love when it's not mea
 nt to be<br>What is reality and can it be defined?<br>When you're a fool l
 ikе me it's never rеally clear<br>So you have silent dreams inside a silen
 t tear</p>\n<p>I'm always finding love when it's not meant to be<br>What i
 s reality and can it be defined?<br>When you're a fool like me it's never 
 really clear<br>So you have silent dreams inside a silent tear</p>\n<p>A Prayer: Paul Laurence Dunbar<br></strong>O Lord\, the hard-won mile
 s<br>    Have worn my stumbling feet:<br>Oh\, soothe me with thy smiles\,&lt;
 br&gt;    And make my life complete.</p>\n<p>The thorns were thick and keen<b r>    Where’er I trembling trod\;<br>The way was long between<br>    My wo
 unded feet and God.</p>\n<p>Where healing waters flow<br>    Do thou my fo
 otsteps lead.<br>My heart is aching so\;<br>    Thy gracious balm I need.&lt;
 /p&gt;\n<p><strong>His Eye is on the Sparrow: Civilla D. Martin<br></strong>“
 Let not your heart be troubled.”<br>His tender word I hear\,<br>And restin
 g on His goodness\,<br>I lose my doubt and fear.<br>Though by the path He 
 leadeth\,<br>But one step I may see:<br>His eye is on the sparrow\,<br>And
  I know He watches me\;<br>His eye is on the sparrow\,<br>And I know He wa
 tches me.</p>\n<p>Why should I feel discouraged?<br>Why should the shadows
  come?<br>Why should my heart be lonely<br>And long for heav’n and home\,&lt;
 br&gt;When Jesus is my portion?<br>My constant Friend is He:<br>His eye is on
  the sparrow\,<br>And I know He watches me\;<br>His eye is on the sparrow\
 ,<br>And I know He watches me.</p>\n<p>I sing because I’m happy—<br>I sing
  because I’m free—<br>For His eye is on the sparrow\,<br>And I know He wat
 ches me.</p>\n<p><strong>Soon Its Gonna Rain<br></strong>Soon it's gonna r
 ain<br>I can see it<br>Soon it's gonna rain<br>i can tell<br>Soon it's gon
 na rain<br>What are we gonna do<br>Soon it's gonna rain<br>I can feel it<b r>Soon it's gonna rain<br>I can tell</p>\n<p>Soon it's gonna rain<br>What'
 ll we do with you<br>We'll find<br>Four limbs of a tree<br>We'll build<br>
 Four walls and a floor<br>We'll bind<br>It over with leaves<br>And duck in
 side to stay</p>\n<p>Then we'll let it rain<br>We'll not feel it<br>Then w
 e'll let it rain<br>Rain pell mell<br>Then we'll not complain<br>If it nev
 er stops at all</p>\n<p>We'll live and love<br>Within our own four walls</p>\n<p>We'll find<br>Four limbs of a tree<br>We'll build<br>Four walls and
  a floor<br>We'll bind<br>It over with leaves<br>And duck inside to stay</p>\n<p>Then we'll let it rain<br>We'll not feel it<br>Then we'll let it ra
 in<br>Rain pell mell<br>Then we'll not complain<br>If it never stops at al
 l</p>\n<p>We'll live and love<br>Within our own four walls</p>\n<hr>\n<h3>
 Biographies</h3>
DTSTART;TZID=America/Los_Angeles:20250530T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:231
SUMMARY:: Chamber Singers and University Chorale: Blue Planet
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-31/chamber-singers-and-univ
 ersity-chorale-blue-planet
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The Chamber Singers (Geoffrey Boers
 \, director) and University Chorale (Giselle Wyers\, director) present 'Bl
 ue Planet\,' a program of works demonstrating multiple cultures through cr
 ossover genre\, syncretic styles\, and the African diaspora in the United 
 States. With special guest Professor Marc Seales\, piano.</p> <hr> <h2>Pro
 gram</h2> <h3>University Chorale</h3> <p><em>Scott Fikse\, Nicholas Renaud\, Helen Woodruff\, conductors<br></em>
 </strong><strong><em>Serena Chin\, collaborative pianist</em></strong></p>
  <p><em>Portones Abiertos y Rostros Brilliantes
 <span> - </span></em>Paul Basler (b. 1963)</p> <p><em>Ka Wai 'Apo Lani</em><span>  - </span>Queen Liliʻuokalani (1838-191
 7) arr. Dorothy K Gillett<br><em>Juniper Blessing\, soloist\; Quinn Ewing\
 , Maya Shah\, Caleb Strader\, Danny Vizenor\, vocal quartet</em></p> <p st yle=' 400\;'><em>To the Hands</em><span> -</span><span> </span>Caroline Shaw (b. 1982)<br>I. Prelude<br>II. In Medio (in the midst)<br>I
 V. ever ever ever<br>V. Litany of the Displaced<br>VI. I will hold you<br>
 <em>Katelyn Wales\, Sofia Groff\, Sophie Root\, Quinn Ewing\, Jessica Thax
 ton\, Haley Westberg\, Caleb Strader\, Michael Lim\, Jack Hawley\, Andrew 
 Hoch\, soloists\; Luis Nenninger\, Caroline Faflak\, violins\; Eddie Nicho
 lson\, viola\; Erika Fiebig\, cello\; Attila Kiss\, bass</em></p> <p><em>TaReKiTa -  </em>Reena Esmail
 <em> (b. 1983)</em></p> <p><em>Rise Up\, My Lov
 e\, My Fair One</em><span> -  </span>Healey Willan (1880-1968)</p> <p styl e=' 400\;'><em>Three Shakespeare Songs<span> -</span></em>Ralp
 h Vaughan Williams (1872-1958)<br>II. The Cloud-Capp’d Towers</p> <p><em>Les Voyageurs de la Gatineau</em><span>  - French Canadian Folk Song. arr. Jennifer McMillan<br><em>Jessica Thaxton
 \, violin</em></p> <h3>Chamber Singers</h3> <p>
 <b>Dr. Geoffrey Boers\, </b><b><i>Conductor<br></i></b><b>Clara Johnson\, 
 Michael McKenzie\, Evan Norberg\, </b><b><i>Assistant Conductors<br></i></b><b>Serena Chin\, </b><b><i>Collaborative Pianist<br></i></b><strong>And 
 Special Guest:</strong><b><i> </i></b><b>Marc Seales\, </b><b><i>Piano</i>
 </b></p> <p><strong>As the Day Goes: Waking Up and Awakening!</strong></p>
  <p>So Breaks the Sun - Shavon Lloyd (b. 1997)<br><em>Michael McKenzie\, c
 onductor</em></p> <p>The Waking - Giselle Wyers (b. 1969)<br><em>Serena Ch
 in\, piano</em></p> <p>This Day\, O Soul Jake Houser <br><br>Ophelia Songs
  - Evan Ingalls <br><em>Clara Johnson\, conductor\; Serena Chin\, piano<br></em>________<br>Spirituals and Jazz Settings<br>With Marc Seales\, piano
 \; Don Tran\, bass\; Toby Miller\, drums<br><br>Daniel\, Daniel\, Servant 
 of the Lord - trad. Spiritual\, arr. Undine Moore (1904-1989)</p> <p>Insid
 e a Silent Tear - arr. Dave Barduhn<br><em>Evan Norberg\, conductor</em></p> <p>A Prayer <em>(a cappella)</em> - Ken Burton (b. 1970)</p> <p>His Eye
  is On the Sparrow - Martin/Gabriel\, arr. Zanaida Stewart Robles </p> <p>
 Soon Its Gonna Rain - Schmidt/Jones\, arr. Dave Barduhn </p> <hr> <h3>Lyri
 cs and Translations</h3> <p><strong><em>Portone
 s Abiertos y Rostros Brilliantes<br></em></strong>Open Gates and Glowing F
 aces</p> <p>Of course I am happy\,<br>Wouldn’t 
 you be? When I look<br>At open gates and see a garden full of life\, </p> 
 <p>Of good health and smiles of glowing<br>            </span>Faces … it ignites my spirit </p> <p>I have never been more excited to be<br><span>            Alive<br>And in the radiance of peace that grows\, I<br><span>          
   </span>Know that when I<br>Surrender to sleep and the ocean of night<br>
 Cradles my dreams\,<br>I can only be in one state of being…</p> <p>Completely open…<br><span>            </span>—Gabriel 
 Navar </p> <p><strong>Ka Wai 'Apo Lani<br><em>Royal and Sacred Taro-Leaf-Caught Raindrops</em></p> <p>1. Reminis
 cent of being in the presence of a body of water<br>the heavy presence of 
 royal and sacred taro-leaf-caught raindrops\,<br>The eighth of the rulers 
 is the fiery taro leaf sacrifice\,<br>The leaping flames\, the ruling glow
  of the land. </p> <p>CHORUS<br>When compassion
  comes\,<br>There will be full approval<br>From Kane's pool of sacred wate
 rs\, The foundation\, the root of the land.</p> <p>2. It possesses and brings chiefly deportment with her majesty\,<br>Th
 e precious crescent lei\,<br>My subjects find relief in the many offerings
 <br>given from the heart\,<br>Together with those of my own ancestry. </p>
  <p>3. Words come like a pressing needle\,<br>Don't shy away from your sub
 jects\,<br>While you have this responsibility\,<br>While you feel so stron
 gly about this.<br><br><em>Translation\, Hui Hanai</em></p> <p> </p> <p><strong>To the Hands<b r></strong><strong>II. In
  Medio<br></strong><em>In the Midst</em> <br><br>what are those wounds<br>
 what are those wounds in the midst of your hands<br>in the midst<br>what a
 re those wounds<br>what are those wounds in the midst of our hands<br> </p> <p><strong>Les Voyageurs de la Gatineau<br></strong><em>The Travelers on the Gatineau</em></p> <p>We set off for a canoe trip on the Gatineau<br>More often on foot an
 d the load on our backs<br>There\, we thought of our youth that we had spe
 nt so badly<br>Running in the inns\, spending our money </p> <p>When we reached these shores\, from lake to lake to the c
 amp<br>It is here that we are destined to build\, my dear children<br>To b
 uild a cabin what we call a camp<br>A camp but of spruce\, round wood not 
 square</p> <p>Let everyone take their place\, h
 ere is where we will sleep<br>We will sleep on the bed of branches that we
  will gather<br>Put branches a hundred times\, but branches of fir<br>And 
 to be more comfortable\, the largest under the back </p> <p>Ah! if I ever return to the country where I come from<br>I wi
 ll make a man of myself and not a good-for-nothing<br>I will leave the cab
 in in these distant woods<br>I will take care of my wife without running i
 nto the camps</p> <p>I will leave the cabin in 
 these distant woods<br>I will take care of my wife without running into th
 e camps<span>   </span></p> <p> </p> <h3></h3> 
 <p><strong>So Breaks the Sun:  Ben Johnson<br></strong><span>So breaks the sun earth's rugged chains\,<br></span><span st yle=' 400\;'>    Wherein rude winter bound her veins\;<br><span>So grows both stream and source of pri
 ce\,<br></span><span>      That lately fettered
  were with ice.<br></span><span>So naked trees 
 get crisped heads\,<br></span><span>      And c
 olored coats the roughest meads\,<br></span><span>And all get vigor\, youth\, and spright\,<br></span><span>      That are but looked on by his light.</span></p> <p>The Waking: Theodore Roethke<br></strong><span>I strolled across<br></span><span>An open 
 field\;<br></span><span>The sun was out\;<br></span><span>Heat was happy.<br></span><span styl e=' 400\;'>This way! This way!<br></span><span>The wren’s throat shimmered\,<br></span><span>Either to other\,<br></span><span>Th
 e blossoms sang.<br></span><span>The stones san
 g\,<br></span><span>The little ones did\,<br></span><span>And the flowers jumped<br></span>Like small goats.<br></span><span>A ragged fringe<br></span><span>Of daisys waved\;<br></span><span>I wasn’t al
 one<br></span><span>In a grove of apples.<br></span><span>Far in the wood<br></span><span styl e=' 400\;'>A nestling sighed\;<br></span><span>The dew loosened<br></span><span>It
 s morning smells.<br></span><span>I came where 
 the river<br></span><span>Ran over stones:<br>&lt;
 /span&gt;<span>My ears knew<br></span><span>An early joy.<br></span><span>And all the waters<br></span><span>Of all t
 he streams<br></span><span>Sang in my veins<br>
 </span><span>That summer day.</span></p> <p>This Day\, O Soul: Walt Whitman<br></strong><span>This day\, O soul\, I give you a wondrous mirror\;<br></span><span>Long in the dark\, in tarnish and cloud it lay
  - But the cloud<br></span><span>has pass'd\, a
 nd the tarnish gone\;<br></span><span>. . . Beh
 old\, O soul! it is now a clean and bright mirror\, <br></span><span>Faithfully showing you all the things of the world.&lt;
 br&gt;<br></span></p> <p><strong>Ophelia Songs:  William Shakespeare<br><span>How should I your true love know From
  another one?<br></span><span>By his cockle hat
  and staff\, And his sandal shoon.<br></span><span>He is dead and gone\, lady\, He is dead and gone\;<br></span><span sty le=' 400\;'>At his head a grass-green turf\, At his heels a st
 one.<br></span><span>They bore him barefac'd on
  the bier\;<br></span><span>And on his grave ra
 in many a tear\,—<br></span><span>Fare you well
 \, my dove!<br></span><span>You must sing\, Dow
 n-a-down\, call him a-down-a.<br></span><span>T
 o-morrow is Saint Valentine's day\, All in the morning betime\,<br></span>
 <span>And I\, a maid at your window\, To be you
 r Valentine!<br></span><span>And will he not co
 me again? And will he not come again?<br></span><span>No\, no\, he is dead\,<br></span><span>G
 one to his death-bed\,<br></span><span>He never
  will come again. His beard was white as snow\, All flaxen was his poll:<b r></span><span>He is gone\, he is gone\,<br></s><span>And we cast away moan: Heaven 'a merc
 y on his soul!</span></p> <p><span><strong>Dani
 el\, Daniel\, Servant of the Lord</strong><br></span><span>Oh\, the king cried\, <br></span><span>Oh\, Daniel\, Daniel\, oh!<br></span><span>
 A-that-a Hebrew Daniel\, <br></span><span>Danie
 l\, Daniel\, oh! <br></span><span>Oh\, Daniel\,
  Daniel\, <br></span><span>Servant of the Lord!
 </span></p> <p>Among the Hebrew nation\, <br><span>One Hebrew Daniel was found<br></span><span>They put him in the lion's den<br></span><span>He stayed there all night long.</span></p> <p><span>Now the King in his sleep was troubled<br></span><span>And early in the morning he rose<br></span><span>To find God sent His angels down<br></span><span>To Lock the Lion's jaws.</span></p> <p><span>Oh\, the king cried\, <br></span><span>Oh\, Daniel\, Daniel\, oh!</span><span>
 <br>Servant of the Lord</span></p> <p><strong>Inside a Silent Tear<br>Inside a silent tear\, I have a silent dream<br><span>That sometimes sails across the patterns of my mind<br></span>
 <span>The silence follows me and dreams just di
 sappear<br></span><span>And then I find myself 
 inside a silent tear</span></p> <p>Sometimes I laugh too much<br><span sty le=' 400\;'>To lose the loneliness<br></span><span>I'm not the laughing kind<br></span><span>I can't say anything I really want to say<br></span><span>I guess I try so hard I stumble on the way</span></p> <p><span>I'm always finding love when it's no
 t meant to be<br></span><span>What is reality a
 nd can it be defined?<br></span><span>When you'
 re a fool likе me it's never rеally clear<br></span><span>So you have silent dreams inside a silent tear</span></p> <p><s pan>I'm always finding love when it's not meant
  to be<br></span><span>What is reality and can 
 it be defined?<br></span><span>When you're a fo
 ol like me it's never really clear<br></span><span>So you have silent dreams inside a silent tear</span></p> <p><strong>A
  Prayer: Paul Laurence Dunbar<br></strong><span>O Lord\, the hard-won miles<br></span><span>  
   Have worn my stumbling feet:<br></span><span>
 Oh\, soothe me with thy smiles\,<br></span><span>    And make my life complete.</span></p> <p><span>The thorns were thick and keen<br></span><span>    Where’er I trembling trod\;<br></span><span>The way was long between<br></span><span>    My wounded feet and God.</span></p> <p><span>Where healing waters flow<br></span><span>  
   Do thou my footsteps lead.<br></span><span>My
  heart is aching so\;<br></span><span>    Thy g
 racious balm I need.</span></p> <p><strong>His Eye is on the Sparrow: Civi
 lla D. Martin<br></strong><span>“Let not your h
 eart be troubled.”<br></span><span>His tender w
 ord I hear\,<br></span><span>And resting on His
  goodness\,<br></span><span>I lose my doubt and
  fear.<br></span><span>Though by the path He le
 adeth\,<br></span><span>But one step I may see:
 <br></span><span>His eye is on the sparrow\,<br></span><span>And I know He watches me\;<br></s><span>His eye is on the sparrow\,<br></span><span>And I know He watches me.</span></p> <p>
 <span>Why should I feel discouraged?<br></span>
 <span>Why should the shadows come?<br></span><s pan>Why should my heart be lonely<br></span>And long for heav’n and home\,<br></span>When Jesus is my portion?<br></span><span st yle=' 400\;'>My constant Friend is He:<br></span><span>His eye is on the sparrow\,<br></span><span>And I know He watches me\;<br></span><span>His eye is on the sparrow\,<br></span><span>And I know He watches me.</span></p> <p><span>I sing because I’m happy—<br></span><span>I sing because I’m free—<br></span><span>Fo
 r His eye is on the sparrow\,<br></span><span>A
 nd I know He watches me.</span></p> <p><strong>Soon Its Gonna Rain<br>Soon it's gonna rain<br><span>I can see it
 <br></span><span>Soon it's gonna rain<br></span><span>i can tell<br></span><span>Soon it's gonna rain<br></span><span>What are we gonna do<br></span><span>Soon i
 t's gonna rain<br></span><span>I can feel it<br></span><span>Soon it's gonna rain<br></span><s pan>I can tell</span></p> <p><span>Soon it's gonna rain<br></span><span>What'll we do with you<br></span><span>We'
 ll find<br></span><span>Four limbs of a tree<br></span><span>We'll build<br></span><span>Four walls and a floor<br></span><span>We'll bind<br></span><span>It ove
 r with leaves<br></span><span>And duck inside t
 o stay</span></p> <p><span>Then we'll let it ra
 in<br></span><span>We'll not feel it<br></span>
 <span>Then we'll let it rain<br></span><span st yle=' 400\;'>Rain pell mell<br></span><span>Then we'll not complain<br></span><span>If it never stops at all</span></p> <p><span>
 We'll live and love<br></span><span>Within our 
 own four walls</span></p> <p><span>We'll find<b r></span><span>Four limbs of a tree<br></span>&lt;
 span style='font-weight: 400\;'&gt;We'll build<br></span><span>Four walls and a floor<br></span><span>We'll bind<br></span><span>It over with le
 aves<br></span><span>And duck inside to stay</s></p> <p><span>Then we'll let it rain<br></s><span>We'll not feel it<br></span><span sty le=' 400\;'>Then we'll let it rain<br></span><span>Rain pell mell<br></span><span>
 Then we'll not complain<br></span><span>If it n
 ever stops at all</span></p> <p><span>We'll liv
 e and love<br></span><span>Within our own four 
 walls</span></p> <hr> <h3>Biographies</h3>
END:VEVENT
BEGIN:VEVENT
UID:028f12b6-7f50-4f1f-bb22-4fab8a0dfc4f
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250118T003750Z
DESCRIPTION:<p>Cello students of Sarah Rommel present an end-of-quarter rec
 ital.</p>\n<hr>\n<h3>Director Bio</h3>
DTSTART;TZID=America/Los_Angeles:20250531T140000
LAST-MODIFIED:20250118T004101Z
SEQUENCE:232
SUMMARY:: Cello Studio Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-31/cello-studio-recital
END:VEVENT
BEGIN:VEVENT
UID:d94cc88c-bea0-4fbd-8aed-bfccfc678a43
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240927T182732Z
DESCRIPTION:<p></p>\nThe School of Music presents an end-of quarter perform
 ance by the Campus Philharmonia Orchestras (Ryan Farris and Robert Stahly\
 , conductors). Special guest soloist on this performance is Laila West\, v
 iolin\, winner of The Key to Change concerto competition. \n<hr>\n<h3>Prog
 ram<br><br></h3>\nJohann Strauss\, Jr.\; Overture to Die Fledermaus\n\n\n&lt;
 p&gt;Vivaldi: Violin Concerto in g minor\, op. 12 no. 1\, mvt <br>Laila West\
 , violin (winner\, The Key to Change concerto competition)</p>\n\nJessie M
 ontgomery: Hymn for Everyone\n\n\n<p>Brahms: Hungarian Dances Nos. 1 &amp; 5</p>\n<p>Tchaikovsky: Capriccio Italien\, op. 45</p>\n<p>Ryan D. Farris &amp; Ro
 bert Stahly\, conductors</p>\n\n<hr>\n<h3>Biographies</h3>\n<p><strong>Lai
 la West</strong> <br>Laila began violin lessons at six years old\, and beg
 an studying at Key to Change in 2023. She seeks to improve her musical ski
 lls and become more confident playing in front of audiences. She debuted w
 ith the Tacoma Community College Orchestra in March 2025\, and this is her
  solo debut with the UW Campus Philharmonia Orchestra. <br><br>Laila West 
 is a lifelong Washingtonian\, and a junior at Franklin High School. She st
 udies violin privately in Key to Change’s Young Artist Academy program wit
 h Dr. Quinton Morris and Noah Geller. After she graduates\, Laila wants to
  study biological sciences.</p>
DTSTART;TZID=America/Los_Angeles:20250531T150000
LAST-MODIFIED:20250402T193315Z
SEQUENCE:233
SUMMARY:: Campus Philharmonia Orchestras
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-31/campus-philharmonia-orch
 estras
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <div>The School of Music presents an e
 nd-of quarter performance by the Campus Philharmonia Orchestras (Ryan Farr
 is and Robert Stahly\, conductors). Special guest soloist on this performa
 nce is Laila West\, violin\, winner of The Key to Change concerto competit
 ion. </div> <hr> <h3>Program<br><br></h3> <div>Johann Strauss\, Jr.\; Over
 ture to <i>Die Fledermaus</i></div> <div></div> <div> <p>Vivaldi: Violin C
 oncerto in g minor\, op. 12 no. 1\, mvt <br><em>Laila West\, violin</em> (
 winner\, <i>The Key to Change </i>concerto competition)</p> </div> <div>Je
 ssie Montgomery: <span><i>Hymn for Everyone</i></span></div> <div></div> &lt;
 div&gt; <p>Brahms: Hungarian Dances Nos. 1 &amp; 5</p> <p>Tchaikovsky: Capriccio 
 Italien\, op. 45</p> <p><em>Ryan D. Farris &amp; Robert Stahly\, conductors</p> </div> <hr> <h3>Biographies</h3> <p><span><strong>Laila West <br></span><span>Laila began violin lessons at six years old\, and bega
 n studying at Key to Change in 2023. She seeks to improve her musical skil
 ls and become more confident playing in front of audiences. She debuted wi
 th the Tacoma Community College Orchestra in March 2025\, and this is her 
 solo debut with the UW Campus Philharmonia Orchestra.<span class='gmail-Ap
 ple-converted-space'> </span></span><br><br><span>Laila West is a lifelong
  Washingtonian\, and a junior at Franklin High School. She studies violin 
 privately in Key to Change’s Young Artist Academy program with Dr. Quinton
  Morris and Noah Geller. After she graduates\, Laila wants to study biolog
 ical sciences.</span></p>
END:VEVENT
BEGIN:VEVENT
UID:85187e63-6e26-4694-a264-29ccca0f9d70
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T174237Z
DESCRIPTION:<p></p>\n<p>Phyllis Byrdwell leads the 100-voice Gospel Choir i
 n songs of praise\, jubilation\, and other expressions from the Gospel tra
 dition. Soloists include Gabe Wan\, Aurelia Fryer\, Aliyah Cleveland\, Tan
 ushri Narendran\, and Alexandra Rameau\, and Corey Mack is the caller on '
 Sacrifice of Praise' by Alvin Slaughter.</p>\n<hr>\n<h2>Program</h2>\n<p>N
 ew Revelation - <b>John P. Lee </b><b></b></p>\n<p>While You Wait -  <b>Jo
 e Pace </b><b></b></p>\n<p>I’m Gonna Wait On The Lord\, spiritual - arr. &lt;
 b&gt;Byrdwell <br></b>Gabe Wan\, soloist </p>\n<p>Worth<b> -</b> <b>Anthony B
 rown<br></b>Aurelia Fryer\, Aliyah Cleveland\, soloist </p>\n<p>Sing Prais
 es to Thee <b>- </b><b>Anthony Alvarado </b><b></b></p>\n<p>His Eye Is On 
 The Sparrow <b>- </b>hymn arr. <b>Byrdwell <br></b>Raziel Spinoza Holguin\
 , soloist </p>\n<p>Sacrifice of Praise - <b>Alvin Slaughter<br></b>Corey M
 ack\, caller </p>\n<p><b>Mr. Joy -</b> <b>Alvin Slaughter <br></b>Tanushri
  Narendran\, soloist </p>\n<p>Total Praise -<b> </b><b>Richard Smallwood &lt;
 br&gt;</b>Alexandra Rameau\, soloist </p>\n<hr>\n<h2>Biographies</h2>\n<h3></h3>
DTSTART;TZID=America/Los_Angeles:20250602T193000
LAST-MODIFIED:20250602T225645Z
SEQUENCE:234
SUMMARY:: UW Gospel Choir
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-06-03/uw-gospel-choir
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><i></i></p> <p>Phyllis Byrdwell leads the 1
 00-voice Gospel Choir in songs of praise\, jubilation\, and other expressi
 ons from the Gospel tradition. Soloists include Gabe Wan\, Aurelia Fryer\,
  Aliyah Cleveland\, Tanushri Narendran\, and Alexandra Rameau\, and Corey 
 Mack is the caller on 'Sacrifice of Praise' by Alvin Slaughter.</p> <hr> &lt;
 h2&gt;Program</h2> <p>New Revelation - <b>John P. Lee<span class='Apple-conve
 rted-space'> </span></b><b></b></p> <p>While You Wait -  <b>Joe Pace<span class='Apple-converted-space'> </span></b><b></b></p> <p>I’m Gonna Wait On
  The Lord\, <i>spiritual - </i>arr. <b>Byrdwell<span class='Apple-converte
 d-space'> <br></span></b><em>Gabe Wan\, soloist<span class='Apple-converte
 d-space'> </span></em></p> <p>Worth<em><b> -</b></em> <b>Anthony Brown<br>
 </b><em>Aurelia Fryer\, Aliyah Cleveland\,</em> <i>soloist<span class='App
 le-converted-space'> </span></i><i></i></p> <p>Sing Praises to Thee <b>- &lt;
 /b&gt;<b>Anthony Alvarado<span class='Apple-converted-space'> </span></b><b>&lt;
 /b&gt;</p> <p>His Eye Is On The Sparrow <b>- </b><i>hymn </i>arr. <b>Byrdwell
 <span class='Apple-converted-space'> <br></span></b><em>Raziel Spinoza Hol
 guin\, soloist<span class='Apple-converted-space'> </span></em></p> <p><em>Sacrifice of Praise -</em> <b>Alvin Slaughter<br></b><em>Corey Mack\, cal
 ler<span class='Apple-converted-space'> </span></em><i></i></p> <p><b>Mr. 
 Joy -</b> <b>Alvin Slaughter<span class='Apple-converted-space'> <br></b><em>Tanushri Narendran</em><i>\, soloist<span class='Apple-converted
 -space'> </span></i><i></i></p> <p>Total Praise -<b> </b><b>Richard Smallw
 ood<span class='Apple-converted-space'> <br></span></b><em>Alexandra Ramea
 u</em><i>\, soloist<span class='Apple-converted-space'> </span></i></p>  <h2>Biographies</h2> <h3></h3>
END:VEVENT
BEGIN:VEVENT
UID:57335d96-e850-4828-bd93-54430bc10db5
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20240930T163800Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20250603T120000
LAST-MODIFIED:20240930T163800Z
SEQUENCE:235
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-06-03/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:ca04c567-6cea-4be3-8122-3b97d28efb38
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances\, Visiting Ar
 tists and Scholars
CLASS:PUBLIC
CREATED:20240808T212410Z
DESCRIPTION:<p></p>\n<p>Ethnomusicology Visiting Artist Silvio Dos Reis and
  his students from UW Music and Dance present a concert of music and movem
 ent of Capoeira Angola from Brazil. Featuring the UW World Music Ensemble\
 , Pre-K Capoeira students from University Cooperative School\, and members
  of Seattle's Union Cultural Center.</p>\n<hr>\n<h2>Biography</h2>\n<h3>Si
 lvio Dos Reis</h3>\n<p>Ethnomusicology Visiting Artist Silvio Dos Reis\, k
 nown to his students as Mestre Silvinho\, is a master of Capoeira Angola\,
  an Afro-Brazilian martial art that integrates music\, movement\, and phil
 osophy. This performance is the culmination of his two-quarter residency a
 t the University of Washington. </p>\n<p>Silvio Dos Reis has dedicated his
  life to Capoeira for the past 31 years. He started teaching Capoeira in B
 razil and moved to Seattle in 2004. Since then he has been teaching after-
 school programs at Seattle public schools\, Capoeira workshops\, and ongoi
 ng classes at Evergreen State College\, Western Washington University\, an
 d the University of Washington. He offered Capoeira classes for kids and y
 ouths at Northwest School and Gage Academy summer camps from 2012 to 2014.
  He worked for Seattle Parks and Recreation offering the ARTS IN THE PARKS
  – kids and youth program – for the summer of 2013. Silvio has been offeri
 ng the capoeira workshop at NW Folklife for the past 10 years. As a way to
  promote Capoeira in the community\, Silvio runs his own Capoeira school\,
  the International Capoeira Angola Foundation/ICAF SEATTLE\, located in Se
 attle\, where he offers regular classes for adults\, youths\, kids and tod
 dlers.­­­ As a director of ICAF/SEATTLE\, Silvio Dos Reis is the program l
 eader of the Racial Equity initiative that his organization is implementin
 g for the Seattle community this year. The program offers free Capoeira cl
 ass for People Of Color\, community forums\, dialogues\, and workshops for
  the POC and Seattle community. Silvio Dos Reis also offers free capoeira 
 classes for kids and youth from POC families at Rainier Beach Community Ce
 nter and Eastern African Community Center.</p>
DTSTART;TZID=America/Los_Angeles:20250603T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:236
SUMMARY:: Ethnomusicology Visiting Artist Concert: Silvio Dos Reis\, Afro-B
 razilian Capoeira
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-06-04/ethnomusicology-visiting
 -artist-concert-silvio-dos-reis-afro-brazilian-capoeira
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Ethnomusicology Visiting Artist Sil
 vio Dos Reis and his students from UW Music and Dance present a concert of
  music and movement of Capoeira Angola from Brazil. Featuring the UW World
  Music Ensemble\, Pre-K Capoeira students from University Cooperative Scho
 ol\, and members of Seattle's Union Cultural Center.</p> <hr> <h2>Biograph
 y</h2> <h3>Silvio Dos Reis</h3> <p><span>Ethnomusicology Visiting Artist S
 ilvio Dos Reis\, known to his students as Mestre Silvinho\, is a master of
  Capoeira Angola\, an Afro-Brazilian martial art that integrates music\, m
 ovement\, and philosophy. This performance is the culmination of his two-q
 uarter residency at the University of Washington. </span></p> <p><span>Sil
 vio Dos Reis has dedicated his life to Capoeira for the past 31 years. He 
 started teaching Capoeira in Brazil and moved to Seattle in 2004. Since th
 en he has been teaching after-school programs at Seattle public schools\, 
 Capoeira workshops\, and ongoing classes at Evergreen State College\, West
 ern Washington University\, and the University of Washington. He offered C
 apoeira classes for kids and youths at Northwest School and Gage Academy s
 ummer camps from 2012 to 2014. He worked for Seattle Parks and Recreation 
 offering the ARTS IN THE PARKS – kids and youth program – for the summer o
 f 2013. Silvio has been offering the capoeira workshop at NW Folklife for 
 the past 10 years. As a way to promote Capoeira in the community\, Silvio 
 runs his own Capoeira school\, the International Capoeira Angola Foundatio
 n/ICAF SEATTLE\, located in Seattle\, where he offers regular classes for 
 adults\, youths\, kids and toddlers.­­­ As a director of ICAF/SEATTLE\, Si
 lvio Dos Reis is the program leader of the Racial Equity initiative that h
 is organization is implementing for the Seattle community this year. The p
 rogram offers free Capoeira class for People Of Color\, community forums\,
  dialogues\, and workshops for the POC and Seattle community. Silvio Dos R
 eis also offers free capoeira classes for kids and youth from POC families
  at Rainier Beach Community Center and Eastern African Community Center.</span></p>
END:VEVENT
BEGIN:VEVENT
UID:287933fc-d6df-494a-b432-9d387c37f4ec
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20240801T171823Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<h2 class='x_MsoNormal'>Featured Performers</h2>\n\n\n\n\n\n\nProgram details <a hre f='/sites/music/files/documents/june_4_correct.pdf'>HERE</a>\n\n\n\n\n\n\n
 <p class='x_MsoNormal'> </p>\n\n<p class='x_MsoNormal'></p>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250604T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:237
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-06-04/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <h2 class='x_MsoN
 ormal'><span>Featured Performers</span></h2> <div class='elementToProof'> 
 <div class='elementToProof'> <div class='elementToProof'> <div class='elem
 entToProof'> <div class='elementToProof'> <div class='x_elementToProof Con
 tentPasted0'> <div class='x_elementToProof ContentPasted0'>Program details
  <a href='/sites/music/files/documents/june_4_correct.pdf'>HERE</a></div> 
 </div> </div> </div> </div> </div> </div> <p class='x_MsoNormal'><span> </span></p> <div> <p class='x_MsoNormal'><span></span></p> <p></p> </div>
END:VEVENT
BEGIN:VEVENT
UID:67b0fea0-7e50-4a66-8ce1-c484429efd61
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T194256Z
DESCRIPTION:<p></p>\n<p>Timothy Salzman wraps up a 38-year career as head o
 f the UW Bands program with 'Finish Line\,' a program of music by Cindy Mc
 Tee\, Sergei Rachmaninoff\, Percy Grainger\, and David Maslanka\, performe
 d by the UW Wind Ensemble and the UW Alumni Band.</p>\n<hr>\n<h3>Program</h3>\n<h3>University of Washington Wind Ensemble</h3>\n<p>Timothy Salzman\,
  conductor</p>\n<p>Finish Line (2006) – Cindy McTee (b. 1953)</p>\n<p>Thre
 e Vespers from the All Night Vigil (1915/2008) – Sergei Rachmaninoff (1873
 -1943)/transc. T. Salzman<br>1. Blagoslovi\, dushe moya\, Ghospoda (Bless 
 the Lord\, O My Soul) <br>2. Svete tihiy (O Gladsome Light) <br>3. Bogorod
 itse Devo (Rejoice\, O Virgin)</p>\n<p>Lincolnshire Posy (1937) – Percy Gr
 ainger (1882-1961)<br>1. Dublin Bay (Lisbon) <br>2. Horkstow Grange <br>3.
  Rufford Park Poachers <br>4. The Brisk Young Sailor <br>5. Lord Melbourne
  <br>6. The Lost Lady Found</p>\n<h3>University of Washington Alumni Band&lt;
 /h3&gt;\n<p>Symphony 7 (2004) – David Maslanka (1943-2017)<br>1. Moderate<br>
 2. Slow<br>4. Moderately Slow</p>\n<hr>\n<h3>Program Notes</h3>\n<p><strong>Cindy McTee</strong>\, born in Tacoma\, Washi
 ngton\, is an American composer and educator who holds degrees from Pacifi
 c Lutheran University\, the Yale School of Music\, and the University of I
 owa. She also completed one year of study in Poland with Krzysztof Pendere
 cki at the Academy of Music in Kracow. Originally hailed by critics as a c
 omposer whose music reflects a “charging\, churning celebration of the mus
 ical and cultural energy of modern-day America\,” Cindy McTee “brings to t
 he world of concert music a fresh and imaginative voice.' Ms. McTee has re
 ceived numerous awards for her music\, most significantly a 'Creative Conn
 ections Award' from Meet The Composer\, two awards from the American Acade
 my of Arts and Letters\, a Guggenheim Fellowship\, a Fulbright Fellowship\
 , and a Composers Fellowship from the National Endowment for the Arts. She
  was also winner of the 2001 Louisville Orchestra Composition Competition\
 , and in 2002 was selected to participate with the National Symphony Orche
 stra in 'Music Alive.' a residency program sponsored by Meet the Composer 
 and the American Symphony Orchestra League. Her music has been performed b
 y leading orchestras\, bands\, and chamber ensembles in Japan\, South Amer
 ica\, Europe\, Australia\, and the United States in such venues as Carnegi
 e Hall\, the Kennedy Center\, and the Sydney Opera House. Among the many e
 nsembles to have performed her music are: the Pacific Symphony\, the North
  Texas and Dallas Wind Symphonies\, the Buffalo Philharmonic\, the Clevela
 nd Orchestra\, the National Symphony Orchestra\, Tokyo's NHK Symphony Orch
 estra\, London's Philharmonia Orchestra\, the United States Army Field Ban
 d\, and the symphony orchestras of Colorado\, Columbus\, Dallas\, Detroit\
 , Chicago\, Houston\, Indianapolis\, Rochester\, Saint Louis\, San Antonio
 \, Seattle\, and Sydney.</p>\n<p>In May of 2011
 \, she retired from the University of North Texas as Regents Professor Eme
 rita\, and in November of 2011 married internationally acclaimed conductor
  Leonard Slatkin. Their principal place of residence is in Bloomfield Hill
 s\, Michigan. Of this evening’s work the composer writes:</p>\n<p>I decided to use the work of Futurist artist Giacomo Ba
 lla as a point of departure for the creation of <strong>Finish Line and chose several paintings suggesting the transformation of landscape 
 by the passage of a speeding automobile. The title of one work in particul
 ar\, Abstract Speed + Sound\, suggests that Balla sought to render on canv
 as the whirling noise of the automobile itself.</p>\n<p>In Finish Line\, the use of repeated fragments (ostinatos)\, a st
 eady pulse\, and a spirited tempo attempt to portray the swirling gestures
  and mechanized agitation of Balla’s paintings. Multiple points of view (c
 haracteristic of Futurist art) are represented by the simultaneous present
 ation of two tempos at the beginning and end of the work\, and also by a s
 eamless\, temporal transformation process analogous to gear shifting\, whe
 re the speed\, or RPM\, of the engine modulates smoothly to a new frequenc
 y.</p>\n<p>There are also three short sections 
 in Finish Line during which forward momentum and time are slowed down and 
 ultimately suspended. This is achieved by inserting varying amounts of sil
 ence between the repetitions of melodic fragments which are therefore hear
 d in ever-changing relationships to create a non-linear texture of circles
  within circles and a dreamlike\, hovering\, effect.</p>\n<p>Italian Futurists were\, of course\, not the only artists af
 fected by the dawn of the machine age. Russian composer Igor Stravinsky is
  credited with having produced the first important piece of “machine music
 \,” the Rite of Spring\, its rhythmic pulsations depicting not just prehis
 toric\, ritualistic dance\, but also the nervous energy of a modern\, mech
 anized city. There are references to this famous work at the beginning and
  end of Finish Line. Pitch structures in this work are derived from both o
 ctatonic (8-note) and 12-note scales\, while the note “A” (for Amarillo) l
 aunches the piece in a flurry of percussion.</p>\n<p>I completed Finish Line by mid-summer of 2005 and then set out on a 
 6000-mile road trip\, often imagining myself racing through Balla’s painti
 ngs. Like Balla\, I too delighted in the ability of a speeding automobile 
 to transform time and space\, with vast expanses of changing landscape pla
 ying like a movie on my windshield. Fasten your seatbelts!</p>\n<p>The wind symphony version of Finish Line was commissio
 ned by a consortium of ensembles and premièred on May 20\, 2006\, by the U
 niversity of Washington Wind Ensemble\, Timothy Salzman\, conductor\, in B
 enaroya Hall in Seattle at the invitation of the Seattle Symphony.</p>\n<p><strong>CONDUCTOR NOTE:</strong> Without the U
 niversity of Washington Band Program there literally would be no Cindy McT
 ee as her parents met in the UW Concert Band! I first heard her work in 19
 92 at a College Band Directors National Association conference in Kansas C
 ity and was immediately captivated by her artistic originality and excited
  by the inherent performance/compositional requirements for wind ensembles
  engaging in the study and performance of her music. Getting to know her t
 hrough the years\, and premiering two of her works for wind ensemble\, has
  been an honor.</p>\n<p>The hauntingly beautifu
 l <strong>All-Night Vigil</strong> by <strong>Sergei Rachmaninov</strong> 
 is one of the great sacred choral treasures of the 20th century. This lush
  and virtuosic masterpiece\, for unaccompanied chorus in its original form
 \, captures both the spirit of the Orthodox Church and the soul of Russia.
  For the original choral setting Rachmaninov chose fifteen major psalms an
 d hymns that form the unchanging framework of the Resurrection Vigil. Writ
 ten in less than two weeks\, this sublimely peaceful chant-based music was
  Rachmaninoff's reaction to the destruction of Europe during World War I\,
  and is widely recognized as the finest of the composer's\, and Russia's\,
  sacred choral compositions. The composer’s own story has several importan
 t parallels to current global affairs. Rachmaninoff composed the piece in 
 1915 during the gathering violence of World War I\, something with which h
 e was deeply uncomfortable. The work was viewed at the time by some contem
 poraries as a pacifistic repudiation of the war. Rachmaninoff himself fled
  Russia and became an immigrant to America just two years after he wrote t
 he piece\, never to return to his home country. He became a citizen of the
  United States\, and co-authored an article in the New York Times with oth
 er Russian exiles condemning violence against the Russian people inflicted
  by the government of Stalin.</p>\n<p>In this a
 rrangement by Professor Salzman three of the fifteen movements have been s
 et for wind ensemble:   </p>\n<p>Movement II. B
 lagoslovi\, dushe moya\, Ghospoda (Bless the Lord\, O My Soul)</p>\n<p sty le=' 400\;'>Bless the Lord\, O my soul\,</p>\n<p>blessed art Thou\, O Lord.</p>\n<p>O Lord my God\, Thou art very great.Blessed art Thou\, O Lord.</p>\n<p s tyle=' 400\;'>Thou art clothed with honor and majesty.</p>\n<p>Blessed art Thou\, O Lord.</p>\n<p>The waters stand upon the mountains.</p>\n<p>Marvelous are Thy works\, O Lord.</p>\n<p>The waters flow between the hills.</p>\n<p>Marvelous are Thy works\, O Lord.</p>\n<p>
 In wisdom hast Thou made all things.</p>\n<p>Gl
 ory to Thee\, O Lord\, who hast created all!</p>\n<p>—Psalm 103[104]:1-2\, 6\, 24</p>\n<p>Move
 ment IV. Svete Tikhyi (O Gladsome Light)</p>\n<p>Gladsome Light of the holy glory of the Immortal One—</p>\n<p>the Heavenly Father\, holy and blessed—</p>\n<p>O Jesus Christ!</p>\n<p>Now t
 hat we have come to the setting of the sun\,</p>\n<p>and behold the light of evening\,</p>\n<p>we praise the Father\, Son\, and Holy Spirit—God.</p>\n<p>Thou art worthy at every moment</p>\n<p>to be praised in hymns by reverent voices.</p>\n<p>O Son of God\, Thou art the Giver of Life\;</p>\n<p>therefore all the world glorifies Thee.</p>\n<p> </p>\n<p>Movement VI. Bogorodit
 se Devo (Rejoice\, O Virgin)</p>\n<p> </p>\n<p>Rejoice\, O Virgin Mother of God\,</p>\n<p styl e=' 400\;'>Mary full of grace\, the Lord is with Thee.</p>\n<p>Blessed art Thee among women\,</p>\n<p>and blessed is the Fruit of Thy womb\,</p>\n<p>for Thou hast borne the Savior of our souls.</p>\n<p s tyle=' 400\;'><strong>CONDUCTOR NOTE:</strong> In 1993 I was a
 sked to go to Moscow and St. Petersburg for purposes of participating in a
  wind ensemble festival. It was probably the most art-immersive ten days o
 f my life as I had opportunity to hear the Moscow Symphony in rehearsal (S
 travinsky’s Petrushka no less!)\, the St. Petersburg Philharmonic in conce
 rt (playing Stravinsky’s The Firebird!) and a couple of the top-tier conse
 rvatory orchestras. And\, touring The State Hermitage Museum\, the world’s
  largest collection of paintings housed in the Winter Palace\, was quite a
 stounding. However…hearing a professional Russian chorus was truly overwhe
 lming. I’ve long admired the awe-inspiring beauty of the All Night Vigil s
 o I scored three of the fifteen movements for UWWE\, solely intending to u
 se it for purposes of rehearsal only\, an attempt to develop higher level 
 listening skills and musicianship. Initially it was a solely a ‘warm-up’ p
 iece as I have a bit of a bias against transcriptions. However\, we played
  the work on tour in Japan and executives from an Osaka-based Japanese mus
 ic education resource company heard it and asked if they could publish it.
  Over the years we’ve played it routinely in rehearsal as it has really he
 lped the ensemble in terms of musicianship as the phrasing\, breath contro
 l\, intonation\, tone\, etc.\, demands so much commitment from the perform
 ers.</p>\n<p>Australian born <strong>Percy Grai
 nger</strong> began his musical career as a concert pianist and took the L
 ondon musical scene by storm. His first public concert took place at Stein
 way Hall on October 29\, 1901\, and his flamboyant stage presence made him
  the darling of London’s best families. His life as a virtuoso pianist was
  not without its pressures\, however\, and Grainger soon discovered that h
 e was happy not as a performer\, but as a composer. In 1905\, Grainger att
 ended a lecture on folk music delivered by Miss Lucy E. Broadwood\, where 
 he became fascinated with English folksong collecting. He collected his fi
 rst song while attending a competition festival in Lincolnshire\, and with
  that\, was hooked. At first\, Grainger would simply wander up to a farmer
  plowing his fields and ask if he knew any songs. As the man sang\, Graing
 er would jot down the melody\, and someone else would notate the words. On
  one expedition he was accompanied by the British literary figure H.G. Wel
 ls\, who remarked\, “you are trying to do a more difficult thing than reco
 rd fold songs\, you are trying to record life.” Eventually the exercise pr
 oved too arduous and Grainger sought a better method. The result was the a
 cquisition of an Edison-Bell wax cylinder phonograph\, which Grainger carr
 ied along with him on his bicycle as he traversed the English countryside.
  In the 1940s\, these cylinder discs were donated to the Library of Congre
 ss in Washington\, D.C. where they were transferred to audiotape and event
 ually returned to the Grainger Museum at the University of Melbourne\, Aus
 tralia. Of <strong>Lincolnshire Posy</strong>\, the composer writes: “Linc
 olnshire Posy\, as a whole work\, was conceived and scored by me direct fo
 r wind band early in 1937. Five\, out of the six\, movements of which it i
 s made up\, existed in no other finished form\, though most of these movem
 ents (as is the case with almost all my compositions and settings\, for wh
 atever medium) were indebted\, more or less\, to unfinished sketches for a
  variety of mediums covering many years (in this case the sketches dated f
 rom 1905 to 1937).”</p>\n<p>Program Notes from 
 the CD liner notes “Songs of the Earth. The United States Air Force Band W
 ashington DC Lieutenant Colonel Lowell E. Graham\, Commander/Conductor”</p>\n<p><strong>CONDUCTOR NOTE:</strong> I first 
 conducted Lincolnshire Posy (four of the six movements) with the Herscher 
 (IL) High School Wind Ensemble about forty-three years ago and have perfor
 med it on multiple occasions since then. It is widely considered to be a ‘
 masterwork’ for wind ensemble and has captivated performers and audiences 
 around the world. I have also utilized the six movements of the piece in t
 eaching undergraduate instrumental conducting throughout my years at the U
 W. The work\, constructed of variations on six different British folksongs
 \, is at once beautiful and extraordinarily complex as Grainger was attemp
 ting to capture the rhythmically and metrically irregular singing of the v
 arious dock workers\, shepherds\, pub crawlers\, farmers\, etc.\, througho
 ut the country\, all singing tunes handed down through the generations. Gr
 ainger dedicated this 'bunch of Wildflowers to the old folksingers who san
 g so sweetly to me'.</p>\n<p>Theoretically…at t
 his point…I <u>should</u> know this one… \;)  </p>\n<p><strong>David Maslanka</strong>\, born in New Bedford\, Massachuse
 tts\, attended the Oberlin College Conservatory where he studied compositi
 on with Joseph Wood. He spent a year at the Mozarteum in Salzburg\, Austri
 a\, and did masters and doctoral study in composition at Michigan State Un
 iversity where his principal teacher was H. Owen Reed. Maslanka’s music fo
 r winds has become especially well known. Among his more than 150 works ar
 e over 50 pieces for wind ensemble\, including eight symphonies\, seventee
 n concertos\, a Mass\, and many concert pieces. His chamber music includes
  four wind quintets\, five saxophone quartets\, and many works for solo in
 strument and piano. In addition\, he has written a variety of orchestral a
 nd choral pieces. David Maslanka’s compositions are published by Maslanka 
 Press\, Carl Fischer\, Kjos Music\, Marimba Productions\, and OU Percussio
 n Press. They have been recorded on Albany\, Reference Recordings\, BIS (S
 weden)\, Naxos\, Cambria\, CRI\, Mark\, Novisse\, AUR\, Cafua (Japan)\, Br
 ain Music (Japan)\, Barking Dog\, and Klavier labels. He served on the fac
 ulties of the State University of New York at Geneseo\, Sarah Lawrence Col
 lege\, New York University\, and Kingsborough Community College of the Cit
 y University of New York\, and was a freelance composer in Missoula\, Mont
 ana from 1990 until his death in 2017.</p>\n<p>
 <strong>Symphony No. 7 for Wind Ensemble</strong>\, completed in 2004\, wa
 s commissioned by a consortium organized by Illinois State University/Step
 hen K. Steele. The work was premiered March 10\, 2005\, at the Illinois St
 ate University Center for the Performing Arts\, Normal\, Illinois.</p>\n<p>The composer said the following about this wor
 k:</p>\n<p>I am strongly affected by American f
 olk songs and hymn tunes\, and I think of this symphony as old songs remem
 bered\, with one exception. All the tunes are original\, but they all feel
  familiar. Each song has a bright side and a dark side\, a surface and the
  dream underneath. Each is a signal or call\, which evokes an inner world 
 of associations.<br><br>I. Sunday night church services from your youth. M
 r. Smith played the piano. The opening piano piece is marked 'enthusiastic
 ally' in the score. A dream travels to a far place.<br>II. In the manner o
 f an American folk song\, with a setting that might come out of the 19th o
 r early 20th centuries. <br>IV. A simple song of peace and healing.</p>\n&lt;
 p style='font-weight: 400\;'&gt;<strong>CONDUCTOR NOTE:</strong> In the invit
 ation to alumni to sign up for the UWWE alumni ensemble\, participants wer
 e asked what composers they would most like to perform at the retirement c
 oncert – nearly half listed Maslanka. Throughout my tenure at the UW the W
 ind Ensemble has played his symphonies on tour in Japan\, China\, Korea an
 d Canada. I’ve also been privileged to conduct the 4th Symphony on tour wi
 th the Senzoku Gakuen Uozu (Japan) Wind Ensemble on one of their Japan tou
 rs\; with China’s People’s Liberation Army Band in their beautiful hall in
  Beijing and with the United States Army Field Band in Maryland.</p>\n<p s tyle=' 400\;'>In 1982 I took the Herscher High School Wind Ens
 emble to Northwestern University for purposes of having a master class wit
 h John Paynter\, Director of Bands there for about forty years. After his 
 time with the group\, he invited us to a dress rehearsal where the Northwe
 stern Wind Ensemble played Maslanka’s first great work for the idiom\, “A 
 Child’s Garden of Dreams”. I had never heard of Maslanka and that dress re
 hearsal run-through left me dumbstruck…a seminal moment…as I knew that I w
 anted to be able to be in a place that would afford the opportunity to per
 form music of that nature. His music\, and the time he spent on several oc
 casions with UWWE through the years\, is/was remarkable. Students absolute
 ly crave playing Maslanka…personally I think it’s his proclivity for huge 
 symphonic form coupled with an unbridled musical/emotional passion and ten
 dency to compose the ‘impossible’ in terms of ensemble technical demands. 
 Once accomplished\, the view from the top of the mountain is spectacular. 
 Can an ensemble play the majority of the movements from one of his major s
 ymphonies on two rehearsals? We’re about to find out…</p>\n<h3>Retirement</h3>\n<p>My retireme
 nt from the University of Washington at the end of this school year hasn’t
  been a secret by any means as it was announced to the UW School of Music 
 faculty in January of 2024. Some of my colleagues were surprised by this d
 ecision but once I ‘ran the data’ they were quick to understand… When I fi
 nish on July 1 I will have taught for 47 years\; five at Herscher (IL) Hig
 h School\, four at Montana State University and 38 at the University of Wa
 shington. And I will be 70 ½ years old. I gave it my best…and it is enough
 . </p>\n<p>In part\, this decision has been bro
 ught about by my ongoing battle with cancer\, something I’ve been fighting
  for the past eight years. Modern medicine is amazing\, a true gift from G
 od\, and for the most part I’ve able to teach\, conduct and travel without
  much restriction\, only missing a few rehearsals here and there and never
  a performance. In fact\, since the initial onset I’ve been able to respon
 d to invitations from China (twice)\, France\, England\, South Korea\, and
  around the U.S. My medical team is second to none and have brought new tr
 eatments to bear on the situation that have allowed me to continue to teac
 h and conduct. That is not to suggest that it has been easy by any means…i
 n fact\, it’s been occasionally fairly brutal as the cancer has come back 
 four times\, most recently at the end of this past August after being canc
 er-free for four years. I’ve had to learn what it means to really dig deep
 \, to get through some tough treatments and four surgeries. All of that ha
 s been worth it as\, simply put\, it is imperative to do what I can do for
  the ones I love. Most importantly\, I have learned so much about what it 
 means to ‘let go and let God\,’ who provides peace in the storm\, comfort 
 when none seems possible\, hope when it seems hopeless…all very real now.&lt;
 /p&gt;\n<p>A few of my dearest friends have given 
 wise and pointed counsel over the past couple of years…those friends are q
 uite direct with their advice\, something I deeply value. They’re not afra
 id to speak truth into my life and I’ve certainly reciprocated from time-t
 o-time. Two friends made it quite clear to me that the most valuable commo
 dity that I have at this stage of life is time. The investment of time in 
 those I love is more important to me than it has ever been\, and I am so l
 ooking forward to family time that unfolds and extends without the pressur
 e of having to run off to a rehearsal\, class\, lesson\, concert\, airport
 \, meeting…. I look forward to the freedom of being present. </p>\n<p styl e=' 400\;'>This decision has been gut-wrenching as I feel that
  I still have a lot to give and\, in certain ways\, am better than ever on
  the podium. But when I think about aspects of my job that I will miss in 
 retirement\, one eclipses all the rest: the students. That’s what makes th
 is so tough. I’m deeply grateful to every student that I’ve worked with\, 
 literally thousands of remarkable young people who taught me far more than
  I taught them. </p>\n<p>To the members of the 
 Herscher High School Band: in 1978 you gave a total novice a chance. You d
 id what I asked even when I wasn’t sure what I was asking. You believed. T
 hose were five of the best years of my life and I remember them like they 
 were yesterday. The 40th reunion of the 1982 Band of America national cham
 pionship band two years ago was possibly the highlight of my entire career
 . Your words meant so much to me and I will treasure them always.</p>\n<p>To the members of the Montana State University 
 Band: I wasn’t a lot older than you when I came to MSU in 1983\, but you w
 ere respectful\, extremely hard-working\, and just so good at staying the 
 course while we built something together. IT WAS SO FUN! We still come bac
 k to Bozeman every summer as I just love time on the rivers with the trout
 …so much peace\, serenity\, beauty\, simplicity….and so many fond memories
  of time in Bozeman.</p>\n<p>To the students fr
 om my twenty years of teaching and arranging for Drum Corps International 
 finalist corps\, particularly the Cavaliers\, Santa Clara Vanguard and Gua
 rdsmen: Those many hours of extremely hard work and dedication on your par
 t were incredible to witness and your singular goal-oriented focus embedde
 d something in my thinking that has been a foundational part of my music e
 ducation belief system ever since – that the whole can be incredibly bette
 r than the sum of its parts if everyone is focused on excellence\, that th
 e sky is literally the limit. Thank you.</p>\n<p>And finally\, to the nearly-four decades of University of Washington stu
 dents…I don’t even know where to begin… The incredible music we’ve been so
  fortunate to share together\, the interactions with all the guest artists
 \, composers\, the music we premiered and commissioned\, hosting the Colle
 ge Band Directors National Association national conference\, 36 years of o
 ur band festival\, the places we were so fortunate to tour (three times to
  Japan\, three to China\, South Korea\, Canada\, California\, Nevada\, Ore
 gon\, Idaho). And the stunning successes of the graduate conducting </strong>students out in the world of higher education as well as in pro
 fessional orchestral situations. I am so very proud of each of you – it ha
 s been a joy and honor to watch you fly!  </p>\n<p>To everyone\; students\, colleagues\, administrators and most of all\,
  my family: thank you from the bottom of my heart. I’m a simple guy\, a ‘f
 irst-gen’ college kid\, a dairy farmer’s son from Illinois\, and everythin
 g that has transpired through this nearly half-century of conducting and t
 eaching is far above all that I could have ever asked or imagined. All of 
 this\, such a blessing from God! (Eph. 3:20)</p>\n<h3>Acknowledgements</h3>\n<p>I am grateful 
 to....</p>\n<p>God who\, over thirty years ago\
 , sort of called me back to a life of faith through a series of circumstan
 ces. I’ve never been the same and have tried to ‘live grateful’.</p>\n<p s tyle=' 400\;'>My wife Jodi. Today is our 27th wedding annivers
 ary and…well...there simply aren’t enough words to express my gratitude. S
 he is an eternal optimist\, wise\, thoughtful\, fun…loves God above all. B
 eautiful inside and out. Her steadiness and joyfulness in the midst of so 
 many storms (16 surgeries between us since we’ve been married) is remarkab
 le.</p>\n<p>My family. Wow\, what can I say. Th
 ey keep it light when I think it’s heavy. Most of all they remind me\, jus
 t by being who they are\, that there is so much more to life than what I –
  or any of us – <u>do</u> for a living. We laugh…a lot…and love each other
  deeply. Jodi\, Hannah\, Leigh\, Ben\, Jon and Ren – each an incredible bl
 essing from heaven.   </p>\n<p>In undergraduate
  school I had opportunity to study with Arnold Jacobs\, tubist in the Chic
 ago Symphony for forty-four years\, and one of the premiere wind instrumen
 t pedagogues of the 20th century. His influence on my teaching cannot be o
 verstated.</p>\n<p>Dr. Daniel Neuman\, the form
 er chair of the School of Music\, the person who hired me at the UW. Thank
 s Dan\, for supporting the re-emergence of the band program at the UW…and 
 for those early morning racquetball matches!</p>\n<p>Dr. Robin McCabe\, also a former chair of the School of Music\, who 
 has been a constant friend and supporter. We came to the UW in the same ye
 ar and she is someone who I have called many times through the years when 
 School of Music life became complex. A great listener…and wise.</p>\n<p st yle=' 400\;'>My many faculty colleagues in the School of Music
 \, particularly Donna Shin (who has played concerti with UWWE many times b
 oth here and broad)\, Michael Brockman\, John DiCesare\, Ben Lulich\, Davi
 d Gordon\, and Marc Seales. Beyond being great ‘studio faculty’ and terrif
 ic artist/teachers – most of all – thanks for your <u>humility</u> as it i
 s just so important for the students to work with great artists that are c
 aring\, humble people. Also thankful for the top-flight music education fa
 culty that were resident at the SOM for many years – Steven Morrison\, Ste
 ven Demorest\, and Patricia Campbell\, so fortunate to have worked with th
 em. Our many collaborations and their collegiality is something I’ve misse
 d every day since they’ve been gone. Steve D – continue to rest in peace.&lt;
 /p&gt;\n<p>Thirty-eight years of UW students\, man
 y of whom are playing in the alumni band this evening. They taught me so m
 uch\, particularly the graduate wind conducting students. Some of the lead
 ing music schools in the country have hired them and their subsequent prof
 essional accomplishments are stunning to behold. But\, more than that\, th
 ey were unselfish team players during their time here\, artistic collabora
 tors of the highest order. And just wonderful people. I wish everyone pres
 ent in the audience tonight knew each of them…you’d be better for it. I su
 re am.</p>\n<p>Tomio Yamamoto for your tireless
  work in Japan on behalf of the University of Washington Wind Ensemble. Th
 e 2004\, 2007 and 2010 tours of Japan\, made possible by your unceasing su
 pport\, were life-changing for the members of the UW Wind Ensemble.</p>\n&lt;
 p style='font-weight: 400\;'&gt;Zhao-Rong Chen. We are so deeply grateful to 
 you for your work that enabled UWWE to undertake three amazing tours of Ch
 ina (2013\, 2016\, 2019). The experiences in China\, from playing on CCTV 
 to a sold-out audience in the National Center for the Performing Arts in T
 iananmen Square\, the interactions with the various universities\, militar
 y bands\, high schools and Chinese wind conductors…wow…just wonderfully ri
 ch experiences which have so deeply benefited UWWE and the Chinese band sc
 ene. You are so loved by all who know you!</p>\n<p>My Eastside Church family from throughout the years\, many of whom are
  here this evening… Love you all so much. Thanks for coming tonight!</p>\n
 <p>My medical ‘team’\, several of whom are here
  this evening – Thomas Dawson\, Marco Salazar\, Adam Pourcho\, Hao Wang\, 
 Lawrence Maurer\, Jim Blair\, Dan Hartman and Tracie Carlson. These people
  are much more than gifted medical professionals – they’re deeply empathet
 ic people who’ve walked with me through some tough circumstances\, particu
 larly over the last eight years or so. You all mean so very much to me and
  my family.</p>\n<p>My current graduate student
 s David Stewart\, Yuman Wu and Solomon Encina. This year\, particularly\, 
 has been so challenging and they have been patient\, caring and hardworkin
 g. Thanks for your excellent work with the UW Symphonic\, Concert\, Campus
  and University Bands. All the best to you in the years ahead. You’re gonn
 a be great!</p>\n<p>The School of Music staff: 
 Joanne DePue\, Michiko Sakai\, Elena Johns\, Maya Ben-Yosef\, Garius Dimal
 ibot\, Jenifer Moreland\, Colin Todd\, Rylan Virnig and Leann Wheless Mart
 in. Also\, Claire Peterson and Gary Louie\, both now retired. Thanks to Jo
 hn Fredenburg for all of the great recordings!</p>\n<p>Brenda Banks\, the SOM graduate student advisor who has been so pr
 ofessional and caring in assisting the graduate conducting students during
  their matriculation. She is\, effectively\, the ‘gate-keeper’ and you sim
 ply couldn’t ask for a better person in that role.</p>\n<p>The Meany Hall staff: Sarah Wilkie\, Tom Burke\, Brian Engel\,
  Matt Starritt\, and Nancy Hautala. You folks have become friends over the
  years and I will miss you a lot. Thanks for making concerts easy\, for be
 ing so communicative and kind. And especially…thank you for hosting ‘The P
 resident’s Own’ United States Marine Band three times!</p>\n<p>Ray Li\, Senior Director for International Advancement at 
 University of Washington\, who was so supportive of UWWE’s international t
 ouring efforts. Thank you\, particularly\, for your efforts to bring toget
 her alumni for pre-concert gatherings in China!</p>\n<p>Jeffery Riedinger\, University of Washington Vice Provost Emeritu
 s for Global Affairs. Greatly appreciate your encouragement and support of
  our international tours!</p>\n<p>The audiences
  who’ve come out to support UW bands through the years. Music performance 
 without appreciative listeners is simply not the same. Thank you so much!&lt;
 /p&gt;\n<p>Special thanks to the College of Arts a
 nd Sciences for organizing the pre-concert reception. Shout-out to Benny S
 hell for all of the hard work!</p>\n<hr>\n\n\n\n\n<h4>UNIVERSITY OF WASHINGTON WIND ENSEMBLE</h4>\n<p>FLUTE<br>Erin McAfee\, Grad.\, Music Performance\, Hoover\, AL*<br>Grace Playstead\, Grd.\, Music Performance\, Olympia<br>Peyton Ray\, Jr.\
 , Music Performance\, Denver\, CO<br>Claire Wei\, So.\, Music Performance\
 , Bellevue*<br>Yue Zhong.\, Sr.\, Music Performance\, Shanghai\, China</p>
 \n<p>OBOE<br>Max Bolen\, Fr.\, Marine Biology\,
  Ballard<br>Minh-Thi Butler\, Jr.\, Music Education\, Hoquiam<br>Lauren Ma
 jewski\, Sr.\, International Studies\, Mercer Island* </p>\n<p>BASSOON<br>Annika Fisher\, So.\, Anthropology\, Lake Fores
 t Park<br>Alex Fraley\, Fr.\, Music Performance\, Kenmore<br>Rian Morgan\,
  Jr.\, Nutritional Science/Music Performance\, Des Moines*<br>Arina Pushki
 na\, Fr.\, Engineering\, Woodinville</p>\n<p>CL
 ARINET  <br>Arthur Gim\, So.\, Mechanical Engineering\, Bothell<br>Jeremy 
 Hu\, So.\, Engineering\, Taipei\, Taiwan<br>Alessandro Martinez\, So.\, En
 vironmental Engineering\, Olympia<br>Alen Poehlman\, Jr.\, Biochemistry/Mu
 sic Performance\, Tacoma<br>Luqi Wang\, Grd.\, Music Performance\, Dalian\
 , China<br>Ysanne Webb\, Grd.\, Music Performance\, Lubbock\, TX*</p>\n<p>BASS CLARINET<br>Cameron DeLuca\, Grd.\, Music 
 Performance\, Hawthorne\, CA </p>\n<p>SAXOPHONE
 <br>Curtis Chung\, Jr.\, Mechanical Engineering\, Sunnyvale\, CA<br>Kyle G
 rant\, So.\, Music Education/Music Performance\, Sumner<br>Amy Kang\, Fr.\
 , Engineering\, Portland\, OR<br>Katie Zundel\, Sr.\, Music Performance/En
 gineering\, Clinton* </p>\n<p>TRUMPET<br>Erika 
 Berreth\, So.\, Computer Science\, Redmond<br>Hans Faul\, Jr.\, Music Perf
 ormance\, Seattle*<br>Kyle Jenkins\, Grd.\, Music Performance\, Sammamish&lt;
 br&gt;Daniel Lyons\, So.\, Music Performance\, Lake Forest Park<br>Antti Mann
 isto\, Jr.\, Mechanical Engineering\, Bellevue </p>\n<p>HORN<br>Becky Miller\, Community Member\, Woodinville<br>Elise Mo
 e\, Fr.\, Music Performance\, Everett*<br>Kiyoshi Colon\, Alumni.\, Chemis
 try\, Everett<br>Anna Barbee\, Alumni\, DMA Music Performance\, Tacoma </p>\n<p>TROMBONE<br>Dion Archer-Roll\, Sr.\, Phys
 ics\, Vancouver<br>Auden Durant\, Graduate\, Music Performance\, Bellevue&lt;
 br&gt;Eliana Koenig\, So.\, Mechanical Engineering\, Mesa\, AZ<br>Evan Mao\, 
 So.\, Computer Science\, Redmond<br>Nathanael Wyttenbach\, So.\, Music Per
 formance/International Studies\, Richland* </p>\n<p>EUPHONIUM<br>Nico Ferreria\, So.\, Biology\, Bellevue<br>Simona Yaros
 lavsky\, So.\, Psychology/Law\, Societies and Justice\, Mercer Island* </p>\n<p>TUBA<br>Cole Henslee\, Sr.\, Music Perfor
 mance\, Lakewood<br>Foster Patterson\, Jr.\, Music Education\, Aberdeen<br>Chris Seay\, Grd.\, Music Performance\, Belmont\, NC* </p>\n<p>PERCUSSION<br>Ryan Baker\, Sr.\, Music Composition/Psycho
 logy\, Gig Harbor<br>Solomon Encina\, Grd.\, Wind Conducting\, Rancho Cuca
 monga\, CA<br>Momoka Fukushima\, So.\, Music Performance\, Issaquah*<br>Ab
 igail George\, Sr.\, Music Performance/Applied Physics\, Redmond*<br>Colin
  Lehman\, Fr.\, Music Performance\, Moses Lake<br>Luigi Salvaggio\, So.\, 
 Music Performance\, Manhattan Beach\, CA </p>\n<p>PIANO<br>Rachel Huang\, Grad.\, Music Performance\, West Hills\, LA </p>\n<p>BASS<br>Jason Lai\, Fr.\, Mechanical Engi
 neering\, Camas </p>\n<p>DOCTORAL STUDENT CONDU
 CTORS<br>Solomon Encina\, Rancho Cucamonga\, CA<br>David Stewart\, Mercer 
 Island<br>Yuman Wu\, Tianjin\, China </p>\n<p>*
 principal</p>\n<p>UNIVERSITY OF WASHINGTON ALUM
 NI BAND</p>\n<p>FLUTE<br>Dane Andersen / 1996-2
 001 / Music Performance / Seattle<br>Zhao-Rong Chen / 2005-2009 / DMA Flut
 e Performance / Beijing\, China<br>Stephanie Chuang / 2018-2022 / Computer
  Science &amp; Cinema and Media Studies / Seattle<br>Anton Coleman / 2007-2011
  / Music Education / Seattle<br>Laura Elena Colmenares / 2012-10-2016 / Mu
 sic Performance / Chicago\, IL<br>Rachel Reyes / 2016-2020\, 2022-2025 / D
 MA Music Performance / Snohomish<br>Whitney Neufeld-Kaiser / 1992-95 / gra
 d student Genetics / Seattle<br>Miao Liu / 2016-2018 / MM Music Performanc
 e / Kirkland<br>Grace Jun / 2016-2020\, 2022-2024 / Music Performance (BM/
 MM) / Seattle <br>Sabrina Tu / 2013-2017 / Music Performance / Los Angeles
 \, CA<br>Elizabeth Nilles / 2020-2024 / Molecular Biology / Seattle   </p>
 \n<p>OBOE<br>Bhavani Kotha / 2012-2015 / Music 
 Performance / Seattle<br>Yuh-Pey Lin / 2000-2010 / DMA Music Performance /
  Bothell<br>Jamie Sanidad / 2018-2020 / MM Music Performance / Seattle<br>
 Kamil Tarnawczyk / 2018-2023 / Music Performance / Pullman </p>\n<p>BASSOON<br>Erin Bodnar / 2010-2013 / DMA Instrumental
  Conducting / Jacksonville\, FL<br>Aaron Chang / 2001-2005 / Music Perform
 ance &amp; Economics / Lynnwood<br>Andy Clark / 1993-1999 / Music Theory &amp; His
 tory / Shoreline<br>Griffin Smith / 2019-2024 / Music &amp; Philosophy / Seatt
 le<br>Julien Tsang / 2016-2022 / Music Performance &amp; Accounting and Taxati
 on / Seattle<br>Jerry Turner / 1985-1991 / English &amp; Education / Tacoma </p>\n<p>CONTRABASSOON<br>Jeff Eldridge / 1985-19
 94 / Mathematics / Edmonds<br>David Wall / 2015-2018 / Music Performance /
  Seattle </p>\n<p>CLARINET  <br>Michael Byerly 
 / 2000-2004 / Music Performance / Virginia Beach\, VA<br>Chrissie Chang / 
 2002-2005\, 2012-2014 / BM-Music\, M.Ed-Leadership &amp; Policy / Lynnwood<br>
 Pamela Faletto / 1993-1997 / Music Education / Newcastle<br>Marie Gallardo
  / 2016-2020 / Music Performance / Kansas City\, MO<br>Lauren Hepburn / 20
 17-2019 / MM Music Education / Seattle<br>Kevin Hinshaw / 1992-2000 / Comp
 uter Science / Seattle<br>Conrad Lin / 2020-2023 / Statistics/Economics / 
 Seattle<br>Jason Liu / 2019-2024 / Mathematics / Seattle<br>Chris Mathakul
  / 2018-2022 / DMA Instrumental Conducting / Seattle<br>Maren Mitchell / 2
 000-2004 / MPA 2004\, MATESOL 2003 / Austin\, TX<br>Jerry Neufeld-Kaiser /
  1992-1995 / Linguistics / Seattle<br>Jodi Salzman / 1990-1994 / Music Per
 formance / Kenmore<br>David Stauffer / 2000-2004 / Aeronautics and Astrona
 utics / Sunnyvale\, CA<br>Alexander Tu / 2013-2017 / Music Performance / L
 os Angeles\, CA<br>Mo Yan / 2014-2019 / Music Performance &amp; Music Educatio
 n / Beijing\, China<br>David Zeng / 2012-2016 / Mathematics &amp; Economics / 
 Seattle<br>Phoong Khang Zhie / 2018-2022 / Computer Science / Singapore</p>\n<p> E FLAT CLARINET<br>Cameron Lee / 2019–20
 24 / Visual Communication Design and Informatics / Seattle </p>\n<p>BASS CLARINET<br>Brian Schappals / 2017-2019 / MM Mus
 ic Performance / Seattle<br>David Bissell / 2012-2014 / Chemistry / Bellin
 gham </p>\n<p>CONTRA ALTO CLARINET<br>Oliver Ko
 u / 2016-2020 / Earth and Space Sciences / Bothell </p>\n<p>SAXOPHONE<br>Megumi Azekawa / 2006-2008 / MM Music Performanc
 e / Tacoma<br>Barbara Brown / 2001-2006 / Music Performance &amp; Anthropology
  / Rochester\, NY<br>Nick Franks / 2018-2023 / Music Education / Seattle<b r>Sidney Hauser / 2018-2023 / Painting and Drawing &amp; Music Performance / S
 eattle<br>Nicole Hovland / 2000-2005 / Music Performance / West Hills\, CA
 <br>Michael Galeotti / Music Education / Los Angeles\, CA<br>Dave Lin / Bi
 ochemistry / Ann Arbor\, MI<br>Zach Matthews / 2017-2021 / Music Education
  / Seattle<br>Mark Montemayor / 1995-1998\, 2001-2006 / PhD Music Educatio
 n\, conducting emphasis / Denton\, TX<br>Joe Shostak / 2020-2024 / Mechani
 cal Engineering – Mechatronics / Snohomish<br>Mark Tse / 2015-2018 / DMA I
 nstrumental Conducting / Saskatoon\, SK\, Canada<br>Shane Valle / 2010-201
 4 / Civil and Environmental Engineering / Portland\, OR<br>Chen Wang / 201
 6-2019 / MM Music Performance / Seattle<br>Alexander Yuan / 2022 - present
  / Computer Science / Seattle </p>\n<p>TRUMPET&lt;
 br&gt;Carlos Alvarez / 2021-2023 / Informatics / Seattle<br>Carter Archuleta 
 / 2021-2024 / Biological Physics and Astronomy / Seattle<br>Matt Armstrong
  / 1990-1995 / Music Performance / Graham<br>Paul Bain / 2003-2008 / MM In
 strumental Conducting / Bellingham<br>Brandon Michael Cain / 2018-2024 / M
 usic Education / Spanaway<br>Shaun Day / 2021-2024 / DMA Instrumental Cond
 ucting / Wichita\, KS<br>Shelly Devlin / 2004-2007 / MM Trumpet Performanc
 e / Bremerton<br>Hilma Josal / 2001-2007 / Music Education / Monroe<br>Eri
 n Keeton-Howard / 2014-2016 / MM Music Education\, conducting emphasis / S
 eattle<br>Caroline Kelly / 2020-2024 / Environmental Science / Seattle<br>
 Hailey Kepple / 2018-2024 / Music Education / Kent<br>Jason Kissinger / 20
 16-2020 / Political Science and French Studies / Seattle<br>Colton Lindstr
 and / 2020-2024 / Physiology / Seattle<br>Hil Lyons / 1991-1996\, 2005-201
 1 / Math and Statistics / Seattle<br>Joy Lyons / 1998-2002 / Physics and M
 usic / Seattle<br>Ken Lyons / 1993-1997 / Community and Environmental Plan
 ning / Lake Forest Park<br>Zachariah MacIntyre / 2006-2011 / Music Educati
 on / Seattle<br>Todd Mahaffey / 1991-1996 / Music Education / Issaquah<br>
 Tyler Mi / 2015-2020 / Computer Science / Seattle<br>Vu Nguyen / 2008-2011
  / DMA Instrumental Conducting / Stockton\, CA <br>Lewis Norfleet / 2013-2
 015 / DMA Instrumental Conducting / Grants Pass\, OR<br>Eric Smedley / 200
 7-2010 / DMA Instrumental Conducting / Bloomington\, IN<br>Judson Scott / 
 1998-2003 / DMA Instrumental Conducting &amp; Trumpet Performance / Seattle </p>\n<p>HORN<br>Matt Anderson / 2013-2016 / DMA 
 Horn Performance / Seattle<br>Anna Barbee / 2017-2022 / DMA Horn Performan
 ce / Tacoma<br>Caty Becker / 2017-2021 / Music Education / Seattle<br>Trev
 or Crosby / 2011-2015 / Music Performance / Kent<br>Cheryl (Hoffman) Dyson
  / 1987-1995 / Music Education / Port Townsend<br>Ben Johnson / 2022-2024 
 / MM Music Performance / Seattle<br>Matthew Kruse / 2002-2005 / MM Instrum
 ental Conducting / Kenmore<br>Bradley Leavens / 2016-2018 / MM Music Perfo
 rmance / Puyallup<br>Alison (Alie) Farley Raffle / 2009-2014 / PhD Music E
 ducation\, conducting emphasis / Athens\, GA<br>Shayna Stahl / 2016-2019 /
  DMA Instrumental Conducting / Lexington\, KY </p>\n<p>TROMBONE<br>Val Buzunov / 2008-2010 / Music Performance / Auburn<b r>Sean Grimm / 2018-2022 / Statistics (Data Science) / Carson City\, NV<br>Ivan Nolasco Hernandez / 2021-2023 / Music Education / Tacoma<br>Scott G.
  Higbee / 1994-1998 / MM Brass Performance / Seattle<br>Dan Kretz / 1994-2
 000 / Music Education / Winlock<br>Peter Lin / 2020-2024 / ACMS / Seattle&lt;
 br&gt;Elizabeth McDaniel / 2014-2016 / MM Music Performance / Lynnwood<br>Mas
 a Ohtake / 2008-2013 / Music Performance / Birmingham\, AL<br>Nathaniel Ox
 ford / 1991-1997 / Music Education / Seattle<br>Ryan Wagner / 2002-2005 / 
 MM Music Performance / Federal Way<br>Jeff Walker / 1991-1995 / Botany / S
 eattle </p>\n<p>EUPHONIUM<br>Danny Helseth / 20
 08-2013 / DMA Brass Performance / Seattle<br>Paul Kimball / 2014-2017 / Cu
 rriculum and Instruction / Bainbridge Island<br>Ellie Walker / 2020-2024 /
  Music Performance / Kenmore<br>Franklin Chen Zetian / 2018-2020 / Hong Ko
 ng </p>\n<p>TUBA<br>Cole Henslee / 2022-2025 / 
 Music Performance / Lakewood<br>Tad Doviak / 1989-1995\, 2014-2015 / Bache
 lor of Social Welfare\, Master of Cybersecurity and Leadership / Des Moine
 s<br>Patrick O’Donnell / 2018-2020 / MM Music Performance / Wesley Chapel\
 , FL<br>Seth Tompkins / 2009-2011 / MM Music Performance / Renton</p>\n<p>PERCUSSION<br>Logan Bellenkes / 2022-23 / Music
  Performance / Spokane Valley<br>Jakob Fortiner / 2019-2020 / Music Perfor
 mance / Seattle<br>David Gaskey / 2015-2020 / Music Performance / Port Orc
 hard<br>S.N. Johnson-Roehr / 1987-1989 / Russian / Attleboro\, MA<br>Katie
  Keefe (Hurst) / 2002-2006 / Music Performance / Seattle<br>Christian Kreh
 biel / 1996-2001\, 2004-2006 / Music Performance / Seattle<br>Rebecca Mark
 ov / 2002-2007 / Music Education / Woodinville<br>Darren Meucci / 2002-200
 7 / Music Education / Lynnwood<br>David Norgaard / 2016-2020 / Music Perfo
 rmance / Indianapolis\, IN<br>Patrick Roulet / 1992-2002 / DMA Music Perfo
 rmance / Bellingham<br>Peter Schmeeckle / 2005 – 2010 / Jazz Studies &amp; Mus
 ic Performance / Stowe\, VT<br>Liz Harris Scruggs / 2011-2016 / Music Educ
 ation / Seattle<br>Jana Skillingstead / 1990-1996 / International Studies 
 &amp; Music Performance / Seattle<br>Thomas Slabaugh / 2003-2007 / DMA Music P
 erformance / Davis\, CA </p>\n<p>PIANO<br>Hye-Y
 eon Kim / 2020-2025 / DMA Music Performance / Seattle<br>Kiwa Mizutani / 2
 018-2023 / MM Music Performance / Sammamish<br>Conney Vernall / 1998-2003 
 / Music Performance / Shoreline<br>Kay Yeh / 2013-2025 / DMA\, MM Music Pe
 rformance / Seattle </p>\n<p>BASS<br>Anthony Ba
 lducci / 1993-2000 / Music Education / Seattle<br>Chris Balducci / 1993-20
 00 / Music Education / Seattle<br>Kelsey Croft / 2006-2010 / Business Admi
 nistration / Seattle<br>Adrian Swan / 2009-2013 / Music Performance / Seat
 tle </p>\n<p>HARP<br>Gaby Holmquist / 2002-2007
  / Music Performance / Kenmore<br>Kelly Hou / 2019-2014 / Music Performanc
 e &amp; Informatics / Seattle</p>\n\n\n\n\n<h2>Biog
 raphies</h2>\n<h3>University of Washington Wind
  Ensemble</h3>\n<p>The University of Washington
  Wind Ensemble has performed at many prestigious music conventions\, has p
 resented several world premiere performances of outstanding new music for 
 wind band and in 2004\, undertook a highly acclaimed nine-day concert tour
  of the Kansai region of Japan\, returning for more extensive tours of tha
 t country in 2007 and 2010. The UW Wind Ensemble also presented several co
 ncerts in the main concert venues of Beijing\, China in March of 2013\, in
 cluding a sold-out concert in the National Center for the Performing Arts 
 in Tiananmen Square that was broadcast nationwide on China Central Televis
 ion. The ensemble returned to China in both 2016 and 2019\, playing before
  large crowds in Beijing\, Shanghai\, Xi'an and Chengdu and in March of 20
 24 presented concerts in South Korea. In the spring of 2006\, the ensemble
  was invited by the Seattle Symphony Orchestra to present a concert at Ben
 aroya Hall as a part of the Symphony’s Made in America Festival. The Londo
 n Financial Times review of the concert applauded “music of surprising sop
 histication…Cindy McTee’s Finish Line pulsated energetically\, and William
  Bolcom’s Song was simply gorgeous.” Following the 2006 performance the en
 semble was invited for return appearances on Seattle Symphony concert seri
 es in 2007\, 2008 and in 2011 when Maestro Gerard Schwarz conducted the en
 semble. The UW Wind Ensemble has collaborated with internationally renowne
 d guest artists\, conductors and composers including Eddie Daniels\, Steve
  Houghton\, Allen Vizzutti\, Jeffery Fair\, Chris Olka\, James Walker\, Do
 uglas Yeo\, Leigh Howard Stevens\, David Maslanka\, Michael Colgrass\, Don
 na Shin\, Bonnie Whiting\, Cindy McTee\, Eric Ewazen\, Satoshi Yagisawa\, 
 David Stanhope\, John DiCesare\, Ben Lulich\, David Gordon\, Mary Lynch-Va
 nderkolk\, Seth Krimsky\, Michael Brockman\, Carrie Shaw and Huck Hodge. I
 n 2009 Nihon Pals\, a music education resource company based in Osaka\, Ja
 pan\, released a set of instructional DVDs regarding ensemble musicality f
 eaturing the UW Wind Ensemble. The University of Washington was host for t
 he 2011 National Conference of the College Band Directors National Associa
 tion. Membership in the UW Wind Ensemble/Symphonic Band\, based on auditio
 n\, is open to the entire student body regardless of major field of study.
  Additional opportunities for student involvement in University of Washing
 ton instrumental organizations include the Symphonic Band\, the Concert Ba
 nd\, the Campus Band\, the University Band\, the 240-member Husky Marching
  Band\, jazz ensembles\, several combos\, the UW Symphony Orchestra and tw
 o Campus Philharmonic Orchestras. UW Bands information can be found on the
  worldwide web at: <a href='https://www.uwbands.com/'>https://www.uwbands.
 com/</a></p>\n<h3>University of Washington Alum
 ni Band</h3>\n<p>The University of Washington A
 lumni Band is comprised of former UW Wind Ensemble members from every year
  of Professor Salzman’s 38-year tenure at the UW. Alumni from 17 states\, 
 Singapore\, Hong Kong\, Beijing and Saskatoon\, Canada have come together 
 for two brief rehearsals in preparation for this performance. Each person 
 is amazingly unique and many have achieved distinction in their respective
  fields – obviously\, many of those accomplishments are in the field of mu
 sic.</p>
DTSTART;TZID=America/Los_Angeles:20250605T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:238
SUMMARY:: Wind Ensemble and Alumni Band: Finish Line
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-06-06/wind-ensemble-and-alumni
 -band-finish-line
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Timothy Salzman wraps up a 38-year 
 career as head of the UW Bands program with 'Finish Line\,' a program of m
 usic by Cindy McTee\, Sergei Rachmaninoff\, Percy Grainger\, and David Mas
 lanka\, performed by the UW Wind Ensemble and the UW Alumni Band.</p> <hr>
  <h3>Program</h3> <h3>University of Washington Wind Ensemble</h3> <p>Timot
 hy Salzman\, conductor</p> <p>Finish Line (2006) – Cindy McTee (b. 1953)</p> <p>Three Vespers from the All Night Vigil (1915/2008) – Sergei Rachmani
 noff (1873-1943)/transc. T. Salzman<br>1. <span><em>Blagoslovi\, dushe moy
 a\, Ghospoda</em> (</span>Bless the Lord\, O My Soul) <br>2. <em>Svete tih
 iy</em> (O Gladsome Light) <br>3. <span><em>Bogoroditse Devo</em> (</span>
 Rejoice\, O Virgin)</p> <p>Lincolnshire Posy (1937) – Percy Grainger (1882
 -1961)<br>1. Dublin Bay (Lisbon) <br>2. Horkstow Grange <br>3. Rufford Par
 k Poachers <br>4. The Brisk Young Sailor <br>5. Lord Melbourne <br>6. The 
 Lost Lady Found</p> <h3>University of Washington Alumni Band</h3> <p>Symph
 ony 7 (2004) – David Maslanka (1943-2017)<br>1. Moderate<br>2. Slow<br>4. 
 Moderately Slow</p> <hr> <h3>Program Notes</h3> <p><strong>Cindy McTee</strong>\, born in Tacoma\, Washington\, is an Ame
 rican composer and educator who holds degrees from Pacific Lutheran Univer
 sity\, the Yale School of Music\, and the University of Iowa. She also com
 pleted one year of study in Poland with Krzysztof Penderecki at the Academ
 y of Music in Kracow. Originally hailed by critics as a composer whose mus
 ic reflects a “charging\, churning celebration of the musical and cultural
  energy of modern-day America\,” Cindy McTee “brings to the world of conce
 rt music a fresh and imaginative voice.' Ms. McTee has received numerous a
 wards for her music\, most significantly a 'Creative Connections Award' fr
 om Meet The Composer\, two awards from the American Academy of Arts and Le
 tters\, a Guggenheim Fellowship\, a Fulbright Fellowship\, and a Composers
  Fellowship from the National Endowment for the Arts. She was also winner 
 of the 2001 Louisville Orchestra Composition Competition\, and in 2002 was
  selected to participate with the National Symphony Orchestra in 'Music Al
 ive.' a residency program sponsored by Meet the Composer and the American 
 Symphony Orchestra League. Her music has been performed by leading orchest
 ras\, bands\, and chamber ensembles in Japan\, South America\, Europe\, Au
 stralia\, and the United States in such venues as Carnegie Hall\, the Kenn
 edy Center\, and the Sydney Opera House. Among the many ensembles to have 
 performed her music are: the Pacific Symphony\, the North Texas and Dallas
  Wind Symphonies\, the Buffalo Philharmonic\, the Cleveland Orchestra\, th
 e National Symphony Orchestra\, Tokyo's NHK Symphony Orchestra\, London's 
 Philharmonia Orchestra\, the United States Army Field Band\, and the symph
 ony orchestras of Colorado\, Columbus\, Dallas\, Detroit\, Chicago\, Houst
 on\, Indianapolis\, Rochester\, Saint Louis\, San Antonio\, Seattle\, and 
 Sydney.</p> <p>In May of 2011\, she retired fro
 m the University of North Texas as Regents Professor Emerita\, and in Nove
 mber of 2011 married internationally acclaimed conductor Leonard Slatkin. 
 Their principal place of residence is in Bloomfield Hills\, Michigan. Of t
 his evening’s work the composer writes:</p> <p>
 I decided to use the work of Futurist artist Giacomo Balla as a point of d
 eparture for the creation of <strong><em>Finish Line</em></strong> and cho
 se several paintings suggesting the transformation of landscape by the pas
 sage of a speeding automobile. The title of one work in particular\, <em>A
 bstract Speed + Sound\,</em> suggests that Balla sought to render on canva
 s the whirling noise of the automobile itself.</p> <p>In <em>Finish Line</em>\, the use of repeated fragments (ostinatos)
 \, a steady pulse\, and a spirited tempo attempt to portray the swirling g
 estures and mechanized agitation of Balla’s paintings. Multiple points of 
 view (characteristic of Futurist art) are represented by the simultaneous 
 presentation of two tempos at the beginning and end of the work\, and also
  by a seamless\, temporal transformation process analogous to gear shiftin
 g\, where the speed\, or RPM\, of the engine modulates smoothly to a new f
 requency.</p> <p>There are also three short sec
 tions in <em>Finish Line</em> during which forward momentum and time are s
 lowed down and ultimately suspended. This is achieved by inserting varying
  amounts of silence between the repetitions of melodic fragments which are
  therefore heard in ever-changing relationships to create a non-linear tex
 ture of circles within circles and a dreamlike\, hovering\, effect.</p> <p>Italian Futurists were\, of course\, not the o
 nly artists affected by the dawn of the machine age. Russian composer Igor
  Stravinsky is credited with having produced the first important piece of 
 “machine music\,” the <em>Rite of Spring\,</em> its rhythmic pulsations de
 picting not just prehistoric\, ritualistic dance\, but also the nervous en
 ergy of a modern\, mechanized city. There are references to this famous wo
 rk at the beginning and end of <em>Finish Line.</em> Pitch structures in t
 his work are derived from both octatonic (8-note) and 12-note scales\, whi
 le the note “A” (for Amarillo) launches the piece in a flurry of percussio
 n.</p> <p>I completed <em>Finish Line</em> by m
 id-summer of 2005 and then set out on a 6000-mile road trip\, often imagin
 ing myself racing through Balla’s paintings. Like Balla\, I too delighted 
 in the ability of a speeding automobile to transform time and space\, with
  vast expanses of changing landscape playing like a movie on my windshield
 . Fasten your seatbelts!</p> <p>The wind sympho
 ny version of <em>Finish Line</em> was commissioned by a consortium of ens
 embles and premièred on May 20\, 2006\, by the University of Washington Wi
 nd Ensemble\, Timothy Salzman\, conductor\, in Benaroya Hall in Seattle at
  the invitation of the Seattle Symphony.</p> <p><strong>CONDUCTOR NOTE:</strong> Without the University of Washington Ban
 d Program there literally would be no Cindy McTee as her parents met in th
 e UW Concert Band! I first heard her work in 1992 at a College Band Direct
 ors National Association conference in Kansas City and was immediately cap
 tivated by her artistic originality and excited by the inherent performanc
 e/compositional requirements for wind ensembles engaging in the study and 
 performance of her music. Getting to know her through the years\, and prem
 iering two of her works for wind ensemble\, has been an honor.</p> <p styl e=' 400\;'>The hauntingly beautiful <strong><em>All-Night Vigi
 l</em></strong> by <strong>Sergei Rachmaninov</strong> is one of the great
  sacred choral treasures of the 20th century. This lush and virtuosic mast
 erpiece\, for unaccompanied chorus in its original form\, captures both th
 e spirit of the Orthodox Church and the soul of Russia. For the original c
 horal setting Rachmaninov chose fifteen major psalms and hymns that form t
 he unchanging framework of the Resurrection Vigil. Written in less than tw
 o weeks\, this sublimely peaceful chant-based music was Rachmaninoff's rea
 ction to the destruction of Europe during World War I\, and is widely reco
 gnized as the finest of the composer's\, and Russia's\, sacred choral comp
 ositions. The composer’s own story has several important parallels to curr
 ent global affairs. Rachmaninoff composed the piece in 1915 during the gat
 hering violence of World War I\, something with which he was deeply uncomf
 ortable. The work was viewed at the time by some contemporaries as a pacif
 istic repudiation of the war. Rachmaninoff himself fled Russia and became 
 an immigrant to America just two years after he wrote the piece\, never to
  return to his home country. He became a citizen of the United States\, an
 d co-authored an article in the New York Times with other Russian exiles c
 ondemning violence against the Russian people inflicted by the government 
 of Stalin.</p> <p>In this arrangement by Profes
 sor Salzman three of the fifteen movements have been set for wind ensemble
 : <span> </span><span> </span></p> <p>Movement 
 II. <em>Blagoslovi\, dushe moya\, Ghospoda</em> (Bless the Lord\, O My Sou
 l)</p> <p>Bless the Lord\, O my soul\,</p> <p s tyle=' 400\;'>blessed art Thou\, O Lord.</p> <p>O Lord my God\, Thou art very great.Blessed art Thou\, O Lord
 .</p> <p>Thou art clothed with honor and majest
 y.</p> <p>Blessed art Thou\, O Lord.</p> <p sty le=' 400\;'>The waters stand upon the mountains.</p> <p>Marvelous are Thy works\, O Lord.</p> <p>The waters flow between the hills.</p> <p>Marvelous are Thy works\, O Lord.</p> <p>In wisdom hast Thou made all things.</p> <p>Glory to Thee\, O Lord\, who hast created all!</p> <p>—Psalm 103[104]:1-2\, 6\, 24</p> <p>Mov
 ement IV. <em>Svete Tikhyi </em>(O Gladsome Light)</p> <p>Gladsome Light of the holy glory of the Immortal One—</p> <p st yle=' 400\;'>the Heavenly Father\, holy and blessed—</p> <p st yle=' 400\;'>O Jesus Christ!</p> <p>Now that we have come to the setting of the sun\,</p> <p>and behold the light of evening\,</p> <p>we praise the Father\, Son\, and Holy Spirit—God.</p> <p>Thou art worthy at every moment</p> <p>to be praised in hymns by reverent voices.</p> <p>O Son of God\, Thou art the Giver of Life\;</p> <p>therefore all the world glorifies Thee.</p> <p> </p> <p>Movement VI.<em> Bogorod
 itse Devo</em> (Rejoice\, O Virgin)</p> <p> </p> <p>Rejoice\, O Virgin Mother of God\,</p> <p>Mary full of grace\, the Lord is with Thee.</p>
  <p>Blessed art Thee among women\,</p> <p>and blessed is the Fruit of Thy womb\,</p> <p>for Thou hast borne the Savior of our souls.</p> <p s tyle=' 400\;'><strong>CONDUCTOR NOTE:</strong> In 1993 I was a
 sked to go to Moscow and St. Petersburg for purposes of participating in a
  wind ensemble festival. It was probably the most art-immersive ten days o
 f my life as I had opportunity to hear the Moscow Symphony in rehearsal (S
 travinsky’s <em>Petrushka</em> no less!)\, the St. Petersburg Philharmonic
  in concert (playing Stravinsky’s <em>The Firebird</em>!) and a couple of 
 the top-tier conservatory orchestras. And\, touring The State Hermitage Mu
 seum\, the world’s largest collection of paintings housed in the Winter Pa
 lace\, was quite astounding. However…hearing a professional Russian chorus
  was truly overwhelming. I’ve long admired the awe-inspiring beauty of the
  <em>All Night Vigil</em> so I scored three of the fifteen movements for U
 WWE\, solely intending to use it for purposes of rehearsal only\, an attem
 pt to develop higher level listening skills and musicianship. Initially it
  was a solely a ‘warm-up’ piece as I have a bit of a bias against transcri
 ptions. However\, we played the work on tour in Japan and executives from 
 an Osaka-based Japanese music education resource company heard it and aske
 d if they could publish it. Over the years we’ve played it routinely in re
 hearsal as it has really helped the ensemble in terms of musicianship as t
 he phrasing\, breath control\, intonation\, tone\, etc.\, demands so much 
 commitment from the performers.</p> <p>Australi
 an born <strong>Percy Grainger</strong> began his musical career as a conc
 ert pianist and took the London musical scene by storm. His first public c
 oncert took place at Steinway Hall on October 29\, 1901\, and his flamboya
 nt stage presence made him the darling of London’s best families. His life
  as a virtuoso pianist was not without its pressures\, however\, and Grain
 ger soon discovered that he was happy not as a performer\, but as a compos
 er. In 1905\, Grainger attended a lecture on folk music delivered by Miss 
 Lucy E. Broadwood\, where he became fascinated with English folksong colle
 cting. He collected his first song while attending a competition festival 
 in Lincolnshire\, and with that\, was hooked. At first\, Grainger would si
 mply wander up to a farmer plowing his fields and ask if he knew any songs
 . As the man sang\, Grainger would jot down the melody\, and someone else 
 would notate the words. On one expedition he was accompanied by the Britis
 h literary figure H.G. Wells\, who remarked\, “you are trying to do a more
  difficult thing than record fold songs\, you are trying to record life.” 
 Eventually the exercise proved too arduous and Grainger sought a better me
 thod. The result was the acquisition of an Edison-Bell wax cylinder phonog
 raph\, which Grainger carried along with him on his bicycle as he traverse
 d the English countryside. In the 1940s\, these cylinder discs were donate
 d to the Library of Congress in Washington\, D.C. where they were transfer
 red to audiotape and eventually returned to the Grainger Museum at the Uni
 versity of Melbourne\, Australia. Of <strong><em>Lincolnshire Posy</em></s><em>\,</em> the composer writes: “<em>Lincolnshire Posy</em>\, as a 
 whole work\, was conceived and scored by me direct for wind band early in 
 1937. Five\, out of the six\, movements of which it is made up\, existed i
 n no other finished form\, though most of these movements (as is the case 
 with almost all my compositions and settings\, for whatever medium) were i
 ndebted\, more or less\, to unfinished sketches for a variety of mediums c
 overing many years (in this case the sketches dated from 1905 to 1937).”</p> <p><em>Program Notes from the CD liner notes
  “Songs of the Earth. The United States Air Force Band Washington DC Lieut
 enant Colonel Lowell E. Graham\, Commander/Conductor”</em></p> <p><strong>CONDUCTOR NOTE:</strong> I first conducted Linc
 olnshire Posy (four of the six movements) with the Herscher (IL) High Scho
 ol Wind Ensemble about forty-three years ago and have performed it on mult
 iple occasions since then. It is widely considered to be a ‘masterwork’ fo
 r wind ensemble and has captivated performers and audiences around the wor
 ld. I have also utilized the six movements of the piece in teaching underg
 raduate instrumental conducting throughout my years at the UW. The work\, 
 constructed of variations on six different British folksongs\, is at once 
 beautiful and extraordinarily complex as Grainger was attempting to captur
 e the rhythmically and metrically irregular singing of the various dock wo
 rkers\, shepherds\, pub crawlers\, farmers\, etc.\, throughout the country
 \, all singing tunes handed down through the generations. Grainger dedicat
 ed this 'bunch of Wildflowers to the old folksingers who sang so sweetly t
 o me'.</p> <p>Theoretically…at this point…I <u>
 should</u> know this one… \;) <span> </span></p> <p><strong>David Maslanka</strong>\, born in New Bedford\, Massachusetts
 \, attended the Oberlin College Conservatory where he studied composition 
 with Joseph Wood. He spent a year at the Mozarteum in Salzburg\, Austria\,
  and did masters and doctoral study in composition at Michigan State Unive
 rsity where his principal teacher was H. Owen Reed. Maslanka’s music for w
 inds has become especially well known. Among his more than 150 works are o
 ver 50 pieces for wind ensemble\, including eight symphonies\, seventeen c
 oncertos\, a Mass\, and many concert pieces. His chamber music includes fo
 ur wind quintets\, five saxophone quartets\, and many works for solo instr
 ument and piano. In addition\, he has written a variety of orchestral and 
 choral pieces. David Maslanka’s compositions are published by Maslanka Pre
 ss\, Carl Fischer\, Kjos Music\, Marimba Productions\, and OU Percussion P
 ress. They have been recorded on Albany\, Reference Recordings\, BIS (Swed
 en)\, Naxos\, Cambria\, CRI\, Mark\, Novisse\, AUR\, Cafua (Japan)\, Brain
  Music (Japan)\, Barking Dog\, and Klavier labels. He served on the facult
 ies of the State University of New York at Geneseo\, Sarah Lawrence Colleg
 e\, New York University\, and Kingsborough Community College of the City U
 niversity of New York\, and was a freelance composer in Missoula\, Montana
  from 1990 until his death in 2017.</p> <p><em>Symphony No. 7 for Wind Ensemble</em></strong>\, completed in 2004
 \, was commissioned by a consortium organized by Illinois State University
 /Stephen K. Steele. The work was premiered March 10\, 2005\, at the Illino
 is State University Center for the Performing Arts\, Normal\, Illinois.</p> <p>The composer said the following about this
  work:</p> <p>I am strongly affected by America
 n folk songs and hymn tunes\, and I think of this symphony as old songs re
 membered\, with one exception. All the tunes are original\, but they all f
 eel familiar. Each song has a bright side and a dark side\, a surface and 
 the dream underneath. Each is a signal or call\, which evokes an inner wor
 ld of associations.<br><br>I. Sunday night church services from your youth
 . Mr. Smith played the piano. The opening piano piece is marked 'enthusias
 tically' in the score. A dream travels to a far place.<br>II. In the manne
 r of an American folk song\, with a setting that might come out of the 19t
 h or early 20th centuries. <br>IV. A simple song of peace and healing.</p>
  <p><strong>CONDUCTOR NOTE:</strong> In the inv
 itation to alumni to sign up for the UWWE alumni ensemble\, participants w
 ere asked what composers they would most like to perform at the retirement
  concert – nearly half listed Maslanka. Throughout my tenure at the UW the
  Wind Ensemble has played his symphonies on tour in Japan\, China\, Korea 
 and Canada. I’ve also been privileged to conduct the 4<sup>th</sup> Sympho
 ny on tour with the Senzoku Gakuen Uozu (Japan) Wind Ensemble on one of th
 eir Japan tours\; with China’s People’s Liberation Army Band in their beau
 tiful hall in Beijing and with the United States Army Field Band in Maryla
 nd.</p> <p>In 1982 I took the Herscher High Sch
 ool Wind Ensemble to Northwestern University for purposes of having a mast
 er class with John Paynter\, Director of Bands there for about forty years
 . After his time with the group\, he invited us to a dress rehearsal where
  the Northwestern Wind Ensemble played Maslanka’s first great work for the
  idiom\, “A Child’s Garden of Dreams”. I had never heard of Maslanka and t
 hat dress rehearsal run-through left me dumbstruck…a seminal moment…as I k
 new that I wanted to be able to be in a place that would afford the opport
 unity to perform music of that nature. His music\, and the time he spent o
 n several occasions with UWWE through the years\, is/was remarkable. Stude
 nts absolutely crave playing Maslanka…personally I think it’s his proclivi
 ty for huge symphonic form coupled with an unbridled musical/emotional pas
 sion and tendency to compose the ‘impossible’ in terms of ensemble technic
 al demands. Once accomplished\, the view from the top of the mountain is s
 pectacular. Can an ensemble play the majority of the movements from one of
  his major symphonies on two rehearsals? We’re about to find out…</p> <h3>Retirement</h3> <p>M
 y retirement from the University of Washington at the end of this school y
 ear hasn’t been a secret by any means as it was announced to the UW School
  of Music faculty in January of 2024. Some of my colleagues were surprised
  by this decision but once I ‘ran the data’ they were quick to understand…
  When I finish on July 1 I will have taught for 47 years\; five at Hersche
 r (IL) High School\, four at Montana State University and 38 at the Univer
 sity of Washington. And I will be 70 ½ years old. I gave it my best…and it
  is enough. </p> <p>In part\, this decision has
  been brought about by my ongoing battle with cancer\, something I’ve been
  fighting for the past eight years. Modern medicine is amazing\, a true gi
 ft from God\, and for the most part I’ve able to teach\, conduct and trave
 l without much restriction\, only missing a few rehearsals here and there 
 and never a performance. In fact\, since the initial onset I’ve been able 
 to respond to invitations from China (twice)\, France\, England\, South Ko
 rea\, and around the U.S. My medical team is second to none and have broug
 ht new treatments to bear on the situation that have allowed me to continu
 e to teach and conduct. That is not to suggest that it has been easy by an
 y means…in fact\, it’s been occasionally fairly brutal as the cancer has c
 ome back four times\, most recently at the end of this past August after b
 eing cancer-free for four years. I’ve had to learn what it means to really
  dig deep\, to get through some tough treatments and four surgeries. All o
 f that has been worth it as\, simply put\, it is imperative to do what I c
 an do for the ones I love. Most importantly\, I have learned so much about
  what it means to ‘let go and let God\,’ who provides peace in the storm\,
  comfort when none seems possible\, hope when it seems hopeless…all very r
 eal now.</p> <p>A few of my dearest friends hav
 e given wise and pointed counsel over the past couple of years…those frien
 ds are quite direct with their advice\, something I deeply value. They’re 
 not afraid to speak truth into my life and I’ve certainly reciprocated fro
 m time-to-time. Two friends made it quite clear to me that the most valuab
 le commodity that I have at this stage of life is <em>time.</em> The inves
 tment of time in those I love is more important to me than it has ever bee
 n\, and I am so looking forward to family time that unfolds and extends wi
 thout the pressure of having to run off to a rehearsal\, class\, lesson\, 
 concert\, airport\, meeting…. I look forward to the freedom of being <em>p
 resent.</em> </p> <p>This decision has been gut
 -wrenching as I feel that I still have a lot to give and\, in certain ways
 \, am better than ever on the podium. But when I think about aspects of my
  job that I will miss in retirement\, one eclipses all the rest: the stude
 nts. That’s what makes this so tough. I’m deeply grateful to every student
  that I’ve worked with\, literally thousands of remarkable young people wh
 o taught me far more than I taught them. </p> <p>To the members of the Herscher High School Band: in 1978 you gave a tota
 l novice a chance. You did what I asked even when I wasn’t sure what I was
  asking. You believed. Those were five of the best years of my life and I 
 remember them like they were yesterday. The 40th reunion of the 1982 Band 
 of America national championship band two years ago was possibly the highl
 ight of my entire career. Your words meant so much to me and I will treasu
 re them always.</p> <p>To the members of the Mo
 ntana State University Band: I wasn’t a lot older than you when I came to 
 MSU in 1983\, but you were respectful\, extremely hard-working\, and just 
 so good at staying the course while we built something together. IT WAS SO
  FUN! We still come back to Bozeman every summer as I just love time on th
 e rivers with the trout…so much peace\, serenity\, beauty\, simplicity….an
 d so many fond memories of time in Bozeman.</p> <p>To the students from my twenty years of teaching and arranging for Dru
 m Corps International finalist corps\, particularly the Cavaliers\, Santa 
 Clara Vanguard and Guardsmen: Those many hours of extremely hard work and 
 dedication on your part were incredible to witness and your singular goal-
 oriented focus embedded something in my thinking that has been a foundatio
 nal part of my music education belief system ever since – that the whole c
 an be incredibly better than the sum of its parts if everyone is focused o
 n excellence\, that the sky is literally the limit. Thank you.</p> <p styl e=' 400\;'><span>And finally\, to t
 he nearly-four decades of University of Washington students…I don’t even k
 now where to begin… The incredible music we’ve been so fortunate to share 
 together\, the interactions with all the guest artists\, composers\, the m
 usic we premiered and commissioned\, hosting the College Band Directors Na
 tional Association national conference\, 36 years of our band festival\, t
 he places we were so fortunate to tour (three times to Japan\, three to Ch
 ina\, South Korea\, Canada\, California\, Nevada\, Oregon\, Idaho). And th
 e stunning successes of the graduate conducting <strong></strong></span>st
 udents out in the world of higher education as well as in professional orc
 hestral situations. I am so very proud of each of you – it has been a joy 
 and honor to watch you fly!  </p> <p>To everyon
 e\; students\, colleagues\, administrators and most of all\, my family: th
 ank you from the bottom of my heart. I’m a simple guy\, a ‘first-gen’ coll
 ege kid\, a dairy farmer’s son from Illinois\, and everything that has tra
 nspired through this nearly half-century of conducting and teaching is far
  above all that I could have ever asked or imagined. All of this\, such a 
 blessing from God! (Eph. 3:20)</p> <h3>Acknowle
 dgements</h3> <p>I am grateful to....</p> <p st yle=' 400\;'>God who\, over thirty years ago\, sort of called 
 me back to a life of faith through a series of circumstances. I’ve never b
 een the same and have tried to ‘live grateful’.</p> <p>My wife Jodi. Today is our 27<sup>th</sup> wedding anniversary and
 …well...there simply aren’t enough words to express my gratitude. She is a
 n eternal optimist\, wise\, thoughtful\, fun…loves God above all. Beautifu
 l inside and out. Her steadiness and joyfulness in the midst of so many st
 orms (16 surgeries between us since we’ve been married) is remarkable.</p>
  <p>My family. Wow\, what can I say. They keep 
 it light when I think it’s heavy. Most of all they remind me\, just by bei
 ng who they are\, that there is so much more to life than what I – or any 
 of us – <u>do</u> for a living. We laugh…a lot…and love each other deeply.
  Jodi\, Hannah\, Leigh\, Ben\, Jon and Ren – each an incredible blessing f
 rom heaven.<span>   </span></p> <p>In undergrad
 uate school I had opportunity to study with Arnold Jacobs\, tubist in the 
 Chicago Symphony for forty-four years\, and one of the premiere wind instr
 ument pedagogues of the 20<sup>th</sup> century. His influence on my teach
 ing cannot be overstated.</p> <p>Dr. Daniel Neu
 man\, the former chair of the School of Music\, the person who hired me at
  the UW. Thanks Dan\, for supporting the re-emergence of the band program 
 at the UW…and for those early morning racquetball matches!</p> <p>Dr. Robin McCabe\, also a former chair of the School of
  Music\, who has been a constant friend and supporter. We came to the UW i
 n the same year and she is someone who I have called many times through th
 e years when School of Music life became complex. A great listener…and wis
 e.</p> <p>My many faculty colleagues in the Sch
 ool of Music\, particularly Donna Shin (who has played concerti with UWWE 
 many times both here and broad)\, Michael Brockman\, John DiCesare\, Ben L
 ulich\, David Gordon\, and Marc Seales. Beyond being great ‘studio faculty
 ’ and terrific artist/teachers – most of all – thanks for your <u>humility
 </u> as it is just so important for the students to work with great artist
 s that are caring\, humble people. Also thankful for the top-flight music 
 education faculty that were resident at the SOM for many years – Steven Mo
 rrison\, Steven Demorest\, and Patricia Campbell\, so fortunate to have wo
 rked with them. Our many collaborations and their collegiality is somethin
 g I’ve missed every day since they’ve been gone. Steve D – continue to res
 t in peace.</p> <p>Thirty-eight years of UW stu
 dents\, many of whom are playing in the alumni band this evening. They tau
 ght me so much\, particularly the graduate wind conducting students. Some 
 of the leading music schools in the country have hired them and their subs
 equent professional accomplishments are stunning to behold. But\, more tha
 n that\, they were unselfish team players during their time here\, artisti
 c collaborators of the highest order. And just wonderful people. I wish ev
 eryone present in the audience tonight knew each of them…you’d be better f
 or it. I sure am.</p> <p>Tomio Yamamoto for you
 r tireless work in Japan on behalf of the University of Washington Wind En
 semble. The 2004\, 2007 and 2010 tours of Japan\, made possible by your un
 ceasing support\, were life-changing for the members of the UW Wind Ensemb
 le.</p> <p>Zhao-Rong Chen. We are so deeply gra
 teful to you for your work that enabled UWWE to undertake three amazing to
 urs of China (2013\, 2016\, 2019). The experiences in China\, from playing
  on CCTV to a sold-out audience in the National Center for the Performing 
 Arts in Tiananmen Square\, the interactions with the various universities\
 , military bands\, high schools and Chinese wind conductors…wow…just wonde
 rfully rich experiences which have so deeply benefited UWWE and the Chines
 e band scene. You are so loved by all who know you!</p> <p>My Eastside Church family from throughout the years\, many of 
 whom are here this evening… Love you all so much. Thanks for coming tonigh
 t!</p> <p>My medical ‘team’\, several of whom a
 re here this evening – Thomas Dawson\, Marco Salazar\, Adam Pourcho\, Hao 
 Wang\, Lawrence Maurer\, Jim Blair\, Dan Hartman and Tracie Carlson. These
  people are much more than gifted medical professionals – they’re deeply e
 mpathetic people who’ve walked with me through some tough circumstances\, 
 particularly over the last eight years or so. You all mean so very much to
  me and my family.</p> <p>My current graduate s
 tudents David Stewart\, Yuman Wu and Solomon Encina. This year\, particula
 rly\, has been so challenging and they have been patient\, caring and hard
 working. Thanks for your excellent work with the UW Symphonic\, Concert\, 
 Campus and University Bands. All the best to you in the years ahead. You’r
 e gonna be great!</p> <p>The School of Music st
 aff: Joanne DePue\, Michiko Sakai\, Elena Johns\, Maya Ben-Yosef\, Garius 
 Dimalibot\, Jenifer Moreland\, Colin Todd\, Rylan Virnig and Leann Wheless
  Martin. Also\, Claire Peterson and Gary Louie\, both now retired. Thanks 
 to John Fredenburg for all of the great recordings!</p> <p>Brenda Banks\, the SOM graduate student advisor who has been s
 o professional and caring in assisting the graduate conducting students du
 ring their matriculation. She is\, effectively\, the ‘gate-keeper’ and you
  simply couldn’t ask for a better person in that role.</p> <p>The Meany Hall staff: Sarah Wilkie\, Tom Burke\, Brian Enge
 l\, Matt Starritt\, and Nancy Hautala. You folks have become friends over 
 the years and I will miss you a lot. Thanks for making concerts easy\, for
  being so communicative and kind. And especially…thank you for hosting ‘Th
 e President’s Own’ United States Marine Band three times!</p> <p>Ray Li\, Senior Director for International Advancement a
 t University of Washington\, who was so supportive of UWWE’s international
  touring efforts. Thank you\, particularly\, for your efforts to bring tog
 ether alumni for pre-concert gatherings in China!</p> <p>Jeffery Riedinger\, University of Washington Vice Provost Emerit
 us for Global Affairs. Greatly appreciate your encouragement and support o
 f our international tours!</p> <p>The audiences
  who’ve come out to support UW bands through the years. Music performance 
 without appreciative listeners is simply not the same. Thank you so much!&lt;
 /p&gt; <p>Special thanks to the College of Arts an
 d Sciences for organizing the pre-concert reception. Shout-out to Benny Sh
 ell for all of the hard work!</p> <hr> <table> <tbody> <tr> <td> <h4>UNIVERSITY OF WASHINGTON WIND ENSEMBLE</h4> <p>FLUTE<br>Erin McAfee\, Grad.\, Music Performance\, H
 oover\, AL*<br>Grace Playstead\, Grd.\, Music Performance\, Olympia<br>Pey
 ton Ray\, Jr.\, Music Performance\, Denver\, CO<br>Claire Wei\, So.\, Musi
 c Performance\, Bellevue*<br>Yue Zhong.\, Sr.\, Music Performance\, Shangh
 ai\, China</p> <p>OBOE<br>Max Bolen\, Fr.\, Mar
 ine Biology\, Ballard<br>Minh-Thi Butler\, Jr.\, Music Education\, Hoquiam
 <br>Lauren Majewski\, Sr.\, International Studies\, Mercer Island* </p> <p>BASSOON<br>Annika Fisher\, So.\, Anthropology\
 , Lake Forest Park<br>Alex Fraley\, Fr.\, Music Performance\, Kenmore<br>R
 ian Morgan\, Jr.\, Nutritional Science/Music Performance\, Des Moines*<br>
 Arina Pushkina\, Fr.\, Engineering\, Woodinville</p> <p>CLARINET  <br>Arthur Gim\, So.\, Mechanical Engineering\, Bothell
 <br>Jeremy Hu\, So.\, Engineering\, Taipei\, Taiwan<br>Alessandro Martinez
 \, So.\, Environmental Engineering\, Olympia<br>Alen Poehlman\, Jr.\, Bioc
 hemistry/Music Performance\, Tacoma<br>Luqi Wang\, Grd.\, Music Performanc
 e\, Dalian\, China<br>Ysanne Webb\, Grd.\, Music Performance\, Lubbock\, T
 X*</p> <p>BASS CLARINET<br>Cameron DeLuca\, Grd
 .\, Music Performance\, Hawthorne\, CA </p> <p>
 SAXOPHONE<br>Curtis Chung\, Jr.\, Mechanical Engineering\, Sunnyvale\, CA&lt;
 br&gt;Kyle Grant\, So.\, Music Education/Music Performance\, Sumner<br>Amy Ka
 ng\, Fr.\, Engineering\, Portland\, OR<br>Katie Zundel\, Sr.\, Music Perfo
 rmance/Engineering\, Clinton* </p> <p>TRUMPET<b r>Erika Berreth\, So.\, Computer Science\, Redmond<br>Hans Faul\, Jr.\, Mu
 sic Performance\, Seattle*<br>Kyle Jenkins\, Grd.\, Music Performance\, Sa
 mmamish<br>Daniel Lyons\, So.\, Music Performance\, Lake Forest Park<br>An
 tti Mannisto\, Jr.\, Mechanical Engineering\, Bellevue </p> <p>HORN<br>Becky Miller\, Community Member\, Woodinville<br>E
 lise Moe\, Fr.\, Music Performance\, Everett*<br>Kiyoshi Colon\, Alumni.\,
  Chemistry\, Everett<br>Anna Barbee\, Alumni\, DMA Music Performance\, Tac
 oma </p> <p>TROMBONE<br>Dion Archer-Roll\, Sr.\
 , Physics\, Vancouver<br>Auden Durant\, Graduate\, Music Performance\, Bel
 levue<br>Eliana Koenig\, So.\, Mechanical Engineering\, Mesa\, AZ<br>Evan 
 Mao\, So.\, Computer Science\, Redmond<br>Nathanael Wyttenbach\, So.\, Mus
 ic Performance/International Studies\, Richland* </p> <p>EUPHONIUM<br>Nico Ferreria\, So.\, Biology\, Bellevue<br>Simona 
 Yaroslavsky\, So.\, Psychology/Law\, Societies and Justice\, Mercer Island
 * </p> <p>TUBA<br>Cole Henslee\, Sr.\, Music Pe
 rformance\, Lakewood<br>Foster Patterson\, Jr.\, Music Education\, Aberdee
 n<br>Chris Seay\, Grd.\, Music Performance\, Belmont\, NC* </p> <p>PERCUSSION<br>Ryan Baker\, Sr.\, Music Composition/Psy
 chology\, Gig Harbor<br>Solomon Encina\, Grd.\, Wind Conducting\, Rancho C
 ucamonga\, CA<br>Momoka Fukushima\, So.\, Music Performance\, Issaquah*<br>Abigail George\, Sr.\, Music Performance/Applied Physics\, Redmond*<br>Co
 lin Lehman\, Fr.\, Music Performance\, Moses Lake<br>Luigi Salvaggio\, So.
 \, Music Performance\, Manhattan Beach\, CA </p> <p>PIANO<br>Rachel Huang\, Grad.\, Music Performance\, West Hills\, LA &lt;
 /p&gt; <p>BASS<br>Jason Lai\, Fr.\, Mechanical Eng
 ineering\, Camas </p> <p>DOCTORAL STUDENT CONDU
 CTORS<br>Solomon Encina\, Rancho Cucamonga\, CA<br>David Stewart\, Mercer 
 Island<br>Yuman Wu\, Tianjin\, China </p> <p>*p
 rincipal</p> <p>UNIVERSITY OF WASHINGTON ALUMNI
  BAND</p> <p>FLUTE<br>Dane Andersen / 1996-2001
  / Music Performance / Seattle<br>Zhao-Rong Chen / 2005-2009 / DMA Flute P
 erformance / Beijing\, China<br>Stephanie Chuang / 2018-2022 / Computer Sc
 ience &amp; Cinema and Media Studies / Seattle<br>Anton Coleman / 2007-2011 / 
 Music Education / Seattle<br>Laura Elena Colmenares / 2012-10-2016 / Music
  Performance / Chicago\, IL<br>Rachel Reyes / 2016-2020\, 2022-2025 / DMA 
 Music Performance / Snohomish<br>Whitney Neufeld-Kaiser / 1992-95 / grad s
 tudent Genetics / Seattle<br>Miao Liu / 2016-2018 / MM Music Performance /
  Kirkland<br>Grace Jun / 2016-2020\, 2022-2024 / Music Performance (BM/MM)
  / Seattle<span> <br></span>Sabrina Tu / 2013-2017 / Music Performance / L
 os Angeles\, CA<br>Elizabeth Nilles / 2020-2024 / Molecular Biology / Seat
 tle <span> </span> </p> <p>OBOE<br>Bhavani Koth
 a / 2012-2015 / Music Performance / Seattle<br>Yuh-Pey Lin / 2000-2010 / D
 MA Music Performance / Bothell<br>Jamie Sanidad / 2018-2020 / MM Music Per
 formance / Seattle<br>Kamil Tarnawczyk / 2018-2023 / Music Performance / P
 ullman </p> <p>BASSOON<br>Erin Bodnar / 2010-20
 13 / DMA Instrumental Conducting / Jacksonville\, FL<br>Aaron Chang / 2001
 -2005 / Music Performance &amp; Economics / Lynnwood<br>Andy Clark / 1993-1999
  / Music Theory &amp; History / Shoreline<br>Griffin Smith / 2019-2024 / Music
  &amp; Philosophy / Seattle<br>Julien Tsang / 2016-2022 / Music Performance &amp; 
 Accounting and Taxation / Seattle<br>Jerry Turner / 1985-1991 / English &amp; 
 Education / Tacoma </p> <p>CONTRABASSOON<br>Jef
 f Eldridge / 1985-1994 / Mathematics / Edmonds<br>David Wall / 2015-2018 /
  Music Performance / Seattle </p> <p>CLARINET  
 <br>Michael Byerly / 2000-2004 / Music Performance / Virginia Beach\, VA<b r>Chrissie Chang / 2002-2005\, 2012-2014 / BM-Music\, M.Ed-Leadership &amp; Po
 licy / Lynnwood<br>Pamela Faletto / 1993-1997 / Music Education / Newcastl
 e<br>Marie Gallardo / 2016-2020 / Music Performance / Kansas City\, MO<br>
 Lauren Hepburn / 2017-2019 / MM Music Education / Seattle<br>Kevin Hinshaw
  / 1992-2000 / Computer Science / Seattle<br>Conrad Lin / 2020-2023 / Stat
 istics/Economics / Seattle<br>Jason Liu / 2019-2024 / Mathematics / Seattl
 e<br>Chris Mathakul / 2018-2022 / DMA Instrumental Conducting / Seattle<br>Maren Mitchell / 2000-2004 / MPA 2004\, MATESOL 2003 / Austin\, TX<br>Jer
 ry Neufeld-Kaiser / 1992-1995 / Linguistics / Seattle<br>Jodi Salzman / 19
 90-1994 / Music Performance / Kenmore<br>David Stauffer / 2000-2004 / Aero
 nautics and Astronautics / Sunnyvale\, CA<br>Alexander Tu / 2013-2017 / Mu
 sic Performance / Los Angeles\, CA<br>Mo Yan / 2014-2019 / Music Performan
 ce &amp; Music Education / Beijing\, China<br>David Zeng / 2012-2016 / Mathema
 tics &amp; Economics / Seattle<br>Phoong Khang Zhie / 2018-2022 / Computer Sci
 ence / Singapore</p> <p> E FLAT CLARINET<br>Cam
 eron Lee / 2019–2024 / Visual Communication Design and Informatics / Seatt
 le </p> <p>BASS CLARINET<br>Brian Schappals / 2
 017-2019 / MM Music Performance / Seattle<br>David Bissell / 2012-2014 / C
 hemistry / Bellingham </p> <p>CONTRA ALTO CLARI
 NET<br>Oliver Kou / 2016-2020 / Earth and Space Sciences / Bothell </p> <p>SAXOPHONE<br>Megumi Azekawa / 2006-2008 / MM M
 usic Performance / Tacoma<br>Barbara Brown / 2001-2006 / Music Performance
  &amp; Anthropology / Rochester\, NY<br>Nick Franks / 2018-2023 / Music Educat
 ion / Seattle<br>Sidney Hauser / 2018-2023 / Painting and Drawing &amp; Music 
 Performance / Seattle<br>Nicole Hovland / 2000-2005 / Music Performance / 
 West Hills\, CA<br>Michael Galeotti / Music Education / Los Angeles\, CA<b r>Dave Lin / Biochemistry / Ann Arbor\, MI<br>Zach Matthews / 2017-2021 / 
 Music Education / Seattle<br>Mark Montemayor / 1995-1998\, 2001-2006 / PhD
  Music Education\, conducting emphasis / Denton\, TX<br>Joe Shostak / 2020
 -2024 / Mechanical Engineering – Mechatronics / Snohomish<br>Mark Tse / 20
 15-2018 / DMA Instrumental Conducting / Saskatoon\, SK\, Canada<br>Shane V
 alle / 2010-2014 / Civil and Environmental Engineering / Portland\, OR<br>
 Chen Wang / 2016-2019 / MM Music Performance / Seattle<br>Alexander Yuan /
  2022 - present / Computer Science / Seattle </p> <p>TRUMPET<br>Carlos Alvarez / 2021-2023 / Informatics / Seattle<br>Car
 ter Archuleta / 2021-2024 / Biological Physics and Astronomy / Seattle<br>
 Matt Armstrong / 1990-1995 / Music Performance / Graham<br>Paul Bain / 200
 3-2008 / MM Instrumental Conducting / Bellingham<br>Brandon Michael Cain /
  2018-2024 / Music Education / Spanaway<br>Shaun Day / 2021-2024 / DMA Ins
 trumental Conducting / Wichita\, KS<br>Shelly Devlin / 2004-2007 / MM Trum
 pet Performance / Bremerton<br>Hilma Josal / 2001-2007 / Music Education /
  Monroe<br>Erin Keeton-Howard / 2014-2016 / MM Music Education\, conductin
 g emphasis / Seattle<br>Caroline Kelly / 2020-2024 / Environmental Science
  / Seattle<br>Hailey Kepple / 2018-2024 / Music Education / Kent<br>Jason 
 Kissinger / 2016-2020 / Political Science and French Studies / Seattle<br>
 Colton Lindstrand / 2020-2024 / Physiology / Seattle<br>Hil Lyons / 1991-1
 996\, 2005-2011 / Math and Statistics / Seattle<br>Joy Lyons / 1998-2002 /
  Physics and Music / Seattle<br>Ken Lyons / 1993-1997 / Community and Envi
 ronmental Planning / Lake Forest Park<br>Zachariah MacIntyre / 2006-2011 /
  Music Education / Seattle<br>Todd Mahaffey / 1991-1996 / Music Education 
 / Issaquah<br>Tyler Mi / 2015-2020 / Computer Science / Seattle<br>Vu Nguy
 en / 2008-2011 / DMA Instrumental Conducting / Stockton\, CA<span> <br></s>Lewis Norfleet / 2013-2015 / DMA Instrumental Conducting / Grants Pass
 \, OR<br>Eric Smedley / 2007-2010 / DMA Instrumental Conducting / Blooming
 ton\, IN<br>Judson Scott / 1998-2003 / DMA Instrumental Conducting &amp; Trump
 et Performance / Seattle </p> <p>HORN<br>Matt A
 nderson / 2013-2016 / DMA Horn Performance / Seattle<br>Anna Barbee / 2017
 -2022 / DMA Horn Performance / Tacoma<br>Caty Becker / 2017-2021 / Music E
 ducation / Seattle<br>Trevor Crosby / 2011-2015 / Music Performance / Kent
 <br>Cheryl (Hoffman) Dyson / 1987-1995 / Music Education / Port Townsend<b r>Ben Johnson / 2022-2024 / MM Music Performance / Seattle<br>Matthew Krus
 e / 2002-2005 / MM Instrumental Conducting / Kenmore<br>Bradley Leavens / 
 2016-2018 / MM Music Performance / Puyallup<br>Alison (Alie) Farley Raffle
  / 2009-2014 / PhD Music Education\, conducting emphasis / Athens\, GA<br>
 Shayna Stahl / 2016-2019 / DMA Instrumental Conducting / Lexington\, KY </p> <p>TROMBONE<br>Val Buzunov / 2008-2010 / Mus
 ic Performance / Auburn<br>Sean Grimm / 2018-2022 / Statistics (Data Scien
 ce) / Carson City\, NV<br>Ivan Nolasco Hernandez / 2021-2023 / Music Educa
 tion / Tacoma<br>Scott G. Higbee / 1994-1998 / MM Brass Performance / Seat
 tle<br>Dan Kretz / 1994-2000 / Music Education / Winlock<br>Peter Lin / 20
 20-2024 / ACMS / Seattle<br>Elizabeth McDaniel / 2014-2016 / MM Music Perf
 ormance / Lynnwood<br>Masa Ohtake / 2008-2013 / Music Performance / Birmin
 gham\, AL<br>Nathaniel Oxford / 1991-1997 / Music Education / Seattle<br>R
 yan Wagner / 2002-2005 / MM Music Performance / Federal Way<br>Jeff Walker
  / 1991-1995 / Botany / Seattle </p> <p>EUPHONI
 UM<br>Danny Helseth / 2008-2013 / DMA Brass Performance / Seattle<br>Paul 
 Kimball / 2014-2017 / Curriculum and Instruction / Bainbridge Island<br>El
 lie Walker / 2020-2024 / Music Performance / Kenmore<br>Franklin Chen Zeti
 an / 2018-2020 / Hong Kong </p> <p>TUBA<br>Cole
  Henslee / 2022-2025 / Music Performance / Lakewood<br>Tad Doviak / 1989-1
 995\, 2014-2015 / Bachelor of Social Welfare\, Master of Cybersecurity and
  Leadership / Des Moines<br>Patrick O’Donnell / 2018-2020 / MM Music Perfo
 rmance / Wesley Chapel\, FL<br>Seth Tompkins / 2009-2011 / MM Music Perfor
 mance / Renton</p> <p>PERCUSSION<br>Logan Belle
 nkes / 2022-23 / Music Performance / Spokane Valley<br>Jakob Fortiner / 20
 19-2020 / Music Performance / Seattle<br>David Gaskey / 2015-2020 / Music 
 Performance / Port Orchard<br>S.N. Johnson-Roehr / 1987-1989 / Russian / A
 ttleboro\, MA<br>Katie Keefe (Hurst) / 2002-2006 / Music Performance / Sea
 ttle<br>Christian Krehbiel / 1996-2001\, 2004-2006 / Music Performance / S
 eattle<br>Rebecca Markov / 2002-2007 / Music Education / Woodinville<br>Da
 rren Meucci / 2002-2007 / Music Education / Lynnwood<br>David Norgaard / 2
 016-2020 / Music Performance / Indianapolis\, IN<br>Patrick Roulet / 1992-
 2002 / DMA Music Performance / Bellingham<br>Peter Schmeeckle / 2005 – 201
 0 / Jazz Studies &amp; Music Performance / Stowe\, VT<br>Liz Harris Scruggs / 
 2011-2016 / Music Education / Seattle<br>Jana Skillingstead / 1990-1996 / 
 International Studies &amp; Music Performance / Seattle<br>Thomas Slabaugh / 2
 003-2007 / DMA Music Performance / Davis\, CA </p> <p>PIANO<br>Hye-Yeon Kim / 2020-2025 / DMA Music Performance / Seattle
 <br>Kiwa Mizutani / 2018-2023 / MM Music Performance / Sammamish<br>Conney
  Vernall / 1998-2003 / Music Performance / Shoreline<br>Kay Yeh / 2013-202
 5 / DMA\, MM Music Performance / Seattle </p> <p>BASS<br>Anthony Balducci / 1993-2000 / Music Education / Seattle<br>Chri
 s Balducci / 1993-2000 / Music Education / Seattle<br>Kelsey Croft / 2006-
 2010 / Business Administration / Seattle<br>Adrian Swan / 2009-2013 / Musi
 c Performance / Seattle </p> <p>HARP<br>Gaby Ho
 lmquist / 2002-2007 / Music Performance / Kenmore<br>Kelly Hou / 2019-2014
  / Music Performance &amp; Informatics / Seattle</p> </td> </tr> </tbody>  <h2>Biographies</h2> <h3>University of Washington Wind Ensemble</h3> <p>The University of Washington Wind Ensemble has performed at many
  prestigious music conventions\, has presented several world premiere perf
 ormances of outstanding new music for wind band and in 2004\, undertook a 
 highly acclaimed nine-day concert tour of the Kansai region of Japan\, ret
 urning for more extensive tours of that country in 2007 and 2010. The UW W
 ind Ensemble also presented several concerts in the main concert venues of
  Beijing\, China in March of 2013\, including a sold-out concert in the Na
 tional Center for the Performing Arts in Tiananmen Square that was broadca
 st nationwide on China Central Television. The ensemble returned to China 
 in both 2016 and 2019\, playing before large crowds in Beijing\, Shanghai\
 , Xi'an and Chengdu and in March of 2024 presented concerts in South Korea
 . In the spring of 2006\, the ensemble was invited by the Seattle Symphony
  Orchestra to present a concert at Benaroya Hall as a part of the Symphony
 ’s <em>Made in America </em>Festival. The London Financial Times review of
  the concert applauded “music of surprising sophistication…Cindy McTee’s &lt;
 em&gt;Finish Line</em> pulsated energetically\, and William Bolcom’s <em>Song
 </em> was simply gorgeous.” Following the 2006 performance the ensemble wa
 s invited for return appearances on Seattle Symphony concert series in 200
 7\, 2008 and in 2011 when Maestro Gerard Schwarz conducted the ensemble. T
 he UW Wind Ensemble has collaborated with internationally renowned guest a
 rtists\, conductors and composers including Eddie Daniels\, Steve Houghton
 \, Allen Vizzutti\, Jeffery Fair\, Chris Olka\, James Walker\, Douglas Yeo
 \, Leigh Howard Stevens\, David Maslanka\, Michael Colgrass\, Donna Shin\,
  Bonnie Whiting\, Cindy McTee\, Eric Ewazen\, Satoshi Yagisawa\, David Sta
 nhope\, John DiCesare\, Ben Lulich\, David Gordon\, Mary Lynch-Vanderkolk\
 , Seth Krimsky\, Michael Brockman\, Carrie Shaw and Huck Hodge. In 2009 Ni
 hon Pals\, a music education resource company based in Osaka\, Japan\, rel
 eased a set of instructional DVDs regarding ensemble musicality featuring 
 the UW Wind Ensemble. The University of Washington was host for the 2011 N
 ational Conference of the College Band Directors National Association. Mem
 bership in the UW Wind Ensemble/Symphonic Band\, based on audition\, is op
 en to the entire student body regardless of major field of study. Addition
 al opportunities for student involvement in University of Washington instr
 umental organizations include the Symphonic Band\, the Concert Band\, the 
 Campus Band\, the University Band\, the 240-member Husky Marching Band\, j
 azz ensembles\, several combos\, the UW Symphony Orchestra and two Campus 
 Philharmonic Orchestras. UW Bands information can be found on the worldwid
 e web at: <a href='https://www.uwbands.com/'>https://www.uwbands.com/</a>&lt;
 /p&gt; <h3>University of Washington Alumni Band <p>The University of Washington Alumni Band 
 is comprised of former UW Wind Ensemble members from every year of Profess
 or Salzman’s 38-year tenure at the UW. Alumni from 17 states\, Singapore\,
  Hong Kong\, Beijing and Saskatoon\, Canada have come together for two bri
 ef rehearsals in preparation for this performance. Each person is amazingl
 y unique and many have achieved distinction in their respective fields – o
 bviously\, many of those accomplishments are in the field of music.</p>
END:VEVENT
BEGIN:VEVENT
UID:eb5b8238-6d1f-45e9-b401-7da85206da41
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240807T232934Z
DESCRIPTION:<p></p>\n<p>David Alexander Rahbee leads the UW Symphony in a p
 rogram of concerto excerpts by York Bowen\, Keiko Abe\, and Camille Saint-
 Saëns\, performed with winners of the 2024-25 School of Music Concerto Com
 petitions--Flora Cummings\, viola\; Kaisho Barnhill\, marimba\; and Sandy 
 Huang\, piano. Also on the program\, works by Mikhail Glinka\, Richard Wag
 ner\, and Giuseppe Verdi.</p>\n<hr>\n<h2>Program</h2>\n<strong>University 
 of Washington Symphony Orchestra</strong><br>Ryan D.Farris\, Robert Stahly
 \, Sunny Xia &amp; David A. Rahbee\, conductors<br><b></b>\n<b></b>\n<b></b>\n
 <b>Mikhail Glinka: </b>Overture to Ruslan &amp; Ludmilla <br>\n\n<p><b>York Bo
 wen:</b> Viola Concerto in C minor\, op.25<br>I. Allegro assai <br>Flora C
 ummings\, viola (student of Professor Melia Watras)</p>\n<p><b>Keiko Abe: 
 </b>Prism Rhapsody <br>Kaisho Barnhill\, marimba (student of Professor Bon
 nie Whiting)</p>\n<p><b>Camille Saint-Saëns:</b> Piano Concerto No.5\, in 
 F major\, op.103\, Egyptian<br>I. Allegro animato     <br>Sandy Huang\, pi
 ano (student of Professor Robin McCabe)</p>\n<p><b>Richard Wagner:</b> Pre
 lude to Act 3 of Lohengrin</p>\n<p><b>Giuseppe Verdi: </b>Overture to La f
 orza del destino</p>\n\n<hr>\n<h2>Program Notes</h2>\n<p><strong>Mikhail Glinka </strong>was among the first Russian comp
 osers of classical music to achieve significant recognition within his hom
 eland. He played a foundational role in shaping a distinctly Russian music
 al identity and exerted considerable influence on the later group of natio
 nalist composers known as 'The Mighty Five.' These composers looked to Gli
 nka’s work as a model in their pursuit of a cohesive Russian sound grounde
 d in folk themes and traditions. Like Giuseppe Verdi\, Glinka traveled to 
 Milan in search of artistic inspiration. It was there that he began compos
 ing seriously\, though he eventually returned to Russia\, driven by a desi
 re to create a Russian operatic tradition comparable to the Italian models
  established by Bellini and Donizetti.</p>\n<p>
 One of Glinka’s most significant contributions to this effort was his oper
 a Ruslan and Lyudmila\, based on a narrative by the celebrated Russian poe
 t Alexander Pushkin. The opera stands out for its innovative incorporation
  of Russian folk melodies and themes\, which helped lay the groundwork for
  a national operatic style.</p>\n<p>The overtur
 e to Ruslan and Lyudmila exemplifies Glinka’s dynamic and nationalistic mu
 sical voice. Eschewing the conventional slow introduction typical of the p
 eriod\, the overture launches immediately into a spirited motto for brass\
 , winds\, and timpani\, underpinned by rapid string passages that propel t
 he music forward with remarkable vitality. The energetic opening is briefl
 y contrasted by a lyrical theme introduced by the violas and cellos and la
 ter expanded by the violins\, showcasing Glinka’s gift for melodic inventi
 on. The interplay and development of these themes culminate in a vigorous 
 coda\, bringing the overture to a jubilant and exhilarating conclusion. Th
 e piece’s Rossini-like energy\, fused with a distinctly Russian sense of e
 xuberance and heroism\, makes it an enduring and emblematic work in the or
 chestral repertoire.<br>-Mica Weiland </p>\n<p>
 <strong>York Bowen</strong> was a beloved English composer and pianist who
  gained fame at a young age for his stunning and evocative compositions - 
 many of which were piano concertos that he premiered himself. He studied\,
  and eventually became a professor at the Royal Academy of Music\, working
  and playing alongside many other well-known musicians of the day such as 
 violinist Fritz Kreisler\, and conductor Henry Wood. Bowen was also a life
 time friend and musical partner to the virtuoso violist Lionel Tertis and 
 wrote a number of works for solo viola as a result. His Viola Concerto in 
 C minor was one of his most popular works during his lifetime\, and was wr
 itten when Bowen was only 22. Like most of his other works for the instrum
 ent\, it was dedicated to Tertis\, and premiered by him in 1908 at the Wig
 more Hall in London\, to much acclaim from the audience and music critics 
 alike. However\, following the devastation of World War I\, Bowen’s music 
 fell into obscurity\, as his clearly romantic style no longer resonated wi
 th the weary and grieving nation. It was not until the late 1980s that his
  music once again came prominently into the light of the concert stage. Bo
 wen’s Viola Concerto has since become a recognized standard of viola reper
 toire\, one that offers a memorable encounter with the charisma and majest
 y of an often-overlooked instrument.<br>-Flora Cummings</p>\n<p><strong>Keiko Abe</strong> is a Japanese marimbist\, comp
 oser\, and educator. As one of the world’s leading forces in marimba playi
 ng\, Abe has expanded the technique of playing\, and has been a powerful i
 mpetus for the development of marimba literature. Many of her works are no
 w considered to be part of the core repertoire for marimbists and percussi
 onists. In the early 1970s\, Abe collaborated with the Yamaha Corporation 
 to expand the range of the marimba from four octaves to five\, which is no
 w the standard size instrument for marimbists. Abe currently serves as the
  Professor of Marimba at the Toho Gakuen School of Music in Tokyo and she 
 continues to compose and tour as a marimbist globally. In 1995\, Abe compo
 sed Prism Rhapsody\, for Solo Marimba and Wind Ensemble\, publishing an it
 eration for symphony orchestra the following year. Considered to be one of
  the standard marimba concertos\, Prism Rhapsody is an energetic work that
  features fast two-mallet passages\, six-mallet technique\, and a flourish
 ing cadenza that allows the performer to highlight the virtuosic nature of
  the piece. Prism Rhapsody is one of the most distinguished works in the m
 arimba literature and holds its place as a standard among the marimba conc
 erto repertoire.<br>-Kaisho Barnhill</p>\n<p><s trong>Camille Saint-Saëns</strong> lived a life as expansive as his music.
  He was not only a virtuoso pianist and composer\, but also a scholar and 
 a traveler\, continually searching for something beyond the familiar. Duri
 ng his travels to Egypt in 1896\, he composed his Piano Concerto No. 5 in 
 F Major\, Op. 103\, often known as The Egyptian. </p>\n<p>This concerto wanders\, dreams\, and leaps. It begins with a wa
 rm\, simple theme that gradually builds\, drawing the listener into a worl
 d of flowing runs and smooth\, lyrical passages. This is followed by a slo
 wer\, more melancholic subject\, reminiscent of the Andante sostenuto move
 ment of Saint-Saëns’ Second Piano Concerto. His writing feels liberating—l
 ong\, soaring lines rise and fall like waves\, guiding each theme before r
 esolving to a gentle\, reflective coda. </p>\n<p>This piece unfolds like a voyage\, rich with beautiful melodies\, shimme
 ring scales\, and rippling arpeggios. For pianists with smaller hands\, Sa
 int-Saëns’ use of rapid scale passages in place of heavy\, dense octaves i
 s especially appreciated. The contrast between moments of tranquility and 
 turbulence throughout the movement reflects its sea-bound spirit. To play 
 this piece is to momentarily step into Saint-Saëns’ world—chasing the same
  wonder and wilderness that once captivated him.<br>-Sandy Huang</p>\n<p s tyle=' 400\;'><strong>Richard Wagner</strong> stands as one of
  the most influential figures in the history of Western music. His operas 
 occupy a central position in the operatic canon and continue to be perform
 ed regularly on international stages. Lohengrin\, one of Wagner’s most eth
 ereal operatic works\, is based on the medieval German legend of the Knigh
 t of the Swan. The opera explores themes of chivalry\, spiritual purity\, 
 and betrayal\, setting ideals of transcendence and moral integrity in oppo
 sition to the corrupting forces of earthly ambition and deceit.</p>\n<p st yle=' 400\;'>The Prelude to Act III of Lohengrin exemplifies W
 agner’s orchestral brilliance and his capacity to evoke mood through dynam
 ic instrumentation. This spirited prelude precedes the wedding scene of th
 e opera’s protagonists and is followed by the well-known 'Bridal Chorus.' 
 The music bursts forth with triumphant energy\, featuring a radiant brass 
 theme propelled by a rapid flurry of strings. Wagner’s skillful orchestrat
 ion imbues the piece with a sense of joyous momentum\, creating an atmosph
 ere of festivity that effectively prepares the audience for the celebrator
 y scenes that follow. The prelude’s exuberance and rhythmic vitality serve
  not only as a musical highlight but also as a dramatic counterbalance to 
 the opera’s deeper themes of moral conflict and tragic destiny.<br>-Mica W
 eiland</p>\n<p><strong>Giuseppe Verdi</strong> 
 was born in 1813 in a small town in the province of Parma\, Italy\, into a
  family of modest means. His early exposure to music came through his role
  as an altar boy\, where he demonstrated both aptitude and enthusiasm for 
 playing the organ. This initial musical engagement laid the foundation for
  his later development as a composer. Verdi eventually moved to Milan\, wh
 ere he worked as a rehearsal director and continuo player. It was during t
 his formative period in Milan that he found inspiration to begin composing
  opera. </p>\n<p>Verdi is widely recognized for
  transforming Italian Romantic opera by intensifying its dramatic power th
 rough a heightened focus on narrative and character development. He employ
 ed the musical score not merely as accompaniment\, but as a dynamic vehicl
 e for emotional expression\, effectively aligning music and drama.</p>\n<p>The dramatic potency of La Forza del Destino i
 s evident from the outset\, particularly in its orchestral overture. The w
 ork opens with six striking brass chords that immediately establish an atm
 osphere of ominous tension. This is followed by a turbulent theme that enc
 apsulates the sense of inescapable fate looming over the opera’s protagoni
 sts. The so-called 'fate' motif recurs throughout the overture\, either as
  a dominant musical idea or as a somber counterpoint to the more lyrical t
 hemes associated with the characters. Even when not subtle\, Verdi’s orche
 stration remains compelling\; his ability to imbue purely instrumental pas
 sages with theatrical intensity is a testament to his unique compositional
  voice<br>-Mica Weiland</p>\n<hr>\n\n\n\n\n<h4><strong>University of Washi
 ngton Symphony Orchestra</strong></h4>\n<p>David Alexander Rahbee\, Music 
 Director and Conductor<br>Ryan Dakota Farris and Robert Stahly\, Assistant
  Conductors</p>\n<p><strong><u>Flute</u></strong></p>\n<p>Erin McAfee\, MM
  Flute Performance</p>\n<p>Tracia Pan\, Flute Performance\, Statistics</p>
 \n<p>Grace Playstead\, MM Flute Performance</p>\n<p>Rachel Reyes\, DMA Woo
 dwinds</p>\n<p>Claire Wei\, BM Flute Performance</p>\n<p>Yue Zhong\, BA Fl
 ute Performance</p>\n<p><strong> </strong></p>\n<p><strong><u>Piccolo</u>&lt;
 /strong&gt;</p>\n<p>Tracia Pan\, Flute Performance\, Statistics</p>\n<p>Grace
  Playstead\, MM Flute Performance</p>\n<p>Rachel Reyes\, DMA Woodwinds</p>
 \n<p>Claire Wei\, Music</p>\n<p><strong><u>Alto Flute</u></strong></p>\n<p>Yue Zhong\, BA Flute Performance</p>\n<p><strong><br><u>Oboe</u><br>Max Bolen\, Marine Biology</p>\n<p>Max Boyd\, Oboe Performance</p>\n<p>Minh-Thi Butler\, BM Oboe Performance </p>\n<p><strong><u>Clarinet</u></s><strong><br></strong>Cameron DeLuca\, DMA Clarinet Performance<br></strong>Luqi Wang\, DMA Clarinet Performance</p>\n<p>Nick Zhang\, B
 S Computer Science</p>\n<p><strong><u>Bassoon<br></u></strong>Ryan Kapsand
 y\, BM Bassoon Performance</p>\n<p>Rian Morgan\, Music/Nutritional Science
 </p>\n<p>Eric Shankland\, BA Music History</p>\n<p>Eric Spradling\, BM Bas
 soon Performance </p>\n<p><strong><u>Contrabassoon</u></strong></p>\n<p>Er
 ic Shankland\, BA Music History</p>\n<p><br><strong><u>Horn</u>     </p>\n<p>Nicole Bogner\, BM Horn Performance</p>\n<p>Colin Laskarzewski
 \, BS Physics</p>\n<p>Elise Moe\, BM Horn Performance</p>\n<p>Sam Nutt\, M
 olecular &amp; Cellular Biology</p>\n<p>Noelani Stewart\, Political Science\, 
 American Ethnic Studies</p>\n<p><strong><br><u>Trumpet</u></strong></p>\n&lt;
 p&gt;Hans Faul\, BM Trumpet Performance</p>\n<p>Kyle Jenkins\, MM Trumpet Per
 formance</p>\n<p>Antti Männistö\, Mechanical Engineering</p>\n<p>Drew Ther
 an\, MM Trumpet Performance<strong><br></strong><br><strong><u>Trombone<br></u></strong>Jonathan Elsner\, Applied &amp; Computational Mathematics</p>\n&lt;
 p&gt;Neal Muppidi\, BM Trombone Performance</p>\n<p>Nathanael Wyttenbach\, Mu
 sic Composition<strong> </strong></p>\n<p><strong><u>Bass Trombone</u><strong><br></strong>Duncan Weiner\, Aero-Astro Engineering/Linguisti
 cs</p>\n<p><strong><u>Tuba</u></strong></p>\n<p>Adam Mtimet\, DMA Tuba Per
 formance<strong><br></strong>Chris Seay\, DMA Tuba Performance</p>\n<p><u>Cimbasso<br></u></strong>Adam Mtimet\, DMA Tuba Performance</p>\n&lt;
 p&gt;<strong><u>Timpani<br></u></strong>Kaisho Barnhill\, Music Education\, P
 sychology</p>\n<p>Cyan Duong\, Music Education</p>\n<p>Ivy Moore\, Bioreso
 urce Science and Engineering</p>\n<p>Tyler Smith\, MM Percussion Performan
 ce</p>\n<p><br><strong><u>Percussion<br></u></strong>Cyan Duong\, Music Ed
 ucation<br>Ivy Moore\, Bioresource Science and Engineering<br>Tyler Smith\
 , MM Percussion Performance<br>Regan Wong\, Microbiology<strong><u> </u></strong></p>\n<p><strong><u>Harp</u></strong><strong><br></strong>Kelly Hou
 \, Alumna</p>\n<p><strong><u>Violin I</u></strong></p>\n<p>Grace Pandra\, 
 Violin Performance/Business Administration (Co-concertmaster)</p>\n<p>Hanu
  Nahm\, Violin Performance/BS Microbiology (Co-concertmaster)</p>\n<p>Hai-
 Ryung Jang\, DMA Violin Performance</p>\n<p>David Teves-Tan\, Pre-Sciences
 </p>\n<p>Ido Avnon\, MS Computer Science &amp; Engineering</p>\n<p>Brandon Bai
 ley\, Computer Science</p>\n<p>David Mok\, Computer Engineering</p>\n<p>Ni
 cole Chen\, Informatics</p>\n<p>Alex Metzger\, Computer Science</p>\n<p>Th
 ea Higgins\, Industrial Engineering: Data Science</p>\n<p>Caleb Anderson\,
  Mathematics</p>\n<p>Avery Parry\, Biochemistry</p>\n<p>Lyle Deng\, Comput
 er Science</p>\n<p>Adora Wu\, Computer Science</p>\n<p>Grace Hwang\, BA Mu
 sic\, ECE</p>\n<p>Giulia Rosa\, Music</p>\n<p><strong><u>Violin II</u></p>\n<p>Taylor DeCastro\, MM Violin Performance (Principal)</p>\n<p>
 Michaela Klesse\, Music</p>\n<p>Alice Leppert\, Chemistry</p>\n<p>Danny Zh
 ang\, Pre-Sciences</p>\n<p>Cristina Kosilkina\, BS Biochemistry</p>\n<p>Vi
 ctoria Zhuang\, Informatics and Geography: Data Science</p>\n<p>Kate Everl
 ing\, Applied Mathematics</p>\n<p>Ling Yang\, Medical Anthropology and Glo
 bal Health</p>\n<p>Jasmine Palikhya\, International Studies</p>\n<p>Anja W
 estra\, Marine Biology</p>\n<p>Justene Li\, Pre-Sciences</p>\n<p>Freya Fra
 hm\, Computer Sciences/BM Piano Performance</p>\n<p>Felicia Yeh\, Business
  Administration</p>\n<p>Hannah Pena-Ruiz\, Music History</p>\n<p><strong>&lt;
 u&gt;Viola</u></strong><strong>     </strong></p>\n<p>Emma Boyce\, Music (Pri
 ncipal)</p>\n<p>Abigail Schidler\, Computer Science/Music Theory</p>\n<p>A
 nnika Johnson\, Earth and Space Sciences: Physics</p>\n<p>Mia Grayson\, Bi
 ochemistry</p>\n<p>Melia Golden\, Biochemistry</p>\n<p>Hailey Nappen\, Pre
  Sciences</p>\n<p>David Del Cid-Saavedra\, Multilingual Education Studies&lt;
 /p&gt;\n<p>Aribella Brushie\, Pre-Sciences</p>\n<p>Alissa Harbani\, Bioengine
 ering/Music</p>\n<p>Melany Nanayakkara\, Material Science Engineering/Chem
 istry</p>\n<p><strong><br><u>Violoncello</u>         </strong></p>\n<p>Cor
 y Chen\, BA in Music/Intended Neuroscience (Principal)</p>\n<p>Loni Yin\, 
 Pre-Sciences</p>\n<p>Nathan Evans\, BA Music History</p>\n<p>Nacho Tejeda\
 , PhD Mathematics</p>\n<p>Katherine Kang\, Human Centered Design &amp; Enginee
 ring</p>\n<p>Jack Ruffner\, Pre-Social Sciences</p>\n<p>Eli Kashman\, Bioe
 ngineering</p>\n<p>Mina Wang\, Informatics</p>\n<p>Amanda Song\, Accountin
 g and Marketing</p>\n<p>Andrew Vu\, Chemistry/Biochemistry/Math</p>\n<p>Al
 ly Wu\, Electrical Engineering</p>\n<p>Noah Croskey\, Industrial Engineeri
 ng</p>\n<p>Bashir Abdel-Fattah\, PhD Mathematics</p>\n<p><strong><br><u>Ba
 ss</u>    <br></strong>Nathan Eskridge\, MM Bass Performance (Principal)</p>\n<p>Eddie Mospan\, BM Bass Performance</p>\n<p>Amelia Matsumoto\, BM Ba
 ss Performance</p>\n<p>Gabriella Kelley\, English</p>\n<p>Ethan Park\, Bio
 logy</p>\n<p>Josh Bonifas\, Music/ELS</p>\n\n\n\n\n<h2>Biographies</h2>\n&lt;
 h3 class='font_8 wixui-rich-text__text'&gt;Sunny Xia</h3>\n<p class='font_8 w
 ixui-rich-text__text'>Recognized for her innate musicality\, compelling pr
 esence\, and technical precision\, conductor Sunny Xuecong Xia’s ability t
 o forge an immediate and captivating connection with orchestras and singer
 s alike has led to engagements around the globe. Xia joined the Seattle Sy
 mphony at the beginning of the 2022/2023 season as Douglas F. King Assista
 nt Conductor and was quickly promoted to Associate Conductor. Recent and u
 pcoming engagements include the San Diego Symphony\, Phoenix Symphony\, Tu
 cson Symphony\, Olympia Symphony\, and Chandler Opera Theater. <br class='
 wixui-rich-text__text'>In the 2023/2024 season\, Xia led the Seattle Symph
 ony in over a dozen programs featuring soloists such as Conrad Tao\, Noah 
 Geller\, and Mahani Teave. Highlights include the world premiere of Compos
 er-in-Residence\, Angelique Poteat’s Dear Humanity for Youth Chorus and Or
 chestra\, a work that harnesses the power of 50 voices and full orchestra 
 to confront climate change\, the Celebrate Asia program with violinist Ker
 son Leong\, and the Merriman-Ross Family Young Composers Workshop Concert 
 that featured 10 world premieres. She served as Tan Dun’s assistant during
  the composer’s acclaimed residency presenting his six-Act oratorio\, Budd
 ha Passion. Xia has additionally served as Cover Conductor at the St. Loui
 s Symphony Orchestra under Dame Jane Glover and James Gaffigan. <br class='wixui-rich-text__text'>Equally at home in the opera pit\, Xia recently le
 d a production of La bohème with the Chandler Opera Company to great succe
 ss. She has previously served as assistant conductor for productions of Co
 sì fan tutte\, Hänsel und Gretel\, Die Zauberflöte\, The Juniper Tree\, Le
  Rossignol\, and L’Enfant et les Sortilèges\, among others. A dynamic inte
 rpreter of contemporary music\, Xia has over a dozen world premieres under
  her credit. In 2022\, Xia was named a Conducting Fellow at the Cabrillo F
 estival of Contemporary Music where she made her festival debut leading th
 e world premiere of Marc Migó Cortés' Dumka. Recent performances have feat
 ured works by Gabriella Smith\, Angelique Poteat\, Samuel Adams\, Jerod Ta
 te\, Juhi Bansal\, Gabriela Ortiz\, and Tan Dun. She has previously led th
 e Cleveland Institute of Music New Music Ensemble in series such as the Cl
 eveland NEOSonicFest and CIM New Music Series. <br class='wixui-rich-text_
 _text'>Xia holds a dual master’s degree in Conducting and Violin Performan
 ce from the Cleveland Institute of Music and a doctoral degree from Arizon
 a State University. At the Seattle Symphony\, she is mentored by Ludovic M
 orlot and Xian Zhang. For three summers\, she attended the Monteux School 
 and Music Festival as a Kurt &amp; Torj Wray Conducting Scholar. An accomplish
 ed violinist\, she performed as a soloist with orchestras in China and Aus
 tralia\, including the symphony orchestras of Harbin\, Zheijiang\, Hunan a
 nd Guangxi\, and the Concertante Ensemble. While attending Cleveland Insti
 tute of music\, she has served as concertmaster of the CIM Orchestra. Her 
 principal mentors include Michael Jinbo\, Jeffery Meyer\, Tito Muñoz\, Jan
  Mark Sloman\, and Carl Topilow.<br class='wixui-rich-text__text'>Original
 ly from Guangzhou\, China\, Xia relocated to Sydney\, Australia at the age
  of 14 on a scholarship from the Australian String Academy that allowed he
 r to further her violin studies with Peter Shi-xiang Zhang and Charmian Ga
 dd. A talented basketball athlete\, she competed in the New South Wales Me
 tro Junior League before focusing primarily on her musical pursuits. When 
 not performing or enjoying a pick-up game\, she can be found reading\, hik
 ing\, or learning languages. She speaks Cantonese\, English\, Mandarin\, a
 nd Teochew\, and is improving upon her French\, German\, and Italian.</p>
 \n<p class='font_8 wixui-rich-text__text'><b>Flora Cummings</b> is a third
 -year undergraduate double majoring in Viola Performance and Wildlife Cons
 ervation at the University of Washington\, where she studies with Professo
 r Melia Watras and holds the Milton Katims Viola Scholarship. She began vi
 olin lessons at age six with Laura Martin\, before studying viola with Dr.
