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BEGIN:VEVENT
UID:a61e87e0-0506-48e1-92c2-ca1e5e44300d
DTSTAMP:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20240621T000000
LAST-MODIFIED:20240215T173711Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:7d4ebac3-4b70-47a7-a946-f89f37d7bfb5
DTSTAMP:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20240703T000000
LAST-MODIFIED:20240215T173724Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:b79b7005-2846-4ac6-b566-d32fd3b19ac6
DTSTAMP:20260612T083118Z
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 & 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
DTEND;TZID=America/Los_Angeles:20240704T000000
LAST-MODIFIED:20250722T005059Z
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 & 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
 trong>\, 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> </di
 v> </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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20240718T000000
LAST-MODIFIED:20240528T212033Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:f923faef-6835-4da6-b98f-b74e7653e448
DTSTAMP:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20240807T000000
LAST-MODIFIED:20240215T173750Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:98025641-7657-4383-978c-45f1b197452b
DTSTAMP:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20240823T000000
LAST-MODIFIED:20240215T173812Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:7426363f-aeb5-4bee-9c7e-1f37846e8ff4
DTSTAMP:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20240904T000000
LAST-MODIFIED:20240702T161851Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:81141394-46b5-468e-984a-d03d917fac98
DTSTAMP:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20240920T000000
LAST-MODIFIED:20240702T162308Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:8403e2b6-5f0a-4daf-9cc8-99c7ad0ed0fc
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20240921T000000
LAST-MODIFIED:20250722T005059Z
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:20260612T083118Z
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<
 br><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
DTEND;TZID=America/Los_Angeles:20240927T000000
LAST-MODIFIED:20240722T165727Z
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> <
 p>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><st
 rong></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>.<
 /em></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:20260612T083118Z
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</stro
 ng> - 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 style='text-align: ce
 nter\;'><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
DTEND;TZID=America/Los_Angeles:20240927T000000
LAST-MODIFIED:20250722T005059Z
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
 lockquote> <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 style='text-align: cente
 r\;'><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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20241002T000000
LAST-MODIFIED:20240702T161956Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:60fbce7c-b5ad-49d0-a6b5-c5a9784ca8f4
DTSTAMP:20260612T083118Z
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 <
 a href='/sites/music/files/documents/october_2_allen_library_concert.pdf'>
 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
DTEND;TZID=America/Los_Angeles:20241003T000000
LAST-MODIFIED:20250722T005059Z
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:20260612T083118Z
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<
 br><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.<
 /p>\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<
 p>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
DTEND;TZID=America/Los_Angeles:20241009T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Faculty Recital: Rachel Lee Priday\, Fluid Dynamics 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-08/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></di
 v> <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</spa
 n><br><span>ii. Still and spacious\, but always moving forward</span><br><
 span>iii. Dramatic\, violent\, rhythmic\, very precise</span></div> <hr> <
 h3>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.<
 /span></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> <
 p><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><sp
 an>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='https
 ://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:20260612T083118Z
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>. <
 /p>\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&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
DTEND;TZID=America/Los_Angeles:20241010T000000
LAST-MODIFIED:20241004T224555Z
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 <
 strong><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&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:20260612T083118Z
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 style='font-weight: 400\;'>Project Details</h4>
 \n<p style='font-weight: 400\;'>'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 style='font-weight: 400\;'>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&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
DTEND;TZID=America/Los_Angeles:20241010T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Kris Davis Trio\, featuring Robert Hurst & Johnathan Blake
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-09/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> <
 hr> <h4 style='font-weight: 400\;'>Project Details</h4> <p style='font-wei
 ght: 400\;'>'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 style='font-weight: 400\;'>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&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:20260612T083118Z
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 style='font-weight: 400\;'><strong>Abstract<b
 r></strong></h4>\n<p style='font-weight: 400\;'><strong>Mele on the Mauna:
  Perpetuating Genealogies of Hawaiian Musical Activism on Maunakea<br></st
 rong>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.<
 /p>\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
DTEND;TZID=America/Los_Angeles:20241012T000000
LAST-MODIFIED:20241004T180219Z
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 style='font-weigh
 t: 400\;'><strong>Abstract<br></strong></h4> <p style='font-weight: 400\;'
 ><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> <
 h4><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:20260612T083118Z
CATEGORIES:Faculty Performances\, Performances\, Visiting Artists and Schol
 ars
CLASS:PUBLIC
CREATED:20240807T221954Z
DESCRIPTION:<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>
 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<
 br>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 style='font
 -weight: 400\;'>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.<
 br>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><
 /li>\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<
 br>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.<
 br>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 style='font-weight: 400\;'>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 style='font-weigh
 t: 400\;'>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<
 /p>\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 <
 /p>\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<
 p>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.<
 /p>\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<
 p>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<h
 4><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 style='font-weight: 400\;'><br style='font-weight: 400\;'><br st
 yle='font-weight: 400\;'></h3>\n<h3 style='font-weight: 400\;'></h3>\n<h3 
 style='font-weight: 400\;'></h3>
DTSTART;TZID=America/Los_Angeles:20241011T193000
DTEND;TZID=America/Los_Angeles:20241012T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Faculty Recital: Carrie Shaw and Guests
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-11/faculty-recital-carrie-s
 haw-and-guests
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p style='font-weight: 400\;'><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 style='font-weight: 400\;'>Program</h3> <p><i><
 span style='font-weight: 400\;'>Ich und du\, Baum und Regen </span></i><sp
 an style='font-weight: 400\;'>(2009):</span> <span style='font-weight: 400
 \;'>Farzia Fallah (b. 1980) <br></span><span style='font-weight: 400\;'>Da
 nielle Reutter-Harrah and Carrie Shaw\, voice<br><br></span><i><span style
 ='font-weight: 400\;'>Ultimos Movimientos</span></i><span style='font-weig
 ht: 400\;'> (2014)</span> <span style='font-weight: 400\;'>*US premiere*:<
 /span> <span style='font-weight: 400\;'>Luis Naon (b. 1961)</span></p> <p>
 <span style='font-weight: 400\;'>I. Puntuaciones<br></span><span style='fo
 nt-weight: 400\;'>II. Materia Es el Motivo<br></span><span style='font-wei
 ght: 400\;'>III. Onán en la Escritura<br></span><span style='font-weight: 
 400\;'>IV. Madre Materia<br></span><span style='font-weight: 400\;'>V. Mét
 rica<br></span><span style='font-weight: 400\;'>VI. Pasan los Muertos<br><
 /span><span style='font-weight: 400\;'>VII. Hastío de la Trama</span></p> 
 <p><span style='font-weight: 400\;'>Katherine Jimoh\, clarinet</span><em><
 span style='font-weight: 400\;'><br></span></em><span style='font-weight: 
 400\;'>(Recorded sounds\, Francoise Kubler\, soprano\, and Armand Angstert
 \, clarinet)</span><br><br></p> <p><i><span style='font-weight: 400\;'>Mne
 monic Songs</span></i><span style='font-weight: 400\;'> (2024):</span> <sp
 an style='font-weight: 400\;'>Sky Macklay (b. 1988) <br></span><i><span st
 yle='font-weight: 400\;'>Newly commissioned arrangement<br><br></span></i>
 <span style='font-weight: 400\;'>I. Opening Prayer<br></span><span style='
 font-weight: 400\;'>II. Auricularia auricula<br></span><span style='font-w
 eight: 400\;'>III. Laetiporus sulphureus<br></span><span style='font-weigh
 t: 400\;'>IV. Tremella mesenterica<br></span><span style='font-weight: 400
 \;'>V. Pleurotus ostreatus<br></span><span style='font-weight: 400\;'>VI. 
 Morchella esculenta<br></span><span style='font-weight: 400\;'>VII. Cantha
 rellus cibarius<br></span><span style='font-weight: 400\;'>VIII. Omphalotu
 s illudens<br></span><span style='font-weight: 400\;'>IX. Boletus edulis<b
 r></span><span style='font-weight: 400\;'>X. Psilocybe cubensis</span></p>
  <p><span style='font-weight: 400\;'>Constance Volk\, flute<br></span><spa
 n style='font-weight: 400\;'>Katie Jimoh\, clarinet in Bb and bass clarine
 t</span></p> <p><span style='font-weight: 400\;'>PAUSE</span></p> <p><i><s
 pan style='font-weight: 400\;'>not quite existing leaves little to fake</s
 pan></i><span style='font-weight: 400\;'> (2024): </span> <span style='fon
 t-weight: 400\;'>Constance Volk<br><br></span><span style='font-weight: 40
 0\;'>Constance Volk\, flutes<br></span><span style='font-weight: 400\;'>Ka
 therine Jimoh\, clarinets</span></p> <p><span style='font-weight: 400\;'><
 /span><em><span style='font-weight: 400\;'><br></span><span style='font-we
 ight: 400\;'>The Last Ebb</span><span style='font-weight: 400\;'> (2019)</
 span> <span style='font-weight: 400\;'>Jerome Combier (b. 1970)</span> <br
 ></em><span style='font-weight: 400\;'>I. du silence (ground)<br></span><s
 pan style='font-weight: 400\;'>II. long sole sound (roundelay)<br></span><
 span style='font-weight: 400\;'>III. The last ebb (cradle song)<br></span>
 <span style='font-weight: 400\;'>IV. The summer rains on my life (passacag
 lia)</span></p> <p><em><span style='font-weight: 400\;'>Constance Volk\, f
 lute and bass flute<br></span><span style='font-weight: 400\;'>Katie Jimoh
 \, clarinet in Bb and bass clarinet</span></em></p> <hr> <h3 style='font-w
 eight: 400\;'>Notes and Translations</h3> <p><span style='font-weight: 400
 \;'>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 style=
 'font-weight: 400\;'>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> <
 p><b> Ich und Du\, Baum und Regen<br></b>Music by Farzia Fallah<br><span s
 tyle='font-weight: 400\;'>Text by Ahmad Shamloo</span></p> <p><span style=
 'font-weight: 400\;'>I am the spring<br></span><span style='font-weight: 4
 00\;'>You are the earth<br></span><span style='font-weight: 400\;'>I am th
 e earth<br></span><span style='font-weight: 400\;'>You are the tree<br></s
 pan><span style='font-weight: 400\;'>I am the tree<br></span><span style='
 font-weight: 400\;'>You are the spring.<br></span><span style='font-weight
 : 400\;'>Caressed by rain’s fingers<br></span><span style='font-weight: 40
 0\;'>I become a garden <br></span><span style='font-weight: 400\;'>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> <
 /ol> <p><span style='font-weight: 400\;'>Oh my! Oh my!<br></span><span sty
 le='font-weight: 400\;'>Oh\, mycelium in earth and in trees\,<br></span><s
 pan style='font-weight: 400\;'>Hollowed be thy fruiting bodies.<br></span>
 <span style='font-weight: 400\;'>Give us this day the moisture to fill you
 r cells.<br></span><span style='font-weight: 400\;'>Give us keen eyes to s
 ee you well.<br></span><span style='font-weight: 400\;'>Grant us the wisdo
 m to eat only the mushroom<br></span><span style='font-weight: 400\;'>That
  we definitively I.D.!</span></p> <ol start='2'> <li><b> Auricularia aricu
 la</b></li> </ol> <p><span style='font-weight: 400\;'>The woods have ears<
 br></span><span style='font-weight: 400\;'>When a tree is dying.<br></span
 ><span style='font-weight: 400\;'>Auricularia aricula</span></p> <p><span 
 style='font-weight: 400\;'>Genus: Auricularia<br></span><span style='font-
 weight: 400\;'>Ear-shaped to hear an aria<br></span><span style='font-weig
 ht: 400\;'>Auricularia</span></p> <p><span style='font-weight: 400\;'>Spec
 ies: auricula<br></span><span style='font-weight: 400\;'>Sucking life from
  trees like Dracula<br></span><span style='font-weight: 400\;'>Auricula</s
 pan></p> <p><span style='font-weight: 400\;'>Auricularia aricula<br></span
 ><span style='font-weight: 400\;'>Aria Dracula\,<br></span><span style='fo
 nt-weight: 400\;'>Suck and hear<br></span><span style='font-weight: 400\;'
 >Wood ears.</span></p> <p><span style='font-weight: 400\;'>Stemless and br
 own\, moist and gelatinous<br></span><span style='font-weight: 400\;'>Grow
 ing alone or in an overlapping group\,<br></span><span style='font-weight:
  400\;'>Perfect for hot and sour soup.</span></p> <ol start='3'> <li><b> L
 aetiporus sulphureus</b></li> </ol> <p><span style='font-weight: 400\;'>La
 etiporus sulphureus<br></span><span style='font-weight: 400\;'>I hear it t
 astes like chicken.</span></p> <p><span style='font-weight: 400\;'>Looks l
 ike spray foam insulation\,<br></span><span style='font-weight: 400\;'>Wit
 h orange and yellow pigmentation.</span></p> <p>Laetiporus<br><span style=
 'font-weight: 400\;'>Lae as in laying eggs <br></span><span style='font-we
 ight: 400\;'>Laetiporus like a chicken chorus\, (cluck cluck cluck)<br></s
 pan><span style='font-weight: 400\;'>Sulphureus<br></span><span style='fon
 t-weight: 400\;'>Sulphur yellow and so luxurious!<br></span><span style='f
 ont-weight: 400\;'>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 style='font-weight: 400\;'>Old Tremella lives deep in the 
 woods\, the children in town all say she’s a witch.<br></span><span style=
 'font-weight: 400\;'>Her house may be small and she hasn’t a car\, but mea
 sured in butter\, Tremella is rich!</span></p> <p><span style='font-weight
 : 400\;'>Tremella mesenterica\,<br></span><span style='font-weight: 400\;'
 >Bright yella mass hysterica!</span></p> <p><span style='font-weight: 400\
 ;'>She hunts and she gathers the branch-perching brains\, so tiny and gloo
 py it takes her all week.<br></span><span style='font-weight: 400\;'>To fi
 nd enough fungus to simmer and dry into candy the brave trick-or-treaters 
 will seek.</span></p> <p><span style='font-weight: 400\;'>Tremella mesente
 rica\, witch’s butter <br></span><span style='font-weight: 400\;'>Bright y
 ella mass hysterica</span></p> <p><span style='font-weight: 400\;'>On Hall
 oween night when she opens her door\, the parents are shocked by her savor
 y teat.<br></span><span style='font-weight: 400\;'>Unwrapped homemade cand
 y is sketchy and weird\, “she’s dangerous!” is the word on the street.</sp
 an></p> <p><span style='font-weight: 400\;'>Tremella mesenterica\, witch’s
  butter witch’s<br></span><span style='font-weight: 400\;'>Bright yella ma
 ss hysterica\, riches utter riches</span></p> <p><span style='font-weight:
  400\;'>“Avoid her” they write on the neighborhood app\, it’s vital to kee
 p all the children away!<br></span><span style='font-weight: 400\;'>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 style='font-weight: 400\;'>Tremella mes
 enterica\, witch’s butter witch’s<br></span><span style='font-weight: 400\
 ;'>Bright yella mass hysterica\, riches utter riches<br><br></span></p> <o
 l start='5'> <li><b> Pleurotus ostreatus</b></li> </ol> <p><span style='fo
 nt-weight: 400\;'>Pleurotus ostreatus\, <br></span><span style='font-weigh
 t: 400\;'>Bay oysters on the loose\,<br></span><span style='font-weight: 4
 00\;'>Without the ocean juice\,<br></span><span style='font-weight: 400\;'
 >Folic among the moose.</span></p> <p><span style='font-weight: 400\;'>Ple
 urotus ostreatus\, <br></span><span style='font-weight: 400\;'>Use trees t
 o reproduce\,<br></span><span style='font-weight: 400\;'>But never on a sp
 ruce\,<br></span><span style='font-weight: 400\;'>Only decidu-oos.<br><br>
 </span></p> <p><span style='font-weight: 400\;'>Pleurotus ostreatus\, <br>
 </span><span style='font-weight: 400\;'>Stacked up like a caboose\,<br></s
 pan><span style='font-weight: 400\;'>Gilled stems help you deduce\,<br></s
 pan><span style='font-weight: 400\;'>Delicious ostreatus.</span></p> <p><s
 pan style='font-weight: 400\;'> </span></p> <ol start='6'> <li><b> Morchel
 la esculenta</b></li> </ol> <p><span style='font-weight: 400\;'>Spring rai
 ns bring out your umbrella\,<br></span><span style='font-weight: 400\;'>Sp
 ring rains bring out the Morchella\,<br></span><span style='font-weight: 4
 00\;'>Morchella esculenta\, tasty morels!</span></p> <p><span style='font-
 weight: 400\;'>Everybody wants esculenta\,<br></span><span style='font-wei
 ght: 400\;'>On their pasta\, in their polenta\,<br></span><span style='fon
 t-weight: 400\;'>Morchella esculenta\, tasty morels!</span></p> <p><span s
 tyle='font-weight: 400\;'></span><span style='font-weight: 400\;'>Hollow o
 n the inside\,<br></span><span style='font-weight: 400\;'>Honeycomb cap\, 
 <br></span>Spring rains bring out your umbrella\,<br><span style='font-wei
 ght: 400\;'>Spring rains bring out the Morchella\,<br></span><span style='
 font-weight: 400\;'>Morchella esculenta\, tasty morels!</span></p> <p><spa
 n style='font-weight: 400\;'>Everybody wants esculenta\,<br></span><span s
 tyle='font-weight: 400\;'>On their pasta\, in their polenta\,<br></span><s
 pan style='font-weight: 400\;'>Morchella esculenta\, tasty morels!</span><
 /p> <p><span style='font-weight: 400\;'>Hollow on the inside\,<br></span><
 span style='font-weight: 400\;'>Honeycomb cap\, morel<br></span><span styl
 e='font-weight: 400\;'>Rising from the ashes\, tasty morels!<br></span><sp
 an style='font-weight: 400\;'>Morel!</span></p> <ol start='7'> <li><b> Can
 tharellus cibarius</b></li> </ol> <p><span style='font-weight: 400\;'>Assu
 ming I name my hypothetical future daughter after a mushroom\,<br></span><
 span style='font-weight: 400\;'>she will be Chanterelle!</span></p> <p><sp
 an style='font-weight: 400\;'>Cantharellus<br></span><span style='font-wei
 ght: 400\;'>can’t be jealous<br></span><span style='font-weight: 400\;'>of
  any other delicacy<br></span><span style='font-weight: 400\;'>with flavor
  this nutty and heavenly </span></p> <p><span style='font-weight: 400\;'>C
 antharellus cibarius<br></span><span style='font-weight: 400\;'>color of a
  yellow bus but lighter inside.</span></p> <p><span style='font-weight: 40
 0\;'>Cantharellus<br></span><span style='font-weight: 400\;'>I will be zea
 lously<br></span><span style='font-weight: 400\;'>looking under every tree
 <br></span><span style='font-weight: 400\;'>checking for shallow gills tha
 t make a V.</span></p> <p><span style='font-weight: 400\;'>Cantharellus ci
 barius<br></span><span style='font-weight: 400\;'>color of a yellow bus bu
 t lighter inside.</span></p> <p><span style='font-weight: 400\;'>Ah ha! Ah
  ha! Ah ha!<br></span><span style='font-weight: 400\;'>Checking for shallo
 w gills that make a V!</span></p> <ol start='8'> <li><b> Omphalotus illude
 ns</b></li> </ol> <p><span style='font-weight: 400\;'>Omphalotus illudens\
 , <br></span><span style='font-weight: 400\;'>also known as Jack ‘O Lanter
 -ens\,<br></span><span style='font-weight: 400\;'>bioluminescent mushroom 
 friends.</span></p> <p><span style='font-weight: 400\;'>They may look like
  a Chanterelle\,<br></span><span style='font-weight: 400\;'>but eating the
 m will take you to digestive hell. <br></span><span style='font-weight: 40
 0\;'>Learn the differences well.</span></p> <p><span style='font-weight: 4
 00\;'>Jacks are pumpkin orange through and through\,<br></span><span style
 ='font-weight: 400\;'>While inside Chanterelles is a whiter hue.<br></span
 ><span style='font-weight: 400\;'>Jacks grow in connected groups.<br></spa
 n><span style='font-weight: 400\;'>Chanterelles grow alone.</span></p> <p>
 <b>Cadenza: Chanterelle or Jack ‘O Lantern? </b></p> <p><span style='font-
 weight: 400\;'>Is it a<br></span><span style='font-weight: 400\;'>Chantere
 lle or Jack ‘O Lantern?</span></p> <ol start='9'> <li><b> Boletus edulis</
 b></li> </ol> <p><span style='font-weight: 400\;'>bo bo bo bo bo bole bole
  bole bloe<br></span><span style='font-weight: 400\;'>roly poly bolete!<br
 ></span><span style='font-weight: 400\;'>Boletus edulis<br></span><span st
 yle='font-weight: 400\;'>West coast king\, west coast king!<br></span><spa
 n style='font-weight: 400\;'>Tap the cap\, spread the spores<br></span><sp
 an style='font-weight: 400\;'>Spongey pores<br></span><span style='font-we
 ight: 400\;'>bo bo boletus so so so majestic! <br><br></span></p> <ol star
 t='10'> <li><b> Psilocybe cubensis</b> </li> </ol> <p><span style='font-we
 ight: 400\;'>Oh my\, Psilocybe<br></span><span style='font-weight: 400\;'>
 Oh my\, Psilocybe<br></span><span style='font-weight: 400\;'>Psilocybe cub
 ensis</span></p> <p><span style='font-weight: 400\;'>Oh\, mycelium in eart
 h and in trees\,<br></span><span style='font-weight: 400\;'>Hollowed be th
 y fruiting bodies.<br></span><span style='font-weight: 400\;'>Give us this
  day the moisture to fill your cells.<br></span><span style='font-weight: 
 400\;'>Give us keen eyes to see you well.<br></span><span style='font-weig
 ht: 400\;'>Grant us the wisdom\, grant us the wisdom\, grant us the wisdom
 </span></p> <p><span style='font-weight: 400\;'>Grant us the wisdom in an 
 overlapping group<br></span><span style='font-weight: 400\;'>wisdom in an 
 overlapping group<br></span><span style='font-weight: 400\;'>bay oysters o
 n the loop<br></span><span style='font-weight: 400\;'>wisdom in an overlap
 ping group<br></span><span style='font-weight: 400\;'>bay oysters on the l
 oop\, bay oysters on the loop</span></p> <p><span style='font-weight: 400\
 ;'></span><span style='font-weight: 400\;'>Are pumpkins orange through and
  through?<br></span><span style='font-weight: 400\;'>While inside Chantere
 lles is a lighter you.<br></span><span style='font-weight: 400\;'>Inside C
 hanterelles is a lighter you.<br></span><span style='font-weight: 400\;'>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 style='font-weight: 400\;'>Text by Rodolfo Enrique Fo
 gwill</span></p> <table> <tbody> <tr> <td> <ol> <li style='font-weight: 40
 0\;'><span style='font-weight: 400\;'>Puntuaciones</span></li> </ol> <br> 
 <p><span style='font-weight: 400\;'>La coma\, el intervalo</span></p> <p><
 span style='font-weight: 400\;'>de respirar\, El punto :</span></p> <p><sp
 an style='font-weight: 400\;'>la señal de su espera</span></p> <p><span st
 yle='font-weight: 400\;'>de lo que viene.</span></p> <p><span style='font-
 weight: 400\;'>Es el que lee y oye</span></p> <p><span style='font-weight:
  400\;'>su voz o alguna voz\, venida</span></p> <p><span style='font-weigh
 t: 400\;'>de la memoria o de un fondo</span></p> <p><span style='font-weig
 ht: 400\;'>Supuesto\, imaginario.</span></p> <br> <p><span style='font-wei
 ght: 400\;'>Y lo que queda en el papel.</span></p> <p><span style='font-we
 ight: 400\;'>Trabajo humano\, la civilizacion</span></p> <p><span style='f
 ont-weight: 400\;'>de los papeles y los signos\,</span></p> <p><span style
 ='font-weight: 400\;'>el tiempo\, y el polve que sepulta</span></p> <p><sp
 an style='font-weight: 400\;'>tantas cosas inútiles que yacen :¡libros!</s
 pan></p> <br> <p><span style='font-weight: 400\;'>Y todo eso y la libertad
 a :</span></p> <p><span style='font-weight: 400\;'>Banderas de abundancia<
 /span></p> <p><span style='font-weight: 400\;'>y olvido.</span></p> </td> 
 <td> <ol> <li style='font-weight: 400\;'><span style='font-weight: 400\;'>
 Punctuations</span></li> </ol> <br> <p><span style='font-weight: 400\;'>Th
 e comma\, the interval</span></p> <p><span style='font-weight: 400\;'>of b
 reathing\, The period :</span></p> <p><span style='font-weight: 400\;'>the
  sign of waiting</span></p> <p><span style='font-weight: 400\;'>of what is
  to come.</span></p> <p><span style='font-weight: 400\;'>It is that which 
 reads and hears</span></p> <p><span style='font-weight: 400\;'>your voice 
 or some voice\, that comes</span></p> <p><span style='font-weight: 400\;'>
 from memory or the bottom of something</span></p> <p><span style='font-wei
 ght: 400\;'>Supposed\, imaginary.</span></p> <br> <p><span style='font-wei
 ght: 400\;'>And that which remains on paper.</span></p> <p><span style='fo
 nt-weight: 400\;'>Human work\, the civilization</span></p> <p><span style=
 'font-weight: 400\;'>of papers and signs\,</span></p> <p><span style='font
 -weight: 400\;'>time\, and the dust that buries</span></p> <p><span style=
 'font-weight: 400\;'>so many useless things lying around: books!</span></p
 > <br> <p><span style='font-weight: 400\;'>And all that and freedom:</span
 ></p> <p><span style='font-weight: 400\;'>Flags of abundance</span></p> <p
 ><span style='font-weight: 400\;'>and forgetfulness.</span></p> </td> </tr
 > <tr> <td> <p><span style='font-weight: 400\;'>II. Materia es el motivo</
 span></p> <br> <p><span style='font-weight: 400\;'>Sí: es la materia.</spa
 n></p> <p><span style='font-weight: 400\;'>Causa y finalidad del ruido del
  poema.</span></p> <p><span style='font-weight: 400\;'>Motivo : movimiento
 .</span></p> <p><span style='font-weight: 400\;'>Ruido para la nuez de la 
 garganta</span></p> <p><span style='font-weight: 400\;'>y la piedra que gi
 ra en la cabeza</span></p> <p><span style='font-weight: 400\;'>y a veces e
 ntrechoca</span></p> <p><span style='font-weight: 400\;'>piedras y brillos
 </span></p> <p><span style='font-weight: 400\;'>de sangre.</span></p> <p><
 span style='font-weight: 400\;'>Sangre materia.</span></p> <p><span style=
 'font-weight: 400\;'>Pulso : número entrecortado de la sangre.</span></p> 
 <p><span style='font-weight: 400\;'>El pulso es el motivo\,</span></p> <p>
 <span style='font-weight: 400\;'>y la insistencia del motivo y del cuerpo.
 </span></p> <p><span style='font-weight: 400\;'>El cuerpo insiste : traza<
 /span></p> <p><span style='font-weight: 400\;'>marcas\, versos\, señales</
 span></p> <p><span style='font-weight: 400\;'>de la mente en la mente</spa
 n></p> <p><span style='font-weight: 400\;'>Materia del deseo.</span></p> <
 /td> <td> <p><span style='font-weight: 400\;'>II. Matter is the motive </s
 pan></p> <br> <p><span style='font-weight: 400\;'>Yes: it is the matter.</
 span></p> <p><span style='font-weight: 400\;'>Cause and purpose of the noi
 se in the poem.</span></p> <p><span style='font-weight: 400\;'>Reason : mo
 vement.</span></p> <p><span style='font-weight: 400\;'>Noise for the nut o
 f the throat</span></p> <p><span style='font-weight: 400\;'>and for the st
 one that spins in the head</span></p> <p><span style='font-weight: 400\;'>
 and sometimes it clashes</span></p> <p><span style='font-weight: 400\;'>st
 ones and sparkles</span></p> <p><span style='font-weight: 400\;'>of blood.
 </span></p> <p><span style='font-weight: 400\;'>Blood matter.</span></p> <
 p><span style='font-weight: 400\;'>Pulse: choppy count of blood.</span></p
 > <p><span style='font-weight: 400\;'>The pulse is the motive\,</span></p>
  <p><span style='font-weight: 400\;'>and the insistence of the motive and 
 of the body.</span></p> <p><span style='font-weight: 400\;'>The body insis
 ts: trace</span></p> <p><span style='font-weight: 400\;'>marks\, verses\, 
 signs</span></p> <p><span style='font-weight: 400\;'>from mind to mind</sp
 an></p> <p><span style='font-weight: 400\;'>Matter of desire.</span></p> <
 /td> </tr> <tr> <td> <p><span style='font-weight: 400\;'>III. Onán en la e
 scritura</span></p> <br> <p><span style='font-weight: 400\;'>La escrituras
  cuentan</span></p> <p><span style='font-weight: 400\;'>otra historia de O
 nán</span></p> <p><span style='font-weight: 400\;'>Su repudio parcial</spa
 n></p> <p><span style='font-weight: 400\;'>de la mujer\, la viuda</span></
 p> <p><span style='font-weight: 400\;'>de su hermano</span></p> <p><span s
 tyle='font-weight: 400\;'>impuesta por la ley.</span></p> <p><span style='
 font-weight: 400\;'>El deseo de su cuerpo</span></p> <p><span style='font-
 weight: 400\;'>- hundirlo\, penetrarlo - ardía.</span></p> <br> <p><span s
 tyle='font-weight: 400\;'>Pero el desprecio de su estirpe </span></p> <p><
 span style='font-weight: 400\;'>lo llevaba a vertir</span></p> <p><span st
 yle='font-weight: 400\;'>sus jugos en la tierra</span></p> <p><span style=
 'font-weight: 400\;'>negándole los hijos</span></p> <p><span style='font-w
 eight: 400\;'>a esa mujer\, y por ella</span></p> <p><span style='font-wei
 ght: 400\;'>a La Ley.</span></p> <br> <p><span style='font-weight: 400\;'>
 Amaba Onán</span></p> <p><span style='font-weight: 400\;'>como un carnerdo
 </span></p> <p><span style='font-weight: 400\;'>o como un toro</span></p> 
 <p><span style='font-weight: 400\;'>pero sólo reproducía</span></p> <p><sp
 an style='font-weight: 400\;'>sus actos\, no carne</span></p> <p><span sty
 le='font-weight: 400\;'>ni cuerpos para la guerra</span></p> <p><span styl
 e='font-weight: 400\;'>ni para los trabajos del rey y los profetas.</span>
 </p> </td> <td> <p><span style='font-weight: 400\;'>III. Onán in the scrip
 tures</span></p> <br> <p><span style='font-weight: 400\;'>The scriptures t
 ell</span></p> <p><span style='font-weight: 400\;'>another story of Onan</
 span></p> <p><span style='font-weight: 400\;'>His partial rejection</span>
 </p> <p><span style='font-weight: 400\;'>of the woman\, the widow</span></
 p> <p><span style='font-weight: 400\;'>of his brother\,</span></p> <p><spa
 n style='font-weight: 400\;'>imposed upon him by law.</span></p> <p><span 
 style='font-weight: 400\;'>The desire of his body</span></p> <p><span styl
 e='font-weight: 400\;'>- sinking it\, penetrating it - burned.</span></p> 
 <br> <p><span style='font-weight: 400\;'>But the contempt of her lineage <
 /span></p> <p><span style='font-weight: 400\;'>made him pour</span></p> <p
 ><span style='font-weight: 400\;'>his juices on the earth</span></p> <p><s
 pan style='font-weight: 400\;'>denying His children\, </span></p> <p><span
  style='font-weight: 400\;'>to that woman\, and through her</span></p> <p>
 <span style='font-weight: 400\;'>to The Law.</span></p> <br> <p><span styl
 e='font-weight: 400\;'>Onan loved</span></p> <p><span style='font-weight: 
 400\;'>like a ram</span></p> <p><span style='font-weight: 400\;'>or like a
  bull</span></p> <p><span style='font-weight: 400\;'>but he only reproduce
 d</span></p> <p><span style='font-weight: 400\;'>their actions\, not meat<
 /span></p> <p><span style='font-weight: 400\;'>nor bodies for war</span></
 p> <p><span style='font-weight: 400\;'>nor for the works of the king and t
 he prophets.</span></p> </td> </tr> <tr> <td> <p><span style='font-weight:
  400\;'>IV. Madre Materia</span></p> <p><span style='font-weight: 400\;'>H
 ace lo inmaterial</span></p> <p><span style='font-weight: 400\;'>desde los
  ruidos</span></p> <p><span style='font-weight: 400\;'>limpiándolos\, borr
 ando ecos</span></p> <p><span style='font-weight: 400\;'>recombiando</span
 ></p> <p><span style='font-weight: 400\;'>para que sean sonidos</span></p>
  <p><span style='font-weight: 400\;'>y vibren justo</span></p> <p><span st
 yle='font-weight: 400\;'>sin existir</span></p> <p><span style='font-weigh
 t: 400\;'>en el espacio\,</span></p> <p><span style='font-weight: 400\;'>e
 n la materia del air</span></p> <br> <p><span style='font-weight: 400\;'>C
 asi lo inmaterial logrado.</span></p> <br> <p><span style='font-weight: 40
 0\;'>Pero después de cada palabra</span></p> <p><span style='font-weight: 
 400\;'>recupera su mundo :</span></p> <p><span style='font-weight: 400\;'>
 sombras\, ecos\, recuerdos</span></p> <p><span style='font-weight: 400\;'>
 ideas embrionarias</span></p> <p><span style='font-weight: 400\;'>efectos 
 de otros mundos</span></p> <p><span style='font-weight: 400\;'>inesperados
 .</span></p> <br> <p><span style='font-weight: 400\;'>Es el fracaso</span>
 </p> <p><span style='font-weight: 400\;'>de la materia humana.</span></p> 
 <br> <p><span style='font-weight: 400\;'>Es el trabajo humano </span></p> 
 <p><span style='font-weight: 400\;'>Con el fracaso interpretado :</span></
 p> <p><span style='font-weight: 400\;'>buena razón para insistir.</span></
 p> </td> <td> <p><span style='font-weight: 400\;'>IV. Mother Matter</span>
 </p> <p><span style='font-weight: 400\;'>Makes the immaterial </span></p> 
 <p><span style='font-weight: 400\;'>Out of noises\, </span></p> <p><span s
 tyle='font-weight: 400\;'>cleaning them\, erasing echoes\, </span></p> <p>
 <span style='font-weight: 400\;'>recombining </span></p> <p><span style='f
 ont-weight: 400\;'>so that they become sounds </span></p> <p><span style='
 font-weight: 400\;'>and vibrate </span></p> <p><span style='font-weight: 4
 00\;'>without existing </span></p> <p><span style='font-weight: 400\;'>in 
 space\, </span></p> <p><span style='font-weight: 400\;'>in the matter of a
 ir. </span></p> <br> <p><span style='font-weight: 400\;'>Almost the immate
 rial achieved.</span></p> <br> <p><span style='font-weight: 400\;'>But aft
 er each word </span></p> <p><span style='font-weight: 400\;'>recovers its 
 world : </span></p> <p><span style='font-weight: 400\;'>shadows\, echoes\,
  memories </span></p> <p><span style='font-weight: 400\;'>embryonic ideas 
 </span></p> <p><span style='font-weight: 400\;'>effects of other worlds</s
 pan></p> <p><span style='font-weight: 400\;'>unexpected.</span></p> <br> <
 p><span style='font-weight: 400\;'>It is the failure </span></p> <p><span 
 style='font-weight: 400\;'>of human matter.</span></p> <br> <p><span style
 ='font-weight: 400\;'>It is human work </span></p> <p><span style='font-we
 ight: 400\;'>With failure interpreted : </span></p> <p><span style='font-w
 eight: 400\;'>A good reason to carry on.</span></p> </td> </tr> <tr> <td> 
 <p><span style='font-weight: 400\;'>V. Métrica</span></p> <p><span style='
 font-weight: 400\;'>A la hora del té\, si oye el sonido </span></p> <p><sp
 an style='font-weight: 400\;'>té\, ve una tacita </span></p> <p><span styl
 e='font-weight: 400\;'>en el centro del verso</span></p> <p><span style='f
 ont-weight: 400\;'> y a la derecha e izquierda </span></p> <p><span style=
 'font-weight: 400\;'>la simetría bilateral </span></p> <p><span style='fon
 t-weight: 400\;'>de dos manos </span></p> <p><span style='font-weight: 400
 \;'>qui dividen el día </span></p> <p><span style='font-weight: 400\;'>en 
 grupos </span></p> <p><span style='font-weight: 400\;'>de cinco sílabas.</
 span></p> <br> <p><span style='font-weight: 400\;'>Horas endecasílabas del
  té.</span></p> <p><span style='font-weight: 400\;'>Horas en punto de la t
 arde.</span></p> <p><span style='font-weight: 400\;'>Horas a punto de esca
 parse </span></p> <p><span style='font-weight: 400\;'>por el vacío de la f
 rase </span></p> <p><span style='font-weight: 400\;'>que descubre </span><
 /p> <p><span style='font-weight: 400\;'>una memoria de té y de madre </spa
 n></p> <p><span style='font-weight: 400\;'>en la lengua materna.</span></p
 > </td> <td> <p><span style='font-weight: 400\;'>V. Metric</span></p> <p><
 span style='font-weight: 400\;'>At tea time\, if you hear the sound </span
 ></p> <p><span style='font-weight: 400\;'>tea\, you see a little cup </spa
 n></p> <p><span style='font-weight: 400\;'>in the center of the verse </sp
 an></p> <p><span style='font-weight: 400\;'>and to the right and left </sp
 an></p> <p><span style='font-weight: 400\;'>the bilateral symmetry </span>
 </p> <p><span style='font-weight: 400\;'>of two hands </span></p> <p><span
  style='font-weight: 400\;'>that divide the day </span></p> <p><span style
 ='font-weight: 400\;'>into groups </span></p> <p><span style='font-weight:
  400\;'>of five syllables.</span></p> <br> <p><span style='font-weight: 40
 0\;'>Hendecasyllabic hours of tea.</span></p> <p><span style='font-weight:
  400\;'>Hours just in the afternoon.</span></p> <p><span style='font-weigh
 t: 400\;'>Hours about to escape </span></p> <p><span style='font-weight: 4
 00\;'>through the emptiness of the phrase </span></p> <p><span style='font
 -weight: 400\;'>that reveals </span></p> <p><span style='font-weight: 400\
 ;'>a memory of tea and of  mother </span></p> <p><span style='font-weight:
  400\;'>in the mother tongue.</span></p> </td> </tr> <tr> <td> <p><span st
 yle='font-weight: 400\;'>VI. Pasan Los Muertos</span></p> <br> <p><span st
 yle='font-weight: 400\;'>Y cuántos son\, y cómo </span></p> <p><span style
 ='font-weight: 400\;'>su suman por la gracia </span></p> <p><span style='f
 ont-weight: 400\;'>de disolverse\,</span></p> <p><span style='font-weight:
  400\;'>y la magia </span></p> <p><span style='font-weight: 400\;'>de su s
 agrada descomposición.</span></p> <p><span style='font-weight: 400\;'>Y el
  arte de enterrarlos\, negarlos </span></p> <p><span style='font-weight: 4
 00\;'>y volverlos relatos </span></p> <p><span style='font-weight: 400\;'>
 en la memoria.</span></p> <p><span style='font-weight: 400\;'>Un desfile d
 e nombres\, imágenes veladas\, </span></p> <p><span style='font-weight: 40
 0\;'>sonrisas\, rictus\, guiños </span></p> <p><span style='font-weight: 4
 00\;'>de una luz que pasó.</span></p> <p><span style='font-weight: 400\;'>
 O de una sombra que atraviesa el tiempo </span></p> <p><span style='font-w
 eight: 400\;'>con todo el movimiento del día.</span></p> </td> <td> <p><sp
 an style='font-weight: 400\;'>VI. The Dead Pass</span></p> <br> <p><span s
 tyle='font-weight: 400\;'>And how many there are\, and how </span></p> <p>
 <span style='font-weight: 400\;'>they add up by the grace </span></p> <p><
 span style='font-weight: 400\;'>of dissolving\,</span></p> <p><span style=
 'font-weight: 400\;'>and the magic </span></p> <p><span style='font-weight
 : 400\;'>of their sacred decomposition.</span></p> <p><span style='font-we
 ight: 400\;'>And the art of burying them\, denying them</span></p> <p><spa
 n style='font-weight: 400\;'>and turning them into stories </span></p> <p>
 <span style='font-weight: 400\;'>in memory.</span></p> <p><span style='fon
 t-weight: 400\;'>A parade of names\, veiled images\, </span></p> <p><span 
 style='font-weight: 400\;'>smiles\, winces\, winks </span></p> <p><span st
 yle='font-weight: 400\;'>of a light that passed.</span></p> <p><span style
 ='font-weight: 400\;'>Or a shadow that crosses time </span></p> <p><span s
 tyle='font-weight: 400\;'>with all the movement of the day.</span></p> </t
 d> </tr> <tr> <td> <p><span style='font-weight: 400\;'>VII. Hastio de la T
 rama</span></p> <p><span style='font-weight: 400\;'>No es el hastío </span
 ></p> <p><span style='font-weight: 400\;'>ni el hasta ahí geométrico </spa
 n></p> <p><span style='font-weight: 400\;'>ni el hartazgo </span></p> <p><
 span style='font-weight: 400\;'>de los dibujos </span></p> <p><span style=
 'font-weight: 400\;'>ni la torsión calculada del hilo.</span></p> <br> <p>
 <span style='font-weight: 400\;'>Será la regularidad\, la causa </span></p
 > <p><span style='font-weight: 400\;'>repetitiva de las formas\, </span></
 p> <p><span style='font-weight: 400\;'>la paciencia del hombre como renunc
 ia\, </span></p> <p><span style='font-weight: 400\;'>y lo que se dispone a
  ser : </span></p> <p><span style='font-weight: 400\;'>un hacer que no aci
 erta a saber </span></p> <p><span style='font-weight: 400\;'>qué es\, e in
 siste </span></p> <p><span style='font-weight: 400\;'>y teje su trama </sp
 an></p> <p><span style='font-weight: 400\;'>alrededor del vacío.</span></p
 > </td> <td> <p><span style='font-weight: 400\;'>VII. Plot Ennui</span></p
 > <p><span style='font-weight: 400\;'>It is not the boredom </span></p> <p
 ><span style='font-weight: 400\;'>or this “up to here” geometry</span></p>
  <p><span style='font-weight: 400\;'>or the dreary repetition </span></p> 
 <p><span style='font-weight: 400\;'>of the drawings </span></p> <p><span s
 tyle='font-weight: 400\;'>or the calculated twisting of the thread.</span>
 </p> <br> <p><span style='font-weight: 400\;'>It will be the regularity\, 
 </span></p> <p><span style='font-weight: 400\;'>the repetitive cause of fo
 rms\, </span></p> <p><span style='font-weight: 400\;'>the patience of man 
 as renunciation\, </span></p> <p><span style='font-weight: 400\;'>and what
  he prepares to be : </span></p> <p><span style='font-weight: 400\;'>a doi
 ng that does not know </span></p> <p><span style='font-weight: 400\;'>what
  it is\, and carries on </span></p> <p><span style='font-weight: 400\;'>an
 d weaves </span></p> <p><span style='font-weight: 400\;'>its plot around t
 he void.</span></p> </td> </tr> </tbody> </table> <p><b>The Last Ebb</b></
 p> <p><span style='font-weight: 400\;'>Music by Jérôme Combier</span></p> 
 <p><span style='font-weight: 400\;'>Text by Samuel Beckett</span></p> <tab
 le> <tbody> <tr> <td> <p><span style='font-weight: 400\;'>I. du silence (g
 round)</span></p> <p><span style='font-weight: 400\;'>musique de l’indiffé
 rence</span><span style='font-weight: 400\;'><br></span><span style='font-
 weight: 400\;'>cœur temps air feu sable</span><span style='font-weight: 40
 0\;'><br></span><span style='font-weight: 400\;'>du silence éboulement d’a
 mours</span><span style='font-weight: 400\;'><br></span><span style='font-
 weight: 400\;'>couvre leurs voix et que</span><span style='font-weight: 40
 0\;'><br></span><span style='font-weight: 400\;'>je ne m’entende plus</spa
 n><span style='font-weight: 400\;'><br></span><span style='font-weight: 40
 0\;'>me taire</span></p> <p><span style='font-weight: 400\;'>(translated b
 y Beckett)</span></p> </td> <td> <p><span style='font-weight: 400\;'>I. Th
 e Music of Indifference</span></p> <p><span style='font-weight: 400\;'>The
  music of indifference<br></span><span style='font-weight: 400\;'>heart ti
 me air fire sand<br></span><span style='font-weight: 400\;'>of silence the
  landslip of loves<br></span><span style='font-weight: 400\;'>cover their 
 voices and let me <br></span><span style='font-weight: 400\;'>no longer he
 ar myself <br></span><span style='font-weight: 400\;'>be silent.</span></p
 > </td> </tr> <tr> <td> <p><span style='font-weight: 400\;'>II. long sole 
 sound (roundelay)</span></p> <p><span style='font-weight: 400\;'>on all th
 at strand<br></span><span style='font-weight: 400\;'>at end of day<br></sp
 an><span style='font-weight: 400\;'>steps sole sound<br></span><span style
 ='font-weight: 400\;'>long sole sound<br></span><span style='font-weight: 
 400\;'>until unbidden stay<br></span><span style='font-weight: 400\;'>then
  no sound<br></span><span style='font-weight: 400\;'>until unbidden go<br>
 </span><span style='font-weight: 400\;'>steps sole sound<br></span><span s
 tyle='font-weight: 400\;'>long sole sound<br></span><span style='font-weig
 ht: 400\;'>on all that strand<br></span><span style='font-weight: 400\;'>a
 t end of day</span></p> </td> <td></td> </tr> <tr> <td> <p><span style='fo
 nt-weight: 400\;'>III. The last ebb (cradle song)</span></p> <p><span styl
 e='font-weight: 400\;'>again the last ebb<br></span><span style='font-weig
 ht: 400\;'>the dead shingle<br></span><span style='font-weight: 400\;'>the
  turning then the steps<br></span><span style='font-weight: 400\;'>Toward 
 the lighted town </span></p> </td> <td></td> </tr> <tr> <td> <p><span styl
 e='font-weight: 400\;'>IV. The summer rain rains on my life (passacaglia)<
 /span></p> <p><span style='font-weight: 400\;'>My way is in the sand flowi
 ng<br></span><span style='font-weight: 400\;'>between the shingle and the 
 dune<br></span><span style='font-weight: 400\;'>the summer rain rains on m
 y life\,<br></span><span style='font-weight: 400\;'>on me my life harrying
  fleeing<br></span><span style='font-weight: 400\;'>to its beginning to it
 s end</span></p> <p><span style='font-weight: 400\;'>My peace is there in 
 the receding mist<br></span><span style='font-weight: 400\;'>when I may ce
 ase from treading these long shifting thresholds<br></span><span style='fo
 nt-weight: 400\;'>and live the space of a door<br></span><span style='font
 -weight: 400\;'>that opens and shuts</span></p> </td> <td></td> </tr> </tb
 ody> </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='font-weight: 400\;'></span><b>Katherine Jimoh</b><span style='font-w
 eight: 400\;'>\, 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 style='font-weight
 : 400\;'>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 style='font-weight: 400\;'> 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 style='font-weight: 400\;'>const
 ancevolk.com</span></a></p> <h3 style='font-weight: 400\;'><br style='font
 -weight: 400\;'><br style='font-weight: 400\;'></h3> <h3 style='font-weigh
 t: 400\;'></h3> <h3 style='font-weight: 400\;'></h3>
END:VEVENT
BEGIN:VEVENT
UID:a4b0f425-cc76-4f81-881d-10626e957c29
DTSTAMP:20260612T083118Z
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><
 a href='https://www.youtube.com/live/kUEVkixAnqI' target='_blank' rel='noo
 pener noreferrer'>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
DTEND;TZID=America/Los_Angeles:20241014T000000
LAST-MODIFIED:20241030T185741Z
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<
 /a></strong></p> <hr> <h4>Program:</h4> <div><strong>Johannes Brahms</stro
 ng> (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</d
 iv> <hr> <h4>Biographies</h4>
END:VEVENT
BEGIN:VEVENT
UID:63ea6d8a-07a0-454e-8924-0beed1a3ecec
DTSTAMP:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20241018T000000
LAST-MODIFIED:20240702T162011Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:ba044724-ad6d-493f-aee6-4e788855d1ef
DTSTAMP:20260612T083118Z
CATEGORIES:Faculty Performances\, Performances\, Student Activities and Per
 formances
CLASS:PUBLIC
CREATED:20240807T222440Z
DESCRIPTION:<p></p>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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'<
 hr>\n<h3 style='font-weight: 400\;'>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 style='font-weight: 400\;'>Biography</h3>\n<b> </b>
DTSTART;TZID=America/Los_Angeles:20241023T193000
DTEND;TZID=America/Los_Angeles:20241024T000000
LAST-MODIFIED:20241018T224739Z
SUMMARY:: Faculty Recital: Cristina Valdés\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-23/faculty-recital-cristina
 -valdes-piano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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></spa
 n> <div></div> <i><span title='German-language text'><i lang='de'>Sechs kl
 eine Klavierstücke</i></span></i><em>\, Op. 19 (1911) - </em><strong><stro
 ng>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' style='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> <d
 iv><span>I. 'E</span><span><span>merson' <br>II. 'Hawthorne' <br>III. 'The
  Alcotts' <br>IV. 'Thoreau'</span></span><hr><span></span></div> <h3 style
 ='font-weight: 400\;'>Notes</h3> <p><span style='font-weight: 400\;'>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 style='font-weight: 400\;'>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='font-weight: 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 style='font-weight: 400\;'>Biography<
 /h3> <span color='#202122' face='sans-serif' size='3' style='color: #20212
 2\; font-family: sans-serif\; font-size: medium\;'><span><b><i> </i></b></
 span></span></div>
END:VEVENT
BEGIN:VEVENT
UID:146f0708-027c-451b-85b5-ae7d9506eeae
DTSTAMP:20260612T083118Z
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><
 b>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><
 b>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><
 b>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><
 /p>
DTSTART;TZID=America/Los_Angeles:20241027T133000
DTEND;TZID=America/Los_Angeles:20241028T000000
LAST-MODIFIED:20241024T215439Z
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<sp
 an class='Apple-converted-space'> </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<
 /i>\, </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.<sp
 an class='Apple-converted-space'> </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 <
 i>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 style='width: 844px\;'> <tbod
 y> <tr style='height: 2714px\;'> <td style='width: 843px\; height: 2714px\
 ;'> <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* <
 br>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<
 span class='Apple-converted-space'> <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><
 /b>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
 pan></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<
 span class='Apple-converted-space'> <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<sp
 an class='Apple-converted-space'> </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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20241029T000000
LAST-MODIFIED:20250722T005059Z
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:20260612T083118Z
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 style='font-weig
 ht: 400\;'><strong>Bach-Busoni</strong>: Chaconne<br><strong>Beethoven</st
 rong>: Sonata in E op. 109<br><strong>John McLeod</strong>: Sonata no 1 (1
 978)</p>\n<p style='font-weight: 400\;'>INTERVAL</p>\n<p style='font-weigh
 t: 400\;'><strong>Chopin:</strong> Berceuse in D flat<br><strong>Ravel:</s
 trong> Jeux d’Eaux<br><strong>Liszt:</strong> Dante Sonata</p>\n<hr>\n<h3>
 Biography</h3>\n<h3 style='font-weight: 400\;'><a href='http://www.murraym
 clachlan.com ' target='_blank' rel='noopener noreferrer'>Murray McLachlan<
 /a></h3>\n<p style='font-weight: 400\;'>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='font-weight: 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 style='font-weight: 400\;'> 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='font-weight: 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 style='font-weight: 400\;'> </p>
DTSTART;TZID=America/Los_Angeles:20241028T193000
DTEND;TZID=America/Los_Angeles:20241029T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Guest Pianist Recital: Murray McLachlan
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-28/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 <
 /span>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> <h
 r> <h3>Program</h3> <p style='font-weight: 400\;'><strong>Bach-Busoni</str
 ong>: Chaconne<br><strong>Beethoven</strong>: Sonata in E op. 109<br><stro
 ng>John McLeod</strong>: Sonata no 1 (1978)</p> <p style='font-weight: 400
 \;'>INTERVAL</p> <p style='font-weight: 400\;'><strong>Chopin:</strong> Be
 rceuse in D flat<br><strong>Ravel:</strong> Jeux d’Eaux<br><strong>Liszt:<
 /strong> Dante Sonata</p> <hr> <h3>Biography</h3> <h3 style='font-weight: 
 400\;'><a href='http://www.murraymclachlan.com ' target='_blank' rel='noop
 ener noreferrer'>Murray McLachlan</a></h3> <p style='font-weight: 400\;'><
 span>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 style='font-weight: 400\;'><spa
 n><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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><span> </span></p>
END:VEVENT
BEGIN:VEVENT
UID:198e2f87-e8cb-426b-bf33-4986a1a492b3
DTSTAMP:20260612T083118Z
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<
 p>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></stro
 ng></p>\n<hr>\n<h3>Master Class Program</h3>\n<p style='font-weight: 400\;
 '><strong>Ludwig van Beethoven:</strong> Sonata in A flat major\,  Opus 11
 0  (Segment to be decided) <br>                Jingshi  Zhao\, piano </p>
 \n<p style='font-weight: 400\;'><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 style='font-weight: 4
 00\;'><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.<
 /p>\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<
 p>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
DTEND;TZID=America/Los_Angeles:20241031T000000
LAST-MODIFIED:20241025T193245Z
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='font-weight: 400\;'><strong>Ludwig van Beethoven:</strong> Sonata in A
  flat major\,  Opus 110  (Segment to be decided) <br>                Jings
 hi  Zhao\, piano </p> <p style='font-weight: 400\;'><strong>J.S. Brahms: <
 /strong>Violin and Piano Sonata in D minor\, No. 3\, Opus 108<br>         
        Annika Kounts\, violin<br>                Cicy Li\, piano</p> <p st
 yle='font-weight: 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> <
 p></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='http
 ://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:20260612T083118Z
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”</str
 ong><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
DTEND;TZID=America/Los_Angeles:20241031T000000
LAST-MODIFIED:20241031T010355Z
SUMMARY:: 'The President's Own' United States Marine Band
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-30/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><str
 ong>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
 trong><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</e
 m>\, 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.</sp
 an></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><sp
 an>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</su
 p> 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:20260612T083118Z
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 style='font-weigh
 t: 400\;'>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 style='font-weight: 400\;'>Erlk
 önig D.328 – Franz Schubert (1797-1828)<br>Cee Adamson\, mezzo-soprano\; S
 tef Price </p>\n<p style='font-weight: 400\;'>Prelude and Fugue in G minor
 \, BWV 558 –<strong> Johann Sebastian Bach</strong><br>Cole Henslee </p>\n
 <p style='font-weight: 400\;'>Hexenlied (Witches’ Song) Op.8\, No.8 – <str
 ong>Felix Mendelssohn</strong> (1809-1847)<br>Isabelle Villanueva\, mezzo-
 soprano\; Stef Price</p>\n<p style='font-weight: 400\;'>Prelude on “Ein fe
 ste Burg” – Text / Tune: <strong>Martin Luther</strong> (1483-1546)</p>\n<
 p style='font-weight: 400\;'>'Though devils all the world should fill\, al
 l eager to devour us...' (vs. 3)<br>Improvisation by Tyleen Stults </p>\n<
 p style='font-weight: 400\;'>“Ein feste Burg ist unser Gott” – Organ versi
 on by <strong>Helmut Walcha</strong> (1907-1991)<br>Tyleen Stults</p>\n<p 
 style='font-weight: 400\;'>*Pumpkin Carol: “The Twelve Days of Halloween”<
 br>Audience Participation</p>\n<p style='font-weight: 400\;'>Fantasia on M
 ission Impossible – <strong>Lalo Schifrin</strong> (b. 1932) transcribed b
 y Paul Ayres<br>Stef Price</p>\n<p style='font-weight: 400\;'>“Jabba the H
 utt” – <strong>John Williams</strong> (b. 1932) arranged by Scott Sutherla
 nd<br>Cole Henslee\, tuba\; Stef Price</p>\n<p style='font-weight: 400\;'>
 “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 style='font-weight: 400\;'>Toccata
  in B minor – <strong>Eugène Gigout</strong> (1844-1925)<br>Tyleen Stults<
 /p>\n<hr>\n<h4 style='font-weight: 400\;'> Lyrics</h4>\n<p style='font-wei
 ght: 400\;'><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 style='font-weight: 400\;'><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 style='font-weig
 ht: 400\;'><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 style='font-weight: 400\;'><strong>Interlude</stro
 ng></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
DTEND;TZID=America/Los_Angeles:20241101T000000
LAST-MODIFIED:20241021T190547Z
SUMMARY:: Halloween Organ Concert
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-10-31/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> <h3>Program</h3> <p sty
 le='font-weight: 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 style='fo
 nt-weight: 400\;'><em>Erlkönig </em>D.328 – Franz Schubert (1797-1828)<br>
 <em>Cee Adamson\, mezzo-soprano\; Stef Price</em> </p> <p style='font-weig
 ht: 400\;'>Prelude and Fugue in G minor\, BWV 558 –<strong> Johann Sebasti
 an Bach</strong><br><em>Cole Henslee </em></p> <p style='font-weight: 400\
 ;'><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 style='font-weight: 400\;'>Prelude on “<em
 >Ein feste Burg”</em> – Text / Tune: <strong>Martin Luther</strong> (1483-
 1546)</p> <p style='font-weight: 400\;'>'<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 style='font-weight: 400\;'><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 style='font-weight: 400\;'>*P
 umpkin Carol: “The Twelve Days of Halloween”<br><em>Audience Participation
 </em></p> <p style='font-weight: 400\;'>Fantasia on Mission Impossible – <
 strong>Lalo Schifrin</strong> (b. 1932) transcribed by Paul Ayres<br><em>S
 tef Price</em></p> <p style='font-weight: 400\;'>“Jabba the Hutt” – <stron
 g>John Williams</strong> (b. 1932) arranged by Scott Sutherland<br><em>Col
 e Henslee\, tuba\; Stef Price</em></p> <p style='font-weight: 400\;'>“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 style='font-weight: 400\;'>Tocc
 ata in B minor – <strong>Eugène Gigout</strong> (1844-1925)<br><em>Tyleen 
 Stults</em></p> <hr> <h4 style='font-weight: 400\;'> Lyrics</h4> <p style=
 'font-weight: 400\;'><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> <
 li>An owl in an old\, dead tree.</li> <li>Two trick-or-treaters\,</li> <li
 >Three black cats\,</li> </ol> <p style='font-weight: 400\;'><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 style='fon
 t-weight: 400\;'><strong><em>Interlude</em></strong></p> <ol start='7'> <l
 i>Seven pumpkins glowing\,</li> <li>Eight monsters shrieking\,</li> <li>Ni
 ne ghosts-a-booing</li> </ol> <p style='font-weight: 400\;'><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> </o
 l> <h3><span style='font-weight: 400\;'></span></h3> <h3>Biography</h3> <p
 ></p>
END:VEVENT
BEGIN:VEVENT
UID:719b78e7-f7a8-48e5-876b-17d8fc7a8a1c
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20241102T000000
LAST-MODIFIED:20241018T180741Z
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<
 /h3> <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 <
 em>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:20260612T083118Z
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><
 strong>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 style='font-weight: 400\;'><br></str
 ong>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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><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
  style='font-weight: 400\;'>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 style='font-weight: 400\;'
 >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 style='font-weight: 400\;'>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 style='font-weight: 400\;'> (1770-1827)
 :</strong> <strong style='font-weight: 400\;'>Symphony No. 5 in C minor\, 
 op. 67 (1807-1808)</strong></p>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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='font-weight: 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><stron
 g><br><u>Oboe</u><br></strong>Minh-Thi Butler\, BM Music Education/Oboe Pe
 rformance<br>Lauren Majewski\, BA Global & Regional Studies </p>\n<p><stro
 ng><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<
 /p>\n<p><strong><u>Bass Clarinet</u></strong><strong><br></strong>Cameron 
 DeLuca\, DMA Clarinet Performance</p>\n<p><strong><u>Bassoon<br></u></stro
 ng>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></stro
 ng>Nicole Bogner\, BM Horn Performance<br>Colin Laskarzewski\, BS Physics<
 br>Elise Moe\, BM Horn Performance<br>Sam Nutt\, Molecular & Cellular Biol
 ogy<br>Johan Polissar\, Aeronautics & 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<
 br></u></strong>Jonathan Elsner\, Applied & 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><st
 rong><br></strong>Duncan Weiner\, Aero-Astro Engineering/Linguistics</p>\n
 <p><strong><u>Tuba<br></u></strong>Adam Mtimet\, DMA Tuba Performance<stro
 ng><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 & 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 & 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
DTEND;TZID=America/Los_Angeles:20241102T000000
LAST-MODIFIED:20241028T203330Z
SUMMARY:: UW Symphony Orchestra with Bonnie Whiting
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-01/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 style='font-weight:
  400\;'><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 style='font-weight: 4
 00\;'><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 style='font-weight: 400\;'><
 strong>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 style='font-weight: 400
 \;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'> (1770-1827):</strong> <strong style='f
 ont-weight: 400\;'><em>Symphony No. 5 in C minor\, op. 67 </em>(1807-1808)
 </strong></p> <p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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
  style='font-weight: 400\;'>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> <ta
 ble style='width: 845px\;'> <tbody> <tr> <td style='width: 844px\;'> <h4><
 strong>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 & 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
  & Cellular Biology<br>Johan Polissar\, Aeronautics & Astronautics<br><str
 ong><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><str
 ong><u>Trombone<br></u></strong>Jonathan Elsner\, Applied & Computational 
 Mathematics<br>Neal Muppidi\, BM Trombone Performance<br>Nathanael Wyttenb
 ach\, Music Composition<strong> </strong></p> <p><strong><u>Bass Trombone<
 /u></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><
 /strong>Kaisho Barnhill\, Music Education\, Psychology<br>Tyler Smith\, MM
  Percussion Performance</p> <p><strong><u>Harp</u></strong><strong><br></s
 trong>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 & 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 & 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><st
 rong><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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20241105T000000
LAST-MODIFIED:20241030T190639Z
SUMMARY:: DMA Recital: Xinrui Huang\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-04/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 </str
 ong>(1809-1847)</div> <div>Piano Concerto No.2 in D Minor\, Op. 40</div> <
 div>I. Allegro appassionato</div> <div>II. Adagio - Molto sostenuto<br>III
 . Finale - Presto scherzando</div> <div><strong></strong></div> <p></p> <d
 iv><strong>Intermission</strong></div> <div><br><strong></strong></div> <d
 iv><br><br> <div><strong>Dmitri Shostakovich</strong> (1906-1975)</div> <d
 iv>Piano Concerto No.2 in F Major\, Op. 102</div> <div>I. Allegro</div> <d
 iv>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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20241106T000000
LAST-MODIFIED:20240702T162040Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:aa3f7072-fe89-49d3-9ff5-9d606046e6c2
DTSTAMP:20260612T083118Z
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 <
 a href='/sites/music/files/documents/november_6_allen_library_concert.pdf'
 >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
DTEND;TZID=America/Los_Angeles:20241107T000000
LAST-MODIFIED:20250722T005059Z
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></spa
 n></p> <p></p> </div>
END:VEVENT
BEGIN:VEVENT
UID:032372f5-1861-4eb4-9d61-cce0f71bc076
DTSTAMP:20260612T083118Z
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<
 /h4>\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
DTEND;TZID=America/Los_Angeles:20241108T000000
LAST-MODIFIED:20241018T003642Z
SUMMARY:: External Event: DXARTS Fall Concert: Fictions in Fugue
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-07/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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20241109T000000
LAST-MODIFIED:20241018T003449Z
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 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:20260612T083118Z
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'><str
 ong>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 & 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
DTEND;TZID=America/Los_Angeles:20241111T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Guest Artist Concert: Zhao-Rong 'Peter' Chen\, flute
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-10/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<
 /em></span></p> <p class='p1'><span class='s1'><strong>W.A. Mozart </stron
 g>- 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 & 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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20241113T000000
LAST-MODIFIED:20241025T205627Z
SUMMARY:: Faculty Recital: Stephen Price\, organ
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-12/faculty-recital-stephen-
 price-organ
END:VEVENT
BEGIN:VEVENT
UID:290a16f1-aaf1-46f8-81cb-45436377d7c4
DTSTAMP:20260612T083118Z
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 <
 b>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
DTEND;TZID=America/Los_Angeles:20241114T000000
LAST-MODIFIED:20241108T184620Z
SUMMARY:: Jazz Innovations I
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-13/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> <
 h3>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'> <
 /span></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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20241115T000000
LAST-MODIFIED:20241113T120512Z
SUMMARY:: Jazz Innovations II
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-14/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> <
 h3>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:20260612T083118Z
CATEGORIES:Faculty Performances\, Performances\, Student Activities and Per
 formances
CLASS:PUBLIC
CREATED:20240807T233836Z
DESCRIPTION:<p></p>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>Program Notes</h3>\n<p style='font
 -weight: 400\;'>© Alyssa Hironaka\, 2024. </p>\n<p style='font-weight: 400
 \;'><strong>Piano Quartet No. 1 in C Minor\, Op. 15</strong></p>\n<p style
 ='font-weight: 400\;'>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='font-weight: 400\;'><strong>Piano Quartet No. 2 in G Minor\, Op. 45 </s
 trong></p>\n<p style='font-weight: 400\;'>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='font-weight: 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
DTEND;TZID=America/Los_Angeles:20241119T000000
LAST-MODIFIED:20241118T165836Z
SUMMARY:: Faculty Recital: Craig Sheppard\, Fauré Piano Quartets
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-18/faculty-recital-craig-sh
 eppard-faure-piano-quartets
END:VEVENT
BEGIN:VEVENT
UID:558f3675-3bbf-496b-bec9-67d38982e269
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20241120T000000
LAST-MODIFIED:20240808T193254Z
SUMMARY:: Voice Division Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-19/voice-division-recital
END:VEVENT
BEGIN:VEVENT
UID:09593d9b-463d-4e45-b604-4107ff207b4b
DTSTAMP:20260612T083118Z
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<
 h3>Artist Biography</h3>\n<p style='font-weight: 400\;'>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 style='
 font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\
 ;'>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 style='font-weight: 400\;
 '>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 style='font-weight: 400\;'>Currently Mr. Vosk
 resensky is Artist-in-residence at the Juilliard School in New York.</p>
DTSTART;TZID=America/Los_Angeles:20241120T160000
DTEND;TZID=America/Los_Angeles:20241121T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Guest Pianist Master Class: Mikhail Voskresensky
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-20/guest-pianist-master-cla
 ss-mikhail-voskresensky
END:VEVENT
BEGIN:VEVENT
UID:1c9a8c42-2c32-49e9-88f8-d2df42187ecf
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20241122T000000
LAST-MODIFIED:20250722T005059Z
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><sp
 an>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><sp
 an>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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20241122T000000
LAST-MODIFIED:20240702T162057Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:78ee9248-840f-4bac-b365-3442d4b8b067
DTSTAMP:20260612T083118Z
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 style='font-weight: 400\;'><br>University of Washington Campus 
 Band<br></h4>\n<p style='font-weight: 400\;'>Solomon Encina\, director</p>
 \n<p style='font-weight: 400\;'><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 style='font-weight: 400\;'><strong>University of Washi
 ngton Saxophone Quartet<br></strong><strong>Quatuor Pour Saxophones</stron
 g> (1949): Faustin Jeanjean (1900-1979) and Maurice Jeanjean (1897-1968)<b
 r>III. Papillons (Scherzo)<br>IV. Concert Sur La Place (Humoristique)<br><
 br><strong>Super Smash Bros. Brawl - Main Theme</strong> (2008): Nobuo Uem
 atsu (b. 1959) arr. Chinmay Murthy (b. 2004)</p>\n<h4 style='font-weight: 
 400\;'><br>University of Washington Concert Band<br><br></h4>\n<p style='f
 ont-weight: 400\;'>David Stewart\, Yuman Wu\, directors</p>\n<p style='fon
 t-weight: 400\;'><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
 trong> (2015) : Brian Balmages (b. 1975)<br><br><strong>Incantation and Da
 nce</strong> (1963): John Barnes Chance (1932-1972)</p>\n<hr>\n<h3 style='
 font-weight: 400\;'>PROGRAM NOTES</h3>\n<p style='font-weight: 400\;'><str
 ong>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)<
 /p>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'><strong>To A New Dawn</str
 ong> 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 style='
 font-weight: 400\;'> </p>\n<p style='font-weight: 400\;'>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
  style='font-weight: 400\;'>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 style='font-weight: 400\;'><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 style='fo
 nt-weight: 400\;'><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 style='font-weight: 400\;'><strong>Incantation 
 and Dance</strong> came into being during <strong>John Barnes Chance’s</st
 rong> 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 & 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 & Engineering\, San Jose\, C
 A<br>Satoshi Jono\, Sophomore\, Global Studies\, Tokyo\, Japan<br>Sanskrit
 i Joshi\, Grad\, Ph.D. in Electrical & Computer Engineering\, Dublin\, OH<
 br>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 & 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 & Astronautics Engineering\, Bernardsville\, NJ<br>Marisa Oish
 i\, Freshman\, Informatics\, Bremerton<br>Sage Ramberg\, Law\, Society & J
 ustice/Ethnomusicology\, St. Paul\, MN<br>Bailey Stachelski\, Freshman\, P
 re-Major Arts & Sciences\, Snoqualmie<br>Kenzie Winchell\, Sophomore\, Psy
 chology\, Spanaway<br>Helen Yang\, Community Member\, Bellevue</p>\n<p><st
 rong>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<
 br>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 & 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 & 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 & 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<
 p><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 & 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
 trong>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></str
 ong>Vichet Ros\, Jr.\, Music Education\, Burien<br> </p>\n<h4>UNIVERSITY O
 F WASHINGTON CONCERT BAND<br><br></h4>\n<p style='font-weight: 400\;'><str
 ong>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 & Information Systems\, Fremont\, CA<br>Abiga
 il Klein\, Freshman\, Computer Science\, Burien<br>Kristy Le\, Sophomore\,
  Art\, Burien<br>Fletcher Lohrentz\, Sophomore\, Physics & 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 style='font-weight: 400
 \;'> <strong>OBOE<br></strong>Stacy Schulze\, Community Member\, Richmond\
 , TX</p>\n<p style='font-weight: 400\;'><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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><strong>AL
 TO SAXOPHONE<br></strong>Xin Cen\, Junior\, Molecular\, Cellular\, and Dev
 elopmental Biology\, Bellevue<br>Matthew Holmes\, Grad\, Aero & 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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><strong>BARITONE SAXO
 PHONE<br></strong>Matthew Ohliger\, Sophomore\, Environmental Public Healt
 h\, Montgomery\, AL</p>\n<p style='font-weight: 400\;'><strong>BASSOON<br>
 </strong>Olivia Whitford\, Sophomore\, Oceanography\, Seattle             
                                                                           
                                                                           
                                                                           
                                                                           
                                                                           
    </p>\n<p style='font-weight: 400\;'><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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><strong>EUPHONIUM      
  <br></strong>Jenna Thomson\, Freshmen\, Environmental Science\, Anchorage
 \, AK</p>\n<p style='font-weight: 400\;'><strong>TUBA<br></strong>Jason La
 i\, Freshmen\, Mechanical Engineering\, Camas</p>\n<p style='font-weight: 
 400\;'><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
DTEND;TZID=America/Los_Angeles:20241122T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Campus and Concert Bands: Colors in Motion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-21/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> <h
 r> <h3>Program</h3> <h4 style='font-weight: 400\;'><br>University of Washi
 ngton Campus Band<br><em></em></h4> <p style='font-weight: 400\;'><em>Solo
 mon Encina\, director</em></p> <p style='font-weight: 400\;'><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><
 br><strong>To A New Dawn </strong>(2000):<span>  </span>Philip Sparke (b. 
 1951)</p> <p style='font-weight: 400\;'><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><str
 ong>Super Smash Bros. Brawl - Main Theme</strong> (2008)<span>: </span>Nob
 uo Uematsu (b. 1959) arr. Chinmay Murthy (b. 2004)</p> <h4 style='font-wei
 ght: 400\;'><br>University of Washington Concert Band<br><br><em></em></h4
 > <p style='font-weight: 400\;'><em>David Stewart\, Yuman Wu\, directors</
 em></p> <p style='font-weight: 400\;'><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><
 br><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 style='font-weight: 400\;'>PROGRAM N
 OTES</h3> <p style='font-weight: 400\;'><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 style
 ='font-weight: 400\;'>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 style='font-weight: 400\;'><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 style='font-weight: 400\;'> </p> <p style='font-w
 eight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'><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 style='fon
 t-weight: 400\;'><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 style='font-weight: 400\;'><str
 ong><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 & 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 & Engineering\, San Jose\, CA<br>Satoshi Jo
 no\, Sophomore\, Global Studies\, Tokyo\, Japan<br>Sanskriti Joshi\, Grad\
 , Ph.D. in Electrical & 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 & Sciences\, Kirkland<
 /p> <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 & Astr
 onautics Engineering\, Bernardsville\, NJ<br>Marisa Oishi\, Freshman\, Inf
 ormatics\, Bremerton<br>Sage Ramberg\, Law\, Society & Justice/Ethnomusico
 logy\, St. Paul\, MN<br>Bailey Stachelski\, Freshman\, Pre-Major Arts & Sc
 iences\, Snoqualmie<br>Kenzie Winchell\, Sophomore\, Psychology\, Spanaway
 <br>Helen Yang\, Community Member\, Bellevue</p> <p><strong>BASS CLARINET<
 br></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 & 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 & 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 & 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 & Climate Science\, Burlingame\, CA<br>Yinuo X
 u\, Sophomore\, Chemistry\, Guangzhou\, China</p> <strong><br></strong> <h
 4><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><
 /h4> <p style='font-weight: 400\;'><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<
 br>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 & Info
 rmation Systems\, Fremont\, CA<br>Abigail Klein\, Freshman\, Computer Scie
 nce\, Burien<br>Kristy Le\, Sophomore\, Art\, Burien<br>Fletcher Lohrentz\
 , Sophomore\, Physics & 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 style='font-weight: 400\;'><span> </span><strong>OBOE<br></
 strong>Stacy Schulze\, Community Member\, Richmond\, TX</p> <p style='font
 -weight: 400\;'><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 style='font-we
 ight: 400\;'><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 style='font-weight: 400\;'><strong>ALTO SAXOPHONE<
 br></strong>Xin Cen\, Junior\, Molecular\, Cellular\, and Developmental Bi
 ology\, Bellevue<br>Matthew Holmes\, Grad\, Aero & 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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><strong>BARITONE SAXOPHONE<br></stro
 ng>Matthew Ohliger\, Sophomore\, Environmental Public Health\, Montgomery\
 , AL</p> <p style='font-weight: 400\;'><strong>BASSOON<br></strong>Olivia 
 Whitford\, Sophomore\, Oceanography\, Seattle<span>                       
                                                                           
                                                                           
                                                                           
                                                                           
                                                                    </span>
 </p> <p style='font-weight: 400\;'><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 style='font-weight: 400\;'><strong>TRUMPET<br><
 /strong>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 style='font-weight: 400\;'><stro
 ng>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 style='font-weight: 400\;'><strong>EUPHONIUM
 <span>       <br></span></strong>Jenna Thomson\, Freshmen\, Environmental 
 Science\, Anchorage\, AK</p> <p style='font-weight: 400\;'><strong>TUBA<br
 ></strong>Jason Lai\, Freshmen\, Mechanical Engineering\, Camas</p> <p sty
 le='font-weight: 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> <
 /td> </tr> </tbody> </table>
END:VEVENT
BEGIN:VEVENT
UID:1c9a8c42-2c32-49e9-88f8-d2df42187ecf
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20241123T000000
LAST-MODIFIED:20250722T005059Z
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><sp
 an>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><sp
 an>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:20260612T083118Z
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><
 b>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><
 br>\nWords and Music: Toby Marlow and Lucy Moss\, arr. Andy Beck </p>\n\n<
 p><b>Chasing Visions </b><br>\nWords and Music: Don Macdonald </p>\n\n<p><
 b>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<
 p><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 <
 br>\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 <
 br>\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
DTEND;TZID=America/Los_Angeles:20241123T000000
LAST-MODIFIED:20250728T171101Z
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.<
 /span></p> <hr> <h3>Program</h3> <p> </p> <h4><span><span class='Apple-con
 verted-space'> </span></span><b>GLEE<span class='Apple-converted-space'> <
 /span></b></h4> <p>Directed By:<span class='Apple-converted-space'> </span
 ><br> David Ferguson - DMA Student<span class='Apple-converted-space'> </s
 pan><br> Adam Freemantle- MM Student<span class='Apple-converted-space'> <
 /span><br> Egija Claire - MM Student<span class='Apple-converted-space'> <
 /span><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<
 span class='Apple-converted-space'> </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'> </spa
 n><br> Helen Woodruff - MM Student<span class='Apple-converted-space'> </s
 pan><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<spa
 n class='Apple-converted-space'> </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> <
 b>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> <t
 able style='width: 841px\;'> <tbody> <tr> <td style='width: 840px\;'> <h4>
 <b>GLEE<span class='Apple-converted-space'> </span></b></h4> <p>Ezra Aceve
 do<span class='Apple-converted-space'> </span><br> <span style='font-size:
 12pt'><span style='line-height:115%'><span style='font-family:Aptos\,sans-
 serif'>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><
 br> 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<spa
 n class='Apple-converted-space'> </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'> <
 /span><br> Marissa Romeo<span class='Apple-converted-space'> </span><br> M
 inh Nguyen<span class='Apple-converted-space'> </span><br> Noah Berhan<spa
 n class='Apple-converted-space'> </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'> <
 /span><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><
 br> 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'> <
 /span><br> Rebecca Himeda<span class='Apple-converted-space'> </span><br> 
 Mari Hirayama<span class='Apple-converted-space'> </span><br> Sammi Huang<
 span class='Apple-converted-space'> </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'> <
 /span><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
 pan><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'> </spa
 n><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<spa
 n class='Apple-converted-space'> </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
 pan><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'> </sp
 an><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> </tabl
 e> <h3>Conductor Biographies</h3> <h3> </h3>
END:VEVENT
BEGIN:VEVENT
UID:1c9a8c42-2c32-49e9-88f8-d2df42187ecf
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20241124T000000
LAST-MODIFIED:20250722T005059Z
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><sp
 an>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><sp
 an>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:20260612T083118Z
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><
 strong>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
DTEND;TZID=America/Los_Angeles:20241124T000000
LAST-MODIFIED:20241123T010214Z
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' style='font-family: 'times new roman'\, serif\;'>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<
 /em></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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20241125T000000
LAST-MODIFIED:20250722T005059Z
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><sp
 an>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><sp
 an>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:20260612T083118Z
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<h
 3 style='font-weight: 400\;'><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 style='fo
 nt-weight: 400\;'>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 style='font-weight: 400\;'>Sonata in D minor for rec
 order and continuo\, BWV 997: <strong> </strong><strong>J.S. Bach<br></str
 ong>Preludio<br>Sarabande<br>Gigue-Double</p>\n<p style='font-weight: 400\
 ;'>Weichet nur\, betrübte Schatten\, BWV 202:  <strong>J.S. Bach</strong><
 /p>\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<
 p>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> <
 /p>\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\,<
 br>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\,<
 br>Verlobte Zwei\,<br>Vom Unbestand des Wechsels frei!<br>Kein jäher Fall<
 br>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='font-weight: 400\;'></p>\n<h3>Director Biography</h3>
DTSTART;TZID=America/Los_Angeles:20241124T150000
DTEND;TZID=America/Los_Angeles:20241125T000000
LAST-MODIFIED:20241122T011112Z
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 style='font-weight: 400\;'><strong>PROGRAM</strong></h3> <
 p><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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>Sonata in D minor for recorder and cont
 inuo\, BWV 997:<span> <strong> </strong></span><strong>J.S. Bach<br></stro
 ng>Preludio<br>Sarabande<br>Gigue-Double</p> <p style='font-weight: 400\;'
 >Weichet nur\, betrübte Schatten\, BWV 202: <span> </span><strong>J.S. Bac
 h</strong></p> <table style='font-weight: 400\;'> <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'> <
 p><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> </e
 m></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> <t
 d width='312'> <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<
 /p> <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!<
 /p> </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 style='font-weight: 400
 \;'></p> <h3>Director Biography</h3>
END:VEVENT
BEGIN:VEVENT
UID:23fd60a8-e3b5-4cfe-9fdb-64a8dba43e65
DTSTAMP:20260612T083118Z
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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><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<
 /p>\n<p style='font-weight: 400\;'><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 style='fo
 nt-weight: 400\;'><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 style='font-wei
 ght: 400\;'><strong>Competitor: Karen Haining</strong>\; Accompanist: <str
 ong>Ian Huh<br></strong>Performing: Mendelssohn: Piano Concerto No. 1 in G
  minor\, Op. 25\, 2nd and 3rd movements </p>\n<p style='font-weight: 400\;
 '><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 style='font-weight: 400\;'><strong>Competitor
 : Katherine Lee</strong>\; Accompanist: <strong>Mia Hyeyeon Kim<br></stron
 g>Performing: Grieg Piano Concerto in a minor op. 16\, 1st movement</p>\n<
 p style='font-weight: 400\;'><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
DTEND;TZID=America/Los_Angeles:20241126T000000
LAST-MODIFIED:20241122T160453Z
SUMMARY:: Concerto Competition: Keyboard
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-25/concerto-competition-key
 board
END:VEVENT
BEGIN:VEVENT
UID:8dce3f92-fcbf-4e97-a200-296ac329d747
DTSTAMP:20260612T083118Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20240927T183441Z
DESCRIPTION:<p>Students of Christine Lee present a chamber music showcase.<
 /p>\n<hr>\n<h3>Biography</h3>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20241126T133000
DTEND;TZID=America/Los_Angeles:20241127T000000
LAST-MODIFIED:20240927T183441Z
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:20260612T083118Z
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 style='font-weight: 400\;'> Soundprint III: A Requiem
  for Ezra Pound (1972: <strong>Randolph Coleman</strong> (b. 1937)</p>\n<p
  style='font-weight: 400\;'>Wah (2014): <strong>Juri Seo</strong> (b. 1981
 )</p>\n<p style='font-weight: 400\;'>Simulcast (2002): <strong>Rick Burkha
 rdt</strong></p>\n<p style='font-weight: 400\;'>Essay for Percussion (2020
 ): <strong>Jonathan Bingham</strong> (b. 1989)</p>\n<p style='font-weight:
  400\;'>To give you form and breath (2019): <strong>inti figgis-vizueta</s
 trong> (b. 1993)</p>\n<p style='font-weight: 400\;'>Birdfrog (2024): <stro
 ng>Sebastian Zhang</strong> (b. 2003)</p>\n<p style='font-weight: 400\;'>A
 round (1972): <strong>Edward Miller</strong> (1930-2013)</p>\n<p style='fo
 nt-weight: 400\;'>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 style='font-weight: 40
 0\;'>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<
 /p>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><strong></strong>Director Bi
 ography</h3>
DTSTART;TZID=America/Los_Angeles:20241126T193000
DTEND;TZID=America/Los_Angeles:20241127T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Percussion Ensemble: Credo in US (you and me)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-11-26/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<
 /span></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
 pan><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 style='font-weight: 400\;'> Soundprint III: A Requiem for
  Ezra Pound (1972: <strong>Randolph Coleman</strong> (b. 1937)</p> <p styl
 e='font-weight: 400\;'>Wah (2014): <strong>Juri Seo</strong> (b. 1981)</p>
  <p style='font-weight: 400\;'>Simulcast (2002): <strong>Rick Burkhardt</s
 trong></p> <p style='font-weight: 400\;'>Essay for Percussion (2020): <str
 ong>Jonathan Bingham</strong> (b. 1989)</p> <p style='font-weight: 400\;'>
 To give you form and breath (2019): <strong>inti figgis-vizueta</strong> (
 b. 1993)</p> <p style='font-weight: 400\;'>Birdfrog (2024): <strong>Sebast
 ian Zhang</strong> (b. 2003)</p> <p style='font-weight: 400\;'>Around (197
 2): <strong>Edward Miller</strong> (1930-2013)</p> <p style='font-weight: 
 400\;'>Credo in US (1942): <strong>John Cage</strong> (1912-1992)</p> <p><
 strong>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><strong></strong>Director 
 Biography</h3>
END:VEVENT
BEGIN:VEVENT
UID:50567ff3-4e04-4876-8798-e645986eaccf
DTSTAMP:20260612T083118Z
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 style='font-weight: 400\;
 '>Modern Band<strong><br></strong></h4>\n<p style='font-weight: 400\;'>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:<
 /strong> Thelonious Monk<br><strong>C Jam Blues:</strong> Duke Ellington<b
 r><strong>Kiss: </strong>Rory Somers</p>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>Studio Jazz Ensembl
 e</h4>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;
 '><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
DTEND;TZID=America/Los_Angeles:20241203T000000
LAST-MODIFIED:20241202T231735Z
SUMMARY:: Studio Jazz Ensemble and Modern Band
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-02/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 style
 ='font-weight: 400\;'>Modern Band<strong><br></strong></h4> <p style='font
 -weight: 400\;'><em>Stephanie Richards – advisor</em><br><strong><br>X – T
 he Wheel: </strong><span> </span>Jai Lasker<br><strong>On the Trail:</stro
 ng><span> </span>Ferde Grofe<br><strong>Monk’s Dream:</strong><span> </spa
 n>Thelonious Monk<br><strong>C Jam Blues:</strong><span> </span>Duke Ellin
 gton<br><strong>Kiss<span>: </span></strong>Rory Somers</p> <p style='font
 -weight: 400\;'><em>Cole McKittrick\, guitar\; Jai Lasker\, guitar\; Riley
  Tobin\, bass\; Tobias Miller\, drums\; <span style='font-weight: 400\;'>C
 oen Rios\, </span><span style='font-weight: 400\;'>tenor sax</span><span s
 tyle='font-weight: 400\;'>\; Rory Somers\, </span><span style='font-weight
 : 400\;'>trumpet</span><span style='font-weight: 400\;'>\; Natalie Song\, 
 </span><span style='font-weight: 400\;'>piano</span></em></p> <hr> <h4 sty
 le='font-weight: 400\;'>Studio Jazz Ensemble</h4> <p style='font-weight: 4
 00\;'><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><stron
 g>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 style='font-weight: 400\;'><strong>Trombones</strong><br>Josiah Bizure\
 , bass trombone<br>Eliana Koenig\, trombone 2<br>Alex Weber\, trombone 1 <
 em>(lead)<br></em>Mack Henry\, trombone 3<br><br><strong>Trumpets<br></str
 ong>Timmy Brock\, trumpet 5<br>Teddy Seligman\, trumpet 4<br>Aidan Brannon
 \, trumpet 3<br>Gavin Soleibe\, trumpet 2<br>Benjamin Jess\, trumpet 1 (<e
 m>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
  style='font-weight: 400\;'><strong><br></strong></span></em><span style='
 font-weight: 400\;'><strong>Rhythm Section</strong></span><span style='fon
 t-weight: 400\;'><br>Gavin Westland\, piano<br>Elise Soper\, bass<br>Ruben
  Thomas\, </span><span style='font-weight: 400\;'>drums</span><em><span st
 yle='font-weight: 400\;'><br></span></em></p> <hr> <h3>Biographies</h3>
END:VEVENT
BEGIN:VEVENT
UID:1e82d8e5-8c18-48b0-9145-2b4628375a9b
DTSTAMP:20260612T083118Z
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<
 p class='Body'><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' style='text-align: left\;'>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' style='text-align: left\;'>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 style='font-w
 eight: 400\;'><strong><br>SOPRANO</strong><br>Shelly Su\,  Econ & 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 style='font-weight: 400\;'><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='font-weight: 400\;'>Joseph Dedinsky\, Math<br>Knowledge Ortiz-Do\, Psy
 chology<br>Alexander Trias\, Plant Biology<br>Sean Sasaki\, Music Educatio
 n</p>\n<p style='font-weight: 400\;'><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
DTEND;TZID=America/Los_Angeles:20241203T000000
LAST-MODIFIED:20241202T231010Z
SUMMARY:: UW Gospel Choir
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-02/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><spa
 n> </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><o:p> </o:p></span></b></p> <p class='Body'><b><span>Eve
 rything That Hath Breath<span>: </span></span></b><span>Richard Smallwood<
 br></span><span>Alexander Trias</span><span>\, <i>soloist</i></span><i><sp
 an><o:p> </o:p></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><o:p></o:p></span><b><span>My Help<span>: </span></span></b><span
 >Brooklyn Tabernacle Choir<br></span><i><span>(From Psalm 121)<br></span><
 /i><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><o:p> 
 </o:p></span><span><o:p> </o:p></span></p> <p class='Body'><b><span>Joy! <
 /span></b><span>Whitney Houston<br></span><i><span>(From the movie\, </spa
 n></i><span>The Preacher’s Wife)<br></span><span>Kira Mumbai</span><span>\
 ,<i> soloist</i></span><i><span><o:p> </o:p></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><
 span>Israel Houghton</span><span><o:p> </o:p></span><span><o:p> </o:p></sp
 an></p> <p class='Body'><b><span>We Are The World: </span></b><span> </spa
 n><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' style='text-align: left\;'><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' style='text-align: left\;'><i><span>There’s a choice we’re
  making.<br></span></i><i><span>We’re saving our own lives<br></span></i><
 i><span>It’s true we’ll make a better day<br></span></i><i><span>Just you 
 and me.<o:p></o:p></span></i></p> </div> <table style='width: 845px\;'> <t
 body> <tr> <td style='width: 844px\;'> <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 style='font-weight: 4
 00\;'><strong><br>SOPRANO</strong><br>Shelly Su<span>\, </span><span> </sp
 an>Econ & Intl Studies<br>Brittney Stowers<span>\, </span>Genetic Counseli
 ng<br>Suwan Chambers<span>\, </span>Chemistry<br>Kelsey Carvajal<span>\, <
 /span>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 style='font-weight: 400\;'><str
 ong>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 style='font-weigh
 t: 400\;'><br></span><strong>TENOR</strong> <p style='font-weight: 400\;'>
 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 style='font-weight: 400\;'><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> </tb
 ody> </table> <h3>Biographies</h3> <h3></h3>
END:VEVENT
BEGIN:VEVENT
UID:c6d5c4f0-a63a-4425-932e-086b01111181
DTSTAMP:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20241204T000000
LAST-MODIFIED:20240702T162120Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:cd1ad3d3-568c-49a4-a12b-0ec56e9cd775
DTSTAMP:20260612T083118Z
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 style='f
 ont-weight: 400\;'>Program</h3>\n<p style='font-weight: 400\;'><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 style='font-weight: 400\;'><strong> </strong><strong><u></u></strong><s
 trong>De Cajón Project <br></strong>Festejo Amador Contrapunto de zapateo
  </p>\n<p style='font-weight: 400\;'><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 style='font-we
 ight: 400\;'><strong>“Ensamble Cajón” “Valentín” </strong>(landó rhythm
 ) </p>\n<p style='font-weight: 400\;'><strong>Dance presentation </strong>
 (zapateo)</p>\n<hr>\n<h4 style='font-weight: 400\;'><strong></strong>The A
 rtists</h4>\n<p style='font-weight: 400\;'><strong>Miguel Ballumbrosio </s
 trong>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='font-weight: 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 style='font-wei
 ght: 400\;'>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 style='font-weight: 400\;'>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 style='font-weigh
 t: 400\;'><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 style='font-we
 ight: 400\;'>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 </str
 ong>(bass)\, and <strong>Roberto Bonaccorso </strong>(guitar and vocals).<
 strong> </strong></p>\n<hr>\n<h4 style='font-weight: 400\;'>Students in MU
 SAP 389 A Au 24: World Music</h4>\n<p style='font-weight: 400\;'>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
 trong></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
DTEND;TZID=America/Los_Angeles:20241204T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Ethnomusicology Visiting Artist Concert: Miguel Ballumbrosio\, Af
 ro-Peruvian Music and Dance
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-03/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 style='font-weight: 400\;'>Program</h3> <p style='font-weight: 400\;
 '><strong>Miguel Ballumbrosio<br>UW Ethnomusicology Community Artist in Re
 sidence\, Winter 2024<br></strong><strong>Afro-Peruvian Music and Dance </
 strong></p> <p style='font-weight: 400\;'><strong> </strong><strong><u></u
 ></strong><strong><span>De Cajón Project <br></span></strong><span>Festej
 o Amador Contrapunto de zapateo </span></p> <p style='font-weight: 400\;'>
 <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 style='font-weight: 400\;'><strong><spa
 n>“Ensamble Cajón” “Valentín” </span></strong><span>(landó rhythm) </sp
 an></p> <p style='font-weight: 400\;'><strong>Dance presentation </strong>
 (zapateo)</p> <hr> <h4 style='font-weight: 400\;'><strong></strong>The Art
 ists</h4> <p style='font-weight: 400\;'><strong>Miguel Ballumbrosio </stro
 ng>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 style='f
 ont-weight: 400\;'>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 style='font-weight: 
 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\
 ;'><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 style='font-w
 eight: 400\;'>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 </st
 rong>(bass)\, and <strong>Roberto Bonaccorso </strong>(guitar and vocals).
 <strong> </strong></p> <hr> <h4 style='font-weight: 400\;'>Students in MUS
 AP 389 A Au 24: World Music</h4> <p style='font-weight: 400\;'>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<
 br>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> <h
 4><strong>Students in Dance 244A Afro-Peruvian Zapateo (step dance)</stron
 g></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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20241205T000000
LAST-MODIFIED:20250722T005059Z
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:20260612T083118Z
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='font-weight: 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 style='font-weight: 40
 0\;'><strong>Sacred Nature</strong><br>\nSacred Place: Mvt. 1 Amidah: Alex
  Berko<br>\nCome to the Woods: Jake Runestad</p>\n\n<p style='font-weight:
  400\;'><strong>Sacred Life</strong><br>\nSacred Place: Mvt. 3 Shema: <str
 ong>Alex Berkop</strong><br>\nKyla Jean Marshall\, soprano<br>\nBraeden Sc
 hwarz\, tenor</p>\n\n<p style='font-weight: 400\;'>Beauty is Life:  Jake R
 unestad</p>\n\n<p style='font-weight: 400\;'><strong>Sacred Love: Healing 
 and Renewa</strong><br>\nSacred Place: Mvt. 4 Mi Shebeirach</p>\n\n<p styl
 e='font-weight: 400\;'>Hurt: <strong>Trent Reznor\, arr. Eric Whitacre</st
 rong><br>\nJaden Ritscher\, soprano</p>\n\n<p style='font-weight: 400\;'>I
  Sing Because… <strong>Will Todd</strong></p>\n\n<p style='font-weight: 40
 0\;'>Real: <strong>James Deignan</strong><br>\nMichael McKenzie\,  conduct
 or </p>\n\n<hr>\n<h4 style='font-weight: 400\;'>University Chorale Notes a
 nd Text</h4>\n\n<p style='font-weight: 400\;'><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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 4
 00\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'
 >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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><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 
 style='font-weight: 400\;'>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 style='font-weight: 400\;'><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 style='font-weight: 400\;
 '><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 style='font-we
 ight: 400\;'><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 style='font-weight: 400\;'><strong>An Aboriginal Song Veljo Tormis
  (1930-2017)</strong><br>\nDavid Puderbaugh\, conductor<br>\nSerena Chin\,
  shaman drum</p>\n\n<p style='font-weight: 400\;'>The text is sung to a si
 ngle word “Tabu” (which translates as “taboo”)</p>\n\n<p style='font-weigh
 t: 400\;'><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<
 br>\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.<
 br>\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 style='font-weight: 400\;
 '><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 style='font-weigh
 t: 400\;'><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 style='font-weight: 400\;'>Translation: Sung in Spanish</p>\n
 \n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>The white death of 
 perfect bones<br>\nis waiting to be liberated<br>\nfrom flesh\, blood\, pu
 lse and breath.</p>\n\n<p style='font-weight: 400\;'>The cheerful death<br
 >\ndresses in an elegant way because she is going to meet life itself.</p>
 \n\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>Our deaths<br>\nthat 
 sometime<br>\nbeaten in our dimension walk among us silently.</p>\n\n<p st
 yle='font-weight: 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 style='font-we
 ight: 400\;'>The smiling death walk between offerings and watches her sile
 nt in colored.</p>\n\n<p style='font-weight: 400\;'>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 style='font-we
 ight: 400\;'>In here the cacao grows<br>\nbetween dances and percussions. 
 Over there the sugar<br>\nbetween flutes and flowers.</p>\n\n<p style='fon
 t-weight: 400\;'>The smiling death laughs and dances cold death\,<br>\nwhi
 te death.</p>\n\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>on her bel
 oved cemetery.</p>\n\n<hr>\n<h4 style='font-weight: 400\;'>Notes from Geof
 frey Boers</h4>\n\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>“Real isn’t 
 how you are made\,” said the Skin Horse. “It’s a thing </p>\n\n<p style='f
 ont-weight: 400\;'>that happens to you when someone loves you\, for a long
 \, long\, time.</p>\n\n<p style='font-weight: 400\;'>Not just to play with
 \, but REALLY loves you. Then you become</p>\n\n<p style='font-weight: 400
 \;'>real.</p>\n\n<p style='font-weight: 400\;'>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 style
 ='font-weight: 400\;'> </p>\n\n\n  \n      \n    \n            \n\n\n\n   
    \n\n\n  \n\n\n<p style='font-weight: 400\;'> </p>\n\n\n  \n      \n    
 \n            \n\n\n\n      \n\n\n  \n\n\n<p style='font-weight: 400\;'> <
 /p>\n\n\n  \n      \n    \n            \n\n\n\n      \n\n\n  \n\n\n<p styl
 e='font-weight: 400\;'> </p>\n\n<p style='font-weight: 400\;'> </p>\n\n\n<
 hr>\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<
 br>\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<
 br>\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 <
 /p>\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
DTEND;TZID=America/Los_Angeles:20241205T000000
LAST-MODIFIED:20250728T172254Z
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 style='font-we
 ight: 400\;'><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 style='font-weight: 400\;'><strong>Sacred Nature</stro
 ng><br> Sacred Place: Mvt. 1 <em>Amidah: </em>Alex Berko<br> Come to the W
 oods<span>: </span>Jake Runestad</p> <p style='font-weight: 400\;'><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 style='font-weight: 400\;'>Beauty is Life: <
 span> </span>Jake Runestad</p> <p style='font-weight: 400\;'><strong>Sacre
 d Love: Healing and Renewa</strong><br> Sacred Place: Mvt. 4 Mi Shebeirach
 </p> <p style='font-weight: 400\;'>Hurt<span>: </span><strong>Trent Reznor
 \, arr. Eric Whitacre</strong><br> Jaden Ritscher\, <em>soprano</em></p> <
 p style='font-weight: 400\;'>I Sing Because…<span> </span><strong>Will Tod
 d</strong></p> <p style='font-weight: 400\;'>Real<span>: </span><strong>Ja
 mes Deignan</strong><br> Michael McKenzie\, <em><span> </span>conductor</e
 m> </p> <hr> <h4 style='font-weight: 400\;'>University Chorale Notes and T
 ext</h4> <p style='font-weight: 400\;'><strong>Star in the East Sacred Har
 p hymn\, composed Reginald Heber\, arr. in the Southern Harmony\, 1835 </s
 trong></p> <ol> <li style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><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 style='font-weight: 400\;'>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 style='font-weight
 : 400\;'><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='font-weight: 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
  style='font-weight: 400\;'><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 style='font-weight: 400\;'><strong>An Aboriginal Song Velj
 o Tormis (1930-2017)</strong><br> David Puderbaugh\, conductor<br> Serena 
 Chin\, shaman drum</p> <p style='font-weight: 400\;'>The text is sung to a
  single word “Tabu” (which translates as “taboo”)</p> <p style='font-weigh
 t: 400\;'><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 style='font-weight: 400\;'><
 strong>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 style='font-weight: 400\;'><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
  style='font-weight: 400\;'>Translation: Sung in Spanish</p> <p style='fon
 t-weight: 400\;'>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.<
 /p> <p style='font-weight: 400\;'>The white death of perfect bones<br> is 
 waiting to be liberated<br> from flesh\, blood\, pulse and breath.</p> <p 
 style='font-weight: 400\;'>The cheerful death<br> dresses in an elegant wa
 y because she is going to meet life itself.</p> <p style='font-weight: 400
 \;'>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 style='f
 ont-weight: 400\;'>Our deaths<br> that sometime<br> beaten in our dimensio
 n walk among us silently.</p> <p style='font-weight: 400\;'>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 style='font-weight: 400\;'>The smiling death walk between o
 fferings and watches her silent in colored.</p> <p style='font-weight: 400
 \;'>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 style='font-weight: 400\;'>In here the cacao grows<br> between dance
 s and percussions. Over there the sugar<br> between flutes and flowers.</p
 > <p style='font-weight: 400\;'>The smiling death laughs and dances cold d
 eath\,<br> white death.</p> <p style='font-weight: 400\;'>smiling death<br
 > the death that sings\, flirtatious death\, unexpected death<br> the deat
 h that crumbles the bones of the soul.</p> <p style='font-weight: 400\;'>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 style='font-weight: 400\;'>on her belo
 ved cemetery.</p> <hr> <h4 style='font-weight: 400\;'>Notes from Geoffrey 
 Boers</h4> <p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weigh
 t: 400\;'>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 style='font-weight: 400\;'><em>“Real isn’t how you are made\,
 ” said the Skin Horse. “It’s a thing </em></p> <p style='font-weight: 400\
 ;'><em>that happens to you when someone loves you\, for a long\, long\, ti
 me.</em></p> <p style='font-weight: 400\;'><em>Not just to play with\, but
  REALLY loves you. Then you become</em></p> <p style='font-weight: 400\;'>
 <em>real.</em></p> <p style='font-weight: 400\;'>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 style='font-weight: 400\;'> </p> <article height='121' width='264'> <di
 v class='field-wrapper field field-media--field-media-image field-name-fie
 ld-media-image field-type-image field-label-hidden'> <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='font-weight: 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'> <d
 iv class='field-item'> <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 style='font-weight: 400\;'> </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> </arti
 cle> <p style='font-weight: 400\;'> </p> <p style='font-weight: 400\;'> </
 p> </div> <hr> <table style='width: 845px\;'> <tbody> <tr> <td style='widt
 h: 844px\;'> <h4>University Chorale<b><span class='Apple-converted-space'>
  </span></b></h4> <p><b>Sopranos<span class='Apple-converted-space'> </spa
 n></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<
 br> 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'> </spa
 n></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<
 span class='Apple-converted-space'> </span></b><br> A.J. Johnson<br> Aidan
  Maynard<br> Chance Kelley<br> Charlie Dawson<br> <span style='font-size:1
 2pt'><span style='line-height:115%'><span style='font-family:Aptos\,sans-s
 erif'>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><
 /b><br> Helen Woodruff<br> Kyla Marshall<br> Jaden Ritscher<br> June Ricks
 <br> Lauren Chenoweth<span class='Apple-converted-space'> </span></p> <p><
 b>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'> </sp
 an></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><
 b>Bass 1<span class='Apple-converted-space'> </span></b><br> Alexander Tri
 as<br> <span style='font-size:12pt'><span style='line-height:115%'><span s
 tyle='font-family: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> </tb
 ody> </table> <h3>Biographies</h3> <h3> </h3>
END:VEVENT
BEGIN:VEVENT
UID:004fee07-615b-44a8-8d40-5e021ab87e40
DTSTAMP:20260612T083118Z
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 style='font-weight: 400\;'>Program</h3>\n<p>Son
 ata in A flat Major\, Opus 110 (1821) - <strong>Ludwig van BEETHOVEN</stro
 ng> (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
DTEND;TZID=America/Los_Angeles:20241206T000000
LAST-MODIFIED:20241203T130527Z
SUMMARY:: Brechemin Piano Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-05/brechemin-piano-series
END:VEVENT
BEGIN:VEVENT
UID:ce1eca96-1cf9-412b-8f53-0bea2bc58ad1
DTSTAMP:20260612T083118Z
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. <
 /p>\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><
 b>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>\n<h
 4>University 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 <
 br>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 <
 br>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 & 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<
 p><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
DTEND;TZID=America/Los_Angeles:20241206T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Wind Ensemble and Symphonic Band with Donna Shin: Quintessence 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-05/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'> <
 /span></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'> <
 /span></p> <h4>University of Washington Wind Ensemble<b> <br></b></h4> <p>
 <b>Timothy Salzman\, </b>conductor<span class='Apple-converted-space'> </s
 pan></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><
 b>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<sp
 an class='Apple-converted-space'> <br></span></i>III. Vivace<span class='A
 pple-converted-space'> <br></span><b>Donna Shin\, </b>flute </p> <hr> <tab
 le style='width: 845px\;'> <tbody> <tr> <td style='width: 844px\;'> <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<spa
 n class='Apple-converted-space'> <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></sp
 an>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<sp
 an class='Apple-converted-space'> <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></sp
 an>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
 pan>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'> </sp
 an></p> <p><b>ALTO SAXOPHONE<span class='Apple-converted-space'> <br></spa
 n></b>Polina Dorogova\, Sophomore\, Psychology and Music-Instrumental Perf
 ormance\, Gig Harbor<span class='Apple-converted-space'> <br></span>Chinma
 y Murthy\, Junior\, Electrical & 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'> <
 /span></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></spa
 n>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<sp
 an class='Apple-converted-space'> <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
 pan></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<
 span class='Apple-converted-space'> <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'> </sp
 an></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
 pan>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<sp
 an class='Apple-converted-space'> <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><
 /span>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<
 span class='Apple-converted-space'> <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> </tabl
 e> <h3>Biographies</h3>
END:VEVENT
BEGIN:VEVENT
UID:c4861957-42b2-4163-9040-f7cc32d2d471
DTSTAMP:20260612T083118Z
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 style='font-weight: 400\
 ;'>Šárka\, from Má Vlast (My Country): <strong>Bedřich Smetana</strong> (1
 824-1884) </p>\n<p style='font-weight: 400\;'>Intermission</p>\n<p style='
 font-weight: 400\;'>from String Quintet in F major (arranged for string or
 chestra): <strong>Bruckner</strong><br>III. Adagio</p>\n<p style='font-wei
 ght: 400\;'>The Moldau (Vltava)\, from Má Vlast: <strong>Smetana</strong><
 br>Ryan Dakota Farris\, conductor </p>\n<hr>\n<h3 style='font-weight: 400\
 ;'>Program Notes</h3>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'><strong>Anton Bruckner </strong
 >(1824-1896)<br>Symphony no. 6 in A major\, WAB 106\, mvt I (1879-1881)</p
 >\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weig
 ht: 400\;'>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 style='font-weight: 400\;'><strong>B
 edřich Smetana</strong> (1824-1884)<br>Šárka from Má Vlast (1875)</p>\n<p 
 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>“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='font-weight: 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 style='font-weight: 400\;'>
 <strong><br>Anton Bruckner </strong>(1824-1896)<br>Adagio from String Quin
 tet in F major\, WAB 112 (1878-1879)</p>\n<p style='font-weight: 400\;'>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='font-weight: 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 style='font-weight: 400\;'><br><strong>Bedřich Smetana</strong>
  (1824-1884)<br>The Moldau from Má Vlast (1874)</p>\n<p style='font-weight
 : 400\;'>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 style='font-weigh
 t: 400\;'>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><
 strong>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><
 strong><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><stron
 g><br></strong>Ysanne Webb\, DMA Clarinet Performance<strong><br></strong>
 Nick Zhang\, BS Computer Science</p>\n<p><strong><u>Bassoon<br></u></stron
 g>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 
 & Cellular Biology<br>Jonah Polissar\, Aeronautics & Astronautics</p>\n<p>
 <strong><br><u>Trumpet<br></u></strong>Hans Faul\, BM Trumpet Performance<
 br>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 & 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><
 /p>\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 & 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>     <
 br></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
 trong>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 & 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
DTEND;TZID=America/Los_Angeles:20241207T000000
LAST-MODIFIED:20241205T040418Z
SUMMARY:: UW Symphony Orchestra: 'Smetana and Bruckner at 200'
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-06/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
  style='font-weight: 400\;'><em>Šárka\, </em>from<em> Má Vlast (My Country
 ): </em><strong>Bedřich Smetana</strong> (1824-1884) </p> <p style='font-w
 eight: 400\;'><em>Intermission</em></p> <p style='font-weight: 400\;'>from
  String Quintet in F major (arranged for string orchestra): <strong>Bruckn
 er</strong><br>III. Adagio</p> <p style='font-weight: 400\;'><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 style='font-wei
 ght: 400\;'>Program Notes</h3> <p style='font-weight: 400\;'>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 style=
 'font-weight: 400\;'><strong>Anton Bruckner </strong>(1824-1896)<br><em>Sy
 mphony no. 6 in A major</em>\, WAB 106\, mvt I (1879-1881)</p> <p style='f
 ont-weight: 400\;'>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 style='f
 ont-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'><span></span><str
 ong>Bedřich Smetana</strong> (1824-1884)<br><em>Šárka</em> from <em>Má Vla
 st </em>(1875)</p> <p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>“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='font-weight: 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 style='font-weigh
 t: 400\;'><strong><br>Anton Bruckner </strong>(1824-1896)<br><em>Adagio</e
 m> from String Quintet in F major\, WAB 112 (1878-1879)</p> <p style='font
 -weight: 400\;'>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 style='font-weight: 400\;'>The third movement\, <
 em>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 style='font-weight: 
 400\;'><br><strong>Bedřich Smetana</strong> (1824-1884)<br><em>The Moldau<
 /em> from <em>Má Vlast </em>(1874)</p> <p style='font-weight: 400\;'>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 style='font-we
 ight: 400\;'>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='width: 840px\;'> <tbody> <tr> <td style='width: 839px\;'> <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></stro
 ng>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></st
 rong>Nicole Bogner\, BM Horn Performance<br>Colin Laskarzewski\, BS Physic
 s<br>Elise Moe\, BM Horn Performance<br>Sam Nutt\, Molecular & Cellular Bi
 ology<br>Jonah Polissar\, Aeronautics & 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 & Computational Mathematic
 s<br>Neal Muppidi\, BM Trombone Performance<br>Nathanael Wyttenbach\, Musi
 c Composition<strong> </strong></p> <p><strong><u>Bass Trombone</u></stron
 g><strong><br></strong>Duncan Weiner\, Aero-Astro Engineering/Linguistics<
 /p> <p><strong><u>Tuba<br></u></strong>Adam Mtimet\, DMA Tuba Performance<
 br>Chris Seay\, DMA Tuba Performance<strong><br></strong></p> <p><strong><
 u>Timpani<br></u></strong>Kaisho Barnhill\, BM Music Education\, Psycholog
 y<br>Abigail George\, Applied Physics/BM Percussion Performance<br><br><st
 rong><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></str
 ong>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 & 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<
 br>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 & 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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20241207T000000
LAST-MODIFIED:20241126T212753Z
SUMMARY:: External Event: Huck Hodge portrait concert
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-06/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='ht
 tps://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 </spa
 n><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:20260612T083118Z
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</stro
 ng> (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
 trong>(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</stro
 ng> (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 & 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.<
 /p>\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
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LAST-MODIFIED:20241205T230551Z
SUMMARY:: Modern Music Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-07/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 style='fo
 nt-weight: 400\;'>Salt for improvisers and piano (2007/2016): </span><span
  style='font-weight: 400\;'><strong>Jean Ahn</strong> </span><span style='
 font-weight: 400\;'>(b. 1976)<br></span><em><span style='font-weight: 400\
 ;'>Rachel Reyes\, flute<br></span><span style='font-weight: 400\;'>Cameron
  DeLuca\, clarinet<br></span><span style='font-weight: 400\;'>Cole Henslee
 \, tuba<br></span><span style='font-weight: 400\;'>Taylor DeCastro\, violi
 n<br></span><span style='font-weight: 400\;'>Olivia Hsu\, piano<br></span>
 <span style='font-weight: 400\;'>Tyler Smith\, percussion</span></em><br><
 br></p> <p><span style='font-weight: 400\;'>Songs from Book of the Hanging
  Gardens Op.15 (1908-1909)</span> <span style='font-weight: 400\;'>- </spa
 n><span style='font-weight: 400\;'><strong>Arnold Schoenberg</strong> (187
 4 - 1951)<br></span><span style='font-weight: 400\;'>No. 3 - MäBig</span> 
 <br><span style='font-weight: 400\;'>No. 4 - Gahend<br></span><em><span st
 yle='font-weight: 400\;'>Cassidy Cheong\, voice<br></span><span style='fon
 t-weight: 400\;'>Ella Kalinichenko\, piano</span></em></p> <p><span style=
 'font-weight: 400\;'>Erwartung 3 (2018)</span> -<span style='font-weight: 
 400\;'> </span> <span style='font-weight: 400\;'><strong>Eva-Maria Houben<
 /strong> (b. 1955) <br></span><em>Rachel Reyes\, flute</em><br><em><span s
 tyle='font-weight: 400\;'>Cameron DeLuca\, clarinet<br></span><span style=
 'font-weight: 400\;'>Cole Henslee\, tuba<br></span><span style='font-weigh
 t: 400\;'>Taylor DeCastro\, violin<br></span><span style='font-weight: 400
 \;'>Ella Kalinichenko\, piano<br></span><span style='font-weight: 400\;'>T
 yler Smith\, percussion</span></em></p> <h3></h3> <p><span style='font-wei
 ght: 400\;'>The Underside of Green (1994)</span> -<span style='font-weight
 : 400\;'>  </span> <span style='font-weight: 400\;'><strong>Rebecca Saunde
 rs</strong> (b. 1967)<br></span><em><span style='font-weight: 400\;'>Camer
 on DeLuca\, clarinet<br></span><span style='font-weight: 400\;'>Taylor DeC
 astro\, violin<br></span><span style='font-weight: 400\;'>Ella Kalinichenk
 o\, piano</span></em></p> <p><b><i>— </i></b><i><span style='font-weight: 
 400\;'>intermission —</span></i></p> <p><span style='font-weight: 400\;'>L
 argo\, Op. 73 for violin\, clarinet\, and piano (1902) -</span><span style
 ='font-weight: 400\;'> </span><span style='font-weight: 400\;'><strong>Cha
 rles Ives </strong>(1874-1954)<br></span><em><span style='font-weight: 400
 \;'>Cameron DeLuca\, clarinet<br></span><span style='font-weight: 400\;'>T
 aylor DeCastro\, violin<br></span><span style='font-weight: 400\;'>Ella Ka
 linichenko\, piano</span></em></p> <p><span style='font-weight: 400\;'>Mou
 thpiece 28 (2016)</span> - <span style='font-weight: 400\;'><strong>Erin G
 ee</strong> <span> </span> <span>(b. 1974)<br></span></span><em><span styl
 e='font-weight: 400\;'>Cassidy Cheong\, voice<br></span><span style='font-
 weight: 400\;'>Rachel Reyes\, flute<br></span><span style='font-weight: 40
 0\;'>Cameron DeLuca\, clarinet<br></span><span style='font-weight: 400\;'>
 Taylor DeCastro\, violin<br></span><span style='font-weight: 400\;'>Tyler 
 Smith\, percussion</span></em><br><br></p> <p><span style='font-weight: 40
 0\;'>Lost Wind (2019) - </span><span style='font-weight: 400\;'><strong>Go
 lfam Khayam</strong> </span><span style='font-weight: 400\;'>(b. 1982)<br>
 </span><em><span style='font-weight: 400\;'>Rachel Reyes\, flute<br></span
 ><span style='font-weight: 400\;'>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 style='font-weight: 400\;'>Salt</span></i><spa
 n style='font-weight: 400\;'> 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 style='font
 -weight: 400\;'>Jean Ahn</span></p> <p><b><i>Das Buch der hängenden Gärten
 </i></b><b> (Book of Hanging Gardens)\, Op. 15<br></b><span style='font-we
 ight: 400\;'>Arnold Schoenberg’s </span><i><span style='font-weight: 400\;
 '>Das Buch der hängenden Gärten (Book of Hanging Gardens)\, Op. 15\,</span
 ></i><span style='font-weight: 400\;'> 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 style='font-weight: 400\;'>In </span><i><spa
 n style='font-weight: 400\;'>Songs No. 3</span></i><span style='font-weigh
 t: 400\;'> and </span><i><span style='font-weight: 400\;'>No. 4</span></i>
 <span style='font-weight: 400\;'>\, 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 style='font-weight: 400\;'>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 style='font-we
 ight: 400\;'>Known for her introspective approach to composition\, Eva-Mar
 ia Houben (b. 1955) draws inspiration from Arnold Schoenberg’s </span><i><
 span style='font-weight: 400\;'>Erwartung\, Op. 15</span></i><span style='
 font-weight: 400\;'> for the aptly titled </span><i><span style='font-weig
 ht: 400\;'>erwartung 3</span></i> <span style='font-weight: 400\;'>for ens
 emble. Schoenberg’s one-act monodrama </span><i><span style='font-weight: 
 400\;'>Erwartung </span></i><span style='font-weight: 400\;'>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 style='fo
 nt-weight: 400\;'>Erwartung</span></i><span style='font-weight: 400\;'> ca
 n take a new life. </span></p> <p><b>the underside of green (1994)<br></b>
 <span style='font-weight: 400\;'>„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 style='fo
 nt-weight: 400\;'> Loeon Battista Alberti: </span><i><span style='font-wei
 ght: 400\;'>On painting</span></i><span style='font-weight: 400\;'> (1435)
 <br></span><span style='font-weight: 400\;'> „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><
 /p> <p><span style='font-weight: 400\;'>Derek Jarman:</span><i><span style
 ='font-weight: 400\;'> Chroma</span></i><span style='font-weight: 400\;'> 
 (1994)<br></span><i><span style='font-weight: 400\;'>the underside of gree
 n\, CRIMSON – Molly´s Song 1</span></i><span style='font-weight: 400\;'> (
 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 style='font-weight: 400\;'>Ulysses. </span></i><s
 pan style='font-weight: 400\;'>This relentless and intense monologue flows
  unpunctuated for 35 pages: </span></p> <p><span style='font-weight: 400\;
 '>„...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><sp
 an style='font-weight: 400\;'> Rebecca Saunders</span></p> <p><b>Largo\, O
 p. 73 for violin\, clarinet\, and piano (1902)<br></b><span style='font-we
 ight: 400\;'>Composed during the early years of his career\, </span><i><sp
 an style='font-weight: 400\;'>Largo</span></i><span style='font-weight: 40
 0\;'> 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 style='fo
 nt-weight: 400\;'>Largo</span></i><span style='font-weight: 400\;'> 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 style='font-weight: 400\;'>'Lo
 st Wind' (2019)</span></i><span style='font-weight: 400\;'> is a hidden mo
 nologue</span></p> <p><span style='font-weight: 400\;'>A monologue within 
 oneself as reflected in resonance of the Gong…</span></p> <p><span style='
 font-weight: 400\;'>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 style='font-weight: 400\;'>In Darkness\, 
 in lightness.<br>—</span><span style='font-weight: 400\;'>Golfam Khayam</s
 pan></p> <p><b>Mouthpiece 28 (2016)<br></b><span style='font-weight: 400\;
 '>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='font-weight: 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='font-weight: 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 style='font-
 weight: 400\;'>Erin Gee</span></p> <h4>Composer Biographies</h4> <p><b>Jea
 n Ahn (b. 1976)<br></b><span style='font-weight: 400\;'>A native of Korea\
 , composer Jean Ahn</span> <span style='font-weight: 400\;'>(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
  style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>Noel Morris</sp
 an></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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>Born in Danbury\, Co
 nnecticut in 1874\, Charles Ives</span> <span style='font-weight: 400\;'>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 style='font-weight: 400\;'>Symphon
 y No. 3</span></i><span style='font-weight: 400\;'>\, 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><sp
 an style='font-weight: 400\;'>—</span><span style='font-weight: 400\;'>Ric
 hard E. Rodda</span></p> <p><b>Golfam Khayam</b> <b>(b. 1982)<br></b><span
  style='font-weight: 400\;'>Iranian composer & 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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>Erin Gee (b. 1974)</span> 
 <span style='font-weight: 400\;'>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><spa
 n style='font-weight: 400\;'>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 style='font-weight
 : 400\;'>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:20260612T083118Z
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<
 /strong> - 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
DTEND;TZID=America/Los_Angeles:20241209T000000
LAST-MODIFIED:20241203T183909Z
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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20241209T000000
LAST-MODIFIED:20240927T183019Z
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:20260612T083118Z
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<
 /strong><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 & friends</p>\n<hr>\n<h3>Program Notes</h
 3>\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
DTEND;TZID=America/Los_Angeles:20241209T000000
LAST-MODIFIED:20241206T214231Z
SUMMARY:: Composition Studio
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2024-12-08/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 style='fo
 nt-family: inherit\; font-size: 1rem\;'>Hanu Nahm\, violin<br></span><span
  style='font-family: inherit\; font-size: 1rem\;'>Mica Weiland\, viola<br>
 </span><span style='font-family: inherit\; font-size: 1rem\;'>Eddie Mospan
 \, contrabass</span></em></p> <p>Run for It — <strong>Alex Ryan</strong><b
 r><em><span style='font-family: inherit\; font-size: 1rem\;'>Justin Zeitli
 nger\, violin<br></span><span style='font-family: inherit\; font-size: 1re
 m\;'>Cory Chen\, cello<br></span><span style='font-family: inherit\; font-
 size: 1rem\;'>Kaisho Barnhill\, piano</span></em></p> <p>untitled — <stron
 g>Ryan Baker</strong><br><span style='font-family: inherit\; font-size: 1r
 em\;'>for fixed media</span></p> <p>imaginary webbing of the mouth — <stro
 ng>Nicholas Mendonsa</strong><br><em><span style='font-family: inherit\; f
 ont-size: 1rem\;'>Nicholas Mendonsa\, electric guitar<br></span><span styl
 e='font-family: inherit\; font-size: 1rem\;'>Justin Zeitlinger\, viola<br>
 </span><span style='font-family: inherit\; font-size: 1rem\;'>Eddie Mospan
 \, contrabass<br></span><span style='font-family: inherit\; font-size: 1re
 m\;'>Kaisho Barnhill\, piano</span></em></p> <p>Improv Session — featuring
  UW composers & 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> <
 div dir='ltr'> <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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20241220T000000
LAST-MODIFIED:20240702T162136Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:ebd3f521-bdae-45ef-a340-a3f9b8fe78c0
DTSTAMP:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20250108T000000
LAST-MODIFIED:20240930T163505Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:576d88c9-1443-460a-af92-d4da123f307d
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250109T000000
LAST-MODIFIED:20250722T005059Z
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></spa
 n></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:20260612T083118Z
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><st
 rong>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<
 p>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><
 /h3>\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 & 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><
 /strong>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><
 b>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<
 /strong><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 & cover\, Tri has also sung as E
 unuco & 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
DTEND;TZID=America/Los_Angeles:20250112T000000
LAST-MODIFIED:20250107T234247Z
SUMMARY:: Opera Workshop: Excerpts\, Turn of the Screw\; Hansel and Gretel
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-01-11/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.</stro
 ng> 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 style='font-w
 eight: 400\;'>THE TURN OF THE SCREW<br></span></i><span style='font-weight
 : 400\;'>Based on Henry James’s chilling novella\, Benjamin Britten’s oper
 a </span><i><span style='font-weight: 400\;'>The Turn of the Screw </span>
 </i><span style='font-weight: 400\;'>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 style='font-weight: 400\;'> </span
 ></p> <p><i><span style='font-weight: 400\;'>HANSEL AND GRETEL<br></span><
 /i><span style='font-weight: 400\;'>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 style='f
 ont-weight: 400\;'>Kelly Kitchens\, Stage Director<br></span><span style='
 font-weight: 400\;'>Andrew Romanick\, Music Director<br></span><span style
 ='font-weight: 400\;'>Ryan D. Farris\, Conductor<br></span><span style='fo
 nt-weight: 400\;'>Trevor Cushman\, Lighting Designer<br></span><span style
 ='font-weight: 400\;'>Chelsea Cook\, Costume Designer<br></span><span styl
 e='font-weight: 400\;'>Robin McCartney\, Scenic and Props Designer<br></sp
 an><span style='font-weight: 400\;'>Nathan Young and Ian McGeoy\, Video Co
 ordinators<br></span><span style='font-weight: 400\;'>Savannah Rutherford\
 , Assistant Director and Stage Manager<br></span><span style='font-weight:
  400\;'>Gabe Stefanides\, Assistant Stage Manager<br></span><span style='f
 ont-weight: 400\;'>Mara Mihali\, Assistant Stage Manage</span></p> <h3><sp
 an style='font-weight: 400\;'>CAST </span></h3> <p><strong>(In order of ap
 pearance)</strong></p> <h4>Hansel and Gretel</h4> <p><span style='font-wei
 ght: 400\;'>Mallory McCollum: Dew<br></span><span style='font-weight: 400\
 ;'>Sarah Santos: Gretel<br></span><span style='font-weight: 400\;'>Isabell
 e Villanueva: Hansel<br></span><span style='font-weight: 400\;'>Karen Duns
 tan: Sugarface</span></p> <h4>Turn of the Screw</h4> <p><span style='font-
 weight: 400\;'>Tri V. Nguyen: Prologue<br></span><span style='font-weight:
  400\;'>Adia Bown: Governess<br></span><span style='font-weight: 400\;'>Za
 chary Fitzgerald: Quint<br></span><span style='font-weight: 400\;'>Lainey 
 Graham: Miles<br></span><span style='font-weight: 400\;'>Cassidy Cheong: F
 lora <br></span><span style='font-weight: 400\;'>Sydney Belden: Miss Jesse
 l<br></span><span style='font-weight: 400\;'>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<
 br>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 style='font-weight: 400\;'><br></spa
 n></h3> <p><span style='font-weight: 400\;'>Opera Workshop\, University of
  Washington\, School of Music<br></span><span style='font-weight: 400\;'>S
 elections from </span><i><span style='font-weight: 400\;'>Hansel & Gretel<
 /span></i><span style='font-weight: 400\;'> and </span><i><span style='fon
 t-weight: 400\;'>The Turn of the Screw</span></i></p> <p><b><i>Hansel and 
 Gretel</i></b><b> <br></b><span style='font-weight: 400\;'>The fairy tale 
 of </span><i><span style='font-weight: 400\;'>Hansel and Gretel</span></i>
 <span style='font-weight: 400\;'> 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 style='font-weight: 400\;'>Engelbert Humperdinck's operatic ren
 dition of </span><i><span style='font-weight: 400\;'>Hansel and Gretel </s
 pan></i><span style='font-weight: 400\;'>(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 style='font-weight: 400\;'>Hansel 
 and Gretel</span></i><span style='font-weight: 400\;'> remains one of the 
 most beloved works in the operatic repertoire.</span></p> <p><span style='
 font-weight: 400\;'>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 style='font-weight: 400\;'>This interpretation
  of </span><i><span style='font-weight: 400\;'>Hansel and Gretel</span></i
 ><span style='font-weight: 400\;'> 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 style='font-weight
 : 400\;'>Hansel and Gretel</span></i><span style='font-weight: 400\;'> 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 style='font-weight: 400\;'>Benjamin Britten’s </
 span><i><span style='font-weight: 400\;'>The Turn of the Screw</span></i><
 span style='font-weight: 400\;'> (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 style='font-weight: 400\;'>The chilling atmos
 phere of </span><i><span style='font-weight: 400\;'>The Turn of the Screw<
 /span></i><span style='font-weight: 400\;'> 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 style='font-weight: 400\;'>The music in </span><i><span style='fo
 nt-weight: 400\;'>The Turn of the Screw</span></i><span style='font-weight
 : 400\;'> 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 style='f
 ont-weight: 400\;'>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 style='font-weight: 400\;
 '></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
 trong><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><stro
 ng>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 & cover\, Tri has also sung a
 s Eunuco & 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:20260612T083118Z
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<st
 rong><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 style='font-weight: 400\;
 '><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 style='font-weight: 400
 \;'><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 
 style='font-weight: 400\;'><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<
 br>Peyton Ray is a Bachelor of Music degree student and studies with Prof.
  Donna Shin. </p>\n<p style='font-weight: 400\;'><strong>Concerto for tuba
  and orchestra (2004): Barbara York (1949-2020)</strong><br>I. Tranquillo<
 br>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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><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 style='font-weight: 400\;'
 ><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 style='font-weight: 400\;'><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 style='font-weight: 400\;'></p>\n\n<stron
 g>Concerto 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 style='font-weight: 400\;'>Adjudicator Biographie
 s</h3>\n<p style='font-weight: 400\;'><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
DTEND;TZID=America/Los_Angeles:20250122T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Concerto Competition: Woodwinds\, Brass\, Percussion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-01-21/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 style='font-size: 1rem\;'><span style='font-family: inherit\;'>I. Al
 legro</span><strong><span style='font-family: inherit\;'><br></span></stro
 ng></span><span style='font-family: inherit\; font-size: 1rem\;'>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 style='font-wei
 ght: 400\;'><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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><st
 rong>Concerto (1926)<span>: </span>Carl Nielsen (1865-1931)</strong><br><s
 pan style='font-family: inherit\; font-size: 1rem\;'>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 style='font-weight: 400\;'><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 style='font-family: inherit\; font-size: 1rem\;'>I. Allegro<br></s
 pan><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 style='font-weight: 400\;'><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='font-weight: 400\;'><strong>Variazioni su un’arietta di Pergolesi (1
 953): Ottmar Nussio (1902–1990)</strong><br><em>Ryan Kapsandy\, bassoon</e
 m><br><em>Alex Kostadinov\, piano</em><br>Ryan Kapsandy is Bachelor of Mus
 ic degree student and studies with Prof. Paul Rafanelli. </p> <p style='fo
 nt-weight: 400\;'><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 style='font-weight: 400\;'><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 style='f
 ont-weight: 400\;'><strong>Concerto in D Major\, K. 314: Wolfgang Amadeus 
 Mozart (1756-1791)</strong><br><span style='font-family: inherit\; font-si
 ze: 1rem\;'>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='font-weight: 400\;'><strong>Concerto for Bass Tuba (1955)<span>: </sp
 an>Ralph Vaughan Williams (1872-1958)</strong><br>I. Prelude- Allegro mode
 rato<br>II. Romanza- Andante sostenuto<br>III. Finale- Rondo alla tedesca<
 br><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 style='font-weight: 400\;'></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</e
 m></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 style='
 font-weight: 400\;'>Adjudicator Biographies</h3> <p style='font-weight: 40
 0\;'><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 style='font-weight: 400\;'>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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20250124T000000
LAST-MODIFIED:20240930T163525Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:b13483f3-bd7d-45ae-8237-650445273dfe
DTSTAMP:20260612T083118Z
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><str
 ong>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='htt
 ps://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
DTEND;TZID=America/Los_Angeles:20250130T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Guest Pianist Recital: Gil Kalish
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-01-29/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></st
 rong></span></div> <div><span color='#0000ff'><strong>Leoš Janáček:</stron
 g> 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> <d
 iv><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> <
 div><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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250131T000000
LAST-MODIFIED:20250722T005059Z
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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20250206T000000
LAST-MODIFIED:20250204T163534Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:88d6e87a-f701-433f-ae5c-0f2e1c2a5ff4
DTSTAMP:20260612T083118Z
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 & 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' style='font-family: inherit\
 ; font-size: 1rem\;'>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
DTEND;TZID=America/Los_Angeles:20250206T000000
LAST-MODIFIED:20250722T005059Z
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 & Spirituals</i></b
 ></p> <p><b><i>in Celebration of Black History Month</i></b></p> <p class=
 'x_MsoNormal'><span style='font-family: inherit\; font-size: 1rem\;'>Progr
 am information </span><a href='/sites/music/files/documents/black_history_
 month_recital_-_winter_2025_february_2.pdf' style='font-family: inherit\; 
 font-size: 1rem\;'>HERE</a><span style='font-family: inherit\; font-size: 
 1rem\;'>.</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:952de4cc-3141-4474-9fd1-12b6a4c68670
DTSTAMP:20260612T083118Z
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 style='font-weight: 
 400\;'><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 style='font-weight: 400\;'>Jos
 e Luis Merlin (b. 1952)<br><strong>Evocacion</strong>                     
                                                                           
                                                                           
                        <br><strong>Zamba<br></strong>Wil Moreau </p>\n<p s
 tyle='font-weight: 400\;'>Heitor Villa-Lobos (1887-1959)<br><strong>Prelud
 e No. 1</strong>                                                          
                                                                           
                                          <br>Nathan Lee </p>\n<p style='fo
 nt-weight: 400\;'>Mauro Giuliani (1781-1829)<br><strong>Allegro con spirit
 o\, Op. 15</strong>                                                       
                                                                           
                        <br>Thomas Wardian</p>\n<p style='font-weight: 400\
 ;'>Georges Bizet (1838-1875)<br><strong>Aragonaise</strong>               
                                                                           
                                                                           
                         <br><strong>Habanera</strong>                     
                                                                           
                                                                           
                             arr. William Kanengiser</p>\n<p style='font-we
 ight: 400\;'>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
DTEND;TZID=America/Los_Angeles:20250208T000000
LAST-MODIFIED:20250207T191947Z
SUMMARY:: Guitar Studio Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-07/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 style=
 'font-weight: 400\;'><span><strong><br></strong>Fernando Sor (1778-1839)<b
 r><strong>Waltz Op. 44b No. 1</strong></span><span>                       
                                                                           
                                                                          <
 br><br></span><span><strong>Waltz Op. 44b No. 3<br></strong></span><span><
 strong><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 style='font-weight: 400\;'>Jose Luis Merlin (b.
  1952)<br><strong>Evocacion</strong>                                      
                                                                           
                                                                           
       <br><strong>Zamba<br></strong>Wil Moreau </p> <p style='font-weight:
  400\;'><span>Heitor Villa-Lobos (1887-1959)<br><strong>Prelude No. 1</str
 ong></span><span>                                                         
                                                                           
                                           </span><span><br></span><em>Nath
 an Lee </em></p> <p style='font-weight: 400\;'><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='font-weight: 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 style='font-weight: 400\;'><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 style='font-weight: 400\;'>Nathan Lee\, Eric Lin\, Wil Mo
 reau\, Thomas Wardian</span></em></p> <hr> <h3>Director Bio</h3>
END:VEVENT
BEGIN:VEVENT
UID:8c99bfb1-07f7-4c93-807d-f4727e55dea6
DTSTAMP:20260612T083118Z
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<
 h4>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 style='font-weight: 400\;'>Intermission</p>\n<p style='font-weight: 4
 00\;'>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 
 style='font-weight: 400\;'>by Mica Weiland</p>\n<p style='font-weight: 400
 \;'><strong>Thea Musgrave </strong>(b. 1928)<br><strong>Loch Ness\; A Post
 card from Scotland </strong>(comp. 2012)</p>\n<p style='font-weight: 400\;
 '>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='font-weight: 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 style='font-weight: 400\;'><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></stron
 g>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</stro
 ng> “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 style='font-weight: 400\;'> <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 style='font-weight: 400\;'><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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400
 \;'>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 style='font-weight: 400\;'></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><stron
 g><u>English Horn<br></u></strong>Max Boyd\, Oboe Performance</p>\n<p><str
 ong><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></stro
 ng>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<
 br></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 & 
 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><
 br></strong><br><strong><u>Trombone<br></u></strong>Jonathan Elsner\, Appl
 ied & Computational Mathematics<br>Neal Muppidi\, BM Trombone Performance<
 br>Nathanael Wyttenbach\, Music Composition<strong> </strong></p>\n<p><str
 ong><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></str
 ong><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></str
 ong><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 & 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 & 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
DTEND;TZID=America/Los_Angeles:20250208T000000
LAST-MODIFIED:20250129T201140Z
SUMMARY:: UW Symphony Orchestra with Carrie Shaw\, Frederick Reece
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-07/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 style='font-family: inherit\; font-size: 1rem\;'><br></em
 ><em>Carrie Shaw\, soprano</em></p> <p style='font-weight: 400\;'>Intermis
 sion</p> <p style='font-weight: 400\;'>Symphony No. 3\, in A minor\, Op. 5
 6<em>\, “Scottish”:<strong> </strong></em><strong>Felix Mendelssohn</stron
 g> (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 style='font-weight: 400\;'><em>by M
 ica Weiland</em></p> <p style='font-weight: 400\;'><strong>Thea Musgrave <
 /strong>(b. 1928)<br><strong><em>Loch Ness\; A Postcard from Scotland</em>
  </strong>(comp. 2012)</p> <p style='font-weight: 400\;'>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 style='font-w
 eight: 400\;'><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 style='font-weight: 400\;'>
 <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></st
 rong>A delicate\, yearning love song which includes many musical themes an
 d metaphors relating to springtime and flowers.<span> </span></p> <p><stro
 ng>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
 trong>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 style='font-we
 ight: 400\;'><span> </span><strong>Felix Mendelssohn (1809-1847)</strong><
 br><strong><em>Symphony No.3\, op.56\, A minor “Scottish” </em>(comp. 1829
 -1842)</strong></p> <p style='font-weight: 400\;'><span></span><strong><sp
 an> </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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weig
 ht: 400\;'>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 style='font-weight: 400\;'></p> <table style='wid
 th: 845px\;'> <tbody> <tr> <td style='width: 844px\;'> <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></stro
 ng>Erin McAfee\, MM Flute Performance<br><strong><br><u>Oboe</u><br></stro
 ng>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<
 /u>     <br></strong>Nicole Bogner\, BM Horn Performance<br>Colin Laskarze
 wski\, BS Physics<br>Elise Moe\, BM Horn Performance<br>Sam Nutt\, Molecul
 ar & 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<stro
 ng><br></strong><br><strong><u>Trombone<br></u></strong>Jonathan Elsner\, 
 Applied & Computational Mathematics<br>Neal Muppidi\, BM Trombone Performa
 nce<br>Nathanael Wyttenbach\, Music Composition<strong> </strong></p> <p><
 strong><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></str
 ong><strong><u>Harp</u></strong><strong><br></strong>Kelly Hou\, Alumna</p
 > <p><strong><u></u></strong><strong><u></u></strong><strong><u></u></stro
 ng><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 & 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 & 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:fa076fc9-4466-4714-9127-8f62f963ed01
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250209T000000
LAST-MODIFIED:20241120T232331Z
SUMMARY:: Degree Recital: Heidi Blythe\, DMA Choral Conducting
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-08/degree-recital-heidi-bly
 the-dma-choral-conducting
END:VEVENT
BEGIN:VEVENT
UID:5e0c6446-6749-4749-aba2-c00dae2caeae
DTSTAMP:20260612T083118Z
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)</stro
 ng><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<
 h3>Biography</h3>
DTSTART;TZID=America/Los_Angeles:20250208T163000
DTEND;TZID=America/Los_Angeles:20250209T000000
LAST-MODIFIED:20250204T014702Z
SUMMARY:: Degree Recital: Alex Fang\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-08/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><stron
 g>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><
 strong>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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250213T000000
LAST-MODIFIED:20241004T213242Z
SUMMARY:: External Event: DXARTS Winter Concert
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-12/external-event-dxarts-wi
 nter-concert
END:VEVENT
BEGIN:VEVENT
UID:a342338b-c75b-42d1-9453-33715260267d
DTSTAMP:20260612T083118Z
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<
 br><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 style='font-weight: 400\;'>Competitor: <strong>Flora Cumm
 ings\,</strong> viola\; <strong>Mia HyeYeon Kim</strong>\, piano</p>\n<p s
 tyle='font-weight: 400\;'>Viola Concerto in C minor\, Op. 25: <strong>York
  Bowen<br></strong>I. Allegro assai           </p>\n<p style='font-weight:
  400\;'>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<
 hr>\n<h3 style='font-weight: 400\;'>Adjudicator Biographies</h3>\n<p style
 ='font-weight: 400\;'>Recognized for her innate musicality\, compelling pr
 esence\, and technical precision\, conductor <strong>Sunny Xuecong Xia’</s
 trong>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 style='font-weight: 400\;'>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 style='font-weight: 400\;
 '>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 & 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 style='font-weight: 400\;'>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
  style='font-weight: 400\;'><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='font-weight: 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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-wei
 ght: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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
DTEND;TZID=America/Los_Angeles:20250215T000000
LAST-MODIFIED:20250722T005059Z
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\,</st
 rong> 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 style='font-weight: 400\;'>Compe
 titor: <strong>Flora Cummings\,</strong> viola\; <strong>Mia HyeYeon Kim</
 strong>\, piano</p> <p style='font-weight: 400\;'>Viola Concerto in C mino
 r\, Op. 25<span>: </span><strong>York Bowen<br></strong>I. Allegro assai<s
 pan>           </span></p> <p style='font-weight: 400\;'>Competitor: <stro
 ng>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 style
 ='font-weight: 400\;'>Adjudicator Biographies</h3> <p style='font-weight: 
 400\;'><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
 pan></p> <p style='font-weight: 400\;'><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\,</spa
 n><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
 pan><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 style='font-weight: 400\;'><spa
 n>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 & 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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><strong>Mara Gearman\, </str
 ong>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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='font-weight: 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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250219T000000
LAST-MODIFIED:20240808T193052Z
SUMMARY:: Voice Division Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-18/voice-division-recital
END:VEVENT
BEGIN:VEVENT
UID:b0313ec5-1a7e-4d13-9bb5-e33b0267deeb
DTSTAMP:20260612T083118Z
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<
 b> - 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<
 /b>\, tenor sax </p>\n<h4><br>The Six In Five</h4>\n<h4><b>Steve Rodby - <
 /b>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\; <
 b>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
DTEND;TZID=America/Los_Angeles:20250220T000000
LAST-MODIFIED:20250220T010138Z
SUMMARY:: Jazz Innovations I
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-19/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> <
 h3>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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20250221T000000
LAST-MODIFIED:20240930T163558Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:ca75cd59-10a3-46d0-89e6-7557b7bbc589
DTSTAMP:20260612T083118Z
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><
 b>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
DTEND;TZID=America/Los_Angeles:20250221T000000
LAST-MODIFIED:20250219T223256Z
SUMMARY:: Jazz Innovations II
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-20/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> <
 h3>Program</h3> <h4><span><span class='Apple-converted-space'> </span></sp
 an><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><sp
 an class='Apple-converted-space'> </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><
 b>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:eb18fead-6930-40b9-a439-8dfbc6a659f0
DTSTAMP:20260612T083118Z
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><
 strong>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
 trong> 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='h
 ttps://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</str
 ong>\, 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</stron
 g> 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='
 https://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='h
 ttp://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
DTEND;TZID=America/Los_Angeles:20250221T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Guest Orchestra Concert: Harmonia with UW Piano Students
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-20/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 style='font-weight: 400\;'> (1843-1907):</span> </span></strong>P
 iano<strong><span> </span></strong><span style='font-weight: 400\;'>Concer
 to in A minor\, op. 16\, <br>1. Allegro molto moderato<br></span><strong><
 span><em>Katherine Lee</em><br></span></strong></p> <p><strong><span>Johan
 nes Brahms <span style='font-weight: 400\;'>(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 style='font-weight: 400\;'>(1899-1963):  Pi
 ano Concerto <br></span><span style='font-weight: 400\;'>1. Allegretto <br
 >3. Rondeau à la française</span><span><strong><br><em>Jiayi Wang</em></st
 rong><br></span></p> <p><strong>Sergei </strong><span><strong>Rachmaninoff
  </strong></span><span style='font-weight: 400\;'>(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 style='font-weight: 400\;'> 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 style='font
 -weight: 400\;'><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
 pan></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><
 /p> <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) <stro
 ng>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 <e
 m>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 style='font-weight: 400\;'>The </span><
 a href='https://harmoniaseattle.org/concerts/'><span style='font-weight: 4
 00\;'>2024–2025 season</span></a><span style='font-weight: 400\;'> 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='font-weight: 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 style='font-weig
 ht: 400\;'><a href='http://www.willcwhite.com'>www.willcwhite.com</a></spa
 n><span style='font-weight: 400\;'>\, where he also maintains a blog and p
 ublishing business.</span></p> <p><span style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='fon
 t-weight: 400\;'>Tone Prose</span></a><span style='font-weight: 400\;'>\, 
 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 style='font-weight: 400\;'>The Classical Ga
 bfest</span></i></a><span style='font-weight: 400\;'> podcast and he has d
 abbled in the world of educational YouTube videos with </span><a href='htt
 ps://www.youtube.com/playlist?list=PLN03Jej5DL9v1K_TcPeFf0j9anetWKA0N'><i>
 <span style='font-weight: 400\;'>Ask a Maestro</span></i></a><span style='
 font-weight: 400\;'>.</span></p> <p><span style='font-weight: 400\;'>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 style='width: 835px\;'> <tbody> <tr> <td style='width: 834px\;'>
  <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> <
 /div> <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><
 b></b><b>Tuba<br></b>David Brewer</p> <p><b></b><b>Timpani<br></b>Dan Oie<
 /p> <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 style='font-weight: 400\;'>*principal<br></span><
 span style='font-weight: 400\;'>**concertmaster</span></p> <p dir='ltr'></
 p> </div> </td> </tr> </tbody> </table>
END:VEVENT
BEGIN:VEVENT
UID:dd2cfe27-b603-4a26-aca0-a67dd5e27d84
DTSTAMP:20260612T083118Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250102T152551Z
DESCRIPTION:<p style='font-weight: 400\;'>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 style='font-weig
 ht: 400\;'>Abstract</h4>\n<p style='font-weight: 400\;'>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 & Sound Studies and Na
 tive American & 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
DTEND;TZID=America/Los_Angeles:20250222T000000
LAST-MODIFIED:20250130T214029Z
SUMMARY:: THEME Lecture Series: Jessica Bissett Perea (University of Washin
 gton)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-21/theme-lecture-series-jes
 sica-bissett-perea-university-washington
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p style='font-weight: 400\;'>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='font-weight: 400\;'>Abstract</h4> <p style='font-weight: 400\;'>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 & Sound 
 Studies and Native American & 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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250225T000000
LAST-MODIFIED:20250214T171948Z
SUMMARY:: Baroque Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-24/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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250227T000000
LAST-MODIFIED:20250214T010602Z
SUMMARY:: External Event: Organ Masterclass: Christopher Stroh\, St. James 
 Cathedral
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-26/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='http
 s://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.</spa
 n></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:20260612T083118Z
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 style='font-weight: 4
 00\;'>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 style='font-weight: 400\;'>Sonata in E Major\, Opus 109 (1820) :  <stro
 ng>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 style='font-
 weight: 400\;'>INTERMISSION </p>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>B
 arcarolle No.3\, Opus 42 (1885) : <strong>Gabriel FAURÉ</strong> (1845-192
 4)<br>KAREN HAINING</p>\n<p style='font-weight: 400\;'>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
DTEND;TZID=America/Los_Angeles:20250228T000000
LAST-MODIFIED:20250224T170201Z
SUMMARY:: Brechemin Piano Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-02-27/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 style='f
 ont-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'><em>INTERMISSION</em><em> </em
 ></p> <p style='font-weight: 400\;'><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 style='font-weight: 400\;'>Barcarolle N
 o.3\, Opus 42 (1885) : <strong>Gabriel FAURÉ</strong> (1845-1924)<br><em>K
 AREN HAINING</em></p> <p style='font-weight: 400\;'>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:20260612T083118Z
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 style='fo
 nt-weight: 400\;'>Abstract: Preservation Mania: Composers\, Relics\, and t
 he “Beautiful Death” </h4>\n<p style='font-weight: 400\;'>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 style='font-weight: 400
 \;'>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 style='font-weight: 400\;'>Biography</h4>\n<p style='font-weight: 40
 0\;'><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 & 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 style
 ='font-weight: 400\;'> </p>\n<p style='font-weight: 400\;'> </p>
DTSTART;TZID=America/Los_Angeles:20250228T133000
DTEND;TZID=America/Los_Angeles:20250301T000000
LAST-MODIFIED:20250722T005059Z
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 style='font-weight: 400\;'>Abstract: Preservation Mania
 : Composers\, Relics\, and the “Beautiful Death” </h4> <p style='font-weig
 ht: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>Biograph
 y</h4> <p style='font-weight: 400\;'><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 & 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</e
 m>\, is forthcoming from the University of Chicago Press in 2025.</p> <p s
 tyle='font-weight: 400\;'> </p> <p style='font-weight: 400\;'><span> </spa
 n></p>
END:VEVENT
BEGIN:VEVENT
UID:200bf93e-4a46-4837-a286-08bfc672b0ab
DTSTAMP:20260612T083118Z
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'><stro
 ng>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
DTEND;TZID=America/Los_Angeles:20250302T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Degree Recital: Jingshi Zhao\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-01/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:20260612T083118Z
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. <
 /p>\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</str
 ong><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 </stron
 g>(b. 1967)<br><br>Symphonic Suite (1957): <strong>Clifton Williams </stro
 ng>(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 style='font-weight: 400\;'>Solomon Encina\, Dav
 id Stewart\, directors</p>\n<p style='font-weight: 400\;'>Rush (2006) – <s
 trong>Samuel Hazo</strong> (b. 1966)</p>\n<p style='font-weight: 400\;'> W
 hen the Stars Began to Fall (1992) – <strong>Fred J. Allen</strong> (b. 19
 53)</p>\n<p style='font-weight: 400\;'> 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</st
 rong> 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 & 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 & 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 & Information Systems\, Fremont\, CA<
 br>Fletcher Lohrentz\, So.\, Physics & 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 & 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 & 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<
 br>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 & 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<
 p>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 & 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<
 br>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
DTEND;TZID=America/Los_Angeles:20250304T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Campus\, Concert\, and University Bands: Passages
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-03/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: <stron
 g>Frank Ticheli </strong>(b. 1958)<br><br>A Childhood Remembed (2013): <st
 rong>Rossano Galante </strong>(b. 1967)<br><br>Symphonic Suite (1957): <st
 rong>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><str
 ong><br></strong></p> <h4>UW University Band</h4> <p style='font-weight: 4
 00\;'><em>Solomon Encina\, David Stewart\, directors</em></p> <p style='fo
 nt-weight: 400\;'>Rush (2006) – <strong>Samuel Hazo</strong> (b. 1966)</p>
  <p style='font-weight: 400\;'> When the Stars Began to Fall (1992) – <str
 ong>Fred J. Allen</strong> (b. 1953)</p> <p style='font-weight: 400\;'> 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</stro
 ng> 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><stro
 ng>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
  & 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 & 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 & Information Systems\, Fremont\, CA<br>Fletcher Lohrentz\, 
 So.\, Physics & 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 & 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 & 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 <
 br>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 & 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 & 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
 trong></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<
 br>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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20250305T000000
LAST-MODIFIED:20240930T163615Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:4411c64d-519f-48ea-8545-83ef0a25dc99
DTSTAMP:20260612T083118Z
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<h
 r>\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 & bass flute\; <b>Cameron Deluca\,
 </b> clarinet\, bass clarinet & 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><
 br>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.<
 br>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
DTEND;TZID=America/Los_Angeles:20250305T000000
LAST-MODIFIED:20250228T221954Z
SUMMARY:: Modern Music Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-04/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 style='font-weight: 400\;
 '> for tuba and electronics (1997): </span><span style='font-weight: 400\;
 '> </span><b>Jonathan Harvey </b><span style='font-weight: 400\;'>(1939-20
 12)<br></span><b>Cole Henslee\,</b><span style='font-weight: 400\;'> tuba<
 /span></p> <p>Drei Vorspiele zu einer Insel<span style='font-weight: 400\;
 '> (2003): </span><b>Wolfgang Rihm </b><span style='font-weight: 400\;'>(1
 952-2024)<br></span><span style='font-weight: 400\;'>Sehr ruhig<br></span>
 <span style='font-weight: 400\;'>Sehr rasch<br></span><span style='font-we
 ight: 400\;'>Sehr ruhig<br></span><b>Rachel Reyes\,</b><span style='font-w
 eight: 400\;'> flute\; </span><b>Taylor DeCastro\,</b><span style='font-we
 ight: 400\;'> violin\; </span><b>Tyler Smith\,</b><span style='font-weight
 : 400\;'> percussion</span></p> <p>O King<span style='font-weight: 400\;'>
  (1968): </span><span style='font-weight: 400\;'> </span><b>Luciano Berio 
 </b><span style='font-weight: 400\;'>(1925-2003)<br></span><b>Cassidy Cheo
 ng\,</b><span style='font-weight: 400\;'> voice\; </span><b>Rachel Reyes\,
 </b><span style='font-weight: 400\;'> flute\; </span><b>Cameron DeLuca\,</
 b><span style='font-weight: 400\;'> clarinet\; </span><b>Taylor DeCastro\,
 </b><span style='font-weight: 400\;'> violin\; </span><b>Christine Lee\,</
 b><span style='font-weight: 400\;'> cello\; </span><b>Olivia Hsu\,</b><spa
 n style='font-weight: 400\;'> piano</span></p> <p>Music for Body-Without-O
 rgans <span style='font-weight: 400\;'>(2011): </span><b>Nicole Lizée. </b
 ><span style='font-weight: 400\;'>(b. 1973)<br></span><b>Rachel Reyes\,</b
 ><span style='font-weight: 400\;'> flute & bass flute\; </span><b>Cameron 
 Deluca\,</b><span style='font-weight: 400\;'> clarinet\, bass clarinet & h
 armonica\; </span><b>Taylor DeCastro\,</b><span style='font-weight: 400\;'
 > violin\; </span><b>Christine Lee\,</b><span style='font-weight: 400\;'> 
 cello\; </span><b>Ella Kalinichenko\,</b><span style='font-weight: 400\;'>
  piano\; </span><b>Tyler Smith\,</b><span style='font-weight: 400\;'> perc
 ussion</span></p> <p>Conduction #148<b> </b><span style='font-weight: 400\
 ;'>(2025): <strong>Steph Richards </strong>(b. 1982)<br><span>an improvise
 d duet for ensemble and conductor</span></span><span style='font-weight: 4
 00\;'>  <br></span><b>Cassidy Cheong\,</b><span style='font-weight: 400\;'
 > voice\; </span><b>Rachel Reyes\,</b><span style='font-weight: 400\;'> fl
 ute\; </span><b>Cameron DeLuca\,</b><span style='font-weight: 400\;'> clar
 inet\;  </span><b>Cole Henslee\,</b><span style='font-weight: 400\;'> tuba
 \; </span><b>Taylor DeCastro\,</b><span style='font-weight: 400\;'> violin
 \; </span><b>Olivia Hsu\,</b><span style='font-weight: 400\;'> piano\; </s
 pan><b>Tyler Smith\,</b><span style='font-weight: 400\;'> percussion\;  </
 span><b>Steph Richards\, </b><span style='font-weight: 400\;'>conductor</s
 pan></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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250306T000000
LAST-MODIFIED:20250722T005059Z
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'><
 /div> <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:20260612T083118Z
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 <
 /p>\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			<
 h2><b>Kamiak High School Choir</b></h2>\n\n			<p>THE B NATURALS <br>\n			TENOR <
 br>\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			<
 b>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><
 br>\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><
 br>\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			<
 b>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><
 br>\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></h
 2>\n\n			<p>SOPRANOS <br>\n			<b>Helen Woodruff </b><br>\n			<b>Kyla Marshall </b><
 br>\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><
 br>\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			<
 b>Alexandra Rameau </b><br>\n			<b>Maya Shah </b><br>\n			<b>Jaminfaye Reduque <
 /b></p>\n\n			<p>TENORS <br>\n			<b>Maggie Petersen </b><br>\n			<b>Maddie Rivera <
 /b><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><
 br>\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
DTEND;TZID=America/Los_Angeles:20250308T000000
LAST-MODIFIED:20250728T172108Z
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> <h
 2>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> <h
 3>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)<
 span class='Apple-converted-space'> </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><str
 ong>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><
 /p> <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: <
 /b>Shawn Kirchner<span class='Apple-converted-space'> </span>(b. 1970)<spa
 n class='Apple-converted-space'> </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> <
 p>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 style='width: 845px\
 ;'> <tbody> <tr> <td style='width: 844px\;'> <h2><b>Kamiak High School Cho
 ir</b></h2> <p>THE B NATURALS<span class='Apple-converted-space'> </span><
 br> 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
 pan></b></p> <p>BARITONE<span class='Apple-converted-space'> </span><br> <
 b>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<sp
 an class='Apple-converted-space'> </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'> <
 /span></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<
 span class='Apple-converted-space'> </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<sp
 an class='Apple-converted-space'> </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'> </spa
 n></b><br> <b>Elizabeth Brown<span class='Apple-converted-space'> </span><
 /b><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><
 /b><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<spa
 n class='Apple-converted-space'> </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><
 /b><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<spa
 n class='Apple-converted-space'> </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'> </spa
 n></b><br> <b>Elijah Maruchek<span class='Apple-converted-space'> </span><
 /b><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<
 span class='Apple-converted-space'> </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'> <
 /span></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<sp
 an class='Apple-converted-space'> </span></b><br> <strong><span style='fon
 t-size:12pt'><span style='line-height:115%'><span style='font-family:Aptos
 \,sans-serif'>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'> <
 /span></b><br> <b>Benjamin Jaudon<span class='Apple-converted-space'> </sp
 an></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><
 br> <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<spa
 n class='Apple-converted-space'> </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'> </sp
 an></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<
 span class='Apple-converted-space'> </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'> </spa
 n></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><spa
 n style='font-size:12pt'><span style='line-height:115%'><span style='font-
 family:Aptos\,sans-serif'>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'> </sp
 an></b></p> </td> </tr> </tbody> </table> <h2>Biographies</h2> <p> </p> <h
 3><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:20260612T083118Z
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<
 hr>\n<h2>Biographies</h2>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250308T150000
DTEND;TZID=America/Los_Angeles:20250309T000000
LAST-MODIFIED:20250224T224219Z
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><stro
 ng>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> <h
 r> <h2>Biographies</h2> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:be41e6cc-a15e-4631-ad2a-ad0c30be242d
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250309T000000
LAST-MODIFIED:20250304T173021Z
SUMMARY:: Composition Studio
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-08/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><
 br> <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
 trong><br> <em>Taylor James Bellamy\, electronics</em></p> <p>Acadian Stor
 m — <strong>Eddie Mospan</strong> <br> <em>Rachel Reyes\, alto flute</em><
 br><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:20260612T083118Z
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</h
 3>\n<h3></h3>
DTSTART;TZID=America/Los_Angeles:20250310T193000
DTEND;TZID=America/Los_Angeles:20250311T000000
LAST-MODIFIED:20250305T211226Z
SUMMARY:: Studio Jazz Ensemble and Modern Band
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-10/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</stro
 ng></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:20260612T083118Z
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><
 /h3>\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 & 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&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
DTEND;TZID=America/Los_Angeles:20250311T000000
LAST-MODIFIED:20250306T225811Z
SUMMARY:: External Event: UW Gospel Choir
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-10/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 style='wi
 dth: 843px\;'> <tbody> <tr> <td style='width: 842px\;'> <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 & Health<span class='Apple-converted-space'> <br></span>
 Caitlin Wassell Pre-Sciences<span class='Apple-converted-space'> <br></spa
 n>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'> </spa
 n></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></sp
 an>Joann Kim Community Member<span class='Apple-converted-space'> <br></sp
 an>Zoe Demirbag Psychology<span class='Apple-converted-space'> <br></span>
 Sara Higashi Community Member<span class='Apple-converted-space'> <br></sp
 an>Aliyah Cleveland Community Member<span class='Apple-converted-space'> <
 br></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<sp
 an class='Apple-converted-space'> <br></span>Matthew Young Community Membe
 r<span class='Apple-converted-space'> <br></span>Kabir Maheshwari Economic
 s&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> </t
 body> </table> <h2>Biography</h2>
END:VEVENT
BEGIN:VEVENT
UID:3d136e2e-09d8-4027-94e9-99509a6bb6b9
DTSTAMP:20260612T083118Z
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 style='font-weight: 400\;'>UNIVERSITY OF WASHIN
 GTON SYMPHONIC BAND</h4>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>
 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-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<
 /p>\n<p style='font-weight: 400\;'>BASS CLARINET<br>Conrad Gauss\, Fr.\, E
 ngineering\, Bellevue<br>Michael Stella\, Fr.\, Political Science\, Puyall
 up</p>\n<p style='font-weight: 400\;'>ALTO SAXOPHONE<br>Polina Dorogova\, 
 So.\, Psychology and Music-Instrumental Performance\, Gig Harbor<br>Chinma
 y Murthy\, Jr.\, Electrical & Computer Engineering\, Fremont\, CA<br>Chika
 ra Nakamura\, Fr.\, Arts & Sciences\, Tokyo\, Japan<br>Kaua Roberton\, Fr.