  Alessandra Barrett\, and violin with Dr. Sarah Pizzichemi. Flora was the 
 runner-up in the North Corner Chamber Orchestra’s 2020 concerto competitio
 n\, and placed first in the Washington State Solo Viola Competition in 202
 2. She joined the Seattle Collaborative Orchestra in high school and was a
  soloist with the ensemble her senior year. Flora is an avid chamber music
  player and loves to play Scottish fiddle music - playing with her family 
 band and performing at the 2018 “More Music@the Moore” showcase for young 
 talent. In 2024 she won the prestigious Silver Pendant singing competition
  for Scottish Gaelic learners at the Royal National Mòd in Oban\, Scotland
 . She received top marks in both music and Gaelic\, earning her a chance t
 o sing for broadcast on BBC television\, as well as live on BBC Radio nan 
 Gàidheal. Flora plays on a 2017 viola by Portland maker David Van Zandt.</p>\n<p><strong>Kaisho Barnhill</strong> is a th
 ird-year undergraduate student at the University of Washington pursuing de
 grees in Music Education and Psychology. A member of the UW Symphony Orche
 stra’s percussion section\, Kaisho's musical journey began with piano less
 ons at a young age. He transitioned to percussion in high school\, drawn t
 o the excitement of marching band. While percussion remains his primary in
 strument\, he continues to play piano for enjoyment and occasional perform
 ances. In addition to being an active performer\, Kaisho enjoys composing 
 concert music. He is honored for his first orchestral work\, Monday Mornin
 gs\, to have been selected as the Seattle Festival Orchestra’s call for sc
 ores winner in 2024. Kaisho primarily writes for symphony orchestra but ha
 s dabbled in composing for chamber ensembles\, percussion ensemble\, and s
 olo piano. He studies composition and conducting with local composer and m
 usic director of Harmonia Orchestra and Chorus\, Mr. William White. As par
 t of his degree\, Kaisho is currently student teaching at Lakeview Element
 ary School in Kirkland\, WA\, where he works with students grades two thro
 ugh five. He loves working with young students and encouraging them in the
 ir musical journeys. Kaisho is pursuing a career as a music teacher and is
  looking forward to an exciting future in the field of music education.</p>\n<p></p>\n<p>Sandy Huang</strong> is a senior undergraduate student of Dr. Robin McC
 abe at the University of Washington. She previously studied with internati
 onal pianist Michi Hirata North and Seattle-based concert pianist Joan Sch
 oepflin. As a winner of the 2023 UW Concerto Competition (Keyboard Divisio
 n)\, she performed with Philharmonia Northwest. Sandy has earned top prize
 s at competitions including the Northwest Chopin Festival and Northwest Ba
 ch Festival. At age ten\, she made her orchestral debut in Taipei performi
 ng Mozart’s Piano Concerto No. 20\, K. 466. In 2018\, she performed Grieg’
 s Piano Concerto in A minor with the UW Campus Philharmonia Orchestra as t
 he winner of the High School Concerto Competition. In 2019\, she performed
  Beethoven’s 'Emperor' Concerto with both Taipei’s orchestra and the Everg
 reen Philharmonic Orchestra and also won the Sammamish Symphony Youth Conc
 erto Competition. Sandy was invited to attend the UW Seattle Piano Institu
 te at age nine and later performed at the 2019 UW Benefit Concert. In addi
 tion to majoring in music\, she is minoring in data science and serves as 
 a research team leader for the UW Medicine Neonatal Nutrition Database Pro
 ject. After graduation\, she plans to take a gap year to continue research
  and clinical work before applying to medical school.</p>
DTSTART;TZID=America/Los_Angeles:20250606T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:239
SUMMARY:: UW Symphony Orchestra with Concerto Competition Winners
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-06-07/uw-symphony-orchestra-co
 ncerto-competition-winners
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>David Alexander Rahbee leads the UW
  Symphony in a program of concerto excerpts by York Bowen\, Keiko Abe\, an
 d Camille Saint-Saëns\, performed with winners of the 2024-25 School of Mu
 sic Concerto Competitions--Flora Cummings\, viola\; Kaisho Barnhill\, mari
 mba\; and Sandy Huang\, piano. Also on the program\, works by <span>Mikhai
 l </span>Glinka\, Richard Wagner\, and <span>Giuseppe </span>Verdi.</p>  <h2>Program</h2> <div><span face='arial\, sans-serif'><strong>University of Washington Symphony Orchest
 ra</strong><br><em>Ryan D.Farris\, Robert Stahly\, Sunny Xia &amp; David A. Ra
 hbee\, conductors</em><br><b></b></span></div> <div><span face='arial\, sa
 ns-serif'><b></b></span></div> &lt;
 div&gt;<span face='arial\, sans-serif'><b></b></span></div> <div><span face='arial\, sans-serif'><b>Mikhail Glinka: </b>Overture to <i>Ruslan
  &amp; Ludmilla</i><span class='gmail-Apple-converted-space'> </span><br></div> <div> <p><span face='arial\, sans-serif'><span><b>York Bowen:</b> Viola </span><span>Concerto in 
 C minor\, op.25<br></span></span><span><span face='arial\, sans-serif' sty le=' arial\, sans-serif\;'>I. Allegro assai <br></span></span>
 <em><span face='arial\, sans-serif'>Flora Cummings\, viola (student of Professor Melia Watras)</span></em>
 </p> <p><span><i><span face='arial\, sans-serif'></span></i></span><span><span face='arial\, sans-serif' s tyle=' arial\, sans-serif\;'><b>Keiko Abe: </b>Prism Rhapsody&lt;
 span class='gmail-Apple-converted-space'&gt; <br></span></span></span><em>Kai
 sho Barnhill\, marimba (student of Professor Bonnie Whiting)</span></em></p> <p><span><span face='arial\, sans-serif'></span></span><span><span face='arial\, sans-serif'><b>Camille Saint-Saëns:</b> Piano Concerto
  No.5\, in F major\, op.103\, <i>Egyptian<br></i></span></span><span><span face='arial\, sans-serif'>I. Al
 legro animato     <br></span></span><em><span face='arial\, sans-serif' st yle=' arial\, sans-serif\;'>Sandy Huang\, piano (student of Pr
 ofessor Robin McCabe)</span></em></p> <p><span><span face='arial\, sans-se
 rif'><b>Richard Wagner:</b> Prel
 ude to Act 3 of <i>Lohengrin</i></span></span></p> <p><span><span face='ar
 ial\, sans-serif'><b>Giuseppe Ve
 rdi: </b>Overture to La forza del destino</span></span></p> </div> <hr> Program Notes</h2> <p><strong><span>Mikhail G
 linka </span></strong><span>was among the first Russian composers of class
 ical music to achieve significant recognition within his homeland. He play
 ed a foundational role in shaping a distinctly Russian musical identity an
 d exerted considerable influence on the later group of nationalist compose
 rs known as 'The Mighty Five.' These composers looked to Glinka’s work as 
 a model in their pursuit of a cohesive Russian sound grounded in folk them
 es and traditions. Like Giuseppe Verdi\, Glinka traveled to Milan in searc
 h of artistic inspiration. It was there that he began composing seriously\
 , though he eventually returned to Russia\, driven by a desire to create a
  Russian operatic tradition comparable to the Italian models established b
 y Bellini and Donizetti.</span></p> <p><span>On
 e of Glinka’s most significant contributions to this effort was his opera 
 <em>Ruslan and Lyudmila</em>\, based on a narrative by the celebrated Russ
 ian poet Alexander Pushkin. The opera stands out for its innovative incorp
 oration of Russian folk melodies and themes\, which helped lay the groundw
 ork for a national operatic style.</span></p> <p><span>The overture to <em>Ruslan and Lyudmila</em> exemplifies Glinka’s 
 dynamic and nationalistic musical voice. Eschewing the conventional slow i
 ntroduction typical of the period\, the overture launches immediately into
  a spirited motto for brass\, winds\, and timpani\, underpinned by rapid s
 tring passages that propel the music forward with remarkable vitality. The
  energetic opening is briefly contrasted by a lyrical theme introduced by 
 the violas and cellos and later expanded by the violins\, showcasing Glink
 a’s gift for melodic invention. The interplay and development of these the
 mes culminate in a vigorous coda\, bringing the overture to a jubilant and
  exhilarating conclusion. The piece’s Rossini-like energy\, fused with a d
 istinctly Russian sense of exuberance and heroism\, makes it an enduring a
 nd emblematic work in the orchestral repertoire.<br></span>-Mica Weiland &lt;
 /p&gt; <p><strong>York Bowen</strong> was a belove
 d English composer and pianist who gained fame at a young age for his stun
 ning and evocative compositions - many of which were piano concertos that 
 he premiered himself. He studied\, and eventually became a professor at th
 e Royal Academy of Music\, working and playing alongside many other well-k
 nown musicians of the day such as violinist Fritz Kreisler\, and conductor
  Henry Wood. Bowen was also a lifetime friend and musical partner to the v
 irtuoso violist Lionel Tertis and wrote a number of works for solo viola a
 s a result. His Viola Concerto in C minor was one of his most popular work
 s during his lifetime\, and was written when Bowen was only 22. Like most 
 of his other works for the instrument\, it was dedicated to Tertis\, and p
 remiered by him in 1908 at the Wigmore Hall in London\, to much acclaim fr
 om the audience and music critics alike. However\, following the devastati
 on of World War I\, Bowen’s music fell into obscurity\, as his clearly rom
 antic style no longer resonated with the weary and grieving nation. It was
  not until the late 1980s that his music once again came prominently into 
 the light of the concert stage. Bowen’s Viola Concerto has since become a 
 recognized standard of viola repertoire\, one that offers a memorable enco
 unter with the charisma and majesty of an often-overlooked instrument.<br>
 -Flora Cummings</p> <p><strong>Keiko Abe is a Japanese marimbist\, composer\, and educator. As one of the world’
 s leading forces in marimba playing\, Abe has expanded the technique of pl
 aying\, and has been a powerful impetus for the development of marimba lit
 erature. Many of her works are now considered to be part of the core reper
 toire for marimbists and percussionists. In the early 1970s\, Abe collabor
 ated with the Yamaha Corporation to expand the range of the marimba from f
 our octaves to five\, which is now the standard size instrument for marimb
 ists. Abe currently serves as the Professor of Marimba at the Toho Gakuen 
 School of Music in Tokyo and she continues to compose and tour as a marimb
 ist globally. In 1995\, Abe composed <em>Prism Rhapsody</em>\, for Solo Ma
 rimba and Wind Ensemble\, publishing an iteration for symphony orchestra t
 he following year. Considered to be one of the standard marimba concertos\
 , <em>Prism Rhapsody </em>is an energetic work that features fast two-mall
 et passages\, six-mallet technique\, and a flourishing cadenza that allows
  the performer to highlight the virtuosic nature of the piece. <em>Prism R
 hapsody</em> is one of the most distinguished works in the marimba literat
 ure and holds its place as a standard among the marimba concerto repertoir
 e.<br>-Kaisho Barnhill</p> <p><strong>Camille S
 aint-Saëns</strong> lived a life as expansive as his music. He was not onl
 y a virtuoso pianist and composer\, but also a scholar and a traveler\, co
 ntinually searching for something beyond the familiar. During his travels 
 to Egypt in 1896\, he composed his <em>Piano Concerto No. 5 in F Major\, O
 p. 103</em>\, often known as <em>The Egyptian</em>. </p> <p>This concerto wanders\, dreams\, and leaps. It begins with a 
 warm\, simple theme that gradually builds\, drawing the listener into a wo
 rld of flowing runs and smooth\, lyrical passages. This is followed by a s
 lower\, more melancholic subject\, reminiscent of the <em>Andante sostenut
 o </em>movement of Saint-Saëns’ <em>Second Piano Concerto</em>. His writin
 g feels liberating—long\, soaring lines rise and fall like waves\, guiding
  each theme before resolving to a gentle\, reflective coda. </p> <p>This piece unfolds like a voyage\, rich with beautifu
 l melodies\, shimmering scales\, and rippling arpeggios. For pianists with
  smaller hands\, Saint-Saëns’ use of rapid scale passages in place of heav
 y\, dense octaves is especially appreciated. The contrast between moments 
 of tranquility and turbulence throughout the movement reflects its sea-bou
 nd spirit. To play this piece is to momentarily step into Saint-Saëns’ wor
 ld—chasing the same wonder and wilderness that once captivated him.<br>-</span>Sandy Huang</p> <p><strong><span>Ric
 hard Wagner</span></strong><span> stands as one of the most influential fi
 gures in the history of Western music. His operas occupy a central positio
 n in the operatic canon and continue to be performed regularly on internat
 ional stages. <em>Lohengrin</em>\, one of Wagner’s most ethereal operatic 
 works\, is based on the medieval German legend of the Knight of the Swan. 
 The opera explores themes of chivalry\, spiritual purity\, and betrayal\, 
 setting ideals of transcendence and moral integrity in opposition to the c
 orrupting forces of earthly ambition and deceit.</span></p> <p><span>The Prelude to Act III of <em>Lohengrin</em> exempli
 fies Wagner’s orchestral brilliance and his capacity to evoke mood through
  dynamic instrumentation. This spirited prelude precedes the wedding scene
  of the opera’s protagonists and is followed by the well-known 'Bridal Cho
 rus.' The music bursts forth with triumphant energy\, featuring a radiant 
 brass theme propelled by a rapid flurry of strings. Wagner’s skillful orch
 estration imbues the piece with a sense of joyous momentum\, creating an a
 tmosphere of festivity that effectively prepares the audience for the cele
 bratory scenes that follow. The prelude’s exuberance and rhythmic vitality
  serve not only as a musical highlight but also as a dramatic counterbalan
 ce to the opera’s deeper themes of moral conflict and tragic destiny.<br>&lt;
 /span&gt;-Mica Weiland</p> <p><strong><span>Giusep
 pe Verdi</span></strong><span> was born in 1813 in a small town in the pro
 vince of Parma\, Italy\, into a family of modest means. His early exposure
  to music came through his role as an altar boy\, where he demonstrated bo
 th aptitude and enthusiasm for playing the organ. This initial musical eng
 agement laid the foundation for his later development as a composer. Verdi
  eventually moved to Milan\, where he worked as a rehearsal director and c
 ontinuo player. It was during this formative period in Milan that he found
  inspiration to begin composing opera. </span></p> <p><span>Verdi is widely recognized for transforming Italian Romantic 
 opera by intensifying its dramatic power through a heightened focus on nar
 rative and character development. He employed the musical score not merely
  as accompaniment\, but as a dynamic vehicle for emotional expression\, ef
 fectively aligning music and drama.</span></p> <p><span>The dramatic potency of <em>La Forza del Destino</em> is evident 
 from the outset\, particularly in its orchestral overture. The work opens 
 with six striking brass chords that immediately establish an atmosphere of
  ominous tension. This is followed by a turbulent theme that encapsulates 
 the sense of inescapable fate looming over the opera’s protagonists. The s
 o-called 'fate' motif recurs throughout the overture\, either as a dominan
 t musical idea or as a somber counterpoint to the more lyrical themes asso
 ciated with the characters. Even when not subtle\, Verdi’s orchestration r
 emains compelling\; his ability to imbue purely instrumental passages with
  theatrical intensity is a testament to his unique compositional voice<br>
 </span>-Mica Weiland</p> <hr> <table width='834' height='5'> <tbody> <tr> 
 <td> <h4><strong>University of Washington Symphony 
 Orchestra</strong></h4> <p><em>David Alexander Rahbee\, Music Director and
  Conductor</em><br><em>Ryan Dakota Farris and Robert Stahly\, Assistant Co
 nductors</em></p> <p><strong><u>Flute</u></strong></p> <p>Erin McAfee\, MM
  Flute Performance</p> <p>Tracia Pan\, Flute Performance\, Statistics</p> 
 <p>Grace Playstead\, MM Flute Performance</p> <p>Rachel Reyes\, DMA Woodwi
 nds</p> <p>Claire Wei\, BM Flute Performance</p> <p>Yue Zhong\, BA Flute P
 erformance</p> <p><strong> </strong></p> <p><strong><u>Piccolo</u></strong></p> <p>Tracia Pan\, Flute Performance\, Statistics</p> <p>Grace Playstea
 d\, MM Flute Performance</p> <p>Rachel Reyes\, DMA Woodwinds</p> <p>Claire
  Wei\, Music</p> <p><strong><u>Alto Flute</u></strong></p> <p>Yue Zhong\, 
 BA Flute Performance</p> <p><strong><br><u>Oboe</u><br></strong>Max Bolen\
 , Marine Biology</p> <p>Max Boyd\, Oboe Performance</p> <p>Minh-Thi Butler
 \, BM Oboe Performance </p> <p><strong><u>Clarinet</u></strong><strong><br></strong>Cameron DeLuca\, DMA Clarinet Performance<strong><br></strong>Lu
 qi Wang\, DMA Clarinet Performance</p> <p>Nick Zhang\, BS Computer Science
 </p> <p><strong><u>Bassoon<br></u></strong>Ryan Kapsandy\, BM Bassoon Perf
 ormance</p> <p>Rian Morgan\, Music/Nutritional Science</p> <p>Eric Shankla
 nd\, BA Music History</p> <p>Eric Spradling\, BM Bassoon Performance </p> 
 <p><strong><u>Contrabassoon</u></strong></p> <p>Eric Shankland\, BA Music 
 History</p> <p><br><strong><u>Horn</u>     </strong></p> <p>Nicole Bogner\
 , BM Horn Performance</p> <p>Colin Laskarzewski\, BS Physics</p> <p>Elise 
 Moe\, BM Horn Performance</p> <p>Sam Nutt\, Molecular &amp; Cellular Biology</p> <p>Noelani Stewart\, Political Science\, American Ethnic Studies</p> <p><strong><br><u>Trumpet</u></strong></p> <p>Hans Faul\, BM Trumpet Perform
 ance</p> <p>Kyle Jenkins\, MM Trumpet Performance</p> <p>Antti Männistö\, 
 Mechanical Engineering</p> <p>Drew Theran\, MM Trumpet Performance<strong>
 <br></strong><br><strong><u>Trombone<br></u></strong>Jonathan Elsner\, App
 lied &amp; Computational Mathematics</p> <p>Neal Muppidi\, BM Trombone Perform
 ance</p> <p>Nathanael Wyttenbach\, Music Composition<strong> </strong></p>
  <p><strong><u>Bass Trombone</u></strong><strong><br></strong>Duncan Weine
 r\, Aero-Astro Engineering/Linguistics</p> <p><strong><u>Tuba</u></strong>
 </p> <p>Adam Mtimet\, DMA Tuba Performance<strong><br></strong>Chris Seay\
 , DMA Tuba Performance</p> <p><strong><u>Cimbasso<br></u></strong>Adam Mti
 met\, DMA Tuba Performance</p> <p><strong><u>Timpani<br></u></strong>Kaish
 o Barnhill\, Music Education\, Psychology</p> <p>Cyan Duong\, Music Educat
 ion</p> <p>Ivy Moore\, Bioresource Science and Engineering</p> <p>Tyler Sm
 ith\, MM Percussion Performance</p> <p><br><strong><u>Percussion<br></u></strong>Cyan Duong\, Music Education<br>Ivy Moore\, Bioresource Science and
  Engineering<br>Tyler Smith\, MM Percussion Performance<br>Regan Wong\, Mi
 crobiology<strong><u> </u></strong></p> <p><strong><u>Harp</u></strong><br></strong>Kelly Hou\, Alumna</p> <p><strong><u>Violin I</u></p> <p>Grace Pandra\, Violin Performance/Business Administration (Co-co
 ncertmaster)</p> <p>Hanu Nahm\, Violin Performance/BS Microbiology (Co-con
 certmaster)</p> <p>Hai-Ryung Jang\, DMA Violin Performance</p> <p>David Te
 ves-Tan\, Pre-Sciences</p> <p>Ido Avnon\, MS Computer Science &amp; Engineerin
 g</p> <p>Brandon Bailey\, Computer Science</p> <p>David Mok\, Computer Eng
 ineering</p> <p>Nicole Chen\, Informatics</p> <p>Alex Metzger\, Computer S
 cience</p> <p>Thea Higgins\, Industrial Engineering: Data Science</p> <p>C
 aleb Anderson\, Mathematics</p> <p>Avery Parry\, Biochemistry</p> <p>Lyle 
 Deng\, Computer Science</p> <p>Adora Wu\, Computer Science</p> <p>Grace Hw
 ang\, BA Music\, ECE</p> <p>Giulia Rosa\, Music</p> <p><strong><u>Violin I
 I</u></strong></p> <p>Taylor DeCastro\, MM Violin Performance (Principal)&lt;
 /p&gt; <p>Michaela Klesse\, Music</p> <p>Alice Leppert\, Chemistry</p> <p>Dan
 ny Zhang\, Pre-Sciences</p> <p>Cristina Kosilkina\, BS Biochemistry</p> <p>Victoria Zhuang\, Informatics and Geography: Data Science</p> <p>Kate Eve
 rling\, Applied Mathematics</p> <p>Ling Yang\, Medical Anthropology and Gl
 obal Health</p> <p>Jasmine Palikhya\, International Studies</p> <p>Anja We
 stra\, Marine Biology</p> <p>Justene Li\, Pre-Sciences</p> <p>Freya Frahm\
 , Computer Sciences/BM Piano Performance</p> <p>Felicia Yeh\, Business Adm
 inistration</p> <p>Hannah Pena-Ruiz\, Music History</p> <p><strong><u>Viol
 a</u></strong><strong>     </strong></p> <p>Emma Boyce\, Music (Principal)
 </p> <p>Abigail Schidler\, Computer Science/Music Theory</p> <p>Annika Joh
 nson\, Earth and Space Sciences: Physics</p> <p>Mia Grayson\, Biochemistry
 </p> <p>Melia Golden\, Biochemistry</p> <p>Hailey Nappen\, Pre Sciences</p> <p>David Del Cid-Saavedra\, Multilingual Education Studies</p> <p>Aribel
 la Brushie\, Pre-Sciences</p> <p>Alissa Harbani\, Bioengineering/Music</p>
  <p>Melany Nanayakkara\, Material Science Engineering/Chemistry</p> <p><br><u>Violoncello</u>         </strong></p> <p>Cory Chen\, BA in Mus
 ic/Intended Neuroscience (Principal)</p> <p>Loni Yin\, Pre-Sciences</p> <p>Nathan Evans\, BA Music History</p> <p>Nacho Tejeda\, PhD Mathematics</p>
  <p>Katherine Kang\, Human Centered Design &amp; Engineering</p> <p>Jack Ruffn
 er\, Pre-Social Sciences</p> <p>Eli Kashman\, Bioengineering</p> <p>Mina W
 ang\, Informatics</p> <p>Amanda Song\, Accounting and Marketing</p> <p>And
 rew Vu\, Chemistry/Biochemistry/Math</p> <p>Ally Wu\, Electrical Engineeri
 ng</p> <p>Noah Croskey\, Industrial Engineering</p> <p>Bashir Abdel-Fattah
 \, PhD Mathematics</p> <p><strong><br><u>Bass</u>    <br></strong>Nathan E
 skridge\, MM Bass Performance (Principal)</p> <p>Eddie Mospan\, BM Bass Pe
 rformance</p> <p>Amelia Matsumoto\, BM Bass Performance</p> <p>Gabriella K
 elley\, English</p> <p>Ethan Park\, Biology</p> <p>Josh Bonifas\, Music/EL
 S</p> </td> </tr> </tbody> </table> <h2>Biographies</h2> <h3 class='font_8
  wixui-rich-text__text'><span class='wixui-rich-text__text'><span class='c
 olor_15 wixui-rich-text__text'>Sunny Xia</span></span></h3> <p class='font
 _8 wixui-rich-text__text'><span class='wixui-rich-text__text'><span class='color_15 wixui-rich-text__text'>Recognized for her innate musicality\, co
 mpelling presence\, and technical precision\, conductor Sunny Xuecong Xia’
 s ability to forge an immediate and captivating connection with orchestras
  and singers alike has led to engagements around the globe. Xia joined the
  Seattle Symphony at the beginning of the 2022/2023 season as Douglas F. K
 ing Assistant Conductor and was quickly promoted to Associate Conductor. R
 ecent and upcoming engagements include the San Diego Symphony\, Phoenix Sy
 mphony\, Tucson Symphony\, Olympia Symphony\, and Chandler Opera Theater. 
 </span></span><br class='wixui-rich-text__text'><span class='wixui-rich-te
 xt__text'><span class='color_15 wixui-rich-text__text'>In the 2023/2024 se
 ason\, Xia led the Seattle Symphony in over a dozen programs featuring sol
 oists such as Conrad Tao\, Noah Geller\, and Mahani Teave. Highlights incl
 ude the world premiere of Composer-in-Residence\, Angelique Poteat’s Dear 
 Humanity for Youth Chorus and Orchestra\, a work that harnesses the power 
 of 50 voices and full orchestra to confront climate change\, the Celebrate
  Asia program with violinist Kerson Leong\, and the Merriman-Ross Family Y
 oung Composers Workshop Concert that featured 10 world premieres. She serv
 ed as Tan Dun’s assistant during the composer’s acclaimed residency presen
 ting his six-Act oratorio\, Buddha Passion. Xia has additionally served as
  Cover Conductor at the St. Louis Symphony Orchestra under Dame Jane Glove
 r and James Gaffigan. </span></span><br class='wixui-rich-text__text'><span class='color_15 wixui-rich-text__tex
 t'>Equally at home in the opera pit\, Xia recently led a production of La 
 bohème with the Chandler Opera Company to great success. She has previousl
 y served as assistant conductor for productions of Così fan tutte\, Hänsel
  und Gretel\, Die Zauberflöte\, The Juniper Tree\, Le Rossignol\, and L’En
 fant et les Sortilèges\, among others. A dynamic interpreter of contempora
 ry music\, Xia has over a dozen world premieres under her credit. In 2022\
 , Xia was named a Conducting Fellow at the Cabrillo Festival of Contempora
 ry Music where she made her festival debut leading the world premiere of M
 arc Migó Cortés' Dumka. Recent performances have featured works by Gabriel
 la Smith\, Angelique Poteat\, Samuel Adams\, Jerod Tate\, Juhi Bansal\, Ga
 briela Ortiz\, and Tan Dun. She has previously led the Cleveland Institute
  of Music New Music Ensemble in series such as the Cleveland NEOSonicFest 
 and CIM New Music Series. </span></span><br class='wixui-rich-text__text'>
 <span class='wixui-rich-text__text'><span class='color_15 wixui-rich-text_
 _text'>Xia holds a dual master’s degree in Conducting and Violin Performan
 ce from the Cleveland Institute of Music and a doctoral degree from Arizon
 a State University. At the Seattle Symphony\, she is mentored by Ludovic M
 orlot and Xian Zhang. For three summers\, she attended the Monteux School 
 and Music Festival as a Kurt &amp; Torj Wray Conducting Scholar. An accomplish
 ed violinist\, she performed as a soloist with orchestras in China and Aus
 tralia\, including the symphony orchestras of Harbin\, Zheijiang\, Hunan a
 nd Guangxi\, and the Concertante Ensemble. While attending Cleveland Insti
 tute of music\, she has served as concertmaster of the CIM Orchestra. Her 
 principal mentors include Michael Jinbo\, Jeffery Meyer\, Tito Muñoz\, Jan
  Mark Sloman\, and Carl Topilow.</span></span><br class='wixui-rich-text__
 text'><span class='wixui-rich-text__text'><span class='color_15 wixui-rich
 -text__text'>Originally from Guangzhou\, China\, Xia relocated to Sydney\,
  Australia at the age of 14 on a scholarship from the Australian String Ac
 ademy that allowed her to further her violin studies with Peter Shi-xiang 
 Zhang and Charmian Gadd. A talented basketball athlete\, she competed in t
 he New South Wales Metro Junior League before focusing primarily on her mu
 sical pursuits. When not performing or enjoying a pick-up game\, she can b
 e found reading\, hiking\, or learning languages. She speaks Cantonese\, E
 nglish\, Mandarin\, and Teochew\, and is improving upon her French\, Germa
 n\, and Italian.</span></span></p> <p class='font_8 wixui-rich-text__text'><span class='wixui-rich-text__text'><span class='color_15 wixui-rich-text
 __text'><b><span>Flora Cummings</span></b><span> is a third-year undergrad
 uate double majoring in Viola Performance and </span><span>Wildlife Conser
 vation at the University of Washington\, where she studies with Professor 
 Melia </span><span>Watras and holds the Milton Katims Viola Scholarship. S
 he began violin lessons at age six with </span><span>Laura Martin\, before
  studying viola with Dr. Alessandra Barrett\, and violin with Dr. Sarah </span><span>Pizzichemi. Flora was the runner-up in the North Corner Chamber
  Orchestra’s 2020 concerto </span><span>competition\, and placed first in 
 the Washington State Solo Viola Competition in 2022. She joined </span>the Seattle Collaborative Orchestra in high school and was a soloist wi
 th the ensemble her </span><span>senior year. Flora is an avid chamber mus
 ic player and loves to play Scottish fiddle music - </span><span>playing w
 ith her family band and performing at the 2018 “More Music@the Moore” show
 case for </span><span>young talent. In 2024 she won the prestigious Silver
  Pendant singing competition for Scottish </span><span>Gaelic learners at 
 the Royal National Mòd in Oban\, Scotland. She received top marks in both 
 </span><span>music and Gaelic\, earning her a chance to sing for broadcast
  on BBC television\, as well as live </span><span>on BBC Radio nan Gàidhea
 l. Flora plays on a 2017 viola by Portland maker David Van Zandt.</span></span></span></p> <p><strong>Kaisho Barnhill is a third-year undergraduate student at the University of Washingto
 n pursuing degrees in Music Education and Psychology. A member of the UW S
 ymphony Orchestra’s percussion section\, Kaisho's musical journey began wi
 th piano lessons at a young age. He transitioned to percussion in high sch
 ool\, drawn to the excitement of marching band. While percussion remains h
 is primary instrument\, he continues to play piano for enjoyment and occas
 ional performances. In addition to being an active performer\, Kaisho enjo
 ys composing concert music. He is honored for his first orchestral work\, 
 Monday Mornings\, to have been selected as the Seattle Festival Orchestra’
 s call for scores winner in 2024. Kaisho primarily writes for symphony orc
 hestra but has dabbled in composing for chamber ensembles\, percussion ens
 emble\, and solo piano. He studies composition and conducting with local c
 omposer and music director of Harmonia Orchestra and Chorus\, Mr. William 
 White. As part of his degree\, Kaisho is currently student teaching at Lak
 eview Elementary School in Kirkland\, WA\, where he works with students gr
 ades two through five. He loves working with young students and encouragin
 g them in their musical journeys. Kaisho is pursuing a career as a music t
 eacher and is looking forward to an exciting future in the field of music 
 education.</p> <p></p> <p><strong>Sandy Huang</strong> is a senior undergraduate student of Dr
 . Robin McCabe at the University of Washington. She previously studied wit
 h international pianist Michi Hirata North and Seattle-based concert piani
 st Joan Schoepflin. As a winner of the 2023 UW Concerto Competition (Keybo
 ard Division)\, she performed with Philharmonia Northwest. Sandy has earne
 d top prizes at competitions including the Northwest Chopin Festival and N
 orthwest Bach Festival. At age ten\, she made her orchestral debut in Taip
 ei performing Mozart’s Piano Concerto No. 20\, K. 466. In 2018\, she perfo
 rmed Grieg’s Piano Concerto in A minor with the UW Campus Philharmonia Orc
 hestra as the winner of the High School Concerto Competition. In 2019\, sh
 e performed Beethoven’s 'Emperor' Concerto with both Taipei’s orchestra an
 d the Evergreen Philharmonic Orchestra and also won the Sammamish Symphony
  Youth Concerto Competition. Sandy was invited to attend the UW Seattle Pi
 ano Institute at age nine and later performed at the 2019 UW Benefit Conce
 rt. In addition to majoring in music\, she is minoring in data science and
  serves as a research team leader for the UW Medicine Neonatal Nutrition D
 atabase Project. After graduation\, she plans to take a gap year to contin
 ue research and clinical work before applying to medical school.</p>
END:VEVENT
BEGIN:VEVENT
UID:9bd8416f-5af2-48d2-906a-65e47155b81c
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20250604T200709Z
DESCRIPTION:<p></p>\n<p>Graduate choral conducting students Clara Johnson a
 nd Nicholas Renaud present a graduate degree recital: 'Songs My Grandmothe
 r Taught Me\,' featuring works by Canadian composers\, arrangers\, and poe
 ts from the year 1600 to present. With collaborative pianists Kyle Hanks\,
  Stephen Swanson\, and Chiao-Yu Wu. </p>\n<hr>\n<h2>Program</h2>\n<h3>Song
 s of New France</h3>\n<p>Ah! Si Mon Moine Voulait Danser - arr. Donald Pat
 riquin (b.1938)<br>UW Recital Choir Treble Voices</p>\n<p>Dans la prison d
 e Londres - arr. M. Bégin (b.19??)<br>Seattle Francophone Choir</p>\n<p>Ma
 gnus Dominus - ed. Erich Schwandt<br>UW Cohort Ensemble\; Helen Woodruff &amp;
  Scott Fikse\, soloists</p>\n<h3>Songs of Nature</h3>\n<p>“alternatives: o
 ne two three - Kateri Akiwenzie-Damm (b.1965)<br>ii. indian soul food” <br><br>Epitaph for Moonlight - R. Murray Schafer (1933-2021)<br>UW Cohort En
 semble\; Chiao-Yu Wu\, percussion</p>\n<p>Thoughts on a Still Night - Alic
 e Ping Yee Ho (b.1960)<br> UW Recital Choir<br><br>When the Earth Stands S
 till - Don Macdonald (b.1966)<br>UW Recital Choir Tenor &amp; Bass Voices<br>&lt;
 br&gt;J’ai vû le loup - arr. Stephen Hatfield (b.1956)<br> UW Cohort Ensemble
 </p>\n<h3><br>Songs of Sorrow</h3>\n<p>“my grandmothers” - Kateri Akiwenzi
 e-Damm (b.1965)</p>\n<p>Parlez-moi - arr. A. Bevan (b. 1951)<br>Seattle Fr
 ancophone Choir</p>\n<p>Nukum - Alex Vollant (b.2000)<br>UW Cohort Ensembl
 e\; Clara Johnson\, soloist</p>\n<p>Friend\, Pass Softly Matthew Emery (b.
 1991)<br>UW Cohort Ensemble</p>\n<h3>Songs of Faith</h3>\n<p>“i will be” -
  Kateri Akiwenzie-Damm<br>Ave Joseph - ed. Elisabeth MacIsaac (b.1960)<br>
 Treble Choir\; Kris Bryan &amp; Heidi Blythe\, soloists<br><br>Three Poems fro
 m the Parlor: -Eleanor Daley (b.1955)<br>Miss Jane Austen <br> Treble Choi
 r<br><br>Rise Up\, My Love\, My Fair One - Healey Willan (1880-1968)<br> U
 W Chorale</p>\n<h3><br>Songs of Story</h3>\n<p>“the book you left: - Kater
 i Akiwenzie-Damm<br>in memory” <br>Marie Madeleine arr. Jeanette Gallant (
 1961-2025)<br>UW Cohort Ensemble\; Kyle Hanks\, Diane Johnson\, &amp; Michael 
 McKenzie\, percussionists<br><br>Red River Valley - arr. Leonard Enns (b.1
 948)<br>UW Recital Choir\; Helen Woodruff\, soloist<br><br>Three Poems fro
 m the Parlor: Eleanor Daley<br>Mrs. Austen <br>Treble Choir<br> <br>Feller
  From Fortune - arr. Harry Somers (1925-1999)<br> UW Recital Choir</p>\nSongs of the Land</h3>\n<p>“names” - Kateri Akiwenzie-Damm</p>\n<p>J’ent
 ends le Moulin - arr. M. Snelgrove (b. 1962)<br> Seattle Francophone Choir
 </p>\n<p>Walk Out on the Water - arr. G. Kroeker-Lee (b.19??)<br> UW Chora
 le</p>\n<p>All Too Soon - arr. Stephen Hatfield<br> UW Recital Choir</p>\n
 <p>Les Voyageurs de la Gatineau - arr. Jennifer McMillan (b.19??)<br> UW C
 horale</p>\n<hr>\n<p><strong>Programme Notes: S
 ongs My Grandmother Taught Me</strong> </p>\n<p>This programme of Canadian music is both deeply personal and widely commu
 nal. Songs My Grandmother Taught Me is a tribute to the women who plant mu
 sic in us before we even know we’re musicians.</p>\n<p>My grandmother\, Henriette (affectionately known as “mémé” by her 
 dozens of grandchildren and great grandchildren)—French Canadian\, a churc
 h organist\, a quiet force of grace and patience—was my first piano teache
 r and my first French tutor. A beacon of our French Canadian heritage\, sh
 e would come over to teach us how to cook traditional meals (tortière)\, s
 it down with us for hours at the kitchen table helping us with our homewor
 k (all in French so that we could connect with our heritage\, even while g
 rowing up in the very anglophone community of Vancouver)\, and when the re
 cession made formal piano lessons inaccessible\, she taught us for free. S
 he was ever present to guide me not only through music but through languag
 e\, faith\, and resilience.</p>\n<p>Her passing
  this March\, after years of living with dementia\, was a tragic loss for 
 our family.  I felt compelled to reflect on the many ways she remains pres
 ent—in how I teach\, in how I lead\, in how I learn. Her favourite advice 
 when I struggled through a tough passage on the piano was always the same:
  “just try it one hand at a time.” That phrase reminds me to approach chal
 lenges with compassion and clarity. It’s a principle I carry into every re
 hearsal and every classroom\, regardless of what I am teaching. Life’s cha
 llenges are often less daunting and complex than we think\, if we can find
  ways to give ourselves grace and break things down into smaller\, more ma
 nageable steps. In so doing\, we can allow ourselves to be a support to ot
 hers. My other grandmother\, Sylvia\, an immigrant from England\, models t
 his type of support: a lifelong volunteer\, a generous and caring friend t
 o many\, and dedicated mother and grandmother\, always putting others befo
 re herself. I feel so grateful to both Sylvia and Henriette for the lesson
 s they have imparted upon me so that I may too embody these cultural ideal
 s and contribute positively to my community.</p>\n<p>                          –Nicholas Renaud</p>\n<p>My grandmother\, Anna\, was a gardener. She tended plants\, stor
 ies\, people\, and faith. In her hands\, relationships were cultivated wit
 h care and compassion. She pruned away my childhood melancholy and watered
  me with her love\, patience\, and time. The songs she taught me in the fo
 rm of resilience\, laughter\, and connection to the earth keep me company 
 to this day\, long after her passing\; and her roots grow so deeply within
  me that no amount of time can fell her spirit. The music and poetry of th
 is recital reflect my memories and gratitude for all that she was and all 
 that she continues to be.</p>\n<p>             
              –Clara Johnson</p>\n<p>To speak of
  'Canadian identity' is to speak of a mosaic: layered\, dynamic\, multilin
 gual\, and incomplete without the voices of Indigenous peoples\, newcomers
 \, settlers\, and all those who contribute to the fabric of our communitie
 s. In this spirit\, this afternoon’s repertoire features music in Innu\, F
 rench\, Mandarin\, and English. These languages gesture toward a Canada th
 at is not monolithic\, but rich in diversity and story—one that aspires to
 ward inclusivity\, relationality\, and justice.</p>\n<p>Through Canadian poetry\, memory\, and song\, we gather tonight t
 o listen—not only to the music\, but to one another. May this recital serv
 e as a moment of reflection\, gratitude\, and hope. May the songs passed d
 own through generations continue to guide us gently forward. May it invite
  us to listen with care\, to remember those who shaped us\, those who came
  before us\, those whom we encounter in our walks of life\, and to pass on
  songs\, cultural understandings\, and language not just for the sake of t
 radition\, but for the sake of love.</p>\n<p>We
  hope you enjoy these moments of music with us this afternoon!</p>\n<p sty le=' 400\;'>                          –Clara and Nic\, June 7 
 2025</p>\n<p><strong>Songs of New France </p>\n<p>We open with music rooted in the tr
 aditions of the early French settlers in eastern Canada\, known as New Fra
 nce from 1534 until 1763. These songs\, passed down orally and reimagined 
 in choral form\, reflect both joy and struggle. They remind us that music 
 travelled alongside people—by canoe\, by prayer\, by dance—and still carri
 es the memory of those journeys. <strong>Ah! Si mon moine…</strong>is one 
 of the most well-known folk songs in French-speaking Canada. It illustrate
 s the comic trope of forbidden love as a girl unsuccessfully woos a monk w
 ith gifts to entice him to dance with her. At last\, the girl mourns the m
 onk’s vow of poverty as the true foil to her happiness\, stating\, “If he 
 hadn’t made a vow of poverty\, I’d give him other wonderful things too…” &lt;
 strong&gt;Dans La Prison de Londres\, </strong>a folksong passed down through
  generations\, tells the story of a prisoner and his one visitor: the jail
 or’s daughter. One can interpret the text in multiple ways\, but I view it
  as the daughter letting him go so that their love could live on\, even at
  a distance. <strong>Magnus Dominus</strong> is a motet preserved in three
  18th-century manuscript books housed in the Ursuline Archives in Québec C
 ity—one of North America's oldest centres of sacred music. Likely copied f
 rom earlier sources\, the piece may have been composed in Québec around 17
 00 for a specific Christmas celebration. Though the composer remains anony
 mous\, the music reflects the elegance and stylistic assurance of French B
 aroque masters like André Campra. Québec's religious communities\, includi
 ng the Ursulines\, nurtured a rich tradition of plainchant and polyphony f
 rom the 17th century onward\, and Magnus Dominus stands as a beautiful tes
 tament to this early Canadian liturgical culture. This piece is one of the
  few surviving four-part choral pieces composed so early in Canada’s histo
 ry and is a rare glimpse into the musical heritage of that time period.</p>\n<p><strong>Songs of Nature </strong></p>\n<p>This section explores the relationship between
  sound and landscape. From delicate moonlight to trembling trees\, these w
 orks invite us into stillness and sensory attention. They ask: what does i
 t mean to listen to the earth? R. Murray Schafer’s (1933–2021) <strong>Epi
 taph for Moonlight</strong> is a hallmark of Canadian experimental choral 
 writing\, evoking moonlight not through melody\, but through texture\, bre
 ath\, and spatial resonance. Composed for youth voices\, the piece challen
 ges singers to blend speech\, sound\, and silence\, creating an atmosphere
  that is at once ethereal and grounded in natural imagery. Drawing on Scha
 fer’s concept of the “soundscape\,” the work invites listeners into a medi
 tative space where language dissolves into pure sound. Many of the words y
 ou hear through the piece are part of a made-up language from a grade 7 cl
 ass that Schafer asked to create synonyms of “moonlight.” <strong>Thoughts
  on a Still Night</strong> is based on a Chinese poem by Li Bai. This sett
 ing captures the universal feeling of homesickness and longing under the g
 aze of the moon. The Mandarin text is matched with a still\, reflective mu
 sical language in the piano and in the sustained choral melodies. <strong>
 When the Earth Stands Still</strong> is a contemporary Canadian work that 
 explores the silence before the storm—both literally and metaphorically. T
 his piece invites vulnerability and presence\, offering a meditation on st
 illness\, fear\, and human connection. The medieval French folk song and n
 ursery rhyme\,  <strong>J’ai vu le loup\, </strong>closes out this set.</strong> Arranged by lauded Canadian composer\, Stephen Hatfield (b.
  1956)\, this text has existed since the 1400s and serves as a possible re
 assurance to children not to fear the wildlife they may encounter as each 
 animal is described partaking in common human activities such as singing a
 nd dancing.</p>\n<p><strong>Songs of Sorrow</p>\n<p>In these selections\, we acknowle
 dge the ache of longing\, loss\, and memory. Through personal and communal
  grief\, music becomes a way of holding space for stories that are not eas
 ily told\, and of honouring those who have come before us. <strong>Parlez-
 moi</strong>is a rich\, searching piece in French that asks for stories—of
  the sea\, of the prairies\, and of the earth—from Elders who may or may n
 ot be able to pass this knowledge down through the generations. The speake
 r longs not just for tales\, but for understanding\, so they might one day
  become a guardian of the land they inhabit. Sung in the Innu language (on
 e of Canada’s Indigenous Peoples)\, <strong>Nukum</strong> is a poignant p
 rayer from grandchild to grandmother. It speaks to memory\, storytelling\,
  and the shrinking of Indigenous territories—a tender invitation to witnes
 s the wisdom of Elders and the resilience of communities.<strong> Friend\,
  Pass Softly </strong>is perhaps the most personal of Clara’s selections a
 s she remembers the loss of her grandmother to cancer when Clara was only 
 eight. This piece serves as an attempt to reconcile her childhood grief wi
 th the slow acceptance of fallible memory as she herself ages. “Spring for
 gets her now\, and we count her summers by our grief…”</p>\n<p><strong>Songs of Faith</strong></p>\n<p>Here\, we sing the sacred. Drawing on Catholic\, Anglican\, and d
 omestic musical traditions\, these pieces reflect the way faith lives in b
 oth grandeur and intimacy—from chapel to parlour. <strong>Ave Joseph highlights the intricacies of our educational lineage. Found in an Urs
 uline monastery in Quebec\, this motet was transcribed from its original m
 anuscript by UW Choral Conducting alum Elizabeth MacIsaac as part of her d
 octoral dissertation. Mirroring the well-known Ave Maria text\, Ave Joseph
  calls upon the earthly father of Christ to protect and sustain the singer
 . <strong>Miss Jane Austen</strong> <strong> </strong>provides a more come
 dic view of faith as the famed author plays a parlour game with her mother
  and sister to create verses that all rhyme with the word “rose.” The resu
 lt is the unfortunate\, but all too common\, recounting of an ill-timed na
 p during a sermon.  <strong>Rise Up\, My Love\, My Fair One</strong> is a 
 classic Canadian choral setting of verses from the Song of Solomon. This p
 iece celebrates the arrival of spring and the renewal of love. It reflects
  the sacred within the natural world. Though not originally from Canada\, 
 Healey Willan (1880–1968) immigrated from England at the age of thirty-thr
 ee\, and was an influential church organist\, music examiner and lecturer 
 who helped to shape Canada’s musical landscape through the twentieth centu
 ry.</p>\n<p><strong>Songs of Story</strong></p>
 \n<p>These pieces delight in narrative—from fol
 k tales to personal anecdotes. Here\, music becomes a way to share lived e
 xperience\, laughter\, and life lessons. Through these stories\, we celebr
 ate oral tradition and the art of remembering aloud. <strong>Marie Madelei
 ne</strong>serves as a fantastic example of Acadian folk music. An ethnic 
 group that originally settled in New France in the 1700 and 1800s\, Acadia
 ns now reside mainly in the Maritime Provinces and Quebec. You will hear u
 niquely Acadian dialectical nuances in this tale of a girl who is terroriz
 ed by a mischievous cow. <strong>Red River Valley</strong> highlights how 
 closely knit folk songs of the United States and Canada can be. Many choir
  members were surprised to learn that this piece originated in Canada\, ha
 ving thought of it most of their lives as a depiction of the love story of
  an American cowboy. In fact\, the titular Red River Valley spans regions 
 of both Canada and the United States. <strong>Mrs. Austen </strong>continu
 es the Parlour Songs saga first encountered in “Songs of Faith” as Jane Au
 sten’s mother contributes her verses that rhyme with “rose.” Mrs. Austen t
 ackles the challenge by comically detailing the mundane events of a mornin
 g in her life. A light-hearted Newfoundland folk song\, arranged for choir
 \, <strong>Feller From Fortune</strong> tells a cheeky and lively story of
  love and mischief in a fishing village. The metaphor of “lots of fish” in
  the harbour represents the dating scene in early twentieth century Newfou
 ndland\, where religious piety\, family values\, and close-knit community 
 (and gossip!) were interwoven into the societal fabric of everyday people.
  The piece’s buoyant rhythm and local dialect embody the lighthearted spir
 it of coastal storytelling.</p>\n<p><strong>Son
 gs of the Land </strong></p>\n<p>We conclude wi
 th songs that ground us in place. These works sing of rivers\, mills\, and
  the land beneath our feet. As we lift our voices in these closing moments
 \, we affirm our connection to the land and to one another. <strong>J’ente
 nds le moulin</strong> is a joyful French-Canadian folk song that evokes t
 he rhythm of rural life through the sound of the millwheel. It’s playful\,
  rhythmic\, and points to the importance of labour\, love\, and tradition.
  <strong>All Too Soon</strong> shares the story of the resilience and grie
 f of Nova Scotians who worked to create a place where their children could
  flourish\, only to see those same children leave the province for better 
 employment opportunities. The piece grapples with themes of anger\, empath
 y\, and loss couched in familiar Irish folk songs and mazurkas. <strong>Wa
 lk Out on the Water</strong> is a contemporary piece by Indie-Rock band Ro
 yal Canoe\, arranged by Korean Canadian composer Geung Kroeker-Lee\, and c
 ombines spiritual metaphors and imagery of the land with a pop-inflected i
 diom. It’s a song of strength\, self-ownership\, and transformation—a mode
 rn hallelujah. <strong>Les Voyageurs de la Gatineau</strong> is a folk son
 g setting that captures the rugged spirit of the voyageurs: the French-Can
 adian workers who paddled trade routes and built camps. It reflects hard l
 abour\, nostalgia\, and the pull of home and family.</p>\n<hr>\n<h3>Lyrics and Translations</h3>\n<p><a href='/sites/music/files/documents/lyrics_and_translations_-_jun
 e_7_recital_clara_and_nic_-_revised_june_5.pdf'>View here</a></p>\n\n\n\n
 \n<h3>Recital Personnel</h3>\n<strong><br></strong>\n<h4><strong>LA CHORAL
 E FRANCOPHONE DE SEATTLE<br></strong></h4>\n<p>Collaborative Pianist: Chia
 o-Yu Wu </p>\n<p><strong>Sopranos <br></strong>Anne Delisle <br>Clarisse L
 oiseau <br>Lynne Compton <br>Ellen Taft <br>Odile Madesdaire  </p>\n<p>Altos <br></strong>Sandy Judd <br>Yasmina Mobarek¸ <br>0Elba Ochoa-Nu
 gent <br>Vero Lecocq <br>Kristin Miller <br>Araz Mehitarian </p>\n<p>Tenors <br></strong>Araz Mehitarian <br>Sarah Weinberg <br>Lee Eddy <br>Charles Cardinaux <br>Randa Johnson  </p>\n<p><strong>Basses <br></strong>Jan de Wulf <br>Maxime Sutters <br>Michael Sutters  </p>\n<h4><strong>UW 
 COHORT ENSEMBLE</strong></h4>\n<p>Collaborative Pianist: Steven Swanson</p>\n<p><strong>Sopranos<br></strong>Clara Johnson<br>Helen Woodruff<br>Jade
 n Ritscher<br>Soledad Mayorga-Maldonado<br>Cassidy Cheong </p>\n<p><strong>Altos<br></strong>Alex Rameau<br>Egija Claire<br>Maddie Rivera<br>Tatiana
  Boggs<br>Heidi Blythe </p>\n<p><strong>Tenors<br></strong>David Ferguson&lt;
 br&gt;Nicholas Renaud<br>Luis Javier<br>Gray Creech<br>Josh Bedlion<br>Geoffr
 ey Boers </p>\n<p><strong>Basses<br></strong>Evan Norberg<br>Kyle Hanks<br>Michael Ryan<br>Scott Fikse<br>Adam Freemantle<br>Kyle Mahoney </p>\n<h4>
 <strong>UW CHORALE</strong></h4>\n<p>Collaborative Pianist: Steve Swanson 
 </p>\n<p><strong>Sopranos<br></strong>Claire Killian<br>Devyn Mattson<br>E
 mily Shields<br>Katelyn Wales<br>Kirsten Conover<br>Lauren Chenoweth<br>Ol
 ivia Spaid<br>Sofia Groff<br>Kyla Marshall<br>Aria Fowler<br>Elizabeth Bro
 wn<br>Evelyn Jones<br>Hope Villareal<br>Jolee Zamira<br>Quinn Ewing<br>Sop
 hia Conner<br>Sophie Root<br>Tara Zolfaghari<br>Lainey Graham </p>\n<p>Altos<br></strong>Alexis Georgiades<br>Anna Vu<br>Anne Tinker<br>Emil
 y Dong<br>Jessica Thaxton<br>Julianna Cullen<br>Samara Chacko<br>Shriya Pr
 asanna<br>Ari Okin<br>Emily Colombo<br>Haley Westberg<br>Jaja Reduque<br>J
 uniper Blessing<br>Leah Peterson<br>Maya Shah<br>Sydney Jordan<br>Jenny Ou
 <br>Maddie Rivera</p>\n<p> </p>\n<p><strong>Tenors<br></strong>Zoya Mir<br>Alex Trias<br>Hannah Carpenter<br>Jackie Smith<br>Eric Gagliano<br>Adrian
  Wong Cascante<br>Caleb Strader<br>Gray Creech<br>Haoran Peng<br>Michael L
 im<br>Tim Resca<br>Tyler Santos </p>\n<p><strong>Basses<br></strong>A.J. J
 ohnson<br>Danny Vizenor<br>DaShaundre Steele<br>Gavin Morrow<br>Jonah Ladi
 sh-Orlich<br>Luke Granger<br>Mario D'Ambrosio<br>Thayden Boome<br>Jack Haw
 ley<br>Dreyden Brown<br>Kwabena Ledbetter<br>Matthew Magbanua<br>Robbie Tr
 oyan<br>Andrew Hoch<br>Benjamin Jaudon</p>\n<p> </p>\n<h4><strong>TREBLE C
 HOIR<br></strong></h4>\n<p>Collaborative Organist: Kyle Hanks </p>\n<p>Sopranos<br></strong>Helen Woodruff<br>Kris Bryan<br>Diane Johnson<br>Jennifer Campbell </p>\n<p><strong>Altos<br></strong>Jean Moody<br>Karin 
 Swenson-More <br>Tiffany Christenson<br>Heidi Blythe </p>\n<h4><strong>UW 
 RECITAL CHOIR</strong></h4>\n<p>Collaborative Pianist: Steven Swanson </p>
 \n<p><strong>Sopranos<br></strong>Irene Lee<br>Kennedy Stone<br>Isadora Mi
 ller<br>Angelina Yu<br>Lillie Woodard<br>Laela Arianne Leslie<br>Rox Wang&lt;
 br&gt;Eemaan Bhatia<br>Marissa Romeo<br>Helen Woodruff<br>Adrienne Wegerer<br>Jenny Speelmon<br>Chanssen Pineda<br>Gracia Wang<br>Jolee Zamira<br>Jane 
 Blythe<br>Maggie Ayers<br>Lauren Roberts<br>Clara Johnson<br>Egija Claire&lt;
 br&gt;Mari Hirayama<br>Stella Zhang<br>June Ricks<br>Maddie Ho<br>Hannah Carp
 enter </p>\n<p><strong>Altos<br></strong>Mallak Attwa<br>Jordan Cheung<br>
 Li-Neishin Co<br>Lauren Levenston<br>Judy Woland<br>Anna Tsou<br>Alicia Al
 lred<br>Ella Bouker<br>Tatiana Boggs<br>Emily Fable<br>Heidi Blythe<br>Mel
 ina Markowitz<br>Eleanor Shirts<br>Sydney Jordan<br>Alexandra Rameau<br>Sa
 mantha Grover<br>Natalie Eckroth<br>Katherine Lai<br>Felix Knowlton<br>Jun
 e Belisle </p>\n<p><strong>Tenors<br></strong>Minami Yasuda<br>Alex Trias&lt;
 br&gt;Shiu Hao Quek<br>Nicholas Renaud<br>Josh Miller<br>Nathan Rodrigue<br>C
 aelan Ritter<br>Gage Santa Cruz<br>David Ferguson<br>Elijah Marucheck </p>
 \n<p><strong>Basses<br></strong>Ezra Acevedo<br>Danny Vizenor<br>Po-wei Hu
 ang<br>Adam Freemantle<br>Paul Johns<br>Giovanni Gollotti<br>Raziel Spinos
 a Holguin<br>Kenneth Schwartz<br>Matthew Magbanua<br>Scott Fikse<br>Michae
 l McKenzie<br>Alex Wiman </p>\n\n\n\n\n<h2>Biographies</h2>\n<hr>
DTSTART;TZID=America/Los_Angeles:20250607T160000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:240
SUMMARY:: Graduate Conducting Recital: Clara Johnson\, Nicholas Renaud
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-06-07/graduate-conducting-reci
 tal-clara-johnson-nicholas-renaud
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>Graduate choral conducting students
  Clara Johnson and Nicholas Renaud present a graduate degree recital: 'Son
 gs My Grandmother Taught Me\,' featuring works by Canadian composers\, arr
 angers\, and poets from the year 1600 to present. With collaborative piani
 sts Kyle Hanks\, Stephen Swanson\, and Chiao-Yu Wu. </p> <hr> <h2>Program&lt;
 /h2&gt; <h3>Songs of New France</h3> <p>Ah! Si Mon Moine Voulait Danser - arr
 . Donald Patriquin (b.1938)<br><em>UW Recital Choir Treble Voices</em></p>
  <p>Dans la prison de Londres - arr. M. Bégin (b.19??)<br><em>Seattle Fran
 cophone Choir</em></p> <p>Magnus Dominus - ed. Erich Schwandt<br><em>UW Co
 hort Ensemble\; Helen Woodruff &amp; Scott Fikse\, soloists</em></p> <h3>Songs
  of Nature</h3> <p>“alternatives: one two three - Kateri Akiwenzie-Damm (b
 .1965)<br>ii. indian soul food” <br><br>Epitaph for Moonlight - R. Murray 
 Schafer (1933-2021)<br><em>UW Cohort Ensemble\; Chiao-Yu Wu\, percussion</em></p> <p>Thoughts on a Still Night - Alice Ping Yee Ho (b.1960)<br> <em>
 UW Recital Choi</em>r<br><br>When the Earth Stands Still - Don Macdonald (
 b.1966)<br><em>UW Recital Choir Tenor &amp; Bass Voices</em><br><br>J’ai vû le
  loup - arr. Stephen Hatfield (b.1956)<br> <em>UW Cohort Ensemble</em></p>
  <h3><br>Songs of Sorrow</h3> <p>“my grandmothers” - Kateri Akiwenzie-Damm
  (b.1965)</p> <p>Parlez-moi - arr. A. Bevan (b. 1951)<br><em>Seattle Franc
 ophone Choir</em></p> <p>Nukum - Alex Vollant (b.2000)<br><em>UW Cohort En
 semble\; Clara Johnson\, soloist</em></p> <p>Friend\, Pass Softly Matthew 
 Emery (b.1991)<br><em>UW Cohort Ensemble</em></p> <h3>Songs of Faith</h3> 
 <p>“i will be” - Kateri Akiwenzie-Damm<br>Ave Joseph - ed. Elisabeth MacIs
 aac (b.1960)<br><em>Treble Choir\; Kris Bryan &amp; Heidi Blythe\, soloists<br><br>Three Poems from the Parlor: -Eleanor Daley (b.1955)<br>Miss Jan
 e Austen <br> <em>Treble Choir</em><br><br>Rise Up\, My Love\, My Fair One
  - Healey Willan (1880-1968)<br> <em>UW Chorale</em></p> <h3><br>Songs of 
 Story</h3> <p>“the book you left: - <span>Kateri Akiwenzie-Damm<br></span>in memory” <br>Marie Made
 leine arr. Jeanette Gallant (1961-2025)<br><em>UW Cohort Ensemble\; Kyle H
 anks\, Diane Johnson\, &amp; Michael McKenzie\, percussionists</em><br><br>Red
  River Valley - arr. Leonard Enns (b.1948)<br><em>UW Recital Choir\; Helen
  Woodruff\, soloist</em><br><br>Three Poems from the Parlor: Eleanor Daley
 <br>Mrs. Austen <br><em>Treble Choir</em><br> <br>Feller From Fortune - ar
 r. Harry Somers (1925-1999)<br> <em>UW Recital Choir</em></p> <h3>Songs of
  the Land</h3> <p>“names” - Kateri Akiwenzie-Damm</p> <p>J’entends le Moul
 in - arr. M. Snelgrove (b. 1962)<br> <em>Seattle Francophone Choir</em></p> <p>Walk Out on the Water - arr. G. Kroeker-Lee (b.19??)<br> <em>UW Chora
 le</em></p> <p>All Too Soon - arr. Stephen Hatfield<br> <em>UW Recital Cho
 ir</em></p> <p>Les Voyageurs de la Gatineau - arr. Jennifer McMillan (b.19
 ??)<br> <em>UW Chorale</em></p> <hr> <p><strong>Programme Notes: <em>Songs My Grandmother Taught Me</em></strong> </p> <p>This programme of Canadian music is both deepl
 y personal and widely communal. <em>Songs My Grandmother Taught Me</em> is
  a tribute to the women who plant music in us before we even know we’re mu
 sicians.</p> <p><em>My grandmother\, Henriette 
 (affectionately known as “mémé” by her dozens of grandchildren and great g
 randchildren)—French Canadian\, a church organist\, a quiet force of grace
  and patience—was my first piano teacher and my first French tutor. A beac
 on of our French Canadian heritage\, she would come over to teach us how t
 o cook traditional meals (tortière)\, sit down with us for hours at the ki
 tchen table helping us with our homework (all in French so that we could c
 onnect with our heritage\, even while growing up in the very anglophone co
 mmunity of Vancouver)\, and when the recession made formal piano lessons i
 naccessible\, she taught us for free. She was ever present to guide me not
  only through music but through language\, faith\, and resilience.</em></p> <p><em>Her passing this March\, after years o
 f living with dementia\, was a tragic loss for our family.<span>  </span>I
  felt compelled to reflect on the many ways she remains present—in how I t
 each\, in how I lead\, in how I learn. Her favourite advice when I struggl
 ed through a tough passage on the piano was always the same: “just try it 
 one hand at a time.” That phrase reminds me to approach challenges with co
 mpassion and clarity. It’s a principle I carry into every rehearsal and ev
 ery classroom\, regardless of what I am teaching. Life’s challenges are of
 ten less daunting and complex than we think\, if we can find ways to give 
 ourselves grace and break things down into smaller\, more manageable steps
 . In so doing\, we can allow ourselves to be a support to others. My other
  grandmother\, Sylvia\, an immigrant from England\, models this type of su
 pport: a lifelong volunteer\, a generous and caring friend to many\, and d
 edicated mother and grandmother\, always putting others before herself. I 
 feel so grateful to both Sylvia and Henriette for the lessons they have im
 parted upon me so that I may too embody these cultural ideals and contribu
 te positively to my community.</em></p> <p><em>
 <span>              </span><span>            </span>–Nicholas Renaud</em>&lt;
 /p&gt; <p><em>My grandmother\, Anna\, was a garden
 er. She tended plants\, stories\, people\, and faith. In her hands\, relat
 ionships were cultivated with care and compassion. She pruned away my chil
 dhood melancholy and watered me with her love\, patience\, and time. The s
 ongs she taught me in the form of resilience\, laughter\, and connection t
 o the earth keep me company to this day\, long after her passing\; and her
  roots grow so deeply within me that no amount of time can fell her spirit
 . The music and poetry of this recital reflect my memories and gratitude f
 or all that she was and all that she continues to be.</em></p> <p><em><span>              </span><span>            </span>–Clara Johnson</em></p> <p>To speak of 'Canadi
 an identity' is to speak of a mosaic: layered\, dynamic\, multilingual\, a
 nd incomplete without the voices of Indigenous peoples\, newcomers\, settl
 ers\, and all those who contribute to the fabric of our communities. In th
 is spirit\, this afternoon’s repertoire features music in Innu\, French\, 
 Mandarin\, and English. These languages gesture toward a Canada that is no
 t monolithic\, but rich in diversity and story—one that aspires toward inc
 lusivity\, relationality\, and justice<em>.</em></p> <p>Through Canadian poetry\, memory\, and song\, we gather tonight t
 o listen—not only to the music\, but to one another. May this recital serv
 e as a moment of reflection\, gratitude\, and hope. May the songs passed d
 own through generations continue to guide us gently forward. May it invite
  us to listen with care\, to remember those who shaped us\, those who came
  before us\, those whom we encounter in our walks of life\, and to pass on
  songs\, cultural understandings\, and language not just for the sake of t
 radition\, but for the sake of love.</p> <p>We 
 hope you enjoy these moments of music with us this afternoon!</p> <p><span>              </span><span>            </span>
 –Clara and Nic\, <em>June 7 2025</em></p> <p><s trong>Songs of New France </strong></p> <p>We o
 pen with music rooted in the traditions of the early French settlers in ea
 stern Canada\, known as New France from 1534 until 1763. These songs\, pas
 sed down orally and reimagined in choral form\, reflect both joy and strug
 gle. They remind us that music travelled alongside people—by canoe\, by pr
 ayer\, by dance—and still carries the memory of those journeys. <strong>Ah! Si mon moine…</em></strong>is one of the most well-known folk songs 
 in French-speaking Canada. It illustrates the comic trope of forbidden lov
 e as a girl unsuccessfully woos a monk with gifts to entice him to dance w
 ith her. At last\, the girl mourns the monk’s vow of poverty as the true f
 oil to her happiness\, stating\, “If he hadn’t made a vow of poverty\, I’d
  give him other wonderful things too…” <strong><em>Dans La Prison de Londr
 es\, </em></strong>a folksong passed down through generations\, tells the 
 story of a prisoner and his one visitor: the jailor’s daughter. One can in
 terpret the text in multiple ways\, but I view it as the daughter letting 
 him go so that their love could live on\, even at a distance. <strong><em>
 Magnus Dominus</em></strong> is a motet preserved in three 18th-century ma
 nuscript books housed in the Ursuline Archives in Québec City—one of North
  America's oldest centres of sacred music. Likely copied from earlier sour
 ces\, the piece may have been composed in Québec around 1700 for a specifi
 c Christmas celebration. Though the composer remains anonymous\, the music
  reflects the elegance and stylistic assurance of French Baroque masters l
 ike André Campra. Québec's religious communities\, including the Ursulines
 \, nurtured a rich tradition of plainchant and polyphony from the 17th cen
 tury onward\, and <em>Magnus Dominus</em> stands as a beautiful testament 
 to this early Canadian liturgical culture. This piece is one of the few su
 rviving four-part choral pieces composed so early in Canada’s history and 
 is a rare glimpse into the musical heritage of that time period.</p> <p st yle=' 400\;'><strong>Songs of Nature </strong></p> <p>This section explores the relationship between sound an
 d landscape. From delicate moonlight to trembling trees\, these works invi
 te us into stillness and sensory attention. They ask: what does it mean to
  listen to the earth? R. Murray Schafer’s (1933–2021) <strong><em>Epitaph 
 for Moonlight</em></strong> is a hallmark of Canadian experimental choral 
 writing\, evoking moonlight not through melody\, but through texture\, bre
 ath\, and spatial resonance. Composed for youth voices\, the piece challen
 ges singers to blend speech\, sound\, and silence\, creating an atmosphere
  that is at once ethereal and grounded in natural imagery. Drawing on Scha
 fer’s concept of the “soundscape\,” the work invites listeners into a medi
 tative space where language dissolves into pure sound. Many of the words y
 ou hear through the piece are part of a made-up language from a grade 7 cl
 ass that Schafer asked to create synonyms of “moonlight.” <strong><em>Thou
 ghts on a Still Night</em></strong> is based on a Chinese poem by Li Bai. 
 This setting captures the universal feeling of homesickness and longing un
 der the gaze of the moon. The Mandarin text is matched with a still\, refl
 ective musical language in the piano and in the sustained choral melodies.
  <strong><em>When the Earth Stands Still</em></strong> is a contemporary C
 anadian work that explores the silence before the storm—both literally and
  metaphorically. This piece invites vulnerability and presence\, offering 
 a meditation on stillness\, fear\, and human connection. The medieval Fren
 ch folk song and nursery rhyme\,<span>  </span><strong><em>J’ai vu le loup
 \, </em></strong>closes out this set<strong><em>.</em></strong> Arranged b
 y lauded Canadian composer\, Stephen Hatfield (b. 1956)\, this text has ex
 isted since the 1400s and serves as a possible reassurance to children not
  to fear the wildlife they may encounter as each animal is described parta
 king in common human activities such as singing and dancing.</p> <p><strong>Songs of Sorrow</strong></p> <p>In these selections\, we acknowledge the ache of longing\, l
 oss\, and memory. Through personal and communal grief\, music becomes a wa
 y of holding space for stories that are not easily told\, and of honouring
  those who have come before us. <strong><em>Parlez-moi</em></strong>is a r
 ich\, searching piece in French that asks for stories—of the sea\, of the 
 prairies\, and of the earth—from Elders who may or may not be able to pass
  this knowledge down through the generations. The speaker longs not just f
 or tales\, but for understanding\, so they might one day become a guardian
  of the land they inhabit. Sung in the Innu language (one of Canada’s Indi
 genous Peoples)\, <strong><em>Nukum</em></strong> is a poignant prayer fro
 m grandchild to grandmother. It speaks to memory\, storytelling\, and the 
 shrinking of Indigenous territories—a tender invitation to witness the wis
 dom of Elders and the resilience of communities.<strong><em> Friend\, Pass
  Softly </em></strong>is perhaps the most personal of Clara’s selections a
 s she remembers the loss of her grandmother to cancer when Clara was only 
 eight. This piece serves as an attempt to reconcile her childhood grief wi
 th the slow acceptance of fallible memory as she herself ages. “Spring for
 gets her now\, and we count her summers by our grief…”</p> <p><strong>Songs of Faith</strong></p> <p>Here\, we sing the sacred. Drawing on Catholic\, Anglican\, and dom
 estic musical traditions\, these pieces reflect the way faith lives in bot
 h grandeur and intimacy—from chapel to parlour. <strong><em>Ave Joseph</em></strong> highlights the intricacies of our educational lineage. Found in
  an Ursuline monastery in Quebec\, this motet was transcribed from its ori
 ginal manuscript by UW Choral Conducting alum Elizabeth MacIsaac as part o
 f her doctoral dissertation. Mirroring the well-known Ave Maria text\, Ave
  Joseph calls upon the earthly father of Christ to protect and sustain the
  singer. <strong><em>Miss Jane Austen</em></strong> <strong><em><span> </s></em></strong>provides a more comedic view of faith as the famed autho
 r plays a parlour game with her mother and sister to create verses that al
 l rhyme with the word “rose.” The result is the unfortunate\, but all too 
 common\, recounting of an ill-timed nap during a sermon.<span>  </span><em>Rise Up\, My Love\, My Fair One</em></strong> is a classic Canadi
 an choral setting of verses from the <em>Song of Solomon</em>. This piece 
 celebrates the arrival of spring and the renewal of love. It reflects the 
 sacred within the natural world. Though not originally from Canada\, Heale
 y Willan (1880–1968) immigrated from England at the age of thirty-three\, 
 and was an influential church organist\, music examiner and lecturer who h
 elped to shape Canada’s musical landscape through the twentieth century.</p> <p><strong>Songs of Story</strong></p> <p st yle=' 400\;'>These pieces delight in narrative—from folk tales
  to personal anecdotes. Here\, music becomes a way to share lived experien
 ce\, laughter\, and life lessons. Through these stories\, we celebrate ora
 l tradition and the art of remembering aloud. <strong><em>Marie Madeleine&lt;
 /em&gt;</strong>serves as a fantastic example of Acadian folk music. An ethni
 c group that originally settled in New France in the 1700 and 1800s\, Acad
 ians now reside mainly in the Maritime Provinces and Quebec. You will hear
  uniquely Acadian dialectical nuances in this tale of a girl who is terror
 ized by a mischievous cow. <strong><em>Red River Valley</em></strong> high
 lights how closely knit folk songs of the United States and Canada can be.
  Many choir members were surprised to learn that this piece originated in 
 Canada\, having thought of it most of their lives as a depiction of the lo
 ve story of an American cowboy. In fact\, the titular Red River Valley spa
 ns regions of both Canada and the United States. <strong><em>Mrs. Austen &lt;
 /em&gt;</strong>continues the Parlour Songs saga first encountered in “Songs 
 of Faith” as Jane Austen’s mother contributes her verses that rhyme with “
 rose.” Mrs. Austen tackles the challenge by comically detailing the mundan
 e events of a morning in her life. A light-hearted Newfoundland folk song\
 , arranged for choir\, <strong><em>Feller From Fortune</em></strong> tells
  a cheeky and lively story of love and mischief in a fishing village. The 
 metaphor of “lots of fish” in the harbour represents the dating scene in e
 arly twentieth century Newfoundland\, where religious piety\, family value
 s\, and close-knit community (and gossip!) were interwoven into the societ
 al fabric of everyday people. The piece’s buoyant rhythm and local dialect
  embody the lighthearted spirit of coastal storytelling.</p> <p><strong>Songs of the Land </strong></p> <p>We conclude with songs that ground us in place. These works s
 ing of rivers\, mills\, and the land beneath our feet. As we lift our voic
 es in these closing moments\, we affirm our connection to the land and to 
 one another. <strong><em>J’entends le moulin</em></strong> is a joyful Fre
 nch-Canadian folk song that evokes the rhythm of rural life through the so
 und of the millwheel. It’s playful\, rhythmic\, and points to the importan
 ce of labour\, love\, and tradition. <strong><em>All Too Soon</em></strong> shares the story of the resilience and grief of Nova Scotians who worked
  to create a place where their children could flourish\, only to see those
  same children leave the province for better employment opportunities. The
  piece grapples with themes of anger\, empathy\, and loss couched in famil
 iar Irish folk songs and mazurkas. <strong><em>Walk Out on the Water</em>&lt;
 /strong&gt; is a contemporary piece by Indie-Rock band Royal Canoe\, arranged
  by Korean Canadian composer Geung Kroeker-Lee\, and combines spiritual me
 taphors and imagery of the land with a pop-inflected idiom. It’s a song of
  strength\, self-ownership\, and transformation—a modern hallelujah. <em>Les Voyageurs de la Gatineau</em></strong> is a folk song setting t
 hat captures the rugged spirit of the <em>voyageurs</em>: the French-Canad
 ian workers who paddled trade routes and built camps. It reflects hard lab
 our\, nostalgia\, and the pull of home and family.</p> <hr> <h3>Lyrics and Translations</h3> <p><a href='/sites/music/files/documents/lyrics_and_translations_-_june_7_r
 ecital_clara_and_nic_-_revised_june_5.pdf'>View here</a></p> <table> <tbody> <tr> <td> <h3>Recital Per
 sonnel</h3> <strong><br></strong> <h4><strong>LA CHORALE FRANCOPHONE DE SE
 ATTLE<br></strong><em></em></h4> <p><em>Collaborative Pianist: Chiao-Yu Wu
  </em></p> <p><strong>Sopranos <br></strong>Anne Delisle <br>Clarisse Lois
 eau <br>Lynne Compton <br>Ellen Taft <br>Odile Madesdaire  </p> <p><strong>Altos <br></strong>Sandy Judd <br>Yasmina Mobarek¸ <br>0Elba Ochoa-Nugent
  <br>Vero Lecocq <br>Kristin Miller <br>Araz Mehitarian </p> <p><strong>Te
 nors <br></strong>Araz Mehitarian <br>Sarah Weinberg <br>Lee Eddy <br>Char
 les Cardinaux <br>Randa Johnson  </p> <p><strong>Basses <br></strong>Jan d
 e Wulf <br>Maxime Sutters <br>Michael Sutters <span> </span></p> <h4>UW COHORT ENSEMBLE</strong></h4> <p>Collaborative Pianist: Steven Swans
 on</p> <p><strong>Sopranos<br></strong>Clara Johnson<br>Helen Woodruff<br>
 Jaden Ritscher<br>Soledad Mayorga-Maldonado<br>Cassidy Cheong<span> </span></p> <p><strong>Altos<br></strong>Alex Rameau<br>Egija Claire<br>Maddie R
 ivera<br>Tatiana Boggs<br>Heidi Blythe<span> </span></p> <p><strong>Tenors
 <br></strong>David Ferguson<br>Nicholas Renaud<br>Luis Javier<br>Gray Cree
 ch<br>Josh Bedlion<br>Geoffrey Boers<span> </span></p> <p><strong>Basses<b r></strong>Evan Norberg<br>Kyle Hanks<br>Michael Ryan<br>Scott Fikse<br>Ad
 am Freemantle<br>Kyle Mahoney<span> </span></p> <h4><strong>UW CHORALE</h4> <p>Collaborative Pianist: Steve Swanson<span> </span></p> <p><s trong>Sopranos<br></strong>Claire Killian<br>Devyn Mattson<br>Emily Shield
 s<br>Katelyn Wales<br>Kirsten Conover<br>Lauren Chenoweth<br>Olivia Spaid&lt;
 br&gt;Sofia Groff<br>Kyla Marshall<br>Aria Fowler<br>Elizabeth Brown<br>Evely
 n Jones<br>Hope Villareal<br>Jolee Zamira<br>Quinn Ewing<br>Sophia Conner&lt;
 br&gt;Sophie Root<br>Tara Zolfaghari<br>Lainey Graham<span> </span></p> <p><s trong>Altos<br></strong>Alexis Georgiades<br>Anna Vu<br>Anne Tinker<br>Emi
 ly Dong<br>Jessica Thaxton<br>Julianna Cullen<br>Samara Chacko<br>Shriya P
 rasanna<br>Ari Okin<br>Emily Colombo<br>Haley Westberg<br>Jaja Reduque<br>
 Juniper Blessing<br>Leah Peterson<br>Maya Shah<br>Sydney Jordan<br>Jenny O
 u<br>Maddie Rivera</p> <p><span> </span></p> <p><strong>Tenors<br></strong>Zoya Mir<br>Alex Trias<br>Hannah Carpenter<br>Jackie Smith<br>Eric Gaglia
 no<br>Adrian Wong Cascante<br>Caleb Strader<br>Gray Creech<br>Haoran Peng&lt;
 br&gt;Michael Lim<br>Tim Resca<br>Tyler Santos<span> </span></p> <p><strong>B
 asses<br></strong>A.J. Johnson<br>Danny Vizenor<br>DaShaundre Steele<br>Ga
 vin Morrow<br>Jonah Ladish-Orlich<br>Luke Granger<br>Mario D'Ambrosio<br>T
 hayden Boome<br>Jack Hawley<br>Dreyden Brown<br>Kwabena Ledbetter<br>Matth
 ew Magbanua<br>Robbie Troyan<br>Andrew Hoch<br>Benjamin Jaudon</p> <p> </span></p> <h4><strong>TREBLE CHOIR<br></strong></h4> <p><em>Collabora
 tive Organist: Kyle Hanks</em><span> </span></p> <p><strong>Sopranos<br></strong>Helen Woodruff<br>Kris Bryan<br>Diane Johnson<br>Jennifer Campbell&lt;
 span&gt; </span></p> <p><strong>Altos<br></strong>Jean Moody<br>Karin Swenson
 -More<span> <br></span>Tiffany Christenson<br>Heidi Blythe<span> </span></p> <h4><strong>UW RECITAL CHOIR</strong></h4> <p><em>Collaborative Pianist
 : Steven Swanson</em><span> </span></p> <p><strong>Sopranos<br></strong>Ir
 ene Lee<br>Kennedy Stone<br>Isadora Miller<br>Angelina Yu<br>Lillie Woodar
 d<br>Laela Arianne Leslie<br>Rox Wang<br>Eemaan Bhatia<br>Marissa Romeo<br>Helen Woodruff<br>Adrienne Wegerer<br>Jenny Speelmon<br>Chanssen Pineda<b r>Gracia Wang<br>Jolee Zamira<br>Jane Blythe<br>Maggie Ayers<br>Lauren Rob
 erts<br>Clara Johnson<br>Egija Claire<br>Mari Hirayama<br>Stella Zhang<br>
 June Ricks<br>Maddie Ho<br>Hannah Carpenter<span> </span></p> <p><strong>A
 ltos<br></strong>Mallak Attwa<br>Jordan Cheung<br>Li-Neishin Co<br>Lauren 
 Levenston<br>Judy Woland<br>Anna Tsou<br>Alicia Allred<br>Ella Bouker<br>T
 atiana Boggs<br>Emily Fable<br>Heidi Blythe<br>Melina Markowitz<br>Eleanor
  Shirts<br>Sydney Jordan<br>Alexandra Rameau<br>Samantha Grover<br>Natalie
  Eckroth<br>Katherine Lai<br>Felix Knowlton<br>June Belisle<span> </span>&lt;
 /p&gt; <p><strong>Tenors<br></strong>Minami Yasuda<br>Alex Trias<br>Shiu Hao 
 Quek<br>Nicholas Renaud<br>Josh Miller<br>Nathan Rodrigue<br>Caelan Ritter
 <br>Gage Santa Cruz<br>David Ferguson<br>Elijah Marucheck<span> </span></p> <p><strong>Basses<br></strong>Ezra Acevedo<br>Danny Vizenor<br>Po-wei Hu
 ang<br>Adam Freemantle<br>Paul Johns<br>Giovanni Gollotti<br>Raziel Spinos
 a Holguin<br>Kenneth Schwartz<br>Matthew Magbanua<br>Scott Fikse<br>Michae
 l McKenzie<br>Alex Wiman </p> </td> </tr> </tbody> </table> <h2>Biographie
 s</h2> <hr>
END:VEVENT
BEGIN:VEVENT
UID:fd614802-9e58-40bc-869f-e70a897399f4
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240808T213924Z
DESCRIPTION:<p></p>\n<p>The UW Composition program presents 'A Series of Un
 predictable Events\,' a year-end concert of works by student composers Rya
 n Baker\, Taylor James Bellamy\, Nicholas Mendosa\, Eddie Mospan\, Amelia 
 Matsumoto\, Inyoung Seo\, and Tabarak Abosabaa. </p>\n<hr>\n<h2>Program\n<p><b></b>Not Too Heavy\, Mostly Okay Music — Ryan Baker<br>Ryan Baker
 \, Simon Harty\, Abigail George\, percussion</p>\n<p>Cliff's Edge — Taylor
  James Bellamy<br>Taylor James Bellamy\, electronics</p>\n<p>A Light Left 
 Unlit — Nicholas Mendonsa<br>Kaisho Barnhill\, piano\; Nicholas Mendonsa\,
  electronics</p>\n<p>What They Had to Say (untwisting) — Eddie Mospan<br>f
 or fixed media</p>\n<p>One Dragon’s Day — Amelia Matsumoto<br> Tabarak Abo
 sabaa\, piano\; Amelia Matsumoto\, double bass\; Inyoung Seo\, piano\, vio
 lin\; William Dougherty\, piano</p>\n<p>Une cantilène brumeuse — Inyoung S
 eo<br> Tabarak Abosabaa\, conductor\; Amelia Matsumoto\, double bass\; Iny
 oung Seo\, piano\; William Dougherty\, melodica\, trombone </p>\n<p>A Seri
 es of Unpredictable Events — Tabarak Abosabaa<br>Tabarak Abosabaa\, piano\
 ; Amelia Matsumoto\, double bass\; Inyoung Seo\, violin\; William Doughert
 y\, melodica\, trombone</p>\n<hr>\n<h2>Program Notes</h2>\n<p><strong>One 
 Dragon’s Day — Amelia Matsumoto <br></strong>Despite what the title may su
 ggest\, this piece is not programmatic. This piece started with me improvi
 sing on the piano\, exploring just the black keys\, eventually leading me 
 to anchor the piece in the pentatonic scale. I move away from the pentaton
 ic scale as the piece goes on through the gradual additions of non-scalar 
 notes\, first in the accompanying contrapuntal lines\, and eventually in t
 he main melody. A more absolutist approach in composition. Only when I fin
 ished the piece did I imagine the story that the title is based on. A stor
 y about a dragon\, going about the many interesting events throughout its 
 day\, like popping in and out of fluffy clouds\, or flying through the kar
 st landscape comprised of grassy rock towers. Though you are welcome to li
 sten for the story\, like I did when I finished the piece\, you are also i
 nvited to listen to just the music. Focusing on the gradual addition of no
 n-scalar notes\, as well as the contrapuntal texture that present in the w
 hole piece.</p>\n<p><strong>Une cantilène brumeuse — Inyoung Seo <br>The original inspiration came from another piece that I was writing at
  the time\, a piano concerto that was planned to be a depiction of a flowe
 r blooming in a snowfield. So\, this piece originally started as a slow\, 
 descriptive\, meditative\, and evocative one. The original aim was to depi
 ct an early spring morning\, with dense\, frozen mist. The scene is very c
 old and pale\, yet with optimism and liveliness. However\, as the piece pr
 ogressed and gained its final shape\, the association with the clear lands
 cape became very vague. The resulting piece is cast in a very rough sonata
 -like outline\, with recurring motifs and textures. The outer sections car
 ry the remnants of the initial idea\, with crystalline and transparent tex
 ture. However\, the middle section gradually becomes more and more tense a
 nd grey. Nevertheless\, it resolves to the initial pale and florid texture
 \, into a quiet\, soft\, and optimistic conclusion.</p>\n<p><strong>A Seri
 es of Unpredictable Events — Tabarak Abosabaa <br></strong>The idea behind
  this piece is to create a space where the ensemble moves through a series
  of unpredictable musical events together\, responding to one another in r
 eal time. When I first began working on it\, my original concept felt too 
 loose. There were too few instructions\, and the improvisational elements 
 made it difficult for the group to sound cohesive. I decided to simplify t
 he structure using boxes so that each performer could focus on listening a
 nd reacting. Throughout the process\, I worked on finding the right balanc
 e between giving too much freedom and not enough. I revised the instructio
 ns to guide the performers without limiting their interpretive choices. Ea
 ch section invites a different kind of interaction. Some encourage sparse 
 textures and patience\, while others move with more energy or density. The
  shape of the piece is flexible\, but ideally\, it flows from scattered be
 ginnings to more unified motion\, eventually slowing down and resolving to
 gether. In the end\, this piece became an exploration of group cohesion an
 d how spontaneous moments can build toward a shared musical experience\, o
 ne that allows for both individuality and connection.</p>\n<p><strong>Clif
 f's Edge — Taylor James Bellamy <br></strong>Cliff's Edge is a sonic repre
 sentation of being on the edge of something intimidating yet freeing\, lik
 e cliff diving into the ocean\, or being about to bravely leap into the un
 charted waters of future possibility. Inspiration for this piece is derive
 d from the artist's own experience skydiving in Hvar\, Croatia and cliff d
 iving from over 80 feet. Thank you for listening.</p>\n<p><strong>A Light 
 Left Unlit — Nicholas Mendonsa</strong> <br>Timber absorbing rain <br>Acce
 ptance as corruption <br>The tempo of the live piano fits into the tempo o
 f the recording as a quintuplet. The recording uses the electronic instrum
 ent bitKlavier\, which allows the user different tunings and temperaments\
 , indexed to any of the 12 western tones. In this case\, a just intonated 
 piano indexed to F is juxtaposed against a Pythagorean tuning indexed to A
 b. Snippets were also then extracted and slowed to further warp pitch and 
 time. The live aspect takes inspiration from late period Franz Liszt\, Pär
 t’s “Für Alina\,” and Scelsi’s “Un Adieu.” It’s another attempt at themati
 c development\, though the relationships with the aforementioned works are
  aesthetic and emotional and don’t necessarily employ those composers’ met
 hods. </p>\n<p><strong>What They Had to Say (untwisting) — Eddie Mospan <b r></strong>I wrote this piece as a response to the political attacks and g
 rowing climate of social hostility that my loved ones and I face under the
  current administration in the year 2025. I have felt a deep sense of drea
 d and powerlessness this year\, a sense that there is nowhere that we will
  be welcome and nowhere that we can be sure of our safety. This year\, I s
 tarted to question the promises of visibility and representation. If so ma
 ny earnestly shared stories of trans\, genderqueer\, and nonbinary people 
 could not soften enough hearts to protect us\, is there any sense in being
  so dangerously vulnerable? </p>\n<p>A few times on my way to orchestra re
 hearsals\, I have walked past a young man who sits near one of the most tr
 aversed areas of campus with a microphone\, a camera\, and a sign that say
 s “men can’t be women.” A smaller sign promises snacks to those who debate
  him. Each time\, I have thought about some of the people that I love most
 . I have thought about my most recent flight across the country\, when I w
 as a man in Maine\, a woman in Washington\, and neither all along in truth
 . Each time\, I have thought about all the things I could explain\, and I 
 have kept walking. It pains me\, but I do not wish to have my words choppe
 d up and twisted into a weapon to be used against my own community. Vulner
 ability does not serve me here. Neither\, however\, does silence. In a tim
 e where my loved ones and I and so many others are losing so much agency\,
  I refuse to let silence sap my and our collective strength. This piece is
  a protest against the burden of silence. </p>\n<p>I interviewed some of t
 he trans musicians in my life for this piece. I recorded several hours of 
 discussion. We laughed\, we argued\, we sat in quiet contemplation\, but y
 ou will not hear any of that here. So often\, our words are twisted\, chop
 ped up\, and repeated until they lose their meaning. This piece is a gradu
 al unfolding of two phrases that carry many meanings in their various form
 s. I took the words of two people who I care for and appreciate. With thei
 r permission\, these words are chopped up\, repeated\, and untwisted. Inst
 ead of fashioning them into a weapon\, I fashioned them into art. </p>\n<p>“I think we are an easy social pariah and so there are a lot of places wh
 ere things are just as bad\, if not worse\, or getting worse… but I also t
 hink that we’re also very easy to understand - for those who are willing.”
  — Brooke White </p>\n<p>“They have to create the illusion of separation b
 etween groups of people that are actually very united and that experience 
 the world in very similar ways.” — Jai Kobi Kaleo’okalani</p>\n<hr>\n<h2>&lt;
 b&gt;</b>Composer Biographies</h2>\n<p><b>Amelia Matsumoto </b>is a junior at
  UW\, studying double bass performance with Jordan Anderson (principal bas
 sist of the Seattle Symphony). She has been playing double bass since 5th 
 grade\, though only decided to pursue it professionally in university. Tho
 ugh playing double bass is her main musical pursuit\, she enjoys singing a
 nd composing when she has free time.</p>\n<p><b>Inyoung Seo </b>is a fourt
 h-year student in the Department of Bioengineering at UW. He is capable of
  playing multiple instruments including piano\, violin\, flute\, and trump
 et. He also enjoys composing in his free time. He often gains inspiration 
 from the landscape and sceneries and translates those inspirations for a d
 iverse range of musical voices\, in styles inspired by composers such as S
 ergei Prokofiev\, Béla Bartók\, Nikolai Kapustin\, Carl Vine\, and Toru Ta
 kemitsu.</p>\n<p><b>Tabarak Abosabaa </b>is a third-year student majoring 
 in Drama: Performance with a minor in music. She plays piano and guitar\, 
 and is always curious about learning new instruments and experimenting wit
 h different sounds. In her free time\, she enjoys singing\, songwriting\, 
 and composing\, and is always interested in learning new things and expand
 ing her creative horizons.</p>\n<p><b>Taylor James Bellamy </b>is a 32-yea
 r-old autistic Music Composition student on the precipice of graduating an
 d deep-diving into the infinite world of music. He spent 14 years as a che
 f working up to fine dining and even sushi\, and has since switched career
 s into the music industry.</p>\n<p>Due to certain synaptic stream crossing
 s\, <b>Nicholas Mendonsa </b>is always mildly hallucinating. He comes by i
 t honestly\, though. Bear that in mind when engaging with any of his work.
  </p>
DTSTART;TZID=America/Los_Angeles:20250607T193000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:241
SUMMARY:: Composition Studio: A Series of Unpredictable Events
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-06-08/composition-studio-serie
 s-unpredictable-events
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The UW Composition program presents
  '<i>A Series of Unpredictable Events</i><span>\,' </span>a year-end conce
 rt of works by student composers Ryan Baker\, Taylor James Bellamy\, Nicho
 las Mendosa\, Eddie Mospan\, <span>Amelia Matsumoto\, Inyoung Seo\, and Ta
 barak Abosabaa. </span></p> <hr> <h2>Program</h2> <p><b></b><i><span>Not Too Heavy\, Mostly Okay Music</span></i><span st yle=' 400\;'> — Ryan Baker<br></span><em><span>Ryan Baker\, Simon Harty\, Abigail George\, percussion</span>&lt;
 /em&gt;</p> <p><i><span>Cliff's Edge</span></i> — Taylor James Bellamy<br></span><em><span>Taylor James Bellamy\, electronics</span></em>&lt;
 /p&gt; <p><i><span>A Light Left Unlit</span></i><s pan> — Nicholas Mendonsa<br></span><em><span st yle=' 400\;'>Kaisho Barnhill\, piano\; </span><span>Nicholas Mendonsa\, electronics</span></em></p> <p><i>What They Had to Say (untwisting)</span></i>
 <span> — Eddie Mospan<br></span><span>for fixed media</span></p> <p><i><span>One Dragon’s Day — </span></i><span>A
 melia Matsumoto</span><span><br></span><span st yle=' 400\;'> Tabarak Abosabaa\, piano\; </span><span>Amelia Matsumoto\, double bass\; </span><span>Inyoung Seo\, piano\, violin\; </span><span>William Dougherty\, piano</span></p> <p><i><span>Une cantilène brumeuse</span></i><span> — Inyoung Seo</span><span><br></span>
 <span> Tabarak Abosabaa\, conductor\; </span><s pan>Amelia Matsumoto\, double bass\; </span>Inyoung Seo\, piano\; </span><span>William Dougherty\, melodica\, trombone </span></p> <p>&lt;
 i&gt;<span>A Series of Unpredictable Events — </i><span>Tabarak Abosabaa<br></span><em>Tabarak Abosabaa\, piano\; </span><span styl e=' 400\;'>Amelia Matsumoto\, double bass\; </span><span>Inyoung Seo\, violin\; </span><span>William Dougherty\, melodica\, trombone</span></em></p> <hr> <span>Program Notes</span></h2> <p><strong><i>One Dragon’s Day — </i>Amelia Matsumoto <br></strong>Despite what the tit
 le may suggest\, this piece is not programmatic. This piece started with m
 e improvising on the piano\, exploring just the black keys\, eventually le
 ading me to anchor the piece in the pentatonic scale. I move away from the
  pentatonic scale as the piece goes on through the gradual additions of no
 n-scalar notes\, first in the accompanying contrapuntal lines\, and eventu
 ally in the main melody. A more absolutist approach in composition. Only w
 hen I finished the piece did I imagine the story that the title is based o
 n. A story about a dragon\, going about the many interesting events throug
 hout its day\, like popping in and out of fluffy clouds\, or flying throug
 h the karst landscape comprised of grassy rock towers. Though you are welc
 ome to listen for the story\, like I did when I finished the piece\, you a
 re also invited to listen to just the music. Focusing on the gradual addit
 ion of non-scalar notes\, as well as the contrapuntal texture that present
  in the whole piece.</p> <p><strong><i>Une cantilène brumeuse </i>— Inyoun
 g Seo <br></strong>The original inspiration came from another piece that I
  was writing at the time\, a piano concerto that was planned to be a depic
 tion of a flower blooming in a snowfield. So\, this piece originally start
 ed as a slow\, descriptive\, meditative\, and evocative one. The original 
 aim was to depict an early spring morning\, with dense\, frozen mist. The 
 scene is very cold and pale\, yet with optimism and liveliness. However\, 
 as the piece progressed and gained its final shape\, the association with 
 the clear landscape became very vague. The resulting piece is cast in a ve
 ry rough sonata-like outline\, with recurring motifs and textures. The out
 er sections carry the remnants of the initial idea\, with crystalline and 
 transparent texture. However\, the middle section gradually becomes more a
 nd more tense and grey. Nevertheless\, it resolves to the initial pale and
  florid texture\, into a quiet\, soft\, and optimistic conclusion.</p> <p>
 <strong><i>A Series of Unpredictable Events — </i>Tabarak Abosabaa <br></s>The idea behind this piece is to create a space where the ensemble m
 oves through a series of unpredictable musical events together\, respondin
 g to one another in real time. When I first began working on it\, my origi
 nal concept felt too loose. There were too few instructions\, and the impr
 ovisational elements made it difficult for the group to sound cohesive. I 
 decided to simplify the structure using boxes so that each performer could
  focus on listening and reacting. Throughout the process\, I worked on fin
 ding the right balance between giving too much freedom and not enough. I r
 evised the instructions to guide the performers without limiting their int
 erpretive choices. Each section invites a different kind of interaction. S
 ome encourage sparse textures and patience\, while others move with more e
 nergy or density. The shape of the piece is flexible\, but ideally\, it fl
 ows from scattered beginnings to more unified motion\, eventually slowing 
 down and resolving together. In the end\, this piece became an exploration
  of group cohesion and how spontaneous moments can build toward a shared m
 usical experience\, one that allows for both individuality and connection.
 </p> <p><strong><i>Cliff's Edge </i>— Taylor James Bellamy <br></strong><i>Cliff's Edge </i>is a sonic representation of being on the edge of someth
 ing intimidating yet freeing\, like cliff diving into the ocean\, or being
  about to bravely leap into the uncharted waters of future possibility. In
 spiration for this piece is derived from the artist's own experience skydi
 ving in Hvar\, Croatia and cliff diving from over 80 feet. Thank you for l
 istening.</p> <p><span><strong><i>A Light Left Unlit </i>— Nicholas Mendon
 sa</strong> <br></span><span><i>Timber absorbing rain <br>Acceptance as co
 rruption <br></i>The tempo of the live piano fits into the tempo of the re
 cording as a quintuplet. The recording uses the electronic instrument bitK
 lavier\, which allows the user different tunings and temperaments\, indexe
 d to any of the 12 western tones. In this case\, a just intonated piano in
 dexed to F is juxtaposed against a Pythagorean tuning indexed to Ab. Snipp
 ets were also then extracted and slowed to further warp pitch and time. Th
 e live aspect takes inspiration from late period Franz Liszt\, Pärt’s “Für
  Alina\,” and Scelsi’s “Un Adieu.” It’s another attempt at thematic develo
 pment\, though the relationships with the aforementioned works are aesthet
 ic and emotional and don’t necessarily employ those composers’ methods. </span></p> <p><strong><i>What They Had to Say (untwisting) </i>— Eddie Mosp
 an <br></strong><span>I wrote this piece as a response to the political at
 tacks and growing climate of social hostility that my loved ones and I fac
 e under the current administration in the year 2025. I have felt a deep se
 nse of dread and powerlessness this year\, a sense that there is nowhere t
 hat we will be welcome and nowhere that we can be sure of our safety. This
  year\, I started to question the promises of visibility and representatio
 n. If so many earnestly shared stories of trans\, genderqueer\, and nonbin
 ary people could not soften enough hearts to protect us\, is there any sen
 se in being so dangerously vulnerable? </span></p> <p><span>A few times on
  my way to orchestra rehearsals\, I have walked past a young man who sits 
 near one of the most traversed areas of campus with a microphone\, a camer
 a\, and a sign that says “men can’t be women.” A smaller sign promises sna
 cks to those who debate him. Each time\, I have thought about some of the 
 people that I love most. I have thought about my most recent flight across
  the country\, when I was a man in Maine\, a woman in Washington\, and nei
 ther all along in truth. Each time\, I have thought about all the things I
  could explain\, and I have kept walking. It pains me\, but I do not wish 
 to have my words chopped up and twisted into a weapon to be used against m
 y own community. Vulnerability does not serve me here. Neither\, however\,
  does silence. In a time where my loved ones and I and so many others are 
 losing so much agency\, I refuse to let silence sap my and our collective 
 strength. This piece is a protest against the burden of silence. </span></p> <p><span>I interviewed some of the trans musicians in my life for this 
 piece. I recorded several hours of discussion. We laughed\, we argued\, we
  sat in quiet contemplation\, but you will not hear any of that here. So o
 ften\, our words are twisted\, chopped up\, and repeated until they lose t
 heir meaning. This piece is a gradual unfolding of two phrases that carry 
 many meanings in their various forms. I took the words of two people who I
  care for and appreciate. With their permission\, these words are chopped 
 up\, repeated\, and untwisted. Instead of fashioning them into a weapon\, 
 I fashioned them into art. </span></p> <p><span>“I think we are an easy so
 cial pariah and so there are a lot of places where things are just as bad\
 , if not worse\, or getting worse… but I also think that we’re also very e
 asy to understand - for those who are willing.” — Brooke White </span></p>
  <p><span>“They have to create the illusion of separation between groups o
 f people that are actually very united and that experience the world in ve
 ry similar ways.” — Jai Kobi Kaleo’okalani</span></p> <hr> <h2><span><b></b></span>Composer Biographies</h2> <p><b>Amelia Matsumoto </b>is a junior 
 at UW\, studying double bass performance with Jordan Anderson (principal b
 assist of the Seattle Symphony). She has been playing double bass since 5t
 h grade\, though only decided to pursue it professionally in university. T
 hough playing double bass is her main musical pursuit\, she enjoys singing
  and composing when she has free time.</p> <p><b>Inyoung Seo </b>is a four
 th-year student in the Department of Bioengineering at UW. He is capable o
 f playing multiple instruments including piano\, violin\, flute\, and trum
 pet. He also enjoys composing in his free time. He often gains inspiration
  from the landscape and sceneries and translates those inspirations for a 
 diverse range of musical voices\, in styles inspired by composers such as 
 Sergei Prokofiev\, Béla Bartók\, Nikolai Kapustin\, Carl Vine\, and Toru T
 akemitsu.</p> <p><b>Tabarak Abosabaa </b>is a third-year student majoring 
 in Drama: Performance with a minor in music. She plays piano and guitar\, 
 and is always curious about learning new instruments and experimenting wit
 h different sounds. In her free time\, she enjoys singing\, songwriting\, 
 and composing\, and is always interested in learning new things and expand
 ing her creative horizons.</p> <p><b>Taylor James Bellamy </b>is a 32-year
 -old autistic Music Composition student on the precipice of graduating and
  deep-diving into the infinite world of music. He spent 14 years as a chef
  working up to fine dining and even sushi\, and has since switched careers
  into the music industry.</p> <p>Due to certain synaptic stream crossings\
 , <b>Nicholas Mendonsa </b>is always mildly hallucinating. He comes by it 
 honestly\, though. Bear that in mind when engaging with any of his work.<s pan class='Apple-converted-space'> </span></p>
END:VEVENT
BEGIN:VEVENT
UID:f9b280e8-f96e-42e5-bfb9-b0c45cd0d268
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250528T185506Z
DESCRIPTION:<p></p>\n<p>The student-run Improvised Music Project presents p
 erformances by a rotating cast of UW jazz studies students\, faculty\, and
  special guests every first and third Wednesday\, 6 to 10 pm\, at Vermilli
 on Art Gallery and Bar (1508 11th Ave\, Seattle\, WA 98122) . Accessible b
 y lightrail\, all performances are free and open for all ages.  </p>\n<p>T
 he June 18 performance features music by saxophonist Greg Sinabaldi\, foll
 owed by a faculty/student jam. </p>\n<hr>\n<h2>Other dates in this series:
 </h2>\n<p>Wednesday\, July 2<br>Wednesday\, July 16<br>Wednesday\, July 30
 <br>Wednesday\, August 6<br>Wednesday\, August 20</p>\n<hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250618T180000
LAST-MODIFIED:20250612T203255Z
SEQUENCE:242
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-06-19/external-event-imp-showc
 ase-vermillion
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span></span></p> <p><span>The student-run 
 Improvised Music Project presents performances by a rotating cast of UW ja
 zz studies students\, faculty\, and special guests every first and third W
 ednesday\, 6 to 10 pm\, at Vermillion Art Gallery and Bar (1508 11th Ave\,
  Seattle\, WA 98122) </span><span>. Accessible by lightrail\, all performa
 nces are free and open for all ages.  </span></p> <p><span>The June 18 per
 formance features music by saxophonist Greg Sinabaldi\, followed by a facu
 lty/student jam. </span></p> <hr> <h2>Other dates in this series:</h2> <p>
 Wednesday\, July 2<br>Wednesday\, July 16<br>Wednesday\, July 30<br>Wednes
 day\, August 6<br>Wednesday\, August 20</p> <hr> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:af2f4579-ef71-4e8d-ae32-14e437fa4518
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250520T161650Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<h2 class='x_MsoNormal'>Featured Performers</h2>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSchool
  of Music alumni musicians. Full program <a href='/sites/music/files/docum
 ents/july_2.pdf'>HERE</a>
DTSTART;TZID=America/Los_Angeles:20250702T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:243
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-07-02/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <h2 class='x_MsoN
 ormal'><span>Featured Performers</span></h2> <div class='elementToProof'> 
 <div class='elementToProof'> <div class='elementToProof'> <div class='elem
 entToProof'> <div class='elementToProof'> <div class='x_elementToProof Con
 tentPasted0'> <div class='x_elementToProof ContentPasted0'></div> </div> &lt;
 /div&gt; </div> </div> </div> </div> <div></div> <div>School of Music alumni 
 musicians. Full program <a href='/sites/music/files/documents/july_2.pdf'>
 HERE</a></div>
END:VEVENT
BEGIN:VEVENT
UID:802a8cc7-3e0c-43c7-bf46-fef168275ac7
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250528T185452Z
DESCRIPTION:<p>The student-run Improvised Music Project presents performanc
 es by a rotating cast of UW jazz studies students\, faculty\, and special 
 guests every first and third Wednesday\, 6 to 10 pm\, at Vermillion Art Ga
 llery and Bar. Accessible by lightrail\, all performances are free and ope
 n for all ages. </p>\n<hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250702T180000
LAST-MODIFIED:20250528T235933Z
SEQUENCE:244
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-07-03/external-event-imp-showc
 ase-vermillion
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>The student-run Improvised Music Proj
 ect presents performances by a rotating cast of UW jazz studies students\,
  faculty\, and special guests every first and third Wednesday\, 6 to 10 pm
 \, at Vermillion Art Gallery and Bar</span><span>. Accessible by lightrail
 \, all performances are free and open for all ages. </span></p> <hr> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:eabb5b99-8f5b-40f9-a29c-ceae6f97b3be
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20250401T201530Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20250708T120000
LAST-MODIFIED:20250401T201530Z
SEQUENCE:245
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-07-08/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:e4394fdb-d7c9-47af-b308-47e9a4a972f4
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250529T000041Z
DESCRIPTION:<p>The student-run Improvised Music Project presents performanc
 es by a rotating cast of UW jazz studies students\, faculty\, and special 
 guests every first and third Wednesday\, 6 to 10 pm\, at Vermillion Art Ga
 llery and Bar. Accessible by lightrail\, all performances are free and ope
 n for all ages. </p>\n<hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250716T180000
LAST-MODIFIED:20250529T000041Z
SEQUENCE:246
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-07-17/external-event-imp-showc
 ase-vermillion
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>The student-run Improvised Music Proj
 ect presents performances by a rotating cast of UW jazz studies students\,
  faculty\, and special guests every first and third Wednesday\, 6 to 10 pm
 \, at Vermillion Art Gallery and Bar</span><span>. Accessible by lightrail
 \, all performances are free and open for all ages. </span></p> <hr> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:32716a6d-128f-40b8-b53a-1c62a4dd2cc0
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250529T000136Z
DESCRIPTION:<p>The student-run Improvised Music Project presents performanc
 es by a rotating cast of UW jazz studies students\, faculty\, and special 
 guests every first and third Wednesday\, 6 to 10 pm\, at Vermillion Art Ga
 llery and Bar. Accessible by lightrail\, all performances are free and ope
 n for all ages. </p>\n<hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250730T180000
LAST-MODIFIED:20250529T000136Z
SEQUENCE:247
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-07-31/external-event-imp-showc
 ase-vermillion
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>The student-run Improvised Music Proj
 ect presents performances by a rotating cast of UW jazz studies students\,
  faculty\, and special guests every first and third Wednesday\, 6 to 10 pm
 \, at Vermillion Art Gallery and Bar</span><span>. Accessible by lightrail
 \, all performances are free and open for all ages. </span></p> <hr> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:e92e7fc7-6091-4ac7-9a2f-f40c7edcddf2
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250529T000153Z
DESCRIPTION:<p>The student-run Improvised Music Project presents performanc
 es by a rotating cast of UW jazz studies students\, faculty\, and special 
 guests every first and third Wednesday\, 6 to 10 pm\, at Vermillion Art Ga
 llery and Bar. Accessible by lightrail\, all performances are free and ope
 n for all ages. </p>\n<hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250806T180000
LAST-MODIFIED:20250529T000153Z
SEQUENCE:248
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-08-07/external-event-imp-showc
 ase-vermillion
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>The student-run Improvised Music Proj
 ect presents performances by a rotating cast of UW jazz studies students\,
  faculty\, and special guests every first and third Wednesday\, 6 to 10 pm
 \, at Vermillion Art Gallery and Bar</span><span>. Accessible by lightrail
 \, all performances are free and open for all ages. </span></p> <hr> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:65d74732-cbe1-4eca-83ce-30436a564304
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20250401T201549Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20250812T120000
LAST-MODIFIED:20250401T201549Z
SEQUENCE:249
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-08-12/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:5162a8b5-8d3f-4ff5-8708-41e0e9c428c9
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250529T000309Z
DESCRIPTION:<p>The student-run Improvised Music Project presents performanc
 es by a rotating cast of UW jazz studies students\, faculty\, and special 
 guests every first and third Wednesday\, 6 to 10 pm\, at Vermillion Art Ga
 llery and Bar. Accessible by lightrail\, all performances are free and ope
 n for all ages. </p>\n<hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250820T180000
LAST-MODIFIED:20250529T000309Z
SEQUENCE:250
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-08-21/external-event-imp-showc
 ase-vermillion
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span>The student-run Improvised Music Proj
 ect presents performances by a rotating cast of UW jazz studies students\,
  faculty\, and special guests every first and third Wednesday\, 6 to 10 pm
 \, at Vermillion Art Gallery and Bar</span><span>. Accessible by lightrail
 \, all performances are free and open for all ages. </span></p> <hr> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:8b912985-2581-45da-bd5f-32cf840493bc
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20250401T201610Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20250828T120000
LAST-MODIFIED:20250401T201610Z
SEQUENCE:251
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-08-28/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:25bf64c8-fe36-4cea-8626-36befb741824
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20250501T160517Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM in the Fishb
 owl (<a href='https://music.washington.edu/fishbowl'>MUS 101</a>). Registr
 ation <strong>not required</strong>!</p>\n<p><strong>To ask a question\, p
 lease email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong>
 </p>
DTSTART;TZID=America/Los_Angeles:20250917T120000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:252
SUMMARY:: Dawg Daze School of Music Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-09-17/dawg-daze-school-music-i
 nformation-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM in the Fishbowl (<a href='https://music.washington.ed
 u/fishbowl'>MUS 101</a>). Registration <strong>not required</strong>!</p> 
 <p><strong>To ask a question\, please email <a href='mailto:SoMadmit@uw.ed
 u'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:9d5206d4-e00c-4da1-8c6c-59b943bedfc6
DTSTAMP:20260307T094252Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20250127T194802Z
DESCRIPTION:<p>Auditions are for entrance to the UW School of Music in Fall
  Quarter\, 2025. Audition sign ups are required and can be <a href='https:
 //music.washington.edu/audition-sign-ups'>made online</a>.</p>\n\n<p>Your 
 performance audition will be limited to 10-15 minutes\, including entrance
 \, performance and exit. Voice and Music Education auditions require addit
 ional evaluation. Please review <a href='/suggested-audition-repertoire'>S
 uggested Audition Repertoire</a> to plan for your audition for  your inten
 ded major.  You may contact the <a href='/people/faculty'>studio faculty</a> with questions regarding audition repertoire. <strong>Please contact <a href='mailto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a> with any other question
 s or concerns.</strong>  </p>\n<p><strong></strong></p>
DTSTART;TZID=America/Los_Angeles:20250919T000000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:253
SUMMARY:: Fall 2025 New Major and Non-Major Faculty Lesson Auditions (for c
 urrent UW students)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-09-19/fall-2025-new-major-and-
 non-major-faculty-lesson-auditions-current-uw-students
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>Auditions are for entrance to 
 the UW School of Music in Fall Quarter\, 2025. Audition sign ups are requi
 red and can be <a href='https://music.washington.edu/audition-sign-ups'>ma
 de online</a>.</p> </blockquote> <p><span>Your performance audition will b
 e limited to 10-15 minutes\, including entrance\, performance and exit. Vo
 ice and Music Education auditions require additional evaluation. Please re
 view </span><a href='/suggested-audition-repertoire'>Suggested Audition Re
 pertoire</a><span> to plan for your audition for  your intended major.  Yo
 u may contact the </span><a href='/people/faculty'>studio faculty</a><span> with questions regarding audition repertoire. </span><strong>Please cont
 act <a href='mailto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a> with any other qu
 estions or concerns.</strong><span>  </span></p> <p><strong></strong></p>
END:VEVENT
BEGIN:VEVENT
UID:f57d0534-4a39-40e3-8b39-526cc6304223
DTSTAMP:20260307T094252Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20190415T165629Z
DESCRIPTION:<p align='center'>Strings auditions for the <a href='https://mu
 sic.washington.edu/ensembles/university-washington-symphony-orchestra'>UW 
 Symphony Orchestra</a>. Winds\, brass\, percussion and harp interested in 
 UW Orchestras\, <a href='events/2019-09-23/winds-brass-percussion-fall-201
 9-ensemble-auditions'>please see here</a>.</p>\n\n<p align='center'><strong>Audi­tions for the UW Symphony Orchestra will
  take place in Meany room 268 on: <br>—Mon­day\, Sept. 22\, 2025\, 6:00 pm
  – 9:00 pm <br>—Wednesday\, <strong>Sept. 24\, 2025\, 3:15 pm – 6:15 pm </strong><br>SIGN UPS ARE REQUIRED.</strong></p>\n<ul>\n<li>UW Symphony is o
 pen to music majors AND non-music majors alike</li>\n<li>Return­ing stu­de
 nts are expected to take the seat­ing audi­tion along with new students.</li>\n<li>Please come prepared to play (for approximately 5 minutes) select
 ions of your choice from two works of contrasting styles/periods (without 
 accompaniment). Music majors will also be asked to sight-read.</li>\n<li>A
 dd codes will be given out after the audition process is complete.</li>\n&lt;
 li&gt;Rehearsals are Mondays and Wednesdays from 3:30 pm - 6:00 pm in Meany 2
 68 (Friday rehearsals at 3:30 pm are held only on concert days). If you ha
 ve any ques­tions please email Dr. Rah­bee at: <a href='mailto:darahbee@uw
 .edu' target='_blank' rel='noopener noreferrer'>darahbee@uw.edu</a></li>\n
 </ul>\n\n<p><strong>                         
                    <a href='https://urldefense.com/v3/__https://docs.googl
 e.com/forms/d/e/1FAIpQLSccRocZb7NDFSMREWDfT15yamzh1ZBrCr64To99-XqxOKhzSw/v
 iewform?usp=dialog__\;!!K-Hz7m0Vt54!mUaj6CMRaDqD6DNM24TM9Pir8VoaVxyqAeJNnM
 ip4NUL4IF9L3JmWHiFmlhRkaRNv_AJVwHGRwv4p-A$'>ONLINE SIGN UP</a></strong></p>\n\n<h4>FOR FURTHER QUESTIONS Sim­ply email us:</h4>\n<p>David A. Rah­bee
 \, Direc­tor of Orches­tral Activ­i­ties: <a href='mailto:darahbee@uw.edu'>darahbee@uw.edu</a></p>\n<p>Robert Stahly\, teaching assistant: <a href='rjstahly@uw.edu'>rjstahly@uw.edu</a></p>\n<p><a href='/sites/music/
 files/documents/string_announcement_25-26.pdf'>Orchestral Ensemble Informa
 tion (PDF)</a></p>
DTSTART;TZID=America/Los_Angeles:20250922T000000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:254
SUMMARY:: 2025-26 Strings Auditions / UW Symphony Orchestra
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-09-22/2025-26-strings-audition
 s-uw-symphony-orchestra
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p align='center'>Strings auditio
 ns for the <a href='https://music.washington.edu/ensembles/university-wash
 ington-symphony-orchestra'>UW Symphony Orchestra</a>. Winds\, brass\, perc
 ussion and harp interested in UW Orchestras\, <a href='events/2019-09-23/w
 inds-brass-percussion-fall-2019-ensemble-auditions'>please see here</a>.</p> </blockquote> <p align='center'><strong>Audi
 ­tions for the UW Symphony Orchestra will take place in Meany room 268 on:
  <br>—Mon­day\, Sept. 22\, 2025\, 6:00 pm – 9:00 pm <br>—Wednesday\, Sept. 24\, 2025\, 3:15 pm – 6:15 pm </strong><br>SIGN UPS ARE REQUIRED.
 </strong></p> <ul> <li><span>UW Symphony is open to music majors AND non-m
 usic majors alike</span></li> <li>Return­ing stu­dents are expected to tak
 e the seat­ing audi­tion along with new students.</li> <li>Please come pre
 pared to play (for approximately 5 minutes) selections of your choice from
  two works of contrasting styles/periods (without accompaniment). Music ma
 jors will also be asked to sight-read.</li> <li>Add codes will be given ou
 t after the audition process is complete.</li> <li>Rehearsals are Mondays 
 and Wednesdays from 3:30 pm - 6:00 pm in Meany 268 (Friday rehearsals at 3
 :30 pm are held only on concert days). If you have any ques­tions please e
 mail Dr. Rah­bee at: <a href='mailto:darahbee@uw.edu' target='_blank' rel='noopener noreferrer'>darahbee@uw.edu</a></li> </ul> <blockquote> <p><strong>                                          
   <a href='https://urldefense.com/v3/__https://docs.google.com/forms/d/e/1
 FAIpQLSccRocZb7NDFSMREWDfT15yamzh1ZBrCr64To99-XqxOKhzSw/viewform?usp=dialo
 g__\;!!K-Hz7m0Vt54!mUaj6CMRaDqD6DNM24TM9Pir8VoaVxyqAeJNnMip4NUL4IF9L3JmWHi
 FmlhRkaRNv_AJVwHGRwv4p-A$'>ONLINE SIGN UP</a></strong></p> </blockquote> &lt;
 h4&gt;FOR FURTHER QUESTIONS Sim­ply email us:</h4> <p>David A. Rah­bee\, Dire
 c­tor of Orches­tral Activ­i­ties: <a href='mailto:darahbee@uw.edu'>darahb
 ee@uw.edu</a></p> <p><span>Robert Stahly\, teaching assistant: <a href='rjstahly@uw.edu'>rjstahly@uw.edu</a></span></p> <p><a href='/sites/mu
 sic/files/documents/string_announcement_25-26.pdf'>Orchestral Ensemble Inf
 ormation (PDF)</a></p>
END:VEVENT
BEGIN:VEVENT
UID:4c97a5a9-d1ba-4184-8fbc-aef13985ac55
DTSTAMP:20260307T094252Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20190415T165915Z
DESCRIPTION:Winds\, Brass &amp; Percussion auditions for the following ensemble
 s: Wind Ensemble\, Symphonic Band\, UW Symphony Orchestra &amp; Campus Philhar
 monia Orchestra\n\nThe <strong><a href='http://www.uwbands.com' target='_b
 lank' rel='noopener noreferrer'>University of Washington instrumental ense
 mble program</a></strong> includes four large concert ensembles and over 3
 00 student musicians from across campus—from freshmen to grad students\, f
 rom anthropology to zoology majors.\n \nThe <a href='ensembles/wind-ensemb
 le'><strong>Wind Ensemble</strong></a> (MUSEN 301/501)\, <a href='ensemble
 s/symphonic-band'><strong>Symphonic Band</strong></a> (MUSEN 302/502)  are
  the auditioned concert band ensembles at the University of Washington\, p
 erforming a repertoire of classic\, contemporary and newly commissioned mu
 sic. These groups offer a high level of musical challenge and opportunitie
 s for large group\, chamber and one-on-a-part performance experiences. \n&lt;
 p class='yiv4781220154MsoNormal'&gt;</p>\n<p class='yiv4781220154MsoNormal'>&lt;
 strong&gt;<a href='https://music.washington.edu/ensembles/university-washingt
 on-symphony-orchestra'>Symphony Orchestra</a></strong> (MUSEN 300/500) is 
 the top orchestral ensemble on campus\, performing major symphonic literat
 ure. This orchestra is made up of music majors and non-music majors alike.
  Auditions are held at the start of each academic year\; seating rotates t
 hroughout the year. <strong><a href='https://music.washington.edu/ensemble
 s/campus-philharmonia-orchestras'>University of Washington Campus Philharm
 onia Orchestras</a></strong> (MUSEN 210) perform one concert per quarter a
 nd are open to non-music majors. The course is led/conducted entirely by g
 raduate students of the orchestral conducting program. </p>\n<p class='yiv
 4781220154MsoNormal'><br></p>\n<p class='yiv4781220154MsoNormal'><strong s tyle=' 1em\;'>Membership in all groups is open to undergraduate 
 and graduate students from all schools and departments of the UW—over half
  of the musicians in these ensembles are from majors other than music! And
  remember\, performance in a UW ensemble counts toward VLPA credit require
 ments. </strong></p>\n<p class='yiv4781220154MsoNormal'><br><strong></strong></p>\n<p class='yiv4781220154MsoNormal'>Brass\, woodwind and percussion auditions for F
 all 2025 will be held on:</strong></p>\n<br><strong></strong>\n\n\n<strong>MONDAY\, SEPTEMBER 22\, 2025</strong>\n8:30-10:2
 0 HORN <br>10:30-11:10 BASSOON <br>11:20-12:45 TRUMPET \n12:45-1:50 TROMBO
 NE <br>2:00-2:30 TUBA/EUPHONIUM <br>2:40-3:15 OBOE <br>3:20-4:45 CLARINET 
 \n \n<strong>TUESDAY\, SEPTEMBER 23\, 2025</strong>\n9:30-11:30 PERCUSSION
  <br>11:40-2:00 FLUTE <br>2:00-3:00 SAXOPHONE \n \n<strong>Auditions will 
 be held in Meany Hall\, room 268 and Studio Theater</strong> (<a href='//www.washington.edu/maps/?l=MNY' rel='nofollow noopener noreferrer' tar get='_blank'>where is Meany Hall?</a>)\n<hr>\n\n<strong>AUDITION PROCEDURE
 </strong>\n\n<p>Sign up for an audition <a href='https://urldefense.com/v3
 /__https:/docs.google.com/forms/d/e/1FAIpQLSdUK9AD4vsxBioBEUXYdFSJyCCR6H7H
 kXouFmQwjg_DTOTW6Q/viewform?usp=dialog__\;!!K-Hz7m0Vt54!j3bALZannN9MQN72TB
 GzdjN1YIDw8rBdD5tI4zsEXkIQ4U-lkBIWIWLTEC3oH9i4VY32A3iWYNhOa3A$'>HERE</a></p>\n<ul>\n<li>Be sure to be available during the entire listed date and ti
 me for your instrument. You will be assigned a specific audition slot with
 in the time   range for your instrument. This info will be sent to the ema
 il address you list on the form one week before the audition date. If you 
 have a time conflict\, please contact UW Bands TA Yuman Wu at <a href='yumanwu@uw.edu'>yumanwu@uw.edu</a> ASAP to work out a solution.</li>\n
 <li>Check in with the audition coordinator outside of the audition room.</li>\n<li>When it is your time\, the audition coordinator will guide you to
  enter the room.</li>\n<li>The audition is anonymous (behind a screen) so 
 please do not speak during the audition. Listen carefully to the instructi
 ons given by the adjudicators. Music will be provided but you may bring yo
 ur own in as well. The audition will last 5-10 minutes.</li>\n<li>After th
 e audition\, please take any music you brought in with you\, but leave any
  music that was already on the stand. </li>\n<li>You will be sent audition
  results by email shortly after the audition day.</li>\n<li>Note: As of no
 w\, there are no warm-up rooms or areas in the building. However\, you are
  welcome to warmup outside or in the parking garage. We encourage everyone
  to warm up prior to arriving on campus if at all possible.</li>\n</ul>\n
 \n<hr>\n<strong>QUESTIONS?</strong> \nFor more information regarding UW Ba
 nds contact Yuman Wu at <a href='mailto:yumanwu@uw.edu'>yumanwu@uw.edu</a>
 <a href='mailto:marktse@uw.edu'><br></a>\nFor more information regarding U
 W Orchestras contact David A. Rahbee at <a href='mailto:darahbee@uw.edu'>d
 arahbee@uw.edu</a>\n\n<strong><br>CAN I PLAY WITHOUT AN AUDITION?</strong>
 \nYes! The <a href='ensembles/concertcampus-bands'>UW Concert and Campus B
 ands</a> (MUSEN 309/509) are open to all players without audition\, Wednes
 day evenings\, 7:00-9:00. The first rehearsal for Concert/Campus Bands wil
 l be Wednesday September 27th\, 7:00 PM in Meany Hall\, Room 268. All camp
 us and concert band students should attend first rehearsal. Bring your ins
 truments\, as we will play at the first rehearsal.\n \n<strong>IS IT POSSI
 BLE TO PLAY IN MORE THAN ONE ENSEMBLE?</strong>\nYes! Rehearsals are sched
 uled to avoid conflicts between different ensembles including jazz ensembl
 es and Husky Marching Band.\n \nVisit the UW Bands <a href='areas/band-act
 ivities' target='_blank' rel='noopener noreferrer'>web page</a> to find ou
 t more about UW Bands\nVisit the UW Orchestras <a href='/areas/orchestral-
 activities' target='_blank' rel='noopener noreferrer'>web page</a> to find
  out more about UW Orchestras
DTSTART;TZID=America/Los_Angeles:20250922T000000
LAST-MODIFIED:20250716T155551Z
SEQUENCE:255
SUMMARY:: Winds/ Brass/ Percussion Fall 2025 Ensemble Auditions
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-09-22/winds-brass-percussion-f
 all-2025-ensemble-auditions
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div class='yiv4781220154MsoNormal'>  <div class='yiv4781220154MsoNormal'>Winds\, Brass &amp; Percussion auditio
 ns for the following ensembles: Wind Ensemble\, Symphonic Band\, UW Sympho
 ny Orchestra &amp; Campus Philharmonia Orchestra</div> </blockquote> <div clas s='yiv4781220154MsoNormal'>The <strong><a href='http://www.uwbands.com' ta rget='_blank' rel='noopener noreferrer'>University of Washington instrumen
 tal ensemble program</a></strong> includes four large concert ensembles an
 d over 300 student musicians from across campus—from freshmen to grad stud
 ents\, from anthropology to zoology majors.</div> <div class='yiv478122015
 4MsoNormal'> </div> <div class='yiv4781220154MsoNormal'>The <a href='ensem
 bles/wind-ensemble'><strong>Wind Ensemble</strong></a> (MUSEN 301/501)\, &lt;
 a href='ensembles/symphonic-band'&gt;<strong>Symphonic Band</strong></a> (MUS
 EN 302/502)  are the auditioned concert band ensembles at the University o
 f Washington\, performing a repertoire of classic\, contemporary and newly
  commissioned music. These groups offer a high level of musical challenge 
 and opportunities for large group\, chamber and one-on-a-part performance 
 experiences. </div> <p class='yiv4781220154MsoNormal'></p> <p class='yiv47
 81220154MsoNormal'><span><span><strong><a href='//music.washington.edu/ensembles/university-washington-symphony-orche
 stra'>Symphony Orchestra</a></strong> (</span><span>MUSEN 300/500</span><s pan>) </span><span>is the top orchestral ensemble on campus\, performing m
 ajor symphonic literature. This orchestra is made up of music majors and n
 on-music majors alike. Auditions are held at the start of each academic ye
 ar\; seating rotates throughout the year. <strong><a href='https://music.w
 ashington.edu/ensembles/campus-philharmonia-orchestras'>University of Wash
 ington Campus Philharmonia Orchestras</a></strong></span><span> (</span><s pan>MUSEN 210</span><span>) </span><span>perform one concert per quarter a
 nd are open to non-music majors</span><span>. The course is led/conducted 
 entirely by graduate students of the orchestral conducting program.</span>
  </span></p> <p class='yiv4781220154MsoNormal'><br><span></span></p> <p class='yiv4781220154MsoNormal'><strong><span>Membership in all groups is open to undergraduate and g
 raduate students from all schools and departments of the UW—over half of t
 he musicians in these ensembles are from majors other than music!</span><s pan> </span><span>And remember\, performance in a UW ensemble counts towar
 d VLPA credit requirements. </span></strong></p> <p class='yiv4781220154Ms
 oNormal'><br><strong></strong></p> <p class='yiv4
 781220154MsoNormal'><strong>Brass\, woodwind and 
 percussion auditions for Fall 2025 will be held on:</strong></p> <div clas s='yiv4781220154MsoNormal'><br><strong></strong>&lt;
 /div&gt; </div> <div class='yiv4781220154MsoNormal'> <div class='yiv478122015
 4MsoNormal'><strong>MONDAY\, SEPTEMBER 22\, 2025</strong></div> <div class='yiv4781220154MsoNormal'><span>8:30-10:20 HORN </span><br><span>10:30-11:
 10 BASSOON </span><br><span>11:20-12:45 TRUMPET </span></div> <div class='
 yiv4781220154MsoNormal'><span>12:45-1:50 TROMBONE </span><br><span>2:00-2:
 30 TUBA/EUPHONIUM </span><br><span>2:40-3:15 OBOE </span><br><span>3:20-4:
 45 CLARINET </span></div> <div class='yiv4781220154MsoNormal'> </div> <div class='yiv4781220154MsoNormal'><strong>TUESDAY\, SEPTEMBER 23\, 2025</div> <div class='yiv4781220154MsoNormal'><span>9:30-11:30 PERCUSSION
  </span><br><span>11:40-2:00 FLUTE </span><br><span>2:00-3:00 SAXOPHONE </span></div> <div class='yiv4781220154MsoNormal'> </div> <div class='yiv478
 1220154MsoNormal'><strong>Auditions will be held in Meany Hall\, room 268 
 and Studio Theater</strong> (<a href='http://www.washington.edu/maps/?l=MN
 Y' rel='nofollow noopener noreferrer' target='_blank'>where is Meany Hall?
 </a>)</div> <div class='yiv4781220154MsoNormal'><hr></div> </div> <div cla ss='yiv4781220154MsoNormal'><strong>AUDITION PROCEDURE</strong></div> <div class='yiv4781220154MsoNormal'> <p>Sign up for an audition <a href='//urldefense.com/v3/__https:/docs.google.com/forms/d/e/1FAIpQLSdUK9AD4vsx
 BioBEUXYdFSJyCCR6H7HkXouFmQwjg_DTOTW6Q/viewform?usp=dialog__\;!!K-Hz7m0Vt5
 4!j3bALZannN9MQN72TBGzdjN1YIDw8rBdD5tI4zsEXkIQ4U-lkBIWIWLTEC3oH9i4VY32A3iW
 YNhOa3A$'>HERE</a></p> <ul> <li><span>Be sure to be available during the e
 ntire listed date and time for your instrument. You will be assigned a spe
 cific audition slot within the time   range for your instrument. This info
  will be sent to the email address you list on the form one week before th
 e audition date. If you have a time conflict\, please contact UW Bands TA 
 Yuman Wu</span><span> at <a href='mailto:yumanwu@uw.edu'>yumanwu@uw.edu</a> ASAP to work out a solution.</span></li> <li><span>Check in with the audition coordinator outside of the audition room.</span></li> <li><span>When it is your time\, the a
 udition coordinator will guide you to enter the room.</span></li> <li><span>The audition is anonymous (behind a scree
 n) so please do not speak during the audition. Listen carefully to the ins
 tructions given by the adjudicators. Music will be provided but you may br
 ing your own in as well. The audition will last 5-10 minutes.</span></span></li> <li><span><span>After the audition\, pleas
 e take any music you brought in with you\, but leave any music that was al
 ready on the stand. </span></span></li> <li><span>You will be sent audition results by email shortly after the audition day
 .</span></li> <li><span>Note: As of now\, there a
 re no warm-up rooms or areas in the building. However\, you are welcome to
  warmup outside or in the parking garage. We encourage everyone to warm up
  prior to arriving on campus if at all possible.</span></li> </ul> </div> 
 <div class='yiv4781220154MsoListParagraphCxSpLast'><hr></div> <div class='
 yiv4781220154MsoNormal'><strong>QUESTIONS?</strong> </div> <div class='yiv
 4781220154MsoNormal'>For more information regarding UW Bands contact Yuman
  Wu at <a href='mailto:yumanwu@uw.edu'>yumanwu@uw.edu</a><a href='mailto:m
 arktse@uw.edu'><br></a></div> <div class='yiv4781220154MsoNormal'>For more
  information regarding UW Orchestras contact David A. Rahbee at <a href='darahbee@uw.edu'>darahbee@uw.edu</a></div> <div class='yiv4781220154
 MsoNormal'> <div class='yiv4781220154MsoNormal'><strong><br>CAN I PLAY WIT
 HOUT AN AUDITION?</strong></div> <div class='yiv4781220154MsoNormal'>Yes! 
 The <a href='ensembles/concertcampus-bands'>UW Concert and Campus Bands</a> (MUSEN 309/509) are open to all players without audition\, Wednesday eve
 nings\, 7:00-9:00. <span>The first rehearsal for Concert/Campus Bands will
  be Wednesday September 27th\, 7:00 PM in Meany Hall\, Room 268. </span>Al
 l campus and concert band students should attend first rehearsal. Bring yo
 ur instruments\, as we will play at the first rehearsal.</div> <div class='yiv4781220154MsoNormal'> </div> <div class='yiv4781220154MsoNormal'>IS IT POSSIBLE TO PLAY IN MORE THAN ONE ENSEMBLE?</strong></div> <div c lass='yiv4781220154MsoNormal'>Yes! Rehearsals are scheduled to avoid confl
 icts between different ensembles including jazz ensembles and Husky Marchi
 ng Band.</div> <div class='yiv4781220154MsoNormal'> </div> <div class='yiv
 4781220154MsoNormal'>Visit the UW Bands <a href='areas/band-activities' ta rget='_blank' rel='noopener noreferrer'>web page</a> to find out more abou
 t UW Bands</div> <div class='yiv4781220154MsoNormal'>Visit the UW Orchestr
 as <a href='/areas/orchestral-activities' target='_blank' rel='noopener no
 referrer'>web page</a> to find out more about UW Orchestras</div> </div>
END:VEVENT
BEGIN:VEVENT
UID:9e6ae273-0ec8-4c11-be62-ed10cc909a1b
DTSTAMP:20260307T094252Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20220728T163441Z
DESCRIPTION:<p><strong> </strong><a href='https://music.washington.edu/area
 s/choral-activities' target='_blank' rel='noopener noreferrer'>University 
 of Washington Choirs</a><strong> offers a range of ensembles to </strong>&lt;
 strong&gt;fit you\, your schedule\, your interests\, and musical experience. 
 Follow the steps below to register or sign up for placement.</strong></p>&lt;
 p&gt;<strong>STEP 1:</strong> Use the <a href='https://www.washington.edu/stu
 dents/timeschd/AUT2022/' target='_blank' rel='noopener noreferrer'>UW Clas
 s Schedule</a> to register for the choir of your choice if interested in &lt;
 a href='https://music.washington.edu/ensembles/gospel-choir' target='_blan
 k' rel='noopener noreferrer'&gt;Gospel Choir</a>\, <a href='https://music.was
 hington.edu/ensembles/uw-treble-choir' target='_blank' rel='noopener noref
 errer'>Treble Choir</a>\, <a href='https://music.washington.edu/ensembles/
 uw-glee-club' target='_blank' rel='noopener noreferrer'>Glee Club</a>\, or
  <a href='https://music.washington.edu/ensembles/university-singers' targe t='_blank' rel='noopener noreferrer'>University Singers</a>. NO PLACEMENT 
 NEEDED for those choirs.</p><p><strong>STEP 2:</strong> Schedule your ten-
 minute placement at the link below if you are interested in <a href='//music.washington.edu/ensembles/chamber-singers' target='_blank' rel='no
 opener noreferrer'>Chamber Singers</a>\, <a href='https://music.washington
 .edu/ensembles/university-chorale' target='_blank' rel='noopener noreferre
 r'>UW Chorale</a>\, or <a href='https://music.washington.edu/ensembles/rec
 ital-choir' target='_blank' rel='noopener noreferrer'>Recital Choir</a>. P
 lacements are on September 22 and 23.</p><p>Those students who are unable 
 to audition on September 23rd due to Rosh Hashanah are encouraged to sign 
 up for September 22\, or email <a href='mailto:wyersg@uw.edu' target='_bla
 nk' rel='noopener noreferrer'>wyersg@uw.edu</a> for make-up audition times
 </p><p>Sign Up for a Placement <a href='https://urldefense.com/v3/__https:
 //outlook.office.com/book/UWChoirsAuditions@cloud.washington.edu/s/wSzMen9
 xQky7buThmjPOIw2?ismsaljsauthenabled__\;!!K-Hz7m0Vt54!lhzm3xTfcfKrUGNe5i_7
 bCuom5wVtphcHgXKoF4EPq6Z96RvnGOs3cBhoTut31mNROIn5vxiNkCT3ig$'>HERE</a>. Yo
 u must sign in with your UW netID and password.</p><p><strong>STEP 3: Prepare for your placement (if applicable):</p><ul><li>You will begin
  your time with us with a <strong>musical ‘get acquainted’ time</strong> w
 here our graduate music students will ask you about your singing backgroun
 d\, and lead you in some vocal exercises so we can help you find the choir
  that is best for you. In addition to the information sharing\, they will 
 get you <strong>prepared to sing</strong> for Dr. Wyers and Dr. Boers whic
 h students say is always a positive experience!</li><li>Following that\, y
 ou will sing a prepared piece of your choice\; from <strong>prepared solos
 </strong>\, to songs from your <strong>home country</strong>\, to songs on
  your latest <strong>playlist!</strong></li><li><p>Bring piano sheet music
  if you need it\; you can also sing something for us a cappella.</p><hr></li></ul><h2>Schedule at a Glance</h2><p><a href='https://music.washington.
 edu/ensembles/chamber-singers' target='_blank' rel='noopener noreferrer'>&lt;
 strong&gt;Chamber Singers</strong></a><br>Meets Mondays\, Tuesdays\, Wednesda
 ys\, Thursdays\, and some Fridays\, 12:30 to 1:20 p.m. in Brechemin Audito
 rium.</p><p><a href='https://music.washington.edu/ensembles/gospel-choir' target='_blank' rel='noopener noreferrer'><strong>Gospel Choir</strong></a><br>Meets Mondays\, 6:30 to 8:20 p.m. in Meany Room 268.</p><p><a href='//music.washington.edu/ensembles/uw-glee-club' target='_blank' rel='n
 oopener noreferrer'><strong>Glee Club</strong></a><br>Meets Tuesdays\, 5:3
 0 to 6:20 p.m. and 6:30 to 7:20 p.m. in Music Building\, Room 35.</p><p><a href='https://music.washington.edu/ensembles/recital-choir' target='_blan
 k' rel='noopener noreferrer'><strong>Recital Choir</strong></a><br>Meets T
 uesdays and Thursdays\, 4:30 to 5:20pm in Music Building\, Room 213.</p><p><a href='https://music.washington.edu/ensembles/uw-treble-choir' target='
 _blank' rel='noopener noreferrer'><strong>Treble Choir</strong></a><br>Mee
 ts Thurs­days\, 5:30 to 7:20 p.m. in the Music Build­ing\, Room 213.</p><p><a href='https://music.washington.edu/ensembles/university-chorale' targe t='_blank' rel='noopener noreferrer'><strong>University Chorale</strong></a><br>Meets Mondays and Wednesdays\, 3:30 to 5:20 p.m.\, in Kane Hall\, Ro
 om 220.</p><p><a href='https://music.washington.edu/ensembles/university-s
 ingers' target='_blank' rel='noopener noreferrer'><strong>University Singe
 rs</strong></a><br>Meets Mondays in Brechemin Auditorium and Wednesdays in
  Music Building\, Room 213\, 3:30 to 4:50 p.m.</p><hr><p> </p>
DTSTART;TZID=America/Los_Angeles:20250922T000000
LAST-MODIFIED:20250914T201855Z
SEQUENCE:256
SUMMARY:: 2025-26 Choral Placements 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-09-22/2025-26-choral-placement
 s
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span><strong> </strong></span><a href='//music.washington.edu/areas/choral-activities' target='_blank' rel='no
 opener noreferrer'>University of Washington Choirs</a><span><strong> offer
 s a range of ensembles to </strong></span><strong>fit you\, your schedule\
 , your interests\, and musical experience. Follow the steps below to regis
 ter or sign up for placement.</strong></p><p><strong>STEP 1:</strong><span> </span>Use the<span> </span><a href='https://www.washington.edu/students
 /timeschd/AUT2022/' target='_blank' rel='noopener noreferrer'>UW Class Sch
 edule</a><span> </span>to register for the choir of your choice if interes
 ted in<span> </span><a href='https://music.washington.edu/ensembles/gospel
 -choir' target='_blank' rel='noopener noreferrer'>Gospel Choir</a>\, <a hr ef='https://music.washington.edu/ensembles/uw-treble-choir' target='_blank
 ' rel='noopener noreferrer'>Treble Choir</a>\, <a href='https://music.wash
 ington.edu/ensembles/uw-glee-club' target='_blank' rel='noopener noreferre
 r'>Glee Club</a>\, or <a href='https://music.washington.edu/ensembles/univ
 ersity-singers' target='_blank' rel='noopener noreferrer'>University Singe
 rs</a>. NO PLACEMENT NEEDED for those choirs.</p><p><strong>STEP 2:<span> </span>Schedule your ten-minute placement at the link below<span>
  </span>if you are interested in<span> </span><a href='https://music.washi
 ngton.edu/ensembles/chamber-singers' target='_blank' rel='noopener norefer
 rer'>Chamber Singers</a>\,<span> </span><a href='https://music.washington.
 edu/ensembles/university-chorale' target='_blank' rel='noopener noreferrer
 '>UW Chorale</a>\, or <a href='https://music.washington.edu/ensembles/reci
 tal-choir' target='_blank' rel='noopener noreferrer'>Recital Choir</a>. Pl
 acements are on September 22 and 23.</p><p><span>Those students who are unable to audition on Septembe
 r 23rd due to Rosh Hashanah are encouraged to sign up for September 22\, o
 r email </span><a href='mailto:wyersg@uw.edu' target='_blank' rel='noopene
 r noreferrer'><span>wyersg@u
 w.edu</span></a><span> for m
 ake-up audition times</span></p><p><span>Sign Up for a Placement </span><a href='https://urldefense.co
 m/v3/__https://outlook.office.com/book/UWChoirsAuditions@cloud.washington.
 edu/s/wSzMen9xQky7buThmjPOIw2?ismsaljsauthenabled__\;!!K-Hz7m0Vt54!lhzm3xT
 fcfKrUGNe5i_7bCuom5wVtphcHgXKoF4EPq6Z96RvnGOs3cBhoTut31mNROIn5vxiNkCT3ig$'><span>HERE</span></a>. You 
 must sign in with your UW netID and password.</p><p><strong>STEP 3:<span> </span>Prepare for your placement (if applicable):</p><ul><li>You
  will begin your time with us with a<span> </span><em><strong>musical ‘get
  acquainted’ time</strong></em><span> </span>where our graduate music stud
 ents will ask you about your singing background\, and lead you in some voc
 al exercises so we can help you find the choir that is best for you. In ad
 dition to the information sharing\, they will get you<span> </span><em>prepared to sing</strong></em><span> </span>for Dr. Wyers and Dr. Boe
 rs which students say is always a positive experience!</li><li>Following t
 hat\, you will sing a prepared piece of your choice\; from<span> </span><strong>prepared solos</strong></em>\, to songs from your<span> </span>&lt;
 em&gt;<strong>home country</strong></em>\, to songs on your latest<span> <em><strong>playlist!</strong></em></li><li><p>Bring piano sheet music 
 if you need it\; you can also sing something for us <em>a cappella.</em></p><hr></li></ul><h2>Schedule at a Glance</h2><p><a href='https://music.was
 hington.edu/ensembles/chamber-singers' target='_blank' rel='noopener noref
 errer'><strong>Chamber Singers</strong></a><br><em>Meets Mondays\, Tuesday
 s\, Wednesdays\, Thursdays\, and some Fridays\, 12:30 to 1:20 p.m. in Brec
 hemin Auditorium.</em></p><p><a href='https://music.washington.edu/ensembl
 es/gospel-choir' target='_blank' rel='noopener noreferrer'><strong>Gospel 
 Choir</strong></a><br><em>Meets Mondays\, 6:30 to 8:20 p.m. in Meany Room 
 268.</em></p><p><a href='https://music.washington.edu/ensembles/uw-glee-cl
 ub' target='_blank' rel='noopener noreferrer'><strong>Glee Club</strong></a><br><em>Meets Tuesdays\, 5:30 to 6:20 p.m.</em> and <em>6:30 to 7:20 p.m
 . in Music Building\, Room 35.</em></p><p><a href='https://music.washingto
 n.edu/ensembles/recital-choir' target='_blank' rel='noopener noreferrer'>&lt;
 strong&gt;Recital Choir</strong></a><br><em>Meets Tuesdays and Thursdays\, 4:
 30 to 5:20pm in Music Building\, Room 213.</em></p><p><a href='https://mus
 ic.washington.edu/ensembles/uw-treble-choir' target='_blank' rel='noopener
  noreferrer'><strong>Treble Choir</strong></a><br><em>Meets Thurs­days\, 5
 :30 to 7:20 p.m. in the Music Build­ing\, Room 213.</em></p><p><a href='//music.washington.edu/ensembles/university-chorale' target='_blank' r el='noopener noreferrer'><strong>University Chorale</strong></a><br><em>Me
 ets Mondays and Wednesdays\, 3:30 to 5:20 p.m.\, in Kane Hall\, Room 220.&lt;
 /em&gt;</p><p><a href='https://music.washington.edu/ensembles/university-sing
 ers' target='_blank' rel='noopener noreferrer'><strong>University Singers&lt;
 /strong&gt;</a><br><em>Meets Mondays in Brechemin Auditorium and Wednesdays i
 n Music Building\, Room 213\, 3:30 to 4:50 p.m.</em></p><hr><p> </p>
END:VEVENT
BEGIN:VEVENT
UID:9e6ae273-0ec8-4c11-be62-ed10cc909a1b
DTSTAMP:20260307T094252Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20220728T163441Z
DESCRIPTION:<p><strong> </strong><a href='https://music.washington.edu/area
 s/choral-activities' target='_blank' rel='noopener noreferrer'>University 
 of Washington Choirs</a><strong> offers a range of ensembles to </strong>&lt;
 strong&gt;fit you\, your schedule\, your interests\, and musical experience. 
 Follow the steps below to register or sign up for placement.</strong></p>&lt;
 p&gt;<strong>STEP 1:</strong> Use the <a href='https://www.washington.edu/stu
 dents/timeschd/AUT2022/' target='_blank' rel='noopener noreferrer'>UW Clas
 s Schedule</a> to register for the choir of your choice if interested in &lt;
 a href='https://music.washington.edu/ensembles/gospel-choir' target='_blan
 k' rel='noopener noreferrer'&gt;Gospel Choir</a>\, <a href='https://music.was
 hington.edu/ensembles/uw-treble-choir' target='_blank' rel='noopener noref
 errer'>Treble Choir</a>\, <a href='https://music.washington.edu/ensembles/
 uw-glee-club' target='_blank' rel='noopener noreferrer'>Glee Club</a>\, or
  <a href='https://music.washington.edu/ensembles/university-singers' targe t='_blank' rel='noopener noreferrer'>University Singers</a>. NO PLACEMENT 
 NEEDED for those choirs.</p><p><strong>STEP 2:</strong> Schedule your ten-
 minute placement at the link below if you are interested in <a href='//music.washington.edu/ensembles/chamber-singers' target='_blank' rel='no
 opener noreferrer'>Chamber Singers</a>\, <a href='https://music.washington
 .edu/ensembles/university-chorale' target='_blank' rel='noopener noreferre
 r'>UW Chorale</a>\, or <a href='https://music.washington.edu/ensembles/rec
 ital-choir' target='_blank' rel='noopener noreferrer'>Recital Choir</a>. P
 lacements are on September 22 and 23.</p><p>Those students who are unable 
 to audition on September 23rd due to Rosh Hashanah are encouraged to sign 
 up for September 22\, or email <a href='mailto:wyersg@uw.edu' target='_bla
 nk' rel='noopener noreferrer'>wyersg@uw.edu</a> for make-up audition times
 </p><p>Sign Up for a Placement <a href='https://urldefense.com/v3/__https:
 //outlook.office.com/book/UWChoirsAuditions@cloud.washington.edu/s/wSzMen9
 xQky7buThmjPOIw2?ismsaljsauthenabled__\;!!K-Hz7m0Vt54!lhzm3xTfcfKrUGNe5i_7
 bCuom5wVtphcHgXKoF4EPq6Z96RvnGOs3cBhoTut31mNROIn5vxiNkCT3ig$'>HERE</a>. Yo
 u must sign in with your UW netID and password.</p><p><strong>STEP 3: Prepare for your placement (if applicable):</p><ul><li>You will begin
  your time with us with a <strong>musical ‘get acquainted’ time</strong> w
 here our graduate music students will ask you about your singing backgroun
 d\, and lead you in some vocal exercises so we can help you find the choir
  that is best for you. In addition to the information sharing\, they will 
 get you <strong>prepared to sing</strong> for Dr. Wyers and Dr. Boers whic
 h students say is always a positive experience!</li><li>Following that\, y
 ou will sing a prepared piece of your choice\; from <strong>prepared solos
 </strong>\, to songs from your <strong>home country</strong>\, to songs on
  your latest <strong>playlist!</strong></li><li><p>Bring piano sheet music
  if you need it\; you can also sing something for us a cappella.</p><hr></li></ul><h2>Schedule at a Glance</h2><p><a href='https://music.washington.
 edu/ensembles/chamber-singers' target='_blank' rel='noopener noreferrer'>&lt;
 strong&gt;Chamber Singers</strong></a><br>Meets Mondays\, Tuesdays\, Wednesda
 ys\, Thursdays\, and some Fridays\, 12:30 to 1:20 p.m. in Brechemin Audito
 rium.</p><p><a href='https://music.washington.edu/ensembles/gospel-choir' target='_blank' rel='noopener noreferrer'><strong>Gospel Choir</strong></a><br>Meets Mondays\, 6:30 to 8:20 p.m. in Meany Room 268.</p><p><a href='//music.washington.edu/ensembles/uw-glee-club' target='_blank' rel='n
 oopener noreferrer'><strong>Glee Club</strong></a><br>Meets Tuesdays\, 5:3
 0 to 6:20 p.m. and 6:30 to 7:20 p.m. in Music Building\, Room 35.</p><p><a href='https://music.washington.edu/ensembles/recital-choir' target='_blan
 k' rel='noopener noreferrer'><strong>Recital Choir</strong></a><br>Meets T
 uesdays and Thursdays\, 4:30 to 5:20pm in Music Building\, Room 213.</p><p><a href='https://music.washington.edu/ensembles/uw-treble-choir' target='
 _blank' rel='noopener noreferrer'><strong>Treble Choir</strong></a><br>Mee
 ts Thurs­days\, 5:30 to 7:20 p.m. in the Music Build­ing\, Room 213.</p><p><a href='https://music.washington.edu/ensembles/university-chorale' targe t='_blank' rel='noopener noreferrer'><strong>University Chorale</strong></a><br>Meets Mondays and Wednesdays\, 3:30 to 5:20 p.m.\, in Kane Hall\, Ro
 om 220.</p><p><a href='https://music.washington.edu/ensembles/university-s
 ingers' target='_blank' rel='noopener noreferrer'><strong>University Singe
 rs</strong></a><br>Meets Mondays in Brechemin Auditorium and Wednesdays in
  Music Building\, Room 213\, 3:30 to 4:50 p.m.</p><hr><p> </p>
DTSTART;TZID=America/Los_Angeles:20250923T000000
LAST-MODIFIED:20250914T201855Z
SEQUENCE:257
SUMMARY:: 2025-26 Choral Placements 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-09-22/2025-26-choral-placement
 s
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span><strong> </strong></span><a href='//music.washington.edu/areas/choral-activities' target='_blank' rel='no
 opener noreferrer'>University of Washington Choirs</a><span><strong> offer
 s a range of ensembles to </strong></span><strong>fit you\, your schedule\
 , your interests\, and musical experience. Follow the steps below to regis
 ter or sign up for placement.</strong></p><p><strong>STEP 1:</strong><span> </span>Use the<span> </span><a href='https://www.washington.edu/students
 /timeschd/AUT2022/' target='_blank' rel='noopener noreferrer'>UW Class Sch
 edule</a><span> </span>to register for the choir of your choice if interes
 ted in<span> </span><a href='https://music.washington.edu/ensembles/gospel
 -choir' target='_blank' rel='noopener noreferrer'>Gospel Choir</a>\, <a hr ef='https://music.washington.edu/ensembles/uw-treble-choir' target='_blank
 ' rel='noopener noreferrer'>Treble Choir</a>\, <a href='https://music.wash
 ington.edu/ensembles/uw-glee-club' target='_blank' rel='noopener noreferre
 r'>Glee Club</a>\, or <a href='https://music.washington.edu/ensembles/univ
 ersity-singers' target='_blank' rel='noopener noreferrer'>University Singe
 rs</a>. NO PLACEMENT NEEDED for those choirs.</p><p><strong>STEP 2:<span> </span>Schedule your ten-minute placement at the link below<span>
  </span>if you are interested in<span> </span><a href='https://music.washi
 ngton.edu/ensembles/chamber-singers' target='_blank' rel='noopener norefer
 rer'>Chamber Singers</a>\,<span> </span><a href='https://music.washington.
 edu/ensembles/university-chorale' target='_blank' rel='noopener noreferrer
 '>UW Chorale</a>\, or <a href='https://music.washington.edu/ensembles/reci
 tal-choir' target='_blank' rel='noopener noreferrer'>Recital Choir</a>. Pl
 acements are on September 22 and 23.</p><p><span>Those students who are unable to audition on Septembe
 r 23rd due to Rosh Hashanah are encouraged to sign up for September 22\, o
 r email </span><a href='mailto:wyersg@uw.edu' target='_blank' rel='noopene
 r noreferrer'><span>wyersg@u
 w.edu</span></a><span> for m
 ake-up audition times</span></p><p><span>Sign Up for a Placement </span><a href='https://urldefense.co
 m/v3/__https://outlook.office.com/book/UWChoirsAuditions@cloud.washington.
 edu/s/wSzMen9xQky7buThmjPOIw2?ismsaljsauthenabled__\;!!K-Hz7m0Vt54!lhzm3xT
 fcfKrUGNe5i_7bCuom5wVtphcHgXKoF4EPq6Z96RvnGOs3cBhoTut31mNROIn5vxiNkCT3ig$'><span>HERE</span></a>. You 
 must sign in with your UW netID and password.</p><p><strong>STEP 3:<span> </span>Prepare for your placement (if applicable):</p><ul><li>You
  will begin your time with us with a<span> </span><em><strong>musical ‘get
  acquainted’ time</strong></em><span> </span>where our graduate music stud
 ents will ask you about your singing background\, and lead you in some voc
 al exercises so we can help you find the choir that is best for you. In ad
 dition to the information sharing\, they will get you<span> </span><em>prepared to sing</strong></em><span> </span>for Dr. Wyers and Dr. Boe
 rs which students say is always a positive experience!</li><li>Following t
 hat\, you will sing a prepared piece of your choice\; from<span> </span><strong>prepared solos</strong></em>\, to songs from your<span> </span>&lt;
 em&gt;<strong>home country</strong></em>\, to songs on your latest<span> <em><strong>playlist!</strong></em></li><li><p>Bring piano sheet music 
 if you need it\; you can also sing something for us <em>a cappella.</em></p><hr></li></ul><h2>Schedule at a Glance</h2><p><a href='https://music.was
 hington.edu/ensembles/chamber-singers' target='_blank' rel='noopener noref
 errer'><strong>Chamber Singers</strong></a><br><em>Meets Mondays\, Tuesday
 s\, Wednesdays\, Thursdays\, and some Fridays\, 12:30 to 1:20 p.m. in Brec
 hemin Auditorium.</em></p><p><a href='https://music.washington.edu/ensembl
 es/gospel-choir' target='_blank' rel='noopener noreferrer'><strong>Gospel 
 Choir</strong></a><br><em>Meets Mondays\, 6:30 to 8:20 p.m. in Meany Room 
 268.</em></p><p><a href='https://music.washington.edu/ensembles/uw-glee-cl
 ub' target='_blank' rel='noopener noreferrer'><strong>Glee Club</strong></a><br><em>Meets Tuesdays\, 5:30 to 6:20 p.m.</em> and <em>6:30 to 7:20 p.m
 . in Music Building\, Room 35.</em></p><p><a href='https://music.washingto
 n.edu/ensembles/recital-choir' target='_blank' rel='noopener noreferrer'>&lt;
 strong&gt;Recital Choir</strong></a><br><em>Meets Tuesdays and Thursdays\, 4:
 30 to 5:20pm in Music Building\, Room 213.</em></p><p><a href='https://mus
 ic.washington.edu/ensembles/uw-treble-choir' target='_blank' rel='noopener
  noreferrer'><strong>Treble Choir</strong></a><br><em>Meets Thurs­days\, 5
 :30 to 7:20 p.m. in the Music Build­ing\, Room 213.</em></p><p><a href='//music.washington.edu/ensembles/university-chorale' target='_blank' r el='noopener noreferrer'><strong>University Chorale</strong></a><br><em>Me
 ets Mondays and Wednesdays\, 3:30 to 5:20 p.m.\, in Kane Hall\, Room 220.&lt;
 /em&gt;</p><p><a href='https://music.washington.edu/ensembles/university-sing
 ers' target='_blank' rel='noopener noreferrer'><strong>University Singers&lt;
 /strong&gt;</a><br><em>Meets Mondays in Brechemin Auditorium and Wednesdays i
 n Music Building\, Room 213\, 3:30 to 4:50 p.m.</em></p><hr><p> </p>
END:VEVENT
BEGIN:VEVENT
UID:97204ae4-a161-4695-ad82-f5506559e93b
DTSTAMP:20260307T094252Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20190415T170820Z
DESCRIPTION:<p align='center'>Strings auditions for the Campus Philharmonia
  Orchestras. Winds\, brass\, percussion and harp interested in UW Orchestr
 as\, <a href='events/2019-09-23/winds-brass-percussion-fall-2019-ensemble-
 auditions'>please see here</a>.</p>\n\n<p align='center'><strong>Audi­tions for the Campus Philharmonia Orchestras will t
 ake place in Meany room 268 on: </strong><strong>Tuesday\, </strong>Sept. 23\, 2025\, 6:00 pm – 9:15 pm</strong><br><strong>SIGN UPS ARE REQ
 UIRED.</strong></p>\n<ul>\n<li>Students returning to the CPO are not requi
 red to take the seating audition\, but are welcome to\, if one wishes to s
 ecure a higher seat. <strong>If you are returning and not auditioning\, pl
 ease let us know that you intend to participate. New Students: Due to the 
 high level of interest\, we strongly encourage everyone to take the auditi
 on. All spots will be filled first by those who audition. </strong></li>\n
 </ul>\n<p><a href='https://urldefense.com/v3/
 __https://docs.google.com/forms/d/e/1FAIpQLSccRocZb7NDFSMREWDfT15yamzh1ZBr
 Cr64To99-XqxOKhzSw/viewform?usp=dialog__\;!!K-Hz7m0Vt54!mUaj6CMRaDqD6DNM24
 TM9Pir8VoaVxyqAeJNnMip4NUL4IF9L3JmWHiFmlhRkaRNv_AJVwHGRwv4p-A$'>ONLINE SIG
 N UP</a></p>\n<ul>\n<li>Please come prepared to play (for approximately 5 
 minutes) selections of your choice (without accompaniment) from two works 
 of contrasting styles/periods.</li>\n<li>Add codes will be distributed aft
 er the audition process is complete.</li>\n<li>CPO rehearsals will be Tues
 day evenings from 6-8 pm in Meany 268 (section A) and Tuesday evenings fro
 m 7-9 pm in music building room 35 (Section B).</li>\n<li>There is no fund
 amental difference between sections A and B of MUSEN 210\; they are two en
 tirely independent orchestras\, one meeting earlier and the other later to
  help accommodate students’ schedules.</li>\n<li>If you have any ques­tion
 s please email Dr. Rah­bee at: <a href='mailto:darahbee@uw.edu' target='_b
 lank' rel='noopener noreferrer'>darahbee@uw.edu</a></li>\n</ul>\n<strong>O
 NLINE SIGN UP <a href='https://urldefense.com/v3/__https://docs.google.com
 /forms/d/e/1FAIpQLSccRocZb7NDFSMREWDfT15yamzh1ZBrCr64To99-XqxOKhzSw/viewfo
 rm?usp=dialog__\;!!K-Hz7m0Vt54!mUaj6CMRaDqD6DNM24TM9Pir8VoaVxyqAeJNnMip4NU
 L4IF9L3JmWHiFmlhRkaRNv_AJVwHGRwv4p-A$'>HERE</a></strong>\n<p>For further q
 uestions sim­ply email us:</p>\n<p>David A. Rah­bee\, Direc­tor of Orches­
 tral Activ­i­ties: <a href='mailto:DARAHBEE@UW.EDU' target='_blank' rel='n
 oopener noreferrer'>darahbee@uw.edu</a></p>\n<p>Robert Stahly\, teaching a
 ssistant: <a href='mailto:rjstahly@uw.edu'>rjstahly@uw.edu</a><a href='LGPG@UW.EDU' target='_blank' rel='noopener noreferrer'><br></a></p>\n&lt;
 p&gt;<a href='/sites/music/files/documents/string_announcement_25-26.pdf'>Orc
 hestral Ensemble Information (PDF)</a></p>
DTSTART;TZID=America/Los_Angeles:20250923T000000
LAST-MODIFIED:20250611T174820Z
SEQUENCE:258
SUMMARY:: 2025-26 Strings Auditions / Campus Philharmonia Orchestras
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-09-23/2025-26-strings-audition
 s-campus-philharmonia-orchestras
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p align='center'>Strings auditio
 ns for the Campus Philharmonia Orchestras. <span>Winds\, brass\, percussio
 n and harp interested in UW Orchestras\, <a href='events/2019-09-23/winds-
 brass-percussion-fall-2019-ensemble-auditions'>please see here</a></span>&lt;
 span&gt;.</span></p> </blockquote> <p align='center'><strong>Audi­tions for the Campus Philharmonia Orchestras will take pla
 ce in Meany room 268 on: </strong><strong>Tuesday\, </strong><strong>Sept.