 \, Music Education\, Spokane</p>\n<p style='font-weight: 400\;'>TENOR SAXO
 PHONE<br>Eduardo Azevedo Simão Racy\, So.\, Computer Science\, Auburn<br>J
 ackson Sawatzky\, Jr.\, Music Education\, Olympia</p>\n<p style='font-weig
 ht: 400\;'>BARI SAXOPHONE<br>Daniel Song\, Fr.\, Engineering Undecided\, B
 othell</p>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400
 \;'>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 style='font-weight: 400\;'>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 style='font-weight: 
 400\;'>EUPHONIUM<br>May Coppinger\, So.\, Mechanical Engineering\, Kirklan
 d<br>Tom Lewis\, Jr.\, Mechanical Engineering\, Snoqualmie</p>\n<p style='
 font-weight: 400\;'>TUBA<br>Nathanael Vitorino\, Fr.\, Engineering\, Vanco
 uver<br>Colin Tyrrell\, So.\, Finance and Information Systems\, Montauk\, 
 NY</p>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>PIANO<br>Da
 niel Lindsay\, Fr.\, Political Science\, Vancouver</p>\n<h4 style='font-we
 ight: 400\;'>UNIVERSITY OF WASHINGTON WIND ENSEMBLE</h4>\n<p style='font-w
 eight: 400\;'>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 style='font-weight: 400\;'>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 style
 ='font-weight: 400\;'>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 style='font-weight: 400
 \;'>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 style='font-
 weight: 400\;'>BASS CLARINET<br>Cameron DeLuca\, Grd.\, Music Performance\
 , Hawthorne\, CA</p>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='fon
 t-weight: 400\;'>TROMBONE<br>Dion Archer-Roll\, Sr.\, Physics\, Vancouver<
 br>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 style='font-weight: 400\;'>EUPHONIUM<br
 >Nico Ferreria\, So.\, Biology\, Bellevue<br>Simona Yaroslavsky\, So.\, Ps
 ychology/Law\, Societies and Justice\, Mercer Island*</p>\n<p style='font-
 weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>PIANO<br>Rachel Huang\, Grad.\, M
 usic Performance\, West Hills\, LA</p>\n<p style='font-weight: 400\;'>BASS
 <br>Jason Lai\, Fr.\, Mechanical Engineering\, Camas</p>\n<p style='font-w
 eight: 400\;'>DOCTORAL STUDENT CONDUCTORS<br>Solomon Encina\, Rancho Cucam
 onga\, CA<br>David Stewart\, Mercer Island<br>Yuman Wu\, Tianjin\, China</
 p>\n<p style='font-weight: 400\;'>*principal</p>\n\n\n\n\n<h3>Biographies<
 /h3>
DTSTART;TZID=America/Los_Angeles:20250311T193000
DTEND;TZID=America/Los_Angeles:20250312T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Wind Ensemble and Symphonic Band: Transformation
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-11/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</stro
 ng> (b. 1973)<br>Machu Picchu (2005) - <strong>Satoshi Yagisawa</strong> (
 b. 1975)</p> <hr> <p><strong>University of Washington Wind Ensemble</stron
 g><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><stron
 g>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 style='width: 855px\;'> <h4 style='font-wei
 ght: 400\;'>UNIVERSITY OF WASHINGTON SYMPHONIC BAND</h4> <p style='font-we
 ight: 400\;'>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 style='font-weight: 400\;'>OBOE<br>Dyla
 n Huynh\, Fr.\, Political Science\, Sammamish<br>Meagan Paxman\, Fr.\, Pre
 -Sciences\, Vancouver<br>Vichet Ros\, Jr.\, Music Education\, Burien</p> <
 p style='font-weight: 400\;'>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 style='font-weight: 400\;'>BASS CLARIN
 ET<br>Conrad Gauss\, Fr.\, Engineering\, Bellevue<br>Michael Stella\, Fr.\
 , Political Science\, Puyallup</p> <p style='font-weight: 400\;'>ALTO SAXO
 PHONE<br>Polina Dorogova\, So.\, Psychology and Music-Instrumental Perform
 ance\, Gig Harbor<br>Chinmay Murthy\, Jr.\, Electrical & Computer Engineer
 ing\, Fremont\, CA<br>Chikara Nakamura\, Fr.\, Arts & Sciences\, Tokyo\, J
 apan<br>Kaua Roberton\, Fr.\, Music Education\, Spokane</p> <p style='font
 -weight: 400\;'>TENOR SAXOPHONE<br>Eduardo Azevedo Simão Racy\, So.\, Comp
 uter Science\, Auburn<br>Jackson Sawatzky\, Jr.\, Music Education\, Olympi
 a</p> <p style='font-weight: 400\;'>BARI SAXOPHONE<br>Daniel Song\, Fr.\, 
 Engineering Undecided\, Bothell</p> <p style='font-weight: 400\;'>BASSOON<
 br>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 style='font-weight: 400\;'>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='font-weight: 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 style='font-weight: 400\;'>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 
 style='font-weight: 400\;'>EUPHONIUM<br>May Coppinger\, So.\, Mechanical E
 ngineering\, Kirkland<br>Tom Lewis\, Jr.\, Mechanical Engineering\, Snoqua
 lmie</p> <p style='font-weight: 400\;'>TUBA<br>Nathanael Vitorino\, Fr.\, 
 Engineering\, Vancouver<br>Colin Tyrrell\, So.\, Finance and Information S
 ystems\, Montauk\, NY</p> <p style='font-weight: 400\;'>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 style='font-weight: 4
 00\;'>PIANO<br>Daniel Lindsay\, Fr.\, Political Science\, Vancouver</p> <h
 4 style='font-weight: 400\;'>UNIVERSITY OF WASHINGTON WIND ENSEMBLE</h4> <
 p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font
 -weight: 400\;'>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='font-weight: 400\;'>BASS CLARINET<br>Cameron DeLuca\, Grd.\, Music P
 erformance\, Hawthorne\, CA</p> <p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;
 '>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='font-weight: 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 style='font-weight: 400\;'>EUPHON
 IUM<br>Nico Ferreria\, So.\, Biology\, Bellevue<br>Simona Yaroslavsky\, So
 .\, Psychology/Law\, Societies and Justice\, Mercer Island*</p> <p style='
 font-weight: 400\;'>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 style='font-weight: 400\;
 '>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 style='font-weight: 400\;'>PIANO<br>Rachel Huang\, Grad.\
 , Music Performance\, West Hills\, LA</p> <p style='font-weight: 400\;'>BA
 SS<br>Jason Lai\, Fr.\, Mechanical Engineering\, Camas</p> <p style='font-
 weight: 400\;'>DOCTORAL STUDENT CONDUCTORS<br>Solomon Encina\, Rancho Cuca
 monga\, CA<br>David Stewart\, Mercer Island<br>Yuman Wu\, Tianjin\, China<
 /p> <p style='font-weight: 400\;'>*principal</p> </td> </tr> </tbody> </ta
 ble> <h3>Biographies</h3>
END:VEVENT
BEGIN:VEVENT
UID:3181ff62-fcb0-4f94-aef4-dd918f8b8ba0
DTSTAMP:20260612T083118Z
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</h
 2>\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<
 p>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<
 br><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</h
 2>\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 & 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</stron
 g> 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 style='font-weight: 400\;'>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 & Chorale\, and the Co-Artistic
  Director of the Seattle Modern Orchestra. </p>\n<p style='font-weight: 40
 0\;'><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 & Conservatory. </p>\n<p style='font-weight: 400\;'>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 style='font-weight: 4
 00\;'><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 style='font-weight: 40
 0\;'>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 style='font-weight: 400\;'>Recently haile
 d by Fanfare Magazine as “excellent” and “clearly sensitive\,” pianist <st
 rong>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 style='fo
 nt-weight: 400\;'><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
DTEND;TZID=America/Los_Angeles:20250313T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Guest Orchestra Concert: Seattle Modern Orchestra\, Tribute: Joël
 -François Durand
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-03-12/guest-orchestra-concert-
 seattle-modern-orchestra-tribute-joel-francois-durand
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span style='font-weight: 400\;'></span></p
 > <p><span style='font-weight: 400\;'>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 style='font-weight: 400\;'>Program</span></h2
 > <p><span style='font-weight: 400\;'>Guest Ensemble: Seattle Modern Orche
 stra<br></span><span style='font-weight: 400\;'>70th Birthday Celebration 
 Concert in Honor of Joël-François Durand <br></span><span style='font-weig
 ht: 400\;'>Featuring Alumni and Student Works</span></p> <p><span style='f
 ont-weight: 400\;'>Still Moves (2025): <strong>Yonatan Ron</strong></span>
 </p> <p><span style='font-weight: 400\;'>La descente de l'ange (2022): <st
 rong>Joël-François Durand</strong></span></p> <p><span style='font-weight:
  400\;'>Five Verses (2025): <strong>Eric Flesher</strong></span></p> <p><s
 pan style='font-weight: 400\;'>Toward the Eighth Climate (2025): <strong>J
 effrey Bowen</strong></span></p> <p><span style='font-weight: 400\;'>Tocca
 ta “au fil de la plume” (2024): <strong>Ryan M. Hare</strong></span></p> <
 p><span style='font-weight: 400\;'>La quatrième mélodie (2024/25): <strong
 >Yiğit Kolat</strong></span></p> <p><span style='font-weight: 400\;'>Stars
  Whisper 星星低语 Les Murmures des Étoiles (2025): <strong>Byron Au Yong</stro
 ng></span></p> <p><span style='font-weight: 400\;'>Julia Tai\, conductor <
 br></span><span style='font-weight: 400\;'>Sarah Pyle\, flute/piccolo <br>
 </span><span style='font-weight: 400\;'>Rachel Yoder\, clarinets <br></spa
 n><span style='font-weight: 400\;'>Luke Fitzpatrick\, violin  <br></span><
 span style='font-weight: 400\;'>Christine Lee\, cello <br></span><span sty
 le='font-weight: 400\;'>Cristina Valdés\, piano and keyboards <br></span><
 span style='font-weight: 400\;'>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<
 /strong><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. <
 /p> <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><stron
 g><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><str
 ong><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> <
 p>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 style='font-weight: 400\;'></span><span style='
 font-weight: 400\;'>Biographies</span></h2> <h3><a href='https://www.seatt
 lemodernorchestra.org' target='_blank' rel='noopener noreferrer'>Seattle M
 odern Orchestra</a></h3> <p><span style='font-weight: 400\;'></span><span 
 style='font-weight: 400\;'>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><
 /p> <p><span style='font-weight: 400\;'>Co-Artistic Directors: Julia Tai a
 nd Bonnie Whiting <br></span><span style='font-weight: 400\;'>Founding Dir
 ector: Jérémy Jolley <br></span><span style='font-weight: 400\;'>Managing 
 Director: Michelle Cheng <br></span><span style='font-weight: 400\;'>IT Sp
 ecialist: David Schneider <br></span><span style='font-weight: 400\;'>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 & 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</stro
 ng>’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.   <
 /p> <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 style='font
 -weight: 400\;'>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 &
  Chorale\, and the Co-Artistic Director of the Seattle Modern Orchestra. <
 /p> <p style='font-weight: 400\;'><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 & Conservatory. </p> <p style='font-weight:
  400\;'>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 style='font-weight: 400\;'><strong>Luke Fitzpatrick </stron
 g>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> </st
 rong></p> <p style='font-weight: 400\;'>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 style='
 font-weight: 400\;'>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 style='font-weight: 400\;'><strong>Bonnie Whiting<
 /strong>’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:20260612T083118Z
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 & A.<hr>\n\n<h3>Biography</h3>
DTSTART;TZID=America/Los_Angeles:20250314T133000
DTEND;TZID=America/Los_Angeles:20250315T000000
LAST-MODIFIED:20250722T005059Z
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 & A.<hr></div> </div> <h3>Biograph
 y</h3>
END:VEVENT
BEGIN:VEVENT
UID:edc6bd41-e075-430a-80fa-3e946f257d3d
DTSTAMP:20260612T083118Z
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='font-weight: 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='font-weight: 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
DTEND;TZID=America/Los_Angeles:20250315T000000
LAST-MODIFIED:20250226T182042Z
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 style='font-weight: 400\;'>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 style='font-weight: 
 400\;'>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:20260612T083118Z
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 style='font-weight: 400\;'
 >Franz Joseph Haydn (1732-1809)\; Michael Haydn (1737-1806): The Haydn Exp
 erience II </h4>\n\n<p style='font-weight: 400\;'>(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 style='font-weight: 400\;'>Robert Schumann (181
 0-1856): Nachtlied\, Op. 108 (1848)</h4>\n\n<p style='font-weight: 400\;'>
 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 style='font-weight: 400\;'>
 Maurice Ravel (1875-1937): Daphnis et Chloé Suite no. 2 (comp. 1909-1912)<
 /h4>\n\n<p style='font-weight: 400\;'>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 style='font-weight: 4
 00\;'>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 style='fon
 t-weight: 400\;'>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><st
 rong><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<
 br>\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><
 u>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><
 br>\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 & 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 & Computational Mathematics<br>\n			Neal Muppidi\, BM Trombone Performance<
 br>\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><
 u>Harp</u></strong><br>\n			Kelly Hou\, Alumna<br>\n			Jared Parsons\, guest<str
 ong><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 & 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
 trong><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 & 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 style='font-weight: 400\;'>University Chorale</h3>\n
 \n			<p style='font-weight: 400\;'>Giselle Wyers\, director </p>\n\n			<p style=
 'font-weight: 400\;'><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<
 br>\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 style='font-weight: 400\;'><strong>Altos</str
 ong><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 style='font-weight: 400\;
 '><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='font-weight: 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 style
 ='font-weight: 400\;'>Chamber Singers</h3>\n\n			<p style='font-weight: 400\;
 '>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 style='font-weight: 400\;'><strong>Soprano 2</st
 rong><br>\n			Clara Johnson<br>\n			Soledad Mayorga-Maldonado<br>\n			Egija Claire<
 br>\n			Annika Iyer<br>\n			Nandini Rathod </p>\n\n			<p style='font-weight: 400\;'
 ><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 style='font-
 weight: 400\;'><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 
 style='font-weight: 400\;'><strong>Tenor 1 </strong><br>\n			Maggie Peterson<
 br>\n			Maddie Rivera<br>\n			Hannah Carpenter<br>\n			Nicholas Renaud<br>\n			Michael
  Lim<br>\n			Brayden Schwartz </p>\n\n			<p style='font-weight: 400\;'><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 style='font-weight:
  400\;'><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 style='font-weight: 400\;'><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
DTEND;TZID=America/Los_Angeles:20250315T000000
LAST-MODIFIED:20250728T171500Z
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> </str
 ong>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<
 /em><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)</e
 m> [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'> </spa
 n></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 style
 ='font-weight: 400\;'>Franz Joseph Haydn (1732-1809)\; Michael Haydn (1737
 -1806): <em>The Haydn Experience II </em></h4> <p style='font-weight: 400\
 ;'>(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 style='font-weight: 400\;'
 >Robert Schumann (1810-1856): <em>Nachtlied\, Op. 108</em> (1848)</h4> <p 
 style='font-weight: 400\;'>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 style='font-weight: 400\;'>Maurice Ravel (1875-1937): <em>Daphnis et
  Chloé</em> Suite no. 2 (comp. 1909-1912)</h4> <p style='font-weight: 400\
 ;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='width: 847px\;'> <tbody> <tr> <td style='width: 846px\
 ;'> <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></stro
 ng><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><st
 rong><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 & 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> <
 strong><u>Trombone</u></strong><br> Jonathan Elsner\, Applied & 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><
 u>Timpani</u></strong><br> Kaisho Barnhill\, Music Education\, Psychology<
 br> Momoka Fukushima\, Percussion Performance<br> Abigail George\, Applied
  Physics/BM Percussion Performance<br> <br> <strong><u>Percussion</u></str
 ong><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<
 br> 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 &
  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 & 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)<
 br> 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 style='font-weight: 400\;'>University C
 horale</h3> <p style='font-weight: 400\;'><em>Giselle Wyers\, director </e
 m></p> <p style='font-weight: 400\;'><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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><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 style=
 'font-size:12pt'><span style='line-height:115%'><span style='font-family:A
 ptos\,sans-serif'>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 style='font-weight: 400\;'
 >Chamber Singers</h3> <p style='font-weight: 400\;'><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
  style='font-weight: 400\;'><strong>Soprano 2</strong><br> Clara Johnson<b
 r> Soledad Mayorga-Maldonado<br> Egija Claire<br> Annika Iyer<br> Nandini 
 Rathod </p> <p style='font-weight: 400\;'><strong>Alto 1</strong><br> Shri
 ya Prasanna<br> Nila Chandramouli<br> Emily Colombo<br> Heidi Blythe<br> L
 ainey Graham </p> <p style='font-weight: 400\;'><strong>Alto 2</strong><br
 > Jackie Smith<br> Haley Westberg<br> Alexandra Rameau<br> Maya Shah<br> J
 aminfaye Reduque </p> <p style='font-weight: 400\;'><strong>Tenor 1 </stro
 ng><br> Maggie Peterson<br> Maddie Rivera<br> Hannah Carpenter<br> Nichola
 s Renaud<br> Michael Lim<br> Brayden Schwartz </p> <p style='font-weight: 
 400\;'><strong>Tenor 2</strong><br> Gabe Stefanides<br> Gray Creech<br> Ma
 nny Noyola-Juarez<br> David Ferguson<br> Caleb Strader </p> <p style='font
 -weight: 400\;'><strong>Bass 1</strong><br> Alex Trias<br> Charlie Dawson<
 br> <span style='font-size:12pt'><span style='line-height:115%'><span styl
 e='font-family:Aptos\,sans-serif'>Edén</span></span></span> Alvarado<br> A
 rshia Ashari<br> Luis Javier<strong> </strong></p> <p style='font-weight: 
 400\;'><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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20250321T000000
LAST-MODIFIED:20240930T163631Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:47754925-9381-4f0c-8f72-ea45b132c47a
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250331T000000
LAST-MODIFIED:20250722T005059Z
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> <
 p><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:20260612T083118Z
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 style='font-weight: 400\;'>Catherine Kautsky</h4>
 \n<p style='font-weight: 400\;'>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='font-weight: 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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;
 '>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 & 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 style='font-weight: 400\;'>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.<
 /p>\n<p style='font-weight: 400\;'></p>
DTSTART;TZID=America/Los_Angeles:20250401T170000
DTEND;TZID=America/Los_Angeles:20250402T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Guest Pianist Lecture Recital: Catherine Kautsky
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-01/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 style='font-weight: 400\;'>Catherine 
 Kautsky</h4> <p style='font-weight: 400\;'>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.<
 /p> <p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400
 \;'>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='font-weight: 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 & 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 style='font-weig
 ht: 400\;'>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 style='font-weight: 400\;'></p>
END:VEVENT
BEGIN:VEVENT
UID:b9c76ad2-7e93-436f-b2ba-982d8af110b9
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250403T000000
LAST-MODIFIED:20250722T005059Z
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:20260612T083118Z
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><st
 rong>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
DTEND;TZID=America/Los_Angeles:20250405T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Guest Artist Concert: Bennardo Larson Duo
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-04/guest-artist-concert-ben
 nardo-larson-duo
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p>The violin and piano duo<span>—</sp
 an><span>Maya Bennardo (violin) and Karl Larson (piano)—performs music</sp
 an> 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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250406T000000
LAST-MODIFIED:20250404T145857Z
SUMMARY:: Master's Degree Recital: Ella Kalinichenko\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-05/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><stron
 g>Piano Sonata in E major Op. 109:</strong> <strong>Ludwig Van Beethoven (
 </strong>1770 - 1827)<br><span style='font-family: inherit\; font-size: 1r
 em\;'>Vivace\, ma non troppo. Sempre legato <br>Prestissimo<br></span>Gesa
 ngvoll\, mit innigster Empfindung (Andante molto cantabile ed espressivo)<
 br><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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20250409T000000
LAST-MODIFIED:20240930T163652Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:d09372ea-64ba-4cf8-ac39-e674269b0cf8
DTSTAMP:20260612T083118Z
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<
 hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250409T193000
DTEND;TZID=America/Los_Angeles:20250410T000000
LAST-MODIFIED:20250403T195202Z
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-09/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><
 /p> <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:20260612T083118Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20240808T000844Z
DESCRIPTION:<p></p>\n<p style='font-weight: 400\;'>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<
 /h3>\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<
 p>Recitative e danza for solo violin: <strong>Melia Watras</strong></p>\n<
 p>Foll’è ben che si crede: <strong>Tarquinio Merula</strong> (1595 -1665)<
 /p>\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</str
 ong> 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><stron
 g>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 style='font-weight: 400\;'>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
DTEND;TZID=America/Los_Angeles:20250411T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Faculty Recital: Tekla Cunningham\, Bach in Motion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-10/faculty-recital-tekla-cu
 nningham-bach-motion
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p style='font-weight: 400\;'>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)<
 /p> <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> <di
 v dir='ltr' data-setdir='false'> <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”</str
 ong> 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> </d
 iv> <h3 style='font-weight: 400\;'>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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250411T000000
LAST-MODIFIED:20250404T155025Z
SUMMARY:: Degree Recital: Cole McKittrick\, Jazz Studies: A Tribute to Stev
 ie Wonder
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-10/degree-recital-cole-mcki
 ttrick-jazz-studies-tribute-stevie-wonder
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div dir='ltr'> <div dir='ltr'> <div></div> <d
 iv></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> </d
 iv> </div>
END:VEVENT
BEGIN:VEVENT
UID:b71e9c85-de5e-470a-9312-76ab84014d6c
DTSTAMP:20260612T083118Z
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><str
 ong>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 style='font-weight: 400\;
 '>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<h
 r>\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
DTEND;TZID=America/Los_Angeles:20250412T000000
LAST-MODIFIED:20250404T012033Z
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 style='font-weight: 400\;'>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:20260612T083118Z
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:<
 /strong> 10:30am-12:30pm</p>\n<p><strong>Clara Schumann:</strong> Piano Tr
 io in g minor\, Movts. 1 & 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>\n<h
 2>Biography</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
 &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
DTEND;TZID=America/Los_Angeles:20250416T000000
LAST-MODIFIED:20250722T005059Z
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. <
 /p> <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><stron
 g><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<
 /p> <p><span><strong>Clara Schumann:</strong> Piano Trio in g minor\, Movt
 s. 1 & 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&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:20260612T083118Z
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<
 hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250416T193000
DTEND;TZID=America/Los_Angeles:20250417T000000
LAST-MODIFIED:20250403T195228Z
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-16/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><
 /p> <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:20260612T083118Z
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)<
 b><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&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
DTEND;TZID=America/Los_Angeles:20250417T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Guest Artist Concert: Eroica Trio
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-16/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> <
 h2>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&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.<
 /p> <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:20260612T083118Z
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:<
 /strong> 10:30am-12:30pm</p>\n<p><strong>Clara Schumann:</strong> Piano Tr
 io in g minor\, Movts. 1 & 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>\n<h
 2>Biography</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
 &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
DTEND;TZID=America/Los_Angeles:20250418T000000
LAST-MODIFIED:20250722T005059Z
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. <
 /p> <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><stron
 g><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<
 /p> <p><span><strong>Clara Schumann:</strong> Piano Trio in g minor\, Movt
 s. 1 & 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&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:20260612T083118Z
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<
 hr>\n<h3>Artist Biography</h3>\n<p><strong></strong></p>\n<h4><a href='htt
 ps://www.seattlemodernorchestra.org' target='_blank' rel='noopener norefer
 rer'></a></h4>
DTSTART;TZID=America/Los_Angeles:20250418T193000
DTEND;TZID=America/Los_Angeles:20250419T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Postponed: Faculty Concert: John-Carlos Perea\, 'Improvising Home
 '
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-18/postponed-faculty-concer
 t-john-carlos-perea-improvising-home
END:VEVENT
BEGIN:VEVENT
UID:a51ea8c4-4c2c-4fcd-a3d8-98c423d0508b
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250420T000000
LAST-MODIFIED:20250416T192627Z
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> <
 div>with Cole McKittrick\, guitar </div> </div> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:bcfa09b0-9c74-4c3e-9fd2-f78faaf3e8c7
DTSTAMP:20260612T083118Z
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 style='font-weight: 400\;'>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 - <st
 rong>Frédéric Chopin</strong> (1810-1849)<br>Alyssa Hironaka</p>\n<p style
 ='font-weight: 400\;'>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 style='font-weight: 400\;'>Paisajes - <strong>
 Federico Mompou</strong> (1893-1987)<br>II. El Lago<br>Aidan Dealy </p>\n<
 p style='font-weight: 400\;'>Waltz in A-flat Major\, Op. 34 No. 1 -<strong
 > Frédéric Chopin</strong> (1810-1849)<br>Scott Fisher Jr.</p>\n<p style='
 font-weight: 400\;'>Consolation No. 3\, S. 172 - <strong>Franz Liszt</stro
 ng> (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</stro
 ng> (1937-2020)<br>Scott Fisher Jr.</p>\n<p style='font-weight: 400\;'>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='font-weight: 400\;'></p>
DTSTART;TZID=America/Los_Angeles:20250419T160000
DTEND;TZID=America/Los_Angeles:20250420T000000
LAST-MODIFIED:20250416T191911Z
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 style='font-weight: 400\;'>Pro
 gram</h2> <p><span style='font-weight: 600\;'>Craig Sheppard Piano Studio 
 Recital</span><span style='font-weight: 600\;'><br></span><span style='fon
 t-weight: 600\;'>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 style='font-weight: 4
 00\;'><i>Fantasie in C Major</i>\, Op. 17 -<strong> Robert Schumann</stron
 g> (1810-1856)<br><span style='font-family: inherit\; font-size: 1rem\;'>I
 . Durchaus fantastisch und <br></span><span style='font-family: inherit\; 
 font-size: 1rem\;'>leidenschaftlich vorzutragen\; <br></span><span style='
 font-family: inherit\; font-size: 1rem\;'>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 style='font-weight: 400\;'><i>Paisajes - </i><
 strong>Federico Mompou</strong> (1893-1987)<br><span style='font-family: i
 nherit\; font-size: 1rem\;'>II. El Lago<br></span><em>Aidan Dealy </em></p
 > <p style='font-weight: 400\;'>Waltz in A-flat Major\, Op. 34 No. 1 -<str
 ong> Frédéric Chopin</strong> (1810-1849)<br><em>Scott Fisher Jr.</em></p>
  <p style='font-weight: 400\;'>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><
 /p> <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 style='font-weight: 400\;'><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='font-weight: 400\;'></p>
END:VEVENT
BEGIN:VEVENT
UID:417350d3-b234-44b6-b063-5fb9358e5813
DTSTAMP:20260612T083118Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20240808T001601Z
DESCRIPTION:<p></p>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-
 weight: 400\;'>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
DTEND;TZID=America/Los_Angeles:20250423T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Faculty Concert: Steph Richards with Qasim Naqvi: Talk Show
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-22/faculty-concert-steph-ri
 chards-qasim-naqvi-talk-show
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p style='font-weight: 400\;'>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 <e
 m>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> <h
 r> <h2 style='font-weight: 400\;'>Program </h2> <p><b>Talk Show</b><span s
 tyle='font-weight: 400\;'> (</span><i><span style='font-weight: 400\;'>Wor
 ld Premiere)</span></i><i><span style='font-weight: 400\;'><br></span></i>
 <span style='font-weight: 400\;'>Tuesday April 22\, 2025 7:30p\, Meany Hal
 l</span></p> <p><b>Created by</b><span style='font-weight: 400\;'>: Steph 
 Richards\, Chi-wang Yang\, Jeff Larson\, Qasim Naqvi</span><span style='fo
 nt-weight: 400\;'><br></span><b>Featuring:</b><span style='font-weight: 40
 0\;'> Steph Richards (trumpet\, flugelhorn\, water\, resonating percussion
 )\, Qasim Naqvi (analog synthesizers\, drumset)\, Cole Mckittrick (sandwic
 h guy)\, Natalie Song (projectiles)</span><span style='font-weight: 400\;'
 ><br></span><b>Directed by:</b><span style='font-weight: 400\;'> Chi-wang 
 Yang</span><span style='font-weight: 400\;'><br></span><b>Video Design:</b
 ><span style='font-weight: 400\;'> Jeff Larson</span><span style='font-wei
 ght: 400\;'><br></span><b>Video Programming:</b><span style='font-weight: 
 400\;'> Nick O’Leary</span></p> <p><span style='font-weight: 400\;'><br></
 span><span style='font-weight: 400\;'>Edgy\, irreverent\, and darkly humor
 ous\, </span><i><span style='font-weight: 400\;'>Talk Show</span></i><span
  style='font-weight: 400\;'> 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 style='font-weig
 ht: 400\;'>Talk Show</span></i><span style='font-weight: 400\;'> 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 style='font-weight: 400\;
 '>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>layered with archival g
 raphics and visual motifs drawn from 1980s talk show Sally Jessy Raphael</
 span><span style='font-weight: 400\;'>\, </span><span style='font-weight: 
 400\;'>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><
 /p> <p><span style='font-weight: 400\;'>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 style='font-weight: 400\;'>Talk Show </span><
 /i><span style='font-weight: 400\;'>is sonically adventurous as it is thea
 trically provocative.</span></p> <h3><span style='font-weight: 400\;'>Ackn
 owledegments</span></h3> <p><span style='font-weight: 400\;'>This collabor
 ation could not have happened without the brilliant creative help of </spa
 n><span style='font-weight: 400\;'>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 style='font-weight: 400\;'>Biographies</h3> <p><b>Qasim Naqvi</b><span
  style='font-weight: 400\;'> 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><spa
 n style='font-weight: 400\;'>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 style='font-weight: 400\;'> 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><spa
 n style='font-weight: 400\;'> New York Times</span></i><span style='font-w
 eight: 400\;'> 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 style='font-weight: 400\;'>Her work spans a 
 wide array of disciplines\, incorporating film\, poetry\, electronics\, ch
 oreography\, and more. Her acclaimed 2019 album </span><i><span style='fon
 t-weight: 400\;'>Supersense</span></i><span style='font-weight: 400\;'>—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='font-weight: 400\;'>The New York Times</span></i><span style='font-w
 eight: 400\;'> and </span><i><span style='font-weight: 400\;'>DownBeat</sp
 an></i><span style='font-weight: 400\;'>.</span></p> <p><span style='font-
 weight: 400\;'>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 style='font-weight: 400\;'>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='font-weight: 400\;'>Asphalt Orchestra </span></i><span style='font-weig
 ht: 400\;'>and a frequent collaborator with groups such as the </span><i><
 span style='font-weight: 400\;'>International Contemporary Ensemble (</spa
 n></i><span style='font-weight: 400\;'>ICE)\, Anthony Braxton’s </span><i>
 <span style='font-weight: 400\;'>Tricentric Orchestra\,</span></i><span st
 yle='font-weight: 400\;'> and Henry Threadgill’s </span><i><span style='fo
 nt-weight: 400\;'>Kestra</span></i><span style='font-weight: 400\;'>. 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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>BMus\, Performers Certificate)\, </sp
 an></i><span style='font-weight: 400\;'>McGill University (</span><i><span
  style='font-weight: 400\;'>MMus</span></i><span style='font-weight: 400\;
 '>) and the California Institute of the Arts (</span><i><span style='font-
 weight: 400\;'>MA).</span></i><span style='font-weight: 400\;'> 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 style='fon
 t-weight: 400\;'>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 style
 ='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 4
 00\;'> 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:20260612T083118Z
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<
 hr>\n<p></p>
DTSTART;TZID=America/Los_Angeles:20250423T193000
DTEND;TZID=America/Los_Angeles:20250424T000000
LAST-MODIFIED:20250403T195248Z
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-23/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><
 /p> <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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20250425T000000
LAST-MODIFIED:20240930T163703Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:0e5292f4-b007-4e22-b1f6-3c09bad4ba55
DTSTAMP:20260612T083118Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20240808T000421Z
DESCRIPTION:<p></p>\n<p style='font-weight: 400\;'>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 
 style='font-weight: 400\;'>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><
 br>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<
 /p>\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 style='font-weight: 400\;'>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
DTEND;TZID=America/Los_Angeles:20250425T000000
LAST-MODIFIED:20250423T223018Z
SUMMARY:: Faculty Recital: Robin McCabe\, Around Robin
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-24/faculty-recital-robin-mc
 cabe-around-robin
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p></p> <p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 </st
 rong>(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 style='font-weight: 4
 00\;'>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:20260612T083118Z
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</h
 3>\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
DTEND;TZID=America/Los_Angeles:20250426T000000
LAST-MODIFIED:20250423T223632Z
SUMMARY:: Improvised Music Project Festival (IMPFEST): Music of Bill Frisel
 l and Luke Bergman
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-25/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> <
 p><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:20260612T083118Z
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 & 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><
 br><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
DTEND;TZID=America/Los_Angeles:20250426T000000
LAST-MODIFIED:20250416T180704Z
SUMMARY:: Degree Recital: Hanu Nahm\, violin
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-25/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><sp
 an><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><
 /span></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 & 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’)<
 br>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:20260612T083118Z
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<
 /strong>  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><stro
 ng></strong></p>\n<h4><a href='https://www.seattlemodernorchestra.org' tar
 get='_blank' rel='noopener noreferrer'></a></h4>
DTSTART;TZID=America/Los_Angeles:20250426T193000
DTEND;TZID=America/Los_Angeles:20250427T000000
LAST-MODIFIED:20250423T223851Z
SUMMARY:: Improvised Music Project Festival (IMPFEST): Music of Josh Johnso
 n
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-04-26/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> <h
 r> <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> <h
 3><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><
 strong>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></st
 rong></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:20260612T083118Z
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) - <str
 ong>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<
 h3>University of Washington Wind Ensemble</h3>\n<p>Timothy Salzman\, condu
 ctor</p>\n<p>Precious Metal: A Concerto for Flute and Winds (2010) -<stron
 g> 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
 trong><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<
 br>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<
 /strong><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'><str
 ong><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</str
 ong><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</st
 rong><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'><stro
 ng>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
DTEND;TZID=America/Los_Angeles:20250502T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Wind Ensemble and Symphonic Band: Radiance
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-01/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> <
 p><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</st
 rong> (1872-1958)<br>I. Prelude<br>II. Romanza<br>III. Rondo alla Tedesca<
 br>Chris Seay\, tuba</p> <h3>University of Washington Wind Ensemble</h3> <
 p><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 style='width: 847px\;'> <tbody> <tr
 > <td style='width: 846px\;'> <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'><str
 ong>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<
 br>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</stron
 g><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</st
 rong><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<
 br>Kaytie Twelves\, Freshman\, History\, Vancouver</p> <p class='p2'><stro
 ng>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<
 /p> <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</st
 rong><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<
 br>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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250503T000000
LAST-MODIFIED:20250410T020226Z
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:20260612T083118Z
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:  <
 strong>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</str
 ong><br>Eric Spradling\, BM Bassoon Performance</p>\n<p><strong>Horn</stro
 ng> <br>Nicole Bogner\, BM Horn Performance<br>Colin Laskarzewski\, BS Phy
 sics<br>Elise Moe\, BM Horn Performance<br>Sam Nutt\, Molecular & Cellular
  Biology<br>Noelani Stewart\, Political Science\, American Ethnic Studies<
 /p>\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 & 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</stro
 ng><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 & 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 & 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
DTEND;TZID=America/Los_Angeles:20250503T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: UW Symphony Orchestra with Donna Shin\, flute
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-02/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.<
 br><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 style='
 width: 842px\;'> <tbody> <tr> <td style='width: 841px\;'> <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 & Cellular Biology<br>Noelani Stewart\, Pol
 itical Science\, American Ethnic Studies</p> <p><br><strong>Trumpet</stron
 g><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 & 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<
 /strong><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 & 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 </stro
 ng><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 & 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:20260612T083118Z
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><stro
 ng>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
DTEND;TZID=America/Los_Angeles:20250504T000000
LAST-MODIFIED:20250427T161720Z
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><
 br><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:20260612T083118Z
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)<
 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-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
DTEND;TZID=America/Los_Angeles:20250506T000000
LAST-MODIFIED:20250430T032927Z
SUMMARY:: DMA Recital: Xinrui Huang\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-05/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</st
 rong> (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:20260612T083118Z
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 style='font-weight: 400\;'>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 & 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 & 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\, & devised work\, collaborative storytelling\, disruption of theatr
 ical conventions\, tabletop roleplaying\, and making theatre for & 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
DTEND;TZID=America/Los_Angeles:20250506T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Faculty Recital: Melia Watras\, Broken Bell
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-05/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 style='font-weight: 400\;'>Program Notes</h3> <p>by Melia Watras exce
 pt where indicated</p> <p><strong>Sean Harvey:</strong> <em>Broken Bell</e
 m><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.<o:p></o:p></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<
 /i>\,</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></sp
 an><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><
 br></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><sp
 an face='Avenir Next LT Pro Light\, sans-serif' style='font-family: 'Aveni
 r Next LT Pro Light'\, sans-serif\;'><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> <h
 r> <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 & 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 & 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\, & 
 devised work\, collaborative storytelling\, disruption of theatrical conve
 ntions\, tabletop roleplaying\, and making theatre for & 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<
 /i> 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'><
 span>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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20250507T000000
LAST-MODIFIED:20240930T163732Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:cc550615-f374-4290-b28c-6abf56cd51b5
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250508T000000
LAST-MODIFIED:20250722T005059Z
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> <
 /div>
END:VEVENT
BEGIN:VEVENT
UID:bfe53c1a-295f-4ad6-9633-f0e2b23399dc
DTSTAMP:20260612T083118Z
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</h
 2>\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)<
 br>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</str
 ong> <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='http
 s://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
DTEND;TZID=America/Los_Angeles:20250508T000000
LAST-MODIFIED:20250505T154147Z
SUMMARY:: Guest Artist Concert: Lumina Women’s Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-07/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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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='font-weight: 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 style='font-weight: 400\;'>Artistic Director a
 nd Alto<br></span><span style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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
 pan></p> <p><span style='font-weight: 400\;'>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 style='font-weight: 400\;'>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><spa
 n style='font-weight: 400\;'>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 style='font-weight: 400\;'>Her solo recordings include</span> 
 <i><span style='font-weight: 400\;'>Clear or Cloudy: The Lute Songs of Dow
 land</span></i><span style='font-weight: 400\;'> with lutenist Phillip Ruk
 avina\,</span> <i><span style='font-weight: 400\;'>Wai: Hawaiian Fresh Wat
 er Songs</span></i><span style='font-weight: 400\;'> with Lau Hawaiian Col
 lective\, and</span> <i><span style='font-weight: 400\;'>The River Inside 
 of Trees</span></i><span style='font-weight: 400\;'> with composers Todd H
 arper and Paul Cantrell. </span></p> <p><b>Tracy Cowart\, Alto and harp<br
 ></b><span style='font-weight: 400\;'>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 style='fo
 nt-weight: 400\;'>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 style='font-weig
 ht: 400\;'>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:20260612T083118Z
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
  style='text-align: left\;'>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 style='t
 ext-align: left\;'>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</stron
 g> (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
DTEND;TZID=America/Los_Angeles:20250509T000000
LAST-MODIFIED:20250509T015621Z
SUMMARY:: Valdés Piano Studio Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-08/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 style='text-align: left\;'>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 style='text-align: left\;'>Musical Toys - <st
 rong>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” - <str
 ong>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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250510T000000
LAST-MODIFIED:20250506T224957Z
SUMMARY:: Opera Workshop
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-09/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</d
 iv> <div><i>A Chorus Line</i> by Marvin Hamlisch and Edward Kleban</div> <
 div><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> <
 div><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> <d
 iv> <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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250511T000000
LAST-MODIFIED:20250214T010455Z
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.<
 /span></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:20260612T083118Z
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                                               </st
 rong>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<
 li>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                                                 </st
 rong>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
DTEND;TZID=America/Los_Angeles:20250511T000000
LAST-MODIFIED:20250722T005059Z
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. </sp
 an></p> <hr> <h2>Program</h2> <p><span>Ma rendi pur contento              
                                   Vincenzo Bellini (1801-1835)<br></span><
 span>Per pietà\, bell’idol mio</span></p> <p><strong><em><span>Frauenliebe
  und -leben                                               </span></em></st
 rong><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</l
 i> <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><stro
 ng><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:20260612T083118Z
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<
 p>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<
 /b>\, 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
DTEND;TZID=America/Los_Angeles:20250515T000000
LAST-MODIFIED:20250514T215010Z
SUMMARY:: Jazz Innovations I
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-14/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> <
 p></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<sp
 an class='Apple-converted-space'> </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><e
 m>All songs arranged by the ensemble<span class='Apple-converted-space'> <
 /span></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'> </spa
 n><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:20260612T083118Z
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) - <str
 ong>Gabriel Fauré</strong> <br> (1845-1924)</p>\n<p>Enfance : Quatre Table
 aux (Four Scenes of Childhood -2015) -<strong> Joël-François Durand  </str
 ong>(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<
 p>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.<
 /p>\n<hr>\n<h2 style='font-weight: 400\;'>Biography</h2>\n<h3><a href='htt
 ps://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
DTEND;TZID=America/Los_Angeles:20250516T000000
LAST-MODIFIED:20250515T220324Z
SUMMARY:: Faculty Recital: Craig Sheppard
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-15/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><
 strong>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 style='font-weight: 400\;'>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:20260612T083118Z
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<
 p>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
DTEND;TZID=America/Los_Angeles:20250516T000000
LAST-MODIFIED:20250516T002845Z
SUMMARY:: Jazz Innovations II
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-15/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> <
 h2>Program</h2> <h3><strong><span class='Apple-converted-space'> </span>A 
 Cat Named Tom<span class='Apple-converted-space'> </span></strong><b></b><
 /h3> <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'> </spa
 n></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:20260612T083118Z
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='font-weight: 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 style='font
 -weight: 400\;'>Sinfonia Prima  -  <strong>Alessandro Stradella</strong> (
 1643-1682)</p>\n<p style='font-weight: 400\;'>Concerto for recorder and st
 rings in D major\, RV 443  -<strong> Antonio Vivaldi</strong> (1678-1741)<
 br>Allegro<br>Largo<br>Allegro molto<br>Bryan Boehnke\, recorder</p>\n<p s
 tyle='font-weight: 400\;'>Aria: Lo seguitai felice from L'olimpiade\, RV 7
 25 - <strong> Antonio Vivaldi</strong><br>Cassidy Cheong\, soprano </p>\n<
 p style='font-weight: 400\;'>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 style='font-weight: 400\;'>UW 
 Baroque Ensemble</h3>\n<p style='font-weight: 400\;'>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
DTEND;TZID=America/Los_Angeles:20250520T000000
LAST-MODIFIED:20250520T005234Z
SUMMARY:: Baroque Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-19/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 style='font-weig
 ht: 400\;'>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 style='font-weight
 : 400\;'>Sinfonia Prima  -  <strong>Alessandro Stradella</strong> (1643-16
 82)</p> <p style='font-weight: 400\;'>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='font-weight: 400\;'>Aria: Lo seguitai felice from L'olimpiade\, RV 7
 25 - <strong> Antonio Vivaldi</strong><br><em>Cassidy Cheong\, soprano </e
 m></p> <p style='font-weight: 400\;'>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 style='font-weight: 400
 \;'>UW Baroque Ensemble</h3> <p style='font-weight: 400\;'>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:20260612T083118Z
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: <stron
 g>Béla Bartók</strong> (1881–1945)\n\nPärt: Fratres:  Arvo Pärt (b.1935)<h
 r>\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 & 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 & 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
DTEND;TZID=America/Los_Angeles:20250521T000000
LAST-MODIFIED:20250722T005059Z
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 & 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 & 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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250521T000000
LAST-MODIFIED:20240808T192742Z
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:20260612T083118Z
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<
 p>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
DTEND;TZID=America/Los_Angeles:20250521T000000
LAST-MODIFIED:20250518T212655Z
SUMMARY:: Brechemin Piano Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-20/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 data-ccp-props='{'134233279':true\,'201341983':0\,'335559740':259}'> <
 /span><span data-ccp-props='{'134233279':true\,'201341983':0\,'335559740':
 259}'> <br></span><b>SCOTT FISHER\, JR.</b><span data-ccp-props='{'1342332
 79':true\,'201341983':0\,'335551550':2\,'335551620':2\,'335559740':259}'> 
 </span><span data-ccp-props='{'134233279':true\,'201341983':0\,'335551550'
 :2\,'335551620':2\,'335559740':259}'> </span></p> <p>Nocturne in B Major\,
  Opus 32#1 (1837) -<b>  Frédéric CHOPIN</b><span data-ccp-props='{'1342332
 79':true\,'201341983':0\,'335559740':259}'>  (1810-1849) </span> <b><br></
 b><b>ALYSSA HIRONAKA</b><span data-ccp-props='{'134233279':true\,'20134198
 3':0\,'335551550':2\,'335551620':2\,'335559740':259\,'469777462':[14880]\,
 '469777927':[0]\,'469777928':[1]}'> </span><span data-ccp-props='{'1342332
 79':true\,'201341983':0\,'335551550':2\,'335551620':2\,'335559740':259\,'4
 69777462':[14880]\,'469777927':[0]\,'469777928':[1]}'> </span></p> <p>Sona
 ta in A flat Major\, Opus 110 (1821) -<b> Ludwig van BEETHOVEN</b><span da
 ta-ccp-props='{'134233279':true\,'201341983':0\,'335559740':259\,'46977746
 2':[14880]\,'469777927':[0]\,'469777928':[1]}'><strong> (1770-1827) </stro
 ng><br></span>Moderato cantabile molto espressivo     <br>Allegro molto  <
 br>Adagio ma non troppo – Allegro ma non troppo<span data-ccp-props='{'134
 233279':true\,'201341983':0\,'335559740':259\,'469777462':[14880]\,'469777
 927':[0]\,'469777928':[1]}'> <br></span><span data-ccp-props='{'134233279'
 :true\,'201341983':0\,'335559740':259\,'469777462':[14880]\,'469777927':[0
 ]\,'469777928':[1]}'></span><b>KANE LEFEI CHANG</b><span data-ccp-props='{
 '134233279':true\,'201341983':0\,'335551550':2\,'335551620':2\,'335559740'
 :259\,'469777462':[14880]\,'469777927':[0]\,'469777928':[1]}'> </span><spa
 n data-ccp-props='{'134233279':true\,'201341983':0\,'335551550':2\,'335551
 620':2\,'335559740':259\,'469777462':[14880]\,'469777927':[0]\,'469777928'
 :[1]}'> </span></p> <p>Sarcasms\, Opu 17 (1914) - <b>Serge PROKOFIEFF</b><
 span data-ccp-props='{'134233279':true\,'201341983':0\,'335559740':259\,'4
 69777462':[14880]\,'469777927':[0]\,'469777928':[1]}'> </span>(1891-1953)<
 span data-ccp-props='{'201341983':0\,'335559685':1051\,'335559740':259\,'4
 69777462':[14880]\,'469777927':[0]\,'469777928':[1]}'> <br></span>1. Tempe
 stuoso <br><b>OLIVIA HSU</b><span data-ccp-props='{'201341983':0\,'3355515
 50':2\,'335551620':2\,'335559740':259\,'469777462':[14880]\,'469777927':[0
 ]\,'469777928':[1]}'> </span></p> <p><i>from</i> Visions fugitives\, Opus 
 22 (1915-17)  -<b> Serge PROKOFIEFF<br></b><b>JAM JINGYANG HUANG</b><span 
 data-ccp-props='{'201341983':0\,'335551550':2\,'335551620':2\,'335559740':
 259\,'469777462':[14880]\,'469777927':[0]\,'469777928':[1]}'> </span><span
  data-ccp-props='{'201341983':0\,'335551550':2\,'335551620':2\,'335559740'
 :259\,'469777462':[14880]\,'469777927':[0]\,'469777928':[1]}'> </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 data-ccp-props='{'201341983':0\,'335551550':2\,'335
 551620':2\,'335559740':259\,'469777462':[14880]\,'469777927':[0]\,'4697779
 28':[1]}'> </span><span data-ccp-props='{'201341983':0\,'335551550':2\,'33
 5551620':2\,'335559740':259\,'469777462':[14880]\,'469777927':[0]\,'469777
 928':[1]}'> </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 data-ccp-props='{'201341983':0\,'335559740':259\,'469777462
 ':[14880]\,'469777927':[0]\,'469777928':[1]}'> </span><b>JEFFREY TSO</b><s
 pan data-ccp-props='{'201341983':0\,'335551550':2\,'335551620':2\,'3355597
 40':259\,'469777462':[14880]\,'469777927':[0]\,'469777928':[1]}'> </span><
 /p> <p></p>
END:VEVENT
BEGIN:VEVENT
UID:3868bfd8-b0c4-495a-ad73-06ce4eca7bda
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250522T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: External Event: DXARTS Spring Concert: Celebrating John Chowning
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-21/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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20250523T000000
LAST-MODIFIED:20240930T163743Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:fa63fc8f-85a8-465d-90ab-dabe62b0aec2
DTSTAMP:20260612T083118Z
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
 trong>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):<
 strong> </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
DTEND;TZID=America/Los_Angeles:20250523T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Guest Artist Concert: Ekmeles Vocal Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-22/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 </str
 ong>(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</e
 m> (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.<
 br>—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 <
 i>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:20260612T083118Z
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 style='
 font-weight: 400\;'><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 style='font-weight: 400\;'>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
DTEND;TZID=America/Los_Angeles:20250524T000000
LAST-MODIFIED:20250722T005059Z
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 style='font-weight: 400\;'><str
 ong>'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 style='font-we
 ight: 400\;'>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:9dcb357b-ce9b-45fa-b1f9-aa8e620bf689
DTSTAMP:20260612T083118Z
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 <
 /b>(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'><st
 rong>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<
 p class='p2'><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
DTEND;TZID=America/Los_Angeles:20250524T000000
LAST-MODIFIED:20250523T010539Z
SUMMARY:: Modern Music Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-23/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 style='
 font-weight: 400\;'>\, bass clarinet\; </span><b>Cole Henslee</b><span sty
 le='font-weight: 400\;'>\, tuba\; </span><b>Taylor DeCastro</b><span style
 ='font-weight: 400\;'>\, violin\; </span><b>Ella Kalinichenko</b><span sty
 le='font-weight: 400\;'>\, piano</span></em></p> <p>Acadian Storm<span sty
 le='font-weight: 400\;'>* -</span> <b>Eddie Mospan </b>(b. 2001)<b><br></b
 ><em><b>Rachel Reyes</b><span style='font-weight: 400\;'>\, alto flute\; <
 /span><b>Cameron DeLuca</b><span style='font-weight: 400\;'>\, bass clarin
 et\; </span><b>Cole Henslee</b><span style='font-weight: 400\;'>\, tuba\; 
 </span><b>Giulia Rosa</b><span style='font-weight: 400\;'>\, violin\; </sp
 an><b>Taylor DeCastro</b><span style='font-weight: 400\;'>\, viola\; </spa
 n><b>Olivia Hsu</b><span style='font-weight: 400\;'>\, piano\; </span><b>T
 yler Smith</b><span style='font-weight: 400\;'>\, percussion</span></em></
 p> <p>Overture of Unsupervised Logic<span style='font-weight: 400\;'>*</sp
 an> - <b>Nicholas Mendonsa </b>(b. 1984)<b><br></b><em><b>Cameron DeLuca</
 b><span style='font-weight: 400\;'>\, bass clarinet\; </span><b>Cole Hensl
 ee</b><span style='font-weight: 400\;'>\, tuba\; </span><b>Taylor DeCastro
 </b><span style='font-weight: 400\;'>\, violin\; </span><b>Chris Young</b>
 <span style='font-weight: 400\;'>\, cello\; </span><b>Nicholas Mendonsa</b
 ><span style='font-weight: 400\;'>\, baritone guitar\; </span><b>Ella Kali
 nichenko</b><span style='font-weight: 400\;'>\, piano\; </span><b>Tyler Sm
 ith</b><span style='font-weight: 400\;'>\, percussion</span></em></p> <p>a
  splash quite unnoticed<span style='font-weight: 400\;'>*</span> - <b>Arsh
 ia Ashari</b> (b. 2001)<b><br></b><em><b>Cassidy Cheong</b><span style='fo
 nt-weight: 400\;'>\, voice\; </span><b>Rachel Reyes</b><span style='font-w
 eight: 400\;'>\, flute\; </span><b>Cameron DeLuc</b><span style='font-weig
 ht: 400\;'>a\, clarinet\; </span><b>Cole Henslee</b><span style='font-weig
 ht: 400\;'>\, tuba\; </span><b>Taylor DeCastro</b><span style='font-weight
 : 400\;'>\, violin\; </span><b>Chris Young</b><span style='font-weight: 40
 0\;'>\, cello\; </span><b>Ella Kalinichenko</b><span style='font-weight: 4
 00\;'>\, piano</span></em></p> <p><i><span style='font-weight: 400\;'>⎯  I
 ntermission⎯</span></i></p> <p>a stillness of zero sensation (2015) -<span
  style='font-weight: 400\;'>  </span><b>William Dougherty </b> (b. 1988)<b
 r><em><b>Rachel Reyes</b><span style='font-weight: 400\;'>\, flute\; </spa
 n><b>Cameron DeLuca</b><span style='font-weight: 400\;'>\, bass clarinet\;
  </span><b>Giulia Rosa</b><span style='font-weight: 400\;'>\, violin\; </s
 pan><b>Chris Young</b><span style='font-weight: 400\;'>\, cello\;   </span
 ><b>Olivia Hsu</b><span style='font-weight: 400\;'>\, piano\; </span><b>Ty
 ler Smith\,</b><span style='font-weight: 400\;'> percussion</span></em></p
 > <p>Schumann Resonances for clarinet and piano (2015/2025)<span style='fo
 nt-weight: 400\;'>*</span> - <b>Melia Watras</b> (b. 1969)<b><br></b><em><
 b>Cameron DeLuca</b><span style='font-weight: 400\;'>\, clarinet\; </span>
 <b>Ella Kalinichenko</b><span style='font-weight: 400\;'>\, 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 style='font-weight: 400\;'>\, flu
 tes\; </span><b>Cameron DeLuca</b><span style='font-weight: 400\;'>\, clar
 inets\; </span><b>Taylor DeCastro</b><span style='font-weight: 400\;'>\, v
 iolin\; </span><b>Chris Young</b><span style='font-weight: 400\;'>\, cello
 \; </span><b>Ella Kalinichenko</b><span style='font-weight: 400\;'>\, pian
 o\; </span><b>Tyler Smith</b><span style='font-weight: 400\;'>\, percussio
 n</span></em></p> <p><span style='font-weight: 400\;'>* = world premiere</
 span></p> <hr> <h2><span style='font-weight: 400\;'></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</stro
 ng><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'><str
 ong>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<
 /p> <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:062499e2-c823-4369-9e0e-aaf3b9aac06c
DTSTAMP:20260612T083118Z
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' style='text-align:
  left\;'>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 style='text-align: left\;'>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 
 style='text-align: left\;'>Danza del Antiplano:  <strong>Leo Brouwer</stro
 ng> (b.1939)<br><b>Eric Lin</b></p>\n<p align='center' style='text-align: 
 left\;'>Preludium : <strong> John Dowland</strong> (1563-1626)<br>A Fancy 
 P6                                                                        
                                                                           
                                                             <br><b>Thomas 
 Wardian</b> </p>\n<p style='text-align: left\;'>Evocacion y Joropo: <stron
 g>Jose Luis Merlin</strong> (b. 1952)<br><b>Grace Playstead\, flute and Wi
 l Moreau</b> </p>\n<p style='text-align: left\;'>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 style='te
 xt-align: left\;'>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
DTEND;TZID=America/Los_Angeles:20250524T000000
LAST-MODIFIED:20250522T220354Z
SUMMARY:: Guitar Studio Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-23/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' style
 ='text-align: left\;'><span>Two Turkish Folksongs: <strong>Ahmet Khanneci<
 /strong> (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><
 /b><span><o:p></o:p></span><span><o:p> </o:p></span></p> <p style='text-al
 ign: left\;'><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>
 <o:p> </o:p></span></p> <p style='text-align: left\;'><span>Danza del Anti
 plano:  <strong>Leo Brouwer</strong> (b.1939)<br></span><b><span>Eric Lin<
 o:p></o:p></span></b></p> <p align='center' style='text-align: left\;'><sp
 an><o:p></o:p></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><o:p>
  </o:p></span></p> <p style='text-align: left\;'><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><o:p> </o:p></span></p> <p st
 yle='text-align: left\;'><span>Two Folksongs from the British Isles:  <str
 ong>Arr. Flower</strong><br></span><span><i>Cherry Tree Carol<br></i></spa
 n><i><span>My Last Farewell to Stirling<br></span></i><b><span>Nathan Lee 
 and Eric Lin</span></b><span><o:p> </o:p></span></p> <p style='text-align:
  left\;'><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:57900205-7ce0-41f4-9e46-48e7708e086e
DTSTAMP:20260612T083118Z
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</h
 3>\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
 trong><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>\n<h
 4 class='p1'>Sidebar: 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
DTEND;TZID=America/Los_Angeles:20250528T000000
LAST-MODIFIED:20250527T154733Z
SUMMARY:: Studio Jazz Ensemble and Modern Band: Roy Cummings Tribute
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-27/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</stron
 g><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 style='font-family: 'Encode Sa
 ns Compressed Regular'\, 'Open Sans'\, Arial\, sans-serif\; font-size: 1.5
 625rem\; letter-spacing: 0.3px\;'>Tribute to Roy Cummings</span></p> <h3><
 article class='image-portrait-small' width='100' height='125'> <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'> <di
 v class='field-item'> <img loading='lazy' src='/sites/music/files/styles/p
 ortrait_small/public/images/roycummings_0.jpg?h=83636498&itok=jLGn_ssz' wi
 dth='100' height='125' alt title='Roy Cummings'> </div> </div> </div> </ar
 ticle> </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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250529T000000
LAST-MODIFIED:20250528T185322Z
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-28/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:20260612T083118Z
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<
 h3>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\, & 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<
 br>\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<
 br>\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
DTEND;TZID=America/Los_Angeles:20250530T000000
LAST-MODIFIED:20250728T171653Z
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><
 /h4> <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><
 b>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><
 b>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\, & 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 style='width: 843px\;'> <tbody> <tr> <td style='w
 idth: 842px\;'> <h4>UW Glee</h4> <p>Aiden Hochstatter<br> Adam Freemantle<
 br> 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> <sp
 an style='font-size:12pt'><span style='line-height:115%'><span style='font
 -family:Aptos\,sans-serif'>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<
 br> 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</h
 3>
END:VEVENT
BEGIN:VEVENT
UID:7679c53a-6df8-4613-a4ed-34e523678853
DTSTAMP:20260612T083118Z
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<
 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 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 ( )</str
 ong> 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<
 p>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 & 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
DTEND;TZID=America/Los_Angeles:20250530T000000
LAST-MODIFIED:20250529T050120Z
SUMMARY:: Percussion Ensemble and UW Steelband
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-29/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</e
 m><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</stro
 ng><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><
 strong>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 <stron
 g>Iomramh</strong> (2019)</p> <hr> <h2>Biographies</h2> <h3><a href='https
 ://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 & 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:20260612T083118Z
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 style='font-weight: 400\;'><strong>Scott Fiks
 e\, Nicholas Renaud\, Helen Woodruff\, conductors<br></strong><strong>Sere
 na Chin\, collaborative pianist</strong></p>\n<p style='font-weight: 400\;
 '>Portones Abiertos y Rostros Brilliantes - Paul Basler (b. 1963)</p>\n<p 
 style='font-weight: 400\;'>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 style='f
 ont-weight: 400\;'>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 style='font-weight: 400\; text-align: left\;'>TaReKiTa
  -  Reena Esmail (b. 1983)</p>\n<p style='font-weight: 400\;'>Rise Up\, My
  Love\, My Fair One -  Healey Willan (1880-1968)</p>\n<p style='font-weigh
 t: 400\;'>Three Shakespeare Songs -Ralph Vaughan Williams (1872-1958)<br>I
 I. The Cloud-Capp’d Towers</p>\n<p style='font-weight: 400\;'>Les Voyageur
 s de la Gatineau  - French Canadian Folk Song. arr. Jennifer McMillan<br>J
 essica Thaxton\, violin</p>\n<h3 style='font-weight: 400\;'>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><
 b>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<
 br>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 style='font-weight: 400\;'><s
 trong>Portones Abiertos y Rostros Brilliantes<br></strong>Open Gates and G
 lowing Faces</p>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>Of good health and smiles of glowi
 ng<br>            Faces … it ignites my spirit </p>\n<p style='font-weight
 : 400\;'>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 style='font-weight: 400\;'>Complet
 ely open…<br>            —Gabriel Navar </p>\n<p style='font-weight: 400\;
 '><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 style='font-weight: 400\
 ;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'> </p>\n<p style='font-weight: 400\;'
 ><strong>To the Hands<br></strong><strong style='font-family: inherit\; fo
 nt-size: 1rem\;'>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 style='font-weight: 400\;'><strong>Les Voyageurs de la
  Gatineau<br></strong>The Travelers on the Gatineau</p>\n<p style='font-we
 ight: 400\;'>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='font-weight: 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 style='font-weight: 400\;'>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='font-weight: 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 style='font-weight: 400\;'>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 style='font-weight: 400\;'> </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\,<
 br>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\,—<
 br>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\,<
 br>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><st
 rong>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\,<
 br>    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.<
 /p>\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\,<
 br>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
DTEND;TZID=America/Los_Angeles:20250531T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Chamber Singers and University Chorale: Blue Planet
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-05-30/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 style='font-weight: 400\;'><stron
 g><em>Scott Fikse\, Nicholas Renaud\, Helen Woodruff\, conductors<br></em>
 </strong><strong><em>Serena Chin\, collaborative pianist</em></strong></p>
  <p style='font-weight: 400\;'><em>Portones Abiertos y Rostros Brilliantes
 <span> - </span></em>Paul Basler (b. 1963)</p> <p style='font-weight: 400\
 ;'><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='font-weight: 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 style
 ='font-weight: 400\; text-align: left\;'><em>TaReKiTa -  </em>Reena Esmail
 <em> (b. 1983)</em></p> <p style='font-weight: 400\;'><em>Rise Up\, My Lov
 e\, My Fair One</em><span> -  </span>Healey Willan (1880-1968)</p> <p styl
 e='font-weight: 400\;'><em>Three Shakespeare Songs<span> -</span></em>Ralp
 h Vaughan Williams (1872-1958)<br>II. The Cloud-Capp’d Towers</p> <p style
 ='font-weight: 400\;'><em>Les Voyageurs de la Gatineau</em><span>  - </spa
 n>French Canadian Folk Song. arr. Jennifer McMillan<br><em>Jessica Thaxton
 \, violin</em></p> <h3 style='font-weight: 400\;'>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 style='font-weight: 400\;'><strong><em>Portone
 s Abiertos y Rostros Brilliantes<br></em></strong>Open Gates and Glowing F
 aces</p> <p style='font-weight: 400\;'>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 style='font-weight: 400\;'>Of good health and smiles of glowing<br><spa
 n>            </span>Faces … it ignites my spirit </p> <p style='font-weig
 ht: 400\;'>I have never been more excited to be<br><span>            </spa
 n>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 style='
 font-weight: 400\;'>Completely open…<br><span>            </span>—Gabriel 
 Navar </p> <p style='font-weight: 400\;'><strong>Ka Wai 'Apo Lani<br></str
 ong><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 style='font-weight: 400\;'>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 style='font-weight: 400
 \;'>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 style='font
 -weight: 400\;'> </p> <p style='font-weight: 400\;'><strong>To the Hands<b
 r></strong><strong style='font-family: inherit\; font-size: 1rem\;'>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 style='font-weight: 400\;'><strong>Les Voyageurs de la Gatineau<br></
 strong><em>The Travelers on the Gatineau</em></p> <p style='font-weight: 4
 00\;'>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 style='fon
 t-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-we
 ight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'> </p> <h3></h3> 
 <p><strong>So Breaks the Sun:  Ben Johnson<br></strong><span style='font-w
 eight: 400\;'>So breaks the sun earth's rugged chains\,<br></span><span st
 yle='font-weight: 400\;'>    Wherein rude winter bound her veins\;<br></sp
 an><span style='font-weight: 400\;'>So grows both stream and source of pri
 ce\,<br></span><span style='font-weight: 400\;'>      That lately fettered
  were with ice.<br></span><span style='font-weight: 400\;'>So naked trees 
 get crisped heads\,<br></span><span style='font-weight: 400\;'>      And c
 olored coats the roughest meads\,<br></span><span style='font-weight: 400\
 ;'>And all get vigor\, youth\, and spright\,<br></span><span style='font-w
 eight: 400\;'>      That are but looked on by his light.</span></p> <p><st
 rong>The Waking: Theodore Roethke<br></strong><span style='font-weight: 40
 0\;'>I strolled across<br></span><span style='font-weight: 400\;'>An open 
 field\;<br></span><span style='font-weight: 400\;'>The sun was out\;<br></
 span><span style='font-weight: 400\;'>Heat was happy.<br></span><span styl
 e='font-weight: 400\;'>This way! This way!<br></span><span style='font-wei
 ght: 400\;'>The wren’s throat shimmered\,<br></span><span style='font-weig
 ht: 400\;'>Either to other\,<br></span><span style='font-weight: 400\;'>Th
 e blossoms sang.<br></span><span style='font-weight: 400\;'>The stones san
 g\,<br></span><span style='font-weight: 400\;'>The little ones did\,<br></
 span><span style='font-weight: 400\;'>And the flowers jumped<br></span><sp
 an style='font-weight: 400\;'>Like small goats.<br></span><span style='fon
 t-weight: 400\;'>A ragged fringe<br></span><span style='font-weight: 400\;
 '>Of daisys waved\;<br></span><span style='font-weight: 400\;'>I wasn’t al
 one<br></span><span style='font-weight: 400\;'>In a grove of apples.<br></
 span><span style='font-weight: 400\;'>Far in the wood<br></span><span styl
 e='font-weight: 400\;'>A nestling sighed\;<br></span><span style='font-wei
 ght: 400\;'>The dew loosened<br></span><span style='font-weight: 400\;'>It
 s morning smells.<br></span><span style='font-weight: 400\;'>I came where 
 the river<br></span><span style='font-weight: 400\;'>Ran over stones:<br><
 /span><span style='font-weight: 400\;'>My ears knew<br></span><span style=
 'font-weight: 400\;'>An early joy.<br></span><span style='font-weight: 400
 \;'>And all the waters<br></span><span style='font-weight: 400\;'>Of all t
 he streams<br></span><span style='font-weight: 400\;'>Sang in my veins<br>
 </span><span style='font-weight: 400\;'>That summer day.</span></p> <p><st
 rong>This Day\, O Soul: Walt Whitman<br></strong><span style='font-weight:
  400\;'>This day\, O soul\, I give you a wondrous mirror\;<br></span><span
  style='font-weight: 400\;'>Long in the dark\, in tarnish and cloud it lay
  - But the cloud<br></span><span style='font-weight: 400\;'>has pass'd\, a
 nd the tarnish gone\;<br></span><span style='font-weight: 400\;'>. . . Beh
 old\, O soul! it is now a clean and bright mirror\, <br></span><span style
 ='font-weight: 400\;'>Faithfully showing you all the things of the world.<
 br><br></span></p> <p><strong>Ophelia Songs:  William Shakespeare<br></str
 ong><span style='font-weight: 400\;'>How should I your true love know From
  another one?<br></span><span style='font-weight: 400\;'>By his cockle hat
  and staff\, And his sandal shoon.<br></span><span style='font-weight: 400
 \;'>He is dead and gone\, lady\, He is dead and gone\;<br></span><span sty
 le='font-weight: 400\;'>At his head a grass-green turf\, At his heels a st
 one.<br></span><span style='font-weight: 400\;'>They bore him barefac'd on
  the bier\;<br></span><span style='font-weight: 400\;'>And on his grave ra
 in many a tear\,—<br></span><span style='font-weight: 400\;'>Fare you well
 \, my dove!<br></span><span style='font-weight: 400\;'>You must sing\, Dow
 n-a-down\, call him a-down-a.<br></span><span style='font-weight: 400\;'>T
 o-morrow is Saint Valentine's day\, All in the morning betime\,<br></span>
 <span style='font-weight: 400\;'>And I\, a maid at your window\, To be you
 r Valentine!<br></span><span style='font-weight: 400\;'>And will he not co
 me again? And will he not come again?<br></span><span style='font-weight: 
 400\;'>No\, no\, he is dead\,<br></span><span style='font-weight: 400\;'>G
 one to his death-bed\,<br></span><span style='font-weight: 400\;'>He never
  will come again. His beard was white as snow\, All flaxen was his poll:<b
 r></span><span style='font-weight: 400\;'>He is gone\, he is gone\,<br></s
 pan><span style='font-weight: 400\;'>And we cast away moan: Heaven 'a merc
 y on his soul!</span></p> <p><span style='font-weight: 400\;'><strong>Dani
 el\, Daniel\, Servant of the Lord</strong><br></span><span style='font-wei
 ght: 400\;'>Oh\, the king cried\, <br></span><span style='font-weight: 400
 \;'>Oh\, Daniel\, Daniel\, oh!<br></span><span style='font-weight: 400\;'>
 A-that-a Hebrew Daniel\, <br></span><span style='font-weight: 400\;'>Danie
 l\, Daniel\, oh! <br></span><span style='font-weight: 400\;'>Oh\, Daniel\,
  Daniel\, <br></span><span style='font-weight: 400\;'>Servant of the Lord!
 </span></p> <p>Among the Hebrew nation\, <br><span style='font-weight: 400
 \;'>One Hebrew Daniel was found<br></span><span style='font-weight: 400\;'
 >They put him in the lion's den<br></span><span style='font-weight: 400\;'
 >He stayed there all night long.</span></p> <p><span style='font-weight: 4
 00\;'>Now the King in his sleep was troubled<br></span><span style='font-w
 eight: 400\;'>And early in the morning he rose<br></span><span style='font
 -weight: 400\;'>To find God sent His angels down<br></span><span style='fo
 nt-weight: 400\;'>To Lock the Lion's jaws.</span></p> <p><span style='font
 -weight: 400\;'>Oh\, the king cried\, <br></span><span style='font-weight:
  400\;'>Oh\, Daniel\, Daniel\, oh!</span><span style='font-weight: 400\;'>
 <br>Servant of the Lord</span></p> <p><strong>Inside a Silent Tear<br></st
 rong>Inside a silent tear\, I have a silent dream<br><span style='font-wei
 ght: 400\;'>That sometimes sails across the patterns of my mind<br></span>
 <span style='font-weight: 400\;'>The silence follows me and dreams just di
 sappear<br></span><span style='font-weight: 400\;'>And then I find myself 
 inside a silent tear</span></p> <p>Sometimes I laugh too much<br><span sty
 le='font-weight: 400\;'>To lose the loneliness<br></span><span style='font
 -weight: 400\;'>I'm not the laughing kind<br></span><span style='font-weig
 ht: 400\;'>I can't say anything I really want to say<br></span><span style
 ='font-weight: 400\;'>I guess I try so hard I stumble on the way</span></p
 > <p><span style='font-weight: 400\;'>I'm always finding love when it's no
 t meant to be<br></span><span style='font-weight: 400\;'>What is reality a
 nd can it be defined?<br></span><span style='font-weight: 400\;'>When you'
 re a fool likе me it's never rеally clear<br></span><span style='font-weig
 ht: 400\;'>So you have silent dreams inside a silent tear</span></p> <p><s
 pan style='font-weight: 400\;'>I'm always finding love when it's not meant
  to be<br></span><span style='font-weight: 400\;'>What is reality and can 
 it be defined?<br></span><span style='font-weight: 400\;'>When you're a fo
 ol like me it's never really clear<br></span><span style='font-weight: 400
 \;'>So you have silent dreams inside a silent tear</span></p> <p><strong>A
  Prayer: Paul Laurence Dunbar<br></strong><span style='font-weight: 400\;'
 >O Lord\, the hard-won miles<br></span><span style='font-weight: 400\;'>  
   Have worn my stumbling feet:<br></span><span style='font-weight: 400\;'>
 Oh\, soothe me with thy smiles\,<br></span><span style='font-weight: 400\;
 '>    And make my life complete.</span></p> <p><span style='font-weight: 4
 00\;'>The thorns were thick and keen<br></span><span style='font-weight: 4
 00\;'>    Where’er I trembling trod\;<br></span><span style='font-weight: 
 400\;'>The way was long between<br></span><span style='font-weight: 400\;'
 >    My wounded feet and God.</span></p> <p><span style='font-weight: 400\
 ;'>Where healing waters flow<br></span><span style='font-weight: 400\;'>  
   Do thou my footsteps lead.<br></span><span style='font-weight: 400\;'>My
  heart is aching so\;<br></span><span style='font-weight: 400\;'>    Thy g
 racious balm I need.</span></p> <p><strong>His Eye is on the Sparrow: Civi
 lla D. Martin<br></strong><span style='font-weight: 400\;'>“Let not your h
 eart be troubled.”<br></span><span style='font-weight: 400\;'>His tender w
 ord I hear\,<br></span><span style='font-weight: 400\;'>And resting on His
  goodness\,<br></span><span style='font-weight: 400\;'>I lose my doubt and
  fear.<br></span><span style='font-weight: 400\;'>Though by the path He le
 adeth\,<br></span><span style='font-weight: 400\;'>But one step I may see:
 <br></span><span style='font-weight: 400\;'>His eye is on the sparrow\,<br
 ></span><span style='font-weight: 400\;'>And I know He watches me\;<br></s
 pan><span style='font-weight: 400\;'>His eye is on the sparrow\,<br></span
 ><span style='font-weight: 400\;'>And I know He watches me.</span></p> <p>
 <span style='font-weight: 400\;'>Why should I feel discouraged?<br></span>
 <span style='font-weight: 400\;'>Why should the shadows come?<br></span><s
 pan style='font-weight: 400\;'>Why should my heart be lonely<br></span><sp
 an style='font-weight: 400\;'>And long for heav’n and home\,<br></span><sp
 an style='font-weight: 400\;'>When Jesus is my portion?<br></span><span st
 yle='font-weight: 400\;'>My constant Friend is He:<br></span><span style='
 font-weight: 400\;'>His eye is on the sparrow\,<br></span><span style='fon
 t-weight: 400\;'>And I know He watches me\;<br></span><span style='font-we
 ight: 400\;'>His eye is on the sparrow\,<br></span><span style='font-weigh
 t: 400\;'>And I know He watches me.</span></p> <p><span style='font-weight
 : 400\;'>I sing because I’m happy—<br></span><span style='font-weight: 400
 \;'>I sing because I’m free—<br></span><span style='font-weight: 400\;'>Fo
 r His eye is on the sparrow\,<br></span><span style='font-weight: 400\;'>A
 nd I know He watches me.</span></p> <p><strong>Soon Its Gonna Rain<br></st
 rong>Soon it's gonna rain<br><span style='font-weight: 400\;'>I can see it
 <br></span><span style='font-weight: 400\;'>Soon it's gonna rain<br></span
 ><span style='font-weight: 400\;'>i can tell<br></span><span style='font-w
 eight: 400\;'>Soon it's gonna rain<br></span><span style='font-weight: 400
 \;'>What are we gonna do<br></span><span style='font-weight: 400\;'>Soon i
 t's gonna rain<br></span><span style='font-weight: 400\;'>I can feel it<br
 ></span><span style='font-weight: 400\;'>Soon it's gonna rain<br></span><s
 pan style='font-weight: 400\;'>I can tell</span></p> <p><span style='font-
 weight: 400\;'>Soon it's gonna rain<br></span><span style='font-weight: 40
 0\;'>What'll we do with you<br></span><span style='font-weight: 400\;'>We'
 ll find<br></span><span style='font-weight: 400\;'>Four limbs of a tree<br
 ></span><span style='font-weight: 400\;'>We'll build<br></span><span style
 ='font-weight: 400\;'>Four walls and a floor<br></span><span style='font-w
 eight: 400\;'>We'll bind<br></span><span style='font-weight: 400\;'>It ove
 r with leaves<br></span><span style='font-weight: 400\;'>And duck inside t
 o stay</span></p> <p><span style='font-weight: 400\;'>Then we'll let it ra
 in<br></span><span style='font-weight: 400\;'>We'll not feel it<br></span>
 <span style='font-weight: 400\;'>Then we'll let it rain<br></span><span st
 yle='font-weight: 400\;'>Rain pell mell<br></span><span style='font-weight
 : 400\;'>Then we'll not complain<br></span><span style='font-weight: 400\;
 '>If it never stops at all</span></p> <p><span style='font-weight: 400\;'>
 We'll live and love<br></span><span style='font-weight: 400\;'>Within our 
 own four walls</span></p> <p><span style='font-weight: 400\;'>We'll find<b
 r></span><span style='font-weight: 400\;'>Four limbs of a tree<br></span><
 span style='font-weight: 400\;'>We'll build<br></span><span style='font-we
 ight: 400\;'>Four walls and a floor<br></span><span style='font-weight: 40
 0\;'>We'll bind<br></span><span style='font-weight: 400\;'>It over with le
 aves<br></span><span style='font-weight: 400\;'>And duck inside to stay</s
 pan></p> <p><span style='font-weight: 400\;'>Then we'll let it rain<br></s
 pan><span style='font-weight: 400\;'>We'll not feel it<br></span><span sty
 le='font-weight: 400\;'>Then we'll let it rain<br></span><span style='font
 -weight: 400\;'>Rain pell mell<br></span><span style='font-weight: 400\;'>
 Then we'll not complain<br></span><span style='font-weight: 400\;'>If it n
 ever stops at all</span></p> <p><span style='font-weight: 400\;'>We'll liv
 e and love<br></span><span style='font-weight: 400\;'>Within our own four 
 walls</span></p> <hr> <h3>Biographies</h3>
END:VEVENT
BEGIN:VEVENT
UID:028f12b6-7f50-4f1f-bb22-4fab8a0dfc4f
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250601T000000
LAST-MODIFIED:20250118T004101Z
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:20260612T083118Z
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<
 p>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 & 5</
 p>\n<p>Tchaikovsky: Capriccio Italien\, op. 45</p>\n<p>Ryan D. Farris & 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
DTEND;TZID=America/Los_Angeles:20250601T000000
LAST-MODIFIED:20250402T193315Z
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> <
 div> <p>Brahms: Hungarian Dances Nos. 1 & 5</p> <p>Tchaikovsky: Capriccio 
 Italien\, op. 45</p> <p><em>Ryan D. Farris & Robert Stahly\, conductors</e
 m></p> </div> <hr> <h3>Biographies</h3> <p><span><strong>Laila West</stron
 g> <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:20260612T083118Z
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. <
 b>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 <
 br></b>Alexandra Rameau\, soloist </p>\n<hr>\n<h2>Biographies</h2>\n<h3></
 h3>
DTSTART;TZID=America/Los_Angeles:20250602T193000
DTEND;TZID=America/Los_Angeles:20250603T000000
LAST-MODIFIED:20250602T225645Z
SUMMARY:: UW Gospel Choir
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-06-02/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> <
 h2>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>- <
 /b><b>Anthony Alvarado<span class='Apple-converted-space'> </span></b><b><
 /b></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></spa
 n></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> <h
 r> <h2>Biographies</h2> <h3></h3>
END:VEVENT
BEGIN:VEVENT
UID:57335d96-e850-4828-bd93-54430bc10db5
DTSTAMP:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20250604T000000
LAST-MODIFIED:20240930T163800Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:ca04c567-6cea-4be3-8122-3b97d28efb38
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250604T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Ethnomusicology Visiting Artist Concert: Silvio Dos Reis\, Afro-B
 razilian Capoeira
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-06-03/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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250605T000000
LAST-MODIFIED:20250722T005059Z
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:20260612T083118Z
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<
 /h3>\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 style=
 'font-weight: 400\;'><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 style='font-weight: 400\;'>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 style='f
 ont-weight: 400\;'>I decided to use the work of Futurist artist Giacomo Ba
 lla as a point of departure for the creation of <strong>Finish Line</stron
 g> 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 style='font-weight
 : 400\;'>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 style='font-weight: 400\;'>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 style='font-w
 eight: 400\;'>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 style='font-weight: 4
 00\;'>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 style='
 font-weight: 400\;'>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
  style='font-weight: 400\;'><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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>In this a
 rrangement by Professor Salzman three of the fifteen movements have been s
 et for wind ensemble:   </p>\n<p style='font-weight: 400\;'>Movement II. B
 lagoslovi\, dushe moya\, Ghospoda (Bless the Lord\, O My Soul)</p>\n<p sty
 le='font-weight: 400\;'>Bless the Lord\, O my soul\,</p>\n<p style='font-w
 eight: 400\;'>blessed art Thou\, O Lord.</p>\n<p style='font-weight: 400\;
 '>O Lord my God\, Thou art very great.Blessed art Thou\, O Lord.</p>\n<p s
 tyle='font-weight: 400\;'>Thou art clothed with honor and majesty.</p>\n<p
  style='font-weight: 400\;'>Blessed art Thou\, O Lord.</p>\n<p style='font
 -weight: 400\;'>The waters stand upon the mountains.</p>\n<p style='font-w
 eight: 400\;'>Marvelous are Thy works\, O Lord.</p>\n<p style='font-weight
 : 400\;'>The waters flow between the hills.</p>\n<p style='font-weight: 40
 0\;'>Marvelous are Thy works\, O Lord.</p>\n<p style='font-weight: 400\;'>
 In wisdom hast Thou made all things.</p>\n<p style='font-weight: 400\;'>Gl
 ory to Thee\, O Lord\, who hast created all!</p>\n<p style='font-weight: 4
 00\;'>—Psalm 103[104]:1-2\, 6\, 24</p>\n<p style='font-weight: 400\;'>Move
 ment IV. Svete Tikhyi (O Gladsome Light)</p>\n<p style='font-weight: 400\;
 '>Gladsome Light of the holy glory of the Immortal One—</p>\n<p style='fon
 t-weight: 400\;'>the Heavenly Father\, holy and blessed—</p>\n<p style='fo
 nt-weight: 400\;'>O Jesus Christ!</p>\n<p style='font-weight: 400\;'>Now t
 hat we have come to the setting of the sun\,</p>\n<p style='font-weight: 4
 00\;'>and behold the light of evening\,</p>\n<p style='font-weight: 400\;'
 >we praise the Father\, Son\, and Holy Spirit—God.</p>\n<p style='font-wei
 ght: 400\;'>Thou art worthy at every moment</p>\n<p style='font-weight: 40
 0\;'>to be praised in hymns by reverent voices.</p>\n<p style='font-weight
 : 400\;'>O Son of God\, Thou art the Giver of Life\;</p>\n<p style='font-w
 eight: 400\;'>therefore all the world glorifies Thee.</p>\n<p style='font-
 weight: 400\;'> </p>\n<p style='font-weight: 400\;'>Movement VI. Bogorodit
 se Devo (Rejoice\, O Virgin)</p>\n<p style='font-weight: 400\;'> </p>\n<p 
 style='font-weight: 400\;'>Rejoice\, O Virgin Mother of God\,</p>\n<p styl
 e='font-weight: 400\;'>Mary full of grace\, the Lord is with Thee.</p>\n<p
  style='font-weight: 400\;'>Blessed art Thee among women\,</p>\n<p style='
 font-weight: 400\;'>and blessed is the Fruit of Thy womb\,</p>\n<p style='
 font-weight: 400\;'>for Thou hast borne the Savior of our souls.</p>\n<p s
 tyle='font-weight: 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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'><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 style='font-weight: 400\;'>Theoretically…at t
 his point…I <u>should</u> know this one… \;)  </p>\n<p style='font-weight:
  400\;'><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 style='font-weight: 400\;'>
 <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
  style='font-weight: 400\;'>The composer said the following about this wor
 k:</p>\n<p style='font-weight: 400\;'>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<
 p style='font-weight: 400\;'><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='font-weight: 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 style='font
 -weight: 400\;'>Retirement</h3>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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.<
 /p>\n<p style='font-weight: 400\;'>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='font-weight: 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 style='font-weight: 400\;'>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 
 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;
 '>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 <stron
 g></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 style='font-weight: 400
 \;'>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 style='font-weight: 
 400\;'>Acknowledgements</h3>\n<p style='font-weight: 400\;'>I am grateful 
 to....</p>\n<p style='font-weight: 400\;'>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='font-weight: 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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 4
 00\;'>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='font-weight: 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.<
 /p>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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<
 p style='font-weight: 400\;'>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 style='font-weight: 400
 \;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight:
  400\;'>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 style='font-wei
 ght: 400\;'>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 style='font
 -weight: 400\;'>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 style='font-weight
 : 400\;'>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 style='font-weight: 400\;'>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!<
 /p>\n<p style='font-weight: 400\;'>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 style='font-weight: 
 400\;'>UNIVERSITY OF WASHINGTON WIND ENSEMBLE</h4>\n<p style='font-weight:
  400\;'>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 style='font-weight: 400\;'>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 style='font
 -weight: 400\;'>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 style='font-weight: 400\;'>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 
 style='font-weight: 400\;'>BASS CLARINET<br>Cameron DeLuca\, Grd.\, Music 
 Performance\, Hawthorne\, CA </p>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>TRUMPET<br>Erika 
 Berreth\, So.\, Computer Science\, Redmond<br>Hans Faul\, Jr.\, Music Perf
 ormance\, Seattle*<br>Kyle Jenkins\, Grd.\, Music Performance\, Sammamish<
 br>Daniel Lyons\, So.\, Music Performance\, Lake Forest Park<br>Antti Mann
 isto\, Jr.\, Mechanical Engineering\, Bellevue </p>\n<p style='font-weight
 : 400\;'>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 style='font-weight: 400\;'>TROMBONE<br>Dion Archer-Roll\, Sr.\, Phys
 ics\, Vancouver<br>Auden Durant\, Graduate\, Music Performance\, Bellevue<
 br>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 style='font-weight: 40
 0\;'>EUPHONIUM<br>Nico Ferreria\, So.\, Biology\, Bellevue<br>Simona Yaros
 lavsky\, So.\, Psychology/Law\, Societies and Justice\, Mercer Island* </p
 >\n<p style='font-weight: 400\;'>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 style='fon
 t-weight: 400\;'>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 style='font-weight: 400\
 ;'>PIANO<br>Rachel Huang\, Grad.\, Music Performance\, West Hills\, LA </p
 >\n<p style='font-weight: 400\;'>BASS<br>Jason Lai\, Fr.\, Mechanical Engi
 neering\, Camas </p>\n<p style='font-weight: 400\;'>DOCTORAL STUDENT CONDU
 CTORS<br>Solomon Encina\, Rancho Cucamonga\, CA<br>David Stewart\, Mercer 
 Island<br>Yuman Wu\, Tianjin\, China </p>\n<p style='font-weight: 400\;'>*
 principal</p>\n<p style='font-weight: 400\;'>UNIVERSITY OF WASHINGTON ALUM
 NI BAND</p>\n<p style='font-weight: 400\;'>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 & 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 style='font-weight: 400\;'>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 style=
 'font-weight: 400\;'>BASSOON<br>Erin Bodnar / 2010-2013 / DMA Instrumental
  Conducting / Jacksonville\, FL<br>Aaron Chang / 2001-2005 / Music Perform
 ance & Economics / Lynnwood<br>Andy Clark / 1993-1999 / Music Theory & His
 tory / Shoreline<br>Griffin Smith / 2019-2024 / Music & Philosophy / Seatt
 le<br>Julien Tsang / 2016-2022 / Music Performance & Accounting and Taxati
 on / Seattle<br>Jerry Turner / 1985-1991 / English & Education / Tacoma </
 p>\n<p style='font-weight: 400\;'>CONTRABASSOON<br>Jeff Eldridge / 1985-19
 94 / Mathematics / Edmonds<br>David Wall / 2015-2018 / Music Performance /
  Seattle </p>\n<p style='font-weight: 400\;'>CLARINET  <br>Michael Byerly 
 / 2000-2004 / Music Performance / Virginia Beach\, VA<br>Chrissie Chang / 
 2002-2005\, 2012-2014 / BM-Music\, M.Ed-Leadership & 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 & Music Educatio
 n / Beijing\, China<br>David Zeng / 2012-2016 / Mathematics & Economics / 
 Seattle<br>Phoong Khang Zhie / 2018-2022 / Computer Science / Singapore</p
 >\n<p style='font-weight: 400\;'> E FLAT CLARINET<br>Cameron Lee / 2019–20
 24 / Visual Communication Design and Informatics / Seattle </p>\n<p style=
 'font-weight: 400\;'>BASS CLARINET<br>Brian Schappals / 2017-2019 / MM Mus
 ic Performance / Seattle<br>David Bissell / 2012-2014 / Chemistry / Bellin
 gham </p>\n<p style='font-weight: 400\;'>CONTRA ALTO CLARINET<br>Oliver Ko
 u / 2016-2020 / Earth and Space Sciences / Bothell </p>\n<p style='font-we
 ight: 400\;'>SAXOPHONE<br>Megumi Azekawa / 2006-2008 / MM Music Performanc
 e / Tacoma<br>Barbara Brown / 2001-2006 / Music Performance & Anthropology
  / Rochester\, NY<br>Nick Franks / 2018-2023 / Music Education / Seattle<b
 r>Sidney Hauser / 2018-2023 / Painting and Drawing & 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 style='font-weight: 400\;'>TRUMPET<
 br>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 & Trumpet Performance / Seattle </
 p>\n<p style='font-weight: 400\;'>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 style='font-weight:
  400\;'>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<
 br>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 
 style='font-weight: 400\;'>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 & Mus
 ic Performance / Stowe\, VT<br>Liz Harris Scruggs / 2011-2016 / Music Educ
 ation / Seattle<br>Jana Skillingstead / 1990-1996 / International Studies 
 & Music Performance / Seattle<br>Thomas Slabaugh / 2003-2007 / DMA Music P
 erformance / Davis\, CA </p>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>HARP<br>Gaby Holmquist / 2002-2007
  / Music Performance / Kenmore<br>Kelly Hou / 2019-2014 / Music Performanc
 e & Informatics / Seattle</p>\n\n\n\n\n<h2 style='font-weight: 400\;'>Biog
 raphies</h2>\n<h3 style='font-weight: 400\;'>University of Washington Wind
  Ensemble</h3>\n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'>University of Washington Alum
 ni Band</h3>\n<p style='font-weight: 400\;'>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>
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DTEND;TZID=America/Los_Angeles:20250606T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Wind Ensemble and Alumni Band: Finish Line
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-06-05/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 style='font-weight: 400
 \;'><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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>
 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 style='font-weight: 
 400\;'>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 style='font-weight: 400\;'>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
  style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'
 ><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='font-weight: 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 style='font-weight: 400\;'>In this arrangement by Profes
 sor Salzman three of the fifteen movements have been set for wind ensemble
 : <span> </span><span> </span></p> <p style='font-weight: 400\;'>Movement 
 II. <em>Blagoslovi\, dushe moya\, Ghospoda</em> (Bless the Lord\, O My Sou
 l)</p> <p style='font-weight: 400\;'>Bless the Lord\, O my soul\,</p> <p s
 tyle='font-weight: 400\;'>blessed art Thou\, O Lord.</p> <p style='font-we
 ight: 400\;'>O Lord my God\, Thou art very great.Blessed art Thou\, O Lord
 .</p> <p style='font-weight: 400\;'>Thou art clothed with honor and majest
 y.</p> <p style='font-weight: 400\;'>Blessed art Thou\, O Lord.</p> <p sty
 le='font-weight: 400\;'>The waters stand upon the mountains.</p> <p style=
 'font-weight: 400\;'>Marvelous are Thy works\, O Lord.</p> <p style='font-
 weight: 400\;'>The waters flow between the hills.</p> <p style='font-weigh
 t: 400\;'>Marvelous are Thy works\, O Lord.</p> <p style='font-weight: 400
 \;'>In wisdom hast Thou made all things.</p> <p style='font-weight: 400\;'
 >Glory to Thee\, O Lord\, who hast created all!</p> <p style='font-weight:
  400\;'>—Psalm 103[104]:1-2\, 6\, 24</p> <p style='font-weight: 400\;'>Mov
 ement IV. <em>Svete Tikhyi </em>(O Gladsome Light)</p> <p style='font-weig
 ht: 400\;'>Gladsome Light of the holy glory of the Immortal One—</p> <p st
 yle='font-weight: 400\;'>the Heavenly Father\, holy and blessed—</p> <p st
 yle='font-weight: 400\;'>O Jesus Christ!</p> <p style='font-weight: 400\;'
 >Now that we have come to the setting of the sun\,</p> <p style='font-weig
 ht: 400\;'>and behold the light of evening\,</p> <p style='font-weight: 40
 0\;'>we praise the Father\, Son\, and Holy Spirit—God.</p> <p style='font-
 weight: 400\;'>Thou art worthy at every moment</p> <p style='font-weight: 
 400\;'>to be praised in hymns by reverent voices.</p> <p style='font-weigh
 t: 400\;'>O Son of God\, Thou art the Giver of Life\;</p> <p style='font-w
 eight: 400\;'>therefore all the world glorifies Thee.</p> <p style='font-w
 eight: 400\;'> </p> <p style='font-weight: 400\;'>Movement VI.<em> Bogorod
 itse Devo</em> (Rejoice\, O Virgin)</p> <p style='font-weight: 400\;'> </p
 > <p style='font-weight: 400\;'>Rejoice\, O Virgin Mother of God\,</p> <p 
 style='font-weight: 400\;'>Mary full of grace\, the Lord is with Thee.</p>
  <p style='font-weight: 400\;'>Blessed art Thee among women\,</p> <p style
 ='font-weight: 400\;'>and blessed is the Fruit of Thy womb\,</p> <p style=
 'font-weight: 400\;'>for Thou hast borne the Savior of our souls.</p> <p s
 tyle='font-weight: 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 style='font-weight: 400\;'>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
 trong><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 style='font-weight: 400\;'><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 style='f
 ont-weight: 400\;'><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 style='font-weight: 400\;'>Theoretically…at this point…I <u>
 should</u> know this one… \;) <span> </span></p> <p style='font-weight: 40
 0\;'><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 style='font-weight: 400\;'><str
 ong><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 style='font-weight: 400\;'>The composer said the following about this
  work:</p> <p style='font-weight: 400\;'>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 style='font-weight: 400\;'><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 style='font-weight: 400\;'>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 
 style='font-weight: 400\;'>Retirement</h3> <p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 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 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 style='font-weight: 400\;
 '>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 style='font-weight: 400\;'>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 style='font-weight: 400
 \;'>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='font-weight: 400\;'><span style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>Acknowle
 dgements</h3> <p style='font-weight: 400\;'>I am grateful to....</p> <p st
 yle='font-weight: 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 style='font-weight:
  400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='f
 ont-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-wei
 ght: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-wei
 ght: 400\;'>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 style='font-
 weight: 400\;'>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 style='fo
 nt-weight: 400\;'>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 style='font-weigh
 t: 400\;'>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 style='font-weight: 400\;'>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!<
 /p> <p style='font-weight: 400\;'>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 style
 ='font-weight: 400\;'>UNIVERSITY OF WASHINGTON WIND ENSEMBLE</h4> <p style
 ='font-weight: 400\;'>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 style='font-weight: 400\;'>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
  style='font-weight: 400\;'>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 style='font-weight
 : 400\;'>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 style='font-weight: 400\;'>BASS CLARINET<br>Cameron DeLuca\, Grd
 .\, Music Performance\, Hawthorne\, CA </p> <p style='font-weight: 400\;'>
 SAXOPHONE<br>Curtis Chung\, Jr.\, Mechanical Engineering\, Sunnyvale\, CA<
 br>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 style='font-weight: 400\;'>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 style='font
 -weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weigh
 t: 400\;'>EUPHONIUM<br>Nico Ferreria\, So.\, Biology\, Bellevue<br>Simona 
 Yaroslavsky\, So.\, Psychology/Law\, Societies and Justice\, Mercer Island
 * </p> <p style='font-weight: 400\;'>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 style='
 font-weight: 400\;'>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 style='font-weight: 40
 0\;'>PIANO<br>Rachel Huang\, Grad.\, Music Performance\, West Hills\, LA <
 /p> <p style='font-weight: 400\;'>BASS<br>Jason Lai\, Fr.\, Mechanical Eng
 ineering\, Camas </p> <p style='font-weight: 400\;'>DOCTORAL STUDENT CONDU
 CTORS<br>Solomon Encina\, Rancho Cucamonga\, CA<br>David Stewart\, Mercer 
 Island<br>Yuman Wu\, Tianjin\, China </p> <p style='font-weight: 400\;'>*p
 rincipal</p> <p style='font-weight: 400\;'>UNIVERSITY OF WASHINGTON ALUMNI
  BAND</p> <p style='font-weight: 400\;'>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 & 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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>BASSOON<br>Erin Bodnar / 2010-20
 13 / DMA Instrumental Conducting / Jacksonville\, FL<br>Aaron Chang / 2001
 -2005 / Music Performance & Economics / Lynnwood<br>Andy Clark / 1993-1999
  / Music Theory & History / Shoreline<br>Griffin Smith / 2019-2024 / Music
  & Philosophy / Seattle<br>Julien Tsang / 2016-2022 / Music Performance & 
 Accounting and Taxation / Seattle<br>Jerry Turner / 1985-1991 / English & 
 Education / Tacoma </p> <p style='font-weight: 400\;'>CONTRABASSOON<br>Jef
 f Eldridge / 1985-1994 / Mathematics / Edmonds<br>David Wall / 2015-2018 /
  Music Performance / Seattle </p> <p style='font-weight: 400\;'>CLARINET  
 <br>Michael Byerly / 2000-2004 / Music Performance / Virginia Beach\, VA<b
 r>Chrissie Chang / 2002-2005\, 2012-2014 / BM-Music\, M.Ed-Leadership & 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 & Music Education / Beijing\, China<br>David Zeng / 2012-2016 / Mathema
 tics & Economics / Seattle<br>Phoong Khang Zhie / 2018-2022 / Computer Sci
 ence / Singapore</p> <p style='font-weight: 400\;'> E FLAT CLARINET<br>Cam
 eron Lee / 2019–2024 / Visual Communication Design and Informatics / Seatt
 le </p> <p style='font-weight: 400\;'>BASS CLARINET<br>Brian Schappals / 2
 017-2019 / MM Music Performance / Seattle<br>David Bissell / 2012-2014 / C
 hemistry / Bellingham </p> <p style='font-weight: 400\;'>CONTRA ALTO CLARI
 NET<br>Oliver Kou / 2016-2020 / Earth and Space Sciences / Bothell </p> <p
  style='font-weight: 400\;'>SAXOPHONE<br>Megumi Azekawa / 2006-2008 / MM M
 usic Performance / Tacoma<br>Barbara Brown / 2001-2006 / Music Performance
  & Anthropology / Rochester\, NY<br>Nick Franks / 2018-2023 / Music Educat
 ion / Seattle<br>Sidney Hauser / 2018-2023 / Painting and Drawing & 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 style='font-weight: 4
 00\;'>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
 pan>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 & Trump
 et Performance / Seattle </p> <p style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>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 & Music Performance / Stowe\, VT<br>Liz Harris Scruggs / 
 2011-2016 / Music Education / Seattle<br>Jana Skillingstead / 1990-1996 / 
 International Studies & Music Performance / Seattle<br>Thomas Slabaugh / 2
 003-2007 / DMA Music Performance / Davis\, CA </p> <p style='font-weight: 
 400\;'>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 style='font-weight: 400\;
 '>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 style='font-weight: 400\;'>HARP<br>Gaby Ho
 lmquist / 2002-2007 / Music Performance / Kenmore<br>Kelly Hou / 2019-2014
  / Music Performance & Informatics / Seattle</p> </td> </tr> </tbody> </ta
 ble> <h2 style='font-weight: 400\;'>Biographies</h2> <h3 style='font-weigh
 t: 400\;'>University of Washington Wind Ensemble</h3> <p style='font-weigh
 t: 400\;'>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 <
 em>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><
 /p> <h3 style='font-weight: 400\;'>University of Washington Alumni Band</h
 3> <p style='font-weight: 400\;'>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:20260612T083118Z
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 & David A. Rahbee\, conductors<br><b></b>\n<b></b>\n<b></b>\n
 <b>Mikhail Glinka: </b>Overture to Ruslan & 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 style='font-weigh
 t: 400\;'><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 style='font-weight: 400\;'>
 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 style='font-weight: 400\;'>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 style='font-weight: 400\;'>
 <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 style='fon
 t-weight: 400\;'><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 style='font-weight: 400\;'><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 style='font-weig
 ht: 400\;'>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 style='font-weight: 400\;
 '>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='font-weight: 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='font-weight: 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 style='font-weight: 400\;'><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 style='font-weight: 400\;'>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
  style='font-weight: 400\;'>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><
 /strong></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></str
 ong>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
 trong><strong><br></strong>Cameron DeLuca\, DMA Clarinet Performance<stron
 g><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>     </stro
 ng></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 & Cellular Biology</p>\n<p>Noelani Stewart\, Political Science\, 
 American Ethnic Studies</p>\n<p><strong><br><u>Trumpet</u></strong></p>\n<
 p>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 & Computational Mathematics</p>\n<
 p>Neal Muppidi\, BM Trombone Performance</p>\n<p>Nathanael Wyttenbach\, Mu
 sic Composition<strong> </strong></p>\n<p><strong><u>Bass Trombone</u></st
 rong><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><st
 rong><u>Cimbasso<br></u></strong>Adam Mtimet\, DMA Tuba Performance</p>\n<
 p><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 & 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></st
 rong></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><
 u>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<
 /p>\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 & 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<
 h3 class='font_8 wixui-rich-text__text'>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 & 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 style='font-weight: 400\;'><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 style='font-weight: 400\;'></p>\n<p style='font-weight: 400\;'><stro
 ng>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
DTEND;TZID=America/Los_Angeles:20250607T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: UW Symphony Orchestra with Concerto Competition Winners
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-06-06/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> <h
 r> <h2>Program</h2> <div><span face='arial\, sans-serif' style='font-famil
 y: arial\, sans-serif\;'><strong>University of Washington Symphony Orchest
 ra</strong><br><em>Ryan D.Farris\, Robert Stahly\, Sunny Xia & David A. Ra
 hbee\, conductors</em><br><b></b></span></div> <div><span face='arial\, sa
 ns-serif' style='font-family: arial\, sans-serif\;'><b></b></span></div> <
 div><span face='arial\, sans-serif' style='font-family: arial\, sans-serif
 \;'><b></b></span></div> <div><span face='arial\, sans-serif' style='font-
 family: arial\, sans-serif\;'><b>Mikhail Glinka: </b>Overture to <i>Ruslan
  & Ludmilla</i><span class='gmail-Apple-converted-space'> </span><br></spa
 n></div> <div> <p><span face='arial\, sans-serif' style='font-family: aria
 l\, 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='font-family: arial\, sans-serif\;'>I. Allegro assai <br></span></span>
 <em><span face='arial\, sans-serif' style='font-family: arial\, sans-serif
 \;'>Flora Cummings\, viola (student of Professor Melia Watras)</span></em>
 </p> <p><span><i><span face='arial\, sans-serif' style='font-family: arial
 \, sans-serif\;'></span></i></span><span><span face='arial\, sans-serif' s
 tyle='font-family: arial\, sans-serif\;'><b>Keiko Abe: </b>Prism Rhapsody<
 span class='gmail-Apple-converted-space'> <br></span></span></span><em><sp
 an face='arial\, sans-serif' style='font-family: arial\, sans-serif\;'>Kai
 sho Barnhill\, marimba (student of Professor Bonnie Whiting)</span></em></
 p> <p><span><span face='arial\, sans-serif' style='font-family: arial\, sa
 ns-serif\;'></span></span><span><span face='arial\, sans-serif' style='fon
 t-family: 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' style='font-family: arial\, sans-serif\;'>I. Al
 legro animato     <br></span></span><em><span face='arial\, sans-serif' st
 yle='font-family: arial\, sans-serif\;'>Sandy Huang\, piano (student of Pr
 ofessor Robin McCabe)</span></em></p> <p><span><span face='arial\, sans-se
 rif' style='font-family: arial\, sans-serif\;'><b>Richard Wagner:</b> Prel
 ude to Act 3 of <i>Lohengrin</i></span></span></p> <p><span><span face='ar
 ial\, sans-serif' style='font-family: arial\, sans-serif\;'><b>Giuseppe Ve
 rdi: </b>Overture to La forza del destino</span></span></p> </div> <hr> <h
 2>Program Notes</h2> <p style='font-weight: 400\;'><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 style='font-weight: 400\;'><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 style='font-weight: 400\;
 '><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 <
 /p> <p style='font-weight: 400\;'><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 style='font-weight: 400\;'><strong>Keiko Abe</stron
 g> 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 style='font-weight: 400\;'><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 style='font-we
 ight: 400\;'>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 style=
 'font-weight: 400\;'>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><sp
 an>-</span>Sandy Huang</p> <p style='font-weight: 400\;'><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 style='font
 -weight: 400\;'><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><
 /span>-Mica Weiland</p> <p style='font-weight: 400\;'><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 style='font-weight: 
 400\;'><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 style='font-weight: 400\
 ;'><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 style='width: 833px\;'> <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 & 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 & 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><st
 rong><br></strong>Kelly Hou\, Alumna</p> <p><strong><u>Violin I</u></stron
 g></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 & 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)<
 /p> <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><st
 rong><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 & 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'><spa
 n 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 & 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><sp
 an>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 style='font-weight: 400\;'><strong>Kaisho Barnhill</st
 rong> 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 style='font-weight: 400\;'></p> <p style='font-weight: 4
 00\;'><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:20260612T083118Z
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 &
  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 & Bass Voices<br><
 br>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 & 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\, & 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>\n<h
 3>Songs 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 style='font-weight: 400\;'><strong>Programme Notes: S
 ongs My Grandmother Taught Me</strong> </p>\n<p style='font-weight: 400\;'
 >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 style='font-weight:
  400\;'>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 style='font-weight: 400\;'>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 style='font-weight: 4
 00\;'>                          –Nicholas Renaud</p>\n<p style='font-weigh
 t: 400\;'>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 style='font-weight: 400\;'>             
              –Clara Johnson</p>\n<p style='font-weight: 400\;'>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 style='font-weight
 : 400\;'>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 style='font-weight: 400\;'>We
  hope you enjoy these moments of music with us this afternoon!</p>\n<p sty
 le='font-weight: 400\;'>                          –Clara and Nic\, June 7 
 2025</p>\n<p style='font-weight: 400\;'><strong>Songs of New France </stro
 ng></p>\n<p style='font-weight: 400\;'>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…” <
 strong>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 style='font-weight: 400\;'><strong>Songs of Nature </strong></p>\n<p
  style='font-weight: 400\;'>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<str
 ong>.</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 style='font-weight: 400\;'><strong>Songs of Sorrow</st
 rong></p>\n<p style='font-weight: 400\;'>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 style='font
 -weight: 400\;'><strong>Songs of Faith</strong></p>\n<p style='font-weight
 : 400\;'>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</stro
 ng> 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 style='font-weight: 400\;'><strong>Songs of Story</strong></p>
 \n<p style='font-weight: 400\;'>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 style='font-weight: 400\;'><strong>Son
 gs of the Land </strong></p>\n<p style='font-weight: 400\;'>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 style=
 'font-weight: 400\;'>Lyrics and Translations</h3>\n<p style='font-weight: 
 400\;'><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><st
 rong>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><stro
 ng>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<
 br>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><st
 rong>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><st
 rong>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<
 br>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<
 br>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<
 br>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
DTEND;TZID=America/Los_Angeles:20250608T000000
LAST-MODIFIED:20250722T005059Z
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<
 /h2> <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 & 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 & 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 & Heidi Blythe\, soloists</e
 m><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 style='font-family: inherit\; fo
 nt-size: 1rem\;'>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\, & 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 style='font-weight: 400\;'><strong
 >Programme Notes: <em>Songs My Grandmother Taught Me</em></strong> </p> <p
  style='font-weight: 400\;'>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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><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 style='font-weight: 400\;'><em>
 <span>              </span><span>            </span>–Nicholas Renaud</em><
 /p> <p style='font-weight: 400\;'><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 style='f
 ont-weight: 400\;'><em><span>              </span><span>            </span
 >–Clara Johnson</em></p> <p style='font-weight: 400\;'>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 style='font-weight
 : 400\;'>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 style='font-weight: 400\;'>We 
 hope you enjoy these moments of music with us this afternoon!</p> <p style
 ='font-weight: 400\;'><span>              </span><span>            </span>
 –Clara and Nic\, <em>June 7 2025</em></p> <p style='font-weight: 400\;'><s
 trong>Songs of New France </strong></p> <p style='font-weight: 400\;'>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><e
 m>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='font-weight: 400\;'><strong>Songs of Nature </strong></p> <p style='f
 ont-weight: 400\;'>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 style=
 'font-weight: 400\;'><strong>Songs of Sorrow</strong></p> <p style='font-w
 eight: 400\;'>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 style='font-
 weight: 400\;'><strong>Songs of Faith</strong></p> <p style='font-weight: 
 400\;'>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
 pan></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><st
 rong><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 style='font-weight: 400\;'><strong>Songs of Story</strong></p> <p st
 yle='font-weight: 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<
 /em></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 <
 /em></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 style='fon
 t-weight: 400\;'><strong>Songs of the Land </strong></p> <p style='font-we
 ight: 400\;'>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><
 /strong> 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. <stro
 ng><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 style='fon
 t-weight: 400\;'>Lyrics and Translations</h3> <p style='font-weight: 400\;
 '><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 style=
 'width: 842px\;'> <tbody> <tr> <td style='width: 841px\;'> <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><stro
 ng>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</st
 rong></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<
 br>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<
 br>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<
 br>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><spa
 n> </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<
 span> </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><
 /p> <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:20260612T083118Z
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</h
 2>\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></str
 ong>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><
 b></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
DTEND;TZID=America/Los_Angeles:20250608T000000
LAST-MODIFIED:20250722T005059Z
SUMMARY:: Composition Studio: A Series of Unpredictable Events
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-06-07/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 style
 ='font-weight: 400\;'>Not Too Heavy\, Mostly Okay Music</span></i><span st
 yle='font-weight: 400\;'> — Ryan Baker<br></span><em><span style='font-wei
 ght: 400\;'>Ryan Baker\, Simon Harty\, Abigail George\, percussion</span><
 /em></p> <p><i><span style='font-weight: 400\;'>Cliff's Edge</span></i><sp
 an style='font-weight: 400\;'> — Taylor James Bellamy<br></span><em><span 
 style='font-weight: 400\;'>Taylor James Bellamy\, electronics</span></em><
 /p> <p><i><span style='font-weight: 400\;'>A Light Left Unlit</span></i><s
 pan style='font-weight: 400\;'> — Nicholas Mendonsa<br></span><em><span st
 yle='font-weight: 400\;'>Kaisho Barnhill\, piano\; </span><span style='fon
 t-weight: 400\;'>Nicholas Mendonsa\, electronics</span></em></p> <p><i><sp
 an style='font-weight: 400\;'>What They Had to Say (untwisting)</span></i>
 <span style='font-weight: 400\;'> — Eddie Mospan<br></span><span style='fo
 nt-weight: 400\;'>for fixed media</span></p> <p><i><span style='font-weigh
 t: 400\;'>One Dragon’s Day — </span></i><span style='font-weight: 400\;'>A
 melia Matsumoto</span><span style='font-weight: 400\;'><br></span><span st
 yle='font-weight: 400\;'> Tabarak Abosabaa\, piano\; </span><span style='f
 ont-weight: 400\;'>Amelia Matsumoto\, double bass\; </span><span style='fo
 nt-weight: 400\;'>Inyoung Seo\, piano\, violin\; </span><span style='font-
 weight: 400\;'>William Dougherty\, piano</span></p> <p><i><span style='fon
 t-weight: 400\;'>Une cantilène brumeuse</span></i><span style='font-weight
 : 400\;'> — Inyoung Seo</span><span style='font-weight: 400\;'><br></span>
 <span style='font-weight: 400\;'> Tabarak Abosabaa\, conductor\; </span><s
 pan style='font-weight: 400\;'>Amelia Matsumoto\, double bass\; </span><sp
 an style='font-weight: 400\;'>Inyoung Seo\, piano\; </span><span style='fo
 nt-weight: 400\;'>William Dougherty\, melodica\, trombone </span></p> <p><
 i><span style='font-weight: 400\;'>A Series of Unpredictable Events — </sp
 an></i><span style='font-weight: 400\;'>Tabarak Abosabaa<br></span><em><sp
 an style='font-weight: 400\;'>Tabarak Abosabaa\, piano\; </span><span styl
 e='font-weight: 400\;'>Amelia Matsumoto\, double bass\; </span><span style
 ='font-weight: 400\;'>Inyoung Seo\, violin\; </span><span style='font-weig
 ht: 400\;'>William Dougherty\, melodica\, trombone</span></em></p> <hr> <h
 2><span style='font-weight: 400\;'>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
 trong>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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250619T000000
LAST-MODIFIED:20250612T203255Z
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-06-18/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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250703T000000
LAST-MODIFIED:20250722T005059Z
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> <
 /div> </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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250703T000000
LAST-MODIFIED:20250528T235933Z
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-07-02/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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20250709T000000
LAST-MODIFIED:20250401T201530Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:e4394fdb-d7c9-47af-b308-47e9a4a972f4
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250717T000000
LAST-MODIFIED:20250529T000041Z
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-07-16/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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250731T000000
LAST-MODIFIED:20250529T000136Z
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-07-30/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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250807T000000
LAST-MODIFIED:20250529T000153Z
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-08-06/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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20250813T000000
LAST-MODIFIED:20250401T201549Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:5162a8b5-8d3f-4ff5-8708-41e0e9c428c9
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250821T000000
LAST-MODIFIED:20250529T000309Z
SUMMARY:: External Event: IMP showcase at Vermillion
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2025-08-20/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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20250829T000000
LAST-MODIFIED:20250401T201610Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:25bf64c8-fe36-4cea-8626-36befb741824
DTSTAMP:20260612T083118Z
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> <
 strong>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
DTEND;TZID=America/Los_Angeles:20250918T000000
LAST-MODIFIED:20250722T005059Z
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
 trong></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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250920T000000
LAST-MODIFIED:20250722T005059Z
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:20260612T083118Z
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' style=
 'text-align: left\;'><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<
 li>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 style='text-align: center\;'><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='
 mailto: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
DTEND;TZID=America/Los_Angeles:20250923T000000
LAST-MODIFIED:20250722T005059Z
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' style='text-align: left\;'><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\, <stro
 ng>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 style
 ='text-align: center\;'><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> <
 h4>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='ma
 ilto: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:97204ae4-a161-4695-ad82-f5506559e93b
DTSTAMP:20260612T083118Z
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' style='text-align
 : left\;'><strong>Audi­tions for the Campus Philharmonia Orchestras will t
 ake place in Meany room 268 on: </strong><strong>Tuesday\, </strong><stron
 g>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 style='text-align: center\;'><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='mai
 lto:LGPG@UW.EDU' target='_blank' rel='noopener noreferrer'><br></a></p>\n<
 p><a href='/sites/music/files/documents/string_announcement_25-26.pdf'>Orc
 hestral Ensemble Information (PDF)</a></p>
DTSTART;TZID=America/Los_Angeles:20250923T000000
DTEND;TZID=America/Los_Angeles:20250924T000000
LAST-MODIFIED:20250611T174820Z
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><
 span>.</span></p> </blockquote> <p align='center' style='text-align: left\
 ;'><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.<
 /strong></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='text-align: 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='
 mailto: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:f57d0534-4a39-40e3-8b39-526cc6304223
DTSTAMP:20260612T083118Z
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' style=
 'text-align: left\;'><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<
 li>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 style='text-align: center\;'><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='
 mailto: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
DTEND;TZID=America/Los_Angeles:20250925T000000
LAST-MODIFIED:20250722T005059Z
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' style='text-align: left\;'><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\, <stro
 ng>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 style
 ='text-align: center\;'><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> <
 h4>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='ma
 ilto: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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250925T000000
LAST-MODIFIED:20250918T183731Z
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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20250926T000000
LAST-MODIFIED:20250401T201638Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:56d97ed8-2e7a-41d7-9537-03f1fc8d130a
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20250930T000000
LAST-MODIFIED:20250918T184043Z
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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20251002T000000
LAST-MODIFIED:20250924T163041Z
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><
 /div><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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20251004T000000
LAST-MODIFIED:20250930T162239Z
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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20251008T000000
LAST-MODIFIED:20250401T201653Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:d027b260-fb50-4e1e-9757-d590bc28f9a2
DTSTAMP:20260612T083118Z
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><st
 rong>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<
 /p>
DTSTART;TZID=America/Los_Angeles:20251009T110000
DTEND;TZID=America/Los_Angeles:20251010T000000
LAST-MODIFIED:20251119T170529Z
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:</str
 ong> <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 style='color:bl
 ack\;font-family:'Times New Roman'\, serif\;font-size:14pt\;'><strong>Serc
 ombe </strong>is<strong> </strong></span><span style='color:rgb(33\, 33\, 
 33)\;font-family:'Times New Roman'\, serif\;font-size:14pt\;'>retired soun
 d archivist and curator for the UW Ethnomusicology Archive (Home of the Vi
  Hilbert Archive). </span><span style='color:black\;font-family:'Times New
  Roman'\, serif\;font-size:14pt\;'><strong>Vallier is c</strong></span><sp
 an style='color:rgb(33\, 33\, 33)\;font-family:'Times New Roman'\, serif\;
 font-size:14pt\;'>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><stro
 ng>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:20260612T083118Z
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><
 p>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
DTEND;TZID=America/Los_Angeles:20251011T000000
LAST-MODIFIED:20251010T215602Z
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 style='-webkit-t
 ext-stroke-width:0px\;caret-color:rgb(0\, 0\, 0)\;color:rgb(0\, 0\, 0)\;fo
 nt-family:Helvetica\;font-size:12px\;font-style:normal\;font-variant-caps:
 normal\;font-weight:400\;letter-spacing:normal\;orphans:auto\;text-align:s
 tart\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-sp
 ace:normal\;widows:auto\;word-spacing:0px\;' dir='ltr'><p><span style='col
 or:rgba(0\, 0\, 0\, 0.85)\;font-family:arial\, sans-serif\;'>Described as 
 “</span><em><i style='box-sizing:border-box\;color:rgba(0\, 0\, 0\, 0.85)\
 ;font-family:arial\, sans-serif\;'>otherworldly and mysteriously familiar<
 /i></em><span style='color:rgba(0\, 0\, 0\, 0.85)\;font-family:arial\, san
 s-serif\;'>” (Chicago Classical Review)\, and as “</span><em><i style='box
 -sizing:border-box\;color:rgba(0\, 0\, 0\, 0.85)\;font-family:arial\, sans
 -serif\;'>exciting and clear... with a striking boldness</i></em><span sty
 le='color:rgba(0\, 0\, 0\, 0.85)\;font-family:arial\, sans-serif\;'>' (Lui
 gi Nono Competition Prize)\, Igor Santos</span><span style='box-sizing:bor
 der-box\;color:rgba(0\, 0\, 0\, 0.85)\;font-family:arial\, sans-serif\;fon
 t-weight:bolder\;'>’</span><span style='color:rgba(0\, 0\, 0\, 0.85)\;font
 -family:arial\, sans-serif\;'> 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><font face=
 'arial\, sans-serif'><span style='color:rgba(0\, 0\, 0\, 0.85)\;'>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></font></p><p><span sty
 le='color:rgba(0\, 0\, 0\, 0.85)\;font-family: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 style='color:rgba(0\, 0\, 0\, 0.85)\
 ;font-family:arial\, sans-serif\;'> (2022)\, a </span>Guggenheim Fellowshi
 p<span style='color:rgba(0\, 0\, 0\, 0.85)\;font-family:arial\, sans-serif
 \;'> (2023)\, and has won additional prizes such as the </span>Internation
 al Ferruccio Busoni Competition<span style='color:rgba(0\, 0\, 0\, 0.85)\;
 font-family:arial\, sans-serif\;'>\, the </span>Luigi Nono International C
 ompetition<span style='color:rgba(0\, 0\, 0\, 0.85)\;font-family:arial\, s
 ans-serif\;'>\, 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 style='box-sizing:border-box\;font-fa
 mily:arial\, sans-serif\;' 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><spa
 n style='box-sizing:border-box\;font-family:arial\, sans-serif\;'> </span>
 </p></div>
END:VEVENT
BEGIN:VEVENT
UID:0b69d920-1fa2-463d-bef6-2582e6bd305e
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20251011T000000
LAST-MODIFIED:20250909T211730Z
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:20260612T083118Z
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 style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt
 \;' dir='ltr'><strong>Anthony Cheung </strong></p><p style='line-height:1.
 38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Flyway Detour (2006\, r
 evised 2017 for Longleash) <br> </p><p style='line-height:1.38\;margin-bot
 tom:0pt\;margin-top:0pt\;' dir='ltr'><strong>Katherine Balch </strong></p>
 <p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'
 >different gravities (2023) </p><p style='line-height:1.38\;margin-bottom:
 0pt\;margin-top:0pt\;' dir='ltr'>i. Agile\, crisp</p><p style='line-height
 :1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>ii. Fragile\, sinkin
 g</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir=
 'ltr'>iii. Jittery\, mechanical</p><p style='line-height:1.38\;margin-bott
 om:0pt\;margin-top:0pt\;' dir='ltr'>iv. Brisk\, bells clanging</p><p style
 ='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Commiss
 ioned by Longleash with support from The Koussevitzky Foundation of the Li
 brary of Congress </p><p style='line-height:1.38\;margin-bottom:0pt\;margi
 n-top:0pt\;' dir='ltr'><br>-break-<br> </p><p style='line-height:1.38\;mar
 gin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><strong>Igor Santos</strong> <
 /p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='l
 tr'>Nossas Mãos (2024) </p><p style='line-height:1.38\;margin-bottom:0pt\;
 margin-top:0pt\;' 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 style='line-height:1.38\;margin-bottom:0pt\;margin-to
 p:6pt\;' 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
DTEND;TZID=America/Los_Angeles:20251015T000000
LAST-MODIFIED:20251003T021736Z
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='background-color:rgba(0\, 0\, 0\, 0)\;border-color:rgb(0\, 0\, 0)\;co
 lor: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 style='background-co
 lor:rgba(0\, 0\, 0\, 0)\;border-color:rgb(0\, 0\, 0)\;color:rgb(0\, 0\, 0)
 \;'>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 style='box-sizing:border-box\;font-family:mul
 ler_regular\, helvetica\, arial\, sans-serif\;outline:currentcolor\;'>a wo
 rk for trio and video by Igor Santos (Rome Prize\, Guggenheim Fellowship).
  In it\, Santos stitches together </span><span style='color:rgb(33\, 37\, 
 41)\;font-family:muller_regular\, helvetica\, arial\, sans-serif\;'>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 style='line-height:1.38\;margin-bottom:0pt\;margi
 n-top:0pt\;' dir='ltr'><span style='background-color:transparent\;color:rg
 b(49\, 49\, 49)\;font-family:Arial\, sans-serif\;font-size:12pt\;font-styl
 e:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-v
 ariant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-nume
 ric:normal\;font-variant-position:normal\;font-weight:400\;text-decoration
 :none\;vertical-align:baseline\;white-space:pre-wrap\;'><strong>Anthony Ch
 eung </strong></span></p><p style='line-height:1.38\;margin-bottom:0pt\;ma
 rgin-top:0pt\;' dir='ltr'><em><span style='background-color:transparent\;c
 olor:rgb(0\, 0\, 0)\;font-family:Arial\, sans-serif\;font-size:12pt\;font-
 variant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asi
 an:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;fon
 t-variant-position:normal\;font-weight:400\;text-decoration:none\;vertical
 -align:baseline\;white-space:pre-wrap\;'>Flyway Detour </span></em><span s
 tyle='background-color:transparent\;color:rgb(49\, 49\, 49)\;font-family:A
 rial\, sans-serif\;font-size:12pt\;font-style:normal\;font-variant-alterna
 tes:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font
 -variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-posit
 ion:normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline
 \;white-space:pre-wrap\;'>(2006\, revised 2017 for Longleash) </span><br> 
 </p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='
 ltr'><span style='background-color:transparent\;color:rgb(49\, 49\, 49)\;f
 ont-family:Arial\, sans-serif\;font-size:12pt\;font-style:normal\;font-var
 iant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:
 normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-v
 ariant-position:normal\;font-weight:400\;text-decoration:none\;vertical-al
 ign:baseline\;white-space:pre-wrap\;'><strong>Katherine Balch </strong></s
 pan></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' d
 ir='ltr'><em><span style='background-color:transparent\;color:rgb(49\, 49\
 , 49)\;font-family:Arial\, sans-serif\;font-size:12pt\;font-variant-altern
 ates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;fon
 t-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-posi
 tion:normal\;font-weight:400\;text-decoration:none\;vertical-align:baselin
 e\;white-space:pre-wrap\;'>different gravities</span></em><span style='bac
 kground-color:transparent\;color:rgb(49\, 49\, 49)\;font-family:Arial\, sa
 ns-serif\;font-size:12pt\;font-style:normal\;font-variant-alternates:norma
 l\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-
 ligatures:normal\;font-variant-numeric:normal\;font-variant-position:norma
 l\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;white-s
 pace:pre-wrap\;'> (2023) </span></p><p style='line-height:1.38\;margin-bot
 tom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:transpa
 rent\;color:rgb(49\, 49\, 49)\;font-family:Arial\, sans-serif\;font-size:1
 2pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-caps:
 normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;fon
 t-variant-numeric:normal\;font-variant-position:normal\;font-weight:400\;t
 ext-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>i. A
 gile\, crisp</span></p><p style='line-height:1.38\;margin-bottom:0pt\;marg
 in-top:0pt\;' dir='ltr'><span style='background-color:transparent\;color:r
 gb(49\, 49\, 49)\;font-family:Arial\, sans-serif\;font-size:12pt\;font-sty
 le:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-
 variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-num
 eric:normal\;font-variant-position:normal\;font-weight:400\;text-decoratio
 n:none\;vertical-align:baseline\;white-space:pre-wrap\;'>ii. Fragile\, sin
 king</span></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0
 pt\;' dir='ltr'><span style='background-color:transparent\;color:rgb(49\, 
 49\, 49)\;font-family:Arial\, sans-serif\;font-size:12pt\;font-style:norma
 l\;font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-
 east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:nor
 mal\;font-variant-position:normal\;font-weight:400\;text-decoration:none\;
 vertical-align:baseline\;white-space:pre-wrap\;'>iii. Jittery\, mechanical
 </span></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;
 ' dir='ltr'><span style='background-color:transparent\;color:rgb(49\, 49\,
  49)\;font-family:Arial\, sans-serif\;font-size:12pt\;font-style:normal\;f
 ont-variant-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\;vert
 ical-align:baseline\;white-space:pre-wrap\;'>iv. Brisk\, bells clanging</s
 pan></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' d
 ir='ltr'><span style='background-color:transparent\;color:rgb(49\, 49\, 49
 )\;font-family:Arial\, sans-serif\;font-size:12pt\;font-style:normal\;font
 -variant-alternates:normal\;font-variant-caps:normal\;font-variant-east-as
 ian:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;fo
 nt-variant-position:normal\;font-weight:400\;text-decoration:none\;vertica
 l-align:baseline\;white-space:pre-wrap\;'>Commissioned by Longleash with s
 upport from The Koussevitzky Foundation of the Library of Congress </span>
 </p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='
 ltr'><br><span style='background-color:transparent\;color:rgb(49\, 49\, 49
 )\;font-family:Arial\, sans-serif\;font-size:12pt\;font-style:normal\;font
 -variant-alternates:normal\;font-variant-caps:normal\;font-variant-east-as
 ian:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;fo
 nt-variant-position:normal\;font-weight:400\;text-decoration:none\;vertica
 l-align:baseline\;white-space:pre-wrap\;'>-break-</span><br> </p><p style=
 'line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span st
 yle='background-color:transparent\;color:rgb(49\, 49\, 49)\;font-family:Ar
 ial\, sans-serif\;font-size:12pt\;font-style:normal\;font-variant-alternat
 es:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-
 variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-positi
 on:normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\
 ;white-space:pre-wrap\;'><strong>Igor Santos</strong> </span></p><p style=
 'line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><em><spa
 n style='background-color:transparent\;color:rgb(49\, 49\, 49)\;font-famil
 y:Arial\, sans-serif\;font-size:12pt\;font-variant-alternates:normal\;font
 -variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatur
 es:normal\;font-variant-numeric:normal\;font-variant-position:normal\;font
 -weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:pr
 e-wrap\;'>Nossas Mãos </span></em><span style='background-color:transparen
 t\;color:rgb(49\, 49\, 49)\;font-family:Arial\, sans-serif\;font-size:12pt
 \;font-style:normal\;font-variant-alternates:normal\;font-variant-caps:nor
 mal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-v
 ariant-numeric:normal\;font-variant-position:normal\;font-weight:400\;text
 -decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>(2024) 
 </span></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;
 ' dir='ltr'><span style='background-color:transparent\;color:rgb(49\, 49\,
  49)\;font-family:Arial\, sans-serif\;font-size:12pt\;font-style:normal\;f
 ont-variant-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\;vert
 ical-align:baseline\;white-space:pre-wrap\;'>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</h
 3><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 style='line-height:1.38\;marg
 in-bottom:0pt\;margin-top:6pt\;' 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:20260612T083118Z
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><st
 rong>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<
 /p>
DTSTART;TZID=America/Los_Angeles:20251016T110000
DTEND;TZID=America/Los_Angeles:20251017T000000
LAST-MODIFIED:20251119T170529Z
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:</str
 ong> <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 style='color:bl
 ack\;font-family:'Times New Roman'\, serif\;font-size:14pt\;'><strong>Serc
 ombe </strong>is<strong> </strong></span><span style='color:rgb(33\, 33\, 
 33)\;font-family:'Times New Roman'\, serif\;font-size:14pt\;'>retired soun
 d archivist and curator for the UW Ethnomusicology Archive (Home of the Vi
  Hilbert Archive). </span><span style='color:black\;font-family:'Times New
  Roman'\, serif\;font-size:14pt\;'><strong>Vallier is c</strong></span><sp
 an style='color:rgb(33\, 33\, 33)\;font-family:'Times New Roman'\, serif\;
 font-size:14pt\;'>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><stro
 ng>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:20260612T083118Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20250401T201627Z
DESCRIPTION:<p>Welcoming prospective undergraduate students and their famil
 ies to learn about <a style='-webkit-text-stroke-width:0px\;color:rgb(64\,
  123\, 160)\;font-family:'Helvetica Neue'\, Helvetica\, Arial\, sans-serif
 \;font-size:14px\;font-style:normal\;font-variant-caps:normal\;font-weight
 :400\;letter-spacing:normal\;line-height:18px\;orphans:auto\;text-align:st
 art\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-spa
 ce:normal\;widows:auto\;word-spacing:0px\;' href='https://artsci.washingto
 n.edu/' target='_blank' rel='noopener'>studying in the College of Arts & S
 ciences at the University of Washington</a>.</p>
DTSTART;TZID=America/Los_Angeles:20251017T000000
DTEND;TZID=America/Los_Angeles:20251018T000000
LAST-MODIFIED:20250909T142006Z
SUMMARY:: 2025 Fall NACAC National College Fair Seattle: Meet the College o
 f Arts & 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 style='-webkit-text-stroke-width:0px\
 ;caret-color:rgb(51\, 51\, 51)\;color:rgb(51\, 51\, 51)\;display:inline !i
 mportant\;float:none\;font-family:'Helvetica Neue'\, Helvetica\, Arial\, s
 ans-serif\;font-size:14px\;font-style:normal\;font-variant-caps:normal\;fo
 nt-weight:400\;letter-spacing:normal\;orphans:auto\;text-align:start\;text
 -decoration:none\;text-indent:0px\;text-transform:none\;white-space:normal
 \;widows:auto\;word-spacing:0px\;'>Welcoming prospective undergraduate stu
 dents and their families to learn about </span><a style='-webkit-text-stro
 ke-width:0px\;color:rgb(64\, 123\, 160)\;font-family:'Helvetica Neue'\, He
 lvetica\, Arial\, sans-serif\;font-size:14px\;font-style:normal\;font-vari
 ant-caps:normal\;font-weight:400\;letter-spacing:normal\;line-height:18px\
 ;orphans:auto\;text-align:start\;text-decoration:none\;text-indent:0px\;te
 xt-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;' hr
 ef='https://artsci.washington.edu/' target='_blank' rel='noopener'>studyin
 g in the College of Arts & Sciences at the University of Washington</a><sp
 an style='-webkit-text-stroke-width:0px\;caret-color:rgb(51\, 51\, 51)\;co
 lor:rgb(51\, 51\, 51)\;display:inline !important\;float:none\;font-family:
 'Helvetica Neue'\, Helvetica\, Arial\, sans-serif\;font-size:14px\;font-st
 yle:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:norm
 al\;orphans:auto\;text-align:start\;text-decoration:none\;text-indent:0px\
 ;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'
 >.</span></p>
END:VEVENT
BEGIN:VEVENT
UID:de82a8ed-3a22-4c4d-99f5-7891b7f332ea
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20251018T000000
LAST-MODIFIED:20251010T214825Z
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
  style='-webkit-text-stroke-width:0px\;caret-color:rgb(0\, 0\, 0)\;color:r
 gb(0\, 0\, 0)\;font-family:Helvetica\;font-size:12px\;font-style:normal\;f
 ont-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;orphans:a
 uto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-transfo
 rm:none\;white-space:normal\;widows:auto\;word-spacing:0px\;' dir='ltr'><p
 ><font face='arial\, sans-serif'>Caroline Louise Miller<span style='backgr
 ound-color:rgba(255\, 255\, 255\, 0.3)\;color:rgb(0\, 0\, 0)\;'> (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></font><br><font face='arial\, sans-
 serif'><span style='background-color:rgba(255\, 255\, 255\, 0.3)\;color:rg
 b(0\, 0\, 0)\;'> </span></font><br><font face='arial\, sans-serif'><span s
 tyle='background-color:rgba(255\, 255\, 255\, 0.3)\;color: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></
 font><br><font face='arial\, sans-serif'><span style='background-color:rgb
 a(255\, 255\, 255\, 0.3)\;color:rgb(0\, 0\, 0)\;'> </span></font><br><font
  face='arial\, sans-serif'><span style='background-color:rgba(255\, 255\, 
 255\, 0.3)\;color:rgb(0\, 0\, 0)\;'>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> </font></p></div><p
 ><br><br> </p>
END:VEVENT
BEGIN:VEVENT
UID:23ee012c-7c0f-4dc8-a852-efdfcdc31871
DTSTAMP:20260612T083118Z
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<
 /strong></a></p><hr><h2>Biographies</h2><p> </p>
DTSTART;TZID=America/Los_Angeles:20251018T190000
DTEND;TZID=America/Los_Angeles:20251019T000000
LAST-MODIFIED:20251009T191338Z
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:20260612T083118Z
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><st
 rong>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<
 /p>
DTSTART;TZID=America/Los_Angeles:20251023T110000
DTEND;TZID=America/Los_Angeles:20251024T000000
LAST-MODIFIED:20251119T170529Z
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:</str
 ong> <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 style='color:bl
 ack\;font-family:'Times New Roman'\, serif\;font-size:14pt\;'><strong>Serc
 ombe </strong>is<strong> </strong></span><span style='color:rgb(33\, 33\, 
 33)\;font-family:'Times New Roman'\, serif\;font-size:14pt\;'>retired soun
 d archivist and curator for the UW Ethnomusicology Archive (Home of the Vi
  Hilbert Archive). </span><span style='color:black\;font-family:'Times New
  Roman'\, serif\;font-size:14pt\;'><strong>Vallier is c</strong></span><sp
 an style='color:rgb(33\, 33\, 33)\;font-family:'Times New Roman'\, serif\;
 font-size:14pt\;'>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><stro
 ng>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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20251024T000000
LAST-MODIFIED:20250401T201705Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:23d19b42-c930-4ec0-8efe-e08fe031fdb7
DTSTAMP:20260612T083118Z
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 style='-
 webkit-text-stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 
 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Encode Sans Compressed Reg
 ular'\, 'Open Sans'\, Arial\, sans-serif\;font-size:1.875rem\;font-style:n
 ormal\;font-variant-caps:normal\;font-weight:normal\;letter-spacing:0.3px\
 ;line-height:1.4\;margin:0.2rem 0px 0.5rem\;orphans:auto\;padding:0px\;tex
 t-align:start\;text-decoration:none\;text-indent:0px\;text-rendering:optim
 izelegibility\;text-transform:none\;white-space:normal\;widows:auto\;word-
 spacing:0px\;'>Series Background</h2><p class='p1' style='-webkit-text-str
 oke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color
 :rgb(68\, 68\, 68)\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-ser
 if\;font-size:16px\;font-style:normal\;font-variant-caps:normal\;font-weig
 ht:400\;letter-spacing:normal\;line-height:1.875rem\;margin:0px 0px 1.5625
 rem\;orphans:auto\;padding:0px\;text-align:start\;text-decoration:none\;te
 xt-indent:0px\;text-rendering:optimizelegibility\;text-transform:none\;whi
 te-space:normal\;widows:auto\;word-spacing:0px\;'>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
DTEND;TZID=America/Los_Angeles:20251025T000000
LAST-MODIFIED:20251008T203706Z
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 style='-webkit-text-stroke-width:0px\;box-sizin
 g:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font
 -family:'Encode Sans Compressed Regular'\, 'Open Sans'\, Arial\, sans-seri
 f\;font-size:1.875rem\;font-style:normal\;font-variant-caps:normal\;font-w
 eight:normal\;letter-spacing:0.3px\;line-height:1.4\;margin:0.2rem 0px 0.5
 rem\;orphans:auto\;padding:0px\;text-align:start\;text-decoration:none\;te
 xt-indent:0px\;text-rendering:optimizelegibility\;text-transform:none\;whi
 te-space:normal\;widows:auto\;word-spacing:0px\;'>Series Background</h2><p
  class='p1' style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;c
 aret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open S
 ans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-style:normal\;
 font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;line-hei
 ght:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-al
 ign:start\;text-decoration:none\;text-indent:0px\;text-rendering:optimizel
 egibility\;text-transform:none\;white-space:normal\;widows:auto\;word-spac
 ing:0px\;'>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:20260612T083118Z
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.<
 /p><hr><h2>Program</h2><p>Symphony in B minor\, D. 759 “Unfinished”: <stro
 ng>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: <str
 ong>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.<
 br>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><str
 ong>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><
 br><strong>Clarinet</strong><br>Cameron DeLuca\, DMA Clarinet Performance<
 br>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><st
 rong>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 & 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</st
 rong><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 & 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
DTEND;TZID=America/Los_Angeles:20251025T000000
LAST-MODIFIED:20251022T203718Z
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.<
 br>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><
 br>Xinyi Liu\, DMA Flute Performance<br>Peyton Ray\, BM Flute Performance<
 br><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 & 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<
 br>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 & 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:20260612T083118Z
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 <
 br>Solomon Encina\, graduate conductor <br>Yuman Wu\, graduate conductor <
 br>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): <stro
 ng>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 (</stron
 g>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<
 /strong> (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
DTEND;TZID=America/Los_Angeles:20251027T000000
LAST-MODIFIED:20251024T205837Z
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><
 /p><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><
 em>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): <st
 rong>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><e
 m>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><
 p>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:20260612T083118Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250814T215845Z
DESCRIPTION:<p><strong>Please note: This event has been canceled.</strong><
 /p><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</h
 2><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
DTEND;TZID=America/Los_Angeles:20251029T000000
LAST-MODIFIED:20251010T223403Z
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><meta charset='UTF-8'></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.<
 /p><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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20251030T000000
LAST-MODIFIED:20251010T223428Z
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><meta charset='UTF-8'></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.<
 /p><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.”<
 /p><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:20260612T083118Z
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><st
 rong>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<
 /p>
DTSTART;TZID=America/Los_Angeles:20251030T110000
DTEND;TZID=America/Los_Angeles:20251031T000000
LAST-MODIFIED:20251119T170529Z
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:</str
 ong> <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 style='color:bl
 ack\;font-family:'Times New Roman'\, serif\;font-size:14pt\;'><strong>Serc
 ombe </strong>is<strong> </strong></span><span style='color:rgb(33\, 33\, 
 33)\;font-family:'Times New Roman'\, serif\;font-size:14pt\;'>retired soun
 d archivist and curator for the UW Ethnomusicology Archive (Home of the Vi
  Hilbert Archive). </span><span style='color:black\;font-family:'Times New
  Roman'\, serif\;font-size:14pt\;'><strong>Vallier is c</strong></span><sp
 an style='color:rgb(33\, 33\, 33)\;font-family:'Times New Roman'\, serif\;
 font-size:14pt\;'>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><stro
 ng>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:20260612T083118Z
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 & 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
DTEND;TZID=America/Los_Angeles:20251101T000000
LAST-MODIFIED:20251022T222353Z
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 & 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:20260612T083118Z
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 & Bourrée from Suite in E minor\, BWV 996 –<str
 ong> 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</st
 rong><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
 trong> (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
DTEND;TZID=America/Los_Angeles:20251101T000000
LAST-MODIFIED:20251029T230148Z
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 & B
 ourrée from Suite in E minor\, BWV 996 –<strong> Johann Sebastian Bach</st
 rong><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><e
 m>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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20251102T000000
LAST-MODIFIED:20251029T182737Z
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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20251105T000000
LAST-MODIFIED:20250401T201731Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:4e0af951-227d-467c-94e3-228d6c16da66
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20251106T000000
LAST-MODIFIED:20251104T173840Z
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><
 /div><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:20260612T083118Z
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=' https://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)<
 br>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
DTEND;TZID=America/Los_Angeles:20251106T000000
LAST-MODIFIED:20251030T182800Z
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=' https://docs.google.com/forms/d/1OWMDO8CE9aQAlnumR6Jpc1rn9hzIJ1M623a9e
 PSsbEY/edit '><strong>RSVP HERE</strong></a></h5><hr><h2>Program</h2><div 
 class='elementToProof' style='-webkit-text-stroke-width:0px\;color:rgb(0\,
  0\, 0)\;font-family:Aptos\, Arial\, Helvetica\, sans-serif\;font-size:12p
 t\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-sp
 acing:normal\;orphans:auto\;text-align:start\;text-decoration:none\;text-i
 ndent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spac
 ing:0px\;' dir='ltr'> </div><div class='elementToProof' style='-webkit-tex
 t-stroke-width:0px\;color:rgb(0\, 0\, 0)\;font-family:Aptos\, Arial\, Helv
 etica\, sans-serif\;font-size:12pt\;font-style:normal\;font-variant-caps:n
 ormal\;font-weight:400\;letter-spacing:normal\;orphans:auto\;text-align:st
 art\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-spa
 ce:normal\;widows:auto\;word-spacing:0px\;' dir='ltr'>Liebestraum\, No. 3:
  <strong>Franz Liszt </strong> (1811-1886)<br><em>Chloe Song</em></div><di
 v class='elementToProof' style='-webkit-text-stroke-width:0px\;color:rgb(0
 \, 0\, 0)\;font-family:Aptos\, Arial\, Helvetica\, sans-serif\;font-size:1
 2pt\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-
 spacing:normal\;orphans:auto\;text-align:start\;text-decoration:none\;text
 -indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-sp
 acing:0px\;' dir='ltr'> </div><div class='elementToProof' style='-webkit-t
 ext-stroke-width:0px\;color:rgb(0\, 0\, 0)\;font-family:Aptos\, Arial\, He
 lvetica\, sans-serif\;font-size:12pt\;font-style:normal\;font-variant-caps
 :normal\;font-weight:400\;letter-spacing:normal\;orphans:auto\;text-align:
 start\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-s
 pace:normal\;widows:auto\;word-spacing:0px\;' 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' style='-w
 ebkit-text-stroke-width:0px\;color:rgb(0\, 0\, 0)\;font-family:Aptos\, Ari
 al\, Helvetica\, sans-serif\;font-size:12pt\;font-style:normal\;font-varia
 nt-caps:normal\;font-weight:400\;letter-spacing:normal\;orphans:auto\;text
 -align:start\;text-decoration:none\;text-indent:0px\;text-transform:none\;
 white-space:normal\;widows:auto\;word-spacing:0px\;' dir='ltr'> </div><div
  class='elementToProof' style='-webkit-text-stroke-width:0px\;color:rgb(0\
 , 0\, 0)\;font-family:Aptos\, Arial\, Helvetica\, sans-serif\;font-size:12
 pt\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-s
 pacing:normal\;orphans:auto\;text-align:start\;text-decoration:none\;text-
 indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spa
 cing:0px\;' 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><paragraph style='-we
 bkit-text-stroke-width:0px\;caret-color:rgb(0\, 0\, 0)\;color:rgb(0\, 0\, 
 0)\;font-family:Helvetica\;font-size:14px\;font-style:normal\;font-variant
 -caps:normal\;font-weight:400\;letter-spacing:normal\;orphans:auto\;text-a
 lign:start\;text-decoration:none\;text-indent:0px\;text-transform:none\;wh
 ite-space:normal\;widows:auto\;word-spacing:0px\;' type='cite'><div></div>
 </paragraph>
END:VEVENT
BEGIN:VEVENT
UID:4d34706c-3ad1-47d3-98f5-2cfd70ed6810
DTSTAMP:20260612T083118Z
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. <
 /p><h3 style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;caret-
 color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Encode Sans
  Compressed Regular'\, 'Open Sans'\, Arial\, sans-serif\;font-size:1.5625r
 em\;font-style:normal\;font-variant-caps:normal\;font-weight:normal\;lette
 r-spacing:0.3px\;line-height:1.4\;margin:0.2rem 0px 0.5rem\;orphans:auto\;
 padding:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;text
 -rendering:optimizelegibility\;text-transform:none\;white-space:normal\;wi
 dows:auto\;word-spacing:0px\;'>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=' https://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
DTEND;TZID=America/Los_Angeles:20251106T000000
LAST-MODIFIED:20251104T230120Z
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 style='-webkit-text-stroke-width:0px\;b
 ox-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 6
 8)\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16
 px\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;line
 -height:inherit\;orphans:auto\;text-align:start\;text-decoration:none\;tex
 t-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-s
 pacing:0px\;'>Hum Under the Riverstone</em><span style='-webkit-text-strok
 e-width:0px\;background-color:rgb(255\, 255\, 255)\;caret-color:rgb(68\, 6
 8\, 68)\;color:rgb(68\, 68\, 68)\;display:inline !important\;float:none\;f
 ont-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;f
 ont-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacin
 g:normal\;orphans:auto\;text-align:start\;text-decoration:none\;text-inden
 t:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:
 0px\;'> 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 style='-webkit-te
 xt-stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\
 ;color:rgb(68\, 68\, 68)\;font-family:'Encode Sans Compressed Regular'\, '
 Open Sans'\, Arial\, sans-serif\;font-size:1.5625rem\;font-style:normal\;f
 ont-variant-caps:normal\;font-weight:normal\;letter-spacing:0.3px\;line-he
 ight:1.4\;margin:0.2rem 0px 0.5rem\;orphans:auto\;padding:0px\;text-align:
 start\;text-decoration:none\;text-indent:0px\;text-rendering:optimizelegib
 ility\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:
 0px\;'><em style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;ca
 ret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open Sa
 ns'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-variant-caps:no
 rmal\;font-weight:400\;letter-spacing:normal\;line-height:inherit\;orphans
 :auto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-trans
 form:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>Hum Under 
 the Riverstone</em><span style='-webkit-text-stroke-width:0px\;background-
 color:rgb(255\, 255\, 255)\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 
 68\, 68)\;display:inline !important\;float:none\;font-family:'Open Sans'\,
  Arial\, Helvetica\, sans-serif\;font-size:16px\;font-style:normal\;font-v
 ariant-caps:normal\;font-weight:400\;letter-spacing:normal\;orphans:auto\;
 text-align:start\;text-decoration:none\;text-indent:0px\;text-transform:no
 ne\;white-space:normal\;widows:auto\;word-spacing:0px\;'> 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
 e='-webkit-text-stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(6
 8\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open Sans'\, Arial\, H
 elvetica\, sans-serif\;font-size:16px\;font-variant-caps:normal\;font-weig
 ht:400\;letter-spacing:normal\;line-height:inherit\;orphans:auto\;text-ali
 gn:start\;text-decoration:none\;text-indent:0px\;text-transform:none\;whit
 e-space:normal\;widows:auto\;word-spacing:0px\;'>archipelagic thinking</em
 ><span style='-webkit-text-stroke-width:0px\;background-color:rgb(255\, 25
 5\, 255)\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;display:
 inline !important\;float:none\;font-family:'Open Sans'\, Arial\, Helvetica
 \, sans-serif\;font-size:16px\;font-style:normal\;font-variant-caps:normal
 \;font-weight:400\;letter-spacing:normal\;orphans:auto\;text-align:start\;
 text-decoration:none\;text-indent:0px\;text-transform:none\;white-space:no
 rmal\;widows:auto\;word-spacing:0px\;'>.</span><br> </h3><p><a href=' http
 s://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:20260612T083118Z
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><st
 rong>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<
 /p>
DTSTART;TZID=America/Los_Angeles:20251106T110000
DTEND;TZID=America/Los_Angeles:20251107T000000
LAST-MODIFIED:20251119T170529Z
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:</str
 ong> <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 style='color:bl
 ack\;font-family:'Times New Roman'\, serif\;font-size:14pt\;'><strong>Serc
 ombe </strong>is<strong> </strong></span><span style='color:rgb(33\, 33\, 
 33)\;font-family:'Times New Roman'\, serif\;font-size:14pt\;'>retired soun
 d archivist and curator for the UW Ethnomusicology Archive (Home of the Vi
  Hilbert Archive). </span><span style='color:black\;font-family:'Times New
  Roman'\, serif\;font-size:14pt\;'><strong>Vallier is c</strong></span><sp
 an style='color:rgb(33\, 33\, 33)\;font-family:'Times New Roman'\, serif\;
 font-size:14pt\;'>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><stro
 ng>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:20260612T083118Z
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><
 strong>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><
 strong>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</str
 ong><br>  Greg Sinibaldi - advisor<br><br>For Alohi - <strong>Coen Rios</s
 trong><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
DTEND;TZID=America/Los_Angeles:20251113T000000
LAST-MODIFIED:20251108T164838Z
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
 trong><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</str
 ong><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:20260612T083118Z
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><st
 rong>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<
 /p>
DTSTART;TZID=America/Los_Angeles:20251113T110000
DTEND;TZID=America/Los_Angeles:20251114T000000
LAST-MODIFIED:20251119T170529Z
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:</str
 ong> <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 style='color:bl
 ack\;font-family:'Times New Roman'\, serif\;font-size:14pt\;'><strong>Serc
 ombe </strong>is<strong> </strong></span><span style='color:rgb(33\, 33\, 
 33)\;font-family:'Times New Roman'\, serif\;font-size:14pt\;'>retired soun
 d archivist and curator for the UW Ethnomusicology Archive (Home of the Vi
  Hilbert Archive). </span><span style='color:black\;font-family:'Times New
  Roman'\, serif\;font-size:14pt\;'><strong>Vallier is c</strong></span><sp
 an style='color:rgb(33\, 33\, 33)\;font-family:'Times New Roman'\, serif\;
 font-size:14pt\;'>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><stro
 ng>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:20260612T083118Z
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><
 strong>To Be Determined </strong><br>	Cuong Vu - advisor</p><p>Minor Blues 
 - <strong>Kurt Rosenwinkel</strong><br>Madiba - <strong>Robert Glasper</st
 rong><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><
 p>Solar - <strong>Chuck Wayne\, Miles Davis</strong><br>Footprints - <stro
 ng>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
DTEND;TZID=America/Los_Angeles:20251114T000000
LAST-MODIFIED:20251108T165626Z
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 style='-webkit-text-stroke-width:0px\;caret-color:rgb(0\
 , 0\, 0)\;color:rgb(0\, 0\, 0)\;font-family:Helvetica\;font-size:14px\;fon
 t-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:
 normal\;orphans:auto\;text-align:start\;text-decoration:none\;text-indent:
 0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0p
 x\;'><p><strong>To Be Determined </strong><br>	<em>Cuong Vu - advisor</em><
 /p><p>Minor Blues - <strong>Kurt Rosenwinkel</strong><br>Madiba - <strong>
 Robert Glasper</strong><br>Abraham's New Gift - <strong>Freeness</strong><
 /p><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</str
 ong><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:20260612T083118Z
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><
 br><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 <
 strong>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.<
 /p><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.<
 /p><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
DTEND;TZID=America/Los_Angeles:20251118T000000
LAST-MODIFIED:20251115T185032Z
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:20260612T083118Z
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><h
 2>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<
 br>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
DTEND;TZID=America/Los_Angeles:20251119T000000
LAST-MODIFIED:20251114T005015Z
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<
 br>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><
 /p><hr><h2>Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:d027b260-fb50-4e1e-9757-d590bc28f9a2
DTSTAMP:20260612T083118Z
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><st
 rong>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<
 /p>
DTSTART;TZID=America/Los_Angeles:20251120T110000
DTEND;TZID=America/Los_Angeles:20251121T000000
LAST-MODIFIED:20251119T170529Z
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:</str
 ong> <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 style='color:bl
 ack\;font-family:'Times New Roman'\, serif\;font-size:14pt\;'><strong>Serc
 ombe </strong>is<strong> </strong></span><span style='color:rgb(33\, 33\, 
 33)\;font-family:'Times New Roman'\, serif\;font-size:14pt\;'>retired soun
 d archivist and curator for the UW Ethnomusicology Archive (Home of the Vi
  Hilbert Archive). </span><span style='color:black\;font-family:'Times New
  Roman'\, serif\;font-size:14pt\;'><strong>Vallier is c</strong></span><sp
 an style='color:rgb(33\, 33\, 33)\;font-family:'Times New Roman'\, serif\;
 font-size:14pt\;'>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><stro
 ng>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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20251121T000000
LAST-MODIFIED:20250401T201744Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:156d16c8-ef46-44b6-b0f3-59733c5cc97e
DTSTAMP:20260612T083118Z
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<
 br>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><
 hr><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 & 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 & 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 & 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</stron
 g><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 & Mathemati
 cs\, Camas\, WA<br>Charlotte Rogliano Cavalerie\, Community Member\, Seatt
 le WA<br>Kira Stewart\, Bioscience & Engineering\, Seattle\, WA<br>George 
 Whiddon\, International Studies & Chinese\, Littleton\, CO<br>Quinn Widdow
 s\, Electrical & Computer Engineering\, Issaquah\, WA<br><br><strong>TROMB
 ONE</strong><br>Cade Ballew\, Graduate\, Applied Math\, Norman\, OK<br>Jae
 seo Choi\, Electrical & 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><str
 ong>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><st
 rong>FLUTE / PICCOLO</strong><br>Tasiyah Ahmed\, Freshman\, Pre–Social Sci
 ences (Intended Economics & 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 & 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 & Space Sciences: Geology\, Shoreline\, WA<br>Victoria Silki
 na\, Freshman\, Pre-Science (Intended Marine Biology)\, Vienna\, Austria<b
 r>Hailey Cox\, Junior\, Aerospace & Astronautical Engineering\, Shoreline\
 , WA<br>Dennis Toepker\, Community Member\, Bellevue\, WA<br>Julia Winget\
 , Sophomore\, Physics and Earth & 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</st
 rong><br>CC Ahrens\, Senior\, Computer Science & Mathematics\, White Salmo
 n\, WA<br>Cin Ahrens\, Senior\, Computer Science & Mathematics\, White Sal
 mon\, WA<br>Jovani Azpeitia\, Graduate\, Social Psychology\, Kirkland\, WA
 <br>Gael Chun-Rivas\, Sophomore\, Electrical & Computer Engineering\, Hono
 lulu\, HI<br>Fareyl Daoed\, Freshman\, Earth & 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 & 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 & 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<
 /strong><br>Xin Cen\, Senior\, Biology\, Bellevue\, WA<br>Zachary Dunca\, 
 Freshman\, Architecture Design/CEP\, Santa ClaritaCA<br>Matthew Holmes\, G
 raduate\, Aeronautics & Astronautics\, Winters\, CA<br>Ananya Juneja\, Sop
 homore\, Visual Communication Design\, Snohomish\, WA<br>Ethan Kaplan\, Se
 nior\, Electrical & 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</str
 ong><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
DTEND;TZID=America/Los_Angeles:20251121T000000
LAST-MODIFIED:20251114T195544Z
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><stron
 g>UNIVERSITY OF WASHINGTON CAMPUS BAND</strong><br><br><strong>FLUTE</stro
 ng><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 & 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 & 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 & 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<
 br><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><
 br>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 & Mathematics\, Camas\,
  WA<br>Charlotte Rogliano Cavalerie\, Community Member\, Seattle WA<br>Kir
 a Stewart\, Bioscience & Engineering\, Seattle\, WA<br>George Whiddon\, In
 ternational Studies & Chinese\, Littleton\, CO<br>Quinn Widdows\, Electric
 al & Computer Engineering\, Issaquah\, WA<br><br><strong>TROMBONE</strong>
 <br>Cade Ballew\, Graduate\, Applied Math\, Norman\, OK<br>Jaeseo Choi\, E
 lectrical & 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><st
 rong>UNIVERSITY OF WASHINGTON CONCERT BAND</strong><br><br><strong>FLUTE /
  PICCOLO</strong><br>Tasiyah Ahmed\, Freshman\, Pre–Social Sciences (Inten
 ded Economics & 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<
 br>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 & 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 & Space Sciences: Geology\, Shoreline\, WA<br>Victoria Silkina\, Freshma
 n\, Pre-Science (Intended Marine Biology)\, Vienna\, Austria<br>Hailey Cox
 \, Junior\, Aerospace & Astronautical Engineering\, Shoreline\, WA<br>Denn
 is Toepker\, Community Member\, Bellevue\, WA<br>Julia Winget\, Sophomore\
 , Physics and Earth & 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 & Mathematics\, White Salmon\, WA<br>Ci
 n Ahrens\, Senior\, Computer Science & Mathematics\, White Salmon\, WA<br>
 Jovani Azpeitia\, Graduate\, Social Psychology\, Kirkland\, WA<br>Gael Chu
 n-Rivas\, Sophomore\, Electrical & Computer Engineering\, Honolulu\, HI<br
 >Fareyl Daoed\, Freshman\, Earth & 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 & 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<
 br>Dante Nguyen\, Junior\, Electrical & 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 & Astronautics\, Winters\, CA<br>Ananya Juneja\, Sophomore\, Vis
 ual Communication Design\, Snohomish\, WA<br>Ethan Kaplan\, Senior\, Elect
 rical & 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><str
 ong>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<
 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\, 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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20251122T000000
LAST-MODIFIED:20251021T160041Z
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:20260612T083118Z
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 style='-webkit-text-stroke-width:0px\;box-sizing:
 border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-f
 amily:'Encode Sans Compressed Regular'\, 'Open Sans'\, Arial\, sans-serif\
 ;font-size:1.875rem\;font-style:normal\;font-variant-caps:normal\;font-wei
 ght:normal\;letter-spacing:0.3px\;line-height:1.4\;margin:0.2rem 0px 0.5re
 m\;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\;'>Series Background</h2><p c
 lass='p1' style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;car
 et-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open San
 s'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-style:normal\;fo
 nt-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;line-heigh
 t:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-alig
 n:start\;text-decoration:none\;text-indent:0px\;text-rendering:optimizeleg
 ibility\;text-transform:none\;white-space:normal\;widows:auto\;word-spacin
 g:0px\;'>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
DTEND;TZID=America/Los_Angeles:20251122T000000
LAST-MODIFIED:20251106T194211Z
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:20260612T083118Z
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: <
 strong>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 style='line-heig
 ht:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><strong>GLEE</stro
 ng></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' di
 r='ltr'>Directed By: David Ferguson\, DMA\; Adam Freemantle\, MM\; Nichola
 s Renaud\, DMA</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-to
 p:0pt\;' 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='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><st
 rong>UNIVERSITY SINGERS</strong><br>Directed by: Michael McKenzie\, DMA\; 
 Alexandra Rameau\, MM\; Katia (Yekaterina) Velit\, MM</p><p style='line-he
 ight:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Collaborative Pi
 anist: Steve Swanson</p><p style='background-color:rgb(255\, 255\, 255)\;l
 ine-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'> </p><p st
 yle='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-botto
 m:0pt\;margin-top:0pt\;' dir='ltr'>Umoja Tunaimba - <strong>Victor C. John
 son</strong></p><p style='background-color:rgb(255\, 255\, 255)\;line-heig
 ht:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'> </p><p style='bac
 kground-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;m
 argin-top:0pt\;' dir='ltr'>Torn Screen Door - <strong>arr. Mark Sirett</st
 rong></p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38
 \;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'> </p><p style='background
 -color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-t
 op:0pt\;' dir='ltr'>Here Comes the Sun - <strong>arr. Adam Podd & Matt Pod
 d</strong></p><p style='background-color:rgb(255\, 255\, 255)\;line-height
 :1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'> </p><p style='backg
 round-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;mar
 gin-top:0pt\;' dir='ltr'>Give Me Oil in My Lamp - <strong>arr. Kyle Peders
 on</strong></p><p style='background-color:rgb(255\, 255\, 255)\;line-heigh
 t:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'> </p><p style='back
 ground-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;ma
 rgin-top:0pt\;' dir='ltr'>Soloists: Dalena Young\, Camille Tetreault\, Anc
 halee Chambers\, Alena Karpova\, Aiden Clegg\, and Matthew Merchant</p><hr
 ><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr
 '><strong>TREBLE</strong></p><p style='line-height:1.38\;margin-bottom:0pt
 \;margin-top:0pt\;' dir='ltr'>Directed by: Heidi Blythe\, DMA\; Tatiana Bo
 ggs\, DMA\; Julianna Grabowski\, DMA</p><p style='line-height:1.38\;margin
 -bottom:0pt\;margin-top:0pt\;' dir='ltr'>Collaborative Pianist: Steve Swan
 son<br> </p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\
 ;' dir='ltr'>Rain\, Rain! - <strong>David Brinsmead</strong></p><p style='
 line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><br>Storm
  Comin’- <strong>Wailin' Jennys</strong></p><p style='line-height:1.38\;ma
 rgin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><br>Spes - <strong>Mia Makaro
 ff</strong></p><hr><p style='line-height:1.38\;margin-bottom:0pt\;margin-t
 op:0pt\;' dir='ltr'><strong>COMBINED TREBLE</strong></p><p style='line-hei
 ght:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><br>We Are the St
 orm - <strong>Jerod Impichchaachaaha’ Tate</strong></p><p style='line-heig
 ht:2.536364\;margin-bottom:12pt\;margin-top:12pt\;' 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\,<
 br>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><
 /p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='l
 tr'>Soprano 1</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top
 :0pt\;' dir='ltr'>Maggie Li</p><p style='line-height:1.38\;margin-bottom:0
 pt\;margin-top:0pt\;' dir='ltr'>Isadora Miller</p><p style='line-height:1.
 38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Kailani Marson</p><p st
 yle='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Kyan
 a Chainani</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0p
 t\;' dir='ltr'>Irene Lee</p><p style='line-height:1.38\;margin-bottom:0pt\
 ;margin-top:0pt\;' dir='ltr'>Arianna Amador</p><p style='line-height:1.38\
 ;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Maddie McCarthy</p><p styl
 e='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'> </p><
 p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>
 Soprano 2</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt
 \;' dir='ltr'>Mimi Tetreault</p><p style='line-height:1.38\;margin-bottom:
 0pt\;margin-top:0pt\;' dir='ltr'>Ava Wilhite</p><p style='line-height:1.38
 \;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>McKenna Kernan</p><p styl
 e='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Dan-Th
 y Hoang</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;
 ' dir='ltr'>Tina Amrith</p><p style='line-height:1.38\;margin-bottom:0pt\;
 margin-top:0pt\;' dir='ltr'>Analicia Hayden</p><p style='line-height:1.38\
 ;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'> </p><p style='line-height
 :1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Alto 1</p><p style='
 line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Mari Hira
 yama</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' d
 ir='ltr'>Medha Sarkar</p><p style='line-height:1.38\;margin-bottom:0pt\;ma
 rgin-top:0pt\;' dir='ltr'>Anna Carlson</p><p style='line-height:1.38\;marg
 in-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Dina Tsang</p><p style='line-he
 ight:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Addy Miller</p><
 p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>
 Eliza Lightfoot</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-t
 op:0pt\;' dir='ltr'> </p><p style='line-height:1.38\;margin-bottom:0pt\;ma
 rgin-top:0pt\;' dir='ltr'>Alto 2</p><p style='line-height:1.38\;margin-bot
 tom:0pt\;margin-top:0pt\;' dir='ltr'>Haley Westberg</p><p style='line-heig
 ht:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Maddie Rivera</p><
 p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>
 Sydney Jordan</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top
 :0pt\;' dir='ltr'>Ella Heide </p><p style='line-height:1.38\;margin-bottom
 :0pt\;margin-top:0pt\;' dir='ltr'>Aliya Thompson</p><p style='line-height:
 1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Alex Retteghieri</p><
 p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>
  </p><h2><strong>UW GLEE</strong></h2><p style='line-height:1.38\;margin-b
 ottom:0pt\;margin-top:0pt\;' dir='ltr'>Tenor</p><p style='line-height:1.38
 \;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Barbara Benda</p><p style
 ='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Sarah C
 arpenter</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\
 ;' dir='ltr'>Vicky Everett</p><p style='line-height:1.38\;margin-bottom:0p
 t\;margin-top:0pt\;' dir='ltr'>Austin Everhart </p><p style='line-height:1
 .38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>David Ferguson</p><p s
 tyle='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Tia
  Fowler</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;
 ' dir='ltr'>Keanen Kehoe</p><p style='line-height:1.38\;margin-bottom:0pt\
 ;margin-top:0pt\;' dir='ltr'>Kai-Jing Lee</p><p style='line-height:1.38\;m
 argin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Fiona McNicholas</p><p style
 ='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Mary Po
 ole</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' di
 r='ltr'>Kate Taricani</p><p style='line-height:1.38\;margin-bottom:0pt\;ma
 rgin-top:0pt\;' dir='ltr'>Andi van der Burght</p><p style='line-height:1.3
 8\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Nic Renaud</p><p style='
 line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Carmela S
 tewart</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;'
  dir='ltr'>Zijun Zeng<br> </p><p style='line-height:1.38\;margin-bottom:0p
 t\;margin-top:0pt\;' dir='ltr'>Baritone</p><p style='line-height:1.38\;mar
 gin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Ezra Acevedo</p><p style='line
 -height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Justin Bowman
 </p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='
 ltr'>MJ Carpenter</p><p style='line-height:1.38\;margin-bottom:0pt\;margin
 -top:0pt\;' dir='ltr'>Avi Mittal</p><p style='line-height:1.38\;margin-bot
 tom:0pt\;margin-top:0pt\;' dir='ltr'>Michael Santillo</p><p style='line-he
 ight:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Barry Wang</p><p
  style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>H
 udson Wong</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0p
 t\;' dir='ltr'>Grant Yang</p><p style='line-height:1.38\;margin-bottom:0pt
 \;margin-top:0pt\;' dir='ltr'>Paul Johns<br> </p><p style='line-height:1.3
 8\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Bass</p><p style='line-h
 eight:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Eden Alvarado</
 p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='lt
 r'>Alex Beck</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:
 0pt\;' dir='ltr'>Elias Carlson</p><p style='line-height:1.38\;margin-botto
 m:0pt\;margin-top:0pt\;' dir='ltr'>Adam Freemantle</p><p style='line-heigh
 t:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Manuel Gomez</p><p 
 style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Ai
 den Hochstatter</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-t
 op:0pt\;' dir='ltr'>Yixuan Wang</p><p style='line-height:1.38\;margin-bott
 om:0pt\;margin-top:0pt\;' dir='ltr'>Thomas Wardian</p><p style='line-heigh
 t:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'> </p><p><strong>UNI
 VERSITY SINGERS</strong></p><p style='background-color:rgb(255\, 255\, 255
 )\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Part 1
 :</p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;ma
 rgin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Aidin Behroozi</p><p style='b
 ackground-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\
 ;margin-top:0pt\;' dir='ltr'>Ella Crandall</p><p style='background-color:r
 gb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;
 ' dir='ltr'>Gwen Hobson</p><p style='background-color:rgb(255\, 255\, 255)
 \;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Sunny I
 mp</p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;m
 argin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Anja Lovegren</p><p style='b
 ackground-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\
 ;margin-top:0pt\;' dir='ltr'>Mars Nguyen</p><p style='background-color:rgb
 (255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' 
 dir='ltr'>Madelyn Price</p><p style='background-color:rgb(255\, 255\, 255)
 \;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Lorelai
  Taylor</p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.