  23\, 2025\, 6:00 pm – 9:15 pm</strong><br><strong>SIGN UPS ARE REQUIRED.&lt;
 /strong&gt;</p> <ul> <li>Students returning to the CPO are not required to ta
 ke the seating audition\, but are welcome to\, if one wishes to secure a h
 igher seat. <strong>If you are returning and not auditioning\, please let 
 us know that you intend to participate. New Students: Due to the high leve
 l of interest\, we strongly encourage everyone to take the audition. All s
 pots will be filled first by those who audition. </strong></li> </ul> <p s tyle=' center\;'><a href='https://urldefense.com/v3/__https://d
 ocs.google.com/forms/d/e/1FAIpQLSccRocZb7NDFSMREWDfT15yamzh1ZBrCr64To99-Xq
 xOKhzSw/viewform?usp=dialog__\;!!K-Hz7m0Vt54!mUaj6CMRaDqD6DNM24TM9Pir8VoaV
 xyqAeJNnMip4NUL4IF9L3JmWHiFmlhRkaRNv_AJVwHGRwv4p-A$'>ONLINE SIGN UP</a></p> <ul> <li>Please come prepared to play (for approximately 5 minutes) sele
 ctions of your choice (without accompaniment) from two works of contrastin
 g styles/periods.</li> <li>Add codes will be distributed after the auditio
 n process is complete.</li> <li>CPO rehearsals will be Tuesday evenings fr
 om 6-8 pm in Meany 268 (section A) and Tuesday evenings from 7-9 pm in mus
 ic building room 35 (Section B).</li> <li>There is no fundamental differen
 ce between sections A and B of MUSEN 210\; they are two entirely independe
 nt orchestras\, one meeting earlier and the other later to help accommodat
 e students’ schedules.</li> <li>If you have any ques­tions please email Dr
 . Rah­bee at: <a href='mailto:darahbee@uw.edu' target='_blank' rel='noopen
 er noreferrer'>darahbee@uw.edu</a></li> </ul> <blockquote><strong>ONLINE S
 IGN UP <a href='https://urldefense.com/v3/__https://docs.google.com/forms/
 d/e/1FAIpQLSccRocZb7NDFSMREWDfT15yamzh1ZBrCr64To99-XqxOKhzSw/viewform?usp=
 dialog__\;!!K-Hz7m0Vt54!mUaj6CMRaDqD6DNM24TM9Pir8VoaVxyqAeJNnMip4NUL4IF9L3
 JmWHiFmlhRkaRNv_AJVwHGRwv4p-A$'>HERE</a></strong></blockquote> <p>For furt
 her questions sim­ply email us:</p> <p>David A. Rah­bee\, Direc­tor of Orc
 hes­tral Activ­i­ties: <a href='mailto:DARAHBEE@UW.EDU' target='_blank' re l='noopener noreferrer'>darahbee@uw.edu</a></p> <p>Robert Stahly\, teachin
 g assistant: <a href='mailto:rjstahly@uw.edu'>rjstahly@uw.edu</a><a href='LGPG@UW.EDU' target='_blank' rel='noopener noreferrer'><br></a></p>
  <p><a href='/sites/music/files/documents/string_announcement_25-26.pdf'>O
 rchestral Ensemble Information (PDF)</a></p>
END:VEVENT
BEGIN:VEVENT
UID:4c97a5a9-d1ba-4184-8fbc-aef13985ac55
DTSTAMP:20260307T094252Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20190415T165915Z
DESCRIPTION:Winds\, Brass &amp; Percussion auditions for the following ensemble
 s: Wind Ensemble\, Symphonic Band\, UW Symphony Orchestra &amp; Campus Philhar
 monia Orchestra\n\nThe <strong><a href='http://www.uwbands.com' target='_b
 lank' rel='noopener noreferrer'>University of Washington instrumental ense
 mble program</a></strong> includes four large concert ensembles and over 3
 00 student musicians from across campus—from freshmen to grad students\, f
 rom anthropology to zoology majors.\n \nThe <a href='ensembles/wind-ensemb
 le'><strong>Wind Ensemble</strong></a> (MUSEN 301/501)\, <a href='ensemble
 s/symphonic-band'><strong>Symphonic Band</strong></a> (MUSEN 302/502)  are
  the auditioned concert band ensembles at the University of Washington\, p
 erforming a repertoire of classic\, contemporary and newly commissioned mu
 sic. These groups offer a high level of musical challenge and opportunitie
 s for large group\, chamber and one-on-a-part performance experiences. \n&lt;
 p class='yiv4781220154MsoNormal'&gt;</p>\n<p class='yiv4781220154MsoNormal'>&lt;
 strong&gt;<a href='https://music.washington.edu/ensembles/university-washingt
 on-symphony-orchestra'>Symphony Orchestra</a></strong> (MUSEN 300/500) is 
 the top orchestral ensemble on campus\, performing major symphonic literat
 ure. This orchestra is made up of music majors and non-music majors alike.
  Auditions are held at the start of each academic year\; seating rotates t
 hroughout the year. <strong><a href='https://music.washington.edu/ensemble
 s/campus-philharmonia-orchestras'>University of Washington Campus Philharm
 onia Orchestras</a></strong> (MUSEN 210) perform one concert per quarter a
 nd are open to non-music majors. The course is led/conducted entirely by g
 raduate students of the orchestral conducting program. </p>\n<p class='yiv
 4781220154MsoNormal'><br></p>\n<p class='yiv4781220154MsoNormal'><strong s tyle=' 1em\;'>Membership in all groups is open to undergraduate 
 and graduate students from all schools and departments of the UW—over half
  of the musicians in these ensembles are from majors other than music! And
  remember\, performance in a UW ensemble counts toward VLPA credit require
 ments. </strong></p>\n<p class='yiv4781220154MsoNormal'><br><strong></strong></p>\n<p class='yiv4781220154MsoNormal'>Brass\, woodwind and percussion auditions for F
 all 2025 will be held on:</strong></p>\n<br><strong></strong>\n\n\n<strong>MONDAY\, SEPTEMBER 22\, 2025</strong>\n8:30-10:2
 0 HORN <br>10:30-11:10 BASSOON <br>11:20-12:45 TRUMPET \n12:45-1:50 TROMBO
 NE <br>2:00-2:30 TUBA/EUPHONIUM <br>2:40-3:15 OBOE <br>3:20-4:45 CLARINET 
 \n \n<strong>TUESDAY\, SEPTEMBER 23\, 2025</strong>\n9:30-11:30 PERCUSSION
  <br>11:40-2:00 FLUTE <br>2:00-3:00 SAXOPHONE \n \n<strong>Auditions will 
 be held in Meany Hall\, room 268 and Studio Theater</strong> (<a href='//www.washington.edu/maps/?l=MNY' rel='nofollow noopener noreferrer' tar get='_blank'>where is Meany Hall?</a>)\n<hr>\n\n<strong>AUDITION PROCEDURE
 </strong>\n\n<p>Sign up for an audition <a href='https://urldefense.com/v3
 /__https:/docs.google.com/forms/d/e/1FAIpQLSdUK9AD4vsxBioBEUXYdFSJyCCR6H7H
 kXouFmQwjg_DTOTW6Q/viewform?usp=dialog__\;!!K-Hz7m0Vt54!j3bALZannN9MQN72TB
 GzdjN1YIDw8rBdD5tI4zsEXkIQ4U-lkBIWIWLTEC3oH9i4VY32A3iWYNhOa3A$'>HERE</a></p>\n<ul>\n<li>Be sure to be available during the entire listed date and ti
 me for your instrument. You will be assigned a specific audition slot with
 in the time   range for your instrument. This info will be sent to the ema
 il address you list on the form one week before the audition date. If you 
 have a time conflict\, please contact UW Bands TA Yuman Wu at <a href='yumanwu@uw.edu'>yumanwu@uw.edu</a> ASAP to work out a solution.</li>\n
 <li>Check in with the audition coordinator outside of the audition room.</li>\n<li>When it is your time\, the audition coordinator will guide you to
  enter the room.</li>\n<li>The audition is anonymous (behind a screen) so 
 please do not speak during the audition. Listen carefully to the instructi
 ons given by the adjudicators. Music will be provided but you may bring yo
 ur own in as well. The audition will last 5-10 minutes.</li>\n<li>After th
 e audition\, please take any music you brought in with you\, but leave any
  music that was already on the stand. </li>\n<li>You will be sent audition
  results by email shortly after the audition day.</li>\n<li>Note: As of no
 w\, there are no warm-up rooms or areas in the building. However\, you are
  welcome to warmup outside or in the parking garage. We encourage everyone
  to warm up prior to arriving on campus if at all possible.</li>\n</ul>\n
 \n<hr>\n<strong>QUESTIONS?</strong> \nFor more information regarding UW Ba
 nds contact Yuman Wu at <a href='mailto:yumanwu@uw.edu'>yumanwu@uw.edu</a>
 <a href='mailto:marktse@uw.edu'><br></a>\nFor more information regarding U
 W Orchestras contact David A. Rahbee at <a href='mailto:darahbee@uw.edu'>d
 arahbee@uw.edu</a>\n\n<strong><br>CAN I PLAY WITHOUT AN AUDITION?</strong>
 \nYes! The <a href='ensembles/concertcampus-bands'>UW Concert and Campus B
 ands</a> (MUSEN 309/509) are open to all players without audition\, Wednes
 day evenings\, 7:00-9:00. The first rehearsal for Concert/Campus Bands wil
 l be Wednesday September 27th\, 7:00 PM in Meany Hall\, Room 268. All camp
 us and concert band students should attend first rehearsal. Bring your ins
 truments\, as we will play at the first rehearsal.\n \n<strong>IS IT POSSI
 BLE TO PLAY IN MORE THAN ONE ENSEMBLE?</strong>\nYes! Rehearsals are sched
 uled to avoid conflicts between different ensembles including jazz ensembl
 es and Husky Marching Band.\n \nVisit the UW Bands <a href='areas/band-act
 ivities' target='_blank' rel='noopener noreferrer'>web page</a> to find ou
 t more about UW Bands\nVisit the UW Orchestras <a href='/areas/orchestral-
 activities' target='_blank' rel='noopener noreferrer'>web page</a> to find
  out more about UW Orchestras
DTSTART;TZID=America/Los_Angeles:20250923T000000
LAST-MODIFIED:20250716T155551Z
SEQUENCE:259
SUMMARY:: Winds/ Brass/ Percussion Fall 2025 Ensemble Auditions
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-09-22/winds-brass-percussion-f
 all-2025-ensemble-auditions
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div class='yiv4781220154MsoNormal'>  <div class='yiv4781220154MsoNormal'>Winds\, Brass &amp; Percussion auditio
 ns for the following ensembles: Wind Ensemble\, Symphonic Band\, UW Sympho
 ny Orchestra &amp; Campus Philharmonia Orchestra</div> </blockquote> <div clas s='yiv4781220154MsoNormal'>The <strong><a href='http://www.uwbands.com' ta rget='_blank' rel='noopener noreferrer'>University of Washington instrumen
 tal ensemble program</a></strong> includes four large concert ensembles an
 d over 300 student musicians from across campus—from freshmen to grad stud
 ents\, from anthropology to zoology majors.</div> <div class='yiv478122015
 4MsoNormal'> </div> <div class='yiv4781220154MsoNormal'>The <a href='ensem
 bles/wind-ensemble'><strong>Wind Ensemble</strong></a> (MUSEN 301/501)\, &lt;
 a href='ensembles/symphonic-band'&gt;<strong>Symphonic Band</strong></a> (MUS
 EN 302/502)  are the auditioned concert band ensembles at the University o
 f Washington\, performing a repertoire of classic\, contemporary and newly
  commissioned music. These groups offer a high level of musical challenge 
 and opportunities for large group\, chamber and one-on-a-part performance 
 experiences. </div> <p class='yiv4781220154MsoNormal'></p> <p class='yiv47
 81220154MsoNormal'><span><span><strong><a href='//music.washington.edu/ensembles/university-washington-symphony-orche
 stra'>Symphony Orchestra</a></strong> (</span><span>MUSEN 300/500</span><s pan>) </span><span>is the top orchestral ensemble on campus\, performing m
 ajor symphonic literature. This orchestra is made up of music majors and n
 on-music majors alike. Auditions are held at the start of each academic ye
 ar\; seating rotates throughout the year. <strong><a href='https://music.w
 ashington.edu/ensembles/campus-philharmonia-orchestras'>University of Wash
 ington Campus Philharmonia Orchestras</a></strong></span><span> (</span><s pan>MUSEN 210</span><span>) </span><span>perform one concert per quarter a
 nd are open to non-music majors</span><span>. The course is led/conducted 
 entirely by graduate students of the orchestral conducting program.</span>
  </span></p> <p class='yiv4781220154MsoNormal'><br><span></span></p> <p class='yiv4781220154MsoNormal'><strong><span>Membership in all groups is open to undergraduate and g
 raduate students from all schools and departments of the UW—over half of t
 he musicians in these ensembles are from majors other than music!</span><s pan> </span><span>And remember\, performance in a UW ensemble counts towar
 d VLPA credit requirements. </span></strong></p> <p class='yiv4781220154Ms
 oNormal'><br><strong></strong></p> <p class='yiv4
 781220154MsoNormal'><strong>Brass\, woodwind and 
 percussion auditions for Fall 2025 will be held on:</strong></p> <div clas s='yiv4781220154MsoNormal'><br><strong></strong>&lt;
 /div&gt; </div> <div class='yiv4781220154MsoNormal'> <div class='yiv478122015
 4MsoNormal'><strong>MONDAY\, SEPTEMBER 22\, 2025</strong></div> <div class='yiv4781220154MsoNormal'><span>8:30-10:20 HORN </span><br><span>10:30-11:
 10 BASSOON </span><br><span>11:20-12:45 TRUMPET </span></div> <div class='
 yiv4781220154MsoNormal'><span>12:45-1:50 TROMBONE </span><br><span>2:00-2:
 30 TUBA/EUPHONIUM </span><br><span>2:40-3:15 OBOE </span><br><span>3:20-4:
 45 CLARINET </span></div> <div class='yiv4781220154MsoNormal'> </div> <div class='yiv4781220154MsoNormal'><strong>TUESDAY\, SEPTEMBER 23\, 2025</div> <div class='yiv4781220154MsoNormal'><span>9:30-11:30 PERCUSSION
  </span><br><span>11:40-2:00 FLUTE </span><br><span>2:00-3:00 SAXOPHONE </span></div> <div class='yiv4781220154MsoNormal'> </div> <div class='yiv478
 1220154MsoNormal'><strong>Auditions will be held in Meany Hall\, room 268 
 and Studio Theater</strong> (<a href='http://www.washington.edu/maps/?l=MN
 Y' rel='nofollow noopener noreferrer' target='_blank'>where is Meany Hall?
 </a>)</div> <div class='yiv4781220154MsoNormal'><hr></div> </div> <div cla ss='yiv4781220154MsoNormal'><strong>AUDITION PROCEDURE</strong></div> <div class='yiv4781220154MsoNormal'> <p>Sign up for an audition <a href='//urldefense.com/v3/__https:/docs.google.com/forms/d/e/1FAIpQLSdUK9AD4vsx
 BioBEUXYdFSJyCCR6H7HkXouFmQwjg_DTOTW6Q/viewform?usp=dialog__\;!!K-Hz7m0Vt5
 4!j3bALZannN9MQN72TBGzdjN1YIDw8rBdD5tI4zsEXkIQ4U-lkBIWIWLTEC3oH9i4VY32A3iW
 YNhOa3A$'>HERE</a></p> <ul> <li><span>Be sure to be available during the e
 ntire listed date and time for your instrument. You will be assigned a spe
 cific audition slot within the time   range for your instrument. This info
  will be sent to the email address you list on the form one week before th
 e audition date. If you have a time conflict\, please contact UW Bands TA 
 Yuman Wu</span><span> at <a href='mailto:yumanwu@uw.edu'>yumanwu@uw.edu</a> ASAP to work out a solution.</span></li> <li><span>Check in with the audition coordinator outside of the audition room.</span></li> <li><span>When it is your time\, the a
 udition coordinator will guide you to enter the room.</span></li> <li><span>The audition is anonymous (behind a scree
 n) so please do not speak during the audition. Listen carefully to the ins
 tructions given by the adjudicators. Music will be provided but you may br
 ing your own in as well. The audition will last 5-10 minutes.</span></span></li> <li><span><span>After the audition\, pleas
 e take any music you brought in with you\, but leave any music that was al
 ready on the stand. </span></span></li> <li><span>You will be sent audition results by email shortly after the audition day
 .</span></li> <li><span>Note: As of now\, there a
 re no warm-up rooms or areas in the building. However\, you are welcome to
  warmup outside or in the parking garage. We encourage everyone to warm up
  prior to arriving on campus if at all possible.</span></li> </ul> </div> 
 <div class='yiv4781220154MsoListParagraphCxSpLast'><hr></div> <div class='
 yiv4781220154MsoNormal'><strong>QUESTIONS?</strong> </div> <div class='yiv
 4781220154MsoNormal'>For more information regarding UW Bands contact Yuman
  Wu at <a href='mailto:yumanwu@uw.edu'>yumanwu@uw.edu</a><a href='mailto:m
 arktse@uw.edu'><br></a></div> <div class='yiv4781220154MsoNormal'>For more
  information regarding UW Orchestras contact David A. Rahbee at <a href='darahbee@uw.edu'>darahbee@uw.edu</a></div> <div class='yiv4781220154
 MsoNormal'> <div class='yiv4781220154MsoNormal'><strong><br>CAN I PLAY WIT
 HOUT AN AUDITION?</strong></div> <div class='yiv4781220154MsoNormal'>Yes! 
 The <a href='ensembles/concertcampus-bands'>UW Concert and Campus Bands</a> (MUSEN 309/509) are open to all players without audition\, Wednesday eve
 nings\, 7:00-9:00. <span>The first rehearsal for Concert/Campus Bands will
  be Wednesday September 27th\, 7:00 PM in Meany Hall\, Room 268. </span>Al
 l campus and concert band students should attend first rehearsal. Bring yo
 ur instruments\, as we will play at the first rehearsal.</div> <div class='yiv4781220154MsoNormal'> </div> <div class='yiv4781220154MsoNormal'>IS IT POSSIBLE TO PLAY IN MORE THAN ONE ENSEMBLE?</strong></div> <div c lass='yiv4781220154MsoNormal'>Yes! Rehearsals are scheduled to avoid confl
 icts between different ensembles including jazz ensembles and Husky Marchi
 ng Band.</div> <div class='yiv4781220154MsoNormal'> </div> <div class='yiv
 4781220154MsoNormal'>Visit the UW Bands <a href='areas/band-activities' ta rget='_blank' rel='noopener noreferrer'>web page</a> to find out more abou
 t UW Bands</div> <div class='yiv4781220154MsoNormal'>Visit the UW Orchestr
 as <a href='/areas/orchestral-activities' target='_blank' rel='noopener no
 referrer'>web page</a> to find out more about UW Orchestras</div> </div>
END:VEVENT
BEGIN:VEVENT
UID:f57d0534-4a39-40e3-8b39-526cc6304223
DTSTAMP:20260307T094252Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20190415T165629Z
DESCRIPTION:<p align='center'>Strings auditions for the <a href='https://mu
 sic.washington.edu/ensembles/university-washington-symphony-orchestra'>UW 
 Symphony Orchestra</a>. Winds\, brass\, percussion and harp interested in 
 UW Orchestras\, <a href='events/2019-09-23/winds-brass-percussion-fall-201
 9-ensemble-auditions'>please see here</a>.</p>\n\n<p align='center'><strong>Audi­tions for the UW Symphony Orchestra will
  take place in Meany room 268 on: <br>—Mon­day\, Sept. 22\, 2025\, 6:00 pm
  – 9:00 pm <br>—Wednesday\, <strong>Sept. 24\, 2025\, 3:15 pm – 6:15 pm </strong><br>SIGN UPS ARE REQUIRED.</strong></p>\n<ul>\n<li>UW Symphony is o
 pen to music majors AND non-music majors alike</li>\n<li>Return­ing stu­de
 nts are expected to take the seat­ing audi­tion along with new students.</li>\n<li>Please come prepared to play (for approximately 5 minutes) select
 ions of your choice from two works of contrasting styles/periods (without 
 accompaniment). Music majors will also be asked to sight-read.</li>\n<li>A
 dd codes will be given out after the audition process is complete.</li>\n&lt;
 li&gt;Rehearsals are Mondays and Wednesdays from 3:30 pm - 6:00 pm in Meany 2
 68 (Friday rehearsals at 3:30 pm are held only on concert days). If you ha
 ve any ques­tions please email Dr. Rah­bee at: <a href='mailto:darahbee@uw
 .edu' target='_blank' rel='noopener noreferrer'>darahbee@uw.edu</a></li>\n
 </ul>\n\n<p><strong>                         
                    <a href='https://urldefense.com/v3/__https://docs.googl
 e.com/forms/d/e/1FAIpQLSccRocZb7NDFSMREWDfT15yamzh1ZBrCr64To99-XqxOKhzSw/v
 iewform?usp=dialog__\;!!K-Hz7m0Vt54!mUaj6CMRaDqD6DNM24TM9Pir8VoaVxyqAeJNnM
 ip4NUL4IF9L3JmWHiFmlhRkaRNv_AJVwHGRwv4p-A$'>ONLINE SIGN UP</a></strong></p>\n\n<h4>FOR FURTHER QUESTIONS Sim­ply email us:</h4>\n<p>David A. Rah­bee
 \, Direc­tor of Orches­tral Activ­i­ties: <a href='mailto:darahbee@uw.edu'>darahbee@uw.edu</a></p>\n<p>Robert Stahly\, teaching assistant: <a href='rjstahly@uw.edu'>rjstahly@uw.edu</a></p>\n<p><a href='/sites/music/
 files/documents/string_announcement_25-26.pdf'>Orchestral Ensemble Informa
 tion (PDF)</a></p>
DTSTART;TZID=America/Los_Angeles:20250924T000000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:260
SUMMARY:: 2025-26 Strings Auditions / UW Symphony Orchestra
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-09-22/2025-26-strings-audition
 s-uw-symphony-orchestra
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p align='center'>Strings auditio
 ns for the <a href='https://music.washington.edu/ensembles/university-wash
 ington-symphony-orchestra'>UW Symphony Orchestra</a>. Winds\, brass\, perc
 ussion and harp interested in UW Orchestras\, <a href='events/2019-09-23/w
 inds-brass-percussion-fall-2019-ensemble-auditions'>please see here</a>.</p> </blockquote> <p align='center'><strong>Audi
 ­tions for the UW Symphony Orchestra will take place in Meany room 268 on:
  <br>—Mon­day\, Sept. 22\, 2025\, 6:00 pm – 9:00 pm <br>—Wednesday\, Sept. 24\, 2025\, 3:15 pm – 6:15 pm </strong><br>SIGN UPS ARE REQUIRED.
 </strong></p> <ul> <li><span>UW Symphony is open to music majors AND non-m
 usic majors alike</span></li> <li>Return­ing stu­dents are expected to tak
 e the seat­ing audi­tion along with new students.</li> <li>Please come pre
 pared to play (for approximately 5 minutes) selections of your choice from
  two works of contrasting styles/periods (without accompaniment). Music ma
 jors will also be asked to sight-read.</li> <li>Add codes will be given ou
 t after the audition process is complete.</li> <li>Rehearsals are Mondays 
 and Wednesdays from 3:30 pm - 6:00 pm in Meany 268 (Friday rehearsals at 3
 :30 pm are held only on concert days). If you have any ques­tions please e
 mail Dr. Rah­bee at: <a href='mailto:darahbee@uw.edu' target='_blank' rel='noopener noreferrer'>darahbee@uw.edu</a></li> </ul> <blockquote> <p><strong>                                          
   <a href='https://urldefense.com/v3/__https://docs.google.com/forms/d/e/1
 FAIpQLSccRocZb7NDFSMREWDfT15yamzh1ZBrCr64To99-XqxOKhzSw/viewform?usp=dialo
 g__\;!!K-Hz7m0Vt54!mUaj6CMRaDqD6DNM24TM9Pir8VoaVxyqAeJNnMip4NUL4IF9L3JmWHi
 FmlhRkaRNv_AJVwHGRwv4p-A$'>ONLINE SIGN UP</a></strong></p> </blockquote> &lt;
 h4&gt;FOR FURTHER QUESTIONS Sim­ply email us:</h4> <p>David A. Rah­bee\, Dire
 c­tor of Orches­tral Activ­i­ties: <a href='mailto:darahbee@uw.edu'>darahb
 ee@uw.edu</a></p> <p><span>Robert Stahly\, teaching assistant: <a href='rjstahly@uw.edu'>rjstahly@uw.edu</a></span></p> <p><a href='/sites/mu
 sic/files/documents/string_announcement_25-26.pdf'>Orchestral Ensemble Inf
 ormation (PDF)</a></p>
END:VEVENT
BEGIN:VEVENT
UID:f96c6401-c396-4a59-89bd-7a1262c95a24
DTSTAMP:20260307T094252Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20250918T181934Z
DESCRIPTION:<p> <a href='https://music.washington.edu/ensembles/studio-jazz
 -ensemble-big-band'>The Studio Jazz Ensemble: Big Band</a> focuses on big 
 band repertoire and tradition. Auditions include sight-reading big band li
 terature\, demonstrating stylistic approach\, and performing various scale
 s and arpeggios. </p>
DTSTART;TZID=America/Los_Angeles:20250924T123000
LAST-MODIFIED:20250918T183731Z
SEQUENCE:261
SUMMARY:: Ensemble Auditions: Studio Jazz Ensemble: Big Band - Brass and Wi
 nds
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-09-24/ensemble-auditions-studi
 o-jazz-ensemble-big-band-brass-and-winds
END:VEVENT
BEGIN:VEVENT
UID:8bc90988-6a4b-4d7a-bcaf-71efaee0484d
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20250401T201638Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20250925T120000
LAST-MODIFIED:20250401T201638Z
SEQUENCE:262
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-09-25/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:9d1b7508-1b3a-4167-bbbc-2098244413ec
DTSTAMP:20260307T094252Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20250918T182933Z
DESCRIPTION:<p class='text-align-center'>The Modern Band is a jazz rooted e
 nsemble with a primary focus on repertoire that encompasses innovative tre
 nds in jazz of the last decade. </p><p>Ensemble members will also be expos
 ed to a wide range of musical influences that have pushed the boundaries o
 f jazz as an art form forward into its current state.  Students are encour
 aged to write original material for the ensemble while searching for the m
 usical innovations of the artists of their generation to apply to the soun
 d of the group and its repertoire.</p><p>The objective of the musical expe
 rience is for the ensemble members to collectively experiment with and app
 ly their own individual musical musings and aesthetics towards creating a 
 personalized and original body of work while looking towards innovation to
  help them forward.</p><p><strong>Audition:­</strong><br>Thursday\, Septem
 ber 25\, 2025<br>12:30 pm - 1:30 pm<br>no sign up necessary</p><p>Audition
 s include group improvisation with other auditionees\, as well as a prepar
 ed one-minute solo reflecting your personal improvisational voice. Backing
  tracks are welcome\, and self-created material is encouraged.</p><p>Studio Jazz Ensemble – MUSEN 346/546 B</strong><br><strong>Rehearsals a
 re Tuesdays and Thursdays\, 12:30 pm – 2:20 pm</strong></p><hr><h2>Directo
 r Bio</h2>
DTSTART;TZID=America/Los_Angeles:20250925T123000
LAST-MODIFIED:20250918T194238Z
SEQUENCE:263
SUMMARY:: Fall 2025 Studio Jazz Ensemble: Modern Band Auditions
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-09-25/fall-2025-studio-jazz-en
 semble-modern-band-auditions
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p class='text-align-center'>The M
 odern Band is a jazz rooted ensemble with a primary focus on repertoire th
 at encompasses innovative trends in jazz of the last decade. </p><p>Ensemble members will also be exposed to a wide range of musical in
 fluences that have pushed the boundaries of jazz as an art form forward in
 to its current state.  Students are encouraged to write original material 
 for the ensemble while searching for the musical innovations of the artist
 s of their generation to apply to the sound of the group and its repertoir
 e.</p><p>The objective of the musical experience is for the ensemble membe
 rs to collectively experiment with and apply their own individual musical 
 musings and aesthetics towards creating a personalized and original body o
 f work while looking towards innovation to help them forward.</p><p>Audition:­</strong><br>Thursday\, September 25\, 2025<br>12:30 pm - 1:30
  pm<br><span>no sign up necessary</span></p><p>Auditions include group imp
 rovisation with other auditionees\, as well as a prepared one-minute solo 
 reflecting your personal improvisational voice. Backing tracks are welcome
 \, and self-created material is encouraged.</p><p><strong>Studio Jazz Ense
 mble – MUSEN 346/546 B</strong><br><strong>Rehearsals are Tuesdays and Thu
 rsdays\, 12:30 pm – 2:20 pm</strong></p><hr><h2>Director Bio</h2>
END:VEVENT
BEGIN:VEVENT
UID:64c7e3b0-d1e9-418c-9855-d5a964fb7448
DTSTAMP:20260307T094252Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20250918T190207Z
DESCRIPTION:<p>The Small Jazz Ensembles provide a great opportunity for mus
 icians to regularly rehearse\, and perform jazz standards\, originals\, an
 d covers with their fellow students.</p><p><strong>Audition Date</strong> 
 - Thursday\, September 25\, 2025<br><strong>Time</strong> - 2:30 pm <br><s trong>Room</strong> - 35 (on the lowest floor of the Music Building)</p><p>No sign up necessary. <a href='https://music.washington.edu/ensembles/jaz
 z-workshop-small-ensembles'>More info</a></p><h2>Audition process</h2><p>A
 uditions will involve playing with a small group of auditionees\, reading 
 lead sheets as a band\, and each member taking up to two choruses of soloi
 ng.</p><p class='text-align-center'><strong>Jazz Workshop - MUSEN – 345/54
 5</strong><br><strong>Rehearsals are Tuesdays and Thursdays\, 2:30 – 3:20*
 </strong></p><hr><h2>Director Bio: </h2>
DTSTART;TZID=America/Los_Angeles:20250925T143000
LAST-MODIFIED:20250918T195359Z
SEQUENCE:264
SUMMARY:: Fall 2025 Small Jazz Ensembles (Jazz Combo) Auditions
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-09-25/fall-2025-small-jazz-ens
 embles-jazz-combo-auditions
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p>The Small Jazz Ensembles provid
 e a great opportunity for musicians to regularly rehearse\, and perform ja
 zz standards\, originals\, and covers with their fellow students.</p><p><strong>Audition Date</strong> - Thursday\, <span>September 25\
 , 2025</span><br><strong>Time</strong> - 2:30 pm <br><strong>Room</strong>
  - 35 (on the lowest floor of the Music Building)</p><p><span>No sign up n
 ecessary. </span><a href='https://music.washington.edu/ensembles/jazz-work
 shop-small-ensembles'><span>More info</span></a></p><h2>Audition process</h2><p>Auditions will involve playing with a small group of auditionees\, r
 eading lead sheets as a band\, and each member taking up to two choruses o
 f soloing.</p><p class='text-align-center'><strong>Jazz Workshop - MUSEN –
  345/545</strong><br><strong>Rehearsals are Tuesdays and Thursdays\, 2:30 
 – 3:20*</strong></p><hr><h2>Director Bio: </h2>
END:VEVENT
BEGIN:VEVENT
UID:56d97ed8-2e7a-41d7-9537-03f1fc8d130a
DTSTAMP:20260307T094252Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20250918T183744Z
DESCRIPTION:<p> <a href='https://music.washington.edu/ensembles/studio-jazz
 -ensemble-big-band'>The Studio Jazz Ensemble: Big Band</a> focuses on big 
 band repertoire and tradition. Auditions include sight-reading big band li
 terature\, demonstrating stylistic approach\, and performing various scale
 s and arpeggios. </p><p>Auditions for the rhythm section are with full ban
 d (members selected from Brass/Winds auditions). </p>
DTSTART;TZID=America/Los_Angeles:20250929T123000
LAST-MODIFIED:20250918T184043Z
SEQUENCE:265
SUMMARY:: Ensemble Auditions: Studio Jazz Ensemble: Big Band - Rhythm Secti
 on (Piano\, Guitar\, Bass\, Drums)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-09-29/ensemble-auditions-studi
 o-jazz-ensemble-big-band-rhythm-section-piano-guitar-bass
END:VEVENT
BEGIN:VEVENT
UID:bcaf177e-32ad-4942-8eb8-e5b45595ae67
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250528T164529Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p><h2 class='x_M
 soNormal'>Featured Performers</h2>  See full program <a href='/sites/music
 /files/documents/October%201%2C%202025.pdf'>HERE</a>!
DTSTART;TZID=America/Los_Angeles:20251001T123000
LAST-MODIFIED:20250924T163041Z
SEQUENCE:266
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-01/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p><span>Students of the UW School
  of Music perform in this </span>lunchtime concert series co-hosted by UW 
 Music and UW Libraries. </p></blockquote><h2 class='x_MsoNormal'><span>Fea
 tured Performers</span></h2><div class='elementToProof'><div class='elemen
 tToProof'><div class='elementToProof'><div class='elementToProof'><div cla ss='elementToProof'><div class='x_elementToProof ContentPasted0'><div clas s='x_elementToProof ContentPasted0'> </div></div></div></div></div></div>&lt;
 /div&gt;<div> </div><div>See full program <a href='/sites/music/files/documen
 ts/October%201%2C%202025.pdf'>HERE</a>!</div>
END:VEVENT
BEGIN:VEVENT
UID:ee4b43eb-1bde-48f8-b340-f0a62ba55b7e
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250909T175436Z
DESCRIPTION:<p>The Improvised Music Project presents The Violeta Project\, 
 featuring special guests Stomu Takeishi (bass)\, Lucia Pulido (voice)\, Cu
 ong Vu (trumpet)\, and Ted Poor (drums)\, performing the music of Chilean 
 composer Violeta Parra.</p><h2><strong>Program Detail</strong></h2><p>Afte
 r years of working with vocalist Lucía Pulido and immersing himself in res
 earching Colombian music\, bassist Stomu Takeishi stumbled upon the songs 
 of Chilean composer Violeta Parra.  He saw in Parra’s songs the rich depth
  and spirit that would provide a natural home for Lucía’s virtuosic musica
 lity\, brought to life through the unique chemistry and creative language 
 that he\, Ted Poor\, and Cuong Vu have cultivated over 25 years as the Cuo
 ng Vu Trio. Takeishi's Violeta Project emerged as a perfect framework to s
 howcase Lucía’s extraordinary artistry in a new and compelling way.</p>
DTSTART;TZID=America/Los_Angeles:20251003T200000
LAST-MODIFIED:20250930T162239Z
SEQUENCE:267
SUMMARY:: IMP Presents: Violeta Project
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-03/imp-presents-violeta-pro
 ject
END:VEVENT
BEGIN:VEVENT
UID:88d01752-a4e5-4a62-88b3-574d26701361
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20250401T201653Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20251007T120000
LAST-MODIFIED:20250401T201653Z
SEQUENCE:268
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-07/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:d027b260-fb50-4e1e-9757-d590bc28f9a2
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Special Events\, Talks\, Visiting Artists and Scholar
 s
CLASS:PUBLIC
CREATED:20251003T202606Z
DESCRIPTION:<p>This speaker series is presented in advance of the UW Sympho
 ny's upcoming <a href='https://music.washington.edu/events/2026-02-06/film
 -screening-performance-healing-heart-lushootseed-uw-symphony-adia-s-bowen'>Feb. 6\, 2026 performance </a>of Bruce Ruddell's symphony\, 'Healing Hear
 t of the First People of This Land.'</p><p>The series is open to the publi
 c. Doors open at 10:30 am for coffee and pastries. All talks are on Thursd
 ays from 11 a.m. to 12 pm.</p><p><strong>10/9:</strong>  łuutiis Charlotte
  Coté (Nuu-chah-nulth) with Dian Million (Tanana) as discussant<br><br>10/16:</strong>  Tami Hohn (Puyallup) with McKenna Sweet Dorman (Snoq
 ualmie) as discussant<br><br><strong>10/23:</strong> <strong> Laurel Serco
 mbe with John Vallier as Discussant: </strong>“The Journey of Basket Ogres
 s: A History of the Revival and Revitalization of the Lushootseed Language
  in Coast Salish Country”. <strong>Sercombe </strong>is<strong> </strong>r
 etired sound archivist and curator for the UW Ethnomusicology Archive (Hom
 e of the Vi Hilbert Archive). <strong>Vallier is c</strong>urator for UW S
 pecial Collections and the Ethnomusicology Archive (Home of the Vi Hilbert
  Archive)\; Adjunct faculty in the School of Music and UW Comparative Hist
 ory of Ideas.<br><br><strong>10/30: </strong> John LaPointe (Swinomish)<br><br>11/6:  <strong>Jill tsisqʷux̌ʷaʔł LaPointe (Upper Skagit/Nooksack) wi
 th Janet Yoder: '</strong>The Healing Heart of Lushootseed: A Film Screeni
 ng and Discussion.'  <strong>Jill tsisqʷux̌ʷaʔł LaPointe</strong> (Upper S
 kagit/Nooksack)\, is senior director of the Indigenous Peoples Institute a
 t Seattle University. <strong>Janet Yoder </strong>is the author of Where 
 the Language Lives: Vi Hilbert and the Gift of the Lushootseed\, which pay
 s tribute to the woman whose determination and passion helped breathe life
  into her language and culture\, and was a finalist for the 2023 WA State 
 Book Award. <br><br><strong>11/13:</strong>  Composer Bruce Ruddell\, Musi
 cians Adia tsi sʔuyuʔaɫ Bowen (Upper Skagit) and Ben Workman Smith (Tolowa
 )\, Conductors Ryan Dudenbostel and David Rahbee\, with John-Carlos Perea 
 (Mescalero Apache/German/Irish/Chicano) as discussant<br><br><strong>11/20
 </strong> Sasha taqwšəblu LaPointe (Upper Skagit/Nooksack): Native to the 
 Pacific Northwest\, Sasha draws inspiration from her Coast Salish heritage
  as well as her life in the city. She writes with a focus on trauma and re
 silience\, PTSD\, sexual violence\, and the work her great grandmother did
  for Lushootseed language revitalization. </p><p><a href='https://healingh
 eartproject.org/'>More information on this series </a>`</p><p>Sponsored by
  Lushootseed Research\; Indigenous Peoples Institute @ Seattle University\
 ; Arts UW\; UW School of Music\; Center for American Indian and Indigenous
  Studies\; American Indian Studies Department\; Simpson Center for the Hum
 anities\; wǝɫǝbʔaltxʷ - Intellectual House @ the University of Washington&lt;
 /p&gt;
DTSTART;TZID=America/Los_Angeles:20251009T110000
LAST-MODIFIED:20251119T170529Z
SEQUENCE:269
SUMMARY:: Healing Heart Speaker Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-09/healing-heart-speaker-se
 ries
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>This speaker series is presented in advance
  of the UW Symphony's upcoming <a href='https://music.washington.edu/event
 s/2026-02-06/film-screening-performance-healing-heart-lushootseed-uw-symph
 ony-adia-s-bowen'>Feb. 6\, 2026 performance </a>of Bruce Ruddell's symphon
 y\, 'Healing Heart of the First People of This Land.'</p><p><em>The series
  is open to the public. Doors open at 10:30 am for coffee and pastries. Al
 l talks are on Thursdays from 11 a.m. to 12 pm.</em></p><p><strong>10/9:</strong>  łuutiis Charlotte Coté (Nuu-chah-nulth) with Dian Million (Tanana
 ) as discussant<br><br><strong>10/16:</strong>  Tami Hohn (Puyallup) with 
 McKenna Sweet Dorman (Snoqualmie) as discussant<br><br><strong>10/23: <strong> Laurel Sercombe with John Vallier as Discussant: </strong>“T
 he Journey of Basket Ogress: A History of the Revival and Revitalization o
 f the Lushootseed Language in Coast Salish Country”. <span times new><strong>Serc
 ombe </strong>is<strong> </strong></span><span times new>retired soun
 d archivist and curator for the UW Ethnomusicology Archive (Home of the Vi
  Hilbert Archive). </span><span times new><strong>Vallier is c</strong></span>urator for UW Special Collections and the Ethnomusicolog
 y Archive (Home of the Vi Hilbert Archive)\; Adjunct faculty in the School
  of Music and UW Comparative History of Ideas.</span><br><br><strong>10/30
 : </strong> John LaPointe (Swinomish)<br><br>11/6:  <strong>Jill tsisqʷux̌
 ʷaʔł LaPointe (Upper Skagit/Nooksack) with Janet Yoder: '</strong>The Heal
 ing Heart of Lushootseed: A Film Screening and Discussion.'  <strong>Jill 
 tsisqʷux̌ʷaʔł LaPointe</strong> (Upper Skagit/Nooksack)\, is senior direct
 or of the Indigenous Peoples Institute at Seattle University. <strong>Jane
 t Yoder </strong>is the author of <em>Where the Language Lives: Vi Hilbert
  and the Gift of the Lushootseed\,</em> which pays tribute to the woman wh
 ose determination and passion helped breathe life into her language and cu
 lture\, and was a finalist for the 2023 WA State Book Award. <br><br>11/13:</strong>  Composer Bruce Ruddell\, Musicians Adia tsi sʔuyuʔaɫ B
 owen (Upper Skagit) and Ben Workman Smith (Tolowa)\, Conductors Ryan Duden
 bostel and David Rahbee\, with John-Carlos Perea (Mescalero Apache/German/
 Irish/Chicano) as discussant<br><br><strong>11/20</strong> Sasha taqwšəblu
  LaPointe (Upper Skagit/Nooksack): Native to the Pacific Northwest\, Sasha
  draws inspiration from her Coast Salish heritage as well as her life in t
 he city. She writes with a focus on trauma and resilience\, PTSD\, sexual 
 violence\, and the work her great grandmother did for Lushootseed language
  revitalization. </p><p><a href='https://healingheartproject.org/'>More in
 formation on this series </a>`</p><p><em>Sponsored by Lushootseed Research
 \; Indigenous Peoples Institute @ Seattle University\; Arts UW\; UW School
  of Music\; Center for American Indian and Indigenous Studies\; American I
 ndian Studies Department\; Simpson Center for the Humanities\; wǝɫǝbʔaltxʷ
  - Intellectual House @ the University of Washington</em></p>
END:VEVENT
BEGIN:VEVENT
UID:8a6c923e-f870-457a-9226-bb8c42b98d89
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks
CLASS:PUBLIC
CREATED:20251010T214858Z
DESCRIPTION:<p>The School of Music presents a guest lecture by Brazilian co
 mposer Igor Santos\, winner of the prestigious Rome Prize (2022) and recip
 ient of numerous other awards and prizes for his work in composing and sou
 nd design.</p><hr><h2>Biography</h2><p>Described as “otherworldly and myst
 eriously familiar” (Chicago Classical Review)\, and as “exciting and clear
 ... with a striking boldness' (Luigi Nono Competition Prize)\, Igor Santos
 ’ music has been performed internationally\, by leading musicians such as 
 Ensemble Modern\, Ensemble Intercontemporain\,Ensemble Dal Niente\, Yarn W
 ire\, Alarm Will Sound\, POING\, the American Composers Orchestra\, and Th
 e Florida Orchestra.</p><p>His work is centered on mimetic relationships b
 etween found sounds\, acoustic instruments\, and recently with video\, all
  of which is dramatized through repetition and the use of microtonal keybo
 ards.</p><p>Igor has earned degrees in Music Composition from the Universi
 ty of Chicago\, the Eastman School of Music\, and the University of South 
 Florida. He has been awarded the Rome Prize (2022)\, a Guggenheim Fellowsh
 ip (2023)\, and has won additional prizes such as the International Ferruc
 cio Busoni Competition\, the Luigi Nono International Competition\, the RE
 D NOTE Competition\, the Salvatore Martirano Award\, and was also awarded 
 Best Sound Design from Theater Tampa Bay (for his incidental music). </p>&lt;
 p&gt;Outside of his concert work\, Igor is also active working in media\, sco
 ring films and documentaries in collaboration with artists in his native t
 own of Curitiba\, Brazil. </p>
DTSTART;TZID=America/Los_Angeles:20251010T123000
LAST-MODIFIED:20251010T215602Z
SEQUENCE:270
SUMMARY:: Guest Composer Lecture: Igor Santos
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-10/guest-composer-lecture-i
 gor-santos
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The School of Music presents a guest lectur
 e by Brazilian composer Igor Santos\, winner of the prestigious Rome Prize
  (2022) and recipient of numerous other awards and prizes for his work in 
 composing and sound design.</p><hr><h2>Biography</h2><div dir='ltr'><p><span>Described as 
 “</span><em><i>otherworldly and mysteriously familiar&lt;
 /i&gt;</em><span>” (Chicago Classical Review)\, and as “</span><em><i>exciting and clear... with a striking boldness</i></em><span sty le='arial\, sans-serif\;'>' (Lui
 gi Nono Competition Prize)\, Igor Santos</span><span>’</span><span> music has been performed internationally\, 
 by leading musicians such as Ensemble Modern\, Ensemble Intercontemporain\
 ,Ensemble Dal Niente\, Yarn Wire\, Alarm Will Sound\, POING\, the American
  Composers Orchestra\, and The Florida Orchestra.</span></p><p><span>His work
  is centered on mimetic relationships between found sounds\, acoustic inst
 ruments\, and recently with video\, all of which is dramatized through rep
 etition and the use of microtonal keyboards.</span></p><p><span sty le='arial\, sans-serif\;'>Igor h
 as earned degrees in Music Composition from the University of Chicago\, th
 e Eastman School of Music\, and the University of South Florida. He has be
 en awarded the </span>Rome Prize<span> (2022)\, a </span>Guggenheim Fellowshi
 p<span> (2023)\, and has won additional prizes such as the </span>Internation
 al Ferruccio Busoni Competition<span>\, the </span>Luigi Nono International C
 ompetition<span>\, the RED NOTE Competition\, the Salvatore Martirano Award\,
  and was also awarded Best Sound Design from Theater Tampa Bay (for his in
 cidental music). </span></p><p><span lang='EN-US'>Outside of his concert work\, Igor
  is also active working in media\, scoring films and documentaries in coll
 aboration with artists in his native town of Curitiba\, Brazil.</span> </span>
 </p></div>
END:VEVENT
BEGIN:VEVENT
UID:0b69d920-1fa2-463d-bef6-2582e6bd305e
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250909T211540Z
DESCRIPTION:<p>The Improvised Music Project presents Blues Weave and the Vi
 ctory Sound\, featuring UW Jazz Studies students Jai Kobi Kaleo 'Okalani\,
  Coen Rios\, and Ethan Horn.</p>
DTSTART;TZID=America/Los_Angeles:20251010T200000
LAST-MODIFIED:20250909T211730Z
SEQUENCE:271
SUMMARY:: External Event: Improvised Music Project at the Chapel 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-10/external-event-improvise
 d-music-project-chapel
END:VEVENT
BEGIN:VEVENT
UID:cda64146-93b0-4928-a193-f3492335c79d
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances
CLASS:PUBLIC
CREATED:20250814T001433Z
DESCRIPTION:<p>Newly appointed UW strings faculty John Popham (cello) and P
 ala Garcia (violin) curate and perform a program of compelling new works a
 nd recent major commissions from their ensemble Longleash\, an internation
 ally acclaimed contemporary music trio recognized for their “immaculate so
 und” (Strad Magazine) and “tight playing and lucid interpretations” of inn
 ovative new chamber music (Tempo UK). They are joined onstage by triomate 
 Mika Sasaki (piano) in presenting works by Anthony Cheung\, Katherine Balc
 h\, and Igor Santos. </p><hr><h2>Program Detail</h2><p>The program feature
 s Nossas Mãos (Our Hands)\, a work for trio and video by Igor Santos (Rome
  Prize\, Guggenheim Fellowship). In it\, Santos stitches together contempo
 rary video clips\, archival footage\, and found visual references into qui
 ck fire mimetic cycles between video\, sound and live performance\, creati
 ng a playful and poignant exploration of hands as symbols of human agency\
 , affection\, protest\, creative expression\, and music making.</p><hr><h2>Program</h2><p dir='ltr'><strong>Anthony Cheung </strong></p><p dir='ltr'>Flyway Detour (2006\, r
 evised 2017 for Longleash) <br> </p><p dir='ltr'><strong>Katherine Balch </strong></p>
 <p dir='ltr'>different gravities (2023) </p><p dir='ltr'>i. Agile\, crisp</p><p dir='ltr'>ii. Fragile\, sinkin
 g</p><p dir='ltr'>iii. Jittery\, mechanical</p><p dir='ltr'>iv. Brisk\, bells clanging</p><p dir='ltr'>Commiss
 ioned by Longleash with support from The Koussevitzky Foundation of the Li
 brary of Congress </p><p dir='ltr'><br>-break-<br> </p><p dir='ltr'><strong>Igor Santos</strong> &lt;
 /p&gt;<p dir='l
 tr'>Nossas Mãos (2024) </p><p dir='ltr'>Commissioned by Longleash with support from Ch
 amber Music America </p><hr><h3>Biographies<br>Anthony Cheung</h3><p>Compo
 ser/pianist Anthony Cheung writes music that explores the senses\, a wide 
 palette of instrumental play and affect\, improvisational traditions\, rei
 magined musical artifacts\, and multiple layers of textual meaning. </p><p>His music has been commissioned and performed by leading groups such as t
 he Ensemble Modern\, Ensemble Intercontemporain\, the LA and New York Phil
 harmonics\, Frankfurt Radio Symphony Orchestra\, Ensemble Musikfabrik\, Ya
 rn/Wire\, AMOC*\, Scharoun Ensemble Berlin\, Orchestre Philharmonique de R
 adio France\, and many others. From 2015-17\, he was the Daniel R. Lewis C
 omposer Fellow with the Cleveland Orchestra. He is the recipient of a 2016
  Guggenheim Fellowship\, as well as a 2012 Rome Prize\, and received First
  Prize at the 2008 Dutilleux Competition. As a co-founder of New York’s Ta
 lea Ensemble\, he served as pianist and artistic director of the group. </p><p>Recordings include five portrait discs: All Roads (New Focus\, 2022)\
 , Music for Film\, Sculpture\, and Captions (Kairos\, 2022)\, Cycles and A
 rrows (New Focus)\, Dystemporal (Wergo)\, andRoundabouts (Ensemble Modern 
 Medien). He studied at Harvard and Columbia\, and was a Junior Fellow at t
 he Harvard Society of Fellows. He previously taught at the University of C
 hicago and is an Associate Professor of Music at Brown University.</p><h3>
 Katherine Balch</h3><p>Described as “some kind of musical Thomas Edison – 
 you can just hear her tinkering around in her workshop\, putting together 
 new sounds and textural ideas” (San Francisco Chronicle)\, composer Kather
 ine Balch is interested in the intimacy of quotidian objects\, found sound
 s\, and natural processes. A collector of aural delights\, field recording
 s are often at the heart of her work\, which ranges from acoustic to mixed
  media and installation.</p><p>A recipient of the 2020/21 Rome Prize and a
  2025 Guggenheim fellowship\, Katherine’s work has been commissioned and p
 erformed by internationally leading ensembles and presenting organizations
  including the New York Philharmonic\, Ensemble Modern\, the London Sinfon
 ietta\, Tanglewood\, Suntory Summer Arts (Japan)\, Huddersfield Contempora
 ry Music Festival (UK) and the symphony orchestras of Tokyo\, Darmstadt\, 
 Minnesota\, Oregon\, Albany\, Indianapolis\, Pittsburg\, and Dallas. Her m
 usic is published exclusively worldwide by Schott. </p><p>Katherine is Ass
 ociate Professor of Composition at Yale School of Music and holds a D.M.A.
  from  Columbia University. </p><h3>Igor Santos</h3><p>Described as “other
 worldly and mysteriously familiar” (Chicago Classical Review)\, and as “ex
 citing and clear... with a striking boldness' (Luigi Nono Competition Priz
 e)\, Igor Santos’ music has been performed internationally\, by leading mu
 sicians such as Ensemble Modern\, Ensemble Intercontemporain\, Ensemble Da
 l Niente\, Yarn/Wire\, Alarm Will Sound\, POING\, the American Composers O
 rchestra\, and The Florida Orchestra.</p><p>His work is centered on mimeti
 c relationships between found sounds\, acoustic instruments\, and recently
  with video\, all of which is dramatized through repetition and the use of
  microtonal keyboards. </p><p>Igor has earned degrees in Music Composition
  from the University of Chicago\, the Eastman School of Music\, and the Un
 iversity of South Florida. He has been awarded the Rome Prize (2022)\, a G
 uggenheim Fellowship (2023)\, and has won additional prizes such as the In
 ternational Ferruccio Busoni Competition\, the Luigi Nono International Co
 mpetition\, the RED NOTE Competition\, the Salvatore Martirano Award\, and
  was also awarded Best Sound Design from Theater Tampa Bay (for his incide
 ntal music).<br><br>Igor is a native of Curitiba\, Brazil. He is currently
  an Assistant Professor of Music at Cornell University.</p><h3>Longleash</h3><p>An “expert trio” (Strad Magazine) known for “tight playing and lucid
  interpretations” (Tempo)\, Longleash enjoys an international reputation f
 or artistic excellence in contemporary music. “Fearlessly accomplished” (A
 rts Desk UK)\, the trio takes its name from Operation Long Leash\, a Cold 
 War era covert operation that supported American avant-garde artists in Eu
 rope. </p><p>Recent highlights include appearances at the Noguchi Museum\,
  TIME:SPANS Festival\, Five Boroughs Music Festival\, the Americas Society
 \, Princeton University\, Ecstatic Music Festival\, National Sawdust\, the
  Experimental Media and Performing Arts Center (Troy\, NY)\, Jeunesse (Vie
 nna)\, Átlátszó Hang (Budapest)\, FUAIM Music (Cork\, Ireland)\, Trondheim
  International Chamber Music Festival (Norway)\, and Open Music (Graz\, Au
 stria). </p><p>Their work in contemporary music has been supported by Colu
 mbia University\, Chamber Music America\, the Koussevitzky Foundation of t
 he Library of Congress\, New Music USA\, the Aaron Copland Fund for Music\
 , and others. </p><p dir='ltr'> </p><h3><a href='https: www.mikasasaki.com'>Mika Sasak
 i</a></h3><p>Praised as a “superb interpreter” (Fanfare) and for her “virt
 uosity… and sparkling sound” (Times Argus)\, pianist Mika Sasaki enjoys a 
 versatile career as a soloist\, chamber musician\, and educator. She has p
 erformed across the U.S. and in the U.K.\, Italy\, Japan\, and Switzerland
 \, appearing in venues such as the Library of Congress\, Carnegie Hall\, L
 incoln Center\, and Tokyo Bunka Kaikan. Apassionate chamber musician\, Mik
 a has performed with the Chamber Music Society of Lincoln Center\, Manhatt
 an Chamber Players\, Orpheus Chamber Orchestra\, and A Far Cry\, as well a
 s in festivals such as Tanglewood\, Chigiana\, Yellow Barn\, Aspen\, Taos\
 , and Music@Menlo. She is a member of Ensemble Mélange\, Chameleon Arts En
 semble of Boston\, Decoda (affiliate ensemble of Carnegie Hall)\, and Long
 leash. Dedicated to education and audience engagement\, she has presented 
 interactive performances at schools and community venues across the countr
 y\, including residencies at String Theory\, Skidmore\, and Chamber Music 
 Northwest.</p><p>Based in New York City\, Mika is a faculty member at The 
 Juilliard School\, where she teaches keyboard skills\, piano\, and chamber
  music in the College\, Pre-College\, and Extension. She is an alumna of P
 eabody (B.M.\, M.M.)\, Carnegie Hall’s Ensemble Connect\, and Juilliard (D
 .M.A.). </p>
DTSTART;TZID=America/Los_Angeles:20251014T193000
LAST-MODIFIED:20251003T021736Z
SEQUENCE:272
SUMMARY:: Faculty Concert: Longleash\, featuring John Popham and Pala Garci
 a
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-14/faculty-concert-longleas
 h-featuring-john-popham-and-pala-garcia
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Newly appointed UW strings faculty John Pop
 ham (cello) and Pala Garcia (violin) curate and perform a program <span st yle='rgb(0\, 0\, 0)\;'>of compelling new works and recent major commissions
  from their ensemble </span>Longleash\, an internationally acclaimed conte
 mporary music trio recognized for their “immaculate sound” (Strad Magazine
 ) and “tight playing and lucid interpretations” <span>of innovative new chamber music </span>(Tempo UK). They are joined ons
 tage by triomate Mika Sasaki (piano) in presenting works by Anthony Cheung
 \, Katherine Balch\, and Igor Santos. </p><hr><h2><span class='Apple-conve
 rted-space'>Program Detail</span></h2><p>The program features <em>Nossas M
 ãos</em> (Our Hands)\, <span>a wo
 rk for trio and video by Igor Santos (Rome Prize\, Guggenheim Fellowship).
  In it\, Santos stitches together </span><span>contem
 porary video clips\, archival footage\, and found visual references into q
 uick fire mimetic cycles between video\, sound and live performance\, crea
 ting a playful and poignant exploration of hands as symbols of human agenc
 y\, affection\, protest\, creative expression\, and music making.</span></p><hr><h2>Program</h2><p dir='ltr'><span><strong>Anthony Ch
 eung </strong></span></p><p dir='ltr'><em><span>Flyway Detour </span></em><span s tyle='pre-wrap\;'>(2006\, revised 2017 for Longleash) </span><br> 
 </p><p dir='
 ltr'><span><strong>Katherine Balch </strong></s></p><p d ir='ltr'><em><span>different gravities</span></em><span> (2023) </span></p><p dir='ltr'><span>i. A
 gile\, crisp</span></p><p dir='ltr'><span>ii. Fragile\, sin
 king</span></p><p dir='ltr'><span>iii. Jittery\, mechanical
 </span></p><p dir='ltr'><span>iv. Brisk\, bells clanging</s></p><p d ir='ltr'><span>Commissioned by Longleash with s
 upport from The Koussevitzky Foundation of the Library of Congress </span>
 </p><p dir='
 ltr'><br><span>-break-</span><br> </p><p dir='ltr'><span st yle='pre-wrap\;'><strong>Igor Santos</strong> </span></p><p dir='ltr'><em>Nossas Mãos </span></em><span>(2024) 
 </span></p><p dir='ltr'><span>Commissioned by Longleash wit
 h support from Chamber Music America </span></p><hr><h3>Biographies<br>Ant
 hony Cheung</h3><p>Composer/pianist Anthony Cheung writes music that explo
 res the senses\, a wide palette of instrumental play and affect\, improvis
 ational traditions\, reimagined musical artifacts\, and multiple layers of
  textual meaning. </p><p>His music has been commissioned and performed by 
 leading groups such as the Ensemble Modern\, Ensemble Intercontemporain\, 
 the LA and New York Philharmonics\, Frankfurt Radio Symphony Orchestra\, E
 nsemble Musikfabrik\, Yarn/Wire\, AMOC*\, Scharoun Ensemble Berlin\, Orche
 stre Philharmonique de Radio France\, and many others. From 2015-17\, he w
 as the Daniel R. Lewis Composer Fellow with the Cleveland Orchestra. He is
  the recipient of a 2016 Guggenheim Fellowship\, as well as a 2012 Rome Pr
 ize\, and received First Prize at the 2008 Dutilleux Competition. As a co-
 founder of New York’s Talea Ensemble\, he served as pianist and artistic d
 irector of the group. </p><p>Recordings include five portrait discs: All R
 oads (New Focus\, 2022)\, Music for Film\, Sculpture\, and Captions (Kairo
 s\, 2022)\, Cycles and Arrows (New Focus)\, Dystemporal (Wergo)\, andRound
 abouts (Ensemble Modern Medien). He studied at Harvard and Columbia\, and 
 was a Junior Fellow at the Harvard Society of Fellows. He previously taugh
 t at the University of Chicago and is an Associate Professor of Music at B
 rown University.</p><h3>Katherine Balch</h3><p>Described as “some kind of 
 musical Thomas Edison – you can just hear her tinkering around in her work
 shop\, putting together new sounds and textural ideas” (San Francisco Chro
 nicle)\, composer Katherine Balch is interested in the intimacy of quotidi
 an objects\, found sounds\, and natural processes. A collector of aural de
 lights\, field recordings are often at the heart of her work\, which range
 s from acoustic to mixed media and installation.</p><p>A recipient of the 
 2020/21 Rome Prize and a 2025 Guggenheim fellowship\, Katherine’s work has
  been commissioned and performed by internationally leading ensembles and 
 presenting organizations including the New York Philharmonic\, Ensemble Mo
 dern\, the London Sinfonietta\, Tanglewood\, Suntory Summer Arts (Japan)\,
  Huddersfield Contemporary Music Festival (UK) and the symphony orchestras
  of Tokyo\, Darmstadt\, Minnesota\, Oregon\, Albany\, Indianapolis\, Pitts
 burg\, and Dallas. Her music is published exclusively worldwide by Schott.
  </p><p>Katherine is Associate Professor of Composition at Yale School of 
 Music and holds a D.M.A. from  Columbia University. </p><h3>Igor Santos<p>Described as “otherworldly and mysteriously familiar” (Chicago Classi
 cal Review)\, and as “exciting and clear... with a striking boldness' (Lui
 gi Nono Competition Prize)\, Igor Santos’ music has been performed interna
 tionally\, by leading musicians such as Ensemble Modern\, Ensemble Interco
 ntemporain\, Ensemble Dal Niente\, Yarn/Wire\, Alarm Will Sound\, POING\, 
 the American Composers Orchestra\, and The Florida Orchestra.</p><p>His wo
 rk is centered on mimetic relationships between found sounds\, acoustic in
 struments\, and recently with video\, all of which is dramatized through r
 epetition and the use of microtonal keyboards. </p><p>Igor has earned degr
 ees in Music Composition from the University of Chicago\, the Eastman Scho
 ol of Music\, and the University of South Florida. He has been awarded the
  Rome Prize (2022)\, a Guggenheim Fellowship (2023)\, and has won addition
 al prizes such as the International Ferruccio Busoni Competition\, the Lui
 gi Nono International Competition\, the RED NOTE Competition\, the Salvato
 re Martirano Award\, and was also awarded Best Sound Design from Theater T
 ampa Bay (for his incidental music).<br><br>Igor is a native of Curitiba\,
  Brazil. He is currently an Assistant Professor of Music at Cornell Univer
 sity.</p><h3>Longleash</h3><p>An “expert trio” (Strad Magazine) known for 
 “tight playing and lucid interpretations” (Tempo)\, Longleash enjoys an in
 ternational reputation for artistic excellence in contemporary music. “Fea
 rlessly accomplished” (Arts Desk UK)\, the trio takes its name from Operat
 ion Long Leash\, a Cold War era covert operation that supported American a
 vant-garde artists in Europe. </p><p>Recent highlights include appearances
  at the Noguchi Museum\, TIME:SPANS Festival\, Five Boroughs Music Festiva
 l\, the Americas Society\, Princeton University\, Ecstatic Music Festival\
 , National Sawdust\, the Experimental Media and Performing Arts Center (Tr
 oy\, NY)\, Jeunesse (Vienna)\, Átlátszó Hang (Budapest)\, FUAIM Music (Cor
 k\, Ireland)\, Trondheim International Chamber Music Festival (Norway)\, a
 nd Open Music (Graz\, Austria). </p><p>Their work in contemporary music ha
 s been supported by Columbia University\, Chamber Music America\, the Kous
 sevitzky Foundation of the Library of Congress\, New Music USA\, the Aaron
  Copland Fund for Music\, and others. </p><p dir='ltr'> </p><h3><a href='https: www.mi
 kasasaki.com'>Mika Sasaki</a></h3><p>Praised as a “superb interpreter” (Fa
 nfare) and for her “virtuosity… and sparkling sound” (Times Argus)\, piani
 st Mika Sasaki enjoys a versatile career as a soloist\, chamber musician\,
  and educator. She has performed across the U.S. and in the U.K.\, Italy\,
  Japan\, and Switzerland\, appearing in venues such as the Library of Cong
 ress\, Carnegie Hall\, Lincoln Center\, and Tokyo Bunka Kaikan. Apassionat
 e chamber musician\, Mika has performed with the Chamber Music Society of 
 Lincoln Center\, Manhattan Chamber Players\, Orpheus Chamber Orchestra\, a
 nd A Far Cry\, as well as in festivals such as Tanglewood\, Chigiana\, Yel
 low Barn\, Aspen\, Taos\, and Music@Menlo. She is a member of Ensemble Mél
 ange\, Chameleon Arts Ensemble of Boston\, Decoda (affiliate ensemble of C
 arnegie Hall)\, and Longleash. Dedicated to education and audience engagem
 ent\, she has presented interactive performances at schools and community 
 venues across the country\, including residencies at String Theory\, Skidm
 ore\, and Chamber Music Northwest.</p><p>Based in New York City\, Mika is 
 a faculty member at The Juilliard School\, where she teaches keyboard skil
 ls\, piano\, and chamber music in the College\, Pre-College\, and Extensio
 n. She is an alumna of Peabody (B.M.\, M.M.)\, Carnegie Hall’s Ensemble Co
 nnect\, and Juilliard (D.M.A.). </p>
END:VEVENT
BEGIN:VEVENT
UID:d027b260-fb50-4e1e-9757-d590bc28f9a2
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Special Events\, Talks\, Visiting Artists and Scholar
 s
CLASS:PUBLIC
CREATED:20251003T202606Z
DESCRIPTION:<p>This speaker series is presented in advance of the UW Sympho
 ny's upcoming <a href='https://music.washington.edu/events/2026-02-06/film
 -screening-performance-healing-heart-lushootseed-uw-symphony-adia-s-bowen'>Feb. 6\, 2026 performance </a>of Bruce Ruddell's symphony\, 'Healing Hear
 t of the First People of This Land.'</p><p>The series is open to the publi
 c. Doors open at 10:30 am for coffee and pastries. All talks are on Thursd
 ays from 11 a.m. to 12 pm.</p><p><strong>10/9:</strong>  łuutiis Charlotte
  Coté (Nuu-chah-nulth) with Dian Million (Tanana) as discussant<br><br>10/16:</strong>  Tami Hohn (Puyallup) with McKenna Sweet Dorman (Snoq
 ualmie) as discussant<br><br><strong>10/23:</strong> <strong> Laurel Serco
 mbe with John Vallier as Discussant: </strong>“The Journey of Basket Ogres
 s: A History of the Revival and Revitalization of the Lushootseed Language
  in Coast Salish Country”. <strong>Sercombe </strong>is<strong> </strong>r
 etired sound archivist and curator for the UW Ethnomusicology Archive (Hom
 e of the Vi Hilbert Archive). <strong>Vallier is c</strong>urator for UW S
 pecial Collections and the Ethnomusicology Archive (Home of the Vi Hilbert
  Archive)\; Adjunct faculty in the School of Music and UW Comparative Hist
 ory of Ideas.<br><br><strong>10/30: </strong> John LaPointe (Swinomish)<br><br>11/6:  <strong>Jill tsisqʷux̌ʷaʔł LaPointe (Upper Skagit/Nooksack) wi
 th Janet Yoder: '</strong>The Healing Heart of Lushootseed: A Film Screeni
 ng and Discussion.'  <strong>Jill tsisqʷux̌ʷaʔł LaPointe</strong> (Upper S
 kagit/Nooksack)\, is senior director of the Indigenous Peoples Institute a
 t Seattle University. <strong>Janet Yoder </strong>is the author of Where 
 the Language Lives: Vi Hilbert and the Gift of the Lushootseed\, which pay
 s tribute to the woman whose determination and passion helped breathe life
  into her language and culture\, and was a finalist for the 2023 WA State 
 Book Award. <br><br><strong>11/13:</strong>  Composer Bruce Ruddell\, Musi
 cians Adia tsi sʔuyuʔaɫ Bowen (Upper Skagit) and Ben Workman Smith (Tolowa
 )\, Conductors Ryan Dudenbostel and David Rahbee\, with John-Carlos Perea 
 (Mescalero Apache/German/Irish/Chicano) as discussant<br><br><strong>11/20
 </strong> Sasha taqwšəblu LaPointe (Upper Skagit/Nooksack): Native to the 
 Pacific Northwest\, Sasha draws inspiration from her Coast Salish heritage
  as well as her life in the city. She writes with a focus on trauma and re
 silience\, PTSD\, sexual violence\, and the work her great grandmother did
  for Lushootseed language revitalization. </p><p><a href='https://healingh
 eartproject.org/'>More information on this series </a>`</p><p>Sponsored by
  Lushootseed Research\; Indigenous Peoples Institute @ Seattle University\
 ; Arts UW\; UW School of Music\; Center for American Indian and Indigenous
  Studies\; American Indian Studies Department\; Simpson Center for the Hum
 anities\; wǝɫǝbʔaltxʷ - Intellectual House @ the University of Washington&lt;
 /p&gt;
DTSTART;TZID=America/Los_Angeles:20251016T110000
LAST-MODIFIED:20251119T170529Z
SEQUENCE:273
SUMMARY:: Healing Heart Speaker Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-09/healing-heart-speaker-se
 ries
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>This speaker series is presented in advance
  of the UW Symphony's upcoming <a href='https://music.washington.edu/event
 s/2026-02-06/film-screening-performance-healing-heart-lushootseed-uw-symph
 ony-adia-s-bowen'>Feb. 6\, 2026 performance </a>of Bruce Ruddell's symphon
 y\, 'Healing Heart of the First People of This Land.'</p><p><em>The series
  is open to the public. Doors open at 10:30 am for coffee and pastries. Al
 l talks are on Thursdays from 11 a.m. to 12 pm.</em></p><p><strong>10/9:</strong>  łuutiis Charlotte Coté (Nuu-chah-nulth) with Dian Million (Tanana
 ) as discussant<br><br><strong>10/16:</strong>  Tami Hohn (Puyallup) with 
 McKenna Sweet Dorman (Snoqualmie) as discussant<br><br><strong>10/23: <strong> Laurel Sercombe with John Vallier as Discussant: </strong>“T
 he Journey of Basket Ogress: A History of the Revival and Revitalization o
 f the Lushootseed Language in Coast Salish Country”. <span times new><strong>Serc
 ombe </strong>is<strong> </strong></span><span times new>retired soun
 d archivist and curator for the UW Ethnomusicology Archive (Home of the Vi
  Hilbert Archive). </span><span times new><strong>Vallier is c</strong></span>urator for UW Special Collections and the Ethnomusicolog
 y Archive (Home of the Vi Hilbert Archive)\; Adjunct faculty in the School
  of Music and UW Comparative History of Ideas.</span><br><br><strong>10/30
 : </strong> John LaPointe (Swinomish)<br><br>11/6:  <strong>Jill tsisqʷux̌
 ʷaʔł LaPointe (Upper Skagit/Nooksack) with Janet Yoder: '</strong>The Heal
 ing Heart of Lushootseed: A Film Screening and Discussion.'  <strong>Jill 
 tsisqʷux̌ʷaʔł LaPointe</strong> (Upper Skagit/Nooksack)\, is senior direct
 or of the Indigenous Peoples Institute at Seattle University. <strong>Jane
 t Yoder </strong>is the author of <em>Where the Language Lives: Vi Hilbert
  and the Gift of the Lushootseed\,</em> which pays tribute to the woman wh
 ose determination and passion helped breathe life into her language and cu
 lture\, and was a finalist for the 2023 WA State Book Award. <br><br>11/13:</strong>  Composer Bruce Ruddell\, Musicians Adia tsi sʔuyuʔaɫ B
 owen (Upper Skagit) and Ben Workman Smith (Tolowa)\, Conductors Ryan Duden
 bostel and David Rahbee\, with John-Carlos Perea (Mescalero Apache/German/
 Irish/Chicano) as discussant<br><br><strong>11/20</strong> Sasha taqwšəblu
  LaPointe (Upper Skagit/Nooksack): Native to the Pacific Northwest\, Sasha
  draws inspiration from her Coast Salish heritage as well as her life in t
 he city. She writes with a focus on trauma and resilience\, PTSD\, sexual 
 violence\, and the work her great grandmother did for Lushootseed language
  revitalization. </p><p><a href='https://healingheartproject.org/'>More in
 formation on this series </a>`</p><p><em>Sponsored by Lushootseed Research
 \; Indigenous Peoples Institute @ Seattle University\; Arts UW\; UW School
  of Music\; Center for American Indian and Indigenous Studies\; American I
 ndian Studies Department\; Simpson Center for the Humanities\; wǝɫǝbʔaltxʷ
  - Intellectual House @ the University of Washington</em></p>
END:VEVENT
BEGIN:VEVENT
UID:781cf590-6677-4872-9ba3-8b63a203c647
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20250401T201627Z
DESCRIPTION:<p>Welcoming prospective undergraduate students and their famil
 ies to learn about <a helvetica href='https://artsci.washingto
 n.edu/' target='_blank' rel='noopener'>studying in the College of Arts &amp; S
 ciences at the University of Washington</a>.</p>
DTSTART;TZID=America/Los_Angeles:20251017T000000
LAST-MODIFIED:20250909T142006Z
SEQUENCE:274
SUMMARY:: 2025 Fall NACAC National College Fair Seattle: Meet the College o
 f Arts &amp; Sciences
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-17/2025-fall-nacac-national
 -college-fair-seattle-meet-college-arts-sciences
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span helvetica>Welcoming prospective undergraduate stu
 dents and their families to learn about </span><a helvetica hr ef='https://artsci.washington.edu/' target='_blank' rel='noopener'>studyin
 g in the College of Arts &amp; Sciences at the University of Washington</a>.</span></p>
END:VEVENT
BEGIN:VEVENT
UID:de82a8ed-3a22-4c4d-99f5-7891b7f332ea
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks
CLASS:PUBLIC
CREATED:20251010T214403Z
DESCRIPTION:<p>The School of Music presents a guest lecture by Portland-bas
 ed composer Caroline Louise Miller\, assistant professor of Sonic Arts at 
 Portland State University. </p><hr><h2>Biography</h2><p>Caroline Louise Mi
 ller (they/them) is a U.S. composer based in Portland\, Oregon. Common the
 mes in their work include affect\, ecology\, labor politics\, tactility\, 
 and the materiality of media\, often within dreamlike musical spaces that 
 thread field recordings\, shimmering textures\, and romantic melodic lines
  through harsh noise and clattering dissonances. They have enjoyed wide-ra
 nging collaborations\, and have been supported by numerous grants\, fellow
 ships\, and commissions. These have most recently included funding through
  Portland Jazz Composers Ensemble\, Sonic Matter Festival\, Alarm Will Sou
 nd/Matt Marks Impact Fund\, SPLICE Ensemble\, Chamber Music America\, Guer
 illa Opera\, Transient Canvas\, Ensemble Adapter\, and others. Their music
  is performed nationally and internationally.<br> <br>In 2014\, Miller wor
 ked as an artist-in-residence aboard a Scripps Institution of Oceanography
  research vessel in the Philippine Sea\, sailing from Kaohsiung\, Taiwan t
 o Koror\, Palau. Field recordings from the ship were used to compose the s
 core for a feature-length experimental documentary by Lyndsay Bloom about 
 daily life aboard the ship. From 2012-2017\, Miller organized and curated 
 an annual new music and cross-disciplinary collaborative showcase at the B
 irch Aquarium in La Jolla. At Portland State\, Miller co-organizes ReWire 
 Festival\, an annual spring showcase of work involving collaborations betw
 een SAMP\, Theater\, and other disciplines.<br> <br>Miller is currently As
 sistant Professor of Sonic Arts at Portland State University. They a hold 
 a Ph.D in Music from UC San Diego. In their spare time\, they enjoy learni
 ng about zoology and sonic behaviors of animals and ecosystems. </p><p><br><br> </p>
DTSTART;TZID=America/Los_Angeles:20251017T123000
LAST-MODIFIED:20251010T214825Z
SEQUENCE:275
SUMMARY:: Guest Composer Lecture: Caroline Louise Miller
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-17/guest-composer-lecture-c
 aroline-louise-miller
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The School of Music presents a guest lectur
 e by Portland-based composer Caroline Louise Miller\, assistant professor 
 of Sonic Arts at Portland State University. </p><hr><h2>Biography</h2><div dir='ltr'><p>Caroline Louise Miller<span> (they/the
 m) is a U.S. composer based in Portland\, Oregon. Common themes in their w
 ork include affect\, ecology\, labor politics\, tactility\, and the materi
 ality of media\, often within dreamlike musical spaces that thread field r
 ecordings\, shimmering textures\, and romantic melodic lines through harsh
  noise and clattering dissonances. They have enjoyed wide-ranging collabor
 ations\, and have been supported by numerous grants\, fellowships\, and co
 mmissions. These have most recently included funding through Portland Jazz
  Composers Ensemble\, Sonic Matter Festival\, Alarm Will Sound/Matt Marks 
 Impact Fund\, SPLICE Ensemble\, Chamber Music America\, Guerilla Opera\, T
 ransient Canvas\, Ensemble Adapter\, and others. Their music is performed 
 nationally and internationally.</span><br><span> </span><br><span s tyle='rgb(0\, 0\, 0)\;
 '>In 2014\, Miller worked as an artist-in-residence aboard a Scripps Insti
 tution of Oceanography research vessel in the Philippine Sea\, sailing fro
 m Kaohsiung\, Taiwan to Koror\, Palau. Field recordings from the ship were
  used to compose the score for a feature-length experimental documentary b
 y Lyndsay Bloom about daily life aboard the ship. From 2012-2017\, Miller 
 organized and curated an annual new music and cross-disciplinary collabora
 tive showcase at the Birch Aquarium in La Jolla. At Portland State\, Mille
 r co-organizes ReWire Festival\, an annual spring showcase of work involvi
 ng collaborations between SAMP\, Theater\, and other disciplines.</span><br><span> </span><br><span>Miller is currently Assistant Professo
 r of Sonic Arts at Portland State University. They a hold a Ph.D in Music 
 from UC San Diego. In their spare time\, they enjoy learning about zoology
  and sonic behaviors of animals and ecosystems.</span> </p></div><p><br><br> </p>
END:VEVENT
BEGIN:VEVENT
UID:23ee012c-7c0f-4dc8-a852-efdfcdc31871
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Student Activities and Performances\, Vis
 iting Artists and Scholars
CLASS:PUBLIC
CREATED:20250910T112234Z
DESCRIPTION:<p> </p><p>Students and faculty from the School of Music perfor
 m works by Bach\, Couperin\, Pachelbel\, Symth\, Distler\, Frahm\, and an 
 Improvisation on P.A.U.L. F.R.I.T.T.S in this collaboration hosted by the 
 Seattle Chapter of the American Guild of Organists\, St. Alphonsus Church\
 , and the School of Music. </p><h2>Program Detail</h2><p>This 40th anniver
 sary celebration of the installation of the historic Fritts-Richards organ
  at St. Alphonsus Church pays tribute to Fritts-Richards Organ Builders of
  Tacoma and their storied history of creating exquisitely crafted instrume
 nts in public venues throughout the region. </p><p>The program features re
 marks by Carole Terry\, UW Professor Emerita\; and Stephen Price\, UW Frit
 ts Faculty Fellow in Organ Studies. </p><p>A reception hosted by the UW Sc
 hool of Music follows the program. Please RSVP if you plan to attend. </p>
 <p><a href='https://events.uw.edu/B2LR1D '><strong>RSVP FOR THE RECEPTION&lt;
 /strong&gt;</a></p><hr><h2>Biographies</h2><p> </p>
DTSTART;TZID=America/Los_Angeles:20251018T190000
LAST-MODIFIED:20251009T191338Z
SEQUENCE:276
SUMMARY:: UW Organ Studio at St. Alphonsus Church
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-18/uw-organ-studio-st-alpho
 nsus-church
END:VEVENT
BEGIN:VEVENT
UID:d027b260-fb50-4e1e-9757-d590bc28f9a2
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Special Events\, Talks\, Visiting Artists and Scholar
 s
CLASS:PUBLIC
CREATED:20251003T202606Z
DESCRIPTION:<p>This speaker series is presented in advance of the UW Sympho
 ny's upcoming <a href='https://music.washington.edu/events/2026-02-06/film
 -screening-performance-healing-heart-lushootseed-uw-symphony-adia-s-bowen'>Feb. 6\, 2026 performance </a>of Bruce Ruddell's symphony\, 'Healing Hear
 t of the First People of This Land.'</p><p>The series is open to the publi
 c. Doors open at 10:30 am for coffee and pastries. All talks are on Thursd
 ays from 11 a.m. to 12 pm.</p><p><strong>10/9:</strong>  łuutiis Charlotte
  Coté (Nuu-chah-nulth) with Dian Million (Tanana) as discussant<br><br>10/16:</strong>  Tami Hohn (Puyallup) with McKenna Sweet Dorman (Snoq
 ualmie) as discussant<br><br><strong>10/23:</strong> <strong> Laurel Serco
 mbe with John Vallier as Discussant: </strong>“The Journey of Basket Ogres
 s: A History of the Revival and Revitalization of the Lushootseed Language
  in Coast Salish Country”. <strong>Sercombe </strong>is<strong> </strong>r
 etired sound archivist and curator for the UW Ethnomusicology Archive (Hom
 e of the Vi Hilbert Archive). <strong>Vallier is c</strong>urator for UW S
 pecial Collections and the Ethnomusicology Archive (Home of the Vi Hilbert
  Archive)\; Adjunct faculty in the School of Music and UW Comparative Hist
 ory of Ideas.<br><br><strong>10/30: </strong> John LaPointe (Swinomish)<br><br>11/6:  <strong>Jill tsisqʷux̌ʷaʔł LaPointe (Upper Skagit/Nooksack) wi
 th Janet Yoder: '</strong>The Healing Heart of Lushootseed: A Film Screeni
 ng and Discussion.'  <strong>Jill tsisqʷux̌ʷaʔł LaPointe</strong> (Upper S
 kagit/Nooksack)\, is senior director of the Indigenous Peoples Institute a
 t Seattle University. <strong>Janet Yoder </strong>is the author of Where 
 the Language Lives: Vi Hilbert and the Gift of the Lushootseed\, which pay
 s tribute to the woman whose determination and passion helped breathe life
  into her language and culture\, and was a finalist for the 2023 WA State 
 Book Award. <br><br><strong>11/13:</strong>  Composer Bruce Ruddell\, Musi
 cians Adia tsi sʔuyuʔaɫ Bowen (Upper Skagit) and Ben Workman Smith (Tolowa
 )\, Conductors Ryan Dudenbostel and David Rahbee\, with John-Carlos Perea 
 (Mescalero Apache/German/Irish/Chicano) as discussant<br><br><strong>11/20
 </strong> Sasha taqwšəblu LaPointe (Upper Skagit/Nooksack): Native to the 
 Pacific Northwest\, Sasha draws inspiration from her Coast Salish heritage
  as well as her life in the city. She writes with a focus on trauma and re
 silience\, PTSD\, sexual violence\, and the work her great grandmother did
  for Lushootseed language revitalization. </p><p><a href='https://healingh
 eartproject.org/'>More information on this series </a>`</p><p>Sponsored by
  Lushootseed Research\; Indigenous Peoples Institute @ Seattle University\
 ; Arts UW\; UW School of Music\; Center for American Indian and Indigenous
  Studies\; American Indian Studies Department\; Simpson Center for the Hum
 anities\; wǝɫǝbʔaltxʷ - Intellectual House @ the University of Washington&lt;
 /p&gt;
DTSTART;TZID=America/Los_Angeles:20251023T110000
LAST-MODIFIED:20251119T170529Z
SEQUENCE:277
SUMMARY:: Healing Heart Speaker Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-09/healing-heart-speaker-se
 ries
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>This speaker series is presented in advance
  of the UW Symphony's upcoming <a href='https://music.washington.edu/event
 s/2026-02-06/film-screening-performance-healing-heart-lushootseed-uw-symph
 ony-adia-s-bowen'>Feb. 6\, 2026 performance </a>of Bruce Ruddell's symphon
 y\, 'Healing Heart of the First People of This Land.'</p><p><em>The series
  is open to the public. Doors open at 10:30 am for coffee and pastries. Al
 l talks are on Thursdays from 11 a.m. to 12 pm.</em></p><p><strong>10/9:</strong>  łuutiis Charlotte Coté (Nuu-chah-nulth) with Dian Million (Tanana
 ) as discussant<br><br><strong>10/16:</strong>  Tami Hohn (Puyallup) with 
 McKenna Sweet Dorman (Snoqualmie) as discussant<br><br><strong>10/23: <strong> Laurel Sercombe with John Vallier as Discussant: </strong>“T
 he Journey of Basket Ogress: A History of the Revival and Revitalization o
 f the Lushootseed Language in Coast Salish Country”. <span times new><strong>Serc
 ombe </strong>is<strong> </strong></span><span times new>retired soun
 d archivist and curator for the UW Ethnomusicology Archive (Home of the Vi
  Hilbert Archive). </span><span times new><strong>Vallier is c</strong></span>urator for UW Special Collections and the Ethnomusicolog
 y Archive (Home of the Vi Hilbert Archive)\; Adjunct faculty in the School
  of Music and UW Comparative History of Ideas.</span><br><br><strong>10/30
 : </strong> John LaPointe (Swinomish)<br><br>11/6:  <strong>Jill tsisqʷux̌
 ʷaʔł LaPointe (Upper Skagit/Nooksack) with Janet Yoder: '</strong>The Heal
 ing Heart of Lushootseed: A Film Screening and Discussion.'  <strong>Jill 
 tsisqʷux̌ʷaʔł LaPointe</strong> (Upper Skagit/Nooksack)\, is senior direct
 or of the Indigenous Peoples Institute at Seattle University. <strong>Jane
 t Yoder </strong>is the author of <em>Where the Language Lives: Vi Hilbert
  and the Gift of the Lushootseed\,</em> which pays tribute to the woman wh
 ose determination and passion helped breathe life into her language and cu
 lture\, and was a finalist for the 2023 WA State Book Award. <br><br>11/13:</strong>  Composer Bruce Ruddell\, Musicians Adia tsi sʔuyuʔaɫ B
 owen (Upper Skagit) and Ben Workman Smith (Tolowa)\, Conductors Ryan Duden
 bostel and David Rahbee\, with John-Carlos Perea (Mescalero Apache/German/
 Irish/Chicano) as discussant<br><br><strong>11/20</strong> Sasha taqwšəblu
  LaPointe (Upper Skagit/Nooksack): Native to the Pacific Northwest\, Sasha
  draws inspiration from her Coast Salish heritage as well as her life in t
 he city. She writes with a focus on trauma and resilience\, PTSD\, sexual 
 violence\, and the work her great grandmother did for Lushootseed language
  revitalization. </p><p><a href='https://healingheartproject.org/'>More in
 formation on this series </a>`</p><p><em>Sponsored by Lushootseed Research
 \; Indigenous Peoples Institute @ Seattle University\; Arts UW\; UW School
  of Music\; Center for American Indian and Indigenous Studies\; American I
 ndian Studies Department\; Simpson Center for the Humanities\; wǝɫǝbʔaltxʷ
  - Intellectual House @ the University of Washington</em></p>
END:VEVENT
BEGIN:VEVENT
UID:2b6c01d5-1032-4f51-bced-d3b93978e928
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20250401T201705Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20251023T120000
LAST-MODIFIED:20250401T201705Z
SEQUENCE:278
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-23/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:23d19b42-c930-4ec0-8efe-e08fe031fdb7
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20251008T202732Z
DESCRIPTION:<p>Nicholas Mathew\, professor of music at the University of Ca
 lifornia\, Berkeley\, presents 'The Post-humanization of Sound (between Pa
 ris and California\,' in the first presentation of the 2025-26 THEME lectu
 re Series.</p><hr><h2>Abstract</h2><p>This talk begins in 1972\, at the in
 termission of a concert in Berkeley\, California\, when the composer and a
 strologer Dane Rudhyar -- a veteran of twenties theosophical experimentati
 on and sixties counterculture -- took to the stage and delivered a wide-ra
 nging lecture entitled 'The Transforming Power of Tone.'  Following the mu
 sical ideas and buried institutional histories in this lecture\, we will h
 ead all the way back to pre-war France -- and all the way forward to the v
 ibrational ontologies of sound art and the cyber-mysticism of 90s tech uto
 pians.  On the journey with us\, it turns out\, is none other than Claude 
 Debussy -- a marginal yet constant presence in the twentieth-century Euro-
 American fantasy of pure sound and vibrational oneness.  I will tell this 
 eccentric story of Debussy reception with two questions in mind.  (1) When
  and how is music audible as sound? And (2) when and why was sound associa
 ted with the non- or post-human?  Trying to answer these questions\, I wil
 l suggest\, helps us to clarify the (frequently submerged) cultural politi
 cs of present-day philosophies of sound and vibration.</p><hr><h2>Biograph
 y</h2><p>Nicholas Mathew is Professor of Music and Richard and Rhoda Goldm
 an Distinguished Professor in the Humanities at the University of Californ
 ia\, Berkeley. He is the author of the books Political Beethoven and The H
 aydn Economy\, as well as many articles on musical aesthetics\, politics\,
  and performance. He is also a keyboardist\, and his album of Haitian clas
 sical music from the seventeenth to the twentieth centuries\, with the bar
 itone Jean-Bernard Cerin\, will be released this Fall.</p><hr><h2 encode sans compressed reg open>Series Background</h2><p class='p1' open>THEME: A colloquium of U
 W faculty and students of Theory\, History\, Ethnomusicology\, and Music E
 ducation held on select Friday afternoons during the academic year. </p>
DTSTART;TZID=America/Los_Angeles:20251024T160000
LAST-MODIFIED:20251008T203706Z
SEQUENCE:279
SUMMARY:: THEME Lecture Series: Nicholas Mathew (UC Berkeley)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-24/theme-lecture-series-nic
 holas-mathew-uc-berkeley
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Nicholas Mathew\, professor of music at the
  University of California\, Berkeley\, presents 'The Post-humanization of 
 Sound (between Paris and California\,' in the first presentation of the 20
 25-26 THEME lecture Series.</p><hr><h2>Abstract</h2><p>This talk begins in
  1972\, at the intermission of a concert in Berkeley\, California\, when t
 he composer and astrologer Dane Rudhyar -- a veteran of twenties theosophi
 cal experimentation and sixties counterculture -- took to the stage and de
 livered a wide-ranging lecture entitled 'The Transforming Power of Tone.' 
  Following the musical ideas and buried institutional histories in this le
 cture\, we will head all the way back to pre-war France -- and all the way
  forward to the vibrational ontologies of sound art and the cyber-mysticis
 m of 90s tech utopians.  On the journey with us\, it turns out\, is none o
 ther than Claude Debussy -- a marginal yet constant presence in the twenti
 eth-century Euro-American fantasy of pure sound and vibrational oneness.  
 I will tell this eccentric story of Debussy reception with two questions i
 n mind.  (1) When and how is music audible as sound? And (2) when and why 
 was sound associated with the non- or post-human?  Trying to answer these 
 questions\, I will suggest\, helps us to clarify the (frequently submerged
 ) cultural politics of present-day philosophies of sound and vibration.</p><hr><h2>Biography</h2><p>Nicholas Mathew is Professor of Music and Richar
 d and Rhoda Goldman Distinguished Professor in the Humanities at the Unive
 rsity of California\, Berkeley. He is the author of the books <em>Politica
 l Beethoven</em> and <em>The Haydn Economy</em>\, as well as many articles
  on musical aesthetics\, politics\, and performance. He is also a keyboard
 ist\, and his album of Haitian classical music from the seventeenth to the
  twentieth centuries\, with the baritone Jean-Bernard Cerin\, will be rele
 ased this Fall.</p><hr><h2 encode sans compressed open>Series Background</h2><p class='p1' open s>THEME: A colloquium of UW faculty and students of Theory\, Hist
 ory\, Ethnomusicology\, and Music Education held on select Friday afternoo
 ns during the academic year. </p>
END:VEVENT
BEGIN:VEVENT
UID:375fdc67-deb7-4f8c-836a-e653475bc790
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T180257Z
DESCRIPTION:<p> </p><p>David Alexander Rahbee leads the UW Symphony in a pr
 ogram of music by Schubert\, Liszt\, and Dvořák. Faculty pianist Cristina 
 Valdés joins the orchestra for a performance of Liszt: Totentanz\, S.126.&lt;
 /p&gt;<hr><h2>Program</h2><p>Symphony in B minor\, D. 759 “Unfinished”: Franz Schubert</strong> (1797-1828)<br>I.    Allegro moderato<br>II.   
  Andante con moto<br><br>-Intermission-<br><br>The Water Goblin\, op. 107:
  <strong>Antonín Dvořák</strong> (1841-1904)</p><p>Totentanz\, S.126: Franz Liszt</strong> (1811-1886)<br>Cristina Valdés\, piano</p><hr><h2>Program Notes</h2><p>by Mica Weiland</p><p><strong>Franz Schubert (1797-1
 828): Symphony in B Minor “Unfinished” (1822)</strong><br>Franz Schubert w
 as an Austrian composer renowned for his extensive and diverse oeuvre\, wh
 ich includes a substantial body of lieder (art songs)\, chamber music\, sy
 mphonies\, operas\, incidental music\, piano works\, and sacred music. <br>Schubert’s Symphony in B Minor\, commonly referred to as the “Unfinished”
  Symphony\, was composed in 1822\, just six years before his premature dea
 th at the age of 31. This work represents a notable shift toward a more ex
 pansive symphonic form compared to his earlier symphonies\; the two comple
 ted movements alone span nearly thirty minutes\, which is approximately th
 e length of his previous symphonies in full. Evidence suggests that Schube
 rt intended to develop the symphony further\, as he drafted a scherzo for 
 a potential third movement. Moreover\, the Entr’acte from his incidental m
 usic for the play Rosamunde incorporates material believed to be originall
 y intended for the symphony’s finale.<br>At the time of its composition\, 
 large-scale symphonies in minor keys were relatively rare. Beethoven’s Sym
 phony No. 9 in D minor would not be completed until two years later\, in 1
 824. This context may offer insight into Schubert’s reluctance or inabilit
 y to complete the Unfinished Symphony. Following this work\, he went on to
  compose the “Great” C Major Symphony\, another large-scale composition bu
 t in a more familiar key.<br>The Unfinished Symphony consists of two compl
 ete movements. The first\, set in a turbulent B minor\, is marked by sombe
 r melodic lines\, dramatic tremolo figures in the strings\, and the distin
 ctive use of the trombones’ dark timbre. The second movement\, in a contra
 sting E major\, adopts a lyrical\, serenade-like character. Though predomi
 nantly tender and sentimental\, it contains brief brooding passages that r
 ecall the atmosphere of the opening movement.</p><p><strong>Antonín Dvořák
  (1841-1904): The Water Goblin (1896)</strong><br>Antonín Dvořák was a Cze
 ch composer born in 1841 in the Bohemian region\, now part of the Czech Re
 public. As a child\, he demonstrated exceptional talent on the violin\, pi
 ano\, and organ\, and later became an accomplished violist. Over the cours
 e of his career\, Dvořák produced a substantial body of work\, including s
 ymphonies\, chamber music\, operas\, and tone poems. His compositional sty
 le is often regarded as strongly nationalistic\, drawing heavily on the fo
 lk melodies and rhythms of the Bohemian region.<br>Dvořák’s music was nota
 bly championed by Johannes Brahms\, who played a significant role in secur
 ing a publisher for him. This endorsement greatly contributed to the endur
 ing popularity of Dvořák’s music. By the time he began work on his series 
 of tone poems\, he recently returned from his directorship of the National
  Conservatory of Music in New York and had already completed his nine symp
 honies as well as the widely celebrated Cello Concerto. The Water Goblin i
 s one of four tone poems that Dvořák composed based on the poetry collecti
 on Kytice by Karel Jaromír Erben. These tone poems are distinguished by th
 eir fantastical themes\, mythical figures\, and frequently tragic conclusi
 ons.<br>The Water Goblin narrates the story of a supernatural being who wa
 its beside a tranquil lake in search of a bride for his forthcoming weddin
 g. Nearby\, a young girl lives with her mother. While washing laundry at t
 he lake\, the pier on which the girl stands collapses\, the water overtake
 s her\, and she is abducted by the goblin. They marry and have a child. As
  the girl sings a lullaby to the infant\, the goblin grows angry. She plea
 ds with him to allow her a visit to her mother on the shore. He consents u
 nder three strict conditions: she must not embrace a single soul\, not eve
 n her mother\; she must leave the child behind as a hostage\; and she must
  return at the sound of the evening vesper bells.<br>As evening falls\, th
 e girl’s mother forbids her from returning\, even when the bells begin to 
 ring. Enraged\, the goblin emerges from the lake and repeatedly knocks on 
 their door\, demanding that the girl fulfill her promise. The mother plead
 s with him to bring the child instead. Furious\, the goblin departs in a s
 torm\, which culminates in a loud crash. When the mother opens the door\, 
 she discovers the child has been beheaded by the goblin\, who then vanishe
 s into the lake.<br>Dvořák conveys this story through carefully crafted mu
 sical themes in his tone poem. For the Austrian premiere\, he prepared a l
 etter to be included in the program notes\, guiding the audience through t
 he narrative. The themes described in his letter are as follows:<br>The pi
 ece begins with the Water Goblin\, portrayed by the flutes\, sitting alone
  by the lake.<br>We then meet a young girl\, represented by the clarinet\,
  and her mother\, heard in the violins. The mother tells her daughter of a
  troubling dream and warns her not to go near the lake.<br>Ignoring her mo
 ther’s warning\, the girl\, voiced by the violins and oboes\, approaches t
 he lake. The pier collapses\, and she falls into the water—right into the 
 hands of the waiting Water Goblin.<br>The mood turns somber\, capturing th
 e sorrow and misery of the underwater world.<br>Now living beneath the sur
 face\, the girl sings a lullaby to her baby\, tenderly expressed by the fl
 ute and oboe.<br>The Goblin suddenly interrupts\, furious\, and tells her 
 to stop singing. A quarrel ensues\, after which he agrees to let her visit
  her mother on land\, but only if she returns before the evening vesper be
 lls. She must not embrace anyone\, and she must leave the baby behind as a
  hostage.<br>The girl returns to her mother\, with their emotional reunion
  captured by the cellos and trombones.<br>A violent storm brews over the l
 ake. As the church bells ring\, the Goblin arrives and knocks repeatedly o
 n the door. After being refused\, he throws the child’s lifeless body agai
 nst the door with a loud crash.<br>In the aftermath\, the piccolo and flut
 es evoke the sound of croaking frogs. The mother mourns the events of that
  fateful day\, with her grief expressed through the cor anglais and bass c
 larinet. Her anguish is echoed in the oboes\, cellos\, and basses\, as the
  Water Goblin vanishes mysteriously into the depths of the lake.<br><br><s trong>Franz Liszt (1811-1886): Totentanz (1849)</strong><br>Franz Liszt wa
 s a Hungarian composer and virtuoso pianist. A child prodigy\, his innate 
 affinity for the piano is evident throughout his entire body of work. The 
 majority of his compositions were written for solo piano\, including numer
 ous transcriptions of standard orchestral repertoire\, all of which are kn
 own for their formidable technical demands. His orchestral works\, like hi
 s solo piano pieces\, are characterized by vivid color and dramatic flair.
  One such composition\, Totentanz (literally “Death Dance”) for piano and 
 orchestra\, combines diabolical virtuosity with a vivid orchestral color.&lt;
 br&gt;Totentanz is a set of variations on the “Dies Irae” theme\, a Gregorian
  plainchant traditionally associated with the Mass for the Dead. This chan
 t has appeared in many other musical works\, notably in Hector Berlioz’s S
 ymphonie Fantastique\, a piece that Liszt both witnessed and found deeply 
 inspiring. Much of Liszt’s music engages with macabre subject matter\, ref
 lecting his well-documented fascination with death. Totentanz exemplifies 
 both his preoccupation with the morbid and his deep reverence for the pian
 o. It is notable not only as a single-movement concerto but also for the i
 ntricate interplay between the solo piano and the orchestra. The piano wri
 ting is often percussive and conversational\, responding to and engaging w
 ith the orchestral texture.<br>The work opens with the piano and timpani b
 efore introducing the plainchant theme. This theme is punctuated by three 
 brief yet dynamic cadenzas\, leading into the first variation\, where the 
 melody is passed between the bassoons\, violas\, and solo piano. The secon
 d variation is marked by its energetic character and elaborate piano flour
 ishes. The third is rapid and militaristic in nature. The fourth variation
  features an extended solo cadenza for the piano\, accompanied by a solemn
  clarinet line. The fifth variation adopts a baroque-inspired fugato\, whi
 le the sixth presents a stately atmosphere\, highlighted by a prominent ho
 rn part. The final section begins with another piano cadenza before launch
 ing into an allegro animato\, which includes the eerie col legno technique
  in the strings\, where the wood of the bow is struck against the strings.
  The piece concludes with the same furious energy with which it began.</p>
 <hr><h2>University of Washington Symphony Orchestra</h2><p>David Alexander
  Rahbee\, Music Director and Conductor<br>Robert Stahly and Zach Banks\, A
 ssistant Conductors</p><p><strong>Flute</strong><br>Xinyi Liu\, DMA Flute 
 Performance<br>Xinyi Ma\, DMA Flute Performance<br>Tracia Pan\, BM Flute P
 erformance/Statistics<br>Grace Playstead\, MM Flute Performance<br>Peyton 
 Ray\, BM Flute Performance<br>Claire Wei\, BM Flute Performance</p><p>Piccolo</strong><br>Xinyi Liu\, DMA Flute Performance<br>Peyton Ray\, 
 BM Flute Performance<br><br><strong>Oboe</strong><br>Max Bolen\, Marine Bi
 ology<br>Minh-Thi Butler\, BM Oboe Performance<br>Aika Ishizuki\, Pre-scie
 nce</p><p><strong>English Horn</strong><br>Max Bolen\, Marine Biology<br>&lt;
 br&gt;<strong>Clarinet</strong><br>Cameron DeLuca\, DMA Clarinet Performance&lt;
 br&gt;Ysanne Webb\, DMA Clarinet Performance<br>Nick Zhang\, BS Computer Scie
 nce</p><p><strong>Bass Clarinet</strong><br>Cameron DeLuca\, DMA Clarinet 
 Performance</p><p><br><strong>Bassoon</strong><br>Levi Beck\, BM Bassoon P
 erformance<br>Alex Fraley\, Music Education<br>Ryan Kapsandy\, BM Bassoon 
 Performance<br>Eric Shankland\, BA Bassoon Performance</p><p><strong>Contr
 abassoon</strong><br>Eric Shankland\, BA Bassoon Performance</p><p><br>Horn    </strong> <br>Nicole Bogner\, BM Horn Performance<br>Ethan Hi
 cks\, BM Horn Performance<br>Colin Laskarzewski\, BS Physics<br>Elise Moe\
 , BM Horn Performance<br>Sam Nutt\, Molecular &amp; Cellular Biology<br><br><s trong>Trumpet</strong><br>Hans Faul\, BM Trumpet Performance<br>Patrick Hu
 nninghake\, DMA Trumpet Performance<br>Antti Männistö\, BS Physics<br>Drew
  Theran\, MM Trumpet Performance</p><p><br><strong>Trombone</strong><br>Ow
 en Fang\, BM Trombone Performance<br>Neal Muppidi\, BM Trombone Performanc
 e<br>Nathanael Wyttenbach\, Music Composition<br><br><strong>Bass Trombone
 </strong><br>Miles Carter\, BM Trombone Performance</p><p><strong>Tuba<br>Adam Mtimet\, DMA Tuba Performance<br>Chris Seay\, DMA Tuba Perfo
 rmance<br><br><strong>Timpani</strong><br>Kaisho Barnhill\, Music Educatio
 n\, Psychology<br><br><strong>Percussion</strong><br>Cyan Duong\, Music Ed
 ucation<br>Devon Rafanelli\, MM Percussion Performance<br>Tyler Smith\, MM
  Percussion Performance<br>Regan Wong\, Microbiology<br><br><strong>Violin
  I</strong><br>Grace Pandra\, Violin Performance/Business Administration (
 Co-Concertmaster)<br>Hanu Nahm\, Violin Performance/Intended Neuroscience 
 (Co-Concertmaster)<br>David Teves-Tan\, Pre-Sciences<br>Grace Hwang\, BA M
 usic\, ECE<br>Michaela Klesse\, Music<br>Yerin Hwang\, Music<br>Justin Cha
 e\, Computer Science/Mathematics<br>Kieran Horowitz\, Biology<br>Han Yeung
 \, Political Science<br>Brandon Bailey\, Computer Science<br>Nicole Chen\,
  Informatics<br>Justene Li\, Pre-Sciences<br>Vitaliy Duvalko\, Engineering
 <br>Rosalia Feng\, Statistics<br>Qurin Choi\, Biochemistry<br>Danny Zhang\
 , Pre-Sciences<br>Caleb Anderson\, Mathematics<br>Lyle Deng\, Computer Sci
 ence</p><p><strong>Violin II</strong><br>Martessa Davis\, MM Violin Perfor
 mance (Principal)<br>Gustavo Berho\, BM Music<br>Victoria Zhuang\, Informa
 tics and Geography: Data Science<br>Ethan Li\, Engineering<br>Alice Lepper
 t\, Chemistry<br>Christina Kim\, Pre-music<br>Cristina Kosilkina\, BS Bioc
 hemistry<br>Ling Yang\, Medical Anthropology and Global Health<br>Leo Li\,
  Computer Science<br>Daniel Park\, Biochemistry<br>Saraim Gebretsadik\, Bi
 ochemistry<br>Amar Salmi\, Biochemistry/CHID<br>Kate Everling\, Applied Ma
 thematics<br>Thea Higgins\, MS Industrial Engineering<br>Mckinley Xia\, En
 gineering<br>Lily Bingham\, Engineering<br>Alessandra Fernandez\, Pre-scie
 nce<br>Freya Frahm\, Computer Sciences/BM Piano Performance<br>Hailey Vaug
 ht\, Business Administration</p><p><strong>Viola </strong>    <br>Flora Cu
 mmings\, Viola Performance/Wildlife Conservation (Co-Principal)<br>Mica We
 iland\, Viola Performance (Co-Principal)<br>Emma Boyce\, Music<br>Abigail 
 Schidler\, Computer Science/BA Music<br>Helen Young\, MM Music Education<b r>Annika Johnson\, Earth and Space Sciences: Physics<br>Mia Grayson\, Bioc
 hemistry<br>Lexi Scida\, MA Music History<br>Jacob Dagen\, History/Educati
 on<br>Henry Yang\, Computer Science<br>Melia Golden\, Biochemistry<br>Mela
 ny Nanayakkara\, Material Science Engineering/Chemistry<br>Ryan Dakota Far
 ris\, DMA Orchestral Conducting</p><p><strong>Violoncello  </strong>      
  <br>Cory Chen\, BA in Music/Intended Neuroscience (Principal)<br>Sota Emu
 ra\, BM Cello Performance<br>Ian Jung\, Engineering<br>Loni Yin\, Pre-Scie
 nces<br>Nacho Tejeda\, PhD Mathematics<br>Oliver Tiu\, Biochemistry<br>Nat
 han Evans\, BA Music History<br>Ben Gallafent\, Pre-science<br>Jisung Lee\
 , Computer Science<br>Katherine Kang\, Human Centered Design &amp; Engineering
 <br>Mimi Leung\, Chemistry<br>Mina Wang\, Informatics<br>Jayden Kang\, Pre
 -business<br>Eli Kashman\, Bioengineering<br>Lucy Finnell\, Biochemistry<b r>Bashir Abdel-Fattah\, PhD Mathematics<br>Stephan Rivera\, Engineering<br>Andrew Vu\, Chemistry/Biochemistry/Math<br>Ally Wu\, Electrical Engineeri
 ng</p><p><strong>Bass</strong>    <br>Eddie Mospan\, BM Bass Performance (
 Principal)<br>Nathan Eskridge\, MM Bass Performance<br>Amelia Matsumoto\, 
 BM Bass Performance<br>Gabriella Kelley\, English<br>Raiden Jones\, Engine
 ering</p><hr><h2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20251024T193000
LAST-MODIFIED:20251022T203718Z
SEQUENCE:280
SUMMARY:: UW Symphony Orchestra with Cristina Valdés
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-24/uw-symphony-orchestra-cr
 istina-valdes
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>David Alexander Rahbee leads the UW
  Symphony in a program of music by Schubert\, Liszt\, and Dvořák. Faculty 
 pianist Cristina Valdés joins the orchestra for a performance of Liszt: To
 tentanz\, S.126.</p><hr><h2>Program</h2><p>Symphony in B minor\, D. 759 “U
 nfinished”: <strong>Franz Schubert</strong> (1797-1828)<br>I.    Allegro m
 oderato<br>II.    Andante con moto<br><br>-Intermission-<br><br>The Water 
 Goblin\, op. 107: <strong>Antonín Dvořák</strong> (1841-1904)</p><p>Totent
 anz\, S.126: <strong>Franz Liszt</strong> (1811-1886)<br><em>Cristina Vald
 és\, piano</em></p><hr><h2>Program Notes</h2><p><em>by Mica Weiland</em></p><p><strong>Franz Schubert (1797-1828): Symphony in B Minor “Unfinished” 
 (1822)</strong><br>Franz Schubert was an Austrian composer renowned for hi
 s extensive and diverse oeuvre\, which includes a substantial body of lied
 er (art songs)\, chamber music\, symphonies\, operas\, incidental music\, 
 piano works\, and sacred music. <br>Schubert’s Symphony in B Minor\, commo
 nly referred to as the “Unfinished” Symphony\, was composed in 1822\, just
  six years before his premature death at the age of 31. This work represen
 ts a notable shift toward a more expansive symphonic form compared to his 
 earlier symphonies\; the two completed movements alone span nearly thirty 
 minutes\, which is approximately the length of his previous symphonies in 
 full. Evidence suggests that Schubert intended to develop the symphony fur
 ther\, as he drafted a scherzo for a potential third movement. Moreover\, 
 the Entr’acte from his incidental music for the play Rosamunde incorporate
 s material believed to be originally intended for the symphony’s finale.<b r>At the time of its composition\, large-scale symphonies in minor keys we
 re relatively rare. Beethoven’s Symphony No. 9 in D minor would not be com
 pleted until two years later\, in 1824. This context may offer insight int
 o Schubert’s reluctance or inability to complete the Unfinished Symphony. 
 Following this work\, he went on to compose the “Great” C Major Symphony\,
  another large-scale composition but in a more familiar key.<br>The Unfini
 shed Symphony consists of two complete movements. The first\, set in a tur
 bulent B minor\, is marked by somber melodic lines\, dramatic tremolo figu
 res in the strings\, and the distinctive use of the trombones’ dark timbre
 . The second movement\, in a contrasting E major\, adopts a lyrical\, sere
 nade-like character. Though predominantly tender and sentimental\, it cont
 ains brief brooding passages that recall the atmosphere of the opening mov
 ement.</p><p><strong>Antonín Dvořák (1841-1904): The Water Goblin (1896)</strong><br>Antonín Dvořák was a Czech composer born in 1841 in the Bohemia
 n region\, now part of the Czech Republic. As a child\, he demonstrated ex
 ceptional talent on the violin\, piano\, and organ\, and later became an a
 ccomplished violist. Over the course of his career\, Dvořák produced a sub
 stantial body of work\, including symphonies\, chamber music\, operas\, an
 d tone poems. His compositional style is often regarded as strongly nation
 alistic\, drawing heavily on the folk melodies and rhythms of the Bohemian
  region.<br>Dvořák’s music was notably championed by Johannes Brahms\, who
  played a significant role in securing a publisher for him. This endorseme
 nt greatly contributed to the enduring popularity of Dvořák’s music. By th
 e time he began work on his series of tone poems\, he recently returned fr
 om his directorship of the National Conservatory of Music in New York and 
 had already completed his nine symphonies as well as the widely celebrated
  Cello Concerto. The Water Goblin is one of four tone poems that Dvořák co
 mposed based on the poetry collection Kytice by Karel Jaromír Erben. These
  tone poems are distinguished by their fantastical themes\, mythical figur
 es\, and frequently tragic conclusions.<br>The Water Goblin narrates the s
 tory of a supernatural being who waits beside a tranquil lake in search of
  a bride for his forthcoming wedding. Nearby\, a young girl lives with her
  mother. While washing laundry at the lake\, the pier on which the girl st
 ands collapses\, the water overtakes her\, and she is abducted by the gobl
 in. They marry and have a child. As the girl sings a lullaby to the infant
 \, the goblin grows angry. She pleads with him to allow her a visit to her
  mother on the shore. He consents under three strict conditions: she must 
 not embrace a single soul\, not even her mother\; she must leave the child
  behind as a hostage\; and she must return at the sound of the evening ves
 per bells.<br>As evening falls\, the girl’s mother forbids her from return
 ing\, even when the bells begin to ring. Enraged\, the goblin emerges from
  the lake and repeatedly knocks on their door\, demanding that the girl fu
 lfill her promise. The mother pleads with him to bring the child instead. 
 Furious\, the goblin departs in a storm\, which culminates in a loud crash
 . When the mother opens the door\, she discovers the child has been behead
 ed by the goblin\, who then vanishes into the lake.<br>Dvořák conveys this
  story through carefully crafted musical themes in his tone poem. For the 
 Austrian premiere\, he prepared a letter to be included in the program not
 es\, guiding the audience through the narrative. The themes described in h
 is letter are as follows:<br>The piece begins with the Water Goblin\, port
 rayed by the flutes\, sitting alone by the lake.<br>We then meet a young g
 irl\, represented by the clarinet\, and her mother\, heard in the violins.
  The mother tells her daughter of a troubling dream and warns her not to g
 o near the lake.<br>Ignoring her mother’s warning\, the girl\, voiced by t
 he violins and oboes\, approaches the lake. The pier collapses\, and she f
 alls into the water—right into the hands of the waiting Water Goblin.<br>T
 he mood turns somber\, capturing the sorrow and misery of the underwater w
 orld.<br>Now living beneath the surface\, the girl sings a lullaby to her 
 baby\, tenderly expressed by the flute and oboe.<br>The Goblin suddenly in
 terrupts\, furious\, and tells her to stop singing. A quarrel ensues\, aft
 er which he agrees to let her visit her mother on land\, but only if she r
 eturns before the evening vesper bells. She must not embrace anyone\, and 
 she must leave the baby behind as a hostage.<br>The girl returns to her mo
 ther\, with their emotional reunion captured by the cellos and trombones.&lt;
 br&gt;A violent storm brews over the lake. As the church bells ring\, the Gob
 lin arrives and knocks repeatedly on the door. After being refused\, he th
 rows the child’s lifeless body against the door with a loud crash.<br>In t
 he aftermath\, the piccolo and flutes evoke the sound of croaking frogs. T
 he mother mourns the events of that fateful day\, with her grief expressed
  through the cor anglais and bass clarinet. Her anguish is echoed in the o
 boes\, cellos\, and basses\, as the Water Goblin vanishes mysteriously int
 o the depths of the lake.<br><br><strong>Franz Liszt (1811-1886): Totentan
 z (1849)</strong><br>Franz Liszt was a Hungarian composer and virtuoso pia
 nist. A child prodigy\, his innate affinity for the piano is evident throu
 ghout his entire body of work. The majority of his compositions were writt
 en for solo piano\, including numerous transcriptions of standard orchestr
 al repertoire\, all of which are known for their formidable technical dema
 nds. His orchestral works\, like his solo piano pieces\, are characterized
  by vivid color and dramatic flair. One such composition\, Totentanz (lite
 rally “Death Dance”) for piano and orchestra\, combines diabolical virtuos
 ity with a vivid orchestral color.<br>Totentanz is a set of variations on 
 the “Dies Irae” theme\, a Gregorian plainchant traditionally associated wi
 th the Mass for the Dead. This chant has appeared in many other musical wo
 rks\, notably in Hector Berlioz’s Symphonie Fantastique\, a piece that Lis
 zt both witnessed and found deeply inspiring. Much of Liszt’s music engage
 s with macabre subject matter\, reflecting his well-documented fascination
  with death. Totentanz exemplifies both his preoccupation with the morbid 
 and his deep reverence for the piano. It is notable not only as a single-m
 ovement concerto but also for the intricate interplay between the solo pia
 no and the orchestra. The piano writing is often percussive and conversati
 onal\, responding to and engaging with the orchestral texture.<br>The work
  opens with the piano and timpani before introducing the plainchant theme.
  This theme is punctuated by three brief yet dynamic cadenzas\, leading in
 to the first variation\, where the melody is passed between the bassoons\,
  violas\, and solo piano. The second variation is marked by its energetic 
 character and elaborate piano flourishes. The third is rapid and militaris
 tic in nature. The fourth variation features an extended solo cadenza for 
 the piano\, accompanied by a solemn clarinet line. The fifth variation ado
 pts a baroque-inspired fugato\, while the sixth presents a stately atmosph
 ere\, highlighted by a prominent horn part. The final section begins with 
 another piano cadenza before launching into an allegro animato\, which inc
 ludes the eerie col legno technique in the strings\, where the wood of the
  bow is struck against the strings. The piece concludes with the same furi
 ous energy with which it began.</p><hr><h2>University of Washington Sympho
 ny Orchestra</h2><p><em>David Alexander Rahbee\, Music Director and Conduc
 tor</em><br><em>Robert Stahly and Zach Banks\, Assistant Conductors</em></p><p><strong>Flute</strong><br>Xinyi Liu\, DMA Flute Performance<br>Xinyi 
 Ma\, DMA Flute Performance<br>Tracia Pan\, BM Flute Performance/Statistics
 <br>Grace Playstead\, MM Flute Performance<br>Peyton Ray\, BM Flute Perfor
 mance<br>Claire Wei\, BM Flute Performance</p><p><strong>Piccolo</strong>&lt;
 br&gt;Xinyi Liu\, DMA Flute Performance<br>Peyton Ray\, BM Flute Performance&lt;
 br&gt;<br><strong>Oboe</strong><br>Max Bolen\, Marine Biology<br>Minh-Thi But
 ler\, BM Oboe Performance<br>Aika Ishizuki\, Pre-science</p><p><strong>Eng
 lish Horn</strong><br>Max Bolen\, Marine Biology<br><br><strong>Clarinet</strong><br>Cameron DeLuca\, DMA Clarinet Performance<br>Ysanne Webb\, DMA 
 Clarinet Performance<br>Nick Zhang\, BS Computer Science</p><p><strong>Bas
 s Clarinet</strong><br>Cameron DeLuca\, DMA Clarinet Performance</p><p><br><strong>Bassoon</strong><br>Levi Beck\, BM Bassoon Performance<br>Alex Fr
 aley\, Music Education<br>Ryan Kapsandy\, BM Bassoon Performance<br>Eric S
 hankland\, BA Bassoon Performance</p><p><strong>Contrabassoon</strong><br>
 Eric Shankland\, BA Bassoon Performance</p><p><br><strong>Horn    </strong> <br>Nicole Bogner\, BM Horn Performance<br>Ethan Hicks\, BM Horn Perform
 ance<br>Colin Laskarzewski\, BS Physics<br>Elise Moe\, BM Horn Performance
 <br>Sam Nutt\, Molecular &amp; Cellular Biology<br><br><strong>Trumpet</strong><br>Hans Faul\, BM Trumpet Performance<br>Patrick Hunninghake\, DMA Trump
 et Performance<br>Antti Männistö\, BS Physics<br>Drew Theran\, MM Trumpet 
 Performance</p><p><br><strong>Trombone</strong><br>Owen Fang\, BM Trombone
  Performance<br>Neal Muppidi\, BM Trombone Performance<br>Nathanael Wytten
 bach\, Music Composition<br><br><strong>Bass Trombone</strong><br>Miles Ca
 rter\, BM Trombone Performance</p><p><strong>Tuba</strong><br>Adam Mtimet\
 , DMA Tuba Performance<br>Chris Seay\, DMA Tuba Performance<br><br><strong>Timpani</strong><br>Kaisho Barnhill\, Music Education\, Psychology<br><br><strong>Percussion</strong><br>Cyan Duong\, Music Education<br>Devon Rafa
 nelli\, MM Percussion Performance<br>Tyler Smith\, MM Percussion Performan
 ce<br>Regan Wong\, Microbiology<br><br><strong>Violin I</strong><br>Grace 
 Pandra\, Violin Performance/Business Administration (Co-Concertmaster)<br>
 Hanu Nahm\, Violin Performance/Intended Neuroscience (Co-Concertmaster)<br>David Teves-Tan\, Pre-Sciences<br>Grace Hwang\, BA Music\, ECE<br>Michael
 a Klesse\, Music<br>Yerin Hwang\, Music<br>Justin Chae\, Computer Science/
 Mathematics<br>Kieran Horowitz\, Biology<br>Han Yeung\, Political Science&lt;
 br&gt;Brandon Bailey\, Computer Science<br>Nicole Chen\, Informatics<br>Juste
 ne Li\, Pre-Sciences<br>Vitaliy Duvalko\, Engineering<br>Rosalia Feng\, St
 atistics<br>Qurin Choi\, Biochemistry<br>Danny Zhang\, Pre-Sciences<br>Cal
 eb Anderson\, Mathematics<br>Lyle Deng\, Computer Science</p><p><strong>Vi
 olin II</strong><br>Martessa Davis\, MM Violin Performance (Principal)<br>
 Gustavo Berho\, BM Music<br>Victoria Zhuang\, Informatics and Geography: D
 ata Science<br>Ethan Li\, Engineering<br>Alice Leppert\, Chemistry<br>Chri
 stina Kim\, Pre-music<br>Cristina Kosilkina\, BS Biochemistry<br>Ling Yang
 \, Medical Anthropology and Global Health<br>Leo Li\, Computer Science<br>
 Daniel Park\, Biochemistry<br>Saraim Gebretsadik\, Biochemistry<br>Amar Sa
 lmi\, Biochemistry/CHID<br>Kate Everling\, Applied Mathematics<br>Thea Hig
 gins\, MS Industrial Engineering<br>Mckinley Xia\, Engineering<br>Lily Bin
 gham\, Engineering<br>Alessandra Fernandez\, Pre-science<br>Freya Frahm\, 
 Computer Sciences/BM Piano Performance<br>Hailey Vaught\, Business Adminis
 tration</p><p><strong>Viola </strong>    <br>Flora Cummings\, Viola Perfor
 mance/Wildlife Conservation (Co-Principal)<br>Mica Weiland\, Viola Perform
 ance (Co-Principal)<br>Emma Boyce\, Music<br>Abigail Schidler\, Computer S
 cience/BA Music<br>Helen Young\, MM Music Education<br>Annika Johnson\, Ea
 rth and Space Sciences: Physics<br>Mia Grayson\, Biochemistry<br>Lexi Scid
 a\, MA Music History<br>Jacob Dagen\, History/Education<br>Henry Yang\, Co
 mputer Science<br>Melia Golden\, Biochemistry<br>Melany Nanayakkara\, Mate
 rial Science Engineering/Chemistry<br>Ryan Dakota Farris\, DMA Orchestral 
 Conducting</p><p><strong>Violoncello  </strong>       <br>Cory Chen\, BA i
 n Music/Intended Neuroscience (Principal)<br>Sota Emura\, BM Cello Perform
 ance<br>Ian Jung\, Engineering<br>Loni Yin\, Pre-Sciences<br>Nacho Tejeda\
 , PhD Mathematics<br>Oliver Tiu\, Biochemistry<br>Nathan Evans\, BA Music 
 History<br>Ben Gallafent\, Pre-science<br>Jisung Lee\, Computer Science<br>Katherine Kang\, Human Centered Design &amp; Engineering<br>Mimi Leung\, Chem
 istry<br>Mina Wang\, Informatics<br>Jayden Kang\, Pre-business<br>Eli Kash
 man\, Bioengineering<br>Lucy Finnell\, Biochemistry<br>Bashir Abdel-Fattah
 \, PhD Mathematics<br>Stephan Rivera\, Engineering<br>Andrew Vu\, Chemistr
 y/Biochemistry/Math<br>Ally Wu\, Electrical Engineering</p><p><strong>Bass
 </strong>    <br>Eddie Mospan\, BM Bass Performance (Principal)<br>Nathan 
 Eskridge\, MM Bass Performance<br>Amelia Matsumoto\, BM Bass Performance<b r>Gabriella Kelley\, English<br>Raiden Jones\, Engineering</p><hr><h2>Biog
 raphies</h2>
END:VEVENT
BEGIN:VEVENT
UID:8f6adc45-7b1a-4ef8-aa92-cd8e6aeb4303
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T200941Z
DESCRIPTION:<p>Members of the UW Wind Ensemble (Erin Bodnar\, director) per
 form music by Caroline Shaw\, Richard Strauss\, Robert Spittal\, Emil Hart
 mann\, Enrique Crespo and others.</p><hr><h2>Program<br>University of Wash
 ington Wind Ensemble Chamber Recital </h2><p>Dr. Erin Bodnar\, conductor &lt;
 br&gt;Solomon Encina\, graduate conductor <br>Yuman Wu\, graduate conductor &lt;
 br&gt;Chris Seay\, graduate conductor </p><p>Vienna Philharmonic Fanfare (192
 4): <strong>Richard Strauss </strong>(1864-1949) <br>Hans Faul\, Antti Man
 nisto\, Daniel Lyons\, Kevin Thomas\, Meier Eagan\, Veer Shukla\, trumpet\
 ; Cassidy Rea\, Ethan Hicks\, Olivia Stall\, Ben von Jess\, horn\;  Richie
  Torres-Antúnez\, Eliana Koenig\, Owen Fang\, Evan Mao\, trombone\; Simona
  Yaroslavsky\, Aidan Borlet\, euphonium\; Foster Patterson\, Dylan Aagaard
 \, tuba\; Hazel Salvaggio\, timpani </p><p>A Gaelic Offering (1995): Catherine McMichael (</strong>b. 1954) <br>1. Ròs Bothan (Rose Cottage)
  <br>2. Céile Teagamhach (The Doubtful Wife) <br>Claire Wei\, Xinyi Ma\, G
 race Playstead\, Xinyi Liu\, Peyton Ray\, Tracia Pan\, Brooke Bart </p><p>
 Bruckner Etude für das tiefe blech (1996): <strong>Enrique Crespo (b. 1941) <br>Chris Seay\, conductor\; Richie Torres-Antúnez\, Eliana Koe
 nig\, Owen Fang\, Evan Mao\, trombone\;  Simona Yaroslavsky\, Aidan Borlet
 \, euphonium\; Foster Patterson\, Dylan Aagaard\, tuba </p><p>Move With Me
  (2024): <strong>Shane Valle</strong> (b. 1992) <br>II. My Move <br>I. You
 r Move <br>Kyle Grant\, Kairui Cheng\, Curtis Chung\, Katie Zundel </p><p>
 And the swallow (2017/2021): <strong>Caroline Shaw</strong> (b. 1982) tran
 s. <strong>Danielle Fisher </strong><br>Peyton Ray\, Xinyi Liu\, flute\; M
 inh-Thi Butler\, Will Cummings\, oboe\;  Arthur Gim\, Eric Zhu\, clarinet\
 ; Levi Beck\, Rian Morgan\, bassoon\;  Cassidy Rea\, Ben von Jess\, horn\;
  Kyle Grant\, alto saxophone</p><p>Sextet: <strong>Ben Lulich </strong>(b.
 1982) <br>Luqi Wang\, Caitlin Dong\, Alessandro Martinez\, Arthur Gim\, Er
 ic Zhu\, Michael Stella </p><p>Serenade\, op. 43 (1888 / 2016): <strong>Em
 il Hartmann</strong> (1836-1898) ed. Joshua Kearney <br>I. Andante and All
 egro Pastorale <br>IV. Finale <br>Solomon Encina\, conductor\; Claire Wei\
 , flute\; Minh-Thi Butler\, oboe\;  Luqi Wang\, Alessandro Martinez\, clar
 inet\;  Alex Fraley\, Levi Beck\, bassoon\;  Ryan Kapsandy\, contrabassoon
 \;  Ethan Hicks\, Olivia Stall\, horn </p><p>El Espectro del Vidrio (2025)
 : <strong>Zach Miller</strong> (b. 1999) <br>Hazel Salvaggio\, Ivy Moore\,
  Zhibo Zheng\, Monaka Kakuta\, Colin Lehman\, Xander Swanson\, Ryan Kinder
 \, Cyan Duong </p><p>Consort for Ten Winds (2005): <strong>Robert Spittal&lt;
 /strong&gt; (b. 1963) <br>I. Jeux <br>II. Aubade <br>III. Satereau <br>Yuman 
 Wu\, conductor\; Grace Playstead\, Xinyi Ma\, flute\; Minh-Thi Butler\, Ai
 ka Ishizuki\, oboe\; Luqi Wang\, Caitlin Dong\, clarinet\;  Alex Fraley\, 
 Rian Morgan\, bassoon\; Cassidy Rea\, Ethan Hicks\, horn</p><p>Forever Sky
  (2013): <strong>Joshua Hobbs</strong> (b. 1990) <br>Hans Faul\, Antti Man
 nisto\, Daniel Lyons\, Kevin Thomas\, Meier Eagan\, Patrick Hunninghake</p><hr><h2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20251026T133000
LAST-MODIFIED:20251024T205837Z
SEQUENCE:281
SUMMARY:: Wind Ensemble Chamber Winds
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-26/wind-ensemble-chamber-wi
 nds
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Members of the UW Wind Ensemble (Erin Bodna
 r\, director) perform music by Caroline Shaw\, Richard Strauss\, Robert Sp
 ittal\, Emil Hartmann\, Enrique Crespo and others.</p><hr><h2>Program<br>U
 niversity of Washington Wind Ensemble Chamber Recital </h2><p><em>Dr. Erin
  Bodnar\, conductor </em><br><em>Solomon Encina\, graduate conductor </em>
 <br><em>Yuman Wu\, graduate conductor </em><br><em>Chris Seay\, graduate c
 onductor </em></p><p>Vienna Philharmonic Fanfare (1924): <strong>Richard S
 trauss </strong>(1864-1949) <br><em>Hans Faul\, Antti Mannisto\, Daniel Ly
 ons\, Kevin Thomas\, Meier Eagan\, Veer Shukla\, trumpet\; Cassidy Rea\, E
 than Hicks\, Olivia Stall\, Ben von Jess\, horn\; </em> <em>Richie Torres-
 Antúnez\, Eliana Koenig\, Owen Fang\, Evan Mao\, trombone\; Simona Yarosla
 vsky\, Aidan Borlet\, euphonium\; Foster Patterson\, Dylan Aagaard\, tuba\
 ; Hazel Salvaggio\, timpani </em></p><p>A Gaelic Offering (1995): <strong>
 Catherine McMichael (</strong>b. 1954) <br>1. Ròs Bothan (Rose Cottage) <b r>2. Céile Teagamhach (The Doubtful Wife) <br><em>Claire Wei\, Xinyi Ma\, 
 Grace Playstead\, Xinyi Liu\, Peyton Ray\, Tracia Pan\, Brooke Bart </em>&lt;
 /p&gt;<p><em>Bruckner Etude für das tiefe blech</em> (1996): <strong>Enrique 
 Crespo (</strong>b. 1941) <br><em>Chris Seay\, conductor\; Richie Torres-A
 ntúnez\, Eliana Koenig\, Owen Fang\, Evan Mao\, trombone\;  Simona Yarosla
 vsky\, Aidan Borlet\, euphonium\; Foster Patterson\, Dylan Aagaard\, tuba 
 </em></p><p>Move With Me (2024): <strong>Shane Valle</strong> (b. 1992) <b r>II. My Move <br>I. Your Move <br><em>Kyle Grant\, Kairui Cheng\, Curtis 
 Chung\, Katie Zundel </em></p><p>And the swallow (2017/2021): <strong>Caro
 line Shaw</strong> (b. 1982) trans. <strong>Danielle Fisher </strong><br>&lt;
 em&gt;Peyton Ray\, Xinyi Liu\, flute\; Minh-Thi Butler\, Will Cummings\, oboe
 \;  Arthur Gim\, Eric Zhu\, clarinet\; Levi Beck\, Rian Morgan\, bassoon\;
   Cassidy Rea\, Ben von Jess\, horn\; Kyle Grant\, alto saxophone</em></p>
 <p>Sextet: <strong>Ben Lulich </strong>(b.1982) <br><em>Luqi Wang\, Caitli
 n Dong\, Alessandro Martinez\, Arthur Gim\, Eric Zhu\, Michael Stella </em></p><p>Serenade\, op. 43 (1888 / 2016): <strong>Emil Hartmann</strong> (1
 836-1898) ed. Joshua Kearney <br>I. Andante and Allegro Pastorale <br>IV. 
 Finale <br><em>Solomon Encina\, conductor\; Claire Wei\, flute\; Minh-Thi 
 Butler\, oboe\;  Luqi Wang\, Alessandro Martinez\, clarinet\;  Alex Fraley
 \, Levi Beck\, bassoon\;  Ryan Kapsandy\, contrabassoon\;  Ethan Hicks\, O
 livia Stall\, horn </em></p><p><em>El Espectro del Vidrio</em> (2025): Zach Miller</strong> (b. 1999) <br><em>Hazel Salvaggio\, Ivy Moore\, 
 Zhibo Zheng\, Monaka Kakuta\, Colin Lehman\, Xander Swanson\, Ryan Kinder\
 , Cyan Duong </em></p><p>Consort for Ten Winds (2005): <strong>Robert Spit
 tal</strong> (b. 1963) <br>I. Jeux <br>II. Aubade <br>III. Satereau <br>Yuman Wu\, conductor\; Grace Playstead\, Xinyi Ma\, flute\; Minh-Thi But
 ler\, Aika Ishizuki\, oboe\; Luqi Wang\, Caitlin Dong\, clarinet\;  Alex F
 raley\, Rian Morgan\, bassoon\; Cassidy Rea\, Ethan Hicks\, horn</em></p>&lt;
 p&gt;Forever Sky (2013): <strong>Joshua Hobbs</strong> (b. 1990) <br><em>Hans
  Faul\, Antti Mannisto\, Daniel Lyons\, Kevin Thomas\, Meier Eagan\, Patri
 ck Hunninghake</em></p><hr><h2>Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:7de2be75-e1c2-4116-ba02-76bfa08f615c
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250814T215845Z
DESCRIPTION:<p><strong>Please note: This event has been canceled.</strong>&lt;
 /p&gt;<p>The School of Music keyboard program presents a solo piano recital b
 y Cuban-American pianist Santiago Rodriguez\, head of the keyboard program
  at the Frost School of Music at Miami University.</p><hr><h2>Biography<p></p><p>Santiago Rodriguez is the highly acclaimed Professor and Chair
  of the Keyboard Performance department at the Frost School of Music.  Pro
 fessor Rodriguez has been hailed as “a phenomenal pianist” by The New York
  Times and singled out as “among the finest pianists in the world” (accord
 ing to The Baltimore Sun).  He began performing at age ten\, launching a 3
 5-year career with a vast classical repertoire that has brought him intern
 ational acclaim.</p><p>Rodriguez’s international credits include performan
 ces with the world’s leading orchestras - the London Symphony\, the Dresde
 n Staatskapelle\, the Weimar Philharmonic\, the Yomiuri-Nippon Symphony Or
 chestra of Japan\, the Tampere Philharmonic of Finland\, the Berliner Symp
 honiker\, the Philadelphia\, Chicago\, St. Louis\, Baltimore\, Seattle\, I
 ndianapolis\, American Composers’\, and Houston Symphony Orchestras\, the 
 National Symphony Orchestra of Washington\, D.C.\, and the American Sympho
 ny Orchestra.</p><p>Santiago Rodriguez’s talents have taken him all over t
 he world - to Carnegie Hall\, Avery Fisher Hall in New York\, the Queen El
 izabeth Hall in London\, The Kennedy Center in Washington\, D.C.\, Montrea
 l’s Theatre Maisonneuve\, the Santander Festival in Spain\, Schauspielhaus
  in Berlin\, Leipzig’s Gewandhaus\, the Herbst Theater in San Francisco\, 
 the Ambassador Auditorium in Pasadena\, to the prestigious Ravenna Festiva
 l in Italy\, and concerts in Finland\, China and Taiwan.</p><p>Little wond
 er then that the critics are so enamoured with him. This line from a revie
 w posted after a performance in Italy sums up his success: “He conquered t
 he audience.”</p><p>Still\, Mr. Rodriguez’s kudos don’t stop there. As a c
 hamber musician\, he’s collaborated with the Guarneri String Quartet and t
 he Chamber Music Society of Lincoln Center. He also toured extensively as 
 member of a piano trio with Ruggiero Ricci and Nathaniel Rosen\, as well a
 s with such distinguished musicians as Walter Trampler\, Ransom Wilson\, G
 ervaise de Peyer\, Aurora Nátola-Ginastera\, and Robert McDuffie.</p><p>Mr
 . Rodriguez’ vast classical repertoire reflects that versatility\, as evid
 enced by performances that span the past 35 years and over 65 concertos. T
 hey include the works of Bach\, Bartók\, Beethoven\, Brahms\, Chopin\, Moz
 art\, Tchaikovsky\, Grieg\, Gershwin\, Liszt\, Schumann\, Franck\, Mendels
 sohn\, and Prokofiev. The list also encompasses a number of lesser known c
 ompositions as well\, including those by Khachaturian\, Strauss\, Saint-Sa
 ëns\, MacDowell\, Falla\, Pónce\, Surinach\, Albéniz\, Castelnuovo-Tedesco
 \, and Previn.</p><p>As if that wasn’t enough to single his success\, Mr. 
 Rodriguez has also been cited as one of today’s foremost interpreters of t
 he music of Sergei Rachmaninov. He is currently recording The Rachmaninov 
 Edition\, which\, when completed\, will encompass the entire catalogue of 
 Rachmaninov’s original solo piano compositions. The three volumes which ha
 ve been released so far have received international acclaim\, including on
 e review which described him as “born for Rachmaninov” and “a spellbinding
  mix of high-born virtuosity and poetic glamour.” Volume 2 was awarded the
  Washington Area Music Award for best classical recording of 1995\, and Vo
 lume 3 was selected by Classical Pulse as one of the best recordings of 19
 95. Mr. Rodriguez has also recorded numerous works on Élan Recordings\, ea
 rning equal acclaim along the way.</p><p>Mr. Rodriguez made his concert de
 but at age ten performing Mozart’s Piano Concerto No. 27 with the New Orle
 ans Philharmonic. His international career was launched in 1981 when he wo
 n the Silver Medal at the Van Cliburn International Piano Competition. He 
 subsequently received a special prize for the best performance of Leonard 
 Bernstein’s Touches\, a work commissioned for the competition. Mr. Rodrigu
 ez’ unique life and artistry were profiled on CBS “Sunday Morning with Cha
 rles Kurault” in 1993. He has also been featured numerous times on the ABC
 \, NBC\, PBS\, CNN\, BBC\, and CBC television networks.</p><p>In addition 
 to his other credits\, Mr. Rodriguez also enjoys a distinguished reputatio
 n as a teacher and master clinician. He was a member of the Piano Division
  at the University of Maryland where he held the rank of Professor and Art
 ist-in-residence. He has also presented masterclasses at many major music 
 schools and national/state teacher’s conferences in the U.S. and abroad. M
 ost recently\, he was Chair of the Jury at the William Kapell Internationa
 l Piano Competition in College Park\, Maryland\, and the San Antonio Inter
 national Piano Competition in Texas. Santiago Rodriguez is also the Artist
 ic Director of the Florida International Piano Competition and Artist-in-r
 esidence at the Endless Mountain Music Festival in Pennsylvania. He holds 
 a Masters degree from Juilliard\, and he completed his undergraduate studi
 es magna cum laude at the University of Texas-Austin.</p>
DTSTART;TZID=America/Los_Angeles:20251028T193000
LAST-MODIFIED:20251010T223403Z
SEQUENCE:282
SUMMARY:: CANCELED: Canceled: Guest Pianist Recital: Santiago Rodriguez
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-28/canceled-guest-pianist-r
 ecital-santiago-rodriguez
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><strong>Please note: This event has been ca
 nceled.</strong></p><p>The School of Music keyboard program presents a sol
 o piano recital by Cuban-American pianist Santiago Rodriguez\, head of the
  keyboard program at the Frost School of Music at Miami University.</p><hr><h2>Biography</h2><p></p><p>Santiago Rodriguez is t
 he highly acclaimed Professor and Chair of the Keyboard Performance depart
 ment at the Frost School of Music.  Professor Rodriguez has been hailed as
  “a phenomenal pianist” by The New York Times and singled out as “among th
 e finest pianists in the world” (according to The Baltimore Sun).  He bega
 n performing at age ten\, launching a 35-year career with a vast classical
  repertoire that has brought him international acclaim.</p><p>Rodriguez’s 
 international credits include performances with the world’s leading orches
 tras - the London Symphony\, the Dresden Staatskapelle\, the Weimar Philha
 rmonic\, the Yomiuri-Nippon Symphony Orchestra of Japan\, the Tampere Phil
 harmonic of Finland\, the Berliner Symphoniker\, the Philadelphia\, Chicag
 o\, St. Louis\, Baltimore\, Seattle\, Indianapolis\, American Composers’\,
  and Houston Symphony Orchestras\, the National Symphony Orchestra of Wash
 ington\, D.C.\, and the American Symphony Orchestra.</p><p>Santiago Rodrig
 uez’s talents have taken him all over the world - to Carnegie Hall\, Avery
  Fisher Hall in New York\, the Queen Elizabeth Hall in London\, The Kenned
 y Center in Washington\, D.C.\, Montreal’s Theatre Maisonneuve\, the Santa
 nder Festival in Spain\, Schauspielhaus in Berlin\, Leipzig’s Gewandhaus\,
  the Herbst Theater in San Francisco\, the Ambassador Auditorium in Pasade
 na\, to the prestigious Ravenna Festival in Italy\, and concerts in Finlan
 d\, China and Taiwan.</p><p>Little wonder then that the critics are so ena
 moured with him. This line from a review posted after a performance in Ita
 ly sums up his success: “He conquered the audience.”</p><p>Still\, Mr. Rod
 riguez’s kudos don’t stop there. As a chamber musician\, he’s collaborated
  with the Guarneri String Quartet and the Chamber Music Society of Lincoln
  Center. He also toured extensively as member of a piano trio with Ruggier
 o Ricci and Nathaniel Rosen\, as well as with such distinguished musicians
  as Walter Trampler\, Ransom Wilson\, Gervaise de Peyer\, Aurora Nátola-Gi
 nastera\, and Robert McDuffie.</p><p>Mr. Rodriguez’ vast classical reperto
 ire reflects that versatility\, as evidenced by performances that span the
  past 35 years and over 65 concertos. They include the works of Bach\, Bar
 tók\, Beethoven\, Brahms\, Chopin\, Mozart\, Tchaikovsky\, Grieg\, Gershwi
 n\, Liszt\, Schumann\, Franck\, Mendelssohn\, and Prokofiev. The list also
  encompasses a number of lesser known compositions as well\, including tho
 se by Khachaturian\, Strauss\, Saint-Saëns\, MacDowell\, Falla\, Pónce\, S
 urinach\, Albéniz\, Castelnuovo-Tedesco\, and Previn.</p><p>As if that was
 n’t enough to single his success\, Mr. Rodriguez has also been cited as on
 e of today’s foremost interpreters of the music of Sergei Rachmaninov. He 
 is currently recording The Rachmaninov Edition\, which\, when completed\, 
 will encompass the entire catalogue of Rachmaninov’s original solo piano c
 ompositions. The three volumes which have been released so far have receiv
 ed international acclaim\, including one review which described him as “bo
 rn for Rachmaninov” and “a spellbinding mix of high-born virtuosity and po
 etic glamour.” Volume 2 was awarded the Washington Area Music Award for be
 st classical recording of 1995\, and Volume 3 was selected by Classical Pu
 lse as one of the best recordings of 1995. Mr. Rodriguez has also recorded
  numerous works on Élan Recordings\, earning equal acclaim along the way.&lt;
 /p&gt;<p>Mr. Rodriguez made his concert debut at age ten performing Mozart’s 
 Piano Concerto No. 27 with the New Orleans Philharmonic. His international
  career was launched in 1981 when he won the Silver Medal at the Van Clibu
 rn International Piano Competition. He subsequently received a special pri
 ze for the best performance of Leonard Bernstein’s Touches\, a work commis
 sioned for the competition. Mr. Rodriguez’ unique life and artistry were p
 rofiled on CBS “Sunday Morning with Charles Kurault” in 1993. He has also 
 been featured numerous times on the ABC\, NBC\, PBS\, CNN\, BBC\, and CBC 
 television networks.</p><p>In addition to his other credits\, Mr. Rodrigue
 z also enjoys a distinguished reputation as a teacher and master clinician
 . He was a member of the Piano Division at the University of Maryland wher
 e he held the rank of Professor and Artist-in-residence. He has also prese
 nted masterclasses at many major music schools and national/state teacher’
 s conferences in the U.S. and abroad. Most recently\, he was Chair of the 
 Jury at the William Kapell International Piano Competition in College Park
 \, Maryland\, and the San Antonio International Piano Competition in Texas
 . Santiago Rodriguez is also the Artistic Director of the Florida Internat
 ional Piano Competition and Artist-in-residence at the Endless Mountain Mu
 sic Festival in Pennsylvania. He holds a Masters degree from Juilliard\, a
 nd he completed his undergraduate studies magna cum laude at the Universit
 y of Texas-Austin.</p>
END:VEVENT
BEGIN:VEVENT
UID:d8ff057f-254f-483a-8643-9fe69ea2bd08
DTSTAMP:20260307T094252Z
CATEGORIES:Master Classes\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250814T214802Z
DESCRIPTION:<p><strong>Note: This event has been canceled. </strong></p><p>
 Santiago Rodriguez\, head of the keyboard program at the Frost School of M
 usic at Miami University\, leads a master class with UW piano students.</p><hr><h2>Biography</h2><p></p><p>Santiago Rodriguez is the highly acclaime
 d Professor and Chair of the Keyboard Performance department at the Frost 
 School of Music.  Professor Rodriguez has been hailed as “a phenomenal pia
 nist” by The New York Times and singled out as “among the finest pianists 
 in the world” (according to The Baltimore Sun).  He began performing at ag
 e ten\, launching a 35-year career with a vast classical repertoire that h
 as brought him international acclaim.</p><p>Rodriguez’s international cred
 its include performances with the world’s leading orchestras - the London 
 Symphony\, the Dresden Staatskapelle\, the Weimar Philharmonic\, the Yomiu
 ri-Nippon Symphony Orchestra of Japan\, the Tampere Philharmonic of Finlan
 d\, the Berliner Symphoniker\, the Philadelphia\, Chicago\, St. Louis\, Ba
 ltimore\, Seattle\, Indianapolis\, American Composers’\, and Houston Symph
 ony Orchestras\, the National Symphony Orchestra of Washington\, D.C.\, an
 d the American Symphony Orchestra.</p><p>Santiago Rodriguez’s talents have
  taken him all over the world - to Carnegie Hall\, Avery Fisher Hall in Ne
 w York\, the Queen Elizabeth Hall in London\, The Kennedy Center in Washin
 gton\, D.C.\, Montreal’s Theatre Maisonneuve\, the Santander Festival in S
 pain\, Schauspielhaus in Berlin\, Leipzig’s Gewandhaus\, the Herbst Theate
 r in San Francisco\, the Ambassador Auditorium in Pasadena\, to the presti
 gious Ravenna Festival in Italy\, and concerts in Finland\, China and Taiw
 an.</p><p>Little wonder then that the critics are so enamoured with him. T
 his line from a review posted after a performance in Italy sums up his suc
 cess: “He conquered the audience.”</p><p>Still\, Mr. Rodriguez’s kudos don
 ’t stop there. As a chamber musician\, he’s collaborated with the Guarneri
  String Quartet and the Chamber Music Society of Lincoln Center. He also t
 oured extensively as member of a piano trio with Ruggiero Ricci and Nathan
 iel Rosen\, as well as with such distinguished musicians as Walter Trample
 r\, Ransom Wilson\, Gervaise de Peyer\, Aurora Nátola-Ginastera\, and Robe
 rt McDuffie.</p><p>Mr. Rodriguez’ vast classical repertoire reflects that 
 versatility\, as evidenced by performances that span the past 35 years and
  over 65 concertos. They include the works of Bach\, Bartók\, Beethoven\, 
 Brahms\, Chopin\, Mozart\, Tchaikovsky\, Grieg\, Gershwin\, Liszt\, Schuma
 nn\, Franck\, Mendelssohn\, and Prokofiev. The list also encompasses a num
 ber of lesser known compositions as well\, including those by Khachaturian
 \, Strauss\, Saint-Saëns\, MacDowell\, Falla\, Pónce\, Surinach\, Albéniz\
 , Castelnuovo-Tedesco\, and Previn.</p><p>As if that wasn’t enough to sing
 le his success\, Mr. Rodriguez has also been cited as one of today’s forem
 ost interpreters of the music of Sergei Rachmaninov. He is currently recor
 ding The Rachmaninov Edition\, which\, when completed\, will encompass the
  entire catalogue of Rachmaninov’s original solo piano compositions. The t
 hree volumes which have been released so far have received international a
 cclaim\, including one review which described him as “born for Rachmaninov
 ” and “a spellbinding mix of high-born virtuosity and poetic glamour.” Vol
 ume 2 was awarded the Washington Area Music Award for best classical recor
 ding of 1995\, and Volume 3 was selected by Classical Pulse as one of the 
 best recordings of 1995. Mr. Rodriguez has also recorded numerous works on
  Élan Recordings\, earning equal acclaim along the way.</p><p>Mr. Rodrigue
 z made his concert debut at age ten performing Mozart’s Piano Concerto No.
  27 with the New Orleans Philharmonic. His international career was launch
 ed in 1981 when he won the Silver Medal at the Van Cliburn International P
 iano Competition. He subsequently received a special prize for the best pe
 rformance of Leonard Bernstein’s Touches\, a work commissioned for the com
 petition. Mr. Rodriguez’ unique life and artistry were profiled on CBS “Su
 nday Morning with Charles Kurault” in 1993. He has also been featured nume
 rous times on the ABC\, NBC\, PBS\, CNN\, BBC\, and CBC television network
 s.</p><p>In addition to his other credits\, Mr. Rodriguez also enjoys a di
 stinguished reputation as a teacher and master clinician. He was a member 
 of the Piano Division at the University of Maryland where he held the rank
  of Professor and Artist-in-residence. He has also presented masterclasses
  at many major music schools and national/state teacher’s conferences in t
 he U.S. and abroad. Most recently\, he was Chair of the Jury at the Willia
 m Kapell International Piano Competition in College Park\, Maryland\, and 
 the San Antonio International Piano Competition in Texas. Santiago Rodrigu
 ez is also the Artistic Director of the Florida International Piano Compet
 ition and Artist-in-residence at the Endless Mountain Music Festival in Pe
 nnsylvania. He holds a Masters degree from Juilliard\, and he completed hi
 s undergraduate studies magna cum laude at the University of Texas-Austin.
 </p>
DTSTART;TZID=America/Los_Angeles:20251029T163000
LAST-MODIFIED:20251010T223428Z
SEQUENCE:283
SUMMARY:: CANCELED: Canceled: Guest Pianist Master Class: Santiago Rodrigue
 z
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-29/canceled-guest-pianist-m
 aster-class-santiago-rodriguez
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><strong>Note: This event has been canceled.
  </strong></p><p>Santiago Rodriguez\, head of the keyboard program at the 
 Frost School of Music at Miami University\, leads a master class with UW p
 iano students.</p><hr><h2>Biography</h2><p></p><p>Sa
 ntiago Rodriguez is the highly acclaimed Professor and Chair of the Keyboa
 rd Performance department at the Frost School of Music.  Professor Rodrigu
 ez has been hailed as “a phenomenal pianist” by The New York Times and sin
 gled out as “among the finest pianists in the world” (according to The Bal
 timore Sun).  He began performing at age ten\, launching a 35-year career 
 with a vast classical repertoire that has brought him international acclai
 m.</p><p>Rodriguez’s international credits include performances with the w
 orld’s leading orchestras - the London Symphony\, the Dresden Staatskapell
 e\, the Weimar Philharmonic\, the Yomiuri-Nippon Symphony Orchestra of Jap
 an\, the Tampere Philharmonic of Finland\, the Berliner Symphoniker\, the 
 Philadelphia\, Chicago\, St. Louis\, Baltimore\, Seattle\, Indianapolis\, 
 American Composers’\, and Houston Symphony Orchestras\, the National Symph
 ony Orchestra of Washington\, D.C.\, and the American Symphony Orchestra.&lt;
 /p&gt;<p>Santiago Rodriguez’s talents have taken him all over the world - to 
 Carnegie Hall\, Avery Fisher Hall in New York\, the Queen Elizabeth Hall i
 n London\, The Kennedy Center in Washington\, D.C.\, Montreal’s Theatre Ma
 isonneuve\, the Santander Festival in Spain\, Schauspielhaus in Berlin\, L
 eipzig’s Gewandhaus\, the Herbst Theater in San Francisco\, the Ambassador
  Auditorium in Pasadena\, to the prestigious Ravenna Festival in Italy\, a
 nd concerts in Finland\, China and Taiwan.</p><p>Little wonder then that t
 he critics are so enamoured with him. This line from a review posted after
  a performance in Italy sums up his success: “He conquered the audience.”&lt;
 /p&gt;<p>Still\, Mr. Rodriguez’s kudos don’t stop there. As a chamber musicia
 n\, he’s collaborated with the Guarneri String Quartet and the Chamber Mus
 ic Society of Lincoln Center. He also toured extensively as member of a pi
 ano trio with Ruggiero Ricci and Nathaniel Rosen\, as well as with such di
 stinguished musicians as Walter Trampler\, Ransom Wilson\, Gervaise de Pey
 er\, Aurora Nátola-Ginastera\, and Robert McDuffie.</p><p>Mr. Rodriguez’ v
 ast classical repertoire reflects that versatility\, as evidenced by perfo
 rmances that span the past 35 years and over 65 concertos. They include th
 e works of Bach\, Bartók\, Beethoven\, Brahms\, Chopin\, Mozart\, Tchaikov
 sky\, Grieg\, Gershwin\, Liszt\, Schumann\, Franck\, Mendelssohn\, and Pro
 kofiev. The list also encompasses a number of lesser known compositions as
  well\, including those by Khachaturian\, Strauss\, Saint-Saëns\, MacDowel
 l\, Falla\, Pónce\, Surinach\, Albéniz\, Castelnuovo-Tedesco\, and Previn.