 38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Camille Tetreault</p><p
  style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bo
 ttom:0pt\;margin-top:0pt\;' dir='ltr'>Alice Young</p><p style='background-
 color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-to
 p:0pt\;' dir='ltr'>Dalena Young</p><p style='background-color:rgb(255\, 25
 5\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'
 > </p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;m
 argin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Part 2:</p><p style='backgro
 und-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margi
 n-top:0pt\;' dir='ltr'>Alex Billingsley</p><p style='background-color:rgb(
 255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' d
 ir='ltr'>Anchalee Chambers</p><p style='background-color:rgb(255\, 255\, 2
 55)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Sola
  Feldheger</p><p style='background-color:rgb(255\, 255\, 255)\;line-height
 :1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Camille Fortaleza</p
 ><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin
 -bottom:0pt\;margin-top:0pt\;' dir='ltr'>Myla Hormon</p><p style='backgrou
 nd-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin
 -top:0pt\;' dir='ltr'>Yooeun Kang</p><p style='background-color:rgb(255\, 
 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='lt
 r'>Alena Karpova</p><p style='background-color:rgb(255\, 255\, 255)\;line-
 height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Addison Miller
 </p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;mar
 gin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Noa Reshikoff</p><p style='bac
 kground-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;m
 argin-top:0pt\;' dir='ltr'>Polina Shuklina</p><p style='background-color:r
 gb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;
 ' dir='ltr'>Chloe Snyder</p><p style='background-color:rgb(255\, 255\, 255
 )\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Madeli
 ne Stroup</p><p style='background-color:rgb(255\, 255\, 255)\;line-height:
 1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Skye Suk</p><p style=
 'background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0p
 t\;margin-top:0pt\;' dir='ltr'>Rachel Tkachenko</p><p style='background-co
 lor:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:
 0pt\;' dir='ltr'>Sophia Wells</p><p style='background-color:rgb(255\, 255\
 , 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>X
 inrong Zhong</p><p style='background-color:rgb(255\, 255\, 255)\;line-heig
 ht:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Airong Zhuang</p><
 p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-b
 ottom:0pt\;margin-top:0pt\;' dir='ltr'> </p><p style='background-color:rgb
 (255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' 
 dir='ltr'>Part 3:</p><p style='background-color:rgb(255\, 255\, 255)\;line
 -height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Aiden Clegg</
 p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margi
 n-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Raymond Lam</p><p style='backgro
 und-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margi
 n-top:0pt\;' dir='ltr'>Matthew Merchant</p><p style='background-color:rgb(
 255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' d
 ir='ltr'>Isaac Mitchell</p><p style='background-color:rgb(255\, 255\, 255)
 \;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Elliott
  Montoya</p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1
 .38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Raziel Spinosa Holguin
 </p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;mar
 gin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Edmund Tsai</p><p style='backg
 round-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;mar
 gin-top:0pt\;' dir='ltr'>Shuai Yuan</p><p style='background-color:rgb(255\
 , 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='
 ltr'>Suqin Zhang</p><p style='background-color:rgb(255\, 255\, 255)\;line-
 height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'> </p><h2>Biogr
 aphies</h2><p> </p>
DTSTART;TZID=America/Los_Angeles:20251121T193000
DTEND;TZID=America/Los_Angeles:20251122T000000
LAST-MODIFIED:20260312T091613Z
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 style='backgrou
 nd-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, se
 rif\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;fo
 nt-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligat
 ures:normal\;font-variant-numeric:normal\;font-variant-position:normal\;fo
 nt-weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:
 pre-wrap\;'><strong>ADVANCED TREBLE CHOIR</strong></span><br><span style='
 background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamo
 nd'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alternates:no
 rmal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-varia
 nt-ligatures:normal\;font-variant-numeric:normal\;font-variant-position:no
 rmal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;whit
 e-space:pre-wrap\;'>Directed by: Heidi Blythe\, DMA</span><br><span style=
 'background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garam
 ond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alternates:n
 ormal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-vari
 ant-ligatures:normal\;font-variant-numeric:normal\;font-variant-position:n
 ormal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;whi
 te-space:pre-wrap\;'>Collaborative Pianist: Steve Swanson</span></p><p><sp
 an style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:
 'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alt
 ernates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;
 font-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-p
 osition:normal\;font-weight:400\;text-decoration:none\;vertical-align:base
 line\;white-space:pre-wrap\;'>Chant: As taught by <strong>Moira Smiley</st
 rong></span><br><br><span style='background-color:transparent\;color:rgb(0
 \, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:n
 ormal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-vari
 ant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric
 :normal\;font-variant-position:normal\;font-weight:400\;text-decoration:no
 ne\;vertical-align:baseline\;white-space:pre-wrap\;'>Malala: <strong>Joan 
 Szymko</strong></span><br>(<em><span style='background-color:transparent\;
 color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;f
 ont-style:normal\;font-variant-alternates:normal\;font-variant-caps:normal
 \;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-vari
 ant-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-de
 coration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Michael Mc
 Kenzie\, percussion)</span></em><br><br><span style='background-color:tran
 sparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-siz
 e:12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-ca
 ps: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:baseline\;white-space:pre-wrap\;'>G
 rown Wild: <strong>Melissa Dunphy</strong></span><br>(<span style='backgro
 und-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, s
 erif\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;f
 ont-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-liga
 tures:normal\;font-variant-numeric:normal\;font-variant-position:normal\;f
 ont-weight:400\;text-decoration:none\;vertical-align:baseline\;white-space
 :pre-wrap\;'>Heather Hunter\, violin)</span><br><br><span style='backgroun
 d-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, ser
 if\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;fon
 t-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatu
 res:normal\;font-variant-numeric:normal\;font-variant-position:normal\;fon
 t-weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:p
 re-wrap\;'>Look! Be: leap: <strong>Libby Larsen</strong></span></p><hr><p 
 style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><s
 pan style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family
 :'EB Garamond'\, 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\;'><strong>GLEE</strong></span></p><p style='l
 ine-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span styl
 e='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Gar
 amond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alternates
 :normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-va
 riant-ligatures:normal\;font-variant-numeric:normal\;font-variant-position
 :normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;w
 hite-space:pre-wrap\;'>Directed By: David Ferguson\, DMA\; Adam Freemantle
 \, MM\; Nicholas Renaud\, DMA</span></p><p style='line-height:1.38\;margin
 -bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:tra
 nsparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-si
 ze:12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-c
 aps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\
 ;font-variant-numeric:normal\;font-variant-position:normal\;font-weight:40
 0\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>
 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 style='line-h
 eight:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='ba
 ckground-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond
 '\, serif\;font-size:12pt\;font-style:normal\;font-variant-alternates:norm
 al\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-variant
 -ligatures:normal\;font-variant-numeric:normal\;font-variant-position:norm
 al\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;white-
 space:pre-wrap\;'><strong>UNIVERSITY SINGERS</strong></span><br><span styl
 e='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Gar
 amond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alternates
 :normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-va
 riant-ligatures:normal\;font-variant-numeric:normal\;font-variant-position
 :normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;w
 hite-space:pre-wrap\;'>Directed by: Michael McKenzie\, DMA\; Alexandra Ram
 eau\, MM\; Katia (Yekaterina) Velit\, MM</span></p><p style='line-height:1
 .38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='backgroun
 d-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, ser
 if\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;fon
 t-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatu
 res:normal\;font-variant-numeric:normal\;font-variant-position:normal\;fon
 t-weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:p
 re-wrap\;'>Collaborative Pianist: Steve Swanson</span></p><p style='backgr
 ound-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;marg
 in-top:0pt\;' dir='ltr'> </p><p style='background-color:rgb(255\, 255\, 25
 5)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span
  style='background-color:transparent\;color:rgb(34\, 34\, 34)\;font-family
 :'EB Garamond'\, 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\;'>Umoja Tunaimba - <strong>Victor C. Johnson<
 /strong></span></p><p style='background-color:rgb(255\, 255\, 255)\;line-h
 eight:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'> </p><p style='
 background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt
 \;margin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;c
 olor:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;font-size:12pt\
 ;font-style:normal\;font-variant-alternates:normal\;font-variant-caps:norm
 al\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-va
 riant-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-
 decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Torn Scr
 een Door - <strong>arr. Mark Sirett</strong></span></p><p style='backgroun
 d-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-
 top:0pt\;' dir='ltr'> </p><p style='background-color:rgb(255\, 255\, 255)\
 ;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span st
 yle='background-color:transparent\;color:rgb(34\, 34\, 34)\;font-family:'E
 B Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alter
 nates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;fo
 nt-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-pos
 ition:normal\;font-weight:400\;text-decoration:none\;vertical-align:baseli
 ne\;white-space:pre-wrap\;'>Here Comes the Sun - <strong>arr. Adam Podd & 
 Matt Podd</strong></span></p><p style='background-color:rgb(255\, 255\, 25
 5)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'> </p>
 <p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-
 bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:tran
 sparent\;color:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;font-
 size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant
 -caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:norma
 l\;font-variant-numeric:normal\;font-variant-position:normal\;font-weight:
 400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;
 '>Give Me Oil in My Lamp - <strong>arr. Kyle Pederson</strong></span></p><
 p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-b
 ottom:0pt\;margin-top:0pt\;' dir='ltr'> </p><p style='background-color:rgb
 (255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' 
 dir='ltr'><span style='background-color:transparent\;color:rgb(34\, 34\, 3
 4)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;
 font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-eas
 t-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal
 \;font-variant-position:normal\;font-weight:400\;text-decoration:none\;ver
 tical-align:baseline\;white-space:pre-wrap\;'>Soloists: Dalena Young\, Cam
 ille Tetreault\, Anchalee Chambers\, Alena Karpova\, Aiden Clegg\, and Mat
 thew Merchant</span></p><hr><p style='line-height:1.38\;margin-bottom:0pt\
 ;margin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;co
 lor:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;fon
 t-style:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;
 font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-varian
 t-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-deco
 ration:none\;vertical-align:baseline\;white-space:pre-wrap\;'><strong>TREB
 LE</strong></span></p><p style='line-height:1.38\;margin-bottom:0pt\;margi
 n-top:0pt\;' dir='ltr'><span style='background-color:transparent\;color:rg
 b(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-styl
 e:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-v
 ariant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-nume
 ric:normal\;font-variant-position:normal\;font-weight:400\;text-decoration
 :none\;vertical-align:baseline\;white-space:pre-wrap\;'>Directed by: Heidi
  Blythe\, DMA\; Tatiana Boggs\, DMA\; Julianna Grabowski\, DMA</span></p><
 p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>
 <span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-fami
 ly:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-
 alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:norma
 l\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-varian
 t-position:normal\;font-weight:400\;text-decoration:none\;vertical-align:b
 aseline\;white-space:pre-wrap\;'>Collaborative Pianist: Steve Swanson</spa
 n><br> </p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;
 ' dir='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\, 0
 )\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;f
 ont-variant-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\;vert
 ical-align:baseline\;white-space:pre-wrap\;'>Rain\, Rain! - <strong>David 
 Brinsmead</strong></span></p><p style='line-height:1.38\;margin-bottom:0pt
 \;margin-top:0pt\;' dir='ltr'><br><span style='background-color:transparen
 t\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt
 \;font-style:normal\;font-variant-alternates:normal\;font-variant-caps:nor
 mal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-v
 ariant-numeric:normal\;font-variant-position:normal\;font-weight:400\;text
 -decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Storm C
 omin’- <strong>Wailin' Jennys</strong></span></p><p style='line-height:1.3
 8\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><br><span style='backgro
 und-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, s
 erif\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;f
 ont-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-liga
 tures:normal\;font-variant-numeric:normal\;font-variant-position:normal\;f
 ont-weight:400\;text-decoration:none\;vertical-align:baseline\;white-space
 :pre-wrap\;'>Spes - <strong>Mia Makaroff</strong></span></p><hr><p style='
 line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span sty
 le='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Ga
 ramond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alternate
 s:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-v
 ariant-ligatures:normal\;font-variant-numeric:normal\;font-variant-positio
 n:normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;
 white-space:pre-wrap\;'><strong>COMBINED TREBLE</strong></span></p><p styl
 e='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><br><s
 pan style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family
 :'EB Garamond'\, 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\;'>We Are the Storm - <strong>Jerod Impichchaa
 chaaha’ Tate</strong></span></p><p style='line-height:2.536364\;margin-bot
 tom:12pt\;margin-top:12pt\;' dir='ltr'><span style='background-color:trans
 parent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size
 :12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-cap
 s:normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;f
 ont-variant-numeric:normal\;font-variant-position:normal\;font-weight:400\
 ;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>So
 loists: McKenna Kernan\, Amy Roon\, Sanskriti Joshi\, Dina Tsang\, Maddie 
 McCarthy\, Maddie Rivera\, Micaela Omoto\, and Helen Chen</span><br><span 
 style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB
  Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-altern
 ates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;fon
 t-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-posi
 tion:normal\;font-weight:400\;text-decoration:none\;vertical-align:baselin
 e\;white-space:pre-wrap\;'>Michael McKenzie\, percussion</span></p><hr><h2
 >Lyrics and Translations</h2><p><strong>SPES (HOPE) TRANSLATION:</strong><
 br>Quis talis\, ut sapiens est?<br>Et quis cognovit solutionem rerum?</p><
 p>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<
 br>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 style='line
 -height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='
 background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamo
 nd'\, serif\;font-size:11pt\;font-style:normal\;font-variant-alternates:no
 rmal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-varia
 nt-ligatures:normal\;font-variant-numeric:normal\;font-variant-position:no
 rmal\;font-weight:400\;text-decoration-skip-ink:none\;text-decoration:unde
 rline\;vertical-align:baseline\;white-space:pre-wrap\;'>Soprano 1</span></
 p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='lt
 r'><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-f
 amily:'EB Garamond'\, serif\;font-size:11pt\;font-style:normal\;font-varia
 nt-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:no
 rmal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-var
 iant-position:normal\;font-weight:400\;text-decoration:none\;vertical-alig
 n:baseline\;white-space:pre-wrap\;'>Maggie Li</span></p><p style='line-hei
 ght:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='back
 ground-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\
 , serif\;font-size:11pt\;font-style:normal\;font-variant-alternates:normal
 \;font-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-l
 igatures:normal\;font-variant-numeric:normal\;font-variant-position:normal
 \;font-weight:400\;text-decoration:none\;vertical-align:baseline\;white-sp
 ace:pre-wrap\;'>Isadora Miller</span></p><p style='line-height:1.38\;margi
 n-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:tr
 ansparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-s
 ize:11pt\;font-style:normal\;font-variant-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:4
 00\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'
 >Kailani Marson</span></p><p style='line-height:1.38\;margin-bottom:0pt\;m
 argin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;colo
 r:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:11pt\;font-
 style:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;fo
 nt-variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-
 numeric:normal\;font-variant-position:normal\;font-weight:400\;text-decora
 tion:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Kyana Chainani
 </span></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;
 ' dir='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\, 0
 )\;font-family:'EB Garamond'\, serif\;font-size:11pt\;font-style:normal\;f
 ont-variant-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\;vert
 ical-align:baseline\;white-space:pre-wrap\;'>Irene Lee</span></p><p style=
 'line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span st
 yle='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB G
 aramond'\, serif\;font-size:11pt\;font-style:normal\;font-variant-alternat
 es:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-
 variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-positi
 on:normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\
 ;white-space:pre-wrap\;'>Arianna Amador</span></p><p style='line-height:1.
 38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background
 -color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, seri
 f\;font-size:11pt\;font-style:normal\;font-variant-alternates:normal\;font
 -variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatur
 es:normal\;font-variant-numeric:normal\;font-variant-position:normal\;font
 -weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:pr
 e-wrap\;'>Maddie McCarthy</span></p><p style='line-height:1.38\;margin-bot
 tom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:transpa
 rent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:1
 1pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-caps:
 normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;fon
 t-variant-numeric:normal\;font-variant-position:normal\;font-weight:400\;t
 ext-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'> </s
 pan></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' d
 ir='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;
 font-family:'EB Garamond'\, serif\;font-size:11pt\;font-style:normal\;font
 -variant-alternates:normal\;font-variant-caps:normal\;font-variant-east-as
 ian:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;fo
 nt-variant-position:normal\;font-weight:400\;text-decoration-skip-ink:none
 \;text-decoration:underline\;vertical-align:baseline\;white-space:pre-wrap
 \;'>Soprano 2</span></p><p style='line-height:1.38\;margin-bottom:0pt\;mar
 gin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;color:
 rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:11pt\;font-st
 yle:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font
 -variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-nu
 meric:normal\;font-variant-position:normal\;font-weight:400\;text-decorati
 on:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Mimi Tetreault</
 span></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' 
 dir='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\
 ;font-family:'EB Garamond'\, serif\;font-size:11pt\;font-style:normal\;fon
 t-variant-alternates:normal\;font-variant-caps:normal\;font-variant-east-a
 sian:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;f
 ont-variant-position:normal\;font-weight:400\;text-decoration:none\;vertic
 al-align:baseline\;white-space:pre-wrap\;'>Ava Wilhite</span></p><p style=
 'line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span st
 yle='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB G
 aramond'\, serif\;font-size:11pt\;font-style:normal\;font-variant-alternat
 es:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-
 variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-positi
 on:normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\
 ;white-space:pre-wrap\;'>McKenna Kernan</span></p><p style='line-height:1.
 38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background
 -color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, seri
 f\;font-size:11pt\;font-style:normal\;font-variant-alternates:normal\;font
 -variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatur
 es:normal\;font-variant-numeric:normal\;font-variant-position:normal\;font
 -weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:pr
 e-wrap\;'>Dan-Thy Hoang</span></p><p style='line-height:1.38\;margin-botto
 m:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:transpare
 nt\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:11p
 t\;font-style:normal\;font-variant-alternates:normal\;font-variant-caps:no
 rmal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-
 variant-numeric:normal\;font-variant-position:normal\;font-weight:400\;tex
 t-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Tina A
 mrith</span></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:
 0pt\;' dir='ltr'><span style='background-color:transparent\;color:rgb(0\, 
 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:11pt\;font-style:norm
 al\;font-variant-alternates:normal\;font-variant-caps:normal\;font-variant
 -east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:no
 rmal\;font-variant-position:normal\;font-weight:400\;text-decoration:none\
 ;vertical-align:baseline\;white-space:pre-wrap\;'>Analicia Hayden</span></
 p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='lt
 r'><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-f
 amily:'EB Garamond'\, serif\;font-size:11pt\;font-style:normal\;font-varia
 nt-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:no
 rmal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-var
 iant-position:normal\;font-weight:400\;text-decoration:none\;vertical-alig
 n:baseline\;white-space:pre-wrap\;'> </span></p><p style='line-height:1.38
 \;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-c
 olor:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\
 ;font-size:11pt\;font-style:normal\;font-variant-alternates:normal\;font-v
 ariant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures
 :normal\;font-variant-numeric:normal\;font-variant-position:normal\;font-w
 eight:400\;text-decoration-skip-ink:none\;text-decoration:underline\;verti
 cal-align:baseline\;white-space:pre-wrap\;'>Alto 1</span></p><p style='lin
 e-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style=
 'background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garam
 ond'\, serif\;font-size:11pt\;font-style:normal\;font-variant-alternates:n
 ormal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-vari
 ant-ligatures:normal\;font-variant-numeric:normal\;font-variant-position:n
 ormal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;whi
 te-space:pre-wrap\;'>Mari Hirayama</span></p><p style='line-height:1.38\;m
 argin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-colo
 r:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;fo
 nt-size:11pt\;font-style:normal\;font-variant-alternates:normal\;font-vari
 ant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:no
 rmal\;font-variant-numeric:normal\;font-variant-position:normal\;font-weig
 ht:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wra
 p\;'>Medha Sarkar</span></p><p style='line-height:1.38\;margin-bottom:0pt\
 ;margin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;co
 lor:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:11pt\;fon
 t-style:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;
 font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-varian
 t-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-deco
 ration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Anna Carlson
 </span></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;
 ' dir='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\, 0
 )\;font-family:'EB Garamond'\, serif\;font-size:11pt\;font-style:normal\;f
 ont-variant-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\;vert
 ical-align:baseline\;white-space:pre-wrap\;'>Dina Tsang</span></p><p style
 ='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span s
 tyle='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB 
 Garamond'\, serif\;font-size:11pt\;font-style:normal\;font-variant-alterna
 tes:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font
 -variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-posit
 ion:normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline
 \;white-space:pre-wrap\;'>Addy Miller</span></p><p style='line-height:1.38
 \;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-c
 olor:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\
 ;font-size:11pt\;font-style:normal\;font-variant-alternates:normal\;font-v
 ariant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures
 :normal\;font-variant-numeric:normal\;font-variant-position:normal\;font-w
 eight:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-
 wrap\;'>Eliza Lightfoot</span></p><p style='line-height:1.38\;margin-botto
 m:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:transpare
 nt\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:11p
 t\;font-style:normal\;font-variant-alternates:normal\;font-variant-caps:no
 rmal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-
 variant-numeric:normal\;font-variant-position:normal\;font-weight:400\;tex
 t-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'> </spa
 n></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir
 ='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;fo
 nt-family:'EB Garamond'\, serif\;font-size:11pt\;font-style:normal\;font-v
 ariant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asia
 n:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font
 -variant-position:normal\;font-weight:400\;text-decoration-skip-ink:none\;
 text-decoration:underline\;vertical-align:baseline\;white-space:pre-wrap\;
 '>Alto 2</span></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-t
 op:0pt\;' dir='ltr'><span style='background-color:transparent\;color:rgb(0
 \, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:11pt\;font-style:n
 ormal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-vari
 ant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric
 :normal\;font-variant-position:normal\;font-weight:400\;text-decoration:no
 ne\;vertical-align:baseline\;white-space:pre-wrap\;'>Haley Westberg</span>
 </p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='
 ltr'><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font
 -family:'EB Garamond'\, serif\;font-size:11pt\;font-style:normal\;font-var
 iant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:
 normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-v
 ariant-position:normal\;font-weight:400\;text-decoration:none\;vertical-al
 ign:baseline\;white-space:pre-wrap\;'>Maddie Rivera</span></p><p style='li
 ne-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style
 ='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Gara
 mond'\, serif\;font-size:11pt\;font-style:normal\;font-variant-alternates:
 normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-var
 iant-ligatures:normal\;font-variant-numeric:normal\;font-variant-position:
 normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;wh
 ite-space:pre-wrap\;'>Sydney Jordan</span></p><p style='line-height:1.38\;
 margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-col
 or:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;f
 ont-size:11pt\;font-style:normal\;font-variant-alternates:normal\;font-var
 iant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:n
 ormal\;font-variant-numeric:normal\;font-variant-position:normal\;font-wei
 ght:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wr
 ap\;'>Ella Heide </span></p><p style='line-height:1.38\;margin-bottom:0pt\
 ;margin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;co
 lor:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:11pt\;fon
 t-style:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;
 font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-varian
 t-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-deco
 ration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Aliya Thomps
 on</span></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt
 \;' dir='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\,
  0)\;font-family:'EB Garamond'\, serif\;font-size:11pt\;font-style:normal\
 ;font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-ea
 st-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:norma
 l\;font-variant-position:normal\;font-weight:400\;text-decoration:none\;ve
 rtical-align:baseline\;white-space:pre-wrap\;'>Alex Retteghieri</span></p>
 <p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'
 > </p><h2><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\
 ;font-family:'EB Garamond'\, serif\;font-size:11pt\;font-style:normal\;fon
 t-variant-alternates:normal\;font-variant-caps:normal\;font-variant-east-a
 sian:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;f
 ont-variant-position:normal\;font-weight:400\;text-decoration:none\;vertic
 al-align:baseline\;white-space:pre-wrap\;'><strong>UW GLEE</strong></span>
 </h2><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir=
 'ltr'><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;fon
 t-family:'EB Garamond'\, 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-skip-ink:none\;t
 ext-decoration:underline\;vertical-align:baseline\;white-space:pre-wrap\;'
 >Tenor</span></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top
 :0pt\;' dir='ltr'><span style='background-color:transparent\;color:rgb(0\,
  0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:nor
 mal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-varian
 t-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:n
 ormal\;font-variant-position:normal\;font-weight:400\;text-decoration:none
 \;vertical-align:baseline\;white-space:pre-wrap\;'>Barbara Benda</span></p
 ><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr
 '><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-fa
 mily:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-varian
 t-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:nor
 mal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-vari
 ant-position:normal\;font-weight:400\;text-decoration:none\;vertical-align
 :baseline\;white-space:pre-wrap\;'>Sarah Carpenter</span></p><p style='lin
 e-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style=
 'background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garam
 ond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alternates:n
 ormal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-vari
 ant-ligatures:normal\;font-variant-numeric:normal\;font-variant-position:n
 ormal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;whi
 te-space:pre-wrap\;'>Vicky Everett</span></p><p style='line-height:1.38\;m
 argin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-colo
 r:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;fo
 nt-size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-vari
 ant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:no
 rmal\;font-variant-numeric:normal\;font-variant-position:normal\;font-weig
 ht:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wra
 p\;'>Austin Everhart </span></p><p style='line-height:1.38\;margin-bottom:
 0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:transparent
 \;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\
 ;font-style:normal\;font-variant-alternates:normal\;font-variant-caps:norm
 al\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-va
 riant-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-
 decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>David Fe
 rguson</span></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top
 :0pt\;' dir='ltr'><span style='background-color:transparent\;color:rgb(0\,
  0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:nor
 mal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-varian
 t-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:n
 ormal\;font-variant-position:normal\;font-weight:400\;text-decoration:none
 \;vertical-align:baseline\;white-space:pre-wrap\;'>Tia Fowler</span></p><p
  style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><
 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\;'>Keanen Kehoe</span></p><p style='line-heig
 ht:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='backg
 round-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\,
  serif\;font-size:12pt\;font-style:normal\;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\
 ;font-weight:400\;text-decoration:none\;vertical-align:baseline\;white-spa
 ce:pre-wrap\;'>Kai-Jing Lee</span></p><p style='line-height:1.38\;margin-b
 ottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:trans
 parent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size
 :12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-cap
 s:normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;f
 ont-variant-numeric:normal\;font-variant-position:normal\;font-weight:400\
 ;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Fi
 ona McNicholas</span></p><p style='line-height:1.38\;margin-bottom:0pt\;ma
 rgin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;color
 :rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-s
 tyle:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;fon
 t-variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-n
 umeric:normal\;font-variant-position:normal\;font-weight:400\;text-decorat
 ion:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Mary Poole</spa
 n></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir
 ='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;fo
 nt-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-v
 ariant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asia
 n:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font
 -variant-position:normal\;font-weight:400\;text-decoration:none\;vertical-
 align:baseline\;white-space:pre-wrap\;'>Kate Taricani</span></p><p style='
 line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span sty
 le='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Ga
 ramond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alternate
 s:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-v
 ariant-ligatures:normal\;font-variant-numeric:normal\;font-variant-positio
 n:normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;
 white-space:pre-wrap\;'>Andi van der Burght</span></p><p style='line-heigh
 t:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='backgr
 ound-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, 
 serif\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;
 font-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-lig
 atures:normal\;font-variant-numeric:normal\;font-variant-position:normal\;
 font-weight:400\;text-decoration:none\;vertical-align:baseline\;white-spac
 e:pre-wrap\;'>Nic Renaud</span></p><p style='line-height:1.38\;margin-bott
 om:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:transpar
 ent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12
 pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-caps:n
 ormal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font
 -variant-numeric:normal\;font-variant-position:normal\;font-weight:400\;te
 xt-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Carme
 la Stewart</span></p><p style='line-height:1.38\;margin-bottom:0pt\;margin
 -top:0pt\;' dir='ltr'><span style='background-color:transparent\;color:rgb
 (0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style
 :normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-va
 riant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numer
 ic:normal\;font-variant-position:normal\;font-weight:400\;text-decoration:
 none\;vertical-align:baseline\;white-space:pre-wrap\;'>Zijun Zeng</span><b
 r> </p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' di
 r='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;f
 ont-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-
 variant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asi
 an:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;fon
 t-variant-position:normal\;font-weight:400\;text-decoration-skip-ink:none\
 ;text-decoration:underline\;vertical-align:baseline\;white-space:pre-wrap\
 ;'>Baritone</span></p><p style='line-height:1.38\;margin-bottom:0pt\;margi
 n-top:0pt\;' dir='ltr'><span style='background-color:transparent\;color:rg
 b(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-styl
 e:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-v
 ariant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-nume
 ric:normal\;font-variant-position:normal\;font-weight:400\;text-decoration
 :none\;vertical-align:baseline\;white-space:pre-wrap\;'>Ezra Acevedo</span
 ></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir=
 'ltr'><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;fon
 t-family:'EB Garamond'\, 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\;'>Justin Bowman</span></p><p style='l
 ine-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span styl
 e='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Gar
 amond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alternates
 :normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-va
 riant-ligatures:normal\;font-variant-numeric:normal\;font-variant-position
 :normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;w
 hite-space:pre-wrap\;'>MJ Carpenter</span></p><p style='line-height:1.38\;
 margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-col
 or:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;f
 ont-size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-var
 iant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:n
 ormal\;font-variant-numeric:normal\;font-variant-position:normal\;font-wei
 ght:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wr
 ap\;'>Avi Mittal</span></p><p style='line-height:1.38\;margin-bottom:0pt\;
 margin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;col
 or:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font
 -style:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;f
 ont-variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant
 -numeric:normal\;font-variant-position:normal\;font-weight:400\;text-decor
 ation:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Michael Santi
 llo</span></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0p
 t\;' dir='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\
 , 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal
 \;font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-e
 ast-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:norm
 al\;font-variant-position:normal\;font-weight:400\;text-decoration:none\;v
 ertical-align:baseline\;white-space:pre-wrap\;'>Barry Wang</span></p><p st
 yle='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><spa
 n style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'
 EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alte
 rnates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;f
 ont-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-po
 sition:normal\;font-weight:400\;text-decoration:none\;vertical-align:basel
 ine\;white-space:pre-wrap\;'>Hudson Wong</span></p><p style='line-height:1
 .38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='backgroun
 d-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, ser
 if\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;fon
 t-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatu
 res:normal\;font-variant-numeric:normal\;font-variant-position:normal\;fon
 t-weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:p
 re-wrap\;'>Grant Yang</span></p><p style='line-height:1.38\;margin-bottom:
 0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:transparent
 \;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\
 ;font-style:normal\;font-variant-alternates:normal\;font-variant-caps:norm
 al\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-va
 riant-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-
 decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Paul Joh
 ns</span><br> </p><p style='line-height:1.38\;margin-bottom:0pt\;margin-to
 p:0pt\;' dir='ltr'><span style='background-color:transparent\;color:rgb(0\
 , 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:no
 rmal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-varia
 nt-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:
 normal\;font-variant-position:normal\;font-weight:400\;text-decoration-ski
 p-ink:none\;text-decoration:underline\;vertical-align:baseline\;white-spac
 e:pre-wrap\;'>Bass</span></p><p style='line-height:1.38\;margin-bottom:0pt
 \;margin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;c
 olor:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;fo
 nt-style:normal\;font-variant-alternates:normal\;font-variant-caps:normal\
 ;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-varia
 nt-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-dec
 oration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Eden Alvara
 do</span></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt
 \;' dir='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\,
  0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\
 ;font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-ea
 st-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:norma
 l\;font-variant-position:normal\;font-weight:400\;text-decoration:none\;ve
 rtical-align:baseline\;white-space:pre-wrap\;'>Alex Beck</span></p><p styl
 e='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span 
 style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB
  Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-altern
 ates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;fon
 t-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-posi
 tion:normal\;font-weight:400\;text-decoration:none\;vertical-align:baselin
 e\;white-space:pre-wrap\;'>Elias Carlson</span></p><p style='line-height:1
 .38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='backgroun
 d-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, ser
 if\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;fon
 t-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatu
 res:normal\;font-variant-numeric:normal\;font-variant-position:normal\;fon
 t-weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:p
 re-wrap\;'>Adam Freemantle</span></p><p style='line-height:1.38\;margin-bo
 ttom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:transp
 arent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:
 12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-caps
 :normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;fo
 nt-variant-numeric:normal\;font-variant-position:normal\;font-weight:400\;
 text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Man
 uel Gomez</span></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-
 top:0pt\;' dir='ltr'><span style='background-color:transparent\;color:rgb(
 0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:
 normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-var
 iant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeri
 c:normal\;font-variant-position:normal\;font-weight:400\;text-decoration:n
 one\;vertical-align:baseline\;white-space:pre-wrap\;'>Aiden Hochstatter</s
 pan></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' d
 ir='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;
 font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;font
 -variant-alternates:normal\;font-variant-caps:normal\;font-variant-east-as
 ian:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;fo
 nt-variant-position:normal\;font-weight:400\;text-decoration:none\;vertica
 l-align:baseline\;white-space:pre-wrap\;'>Yixuan Wang</span></p><p style='
 line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span sty
 le='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Ga
 ramond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alternate
 s:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-v
 ariant-ligatures:normal\;font-variant-numeric:normal\;font-variant-positio
 n:normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;
 white-space:pre-wrap\;'>Thomas Wardian</span></p><p style='line-height:1.3
 8\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'> </p><p><span style='bac
 kground-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:'EB Garamond'
 \, serif\;font-size:12pt\;font-style:normal\;font-variant-alternates:norma
 l\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-
 ligatures:normal\;font-variant-numeric:normal\;font-variant-position:norma
 l\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;white-s
 pace:pre-wrap\;'><strong>UNIVERSITY SINGERS</strong></span></p><p style='b
 ackground-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\
 ;margin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;co
 lor:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;
 font-style:normal\;font-variant-alternates:normal\;font-variant-caps:norma
 l\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-var
 iant-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-d
 ecoration-skip-ink:none\;text-decoration:underline\;vertical-align:baselin
 e\;white-space:pre-wrap\;'>Part 1:</span></p><p style='background-color:rg
 b(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;'
  dir='ltr'><span style='background-color:transparent\;color:rgb(34\, 34\, 
 34)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\
 ;font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-ea
 st-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:norma
 l\;font-variant-position:normal\;font-weight:400\;text-decoration:none\;ve
 rtical-align:baseline\;white-space:pre-wrap\;'>Aidin Behroozi</span></p><p
  style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bo
 ttom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:transp
 arent\;color:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;font-si
 ze:12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-c
 aps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\
 ;font-variant-numeric:normal\;font-variant-position:normal\;font-weight:40
 0\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>
 Ella Crandall</span></p><p style='background-color:rgb(255\, 255\, 255)\;l
 ine-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span styl
 e='background-color:transparent\;color:rgb(34\, 34\, 34)\;font-family:'EB 
 Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alterna
 tes:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font
 -variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-posit
 ion:normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline
 \;white-space:pre-wrap\;'>Gwen Hobson</span></p><p style='background-color
 :rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt
 \;' dir='ltr'><span style='background-color:transparent\;color:rgb(34\, 34
 \, 34)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:norm
 al\;font-variant-alternates:normal\;font-variant-caps:normal\;font-variant
 -east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:no
 rmal\;font-variant-position:normal\;font-weight:400\;text-decoration:none\
 ;vertical-align:baseline\;white-space:pre-wrap\;'>Sunny Imp</span></p><p s
 tyle='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bott
 om:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:transpar
 ent\;color:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;font-size
 :12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-cap
 s:normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;f
 ont-variant-numeric:normal\;font-variant-position:normal\;font-weight:400\
 ;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>An
 ja Lovegren</span></p><p style='background-color:rgb(255\, 255\, 255)\;lin
 e-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style=
 'background-color:transparent\;color:rgb(34\, 34\, 34)\;font-family:'EB Ga
 ramond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alternate
 s:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-v
 ariant-ligatures:normal\;font-variant-numeric:normal\;font-variant-positio
 n:normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;
 white-space:pre-wrap\;'>Mars Nguyen</span></p><p style='background-color:r
 gb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;
 ' dir='ltr'><span style='background-color:transparent\;color:rgb(34\, 34\,
  34)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal
 \;font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-e
 ast-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:norm
 al\;font-variant-position:normal\;font-weight:400\;text-decoration:none\;v
 ertical-align:baseline\;white-space:pre-wrap\;'>Madelyn Price</span></p><p
  style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bo
 ttom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:transp
 arent\;color:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;font-si
 ze:12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-c
 aps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\
 ;font-variant-numeric:normal\;font-variant-position:normal\;font-weight:40
 0\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>
 Lorelai Taylor</span></p><p style='background-color:rgb(255\, 255\, 255)\;
 line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span sty
 le='background-color:transparent\;color:rgb(34\, 34\, 34)\;font-family:'EB
  Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-altern
 ates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;fon
 t-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-posi
 tion:normal\;font-weight:400\;text-decoration:none\;vertical-align:baselin
 e\;white-space:pre-wrap\;'>Camille Tetreault</span></p><p style='backgroun
 d-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-
 top:0pt\;' dir='ltr'><span style='background-color:transparent\;color:rgb(
 34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-sty
 le:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-
 variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-num
 eric:normal\;font-variant-position:normal\;font-weight:400\;text-decoratio
 n:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Alice Young</span
 ></p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;ma
 rgin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color
 :transparent\;color:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;
 font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-va
 riant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:
 normal\;font-variant-numeric:normal\;font-variant-position:normal\;font-we
 ight:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-w
 rap\;'>Dalena Young</span></p><p style='background-color:rgb(255\, 255\, 2
 55)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'> </p
 ><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin
 -bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:tra
 nsparent\;color:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;font
 -size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-varian
 t-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:norm
 al\;font-variant-numeric:normal\;font-variant-position:normal\;font-weight
 :400\;text-decoration-skip-ink:none\;text-decoration:underline\;vertical-a
 lign:baseline\;white-space:pre-wrap\;'>Part 2:</span></p><p style='backgro
 und-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margi
 n-top:0pt\;' dir='ltr'><span style='background-color:transparent\;color:rg
 b(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-s
 tyle:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;fon
 t-variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-n
 umeric:normal\;font-variant-position:normal\;font-weight:400\;text-decorat
 ion:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Alex Billingsle
 y</span></p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1
 .38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='backgroun
 d-color:transparent\;color:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, 
 serif\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;
 font-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-lig
 atures:normal\;font-variant-numeric:normal\;font-variant-position:normal\;
 font-weight:400\;text-decoration:none\;vertical-align:baseline\;white-spac
 e:pre-wrap\;'>Anchalee Chambers</span></p><p style='background-color:rgb(2
 55\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' di
 r='ltr'><span style='background-color:transparent\;color:rgb(34\, 34\, 34)
 \;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;fo
 nt-variant-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\;verti
 cal-align:baseline\;white-space:pre-wrap\;'>Sola Feldheger</span></p><p st
 yle='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-botto
 m:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:transpare
 nt\;color:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;font-size:
 12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-caps
 :normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;fo
 nt-variant-numeric:normal\;font-variant-position:normal\;font-weight:400\;
 text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Cam
 ille Fortaleza</span></p><p style='background-color:rgb(255\, 255\, 255)\;
 line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span sty
 le='background-color:transparent\;color:rgb(34\, 34\, 34)\;font-family:'EB
  Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-altern
 ates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;fon
 t-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-posi
 tion:normal\;font-weight:400\;text-decoration:none\;vertical-align:baselin
 e\;white-space:pre-wrap\;'>Myla Hormon</span></p><p style='background-colo
 r:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0p
 t\;' dir='ltr'><span style='background-color:transparent\;color:rgb(34\, 3
 4\, 34)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:nor
 mal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-varian
 t-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:n
 ormal\;font-variant-position:normal\;font-weight:400\;text-decoration:none
 \;vertical-align:baseline\;white-space:pre-wrap\;'>Yooeun Kang</span></p><
 p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-b
 ottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:trans
 parent\;color:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;font-s
 ize:12pt\;font-style:normal\;font-variant-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:4
 00\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'
 >Alena Karpova</span></p><p style='background-color:rgb(255\, 255\, 255)\;
 line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span sty
 le='background-color:transparent\;color:rgb(34\, 34\, 34)\;font-family:'EB
  Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-altern
 ates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;fon
 t-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-posi
 tion:normal\;font-weight:400\;text-decoration:none\;vertical-align:baselin
 e\;white-space:pre-wrap\;'>Addison Miller</span></p><p style='background-c
 olor:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top
 :0pt\;' dir='ltr'><span style='background-color:transparent\;color:rgb(34\
 , 34\, 34)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:
 normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-var
 iant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeri
 c:normal\;font-variant-position:normal\;font-weight:400\;text-decoration:n
 one\;vertical-align:baseline\;white-space:pre-wrap\;'>Noa Reshikoff</span>
 </p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;mar
 gin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:
 transparent\;color:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;f
 ont-size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-var
 iant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:n
 ormal\;font-variant-numeric:normal\;font-variant-position:normal\;font-wei
 ght:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wr
 ap\;'>Polina Shuklina</span></p><p style='background-color:rgb(255\, 255\,
  255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><s
 pan style='background-color:transparent\;color:rgb(34\, 34\, 34)\;font-fam
 ily:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-variant
 -alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:norm
 al\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-varia
 nt-position:normal\;font-weight:400\;text-decoration:none\;vertical-align:
 baseline\;white-space:pre-wrap\;'>Chloe Snyder</span></p><p style='backgro
 und-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margi
 n-top:0pt\;' dir='ltr'><span style='background-color:transparent\;color:rg
 b(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-s
 tyle:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;fon
 t-variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-n
 umeric:normal\;font-variant-position:normal\;font-weight:400\;text-decorat
 ion:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Madeline Stroup
 </span></p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.
 38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background
 -color:transparent\;color:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, s
 erif\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;f
 ont-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-liga
 tures:normal\;font-variant-numeric:normal\;font-variant-position:normal\;f
 ont-weight:400\;text-decoration:none\;vertical-align:baseline\;white-space
 :pre-wrap\;'>Skye Suk</span></p><p style='background-color:rgb(255\, 255\,
  255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><s
 pan style='background-color:transparent\;color:rgb(34\, 34\, 34)\;font-fam
 ily:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-variant
 -alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:norm
 al\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-varia
 nt-position:normal\;font-weight:400\;text-decoration:none\;vertical-align:
 baseline\;white-space:pre-wrap\;'>Rachel Tkachenko</span></p><p style='bac
 kground-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;m
 argin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;colo
 r:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;fo
 nt-style:normal\;font-variant-alternates:normal\;font-variant-caps:normal\
 ;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-varia
 nt-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-dec
 oration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Sophia Well
 s</span></p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1
 .38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='backgroun
 d-color:transparent\;color:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, 
 serif\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;
 font-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-lig
 atures:normal\;font-variant-numeric:normal\;font-variant-position:normal\;
 font-weight:400\;text-decoration:none\;vertical-align:baseline\;white-spac
 e:pre-wrap\;'>Xinrong Zhong</span></p><p style='background-color:rgb(255\,
  255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='l
 tr'><span style='background-color:transparent\;color:rgb(34\, 34\, 34)\;fo
 nt-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-v
 ariant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asia
 n:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font
 -variant-position:normal\;font-weight:400\;text-decoration:none\;vertical-
 align:baseline\;white-space:pre-wrap\;'>Airong Zhuang</span></p><p style='
 background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt
 \;margin-top:0pt\;' dir='ltr'> </p><p style='background-color:rgb(255\, 25
 5\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'
 ><span style='background-color:transparent\;color:rgb(34\, 34\, 34)\;font-
 family:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-vari
 ant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:n
 ormal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-va
 riant-position:normal\;font-weight:400\;text-decoration-skip-ink:none\;tex
 t-decoration:underline\;vertical-align:baseline\;white-space:pre-wrap\;'>P
 art 3:</span></p><p style='background-color:rgb(255\, 255\, 255)\;line-hei
 ght:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='back
 ground-color:transparent\;color:rgb(34\, 34\, 34)\;font-family:'EB Garamon
 d'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alternates:nor
 mal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-varian
 t-ligatures:normal\;font-variant-numeric:normal\;font-variant-position:nor
 mal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;white
 -space:pre-wrap\;'>Aiden Clegg</span></p><p style='background-color:rgb(25
 5\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir
 ='ltr'><span style='background-color:transparent\;color:rgb(34\, 34\, 34)\
 ;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;fon
 t-variant-alternates:normal\;font-variant-caps:normal\;font-variant-east-a
 sian:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;f
 ont-variant-position:normal\;font-weight:400\;text-decoration:none\;vertic
 al-align:baseline\;white-space:pre-wrap\;'>Raymond Lam</span></p><p style=
 'background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0p
 t\;margin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;
 color:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;font-size:12pt
 \;font-style:normal\;font-variant-alternates:normal\;font-variant-caps:nor
 mal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-v
 ariant-numeric:normal\;font-variant-position:normal\;font-weight:400\;text
 -decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Matthew
  Merchant</span></p><p style='background-color:rgb(255\, 255\, 255)\;line-
 height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='b
 ackground-color:transparent\;color:rgb(34\, 34\, 34)\;font-family:'EB Gara
 mond'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alternates:
 normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-var
 iant-ligatures:normal\;font-variant-numeric:normal\;font-variant-position:
 normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;wh
 ite-space:pre-wrap\;'>Isaac Mitchell</span></p><p style='background-color:
 rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\
 ;' dir='ltr'><span style='background-color:transparent\;color:rgb(34\, 34\
 , 34)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;font-style:norma
 l\;font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-
 east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:nor
 mal\;font-variant-position:normal\;font-weight:400\;text-decoration:none\;
 vertical-align:baseline\;white-space:pre-wrap\;'>Elliott Montoya</span></p
 ><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin
 -bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:tra
 nsparent\;color:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;font
 -size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-varian
 t-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:norm
 al\;font-variant-numeric:normal\;font-variant-position:normal\;font-weight
 :400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\
 ;'>Raziel Spinosa Holguin</span></p><p style='background-color:rgb(255\, 2
 55\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr
 '><span style='background-color:transparent\;color:rgb(34\, 34\, 34)\;font
 -family:'EB Garamond'\, serif\;font-size:12pt\;font-style:normal\;font-var
 iant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:
 normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-v
 ariant-position:normal\;font-weight:400\;text-decoration:none\;vertical-al
 ign:baseline\;white-space:pre-wrap\;'>Edmund Tsai</span></p><p style='back
 ground-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;ma
 rgin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;color
 :rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, serif\;font-size:12pt\;fon
 t-style:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;
 font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-varian
 t-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-deco
 ration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Shuai Yuan</
 span></p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38
 \;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-c
 olor:transparent\;color:rgb(34\, 34\, 34)\;font-family:'EB Garamond'\, ser
 if\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;fon
 t-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatu
 res:normal\;font-variant-numeric:normal\;font-variant-position:normal\;fon
 t-weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:p
 re-wrap\;'>Suqin Zhang</span></p><p style='background-color:rgb(255\, 255\
 , 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'> 
 </p><h2>Biographies</h2><p> </p>
END:VEVENT
BEGIN:VEVENT
UID:7ece7c1a-1c34-44bf-836d-c775fc28f0f9
DTSTAMP:20260612T083118Z
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</st
 rong></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><
 h2>Biographies </h2>
DTSTART;TZID=America/Los_Angeles:20251122T150000
DTEND;TZID=America/Los_Angeles:20251123T000000
LAST-MODIFIED:20251110T201606Z
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:20260612T083118Z
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 style='font-weight:400\;'>Director Biography</h
 2>
DTSTART;TZID=America/Los_Angeles:20251123T150000
DTEND;TZID=America/Los_Angeles:20251124T000000
LAST-MODIFIED:20251114T235451Z
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:20260612T083118Z
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><h
 r><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 - <stron
 g>Yotam Snir</strong><br>Cheap Shirt - <strong>Rory Summers</strong></p><h
 4><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
DTEND;TZID=America/Los_Angeles:20251125T000000
LAST-MODIFIED:20251114T162512Z
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 - <stro
 ng>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><e
 m>Greg Sinibaldi\, director</em><br><br>Komorebi - <strong>Coen Rios</stro
 ng><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:20260612T083118Z
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 </stro
 ng><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 </str
 ong><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><
 strong>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 & Justice <br>Helen Young - Music Ed
 ucation\, MA <br>Monica Hoyt - Psychology <br><br><strong>TENOR </strong><
 br>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 
 & 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
DTEND;TZID=America/Los_Angeles:20251202T000000
LAST-MODIFIED:20251201T205905Z
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 </stro
 ng><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><st
 rong>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 <
 br>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 & 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 & 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:20260612T083118Z
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><
 h2 style='font-weight:400\;'>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) - <stron
 g>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 & 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) - <st
 rong>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><str
 ong>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.<
 /p><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</st
 rong> creates musical works that have been featured at American Conservato
 ry Theater\, Hawai'i Opera\, International Festival of Arts & 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 style='font-weight:400\;'>Direc
 tor Biography</h2>
DTSTART;TZID=America/Los_Angeles:20251202T193000
DTEND;TZID=America/Los_Angeles:20251203T000000
LAST-MODIFIED:20251202T181233Z
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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20251204T000000
LAST-MODIFIED:20251201T222935Z
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><
 /div><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:20260612T083118Z
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 </h
 2><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</str
 ong></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\, & 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\, & 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\, & 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\, & 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\, & 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</str
 ong><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='line-height:1.38\;margin-bottom:0pt\;margin-top: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
DTEND;TZID=America/Los_Angeles:20251204T000000
LAST-MODIFIED:20251201T035040Z
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><h
 r><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
 trong><br>A Morn for Life:<strong> Giselle Wyers</strong></p><p>Red (from 
 Spectrum): <strong>Sally Whitwell</strong></p><p>Gloria (Movement I): <str
 ong>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\, & 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\, & 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\, & 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\, & 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\, & Samara Chacko</em><br><em>E
 lectric Bass: Satvik Saxena</em><br><em>Cajon: Michael McKenzie</em></p><h
 r><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: <e
 m>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><
 /p><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 style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' 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 style='background-color:transparent\;color:rgb(
 0\, 0\, 0)\;font-family:'EB Garamond'\, serif\;font-size:10.5pt\;font-styl
 e:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-v
 ariant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-nume
 ric:normal\;font-variant-position:normal\;text-decoration:none\;vertical-a
 lign:baseline\;white-space:pre-wrap\;'><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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20251205T000000
LAST-MODIFIED:20251204T001441Z
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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20251205T000000
LAST-MODIFIED:20251202T223546Z
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</stro
 ng> <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><stro
 ng>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)</e
 m> 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:20260612T083118Z
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) - <str
 ong>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><
 p>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 & 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
 trong><br>Conrad Gauss\, So.\, Electrical & Computer Engineering\, Bellevu
 e <br><br><strong>Saxophone  </strong><br>Rohith Dinesh\, Fr.\, Pre-Scienc
 e\, Pleasanton\, CA <br>Polina Dorogova\, Jr.\, Psychology & 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 & 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 & 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 & Music Education\, Ballard <br>Minh-Thi Butler\, S
 r.\, Oboe Performance\, Hoquiam <br>Will Cummings\, Fr.\, Linguistics & 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) & BA Music\, Des Moines <br
 ><br><strong>Clarinet </strong><br>Caitlin Dong\, So.\, Biology (MCD) & 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><
 br>Akshat Ghuge\, So.\, Informatics\, Dallas\, TX <br>Michael Stella\, Jr.
 \, Political Science\, Puyallup <br><br><strong>Alto Saxophone </strong> <
 br>Kairui Cheng\, Fr.\, Computer Science\, Bothell <br>Kyle Grant\, Jr.\, 
 Music Education & 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 & 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 & 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 & Bioresource Science & 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
DTEND;TZID=America/Los_Angeles:20251205T000000
LAST-MODIFIED:20251204T201849Z
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 </st
 rong>(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</stro
 ng> (1921-2016) <br><br>POUNCE (2023) - <strong>Holly Harrison</strong> (b
 . 1988) <br><br>Moth (2013) - <strong>Viet Cuong</strong> (b. 1990) </p><h
 r><h2>Program Notes</h2><p><span style='-webkit-text-stroke-width:0px\;bac
 kground-color:rgb(255\, 255\, 255)\;caret-color:rgb(68\, 68\, 68)\;color:r
 gb(68\, 68\, 68)\;display:inline !important\;float:none\;font-family:'Open
  Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-style:normal
 \;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;orphan
 s:auto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-tran
 sform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><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><
 p>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) <
 /strong><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 & 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><
 br>David Kelly\, Fr.\, Pre-Sciences <br>Meagan Paxman\, So.\, Pre-Sciences
 \, Vancouver <br>Brandon Tsai\, So.\, ECE <br><br><strong>Bassoon  </stron
 g><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 & Computer Engine
 ering\, Bellevue <br><br><strong>Saxophone  </strong><br>Rohith Dinesh\, F
 r.\, Pre-Science\, Pleasanton\, CA <br>Polina Dorogova\, Jr.\, Psychology 
 & Music\, Gig Harbor <br>Kaua Roberton\, Fr.\, Music Education\, Spokane <
 br>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 <
 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 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
 trong> <br>Brooke Bart\, Jr.\, Scandinavian Studies & 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 &
  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 & Music Education\, Ballard <br>Minh
 -Thi Butler\, Sr.\, Oboe Performance\, Hoquiam <br>Will Cummings\, Fr.\, L
 inguistics & 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) & BA Music\,
  Des Moines <br><br><strong>Clarinet </strong><br>Caitlin Dong\, So.\, Bio
 logy (MCD) & 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 & 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 & 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 & 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
 trong><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 </stron
 g><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 & Bioresour
 ce Science & 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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20251206T000000
LAST-MODIFIED:20251201T164329Z
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 style='font-family:'Avenir Book'
 \;'>(1952-</span><span style='color:rgb(15\, 15\, 15)\;font-family:'Avenir
  Book'\;'>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<<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><
 h2>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): </str
 ong><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:</stron
 g></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:20260612T083118Z
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><str
 ong>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
DTEND;TZID=America/Los_Angeles:20251207T000000
LAST-MODIFIED:20251205T200920Z
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><
 em>Cameron DeLuca\, clarinet\; Boheng Wang\, piano<span class='Apple-conve
 rted-space'> </span></em></p><p>A Post Card (2025) for recorded voice: <st
 rong>Amelia Matsumoto</strong><br><em><span class='Apple-converted-space' 
 style='font:12.0px Helvetica\;'> </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><
 h2>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:20260612T083118Z
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 & 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</st
 rong> (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' style='lin
 e-height:1.8\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><strong>O Yes
  & I</strong> (2017-2018)</p><p style='line-height:1.8\;margin-bottom:0pt\
 ;margin-top:0pt\;' dir='ltr'>M4 - <strong>O Yes & 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 & 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' style='line-height:1.8\;margin-bottom:0pt\;margin-top:0pt\;' dir='l
 tr'><strong>PENDULUM VI: TRIGGER (2010) </strong></p><p style='line-height
 :1.8\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Commissioned by Yarn/
 Wire for two pianos and two percussionists\, <strong>Pendulum VI: Trigger<
 /strong> (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' style='line-height:1.8\;margin-bottom:0pt\;margin-top:0pt\;' dir
 ='ltr'><br><strong>TRES INSULTOS para dos violines (2004) </strong></p><p 
 style='line-height:1.8\;margin-bottom:0pt\;margin-top:0pt\;' 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 </st
 rong>(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 style='li
 ne-height:1.8\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>—Jiaxuan Wu<
 br> </p><p class='text-align-justify' style='line-height:1.8\;margin-botto
 m:0pt\;margin-top:0pt\;' dir='ltr'><strong>Esprit Rude/Esprit Doux II (199
 4)</strong></p><p style='line-height:1.8\;margin-bottom:0pt\;margin-top:0p
 t\;' 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' style='line-he
 ight:1.8\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><br><strong>Eleve
 n Echoes of Autumn </strong>(1965) </p><p style='line-height:1.8\;margin-b
 ottom:0pt\;margin-top:0pt\;' 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 style='line-h
 eight:1.8\;margin-bottom:0pt\;margin-top:0pt\;' 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 style='line-
 height:1.8\;margin-bottom:0pt\;margin-top:0pt\;' 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 style='line-height:1.8\
 ;margin-bottom:0pt\;margin-top:0pt\;' 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.<
 br>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' style='line-height:1.8\;margin-bottom:0pt\;margin
 -top:0pt\;' dir='ltr'><strong>I LIKE TO THINK OF HARRIET TUBMAN </strong>(
 1985) </p><p style='line-height:1.8\;margin-bottom:0pt\;margin-top:0pt\;' 
 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 style='line-height:1.8\;margin-bottom:0pt\;margin-top:0
 pt\;' 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
DTEND;TZID=America/Los_Angeles:20251208T000000
LAST-MODIFIED:20251204T183722Z
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><h
 r><h2>Program</h2><p>O Yes & I (2017-2018): <strong>Rebecca Saunders</stro
 ng> (b.1967)<br><em>Soledad Mayorga Maldonado\, soprano\; Rachel Reyes\, b
 ass flute</em></p><p><br>PENDULUM VI: TRIGGER (2010): <strong>Alex Mincek<
 /strong> (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): <st
 rong>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
 trong> (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</e
 m></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' style='line-height:1.8
 \;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-c
 olor:transparent\;color:rgb(0\, 0\, 0)\;font-family:Calibri\, sans-serif\;
 font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-va
 riant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:
 normal\;font-variant-numeric:normal\;font-variant-position:normal\;text-de
 coration:none\;vertical-align:baseline\;white-space:pre-wrap\;'><strong>O 
 Yes & I</strong></span><span style='background-color:transparent\;color:rg
 b(0\, 0\, 0)\;font-family:Calibri\, sans-serif\;font-size:12pt\;font-style
 :normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-va
 riant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numer
 ic:normal\;font-variant-position:normal\;font-weight:400\;text-decoration:
 none\;vertical-align:baseline\;white-space:pre-wrap\;'> (2017-2018)</span>
 </p><p style='line-height:1.8\;margin-bottom:0pt\;margin-top:0pt\;' dir='l
 tr'><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-
 family:Calibri\, sans-serif\;font-size:12pt\;font-style:normal\;font-varia
 nt-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:no
 rmal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-var
 iant-position:normal\;font-weight:400\;text-decoration:none\;vertical-alig
 n:baseline\;white-space:pre-wrap\;'>M4 - </span><span style='background-co
 lor:transparent\;color:rgb(0\, 0\, 0)\;font-family:Calibri\, sans-serif\;f
 ont-size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-var
 iant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:n
 ormal\;font-variant-numeric:normal\;font-variant-position:normal\;text-dec
 oration:none\;vertical-align:baseline\;white-space:pre-wrap\;'><strong>O Y
 es & I </strong></span><span style='background-color:transparent\;color:rg
 b(0\, 0\, 0)\;font-family:Calibri\, sans-serif\;font-size:12pt\;font-style
 :normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-va
 riant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numer
 ic:normal\;font-variant-position:normal\;font-weight:400\;text-decoration:
 none\;vertical-align:baseline\;white-space:pre-wrap\;'>(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 & 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 style='background-color:transparent\;color:r
 gb(0\, 0\, 0)\;font-family:Calibri\, sans-serif\;font-size:12pt\;font-styl
 e:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-v
 ariant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-nume
 ric:normal\;font-variant-position:normal\;font-weight:400\;text-decoration
 :none\;vertical-align:baseline\;white-space:pre-wrap\;'>–– Rebecca Saunder
 s</span><br> </p><p class='text-align-justify' style='line-height:1.8\;mar
 gin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:
 transparent\;color:rgb(0\, 0\, 0)\;font-family:Calibri\, sans-serif\;font-
 size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant
 -caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:norma
 l\;font-variant-numeric:normal\;font-variant-position:normal\;text-decorat
 ion:none\;vertical-align:baseline\;white-space:pre-wrap\;'><strong>PENDULU
 M VI: TRIGGER (2010) </strong></span></p><p style='line-height:1.8\;margin
 -bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:tra
 nsparent\;color:rgb(0\, 0\, 0)\;font-family:Calibri\, sans-serif\;font-siz
 e:12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-ca
 ps: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:baseline\;white-space:pre-wrap\;'>C
 ommissioned by Yarn/Wire for two pianos and two percussionists\, </span><s
 pan style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family
 :Calibri\, sans-serif\;font-size:12pt\;font-style:normal\;font-variant-alt
 ernates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;
 font-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-p
 osition:normal\;text-decoration:none\;vertical-align:baseline\;white-space
 :pre-wrap\;'><strong>Pendulum VI: Trigger</strong></span><span style='back
 ground-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Calibri\, sans
 -serif\;font-size:12pt\;font-style:normal\;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\
 ;font-weight:400\;text-decoration:none\;vertical-align:baseline\;white-spa
 ce:pre-wrap\;'> (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 style='backgrou
 nd-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Calibri\, sans-ser
 if\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;fon
 t-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatu
 res:normal\;font-variant-numeric:normal\;font-variant-position:normal\;fon
 t-weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:p
 re-wrap\;'>—Jiaxuan Wu</span></p><p class='text-align-justify' style='line
 -height:1.8\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><br><span styl
 e='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Calibri
 \, sans-serif\;font-size:12pt\;font-style:normal\;font-variant-alternates:
 normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-var
 iant-ligatures:normal\;font-variant-numeric:normal\;font-variant-position:
 normal\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wra
 p\;'><strong>TRES INSULTOS para dos violines (2004) </strong></span></p><p
  style='line-height:1.8\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><s
 pan style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family
 :Calibri\, sans-serif\;font-size:12pt\;font-style:normal\;font-variant-alt
 ernates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;
 font-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-p
 osition:normal\;font-weight:400\;text-decoration:none\;vertical-align:base
 line\;white-space:pre-wrap\;'>Angelica Negron (b.1981) explores unexpected
  accents and dynamic interplay between two violins in her work </span><spa
 n style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:C
 alibri\, sans-serif\;font-size:12pt\;font-style:normal\;font-variant-alter
 nates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;fo
 nt-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-pos
 ition:normal\;text-decoration:none\;vertical-align:baseline\;white-space:p
 re-wrap\;'><strong>Tres Insultos para dos violines </strong></span><span s
 tyle='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Cali
 bri\, sans-serif\;font-size:12pt\;font-style:normal\;font-variant-alternat
 es:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-
 variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-positi
 on:normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\
 ;white-space: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 style='line-height:1.8\;margin-bottom:0pt\;margin-top:0p
 t\;' dir='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\
 , 0)\;font-family:Calibri\, sans-serif\;font-size:12pt\;font-style:normal\
 ;font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-ea
 st-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:norma
 l\;font-variant-position:normal\;font-weight:400\;text-decoration:none\;ve
 rtical-align:baseline\;white-space:pre-wrap\;'>—Jiaxuan Wu</span><br> </p>
 <p class='text-align-justify' style='line-height:1.8\;margin-bottom:0pt\;m
 argin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;colo
 r:rgb(0\, 0\, 0)\;font-family:Calibri\, sans-serif\;font-size:12pt\;font-s
 tyle:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;fon
 t-variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-n
 umeric:normal\;font-variant-position:normal\;text-decoration:none\;vertica
 l-align:baseline\;white-space:pre-wrap\;'><strong>Esprit Rude/Esprit Doux 
 II (1994)</strong></span></p><p style='line-height:1.8\;margin-bottom:0pt\
 ;margin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;co
 lor:rgb(0\, 0\, 0)\;font-family:Calibri\, sans-serif\;font-size:12pt\;font
 -style:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;f
 ont-variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant
 -numeric:normal\;font-variant-position:normal\;font-weight:400\;text-decor
 ation:none\;vertical-align:baseline\;white-space:pre-wrap\;'>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 style=
 'background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Calibri\,
  sans-serif\;font-size:12pt\;font-style:normal\;font-variant-alternates:no
 rmal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-varia
 nt-ligatures:normal\;font-variant-numeric:normal\;font-variant-position:no
 rmal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;whit
 e-space:pre-wrap\;'>–– Elliott Carter</span></p><p class='text-align-justi
 fy' style='line-height:1.8\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'
 ><br><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font
 -family:Calibri\, sans-serif\;font-size:12pt\;font-style:normal\;font-vari
 ant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:n
 ormal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-va
 riant-position:normal\;text-decoration:none\;vertical-align:baseline\;whit
 e-space:pre-wrap\;'><strong>Eleven Echoes of Autumn </strong></span><span 
 style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Cal
 ibri\, sans-serif\;font-size:12pt\;font-style:normal\;font-variant-alterna
 tes:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font
 -variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-posit
 ion:normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline
 \;white-space:pre-wrap\;'>(1965) </span></p><p style='line-height:1.8\;mar
 gin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:
 transparent\;color:rgb(0\, 0\, 0)\;font-family:Calibri\, sans-serif\;font-
 size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant
 -caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:norma
 l\;font-variant-numeric:normal\;font-variant-position:normal\;font-weight:
 400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;
 '>The </span><span style='background-color:transparent\;color:rgb(0\, 0\, 
 0)\;font-family:Calibri\, sans-serif\;font-size:12pt\;font-style:normal\;f
 ont-variant-alternates:normal\;font-variant-caps:normal\;font-variant-east
 -asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\
 ;font-variant-position:normal\;text-decoration:none\;vertical-align:baseli
 ne\;white-space:pre-wrap\;'><strong>ELEVEN ECHOES OF AUTUMN </strong></spa
 n><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-fa
 mily:Calibri\, sans-serif\;font-size:12pt\;font-style:normal\;font-variant
 -alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:norm
 al\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-varia
 nt-position:normal\;font-weight:400\;text-decoration:none\;vertical-align:
 baseline\;white-space:pre-wrap\;'>(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 style='line-height:1.8\;margin-bottom:0pt\;margin-top:0p
 t\;' dir='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\
 , 0)\;font-family:Calibri\, sans-serif\;font-size:12pt\;font-style:normal\
 ;font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-ea
 st-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:norma
 l\;font-variant-position:normal\;font-weight:400\;text-decoration:none\;ve
 rtical-align:baseline\;white-space:pre-wrap\;'>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 style='line-heig
 ht:1.8\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='backgr
 ound-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Calibri\, sans-s
 erif\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;f
 ont-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-liga
 tures:normal\;font-variant-numeric:normal\;font-variant-position:normal\;f
 ont-weight:400\;text-decoration:none\;vertical-align:baseline\;white-space
 :pre-wrap\;'>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 style='line-height:1.8\;margin-bottom:0pt\;margin-top:0pt\;' d
 ir='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;
 font-family:Calibri\, sans-serif\;font-size:12pt\;font-style:normal\;font-
 variant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asi
 an:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;fon
 t-variant-position:normal\;font-weight:400\;text-decoration:none\;vertical
 -align:baseline\;white-space:pre-wrap\;'>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><
 br><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-f
 amily:Calibri\, sans-serif\;font-size:12pt\;font-style:normal\;font-varian
 t-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:nor
 mal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-vari
 ant-position:normal\;font-weight:400\;text-decoration:none\;vertical-align
 :baseline\;white-space:pre-wrap\;'>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
 pan><br><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;f
 ont-family:Calibri\, sans-serif\;font-size:12pt\;font-style:normal\;font-v
 ariant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asia
 n:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font
 -variant-position:normal\;font-weight:400\;text-decoration:none\;vertical-
 align:baseline\;white-space:pre-wrap\;'>––George Crumb</span></p><p> </p><
 p class='text-align-justify' style='line-height:1.8\;margin-bottom:0pt\;ma
 rgin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;color
 :rgb(0\, 0\, 0)\;font-family:Calibri\, sans-serif\;font-size:12pt\;font-st
 yle:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font
 -variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-nu
 meric:normal\;font-variant-position:normal\;text-decoration:none\;vertical
 -align:baseline\;white-space:pre-wrap\;'><strong>I LIKE TO THINK OF HARRIE
 T TUBMAN </strong></span><span style='background-color:transparent\;color:
 rgb(0\, 0\, 0)\;font-family:Calibri\, sans-serif\;font-size:12pt\;font-sty
 le:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-
 variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-num
 eric:normal\;font-variant-position:normal\;font-weight:400\;text-decoratio
 n:none\;vertical-align:baseline\;white-space:pre-wrap\;'>(1985) </span></p
 ><p style='line-height:1.8\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'
 ><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-fam
 ily:Calibri\, sans-serif\;font-size:12pt\;font-style:normal\;font-variant-
 alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:norma
 l\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-varian
 t-position:normal\;font-weight:400\;text-decoration:none\;vertical-align:b
 aseline\;white-space:pre-wrap\;'>Christian Wolff is a renowned American co
 mposer known for his experimental and contemporary music. His piece</span>
 <span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-fami
 ly:Calibri\, sans-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\;text-decoration:none\;vertical-align:baseline\;white-spa
 ce:pre-wrap\;'><strong> I Like to Think of Harriet Tubman</strong></span><
 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\;'> (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 style='line-height:1.8\;margin-bottom:
 0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:transparent
 \;color:rgb(0\, 0\, 0)\;font-family:Calibri\, sans-serif\;font-size:12pt\;
 font-style:normal\;font-variant-alternates:normal\;font-variant-caps:norma
 l\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-var
 iant-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-d
 ecoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>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><h
 r><h2>Director Biography</h2>
END:VEVENT
BEGIN:VEVENT
UID:02d4ddea-5522-4e96-8256-fce3c1418bb6
DTSTAMP:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20251210T000000
LAST-MODIFIED:20250401T201801Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:3d627cb6-73ab-44e8-981a-4fffaaa73719
DTSTAMP:20260612T083118Z
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 </str
 ong><br>(Chiao-Yu Wu\, second piano) <br><br>Piano Concerto in G Major:  <
 strong>Maurice Ravel</strong> <br>(Jingshi Zhao\, second piano) </p><hr><h
 2>Biography</h2>
DTSTART;TZID=America/Los_Angeles:20251210T193000
DTEND;TZID=America/Los_Angeles:20251211T000000
LAST-MODIFIED:20251204T220150Z
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:20260612T083118Z
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> <
 strong>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. <
 /p>\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
DTEND;TZID=America/Los_Angeles:20251219T000000
LAST-MODIFIED:20250401T201814Z
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
 trong></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='mai
 lto:SoMadmit@uw.edu'>SoMadmit@uw.edu</a>.</strong></p>
END:VEVENT
BEGIN:VEVENT
UID:8cfdb47b-5891-4706-bc0f-8d0dfe68fec2
DTSTAMP:20260612T083118Z
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> <stro
 ng>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
DTEND;TZID=America/Los_Angeles:20260107T000000
LAST-MODIFIED:20251002T190845Z
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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20260108T000000
LAST-MODIFIED:20260102T185223Z
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><
 /div><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:20260612T083118Z
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 style='color:rgb(150\, 96\, 125)\;text-
 decoration:underline\;' href='mailto:cascadesongfestival@gmail.com' target
 ='_blank'><strong>cascadesongfestival@gmail.com</strong></a><strong>.</str
 ong></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 <st
 rong>Louise Toppin </strong>(University of Michigan)\, with pianist<strong
 > John O’Brien\,</strong> and a keynote presentation by music theorist <st
 rong>Matt BaileyShea</strong> (University of Rochester\, Eastman School of
  Music).</p><p>The brainchild of musicologist <strong>Stephen Rumph</stron
 g> (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
 trong></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
DTEND;TZID=America/Los_Angeles:20260116T000000
LAST-MODIFIED:20260108T202100Z
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><st
 rong>RSVP required for this event.  RSVP at </strong></em><a style='color:
 rgb(150\, 96\, 125)\;text-decoration:underline\;' 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 <stro
 ng>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><st
 rong>View a full schedule of events and details of additional sessions </s
 trong></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='htt
 ps://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:20260612T083118Z
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<
 /h3>\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 style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;
 caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Encod
 e Sans Compressed Regular'\, 'Open Sans'\, Arial\, sans-serif\;font-size:1
 .875rem\;font-style:normal\;font-variant-caps:normal\;font-weight:normal\;
 letter-spacing:0.3px\;line-height:1.4\;margin:0.2rem 0px 0.5rem\;orphans:a
 uto\;padding:0px\;text-align:start\;text-decoration:none\;text-indent:0px\
 ;text-rendering:optimizelegibility\;text-transform:none\;white-space:norma
 l\;widows:auto\;word-spacing:0px\;'>Festival Background</h2><p style='-web
 kit-text-stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\
 , 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open Sans'\, Arial\, Helvetic
 a\, sans-serif\;font-size:16px\;font-style:normal\;font-variant-caps:norma
 l\;font-weight:400\;letter-spacing:normal\;line-height:1.875rem\;margin:0p
 x 0px 1.5625rem\;orphans:auto\;padding:0px\;text-align:start\;text-decorat
 ion:none\;text-indent:0px\;text-rendering:optimizelegibility\;text-transfo
 rm:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>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 style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;caret-colo
 r:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open Sans'\, Ar
 ial\, Helvetica\, sans-serif\;font-size:16px\;font-style:normal\;font-vari
 ant-caps:normal\;font-weight:400\;letter-spacing:normal\;line-height:1.875
 rem\;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\;
 '>Highlights include a recital and master class by the internationally acc
 laimed soprano <strong style='box-sizing:border-box\;line-height:inherit\;
 '>Louise Toppin </strong>(University of Michigan)\, with pianist<strong st
 yle='box-sizing:border-box\;line-height:inherit\;'> John O’Brien\,</strong
 > and a keynote presentation by music theorist <strong style='box-sizing:b
 order-box\;line-height:inherit\;'>Matt BaileyShea</strong> (University of 
 Rochester\, Eastman School of Music).</p><p style='-webkit-text-stroke-wid
 th:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68
 \, 68\, 68)\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;fon
 t-size:16px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\
 ;letter-spacing:normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;or
 phans:auto\;padding:0px\;text-align:start\;text-decoration:none\;text-inde
 nt:0px\;text-rendering:optimizelegibility\;text-transform:none\;white-spac
 e:normal\;widows:auto\;word-spacing:0px\;'>The brainchild of musicologist 
 <strong style='box-sizing:border-box\;line-height:inherit\;'>Stephen Rumph
 </strong> (UW)\, music theorist <strong style='box-sizing:border-box\;line
 -height:inherit\;'>Stephen Rodgers</strong> (U of O)\, and voice faculty <
 strong style='box-sizing:border-box\;line-height:inherit\;'>Carrie Shaw</s
 trong> (UW) and <strong style='box-sizing:border-box\;line-height:inherit\
 ;'>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 style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;c
 aret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open S
 ans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-style:normal\;
 font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;line-hei
 ght:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-al
 ign:start\;text-decoration:none\;text-indent:0px\;text-rendering:optimizel
 egibility\;text-transform:none\;white-space:normal\;widows:auto\;word-spac
 ing:0px\;'><a class='ext' style='background-color:transparent\;box-sizing:
 border-box\;color:rgb(162\, 57\, 145)\;line-height:inherit\;text-decoratio
 n:underline\;' href='https://cascadesongfestival.org/complete-2026-festiva
 l-schedule/' data-entity-type='external' data-extlink rel='noreferrer'><st
 rong style='box-sizing:border-box\;line-height:inherit\;'>View a full sche
 dule of events and details of additional sessions </strong></a></p><h2 sty
 le='-webkit-text-stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(
 68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Encode Sans Compresse
 d Regular'\, 'Open Sans'\, Arial\, sans-serif\;font-size:1.875rem\;font-st
 yle:normal\;font-variant-caps:normal\;font-weight:normal\;letter-spacing:0
 .3px\;line-height:1.4\;margin:0.2rem 0px 0.5rem\;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\;'><strong style='box-sizing:border-box\;line-height:inhe
 rit\;'>Festival Highlights</strong></h2><p style='-webkit-text-stroke-widt
 h: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-height:1.875rem\;margin:0px 0px 1.5625rem\;orp
 hans:auto\;padding:0px\;text-align:start\;text-decoration:none\;text-inden
 t:0px\;text-rendering:optimizelegibility\;text-transform:none\;white-space
 :normal\;widows:auto\;word-spacing:0px\;'><strong style='box-sizing:border
 -box\;line-height:inherit\;'>Thursday\, Jan. 15:</strong> <a style='backgr
 ound-color:transparent\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;
 line-height:inherit\;text-decoration:underline\;' 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
  style='background-color:transparent\;box-sizing:border-box\;color:rgb(162
 \, 57\, 145)\;line-height:inherit\;text-decoration:underline\;' href='mail
 to:cascadesongfestival@gmail.com'>cascadesongfestival@gmail.com</a></p><p 
 style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;caret-color:r
 gb(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-height:1.875rem
 \;margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-align:start\;t
 ext-decoration:none\;text-indent:0px\;text-rendering:optimizelegibility\;t
 ext-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><
 strong style='box-sizing:border-box\;line-height:inherit\;'>Friday Jan. 16
 : </strong>Master Class: Louise Toppin and John O’Brien <br>Brechemin Audi
 torium    4 pm   FREE</p><p style='-webkit-text-stroke-width:0px\;box-sizi
 ng:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;fon
 t-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;fon
 t-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:
 normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;padd
 ing:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;text-ren
 dering:optimizelegibility\;text-transform:none\;white-space:normal\;widows
 :auto\;word-spacing:0px\;'><strong style='box-sizing:border-box\;line-heig
 ht:inherit\;'>Friday\, Jan. 16:</strong> <a style='background-color:transp
 arent\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;line-height:inher
 it\;text-decoration:underline\;' 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 style='-webkit-text-stroke-width:0px\;box-sizi
 ng:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;fon
 t-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;fon
 t-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:
 normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;padd
 ing:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;text-ren
 dering:optimizelegibility\;text-transform:none\;white-space:normal\;widows
 :auto\;word-spacing:0px\;'><strong style='box-sizing:border-box\;line-heig
 ht:inherit\;'>Saturday\, Jan. 17: </strong>Recital: <a style='background-c
 olor:transparent\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;line-h
 eight:inherit\;text-decoration:underline\;' 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 style='-webkit-text-s
 troke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;col
 or:rgb(68\, 68\, 68)\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-s
 erif\;font-size:16px\;font-style:normal\;font-variant-caps:normal\;font-we
 ight:400\;letter-spacing:normal\;line-height:1.875rem\;margin:0px 0px 1.56
 25rem\;orphans:auto\;padding:0px\;text-align:start\;text-decoration:none\;
 text-indent:0px\;text-rendering:optimizelegibility\;text-transform:none\;w
 hite-space:normal\;widows:auto\;word-spacing:0px\;'>*RSVP required for the
  Jan. 18 performance at the Intellectual House. RSVP at <a style='backgrou
 nd-color:transparent\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;li
 ne-height:inherit\;text-decoration:underline\;' href='mailto:cascadesongfe
 stival@gmail.com'>cascadesongfestival@gmail.com</a>. </p>
DTSTART;TZID=America/Los_Angeles:20260116T160000
DTEND;TZID=America/Los_Angeles:20260117T000000
LAST-MODIFIED:20260107T191353Z
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&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' alt='John O'Brien'> </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 style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;caret
 -color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Encode San
 s Compressed Regular'\, 'Open Sans'\, Arial\, sans-serif\;font-size:1.875r
 em\;font-style:normal\;font-variant-caps:normal\;font-weight:normal\;lette
 r-spacing:0.3px\;line-height:1.4\;margin:0.2rem 0px 0.5rem\;orphans:auto\;
 padding:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;text
 -rendering:optimizelegibility\;text-transform:none\;white-space:normal\;wi
 dows:auto\;word-spacing:0px\;'>Festival Background</h2><p style='-webkit-t
 ext-stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)
 \;color:rgb(68\, 68\, 68)\;font-family:'Open Sans'\, Arial\, Helvetica\, s
 ans-serif\;font-size:16px\;font-style:normal\;font-variant-caps:normal\;fo
 nt-weight:400\;letter-spacing:normal\;line-height:1.875rem\;margin:0px 0px
  1.5625rem\;orphans:auto\;padding:0px\;text-align:start\;text-decoration:n
 one\;text-indent:0px\;text-rendering:optimizelegibility\;text-transform:no
 ne\;white-space:normal\;widows:auto\;word-spacing:0px\;'>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
 yle='-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-c
 aps:normal\;font-weight:400\;letter-spacing:normal\;line-height:1.875rem\;
 margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-align:start\;tex
 t-decoration:none\;text-indent:0px\;text-rendering:optimizelegibility\;tex
 t-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>Hig
 hlights include a recital and master class by the internationally acclaime
 d soprano <strong style='box-sizing:border-box\;line-height:inherit\;'>Lou
 ise Toppin </strong>(University of Michigan)\, with pianist<strong style='
 box-sizing:border-box\;line-height:inherit\;'> John O’Brien\,</strong> and
  a keynote presentation by music theorist <strong style='box-sizing:border
 -box\;line-height:inherit\;'>Matt BaileyShea</strong> (University of Roche
 ster\, Eastman School of Music).</p><p style='-webkit-text-stroke-width:0p
 x\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68
 \, 68)\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-siz
 e:16px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;lett
 er-spacing:normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans
 :auto\;padding:0px\;text-align:start\;text-decoration:none\;text-indent:0p
 x\;text-rendering:optimizelegibility\;text-transform:none\;white-space:nor
 mal\;widows:auto\;word-spacing:0px\;'>The brainchild of musicologist <stro
 ng style='box-sizing:border-box\;line-height:inherit\;'>Stephen Rumph</str
 ong> (UW)\, music theorist <strong style='box-sizing:border-box\;line-heig
 ht:inherit\;'>Stephen Rodgers</strong> (U of O)\, and voice faculty <stron
 g style='box-sizing:border-box\;line-height:inherit\;'>Carrie Shaw</strong
 > (UW) and <strong style='box-sizing:border-box\;line-height:inherit\;'>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 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-height:1
 .875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-align:s
 tart\;text-decoration:none\;text-indent:0px\;text-rendering:optimizelegibi
 lity\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0
 px\;'><a class='ext' style='background-color:transparent\;box-sizing:borde
 r-box\;color:rgb(162\, 57\, 145)\;line-height:inherit\;text-decoration:und
 erline\;' href='https://cascadesongfestival.org/complete-2026-festival-sch
 edule/' data-entity-type='external' data-extlink rel='noreferrer'><em styl
 e='box-sizing:border-box\;line-height:inherit\;'><strong style='box-sizing
 :border-box\;line-height:inherit\;'>View a full schedule of events and det
 ails of additional sessions </strong></em></a></p><h2 style='-webkit-text-
 stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;co
 lor:rgb(68\, 68\, 68)\;font-family:'Encode Sans Compressed Regular'\, 'Ope
 n Sans'\, Arial\, sans-serif\;font-size:1.875rem\;font-style:normal\;font-
 variant-caps:normal\;font-weight:normal\;letter-spacing:0.3px\;line-height
 :1.4\;margin:0.2rem 0px 0.5rem\;orphans:auto\;padding:0px\;text-align:star
 t\;text-decoration:none\;text-indent:0px\;text-rendering:optimizelegibilit
 y\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\
 ;'><strong style='box-sizing:border-box\;line-height:inherit\;'>Festival H
 ighlights</strong></h2><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'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-
 style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:no
 rmal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;paddin
 g:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;text-rende
 ring:optimizelegibility\;text-transform:none\;white-space:normal\;widows:a
 uto\;word-spacing:0px\;'><strong style='box-sizing:border-box\;line-height
 :inherit\;'>Thursday\, Jan. 15:</strong> <a style='background-color:transp
 arent\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;line-height:inher
 it\;text-decoration:underline\;' 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>Intelle
 ctual House  4:45 pm Free (RSVP required)*<br><em style='box-sizing:border
 -box\;line-height:inherit\;'>*RSVP at </em><a style='background-color:tran
 sparent\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;line-height:inh
 erit\;text-decoration:underline\;' href='mailto:cascadesongfestival@gmail.
 com'><em style='box-sizing:border-box\;line-height:inherit\;'>cascadesongf
 estival@gmail.com</em></a></p><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'\, Arial\, Helvetica\, sans-serif\;font-size:16px
 \;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spa
 cing:normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\
 ;padding:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;tex
 t-rendering:optimizelegibility\;text-transform:none\;white-space:normal\;w
 idows:auto\;word-spacing:0px\;'><strong style='box-sizing:border-box\;line
 -height:inherit\;'>Friday Jan. 16: </strong>Master Class: Louise Toppin an
 d John O’Brien <br>Brechemin Auditorium    4 pm   FREE</p><p style='-webki
 t-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-height:1.875rem\;margin:0px 
 0px 1.5625rem\;orphans:auto\;padding:0px\;text-align:start\;text-decoratio
 n:none\;text-indent:0px\;text-rendering:optimizelegibility\;text-transform
 :none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><strong style=
 'box-sizing:border-box\;line-height:inherit\;'>Friday\, Jan. 16:</strong> 
 <a style='background-color:transparent\;box-sizing:border-box\;color:rgb(1
 62\, 57\, 145)\;line-height:inherit\;text-decoration:underline\;' href='ht
 tps://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 style='-webki
 t-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-height:1.875rem\;margin:0px 
 0px 1.5625rem\;orphans:auto\;padding:0px\;text-align:start\;text-decoratio
 n:none\;text-indent:0px\;text-rendering:optimizelegibility\;text-transform
 :none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><strong style=
 'box-sizing:border-box\;line-height:inherit\;'>Saturday\, Jan. 17: </stron
 g>Recital: <a style='background-color:transparent\;box-sizing:border-box\;
 color:rgb(162\, 57\, 145)\;line-height:inherit\;text-decoration:underline\
 ;' 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 style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;c
 aret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open S
 ans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-style:normal\;
 font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;line-hei
 ght:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-al
 ign:start\;text-decoration:none\;text-indent:0px\;text-rendering:optimizel
 egibility\;text-transform:none\;white-space:normal\;widows:auto\;word-spac
 ing:0px\;'><em style='box-sizing:border-box\;line-height:inherit\;'>*RSVP 
 required for the Jan. 18 performance at the Intellectual House. RSVP at </
 em><a style='background-color:transparent\;box-sizing:border-box\;color:rg
 b(162\, 57\, 145)\;line-height:inherit\;text-decoration:underline\;' href=
 'mailto:cascadesongfestival@gmail.com'><em style='box-sizing:border-box\;l
 ine-height:inherit\;'>cascadesongfestival@gmail.com</em></a><em style='box
 -sizing:border-box\;line-height:inherit\;'>. </em></p>
END:VEVENT
BEGIN:VEVENT
UID:e42e7907-9512-4775-921e-5d2c472f937c
DTSTAMP:20260612T083118Z
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 style='-we
 bkit-text-stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68
 \, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Encode Sans Compressed Regul
 ar'\, 'Open Sans'\, Arial\, sans-serif\;font-size:1.875rem\;font-style:nor
 mal\;font-variant-caps:normal\;font-weight:normal\;letter-spacing:0.3px\;l
 ine-height:1.4\;margin:0.2rem 0px 0.5rem\;orphans:auto\;padding:0px\;text-
 align:start\;text-decoration:none\;text-indent:0px\;text-rendering:optimiz
 elegibility\;text-transform:none\;white-space:normal\;widows:auto\;word-sp
 acing:0px\;'>Festival Background</h2><p style='-webkit-text-stroke-width:0
 px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 6
 8\, 68)\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-si
 ze:16px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;let
 ter-spacing:normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphan
 s:auto\;padding:0px\;text-align:start\;text-decoration:none\;text-indent:0
 px\;text-rendering:optimizelegibility\;text-transform:none\;white-space:no
 rmal\;widows:auto\;word-spacing:0px\;'>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 style='-webkit-text-
 stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;co
 lor:rgb(68\, 68\, 68)\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-
 serif\;font-size:16px\;font-style:normal\;font-variant-caps:normal\;font-w
 eight:400\;letter-spacing:normal\;line-height:1.875rem\;margin:0px 0px 1.5
 625rem\;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\;'>Highlights include a 
 recital and master class by the internationally acclaimed soprano <strong 
 style='box-sizing:border-box\;line-height:inherit\;'>Louise Toppin </stron
 g>(University of Michigan)\, with pianist<strong style='box-sizing:border-
 box\;line-height:inherit\;'> John O’Brien\,</strong> and a keynote present
 ation by music theorist <strong style='box-sizing:border-box\;line-height:
 inherit\;'>Matt BaileyShea</strong> (University of Rochester\, Eastman Sch
 ool of Music).</p><p style='-webkit-text-stroke-width:0px\;box-sizing:bord
 er-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-famil
 y:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-style
 :normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\
 ;line-height:1.875rem\;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\;'>The brainchild of musicologist <strong style='box-sizi
 ng:border-box\;line-height:inherit\;'>Stephen Rumph</strong> (UW)\, music 
 theorist <strong style='box-sizing:border-box\;line-height:inherit\;'>Step
 hen Rodgers</strong> (U of O)\, and voice faculty <strong style='box-sizin
 g:border-box\;line-height:inherit\;'>Carrie Shaw</strong> (UW) and <strong
  style='box-sizing:border-box\;line-height:inherit\;'>Camille Ortiz</stron
 g> (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 style='-web
 kit-text-stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\
 , 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open Sans'\, Arial\, Helvetic
 a\, sans-serif\;font-size:16px\;font-style:normal\;font-variant-caps:norma
 l\;font-weight:400\;letter-spacing:normal\;line-height:1.875rem\;margin:0p
 x 0px 1.5625rem\;orphans:auto\;padding:0px\;text-align:start\;text-decorat
 ion:none\;text-indent:0px\;text-rendering:optimizelegibility\;text-transfo
 rm:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><a class='ex
 t' style='background-color:transparent\;box-sizing:border-box\;color:rgb(1
 62\, 57\, 145)\;line-height:inherit\;text-decoration:underline\;' href='ht
 tps://cascadesongfestival.org/complete-2026-festival-schedule/' data-entit
 y-type='external' data-extlink rel='noreferrer'><strong style='box-sizing:
 border-box\;line-height:inherit\;'>View a full schedule of events and deta
 ils of additional sessions </strong></a></p><h2 style='-webkit-text-stroke
 -width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rg
 b(68\, 68\, 68)\;font-family:'Encode Sans Compressed Regular'\, 'Open Sans
 '\, Arial\, sans-serif\;font-size:1.875rem\;font-style:normal\;font-varian
 t-caps:normal\;font-weight:normal\;letter-spacing:0.3px\;line-height:1.4\;
 margin:0.2rem 0px 0.5rem\;orphans:auto\;padding:0px\;text-align:start\;tex
 t-decoration:none\;text-indent:0px\;text-rendering:optimizelegibility\;tex
 t-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><st
 rong style='box-sizing:border-box\;line-height:inherit\;'>Festival Highlig
 hts</strong></h2><p style='-webkit-text-stroke-width:0px\;box-sizing:borde
 r-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-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\
 ;text-align:start\;text-decoration:none\;text-indent:0px\;text-rendering:o
 ptimizelegibility\;text-transform:none\;white-space:normal\;widows:auto\;w
 ord-spacing:0px\;'><strong style='box-sizing:border-box\;line-height:inher
 it\;'>Thursday\, Jan. 15:</strong> <a style='background-color:transparent\
 ;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;line-height:inherit\;te
 xt-decoration:underline\;' 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 style='background-colo
 r:transparent\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;line-heig
 ht:inherit\;text-decoration:underline\;' href='mailto:cascadesongfestival@
 gmail.com'>cascadesongfestival@gmail.com</a></p><p style='-webkit-text-str
 oke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color
 :rgb(68\, 68\, 68)\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-ser
 if\;font-size:16px\;font-style:normal\;font-variant-caps:normal\;font-weig
 ht:400\;letter-spacing:normal\;line-height:1.875rem\;margin:0px 0px 1.5625
 rem\;orphans:auto\;padding:0px\;text-align:start\;text-decoration:none\;te
 xt-indent:0px\;text-rendering:optimizelegibility\;text-transform:none\;whi
 te-space:normal\;widows:auto\;word-spacing:0px\;'><strong style='box-sizin
 g:border-box\;line-height:inherit\;'>Friday Jan. 16: </strong><a href='htt
 ps://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 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:n
 ormal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;l
 ine-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;
 text-align:start\;text-decoration:none\;text-indent:0px\;text-rendering:op
 timizelegibility\;text-transform:none\;white-space:normal\;widows:auto\;wo
 rd-spacing:0px\;'><strong style='box-sizing:border-box\;line-height:inheri
 t\;'>Friday\, Jan. 16:</strong> <a style='background-color:transparent\;bo
 x-sizing:border-box\;color:rgb(162\, 57\, 145)\;line-height:inherit\;text-
 decoration:underline\;' 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 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:n
 ormal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;l
 ine-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;
 text-align:start\;text-decoration:none\;text-indent:0px\;text-rendering:op
 timizelegibility\;text-transform:none\;white-space:normal\;widows:auto\;wo
 rd-spacing:0px\;'><strong style='box-sizing:border-box\;line-height:inheri
 t\;'>Saturday\, Jan. 17: </strong>Recital: <a style='background-color:tran
 sparent\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;line-height:inh
 erit\;text-decoration:underline\;' 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 style='-webkit-text-stroke-wid
 th:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68
 \, 68\, 68)\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;fon
 t-size:16px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\
 ;letter-spacing:normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;or
 phans:auto\;padding:0px\;text-align:start\;text-decoration:none\;text-inde
 nt:0px\;text-rendering:optimizelegibility\;text-transform:none\;white-spac
 e:normal\;widows:auto\;word-spacing:0px\;'>*RSVP required for the Jan. 15 
 performance at the Intellectual House. RSVP at <a style='background-color:
 transparent\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;line-height
 :inherit\;text-decoration:underline\;' href='mailto:cascadesongfestival@gm
 ail.com'>cascadesongfestival@gmail.com</a>. </p>
DTSTART;TZID=America/Los_Angeles:20260116T193000
DTEND;TZID=America/Los_Angeles:20260117T000000
LAST-MODIFIED:20260107T191553Z
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><spa
 n style='-webkit-text-stroke-width:0px\;background-color:rgb(255\, 255\, 2
 55)\;caret-color:rgb(57\, 77\, 85)\;color:rgb(57\, 77\, 85)\;display:inlin
 e !important\;float:none\;font-family:Karla\, Arial\, sans-serif\;font-siz
 e:16.6667px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\
 ;letter-spacing:normal\;orphans:auto\;text-align:left\;text-decoration:non
 e\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;
 word-spacing:0px\;'>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 style='-webkit-text-strok
 e-width:0px\;box-sizing:inherit\;caret-color:rgb(57\, 77\, 85)\;color:rgb(
 57\, 77\, 85)\;font-family:Karla\, Arial\, sans-serif\;font-size:16.6667px
 \;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;max-wi
 dth:unset\;orphans:auto\;text-align:left\;text-decoration:none\;text-inden
 t:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:
 0px\;'>Lines and Lyrics: An Introduction to Poetry and Song with </em><spa
 n style='-webkit-text-stroke-width:0px\;background-color:rgb(255\, 255\, 2
 55)\;caret-color:rgb(57\, 77\, 85)\;color:rgb(57\, 77\, 85)\;display:inlin
 e !important\;float:none\;font-family:Karla\, Arial\, sans-serif\;font-siz
 e:16.6667px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\
 ;letter-spacing:normal\;orphans:auto\;text-align:left\;text-decoration:non
 e\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;
 word-spacing:0px\;'>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 style='-webkit-text-stroke-width:0px\;box-sizin
 g:inherit\;caret-color:rgb(57\, 77\, 85)\;color:rgb(57\, 77\, 85)\;font-fa
 mily:Karla\, Arial\, sans-serif\;font-size:16.6667px\;font-variant-caps:no
 rmal\;font-weight:400\;letter-spacing:normal\;max-width:unset\;orphans:aut
 o\;text-align:left\;text-decoration:none\;text-indent:0px\;text-transform:
 none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>Troubled Sleep:
  The Dark Side of Lullabies in Rock\, Broadway\, and Beyond.</em></p><hr><
 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\;'>Festival Background</h2><p style='-webkit-text-s
 troke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;col
 or:rgb(68\, 68\, 68)\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-s
 erif\;font-size:16px\;font-style:normal\;font-variant-caps:normal\;font-we
 ight:400\;letter-spacing:normal\;line-height:1.875rem\;margin:0px 0px 1.56
 25rem\;orphans:auto\;padding:0px\;text-align:start\;text-decoration:none\;
 text-indent:0px\;text-rendering:optimizelegibility\;text-transform:none\;w
 hite-space:normal\;widows:auto\;word-spacing:0px\;'>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 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\, Helv
 etica\, sans-serif\;font-size:16px\;font-style:normal\;font-variant-caps:n
 ormal\;font-weight:400\;letter-spacing:normal\;line-height:1.875rem\;margi
 n:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-align:start\;text-dec
 oration:none\;text-indent:0px\;text-rendering:optimizelegibility\;text-tra
 nsform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>Highligh
 ts include a recital and master class by the internationally acclaimed sop
 rano <strong style='box-sizing:border-box\;line-height:inherit\;'>Louise T
 oppin </strong>(University of Michigan)\, with pianist<strong style='box-s
 izing:border-box\;line-height:inherit\;'> John O’Brien\,</strong> and a ke
 ynote presentation by music theorist <strong style='box-sizing:border-box\
 ;line-height:inherit\;'>Matt BaileyShea</strong> (University of Rochester\
 , Eastman School of Music).</p><p style='-webkit-text-stroke-width:0px\;bo
 x-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68
 )\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16p
 x\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-sp
 acing:normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto
 \;padding:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;te
 xt-rendering:optimizelegibility\;text-transform:none\;white-space:normal\;
 widows:auto\;word-spacing:0px\;'>The brainchild of musicologist <strong st
 yle='box-sizing:border-box\;line-height:inherit\;'>Stephen Rumph</strong> 
 (UW)\, music theorist <strong style='box-sizing:border-box\;line-height:in
 herit\;'>Stephen Rodgers</strong> (U of O)\, and voice faculty <strong sty
 le='box-sizing:border-box\;line-height:inherit\;'>Carrie Shaw</strong> (UW
 ) and <strong style='box-sizing:border-box\;line-height:inherit\;'>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><
 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\;'
 ><a class='ext' style='background-color:transparent\;box-sizing:border-box
 \;color:rgb(162\, 57\, 145)\;line-height:inherit\;text-decoration:underlin
 e\;' href='https://cascadesongfestival.org/complete-2026-festival-schedule
 /' data-entity-type='external' data-extlink rel='noreferrer'><em style='bo
 x-sizing:border-box\;line-height:inherit\;'><strong style='box-sizing:bord
 er-box\;line-height:inherit\;'>View a full schedule of events and details 
 of additional sessions </strong></em></a></p><h2 style='-webkit-text-strok
 e-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:r
 gb(68\, 68\, 68)\;font-family:'Encode Sans Compressed Regular'\, 'Open San
 s'\, Arial\, sans-serif\;font-size:1.875rem\;font-style:normal\;font-varia
 nt-caps:normal\;font-weight:normal\;letter-spacing:0.3px\;line-height:1.4\
 ;margin:0.2rem 0px 0.5rem\;orphans:auto\;padding:0px\;text-align:start\;te
 xt-decoration:none\;text-indent:0px\;text-rendering:optimizelegibility\;te
 xt-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><s
 trong style='box-sizing:border-box\;line-height:inherit\;'>Festival Highli
 ghts</strong></h2><p style='-webkit-text-stroke-width:0px\;box-sizing:bord
 er-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-famil
 y:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-style
 :normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\
 ;line-height:1.875rem\;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\;'><strong style='box-sizing:border-box\;line-height:inhe
 rit\;'>Thursday\, Jan. 15:</strong> <a style='background-color:transparent
 \;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;line-height:inherit\;t
 ext-decoration:underline\;' 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 style='box-sizing:border-box\
 ;line-height:inherit\;'>*RSVP at </em><a style='background-color:transpare
 nt\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;line-height:inherit\
 ;text-decoration:underline\;' href='mailto:cascadesongfestival@gmail.com'>
 <em style='box-sizing:border-box\;line-height:inherit\;'>cascadesongfestiv
 al@gmail.com</em></a></p><p style='-webkit-text-stroke-width:0px\;box-sizi
 ng:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;fon
 t-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;fon
 t-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:
 normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;padd
 ing:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;text-ren
 dering:optimizelegibility\;text-transform:none\;white-space:normal\;widows
 :auto\;word-spacing:0px\;'><strong style='box-sizing:border-box\;line-heig
 ht:inherit\;'>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
 e='-webkit-text-stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(6
 8\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open Sans'\, Arial\, H
 elvetica\, sans-serif\;font-size:16px\;font-style:normal\;font-variant-cap
 s:normal\;font-weight:400\;letter-spacing:normal\;line-height:1.875rem\;ma
 rgin: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\;'><stro
 ng style='box-sizing:border-box\;line-height:inherit\;'>Friday\, Jan. 16:<
 /strong> <a style='background-color:transparent\;box-sizing:border-box\;co
 lor:rgb(162\, 57\, 145)\;line-height:inherit\;text-decoration:underline\;'
  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
 e='-webkit-text-stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(6
 8\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open Sans'\, Arial\, H
 elvetica\, sans-serif\;font-size:16px\;font-style:normal\;font-variant-cap
 s:normal\;font-weight:400\;letter-spacing:normal\;line-height:1.875rem\;ma
 rgin: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\;'><stro
 ng style='box-sizing:border-box\;line-height:inherit\;'>Saturday\, Jan. 17
 : </strong>Recital: <a style='background-color:transparent\;box-sizing:bor
 der-box\;color:rgb(162\, 57\, 145)\;line-height:inherit\;text-decoration:u
 nderline\;' 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 style='-webkit-text-stroke-width:0px\;box-sizing:bord
 er-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-famil
 y:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-style
 :normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\
 ;line-height:1.875rem\;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\;'><em style='box-sizing:border-box\;line-height:inherit\
 ;'>*RSVP required for the Jan. 15 performance at the Intellectual House. R
 SVP at </em><a style='background-color:transparent\;box-sizing:border-box\
 ;color:rgb(162\, 57\, 145)\;line-height:inherit\;text-decoration:underline
 \;' href='mailto:cascadesongfestival@gmail.com'><em style='box-sizing:bord
 er-box\;line-height:inherit\;'>cascadesongfestival@gmail.com</em></a><em s
 tyle='box-sizing:border-box\;line-height:inherit\;'>. </em></p>
END:VEVENT
BEGIN:VEVENT
UID:f8a5ba67-2e04-4b7f-8b8d-9a942fdfee8e
DTSTAMP:20260612T083118Z
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 style='line-height:1.2\;margin-bottom:8pt\;margin-top:0pt\
 ;' dir='ltr'><strong>Lord How come me here?</strong>	traditional<br><strong
 >Gospel Train</strong>	Thomas Kerr (1915-1988)<br>	</p><p style='line-height
 :1.2\;margin-bottom:8pt\;margin-top:0pt\;' 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</st
 rong><br> </p><p style='line-height:1.2\;margin-bottom:8pt\;margin-top:0pt
 \;' 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</stro
 ng><br>     </p><p style='line-height:1.2\;margin-bottom:8pt\;margin-top:0
 pt\;' 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 style='line-height:1.2\;margin-bottom:8pt\;margin-top:0pt\;' 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 style='line-height:1.2\;margin-bottom:8pt\;margin-top:0pt\;' 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</stro
 ng><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 style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;caret-co
 lor:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Encode Sans C
 ompressed Regular'\, 'Open Sans'\, Arial\, sans-serif\;font-size:1.875rem\
 ;font-style:normal\;font-variant-caps:normal\;font-weight:normal\;letter-s
 pacing:0.3px\;line-height:1.4\;margin:0.2rem 0px 0.5rem\;orphans:auto\;pad
 ding:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;text-re
 ndering:optimizelegibility\;text-transform:none\;white-space:normal\;widow
 s:auto\;word-spacing:0px\;'>Festival Background</h2><p style='-webkit-text
 -stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;c
 olor: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-height:1.875rem\;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\;'>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 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\, He
 lvetica\, sans-serif\;font-size:16px\;font-style:normal\;font-variant-caps
 :normal\;font-weight:400\;letter-spacing:normal\;line-height:1.875rem\;mar
 gin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-align:start\;text-d
 ecoration:none\;text-indent:0px\;text-rendering:optimizelegibility\;text-t
 ransform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>Highli
 ghts include a recital and master class by the internationally acclaimed s
 oprano <strong style='box-sizing:border-box\;line-height:inherit\;'>Louise
  Toppin </strong>(University of Michigan)\, with pianist<strong style='box
 -sizing:border-box\;line-height:inherit\;'> John O’Brien\,</strong> and a 
 keynote presentation by music theorist <strong style='box-sizing:border-bo
 x\;line-height:inherit\;'>Matt BaileyShea</strong> (University of Rocheste
 r\, Eastman School of Music).</p><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'\, Arial\, Helvetica\, sans-serif\;font-size:1
 6px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-
 spacing:normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:au
 to\;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\;'>The brainchild of musicologist <strong 
 style='box-sizing:border-box\;line-height:inherit\;'>Stephen Rumph</strong
 > (UW)\, music theorist <strong style='box-sizing:border-box\;line-height:
 inherit\;'>Stephen Rodgers</strong> (U of O)\, and voice faculty <strong s
 tyle='box-sizing:border-box\;line-height:inherit\;'>Carrie Shaw</strong> (
 UW) and <strong style='box-sizing:border-box\;line-height:inherit\;'>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 style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;caret-col
 or:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open Sans'\, A
 rial\, Helvetica\, sans-serif\;font-size:16px\;font-style:normal\;font-var
 iant-caps:normal\;font-weight:400\;letter-spacing:normal\;line-height:1.87
 5rem\;margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-align:star
 t\;text-decoration:none\;text-indent:0px\;text-rendering:optimizelegibilit
 y\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\
 ;'><a class='ext' style='background-color:transparent\;box-sizing:border-b
 ox\;color:rgb(162\, 57\, 145)\;line-height:inherit\;text-decoration:underl
 ine\;' href='https://cascadesongfestival.org/complete-2026-festival-schedu
 le/' data-entity-type='external' data-extlink rel='noreferrer'><strong sty
 le='box-sizing:border-box\;line-height:inherit\;'>View a full schedule of 
 events and details of additional sessions </strong></a></p><h2 style='-web
 kit-text-stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\
 , 68)\;color:rgb(68\, 68\, 68)\;font-family:'Encode Sans Compressed Regula
 r'\, 'Open Sans'\, Arial\, sans-serif\;font-size:1.875rem\;font-style:norm
 al\;font-variant-caps:normal\;font-weight:normal\;letter-spacing:0.3px\;li
 ne-height:1.4\;margin:0.2rem 0px 0.5rem\;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\;'><strong style='box-sizing:border-box\;line-height:inherit\;'>F
 estival Highlights</strong></h2><p style='-webkit-text-stroke-width:0px\;b
 ox-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 6
 8)\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16
 px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-s
 pacing:normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:aut
 o\;padding:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;t
 ext-rendering:optimizelegibility\;text-transform:none\;white-space:normal\
 ;widows:auto\;word-spacing:0px\;'><strong style='box-sizing:border-box\;li
 ne-height:inherit\;'>Thursday\, Jan. 15:</strong> <a style='background-col
 or:transparent\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;line-hei
 ght:inherit\;text-decoration:underline\;' 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 style='
 background-color:transparent\;box-sizing:border-box\;color:rgb(162\, 57\, 
 145)\;line-height:inherit\;text-decoration:underline\;' href='mailto:casca
 desongfestival@gmail.com'>cascadesongfestival@gmail.com</a></p><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'\, Arial\, Helve
 tica\, sans-serif\;font-size:16px\;font-style:normal\;font-variant-caps:no
 rmal\;font-weight:400\;letter-spacing:normal\;line-height:1.875rem\;margin
 :0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-align:start\;text-deco
 ration:none\;text-indent:0px\;text-rendering:optimizelegibility\;text-tran
 sform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><strong s
 tyle='box-sizing:border-box\;line-height:inherit\;'>Friday Jan. 16: </stro
 ng><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 style='-webkit-text-stroke-width:0px\;bo
 x-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68
 )\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16p
 x\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-sp
 acing:normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto
 \;padding:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;te
 xt-rendering:optimizelegibility\;text-transform:none\;white-space:normal\;
 widows:auto\;word-spacing:0px\;'><strong style='box-sizing:border-box\;lin
 e-height:inherit\;'>Friday\, Jan. 16:</strong> <a style='background-color:
 transparent\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;line-height
 :inherit\;text-decoration:underline\;' 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 style='-webkit-text-stroke-width:0px\;bo
 x-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68
 )\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16p
 x\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-sp
 acing:normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto
 \;padding:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;te
 xt-rendering:optimizelegibility\;text-transform:none\;white-space:normal\;
 widows:auto\;word-spacing:0px\;'><strong style='box-sizing:border-box\;lin
 e-height:inherit\;'>Saturday\, Jan. 17: </strong>Recital: <a style='backgr
 ound-color:transparent\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;
 line-height:inherit\;text-decoration:underline\;' 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 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\;f
 ont-weight:400\;letter-spacing:normal\;line-height:1.875rem\;margin:0px 0p
 x 1.5625rem\;orphans:auto\;padding:0px\;text-align:start\;text-decoration:
 none\;text-indent:0px\;text-rendering:optimizelegibility\;text-transform:n
 one\;white-space:normal\;widows:auto\;word-spacing:0px\;'>*RSVP required f
 or the Jan. 18 performance at the Intellectual House. RSVP at <a style='ba
 ckground-color:transparent\;box-sizing:border-box\;color:rgb(162\, 57\, 14
 5)\;line-height:inherit\;text-decoration:underline\;' href='mailto:cascade
 songfestival@gmail.com'>cascadesongfestival@gmail.com</a>. </p>
DTSTART;TZID=America/Los_Angeles:20260117T193000
DTEND;TZID=America/Los_Angeles:20260118T000000
LAST-MODIFIED:20260118T021221Z
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 style='line-height:1.2\;margin-bottom:8pt
 \;margin-top:0pt\;' dir='ltr'><span style='background-color:transparent\;c
 olor:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;font-size:10pt\;
 font-style:normal\;font-variant-alternates:normal\;font-variant-caps:norma
 l\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-var
 iant-numeric:normal\;font-variant-position:normal\;text-decoration:none\;v
 ertical-align:baseline\;white-space:pre-wrap\;'><strong>Lord How come me h
 ere?</strong></span><span class='Apple-tab-span' style='background-color:t
 ransparent\;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;fon
 t-size:10pt\;font-style:normal\;font-variant-alternates:normal\;font-varia
 nt-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:nor
 mal\;font-variant-numeric:normal\;font-variant-position:normal\;font-weigh
 t:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre\;'>	<
 /span><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;fon
 t-family:Montserrat\, sans-serif\;font-size:10pt\;font-style:normal\;font-
 variant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asi
 an:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;fon
 t-variant-position:normal\;font-weight:400\;text-decoration:none\;vertical
 -align:baseline\;white-space:pre-wrap\;'>traditional</span><br><span style
 ='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Montserr
 at\, sans-serif\;font-size:10pt\;font-style:normal\;font-variant-alternate
 s:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-v
 ariant-ligatures:normal\;font-variant-numeric:normal\;font-variant-positio
 n:normal\;text-decoration:none\;vertical-align:baseline\;white-space:pre-w
 rap\;'><strong>Gospel Train</strong></span><span class='Apple-tab-span' st
 yle='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Monts
 errat\, sans-serif\;font-size:10pt\;font-style:normal\;font-variant-altern
 ates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;fon
 t-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-posi
 tion:normal\;font-weight:400\;text-decoration:none\;vertical-align:baselin
 e\;white-space:pre\;'>	</span><span style='background-color:transparent\;co
 lor:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;font-size:10pt\;f
 ont-style:normal\;font-variant-alternates:normal\;font-variant-caps:normal
 \;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-vari
 ant-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-de
 coration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Thomas Ker
 r (1915-1988)</span><br><span class='Apple-tab-span' style='background-col
 or:transparent\;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\
 ;font-size:10pt\;font-style:normal\;font-variant-alternates:normal\;font-v
 ariant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures
 :normal\;font-variant-numeric:normal\;font-variant-position:normal\;font-w
 eight:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre\
 ;'>	</span></p><p style='line-height:1.2\;margin-bottom:8pt\;margin-top:0pt
 \;' dir='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\,
  0)\;font-family:Montserrat\, sans-serif\;font-size:10pt\;font-style:norma
 l\;font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-
 east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:nor
 mal\;font-variant-position:normal\;text-decoration:none\;vertical-align:ba
 seline\;white-space:pre-wrap\;'><strong>His Helmet Blaze from </strong></s
 pan><em><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;f
 ont-family:Montserrat\, sans-serif\;font-size:10pt\;font-variant-alternate
 s:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-v
 ariant-ligatures:normal\;font-variant-numeric:normal\;font-variant-positio
 n:normal\;text-decoration:none\;vertical-align:baseline\;white-space:pre-w
 rap\;'><strong>Saracen Songs</strong></span></em><span class='Apple-tab-sp
 an' style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family
 :Montserrat\, sans-serif\;font-size:10pt\;font-style:normal\;font-variant-
 alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:norma
 l\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-varian
 t-position:normal\;font-weight:400\;text-decoration:none\;vertical-align:b
 aseline\;white-space:pre\;'>	</span><span style='background-color:transpare
 nt\;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;font-size:1
 0pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-caps:
 normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;fon
 t-variant-numeric:normal\;font-variant-position:normal\;font-weight:400\;t
 ext-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Harr
 y Burleigh (1866-1949)</span><br><span style='background-color:transparent
 \;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;font-size:10p
 t\;font-style:normal\;font-variant-alternates:normal\;font-variant-caps:no
 rmal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-
 variant-numeric:normal\;font-variant-position:normal\;text-decoration:none
 \;vertical-align:baseline\;white-space:pre-wrap\;'><strong>He met her in t
 he meadow</strong></span><span class='Apple-tab-span' style='background-co
 lor:transparent\;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif
 \;font-size:10pt\;font-style:normal\;font-variant-alternates:normal\;font-
 variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligature
 s:normal\;font-variant-numeric:normal\;font-variant-position:normal\;font-
 weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre
 \;'>	</span><br><span style='background-color:transparent\;color:rgb(0\, 0\
 , 0)\;font-family:Montserrat\, sans-serif\;font-size:10pt\;font-style:norm
 al\;font-variant-alternates:normal\;font-variant-caps:normal\;font-variant
 -east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:no
 rmal\;font-variant-position:normal\;text-decoration:none\;vertical-align:b
 aseline\;white-space:pre-wrap\;'><strong>The Grey Wolf</strong></span><br>
  </p><p style='line-height:1.2\;margin-bottom:8pt\;margin-top:0pt\;' dir='
 ltr'><em><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;
 font-family:Montserrat\, sans-serif\;font-size:10pt\;font-variant-alternat
 es:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-
 variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-positi
 on:normal\;text-decoration:none\;vertical-align:baseline\;white-space:pre-
 wrap\;'><strong>Heart on the Wall</strong></span></em><span class='Apple-t
 ab-span' style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-f
 amily:Montserrat\, sans-serif\;font-size:10pt\;font-style:normal\;font-var
 iant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:
 normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-v
 ariant-position:normal\;font-weight:400\;text-decoration:none\;vertical-al
 ign:baseline\;white-space:pre\;'>	</span><span style='background-color:tran
 sparent\;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;font-s
 ize:10pt\;font-style:normal\;font-variant-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:4
 00\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'
 >Robert Owens</span><span class='Apple-tab-span' style='background-color:t
 ransparent\;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;fon
 t-size:10pt\;font-style:normal\;font-variant-alternates:normal\;font-varia
 nt-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:nor
 mal\;font-variant-numeric:normal\;font-variant-position:normal\;font-weigh
 t:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre\;'>	<
 /span><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\;fon
 t-family:Montserrat\, sans-serif\;font-size:10pt\;font-style:normal\;font-
 variant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asi
 an:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;fon
 t-variant-position:normal\;font-weight:400\;text-decoration:none\;vertical
 -align:baseline\;white-space:pre-wrap\;'>(1925- 2017)</span><br><span styl
 e='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Montser
 rat\, sans-serif\;font-size:10pt\;font-style:normal\;font-variant-alternat
 es:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-
 variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-positi
 on:normal\;text-decoration:none\;vertical-align:baseline\;white-space:pre-
 wrap\;'><strong>Heart</strong></span><span class='Apple-tab-span' style='b
 ackground-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Montserrat\
 , sans-serif\;font-size:10pt\;font-style:normal\;font-variant-alternates:n
 ormal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-vari
 ant-ligatures:normal\;font-variant-numeric:normal\;font-variant-position:n
 ormal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;whi
 te-space:pre\;'> </span><br><span style='background-color:transparent\;col
 or:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;font-size:10pt\;fo
 nt-style:normal\;font-variant-alternates:normal\;font-variant-caps:normal\
 ;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-varia
 nt-numeric:normal\;font-variant-position:normal\;text-decoration:none\;ver
 tical-align:baseline\;white-space:pre-wrap\;'><strong>Remembrance</strong>
 </span><br><span style='background-color:transparent\;color:rgb(0\, 0\, 0)
 \;font-family:Montserrat\, sans-serif\;font-size:10pt\;font-style:normal\;
 font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-eas
 t-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal
 \;font-variant-position:normal\;text-decoration:none\;vertical-align:basel
 ine\;white-space:pre-wrap\;'><strong>Havanna Dreams</strong></span><br><sp
 an style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:
 Montserrat\, sans-serif\;font-size:10pt\;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\;text-decoration:none\;vertical-align:baseline\;white-spa
 ce:pre-wrap\;'><strong>Girl</strong></span><br><span style='background-col
 or:transparent\;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\
 ;font-size:10pt\;font-style:normal\;font-variant-alternates:normal\;font-v
 ariant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures
 :normal\;font-variant-numeric:normal\;font-variant-position:normal\;text-d
 ecoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'><strong>F
 or Dead Mimes</strong></span><br><span style='background-color:transparent
 \;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;font-size:10p
 t\;font-style:normal\;font-variant-alternates:normal\;font-variant-caps:no
 rmal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-
 variant-numeric:normal\;font-variant-position:normal\;font-weight:400\;tex
 t-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>     <
 /span></p><p style='line-height:1.2\;margin-bottom:8pt\;margin-top:0pt\;' 
 dir='ltr'><span style='background-color:transparent\;color:rgb(0\, 0\, 0)\
 ;font-family:Montserrat\, sans-serif\;font-size:10pt\;font-style:normal\;f
 ont-variant-alternates:normal\;font-variant-caps:normal\;font-variant-east
 -asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\
 ;font-variant-position:normal\;text-decoration:none\;vertical-align:baseli
 ne\;white-space:pre-wrap\;'><strong>Dream Variation</strong></span><span c
 lass='Apple-tab-span' style='background-color:transparent\;color:rgb(0\, 0
 \, 0)\;font-family:Montserrat\, sans-serif\;font-size:10pt\;font-style:nor
 mal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-varian
 t-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:n
 ormal\;font-variant-position:normal\;font-weight:400\;text-decoration:none
 \;vertical-align:baseline\;white-space:pre\;'>	</span><span style='backgrou
 nd-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-
 serif\;font-size:10pt\;font-style:normal\;font-variant-alternates:normal\;
 font-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-lig
 atures:normal\;font-variant-numeric:normal\;font-variant-position:normal\;
 font-weight:400\;text-decoration:none\;vertical-align:baseline\;white-spac
 e:pre-wrap\;'>Undine Smith Moore (1904-1989)</span><br><span style='backgr
 ound-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, san
 s-serif\;font-size:10pt\;font-style:normal\;font-variant-alternates:normal
 \;font-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-l
 igatures:normal\;font-variant-numeric:normal\;font-variant-position:normal
 \;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'><
 strong>Set Down </strong></span><span style='background-color:transparent\
 ;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;font-size:10pt
 \;font-style:normal\;font-variant-alternates:normal\;font-variant-caps:nor
 mal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-v
 ariant-numeric:normal\;font-variant-position:normal\;font-weight:400\;text
 -decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'> </span
 ><span class='Apple-tab-span' style='background-color:transparent\;color:r
 gb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;font-size:10pt\;font-s
 tyle:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;fon
 t-variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-n
 umeric:normal\;font-variant-position:normal\;font-weight:400\;text-decorat
 ion:none\;vertical-align:baseline\;white-space:pre\;'>	</span><br><br><em><
 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\;'><s
 trong>Intermission</strong></span></em><br> </p><p style='line-height:1.2\
 ;margin-bottom:8pt\;margin-top:0pt\;' dir='ltr'><span style='background-co
 lor:transparent\;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif
 \;font-size:10pt\;font-style:normal\;font-variant-alternates:normal\;font-
 variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligature
 s:normal\;font-variant-numeric:normal\;font-variant-position:normal\;text-
 decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'><strong>
 I couldn’t hear nobody pray</strong></span><span class='Apple-tab-span' st
 yle='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Monts
 errat\, sans-serif\;font-size:10pt\;font-style:normal\;font-variant-altern
 ates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;fon
 t-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-posi
 tion:normal\;font-weight:400\;text-decoration:none\;vertical-align:baselin
 e\;white-space:pre\;'>	</span><span style='background-color:transparent\;co
 lor:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;font-size:10pt\;f
 ont-style:normal\;font-variant-alternates:normal\;font-variant-caps:normal
 \;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-vari
 ant-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-de
 coration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Uzee Brown
  (b. 1950)</span><br><span style='background-color:transparent\;color:rgb(
 0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;font-size:10pt\;font-styl
 e:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-v
 ariant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-nume
 ric:normal\;font-variant-position:normal\;text-decoration:none\;vertical-a
 lign:baseline\;white-space:pre-wrap\;'><strong>Give Me a Song of Hope from
 </strong></span><em><span style='background-color:transparent\;color:rgb(0
 \, 0\, 0)\;font-family:Montserrat\, sans-serif\;font-size:10pt\;font-varia
 nt-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:no
 rmal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-var
 iant-position:normal\;text-decoration:none\;vertical-align:baseline\;white
 -space:pre-wrap\;'><strong> Three Songs of Pauli Murray</strong></span></e
 m><span class='Apple-tab-span' style='background-color:transparent\;color:
 rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;font-size:10pt\;font-
 style:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;fo
 nt-variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-
 numeric:normal\;font-variant-position:normal\;font-weight:400\;text-decora
 tion:none\;vertical-align:baseline\;white-space:pre\;'>	</span><br><br><spa
 n style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:M
 ontserrat\, sans-serif\;font-size:10pt\;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\;text-decoration:none\;vertical-align:baseline\;white-spac
 e:pre-wrap\;'><strong>Since you went away</strong></span><span class='Appl
 e-tab-span' style='background-color:transparent\;color:rgb(0\, 0\, 0)\;fon
 t-family:Montserrat\, sans-serif\;font-size:10pt\;font-style:normal\;font-
 variant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asi
 an:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;fon
 t-variant-position:normal\;font-weight:400\;text-decoration:none\;vertical
 -align:baseline\;white-space:pre\;'>	</span><span style='background-color:t
 ransparent\;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;fon
 t-size:10pt\;font-style:normal\;font-variant-alternates:normal\;font-varia
 nt-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:nor
 mal\;font-variant-numeric:normal\;font-variant-position:normal\;font-weigh
 t:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap
 \;'>J. Rosamund Johnson (1873-1954)</span><br><span style='background-colo
 r:transparent\;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;
 font-size:10pt\;font-style:normal\;font-variant-alternates:normal\;font-va
 riant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:
 normal\;font-variant-numeric:normal\;font-variant-position:normal\;text-de
 coration:none\;vertical-align:baseline\;white-space:pre-wrap\;'><strong>Se
 nce you went away</strong></span><span class='Apple-tab-span' style='backg
 round-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sa
 ns-serif\;font-size:10pt\;font-style:normal\;font-variant-alternates:norma
 l\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-
 ligatures:normal\;font-variant-numeric:normal\;font-variant-position:norma
 l\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;white-s
 pace:pre\;'>	</span><span style='background-color:transparent\;color:rgb(0\
 , 0\, 0)\;font-family:Montserrat\, sans-serif\;font-size:10pt\;font-style:
 normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-var
 iant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeri
 c:normal\;font-variant-position:normal\;font-weight:400\;text-decoration:n
 one\;vertical-align:baseline\;white-space:pre-wrap\;'>Lori Hicks (b. 1979)
 </span></p><p style='line-height:1.2\;margin-bottom:8pt\;margin-top:0pt\;'
  dir='ltr'><br><em><span style='background-color:transparent\;color:rgb(0\
 , 0\, 0)\;font-family:Montserrat\, sans-serif\;font-size:10pt\;font-varian
 t-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:nor
 mal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-vari
 ant-position:normal\;text-decoration:none\;vertical-align:baseline\;white-
 space:pre-wrap\;'><strong>Songs of the Seasons</strong></span></em><span c
 lass='Apple-tab-span' style='background-color:transparent\;color:rgb(0\, 0
 \, 0)\;font-family:Montserrat\, sans-serif\;font-size:10pt\;font-style:nor
 mal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-varian
 t-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:n
 ormal\;font-variant-position:normal\;font-weight:400\;text-decoration:none
 \;vertical-align:baseline\;white-space:pre\;'>	</span><span style='backgrou
 nd-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-
 serif\;font-size:10pt\;font-style:normal\;font-variant-alternates:normal\;
 font-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-lig
 atures:normal\;font-variant-numeric:normal\;font-variant-position:normal\;
 font-weight:400\;text-decoration:none\;vertical-align:baseline\;white-spac
 e:pre-wrap\;'>Margaret Bonds (1913-1972)</span><br><span style='background
 -color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-se
 rif\;font-size:10pt\;font-style:normal\;font-variant-alternates:normal\;fo
 nt-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligat
 ures:normal\;font-variant-numeric:normal\;font-variant-position:normal\;te
 xt-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'><stro
 ng>Young Love in Spring</strong></span><span class='Apple-tab-span' style=
 'background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Montserra
 t\, sans-serif\;font-size:10pt\;font-style:normal\;font-variant-alternates
 :normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-va
 riant-ligatures:normal\;font-variant-numeric:normal\;font-variant-position
 :normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;w
 hite-space:pre\;'>	</span><br><span style='background-color:transparent\;co
 lor:rgb(0\, 0\, 0)\;font-family:Montserrat\, sans-serif\;font-size:10pt\;f
 ont-style:normal\;font-variant-alternates:normal\;font-variant-caps:normal
 \;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-vari
 ant-numeric:normal\;font-variant-position:normal\;text-decoration:none\;ve
 rtical-align:baseline\;white-space:pre-wrap\;'><strong>Poéme d’Automne</st
 rong></span><br><span style='background-color:transparent\;color:rgb(0\, 0
 \, 0)\;font-family:Montserrat\, sans-serif\;font-size:10pt\;font-style:nor
 mal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-varian
 t-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:n
 ormal\;font-variant-position:normal\;text-decoration:none\;vertical-align:
 baseline\;white-space:pre-wrap\;'><strong>Winter</strong></span><br><span 
 style='background-color:transparent\;color:rgb(0\, 0\, 0)\;font-family:Mon
 tserrat\, sans-serif\;font-size:10pt\;font-style:normal\;font-variant-alte
 rnates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;f
 ont-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-po
 sition:normal\;text-decoration:none\;vertical-align:baseline\;white-space:
 pre-wrap\;'><strong>Summer Storm</strong></span></p><hr><h2>Biographies</h
 2><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&itok=Zm_osJnD' width
 ='100' height='125' alt='soprano Louise Toppin'> </div> </div> </div> </ar
 ticle> <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' alt='John O'Brien'> </div> </div> </di
 v> </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 style='-webkit-text-stroke-width:
 0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 
 68\, 68)\;font-family:'Encode Sans Compressed Regular'\, 'Open Sans'\, Ari
 al\, sans-serif\;font-size:1.875rem\;font-style:normal\;font-variant-caps:
 normal\;font-weight:normal\;letter-spacing:0.3px\;line-height:1.4\;margin:
 0.2rem 0px 0.5rem\;orphans:auto\;padding:0px\;text-align:start\;text-decor
 ation:none\;text-indent:0px\;text-rendering:optimizelegibility\;text-trans
 form:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>Festival B
 ackground</h2><p style='-webkit-text-stroke-width:0px\;box-sizing:border-b
 ox\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'O
 pen Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-style:nor
 mal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;lin
 e-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;te
 xt-align:start\;text-decoration:none\;text-indent:0px\;text-rendering:opti
 mizelegibility\;text-transform:none\;white-space:normal\;widows:auto\;word
 -spacing:0px\;'>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 style='-webkit-text-stroke-width:0px\;box-s
 izing: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-spaci
 ng:normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;p
 adding:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;text-
 rendering:optimizelegibility\;text-transform:none\;white-space:normal\;wid
 ows:auto\;word-spacing:0px\;'>Highlights include a recital and master clas
 s by the internationally acclaimed soprano <strong style='box-sizing:borde
 r-box\;line-height:inherit\;'>Louise Toppin </strong>(University of Michig
 an)\, with pianist<strong style='box-sizing:border-box\;line-height:inheri
 t\;'> John O’Brien\,</strong> and a keynote presentation by music theorist
  <strong style='box-sizing:border-box\;line-height:inherit\;'>Matt BaileyS
 hea</strong> (University of Rochester\, Eastman School of Music).</p><p st
 yle='-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-c
 aps:normal\;font-weight:400\;letter-spacing:normal\;line-height:1.875rem\;
 margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-align:start\;tex
 t-decoration:none\;text-indent:0px\;text-rendering:optimizelegibility\;tex
 t-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>The
  brainchild of musicologist <strong style='box-sizing:border-box\;line-hei
 ght:inherit\;'>Stephen Rumph</strong> (UW)\, music theorist <strong style=
 'box-sizing:border-box\;line-height:inherit\;'>Stephen Rodgers</strong> (U
  of O)\, and voice faculty <strong style='box-sizing:border-box\;line-heig
 ht:inherit\;'>Carrie Shaw</strong> (UW) and <strong style='box-sizing:bord
 er-box\;line-height:inherit\;'>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 style='-webkit-text-stroke-width:0
 px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 6
 8\, 68)\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-si
 ze:16px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;let
 ter-spacing:normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphan
 s:auto\;padding:0px\;text-align:start\;text-decoration:none\;text-indent:0
 px\;text-rendering:optimizelegibility\;text-transform:none\;white-space:no
 rmal\;widows:auto\;word-spacing:0px\;'><a class='ext' style='background-co
 lor:transparent\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;line-he
 ight:inherit\;text-decoration:underline\;' href='https://cascadesongfestiv
 al.org/complete-2026-festival-schedule/' data-entity-type='external' data-
 extlink rel='noreferrer'><em style='box-sizing:border-box\;line-height:inh
 erit\;'><strong style='box-sizing:border-box\;line-height:inherit\;'>View 
 a full schedule of events and details of additional sessions </strong></em
 ></a></p><h2 style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;
 caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Encod
 e Sans Compressed Regular'\, 'Open Sans'\, Arial\, sans-serif\;font-size:1
 .875rem\;font-style:normal\;font-variant-caps:normal\;font-weight:normal\;
 letter-spacing:0.3px\;line-height:1.4\;margin:0.2rem 0px 0.5rem\;orphans:a
 uto\;padding:0px\;text-align:start\;text-decoration:none\;text-indent:0px\
 ;text-rendering:optimizelegibility\;text-transform:none\;white-space:norma
 l\;widows:auto\;word-spacing:0px\;'><strong style='box-sizing:border-box\;
 line-height:inherit\;'>Festival Highlights</strong></h2><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'\, Arial\, Helvetica\, 
 sans-serif\;font-size:16px\;font-style:normal\;font-variant-caps:normal\;f
 ont-weight:400\;letter-spacing:normal\;line-height:1.875rem\;margin:0px 0p
 x 1.5625rem\;orphans:auto\;padding:0px\;text-align:start\;text-decoration:
 none\;text-indent:0px\;text-rendering:optimizelegibility\;text-transform:n
 one\;white-space:normal\;widows:auto\;word-spacing:0px\;'><strong style='b
 ox-sizing:border-box\;line-height:inherit\;'>Thursday\, Jan. 15:</strong> 
 <a style='background-color:transparent\;box-sizing:border-box\;color:rgb(1
 62\, 57\, 145)\;line-height:inherit\;text-decoration:underline\;' href='ht
 tps://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 style='box-sizing:border-box\;line-height:inherit\;'>*RSVP at </e
 m><a style='background-color:transparent\;box-sizing:border-box\;color:rgb
 (162\, 57\, 145)\;line-height:inherit\;text-decoration:underline\;' href='
 mailto:cascadesongfestival@gmail.com'><em style='box-sizing:border-box\;li
 ne-height:inherit\;'>cascadesongfestival@gmail.com</em></a></p><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'\, Arial\, Helve
 tica\, sans-serif\;font-size:16px\;font-style:normal\;font-variant-caps:no
 rmal\;font-weight:400\;letter-spacing:normal\;line-height:1.875rem\;margin
 :0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-align:start\;text-deco
 ration:none\;text-indent:0px\;text-rendering:optimizelegibility\;text-tran
 sform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><strong s
 tyle='box-sizing:border-box\;line-height:inherit\;'>Friday Jan. 16: </stro
 ng><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 style='-webkit-text-stroke-width:0px\;bo
 x-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68
 )\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16p
 x\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-sp
 acing:normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto
 \;padding:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;te
 xt-rendering:optimizelegibility\;text-transform:none\;white-space:normal\;
 widows:auto\;word-spacing:0px\;'><strong style='box-sizing:border-box\;lin
 e-height:inherit\;'>Friday\, Jan. 16:</strong> <a style='background-color:
 transparent\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;line-height
 :inherit\;text-decoration:underline\;' 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 style='-webkit-text-stroke-width:0px\;bo
 x-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68
 )\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16p
 x\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-sp
 acing:normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto
 \;padding:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;te
 xt-rendering:optimizelegibility\;text-transform:none\;white-space:normal\;
 widows:auto\;word-spacing:0px\;'><strong style='box-sizing:border-box\;lin
 e-height:inherit\;'>Saturday\, Jan. 17: </strong>Recital: <a style='backgr
 ound-color:transparent\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;
 line-height:inherit\;text-decoration:underline\;' 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 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\;f
 ont-weight:400\;letter-spacing:normal\;line-height:1.875rem\;margin:0px 0p
 x 1.5625rem\;orphans:auto\;padding:0px\;text-align:start\;text-decoration:
 none\;text-indent:0px\;text-rendering:optimizelegibility\;text-transform:n
 one\;white-space:normal\;widows:auto\;word-spacing:0px\;'><em style='box-s
 izing:border-box\;line-height:inherit\;'>*RSVP required for the Jan. 18 pe
 rformance at the Intellectual House. RSVP at </em><a style='background-col
 or:transparent\;box-sizing:border-box\;color:rgb(162\, 57\, 145)\;line-hei
 ght:inherit\;text-decoration:underline\;' href='mailto:cascadesongfestival
 @gmail.com'><em style='box-sizing:border-box\;line-height:inherit\;'>casca
 desongfestival@gmail.com</em></a><em style='box-sizing:border-box\;line-he
 ight:inherit\;'>. </em></p>
END:VEVENT
BEGIN:VEVENT
UID:0a513261-644b-4a2e-8249-ad8658edad0a
DTSTAMP:20260612T083118Z
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)<
 br><strong>Yonatan Ron</strong> - Rondominously<br>-Intermission-<br><stro
 ng>Klaus Lang</strong> - molten trees (2017)<br>Commissioned by Yarn/Wire<
 /p><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 <str
 ong>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.</str
 ong> 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<
 br>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='https
 ://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
DTEND;TZID=America/Los_Angeles:20260123T000000
LAST-MODIFIED:20260108T130514Z
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>[<st
 rong>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 <st
 rong>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 <
 strong>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><stro
 ng>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.'</str
 ong><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:20260612T083118Z
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> <stro
 ng>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
DTEND;TZID=America/Los_Angeles:20260124T000000
LAST-MODIFIED:20251002T190930Z
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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:20260612T083118Z
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.<
 /p><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><stro
 ng>3.    Kane Chang</strong><br>Schumann: Concerto in A minor\, Opus 54<br
 >1.    Allegretto affettuoso<br>Mia Hyeyeon Kim\, Accompanist</p><p><stron
 g>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><str
 ong>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><stron
 g>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</stro
 ng><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
DTEND;TZID=America/Los_Angeles:20260128T000000
LAST-MODIFIED:20260122T234113Z
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</stro
 ng><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<
 br><em>Jiaxuan Wu\, Accompanist</em></p><p><strong>9. Chelsea Zhang</stron
 g><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:20260612T083118Z
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' style='-webkit-text-stroke-width:0px\;border-width:medium\;care
 t-color:rgb(0\, 0\, 0)\;color:rgb(0\, 0\, 0)\;font-family:'Times New Roman
 '\, serif\;font-size:medium\;font-style:normal\;font-variant-caps:normal\;
 font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-dec
 oration:none\;text-indent:0px\;text-transform:none\;white-space:normal\;wi
 dows:auto\;word-spacing:0px\;'>Sinfonia in C major - <strong>Marianna Mart
 ines </strong>(1744-1812)</p><p class='text-align-justify' style='text-jus
 tify:inter-ideograph\;'>I. Allegro con spirito</p><p class='text-align-jus
 tify' style='-webkit-text-stroke-width:0px\;border-width:medium\;caret-col
 or:rgb(0\, 0\, 0)\;color:rgb(0\, 0\, 0)\;font-family:'Times New Roman'\, s
 erif\;font-size:medium\;font-style:normal\;font-variant-caps:normal\;font-
 weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-decorati
 on:none\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:
 auto\;word-spacing:0px\;'>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' style='-webkit-text-stroke-width:0px\;border-widt
 h:medium\;caret-color:rgb(0\, 0\, 0)\;color:rgb(0\, 0\, 0)\;font-family:'T
 imes New Roman'\, serif\;font-size:medium\;font-style:normal\;font-variant
 -caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:
 auto\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-sp
 ace:normal\;widows:auto\;word-spacing:0px\;'>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><st
 rong>Horn   </strong>  <br>Nicole Bogner\, BM Horn Performance<br>Sam Nutt
 \, Molecular & 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
DTEND;TZID=America/Los_Angeles:20260129T000000
LAST-MODIFIED:20260126T163909Z
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' style='-webkit-text-stroke-width:0px\;border-w
 idth:medium\;caret-color:rgb(0\, 0\, 0)\;color:rgb(0\, 0\, 0)\;font-family
 :'Times New Roman'\, serif\;font-size:medium\;font-style:normal\;font-vari
 ant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orpha
 ns:auto\;text-decoration:none\;text-indent:0px\;text-transform:none\;white
 -space:normal\;widows:auto\;word-spacing:0px\;'><span style='font-family:'
 Avenir Book'\;'>Sinfonia in C major - <strong>Marianna Martines </strong>(
 1744-</span><span style='color:rgb(15\, 15\, 15)\;font-family:'Avenir Book
 '\;'>1812)</span></p><p class='text-align-justify' style='text-justify:int
 er-ideograph\;'><span style='color:rgb(15\, 15\, 15)\;font-family:'Avenir 
 Book'\;'>I. Allegro con spirito</span></p><p class='text-align-justify' st
 yle='-webkit-text-stroke-width:0px\;border-width:medium\;caret-color:rgb(0
 \, 0\, 0)\;color:rgb(0\, 0\, 0)\;font-family:'Times New Roman'\, serif\;fo
 nt-size:medium\;font-style:normal\;font-variant-caps:normal\;font-weight:4
 00\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-decoration:none\
 ;text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;wo
 rd-spacing:0px\;'><span style='font-family:'Avenir Book'\;'>Trumpet Concer
 to\, in E-flat major -</span><em><span style='font-family:'Avenir Book'\;'
 > </span></em><span style='font-family:'Avenir Book'\;'><strong>Franz Jose
 ph Haydn</strong> (1732-</span><span style='color:rgb(15\, 15\, 15)\;font-
 family:'Avenir Book'\;'>1809)</span></p><p><span style='font-family:'Aveni
 r Book'\;'>I.Allegro</span><br><span style='font-family:'Avenir Book'\;'>I
 I. Andante</span><br><span style='font-family:'Avenir Book'\;'>III. Finale
 : Allegro</span><br><em><span style='font-family:'Avenir Next LT Pro'\, sa
 ns-serif\;'>David Gordon\, trumpet</span></em><br><br><span style='font-fa
 mily:'Avenir Book'\;'>-Intermission-</span></p><p class='text-align-justif
 y' style='-webkit-text-stroke-width:0px\;border-width:medium\;caret-color:
 rgb(0\, 0\, 0)\;color:rgb(0\, 0\, 0)\;font-family:'Times New Roman'\, seri
 f\;font-size:medium\;font-style:normal\;font-variant-caps:normal\;font-wei
 ght:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-decoration:
 none\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:aut
 o\;word-spacing:0px\;'><span style='font-family:'Avenir Book'\;'>Symphony 
 No. 41\, in C major\, “Jupiter”</span><em><span style='font-family:'Avenir
  Book'\;'>- </span></em><span style='font-family:'Avenir Book'\;'><strong>
 Wolfgang Amadeus Mozart</strong> (1756-</span><span style='color:rgb(15\, 
 15\, 15)\;font-family:'Avenir Book'\;'>1791)</span></p><p><span style='fon
 t-family:'Avenir Book'\;'>I. Allegro vivace</span><br>II. <span style='fon
 t-family:'Avenir Book'\;'>Andante cantabile</span><br>III. <span style='fo
 nt-family:'Avenir Book'\;'>Allegretto</span><br>IV. <span style='font-fami
 ly:'Avenir Book'\;'>Molto allegro</span></p><hr><h2>Program Notes</h2><p><
 em>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”</stro
 ng><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 & 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</str
 ong><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
 trong><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><str
 ong>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:20260612T083118Z
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)</stro
 ng><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><
 br>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)</stron
 g><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)</st
 rong><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)</stron
 g><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
DTEND;TZID=America/Los_Angeles:20260130T000000
LAST-MODIFIED:20260125T171239Z
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><stro
 ng>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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20260131T000000
LAST-MODIFIED:20260114T185450Z
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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20260205T000000
LAST-MODIFIED:20260126T235345Z
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><
 /div><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:20260612T083118Z
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 & 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><
 p>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 & Sons Teacher Hall of Fame.</p>
DTSTART;TZID=America/Los_Angeles:20260204T193000
DTEND;TZID=America/Los_Angeles:20260205T000000
LAST-MODIFIED:20260202T152113Z
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><h
 r><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><meta charset='UTF-8'></p><p><meta charse
 t='UTF-8'></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 & 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 & Son
 s Teacher Hall of Fame.</p>
END:VEVENT
BEGIN:VEVENT
UID:573d29f5-12b1-4e5f-9ed3-6ba4e660fe52
DTSTAMP:20260612T083118Z
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 & 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 & Sons Teacher Hall of Fame.</p>
DTSTART;TZID=America/Los_Angeles:20260205T153000
DTEND;TZID=America/Los_Angeles:20260206T000000
LAST-MODIFIED:20260203T003544Z
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  -  <
 strong>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><meta charset='UTF-8'></p><p><meta charset='UTF-8'></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 & 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 & Sons Teacher Hall of Fame.<
 /p>
END:VEVENT
BEGIN:VEVENT
UID:41034d90-104e-4d32-ac22-a59d6e8dc913
DTSTAMP:20260612T083118Z
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 - <stro
 ng>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
DTEND;TZID=America/Los_Angeles:20260207T000000
LAST-MODIFIED:20260205T203048Z
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 style='-webkit-text-stroke-width:0px\;caret-color:rgb(0\, 0\, 0)\
 ;color:rgb(0\, 0\, 0)\;display:inline !important\;float:none\;font-family:
 Aptos\, Aptos_MSFontService\, -apple-system\, Roboto\, Arial\, Helvetica\,
  sans-serif\;font-size:16px\;font-style:normal\;font-variant-caps:normal\;
 font-weight:400\;letter-spacing:normal\;orphans:auto\;text-align:start\;te
 xt-decoration:none\;text-indent:0px\;text-transform:none\;white-space:norm
 al\;widows:auto\;word-spacing:0px\;'>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)<sp
 an class='Apple-converted-space'> </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<sp
 an class='Apple-converted-space'> </span></em><br><em>Thomas Wardian</em><
 span class='Apple-converted-space'> </span></p><p>Milonga - <strong>Jorge 
 Cardoso</strong> (b.1949)<span class='Apple-converted-space'> </span><br><
 em>Wil Moreau and Henry Requa</em><span class='Apple-converted-space'> </s
 pan><br><br>Fandanguillo\, Op 36 -<strong> Joaquín Turina </strong>(1882-1
 949)<span class='Apple-converted-space'> </span><br><em>Nathan Lee</em><sp
 an class='Apple-converted-space'> </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:20260612T083118Z
CATEGORIES:Community Events\, Performances\, Screenings\, Special Events\, 
 Student Activities and Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250910T121138Z
DESCRIPTION:<p style='font:12.0px Helvetica\;margin:0.0px 0.0px 0.0px 0.0px
 \;min-height:14.0px\;'> </p><p style='color:#de5b1d\;font:13.0px Times\;li
 ne-height:9.6px\;margin:1.0px 0.0px 0.0px 0.0px\;'> </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 <
 br>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><stron
 g>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 </st
 rong><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
DTEND;TZID=America/Los_Angeles:20260207T000000
LAST-MODIFIED:20260205T192951Z
SUMMARY:: Film Screening & 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 style='font:12.0px Helvetica\;margin:0.0px 
 0.0px 0.0px 0.0px\;min-height:14.0px\;'> </p><p style='color:#de5b1d\;font
 :13.0px Times\;line-height:9.6px\;margin:1.0px 0.0px 0.0px 0.0px\;'> </p><
 p>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><h
 r><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><
 em>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
 trong> <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
 trong><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><
 br>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 <
 br>Hailey Vaught\, Business Administration <br>Christina Kim\, Pre-music <
 br><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><stro
 ng>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:20260612T083118Z
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> <stro
 ng>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
DTEND;TZID=America/Los_Angeles:20260211T000000
LAST-MODIFIED:20251002T191016Z
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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:20260612T083118Z
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).<
 /p><hr><p> </p>
DTSTART;TZID=America/Los_Angeles:20260212T133000
DTEND;TZID=America/Los_Angeles:20260213T000000
LAST-MODIFIED:20260210T133514Z
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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20260213T000000
LAST-MODIFIED:20250910T212657Z
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:20260612T083118Z
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
 trong> 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 & 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
DTEND;TZID=America/Los_Angeles:20260214T000000
LAST-MODIFIED:20260211T170749Z
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</stro
 ng> 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 & 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:20260612T083118Z
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>\n<h
 2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260217T160000
DTEND;TZID=America/Los_Angeles:20260218T000000
LAST-MODIFIED:20250819T193704Z
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:20260612T083118Z
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><
 hr><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
DTEND;TZID=America/Los_Angeles:20260219T000000
LAST-MODIFIED:20260128T215634Z
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><meta charset='UTF-8'></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:20260612T083118Z
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<
 br>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<
 /h3><p>Steve Rodby - advisor</p><p>Afro-Centric - <strong>Joe Henderson</s
 trong><br>500 Miles High - <strong>Chick Corea</strong><br>Unknown Soldier
  - <strong>Joe Zawinul  </strong></p><p>Rory Somers - trumpet<br>Aadithya 
 Manoj - alto & soprano saxophone<br>Graeme Gentle - tenor saxophone<br>Gav
 in Westland - piano<br>Don Viet Tran - bass<br>Ethan Horn -  drums  </p><h
 r><h2>Director Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260218T193000
DTEND;TZID=America/Los_Angeles:20260219T000000
LAST-MODIFIED:20260217T231852Z
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 - <stron
 g>Walter Smith III</strong><br>Untitled 05 - <strong>Kendrick Lamar</stron
 g></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 - <str
 ong>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</str
 ong><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><e
 m>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  <
 /strong></p><p><em>Rory Somers - trumpet</em><br><em>Aadithya Manoj - alto
  & soprano saxophone</em><br><em>Graeme Gentle - tenor saxophone</em><br><
 em>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:20260612T083118Z
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<
 br>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
DTEND;TZID=America/Los_Angeles:20260220T000000
LAST-MODIFIED:20260217T232240Z
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</stron
 g><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</e
 m><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 - <stro
 ng>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><e
 m>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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20260224T000000
LAST-MODIFIED:20260123T234555Z
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 style='-webkit-te
 xt-stroke-width:0px\;background-color:rgb(252\, 252\, 252)\;caret-color:rg
 b(40\, 24\, 34)\;color:rgb(40\, 24\, 34)\;display:inline !important\;float
 :none\;font-family:'Open Sans'\, Helvetica\, Arial\, sans-serif\;font-size
 :17px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;lette
 r-spacing:normal\;orphans:auto\;text-align:left\;text-decoration:none\;tex
 t-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-s
 pacing:0px\;'>exploring tensions and opportunities in modern music creatio
 n\, from digital sampling and social media to AI-generated music.  </span>
 </p><p><span style='-webkit-text-stroke-width:0px\;background-color:rgb(25
 2\, 252\, 252)\;caret-color:rgb(40\, 24\, 34)\;color:rgb(40\, 24\, 34)\;di
 splay:inline !important\;float:none\;font-family:'Open Sans'\, Helvetica\,
  Arial\, sans-serif\;font-size:17px\;font-style:normal\;font-variant-caps:
 normal\;font-weight:400\;letter-spacing:normal\;orphans:auto\;text-align:l
 eft\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-spa
 ce:normal\;widows:auto\;word-spacing:0px\;'>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 style='-webkit-text-stro
 ke-width:0px\;background-color:rgb(252\, 252\, 252)\;caret-color:rgb(40\, 
 24\, 34)\;color:rgb(40\, 24\, 34)\;display:inline !important\;float:none\;
 font-family:'Open Sans'\, Helvetica\, Arial\, sans-serif\;font-size:17px\;
 font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spaci
 ng:normal\;orphans:auto\;text-align:left\;text-decoration:none\;text-inden
 t:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:
 0px\;'><strong>Register to attend and learn more</strong></span></a></p><p
 > </p>
END:VEVENT
BEGIN:VEVENT
UID:8b99b7dd-2fbb-4e79-8f8f-b1378ab319ad
DTSTAMP:20260612T083118Z
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 style='font-weight:400\;'>Director Biography<
 /h2>
DTSTART;TZID=America/Los_Angeles:20260223T193000
DTEND;TZID=America/Los_Angeles:20260224T000000
LAST-MODIFIED:20260130T182344Z
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 style='font-weight:
 400\;'>Director Biography</h2>
END:VEVENT
BEGIN:VEVENT
UID:6cf45b51-0836-4253-b9af-7fc610780d25
DTSTAMP:20260612T083118Z
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> <stro
 ng>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
DTEND;TZID=America/Los_Angeles:20260227T000000
LAST-MODIFIED:20251002T191033Z
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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:20260612T083118Z
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 - <
 strong>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
DTEND;TZID=America/Los_Angeles:20260227T000000
LAST-MODIFIED:20260223T173653Z
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) - <stro
 ng>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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20260228T000000
LAST-MODIFIED:20251126T012237Z
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='box-sizing:border-box\;line-height: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:20260612T083118Z
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<
 /h2><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
DTEND;TZID=America/Los_Angeles:20260228T000000
LAST-MODIFIED:20260225T205059Z
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 style='-w
 ebkit-text-stroke-width:0px\;background-color:rgb(255\, 255\, 255)\;caret-
 color:rgb(90\, 90\, 90)\;color:rgb(90\, 90\, 90)\;display:inline !importan
 t\;float:none\;font-family:'Open Sans'\, Arial\, sans-serif\;font-size:16p
 x\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-sp
 acing:0.4px\;orphans:auto\;text-align:start\;text-decoration:none\;text-in
 dent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spaci
 ng:0px\;'>Sumanth Gopinath is Associate Professor of Music Theory at the U
 niversity of Minnesota. He is the author of </span><em style='-webkit-text
 -stroke-width:0px\;box-sizing:inherit\;caret-color:rgb(90\, 90\, 90)\;colo
 r:rgb(90\, 90\, 90)\;font-family:'Open Sans'\, Arial\, sans-serif\;font-si
 ze:16px\;font-variant-caps:normal\;font-weight:400\;letter-spacing:0.4px\;
 orphans:auto\;text-align:start\;text-decoration:none\;text-indent:0px\;tex
 t-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>The
  Ringtone Dialectic: Economy and Cultural Form </em><span style='-webkit-t
 ext-stroke-width:0px\;background-color:rgb(255\, 255\, 255)\;caret-color:r
 gb(90\, 90\, 90)\;color:rgb(90\, 90\, 90)\;display:inline !important\;floa
 t:none\;font-family:'Open Sans'\, Arial\, sans-serif\;font-size:16px\;font
 -style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:0
 .4px\;orphans:auto\;text-align:start\;text-decoration:none\;text-indent:0p
 x\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\
 ;'>(MIT Press\, 2013). He co-edited\, with Jason Stanyek\, </span><em styl
 e='-webkit-text-stroke-width:0px\;box-sizing:inherit\;caret-color:rgb(90\,
  90\, 90)\;color:rgb(90\, 90\, 90)\;font-family:'Open Sans'\, Arial\, sans
 -serif\;font-size:16px\;font-variant-caps:normal\;font-weight:400\;letter-
 spacing:0.4px\;orphans:auto\;text-align:start\;text-decoration:none\;text-
 indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spa
 cing:0px\;'>The Oxford Handbook of Mobile Music Studies</em><span style='-
 webkit-text-stroke-width:0px\;background-color:rgb(255\, 255\, 255)\;caret
 -color:rgb(90\, 90\, 90)\;color:rgb(90\, 90\, 90)\;display:inline !importa
 nt\;float:none\;font-family:'Open Sans'\, Arial\, sans-serif\;font-size:16
 px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-s
 pacing:0.4px\;orphans:auto\;text-align:start\;text-decoration:none\;text-i
 ndent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spac
 ing:0px\;'> (Oxford University Press\, 2014) and </span><em style='-webkit
 -text-stroke-width:0px\;box-sizing:inherit\;caret-color:rgb(90\, 90\, 90)\
 ;color:rgb(90\, 90\, 90)\;font-family:'Open Sans'\, Arial\, sans-serif\;fo
 nt-size:16px\;font-variant-caps:normal\;font-weight:400\;letter-spacing:0.