 </p><p>As if that wasn’t enough to single his success\, Mr. Rodriguez has 
 also been cited as one of today’s foremost interpreters of the music of Se
 rgei Rachmaninov. He is currently recording The Rachmaninov Edition\, whic
 h\, when completed\, will encompass the entire catalogue of Rachmaninov’s 
 original solo piano compositions. The three volumes which have been releas
 ed so far have received international acclaim\, including one review which
  described him as “born for Rachmaninov” and “a spellbinding mix of high-b
 orn virtuosity and poetic glamour.” Volume 2 was awarded the Washington Ar
 ea Music Award for best classical recording of 1995\, and Volume 3 was sel
 ected by Classical Pulse as one of the best recordings of 1995. Mr. Rodrig
 uez has also recorded numerous works on Élan Recordings\, earning equal ac
 claim along the way.</p><p>Mr. Rodriguez made his concert debut at age ten
  performing Mozart’s Piano Concerto No. 27 with the New Orleans Philharmon
 ic. His international career was launched in 1981 when he won the Silver M
 edal at the Van Cliburn International Piano Competition. He subsequently r
 eceived a special prize for the best performance of Leonard Bernstein’s To
 uches\, a work commissioned for the competition. Mr. Rodriguez’ unique lif
 e and artistry were profiled on CBS “Sunday Morning with Charles Kurault” 
 in 1993. He has also been featured numerous times on the ABC\, NBC\, PBS\,
  CNN\, BBC\, and CBC television networks.</p><p>In addition to his other c
 redits\, Mr. Rodriguez also enjoys a distinguished reputation as a teacher
  and master clinician. He was a member of the Piano Division at the Univer
 sity of Maryland where he held the rank of Professor and Artist-in-residen
 ce. He has also presented masterclasses at many major music schools and na
 tional/state teacher’s conferences in the U.S. and abroad. Most recently\,
  he was Chair of the Jury at the William Kapell International Piano Compet
 ition in College Park\, Maryland\, and the San Antonio International Piano
  Competition in Texas. Santiago Rodriguez is also the Artistic Director of
  the Florida International Piano Competition and Artist-in-residence at th
 e Endless Mountain Music Festival in Pennsylvania. He holds a Masters degr
 ee from Juilliard\, and he completed his undergraduate studies magna cum l
 aude at the University of Texas-Austin.</p>
END:VEVENT
BEGIN:VEVENT
UID:d027b260-fb50-4e1e-9757-d590bc28f9a2
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Special Events\, Talks\, Visiting Artists and Scholar
 s
CLASS:PUBLIC
CREATED:20251003T202606Z
DESCRIPTION:<p>This speaker series is presented in advance of the UW Sympho
 ny's upcoming <a href='https://music.washington.edu/events/2026-02-06/film
 -screening-performance-healing-heart-lushootseed-uw-symphony-adia-s-bowen'>Feb. 6\, 2026 performance </a>of Bruce Ruddell's symphony\, 'Healing Hear
 t of the First People of This Land.'</p><p>The series is open to the publi
 c. Doors open at 10:30 am for coffee and pastries. All talks are on Thursd
 ays from 11 a.m. to 12 pm.</p><p><strong>10/9:</strong>  łuutiis Charlotte
  Coté (Nuu-chah-nulth) with Dian Million (Tanana) as discussant<br><br>10/16:</strong>  Tami Hohn (Puyallup) with McKenna Sweet Dorman (Snoq
 ualmie) as discussant<br><br><strong>10/23:</strong> <strong> Laurel Serco
 mbe with John Vallier as Discussant: </strong>“The Journey of Basket Ogres
 s: A History of the Revival and Revitalization of the Lushootseed Language
  in Coast Salish Country”. <strong>Sercombe </strong>is<strong> </strong>r
 etired sound archivist and curator for the UW Ethnomusicology Archive (Hom
 e of the Vi Hilbert Archive). <strong>Vallier is c</strong>urator for UW S
 pecial Collections and the Ethnomusicology Archive (Home of the Vi Hilbert
  Archive)\; Adjunct faculty in the School of Music and UW Comparative Hist
 ory of Ideas.<br><br><strong>10/30: </strong> John LaPointe (Swinomish)<br><br>11/6:  <strong>Jill tsisqʷux̌ʷaʔł LaPointe (Upper Skagit/Nooksack) wi
 th Janet Yoder: '</strong>The Healing Heart of Lushootseed: A Film Screeni
 ng and Discussion.'  <strong>Jill tsisqʷux̌ʷaʔł LaPointe</strong> (Upper S
 kagit/Nooksack)\, is senior director of the Indigenous Peoples Institute a
 t Seattle University. <strong>Janet Yoder </strong>is the author of Where 
 the Language Lives: Vi Hilbert and the Gift of the Lushootseed\, which pay
 s tribute to the woman whose determination and passion helped breathe life
  into her language and culture\, and was a finalist for the 2023 WA State 
 Book Award. <br><br><strong>11/13:</strong>  Composer Bruce Ruddell\, Musi
 cians Adia tsi sʔuyuʔaɫ Bowen (Upper Skagit) and Ben Workman Smith (Tolowa
 )\, Conductors Ryan Dudenbostel and David Rahbee\, with John-Carlos Perea 
 (Mescalero Apache/German/Irish/Chicano) as discussant<br><br><strong>11/20
 </strong> Sasha taqwšəblu LaPointe (Upper Skagit/Nooksack): Native to the 
 Pacific Northwest\, Sasha draws inspiration from her Coast Salish heritage
  as well as her life in the city. She writes with a focus on trauma and re
 silience\, PTSD\, sexual violence\, and the work her great grandmother did
  for Lushootseed language revitalization. </p><p><a href='https://healingh
 eartproject.org/'>More information on this series </a>`</p><p>Sponsored by
  Lushootseed Research\; Indigenous Peoples Institute @ Seattle University\
 ; Arts UW\; UW School of Music\; Center for American Indian and Indigenous
  Studies\; American Indian Studies Department\; Simpson Center for the Hum
 anities\; wǝɫǝbʔaltxʷ - Intellectual House @ the University of Washington&lt;
 /p&gt;
DTSTART;TZID=America/Los_Angeles:20251030T110000
LAST-MODIFIED:20251119T170529Z
SEQUENCE:284
SUMMARY:: Healing Heart Speaker Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-09/healing-heart-speaker-se
 ries
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>This speaker series is presented in advance
  of the UW Symphony's upcoming <a href='https://music.washington.edu/event
 s/2026-02-06/film-screening-performance-healing-heart-lushootseed-uw-symph
 ony-adia-s-bowen'>Feb. 6\, 2026 performance </a>of Bruce Ruddell's symphon
 y\, 'Healing Heart of the First People of This Land.'</p><p><em>The series
  is open to the public. Doors open at 10:30 am for coffee and pastries. Al
 l talks are on Thursdays from 11 a.m. to 12 pm.</em></p><p><strong>10/9:</strong>  łuutiis Charlotte Coté (Nuu-chah-nulth) with Dian Million (Tanana
 ) as discussant<br><br><strong>10/16:</strong>  Tami Hohn (Puyallup) with 
 McKenna Sweet Dorman (Snoqualmie) as discussant<br><br><strong>10/23: <strong> Laurel Sercombe with John Vallier as Discussant: </strong>“T
 he Journey of Basket Ogress: A History of the Revival and Revitalization o
 f the Lushootseed Language in Coast Salish Country”. <span times new><strong>Serc
 ombe </strong>is<strong> </strong></span><span times new>retired soun
 d archivist and curator for the UW Ethnomusicology Archive (Home of the Vi
  Hilbert Archive). </span><span times new><strong>Vallier is c</strong></span>urator for UW Special Collections and the Ethnomusicolog
 y Archive (Home of the Vi Hilbert Archive)\; Adjunct faculty in the School
  of Music and UW Comparative History of Ideas.</span><br><br><strong>10/30
 : </strong> John LaPointe (Swinomish)<br><br>11/6:  <strong>Jill tsisqʷux̌
 ʷaʔł LaPointe (Upper Skagit/Nooksack) with Janet Yoder: '</strong>The Heal
 ing Heart of Lushootseed: A Film Screening and Discussion.'  <strong>Jill 
 tsisqʷux̌ʷaʔł LaPointe</strong> (Upper Skagit/Nooksack)\, is senior direct
 or of the Indigenous Peoples Institute at Seattle University. <strong>Jane
 t Yoder </strong>is the author of <em>Where the Language Lives: Vi Hilbert
  and the Gift of the Lushootseed\,</em> which pays tribute to the woman wh
 ose determination and passion helped breathe life into her language and cu
 lture\, and was a finalist for the 2023 WA State Book Award. <br><br>11/13:</strong>  Composer Bruce Ruddell\, Musicians Adia tsi sʔuyuʔaɫ B
 owen (Upper Skagit) and Ben Workman Smith (Tolowa)\, Conductors Ryan Duden
 bostel and David Rahbee\, with John-Carlos Perea (Mescalero Apache/German/
 Irish/Chicano) as discussant<br><br><strong>11/20</strong> Sasha taqwšəblu
  LaPointe (Upper Skagit/Nooksack): Native to the Pacific Northwest\, Sasha
  draws inspiration from her Coast Salish heritage as well as her life in t
 he city. She writes with a focus on trauma and resilience\, PTSD\, sexual 
 violence\, and the work her great grandmother did for Lushootseed language
  revitalization. </p><p><a href='https://healingheartproject.org/'>More in
 formation on this series </a>`</p><p><em>Sponsored by Lushootseed Research
 \; Indigenous Peoples Institute @ Seattle University\; Arts UW\; UW School
  of Music\; Center for American Indian and Indigenous Studies\; American I
 ndian Studies Department\; Simpson Center for the Humanities\; wǝɫǝbʔaltxʷ
  - Intellectual House @ the University of Washington</em></p>
END:VEVENT
BEGIN:VEVENT
UID:d0b4b9c0-38a1-4e34-ba89-436107430fb0
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20251022T211720Z
DESCRIPTION:<p>The UW Music History program presents a guest lecture by Pro
 fessor Stephen Pennington (Tufts University)\, 'Inconvenient Voices\, Inco
 nvenient Identities: Black Trans Revue Girls\, Hookers\, and Drag Queens o
 f the 1970s'</p><hr><h2>Biography </h2><p>Stephan Pennington is an Associa
 te Professor of Music at Tufts University. His research interests are conc
 erned with the politics of the performance of identity\, and he has presen
 ted on a wide range of topics from on the rumba craze in 1930s Germany to 
 appropriation as an historical process. He has published in the Journal of
  the American Musicological Society\, Journal of the Royal Musical Associa
 tion\, Ethnomusicology Forum\, Women &amp; Music\, and the 2023 Philip Brett A
 ward Winning edited collection\, The Oxford Handbook of Music and Queernes
 s. A pioneering scholar on Transgender Studies in Music\, he has been soug
 ht out for a number of public intellectual projects\, including the docume
 ntary No Ordinary Man about trans masculine jazz musician Billy Tipton\, a
 nd a forthcoming documentary on Black Queer music history\, Hiding in Plai
 n Sight. He is currently working on two book projects\, one on transgender
  vocality and the second on the persistence of enlightenment white suprema
 cy in current musicological culture.<br> </p>
DTSTART;TZID=America/Los_Angeles:20251031T133000
LAST-MODIFIED:20251022T222353Z
SEQUENCE:285
SUMMARY:: Guest Lecture: Stephan Pennington\, Tufts University
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-31/guest-lecture-stephan-pe
 nnington-tufts-university
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The UW Music History program presents a gue
 st lecture by Professor Stephen Pennington (Tufts University)\, 'Inconveni
 ent Voices\, Inconvenient Identities: Black Trans Revue Girls\, Hookers\, 
 and Drag Queens of the 1970s'</p><hr><h2>Biography </h2><p>Stephan Penning
 ton is an Associate Professor of Music at Tufts University. His research i
 nterests are concerned with the politics of the performance of identity\, 
 and he has presented on a wide range of topics from on the rumba craze in 
 1930s Germany to appropriation as an historical process. He has published 
 in the<em> Journal of the American Musicological Society\, Journal of the 
 Royal Musical Association\, Ethnomusicology Forum\, Women &amp; Music\, </em>a
 nd the 2023 Philip Brett Award Winning edited collection\, <em>The Oxford 
 Handbook of Music and Queerness. </em>A pioneering scholar on Transgender 
 Studies in Music\, he has been sought out for a number of public intellect
 ual projects\, including the documentary <em>No Ordinary Man</em> about tr
 ans masculine jazz musician Billy Tipton\, and a forthcoming documentary o
 n Black Queer music history\, <em>Hiding in Plain Sight.</em> He is curren
 tly working on two book projects\, one on transgender vocality and the sec
 ond on the persistence of enlightenment white supremacy in current musicol
 ogical culture.<br> </p>
END:VEVENT
BEGIN:VEVENT
UID:0b68851c-a9ed-4846-82f9-415606da074a
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances\, Visiting Ar
 tists and Scholars
CLASS:PUBLIC
CREATED:20250814T200308Z
DESCRIPTION:<p>Dr. Stephen Price is joined by students\, colleagues\, and f
 riends of the UW Organ Studies program in this concert of spooky organ cla
 ssics and Halloween fun.</p><hr><h2>Program</h2><p>Toccata and Fugue in D 
 minor\, BWV 565 – <strong>Johann Sebastian Bach</strong> (1685-1750)<br>St
 ef Price\, organ</p><p>La Llorona – <strong>Mexican Folksong</strong><br>S
 oledad Mayorga-Maldonado\, voice\; Stef Price</p><p>“Music for a while” - 
 <strong>Henry Purcell </strong>(c.1659-1695) <br>Rain Anderson\, voice\; S
 tef Price </p><p>Sarabande &amp; Bourrée from Suite in E minor\, BWV 996 – Johann Sebastian Bach</strong><br>Ronin Crawford</p><p>Erlkönig D.328
  –<strong> Franz Schubert (1797-1828)</strong><br>Cee Adamson\, voice\; St
 ef Price  </p><p>“House of the Rising Sun” - <strong>American Folksong<br>Drew Theran\, trumpet\; Stef Price </p><p>“Pink Panther” -<strong> Henry Mancini </strong>(1924-1994)<strong> Arr. V. Thompson </strong><br>Kyle Grant\, alto saxophone\; Stef Price</p><p>“The Ballad of Sweeney Tod
 d” -<strong> Stephen Sondheim</strong> (1930-2021)<br>Clara Johnson and So
 ledad Mayorga-Maldonado\, voice\; Kyle Hanks<br><br>“In the Hall of the Mo
 untain King” from Peer Gynt Suite No. 1\, Op. 46 –<strong> Edvard Grieg</s> (1843-1907)<br>Stef Price </p><p>*Pumpkin Carol: “The Twelve Days o
 f Halloween”<br>Audience Participation</p><hr><h2>Biography</h2><p> </p>
DTSTART;TZID=America/Los_Angeles:20251031T193000
LAST-MODIFIED:20251029T230148Z
SEQUENCE:286
SUMMARY:: Halloween Organ Concert
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-31/halloween-organ-concert
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Dr. Stephen Price is joined by students\, c
 olleagues\, and friends of the UW Organ Studies program in this concert of
  spooky organ classics and Halloween fun.</p><hr><h2>Program</h2><p>Toccat
 a and Fugue in D minor\, BWV 565 – <strong>Johann Sebastian Bach</strong> 
 (1685-1750)<br><em>Stef Price\, organ</em></p><p>La Llorona – <strong>Mexi
 can Folksong</strong><br><em>Soledad Mayorga-Maldonado\, voice\; Stef Pric
 e</em></p><p>“Music for a while” - <strong>Henry Purcell </strong>(c.1659-
 1695) <br><em>Rain Anderson\, voice\; Stef Price</em> </p><p>Sarabande &amp; B
 ourrée from Suite in E minor\, BWV 996 –<strong> Johann Sebastian Bach<br><em>Ronin Crawford</em></p><p>Erlkönig D.328 –<strong> Franz Schu
 bert (1797-1828)</strong><br><em>Cee Adamson\, voice\; Stef Price  </em></p><p>“House of the Rising Sun” - <strong>American Folksong</strong><br><em>Drew Theran\, trumpet\; Stef Price </em></p><p>“Pink Panther” -<strong> H
 enry Mancini </strong>(1924-1994)<strong> Arr. V. Thompson </strong><br>Kyle Grant\, alto saxophone\; Stef Price</em></p><p>“The Ballad of Sween
 ey Todd” -<strong> Stephen Sondheim</strong> (1930-2021)<br><em>Clara John
 son and Soledad Mayorga-Maldonado\, voice\; Kyle Hanks</em><br><br>“In the
  Hall of the Mountain King” from Peer Gynt Suite No. 1\, Op. 46 –<strong> 
 Edvard Grieg</strong> (1843-1907)<br><em>Stef Price </em></p><p>*Pumpkin C
 arol: “The Twelve Days of Halloween”<br><em>Audience Participation</em></p><hr><h2>Biography</h2><p> </p>
END:VEVENT
BEGIN:VEVENT
UID:4d79a4ce-974d-44de-8233-aa7d671b2313
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20251028T220403Z
DESCRIPTION:<p> Heidi Blythe (DMA\, Choral Conducting) presents 'A Certaint
 y of Music\,' a degree recital featuring songs of spirit and strength perf
 ormed by the UW Recital Choir\, UW Cohort Ensemble\, and the UW Advanced T
 reble Ensemble. With Steve Swanson\, collaborative pianist.</p><hr><h2>Bio
 graphy</h2>
DTSTART;TZID=America/Los_Angeles:20251101T160000
LAST-MODIFIED:20251029T182737Z
SEQUENCE:287
SUMMARY:: Degree Recital\, Heidi Blythe\, DMA\, Choral Conducting
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-01/degree-recital-heidi-bly
 the-dma-choral-conducting
END:VEVENT
BEGIN:VEVENT
UID:f6805620-3ece-40f9-b239-04712d097f94
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20250401T201731Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20251104T120000
LAST-MODIFIED:20250401T201731Z
SEQUENCE:288
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-04/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:4e0af951-227d-467c-94e3-228d6c16da66
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250528T164543Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p><h2 class='x_M
 soNormal'>Featured Performers</h2>  Full program <a href='/sites/music/fil
 es/documents/November%205%2C%202025.pdf'>HERE</a>
DTSTART;TZID=America/Los_Angeles:20251105T123000
LAST-MODIFIED:20251104T173840Z
SEQUENCE:289
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-05/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p><span>Students of the UW School
  of Music perform in this </span>lunchtime concert series co-hosted by UW 
 Music and UW Libraries. </p></blockquote><h2 class='x_MsoNormal'><span>Fea
 tured Performers</span></h2><div class='elementToProof'><div class='elemen
 tToProof'><div class='elementToProof'><div class='elementToProof'><div cla ss='elementToProof'><div class='x_elementToProof ContentPasted0'><div clas s='x_elementToProof ContentPasted0'> </div></div></div></div></div></div>&lt;
 /div&gt;<div> </div><div>Full program <a href='/sites/music/files/documents/N
 ovember%205%2C%202025.pdf'>HERE</a></div>
END:VEVENT
BEGIN:VEVENT
UID:379311a7-385d-4402-b18b-31d7a8c4f888
DTSTAMP:20260307T094252Z
CATEGORIES:Master Classes\, Student Activities and Performances\, Visiting 
 Artists and Scholars
CLASS:PUBLIC
CREATED:20251002T154236Z
DESCRIPTION:<p>Celebrated pianist Jon Kimura Parker leads a master class wi
 th UW piano students. His visit to the School of Music is made possible by
  Meany Center for the Performing Arts\, presenting Jon Kimura Parker in co
 ncert on Thursday\, Nov. 6 at Meany Hall. <a href='https://meanycenter.org
 /tickets/2025-11/production/jon-kimura-parker'>Details here.</a></p><hr><p><strong>Note: Due to limited capacity in Music Room 213\, attendance is l
 imited and by RSVP only. </strong></p><h5><a href='//docs.google.co
 m/forms/d/1OWMDO8CE9aQAlnumR6Jpc1rn9hzIJ1M623a9ePSsbEY/edit  '><strong>RSV
 P HERE</strong></a></h5><hr><h2>Program</h2> Liebestraum\, No. 3: <strong>
 Franz Liszt </strong> (1811-1886)<br>Chloe Song From Impromptus on a Theme
  of Clara Schumann\, Opus 5: <strong>Robert Schumann</strong>  (1810-1856)
 <br>Yige Han   L’Isle Joyeuse: <strong>Claude Debussy</strong> 1862-1918)&lt;
 br&gt;Honoka Cater<hr><h2>Biography</h2><p>Pianist Jon Kimura Parker is the C
 reative Partner of the Minnesota Orchestra\, Artistic Director of the Hone
 ns International Piano Competition and Artistic Advisor of the Orcas Islan
 d Chamber Music Festival. This season he performs in New York at Lincoln C
 enter\, Toronto with the Galilee Chamber Orchestra\, Chicago with the Mont
 rose Trio\, as well as in Boston\, Phoenix\, Kansas City\, Dallas\, Quebec
 \, Portland\, and Minneapolis.</p><p>He has collaborated with legendary ro
 ck drummer Stewart Copeland in Off the Score\, tango pianist Pablo Ziegler
 \, singer Bobby McFerrin\, violinist Cho-Liang Lin\, and mezzo-soprano Sus
 an Graham\, A committed educator\, he is Professor of Piano at the Shepher
 d School of Music at Rice University. His Whole Notes series is available 
 on Amazon Prime\, and he is a featured Tonebaseartist.</p><p>Winner of the
  Gold Medal at the 1984 Leeds International Piano Competition\, Parker is 
 an Officer of The Order of Canada and has received Honorary Doctorates fro
 m the University of British Columbia and the Royal Conservatory of Music\,
  Toronto.</p><p>Jon Kimura Parker studied with Edward Parker and Keiko Par
 ker\, Lee Kum-Sing at the Vancouver Academy of Music and the University of
  British Columbia\, Marek Jablonski at the Banff Centre\, and Adele Marcus
  at The Juilliard School.  </p>
DTSTART;TZID=America/Los_Angeles:20251105T183000
LAST-MODIFIED:20251030T182800Z
SEQUENCE:290
SUMMARY:: Master Class: Jon Kimura Parker\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-05/master-class-jon-kimura-
 parker-piano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Celebrated pianist Jon Kimura Parker leads 
 a master class with UW piano students. His visit to the School of Music is
  made possible by Meany Center for the Performing Arts\, presenting Jon Ki
 mura Parker in concert on Thursday\, Nov. 6 at Meany Hall. <a href='https:
 //meanycenter.org/tickets/2025-11/production/jon-kimura-parker'>Details he
 re.</a></p><hr><p><em><strong>Note: Due to limited capacity in Music Room 
 213\, attendance is limited and by RSVP only. </strong></em></p><h5><a hre f='//docs.google.com/forms/d/1OWMDO8CE9aQAlnumR6Jpc1rn9hzIJ1M623a9e
 PSsbEY/edit '><strong>RSVP HERE</strong></a></h5><hr><h2>Program</h2><div class='elementToProof' dir='ltr'> </div><div class='elementToProof' dir='ltr'>Liebestraum\, No. 3:
  <strong>Franz Liszt </strong> (1811-1886)<br><em>Chloe Song</em></div> </div><div class='elementToProof' dir='ltr'>From Impromptus on
  a Theme of Clara Schumann\, Opus 5: <strong>Robert Schumann</strong>  (18
 10-1856)<br><em>Yige Han </em> </div><div class='elementToProof' dir='ltr'> </div><div class='elementToProof' dir='ltr'>L’Isle Joyeuse: <strong>Claude Debussy</strong> 1862
 -1918)<br><em>Honoka Cater</em></div><hr><h2>Biography</h2><p>Pianist Jon 
 Kimura Parker is the Creative Partner of the Minnesota Orchestra\, Artisti
 c Director of the Honens International Piano Competition and Artistic Advi
 sor of the Orcas Island Chamber Music Festival. This season he performs in
  New York at Lincoln Center\, Toronto with the Galilee Chamber Orchestra\,
  Chicago with the Montrose Trio\, as well as in Boston\, Phoenix\, Kansas 
 City\, Dallas\, Quebec\, Portland\, and Minneapolis.</p><p>He has collabor
 ated with legendary rock drummer Stewart Copeland in Off the Score\, tango
  pianist Pablo Ziegler\, singer Bobby McFerrin\, violinist Cho-Liang Lin\,
  and mezzo-soprano Susan Graham\, A committed educator\, he is Professor o
 f Piano at the Shepherd School of Music at Rice University. His Whole Note
 s series is available on Amazon Prime\, and he is a featured Tonebaseartis
 t.</p><p>Winner of the Gold Medal at the 1984 Leeds International Piano Co
 mpetition\, Parker is an Officer of The Order of Canada and has received H
 onorary Doctorates from the University of British Columbia and the Royal C
 onservatory of Music\, Toronto.</p><p>Jon Kimura Parker studied with Edwar
 d Parker and Keiko Parker\, Lee Kum-Sing at the Vancouver Academy of Music
  and the University of British Columbia\, Marek Jablonski at the Banff Cen
 tre\, and Adele Marcus at The Juilliard School.  </p><div></div>
 
END:VEVENT
BEGIN:VEVENT
UID:4d34706c-3ad1-47d3-98f5-2cfd70ed6810
DTSTAMP:20260307T094252Z
CATEGORIES:Performances
CLASS:PUBLIC
CREATED:20251104T225123Z
DESCRIPTION:<p>Hum Under the Riverstone was created through a collaboration
  of the members of the Human-Machine Interaction Networks Directed Researc
 h Group\, coordinated by DXARTS Assistant Professor Laura Luna Castillo. &lt;
 /p&gt;<h3 encode sans compressed open>Hum Under the Riverstone explores different
  forms of connection and dialogue that can unfold among various kinds of i
 ntelligences: human\, natural\, and machinic. The title of this project dr
 aws inspiration from Édouard Glissant and his concept of archipelagic thin
 king.<br> </h3><p><a href='//dxarts.washington.edu/events/2025-11-0
 5/dxarts-fall-concert-hum-under-riverstone'><strong>Learn more about the p
 erformance</strong></a></p>
DTSTART;TZID=America/Los_Angeles:20251105T193000
LAST-MODIFIED:20251104T230120Z
SEQUENCE:291
SUMMARY:: External Event: DXARTS Fall Concert: Hum Under the Riverstone
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-05/external-event-dxarts-fa
 ll-concert-hum-under-riverstone
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><em open>Hum Under the Riverstone</em><span open> was created through a collaboration of the members of the Human-Ma
 chine Interaction Networks Directed Research Group\, coordinated by DXARTS
  Assistant Professor Laura Luna Castillo. </span></p><h3 encode sans compressed open><em open sa>Hum Under 
 the Riverstone</em><span open> explores differe
 nt forms of connection and dialogue that can unfold among various kinds of
  intelligences: human\, natural\, and machinic. The title of this project 
 draws inspiration from Édouard Glissant and his concept of </span><em styl open>archipelagic thinking</em><span open>.</span><br> </h3><p><a href='//dxarts.washington.edu/events/2025-11-05/dxarts-fall-concert-hum-under-
 riverstone'><strong>Learn more about the performance</strong></a></p>
END:VEVENT
BEGIN:VEVENT
UID:d027b260-fb50-4e1e-9757-d590bc28f9a2
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Special Events\, Talks\, Visiting Artists and Scholar
 s
CLASS:PUBLIC
CREATED:20251003T202606Z
DESCRIPTION:<p>This speaker series is presented in advance of the UW Sympho
 ny's upcoming <a href='https://music.washington.edu/events/2026-02-06/film
 -screening-performance-healing-heart-lushootseed-uw-symphony-adia-s-bowen'>Feb. 6\, 2026 performance </a>of Bruce Ruddell's symphony\, 'Healing Hear
 t of the First People of This Land.'</p><p>The series is open to the publi
 c. Doors open at 10:30 am for coffee and pastries. All talks are on Thursd
 ays from 11 a.m. to 12 pm.</p><p><strong>10/9:</strong>  łuutiis Charlotte
  Coté (Nuu-chah-nulth) with Dian Million (Tanana) as discussant<br><br>10/16:</strong>  Tami Hohn (Puyallup) with McKenna Sweet Dorman (Snoq
 ualmie) as discussant<br><br><strong>10/23:</strong> <strong> Laurel Serco
 mbe with John Vallier as Discussant: </strong>“The Journey of Basket Ogres
 s: A History of the Revival and Revitalization of the Lushootseed Language
  in Coast Salish Country”. <strong>Sercombe </strong>is<strong> </strong>r
 etired sound archivist and curator for the UW Ethnomusicology Archive (Hom
 e of the Vi Hilbert Archive). <strong>Vallier is c</strong>urator for UW S
 pecial Collections and the Ethnomusicology Archive (Home of the Vi Hilbert
  Archive)\; Adjunct faculty in the School of Music and UW Comparative Hist
 ory of Ideas.<br><br><strong>10/30: </strong> John LaPointe (Swinomish)<br><br>11/6:  <strong>Jill tsisqʷux̌ʷaʔł LaPointe (Upper Skagit/Nooksack) wi
 th Janet Yoder: '</strong>The Healing Heart of Lushootseed: A Film Screeni
 ng and Discussion.'  <strong>Jill tsisqʷux̌ʷaʔł LaPointe</strong> (Upper S
 kagit/Nooksack)\, is senior director of the Indigenous Peoples Institute a
 t Seattle University. <strong>Janet Yoder </strong>is the author of Where 
 the Language Lives: Vi Hilbert and the Gift of the Lushootseed\, which pay
 s tribute to the woman whose determination and passion helped breathe life
  into her language and culture\, and was a finalist for the 2023 WA State 
 Book Award. <br><br><strong>11/13:</strong>  Composer Bruce Ruddell\, Musi
 cians Adia tsi sʔuyuʔaɫ Bowen (Upper Skagit) and Ben Workman Smith (Tolowa
 )\, Conductors Ryan Dudenbostel and David Rahbee\, with John-Carlos Perea 
 (Mescalero Apache/German/Irish/Chicano) as discussant<br><br><strong>11/20
 </strong> Sasha taqwšəblu LaPointe (Upper Skagit/Nooksack): Native to the 
 Pacific Northwest\, Sasha draws inspiration from her Coast Salish heritage
  as well as her life in the city. She writes with a focus on trauma and re
 silience\, PTSD\, sexual violence\, and the work her great grandmother did
  for Lushootseed language revitalization. </p><p><a href='https://healingh
 eartproject.org/'>More information on this series </a>`</p><p>Sponsored by
  Lushootseed Research\; Indigenous Peoples Institute @ Seattle University\
 ; Arts UW\; UW School of Music\; Center for American Indian and Indigenous
  Studies\; American Indian Studies Department\; Simpson Center for the Hum
 anities\; wǝɫǝbʔaltxʷ - Intellectual House @ the University of Washington&lt;
 /p&gt;
DTSTART;TZID=America/Los_Angeles:20251106T110000
LAST-MODIFIED:20251119T170529Z
SEQUENCE:292
SUMMARY:: Healing Heart Speaker Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-09/healing-heart-speaker-se
 ries
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>This speaker series is presented in advance
  of the UW Symphony's upcoming <a href='https://music.washington.edu/event
 s/2026-02-06/film-screening-performance-healing-heart-lushootseed-uw-symph
 ony-adia-s-bowen'>Feb. 6\, 2026 performance </a>of Bruce Ruddell's symphon
 y\, 'Healing Heart of the First People of This Land.'</p><p><em>The series
  is open to the public. Doors open at 10:30 am for coffee and pastries. Al
 l talks are on Thursdays from 11 a.m. to 12 pm.</em></p><p><strong>10/9:</strong>  łuutiis Charlotte Coté (Nuu-chah-nulth) with Dian Million (Tanana
 ) as discussant<br><br><strong>10/16:</strong>  Tami Hohn (Puyallup) with 
 McKenna Sweet Dorman (Snoqualmie) as discussant<br><br><strong>10/23: <strong> Laurel Sercombe with John Vallier as Discussant: </strong>“T
 he Journey of Basket Ogress: A History of the Revival and Revitalization o
 f the Lushootseed Language in Coast Salish Country”. <span times new><strong>Serc
 ombe </strong>is<strong> </strong></span><span times new>retired soun
 d archivist and curator for the UW Ethnomusicology Archive (Home of the Vi
  Hilbert Archive). </span><span times new><strong>Vallier is c</strong></span>urator for UW Special Collections and the Ethnomusicolog
 y Archive (Home of the Vi Hilbert Archive)\; Adjunct faculty in the School
  of Music and UW Comparative History of Ideas.</span><br><br><strong>10/30
 : </strong> John LaPointe (Swinomish)<br><br>11/6:  <strong>Jill tsisqʷux̌
 ʷaʔł LaPointe (Upper Skagit/Nooksack) with Janet Yoder: '</strong>The Heal
 ing Heart of Lushootseed: A Film Screening and Discussion.'  <strong>Jill 
 tsisqʷux̌ʷaʔł LaPointe</strong> (Upper Skagit/Nooksack)\, is senior direct
 or of the Indigenous Peoples Institute at Seattle University. <strong>Jane
 t Yoder </strong>is the author of <em>Where the Language Lives: Vi Hilbert
  and the Gift of the Lushootseed\,</em> which pays tribute to the woman wh
 ose determination and passion helped breathe life into her language and cu
 lture\, and was a finalist for the 2023 WA State Book Award. <br><br>11/13:</strong>  Composer Bruce Ruddell\, Musicians Adia tsi sʔuyuʔaɫ B
 owen (Upper Skagit) and Ben Workman Smith (Tolowa)\, Conductors Ryan Duden
 bostel and David Rahbee\, with John-Carlos Perea (Mescalero Apache/German/
 Irish/Chicano) as discussant<br><br><strong>11/20</strong> Sasha taqwšəblu
  LaPointe (Upper Skagit/Nooksack): Native to the Pacific Northwest\, Sasha
  draws inspiration from her Coast Salish heritage as well as her life in t
 he city. She writes with a focus on trauma and resilience\, PTSD\, sexual 
 violence\, and the work her great grandmother did for Lushootseed language
  revitalization. </p><p><a href='https://healingheartproject.org/'>More in
 formation on this series </a>`</p><p><em>Sponsored by Lushootseed Research
 \; Indigenous Peoples Institute @ Seattle University\; Arts UW\; UW School
  of Music\; Center for American Indian and Indigenous Studies\; American I
 ndian Studies Department\; Simpson Center for the Humanities\; wǝɫǝbʔaltxʷ
  - Intellectual House @ the University of Washington</em></p>
END:VEVENT
BEGIN:VEVENT
UID:d27df969-b68c-4544-8fdb-62737abd10bf
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T194625Z
DESCRIPTION:<p> </p><p>UW Jazz Studies students perform in small combos ove
 r two consecutive nights of original tunes\, homage to the greats of jazz\
 , and experiments in composing and arranging. </p><hr><h2>Program</h2><p>&lt;
 strong&gt;Vudapest\, Cuongary </strong><br> Cuong Vu - advisor<br><br>Chick’s
  Pain -<strong> Mathieu Fiset</strong><br>Gemeos - <strong>Baptiste Herbin
 </strong><br>Dreams So Real - <strong>Carla Bley</strong><br>Footprints - 
 <strong>Wayne Shorter</strong><br>Gibraltar - <strong>Stanley Turrentine</strong><br><br>Henry Kelly - Alto Sax\; Rohini Vrajmohan - Trumpet\; Alex 
 Phelps - Trombone\; Rishabh McIntosh - Trombone\; Mira Santa Lucia - Piano
 \; Marko Vidich - Guitar\; Brayson Young - Drums\; AJ Marto - Bass</p><p>&lt;
 strong&gt;2:30 Sextet  </strong><br> Jacob Zimmerman - advisor</p><p>Sing a S
 ong of Song - <strong>Kenny Garrett</strong><br>Deed-Lee-Yah - <strong>Mar
 c Copland</strong><br>The Dreamer - <strong>William Read</strong><br>Lady 
 Bird - <strong>Tadd Dameron</strong><br><br>Brady Poor -  tenor sax\; Yota
 m Snir - tenor saxes\; Riley Durasoff - piano\; Chris Knadler - guitar\; J
 osh Bonifas - bass\; Spencer Read - drums</p><p><strong>Talking Gregs<br>  Greg Sinibaldi - advisor<br><br>For Alohi - <strong>Coen Rios</s><br>Phasing Beauty - <strong>Martin Nguyen</strong><br>Like You - <s trong>Gus Scharler</strong><br>A Portrait\, From Memory - <strong>Thomas J
 ennings</strong><br><br>Coen Rios - Tenor Sax\; Gus Scharler - Tenor Sax\;
  Martin Nguyen - Alto Sax\; Thomas Jennings - Guitar\; Nicholas Ang - Pian
 o\; Riley Tobin - Bass\; Shane Ryan - Drums</p><hr><h2>Director Biographie
 s</h2>
DTSTART;TZID=America/Los_Angeles:20251112T193000
LAST-MODIFIED:20251108T164838Z
SEQUENCE:293
SUMMARY:: Jazz Innovations I
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-12/jazz-innovations-i
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>UW Jazz Studies students perform in
  small combos over two consecutive nights of original tunes\, homage to th
 e greats of jazz\, and experiments in composing and arranging. </p><hr><h2>Program</h2><p><strong>Vudapest\, Cuongary </strong><br><em> Cuong Vu - a
 dvisor</em><br><br>Chick’s Pain -<strong> Mathieu Fiset</strong><br>Gemeos
  - <strong>Baptiste Herbin</strong><br>Dreams So Real - <strong>Carla Bley
 </strong><br>Footprints - <strong>Wayne Shorter</strong><br>Gibraltar - <s trong>Stanley Turrentine</strong><br><br><em>Henry Kelly - Alto Sax\; Rohi
 ni Vrajmohan - Trumpet\; Alex Phelps - Trombone\; Rishabh McIntosh - Tromb
 one\; Mira Santa Lucia - Piano\; Marko Vidich - Guitar\; Brayson Young - D
 rums\; AJ Marto - Bass</em></p><p><strong>2:30 Sextet  </strong><br> J<em>
 acob Zimmerman - advisor</em></p><p>Sing a Song of Song - <strong>Kenny Ga
 rrett</strong><br>Deed-Lee-Yah - <strong>Marc Copland</strong><br>The Drea
 mer - <strong>William Read</strong><br>Lady Bird - <strong>Tadd Dameron</s><br><br><em>Brady Poor -  tenor sax\; Yotam Snir - tenor saxes\; Ril
 ey Durasoff - piano\; Chris Knadler - guitar\; Josh Bonifas - bass\; Spenc
 er Read - drums</em></p><p><strong>Talking Gregs</strong><br>  <em>Greg Si
 nibaldi - advisor</em><br><br>For Alohi - <strong>Coen Rios</strong><br>Ph
 asing Beauty - <strong>Martin Nguyen</strong><br>Like You - <strong>Gus Sc
 harler</strong><br>A Portrait\, From Memory - <strong>Thomas Jennings<br><br><em>Coen Rios - Tenor Sax\; Gus Scharler - Tenor Sax\; Martin 
 Nguyen - Alto Sax\; Thomas Jennings - Guitar\; Nicholas Ang - Piano\; Rile
 y Tobin - Bass\; Shane Ryan - Drums</em></p><hr><h2>Director Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:d027b260-fb50-4e1e-9757-d590bc28f9a2
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Special Events\, Talks\, Visiting Artists and Scholar
 s
CLASS:PUBLIC
CREATED:20251003T202606Z
DESCRIPTION:<p>This speaker series is presented in advance of the UW Sympho
 ny's upcoming <a href='https://music.washington.edu/events/2026-02-06/film
 -screening-performance-healing-heart-lushootseed-uw-symphony-adia-s-bowen'>Feb. 6\, 2026 performance </a>of Bruce Ruddell's symphony\, 'Healing Hear
 t of the First People of This Land.'</p><p>The series is open to the publi
 c. Doors open at 10:30 am for coffee and pastries. All talks are on Thursd
 ays from 11 a.m. to 12 pm.</p><p><strong>10/9:</strong>  łuutiis Charlotte
  Coté (Nuu-chah-nulth) with Dian Million (Tanana) as discussant<br><br>10/16:</strong>  Tami Hohn (Puyallup) with McKenna Sweet Dorman (Snoq
 ualmie) as discussant<br><br><strong>10/23:</strong> <strong> Laurel Serco
 mbe with John Vallier as Discussant: </strong>“The Journey of Basket Ogres
 s: A History of the Revival and Revitalization of the Lushootseed Language
  in Coast Salish Country”. <strong>Sercombe </strong>is<strong> </strong>r
 etired sound archivist and curator for the UW Ethnomusicology Archive (Hom
 e of the Vi Hilbert Archive). <strong>Vallier is c</strong>urator for UW S
 pecial Collections and the Ethnomusicology Archive (Home of the Vi Hilbert
  Archive)\; Adjunct faculty in the School of Music and UW Comparative Hist
 ory of Ideas.<br><br><strong>10/30: </strong> John LaPointe (Swinomish)<br><br>11/6:  <strong>Jill tsisqʷux̌ʷaʔł LaPointe (Upper Skagit/Nooksack) wi
 th Janet Yoder: '</strong>The Healing Heart of Lushootseed: A Film Screeni
 ng and Discussion.'  <strong>Jill tsisqʷux̌ʷaʔł LaPointe</strong> (Upper S
 kagit/Nooksack)\, is senior director of the Indigenous Peoples Institute a
 t Seattle University. <strong>Janet Yoder </strong>is the author of Where 
 the Language Lives: Vi Hilbert and the Gift of the Lushootseed\, which pay
 s tribute to the woman whose determination and passion helped breathe life
  into her language and culture\, and was a finalist for the 2023 WA State 
 Book Award. <br><br><strong>11/13:</strong>  Composer Bruce Ruddell\, Musi
 cians Adia tsi sʔuyuʔaɫ Bowen (Upper Skagit) and Ben Workman Smith (Tolowa
 )\, Conductors Ryan Dudenbostel and David Rahbee\, with John-Carlos Perea 
 (Mescalero Apache/German/Irish/Chicano) as discussant<br><br><strong>11/20
 </strong> Sasha taqwšəblu LaPointe (Upper Skagit/Nooksack): Native to the 
 Pacific Northwest\, Sasha draws inspiration from her Coast Salish heritage
  as well as her life in the city. She writes with a focus on trauma and re
 silience\, PTSD\, sexual violence\, and the work her great grandmother did
  for Lushootseed language revitalization. </p><p><a href='https://healingh
 eartproject.org/'>More information on this series </a>`</p><p>Sponsored by
  Lushootseed Research\; Indigenous Peoples Institute @ Seattle University\
 ; Arts UW\; UW School of Music\; Center for American Indian and Indigenous
  Studies\; American Indian Studies Department\; Simpson Center for the Hum
 anities\; wǝɫǝbʔaltxʷ - Intellectual House @ the University of Washington&lt;
 /p&gt;
DTSTART;TZID=America/Los_Angeles:20251113T110000
LAST-MODIFIED:20251119T170529Z
SEQUENCE:294
SUMMARY:: Healing Heart Speaker Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-09/healing-heart-speaker-se
 ries
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>This speaker series is presented in advance
  of the UW Symphony's upcoming <a href='https://music.washington.edu/event
 s/2026-02-06/film-screening-performance-healing-heart-lushootseed-uw-symph
 ony-adia-s-bowen'>Feb. 6\, 2026 performance </a>of Bruce Ruddell's symphon
 y\, 'Healing Heart of the First People of This Land.'</p><p><em>The series
  is open to the public. Doors open at 10:30 am for coffee and pastries. Al
 l talks are on Thursdays from 11 a.m. to 12 pm.</em></p><p><strong>10/9:</strong>  łuutiis Charlotte Coté (Nuu-chah-nulth) with Dian Million (Tanana
 ) as discussant<br><br><strong>10/16:</strong>  Tami Hohn (Puyallup) with 
 McKenna Sweet Dorman (Snoqualmie) as discussant<br><br><strong>10/23: <strong> Laurel Sercombe with John Vallier as Discussant: </strong>“T
 he Journey of Basket Ogress: A History of the Revival and Revitalization o
 f the Lushootseed Language in Coast Salish Country”. <span times new><strong>Serc
 ombe </strong>is<strong> </strong></span><span times new>retired soun
 d archivist and curator for the UW Ethnomusicology Archive (Home of the Vi
  Hilbert Archive). </span><span times new><strong>Vallier is c</strong></span>urator for UW Special Collections and the Ethnomusicolog
 y Archive (Home of the Vi Hilbert Archive)\; Adjunct faculty in the School
  of Music and UW Comparative History of Ideas.</span><br><br><strong>10/30
 : </strong> John LaPointe (Swinomish)<br><br>11/6:  <strong>Jill tsisqʷux̌
 ʷaʔł LaPointe (Upper Skagit/Nooksack) with Janet Yoder: '</strong>The Heal
 ing Heart of Lushootseed: A Film Screening and Discussion.'  <strong>Jill 
 tsisqʷux̌ʷaʔł LaPointe</strong> (Upper Skagit/Nooksack)\, is senior direct
 or of the Indigenous Peoples Institute at Seattle University. <strong>Jane
 t Yoder </strong>is the author of <em>Where the Language Lives: Vi Hilbert
  and the Gift of the Lushootseed\,</em> which pays tribute to the woman wh
 ose determination and passion helped breathe life into her language and cu
 lture\, and was a finalist for the 2023 WA State Book Award. <br><br>11/13:</strong>  Composer Bruce Ruddell\, Musicians Adia tsi sʔuyuʔaɫ B
 owen (Upper Skagit) and Ben Workman Smith (Tolowa)\, Conductors Ryan Duden
 bostel and David Rahbee\, with John-Carlos Perea (Mescalero Apache/German/
 Irish/Chicano) as discussant<br><br><strong>11/20</strong> Sasha taqwšəblu
  LaPointe (Upper Skagit/Nooksack): Native to the Pacific Northwest\, Sasha
  draws inspiration from her Coast Salish heritage as well as her life in t
 he city. She writes with a focus on trauma and resilience\, PTSD\, sexual 
 violence\, and the work her great grandmother did for Lushootseed language
  revitalization. </p><p><a href='https://healingheartproject.org/'>More in
 formation on this series </a>`</p><p><em>Sponsored by Lushootseed Research
 \; Indigenous Peoples Institute @ Seattle University\; Arts UW\; UW School
  of Music\; Center for American Indian and Indigenous Studies\; American I
 ndian Studies Department\; Simpson Center for the Humanities\; wǝɫǝbʔaltxʷ
  - Intellectual House @ the University of Washington</em></p>
END:VEVENT
BEGIN:VEVENT
UID:29e1b1e6-5d0d-41cb-be6f-86d516a49786
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T195457Z
DESCRIPTION:<p> </p><p>UW Jazz Studies students perform in small combos ove
 r two consecutive nights of original tunes\, homage to the greats of jazz\
 , and experiments in composing and arranging. </p><hr><h2>Program</h2><p>&lt;
 strong&gt;To Be Determined </strong><br>	Cuong Vu - advisor</p><p>Minor Blues 
 - <strong>Kurt Rosenwinkel</strong><br>Madiba - <strong>Robert Glasper<br>Abraham's New Gift - <strong>Freeness</strong></p><p>Carson Johns
 on\, Tenor Saxophone\; Owen Gwinn\, Tenor Saxophone\; Corlan Costello\, Pi
 ano\; Packard Stephenson\, Electric Bass\; Aiden Chan\, Drums</p><p><br><s trong>Standing Waves</strong><br>Coen Rios and Rory Somers - advisors</p>&lt;
 p&gt;Solar - <strong>Chuck Wayne\, Miles Davis</strong><br>Footprints - Wayne Shorter</strong><br>Pent Up House - <strong>Sonny Rollins</strong><br>After You've Gone - <strong>Turner Layton</strong></p><p>Jacqueline B
 iscay\, Tenor Saxophone\; Phineas Ruge\, Tenor Saxophone\; Eliana Koenig\,
  Piano\; Dominic Apostol\, Bass\; Maxim Langs\, Drums</p><p><strong>The Ra
 re Things  </strong><br>Steve Rodby - advisor<br><br>The Intrepid Fox - <s trong>Freddie Hubbard </strong><br>That’s What She Says - <strong>Manfredo
  Fest\, arranged by Don Tran</strong><br>Beauty Is A Rare Thing - <strong>
 Ornette Coleman</strong><br>One By One - <strong>Wayne Shorter   </strong>
 </p><p>Rory Somers - trumpet\; Aadithya Manoj - alto saxophone\; Graeme Ge
 ntle - tenor saxophone\; Gavin Westland - piano\; Don Viet Tran - bass\; E
 than Horn -  drums   </p><hr><h2>Director Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20251113T193000
LAST-MODIFIED:20251108T165626Z
SEQUENCE:295
SUMMARY:: Jazz Innovations II
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-13/jazz-innovations-ii
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>UW Jazz Studies students perform in
  small combos over two consecutive nights of original tunes\, homage to th
 e greats of jazz\, and experiments in composing and arranging. </p><hr><h2>Program</h2><div><p><strong>To Be Determined </strong><br>	<em>Cuong Vu - advisor</em>&lt;
 /p&gt;<p>Minor Blues - <strong>Kurt Rosenwinkel</strong><br>Madiba - <strong>
 Robert Glasper</strong><br>Abraham's New Gift - <strong>Freeness</strong>&lt;
 /p&gt;<p><em>Carson Johnson\, Tenor Saxophone\; Owen Gwinn\, Tenor Saxophone\
 ; Corlan Costello\, Piano\; Packard Stephenson\, Electric Bass\; Aiden Cha
 n\, Drums</em></p><p><br><strong>Standing Waves</strong><br><em>Coen Rios 
 and Rory Somers - advisors</em></p><p>Solar - <strong>Chuck Wayne\, Miles 
 Davis</strong><br>Footprints - <strong>Wayne Shorter</strong><br>Pent Up H
 ouse - <strong>Sonny Rollins</strong><br>After You've Gone - <strong>Turne
 r Layton</strong></p><p><em>Jacqueline Biscay\, Tenor Saxophone\; Phineas 
 Ruge\, Tenor Saxophone\; Eliana Koenig\, Piano\; Dominic Apostol\, Bass\; 
 Maxim Langs\, Drums</em></p><p><strong>The Rare Things  </strong><br><em>S
 teve Rodby - advisor</em><br><br>The Intrepid Fox - <strong>Freddie Hubbar
 d </strong><br>That’s What She Says - <strong>Manfredo Fest\, arranged by 
 Don Tran</strong><br>Beauty Is A Rare Thing - <strong>Ornette Coleman<br>One By One - <strong>Wayne Shorter   </strong></p></div><p><em>Ror
 y Somers - trumpet\; Aadithya Manoj - alto saxophone\; Graeme Gentle - ten
 or saxophone\; Gavin Westland - piano\; Don Viet Tran - bass\; Ethan Horn 
 -  drums  </em> </p><hr><h2>Director Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:d8ccbfe2-3b11-4bcd-ac1c-3892f4bbfc0b
DTSTAMP:20260307T094252Z
CATEGORIES:Master Classes\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250917T190411Z
DESCRIPTION:<p>Internationally renowned pianist Yulianna Avdeeva leads a ma
 ster class with UW piano students while in Seattle for <a href='https://ww
 w.seattlesymphony.org/en/concerttickets/calendar/2025-2026/25sub6'>several
  performances</a> with the Seattle Symphony.  </p><hr><h2>Program</h2><p>&lt;
 br&gt;<strong>Debussy:</strong> Preludes\, Book II<br>#4. Les fées sont d’esq
 uises danseuses<br>#5. Bruyères<br>#12. Feux d’artifices<br>Performed by &lt;
 strong&gt;Jingshi Zhao</strong> <br><br><strong>Chopin:</strong> Barcarolle\,
  Opu 60<br>Performed by <strong>Jeffrey Tso</strong> <br><br><strong>Schum
 ann: </strong>From Kreisleriana\, Opus 16<br>Performed by <strong>Yuchen Q
 i</strong> </p><hr><h2>Artist Biography</h2><h3>Yulianna Avdeeva</h3><p>A 
 pianist of fiery temperament and virtuosity\, Yulianna Avdeeva was the Gol
 d Medalist of the 2010 International Chopin Piano Competition\, which laun
 ched her to international fame for “consistently [leading] the field in te
 rms of sheer passion and musicianship\, not to mention technical security\
 ,” and for her “spontaneous and volatile” performances\, “full of depth an
 d colour” (The Telegraph). Yulianna plays with power\, conviction\, and se
 nsibility\, winning over audiences all over the world. “Her pacing is born
  of intelligent feeling and clarity of thought\,” wrote The Guardian\, “an
 d her ability to finesse Chopin’s inner voices puts many to shame.”</p><p>
 A favorite artist in Europe\, Yulianna has recurring concert engagements a
 t the Warsaw Philharmonic\, Rudolfinum in Prague\, Pierre Boulez Saal in B
 erlin\, Vienna Konzerthaus\, and Elbphilharmonie in Hamburg. She recently 
 performed recital debuts at the Salzburg and Gstaad festivals\, and at the
  Concertgebouw\, Amsterdam. </p><p>Highlights of Yulianna’s 2025-26 season
  include a recital tour to Korea and China\; the “Chopin and his Europe Fe
 stival” in Warsaw\; recital debuts at Musikverein Vienna\, Cologne Philhar
 monic Hall\, Berlin Philharmonic Hall\, La Jolla Music Society\, Philip Lo
 renz International Keyboard Concerts\, Houston’s DACAMERA series\, Festiva
 l de Tannay\, in Switzerland\, Società del Quartetto di Milano\, and Music
  Center De Bijloke\, in Belgium. She also returns to Círculo de Bellas Art
 es\, in Madrid\, for a full performance of Shostakovich’s 24 Preludes and 
 Fugues\, Op. 87—which she will also perform at the “Chopin and his Europe 
 Festival”—and to the Rudolf Firkušný Piano Festival\, in Prague\, for a so
 lo recital of excerpts from Op. 87 at the Rudolfinum.</p><p>Orchestral per
 formances\, as soloist\, include Beethoven with David Danzmayr and the Sea
 ttle Symphony\; Brahms with Mark Wigglesworth and the Bournemouth Symphony
 \; a return to the Pittsburgh Symphony for Prokofiev with Rafael Payare\; 
 Rachmaninoff with Santtu-Matias Rouvali and Deutsches Symphonie-Orchester 
 Berlin\;      Chopin with Simone Young and the Orchestre Symphonique de Mo
 ntréal\; Bartók with Omer Meir and WDR Cologne Radio Orchestra\; Chopin wi
 th Dinis Sousa and the Dresden Philharmonic\; Beethoven with Victor Julien
 -Laferrière and Orchestre Consuelo at Festival La Chaise-Dieu\; and Chopin
  with Tomàs Grau and the Franz Schubert Filharmonia. Her recent appearance
  at the Gewandhaus Shostakovich Festival is followed this season with a Eu
 ropean tour playing Rachmaninoff with Andris Nelsons and the Leipzig Gewan
 dhaus Orchestra. Upcoming chamber music performances include a tour with t
 he Belcea Quartet and concerts in Vienna\, Hamburg\, Berlin\, and Madrid.&lt;
 /p&gt;<p>In partnership with the Boston Symphony\, the Gewandhaus Orchestra c
 reated a Festival marking the 50th anniversary of the death of Shostakovic
 h\, which featured Yulianna in performances of the entire Op. 87 in spring
  2025. Besides the Gewandhaus\, she performed the entire cycle at Pierre B
 oulez Saal in Berlin\; Palau de la Música in Barcelona\; Saitama Arts Cent
 er\, in Tokyo\; Festival de Lanaudière\, in Quebec\; National Centre for t
 he Performing Arts\, in Beijing\; Ostrava\, in the Czech Republic\; and Se
 on\, in Switzerland\, among others.</p><p>Some of Yulianna’s other orchest
 ral collaborators include the Los Angeles Philharmonic\, Philharmonia\, Lo
 ndon Philharmonic\, Stuttgart SDR Orchestra\, WDR Symphony Orchestra Colog
 ne\, City of Birmingham Symphony\, Rundfunk-Sinfonieorchester Berlin\, Roy
 al Stockholm Philharmonic\, Finnish and Danish Radio symphonies\, Czech Ph
 ilharmonic\, Sinfonieorchester Basel\, Orchestra dell’Accademia Nazionale 
 di Santa Cecilia\, KBS Symphony\, and Yomiuri Nippon Symphony.</p><p>A rec
 ording artist praised by critics\, Yulianna recently released three albums
  on PENTATONE: Resilience (2023\, consisting of works by Weinberg\, Prokof
 iev\, Shostakovich\, and Szpilman)\; Chopin: Voyage (2024\, featuring the 
 composer’s late works)\; and a complete recording of Shostakovich’s Op. 87
  (2025). “That in Avdeeva’s hands… the music’s searing expressivity [comes
 ] across so readily—and with the directness of something much more familia
 r (say\, The Well-Tempered Clavier)—is remarkable\,” wrote Boston’s The Ar
 ts Fuse about the latter. “It’s a testament to that rarest of syntheses: a
  total identification of a musician with her repertoire.” </p><p>Yulianna’
 s recordings of the Chopin concertos with the Orchestra of the Eighteenth 
 Century and Frans Brüggen (2013)\, her three solo albums featuring works b
 y Bach\, Mozart\, Schubert\, Chopin\, Liszt\, and Prokofiev (2014\, 2016\,
  2017)\, and her collaboration with Gidon Kremer in Weinberg’s chamber mus
 ic (2017 and 2019) are a formidable record of her art\, topped off by a De
 utsche Grammophon (2015) solo recording as part of a milestone 11-disc col
 lection dedicated to Chopin Competition Gold Medalists from 1927 to 2010.&lt;
 /p&gt;<p>In 2025 Yulianna launched the online project #AvdeevaShostakovichPro
 ject\, where she discusses and plays each of the 24 Preludes and Fugues. T
 he project accompanied #YuliannasMusicalDialogues\, an open space for her 
 followers and all piano fans to share their passion for music. Through reg
 ular informal social media posts\, Yulianna invites followers to choose th
 e composer of the month\, opening an online conversation about each compos
 er’s life and work\, focusing on notable pieces. Through short instructive
  videos\, Yulianna deconstructs and demonstrates the art of performance\, 
 highlighting aspects like phrasing\, technique\, and style. Piano aficiona
 dos around the world also enjoyed Yulianna’s online educational project #A
 vdeevaBachProject\, which she offered throughout the Covid-19 lockdown\, g
 aining over half a million views.</p>
DTSTART;TZID=America/Los_Angeles:20251117T133000
LAST-MODIFIED:20251115T185032Z
SEQUENCE:296
SUMMARY:: Guest Pianist Master Class: Yulianna Avdeeva 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-17/guest-pianist-master-cla
 ss-yulianna-avdeeva
END:VEVENT
BEGIN:VEVENT
UID:48d29f02-213d-4c33-9435-126412df41a4
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T210548Z
DESCRIPTION:<p> </p><p>UW voice students of Thomas Harper and Carrie Shaw p
 erform works from the vocal repertoire\, including pieces by Grieg\, Brahm
 s\, Schumann\, Bellini\, Handel\, Wolf\, Strauss\, and Debussy. </p><hr>Program</h2><p>(In process)</p><p>Veslemøy<br>Vons Dag<br>From Haugtussa
  - <strong>Grieg</strong><br>Isabelle Villanueva\, mezzosoprano<br>Steve S
 wanson\, piano</p><p>Widmung - <strong>Schumann</strong><br>Non t'accostar
  all'urna - <strong>Schubert</strong><br>Zayn Mir\, tenor<br>Steve Swanson
 \, piano</p><p>Botschaft - <strong>Brahms</strong><br>Oh\, Sleep\, why dos
 t thou leave me? - <strong>Handel</strong><br>Jolee Zamira\, mezzosoprano&lt;
 br&gt;Jieun Kim\, piano</p><p>Vaga luna - <strong>Bellini</strong><br>I Am in
  Doubt- <strong>Undine Smith Moore</strong><br>Lameya Appling\, soprano<br>Jieun Kim\, piano</p><p>V'adoro pupille - <strong>Handel</strong><br>Rain
  Anderson\, soprano<br>Jieun Kim\, piano</p><hr><h2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20251118T160000
LAST-MODIFIED:20251114T005015Z
SEQUENCE:297
SUMMARY:: Voice Division Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-18/voice-division-recital
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>UW voice students of Thomas Harper 
 and Carrie Shaw perform works from the vocal repertoire\, including pieces
  by Grieg\, Brahms\, Schumann\, Bellini\, Handel\, Wolf\, Strauss\, and De
 bussy. </p><hr><h2>Program</h2><p>(In process)</p><p>Veslemøy<br>Vons Dag&lt;
 br&gt;From Haugtussa - <strong>Grieg</strong><br><em>Isabelle Villanueva\, me
 zzosoprano</em><br><em>Steve Swanson\, piano</em></p><p>Widmung - <strong>
 Schumann</strong><br>Non t'accostar all'urna - <strong>Schubert</strong><b r><em>Zayn Mir\, tenor</em><br><em>Steve Swanson\, piano</em></p><p>Botsch
 aft - <strong>Brahms</strong><br>Oh\, Sleep\, why dost thou leave me? - <s trong>Handel</strong><br><em>Jolee Zamira\, mezzosoprano</em><br><em>Jieun
  Kim\, piano</em></p><p>Vaga luna - <strong>Bellini</strong><br>I Am in Do
 ubt- <strong>Undine Smith Moore</strong><br><em>Lameya Appling\, soprano</em><br><em>Jieun Kim\, piano</em></p><p>V'adoro pupille - <strong>Handel</strong><br><em>Rain Anderson\, soprano</em><br><em>Jieun Kim\, piano</em>&lt;
 /p&gt;<hr><h2>Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:d027b260-fb50-4e1e-9757-d590bc28f9a2
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Special Events\, Talks\, Visiting Artists and Scholar
 s
CLASS:PUBLIC
CREATED:20251003T202606Z
DESCRIPTION:<p>This speaker series is presented in advance of the UW Sympho
 ny's upcoming <a href='https://music.washington.edu/events/2026-02-06/film
 -screening-performance-healing-heart-lushootseed-uw-symphony-adia-s-bowen'>Feb. 6\, 2026 performance </a>of Bruce Ruddell's symphony\, 'Healing Hear
 t of the First People of This Land.'</p><p>The series is open to the publi
 c. Doors open at 10:30 am for coffee and pastries. All talks are on Thursd
 ays from 11 a.m. to 12 pm.</p><p><strong>10/9:</strong>  łuutiis Charlotte
  Coté (Nuu-chah-nulth) with Dian Million (Tanana) as discussant<br><br>10/16:</strong>  Tami Hohn (Puyallup) with McKenna Sweet Dorman (Snoq
 ualmie) as discussant<br><br><strong>10/23:</strong> <strong> Laurel Serco
 mbe with John Vallier as Discussant: </strong>“The Journey of Basket Ogres
 s: A History of the Revival and Revitalization of the Lushootseed Language
  in Coast Salish Country”. <strong>Sercombe </strong>is<strong> </strong>r
 etired sound archivist and curator for the UW Ethnomusicology Archive (Hom
 e of the Vi Hilbert Archive). <strong>Vallier is c</strong>urator for UW S
 pecial Collections and the Ethnomusicology Archive (Home of the Vi Hilbert
  Archive)\; Adjunct faculty in the School of Music and UW Comparative Hist
 ory of Ideas.<br><br><strong>10/30: </strong> John LaPointe (Swinomish)<br><br>11/6:  <strong>Jill tsisqʷux̌ʷaʔł LaPointe (Upper Skagit/Nooksack) wi
 th Janet Yoder: '</strong>The Healing Heart of Lushootseed: A Film Screeni
 ng and Discussion.'  <strong>Jill tsisqʷux̌ʷaʔł LaPointe</strong> (Upper S
 kagit/Nooksack)\, is senior director of the Indigenous Peoples Institute a
 t Seattle University. <strong>Janet Yoder </strong>is the author of Where 
 the Language Lives: Vi Hilbert and the Gift of the Lushootseed\, which pay
 s tribute to the woman whose determination and passion helped breathe life
  into her language and culture\, and was a finalist for the 2023 WA State 
 Book Award. <br><br><strong>11/13:</strong>  Composer Bruce Ruddell\, Musi
 cians Adia tsi sʔuyuʔaɫ Bowen (Upper Skagit) and Ben Workman Smith (Tolowa
 )\, Conductors Ryan Dudenbostel and David Rahbee\, with John-Carlos Perea 
 (Mescalero Apache/German/Irish/Chicano) as discussant<br><br><strong>11/20
 </strong> Sasha taqwšəblu LaPointe (Upper Skagit/Nooksack): Native to the 
 Pacific Northwest\, Sasha draws inspiration from her Coast Salish heritage
  as well as her life in the city. She writes with a focus on trauma and re
 silience\, PTSD\, sexual violence\, and the work her great grandmother did
  for Lushootseed language revitalization. </p><p><a href='https://healingh
 eartproject.org/'>More information on this series </a>`</p><p>Sponsored by
  Lushootseed Research\; Indigenous Peoples Institute @ Seattle University\
 ; Arts UW\; UW School of Music\; Center for American Indian and Indigenous
  Studies\; American Indian Studies Department\; Simpson Center for the Hum
 anities\; wǝɫǝbʔaltxʷ - Intellectual House @ the University of Washington&lt;
 /p&gt;
DTSTART;TZID=America/Los_Angeles:20251120T110000
LAST-MODIFIED:20251119T170529Z
SEQUENCE:298
SUMMARY:: Healing Heart Speaker Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-10-09/healing-heart-speaker-se
 ries
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>This speaker series is presented in advance
  of the UW Symphony's upcoming <a href='https://music.washington.edu/event
 s/2026-02-06/film-screening-performance-healing-heart-lushootseed-uw-symph
 ony-adia-s-bowen'>Feb. 6\, 2026 performance </a>of Bruce Ruddell's symphon
 y\, 'Healing Heart of the First People of This Land.'</p><p><em>The series
  is open to the public. Doors open at 10:30 am for coffee and pastries. Al
 l talks are on Thursdays from 11 a.m. to 12 pm.</em></p><p><strong>10/9:</strong>  łuutiis Charlotte Coté (Nuu-chah-nulth) with Dian Million (Tanana
 ) as discussant<br><br><strong>10/16:</strong>  Tami Hohn (Puyallup) with 
 McKenna Sweet Dorman (Snoqualmie) as discussant<br><br><strong>10/23: <strong> Laurel Sercombe with John Vallier as Discussant: </strong>“T
 he Journey of Basket Ogress: A History of the Revival and Revitalization o
 f the Lushootseed Language in Coast Salish Country”. <span times new><strong>Serc
 ombe </strong>is<strong> </strong></span><span times new>retired soun
 d archivist and curator for the UW Ethnomusicology Archive (Home of the Vi
  Hilbert Archive). </span><span times new><strong>Vallier is c</strong></span>urator for UW Special Collections and the Ethnomusicolog
 y Archive (Home of the Vi Hilbert Archive)\; Adjunct faculty in the School
  of Music and UW Comparative History of Ideas.</span><br><br><strong>10/30
 : </strong> John LaPointe (Swinomish)<br><br>11/6:  <strong>Jill tsisqʷux̌
 ʷaʔł LaPointe (Upper Skagit/Nooksack) with Janet Yoder: '</strong>The Heal
 ing Heart of Lushootseed: A Film Screening and Discussion.'  <strong>Jill 
 tsisqʷux̌ʷaʔł LaPointe</strong> (Upper Skagit/Nooksack)\, is senior direct
 or of the Indigenous Peoples Institute at Seattle University. <strong>Jane
 t Yoder </strong>is the author of <em>Where the Language Lives: Vi Hilbert
  and the Gift of the Lushootseed\,</em> which pays tribute to the woman wh
 ose determination and passion helped breathe life into her language and cu
 lture\, and was a finalist for the 2023 WA State Book Award. <br><br>11/13:</strong>  Composer Bruce Ruddell\, Musicians Adia tsi sʔuyuʔaɫ B
 owen (Upper Skagit) and Ben Workman Smith (Tolowa)\, Conductors Ryan Duden
 bostel and David Rahbee\, with John-Carlos Perea (Mescalero Apache/German/
 Irish/Chicano) as discussant<br><br><strong>11/20</strong> Sasha taqwšəblu
  LaPointe (Upper Skagit/Nooksack): Native to the Pacific Northwest\, Sasha
  draws inspiration from her Coast Salish heritage as well as her life in t
 he city. She writes with a focus on trauma and resilience\, PTSD\, sexual 
 violence\, and the work her great grandmother did for Lushootseed language
  revitalization. </p><p><a href='https://healingheartproject.org/'>More in
 formation on this series </a>`</p><p><em>Sponsored by Lushootseed Research
 \; Indigenous Peoples Institute @ Seattle University\; Arts UW\; UW School
  of Music\; Center for American Indian and Indigenous Studies\; American I
 ndian Studies Department\; Simpson Center for the Humanities\; wǝɫǝbʔaltxʷ
  - Intellectual House @ the University of Washington</em></p>
END:VEVENT
BEGIN:VEVENT
UID:ec52e231-2bb3-4cd7-991a-8b45fdad2422
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20250401T201744Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20251120T120000
LAST-MODIFIED:20250401T201744Z
SEQUENCE:299
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-20/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:156d16c8-ef46-44b6-b0f3-59733c5cc97e
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250818T170829Z
DESCRIPTION:<p> </p><p>The Campus Band (Solomon Encina\, conductor) and Con
 cert Band (Yuman Wu\, conductor) present their Fall Quarter concert\, perf
 orming music by Ralph Vaughan Williams\, Steven Bryant\, Clifton Williams\
 , Richard Saucedo\, Frank Ticheli\, and others.  With a special guest appe
 arance by the Roosevelt High School WInd Ensemble (Hannah Mowry\, director
 ). </p><hr><h2>Program</h2><p><strong>UNIVERSITY OF WASHINGTON CAMPUS BAND
 </strong><br>Solomon Encina\, director<br>Awakening Hills (2003) – Richard
  Saucedo (b. 1957)<br>Rest (2011) – Frank Ticheli (b. 1958)<br>Folk Dances
  (1942) – Dmitri Shostakovich (1906 - 1975) trans. H. Robert Reynolds (b. 
 1934)</p><p><strong>ROOSEVELT HIGH SCHOOL WIND ENSEMBLE</strong><br>Hannah
  Mowry\, director<br>Soca (2022) — Victoriano Valencia (b. 1971)<br>Shenan
 doah (2019) — Omar Thomas (b. 1984)</p><p><strong>UNIVERSITY OF WASHINGTON
  CONCERT BAND</strong><br>Yuman Wu\, director<br>Sea Songs (1923/1942) — R
 alph Vaughan Williams (1872–1958)<br>Dusk (2004) — Steven Bryant (b. 1972)
 <br>Symphonic Dance No. 3\, “Fiesta” (1965) — Clifton Williams (1923–1976)
 <br>Performed jointly by the University of Washington Concert Band and the
  Roosevelt High School Wind Ensemble</p><p><strong>UNIVERSITY OF WASHINGTO
 N CAMPUS BAND</strong><br>Solomon Encina\, director<br>Awakening Hills (20
 03) – Richard Saucedo (b. 1957)<br>Rest (2011) – Frank Ticheli (b. 1958)<b r>Folk Dances (1942) – Dmitri Shostakovich (1906 - 1975) trans. H. Robert 
 Reynolds (b. 1934)</p><hr><h2>Program Notes</h2><p><strong>Sea Songs (1923
 /1942) — Ralph Vaughan Williams (1872–1958)</strong><br>Originally compose
 d in 1923 as the second movement of Folk Song Suite\, Sea Songs was later&lt;
 br&gt;published separately and became one of Vaughan Williams’s most beloved 
 works for wind band.<br>The piece is a lively march built on three traditi
 onal British sea shanties—“Princess Royal\,”<br>“Admiral Benbow\,” and “Po
 rtsmouth.” With his characteristic warmth and clarity\, Vaughan<br>William
 s transforms these simple tunes into a spirited celebration of England’s m
 aritime<br>heritage. The music moves from bright and jaunty to lyrical and
  noble before closing in a<br>triumphant flourish\, evoking the energy of 
 sailors and the sweep of the open sea.</p><p><strong>Dusk (2004) — Steven 
 Bryant (b. 1972)</strong><br>Steven Bryant describes Dusk as “an introspec
 tive moment of calm\,” inspired by the brief\,<br>suspended stillness betw
 een sunset and nightfall. Built on slowly shifting harmonies and<br>transp
 arent textures\, the work invites listeners into a sound world of quiet re
 flection. The<br>melodic fragments rise and dissolve like light fading acr
 oss the horizon\, creating an atmosphere<br>that is both serene and poigna
 nt. Dusk captures the fragile beauty of transition—a meditation on<br>stil
 lness\, breath\, and the gentle passing of time.<br><br><strong>Symphonic 
 Dance No. 3\, “Fiesta” (1965) — Clifton Williams (1923–1976)</strong><br>S
 ymphonic Dance No. 3\, “Fiesta” was commissioned by the San Antonio Sympho
 ny Band\,<br>Symphonic Dance No. 3 is the most exuberant of Williams’s fiv
 e Symphonic Dances. Subtitled<br>“Fiesta\,” the piece draws inspiration fr
 om the vibrant rhythms\, colors\, and spirit of a Mexican<br>celebration. 
 Syncopated brass fanfares\, percussive drive\, and sweeping melodies anima
 te the<br>work’s five connected sections\, which depict scenes of dancing\
 , street parades\, and jubilant<br>festivities. Beneath the rhythmic excit
 ement lies Williams’s trademark craftsmanship and<br>lyricism\, uniting jo
 y and precision in a brilliant\, crowd-pleasing finale.<br> </p><p><strong>Awakening Hills (2003) – Richard Saucedo (b. 1957)</strong><br>Commission
 ed for the All-Iowa Middle School Honor Band\, here is an exuberant work t
 hat<br>features dynamic ensemble passages\, layering effects\, and extensi
 ve percussion scoring.<br>Saucedo's masterful development of repetitive rh
 ythmic motives makes this sound more difficult<br>than it really is. A con
 trasting middle section uses brief solos for alto sax and flute over a ric
 h<br>harmonic texture.<br>-Program note from publisher.</p><p><strong>Rest
  (2011) – Frank Ticheli (b. 1958)</strong><br>Rest is a concert band adapt
 ion of Ticheli’s prior choral work\, There Will Be Rest. About his<br>adap
 tation for wind band\, the composer writes:<br>I preserved almost everythi
 ng from the original: harmony\, dynamics\, even the<br>original registrati
 on. I also endeavored to preserve carefully the fragile beauty and<br>quie
 t dignity suggested by Sara Teasdale’s words. However\, with the removal o
 f the<br>text\, I felt free to enhance certain aspects of the music\, most
  strikingly with the<br>addition of a sustained climax on the main theme. 
 The extended climax allows the<br>band version to transcend the expressive
  boundaries of a straight note-for-note<br>setting of the original. Thus\,
  both versions are intimately tied and yet independent of<br>one another\,
  each possessing its own strength and unique qualities.<br>-Program note f
 rom composer.</p><p><strong>Folk Dances (1942) – Dmitri Shostakovich (1906
  - 1975) trans. H. Robert Reynolds (b. 1934)</strong><br>Composed in Shost
 akovich's light-hearted style\, this single-movement work is filled with t
 he joy<br>and exuberance of the Russian people. The many folk melodies are
  combined in a string so that<br>musical energy abounds and the spirit of 
 folk dances can easily be imagined.<br>- Program Note from publisher.</p>&lt;
 hr&gt;<p><strong>UNIVERSITY OF WASHINGTON CAMPUS BAND</strong><br><br><strong>FLUTE</strong><br>Lydia Blair\, Civil Engineering\, Seattle\, WA<br>Emily
  Charles\, Marine Biology\, New Boston\, NH<br>Cole Cherkasky\, Interdisci
 plinary Art\, Chicago\, IL<br>Grace Collins-Price\, Anthropology\, Louisvi
 lle\, TN<br>Sarah Edwards\, Human Centered Design &amp; Engineering\, Mukilteo
 \, WA<br>Maria Granzeier\, Neuroscience\, Biochemistry and MCD Biology\, R
 ockford\, IL<br>Claire Hu\, Engineering\, Colorado Springs\, CO<br>Hareesh
  Iyer\, Graduate\, Materials Science &amp; Engineering\, San Jose\, CA<br>Rach
 el Jirman\, History: War and Society\, Political Science\, CA<br>Nora Kati
 yar\, Art\, Cleveland\, OH<br>Savannah Lee\, Informatics\, Vancouver WA<br>Richard Lin\, Aeronautics and Astronautics\, San Diego\, CA<br>Elizabeth 
 McAleer\, International Studies\, Battle Ground\, WA<br>Chiche Okemgbo\, R
 eal Estate\, Medical Lake\, WA<br>Isabelle Paulsen\, Marine Biology &amp; Ocea
 nography\, Snohomish\, WA<br>Meagan Paxman\, Pre-Sciences\, Vancouver\, WA
 <br>Maya Rasche\, Visual Communication Design\, Kirkland\, WA<br>Roman Syd
 orchuk\, Mechanical Engineering\, WA<br>Dulcinea Villarreal\, Art\, Drawin
 g and Painting\, Moses Lake\, WA<br>Nathanael Vitorino\, Chemical Engineer
 ing\, Vancouver\, WA<br><br><strong>OBOE</strong><br>Drake Mai\, Undeclare
 d\, Portland\, OR<br><br><strong>BASSOON</strong><br>Hunter Bergstrom\, Bi
 ology\, Snoqualmie\, WA<br>Victor Vitorino\, Business Administration\, Van
 couver\, WA<br><br><strong>CLARINET</strong><br>Itzel Bell\, Business\, Fe
 deral Way\, WA<br>Emily Fleetwood\, Communications\, Vancouver\, WA<br>Ann
 e Hale\, Graduate\, Chemistry\, Sturgis\, SD<br>Eliezer Jeon\, Psychology\
 , Puyallup\, WA<br>Kevin Kim\, Computer Science\, Vancouver\, WA<br>Jonath
 an Li\, Aeronautics and Astronautics\, Bernardsville\, NJ<br>Grace Lovitt\
 , Computer Science\, LA<br>Nathan Melhuish\, Undeclared\, Shoreline\, WA<b r>Louis Nguyen\, Psychology\, Edmonds\, WA<br>Sage Ramberg\, Community Mem
 ber\, Maple Grove\, MN<br>Bailey Stachelski\, Psychology\, North Bend\, WA
 <br>Cahlen Thomas\, Pre-Science\, Vancouver\, WA<br>Heather Yu Williams\, 
 Environmental Studies\, Palo Alto\, CA<br><br><strong>BASS CLARINET<br>Lin Gilley\, Early Childhood and Family Studies\, Graham\, WA<br>Sri
 krishna Gurumurthy\, Biology\, Redmond\, WA<br>Zack Hendricks\, Mechanical
  Engineering\, Burlington\, WA<br><br><strong>ALTO SAXOPHONE</strong><br>S
 hayan Asghar\, Economics\, Anaheim\, CA<br>Abhinandan Basak\, Mechanical E
 ngineering\, Bothell\, WA<br>Andrew Eisenhauer\, Biology/Environmental Sci
 ence\, Bellingham\, WA<br>Natalie Gaston\, Medical Anthropology\, Public H
 ealth\, Longview\, WA<br>Ellie Kiffe\, Meteorology\, Marysville\, WA<br>Ma
 ren Nealon\, Environmental Science\, Puyallup\, WA<br>Joey Rotondo\, Gradu
 ate\, Atmospheric and Climate Science\, Sandwich\, MA<br>Lee Santiago\, Fi
 nance\, Shelton\, WA<br>Aiden Starr\, WA<br>Josh Williams\, Music Educatio
 n\, Zillah\, WA<br><br><strong>TENOR SAXOPHONE</strong><br>Ash Gatton\, Li
 nguistics\, Yakima\, WA<br>Mercy Guirnalda\, Psychology\, Seattle\, WA<br>
 Logan Harris\, Oceanography\, Issaquah\, WA</p><p><strong>BARITONE SAXOPHO
 NE</strong><br>Matthew Ohliger\, Environmental Public Health\, Montgomery\
 , AL<br><br><strong>TRUMPET</strong><br>Delaney Hurlimann\, Physiology\, B
 urlington\, WA<br>Thomas Longcore\, Computer Science\, Kirkland\, WA<br>Pa
 trick Mercier\, Law\, Society and Justice\, Elma\, WA<br>Nate Protzel\, Ch
 emistry\, Anaheim\, CA<br>Adam Rehmann\, Mechanical Engineering\, Vancouve
 r\, WA<br><br><strong>HORN</strong><br>Andrew deLeon\, Physics &amp; Mathemati
 cs\, Camas\, WA<br>Charlotte Rogliano Cavalerie\, Community Member\, Seatt
 le WA<br>Kira Stewart\, Bioscience &amp; Engineering\, Seattle\, WA<br>George 
 Whiddon\, International Studies &amp; Chinese\, Littleton\, CO<br>Quinn Widdow
 s\, Electrical &amp; Computer Engineering\, Issaquah\, WA<br><br><strong>TROMB
 ONE</strong><br>Cade Ballew\, Graduate\, Applied Math\, Norman\, OK<br>Jae
 seo Choi\, Electrical &amp; Computer Engineering\, Seoul\, South Korea<br>Oska
 r Cole\, Computer Science\, Fall City\, WA<br>Aditi Nair\, Environmental E
 ngineering\, Lake Villa\, IL<br>Evan Pham\, History\, Richland\, WA<br>Chl
 oe Sprague\, Marine Biology\, Ann Arbor\, MI<br>Will Vanderburght\, Politi
 cal Science\, Vancouver\, WA<br>Emmett Van Mason\, Mechanical Engineering\
 , Richland\, WA<br><br><strong>TUBA</strong><br>Timothy Brock\, Law\, Seat
 tle\, WA<br>Joaquin Matthews\, Psychology\, Mercer Island\, WA<br><br>PERCUSSION</strong><br>Avi Bose\, Graduate\, Civil Engineering\, Brook
 lyn\, NY<br>Brian Chen\, Mechanical Engineering\, Taipei\, Taiwan<br>Meha 
 Farrokhi\, Biochemistry\, Vancouver\, Canada<br>Charlotte Greene\, Meteoro
 logy and Climate\, Lynden\, WA<br>Kendall Johnson\, Graduate\, Mechanical 
 Engineering\, La Conner\, WA<br>Jaden Zika\, Psychology\, Livermore\, CA</p><p><br><strong>UNIVERSITY OF WASHINGTON CONCERT BAND</strong><br><br>FLUTE / PICCOLO</strong><br>Tasiyah Ahmed\, Freshman\, Pre–Social Sci
 ences (Intended Economics &amp; Political Science)\, Portland\, OR<br>Brianna 
 Blanchard\, Senior\, Environmental Public Health\, Shoreline\, WA<br>Keith
  Cao\, Freshman\, Computer Science<br>Maggie Cook\, Graduate\, Molecular E
 ngineering\, Union\, KY<br>Karlien Dang-Lee\, Freshman\, Business Administ
 ration\, CO<br>Julian Frazer\, Sophomore\, Applied Physics\, Oysterville\,
  WA<br>Maggie Hedrick\, Junior\, Mechanical Engineering\, Kettle Falls\, W
 A<br>Satoshi Jono\, Junior\, Global Study\, Tokyo\, Japan<br>Charlotte K\,
  Sophomore\, International Relations<br>Fletcher Lohrentz\, Junior\, Physi
 cs &amp; Astronomy\, Shoreline\, WA<br>Noah Mason\, Senior\, Mechanical Engine
 ering\, Bellingham\, WA<br>Jason Pham\, Senior\, Biology (Physiology Educa
 tion Minor)\, Lacey\, WA<br>Melissa Plute\, Freshman\, Business Administra
 tion\, Medical Lake\, WA<br>Keming Qiu\, Junior\, Biochemistry\, Bellevue\
 , WA<br>Hailey Phan\, Freshman\, Pre–Health Sciences<br>Kayla Simerson\, J
 unior\, Earth &amp; Space Sciences: Geology\, Shoreline\, WA<br>Victoria Silki
 na\, Freshman\, Pre-Science (Intended Marine Biology)\, Vienna\, Austria<b r>Hailey Cox\, Junior\, Aerospace &amp; Astronautical Engineering\, Shoreline\
 , WA<br>Dennis Toepker\, Community Member\, Bellevue\, WA<br>Julia Winget\
 , Sophomore\, Physics and Earth &amp; Space Sciences\, Cincinnati\, OH<br>Amy 
 Zhong\, Freshman\, Pre–Science<br><br><strong>OBOE</strong><br>Stacy Schul
 ze\, Community Member (Alumna)\, Richmond\, TX<br><br><strong>CLARINET<br>CC Ahrens\, Senior\, Computer Science &amp; Mathematics\, White Salmo
 n\, WA<br>Cin Ahrens\, Senior\, Computer Science &amp; Mathematics\, White Sal
 mon\, WA<br>Jovani Azpeitia\, Graduate\, Social Psychology\, Kirkland\, WA
 <br>Gael Chun-Rivas\, Sophomore\, Electrical &amp; Computer Engineering\, Hono
 lulu\, HI<br>Fareyl Daoed\, Freshman\, Earth &amp; Space Science\, Samammish\,
  WA<br>Camila Diaz Salas\, Sophomore\, Education\, Community\, Organizatio
 ns\, Quincy\, WA<br>Steph Filippov\, Sophomore\, Education Studies<br>Eliz
 abeth Hirman\, Senior\, Molecular\, Cellular &amp; Developmental Biology\, Mil
 l Creek\, WA<br>Nel Jacobs\, Community Member<br>Ayari Lopez\, Sophomore\,
  Bioengineering\, San Diego\, CA<br>Ameena Majeed\, Junior\, Mechanical En
 gineering<br>Esmeralda Marquez\, Senior\, Medical Laboratory Science\, Tac
 oma\, WA<br>Daisy Mendoza-Cid\, Sophomore\, Public Health–Global Health\, 
 Quincy\, WA<br>Dante Nguyen\, Junior\, Electrical &amp; Computer Engineering<b r>Zachary O’Connell\, Junior\, Chemistry\, Lynnwood\, WA<br>Jessica Shattu
 ck\, Community Member\, Biology Faculty<br>Wyatt Triebold\, Junior\, Marin
 e Biology\, Puyallup\, WA<br><br><strong>BASS CLARINET</strong><br>Flora M
 cAllister\, Community Member\, Seattle\, WA<br><br><strong>ALTO SAXOPHONE&lt;
 /strong&gt;<br>Xin Cen\, Senior\, Biology\, Bellevue\, WA<br>Zachary Dunca\, 
 Freshman\, Architecture Design/CEP\, Santa ClaritaCA<br>Matthew Holmes\, G
 raduate\, Aeronautics &amp; Astronautics\, Winters\, CA<br>Ananya Juneja\, Sop
 homore\, Visual Communication Design\, Snohomish\, WA<br>Ethan Kaplan\, Se
 nior\, Electrical &amp; Computer Engineering<br>Blaine Mandiangu\, Freshmen\, 
 Pre-Sciences\, Spokane\, WA<br>Alex Medina\, Sophomore\, Computer Science 
 (UW Tacoma)\, Kent\, WA<br>Arnav Mazumder\, Junior\, Computer Science\, Da
 llas\, TX<br>Joalda Morancy\, Graduate\, Aerospace<br>Sydney Procajlo\, Fr
 eshman\, Environmental Science\, Tinley Park\, IL<br>Jason Taylor\, Commun
 ity Member\, Neuroscience\, Indianapolis\, IN<br>Roxann Wrynn\, Sophomore\
 , Chemistry\, Newport\, WA<br><br><strong>TENOR SAXOPHONE</strong><br>Rona
 n Fiat\, Senior\, Chemical Engineering\, Seattle\, WA<br>Ethan Young\, Sen
 ior\, Construction Management\, Port Orchard\, WA<br><br><strong>HORN<br>Andrew Chen\, Community Member\, Othello\, WA<br>Kole Dickson\, Fr
 eshman\, Engineering (ENGRUD – ECE)\, Snohomish\, WA<br>Karen Mildes\, Com
 munity Member\, Bothell\, WA<br>Mariam Mohd\, Freshman\, International Stu
 dies\, Blaine\, WA<br>Ryan McIntyre\, Freshman\, Political Science\, Puyal
 lup\, WA<br>Kyle Partido\, Senior\, Political Science<br>Kevin Yuan\, Soph
 omore\, Industrial Design\, Vancouver\, WA<br><br><strong>TRUMPET</strong>
 <br>Marcus Auman\, Sophomore\, Engineering<br>Annabelle Mirhashemi\, Commu
 nity Member\, Los Angeles\, CA<br>Euan McCubbin\, Community Member\, Molec
 ular Biology (Graduate)\, Pullman\, WA<br>Oliver Fraser\, Community Member
 \, Shoreline\, WA<br>Will Harris\, Freshman\, Pre–Sciences\, Duvall\, WA<b r>Andrew Lam\, Junior\, Biology (Physiology)\, Lacey\, WA<br>Evan Latimer\
 , Freshman\, Atmospheric and Climate Science\, Alexandria\, V A<br>Jason T
 aylor\, Community Member\, Neuroscience\, Indianapolis\, IN<br>Dan Storm\,
  Community Member\, Professor Emeritus<br>Matt Schroeder\, Community Membe
 r<br>Eric Zhang\, Freshman\, Engineering</p><p><strong>TROMBONE</strong><b r>Jayda Fitch\, Sophomore\, Drama Design\, Meridian\, ID<br>Cory Givens\, 
 Freshman\, Applied Mathematics\, Kent\, WA<br>Natalie Lai\, Sophomore\, En
 vironmental Science\, Pleasanton\, CA<br>Robin Taylor\, Senior\, Chemical 
 Engineering\, Friday Harbor\, WA<br>Jettson Stone\, Freshman\, Education\,
  Seattle\, WA<br>Kai Kelika Turner\, Sophomore\, Business\, Bremerton\, WA
 <br><br><strong>EUPHONIUM/ TUBA</strong><br>Iris Piskula\, Freshman\, Pre–
 Environmental\, Madison\, NJ<br>Thomas Elley\, Community Member\, Bothell\
 , WA<br><br><strong>STRING BASS</strong><br>Nathan Eskridge\, Graduate\, M
 usic\, Tustin\, CA<br>Lexi Vance\, Graduate\, Environmental Health Science
 s\, Tucson\, AZ<br><br><strong>PERCUSSION</strong><br>Ainslie Nguyen\, Fre
 shman\, Environmental Science<br>Aidan Powell\, Freshman\, Marine Biology\
 , Bend\, OR<br>Shiue-Lang Chin\, Sophomore\, Computer Engineering\, Hsmehn
 \, Taiwan<br>Darin Chung\, Sophomore\, Biology\, Taipei\, Taiwan<br>Yinuo 
 Xu\, Junior\, Chemistry\, Guangzhou\, China<br>Martina Samo\, Graduate\, E
 nglish Literature\, Seattle\, WA<br>Armaan Sahota\, Freshman\, Neuroscienc
 e</p><hr><h3>Director Biographies</h3>
DTSTART;TZID=America/Los_Angeles:20251120T193000
LAST-MODIFIED:20251114T195544Z
SEQUENCE:300
SUMMARY:: Campus and Concert Bands: 'Traversing Pathways”
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-20/campus-and-concert-bands
 -traversing-pathways
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>The Campus Band (Solomon Encina\, c
 onductor) and Concert Band (Yuman Wu\, conductor) present their Fall Quart
 er concert\, performing music by Ralph Vaughan Williams\, Steven Bryant\, 
 Clifton Williams\, Richard Saucedo\, Frank Ticheli\, and others.  With a s
 pecial guest appearance by the Roosevelt High School WInd Ensemble (Hannah
  Mowry\, director). </p><hr><h2>Program</h2><p><strong>UNIVERSITY OF WASHI
 NGTON CAMPUS BAND</strong><br><em>Solomon Encina\, director</em><br>Awaken
 ing Hills (2003) – Richard Saucedo (b. 1957)<br>Rest (2011) – Frank Tichel
 i (b. 1958)<br>Folk Dances (1942) – Dmitri Shostakovich (1906 - 1975) tran
 s. H. Robert Reynolds (b. 1934)</p><p><strong>ROOSEVELT HIGH SCHOOL WIND E
 NSEMBLE</strong><br><em>Hannah Mowry\, director</em><br>Soca (2022) — Vict
 oriano Valencia (b. 1971)<br>Shenandoah (2019) — Omar Thomas (b. 1984)</p>
 <p><strong>UNIVERSITY OF WASHINGTON CONCERT BAND</strong><br><em>Yuman Wu\
 , director</em><br>Sea Songs (1923/1942) — Ralph Vaughan Williams (1872–19
 58)<br>Dusk (2004) — Steven Bryant (b. 1972)<br>Symphonic Dance No. 3\, “F
 iesta” (1965) — Clifton Williams (1923–1976)<br><em>Performed jointly by t
 he University of Washington Concert Band and the Roosevelt High School Win
 d Ensemble</em></p><p><strong>UNIVERSITY OF WASHINGTON CAMPUS BAND</strong><br><em>Solomon Encina\, director</em><br>Awakening Hills (2003) – Richar
 d Saucedo (b. 1957)<br>Rest (2011) – Frank Ticheli (b. 1958)<br>Folk Dance
 s (1942) – Dmitri Shostakovich (1906 - 1975) trans. H. Robert Reynolds (b.
  1934)</p><hr><h2>Program Notes</h2><p><strong>Sea Songs (1923/1942) — Ral
 ph Vaughan Williams (1872–1958)</strong><br>Originally composed in 1923 as
  the second movement of Folk Song Suite\, Sea Songs was later<br>published
  separately and became one of Vaughan Williams’s most beloved works for wi
 nd band.<br>The piece is a lively march built on three traditional British
  sea shanties—“Princess Royal\,”<br>“Admiral Benbow\,” and “Portsmouth.” W
 ith his characteristic warmth and clarity\, Vaughan<br>Williams transforms
  these simple tunes into a spirited celebration of England’s maritime<br>h
 eritage. The music moves from bright and jaunty to lyrical and noble befor
 e closing in a<br>triumphant flourish\, evoking the energy of sailors and 
 the sweep of the open sea.</p><p><strong>Dusk (2004) — Steven Bryant (b. 1
 972)</strong><br>Steven Bryant describes Dusk as “an introspective moment 
 of calm\,” inspired by the brief\,<br>suspended stillness between sunset a
 nd nightfall. Built on slowly shifting harmonies and<br>transparent textur
 es\, the work invites listeners into a sound world of quiet reflection. Th
 e<br>melodic fragments rise and dissolve like light fading across the hori
 zon\, creating an atmosphere<br>that is both serene and poignant. Dusk cap
 tures the fragile beauty of transition—a meditation on<br>stillness\, brea
 th\, and the gentle passing of time.<br><br><strong>Symphonic Dance No. 3\
 , “Fiesta” (1965) — Clifton Williams (1923–1976)</strong><br>Symphonic Dan
 ce No. 3\, “Fiesta” was commissioned by the San Antonio Symphony Band\,<br>Symphonic Dance No. 3 is the most exuberant of Williams’s five Symphonic 
 Dances. Subtitled<br>“Fiesta\,” the piece draws inspiration from the vibra
 nt rhythms\, colors\, and spirit of a Mexican<br>celebration. Syncopated b
 rass fanfares\, percussive drive\, and sweeping melodies animate the<br>wo
 rk’s five connected sections\, which depict scenes of dancing\, street par
 ades\, and jubilant<br>festivities. Beneath the rhythmic excitement lies W
 illiams’s trademark craftsmanship and<br>lyricism\, uniting joy and precis
 ion in a brilliant\, crowd-pleasing finale.<br> </p><p><strong>Awakening H
 ills (2003) – Richard Saucedo (b. 1957)</strong><br>Commissioned for the A
 ll-Iowa Middle School Honor Band\, here is an exuberant work that<br>featu
 res dynamic ensemble passages\, layering effects\, and extensive percussio
 n scoring.<br>Saucedo's masterful development of repetitive rhythmic motiv
 es makes this sound more difficult<br>than it really is. A contrasting mid
 dle section uses brief solos for alto sax and flute over a rich<br>harmoni
 c texture.<br>-Program note from publisher.</p><p><strong>Rest (2011) – Fr
 ank Ticheli (b. 1958)</strong><br>Rest is a concert band adaption of Tiche
 li’s prior choral work\, There Will Be Rest. About his<br>adaptation for w
 ind band\, the composer writes:<br>I preserved almost everything from the 
 original: harmony\, dynamics\, even the<br>original registration. I also e
 ndeavored to preserve carefully the fragile beauty and<br>quiet dignity su
 ggested by Sara Teasdale’s words. However\, with the removal of the<br>tex
 t\, I felt free to enhance certain aspects of the music\, most strikingly 
 with the<br>addition of a sustained climax on the main theme. The extended
  climax allows the<br>band version to transcend the expressive boundaries 
 of a straight note-for-note<br>setting of the original. Thus\, both versio
 ns are intimately tied and yet independent of<br>one another\, each posses
 sing its own strength and unique qualities.<br>-Program note from composer
 .</p><p><strong>Folk Dances (1942) – Dmitri Shostakovich (1906 - 1975) tra
 ns. H. Robert Reynolds (b. 1934)</strong><br>Composed in Shostakovich's li
 ght-hearted style\, this single-movement work is filled with the joy<br>an
 d exuberance of the Russian people. The many folk melodies are combined in
  a string so that<br>musical energy abounds and the spirit of folk dances 
 can easily be imagined.<br>- Program Note from publisher.</p><hr><p>UNIVERSITY OF WASHINGTON CAMPUS BAND</strong><br><br><strong>FLUTE<br>Lydia Blair\, Civil Engineering\, Seattle\, WA<br>Emily Charles\, M
 arine Biology\, New Boston\, NH<br>Cole Cherkasky\, Interdisciplinary Art\
 , Chicago\, IL<br>Grace Collins-Price\, Anthropology\, Louisville\, TN<br>
 Sarah Edwards\, Human Centered Design &amp; Engineering\, Mukilteo\, WA<br>Mar
 ia Granzeier\, Neuroscience\, Biochemistry and MCD Biology\, Rockford\, IL
 <br>Claire Hu\, Engineering\, Colorado Springs\, CO<br>Hareesh Iyer\, Grad
 uate\, Materials Science &amp; Engineering\, San Jose\, CA<br>Rachel Jirman\, 
 History: War and Society\, Political Science\, CA<br>Nora Katiyar\, Art\, 
 Cleveland\, OH<br>Savannah Lee\, Informatics\, Vancouver WA<br>Richard Lin
 \, Aeronautics and Astronautics\, San Diego\, CA<br>Elizabeth McAleer\, In
 ternational Studies\, Battle Ground\, WA<br>Chiche Okemgbo\, Real Estate\,
  Medical Lake\, WA<br>Isabelle Paulsen\, Marine Biology &amp; Oceanography\, S
 nohomish\, WA<br>Meagan Paxman\, Pre-Sciences\, Vancouver\, WA<br>Maya Ras
 che\, Visual Communication Design\, Kirkland\, WA<br>Roman Sydorchuk\, Mec
 hanical Engineering\, WA<br>Dulcinea Villarreal\, Art\, Drawing and Painti
 ng\, Moses Lake\, WA<br>Nathanael Vitorino\, Chemical Engineering\, Vancou
 ver\, WA<br><br><strong>OBOE</strong><br>Drake Mai\, Undeclared\, Portland
 \, OR<br><br><strong>BASSOON</strong><br>Hunter Bergstrom\, Biology\, Snoq
 ualmie\, WA<br>Victor Vitorino\, Business Administration\, Vancouver\, WA&lt;
 br&gt;<br><strong>CLARINET</strong><br>Itzel Bell\, Business\, Federal Way\, 
 WA<br>Emily Fleetwood\, Communications\, Vancouver\, WA<br>Anne Hale\, Gra
 duate\, Chemistry\, Sturgis\, SD<br>Eliezer Jeon\, Psychology\, Puyallup\,
  WA<br>Kevin Kim\, Computer Science\, Vancouver\, WA<br>Jonathan Li\, Aero
 nautics and Astronautics\, Bernardsville\, NJ<br>Grace Lovitt\, Computer S
 cience\, LA<br>Nathan Melhuish\, Undeclared\, Shoreline\, WA<br>Louis Nguy
 en\, Psychology\, Edmonds\, WA<br>Sage Ramberg\, Community Member\, Maple 
 Grove\, MN<br>Bailey Stachelski\, Psychology\, North Bend\, WA<br>Cahlen T
 homas\, Pre-Science\, Vancouver\, WA<br>Heather Yu Williams\, Environmenta
 l Studies\, Palo Alto\, CA<br><br><strong>BASS CLARINET</strong><br>Lin Gi
 lley\, Early Childhood and Family Studies\, Graham\, WA<br>Srikrishna Guru
 murthy\, Biology\, Redmond\, WA<br>Zack Hendricks\, Mechanical Engineering
 \, Burlington\, WA<br><br><strong>ALTO SAXOPHONE</strong><br>Shayan Asghar
 \, Economics\, Anaheim\, CA<br>Abhinandan Basak\, Mechanical Engineering\,
  Bothell\, WA<br>Andrew Eisenhauer\, Biology/Environmental Science\, Belli
 ngham\, WA<br>Natalie Gaston\, Medical Anthropology\, Public Health\, Long
 view\, WA<br>Ellie Kiffe\, Meteorology\, Marysville\, WA<br>Maren Nealon\,
  Environmental Science\, Puyallup\, WA<br>Joey Rotondo\, Graduate\, Atmosp
 heric and Climate Science\, Sandwich\, MA<br>Lee Santiago\, Finance\, Shel
 ton\, WA<br>Aiden Starr\, WA<br>Josh Williams\, Music Education\, Zillah\,
  WA<br><br><strong>TENOR SAXOPHONE</strong><br>Ash Gatton\, Linguistics\, 
 Yakima\, WA<br>Mercy Guirnalda\, Psychology\, Seattle\, WA<br>Logan Harris
 \, Oceanography\, Issaquah\, WA</p><p><strong>BARITONE SAXOPHONE</strong>&lt;
 br&gt;Matthew Ohliger\, Environmental Public Health\, Montgomery\, AL<br><br>
 <strong>TRUMPET</strong><br>Delaney Hurlimann\, Physiology\, Burlington\, 
 WA<br>Thomas Longcore\, Computer Science\, Kirkland\, WA<br>Patrick Mercie
 r\, Law\, Society and Justice\, Elma\, WA<br>Nate Protzel\, Chemistry\, An
 aheim\, CA<br>Adam Rehmann\, Mechanical Engineering\, Vancouver\, WA<br><b r><strong>HORN</strong><br>Andrew deLeon\, Physics &amp; Mathematics\, Camas\,
  WA<br>Charlotte Rogliano Cavalerie\, Community Member\, Seattle WA<br>Kir
 a Stewart\, Bioscience &amp; Engineering\, Seattle\, WA<br>George Whiddon\, In
 ternational Studies &amp; Chinese\, Littleton\, CO<br>Quinn Widdows\, Electric
 al &amp; Computer Engineering\, Issaquah\, WA<br><br><strong>TROMBONE</strong>
 <br>Cade Ballew\, Graduate\, Applied Math\, Norman\, OK<br>Jaeseo Choi\, E
 lectrical &amp; Computer Engineering\, Seoul\, South Korea<br>Oskar Cole\, Com
 puter Science\, Fall City\, WA<br>Aditi Nair\, Environmental Engineering\,
  Lake Villa\, IL<br>Evan Pham\, History\, Richland\, WA<br>Chloe Sprague\,
  Marine Biology\, Ann Arbor\, MI<br>Will Vanderburght\, Political Science\
 , Vancouver\, WA<br>Emmett Van Mason\, Mechanical Engineering\, Richland\,
  WA<br><br><strong>TUBA</strong><br>Timothy Brock\, Law\, Seattle\, WA<br>
 Joaquin Matthews\, Psychology\, Mercer Island\, WA<br><br><strong>PERCUSSI
 ON</strong><br>Avi Bose\, Graduate\, Civil Engineering\, Brooklyn\, NY<br>
 Brian Chen\, Mechanical Engineering\, Taipei\, Taiwan<br>Meha Farrokhi\, B
 iochemistry\, Vancouver\, Canada<br>Charlotte Greene\, Meteorology and Cli
 mate\, Lynden\, WA<br>Kendall Johnson\, Graduate\, Mechanical Engineering\
 , La Conner\, WA<br>Jaden Zika\, Psychology\, Livermore\, CA</p><p><br>UNIVERSITY OF WASHINGTON CONCERT BAND</strong><br><br><strong>FLUTE /
  PICCOLO</strong><br>Tasiyah Ahmed\, Freshman\, Pre–Social Sciences (Inten
 ded Economics &amp; Political Science)\, Portland\, OR<br>Brianna Blanchard\, 
 Senior\, Environmental Public Health\, Shoreline\, WA<br>Keith Cao\, Fresh
 man\, Computer Science<br>Maggie Cook\, Graduate\, Molecular Engineering\,
  Union\, KY<br>Karlien Dang-Lee\, Freshman\, Business Administration\, CO&lt;
 br&gt;Julian Frazer\, Sophomore\, Applied Physics\, Oysterville\, WA<br>Maggi
 e Hedrick\, Junior\, Mechanical Engineering\, Kettle Falls\, WA<br>Satoshi
  Jono\, Junior\, Global Study\, Tokyo\, Japan<br>Charlotte K\, Sophomore\,
  International Relations<br>Fletcher Lohrentz\, Junior\, Physics &amp; Astrono
 my\, Shoreline\, WA<br>Noah Mason\, Senior\, Mechanical Engineering\, Bell
 ingham\, WA<br>Jason Pham\, Senior\, Biology (Physiology Education Minor)\
 , Lacey\, WA<br>Melissa Plute\, Freshman\, Business Administration\, Medic
 al Lake\, WA<br>Keming Qiu\, Junior\, Biochemistry\, Bellevue\, WA<br>Hail
 ey Phan\, Freshman\, Pre–Health Sciences<br>Kayla Simerson\, Junior\, Eart
 h &amp; Space Sciences: Geology\, Shoreline\, WA<br>Victoria Silkina\, Freshma
 n\, Pre-Science (Intended Marine Biology)\, Vienna\, Austria<br>Hailey Cox
 \, Junior\, Aerospace &amp; Astronautical Engineering\, Shoreline\, WA<br>Denn
 is Toepker\, Community Member\, Bellevue\, WA<br>Julia Winget\, Sophomore\
 , Physics and Earth &amp; Space Sciences\, Cincinnati\, OH<br>Amy Zhong\, Fres
 hman\, Pre–Science<br><br><strong>OBOE</strong><br>Stacy Schulze\, Communi
 ty Member (Alumna)\, Richmond\, TX<br><br><strong>CLARINET</strong><br>CC 
 Ahrens\, Senior\, Computer Science &amp; Mathematics\, White Salmon\, WA<br>Ci
 n Ahrens\, Senior\, Computer Science &amp; Mathematics\, White Salmon\, WA<br>
 Jovani Azpeitia\, Graduate\, Social Psychology\, Kirkland\, WA<br>Gael Chu
 n-Rivas\, Sophomore\, Electrical &amp; Computer Engineering\, Honolulu\, HI<br>Fareyl Daoed\, Freshman\, Earth &amp; Space Science\, Samammish\, WA<br>Camil
 a Diaz Salas\, Sophomore\, Education\, Community\, Organizations\, Quincy\
 , WA<br>Steph Filippov\, Sophomore\, Education Studies<br>Elizabeth Hirman
 \, Senior\, Molecular\, Cellular &amp; Developmental Biology\, Mill Creek\, WA
 <br>Nel Jacobs\, Community Member<br>Ayari Lopez\, Sophomore\, Bioengineer
 ing\, San Diego\, CA<br>Ameena Majeed\, Junior\, Mechanical Engineering<br>Esmeralda Marquez\, Senior\, Medical Laboratory Science\, Tacoma\, WA<br>
 Daisy Mendoza-Cid\, Sophomore\, Public Health–Global Health\, Quincy\, WA&lt;
 br&gt;Dante Nguyen\, Junior\, Electrical &amp; Computer Engineering<br>Zachary O’
 Connell\, Junior\, Chemistry\, Lynnwood\, WA<br>Jessica Shattuck\, Communi
 ty Member\, Biology Faculty<br>Wyatt Triebold\, Junior\, Marine Biology\, 
 Puyallup\, WA<br><br><strong>BASS CLARINET</strong><br>Flora McAllister\, 
 Community Member\, Seattle\, WA<br><br><strong>ALTO SAXOPHONE</strong><br>
 Xin Cen\, Senior\, Biology\, Bellevue\, WA<br>Zachary Dunca\, Freshman\, A
 rchitecture Design/CEP\, Santa ClaritaCA<br>Matthew Holmes\, Graduate\, Ae
 ronautics &amp; Astronautics\, Winters\, CA<br>Ananya Juneja\, Sophomore\, Vis
 ual Communication Design\, Snohomish\, WA<br>Ethan Kaplan\, Senior\, Elect
 rical &amp; Computer Engineering<br>Blaine Mandiangu\, Freshmen\, Pre-Sciences
 \, Spokane\, WA<br>Alex Medina\, Sophomore\, Computer Science (UW Tacoma)\
 , Kent\, WA<br>Arnav Mazumder\, Junior\, Computer Science\, Dallas\, TX<br>Joalda Morancy\, Graduate\, Aerospace<br>Sydney Procajlo\, Freshman\, Env
 ironmental Science\, Tinley Park\, IL<br>Jason Taylor\, Community Member\,
  Neuroscience\, Indianapolis\, IN<br>Roxann Wrynn\, Sophomore\, Chemistry\
 , Newport\, WA<br><br><strong>TENOR SAXOPHONE</strong><br>Ronan Fiat\, Sen
 ior\, Chemical Engineering\, Seattle\, WA<br>Ethan Young\, Senior\, Constr
 uction Management\, Port Orchard\, WA<br><br><strong>HORN</strong><br>Andr
 ew Chen\, Community Member\, Othello\, WA<br>Kole Dickson\, Freshman\, Eng
 ineering (ENGRUD – ECE)\, Snohomish\, WA<br>Karen Mildes\, Community Membe
 r\, Bothell\, WA<br>Mariam Mohd\, Freshman\, International Studies\, Blain
 e\, WA<br>Ryan McIntyre\, Freshman\, Political Science\, Puyallup\, WA<br>
 Kyle Partido\, Senior\, Political Science<br>Kevin Yuan\, Sophomore\, Indu
 strial Design\, Vancouver\, WA<br><br><strong>TRUMPET</strong><br>Marcus A
 uman\, Sophomore\, Engineering<br>Annabelle Mirhashemi\, Community Member\
 , Los Angeles\, CA<br>Euan McCubbin\, Community Member\, Molecular Biology
  (Graduate)\, Pullman\, WA<br>Oliver Fraser\, Community Member\, Shoreline
 \, WA<br>Will Harris\, Freshman\, Pre–Sciences\, Duvall\, WA<br>Andrew Lam
 \, Junior\, Biology (Physiology)\, Lacey\, WA<br>Evan Latimer\, Freshman\,
  Atmospheric and Climate Science\, Alexandria\, V A<br>Jason Taylor\, Comm
 unity Member\, Neuroscience\, Indianapolis\, IN<br>Dan Storm\, Community M
 ember\, Professor Emeritus<br>Matt Schroeder\, Community Member<br>Eric Zh
 ang\, Freshman\, Engineering</p><p><strong>TROMBONE</strong><br>Jayda Fitc
 h\, Sophomore\, Drama Design\, Meridian\, ID<br>Cory Givens\, Freshman\, A
 pplied Mathematics\, Kent\, WA<br>Natalie Lai\, Sophomore\, Environmental 
 Science\, Pleasanton\, CA<br>Robin Taylor\, Senior\, Chemical Engineering\
 , Friday Harbor\, WA<br>Jettson Stone\, Freshman\, Education\, Seattle\, W
 A<br>Kai Kelika Turner\, Sophomore\, Business\, Bremerton\, WA<br><br>EUPHONIUM/ TUBA</strong><br>Iris Piskula\, Freshman\, Pre–Environmenta
 l\, Madison\, NJ<br>Thomas Elley\, Community Member\, Bothell\, WA<br><br>
 <strong>STRING BASS</strong><br>Nathan Eskridge\, Graduate\, Music\, Tusti
 n\, CA<br>Lexi Vance\, Graduate\, Environmental Health Sciences\, Tucson\,
  AZ<br><br><strong>PERCUSSION</strong><br>Ainslie Nguyen\, Freshman\, Envi
 ronmental Science<br>Aidan Powell\, Freshman\, Marine Biology\, Bend\, OR&lt;
 br&gt;Shiue-Lang Chin\, Sophomore\, Computer Engineering\, Hsmehn\, Taiwan<br>Darin Chung\, Sophomore\, Biology\, Taipei\, Taiwan<br>Yinuo Xu\, Junior\
 , Chemistry\, Guangzhou\, China<br>Martina Samo\, Graduate\, English Liter
 ature\, Seattle\, WA<br>Armaan Sahota\, Freshman\, Neuroscience</p><hr><h3>Director Biographies</h3>
END:VEVENT
BEGIN:VEVENT
UID:1a9f975e-2ba8-4d11-a9bf-3a1c8d53ba9a
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks
CLASS:PUBLIC
CREATED:20251021T152015Z
DESCRIPTION:<p>The School of Music Composition program hosts a guest lectur
 e by composer Steven Mackey\, the William Shubael Conant Professor of Musi
 c at Princeton University and faculty member at the Curtis Institute of Mu
 sic.</p><hr><h2>Biography</h2><p>Bright in coloring\, ecstatic in inventiv
 eness\, lively and profound\, Steven Mackey’s music spins the tendrils of 
 his improvisatory riffs into large-scale works of grooving\, dramatic cohe
 rence. As a teenager growing up in Northern California obsessed with blues
 -rock guitar\, Mackey was in search of the “right wrong notes\,” those hea
 rt-wrenching moments that imbue the music with new\, unexpected momentum. 
 Today\, his pieces play with that tension of being inside or outside of th
 e harmony and flow forward\, shimmering with prismatic detail.</p><p>Signa
 ture early works merged his academic training with the free-spirited physi
 cality of his mother-tongue rock guitar music: Troubadour Songs (1991) and
  Physical Property (1992) for string quartet and electric guitar\; and Ban
 ana/Dump Truck (1995)\, an electrified-cello concerto. Later works explore
 d his deepening fascination with transformation and movement of sound thro
 ugh time: Dreamhouse (2003)\, a rich work for voices and ensemble\, was no
 minated for four GRAMMY awards\; A Beautiful Passing (2008) for violin and
  orchestra on the passing of his mother\; and Slide (2011)\, a Grammy Awar
 d-winning music theater piece.</p><p>Mackey further expanded his theatrica
 l catalog with his short chamber opera Moon Tea about the 1969 meeting bet
 ween the Apollo 11 astronauts and the Royal Family\, premiered by Opera Th
 eatre of Saint Louis in 2021. Other world premieres in 2021 included Shiva
 ree\, a trumpet fantasy featuring soloist Thomas Hooten\, who premiered th
 e work with the LA Philharmonic and Gustavo Dudamel.</p><p>Today\, Steven 
 Mackey writes for chamber ensemble\, orchestra\, dance\, and opera—commiss
 ioned by the greatest orchestras around the world. He has served as profes
 sor of music at Princeton University for the past 35 years and has won sev
 eral awards from the American Academy of Arts and Letters\, a Guggenheim F
 ellowship\, and a Kennedy Center Friedheim Award. He continues to explore 
 an ever-widening world of timbres befitting a complex\, 21st-century cultu
 re while always striving to make music that unites the head and heart\, th
 at is visceral\, that gets us moving.</p>
DTSTART;TZID=America/Los_Angeles:20251121T123000
LAST-MODIFIED:20251021T160041Z
SEQUENCE:301
SUMMARY:: Guest Composer Lecture: Steven Mackey (Princeton University/Curti
 s Institute)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-21/guest-composer-lecture-s
 teven-mackey-princeton-universitycurtis-institute
END:VEVENT
BEGIN:VEVENT
UID:e80bb2a7-e4b1-4e8b-a507-1d76e537ed2d
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20251008T205359Z
DESCRIPTION:<p>Paula Clare Harper\, assistant professor of music at the Uni
 versity of Chicago\, presents 'Viral: Metaphor\, Narrative\, Music'  in th
 is installment of the 2025-26 THEME lecture Series. Her lecture is made po
 ssible with support from the Wilberforce and Myra D. Hanford Endowed Progr
 am Support Fund in American Music. </p><hr><h2>Abstract</h2><p>Even prior 
 to the COVID-19 pandemic\, “going viral” had nonetheless become commonplac
 e—the epidemiological metaphor characterizing an increasingly-familiar tra
 jectory of explosive circulation\, remix\, and reportage expanding from in
 dividual nodes of audiovisual content online. This presentation briefly hi
 storicizes and contextualizes the contagious concept\, before suggesting h
 ow “virality”—as aesthetic repertoire\, as popular narrative\, as social l
 ogic made concrescent in platform architectures—might also be understood a
 s a form of musicality. I argue that participation in the production\, wat
 ching\, listening to\, circulating\, or sharing of “viral” digital interne
 t objects has constituted a significant site of 21st-century musical pract
 ice. And across the 21st century\, digital platforms have adapted to facil
 itate this viral musicality\, using music’s positive capacities—aesthetic 
 pleasure\, communal participation\, social connectivity—to enable corporat
 e profit-making\, corral attention\, and incentivize acceptance of increas
 ing technocapital enclosure of the internet and everyday life.</p><hr><h2>
 Biography</h2><p>Paula Clare Harper is a musicologist who researches music
 \, sound\, and the internet. She is interested in putting digital ephemera
  and oddities into broader context\, in hearing the musicality of online m
 eme cultures\, and in tracking music’s creation and circulation across dig
 ital platforms and communities.</p><p>Her current book project\, Viral Mus
 icking and the Rise of Noisy Platforms\, documents the early 21st-century 
 rise of ubiquitous social media platforms through an understanding of them
  as mechanisms for facilitating virality—a virality that is deeply sonic\,
  and that can be productively analyzed as musicking. From Geocities and We
 brings to Twitter and TikTok\, the book charts a trajectory in which unpre
 dictable virtual landscapes were tamed into entrenched channels and pathwa
 ys\, through exchanges between the vernacular work of digital actors and t
 he top-down corporate attempts to capture\, corral\, and control their vir
 al participatory practices. </p><p>Additionally\, Paula’s research interes
 ts in music\, gender\, and digital fandom intersect in ongoing work on pop
  divas including Beyoncé and Taylor Swift\; after co-convening the summer 
 2021 “Taylor Swift Study Day: Eras\, Narrative\, Digital Music and Media” 
 conference\, she is now co-editing the volume Taylor Swift: The Star\, The
  Songs\, The Fans. This edited collection uses Swift as a prism through wh
 ich to analyze a variety of timely and intersecting issues in contemporary
  digital culture and music—from songwriting and copyright\, to constructio
 ns of race and gender\, to fandom and digital reception.</p><p>Paula holds
  a PhD in Historical Musicology from Columbia University\, an MA in Music 
 History from the University of Washington\, and an AB in Music and English
  from the University of Chicago. Prior to her appointment at Chicago\, she
  held positions as Assistant Professor of Musicology at the University of 
 Nebraska - Lincoln and as a Postdoctoral Fellow at Washington University i
 n St. Louis. </p><hr><h2 encode sans compressed open>Series Background</h2><p c lass='p1' open san>THEME: A colloquium of UW faculty and students of Theory\, Histor
 y\, Ethnomusicology\, and Music Education held on select Friday afternoons
  during the academic year. </p>
DTSTART;TZID=America/Los_Angeles:20251121T160000
LAST-MODIFIED:20251106T194211Z
SEQUENCE:302
SUMMARY:: THEME Lecture Series: Paula Clare Harper (University of Chicago)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-21/theme-lecture-series-pau
 la-clare-harper-university-chicago
END:VEVENT
BEGIN:VEVENT
UID:f3bb44e5-e0a9-407d-a1eb-ed0b16e92213
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250819T182229Z
DESCRIPTION:<p>The UW's graduate-student-led choral ensembles—the Universit
 y Singers\, UW Glee\, and Treble Choir—present an eclectic end-of-quarter 
 concert. </p><hr><h2>Program</h2><p><strong>ADVANCED TREBLE CHOIR</strong>
 <br>Directed by: Heidi Blythe\, DMA<br>Collaborative Pianist: Steve Swanso
 n</p><p>Chant: As taught by <strong>Moira Smiley</strong><br><br>Malala: &lt;
 strong&gt;Joan Szymko</strong><br>(Michael McKenzie\, percussion)<br><br>Grow
 n Wild: <strong>Melissa Dunphy</strong><br>(Heather Hunter\, violin)<br><b r>Look! Be: leap: <strong>Libby Larsen</strong></p><hr><p dir='ltr'><strong>GLEE</p><p di r='ltr'>Directed By: David Ferguson\, DMA\; Adam Freemantle\, MM\; Nichola
 s Renaud\, DMA</p><p dir='ltr'>Collaborative Pianist: Steve Swanson</p><p><br>Speak th
 e Truth: Music by Jocelyn Hagen\; Text based on a Lakota Proverb</p><p>Dúl
 amán - Music by Michael McGlynn\; Traditional Irish Text</p><p>O Love - Mu
 sic by Elaine Hagenberg\; Text by George Matheson</p><p>I’m Building Me a 
 Home - Traditional Spiritual\; Arranged by Anthony Trecek-King</p><hr><p s tyle='0pt\;' dir='ltr'>UNIVERSITY SINGERS</strong><br>Directed by: Michael McKenzie\, DMA\; 
 Alexandra Rameau\, MM\; Katia (Yekaterina) Velit\, MM</p><p dir='ltr'>Collaborative Pi
 anist: Steve Swanson</p><p dir='ltr'> </p><p st yle='0pt\;' dir='ltr'>Umoja Tunaimba - <strong>Victor C. John
 son</strong></p><p dir='ltr'> </p><p dir='ltr'>Torn Screen Door - <strong>arr. Mark Sirett</p><p dir='ltr'> </p><p dir='ltr'>Here Comes the Sun - <strong>arr. Adam Podd &amp; Matt Pod
 d</strong></p><p dir='ltr'> </p><p dir='ltr'>Give Me Oil in My Lamp - <strong>arr. Kyle Peders
 on</strong></p><p dir='ltr'> </p><p dir='ltr'>Soloists: Dalena Young\, Camille Tetreault\, Anc
 halee Chambers\, Alena Karpova\, Aiden Clegg\, and Matthew Merchant</p><hr><p dir='ltr
 '><strong>TREBLE</strong></p><p dir='ltr'>Directed by: Heidi Blythe\, DMA\; Tatiana Bo
 ggs\, DMA\; Julianna Grabowski\, DMA</p><p dir='ltr'>Collaborative Pianist: Steve Swan
 son<br> </p><p dir='ltr'>Rain\, Rain! - <strong>David Brinsmead</strong></p><p dir='ltr'><br>Storm
  Comin’- <strong>Wailin' Jennys</strong></p><p dir='ltr'><br>Spes - <strong>Mia Makaro
 ff</strong></p><hr><p dir='ltr'><strong>COMBINED TREBLE</strong></p><p dir='ltr'><br>We Are the St
 orm - <strong>Jerod Impichchaachaaha’ Tate</strong></p><p dir='ltr'>Soloists: Mc
 Kenna Kernan\, Amy Roon\, Sanskriti Joshi\, Dina Tsang\, Maddie McCarthy\,
  Maddie Rivera\, Micaela Omoto\, and Helen Chen<br>Michael McKenzie\, perc
 ussion</p><hr><h2>Lyrics and Translations</h2><p><strong>SPES (HOPE) TRANS
 LATION:</strong><br>Quis talis\, ut sapiens est?<br>Et quis cognovit solut
 ionem rerum?</p><p>Biekka oapmi lean<br>muhto likká ealán<br>ja dat lea vi
 ssa eallima dárkkuhus<br>Ealán odne dál ja dás<br>ha just dat lea madoheap
 me de in eali sat ihttin<br>nu ja máid dasto</p><p>Non est in hominis pote
 state<br>dominari super spiritum<br>nec cohibere spiritum<br>nec habet pot
 estatem supra diem mortis</p><p>sapientia hominis illuminat vultum eius<br>et durities faciei illius commutatur<br>Who is like the wise?<br>Who know
 s the explanation of things?</p><p>I belong to the wind\,<br>but I live\,&lt;
 br&gt;maybe that is the meaning of life.<br>I live here and now…<br>I won’t b
 e alive tomorrow<br>That is the way - and so what.</p><p>As no one has pow
 er <br>over the wind to contain it\,<br>so no one has power<br>over the ti
 me of their death.</p><p>A person’s wisdom brightens their face<br>and cha
 nges its hard appearance</p><hr><p><strong>ADVANCED TREBLE CHOIR</strong>&lt;
 /p&gt;<p dir='l
 tr'>Soprano 1</p><p dir='ltr'>Maggie Li</p><p dir='ltr'>Isadora Miller</p><p dir='ltr'>Kailani Marson</p><p st yle='0pt\;' dir='ltr'>Kyan
 a Chainani</p><p dir='ltr'>Irene Lee</p><p dir='ltr'>Arianna Amador</p><p dir='ltr'>Maddie McCarthy</p><p styl e='0pt\;' dir='ltr'> </p>&lt;
 p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'&gt;
 Soprano 2</p><p dir='ltr'>Mimi Tetreault</p><p dir='ltr'>Ava Wilhite</p><p dir='ltr'>McKenna Kernan</p><p styl e='0pt\;' dir='ltr'>Dan-Th
 y Hoang</p><p dir='ltr'>Tina Amrith</p><p dir='ltr'>Analicia Hayden</p><p dir='ltr'> </p><p dir='ltr'>Alto 1</p><p dir='ltr'>Mari Hira
 yama</p><p d ir='ltr'>Medha Sarkar</p><p dir='ltr'>Anna Carlson</p><p dir='ltr'>Dina Tsang</p><p dir='ltr'>Addy Miller</p>&lt;
 p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'&gt;
 Eliza Lightfoot</p><p dir='ltr'> </p><p dir='ltr'>Alto 2</p><p dir='ltr'>Haley Westberg</p><p dir='ltr'>Maddie Rivera</p>&lt;
 p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'&gt;
 Sydney Jordan</p><p dir='ltr'>Ella Heide </p><p dir='ltr'>Aliya Thompson</p><p dir='ltr'>Alex Retteghieri</p>&lt;
 p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'&gt;
  </p><h2><strong>UW GLEE</strong></h2><p dir='ltr'>Tenor</p><p dir='ltr'>Barbara Benda</p><p dir='ltr'>Sarah C
 arpenter</p><p dir='ltr'>Vicky Everett</p><p dir='ltr'>Austin Everhart </p><p dir='ltr'>David Ferguson</p><p s tyle='0pt\;' dir='ltr'>Tia
  Fowler</p><p dir='ltr'>Keanen Kehoe</p><p dir='ltr'>Kai-Jing Lee</p><p dir='ltr'>Fiona McNicholas</p><p dir='ltr'>Mary Po
 ole</p><p di r='ltr'>Kate Taricani</p><p dir='ltr'>Andi van der Burght</p><p dir='ltr'>Nic Renaud</p><p dir='ltr'>Carmela S
 tewart</p><p dir='ltr'>Zijun Zeng<br> </p><p dir='ltr'>Baritone</p><p dir='ltr'>Ezra Acevedo</p><p dir='ltr'>Justin Bowman
 </p><p dir='
 ltr'>MJ Carpenter</p><p dir='ltr'>Avi Mittal</p><p dir='ltr'>Michael Santillo</p><p dir='ltr'>Barry Wang</p><p dir='ltr'>H
 udson Wong</p><p dir='ltr'>Grant Yang</p><p dir='ltr'>Paul Johns<br> </p><p dir='ltr'>Bass</p><p dir='ltr'>Eden Alvarado</p><p dir='lt
 r'>Alex Beck</p><p dir='ltr'>Elias Carlson</p><p dir='ltr'>Adam Freemantle</p><p dir='ltr'>Manuel Gomez</p><p dir='ltr'>Ai
 den Hochstatter</p><p dir='ltr'>Yixuan Wang</p><p dir='ltr'>Thomas Wardian</p><p dir='ltr'> </p><p><strong>UNI
 VERSITY SINGERS</strong></p><p dir='ltr'>Part 1
 :</p><p dir='ltr'>Aidin Behroozi</p><p dir='ltr'>Ella Crandall</p><p dir='ltr'>Gwen Hobson</p><p dir='ltr'>Sunny I
 mp</p><p dir='ltr'>Anja Lovegren</p><p dir='ltr'>Mars Nguyen</p><p dir='ltr'>Madelyn Price</p><p dir='ltr'>Lorelai
  Taylor</p><p dir='ltr'>Camille Tetreault</p><p dir='ltr'>Alice Young</p><p dir='ltr'>Dalena Young</p><p dir='ltr'> </p><p dir='ltr'>Part 2:</p><p dir='ltr'>Alex Billingsley</p><p d ir='ltr'>Anchalee Chambers</p><p dir='ltr'>Sola
  Feldheger</p><p dir='ltr'>Camille Fortaleza</p><p dir='ltr'>Myla Hormon</p><p dir='ltr'>Yooeun Kang</p><p dir='lt
 r'>Alena Karpova</p><p dir='ltr'>Addison Miller
 </p><p dir='ltr'>Noa Reshikoff</p><p dir='ltr'>Polina Shuklina</p><p dir='ltr'>Chloe Snyder</p><p dir='ltr'>Madeli
 ne Stroup</p><p dir='ltr'>Skye Suk</p><p dir='ltr'>Rachel Tkachenko</p><p dir='ltr'>Sophia Wells</p><p dir='ltr'>X
 inrong Zhong</p><p dir='ltr'>Airong Zhuang</p>&lt;
 p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-b
 ottom:0pt\;margin-top:0pt\;' dir='ltr'&gt; </p><p dir='ltr'>Part 3:</p><p dir='ltr'>Aiden Clegg</p><p dir='ltr'>Raymond Lam</p><p dir='ltr'>Matthew Merchant</p><p d ir='ltr'>Isaac Mitchell</p><p dir='ltr'>Elliott
  Montoya</p><p dir='ltr'>Raziel Spinosa Holguin
 </p><p dir='ltr'>Edmund Tsai</p><p dir='ltr'>Shuai Yuan</p><p dir='
 ltr'>Suqin Zhang</p><p dir='ltr'> </p><h2>Biogr
 aphies</h2><p> </p>
DTSTART;TZID=America/Los_Angeles:20251121T193000
LAST-MODIFIED:20251114T043824Z
SEQUENCE:303
SUMMARY:: UW Sings
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-21/uw-sings
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The UW's graduate-student-led choral ensemb
 les—the University Singers\, UW Glee\, and Treble Choir—present an eclecti
 c end-of-quarter concert. </p><hr><h2>Program</h2><p><span eb><strong>ADVANCED TREBLE CHOIR</strong></span><br><span eb garamo>Directed by: Heidi Blythe\, DMA</span><br><span eb garam>Collaborative Pianist: Steve Swanson</span></p><p>Chant: As taught by <strong>Moira Smiley</span><br><br><span eb>Malala: <strong>Joan 
 Szymko</strong></span><br>(<em><span eb>Michael Mc
 Kenzie\, percussion)</span></em><br><br><span eb>G
 rown Wild: <strong>Melissa Dunphy</strong></span><br>(<span eb>Heather Hunter\, violin)</span><br><br><span eb>Look! Be: leap: <strong>Libby Larsen</strong></span></p><hr><p dir='ltr'><s pan eb><strong>GLEE</strong></span></p><p dir='ltr'><span styl eb gar>Directed By: David Ferguson\, DMA\; Adam Freemantle
 \, MM\; Nicholas Renaud\, DMA</span></p><p dir='ltr'><span eb>
 Collaborative Pianist: Steve Swanson</span></p><p><br>Speak the Truth: Mus
 ic by Jocelyn Hagen\; Text based on a Lakota Proverb</p><p>Dúlamán - Music
  by Michael McGlynn\; Traditional Irish Text</p><p>O Love - Music by Elain
 e Hagenberg\; Text by George Matheson</p><p>I’m Building Me a Home - Tradi
 tional Spiritual\; Arranged by Anthony Trecek-King</p><hr><p dir='ltr'><span eb garamond><strong>UNIVERSITY SINGERS</strong></span><br><span styl eb gar>Directed by: Michael McKenzie\, DMA\; Alexandra Ram
 eau\, MM\; Katia (Yekaterina) Velit\, MM</span></p><p dir='ltr'><span eb>Collaborative Pianist: Steve Swanson</span></p><p dir='ltr'> </p><p dir='ltr'><span eb>Umoja Tunaimba - <strong>Victor C. Johnson&lt;
 /strong&gt;</span></p><p dir='ltr'> </p><p dir='ltr'><span eb>Torn Scr
 een Door - <strong>arr. Mark Sirett</strong></span></p><p dir='ltr'> </p><p dir='ltr'><span st e b>Here Comes the Sun - <strong>arr. Adam Podd &amp; 
 Matt Podd</strong></span></p><p dir='ltr'> </p>
 <p dir='ltr'><span eb>Give Me Oil in My Lamp - <strong>arr. Kyle Pederson</strong></span></p>&lt;
 p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-b
 ottom:0pt\;margin-top:0pt\;' dir='ltr'&gt; </p><p dir='ltr'><span eb>Soloists: Dalena Young\, Cam
 ille Tetreault\, Anchalee Chambers\, Alena Karpova\, Aiden Clegg\, and Mat
 thew Merchant</span></p><hr><p dir='ltr'><span eb><strong>TREB
 LE</strong></span></p><p dir='ltr'><span eb>Directed by: Heidi
  Blythe\, DMA\; Tatiana Boggs\, DMA\; Julianna Grabowski\, DMA</span></p>&lt;
 p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'&gt;
 <span eb>Collaborative Pianist: Steve Swanson<br> </p><p dir='ltr'><span eb>Rain\, Rain! - <strong>David 
 Brinsmead</strong></span></p><p dir='ltr'><br><span eb>Storm C
 omin’- <strong>Wailin' Jennys</strong></span></p><p dir='ltr'><br><span eb>Spes - <strong>Mia Makaroff</strong></span></p><hr><p dir='ltr'><span sty eb ga><strong>COMBINED TREBLE</strong></span></p><p styl e='0pt\;' dir='ltr'><br><s pan eb>We Are the Storm - <strong>Jerod Impichchaa
 chaaha’ Tate</strong></span></p><p dir='ltr'><span eb>So
 loists: McKenna Kernan\, Amy Roon\, Sanskriti Joshi\, Dina Tsang\, Maddie 
 McCarthy\, Maddie Rivera\, Micaela Omoto\, and Helen Chen</span><br><span eb>Michael McKenzie\, percussion</span></p><hr><h2>Lyrics and Translations</h2><p><strong>SPES (HOPE) TRANSLATION:</strong>&lt;
 br&gt;Quis talis\, ut sapiens est?<br>Et quis cognovit solutionem rerum?</p>&lt;
 p&gt;Biekka oapmi lean<br>muhto likká ealán<br>ja dat lea vissa eallima dárkk
 uhus<br>Ealán odne dál ja dás<br>ha just dat lea madoheapme de in eali sat
  ihttin<br>nu ja máid dasto</p><p>Non est in hominis potestate<br>dominari
  super spiritum<br>nec cohibere spiritum<br>nec habet potestatem supra die
 m mortis</p><p>sapientia hominis illuminat vultum eius<br>et durities faci
 ei illius commutatur<br>Who is like the wise?<br>Who knows the explanation
  of things?</p><p>I belong to the wind\,<br>but I live\,<br>maybe that is 
 the meaning of life.<br>I live here and now…<br>I won’t be alive tomorrow&lt;
 br&gt;That is the way - and so what.</p><p>As no one has power <br>over the w
 ind to contain it\,<br>so no one has power<br>over the time of their death
 .</p><p>A person’s wisdom brightens their face<br>and changes its hard app
 earance</p><hr><p><strong>ADVANCED TREBLE CHOIR</strong></p><p dir='ltr'><span eb garamo>Soprano 1</span></p><p dir='lt
 r'><span eb>Maggie Li</span></p><p dir='ltr'><span eb>Isadora Miller</span></p><p dir='ltr'><span eb>Kailani Marson</span></p><p dir='ltr'><span eb>Kyana Chainani
 </span></p><p dir='ltr'><span eb>Irene Lee</span></p><p dir='ltr'><span st eb g>Arianna Amador</span></p><p dir='ltr'><span eb>Maddie McCarthy</span></p><p dir='ltr'><span eb> </s></p><p d ir='ltr'><span eb>Soprano 2</span></p><p dir='ltr'><span eb>Mimi Tetreault</span></p><p dir='ltr'><span eb>Ava Wilhite</span></p><p dir='ltr'><span st eb g>McKenna Kernan</span></p><p dir='ltr'><span eb>Dan-Thy Hoang</span></p><p dir='ltr'><span eb>Tina A
 mrith</span></p><p dir='ltr'><span eb>Analicia Hayden</span></p><p dir='lt
 r'><span eb> </span></p><p dir='ltr'><span eb>Alto 1</span></p><p dir='ltr'><span eb garam>Mari Hirayama</span></p><p dir='ltr'><span eb>Medha Sarkar</span></p><p dir='ltr'><span eb>Anna Carlson
 </span></p><p dir='ltr'><span eb>Dina Tsang</span></p><p dir='ltr'><span s eb>Addy Miller</span></p><p dir='ltr'><span eb>Eliza Lightfoot</span></p><p dir='ltr'><span eb> </p><p dir='ltr'><span eb>Alto 2</span></p><p dir='ltr'><span eb>Haley Westberg</span>
 </p><p dir='
 ltr'><span eb>Maddie Rivera</span></p><p dir='ltr'><span eb gara>Sydney Jordan</span></p><p dir='ltr'><span eb>Ella Heide </span></p><p dir='ltr'><span eb>Aliya Thomps
 on</span></p><p dir='ltr'><span eb>Alex Retteghieri</span></p>
 <p dir='ltr'> </p><h2><span eb><strong>UW GLEE</strong></span>
 </h2><p dir='ltr'><span eb>Tenor</span></p><p dir='ltr'><span eb>Barbara Benda</span></p><p dir='ltr
 '><span eb>Sarah Carpenter</span></p><p dir='ltr'><span eb garam>Vicky Everett</span></p><p dir='ltr'><span eb>Austin Everhart </span></p><p dir='ltr'><span eb>David Fe
 rguson</span></p><p dir='ltr'><span eb>Tia Fowler</span></p><p dir='ltr'>&lt;
 span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-famil
 y:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-a
 lternates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal
 \;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant
 -position:normal\;font-weight:400\;text-decoration:none\;vertical-align:ba
 seline\;white-space:pre-wrap\;'&gt;Keanen Kehoe</span></p><p dir='ltr'><span eb>Kai-Jing Lee</span></p><p dir='ltr'><span eb>Fi
 ona McNicholas</span></p><p dir='ltr'><span eb>Mary Poole</p><p dir='ltr'><span eb>Kate Taricani</span></p><p dir='ltr'><span sty eb ga>Andi van der Burght</span></p><p dir='ltr'><span eb>Nic Renaud</span></p><p dir='ltr'><span eb>Carme
 la Stewart</span></p><p dir='ltr'><span eb>Zijun Zeng</span><b r> </p><p di r='ltr'><span eb>Baritone</span></p><p dir='ltr'><span eb>Ezra Acevedo</span></p><p dir='ltr'><span eb>Justin Bowman</span></p><p dir='ltr'><span styl eb gar>MJ Carpenter</span></p><p dir='ltr'><span eb>Avi Mittal</span></p><p dir='ltr'><span eb>Michael Santi
 llo</span></p><p dir='ltr'><span eb>Barry Wang</span></p><p st yle='0pt\;' dir='ltr'>Hudson Wong</span></p><p dir='ltr'><span eb>Grant Yang</span></p><p dir='ltr'><span eb>Paul Joh
 ns</span><br> </p><p dir='ltr'><span eb>Bass</span></p><p dir='ltr'><span eb>Eden Alvara
 do</span></p><p dir='ltr'><span eb>Alex Beck</span></p><p styl e='0pt\;' dir='ltr'><span eb>Elias Carlson</span></p><p dir='ltr'><span eb>Adam Freemantle</span></p><p dir='ltr'><span eb>Man
 uel Gomez</span></p><p dir='ltr'><span eb>Aiden Hochstatter</s></p><p d ir='ltr'><span eb>Yixuan Wang</span></p><p dir='ltr'><span sty eb ga>Thomas Wardian</span></p><p dir='ltr'> </p><p><span eb><strong>UNIVERSITY SINGERS</strong></span></p><p dir='ltr'><span eb>Part 1:</span></p><p dir='ltr'><span eb>Aidin Behroozi</span></p><p dir='ltr'><span eb>
 Ella Crandall</span></p><p dir='ltr'><span styl eb>Gwen Hobson</span></p><p dir='ltr'><span eb>Sunny Imp</span></p><p s tyle='0pt\;' dir='ltr'><span eb>An
 ja Lovegren</span></p><p dir='ltr'><span eb ga>Mars Nguyen</span></p><p dir='ltr'><span eb>Madelyn Price</span></p><p dir='ltr'><span eb>
 Lorelai Taylor</span></p><p dir='ltr'><span sty eb>Camille Tetreault</span></p><p dir='ltr'><span eb>Alice Young</span></p><p dir='ltr'><span eb>Dalena Young</span></p><p dir='ltr'> </p><p dir='ltr'><span eb>Part 2:</span></p><p dir='ltr'><span eb>Alex Billingsle
 y</span></p><p dir='ltr'><span eb>Anchalee Chambers</span></p><p di r='ltr'><span eb>Sola Feldheger</span></p><p st yle='0pt\;' dir='ltr'><span eb>Cam
 ille Fortaleza</span></p><p dir='ltr'><span sty eb>Myla Hormon</span></p><p dir='ltr'><span eb>Yooeun Kang</span></p>&lt;
 p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-b
 ottom:0pt\;margin-top:0pt\;' dir='ltr'&gt;<span eb>Alena Karpova</span></p><p dir='ltr'><span sty eb>Addison Miller</span></p><p dir='ltr'><span eb>Noa Reshikoff</span>
 </p><p dir='ltr'><span eb>Polina Shuklina</span></p><p dir='ltr'><s pan eb>Chloe Snyder</span></p><p dir='ltr'><span eb>Madeline Stroup
 </span></p><p dir='ltr'><span eb>Skye Suk</span></p><p dir='ltr'><s pan eb>Rachel Tkachenko</span></p><p dir='ltr'><span eb>Sophia Well
 s</span></p><p dir='ltr'><span eb>Xinrong Zhong</span></p><p dir='l
 tr'><span eb>Airong Zhuang</span></p><p dir='ltr'> </p><p dir='ltr'><span eb>P
 art 3:</span></p><p dir='ltr'><span eb garamon>Aiden Clegg</span></p><p dir='ltr'><span eb>Raymond Lam</span></p><p dir='ltr'><span eb>Matthew
  Merchant</span></p><p dir='ltr'><span eb gara>Isaac Mitchell</span></p><p dir='ltr'><span eb>Elliott Montoya</span></p><p dir='ltr'><span eb>Raziel Spinosa Holguin</span></p><p dir='ltr
 '><span eb>Edmund Tsai</span></p><p dir='ltr'><span eb>Shuai Yuan</span></p><p dir='ltr'><span eb>Suqin Zhang</span></p><p dir='ltr'> 
 </p><h2>Biographies</h2><p> </p>
END:VEVENT
BEGIN:VEVENT
UID:7ece7c1a-1c34-44bf-836d-c775fc28f0f9
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20251007T154552Z
DESCRIPTION:<p>Robert Stahly and Zach Banks lead the Campus Philharmonia Or
 chestras in a program of music by Rossini\, Dvorak\, Faure\, and Bizet.</p><hr><h2>Program</h2><p>Masques et Bergamasques: <strong>Gabriel Fauré</p><p>L'Arlésienne Suite No. 2: <strong>Georges Bizet</strong></p><p>Overture to The Barber of Seville: <strong>Gioachino Rossini</strong></p>
 <p>Suite in A 'American' Op. 98b: <strong>Antonín Dvořák</strong></p><hr>&lt;
 h2&gt;Biographies </h2>
DTSTART;TZID=America/Los_Angeles:20251122T150000
LAST-MODIFIED:20251110T201606Z
SEQUENCE:304
SUMMARY:: Campus Philharmonia Orchestras
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-22/campus-philharmonia-orch
 estras
END:VEVENT
BEGIN:VEVENT
UID:5a2974e7-4fe7-4c82-91c9-f0f7724ffe6f
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T231959Z
DESCRIPTION:<p> </p><p>The Baroque Ensemble (Tekla Cunningham\, director)  
 presents a program of music from Imperial Vienna in the late 17th century\
 , including pieces by Bertali\, Schmelzer\, and others\, and a concerto gr
 osso by Muffat.</p><hr><h2>Director Biography
DTSTART;TZID=America/Los_Angeles:20251123T150000
LAST-MODIFIED:20251114T235451Z
SEQUENCE:305
SUMMARY:: Baroque Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-23/baroque-ensemble
END:VEVENT
BEGIN:VEVENT
UID:87839006-5fd4-4e8c-9851-6a4f6dfba141
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250819T190111Z
DESCRIPTION:<p> </p><p>The Studio Jazz Ensemble (Jacob Zimmerman\, director
 ) and Modern Band (Greg Sinibaldi\, director) present a shared program of 
 repertory selections\, original music\, and inspired arrangements.  </p><h2>Program<br> </h2><h3><strong>Studio Jazz Ensemble</strong></h3><p>Ja
 cob Zimmerman\, director</p><p>Boom-Boom - <strong>Bob Brookmeyer</strong>
 <br>Tijuana Traffic - <strong>Carla Bley</strong><br>Afterglow - <strong>M
 arian McPartland\, arr. Dick Lieb</strong><br>Body and Soul - <strong>John
 ny Green\, arr. Conrad Herwig</strong><br>Miss Missouri - <strong>Benny Ca
 rter</strong><br>Rompin' at the Reno - <strong>Benny Carter</strong><br>Sc
 rapple From the Apple - <strong>Charlie Parker\, arr. Dick Lieb</strong></p><hr><h3><strong>Modern Band</strong></h3><p>Greg Sinibaldi\, director<br><br>Komorebi - <strong>Coen Rios</strong><br>Grift - <strong>Thomas Jenni
 ngs</strong><br>Bass drum -<strong> Jaiden Garcia</strong><br>Flo - Yotam Snir</strong><br>Cheap Shirt - <strong>Rory Summers</strong></p><strong>Personnel</strong></h4><p>Coen Rios - tenor sax and bass clarine
 t<br>Graham Gentle - tenor sax<br>Yotam Snir - tenor sax<br>Rory Summers -
  trumpet<br>Jaiden Garcia - trombone<br>AJ Marto - bass<br>Riley Tobin - b
 ass<br>Thomas Jennings - guitar</p><hr><h2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20251124T193000
LAST-MODIFIED:20251114T162512Z
SEQUENCE:306
SUMMARY:: Studio Jazz Ensemble and Modern Band
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-11-24/studio-jazz-ensemble-and
 -modern-band
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>The Studio Jazz Ensemble (Jacob Zim
 merman\, director) and Modern Band (Greg Sinibaldi\, director) present a s
 hared program of repertory selections\, original music\, and inspired arra
 ngements.  </p><hr><h2>Program<br> </h2><h3><strong>Studio Jazz Ensemble</strong></h3><p><em>Jacob Zimmerman\, director</em></p><p>Boom-Boom - Bob Brookmeyer</strong><br>Tijuana Traffic - <strong>Carla Bley</strong><br>Afterglow - <strong>Marian McPartland\, arr. Dick Lieb</strong><br>Bo
 dy and Soul - <strong>Johnny Green\, arr. Conrad Herwig</strong><br>Miss M
 issouri - <strong>Benny Carter</strong><br>Rompin' at the Reno - <strong>B
 enny Carter</strong><br>Scrapple From the Apple - <strong>Charlie Parker\,
  arr. Dick Lieb</strong></p><hr><h3><strong>Modern Band</strong></h3><p>Greg Sinibaldi\, director</em><br><br>Komorebi - <strong>Coen Rios<br>Grift - <strong>Thomas Jennings</strong><br>Bass drum -<strong> Jai
 den Garcia</strong><br>Flo - <strong>Yotam Snir</strong><br>Cheap Shirt - 
 <strong>Rory Summers</strong></p><h4><strong>Personnel</strong></h4><p>Coe
 n Rios - tenor sax and bass clarinet<br>Graham Gentle - tenor sax<br>Yotam
  Snir - tenor sax<br>Rory Summers - trumpet<br>Jaiden Garcia - trombone<br>AJ Marto - bass<br>Riley Tobin - bass<br>Thomas Jennings - guitar</p><hr>
 <h2>Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:cea48025-8ddc-494d-846c-0d8481c0ef57
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250818T201116Z
DESCRIPTION:<p> </p><p>Phyllis Byrdwell leads the UW Gospel Choir and stude
 nts in her Ethnomusicology Gospel Music seminar courses in an an  end-of-y
 ear performance.</p><hr><h2>Program</h2><p>Anthem of Praise - <strong>Rich
 ard Smallwood </strong><br>I Am Your Song -<strong> Jonathan Nelson <br>Karamu (Celebration) -  <strong>John P Keer </strong><br>O Happy Da
 y - <strong>Edwin Hawkins </strong><br>Markus Teuton\, soloist <br>Be Your
  Word - <strong> Joe Pace </strong><br>The Lord Is My Light - <strong>Andr
 e Crouch </strong><br>Kalia Hobbs-Rutz\, soloist Better- <strong>Hezekiah 
 Walker </strong><br>Psalm 8 -  <strong>Richard Smallwood </strong><br>Elen
 e Lin\, soloist <br>Wonderful Is Your Name - <strong>Hezekiah Walker <br>Emmanuel - Christmas Carol <br>Do Not Pass Me By - <strong>Rickey 
 Dillard</strong></p><hr><p><strong>Musicians </strong><br>Phyllis M. Byrdw
 ell\, Director <br>Keyboard Anthony Mobley<br>Bass Guitar Fred Byrdwell <b r>Drummer Dr. Patricia Hunter <br>Percussionist Kalia Hobbs-Rutz <br><br>&lt;
 strong&gt;ALTO</strong> <br>Lucy Brandt - Ethnomusicology <br>B. Underhill-Re
 ed - Astronomy <br>Rebecca Neil - Community Member <br>Mel Madsen - Commun
 ity Member <br>Haley Chavez - Ethnomusicology (Ph.D.) <br>Elene Liu - Ethn
 omusicology <br>Hal Yacuk - Philosophy <br>Anna Kim - Molecular\, Cellular
 \, and Developmental Biology <br>Shelly Hayworth - Gender\, Women\, and Se
 xuality Studies <br>Aidan Moeck - Visual Communication Design <br>Aliya Fi
 schels - Civil Engineering <br>Rachel Kim - Psychology <br>Peyton Ray - Fl
 ute <br>Alex Alsabih - Psychology <br>Diane Chapel - Community Member <br>
 Galena Truong - Chemistry <br>Carina Wu - Pre-Nursing <br>Shreya Sumanth -
  NeuroScience <br>Juliette Hale - Law &amp; Justice <br>Helen Young - Music Ed
 ucation\, MA <br>Monica Hoyt - Psychology <br><br><strong>TENOR </strong>&lt;
 br&gt;Skip Gomez - Community Member <br>Violet FitzGerald - Gender\, Women\, 
 and Sexuality Studies <br>Charlotte FitzGerald - Art <br>Tyan Knight - Int
 ernational Studies <br>Kayah Corpus - Botany <br>Malia Callier - Plant Bio
 logy <br>Timon Nguyen Phua - Business Administration <br>Michael Lim - Mus
 ic Education <br>Alexander Trias - Community Member <br>Carneka Stewart - 
 Food Systems\, Nutrition\, and Health </p><p><strong>BASS</strong> <br>Gab
 riel Wan - Community Member <br>Drew Theran - Trumpet Performance <br>Razi
 el Spinoza Holguin - Community Member <br>William Zhong - Microbiology <br>Sam Buisch - Psychology <br>Ryan Kapsandy - Bassoon <br>Mark Alexander - 
 Community Member <br>Matthew Young - Community Member <br>Hoang Ce - Bioch
 emistry <br>Isaac Carlson - Engineering <br>Dillon Pham - Finance <br>Ciar
 an McNeely - Informatics <br>Markus Teuton - Ethnomusicology (Ph.D.) <br>A
 sh Snow - Ethnomusicology and Math <br><br><strong>SOPRANO </strong><br>Ev
 a (Yutong) Liu - Political Science <br>Lyra Moscuzza - Physics (Teaching T
 rack) <br>Ave Dimond - Political Science <br>Kiki Wen - Ethnomusicology <b r>Alva Taing - Sociology <br>Minh Thi Butler - Oboe <br>Zoe Vance - Dance 
 &amp; Voice Performance <br>Soledad Mayorga- Maldonado - MMA Voice Performance
  <br>Avalon Whitten - Food Systems\, Nutrition\, and Health <br>Cassandra 
 Brinklee - Pre-Sciences <br>Lilian Nguyenphua - Neuroscience <br>Lena Nguy
 en - Undeclared<br>Penny Crichton - Ethnomusicology <br>Emily Colombo - Mu
 sic Education</p><hr><h2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20251201T193000
LAST-MODIFIED:20251201T205905Z
SEQUENCE:307
SUMMARY:: UW Gospel Choir
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-12-01/uw-gospel-choir
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>Phyllis Byrdwell leads the UW Gospe
 l Choir and students in her Ethnomusicology Gospel Music seminar courses i
 n an an  end-of-year performance.</p><hr><h2>Program</h2><p>Anthem of Prai
 se - <strong>Richard Smallwood </strong><br>I Am Your Song -<strong> Jonat
 han Nelson </strong><br>Karamu (Celebration) -  <strong>John P Keer <br>O Happy Day - <strong>Edwin Hawkins </strong><br><em>Markus Teuton\
 , soloist </em><br>Be Your Word - <strong> Joe Pace </strong><br>The Lord 
 Is My Light - <strong>Andre Crouch </strong><br><em>Kalia Hobbs-Rutz\, sol
 oist </em>Better- <strong>Hezekiah Walker </strong><br>Psalm 8 -  <strong>
 Richard Smallwood </strong><br><em>Elene Lin\, soloist </em><br>Wonderful 
 Is Your Name - <strong>Hezekiah Walker </strong><br>Emmanuel - Christmas C
 arol <br>Do Not Pass Me By - <strong>Rickey Dillard</strong></p><hr><p>Musicians </strong><br>Phyllis M. Byrdwell\, Director <br>Keyboard An
 thony Mobley<br>Bass Guitar Fred Byrdwell <br>Drummer Dr. Patricia Hunter 
 <br>Percussionist Kalia Hobbs-Rutz <br><br><strong>ALTO</strong> <br>Lucy 
 Brandt - Ethnomusicology <br>B. Underhill-Reed - Astronomy <br>Rebecca Nei
 l - Community Member <br>Mel Madsen - Community Member <br>Haley Chavez - 
 Ethnomusicology (Ph.D.) <br>Elene Liu - Ethnomusicology <br>Hal Yacuk - Ph
 ilosophy <br>Anna Kim - Molecular\, Cellular\, and Developmental Biology &lt;
 br&gt;Shelly Hayworth - Gender\, Women\, and Sexuality Studies <br>Aidan Moec
 k - Visual Communication Design <br>Aliya Fischels - Civil Engineering <br>Rachel Kim - Psychology <br>Peyton Ray - Flute <br>Alex Alsabih - Psychol
 ogy <br>Diane Chapel - Community Member <br>Galena Truong - Chemistry <br>
 Carina Wu - Pre-Nursing <br>Shreya Sumanth - NeuroScience <br>Juliette Hal
 e - Law &amp; Justice <br>Helen Young - Music Education\, MA <br>Monica Hoyt -
  Psychology <br><br><strong>TENOR </strong><br>Skip Gomez - Community Memb
 er <br>Violet FitzGerald - Gender\, Women\, and Sexuality Studies <br>Char
 lotte FitzGerald - Art <br>Tyan Knight - International Studies <br>Kayah C
 orpus - Botany <br>Malia Callier - Plant Biology <br>Timon Nguyen Phua - B
 usiness Administration <br>Michael Lim - Music Education <br>Alexander Tri
 as - Community Member <br>Carneka Stewart - Food Systems\, Nutrition\, and
  Health </p><p><strong>BASS</strong> <br>Gabriel Wan - Community Member <b r>Drew Theran - Trumpet Performance <br>Raziel Spinoza Holguin - Community
  Member <br>William Zhong - Microbiology <br>Sam Buisch - Psychology <br>R
 yan Kapsandy - Bassoon <br>Mark Alexander - Community Member <br>Matthew Y
 oung - Community Member <br>Hoang Ce - Biochemistry <br>Isaac Carlson - En
 gineering <br>Dillon Pham - Finance <br>Ciaran McNeely - Informatics <br>M
 arkus Teuton - Ethnomusicology (Ph.D.) <br>Ash Snow - Ethnomusicology and 
 Math <br><br><strong>SOPRANO </strong><br>Eva (Yutong) Liu - Political Sci
 ence <br>Lyra Moscuzza - Physics (Teaching Track) <br>Ave Dimond - Politic
 al Science <br>Kiki Wen - Ethnomusicology <br>Alva Taing - Sociology <br>M
 inh Thi Butler - Oboe <br>Zoe Vance - Dance &amp; Voice Performance <br>Soleda
 d Mayorga- Maldonado - MMA Voice Performance <br>Avalon Whitten - Food Sys
 tems\, Nutrition\, and Health <br>Cassandra Brinklee - Pre-Sciences <br>Li
 lian Nguyenphua - Neuroscience <br>Lena Nguyen - Undeclared<br>Penny Crich
 ton - Ethnomusicology <br>Emily Colombo - Music Education</p><hr><h2>Biogr
 aphies</h2>
END:VEVENT
BEGIN:VEVENT
UID:d96d1581-c26c-4429-8418-aa0c5821a7d4
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250819T221140Z
DESCRIPTION:<p> </p><p>The UW Percussion Ensemble (Bonnie Whiting\, directo
 r) presents the world premiere of a new work by doctoral composer Yonatan 
 Ron\, as well as works by Aeryn Santillan (commissioned by the UW)\, alumn
 us Byron Au Yong\, and music by Ivan Trevino and Eugene Novotney.</p><hr>&lt;
 h2 style='font-weight:400\;'&gt;Program</h2><p>Watercolor Sun (2023) -<strong> Ivan Trevino</strong> (b. 1983)<br><br>Intentions II: Proposal (1983) - 
 <strong>Eugene Novotney</strong> (b. 1960)<br><br>recover. (2020) - Aeryn Jade Santillan</strong> (b. 1990)<br><br>The Unvoiced Loom Ghostly
  (2024) WORLD PREMIERE -<strong> Yonatan Ron</strong> (b. 1992)<br>I. A Ch
 amberful of Magnets<br>II. The Combat of Arsis &amp; Thesis<br>III. Caves of A
 baco<br>IV. The Murmuration of Starlings<br>V. Attract\, Approach\, Refrac
 t\, Repeat<br><br>Stars Whisper 星星低语 Les Murmures des Étoiles (2025) - Byron Au Yong</strong> (歐陽良仁) (b. 1971)</p><p><strong>The UW Percussi
 on Ensemble</strong><br>Cyan Duong\, Monaka Kakuta\, Colin Lehman\, Dustin
  Lie\, Alexander McLean\, Ivy Moore\, Devon Rafanelli\, Hazel<br>Salvaggio
 \, Tyler Smith\, Xander Swanson\, Nat Yamamoto\, Zhibo Zheng\,<br>Dr. Bonn
 ie Whiting\, Director</p><hr><h2><strong>Acknowledgements</strong></h2><p>
 <br>Many thanks to: Tyler Smith (our TA)\, Devon Rafanelli (our grad stude
 nt worker)\, the Meany Center staff\, Doug Niemela and the School of Music
  staff\, as well as our Director Joël-François Durand.<br> </p><h2><strong>Program Notes and Composer Bios</strong></h2><p><br><strong>Watercolor Su
 n</strong> (2023) was commissioned by the Grammy-winning ensemble\, Third 
 Coast Percussion. It was written for the quartet to perform on one single 
 4.3 octave marimba. I have been friends with the members of Third Coast fo
 r many years and have watched them from afar with much admiration. It brin
 gs me great joy to write music for them. There are moments in life that cr
 eate a feeling I can’t quite describe. Like waking up in a sunlit room\, o
 r sharing a meal with old friends\, or going on a road trip with someone y
 ou love. There’s a jovial\, euphoric feeling to it. I feel it when I catch
  the sunrise with my family\, and I feel it when I play music too. Maybe<b r>it is gratitude\, or peace\, or something in between. Whatever this feel
 ing is\, it is at the heart of Watercolor Sun. ---Ivan Trevino<br><br>Ivan Trevino</strong> is a Mexican-American composer\, percussionist\,
  teacher\, and arts advocate. Recognized around the world for his contribu
 tions to percussion literature\, Ivan’s music has been performed across fi
 ve continents in 25 countries. His music distinctly threads indie-pop soun
 ds with a contemporary classical aesthetic\, and his body of work spans st
 orytelling\, singing marimba players\, cello rockers\, and an ever-present
  social consciousness. His newly commissioned works include music for The 
 San Diego Symphony Orchestra\, The Juilliard School\, and Grammy-winning q
 uartet\, Third Coast Percussion. He is a multi-award recipient of the Perc
 ussive Arts Society’s International Composition Contest and has been the f
 eatured composer and performer on NPR’s Performance Today.<br><br>As a per
 cussionist and composer\, <strong>Eugene Novotney</strong> has performed a
 nd presented lectures and master classes in North America\, South America\
 , the Caribbean\, Europe\, Asia\, and Africa. He is recognized internation
 ally as a composer of contemporary percussion music\, and his compositions
  are widely performed as standards of the literature. He is Professor of M
 usic and the Director of Percussion Studies at California State University
 -Humboldt in Arcata\, California\, and is the founder and coordinator of t
 he ‘Percussion in World Music’ program for the California State University
  Summer Arts Program. </p><p><strong>Aeryn Jade “AJ” Santillan</strong> (s
 he/her) is a composer\, guitarist\, and bassist whose work draws from the 
 DIY punk scene\, blurring the lines between band and ensemble\, song and c
 omposition. AJ currently performs in forever (bass/vox)\, Wellness (vox)\,
  and this place is actually the worst (guitar/vox)\, and has toured across
  the USA\, Canada\, Europe\, Southeast Asia\, and Japan. From 2018–2025\, 
 she was the bassist and vocalist for experimental screamo band Massa Nera\
 , and is a co-founder of the post-genre DIY label people | places | record
 s. Her work recover. was commissioned in part by the University of Washing
 ton Percussion Ensemble through the<br>Everybody Hits Consortium in 2021.&lt;
 /p&gt;<p><br>In <strong>The Unvoiced Looms Ghostly\,</strong> I aimed to crea
 te sound environments that invite listeners into a contemplative and immer
 sive nexperience\, where tension and release are achieved by means other t
 han tones. The musical flow is driven by changes in sound quality\, dynami
 cs\, force\, movement\, and speed\, all contributing to the evocation of s
 paces that either deepen or contract. Most processes are inspired by the i
 dea of filling the interstices between fundamentally different sound entit
 ies\, bridging the polarities between granular and 'spray-like' sounds\, d
 rum rolls\, and the shimmering resonance of metallic objects\, from triang
 les\, through struck\, scratched\, or bowed cymbals and gongs. Expansive t
 rajectories compress into brief\, capricious gestures and\, conversely\, f
 leeting gestures unfold into extended spans\; timbres fuse into a single w
 hole or diverge into a spectrum of conflicting tone-colors. -<br>--Yonatan
  Ron<br><br><strong>Yonatan Ron</strong> began his musical journey as a no
 n-classically trained guitarist. He later studied music theory and classic
 al guitar independently under composer and guitarist Ruben Seroussi\, head
  of the composition department and Guitar performance department at Tel-Av
 iv University. In his music\, seemingly ordinary materials develop through
  gradational transformations\, often to the point of unrecognizability. He
  employs techniques associated with early music and integrates harmonic an
 d rhythmic trajectories to shape anticipation\, leading the listener towar
 d expectation only to ultimately deceive it. His approach reflects a deep 
 attraction to gesture\, where musical events emerge through calculated met
 hods that balance spontaneity with structural control. Yonatan draws inspi
 ration from fields beyond music\, including visual arts\, mathematics\, an
 d cognitive psychology—areas around which much of his research orbits. His
  works are published in the ‘Israeli Composers League’ and are frequently 
 commissioned by the Israeli Music Festival. He is a DMA student at the Uni
 versity of Washington.<br><br><strong>Stars Whisper 星星低语 Les Murmures des 
 Étoiles</strong><br>During my first composition lesson with Joël Durand\, 
 I shared a sketch for violin and piano\, inspired by music from John Cage\
 , whonhad recently passed away. Joël asked me what I wanted to accomplish 
 from this simple score. I replied that I felt stuck with fragments\, so he
  encouraged me to study musical forms as well as non-musical structures. E
 ight weeks later\, I had a 32-page composition called The Moon Embalmed in
  Phosphorus\, inspired by Alban Berg's Violin Concerto\, medieval rhythmic
  modes\, and an overall trajectory prompted by the big bang theory. 30 yea
 rs later\, I continue with the modernist dilemma of fragmentation\, but wi
 th the<br>knowledge and skills I learned while studying with Joël. Stars W
 hisper 星星低语 Les Murmures des Étoiles includes 28 sonic moments that are in
  clusters of seven related to the cardinal directions (north-south-east-we
 st)\, as well as the seasons (winter\, summer\, spring\, autumn). The ense
 mble plays together as if reading a star map to create sonic constellation
 s inspired by the 28 Mansions of Chinese cosmology that traces the movemen
 t of the moon—and in this offering—through the whispering of the stars. St
 ars Whisper was<br>commissioned by Seattle Modern Orchestra in celebration
  of Joël-François Durand’s 70th Birthday.<br><br><strong>Byron Au Yong creates musical works that have been featured at American Conservato
 ry Theater\, Hawai'i Opera\, International Festival of Arts &amp; Ideas\, Nash
 ville Opera\, and more. Honors include a Creative Capital Award and Sundan
 ce Institute/Time Warner Foundation Fellowship. He holds degrees in theate
 r\, dance\, and music from NYU\, UCLA\, and the University of Washington\,
  and currently serves<br>as an Associate Professor and Director of Arts Le
 adership at Seattle University.</p><hr><h2>Direc
 tor Biography</h2>
DTSTART;TZID=America/Los_Angeles:20251202T193000
LAST-MODIFIED:20251202T181233Z
SEQUENCE:308
SUMMARY:: Percussion Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-12-02/percussion-ensemble
END:VEVENT
BEGIN:VEVENT
UID:12433be2-cffc-40a3-b59e-56884f140f6c
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250528T164559Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p><h2 class='x_M
 soNormal'>Featured Performers</h2>  Program details <a href='/sites/music/
 files/documents/December%203%2C%202025.pdf'>HERE</a>!