 4px\;orphans:auto\;text-align:start\;text-decoration:none\;text-indent:0px
 \;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;
 '>Rethinking Reich</em><span style='-webkit-text-stroke-width:0px\;backgro
 und-color:rgb(255\, 255\, 255)\;caret-color:rgb(90\, 90\, 90)\;color:rgb(9
 0\, 90\, 90)\;display:inline !important\;float:none\;font-family:'Open San
 s'\, Arial\, sans-serif\;font-size:16px\;font-style:normal\;font-variant-c
 aps:normal\;font-weight:400\;letter-spacing:0.4px\;orphans:auto\;text-alig
 n:start\;text-decoration:none\;text-indent:0px\;text-transform:none\;white
 -space:normal\;widows:auto\;word-spacing:0px\;'> 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:20260612T083118Z
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 style='-webkit-text-stroke-w
 idth:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(
 68\, 68\, 68)\;font-family:'Encode Sans Compressed Regular'\, 'Open Sans'\
 , Arial\, sans-serif\;font-size:1.875rem\;font-style:normal\;font-variant-
 caps:normal\;font-weight:normal\;letter-spacing:0.3px\;line-height:1.4\;ma
 rgin:0.2rem 0px 0.5rem\;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\;'>Serie
 s Background</h2><p class='p1' style='-webkit-text-stroke-width:0px\;box-s
 izing: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-spaci
 ng:normal\;line-height:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;p
 adding:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;text-
 rendering:optimizelegibility\;text-transform:none\;white-space:normal\;wid
 ows:auto\;word-spacing:0px\;'>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
DTEND;TZID=America/Los_Angeles:20260228T000000
LAST-MODIFIED:20260205T010614Z
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 style='box-sizing:inherit\;line-height:inherit\;padding-rig
 ht:2px\;'>Bulletin of the Council for Research in Music Education</em>\, <
 em style='box-sizing:inherit\;line-height:inherit\;padding-right:2px\;'>Jo
 urnal of Research in Music Education</em>\,  <em style='box-sizing:inherit
 \;line-height:inherit\;padding-right:2px\;'>Philosophy of Music Education 
 Review</em>\, <em style='box-sizing:inherit\;line-height:inherit\;padding-
 right:2px\;'>International Journal of Music Education</em>\, <em style='bo
 x-sizing:inherit\;line-height:inherit\;padding-right:2px\;'>Music Educatio
 n Research</em>\, <em style='box-sizing:inherit\;line-height:inherit\;padd
 ing-right:2px\;'>Arts Education Policy Review</em>\, <em style='box-sizing
 :inherit\;line-height:inherit\;padding-right:2px\;'>Music Educators Journa
 l</em>\, and <em style='box-sizing:inherit\;line-height:inherit\;padding-r
 ight:2px\;'>Action\, Criticism\, and Theory for Music Education</em>. Her 
 philosophy book\, <em style='box-sizing:inherit\;line-height:inherit\;padd
 ing-right:2px\;'>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 style='box-sizing:inherit\;line-height:inherit\;pad
 ding-right:2px\;'>Bulletin of the Council for Research in Music Education<
 /em>\, 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 style='-webkit-text-stroke-width:0px\;box-siz
 ing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;fo
 nt-family:'Encode Sans Compressed Regular'\, 'Open Sans'\, Arial\, sans-se
 rif\;font-size:1.875rem\;font-style:normal\;font-variant-caps:normal\;font
 -weight:normal\;letter-spacing:0.3px\;line-height:1.4\;margin:0.2rem 0px 0
 .5rem\;orphans:auto\;padding:0px\;text-align:start\;text-decoration:none\;
 text-indent:0px\;text-rendering:optimizelegibility\;text-transform:none\;w
 hite-space:normal\;widows:auto\;word-spacing:0px\;'>Series Background</h2>
 <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-h
 eight:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-
 align:start\;text-decoration:none\;text-indent:0px\;text-rendering:optimiz
 elegibility\;text-transform:none\;white-space:normal\;widows:auto\;word-sp
 acing:0px\;'>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:20260612T083118Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20260129T165300Z
DESCRIPTION:<strong>Friday\, February 27\, 2026 @ 7:30pm – 8:30pm (PST)</st
 rong><a class='underline-link' style='background-color:transparent\;border
 -bottom:1px solid transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)
 \;text-decoration:none\;' href='https://www.livemusicproject.org/events/ve
 nues/2413/brechemin-auditorium'><strong>Brechemin Auditorium\,</strong></a
 ><strong> Seattle\, WA\, United States</strong>  <p style='box-sizing:bord
 er-box\;margin-bottom:1rem\;margin-top:0px\;'>Free (no tickets required)</
 p><ul style='box-sizing:border-box\;list-style-type:none\;margin:0px\;padd
 ing:0px\;'><li style='box-sizing:border-box\;'><a class='underline-link' s
 tyle='background-color:transparent\;border-bottom:1px solid transparent\;b
 ox-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;' href='
 https://www.livemusicproject.org/events/performers/78353/aika-ishizuki'><s
 trong style='box-sizing:border-box\;font-weight:bolder\;'>Aika Ishizuki</s
 trong></a>\, oboe</li><li style='box-sizing:border-box\;'><a class='underl
 ine-link' style='background-color:transparent\;border-bottom:1px solid tra
 nsparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:non
 e\;' href='https://www.livemusicproject.org/events/performers/67826/alex-f
 raley'><strong style='box-sizing:border-box\;font-weight:bolder\;'>Alex Fr
 aley</strong></a>\, bassoon</li><li style='box-sizing:border-box\;'><a cla
 ss='underline-link' style='background-color:transparent\;border-bottom:1px
  solid transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-deco
 ration:none\;' href='https://www.livemusicproject.org/events/performers/67
 835/annika-fisher'><strong style='box-sizing:border-box\;font-weight:bolde
 r\;'>Annika Fisher</strong></a>\, bassoon</li><li style='box-sizing:border
 -box\;'><a class='underline-link' style='background-color:transparent\;bor
 der-bottom:1px solid transparent\;box-sizing:border-box\;color:rgb(0\, 0\,
  0)\;text-decoration:none\;' href='https://www.livemusicproject.org/events
 /performers/78357/brandon-tsai'><strong style='box-sizing:border-box\;font
 -weight:bolder\;'>Brandon Tsai</strong></a>\, oboe</li><li style='box-sizi
 ng:border-box\;'><a class='underline-link' style='background-color:transpa
 rent\;border-bottom:1px solid transparent\;box-sizing:border-box\;color:rg
 b(0\, 0\, 0)\;text-decoration:none\;' href='https://www.livemusicproject.o
 rg/events/performers/10846/eric-shankland'><strong style='box-sizing:borde
 r-box\;font-weight:bolder\;'>Eric Shankland</strong></a>\, contrabassoon</
 li><li style='box-sizing:border-box\;'><a class='underline-link' style='ba
 ckground-color:transparent\;border-bottom:1px solid transparent\;box-sizin
 g:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;' href='https://
 www.livemusicproject.org/events/performers/67827/eric-spradling'><strong s
 tyle='box-sizing:border-box\;font-weight:bolder\;'>Eric Spradling</strong>
 </a>\, bassoon</li><li style='box-sizing:border-box\;'><a class='underline
 -link' style='background-color:transparent\;border-bottom:1px solid transp
 arent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;
 ' href='https://www.livemusicproject.org/events/performers/78358/levi-beck
 '><strong style='box-sizing:border-box\;font-weight:bolder\;'>Levi Beck</s
 trong></a>\, bassoon</li><li style='box-sizing:border-box\;'><a class='und
 erline-link' style='background-color:transparent\;border-bottom:1px solid 
 transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:
 none\;' href='https://www.livemusicproject.org/events/performers/67829/max
 -bolen'><strong style='box-sizing:border-box\;font-weight:bolder\;'>Max Bo
 len</strong></a>\, oboe & English horn</li><li style='box-sizing:border-bo
 x\;'><a class='underline-link' style='background-color:transparent\;border
 -bottom:1px solid transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)
 \;text-decoration:none\;' href='https://www.livemusicproject.org/events/pe
 rformers/78355/meagan-paxman'><strong style='box-sizing:border-box\;font-w
 eight:bolder\;'>Meagan Paxman</strong></a>\, oboe</li><li style='box-sizin
 g:border-box\;'><a class='underline-link' style='background-color:transpar
 ent\;border-bottom:1px solid transparent\;box-sizing:border-box\;color:rgb
 (0\, 0\, 0)\;text-decoration:none\;' href='https://www.livemusicproject.or
 g/events/performers/78356/nathan-libao'><strong style='box-sizing:border-b
 ox\;font-weight:bolder\;'>Nathan Libao</strong></a>\, bassoon</li><li styl
 e='box-sizing:border-box\;'><a class='underline-link' style='background-co
 lor:transparent\;border-bottom:1px solid transparent\;box-sizing:border-bo
 x\;color:rgb(0\, 0\, 0)\;text-decoration:none\;' href='https://www.livemus
 icproject.org/events/performers/68156/rian-morgan-2'><strong style='box-si
 zing:border-box\;font-weight:bolder\;'>Rian Morgan</strong></a>\, bassoon<
 /li><li style='box-sizing:border-box\;'><a class='underline-link' style='b
 ackground-color:transparent\;border-bottom:1px solid transparent\;box-sizi
 ng:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;' href='https:/
 /www.livemusicproject.org/events/performers/67833/rina-pushkina'><strong s
 tyle='box-sizing:border-box\;font-weight:bolder\;'>Rina Pushkina</strong><
 /a>\, bassoon</li><li style='box-sizing:border-box\;'><a class='underline-
 link' style='background-color:transparent\;border-bottom:1px solid transpa
 rent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;'
  href='https://www.livemusicproject.org/events/performers/67832/ryan-kapsa
 ndy'><strong style='box-sizing:border-box\;font-weight:bolder\;'>Ryan Kaps
 andy</strong></a>\, bassoon & contrabassoon</li><li style='box-sizing:bord
 er-box\;'><a class='underline-link' style='background-color:transparent\;b
 order-bottom:1px solid transparent\;box-sizing:border-box\;color:rgb(0\, 0
 \, 0)\;text-decoration:none\;' href='https://www.livemusicproject.org/even
 ts/performers/78354/will-cummings'><strong style='box-sizing:border-box\;f
 ont-weight:bolder\;'>Will Cummings</strong></a>\, oboe & English horn</li>
 </ul><a class='underline-link' style='background-color:transparent\;border
 -bottom:1px solid transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)
 \;text-decoration:none\;' href='https://www.livemusicproject.org/events/co
 mposers/4771/igor-stravinsky?near=seattle-wa&include='>Igor Stravinsky</a>
  — <a class='underline-link' style='background-color:transparent\;border-b
 ottom:1px solid transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;
 text-decoration:none\;' href='https://www.livemusicproject.org/events/work
 s/18051/igor-stravinsky/the-firebird-suite?near=seattle-wa&include='>The F
 irebird Suite</a> (arr. Marc Vallon for double reed choir)<br><a class='un
 derline-link' style='background-color:transparent\;border-bottom:1px solid
  transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-decoration
 :none\;' href='https://www.livemusicproject.org/events/composers/48437/mic
 hael-holleyman?near=seattle-wa&include='>Michael Holleyman</a> — <a class=
 'underline-link' style='background-color:transparent\;border-bottom:1px so
 lid transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-decorat
 ion:none\;' href='https://www.livemusicproject.org/events/works/84752/mich
 ael-holleyman/squid-party?near=seattle-wa&include='>Squid Party</a><br><a 
 class='underline-link' style='background-color:transparent\;border-bottom:
 1px solid transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-d
 ecoration:none\;' href='https://www.livemusicproject.org/events/composers/
 9611/paul-desmond?near=seattle-wa&include='>Paul Desmond</a> — <a class='u
 nderline-link' style='background-color:transparent\;border-bottom:1px soli
 d transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-decoratio
 n:none\;' href='https://www.livemusicproject.org/events/works/12206/paul-d
 esmond/take-five?near=seattle-wa&include='>Take Five</a> (arr. Alexandre S
 ilverio for 4 bassoons)<br><a class='underline-link' style='background-col
 or:transparent\;border-bottom:1px solid transparent\;box-sizing:border-box
 \;color:rgb(0\, 0\, 0)\;text-decoration:none\;' href='https://www.livemusi
 cproject.org/events/composers/4765/wolfgang-amadeus-mozart?near=seattle-wa
 &include='>Wolfgang Amadeus Mozart</a> — <a class='underline-link' style='
 background-color:transparent\;border-bottom:1px solid transparent\;box-siz
 ing:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;' href='https:
 //www.livemusicproject.org/events/works/20999/wolfgang-amadeus-mozart/over
 ture-to-die-zauberflote-the-magic-flute-k-620?near=seattle-wa&include='>Ov
 erture to Die Zauberflöte ('The Magic Flute')\, K. 620</a>(arr. Martin Gat
 t for 4 bassoons & contrabassoon)<br><a class='underline-link' style='back
 ground-color:transparent\;border-bottom:1px solid transparent\;box-sizing:
 border-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;' href='https://ww
 w.livemusicproject.org/events/composers/4784/richard-wagner?near=seattle-w
 a&include='>Richard Wagner</a> — <a class='underline-link' style='backgrou
 nd-color:transparent\;border-bottom:1px solid transparent\;box-sizing:bord
 er-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;' 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&include='>'Ride of 
 the Valkyries' from Die Walküre ('The Valkyrie')\, WWV 86B</a>(arr. Gary P
 . Gilroy for double reed choir)<p style='box-sizing:border-box\;margin-bot
 tom:1rem\;margin-top:0px\;'>Students of Paul Rafanelli and Dan Williams pe
 rform chamber music and solo works in the UW Double Reed Studio Recital.</
 p><p style='box-sizing:border-box\;margin-bottom:1rem\;margin-top:0px\;'> 
 </p><h4 style='box-sizing:border-box\;font-size:1.15rem\;font-weight:500\;
 line-height:1.2\;margin-bottom:0.46875rem\;margin-top:0px\;'>About <a styl
 e='background-color:transparent\;box-sizing:border-box\;color:rgb(153\, 0\
 , 153)\;text-decoration:none\;' href='https://www.livemusicproject.org/eve
 nts/performers/10846/eric-shankland'>Eric Shankland</a>\, contrabassoon</h
 4><p style='box-sizing:border-box\;margin-bottom:1rem\;margin-top:0px\;'> 
 </p><p style='box-sizing:border-box\;margin-bottom:1rem\;margin-top:0px\;'
 >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 
 style='box-sizing:border-box\;margin-bottom:1rem\;margin-top:0px\;'> </p><
 h4 style='box-sizing:border-box\;font-size:1.15rem\;font-weight:500\;line-
 height:1.2\;margin-bottom:0.46875rem\;margin-top:0px\;'>About <a style='ba
 ckground-color:transparent\;box-sizing:border-box\;color:rgb(153\, 0\, 153
 )\;text-decoration:none\;' href='https://www.livemusicproject.org/events/p
 erformers/68156/rian-morgan-2'>Rian Morgan</a>\, bassoon</h4><p style='box
 -sizing:border-box\;margin-bottom:1rem\;margin-top:0px\;'> </p><p style='b
 ox-sizing:border-box\;margin-bottom:1rem\;margin-top:0px\;'>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
DTEND;TZID=America/Los_Angeles:20260228T000000
LAST-MODIFIED:20260129T222435Z
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' style='-webkit-box-flex:
 0\;-webkit-text-stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(0
 \, 0\, 0)\;color:rgb(0\, 0\, 0)\;flex:0 0 58.333332%\;font-family:Helvetic
 aNeue\, Helvetica\, Arial\, sans-serif\;font-size:16px\;font-style:normal\
 ;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;max-wid
 th:58.333332%\;orphans:auto\;padding-left:15px\;padding-right:15px\;positi
 on:relative\;text-align:left\;text-decoration:none\;text-indent:0px\;text-
 transform:none\;white-space:normal\;widows:auto\;width:665px\;word-spacing
 :0px\;'><div class='section event-list-item' style='box-sizing:border-box\
 ;margin-bottom:20px\;'><div class='time' style='box-sizing:border-box\;fon
 t-size:0.875rem\;margin-bottom:0.309375rem\;'><strong>Friday\, February 27
 \, 2026 @ 7:30pm – 8:30pm (PST)</strong></div><div class='venue' style='bo
 x-sizing:border-box\;font-size:0.875rem\;margin-bottom:0.309375rem\;'><a c
 lass='underline-link' style='background-color:transparent\;border-bottom:1
 px solid transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-de
 coration:none\;' 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' style='box
 -sizing:border-box\;font-size:0.875rem\;font-weight:700\;margin-bottom:0.3
 09375rem\;'> </div></div></div><div class='col-md-3 offset-md-2' style='-w
 ebkit-box-flex:0\;-webkit-text-stroke-width:0px\;box-sizing:border-box\;ca
 ret-color:rgb(0\, 0\, 0)\;color:rgb(0\, 0\, 0)\;flex:0 0 25%\;font-family:
 HelveticaNeue\, Helvetica\, Arial\, sans-serif\;font-size:16px\;font-style
 :normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\
 ;margin-left:190px\;max-width:25%\;orphans:auto\;padding-left:15px\;paddin
 g-right:15px\;position:relative\;text-align:left\;text-decoration:none\;te
 xt-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;width
 :285px\;word-spacing:0px\;'><div style='box-sizing:border-box\;'> </div><d
 iv class='text-center' style='box-sizing:border-box\;text-align:center !im
 portant\;'><p style='box-sizing:border-box\;margin-bottom:1rem\;margin-top
 :0px\;'>Free (no tickets required)</p></div></div><div class='section col-
 md-7' style='-webkit-box-flex:0\;-webkit-text-stroke-width:0px\;box-sizing
 :border-box\;caret-color:rgb(0\, 0\, 0)\;color:rgb(0\, 0\, 0)\;flex:0 0 58
 .333332%\;font-family:HelveticaNeue\, Helvetica\, Arial\, sans-serif\;font
 -size:16px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;
 letter-spacing:normal\;margin-bottom:20px\;max-width:58.333332%\;orphans:a
 uto\;padding-left:15px\;padding-right:15px\;position:relative\;text-align:
 left\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-sp
 ace:normal\;widows:auto\;width:665px\;word-spacing:0px\;'><div class='sect
 ion program-list' style='box-sizing:border-box\;margin-bottom:20px\;'><div
  class='section' style='box-sizing:border-box\;margin-bottom:20px\;'><ul s
 tyle='box-sizing:border-box\;list-style-type:none\;margin:0px\;padding:0px
 \;'><li style='box-sizing:border-box\;'><a class='underline-link' style='b
 ackground-color:transparent\;border-bottom:1px solid transparent\;box-sizi
 ng:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;' href='https:/
 /www.livemusicproject.org/events/performers/78353/aika-ishizuki'><strong s
 tyle='box-sizing:border-box\;font-weight:bolder\;'>Aika Ishizuki</strong><
 /a>\, oboe</li><li style='box-sizing:border-box\;'><a class='underline-lin
 k' style='background-color:transparent\;border-bottom:1px solid transparen
 t\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;' hr
 ef='https://www.livemusicproject.org/events/performers/67826/alex-fraley'>
 <strong style='box-sizing:border-box\;font-weight:bolder\;'>Alex Fraley</s
 trong></a>\, bassoon</li><li style='box-sizing:border-box\;'><a class='und
 erline-link' style='background-color:transparent\;border-bottom:1px solid 
 transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:
 none\;' href='https://www.livemusicproject.org/events/performers/67835/ann
 ika-fisher'><strong style='box-sizing:border-box\;font-weight:bolder\;'>An
 nika Fisher</strong></a>\, bassoon</li><li style='box-sizing:border-box\;'
 ><a class='underline-link' style='background-color:transparent\;border-bot
 tom:1px solid transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;te
 xt-decoration:none\;' href='https://www.livemusicproject.org/events/perfor
 mers/78357/brandon-tsai'><strong style='box-sizing:border-box\;font-weight
 :bolder\;'>Brandon Tsai</strong></a>\, oboe</li><li style='box-sizing:bord
 er-box\;'><a class='underline-link' style='background-color:transparent\;b
 order-bottom:1px solid transparent\;box-sizing:border-box\;color:rgb(0\, 0
 \, 0)\;text-decoration:none\;' href='https://www.livemusicproject.org/even
 ts/performers/10846/eric-shankland'><strong style='box-sizing:border-box\;
 font-weight:bolder\;'>Eric Shankland</strong></a>\, contrabassoon</li><li 
 style='box-sizing:border-box\;'><a class='underline-link' style='backgroun
 d-color:transparent\;border-bottom:1px solid transparent\;box-sizing:borde
 r-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;' href='https://www.liv
 emusicproject.org/events/performers/67827/eric-spradling'><strong style='b
 ox-sizing:border-box\;font-weight:bolder\;'>Eric Spradling</strong></a>\, 
 bassoon</li><li style='box-sizing:border-box\;'><a class='underline-link' 
 style='background-color:transparent\;border-bottom:1px solid transparent\;
 box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;' href=
 'https://www.livemusicproject.org/events/performers/78358/levi-beck'><stro
 ng style='box-sizing:border-box\;font-weight:bolder\;'>Levi Beck</strong><
 /a>\, bassoon</li><li style='box-sizing:border-box\;'><a class='underline-
 link' style='background-color:transparent\;border-bottom:1px solid transpa
 rent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;'
  href='https://www.livemusicproject.org/events/performers/67829/max-bolen'
 ><strong style='box-sizing:border-box\;font-weight:bolder\;'>Max Bolen</st
 rong></a>\, oboe & English horn</li><li style='box-sizing:border-box\;'><a
  class='underline-link' style='background-color:transparent\;border-bottom
 :1px solid transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-
 decoration:none\;' href='https://www.livemusicproject.org/events/performer
 s/78355/meagan-paxman'><strong style='box-sizing:border-box\;font-weight:b
 older\;'>Meagan Paxman</strong></a>\, oboe</li><li style='box-sizing:borde
 r-box\;'><a class='underline-link' style='background-color:transparent\;bo
 rder-bottom:1px solid transparent\;box-sizing:border-box\;color:rgb(0\, 0\
 , 0)\;text-decoration:none\;' href='https://www.livemusicproject.org/event
 s/performers/78356/nathan-libao'><strong style='box-sizing:border-box\;fon
 t-weight:bolder\;'>Nathan Libao</strong></a>\, bassoon</li><li style='box-
 sizing:border-box\;'><a class='underline-link' style='background-color:tra
 nsparent\;border-bottom:1px solid transparent\;box-sizing:border-box\;colo
 r:rgb(0\, 0\, 0)\;text-decoration:none\;' href='https://www.livemusicproje
 ct.org/events/performers/68156/rian-morgan-2'><strong style='box-sizing:bo
 rder-box\;font-weight:bolder\;'>Rian Morgan</strong></a>\, bassoon</li><li
  style='box-sizing:border-box\;'><a class='underline-link' style='backgrou
 nd-color:transparent\;border-bottom:1px solid transparent\;box-sizing:bord
 er-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;' href='https://www.li
 vemusicproject.org/events/performers/67833/rina-pushkina'><strong style='b
 ox-sizing:border-box\;font-weight:bolder\;'>Rina Pushkina</strong></a>\, b
 assoon</li><li style='box-sizing:border-box\;'><a class='underline-link' s
 tyle='background-color:transparent\;border-bottom:1px solid transparent\;b
 ox-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;' href='
 https://www.livemusicproject.org/events/performers/67832/ryan-kapsandy'><s
 trong style='box-sizing:border-box\;font-weight:bolder\;'>Ryan Kapsandy</s
 trong></a>\, bassoon & contrabassoon</li><li style='box-sizing:border-box\
 ;'><a class='underline-link' style='background-color:transparent\;border-b
 ottom:1px solid transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;
 text-decoration:none\;' href='https://www.livemusicproject.org/events/perf
 ormers/78354/will-cummings'><strong style='box-sizing:border-box\;font-wei
 ght:bolder\;'>Will Cummings</strong></a>\, oboe & English horn</li></ul></
 div><div class='section' style='box-sizing:border-box\;margin-bottom:20px\
 ;'><a class='underline-link' style='background-color:transparent\;border-b
 ottom:1px solid transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;
 text-decoration:none\;' href='https://www.livemusicproject.org/events/comp
 osers/4771/igor-stravinsky?near=seattle-wa&include='>Igor Stravinsky</a> —
  <a class='underline-link' style='background-color:transparent\;border-bot
 tom:1px solid transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;te
 xt-decoration:none\;' href='https://www.livemusicproject.org/events/works/
 18051/igor-stravinsky/the-firebird-suite?near=seattle-wa&include='>The Fir
 ebird Suite</a> (arr. Marc Vallon for double reed choir)<br><a class='unde
 rline-link' style='background-color:transparent\;border-bottom:1px solid t
 ransparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:n
 one\;' href='https://www.livemusicproject.org/events/composers/48437/micha
 el-holleyman?near=seattle-wa&include='>Michael Holleyman</a> — <a class='u
 nderline-link' style='background-color:transparent\;border-bottom:1px soli
 d transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-decoratio
 n:none\;' href='https://www.livemusicproject.org/events/works/84752/michae
 l-holleyman/squid-party?near=seattle-wa&include='>Squid Party</a><br><a cl
 ass='underline-link' style='background-color:transparent\;border-bottom:1p
 x solid transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-dec
 oration:none\;' href='https://www.livemusicproject.org/events/composers/96
 11/paul-desmond?near=seattle-wa&include='>Paul Desmond</a> — <a class='und
 erline-link' style='background-color:transparent\;border-bottom:1px solid 
 transparent\;box-sizing:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:
 none\;' href='https://www.livemusicproject.org/events/works/12206/paul-des
 mond/take-five?near=seattle-wa&include='>Take Five</a> (arr. Alexandre Sil
 verio for 4 bassoons)<br><a class='underline-link' style='background-color
 :transparent\;border-bottom:1px solid transparent\;box-sizing:border-box\;
 color:rgb(0\, 0\, 0)\;text-decoration:none\;' href='https://www.livemusicp
 roject.org/events/composers/4765/wolfgang-amadeus-mozart?near=seattle-wa&i
 nclude='>Wolfgang Amadeus Mozart</a> — <a class='underline-link' style='ba
 ckground-color:transparent\;border-bottom:1px solid transparent\;box-sizin
 g:border-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;' href='https://
 www.livemusicproject.org/events/works/20999/wolfgang-amadeus-mozart/overtu
 re-to-die-zauberflote-the-magic-flute-k-620?near=seattle-wa&include='>Over
 ture to Die Zauberflöte ('The Magic Flute')\, K. 620</a>(arr. Martin Gatt 
 for 4 bassoons & contrabassoon)<br><a class='underline-link' style='backgr
 ound-color:transparent\;border-bottom:1px solid transparent\;box-sizing:bo
 rder-box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;' href='https://www.
 livemusicproject.org/events/composers/4784/richard-wagner?near=seattle-wa&
 include='>Richard Wagner</a> — <a class='underline-link' style='background
 -color:transparent\;border-bottom:1px solid transparent\;box-sizing:border
 -box\;color:rgb(0\, 0\, 0)\;text-decoration:none\;' 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&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' style='box-sizing:
 border-box\;margin-bottom:20px\;'><p style='box-sizing:border-box\;margin-
 bottom:1rem\;margin-top:0px\;'>Students of Paul Rafanelli and Dan Williams
  perform chamber music and solo works in the UW Double Reed Studio Recital
 .</p><p style='box-sizing:border-box\;margin-bottom:1rem\;margin-top:0px\;
 '> </p></div><div class='section' style='box-sizing:border-box\;margin-bot
 tom:20px\;'><h4 style='box-sizing:border-box\;font-size:1.15rem\;font-weig
 ht:500\;line-height:1.2\;margin-bottom:0.46875rem\;margin-top:0px\;'>About
  <a style='background-color:transparent\;box-sizing:border-box\;color:rgb(
 153\, 0\, 153)\;text-decoration:none\;' href='https://www.livemusicproject
 .org/events/performers/10846/eric-shankland'>Eric Shankland</a>\, contraba
 ssoon</h4><p style='box-sizing:border-box\;margin-bottom:1rem\;margin-top:
 0px\;'> </p><p style='box-sizing:border-box\;margin-bottom:1rem\;margin-to
 p:0px\;'>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 style='box-sizing:border-box\;margin-bottom:1rem\;margin-top:0px\;
 '> </p></div><div class='section' style='box-sizing:border-box\;margin-bot
 tom:20px\;'><h4 style='box-sizing:border-box\;font-size:1.15rem\;font-weig
 ht:500\;line-height:1.2\;margin-bottom:0.46875rem\;margin-top:0px\;'>About
  <a style='background-color:transparent\;box-sizing:border-box\;color:rgb(
 153\, 0\, 153)\;text-decoration:none\;' href='https://www.livemusicproject
 .org/events/performers/68156/rian-morgan-2'>Rian Morgan</a>\, bassoon</h4>
 <p style='box-sizing:border-box\;margin-bottom:1rem\;margin-top:0px\;'> </
 p><p style='box-sizing:border-box\;margin-bottom:1rem\;margin-top:0px\;'>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:20260612T083118Z
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. <
 strong>H. Robert Reynolds </strong><br>Big City Lights (2021) - <strong>Ma
 rie A. Douglas</strong> (b. 1987) <br>Tritsch-Tratsch Polka (1998) - <stro
 ng>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) - <stro
 ng>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 style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' di
 r='ltr'> </p><p style='background-color:rgb(255\, 255\, 255)\;line-height:
 1.656\;margin-bottom:0pt\;margin-top:0pt\;' 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 style='background-color:rgb(255\, 
 255\, 255)\;line-height:1.656\;margin-bottom:0pt\;margin-top:0pt\;' dir='l
 tr'> </p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.65
 6\;margin-bottom:0pt\;margin-top:0pt\;' 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 style='line-he
 ight:1.38\;margin-bottom:0pt\;margin-top:0pt\;' 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 style='
 line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>O magnum 
 mysterium</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt
 \;' dir='ltr'>et adnirabile sacramentum</p><p style='line-height:1.38\;mar
 gin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>ut animalia viderent Dominum</
 p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='lt
 r'>natum jacetum in praesepio!</p><p style='line-height:1.38\;margin-botto
 m:0pt\;margin-top:0pt\;' dir='ltr'>Beata Virgo\, cujus viscera</p><p style
 ='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Merueru
 nt portare</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0p
 t\;' dir='ltr'>Dominum Christum. Alleluia!</p><p style='line-height:1.38\;
 margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>O great mystery\,</p><p sty
 le='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>And w
 ondrous sacrament</p><p style='line-height:1.38\;margin-bottom:0pt\;margin
 -top:0pt\;' dir='ltr'>That animals should see the new-</p><p style='line-h
 eight:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>born Lord\, lyi
 ng in their manger!</p><p style='line-height:1.38\;margin-bottom:0pt\;marg
 in-top:0pt\;' dir='ltr'>Blessed is the Virgin whose womb </p><p style='lin
 e-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>was worth to
  bear the</p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt
 \;' dir='ltr'>Lord Jesus Christ. Alleluia!</p><p style='line-height:1.38\;
 margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><strong>Big City Lights</st
 rong><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 style='line-height:1.38\;margin-bottom:0pt\;margin-top:0
 pt\;' 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 style='
 line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' 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 style
 ='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' 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 style='line-height:1.38\;m
 argin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>-Program note by the compose
 r<br> </p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.6
 56\;margin-bottom:0pt\;margin-top:0pt\;' 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 style='background-color:rgb
 (255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;pa
 dding:5pt 0pt\;' 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 style='background-color:rgb(255\, 255\, 255)\
 ;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;padding:0pt 0pt 5pt\
 ;' 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 style='background-color:rgb(255\, 255\, 255)\;line-height:1.3
 8\;margin-bottom:0pt\;margin-top:0pt\;padding:0pt 0pt 5pt\;' dir='ltr'>- P
 rogram Note by composer</p><p style='background-color:rgb(255\, 255\, 255)
 \;line-height:1.2\;margin-bottom:0pt\;margin-top:0pt\;padding:5pt 0pt\;' 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 style='background-color:rgb(255\, 255\, 255)\;line-height:1.2\;marg
 in-bottom:0pt\;margin-top:0pt\;padding:0pt 0pt 5pt\;' 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 style='background-color:rgb(255\, 255\, 255)\;line-height:1.2\;m
 argin-bottom:0pt\;margin-top:0pt\;padding:0pt 0pt 5pt\;' 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 style='background-color:rgb(255\
 , 255\, 255)\;line-height:1.2\;margin-bottom:0pt\;margin-top:0pt\;padding:
 0pt 0pt 5pt\;' dir='ltr'>- Program Note from publisher</p><p style='backgr
 ound-color:rgb(255\, 255\, 255)\;line-height:1.2\;margin-bottom:0pt\;margi
 n-top:0pt\;padding:0pt 0pt 5pt\;' dir='ltr'> </p><p style='background-colo
 r:rgb(255\, 255\, 255)\;line-height:1.2\;margin-bottom:0pt\;margin-top:0pt
 \;padding:0pt 0pt 5pt\;' 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
  style='background-color:rgb(255\, 255\, 255)\;line-height:1.2\;margin-bot
 tom:0pt\;margin-top:0pt\;padding:0pt 0pt 5pt\;' dir='ltr'>- Program Note f
 rom publisher</p><p style='background-color:rgb(255\, 255\, 255)\;line-hei
 ght:1.38\;margin-bottom:0pt\;margin-top:0pt\;padding:7pt 0pt 12pt\;' 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 style='background-color:rgb(255\, 2
 55\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;padding:0p
 t 0pt 12pt\;' 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 style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin
 -bottom:0pt\;margin-top:0pt\;padding:0pt 0pt 12pt\;' 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 style='b
 ackground-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\
 ;margin-top:0pt\;padding:0pt 0pt 12pt\;' 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 style='line-height:
 1.2\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'>Performed jointly by t
 he University of Washington Concert Band and the Seattle Chinese Chorus. <
 /p><p style='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;marg
 in-bottom:12pt\;margin-top:0pt\;padding:12pt 0pt 0pt\;' 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><stro
 ng>UNIVERSITY OF WASHINGTON UNIVERSITY BAND </strong><br><strong>FLUTE </s
 trong><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 & 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><
 strong>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\, & 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 & 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\, & 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 & 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 & 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 & 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 & 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 & 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 <
 br>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 & 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><
 p><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 & Engineering\, Seattle\, WA <br>Jay Tampico\, Community Member\,
  Seattle WA <br>George Whiddon\, International Studies & Chinese\, Littlet
 on\, CO <br>Quinn Widdows\, Electrical & 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 <
 br>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 & 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 <
 br>Matthew Holmes\, Gr.\, Aero & 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 style='color:#1f2021\;f
 ont:11.0px Helvetica\;margin:0.0px 0.0px 0.0px 0.0px\;'> </p><p style='col
 or:#1f2021\;font:11.0px Helvetica\;margin:0.0px 0.0px 0.0px 0.0px\;'> </p>
 <h3>Director Biographies</h3>
DTSTART;TZID=America/Los_Angeles:20260302T193000
DTEND;TZID=America/Los_Angeles:20260303T000000
LAST-MODIFIED:20260303T003500Z
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.<st
 rong> 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 </h
 3><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 style='line-height:1
 .38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'> </p><p style='backgro
 und-color:rgb(255\, 255\, 255)\;line-height:1.656\;margin-bottom:0pt\;marg
 in-top:0pt\;' dir='ltr'><span style='background-color:rgb(255\, 255\, 255)
 \;color:rgb(0\, 0\, 0)\;font-family:Arial\, sans-serif\;font-size:11pt\;fo
 nt-style:normal\;font-variant-alternates:normal\;font-variant-caps:normal\
 ;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-varia
 nt-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-dec
 oration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Debussy’s <
 /span><em><span style='background-color:rgb(255\, 255\, 255)\;color:rgb(0\
 , 0\, 0)\;font-family:Arial\, sans-serif\;font-size:11pt\;font-variant-alt
 ernates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;
 font-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-p
 osition:normal\;text-decoration:none\;vertical-align:baseline\;white-space
 :pre-wrap\;'><strong>La Cathedrale engloutie\, </strong></span></em><span 
 style='background-color:rgb(255\, 255\, 255)\;color:rgb(0\, 0\, 0)\;font-f
 amily:Arial\, sans-serif\;font-size:11pt\;font-style:normal\;font-variant-
 alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:norma
 l\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-varian
 t-position:normal\;font-weight:400\;text-decoration:none\;vertical-align:b
 aseline\;white-space:pre-wrap\;'>or </span><em><span style='background-col
 or:rgb(255\, 255\, 255)\;color:rgb(0\, 0\, 0)\;font-family:Arial\, sans-se
 rif\;font-size:11pt\;font-variant-alternates:normal\;font-variant-caps:nor
 mal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-v
 ariant-numeric:normal\;font-variant-position:normal\;font-weight:400\;text
 -decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Engulfe
 d Cathedral</span></em><span style='background-color:rgb(255\, 255\, 255)\
 ;color:rgb(0\, 0\, 0)\;font-family:Arial\, sans-serif\;font-size:11pt\;fon
 t-style:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;
 font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-varian
 t-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-deco
 ration:none\;vertical-align:baseline\;white-space:pre-wrap\;'> (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 style='background-c
 olor:rgb(255\, 255\, 255)\;line-height:1.656\;margin-bottom:0pt\;margin-to
 p:0pt\;' dir='ltr'> </p><p style='background-color:rgb(255\, 255\, 255)\;l
 ine-height:1.656\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><em><span
  style='background-color:rgb(255\, 255\, 255)\;color:rgb(32\, 33\, 34)\;fo
 nt-family:'Times New Roman'\, serif\;font-size:12pt\;font-variant-alternat
 es:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-
 variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-positi
 on:normal\;text-decoration:none\;vertical-align:baseline\;white-space:pre-
 wrap\;'><strong>O Magnum Mysterium </strong></span></em><span style='backg
 round-color:rgb(255\, 255\, 255)\;color:rgb(32\, 33\, 34)\;font-family:'Ti
 mes New Roman'\, 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\;'>(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 style='background-color:rgb(255\, 255\, 255)\;col
 or:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, serif\;font-size:12p
 t\;font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-
 east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:nor
 mal\;font-variant-position:normal\;font-weight:400\;text-decoration:none\;
 vertical-align:baseline\;white-space:pre-wrap\;'>O Magnum Mysterium </span
 ></em><span style='background-color:rgb(255\, 255\, 255)\;color:rgb(32\, 3
 3\, 34)\;font-family:'Times New Roman'\, serif\;font-size:12pt\;font-style
 :normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-va
 riant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numer
 ic:normal\;font-variant-position:normal\;font-weight:400\;text-decoration:
 none\;vertical-align:baseline\;white-space:pre-wrap\;'>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 style='line-height:1.38\;margin-bo
 ttom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:rgb(25
 5\, 255\, 255)\;color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, s
 erif\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;f
 ont-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-liga
 tures:normal\;font-variant-numeric:normal\;font-variant-position:normal\;f
 ont-weight:400\;text-decoration:none\;vertical-align:baseline\;white-space
 :pre-wrap\;'>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 style='background-color:rgb(255\, 255\, 255)\;color:rgb(32\, 33
 \, 34)\;font-family:'Times New Roman'\, serif\;font-size:12pt\;font-varian
 t-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:nor
 mal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-vari
 ant-position:normal\;font-weight:400\;text-decoration:none\;vertical-align
 :baseline\;white-space:pre-wrap\;'>Virgo\, </span></em><span style='backgr
 ound-color:rgb(255\, 255\, 255)\;color:rgb(32\, 33\, 34)\;font-family:'Tim
 es New Roman'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alt
 ernates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;
 font-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-p
 osition:normal\;font-weight:400\;text-decoration:none\;vertical-align:base
 line\;white-space:pre-wrap\;'>Blessed Virgin)\, that propels a magnificent
  full ensemble orchestration\, proclaiming the </span><em><span style='bac
 kground-color:rgb(255\, 255\, 255)\;color:rgb(32\, 33\, 34)\;font-family:'
 Times New Roman'\, serif\;font-size:12pt\;font-variant-alternates:normal\;
 font-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-lig
 atures:normal\;font-variant-numeric:normal\;font-variant-position:normal\;
 font-weight:400\;text-decoration:none\;vertical-align:baseline\;white-spac
 e:pre-wrap\;'>Alleluia</span></em><span style='background-color:rgb(255\, 
 255\, 255)\;color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, serif
 \;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-
 variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligature
 s:normal\;font-variant-numeric:normal\;font-variant-position:normal\;font-
 weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre
 -wrap\;'>. The piece recedes back to the secure\, mellow\, and sublime.</s
 pan></p><div style='margin-left:0pt\;' dir='ltr' align='left'><table class
 ='table' style='border-collapse:collapse\;border-width:medium\;table-layou
 t:fixed\;width:468pt\;'><tbody><tr style='height:0pt\;'><td style='border-
 color:rgb(255\, 255\, 255)\;border-width:1pt\;overflow-wrap:break-word\;ov
 erflow:hidden\;padding:5pt\;vertical-align:top\;'><p style='line-height:1.
 38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><em><span style='backgr
 ound-color:rgb(255\, 255\, 255)\;color:rgb(32\, 33\, 34)\;font-family:'Tim
 es New Roman'\, serif\;font-size:12pt\;font-variant-alternates:normal\;fon
 t-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatu
 res:normal\;font-variant-numeric:normal\;font-variant-position:normal\;fon
 t-weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:p
 re-wrap\;'>O magnum mysterium</span></em></p><p style='line-height:1.38\;m
 argin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><em><span style='background-
 color:rgb(255\, 255\, 255)\;color:rgb(32\, 33\, 34)\;font-family:'Times Ne
 w Roman'\, serif\;font-size:12pt\;font-variant-alternates:normal\;font-var
 iant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:n
 ormal\;font-variant-numeric:normal\;font-variant-position:normal\;font-wei
 ght:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wr
 ap\;'>et adnirabile sacramentum</span></em></p><p style='line-height:1.38\
 ;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><em><span style='backgroun
 d-color:rgb(255\, 255\, 255)\;color:rgb(32\, 33\, 34)\;font-family:'Times 
 New Roman'\, serif\;font-size:12pt\;font-variant-alternates:normal\;font-v
 ariant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures
 :normal\;font-variant-numeric:normal\;font-variant-position:normal\;font-w
 eight:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-
 wrap\;'>ut animalia viderent Dominum</span></em></p><p style='line-height:
 1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><em><span style='back
 ground-color:rgb(255\, 255\, 255)\;color:rgb(32\, 33\, 34)\;font-family:'T
 imes New Roman'\, serif\;font-size:12pt\;font-variant-alternates:normal\;f
 ont-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-liga
 tures:normal\;font-variant-numeric:normal\;font-variant-position:normal\;f
 ont-weight:400\;text-decoration:none\;vertical-align:baseline\;white-space
 :pre-wrap\;'>natum jacetum in praesepio!</span></em></p><p style='line-hei
 ght:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><em><span style='
 background-color:rgb(255\, 255\, 255)\;color:rgb(32\, 33\, 34)\;font-famil
 y:'Times New Roman'\, serif\;font-size:12pt\;font-variant-alternates:norma
 l\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-
 ligatures:normal\;font-variant-numeric:normal\;font-variant-position:norma
 l\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;white-s
 pace:pre-wrap\;'>Beata Virgo\, cujus viscera</span></em></p><p style='line
 -height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><em><span sty
 le='background-color:rgb(255\, 255\, 255)\;color:rgb(32\, 33\, 34)\;font-f
 amily:'Times New Roman'\, serif\;font-size:12pt\;font-variant-alternates:n
 ormal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-vari
 ant-ligatures:normal\;font-variant-numeric:normal\;font-variant-position:n
 ormal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;whi
 te-space:pre-wrap\;'>Meruerunt portare</span></em></p><p style='line-heigh
 t:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><em><span style='ba
 ckground-color:rgb(255\, 255\, 255)\;color:rgb(32\, 33\, 34)\;font-family:
 'Times New Roman'\, serif\;font-size:12pt\;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\
 ;font-weight:400\;text-decoration:none\;vertical-align:baseline\;white-spa
 ce:pre-wrap\;'>Dominum Christum. Alleluia!</span></em></p></td><td style='
 border-color:rgb(255\, 255\, 255)\;border-width:1pt\;overflow-wrap:break-w
 ord\;overflow:hidden\;padding:5pt\;vertical-align:top\;'><p style='line-he
 ight:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='bac
 kground-color:rgb(255\, 255\, 255)\;color:rgb(32\, 33\, 34)\;font-family:'
 Times New Roman'\, serif\;font-size:12pt\;font-style:normal\;font-variant-
 alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:norma
 l\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-varian
 t-position:normal\;font-weight:400\;text-decoration:none\;vertical-align:b
 aseline\;white-space:pre-wrap\;'>O great mystery\,</span></p><p style='lin
 e-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style=
 'background-color:rgb(255\, 255\, 255)\;color:rgb(32\, 33\, 34)\;font-fami
 ly:'Times New Roman'\, serif\;font-size:12pt\;font-style:normal\;font-vari
 ant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:n
 ormal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-va
 riant-position:normal\;font-weight:400\;text-decoration:none\;vertical-ali
 gn:baseline\;white-space:pre-wrap\;'>And wondrous sacrament</span></p><p s
 tyle='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><sp
 an style='background-color:rgb(255\, 255\, 255)\;color:rgb(32\, 33\, 34)\;
 font-family:'Times New Roman'\, serif\;font-size:12pt\;font-style:normal\;
 font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-eas
 t-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal
 \;font-variant-position:normal\;font-weight:400\;text-decoration:none\;ver
 tical-align:baseline\;white-space:pre-wrap\;'>That animals should see the 
 new-</span></p><p style='line-height:1.38\;margin-bottom:0pt\;margin-top:0
 pt\;' dir='ltr'><span style='background-color:rgb(255\, 255\, 255)\;color:
 rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, serif\;font-size:12pt\;
 font-style:normal\;font-variant-alternates:normal\;font-variant-caps:norma
 l\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-var
 iant-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-d
 ecoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>born Lord
 \, lying in their manger!</span></p><p style='line-height:1.38\;margin-bot
 tom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:rgb(255
 \, 255\, 255)\;color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, se
 rif\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;fo
 nt-variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligat
 ures:normal\;font-variant-numeric:normal\;font-variant-position:normal\;fo
 nt-weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:
 pre-wrap\;'>Blessed is the Virgin whose womb </span></p><p style='line-hei
 ght:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='back
 ground-color:rgb(255\, 255\, 255)\;color:rgb(32\, 33\, 34)\;font-family:'T
 imes New Roman'\, 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\;'>was worth to bear the</span></p><p style='
 line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span sty
 le='background-color:rgb(255\, 255\, 255)\;color:rgb(32\, 33\, 34)\;font-f
 amily:'Times New Roman'\, serif\;font-size:12pt\;font-style:normal\;font-v
 ariant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asia
 n:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font
 -variant-position:normal\;font-weight:400\;text-decoration:none\;vertical-
 align:baseline\;white-space:pre-wrap\;'>Lord Jesus Christ. Alleluia!</span
 ></p></td></tr></tbody></table></div><p style='line-height:1.38\;margin-bo
 ttom:0pt\;margin-top:0pt\;' dir='ltr'><em><span style='background-color:rg
 b(255\, 255\, 255)\;color:rgb(36\, 36\, 36)\;font-family:'Times New Roman'
 \, serif\;font-size:12pt\;font-variant-alternates:normal\;font-variant-cap
 s:normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;f
 ont-variant-numeric:normal\;font-variant-position:normal\;text-decoration:
 none\;vertical-align:baseline\;white-space:pre-wrap\;'><strong>Big City Li
 ghts</strong></span></em><span style='background-color:rgb(255\, 255\, 255
 )\;color:rgb(36\, 36\, 36)\;font-family:'Times New Roman'\, serif\;font-si
 ze:12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-c
 aps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\
 ;font-variant-numeric:normal\;font-variant-position:normal\;text-decoratio
 n:none\;vertical-align:baseline\;white-space:pre-wrap\;'><strong> </strong
 ></span><span style='background-color:rgb(255\, 255\, 255)\;color:rgb(36\,
  36\, 36)\;font-family:'Times New Roman'\, serif\;font-size:12pt\;font-sty
 le:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-
 variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-num
 eric:normal\;font-variant-position:normal\;font-weight:400\;text-decoratio
 n:none\;vertical-align:baseline\;white-space:pre-wrap\;'>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 style='line-hei
 ght:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='back
 ground-color:rgb(255\, 255\, 255)\;color:rgb(36\, 36\, 36)\;font-family:'T
 imes New Roman'\, 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\;'>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 style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt
 \;' dir='ltr'><span style='background-color:rgb(255\, 255\, 255)\;color:rg
 b(36\, 36\, 36)\;font-family:'Times New Roman'\, serif\;font-size:12pt\;fo
 nt-style:normal\;font-variant-alternates:normal\;font-variant-caps:normal\
 ;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-varia
 nt-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-dec
 oration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>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 
 style='line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><s
 pan style='background-color:rgb(255\, 255\, 255)\;color:rgb(36\, 36\, 36)\
 ;font-family:'Times New Roman'\, serif\;font-size:12pt\;font-style:normal\
 ;font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-ea
 st-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:norma
 l\;font-variant-position:normal\;font-weight:400\;text-decoration:none\;ve
 rtical-align:baseline\;white-space:pre-wrap\;'>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 style='line-height:1.38\;margin-bottom:
 0pt\;margin-top:0pt\;' dir='ltr'><em><span style='background-color:rgb(255
 \, 255\, 255)\;color:rgb(36\, 36\, 36)\;font-family:'Times New Roman'\, se
 rif\;font-size:12pt\;font-variant-alternates:normal\;font-variant-caps:nor
 mal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-v
 ariant-numeric:normal\;font-variant-position:normal\;font-weight:400\;text
 -decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>-Progra
 m note by the composer</span></em><br> </p><p style='background-color:rgb(
 255\, 255\, 255)\;line-height:1.656\;margin-bottom:0pt\;margin-top:0pt\;' 
 dir='ltr'><span style='background-color:rgb(255\, 255\, 255)\;color:rgb(36
 \, 36\, 36)\;font-family:'Times New Roman'\, serif\;font-size:12pt\;font-s
 tyle:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;fon
 t-variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-n
 umeric:normal\;font-variant-position:normal\;font-weight:400\;text-decorat
 ion:none\;vertical-align:baseline\;white-space:pre-wrap\;'>The </span><em>
 <span style='background-color:rgb(255\, 255\, 255)\;color:rgb(36\, 36\, 36
 )\;font-family:'Times New Roman'\, serif\;font-size:12pt\;font-variant-alt
 ernates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;
 font-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-p
 osition:normal\;text-decoration:none\;vertical-align:baseline\;white-space
 :pre-wrap\;'><strong>Tritsch-Tratsch Polka</strong></span></em><span style
 ='background-color:rgb(255\, 255\, 255)\;color:rgb(36\, 36\, 36)\;font-fam
 ily:'Times New Roman'\, serif\;font-size:12pt\;font-style:normal\;font-var
 iant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:
 normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-v
 ariant-position:normal\;font-weight:400\;text-decoration:none\;vertical-al
 ign:baseline\;white-space:pre-wrap\;'> (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='background-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bott
 om:0pt\;margin-top:0pt\;padding:5pt 0pt\;' dir='ltr'><em><span style='back
 ground-color:transparent\;color:rgb(32\, 33\, 34)\;font-family:'Times New 
 Roman'\, serif\;font-size:12pt\;font-variant-alternates:normal\;font-varia
 nt-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:nor
 mal\;font-variant-numeric:normal\;font-variant-position:normal\;text-decor
 ation:none\;vertical-align:baseline\;white-space:pre-wrap\;'><strong>Shado
 w Rituals </strong></span></em><span style='background-color:transparent\;
 color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, serif\;font-size:
 12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-caps
 :normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;fo
 nt-variant-numeric:normal\;font-variant-position:normal\;font-weight:400\;
 text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>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 style=
 'background-color:transparent\;color:rgb(32\, 33\, 34)\;font-family:'Times
  New Roman'\, serif\;font-size:12pt\;font-variant-alternates:normal\;font-
 variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligature
 s:normal\;font-variant-numeric:normal\;font-variant-position:normal\;font-
 weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre
 -wrap\;'>Shadow Rituals</span></em><span style='background-color:transpare
 nt\;color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, serif\;font-s
 ize:12pt\;font-style:normal\;font-variant-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:4
 00\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'
 > is related to the opening section\, and the majority of the motives hear
 d throughout are related to the first theme.</span></p><p style='backgroun
 d-color:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-
 top:0pt\;padding:0pt 0pt 5pt\;' dir='ltr'><span style='background-color:tr
 ansparent\;color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, serif\
 ;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-v
 ariant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures
 :normal\;font-variant-numeric:normal\;font-variant-position:normal\;font-w
 eight:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-
 wrap\;'>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 style='background-color:transparent\;color:rgb(32\, 33
 \, 34)\;font-family:'Times New Roman'\, serif\;font-size:12pt\;font-varian
 t-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:nor
 mal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-vari
 ant-position:normal\;font-weight:400\;text-decoration:none\;vertical-align
 :baseline\;white-space:pre-wrap\;'>Shadow Rituals</span></em><span style='
 background-color:transparent\;color:rgb(32\, 33\, 34)\;font-family:'Times 
 New Roman'\, serif\;font-size:12pt\;font-style:normal\;font-variant-altern
 ates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;fon
 t-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-posi
 tion:normal\;font-weight:400\;text-decoration:none\;vertical-align:baselin
 e\;white-space:pre-wrap\;'> 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 style='background-color:rgb(255\, 255\, 255)\;lin
 e-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;padding:0pt 0pt 5pt\;' d
 ir='ltr'><span style='background-color:transparent\;color:rgb(32\, 33\, 34
 )\;font-family:'Times New Roman'\, serif\;font-size:12pt\;font-style:norma
 l\;font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-
 east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:nor
 mal\;font-variant-position:normal\;font-weight:400\;text-decoration:none\;
 vertical-align:baseline\;white-space:pre-wrap\;'>- </span><em><span style=
 'background-color:transparent\;color:rgb(32\, 33\, 34)\;font-family:'Times
  New Roman'\, serif\;font-size:12pt\;font-variant-alternates:normal\;font-
 variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligature
 s:normal\;font-variant-numeric:normal\;font-variant-position:normal\;font-
 weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre
 -wrap\;'>Program Note by composer</span></em></p><p style='background-colo
 r:rgb(255\, 255\, 255)\;line-height:1.2\;margin-bottom:0pt\;margin-top:0pt
 \;padding:5pt 0pt\;' dir='ltr'><br><em><span style='background-color:trans
 parent\;color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, serif\;fo
 nt-size:12pt\;font-variant-alternates:normal\;font-variant-caps:normal\;fo
 nt-variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-
 numeric:normal\;font-variant-position:normal\;text-decoration:none\;vertic
 al-align:baseline\;white-space:pre-wrap\;'><strong>Song for Lyndsay</stron
 g></span></em><span style='background-color:transparent\;color:rgb(32\, 33
 \, 34)\;font-family:'Times New Roman'\, serif\;font-size:12pt\;font-style:
 normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-var
 iant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeri
 c:normal\;font-variant-position:normal\;font-weight:400\;text-decoration:n
 one\;vertical-align:baseline\;white-space:pre-wrap\;'> 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 style='background-color:rgb(255\, 255\, 255)\;line-h
 eight:1.2\;margin-bottom:0pt\;margin-top:0pt\;padding:0pt 0pt 5pt\;' dir='
 ltr'><span style='background-color:transparent\;color:rgb(32\, 33\, 34)\;f
 ont-family:'Times New Roman'\, serif\;font-size:12pt\;font-style:normal\;f
 ont-variant-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\;vert
 ical-align:baseline\;white-space:pre-wrap\;'>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='background-color:rgb(255\, 255\, 255)\;line-height:1.2\;margin-bottom
 :0pt\;margin-top:0pt\;padding:0pt 0pt 5pt\;' dir='ltr'><span style='backgr
 ound-color:transparent\;color:rgb(32\, 33\, 34)\;font-family:'Times New Ro
 man'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alternates:n
 ormal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-vari
 ant-ligatures:normal\;font-variant-numeric:normal\;font-variant-position:n
 ormal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;whi
 te-space:pre-wrap\;'>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 style='background-color:rgb(255\, 255\, 255)\;line-height:1.2\;margin-b
 ottom:0pt\;margin-top:0pt\;padding:0pt 0pt 5pt\;' dir='ltr'><span style='b
 ackground-color:transparent\;color:rgb(32\, 33\, 34)\;font-family:'Times N
 ew Roman'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alterna
 tes:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font
 -variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-posit
 ion:normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline
 \;white-space:pre-wrap\;'>- </span><em><span style='background-color:trans
 parent\;color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, serif\;fo
 nt-size:12pt\;font-variant-alternates:normal\;font-variant-caps:normal\;fo
 nt-variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-
 numeric:normal\;font-variant-position:normal\;font-weight:400\;text-decora
 tion:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Program Note f
 rom publisher</span></em></p><p style='background-color:rgb(255\, 255\, 25
 5)\;line-height:1.2\;margin-bottom:0pt\;margin-top:0pt\;padding:0pt 0pt 5p
 t\;' dir='ltr'> </p><p style='background-color:rgb(255\, 255\, 255)\;line-
 height:1.2\;margin-bottom:0pt\;margin-top:0pt\;padding:0pt 0pt 5pt\;' dir=
 'ltr'><span style='background-color:transparent\;color:rgb(32\, 33\, 34)\;
 font-family:'Times New Roman'\, serif\;font-size:12pt\;font-style:normal\;
 font-variant-alternates:normal\;font-variant-caps:normal\;font-variant-eas
 t-asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal
 \;font-variant-position:normal\;font-weight:400\;text-decoration:none\;ver
 tical-align:baseline\;white-space:pre-wrap\;'>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 style='background-col
 or:transparent\;color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, s
 erif\;font-size:12pt\;font-variant-alternates:normal\;font-variant-caps:no
 rmal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-
 variant-numeric:normal\;font-variant-position:normal\;font-weight:400\;tex
 t-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>Willia
 m Tell</span></em><span style='background-color:transparent\;color:rgb(32\
 , 33\, 34)\;font-family:'Times New Roman'\, serif\;font-size:12pt\;font-st
 yle:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font
 -variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-nu
 meric:normal\;font-variant-position:normal\;font-weight:400\;text-decorati
 on:none\;vertical-align:baseline\;white-space:pre-wrap\;'> and Suppé's </s
 pan><em><span style='background-color:transparent\;color:rgb(32\, 33\, 34)
 \;font-family:'Times New Roman'\, serif\;font-size:12pt\;font-variant-alte
 rnates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;f
 ont-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-po
 sition:normal\;text-decoration:none\;vertical-align:baseline\;white-space:
 pre-wrap\;'><strong>Poet and Peasant.</strong></span></em><span style='bac
 kground-color:transparent\;color:rgb(32\, 33\, 34)\;font-family:'Times New
  Roman'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alternate
 s:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;font-v
 ariant-ligatures:normal\;font-variant-numeric:normal\;font-variant-positio
 n:normal\;font-weight:400\;text-decoration:none\;vertical-align:baseline\;
 white-space:pre-wrap\;'> 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 style='background-color:rgb(255\, 255\, 255)\;line-h
 eight:1.2\;margin-bottom:0pt\;margin-top:0pt\;padding:0pt 0pt 5pt\;' dir='
 ltr'><span style='background-color:transparent\;color:rgb(32\, 33\, 34)\;f
 ont-family:'Times New Roman'\, serif\;font-size:12pt\;font-style:normal\;f
 ont-variant-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\;vert
 ical-align:baseline\;white-space:pre-wrap\;'>- </span><em><span style='bac
 kground-color:transparent\;color:rgb(32\, 33\, 34)\;font-family:'Times New
  Roman'\, serif\;font-size:12pt\;font-variant-alternates:normal\;font-vari
 ant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:no
 rmal\;font-variant-numeric:normal\;font-variant-position:normal\;font-weig
 ht:400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wra
 p\;'>Program Note from publisher</span></em></p><p style='background-color
 :rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt
 \;padding:7pt 0pt 12pt\;' dir='ltr'><span style='background-color:transpar
 ent\;color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, serif\;font-
 size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant
 -caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:norma
 l\;font-variant-numeric:normal\;font-variant-position:normal\;font-weight:
 400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;
 '>Composed in 1889\, The </span><span style='background-color:transparent\
 ;color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, serif\;font-size
 :12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-cap
 s:normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;f
 ont-variant-numeric:normal\;font-variant-position:normal\;text-decoration:
 none\;vertical-align:baseline\;white-space:pre-wrap\;'><strong>Thunderer</
 strong></span><span style='background-color:transparent\;color:rgb(32\, 33
 \, 34)\;font-family:'Times New Roman'\, serif\;font-size:12pt\;font-style:
 normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-var
 iant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeri
 c:normal\;font-variant-position:normal\;font-weight:400\;text-decoration:n
 one\;vertical-align:baseline\;white-space:pre-wrap\;'> 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 style='background-color:rgb(
 255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top:0pt\;pad
 ding:0pt 0pt 12pt\;' dir='ltr'><span style='background-color:transparent\;
 color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, serif\;font-size:
 12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-caps
 :normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;fo
 nt-variant-numeric:normal\;font-variant-position:normal\;text-decoration:n
 one\;vertical-align:baseline\;white-space:pre-wrap\;'><strong>Irish Tune</
 strong></span><span style='background-color:transparent\;color:rgb(32\, 33
 \, 34)\;font-family:'Times New Roman'\, serif\;font-size:12pt\;font-style:
 normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-var
 iant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-numeri
 c:normal\;font-variant-position:normal\;font-weight:400\;text-decoration:n
 one\;vertical-align:baseline\;white-space:pre-wrap\;'> 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 style='background-color:rgb(255\, 255\, 255)\;line-height:1.
 38\;margin-bottom:0pt\;margin-top:0pt\;padding:0pt 0pt 12pt\;' dir='ltr'><
 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\;'>Johan de Meij’s </span><span style=
 'background-color:transparent\;color:rgb(32\, 33\, 34)\;font-family:'Times
  New Roman'\, serif\;font-size:12pt\;font-style:normal\;font-variant-alter
 nates:normal\;font-variant-caps:normal\;font-variant-east-asian:normal\;fo
 nt-variant-ligatures:normal\;font-variant-numeric:normal\;font-variant-pos
 ition:normal\;text-decoration:none\;vertical-align:baseline\;white-space:p
 re-wrap\;'><strong>Symphony No. 1: The Lord of the Rings</strong></span><s
 pan style='background-color:transparent\;color:rgb(32\, 33\, 34)\;font-fam
 ily:'Times New Roman'\, serif\;font-size:12pt\;font-style:normal\;font-var
 iant-alternates:normal\;font-variant-caps:normal\;font-variant-east-asian:
 normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\;font-v
 ariant-position:normal\;font-weight:400\;text-decoration:none\;vertical-al
 ign:baseline\;white-space:pre-wrap\;'> 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 style='background-color:t
 ransparent\;color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, serif
 \;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-
 variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligature
 s:normal\;font-variant-numeric:normal\;font-variant-position:normal\;text-
 decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'><strong>
 Gandalf (The Wizard)</strong></span><span style='background-color:transpar
 ent\;color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, serif\;font-
 size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant
 -caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:norma
 l\;font-variant-numeric:normal\;font-variant-position:normal\;font-weight:
 400\;text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;
 '>\,” 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 style='background-c
 olor:rgb(255\, 255\, 255)\;line-height:1.38\;margin-bottom:0pt\;margin-top
 :0pt\;padding:0pt 0pt 12pt\;' dir='ltr'><span style='background-color:tran
 sparent\;color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, serif\;f
 ont-size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-var
 iant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures:n
 ormal\;font-variant-numeric:normal\;font-variant-position:normal\;text-dec
 oration:none\;vertical-align:baseline\;white-space:pre-wrap\;'><strong>Daw
 n</strong></span><span style='background-color:transparent\;color:rgb(32\,
  33\, 34)\;font-family:'Times New Roman'\, serif\;font-size:12pt\;font-sty
 le:normal\;font-variant-alternates:normal\;font-variant-caps:normal\;font-
 variant-east-asian:normal\;font-variant-ligatures:normal\;font-variant-num
 eric:normal\;font-variant-position:normal\;font-weight:400\;text-decoratio
 n:none\;vertical-align:baseline\;white-space:pre-wrap\;'> 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 style='line-height:1.2\;mar
 gin-bottom:0pt\;margin-top:0pt\;' dir='ltr'><span style='background-color:
 transparent\;color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, seri
 f\;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;font
 -variant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatur
 es:normal\;font-variant-numeric:normal\;font-variant-position:normal\;font
 -weight:400\;text-decoration:none\;vertical-align:baseline\;white-space:pr
 e-wrap\;'>Performed jointly by the University of Washington Concert Band a
 nd the Seattle Chinese Chorus. </span></p><p style='background-color:rgb(2
 55\, 255\, 255)\;line-height:1.38\;margin-bottom:12pt\;margin-top:0pt\;pad
 ding:12pt 0pt 0pt\;' dir='ltr'><span style='background-color:transparent\;
 color:rgb(32\, 33\, 34)\;font-family:'Times New Roman'\, serif\;font-size:
 12pt\;font-style:normal\;font-variant-alternates:normal\;font-variant-caps
 :normal\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;fo
 nt-variant-numeric:normal\;font-variant-position:normal\;font-weight:400\;
 text-decoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'>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><stro
 ng>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 & 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
 trong><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\, & 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 & 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\, & 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 & 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 & 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 & 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 & 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 & 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 & 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><str
 ong>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 & Engineering\, Seattle\, WA <br>Jay Tampico\, Commun
 ity Member\, Seattle WA <br>George Whiddon\, International Studies & Chine
 se\, Littleton\, CO <br>Quinn Widdows\, Electrical & 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><
 p><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 <
 br>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 & 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 & 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><str
 ong>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 <
 br>Cola Zhao\, Fr.\, Pre–Public Health\, China </p><p><strong>PIANO </stro
 ng><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
 trong><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 </st
 rong><br>Nathan Eskridge\, Gr.\, Music\, Tustin\, CA</p><hr><p style='colo
 r:#1f2021\;font:11.0px Helvetica\;margin:0.0px 0.0px 0.0px 0.0px\;'> </p><
 p style='color:#1f2021\;font:11.0px Helvetica\;margin:0.0px 0.0px 0.0px 0.
 0px\;'> </p><h3>Director Biographies</h3>
END:VEVENT
BEGIN:VEVENT
UID:82caa1eb-4d85-475e-8813-528aa83ab902
DTSTAMP:20260612T083118Z
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<
 /strong><br>Koryn Orcutt\, clarinet<br>Justin S Davis\, guitar<br>Andrew A
 ngell\, percussion<br>Serena Chin & 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><st
 rong>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 & 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 style='line-height:1.8\;margin-bottom:0pt\;margin-to
 p:0pt\;' 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 style='lin
 e-height:1.8\;margin-bottom:0pt\;margin-top:0pt\;' 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 & Univ
 ersity R&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 & Oregon Bach Festival)\, SEACHANGE (Miami City Ballet)\, Path of Mi
 racles (The Thirteen)\, Adoration (Beth Morrison Projects & 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<
 br>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
 trong><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 <
 br>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<
 br>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>
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LAST-MODIFIED:20260303T163131Z
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><stro
 ng>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><
 p>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><
 br>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 & 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 style='background-color:transpare
 nt\;color:rgb(0\, 0\, 0)\;font-family:Arial\, sans-serif\;font-size:11pt\;
 font-style:normal\;font-variant-alternates:normal\;font-variant-caps:norma
 l\;font-variant-east-asian:normal\;font-variant-ligatures:normal\;font-var
 iant-numeric:normal\;font-variant-position:normal\;font-weight:400\;text-d
 ecoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'><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<
 /strong><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)<
 br>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 </e
 m>(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 <
 /em>(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 & 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 style='l
 ine-height:1.8\;margin-bottom:0pt\;margin-top:0pt\;' 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 style='line-height:1.8\;margin-bottom:0p
 t\;margin-top:0pt\;' 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<
 /h3><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 & University R&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 & Oregon Bach Festival)\
 , SEACHANGE (Miami City Ballet)\, Path of Miracles (The Thirteen)\, Adorat
 ion (Beth Morrison Projects & 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.<
 /p><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><stron
 g>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><stron
 g>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><
 p>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:20260612T083118Z
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><
 hr><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</stron
 g><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<
 /h2><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
DTEND;TZID=America/Los_Angeles:20260304T000000
LAST-MODIFIED:20260303T172418Z
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:20260612T083118Z
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. <
 /p><p>Full program details <a href='/sites/music/files/documents/March%204
 %2C%202026.pdf'>HERE</a></p>
DTSTART;TZID=America/Los_Angeles:20260304T123000
DTEND;TZID=America/Los_Angeles:20260305T000000
LAST-MODIFIED:20260303T152147Z
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><
 /div><p><span style='-webkit-text-stroke-width:0px\;background-color:rgb(2
 55\, 255\, 255)\;caret-color:rgb(0\, 0\, 0)\;color:rgb(0\, 0\, 0)\;display
 :inline !important\;float:none\;font-family:Aptos\, Aptos_MSFontService\, 
 -apple-system\, Roboto\, Arial\, Helvetica\, sans-serif\;font-size:16px\;f
 ont-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacin
 g:normal\;orphans:auto\;text-align:start\;text-decoration:none\;text-inden
 t:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:
 0px\;'>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 style='-webk
 it-text-stroke-width:0px\;background-color:rgb(255\, 255\, 255)\;caret-col
 or:rgb(0\, 0\, 0)\;color:rgb(0\, 0\, 0)\;display:inline !important\;float:
 none\;font-family:Aptos\, Aptos_MSFontService\, -apple-system\, Roboto\, A
 rial\, Helvetica\, sans-serif\;font-size:16px\;font-style:normal\;font-var
 iant-caps:normal\;font-weight:400\;letter-spacing:normal\;orphans:auto\;te
 xt-align:start\;text-decoration:none\;text-indent:0px\;text-transform:none
 \;white-space:normal\;widows:auto\;word-spacing:0px\;'>Full program detail
 s </span><a href='/sites/music/files/documents/March%204%2C%202026.pdf'><s
 pan style='-webkit-text-stroke-width:0px\;background-color:rgb(255\, 255\,
  255)\;caret-color:rgb(0\, 0\, 0)\;color:rgb(0\, 0\, 0)\;display:inline !i
 mportant\;float:none\;font-family:Aptos\, Aptos_MSFontService\, -apple-sys
 tem\, Roboto\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-style:
 normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;
 orphans:auto\;text-align:start\;text-decoration:none\;text-indent:0px\;tex
 t-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>HER
 E</span></a></p>
END:VEVENT
BEGIN:VEVENT
UID:47c1927b-ecd6-443e-9bc3-6054d675e561
DTSTAMP:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20260306T000000
LAST-MODIFIED:20260303T215651Z
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><meta charse
 t='UTF-8'></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><st
 rong>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:20260612T083118Z
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><
 hr><h2>Biography</h2><p style='box-sizing:border-box\;color:rgb(51\, 51\, 
 51)\;font-family:'Open Sans'\, sans-serif\;margin:0px 0px 11px\;'>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 style='box-sizing:b
 order-box\;color:rgb(51\, 51\, 51)\;font-family:'Open Sans'\, sans-serif\;
 margin:0px 0px 11px\;'>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 style='box-sizin
 g:border-box\;color:rgb(51\, 51\, 51)\;font-family:'Open Sans'\, sans-seri
 f\;margin:0px 0px 11px\;'>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 style='box-sizing:border-box\;color:rgb(51\, 51
 \, 51)\;font-family:'Open Sans'\, sans-serif\;margin:0px 0px 11px\;'>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 style='box-sizing:border-box\;color:rgb(51\, 51\
 , 51)\;font-family:'Open Sans'\, sans-serif\;margin:0px 0px 11px\;'>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 style='
 box-sizing:border-box\;color:rgb(51\, 51\, 51)\;font-family:'Open Sans'\, 
 sans-serif\;margin:0px 0px 11px\;'>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><
 br> </p>
DTSTART;TZID=America/Los_Angeles:20260306T123000
DTEND;TZID=America/Los_Angeles:20260307T000000
LAST-MODIFIED:20251126T155037Z
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:20260612T083118Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250910T115848Z
DESCRIPTION:<p style='font:12.0px 'Avenir Next Condensed'\;margin:0.0px 0.0
 px 0.0px 0.0px\;min-height:16.0px\;'> </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
 trong><br>Alice 2 (Quinn's Alice)………………...<strong>Yuhao Zhang</strong><br>
 Alice 3 (Zandra’s and Lyra's Alice).... <strong>Lameya Appling     </stron
 g></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</stro
 ng><br><strong>Shriya Prasanna</strong></p><p>John cover:  <strong>Zayn Mi
 r</strong></p><p>Composer:<strong> Melissa Dunphy</strong><br>Librettist:<
 strong> 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
DTEND;TZID=America/Los_Angeles:20260307T000000
LAST-MODIFIED:20260302T162724Z
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 style='font:12.0px 'Avenir Next Condensed'\
 ;margin:0.0px 0.0px 0.0px 0.0px\;min-height:16.0px\;'> </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</stron
 g><br>Lyra.......................................<strong>.Lainey Graham</s
 trong><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)………………...<stron
 g>Yuhao Zhang</strong><br>Alice 3 (Zandra’s and Lyra's Alice).... <strong>
 Lameya Appling     </strong></p><p>Alice Chorus:<br><strong>Kaelyn Barnes<
 /strong><br><strong>Jane Blythe</strong><br><strong>Charlotte Christie</st
 rong><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: <stro
 ng>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</h
 2><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:20260612T083118Z
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 </stron
 g>- Suite No. 4 in G 'Mozartiana'</p><h3>Campus Philharmonia Orchestra\, S
 ection A</h3><p>Robert Stahly\, conductor<br><br><strong>Emilie Mayer</str
 ong> - Faust Overture<br><strong>Tchaikovsky</strong> - Romeo and Juliet O
 verture-Fantasy</p><hr><h2>Biographies <br> </h2>
DTSTART;TZID=America/Los_Angeles:20260307T150000
DTEND;TZID=America/Los_Angeles:20260308T000000
LAST-MODIFIED:20260305T192048Z
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><
 strong>Tchaikovsky </strong>- Suite No. 4 in G 'Mozartiana'</p><h3>Campus 
 Philharmonia Orchestra\, Section A</h3><p><em>Robert Stahly\, conductor</e
 m><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:20260612T083118Z
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
DTEND;TZID=America/Los_Angeles:20260308T000000
LAST-MODIFIED:20250814T205956Z
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:20260612T083118Z
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</stron
 g> (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
DTEND;TZID=America/Los_Angeles:20260309T000000
LAST-MODIFIED:20260303T183544Z
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:20260612T083118Z
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! - <stron
 g>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><stro
 ng>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
DTEND;TZID=America/Los_Angeles:20260310T000000
LAST-MODIFIED:20260305T233808Z
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<
 /strong><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:20260612T083118Z
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</stro
 ng><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><
 p>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
 trong><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\,</stro
 ng> 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
DTEND;TZID=America/Los_Angeles:20260310T000000
LAST-MODIFIED:20260305T213220Z
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</h
 3><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</e
 m><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:20260612T083118Z
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><
 hr><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 <
 br>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 <
 /strong>(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
DTEND;TZID=America/Los_Angeles:20260311T000000
LAST-MODIFIED:20260304T052039Z
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><
 br><em>Jeffrey Tso\, piano</em><br><br>Duetto III\, Andante and Fugue -<st
 rong> 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><e
 m>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:20260612T083118Z
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 actors from the  School of Drama\, presents a u
 nique performance of four seminal works of John Cage\, all performed simul
 taneously. The concert opens with works by Hilda Paredes and Sofia Gubaidu
 lina.</p><hr><h2>Program</h2><p><strong>Modern Music Ensemble</strong><br>
 Cristina Valdés\, director<br><br><strong>'Winter Music'</strong><br>A col
 laboration with UW Drama<br>Actors: Jeffrey Fracé (director)\, Zo Eisenbre
 y\, Taylor McWilliams-Woods\, Sebastián Bravo Montenegro\, Natalia Poliako
 va\, Sebastian Wang\, Yeonshin Kim<br><br><strong>Sofia Gubaidulina</stron
 g> - Dots\, Lines\, and Zigzag for bass clarinet and piano<br>Cameron DeLu
 ca\, bass clarinet\; Jiaxuan Wu\, piano</p><p><strong>Hilda Paredes -</str
 ong> Canciones sobre poemas de Eduardo Hurtado<br>Claire Wei\, flute/picco
 lo\; Cameron DeLuca\, clarinet/bass clarinet\; Soledad Mayorga Maldonado\,
  soprano\; Jiaxuan Wu\, piano</p><p>- Intermission -</p><p><strong>John Ca
 ge:</strong><br>Winter Music<br>Zixi Fu\, piano\; Boheng Wang\, piano\; Ji
 axuan Wu\, piano<br><br>Four6<br>Minh-Thi Butler\, oboe\; Kyle Grant\, alt
 o saxophone\; Soledad Mayorga Maldonado\, soprano\, Brayson Young\, drums<
 /p><p>Atlas Eclipticalis<br>Grace Playstead\, flute\; Cameron DeLuca\, cla
 rinet\; Taylor DeCastro\, violin</p><p>Variations III<br> Zo Eisenbrey\, J
 effrey Fracé\, Taylor McWilliams-Woods\, Sebastián Bravo Montenegro\, Nata
 lia Poliakova\, Sebastian Wang\, actors (Jeffrey Fracé\, director). </p><h
 r><h2>Program Notes</h2><p><strong>Dots\, Lines\, and Zigzag for bass clar
 inet and piano</strong><br>One consistent feature of [Sofia] Gubaidulina’s
  output has been a reluctance to write absolute music. As often as not the
 re exists some extra-musical stimulus\, even if not stated openly\, or a r
 itualistic or theatrical element. The latter plays a major role in the [Do
 ts\, Lines\, and Zigzag]\, which moreover displays a typical fondness for 
 using conventional instruments - in this case bass clarinet and piano - in
  less than conventional ways. The title alludes to the visual appearance o
 f the score\, in which traditional notation exists side by side with a fre
 er indication of effects which need not be notated precisely. The “zig-zag
 \,” for example\, refers to the instructions to the pianists to produce su
 lla corda glissandi within a given pitch range. The great variety of pitch
 es\, rhythmic patterns\, textures and articulation interlock to create a m
 ulti- layered counterpoint of ideas. As the piece starts\, it is the bass 
 clarinettist rather than the pianist who occupies the piano stool\, depres
 sing the instrument’s<br>sustaining pedal. This not only turns the piano i
 nto a large resonating chamber but has the effect of enhancing certain har
 monics present in the chords which the bass clarinettist is instructed to 
 produce through applying certain fingerings. On entering\, the pianist pla
 ys a series of glissando figures directly on the lower strings of the pian
 o\, first with fingers alone and then with a variety of objects including 
 a pair of coins. The bass clarinettist is meanwhile asked to improvise upo
 n given material within a fixed set of pitches. Finally\, the latter\, sti
 ll playing\, leaves the piano\, which is occupied by the pianist. Thus is 
 symbolised through physical gesture the process of interchange and final c
 oming together embodied in the music.<br>Geoffrey Thomason\, 1993<br><br><
 strong>Canciones sobre poemas de Eduardo Hurtado (1992/2012)</strong><br>I
  have found setting poetry to music a very enriching and enlighten [sic] e
 xperience\, which always sparks off my imagination into directions I don’t
  necessarily go towards when I write instrumental music. From the very fir
 st time I heard Eduardo Hurtado reading his poems in Mexico city in the ea
 rly 90’s\, I realised that in his poetry there was an invitation to create
  a world of sound. So I wrote this song cycle in 92\, at a time when I was
  living in Mexico. The songs were originally written for the Mexican mezzo
  Adriana Díaz de León and the pianist Oscar Tarragó\, but have since been 
 revised. The instrumental version for soprano\, flute\, clarinete [sic] an
 d piano\, was written in 2012 for Lourdes Ambriz and Ensamble 3.<br>Hilda 
 Paredes<br><br><strong>Atlas Eclipticalis</strong><br>Atlas Eclipticalis\,
  commissioned by the Montreal Festivals Society\, was composed over a peri
 od of nine months in 1961. It has 86 parts total\, each one for a specific
  instrument. However\, any number of these parts can be used for a perform
 ance of the work. In a letter dated December 1\, 1963\, Cage writes:<br>“I
 n 1954 while in Europe I met the Japanese musicologist\, Hidekazu Yoshida 
 who gave me his notion of the three lines of Haiku poetry\, the first line
  referring\, he said\, to nirvana\, the second to samsara\, and the third 
 to specific happening. I thought in writing Atlas Eclipticalis of the firs
 t line and the stars as nirvana. And I had the intention of writing two ot
 her works which would complete this trilogy. I did this in 1963 with Varia
 tions IV and 0'0'.”<br>“The title\, Atlas Eclipticalis\, is that of the bo
 ok of astronomical maps I used in the composition.”<br><br><strong>Winter 
 Music</strong><br>Winter Music was composed in the winter of 1956-57. It i
 s scored for any number of pianos between one and twenty. The work is in t
 wenty pages\, with each page containing different chords\, interpretation 
 of which is largely left up to the performer\; in some places\, notation o
 f clefs is left intentionally ambiguous. Chords are played as singular eve
 nts\; notes that the pianist cannot produce are prepared ahead of time as 
 sympathetic vibrations. Time is also largely left up to interpretation\, a
 nd performances of Winter Music vary greatly in duration.<br><br><strong>V
 ariations III</strong><br>Variations III is the third piece in Cage’s Vari
 ations series\, which is made up of eight total pieces composed between 19
 58-1967. Rather than making any reference to music or musicians\, Variatio
 ns III is built around various visual and audio events - in other words\, 
 it can be performed by people who are not singers or instrumentalists. The
  “score” consists of 42 circles\, each marked with a specific event. The c
 ircles are then dumped on the ground or otherwise laid out randomly. The o
 utcome of this randomization determines which events will occur and how th
 ey will unfold during performance. Other aspects of the events\, such as s
 ounds and actions\, are determined by the performers ahead of time.<br><br
 ><strong>Four6</strong><br>Four6 is part of John Cage’s Number Pieces\, a 
 series of works he wrote towards the end of his life. Each Number Piece’s 
 title indicates the number of performers for each work and the iteration o
 f that particular piece - in this case\, Four6 is for four players and is 
 the sixth such work he wrote. All four players devise twelve different sou
 nds - on or off their instruments - and produce these sounds at designated
  intervals.</p><hr><h2>Biographies</h2><p><strong>Jeffrey Fracé</strong> i
 s a veteran theater artist with more than 100 professional credits as an a
 ctor\, director\, writer\, or producer. Best known as an actor\, he is a f
 ormer Associate Artist of Anne Bogart’s SITI Company\, performing\, tourin
 g\, and teaching with the company for over 10 years. Recent performance cr
 edits include 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 Come
 ts with Rachael Lincoln at Meany Theatre\, The Life Model at On the Boards
 \, Betrayal at North Coast Rep in California\, and Rapture\, Blister\, Bur
 n\; Celebration and Old Times (Pinter Festival)\; and Lieutenant of Inishm
 ore\, all at ACT Theatre in Seattle. Other credits include the Kennedy Cen
 ter\, New York Shakespeare Festival\, American Repertory Theatre\, Actors 
 Theatre of Louisville\, Alabama Shakespeare Festival\, Nashville Shakespea
 re Festival\, Stonington Opera House\, Cleveland Public Theatre\, Chopin T
 heatre Chicago\, La MaMa ETC and the Iberoamericano Festival of Bogota. Hi
 s directing credits include Merry Wives of Windsor\, Measure for Measure\,
  As You Like It\, Hamlet\, Macbeth and Romeo & Juliet for Stonington Opera
  House\; Mother Courage and Her Children and 1984 for People's Branch Thea
 tre\; Romeo & Juliet and A Midsummer Night's Dream for Arkansas Shakespear
 e Theatre\; Don Giovanni for New York Repertory Ensemble. His original wor
 k/devised performance credits include 11 Comets at Meany Theater\; The Lif
 e Model at On the Boards\; 10 Real Star Acts at Stonington Opera House\; a
 nd Once Upon a Time 6x in the West\, Harp Song for a Radical\, Barbarians 
 and Untying My Cement Shoes for UW Drama\; plus\, independently produced a
 daptations of King Lear\, and Camus’ The Stranger. He is a founding member
  of the award-winning ensemble Conni's Avant Garde Restaurant\, writing fo
 r and performing in their original shows in New York and nationally. Origi
 nally from Nashville\, Tennessee\, he worked in Chicago for four years bef
 ore relocating to New York City\, where he received his MFA from Columbia 
 University. He is now based in Seattle\, where he teaches acting\, directi
 ng\, movement\, and devising theater at University of Washington. </p>
DTSTART;TZID=America/Los_Angeles:20260310T193000
DTEND;TZID=America/Los_Angeles:20260311T000000
LAST-MODIFIED:20260310T032416Z
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 actors from the  School of Dra
 ma\, presents a unique performance of four seminal works of John Cage\, al
 l performed simultaneously. <span style='-webkit-text-stroke-width:0px\;ca
 ret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;display:inline !impo
 rtant\;float:none\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-seri
 f\;font-size:16px\;font-style:normal\;font-variant-caps:normal\;font-weigh
 t:400\;letter-spacing:normal\;orphans:auto\;text-align:start\;text-decorat
 ion:none\;text-indent:0px\;text-transform:none\;white-space:normal\;widows
 :auto\;word-spacing:0px\;'>The concert opens with works by Hilda Paredes a
 nd Sofia Gubaidulina.</span></p><hr><h2>Program</h2><p><strong>Modern Musi
 c Ensemble</strong><br><em>Cristina Valdés\, director</em><br><br><strong>
 'Winter Music'</strong><br>A collaboration with UW Drama<br><em>Actors: Je
 ffrey Fracé (director)\, Zo Eisenbrey\, Taylor McWilliams-Woods\, Sebastiá
 n Bravo Montenegro\, Natalia Poliakova\, Sebastian Wang\, Yeonshin Kim</em
 ><br><br><strong>Sofia Gubaidulina</strong> - Dots\, Lines\, and Zigzag fo
 r bass clarinet and piano<br><em>Cameron DeLuca\, bass clarinet\; Jiaxuan 
 Wu\, piano</em></p><p><strong>Hilda Paredes -</strong> Canciones sobre poe
 mas de Eduardo Hurtado<br><em>Claire Wei\, flute/piccolo\; Cameron DeLuca\
 , clarinet/bass clarinet\; Soledad Mayorga Maldonado\, soprano\; Jiaxuan W
 u\, piano</em></p><p>- Intermission -</p><p><strong>John Cage:</strong><br
 >Winter Music<br><em>Zixi Fu\, piano\; Boheng Wang\, piano\; Jiaxuan Wu\, 
 piano</em><br><br>Four6<br><em>Minh-Thi Butler\, oboe\; Kyle Grant\, alto 
 saxophone\; Soledad Mayorga Maldonado\, soprano\, Brayson Young\, drums</e
 m></p><p>Atlas Eclipticalis<br><em>Grace Playstead\, flute\; Cameron DeLuc
 a\, clarinet\; Taylor DeCastro\, violin</em></p><p>Variations III<br><em> 
 Zo Eisenbrey\, Jeffrey Fracé\, Taylor McWilliams-Woods\, Sebastián Bravo M
 ontenegro\, Natalia Poliakova\, Sebastian Wang\, actors (Jeffrey Fracé\, d
 irector). </em></p><hr><h2>Program Notes</h2><p><strong>Dots\, Lines\, and
  Zigzag for bass clarinet and piano</strong><br>One consistent feature of 
 [Sofia] Gubaidulina’s output has been a reluctance to write absolute music
 . As often as not there exists some extra-musical stimulus\, even if not s
 tated openly\, or a ritualistic or theatrical element. The latter plays a 
 major role in the [Dots\, Lines\, and Zigzag]\, which moreover displays a 
 typical fondness for using conventional instruments - in this case bass cl
 arinet and piano - in less than conventional ways. The title alludes to th
 e visual appearance of the score\, in which traditional notation exists si
 de by side with a freer indication of effects which need not be notated pr
 ecisely. The “zig-zag\,” for example\, refers to the instructions to the p
 ianists to produce sulla corda glissandi within a given pitch range. The g
 reat variety of pitches\, rhythmic patterns\, textures and articulation in
 terlock to create a multi- layered counterpoint of ideas. As the piece sta
 rts\, it is the bass clarinettist rather than the pianist who occupies the
  piano stool\, depressing the instrument’s<br>sustaining pedal. This not o
 nly turns the piano into a large resonating chamber but has the effect of 
 enhancing certain harmonics present in the chords which the bass clarinett
 ist is instructed to produce through applying certain fingerings. On enter
 ing\, the pianist plays a series of glissando figures directly on the lowe
 r strings of the piano\, first with fingers alone and then with a variety 
 of objects including a pair of coins. The bass clarinettist is meanwhile a
 sked to improvise upon given material within a fixed set of pitches. Final
 ly\, the latter\, still playing\, leaves the piano\, which is occupied by 
 the pianist. Thus is symbolised through physical gesture the process of in
 terchange and final coming together embodied in the music.<br>Geoffrey Tho
 mason\, 1993<br><br><strong>Canciones sobre poemas de Eduardo Hurtado (199
 2/2012)</strong><br>I have found setting poetry to music a very enriching 
 and enlighten [sic] experience\, which always sparks off my imagination in
 to directions I don’t necessarily go towards when I write instrumental mus
 ic. From the very first time I heard Eduardo Hurtado reading his poems in 
 Mexico city in the early 90’s\, I realised that in his poetry there was an
  invitation to create a world of sound. So I wrote this song cycle in 92\,
  at a time when I was living in Mexico. The songs were originally written 
 for the Mexican mezzo Adriana Díaz de León and the pianist Oscar Tarragó\,
  but have since been revised. The instrumental version for soprano\, flute
 \, clarinete [sic] and piano\, was written in 2012 for Lourdes Ambriz and 
 Ensamble 3.<br>Hilda Paredes<br><br><strong>Atlas Eclipticalis</strong><br
 >Atlas Eclipticalis\, commissioned by the Montreal Festivals Society\, was
  composed over a period of nine months in 1961. It has 86 parts total\, ea
 ch one for a specific instrument. However\, any number of these parts can 
 be used for a performance of the work. In a letter dated December 1\, 1963
 \, Cage writes:<br>“In 1954 while in Europe I met the Japanese musicologis
 t\, Hidekazu Yoshida who gave me his notion of the three lines of Haiku po
 etry\, the first line referring\, he said\, to nirvana\, the second to sam
 sara\, and the third to specific happening. I thought in writing Atlas Ecl
 ipticalis of the first line and the stars as nirvana. And I had the intent
 ion of writing two other works which would complete this trilogy. I did th
 is in 1963 with Variations IV and 0'0'.”<br>“The title\, Atlas Eclipticali
 s\, is that of the book of astronomical maps I used in the composition.”<b
 r><br><strong>Winter Music</strong><br>Winter Music was composed in the wi
 nter of 1956-57. It is scored for any number of pianos between one and twe
 nty. The work is in twenty pages\, with each page containing different cho
 rds\, interpretation of which is largely left up to the performer\; in som
 e places\, notation of clefs is left intentionally ambiguous. Chords are p
 layed as singular events\; notes that the pianist cannot produce are prepa
 red ahead of time as sympathetic vibrations. Time is also largely left up 
 to interpretation\, and performances of Winter Music vary greatly in durat
 ion.<br><br><strong>Variations III</strong><br>Variations III is the third
  piece in Cage’s Variations series\, which is made up of eight total piece
 s composed between 1958-1967. Rather than making any reference to music or
  musicians\, Variations III is built around various visual and audio event
 s - in other words\, it can be performed by people who are not singers or 
 instrumentalists. The “score” consists of 42 circles\, each marked with a 
 specific event. The circles are then dumped on the ground or otherwise lai
 d out randomly. The outcome of this randomization determines which events 
 will occur and how they will unfold during performance. Other aspects of t
 he events\, such as sounds and actions\, are determined by the performers 
 ahead of time.<br><br><strong>Four6</strong><br>Four6 is part of John Cage
 ’s Number Pieces\, a series of works he wrote towards the end of his life.
  Each Number Piece’s title indicates the number of performers for each wor
 k and the iteration of that particular piece - in this case\, Four6 is for
  four players and is the sixth such work he wrote. All four players devise
  twelve different sounds - on or off their instruments - and produce these
  sounds at designated intervals.</p><hr><h2>Biographies</h2><p><strong>Jef
 frey Fracé</strong> is a veteran theater artist with more than 100 profess
 ional credits as an actor\, director\, writer\, or producer. Best known as
  an actor\, he is a former Associate Artist of Anne Bogart’s SITI Company\
 , performing\, touring\, and teaching with the company for over 10 years. 