DTSTART;TZID=America/Los_Angeles:20251203T123000
LAST-MODIFIED:20251201T222935Z
SEQUENCE:309
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-12-03/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p><span>Students of the UW School
  of Music perform in this </span>lunchtime concert series co-hosted by UW 
 Music and UW Libraries. </p></blockquote><h2 class='x_MsoNormal'><span>Fea
 tured Performers</span></h2><div class='elementToProof'><div class='elemen
 tToProof'><div class='elementToProof'><div class='elementToProof'><div cla ss='elementToProof'><div class='x_elementToProof ContentPasted0'><div clas s='x_elementToProof ContentPasted0'> </div></div></div></div></div></div>&lt;
 /div&gt;<div> </div><div>Program details <a href='/sites/music/files/document
 s/December%203%2C%202025.pdf'>HERE</a>!</div>
END:VEVENT
BEGIN:VEVENT
UID:c0f04e67-612c-4bd8-89ea-30522f16926e
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250827T235456Z
DESCRIPTION:<p>University Chorale and Chamber Singers present a concert in 
 celebration of creativity\, play\, and bold ideas\, as well as the courage
 ous forces that energize artistry\, work and life. </p><hr><h2>Program <p><strong>UNIVERSITY OF WASHINGTON CHORALE</strong><br>Dr. Giselle Wyer
 s\, Conductor<br>Assistant Conductors: Julianna Grabowski\, Nic Renaud\, C
 hung-An Wang\, Helen Woodruff</p><p>Collaborative Pianist: Serena Chin<br>
 Rehearsal collaborative pianists: Serena Chin\, Ingrid Verlhulsdonk</p><p>
 <strong>Repertoire</strong><br>A Morn for Life:<strong> Giselle Wyers</p><p>Red (from Spectrum): <strong>Sally Whitwell</strong></p><p>Glor
 ia (Movement I): <strong>Francis Poulenc</strong></p><p>Group Composition 
 Small Group Projects:<br>   The Tempest: <strong>Sophia Peterson\, Katelyn
  Wales\, Mallak Atwater\,  Anne Tinker\, Maddie Rivera\, Eric Gagliano\, H
 aoran Peng\, Will Cummings\, &amp; Kwabena Ledbetter</strong></p><p>    Went t
 o the Woods: <strong>Kirsten Conover\, Jolee Zamira\, Samara Chacko\,  Jes
 sica Thaxton\, Ariel Baldwin\, Armour Johnson\,  Tyler Santos\, Jack Hawle
 y\, Felix Solem\, &amp; Will Henry</strong></p><p>    Woven: <strong>Lauren Ch
 enoweth\, Anya Riabov\, Evelyn Jones\,  Juniper Blessing\, Sydney Jordan\,
  Braden Innes\, Colin Loerkhe\, Mario D’Ambrosio\, &amp; Thayden Boome</strong></p><p>    The Stars: <strong>Sofia Groff\, Tina Amrith\, Hope Villareal\
 , Emily Dong\, Alex Retteghieri\, Michael Lim\, Luke Van Sickle\, Robert T
 royan\, &amp; Paul Orekhov</strong></p><p>Auass: <strong>Alex Vollant</strong>
 <br>Soloist and Drummer: Thayden Boome</p><p>Brave: <strong>Sara Bareilles
 </strong><br>Soloists: Jolee Zamira\, Mallak Attwa\, &amp; Samara Chacko<br>El
 ectric Bass: Satvik Saxena<br>Cajon: Michael McKenzie</p><hr><p><strong>UN
 IVERSITY OF WASHINGTON CHAMBER SINGERS</strong><br>Dr. Geoffrey Boers\, Co
 nductor</p><p>Assistant Conductors:  Michael McKenzie\, Scott Fiske\, Tati
 ana Boggs</p><p>Collaborative Pianist: Serena Chin</p><p><strong>Repertoir
 e</strong><br>Kyrie and Prayer: <strong>Ugis Praulinš</strong></p><p>Allel
 uia: Transcr. <strong>Eric Whitacre</strong><br>    <br>When David Heart: 
 <strong>Thomas Tomkins</strong></p><p>Heaven’s Flockk: <strong>Eriks Ešenv
 alds</strong></p><p>All is Miracle: <strong>Kevin Pedersen</strong><br>Sol
 oists: Maddie Rivera and Lameya Appling</p><p><strong>COMBINED CHOIRS<br>Excerpts from Considering Matthew Sheppard : <strong>Craig Hella J
 ohnson</strong><br><br>Fire of the Ancient Heart<br>Giselle Wyers\, Conduc
 tor<br>Percussion: Soren Fosnick Davis</p><p>All of Us<br>Geoffrey Boers\,
  Conductor<br>Percussion: Soren Fosnick Davis</p><hr><h2>Program Backgroun
 d</h2><p><strong>University Chorale</strong><br>UW Chorale’s “courage and 
 creation” takes new form by way of new compositions this quarter! We sough
 t to answer the question\, could a community of singers without background
  in classical composition collaborate to compose a musical work\, in small
  groups? With mentorship from composer Giselle Wyers and the graduate stud
 ent assistant conductors\, four out of the seven groups have chosen to sha
 re the results of this experiment with an audience today! Each group disco
 vered or created their own text built around the theme of “courage and cre
 ation\,” . Students then improvised and crafted unique melodies</p><p styl e='0pt\;' dir='ltr'>to fit
  the lines of text\, and finally imagined and described harmonic and textu
 ral ideas to enhance the expressive impact of the piece. Enjoy these new p
 remieres<strong>!</strong></p><p>--Giselle Wyers<br><br><strong>Chamber Si
 ngers</strong><br>The Chamber Singers present four works and highlight the
  UW's talented doctoral conductors. Michael McKenzie opens the program wit
 h a movement of  Latvian composer Ugis Praulinš’ Missa Regeņsiš\, or Mass 
 for Riga\, which is the capital of Latvia. This stunning work is followed 
 by a choral transcription of an orchestral work\, Alleluia\, by Eric Whita
 cre. Conducted by Geoffrey Boers\, the rich orchestration of his piece Oct
 ober was set for voices using a single word\, Alleluia. Scott Fikse  then 
 leads the singers in Renaissance composer Thomas Tomkins’ wrenching motet\
 , When David Heard\, a story about King David and his reaction to learning
  that his son had been killed. Finally\, Tatiana Boggs conducts All is Mir
 acle\, a moving new work that draws our attention to the simple things in 
 life to be grateful for. The concert  concludes by joining the choirs toge
 ther with two “sneak peaks” into the Chorale and Chamber Singers’ upcoming
  collaboration with Seattle university—Considering Matthew Shepard. This w
 ork\, to be performed at Meany Center on March 3\, is a monumental creatio
 n by composer Craig Hella Johnson. The 100-minute Oratorio tells the story
  of the killing of Matthew Shepard\, a hate crime that occurred in Casper\
 , Wyoming in 1998. It is a dramatic\, powerful story of hope and offers an
  opportunity to “consider” a better world.<br>--Geoffrey Boers</p><hr><h2>
 Translations</h2><p>Poulenc: Gloria (Sung in Latin)<br>Glory to God in the
  highest <br>And on earth peace\, goodwill to all people.</p><p>Auass: by 
 Alex Vollant (Sung in First Nations 'Innu' language)<br>Child\, come and t
 ell me what they did to you. <br>Child\, don't be scared\; I will never hu
 rt you. <br>Child\, tomorrow will be brighter.</p><hr><h2>Director Biograp
 hies </h2>
DTSTART;TZID=America/Los_Angeles:20251203T193000
LAST-MODIFIED:20251201T035040Z
SEQUENCE:310
SUMMARY:: Chamber Singers and University Chorale: 'Courage and Creation'
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-12-03/chamber-singers-and-univ
 ersity-chorale-courage-and-creation
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>University Chorale and Chamber Singers pres
 ent a concert in celebration of creativity\, play\, and bold ideas\, as we
 ll as the courageous forces that energize artistry\, work and life. </p><h2>Program </h2><p><strong>UNIVERSITY OF WASHINGTON CHORALE</strong><br><em>Dr. Giselle Wyers\, Conductor</em><br>Assistant Conductors: <em>Julia
 nna Grabowski\, Nic Renaud\, Chung-An Wang\, Helen Woodruff</em></p><p>Col
 laborative Pianist: <em>Serena Chin</em><br>Rehearsal collaborative pianis
 ts: <em>Serena Chin\, Ingrid Verlhulsdonk</em></p><p><strong>Repertoire</s><br>A Morn for Life:<strong> Giselle Wyers</strong></p><p>Red (from 
 Spectrum): <strong>Sally Whitwell</strong></p><p>Gloria (Movement I): Francis Poulenc</strong></p><p>Group Composition Small Group Projects:
 <br>   The Tempest: <strong>Sophia Peterson\, Katelyn Wales\, Mallak Atwat
 er\,  Anne Tinker\, Maddie Rivera\, Eric Gagliano\, Haoran Peng\, Will Cum
 mings\, &amp; Kwabena Ledbetter</strong></p><p>    Went to the Woods: <strong>
 Kirsten Conover\, Jolee Zamira\, Samara Chacko\,  Jessica Thaxton\, Ariel 
 Baldwin\, Armour Johnson\,  Tyler Santos\, Jack Hawley\, Felix Solem\, &amp; W
 ill Henry</strong></p><p>    Woven: <strong>Lauren Chenoweth\, Anya Riabov
 \, Evelyn Jones\,  Juniper Blessing\, Sydney Jordan\, Braden Innes\, Colin
  Loerkhe\, Mario D’Ambrosio\, &amp; Thayden Boome</strong></p><p>    The Stars
 : <strong>Sofia Groff\, Tina Amrith\, Hope Villareal\, Emily Dong\, Alex R
 etteghieri\, Michael Lim\, Luke Van Sickle\, Robert Troyan\, &amp; Paul Orekho
 v</strong></p><p>Auass: <strong>Alex Vollant</strong><br><em>Soloist and D
 rummer: Thayden Boome</em></p><p>Brave: <strong>Sara Bareilles</strong><br><em>Soloists: Jolee Zamira\, Mallak Attwa\, &amp; Samara Chacko</em><br><em>E
 lectric Bass: Satvik Saxena</em><br><em>Cajon: Michael McKenzie</em></p><p><strong>UNIVERSITY OF WASHINGTON CHAMBER SINGERS</strong><br><em>Dr. 
 Geoffrey Boers\, Conductor</em></p><p>Assistant Conductors:  <em>Michael M
 cKenzie\, Scott Fiske\, Tatiana Boggs</em></p><p>Collaborative Pianist: Serena Chin</em></p><p><strong>Repertoire</strong><br>Kyrie and Prayer: 
 <strong>Ugis Praulinš</strong></p><p>Alleluia: Transcr. <strong>Eric Whita
 cre</strong><br>    <br>When David Heart: <strong>Thomas Tomkins</strong>&lt;
 /p&gt;<p>Heaven’s Flockk: <strong>Eriks Ešenvalds</strong></p><p>All is Mirac
 le: <strong>Kevin Pedersen</strong><br><em>Soloists: Maddie Rivera and Lam
 eya Appling</em></p><p><strong>COMBINED CHOIRS</strong><br>Excerpts from C
 onsidering Matthew Sheppard : <strong>Craig Hella Johnson</strong><br><br>
 Fire of the Ancient Heart<br><em>Giselle Wyers\, Conductor</em><br><em>Per
 cussion: Soren Fosnick Davis</em></p><p>All of Us<br><em>Geoffrey Boers\, 
 Conductor</em><br><em>Percussion: Soren Fosnick Davis</em></p><hr><h2>Prog
 ram Background</h2><p><strong>University Chorale</strong><br>UW Chorale’s 
 “courage and creation” takes new form by way of new compositions this quar
 ter! We sought to answer the question\, could a community of singers witho
 ut background in classical composition collaborate to compose a musical wo
 rk\, in small groups? With mentorship from composer Giselle Wyers and the 
 graduate student assistant conductors\, four out of the seven groups have 
 chosen to share the results of this experiment with an audience today! Eac
 h group discovered or created their own text built around the theme of “co
 urage and creation\,” . Students then improvised and crafted unique melodi
 es</p><p dir='ltr'>to fit the lines of text\, and finally imagined and described harmo
 nic and textural ideas to enhance the expressive impact of the piece. Enjo
 y these new premieres<span eb><strong>!</strong></span></p><p>--G
 iselle Wyers<br><br><strong>Chamber Singers</strong><br>The Chamber Singer
 s present four works and highlight the UW's talented doctoral conductors. 
 Michael McKenzie opens the program with a movement of  Latvian composer Ug
 is Praulinš’ Missa Regeņsiš\, or Mass for Riga\, which is the capital of L
 atvia. This stunning work is followed by a choral transcription of an orch
 estral work\, Alleluia\, by Eric Whitacre. Conducted by Geoffrey Boers\, t
 he rich orchestration of his piece October was set for voices using a sing
 le word\, Alleluia. Scott Fikse  then leads the singers in Renaissance com
 poser Thomas Tomkins’ wrenching motet\, When David Heard\, a story about K
 ing David and his reaction to learning that his son had been killed. Final
 ly\, Tatiana Boggs conducts All is Miracle\, a moving new work that draws 
 our attention to the simple things in life to be grateful for. The concert
   concludes by joining the choirs together with two “sneak peaks” into the
  Chorale and Chamber Singers’ upcoming collaboration with Seattle universi
 ty—Considering Matthew Shepard. This work\, to be performed at Meany Cente
 r on March 3\, is a monumental creation by composer Craig Hella Johnson. T
 he 100-minute Oratorio tells the story of the killing of Matthew Shepard\,
  a hate crime that occurred in Casper\, Wyoming in 1998. It is a dramatic\
 , powerful story of hope and offers an opportunity to “consider” a better 
 world.<br>--Geoffrey Boers</p><hr><h2>Translations</h2><p>Poulenc: Gloria 
 (Sung in Latin)<br>Glory to God in the highest <br>And on earth peace\, go
 odwill to all people.</p><p>Auass: by Alex Vollant (Sung in First Nations 
 'Innu' language)<br>Child\, come and tell me what they did to you. <br>Chi
 ld\, don't be scared\; I will never hurt you. <br>Child\, tomorrow will be
  brighter.</p><hr><h2>Director Biographies </h2>
END:VEVENT
BEGIN:VEVENT
UID:6b7e2935-0d08-487c-84f3-69f02f9dcaa2
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T234238Z
DESCRIPTION:<p>Students of John Popham perform works by Rebecca Clarke\, Bé
 la Bartók\, Reinhold Glière\, and Ludwig van Beethoven  in the Autumn Quar
 ter chamber music showcase.</p><hr><h2>Program</h2><p>Dumka\, Duo Concerta
 nte for Violin\, Viola\, and Piano: <strong>Rebecca Clarke</strong> (1886-
 1979)<br>Gustavo Berho\, violin\; Alissa Harbani\, viola\; Honoka Cater\, 
 piano</p><p>Romanian Folk Dances: <strong>Béla Bartók</strong> (1881-1945)
 <br>Jocul cu bâtă (Stick Dance) <br>Brâul (Sash Dance) <br>Pe Loc (Stampin
 g Dance)<br>Buciumeana (Dance from Bucsum) <br>Poarcǎ Românească (Romanian
  Polka) <br>Mănuntelul (Fast Dance)<br>Martessa Davis\, violin\; Chelsea Z
 hang\, piano<br><br>Eight Pieces for Violin and Cello\, Op. 39: <strong>Re
 inhold Glière</strong> (1875-1956)<br>II. Gavotte<br>III. Berceuse    <br>
 Avery Parry\, violin\; Manyi Guo\, cello<br><br>Trio in B flat major\, Op 
 11: <strong>Ludwig van Beethoven</strong> (1770-1827)<br>III. Theme and Va
 riations on “Pria ch'io l'impegno'”<br>Nick Zhang\, clarinet\; Cory Chen\,
  cello\; Jeffrey Tso\, piano</p><hr><h2>Biography</h2>
DTSTART;TZID=America/Los_Angeles:20251204T173000
LAST-MODIFIED:20251204T001441Z
SEQUENCE:311
SUMMARY:: Chamber Music Showcase
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-12-04/chamber-music-showcase
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Students of John Popham perform works by Re
 becca Clarke\, Béla Bartók\, Reinhold Glière\, and Ludwig van Beethoven  i
 n the Autumn Quarter chamber music showcase.</p><hr><h2>Program</h2><p>Dum
 ka\, Duo Concertante for Violin\, Viola\, and Piano: <strong>Rebecca Clark
 e</strong> (1886-1979)<br><em>Gustavo Berho\, violin\; Alissa Harbani\, vi
 ola\; Honoka Cater\, piano</em></p><p>Romanian Folk Dances: <strong>Béla B
 artók</strong> (1881-1945)<br>Jocul cu bâtă (Stick Dance) <br>Brâul (Sash 
 Dance) <br>Pe Loc (Stamping Dance)<br>Buciumeana (Dance from Bucsum) <br>P
 oarcǎ Românească (Romanian Polka) <br>Mănuntelul (Fast Dance)<br><em>Marte
 ssa Davis\, violin\; Chelsea Zhang\, piano</em><br><br>Eight Pieces for Vi
 olin and Cello\, Op. 39: <strong>Reinhold Glière</strong> (1875-1956)<br>I
 I. Gavotte<br>III. Berceuse    <br><em>Avery Parry\, violin\; Manyi Guo\, 
 cello</em><br><br>Trio in B flat major\, Op 11: <strong>Ludwig van Beethov
 en</strong> (1770-1827)<br>III. Theme and Variations on “Pria ch'io l'impe
 gno'”<br><em>Nick Zhang\, clarinet\; Cory Chen\, cello\; Jeffrey Tso\, pia
 no</em></p><hr><h2>Biography</h2>
END:VEVENT
BEGIN:VEVENT
UID:0b908671-7870-48c6-803b-2ded7bd64e71
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T203911Z
DESCRIPTION:<p> </p><p>UW keyboard students perform music from the piano re
 pertoire. </p><h2>Program</h2><p><br><strong>Sergei</strong> <strong>Proko
 fiev </strong>(1891-1953)<strong>:</strong> 20 Visions fugitives\, Opus 22
  (1915-17) <br>Performed by Jingyang (Jam) Huang <br><br><strong>Franz Lis
 zt </strong>(1811-1886) - Liebestraum #3 in A flat\, S541 (1850)<br>Perfor
 med by Chloe Song </p><p><strong>Frédéric Chopin </strong>(1810-1849) - Ba
 rcarolle\, Opus 60 (1845-46)         <br>Performed by Jeffrey So</p><p>Int
 ermission</p><p><strong>Robert Schumann </strong>(1810-1856) -  11 Impromp
 tus on a Theme by Clara Schumann\, Opus 5 (1833\, revised 1850)<br>Perform
 ed by Yige Han</p><p> <strong>Franz Liszt </strong> (1811-1886) <strong> -
 </strong> Après une lecture du Dante (1849) from Années de Pèlerinage – It
 alie        <br>Performed by Yuchen Qi                                    
                                                     </p><hr><p> </p>
DTSTART;TZID=America/Los_Angeles:20251204T193000
LAST-MODIFIED:20251202T223546Z
SEQUENCE:312
SUMMARY:: Brechemin Piano Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-12-04/brechemin-piano-series
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>UW keyboard students perform music 
 from the piano repertoire. </p><h2>Program</h2><p><br><strong>Sergei <strong>Prokofiev </strong><em>(1891-1953)</em><strong>:</strong> 20 V
 isions fugitives\, Opus 22 (1915-17) <br><em>Performed by Jingyang (Jam) H
 uang </em><br><br><strong>Franz Liszt </strong>(1811-1886) - Liebestraum #
 3 in A flat\, S541 (1850)<br><em>Performed by Chloe Song </em></p><p>Frédéric Chopin </strong><em>(1810-1849) -</em> Barcarolle\, Opus 60 (1
 845-46)   <em>      </em><br><em>Performed by Jeffrey So</em></p><p>Interm
 ission</p><p><strong>Robert Schumann </strong>(1810-1856) -  11 Impromptus
  on a Theme by Clara Schumann\, Opus 5 (1833\, revised 1850)<br><em>Perfor
 med by Yige Han</em></p><p><em> </em><strong>Franz Liszt </strong><em> (18
 11-1886) </em><strong> -</strong> <em>Après une lecture du Dante (1849) from<em> Années de Pèlerinage – Italie        </em><br><em>Performed by
  Yuchen Qi                                                                
                         </em></p><hr><p> </p>
END:VEVENT
BEGIN:VEVENT
UID:9b68e7c6-d5d9-4e9c-9ea4-102a90ce87b3
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250818T175239Z
DESCRIPTION:<p> </p><p>The Wind Ensemble and Symphonic Band (Erin Bodnar\, 
 director) present A Carnival of Animals\, featuring music by Viet Cuong\, 
 Karel Husa\, Ryan George\, Holly Harrison\, Robert Cichy\, Jodie Blackshaw
 \, Nubia Donjuan\, and others.</p><hr><h2>Program</h2><h3>UW Symphonic Ban
 d </h3><p>BUGS (2000) - <strong>Roger Cichy </strong>(b. 1956) <br>Prelude
  <br>Dragonfly <br>Praying Mantis <br>Black Widow Spider <br>Tiger Swallow
 tail  <br>Army Ants <br><br>Monarch Migration (2023) - <strong>Nubia Jaime
 -Donjuan</strong> (b. 1984) <br>Solomon Encina\, graduate conductor <br><b r>Vulnerable Joy (2022) - <strong> Jodie Blackshaw</strong> (b. 1971) <br>
 <br>Equus (2000) - <strong>Eric Whitacre</strong> (b. 1970) <br><br>INTERM
 ISSION</p><h3>UW Wind Ensemble </h3><p>Firefly (2008) - <strong>Ryan Georg
 e </strong>(b. 1978) <br>Yuman Wu\, graduate conductor <br><br>Cheetah (20
 07) - <strong>Karel Husa</strong> (1921-2016) <br><br>POUNCE (2023) - Holly Harrison</strong> (b. 1988) <br><br>Moth (2013) - <strong>Viet C
 uong</strong> (b. 1990) </p><hr><h2>Program Notes</h2><p><strong>BUGS (200
 0): Roger Cichy (b. 1956)</strong><br>Bugs came to mind a few years ago an
 d the thought of giving a 'musical personality' to the selected bugs seeme
 d humorous\, inventive and capricious all at the same time. The insect and
  spider collection at the Fields Museum of Natural History in Chicago\, Il
 linois\, provided inspiration\, and at the same time made it difficult for
  Cichy to narrow the list down to about six or so. The particular bugs rep
 resented in this suite were chosen partly because of the contrasting style
 s of music that would be composed for each.</p><p>Prelude\, which begins t
 he suite\, was not conceived as part of the original set of movements but 
 was included when Cichy began work on the piece. 'The suite seemed to need
  an introduction\, and this just came out and fell into place\,' commented
  Cichy. The prelude is meant to suggest many of the creatures we associate
  as bugs.</p><p>Dragonfly portrays several issues. First\, the insect is r
 eally considered an aquatic bug\, spending most of its life under water wh
 ile emerging only in its adult stage to take to the air. The second issue 
 is reflected in folklore where the dragonfly is responsible for flying aro
 und at night and sewing all the mouths of fibbing boys and girls.</p><p>Pr
 aying Mantis\, as its name implies\, provides a perfect topic for a slow\,
  religioso movement. The mantis is often pictured resting with its front l
 egs folded as though in meditation or prayer. The rather bizarre mating te
 ndencies of the praying mantis were purposefully left out of this movement
 .</p><p>Black Widow Spider was a movement Cichy could not resist. Set to a
  cool blues\, the opening statement was written with an eight note pattern
  (eight legs of the spider) which changes several times in order of notes 
 but contains the same pitches. Within a few repetitions of the pattern\, f
 ive more notes are added to complete a dodecaphonic (twelve-note) scale. I
 n its entirety\, the dodecaphonic scale is played from C to C an octave hi
 gher\, working inward to the center pitch (F#) which represent the spider'
 s web. The textures begin changing from cool blues to hot as the black wid
 ow spider approaches its prey with its deadly venom.</p><p>The suite would
  be incomplete without the most gorgeous of all insects\, the butterfly. C
 ichy chose Tiger Swallowtail for no particular reason other than it is com
 monly the 'flying flower.' Set in a lyrical style\, this movement tries to
  musically depict the grace and beauty of such a remarkable insect.</p><p>
 The final movement\, Army Ants\, provides the perfect subject for a march-
 style piece. Cichy created a dissonant march portraying the ants as savage
  predators which are constantly on the move.</p><p>~Program Note from the 
 Wind Repertory Project</p><p><strong>Monarch Migration (2023): Nubia Jaime
 -Donjuan (b. 1984) </strong><br>In the realm of art and education\, collab
 orations between artists and schools have proven to be a powerful tool for
  creativity and learning. Such partnerships bring fresh perspectives\, ins
 pire young minds\, and ignite a passion for the arts. Today\, we delve int
 o the story of a remarkable composer who\, in close collaboration with sch
 ools\, embarked on a journey to create a mesmerizing musical piece for win
 d-band and full orchestra titled Monarch Migration.</p><p>At the heart of 
 this captivating project is Matthew Oyen\, a high school band and orchestr
 a director from Saint Paul\, Minnesota. Matthew was inspired by the award-
 winning picture book Monarch Butterflies: Explore the Life Journey of One 
 of the Winged Wonders of the World (Storey Publishing) by author Ann Hobbi
 e and illustrator Olga Baumert. This book shares the remarkable biology\, 
 cultural significance\, and importance of supporting this iconic species a
 nd its spectacular yearly migration to the coasts of California and the mo
 untains of central Mexico. The journey and peril of the monarch butterflie
 s tell an important story of the interconnectedness of our actions.</p><p>
 Matthew saw in the book an opportunity to share a musical version of the u
 nique monarch migration with high school\, college\, and university-level 
 musicians nationwide. Through his network with Dr. Brian Messier’s Mexican
  Repertoire Initiative at Dartmouth College\, these directors connected wi
 th the talented Mexican composer Nubia Jaime Donjuan. With a deep admirati
 on for nature's wonders and a desire to connect youth with the world aroun
 d them\, Nubia was an excellent choice to create a musical composition tha
 t would not only narrate the fascinating journey of the monarch butterfly 
 but also engage and educate students on the importance of conservation and
  the wonders of the natural world.</p><p>Through Matthew and Brian\, Monar
 ch Migration was commissioned by a consortium of 41 schools throughout the
  United States. The impact of Monarch Migration extends far beyond the con
 cert hall. Students who participate in the project are developing a newfou
 nd appreciation for music\, nature\, and their own creative abilities. The
  experience instills a sense of environmental responsibility and sparks a 
 desire to explore and protect the world around them. The project serves as
  a catalyst for interdisciplinary learning\, combining music\, science\, a
 nd conservation into a unified educational experience.</p><p>The Monarch M
 igration stands as a testament to the incredible potential that lies withi
 n collaborations between composers and schools. Through the shared experie
 nce of creating a musical composition\, students gain not only musical ski
 lls but also a profound connection to the natural world. The project demon
 strates that art has the power to transcend boundaries\, inspire change\, 
 and ignite a lifelong love for both music and the environment. As we celeb
 rate the triumph of Monarch Migration\, let it serve as a reminder of the 
 transformative power of creativity and the lasting impact it can have on t
 he lives of young minds.<br>~Program Note by composer</p><p><strong>Vulner
 able Joy (2022):  Jodie Blackshaw (b. 1971) </strong><br>Vulnerable Joy is
  inspired by the self-sacrifice\, commitment and humility of the mother hu
 mpback whale. As a mammal\, baleen whale\, she grows to approximately 16m 
 (52 feet) and lives at the ocean's surface in order to breath. She travels
  up to 6\,500km (approx. 4\,000 miles) from her feeding ground to birth he
 r calf in warmer tropical waters. Once she leaves the feeding grounds of A
 ntarctica or the cooler oceans of the Northern Hemisphere\, she will not f
 eed again until she returns some 8-9 months later\, all the while nursing 
 her newborn calf with up to 600 litres (132 gallons) of milk per day.</p>&lt;
 p&gt;In realizing the enormity of this feat\, my mind turned to the whales wh
 o are closest to me\, those who migrate along the east coast of Australia 
 from Tonga to Antarctica. I imagined the sheer relief she must feel in tha
 t moment when the cool waters of the Southern Ocean rub her skin for the f
 irst time. She is tired and hungry\, but in that moment (in my imagination
 ) I feel her joy\, her intense\, overwhelming joy.<br>~Program Note by com
 poser</p><p><strong>Equus (2000): Eric Whitacre (b. 1970) </strong><br>At 
 the Midwest Band and Orchestra convention in 1996\, Gary Green approached 
 me about a possible commission for his wind ensemble at the University of 
 Miami. I accepted\, and the commission formally began July 1st\, 1997. Two
  years later I still couldn’t show him a single note. That’s not to say I 
 hadn’t written anything. On the contrary\, I had about 100 pages of materi
 al for three different pieces\, but I wanted to give Gary something very s
 pecial and just couldn’t find that perfect spark.</p><p>Around this time m
 y great friend and fellow Juilliard composer Steven Bryant was visiting me
  in Los Angeles\, and as I had just bought a new computer I was throwing o
 ut old sequencer files\, most of them sketches and improvisational ideas. 
 As I played one section Steve dashed into the room and the following conve
 rsation ensued:</p><p>Steve: 'What the hell was that!?!'</p><p>Me: 'Just a
 n old idea I’m about to trash.'</p><p>Steve: 'Mark my words\, If you don’t
  use that I’m stealing it.' <br>The gauntlet had been thrown.</p><p>That w
 as the spark\, but it took me a full eight months to write the piece. Ther
 e are a LOT of notes\, and I put every one on paper (with pencil). I wante
 d to write a moto perpetuo\, a piece that starts running and never stops (
 equus is the Latin word for horse) and would also be a virtuosic show piec
 e for winds. The final result is something that I call “dynamic minimalism
 \,” which basically means that I love to employ repetitive patterns as lon
 g as they don’t get boring. We finally premiered the piece in March 2000\,
  nearly three years after the original commission date\, and the Universit
 y of Miami Wind Ensemble played the bejeezus out of it.<br>Equus is dedica
 ted to my friend Gary Green\, the most passionate and patient conductor I 
 know. <br>~Program Note by the composer</p><p><strong>Firefly (2008): Ryan
  George (b. 1978) </strong><br>I'm amazed at how children use their imagin
 ations to transform the ordinary and normal into the extraordinary and fan
 tastic. Just about anything they come across can be used to spark their fa
 ntasies and usher their minds into unseen worlds. A stick on the ground be
 comes a wand with magical powers or a sword to fight off bad guys. A colle
 ction of rocks turns into buried treasure\, and a blanket stretched over t
 wo chairs becomes a cave to hide in. And things found in nature -- birds\,
  waterfalls\, flowers\, and even insects -- can take on mythic identities 
 when viewed through the eyes of a child.</p><p>The idea for Firefly was bo
 rn one night as I watched my four-year-old become mesmerized by a firefly 
 that had wandered into our front yard. When I asked her what she thought o
 f the 'firefly' she looked at me with a puzzled look and said with a corre
 ctive tone\, 'Dad\, that is not a firefly... that's Tinkerbell\, and she's
  come to take me with her on an adventure!'</p><p>Firefly is dedicated to 
 my daughters Sophia and Nyla\, who ignite my imagination and bring awe and
  wonder into my life every day.<br>~Program Note by composer</p><p><strong>Cheetah (2007): Karel Husa (1921-2016) </strong><br>Cheetah is a portrait
  of a magnificent wild animal\, now an endangered species -- its colors\, 
 movements\, power\, speed – and finally\, exhaustion after an unsuccessful
  chase.<br>~Program Note by composer</p><p><strong>POUNCE (2023): Holly Ha
 rrison (b. 1988) </strong><br>When I first started writing this piece\, th
 ere was a trifecta of feline activity in my life: the adoption of a boiste
 rous kitten\, a visit to a wild cat conservation centre\, and Penrith Pant
 hers\, my local team\, winning the NRL [National Rugby League] premiership
 . While visiting the conservation centre\, I was amazed to learn that Cara
 cals can jump up to four metres high! Add to that my new obsession with my
  Novation LaunchPad\, and POUNCE was born.</p><p>This piece explores and i
 magines different types of pouncing behaviour in cats and their ability to
  initiate spontaneous play. The opening sets the scene for stalking and pr
 edatory behaviour\, staying low and close to the ground and creeping up on
  potential prey. Musically\, this is heard as a series of low instrument s
 olos with a bluesy undertow that rumbles with a faux sense of tension. Yet
 \, this is soon interrupted by spring-loaded pounces that pull the work in
  a friskier and funkier direction. For anyone that’s ever owned a cat\, we
  all know how their mood can change on a dime: how quickly a savage bite c
 an give way to nap time or bravado turn to fear!</p><p>The rhythmic langua
 ge of the work is defined by what I like to refer to as pounce rhythms -- 
 a syncopated bounce\, the saunter of a cat’s hips\, a spring in the step\,
  or the confidence of a tail whip. In this way\, POUNCE embraces splashes 
 of funk\, jazz\, honky-tonk\, rock\, and metal styles. Celebratory soundbl
 ocks burst with joy and are intercepted by covert pounce operations\, reca
 lling the stalking behaviour from the beginning. Here\, the line between b
 rave domestic shorthair and spotted wild cat begins to blur\, as they camo
 uflage in and out of the ensemble’s texture\, treading the tightrope betwe
 en frivolity and stealth.</p><p>In the middle of POUNCE\, a heavier groove
  emerges\, conjuring up the muscular physique of the mighty Penrith Panthe
 rs and their namesake. For the uninitiated\, Australia’s National Rugby Le
 ague is arguably our most popular form of football and is considered a bru
 tal contact sport. This rockier soundworld\, led by brass\, invokes a head
 -banging energy and visceral sense of clashing bodies across the football 
 field. From here\, all three feline threads are at work: the frisky\, the 
 wild\, and the muscular. Each of these blocks interrupts the next\, weavin
 g its way in and out\, though ultimately it is play that wins out.</p><p>C
 reatively\, this was the first piece I’d written using the LaunchPad as my
  primary creative tool: as a composer who tends to begin with drum kit and
  flute improvisations\, I found this a new way to experiment with rhythmic
  cells and pitch patterns. It’s worth noting that the physical configurati
 on of the LaunchPad as 64 small pads allows a type of pouncing motion acro
 ss the squares\, so I often found myself devising lines which required a c
 ertain nimbleness and agility that I associate with our feline friends.<br>~Program note by composer</p><p><strong>Moth (2013): Viet Cuong (b. 1990)
  </strong><br>The “moth to the flame” narrative is a familiar one. We have
  all seen moths in the glow of flames or stadium lights. Scientists call t
 his phenomenon “phototaxis\,” but I prefer to think of this attraction in 
 much more romantic terms. The dusty moth\, though destined to live in shad
 ow\, has an insatiable craving for the brightness of day. Drab\, but elega
 nt\; nervous\, but swift\; his taste for the glow of the flame or the fila
 ment is dire. Perhaps he dances in the light because it holds the promise 
 that he might be as beautiful as his favored kin\, the butterfly. For only
  there\, in its ecstatic warmth\, may he spend the last of his fleeting li
 fe\, and believe himself to be.</p><p>Moth seeks inspiration from the dual
 ities between light and dark\, beautiful and grotesque\, reality and fanta
 sy\, and the ultimate decision to sacrifice sensibility for grace.</p><p>T
 hank you to the members of the Brooklyn Wind Symphony and their artistic d
 irector\, Jeff W. Ball\, for trusting me to write a piece for their moment
 ous 2013 Midwest Clinic performance. I have nothing but gratitude and resp
 ect for their dedication to the music\, and for their commitment to sharin
 g the wind repertoire with the New York City community. The Brooklyn Wind 
 Symphony’s ability to flourish outside of an institution is\, in a word\, 
 extraordinary.<br>- Program Note by the composer</p><hr><h3>UW Symphonic B
 and </h3><p><strong>Flute  </strong><br>Naomi Cho\, Fr.\, Flute Performanc
 e <br>Ananya Sai Parlapalli\, Fr.\, Biochemistry &amp; Flute Performance\, Spo
 kane\, WA <br>Rob Rosenthal\, Frl\, Flute Performance\, Evanston\, IL <br>
 Gabriel Rui\, Fr.\, Engineering Undeclared\, San Francisco\, CA <br>Emily 
 Wen\, Fr.\, Flute Performance\, Sherwood\, OR <br>Xiage Zhang\, Gr.\, Musi
 c\, Shanxi Province\, China <br><br><strong>Oboe </strong><br>David Kelly\
 , Fr.\, Pre-Sciences <br>Meagan Paxman\, So.\, Pre-Sciences\, Vancouver <b r>Brandon Tsai\, So.\, ECE <br><br><strong>Bassoon  </strong><br> Arina Pu
 shkina\, So.\, Materials Science Engineering\, Woodinville <br><br><strong>Clarinet  </strong><br> Willow Chartrand\, So.\, Biology (MCD)\, Los Alam
 os\, NM <br>Nick Hildebrand\, Fr.\, Microbiology\, San Pedro\, CA <br>Audr
 ey Jamrowski\, Fr.\, English\, Port Orchard <br>Andrew Kester\, Fr.\, Pre-
 Science\, Aurora\, CO <br>Matthew Shell <br><br><strong>Bass Clarinet  </s><br>Conrad Gauss\, So.\, Electrical &amp; Computer Engineering\, Bellevu
 e <br><br><strong>Saxophone  </strong><br>Rohith Dinesh\, Fr.\, Pre-Scienc
 e\, Pleasanton\, CA <br>Polina Dorogova\, Jr.\, Psychology &amp; Music\, Gig H
 arbor <br>Kaua Roberton\, Fr.\, Music Education\, Spokane <br>Vichet Ros\,
  Sr.\, Music Education\, Burien <br>Daniel Song\, So.\, Chemical Engineeri
 ng\, Bothell <br><br><strong>Trumpet   </strong><br>Deneil Betfarhad\, So.
 \, Pre-Sciences\, Westport\, CT <br>Nico Masputra\, Jr.\, Neuroscience <br>Vaughn B. Schnelle\, Sr.\, Music History\, West Seattle <br>Arjun Sur\, F
 r.\, Pre-Sciences\, San Diego\, CA <br>Reimer Wolf\, Fr.\, Mechanical Engi
 neering\, Oahu\, HI <br><br><strong>Horn  </strong><br>Andrew Chen\, Commu
 nity Member\, Othello <br>Yihan Li\, Jr.\, Horn Performance <br>Alex Morga
 n\, Sr.\, Physics\, Gig Harbor <br>Arya Nagvekar\, Fr.\, Pre-Sciences\, Re
 dmond <br>Elliana Wagner\, Sr.\, Biochemistry\, Snohomish <br><br><strong>
 Trombone  </strong><br>Daniel Abraham\, So.\, Math\, Tacoma <br>Steve Teng
 \, So.\, Pre-Science <br>Robin Yi\, Fr.\, Pre-Humanities\, Santa Cruz\, CA
  <br><br><strong>Bass Trombone </strong><br>Isaiah Ikeda\, Fr.\, Medical L
 aboratory Science\, Spokane <br>Jason Lai\, So.\, Mechanical Engineering\,
  Camas <br> <br><strong>Euphonium   </strong><br>John Yi\, Community Membe
 r <br>Tom Lewis\,  <br> <br><strong>Tuba   </strong><br>Sam Charney\, Gr.\
 , Astronomy\, Swarthmore\, PA <br>Robin Ding\, Fr.\, ECE <br><br><strong>P
 ercussion  </strong><br>Avinash Bose\, Gr.\, Civil Engineering\, Brooklyn\
 , NY <br>Patrick Henry\, <br>Kendall Johnson\, Gr.\, Mechanical Engineerin
 g\, La Conner <br>Alexander McLean\, So.\, Environmental Science\, Snoqual
 mie <br>Jaden Zika\, Jr.\, Psychology\, Livermore\, CA </p><h3><br><strong>UW Wind Ensemble</strong> </h3><p><strong>Flute/Piccolo</strong> <br>Broo
 ke Bart\, Jr.\, Scandinavian Studies &amp; Music\, Endwell\, NY <br>Xinyi Liu\
 , Gr.\, Flute Performance\, Xiamen\, China <br>Xinyi Ma\, Gr.\, Flute Perf
 ormance\, Henan\, China <br>Tracia Pan\, Sr.\, Statistics &amp; Flute Performa
 nce\, Bellevue <br>Grace Playstead\, Gr.\, Flute Performance\, Olympia <br>Peyton Ray\, Sr.\, Flute Performance\, Denver\, CO <br>Claire Wei\, Jr.\,
  Flute Performance\, Bellevue <br><br><strong>Oboe </strong><br>Max Bolen\
 , So.\, Marine Biology &amp; Music Education\, Ballard <br>Minh-Thi Butler\, S
 r.\, Oboe Performance\, Hoquiam <br>Will Cummings\, Fr.\, Linguistics &amp; Fr
 ench\, Chehalis <br>Aika Ishizuki\, Fr.\, Pre Sciences <br><br><strong>Bas
 soon</strong> <br>Levi Beck\, Fr.\, Music Performance   <br>Alex Fraley\, 
 So.\, Music Education\, Kenmore <br>Ryan Kapsandy\, Sr.\, Bassoon Performa
 nce   <br>Rian Morgan\, Sr.\, Nutrition (FSNH) &amp; BA Music\, Des Moines <br><br><strong>Clarinet </strong><br>Caitlin Dong\, So.\, Biology (MCD) &amp; Mu
 sic Performance\, Englewood\, CO <br>Alex Gee\, Sr.\, Mechanical Engineeri
 ng\, Camas <br>Arthur Gim\, Jr.\, Mechanical Engineering\, Bothell <br>Ale
 ssandro Martinez\, Jr.\, Environmental Engineering\, Olympia <br>Luqi Wang
 \, Gr.\, Music Performance\, Dalian\, China <br>Eric Zhu\, Fr.\, Engineeri
 ng Undeclared\, Guangdong\, China <br><br><strong>Bass Clarinet </strong>&lt;
 br&gt;Akshat Ghuge\, So.\, Informatics\, Dallas\, TX <br>Michael Stella\, Jr.
 \, Political Science\, Puyallup <br><br><strong>Alto Saxophone </strong> &lt;
 br&gt;Kairui Cheng\, Fr.\, Computer Science\, Bothell <br>Kyle Grant\, Jr.\, 
 Music Education &amp; Saxophone Performance\, Sumner <br><br><strong>Tenor Sax
 ophone </strong><br>Curtis Chung\, So.\, Mechanical Engineering\, Sunnyval
 e\, CA <br><br><strong>Baritone Saxophone </strong><br>Katherine Zundel\, 
 So.\, Saxophone Performance &amp; Mathematics\, Clinton <br><br><strong>Trumpe
 t </strong> <br>Meier Eagan\, Music Education   <br>Hans Faul\, Sr.\, Trum
 pet Performance\, Seattle <br>Daniel Lyons\, Jr.\, Finance\, Lake Forest P
 ark <br>Antti Mannisto\, Sr.\, Physics\, Bellevue <br>Veer Shukla\, So.\, 
 Mathematics   <br>Kevin Nguyen Thomas\, So.\, Trumpet Performance\, Spokan
 e <br><br><strong>Horn </strong><br>Ethan Hicks\, Music Performance <br>Ca
 ssidy Rea\, Fr.\, Music Performance <br>Olivia Stall\, Fr.\, Pre-Social Sc
 iences\, Bothell <br>Ben von Jess\, Jr.\, Music Education\, Renton <br><br><strong>Trombone </strong><br>Owen Fang\, Fr.\, Trombone Performance\, Re
 dmond <br>Eliana Koenig\, Jr.\, Mechanical Engineering\, Mesa\, AZ <br>Ric
 hie Torres-Antúnez\, Jr.\, Music Performance &amp; Applied Math\, Mattawa <br>
 <br><strong>Bass Trombone </strong><br>Evan Mao\, Jr.\, Computer Science\,
  Redmond <br><br><strong>Euphonium </strong> <br>Aidan Borlet\, Fr.\, Pre-
 Science\, Austin\, TX <br>Simona Yaroslavsky\, Ju.\, Psychology/Law\, Soci
 eties and Justice\, Mercer Island <br><br><strong>Tuba  </strong><br>Dylan
  Aagaard\, Fr.\, Tuba Performance <br>Foster Patterson\, Sr.\, Music Educa
 tion\, Aberdeen <br><br><strong>Bass</strong> <br>Jason Lai\, So.\, Mechan
 ical Engineering\, Camas <br><br><strong>Percussion </strong><br>Monaka Ka
 kuta\, Fr.\, Music Performance\, Shoreline <br>Ryan Kinder\, Fr.\, Compute
 r Science\, Mercer Island <br>Colin Lehman\, So.\, Music Performance\, Mos
 es Lake <br>Ivy Moore\, Jr.\, Music Performance &amp; Bioresource Science &amp; En
 gineering <br>Hazel Salvaggio\, Jr.\, Music Performance\, Manhattan Beach\
 , CA <br>Xander Swanson\, <br>Zhibo Zheng\, Fr.\, Music Performance\, Xi’a
 n\, China <br><br><strong>Piano</strong> <br>Oliver Schoonover\, Gr.\, Mus
 ic Composition\, Tallahassee\, FL </p><hr><h2>Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20251204T193000
LAST-MODIFIED:20251204T201849Z
SEQUENCE:313
SUMMARY:: Wind Ensemble and Symphonic Band: A Carnival of Animals
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-12-04/wind-ensemble-and-sympho
 nic-band-carnival-animals
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>The Wind Ensemble and Symphonic Ban
 d (Erin Bodnar\, director) present <em>A Carnival of Animals\, </em>featur
 ing music by Viet Cuong\, Karel Husa\, Ryan George\, Holly Harrison\, Robe
 rt Cichy\, Jodie Blackshaw\, Nubia Donjuan\, and others.</p><hr><h2>Progra
 m</h2><h3>UW Symphonic Band </h3><p>BUGS (2000) - <strong>Roger Cichy (b. 1956) <br>Prelude <br>Dragonfly <br>Praying Mantis <br>Black Wido
 w Spider <br>Tiger Swallowtail  <br>Army Ants <br><br>Monarch Migration (2
 023) - <strong>Nubia Jaime-Donjuan</strong> (b. 1984) <br><em>Solomon Enci
 na\, graduate conductor </em><br><br>Vulnerable Joy (2022) - <strong> Jodi
 e Blackshaw</strong> (b. 1971) <br><br>Equus (2000) - <strong>Eric Whitacr
 e</strong> (b. 1970) <br><br>INTERMISSION</p><h3>UW Wind Ensemble </h3><p>
 Firefly (2008) - <strong>Ryan George </strong>(b. 1978) <br><em>Yuman Wu\,
  graduate conductor </em><br><br>Cheetah (2007) - <strong>Karel Husa (1921-2016) <br><br>POUNCE (2023) - <strong>Holly Harrison</strong> (b
 . 1988) <br><br>Moth (2013) - <strong>Viet Cuong</strong> (b. 1990) </p><h2>Program Notes</h2><p><span open><strong>B
 UGS (2000): Roger Cichy (b. 1956)</strong></span><br>Bugs came to mind a f
 ew years ago and the thought of giving a 'musical personality' to the sele
 cted bugs seemed humorous\, inventive and capricious all at the same time.
  The insect and spider collection at the Fields Museum of Natural History 
 in Chicago\, Illinois\, provided inspiration\, and at the same time made i
 t difficult for Cichy to narrow the list down to about six or so. The part
 icular bugs represented in this suite were chosen partly because of the co
 ntrasting styles of music that would be composed for each.</p><p>Prelude\,
  which begins the suite\, was not conceived as part of the original set of
  movements but was included when Cichy began work on the piece. 'The suite
  seemed to need an introduction\, and this just came out and fell into pla
 ce\,' commented Cichy. The prelude is meant to suggest many of the creatur
 es we associate as bugs.</p><p>Dragonfly portrays several issues. First\, 
 the insect is really considered an aquatic bug\, spending most of its life
  under water while emerging only in its adult stage to take to the air. Th
 e second issue is reflected in folklore where the dragonfly is responsible
  for flying around at night and sewing all the mouths of fibbing boys and 
 girls.</p><p>Praying Mantis\, as its name implies\, provides a perfect top
 ic for a slow\, religioso movement. The mantis is often pictured resting w
 ith its front legs folded as though in meditation or prayer. The rather bi
 zarre mating tendencies of the praying mantis were purposefully left out o
 f this movement.</p><p>Black Widow Spider was a movement Cichy could not r
 esist. Set to a cool blues\, the opening statement was written with an eig
 ht note pattern (eight legs of the spider) which changes several times in 
 order of notes but contains the same pitches. Within a few repetitions of 
 the pattern\, five more notes are added to complete a dodecaphonic (twelve
 -note) scale. In its entirety\, the dodecaphonic scale is played from C to
  C an octave higher\, working inward to the center pitch (F#) which repres
 ent the spider's web. The textures begin changing from cool blues to hot a
 s the black widow spider approaches its prey with its deadly venom.</p><p>
 The suite would be incomplete without the most gorgeous of all insects\, t
 he butterfly. Cichy chose Tiger Swallowtail for no particular reason other
  than it is commonly the 'flying flower.' Set in a lyrical style\, this mo
 vement tries to musically depict the grace and beauty of such a remarkable
  insect.</p><p>The final movement\, Army Ants\, provides the perfect subje
 ct for a march-style piece. Cichy created a dissonant march portraying the
  ants as savage predators which are constantly on the move.</p><p>~Program
  Note from the Wind Repertory Project</p><p><strong>Monarch Migration (202
 3): Nubia Jaime-Donjuan (b. 1984) </strong><br>In the realm of art and edu
 cation\, collaborations between artists and schools have proven to be a po
 werful tool for creativity and learning. Such partnerships bring fresh per
 spectives\, inspire young minds\, and ignite a passion for the arts. Today
 \, we delve into the story of a remarkable composer who\, in close collabo
 ration with schools\, embarked on a journey to create a mesmerizing musica
 l piece for wind-band and full orchestra titled Monarch Migration.</p><p>A
 t the heart of this captivating project is Matthew Oyen\, a high school ba
 nd and orchestra director from Saint Paul\, Minnesota. Matthew was inspire
 d by the award-winning picture book Monarch Butterflies: Explore the Life 
 Journey of One of the Winged Wonders of the World (Storey Publishing) by a
 uthor Ann Hobbie and illustrator Olga Baumert. This book shares the remark
 able biology\, cultural significance\, and importance of supporting this i
 conic species and its spectacular yearly migration to the coasts of Califo
 rnia and the mountains of central Mexico. The journey and peril of the mon
 arch butterflies tell an important story of the interconnectedness of our 
 actions.</p><p>Matthew saw in the book an opportunity to share a musical v
 ersion of the unique monarch migration with high school\, college\, and un
 iversity-level musicians nationwide. Through his network with Dr. Brian Me
 ssier’s Mexican Repertoire Initiative at Dartmouth College\, these directo
 rs connected with the talented Mexican composer Nubia Jaime Donjuan. With 
 a deep admiration for nature's wonders and a desire to connect youth with 
 the world around them\, Nubia was an excellent choice to create a musical 
 composition that would not only narrate the fascinating journey of the mon
 arch butterfly but also engage and educate students on the importance of c
 onservation and the wonders of the natural world.</p><p>Through Matthew an
 d Brian\, Monarch Migration was commissioned by a consortium of 41 schools
  throughout the United States. The impact of Monarch Migration extends far
  beyond the concert hall. Students who participate in the project are deve
 loping a newfound appreciation for music\, nature\, and their own creative
  abilities. The experience instills a sense of environmental responsibilit
 y and sparks a desire to explore and protect the world around them. The pr
 oject serves as a catalyst for interdisciplinary learning\, combining musi
 c\, science\, and conservation into a unified educational experience.</p>&lt;
 p&gt;The Monarch Migration stands as a testament to the incredible potential 
 that lies within collaborations between composers and schools. Through the
  shared experience of creating a musical composition\, students gain not o
 nly musical skills but also a profound connection to the natural world. Th
 e project demonstrates that art has the power to transcend boundaries\, in
 spire change\, and ignite a lifelong love for both music and the environme
 nt. As we celebrate the triumph of Monarch Migration\, let it serve as a r
 eminder of the transformative power of creativity and the lasting impact i
 t can have on the lives of young minds.<br>~Program Note by composer</p><p><strong>Vulnerable Joy (2022):  Jodie Blackshaw (b. 1971) </strong><br>Vu
 lnerable Joy is inspired by the self-sacrifice\, commitment and humility o
 f the mother humpback whale. As a mammal\, baleen whale\, she grows to app
 roximately 16m (52 feet) and lives at the ocean's surface in order to brea
 th. She travels up to 6\,500km (approx. 4\,000 miles) from her feeding gro
 und to birth her calf in warmer tropical waters. Once she leaves the feedi
 ng grounds of Antarctica or the cooler oceans of the Northern Hemisphere\,
  she will not feed again until she returns some 8-9 months later\, all the
  while nursing her newborn calf with up to 600 litres (132 gallons) of mil
 k per day.</p><p>In realizing the enormity of this feat\, my mind turned t
 o the whales who are closest to me\, those who migrate along the east coas
 t of Australia from Tonga to Antarctica. I imagined the sheer relief she m
 ust feel in that moment when the cool waters of the Southern Ocean rub her
  skin for the first time. She is tired and hungry\, but in that moment (in
  my imagination) I feel her joy\, her intense\, overwhelming joy.<br>~Prog
 ram Note by composer</p><p><strong>Equus (2000): Eric Whitacre (b. 1970) &lt;
 /strong&gt;<br>At the Midwest Band and Orchestra convention in 1996\, Gary Gr
 een approached me about a possible commission for his wind ensemble at the
  University of Miami. I accepted\, and the commission formally began July 
 1st\, 1997. Two years later I still couldn’t show him a single note. That’
 s not to say I hadn’t written anything. On the contrary\, I had about 100 
 pages of material for three different pieces\, but I wanted to give Gary s
 omething very special and just couldn’t find that perfect spark.</p><p>Aro
 und this time my great friend and fellow Juilliard composer Steven Bryant 
 was visiting me in Los Angeles\, and as I had just bought a new computer I
  was throwing out old sequencer files\, most of them sketches and improvis
 ational ideas. As I played one section Steve dashed into the room and the 
 following conversation ensued:</p><p>Steve: 'What the hell was that!?!'</p><p>Me: 'Just an old idea I’m about to trash.'</p><p>Steve: 'Mark my words
 \, If you don’t use that I’m stealing it.' <br>The gauntlet had been throw
 n.</p><p>That was the spark\, but it took me a full eight months to write 
 the piece. There are a LOT of notes\, and I put every one on paper (with p
 encil). I wanted to write a moto perpetuo\, a piece that starts running an
 d never stops (equus is the Latin word for horse) and would also be a virt
 uosic show piece for winds. The final result is something that I call “dyn
 amic minimalism\,” which basically means that I love to employ repetitive 
 patterns as long as they don’t get boring. We finally premiered the piece 
 in March 2000\, nearly three years after the original commission date\, an
 d the University of Miami Wind Ensemble played the bejeezus out of it.<br>
 Equus is dedicated to my friend Gary Green\, the most passionate and patie
 nt conductor I know. <br>~Program Note by the composer</p><p><strong>Firef
 ly (2008): Ryan George (b. 1978) </strong><br>I'm amazed at how children u
 se their imaginations to transform the ordinary and normal into the extrao
 rdinary and fantastic. Just about anything they come across can be used to
  spark their fantasies and usher their minds into unseen worlds. A stick o
 n the ground becomes a wand with magical powers or a sword to fight off ba
 d guys. A collection of rocks turns into buried treasure\, and a blanket s
 tretched over two chairs becomes a cave to hide in. And things found in na
 ture -- birds\, waterfalls\, flowers\, and even insects -- can take on myt
 hic identities when viewed through the eyes of a child.</p><p>The idea for
  Firefly was born one night as I watched my four-year-old become mesmerize
 d by a firefly that had wandered into our front yard. When I asked her wha
 t she thought of the 'firefly' she looked at me with a puzzled look and sa
 id with a corrective tone\, 'Dad\, that is not a firefly... that's Tinkerb
 ell\, and she's come to take me with her on an adventure!'</p><p>Firefly i
 s dedicated to my daughters Sophia and Nyla\, who ignite my imagination an
 d bring awe and wonder into my life every day.<br>~Program Note by compose
 r</p><p><strong>Cheetah (2007): Karel Husa (1921-2016) </strong><br>Cheeta
 h is a portrait of a magnificent wild animal\, now an endangered species -
 - its colors\, movements\, power\, speed – and finally\, exhaustion after 
 an unsuccessful chase.<br>~Program Note by composer</p><p><strong>POUNCE (
 2023): Holly Harrison (b. 1988) </strong><br>When I first started writing 
 this piece\, there was a trifecta of feline activity in my life: the adopt
 ion of a boisterous kitten\, a visit to a wild cat conservation centre\, a
 nd Penrith Panthers\, my local team\, winning the NRL [National Rugby Leag
 ue] premiership. While visiting the conservation centre\, I was amazed to 
 learn that Caracals can jump up to four metres high! Add to that my new ob
 session with my Novation LaunchPad\, and POUNCE was born.</p><p>This piece
  explores and imagines different types of pouncing behaviour in cats and t
 heir ability to initiate spontaneous play. The opening sets the scene for 
 stalking and predatory behaviour\, staying low and close to the ground and
  creeping up on potential prey. Musically\, this is heard as a series of l
 ow instrument solos with a bluesy undertow that rumbles with a faux sense 
 of tension. Yet\, this is soon interrupted by spring-loaded pounces that p
 ull the work in a friskier and funkier direction. For anyone that’s ever o
 wned a cat\, we all know how their mood can change on a dime: how quickly 
 a savage bite can give way to nap time or bravado turn to fear!</p><p>The 
 rhythmic language of the work is defined by what I like to refer to as pou
 nce rhythms -- a syncopated bounce\, the saunter of a cat’s hips\, a sprin
 g in the step\, or the confidence of a tail whip. In this way\, POUNCE emb
 races splashes of funk\, jazz\, honky-tonk\, rock\, and metal styles. Cele
 bratory soundblocks burst with joy and are intercepted by covert pounce op
 erations\, recalling the stalking behaviour from the beginning. Here\, the
  line between brave domestic shorthair and spotted wild cat begins to blur
 \, as they camouflage in and out of the ensemble’s texture\, treading the 
 tightrope between frivolity and stealth.</p><p>In the middle of POUNCE\, a
  heavier groove emerges\, conjuring up the muscular physique of the mighty
  Penrith Panthers and their namesake. For the uninitiated\, Australia’s Na
 tional Rugby League is arguably our most popular form of football and is c
 onsidered a brutal contact sport. This rockier soundworld\, led by brass\,
  invokes a head-banging energy and visceral sense of clashing bodies acros
 s the football field. From here\, all three feline threads are at work: th
 e frisky\, the wild\, and the muscular. Each of these blocks interrupts th
 e next\, weaving its way in and out\, though ultimately it is play that wi
 ns out.</p><p>Creatively\, this was the first piece I’d written using the 
 LaunchPad as my primary creative tool: as a composer who tends to begin wi
 th drum kit and flute improvisations\, I found this a new way to experimen
 t with rhythmic cells and pitch patterns. It’s worth noting that the physi
 cal configuration of the LaunchPad as 64 small pads allows a type of pounc
 ing motion across the squares\, so I often found myself devising lines whi
 ch required a certain nimbleness and agility that I associate with our fel
 ine friends.<br>~Program note by composer</p><p><strong>Moth (2013): Viet 
 Cuong (b. 1990) </strong><br>The “moth to the flame” narrative is a famili
 ar one. We have all seen moths in the glow of flames or stadium lights. Sc
 ientists call this phenomenon “phototaxis\,” but I prefer to think of this
  attraction in much more romantic terms. The dusty moth\, though destined 
 to live in shadow\, has an insatiable craving for the brightness of day. D
 rab\, but elegant\; nervous\, but swift\; his taste for the glow of the fl
 ame or the filament is dire. Perhaps he dances in the light because it hol
 ds the promise that he might be as beautiful as his favored kin\, the butt
 erfly. For only there\, in its ecstatic warmth\, may he spend the last of 
 his fleeting life\, and believe himself to be.</p><p>Moth seeks inspiratio
 n from the dualities between light and dark\, beautiful and grotesque\, re
 ality and fantasy\, and the ultimate decision to sacrifice sensibility for
  grace.</p><p>Thank you to the members of the Brooklyn Wind Symphony and t
 heir artistic director\, Jeff W. Ball\, for trusting me to write a piece f
 or their momentous 2013 Midwest Clinic performance. I have nothing but gra
 titude and respect for their dedication to the music\, and for their commi
 tment to sharing the wind repertoire with the New York City community. The
  Brooklyn Wind Symphony’s ability to flourish outside of an institution is
 \, in a word\, extraordinary.<br>- Program Note by the composer</p><hr><h3>UW Symphonic Band </h3><p><strong>Flute  </strong><br>Naomi Cho\, Fr.\, F
 lute Performance <br>Ananya Sai Parlapalli\, Fr.\, Biochemistry &amp; Flute Pe
 rformance\, Spokane\, WA <br>Rob Rosenthal\, Frl\, Flute Performance\, Eva
 nston\, IL <br>Gabriel Rui\, Fr.\, Engineering Undeclared\, San Francisco\
 , CA <br>Emily Wen\, Fr.\, Flute Performance\, Sherwood\, OR <br>Xiage Zha
 ng\, Gr.\, Music\, Shanxi Province\, China <br><br><strong>Oboe </strong>&lt;
 br&gt;David Kelly\, Fr.\, Pre-Sciences <br>Meagan Paxman\, So.\, Pre-Sciences
 \, Vancouver <br>Brandon Tsai\, So.\, ECE <br><br><strong>Bassoon  <br> Arina Pushkina\, So.\, Materials Science Engineering\, Woodinville 
 <br><br><strong>Clarinet  </strong><br> Willow Chartrand\, So.\, Biology (
 MCD)\, Los Alamos\, NM <br>Nick Hildebrand\, Fr.\, Microbiology\, San Pedr
 o\, CA <br>Audrey Jamrowski\, Fr.\, English\, Port Orchard <br>Andrew Kest
 er\, Fr.\, Pre-Science\, Aurora\, CO <br>Matthew Shell <br><br><strong>Bas
 s Clarinet  </strong><br>Conrad Gauss\, So.\, Electrical &amp; Computer Engine
 ering\, Bellevue <br><br><strong>Saxophone  </strong><br>Rohith Dinesh\, F
 r.\, Pre-Science\, Pleasanton\, CA <br>Polina Dorogova\, Jr.\, Psychology 
 &amp; Music\, Gig Harbor <br>Kaua Roberton\, Fr.\, Music Education\, Spokane &lt;
 br&gt;Vichet Ros\, Sr.\, Music Education\, Burien <br>Daniel Song\, So.\, Che
 mical Engineering\, Bothell <br><br><strong>Trumpet   </strong><br>Deneil 
 Betfarhad\, So.\, Pre-Sciences\, Westport\, CT <br>Nico Masputra\, Jr.\, N
 euroscience <br>Vaughn B. Schnelle\, Sr.\, Music History\, West Seattle <b r>Arjun Sur\, Fr.\, Pre-Sciences\, San Diego\, CA <br>Reimer Wolf\, Fr.\, 
 Mechanical Engineering\, Oahu\, HI <br><br><strong>Horn  </strong><br>Andr
 ew Chen\, Community Member\, Othello <br>Yihan Li\, Jr.\, Horn Performance
  <br>Alex Morgan\, Sr.\, Physics\, Gig Harbor <br>Arya Nagvekar\, Fr.\, Pr
 e-Sciences\, Redmond <br>Elliana Wagner\, Sr.\, Biochemistry\, Snohomish &lt;
 br&gt;<br><strong>Trombone  </strong><br>Daniel Abraham\, So.\, Math\, Tacoma
  <br>Steve Teng\, So.\, Pre-Science <br>Robin Yi\, Fr.\, Pre-Humanities\, 
 Santa Cruz\, CA <br><br><strong>Bass Trombone </strong><br>Isaiah Ikeda\, 
 Fr.\, Medical Laboratory Science\, Spokane <br>Jason Lai\, So.\, Mechanica
 l Engineering\, Camas <br> <br><strong>Euphonium   </strong><br>John Yi\, 
 Community Member <br>Tom Lewis\,  <br> <br><strong>Tuba   </strong><br>Sam
  Charney\, Gr.\, Astronomy\, Swarthmore\, PA <br>Robin Ding\, Fr.\, ECE <b r><br><strong>Percussion  </strong><br>Avinash Bose\, Gr.\, Civil Engineer
 ing\, Brooklyn\, NY <br>Patrick Henry\, <br>Kendall Johnson\, Gr.\, Mechan
 ical Engineering\, La Conner <br>Alexander McLean\, So.\, Environmental Sc
 ience\, Snoqualmie <br>Jaden Zika\, Jr.\, Psychology\, Livermore\, CA </p>
 <h3><br><strong>UW Wind Ensemble</strong> </h3><p><strong>Flute/Piccolo</s> <br>Brooke Bart\, Jr.\, Scandinavian Studies &amp; Music\, Endwell\, NY
  <br>Xinyi Liu\, Gr.\, Flute Performance\, Xiamen\, China <br>Xinyi Ma\, G
 r.\, Flute Performance\, Henan\, China <br>Tracia Pan\, Sr.\, Statistics &amp;
  Flute Performance\, Bellevue <br>Grace Playstead\, Gr.\, Flute Performanc
 e\, Olympia <br>Peyton Ray\, Sr.\, Flute Performance\, Denver\, CO <br>Cla
 ire Wei\, Jr.\, Flute Performance\, Bellevue <br><br><strong>Oboe </strong><br>Max Bolen\, So.\, Marine Biology &amp; Music Education\, Ballard <br>Minh
 -Thi Butler\, Sr.\, Oboe Performance\, Hoquiam <br>Will Cummings\, Fr.\, L
 inguistics &amp; French\, Chehalis <br>Aika Ishizuki\, Fr.\, Pre Sciences <br>
 <br><strong>Bassoon</strong> <br>Levi Beck\, Fr.\, Music Performance   <br>Alex Fraley\, So.\, Music Education\, Kenmore <br>Ryan Kapsandy\, Sr.\, B
 assoon Performance   <br>Rian Morgan\, Sr.\, Nutrition (FSNH) &amp; BA Music\,
  Des Moines <br><br><strong>Clarinet </strong><br>Caitlin Dong\, So.\, Bio
 logy (MCD) &amp; Music Performance\, Englewood\, CO <br>Alex Gee\, Sr.\, Mecha
 nical Engineering\, Camas <br>Arthur Gim\, Jr.\, Mechanical Engineering\, 
 Bothell <br>Alessandro Martinez\, Jr.\, Environmental Engineering\, Olympi
 a <br>Luqi Wang\, Gr.\, Music Performance\, Dalian\, China <br>Eric Zhu\, 
 Fr.\, Engineering Undeclared\, Guangdong\, China <br><br><strong>Bass Clar
 inet </strong><br>Akshat Ghuge\, So.\, Informatics\, Dallas\, TX <br>Micha
 el Stella\, Jr.\, Political Science\, Puyallup <br><br><strong>Alto Saxoph
 one </strong> <br>Kairui Cheng\, Fr.\, Computer Science\, Bothell <br>Kyle
  Grant\, Jr.\, Music Education &amp; Saxophone Performance\, Sumner <br><br><s trong>Tenor Saxophone </strong><br>Curtis Chung\, So.\, Mechanical Enginee
 ring\, Sunnyvale\, CA <br><br><strong>Baritone Saxophone </strong><br>Kath
 erine Zundel\, So.\, Saxophone Performance &amp; Mathematics\, Clinton <br><br><strong>Trumpet </strong> <br>Meier Eagan\, Music Education   <br>Hans Fa
 ul\, Sr.\, Trumpet Performance\, Seattle <br>Daniel Lyons\, Jr.\, Finance\
 , Lake Forest Park <br>Antti Mannisto\, Sr.\, Physics\, Bellevue <br>Veer 
 Shukla\, So.\, Mathematics   <br>Kevin Nguyen Thomas\, So.\, Trumpet Perfo
 rmance\, Spokane <br><br><strong>Horn </strong><br>Ethan Hicks\, Music Per
 formance <br>Cassidy Rea\, Fr.\, Music Performance <br>Olivia Stall\, Fr.\
 , Pre-Social Sciences\, Bothell <br>Ben von Jess\, Jr.\, Music Education\,
  Renton <br><br><strong>Trombone </strong><br>Owen Fang\, Fr.\, Trombone P
 erformance\, Redmond <br>Eliana Koenig\, Jr.\, Mechanical Engineering\, Me
 sa\, AZ <br>Richie Torres-Antúnez\, Jr.\, Music Performance &amp; Applied Math
 \, Mattawa <br><br><strong>Bass Trombone </strong><br>Evan Mao\, Jr.\, Com
 puter Science\, Redmond <br><br><strong>Euphonium </strong> <br>Aidan Borl
 et\, Fr.\, Pre-Science\, Austin\, TX <br>Simona Yaroslavsky\, Ju.\, Psycho
 logy/Law\, Societies and Justice\, Mercer Island <br><br><strong>Tuba  </s><br>Dylan Aagaard\, Fr.\, Tuba Performance <br>Foster Patterson\, Sr
 .\, Music Education\, Aberdeen <br><br><strong>Bass</strong> <br>Jason Lai
 \, So.\, Mechanical Engineering\, Camas <br><br><strong>Percussion <br>Monaka Kakuta\, Fr.\, Music Performance\, Shoreline <br>Ryan Kinder\
 , Fr.\, Computer Science\, Mercer Island <br>Colin Lehman\, So.\, Music Pe
 rformance\, Moses Lake <br>Ivy Moore\, Jr.\, Music Performance &amp; Bioresour
 ce Science &amp; Engineering <br>Hazel Salvaggio\, Jr.\, Music Performance\, M
 anhattan Beach\, CA <br>Xander Swanson\, <br>Zhibo Zheng\, Fr.\, Music Per
 formance\, Xi’an\, China <br><br><strong>Piano</strong> <br>Oliver Schoono
 ver\, Gr.\, Music Composition\, Tallahassee\, FL </p><hr><h2>Director Biog
 raphy</h2>
END:VEVENT
BEGIN:VEVENT
UID:d85e40d3-e71b-4ecf-b2ec-1cdd18efb8af
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T183137Z
DESCRIPTION:<p> </p><p>David Alexander Rahbee and  the UW Symphony present 
 'Winter Sky\,' a program of music by Saariaho\, Sibelius\, Humperdinck\, T
 chaikovsky\, and Rimsky-Korsakov. </p><hr><h2>Program</h2><p><strong>Kaija
  Saariaho </strong>(1952-2023): Ciel d’hiver (Winter Sky)</p><p><strong>Je
 an Sibelius</strong> (1865-1957): Symphony No.6 in D minor\, op.104<br>I. 
 Allegro molto moderato<br>II. Allegretto moderato
DTSTART;TZID=America/Los_Angeles:20251205T193000
LAST-MODIFIED:20251201T164329Z
SEQUENCE:314
SUMMARY:: UW Symphony Orchestra: 'Winter Sky'
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-12-05/uw-symphony-orchestra-wi
 nter-sky
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>David Alexander Rahbee and  the UW 
 Symphony present 'Winter Sky\,' a program of music by Saariaho\, Sibelius\
 , Humperdinck\, Tchaikovsky\, and Rimsky-Korsakov. </p><hr><h2>Program</h2><p><strong>Kaija Saariaho </strong><span avenir>(1952-</span><span avenir>2023)</span>:<em> Ciel d’hiver</em> (Winter Sky)</p><p><strong>J
 ean Sibelius</strong> (1865-1957): Symphony No.6 in D minor\, op.104<br>I.
  Allegro molto moderato<br>II. Allegretto moderato&lt;<br>III. Poco vivace<br>IV. Allegro molto</p><p><strong>Engelbert Humperdinck </strong>(1854-1921
 ):<strong> </strong>Prelude to <em>Hänsel und Gretel</em></p><p><strong>Pi
 otr Ilyich Tchaikovsky</strong> (1840-1893): Suite No. 1 from <em>Nutcrack
 er</em><br>I. Overture miniature<br>II. Danses caractéristuques<br>III. Ma
 rche<br>IV. Danse de la fée-dragée<br>V. Danse russe trepak<br>VI. Danse d
 es mirlitons<br>VII. Valse des fleurs<br><em>Robert Stahly\, conductor</em></p><p><strong>Nikolai Rimsky-Korsakov</strong> (1844-1908): Dance of the
  Tumblers from The Snow Maiden<br><em>Zach Banks\, conductor</em></p><hr>&lt;
 h2&gt;Program Notes</h2><p>By Nathan Evans</p><p><strong>Kaija Saariaho (1952
 -2023): </strong><em><strong>Ciel d’hiver </strong></em><br>     Saariaho 
 was a composer from Finland\, who notably studied at the Sibelius Academy\
 , where her early interest in timbre and color set her apart from more tra
 ditional Nordic modernism. From 1982 to the end of her life\, Saariaho liv
 ed in Paris and conducted research at the IRCAM (Institut de recherche et 
 coordination acoustique/musique)\, a center dedicated to music and sound\,
  particularly in the avant-garde. Ciel d’hiver (Winter Sky)\, which the co
 mposer extracted from a larger work Orion\, is less a narrative work and m
 ore a sensory one. This piece investigates the particular colors and textu
 res possible within an orchestra\, and explores using these sounds to crea
 te the atmosphere of a winter sky. Saariaho strived to create a new sonic 
 experience\, experimenting with sound itself with the goal of bringing mor
 e beauty to contemporary music. In Ciel d’hiver\, Saariaho uses the orches
 tra not for its symphonic weight\, but for transparency. She combines unco
 mmon musical techniques to form the piece’s vastly colorful and unique atm
 osphere.</p><p><strong>Sibelius (1865-1957): Symphony No. 6 in D minor\, o
 p.104</strong><br>Jean Sibelius was a Finnish composer\, famous for his se
 ven symphonies and violin concerto\, both of which are regularly performed
  around the world. His formative years in the Grand Duchy of Finland\, not
  yet independent from the Russian Empire\, saw a young Sibelius’s enthusia
 sm for music bloom into an inexhaustible passion. This led him to quietly 
 drop out of the University of Helsinki’s law school\, and while remaining 
 at the institution\, Sibelius decided to reallocate his efforts to the Ins
 titute of Music. Growing older\, Sibelius began to develop a more mature s
 tyle\, and started moving away from his overt romantic styles\, such as se
 en in earlier works. The Sixth Symphony took Sibelius nearly 5 years to co
 mplete. It was the tail end of World War 1\, during a time in the composer
 ’s life where he had already achieved international recognition. But\, wit
 h his age (now in his fifties)\, Sibelius became increasingly perfectionis
 t and scrutinous of his work\, eventually leading him to cease composing a
 lmost entirely less than a decade later\, with his last major work premier
 ing in 1926. <br>Sibelius describes his Sixth Symphony as akin to “pure\, 
 cold water”. Unlike the storm-driven Fifth Symphony\, or grandiose Seventh
 \, this symphony opens without declaration\, and unfolds with colors more 
 pastel than bright. Sibelius uses the D-dorian mode\, a naturally occurrin
 g minor scale found in the keys of C major and A minor. This effect gives 
 the piece a feeling of restrained wistfulness\, like the music is reminisc
 ing a distant memory. It is said Sibelius took inspiration writing this pi
 ece from his childhood memories of rural Finland\, long before the politic
 al turmoil of the Russian Empire’s collapse\, and Finland’s subsequent ind
 ependence. The music is nostalgic for the pastures of his hometown\, refle
 cting a quiet\, unfulfilled longing. The finale begins playfully and soft\
 , with sound gradually developing. Yet\, even in moments of tension\, the 
 music retains its characteristic transparency and restraint. By the penult
 imate moments of this Finale\, the strings play a rich\, hymn-like chorale
 \, desperately trying to cadence in F major\, but are met with a response 
 in D minor by the woodwinds. As the Violins take over the melody\, the mus
 ic is able to keep itself composed and focused\, then thins to almost noth
 ing. Still and majestic\, like final rays of light fading as the sun disap
 pears below a wintry horizon.</p><p><strong>Humperdinck (1854-1921): <em><strong>Hänsel and Gretel:</strong></em><strong> Prelude </strong>
 <br>Engelbert Humperdinck was a German composer from Siegburg\, near Colog
 ne. Arguably best known for his work writing fairytale opera\, Humperdinck
  was also heavily inspired by Wagner\, and made use of leitmotifs regularl
 y throughout his works. Leitmotifs are a musical technique\, popularized b
 y Wagner\, that attaches short phrases to particular characters\, or ideas
 . Who do you think of when you hear John Williams’ Imperial March? Darth V
 ader. This is an example of a leitmotif. Notably in this Prelude\, listen 
 for the “Evening Prayer” leitmotif at the beginning of the piece\, a 4-bar
  chorale played by the French horns. A story taken from the ever-popular G
 rimms’ fairy tales\, Hänsel and Gretel has long been associated with Chris
 tmastime and the holiday season in general since it’s premier on December 
 23rd\, 1893. Humperdinck’s music treats this folklore with the seriousness
  it deserves and fills it with late-Romantic orchestral opulence.</p><p><s trong>Tchaikovsky (1840-1893): </strong><em><strong>The Nutcracker:</em><strong> Suite no. 1\, op. 71</strong><br>    Premiered in March of
  1892\, The Nutcracker Suite is a selection of 8 movements from the ballet
  The Nutcracker\, which Tchaikovsky compiled and published before the firs
 t full performance of the ballet in December of the same year. It features
  a miniature overture\, a collection of dances from both acts (notably Tre
 pak\, and Dance of the Sugar Plum Fairy)\, then concludes with the famous 
 Waltz of the Flowers. The suite’s premiere was met with enthusiasm\, parti
 cularly for Tchaikovsky’s addition of a curious new instrument\, the celes
 ta. He was the first composer to include it in a major work\, and was so e
 xcited at his discovery of the instrument that he went out of his way to e
 nsure its secrecy. In a letter to his publisher\, he wrote “Have it sent d
 irect to Petersburg\; but no one there must know about it. I am afraid Rim
 sky-Korsakov and Glazounov might hear of it and make use of the new effect
  before I could” (Life and Letters of Peter Ilich Tchaikovsky). The celest
 a looks and operates functionally similar to a piano\, yet instead of stri
 king strings\, the celesta’s hammers chime metal\, or steel plates to crea
 te the instrument’s unique resonance. In The Nutcracker Suite\, listen for
  the Celesta tiptoeing the melody in the Dance of the Sugar Plum Fairy. Yo
 u may also recognize the Celesta as playing Hedwig’s Theme from John Willi
 ams’ score for Harry Potter and the Sorcerer’s Stone.</p><p><strong>Rimsky
 -Korsakov (1844-1908): </strong><em><strong>The Snow Maiden: Dance of the 
 Tumblers</strong></em><br>A Russian composer and conductor\, Nikolai Rimsk
 y-Korsakov was a member of The Five: a group of composers dedicated to cre
 ating a distinctly Russian style of classical music\, and is perhaps best 
 known for his compositions Scheherazade\, Capriccio Espagnol\, and Flight 
 of the Bumblebee. Rimsky-Korsakov spent his early career as an officer in 
 the Imperial Russian Navy\, where he composed his First Symphony. However\
 , his exceptional musical talent soon led him to become one of Russia’s mo
 st influential composers\, and later a respected professor at the Saint Pe
 tersburg Conservatory. Dance of the Tumblers is a scene from Act III of th
 e opera The Snow Maiden (Snegurochka)\, premiered in 1882. It tells the st
 ory of Snegurochka\, a girl made of snow\, who is the daughter of Spring B
 eauty and Grandfather Frost. She wishes to live among humans in the nearby
  village\, and learn the ability to feel love. Her parents are quite hesit
 ant to fulfill this wish\, but eventually Snegurochka is allowed to go to 
 the village. Quickly thereafter\, the Snow Maiden becomes entangled in a l
 ove square with another girl and 2 boys. This only deepens her longing to 
 feel real love\, and Snegurochka begs her mother to grant her this second 
 wish. In act four\, her desire materializes\, yet upon finally confessing 
 her love to one of the boys\, this first warmth of love prompts Snegurochk
 a to melt into the morning mist~ and her love to throw himself into the ne
 arby lake. Incidentally\, Pyotr Ilyich Tchaikovsky was also commissioned t
 o write music for a play of The Snow Maiden 9 years earlier\, in 1873. Fur
 ious upon the discovery of Rimsky-Korsakov’s publication\, Tchaikovsky’s i
 nitial tumultuous impression turned to admiration upon reading the compose
 r’s score. While to Tchaikovsky\, this was still an artistic injustice to 
 him\, he could not help but praise Rimsky-Korsakov’s subsequent production
 . In a diary entry\, Tchaikovsky detailed his reflection: “Read Korsakov’s
  Snow Maiden and marveled at his mastery and was even (ashamed to admit) e
 nvious.” (Taruskin\, Richard. Stravinsky and the Russian traditions). </p>
 <hr><h2>Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:2b33c08a-d59d-4458-b3f8-61b8fee38943
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T204949Z
DESCRIPTION:<p>The UW Composition program presents 'Simple Pleasures\,' a p
 rogram of works by student composers Yongwoo Lee\, Amelia Matsumoto\, Eddi
 e Mospan\, and Oliver Schooner.</p><hr><h2>Program</h2><p>Pendulum for cla
 rinet and piano (2024): <strong>Yongwoo Lee</strong><br>Cameron DeLuca\, c
 larinet\; Boheng Wang\, piano </p><p>A Post Card (2025) for recorded voice
 : <strong>Amelia Matsumoto</strong><br> Hazel Michael Salvaggio\, producer
  </p><p>To those who stand untroubled at the doorway (2025) for solo contr
 abass: <strong>Eddie Mospan</strong></p><p>Simple Pleasures (2024) for pia
 no\, windchimes\, electric fan\, tea kettle\, fixed media and one performe
 r: <strong>Oliver Schoonover</strong></p><p>Scatter\, Collect\, Other (202
 5): Improvisation</p><hr><h2>Program Notes</h2><p><strong>Pendulum for cla
 rinet and piano (2024): Yongwoo Lee</strong><br>The pendulum’s powerful\, 
 vortex-like motion bursts out in many directions\, its movement evoking a 
 strong force. One feels that force.<br>Then the hanging pendulum strikes t
 he limits of its power through physical finiteness.<br>As the pendulum com
 es to a stop and converges toward an infinite zero\, a faint tremor remain
 s from a microscopic perspective.</p><p><strong>A Post Card (2025) for rec
 orded voice: Composed by Amelia Matsumoto\; Produced by Hazel Michael Salv
 aggio</strong></p><p>Here is a post card. Send it to at least five people.
  Maybe it’s five people you love\, maybe it’s ten<br>people you hate. Your
  feelings for them will be sincerely felt when they sing this post card pi
 ece.</p><p><strong>To those who stand untroubled at the doorway (2025) for
  solo contrabass: Eddie Mospan</strong><br>To those who shimmer\,<br>To th
 ose who find themselves translucent\, <br>To those who linger in the atmos
 phere:<br>To those whose laughter scintillates<br>To those who do not cool
  and settle\, but bask in the glow of their amorphous incandescence\,<br>T
 o those whose clicking eyelids capture moments and turn them into places: 
 <br>I recognize you\, I see you\, I know you. <br>I hear you. <br>I rememb
 er you.<br>I am you. <br>I too have lived in the interstices. <br>I write 
 to those who do not wait\, but stand untroubled at the doorway.</p><p>Simple Pleasures for piano\, windchimes\, electric fan\, tea kettle\, 
 fixed media and one performer</strong><br><strong>(2024) : Oliver Schoonov
 e</strong><br>Simple Pleasures is dedicated to Doogan Townsend\, who gave 
 me hexatonic windchimes<br>for my 22nd birthday. The piece is a celebratio
 n of the beautiful ringing of the windchimes\, the<br>hexatonic collection
 \, everyday noises such as water pouring and an electric fan\, the drama o
 f a<br>teapot slowly boiling\, and the many sounds of electronic music. Th
 e piano writing is non-virtuosic and invites the performer to savor every 
 interval\, immersing themselves in the hexatonic sound and enjoying moment
 s it breaks from the collection. I’ve never had more fun while writing a p
 iece and I hope this comes across.</p><hr><h2>Director Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20251206T193000
LAST-MODIFIED:20251205T200920Z
SEQUENCE:315
SUMMARY:: Composition Studio Concert: Simple Pleasures
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-12-06/composition-studio-conce
 rt-simple-pleasures
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The UW Composition program presents 'Simple
  Pleasures\,' a program of works by student composers Yongwoo Lee\, Amelia
  Matsumoto\, Eddie Mospan\, and Oliver Schooner.</p><hr><h2>Program</h2><p>Pendulum for clarinet and piano (2024): <strong>Yongwoo Lee</strong><br>&lt;
 em&gt;Cameron DeLuca\, clarinet\; Boheng Wang\, piano<span class='Apple-conve
 rted-space'> </span></em></p><p>A Post Card (2025) for recorded voice: Amelia Matsumoto</strong><br><em><span class='Apple-converted-space'> </span>Hazel Michael Salvaggio\, producer
 <span class='Apple-converted-space'> </span></em></p><p>To those who stand
  untroubled at the doorway (2025) for solo contrabass: <strong>Eddie Mospa
 n</strong></p><p>Simple Pleasures (2024) for piano\, windchimes\, electric
  fan\, tea kettle\, fixed media and one performer: <strong>Oliver Schoonov
 er</strong></p><p>Scatter\, Collect\, Other (2025): Improvisation</p><hr>&lt;
 h2&gt;Program Notes</h2><p><strong>Pendulum for clarinet and piano (2024): Yo
 ngwoo Lee</strong><br>The pendulum’s powerful\, vortex-like motion bursts 
 out in many directions\, its movement evoking a strong force. One feels th
 at force.<br>Then the hanging pendulum strikes the limits of its power thr
 ough physical finiteness.<br>As the pendulum comes to a stop and converges
  toward an infinite zero\, a faint tremor remains from a microscopic persp
 ective.</p><p><strong>A Post Card (2025) for recorded voice: Composed by A
 melia Matsumoto\; Produced by Hazel Michael Salvaggio</strong></p><p>Here 
 is a post card. Send it to at least five people. Maybe it’s five people yo
 u love\, maybe it’s ten<br>people you hate. Your feelings for them will be
  sincerely felt when they sing this post card piece.</p><p><strong>To thos
 e who stand untroubled at the doorway (2025) for solo contrabass: Eddie Mo
 span</strong><br>To those who shimmer\,<br>To those who find themselves tr
 anslucent\, <br>To those who linger in the atmosphere:<br>To those whose l
 aughter scintillates<br>To those who do not cool and settle\, but bask in 
 the glow of their amorphous incandescence\,<br>To those whose clicking eye
 lids capture moments and turn them into places: <br>I recognize you\, I se
 e you\, I know you. <br>I hear you. <br>I remember you.<br>I am you. <br>I
  too have lived in the interstices. <br>I write to those who do not wait\,
  but stand untroubled at the doorway.</p><p><strong>Simple Pleasures for p
 iano\, windchimes\, electric fan\, tea kettle\, fixed media and one perfor
 mer</strong><br><strong>(2024) : Oliver Schoonove</strong><br>Simple Pleas
 ures is dedicated to Doogan Townsend\, who gave me hexatonic windchimes<br>for my 22nd birthday. The piece is a celebration of the beautiful ringing
  of the windchimes\, the<br>hexatonic collection\, everyday noises such as
  water pouring and an electric fan\, the drama of a<br>teapot slowly boili
 ng\, and the many sounds of electronic music. The piano writing is non-vir
 tuosic and invites the performer to savor every interval\, immersing thems
 elves in the hexatonic sound and enjoying moments it breaks from the colle
 ction. I’ve never had more fun while writing a piece and I hope this comes
  across.</p><hr><h2>Director Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:cc01262c-e02e-440a-9f65-b382eef444f2
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250818T162311Z
DESCRIPTION:<p> </p><p> The Modern Music Ensemble (Cristina Valdés\, direct
 or) performs music by Rebecca Saunders\, Alex Mincek\, Angelica Negron\, E
 lliott Carter\, Christian Wolff\, and George Crumb.</p><hr><h2>Program</h2><p>O Yes &amp; I (2017-2018): <strong>Rebecca Saunders</strong> (b.1967)<br>S
 oledad Mayorga Maldonado\, soprano\; Rachel Reyes\, bass flute</p><p><br>P
 ENDULUM VI: TRIGGER (2010): <strong>Alex Mincek</strong> (b.1975)<br>Jiaxu
 an Wu\, Xinyi Cao\, piano\; Devon Rafanelli\, Tyler Smith\, percussion</p>
 <p><br>TRES INSULTOS para dos violines (2004): <strong>Angelica Negron (b.1981)<br>Martessa Davis\, Taylor DeCastro\, violin</p><p>Esprit R
 ude/Esprit Doux II (1994): <strong>Elliott Carter</strong> (1908-2012)<br>
 Rachel Reyes\, flute\; Cameron DeLuca\, clarinet\; Devon Rafanelli\, percu
 ssion</p><p><br>— intermission —<br><br>Eleven Echoes of Autumn (1965): <s trong>George Crumb</strong> (1929-2022)<br>Eco 1. Fantastico <br>Eco 2. La
 nguidamente\, quasi lontano ('hauntingly')<br>Eco 3. Prestissimo<br>Eco 4.
  Con bravura<br>Eco5. Cadenza Ⅰ (for Alto Flute)<br>Eco 6. Cadenza Ⅱ (for 
 Violin)<br>Eco 7. Cadenza Ⅲ (for Clarinet)<br>Eco 8. Feroce\, Violento<br>
 Eco 9. Serenamente\, quasi lontano ('hauntingly')<br>Eeo 10. Senza misura 
 ('gently undulating')<br>Eeo 11. Adagio ('like a prayer')<br>Rachel Reyes\
 , alto flute\; Cameron DeLuca\, clarinet\; Taylor DeCastro\, violin\; Jiax
 uan Wu\, piano</p><p>I LIKE TO THINK OF HARRIET TUBMAN (1985): <strong>Chr
 istian Wolff</strong>  (b.1934)<br>Soledad Mayorga Maldonado\, soprano\; R
 achel Reyes\, flute\; Cameron DeLuca\, bass clarinet\; Martessa Davis\, vi
 olin</p><hr><h2>Program Notes</h2><p class='text-align-justify' dir='ltr'><strong>O Yes
  &amp; I</strong> (2017-2018)</p><p dir='ltr'>M4 - <strong>O Yes &amp; I </strong>(2017-2018) i
 s module 4 of 28 modules which make up Yes (2017)\, a 82-minute large scal
 e spatialised performance work\, which explores parts of Molly Bloom’s mon
 ologue\, the final chapter of James Joyce's Ulysses. This new version is e
 xpanded and completely re-worked. O Yes &amp; I was written for Juliet Fraser 
 and Helen Bledsoe for the Louth Contemporary Music Festival The Book of Ho
 urs. With my grateful thanks to the sopranos Juliet Fraser\, Donatienne Mi
 chel-Dansac and Sarah Sun\, and the flautists\, Helen Bledsoe\, Eva Furrer
  and Bettina Junge.<br>–– Rebecca Saunders<br> </p><p class='text-align-ju
 stify' dir='l
 tr'><strong>PENDULUM VI: TRIGGER (2010) </strong></p><p dir='ltr'>Commissioned by Yarn/
 Wire for two pianos and two percussionists\, <strong>Pendulum VI: Trigger&lt;
 /strong&gt; (2010)\, continues Mincek’s “Pendulum” series and explores the me
 taphor of swinging motion and structural motion in sound. Working with lar
 ge-scale loops\, Mincek uses the essential components of form\, sound and 
 silence\, to build the types of rigorous structures that give even the mos
 t unexpected ideas clarity. Through oscillations between activity and stil
 lness\, the piece invites listeners to follow along even when things like 
 direction and meaning seem mysterious. Pendulum VI: Trigger serves as a te
 sting ground for the continued relevance of the sonata-allegro principle w
 ithin contemporary sound practice. <br>—Jiaxuan Wu</p><p class='text-align
 -justify' dir='ltr'><br><strong>TRES INSULTOS para dos violines (2004) </strong></p><p dir='ltr'>Ang
 elica Negron (b.1981) explores unexpected accents and dynamic interplay be
 tween two violins in her work <strong>Tres Insultos para dos violines (2004). The work is composed of three contrasting movements: Burlesco
 \, Seco\, and Insistente. Negron creates a vivid dialogue that is both pla
 yful and intense. Listeners are invited to experience the contrasting mood
 s and the subtle tension that evolves throughout the work.</p><p dir='ltr'>—Jiaxuan Wu&lt;
 br&gt; </p><p class='text-align-justify' dir='ltr'><strong>Esprit Rude/Esprit Doux II (199
 4)</strong></p><p dir='ltr'>Esprit rude/Esprit doux II was composed for the celebration
  of Pierre Boulez’s 70th birthday on March 30\, 1995\, in Chicago. The tit
 le\, translated as “rough breathing/smooth breathing\,” refers to the pron
 unciation of classical Greek words beginning with a vowel or a ρ. With esp
 rit rude (rough breathing)\, the initial vowel is to be preceded by a soun
 ded H\, and is indicated by a reversed comma above the letter. With esprit
  doux (smooth breathing)\, the initial vowel is not to be preceded by H an
 d is indicated by a comma above the vowel. In Greek for seventieth year (t
 ransliterated as hebdomekoston etos)\, the initial epsilon of the first wo
 rd has a rough breathing sigh while the epsilon of the second has a smooth
  one.<br>–– Elliott Carter</p><p class='text-align-justify' dir='ltr'><br><strong>Eleve
 n Echoes of Autumn </strong>(1965) </p><p dir='ltr'>The <strong>ELEVEN ECHOES OF AUTUMN
  </strong>(1965) were composed during the spring of 1966 for the Aeolian C
 hamber Players (on commission from Bowdoin College). The eleven pieces con
 stituting the work are performed without interruption:</p><p dir='ltr'>Each of the echi
  exploits certain timbral possibilities of the instruments. For example\, 
 eco 1 (for piano alone) is based entirely on the 5th partial harmonic\, ec
 o 2 on violin harmonics in combination with 7th partial harmonics produced
  on the piano (by drawing a piece of hard rubber along the strings). A del
 icate aura of sympathetic vibrations emerges in echi 3 and 4\, produced in
  the latter case by alto flute and clarinet playing into the piano strings
 . At the conclusion of the work the violinist achieves a mournful\, fragil
 e timbre by playing with the bow hair completely slack.</p><p dir='ltr'>The most import
 ant generative element of Eleven Echoes is the “bell motif”—a quintuplet f
 igure based on the whole-tone interval—which is heard at the beginning of 
 the work. This diatonic figure appears in a variety of rhythmic guises\, a
 nd frequently in a highly chromatic context.</p><p dir='ltr'>Each of the eleven pieces 
 has its own expressive character\, at times overlaid by quasi-obbligato mu
 sic of contrasting character\, e.g.\, the “wind music” of the alto flute a
 nd clarinet in eco 2 or the 'distant mandolin music” of the violin in eco 
 3. The larger expressive curve of the work is arch-like: a gradual growth 
 of intensity to a climactic point (eco 8) followed by a gradual collapse.&lt;
 br&gt;Although Eleven Echoes has certain programmatic implications for the co
 mposer\, it is enough for the listener to infer the significance of the mo
 tto-quote from Federico Garcia Lorca: “. . . y los arcos rotos donde sufre
  el tiempo” (“. . . and the broken arches where time suffers”). These word
 s are softly intoned as a preface to each of the three cadenzas (echi 5.7)
  and the image “broken arches” is represented visually in the notation of 
 the music which underlies the cadenzas.<br>––George Crumb</p><p> </p><p cl ass='text-align-justify' dir='ltr'><strong>I LIKE TO THINK OF HARRIET TUBMAN </strong>(
 1985) </p><p dir='ltr'>Christian Wolff is a renowned American composer known for his ex
 perimental and contemporary music. His piece<strong> I Like to Think of Ha
 rriet Tubman</strong> (1985) sets a poem by the feminist writer Susan Grif
 fin\, which draws into the present the forceful presence of a famous black
  heroine of the campaign to liberate slaves in the United States before th
 e Civil War.</p><p dir='ltr'>This work is for woman's voice\, treble\, alto and low bas
 s instrument (for instance\, E♭ clarinet or violin\; B♭ clarinet or viola 
 or alto saxophone (able to play high)\; electric bass (guitar) or string b
 ass or contrabassoon or contrabass clarinet). Instruments and (or) voice m
 ay be amplified. Voice part may be performed by a non-wind bass player who
  is a woman.</p><hr><h2>Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20251207T193000
LAST-MODIFIED:20251204T183722Z
SEQUENCE:316
SUMMARY:: Modern Music Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-12-07/modern-music-ensemble
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p> The Modern Music Ensemble (Cristin
 a Valdés\, director) performs music by Rebecca Saunders\, Alex Mincek\, An
 gelica Negron\, Elliott Carter\, Christian Wolff\, and George Crumb.</p><h2>Program</h2><p>O Yes &amp; I (2017-2018): <strong>Rebecca Saunders (b.1967)<br><em>Soledad Mayorga Maldonado\, soprano\; Rachel Reyes\, b
 ass flute</em></p><p><br>PENDULUM VI: TRIGGER (2010): <strong>Alex Mincek&lt;
 /strong&gt; (b.1975)<br><em>Jiaxuan Wu\, Xinyi Cao\, piano\; Devon Rafanelli\
 , Tyler Smith\, percussion</em></p><p><br>TRES INSULTOS para dos violines 
 (2004): <strong>Angelica Negron</strong> (b.1981)<br><em>Martessa Davis\, 
 Taylor DeCastro\, violin</em></p><p>Esprit Rude/Esprit Doux II (1994): Elliott Carter</strong> (1908-2012)<br><em>Rachel Reyes\, flute\; Cam
 eron DeLuca\, clarinet\; Devon Rafanelli\, percussion</em></p><p><br>— int
 ermission —<br><br>Eleven Echoes of Autumn (1965): <strong>George Crumb</s> (1929-2022)<br>Eco 1. Fantastico <br>Eco 2. Languidamente\, quasi l
 ontano ('hauntingly')<br>Eco 3. Prestissimo<br>Eco 4. Con bravura<br>Eco5.
  Cadenza Ⅰ (for Alto Flute)<br>Eco 6. Cadenza Ⅱ (for Violin)<br>Eco 7. Cad
 enza Ⅲ (for Clarinet)<br>Eco 8. Feroce\, Violento<br>Eco 9. Serenamente\, 
 quasi lontano ('hauntingly')<br>Eeo 10. Senza misura ('gently undulating')
 <br>Eeo 11. Adagio ('like a prayer')<br><em>Rachel Reyes\, alto flute\; Ca
 meron DeLuca\, clarinet\; Taylor DeCastro\, violin\; Jiaxuan Wu\, piano</p><p>I LIKE TO THINK OF HARRIET TUBMAN (1985): <strong>Christian Wolff
 </strong>  (b.1934)<br>Soledad Mayorga Maldonado\, soprano\; Rachel Reyes\
 , flute\; Cameron DeLuca\, bass clarinet\; Martessa Davis\, violin</p><hr>
 <h2>Program Notes</h2><p class='text-align-justify' dir='ltr'><span><strong>O 
 Yes &amp; I</strong></span><span> (2017-2018)</span>
 </p><p dir='l
 tr'><span>M4 - </span><span><strong>O Y
 es &amp; I </strong></span><span>(2017-2018) is modu
 le 4 of 28 modules which make up Yes (2017)\, a 82-minute large scale spat
 ialised performance work\, which explores parts of Molly Bloom’s monologue
 \, the final chapter of James Joyce's Ulysses. This new version is expande
 d and completely re-worked. O Yes &amp; I was written for Juliet Fraser and He
 len Bledsoe for the Louth Contemporary Music Festival The Book of Hours. W
 ith my grateful thanks to the sopranos Juliet Fraser\, Donatienne Michel-D
 ansac and Sarah Sun\, and the flautists\, Helen Bledsoe\, Eva Furrer and B
 ettina Junge.</span><br><span>–– Rebecca Saunder
 s</span><br> </p><p class='text-align-justify' dir='ltr'><span><strong>PENDULU
 M VI: TRIGGER (2010) </strong></span></p><p dir='ltr'><span>C
 ommissioned by Yarn/Wire for two pianos and two percussionists\, </span><s pan><strong>Pendulum VI: Trigger</strong></span><span> (2010)\, continues Mincek’s “Pendulum” series and explores
  the metaphor of swinging motion and structural motion in sound. Working w
 ith large-scale loops\, Mincek uses the essential components of form\, sou
 nd and silence\, to build the types of rigorous structures that give even 
 the most unexpected ideas clarity. Through oscillations between activity a
 nd stillness\, the piece invites listeners to follow along even when thing
 s like direction and meaning seem mysterious. Pendulum VI: Trigger serves 
 as a testing ground for the continued relevance of the sonata-allegro prin
 ciple within contemporary sound practice. </span><br><span>—Jiaxuan Wu</span></p><p class='text-align-justify' dir='ltr'><br><span styl e='pre-wra
 p\;'><strong>TRES INSULTOS para dos violines (2004) </strong></span></p><p dir='ltr'><s pan>Angelica Negron (b.1981) explores unexpected
  accents and dynamic interplay between two violins in her work </span><strong>Tres Insultos para dos violines </strong></span><span s tyle='pre-wrap\;'>(2004). The work is composed of three contrasting
  movements: Burlesco\, Seco\, and Insistente. Negron creates a vivid dialo
 gue that is both playful and intense. Listeners are invited to experience 
 the contrasting moods and the subtle tension that evolves throughout the w
 ork.</span></p><p dir='ltr'><span>—Jiaxuan Wu</span><br> </p>
 <p class='text-align-justify' dir='ltr'><span><strong>Esprit Rude/Esprit Doux 
 II (1994)</strong></span></p><p dir='ltr'><span>Esprit rude/E
 sprit doux II was composed for the celebration of Pierre Boulez’s 70th bir
 thday on March 30\, 1995\, in Chicago. The title\, translated as “rough br
 eathing/smooth breathing\,” refers to the pronunciation of classical Greek
  words beginning with a vowel or a ρ. With esprit rude (rough breathing)\,
  the initial vowel is to be preceded by a sounded H\, and is indicated by 
 a reversed comma above the letter. With esprit doux (smooth breathing)\, t
 he initial vowel is not to be preceded by H and is indicated by a comma ab
 ove the vowel. In Greek for seventieth year (transliterated as hebdomekost
 on etos)\, the initial epsilon of the first word has a rough breathing sig
 h while the epsilon of the second has a smooth one.</span><br><span>–– Elliott Carter</span></p><p class='text-align-justi
 fy' dir='ltr'><br><span><strong>Eleven Echoes of Autumn </strong></span><span>(1965) </span></p><p dir='ltr'><span>The </span><span><strong>ELEVEN ECHOES OF AUTUMN </strong><span>(1965) were composed during the spring o
 f 1966 for the Aeolian Chamber Players (on commission from Bowdoin College
 ). The eleven pieces constituting the work are performed without interrupt
 ion:</span></p><p dir='ltr'><span>Each of the echi exploits c
 ertain timbral possibilities of the instruments. For example\, eco 1 (for 
 piano alone) is based entirely on the 5th partial harmonic\, eco 2 on viol
 in harmonics in combination with 7th partial harmonics produced on the pia
 no (by drawing a piece of hard rubber along the strings). A delicate aura 
 of sympathetic vibrations emerges in echi 3 and 4\, produced in the latter
  case by alto flute and clarinet playing into the piano strings. At the co
 nclusion of the work the violinist achieves a mournful\, fragile timbre by
  playing with the bow hair completely slack.</span></p><p dir='ltr'><span>The most important generative element of Eleven Echoes is the
  “bell motif”—a quintuplet figure based on the whole-tone interval—which i
 s heard at the beginning of the work. This diatonic figure appears in a va
 riety of rhythmic guises\, and frequently in a highly chromatic context.</span></p><p d ir='ltr'><span>Each of the eleven pieces has its
  own expressive character\, at times overlaid by quasi-obbligato music of 
 contrasting character\, e.g.\, the “wind music” of the alto flute and clar
 inet in eco 2 or the 'distant mandolin music” of the violin in eco 3. The 
 larger expressive curve of the work is arch-like: a gradual growth of inte
 nsity to a climactic point (eco 8) followed by a gradual collapse.</span>&lt;
 br&gt;<span>Although Eleven Echoes has certain prog
 rammatic implications for the composer\, it is enough for the listener to 
 infer the significance of the motto-quote from Federico Garcia Lorca: “. .
  . y los arcos rotos donde sufre el tiempo” (“. . . and the broken arches 
 where time suffers”). These words are softly intoned as a preface to each 
 of the three cadenzas (echi 5.7) and the image “broken arches” is represen
 ted visually in the notation of the music which underlies the cadenzas.</s><br><span>––George Crumb</span></p><p> </p>&lt;
 p class='text-align-justify' style='line-height:1.8\;margin-bottom:0pt\;ma
 rgin-top:0pt\;' dir='ltr'&gt;<span><strong>I LIKE TO THINK OF HARRIE
 T TUBMAN </strong></span><span>(1985) </span></p><p dir='ltr'><span>Christian Wolff is a renowned American co
 mposer known for his experimental and contemporary music. His piece</span>
 <span><strong> I Like to Think of Harriet Tubman</strong></span>&lt;
 span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-famil
 y:Calibri\, sans-serif\;font-size:12pt\;font-style:normal\;font-variant-al
 ternates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\
 ;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-
 position:normal\;font-weight:400\;text-decoration:none\;vertical-align:bas
 eline\;white-space:pre-wrap\;'&gt; (1985) sets a poem by the feminist writer 
 Susan Griffin\, which draws into the present the forceful presence of a fa
 mous black heroine of the campaign to liberate slaves in the United States
  before the Civil War.</span></p><p dir='ltr'><span>This work
  is for woman's voice\, treble\, alto and low bass instrument (for instanc
 e\, E♭ clarinet or violin\; B♭ clarinet or viola or alto saxophone (able t
 o play high)\; electric bass (guitar) or string bass or contrabassoon or c
 ontrabass clarinet). Instruments and (or) voice may be amplified. Voice pa
 rt may be performed by a non-wind bass player who is a woman.</span></p><h2>Director Biography</h2>
END:VEVENT
BEGIN:VEVENT
UID:02d4ddea-5522-4e96-8256-fce3c1418bb6
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20250401T201801Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20251209T120000
LAST-MODIFIED:20250401T201801Z
SEQUENCE:317
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-12-09/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:3d627cb6-73ab-44e8-981a-4fffaaa73719
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20251204T214446Z
DESCRIPTION:<p>Alyssa Hironaka (DMA Piano Performance)\, a student of Craig
  Sheppard\, performs music by Mozart and Ravel in her doctoral degree reci
 tal. With pianists Chiao-Yu Wu and Jingshi Zhao.</p><hr><h2>PROGRAM</h2><p>Piano Concerto in G Major\, K. 453: <strong>Wolfgang Amadeus Mozart <br>(Chiao-Yu Wu\, second piano) <br><br>Piano Concerto in G Major:  &lt;
 strong&gt;Maurice Ravel</strong> <br>(Jingshi Zhao\, second piano) </p><hr>Biography</h2>
DTSTART;TZID=America/Los_Angeles:20251210T193000
LAST-MODIFIED:20251204T220150Z
SEQUENCE:318
SUMMARY:: Doctoral Degree Recital: Alyssa Hironaka\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-12-10/doctoral-degree-recital-
 alyssa-hironaka-piano
END:VEVENT
BEGIN:VEVENT
UID:41fe531c-a367-46af-bbd6-4bd242147b4d
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20250401T201814Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p>\n\n<p> &lt;
 strong&gt;Topics covered include:</strong></p>\n<ul>\n<li>An overview of the 
 School of Music and its resources</li>\n<li>Degree programs offered</li>\n
 <li>The application and audition process</li>\n<li>Scholarships</li>\n<li>
 Opportunities for non-music majors</li>\n</ul>\n<p><strong>Time and locati
 on: </strong>Information sessions are held from 12:00-1:00 PM over Zoom. &lt;
 /p&gt;\n<p><a href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p>\n<p>Registration is required. <strong>To
  ask a question\, please email <a href='mailto:SoMadmit@uw.edu'>SoMadmit@u
 w.edu</a>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20251218T120000
LAST-MODIFIED:20250401T201814Z
SEQUENCE:319
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-12-18/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p>The UW School of Music encoura
 ges prospective freshmen\, transfer students\, and current UW undergraduat
 es to attend a School of Music information session. These sessions provide
  a great opportunity to learn more about what the School of Music has to o
 ffer as well as ask questions about admissions\, auditions\, or life as a 
 UW music student.</p> </blockquote> <p> <strong>Topics covered include:</s></p> <ul> <li>An overview of the School of Music and its resources</li> <li>Degree programs offered</li> <li>The application and audition proc
 ess</li> <li>Scholarships</li> <li>Opportunities for non-music majors</li>
  </ul> <p><strong>Time and location: </strong>Information sessions are hel
 d from 12:00-1:00 PM over Zoom. </p> <p><a href='https://music.washington.
 edu/prospective-undergraduate-student-information-session' target='_blank' rel='noopener noreferrer' class='purple-button'>Register</a></p> <p>Regis
 tration is required. <strong>To ask a question\, please email <a href='SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:8cfdb47b-5891-4706-bc0f-8d0dfe68fec2
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20251002T190816Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p><p> Topics covered include:</strong></p><ul><li>An overview of the School o
 f Music and its resources</li><li>Degree programs offered</li><li>The appl
 ication and audition process</li><li>Scholarships</li><li>Opportunities fo
 r non-music majors</li></ul><p><strong>Time and location: </strong>Informa
 tion sessions are held from 12:00-1:00 PM over Zoom. </p><p><a class='purp
 le-button' href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer'>Regis
 ter</a></p><p>Registration is required. <strong>To ask a question\, please
  email </strong><a href='mailto:SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20260106T120000
LAST-MODIFIED:20251002T190845Z
SEQUENCE:320
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-01-06/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p>The UW School of Music encourag
 es prospective freshmen\, transfer students\, and current UW undergraduate
 s to attend a School of Music information session. These sessions provide 
 a great opportunity to learn more about what the School of Music has to of
 fer as well as ask questions about admissions\, auditions\, or life as a U
 W music student.</p></blockquote><p> <strong>Topics covered include:</p><ul><li>An overview of the School of Music and its resources</li>Degree programs offered</li><li>The application and audition process</li><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p>&lt;
 strong&gt;Time and location: </strong>Information sessions are held from 12:0
 0-1:00 PM over Zoom. </p><p><a class='purple-button' href='https://music.w
 ashington.edu/prospective-undergraduate-student-information-session' targe t='_blank' rel='noopener noreferrer'>Register</a></p><p>Registration is re
 quired. <strong>To ask a question\, please email </strong><a href='mailto:
 SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:97e64f56-fa0f-4f13-a3d9-d194323ba416
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250528T164614Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p><h2 class='x_M
 soNormal'>Featured Performers</h2>  Full concert program <a href='/sites/m
 usic/files/documents/January%207%2C%202026.pdf'>HERE</a>!
DTSTART;TZID=America/Los_Angeles:20260107T123000
LAST-MODIFIED:20260102T185223Z
SEQUENCE:321
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-01-07/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p><span>Students of the UW School
  of Music perform in this </span>lunchtime concert series co-hosted by UW 
 Music and UW Libraries. </p></blockquote><h2 class='x_MsoNormal'><span>Fea
 tured Performers</span></h2><div class='elementToProof'><div class='elemen
 tToProof'><div class='elementToProof'><div class='elementToProof'><div cla ss='elementToProof'><div class='x_elementToProof ContentPasted0'><div clas s='x_elementToProof ContentPasted0'> </div></div></div></div></div></div>&lt;
 /div&gt;<div> </div><div>Full concert program <a href='/sites/music/files/doc
 uments/January%207%2C%202026.pdf'>HERE</a>!</div>
END:VEVENT
BEGIN:VEVENT
UID:532ff655-db1c-4910-9e40-63ab7df80ae4
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Conferences\, Performances\, Student Activiti
 es and Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20251218T225109Z
DESCRIPTION:<p>The second annual Cascade Song Festival\, a weekend devoted 
 to the study and performance of song\, opens on Thursday\, Jan. 15 at the 
 UW Intellectual House with a Live Music Jukebox\, with artists from Univer
 sity of Washington  and University of Oregon performing a wide range of so
 ng repertoire - selected live by request! <br><br><strong>RSVP required fo
 r this event.  RSVP at </strong><a href='mailto:cascadesongfestival@gmail.com' target='_blank'><strong>cascadesongfestival@gmail.com</strong></a><strong>.</p><hr><h2>Festival Background</h2><p>The second annual Cascade Song 
 Festival\, a weekend devoted to the study and performance of song\, is a t
 rue synthesis of performance and scholarship organized by faculty from the
  University of Washington and University of Oregon.</p><p>Highlights inclu
 de a recital and master class by the internationally acclaimed soprano Louise Toppin </strong>(University of Michigan)\, with pianist<strong> John O’Brien\,</strong> and a keynote presentation by music theorist Matt BaileyShea</strong> (University of Rochester\, Eastman School of
  Music).</p><p>The brainchild of musicologist <strong>Stephen Rumph (UW)\, music theorist <strong>Stephen Rodgers</strong> (U of O)\, and v
 oice faculty <strong>Carrie Shaw</strong> (UW) and <strong>Camille Ortiz</strong> (U of O)\, the festival opens on Thursday\, Jan. 15 at the UW Inte
 llectual House with a Live Music Jukebox\, and continues throughout the we
 ekend with paper presentations\, sessions\, and performances.</p><p><a hre f='https://cascadesongfestival.org/complete-2026-festival-schedule/' data- entity-type='external'><strong>View a full schedule of events and details 
 of additional sessions </strong></a></p><h2><strong>Festival Highlights</s></h2><p><strong>Friday Jan. 16: </strong><a href='https://music.wash
 ington.edu/events/2026-01-16/cascade-songfest-guest-artist-master-class-lo
 uise-toppin-and-john-obrien' data-entity-type='external'>Master Class: Lou
 ise Toppin and John O’Brien </a><br>Brechemin Auditorium    4 pm   FREE</p><p><strong>Friday\, Jan. 16:</strong> <a href='https://music.washington.e
 du/events/2026-01-16/cascade-songfest-keynote-address-matt-baileyshea' dat a-entity-type='external'>Keynote Address: Matthew BaileyShea</a><br>Breche
 min Auditorium  7:30 pm.  FREE</p><p><strong>Saturday\, Jan. 17: </strong>
 Recital: <a href='https://music.washington.edu/events/2026-01-17/cascade-s
 ongfest-guest-artist-recital-louise-toppin-and-john-obrien' data-entity-ty pe='external'>Louise Toppin and John O’Brien </a><br>Brechemin Auditorium 
  7:30 pm. FREE</p><p>*RSVP required for the Jan. 18 performance at the Int
 ellectual House. RSVP at <a href='mailto:cascadesongfestival@gmail.com'>ca
 scadesongfestival@gmail.com</a>. </p>
DTSTART;TZID=America/Los_Angeles:20260115T164500
LAST-MODIFIED:20260108T202100Z
SEQUENCE:322
SUMMARY:: Cascade Songfest Opening Event: Live Music Jukebox
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-01-15/cascade-songfest-opening
 -event-live-music-jukebox
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The second annual Cascade Song Festival\, a
  weekend devoted to the study and performance of song\, opens on Thursday\
 , Jan. 15 at the UW Intellectual House with a Live Music Jukebox\, with ar
 tists from University of Washington  and University of Oregon performing a
  wide range of song repertoire - selected live by request! <br><br><em>RSVP required for this event.  RSVP at </strong></em><a href='mailto:cascadesong
 festival@gmail.com' target='_blank'><em><strong>cascadesongfestival@gmail.
 com</strong></em></a><em><strong>.</strong></em></p><hr><h2>Festival Backg
 round</h2><p>The second annual Cascade Song Festival\, a weekend devoted t
 o the study and performance of song\, is a true synthesis of performance a
 nd scholarship organized by faculty from the University of Washington and 
 University of Oregon.</p><p>Highlights include a recital and master class 
 by the internationally acclaimed soprano <strong>Louise Toppin </strong>(U
 niversity of Michigan)\, with pianist<strong> John O’Brien\,</strong> and 
 a keynote presentation by music theorist <strong>Matt BaileyShea</strong> 
 (University of Rochester\, Eastman School of Music).</p><p>The brainchild 
 of musicologist <strong>Stephen Rumph</strong> (UW)\, music theorist Stephen Rodgers</strong> (U of O)\, and voice faculty <strong>Carrie Sh
 aw</strong> (UW) and <strong>Camille Ortiz</strong> (U of O)\, the festiva
 l opens on Thursday\, Jan. 15 at the UW Intellectual House with a Live Mus
 ic Jukebox\, and continues throughout the weekend with paper presentations
 \, sessions\, and performances.</p><p><a href='https://cascadesongfestival
 .org/complete-2026-festival-schedule/' data-entity-type='external'><em>View a full schedule of events and details of additional sessions </s></em></a></p><h2><strong>Festival Highlights</strong></h2><p><strong>Friday Jan. 16: </strong><a href='https://music.washington.edu/events/202
 6-01-16/cascade-songfest-guest-artist-master-class-louise-toppin-and-john-
 obrien' data-entity-type='external'>Master Class: Louise Toppin and John O
 ’Brien </a><br>Brechemin Auditorium    4 pm   FREE</p><p><strong>Friday\, 
 Jan. 16:</strong> <a href='https://music.washington.edu/events/2026-01-16/
 cascade-songfest-keynote-address-matt-baileyshea' data-entity-type='extern
 al'>Keynote Address: Matthew BaileyShea</a><br>Brechemin Auditorium  7:30 
 pm.  FREE</p><p><strong>Saturday\, Jan. 17: </strong>Recital: <a href='//music.washington.edu/events/2026-01-17/cascade-songfest-guest-artist-
 recital-louise-toppin-and-john-obrien' data-entity-type='external'>Louise 
 Toppin and John O’Brien </a><br>Brechemin Auditorium  7:30 pm. FREE</p><p>
 <em>*RSVP required for the Jan. 18 performance at the Intellectual House. 
 RSVP at <a href='mailto:cascadesongfestival@gmail.com'>cascadesongfestival
 @gmail.com</a>. </em></p>
END:VEVENT
BEGIN:VEVENT
UID:573fe61a-d03b-4574-9d74-b46fc55f1c02
DTSTAMP:20260307T094252Z
CATEGORIES:Conferences\, Master Classes\, Special Events\, Visiting Artists
  and Scholars
CLASS:PUBLIC
CREATED:20260107T191200Z
DESCRIPTION:<p>Cascade Songfest presents a master class led by acclaimed vo
 calist Louise Toppin (University of Michigan) and pianist John O'Brien. </p><hr><h2>Biographies</h2><h3>Louise Toppin</h3>\n  \n      \n    \n      
       \n\n\n\n      \n\n\n  \n<p>Louise Toppin has received critical accla
 im for her operatic\, orchestral\, oratorio and recital performances world
 -wide.  Represented by Joanne Rile Management\, she toured “Gershwin on Br
 oadway” with pianist Leon Bates.   She has recorded more than ninteen comm
 ercial CDs including on Albany Records Ah love\, but a day\, La Saison des
  fleurs and Dear Friends and Gentle Hears with Darryl Taylor released Febr
 uary 7\, 2025.  Since 2021 she has published 13 scores with Classical Voca
 l Reprints\, Carl Fischer and Hal Leonard (soon for release) including An 
 Anthology of Undine Moore Songs\, An Anthology of African and African Dias
 pora Songs\, Songs of Harry Burleigh\, Songs of Adolphus Hailstork\, and R
 ediscovering Margaret Bonds. Toppin previously served as the Distinguished
  University Professor of Music and Chair of the Department of Music at the
  University of North Carolina\, Chapel Hill.  She is currently University 
 Distinguished Professor of Diversity and Social Transformation and Profess
 or of Music (Voice)\, at The University of Michigan. </p><h3>John O'Brien&lt;
 /h3&gt;\n  \n      \n    \n            \n\n\n\n      \n\n\n  \n<p>John O’Brie
 n was born into a musical family and studied piano with his father through
  high school. He began his undergraduate studies as a double major in viol
 in and piano performance studying violin with Robert Gerle and piano with 
 William Masselos.  He continued his college piano studies with John Perry 
 completing the BM and MM in piano performance at the University of Souther
 n California.  In 1989 O’Brien was awarded the DMA in accompanying from th
 e University of Southern California studying with Gwendolyn Koldofsy and J
 ean Barr.<br>He served  on the faculty of East Carolina University from 19
 85-2022.  During his tenure at ECU he served as Chairperson of Vocal Studi
 es for 15 years\, Chairperson of Keyboard Studies for 5 years\, Music Dire
 ctor of the ECU Opera Theatre for 10 years and for 22 years he was the Pro
 fessor of Accompanying. O’Brien has collaborated with such artists as Metr
 opolitan Opera stars Hilda Harris and Victoria Livengood\, violinist Eliot
  Chapo\, tenor Bill Brown\, flautist Carol Wincenc and clarinetist Deborah
  Chodacki.  He has performed in New York’s Merkin Recital Hall\, and Weill
  Recital Hall at Carnegie Hall. As harpsichordist he performed regularly w
 ith Clarino Consort and Baroque dance soloist Paige Whitley-Bauguess and h
 e has performed recitals with soprano Julianne Baird\, baroque violinist J
 ulie Andrijeski and has been a regular keyboardist with Atlanta Baroque.  
 He is a founding member of the North Carolina Baroque Orchestra with which
  he regularly performs on keyboard\, violin/viola and baroque flute.  He w
 as a featured artist at the Magnolia Baroque Festival in Winston-Salem NC 
 and he has performed at the Piccolo Spoleto Festival with Chatham Baroque.
  </p><hr><h2 encod e sans compressed open>Festival Background</h2><p open>The second a
 nnual Cascade Song Festival\, a weekend devoted to the study and performan
 ce of song\, is a true synthesis of performance and scholarship organized 
 by faculty from the University of Washington and University of Oregon.</p>
 <p open>Highlights include a recital and master class by the internationally acc
 laimed soprano <strong>Louise Toppin </strong>(University of Michigan)\, with pianist<strong st yle='inherit\;'> John O’Brien\,</strong> and a keynote presentation by music theorist <strong>Matt BaileyShea</strong> (University of 
 Rochester\, Eastman School of Music).</p><p open>The brainchild of musicologist 
 <strong>Stephen Rumph
 </strong> (UW)\, music theorist <strong>Stephen Rodgers</strong> (U of O)\, and voice faculty &lt;
 strong style='box-sizing:border-box\;line-height:inherit\;'&gt;Carrie Shaw</s> (UW) and <strong>Camille Ortiz</strong> (U of O)\, the festival opens on Thursday\, Jan.
  15 at the UW Intellectual House with a Live Music Jukebox\, and continues
  throughout the weekend with paper presentations\, sessions\, and performa
 nces.</p><p open s><a class='ext' href='https://cascadesongfestival.org/complete-2026-festiva
 l-schedule/' data-entity-type='external' data-extlink rel='noreferrer'>View a full sche
 dule of events and details of additional sessions </strong></a></p><h2 sty encode sans compresse d open><strong>Festival Highlights</strong></h2><p open><strong>Thursday\, Jan. 15:</strong> <a href='https://music.wash
 ington.edu/events/2026-01-15/cascade-songfest-opening-event-live-music-juk
 ebox' data-entity-type='external'>Festival Opening Event: Live Music Jukeb
 ox</a><br>Intellectual House  4:45 pm Free (RSVP required)*<br>*RSVP at <a href='cascadesongfestival@gmail.com'>cascadesongfestival@gmail.com</a></p><p open>&lt;
 strong style='box-sizing:border-box\;line-height:inherit\;'&gt;Friday Jan. 16
 : </strong>Master Class: Louise Toppin and John O’Brien <br>Brechemin Audi
 torium    4 pm   FREE</p><p open><strong>Friday\, Jan. 16:</strong> <a href='https://music.washington.edu/events
 /2026-01-16/cascade-songfest-keynote-address-matt-baileyshea' data-entity- type='external'>Keynote Address: Matthew BaileyShea</a><br>Brechemin Audit
 orium  7:30 pm.  FREE</p><p open><strong>Saturday\, Jan. 17: </strong>Recital: <a href='https://music.washington
 .edu/events/2026-01-17/cascade-songfest-guest-artist-recital-louise-toppin
 -and-john-obrien' data-entity-type='external'>Louise Toppin and John O’Bri
 en </a><br>Brechemin Auditorium  7:30 pm. FREE</p><p open>*RSVP required for the
  Jan. 18 performance at the Intellectual House. RSVP at <a href='mailto:cascadesongfe
 stival@gmail.com'>cascadesongfestival@gmail.com</a>. </p>
DTSTART;TZID=America/Los_Angeles:20260116T160000
LAST-MODIFIED:20260107T191353Z
SEQUENCE:323
SUMMARY:: Cascade Songfest Guest Artist Master Class: Louise Toppin and Joh
 n O'Brien
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-01-16/cascade-songfest-guest-a
 rtist-master-class-louise-toppin-and-john-obrien
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Cascade Songfest presents a master class le
 d by acclaimed vocalist Louise Toppin (University of Michigan) and pianist
  John O'Brien. </p><hr><h2>Biographies</h2><h3>Louise Toppin</h3><article class='align-left'> <div class='field-wrapper field field-media--field-med
 ia-image field-name-field-media-image field-type-image field-label-hidden'> <div class='field-items'> <div class='field-item'> <img loading='lazy' s rc='/sites/music/files/styles/portrait_small/public/images/Louise_Toppin_f
 in_0.jpeg?h=b2430451&amp;itok=Zm_osJnD' width='100' height='125' alt='soprano 
 Louise Toppin'> </div> </div> </div> </article> <p>Louise Toppin has recei
 ved critical acclaim for her operatic\, orchestral\, oratorio and recital 
 performances world-wide.  Represented by Joanne Rile Management\, she tour
 ed “Gershwin on Broadway” with pianist Leon Bates.   She has recorded more
  than ninteen commercial CDs including on Albany Records Ah love\, but a d
 ay\, La Saison des fleurs and Dear Friends and Gentle Hears with Darryl Ta
 ylor released February 7\, 2025.  Since 2021 she has published 13 scores w
 ith Classical Vocal Reprints\, Carl Fischer and Hal Leonard (soon for rele
 ase) including An Anthology of Undine Moore Songs\, An Anthology of Africa
 n and African Diaspora Songs\, Songs of Harry Burleigh\, Songs of Adolphus
  Hailstork\, and Rediscovering Margaret Bonds. Toppin previously served as
  the Distinguished University Professor of Music and Chair of the Departme
 nt of Music at the University of North Carolina\, Chapel Hill.  She is cur
 rently University Distinguished Professor of Diversity and Social Transfor
 mation and Professor of Music (Voice)\, at The University of Michigan. </p><h3>John O'Brien</h3><article class='align-left'> <div class='field-wrapp
 er field field-media--field-media-image field-name-field-media-image field
 -type-image field-label-hidden'> <div class='field-items'> <div class='fie
 ld-item'> <img loading='lazy' src='/sites/music/files/styles/portrait_smal
 l/public/images/john_obrien_edit.jpg?itok=Dhmf330R' width='100' height='12
 5'> </div> </div> </div> </article> <p>John O’Brien was
  born into a musical family and studied piano with his father through high
  school. He began his undergraduate studies as a double major in violin an
 d piano performance studying violin with Robert Gerle and piano with Willi
 am Masselos.  He continued his college piano studies with John Perry compl
 eting the BM and MM in piano performance at the University of Southern Cal
 ifornia.  In 1989 O’Brien was awarded the DMA in accompanying from the Uni
 versity of Southern California studying with Gwendolyn Koldofsy and Jean B
 arr.<br>He served  on the faculty of East Carolina University from 1985-20
 22.  During his tenure at ECU he served as Chairperson of Vocal Studies fo
 r 15 years\, Chairperson of Keyboard Studies for 5 years\, Music Director 
 of the ECU Opera Theatre for 10 years and for 22 years he was the Professo
 r of Accompanying. O’Brien has collaborated with such artists as Metropoli
 tan Opera stars Hilda Harris and Victoria Livengood\, violinist Eliot Chap
 o\, tenor Bill Brown\, flautist Carol Wincenc and clarinetist Deborah Chod
 acki.  He has performed in New York’s Merkin Recital Hall\, and Weill Reci
 tal Hall at Carnegie Hall. As harpsichordist he performed regularly with C
 larino Consort and Baroque dance soloist Paige Whitley-Bauguess and he has
  performed recitals with soprano Julianne Baird\, baroque violinist Julie 
 Andrijeski and has been a regular keyboardist with Atlanta Baroque.  He is
  a founding member of the North Carolina Baroque Orchestra with which he r
 egularly performs on keyboard\, violin/viola and baroque flute.  He was a 
 featured artist at the Magnolia Baroque Festival in Winston-Salem NC and h
 e has performed at the Piccolo Spoleto Festival with Chatham Baroque. </p>
 <hr><h2 encode san s compressed open>Festival Background</h2><p open>The second annual
  Cascade Song Festival\, a weekend devoted to the study and performance of
  song\, is a true synthesis of performance and scholarship organized by fa
 culty from the University of Washington and University of Oregon.</p><p st open>Hig
 hlights include a recital and master class by the internationally acclaime
 d soprano <strong>Lou
 ise Toppin </strong>(University of Michigan)\, with pianist<strong> John O’Brien\,</strong> and
  a keynote presentation by music theorist <strong>Matt BaileyShea</strong> (University of Roche
 ster\, Eastman School of Music).</p><p open>The brainchild of musicologist Stephen Rumph (UW)\, music theorist <strong>Stephen Rodgers</strong> (U of O)\, and voice faculty Carrie Shaw</strong> (UW) and <strong>Ca
 mille Ortiz</strong> (U of O)\, the festival opens on Thursday\, Jan. 15 a
 t the UW Intellectual House with a Live Music Jukebox\, and continues thro
 ughout the weekend with paper presentations\, sessions\, and performances.
 </p><p open><a class='ext' href='https://cascadesongfestival.org/complete-2026-festival-sch
 edule/' data-entity-type='external' data-extlink rel='noreferrer'><em styl e='inherit\;'><strong>View a full schedule of events and det
 ails of additional sessions </strong></em></a></p><h2 encode sans compressed ope n><strong>Festival H
 ighlights</strong></h2><p open><strong>Thursday\, Jan. 15:</strong> <a href='https://music.washington.edu/events
 /2026-01-15/cascade-songfest-opening-event-live-music-jukebox' data-entity>Festival Opening Event: Live Music Jukebox</a><br>Intelle
 ctual House  4:45 pm Free (RSVP required)*<br><em>*RSVP at </em><a href='mailto:cascadesongfestival@gmail.
 com'><em>cascadesongf
 estival@gmail.com</em></a></p><p open><strong>Friday Jan. 16: </strong>Master Class: Louise Toppin an
 d John O’Brien <br>Brechemin Auditorium    4 pm   FREE</p><p open><strong>Friday\, Jan. 16:</strong> 
 <a href='//music.washington.edu/events/2026-01-16/cascade-songfest-keynote-addr
 ess-matt-baileyshea' data-entity-type='external'>Keynote Address: Matthew 
 BaileyShea</a><br>Brechemin Auditorium  7:30 pm.  FREE</p><p open><strong>Saturday\, Jan. 17: Recital: <a href='https://music.washington.edu/events/2026-01-17/cascade-songfest-g
 uest-artist-recital-louise-toppin-and-john-obrien' data-entity-type='exter
 nal'>Louise Toppin and John O’Brien </a><br>Brechemin Auditorium  7:30 pm.
  FREE</p><p open s><em>*RSVP 
 required for the Jan. 18 performance at the Intellectual House. RSVP at </em><a href='mailto:cascadesongfestival@gmail.com'><em>cascadesongfestival@gmail.com</em></a><em>. </em></p>
END:VEVENT
BEGIN:VEVENT
UID:e42e7907-9512-4775-921e-5d2c472f937c
DTSTAMP:20260307T094252Z
CATEGORIES:Conferences\, Master Classes\, Special Events\, Visiting Artists
  and Scholars
CLASS:PUBLIC
CREATED:20251219T005348Z
DESCRIPTION:<p>Cascade Songfest presents 'It’s Been Said and Done\,' Lyric 
 Clichés in Popular Song\, a keynote address by Matt BaileyShea\, Professor
  of Music Theory and Chair of the Department of Music at the University of
  Rochester.</p><hr><h2>Abstract</h2><p>“You set me free.” “You are the lig
 ht of my life.” “I’m so high I can touch the sky.” These are all familiar\
 , common expressions in pop songs and have been for quite some time. Most 
 people\, I think\, would agree that they qualify as clichés. Unlike most p
 oets\, pop-song lyricists often seem to have a fairly high tolerance for c
 lichés. They seem to serve an important role.</p><p>What are we to make of
  this? This paper considers some basic questions about what a scholarship 
 of clichés might look like. How do they work? How do we best define them? 
 Do they necessarily have a negative effect on music? Can they be redeemed 
 in some way? I begin by introducing some of these core questions and then 
 discuss a number of examples from pop music of the past several decades.</p><hr><h2>Biographies</h2><h3>Matt BaileyShea</h3><p>Matt BaileyShea is a 
 Professor of Music Theory and Chair of the Arthur Satz Department of Music
  at the University of Rochester\, where he also holds a secondary appointm
 ent at the Eastman School of Music. He received his Ph.D. in Music Theory 
 from Yale University in 2003 with a dissertation on the music of Wagner. H
 e has published on a variety of topics including form\, gesture\, agency\,
  chromatic harmony\, and recomposition. He recently published the book Lin
 es and Lyrics: An Introduction to Poetry and Song with Yale University Pre
 ss\, which won the 2022 Wallace Berry Award from The Society for Music The
 ory\, and he is currently working on a book called Troubled Sleep: The Dar
 k Side of Lullabies in Rock\, Broadway\, and Beyond.</p><hr><h2 encode sans compressed regul open>Festival Background</h2><p open>The second annual Cascade Song Fest
 ival\, a weekend devoted to the study and performance of song\, is a true 
 synthesis of performance and scholarship organized by faculty from the Uni
 versity of Washington and University of Oregon.</p><p open>Highlights include a 
 recital and master class by the internationally acclaimed soprano <strong>Louise Toppin (University of Michigan)\, with pianist<strong> John O’Brien\,</strong> and a keynote present
 ation by music theorist <strong>Matt BaileyShea</strong> (University of Rochester\, Eastman Sch
 ool of Music).</p><p open>The brainchild of musicologist <strong>Stephen Rumph</strong> (UW)\, music 
 theorist <strong>Step
 hen Rodgers</strong> (U of O)\, and voice faculty <strong>Carrie Shaw</strong> (UW) and <strong>Camille Ortiz (U of O)\, the festival opens on Thursday\, Jan. 15 at the UW Intellect
 ual House with a Live Music Jukebox\, and continues throughout the weekend
  with paper presentations\, sessions\, and performances.</p><p open><a class='ex
 t' href='//cascadesongfestival.org/complete-2026-festival-schedule/' data-entit y-type='external' data-extlink rel='noreferrer'><strong>View a full schedule of events and deta
 ils of additional sessions </strong></a></p><h2 encode sans compressed open sans>Festival Highlig
 hts</strong></h2><p open><strong>Thursday\, Jan. 15:</strong> <a href='https://music.washington.edu/events/2026-
 01-15/cascade-songfest-opening-event-live-music-jukebox' data-entity-type='external'>Festival Opening Event: Live Music Jukebox</a><br>Intellectual 
 House  4:45 pm Free (RSVP required)*<br>*RSVP at <a href='mailto:cascadesongfestival@
 gmail.com'>cascadesongfestival@gmail.com</a></p><p open><strong>Friday Jan. 16: </strong><a href='//music.washington.edu/events/2026-01-16/cascade-songfest-guest-artist-
 master-class-louise-toppin-and-john-obrien' data-entity-type='external'>Ma
 ster Class: Louise Toppin and John O’Brien </a><br>Brechemin Auditorium   
  4 pm   FREE</p><p open><strong>Friday\, Jan. 16:</strong> <a href='https://music.washington.edu/events/2026-01-
 16/cascade-songfest-keynote-address-matt-baileyshea' data-entity-type='ext
 ernal'>Keynote Address: Matthew BaileyShea</a><br>Brechemin Auditorium  7:
 30 pm.  FREE</p><p open><strong>Saturday\, Jan. 17: </strong>Recital: <a href='https://music.washington.edu/even
 ts/2026-01-17/cascade-songfest-guest-artist-recital-louise-toppin-and-john
 -obrien' data-entity-type='external'>Louise Toppin and John O’Brien </a><b r>Brechemin Auditorium  7:30 pm. FREE</p><p open>*RSVP required for the Jan. 15 
 performance at the Intellectual House. RSVP at <a href='mailto:cascadesongfestival@gm
 ail.com'>cascadesongfestival@gmail.com</a>. </p>
DTSTART;TZID=America/Los_Angeles:20260116T193000
LAST-MODIFIED:20260107T191553Z
SEQUENCE:324
SUMMARY:: Cascade Songfest: Matt BaileyShea\, “It’s Been Said and Done”: Ly
 ric Clichés in Popular Song
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-01-16/cascade-songfest-matt-ba
 ileyshea-its-been-said-and-done-lyric-cliches-popular
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Cascade Songfest presents 'It’s Been Said a
 nd Done\,' Lyric Clichés in Popular Song\, a keynote address by Matt Baile
 yShea\, Professor of Music Theory and Chair of the Department of Music at 
 the University of Rochester.</p><hr><h2>Abstract</h2><p>“You set me free.”
  “You are the light of my life.” “I’m so high I can touch the sky.” These 
 are all familiar\, common expressions in pop songs and have been for quite
  some time. Most people\, I think\, would agree that they qualify as clich
 és. Unlike most poets\, pop-song lyricists often seem to have a fairly hig
 h tolerance for clichés. They seem to serve an important role.</p><p>What 
 are we to make of this? This paper considers some basic questions about wh
 at a scholarship of clichés might look like. How do they work? How do we b
 est define them? Do they necessarily have a negative effect on music? Can 
 they be redeemed in some way? I begin by introducing some of these core qu
 estions and then discuss a number of examples from pop music of the past s
 everal decades.</p><hr><h2>Biographies</h2><h3>Matt BaileyShea</h3><p>Matt BaileyShea is a Professor of Music Theory and Cha
 ir of the Arthur Satz Department of Music at the University of Rochester\,
  where he also holds a secondary appointment at the Eastman School of Musi
 c. He received his Ph.D. in Music Theory from Yale University in 2003 with
  a dissertation on the music of Wagner. He has published on a variety of t
 opics including form\, gesture\, agency\, chromatic harmony\, and recompos
 ition. He recently published the book </span><em>Lines and Lyrics: An Introduction to Poetry and Song with </em>Yale University Press\, which won the 2022 Wallace Ber
 ry Award from The Society for Music Theory\, and he is currently working o
 n a book called </span><em>Troubled Sleep:
  The Dark Side of Lullabies in Rock\, Broadway\, and Beyond.</em></p><hr>&lt;
 h2 style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;caret-colo
 r:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Encode Sans Com
 pressed Regular'\, 'Open Sans'\, Arial\, sans-serif\;font-size:1.875rem\;f
 ont-style:normal\;font-variant-caps:normal\;font-weight:normal\;letter-spa
 cing:0.3px\;line-height:1.4\;margin:0.2rem 0px 0.5rem\;orphans:auto\;paddi
 ng:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;text-rend
 ering:optimizelegibility\;text-transform:none\;white-space:normal\;widows:
 auto\;word-spacing:0px\;'&gt;Festival Background</h2><p open>The second annual Casc
 ade Song Festival\, a weekend devoted to the study and performance of song
 \, is a true synthesis of performance and scholarship organized by faculty
  from the University of Washington and University of Oregon.</p><p open>Highligh
 ts include a recital and master class by the internationally acclaimed sop
 rano <strong>Louise T
 oppin </strong>(University of Michigan)\, with pianist<strong> John O’Brien\,</strong> and a ke
 ynote presentation by music theorist <strong>Matt BaileyShea</strong> (University of Rochester\
 , Eastman School of Music).</p><p open>The brainchild of musicologist <strong st yle='inherit\;'>Stephen Rumph</strong> 
 (UW)\, music theorist <strong>Stephen Rodgers</strong> (U of O)\, and voice faculty <strong sty le='inherit\;'>Carrie Shaw</strong> (UW
 ) and <strong>Camille
  Ortiz</strong> (U of O)\, the festival opens on Thursday\, Jan. 15 at the
  UW Intellectual House with a Live Music Jukebox\, and continues throughou
 t the weekend with paper presentations\, sessions\, and performances.</p>&lt;
 p style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;caret-color
 :rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open Sans'\, Ari
 al\, Helvetica\, sans-serif\;font-size:16px\;font-style:normal\;font-varia
 nt-caps:normal\;font-weight:400\;letter-spacing:normal\;line-height:1.875r
 em\;margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-align:start\
 ;text-decoration:none\;text-indent:0px\;text-rendering:optimizelegibility\
 ;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'
 &gt;<a class='ext' href='https://cascadesongfestival.org/complete-2026-festival-schedule
 /' data-entity-type='external' data-extlink rel='noreferrer'><em><strong>View a full schedule of events and details 
 of additional sessions </strong></em></a></p><h2 encode sans compressed open san><s trong>Festival Highli
 ghts</strong></h2><p open><strong>Thursday\, Jan. 15:</strong> <a href='https://music.washington.edu/events/2026
 -01-15/cascade-songfest-opening-event-live-music-jukebox' data-entity-type='external'>Festival Opening Event: Live Music Jukebox</a><br>Intellectual
  House  4:45 pm Free (RSVP required)*<br><em>*RSVP at </em><a href='mailto:cascadesongfestival@gmail.com'>
 <em>cascadesongfestiv
 al@gmail.com</em></a></p><p open><strong>Friday Jan. 16: </strong><a href='https://music.washington.e
 du/events/2026-01-16/cascade-songfest-guest-artist-master-class-louise-top
 pin-and-john-obrien' data-entity-type='external'>Master Class: Louise Topp
 in and John O’Brien </a><br>Brechemin Auditorium    4 pm   FREE</p><p styl open>Friday\, Jan. 16:&lt;
 /strong&gt; <a href='https://music.washington.edu/events/2026-01-16/cascade-songfest-key
 note-address-matt-baileyshea' data-entity-type='external'>Keynote Address:
  Matthew BaileyShea</a><br>Brechemin Auditorium  7:30 pm.  FREE</p><p styl open>Saturday\, Jan. 17
 : </strong>Recital: <a href='https://music.washington.edu/events/2026-01-17/cascade-s
 ongfest-guest-artist-recital-louise-toppin-and-john-obrien' data-entity-ty pe='external'>Louise Toppin and John O’Brien </a><br>Brechemin Auditorium 
  7:30 pm. FREE</p><p open><em>*RSVP required for the Jan. 15 performance at the Intellectual House. R
 SVP at </em><a href='mailto:cascadesongfestival@gmail.com'><em>cascadesongfestival@gmail.com</em></a><em s tyle='inherit\;'>. </em></p>
END:VEVENT
BEGIN:VEVENT
UID:f8a5ba67-2e04-4b7f-8b8d-9a942fdfee8e
DTSTAMP:20260307T094252Z
CATEGORIES:Conferences\, Master Classes\, Special Events\, Visiting Artists
  and Scholars
CLASS:PUBLIC
CREATED:20251218T235319Z
DESCRIPTION:<p>Cascade Songfest presents a recital by acclaimed vocalist Lo
 uise Toppin (University of Michigan) and pianist John O'Brien. </p><hr><h2>Program</h2><p dir='ltr'><strong>Lord How come me here?</strong>	traditional<br><strong>Gospel Train</strong>	Thomas Kerr (1915-1988)<br>	</p><p dir='ltr'><strong>His Helmet Bl
 aze from </strong><strong>Saracen Songs</strong>	Harry Burleigh (1866-1949)
 <br><strong>He met her in the meadow</strong>	<br><strong>The Grey Wolf<br> </p><p dir='ltr'><strong>Heart on the Wall</strong>	Robert Owens	(1925- 2017)<b r><strong>Heart</strong>		<br><strong>Remembrance</strong><br><strong>Havann
 a Dreams</strong><br><strong>Girl</strong><br><strong>For Dead Mimes<br>     </p><p dir='ltr'><strong>Dream Variation</strong>	Undine Smith Moore (1904-1
 989)<br><strong>Set Down </strong> 	<br><br><strong>Intermission</strong><b r> </p><p dir='ltr'><strong>I couldn’t hear nobody pray</strong>	Uzee Brown (b. 1950)<br><strong>Give Me a Song of Hope from</strong><strong> Three Songs of Pauli
  Murray</strong>	<br><br><strong>Since you went away</strong>	J. Rosamund Jo
 hnson (1873-1954)<br><strong>Sence you went away</strong>	Lori Hicks (b. 19
 79)</p><p dir='ltr'><br><strong>Songs of the Seasons</strong>	Margaret Bonds (1913-1972)
 <br><strong>Young Love in Spring</strong>	<br><strong>Poéme d’Automne<br><strong>Winter</strong><br><strong>Summer Storm</strong></p><hr><h2>Biographies</h2><h3>Louise Toppin</h3>\n  \n      \n    \n            \n
 \n\n\n      \n\n\n  \n<p>Louise Toppin has received critical acclaim for h
 er operatic\, orchestral\, oratorio and recital performances world-wide.  
 Represented by Joanne Rile Management\, she toured “Gershwin on Broadway” 
 with pianist Leon Bates.   She has recorded more than ninteen commercial C
 Ds including on Albany Records Ah love\, but a day\, La Saison des fleurs 
 and Dear Friends and Gentle Hears with Darryl Taylor released February 7\,
  2025.  Since 2021 she has published 13 scores with Classical Vocal Reprin
 ts\, Carl Fischer and Hal Leonard (soon for release) including An Antholog
 y of Undine Moore Songs\, An Anthology of African and African Diaspora Son
 gs\, Songs of Harry Burleigh\, Songs of Adolphus Hailstork\, and Rediscove
 ring Margaret Bonds. Toppin previously served as the Distinguished Univers
 ity Professor of Music and Chair of the Department of Music at the Univers
 ity of North Carolina\, Chapel Hill.  She is currently University Distingu
 ished Professor of Diversity and Social Transformation and Professor of Mu
 sic (Voice)\, at The University of Michigan. </p><h3>John O'Brien</h3>\n  
 \n      \n    \n            \n\n\n\n      \n\n\n  \n<p>John O’Brien was bo
 rn into a musical family and studied piano with his father through high sc
 hool. He began his undergraduate studies as a double major in violin and p
 iano performance studying violin with Robert Gerle and piano with William 
 Masselos.  He continued his college piano studies with John Perry completi
 ng the BM and MM in piano performance at the University of Southern Califo
 rnia.  In 1989 O’Brien was awarded the DMA in accompanying from the Univer
 sity of Southern California studying with Gwendolyn Koldofsy and Jean Barr
 .<br>He served  on the faculty of East Carolina University from 1985-2022.
   During his tenure at ECU he served as Chairperson of Vocal Studies for 1
 5 years\, Chairperson of Keyboard Studies for 5 years\, Music Director of 
 the ECU Opera Theatre for 10 years and for 22 years he was the Professor o
 f Accompanying. O’Brien has collaborated with such artists as Metropolitan
  Opera stars Hilda Harris and Victoria Livengood\, violinist Eliot Chapo\,
  tenor Bill Brown\, flautist Carol Wincenc and clarinetist Deborah Chodack
 i.  He has performed in New York’s Merkin Recital Hall\, and Weill Recital
  Hall at Carnegie Hall. As harpsichordist he performed regularly with Clar
 ino Consort and Baroque dance soloist Paige Whitley-Bauguess and he has pe
 rformed recitals with soprano Julianne Baird\, baroque violinist Julie And
 rijeski and has been a regular keyboardist with Atlanta Baroque.  He is a 
 founding member of the North Carolina Baroque Orchestra with which he regu
 larly performs on keyboard\, violin/viola and baroque flute.  He was a fea
 tured artist at the Magnolia Baroque Festival in Winston-Salem NC and he h
 as performed at the Piccolo Spoleto Festival with Chatham Baroque. </p><hr><h2 encode sans c ompressed open>Festival Background</h2><p open>The second annual Ca
 scade Song Festival\, a weekend devoted to the study and performance of so
 ng\, is a true synthesis of performance and scholarship organized by facul
 ty from the University of Washington and University of Oregon.</p><p open>Highli
 ghts include a recital and master class by the internationally acclaimed s
 oprano <strong>Louise
  Toppin </strong>(University of Michigan)\, with pianist<strong> John O’Brien\,</strong> and a 
 keynote presentation by music theorist <strong>Matt BaileyShea</strong> (University of Rocheste
 r\, Eastman School of Music).</p><p open>The brainchild of musicologist <strong>Stephen Rumph</strong> (UW)\, music theorist <strong>Stephen Rodgers</strong> (U of O)\, and voice faculty <strong s tyle='inherit\;'>Carrie Shaw</strong> (
 UW) and <strong>Camil
 le Ortiz</strong> (U of O)\, the festival opens on Thursday\, Jan. 15 at t
 he UW Intellectual House with a Live Music Jukebox\, and continues through
 out the weekend with paper presentations\, sessions\, and performances.</p><p open><a class='ext' href='https://cascadesongfestival.org/complete-2026-festival-schedu
 le/' data-entity-type='external' data-extlink rel='noreferrer'><strong sty le='inherit\;'>View a full schedule of 
 events and details of additional sessions </strong></a></p><h2 encode sans compressed regula open><strong>F
 estival Highlights</strong></h2><p open><strong>Thursday\, Jan. 15:</strong> <a href='https://music.washington.e
 du/events/2026-01-15/cascade-songfest-opening-event-live-music-jukebox' da ta-entity-type='external'>Festival Opening Event: Live Music Jukebox</a><b r>Intellectual House  4:45 pm Free (RSVP required)*<br>*RSVP at <a href='mailto:casca
 desongfestival@gmail.com'>cascadesongfestival@gmail.com</a></p><p open><strong s tyle='inherit\;'>Friday Jan. 16: <a href='https://music.washington.edu/events/2026-01-16/cascade-songfes
 t-guest-artist-master-class-louise-toppin-and-john-obrien' data-entity-typ e='external'>Master Class: Louise Toppin and John O’Brien </a><br>Brechemi
 n Auditorium    4 pm   FREE</p><p open><strong>Friday\, Jan. 16:</strong> <a href='https://music.washington.edu/
 events/2026-01-16/cascade-songfest-keynote-address-matt-baileyshea' data-e ntity-type='external'>Keynote Address: Matthew BaileyShea</a><br>Brechemin
  Auditorium  7:30 pm.  FREE</p><p open><strong>Saturday\, Jan. 17: </strong>Recital: <a href='https://music.wash
 ington.edu/events/2026-01-17/cascade-songfest-guest-artist-recital-louise-
 toppin-and-john-obrien' data-entity-type='external'>Louise Toppin and John
  O’Brien </a><br>Brechemin Auditorium  7:30 pm. FREE</p><p open>*RSVP required f
 or the Jan. 18 performance at the Intellectual House. RSVP at <a href='mailto:cascade
 songfestival@gmail.com'>cascadesongfestival@gmail.com</a>. </p>
DTSTART;TZID=America/Los_Angeles:20260117T193000
LAST-MODIFIED:20260118T021221Z
SEQUENCE:325
SUMMARY:: Cascade Songfest Guest Artist Recital: Louise Toppin and John O'B
 rien
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-01-17/cascade-songfest-guest-a
 rtist-recital-louise-toppin-and-john-obrien
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Cascade Songfest presents a recital by accl
 aimed vocalist Louise Toppin (University of Michigan) and pianist John O'B
 rien. </p><hr><h2>Program</h2><p dir='ltr'><span><strong>Lord How come me h
 ere?</strong></span><span class='Apple-tab-span'>	&lt;
 /span&gt;<span>traditional</span><br><span><strong>Gospel Train</strong></span><span class='Apple-tab-span' st yle='pre\;'>	</span><span>Thomas Ker
 r (1915-1988)</span><br><span class='Apple-tab-span'>	</span></p><p dir='ltr'><span><strong>His Helmet Blaze from </strong></s><em><span><strong>Saracen Songs</strong></span></em><span class='Apple-tab-sp
 an'>	</span><span>Harr
 y Burleigh (1866-1949)</span><br><span><strong>He met her in t
 he meadow</strong></span><span class='Apple-tab-span'>	</span><br><span><strong>The Grey Wolf</strong></span><br>
  </p><p dir='
 ltr'><em><span><strong>Heart on the Wall</strong></span></em><span class='Apple-t
 ab-span'>	</span><span>Robert Owens</span><span class='Apple-tab-span'>	&lt;
 /span&gt;<span>(1925- 2017)</span><br><span styl e='pre-
 wrap\;'><strong>Heart</strong></span><span class='Apple-tab-span'> </span><br><span><strong>Remembrance</strong>
 </span><br><span><strong>Havanna Dreams</strong></span><br><strong>Girl</strong></span><br><span><strong>F
 or Dead Mimes</strong></span><br><span>     &lt;
 /span&gt;</p><p dir='ltr'><span><strong>Dream Variation</strong></span><span c lass='Apple-tab-span'>	</span><span>Undine Smith Moore (1904-1989)</span><br><span>&lt;
 strong&gt;Set Down </strong></span><span> </span><span class='Apple-tab-span'>	</span><br><br><em>&lt;
 span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-famil
 y:Montserrat\, sans-serif\;font-size:10pt\;font-variant-alternates:normal\
 ;font-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-li
 gatures:normal\;font-variant-numeric:normal\;font-variant-position:normal\
 ;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'&gt;<s trong>Intermission</strong></span></em><br> </p><p dir='ltr'><span><strong>
 I couldn’t hear nobody pray</strong></span><span class='Apple-tab-span' st yle='pre\;'>	</span><span>Uzee Brown
  (b. 1950)</span><br><span><strong>Give Me a Song of Hope from
 </strong></span><em><span><strong> Three Songs of Pauli Murray</strong></span><span class='Apple-tab-span'>	</span><br><br><strong>Since you went away</strong></span><span class='Appl
 e-tab-span'>	</span><span>J. Rosamund Johnson (1873-1954)</span><br><span><strong>Se
 nce you went away</strong></span><span class='Apple-tab-span'>	</span><span>Lori Hicks (b. 1979)
 </span></p><p dir='ltr'><br><em><span><strong>Songs of the Seasons</strong></span></em><span c lass='Apple-tab-span'>	</span><span>Margaret Bonds (1913-1972)</span><br><span>Young Love in Spring</strong></span><span class='Apple-tab-span'>	</span><br><span><strong>Poéme d’Automne</span><br><span><strong>Winter</strong></span><br><span><strong>Summer Storm</strong></span></p><hr><h2>Biographies<h3>Louise Toppin</h3><article class='align-left'> <div class='field-wra
 pper field field-media--field-media-image field-name-field-media-image fie
 ld-type-image field-label-hidden'> <div class='field-items'> <div class='f
 ield-item'> <img loading='lazy' src='/sites/music/files/styles/portrait_sm
 all/public/images/Louise_Toppin_fin_0.jpeg?h=b2430451&amp;itok=Zm_osJnD' width='100' height='125' alt='soprano Louise Toppin'> </div> </div> </div>  <p>Louise Toppin has received critical acclaim for her operatic\, o
 rchestral\, oratorio and recital performances world-wide.  Represented by 
 Joanne Rile Management\, she toured “Gershwin on Broadway” with pianist Le
 on Bates.   She has recorded more than ninteen commercial CDs including on
  Albany Records Ah love\, but a day\, La Saison des fleurs and Dear Friend
 s and Gentle Hears with Darryl Taylor released February 7\, 2025.  Since 2
 021 she has published 13 scores with Classical Vocal Reprints\, Carl Fisch
 er and Hal Leonard (soon for release) including An Anthology of Undine Moo
 re Songs\, An Anthology of African and African Diaspora Songs\, Songs of H
 arry Burleigh\, Songs of Adolphus Hailstork\, and Rediscovering Margaret B
 onds. Toppin previously served as the Distinguished University Professor o
 f Music and Chair of the Department of Music at the University of North Ca
 rolina\, Chapel Hill.  She is currently University Distinguished Professor
  of Diversity and Social Transformation and Professor of Music (Voice)\, a
 t The University of Michigan. </p><h3>John O'Brien</h3><article class='ali
 gn-left'> <div class='field-wrapper field field-media--field-media-image f
 ield-name-field-media-image field-type-image field-label-hidden'> <div cla ss='field-items'> <div class='field-item'> <img loading='lazy' src='/sites
 /music/files/styles/portrait_small/public/images/john_obrien_edit.jpg?itok
 =Dhmf330R' width='100' height='125'> </div> </div>  </article> <p>John O’Brien was born into a musical family and studied p
 iano with his father through high school. He began his undergraduate studi
 es as a double major in violin and piano performance studying violin with 
 Robert Gerle and piano with William Masselos.  He continued his college pi
 ano studies with John Perry completing the BM and MM in piano performance 
 at the University of Southern California.  In 1989 O’Brien was awarded the
  DMA in accompanying from the University of Southern California studying w
 ith Gwendolyn Koldofsy and Jean Barr.<br>He served  on the faculty of East
  Carolina University from 1985-2022.  During his tenure at ECU he served a
 s Chairperson of Vocal Studies for 15 years\, Chairperson of Keyboard Stud
 ies for 5 years\, Music Director of the ECU Opera Theatre for 10 years and
  for 22 years he was the Professor of Accompanying. O’Brien has collaborat
 ed with such artists as Metropolitan Opera stars Hilda Harris and Victoria
  Livengood\, violinist Eliot Chapo\, tenor Bill Brown\, flautist Carol Win
 cenc and clarinetist Deborah Chodacki.  He has performed in New York’s Mer
 kin Recital Hall\, and Weill Recital Hall at Carnegie Hall. As harpsichord
 ist he performed regularly with Clarino Consort and Baroque dance soloist 
 Paige Whitley-Bauguess and he has performed recitals with soprano Julianne
  Baird\, baroque violinist Julie Andrijeski and has been a regular keyboar
 dist with Atlanta Baroque.  He is a founding member of the North Carolina 
 Baroque Orchestra with which he regularly performs on keyboard\, violin/vi
 ola and baroque flute.  He was a featured artist at the Magnolia Baroque F
 estival in Winston-Salem NC and he has performed at the Piccolo Spoleto Fe
 stival with Chatham Baroque. </p><hr><h2 encode sans compressed open>Festival B
 ackground</h2><p o pen>The second annual Cascade Song Festival\, a weekend devote
 d to the study and performance of song\, is a true synthesis of performanc
 e and scholarship organized by faculty from the University of Washington a
 nd University of Oregon.</p><p open>Highlights include a recital and master clas
 s by the internationally acclaimed soprano <strong>Louise Toppin </strong>(University of Michig
 an)\, with pianist<strong> John O’Brien\,</strong> and a keynote presentation by music theorist
  <strong>Matt BaileyS
 hea</strong> (University of Rochester\, Eastman School of Music).</p><p st open>The
  brainchild of musicologist <strong>Stephen Rumph</strong> (UW)\, music theorist <strong>Stephen Rodgers</strong> (U
  of O)\, and voice faculty <strong>Carrie Shaw</strong> (UW) and <strong>Camille Ortiz</strong> (U of O)\, the festi
 val opens on Thursday\, Jan. 15 at the UW Intellectual House with a Live M
 usic Jukebox\, and continues throughout the weekend with paper presentatio
 ns\, sessions\, and performances.</p><p open><a class='ext' href='https://cascadesongfestiv
 al.org/complete-2026-festival-schedule/' data-entity-type='external' data- extlink rel='noreferrer'><em><strong>View 
 a full schedule of events and details of additional sessions </strong></em></a></p><h2 encod e sans compressed open><strong>Festival Highlights</strong></h2><p open><strong>Thursday\, Jan. 15:</strong> 
 <a href='//music.washington.edu/events/2026-01-15/cascade-songfest-opening-even
 t-live-music-jukebox' data-entity-type='external'>Festival Opening Event: 
 Live Music Jukebox</a><br>Intellectual House  4:45 pm Free (RSVP required)
 *<br><em>*RSVP at <a href='cascadesongfestival@gmail.com'><em>cascadesongfestival@gmail.com</em></a></p><p open><strong s tyle='inherit\;'>Friday Jan. 16: <a href='https://music.washington.edu/events/2026-01-16/cascade-songfes
 t-guest-artist-master-class-louise-toppin-and-john-obrien' data-entity-typ e='external'>Master Class: Louise Toppin and John O’Brien </a><br>Brechemi
 n Auditorium    4 pm   FREE</p><p open><strong>Friday\, Jan. 16:</strong> <a href='https://music.washington.edu/
 events/2026-01-16/cascade-songfest-keynote-address-matt-baileyshea' data-e ntity-type='external'>Keynote Address: Matthew BaileyShea</a><br>Brechemin
  Auditorium  7:30 pm.  FREE</p><p open><strong>Saturday\, Jan. 17: </strong>Recital: <a href='https://music.wash
 ington.edu/events/2026-01-17/cascade-songfest-guest-artist-recital-louise-
 toppin-and-john-obrien' data-entity-type='external'>Louise Toppin and John
  O’Brien </a><br>Brechemin Auditorium  7:30 pm. FREE</p><p open><em>*RSVP required for the Jan. 18 pe
 rformance at the Intellectual House. RSVP at </em><a href='mailto:cascadesongfestival
 @gmail.com'><em>casca
 desongfestival@gmail.com</em></a><em>. </em></p>
END:VEVENT
BEGIN:VEVENT
UID:0a513261-644b-4a2e-8249-ad8658edad0a
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250814T235955Z
DESCRIPTION:<p>Acclaimed piano–percussion quartet Yarn/Wire performs new wo
 rks by UW Composition doctoral student Yonatan Ron and faculty/alumnus Yiğ
 it Kolat\, as well as pieces by Klaus Lang and Steve Reich in an evening o
 f adventurous contemporary music.</p><hr><h2>Program</h2><p><strong>Yiğit 
 Kolat</strong> - JUS4QIX<br><strong>Steve Reich -</strong> Quartet (2014)&lt;
 br&gt;<strong>Yonatan Ron</strong> - Rondominously<br>-Intermission-<br>Klaus Lang</strong> - molten trees (2017)<br>Commissioned by Yarn/Wire&lt;
 /p&gt;<hr><h2>Program Notes</h2><p><strong>Yiğit Kolat - JUS4QIX</strong><br>
 JUS4QIX is an homage to the Commodore 64 aesthetic. Almost every synthetic
  sound and image in the piece ties back to Commodore 64 hardware and softw
 are. An important part of my memories of this machine involved an element 
 of the unexpected and the uncanny. Where I grew up\, games came on bootleg
  cassettes and often misbehaved: they would freeze\, crash\, spit out glit
 chy sprites and noises. Even the loading process itself was full of chaoti
 c visuals. This work is\, in a sense\, a revisit to the quirky sensations 
 those games created.</p><p>The piece features a custom implementation of t
 he arcade classic Qix\, with the ensemble providing some kind of incidenta
 l music. Readily infected with glitches\, the game falls apart as the piec
 e progresses. Through the machine’s stalls and hard resets\, the musical n
 arrative finds itself a—</p><p>[<strong>V. O. </strong>— interrupting the 
 program notes]</p><p><strong>There must be more to this </strong>than nostalgia</strong>\, or being just for kicks. Perhaps it has to do wit
 h the core idea of the game: as you carve away the surface\, you ask yours
 elf if there is a <strong>secret</strong> hidden behind it. <strong>“Yes\,
  there is\,” </strong>the game tells you\, <strong>“but I won’t tell you w
 hat it is.” </strong>Ideas like that <strong>never age\,</strong> and that
 ’s why so many clones of Qix popped up\, <strong>come to think of it. If there was a <strong>certain thing in common</strong> among all of 
 them\, it was the appeal to the urge to uncover an <strong>enigma.</strong></p><p>But there are always forces that resist to the unraveling. <strong>As a matter of fact\, </strong>those forces are often victorious—not beca
 use they permanently conceal what is there\, but because the ones who get 
 a glimpse of it become complacent. They—</p><p>[suddenly cuts back into pr
 ogram notes]</p><p>—and\, timbral distances between the instrumental force
 s are thus reflected in the formal construction.</p><p><strong>Steve Reich
  – Quartet (2013)</strong><br>Quartet\, when mentioned in the context of c
 oncert music\, is generally assumed to<br>mean string quartet. In my case\
 , the quartet that has played a central role in many<br>of my pieces (besi
 des the string quartet) is that of two pianos and two percussion.<br>It ap
 pears like that or in expanded form with more pianos or more percussion in
 <br>The Desert Music\, Sextet\, Three Movements\, The Four Sections\, The 
 Cave\, Dance<br>Patterns\, Three Tales\, You Are (Variations)\, Variations
  for Vibes\, Pianos and<br>Strings\, Daniel Variations\, Double Sextet\, a
 nd Radio Rewrite. In Quartet\, there is<br>just this group alone: two vibe
 s and two pianos.<br>The piece is one of the more complex I have composed.
  It frequently changes key<br>and often breaks off continuity to pause or 
 take up new material. Though the parts<br>are not unduly difficult\, it ca
 lls for a high level of ensemble virtuosity.<br>The form is one familiar t
 hroughout history: fast\, slow\, fast\, played without pause.<br>The slow 
 movement introduces harmonies not usually found in my music. The<br>piece 
 is dedicated to Colin Currie\, a percussionist who has broken the mold by&lt;
 br&gt;maintaining his solo career with orchestras and recitals and also\, qui
 te amazingly\,<br>by founding the Colin Currie Group which plays whatever 
 ensemble music he<br>believes in. I salute him and hope others will take n
 ote.<br>Quartet was co-commissioned by Southbank Centre\, Carnegie Hall\, 
 The Juilliard<br>School\, Cité de la musique\, and Kölner Philharmonie / K
 ölnMusik\, and is<br>approximately 17 minutes in duration.<br>—Steve Reich
 </p><p><strong>Yonatan Ron - Rondominously</strong><br>The initial thought
  behind the piece was to create a continuum that renews itself by extendin
 g the resonance of the same harmony\, that is ever-changing in sound-sourc
 e. Over time\, I found this idea limited\, as the nature of such instrumen
 ts—conditioned by percussiveness—makes it difficult to stretch sonorities 
 without them fading immediately after. I eventually went 360° and ended up
  writing a domino-rally like rondo in which brief events of contrasting ch
 aracter trigger one another in a fast-paced montage\, with the spirit of t
 he initial idea hovering above.<br>A poem I find well suited to illustrate
  this whirling form is The Domination of Black by Wallace Stevens\, includ
 ed below.</p><p><strong>The Domination of Black / Wallace Stevens</strong>
 <br>At night\, by the fire\,<br>The colors of the bushes And of the fallen
  leaves\,<br>Repeating themselves\,<br>Turned in the room\,<br>Like the le
 aves themselves<br>Turning in the wind. <br>Yes: but the color of the heav
 y hemlocks Came striding.<br>And I remembered the cry of the peacocks.</p>
 <p>The colors of their tails<br>Were like the leaves themselves<br>Turning
  in the wind\,<br>In the twilight wind. <br>They swept over the room\,<br>
 Just as they flew from the boughs of the hemlocks<br>Down to the ground.<b r>I heard them cry—the peacocks.<br>Was it a cry against the twilight<br>O
 r against the leaves themselves<br>Turning in the wind\,<br>Turning as the
  flames<br>Turned in the fire\,<br>Turning as the tails of the peacocks<br>Turned in the loud fire\,<br>Loud as the hemlocks <br>Full of the cry of 
 the peacocks?<br>Or was it a cry against the hemlocks?</p><p>Out of the wi
 ndow\,<br>I saw how the planets gathered<br>Like the leaves themselves<br>
 Turning in the wind. <br>I saw how the night came\, <br>Came striding like
  the color of the heavy hemlocks<br>I felt afraid. <br>And I remembered th
 e cry of the peacocks.</p><p><strong>Klaus Lang - from “Freedom. Time. Pol
 itics.'</strong><br>”I am trying to compose music which turns sound into t
 ime made audible. I think that this is only possible when sound is just so
 und because only then it is perceivable as that which it really is: a temp
 oral phenomenon\, audible time.But again at this point yet another seeming
 ly paradoxical discontinuity shows: When we enter through listening a stat
 e of pure presence\, in which music becomes pure duration\, we are leaving
  temporality. When time becomes pure presence it dissolves. Through listen
 ing\, time becomes eternity.</p><hr><h2>Biographies</h2><h3><a href='//www.yarnwire.org'>Yarn/Wire</a></h3><p><strong>Yarn/Wire</strong> is a 
 new music quartet dedicated to the promotion of creative\, meaningful live
  musical experiences in the United States and abroad. Yarn/Wire achieves t
 his by supporting composers and audiences through live performances\, educ
 ational activities\, and large-scale collaborative projects. Our artistic 
 programming is driven by the desire to present music that reflects the ful
 l spectrum of our community at the highest level.</p>
DTSTART;TZID=America/Los_Angeles:20260122T193000
LAST-MODIFIED:20260108T130514Z
SEQUENCE:326
SUMMARY:: Guest Artist Concert: Yarn/Wire
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-01-22/guest-artist-concert-yar
 nwire
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Acclaimed piano–percussion quartet Yarn/Wir
 e performs new works by UW Composition doctoral student Yonatan Ron and fa
 culty/alumnus Yiğit Kolat\, as well as pieces by Klaus Lang and Steve Reic
 h in an evening of adventurous contemporary music.</p><hr><h2>Program</h2>
 <p><strong>Yiğit Kolat</strong> - JUS4QIX<br><strong>Steve Reich -</strong> Quartet (2014)<br><strong>Yonatan Ron</strong> - Rondominously<br>-Inter
 mission-<br><strong>Klaus Lang</strong> - <em>molten trees</em> (2017)<br>
 <em>Commissioned by Yarn/Wire</em></p><hr><h2>Program Notes</h2><p><strong>Yiğit Kolat - JUS4QIX</strong><br>JUS4QIX is an homage to the Commodore 6
 4 aesthetic. Almost every synthetic sound and image in the piece ties back
  to Commodore 64 hardware and software. An important part of my memories o
 f this machine involved an element of the unexpected and the uncanny. Wher
 e I grew up\, games came on bootleg cassettes and often misbehaved: they w
 ould freeze\, crash\, spit out glitchy sprites and noises. Even the loadin
 g process itself was full of chaotic visuals. This work is\, in a sense\, 
 a revisit to the quirky sensations those games created.</p><p>The piece fe
 atures a custom implementation of the arcade classic Qix\, with the ensemb
 le providing some kind of incidental music. Readily infected with glitches
 \, the game falls apart as the piece progresses. Through the machine’s sta
 lls and hard resets\, the musical narrative finds itself a—</p><p><em>[V. O. </strong>— interrupting the program notes]</em></p><p><strong>T
 here must be more to this </strong>than <strong>nostalgia</strong>\, or be
 ing <em>just for kicks.</em> Perhaps it has to do with the core idea of th
 e game: as you carve away the surface\, you ask yourself if there is a secret</strong> hidden behind it. <strong>“Yes\, there is\,” </strong>the game tells you\, <strong>“but I won’t tell you what it is.” </strong>
 Ideas like that <strong>never age\,</strong> and that’s why so many clones
  of Qix popped up\, <strong>come to think of it.</strong> If there was a &lt;
 strong&gt;certain thing in common</strong> among all of them\, it was the app
 eal to the urge to uncover an <strong>enigma.</strong></p><p>But there are
  always forces that resist to the unraveling. <strong>As a matter of fact\
 , </strong>those forces are often victorious—not because they permanently 
 conceal what is there\, but because the ones who get a glimpse of it becom
 e complacent. They—</p><p><em>[suddenly cuts back into program notes]</em>
 </p><p>—and\, timbral distances between the instrumental forces are thus r
 eflected in the formal construction.</p><p><strong>Steve Reich – Quartet (
 2013)</strong><br>Quartet\, when mentioned in the context of concert music
 \, is generally assumed to<br>mean string quartet. In my case\, the quarte
 t that has played a central role in many<br>of my pieces (besides the stri
 ng quartet) is that of two pianos and two percussion.<br>It appears like t
 hat or in expanded form with more pianos or more percussion in<br>The Dese
 rt Music\, Sextet\, Three Movements\, The Four Sections\, The Cave\, Dance
 <br>Patterns\, Three Tales\, You Are (Variations)\, Variations for Vibes\,
  Pianos and<br>Strings\, Daniel Variations\, Double Sextet\, and Radio Rew
 rite. In Quartet\, there is<br>just this group alone: two vibes and two pi
 anos.<br>The piece is one of the more complex I have composed. It frequent
 ly changes key<br>and often breaks off continuity to pause or take up new 
 material. Though the parts<br>are not unduly difficult\, it calls for a hi
 gh level of ensemble virtuosity.<br>The form is one familiar throughout hi
 story: fast\, slow\, fast\, played without pause.<br>The slow movement int
 roduces harmonies not usually found in my music. The<br>piece is dedicated
  to Colin Currie\, a percussionist who has broken the mold by<br>maintaini
 ng his solo career with orchestras and recitals and also\, quite amazingly
 \,<br>by founding the Colin Currie Group which plays whatever ensemble mus
 ic he<br>believes in. I salute him and hope others will take note.<br>Quar
 tet was co-commissioned by Southbank Centre\, Carnegie Hall\, The Juilliar
 d<br>School\, Cité de la musique\, and Kölner Philharmonie / KölnMusik\, a
 nd is<br>approximately 17 minutes in duration.<br>—Steve Reich</p><p>Yonatan Ron - Rondominously</strong><br>The initial thought behind the 
 piece was to create a continuum that renews itself by extending the resona
 nce of the same harmony\, that is ever-changing in sound-source. Over time
 \, I found this idea limited\, as the nature of such instruments—condition
 ed by percussiveness—makes it difficult to stretch sonorities without them
  fading immediately after. I eventually went 360° and ended up writing a d
 omino-rally like rondo in which brief events of contrasting character trig
 ger one another in a fast-paced montage\, with the spirit of the initial i
 dea hovering above.<br>A poem I find well suited to illustrate this whirli
 ng form is The Domination of Black by Wallace Stevens\, included below.</p><p><strong>The Domination of Black / Wallace Stevens</strong><br>At night
 \, by the fire\,<br>The colors of the bushes And of the fallen leaves\,<br>Repeating themselves\,<br>Turned in the room\,<br>Like the leaves themsel
 ves<br>Turning in the wind. <br>Yes: but the color of the heavy hemlocks C
 ame striding.<br>And I remembered the cry of the peacocks.</p><p>The color
 s of their tails<br>Were like the leaves themselves<br>Turning in the wind
 \,<br>In the twilight wind. <br>They swept over the room\,<br>Just as they
  flew from the boughs of the hemlocks<br>Down to the ground.<br>I heard th
 em cry—the peacocks.<br>Was it a cry against the twilight<br>Or against th
 e leaves themselves<br>Turning in the wind\,<br>Turning as the flames<br>T
 urned in the fire\,<br>Turning as the tails of the peacocks<br>Turned in t
 he loud fire\,<br>Loud as the hemlocks <br>Full of the cry of the peacocks
 ?<br>Or was it a cry against the hemlocks?</p><p>Out of the window\,<br>I 
 saw how the planets gathered<br>Like the leaves themselves<br>Turning in t
 he wind. <br>I saw how the night came\, <br>Came striding like the color o
 f the heavy hemlocks<br>I felt afraid. <br>And I remembered the cry of the
  peacocks.</p><p><strong>Klaus Lang - from “Freedom. Time. Politics.'<br>”I am trying to compose music which turns sound into time made aud
 ible. I think that this is only possible when sound is just sound because 
 only then it is perceivable as that which it really is: a temporal phenome
 non\, audible time.But again at this point yet another seemingly paradoxic
 al discontinuity shows: When we enter through listening a state of pure pr
 esence\, in which music becomes pure duration\, we are leaving temporality
 . When time becomes pure presence it dissolves. Through listening\, time b
 ecomes eternity.</p><hr><h2>Biographies</h2><h3><a href='https://www.yarnw
 ire.org'>Yarn/Wire</a></h3><p><strong>Yarn/Wire</strong> is a new music qu
 artet dedicated to the promotion of creative\, meaningful live musical exp
 eriences in the United States and abroad. Yarn/Wire achieves this by suppo
 rting composers and audiences through live performances\, educational acti
 vities\, and large-scale collaborative projects. Our artistic programming 
 is driven by the desire to present music that reflects the full spectrum o
 f our community at the highest level.</p>
END:VEVENT
BEGIN:VEVENT
UID:feb2ebaa-753c-40be-9336-dae9900fcc24
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20251002T190906Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p><p> Topics covered include:</strong></p><ul><li>An overview of the School o
 f Music and its resources</li><li>Degree programs offered</li><li>The appl
 ication and audition process</li><li>Scholarships</li><li>Opportunities fo
 r non-music majors</li></ul><p><strong>Time and location: </strong>Informa
 tion sessions are held from 12:00-1:00 PM over Zoom. </p><p><a class='purp
 le-button' href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer'>Regis
 ter</a></p><p>Registration is required. <strong>To ask a question\, please
  email </strong><a href='mailto:SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20260123T120000
LAST-MODIFIED:20251002T190930Z
SEQUENCE:327
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-01-23/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p>The UW School of Music encourag
 es prospective freshmen\, transfer students\, and current UW undergraduate
 s to attend a School of Music information session. These sessions provide 
 a great opportunity to learn more about what the School of Music has to of
 fer as well as ask questions about admissions\, auditions\, or life as a U
 W music student.</p></blockquote><p> <strong>Topics covered include:</p><ul><li>An overview of the School of Music and its resources</li>Degree programs offered</li><li>The application and audition process</li><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p>&lt;
 strong&gt;Time and location: </strong>Information sessions are held from 12:0
 0-1:00 PM over Zoom. </p><p><a class='purple-button' href='https://music.w
 ashington.edu/prospective-undergraduate-student-information-session' targe t='_blank' rel='noopener noreferrer'>Register</a></p><p>Registration is re
 quired. <strong>To ask a question\, please email </strong><a href='mailto:
 SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:47fb23d9-a73b-4b18-b498-b9a31b97a757
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250820T005340Z
DESCRIPTION:<p> </p><p>Students from the UW keyboard program compete for ou
 tside judges for a chance to perform with the UW Symphony. Adjudicators fo
 r this competition are Allan Park\, Yelena Balabenova\, and Xiaohui Yang.&lt;
 /p&gt;<hr><h3>Program</h3><p><strong>1.    Freya Frahm</strong><br>Edward Mac
 dowell:  Concerto No. 2 in D minor\,  Opus 23<br>1.    Larghetto calmato—p
 oco piu mosso e con passione<br>Jeffrey Tso\, Accompanist</p><p><strong>2.
     Chloe Song</strong><br>Tchaikovsky:  Concerto No. 1 in B flat Minor Op
 us 22<br>    3. Allegro con fuoco<br> Jiayi Wang\, Accompanist</p><p>3.    Kane Chang</strong><br>Schumann: Concerto in A minor\, Opus 54<br>1.    Allegretto affettuoso<br>Mia Hyeyeon Kim\, Accompanist</p><p>4.     Olivia Hsu</strong><br>Bartók: Concerto No. 3\, Sz.119<br>1. Alle
 gretto<br>Jeffrey Tso\, Accompanist</p><p><strong>5.    Jixuan Wu</strong>
 <br>Beethoven: Concerto No. 4 in G major\, Opus 58<br>1.    Allegro modera
 to<br> Jiayi Wang\, Accompanist</p><p>            INTERMISSION<br><br>6. Yuchen Qi</strong><br>    Beethoven: Concerto No. 3 in C minor\, Op
 us 37<br>1.     Allegro con brio<br>Boheng Wang\, Accompanist</p><p>7. Eli Antony</strong><br>    Carl Maria vonWeber: Konzerstucke in F min
 or\, Opus 79<br>Chiao-Yu Wu\, Accompanist</p><p><strong>8. Xinyi Cao<br>      Liszt: “Totentantz” Paraphrase on Dies Irae\, S. 1. 26<br>Jia
 xuan Wu\, Accompanist</p><p><strong>9. Chelsea Zhang</strong><br>      Bee
 thoven: Concerto No. 3 in C minor\, Opus 37<br>1.    Allegro con brio<br>C
 hiao-Yu Wu\, Accompanist</p><p><strong>10. Alyssa Hironaka</strong><br>   
    Ravel: Concerto in G major<br>1.    Allegramente<br>2.    Presto<br>Jin
 gshi Zhao\, Accompanist</p><hr><h2>Thank you</h2><p>Deep appreciation and 
 thanks to our three colleagues who have given their time and expertise to 
 judge this competition: Dr. Xiaohui Yang\, Dr. Yelena Balabanova\, and  Al
 lan Park.</p>
DTSTART;TZID=America/Los_Angeles:20260127T173000
LAST-MODIFIED:20260122T234113Z
SEQUENCE:328
SUMMARY:: Concerto Competition: Keyboard
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-01-27/concerto-competition-key
 board
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>Students from the UW keyboard progr
 am compete for outside judges for a chance to perform with the UW Symphony
 . Adjudicators for this competition are Allan Park\, Yelena Balabenova\, a
 nd Xiaohui Yang.</p><hr><h3>Program</h3><p><strong>1.    Freya Frahm<br>Edward Macdowell:  Concerto No. 2 in D minor\,  Opus 23<br>1.    La
 rghetto calmato—poco piu mosso e con passione<br><em>Jeffrey Tso\, Accompa
 nist</em></p><p><strong>2.    Chloe Song</strong><br>Tchaikovsky:  Concert
 o No. 1 in B flat Minor Opus 22<br>    3. Allegro con fuoco<br><em> Jiayi 
 Wang\, Accompanist</em></p><p><strong>3.    Kane Chang</strong><br>Schuman
 n: Concerto in A minor\, Opus 54<br>1.    Allegretto affettuoso<br><em>Mia
  Hyeyeon Kim\, Accompanist</em></p><p><strong>4.     Olivia Hsu</strong><b r>Bartók: Concerto No. 3\, Sz.119<br>1. Allegretto<br><em>Jeffrey Tso\, Ac
 companist</em></p><p><strong>5.    Jixuan Wu</strong><br>Beethoven: Concer
 to No. 4 in G major\, Opus 58<br>1.    Allegro moderato<br><em> Jiayi Wang
 \, Accompanist</em></p><p>            INTERMISSION<br><br><strong>6. Yuche
 n Qi</strong><br>    Beethoven: Concerto No. 3 in C minor\, Opus 37<br>1. 
     Allegro con brio<br><em>Boheng Wang\, Accompanist</em></p><p><strong>7
 . Eli Antony</strong><br>    Carl Maria vonWeber: Konzerstucke in F minor\
 , Opus 79<br><em>Chiao-Yu Wu\, Accompanist</em></p><p><strong>8. Xinyi Cao
 </strong><br>      Liszt: “Totentantz” Paraphrase on Dies Irae\, S. 1. 26&lt;
 br&gt;<em>Jiaxuan Wu\, Accompanist</em></p><p><strong>9. Chelsea Zhang<br>      Beethoven: Concerto No. 3 in C minor\, Opus 37<br>1.    Allegr
 o con brio<br><em>Chiao-Yu Wu\, Accompanist</em></p><p><strong>10. Alyssa 
 Hironaka</strong><br>      Ravel: Concerto in G major<br>1.    Allegrament
 e<br>2.    Presto<br><em>Jingshi Zhao\, Accompanist</em></p><hr><h2>Thank 
 you</h2><p>Deep appreciation and thanks to our three colleagues who have g
 iven their time and expertise to judge this competition: Dr. Xiaohui Yang\
 , Dr. Yelena Balabanova\, and  Allan Park.</p>
END:VEVENT
BEGIN:VEVENT
UID:4fc12edc-5d0a-4f05-80d0-dfecf46386d9
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T190443Z
DESCRIPTION:<p> </p><p>David Alexander Rahbee leads members of the UW Symph
 ony in special free outreach program at the Nordstrom Recital Hall at Seat
 tle's Benaroya Hall. The program includes music by Marianna Martines\, Hay
 dn\, and Mozart. Artist-in-residence (and Seattle Symphony principal) Davi
 d Gordon\, trumpet\, is featured soloist with the orchestra on Haydn's Tru
 mpet Concerto in E-flat major. </p><hr><h2>Program</h2><p class='text-alig
 n-justify' times new roman>Sinfonia in C major - <strong>Marianna Mart
 ines </strong>(1744-1812)</p><p class='text-align-justify'>I. Allegro con spirito</p><p class='text-align-jus
 tify' times new>Trumpet Concerto\, in E-flat major - <strong>Fra
 nz Joseph Haydn</strong> (1732-1809)</p><p>I.Allegro<br>II. Andante<br>III
 . Finale: Allegro<br>David Gordon\, trumpet<br><br>-Intermission-</p><p cl ass='text-align-justify' t imes new>Symphony No. 41\, in C major\
 , “Jupiter”- <strong>Wolfgang Amadeus Mozart</strong> (1756-1791)</p><p>I.
  Allegro vivace<br>II. Andante cantabile<br>III. Allegretto<br>IV. Molto a
 llegro</p><hr><h2>Program Notes</h2><p>By Nathan Evans</p><p><strong>Maria
 nna Martines (1744 - 1812): Symphony in C major</strong><br>Marianna Marti
 nes is a lesser known composer\, yet one of influential female figures of 
 the industry during her time\, this may be the only surviving symphony wri
 tten by a woman in the classical era. While other female composers were ac
 tive during the time\, such as Anna Amalia\, Princess of Prussia\, none ha
 ve existing symphonies\, marking this piece as historically one of a kind.
  Of Spanish name and family\, Martines was born\, raised\, lived and died 
 in Vienna\, Austria. Growing up\, she was regarded as a musical prodigy fo
 r her talent in vocal performance\, keyboard\, and composing. She was scho
 oled by several prominent musical figures in the area\, notably Haydn\, wh
 o lived in the attic of Martines’s childhood apartment building. You can v
 isit the site today at Vienna’s famous Michaelerplatz. The Großes Michaele
 rhaus\, is one of only 2 buildings still standing in which Haydn lived. He
  taught the young Martines keyboard\, and as she became more renowned as a
  composer the two became colleagues. Martines’s Symphony in C major is poi
 sed\, stylish\, and expertly crafted work fitting of the Viennese classica
 l tradition. Tonight you will hear the work’s first movement functioning a
 s on overture.</p><p><strong>F. J. Haydn (1732 - 1809): Trumpet Concerto i
 n E-flat major</strong><br>The Trumpet of the eighteenth century was quite
  a different when compared with the modern instrument. A coiled brass tube
  of approximately eight feet\, and with no valves could only produce notes
  within the overtone series. However\, a newly invented trumpet called the
  Keyed Trumpet opened up the possibilities of chromaticism in the instrume
 nt’s middle and low registers\, a feat impossible on  “natural” counterpar
 ts. It features keys on tone holes along its tubing\, similar to woodwind 
 instruments we see today\, which greatly expanded its melodic territory. H
 aydn takes full advantage of this in his E flat Trumpet concerto. Being ar
 guably the most famous concerto written for this particular instrument\, t
 his piece memorializes an otherwise forgotten member of the trumpet family
 \, which was quickly discarded from popular use after the invention of the
  more practical and versatile Valved Trumpet in the early nineteenth centu
 ry. In the first and third movements\, listen for stepwise motion and chro
 matic runs that would have never been achieved on earlier trumpets. While 
 not as groundbreaking to our ears today\, these passages highlighted the t
 echnological breakthrough of the keyed trumpet during the final years of t
 he century. For the younger audience\, you may also recognize the third mo
 vement of this concerto from the popular TV series Squid Game\, where the 
 opening theme is played to wake the characters up for the 1st game\; the j
 oyful melody plays in stark contrast with the dark fate the players are so
 on to face.<br><br><strong>W. A. Mozart (1756 - 1791): Symphony No. 41 in 
 C major\, K.551 “Jupiter”</strong><br>Titled “Jupiter” posthumously\, this
  was Mozart’s final symphony\, and the last of three which the composer wr
 ote during a creative burst the summer of 1788. It is commonly agreed upon
  that the piece received its nickname from the opening figure of the piece
 . According to Mozart’s son Franz Xaiver Wolfgang Mozart\, it was German v
 iolinist and conductor Johann Peter Salomon who coined the name. The theme
  reminded Salomon of Jupiter\, specifically the Roman god’s lightning bolt
 s. Symphonies no. 39 - 41 were composed without a commission\, or concert 
 date in sight. Mozart rarely composed symphonies outside of being paid to 
 do so\, making the circumstances around writing them uncharacteristic for.
  There is the claim that Mozart could have intended to use these works to 
 draw crowds in Vienna for a new concert series\, but no such plans materia
 lized\, and no existing letters support this. All three of these final sym
 phonies would have to wait until after Mozart’s death to be published and 
 performed. They may be seen as a unified trilogy\, as they share similar m
 usical motifs. No. 39 is the only one with the stately introduction\, and 
 number 41 is the only one with the coda. The 4th movement of no. 41\, Molt
 o Allegro (very fast/ lively)\, is particularly extraordinary as it featur
 es a mixture of both sonata form and fugue. It begins conventionally\, yet
  as the themes develop and motifs introduce themselves\, they start to ove
 rlap\, all while retaining their clarity. The ending features the combinat
 ion of all these motifs\, with more than rive or them sounding. This grand
 eur and was groundbreaking for its time\, and a clear inspiration for futu
 re composers such as Beethoven.</p><hr><p><strong>University of Washington
  Chamber Orchestra</strong><br>(members of the University of Washington Sy
 mphony Orchestra)<br><strong>David Alexander Rahbee\, </strong>Music Direc
 tor and Conductor<br><strong>Robert Stahly </strong>and<strong> Zach Banks
 \,</strong> Assistant Conductors</p><p><strong>Flute</strong><br>Xinyi Liu
 \, DMA Flute Performance<br>Peyton Ray\, BM Flute Performance<br>Claire We
 i\, BM Flute Performance<br><br><strong>Oboe</strong><br>Max Bolen\, Music
  Education/Marine Biology<br>Minh-Thi Butler\, BM Oboe Performance<br>Aika
  Ishizuki\, Pre-science<br><br><strong>Bassoon</strong><br>Levi Beck\, BM 
 Bassoon Performance<br>Alex Fraley\, Music Education<br>Ryan Kapsandy\, BM
  Bassoon Performance<br>Eric Spradling\, BM Bassoon Performance<br><br>Horn   </strong>  <br>Nicole Bogner\, BM Horn Performance<br>Sam Nutt
 \, Molecular &amp; Cellular Biology<br><br><strong>Trumpet</strong><br>Hans Fa
 ul\, BM Trumpet Performance<br>Antti Männistö\, BS Physics<br><br><strong>
 Timpani</strong><br>Kaisho Barnhill\, Music Education/Music Theory/Psychol
 ogy</p><p><strong>Violin I</strong><br>Grace Pandra\, Violin Performance/B
 usiness Administration (Co-Concertmaster)<br>Hanu Nahm\, Violin Performanc
 e/Chemistry(Co-Concertmaster)<br>David Teves-Tan\, Pre-Sciences<br>Michael
 a Klesse\, Music<br>Yerin Hwang\, Music<br>Kieran Horowitz\, Biology<br>Ju
 stin Chae\, Computer Science/Mathematics<br>Brandon Bailey\, Computer Scie
 nce<br><br><strong>Violin II</strong><br>Martessa Davis\, MM Violin Perfor
 mance (Principal)<br>Gustavo Berho\, BM Music<br>Rosalia Feng\, Statistics
 <br>Victoria Zhuang\, Informatics and Geography: Data Science<br>Vitaliy D
 uvalko\, Engineering<br>Saraim Gebretsadik\, Biochemistry<br>Qurin Choi\, 
 Biochemistry<br>Alice Leppert\, Chemistry<br>Thea Higgins\, MS Industrial 
 Engineering</p><p><br><strong>Viola</strong>     <br>Flora Cummings\, Viol
 a Performance (CoPrincipal)<br>Mica Weiland\, Viola Performance and conduc
 ting  (CoPrincipal)<br>Abigail Schidler\, Computer Science/BA Music<br>Hel
 en Young\, MM Music Education<br>Emma Boyce\, Music History<br>Mia Grayson
 \, Biochemistry<br><br><strong>Violoncello         </strong><br>Cory Chen\
 , BA in Music/BS MCD Biology (Principal)<br>Sota Emura\, BM Cello Performa
 nce<br>Ian Jung\, Engineering<br>Oliver Tiu\, Biochemistry<br>Nathan Evans
 \, BA Music History<br><br><strong>Bass    </strong><br>Amelia Matsumoto\,
  BM Bass Performance (Principal)<br>Eddie Mospan\, BM Bass Performance<br>
 Nathan Eskridge\, MM Bass Performance</p><hr><h2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260128T193000
LAST-MODIFIED:20260126T163909Z
SEQUENCE:329
SUMMARY:: UW Chamber Orchestra with David Gordon\, trumpet
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-01-28/uw-chamber-orchestra-dav
 id-gordon-trumpet
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>David Alexander Rahbee leads member
 s of the UW Symphony in special free outreach program at the Nordstrom Rec
 ital Hall at Seattle's Benaroya Hall. The program includes music by Marian
 na Martines\, Haydn\, and Mozart. Artist-in-residence (and Seattle Symphon
 y principal) David Gordon\, trumpet\, is featured soloist with the orchest
 ra on Haydn's Trumpet Concerto in E-flat major. </p><hr><h2>Program</h2><p class='text-align-justify' times new><span avenir>Sinfonia in C major - <strong>Marianna Martines </strong>(
 1744-</span><span avenir book>1812)</span></p><p class='text-align-justify'><span avenir>I. Allegro con spirito</span></p><p class='text-align-justify' st times new><span avenir>Trumpet Concer
 to\, in E-flat major -</span><em><span avenir> </span></em><span avenir><strong>Franz Jose
 ph Haydn</strong> (1732-</span><span avenir>1809)</span></p><p><span aveni r>I.Allegro</span><br><span avenir>I
 I. Andante</span><br><span avenir>III. Finale
 : Allegro</span><br><em><span avenir next lt>David Gordon\, trumpet</span></em><br><br><span avenir>-Intermission-</span></p><p class='text-align-justif
 y' times new><span avenir>Symphony 
 No. 41\, in C major\, “Jupiter”</span><em><span avenir>- </span></em><span avenir><strong>
 Wolfgang Amadeus Mozart</strong> (1756-</span><span avenir>1791)</span></p><p><span avenir>I. Allegro vivace</span><br>II. <span avenir>Andante cantabile</span><br>III. <span avenir>Allegretto</span><br>IV. <span avenir>Molto allegro</span></p><hr><h2>Program Notes</h2><p>&lt;
 em&gt;By Nathan Evans</em></p><p><strong>Marianna Martines (1744 - 1812): Sym
 phony in C major</strong><br>Marianna Martines is a lesser known composer\
 , yet one of influential female figures of the industry during her time\, 
 this may be the only surviving symphony written by a woman in the classica
 l era. While other female composers were active during the time\, such as 
 Anna Amalia\, Princess of Prussia\, none have existing symphonies\, markin
 g this piece as historically one of a kind. Of Spanish name and family\, M
 artines was born\, raised\, lived and died in Vienna\, Austria. Growing up
 \, she was regarded as a musical prodigy for her talent in vocal performan
 ce\, keyboard\, and composing. She was schooled by several prominent music
 al figures in the area\, notably Haydn\, who lived in the attic of Martine
 s’s childhood apartment building. You can visit the site today at Vienna’s
  famous Michaelerplatz. The Großes Michaelerhaus\, is one of only 2 buildi
 ngs still standing in which Haydn lived. He taught the young Martines keyb
 oard\, and as she became more renowned as a composer the two became collea
 gues. Martines’s Symphony in C major is poised\, stylish\, and expertly cr
 afted work fitting of the Viennese classical tradition. Tonight you will h
 ear the work’s first movement functioning as on overture.</p><p><strong>F.
  J. Haydn (1732 - 1809): Trumpet Concerto in E-flat major</strong><br>The 
 Trumpet of the eighteenth century was quite a different when compared with
  the modern instrument. A coiled brass tube of approximately eight feet\, 
 and with no valves could only produce notes within the overtone series. Ho
 wever\, a newly invented trumpet called the Keyed Trumpet opened up the po
 ssibilities of chromaticism in the instrument’s middle and low registers\,
  a feat impossible on  “natural” counterparts. It features keys on tone ho
 les along its tubing\, similar to woodwind instruments we see today\, whic
 h greatly expanded its melodic territory. Haydn takes full advantage of th
 is in his E flat Trumpet concerto. Being arguably the most famous concerto
  written for this particular instrument\, this piece memorializes an other
 wise forgotten member of the trumpet family\, which was quickly discarded 
 from popular use after the invention of the more practical and versatile V
 alved Trumpet in the early nineteenth century. In the first and third move
 ments\, listen for stepwise motion and chromatic runs that would have neve
 r been achieved on earlier trumpets. While not as groundbreaking to our ea
 rs today\, these passages highlighted the technological breakthrough of th
 e keyed trumpet during the final years of the century. For the younger aud
 ience\, you may also recognize the third movement of this concerto from th
 e popular TV series Squid Game\, where the opening theme is played to wake
  the characters up for the 1st game\; the joyful melody plays in stark con
 trast with the dark fate the players are soon to face.<br><br><strong>W. A
 . Mozart (1756 - 1791): Symphony No. 41 in C major\, K.551 “Jupiter”<br>Titled “Jupiter” posthumously\, this was Mozart’s final symphony\, 
 and the last of three which the composer wrote during a creative burst the
  summer of 1788. It is commonly agreed upon that the piece received its ni
 ckname from the opening figure of the piece. According to Mozart’s son Fra
 nz Xaiver Wolfgang Mozart\, it was German violinist and conductor Johann P
 eter Salomon who coined the name. The theme reminded Salomon of Jupiter\, 
 specifically the Roman god’s lightning bolts. Symphonies no. 39 - 41 were 
 composed without a commission\, or concert date in sight. Mozart rarely co
 mposed symphonies outside of being paid to do so\, making the circumstance
 s around writing them uncharacteristic for. There is the claim that Mozart
  could have intended to use these works to draw crowds in Vienna for a new
  concert series\, but no such plans materialized\, and no existing letters
  support this. All three of these final symphonies would have to wait unti
 l after Mozart’s death to be published and performed. They may be seen as 
 a unified trilogy\, as they share similar musical motifs. No. 39 is the on
 ly one with the stately introduction\, and number 41 is the only one with 
 the coda. The 4th movement of no. 41\, Molto Allegro (very fast/ lively)\,
  is particularly extraordinary as it features a mixture of both sonata for
 m and fugue. It begins conventionally\, yet as the themes develop and moti
 fs introduce themselves\, they start to overlap\, all while retaining thei
 r clarity. The ending features the combination of all these motifs\, with 
 more than rive or them sounding. This grandeur and was groundbreaking for 
 its time\, and a clear inspiration for future composers such as Beethoven.
 </p><hr><p><strong>University of Washington Chamber Orchestra</strong><br>
 (members of the University of Washington Symphony Orchestra)<br><strong>Da
 vid Alexander Rahbee\, </strong>Music Director and Conductor<br><strong>Ro
 bert Stahly </strong>and<strong> Zach Banks\,</strong> Assistant Conductor
 s</p><p><strong>Flute</strong><br>Xinyi Liu\, DMA Flute Performance<br>Pey
 ton Ray\, BM Flute Performance<br>Claire Wei\, BM Flute Performance<br><br><strong>Oboe</strong><br>Max Bolen\, Music Education/Marine Biology<br>Mi
 nh-Thi Butler\, BM Oboe Performance<br>Aika Ishizuki\, Pre-science<br><br>
 <strong>Bassoon</strong><br>Levi Beck\, BM Bassoon Performance<br>Alex Fra
 ley\, Music Education<br>Ryan Kapsandy\, BM Bassoon Performance<br>Eric Sp
 radling\, BM Bassoon Performance<br><br><strong>Horn   </strong>  <br>Nico
 le Bogner\, BM Horn Performance<br>Sam Nutt\, Molecular &amp; Cellular Biology
 <br><br><strong>Trumpet</strong><br>Hans Faul\, BM Trumpet Performance<br>
 Antti Männistö\, BS Physics<br><br><strong>Timpani</strong><br>Kaisho Barn
 hill\, Music Education/Music Theory/Psychology</p><p><strong>Violin I<br>Grace Pandra\, Violin Performance/Business Administration (Co-Conc
 ertmaster)<br>Hanu Nahm\, Violin Performance/Chemistry(Co-Concertmaster)<b r>David Teves-Tan\, Pre-Sciences<br>Michaela Klesse\, Music<br>Yerin Hwang
 \, Music<br>Kieran Horowitz\, Biology<br>Justin Chae\, Computer Science/Ma
 thematics<br>Brandon Bailey\, Computer Science<br><br><strong>Violin II</s><br>Martessa Davis\, MM Violin Performance (Principal)<br>Gustavo Be
 rho\, BM Music<br>Rosalia Feng\, Statistics<br>Victoria Zhuang\, Informati
 cs and Geography: Data Science<br>Vitaliy Duvalko\, Engineering<br>Saraim 
 Gebretsadik\, Biochemistry<br>Qurin Choi\, Biochemistry<br>Alice Leppert\,
  Chemistry<br>Thea Higgins\, MS Industrial Engineering</p><p><br><strong>V
 iola</strong>     <br>Flora Cummings\, Viola Performance (CoPrincipal)<br>
 Mica Weiland\, Viola Performance and conducting  (CoPrincipal)<br>Abigail 
 Schidler\, Computer Science/BA Music<br>Helen Young\, MM Music Education<b r>Emma Boyce\, Music History<br>Mia Grayson\, Biochemistry<br><br><strong>
 Violoncello         </strong><br>Cory Chen\, BA in Music/BS MCD Biology (P
 rincipal)<br>Sota Emura\, BM Cello Performance<br>Ian Jung\, Engineering<b r>Oliver Tiu\, Biochemistry<br>Nathan Evans\, BA Music History<br><br>Bass    </strong><br>Amelia Matsumoto\, BM Bass Performance (Principal
 )<br>Eddie Mospan\, BM Bass Performance<br>Nathan Eskridge\, MM Bass Perfo
 rmance</p><hr><h2>Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:06b2a7a6-c93b-4fee-8770-db8022ee9421
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250820T005513Z
DESCRIPTION:<p> </p><p>Students from the UW instrumental performance studio
 s compete for outside judges for a chance to perform with the UW Symphony.
  Guest adjudicators for the competition are Natalie Ham and Zach Lyman. </p><hr><h2>Program</h2><p><strong>Concerto - Henri Tomasi (1901-1971)<br>I. Allegro giocoso<br>Cameron DeLuca\, clarinet\; Kiwa Mizutani\, p
 iano<br>Cameron DeLuca is a Doctor of Musical Arts student and studies wit
 h Ben Lulich.<br><br><strong>Concerto (1932) - Jacques Ibert (1890-1962)</strong><br>II. Andante<br>Grace Playstead\, flute\; Jieun Kim\, piano<br>G
 race Playstead is a Master of Music student and studies with Donna Shin.<b r><br><strong>Ballade\, Op. 62 (1944) - Eugène Bozza (1905-1991)</strong>&lt;
 br&gt;Nathaniel Wyttenbach\, trombone\; Alex Kostadinov\, piano<br>Nathaniel 
 Wyttenbach is a Bachelor of Music student and studies with Eden Garza.<br>
 <br><strong>Concerto in D Major\, Op. 283 (1908) - Carl Reinecke (1824-191
 0)</strong><br>I. Allegro molto moderato<br>Tracia Pan\, flute\; Jieun Kim
 \, piano<br>Tracia Pan is a Bachelor of Music student and studies with Don
 na Shin.<br><br><strong>Concerto (1948) - Aaron Copland (1900-1990)<br>Ysanne Webb\, clarinet\; Mia Kim\, piano<br>Ysanne Webb is a Doctor 
 of Musical Arts student and studies with Ben Lulich.<br><br><strong>Cirand
 a das sete notas\, W325 - Heitor Villa-Lobos (1887-1959)</strong><br>Ryan 
 Kapsandy\, bassoon\; Alexander Kostadinov\, piano<br>Ryan Kapsandy is a Ba
 chelor of Music student and studies with Paul Rafanelli.<br><br><strong>Co
 ncerto (1926) - Carl Nielsen (1865-1931)</strong><br>I. Allegro moderato<b r>Xinyi Liu\, flute\; Jieun Kim\, piano<br>Xinyi Liu is a Doctor of Musica
 l Arts student and studies with Donna Shin.<br><br><strong>Concerto\, Op. 
 114 (1988) - Derek Bourgeois (1941-2017)</strong><br>I. Allegro<br>II. Ada
 gio<br>Neal Muppidi\, trombon\; Alex Kostadinov\, piano<br>Neal Muppidi is
  a Bachelor of Music student and studies with Eden Garza.</p><p><strong>Co
 ncerto #2 in Eb Major\, Op. 74 - Carl Maria von Weber (1786-1826)</strong>
 <br>I. Allegro<br>Luqi Wang\, clarinet\; Kiwa Mizutani\, piano<br>Luqi Wan
 g is a Doctor of Musical Arts student and studies with Ben Lulich.<br><br>
 <strong>Concerto in D Major\, Roger 188 - Giuseppe Torelli (1658-1709)<br>I. Allegro <br>II. Andante <br>III. Allegro <br>Drew Theran\, tru
 mpet\; Alexander Kostadinov\, piano<br>Drew Theran is a Master of Music st
 udent and studies with David Gordon.</p><p><strong>Concerto in D Major\, O
 p. 283 (1908) I. Allegro molto moderato - Carl Reinecke (1824-1910)<br>III. Finale: Moderato<br>Claire Wei\, flute Jieun Kim\, piano<br>Cla
 ire Wei is a Bachelor of Music student and studies with Donna Shin.</p><p>
 <strong>Sonata (Concerto) for Tuba and Piano I. Allegro Moderato - Bruce B
 roughton (b. 1945)</strong><br>II. Aria<br>III. Allegro Leggero<br>Foster 
 Patterson\, tuba\; Alex Kostanidov\, piano<br>Foster Patterson is a Bachel
 or of Music student and studies with John DiCesare.</p><hr><h2>Adjudicator
  Biographies</h2><p><strong>Dr. Natalie Ham </strong>is an active flutist\
 , educator\, and arts administrator in the Greater Seattle area\, with a s
 trong commitment to music education and collaborative artistic work. As a 
 performer\, Dr. Ham has appeared as a featured flutist with the Harry Part
 ch Ensemble and is a member of Inverted Space Ensemble\, a contemporary mu
 sic collective that collaborates with composers from the Seattle area and 
 abroad. Her artistic work spans orchestral\, chamber\, Baroque\, and conte
 mporary repertoire\, with a particular passion for extended techniques\, i
 nnovative programming\, and collaborative projects that explore the bounda
 ries of flute performance.<br><br>Dr. Ham has held faculty positions at Wh
 itworth University and Eastern Washington University\, and supported under
 graduate flute study\, chamber music\, and orchestral preparation at the U
 niversity of Washington. Her teaching centers on developing strong technic
 al foundations while supporting students’ musical curiosity\, confidence\,
  and individual artistic voices. In addition to her performing and teachin
 g work\, Dr. Ham has held leadership and administrative roles within sever
 al arts organizations\, including the Seattle Flute Society\, the American
  Guild of Organists – Seattle Chapter\, and the University of Washington S
 chool of Music. She currently serves as Operations Manager for the Bellevu
 e Youth Symphony Orchestra\, a robust organization serving students in the
  Greater Bellevue area\, where she supports young musicians and their fami
 lies in meaningful and sustained musical growth. She holds a Bachelor of M
 usic in flute performance from the Eastman School of<br>Music where she st
 udied with Bonita Boyd\, and a Master of Music and Doctor of Musical Arts 
 in flute performance from the University of Washington\, where she studied
  with Donna Shin.<br><br><strong>Zachary Lyman</strong> is Professor of Mu
 sic at Pacific Lutheran University (PLU)\, where he teaches trumpet\, musi
 c theory\, directs the trumpet ensemble\, coaches chamber music\, and perf
 orms with the Lyric Brass Quintet. He received the 2017 Faculty Excellence
  Award in Teaching. Dr. Lyman holds the Doctor of Musical Arts degree in T
 rumpet Performance and Pedagogy from the University of Iowa where he was t
 he recipient of the prestigious Iowa Performance Fellowship\, the highest 
 award for graduate study. He received the Bachelor of Music Degree with ho
 nors from the College of Wooster and the Master of Music degree with honor
 s and distinction in performance from the New England Conservatory of Musi
 c. He is active as an orchestral\, chamber\, and solo performer and has pe
 rformed with the New England Philharmonic\, and the Boston Philharmonic\, 
 Cedar Rapids\, and Quad Cities Symphony Orchestras. Lyman has also perform
 ed as featured soloist with the Moscow Chamber Orchestra\, PLU Wind Ensemb
 le\, PLU Symphony Orchestra\, the University Chorale\, Choir of the West\,
  the Tacoma Community College Orchestra\, the Seattle Bach Choir\, Brass U
 nlimited\, Brass Band Tacoma\, and many others. He plays throughout the no
 rthwest as a member of the Seattle-based Mosaic Brass Quintet. He has appe
 ared with the Vashon Opera Orchestra and at the Olympic Music Festival\, a
 nd plays regularly with Symphony Tacoma\, the Tacoma Opera Orchestra\, and
  the Tacoma City Ballet Orchestra. He also serves as Director of the Tacom
 a Young Chamber Players\, the Puget Sound’s premier chamber music experien
 ce<br>for high school musicians. Dr. Lyman’s articles have been published 
 by American Music and the International<br>Trumpet Guild Journal. His trum
 pet warm-up book Practical Daily Warm-Ups for Trumpet is published by Keve
 li Music. The Lyric Brass Quintet’s CD\, American Music for Brass Quintet\
 , is available from Emeritus Recordings. A second album\, featuring the wo
 rld-premiere recording of Luther: Seven Scenes for Brass Quintet by PLU Em
 eritus faculty member Dr. Jerry Kracht\, was released in October\, 2018. D
 r. Lyman lives in Tacoma with his wife\, son\, and daughter. In his spare 
 time\, he enjoys trying to stay upright on his mountain bike\, and being a
 <br>disgruntled Red Sox fan. Dr. Lyman is an S.E. Shires performing artist
 .</p>
DTSTART;TZID=America/Los_Angeles:20260129T183000
LAST-MODIFIED:20260125T171239Z
SEQUENCE:330
SUMMARY:: Concerto Competition: Woodwinds and Brass
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-01-29/concerto-competition-woo
 dwinds-and-brass
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>Students from the UW instrumental p
 erformance studios compete for outside judges for a chance to perform with
  the UW Symphony. Guest adjudicators for the competition are Natalie Ham a
 nd Zach Lyman. </p><hr><h2>Program</h2><p><strong>Concerto - Henri Tomasi 
 (1901-1971)</strong><br>I. Allegro giocoso<br>Cameron DeLuca\, clarinet\; 
 Kiwa Mizutani\, piano<br><em>Cameron DeLuca is a Doctor of Musical Arts st
 udent and studies with Ben Lulich.</em><br><br><strong>Concerto (1932) - J
 acques Ibert (1890-1962)</strong><br>II. Andante<br>Grace Playstead\, flut
 e\; Jieun Kim\, piano<br><em>Grace Playstead is a Master of Music student 
 and studies with Donna Shin.</em><br><br><strong>Ballade\, Op. 62 (1944) -
  Eugène Bozza (1905-1991)</strong><br>Nathaniel Wyttenbach\, trombone\; Al
 ex Kostadinov\, piano<br><em>Nathaniel Wyttenbach is a Bachelor of Music s
 tudent and studies with Eden Garza.</em><br><br><strong>Concerto in D Majo
 r\, Op. 283 (1908) - Carl Reinecke (1824-1910)</strong><br>I. Allegro molt
 o moderato<br>Tracia Pan\, flute\; Jieun Kim\, piano<br><em>Tracia Pan is 
 a Bachelor of Music student and studies with Donna Shin.</em><br><br>Concerto (1948) - Aaron Copland (1900-1990)</strong><br>Ysanne Webb\, c
 larinet\; Mia Kim\, piano<br><em>Ysanne Webb is a Doctor of Musical Arts s
 tudent and studies with Ben Lulich.</em><br><br><strong>Ciranda das sete n
 otas\, W325 - Heitor Villa-Lobos (1887-1959)</strong><br>Ryan Kapsandy\, b
 assoon\; Alexander Kostadinov\, piano<br><em>Ryan Kapsandy is a Bachelor o
 f Music student and studies with Paul Rafanelli.</em><br><br><strong>Conce
 rto (1926) - Carl Nielsen (1865-1931)</strong><br>I. Allegro moderato<br>X
 inyi Liu\, flute\; Jieun Kim\, piano<br><em>Xinyi Liu is a Doctor of Music
 al Arts student and studies with Donna Shin.</em><br><br><strong>Concerto\
 , Op. 114 (1988) - Derek Bourgeois (1941-2017)</strong><br>I. Allegro<br>I
 I. Adagio<br>Neal Muppidi\, trombon\; Alex Kostadinov\, piano<br><em>Neal 
 Muppidi is a Bachelor of Music student and studies with Eden Garza.</em></p><p><strong>Concerto #2 in Eb Major\, Op. 74 - Carl Maria von Weber (1786
 -1826)</strong><br>I. Allegro<br>Luqi Wang\, clarinet\; Kiwa Mizutani\, pi
 ano<br>Luqi Wang is a Doctor of Musical Arts student and studies with Ben 
 Lulich.<br><br><strong>Concerto in D Major\, Roger 188 - Giuseppe Torelli 
 (1658-1709)</strong><br>I. Allegro <br>II. Andante <br>III. Allegro <br>Dr
 ew Theran\, trumpet\; Alexander Kostadinov\, piano<br><em>Drew Theran is a
  Master of Music student and studies with David Gordon.</em></p><p><strong>Concerto in D Major\, Op. 283 (1908) I. Allegro molto moderato - Carl Rei
 necke (1824-1910)</strong><br>III. Finale: Moderato<br>Claire Wei\, flute 
 Jieun Kim\, piano<br><em>Claire Wei is a Bachelor of Music student and stu
 dies with Donna Shin.</em></p><p><strong>Sonata (Concerto) for Tuba and Pi
 ano I. Allegro Moderato - Bruce Broughton (b. 1945)</strong><br>II. Aria<b r>III. Allegro Leggero<br>Foster Patterson\, tuba\; Alex Kostanidov\, pian
 o<br><em>Foster Patterson is a Bachelor of Music student and studies with 
 John DiCesare.</em></p><hr><h2>Adjudicator Biographies</h2><p><strong>Dr. 
 Natalie Ham </strong>is an active flutist\, educator\, and arts administra
 tor in the Greater Seattle area\, with a strong commitment to music educat
 ion and collaborative artistic work. As a performer\, Dr. Ham has appeared
  as a featured flutist with the Harry Partch Ensemble and is a member of I
 nverted Space Ensemble\, a contemporary music collective that collaborates
  with composers from the Seattle area and abroad. Her artistic work spans 
 orchestral\, chamber\, Baroque\, and contemporary repertoire\, with a part
 icular passion for extended techniques\, innovative programming\, and coll
 aborative projects that explore the boundaries of flute performance.<br><b r>Dr. Ham has held faculty positions at Whitworth University and Eastern W
 ashington University\, and supported undergraduate flute study\, chamber m
 usic\, and orchestral preparation at the University of Washington. Her tea
 ching centers on developing strong technical foundations while supporting 
 students’ musical curiosity\, confidence\, and individual artistic voices.
  In addition to her performing and teaching work\, Dr. Ham has held leader
 ship and administrative roles within several arts organizations\, includin
 g the Seattle Flute Society\, the American Guild of Organists – Seattle Ch
 apter\, and the University of Washington School of Music. She currently se
 rves as Operations Manager for the Bellevue Youth Symphony Orchestra\, a r
 obust organization serving students in the Greater Bellevue area\, where s
 he supports young musicians and their families in meaningful and sustained
  musical growth. She holds a Bachelor of Music in flute performance from t
 he Eastman School of<br>Music where she studied with Bonita Boyd\, and a M
 aster of Music and Doctor of Musical Arts in flute performance from the Un
 iversity of Washington\, where she studied with Donna Shin.<br><br><strong>Zachary Lyman</strong> is Professor of Music at Pacific Lutheran Universi
 ty (PLU)\, where he teaches trumpet\, music theory\, directs the trumpet e
 nsemble\, coaches chamber music\, and performs with the Lyric Brass Quinte
 t. He received the 2017 Faculty Excellence Award in Teaching. Dr. Lyman ho
 lds the Doctor of Musical Arts degree in Trumpet Performance and Pedagogy 
 from the University of Iowa where he was the recipient of the prestigious 
 Iowa Performance Fellowship\, the highest award for graduate study. He rec
 eived the Bachelor of Music Degree with honors from the College of Wooster
  and the Master of Music degree with honors and distinction in performance
  from the New England Conservatory of Music. He is active as an orchestral
 \, chamber\, and solo performer and has performed with the New England Phi
 lharmonic\, and the Boston Philharmonic\, Cedar Rapids\, and Quad Cities S
 ymphony Orchestras. Lyman has also performed as featured soloist with the 
 Moscow Chamber Orchestra\, PLU Wind Ensemble\, PLU Symphony Orchestra\, th
 e University Chorale\, Choir of the West\, the Tacoma Community College Or
 chestra\, the Seattle Bach Choir\, Brass Unlimited\, Brass Band Tacoma\, a
 nd many others. He plays throughout the northwest as a member of the Seatt
 le-based Mosaic Brass Quintet. He has appeared with the Vashon Opera Orche
 stra and at the Olympic Music Festival\, and plays regularly with Symphony
  Tacoma\, the Tacoma Opera Orchestra\, and the Tacoma City Ballet Orchestr
 a. He also serves as Director of the Tacoma Young Chamber Players\, the Pu
 get Sound’s premier chamber music experience<br>for high school musicians.
  Dr. Lyman’s articles have been published by American Music and the Intern
 ational<br>Trumpet Guild Journal. His trumpet warm-up book Practical Daily
  Warm-Ups for Trumpet is published by Keveli Music. The Lyric Brass Quinte
 t’s CD\, American Music for Brass Quintet\, is available from Emeritus Rec
 ordings. A second album\, featuring the world-premiere recording of Luther
 : Seven Scenes for Brass Quintet by PLU Emeritus faculty member Dr. Jerry 
 Kracht\, was released in October\, 2018. Dr. Lyman lives in Tacoma with hi
 s wife\, son\, and daughter. In his spare time\, he enjoys trying to stay 
 upright on his mountain bike\, and being a<br>disgruntled Red Sox fan. Dr.
  Lyman is an S.E. Shires performing artist.</p>
END:VEVENT
BEGIN:VEVENT
UID:1de988cc-452c-4fe5-bb05-431f09e7e240
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Special Events\, Visiting Artists and Scholar
 s\, Workshops
CLASS:PUBLIC
CREATED:20260113T165917Z
DESCRIPTION:<p>Seattle Sacred Harp presents a two-hour  Shape Note Singing 
 School for singers of all abilities\, taught by Kevin Barrans and Seattle 
 Sacred Harp singers.</p><hr><h2>Background</h2><p>Shape note singing\, or 
 Sacred Harp\, is a participatory musical and folk singing tradition practi
 ced in the United States for more than 200 years. It is sung in four-part 
 harmony with singers seated in a 'hollow-square' facing one another\, unac
 companied and keyed by ear\, and uses oblong tunebooks written in shape no
 tation. There are no auditions\, rehearsals or performances.</p><p>While m
 ost of the songs have lyrics rooted in Protestant Christian tradition\, no
  particular religious or political philosophy is embraced or endorsed by t
 his community. Everyone\, regardless of musical experience\, background\, 
 I or creed\, is welcome in our community and our singings. Come experience
  American polyphonic singing in the Pacific Northwest. </p><p>For more inf
 ormation about shape note singing in Seattle\, see <a href='https://www.se
 attlesacredharp.org'>www.seattlesacredharp.org</a>. </p><p> </p>
DTSTART;TZID=America/Los_Angeles:20260130T184500
LAST-MODIFIED:20260114T185450Z
SEQUENCE:331
SUMMARY:: External Event: Seattle Sacred Harp Shape Note Singing School
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-01-30/external-event-seattle-s
 acred-harp-shape-note-singing-school
END:VEVENT
BEGIN:VEVENT
UID:54f76fe5-4dcc-4883-b0e3-2dc3bf345a83
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250528T164629Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p><h2 class='x_M
 soNormal'>Featured Performers</h2>  Program Details <a href='/sites/music/
 files/documents/Allen%20Library%20Concert.pdf'>HERE</a>!
DTSTART;TZID=America/Los_Angeles:20260204T123000
LAST-MODIFIED:20260126T235345Z
SEQUENCE:332
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-04/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p><span>Students of the UW School
  of Music perform in this </span>lunchtime concert series co-hosted by UW 
 Music and UW Libraries. </p></blockquote><h2 class='x_MsoNormal'><span>Fea
 tured Performers</span></h2><div class='elementToProof'><div class='elemen
 tToProof'><div class='elementToProof'><div class='elementToProof'><div cla ss='elementToProof'><div class='x_elementToProof ContentPasted0'><div clas s='x_elementToProof ContentPasted0'> </div></div></div></div></div></div>&lt;
 /div&gt;<div> </div><div>Program Details <a href='/sites/music/files/document
 s/Allen%20Library%20Concert.pdf'>HERE</a>!</div>
END:VEVENT
BEGIN:VEVENT
UID:8c02bec6-da4a-4456-a6b5-01dbcd57b5f8
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250814T220052Z
DESCRIPTION:<p>The UW Keyboard program hosts a solo piano recital by Stepha
 nie Shih-yu Cheng\, head of the Keyboard Department at the Lamont School o
 f Music\, University of Denver\, performing music by Philip Glass\, Mauric
 e Ravel\, Frederic Rzewski\, and Modest Mussorgsky.</p><hr><h2>Program</h2><p><strong>“Opening” from Glassworks (1981) Philip Glass </strong>(b. 193
 7)</p><p><strong>Sonatine - Maurice Ravel</strong> (1875–1937)<br>Modéré<b r>Mouvement de menuet<br>Animé<br> </p><p><strong>Piano Piece IV (1977) - 
 Frederic Rzewski</strong> (1938–2021)<br><br>~Intermission~<br><br><strong>Pictures at an Exhibition - Modest Mussorgsky </strong>(1839–1881)<br>Pro
 menade<br>I. Gnomus (The Gnome)<br>Promenade<br>II. Il vecchio castello (T
 he Old Castle)<br>Promenade<br>III. Tuileries (Children’s Quarrelling at P
 lay)<br>IV. Bydło<br>Promenade<br>V. Ballet of Unhatched Chicks<br>VI. 'Sa
 muel' Goldenberg and 'Schmuÿle'<br>Promenade<br>VII. Limoges: Le Marché (L
 a grande nouvelle) (The Market Square) (The Great News)<br>VIII. Catacomba
 e: Sepulcrum Romanum (Catacombs: A Roman Grave)<br>Cum mortuis in lingua m
 ortua (With the Dead in a Dead Language)<br>IX. The Hut on Hen’s Legs: Bab
 a Yaga<br>X. The Bogatyr Gate (at Kiev\, the Ancient Capital)</p><hr><h2>B
 iography</h2><p></p><p></p><p>Stephanie Shih-yu Cheng is a Taiwanese-Ameri
 can pianist whose captivating performances have brought her to leading sta
 ges around the world\, including Carnegie’s Weill Recital Hall\, the Dame 
 Myra Hess Series in Chicago\, Tokyo’s Opera City Hall\, the National Galle
 ry of Art in Washington\, D.C.\, and the National Concert Hall in Taipei. 
 Her playing has been featured on National Public Radio\, WFMT (Chicago)\, 
 Radio Video Mediterraneo (Italy)\, Nippon Television (Japan)\, and MSNBC’s
  Living &amp; Travel section.</p><p>Her solo album Ravel: Masterworks for the 
 Piano (Centaur Records) was praised as “a massive achievement… one of the 
 finest Ravel discs to have come my way for quite some time. Often revelato
 ry\, it qualifies as required listening for Francophiles.” Her playing is 
 also heard on the Summit Records album License to Thrill\, and she has col
 laborated with artists such as Leon Fleisher and Sara Davis Buechner.</p>&lt;
 p&gt;Cheng earned her Doctor of Musical Arts from Stony Brook University\, st
 udying with Gilbert Kalish\, and a Master’s from the Peabody Conservatory 
 under Ann Schein\, where she received the Rose Marie Milholland Award. She
  was awarded the Prix-Ville de Fontainebleau in France\, presented by Phil
 ippe Entremont.</p><p>A passionate educator\, Cheng has taught at the Manh
 attan School of Music Precollege\, the City University of New York\, and t
 he American University of Kuwait\, where she made regional history as the 
 first pianist to conduct a concerto from the keyboard. Her students have g
 one on to win national and international competitions and pursue advanced 
 studies at leading conservatories. She is regularly invited to give master
 classes and serve as an adjudicator across the U.S. and abroad.</p><p>Chen
 g is currently Professor of Piano and Chair of the Keyboard Department at 
 the Lamont School of Music\, University of Denver. She serves on the Board
  of Directors of The Allied Arts\, Inc.\, a nonprofit organization that su
 pports young artists. She is also on faculty at the Euro Arts Music Festiv
 al in Szczecin\, Poland. In October 2025\, she will be inducted into the S
 teinway &amp; Sons Teacher Hall of Fame.</p>
DTSTART;TZID=America/Los_Angeles:20260204T193000
LAST-MODIFIED:20260202T152113Z
SEQUENCE:333
SUMMARY:: Guest Pianist Recital: Stephanie Shih-yu Cheng
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-04/guest-pianist-recital-st
 ephanie-shih-yu-cheng
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The UW Keyboard program hosts a solo piano 
 recital by Stephanie Shih-yu Cheng\, head of the Keyboard Department at th
 e Lamont School of Music\, University of Denver\, performing music by Phil
 ip Glass\, Maurice Ravel\, Frederic Rzewski\, and Modest Mussorgsky.</p><h2>Program</h2><p><strong>“Opening” from Glassworks (1981) Philip Glass
  </strong>(b. 1937)</p><p><strong>Sonatine - Maurice Ravel</strong> (1875–
 1937)<br>Modéré<br>Mouvement de menuet<br>Animé<br> </p><p><strong>Piano P
 iece IV (1977) - Frederic Rzewski</strong> (1938–2021)<br><br>~Intermissio
 n~<br><br><strong>Pictures at an Exhibition - Modest Mussorgsky </strong>(
 1839–1881)<br>Promenade<br>I. Gnomus (The Gnome)<br>Promenade<br>II. Il ve
 cchio castello (The Old Castle)<br>Promenade<br>III. Tuileries (Children’s
  Quarrelling at Play)<br>IV. Bydło<br>Promenade<br>V. Ballet of Unhatched 
 Chicks<br>VI. 'Samuel' Goldenberg and 'Schmuÿle'<br>Promenade<br>VII. Limo
 ges: Le Marché (La grande nouvelle) (The Market Square) (The Great News)<b r>VIII. Catacombae: Sepulcrum Romanum (Catacombs: A Roman Grave)<br>Cum mo
 rtuis in lingua mortua (With the Dead in a Dead Language)<br>IX. The Hut o
 n Hen’s Legs: Baba Yaga<br>X. The Bogatyr Gate (at Kiev\, the Ancient Capi
 tal)</p><hr><h2>Biography</h2><p></p><p></p><p>Stephanie Shih-yu Cheng is a Taiwanese-American pianist w
 hose captivating performances have brought her to leading stages around th
 e world\, including Carnegie’s Weill Recital Hall\, the Dame Myra Hess Ser
 ies in Chicago\, Tokyo’s Opera City Hall\, the National Gallery of Art in 
 Washington\, D.C.\, and the National Concert Hall in Taipei. Her playing h
 as been featured on National Public Radio\, WFMT (Chicago)\, Radio Video M
 editerraneo (Italy)\, Nippon Television (Japan)\, and MSNBC’s Living &amp; Tra
 vel section.</p><p>Her solo album Ravel: Masterworks for the Piano (Centau
 r Records) was praised as “a massive achievement… one of the finest Ravel 
 discs to have come my way for quite some time. Often revelatory\, it quali
 fies as required listening for Francophiles.” Her playing is also heard on
  the Summit Records album License to Thrill\, and she has collaborated wit
 h artists such as Leon Fleisher and Sara Davis Buechner.</p><p>Cheng earne
 d her Doctor of Musical Arts from Stony Brook University\, studying with G
 ilbert Kalish\, and a Master’s from the Peabody Conservatory under Ann Sch
 ein\, where she received the Rose Marie Milholland Award. She was awarded 
 the Prix-Ville de Fontainebleau in France\, presented by Philippe Entremon
 t.</p><p>A passionate educator\, Cheng has taught at the Manhattan School 
 of Music Precollege\, the City University of New York\, and the American U
 niversity of Kuwait\, where she made regional history as the first pianist
  to conduct a concerto from the keyboard. Her students have gone on to win
  national and international competitions and pursue advanced studies at le
 ading conservatories. She is regularly invited to give masterclasses and s
 erve as an adjudicator across the U.S. and abroad.</p><p>Cheng is currentl
 y Professor of Piano and Chair of the Keyboard Department at the Lamont Sc
 hool of Music\, University of Denver. She serves on the Board of Directors
  of The Allied Arts\, Inc.\, a nonprofit organization that supports young 
 artists. She is also on faculty at the Euro Arts Music Festival in Szczeci
 n\, Poland. In October 2025\, she will be inducted into the Steinway &amp; Son
 s Teacher Hall of Fame.</p>
END:VEVENT
BEGIN:VEVENT
UID:573d29f5-12b1-4e5f-9ed3-6ba4e660fe52
DTSTAMP:20260307T094252Z
CATEGORIES:Master Classes\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250814T221356Z
DESCRIPTION:<p>Guest pianist Stephanie Shih-yu Cheng\, head of the Keyboard
  Department at the Lamont School of Music\, University of Denver\, leads a
  master class with UW piano students. </p><hr><h2>Program</h2><p>Partita N
 o. 3 in C Minor\, BWV827 -<strong> J.S. Bach</strong><br>Seoyoung Gabby Le
 e</p><p>Variations in F minor\, Hob.XVII:6  -  <strong>Franz Josef Haydn</strong><br>Freya Frahm</p><p>Piano Sonata in G-sharp minor Op. 19\, No. 2 
 “Sonata Fantasy”  - <strong>Alexander Scriabin</strong><br>I. Andante<br>B
 oheng Wang</p><hr><h2>Biography</h2><p></p><p></p><p>Stephanie Shih-yu Che
 ng is a Taiwanese-American pianist whose captivating performances have bro
 ught her to leading stages around the world\, including Carnegie’s Weill R
 ecital Hall\, the Dame Myra Hess Series in Chicago\, Tokyo’s Opera City Ha
 ll\, the National Gallery of Art in Washington\, D.C.\, and the National C
 oncert Hall in Taipei. Her playing has been featured on National Public Ra
 dio\, WFMT (Chicago)\, Radio Video Mediterraneo (Italy)\, Nippon Televisio
 n (Japan)\, and MSNBC’s Living &amp; Travel section.</p><p>Her solo album Rave
 l: Masterworks for the Piano (Centaur Records) was praised as “a massive a
 chievement… one of the finest Ravel discs to have come my way for quite so
 me time. Often revelatory\, it qualifies as required listening for Francop
 hiles.” Her playing is also heard on the Summit Records album License to T
 hrill\, and she has collaborated with artists such as Leon Fleisher and Sa
 ra Davis Buechner.</p><p>Cheng earned her Doctor of Musical Arts from Ston
 y Brook University\, studying with Gilbert Kalish\, and a Master’s from th
 e Peabody Conservatory under Ann Schein\, where she received the Rose Mari
 e Milholland Award. She was awarded the Prix-Ville de Fontainebleau in Fra
 nce\, presented by Philippe Entremont.</p><p>A passionate educator\, Cheng
  has taught at the Manhattan School of Music Precollege\, the City Univers
 ity of New York\, and the American University of Kuwait\, where she made r
 egional history as the first pianist to conduct a concerto from the keyboa
 rd. Her students have gone on to win national and international competitio
 ns and pursue advanced studies at leading conservatories. She is regularly
  invited to give masterclasses and serve as an adjudicator across the U.S.
  and abroad.</p><p>Cheng is currently Professor of Piano and Chair of the 
 Keyboard Department at the Lamont School of Music\, University of Denver. 
 She serves on the Board of Directors of The Allied Arts\, Inc.\, a nonprof
 it organization that supports young artists. She is also on faculty at the
  Euro Arts Music Festival in Szczecin\, Poland. In October 2025\, she will
  be inducted into the Steinway &amp; Sons Teacher Hall of Fame.</p>
DTSTART;TZID=America/Los_Angeles:20260205T153000
LAST-MODIFIED:20260203T003544Z
SEQUENCE:334
SUMMARY:: Guest Pianist Master Class: Stephanie Shih-yu Cheng
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-05/guest-pianist-master-cla
 ss-stephanie-shih-yu-cheng
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Guest pianist Stephanie Shih-yu Cheng\, hea
 d of the Keyboard Department at the Lamont School of Music\, University of
  Denver\, leads a master class with UW piano students. </p><hr><h2>Program
 </h2><p>Partita No. 3 in C Minor\, BWV827 -<strong> J.S. Bach</strong><br>
 <em>Seoyoung Gabby Lee</em></p><p>Variations in F minor\, Hob.XVII:6  -  &lt;
 strong&gt;Franz Josef Haydn</strong><br><em>Freya Frahm</em></p><p>Piano Sona
 ta in G-sharp minor Op. 19\, No. 2 “Sonata Fantasy”  - <strong>Alexander S
 criabin</strong><br>I. Andante<br><em>Boheng Wang</em></p><hr><h2>Biograph
 y</h2><p></p><p></p><p>Stephan
 ie Shih-yu Cheng is a Taiwanese-American pianist whose captivating perform
 ances have brought her to leading stages around the world\, including Carn
 egie’s Weill Recital Hall\, the Dame Myra Hess Series in Chicago\, Tokyo’s
  Opera City Hall\, the National Gallery of Art in Washington\, D.C.\, and 
 the National Concert Hall in Taipei. Her playing has been featured on Nati
 onal Public Radio\, WFMT (Chicago)\, Radio Video Mediterraneo (Italy)\, Ni
 ppon Television (Japan)\, and MSNBC’s Living &amp; Travel section.</p><p>Her s
 olo album Ravel: Masterworks for the Piano (Centaur Records) was praised a
 s “a massive achievement… one of the finest Ravel discs to have come my wa
 y for quite some time. Often revelatory\, it qualifies as required listeni
 ng for Francophiles.” Her playing is also heard on the Summit Records albu
 m License to Thrill\, and she has collaborated with artists such as Leon F
 leisher and Sara Davis Buechner.</p><p>Cheng earned her Doctor of Musical 
 Arts from Stony Brook University\, studying with Gilbert Kalish\, and a Ma
 ster’s from the Peabody Conservatory under Ann Schein\, where she received
  the Rose Marie Milholland Award. She was awarded the Prix-Ville de Fontai
 nebleau in France\, presented by Philippe Entremont.</p><p>A passionate ed
 ucator\, Cheng has taught at the Manhattan School of Music Precollege\, th
 e City University of New York\, and the American University of Kuwait\, wh
 ere she made regional history as the first pianist to conduct a concerto f
 rom the keyboard. Her students have gone on to win national and internatio
 nal competitions and pursue advanced studies at leading conservatories. Sh
 e is regularly invited to give masterclasses and serve as an adjudicator a
 cross the U.S. and abroad.</p><p>Cheng is currently Professor of Piano and
  Chair of the Keyboard Department at the Lamont School of Music\, Universi
 ty of Denver. She serves on the Board of Directors of The Allied Arts\, In
 c.\, a nonprofit organization that supports young artists. She is also on 
 faculty at the Euro Arts Music Festival in Szczecin\, Poland. In October 2
 025\, she will be inducted into the Steinway &amp; Sons Teacher Hall of Fame.&lt;
 /p&gt;
END:VEVENT
BEGIN:VEVENT
UID:41034d90-104e-4d32-ac22-a59d6e8dc913
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250819T224600Z
DESCRIPTION:<p>Guitar students of Michael Partington present solos and duos
  from the Baroque to the 20th century\, performing music by Machado\, Card
 oso\, Barrios\, Turina\, Sor\, Bennett\, and Bach.</p><hr><h2>Program</h2>
 <p>Fantasie\, Op 54b dans le genre Espagnol - <strong>Fernando Sor</strong> (1778-1839) <br>Rayne Mescallado and Thomas Wardian </p><p>La Catedral -
  <strong>Agustín Barrios Mangoré (</strong>1778-1839) <br>Preludio Saudade
  – Andante Religioso – Allegro Solemne <br>Eric Lin </p><p>Impromptus - <s trong>Richard Rodney Bennett </strong>(1936-2012) <br>Recitativo – Agitato
  – Elegiaco – Con fuoco – Arioso <br>Thomas Wardian </p><p>Milonga - Jorge Cardoso</strong> (b.1949) <br>Wil Moreau and Henry Requa <br><br>
 Fandanguillo\, Op 36 -<strong> Joaquín Turina </strong>(1882-1949) <br>Nat
 han Lee <br><br>Prelude and Sarabande BWV 1007 - <strong>J.S.Bach</strong>
  (1685-1750) arr. Koonce <br>Wil Moreau </p><p>Xaranga do Vôvô (chôro-maxi
 xe) - <strong>Celso Machado</strong> (b. 1953) <br>Imagens do Nordeste <br>Boliviana <br>Nathan Lee and Eric Lin </p><hr><h2>Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260206T193000
LAST-MODIFIED:20260205T203048Z
SEQUENCE:335
SUMMARY:: Guitar Studio Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-06/guitar-studio-recital
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Guitar students of Michael Partington prese
 nt <span>solos and duos from the Baroque to th
 e 20th century\, performing music by Machado\, Cardoso\, Barrios\, Turina\
 , Sor\, Bennett\, and Bach.</span></p><hr><h2>Program</h2><p>Fantasie\, Op
  54b dans le genre Espagnol - <strong>Fernando Sor</strong> (1778-1839) </span><br><em>Rayne Mescallado and Thom
 as Wardian<span class='Apple-converted-space'> </span></em></p><p>La Cated
 ral - <strong>Agustín Barrios Mangoré (</strong>1778-1839) <br><em>Preludi
 o Saudade – Andante Religioso – Allegro Solemne<span class='Apple-converte
 d-space'> </span></em><br><em>Eric Lin</em><span class='Apple-converted-sp
 ace'> </span></p><p>Impromptus - <strong>Richard Rodney Bennett </strong>(
 1936-2012) <br><em>Recitativo – Agitato – Elegiaco – Con fuoco – Arioso </span></em><br><em>Thomas Wardian</em>&lt;
 span class='Apple-converted-space'&gt; </span></p><p>Milonga - <strong>Jorge 
 Cardoso</strong> (b.1949)<span class='Apple-converted-space'> </span><br>&lt;
 em&gt;Wil Moreau and Henry Requa</em><span class='Apple-converted-space'> </s><br><br>Fandanguillo\, Op 36 -<strong> Joaquín Turina </strong>(1882-1
 949)<span class='Apple-converted-space'> </span><br><em>Nathan Lee</em> </span><br><br>Prelude and Sarabande BWV
  1007 - <strong>J.S.Bach</strong> (1685-1750) arr. Koonce<span class='Appl
 e-converted-space'> </span><br><em>Wil Moreau</em><span class='Apple-conve
 rted-space'> </span></p><p>Xaranga do Vôvô (chôro-maxixe) - <strong>Celso 
 Machado</strong> (b. 1953) <br>Imagens do Nordeste <br>Boliviana<span clas s='Apple-converted-space'> </span><br><em>Nathan Lee and Eric Lin<span cla ss='Apple-converted-space'> </span></em></p><hr><h2>Director Biography</h2>
END:VEVENT
BEGIN:VEVENT
UID:d6745c15-aeba-42fe-ac9f-d5f36fdc834e
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Screenings\, Special Events\, 
 Student Activities and Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250910T121138Z
DESCRIPTION:<p> </p><p> </p><p>UW Ethnomusicol
 ogy\, Department of American Indian Studies\, and the UW Symphony collabor
 ate with Lushootseed Research’s Healing Heart Project in presenting this s
 pecial community event. </p><p>Following a free screening of the documenta
 ry film The Healing Heart of Lushootseed\, the UW Symphony (David Alexande
 r Rahbee\, director) and soprano Adia S. Bowen (tsi sʔuyuʔaɫ) perform Bruc
 e Ruddell’s 50-minute symphony Healing Heart of the First People of This L
 and. </p><p>This powerful work was commissioned by Upper Skagit elder Vi H
 ilbert (taqʷšəblu) shortly after the 9/11 terrorist attacks as a vehicle f
 or\, in Hilbert’s words\, “bringing healing to a sick world.” </p><p>Premi
 ered by The Seattle Symphony in 2006\, the piece draws inspiration from tw
 o sacred Coast Salish songs Hilbert had entrusted to the composer and feat
 ures a number of percussion instruments native to this region. </p><p>The 
 performance features soloist and Indigenous soprano Adia (tsi sʔuyuʔaɫ) Bo
 wen\, a UW alumna who graduated in June 2025 with degrees in Voice Perform
 ance and American Indian Studies </p><hr><h2>Program</h2><p><strong>Film S
 creening: </strong>The Healing Heart of Lushootseed <br><strong>Performanc
 e:</strong> <strong>Bruce Ruddell:</strong> Healing Heart of the First Peo
 ple of This Land<br>UW Symphony Orchestra with Adia S. Bowen </p><p>Specia
 l thanks to Kaisho Barnhill (BM Music Education/Music Theory/Psychology) f
 or his extensive music typesetting in preparation for this concert.</p><hr><h2>The Healing Heart Project</h2><p>Feeling heartbroken by the tragic ev
 ents of September 11th\, 2001\, Vi Hilbert\, an 83-year-old elder from the
  Upper Skagit Indian tribe in the Pacific Northwest\, asked the spirit\, “
 What can one person do to heal a sick world?” The answer she received was 
 music. The Healing Heart of Lushootseed\, a short documentary film tells t
 he extraordinary story of how a diminutive great grandmother gathered supp
 ort for her most ambitious project yet\, to heal the heart of the world th
 rough music.</p><p>On May 20th \, 2006\, Seattle’s Benaroya Hall was fille
 d to capacity for the world premiere of The Healing Heart of the First Peo
 ple of this Land\, an orchestral work in four movements\, by Canadian comp
 oser Bruce Ruddell\, performed by the Seattle Symphony and mezzo soprano J
 enny Knapp\, conducted by Maestro Gerard Schwarz. Vi believed the Symphony
  should be performed around the world. The Healing Heart Project seeks to 
 fulfill her vision.</p><hr><h2>University of Washington Symphony Orchestra
  </h2><p>David Alexander Rahbee\, Music Director and Conductor <br>Robert 
 Stahly and Zach Banks\, Assistant Conductors </p><p><strong>Flute</strong>
  <br>Xinyi Ma\, DMA Flute Performance <br>Grace Playstead\, MM Flute Perfo
 rmance </p><p><strong>Oboe</strong> <br>Max Bolen\, Music Education/Marine
  Biology <br>Aika Ishizuki\, Pre-science </p><p><strong>Clarinet </strong>
 <br>Ysanne Webb\, DMA Clarinet Performance <br>Cameron DeLuca\, DMA Clarin
 et Performance </p><p><strong>Bassoon </strong><br>Levi Beck\, BM Bassoon 
 Performance <br>Alex Fraley\, Music Education </p><p><strong>Contrabassoon
  </strong><br>Eric Shankland\, BA Bassoon Performance </p><p><strong>Sopra
 no Saxophone</strong> <br>Kyle Grant\, Music Education/Saxophone Performan
 ce <br><br><strong>Horn</strong> <br>Ethan Hicks\, BM Horn Performance <br>Nicole Bogner\, BM Horn Performance <br>Elise Moe\, BM Horn Performance &lt;
 br&gt;Colin Laskarzewski\, BS Physics </p><p><strong>Trumpet </strong><br>Han
 s Faul\, BM Trumpet Performance <br>Antti Männistö\, BS Physics <br>Haley 
 Chávez (Coahuiltecan ancestry)\, PhD Ethnomusicology <br><br><strong>Tromb
 one</strong> <br>Nathanael Wyttenbach\, Music Composition <br>Owen Fang\, 
 BM Trombone Performance </p><p><strong>Bass Trombone</strong> <br>Miles Ca
 rter\, BM Trombone Performance <br><br><strong>Tuba </strong><br>Dylan Aag
 aard\, BM Tuba Performance <br><br><strong>Percussion </strong><br>Cyan Du
 ong\, Music Education <br>Devon Rafanelli\, MM Percussion Performance <br>
 Regan Wong\, Neuroscience </p><p><strong>Piano </strong><br>Chiao-Yu Wu\, 
 DMA Piano Performance </p><p><strong>Violin I </strong><br>Grace Pandra\, 
 Violin Performance/Business Administration (Co-Concertmaster) <br>Hanu Nah
 m\, Violin Performance/Chemistry(Co-Concertmaster) <br>David Teves-Tan\, P
 re-Sciences <br>Yerin Hwang\, Music <br>Michaela Klesse\, Music <br>Kieran
  Horowitz\, Biology <br>Brandon Bailey\, Computer Science <br>Justin Chae\
 , Computer Science/Mathematics <br>Rosalia Feng\, Statistics <br>Vitaliy D
 uvalko\, Engineering <br>Amelie Martin\, Mathematics <br>Qurin Choi\, Bioc
 hemistry <br>Ethan Li\, Engineering <br>Lyle Deng\, Computer Science <br>J
 ie Zhou\, Music <br>Thea Higgins\, MS Industrial Engineering </p><p>Violin II </strong><br>Martessa Davis\, MM Violin Performance (Principal
 ) <br>Gustavo Berho\, BM Music <br>Victoria Zhuang\, Informatics and Geogr
 aphy: Data Science <br>Alice Leppert\, Chemistry <br>Daniel Park\, Molecul
 ar\, Cellular and Developmental Biology <br>Saraim Gebretsadik\, Biochemis
 try <br>Jasmine Palikhya\, International Studies <br>Cristina Kosilkina\, 
 BS Biochemistry <br>Leo Li\, Computer Science <br>Mckinley Xia\, Engineeri
 ng <br>Amar Salmi\, Biochemistry/CHID <br>Anja Westra\, Marine Biology <br>Lily Bingham\, Engineering <br>Alessandra Fernandez\, Pre-science <br>Hai
 ley Vaught\, Business Administration <br>Christina Kim\, Pre-music <br><br><strong>Viola </strong><br>Flora Cummings\, Viola Performance (Principal)
  <br>Mica Weiland\, Viola Performance <br>Abigail Schidler\, Computer Scie
 nce/BA Music <br>Emma Boyce\, Music History <br>Helen Young\, MM Music Edu
 cation <br>Mia Grayson\, Biochemistry <br>Annika Johnson\, Earth and Space
  Sciences: Physics <br>Alan Arriola\, Music/Physics <br>Henry Yang\, Compu
 ter Science <br>Jacob Dagen\, History/Education <br>Melia Golden\, Biochem
 istry <br>Melany Nanayakkara\, Material Science Engineering/Chemistry <br>
 Henry Hess (Chickasaw\, Choctaw)\, Law\, Societies\, and Justice <br>Ryan 
 Dakota Farris\, DMA Orchestral Conducting <br><br><strong>Violoncello <br>Cory Chen\, BA in Music/BS MCD Biology (Principal) <br>Sota Emura
 \, BM Cello Performance <br>Ian Jung\, Engineering <br>Oliver Tiu\, Bioche
 mistry <br>Nathan Evans\, BA Music History <br>Nacho Tejeda\, PhD Mathemat
 ics <br>Jisung Lee\, Computer Science <br>Mina Wang\, Informatics <br>Jayd
 en Kang\, Pre-business <br>Mimi Leung\, Chemistry <br>Jack Ruffner\, Pre-S
 ocial Sciences <br>Ally Wu\, Electrical Engineering <br>Andrew Vu\, Chemis
 try/Biochemistry/Math <br>Lucy Finnell\, Biochemistry <br>Stephan Rivera\,
  Engineering <br>Bashir Abdel-Fattah\, PhD Mathematics <br><br><strong>Bas
 s </strong><br>Nathan Eskridge\, MM Bass Performance (Principal) <br>Ameli
 a Matsumoto\, BM Bass Performance <br>Gabriella Kelley\, English <br>Raide
 n Jones\, Engineering <br>Colm Scott\, History</p><hr><h2>Biographies </h2>
DTSTART;TZID=America/Los_Angeles:20260206T193000
LAST-MODIFIED:20260205T192951Z
SEQUENCE:336
SUMMARY:: Film Screening &amp; Performance: Healing Heart of Lushootseed\; UW S
 ymphony with Adia S. Bowen
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-06/film-screening-performan
 ce-healing-heart-lushootseed-uw-symphony-adia-s-bowen
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p> </p>&lt;
 p&gt;UW Ethnomusicology\, Department of American Indian Studies\, and the UW 
 Symphony collaborate with Lushootseed Research’s Healing Heart Project in 
 presenting this special community event. </p><p>Following a free screening
  of the documentary film <em>The Healing Heart of Lushootseed\, </em>the U
 W Symphony (David Alexander Rahbee\, director) and soprano Adia S. Bowen (
 tsi sʔuyuʔaɫ) perform Bruce Ruddell’s 50-minute symphony <em>Healing Heart
  of the First People of This Land. </em></p><p>This powerful work was comm
 issioned by Upper Skagit elder Vi Hilbert (taqʷšəblu) shortly after the 9/
 11 terrorist attacks as a vehicle for\, in Hilbert’s words\, “bringing hea
 ling to a sick world.” </p><p>Premiered by The Seattle Symphony in 2006\, 
 the piece draws inspiration from two sacred Coast Salish songs Hilbert had
  entrusted to the composer and features a number of percussion instruments
  native to this region. </p><p>The performance features soloist and Indige
 nous soprano Adia (tsi sʔuyuʔaɫ) Bowen\, a UW alumna who graduated in June
  2025 with degrees in Voice Performance and American Indian Studies </p><h2>Program</h2><p><strong>Film Screening: </strong><em>The Healing Hear
 t of Lushootseed </em><br><strong>Performance:</strong> <strong>Bruce Rudd
 ell:</strong> <em>Healing Heart of the First People of This Land</em><br>&lt;
 em&gt;UW Symphony Orchestra with Adia S. Bowen </em></p><p>Special thanks to 
 Kaisho Barnhill (BM Music Education/Music Theory/Psychology) for his exten
 sive music typesetting in preparation for this concert.</p><hr><h2>The Hea
 ling Heart Project</h2><p>Feeling heartbroken by the tragic events of Sept
 ember 11th\, 2001\, Vi Hilbert\, an 83-year-old elder from the Upper Skagi
 t Indian tribe in the Pacific Northwest\, asked the spirit\, “What can one
  person do to heal a sick world?” The answer she received was music. The H
 ealing Heart of Lushootseed\, a short documentary film tells the extraordi
 nary story of how a diminutive great grandmother gathered support for her 
 most ambitious project yet\, to heal the heart of the world through music.
 </p><p>On May 20th \, 2006\, Seattle’s Benaroya Hall was filled to capacit
 y for the world premiere of The Healing Heart of the First People of this 
 Land\, an orchestral work in four movements\, by Canadian composer Bruce R
 uddell\, performed by the Seattle Symphony and mezzo soprano Jenny Knapp\,
  conducted by Maestro Gerard Schwarz. Vi believed the Symphony should be p
 erformed around the world. The Healing Heart Project seeks to fulfill her 
 vision.</p><hr><h2>University of Washington Symphony Orchestra </h2><p><em>David Alexander Rahbee\, Music Director and Conductor </em><br><em>Robert
  Stahly and Zach Banks\, Assistant Conductors </em></p><p><strong>Flute</s> <br>Xinyi Ma\, DMA Flute Performance <br>Grace Playstead\, MM Flute
  Performance </p><p><strong>Oboe</strong> <br>Max Bolen\, Music Education/
 Marine Biology <br>Aika Ishizuki\, Pre-science </p><p><strong>Clarinet </s><br>Ysanne Webb\, DMA Clarinet Performance <br>Cameron DeLuca\, DMA 
 Clarinet Performance </p><p><strong>Bassoon </strong><br>Levi Beck\, BM Ba
 ssoon Performance <br>Alex Fraley\, Music Education </p><p><strong>Contrab
 assoon </strong><br>Eric Shankland\, BA Bassoon Performance </p><p><strong>Soprano Saxophone</strong> <br>Kyle Grant\, Music Education/Saxophone Per
 formance <br><br><strong>Horn</strong> <br>Ethan Hicks\, BM Horn Performan
 ce <br>Nicole Bogner\, BM Horn Performance <br>Elise Moe\, BM Horn Perform
 ance <br>Colin Laskarzewski\, BS Physics </p><p><strong>Trumpet </strong>&lt;
 br&gt;Hans Faul\, BM Trumpet Performance <br>Antti Männistö\, BS Physics <br>
 Haley Chávez (Coahuiltecan ancestry)\, PhD Ethnomusicology <br><br><strong>Trombone</strong> <br>Nathanael Wyttenbach\, Music Composition <br>Owen F
 ang\, BM Trombone Performance </p><p><strong>Bass Trombone</strong> <br>Mi
 les Carter\, BM Trombone Performance <br><br><strong>Tuba </strong><br>Dyl
 an Aagaard\, BM Tuba Performance <br><br><strong>Percussion </strong><br>C
 yan Duong\, Music Education <br>Devon Rafanelli\, MM Percussion Performanc
 e <br>Regan Wong\, Neuroscience </p><p><strong>Piano </strong><br>Chiao-Yu
  Wu\, DMA Piano Performance </p><p><strong>Violin I </strong><br>Grace Pan
 dra\, Violin Performance/Business Administration (Co-Concertmaster) <br>Ha
 nu Nahm\, Violin Performance/Chemistry(Co-Concertmaster) <br>David Teves-T
 an\, Pre-Sciences <br>Yerin Hwang\, Music <br>Michaela Klesse\, Music <br>
 Kieran Horowitz\, Biology <br>Brandon Bailey\, Computer Science <br>Justin
  Chae\, Computer Science/Mathematics <br>Rosalia Feng\, Statistics <br>Vit
 aliy Duvalko\, Engineering <br>Amelie Martin\, Mathematics <br>Qurin Choi\
 , Biochemistry <br>Ethan Li\, Engineering <br>Lyle Deng\, Computer Science
  <br>Jie Zhou\, Music <br>Thea Higgins\, MS Industrial Engineering </p><p>
 <strong>Violin II </strong><br>Martessa Davis\, MM Violin Performance (Pri
 ncipal) <br>Gustavo Berho\, BM Music <br>Victoria Zhuang\, Informatics and
  Geography: Data Science <br>Alice Leppert\, Chemistry <br>Daniel Park\, M
 olecular\, Cellular and Developmental Biology <br>Saraim Gebretsadik\, Bio
 chemistry <br>Jasmine Palikhya\, International Studies <br>Cristina Kosilk
 ina\, BS Biochemistry <br>Leo Li\, Computer Science <br>Mckinley Xia\, Eng
 ineering <br>Amar Salmi\, Biochemistry/CHID <br>Anja Westra\, Marine Biolo
 gy <br>Lily Bingham\, Engineering <br>Alessandra Fernandez\, Pre-science &lt;
 br&gt;Hailey Vaught\, Business Administration <br>Christina Kim\, Pre-music &lt;
 br&gt;<br><strong>Viola </strong><br>Flora Cummings\, Viola Performance (Prin
 cipal) <br>Mica Weiland\, Viola Performance <br>Abigail Schidler\, Compute
 r Science/BA Music <br>Emma Boyce\, Music History <br>Helen Young\, MM Mus
 ic Education <br>Mia Grayson\, Biochemistry <br>Annika Johnson\, Earth and
  Space Sciences: Physics <br>Alan Arriola\, Music/Physics <br>Henry Yang\,
  Computer Science <br>Jacob Dagen\, History/Education <br>Melia Golden\, B
 iochemistry <br>Melany Nanayakkara\, Material Science Engineering/Chemistr
 y <br>Henry Hess (Chickasaw\, Choctaw)\, Law\, Societies\, and Justice <br>Ryan Dakota Farris\, DMA Orchestral Conducting <br><br><strong>Violoncell
 o </strong><br>Cory Chen\, BA in Music/BS MCD Biology (Principal) <br>Sota
  Emura\, BM Cello Performance <br>Ian Jung\, Engineering <br>Oliver Tiu\, 
 Biochemistry <br>Nathan Evans\, BA Music History <br>Nacho Tejeda\, PhD Ma
 thematics <br>Jisung Lee\, Computer Science <br>Mina Wang\, Informatics <b r>Jayden Kang\, Pre-business <br>Mimi Leung\, Chemistry <br>Jack Ruffner\,
  Pre-Social Sciences <br>Ally Wu\, Electrical Engineering <br>Andrew Vu\, 
 Chemistry/Biochemistry/Math <br>Lucy Finnell\, Biochemistry <br>Stephan Ri
 vera\, Engineering <br>Bashir Abdel-Fattah\, PhD Mathematics <br><br>Bass </strong><br>Nathan Eskridge\, MM Bass Performance (Principal) <br>Amelia Matsumoto\, BM Bass Performance <br>Gabriella Kelley\, English <br>Raiden Jones\, Engineering <br>Colm Scott\, History</p><hr><h2>Biographie
 s </h2>
END:VEVENT
BEGIN:VEVENT
UID:0b7b17fb-aeaf-448f-8d13-6e2487a287e5
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20251002T191003Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p><p> Topics covered include:</strong></p><ul><li>An overview of the School o
 f Music and its resources</li><li>Degree programs offered</li><li>The appl
 ication and audition process</li><li>Scholarships</li><li>Opportunities fo
 r non-music majors</li></ul><p><strong>Time and location: </strong>Informa
 tion sessions are held from 12:00-1:00 PM over Zoom. </p><p><a class='purp
 le-button' href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer'>Regis
 ter</a></p><p>Registration is required. <strong>To ask a question\, please
  email </strong><a href='mailto:SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20260210T120000
LAST-MODIFIED:20251002T191016Z
SEQUENCE:337
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-10/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p>The UW School of Music encourag
 es prospective freshmen\, transfer students\, and current UW undergraduate
 s to attend a School of Music information session. These sessions provide 
 a great opportunity to learn more about what the School of Music has to of
 fer as well as ask questions about admissions\, auditions\, or life as a U
 W music student.</p></blockquote><p> <strong>Topics covered include:</p><ul><li>An overview of the School of Music and its resources</li>Degree programs offered</li><li>The application and audition process</li><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p>&lt;
 strong&gt;Time and location: </strong>Information sessions are held from 12:0
 0-1:00 PM over Zoom. </p><p><a class='purple-button' href='https://music.w
 ashington.edu/prospective-undergraduate-student-information-session' targe t='_blank' rel='noopener noreferrer'>Register</a></p><p>Registration is re
 quired. <strong>To ask a question\, please email </strong><a href='mailto:
 SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:16700286-2c1a-43c5-84bf-7c818f1f0609
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20260210T132136Z
DESCRIPTION:<p>Gwynne Brown is a distinguished professor of music at the Un
 iversity of Puget Sound. Her talk is titled 'William L. Dawson's Negro Fol
 k Symphony: Complicating the Narrative of Rediscovery.'</p><hr><h2>Abstrac
 t</h2><p>Since 2020\, William L. Dawson’s brilliant Negro Folk Symphony ha
 s been performed dozens of times\, recorded professionally by several orch
 estras\, and received a new edition from G. Schirmer. While celebrating th
 e long overdue recognition of a work premiered to great acclaim in 1934 an
 d then plunged into obscurity\, this talk complicates the recurring narrat
 ive of Dawson as a tragically thwarted Black composer who would have follo
 wed his singular masterpiece with more symphonies if not for the classical
  music establishment’s past racism.</p><h2>Biography</h2><p>Gwynne Kuhner 
 Brown\, professor of Music at the University of Puget Sound\, delights in 
 creating inclusive and inspiring music courses for all Puget Sound student
 s\, regardless of major or background. Her teaching seeks to foster creati
 vity\, curiosity\, compassion\, alertness to inequity\, and meaningful hum
 an connections. She is a musicologist whose current research focuses on th
 e African American composer and educator William Levi Dawson (1899-1990).&lt;
 /p&gt;<hr><p> </p>
DTSTART;TZID=America/Los_Angeles:20260212T133000
LAST-MODIFIED:20260210T133514Z
SEQUENCE:338
SUMMARY:: Music History Talk: Gwynne Brown\, University of Puget Sound
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-12/music-history-talk-gwynn
 e-brown-university-puget-sound
END:VEVENT
BEGIN:VEVENT
UID:bd6e9433-85e4-44b1-909f-18e374c3b98d
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances
CLASS:PUBLIC
CREATED:20250819T231427Z
DESCRIPTION:<p>Faculty pianist Robin McCabe joins forces with guest artist 
 Maria Larionoff in an evening of high octane duos for violin and piano. On
  the launch pad: Stravinsky’s Suite Italienne\, Beethoven’s Sonata in G ma
 jor\, Opus 96\, and Faure’s impassioned Sonata in A Major.</p><hr><h2>Biog
 raphies</h2><h3>Maria Larionoff</h3><p>Violinist Maria Larionoff is artist
 ic director of the Missoula\, Montana-based String Orchestra of the Rockie
 s and former concert master of the Seattle Symphony Orchestra. She has app
 eared with the Los Angeles Philharmonic\, the symphonies of Seattle\, Yaki
 ma\, Port Angeles and Oakland\, the San Francisco Chamber Orchestra\, the 
 Seattle Collaborative Orchestra and the Orquestra Sinfonica in Mexico City
 . Ms. Larionoff has toured Germany and Austria with the New European Strin
 gs and has performed on tour in Japan with the Mostly Mozart Orchestra.</p><p>A Loomis Scholarship Award winner at the Juilliard School\, Ms. Larion
 off was a student of Dorothy DeLay. Additional teachers included Stuart Ca
 nin\, Sally Thomas\, Paul Doktor\, Joel Krosnik and Felix Galimir. Upon gr
 aduating\, Ms. Larionoff was invited by the esteemed Maestro Carlo Maria G
 iulini to join the violin section of the Los Angeles Philharmonic. Ms. Lar
 ionoff moved to Seattle in 1990 and served as Associate Concertmaster of t
 he Symphony and was then appointed Concertmaster\, where she was featured 
 as soloist and leader on numerous occasions\, including her critically acc
 laimed solo performances in the 2011 Naxos release of Scheherazade. In 201
 2 her performance of the Vasks violin concerto Distant Light received prai
 se from the New York Times: “the elegant violinist Maria Larionoff was stu
 nning\, incisive and radiant.”</p><p>Ms. Larionoff’s versatility as a viol
 ist as well as a violinist has led to invitations at many chamber music fe
 stivals\, including the Seattle Chamber Music Society\, the Seattle Intern
 ational Music Festival\, Chamber Music Northwest\, the Marrowstone Music F
 estival\, Chautauqua and the Vetta series in Vancouver\, BC. She has colla
 borated in chamber music concerts with many distinguished artists includin
 g Emanuel Ax\, Lynn Harrell\, Steven Staryk\, Jamie Laredo\, and Glenn Dic
 terow.</p><p>In 2001\, Ms. Larionoff and her husband\, double bassist Barr
 y Lieberman\, founded The American String Project\, a conductorless string
  orchestra made up of Concertmasters and soloists from around the world. T
 he group received great critical acclaim both for their annual performance
 s at Benaroya Hall\, as well as for their numerous recordings.</p><p>Ms. L
 arionoff plays on a 1678 Nicolo Amati violin and contemporary American bow
 s by Paul Siefried. When not playing the violin\, she enjoys tennis and lo
 ng walks with Barry and their rescue golden retriever\, Pamina.</p>
DTSTART;TZID=America/Los_Angeles:20260212T193000
LAST-MODIFIED:20250910T212657Z
SEQUENCE:339
SUMMARY:: Faculty Concert: Robin McCabe with Maria Larionoff
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-12/faculty-concert-robin-mc
 cabe-maria-larionoff
END:VEVENT
BEGIN:VEVENT
UID:cb232245-2623-42a2-9dc0-e58c580b2e18
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250820T005814Z
DESCRIPTION:<p> </p><p>Students from the UW strings studios compete for out
 side judges for a chance to perform with the UW Symphony. Adjudicators for
  the competition are cellist Alistair MacRae and violinist Quinton Morris.
  </p><hr><h3>Program</h3><p>Concerto for Violin and Orchestra\, Op. 14 - S
 amuel Barber (1910-1981) <br>I. Allegro moderato<br>Hanu Nahm\, violin<br>
 Alexander Kostadinov\, piano<br><br>Concerto No. 2 in B minor - Giovanni B
 ottesini (1821-1889)<br>I. Allegro Moderato<br>II. Andante<br>Amelia Matsu
 moto\, bass<br>Alexander Kostadinov\, piano<br><br>Violin Concerto in G mi
 nor\, Op. 80 -  Samuel Coleridge-Taylor (1875-1912)<br>I. Allegro maestoso
 \; Andante semplice<br>Martessa Davis\, violin<br>Alexander Kostadinov\, p
 iano</p><hr><h2><br>Adjudicators</h2><p>Cellist <strong>Alistair MacRae</s> has performed as a soloist\, chamber musician\, and orchestral prin
 cipal throughout North America and in Europe\, Asia\, South America\, and 
 the Middle East. His playing has been praised for its 'rich sound and lyri
 cal phrasing' (Palm Beach Daily News) and has been featured on numerous re
 cordings and in radio broadcasts across the United States.  Mr. MacRae is 
 the Cordelia Wikarski-Miedel Artist in Residence at University of Puget So
 und\, the cellist of the Puget Sound Piano Trio\, principal cello of the P
 rinceton Symphony Orchestra\, and principal cello of Symphony Tacoma.  He 
 also performs with his wife\, soprano Allison Pohl\, in the voice and cell
 o duo Soprello and is a member of the Artist Faculty at the Brevard Music 
 Center.  </p><p>Dr. <strong>Quinton Morris</strong> is an internationally 
 acclaimed violinist\, educator\, entrepreneur\, and filmmaker. He has perf
 ormed and presented master classes at Carnegie Hall\, the Sydney Opera Hou
 se\, the Louvre Museum\, and with the Cincinnati\, Nashville\, and Seattle
  Symphony Orchestras. His global engagements include appearances at leadin
 g institutions across Europe\, Asia\, Australia\, and Africa.<br>Dr. Morri
 s is the founder and executive director of Key to Change\, a nonprofit vio
 lin and viola program serving South King County. The organization provides
  high-level music instruction and mentorship to young musicians of color a
 nd students from underserved communities. Under his leadership\, students 
 have earned competition awards\, performed as soloists with regional orche
 stras\, appeared at Seattle Kraken events\, and performed for national lea
 ders including former Vice President Kamala Harris and First Lady Dr. Jill
  Biden.<br>A recipient of numerous honors\, Dr. Morris has been recognized
  with the Governor’s Arts Award\, the Seattle Mayor’s Arts Award\, Seattle
  Magazine’s Most Influential Educator Award (2024)\, and the Distinguished
  Alumni Award from The Boston Conservatory at Berklee. He has also receive
 d national recognition from Musical America and the American String Teache
 rs Association.<br>Dr. Morris serves as the Loyola Endowed Professor of Mu
 sic at Seattle University\, where he is the first Black man to achieve the
  rank of Professor in the College of Arts &amp; Sciences and one of only two l
 iving Black violinists in U.S. history to hold that title. He also hosts U
 nmute The Voices and is a member of the Recording Academy.</p>
DTSTART;TZID=America/Los_Angeles:20260213T150000
LAST-MODIFIED:20260211T170749Z
SEQUENCE:340
SUMMARY:: Concerto Competition: Strings
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-13/concerto-competition-str
 ings
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>Students from the UW strings studio
 s compete for outside judges for a chance to perform with the UW Symphony.
  Adjudicators for the competition are cellist Alistair MacRae and violinis
 t Quinton Morris. </p><hr><h3>Program</h3><p>Concerto for Violin and Orche
 stra\, Op. 14 - Samuel Barber (1910-1981) <br>I. Allegro moderato<br><em>H
 anu Nahm\, violin</em><br><em>Alexander Kostadinov\, piano</em><br><br>Con
 certo No. 2 in B minor - Giovanni Bottesini (1821-1889)<br>I. Allegro Mode
 rato<br>II. Andante<br><em>Amelia Matsumoto\, bass</em><br><em>Alexander K
 ostadinov\, piano</em><br><br>Violin Concerto in G minor\, Op. 80 -  Samue
 l Coleridge-Taylor (1875-1912)<br>I. Allegro maestoso\; Andante semplice<b r><em>Martessa Davis\, violin</em><br><em>Alexander Kostadinov\, piano</em></p><hr><h2><br>Adjudicators</h2><p>Cellist <strong>Alistair MacRae has performed as a soloist\, chamber musician\, and orchestral princip
 al throughout North America and in Europe\, Asia\, South America\, and the
  Middle East. His playing has been praised for its 'rich sound and lyrical
  phrasing' (Palm Beach Daily News) and has been featured on numerous recor
 dings and in radio broadcasts across the United States.  Mr. MacRae is the
  Cordelia Wikarski-Miedel Artist in Residence at University of Puget Sound
 \, the cellist of the Puget Sound Piano Trio\, principal cello of the Prin
 ceton Symphony Orchestra\, and principal cello of Symphony Tacoma.  He als
 o performs with his wife\, soprano Allison Pohl\, in the voice and cello d
 uo Soprello and is a member of the Artist Faculty at the Brevard Music Cen
 ter.  </p><p>Dr. <strong>Quinton Morris</strong> is an internationally acc
 laimed violinist\, educator\, entrepreneur\, and filmmaker. He has perform
 ed and presented master classes at Carnegie Hall\, the Sydney Opera House\
 , the Louvre Museum\, and with the Cincinnati\, Nashville\, and Seattle Sy
 mphony Orchestras. His global engagements include appearances at leading i
 nstitutions across Europe\, Asia\, Australia\, and Africa.<br>Dr. Morris i
 s the founder and executive director of Key to Change\, a nonprofit violin
  and viola program serving South King County. The organization provides hi
 gh-level music instruction and mentorship to young musicians of color and 
 students from underserved communities. Under his leadership\, students hav
 e earned competition awards\, performed as soloists with regional orchestr
 as\, appeared at Seattle Kraken events\, and performed for national leader
 s including former Vice President Kamala Harris and First Lady Dr. Jill Bi
 den.<br>A recipient of numerous honors\, Dr. Morris has been recognized wi
 th the Governor’s Arts Award\, the Seattle Mayor’s Arts Award\, Seattle Ma
 gazine’s Most Influential Educator Award (2024)\, and the Distinguished Al
 umni Award from The Boston Conservatory at Berklee. He has also received n
 ational recognition from Musical America and the American String Teachers 
 Association.<br>Dr. Morris serves as the Loyola Endowed Professor of Music
  at Seattle University\, where he is the first Black man to achieve the ra
 nk of Professor in the College of Arts &amp; Sciences and one of only two livi
 ng Black violinists in U.S. history to hold that title. He also hosts Unmu
 te The Voices and is a member of the Recording Academy.</p>
END:VEVENT
BEGIN:VEVENT
UID:91830e17-135d-4abb-8169-4c234e94ba6f
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T210805Z
DESCRIPTION:<p> </p>\n\n<p>UW voice students of Thomas Harper and Carrie Sh
 aw perform art songs and arias from the vocal repertoire. </p>\n\n<hr>\nBiographies</h2>
DTSTART;TZID=America/Los_Angeles:20260217T160000
LAST-MODIFIED:20250819T193704Z
SEQUENCE:341
SUMMARY:: Voice Division Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-17/voice-division-recital
END:VEVENT
BEGIN:VEVENT
UID:792db8dc-ca15-4526-af25-1707e10be533
DTSTAMP:20260307T094252Z
CATEGORIES:Master Classes\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250814T235955Z
DESCRIPTION:<p>Guest pianist Brian Hsu\, associate professor of music at th
 e University of Oregon\, leads a master class with UW piano students.</p>&lt;
 hr&gt;<h2>Biography</h2><p></p><p>Since his concerto debut at the age of 16 w
 ith the Philadelphia Orchestra\, Taiwanese-American pianist Brian Hsu has 
 gone on to establish himself a pianist of great energy and unusual communi
 cative ability. Critics have described his performances in surperlatives\,
  noting his “breadth of expression and technical ability.”</p><p>An experi
 enced performer\, Mr. Hsu has performed throughout North America\, Europe\
 , Asia\, and South Africa. US performances include Boston\, New York\, Chi
 cago\, New Orleans\, Dallas\, as well as many others. He has appeared as c
 oncerto soloist with such ensembles as the Philadelphia Orchestra\, Taiwan
  National Symphony\, Juilliard Orchestra\, Haddonfield Symphony\, Sendai P
 hilharmonic\, and University of Michigan Symphony Orchestra. He has also b
 een a guest on WQXR radio station in New York several times. Mr. Hsu has p
 erformed in various music festivals including Amalfi Coast Music Festival 
 in Italy\; Blue Lake Fine Arts Camp in Michigan\; Gijon International Pian
 o Festival in Spain\; Eastern Music Festival in North Carolina\; Banff Fes
 tival of the Arts in Canada\; PianoFest in The Hamptons in Long Island\, N
 ew York. His US debut solo recording\, Night at the opera: Part I\, which 
 consist of opera transcriptions for solo piano\, was released in the fall 
 of 2018. In addition to his competition successes\, Mr. Hsu was the recipi
 ent of numerous awards while attending Juilliard\, Yale\, and Michigan.</p><p>Mr. Hsu frequently appears as a guest artist/teacher\, presenter\, and
  jury member in various Music Teachers National Association contests and o
 ther major competitions\, such as the New Orleans International Piano Comp
 etition\, Nanyang Academy of the Arts in Singapore. He often performs and 
 has taught masterclasses at various colleges and universities throughout t
 he United States and Asia. An avid chamber musician and collaborator\, Mr.
  Hsu continuously performs with colleagues throughout the music world. Mr.
  Hsu participated in the world premiere of Paul Schoenfeld’s Piano Quintet
  with members of the Pro Arte’s Quartet\, and in the spring of 2014\, a re
 cording was released by Albany Records. Along with voice alumni of Loyola 
 University New Orleans\, Mr. Hsu participated in the debut of Logan Skelet
 on’s Letters to Santa in 2016. As a member of the piano trio\, Ensemble Pe
 ri\, he participated in its inaugural tour which took place in Korea durin
 g the summer of 2019. Mr. Hsu is also a founding member of Key 2 Inclusion
 \, an intercollegiate initiative to promote and teach piano music written 
 by African-American and other minority composers.</p><p>Mr. Hsu served as 
 a staff accompanist at Yale University and University of Michigan\, staff 
 accompanist and chamber music coach at Eastern Music Festival\, piano facu
 lty at the McAlester Institute in Oklahoma\, piano faculty at Blue Lake Fi
 ne Arts Camp in Michigan. He has served as schedule coordinator\, staff pi
 anist\, faculty\, and assistant to the director at Amalfi Coast Music Fest
 ival in Italy. He was also an adjunct professor at Siena Heights Universit
 y and taught at the Ann Arbor School for the Performing Arts.</p><p>Mr. Hs
 u’s primary piano professors include Logan Skelton\, Peter Frankl\, Jerome
  Lowenthal\, Yoheved Kaplinsky\, Wha-Kyung Byun\, and John Kuo. He has won
  awards in numerous competitions\, both in the US and Asia\, including Wid
 eman Competition\, Corpus Christi International Young Artists’ Competition
 \, Juilliard’s Gina Bachauer\, National Piano Competition in Taiwan. Addit
 ional studies have been with Da-Ming Zhu\, Paul Schenly\, Marc Durand\, Ar
 thur Greene. He received his Bachelor’s and Master’s degrees from The Juil
 liard School\, Artist Diploma from Yale University\, Doctoral of Musical A
 rts degree from the University of Michigan. He is currently associate prof
 essor of piano at the University of Oregon. Prior to Oregon\, he was the a
 ssociate professor at Loyola University New Orleans.</p>
DTSTART;TZID=America/Los_Angeles:20260218T163000
LAST-MODIFIED:20260128T215634Z
SEQUENCE:342
SUMMARY:: Guest Pianist Master Class: Brian Hsu
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-18/guest-pianist-master-cla
 ss-brian-hsu
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Guest pianist Brian Hsu\, associate profess
 or of music at the University of Oregon\, leads a master class with UW pia
 no students.</p><hr><h2>Biography</h2><p></p><p>Sinc
 e his concerto debut at the age of 16 with the Philadelphia Orchestra\, Ta
 iwanese-American pianist Brian Hsu has gone on to establish himself a pian
 ist of great energy and unusual communicative ability. Critics have descri
 bed his performances in surperlatives\, noting his “breadth of expression 
 and technical ability.”</p><p>An experienced performer\, Mr. Hsu has perfo
 rmed throughout North America\, Europe\, Asia\, and South Africa. US perfo
 rmances include Boston\, New York\, Chicago\, New Orleans\, Dallas\, as we
 ll as many others. He has appeared as concerto soloist with such ensembles
  as the Philadelphia Orchestra\, Taiwan National Symphony\, Juilliard Orch
 estra\, Haddonfield Symphony\, Sendai Philharmonic\, and University of Mic
 higan Symphony Orchestra. He has also been a guest on WQXR radio station i
 n New York several times. Mr. Hsu has performed in various music festivals
  including Amalfi Coast Music Festival in Italy\; Blue Lake Fine Arts Camp
  in Michigan\; Gijon International Piano Festival in Spain\; Eastern Music
  Festival in North Carolina\; Banff Festival of the Arts in Canada\; Piano
 Fest in The Hamptons in Long Island\, New York. His US debut solo recordin
 g\, <em>Night at the opera: Part </em>I\, which consist of opera transcrip
 tions for solo piano\, was released in the fall of 2018. In addition to hi
 s competition successes\, Mr. Hsu was the recipient of numerous awards whi
 le attending Juilliard\, Yale\, and Michigan.</p><p>Mr. Hsu frequently app
 ears as a guest artist/teacher\, presenter\, and jury member in various Mu
 sic Teachers National Association contests and other major competitions\, 
 such as the New Orleans International Piano Competition\, Nanyang Academy 
 of the Arts in Singapore. He often performs and has taught masterclasses a
 t various colleges and universities throughout the United States and Asia.
  An avid chamber musician and collaborator\, Mr. Hsu continuously performs
  with colleagues throughout the music world. Mr. Hsu participated in the w
 orld premiere of Paul Schoenfeld’s Piano Quintet with members of the Pro A
 rte’s Quartet\, and in the spring of 2014\, a recording was released by Al
 bany Records. Along with voice alumni of Loyola University New Orleans\, M
 r. Hsu participated in the debut of Logan Skeleton’s <em>Letters to Santa 
 </em>in 2016. As a member of the piano trio\, Ensemble Peri\, he participa
 ted in its inaugural tour which took place in Korea during the summer of 2
 019. Mr. Hsu is also a founding member of <em>Key 2 Inclusion</em>\, an in
 tercollegiate initiative to promote and teach piano music written by Afric
 an-American and other minority composers.</p><p>Mr. Hsu served as a staff 
 accompanist at Yale University and University of Michigan\, staff accompan
 ist and chamber music coach at Eastern Music Festival\, piano faculty at t
 he McAlester Institute in Oklahoma\, piano faculty at Blue Lake Fine Arts 
 Camp in Michigan. He has served as schedule coordinator\, staff pianist\, 
 faculty\, and assistant to the director at Amalfi Coast Music Festival in 
 Italy. He was also an adjunct professor at Siena Heights University and ta
 ught at the Ann Arbor School for the Performing Arts.</p><p>Mr. Hsu’s prim
 ary piano professors include Logan Skelton\, Peter Frankl\, Jerome Lowenth
 al\, Yoheved Kaplinsky\, Wha-Kyung Byun\, and John Kuo. He has won awards 
 in numerous competitions\, both in the US and Asia\, including Wideman Com
 petition\, Corpus Christi International Young Artists’ Competition\, Juill
 iard’s Gina Bachauer\, National Piano Competition in Taiwan. Additional st
 udies have been with Da-Ming Zhu\, Paul Schenly\, Marc Durand\, Arthur Gre
 ene. He received his Bachelor’s and Master’s degrees from The Juilliard Sc
 hool\, Artist Diploma from Yale University\, Doctoral of Musical Arts degr
 ee from the University of Michigan. He is currently associate professor of
  piano at the University of Oregon. Prior to Oregon\, he was the associate
  professor at Loyola University New Orleans.</p>
END:VEVENT
BEGIN:VEVENT
UID:7162fdd0-7a29-4186-8af2-cfa65b363776
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T195354Z
DESCRIPTION:<p> </p><p>UW Jazz Studies students perform in small combos ove
 r two consecutive nights of original tunes\, homage to the greats of jazz\
 , and experiments in composing and arranging. </p><hr><h2>Program<br> </h2><h3>To Be Determined </h3><p>Cuong Vu Advisor</p><p>Delfeayo's Dilemma - 
 <strong>Wynton Marsalis</strong><br>Ace - <strong>Walter Smith III</strong><br>Untitled 05 - <strong>Kendrick Lamar</strong></p><p>Owen Gwinn  - Ten
 or Sax<br>Carson Johnson - Tenor sax<br>Corlan Costello - Piano<br>Packard
  F Stephenson - Bass<br>Aiden Chan - Drums</p><h3>Fake Monk </h3><p>Cuong 
 Vu\, Advisor</p><p>Evidence -<strong> Thelonious Monk</strong><br>Black Ni
 le - <strong>Wayne Shorter</strong><br>All the Things You Are - <strong>Je
 rome Kern</strong><br>Yes or No - <strong>Wayne Shorter</strong></p><p>Han
 jun Ma - piano<br>Riley Tobin - bass<br>Maxim Langs - drums</p><h3>Greasy 
 Swing</h3><p>Jacob Zimmerman\, Advisor</p><p>Nica's Dream - <strong>Horace
  Silver</strong> (arr. <strong>Chris Knadler</strong>)<br>Brilliant Corner
 s - <strong>Thelonious Monk</strong><br>Waiting on Arrival - <strong>Rober
 t Glasper</strong> (arr. <strong>Brady Poor</strong>)<br>Lumpy - <strong>M
 ike Stern</strong> (arr. <strong>Riley Durasoff)</strong></p><p>Alto/Sopra
 no Sax - Gabe Suman<br>Alto Sax - Graham Cobden<br>Tenor Sax - Brady Poor&lt;
 br&gt;Tenor Sax - Yotam Snir<br>Guitar - Chris Knadler<br>Piano - Riley Duras
 off<br>Bass - Josh Bonifas<br>Drums - Spencer Read</p><h3><br>Six in Five&lt;
 /h3&gt;<p>Steve Rodby - advisor</p><p>Afro-Centric - <strong>Joe Henderson</s><br>500 Miles High - <strong>Chick Corea</strong><br>Unknown Soldier
  - <strong>Joe Zawinul  </strong></p><p>Rory Somers - trumpet<br>Aadithya 
 Manoj - alto &amp; soprano saxophone<br>Graeme Gentle - tenor saxophone<br>Gav
 in Westland - piano<br>Don Viet Tran - bass<br>Ethan Horn -  drums  </p><h2>Director Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260218T193000
LAST-MODIFIED:20260217T231852Z
SEQUENCE:343
SUMMARY:: Jazz Innovations I
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-18/jazz-innovations-i
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>UW Jazz Studies students perform in
  small combos over two consecutive nights of original tunes\, homage to th
 e greats of jazz\, and experiments in composing and arranging. </p><hr><h2>Program<br> </h2><h3>To Be Determined </h3><p><em>Cuong Vu Advisor</em></p><p>Delfeayo's Dilemma - <strong>Wynton Marsalis</strong><br>Ace - Walter Smith III</strong><br>Untitled 05 - <strong>Kendrick Lamar</p><p><em>Owen Gwinn  - Tenor Sax</em><br><em>Carson Johnson - Tenor sa
 x</em><br><em>Corlan Costello - Piano</em><br><em>Packard F Stephenson - B
 ass</em><br><em>Aiden Chan - Drums</em></p><h3>Fake Monk </h3><p><em>Cuong
  Vu\, Advisor</em></p><p>Evidence -<strong> Thelonious Monk</strong><br>Bl
 ack Nile - <strong>Wayne Shorter</strong><br>All the Things You Are - Jerome Kern</strong><br>Yes or No - <strong>Wayne Shorter</strong></p>
 <p><em>Hanjun Ma - piano</em><br><em>Riley Tobin - bass</em><br><em>Maxim 
 Langs - drums</em></p><h3>Greasy Swing</h3><p><em>Jacob Zimmerman\, Adviso
 r</em></p><p>Nica's Dream - <strong>Horace Silver</strong> (arr. <strong>C
 hris Knadler</strong>)<br>Brilliant Corners - <strong>Thelonious Monk<br>Waiting on Arrival - <strong>Robert Glasper</strong> (arr. <strong>Brady Poor</strong>)<br>Lumpy - <strong>Mike Stern</strong> (arr. <strong>Riley Durasoff)</strong></p><p><em>Alto/Soprano Sax - Gabe Suman</em><br>
 <em>Alto Sax - Graham Cobden</em><br><em>Tenor Sax - Brady Poor</em><br>Tenor Sax - Yotam Snir</em><br><em>Guitar - Chris Knadler</em><br><em>Pi
 ano - Riley Durasoff</em><br><em>Bass - Josh Bonifas</em><br><em>Drums - S
 pencer Read</em></p><h3><br>Six in Five</h3><p><em>Steve Rodby - advisor</em></p><p>Afro-Centric - <strong>Joe Henderson</strong><br>500 Miles High 
 - <strong>Chick Corea</strong><br>Unknown Soldier - <strong>Joe Zawinul  &lt;
 /strong&gt;</p><p><em>Rory Somers - trumpet</em><br><em>Aadithya Manoj - alto
  &amp; soprano saxophone</em><br><em>Graeme Gentle - tenor saxophone</em><br>&lt;
 em&gt;Gavin Westland - piano</em><br><em>Don Viet Tran - bass</em><br><em>Eth
 an Horn -  drums  </em></p><hr><h2>Director Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:bc0f91b2-04fc-45bf-acf0-dde8bc771111
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T195902Z
DESCRIPTION:<p> </p><p>UW Jazz Studies students perform in small combos ove
 r two consecutive nights of original tunes\, homage to the greats of jazz\
 , and experiments in composing and arranging. </p><hr><h2>Program</h2><h3>
 <br>Vudapest</h3><p>Cuong Vu\, Advisor<br><br>Little Sunflower - <strong>D
 orothy Ashby</strong><br>Tarana - Arr. <strong>Rishabh McIntosh</strong><b r>Black Narcissus <strong>- Joe Henderson</strong><br>Penitentiary Philoso
 phy - <strong>Erykah Badu</strong></p><p>Henry Kelly - Alto Sax<br>AJ Mart
 o - Bass<br>Rishabh McIntosh - Trombone\, Sarod<br>Alex Phelps - Trombone\
 , Keyboard<br>Mira Santa Lucia - Piano\, Harp<br>Marco Vidich - Guitar<br>
 Rohini Vrajmohan - Trumpet\, Vocals<br>Brayson Young - Drums</p><h3>Standi
 ng Waves</h3><p>Coen Rios and Rory Somers\, Advisors</p><p>Libra - <strong>Gary Bartz</strong><br>5/4 Thing - <strong>George Coleman</strong><br>Afr
 o Blue - <strong>Mongo Santamaría</strong><br>Top of My Head - <strong>Roy
  Hardgrove</strong></p><p>Jacqueline Biscay\, Tenor Saxophone<br>Phineas R
 uge\, Tenor Saxophone<br>Nandini Mishra\, Violin<br>Eliana Koenig\, Piano&lt;
 br&gt;Dominic Apostol\, Bass<br>Maxim Langs\, Drums</p><h3>Oatts’ Notes </h3>
 <p>Ted Poor Advisor</p><p>Wandering - <strong>Coen Rios</strong><br>Incant
 ations - <strong>Riley Tobin</strong><br>Second Wish - <strong>Gus Scharle
 r</strong><br>The Valley - <strong>Thomas Jennings</strong></p><p>Coen Rio
 s - Tenor Sax<br>Gus Scharler - Tenor Sax<br>Martin Nguyen - Alto Sax<br>T
 homas Jennings - Guitar<br>Nicholas Ang - Piano<br>Riley Tobin - Bass<br>S
 hane Ryan - Drums</p><hr><h2>Director Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260219T193000
LAST-MODIFIED:20260217T232240Z
SEQUENCE:344
SUMMARY:: Jazz Innovations II
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-19/jazz-innovations-ii
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>UW Jazz Studies students perform in
  small combos over two consecutive nights of original tunes\, homage to th
 e greats of jazz\, and experiments in composing and arranging. </p><hr><h2>Program</h2><h3><br>Vudapest</h3><p><em>Cuong Vu\, Advisor</em><br><br>Li
 ttle Sunflower - <strong>Dorothy Ashby</strong><br>Tarana - Arr. <strong>R
 ishabh McIntosh</strong><br>Black Narcissus <strong>- Joe Henderson<br>Penitentiary Philosophy - <strong>Erykah Badu</strong></p><p><em>Hen
 ry Kelly - Alto Sax</em><br><em>AJ Marto - Bass</em><br><em>Rishabh McInto
 sh - Trombone\, Sarod</em><br><em>Alex Phelps - Trombone\, Keyboard</em><b r><em>Mira Santa Lucia - Piano\, Harp</em><br><em>Marco Vidich - Guitar<br><em>Rohini Vrajmohan - Trumpet\, Vocals</em><br><em>Brayson Young - 
 Drums</em></p><h3>Standing Waves</h3><p><em>Coen Rios and Rory Somers\, Ad
 visors</em></p><p>Libra - <strong>Gary Bartz</strong><br>5/4 Thing - George Coleman</strong><br>Afro Blue - <strong>Mongo Santamaría</strong><br>Top of My Head - <strong>Roy Hardgrove</strong></p><p><em>Jacqueline 
 Biscay\, Tenor Saxophone</em><br><em>Phineas Ruge\, Tenor Saxophone</em><b r><em>Nandini Mishra\, Violin</em><br><em>Eliana Koenig\, Piano</em><br>Dominic Apostol\, Bass</em><br><em>Maxim Langs\, Drums</em></p><h3>Oatts
 ’ Notes </h3><p><em>Ted Poor Advisor</em></p><p>Wandering - <strong>Coen R
 ios</strong><br>Incantations - <strong>Riley Tobin</strong><br>Second Wish
  - <strong>Gus Scharler</strong><br>The Valley - <strong>Thomas Jennings</strong></p><p><em>Coen Rios - Tenor Sax</em><br><em>Gus Scharler - Tenor S
 ax</em><br><em>Martin Nguyen - Alto Sax</em><br><em>Thomas Jennings - Guit
 ar</em><br><em>Nicholas Ang - Piano</em><br><em>Riley Tobin - Bass</em><br><em>Shane Ryan - Drums</em></p><hr><h2>Director Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:458ef93a-df5c-46e3-9bd5-c3453287209c
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Talks
CLASS:PUBLIC
CREATED:20260121T190752Z
DESCRIPTION:<p>The University of Washington School of Law presents 'All Sho
 ok Up: The Rocky Road from Elvis to an AI-generated Country Song\,' a lect
 ure by Musicologist Judith Finell exploring tensions and opportunities in 
 modern music creation\, from digital sampling and social media to AI-gener
 ated music.  </p><p>This event is the inaugural event in the JoAnn Tarican
 i Law Lecture series\, established through an estate gift to the law schoo
 l from the late School of Music professor. </p><p><a href='https://events.
 uw.edu/event/1ff97859-851d-4a2b-a363-ee1d17c21dc1/summary' data-entity-typ e='external'><strong>Register to attend and learn more</strong></a></p><p>
  </p>
DTSTART;TZID=America/Los_Angeles:20260223T170000
LAST-MODIFIED:20260123T234555Z
SEQUENCE:345
SUMMARY:: External Event: JoAnn Taricani Law Lecture
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-23/external-event-joann-tar
 icani-law-lecture
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The University of Washington School of Law 
 presents 'All Shook Up: The Rocky Road from Elvis to an AI-generated Count
 ry Song\,' a lecture by Musicologist Judith Finell <span open>exploring tensions and opportunities in modern music creatio
 n\, from digital sampling and social media to AI-generated music.  </span>
 </p><p><span open>This event is the inaugural ev
 ent in the JoAnn Taricani Law Lecture series\, established through an esta
 te gift to the law school from the late School of Music professor. </span>
 </p><p><a href='https://events.uw.edu/event/1ff97859-851d-4a2b-a363-ee1d17
 c21dc1/summary' data-entity-type='external'><span open><strong>Register to attend and learn more</strong></span></a></p><p> </p>
END:VEVENT
BEGIN:VEVENT
UID:8b99b7dd-2fbb-4e79-8f8f-b1378ab319ad
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T232308Z
DESCRIPTION:<p> </p><p>The University of Washington Baroque Ensemble (Tekla
  Cunningham\, director) travels to Naples\, Italy for a program exploring 
 the dramatic flair of 18th-century Italian baroque music. Program includes
  music by great composers of the Neapolitan School: Nicola Porpora\, Leona
 rdo Leo\, Alessandro Scarlatti\, Alessandro Stradella\, and Antonio Vivald
 i.</p><hr><h2>Program Background</h2><p>In the 1700s\, Naples was a noted 
 destination for music -  a city where melody was king and virtuosity was a
  requirement. This program explores the lush textures and technical brilli
 ance of the Neapolitan School\, featuring the soaring lyricsm and instrume
 ntal brilliance of Nicola Porpora\, Leonardo Leo\,Alessandro Scarlatti and
  Alessandro Stradella\, the first composer to write concerto grosso.</p><p>To round out the evening\, we journey north to Venice for a masterpiece f
 rom Antonio Vivaldi’s groundbreaking collection\, L’Estro Armonico. These 
 concertos redefined 'harmonic inspiration' for all of Europe (Bach was obs
 essed with them)\, offering a high-octane display of rhythmic precision an
 d soaring strings.</p><p>'Naples is the capital of the musical world... th
 e source of all that is great in the art.'  — Charles Burney\, 18th-centur
 y music historian</p><hr><h2>Director Biography&lt;
 /h2&gt;
DTSTART;TZID=America/Los_Angeles:20260223T193000
LAST-MODIFIED:20260130T182344Z
SEQUENCE:346
SUMMARY:: Baroque Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-23/baroque-ensemble
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>The University of Washington Baroqu
 e Ensemble (Tekla Cunningham\, director) travels to Naples\, Italy for a p
 rogram exploring the dramatic flair of 18th-century Italian baroque music.
  Program includes music by great composers of the Neapolitan School: Nicol
 a Porpora\, Leonardo Leo\, Alessandro Scarlatti\, Alessandro Stradella\, a
 nd Antonio Vivaldi.</p><hr><h2>Program Background</h2><p>In the 1700s\, Na
 ples was a noted destination for music -  a city where melody was king and
  virtuosity was a requirement. This program explores the lush textures and
  technical brilliance of the Neapolitan School\, featuring the soaring lyr
 icsm and instrumental brilliance of Nicola Porpora\, Leonardo Leo\,Alessan
 dro Scarlatti and Alessandro Stradella\, the first composer to write conce
 rto grosso.</p><p>To round out the evening\, we journey north to Venice fo
 r a masterpiece from Antonio Vivaldi’s groundbreaking collection\, L’Estro
  Armonico. These concertos redefined 'harmonic inspiration' for all of Eur
 ope (Bach was obsessed with them)\, offering a high-octane display of rhyt
 hmic precision and soaring strings.</p><p><em>'Naples is the capital of th
 e musical world... the source of all that is great in the art.'  — Charles
  Burney\, 18th-century music historian</em></p><hr><h2>Director Biography</h2>
END:VEVENT
BEGIN:VEVENT
UID:6cf45b51-0836-4253-b9af-7fc610780d25
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20251002T191021Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p><p> Topics covered include:</strong></p><ul><li>An overview of the School o
 f Music and its resources</li><li>Degree programs offered</li><li>The appl
 ication and audition process</li><li>Scholarships</li><li>Opportunities fo
 r non-music majors</li></ul><p><strong>Time and location: </strong>Informa
 tion sessions are held from 12:00-1:00 PM over Zoom. </p><p><a class='purp
 le-button' href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer'>Regis
 ter</a></p><p>Registration is required. <strong>To ask a question\, please
  email </strong><a href='mailto:SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20260226T120000
LAST-MODIFIED:20251002T191033Z
SEQUENCE:347
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-26/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p>The UW School of Music encourag
 es prospective freshmen\, transfer students\, and current UW undergraduate
 s to attend a School of Music information session. These sessions provide 
 a great opportunity to learn more about what the School of Music has to of
 fer as well as ask questions about admissions\, auditions\, or life as a U
 W music student.</p></blockquote><p> <strong>Topics covered include:</p><ul><li>An overview of the School of Music and its resources</li>Degree programs offered</li><li>The application and audition process</li><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p>&lt;
 strong&gt;Time and location: </strong>Information sessions are held from 12:0
 0-1:00 PM over Zoom. </p><p><a class='purple-button' href='https://music.w
 ashington.edu/prospective-undergraduate-student-information-session' targe t='_blank' rel='noopener noreferrer'>Register</a></p><p>Registration is re
 quired. <strong>To ask a question\, please email </strong><a href='mailto:
 SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:f1d3b3d5-f6df-4af1-9a8e-af5e3f2f47b1
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T203630Z
DESCRIPTION:<p> </p><p>UW keyboard students perform music from the piano re
 pertoire. </p><hr><h2>Program</h2><p>Variations in F minor\, Hob. XVII:6 (
 1793) - <strong>Franz Joseph HAYDN</strong> (1732-1809)<br>FREYA FRAHM</p>
 <p>Sonata in E flat Major\, K.282 (1774) - <strong>Wolfgang Amadeus MOZART
 </strong>  (1756-1791)<br>Adagio                                      <br>
 Menuetto    <br>Allegro<br>CHLOE SONG</p><p>Papillons\, Opus 2 (1831) - <s trong>Robert SCHUMANN</strong> (1810-1856)<br>HONOKA CATER            </p>
 <p>Au pays dévasté\, Opus 155 (1918) - <strong>Cécile CHAMINADE</strong>  
  (1857-1944)<br>Caprice Impromptu\, Opus 153 (1914)                       
                  <br> JIAYI WANG</p><p>Variations and Fugue on a Theme - &lt;
 strong&gt;Ludwig van BEETHOVEN</strong>  (1770-1827)<br>from Prometheus\, Opu
 s 35 “Eroica” (1802)                                           <br>TIANCHE
 N YAN</p><hr><p> </p>
DTSTART;TZID=America/Los_Angeles:20260226T193000
LAST-MODIFIED:20260223T173653Z
SEQUENCE:348
SUMMARY:: Brechemin Piano Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-26/brechemin-piano-series
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>UW keyboard students perform music 
 from the piano repertoire. </p><hr><h2>Program</h2><p>Variations in F mino
 r\, Hob. XVII:6 (1793) - <strong>Franz Joseph HAYDN</strong> (1732-1809)<b r><em>FREYA FRAHM</em></p><p>Sonata in E flat Major\, K.282 (1774) - Wolfgang Amadeus MOZART</strong>  (1756-1791)<br>Adagio                
                       <br>Menuetto    <br>Allegro<br><em>CHLOE SONG</em></p><p>Papillons\, Opus 2 (1831) - <strong>Robert SCHUMANN</strong> (1810-18
 56)<br><em>HONOKA CATER </em>           </p><p>Au pays dévasté\, Opus 155 
 (1918) - <strong>Cécile CHAMINADE</strong>   (1857-1944)<br>Caprice Improm
 ptu\, Opus 153 (1914)                                        <br><em> JIAY
 I WANG</em></p><p>Variations and Fugue on a Theme - <strong>Ludwig van BEE
 THOVEN</strong>  (1770-1827)<br>from Prometheus\, Opus 35 “Eroica” (1802) 
                                           <br><em>TIANCHEN YAN</em></p><hr><p> </p>
END:VEVENT
BEGIN:VEVENT
UID:6e7153b8-09fc-456f-b431-58599dac3a01
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20251125T224402Z
DESCRIPTION:<p>The UW Composition program hosts a guest composer lecture by
  Baldwin Giang\, Assistant Professor and Director of New Music and Creativ
 e Innovation at Pacific Lutheran University.</p><hr><h2>Biography</h2><p>B
 aldwin Giang (b. 1992\, Philadelphia) is an internationally performed comp
 oser\, pianist\, and multimedia creator. He is the recipient of the Samuel
  Barber Rome Prize from the American Academy in Rome and a Charles Ives Sc
 holarship from the American Academy of Arts and Letters. He was composer-i
 n-residence for the Louisville Orchestra from 2024-2025. His work aims to 
 empower communities of audiences and performers by creating concert experi
 ences that are opportunities for collective wonder and judgment. Described
  as “taut and cohesive…challenging and rewarding” (Cacophony)\, Baldwin’s 
 music has been performed in venues such as Carnegie Hall\, Symphony Center
  in Chicago\, and the Smithsonian Museum (DC).<br><br>He has received comm
 issions from the National Sawdust Ensemble\, Metropolis Ensemble\, New Yor
 k Youth Symphony\, Civic Orchestra of Chicago\, Grossman Ensemble\, Playgr
 ound Ensemble\, Loadbang\, Fondation Maurice Ravel\, Extended Music Collec
 tive\, and Music from Copland House. Additional collaborators have include
 d the New Jersey Symphony\, Albany Symphony\, Ensemble Intercontemporain\,
  International Contemporary Ensemble\, Riot Ensemble\, New European Ensemb
 le\, Ensemble Garage\, orkest de ereprijs\, Arditti Quartet\, Longleash\, 
 Ekmeles\, Sandbox Percussion\, and Blackbox Ensemble.</p><p>The internatio
 nal and domestic festivals that have presented his work include: IRCAM’s M
 anifeste (France)\, Ecole d’arts Americains de Fontainebleau (France)\, Co
 ncours International de Piano d’Orléans (France)\, Gaudeamus Muziekweek (N
 etherlands)\, 24th Annual Young Composers’ Meeting (Netherlands)\, Spoleto
  Festival dei Due Mondi (Italy)\, Festival Contrasti (Italy)\, Ostrava Day
 s (Czech Republic)\, Klexos (Spain)\, Aspen Music Festival\, Princeton’s E
 dward T. Cone Institute\, and Yale in Norfolk’s New Music Workshop. Baldwi
 n has been awarded ASCAP’s Morton Gould Young Composer and Leo Kaplan Awar
 ds\, Fondation Maurice Ravel’s Prix Ravel\, Musica Prospettiva Competition
 ’s First Prize\, Gaudeamus Award nomination\, and a Fulbright Arts Fellows
 hip (Taiwan).</p><p>Baldwin is a graduate of Yale University\, earning a B
 .A. with honors in both music and political science\, the University of Mi
 chigan-Ann Arbor\, earning a M.A. as a Regents Fellow\, and the University
  of Chicago\, earning a PhD as a Division of Humanities Fellow.</p>
DTSTART;TZID=America/Los_Angeles:20260227T123000
LAST-MODIFIED:20251126T012237Z
SEQUENCE:349
SUMMARY:: Guest Composer Lecture: Baldwin Giang\, Pacific Lutheran Universi
 ty 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-27/guest-composer-lecture-b
 aldwin-giang-pacific-lutheran-university
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The UW Composition program hosts a guest co
 mposer lecture by Baldwin Giang\, Assistant Professor and Director of New 
 Music and Creative Innovation at Pacific Lutheran University.</p><hr><h2>B
 iography</h2><p>Baldwin Giang (b. 1992\, Philadelphia) is an international
 ly performed composer\, pianist\, and multimedia creator. He is the recipi
 ent of the Samuel Barber Rome Prize from the American Academy in Rome and 
 a Charles Ives Scholarship from the American Academy of Arts and Letters. 
 He was composer-in-residence for the Louisville Orchestra from 2024-2025. 
 His work aims to empower communities of audiences and performers by creati
 ng concert experiences that are opportunities for collective wonder and ju
 dgment. Described as “taut and cohesive…challenging and rewarding” (<em st yle='inherit\;'>Cacophony</em>)\, Baldw
 in’s music has been performed in venues such as Carnegie Hall\, Symphony C
 enter in Chicago\, and the Smithsonian Museum (DC).<br><br>He has received
  commissions from the National Sawdust Ensemble\, Metropolis Ensemble\, Ne
 w York Youth Symphony\, Civic Orchestra of Chicago\, Grossman Ensemble\, P
 layground Ensemble\, Loadbang\, Fondation Maurice Ravel\, Extended Music C
 ollective\, and Music from Copland House. Additional collaborators have in
 cluded the New Jersey Symphony\, Albany Symphony\, Ensemble Intercontempor
 ain\, International Contemporary Ensemble\, Riot Ensemble\, New European E
 nsemble\, Ensemble Garage\, orkest de ereprijs\, Arditti Quartet\, Longlea
 sh\, Ekmeles\, Sandbox Percussion\, and Blackbox Ensemble.</p><p>The inter
 national and domestic festivals that have presented his work include: IRCA
 M’s Manifeste (France)\, Ecole d’arts Americains de Fontainebleau (France)
 \, Concours International de Piano d’Orléans (France)\, Gaudeamus Muziekwe
 ek (Netherlands)\, 24th Annual Young Composers’ Meeting (Netherlands)\, Sp
 oleto Festival dei Due Mondi (Italy)\, Festival Contrasti (Italy)\, Ostrav
 a Days (Czech Republic)\, Klexos (Spain)\, Aspen Music Festival\, Princeto
 n’s Edward T. Cone Institute\, and Yale in Norfolk’s New Music Workshop. B
 aldwin has been awarded ASCAP’s Morton Gould Young Composer and Leo Kaplan
  Awards\, Fondation Maurice Ravel’s Prix Ravel\, Musica Prospettiva Compet
 ition’s First Prize\, Gaudeamus Award nomination\, and a Fulbright Arts Fe
 llowship (Taiwan).</p><p>Baldwin is a graduate of Yale University\, earnin
 g a B.A. with honors in both music and political science\, the University 
 of Michigan-Ann Arbor\, earning a M.A. as a Regents Fellow\, and the Unive
 rsity of Chicago\, earning a PhD as a Division of Humanities Fellow.</p>
END:VEVENT
BEGIN:VEVENT
UID:488d7fff-0161-471d-9a4a-6298c73cf883
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20260210T133532Z
DESCRIPTION:<p>The University of Washington Music History program hosts a t
 alk by Sumanth Gopinath\, Associate Professor of Music Theory at the Unive
 rsity of Minnesota\, presenting “This Four-Letter Word Stops Fascists: Mus
 ic for\, With\, and From the Minneapolis Resistance.”</p><hr><h2>Abstract&lt;
 /h2&gt;<p>Despite its reputation as a politically progressive area\, the US s
 tate of Minnesota is also in certain respects somewhat socially conservati
 ve\, one notable index of which is a widespread aversion to swearing\, esp
 ecially in public. This makes the pervasiveness of the word “fuck” in the 
 current resistance to the siege of the Twin Cities (Minneapolis and St. Pa
 ul) and the wider state by thousands of federal Immigration and Customs En
 forcement (ICE) agents all the more striking. In this talk\, I want to arg
 ue that the use and appearance of the word indexes a major social transfor
 mation taking place in the metropolitan area and perhaps beyond. This word
 ’s surfacing is significantly musical. Not only does it course through pro
 test chants and a number of songs written about\, for\, and in parallel wi
 th the resistance movement\; the very complexity and richness of the word\
 , inseparable from its designation as vulgar and taboo\, performs expressi
 ve labor in communications involving shifts in linguistic register. When i
 t appears in musical contexts\, it may help us to rethink questions of mus
 ical meaning.</p><hr><h2>Biography</h2><p>Sumanth Gopinath is Associate Pr
 ofessor of Music Theory at the University of Minnesota. He is the author o
 f The Ringtone Dialectic: Economy and Cultural Form (MIT Press\, 2013). He
  co-edited\, with Jason Stanyek\, The Oxford Handbook of Mobile Music Stud
 ies (Oxford University Press\, 2014) and Rethinking Reich with Pwyll ap Si
 ôn (Oxford University Press\, 2019). His writings on Steve Reich\, musical
  minimalism\, Marxism and music scholarship\, sound and digital media\, an
 d post-WWII concert and popular musics have appeared in various scholarly 
 journals and edited collections. He is currently working on a book project
  on musical minimalism and on additional projects on Prince and country mu
 sic. He is the leader of the independent Americana band The Gated Communit
 y.</p>
DTSTART;TZID=America/Los_Angeles:20260227T133000
LAST-MODIFIED:20260225T205059Z
SEQUENCE:350
SUMMARY:: Music History Talk: Sumanth Gopinath\, University of Minnesota
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-27/music-history-talk-suman
 th-gopinath-university-minnesota
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The University of Washington Music History 
 program hosts a talk by Sumanth Gopinath\, Associate Professor of Music Th
 eory at the University of Minnesota\, presenting “This Four-Letter Word St
 ops Fascists: Music for\, With\, and From the Minneapolis Resistance.”</p>
 <hr><h2>Abstract</h2><p>Despite its reputation as a politically progressiv
 e area\, the US state of Minnesota is also in certain respects somewhat so
 cially conservative\, one notable index of which is a widespread aversion 
 to swearing\, especially in public. This makes the pervasiveness of the wo
 rd “fuck” in the current resistance to the siege of the Twin Cities (Minne
 apolis and St. Paul) and the wider state by thousands of federal Immigrati
 on and Customs Enforcement (ICE) agents all the more striking. In this tal
 k\, I want to argue that the use and appearance of the word indexes a majo
 r social transformation taking place in the metropolitan area and perhaps 
 beyond. This word’s surfacing is significantly musical. Not only does it c
 ourse through protest chants and a number of songs written about\, for\, a
 nd in parallel with the resistance movement\; the very complexity and rich
 ness of the word\, inseparable from its designation as vulgar and taboo\, 
 performs expressive labor in communications involving shifts in linguistic
  register. When it appears in musical contexts\, it may help us to rethink
  questions of musical meaning.</p><hr><h2>Biography</h2><p><span open>Sumanth Gopinath is Associate Professor of Music Theory at the U
 niversity of Minnesota. He is the author of </span><em open>The
  Ringtone Dialectic: Economy and Cultural Form </em><span open>(MIT Press\, 2013). He co-edited\, with Jason Stanyek\, </span><em styl open>The Oxford Handbook of Mobile Music Studies</em><span open> (Oxford University Press\, 2014) and </span><em open>Rethinking Reich</em><span open san> with Pwyll ap Siôn (Oxfor
 d University Press\, 2019). His writings on Steve Reich\, musical minimali
 sm\, Marxism and music scholarship\, sound and digital media\, and post-WW
 II concert and popular musics have appeared in various scholarly journals 
 and edited collections. He is currently working on a book project on music
 al minimalism and on additional projects on Prince and country music. He i
 s the leader of the independent Americana band The Gated Community.</span>
 </p>
END:VEVENT
BEGIN:VEVENT
UID:b85ee668-1fb7-43ab-96dd-ec46b748892d
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20251008T220052Z
DESCRIPTION:<p>Lauren Kapalka Richerme\,  professor of music education at I
 ndiana University\, presents 'Popular Music Will Not Save Us: Capitalism a
 nd Music Education\,' in this installment of the 2025-26 THEME lecture Ser
 ies. </p><hr><h2>Abstract</h2><p>Scholars have addressed how classical mus
 ic education practices align with key capitalist values\, but they rarely 
 consider either relationships between these values and more progressive mu
 sic education practices or artistic possibilities for more directly challe
 nge contemporary capitalist exploitation. In this philosophical presentati
 on\, I examine how progressive music education practices that center relev
 ance and flexibility correspond with the individualism\, temporary employm
 ent\, and material accumulation that supports capitalism. Given that capit
 alism thrives on disruptions\, I subsequently consider the qualities of mu
 sical disruptions that could most directly challenge capitalist ills. Thes
 e include slowness\, self-reflection\, and acknowledgement about the limit
 s of art making.</p><hr><h2>Biography</h2><p>Lauren Kapalka Richerme is pr
 ofessor of music in music education at the Indiana University Jacobs Schoo
 l of Music\, where she teaches undergraduate and graduate courses on philo
 sophy\, sociology\, and instrumental methods. Her research interests inclu
 de contemporary philosophy\, education policy\, and innovative approaches 
 to collegiate teaching.</p><p>Richerme’s work has been published in Bullet
 in of the Council for Research in Music Education\, Journal of Research in
  Music Education\,  Philosophy of Music Education Review\, International J
 ournal of Music Education\, Music Education Research\, Arts Education Poli
 cy Review\, Music Educators Journal\, and Action\, Criticism\, and Theory 
 for Music Education. Her philosophy book\, Complicating\, Considering\, an
 d Connecting Music Education\, in which she explains aspects of poststruct
 uralist philosophy and proposes a poststructuralist-inspired philosophy of
  music education\, is published through Indiana University Press.</p><p>Ri
 cherme serves on the editorial board of Bulletin of the Council for Resear
 ch in Music Education\, and she has held leadership positions in the India
 na Music Educators Association\, Society for Music Teacher Education Polic
 y ASPA\, National Association for Music Education Philosophy Special Resea
 rch Interest Group\, and International Society for the Philosophy of Music
  Education.</p><p>Prior to her university teaching\, Richerme taught high 
 school and middle school band and general music in Massachusetts. She earn
 ed degrees from the University of Massachusetts Amherst\, Harvard Universi
 ty\, and Arizona State University.</p><hr><h2 encode sans compressed open>Serie
 s Background</h2><p class='p1' open>THEME: A colloquium of UW faculty and studen
 ts of Theory\, History\, Ethnomusicology\, and Music Education held on sel
 ect Friday afternoons during the academic year. </p>
DTSTART;TZID=America/Los_Angeles:20260227T160000
LAST-MODIFIED:20260205T010614Z
SEQUENCE:351
SUMMARY:: THEME Lecture Series: Lauren Kapalka Richerme (Indiana University
 )
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-27/theme-lecture-series-lau
 ren-kapalka-richerme-indiana-university
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Lauren Kapalka Richerme\,  professor of mus
 ic education at Indiana University\, presents 'Popular Music Will Not Save
  Us: Capitalism and Music Education\,' in this installment of the 2025-26 
 THEME lecture Series. </p><hr><h2>Abstract</h2><p>Scholars have addressed 
 how classical music education practices align with key capitalist values\,
  but they rarely consider either relationships between these values and mo
 re progressive music education practices or artistic possibilities for mor
 e directly challenge contemporary capitalist exploitation. In this philoso
 phical presentation\, I examine how progressive music education practices 
 that center relevance and flexibility correspond with the individualism\, 
 temporary employment\, and material accumulation that supports capitalism.
  Given that capitalism thrives on disruptions\, I subsequently consider th
 e qualities of musical disruptions that could most directly challenge capi
 talist ills. These include slowness\, self-reflection\, and acknowledgemen
 t about the limits of art making.</p><hr><h2>Biography</h2><p>Lauren Kapal
 ka Richerme is professor of music in music education at the Indiana Univer
 sity Jacobs School of Music\, where she teaches undergraduate and graduate
  courses on philosophy\, sociology\, and instrumental methods. Her researc
 h interests include contemporary philosophy\, education policy\, and innov
 ative approaches to collegiate teaching.</p><p>Richerme’s work has been pu
 blished in <em>Bulletin of the Council for Research in Music Education</em>\, &lt;
 em style='box-sizing:inherit\;line-height:inherit\;padding-right:2px\;'&gt;Jo
 urnal of Research in Music Education</em>\,  <em>Philosophy of Music Education 
 Review</em>\, <em>International Journal of Music Education</em>\, <em>Music Educatio
 n Research</em>\, <em>Arts Education Policy Review</em>\, <em>Music Educators Journa
 l</em>\, and <em>Action\, Criticism\, and Theory for Music Education</em>. Her 
 philosophy book\, <em>Complicating\, Considering\, and Connecting Music Educati
 on</em>\, in which she explains aspects of poststructuralist philosophy an
 d proposes a poststructuralist-inspired philosophy of music education\, is
  published through Indiana University Press.</p><p>Richerme serves on the 
 editorial board of <em>Bulletin of the Council for Research in Music Education&lt;
 /em&gt;\, and she has held leadership positions in the Indiana Music Educator
 s Association\, Society for Music Teacher Education Policy ASPA\, National
  Association for Music Education Philosophy Special Research Interest Grou
 p\, and International Society for the Philosophy of Music Education.</p><p>Prior to her university teaching\, Richerme taught high school and middle
  school band and general music in Massachusetts. She earned degrees from t
 he University of Massachusetts Amherst\, Harvard University\, and Arizona 
 State University.</p><hr><h2 encode sans compressed open>Series Background</h2>
 <p class='p1' open>THEME: A colloquium of UW faculty and students of Theory\, Hi
 story\, Ethnomusicology\, and Music Education held on select Friday aftern
 oons during the academic year. </p>
END:VEVENT
BEGIN:VEVENT
UID:0cfb612a-69fc-4715-818d-1b11f31a2916
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20260129T165300Z
DESCRIPTION:<strong>Friday\, February 27\, 2026 @ 7:30pm – 8:30pm (PST)<a class='underline-link' href='https://www.livemusicproject.org/events/ve
 nues/2413/brechemin-auditorium'><strong>Brechemin Auditorium\,</strong></a><strong> Seattle\, WA\, United States</strong>  <p>Free (no tickets required)</p><ul><li><a class='underline-link' s tyle='none\;' href='//www.livemusicproject.org/events/performers/78353/aika-ishizuki'><s trong>Aika Ishizuki</s></a>\, oboe</li><li><a class='underl
 ine-link' href='https://www.livemusicproject.org/events/performers/67826/alex-f
 raley'><strong>Alex Fr
 aley</strong></a>\, bassoon</li><li><a cla ss='underline-link' href='https://www.livemusicproject.org/events/performers/67
 835/annika-fisher'><strong>Annika Fisher</strong></a>\, bassoon</li><li><a class='underline-link' href='https://www.livemusicproject.org/events
 /performers/78357/brandon-tsai'><strong>Brandon Tsai</strong></a>\, oboe</li><li><a class='underline-link' href='https://www.livemusicproject.o
 rg/events/performers/10846/eric-shankland'><strong>Eric Shankland</strong></a>\, contrabassoon</li><li><a class='underline-link' href='https://
 www.livemusicproject.org/events/performers/67827/eric-spradling'><strong s tyle='bolder\;'>Eric Spradling</strong>
 </a>\, bassoon</li><li><a class='underline
 -link' href='https://www.livemusicproject.org/events/performers/78358/levi-beck
 '><strong>Levi Beck</s></a>\, bassoon</li><li><a class='und
 erline-link' href='https://www.livemusicproject.org/events/performers/67829/max
 -bolen'><strong>Max Bo
 len</strong></a>\, oboe &amp; English horn</li><li><a class='underline-link' href='https://www.livemusicproject.org/events/pe
 rformers/78355/meagan-paxman'><strong>Meagan Paxman</strong></a>\, oboe</li><li><a class='underline-link' href='https://www.livemusicproject.or
 g/events/performers/78356/nathan-libao'><strong>Nathan Libao</strong></a>\, bassoon</li><li styl e='border-box\;'><a class='underline-link' href='https://www.livemus
 icproject.org/events/performers/68156/rian-morgan-2'><strong>Rian Morgan</strong></a>\, bassoon&lt;
 /li&gt;<li><a class='underline-link' href='https:/
 /www.livemusicproject.org/events/performers/67833/rina-pushkina'><strong s tyle='bolder\;'>Rina Pushkina</strong>&lt;
 /a&gt;\, bassoon</li><li><a class='underline-
 link' href='https://www.livemusicproject.org/events/performers/67832/ryan-kapsa
 ndy'><strong>Ryan Kaps
 andy</strong></a>\, bassoon &amp; contrabassoon</li><li><a class='underline-link' href='https://www.livemusicproject.org/even
 ts/performers/78354/will-cummings'><strong>Will Cummings</strong></a>\, oboe &amp; English horn</li>
 </ul><a class='underline-link' href='https://www.livemusicproject.org/events/co
 mposers/4771/igor-stravinsky?near=seattle-wa&amp;include='>Igor Stravinsky</a>
  — <a class='underline-link' href='https://www.livemusicproject.org/events/work
 s/18051/igor-stravinsky/the-firebird-suite?near=seattle-wa&amp;include='>The F
 irebird Suite</a> (arr. Marc Vallon for double reed choir)<br><a class='un
 derline-link' href='https://www.livemusicproject.org/events/composers/48437/mic
 hael-holleyman?near=seattle-wa&amp;include='>Michael Holleyman</a> — <a class='underline-link' href='https://www.livemusicproject.org/events/works/84752/mich
 ael-holleyman/squid-party?near=seattle-wa&amp;include='>Squid Party</a><br><a class='underline-link' href='https://www.livemusicproject.org/events/composers/
 9611/paul-desmond?near=seattle-wa&amp;include='>Paul Desmond</a> — <a class='u
 nderline-link' href='https://www.livemusicproject.org/events/works/12206/paul-d
 esmond/take-five?near=seattle-wa&amp;include='>Take Five</a> (arr. Alexandre S
 ilverio for 4 bassoons)<br><a class='underline-link' href='https://www.livemusi
 cproject.org/events/composers/4765/wolfgang-amadeus-mozart?near=seattle-wa
 &amp;include='>Wolfgang Amadeus Mozart</a> — <a class='underline-link' href='https:
 //www.livemusicproject.org/events/works/20999/wolfgang-amadeus-mozart/over
 ture-to-die-zauberflote-the-magic-flute-k-620?near=seattle-wa&amp;include='>Ov
 erture to Die Zauberflöte ('The Magic Flute')\, K. 620</a>(arr. Martin Gat
 t for 4 bassoons &amp; contrabassoon)<br><a class='underline-link' href='https://ww
 w.livemusicproject.org/events/composers/4784/richard-wagner?near=seattle-w
 a&amp;include='>Richard Wagner</a> — <a class='underline-link' href='https://www.li
 vemusicproject.org/events/works/18467/richard-wagner/ride-of-the-valkyries
 -from-die-walkure-the-valkyrie-wwv-86b?near=seattle-wa&amp;include='>'Ride of 
 the Valkyries' from Die Walküre ('The Valkyrie')\, WWV 86B</a>(arr. Gary P
 . Gilroy for double reed choir)<p>Students of Paul Rafanelli and Dan Williams pe
 rform chamber music and solo works in the UW Double Reed Studio Recital.</p><p> 
 </p><h4>About <a styl e='none\;' href='https://www.livemusicproject.org/eve
 nts/performers/10846/eric-shankland'>Eric Shankland</a>\, contrabassoon<p> 
 </p><p>Eric Shankland has been playing bassoon since age 15. He played in the NC
 R band and the Youth Philharmonic in Dayton\, Ohio. He studied with Arthur
  Grossman and played in the University Symphony at the University of Washi
 ngton\, and currently studies with Paul Rafanelli of the Seattle Symphony.
  He was principal bassoon in the Eastside Symphony (Redmond) for fifteen y
 ears. Eric is a research scientist at the University of Washington.</p><p> </p>&lt;
 h4 style='box-sizing:border-box\;font-size:1.15rem\;font-weight:500\;line-
 height:1.2\;margin-bottom:0.46875rem\;margin-top:0px\;'&gt;About <a href='https://www.livemusicproject.org/events/p
 erformers/68156/rian-morgan-2'>Rian Morgan</a>\, bassoon</h4><p> </p><p>Rian Morgan is
  a bassoonist from the greater Seattle area. She attends the University of
  Washington studying Nutritional Health\, as well as Music with Paul Rafan
 elli of the Seattle Symphony. She has studied with Sara Savala and Francin
 e Peterson in the years prior. In the past\, she has participated in the S
 eattle Youth Symphony\, Orchestra of Flight\, NAACP ACT-SO\, WMEA All-Stat
 e\, and Washington State Solo and Ensemble competition. Currently\, Rian p
 lays in the UW Wind Ensemble and Symphony Orchestra\, and regularly perfor
 ms with the Ballard Civic Orchestra.</p>
DTSTART;TZID=America/Los_Angeles:20260227T193000
LAST-MODIFIED:20260129T222435Z
SEQUENCE:352
SUMMARY:: 2026 University of Washington Double Reed Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-02-27/2026-university-washingt
 on-double-reed-recital
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div class='col-md-7'><div class='section event-list-item'><div class='time'><strong>Friday\, February 27
 \, 2026 @ 7:30pm – 8:30pm (PST)</strong></div><div class='venue'><a c lass='underline-link' href='https://www.livemusicproject.org/events/venues/2413
 /brechemin-auditorium'><strong>Brechemin Auditorium\,</strong></a><strong>
  Seattle\, WA\, United States</strong></div><div class='online'> </div></div></div><div class='col-md-3 offset-md-2'><div> </div><p>Free (no tickets required)</p></div></div><div class='section col-
 md-7'><div class='sect
 ion program-list'><div class='section'><ul s tyle='0px
 \;'><li><a class='underline-link' href='https:/
 /www.livemusicproject.org/events/performers/78353/aika-ishizuki'><strong s tyle='bolder\;'>Aika Ishizuki</strong>&lt;
 /a&gt;\, oboe</li><li><a class='underline-lin
 k' hr ef='https://www.livemusicproject.org/events/performers/67826/alex-fraley'>
 <strong>Alex Fraley</s></a>\, bassoon</li><li><a class='und
 erline-link' href='https://www.livemusicproject.org/events/performers/67835/ann
 ika-fisher'><strong>An
 nika Fisher</strong></a>\, bassoon</li><li><a class='underline-link' href='https://www.livemusicproject.org/events/perfor
 mers/78357/brandon-tsai'><strong>Brandon Tsai</strong></a>\, oboe</li><li><a class='underline-link' href='https://www.livemusicproject.org/even
 ts/performers/10846/eric-shankland'><strong>Eric Shankland</strong></a>\, contrabassoon</li><li><a class='underline-link' href='https://www.liv
 emusicproject.org/events/performers/67827/eric-spradling'><strong>Eric Spradling</strong></a>\, 
 bassoon</li><li><a class='underline-link' href='https://www.livemusicproject.org/events/performers/78358/levi-beck'>Levi Beck</strong>&lt;
 /a&gt;\, bassoon</li><li><a class='underline-
 link' href='https://www.livemusicproject.org/events/performers/67829/max-bolen'><strong>Max Bolen</a>\, oboe &amp; English horn</li><li><a class='underline-link' href='https://www.livemusicproject.org/events/performer
 s/78355/meagan-paxman'><strong>Meagan Paxman</strong></a>\, oboe</li><li><a class='underline-link' href='https://www.livemusicproject.org/event
 s/performers/78356/nathan-libao'><strong>Nathan Libao</strong></a>\, bassoon</li><li><a class='underline-link' href='https://www.livemusicproje
 ct.org/events/performers/68156/rian-morgan-2'><strong>Rian Morgan</strong></a>\, bassoon</li><li><a class='underline-link' href='https://www.li
 vemusicproject.org/events/performers/67833/rina-pushkina'><strong>Rina Pushkina</strong></a>\, b
 assoon</li><li><a class='underline-link' s tyle='none\;' href='//www.livemusicproject.org/events/performers/67832/ryan-kapsandy'><s trong>Ryan Kapsandy</s></a>\, bassoon &amp; contrabassoon</li><li><a class='underline-link' href='https://www.livemusicproject.org/events/perf
 ormers/78354/will-cummings'><strong>Will Cummings</strong></a>\, oboe &amp; English horn</li></ul></div><div class='section'><a class='underline-link' href='https://www.livemusicproject.org/events/comp
 osers/4771/igor-stravinsky?near=seattle-wa&amp;include='>Igor Stravinsky</a> —
  <a class='underline-link' href='https://www.livemusicproject.org/events/works/
 18051/igor-stravinsky/the-firebird-suite?near=seattle-wa&amp;include='>The Fir
 ebird Suite</a> (arr. Marc Vallon for double reed choir)<br><a class='unde
 rline-link' href='https://www.livemusicproject.org/events/composers/48437/micha
 el-holleyman?near=seattle-wa&amp;include='>Michael Holleyman</a> — <a class='u
 nderline-link' href='https://www.livemusicproject.org/events/works/84752/michae
 l-holleyman/squid-party?near=seattle-wa&amp;include='>Squid Party</a><br><a cl ass='underline-link' href='https://www.livemusicproject.org/events/composers/96
 11/paul-desmond?near=seattle-wa&amp;include='>Paul Desmond</a> — <a class='und
 erline-link' href='https://www.livemusicproject.org/events/works/12206/paul-des
 mond/take-five?near=seattle-wa&amp;include='>Take Five</a> (arr. Alexandre Sil
 verio for 4 bassoons)<br><a class='underline-link' href='https://www.livemusicp
 roject.org/events/composers/4765/wolfgang-amadeus-mozart?near=seattle-wa&amp;i
 nclude='>Wolfgang Amadeus Mozart</a> — <a class='underline-link' href='https://
 www.livemusicproject.org/events/works/20999/wolfgang-amadeus-mozart/overtu
 re-to-die-zauberflote-the-magic-flute-k-620?near=seattle-wa&amp;include='>Over
 ture to Die Zauberflöte ('The Magic Flute')\, K. 620</a>(arr. Martin Gatt 
 for 4 bassoons &amp; contrabassoon)<br><a class='underline-link' href='https://www.
 livemusicproject.org/events/composers/4784/richard-wagner?near=seattle-wa&amp;
 include='>Richard Wagner</a> — <a class='underline-link' href='https://www.live
 musicproject.org/events/works/18467/richard-wagner/ride-of-the-valkyries-f
 rom-die-walkure-the-valkyrie-wwv-86b?near=seattle-wa&amp;include='>'Ride of th
 e Valkyries' from Die Walküre ('The Valkyrie')\, WWV 86B</a>(arr. Gary P. 
 Gilroy for double reed choir)</div><div class='section'><p>Students of Paul Rafanelli and Dan Williams
  perform chamber music and solo works in the UW Double Reed Studio Recital
 .</p><p> </p></div><div class='section'><h4>About
  <a href='https://www.livemusicproject
 .org/events/performers/10846/eric-shankland'>Eric Shankland</a>\, contraba
 ssoon</h4><p> </p><p>Eric Shankland has been playing bassoon since age 15. He played i
 n the NCR band and the Youth Philharmonic in Dayton\, Ohio. He studied wit
 h Arthur Grossman and played in the University Symphony at the University 
 of Washington\, and currently studies with Paul Rafanelli of the Seattle S
 ymphony. He was principal bassoon in the Eastside Symphony (Redmond) for f
 ifteen years. Eric is a research scientist at the University of Washington
 .</p><p> </p></div><div class='section'><h4>About
  <a href='https://www.livemusicproject
 .org/events/performers/68156/rian-morgan-2'>Rian Morgan</a>\, bassoon</h4>
 <p> </p><p>R
 ian Morgan is a bassoonist from the greater Seattle area. She attends the 
 University of Washington studying Nutritional Health\, as well as Music wi
 th Paul Rafanelli of the Seattle Symphony. She has studied with Sara Saval
 a and Francine Peterson in the years prior. In the past\, she has particip
 ated in the Seattle Youth Symphony\, Orchestra of Flight\, NAACP ACT-SO\, 
 WMEA All-State\, and Washington State Solo and Ensemble competition. Curre
 ntly\, Rian plays in the UW Wind Ensemble and Symphony Orchestra\, and reg
 ularly performs with the Ballard Civic Orchestra.</p></div></div></div>
END:VEVENT
BEGIN:VEVENT
UID:a7994db3-23e9-4d6b-9b5c-b2f3104f2de3
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250818T171326Z
DESCRIPTION:<p> </p><p>The Campus Band (Solomon Encina\, conductor) and Con
 cert Band (Yuman Wu\, conductor) present their Winter Quarter concert\, pe
 rforming music by Julie Giroux\, John Philip Sousa\, Percy Grainger\, Joha
 n de Meij\, Frank Ticheli\, Aaron Perrine\, and others. With special guest
  ensemble the University of Washington University Band (Corey Jahlas and C
 hris Seay\, directors)\, performing works by Claude Debussy\, Moren Laurid
 sen\, Marie Douglas\, and Johann Strauss. </p><hr><h3>Program</h3><h3>Univ
 ersity of Washington University Band </h3><p>Dr. Corey Jahlas\, Chris Seay
 \, directors <br><br>The Engulfed Cathedral (1993) - <strong>Claude Debuss
 y</strong> (1862-1918) trans. <strong>Merlin Patterson</strong> <br>O Magn
 um Mysterium (2003) - <strong>Morten Lauridsen</strong> (b. 1943) trans. &lt;
 strong&gt;H. Robert Reynolds </strong><br>Big City Lights (2021) - <strong>Ma
 rie A. Douglas</strong> (b. 1987) <br>Tritsch-Tratsch Polka (1998) - Johann Strauss</strong> (1825-1899) trans.<strong> Alfred Reed </strong>(1921-2005) </p><h3>University of Washington Campus Band</h3><p>Solomon E
 ncina\, director <br><br>Shadow Rituals (2006) - <strong>Michael Markowski
  </strong>(b.1986) <br>Song for Lyndsay (2005) - <strong>Andrew Boysen Jr.
 </strong> (b. 1968) <br>Poet and Peasant Overture (1922) - <strong>Franz V
 on Suppé </strong>(1819-1895) trans. Henry Fillmore (1881-1956) </p><h3>Un
 iversity of Washington Concert Band </h3><p>Yuman Wu\, director </p><p>The
  Thunderer (1889) - <strong>John Philip Sousa </strong>(1854-11932) <br>Wh
 en the Stars Began to Fall (1918/1920) - <strong>Percy Aldridge Grainger (
 </strong>1882-1961) <br>The Lord of the Rings: Symphony No. 1\, I. Gandalf
  (2023) - <strong>Johan de Meij</strong> (b. 1953) <br>Dawn (2012) - Terumi Yahata </strong>arr. Koh Shishikura (b. 1968) <br><br>Choirmaste
 r - Michael Lim\, Emily Colombo - Performed jointly by the University of W
 ashington Concert Band and the Seattle Chinese Choirs *</p><h2>Program Not
 es</h2><p di r='ltr'> </p><p dir='ltr'>Debussy’s <strong>La
  Cathedrale engloutie\, </strong>or Engulfed Cathedral (trasnc. Patterson)
  is a masterwork in musical storytelling and Impressionism. Originally fro
 m Debussy’s first book of preludes\, this piece describes an old Brittony 
 myth\, in which the Cathedral of Ys is swallowed by the sea as punishment 
 for its sinful patronage. Each morning\, the townsfolk would watch as the 
 cathedral would slowly rise out of the sea at sunrise and then be swallowe
 d by the water as a grim reminder of their transgressions. Debussy uses pa
 rallelism through harmonic planing throughout the work to depict the rise 
 and fall of the cathedral through the early morning mists. As the cathedra
 l rises\, the bells and chimes can be heard from within\, as well as the c
 hurch organ\, described by a C-pedal at the loudest part of the piece. It 
 is during this section where the melody can be heard free of the harmonic 
 “cloudiness”\, clearly\, when the cathedral is completely out of the water
 . The harmonic planing technique returns as the structure returns to the w
 atery depths\, with a mournful melody in the english horn\, as the townsfo
 lk regret their sinful behavior. </p><p dir='l
 tr'> </p><p dir='ltr'><strong>O Magnum Mysteri
 um </strong>(O Great Mystery) was originally a choir composition by the pr
 olific choral composer Morten Lauridsen. The Latin text setting derives fr
 om the Matins of Christmas of the Eastern Orthodox liturgy\, a portion of 
 services held on early Christmas morning or at midnight. Lauridsen writes 
 “For centuries\, composers have been inspired by the beautiful O Magnum My
 sterium text… In composing music to these inspirational words about Christ
 ’s birth and the veneration of the Virgin Mary\, I sought to impart a tran
 sforming spiritual experience within what I call ‘a quiet song of profound
  inner joy.’ I wanted this piece to resonate immediately and deeply into t
 he core of the listener\, to illumine through sound.”</p><p dir='ltr'>The wind band se
 tting was transcribed by internationally renowned conductor\, orchestrator
 \, and educator\, H. Robert Reynolds\, who passed away last month in Janua
 ry 2026\, after a 91-year life containing 64-years of influence in music. 
 The work is heard in two subliminal verses\, before expanding beyond the o
 nly significant dissonance in harmony (Virgo\, Blessed Virgin)\, that prop
 els a magnificent full ensemble orchestration\, proclaiming the Alleluia. 
 The piece recedes back to the secure\, mellow\, and sublime.</p><p dir='ltr'>O magnum 
 mysterium</p><p dir='ltr'>et adnirabile sacramentum</p><p dir='ltr'>ut animalia viderent Dominum</p><p dir='lt
 r'>natum jacetum in praesepio!</p><p dir='ltr'>Beata Virgo\, cujus viscera</p><p dir='ltr'>Merueru
 nt portare</p><p dir='ltr'>Dominum Christum. Alleluia!</p><p dir='ltr'>O great mystery\,</p><p sty le='0pt\;' dir='ltr'>And w
 ondrous sacrament</p><p dir='ltr'>That animals should see the new-</p><p dir='ltr'>born Lord\, lyi
 ng in their manger!</p><p dir='ltr'>Blessed is the Virgin whose womb </p><p dir='ltr'>was worth to
  bear the</p><p dir='ltr'>Lord Jesus Christ. Alleluia!</p><p dir='ltr'><strong>Big City Lights<strong> </strong>is a piece for wind band\, inspired by the Hip-Hop 
 sub-genre “Trap Music” which finds its roots in the composer’s hometown\, 
 Atlanta\, Georgia. The atonal piece has an electronic accompaniment aspect
  as well. There are musical elements that are meant to imitate techniques 
 which are commonly utilized during the production of music within the genr
 e. For example\, in general the timpani performs what are intended to be “
 808’s”\, while the tuba is often performing lines that would be reserved f
 or synthesized bass\; the combination creates an often utilized distortion
  technique.</p><p dir='ltr'>Other production tactics travel through the ensemble as we
 ll. Certain aspects of the orchestration are imitating automation\, which 
 places the sound exclusively in different spots of the ensemble (specifica
 lly on the left or right of the conductor). Sudden and gradual ensemble cr
 escendos and dovetailing of melodies imitate low and high pass filters and
  volume knobs. Additionally\, the piece aims to give the performers and au
 dience a peek into a day in the life of an Atlanta resident.</p><p dir='ltr'>The piece
  begins with the high-paced “It’s Lit!!” section which includes fortissimo
  exclamations occurring throughout the ensemble. Demonstrating the hustle 
 and bustle of the famed Atlanta traffic. The traffic sounds perform a trio
  with the clarinets and marimba\, who depict a sense of “hurry and wait”\,
  as they endure the Atlanta traffic scene. The “Issa Vibe” section is much
  slower and intends to depict a night out on the town with friends\, enjoy
 ing the city lights and the slightly slower paced environment.</p><p dir='ltr'>For a s
 hort period\, we return to “It’s Lit!!” followed by “Chopped and Screwed\,
 ” which is a halftime recapitulation of the main themes. “Chopped and Scre
 wed” is a famous DJ style where a song is slowed down tremendously. The pi
 ece closes out with one final return to the original marking of “It’s Lit”
 . Enjoy a day in the life of an “AtLien”!</p><p dir='ltr'>-Program note by the compose
 r<br> </p><p dir='ltr'>The <strong>Tritsch-Tra
 tsch Polka</strong> (Johann Strauss Jr.\, transc. Alfred Reed) is meant to
  depict (and literally translates to) chit-chat\, or gossip\, in the Vienn
 ese popular dialect. The effect of this little musical two-part form with 
 a trio is that of a busy\, nittering\, nattering little group of people ex
 changing gossip in a never-ending rush of words and exclamations. Hushed v
 oices trying to keep a secret are punctuated by sudden exclamations from o
 thers\, unable to contain their excitement. This piece is a fun\, stylisti
 c study on the beauty of contrast in music\, and its ability to create an 
 emotional\, almost-comedic effect. <br> </p><p dir='ltr'><strong>Shadow Rituals </strong>begins with the
  percussion section\, and shortly after we hear the first theme played by 
 the clarinets. The first theme is later heard in the flutes and bells befo
 re returning to the clarinets. Most of Shadow Rituals is related to the op
 ening section\, and the majority of the motives heard throughout are relat
 ed to the first theme.</p><p dir='ltr'>The second theme is very syncopated and is first heard in the
  horns and is followed by a development section. The piece then has a brie
 f moment of release as the flutes sustain a unison pitch. Then the third t
 heme is played by a solo euphonium. The third theme is presented in cannon
  in the bassoon\, alto sax\, and clarinets. The third theme is a perfect p
 alindrome\; if you played it backwards it would sound exactly the same. Th
 e first theme returns before a coda\, but has been altered to fit a 6-beat
  pattern instead of a 5-beat pattern. This alteration is presented by the 
 trumpets\, over which an augmentation of theme one is expressed by the woo
 dwinds. Shadow Rituals ends with a brief statement of the first theme by t
 he woodwinds\, and a brief statement of the second theme by the winds and 
 brass.</p><p dir='ltr'>- P
 rogram Note by composer</p><p d ir='ltr'><br><strong>Song for Lyndsay</strong> was commissioned by Jack St
 amp at Indiana University of Pennsylvania. It is an expansion on a short a
 nd unnamed piano piece that Boysen wrote for his wife\, Lyndsay\, in 2005.
 </p><p dir='ltr'>The wind p
 iece is larger in length and scope than the source material\; in the score
 \, Boysen describes it as “a very personal work ... more than anything els
 e a simple love song dedicated to Lyndsay and what she has meant in my lif
 e.”</p><p dir='ltr'>The pia
 no piece is used as a starting point\, and the material in the winds is ei
 ther based on or a direct quotation of it. Lyrical in nature and just over
  five minutes long\, solo horn and solo flute are prominent throughout\; t
 his scoring is deliberately and symbolically used because Boysen plays the
  horn and his wife plays the flute.</p><p dir='ltr'>- Program Note from publisher</p><p dir='ltr'> </p><p dir='ltr'>Two overtures associated with the old-t
 ime park band concerts of the day when those events were at their peak in 
 popularity are Rossini's William Tell and Suppé's <strong>Poet and Peasant
 .</strong> Although Suppé is noted as the composer of a great number of co
 mic operas\, this particular work did not belong to an opera until several
  years after its 1845 composition date. The themes from this overture are 
 among the most often quoted material for comic effects for stage productio
 ns and animated cartoons probably because they represent\, in sound\, an e
 ra of nostalgia and are familiar to audiences of all age groups. It is for
  this reason\, if no other\, that the composition deserves to be heard in 
 its original context as a serious but highly entertaining selection.</p><p dir='ltr'>- Program Note f
 rom publisher</p><p dir='
 ltr'>Composed in 1889\, The <strong>Thunderer</strong> is one of John Phil
 ip Sousa’s most celebrated concert marches. Written during Sousa’s tenure 
 with the U.S. Marine Band\, the piece exemplifies his mastery of the Ameri
 can march style\, brilliant brass fanfares\, crisp articulation\, and buoy
 ant rhythmic drive. The title is often interpreted as referring to a power
 ful orator\, reflecting the bold and declamatory character of the opening 
 strain. Following the traditional march form\, contrasting themes unfold w
 ith elegance and balance before arriving at the iconic trio section\, wher
 e a broad\, lyrical melody emerges over a flowing accompaniment. The Thund
 erer remains a cornerstone of wind band repertoire\, combining patriotic v
 igor with refined craftsmanship.</p><p dir='ltr'><strong>Irish Tune</strong> from County Derry is G
 rainger’s luminous setting of the traditional melody commonly associated w
 ith “Londonderry Air.” First arranged in 1918 and later revised for wind b
 and in 1920\, the work reflects Grainger’s deep affection for folk music a
 nd his commitment to preserving its expressive nuance. Rather than treatin
 g the melody as a simple hymn-like statement\, Grainger enriches it with w
 arm harmonic colors\, flowing inner lines\, and carefully layered textures
 . The result is both intimate and expansive\, allowing the melody to unfol
 d with quiet dignity before rising to a radiant climax. This setting remai
 ns one of the most cherished lyrical works in the wind band repertoire.</p><p dir='ltr'>Johan de Me
 ij’s <strong>Symphony No. 1: The Lord of the Rings</strong> remains one of
  the most influential large-scale works in the wind band repertoire. Origi
 nally composed between 1984 and 1987 and premiered in 1988\, the symphony 
 was revised and issued in a newly engraved Complete Edition in 2023. Based
  on J.R.R. Tolkien’s epic trilogy\, the five movements portray key charact
 ers and episodes from the story. The opening movement\, “<strong>Gandalf (
 The Wizard)</strong>\,” presents a musical portrait of the wise and noble 
 wizard who leads the Fellowship of the Ring. A stately\, expansive theme r
 epresents Gandalf’s authority and inner strength—a motif that reappears in
  later movements of the symphony. The sudden Allegro vivace captures the u
 npredictability and dynamic energy of the Grey Wizard\, culminating in a v
 ivid musical depiction of his ride on the legendary horse Shadowfax. Throu
 gh bold contrasts\, sweeping melodic lines\, and dramatic orchestration\, 
 de Meij conveys both Gandalf’s wisdom and formidable power.</p><p dir='ltr'><strong>Dawn</strong> w
 as originally created by the graduating seniors of a high school band club
  in Hokkaido\, Japan. Each member contributed text\, which was then woven 
 together into a unified message of gratitude and farewell. The students re
 hearsed the piece in secret and surprised their band director with its per
 formance at their graduation ceremony. The title was inspired by “Lever du
  jour” (Daybreak) from Ravel’s Daphnis et Chloé—the ensemble’s primary con
 test work that year. Like Ravel’s radiant sunrise\, Dawn captures a moment
  of transition: the quiet reflection before departure and the hopeful ligh
 t of a new beginning. In this arrangement for chorus and band by Koh Shish
 ikura\, warm harmonic textures and lyrical melodic lines support the since
 rity of the text. The piece unfolds gently\, allowing the voices and instr
 uments to blend in an atmosphere of gratitude\, nostalgia\, and optimism. 
 More than a farewell\, Dawn is a tribute to shared experiences\, mentorshi
 p\, and the enduring bonds formed through music.</p><p dir='ltr'>Performed jointly by t
 he University of Washington Concert Band and the Seattle Chinese Chorus. &lt;
 /p&gt;<p dir='ltr'>The Seat
 tle Chinese Chorus “SCC\,” a 501(c)(3) nonprofit formed in 2010\, has over
  80 members. Dedicated to artistic excellence in a multicultural atmospher
 e\, SCC achieved a silver award at the 7th World Choir Games in Cincinnati
 . Beyond annual concerts\, the chorus engages in civic events like Celebra
 te Asia and performs at Benaroya Hall\, bridging cultures through song. Th
 e SCC sincerely welcomes new members to join their family.</p><hr><p>UNIVERSITY OF WASHINGTON UNIVERSITY BAND </strong><br><strong>FLUTE </s><br>Lydia Blair\, Civil Engineering\, Seattle\, WA <br>Lauren Chock\
 , Alumni (Medical Laboratory Science)\, Honolulu\, HI <br>Robin Choi\, Pol
 itical Science\, Mukilteo\, WA <br>Spencer Crosbie\, Early Childhood and F
 amily Studies\; Music\, Walla Walla\, WA <br>Taylor Drake\, Medical Labora
 tory Science\, Graham\, WA <br>Harrison Hanson\, Atmospheric Science: Mete
 orology\, Mukilteo\, WA <br>Anya Harmon\, Psychology\, Spokane\, WA <br>Ti
 na Impala\, Alumni (Nursing)\, Monroe\, WA <br>Miguel Larios\, Neuroscienc
 e\, Ann Arbor\, MI <br>Belle Michaels Lucy Nowicki\, Philosophy\; Psycholo
 gy\, Centralia\, WA <br>Oliver Pung\, Pre-Science\, Spokane\, WA <br>Jenni
 fer Raschke\, Psychology\, Frisco\, TX <br>Jacob Reese\, Civil Engineering
 \, Olympia\, WA <br>Alex Runnels\, Speech &amp; Hearing Sciences\, Burien\, WA
  <br>Jayden Sibley\, Mechanical Engineering\, Monroe\, WA <br><br><strong>
 OBOE </strong><br>Will Cummings\, Linguistics\; French\, Chehalis\, WA <br>Maila Deutsche\, International Studies\, Santa Rosa\, CA <br>Brandon Tsai
 \, Electrical Engineering\; Computer Engineering\, Shoreline\, WA </p><p>&lt;
 strong&gt;BASSOON </strong><br>Callum Chace-Macki\, Neuroscience\, Seattle\, 
 WA <br>Krish Doshi\, Computer Science\; Statistics\, Bothell\, WA <br>Nath
 an Libao\, Biology\, SeaTac\, WA <br>Danice Raymundo\, Biology\, Steilacoo
 m\, WA </p><p><strong>CLARINET </strong><br>Anabelle Braun\, Public Health
 \, Seattle\, WA <br>Esme Ford\, Biology\, Seattle\, WA <br>Ben Kunze\, Mat
 hematics\; Japanese\, Portland\, OR <br>Hugh Moss\, History\, Manhattan Be
 ach\, CA <br>Susan Pearson\, Alumni (Business Administration)\, Everett\, 
 WA <br>Jayden Rottinghaus\, Engineering\, Puyallup\, WA <br>Edmund Tsai\, 
 Engineering\, Taipei\, Taiwan </p><p><strong>BASS CLARINET </strong><br>Za
 ckary Hendricks\, Mechanical Engineering\, Burlington\, WA <br>Eduardo Rac
 y\, Computer Science\, Auburn\, WA <br>Braden Trimmer\, Physics\, Shorelin
 e\, WA <br><br><strong>ALTO SAXOPHONE </strong><br>Analiz Birrueta\, Chemi
 stry\, Longview\, WA <br>Madison Calma\, Accounting\, Olympia\, WA <br>Gra
 ce Lovell\, Aerospace Engineering\, Dupont\, WA <br>Spencer Mahugh\, Law\,
  Societies\, &amp; Justice\, Montesano\, WA <br>Blaine Mandiangu\, Computer Sc
 ience\, Spokane\, WA <br>Mak Murphy\, Psychology\, Lakewood\, WA <br>Marik
 a Nelson\, Biology\, Seattle\, WA <br>Nicole Pasia Kylie Schoessler\, Psyc
 hology\; Spanish\, Auburn\, WA </p><p><strong>TENOR SAXOPHONE </strong><br>Natalia Breeden\, Environmental Studies\, Longview\, WA <br>Mercy Guirnal
 da\, Psychology\, Seattle\, WA <br>Joey Kyne\, Civil Engineering\, Camas\,
  WA <br>Sean Miller\, Bioengineering\, Woodinville\, WA <br>Liana Robin\, 
 Biochemistry\, Vancouver\, WA </p><p><strong>TRUMPET </strong><br>Logan Ca
 rte\, Aeronautics &amp; Astronautics\, Olympia\, WA <br>Brian Hillard\, Alumni
 \, Bothell\, WA <br>Finn Kim\, Biochemistry\, Bellevue\, WA <br>Ashelynn L
 um\, Physics\, Sammamish\, WA <br>Clara McCall\, Marine Biology\, Seattle\
 , WA <br>Patrick Mercier\, Law\, Societies\, &amp; Justice\, Olympia\, WA <br>
 Trenton Owens\, Drama Performance\, Vancouver\, WA <br>Taylor Rainwater-Br
 own\, Psychology\, Seattle\, WA <br>Persephone Taylor\, Urban Studies: Com
 munity Development &amp; Planning\, Sumner\, WA <br>Ari Waingold\, Mathematics
 \; Cultural Studies\, Mercer Island\, WA <br>Stan Yantis\, Alumni\, Grapev
 ine\, WA <br>Justin Yu\, Electrical Engineering\; Computer Engineering\, V
 ancouver\, WA </p><p><strong>FRENCH HORN </strong><br>Katie Bullis\, Physi
 cs\; Mathematics\, Gig Harbor\, WA <br>Andrew deLeon\, Mathematics\; Physi
 cs\, Camas\, WA <br>Matthew Jewesson\, Engineering\, Austin\, TX <br>Ethan
  Jorde\, Material Science\; Engineering\, Snohomish\, WA <br>Daniel Ozlows
 ki\, Community Member\, Dallas\, TX <br>Sanjay Patel\, Bioengineering\, Mo
 untain View\, CA <br>Leah Peterson\, Astrophysics\, Bellevue\, WA <br>Jay 
 Tampinco\, Electrical Engineering\, Burlington\, WA <br>Trey Varney\, Poli
 tical Science\, Longview\, WA <br>Quinn Widdows\, Electrical Engineering\;
  Computer Engineering\, Issaquah\, WA </p><p><strong>TROMBONE </strong><br>Christine Buchanan\, Biochemistry\; Lake Oswego\, OR <br>Josie Boyles\, M
 ath Education\, Puyallup\, WA <br>Samuel Chen\, Human Centered Design\; En
 gineering\, Snoqualmie\, WA <br>Jayda Fitch\, Drama Design\, Meridian\, ID
  <br>Alex May\, Chemical Engineering\, Issaquah\, WA <br>Megan O’Neill\, A
 eronautics &amp; Astronautics\, Shoreline\, WA <br>Avik Spurgeon\, Engineering
 \, Seattle\, WA </p><p><strong>EUPHONIUM</strong> <br>Holland Kantner\, Ae
 rospace Engineering\, Belfair\, WA <br>Andrew Nguyen\, Electrical Engineer
 ing\, Kent\, WA <br>Grace Pardini\, Aeronautical &amp; Astronautical Engineeri
 ng\, Nevada City\, CA <br>Zac Petrillo\, Psychology\, Seattle\, WA <br>Dyl
 an Simmons\, Engineering\, Spokane\, WA </p><p><strong>TUBA </strong><br>N
 ate Herrick\, Scandinavian Area Studies\, Puyallup <br>April Yantis\, Alum
 ni\, Grapevine\, WA </p><p><strong>PERCUSSION </strong><br>Auryanna Brown 
 <br>Brian Chen\, Mechanical Engineering\, Taipei\, Taiwan <br>Shiue-Lang C
 hin\, Computer Engineering\, Hsinchu\, Taiwan <br>Seth Davis\, Biochemistr
 y\, San Diego\, CA <br>Henry Gilbert\, Political Science\, Camas\, WA <br>
 Aidan Nguyen\, Biochemistry\, Vancouver\, WA </p><p><strong>UNIVERSITY OF 
 WASHINGTON CAMPUS BAND </strong><br><strong>FLUTE </strong><br>Brinda Arun
 \, Engineering\, Redmond\, WA <br>Emily Charles\, Marine Biology\, New Bos
 ton\, NH <br>Cole Cherkasky\, Interdisciplinary Art\, Chicago\, IL <br>Gra
 ce Collins-Price\, Anthropology\, Louisville\, TN <br>Sarah Edwards\, Huma
 n Centered Design &amp; Engineering\, Mukilteo\, WA <br>Maria Granzeier\, Neur
 oscience\, Biochemistry and MCD Biology\, Rockford\, IL <br>Claire Hu\, En
 gineering\, Colorado Springs\, CO <br>Hareesh Iyer\, Graduate\, Materials 
 Science &amp; Engineering\, San Jose\, CA <br>Satoshi Jono\, Global Study\, To
 kyo\, Japan <br>Nora Katiyar\, Art\, Cleveland\, OH <br>Savannah Lee\, Inf
 ormatics\, Vancouver WA <br>Richard Lin\, Aeronautics and Astronautics\, S
 an Diego\, CA <br>Kieran Lyons\, Chemistry and Mathematics\, Hermosa Beach
 \, CA <br>Elizabeth McAleer\, International Studies\, Battle Ground\, WA &lt;
 br&gt;Sunni Ng\, Colfax\, WA <br>Chiche Okemgbo\, Real Estate\, Medical Lake\
 , WA <br>Heather Osterstock\, Community Member\, Kihei\, HI <br>Isabelle P
 aulsen\, Marine Biology &amp; Oceanography\, Snohomish\, WA <br>Meagan Paxman\
 , Pre-Sciences\, Vancouver\, WA <br>Rebecca Quan\, Speech and Hearing Scie
 nces\, Redmond\, WA <br>Maya Rasche\, Visual Communication Design\, Kirkla
 nd\, WA <br>Roman Sydorchuk\, Mechanical Engineering\, WA <br>Nathanael Vi
 torino\, Chemical Engineering\, Vancouver\, WA <br>Victor Vitorino\, Busin
 ess Administration\, Vancouver\, WA </p><p><strong>BASS CLARINET </strong>
 <br>Srikrishna Gurumurthy\, Biology\, Redmond\, WA </p><p><strong>ALTO SAX
 OPHONE </strong><br>Ashley Adrian\, American Indian Studies and American E
 thnic Studies\, Sammamish\, WA <br>Abhinandan Basak\, Mechanical Engineeri
 ng\, Bothell\, WA <br>Andrew Eisenhauer\, Biology/Environmental Science\, 
 Bellingham\, WA <br>Natalie Gaston\, Medical Anthropology\, Public Health\
 , Longview\, WA <br>Charlotte Johnson\, Earth and Space Science\, Boston\,
  MA <br>Ellie Kiffe\, Meteorology\, Marysville\, WA <br>Yueli Li\, Ventura
  County\, CA <br>Athena Otto Von Askervold\, Public Health\, Global Health
 \, Seattle\, WA <br>Lee Santiago\, Business Administration\, Shelton\, WA 
 </p><p><strong>TENOR SAXOPHONE </strong><br>Ash Gatton\, Linguistics\, Yak
 ima\, WA <br>Mercy Guirnalda\, Psychology\, Seattle\, WA <br>Logan Harris\
 , Oceanography\, Issaquah\, WA <br><br><strong>BARITONE SAXOPHONE </strong><br>Matthew Ohliger\, Environmental Public Health\, Montgomery\, AL </p>&lt;
 p&gt;<strong>TRUMPET </strong><br>Maine Bilardello\, Mechanical Engineering\,
  San Carlos\, WA <br>Tracy Chin\, Graduate\, Mathematics\, San Diego\, CA 
 <br>Imogen Eyler\, Marine Biology\, Evanston\, IL <br>Jack Hebert\, Enviro
 nmental Studies\, Austin\, TX <br>Natalie Hofkes\, Psychology\, Seattle\, 
 WA <br>Delaney Hurlimann\, Physiology\, Burlington\, WA <br>Nathan Kil\, E
 conomics\, Bellevue\, WA <br>Thomas Longcore\, Computer Science\, Kirkland
 \, WA <br>Logan Nguyen\, Engineering\, Vancouver\, WA <br>Nate Protzel\, C
 hemistry\, Anaheim\, CA <br>Ben Batner\, Civil Engineering\, Seattle\, WA 
 <br>Adam Rehmann\, Mechanical Engineering\, Vancouver\, WA </p><p><strong>
 HORN </strong><br>Macy Mann\, Community Member\, Kenmore\, WA <br>Charlott
 e Rogliano Cavalerie\, Community Member\, Seattle WA <br>Kira Stewart\, Bi
 oscience &amp; Engineering\, Seattle\, WA <br>Jay Tampico\, Community Member\,
  Seattle WA <br>George Whiddon\, International Studies &amp; Chinese\, Littlet
 on\, CO <br>Quinn Widdows\, Electrical &amp; Computer Engineering\, Issaquah\,
  WA </p><p><strong>TROMBONE </strong><br>Nneoma Anamelechi\, Cinema Studie
 s\, Everett\, WA <br>Cade Ballew\, Graduate\, Applied Math\, Norman\, OK &lt;
 br&gt;Oskar Cole\, Computer Science\, Fall City\, WA <br>Aditi Nair\, Environ
 mental Engineering\, Lake Villa\, IL <br>Evan Pham\, History\, Richland\, 
 WA <br>Franny Reynolds\, Psychology\, Santa Monica\, CA <br>Chloe Sprague\
 , Marine Biology\, Ann Arbor\, MI <br>Emmett Van Mason\, Mechanical Engine
 ering\, Richland\, WA <br>Will Vanderburght\, Political Science\, Vancouve
 r\, WA <br><br><strong>TUBA </strong><br>Timothy Brock\, Law\, Seattle\, W
 A <br>Joaquin Matthews\, Psychology\, Mercer Island\, WA </p><p><strong>ST
 RING BASS </strong><br>David Del Cid-Saavedra\, Community Member\, Seattle
 \, WA <br><br><strong>PERCUSSION </strong><br>Curtis Chung\, Music Educati
 on\, Seattle\, WA <br>Darin Chung\, Biology\, Taiwan <br>Charlotte Greene\
 , Meteorology and Climate\, Lynden\, WA <br>Kendall Johnson\, Graduate\, M
 echanical Engineering\, La Conner\, WA <br>Ben Von Jess\, Music Education\
 , Renton\, WA <br>Martin Yinuo Xu\, Chemistry\, Chicago\, IL <br>Jaden Zik
 a\, Psychology\, Livermore\, CA </p><p><strong>UNIVERSITY OF WASHINGTON CO
 NCERT BAND</strong> <br><strong>FLUTE/ PICCOLO </strong><br>Mimmi Beck\, C
 ommunity Member\, Gig Harbor <br>Brianna Blanchard\, Sr.\, Environmental P
 ublic Health\, Shoreline Keith Cao\, Fr.\, Computer Science\, Smallish Mag
 gie Cook\, Gr.\, Molecular Engineering\, Union\, KY <br>Karlien Dang-Lee\,
  Fr.\, Business Administration\, Boulder\, CO <br>Grace Ge\, Fr.\, Enginee
 ring\, Auburn\, AL <br>Maggie Hedrick\, Jr.\, Mechanical Engineering\, Ket
 tle Falls <br>Madison Heath\, Fr.\, Marine Biology\, Hawaii <br>Charlotte 
 Kelbaugh\, So.\, International Relations\, Austin\, TX <br>Fletcher Lohren
 tz\, Jr.\, Physics + Astronomy\, Shoreline <br>Noah Mason\, Sr.\, Mechanic
 al Engineering\, Bellingham <br>Tiffany Matsushima\, Jr.\, Electrical and 
 Computer Engineering\, Mililani\, HI <br>Sarah Pabin\, Sr.\, Environmental
  Science and Resource Management\, Chicago\, IL <br>Hailey Phan\, Fr.\, Bi
 ology\, Libertyville\, IL <br>Jason Pham\, Sr.\, Biology (Physiology) <br>
 Lacey Keming Qiu\, Jr.\, Biochemistry\, Bellevue <br>Tasiyah Ahmed\, Fr.\,
  Economics + Political Science\, Portland\, OR <br>Victoria Silkina\, Fr.\
 , Pre-Science (Intended Marine Biology)\, Vienna\, Austria <br>Isabella Va
 ldez\, Jr.\, Intended Psychology\, Vancouver <br>Julia Winget\, So.\, Appl
 ied Physics and Earth and Space Sciences\, Cincinnati\, OH <br>Audrey Xie\
 , Fr.\, Undecided\, Greer\, SC <br>Xiage Zhang\, Gr.\, Flute Performance\,
  Shanxi Province\, China <br><br><strong>OBOE </strong><br>Natalie Hagerma
 n\, Jr.\, Aerospace Engineering\, Olympia <br>Stacy Schulze\, Community Me
 mber\, Community Member\, Richmond\, TX <br><br><strong>CLARINET </strong>
 <br>CC Ahrens\, Sr.\, Computer Science and Mathematics\, White Salmon <br>
 Cin Ahrens\, Sr.\, Computer Science and Mathematics\, White Salmon <br>Jov
 ani Azpeitia\, Gr.\, Social Psychology\, Kirkland <br>Gael Chun-Rivas\, So
 .\, Electrical and Computer Engineering\, Honolulu\, HI <br>Julia Cantore\
 , Community Member\, N/A\, Miami\, FL <br>Fareyl Daoed\, Fr.\, Earth &amp; Spa
 ce Science\, Sammamish <br>Dante Nguyen\, Jr.\, Electrical and Computer En
 gineering\, Olympia <br>Miranda Espineli\, Community Member\, N/A\, Kirkla
 nd <br>Steph Filippov\, So.\, Music Education\, Federal Way <br>Bruno Ferk
 o\, Jr.\, Economics\, Federal Way <br>Hans Koduri\, Community Member\, N/A
 \, Sammamish <br>Karl Lee\, Sr.\, Informatics\, Puyallup <br>Carter Lembo\
 , Jr.\, ACMS\, Poulsbo <br>Sophie Leong\, Fr.\, Pre-Environment\, Issaquah
  <br>Ayari Lopez\, So.\, Bioengineering\, San Diego\, CA <br>Darby Nabb\, 
 Sr.\, Environmental Science\, Mason\, OH <br>Zachary O’Connell\, Jr.\, Che
 mistry\, Lynnwood <br>Isabela Trabanino\, Fr.\, Engineering\, Lake Stevens
  <br>Elizabeth Hirman\, Sr.\, MCD Biology\, Mill Creek </p><p><strong>BASS
 / CONTRABASS CLARINET </strong><br>Nel Jacobs\, Community Member\, N/A\, S
 eattle <br>Eduardo Azevedo Simão Racy\, Jr.\, Computer Science\, Auburn </p><p><strong>SAXOPHONE </strong><br>Elena Boyle\, So.\, Environmental Stud
 ies and Food Systems\, Seattle <br>Kole Dickson\, Fr.\, ENGRUD Electrical 
 Engineering\, Snohomish <br>Zach Dunca\, Fr.\, Architecture Design\, Santa
  Clarita\, CA <br>John Gibson\, Jr.\, CHID / Political Science\, Seattle &lt;
 br&gt;Matthew Holmes\, Gr.\, Aero &amp; Astro\, Winters\, CA <br>Ananya Juneja\, 
 So.\, Visual Communication Design\, Snohomish <br>Ethan Kaplan\, Sr.\, Ele
 ctrical and Computer Engineering\, Seattle <br>Andy Kim\, Community Member
 \, N/A\, Illinois <br>Blaine Mandiangu\, Fr.\, Pre-Sciences (Intended Comp
 uter Science)\, Portland\, OR <br>Arnav Mazumder\, Sr.\, Computer Science\
 , Dallas\, TX <br>Alex Medina\, So.\, Computer Science (UW Tacoma)\, Kent 
 <br>Joalda Morancy\, Gr.\, Aerospace\, Seattle <br>August Peterson\, Fr.\,
  English\, White Salmon <br>Akhila Pisupati\, So.\, Physics and Astronomy 
 and Political Science\, Austin\, TX <br>Sydney Procajlo\, Fr.\, Environmen
 tal Science\, Chicago\, IL <br>Olina Dalton-Gilbertson\, Sr.\, Social Welf
 are\, Ilwaco <br>Misha Robinson\, Sr.\, Art\, Oak Harbor <br>Delaney Roger
 s\, Fr.\, Atmospheric and Climate Science\, Tri-Cities <br>Jason Taylor\, 
 Community Member\, Neuroscience\, Indianapolis\, IN <br>Jacob Watson\, Com
 munity Member\, Computer Science\, Las Vegas <br>Yu Wang\, Community Membe
 r\, Art\, Taipei <br>Roxann Wrynn\, So.\, Chemistry\, Newport <br>Ethan Yo
 ung\, Sr.\, Construction Management\, Port Orchard </p><p><strong>BASSOON 
 </strong><br>Callum Chace-Macki\, Fr.\, Neuroscience\, Seattle <br>Akira M
 orishita\, Sr.\, Biology\, Bellevue <br>Olivia Whitford\, Jr.\, Oceanograp
 hy\, Seattle </p><p><strong>CONTRABASSOON </strong><br>Matthew Almanza\, C
 ommunity Member\, B.A. Music / M.A. Education (Gr.d)\, Federal Way </p><p>
 <strong>CELLO </strong><br>Addison Medin\, So.\, Microbiology\, White Bear
  Lake\, MN <br>Jonas Donnenfield\, Gr.\, Oceanography\, San Francisco\, CA
  <br>Connor Ray-Dulany\, Fr.\, Linguistics\, MD <br>Owen Tudor\, Fr.\, Eng
 ineering\, Olympia </p><p><strong>HORN / FRENCH HORN </strong><br>Andrew C
 hen\, Community Member\, Community Member\, Othello <br>Mariam Mohd\, Jr.\
 , International Studies\, Vancouver\, Canada <br>Kyle Partido\, Sr.\, Poli
 tical Science\, San Francisco\, CA <br>Kristie Williams\, Community Member
 \, Alumna\, Napa Valley\, CA <br>Kevin Yuan\, So.\, Industrial Design\, Va
 ncouver <br><br><strong>PERCUSSION </strong><br>Brady Ceteznik\, Fr.\, Und
 eclared\, Sammamish <br>Brian Chen\, Sr.\, Mechanical Engineering\, Taipei
 \, Taiwan <br>Shiue-Lang Chin\, So.\, Computer Engineering\, Taiwan <br>Em
 ily Colombo\, Sr.\, Choral Music Education\, Arlington <br>Seth Davis\, Fr
 .\, Biochemistry\, San Diego <br>Soren Fosnick Davis\, Fr.\, Engineering (
 Undeclared)\, Seattle <br>Michael Lim\, Sr.\, Choral Music Education\, Dup
 ont <br>Aidan Nguyen\, Fr.\, Biochemistry\, Vancouver <br>Aidan Powell\, F
 r.\, Marine Biology\, Bend\, OR <br>Satvik Saxena\, Fr.\, Statistics\, Sam
 mamish <br>Io Zaballa\, Fr.\, Psychology\, Bainbridge Island <br>Cola Zhao
 \, Fr.\, Pre–Public Health\, China </p><p><strong>PIANO </strong><br>Tiash
 a Maitra\, So.\, Economics\, India Yuqi (Alena) Zhang\, Fr.\, Business\, M
 aryland </p><p><strong>EUPHONIUM</strong> <br>Yoshiyuki Nakanishi\, Sr.\, 
 Mechanical Engineering\, Bellevue <br><br><strong>TROMBONE </strong><br>Ri
 chard Beckman\, Fr.\, Pre-Major\, Shelton <br>Cory Givens\, Fr.\, Applied 
 Mathematics\, Kent <br>Jason Lai\, So.\, Mechanical Engineering\, Camas <b r>Natalie Lai\, So.\, Aquatic Conservation Ecology\, Pleasanton\, CA <br>R
 obin Taylor\, Sr.\, Chemical Engineering\, Friday Harbor <br>Kai Turner\, 
 So.\, Business\, Bremerton <br>John Yi\, Community Member\, Psychology + B
 iology\, Bellevue </p><p><strong>TRUMPET </strong><br>Marcus Auman\, So.\,
  Engineering\, Woodinville <br>Patrick Boyle\, Community Member\, History\
 , Orlando\, FL <br>Euan McCubbin\, Community Member\, Pullman <br>Katie Lo
 ve\, Community Member\, Los Altos\, CA <br>Andrew Lam\, Fr.\, Biology: Phy
 siology\, Lacey <br>Evan Latimer\, Fr.\, Atmospheric and Climate Science\,
  Alexandria\, VA <br>Jonathan Mattingly\, Gr.\, Immunology\, Homer Glen\, 
 IL <br>Kelcy Osterberg\, Fr.\, Engineering\, Lake Stevens <br>Oliver Frase
 r\, Community Member\, Astronomy\, Shoreline <br>Matt Schroeder\, Communit
 y Member\, Community Member\, Orlando\, FL <br>Will Harris\, Fr.\, Pre-Sci
 ences\, Duvall <br>Maya Whisenant\, Fr.\, Undecided\, Salt Lake City\, UT 
 <br><br><strong>TUBA </strong><br>Will Searson\, Jr.\, Geographic Informat
 ion Systems\, Minneapolis\, MN </p><p><strong>STRING BASS </strong><br>Nat
 han Eskridge\, Gr.\, Music\, Tustin\, CA</p><hr><p> </p><p> </p>
 <h3>Director Biographies</h3>
DTSTART;TZID=America/Los_Angeles:20260302T193000
LAST-MODIFIED:20260303T003500Z
SEQUENCE:353
SUMMARY:: Campus\, Concert\, and University Bands
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-02/campus-concert-and-unive
 rsity-bands
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>The Campus Band (Solomon Encina\, c
 onductor) and Concert Band (Yuman Wu\, conductor) present their Winter Qua
 rter concert\, performing music by Julie Giroux\, John Philip Sousa\, Perc
 y Grainger\, Johan de Meij\, Frank Ticheli\, Aaron Perrine\, and others. W
 ith special guest ensemble the University of Washington University Band (C
 orey Jahlas and Chris Seay\, directors)\, performing works by Claude Debus
 sy\, Moren Lauridsen\, Marie Douglas\, and Johann Strauss. </p><hr><h3>Pro
 gram</h3><h3>University of Washington University Band </h3><p><em>Dr. Core
 y Jahlas\, Chris Seay\, directors </em><br><br>The Engulfed Cathedral (199
 3) - <strong>Claude Debussy</strong> (1862-1918) trans. <strong>Merlin Pat
 terson</strong> <br>O Magnum Mysterium (2003) - <strong>Morten Lauridsen</strong> (b. 1943) trans. <strong>H. Robert Reynolds </strong><br>Big City 
 Lights (2021) - <strong>Marie A. Douglas</strong> (b. 1987) <br>Tritsch-Tr
 atsch Polka (1998) - <strong>Johann Strauss</strong> (1825-1899) trans. Alfred Reed </strong>(1921-2005) </p><h3>University of Washington Ca
 mpus Band</h3><p><em>Solomon Encina\, director </em><br><br>Shadow Rituals
  (2006) - <strong>Michael Markowski </strong>(b.1986) <br>Song for Lyndsay
  (2005) - <strong>Andrew Boysen Jr.</strong> (b. 1968) <br>Poet and Peasan
 t Overture (1922) - <strong>Franz Von Suppé </strong>(1819-1895) trans. He
 nry Fillmore (1881-1956) </p><h3>University of Washington Concert Band <p><em>Yuman Wu\, director </em></p><p>The Thunderer (1889) - <strong>Jo
 hn Philip Sousa </strong>(1854-11932) <br>When the Stars Began to Fall (19
 18/1920) - <strong>Percy Aldridge Grainger (</strong>1882-1961) <br>The Lo
 rd of the Rings: Symphony No. 1\, I. Gandalf (2023) - <strong>Johan de Mei
 j</strong> (b. 1953) <br>Dawn (2012) - <strong>Terumi Yahata </strong>arr.
  Koh Shishikura (b. 1968) <br><br>Choirmaster - Michael Lim\, Emily Colomb
 o - Performed jointly by the University of Washington Concert Band and the
  Seattle Chinese Choirs *</p><h2>Program Notes</h2><p dir='ltr'> </p><p dir='ltr'><span>Debussy’s &lt;
 /span&gt;<em><span><strong>La Cathedrale engloutie\, </strong></span></em><span>or </span><em><span>Engulfe
 d Cathedral</span></em><span> (trasnc. Pa
 tterson) is a masterwork in musical storytelling and Impressionism. Origin
 ally from Debussy’s first book of preludes\, this piece describes an old B
 rittony myth\, in which the Cathedral of Ys is swallowed by the sea as pun
 ishment for its sinful patronage. Each morning\, the townsfolk would watch
  as the cathedral would slowly rise out of the sea at sunrise and then be 
 swallowed by the water as a grim reminder of their transgressions. Debussy
  uses parallelism through harmonic planing throughout the work to depict t
 he rise and fall of the cathedral through the early morning mists. As the 
 cathedral rises\, the bells and chimes can be heard from within\, as well 
 as the church organ\, described by a C-pedal at the loudest part of the pi
 ece. It is during this section where the melody can be heard free of the h
 armonic “cloudiness”\, clearly\, when the cathedral is completely out of t
 he water. The harmonic planing technique returns as the structure returns 
 to the watery depths\, with a mournful melody in the english horn\, as the
  townsfolk regret their sinful behavior. </span></p><p dir='ltr'> </p><p dir='ltr'><em><span times new><strong>O Magnum Mysterium </strong></span></em><span ti mes new>(O Great Mystery) was originally a choir co
 mposition by the prolific choral composer Morten Lauridsen. The Latin text
  setting derives from the Matins of Christmas of the Eastern Orthodox litu
 rgy\, a portion of services held on early Christmas morning or at midnight
 . Lauridsen writes “For centuries\, composers have been inspired by the be
 autiful </span><em><span times new>O Magnum Mysterium </span></em><span times new>text… In composing 
 music to these inspirational words about Christ’s birth and the veneration
  of the Virgin Mary\, I sought to impart a transforming spiritual experien
 ce within what I call ‘a quiet song of profound inner joy.’ I wanted this 
 piece to resonate immediately and deeply into the core of the listener\, t
 o illumine through sound.”</span></p><p dir='ltr'><span times new>The wind band setting was transcribed by internationally reno
 wned conductor\, orchestrator\, and educator\, H. Robert Reynolds\, who pa
 ssed away last month in January 2026\, after a 91-year life containing 64-
 years of influence in music. The work is heard in two subliminal verses\, 
 before expanding beyond the only significant dissonance in harmony (</span><em><span times new>Virgo\, </span></em><span tim es new>Blessed Virgin)\, that propels a magnificent
  full ensemble orchestration\, proclaiming the </span><em><span times new>Alleluia</span></em><span times new>. The piece recedes back to the secure\, mellow\, and sublime.</s></p><div dir='ltr' align='left'><table class='table'><tbody><tr><td><p dir='ltr'><em><span tim es new>O magnum mysterium</span></em></p><p dir='ltr'><em><span times ne w>et adnirabile sacramentum</span></em></p><p dir='ltr'><em><span times new>ut animalia viderent Dominum</span></em></p><p dir='ltr'><em><span t imes new>natum jacetum in praesepio!</span></em></p><p dir='ltr'><em><span times new>Beata Virgo\, cujus viscera</span></em></p><p dir='ltr'><em><span sty times new>Meruerunt portare</span></em></p><p dir='ltr'><em><span times new>Dominum Christum. Alleluia!</span></em></p></td><td><p dir='ltr'><span times new>O great mystery\,</span></p><p dir='ltr'><span times new>And wondrous sacrament</span></p><p s tyle='0pt\;' dir='ltr'>That animals should see the 
 new-</span></p><p dir='ltr'><span times new>born Lord
 \, lying in their manger!</span></p><p dir='ltr'><span times new>Blessed is the Virgin whose womb </span></p><p dir='ltr'><span t imes new>was worth to bear the</span></p><p dir='ltr'><span sty times new>Lord Jesus Christ. Alleluia!</span></p></td></tr></tbody></table></div><p dir='ltr'><em><span times new><strong>Big City Li
 ghts</strong></span></em><span times new><strong> </strong></span><span times new>is a piece for wi
 nd band\, inspired by the Hip-Hop sub-genre “Trap Music” which finds its r
 oots in the composer’s hometown\, Atlanta\, Georgia. The atonal piece has 
 an electronic accompaniment aspect as well. There are musical elements tha
 t are meant to imitate techniques which are commonly utilized during the p
 roduction of music within the genre. For example\, in general the timpani 
 performs what are intended to be “808’s”\, while the tuba is often perform
 ing lines that would be reserved for synthesized bass\; the combination cr
 eates an often utilized distortion technique.</span></p><p dir='ltr'><span t imes new>Other production tactics travel through th
 e ensemble as well. Certain aspects of the orchestration are imitating aut
 omation\, which places the sound exclusively in different spots of the ens
 emble (specifically on the left or right of the conductor). Sudden and gra
 dual ensemble crescendos and dovetailing of melodies imitate low and high 
 pass filters and volume knobs. Additionally\, the piece aims to give the p
 erformers and audience a peek into a day in the life of an Atlanta residen
 t.</span></p><p dir='ltr'><span times new>The piece b
 egins with the high-paced “It’s Lit!!” section which includes fortissimo e
 xclamations occurring throughout the ensemble. Demonstrating the hustle an
 d bustle of the famed Atlanta traffic. The traffic sounds perform a trio w
 ith the clarinets and marimba\, who depict a sense of “hurry and wait”\, a
 s they endure the Atlanta traffic scene. The “Issa Vibe” section is much s
 lower and intends to depict a night out on the town with friends\, enjoyin
 g the city lights and the slightly slower paced environment.</span></p><p dir='ltr'><s pan times new>For a short period\, we ret
 urn to “It’s Lit!!” followed by “Chopped and Screwed\,” which is a halftim
 e recapitulation of the main themes. “Chopped and Screwed” is a famous DJ 
 style where a song is slowed down tremendously. The piece closes out with 
 one final return to the original marking of “It’s Lit”. Enjoy a day in the
  life of an “AtLien”!</span></p><p dir='ltr'><em><span times new>-Progra
 m note by the composer</span></em><br> </p><p dir='ltr'><span times new>The </span><em>
 <span times new><strong>Tritsch-Tratsch Polka</strong></span></em><span times new> (Johann Strauss Jr.\, transc. Alfre
 d Reed) is meant to depict (and literally translates to) chit-chat\, or go
 ssip\, in the Viennese popular dialect. The effect of this little musical 
 two-part form with a trio is that of a busy\, nittering\, nattering little
  group of people exchanging gossip in a never-ending rush of words and exc
 lamations. Hushed voices trying to keep a secret are punctuated by sudden 
 exclamations from others\, unable to contain their excitement. This piece 
 is a fun\, stylistic study on the beauty of contrast in music\, and its ab
 ility to create an emotional\, almost-comedic effect. </span><br> </p><p s tyle='5pt 0pt\;' dir='ltr'><em><span times new><strong>Shado
 w Rituals </strong></span></em><span times new>beg
 ins with the percussion section\, and shortly after we hear the first them
 e played by the clarinets. The first theme is later heard in the flutes an
 d bells before returning to the clarinets. Most of </span><em><span times new>Shadow Rituals</span></em><span times new> is related to the opening section\, and the majority of the motives hear
 d throughout are related to the first theme.</span></p><p dir='ltr'><span times new>The second theme is very syncopated and is first heard in the horn
 s and is followed by a development section. The piece then has a brief mom
 ent of release as the flutes sustain a unison pitch. Then the third theme 
 is played by a solo euphonium. The third theme is presented in cannon in t
 he bassoon\, alto sax\, and clarinets. The third theme is a perfect palind
 rome\; if you played it backwards it would sound exactly the same. The fir
 st theme returns before a coda\, but has been altered to fit a 6-beat patt
 ern instead of a 5-beat pattern. This alteration is presented by the trump
 ets\, over which an augmentation of theme one is expressed by the woodwind
 s. </span><em><span times new>Shadow Rituals</span></em><span times new> ends with a brief statement of the first theme
  by the woodwinds\, and a brief statement of the second theme by the winds
  and brass.</span></p><p d ir='ltr'><span times new>- </span><em><span times new>Program Note by composer</span></em></p><p dir='ltr'><br><em><span times new><strong>Song for Lyndsay</span></em><span times new> was commissioned by
  Jack Stamp at Indiana University of Pennsylvania. It is an expansion on a
  short and unnamed piano piece that Boysen wrote for his wife\, Lyndsay\, 
 in 2005.</span></p><p dir='
 ltr'><span times new>The wind piece is larger in l
 ength and scope than the source material\; in the score\, Boysen describes
  it as “a very personal work ... more than anything else a simple love son
 g dedicated to Lyndsay and what she has meant in my life.”</span></p><p st yle='0pt 0pt 5pt\;' dir='ltr'><span times new ro>The piano piece is used as a starting point\, and the
  material in the winds is either based on or a direct quotation of it. Lyr
 ical in nature and just over five minutes long\, solo horn and solo flute 
 are prominent throughout\; this scoring is deliberately and symbolically u
 sed because Boysen plays the horn and his wife plays the flute.</span></p>
 <p dir='ltr'><span times n ew>- </span><em><span times new>Program Note f
 rom publisher</span></em></p><p dir='ltr'> </p><p dir='ltr'><span times new>Two overtures associated wit
 h the old-time park band concerts of the day when those events were at the
 ir peak in popularity are Rossini's </span><em><span times new>Willia
 m Tell</span></em><span times new> and Suppé's </s><em><span times new><strong>Poet and Peasant.</strong></span></em><span times new> Although Suppé is noted as the composer of a grea
 t number of comic operas\, this particular work did not belong to an opera
  until several years after its 1845 composition date. The themes from this
  overture are among the most often quoted material for comic effects for s
 tage productions and animated cartoons probably because they represent\, i
 n sound\, an era of nostalgia and are familiar to audiences of all age gro
 ups. It is for this reason\, if no other\, that the composition deserves t
 o be heard in its original context as a serious but highly entertaining se
 lection.</span></p><p dir='
 ltr'><span times new>- </span><em><span times new>Program Note from publisher</span></em></p><p dir='ltr'><span times new>Composed in 1889\, The </span><span times new><strong>Thunderer</strong></span><span times new> is one of John Phil
 ip Sousa’s most celebrated concert marches. Written during Sousa’s tenure 
 with the U.S. Marine Band\, the piece exemplifies his mastery of the Ameri
 can march style\, brilliant brass fanfares\, crisp articulation\, and buoy
 ant rhythmic drive. The title is often interpreted as referring to a power
 ful orator\, reflecting the bold and declamatory character of the opening 
 strain. Following the traditional march form\, contrasting themes unfold w
 ith elegance and balance before arriving at the iconic trio section\, wher
 e a broad\, lyrical melody emerges over a flowing accompaniment. The Thund
 erer remains a cornerstone of wind band repertoire\, combining patriotic v
 igor with refined craftsmanship.</span></p><p dir='ltr'><span times new><strong>Irish Tune</strong></span><span times new> from County Derry i
 s Grainger’s luminous setting of the traditional melody commonly associate
 d with “Londonderry Air.” First arranged in 1918 and later revised for win
 d band in 1920\, the work reflects Grainger’s deep affection for folk musi
 c and his commitment to preserving its expressive nuance. Rather than trea
 ting the melody as a simple hymn-like statement\, Grainger enriches it wit
 h warm harmonic colors\, flowing inner lines\, and carefully layered textu
 res. The result is both intimate and expansive\, allowing the melody to un
 fold with quiet dignity before rising to a radiant climax. This setting re
 mains one of the most cherished lyrical works in the wind band repertoire.
 </span></p><p dir='ltr'>&lt;
 span style='background-color:transparent\;color:rgb(32\, 33\, 34)\;font-fa
 mily:'Times New Roman'\, serif\;font-size:12pt\;font-style:normal\;font-va
 riant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian
 :normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-
 variant-position:normal\;font-weight:400\;text-decoration:none\;vertical-a
 lign:baseline\;white-space:pre-wrap\;'&gt;Johan de Meij’s </span><span times new><strong>Symphony No. 1: The Lord of the Rings</strong></span><s pan times new> remains one of the most influential
  large-scale works in the wind band repertoire. Originally composed betwee
 n 1984 and 1987 and premiered in 1988\, the symphony was revised and issue
 d in a newly engraved Complete Edition in 2023. Based on J.R.R. Tolkien’s 
 epic trilogy\, the five movements portray key characters and episodes from
  the story. The opening movement\, “</span><span times new><strong>
 Gandalf (The Wizard)</strong></span><span times new>\,” presents a musical portrait of the wise and noble wizard who leads t
 he Fellowship of the Ring. A stately\, expansive theme represents Gandalf’
 s authority and inner strength—a motif that reappears in later movements o
 f the symphony. The sudden Allegro vivace captures the unpredictability an
 d dynamic energy of the Grey Wizard\, culminating in a vivid musical depic
 tion of his ride on the legendary horse Shadowfax. Through bold contrasts\
 , sweeping melodic lines\, and dramatic orchestration\, de Meij conveys bo
 th Gandalf’s wisdom and formidable power.</span></p><p dir='ltr'><span times new><strong>Daw
 n</strong></span><span times new> was originally c
 reated by the graduating seniors of a high school band club in Hokkaido\, 
 Japan. Each member contributed text\, which was then woven together into a
  unified message of gratitude and farewell. The students rehearsed the pie
 ce in secret and surprised their band director with its performance at the
 ir graduation ceremony. The title was inspired by “Lever du jour” (Daybrea
 k) from Ravel’s Daphnis et Chloé—the ensemble’s primary contest work that 
 year. Like Ravel’s radiant sunrise\, Dawn captures a moment of transition:
  the quiet reflection before departure and the hopeful light of a new begi
 nning. In this arrangement for chorus and band by Koh Shishikura\, warm ha
 rmonic textures and lyrical melodic lines support the sincerity of the tex
 t. The piece unfolds gently\, allowing the voices and instruments to blend
  in an atmosphere of gratitude\, nostalgia\, and optimism. More than a far
 ewell\, Dawn is a tribute to shared experiences\, mentorship\, and the end
 uring bonds formed through music.</span></p><p dir='ltr'><span times new>Performed jointly by the University of Washington Concert Band a
 nd the Seattle Chinese Chorus. </span></p><p dir='ltr'><span times new>The
  Seattle Chinese Chorus “SCC\,” a 501(c)(3) nonprofit formed in 2010\, has
  over 80 members. Dedicated to artistic excellence in a multicultural atmo
 sphere\, SCC achieved a silver award at the 7th World Choir Games in Cinci
 nnati. Beyond annual concerts\, the chorus engages in civic events like Ce
 lebrate Asia and performs at Benaroya Hall\, bridging cultures through son
 g. The SCC sincerely welcomes new members to join their family.</span></p>
 <hr><p><strong>UNIVERSITY OF WASHINGTON UNIVERSITY BAND </strong><br>FLUTE </strong><br>Lydia Blair\, Civil Engineering\, Seattle\, WA <br>L
 auren Chock\, Alumni (Medical Laboratory Science)\, Honolulu\, HI <br>Robi
 n Choi\, Political Science\, Mukilteo\, WA <br>Spencer Crosbie\, Early Chi
 ldhood and Family Studies\; Music\, Walla Walla\, WA <br>Taylor Drake\, Me
 dical Laboratory Science\, Graham\, WA <br>Harrison Hanson\, Atmospheric S
 cience: Meteorology\, Mukilteo\, WA <br>Anya Harmon\, Psychology\, Spokane
 \, WA <br>Tina Impala\, Alumni (Nursing)\, Monroe\, WA <br>Miguel Larios\,
  Neuroscience\, Ann Arbor\, MI <br>Belle Michaels Lucy Nowicki\, Philosoph
 y\; Psychology\, Centralia\, WA <br>Oliver Pung\, Pre-Science\, Spokane\, 
 WA <br>Jennifer Raschke\, Psychology\, Frisco\, TX <br>Jacob Reese\, Civil
  Engineering\, Olympia\, WA <br>Alex Runnels\, Speech &amp; Hearing Sciences\,
  Burien\, WA <br>Jayden Sibley\, Mechanical Engineering\, Monroe\, WA <br>
 <br><strong>OBOE </strong><br>Will Cummings\, Linguistics\; French\, Cheha
 lis\, WA <br>Maila Deutsche\, International Studies\, Santa Rosa\, CA <br>
 Brandon Tsai\, Electrical Engineering\; Computer Engineering\, Shoreline\,
  WA </p><p><strong>BASSOON </strong><br>Callum Chace-Macki\, Neuroscience\
 , Seattle\, WA <br>Krish Doshi\, Computer Science\; Statistics\, Bothell\,
  WA <br>Nathan Libao\, Biology\, SeaTac\, WA <br>Danice Raymundo\, Biology
 \, Steilacoom\, WA </p><p><strong>CLARINET </strong><br>Anabelle Braun\, P
 ublic Health\, Seattle\, WA <br>Esme Ford\, Biology\, Seattle\, WA <br>Ben
  Kunze\, Mathematics\; Japanese\, Portland\, OR <br>Hugh Moss\, History\, 
 Manhattan Beach\, CA <br>Susan Pearson\, Alumni (Business Administration)\
 , Everett\, WA <br>Jayden Rottinghaus\, Engineering\, Puyallup\, WA <br>Ed
 mund Tsai\, Engineering\, Taipei\, Taiwan </p><p><strong>BASS CLARINET </s><br>Zackary Hendricks\, Mechanical Engineering\, Burlington\, WA <br>Eduardo Racy\, Computer Science\, Auburn\, WA <br>Braden Trimmer\, Physic
 s\, Shoreline\, WA <br><br><strong>ALTO SAXOPHONE </strong><br>Analiz Birr
 ueta\, Chemistry\, Longview\, WA <br>Madison Calma\, Accounting\, Olympia\
 , WA <br>Grace Lovell\, Aerospace Engineering\, Dupont\, WA <br>Spencer Ma
 hugh\, Law\, Societies\, &amp; Justice\, Montesano\, WA <br>Blaine Mandiangu\,
  Computer Science\, Spokane\, WA <br>Mak Murphy\, Psychology\, Lakewood\, 
 WA <br>Marika Nelson\, Biology\, Seattle\, WA <br>Nicole Pasia Kylie Schoe
 ssler\, Psychology\; Spanish\, Auburn\, WA </p><p><strong>TENOR SAXOPHONE 
 </strong><br>Natalia Breeden\, Environmental Studies\, Longview\, WA <br>M
 ercy Guirnalda\, Psychology\, Seattle\, WA <br>Joey Kyne\, Civil Engineeri
 ng\, Camas\, WA <br>Sean Miller\, Bioengineering\, Woodinville\, WA <br>Li
 ana Robin\, Biochemistry\, Vancouver\, WA </p><p><strong>TRUMPET </strong>
 <br>Logan Carte\, Aeronautics &amp; Astronautics\, Olympia\, WA <br>Brian Hill
 ard\, Alumni\, Bothell\, WA <br>Finn Kim\, Biochemistry\, Bellevue\, WA <b r>Ashelynn Lum\, Physics\, Sammamish\, WA <br>Clara McCall\, Marine Biolog
 y\, Seattle\, WA <br>Patrick Mercier\, Law\, Societies\, &amp; Justice\, Olymp
 ia\, WA <br>Trenton Owens\, Drama Performance\, Vancouver\, WA <br>Taylor 
 Rainwater-Brown\, Psychology\, Seattle\, WA <br>Persephone Taylor\, Urban 
 Studies: Community Development &amp; Planning\, Sumner\, WA <br>Ari Waingold\,
  Mathematics\; Cultural Studies\, Mercer Island\, WA <br>Stan Yantis\, Alu
 mni\, Grapevine\, WA <br>Justin Yu\, Electrical Engineering\; Computer Eng
 ineering\, Vancouver\, WA </p><p><strong>FRENCH HORN </strong><br>Katie Bu
 llis\, Physics\; Mathematics\, Gig Harbor\, WA <br>Andrew deLeon\, Mathema
 tics\; Physics\, Camas\, WA <br>Matthew Jewesson\, Engineering\, Austin\, 
 TX <br>Ethan Jorde\, Material Science\; Engineering\, Snohomish\, WA <br>D
 aniel Ozlowski\, Community Member\, Dallas\, TX <br>Sanjay Patel\, Bioengi
 neering\, Mountain View\, CA <br>Leah Peterson\, Astrophysics\, Bellevue\,
  WA <br>Jay Tampinco\, Electrical Engineering\, Burlington\, WA <br>Trey V
 arney\, Political Science\, Longview\, WA <br>Quinn Widdows\, Electrical E
 ngineering\; Computer Engineering\, Issaquah\, WA </p><p><strong>TROMBONE 
 </strong><br>Christine Buchanan\, Biochemistry\; Lake Oswego\, OR <br>Josi
 e Boyles\, Math Education\, Puyallup\, WA <br>Samuel Chen\, Human Centered
  Design\; Engineering\, Snoqualmie\, WA <br>Jayda Fitch\, Drama Design\, M
 eridian\, ID <br>Alex May\, Chemical Engineering\, Issaquah\, WA <br>Megan
  O’Neill\, Aeronautics &amp; Astronautics\, Shoreline\, WA <br>Avik Spurgeon\,
  Engineering\, Seattle\, WA </p><p><strong>EUPHONIUM</strong> <br>Holland 
 Kantner\, Aerospace Engineering\, Belfair\, WA <br>Andrew Nguyen\, Electri
 cal Engineering\, Kent\, WA <br>Grace Pardini\, Aeronautical &amp; Astronautic
 al Engineering\, Nevada City\, CA <br>Zac Petrillo\, Psychology\, Seattle\
 , WA <br>Dylan Simmons\, Engineering\, Spokane\, WA </p><p><strong>TUBA </strong><br>Nate Herrick\, Scandinavian Area Studies\, Puyallup <br>April Y
 antis\, Alumni\, Grapevine\, WA </p><p><strong>PERCUSSION </strong><br>Aur
 yanna Brown <br>Brian Chen\, Mechanical Engineering\, Taipei\, Taiwan <br>
 Shiue-Lang Chin\, Computer Engineering\, Hsinchu\, Taiwan <br>Seth Davis\,
  Biochemistry\, San Diego\, CA <br>Henry Gilbert\, Political Science\, Cam
 as\, WA <br>Aidan Nguyen\, Biochemistry\, Vancouver\, WA </p><p><strong>UN
 IVERSITY OF WASHINGTON CAMPUS BAND </strong><br><strong>FLUTE </strong><br>Brinda Arun\, Engineering\, Redmond\, WA <br>Emily Charles\, Marine Biolo
 gy\, New Boston\, NH <br>Cole Cherkasky\, Interdisciplinary Art\, Chicago\
 , IL <br>Grace Collins-Price\, Anthropology\, Louisville\, TN <br>Sarah Ed
 wards\, Human Centered Design &amp; Engineering\, Mukilteo\, WA <br>Maria Gran
 zeier\, Neuroscience\, Biochemistry and MCD Biology\, Rockford\, IL <br>Cl
 aire Hu\, Engineering\, Colorado Springs\, CO <br>Hareesh Iyer\, Graduate\
 , Materials Science &amp; Engineering\, San Jose\, CA <br>Satoshi Jono\, Globa
 l Study\, Tokyo\, Japan <br>Nora Katiyar\, Art\, Cleveland\, OH <br>Savann
 ah Lee\, Informatics\, Vancouver WA <br>Richard Lin\, Aeronautics and Astr
 onautics\, San Diego\, CA <br>Kieran Lyons\, Chemistry and Mathematics\, H
 ermosa Beach\, CA <br>Elizabeth McAleer\, International Studies\, Battle G
 round\, WA <br>Sunni Ng\, Colfax\, WA <br>Chiche Okemgbo\, Real Estate\, M
 edical Lake\, WA <br>Heather Osterstock\, Community Member\, Kihei\, HI <b r>Isabelle Paulsen\, Marine Biology &amp; Oceanography\, Snohomish\, WA <br>Me
 agan Paxman\, Pre-Sciences\, Vancouver\, WA <br>Rebecca Quan\, Speech and 
 Hearing Sciences\, Redmond\, WA <br>Maya Rasche\, Visual Communication Des
 ign\, Kirkland\, WA <br>Roman Sydorchuk\, Mechanical Engineering\, WA <br>
 Nathanael Vitorino\, Chemical Engineering\, Vancouver\, WA <br>Victor Vito
 rino\, Business Administration\, Vancouver\, WA </p><p><strong>BASS CLARIN
 ET </strong><br>Srikrishna Gurumurthy\, Biology\, Redmond\, WA </p><p>ALTO SAXOPHONE </strong><br>Ashley Adrian\, American Indian Studies an
 d American Ethnic Studies\, Sammamish\, WA <br>Abhinandan Basak\, Mechanic
 al Engineering\, Bothell\, WA <br>Andrew Eisenhauer\, Biology/Environmenta
 l Science\, Bellingham\, WA <br>Natalie Gaston\, Medical Anthropology\, Pu
 blic Health\, Longview\, WA <br>Charlotte Johnson\, Earth and Space Scienc
 e\, Boston\, MA <br>Ellie Kiffe\, Meteorology\, Marysville\, WA <br>Yueli 
 Li\, Ventura County\, CA <br>Athena Otto Von Askervold\, Public Health\, G
 lobal Health\, Seattle\, WA <br>Lee Santiago\, Business Administration\, S
 helton\, WA </p><p><strong>TENOR SAXOPHONE </strong><br>Ash Gatton\, Lingu
 istics\, Yakima\, WA <br>Mercy Guirnalda\, Psychology\, Seattle\, WA <br>L
 ogan Harris\, Oceanography\, Issaquah\, WA <br><br><strong>BARITONE SAXOPH
 ONE </strong><br>Matthew Ohliger\, Environmental Public Health\, Montgomer
 y\, AL </p><p><strong>TRUMPET </strong><br>Maine Bilardello\, Mechanical E
 ngineering\, San Carlos\, WA <br>Tracy Chin\, Graduate\, Mathematics\, San
  Diego\, CA <br>Imogen Eyler\, Marine Biology\, Evanston\, IL <br>Jack Heb
 ert\, Environmental Studies\, Austin\, TX <br>Natalie Hofkes\, Psychology\
 , Seattle\, WA <br>Delaney Hurlimann\, Physiology\, Burlington\, WA <br>Na
 than Kil\, Economics\, Bellevue\, WA <br>Thomas Longcore\, Computer Scienc
 e\, Kirkland\, WA <br>Logan Nguyen\, Engineering\, Vancouver\, WA <br>Nate
  Protzel\, Chemistry\, Anaheim\, CA <br>Ben Batner\, Civil Engineering\, S
 eattle\, WA <br>Adam Rehmann\, Mechanical Engineering\, Vancouver\, WA </p><p><strong>HORN </strong><br>Macy Mann\, Community Member\, Kenmore\, WA 
 <br>Charlotte Rogliano Cavalerie\, Community Member\, Seattle WA <br>Kira 
 Stewart\, Bioscience &amp; Engineering\, Seattle\, WA <br>Jay Tampico\, Commun
 ity Member\, Seattle WA <br>George Whiddon\, International Studies &amp; Chine
 se\, Littleton\, CO <br>Quinn Widdows\, Electrical &amp; Computer Engineering\
 , Issaquah\, WA </p><p><strong>TROMBONE </strong><br>Nneoma Anamelechi\, C
 inema Studies\, Everett\, WA <br>Cade Ballew\, Graduate\, Applied Math\, N
 orman\, OK <br>Oskar Cole\, Computer Science\, Fall City\, WA <br>Aditi Na
 ir\, Environmental Engineering\, Lake Villa\, IL <br>Evan Pham\, History\,
  Richland\, WA <br>Franny Reynolds\, Psychology\, Santa Monica\, CA <br>Ch
 loe Sprague\, Marine Biology\, Ann Arbor\, MI <br>Emmett Van Mason\, Mecha
 nical Engineering\, Richland\, WA <br>Will Vanderburght\, Political Scienc
 e\, Vancouver\, WA <br><br><strong>TUBA </strong><br>Timothy Brock\, Law\,
  Seattle\, WA <br>Joaquin Matthews\, Psychology\, Mercer Island\, WA </p>&lt;
 p&gt;<strong>STRING BASS </strong><br>David Del Cid-Saavedra\, Community Memb
 er\, Seattle\, WA <br><br><strong>PERCUSSION </strong><br>Curtis Chung\, M
 usic Education\, Seattle\, WA <br>Darin Chung\, Biology\, Taiwan <br>Charl
 otte Greene\, Meteorology and Climate\, Lynden\, WA <br>Kendall Johnson\, 
 Graduate\, Mechanical Engineering\, La Conner\, WA <br>Ben Von Jess\, Musi
 c Education\, Renton\, WA <br>Martin Yinuo Xu\, Chemistry\, Chicago\, IL &lt;
 br&gt;Jaden Zika\, Psychology\, Livermore\, CA </p><p><strong>UNIVERSITY OF W
 ASHINGTON CONCERT BAND</strong> <br><strong>FLUTE/ PICCOLO </strong><br>Mi
 mmi Beck\, Community Member\, Gig Harbor <br>Brianna Blanchard\, Sr.\, Env
 ironmental Public Health\, Shoreline Keith Cao\, Fr.\, Computer Science\, 
 Smallish Maggie Cook\, Gr.\, Molecular Engineering\, Union\, KY <br>Karlie
 n Dang-Lee\, Fr.\, Business Administration\, Boulder\, CO <br>Grace Ge\, F
 r.\, Engineering\, Auburn\, AL <br>Maggie Hedrick\, Jr.\, Mechanical Engin
 eering\, Kettle Falls <br>Madison Heath\, Fr.\, Marine Biology\, Hawaii <b r>Charlotte Kelbaugh\, So.\, International Relations\, Austin\, TX <br>Fle
 tcher Lohrentz\, Jr.\, Physics + Astronomy\, Shoreline <br>Noah Mason\, Sr
 .\, Mechanical Engineering\, Bellingham <br>Tiffany Matsushima\, Jr.\, Ele
 ctrical and Computer Engineering\, Mililani\, HI <br>Sarah Pabin\, Sr.\, E
 nvironmental Science and Resource Management\, Chicago\, IL <br>Hailey Pha
 n\, Fr.\, Biology\, Libertyville\, IL <br>Jason Pham\, Sr.\, Biology (Phys
 iology) <br>Lacey Keming Qiu\, Jr.\, Biochemistry\, Bellevue <br>Tasiyah A
 hmed\, Fr.\, Economics + Political Science\, Portland\, OR <br>Victoria Si
 lkina\, Fr.\, Pre-Science (Intended Marine Biology)\, Vienna\, Austria <br>Isabella Valdez\, Jr.\, Intended Psychology\, Vancouver <br>Julia Winget\
 , So.\, Applied Physics and Earth and Space Sciences\, Cincinnati\, OH <br>Audrey Xie\, Fr.\, Undecided\, Greer\, SC <br>Xiage Zhang\, Gr.\, Flute P
 erformance\, Shanxi Province\, China <br><br><strong>OBOE </strong><br>Nat
 alie Hagerman\, Jr.\, Aerospace Engineering\, Olympia <br>Stacy Schulze\, 
 Community Member\, Community Member\, Richmond\, TX <br><br><strong>CLARIN
 ET </strong><br>CC Ahrens\, Sr.\, Computer Science and Mathematics\, White
  Salmon <br>Cin Ahrens\, Sr.\, Computer Science and Mathematics\, White Sa
 lmon <br>Jovani Azpeitia\, Gr.\, Social Psychology\, Kirkland <br>Gael Chu
 n-Rivas\, So.\, Electrical and Computer Engineering\, Honolulu\, HI <br>Ju
 lia Cantore\, Community Member\, N/A\, Miami\, FL <br>Fareyl Daoed\, Fr.\,
  Earth &amp; Space Science\, Sammamish <br>Dante Nguyen\, Jr.\, Electrical and
  Computer Engineering\, Olympia <br>Miranda Espineli\, Community Member\, 
 N/A\, Kirkland <br>Steph Filippov\, So.\, Music Education\, Federal Way <b r>Bruno Ferko\, Jr.\, Economics\, Federal Way <br>Hans Koduri\, Community 
 Member\, N/A\, Sammamish <br>Karl Lee\, Sr.\, Informatics\, Puyallup <br>C
 arter Lembo\, Jr.\, ACMS\, Poulsbo <br>Sophie Leong\, Fr.\, Pre-Environmen
 t\, Issaquah <br>Ayari Lopez\, So.\, Bioengineering\, San Diego\, CA <br>D
 arby Nabb\, Sr.\, Environmental Science\, Mason\, OH <br>Zachary O’Connell
 \, Jr.\, Chemistry\, Lynnwood <br>Isabela Trabanino\, Fr.\, Engineering\, 
 Lake Stevens <br>Elizabeth Hirman\, Sr.\, MCD Biology\, Mill Creek </p><p>
 <strong>BASS/ CONTRABASS CLARINET </strong><br>Nel Jacobs\, Community Memb
 er\, N/A\, Seattle <br>Eduardo Azevedo Simão Racy\, Jr.\, Computer Science
 \, Auburn </p><p><strong>SAXOPHONE </strong><br>Elena Boyle\, So.\, Enviro
 nmental Studies and Food Systems\, Seattle <br>Kole Dickson\, Fr.\, ENGRUD
  Electrical Engineering\, Snohomish <br>Zach Dunca\, Fr.\, Architecture De
 sign\, Santa Clarita\, CA <br>John Gibson\, Jr.\, CHID / Political Science
 \, Seattle <br>Matthew Holmes\, Gr.\, Aero &amp; Astro\, Winters\, CA <br>Anan
 ya Juneja\, So.\, Visual Communication Design\, Snohomish <br>Ethan Kaplan
 \, Sr.\, Electrical and Computer Engineering\, Seattle <br>Andy Kim\, Comm
 unity Member\, N/A\, Illinois <br>Blaine Mandiangu\, Fr.\, Pre-Sciences (I
 ntended Computer Science)\, Portland\, OR <br>Arnav Mazumder\, Sr.\, Compu
 ter Science\, Dallas\, TX <br>Alex Medina\, So.\, Computer Science (UW Tac
 oma)\, Kent <br>Joalda Morancy\, Gr.\, Aerospace\, Seattle <br>August Pete
 rson\, Fr.\, English\, White Salmon <br>Akhila Pisupati\, So.\, Physics an
 d Astronomy and Political Science\, Austin\, TX <br>Sydney Procajlo\, Fr.\
 , Environmental Science\, Chicago\, IL <br>Olina Dalton-Gilbertson\, Sr.\,
  Social Welfare\, Ilwaco <br>Misha Robinson\, Sr.\, Art\, Oak Harbor <br>D
 elaney Rogers\, Fr.\, Atmospheric and Climate Science\, Tri-Cities <br>Jas
 on Taylor\, Community Member\, Neuroscience\, Indianapolis\, IN <br>Jacob 
 Watson\, Community Member\, Computer Science\, Las Vegas <br>Yu Wang\, Com
 munity Member\, Art\, Taipei <br>Roxann Wrynn\, So.\, Chemistry\, Newport 
 <br>Ethan Young\, Sr.\, Construction Management\, Port Orchard </p><p>BASSOON </strong><br>Callum Chace-Macki\, Fr.\, Neuroscience\, Seattle
  <br>Akira Morishita\, Sr.\, Biology\, Bellevue <br>Olivia Whitford\, Jr.\
 , Oceanography\, Seattle </p><p><strong>CONTRABASSOON </strong><br>Matthew
  Almanza\, Community Member\, B.A. Music / M.A. Education (Gr.d)\, Federal
  Way </p><p><strong>CELLO </strong><br>Addison Medin\, So.\, Microbiology\
 , White Bear Lake\, MN <br>Jonas Donnenfield\, Gr.\, Oceanography\, San Fr
 ancisco\, CA <br>Connor Ray-Dulany\, Fr.\, Linguistics\, MD <br>Owen Tudor
 \, Fr.\, Engineering\, Olympia </p><p><strong>HORN / FRENCH HORN </strong>
 <br>Andrew Chen\, Community Member\, Community Member\, Othello <br>Mariam
  Mohd\, Jr.\, International Studies\, Vancouver\, Canada <br>Kyle Partido\
 , Sr.\, Political Science\, San Francisco\, CA <br>Kristie Williams\, Comm
 unity Member\, Alumna\, Napa Valley\, CA <br>Kevin Yuan\, So.\, Industrial
  Design\, Vancouver <br><br><strong>PERCUSSION </strong><br>Brady Ceteznik
 \, Fr.\, Undeclared\, Sammamish <br>Brian Chen\, Sr.\, Mechanical Engineer
 ing\, Taipei\, Taiwan <br>Shiue-Lang Chin\, So.\, Computer Engineering\, T
 aiwan <br>Emily Colombo\, Sr.\, Choral Music Education\, Arlington <br>Set
 h Davis\, Fr.\, Biochemistry\, San Diego <br>Soren Fosnick Davis\, Fr.\, E
 ngineering (Undeclared)\, Seattle <br>Michael Lim\, Sr.\, Choral Music Edu
 cation\, Dupont <br>Aidan Nguyen\, Fr.\, Biochemistry\, Vancouver <br>Aida
 n Powell\, Fr.\, Marine Biology\, Bend\, OR <br>Satvik Saxena\, Fr.\, Stat
 istics\, Sammamish <br>Io Zaballa\, Fr.\, Psychology\, Bainbridge Island &lt;
 br&gt;Cola Zhao\, Fr.\, Pre–Public Health\, China </p><p><strong>PIANO <br>Tiasha Maitra\, So.\, Economics\, India Yuqi (Alena) Zhang\, Fr.\, 
 Business\, Maryland </p><p><strong>EUPHONIUM</strong> <br>Yoshiyuki Nakani
 shi\, Sr.\, Mechanical Engineering\, Bellevue <br><br><strong>TROMBONE </s><br>Richard Beckman\, Fr.\, Pre-Major\, Shelton <br>Cory Givens\, Fr
 .\, Applied Mathematics\, Kent <br>Jason Lai\, So.\, Mechanical Engineerin
 g\, Camas <br>Natalie Lai\, So.\, Aquatic Conservation Ecology\, Pleasanto
 n\, CA <br>Robin Taylor\, Sr.\, Chemical Engineering\, Friday Harbor <br>K
 ai Turner\, So.\, Business\, Bremerton <br>John Yi\, Community Member\, Ps
 ychology + Biology\, Bellevue </p><p><strong>TRUMPET </strong><br>Marcus A
 uman\, So.\, Engineering\, Woodinville <br>Patrick Boyle\, Community Membe
 r\, History\, Orlando\, FL <br>Euan McCubbin\, Community Member\, Pullman 
 <br>Katie Love\, Community Member\, Los Altos\, CA <br>Andrew Lam\, Fr.\, 
 Biology: Physiology\, Lacey <br>Evan Latimer\, Fr.\, Atmospheric and Clima
 te Science\, Alexandria\, VA <br>Jonathan Mattingly\, Gr.\, Immunology\, H
 omer Glen\, IL <br>Kelcy Osterberg\, Fr.\, Engineering\, Lake Stevens <br>
 Oliver Fraser\, Community Member\, Astronomy\, Shoreline <br>Matt Schroede
 r\, Community Member\, Community Member\, Orlando\, FL <br>Will Harris\, F
 r.\, Pre-Sciences\, Duvall <br>Maya Whisenant\, Fr.\, Undecided\, Salt Lak
 e City\, UT <br><br><strong>TUBA </strong><br>Will Searson\, Jr.\, Geograp
 hic Information Systems\, Minneapolis\, MN </p><p><strong>STRING BASS <br>Nathan Eskridge\, Gr.\, Music\, Tustin\, CA</p><hr><p> </p>&lt;
 p style='color:#1f2021\;font:11.0px Helvetica\;margin:0.0px 0.0px 0.0px 0.
 0px\;'&gt; </p><h3>Director Biographies</h3>
END:VEVENT
BEGIN:VEVENT
UID:82caa1eb-4d85-475e-8813-528aa83ab902
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances\, Visiting Ar
 tists and Scholars
CLASS:PUBLIC
CREATED:20250818T215113Z
DESCRIPTION:<p>The UW Chamber Singers and University Chorale collaborate wi
 th Seattle University Choirs (Leann Conley-Holcom\, director) in performin
 g Craig Hella Johnson's Considering Matthew Shepard\, a staged oratorio of
  remembrance\, resistance\, and hope.</p><hr><p><strong>Content Warning:</strong> Some of the material in this show explores the attack\, murder and
  death of Matthew Shepard. Other moments illustrate the hateful protests t
 hat happened at and around the time of his funeral.</p><hr><h2>Program</h2><h2>Considering Matthew Shepard </h2><p>Craig Hella Johnson\, composer<br><br>March 3\, 2026 Meany Center for the Performing Arts\, Katharyn Alvord
  Gerlich Theater\, 7:30 pm<br>March 6\, 2026 Pantages Theater\, sponsored 
 by NWACDA\, 8 pm<br><br>Leann Conley-Holcom\, Giselle Wyers\, and Geoffrey
  Boers\, conductors<br>Seattle University Chorale\, Seattle University Cha
 mber Singers and Seattle University Singers\,  University of Washington Ch
 amber Singers\, University of Washington Chorale<br>Seattle University Cha
 mber Singers Prepared by Visiting Director Larke Witten<br><br><strong>Gue
 st Artists</strong><br>Haitham Haidar as Matthew Shepard<br>Rod Caspers\, 
 Stage Director<br>Camilla Tassi\, Projection Designer<br><br><strong>Band&lt;
 /strong&gt;<br>Koryn Orcutt\, clarinet<br>Justin S Davis\, guitar<br>Andrew A
 ngell\, percussion<br>Serena Chin &amp; Ella Kalinichenko\, piano<br>Evan Hjor
 t\, violin<br>Rick Neff\, viola<br>Nicole Williams\, cello<br>Ross Gillila
 nd\, bass</p><hr><h2>Considering Matthew Shepard</h2><p><strong>PROLOGUE</strong><br>1- Cattle\, Horses\, Sky\, and Grass<br>Giancarlo Agogliati (so
 lo)\, Kyla Marshall\, Ruby Thomas\, Hope Onstad\, Lauren Ghrist (soli)<br>
 2- Ordinary Boy<br> Ava Valentin\, Larke Witten (Judy)\, Haitham Haidar (M
 att)<br>3- We Tell Each Other Stories<br> Jaden Ritscher (solo)<br><br>PASSION</strong><br>4- Recitation I<br>Joe Orlando (narration)<br>5- 
 The Fence (before)<br>Danny Vizenor (solo)<br>6- Recitation II<br>Sam Henr
 y\, Priya Bhananker (narration)<br>7- The Fence (that night)<br>Scott Fiks
 e (solo)<br>8- Recitation III<br>Priya Bhananker\, Sam Henry\,  Joe Orland
 o (narration)<br>9- A Protestor<br>10- Keep it Away from Me<br>Jessica Tha
 xton (solo)\, Lauren Ghrist\, Jenna Kober\, Jenna Matsumoto\, Jaden Ritsch
 er\, Maddie Rivera\, Ava Valentin (sextet)<br>11- Recitation IV<br>Sam Hen
 ry (narration)<br>12- Fire of the Ancient Heart<br> Evan Norberg (solo)\, 
 Tatiana Boggs\, Gray Creech\, Mari Hirayama\, Nic Renaud\, Chung-An Wang (
 percussion)<br>13- Recitation V<br> Priya Bhananker\,  Joe Orlando (narrat
 ion)<br>14- Stray Birds<br>16- I Am Like You/We Are All Sons<br>Kyla Marsh
 all\, Tatiana Boggs\, Giancarlo Agogliati\, Evan Norberg (soli)<br>17- The
  Innocence<br>Michael McKenzie (solo)<br>18- Recitation VI<br>Priya Bhanan
 ker (narration)<br>19- The Fence (one week later)<br>Julianna Grabowski (s
 olo)<br>20- Recitation VII<br>Sam Henry (narration)<br>21- Stars<br>Rik La
 mbey (Dennis)<br>22- Recitation VIII<br>Joe Orlando (narration)<br>23- In 
 Need of Breath<br>Haitham Haidar (Matt)<br>25- Recitation IX<br>Priya Bhan
 anker (narration)<br>26- Deer Song <br>Haitham Haidar (Matt)\, Hope Onstad
 \, Helen Woodruff\, Evelyn Jones (soli)<br>27- Recitation X<br> Sam Henry 
 (narration)<br>28- The Fence (after)/The Wind<br>29- Pilgrimage<br>Ruby Th
 omas\, Matthew Belshan\, Adam Freemantle\, Ava Valentin\, Maddie Rivera\, 
 Sophia Orlando\, Helen Woodruff\, Tatiana Boggs\, Mallak Attwa\, Samara Ch
 acko (soli)<br><br><strong>EPILOGUE</strong><br>30- Meet Me Here<br>Evelyn
  Jones (solo)<br>30b - Recitation XI<br>Priya Bhananker\, Sam Henry\,  Joe
  Orlando (narration)<br>31- Thank You<br>Haitham Haidar (Matt)<br>32- All 
 of Us<br>Julianna Grabowski\, Heidi Blythe\, Alex Rameau (soli)<br>33- Cat
 tle\, Horses\, Sky\, and Grass <br>Giancarlo Agogliati (solo)</p><hr><h2>A
  Note to Our Audience</h2><p>With thanks to Tonya Ingerson\, Safety &amp; Well
 -Being Advocate<br><br>During this performance\, you may notice a somatic 
 (nervous system) response—felt in your breath\, muscles or through other s
 ensations. The following techniques can help reset your nervous system and
  keep you comfortable throughout the experience.<br><br><strong>“Havening”
  techniques</strong><br>Press and rub your palms together.<br>Glide your h
 ands from your shoulders down your arms.<br>Touch anywhere on your face.<b r>Rub in circles around your ears with “Spock” hands.<br><br><strong>Other
  techniques:</strong><br>Progressive muscle relaxation: Squeeze your arms 
 and feet\, inhale and hold\, then release with your breath.<br>Box breathi
 ng: Inhale for 4 counts\, hold for 4\, exhale for 4\, hold for 4\; repeat.
 <br>5-4-3-2-1 method: Identify 5 things you see\, 4 things you feel\, 3 th
 ings you hear\, 2 things you smell\, 1 thing you taste.<br>Shake or stretc
 h your body.<br>We encourage you to try any of these techniques as needed 
 to stay grounded and engaged during the performance.</p><hr><h2>Program No
 te</h2><p>Considering Matthew Shepard  is a Grammy-nominated\, three-part 
 fusion oratorio by Craig Hella Johnson. Written in response to the 1998 mu
 rder of Matthew Shepard—a young man targeted because of his sexual orienta
 tion\, whose death became a national symbol in the struggle against hate—t
 he work offers a space for remembrance\, reflection\, and shared humanity.
  Johnson draws upon the Passion tradition of Johann Sebastian Bach\, blend
 ing chant\, chorales\, blues\, gospel\, and art song into a unified and co
 mpelling musical narrative.<br>The story unfolds through multiple perspect
 ives: the Shepard family\, community members\, protestors\, Matthew himsel
 f\, and even the fence where he was left. The fence is personified through
  three soloists\, giving voice to its life before the tragedy\, the night 
 it held Matthew\, its transformation into a place of remembrance\, and ult
 imately its own end. The choir functions\, as in Bach’s Passions\, both as
  commentator and participant—presenting the narrative while also serving a
 s a collective voice of reflection.<br>Throughout the work\, the refrain “
 This chant of life cannot be heard\, it must be felt” underscores that the
  piece seeks not quick resolution\, but consideration. It invites all of u
 s to reflect on our shared values of life\, grief\, forgiveness\, healing\
 , and hope.<br>Johnson writes:<br>“Matt Shepard and his story have led me 
 on an inspiring\, challenging\, and deeply meaningful journey that I conti
 nue to this day. In composingConsidering Matthew Shepard\, I wanted to cre
 ate a space for reflection\, consideration\, and unity around his life and
  legacy. Of course it’s very much about Matthew Shepard. But for me\, this
  piece is really about us. Together\, all of us\, we actually can impact t
 his. And that’s what I mean by: don’t leave it at the fence.”<br>The orato
 rio begins and ends with the image of “the lone cowboy who\, with the wild
  roses\, wants you to be free.” Framed by this benediction\, the work invi
 tes listeners to dwell between tragedy and hope\, and to receive the story
  as an opportunity to “sing for a change.”</p><hr><h2>Biographies</h2><h3>
 Geoffrey Boers</h3><p dir='ltr'>Geoffrey Boers is Director of Choral Activities and Pro
 fessor of Music at the University of Washington Seattle\, where he leads a
  nationally-recognized graduate choral program and conducts the Chamber Si
 ngers. Geoffrey loves working with choirs of all ages\, and teaches nation
 ally and internationally\, most recently in Tallinn\, Estonia\, and Xi’an 
 China. Geoffrey also conducts the Symphony Tacoma Voices.</p><p dir='ltr'> </p><h3>Rod 
 Caspers</h3><p>Rod Caspers served as Executive Director of Creative Servic
 es for the University of Texas System\, where he and colleagues earned fiv
 e Lone Star Emmy Awards for the PBS series State of Tomorrow. He has taugh
 t and directed at the University of Wisconsin and the University of Texas 
 at Austin. His credits include The Radio City Christmas Spectacular and Ji
 m Henson’s Musical World at Carnegie Hall. He staged the original producti
 on of Conspirare’s Considering Matthew Shepard\, including Trinity Wall St
 reet. rodcaspers.com</p><h3>Haitham Haidar </h3><p>Haitham Haidar is a Leb
 anese-Palestinian Canadian tenor praised for his “memorably warm tone… a g
 ripping communicator and charismatic musician” (Gramophone) and his “arres
 ting warmth and lyricism” (Music Web International). His JUNO®-nominated d
 ebut album Zaytoun\, exploring the intersection of Baroque and Arabic musi
 c\, is available on streaming platforms and was named BBC Music’s Vocal Ch
 oice of the Month. Haitham is honored to share this story and stage tonigh
 t </p><h3>Leann Conley-Holcom</h3><p>Leann Conley-Holcom is Director of Ch
 oral Activities and Music Program Director at Seattle University\, recogni
 zed for integrating vocal technique and embodiment practices and for curat
 ing bold\, innovative choral collaborations. She is WA-ACDA College &amp; Univ
 ersity R&amp;R Chair and co-founding director of the treble ensemble MUSING. A
 n accomplished professional soprano\, she has performed as a soloist with 
 regional orchestras and at Carnegie Hall\, and sings with True Concord (ap
 pearing on the Grammy-winning album Far in the Heavens)\, Evergreen Ensemb
 le\, and the Oregon\, Seattle\, and Tacoma Bach Festivals.</p><h3>Camilla 
 Tassi </h3><p>Camilla Tassi is a NYC-based projection designer from Floren
 ce\, Italy. Her work includes Falling Out of Time (Carnegie Hall)\, King A
 rthur (Lincoln Center\, Juilliard415)\, Considering Matthew Shepard (Consp
 irare &amp; Oregon Bach Festival)\, SEACHANGE (Miami City Ballet)\, Path of Mi
 racles (The Thirteen)\, Adoration (Beth Morrison Projects &amp; LA Opera)\, SA
 NDRA (TheaterWorks Hartford)\, Alcina (Yale Opera)\, Ariodante (Boston Bar
 oque)\, and Malhaar (Walt Disney Concert Hall\, LA Master Chorale). She ha
 s sung with the NY Phil chorus and Yale Schola. She holds degrees in compu
 ter science\, music\, and projection design (Yale\, MFA). Connecticut Crit
 ics Circle Award. </p><h3>Larke Witten</h3><p>Larke Witten is Visiting Dir
 ector of Music for Seattle University’s Chamber Singers and Assistant Cond
 uctor for the Bellevue Nativity Messiah. A versatile conductor\, soloist\,
  and teacher\, she has led ensembles from the Northwest Boychoir and Unive
 rsity of Washington Treble Choir to regional and church choirs. She perfor
 med ten seasons as a founding member of the San Antonio Chamber Choir and 
 sings with Choral Arts Northwest.</p><h3>Giselle Wyers </h3><p>Giselle Wye
 rs is the Donald E Peterson Endowed Professor of Choral Music at Universit
 y of Washington. She is also conductor of Concord Chamber Choir. Her chora
 l works are featured in GIA's new compendium Choral Repertoire by Women Co
 mposers. Her Laban based approach to teaching conducting is at the center 
 of her work at UW as well as in outreach presentations abroad\, such as So
 uth Korea and London in 2025.</p><hr><h2>Thanks and Acknowledgements </h2>
 <p>Pigott Family Endowment for the Arts at Seattle University<br>Sommer Ex
 cellence in Choral Music Endowment in honor of Dr. Joy Sherman<br>Matthew 
 Shepard Foundation<br>Ken and Sandy Schwartz<br>Dale and Margaret Largent&lt;
 br&gt;Joelle and David Keene <br>Joanne DePue<br>Cory Hiraiwa<br>Stefanie Fat
 ooh<br>Paul Marenco<br>Tonya Ingerson\, Safety and Well-Being Advocate<br>
 Michael McKenzie\,  Auxiliary Percussion Coordinator</p><hr><h2>UW Chamber
  Singers </h2><p>Geoffrey Boers\, Conductor<br>Serena Chin\, Ingrid Verhul
 sdonk\, Collaborative Pianists<br>Assistant Conductors: Tatiana Boggs\, Ni
 c Renaud\, Michael McKenzie\, Heidi Blythe\, Julianna Grabowski\, Helen Wo
 odruff\, Scott Fikse<br>Denotes Choir Cabinet *</p><p><strong>Soprano 1</s><br>Hope Villarreal <br>Jaden Ritscher<br>Tyleen Stults<br>Jenny Gre
 en<br>Helen Woodruff<br><br><strong>Soprano 2</strong><br>Nandini Rathod &lt;
 br&gt;Mari Hirayama *<br>Julianna Grabowski-Porceng <br>Kyla Marshall<br><br>
 <strong>Alto 1</strong><br>Katia Velit <br>Heidi Blythe<br>Emily Colombo<b r>Tatiana Boggs<br>Lamey Appling<br><br><strong>Alto 2</strong><br>Ava Val
 entin <br>Lukas Hawkins<br>Alexandra Rameau<br>Maddie Rivera*<br>Jaminfaye
  Reduque<br><br><strong>Tenor 1</strong><br>Nicholas Renaud<br>Maggie Pete
 rsen<br>Caleb Strader*<br>Michael Lim<br>Vichet Ros<br><br><strong>Tenor 2
 </strong><br>Emmanuel Noyola-Juarez*<br>Gray Creech*<br>Julian Zhang<br>Da
 vid Ferguson<br><br><strong>Bass 1</strong><br>Chung-An Wang <br>Jack Hawl
 ey<br>Thayden Boome<br>Adam Freemantle<br><br><strong>Bass 2</strong><br>S
 antiago Miranda-Marion <br>Michael McKenzie<br>Scott Fikse<br>Kyle Mahoney
 </p><h2>UW Chorale </h2><p>Giselle Wyers\, Conductor<br>Serena Chin\, Coll
 aborative Pianist<br>Assistant Conductors: Julianna Grabowski\, Nic Renaud
 \, Helen Woodruff and Chung-An Wang<br>Denotes Section Leader *<br>Denotes
  Cabinet Member +</p><p><strong>SOPRANOS</strong><br>Tina Amrith<br>Elizab
 eth Brown*<br>Lauren Chenoweth*<br>Kirsten Conover<br>Aria Fowler<br>Sofia
  Groff<br>Mari Hirayama<br>Evelyn Jones<br>Tanushri Narendran<br>Sophia Pe
 terson<br>Anya Riabov<br>Olivia Spaid<br>Hope Villarreal<br>Katelyn Wales&lt;
 br&gt;Jolee Zamira +</p><p><strong>ALTOS</strong><br>Mallak Attwa<br>Ariel Ba
 ldwin +<br>Juniper Blessing<br>Suwan Chambers<br>Samara (Sam) Chacko<br>Al
 exis Georgiades +<br>Lainey Graham +<br>Sydney Jordan<br>Leah Peterson<br>
 Alex Retteghieri<br>Maddie Rivera *<br>Jessica Thaxton * +<br>Anna Vu<br>H
 aley Westberg *</p><p><strong>TENORS</strong><br>Beau Bradney<br>Eric Gagl
 iano<br>Braden Innes<br>Armour Johnson<br>Luis Javier<br>Michael Lim *<br>
 Colin Loerkhe<br>Liam Natarajan<br>Haoran Peng<br>Tyler Santos * +<br>Nick
  Seamons<br>DaShaundre Steele +<br>Caleb Strader * +<br>Luke Van Sickle</p><p><strong>BASSES</strong><br>Thayden Boome * +<br>Gray Creech *<br>Will 
 Cummings<br>Mario D’Ambrosio<br>Luke Granger +<br>Jack Hawley<br>Will Henr
 y +<br>Aidan Maynard<br>Gavin Morrow<br>Timon Nguyenphuoc<br>Paul (Pavlo) 
 Orekhov<br>Felix Solem<br>Noah Tonneson<br>Robbie Troyan<br>Danny Vizenor 
 * +</p><h2>Seattle University Combined Choirs </h2><p>Leann Conley-Holcom\
 , Conductor<br>Ella Kalinichenko\, Collaborative Pianist<br>Larke Witten\,
  Visiting Chamber Singers Director<br><br>* Denotes Leadership Team</p><p>
 <strong>SOPRANOS</strong><br>Sarah Brown<br>Lauren Ghrist *<br>Grace Ginav
 en<br>Sophia Hampton<br>Grace Haueisen<br>Sam Henry<br>Jenna Kober<br>Ava 
 Lauer<br>Calia Lockey<br>Tira McGavin<br>Hope Onstad *<br>Sophia Orlando<b r>Chloe Platt<br>Ginger Schreiber<br>Alana Taitague<br>Ruby Thomas<br>Rach
 el Williams<br>Joanna Wong</p><p><strong>ALTOS</strong><br>Mo (Sara) Afras
 iabi<br>Mia Baumgartner<br>Priya Bhananker<br>Bonnie Bowie<br>Leslie Cea<b r>Katrina Herzog<br>Ellie Lawrence<br>Jaylen Leonard *<br>Patty Lott<br>So
 ren Marclei<br>Jenna Matsumoto *<br>Kimaya Mehta<br>Madeleine Noreen<br>Mi
 ko Ouano<br>Sandy Renner<br>Randee Robinson<br>Kathleen Seymour<br>Susan S
 ommer<br>Larke Witten</p><p><strong>TENORS</strong><br>Giancarlo Agogliati
  *<br>Jessica Albert<br>Teddy Lofberg<br>Joe Orlando<br>Lucas Smith<br>Pet
 er Ukrainetz<br>Doug Young</p><p><strong>BASSES</strong><br>Matthew Belsha
 n<br>Cameron Chiao *<br>Maximo Glassman<br>Easton Harrel<br>Rik Lambey<br>
 Kendrick Mangmati *<br>Mitchie Vega<br>Miles Wahlstrom<br>Leo Winkler<br>J
 ustyn Yap</p><hr><h2>Permissions and Credits</h2><p>All music composed by 
 Craig Hella Johnson © 2016<br><br>1. Cattle\, Horse\, Sky and Grass Compil
 ation with additional text © Craig Hella Johnson / Please Come to Wyoming 
 by John D. Nesbitt © by John D. Nesbitt. Used by kind permission. / Cattle
 \, Horses\, Sky and Grass by Sue Wallis © by Estate of Sue Wallis.<br>Used
  by kind permission. Quoting Prelude in C Major Book 1\, Well-Tempered Cla
 vier by J.S. Bach. <br>2. Ordinary Boy © Craig Hella Johnson / From The Me
 aning of Matthew\, by Judy Shepard p. 206. / + I Love Poem by Matt Shepard
  © by Judy Shepard. <br>Used by kind permission<br>3. We Tell Each Other S
 tories © Craig Hella Johnson<br>5. The Fence (before)* Lesléa Newman<br>7.
  The Fence (that night) Material reproduced from Hildegard of Bingen from 
 Symphonia: A Critical Edition of the “Symphonia Armonie Celestium Revelati
 onum” (Symphony of the Harmony of Celestial Revelations)\, Second Edition\
 , translated by Barbara Newman. © 1988\, 1998 by Cornell University. Used 
 by permission of the translator\, Barbara Newman\, and publisher\, Cornell
  University Press. / The Fence (that night)* Lesléa Newman<br>8. A Protest
 or* Lesléa Newman / Additional italicized text by Craig Hella Johnson<br>1
 0. Keep it Away From Me (The Wound of Love) by Michael Dennis Browne and C
 raig Hella Johnson © 2015 by Michael Dennis Browne and Craig Hella Johnson
 . Used by kind permission. / Gabriela Mistral<br>12. Fire of the Ancient H
 eart by Michael Dennis Browne and Craig Hella Johnson © 2015 by Michael De
 nnis Browne and Craig Hella Johnson. Used by kind permission. / ^Genesis 4
 :10 / #Rumi / ~William Blake. With thanks to Tom Burritt – percussion cons
 ultation and special arrangement<br>14. Stray Birds by Rabindranath Tagore
 <br>15. We Are All Sons (part 1) by Michael Dennis Browne © 2015 by Michae
 l Dennis Browne. Used by kind permission.<br>16. I Am Like You/We Are All 
 Sons (part 2) © Craig Hella Johnson<br>17. The Innocence by Michael Dennis
  Browne and Craig Hella Johnson © 2015 by Michael Dennis Browne and Craig 
 Hella Johnson. Used by kind permission.<br>19. The Fence (one week later)*
  Lesléa Newman<br>21. Stars Lesléa Newman / Dennis Shepard Statement to th
 e Court<br>22. In Need of Breath Hafiz lyrics from “In Need of the Breath”
  from the Penguin (New York) publication The Gift: Poems by Hafiz by Danie
 l Ladinsky. Copyright © 1999 Daniel Ladinsky and used with his permission.
 <br>23. Deer Song by Michael Dennis Browne and Craig Hella Johnson © 2015 
 by Michael Dennis Browne and Craig Hella Johnson. Used by kind permission.
 <br>24. The Fence (after)/The Wind* Lesléa Newman<br>25. Pilgrimage* Leslé
 a Newman<br>26. Meet Me Here © Craig Hella Johnson<br>27. Thanks “Even in 
 This Rain” text by Michael Dennis Browne © 2019 by Michael Dennis Browne<b r>28. All of Us by Michael Dennis Browne and Craig Hella Johnson © 2015 by
  Michael Dennis Browne and Craig Hella Johnson. Used by kind permission. /
  + from Divine Comedy\, from the Paradiso by Dante\, adapted by Michael De
 nnis Browne<br>29. Cattle\, Horses\, Sky and Grass (reprise) Cattle\, Hors
 es\, Sky and Grass by Sue Wallis © by Estate of Sue Wallis. Used by kind p
 ermission. / Please Come to Wyoming by John D. Nesbitt © by John D. Nesbit
 t. Used by kind permission.</p><p>Recitations I-X compiled from news repor
 ts and crafted by Craig Hella Johnson and Michael Dennis Browne.</p><p>*Al
 l works authorized by Lesléa Newman are from OCTOBER MOURNING: A SONG FOR 
 MATTHEW SHEPARD. Copyright © 2012 by Lesléa Newman. Reproduced by permissi
 on of the publisher\, Candlewick Press\, Somerville\, MA. Selections used 
 by permission of Curtis Brown\, Ltd. Copyright © 2012. All Rights Reserved
 .</p><hr><h2>Introduction</h2><p> from OCTOBER MOURNING: A SONG FOR MATTHE
 W SHEPARD by Lesléa Newman</p><p>On Tuesday\, October 6\, 1998\, at approx
 imately 11:45 p.m.\, twenty-one-year-old Matthew Shepard\, a gay college s
 tudent attending the University of Wyoming\, was kidnapped from a bar by t
 wenty-one-year-old Aaron McKinney and twenty-one-year-old Russell Henderso
 n. Pretending to be gay\, the two men lured Matthew Shepard into their tru
 ck\, drove him to the outskirts of Laramie\, robbed him\, beat him with a 
 pistol\, tied him to a buck-rail fence\, and left him to die. The next day
 \, at about 6:00 p.m. – eighteen hours after the attack – he was discovere
 d and taken to a hospital. He never regained consciousness and died five d
 ays later\, on Monday\, October 12\, with his family by his side.</p><p>On
 e of the last things Matthew Shepard did that Tuesday night was attend a m
 eeting of the University of Wyoming’s Lesbian\, Gay\, Bisexual\, and Trans
 gendered Association. The group was putting final touches on plans for Gay
  Awareness Week\, scheduled to begin the following Sunday\, October 11\, c
 oinciding with a National Coming Out Day. Planned campus activities includ
 ed a film showing\, an open poetry reading\, and a keynote speaker. That k
 eynote speaker was me.</p><p>I never forgot what happened in Laramie\, and
  around the tenth anniversary of Matthew Shepard’s death\, I found myself 
 thinking more and more about him. And so I began writing a series of poems
 \, striving to create a work of art that explores the events surrounding M
 atthew Shepard’s murder in order to gain a better understanding of their i
 mpact on myself and the world.</p><p>What really happened at the fence tha
 t night? Only three people know the answer to that question. Two of them a
 re imprisoned\, convicted murderers whose stories often contradict each ot
 her (for example\, in separate interviews both McKinney and Henderson have
  claimed that he alone tied Matthew Shepard to the fence). The other perso
 n who knows what really happened that night is dead. We will never know hi
 s side of the story. This book is my side of the story.</p><p>While the po
 ems in this book are inspired by actual events\, they do not in any way re
 present the statements\, thoughts\, feelings\, opinions\, or attitudes of 
 any actual person. The statements\, thoughts\, feelings\, opinions\, and a
 ttitudes conveyed belong to me. All monologues contained within the poems 
 are figments of my imagination\; no actual person spoke any of the words c
 ontained within the body of any poem. Those words are mine and mine alone.
  When the words of an actual person are used as a short epigraph for a poe
 m\, the source of that quote is cited at the back of the book in a section
  entitled “Notes\,” which contains citations and suggestions for further r
 eading about the crime. The poems\, which are meant to be read in sequenti
 al order as one whole work\, are a work of poetic invention and imaginatio
 n: a historical novel in verse. The poems are not an objective reporting o
 f Matthew Shepard’s murder and its aftermath\; rather they are my own pers
 onal interpretation of them.</p><p>There is a bench on the campus of the U
 niversity of Wyoming dedicated to Matthew Shepard\, inscribed with the wor
 ds “He continues to make a difference.” My hope is that readers of October
  Mourning: A Song for Matthew Shepard will be inspired to make a differenc
 e and honor his legacy by erasing hate and replacing it with compassion\, 
 understanding\, and love.</p><p>Considering Matthew Shepard was developed 
 with the support of Consiprare. Please visit conspirare.org to learn more 
 about this project and learn more about the many individuals and organizat
 ions who support this work. Conspirare\, The Matthew Shepard Foundation\, 
 and KLRU-TV\, Austin PBS are partnering to ensure that Considering Matthew
  Shepard reaches as many people as possible on the stage and screen. <br> 
 </p>
DTSTART;TZID=America/Los_Angeles:20260303T193000
LAST-MODIFIED:20260303T163131Z
SEQUENCE:354
SUMMARY:: UW Choirs and Seattle University Choirs: 'Considering Matthew She
 pard'
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-03/uw-choirs-and-seattle-un
 iversity-choirs-considering-matthew-shepard
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The UW Chamber Singers and University Chora
 le collaborate with Seattle University Choirs (Leann Conley-Holcom\, direc
 tor) in performing Craig Hella Johnson's Considering Matthew Shepard\, a s
 taged oratorio of remembrance\, resistance\, and hope.</p><hr><p><em>Content Warning:</strong> Some of the material in this show explores th
 e attack\, murder and death of Matthew Shepard. Other moments illustrate t
 he hateful protests that happened at and around the time of his funeral.</em></p><hr><h2>Program</h2><h2><em>Considering Matthew Shepard </em></h2>&lt;
 p&gt;Craig Hella Johnson\, composer<br><br><em>March 3\, 2026 Meany Center fo
 r the Performing Arts\, Katharyn Alvord Gerlich Theater\, 7:30 pm</em><br>
 <em>March 6\, 2026 Pantages Theater\, sponsored by NWACDA\, 8 pm</em><br>&lt;
 br&gt;Leann Conley-Holcom\, Giselle Wyers\, and Geoffrey Boers\, conductors<b r>Seattle University Chorale\, Seattle University Chamber Singers and Seat
 tle University Singers\,  University of Washington Chamber Singers\, Unive
 rsity of Washington Chorale<br>Seattle University Chamber Singers Prepared
  by Visiting Director Larke Witten<br><br><strong>Guest Artists</strong><b r>Haitham Haidar as Matthew Shepard<br>Rod Caspers\, Stage Director<br>Cam
 illa Tassi\, Projection Designer<br><br><strong>Band</strong><br>Koryn Orc
 utt\, clarinet<br>Justin S Davis\, guitar<br>Andrew Angell\, percussion<br>Serena Chin &amp; Ella Kalinichenko\, piano<br>Evan Hjort\, violin<br>Rick Ne
 ff\, viola<br>Nicole Williams\, cello<br>Ross Gilliland\, bass</p><hr><h2>
 Considering Matthew Shepard</h2><p><span><strong>P
 ROLOGUE</strong></span><br>1- Cattle\, Horses\, Sky\, and Grass<br><em>Gia
 ncarlo Agogliati (solo)\, Kyla Marshall\, Ruby Thomas\, Hope Onstad\, Laur
 en Ghrist </em>(soli)<br>2- Ordinary Boy<br> <em>Ava Valentin</em>\, <em>L
 arke Witten </em>(Judy)\, <em>Haitham Haidar </em>(Matt)<br>3- We Tell Eac
 h Other Stories<br><em> Jaden Ritscher </em>(solo)<br><br><strong>PASSION&lt;
 /strong&gt;<br>4- Recitation I<br><em>Joe Orlando </em>(narration)<br>5- The 
 Fence (before)<br><em>Danny Vizenor </em>(solo)<br>6- Recitation II<br><em>Sam Henry\, Priya Bhananker </em>(narration)<br>7- The Fence (that night)
 <br><em>Scott Fikse </em>(solo)<br>8- Recitation III<br><em>Priya Bhananke
 r\, Sam Henry\, </em> <em>Joe Orlando </em>(narration)<br>9- A Protestor<b r>10- Keep it Away from Me<br><em>Jessica Thaxton (solo)\, Lauren Ghrist\,
  Jenna Kober\, Jenna Matsumoto\, Jaden Ritscher\, Maddie Rivera\, Ava Vale
 ntin </em>(sextet)<br>11- Recitation IV<br><em>Sam Henry </em>(narration)&lt;
 br&gt;12- Fire of the Ancient Heart<br><em> Evan Norberg </em>(solo)\,<em> Ta
 tiana Boggs\, Gray Creech\, Mari Hirayama\, Nic Renaud\, Chung-An Wang (percussion)<br>13- Recitation V<br><em> Priya Bhananker\,  Joe Orlando 
 </em>(narration)<br>14- Stray Birds<br>16- I Am Like You/We Are All Sons<b r><em>Kyla Marshall\, Tatiana Boggs\, Giancarlo Agogliati\, Evan Norberg &lt;
 /em&gt;(soli)<br>17- The Innocence<br><em>Michael McKenzie </em>(solo)<br>18-
  Recitation VI<br><em>Priya Bhananker </em>(narration)<br>19- The Fence (o
 ne week later)<br><em>Julianna Grabowski </em>(solo)<br>20- Recitation VII
 <br><em>Sam Henry </em>(narration)<br>21- Stars<br><em>Rik Lambey</em> (De
 nnis)<br>22- Recitation VIII<br><em>Joe Orlando </em>(narration)<br>23- In
  Need of Breath<br><em>Haitham Haidar</em> (Matt)<br>25- Recitation IX<br>
 <em>Priya Bhananker </em>(narration)<br>26- Deer Song <br><em>Haitham Haid
 ar </em>(Matt)\, <em>Hope Onstad\, Helen Woodruff\, Evelyn Jones </em>(sol
 i)<br>27- Recitation X<br><em> Sam Henry </em>(narration)<br>28- The Fence
  (after)/The Wind<br>29- Pilgrimage<br><em>Ruby Thomas\, Matthew Belshan\,
  Adam Freemantle\, Ava Valentin\, Maddie Rivera\, Sophia Orlando\, Helen W
 oodruff\, Tatiana Boggs\, Mallak Attwa\, Samara Chacko </em>(soli)<br><br>
 <strong>EPILOGUE</strong><br>30- Meet Me Here<br><em>Evelyn Jones </em>(so
 lo)<br>30b - Recitation XI<br><em>Priya Bhananker\, Sam Henry\,  Joe Orlan
 do</em> (narration)<br>31- Thank You<br><em>Haitham Haidar </em>(Matt)<br>
 32- All of Us<br><em>Julianna Grabowski\, Heidi Blythe\, Alex Rameau </em>
 (soli)<br>33- Cattle\, Horses\, Sky\, and Grass <br><em>Giancarlo Agogliat
 i </em>(solo)</p><hr><h2>A Note to Our Audience</h2><p><em>With thanks to 
 Tonya Ingerson\, Safety &amp; Well-Being Advocate</em><br><br>During this perf
 ormance\, you may notice a somatic (nervous system) response—felt in your 
 breath\, muscles or through other sensations. The following techniques can
  help reset your nervous system and keep you comfortable throughout the ex
 perience.<br><br><strong>“Havening” techniques</strong><br>Press and rub y
 our palms together.<br>Glide your hands from your shoulders down your arms
 .<br>Touch anywhere on your face.<br>Rub in circles around your ears with 
 “Spock” hands.<br><br><strong>Other techniques:</strong><br>Progressive mu
 scle relaxation: Squeeze your arms and feet\, inhale and hold\, then relea
 se with your breath.<br>Box breathing: Inhale for 4 counts\, hold for 4\, 
 exhale for 4\, hold for 4\; repeat.<br>5-4-3-2-1 method: Identify 5 things
  you see\, 4 things you feel\, 3 things you hear\, 2 things you smell\, 1 
 thing you taste.<br>Shake or stretch your body.<br>We encourage you to try
  any of these techniques as needed to stay grounded and engaged during the
  performance.</p><hr><h2>Program Note</h2><p><em>Considering Matthew Shepa
 rd</em>  is a Grammy-nominated\, three-part fusion oratorio by Craig Hella
  Johnson. Written in response to the 1998 murder of Matthew Shepard—a youn
 g man targeted because of his sexual orientation\, whose death became a na
 tional symbol in the struggle against hate—the work offers a space for rem
 embrance\, reflection\, and shared humanity. Johnson draws upon the Passio
 n tradition of Johann Sebastian Bach\, blending chant\, chorales\, blues\,
  gospel\, and art song into a unified and compelling musical narrative.<br>The story unfolds through multiple perspectives: the Shepard family\, com
 munity members\, protestors\, Matthew himself\, and even the fence where h
 e was left. The fence is personified through three soloists\, giving voice
  to its life before the tragedy\, the night it held Matthew\, its transfor
 mation into a place of remembrance\, and ultimately its own end. The choir
  functions\, as in Bach’s Passions\, both as commentator and participant—p
 resenting the narrative while also serving as a collective voice of reflec
 tion.<br>Throughout the work\, the refrain “This chant of life cannot be h
 eard\, it must be felt” underscores that the piece seeks not quick resolut
 ion\, but consideration. It invites all of us to reflect on our shared val
 ues of life\, grief\, forgiveness\, healing\, and hope.<br>Johnson writes:
 <br>“Matt Shepard and his story have led me on an inspiring\, challenging\
 , and deeply meaningful journey that I continue to this day. In composingC
 onsidering Matthew Shepard\, I wanted to create a space for reflection\, c
 onsideration\, and unity around his life and legacy. Of course it’s very m
 uch about Matthew Shepard. But for me\, this piece is really about us. Tog
 ether\, all of us\, we actually can impact this. And that’s what I mean by
 : don’t leave it at the fence.”<br>The oratorio begins and ends with the i
 mage of “the lone cowboy who\, with the wild roses\, wants you to be free.
 ” Framed by this benediction\, the work invites listeners to dwell between
  tragedy and hope\, and to receive the story as an opportunity to “sing fo
 r a change.”</p><hr><h2>Biographies</h2><h3>Geoffrey Boers</h3><p dir='ltr'>Geoffrey Bo
 ers is Director of Choral Activities and Professor of Music at the Univers
 ity of Washington Seattle\, where he leads a nationally-recognized graduat
 e choral program and conducts the Chamber Singers. Geoffrey loves working 
 with choirs of all ages\, and teaches nationally and internationally\, mos
 t recently in Tallinn\, Estonia\, and Xi’an China. Geoffrey also conducts 
 the Symphony Tacoma Voices.</p><p dir='ltr'> </p><h3>Rod Caspers</h3><p>Rod Caspers ser
 ved as Executive Director of Creative Services for the University of Texas
  System\, where he and colleagues earned five Lone Star Emmy Awards for th
 e PBS series State of Tomorrow. He has taught and directed at the Universi
 ty of Wisconsin and the University of Texas at Austin. His credits include
  The Radio City Christmas Spectacular and Jim Henson’s Musical World at Ca
 rnegie Hall. He staged the original production of Conspirare’s Considering
  Matthew Shepard\, including Trinity Wall Street. rodcaspers.com</p><h3>Ha
 itham Haidar </h3><p>Haitham Haidar is a Lebanese-Palestinian Canadian ten
 or praised for his “memorably warm tone… a gripping communicator and chari
 smatic musician” (Gramophone) and his “arresting warmth and lyricism” (Mus
 ic Web International). His JUNO®-nominated debut album Zaytoun\, exploring
  the intersection of Baroque and Arabic music\, is available on streaming 
 platforms and was named BBC Music’s Vocal Choice of the Month. Haitham is 
 honored to share this story and stage tonight </p><h3>Leann Conley-Holcom&lt;
 /h3&gt;<p>Leann Conley-Holcom is Director of Choral Activities and Music Prog
 ram Director at Seattle University\, recognized for integrating vocal tech
 nique and embodiment practices and for curating bold\, innovative choral c
 ollaborations. She is WA-ACDA College &amp; University R&amp;R Chair and co-foundi
 ng director of the treble ensemble MUSING. An accomplished professional so
 prano\, she has performed as a soloist with regional orchestras and at Car
 negie Hall\, and sings with True Concord (appearing on the Grammy-winning 
 album Far in the Heavens)\, Evergreen Ensemble\, and the Oregon\, Seattle\
 , and Tacoma Bach Festivals.</p><h3>Camilla Tassi </h3><p>Camilla Tassi is
  a NYC-based projection designer from Florence\, Italy. Her work includes 
 Falling Out of Time (Carnegie Hall)\, King Arthur (Lincoln Center\, Juilli
 ard415)\, Considering Matthew Shepard (Conspirare &amp; Oregon Bach Festival)\
 , SEACHANGE (Miami City Ballet)\, Path of Miracles (The Thirteen)\, Adorat
 ion (Beth Morrison Projects &amp; LA Opera)\, SANDRA (TheaterWorks Hartford)\,
  Alcina (Yale Opera)\, Ariodante (Boston Baroque)\, and Malhaar (Walt Disn
 ey Concert Hall\, LA Master Chorale). She has sung with the NY Phil chorus
  and Yale Schola. She holds degrees in computer science\, music\, and proj
 ection design (Yale\, MFA). Connecticut Critics Circle Award. </p><h3>Lark
 e Witten</h3><p>Larke Witten is Visiting Director of Music for Seattle Uni
 versity’s Chamber Singers and Assistant Conductor for the Bellevue Nativit
 y Messiah. A versatile conductor\, soloist\, and teacher\, she has led ens
 embles from the Northwest Boychoir and University of Washington Treble Cho
 ir to regional and church choirs. She performed ten seasons as a founding 
 member of the San Antonio Chamber Choir and sings with Choral Arts Northwe
 st.</p><h3>Giselle Wyers </h3><p>Giselle Wyers is the Donald E Peterson En
 dowed Professor of Choral Music at University of Washington. She is also c
 onductor of Concord Chamber Choir. Her choral works are featured in GIA's 
 new compendium Choral Repertoire by Women Composers. Her Laban based appro
 ach to teaching conducting is at the center of her work at UW as well as i
 n outreach presentations abroad\, such as South Korea and London in 2025.&lt;
 /p&gt;<hr><h2>Thanks and Acknowledgements </h2><p>Pigott Family Endowment for
  the Arts at Seattle University<br>Sommer Excellence in Choral Music Endow
 ment in honor of Dr. Joy Sherman<br>Matthew Shepard Foundation<br>Ken and 
 Sandy Schwartz<br>Dale and Margaret Largent<br>Joelle and David Keene <br>
 Joanne DePue<br>Cory Hiraiwa<br>Stefanie Fatooh<br>Paul Marenco<br>Tonya I
 ngerson\, Safety and Well-Being Advocate<br>Michael McKenzie\,  Auxiliary 
 Percussion Coordinator</p><hr><h2>UW Chamber Singers </h2><p>Geoffrey Boer
 s\, Conductor<br>Serena Chin\, Ingrid Verhulsdonk\, Collaborative Pianists
 <br>Assistant Conductors: Tatiana Boggs\, Nic Renaud\, Michael McKenzie\, 
 Heidi Blythe\, Julianna Grabowski\, Helen Woodruff\, Scott Fikse<br>Denote
 s Choir Cabinet *</p><p><strong>Soprano 1</strong><br>Hope Villarreal <br>
 Jaden Ritscher<br>Tyleen Stults<br>Jenny Green<br>Helen Woodruff<br><br><s trong>Soprano 2</strong><br>Nandini Rathod <br>Mari Hirayama *<br>Julianna
  Grabowski-Porceng <br>Kyla Marshall<br><br><strong>Alto 1</strong><br>Kat
 ia Velit <br>Heidi Blythe<br>Emily Colombo<br>Tatiana Boggs<br>Lamey Appli
 ng<br><br><strong>Alto 2</strong><br>Ava Valentin <br>Lukas Hawkins<br>Ale
 xandra Rameau<br>Maddie Rivera*<br>Jaminfaye Reduque<br><br><strong>Tenor 
 1</strong><br>Nicholas Renaud<br>Maggie Petersen<br>Caleb Strader*<br>Mich
 ael Lim<br>Vichet Ros<br><br><strong>Tenor 2</strong><br>Emmanuel Noyola-J
 uarez*<br>Gray Creech*<br>Julian Zhang<br>David Ferguson<br><br><strong>Ba
 ss 1</strong><br>Chung-An Wang <br>Jack Hawley<br>Thayden Boome<br>Adam Fr
 eemantle<br><br><strong>Bass 2</strong><br>Santiago Miranda-Marion <br>Mic
 hael McKenzie<br>Scott Fikse<br>Kyle Mahoney</p><h2>UW Chorale </h2><p>Gis
 elle Wyers\, Conductor<br>Serena Chin\, Collaborative Pianist<br>Assistant
  Conductors: Julianna Grabowski\, Nic Renaud\, Helen Woodruff and Chung-An
  Wang<br>Denotes Section Leader *<br>Denotes Cabinet Member +</p><p>SOPRANOS</strong><br>Tina Amrith<br>Elizabeth Brown*<br>Lauren Chenoweth
 *<br>Kirsten Conover<br>Aria Fowler<br>Sofia Groff<br>Mari Hirayama<br>Eve
 lyn Jones<br>Tanushri Narendran<br>Sophia Peterson<br>Anya Riabov<br>Olivi
 a Spaid<br>Hope Villarreal<br>Katelyn Wales<br>Jolee Zamira +</p><p>ALTOS</strong><br>Mallak Attwa<br>Ariel Baldwin +<br>Juniper Blessing<br>Suwan Chambers<br>Samara (Sam) Chacko<br>Alexis Georgiades +<br>Lainey Gr
 aham +<br>Sydney Jordan<br>Leah Peterson<br>Alex Retteghieri<br>Maddie Riv
 era *<br>Jessica Thaxton * +<br>Anna Vu<br>Haley Westberg *</p><p><strong>
 TENORS</strong><br>Beau Bradney<br>Eric Gagliano<br>Braden Innes<br>Armour
  Johnson<br>Luis Javier<br>Michael Lim *<br>Colin Loerkhe<br>Liam Nataraja
 n<br>Haoran Peng<br>Tyler Santos * +<br>Nick Seamons<br>DaShaundre Steele 
 +<br>Caleb Strader * +<br>Luke Van Sickle</p><p><strong>BASSES</strong><br>Thayden Boome * +<br>Gray Creech *<br>Will Cummings<br>Mario D’Ambrosio<b r>Luke Granger +<br>Jack Hawley<br>Will Henry +<br>Aidan Maynard<br>Gavin 
 Morrow<br>Timon Nguyenphuoc<br>Paul (Pavlo) Orekhov<br>Felix Solem<br>Noah
  Tonneson<br>Robbie Troyan<br>Danny Vizenor * +</p><h2>Seattle University 
 Combined Choirs </h2><p>Leann Conley-Holcom\, Conductor<br>Ella Kalinichen
 ko\, Collaborative Pianist<br>Larke Witten\, Visiting Chamber Singers Dire
 ctor<br><br>* Denotes Leadership Team</p><p><strong>SOPRANOS</strong><br>S
 arah Brown<br>Lauren Ghrist *<br>Grace Ginaven<br>Sophia Hampton<br>Grace 
 Haueisen<br>Sam Henry<br>Jenna Kober<br>Ava Lauer<br>Calia Lockey<br>Tira 
 McGavin<br>Hope Onstad *<br>Sophia Orlando<br>Chloe Platt<br>Ginger Schrei
 ber<br>Alana Taitague<br>Ruby Thomas<br>Rachel Williams<br>Joanna Wong</p>
 <p><strong>ALTOS</strong><br>Mo (Sara) Afrasiabi<br>Mia Baumgartner<br>Pri
 ya Bhananker<br>Bonnie Bowie<br>Leslie Cea<br>Katrina Herzog<br>Ellie Lawr
 ence<br>Jaylen Leonard *<br>Patty Lott<br>Soren Marclei<br>Jenna Matsumoto
  *<br>Kimaya Mehta<br>Madeleine Noreen<br>Miko Ouano<br>Sandy Renner<br>Ra
 ndee Robinson<br>Kathleen Seymour<br>Susan Sommer<br>Larke Witten</p><p><s trong>TENORS</strong><br>Giancarlo Agogliati *<br>Jessica Albert<br>Teddy 
 Lofberg<br>Joe Orlando<br>Lucas Smith<br>Peter Ukrainetz<br>Doug Young</p>
 <p><strong>BASSES</strong><br>Matthew Belshan<br>Cameron Chiao *<br>Maximo
  Glassman<br>Easton Harrel<br>Rik Lambey<br>Kendrick Mangmati *<br>Mitchie
  Vega<br>Miles Wahlstrom<br>Leo Winkler<br>Justyn Yap</p><hr><h2>Permissio
 ns and Credits</h2><p>All music composed by Craig Hella Johnson © 2016<br>
 <br>1. Cattle\, Horse\, Sky and Grass Compilation with additional text © C
 raig Hella Johnson / Please Come to Wyoming by John D. Nesbitt © by John D
 . Nesbitt. Used by kind permission. / Cattle\, Horses\, Sky and Grass by S
 ue Wallis © by Estate of Sue Wallis.<br>Used by kind permission. Quoting P
 relude in C Major Book 1\, Well-Tempered Clavier by J.S. Bach. <br>2. Ordi
 nary Boy © Craig Hella Johnson / From The Meaning of Matthew\, by Judy She
 pard p. 206. / + I Love Poem by Matt Shepard © by Judy Shepard. <br>Used b
 y kind permission<br>3. We Tell Each Other Stories © Craig Hella Johnson<b r>5. The Fence (before)* Lesléa Newman<br>7. The Fence (that night) Materi
 al reproduced from Hildegard of Bingen from Symphonia: A Critical Edition 
 of the “Symphonia Armonie Celestium Revelationum” (Symphony of the Harmony
  of Celestial Revelations)\, Second Edition\, translated by Barbara Newman
 . © 1988\, 1998 by Cornell University. Used by permission of the translato
 r\, Barbara Newman\, and publisher\, Cornell University Press. / The Fence
  (that night)* Lesléa Newman<br>8. A Protestor* Lesléa Newman / Additional
  italicized text by Craig Hella Johnson<br>10. Keep it Away From Me (The W
 ound of Love) by Michael Dennis Browne and Craig Hella Johnson © 2015 by M
 ichael Dennis Browne and Craig Hella Johnson. Used by kind permission. / G
 abriela Mistral<br>12. Fire of the Ancient Heart by Michael Dennis Browne 
 and Craig Hella Johnson © 2015 by Michael Dennis Browne and Craig Hella Jo
 hnson. Used by kind permission. / ^Genesis 4:10 / #Rumi / ~William Blake. 
 With thanks to Tom Burritt – percussion consultation and special arrangeme
 nt<br>14. Stray Birds by Rabindranath Tagore<br>15. We Are All Sons (part 
 1) by Michael Dennis Browne © 2015 by Michael Dennis Browne. Used by kind 
 permission.<br>16. I Am Like You/We Are All Sons (part 2) © Craig Hella Jo
 hnson<br>17. The Innocence by Michael Dennis Browne and Craig Hella Johnso
 n © 2015 by Michael Dennis Browne and Craig Hella Johnson. Used by kind pe
 rmission.<br>19. The Fence (one week later)* Lesléa Newman<br>21. Stars Le
 sléa Newman / Dennis Shepard Statement to the Court<br>22. In Need of Brea
 th Hafiz lyrics from “In Need of the Breath” from the Penguin (New York) p
 ublication The Gift: Poems by Hafiz by Daniel Ladinsky. Copyright © 1999 D
 aniel Ladinsky and used with his permission.<br>23. Deer Song by Michael D
 ennis Browne and Craig Hella Johnson © 2015 by Michael Dennis Browne and C
 raig Hella Johnson. Used by kind permission.<br>24. The Fence (after)/The 
 Wind* Lesléa Newman<br>25. Pilgrimage* Lesléa Newman<br>26. Meet Me Here ©
  Craig Hella Johnson<br>27. Thanks “Even in This Rain” text by Michael Den
 nis Browne © 2019 by Michael Dennis Browne<br>28. All of Us by Michael Den
 nis Browne and Craig Hella Johnson © 2015 by Michael Dennis Browne and Cra
 ig Hella Johnson. Used by kind permission. / + from Divine Comedy\, from t
 he Paradiso by Dante\, adapted by Michael Dennis Browne<br>29. Cattle\, Ho
 rses\, Sky and Grass (reprise) Cattle\, Horses\, Sky and Grass by Sue Wall
 is © by Estate of Sue Wallis. Used by kind permission. / Please Come to Wy
 oming by John D. Nesbitt © by John D. Nesbitt. Used by kind permission.</p><p>Recitations I-X compiled from news reports and crafted by Craig Hella 
 Johnson and Michael Dennis Browne.</p><p>*All works authorized by Lesléa N
 ewman are from OCTOBER MOURNING: A SONG FOR MATTHEW SHEPARD. Copyright © 2
 012 by Lesléa Newman. Reproduced by permission of the publisher\, Candlewi
 ck Press\, Somerville\, MA. Selections used by permission of Curtis Brown\
 , Ltd. Copyright © 2012. All Rights Reserved.</p><hr><h2>Introduction</h2>
 <p> from OCTOBER MOURNING: A SONG FOR MATTHEW SHEPARD by Lesléa Newman</p>
 <p>On Tuesday\, October 6\, 1998\, at approximately 11:45 p.m.\, twenty-on
 e-year-old Matthew Shepard\, a gay college student attending the Universit
 y of Wyoming\, was kidnapped from a bar by twenty-one-year-old Aaron McKin
 ney and twenty-one-year-old Russell Henderson. Pretending to be gay\, the 
 two men lured Matthew Shepard into their truck\, drove him to the outskirt
 s of Laramie\, robbed him\, beat him with a pistol\, tied him to a buck-ra
 il fence\, and left him to die. The next day\, at about 6:00 p.m. – eighte
 en hours after the attack – he was discovered and taken to a hospital. He 
 never regained consciousness and died five days later\, on Monday\, Octobe
 r 12\, with his family by his side.</p><p>One of the last things Matthew S
 hepard did that Tuesday night was attend a meeting of the University of Wy
 oming’s Lesbian\, Gay\, Bisexual\, and Transgendered Association. The grou
 p was putting final touches on plans for Gay Awareness Week\, scheduled to
  begin the following Sunday\, October 11\, coinciding with a National Comi
 ng Out Day. Planned campus activities included a film showing\, an open po
 etry reading\, and a keynote speaker. That keynote speaker was me.</p><p>I
  never forgot what happened in Laramie\, and around the tenth anniversary 
 of Matthew Shepard’s death\, I found myself thinking more and more about h
 im. And so I began writing a series of poems\, striving to create a work o
 f art that explores the events surrounding Matthew Shepard’s murder in ord
 er to gain a better understanding of their impact on myself and the world.
 </p><p>What really happened at the fence that night? Only three people kno
 w the answer to that question. Two of them are imprisoned\, convicted murd
 erers whose stories often contradict each other (for example\, in separate
  interviews both McKinney and Henderson have claimed that he alone tied Ma
 tthew Shepard to the fence). The other person who knows what really happen
 ed that night is dead. We will never know his side of the story. This book
  is my side of the story.</p><p>While the poems in this book are inspired 
 by actual events\, they do not in any way represent the statements\, thoug
 hts\, feelings\, opinions\, or attitudes of any actual person. The stateme
 nts\, thoughts\, feelings\, opinions\, and attitudes conveyed belong to me
 . All monologues contained within the poems are figments of my imagination
 \; no actual person spoke any of the words contained within the body of an
 y poem. Those words are mine and mine alone. When the words of an actual p
 erson are used as a short epigraph for a poem\, the source of that quote i
 s cited at the back of the book in a section entitled “Notes\,” which cont
 ains citations and suggestions for further reading about the crime. The po
 ems\, which are meant to be read in sequential order as one whole work\, a
 re a work of poetic invention and imagination: a historical novel in verse
 . The poems are not an objective reporting of Matthew Shepard’s murder and
  its aftermath\; rather they are my own personal interpretation of them.</p><p>There is a bench on the campus of the University of Wyoming dedicated
  to Matthew Shepard\, inscribed with the words “He continues to make a dif
 ference.” My hope is that readers of October Mourning: A Song for Matthew 
 Shepard will be inspired to make a difference and honor his legacy by eras
 ing hate and replacing it with compassion\, understanding\, and love.</p>&lt;
 p&gt;Considering Matthew Shepard was developed with the support of Consiprare
 . Please visit conspirare.org to learn more about this project and learn m
 ore about the many individuals and organizations who support this work. Co
 nspirare\, The Matthew Shepard Foundation\, and KLRU-TV\, Austin PBS are p
 artnering to ensure that Considering Matthew Shepard reaches as many peopl
 e as possible on the stage and screen. <br> </p>
END:VEVENT
BEGIN:VEVENT
UID:e86c6586-7187-4780-9ea6-c2449f4bf772
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances\, Visiting Ar
 tists and Scholars
CLASS:PUBLIC
CREATED:20250820T033210Z
DESCRIPTION:<p>Winter Quarter Ethnomusicology Visiting Artist Ramón Gutierr
 ez Hernández concludes his UW residency with a concert of music from the S
 on Jarocho tradition\, joined by his UW students and special guests. </p>&lt;
 hr&gt;<h2>Program</h2><h3>Ramón Gutierrez Hernández</h3><p>UW Ethnomusicology
  Community Artist in Residence\, Winter 2026<br>Son Jarocho</p><p><strong>
 Ramón Solo</strong><br>“El Trompito” (traditional son)<br>“Amores Imaginar
 ios” (c. Ramón Gutierrez)<br><br><strong>Small Ensemble</strong><br>“Los C
 hiles Verdes” (traditional son)<br>“Fantasia de Santiago” (c. Ramón Gutier
 rez)<br>“Old Lady Walk a Mile and a Half” (traditional carnival song from 
 Trinidad)<br>“El Buscapiés” (traditional son)<br><br><strong>Ramón with hi
 s students</strong><br>“La Guacamaya” (traditional son)<br>“Los Juiles” (t
 raditional son)<br>“El Pájaro Cú” (traditional son)<br>“La Bamba” (traditi
 onal son)</p><hr><h2>Performers</h2><p><strong>Supporting Musicians<br>Shannon Dudley\, steel pan and marimbol<br>Soledad Mayorga-Maldonado
 \, voice<br>John-Carlos Perea\, bass<br>Ricardo Perez\, congas<br>Eduardo 
 Sierra\, jarana<br>Iris Viveros\, zapateado<br><br><strong>Students in Mus
 ap 389/589</strong><br>Rowan Beverd<br>Lucy Brandt<br>Haley Chavez<br>Ashl
 ey Cook<br>Penny Crichton<br>Rayne Mescallado<br>Juan Posada<br>Markus Teu
 ton</p><hr><h2>About the Artist</h2><p>Ramón Gutierrez Hernández was born 
 in 1967 in the state of Veracruz\, Mexico\, where he currently resides in 
 the city of Xalapa. At a young age he became fascinated with the requinto\
 , also known as guitarra de son\, a four-stringed guitar played in son jar
 ocho\, the traditional music of the Veracruz region. He is recognized toda
 y as one of the foremost performers on the instrument. Ramón came to natio
 nal and international attention especially with his ensemble\, Son de Made
 ra\, who have performed all over Mexico and internationally\, and have rec
 orded numerous albums\, most recently with Smithsonian Folkways. Ramón has
  also collaborated with artists in other genres\, ranging from the Grammy-
 winning Chicano rock band Quetzal\, from Los Angeles\, to the Mexican earl
 y music scholar and performer\, Antonio Corona. He is the recipient of num
 erous awards in Mexico. He is also a luthier\, and several of the instrume
 nts played in tonight’s performance were built by him.</p><h2>Son Jarocho&lt;
 /h2&gt;<p>Son jarocho is a centuries-old tradition from Veracruz that consist
 s of many traditional sones\, each with a characteristic meter\, chord pro
 gression\, verse form and poetic theme. Unlike a song\, a son is never per
 formed the same way twice. Every performance is shaped by the singers’ cho
 ices of which verses to sing (or perhaps to invent on the spot) and how to
  render them melodically\, and by the improvisations of the instrumentalis
 ts and the dancers\, who sound percussive rhythms with their feet in the s
 tyle known as zapateado. The most ubiquitous instruments of son jarocho ar
 e the jarana (a strumming guitar)\, the tarima (a platform on which the da
 ncers sound rhythms) and the requinto\, whose melodies signal the beginnin
 g and end of the son and animate it throughout. Other instruments commonly
  played in son jarocho include the harp\, the leona (essentially a larger 
 and deeper-sounding version of the requinto)\, the pandereta (a frame drum
 ) and the marimbol (a large lamellophone that plays bass lines). The tradi
 tional context for the performance of son jarocho is the fandango\, a part
 icipatory event that integrates singing\, instrumental playing and dancing
 .</p><p>Since the 1970s son jarocho has undergone a revival driven by effo
 rts to restore it as a community practice in the face of commodification a
 nd folklorization. An important leader of this movement\, known as the nue
 vo movimiento jaranero\, was Ramón’s brother\, Gilberto\, and his group Mo
 no Blanco\, who began collecting verses and oral histories from elders in 
 the 1970s and promoting community fandangos. As a participant in the nuevo
  movimiento jaranero\, Ramón Gutierrez has helped spread the practice of t
 he fandango to communities throughout the U.S. and internationally (includ
 ing Seattle\, where he spent a month-long residency in 2009) and has bridg
 ed the worlds of participatory music and concert performance.</p><h2>Ackno
 wledgements</h2><p>Thank you to the School of Music\, especially director 
 Joël Durand\, for their ongoing support of the Community Artist in Residen
 ce program\, and to members of the Seattle Fandango Project\, who have hel
 ped to host Ramón and welcomed him to their workshops in Seattle.</p>
DTSTART;TZID=America/Los_Angeles:20260303T193000
LAST-MODIFIED:20260303T172418Z
SEQUENCE:355
SUMMARY:: Ethnomusicology Visiting Artist Concert: Ramón Gutierrez: Son Jar
 ocho music
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-03/ethnomusicology-visiting
 -artist-concert-ramon-gutierrez-son-jarocho-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Winter Quarter Ethnomusicology Visiting Art
 ist<em> </em>Ramón Gutierrez Hernández concludes his UW residency with a c
 oncert of music from the <em>Son Jarocho</em> tradition\, joined by his UW
  students and special guests. </p><hr><h2>Program</h2><h3>Ramón Gutierrez 
 Hernández</h3><p><em>UW Ethnomusicology Community Artist in Residence\, Wi
 nter 2026</em><br><em>Son Jarocho</em></p><p><strong>Ramón Solo</strong><b r>“El Trompito” (traditional son)<br>“Amores Imaginarios” (c. Ramón Gutier
 rez)<br><br><strong>Small Ensemble</strong><br>“Los Chiles Verdes” (tradit
 ional son)<br>“Fantasia de Santiago” (c. Ramón Gutierrez)<br>“Old Lady Wal
 k a Mile and a Half” (traditional carnival song from Trinidad)<br>“El Busc
 apiés” (traditional son)<br><br><strong>Ramón with his students</strong><b r>“La Guacamaya” (traditional son)<br>“Los Juiles” (traditional son)<br>“E
 l Pájaro Cú” (traditional son)<br>“La Bamba” (traditional son)</p><hr><h2>
 Performers</h2><p><strong>Supporting Musicians</strong><br>Shannon Dudley\
 , steel pan and marimbol<br>Soledad Mayorga-Maldonado\, voice<br>John-Carl
 os Perea\, bass<br>Ricardo Perez\, congas<br>Eduardo Sierra\, jarana<br>Ir
 is Viveros\, zapateado<br><br><strong>Students in Musap 389/589</strong><b r>Rowan Beverd<br>Lucy Brandt<br>Haley Chavez<br>Ashley Cook<br>Penny Cric
 hton<br>Rayne Mescallado<br>Juan Posada<br>Markus Teuton</p><hr><h2>About 
 the Artist</h2><p>Ramón Gutierrez Hernández was born in 1967 in the state 
 of Veracruz\, Mexico\, where he currently resides in the city of Xalapa. A
 t a young age he became fascinated with the requinto\, also known as guita
 rra de son\, a four-stringed guitar played in son jarocho\, the traditiona
 l music of the Veracruz region. He is recognized today as one of the forem
 ost performers on the instrument. Ramón came to national and international
  attention especially with his ensemble\, Son de Madera\, who have perform
 ed all over Mexico and internationally\, and have recorded numerous albums
 \, most recently with Smithsonian Folkways. Ramón has also collaborated wi
 th artists in other genres\, ranging from the Grammy-winning Chicano rock 
 band Quetzal\, from Los Angeles\, to the Mexican early music scholar and p
 erformer\, Antonio Corona. He is the recipient of numerous awards in Mexic
 o. He is also a luthier\, and several of the instruments played in tonight
 ’s performance were built by him.</p><h2>Son Jarocho</h2><p>Son jarocho is
  a centuries-old tradition from Veracruz that consists of many traditional
  sones\, each with a characteristic meter\, chord progression\, verse form
  and poetic theme. Unlike a song\, a son is never performed the same way t
 wice. Every performance is shaped by the singers’ choices of which verses 
 to sing (or perhaps to invent on the spot) and how to render them melodica
 lly\, and by the improvisations of the instrumentalists and the dancers\, 
 who sound percussive rhythms with their feet in the style known as zapatea
 do. The most ubiquitous instruments of son jarocho are the jarana (a strum
 ming guitar)\, the tarima (a platform on which the dancers sound rhythms) 
 and the requinto\, whose melodies signal the beginning and end of the son 
 and animate it throughout. Other instruments commonly played in son jaroch
 o include the harp\, the leona (essentially a larger and deeper-sounding v
 ersion of the requinto)\, the pandereta (a frame drum) and the marimbol (a
  large lamellophone that plays bass lines). The traditional context for th
 e performance of son jarocho is the fandango\, a participatory event that 
 integrates singing\, instrumental playing and dancing.</p><p>Since the 197
 0s son jarocho has undergone a revival driven by efforts to restore it as 
 a community practice in the face of commodification and folklorization. An
  important leader of this movement\, known as the nuevo movimiento jaraner
 o\, was Ramón’s brother\, Gilberto\, and his group Mono Blanco\, who began
  collecting verses and oral histories from elders in the 1970s and promoti
 ng community fandangos. As a participant in the nuevo movimiento jaranero\
 , Ramón Gutierrez has helped spread the practice of the fandango to commun
 ities throughout the U.S. and internationally (including Seattle\, where h
 e spent a month-long residency in 2009) and has bridged the worlds of part
 icipatory music and concert performance.</p><h2>Acknowledgements</h2><p>Th
 ank you to the School of Music\, especially director Joël Durand\, for the
 ir ongoing support of the Community Artist in Residence program\, and to m
 embers of the Seattle Fandango Project\, who have helped to host Ramón and
  welcomed him to their workshops in Seattle.</p>
END:VEVENT
BEGIN:VEVENT
UID:c15517e0-fe9c-4d92-aec6-4dffb12974d7
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250528T164644Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p><h2 class='x_M
 soNormal'>Featured Performers</h2> <p>The March 4 program will feature Sch
 ool of Music faculty in collaboration with Stephen Price\, UW Head of Orga
 n Studies. Pala Garcia (Violin)\, John Popham (Cello)\, Michael Partington
  (Guitar)\, and John-Carlos Perea (Ethnomusicologist - Cedar Flute) will p
 erform in the concert. Prior to and following the program\, the Seattle Ch
 apter of the American Guild of Organists has offered an interactive demons
 tration of an Orgel Kit\, showcasing the inner workings of a pipe organ. &lt;
 /p&gt;<p>Full program details <a href='/sites/music/files/documents/March%204
 %2C%202026.pdf'>HERE</a></p>
DTSTART;TZID=America/Los_Angeles:20260304T123000
LAST-MODIFIED:20260303T152147Z
SEQUENCE:356
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-04/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p><span>Students of the UW School
  of Music perform in this </span>lunchtime concert series co-hosted by UW 
 Music and UW Libraries. </p></blockquote><h2 class='x_MsoNormal'><span>Fea
 tured Performers</span></h2><div class='elementToProof'><div class='elemen
 tToProof'><div class='elementToProof'><div class='elementToProof'><div cla ss='elementToProof'><div class='x_elementToProof ContentPasted0'><div clas s='x_elementToProof ContentPasted0'> </div></div></div></div></div></div>&lt;
 /div&gt;<p><span>The March 4 program will feature School of Music faculty in collabo
 ration with Stephen Price\, UW Head of Organ Studies. Pala Garcia (Violin)
 \, John Popham (Cello)\, Michael Partington (Guitar)\, and John-Carlos Per
 ea (Ethnomusicologist - Cedar Flute) will perform in the concert. Prior to
  and following the program\, the Seattle Chapter of the American Guild of 
 Organists has offered an interactive demonstration of an Orgel Kit\, showc
 asing the inner workings of a pipe organ. </span></p><p><span>Full program detail
 s </span><a href='/sites/music/files/documents/March%204%2C%202026.pdf'><s pan>HER
 E</span></a></p>
END:VEVENT
BEGIN:VEVENT
UID:47c1927b-ecd6-443e-9bc3-6054d675e561
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250814T233056Z
DESCRIPTION:<p>Guest pianist Jonathan Shames of the University of Oklahoma 
 performs music by Schubert\, Janacek\, Szymanowski\, and Chopin in his sol
 o piano recital. </p><hr><h2>Program </h2><p></p><p><strong>Franz Schubert
 : </strong>Sonata in c minor\, D. 958 (1828)<br>Allegro<br>Adagio<br>Menue
 tto: Allegro-Trio<br>Allegro<br><br>-intermission-<br><br><strong>Leoš Jan
 áček:</strong> Piano Sonata 1.X.1905<br>Předtucha (Presentiment): Con moto
 <br>Smrt (Death): Adagio<br><br><strong>Karol Szymanowski: </strong>Schehe
 rezade\, from Masques\, op. 34 (1915-16)<br><br><strong>Frédéric Chopin:</strong> Andante spianato and Grande polonaise brillante\, op. 22 (1834)</p><hr><h2>Biography</h2><h3>Jonathan Shames</h3><p>Jonathan Shames leads a 
 wide-ranging musical career as pianist\, conductor and artist-teacher. Sin
 ce 2004 the Director of Orchestral Studies and Artistic Director of OU Ope
 ra at the University of Oklahoma\, Mr. Shames has introduced Oklahoma audi
 ences to a wide range of contemporary works\, including Lori Laitman’s Sca
 rlet Letter\, Luigi Nono’s Il Canto sospeso\, and Louis Andriessen’s De Ti
 jd. He has premiered orchestral and piano works of Joël-François Durand\, 
 Betsy Jolas\, Stephen Hartke and Daniel Asia\; his recordings of Asia’s Sc
 herzo-Sonata for Piano\, dedicated to him\, and of Anthony Brandt’s opera 
 The Birth of Something\, which he recorded with Houston’s Musiqa Ensemble\
 , are available on Amazon Music. Mr. Shames has collaborated frequently wi
 th the Chickasaw composer Jerod Impichchaachaaha’ Tate\, including a stagi
 ng of Tate’s masque Clans with costuming by Chickasaw designers at the Chi
 ckasaw Nation’s Te Ata Theater in Ada\, Oklahoma\, and with Mr. Tate as vo
 cal soloist. Mr. Shames also shares the 2005 Grammy Award for Best Contemp
 orary Recording for his work on William Bolcom’s Songs of Innocence and Ex
 perience.<br><br>Mr. Shames’ work as a teacher occupies an important place
  in his musical life. He taught piano at Oberlin\, Rutgers\, and Cornell a
 nd conducting at the University of Michigan and (currently) University of 
 Oklahoma\, led the Seattle Youth Symphony Orchestras and Marrowstone Music
  Festival for eight years\, and continues to work as often as possible wit
 h youth orchestras\, pianists and conductors. At the University of Oklahom
 a\, he conducts opera and orchestra performances\, tours with the OU Symph
 ony Orchestra and often collaborates with OU’s School of Dance in works su
 ch as Balanchine’s ballets on Prokofiev’s Prodigal Son\, Bach’s Concerto f
 or Two Violins and Tchaikovsky’s Nutcracker. His conducting students have 
 won international conducting prizes and positions in universities and musi
 c festivals both in the U.S. and abroad\, and OU Opera has been recognized
  by the National Opera Association.<br><br>Mr. Shames’ own development inc
 luded piano studies with Theodore Lettvin and Leon Fleisher\, and a conduc
 ting fellowship at the Tanglewood Music Festival\, where he worked with Se
 iji Ozawa and Bernard Haitink. At age 19\, he was invited to join the Oper
 a Company of Boston as opera coach\, pianist and conductor by the great im
 presario\, stage director and conductor Sarah Caldwell. He later toured Ru
 ssia with Ms. Caldwell\, performing as pianist in Bernstein’s Age of Anxie
 ty in Moscow\, St. Petersburg\, and Novosibirsk. Mr. Shames has performed 
 and recorded as pianist with orchestras throughout the U.S. and Europe\, a
 mong them the Moscow Chamber Orchestra\, the Cologne Radio Symphony\, the 
 Belgrade Radio and Television Symphony\, Boston Pops\, and Seattle\, India
 napolis and Milwaukee Symphony Orchestras. Music directorships have includ
 ed the Olympia and Wyoming Symphonies. Mr. Shames was a laureate of severa
 l competitions including the 1982 Moscow International Tchaikovsky Competi
 tion\; interviews and performances of his are featured in the widely-viewe
 d documentary of the event. Mr. Shames studied philosophy as an undergradu
 ate at Yale University.<br>Upcoming projects for Mr. Shames include piano 
 recitals and concerto appearances in California\, Kansas and Michigan in F
 ebruary and March of 2026\; and recordings of Beethoven and Schubert piano
  works in May\, 2026.</p>
DTSTART;TZID=America/Los_Angeles:20260305T193000
LAST-MODIFIED:20260303T215651Z
SEQUENCE:357
SUMMARY:: Guest Artist Concert: Jonathan Shames\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-05/guest-artist-concert-jon
 athan-shames-piano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Guest pianist Jonathan Shames of the Univer
 sity of Oklahoma performs music by Schubert\, Janacek\, Szymanowski\, and 
 Chopin in his solo piano recital. </p><hr><h2>Program </h2><p></p><p><strong>Franz Schubert: </strong>Sonata in c minor\, D. 9
 58 (1828)<br>Allegro<br>Adagio<br>Menuetto: Allegro-Trio<br>Allegro<br><br>-intermission-<br><br><strong>Leoš Janáček:</strong> Piano Sonata 1.X.190
 5<br>Předtucha (Presentiment): Con moto<br>Smrt (Death): Adagio<br><br>Karol Szymanowski: </strong>Scheherezade\, from Masques\, op. 34 (191
 5-16)<br><br><strong>Frédéric Chopin:</strong> Andante spianato and Grande
  polonaise brillante\, op. 22 (1834)</p><hr><h2>Biography</h2><h3>Jonathan
  Shames</h3><p>Jonathan Shames leads a wide-ranging musical career as pian
 ist\, conductor and artist-teacher. Since 2004 the Director of Orchestral 
 Studies and Artistic Director of OU Opera at the University of Oklahoma\, 
 Mr. Shames has introduced Oklahoma audiences to a wide range of contempora
 ry works\, including Lori Laitman’s Scarlet Letter\, Luigi Nono’s Il Canto
  sospeso\, and Louis Andriessen’s De Tijd. He has premiered orchestral and
  piano works of Joël-François Durand\, Betsy Jolas\, Stephen Hartke and Da
 niel Asia\; his recordings of Asia’s Scherzo-Sonata for Piano\, dedicated 
 to him\, and of Anthony Brandt’s opera The Birth of Something\, which he r
 ecorded with Houston’s Musiqa Ensemble\, are available on Amazon Music. Mr
 . Shames has collaborated frequently with the Chickasaw composer Jerod Imp
 ichchaachaaha’ Tate\, including a staging of Tate’s masque Clans with cost
 uming by Chickasaw designers at the Chickasaw Nation’s Te Ata Theater in A
 da\, Oklahoma\, and with Mr. Tate as vocal soloist. Mr. Shames also shares
  the 2005 Grammy Award for Best Contemporary Recording for his work on Wil
 liam Bolcom’s Songs of Innocence and Experience.<br><br>Mr. Shames’ work a
 s a teacher occupies an important place in his musical life. He taught pia
 no at Oberlin\, Rutgers\, and Cornell and conducting at the University of 
 Michigan and (currently) University of Oklahoma\, led the Seattle Youth Sy
 mphony Orchestras and Marrowstone Music Festival for eight years\, and con
 tinues to work as often as possible with youth orchestras\, pianists and c
 onductors. At the University of Oklahoma\, he conducts opera and orchestra
  performances\, tours with the OU Symphony Orchestra and often collaborate
 s with OU’s School of Dance in works such as Balanchine’s ballets on Proko
 fiev’s Prodigal Son\, Bach’s Concerto for Two Violins and Tchaikovsky’s Nu
 tcracker. His conducting students have won international conducting prizes
  and positions in universities and music festivals both in the U.S. and ab
 road\, and OU Opera has been recognized by the National Opera Association.
 <br><br>Mr. Shames’ own development included piano studies with Theodore L
 ettvin and Leon Fleisher\, and a conducting fellowship at the Tanglewood M
 usic Festival\, where he worked with Seiji Ozawa and Bernard Haitink. At a
 ge 19\, he was invited to join the Opera Company of Boston as opera coach\
 , pianist and conductor by the great impresario\, stage director and condu
 ctor Sarah Caldwell. He later toured Russia with Ms. Caldwell\, performing
  as pianist in Bernstein’s Age of Anxiety in Moscow\, St. Petersburg\, and
  Novosibirsk. Mr. Shames has performed and recorded as pianist with orches
 tras throughout the U.S. and Europe\, among them the Moscow Chamber Orches
 tra\, the Cologne Radio Symphony\, the Belgrade Radio and Television Symph
 ony\, Boston Pops\, and Seattle\, Indianapolis and Milwaukee Symphony Orch
 estras. Music directorships have included the Olympia and Wyoming Symphoni
 es. Mr. Shames was a laureate of several competitions including the 1982 M
 oscow International Tchaikovsky Competition\; interviews and performances 
 of his are featured in the widely-viewed documentary of the event. Mr. Sha
 mes studied philosophy as an undergraduate at Yale University.<br>Upcoming
  projects for Mr. Shames include piano recitals and concerto appearances i
 n California\, Kansas and Michigan in February and March of 2026\; and rec
 ordings of Beethoven and Schubert piano works in May\, 2026.</p>
END:VEVENT
BEGIN:VEVENT
UID:d5e1d2c6-afef-4d6a-953c-6e6303fe63b4
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20251126T154350Z
DESCRIPTION:<p>The UW Composition program hosts a guest composer lecture by
  Cindy Cox\, professor emerita\, University of California\, Berkeley.</p>&lt;
 hr&gt;<h2>Biography</h2><p open>Transpar
 ent yet richly multifaceted\, Cindy Cox’s compositions synthesize old and 
 new musical designs through linked strands of association\, timbral fluctu
 ation\, and cyclic temporal processes. The natural world\, ecology\, and t
 he concept of emergence inspire many of the special harmonies and textural
  colorations in her compositions\, as in her piano trio la mar amarga\, th
 e octet Cañon\, and the string quartet Patagón. </p><p open>As a pianist\, Cox has performed and recorded many 
 of her solo piano compositions\, including the Sylvan pieces\, Hierosgamos
 : Seven Studies in Harmony and Resonance\, and The Blackbird whistling/Or 
 just after. A number of her works feature advanced technologies developed 
 at UC Berkeley’s Center for New Music and Audio Technologies (CNMAT)\, suc
 h as the Piano Sampler Etudes and Pianos. Works with text\, such as Singin
 g the lines\, The Other Side of the World\, and Hysteria evolved through c
 ollaboration with her husband\, poet John Campion. </p><p open>Cox has received awards and commissions from the
  American Academy of Arts and Letters\, the Fromm Foundation\, the Guggenh
 eim Foundation\, the Mellon Foundation\, the National Endowment for the Ar
 ts\, the American Composers Forum\, ASCAP\, Meet the Composer\, New Music 
 USA\, and the Fulbright Foundation. She has been a Fellow at Tanglewood\, 
 Aspen\, MacDowell\, Civitella Ranieri\, and the Giardini La Mortella on th
 e island of Ischia. </p><p open>Her w
 ork has been performed at the Venice Biennale in Italy\, the Leo Brouwer F
 estival of Music in Havana\, Cuba\, the Center for New Music in San Franci
 sco\, the American Academy in Rome\, Carnegie hall\, Merkin hall\, and Rou
 lette in New York City\, the National Gallery\, the Library of Congress\, 
 and the Kennedy Center in Washington\, the Biblioteca National in Buenos A
 ires\, Argentina\, the REDCAT Center in Los Angeles and the Aratani Theate
 r with the Los Angeles Philharmonic Green Umbrella series. Interpreters in
 clude the Kronos Quartet\, the National Symphony\, the California Symphony
 \, the Alexander Quartet\, the Paul Dresher Ensemble\, the San Francisco C
 ontemporary Music Players\, Earplay\, the Eco Ensemble and the San Francis
 co Chamber Orchestra. Notable performers of her work include David Milnes\
 , Gloria Cheng\, Lucy Shelton\, Oni Buchanan\, Ann Yi\, Laura Carmichael\,
  and Jenny Q. Chai.</p><p open>There 
 are five monograph recordings of Cox’s music\; a recording of Cox’s comple
 te string quartets by the Alexander Quartet was released in October 2015 o
 n the Naxos label to critical acclaim\, and a recording of her piano music
 \, Hierosgamos\, was released in January 2017 by ArpaViva recordings. Her 
 piano trio Wave I was released in spring 2020 on Heard in Havana\, a compi
 lation on the Innova label of new works performed in Cuba marking the firs
 t performance of American composers there since the embargo.</p><p open>Cindy Cox’s composition teachers includ
 e Harvey Sollberger\, Donald Erb\, Eugene O’Brien\, and John Eaton at Indi
 ana University\, with additional studies at Tanglewood with John Harbison\
 , and at Aspen with Bernard Rands and Jacob Druckman. As a pianist she stu
 died with the famed Mozart and Schubert specialist Lili Kraus.</p><p><br>&lt;
 br&gt; </p>
DTSTART;TZID=America/Los_Angeles:20260306T123000
LAST-MODIFIED:20251126T155037Z
SEQUENCE:358
SUMMARY:: Guest Composer Lecture: Cindy Cox\, University of California\, Be
 rkeley
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-06/guest-composer-lecture-c
 indy-cox-university-california-berkeley
END:VEVENT
BEGIN:VEVENT
UID:e5227110-3a34-493f-a312-2e518a40cc01
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250910T115848Z
DESCRIPTION:<p avenir next> </p><p> UW Opera Workshop presents M
 elissa Dunphy's 2023 opera Alice Tierney. Stage direction by Kelly Kitchen
 s\; music direction by Andrew Romanick. With Ryan Farris\, conductor\, and
  Chris Powell\, pianist.</p><hr><h2> Cast</h2><p>Quinn....................
 .................<strong>Mallory McCollum</strong><br>Lyra................
 .......................<strong>.Lainey Graham</strong><br>Zandra..........
 .........................<strong>.Isabelle Villanueva</strong><br>John....
 ....................................<strong>Jesse Cooper</strong></p><p>Al
 ice 1 (John's Alice)………...............<strong>Soledad Mayorga-Maldonado</s><br>Alice 2 (Quinn's Alice)………………...<strong>Yuhao Zhang</strong><br>
 Alice 3 (Zandra’s and Lyra's Alice).... <strong>Lameya Appling     </p><p>Alice Chorus:<br><strong>Kaelyn Barnes</strong><br><strong>Jane B
 lythe</strong><br><strong>Charlotte Christie</strong><br><strong>Lily Gebs
 </strong><br><strong>Britta Jorgensen</strong><br><strong>Chloe Lian<br><strong>Shriya Prasanna</strong></p><p>John cover:  <strong>Zayn Mi
 r</strong></p><p>Composer:<strong> Melissa Dunphy</strong><br>Librettist:&lt;
 strong&gt; Jacqueline Goldfinger</strong><br>Director:<strong> Kelly Kitchens
 </strong><br>Music Director:<strong> Andrew Romanick</strong><br>Conductor
 : <strong>Ryan Farris</strong><br>Pianist: <strong>Chris Powell</strong></p><hr><h2>Synopsis</h2><p>Alice Tierney features four modern-day archaeolo
 gy students as they excavate the site of a 19th-century boarding house and
  the possible history of its owner\, an infamous woman in 1880s Philadelph
 ia named Alice Tierney. They uncover not just artifacts but competing idea
 s of the woman who once lived there and died under mysterious circumstance
 s.</p><p>Featuring a genre-blending score of opera\, musical theatre\, and
  pop\, Alice Tierney invites you to question how stories are told\, who ge
 ts to tell them\, and how we shape the past through the lens of the presen
 t.</p><hr><h2>Program Background</h2><p>Commissioned by the Oberlin Opera 
 Commissioning Program through the generosity of Elizabeth and Justus '71 S
 chlichting\, Melissa Dunphy's opera Alice Tierney was premiered at Oberlin
  Conservatory in 2023\, and at Opera Columbus in April 2023. Dunphy was on
 e of seven winners of a 2020 OPERA America Discovery Grant\, presented to 
 female composers with the intention of increasing gender parity across the
  opera industry. That grant supported the development of Alice Tierney at 
 Oberlin.</p><hr><h2>Composer's Notes</h2><p>'A few years ago\, while resea
 rching the history of my home in Philadelphia\, I uncovered newspaper repo
 rts of a 45-year-old “dissipated woman” named Alice Tierney who was found 
 strangled and strung up on a fence on my property on a cold January night 
 in 1880. Shockingly\, Tierney’s death was written up by contemporary polic
 e and the press as an accident. I pledged to find a way to tell Alice’s st
 ory\, which resonates in the 21st century when our culture is actively gra
 ppling with the ways in which women’s stories of trauma are silenced or mi
 nimized\, especially those of vulnerable and poor women.</p><p>'What littl
 e we know about Alice is dimmed by the passage of 140 years and hampered b
 y a lack of written records about those who lived on the fringes of societ
 y. Librettist Jacqueline Goldfinger and I opted to tell Alice’s story from
  the perspectives of four modern-day archeologists who piece together Alic
 e Tierney’s life while excavating the place where she lived and died. Thei
 r different perspectives show that the telling of history says just as muc
 h about the narrator as the narrative. What assumptions\, experiences\, pr
 ejudices\, knowledge\, and personalities do these four archeologists bring
  to their research\, which affect the way they see and conceive of Alice T
 ierney? Attempting to answer this question delves into big issues like tru
 th\, justice\, and equality. For hundreds of years\, American history (and
  indeed\, opera) has been primarily told by one demographic. Including mar
 ginalized perspectives is a challenge\, but gives us a fuller picture of t
 he past and ourselves.'<br>—Melissa Dunphy</p><hr><h2>Biographies<br>Melis
 sa Dunphy</h2><p>Born in Australia and raised in an immigrant family\, Mel
 issa Dunphy herself immigrated to the United States in 2003 and has since 
 become an acclaimed composer specializing in vocal\, political\, and theat
 rical music. She first came to national attention in 2009 when her large-s
 cale work the Gonzales Cantata was featured in The Wall Street Journal\, T
 he Atlantic\, National Review\, Fox News\, and on MSNBC’s The Rachel Maddo
 w Show\, where host Rachel Maddow described it as “the coolest thing you’v
 e ever seen on this show.” Other notable works include Totality\, commissi
 oned by The King’s Singers and VOCES8 and premiered at the BBC Proms 2024\
 , song cycle Tesla's Pigeon\, which won first place in the NATS Art Song C
 omposition Award\, and What do you think I fought for at Omaha Beach? whic
 h won the Simon Carrington Chamber Singers Competition and has been perfor
 med around the country by choral ensembles including Chanticleer\, Cantus\
 , and the St. Louis Chamber Chorus.</p><p>In 2024\, Dunphy was awarded an 
 Independence Foundation Fellowship in the Arts. She received a 2020 Opera 
 America Discovery Grant for Alice Tierney\, a commission for Oberlin Opera
  Theater that premiered in 2023 and received its professional debut at Ope
 ra Columbus. She has been composer-in-residence for the Immaculata Symphon
 y Orchestra\, Volti\, and the Saint Louis Chamber Chorus\, and her commiss
 ions include works for the BBC Singers\, VOCES8\, Cantus\, Mendelssohn Cho
 rus\, Seattle Pro Musica\, Chor Leoni\, La Caccina\, Skylark\, Experiments
  in Opera\, and the Kennett Symphony. Dunphy is also a Barrymore Award-nom
 inated theater composer and sound designer\, and served from 2014-2024 as 
 Director of Music Composition for the National Puppetry Conference at the 
 Eugene O'Neill Theater Center in Connecticut.</p><p>Dunphy has a Ph.D. in 
 composition from the University of Pennsylvania and a B.M. from West Chest
 er University and is on faculty at Rutgers University. She is president of
  the boards of directors for Wildflower Composers and Lyric Fest. Melissa 
 and her husband Matt are also avid citizen archaeologists and co-hosts of 
 the popular podcast The Boghouse about their adventures in Philadelphia co
 lonial archaeology\; they are currently developing the Necessary Museum\, 
 which they hope to open in 2026 to showcase their local discoveries.</p>
DTSTART;TZID=America/Los_Angeles:20260306T193000
LAST-MODIFIED:20260302T162724Z
SEQUENCE:359
SUMMARY:: Opera Workshop: Alice Tierney 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-06/opera-workshop-alice-tie
 rney
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p avenir next> </p><p> UW Opera Wo
 rkshop presents Melissa Dunphy's 2023 opera <em>Alice Tierney. </em>Stage 
 direction by Kelly Kitchens\; music direction by Andrew Romanick. With Rya
 n Farris\, conductor\, and Chris Powell\, pianist.</p><hr><h2> Cast</h2><p>Quinn.....................................<strong>Mallory McCollum<br>Lyra.......................................<strong>.Lainey Graham</s><br>Zandra...................................<strong>.Isabelle Villa
 nueva</strong><br>John........................................<strong>Jess
 e Cooper</strong></p><p>Alice 1 (John's Alice)………...............<strong>So
 ledad Mayorga-Maldonado</strong><br>Alice 2 (Quinn's Alice)………………...Yuhao Zhang</strong><br>Alice 3 (Zandra’s and Lyra's Alice).... <strong>
 Lameya Appling     </strong></p><p>Alice Chorus:<br><strong>Kaelyn Barnes&lt;
 /strong&gt;<br><strong>Jane Blythe</strong><br><strong>Charlotte Christie<br><strong>Lily Gebs</strong><br><strong>Britta Jorgensen</strong><b r><strong>Chloe Lian</strong><br><strong>Shriya Prasanna</strong></p><p>Jo
 hn cover:  <strong>Zayn Mir</strong></p><p>Composer:<strong> Melissa Dunph
 y</strong><br>Librettist:<strong> Jacqueline Goldfinger</strong><br>Direct
 or:<strong> Kelly Kitchens</strong><br>Music Director:<strong> Andrew Roma
 nick</strong><br>Conductor: <strong>Ryan Farris</strong><br>Pianist: Chris Powell</strong></p><hr><h2>Synopsis</h2><p><em>Alice Tierney </em>features four modern-day archaeology students as they excavate the site o
 f a 19th-century boarding house and the possible history of its owner\, an
  infamous woman in 1880s Philadelphia named Alice Tierney. They uncover no
 t just artifacts but competing ideas of the woman who once lived there and
  died under mysterious circumstances.</p><p>Featuring a genre-blending sco
 re of opera\, musical theatre\, and pop\, <em>Alice Tierney</em> invites y
 ou to question how stories are told\, who gets to tell them\, and how we s
 hape the past through the lens of the present.</p><hr><h2>Program Backgrou
 nd</h2><p>Commissioned by the Oberlin Opera Commissioning Program through 
 the generosity of Elizabeth and Justus '71 Schlichting\, Melissa Dunphy's 
 opera <em>Alice Tierney</em> was premiered at Oberlin Conservatory in 2023
 \, and at Opera Columbus in April 2023. Dunphy was one of seven winners of
  a 2020 OPERA America Discovery Grant\, presented to female composers with
  the intention of increasing gender parity across the opera industry. That
  grant supported the development of <em>Alice Tierney</em> at Oberlin.</p>
 <hr><h2>Composer's Notes</h2><p>'A few years ago\, while researching the h
 istory of my home in Philadelphia\, I uncovered newspaper reports of a 45-
 year-old “dissipated woman” named Alice Tierney who was found strangled an
 d strung up on a fence on my property on a cold January night in 1880. Sho
 ckingly\, Tierney’s death was written up by contemporary police and the pr
 ess as an accident. I pledged to find a way to tell Alice’s story\, which 
 resonates in the 21st century when our culture is actively grappling with 
 the ways in which women’s stories of trauma are silenced or minimized\, es
 pecially those of vulnerable and poor women.</p><p>'What little we know ab
 out Alice is dimmed by the passage of 140 years and hampered by a lack of 
 written records about those who lived on the fringes of society. Librettis
 t Jacqueline Goldfinger and I opted to tell Alice’s story from the perspec
 tives of four modern-day archeologists who piece together Alice Tierney’s 
 life while excavating the place where she lived and died. Their different 
 perspectives show that the telling of history says just as much about the 
 narrator as the narrative. What assumptions\, experiences\, prejudices\, k
 nowledge\, and personalities do these four archeologists bring to their re
 search\, which affect the way they see and conceive of Alice Tierney? Atte
 mpting to answer this question delves into big issues like truth\, justice
 \, and equality. For hundreds of years\, American history (and indeed\, op
 era) has been primarily told by one demographic. Including marginalized pe
 rspectives is a challenge\, but gives us a fuller picture of the past and 
 ourselves.'<br>—Melissa Dunphy</p><hr><h2>Biographies<br>Melissa Dunphy<p>Born in Australia and raised in an immigrant family\, Melissa Dunphy 
 herself immigrated to the United States in 2003 and has since become an ac
 claimed composer specializing in vocal\, political\, and theatrical music.
  She first came to national attention in 2009 when her large-scale work th
 e Gonzales Cantata was featured in The Wall Street Journal\, The Atlantic\
 , National Review\, Fox News\, and on MSNBC’s The Rachel Maddow Show\, whe
 re host Rachel Maddow described it as “the coolest thing you’ve ever seen 
 on this show.” Other notable works include Totality\, commissioned by The 
 King’s Singers and VOCES8 and premiered at the BBC Proms 2024\, song cycle
  Tesla's Pigeon\, which won first place in the NATS Art Song Composition A
 ward\, and What do you think I fought for at Omaha Beach? which won the Si
 mon Carrington Chamber Singers Competition and has been performed around t
 he country by choral ensembles including Chanticleer\, Cantus\, and the St
 . Louis Chamber Chorus.</p><p>In 2024\, Dunphy was awarded an Independence
  Foundation Fellowship in the Arts. She received a 2020 Opera America Disc
 overy Grant for Alice Tierney\, a commission for Oberlin Opera Theater tha
 t premiered in 2023 and received its professional debut at Opera Columbus.
  She has been composer-in-residence for the Immaculata Symphony Orchestra\
 , Volti\, and the Saint Louis Chamber Chorus\, and her commissions include
  works for the BBC Singers\, VOCES8\, Cantus\, Mendelssohn Chorus\, Seattl
 e Pro Musica\, Chor Leoni\, La Caccina\, Skylark\, Experiments in Opera\, 
 and the Kennett Symphony. Dunphy is also a Barrymore Award-nominated theat
 er composer and sound designer\, and served from 2014-2024 as Director of 
 Music Composition for the National Puppetry Conference at the Eugene O'Nei
 ll Theater Center in Connecticut.</p><p>Dunphy has a Ph.D. in composition 
 from the University of Pennsylvania and a B.M. from West Chester Universit
 y and is on faculty at Rutgers University. She is president of the boards 
 of directors for Wildflower Composers and Lyric Fest. Melissa and her husb
 and Matt are also avid citizen archaeologists and co-hosts of the popular 
 podcast <em>The Boghouse</em> about their adventures in Philadelphia colon
 ial archaeology\; they are currently developing the Necessary Museum\, whi
 ch they hope to open in 2026 to showcase their local discoveries.</p>
END:VEVENT
BEGIN:VEVENT
UID:1ca2dac5-98b5-48c4-86b9-ff506b4266ac
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20251007T160324Z
DESCRIPTION:<p>The Campus Philharmonia Orchestras (Robert Stahly and Zach B
 anks\, conductors) present an end-of-quarter concert\, performing works by
  Mozart\, Tchaikovsky\, and Emily Mayer. </p><hr><h2>Program</h2><h3>Campu
 s Philharmonia Orchestra\, Section B</h3><p>Zach Banks\, conductor<br><br>
 <strong>Mozart </strong>- Idomeneo Overture<br><strong>Tchaikovsky - Suite No. 4 in G 'Mozartiana'</p><h3>Campus Philharmonia Orchestra\, S
 ection A</h3><p>Robert Stahly\, conductor<br><br><strong>Emilie Mayer - Faust Overture<br><strong>Tchaikovsky</strong> - Romeo and Juliet O
 verture-Fantasy</p><hr><h2>Biographies <br> </h2>
DTSTART;TZID=America/Los_Angeles:20260307T150000
LAST-MODIFIED:20260305T192048Z
SEQUENCE:360
SUMMARY:: Campus Philharmonia Orchestras
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-07/campus-philharmonia-orch
 estras
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The Campus Philharmonia Orchestras (Robert 
 Stahly and Zach Banks\, conductors) present an end-of-quarter concert\, pe
 rforming works by Mozart\, Tchaikovsky\, and Emily Mayer. </p><hr><h2>Prog
 ram</h2><h3>Campus Philharmonia Orchestra\, Section B</h3><p><em>Zach Bank
 s\, conductor</em><br><br><strong>Mozart </strong>- Idomeneo Overture<br>&lt;
 strong&gt;Tchaikovsky </strong>- Suite No. 4 in G 'Mozartiana'</p><h3>Campus 
 Philharmonia Orchestra\, Section A</h3><p><em>Robert Stahly\, conductor<br><br><strong>Emilie Mayer</strong> - Faust Overture<br><strong>Tchaik
 ovsky</strong> - Romeo and Juliet Overture-Fantasy</p><hr><h2>Biographies 
 <br> </h2>
END:VEVENT
BEGIN:VEVENT
UID:87f25e9c-4fe7-4f61-9d13-d041805104fa
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T205801Z
DESCRIPTION:<p>Emerging and established composers explore unconventional so
 nic landscapes in this concert of music by students\, faculty\, alumni\, a
 nd guests of the UW Composition program.</p>\n\n<hr>\n<h2>Director Biograp
 hies</h2>
DTSTART;TZID=America/Los_Angeles:20260307T193000
LAST-MODIFIED:20250814T205956Z
SEQUENCE:361
SUMMARY:: Composition Studio Concert
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-07/composition-studio-conce
 rt
END:VEVENT
BEGIN:VEVENT
UID:92533fbd-d39d-4121-a36a-4df696191374
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20260303T181624Z
DESCRIPTION:<p>Katie Zundel (BM\, Saxophone Performance)\, a student of Mic
 hael Brockman\, performs music by Robert Bariller\, Victor Morosco\, Gabri
 el Fauré\, Barney Childs\, and Takashi Yoshimatsu in her bachelor's degree
  recital. With Rachel Huang\, piano.</p><hr><h2>PROGRAM</h2><p><strong>Rob
 ert Bariller</strong> (1918-1980) - Rhapsodie Bretonne for alto saxophone 
 and piano</p><p><strong>Victor Morosco</strong> (1936-present) - Blue Capr
 ice for solo saxophone<br><br><strong>Gabriel Fauré </strong>(1845-1924) -
  Élégie Op. 24<br><br>- Intermission -<br><br><strong>Barney Childs (1926-2000) - Sonatina for solo saxophone <br><br><strong>Takashi Yoshi
 matsu </strong>(1953-present) - Fuzzy Bird Sonata for alto saxophone and p
 iano<br>I. Run\, Bird <br>II. Sing\, Bird<br>III. Fly\, Bird</p>
DTSTART;TZID=America/Los_Angeles:20260308T193000
LAST-MODIFIED:20260303T183544Z
SEQUENCE:362
SUMMARY:: Degree Recital: Katie Zundel\, Saxophone
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-08/degree-recital-katie-zun
 del-saxophone
END:VEVENT
BEGIN:VEVENT
UID:bd3dd512-9a67-4a74-8fdf-32002781c1aa
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20260215T210149Z
DESCRIPTION:<p>The UW Gospel Choir (Phyllis Byrdwell\, director) presents i
 ts Winter Quarter concert at Mount Zion Baptist Church\, 1634 19th Ave.\, 
 Seattle WA 98122. With the Mount Zion Baptist Church Choir. </p><hr><h2>Pr
 ogram</h2><p>Hosanna! Hosanna! - <strong>Glenn Burleigh</strong><br>Isabel
 la Pope\, soloist</p><p>Healing - <strong>Richard Smallwood</strong></p><p>Smile -<strong> Kirk Franklin</strong></p><p>Free At Last - arr. <strong>
 Byrdwell</strong><br>Felisha Barnes\, soloist</p><p>I'll Tell It! - Donnie Harper</strong><br>Isaiah Ikeda\, soloist</p><p>Joined by the Mou
 nt Zion Choir<br>The Praise Dancers<br>Total Praise - <strong>Richard Smal
 lwood</strong></p><p>Hallelujah Chorus (Soulful Celebration of the Messiah
  by Handel) - Adaptation by <strong>Quincy Jones</strong></p><h3>Musicians
 </h3><p>Phyllis M. Byrdwell - director\, keyboard<br>Tony Mobley - bass gu
 itar<br>Fred Byrdwell - percussion/drums<br>Dr. Patricia Hunter - percussi
 on</p><hr><h2>Thank you</h2><p>Thank you to the choir of the Mount Zion Ba
 ptist Church for joining us in this performance!</p><hr><h3>Gospel Choir</h3><p><strong>SOPRANO</strong><br>Soledad Mayorga-Maldonado\, MA Vocal Per
 formance<br>Flaminia Zito\, BA International Studies<br>Makayla Paulsen\, 
 Marketing<br>Cassandra Brittle\, Pre-Sciences<br>Ave Dimond\, Political Sc
 ience<br>Maria Elizabeth Oommen\, Informatics<br>Alexandra Rameau\, MM Cho
 ral Conducting<br>Avalon Whitten\, Food Systems\, Health\, Nutrition<br>Is
 abella Pope\, International Studies\, Dance<br>Zoe Vance\, Dance\, Vocal P
 erformance</p><p><strong>ALTO</strong><br>Salome Muruts\, Civil Engineerin
 g<br>Joann Kim\, Community Member<br>Felisha Barnes\, Community Member<br>
 Sola Feldheger\, Public Policy<br>B Underhill-Reed\, Astronomy<br>Juliette
  Hale\, Political Science<br>Diane Chapel\, Community Member<br>Valeria Tr
 uong\, Chemistry<br>Shivali Tewari\, Biology<br>Emily Do\, Environmental H
 ealth<br>Madison Heid\, CHID/Philosophy<br>Shreya Sumanth\, Neuroscience/P
 hysiology<br>Lydia Lee\, Biology (Physiology)<br>Lyra Moscuzza</p><p>TENOR</strong><br>Michael Pepper\, BA Music Theory<br>Timon Ngugenphuoc
 \, Business Administration<br>Finnli Plentemoli\, Linguistics<br>Tyan Knig
 ht\, International Studies<br>Carmela Stewart\, Food Systems\, Nutrition\,
  Health<br>Isaiah Ikeda\, Medical Laboratory Sciences<br>Deryn Bagley\, Ma
 rine Biology<br>Owen Varang\, Materials Science/Engineering<br>Kayah Corpu
 s\, Plant Biology<br>Paxton Hebblethwatte</p><p><strong>BASS</strong><br>B
 ryan Zhao \, CS/BS<br>Ryan Kapsandy\, BM Bassoon Performance<br>Mark Alexa
 nder\, Community Member<br>Gabriel Wan\, Community Member<br>Foster Patter
 son\, Music Education<br>Drew Theran\, MM Trumpet Performance <br>Aidan Ma
 ynard\, Public Health/Global Health<br>Matthew Young\, Community Member<br>Hoang Le\, Biochemistry<br>Ciaran McNeely\, Informatics</p><hr><h2>Direct
 or Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260309T193000
LAST-MODIFIED:20260305T233808Z
SEQUENCE:363
SUMMARY:: External Event: UW Gospel Choir
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-09/external-event-uw-gospel
 -choir
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The UW Gospel Choir (Phyllis Byrdwell\, dir
 ector) presents its Winter Quarter concert at Mount Zion Baptist Church\, 
 1634 19th Ave.\, Seattle WA 98122. With the Mount Zion Baptist Church Choi
 r. </p><hr><h2>Program</h2><p>Hosanna! Hosanna! - <strong>Glenn Burleigh</strong><br><em>Isabella Pope\, soloist</em></p><p>Healing - <strong>Richar
 d Smallwood</strong></p><p>Smile -<strong> Kirk Franklin</strong></p><p>Fr
 ee At Last - arr. <strong>Byrdwell</strong><br><em>Felisha Barnes\, solois
 t</em></p><p>I'll Tell It! - <strong>Donnie Harper</strong><br><em>Isaiah 
 Ikeda\, soloist</em></p><p>Joined by the Mount Zion Choir<br>The Praise Da
 ncers<br>Total Praise - <strong>Richard Smallwood</strong></p><p>Halleluja
 h Chorus (Soulful Celebration of the Messiah by Handel) - Adaptation by <s trong>Quincy Jones</strong></p><h3>Musicians</h3><p>Phyllis M. Byrdwell - 
 director\, keyboard<br>Tony Mobley - bass guitar<br>Fred Byrdwell - percus
 sion/drums<br>Dr. Patricia Hunter - percussion</p><hr><h2>Thank you</h2><p>Thank you to the choir of the Mount Zion Baptist Church for joining us in
  this performance!</p><hr><h3>Gospel Choir</h3><p><strong>SOPRANO</strong>
 <br>Soledad Mayorga-Maldonado\, MA Vocal Performance<br>Flaminia Zito\, BA
  International Studies<br>Makayla Paulsen\, Marketing<br>Cassandra Brittle
 \, Pre-Sciences<br>Ave Dimond\, Political Science<br>Maria Elizabeth Oomme
 n\, Informatics<br>Alexandra Rameau\, MM Choral Conducting<br>Avalon Whitt
 en\, Food Systems\, Health\, Nutrition<br>Isabella Pope\, International St
 udies\, Dance<br>Zoe Vance\, Dance\, Vocal Performance</p><p><strong>ALTO&lt;
 /strong&gt;<br>Salome Muruts\, Civil Engineering<br>Joann Kim\, Community Mem
 ber<br>Felisha Barnes\, Community Member<br>Sola Feldheger\, Public Policy
 <br>B Underhill-Reed\, Astronomy<br>Juliette Hale\, Political Science<br>D
 iane Chapel\, Community Member<br>Valeria Truong\, Chemistry<br>Shivali Te
 wari\, Biology<br>Emily Do\, Environmental Health<br>Madison Heid\, CHID/P
 hilosophy<br>Shreya Sumanth\, Neuroscience/Physiology<br>Lydia Lee\, Biolo
 gy (Physiology)<br>Lyra Moscuzza</p><p><strong>TENOR</strong><br>Michael P
 epper\, BA Music Theory<br>Timon Ngugenphuoc\, Business Administration<br>
 Finnli Plentemoli\, Linguistics<br>Tyan Knight\, International Studies<br>
 Carmela Stewart\, Food Systems\, Nutrition\, Health<br>Isaiah Ikeda\, Medi
 cal Laboratory Sciences<br>Deryn Bagley\, Marine Biology<br>Owen Varang\, 
 Materials Science/Engineering<br>Kayah Corpus\, Plant Biology<br>Paxton He
 bblethwatte</p><p><strong>BASS</strong><br>Bryan Zhao \, CS/BS<br>Ryan Kap
 sandy\, BM Bassoon Performance<br>Mark Alexander\, Community Member<br>Gab
 riel Wan\, Community Member<br>Foster Patterson\, Music Education<br>Drew 
 Theran\, MM Trumpet Performance <br>Aidan Maynard\, Public Health/Global H
 ealth<br>Matthew Young\, Community Member<br>Hoang Le\, Biochemistry<br>Ci
 aran McNeely\, Informatics</p><hr><h2>Director Biography</h2>
END:VEVENT
BEGIN:VEVENT
UID:f2df33ff-a06a-4939-a69f-d7017b307b5e
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250819T184721Z
DESCRIPTION:<p> </p><p>The Studio Jazz Ensemble and Modern Ensemble present
  a shared program of repertory selections\, original music\, and inspired 
 arrangements.  </p><hr><h2>Program</h2><h3>Modern Band</h3><p>Greg Sinibal
 di\, director<br><br>Side Quest - <strong>Jaiden Garcia</strong><br>Bike R
 ide - <strong>Thomas Jennings</strong><br>Mocean - <strong>Coen Rios<br>Dofleini - <strong>Rory Somers</strong><br>Time and Place - <strong>Thomas Jennings</strong><br>Eureka - <strong>Otomo Yoshihide\,  arr. Grae
 me Gentle</strong><br>Opulescent - <strong>Brayson Young</strong></p><p>Co
 en Rios - Tenor sax and electronics<br>Graeme Gentle - Tenor sax<br>Rory S
 ummers - trumpet and electronics<br>Jaiden Garcia - trombone<br>AJ Marto -
  Bass<br>Riley Tobin - Bass<br>Thomas Jennings - Guitar<br>Gavin Westland 
 - Piano and Synthesizer<br>Brayson Young - Drums<br> </p><h3>Studio Jazz E
 nsemble</h3><p>Jacob Zimmerman\, director<br>Program: 'One More Song'</p>&lt;
 p&gt;General Mojo's Well Laid Plan (1967) -  <strong>Steve Swallow\,</strong>
  arr.  <strong>Jacob Zimmerman</strong><br>Waiting on Arrival (2024) -  <s trong>Robert Glasper\,</strong> arr. <strong>Brady Poor</strong><br>Just I
 ntonation Etude for Big Band #3: Metaphor (2020) -  <strong>Anna Webber</s><br>Coral (2018) - <strong>Angela Morris</strong><br>The Gates of Ma
 drid (2009) - <strong>Walt Weiskopf\, </strong>arr. <strong>Alan Baylock</strong><br>Sympodial Sunflower (2019) - <strong>Kris Davis\,</strong> arr.
  <strong>Jacob Zimmerman</strong><br>One More Song (2020) - <strong>Jacob 
 Zimmerman</strong><br>Lost in a Dream (2010) - <strong>Paul Motian\, arr. <strong>Jacob Zimmerman</strong><br>Another Ride on the Elephant 
 Slide (2016) - <strong>Lauren Elizabeth Baba</strong></p><p>Graham Cobden 
 - alto sax\, clarinet<br>Brady Poor - tenor sax<br>Phineas Ruji - tenor sa
 x\, clarinet<br>Maya Rasche - baritone sax\, flute<br>Ben von Jess - trump
 et<br>Rory Somers - trumpet<br>Teddy Seligman - trumpet<br>Mack Henry - tr
 ombone<br>Eliana Koenig - trombone<br>Jonas Medford - piano<br>Tyler Smith
  - vibraphone<br>Erica Boatwright - guitar<br>Nico King - guitar<br>Domini
 c Apostol - bass<br>Shane Ryan - drums<br>Max Langs - drums</p><hr><h2>Bio
 graphies</h2>
DTSTART;TZID=America/Los_Angeles:20260309T193000
LAST-MODIFIED:20260305T213220Z
SEQUENCE:364
SUMMARY:: Studio Jazz Ensemble and Modern Band
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-09/studio-jazz-ensemble-and
 -modern-band
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>The Studio Jazz Ensemble and Modern
  Ensemble present a shared program of repertory selections\, original musi
 c\, and inspired arrangements.  </p><hr><h2>Program</h2><h3>Modern Band<p><em>Greg Sinibaldi\, director</em><br><br>Side Quest - <strong>Jaiden
  Garcia</strong><br>Bike Ride - <strong>Thomas Jennings</strong><br>Mocean
  - <strong>Coen Rios</strong><br>Dofleini - <strong>Rory Somers</strong><b r>Time and Place - <strong>Thomas Jennings</strong><br>Eureka - <strong>Ot
 omo Yoshihide\,  arr. Graeme Gentle</strong><br>Opulescent - <strong>Brays
 on Young</strong></p><p><em>Coen Rios - Tenor sax and electronics</em><br>
 <em>Graeme Gentle - Tenor sax</em><br><em>Rory Summers - trumpet and elect
 ronics</em><br><em>Jaiden Garcia - trombone</em><br><em>AJ Marto - Bass<br><em>Riley Tobin - Bass</em><br><em>Thomas Jennings - Guitar</em><br>
 <em>Gavin Westland - Piano and Synthesizer</em><br><em>Brayson Young - Dru
 ms</em><br> </p><h3>Studio Jazz Ensemble</h3><p><em>Jacob Zimmerman\, dire
 ctor</em><br>Program: 'One More Song'</p><p>General Mojo's Well Laid Plan 
 (1967) -  <strong>Steve Swallow\,</strong> arr.  <strong>Jacob Zimmerman</strong><br>Waiting on Arrival (2024) -  <strong>Robert Glasper\,</strong> 
 arr. <strong>Brady Poor</strong><br>Just Intonation Etude for Big Band #3:
  Metaphor (2020) -  <strong>Anna Webber</strong><br>Coral (2018) - <strong>Angela Morris</strong><br>The Gates of Madrid (2009) - <strong>Walt Weisk
 opf\, </strong>arr. <strong>Alan Baylock</strong><br>Sympodial Sunflower (
 2019) - <strong>Kris Davis\,</strong> arr. <strong>Jacob Zimmerman</strong><br>One More Song (2020) - <strong>Jacob Zimmerman</strong><br>Lost in a 
 Dream (2010) - <strong>Paul Motian\,</strong> arr. <strong>Jacob Zimmerman
 </strong><br>Another Ride on the Elephant Slide (2016) - <strong>Lauren El
 izabeth Baba</strong></p><p><em>Graham Cobden - alto sax\, clarinet</em><b r><em>Brady Poor - tenor sax</em><br><em>Phineas Ruji - tenor sax\, clarin
 et</em><br><em>Maya Rasche - baritone sax\, flute</em><br><em>Ben von Jess
  - trumpet</em><br><em>Rory Somers - trumpet</em><br><em>Teddy Seligman - 
 trumpet</em><br><em>Mack Henry - trombone</em><br><em>Eliana Koenig - trom
 bone</em><br><em>Jonas Medford - piano</em><br><em>Tyler Smith - vibraphon
 e</em><br><em>Erica Boatwright - guitar</em><br><em>Nico King - guitar</em><br><em>Dominic Apostol - bass</em><br><em>Shane Ryan - drums</em><br><em>Max Langs - drums</em></p><hr><h2>Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:c6e86bdb-e42d-4dc1-80bb-d4a462ae361c
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T234703Z
DESCRIPTION:<p>Students of John Popham perform works by Felix Mendelssohn\,
  Antonin Dvořák\, Johann Georg Albrechtsberger\, Johannes Brahms\, Bedřich
  Smetana\, and Ralph Vaughan Williams in this chamber music showcase.</p>&lt;
 hr&gt;<h2>Program</h2><p>String Quartet No. 6 in F minor\, Op. 80 - <strong>F
 elix Mendelssohn </strong>(1809-1847)<br>I.    Allegro vivace assai<br><br>Tia-Jane Fowler\, violin<br>Hailey Vaught\, violin<br>Abigail Schidler\, 
 viola<br>Cory Chen\, cello<br><br>Piano Trio No. 4 in E minor\, Op. 90\, “
 Dumky” - <strong>Antonin Dvořák</strong> (1841-1904)<br>III.     Andante &lt;
 br&gt;VI.     Lento Maestoso</p><p>David Teves-Tan\, violin<br>Loni Yin\, cel
 lo<br>Jeffrey Tso\, piano<br><br>Duetto III\, Andante and Fugue -<strong> 
 Johann Georg Albrechtsberger</strong> (1736-1809)</p><p>Grace Hwang\, viol
 in<br>Sota Emura\, cello<br> </p><p>Piano Trio No. 1 in B major\, Op. 8 - 
 <strong> Johannes Brahms</strong> (1833-1897)<br>I.    Scherzo. Allegro mo
 lto</p><p>Martessa Davis\, violin<br>Ben Gallafent\, cello<br>Zixi Fu\, pi
 ano</p><p>String Quartet No. 1 “From My Life”  - <strong>Bedřich Smetana &lt;
 /strong&gt;(1824-1884)<br>I.    Allegro vivo appassionato</p><p>David Teves-T
 an\, violin<br>Talal Kheiry\, violin<br>Abigail Schidler\, viola<br>Cory C
 hen\, cello</p><p>Piano Quintet in C minor -  <strong>Ralph Vaughan Willia
 ms</strong> (1872-1958)<br>I.    Allegro con fuoco<br><br>Grace Pandra\, v
 iolin<br>Flora Cummings\, viola<br>Ignacio Tejeda\, cello<br>Eddie Mospan\
 , bass<br>Freya Frahm\, piano</p><hr><h2>Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260310T140000
LAST-MODIFIED:20260304T052039Z
SEQUENCE:365
SUMMARY:: Chamber Music Showcase
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-10/chamber-music-showcase
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Students of John Popham perform works by Fe
 lix Mendelssohn\, Antonin Dvořák\, Johann Georg Albrechtsberger\, Johannes
  Brahms\, Bedřich Smetana\, and Ralph Vaughan Williams in this chamber mus
 ic showcase.</p><hr><h2>Program</h2><p>String Quartet No. 6 in F minor\, O
 p. 80 - <strong>Felix Mendelssohn </strong>(1809-1847)<br>I.    Allegro vi
 vace assai<br><br><em>Tia-Jane Fowler\, violin</em><br><em>Hailey Vaught\,
  violin</em><br><em>Abigail Schidler\, viola</em><br><em>Cory Chen\, cello
 </em><br><br>Piano Trio No. 4 in E minor\, Op. 90\, “Dumky” - <strong>Anto
 nin Dvořák</strong> (1841-1904)<br>III.     Andante <br>VI.     Lento Maes
 toso</p><p><em>David Teves-Tan\, violin</em><br><em>Loni Yin\, cello</em>&lt;
 br&gt;<em>Jeffrey Tso\, piano</em><br><br>Duetto III\, Andante and Fugue - Johann Georg Albrechtsberger</strong> (1736-1809)</p><p><em>Grace Hw
 ang\, violin</em><br><em>Sota Emura\, cello</em><br> </p><p>Piano Trio No.
  1 in B major\, Op. 8 - <strong> Johannes Brahms</strong> (1833-1897)<br>I
 .    Scherzo. Allegro molto</p><p><em>Martessa Davis\, violin</em><br><em>
 Ben Gallafent\, cello</em><br><em>Zixi Fu\, piano</em></p><p>String Quarte
 t No. 1 “From My Life”  - <strong>Bedřich Smetana </strong>(1824-1884)<br>
 I.    Allegro vivo appassionato</p><p><em>David Teves-Tan\, violin</em><br><em>Talal Kheiry\, violin</em><br><em>Abigail Schidler\, viola</em><br>Cory Chen\, cello</em></p><p>Piano Quintet in C minor -  <strong>Ralph V
 aughan Williams</strong> (1872-1958)<br>I.    Allegro con fuoco<br><br><em>Grace Pandra\, violin</em><br><em>Flora Cummings\, viola</em><br><em>Igna
 cio Tejeda\, cello</em><br><em>Eddie Mospan\, bass</em><br><em>Freya Frahm
 \, piano</em></p><hr><h2>Director Biography</h2>
END:VEVENT
BEGIN:VEVENT
UID:b094a7a3-ba59-407a-97e1-9212d7afb9b1
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250818T162843Z
DESCRIPTION:<p> </p><p>The Modern Music Ensemble (Cristina Valdés\, directo
 r)\, in collaboration with students and faculty from the  School of Drama\
 , present a unique performance of four seminal works of John Cage\, all pe
 rformed simultaneously. </p><hr><h2>Program</h2><p><strong>Sofia Gubaiduli
 na</strong> - Dots\, Lines\, and Zigzag for bass clarinet and piano<br>Cam
 eron DeLuca\, bass clarinet\; Jiaxuan Wu\, piano</p><p><strong>Hilda Pared
 es -</strong> Canciones sobre poemas de Eduardo Hurtado<br>Claire Wei\, fl
 ute/piccolo\; Cameron DeLuca\, clarinet/bass clarinet\; Soledad Mayorga Ma
 ldonado\, soprano\; Jiaxuan Wu\, piano</p><p>- Intermission -</p><p>John Cage:</strong><br>Winter Music<br>Zixi Fu\, piano\; Boheng Wang\, p
 iano\; Jiaxuan Wu\, piano<br><br>Four6<br>Minh-Thi Butler\, oboe\; Kyle Gr
 ant\, alto saxophone\; Soledad Mayorga Maldonado\, soprano\, Brayson Young
 \, drums</p><p>Atlas Eclipticalis<br>Grace Playstead\, flute\; Cameron DeL
 uca\, clarinet\; Taylor DeCastro\, violin</p><p>Variations III<br> Zo Eise
 nbrey\, Jeffrey Fracé\, Taylor McWilliams-Woods\, Sebastián Bravo Monteneg
 ro\, Natalia Poliakova\, Sebastian Wang\, actors (Jeffrey Fracé\, director
 ). </p><hr><h2>Biographies</h2><p><strong>Jeffrey Fracé</strong> is a vete
 ran theater artist with more than 100 professional credits as an actor\, d
 irector\, writer\, or producer. Best known as an actor\, he is a former As
 sociate Artist of Anne Bogart’s SITI Company\, performing\, touring\, and 
 teaching with the company for over 10 years. Recent performance credits in
 clude The War of the Worlds Radio Play with SITI Company\, Father Comes Ho
 me From the Wars with UW Drama\, Home with Doug Varone and 11 Comets with 
 Rachael Lincoln at Meany Theatre\, The Life Model at On the Boards\, Betra
 yal at North Coast Rep in California\, and Rapture\, Blister\, Burn\; Cele
 bration and Old Times (Pinter Festival)\; and Lieutenant of Inishmore\, al
 l at ACT Theatre in Seattle. Other credits include the Kennedy Center\, Ne
 w York Shakespeare Festival\, American Repertory Theatre\, Actors Theatre 
 of Louisville\, Alabama Shakespeare Festival\, Nashville Shakespeare Festi
 val\, Stonington Opera House\, Cleveland Public Theatre\, Chopin Theatre C
 hicago\, La MaMa ETC and the Iberoamericano Festival of Bogota. His direct
 ing credits include Merry Wives of Windsor\, Measure for Measure\, As You 
 Like It\, Hamlet\, Macbeth and Romeo &amp; Juliet for Stonington Opera House\;
  Mother Courage and Her Children and 1984 for People's Branch Theatre\; Ro
 meo &amp; Juliet and A Midsummer Night's Dream for Arkansas Shakespeare Theatr
 e\; Don Giovanni for New York Repertory Ensemble. His original work/devise
 d performance credits include 11 Comets at Meany Theater\; The Life Model 
 at On the Boards\; 10 Real Star Acts at Stonington Opera House\; and Once 
 Upon a Time 6x in the West\, Harp Song for a Radical\, Barbarians and Unty
 ing My Cement Shoes for UW Drama\; plus\, independently produced adaptatio
 ns of King Lear\, and Camus’ The Stranger. He is a founding member of the 
 award-winning ensemble Conni's Avant Garde Restaurant\, writing for and pe
 rforming in their original shows in New York and nationally. Originally fr
 om Nashville\, Tennessee\, he worked in Chicago for four years before relo
 cating to New York City\, where he received his MFA from Columbia Universi
 ty. He is now based in Seattle\, where he teaches acting\, directing\, mov
 ement\, and devising theater at University of Washington. </p>
DTSTART;TZID=America/Los_Angeles:20260310T193000
LAST-MODIFIED:20260304T231342Z
SEQUENCE:366
SUMMARY:: Modern Music Ensemble: 'Winter Music'
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-10/modern-music-ensemble-wi
 nter-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>The Modern Music Ensemble (Cristina
  Valdés\, director)\, in collaboration with students and faculty from the 
  School of Drama\, present a unique performance of four seminal works of J
 ohn Cage\, all performed simultaneously. </p><hr><h2>Program</h2><p>Sofia Gubaidulina</strong> - Dots\, Lines\, and Zigzag for bass clarinet
  and piano<br><em>Cameron DeLuca\, bass clarinet\; Jiaxuan Wu\, piano</em>
 </p><p><strong>Hilda Paredes -</strong> Canciones sobre poemas de Eduardo 
 Hurtado<br><em>Claire Wei\, flute/piccolo\; Cameron DeLuca\, clarinet/bass
  clarinet\; Soledad Mayorga Maldonado\, soprano\; Jiaxuan Wu\, piano</em>&lt;
 /p&gt;<p>- Intermission -</p><p><strong>John Cage:</strong><br>Winter Music<b r><em>Zixi Fu\, piano\; Boheng Wang\, piano\; Jiaxuan Wu\, piano</em><br>&lt;
 br&gt;Four6<br><em>Minh-Thi Butler\, oboe\; Kyle Grant\, alto saxophone\; Sol
 edad Mayorga Maldonado\, soprano\, Brayson Young\, drums</em></p><p>Atlas 
 Eclipticalis<br><em>Grace Playstead\, flute\; Cameron DeLuca\, clarinet\; 
 Taylor DeCastro\, violin</em></p><p>Variations III<br><em> Zo Eisenbrey\, 
 Jeffrey Fracé\, Taylor McWilliams-Woods\, Sebastián Bravo Montenegro\, Nat
 alia Poliakova\, Sebastian Wang\, actors (Jeffrey Fracé\, director). </em>
 </p><hr><h2>Biographies</h2><p><strong>Jeffrey Fracé</strong> is a veteran
  theater artist with more than 100 professional credits as an actor\, dire
 ctor\, writer\, or producer. Best known as an actor\, he is a former Assoc
 iate Artist of Anne Bogart’s SITI Company\, performing\, touring\, and tea
 ching with the company for over 10 years. Recent performance credits inclu
 de The War of the Worlds Radio Play with SITI Company\, Father Comes Home 
 From the Wars with UW Drama\, Home with Doug Varone and 11 Comets with Rac
 hael Lincoln at Meany Theatre\, The Life Model at On the Boards\, Betrayal
  at North Coast Rep in California\, and Rapture\, Blister\, Burn\; Celebra
 tion and Old Times (Pinter Festival)\; and Lieutenant of Inishmore\, all a
 t ACT Theatre in Seattle. Other credits include the Kennedy Center\, New Y
 ork Shakespeare Festival\, American Repertory Theatre\, Actors Theatre of 
 Louisville\, Alabama Shakespeare Festival\, Nashville Shakespeare Festival
 \, Stonington Opera House\, Cleveland Public Theatre\, Chopin Theatre Chic
 ago\, La MaMa ETC and the Iberoamericano Festival of Bogota. His directing
  credits include Merry Wives of Windsor\, Measure for Measure\, As You Lik
 e It\, Hamlet\, Macbeth and Romeo &amp; Juliet for Stonington Opera House\; Mo
 ther Courage and Her Children and 1984 for People's Branch Theatre\; Romeo
  &amp; Juliet and A Midsummer Night's Dream for Arkansas Shakespeare Theatre\;
  Don Giovanni for New York Repertory Ensemble. His original work/devised p
 erformance credits include 11 Comets at Meany Theater\; The Life Model at 
 On the Boards\; 10 Real Star Acts at Stonington Opera House\; and Once Upo
 n a Time 6x in the West\, Harp Song for a Radical\, Barbarians and Untying
  My Cement Shoes for UW Drama\; plus\, independently produced adaptations 
 of King Lear\, and Camus’ The Stranger. He is a founding member of the awa
 rd-winning ensemble Conni's Avant Garde Restaurant\, writing for and perfo
 rming in their original shows in New York and nationally. Originally from 
 Nashville\, Tennessee\, he worked in Chicago for four years before relocat
 ing to New York City\, where he received his MFA from Columbia University.
  He is now based in Seattle\, where he teaches acting\, directing\, moveme
 nt\, and devising theater at University of Washington. </p>
END:VEVENT
BEGIN:VEVENT
UID:dd287bbc-fcae-4ebd-8619-65d55aad8191
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20251002T191305Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p><p> Topics covered include:</strong></p><ul><li>An overview of the School o
 f Music and its resources</li><li>Degree programs offered</li><li>The appl
 ication and audition process</li><li>Scholarships</li><li>Opportunities fo
 r non-music majors</li></ul><p><strong>Time and location: </strong>Informa
 tion sessions are held from 12:00-1:00 PM over Zoom. </p><p><a class='purp
 le-button' href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer'>Regis
 ter</a></p><p>Registration is required. <strong>To ask a question\, please
  email </strong><a href='mailto:SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20260312T120000
LAST-MODIFIED:20251002T191431Z
SEQUENCE:367
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-12/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p>The UW School of Music encourag
 es prospective freshmen\, transfer students\, and current UW undergraduate
 s to attend a School of Music information session. These sessions provide 
 a great opportunity to learn more about what the School of Music has to of
 fer as well as ask questions about admissions\, auditions\, or life as a U
 W music student.</p></blockquote><p> <strong>Topics covered include:</p><ul><li>An overview of the School of Music and its resources</li>Degree programs offered</li><li>The application and audition process</li><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p>&lt;
 strong&gt;Time and location: </strong>Information sessions are held from 12:0
 0-1:00 PM over Zoom. </p><p><a class='purple-button' href='https://music.w
 ashington.edu/prospective-undergraduate-student-information-session' targe t='_blank' rel='noopener noreferrer'>Register</a></p><p>Registration is re
 quired. <strong>To ask a question\, please email </strong><a href='mailto:
 SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:ebaf3def-675d-4c97-b6c8-15be9e6496ac
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250818T195618Z
DESCRIPTION:<p> </p><p>Composer Simon Alami is special guest of the Wind En
 semble and Symphonic Band (Erin Bodnar\, director) for Mystic Threads\, a 
 program of music by Victoriano Valencia\, Jodie Blackshaw\, Reena Esmail\,
  Minoo Dixon\, Florent Schmitt\, and Luigi Zaninelli\, as well as Alami's 
 new work\, Symphonic Dances (2026).</p><hr><h2>Program</h2><p><strong>The 
 UW Wind Ensemble and UW Symphonic Band present: </strong><br>“Mystic Threa
 ds” <br>Thursday March 12\, 2026 7:30 pm  Meany Hall <br><br><strong>Dr. E
 rin Bodnar\,</strong> conductor <br><strong>Yuman Wu\,</strong> graduate c
 onductor <br><strong>Solomon Encina\,</strong> graduate conductor <br>Simon Alami\, </strong>guest composer </p><h3>UW Symphonic Band </h3>&lt;
 p&gt;Three Dances of Enchantment (2007) ……………….....………..……<strong>Luigi Zanin
 elli </strong>(b. 1932) <br>The Via Veneto (Fox Trot) <br>Vichet Ros\, und
 ergraduate conductor <br>She Walks Through the Fair (Waltz) <br>The Feast 
 of Saint Rocco (Tarantella) <br>Noah Scanlan\, graduate conductor <br><br>
 Night Market (2020) ……….....…………...........................….… ……….<strong>Minoo Dixon</strong> (b. 1999) <br>Yuman Wu\, graduate conductor <br><br>
 Chamak (2022)…………..................….……….....………..……………. <strong>Reena Esm
 ail</strong> (b. 1983) <br>Avinash Bose\, tabla <br>Ember (Bhajani)  <br>L
 uster (Vilambit Teentaal)  <br>Spark (Rupak and Dadra)  <br><br>INTERMISSI
 ON </p><h3>UW Wind Ensemble </h3><p>Dionysiaques (1913)……………………..………………………
 …<strong>Florent Schmitt</strong> (1870-1953) <br><br>Peace Dancer (2017)…
 …………………..………….....……......…….<strong>Jodie Blackshaw</strong> (b. 1971) <b r>Solomon Encina\, graduate conductor <br><br>Symphonic Dances (2026)……………
 …………………………………<strong>Simon Alami </strong>(b. 1966) <br>Call of the Reeds 
 <br>Snowprints of a New Beginning <br>Steps on the Wind <br>Whispering Ste
 ps <br>Dawn of the Dance <br>world premiere <br><br>Arullo (2003)……….……………
 ……………..….........……<strong>Victoriano Valencia</strong> (b. 1970) <br>Moca
 rí <br>Goyo <br>Mayo </p><hr><h2>Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260312T193000
LAST-MODIFIED:20260303T232233Z
SEQUENCE:368
SUMMARY:: Wind Ensemble and Symphonic Band: Mystic Threads
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-12/wind-ensemble-and-sympho
 nic-band-mystic-threads
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>Composer Simon Alami is special gue
 st of the Wind Ensemble and Symphonic Band (Erin Bodnar\, director) for Mystic Threads\, </em>a program of music by Victoriano Valencia\, Jodie 
 Blackshaw\, Reena Esmail\, Minoo Dixon\, Florent Schmitt\, and Luigi Zanin
 elli\, as well as Alami's new work\, Symphonic Dances (2026).</p><hr><h2>P
 rogram</h2><p><strong>The UW Wind Ensemble and UW Symphonic Band present: 
 </strong><br>“Mystic Threads” <br>Thursday March 12\, 2026 7:30 pm  Meany 
 Hall <br><br><strong>Dr. Erin Bodnar\,</strong> conductor <br><strong>Yuma
 n Wu\,</strong> graduate conductor <br><strong>Solomon Encina\,</strong> g
 raduate conductor <br><strong>Simon Alami\, </strong>guest composer </p>UW Symphonic Band </h3><p>Three Dances of Enchantment (2007) ……………….....
 ………..……<strong>Luigi Zaninelli </strong>(b. 1932) <br>The Via Veneto (Fox 
 Trot) <br>Vichet Ros\, undergraduate conductor <br>She Walks Through the F
 air (Waltz) <br>The Feast of Saint Rocco (Tarantella) <br>Noah Scanlan\, g
 raduate conductor <br><br>Night Market (2020) ……….....…………................
 ...........….… ……….<strong>Minoo Dixon</strong> (b. 1999) <br>Yuman Wu\, g
 raduate conductor <br><br>Chamak (2022)…………..................….……….....………
 ..……………. <strong>Reena Esmail</strong> (b. 1983) <br>Avinash Bose\, tabla 
 <br>Ember (Bhajani)  <br>Luster (Vilambit Teentaal)  <br>Spark (Rupak and 
 Dadra)  <br><br>INTERMISSION </p><h3>UW Wind Ensemble </h3><p>Dionysiaques
  (1913)……………………..…………………………<strong>Florent Schmitt</strong> (1870-1953) <b r><br>Peace Dancer (2017)……………………..………….....……......…….<strong>Jodie Black
 shaw</strong> (b. 1971) <br>Solomon Encina\, graduate conductor <br><br>Sy
 mphonic Dances (2026)………………………………………………<strong>Simon Alami </strong>(b. 19
 66) <br>Call of the Reeds <br>Snowprints of a New Beginning <br>Steps on t
 he Wind <br>Whispering Steps <br>Dawn of the Dance <br>world premiere <br>
 <br>Arullo (2003)……….…………………………..….........……<strong>Victoriano Valencia</strong> (b. 1970) <br>Mocarí <br>Goyo <br>Mayo </p><hr><h2>Director Biogra
 phy</h2>
END:VEVENT
BEGIN:VEVENT
UID:54d49d9d-1066-446f-a7be-fde0d9b96df6
DTSTAMP:20260307T094252Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20260303T180651Z
DESCRIPTION:<p>Tianchen Yan (DMA Piano)\, student of Craig Sheppard\, perfo
 rms works by Beethoven in his doctoral degree recital.</p><hr><h2>Program&lt;
 /h2&gt;<p><strong>Ludwig van Beethoven:</strong> Sonata in E-flat Major\, Op.
  81a\, “Les Adieux”</p><p><strong>Ludwig van Beethoven: </strong>15 Variat
 ions and Fugue in E-flat Major\, Op. 35\, “Eroica Variations”</p><p>Ludwig van Beethoven:</strong> Sonata in F Minor\, Op. 57\, “Appassionat
 a”</p><hr><p> </p>
DTSTART;TZID=America/Los_Angeles:20260312T193000
LAST-MODIFIED:20260303T192139Z
SEQUENCE:369
SUMMARY:: DMA Degree Recital: Tianchen Yan\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-12/dma-degree-recital-tianc
 hen-yan-piano
END:VEVENT
BEGIN:VEVENT
UID:155885ec-3a72-4f1f-ba83-aa75638533ad
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T183501Z
DESCRIPTION:<p> </p><p>David Alexander Rahbee leads  the UW Symphony in a p
 rogram of music by Mieczyslaw Karlowicz and Sergei Prokofiev. Faculty viol
 inist Rachel Lee Priday is featured soloist with the orchestra for Karlowi
 cz's Violin Concerto in A major\, op. 8. </p><hr><h2>Program</h2><p>Mieczyslaw Karłowicz: </strong>Violin Concerto in A major\, op.8</p><p>&lt;
 strong&gt;Prokofiev: </strong>Symphony No.5 in B-flat major\, op.100</p><hr>&lt;
 h2&gt;Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260313T193000
LAST-MODIFIED:20250910T103204Z
SEQUENCE:370
SUMMARY:: UW Symphony Orchestra with Rachel Lee Priday
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-13/uw-symphony-orchestra-ra
 chel-lee-priday
END:VEVENT
BEGIN:VEVENT
UID:4d5b5b46-1791-4304-8e30-b0b03926225a
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250528T164657Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<h2 class='x_MsoNormal'>Featured Performers</h2>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSchool
  of Music musicians. Further details coming soon!
DTSTART;TZID=America/Los_Angeles:20260401T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:371
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-01/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <h2 class='x_MsoN
 ormal'><span>Featured Performers</span></h2> <div class='elementToProof'> 
 <div class='elementToProof'> <div class='elementToProof'> <div class='elem
 entToProof'> <div class='elementToProof'> <div class='x_elementToProof Con
 tentPasted0'> <div class='x_elementToProof ContentPasted0'></div> </div> &lt;
 /div&gt; </div> </div> </div> </div> <div></div> <div>School of Music musicia
 ns. Further details coming soon!</div>
END:VEVENT
BEGIN:VEVENT
UID:0728bc06-62d9-49f0-87b3-d8db638b124c
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20251002T191521Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p><p> Topics covered include:</strong></p><ul><li>An overview of the School o
 f Music and its resources</li><li>Degree programs offered</li><li>The appl
 ication and audition process</li><li>Scholarships</li><li>Opportunities fo
 r non-music majors</li></ul><p><strong>Time and location: </strong>Informa
 tion sessions are held from 12:00-1:00 PM over Zoom. </p><p><a class='purp
 le-button' href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer'>Regis
 ter</a></p><p>Registration is required. <strong>To ask a question\, please
  email </strong><a href='mailto:SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20260407T120000
LAST-MODIFIED:20251002T191642Z
SEQUENCE:372
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-07/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p>The UW School of Music encourag
 es prospective freshmen\, transfer students\, and current UW undergraduate
 s to attend a School of Music information session. These sessions provide 
 a great opportunity to learn more about what the School of Music has to of
 fer as well as ask questions about admissions\, auditions\, or life as a U
 W music student.</p></blockquote><p> <strong>Topics covered include:</p><ul><li>An overview of the School of Music and its resources</li>Degree programs offered</li><li>The application and audition process</li><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p>&lt;
 strong&gt;Time and location: </strong>Information sessions are held from 12:0
 0-1:00 PM over Zoom. </p><p><a class='purple-button' href='https://music.w
 ashington.edu/prospective-undergraduate-student-information-session' targe t='_blank' rel='noopener noreferrer'>Register</a></p><p>Registration is re
 quired. <strong>To ask a question\, please email </strong><a href='mailto:
 SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:9efbd890-358a-4968-8032-11d4c9b64b1e
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250815T003953Z
DESCRIPTION:<p>Seattle’s contemporary music orchestra performs György Liget
 i's piano concerto\, featuring faculty pianist and SMO member Cristina Val
 dés\, alongside new works for sinfonietta by faculty composers William Dou
 gherty\, Joël-François Durand\, and Huck Hodge. SMO is joined onstage by s
 elect graduate-student members of the UW Modern Music Ensemble in this lar
 ge-ensemble format.</p><h2>Program Background</h2><p>György Ligeti describ
 es his piano concerto as encompassing music that embodies “…frozen time\, 
 as an object in imaginary space that exists simultaneously in all its mome
 nts.” This dazzling\, multi-layered work features SMO’s tour-de-force pian
 ist Cristina Valdés. SMO presents the concerto alongside recent works for 
 sinfonietta by UW faculty composers. Seattle newcomer and recently appoint
 ed UW composition professor William Dougherty's the new normal juxtaposes 
 a wide range of musical quotations and styles\, directly engaging with soc
 ial issues of xenophobia and racism in our current political climate. Huck
  Hodge's La Llorona draws on images from the 1585 Florentine Codex of Bern
 ardino Sahagun\, featuring UW faculty flutist Donna Shin. The program also
  features a preview performance of select movements from Jöel François-Dur
 and's new wind quintet Livre d'images.  Don’t miss this chance to hear SMO
  with select graduate-student members of the UW Modern Music Ensemble in t
 his large-ensemble format.</p><hr><h2>Program</h2><p><strong>GYÖRGY LIGETI
 :</strong> Piano Concerto (1985-1988)<br><strong>WILLIAM DOUGHERTY: the new normal (2016)</p><p><strong>JÖEL FRANÇOIS-DURAND: </strong>Livr
 e d'images (2025)<br><strong>HUCK HODGE:</strong> La Llorona (2012)</p><hr><h2>Biographies</h2><h3><a href='https://www.seattlemodernorchestra.org'>
 Seattle Modern Orchestra</a></h3><p></p><p>Founded in 2010\, Seattle Moder
 n Orchestra (SMO) is the only large ensemble in the Pacific Northwest sole
 ly dedicated to the music of the 20th and 21st centuries. Led by co-artist
 ic directors <strong>Julia Tai </strong>and<strong> Bonnie Whiting</strong>\, SMO commissions and premieres new works from an international lineup o
 f composers\, in addition to presenting important pieces from the contempo
 rary repertoire that are rarely if ever heard by Seattle audiences. The en
 semble “operates at that exciting cusp between old and new\, between tradi
 tion and innovation” (Vanguard Seattle) curating new sounds and experience
 s for concert goers in the region.</p><p>SMO provides audiences with perfo
 rmances of the best in contemporary chamber and orchestral music\, and dev
 elops podcasts\, lectures\, educational residencies\, and other forms of c
 ommunity engagement in an accessible and inviting format all designed to e
 xpand the listener’s appreciation and awareness of the music of today.</p>
DTSTART;TZID=America/Los_Angeles:20260408T193000
LAST-MODIFIED:20260204T005146Z
SEQUENCE:373
SUMMARY:: Guest Artist Concert: Seattle Modern Orchestra\, 'Entangled Sound
 s'
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-08/guest-artist-concert-sea
 ttle-modern-orchestra-entangled-sounds
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Seattle’s contemporary music orchestra perf
 orms György Ligeti's piano concerto\, featuring facu
 lty pianist and SMO member Cristina Valdés\, alongside new works for sinfo
 nietta by faculty composers William Dougherty\, Joël-François Durand\, and
  Huck Hodge. SMO is joined onstage by select graduate-student members of t
 he UW Modern Music Ensemble in this large-ensemble format.</p><h2>Program 
 Background</h2><p>György Ligeti describes his piano concerto as encompassi
 ng music that embodies “…frozen time\, as an object in imaginary space tha
 t exists simultaneously in all its moments.” This dazzling\, multi-layered
  work features SMO’s tour-de-force pianist Cristina Valdés. SMO presents t
 he concerto alongside recent works for sinfonietta by UW faculty composers
 . Seattle newcomer and recently appointed UW composition professor William
  Dougherty's the new normal juxtaposes a wide range of musical quotations 
 and styles\, directly engaging with social issues of xenophobia and racism
  in our current political climate. Huck Hodge's La Llorona draws on images
  from the 1585 Florentine Codex of Bernardino Sahagun\, featuring UW facul
 ty flutist Donna Shin. The program also features a preview performance of 
 select movements from Jöel François-Durand's new wind quintet Livre d'imag
 es.  Don’t miss this chance to hear SMO with select graduate-student membe
 rs of the UW Modern Music Ensemble in this large-ensemble format.</p><hr>&lt;
 h2&gt;Program</h2><p><strong>GYÖRGY LIGETI:</strong> Pi
 ano Concerto (1985-1988)<br><strong>WILLIAM DOUGHERTY:</strong> the new no
 rmal (2016)</p><p><strong>JÖEL FRANÇOIS-DURAND: </strong>Livre d'images (2
 025)<br><strong>HUCK HODGE:</strong> La Llorona (2012)</p><hr><h2>Biograph
 ies</h2><h3><a href='https://www.seattlemodernorchestra.org'>Seattle Moder
 n Orchestra</a></h3><p></p><p>Founded in 2010\, Seat
 tle Modern Orchestra (SMO) is the only large ensemble in the Pacific North
 west solely dedicated to the music of the 20th and 21st centuries. Led by 
 co-artistic directors <strong>Julia Tai </strong>and<strong> Bonnie Whitin
 g</strong>\, SMO commissions and premieres new works from an international
  lineup of composers\, in addition to presenting important pieces from the
  contemporary repertoire that are rarely if ever heard by Seattle audience
 s. The ensemble “operates at that exciting cusp between old and new\, betw
 een tradition and innovation” (Vanguard Seattle) curating new sounds and e
 xperiences for concert goers in the region.</p><p>SMO provides audiences w
 ith performances of the best in contemporary chamber and orchestral music\
 , and develops podcasts\, lectures\, educational residencies\, and other f
 orms of community engagement in an accessible and inviting format all desi
 gned to expand the listener’s appreciation and awareness of the music of t
 oday.</p>
END:VEVENT
BEGIN:VEVENT
UID:4617c1ca-c6c7-4081-b5bc-e56f5099c776
DTSTAMP:20260307T094252Z
CATEGORIES:Master Classes\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250814T225245Z
DESCRIPTION:<p>Spencer Myer\, associate professor of music at the Jacobs Sc
 hool of Music at Indiana University\, leads a master class with UW piano s
 tudents.</p><hr><h2>Biography</h2><p>Lauded for “superb playing” and “pois
 ed\, alert musicianship” by the Boston Globe\, and labeled “definitely a m
 an to watch” by London’s The Independent after his 2012 Wigmore Hall recit
 al debut\, American pianist SPENCER MYER is one of the most respected and 
 sought-after artists on today’s concert stage.           </p><p>He has bee
 n soloist with The Cleveland Orchestra\, the Cape Town and Johannesburg Ph
 ilharmonics\, and the Indianapolis and New Haven Symphonies\, among others
 . His 2005 tour of South Africa included a performance of Beethoven’s five
  piano concerti with the Chamber Orchestra of South Africa\, followed by s
 ix subsequent return tours.  An in-demand chamber musician\, his artistic 
 partners have included cellists Lynn Harrell and Ralph Kirshbaum\, clarine
 tist David Shifrin\, soprano Nicole Cabell\, and the Jupiter\, Miami and P
 acifica String Quartets.</p><p>His career was launched with three importan
 t prizes: First Prize in the 2004 UNISA International Piano Competition in
  South Africa\, the 2006 Christel DeHaan Classical Fellowship from the Ame
 rican Pianists Association and the Gold Medal from the 2008 New Orleans In
 ternational Piano Competition. He is also a laureate of the 2005 Cleveland
  and Busoni International Competitions.  He was a member of Astral Artists
 ’ performance roster from 2003-2010.</p><p>Previously on the piano faculty
  of Boston’s Longy School of Music\, Spencer Myer is currently Associate P
 rofessor of Piano at the Indiana University Jacobs School of Music\, where
  he received the 2024 Trustees Teaching Award.  He has released six CDs on
  the Steinway &amp; Sons label — Piano Rags of William Bolcom\, four discs wit
 h cellist Brian Thornton\, and the Four Chopin Impromptus. </p><p>Spencer 
 Myer is a Steinway Artist.</p>
DTSTART;TZID=America/Los_Angeles:20260413T163000
LAST-MODIFIED:20250910T213205Z
SEQUENCE:374
SUMMARY:: Guest Pianist Master Class: Spencer Myer
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-13/guest-pianist-master-cla
 ss-spencer-myer
END:VEVENT
BEGIN:VEVENT
UID:66bafa17-d017-49c5-a123-5891feb33309
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250814T223712Z
DESCRIPTION:<p>The School of Music keyboard program presents a solo piano r
 ecital by Spencer Myer\, associate professor of music at the Jacobs School
  of Music at Indiana University\, performing works by Haydn\, Ravel\, Lisz
 t\, and Carl Vine. </p><hr><h2>Program</h2><p class='Body'>Fantasia in C Major\, Hob. XVII: 4:  Franz Josef Haydn</strong></p><p>Miroirs (1904-05) : <strong>Maurice R
 avel</strong><br>Noctuelles           <br>Oiseaux tristes<br>Une barque su
 r l’océan<br>Alborada del gracioso<br>La vallée des cloches</p><p>Intermis
 sion</p><p>Tre Sonetti del Petrarca: <strong>Franz Liszt</strong><br>Sonet
 to 47 del Petrarca<br>Sonetto 104 del Petrarca<br>Sonetto 123 del Petrarca
 </p><p>Piano Sonata No. 1 (1990): <strong>Carl Vine</strong></p><hr><h2>Bi
 ography</h2><p>Lauded for “superb playing” and “poised\, alert musicianshi
 p” by the Boston Globe\, and labeled “definitely a man to watch” by London
 ’s The Independent after his 2012 Wigmore Hall recital debut\, American pi
 anist SPENCER MYER is one of the most respected and sought-after artists o
 n today’s concert stage.           </p><p>He has been soloist with The Cle
 veland Orchestra\, the Cape Town and Johannesburg Philharmonics\, and the 
 Indianapolis and New Haven Symphonies\, among others. His 2005 tour of Sou
 th Africa included a performance of Beethoven’s five piano concerti with t
 he Chamber Orchestra of South Africa\, followed by six subsequent return t
 ours.  An in-demand chamber musician\, his artistic partners have included
  cellists Lynn Harrell and Ralph Kirshbaum\, clarinetist David Shifrin\, s
 oprano Nicole Cabell\, and the Jupiter\, Miami and Pacifica String Quartet
 s.</p><p>His career was launched with three important prizes: First Prize 
 in the 2004 UNISA International Piano Competition in South Africa\, the 20
 06 Christel DeHaan Classical Fellowship from the American Pianists Associa
 tion and the Gold Medal from the 2008 New Orleans International Piano Comp
 etition. He is also a laureate of the 2005 Cleveland and Busoni Internatio
 nal Competitions.  He was a member of Astral Artists’ performance roster f
 rom 2003-2010.</p><p>Previously on the piano faculty of Boston’s Longy Sch
 ool of Music\, Spencer Myer is currently Associate Professor of Piano at t
 he Indiana University Jacobs School of Music\, where he received the 2024 
 Trustees Teaching Award.  He has released six CDs on the Steinway &amp; Sons l
 abel — Piano Rags of William Bolcom\, four discs with cellist Brian Thornt
 on\, and the Four Chopin Impromptus. </p><p>Spencer Myer is a Steinway Art
 ist.</p>
DTSTART;TZID=America/Los_Angeles:20260413T193000
LAST-MODIFIED:20250910T213254Z
SEQUENCE:375
SUMMARY:: Guest Pianist Recital: Spencer Myer
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-13/guest-pianist-recital-sp
 encer-myer
END:VEVENT
BEGIN:VEVENT
UID:d7c71517-d1bc-42b4-8403-7dd30ee841b4
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances\, Visiting Artists and Schol
 ars
CLASS:PUBLIC
CREATED:20250814T212136Z
DESCRIPTION:<p>Faculty soprano Carrie Shaw’s new Seattle-based group Wind U
 p Vocal Project performs musical puzzles of the past and present\, includi
 ng Ming Tsao’s “DAS WASSERGEWORDENE KANONBUCH.”</p><hr><h2>Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260413T193000
LAST-MODIFIED:20250910T103349Z
SEQUENCE:376
SUMMARY:: Faculty Recital: Carrie Shaw\, soprano: Wind Up Vocal Project
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-13/faculty-recital-carrie-s
 haw-soprano-wind-vocal-project
END:VEVENT
BEGIN:VEVENT
UID:728eb310-80d5-44f5-bd99-be5e899cdf41
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances\, Special Events\, Visiting 
 Artists and Scholars
CLASS:PUBLIC
CREATED:20260204T002958Z
DESCRIPTION:<p>Faculty percussionist Bonnie Whiting celebrates the release 
 of Through the Eye(s)\, her new CD out now on Neuma Records. Documenting a
  cycle of pieces for solo speaking and singing percussionist developed in 
 collaboration with nine incarcerated people at the Indiana Women's Prison\
 , Through the Eye(s) is a collaboration with composer Eliza Brown\, who fa
 cilitated the project. The program includes a short performance followed b
 y a question-and-answer session.  </p><hr><h2>Project Background</h2> Thro
 ugh the Eye(s) is an extractable cycle of nine pieces for solo speaking an
 d singing percussionist\, developed in collaboration with nine incarcerate
 d people at the Indiana Women's Prison\, composer Eliza Brown\, and percus
 sionist Bonnie Whiting. Co-authors on the project include Whittney (CoCo) 
 Bales-Malone\, Ashley Strong\, Marjorie Woods\, Ingrid Swinford\, Char’Dae
  Avery\, LaDawn Johnson\, Dawnetta Taylor (Shelton)\, Lara Campbell\, Amar
 is Rose Bunyard\, and Joyce (Potter) Hawkins. The project centers the pers
 pectives and artistic contributions of these incarcerated women\, allowing
  education to function as “epistemic reparations” for the  injustices inca
 rcerated people experience. While this can manifest in many ways\, in the 
 realm of arts education\, it means using the arts as a space for incarcera
 ted students to develop hermeneutic frames for their experience – that is\
 , to shape their own narratives – and providing platforms for the creative
  work of incarcerated people to enter the public sphere with full authoria
 l attribution.  <hr><h2><strong>PROGRAM DETAIL</strong></h2><p class='font
 _8'>Through the Eye(s)</p><p class='font_8'>1. Calm and Storm (2’)<br>Text
  by Whittney (CoCo) Bales-Malone<br>Music by Eliza Brown</p><p class='font
 _8'> 2. Nightly Storm (4’30”)<br>Music and text by Ashley Strong</p><p cla ss='font_8'> 3. Lost in the Fog (3’30”)<br>Text by Marjorie Woods<br>Music
  by Eliza Brown</p><p class='font_8'>4. My Tunnel (3-5’)<br>Graphic score 
 and text by Ingrid Swinford</p><p class='font_8'> 5. Violent Passion (2’15
 ”)<br>Music and text by Char’Dae Avery</p><p class='font_8'> 6. Fortitude 
 (2’15”)<br>Music and text by LaDawn Johnson</p><p class='font_8'> 7. Who’s
  That? (4’)<br>Improvisatory score and text by Dawnetta Taylor (Shelton)</p><p class='font_8'> 8. HER (3’30”)<br>Music and lyrics by Lara Campbell</p><p class='font_8'>9. Emergence (1’)<br>Music and text by Amaris Rose Bun
 yard and Joyce (Potter) Hawkins</p><p class='font_8'><a href='https://www.
 elizabrown.net/through-the-eye-s' target='_blank' rel='noopener noreferrer
 '><strong>Through The Eye(s) </strong><strong>Project Page</strong></a></p><hr><h2 class='font_7'><strong>Biographies </strong></h2>
DTSTART;TZID=America/Los_Angeles:20260416T193000
LAST-MODIFIED:20260204T025148Z
SEQUENCE:377
SUMMARY:: Faculty Concert: Bonnie Whiting\, Through The Eye(s) album releas
 e show
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-16/faculty-concert-bonnie-w
 hiting-through-eyes-album-release-show
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Faculty percussionist Bonnie Whiting celebr
 ates the release of <em>Through the Eye(s)\,</em> her new CD out now on Ne
 uma Records. Documenting a cycle of pieces for solo speaking and singing p
 ercussionist developed in collaboration with nine incarcerated people at t
 he Indiana Women's Prison\, <em>Through the Eye(s)</em> is a collaboration
  with composer Eliza Brown\, who facilitated the project. The program incl
 udes a short performance followed by a question-and-answer session.  </p>&lt;
 hr&gt;<h2>Project Background</h2><div> </div><div><em>Through the Eye(s)</em>
  is an extractable cycle of nine pieces for solo speaking and singing perc
 ussionist\, developed in collaboration with nine incarcerated people at th
 e Indiana Women's Prison\, composer Eliza Brown\, and percussionist Bonnie
  Whiting. Co-authors on the project include Whittney (CoCo) Bales-Malone\,
  Ashley Strong\, Marjorie Woods\, Ingrid Swinford\, Char’Dae Avery\, LaDaw
 n Johnson\, Dawnetta Taylor (Shelton)\, Lara Campbell\, Amaris Rose Bunyar
 d\, and Joyce (Potter) Hawkins.</div><div> </div><div>The project centers 
 the perspectives and artistic contributions of these incarcerated women\, 
 allowing education to function as “epistemic reparations” for the  injusti
 ces incarcerated people experience. While this can manifest in many ways\,
  in the realm of arts education\, it means using the arts as a space for i
 ncarcerated students to develop hermeneutic frames for their experience – 
 that is\, to shape their own narratives – and providing platforms for the 
 creative work of incarcerated people to enter the public sphere with full 
 authorial attribution. </div><div> </div><hr><h2><strong>PROGRAM DETAIL</s></h2><div><p class='font_8'>Through the Eye(s)</p><p class='font_8'>
 <span>1. Calm and Storm (2’)</span><br><em>Text by Whittney (CoCo) Bales-M
 alone</em><br><em>Music by Eliza Brown</em></p><p class='font_8'><span> 2.
  Nightly Storm (4’30”)</span><br><em>Music and text by Ashley Strong</em>&lt;
 /p&gt;<p class='font_8'><span> 3. Lost in the Fog (3’30”)</span><br><span>Tex
 t by Marjorie Woods</span><br><em>Music by Eliza Brown</em></p><p class='f
 ont_8'><span>4. My Tunnel (3-5’)</span><br><em>Graphic score and text by I
 ngrid Swinford</em></p><p class='font_8'><span> 5. Violent Passion (2’15”)
 </span><br><em>Music and text by Char’Dae Avery</em></p><p class='font_8'>
 <span> 6. Fortitude (2’15”)</span><br><em>Music and text by LaDawn Johnson
 </em></p><p class='font_8'><span> 7. Who’s That? (4’)</span><br><em>Improv
 isatory score and text by Dawnetta Taylor (Shelton)</em></p><p class='font
 _8'><span> 8. HER (3’30”)</span><br><em>Music and lyrics by Lara Campbell&lt;
 /em&gt;</p><p class='font_8'>9. Emergence (1’)<br><em>Music and text by Amari
 s Rose Bunyard and Joyce (Potter) Hawkins</em></p><p class='font_8'><a hre f='https://www.elizabrown.net/through-the-eye-s' target='_blank' rel='noop
 ener noreferrer'><em><strong>Through The Eye(s) </strong></em><strong>Proj
 ect Page</strong></a></p><hr><h2 class='font_7'><strong>Biographies </h2></div>
END:VEVENT
BEGIN:VEVENT
UID:b9ae4b02-386c-4d93-ae92-3e0660f5bd74
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20251008T214349Z
DESCRIPTION:<p>Ana Alonso Minutti\, associate professor of musicology and e
 thnomusicology at the University of New Mexico\, is featured speaker in th
 is installment of the 2025-26 THEME lecture Series.</p><hr><h2>Biography</h2><p>Ana Alonso-Minutti (she/hers) is an associate professor of music\, r
 esearch associate of the Southwest Hispanic Research Institute\, and facul
 ty affiliate of the Latin American and Iberian Institute and the Feminist 
 Research Institute at the University of New Mexico. She currently serves a
 s associate chair (academic faculty) of the Department of Music and as mus
 icology area head.</p><p>She graduated summa cum laude with a BA in music 
 from the Universidad de las Américas\, Puebla\, Mexico\, and received MA a
 nd PhD degrees in musicology from the University of California\, Davis. He
 r scholarship focuses on experimental and avant-garde expressions and musi
 c traditions from Mexico and the US-Mexico border. Among her research area
 s are Latina/Chicana feminist and queer theories\, critical race studies\,
  and decolonial methodologies. </p><p>Her work has been published in edite
 d volumes and in academic journals in the United States (Latin American Mu
 sic Review\, Journal of Music History Pedagogy\, Brújula\, Sound American)
 \, Mexico (Heterofonía\, Discanto\, Pauta\, Sonus Litterarum)\, and Argent
 ina (Revista Argentina de Musicología)\, and she has presented her work in
  conferences and institutions across the Americas (Brazil\, Canada\, Colom
 bia\, Mexico\, Puerto Rico\, U.S.) and Europe (Finland\, Romania\, Spain).
  </p><p>She is the author of Mario Lavista: Mirrors of Sounds (Oxford Univ
 ersity Press\, 2023) and co-editor of the volume Experimentalisms in Pract
 ice: Music Perspectives from Latin America (Oxford University Press\, 2018
 ). </p><p>In addition to her scholarly work\, Alonso-Minutti has written s
 everal compositions. Her multi-movement choral work\, Voces del desierto (
 premiered at Albuquerque’s National Hispanic Cultural Center in 2019)\, wo
 n the biennial Robert M. Stevenson Prize granted by the Society for Ethnom
 usicology in 2021. Moreover\, she directed and produced the video document
 ary Cubos y permutaciones: plástica\, música y poesía de vanguardia en Méx
 ico exhibited at the Museo Universitario de Arte Contemporáneo (MUAC) in M
 exico City and at the Museo Espacio in Aguascalientes.</p><p>Currently\, A
 lonso-Minutti is editor-in-chief of the journal Twentieth-Century Music\, 
 area editor for Grove Music Online’s Women\, Gender\, and Sexuality Projec
 t\, member of the editorial board of Journal of Music History Pedagogy\, m
 ember of the advisory board of Sonus Litteratum\, and curatorial advisor f
 or Mediateca Lavista. Moreover\, she is a faculty affiliate of Project Spe
 ctrum\, a student-led coalition committed to increasing diversity\, equity
 \, inclusion\, and accessibility in music studies. She has served in vario
 us capacities in music-centered academic societies. She is a former counci
 l member of the American Musicological Society and the Society for Ethnomu
 sicology\, former chair of AMS’s Ibero-American Music Study Group\, and fo
 rmer chair of AMS’s Alfred Einstein Award.</p><p>In her classes\, Alonso-M
 inutti fosters a multidirectional dialogue centered on musical/sound pract
 ices while engaging in decolonial methodologies\, cultural aesthetics\, tr
 ansculturation\, gender/sexuality studies\, border consciousness\, and mus
 ical activism. Prior to joining the University of New Mexico\, she was Ass
 istant Professor of Music at the University of North Texas\, where she tau
 ght large undergraduate non-music major courses\, upper-division music maj
 or courses\, courses within the Honors College\, and master’s and doctoral
 -level seminars.</p><hr><h2 encode sans compressed open>Series Background</h2>&lt;
 p class='p1' style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;
 caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open 
 Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-style:normal\
 ;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;line-he
 ight:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-a
 lign:start\;text-decoration:none\;text-indent:0px\;text-rendering:optimize
 legibility\;text-transform:none\;white-space:normal\;widows:auto\;word-spa
 cing:0px\;'&gt;THEME: A colloquium of UW faculty and students of Theory\, His
 tory\, Ethnomusicology\, and Music Education held on select Friday afterno
 ons during the academic year. </p>
DTSTART;TZID=America/Los_Angeles:20260417T160000
LAST-MODIFIED:20251008T215242Z
SEQUENCE:378
SUMMARY:: THEME Lecture Series: Ana Alonso Minutti (University of New Mexic
 o)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-17/theme-lecture-series-ana
 -alonso-minutti-university-new-mexico
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Ana Alonso Minutti\, associate professor of
  musicology and ethnomusicology at the University of New Mexico\, is featu
 red speaker in this installment of the 2025-26 THEME lecture Series.</p><h2>Biography</h2><p>Ana Alonso-Minutti (she/hers) is an associate profe
 ssor of music\, research associate of the Southwest Hispanic Research Inst
 itute\, and faculty affiliate of the Latin American and Iberian Institute 
 and the Feminist Research Institute at the University of New Mexico. She c
 urrently serves as associate chair (academic faculty) of the Department of
  Music and as musicology area head.</p><p>She graduated summa cum laude wi
 th a BA in music from the Universidad de las Américas\, Puebla\, Mexico\, 
 and received MA and PhD degrees in musicology from the University of Calif
 ornia\, Davis. Her scholarship focuses on experimental and avant-garde exp
 ressions and music traditions from Mexico and the US-Mexico border. Among 
 her research areas are Latina/Chicana feminist and queer theories\, critic
 al race studies\, and decolonial methodologies. </p><p>Her work has been p
 ublished in edited volumes and in academic journals in the United States &lt;
 em&gt;(Latin American Music Review\, Journal of Music History Pedagogy\, Brúj
 ula\, Sound American)\, Mexico (Heterofonía\, Discanto\, Pauta\, Sonus Lit
 terarum)</em>\, and Argentina <em>(Revista Argentina de Musicología)</em>\
 , and she has presented her work in conferences and institutions across th
 e Americas (Brazil\, Canada\, Colombia\, Mexico\, Puerto Rico\, U.S.) and 
 Europe (Finland\, Romania\, Spain). </p><p>She is the author of <em>Mario 
 Lavista: Mirrors of Sounds </em>(Oxford University Press\, 2023) and co-ed
 itor of the volume <em>Experimentalisms in Practice: Music Perspectives fr
 om Latin America </em>(Oxford University Press\, 2018). </p><p>In addition
  to her scholarly work\, Alonso-Minutti has written several compositions. 
 Her multi-movement choral work\, Voces del desierto (premiered at Albuquer
 que’s National Hispanic Cultural Center in 2019)\, won the biennial Robert
  M. Stevenson Prize granted by the Society for Ethnomusicology in 2021. Mo
 reover\, she directed and produced the video documentary <em>Cubos y permu
 taciones: plástica\, música y poesía de vanguardia en México </em>exhibite
 d at the Museo Universitario de Arte Contemporáneo (MUAC) in Mexico City a
 nd at the Museo Espacio in Aguascalientes.</p><p>Currently\, Alonso-Minutt
 i is editor-in-chief of the journal <em>Twentieth-Century Music</em>\, are
 a editor for <em>Grove Music Online’s Women\, Gender\, and Sexuality Proje
 ct\, </em>member of the editorial board of <em>Journal of Music History Pe
 dagogy\,</em> member of the advisory board of <em>Sonus Litteratum\, </em>
 and curatorial advisor for <em>Mediateca Lavista.</em> Moreover\, she is a
  faculty affiliate of Project Spectrum\, a student-led coalition committed
  to increasing diversity\, equity\, inclusion\, and accessibility in music
  studies. She has served in various capacities in music-centered academic 
 societies. She is a former council member of the American Musicological So
 ciety and the Society for Ethnomusicology\, former chair of AMS’s Ibero-Am
 erican Music Study Group\, and former chair of AMS’s Alfred Einstein Award
 .</p><p>In her classes\, Alonso-Minutti fosters a multidirectional dialogu
 e centered on musical/sound practices while engaging in decolonial methodo
 logies\, cultural aesthetics\, transculturation\, gender/sexuality studies
 \, border consciousness\, and musical activism. Prior to joining the Unive
 rsity of New Mexico\, she was Assistant Professor of Music at the Universi
 ty of North Texas\, where she taught large undergraduate non-music major c
 ourses\, upper-division music major courses\, courses within the Honors Co
 llege\, and master’s and doctoral-level seminars.</p><hr><h2 encode sans compressed open>Series Background</h2><p class='p1' open>THEME: A colloquium of UW fac
 ulty and students of Theory\, History\, Ethnomusicology\, and Music Educat
 ion held on select Friday afternoons during the academic year. </p>
END:VEVENT
BEGIN:VEVENT
UID:e0d476e7-fb0b-4d38-a5f2-3d89e1379bc3
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250815T004613Z
DESCRIPTION:<p>Seattle orchestra Harmonia (William White\, conductor) perfo
 rms concerto excerpts with UW piano students.<br><br>This performance is m
 ade possible with support from the Willard Schultz Piano Fund in the Schoo
 l of Music.</p><hr><h2>Biography</h2><h3>Harmonia</h3><p>Harmonia is a voc
 al-instrumental ensemble unique among Pacific Northwest musical organizati
 ons\, combining a 70-member orchestra with a 55-voice chorus to perform or
 atorio masterworks alongside symphonic and a cappella repertoire\, world p
 remieres and chamber music.</p><p>Founded by George Shangrow in 1969 as th
 e Seattle Chamber Singers\, from its inception the group performed a diver
 se array of music — works of the Medieval\, Renaissance and Baroque period
 s to contemporary pieces and world premieres — accompanied by an ad hoc gr
 oup of instrumentalists for Bach cantatas and Handel oratorios (many of wh
 ich received their first Seattle performances at SCS concerts).</p><p>A de
 cade later\, in 1979\, Shangrow formed an orchestra at the request of thes
 e musicians\, calling it the Broadway Chamber Symphony (after the Broadway
  Performance Hall on Seattle’s Capitol Hill\, where it gave its first conc
 erts). The orchestra’s name soon became the Broadway Symphony and then (be
 ginning with the 1991–1992 season) Orchestra Seattle.</p><p>With Shangrow 
 on the podium (or conducting from the harpsichord)\, the combined ensemble
 s became renowned for performances of the Bach Passions and numerous Hande
 l oratorios — particularly Messiah. During the “Bach Year” of 1985\, the o
 rganization presented 35 concerts devoted to dozens upon dozens of Bach’s 
 works to celebrate the 300th anniversary of the composer’s birth.</p><p>Ov
 er the past five decades\, the ensemble has performed all of the greatest 
 choral-orchestral masterpieces\, from Beethoven’s Ninth and Missa Solemnis
  to Stravinsky’s Symphony of Psalms\, Mendelssohn’s Elijah to Brahms’ Germ
 an Requiem\, and Haydn’s The Creation and The Seasons to Britten’s War Req
 uiem. Meanwhile\, the orchestra\, partnering with world-class soloists\, h
 as explored the symphonic repertoire\, programming beloved warhorses along
 side seldom-performed gems. Throughout\, Shangrow championed the music of 
 local composers (in particular Huntley Beyer\, Robert Kechley\, Roupen Sha
 karian and Carol Sams\, pictured below)\, presenting well over 100 world p
 remieres.</p><p>George Shangrow lost his life in a car crash on July 31\, 
 2010\, an event that shocked not only our musicians and our audiences\, bu
 t the entire Pacific Northwest musical community. Over the ensuing three s
 easons\, the volunteer performers of our orchestra and chorus partnered wi
 th a number of distinguished guest conductors to carry on the astounding m
 usical legacy Shangrow created.</p><p>A search process during the 2012–201
 3 season led to the selection of Clinton Smith as the group’s second music
  director. Clinton led the ensemble for four seasons. The 2017–2018 season
  brought four music-director candidates to the podium\, resulting in Willi
 am White being named music director and principal conductor beginning with
  the 2018–2019 season. White’s tenure has already been marked by several n
 otable developments: a season devoted to the works of Lili Boulanger\; the
  organization’s 50th anniversary celebrations\; a pandemic year commission
 ing project\; and the adoption of a new name: Harmonia.</p><h3>William Whi
 te</h3><p>The 2025–2026 season marks William White’s eighth as Harmonia’s 
 music director. Maestro White is a conductor\, composer\, teacher\, writer
  and performer whose musical career has spanned genres and crossed discipl
 ines. For four seasons (2011–2015) he served as assistant conductor of the
  Cincinnati Symphony Orchestra\, working closely with music director Louis
  Langrée and an array of guest artists\, including John Adams\, Philip Gla
 ss\, Jennifer Higdon\, Itzhak Perlman and James Conlon.</p><p>A noted peda
 gogue\, he has led some of the nation’s finest youth orchestra programs\, 
 including Portland’s Metropolitan Youth Symphony and the Cincinnati Sympho
 ny Youth Orchestra. Mr. White has long-standing associations with a number
  of musical organizations\, including the Chicago Symphony Orchestra\, the
  Pierre Monteux School for Conductors and the Interlochen Academy.</p><p>I
 n addition\, Mr. White maintains a significant career as a composer of mus
 ic for the concert stage\, theater\, cinema\, church\, radio and film. His
  music — which includes a symphony\, an oratorio\, chamber music of all va
 rieties\, and several works intended for young audiences — has been perfor
 med throughout North America as well as in Asia and Europe. Several of his
  works have been recorded on the MSR Classics\, Cedille and Parma record l
 abels. Recordings of his music can be heard at <a href='http://www.willcwh
 ite.com'>www.willcwhite.com</a>\, where he also maintains a blog and publi
 shing business.</p><p>Mr. White earned a master’s degree in conducting fro
 m Indiana University’s Jacobs School of Music\, studying symphonic and ope
 ratic repertoire with David Effron and Arthur Fagan. He received a Bachelo
 r of Arts in Music from the University of Chicago\, where his principal te
 achers were composer Easley Blackwood and conductor Barbara Schubert.</p>
DTSTART;TZID=America/Los_Angeles:20260417T193000
LAST-MODIFIED:20250910T213332Z
SEQUENCE:379
SUMMARY:: Guest Artist Concert: Harmonia with UW Piano Students
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-17/guest-artist-concert-har
 monia-uw-piano-students
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Seattle orchestra Harmonia (William White\,
  conductor) performs concerto excerpts with UW piano students.<br><br><em>
 This performance is made possible with support from the Willard Schultz Pi
 ano Fund in the School of Music.</em></p><hr><h2>Biography</h2><h3>Harmoni
 a</h3><p>Harmonia is a vocal-instrumental ensemble unique among Pacific No
 rthwest musical organizations\, combining a 70-member orchestra with a 55-
 voice chorus to perform oratorio masterworks alongside symphonic and a cap
 pella repertoire\, world premieres and chamber music.</p><p>Founded by Geo
 rge Shangrow in 1969 as the Seattle Chamber Singers\, from its inception t
 he group performed a diverse array of music — works of the Medieval\, Rena
 issance and Baroque periods to contemporary pieces and world premieres — a
 ccompanied by an ad hoc group of instrumentalists for Bach cantatas and Ha
 ndel oratorios (many of which received their first Seattle performances at
  SCS concerts).</p><p>A decade later\, in 1979\, Shangrow formed an orches
 tra at the request of these musicians\, calling it the Broadway Chamber Sy
 mphony (after the Broadway Performance Hall on Seattle’s Capitol Hill\, wh
 ere it gave its first concerts). The orchestra’s name soon became the Broa
 dway Symphony and then (beginning with the 1991–1992 season) Orchestra Sea
 ttle.</p><p>With Shangrow on the podium (or conducting from the harpsichor
 d)\, the combined ensembles became renowned for performances of the Bach P
 assions and numerous Handel oratorios — particularly Messiah. During the “
 Bach Year” of 1985\, the organization presented 35 concerts devoted to doz
 ens upon dozens of Bach’s works to celebrate the 300th anniversary of the 
 composer’s birth.</p><p>Over the past five decades\, the ensemble has perf
 ormed all of the greatest choral-orchestral masterpieces\, from Beethoven’
 s Ninth and Missa Solemnis to Stravinsky’s Symphony of Psalms\, Mendelssoh
 n’s Elijah to Brahms’ German Requiem\, and Haydn’s The Creation and The Se
 asons to Britten’s War Requiem. Meanwhile\, the orchestra\, partnering wit
 h world-class soloists\, has explored the symphonic repertoire\, programmi
 ng beloved warhorses alongside seldom-performed gems. Throughout\, Shangro
 w championed the music of local composers (in particular Huntley Beyer\, R
 obert Kechley\, Roupen Shakarian and Carol Sams\, pictured below)\, presen
 ting well over 100 world premieres.</p><p>George Shangrow lost his life in
  a car crash on July 31\, 2010\, an event that shocked not only our musici
 ans and our audiences\, but the entire Pacific Northwest musical community
 . Over the ensuing three seasons\, the volunteer performers of our orchest
 ra and chorus partnered with a number of distinguished guest conductors to
  carry on the astounding musical legacy Shangrow created.</p><p>A search p
 rocess during the 2012–2013 season led to the selection of Clinton Smith a
 s the group’s second music director. Clinton led the ensemble for four sea
 sons. The 2017–2018 season brought four music-director candidates to the p
 odium\, resulting in William White being named music director and principa
 l conductor beginning with the 2018–2019 season. White’s tenure has alread
 y been marked by several notable developments: a season devoted to the wor
 ks of Lili Boulanger\; the organization’s 50th anniversary celebrations\; 
 a pandemic year commissioning project\; and the adoption of a new name: Ha
 rmonia.</p><h3>William White</h3><p>The 2025–2026 season marks William Whi
 te’s eighth as Harmonia’s music director. Maestro White is a conductor\, c
 omposer\, teacher\, writer and performer whose musical career has spanned 
 genres and crossed disciplines. For four seasons (2011–2015) he served as 
 assistant conductor of the Cincinnati Symphony Orchestra\, working closely
  with music director Louis Langrée and an array of guest artists\, includi
 ng John Adams\, Philip Glass\, Jennifer Higdon\, Itzhak Perlman and James 
 Conlon.</p><p>A noted pedagogue\, he has led some of the nation’s finest y
 outh orchestra programs\, including Portland’s Metropolitan Youth Symphony
  and the Cincinnati Symphony Youth Orchestra. Mr. White has long-standing 
 associations with a number of musical organizations\, including the Chicag
 o Symphony Orchestra\, the Pierre Monteux School for Conductors and the In
 terlochen Academy.</p><p>In addition\, Mr. White maintains a significant c
 areer as a composer of music for the concert stage\, theater\, cinema\, ch
 urch\, radio and film. His music — which includes a symphony\, an oratorio
 \, chamber music of all varieties\, and several works intended for young a
 udiences — has been performed throughout North America as well as in Asia 
 and Europe. Several of his works have been recorded on the MSR Classics\, 
 Cedille and Parma record labels. Recordings of his music can be heard at &lt;
 a href='http://www.willcwhite.com'&gt;www.willcwhite.com</a>\, where he also 
 maintains a blog and publishing business.</p><p>Mr. White earned a master’
 s degree in conducting from Indiana University’s Jacobs School of Music\, 
 studying symphonic and operatic repertoire with David Effron and Arthur Fa
 gan. He received a Bachelor of Arts in Music from the University of Chicag
 o\, where his principal teachers were composer Easley Blackwood and conduc
 tor Barbara Schubert.</p>
END:VEVENT
BEGIN:VEVENT
UID:e3b921e6-3d02-4309-a8e1-7a5ed602ba94
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20251002T191646Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p><p> Topics covered include:</strong></p><ul><li>An overview of the School o
 f Music and its resources</li><li>Degree programs offered</li><li>The appl
 ication and audition process</li><li>Scholarships</li><li>Opportunities fo
 r non-music majors</li></ul><p><strong>Time and location: </strong>Informa
 tion sessions are held from 12:00-1:00 PM over Zoom. </p><p><a class='purp
 le-button' href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer'>Regis
 ter</a></p><p>Registration is required. <strong>To ask a question\, please
  email </strong><a href='mailto:SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20260423T120000
LAST-MODIFIED:20251002T191702Z
SEQUENCE:380
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-23/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p>The UW School of Music encourag
 es prospective freshmen\, transfer students\, and current UW undergraduate
 s to attend a School of Music information session. These sessions provide 
 a great opportunity to learn more about what the School of Music has to of
 fer as well as ask questions about admissions\, auditions\, or life as a U
 W music student.</p></blockquote><p> <strong>Topics covered include:</p><ul><li>An overview of the School of Music and its resources</li>Degree programs offered</li><li>The application and audition process</li><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p>&lt;
 strong&gt;Time and location: </strong>Information sessions are held from 12:0
 0-1:00 PM over Zoom. </p><p><a class='purple-button' href='https://music.w
 ashington.edu/prospective-undergraduate-student-information-session' targe t='_blank' rel='noopener noreferrer'>Register</a></p><p>Registration is re
 quired. <strong>To ask a question\, please email </strong><a href='mailto:
 SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:32f35124-d94a-46b6-87a3-813d184e6830
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Special Events\, Student Activities and P
 erformances
CLASS:PUBLIC
CREATED:20250819T230110Z
DESCRIPTION:<p>The School of Music and the student-run Improvised Music Pro
 ject (IMP) present IMPFest\, featuring UW Jazz Studies students and facult
 y  performing with guest artists of international renown.  Headliners for 
 this year's festival are Grammy nominated drummer\, producer\, and emcee K
 assa Overall and Icelandic composer and bass guitarist Skùli Sverisson.</p><p><strong>Friday Night Headliner:</strong> Kassa Overall with UW student
 s and faculty<br><strong>Saturday Night Headliner:</strong>  Skùli Sveriss
 on wtih UW students and faculty</p><hr><h2>Artist Biography</h2><p><strong>KASSA OVERALL</strong> is a Grammy-nominated jazz artist\, drummer\, emce
 e\, singer and producer. He seamlessly blends jazz\, hip-hop and avant-gar
 de experimentation into a sound uniquely his own. His music is both innova
 tive and accessible\, pushing the boundaries of genre while remaining deep
 ly engaging. Overall has released seven critically acclaimed mixtapes and 
 albums\, including I Think I’m Good and Go Get Ice Cream and Listen to Jaz
 z. His latest project\, CREAM\, reinterprets eight hip-hop classics as if 
 they were 1960's jazz instrumentals. It features tracks from artists like 
 The Notorious B.I.G.\, Wu-Tang Clan\, and OutKast\, blending improvisation
  with hip-hop roots. A graduate of the Oberlin Conservatory of Music\, Ove
 rall has been a driving force in the jazz world for over two decades. In 2
 020\, he was called “one of modern jazz music’s most audacious futurists” 
 by Pitchfork. He has toured and recorded with renowned artists like Geri A
 llen\, Jon Batiste\, Steve Coleman\, Vijay Iyer\, Terri Lyne Carrington\, 
 and Gary Bartz\, and his production work can be heard on albums by Theo Cr
 oker\, Arto Lindsay and Danny Brown. A Seattle native\, Kassa Overall atte
 nded Washington MS and Garfield HS. A child drum prodigy\, he taught himse
 lf to make beats on an MPC and an ASR 10 he acquired at a Seattle Police D
 epartment auction.<br> </p>
DTSTART;TZID=America/Los_Angeles:20260424T193000
LAST-MODIFIED:20260303T214627Z
SEQUENCE:381
SUMMARY:: Improvised Music Project Festival (IMPFEST)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-24/improvised-music-project
 -festival-impfest
END:VEVENT
BEGIN:VEVENT
UID:51da1fff-390f-4c50-9ea2-c21edf6cee14
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Special Events\, Student Activities and P
 erformances
CLASS:PUBLIC
CREATED:20250819T230615Z
DESCRIPTION:<p>The School of Music and the student-run Improvised Music Pro
 ject (IMP) present IMPFest\, featuring UW Jazz Studies students and facult
 y  performing with guest artists of international renown.  Headliners for 
 this year's festival are Grammy nominated drummer\, producer\, and emcee K
 assa Overall and Icelandic composer and bass guitarist Skùli Sverisson.</p><p><strong>Friday Night Headliner:</strong> Kassa Overall with UW student
 s and faculty<br><strong>Saturday Night Headliner:</strong>  Skùli Sveriss
 on wtih UW students and faculty</p><hr><h2>Artist Biography</h2><p>SKÚLI S
 VERRISSON is an Icelandic composer and bassist residing in New York City. 
 Over the past two decades\, bass guitarist-composer Skuli Sverrisson has w
 orked with a veritable who’s who of the experimental world\, from free jaz
 z legends (Wadada Leo Smith\, Derek Bailey) to music icons (Lou Reed\, Jon
  Hassel\, David Sylvian\, Arto Lindsey) and composers (Ryuichi Sakamoto\, 
 Johann Johannsson and Hildur Gudnadottir). Sverrisson is also known for hi
 s work as an artistic director for Olof Arnalds (Innundir Skinni\, Vid og 
 Vid)\, recordings with Blonde Redhead and as a musical director for legend
 ary performance artist Laurie Anderson. He has released a series of duo al
 bums of in collaboration with artists such as Anthony Burr\, Oskar Gudjons
 son\, and Hilmar Jensson. He has been a member of many influential groups 
 including Pachora\, Alas No Axis\, The Allan Holdsworth group and The Ben 
 Monder group. Sverrisson has also composed music for The Icelandic Dance C
 ompany (Open Source) the National Theatre of Iceland (Volva) and numerous 
 films and installations such as Welcome and Music for furniture with Olafu
 r Thordason\, Spatial Meditation with Claudia Hill and When it was Blue wi
 th experimental film maker Jennifer Reeves. Sverrisson founded Seria\, an 
 ongoing ensemble featuring Amedeo Pace (Blonde Redhead)\, Olof Arnalds\, D
 avid Thor Jonsson\, Anthony Burr\, Eyvind Kang and Hildur Gudnadottir in 2
 005 and released Seria in 2006 and Seria ll in 2010. He has appeared on ov
 er 100 recordings and has performed around the world with a wide range of 
 artists. Three new recordings of the ongoing collaboration with Anthony Bu
 rr and a new duo recording with Oskar Gudjonsson. Sverrisson has been awar
 ded 5 Icelandic Music Awards\, including Icelandic Album of the Year for S
 eria in 2006.</p><p>He has worked with numerous musicians and groups\, inc
 luding Hildur Guðnadóttir\, Hilmar Jensson\, Jim Black\, Chris Speed\, Ant
 hony Burr\, Laurie Anderson\, Allan Holdsworth\, Ryuichi Sakamoto\, David 
 Sylvian\, Blonde Redhead\, Yungchen Lhamo\, Jamshied Sharifi\, Ólöf Arnald
 s\, Pachora\, and Alas No Axis. He was a part of Mo Boma with Jamshied Sha
 rifi and Carsten Tiedemann\, releasing 4 albums on Extreme\; 'Jijimuge'\, 
 'Myths of the Near Future - Part One'\, 'Myths of the Near Future - Part T
 wo' and 'Myths of the Near Future - Part Three'.</p><p>His solo works incl
 ude Seremonie in 1997 and Sería in 2006. Seria was chosen as 'Best album o
 f the Year' by the Icelandic Music Awards. Sverrisson also plays dobro\, a
 coustic bass guitar\, and charango\, in addition to electric bass. He is c
 urrently music director for Laurie Anderson and tours with her internation
 ally.</p>
DTSTART;TZID=America/Los_Angeles:20260425T193000
LAST-MODIFIED:20260303T214221Z
SEQUENCE:382
SUMMARY:: Improvised Music Project Festival (IMPFEST)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-25/improvised-music-project
 -festival-impfest
END:VEVENT
BEGIN:VEVENT
UID:a537ea8f-a123-4a24-82b5-76ed255ad209
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Special Events\, Student Activ
 ities and Performances
CLASS:PUBLIC
CREATED:20260225T234536Z
DESCRIPTION:<p>Students of Dr. Stephen Price present a UW Organ studio pres
 ent a spring recital. </p><hr><h2>Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260428T193000
LAST-MODIFIED:20260226T000827Z
SEQUENCE:383
SUMMARY:: External Event: Organ Studio Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-28/external-event-organ-stu
 dio-recital
END:VEVENT
BEGIN:VEVENT
UID:828e43b7-ddf9-4c3d-bf71-c92f21bbff47
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250818T195914Z
DESCRIPTION:<p> </p><p>The Wind Ensemble and Symphonic Band (Erin Bodnar\, 
 director) presents 'Scenes and Portraits\,' featuring music by Gustav Hols
 t\, Martin Ellerby\, and others.</p><hr><h2>Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260430T193000
LAST-MODIFIED:20250910T103735Z
SEQUENCE:384
SUMMARY:: Wind Ensemble and Symphonic Band: Scenes and Portraits
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-30/wind-ensemble-and-sympho
 nic-band-scenes-and-portraits
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>The Wind Ensemble and Symphonic Ban
 d (Erin Bodnar\, director) presents 'Scenes and Portraits\,'<em> </em>feat
 uring music by Gustav Holst\, Martin Ellerby\, and others.</p><hr><h2>Dire
 ctor Biography</h2>
END:VEVENT
BEGIN:VEVENT
UID:c3a1af32-e8b3-4476-8685-cd2ada87895c
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T175837Z
DESCRIPTION:<p> </p><p>David Alexander Rahbee leads the UW Symphony in a pr
 ogram featuring winners of the 2025-26 School of Music Concerto Competitio
 ns: Xinyin Cao\, piano\; Claire Wei\, flute\; and Hanu Nahm\, violin. Prog
 ram includes works by Liszt\, Reinecke\, and Barber. Also on the program: 
 Richard Strauss: Till Eulenspiegel’s Merry Pranks\, op. 28.</p><hr><h2>Pro
 gram:</h2><p><strong>Strauss: </strong>Till Eulenspiegel’s Merry Pranks\, 
 op. 28.</p><p><strong>Liszt: </strong>Totentanz<br>Xinyin Cao\, piano<br>&lt;
 br&gt;<strong>Reinecke:</strong> Flute concerto\, mvts 1 &amp; 3<br>Claire Wei\, 
 flute<br><br><strong>Barber:</strong> Violin concerto\, mvt 1<br>Hanu Nahm
 \, violin</p><hr><h2>Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260501T193000
LAST-MODIFIED:20260218T013802Z
SEQUENCE:385
SUMMARY:: UW Symphony Orchestra with Concerto Competition Winners
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-01/uw-symphony-orchestra-co
 ncerto-competition-winners
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>David Alexander Rahbee leads the UW
  Symphony in a program featuring winners of the 2025-26 School of Music Co
 ncerto Competitions: Xinyin Cao\, piano\; Claire Wei\, flute\; and Hanu Na
 hm\, violin. Program includes works by Liszt\, Reinecke\, and Barber. Also
  on the program: Richard Strauss: Till Eulenspiegel’s Merry Pranks\, op. 2
 8.</p><hr><h2>Program:</h2><p><strong>Strauss: </strong>Till Eulenspiegel’
 s Merry Pranks\, op. 28.</p><p><strong>Liszt: </strong>Totentanz<br><em>Xi
 nyin Cao\, piano</em><br><br><strong>Reinecke:</strong> Flute concerto\, m
 vts 1 &amp; 3<br><em>Claire Wei\, flute</em><br><br><strong>Barber:</strong> V
 iolin concerto\, mvt 1<br><em>Hanu Nahm\, violin</em></p><hr><h2>Director 
 Biography</h2>
END:VEVENT
BEGIN:VEVENT
UID:3b3c644f-4bba-4cab-81c9-468c8d07c154
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20251002T191730Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p><p> Topics covered include:</strong></p><ul><li>An overview of the School o
 f Music and its resources</li><li>Degree programs offered</li><li>The appl
 ication and audition process</li><li>Scholarships</li><li>Opportunities fo
 r non-music majors</li></ul><p><strong>Time and location: </strong>Informa
 tion sessions are held from 12:00-1:00 PM over Zoom. </p><p><a class='purp
 le-button' href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer'>Regis
 ter</a></p><p>Registration is required. <strong>To ask a question\, please
  email </strong><a href='mailto:SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20260505T120000
LAST-MODIFIED:20251002T191745Z
SEQUENCE:386
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-05/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p>The UW School of Music encourag
 es prospective freshmen\, transfer students\, and current UW undergraduate
 s to attend a School of Music information session. These sessions provide 
 a great opportunity to learn more about what the School of Music has to of
 fer as well as ask questions about admissions\, auditions\, or life as a U
 W music student.</p></blockquote><p> <strong>Topics covered include:</p><ul><li>An overview of the School of Music and its resources</li>Degree programs offered</li><li>The application and audition process</li><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p>&lt;
 strong&gt;Time and location: </strong>Information sessions are held from 12:0
 0-1:00 PM over Zoom. </p><p><a class='purple-button' href='https://music.w
 ashington.edu/prospective-undergraduate-student-information-session' targe t='_blank' rel='noopener noreferrer'>Register</a></p><p>Registration is re
 quired. <strong>To ask a question\, please email </strong><a href='mailto:
 SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:2871eefa-559c-408f-9033-e0085ba1185c
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250528T164709Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<h2 class='x_MsoNormal'>Featured Performers</h2>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSchool
  of Music musicians. Further details coming soon!
DTSTART;TZID=America/Los_Angeles:20260506T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:387
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-06/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <h2 class='x_MsoN
 ormal'><span>Featured Performers</span></h2> <div class='elementToProof'> 
 <div class='elementToProof'> <div class='elementToProof'> <div class='elem
 entToProof'> <div class='elementToProof'> <div class='x_elementToProof Con
 tentPasted0'> <div class='x_elementToProof ContentPasted0'></div> </div> &lt;
 /div&gt; </div> </div> </div> </div> <div></div> <div>School of Music musicia
 ns. Further details coming soon!</div>
END:VEVENT
BEGIN:VEVENT
UID:06b47892-e1a4-4171-bc6f-101283266ad2
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T194426Z
DESCRIPTION:<p> </p>\n\n<p>UW Jazz Studies students perform in small combos
  over two consecutive nights of original tunes\, homage to the greats of j
 azz\, and experiments in composing and arranging. </p>\n\n<hr>\n<h3> </h3>
 \n\n<h2>Director Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260513T193000
LAST-MODIFIED:20250814T195714Z
SEQUENCE:388
SUMMARY:: Jazz Innovations I
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-13/jazz-innovations-i
END:VEVENT
BEGIN:VEVENT
UID:87ffc7d2-2742-466b-b940-e9ffb16ceec2
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20250814T005122Z
DESCRIPTION:<p>Violist/Composer Melia Watras brings together an all-star li
 neup of composers and performers for world premiere performances and new m
 usic. The concert features works by 2024 Pulitzer Prize Finalist Mary Kouy
 oumdjian\, School of Music Director Joël Durand\, Chair of Percussion Bonn
 ie Whiting and Watras. Watras is joined onstage by UW faculty Pala Garcia 
 (violin)\, Rachel Lee Priday (violin)\, John Popham (cello) and Whiting\, 
 student Flora Cummings (viola)\, and Pacific Northwest Ballet concertmaste
 r Michael Jinsoo Lim.</p><hr><h2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260513T193000
LAST-MODIFIED:20260105T161609Z
SEQUENCE:389
SUMMARY:: Faculty Concert: Melia Watras\, The atmosphere of a place
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-13/faculty-concert-melia-wa
 tras-atmosphere-place
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div><p>Violist/Composer Melia Watras brings together an al
 l-star lineup of composers and performers for world premiere performances 
 and new music. The concert features works by 2024 Pulitzer Prize Finalist 
 Mary Kouyoumdjian\, School of Music Director Joël Durand\, Chair of Percus
 sion Bonnie Whiting and Watras. Watras is joined onstage by UW faculty Pal
 a Garcia (violin)\, Rachel Lee Priday (violin)\, John Popham (cello) and W
 hiting\, student Flora Cummings (viola)\, and Pacific Northwest Ballet con
 certmaster Michael Jinsoo Lim.</p></div><hr><h2>Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:145356b7-008f-4a6e-b843-27f58d8a6f71
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T195556Z
DESCRIPTION:<p> </p>\n\n<p>UW Jazz Studies students perform in small combos
  over two consecutive nights of original tunes\, homage to the greats of j
 azz\, and experiments in composing and arranging. </p>\n\n<hr>\n<h2>Direct
 or Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260514T193000
LAST-MODIFIED:20250814T200100Z
SEQUENCE:390
SUMMARY:: Jazz Innovations II
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-14/jazz-innovations-ii
END:VEVENT
BEGIN:VEVENT
UID:2cbb137e-38f6-4ade-bcd8-0de8c8aba746
DTSTAMP:20260307T094252Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20251008T215254Z
DESCRIPTION:<p>William Dougherty\, assistant professor of composition at th
 e University of Washington\, is featured speaker in this installment of th
 e 2025-26 THEME lecture Series.</p><hr><h2>Biography</h2><p>William Doughe
 rty is an American composer\, sound artist\, educator\, and writer who joi
 ned the University of Washington faculty in January 2025. Dougherty's work
 s have been performed internationally by ensembles including BBC Scottish 
 Symphony Orchestra (Glasgow)\, The Sun Ra Arkestra (Philadelphia)\, Yarn/W
 ire (New York)\, Ensemble Phoenix (Basel)\, TILT Brass (New York)\, Ensemb
 le for New Music Tallinn(Estonia)\, JACK Quartet (New York)\, and Talea En
 semble (New York). His music has been featured in festivals such as Tecton
 ics Glasgow (2023)\, IRCAM's ManiFeste (2019)\, musikprotokoll (2018)\, Do
 naueschingen Musiktage (2017)\, New Music Miami (2017)\, Tectonics Festiva
 l New York (2015)\, the New York City Electroacoustic Music Festival (2015
 )\, the 47th Internationale Ferienkurse für Neue Musik in Darmstadt (2014)
 \, the New York Philharmonic Biennale (2014)\, and broadcast on BBC Radio 
 3. </p><p>Dougherty was the recipient of the Luciano Berio Rome Prize in M
 usic Composition from the American Academy in Rome. He hasreceived additio
 nal recognitions\, awards\, and fellowships from Harvard University's Radc
 liffe Institute for Advanced Study\, Columbia University's Institute for I
 deas &amp; Imagination\, Civitella Ranieri Foundation\, the American Academy o
 f Arts and Letters\, Gaudeamus Muziekweek\, the Internationale Gesellschaf
 t für Neue Musik (IGNM/ISCM)\, the Aaron Copland House\, SEAMUS/ASCAP\, BM
 I\, PARMA Recordings\, the PRS for Music Society\, the American Composers 
 Forum\, the Philadelphia Orchestra Association\, the Institute for Europea
 n Studies\, and the UK Foreign Aid and Commonwealth Office.</p><p>Doughert
 y earned his Doctorate of Musical Arts (DMA) degree at Columbia University
  in New York City\, where he taught and assisted undergraduate courses in 
 composition\, music technology\, and music theory at Columbia University. 
 He previously served on the composition faculty at Temple University. </p>
 <p>Dougherty graduated with a Bachelor’s in Music Composition from Temple 
 University’s Boyer College of Music and Dance in Philadelphia where he stu
 died with Maurice Wright\, Richard Brodhead\, and Jan Krzywicki. As a Mars
 hall Scholar\, Dougherty earned his Master’s from the Royal College of Mus
 ic in London studying with Kenneth Hesketh and Mark-Anthony Turnage after 
 which he completed supplementary studies (Ergänzungsstudium) under the gui
 dance of Georg Friedrich Haas at the Hochschule für Musik Basel in Switzer
 land. In 2018-19\, William completed the Cursus Programme in composition a
 nd computer music at IRCAM in Paris while in residence at Cité Internation
 ale des Arts. </p><hr><h2 encode sans compressed open>Series Background</h2><p class='p1' open sa>THEME: A colloquium of UW faculty and students of Theory\, Histo
 ry\, Ethnomusicology\, and Music Education held on select Friday afternoon
 s during the academic year. </p>
DTSTART;TZID=America/Los_Angeles:20260515T160000
LAST-MODIFIED:20251008T215934Z
SEQUENCE:391
SUMMARY:: THEME Lecture Series: William Dougherty (University of Washington
 )
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-15/theme-lecture-series-wil
 liam-dougherty-university-washington
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>William Dougherty\, assistant professor of 
 composition at the University of Washington\, is featured speaker in this 
 installment of the 2025-26 THEME lecture Series.</p><hr><h2>Biography</h2>
 <p><span class='C9DxTc '>William Dougherty
  is an American composer\, sound artist\, educator\, and writer who joined
  the University of Washington faculty in January 2025. Dougherty's works h
 ave been performed internationally by ensembles including BBC Scottish Sym
 phony Orchestra (Glasgow)\, The Sun Ra Arkestra (Philadelphia)\, Yarn/Wire
  (New York)\, Ensemble Phoenix (Basel)\, TILT Brass (New York)\, Ensemble 
 for New Music Tallinn(Estonia)\, JACK Quartet (New York)\, and Talea Ensem
 ble (New York). His music has been featured in festivals such as Tectonics
  Glasgow (2023)\, IRCAM's ManiFeste (2019)\, musikprotokoll (2018)\, Donau
 eschingen Musiktage (2017)\, New Music Miami (2017)\, Tectonics Festival N
 ew York (2015)\, the New York City Electroacoustic Music Festival (2015)\,
  the 47th Internationale Ferienkurse für Neue Musik in Darmstadt (2014)\, 
 the New York Philharmonic Biennale (2014)\, and broadcast on BBC Radio 3. 
 </span></p><p><span class='C9DxTc '>Doughe
 rty was the recipient of the Luciano Berio Rome Prize in Music Composition
  from the American Academy in Rome. He hasreceived additional recognitions
 \, awards\, and fellowships from Harvard University's Radcliffe Institute 
 for Advanced Study\, Columbia University's Institute for Ideas &amp; Imaginati
 on\, Civitella Ranieri Foundation\, the American Academy of Arts and Lette
 rs\, Gaudeamus Muziekweek\, the Internationale Gesellschaft für Neue Musik
  (IGNM/ISCM)\, the Aaron Copland House\, SEAMUS/ASCAP\, BMI\, PARMA Record
 ings\, the PRS for Music Society\, the American Composers Forum\, the Phil
 adelphia Orchestra Association\, the Institute for European Studies\, and 
 the UK Foreign Aid and Commonwealth Office.</span></p><p><span class='C9Dx
 Tc '>Dougherty earned his Doctorate of Mus
 ical Arts (DMA) degree at Columbia University in New York City\, where he 
 taught and assisted undergraduate courses in composition\, music technolog
 y\, and music theory at Columbia University. He previously served on the c
 omposition faculty at Temple University. </span></p><p><span class='C9DxTc
  '>Dougherty graduated with a Bachelor’s i
 n Music Composition from Temple University’s Boyer College of Music and Da
 nce in Philadelphia where he studied with Maurice Wright\, Richard Brodhea
 d\, and Jan Krzywicki. As a Marshall Scholar\, Dougherty earned his Master
 ’s from the Royal College of Music in London studying with Kenneth Hesketh
  and Mark-Anthony Turnage after which he completed supplementary studies (
 Ergänzungsstudium) under the guidance of Georg Friedrich Haas at the Hochs
 chule für Musik Basel in Switzerland. In 2018-19\, William completed the C
 ursus Programme in composition and computer music at IRCAM in Paris while 
 in residence at Cité Internationale des Arts. </span></p><hr><h2 encode sans compressed regu open>Series Background</h2><p class='p1' open>THEME: A colloquium of UW
  faculty and students of Theory\, History\, Ethnomusicology\, and Music Ed
 ucation held on select Friday afternoons during the academic year. </p>
END:VEVENT
BEGIN:VEVENT
UID:73b7dac1-5b0b-42fc-9170-210878ca33f8
DTSTAMP:20260307T094252Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20250814T212844Z
DESCRIPTION:<p>Faculty pianist Craig Sheppard is joined by current and form
 er UW students in this concert celebrating the 250th anniversary of the si
 gning of the Declaration of Independence.</p><hr><h2>Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260515T193000
LAST-MODIFIED:20250910T104039Z
SEQUENCE:392
SUMMARY:: Faculty Recital: Craig Sheppard with Students
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-15/faculty-recital-craig-sh
 eppard-students
END:VEVENT
BEGIN:VEVENT
UID:51927655-0d2f-404e-81a0-16c85cb6df9a
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T232548Z
DESCRIPTION:<p> </p>\n\n<p>UW music students perform music from the Baroque
  era under the direction of Tekla Cunningham.</p>\n\n<hr>\n<h2>Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260518T193000
LAST-MODIFIED:20250814T232729Z
SEQUENCE:393
SUMMARY:: Baroque Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-18/baroque-ensemble
END:VEVENT
BEGIN:VEVENT
UID:77eb1709-f509-40e5-8d0a-b02c66d2f2de
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T211003Z
DESCRIPTION:<p> </p>\n\n<p>UW voice students of Thomas Harper and Carrie Sh
 aw perform art songs and arias from the vocal repertoire. </p>\n\n<hr>\nBiographies</h2>
DTSTART;TZID=America/Los_Angeles:20260519T160000
LAST-MODIFIED:20250814T211057Z
SEQUENCE:394
SUMMARY:: Voice Division Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-19/voice-division-recital
END:VEVENT
BEGIN:VEVENT
UID:4ae18f9b-42a7-4eb6-b1f2-60bdece5b857
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20251002T191750Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p><p> Topics covered include:</strong></p><ul><li>An overview of the School o
 f Music and its resources</li><li>Degree programs offered</li><li>The appl
 ication and audition process</li><li>Scholarships</li><li>Opportunities fo
 r non-music majors</li></ul><p><strong>Time and location: </strong>Informa
 tion sessions are held from 12:00-1:00 PM over Zoom. </p><p><a class='purp
 le-button' href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer'>Regis
 ter</a></p><p>Registration is required. <strong>To ask a question\, please
  email </strong><a href='mailto:SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20260521T120000
LAST-MODIFIED:20251002T191800Z
SEQUENCE:395
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-21/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p>The UW School of Music encourag
 es prospective freshmen\, transfer students\, and current UW undergraduate
 s to attend a School of Music information session. These sessions provide 
 a great opportunity to learn more about what the School of Music has to of
 fer as well as ask questions about admissions\, auditions\, or life as a U
 W music student.</p></blockquote><p> <strong>Topics covered include:</p><ul><li>An overview of the School of Music and its resources</li>Degree programs offered</li><li>The application and audition process</li><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p>&lt;
 strong&gt;Time and location: </strong>Information sessions are held from 12:0
 0-1:00 PM over Zoom. </p><p><a class='purple-button' href='https://music.w
 ashington.edu/prospective-undergraduate-student-information-session' targe t='_blank' rel='noopener noreferrer'>Register</a></p><p>Registration is re
 quired. <strong>To ask a question\, please email </strong><a href='mailto:
 SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:4ea7534c-49fb-4ec8-8e75-dccdb0ca0419
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20200715T195031Z
DESCRIPTION:<p>The master Javanese gamelan musician Heri Purwanto from Indo
 nesia performs with his students in this evening of music from central Jav
 a\, Indonesia.</p><hr><h2>Event Background</h2><p>The University of Washin
 gton School of Music is pleased to showcase music from the island of Java 
 in the country of Indonesia.  Java is rich with performance traditions in 
 an array of regional styles.<strong>  </strong>This evening features gamel
 an music associated with central and east Java.</p><p>Gamelan are ensemble
 s largely composed of gongs and keyed percussion instruments.  Although ma
 ny such ensembles are found throughout Southeast Asia\, gamelan are primar
 ily associated with musical cultures on the Indonesian islands of Java\, M
 adura\, Bali\, and Lombok.  In Java\, the most preferred material is bronz
 e\, but iron and brass are also used as less expensive alternatives. </p>&lt;
 p&gt;Although different gamelan may vary slightly in their tunings\, most gam
 elan music in central and east Java uses a five-tone tuning system called 
 sléndro or a seven-tone tuning system called pélog.  There are a number of
  modes\, or pathet\, in each tuning system.  The tuning system (laras) and
  mode (pathet) are specified in the titles of compositions below.  Tonight
 ’s performance features compositions in pélog using about half of the inst
 ruments of the UW School of Music’s bronze gamelan\, which is named Hapsar
 i Kusumajaya (Heavenly Nymph Flower Power). </p><p>Most Javanese gamelan i
 nclude four groups of instruments.  The large gongs of various sizes mark 
 the musical structure of repeated gong cycles.  The largest hanging gongs 
 (gong) mark the very end of each cycle while the smaller hanging gongs (ke
 mpul) and horizontal gongs (kenong\, kethuk\, and kempyang) divide the cyc
 le into phrases.  A family of one-octave metallophones (saron\, demung\, a
 nd slenthem) plays a skeletal version of the melody.  A third group of ins
 truments elaborates the melody and includes other metallophones (peking\, 
 gendèr\, and gendèr panerus)\, the xylophone (gambang)\, gong-chimes (bona
 ng and bonang panerus)\, flute (suling)\, bowed fiddle (rebab)\, and voice
 \, although sometimes the saron\, demung and slenthemelaborate the melody 
 as well.  Guiding the melodic elaboration is a conceptual melody that musi
 cians know but that is not sounded by any one instrument.  This melody\, s
 ometimes called the inner melody\, is sounded when all of the instruments 
 play together\, and yet is not audible as a single line played on any one 
 instrument.  The drums (kendhang)\, the fourth group\, control the tempo. 
 </p><hr><h2><strong>Biography</strong></h2><p><strong>Heri Purwanto\, a highly respected teacher\, performer\, and master musician of Javan
 ese gamelan\, comes from a family of musicians in Wonogiri\, Central Java.
   After graduating from the college level academy (now Institut Seni Indon
 esia) in Surakarta\, Central Java\, at the top of his class in 2000\, he t
 aught gamelan at the University of California-Berkeley from 2001 to 2004 a
 nd directed the Berkeley-based ensemble Gamelan Sari Raras.  Since returni
 ng to Java in 2004\, Heri has continued his work as an artist\, building a
 nd running an arts studio in his community as well as performing as a musi
 cian throughout Indonesia\, as well as in Singapore\, Thailand\, China\, a
 nd across the United States.  He has been a Visiting Artist in the Ethnomu
 sicology Program at the University of Washington in 2011\, 2014\, and 2019
  and has performed with the Seattle-based ensemble Gamelan Pacifica.  From
  2014 to 2016 he taught gamelan at Earlham College in Richmond\, Indiana\,
  where he was in residence on a Fulbright award during the 2014-2015 year.
  </p>
DTSTART;TZID=America/Los_Angeles:20260521T193000
LAST-MODIFIED:20250910T104201Z
SEQUENCE:396
SUMMARY:: Ethnomusicology Visiting Artist Concert: Heri Purwanto
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-21/ethnomusicology-visiting
 -artist-concert-heri-purwanto
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The master Javanese gamelan musician Heri P
 urwanto from Indonesia performs with his students in this evening of music
  from central Java\, Indonesia.</p><hr><h2>Event Background</h2><p>The Uni
 versity of Washington School of Music is pleased to showcase music from th
 e island of Java in the country of Indonesia.<span>  </span>Java is rich w
 ith performance traditions in an array of regional styles.<span><strong>  
 </strong></span>This evening features gamelan music associated with centra
 l and east Java.</p><p>Gamelan are ensembles largely composed of gongs and
  keyed percussion instruments.<span>  </span>Although many such ensembles 
 are found throughout Southeast Asia\, gamelan are primarily associated wit
 h musical cultures on the Indonesian islands of Java\, Madura\, Bali\, and
  Lombok.<span>  </span>In Java\, the most preferred material is bronze\, b
 ut iron and brass are also used as less expensive alternatives.<span> </p><p>Although different gamelan may vary slightly in their tunings\, 
 most gamelan music in central and east Java uses a five-tone tuning system
  called <em>sléndro</em> or a seven-tone tuning system called <em>pélog.<span>  </span>There are a number of modes\, or <em>pathet\,</em> in ea
 ch tuning system.<span>  </span>The tuning system (<em>laras</em>) and mod
 e (<em>pathet</em>) are specified in the titles of compositions below.  </span>Tonight’s performance features compositions in <em>pélog </em>u
 sing about half of the instruments of the UW School of Music’s bronze game
 lan\, which is named <em>Hapsari Kusumajaya</em> (Heavenly Nymph Flower Po
 wer).<span> </span></p><p>Most Javanese gamelan include four groups of ins
 truments.<span>  </span>The large gongs of various sizes mark the musical 
 structure of repeated gong cycles.<span>  </span>The largest hanging gongs
  (<em>gong</em>) mark the very end of each cycle while the smaller hanging
  gongs (<em>kempul</em>) and horizontal gongs (<em>kenong\, kethuk\, </em>
 and<em> kempyang</em>) divide the cycle into phrases.<span>  </span>A fami
 ly of one-octave metallophones (<em>saron</em>\, <em>demung</em>\, and <em>slenthem</em>) plays a skeletal version of the melody.<span>  </span>A th
 ird group of instruments elaborates the melody and includes other metallop
 hones (<em>peking</em>\, <em>gendèr</em>\, and <em>gendèr</em> <em>panerus
 </em>)\, the xylophone (<em>gambang</em>)\, gong-chimes (<em>bonang</em> a
 nd <em>bonang</em> <em>panerus</em>)\, flute (<em>suling</em>)\, bowed fid
 dle (<em>rebab</em>)\, and voice\, although sometimes the <em>saron</em>\,
  <em>demung</em> and <em>slenthem</em>elaborate the melody as well. <span>
  </span>Guiding the melodic elaboration is a conceptual melody that musici
 ans know but that is not sounded by any one instrument.<span>  </span>This
  melody\, sometimes called the inner melody\, is sounded when all of the i
 nstruments play together\, and yet is not audible as a single line played 
 on any one instrument.<span>  </span>The drums (<em>kendhang</em>)\, the f
 ourth group\, control the tempo.<span> </span></p><hr><h2><strong>Biograph
 y</strong></h2><p><strong>Heri Purwanto</strong>\, a highly respected teac
 her\, performer\, and master musician of Javanese gamelan\, comes from a f
 amily of musicians in Wonogiri\, Central Java.  After graduating from the 
 college level academy (now Institut Seni Indonesia) in Surakarta\, Central
  Java\, at the top of his class in 2000\, he taught gamelan at the Univers
 ity of California-Berkeley from 2001 to 2004 and directed the Berkeley-bas
 ed ensemble Gamelan Sari Raras.  Since returning to Java in 2004\, Heri ha
 s continued his work as an artist\, building and running an arts studio in
  his community as well as performing as a musician throughout Indonesia\, 
 as well as in Singapore\, Thailand\, China\, and across the United States.
   He has been a Visiting Artist in the Ethnomusicology Program at the Univ
 ersity of Washington in 2011\, 2014\, and 2019 and has performed with the 
 Seattle-based ensemble Gamelan Pacifica.  From 2014 to 2016 he taught game
 lan at Earlham College in Richmond\, Indiana\, where he was in residence o
 n a Fulbright award during the 2014-2015 year. </p>
END:VEVENT
BEGIN:VEVENT
UID:cadcc2d2-82d9-47cb-8b94-5c8054839859
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T203259Z
DESCRIPTION:<p> </p>\n\n<p>UW keyboard students perform music from the pian
 o repertoire. </p>\n\n<hr>\n<p> </p>\n\n<p> </p>
DTSTART;TZID=America/Los_Angeles:20260521T193000
LAST-MODIFIED:20250814T203451Z
SEQUENCE:397
SUMMARY:: Brechemin Piano Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-21/brechemin-piano-series
END:VEVENT
BEGIN:VEVENT
UID:5be1ecf6-6727-4bd2-8315-dfc45f9c50e2
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250819T181821Z
DESCRIPTION:<p>The UW's graduate-student-led choral ensembles—the Universit
 y Singers\, UW Glee\, and Treble Choir—present an eclectic year-end concer
 t. </p><hr><h2> </h2>
DTSTART;TZID=America/Los_Angeles:20260522T193000
LAST-MODIFIED:20250910T104257Z
SEQUENCE:398
SUMMARY:: UW Sings
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-22/uw-sings
END:VEVENT
BEGIN:VEVENT
UID:46488c05-fb3f-4ccd-9d48-bb06c455aaac
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250819T224047Z
DESCRIPTION:<p>Guitar students of Michael Partington present their quarterl
 y studio recital.</p>\n\n<hr>\n<h3>Director Biography</h3>
DTSTART;TZID=America/Los_Angeles:20260522T193000
LAST-MODIFIED:20250819T224536Z
SEQUENCE:399
SUMMARY:: Guitar Studio Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-22/guitar-studio-recital
END:VEVENT
BEGIN:VEVENT
UID:20fba89f-9cc9-4b59-ae20-549ffeaaf8d5
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250819T221628Z
DESCRIPTION:<p> </p><p>The UW Percussion Ensemble (Bonnie Whiting\, directo
 r) performs contemporary music of many genres composed for percussion ense
 mbles ranging in size from trios to nonets and dectets.</p><hr><h4> </h4>&lt;
 h2 style='font-weight:400\;'&gt;Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260526T193000
LAST-MODIFIED:20250910T104414Z
SEQUENCE:400
SUMMARY:: Percussion Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-26/percussion-ensemble
END:VEVENT
BEGIN:VEVENT
UID:d45bfef7-1f6d-429e-9293-557acc107a8c
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250819T180439Z
DESCRIPTION:<p>The Chamber Singers and University Chorale present their Spr
 ing Quarter performance. The Chamber Singers present two major works that 
 align in form\, content\, and performers: J.S. Bach’s Magnificat and Reena
  Esmail’s This Love Between Us: Prayers for Unity\, a collection of prayer
 s from seven faith traditions\, set in a similar layout as Bach and employ
 ing the same Baroque orchestra—except the organ and bass are replaced by s
 itar and tabla!</p><hr><h2> </h2>
DTSTART;TZID=America/Los_Angeles:20260528T193000
LAST-MODIFIED:20250910T104520Z
SEQUENCE:401
SUMMARY:: Chamber Singers and University Chorale: 'Reflections'
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-28/chamber-singers-and-univ
 ersity-chorale-reflections
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The Chamber Singers and University Chorale 
 present their Spring Quarter performance. The Chamber Singers present two 
 major works that align in form\, content\, and performers: J.S. Bach’s Mag
 nificat and Reena Esmail’s <em>This Love Between Us: Prayers for Unity\, &lt;
 /em&gt;a collection of prayers from seven faith traditions\, set in a similar
  layout as Bach and employing the same Baroque orchestra—except the organ 
 and bass are replaced by sitar and tabla!</p><hr><h2> </h2>
END:VEVENT
BEGIN:VEVENT
UID:12127804-d425-4fb4-a240-5c60580f85c8
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T235029Z
DESCRIPTION:<p>Students of John Popham present a chamber music showcase.</p>\n\n<hr>\n<h2>Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260529T140000
LAST-MODIFIED:20250814T235254Z
SEQUENCE:402
SUMMARY:: Chamber Music Showcase
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-29/chamber-music-showcase
END:VEVENT
BEGIN:VEVENT
UID:1ec90a1c-662d-47c5-8c2b-9bf248367e44
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250818T163440Z
DESCRIPTION:<p> </p><p>The Modern Music Ensemble (Cristina Valdés\, directo
 r) performs music from the mid-20th century and beyond\, including world p
 remieres of works by living composers. </p><hr><h2>Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260529T193000
LAST-MODIFIED:20250910T104614Z
SEQUENCE:403
SUMMARY:: Modern Music Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-29/modern-music-ensemble
END:VEVENT
BEGIN:VEVENT
UID:516595ab-4d83-4fb9-bffb-c31e154830d0
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20251007T160354Z
DESCRIPTION:<p>The Campus Philharmonia Orchestras (Robert Stahly\, Zach Ban
 ks\, conductors) present an end-of-quarter concert. </p><hr><h2>Biographie
 s <br> </h2>
DTSTART;TZID=America/Los_Angeles:20260530T150000
LAST-MODIFIED:20251110T201745Z
SEQUENCE:404
SUMMARY:: Campus Philharmonia Orchestras
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-30/campus-philharmonia-orch
 estras
END:VEVENT
BEGIN:VEVENT
UID:39374fa4-042b-4e11-9d6e-4c6a51a43bc5
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250818T201920Z
DESCRIPTION:<p> </p><p>Phyllis Byrdwell leads the 100-voice Gospel Choir in
  songs from the Gospel tradition. </p><hr><h2>Biographies</h2><h3> </h3>
DTSTART;TZID=America/Los_Angeles:20260601T193000
LAST-MODIFIED:20250910T104716Z
SEQUENCE:405
SUMMARY:: UW Gospel Choir
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-06-01/uw-gospel-choir
END:VEVENT
BEGIN:VEVENT
UID:13dde154-7ef9-4be5-b8d2-a39448e8eaf2
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250818T200119Z
DESCRIPTION:<p> </p><p>The Wind Ensemble and Symphonic Band (Erin Bodnar\, 
 director) present 'Emblems\,' featuring music by Aaron Copland\, Wim Bex\,
  Kevin Day\, Dwayne Milburn\, John Mackey and others. With Eden Garza\, ba
 ss trombone.</p><hr><h2>Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260602T193000
LAST-MODIFIED:20250910T104835Z
SEQUENCE:406
SUMMARY:: Wind Ensemble and Symphonic Band: Emblems
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-06-02/wind-ensemble-and-sympho
 nic-band-emblems
END:VEVENT
BEGIN:VEVENT
UID:048d949f-93ab-4f78-9695-48febfe2578c
DTSTAMP:20260307T094252Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20250528T164722Z
DESCRIPTION:<p>Students of the UW School of Music perform in this lunchtime
  concert series co-hosted by UW Music and UW Libraries. </p>\n\n<h2 class='x_MsoNormal'>Featured Performers</h2>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSchool
  of Music musicians. Further details coming soon!
DTSTART;TZID=America/Los_Angeles:20260603T123000
LAST-MODIFIED:20250722T005059Z
SEQUENCE:407
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-06-03/first-wednesday-concert-
 series-students-uw-school-music
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote> <p><span><span>Students of the UW
  School of Music perform in this</span> </span>lunchtime concert series co
 -hosted by UW Music and UW Libraries. </p> </blockquote> <h2 class='x_MsoN
 ormal'><span>Featured Performers</span></h2> <div class='elementToProof'> 
 <div class='elementToProof'> <div class='elementToProof'> <div class='elem
 entToProof'> <div class='elementToProof'> <div class='x_elementToProof Con
 tentPasted0'> <div class='x_elementToProof ContentPasted0'></div> </div> &lt;
 /div&gt; </div> </div> </div> </div> <div></div> <div>School of Music musicia
 ns. Further details coming soon!</div>
END:VEVENT
BEGIN:VEVENT
UID:e39322c9-e05a-4acb-ab63-579e5bd3ab50
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250819T190152Z
DESCRIPTION:<p> </p><p>The Studio Jazz Ensemble and Modern Ensemble present
  a shared program of repertory selections\, original music\, and inspired 
 arrangements.  </p><hr><h2>Biographies</h2><h3> </h3>
DTSTART;TZID=America/Los_Angeles:20260603T193000
LAST-MODIFIED:20250910T104946Z
SEQUENCE:408
SUMMARY:: Studio Jazz Ensemble and Modern Band
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-06-03/studio-jazz-ensemble-and
 -modern-band
END:VEVENT
BEGIN:VEVENT
UID:e101426c-c469-40d8-8566-8db1a8079970
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T192442Z
DESCRIPTION:<p> </p><p>The UW Symphony (David Alexander Rahbee\, director) 
  and combined UW Choirs (Giselle Wyers\, director) team up for a year-end 
 program featuring music by Ottorino Respighi\, Nadia Boulanger\, and Franc
 is Poulenc. Mezzo-soprano Clara Osowski is featured soloist with the combi
 ned ensembles for works by Boulanger\, orchestrated by David Alexander Rah
 bee. Giselle Wyers conducts Poulenc: Gloria.</p><hr><h2>Program</h2><p>Ottorino Respighi: </strong>Fountains of Rome</p><p><strong>Nadia Bou
 langer: </strong>6 Songs\, orchd. Rahbee<br>Clara Osowski\, mezzo-soprano 
 </p><p><strong>Francis Poulenc:</strong> Gloria<br>Giselle Wyers\, conduct
 or</p><hr><h2>Biographies</h2><p></p><h3><a href='https://www.claraosowski
 .com'>Clara Osowski</a></h3><p>Mezzo-soprano Clara Osowski\, who sings 'fr
 om inside the music with unaffected purity and sincerity' (UK Telegraph)\,
  is an active soloist and chamber musician hailed for her 'rich and radian
 t voice' (UrbanDial Milwaukee). She was a Metropolitan Opera National Coun
 cil Upper-Midwest Regional Finalist\, the winner of several competitions i
 ncluding Bel Canto Chorus Regional Artists Competition of Milwaukee\, the 
 Houston Saengerbund Competition\, several time runner-up in The Schubert C
 lub Bruce P. Carlson Scholarship Competition\, and third place in the Madi
 son Handel Aria Competition. Recognized for her excellence in Minnesota\, 
 Clara was a recipient of the prestigious 2018-2019 McKnight Artist Fellows
 hips for Musicians administered by MacPhail Center for Music.</p><p>In int
 ernational competition with pianist Tyler Wottrich\, in March of 2017\, Cl
 ara became the first ever American prize winner when she placed second at 
 Thomas Quasthoff's International Das Lied Competition in Heidelberg\, Germ
 any. Later that year\, the duo was also one of four to reach the finals in
  the very prestigious Wigmore Hall/Kohn Foundation Song Competition in Lon
 don\, and Clara was awarded the Richard Tauber Prize for the best interpre
 tation of Schubert Lieder. She recently won the Radio-Canada People’s Choi
 ce Award and third place in the song division at the 2018 Concours Musical
  International de Montréal. </p><p>Recent performance highlights include h
 er debut with Minnesota Opera as Mrs. Herring in Britten’s Albert Herring\
 , and active as a recitalist\, she stepped in for Susanna Philips in The S
 chubert Club International Artist Series Recital with Eric Owens. She has 
 also been a feature recitalist at the Enlightenment Festival of Seraphic F
 ire\, The Pablo Center of Eau Claire\, Wisconsin\, The Dame Myra Hess Memo
 rial Concerts\, and several universities. She has collaborated with many c
 hamber musicians\, including pianist Wu Han\, The Lydian String Quartet\, 
 VocalEssence Ensemble Singers\, the Minneapolis Guitar Quartet\, Accordo\,
  and Dark Horse Consort. Clara’s passion for contemporary music is exhibit
 ed in the song-cycles and chamber music she has premiered or commissioned 
 by numerous composers including James Kallembach\, Libby Larsen\, David Ev
 an Thomas\, Linda Kachelmeier\, Reinaldo Moya\, Carol Barnett\, and Julian
 a Hall. </p><p>Orchestral performance highlights include her soloist debut
 s of Bach's St. Matthew Passion with the Bel Canto Chorus of Milwaukee\, B
  Minor Mass with the Back Bay Chorale of Boston\, Christmas Oratorio with 
 Bach Society of Minnesota\, Mozart’s Requiem with Milwaukee Symphony Orche
 stra\, Mahler's Symphony No. 2 with Tulsa Signature Symphony\, Bernstein’s
  Jeremiah with Mid-Columbia Symphony\, and Dominick Argento's orchestral s
 ong cycles Casa Guidi and A few words about Chekhov with the Metropolitan 
 Symphony Orchestra of Minneapolis.</p><p>Active also as an educator\, Clar
 a has enjoyed giving masterclasses and convocations at several universitie
 s\, including Syracuse University\, Muhlenberg College\, Seattle Universit
 y\, Concordia College (Moorhead)\, and North Dakota State University. She 
 was also the guest artist in residence at Indiana State University's 50th 
 Contemporary Music Festival celebrating the music of Libby Larsen. Clara a
 lso served on the faculty at the Aspen Music Festival's Professional Chora
 l Institute in partnership with Seraphic Fire\, and has been a panelist fo
 r SongFest and the Lakes Area Music Festival.</p><p>Previous season highli
 ghts include her Wigmore Hall debut recital with Julius Drake\, debuts wit
 h Kansas City Symphony and Handel and Haydn Society\, a premiere oratorio 
 with the National Lutheran Choir by Steve Heitzig\, and a premiere orchest
 ral song cycle by Carol Barnett with the Metropolitan Symphony Orchestra. 
 </p><p>In addition to performing\, Clara serves as the Artistic Director o
 f Source Song Festival\, a week-long art song festival in Minneapolis\, Mi
 nnesota. This festival strives to create and perform new art song\, and cu
 ltivate an educational environment for students of song\, including compos
 ers\, vocalists\, and collaborative pianists. In addition to her solo work
 \, she participates in a number of ensembles\, including Lumina Women's En
 semble\, Lorelei Ensemble\, and Seraphic Fire. </p>
DTSTART;TZID=America/Los_Angeles:20260605T193000
LAST-MODIFIED:20251121T190301Z
SEQUENCE:409
SUMMARY:: UW Symphony Orchestra with UW Choirs\, Giselle Wyers\, and Clara 
 Osowski\, mezzo-soprano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-06-05/uw-symphony-orchestra-uw
 -choirs-giselle-wyers-and-clara-osowski-mezzo-soprano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>The UW Symphony (David Alexander Ra
 hbee\, director)  and combined UW Choirs (Giselle Wyers\, director) team u
 p for a year-end program featuring music by Ottorino Respighi\, Nadia Boul
 anger\, and Francis Poulenc. Mezzo-soprano Clara Osowski is featured soloi
 st with the combined ensembles for works by Boulanger\, orchestrated by Da
 vid Alexander Rahbee. Giselle Wyers conducts Poulenc: Gloria.</p><hr><h2>P
 rogram</h2><p><strong>Ottorino Respighi: </strong>Fountains of Rome</p><p>
 <strong>Nadia Boulanger: </strong>6 Songs\, orchd. Rahbee<br><em>Clara Oso
 wski\, mezzo-soprano </em></p><p><strong>Francis Poulenc:</strong> Gloria&lt;
 br&gt;<em>Giselle Wyers\, conductor</em></p><hr><h2>Biographies</h2><p></p><h3><a href='https://www.claraosowski.com'>Clara Osows
 ki</a></h3><p>Mezzo-soprano Clara Osowski\, who sings 'from inside the mus
 ic with unaffected purity and sincerity' (UK Telegraph)\, is an active sol
 oist and chamber musician hailed for her 'rich and radiant voice' (UrbanDi
 al Milwaukee). She was a Metropolitan Opera National Council Upper-Midwest
  Regional Finalist\, the winner of several competitions including Bel Cant
 o Chorus Regional Artists Competition of Milwaukee\, the Houston Saengerbu
 nd Competition\, several time runner-up in The Schubert Club Bruce P. Carl
 son Scholarship Competition\, and third place in the Madison Handel Aria C
 ompetition. Recognized for her excellence in Minnesota\, Clara was a recip
 ient of the prestigious 2018-2019 McKnight Artist Fellowships for Musician
 s administered by MacPhail Center for Music.</p><p>In international compet
 ition with pianist Tyler Wottrich\, in March of 2017\, Clara became the fi
 rst ever American prize winner when she placed second at Thomas Quasthoff'
 s International Das Lied Competition in Heidelberg\, Germany. Later that y
 ear\, the duo was also one of four to reach the finals in the very prestig
 ious Wigmore Hall/Kohn Foundation Song Competition in London\, and Clara w
 as awarded the Richard Tauber Prize for the best interpretation of Schuber
 t Lieder. She recently won the Radio-Canada People’s Choice Award and thir
 d place in the song division at the 2018 Concours Musical International de
  Montréal. </p><p>Recent performance highlights include her debut with Min
 nesota Opera as Mrs. Herring in Britten’s Albert Herring\, and active as a
  recitalist\, she stepped in for Susanna Philips in The Schubert Club Inte
 rnational Artist Series Recital with Eric Owens. She has also been a featu
 re recitalist at the Enlightenment Festival of Seraphic Fire\, The Pablo C
 enter of Eau Claire\, Wisconsin\, The Dame Myra Hess Memorial Concerts\, a
 nd several universities. She has collaborated with many chamber musicians\
 , including pianist Wu Han\, The Lydian String Quartet\, VocalEssence Ense
 mble Singers\, the Minneapolis Guitar Quartet\, Accordo\, and Dark Horse C
 onsort. Clara’s passion for contemporary music is exhibited in the song-cy
 cles and chamber music she has premiered or commissioned by numerous compo
 sers including James Kallembach\, Libby Larsen\, David Evan Thomas\, Linda
  Kachelmeier\, Reinaldo Moya\, Carol Barnett\, and Juliana Hall. </p><p>Or
 chestral performance highlights include her soloist debuts of Bach's <em>S
 t. Matthew Passion</em> with the Bel Canto Chorus of Milwaukee\, <em>B Min
 or Mass</em> with the Back Bay Chorale of Boston\, <em>Christmas Oratorio&lt;
 /em&gt; with Bach Society of Minnesota\, Mozart’s <em>Requiem</em> with Milwa
 ukee Symphony Orchestra\, Mahler's <em>Symphony No. 2</em> with Tulsa Sign
 ature Symphony\, Bernstein’s <em>Jeremiah</em> with Mid-Columbia Symphony\
 , and Dominick Argento's orchestral song cycles <em>Casa Guidi</em> and A few words about Chekhov</em> with the Metropolitan Symphony Orchestra 
 of Minneapolis.</p><p>Active also as an educator\, Clara has enjoyed givin
 g masterclasses and convocations at several universities\, including Syrac
 use University\, Muhlenberg College\, Seattle University\, Concordia Colle
 ge (Moorhead)\, and North Dakota State University. She was also the guest 
 artist in residence at Indiana State University's 50th Contemporary Music 
 Festival celebrating the music of Libby Larsen. Clara also served on the f
 aculty at the Aspen Music Festival's Professional Choral Institute in part
 nership with Seraphic Fire\, and has been a panelist for SongFest and the 
 Lakes Area Music Festival.</p><p>Previous season highlights include her Wi
 gmore Hall debut recital with Julius Drake\, debuts with Kansas City Symph
 ony and Handel and Haydn Society\, a premiere oratorio with the National L
 utheran Choir by Steve Heitzig\, and a premiere orchestral song cycle by C
 arol Barnett with the Metropolitan Symphony Orchestra. </p><p>In addition 
 to performing\, Clara serves as the Artistic Director of Source Song Festi
 val\, a week-long art song festival in Minneapolis\, Minnesota. This festi
 val strives to create and perform new art song\, and cultivate an educatio
 nal environment for students of song\, including composers\, vocalists\, a
 nd collaborative pianists. In addition to her solo work\, she participates
  in a number of ensembles\, including Lumina Women's Ensemble\, Lorelei En
 semble\, and Seraphic Fire. </p>
END:VEVENT
BEGIN:VEVENT
UID:3816f9a3-e32b-4485-b77a-663c28a6ad73
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T210018Z
DESCRIPTION:<p>Emerging and established composers explore unconventional so
 nic landscapes in this concert of music by students\, faculty\, alumni\, a
 nd guests of the UW Composition program.</p>\n\n<hr>\n<h2>Director Biograp
 hies</h2>
DTSTART;TZID=America/Los_Angeles:20260606T193000
LAST-MODIFIED:20250814T210150Z
SEQUENCE:410
SUMMARY:: Composition Studio Concert
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-06-06/composition-studio-conce
 rt
END:VEVENT
BEGIN:VEVENT
UID:1cbdf34c-490f-438b-bd97-b78740317e1a
DTSTAMP:20260307T094252Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250910T120528Z
DESCRIPTION:<p avenir next> </p><p>Expect the unexpected\, the l
 yrical\, hints of musical theatre\, and storytelling inspired by televisio
 n\, film\, and dreamscapes when UW Voice students present operatic comedie
 s and dramas of the 21st century. With stage direction by Kelly Kitchens\;
  music direction by Andrew Romanick. </p><hr><h2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260607T150000
LAST-MODIFIED:20250910T213900Z
SEQUENCE:411
SUMMARY:: Opera Workshop
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-06-07/opera-workshop
END:VEVENT
BEGIN:VEVENT
UID:36a46d82-7263-4d32-8342-f0736b063504
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20251002T192028Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p><p> Topics covered include:</strong></p><ul><li>An overview of the School o
 f Music and its resources</li><li>Degree programs offered</li><li>The appl
 ication and audition process</li><li>Scholarships</li><li>Opportunities fo
 r non-music majors</li></ul><p><strong>Time and location: </strong>Informa
 tion sessions are held from 12:00-1:00 PM over Zoom. </p><p><a class='purp
 le-button' href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer'>Regis
 ter</a></p><p>Registration is required. <strong>To ask a question\, please
  email </strong><a href='mailto:SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20260609T120000
LAST-MODIFIED:20251002T192041Z
SEQUENCE:412
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-06-09/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p>The UW School of Music encourag
 es prospective freshmen\, transfer students\, and current UW undergraduate
 s to attend a School of Music information session. These sessions provide 
 a great opportunity to learn more about what the School of Music has to of
 fer as well as ask questions about admissions\, auditions\, or life as a U
 W music student.</p></blockquote><p> <strong>Topics covered include:</p><ul><li>An overview of the School of Music and its resources</li>Degree programs offered</li><li>The application and audition process</li><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p>&lt;
 strong&gt;Time and location: </strong>Information sessions are held from 12:0
 0-1:00 PM over Zoom. </p><p><a class='purple-button' href='https://music.w
 ashington.edu/prospective-undergraduate-student-information-session' targe t='_blank' rel='noopener noreferrer'>Register</a></p><p>Registration is re
 quired. <strong>To ask a question\, please email </strong><a href='mailto:
 SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:bcc83e2d-d4ee-43da-b2a7-339255cdf228
DTSTAMP:20260307T094252Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20251002T192045Z
DESCRIPTION:<p>The UW School of Music encourages prospective freshmen\, tra
 nsfer students\, and current UW undergraduates to attend a School of Music
  information session. These sessions provide a great opportunity to learn 
 more about what the School of Music has to offer as well as ask questions 
 about admissions\, auditions\, or life as a UW music student.</p><p> Topics covered include:</strong></p><ul><li>An overview of the School o
 f Music and its resources</li><li>Degree programs offered</li><li>The appl
 ication and audition process</li><li>Scholarships</li><li>Opportunities fo
 r non-music majors</li></ul><p><strong>Time and location: </strong>Informa
 tion sessions are held from 12:00-1:00 PM over Zoom. </p><p><a class='purp
 le-button' href='https://music.washington.edu/prospective-undergraduate-st
 udent-information-session' target='_blank' rel='noopener noreferrer'>Regis
 ter</a></p><p>Registration is required. <strong>To ask a question\, please
  email </strong><a href='mailto:SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
DTSTART;TZID=America/Los_Angeles:20260625T120000
LAST-MODIFIED:20251002T192052Z
SEQUENCE:413
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-06-25/prospective-undergraduat
 e-student-information-session
X-ALT-DESC;FMTTYPE=TEXT/HTML:<blockquote><p>The UW School of Music encourag
 es prospective freshmen\, transfer students\, and current UW undergraduate
 s to attend a School of Music information session. These sessions provide 
 a great opportunity to learn more about what the School of Music has to of
 fer as well as ask questions about admissions\, auditions\, or life as a U
 W music student.</p></blockquote><p> <strong>Topics covered include:</p><ul><li>An overview of the School of Music and its resources</li>Degree programs offered</li><li>The application and audition process</li><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p>&lt;
 strong&gt;Time and location: </strong>Information sessions are held from 12:0
 0-1:00 PM over Zoom. </p><p><a class='purple-button' href='https://music.w
 ashington.edu/prospective-undergraduate-student-information-session' targe t='_blank' rel='noopener noreferrer'>Register</a></p><p>Registration is re
 quired. <strong>To ask a question\, please email </strong><a href='mailto:
 SoMadmit@uw.edu'><strong>SoMadmit@uw.edu</strong></a><strong>.</strong></p>
END:VEVENT
END:VCALENDAR