 Recent performance credits include The War of the Worlds Radio Play with S
 ITI Company\, Father Comes Home From the Wars with UW Drama\, Home with Do
 ug Varone and 11 Comets with Rachael Lincoln at Meany Theatre\, The Life M
 odel at On the Boards\, Betrayal at North Coast Rep in California\, and Ra
 pture\, Blister\, Burn\; Celebration and Old Times (Pinter Festival)\; and
  Lieutenant of Inishmore\, all at ACT Theatre in Seattle. Other credits in
 clude the Kennedy Center\, New York Shakespeare Festival\, American Repert
 ory Theatre\, Actors Theatre of Louisville\, Alabama Shakespeare Festival\
 , Nashville Shakespeare Festival\, Stonington Opera House\, Cleveland Publ
 ic Theatre\, Chopin Theatre Chicago\, La MaMa ETC and the Iberoamericano F
 estival of Bogota. His directing credits include Merry Wives of Windsor\, 
 Measure for Measure\, As You Like It\, Hamlet\, Macbeth and Romeo & Juliet
  for Stonington Opera House\; Mother Courage and Her Children and 1984 for
  People's Branch Theatre\; Romeo & Juliet and A Midsummer Night's Dream fo
 r Arkansas Shakespeare Theatre\; Don Giovanni for New York Repertory Ensem
 ble. His original work/devised performance credits include 11 Comets at Me
 any Theater\; The Life Model at On the Boards\; 10 Real Star Acts at Stoni
 ngton Opera House\; and Once Upon a Time 6x in the West\, Harp Song for a 
 Radical\, Barbarians and Untying My Cement Shoes for UW Drama\; plus\, ind
 ependently produced adaptations of King Lear\, and Camus’ The Stranger. He
  is a founding member of the award-winning ensemble Conni's Avant Garde Re
 staurant\, writing for and performing in their original shows in New York 
 and nationally. Originally from Nashville\, Tennessee\, he worked in Chica
 go for four years before relocating to New York City\, where he received h
 is MFA from Columbia University. He is now based in Seattle\, where he tea
 ches acting\, directing\, movement\, and devising theater at University of
  Washington. </p>
END:VEVENT
BEGIN:VEVENT
UID:dd287bbc-fcae-4ebd-8619-65d55aad8191
DTSTAMP:20260612T083118Z
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> <stro
 ng>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
DTEND;TZID=America/Los_Angeles:20260313T000000
LAST-MODIFIED:20251002T191431Z
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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:20260612T083118Z
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><str
 ong>Simon Alami\, </strong>guest composer </p><h3>UW Symphonic Band </h3><
 p>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>Program Notes </h2><p><strong>Three Dance
 s of Enchantment </strong>is a suite of three dances inspired by personal 
 experiences in my life that\, through the years\, continue to resonate in 
 my memory.</p><p>I. The Via Veneto is a musical reminiscence of those “dol
 ce vita” days I spent on one of Rome’s most fashionable streets. Here\, as
  a young film composer\, I watched and learned\, with great fascination\, 
 about the world of Italian film-making.</p><p>II. She Walks Through the Fa
 ir is a haunting\, bittersweet melody that I discovered on my visit to Ire
 land. Dedicated to Kylie Charra Keene.</p><p>III. The Feast of Saint Rocco
  is a joyous Italian-American celebration dedicated to Saint Rocco held ev
 ery summer in my hometown of Raritan\, New Jersey. It was here\, in my fat
 her’s arms at the age of five\, that I first experienced the vibrant\, bol
 d tartness of an Italian band. It was loud and so wonderful!<br>- Program 
 note by composer</p><p>The grinning moon has taken control of the sky. A y
 oung grey Wolf looks over the 'Seaport\,' drowning in mist as he has lost 
 his way home. A smell … no\, not just that\, a commotion too? The young gr
 ey Wolf follows his senses as it races towards a large wooden gate – and a
 s if the moon is whispering to him\, he reads 'The Market.: Suddenly an An
 telope asks him if he needs help\, and the Wolf hesitantly answers him as 
 the Antelope uncovers his hands with inly seven fingers left. Fear … Shock
  … Hunger … surge through the Wolf's body as the Antelope begins naming pr
 ices of his fingers for the Wolf to consume. The Wolf is lost in a daze\; 
 he's never consumed another animal\, yet here's his opportunity. 'The Fing
 er Seller' pushes him again and again\, his pinky worth less than his inde
 x finger\, the Wolf starts to salivate. His body brimming with hunger and 
 his mind flooding with hatred for himself\, it becomes overwhelming. Teeth
  are show\, his mouth gaging open\, saliva dripping down his chin. He chom
 ps his mouth down\, the Antelope looks up\, he still has all his seven fin
 gers and then sees the young grey Wolf sprinting into 'The Market.'</p><p>
 The young grey Wolf has found himself in the center of The Market. Everyth
 ing is bustling. There's every single type of carnivorous present under th
 e glow of the moon. Almost as if moving like moths attracted to light\, me
 rchants' stand with stronger scents draw in more people. To his right he s
 ees a stand being flooded as new rabbit hide is being put up. To his left\
 , he begins to hear a voice call out to him – a merchant. He begins a rapi
 d-fire sales pitch\, words come tumbling out\, enticing and enchanting mar
 ket-goers as they pass by. Louder and louder\, the voices of the merchants
  grow into a singular chorus … until he turns around to the Merchant.</p><
 p>Much grander than these past merchants\, it becomes overwhelming\, he ca
 n feel his heart\, solid thuds resounding in his chest. The Wolf is swept 
 away by the crowd of carnivores flooding the stand. Stranded in the middle
  of the market\, he notices four tiger merchants switch their attention th
 e young\, stumbling Wolf. They're a rambunctious bunch\, but they move in 
 chaotic symbiosis\, calculatingly off-beat as they sway toward the wide-ey
 ed Wolf. From behind one tiger's back\, a loosely wrapped cloth appears in
  his paw.</p><p>The Wolf inhales.</p><p>The stench of a lamb. The Merchant
 s push it onto him once\, then again\, and on the third beat\, the young g
 rey Wolf falls into his temptations.</p><p>As the Wolf leaves The Market\,
  he hears the tigers fade into the distance as they sell to another custom
 er. He finds himself back where he started\, the 'Seaport\,' with the moon
  grinning above him like a devilish cat. In his left hand\, he grips a blo
 odied muslin cloth. As the mist parts in the horizon\, he makes out the fa
 int glow of dawn. Somewhere in his mind\, he remembers yearning for home. 
 Yet he stands rooted\, as the silence and the hollowness of the disappeari
 ng Night Market consume him.<br>- Program note by Minoo Dixon and Nguyen P
 ham</p><p>The word 'chamak' means ‘spark’ in Hindi -- and the title of thi
 s work was inspired by a beautiful couplet from the Indian saint-poet Kabi
 r:</p><p>जैसे तिल में तेल है <br>ज्यों चमक में आग <br>तेरा साईँ तुझ में है
  <br>तू जाग सके तो जाग <br> </p><p>which translates to:</p><p>Just as a se
 ed holds oil <br>And a spark holds fire <br>Your own spirit is inside of y
 ou <br>If you can awaken it\, you must. <br><br>Each of the three movement
 s of this piece explores a different translation of the word 'chamak:' the
  first is Ember\, which is a dark\, smoky\, lilting melody in Raag Bhimpal
 as. The second\, Luster\, is a warm\, intimate journey in Raag Hamsadhwani
 . And the last movement\, Spark\, is a fiery\, vibrant jaunt in Raag Jog.*
 </p><p>I hope this piece ignites a spark in two ways. As young creative pe
 ople\, just beginning to find their way in the world\, I hope this piece i
 s a reminder to follow that spark that lies within each of them. And more 
 broadly\, I hope that this piece sparks an interest in Indian classical mu
 sic in the band world — these musical cultures have been separate for so m
 any years\, and I hope this piece sparks further connection between these 
 two worlds.</p><p>*If you know these raags well\, you’ll hear that both th
 e Hamsadhwani and Jog are a little bit ‘mishra’ — meaning that there are a
  few turns of phrase that move slightly outside the parameters of the ‘pur
 e’ version of the raag.<br>- Program note by composer</p><p><strong>Dionys
 iaques</strong> was composed for the 100-member Garde Républicaine Band in
  Paris in 1913\, mere months after Schmitt attended the premiere performan
 ce of Stravinsky’s Rite of Spring. Its own premiere had to wait until 1925
  because of World War I but it has been performed frequently since the mid
 -20th century and it now stands as one of the cornerstone pieces of the ea
 rly wind band repertoire.</p><p>The title comes from the “Dyonisia” – anci
 ent Greek celebrations honoring Dionysus\, the god of wine. He was thought
  to have provided man with the vineyard\, and subsequently the harvest\, w
 inemaking\, drunkenness and the means for mystical trances.</p><p>The piec
 e itself begins ominously as the low brass and woodwinds set the stage for
  an exotic and almost hypnotic journey. Schmitt’s impressionistic tendenci
 es are immediately evident: wandering melodies emerge in the woodwinds and
  gradually gain momentum. Their fluidity is slowly abandoned in favor of f
 estivity\, perhaps encouraged by the ‘fluid’ of Dionysus\, be it red or wh
 ite. The bacchanal eventually bursts forth\, brimming with rhythmic vitali
 ty and a relentless insistence on partying all the way to the verge of con
 trol\, and perhaps a bit beyond.<br>- Program Note by Cynthia Johnston Tur
 ner</p><p><strong>Peace Dancer</strong> is inspired by the First Nations t
 ext of the same name by Roy Henry Vickers (Squamish Nation). In the words 
 of the author:<br>The story Peace Dancer is about a song and dance that is
  thousands of years old         originating from the time of the flood. So
 ngs have been composed for different Chiefs up and down the Pacific Northw
 est coast. The Chief who is chosen to do this sacred dance is recognized a
 s a healer in each community\, and the songs and dances are a reminder of 
 the great flood and how the people lost their way and their love for all t
 hings in creation. During the dance there is a time when the dancer shakes
  the eagle down from their headdress to remind the people of the flood. <b
 r>While this text affords many music-making opportunities\, the composer c
 hose to focus on one moment.</p><p>We have really lost our way\, we have n
 ot taught our children love and respect. <br>This is achieved by dividing 
 this short piece into 'moments' of meditation\, awakening\, realization\, 
 and humility. It takes you\, the audience\, on an emotional journey\, simi
 lar to realizing you have been in the wrong\; maybe you have been unkind o
 r acted in a way that does not become you. Once you realize the consequenc
 es of your actions\, remorse and the understanding that there is a need to
  move forward with grace and humility follows. Thus is the lesson of Peace
  Dancer.<br>- Program note by composer  </p><p><strong>Symphonic Dances</s
 trong> is a continuous cycle of five interconnected dances for wind sympho
 ny — a musical journey between two worlds: Morocco\, where the composer wa
 s born and raised\, and Québec\, Canada\, where he has lived for over fort
 y years. Rather than treating these cultures as static portraits\, the mus
 ic lets them breathe\, evolve\, and ultimately transform each other. The r
 esult is not a postcard from two places\, but a living conversation betwee
 n them.</p><p>The five dances trace a deliberate arc. The cycle opens root
 ed in Morocco\, travels toward Québec\, revisits each world in altered for
 m\, and finally arrives somewhere that belongs to both — and to neither al
 one.</p><p>Dance of the Reeds opens with earthy\, grounded energy. Rhythmi
 c ideas inspired by the Indigenous music of Morocco's Atlas Mountains shap
 e the pulse — physical\, breath-driven\, communal.</p><p>Snowprints of a N
 ew Beginning pivots toward Québec\, drawing on two traditional reels — one
  by Hermas Réhel\, another by Yvon Mimeault — recast through the composer'
 s own musical voice. The music moves with collective forward momentum befo
 re gradually dissolving into silence.</p><p>Steps on the Wind returns to M
 orocco. Agile outer sections frame a central passage rooted in Chaâbi\, a 
 groove-based rhythm from Moroccan popular music\, before the Atlas-mountai
 n character reasserts itself with renewed energy.</p><p>Whispering Steps t
 urns once more toward Québec\, revisiting reel material in a more reflecti
 ve\, restrained light. A transformed traditional song surfaces\, the dance
  impulse kept alive beneath a quieter surface.</p><p>Dawn of the Dance dra
 ws the full journey into focus. Trumpets and trombones trade fragments ass
 ociated with each tradition\, pulling against each other before the music 
 loses its footing entirely. Out of that uncertainty\, a broad melody emerg
 es — one that resists easy attribution. It does not sound Moroccan. It doe
 s not sound Québécois. It sounds like something new. The work builds from 
 there to an expansive climax and closes with a bright\, energetic final da
 nce in a language that is wholly its own.</p><p>Symphonic Dances came to l
 ife through an invitation from conductor Dr. Erin Bodnar\, following her c
 onducting of the premiere of the composer's chamber work Moroccan Dances a
 t the Mostly Modern Festival in 2024. That invitation opened an entirely n
 ew world — the rich and expansive world of wind symphony writing — one the
  composer had not previously explored\, and one he now intends to pursue w
 ith deep curiosity and commitment. Dr. Bodnar's trust did more than spark 
 a single piece\; it opened a door the composer looks forward to walking th
 rough many times to come. For that friendship\, and for that gift\, he is 
 profoundly grateful.</p><p>The composer also gratefully acknowledges ethno
 musicologist Khalil Moqadem for his guidance on Moroccan musical tradition
 s\, and Québec traditional music expert Alexis Chartrand for his insights 
 into Québec dance practices.<br>Program note by the composer </p><p><stron
 g>Arrullo</strong> is a suite in three movements that form part of the Fiv
 e Pieces of Columbian Music Youth Band project\, which earned the 2003 Nat
 ional Composition Scholarship from the Colombian Ministry of Culture. The 
 three movements: Mocarí (pre-Colombian indigenous settlement in the presen
 t-day Córdoba region of Columbia)\, Goyo (father) and Mayo (mother)\, are 
 based on modal melodic materials used by the traditional groups of Gaitas 
 (flutes) and Baile Cantao (Song & Dance). The orchestral treatment is grou
 nded as much in the tones of the rural bands of the region (known as pelay
 eras) as the global urban sounds that evoke the North American soundtrack.
   </p><p>The arrullo (lullaby) appears in Goyo as an oboe solo\, taken fro
 m the traditional song of the Colombian north coast: <br>Duérmete niño <br
 >Duémete ya <br>Duerme que viene <br>La zorra pelá <br><br>Which translate
 s to:  <br>Go to sleep <br>Go to sleep now <br>Sleep <br>The possum is com
 ing  <br>This movement offers a strong contrast with the first one\, which
  presents the Walt Disney sound\, the collective children’s memory of our 
 time\, as the idea of a lullaby. The third movement expresses the notion o
 f the lullaby from the perspective of festivals and dance\, in exploring t
 he superimposing of binary and ternary pulses over the same metric time si
 gnature. With harmonies that are static at times\, consistency is obtained
  through the recurrent use of a chord formed by a perfect fourth and major
  second.  <br>- Program note by composer</p><hr><h3>UW Symphonic Band<stro
 ng> </strong>  </h3><p><strong>Flute   </strong><br>Naomi Cho\, Fr.\, Flut
 e Performance\, Auburn <br>Ananya Sai Parlapalli\, Fr.\, Biochemistry & Fl
 ute Performance\, Spokane\, WA  <br>Rob Rosenthal\, Fr.\, Flute Performanc
 e\, Evanston\, IL  <br>Gabriel Rui\, Fr.\, Engineering Undeclared\, San Fr
 ancisco\, CA  <br>Emily Wen\, Fr.\, Flute Performance\, Sherwood\, OR  <br
 >Xiage Zhang\, Gr.\, Flute Performance\, Shanxi Province\, China  <br> <br
 ><strong>Oboe  </strong><br>David Kelly\, Fr.\, Pre-Sciences\, Chelan <br>
 Meagan Paxman\, So.\, Pre-Sciences\, Vancouver  <br>Brandon Tsai\, So.\, E
 CE\, Shoreline <br> <br><strong>Bassoon</strong>   <br>Arina Pushkina\, So
 .\, Materials Science Engineering\, Woodinville  <br> <br><strong>Clarinet
  </strong>  <br>Ezra Agpaoa\, So. Music Education\, Everett <br>Willow Cha
 rtrand\, So.\, Biology (MCD)\, Los Alamos\, NM  <br>Matilda Gauss\, Sr.\, 
 Material Science and Engineering\, Bellevue <br>Nick Hildebrand\, Fr.\, Mi
 crobiology\, San Pedro\, CA  <br>Audrey Jamrowski\, Fr.\, English\, Port O
 rchard  <br>Andrew Kester\, Fr.\, Pre-Science\, Aurora\, CO  <br>Arman Veg
 a\, Fr.\, Geoscience\, Pasco <br> <br><strong>Bass Clarinet</strong>   <br
 >Conrad Gauss\, So.\, Electrical & Computer Engineering\, Bellevue  <br> <
 br><strong>Saxophone</strong>   <br>Polina Dorogova\, Jr.\, Psychology & M
 usic\, Gig Harbor  <br>Kaua Roberton\, So.\, Music Education\, Spokane  <b
 r>Vichet Ros\, Sr.\, Music Education\, Burien  <br>Daniel Song\, So.\, Che
 mical Engineering\, Bothell  <br>Yu Wang\, Fine Art\, Taipei\, Taiwan <br>
 Josh Williams\, Fr.\, Music Education\, Zillah <br><br><strong>Trumpet   <
 /strong> <br>Deneil Betfarhad\, So.\, Pre-Sciences\, Westport\, CT  <br>Ni
 co Masputra\, Jr.\, Neuroscience <br>Vaughn B. Schnelle\, Sr.\, Music Hist
 ory\, West Seattle  <br>Arjun Sur\, Fr.\, Pre-Sciences\, San Diego\, CA  <
 br>Reimer Wolf\, Fr.\, Mechanical Engineering\, Oahu\, HI  <br> <br><stron
 g>Horn </strong>  <br>Andrew Chen\, Community Member\, Othello  <br>Cole D
 ickson\, Fr.\, Engineering\, Snohomish <br>Yihan Li\, Jr.\, Horn Performan
 ce <br><br><strong>Trombone</strong>   <br>Daniel Abraham\, So.\, Math\, T
 acoma  <br>Steve Teng\, So.\, Pre-Science\, Taipei\, Taiwan <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.\, Mechanical Engineering\, Camas  <br>  <br><strong>Eupho
 nium </strong>   <br>John Yi\, Community Member <br>Tom Lewis\, Sr.\, Mech
 anical Engineering: Mechatronics\, Snoqualmie  <br>  <br><strong>Tuba    <
 /strong><br>Sam Charney\, Gr.\, Astronomy\, Swarthmore\, PA  <br>Robin Din
 g\, Fr.\, ECE\, ZhuHai\, China <br> <br><strong>Percussion  </strong> <br>
 Avi Bose\, Community Member <br>Patrick Henry\, So.\, Business & Psycholog
 y\, Vancouver <br>Kendall Johnson\, Gr.\, Mechanical Engineering\, La Conn
 er  <br>Alexander McLean\, So.\, Environmental Science\, Snoqualmie  <br>J
 aden Zika\, Jr.\, Psychology\, Livermore\, CA  <br>Ava Ruth Paulson\, Jr.\
 ,Psychology & Sociology\, Omaha\, NE <br><br><strong>Piano  </strong><br>O
 liver Schoonover\, Gr.\, Music Composition\, Tallahassee\, FL  <br><br><st
 rong>String Bass </strong><br>Lexi Vance\, Gr\, Environmental Health Scien
 ce\, Tucson\, AZ <br><br><strong>Graduate Conductor </strong><br>Noah Scan
 lan\, Gr.\, Architecture\, Ridgecrest\, CA </p><h3><br>UW Wind Ensemble   
 </h3><p><strong>Flute/Piccolo  </strong><br>Brooke Bart\, Jr.\, Scandinavi
 an Studies & Music\, Endwell\, NY  <br>Xinyi Ma\, Gr.\, Flute Performance\
 , Henan\, China  <br>Grace Playstead\, Gr.\, Flute Performance\, Olympia  
 <br>Peyton Ray\, Sr.\, Flute Performance\, Denver\, CO  <br>Claire Wei\, J
 r.\, Flute Performance\, Bellevue*  <br> <br><strong>Oboe</strong>  <br>Mi
 nhThi Butler\, Sr.\, Oboe Performance <br>Max Bolen\, So.\, Marine Biology
  & Music Education\, Ballard  <br>Will Cummings\, Fr.\, Linguistics & Fren
 ch\, Chehalis  <br>Aika Ishizuki\, Fr.\, Pre Sciences\, Seattle  <br> <br>
 <strong>Bassoon </strong> <br>Levi Beck\, Fr.\, Music Performance\, Snohom
 ish <br>Annika Fisher\, Ju.\, Anthropology\, Lake Forest Park <br>Alex Fra
 ley\, So.\, Music Education\, Kenmore*  <br>Ryan Kapsandy\, Sr.\, Bassoon 
 Performance <br>Rian Morgan\, Sr.\, Nutrition (FSNH)\, Des Moines  <br> <b
 r><strong>Clarinet </strong> <br>Caitlin Dong\, So.\, Biology (MCD) & Musi
 c Performance\, Englewood\, CO  <br>Alex Gee\, Sr.\, Mechanical Engineerin
 g\, Camas  <br>Arthur Gim\, Jr.\, Mechanical Engineering\, Bothell  <br>Al
 essandro Martinez\, Jr.\, Environmental Engineering\, Olympia  <br>Luqi Wa
 ng\, Gr.\, Music Performance\, Dalian\, China*  <br>Eric Zhu\, Fr.\, Engin
 eering Undeclared\, Guangdong\, China  <br>Jason Liu\, Community Member\, 
 Mathematics\, Camas <br> <br><strong>Bass Clarinet </strong> <br>Akshat Gh
 uge\, So.\, Informatics\, Dallas\, TX  <br>Michael Stella\, Jr.\, Politica
 l Science\, Puyallup  <br> <br><strong>Saxophone  </strong> <br>Kairui Che
 ng\, Fr.\, Computer Science\, Bothell  <br>Curtis Chung\, Sr.\, Mechanical
  Engineering\, Sunnyvale\, CA   <br>Graeme Gentle\, Fr.\, Applied Music\, 
 Spokane <br>Kyle Grant\, Jr.\, Music Education & Saxophone Performance\, S
 umner*  <br>Vichet Ros\, Sr.\, Music Education\, Burien  <br>Katherine Zun
 del\, Sr.\, Saxophone Performance & Mathematics\, Clinton  <br><br><strong
 >Trumpet </strong>  <br>Meier Eagan\, Music Education\, Seattle    <br>Han
 s Faul\, Sr.\, Trumpet Performance\, Seattle*  <br>Erika Berreth\, Ju.\, A
 eronautical and Astronautical Engineering\, Redmond <br>Antti Mannisto\, S
 r.\, Physics\, Bellevue  <br>Kevin Nguyen Thomas\, So.\, Trumpet Performan
 ce\, Spokane  <br> <br><strong>Horn</strong>  <br>Ethan Hicks\, Fr.\, Musi
 c Performance\, Anacortes <br>Cassidy Rea\, Fr.\, Music Performance\, Vanc
 ouver*  <br>Olivia Stall\, Fr.\, Pre-Social Sciences\, Bothell  <br>Ben vo
 n Jess\, Jr.\, Music Education\, Renton  <br> <br><strong>Trombone</strong
 >  <br>Owen Fang\, Fr.\, Trombone Performance\, Redmond  <br>Richie Torres
 -Antúnez\, Jr.\, Music Performance & Applied Math\, Mattawa*  <br>Neal Mup
 pidi\, Sr.\, Music Performance <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 Y
 aroslavsky\, Jr.\, Psychology/Law\, Societies and Justice\, Mercer Island*
   <br> <br><strong>Tuba </strong>  <br>Dylan Aagaard\, Fr.\, Tuba Performa
 nce\, Debary\, FL <br>Foster Patterson\, Sr.\, Music Education\, Aberdeen*
   <br> <br><strong>String Bass</strong>  <br>Jason Lai\, So.\, Mechanical 
 Engineering\, Camas  <br> <br><strong>Percussion </strong> <br>Cyan Duong\
 , Jr.\, Music Education\, Monroe <br>Monaka Kakuta\, Fr.\, Music Performan
 ce\, Shoreline  <br>Ryan Kinder\, Fr.\, Computer Science\, Mercer Island  
 <br>Colin Lehman\, So.\, Music Education\, Moses Lake  <br>Ivy Moore\, Jr.
 \, Music Performance & Bioresource Science & Engineering\, Norfolk\, VA <b
 r>Hazel Salvaggio\, Jr.\, Music Performance\, Manhattan Beach\, CA*  <br>X
 ander Swanson\, Fr.\, Music Performance\, Marysville <br> <br><strong>Pian
 o </strong><br>Kaisho Barnhill\, Sr.\, Music Education\, Music Theory\, Ps
 ychology\, Vancouver <br><br>*principal  </p><hr><h2>Biographies</h2><h3><
 br>Simon Alami</h3><p>Simon Alami composes music for orchestra\, wind ense
 mble\, and chamber performance. His works have been performed by the Brazi
 lian National Symphony Orchestra\, Marco Polo Orchestra\, American Modern 
 Ensemble\, and PANdemonium4 Flute Quartet at festivals including the Mostl
 y Modern Festival\, Veneto Arts and Music Summit\, and Brasília Orchestral
  Summit. <br>In 2024\, he was awarded First Prize at the 6th Swiss Interna
 tional Music Competition and First Runner-Up at the Arts & Letters Club of
  Toronto Emerging Composer Competition. His work has received support from
  the Canada Council for the Arts and the Conseil des arts et des lettres d
 u Québec. <br>Born in Fez\, Morocco\, Alami grew up surrounded by music. H
 is father was a singer at Radio Télévision Marocaine. After immigrating to
  Canada and a career in business administration\, Alami began composing du
 ring the pandemic. His first work\, Piano Quintet No. 1\, premiered in 202
 3 and led to mentorship with composers Robert Paterson\, Saad Haddad\, and
  Antonio Gervasoni. He took early retirement in January 2025 to compose fu
 ll-time. <br>Alami's music explores what he calls 'a conversation between 
 traditions'—treating cultural materials as living elements that transform 
 through contact. His most personal work\, Symphonic Dances for wind sympho
 ny (commissioned by the University of Washington\, premiere March 2026)\, 
 traces a journey between Morocco and Québec through five interconnected da
 nces. Other significant works include Moroccan Dances Suite\, Obsidian Ref
 lections\, and Evanescent Frequency. <br>Alami is an Associate Composer of
  the Canadian Music Centre and a member of the Canadian League of Composer
 s. He resides in Montreal. </p>
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LAST-MODIFIED:20260310T215709Z
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 <e
 m>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><h
 3>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>Program Notes <
 /h2><p><em><strong>Three Dances of Enchantment </strong></em>is a suite of
  three dances inspired by personal experiences in my life that\, through t
 he years\, continue to resonate in my memory.</p><p>I. The Via Veneto is a
  musical reminiscence of those “dolce vita” days I spent on one of Rome’s 
 most fashionable streets. Here\, as a young film composer\, I watched and 
 learned\, with great fascination\, about the world of Italian film-making.
 </p><p>II. She Walks Through the Fair is a haunting\, bittersweet melody t
 hat I discovered on my visit to Ireland. Dedicated to Kylie Charra Keene.<
 /p><p>III. The Feast of Saint Rocco is a joyous Italian-American celebrati
 on dedicated to Saint Rocco held every summer in my hometown of Raritan\, 
 New Jersey. It was here\, in my father’s arms at the age of five\, that I 
 first experienced the vibrant\, bold tartness of an Italian band. It was l
 oud and so wonderful!<br>- Program note by composer</p><p>The grinning moo
 n has taken control of the sky. A young grey Wolf looks over the 'Seaport\
 ,' drowning in mist as he has lost his way home. A smell … no\, not just t
 hat\, a commotion too? The young grey Wolf follows his senses as it races 
 towards a large wooden gate – and as if the moon is whispering to him\, he
  reads 'The Market.: Suddenly an Antelope asks him if he needs help\, and 
 the Wolf hesitantly answers him as the Antelope uncovers his hands with in
 ly seven fingers left. Fear … Shock … Hunger … surge through the Wolf's bo
 dy as the Antelope begins naming prices of his fingers for the Wolf to con
 sume. The Wolf is lost in a daze\; he's never consumed another animal\, ye
 t here's his opportunity. 'The Finger Seller' pushes him again and again\,
  his pinky worth less than his index finger\, the Wolf starts to salivate.
  His body brimming with hunger and his mind flooding with hatred for himse
 lf\, it becomes overwhelming. Teeth are show\, his mouth gaging open\, sal
 iva dripping down his chin. He chomps his mouth down\, the Antelope looks 
 up\, he still has all his seven fingers and then sees the young grey Wolf 
 sprinting into 'The Market.'</p><p>The young grey Wolf has found himself i
 n the center of The Market. Everything is bustling. There's every single t
 ype of carnivorous present under the glow of the moon. Almost as if moving
  like moths attracted to light\, merchants' stand with stronger scents dra
 w in more people. To his right he sees a stand being flooded as new rabbit
  hide is being put up. To his left\, he begins to hear a voice call out to
  him – a merchant. He begins a rapid-fire sales pitch\, words come tumblin
 g out\, enticing and enchanting market-goers as they pass by. Louder and l
 ouder\, the voices of the merchants grow into a singular chorus … until he
  turns around to the Merchant.</p><p>Much grander than these past merchant
 s\, it becomes overwhelming\, he can feel his heart\, solid thuds resoundi
 ng in his chest. The Wolf is swept away by the crowd of carnivores floodin
 g the stand. Stranded in the middle of the market\, he notices four tiger 
 merchants switch their attention the young\, stumbling Wolf. They're a ram
 bunctious bunch\, but they move in chaotic symbiosis\, calculatingly off-b
 eat as they sway toward the wide-eyed Wolf. From behind one tiger's back\,
  a loosely wrapped cloth appears in his paw.</p><p>The Wolf inhales.</p><p
 >The stench of a lamb. The Merchants push it onto him once\, then again\, 
 and on the third beat\, the young grey Wolf falls into his temptations.</p
 ><p>As the Wolf leaves The Market\, he hears the tigers fade into the dist
 ance as they sell to another customer. He finds himself back where he star
 ted\, the 'Seaport\,' with the moon grinning above him like a devilish cat
 . In his left hand\, he grips a bloodied muslin cloth. As the mist parts i
 n the horizon\, he makes out the faint glow of dawn. Somewhere in his mind
 \, he remembers yearning for home. Yet he stands rooted\, as the silence a
 nd the hollowness of the disappearing Night Market consume him.<br>- Progr
 am note by Minoo Dixon and Nguyen Pham</p><p>The word 'chamak' means ‘spar
 k’ in Hindi -- and the title of this work was inspired by a beautiful coup
 let from the Indian saint-poet Kabir:</p><p>जैसे तिल में तेल है <br>ज्यों 
 चमक में आग <br>तेरा साईँ तुझ में है <br>तू जाग सके तो जाग <br> </p><p>whic
 h translates to:</p><p>Just as a seed holds oil <br>And a spark holds fire
  <br>Your own spirit is inside of you <br>If you can awaken it\, you must.
  <br><br>Each of the three movements of this piece explores a different tr
 anslation of the word 'chamak:' the first is Ember\, which is a dark\, smo
 ky\, lilting melody in Raag Bhimpalas. The second\, Luster\, is a warm\, i
 ntimate journey in Raag Hamsadhwani. And the last movement\, Spark\, is a 
 fiery\, vibrant jaunt in Raag Jog.*</p><p>I hope this piece ignites a spar
 k in two ways. As young creative people\, just beginning to find their way
  in the world\, I hope this piece is a reminder to follow that spark that 
 lies within each of them. And more broadly\, I hope that this piece sparks
  an interest in Indian classical music in the band world — these musical c
 ultures have been separate for so many years\, and I hope this piece spark
 s further connection between these two worlds.</p><p>*If you know these ra
 ags well\, you’ll hear that both the Hamsadhwani and Jog are a little bit 
 ‘mishra’ — meaning that there are a few turns of phrase that move slightly
  outside the parameters of the ‘pure’ version of the raag.<br>- Program no
 te by composer</p><p><strong>Dionysiaques</strong> was composed for the 10
 0-member Garde Républicaine Band in Paris in 1913\, mere months after Schm
 itt attended the premiere performance of Stravinsky’s Rite of Spring. Its 
 own premiere had to wait until 1925 because of World War I but it has been
  performed frequently since the mid-20th century and it now stands as one 
 of the cornerstone pieces of the early wind band repertoire.</p><p>The tit
 le comes from the “Dyonisia” – ancient Greek celebrations honoring Dionysu
 s\, the god of wine. He was thought to have provided man with the vineyard
 \, and subsequently the harvest\, winemaking\, drunkenness and the means f
 or mystical trances.</p><p>The piece itself begins ominously as the low br
 ass and woodwinds set the stage for an exotic and almost hypnotic journey.
  Schmitt’s impressionistic tendencies are immediately evident: wandering m
 elodies emerge in the woodwinds and gradually gain momentum. Their fluidit
 y is slowly abandoned in favor of festivity\, perhaps encouraged by the ‘f
 luid’ of Dionysus\, be it red or white. The bacchanal eventually bursts fo
 rth\, brimming with rhythmic vitality and a relentless insistence on party
 ing all the way to the verge of control\, and perhaps a bit beyond.<br>- P
 rogram Note by Cynthia Johnston Turner</p><p><strong>Peace Dancer</strong>
  is inspired by the First Nations text of the same name by Roy Henry Vicke
 rs (Squamish Nation). In the words of the author:<br>The story Peace Dance
 r is about a song and dance that is thousands of years old         origina
 ting from the time of the flood. Songs have been composed for different Ch
 iefs up and down the Pacific Northwest coast. The Chief who is chosen to d
 o this sacred dance is recognized as a healer in each community\, and the 
 songs and dances are a reminder of the great flood and how the people lost
  their way and their love for all things in creation. During the dance the
 re is a time when the dancer shakes the eagle down from their headdress to
  remind the people of the flood. <br>While this text affords many music-ma
 king opportunities\, the composer chose to focus on one moment.</p><p>We h
 ave really lost our way\, we have not taught our children love and respect
 . <br>This is achieved by dividing this short piece into 'moments' of medi
 tation\, awakening\, realization\, and humility. It takes you\, the audien
 ce\, on an emotional journey\, similar to realizing you have been in the w
 rong\; maybe you have been unkind or acted in a way that does not become y
 ou. Once you realize the consequences of your actions\, remorse and the un
 derstanding that there is a need to move forward with grace and humility f
 ollows. Thus is the lesson of Peace Dancer.<br>- Program note by composer 
  </p><p><strong>Symphonic Dances</strong> is a continuous cycle of five in
 terconnected dances for wind symphony — a musical journey between two worl
 ds: Morocco\, where the composer was born and raised\, and Québec\, Canada
 \, where he has lived for over forty years. Rather than treating these cul
 tures as static portraits\, the music lets them breathe\, evolve\, and ult
 imately transform each other. The result is not a postcard from two places
 \, but a living conversation between them.</p><p>The five dances trace a d
 eliberate arc. The cycle opens rooted in Morocco\, travels toward Québec\,
  revisits each world in altered form\, and finally arrives somewhere that 
 belongs to both — and to neither alone.</p><p>Dance of the Reeds opens wit
 h earthy\, grounded energy. Rhythmic ideas inspired by the Indigenous musi
 c of Morocco's Atlas Mountains shape the pulse — physical\, breath-driven\
 , communal.</p><p>Snowprints of a New Beginning pivots toward Québec\, dra
 wing on two traditional reels — one by Hermas Réhel\, another by Yvon Mime
 ault — recast through the composer's own musical voice. The music moves wi
 th collective forward momentum before gradually dissolving into silence.</
 p><p>Steps on the Wind returns to Morocco. Agile outer sections frame a ce
 ntral passage rooted in Chaâbi\, a groove-based rhythm from Moroccan popul
 ar music\, before the Atlas-mountain character reasserts itself with renew
 ed energy.</p><p>Whispering Steps turns once more toward Québec\, revisiti
 ng reel material in a more reflective\, restrained light. A transformed tr
 aditional song surfaces\, the dance impulse kept alive beneath a quieter s
 urface.</p><p>Dawn of the Dance draws the full journey into focus. Trumpet
 s and trombones trade fragments associated with each tradition\, pulling a
 gainst each other before the music loses its footing entirely. Out of that
  uncertainty\, a broad melody emerges — one that resists easy attribution.
  It does not sound Moroccan. It does not sound Québécois. It sounds like s
 omething new. The work builds from there to an expansive climax and closes
  with a bright\, energetic final dance in a language that is wholly its ow
 n.</p><p>Symphonic Dances came to life through an invitation from conducto
 r Dr. Erin Bodnar\, following her conducting of the premiere of the compos
 er's chamber work Moroccan Dances at the Mostly Modern Festival in 2024. T
 hat invitation opened an entirely new world — the rich and expansive world
  of wind symphony writing — one the composer had not previously explored\,
  and one he now intends to pursue with deep curiosity and commitment. Dr. 
 Bodnar's trust did more than spark a single piece\; it opened a door the c
 omposer looks forward to walking through many times to come. For that frie
 ndship\, and for that gift\, he is profoundly grateful.</p><p>The composer
  also gratefully acknowledges ethnomusicologist Khalil Moqadem for his gui
 dance on Moroccan musical traditions\, and Québec traditional music expert
  Alexis Chartrand for his insights into Québec dance practices.<br>Program
  note by the composer </p><p><strong>Arrullo</strong> is a suite in three 
 movements that form part of the Five Pieces of Columbian Music Youth Band 
 project\, which earned the 2003 National Composition Scholarship from the 
 Colombian Ministry of Culture. The three movements: Mocarí (pre-Colombian 
 indigenous settlement in the present-day Córdoba region of Columbia)\, Goy
 o (father) and Mayo (mother)\, are based on modal melodic materials used b
 y the traditional groups of Gaitas (flutes) and Baile Cantao (Song & Dance
 ). The orchestral treatment is grounded as much in the tones of the rural 
 bands of the region (known as pelayeras) as the global urban sounds that e
 voke the North American soundtrack.  </p><p>The arrullo (lullaby) appears 
 in Goyo as an oboe solo\, taken from the traditional song of the Colombian
  north coast: <br>Duérmete niño <br>Duémete ya <br>Duerme que viene <br>La
  zorra pelá <br><br>Which translates to:  <br>Go to sleep <br>Go to sleep 
 now <br>Sleep <br>The possum is coming  <br>This movement offers a strong 
 contrast with the first one\, which presents the Walt Disney sound\, the c
 ollective children’s memory of our time\, as the idea of a lullaby. The th
 ird movement expresses the notion of the lullaby from the perspective of f
 estivals and dance\, in exploring the superimposing of binary and ternary 
 pulses over the same metric time signature. With harmonies that are static
  at times\, consistency is obtained through the recurrent use of a chord f
 ormed by a perfect fourth and major second.  <br>- Program note by compose
 r</p><hr><h3>UW Symphonic Band<strong> </strong>  </h3><p><strong>Flute   
 </strong><br>Naomi Cho\, Fr.\, Flute Performance\, Auburn <br>Ananya Sai P
 arlapalli\, Fr.\, Biochemistry & Flute Performance\, Spokane\, WA  <br>Rob
  Rosenthal\, Fr.\, Flute Performance\, Evanston\, IL  <br>Gabriel Rui\, Fr
 .\, Engineering Undeclared\, San Francisco\, CA  <br>Emily Wen\, Fr.\, Flu
 te Performance\, Sherwood\, OR  <br>Xiage Zhang\, Gr.\, Flute Performance\
 , Shanxi Province\, China  <br> <br><strong>Oboe  </strong><br>David Kelly
 \, Fr.\, Pre-Sciences\, Chelan <br>Meagan Paxman\, So.\, Pre-Sciences\, Va
 ncouver  <br>Brandon Tsai\, So.\, ECE\, Shoreline <br> <br><strong>Bassoon
 </strong>   <br>Arina Pushkina\, So.\, Materials Science Engineering\, Woo
 dinville  <br> <br><strong>Clarinet </strong>  <br>Ezra Agpaoa\, So. Music
  Education\, Everett <br>Willow Chartrand\, So.\, Biology (MCD)\, Los Alam
 os\, NM  <br>Matilda Gauss\, Sr.\, Material Science and Engineering\, Bell
 evue <br>Nick Hildebrand\, Fr.\, Microbiology\, San Pedro\, CA  <br>Audrey
  Jamrowski\, Fr.\, English\, Port Orchard  <br>Andrew Kester\, Fr.\, Pre-S
 cience\, Aurora\, CO  <br>Arman Vega\, Fr.\, Geoscience\, Pasco <br> <br><
 strong>Bass Clarinet</strong>   <br>Conrad Gauss\, So.\, Electrical & Comp
 uter Engineering\, Bellevue  <br> <br><strong>Saxophone</strong>   <br>Pol
 ina Dorogova\, Jr.\, Psychology & Music\, Gig Harbor  <br>Kaua Roberton\, 
 So.\, Music Education\, Spokane  <br>Vichet Ros\, Sr.\, Music Education\, 
 Burien  <br>Daniel Song\, So.\, Chemical Engineering\, Bothell  <br>Yu Wan
 g\, Fine Art\, Taipei\, Taiwan <br>Josh Williams\, Fr.\, Music Education\,
  Zillah <br><br><strong>Trumpet   </strong> <br>Deneil Betfarhad\, So.\, P
 re-Sciences\, Westport\, CT  <br>Nico Masputra\, Jr.\, Neuroscience <br>Va
 ughn B. Schnelle\, Sr.\, Music History\, West Seattle  <br>Arjun Sur\, Fr.
 \, Pre-Sciences\, San Diego\, CA  <br>Reimer Wolf\, Fr.\, Mechanical Engin
 eering\, Oahu\, HI  <br> <br><strong>Horn </strong>  <br>Andrew Chen\, Com
 munity Member\, Othello  <br>Cole Dickson\, Fr.\, Engineering\, Snohomish 
 <br>Yihan Li\, Jr.\, Horn Performance <br><br><strong>Trombone</strong>   
 <br>Daniel Abraham\, So.\, Math\, Tacoma  <br>Steve Teng\, So.\, Pre-Scien
 ce\, Taipei\, Taiwan <br>Robin Yi\, Fr.\, Pre-Humanities\, Santa Cruz\, CA
   <br> <br><strong>Bass Trombone </strong> <br>Isaiah Ikeda\, Fr.\, Medica
 l Laboratory Science\, Spokane  <br>Jason Lai\, So.\, Mechanical Engineeri
 ng\, Camas  <br>  <br><strong>Euphonium </strong>   <br>John Yi\, Communit
 y Member <br>Tom Lewis\, Sr.\, Mechanical Engineering: Mechatronics\, Snoq
 ualmie  <br>  <br><strong>Tuba    </strong><br>Sam Charney\, Gr.\, Astrono
 my\, Swarthmore\, PA  <br>Robin Ding\, Fr.\, ECE\, ZhuHai\, China <br> <br
 ><strong>Percussion  </strong> <br>Avi Bose\, Community Member <br>Patrick
  Henry\, So.\, Business & Psychology\, Vancouver <br>Kendall Johnson\, Gr.
 \, Mechanical Engineering\, La Conner  <br>Alexander McLean\, So.\, Enviro
 nmental Science\, Snoqualmie  <br>Jaden Zika\, Jr.\, Psychology\, Livermor
 e\, CA  <br>Ava Ruth Paulson\, Jr.\,Psychology & Sociology\, Omaha\, NE <b
 r><br><strong>Piano  </strong><br>Oliver Schoonover\, Gr.\, Music Composit
 ion\, Tallahassee\, FL  <br><br><strong>String Bass </strong><br>Lexi Vanc
 e\, Gr\, Environmental Health Science\, Tucson\, AZ <br><br><strong>Gradua
 te Conductor </strong><br>Noah Scanlan\, Gr.\, Architecture\, Ridgecrest\,
  CA </p><h3><br>UW Wind Ensemble   </h3><p><strong>Flute/Piccolo  </strong
 ><br>Brooke Bart\, Jr.\, Scandinavian Studies & Music\, Endwell\, NY  <br>
 Xinyi Ma\, Gr.\, Flute Performance\, Henan\, China  <br>Grace Playstead\, 
 Gr.\, Flute Performance\, Olympia  <br>Peyton Ray\, Sr.\, Flute Performanc
 e\, Denver\, CO  <br>Claire Wei\, Jr.\, Flute Performance\, Bellevue*  <br
 > <br><strong>Oboe</strong>  <br>MinhThi Butler\, Sr.\, Oboe Performance <
 br>Max Bolen\, So.\, Marine Biology & Music Education\, Ballard  <br>Will 
 Cummings\, Fr.\, Linguistics & French\, Chehalis  <br>Aika Ishizuki\, Fr.\
 , Pre Sciences\, Seattle  <br> <br><strong>Bassoon </strong> <br>Levi Beck
 \, Fr.\, Music Performance\, Snohomish <br>Annika Fisher\, Ju.\, Anthropol
 ogy\, Lake Forest Park <br>Alex Fraley\, So.\, Music Education\, Kenmore* 
  <br>Ryan Kapsandy\, Sr.\, Bassoon Performance <br>Rian Morgan\, Sr.\, Nut
 rition (FSNH)\, Des Moines  <br> <br><strong>Clarinet </strong> <br>Caitli
 n Dong\, So.\, Biology (MCD) & Music Performance\, Englewood\, CO  <br>Ale
 x Gee\, Sr.\, Mechanical Engineering\, Camas  <br>Arthur Gim\, Jr.\, Mecha
 nical Engineering\, Bothell  <br>Alessandro Martinez\, Jr.\, Environmental
  Engineering\, Olympia  <br>Luqi Wang\, Gr.\, Music Performance\, Dalian\,
  China*  <br>Eric Zhu\, Fr.\, Engineering Undeclared\, Guangdong\, China  
 <br>Jason Liu\, Community Member\, Mathematics\, Camas <br> <br><strong>Ba
 ss Clarinet </strong> <br>Akshat Ghuge\, So.\, Informatics\, Dallas\, TX  
 <br>Michael Stella\, Jr.\, Political Science\, Puyallup  <br> <br><strong>
 Saxophone  </strong> <br>Kairui Cheng\, Fr.\, Computer Science\, Bothell  
 <br>Curtis Chung\, Sr.\, Mechanical Engineering\, Sunnyvale\, CA   <br>Gra
 eme Gentle\, Fr.\, Applied Music\, Spokane <br>Kyle Grant\, Jr.\, Music Ed
 ucation & Saxophone Performance\, Sumner*  <br>Vichet Ros\, Sr.\, Music Ed
 ucation\, Burien  <br>Katherine Zundel\, Sr.\, Saxophone Performance & Mat
 hematics\, Clinton  <br><br><strong>Trumpet </strong>  <br>Meier Eagan\, M
 usic Education\, Seattle    <br>Hans Faul\, Sr.\, Trumpet Performance\, Se
 attle*  <br>Erika Berreth\, Ju.\, Aeronautical and Astronautical Engineeri
 ng\, Redmond <br>Antti Mannisto\, Sr.\, Physics\, Bellevue  <br>Kevin Nguy
 en Thomas\, So.\, Trumpet Performance\, Spokane  <br> <br><strong>Horn</st
 rong>  <br>Ethan Hicks\, Fr.\, Music Performance\, Anacortes <br>Cassidy R
 ea\, Fr.\, Music Performance\, Vancouver*  <br>Olivia Stall\, Fr.\, Pre-So
 cial Sciences\, Bothell  <br>Ben von Jess\, Jr.\, Music Education\, Renton
   <br> <br><strong>Trombone</strong>  <br>Owen Fang\, Fr.\, Trombone Perfo
 rmance\, Redmond  <br>Richie Torres-Antúnez\, Jr.\, Music Performance & Ap
 plied Math\, Mattawa*  <br>Neal Muppidi\, Sr.\, Music Performance <br><br>
 <strong>Bass Trombone</strong>  <br>Evan Mao\, Jr.\, Computer Science\, Re
 dmond  <br> <br><strong>Euphonium </strong>  <br>Aidan Borlet\, Fr.\, Pre-
 Science\, Austin\, TX  <br>Simona Yaroslavsky\, Jr.\, Psychology/Law\, Soc
 ieties and Justice\, Mercer Island*  <br> <br><strong>Tuba </strong>  <br>
 Dylan Aagaard\, Fr.\, Tuba Performance\, Debary\, FL <br>Foster Patterson\
 , Sr.\, Music Education\, Aberdeen*  <br> <br><strong>String Bass</strong>
   <br>Jason Lai\, So.\, Mechanical Engineering\, Camas  <br> <br><strong>P
 ercussion </strong> <br>Cyan Duong\, Jr.\, Music Education\, Monroe <br>Mo
 naka Kakuta\, Fr.\, Music Performance\, Shoreline  <br>Ryan Kinder\, Fr.\,
  Computer Science\, Mercer Island  <br>Colin Lehman\, So.\, Music Educatio
 n\, Moses Lake  <br>Ivy Moore\, Jr.\, Music Performance & Bioresource Scie
 nce & Engineering\, Norfolk\, VA <br>Hazel Salvaggio\, Jr.\, Music Perform
 ance\, Manhattan Beach\, CA*  <br>Xander Swanson\, Fr.\, Music Performance
 \, Marysville <br> <br><strong>Piano </strong><br>Kaisho Barnhill\, Sr.\, 
 Music Education\, Music Theory\, Psychology\, Vancouver <br><br>*principal
   </p><hr><h2>Biographies</h2><h3><br>Simon Alami</h3><p>Simon Alami compo
 ses music for orchestra\, wind ensemble\, and chamber performance. His wor
 ks have been performed by the Brazilian National Symphony Orchestra\, Marc
 o Polo Orchestra\, American Modern Ensemble\, and PANdemonium4 Flute Quart
 et at festivals including the Mostly Modern Festival\, Veneto Arts and Mus
 ic Summit\, and Brasília Orchestral Summit. <br>In 2024\, he was awarded F
 irst Prize at the 6th Swiss International Music Competition and First Runn
 er-Up at the Arts & Letters Club of Toronto Emerging Composer Competition.
  His work has received support from the Canada Council for the Arts and th
 e Conseil des arts et des lettres du Québec. <br>Born in Fez\, Morocco\, A
 lami grew up surrounded by music. His father was a singer at Radio Télévis
 ion Marocaine. After immigrating to Canada and a career in business admini
 stration\, Alami began composing during the pandemic. His first work\, Pia
 no Quintet No. 1\, premiered in 2023 and led to mentorship with composers 
 Robert Paterson\, Saad Haddad\, and Antonio Gervasoni. He took early retir
 ement in January 2025 to compose full-time. <br>Alami's music explores wha
 t he calls 'a conversation between traditions'—treating cultural materials
  as living elements that transform through contact. His most personal work
 \, Symphonic Dances for wind symphony (commissioned by the University of W
 ashington\, premiere March 2026)\, traces a journey between Morocco and Qu
 ébec through five interconnected dances. Other significant works include M
 oroccan Dances Suite\, Obsidian Reflections\, and Evanescent Frequency. <b
 r>Alami is an Associate Composer of the Canadian Music Centre and a member
  of the Canadian League of Composers. He resides in Montreal. </p>
END:VEVENT
BEGIN:VEVENT
UID:54d49d9d-1066-446f-a7be-fde0d9b96df6
DTSTAMP:20260612T083118Z
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<
 /h2><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><stron
 g>Ludwig van Beethoven:</strong> Sonata in F Minor\, Op. 57\, “Appassionat
 a”</p><hr><p> </p>
DTSTART;TZID=America/Los_Angeles:20260312T193000
DTEND;TZID=America/Los_Angeles:20260313T000000
LAST-MODIFIED:20260303T192139Z
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:e9b89caf-b08e-446e-8c7e-dde33bcf3293
DTSTAMP:20260612T083118Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20260309T151538Z
DESCRIPTION:<p>The University Singers\, Treble choirs\, and UW Glee present
  UW Sings\, an eclectic end-of-quarter program at University Congregationa
 l church of Christ\, 4515 16th Ave. NE\, Seattle.</p><hr><h2><br>Program</
 h2><p><strong>COMBINED CHOIRS</strong><br>Directed by:<br>Heidi Blythe\, D
 MA</p><p><strong>Program</strong><br>Feeling Slightly Better (Singing With
  You) - <strong>Shruthi Rajasekar</strong><br>Soloist: Haley Westberg<br>*
 This piece invites audience participation. See lyrics below.<br><br><stron
 g>TREBLE CHOIR</strong><br>Directed by: <br>Heidi Blythe\, DMA<br>Tatiana 
 Boggs\, DMA<br>Julianna Grabowski\, DMA</p><p>Collaborative Pianist:<br>Ch
 iao-Yu Wu</p><p><strong>Program</strong><br>Sing Out My Soul - <strong>Mar
 ques Garrett</strong><br>Cantate Domino - <strong>Michelle Roueché</strong
 ><br>Voice on the Wind - <strong>Sarah Quartel</strong><br>    Soloist: Da
 lena Young<br>What it Sounds Like - <strong>Jenna Andrews\, Stephen Eric K
 irk\,</strong> and <strong>Mark Sonnenblick</strong><br>    Soloists: Anna
 belle Martin\, Emily Hughes\, & Charlotte Underwood<br>The Awakening\, by 
 Joseph M. Martin<br><br><strong>GLEE</strong><br>Directed By:<br>David Fer
 guson\, DMA<br>Adam Freemantle\, MM<br>Nicholas Renaud\, DMA</p><p>Collabo
 rative Pianist:<br>Laura Bleakely</p><p><br><strong>Program</strong><br>Pl
 akatap - <strong>Sydney Guillaume</strong><br>Dirait-on - <strong>Morten L
 auridsen</strong><br>We Are the Music Makers - <strong>Reginal Wright</str
 ong><br>Du bist die ruh - <strong>Franz Schubert</strong><br>Daemon Irrepi
 t Callidus - <strong>György Orbán</strong><br><br><strong>ADVANCED TREBLE 
 CHOIR</strong><br>Heidi Blythe\, director<br>Haley Westberg\, choral assis
 tant<br>Tina Amrith\, sectional pianist  <br>Thy Hoang and Laura Bleakley\
 , collaborative pianists</p><p><strong>Program</strong><br>O Strong of Hea
 rt - <strong>Gustav Holst</strong><br>Muusika - <strong>Pärt Uusberg</stro
 ng><br>How Can I Keep from Singing - <strong>Robert Lowry\,</strong> arr. 
 <strong>Sarah Quartel</strong><br>Maddie McCarthy\, soloist<br>Your Soul i
 s Song - <strong>Jake Runestad</strong></p><p><strong>UNIVERSITY SINGERS</
 strong><br>Directed by:<br>Michael McKenzie\, DMA<br>Alexandra Remeau\, MM
 <br>Katia (Yekaterina) Velit\, MM</p><p>Collaborative Pianist: Yuly Kopkin
 <br><br><strong>Program</strong><br>Peze Kafé - Traditional Haitian arr.<s
 trong> Sten Källman</strong><br>This is Why We Sing - <strong>David Scott 
 Gantz </strong>arr.<strong> Masa Fukuda</strong><br>Heartbeat - <strong>Ky
 le Pederson </strong><br>Poetry crafted in collaboration with the members 
 of the University of Pretoria Youth Choir<br>North\, Ryan O’Neal arr. Geor
 ge Chung ed. Carrie Tennant</p><hr><h2>Lyrics and Translations</h2><p><br>
 <strong>Feeling Slightly Better (Singing With You)</strong><br>Soloist: Ha
 ley Westberg<br>Hard to be awake and hard to keep the faith <br>But feelin
 g slightly better singing with you</p><p>Choirs:<br>Feeling kind of numb a
 s Fire burns the world<br>But a step towards rebuilding is singing with yo
 u</p><p>Watching fear and violence\, watching voices silenc’d<br>Giving th
 anks to still be singing with you</p><p>Everyone:<br>Fill the streets with
  music\, make our voices louder<br>There is joy and power in singing with 
 you</p><p>(Round)<br>So I stay awake and try to keep the faith cause’ I’m<
 br>Feeling slightly better singing with you</p><p>Feeling slightly better 
 singing with you<br>Feeling slightly better singing with you</p><p><strong
 >Cantate Domino</strong><br>Text and Translation</p><p>Cantate Domino\, ca
 nticum novum\;<br>cantate Domino\, omnis terra.<br>Cantate Domino\, et ben
 edicite nomini ejus\;<br>annuntiate de die in diem salutare ejus.<br>Annun
 tiate inter Gentes gloriam ejus\,<br>In omnibus populis mirabilia ejus.</p
 ><p>O sing unto the Lord a new song\;<br>sing unto the Lord\, all the whol
 e earth.<br>Sing unto the Lord\, and praise his Name\;<br>be telling of hi
 s salvation from day to day.<br>Declare his honor unto the heathen\,<br>an
 d his wonders unto all peoples.</p><p><br><strong>Plakatap    </strong>   
                 <br>Children of all countries\, Youth from everywhere\,<br
 >Sing\, jump\, dance! <br>On foot or by bike\, Our bags on our backs\, <br
 >Plakatap – Plakatap\, Plakatap – Plakatap! <br>Let’s party\, let’s sing! 
 Let’s celebrate Humanity with one heart\, <br>And let us all sing our Frat
 ernity in chorus!</p><p>Regardless of what’s happening\, In spite of the d
 istance\, <br>We are one family Of young men and women. <br>Let us dwell i
 n the Unity Of one Humanity. Plakatap – Plakatap! <br>United in the same l
 ove\, Let us go day by day\, <br>Singing\, jumping up and down\, dancing <
 br>The Fraternal Dance Of the children of the World. Plakatap – Plakatap\,
  Plakatap – Plakatap!</p><p><strong>Dirait-on</strong><br>Devotion in circ
 les of devotion\,<br>tenderness touches tendernesses…<br>It is your inward
  that incessantly<br>caresses itself\, so they say\;<br><br>caresses itsel
 f<br>through its own reflection.<br>Thus you invent the theme<br>of Narcis
 sus satisfied.    </p><p><strong>Du bist die ruh</strong><br>You are repos
 e<br>and gentle peace.<br>You are longing<br>and what stills it.</p><p>Ful
 l of joy and grief<br>I consecrate to you<br>my eyes and my heart<br>as a 
 dwelling place.</p><p>Come in to me<br>and softly close<br>the gate<br>beh
 ind you.</p><p>Drive all other grief<br>from my breast.<br>Let my heart<br
 >be full of your joy.</p><p>The temple of my eyes<br>is lit<br>by your rad
 iance alone:<br>O\, fill it wholly!        </p><p><strong>Daemon Irrepit C
 allidus</strong><br>The Demon sneaks expertly<br>Tempting the honorable he
 art\;<br>He sets forth trickery amidst praise\, song and dance.<br>However
  amiably the Demon acts\,<br>It is still worth less than the heart of Jesu
 s.<br>The Flesh is tempted by sensuality\;<br>Gluttony clings to our sense
 s\;<br>It overgrows\, it encroaches\, it stretches<br><br><strong>Muusika<
 /strong> <br>Text and translation</p><p>Kuskil peab alguskokkukōla olema\,
 <br>kuskil suures looduses\, varjul.<br>On tema vägevas laotuses\,<br>tähe
 ringide kauguses\,<br>on tema päikese sära sees\,<br>lillekeses\, metsakoh
 inas\,<br>emakōne südamemuusikas<br>vōi silmavees –<br>kuskil peab suremat
 us olema\, <br>kuskilt alguskokkukōla leitama:<br>kust oleks muidu inimese
  rinda<br>saanud ta –<br>muusika?</p><p>It must be somewhere\, the origina
 l harmony\,<br>somewhere in great nature\, hidden.<br>Is it in the furious
  infinite\,<br>in distant stars’ orbits\,<br>is it in the sun’s scorn\,<br
 >in a tiny flower\, in treegossip\,<br>in heartmusic’s mothersong<br>or in
  tears?<br>It must be somewhere\, immortality\, <br>somewhere the original
  harmony must be found:<br>how else could it infuse <br>the human soul\,<b
 r>that music?<br><br><strong>Peze Kafé\, traditional Haitian:</strong><br>
 My mother sent me to weigh the coffee<br>When I reached the road\, <br>I w
 as ambushed by the police<br>What am I going to say at home<br>When I get 
 back\, Oh Friends!<br>What am I going to say at home?<br>My mother sent me
  to the gate<br>Go weigh my coffee.</p><p>Heartbeat\, Shona language of Zi
 mbabwe:<br>We all have a heartbeat<br>We share the same color of blood<br>
 We all are one race\, the human race<br>And together we are strong.</p><hr
 ><h2><strong>Singers</strong></h2><p><strong>TREBLE CHOIR</strong><br>Sopr
 ano 1<br>Maggie Anderson<br>Olivia Cady<br>Helen Chen<br>Xinyu Chen<br>Ell
 a Collins<br>Rebecca Himeda<br>Abby Hussein<br>Sanskriti Joshi<br>Siyu Li<
 br>Eva Liu<br>Ana Marriott<br>Isadora Miller<br>Micaela Omoto<br>Julia Pel
 ger<br>Charlotte Underwood<br>Aria Wang<br>Adrienne Wegerer<br>Dalena Youn
 g</p><p><strong>Soprano 2</strong><br>Leah Barracoso<br>Emilee Bierlink<br
 >Sydney Christensen<br>Janella Chung<br>Julia Fraczek<br>Amy Gretch<br>Ste
 lla Hudson<br>Yen Nhi Hyunh<br>Nishtha Kumar<br>Cadence Lay<br>Annabelle M
 artin<br>Julianna Monroe<br>Vanessa Nguyen<br>Olivia Parrish<br>Lexie Payt
 on<br>Belle Pearson<br>Isabella Peters<br>Mia Rapp<br><br><strong>Alto 1</
 strong><br>Adelai Allred<br>Selah Burrows<br>Greyson Collins-Price<br>Soph
 ia De Jesus Martinez<br>Emily Hughes<br>Eliza Lightfoot<br>Shiori Kasahara
 <br>Megan Romesberg<br>Connie Sun<br>Arisha Kulshrestha<br>Ackland Xi<br>K
 efan Yi</p><p><strong>Alto 2</strong><br>Chaitna Deshmukh<br>Priya Devanes
 an<br>Wren Feng<br>Lucy Markham<br>Loris Martin<br>Addy Miller<br>Cillian 
 Mullen<br>Tierra Nakamura<br>Elinor O’Brien <br>Amy Roon<br><br><strong>GL
 EE</strong><br>Ezra Acevedo<br>Eden Alvarado<br>Alex Beck<br>Blake Bell<br
 >Barbara Benda<br>Justin Bowman<br>Elias Carlson<br>Micah Carpenter<br>Ken
  Clark<br>Tristan Eedham<br>Austin Everhart<br>Katahdin Fasani<br>David Fe
 rguson<br>Tia Fowler<br>Adam Freemantle<br>Jayadev Ghamta<br>Claire Ginger
 itch<br>Jonas Golm<br>Christoph Heller<br>Marie Heller<br>Aiden Hochstatte
 r<br>Paul Johns<br>Keanen Kehoe<br>Kelly Lee<br>Li Jack P<br>Kaylee Mackey
 <br>Elijah Maruchek<br>Fiona McNicholas<br>Aris Mitchell<br>Avi Mittal<br>
 Nic Renaud<br>David Sanidad<br>Michael Santillo<br>Alex Shuen<br>Raziel Sp
 inosa Holguin<br>Carmela Stewart<br>Jonathan Tao<br>Kate Taricani<br>Andi 
 van der Burght<br>Yixuan Wang<br>Barry Wang<br>Thomas Wardian<br>Layla Zen
 g</p><p><strong>ADVANCED TREBLE CHOIR</strong><br><strong>Soprano 1</stron
 g><br>Anya Riabov<br>Isadora Miller<br>Adrienne Wegerer<br>Kailani Marson<
 br>Maggie Li<br>Irene Lee<br>Arianna Amador<br><br><strong>Soprano 2</stro
 ng><br>Mari Hirayama<br>Mimi Tetreault<br>Ava Wilhite<br>McKenna Kernan<br
 >Dan-Thy Hoang<br>Tina Amrith<br>Analicia Hayden <br><br><strong>Alto 1</s
 trong><br>Medha Sarkar<br>Anna Carlson<br>Dina Tsang<br>Addy Miller<br>Eli
 za Lightfoot<br><br><strong>Alto 2</strong><br>Haley Westberg<br>Maddie Ri
 vera<br>Sydney Jordan<br>Ella Heide  <br>Aliya Thompson<br>Alex Retteghier
 i</p><p><strong>UNIVERSITY SINGERS</strong><br><strong>PART 1:</strong><br
 >Sambriddhi Adhikari<br>Aidin Behroozi<br>Irene Cai<br>Ishika Kanakath<br>
 Anja Lovegren<br>Grace Lundeen<br>Tanya Naveen  <br>Mars Nguyen<br>Sunny T
 an<br>Lorelai Taylor<br>Rachel Tkachunko<br>Ariel Wygant</p><p><br><strong
 >PART 2: </strong><br>Alexandra Alsabih<br>Carsen Broga<br>Lil Collet<br>H
 aley Cripe <br>Katie Davis<br>Braelyn Fox<br>Zikuan Guo<br>Gaea Guyer<br>A
 ndrea Gyimah<br>Yooeun Kang<br>Kristen Li<br>Gwen Lubbert<br>Vaani Matai<b
 r>Samantha Oh<br>Anna Elizabeth Ross<br>Maya Schwan<br>Madeline Stroup<br>
 Renee Yeung</p><p><br><strong>PART 3: </strong><br>Colemann Brenner <br>Ai
 den Clegg <br>Austin Elenzano<br>Joshua Huber<br>Jaewon Lee <br>Samuel Mar
 tens<br>Matthew Merchant <br>Michael Munson<br>Aurora Spaulding Barclay<br
 >Edmund Tsai<br><br><strong>PART 4: </strong><br>Alexander Beck <br>Fredy 
 Castillo <br>Luke Eriksen <br>Abraham Plager<br>Joshua Rolfe <br>Preet Sha
 h <br>Yian Wang <br>Shuai Yuan <br>Jonathan Singh</p><hr><h2>Biographies</
 h2><h2> </h2>
DTSTART;TZID=America/Los_Angeles:20260313T193000
DTEND;TZID=America/Los_Angeles:20260314T000000
LAST-MODIFIED:20260312T083233Z
SUMMARY:: External Event: UW Sings
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-13/external-event-uw-sings
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The University Singers\, Treble choirs\, an
 d UW Glee present UW Sings\, an eclectic end-of-quarter program at Univers
 ity Congregational church of Christ\, 4515 16th Ave. NE\, Seattle.</p><hr>
 <h2><br>Program</h2><p><strong>COMBINED CHOIRS</strong><br>Directed by:<br
 >Heidi Blythe\, DMA</p><p><strong>Program</strong><br>Feeling Slightly Bet
 ter (Singing With You) - <strong>Shruthi Rajasekar</strong><br><em>Soloist
 : Haley Westberg</em><br>*This piece invites audience participation. See l
 yrics below.<br><br><strong>TREBLE CHOIR</strong><br>Directed by: <br>Heid
 i Blythe\, DMA<br>Tatiana Boggs\, DMA<br>Julianna Grabowski\, DMA</p><p>Co
 llaborative Pianist:<br>Chiao-Yu Wu</p><p><strong>Program</strong><br>Sing
  Out My Soul - <strong>Marques Garrett</strong><br>Cantate Domino - <stron
 g>Michelle Roueché</strong><br>Voice on the Wind - <strong>Sarah Quartel</
 strong><br>    <em>Soloist: Dalena Young</em><br>What it Sounds Like - <st
 rong>Jenna Andrews\, Stephen Eric Kirk\,</strong> and <strong>Mark Sonnenb
 lick</strong><br>    <em>Soloists: Annabelle Martin\, Emily Hughes\, & Cha
 rlotte Underwood</em><br>The Awakening\, by Joseph M. Martin<br><br><stron
 g>GLEE</strong><br>Directed By:<br>David Ferguson\, DMA<br>Adam Freemantle
 \, MM<br>Nicholas Renaud\, DMA</p><p>Collaborative Pianist:<br>Laura Bleak
 ely</p><p><br><strong>Program</strong><br>Plakatap - <strong>Sydney Guilla
 ume</strong><br>Dirait-on - <strong>Morten Lauridsen</strong><br>We Are th
 e Music Makers - <strong>Reginal Wright</strong><br>Du bist die ruh - <str
 ong>Franz Schubert</strong><br>Daemon Irrepit Callidus - <strong>György Or
 bán</strong><br><br><strong>ADVANCED TREBLE CHOIR</strong><br>Heidi Blythe
 \, director<br>Haley Westberg\, choral assistant<br>Tina Amrith\, sectiona
 l pianist  <br>Thy Hoang and Laura Bleakley\, collaborative pianists</p><p
 ><strong>Program</strong><br>O Strong of Heart - <strong>Gustav Holst</str
 ong><br>Muusika - <strong>Pärt Uusberg</strong><br>How Can I Keep from Sin
 ging - <strong>Robert Lowry\,</strong> arr. <strong>Sarah Quartel</strong>
 <br><em>Maddie McCarthy\, soloist</em><br>Your Soul is Song - <strong>Jake
  Runestad</strong></p><p><strong>UNIVERSITY SINGERS</strong><br>Directed b
 y:<br>Michael McKenzie\, DMA<br>Alexandra Remeau\, MM<br>Katia (Yekaterina
 ) Velit\, MM</p><p>Collaborative Pianist: Yuly Kopkin<br><br><strong>Progr
 am</strong><br>Peze Kafé - Traditional Haitian arr.<strong> Sten Källman</
 strong><br>This is Why We Sing - <strong>David Scott Gantz </strong>arr.<s
 trong> Masa Fukuda</strong><br>Heartbeat - <strong>Kyle Pederson </strong>
 <br><em>Poetry crafted in collaboration with the members of the University
  of Pretoria Youth Choir</em><br><em>North\, Ryan O’Neal arr. George Chung
  ed. Carrie Tennant</em></p><hr><h2>Lyrics and Translations</h2><p><br><st
 rong>Feeling Slightly Better (Singing With You)</strong><br><em>Soloist: H
 aley Westberg</em><br>Hard to be awake and hard to keep the faith <br>But 
 feeling slightly better singing with you</p><p><em>Choirs:</em><br>Feeling
  kind of numb as Fire burns the world<br>But a step towards rebuilding is 
 singing with you</p><p>Watching fear and violence\, watching voices silenc
 ’d<br>Giving thanks to still be singing with you</p><p><em>Everyone:</em><
 br>Fill the streets with music\, make our voices louder<br>There is joy an
 d power in singing with you</p><p>(Round)<br>So I stay awake and try to ke
 ep the faith cause’ I’m<br>Feeling slightly better singing with you</p><p>
 Feeling slightly better singing with you<br>Feeling slightly better singin
 g with you</p><p><strong>Cantate Domino</strong><br><em>Text and Translati
 on</em></p><p>Cantate Domino\, canticum novum\;<br>cantate Domino\, omnis 
 terra.<br>Cantate Domino\, et benedicite nomini ejus\;<br>annuntiate de di
 e in diem salutare ejus.<br>Annuntiate inter Gentes gloriam ejus\,<br>In o
 mnibus populis mirabilia ejus.</p><p>O sing unto the Lord a new song\;<br>
 sing unto the Lord\, all the whole earth.<br>Sing unto the Lord\, and prai
 se his Name\;<br>be telling of his salvation from day to day.<br>Declare h
 is honor unto the heathen\,<br>and his wonders unto all peoples.</p><p><br
 ><strong>Plakatap    </strong>                   <br>Children of all count
 ries\, Youth from everywhere\,<br>Sing\, jump\, dance! <br>On foot or by b
 ike\, Our bags on our backs\, <br>Plakatap – Plakatap\, Plakatap – Plakata
 p! <br>Let’s party\, let’s sing! Let’s celebrate Humanity with one heart\,
  <br>And let us all sing our Fraternity in chorus!</p><p>Regardless of wha
 t’s happening\, In spite of the distance\, <br>We are one family Of young 
 men and women. <br>Let us dwell in the Unity Of one Humanity. Plakatap – P
 lakatap! <br>United in the same love\, Let us go day by day\, <br>Singing\
 , jumping up and down\, dancing <br>The Fraternal Dance Of the children of
  the World. Plakatap – Plakatap\, Plakatap – Plakatap!</p><p><strong>Dirai
 t-on</strong><br>Devotion in circles of devotion\,<br>tenderness touches t
 endernesses…<br>It is your inward that incessantly<br>caresses itself\, so
  they say\;<br><br>caresses itself<br>through its own reflection.<br>Thus 
 you invent the theme<br>of Narcissus satisfied.    </p><p><strong>Du bist 
 die ruh</strong><br>You are repose<br>and gentle peace.<br>You are longing
 <br>and what stills it.</p><p>Full of joy and grief<br>I consecrate to you
 <br>my eyes and my heart<br>as a dwelling place.</p><p>Come in to me<br>an
 d softly close<br>the gate<br>behind you.</p><p>Drive all other grief<br>f
 rom my breast.<br>Let my heart<br>be full of your joy.</p><p>The temple of
  my eyes<br>is lit<br>by your radiance alone:<br>O\, fill it wholly!      
   </p><p><strong>Daemon Irrepit Callidus</strong><br>The Demon sneaks expe
 rtly<br>Tempting the honorable heart\;<br>He sets forth trickery amidst pr
 aise\, song and dance.<br>However amiably the Demon acts\,<br>It is still 
 worth less than the heart of Jesus.<br>The Flesh is tempted by sensuality\
 ;<br>Gluttony clings to our senses\;<br>It overgrows\, it encroaches\, it 
 stretches<br><br><strong>Muusika</strong> <br>Text and translation</p><p>K
 uskil peab alguskokkukōla olema\,<br>kuskil suures looduses\, varjul.<br>O
 n tema vägevas laotuses\,<br>täheringide kauguses\,<br>on tema päikese sär
 a sees\,<br>lillekeses\, metsakohinas\,<br>emakōne südamemuusikas<br>vōi s
 ilmavees –<br>kuskil peab surematus olema\, <br>kuskilt alguskokkukōla lei
 tama:<br>kust oleks muidu inimese rinda<br>saanud ta –<br>muusika?</p><p>I
 t must be somewhere\, the original harmony\,<br>somewhere in great nature\
 , hidden.<br>Is it in the furious infinite\,<br>in distant stars’ orbits\,
 <br>is it in the sun’s scorn\,<br>in a tiny flower\, in treegossip\,<br>in
  heartmusic’s mothersong<br>or in tears?<br>It must be somewhere\, immorta
 lity\, <br>somewhere the original harmony must be found:<br>how else could
  it infuse <br>the human soul\,<br>that music?<br><br><strong>Peze Kafé\, 
 traditional Haitian:</strong><br>My mother sent me to weigh the coffee<br>
 When I reached the road\, <br>I was ambushed by the police<br>What am I go
 ing to say at home<br>When I get back\, Oh Friends!<br>What am I going to 
 say at home?<br>My mother sent me to the gate<br>Go weigh my coffee.</p><p
 >Heartbeat\, Shona language of Zimbabwe:<br>We all have a heartbeat<br>We 
 share the same color of blood<br>We all are one race\, the human race<br>A
 nd together we are strong.</p><hr><h2><strong>Singers</strong></h2><p><str
 ong>TREBLE CHOIR</strong><br>Soprano 1<br>Maggie Anderson<br>Olivia Cady<b
 r>Helen Chen<br>Xinyu Chen<br>Ella Collins<br>Rebecca Himeda<br>Abby Husse
 in<br>Sanskriti Joshi<br>Siyu Li<br>Eva Liu<br>Ana Marriott<br>Isadora Mil
 ler<br>Micaela Omoto<br>Julia Pelger<br>Charlotte Underwood<br>Aria Wang<b
 r>Adrienne Wegerer<br>Dalena Young</p><p><strong>Soprano 2</strong><br>Lea
 h Barracoso<br>Emilee Bierlink<br>Sydney Christensen<br>Janella Chung<br>J
 ulia Fraczek<br>Amy Gretch<br>Stella Hudson<br>Yen Nhi Hyunh<br>Nishtha Ku
 mar<br>Cadence Lay<br>Annabelle Martin<br>Julianna Monroe<br>Vanessa Nguye
 n<br>Olivia Parrish<br>Lexie Payton<br>Belle Pearson<br>Isabella Peters<br
 >Mia Rapp<br><br><strong>Alto 1</strong><br>Adelai Allred<br>Selah Burrows
 <br>Greyson Collins-Price<br>Sophia De Jesus Martinez<br>Emily Hughes<br>E
 liza Lightfoot<br>Shiori Kasahara<br>Megan Romesberg<br>Connie Sun<br>Aris
 ha Kulshrestha<br>Ackland Xi<br>Kefan Yi</p><p><strong>Alto 2</strong><br>
 Chaitna Deshmukh<br>Priya Devanesan<br>Wren Feng<br>Lucy Markham<br>Loris 
 Martin<br>Addy Miller<br>Cillian Mullen<br>Tierra Nakamura<br>Elinor O’Bri
 en <br>Amy Roon<br><br><strong>GLEE</strong><br>Ezra Acevedo<br>Eden Alvar
 ado<br>Alex Beck<br>Blake Bell<br>Barbara Benda<br>Justin Bowman<br>Elias 
 Carlson<br>Micah Carpenter<br>Ken Clark<br>Tristan Eedham<br>Austin Everha
 rt<br>Katahdin Fasani<br>David Ferguson<br>Tia Fowler<br>Adam Freemantle<b
 r>Jayadev Ghamta<br>Claire Gingeritch<br>Jonas Golm<br>Christoph Heller<br
 >Marie Heller<br>Aiden Hochstatter<br>Paul Johns<br>Keanen Kehoe<br>Kelly 
 Lee<br>Li Jack P<br>Kaylee Mackey<br>Elijah Maruchek<br>Fiona McNicholas<b
 r>Aris Mitchell<br>Avi Mittal<br>Nic Renaud<br>David Sanidad<br>Michael Sa
 ntillo<br>Alex Shuen<br>Raziel Spinosa Holguin<br>Carmela Stewart<br>Jonat
 han Tao<br>Kate Taricani<br>Andi van der Burght<br>Yixuan Wang<br>Barry Wa
 ng<br>Thomas Wardian<br>Layla Zeng</p><p><strong>ADVANCED TREBLE CHOIR</st
 rong><br><strong>Soprano 1</strong><br>Anya Riabov<br>Isadora Miller<br>Ad
 rienne Wegerer<br>Kailani Marson<br>Maggie Li<br>Irene Lee<br>Arianna Amad
 or<br><br><strong>Soprano 2</strong><br>Mari Hirayama<br>Mimi Tetreault<br
 >Ava Wilhite<br>McKenna Kernan<br>Dan-Thy Hoang<br>Tina Amrith<br>Analicia
  Hayden <br><br><strong>Alto 1</strong><br>Medha Sarkar<br>Anna Carlson<br
 >Dina Tsang<br>Addy Miller<br>Eliza Lightfoot<br><br><strong>Alto 2</stron
 g><br>Haley Westberg<br>Maddie Rivera<br>Sydney Jordan<br>Ella Heide  <br>
 Aliya Thompson<br>Alex Retteghieri</p><p><strong>UNIVERSITY SINGERS</stron
 g><br><strong>PART 1:</strong><br>Sambriddhi Adhikari<br>Aidin Behroozi<br
 >Irene Cai<br>Ishika Kanakath<br>Anja Lovegren<br>Grace Lundeen<br>Tanya N
 aveen  <br>Mars Nguyen<br>Sunny Tan<br>Lorelai Taylor<br>Rachel Tkachunko<
 br>Ariel Wygant</p><p><br><strong>PART 2: </strong><br>Alexandra Alsabih<b
 r>Carsen Broga<br>Lil Collet<br>Haley Cripe <br>Katie Davis<br>Braelyn Fox
 <br>Zikuan Guo<br>Gaea Guyer<br>Andrea Gyimah<br>Yooeun Kang<br>Kristen Li
 <br>Gwen Lubbert<br>Vaani Matai<br>Samantha Oh<br>Anna Elizabeth Ross<br>M
 aya Schwan<br>Madeline Stroup<br>Renee Yeung</p><p><br><strong>PART 3: </s
 trong><br>Colemann Brenner <br>Aiden Clegg <br>Austin Elenzano<br>Joshua H
 uber<br>Jaewon Lee <br>Samuel Martens<br>Matthew Merchant <br>Michael Muns
 on<br>Aurora Spaulding Barclay<br>Edmund Tsai<br><br><strong>PART 4: </str
 ong><br>Alexander Beck <br>Fredy Castillo <br>Luke Eriksen <br>Abraham Pla
 ger<br>Joshua Rolfe <br>Preet Shah <br>Yian Wang <br>Shuai Yuan <br>Jonath
 an Singh</p><hr><h2>Biographies</h2><h2> </h2>
END:VEVENT
BEGIN:VEVENT
UID:155885ec-3a72-4f1f-ba83-aa75638533ad
DTSTAMP:20260612T083118Z
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><stron
 g>Mieczyslaw Karłowicz: </strong>Violin Concerto in A major\, op.8<br>Rach
 el Lee Priday\, violin</p><p><strong>Sergei Prokofiev: </strong>Symphony N
 o.5 in B-flat major\, op.100</p><hr><h2>Program Notes</h2><p><strong>Miecz
 yslaw Karłowicz: Violin Concerto in A major\, op.8</strong><br>A Polish co
 mposer\, conductor\, and violinist\, Mieczysław Karłowicz (pronounced kar-
 woh-vich)\, composed his violin concerto in 1902 at the age of 26. He died
  just over six years later in an avalanche. Despite this\, Karłowicz left 
 us some of the most emotionally resonant Polish music of his time. Influen
 ced by Tchaikovsky\, Wagner\, and Richard Strauss\, his music is character
 ized as late Romantic with rich orchestration and color. Karłowicz dedicat
 ed the concerto to his violin teacher\, Stanisław Barcewicz\, and premiere
 d it with Barcewicz as violinist and himself on the podium with the Berlin
  Philharmonic. Since then\, the work has been relatively unknown outside P
 oland\, though more recordings have been made recently. The first movement
  begins nobly\, much like Tchaikovsky’s First Piano Concerto (nearly a quo
 tation in reverse!)\, but unlike Tchaikovsky’s concerto and many other con
 certos\, the soloist\, as opposed to the orchestra\, takes over and introd
 uces the main melody. The second movement\, the Romanza\, follows without 
 pause. The violin presents a contemplative melody and repeats it several t
 imes\, each with a different orchestral color and harmony. The finale is a
  lively\, dance-like movement with a recurring violin theme. Between the r
 ecurrences are two contrasting sections\; the second is notable for its so
 aring cello melody. The piece concludes with a triumphant build and releas
 e of energy\, recalling the theme from the first movement.<br>-Sota Emura<
 /p><p><strong>Prokofiev: Symphony No.5 in B-flat major\, op.100</strong><b
 r>Composed in 1944\, Symphony No.5 stands at the center of Sergei Prokofie
 v’s complicated relationship with his homeland. Fourteen years had passed 
 since his Fourth Symphony. After leaving Russia in the wake of the 1917 Re
 volution\, Prokofiev built a career abroad\, yet the Soviet government per
 sistently called to him with commissions and support for premiers in hopes
  of bringing him back. Hopeful that the USSR would offer greater opportuni
 ties for musicians\, he returned permanently in 1936\, surrendering his pa
 ssport for “safekeeping\,” ultimately never going abroad again.</p><p>Writ
 ten in a month during the Summer of 1944 in Ivanovo at a retreat for compo
 sers\, the Fifth symphony was a success in its wartime context. Though art
 ists were subjected to ideological scrutiny and encouraged to produce larg
 e-scale patriotic works\, World War II provided a brief sense of national 
 unity against the German invasion and brought relief from strict ideologic
 al pressures on composers and other artists. Prokofiev wrote the symphony 
 for a large-scale orchestra\, including expanded winds and percussion\, an
 d described the symphony as “glorifying the human spirit.” Its expansive f
 irst movement (Andante) unfolds with arching themes\, the second movement 
 (Scherzo) bristles with energy\, the third movement (Adagio) is dissonant 
 and introspective\, and the finale drives forward with force.</p><p>The pr
 emier in January 1945 in Moscow was a success\, and it famously said that 
 Prokofiev had to pause before the first downbeat as military fire sounded 
 in the distance. Though later political condemnations would shadow the rem
 ainder of his career\, Symphony No. 5 serves as a testament to resilience.
 <br>-Andrew Vu</p><hr><h2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260313T193000
DTEND;TZID=America/Los_Angeles:20260314T000000
LAST-MODIFIED:20260309T161114Z
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
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>David Alexander Rahbee leads  the U
 W Symphony in a program of music by Mieczyslaw Karlowicz and Sergei Prokof
 iev. Faculty violinist Rachel Lee Priday is featured soloist with the orch
 estra for Karlowicz's Violin Concerto in A major\, op. 8. </p><hr><h2>Prog
 ram</h2><p><strong>Mieczyslaw Karłowicz: </strong>Violin Concerto in A maj
 or\, op.8<br><em>Rachel Lee Priday\, violin</em></p><p><strong>Sergei Prok
 ofiev: </strong>Symphony No.5 in B-flat major\, op.100</p><hr><h2>Program 
 Notes</h2><p><strong>Mieczyslaw Karłowicz: Violin Concerto in A major\, op
 .8</strong><br>A Polish composer\, conductor\, and violinist\, Mieczysław 
 Karłowicz (pronounced kar-woh-vich)\, composed his violin concerto in 1902
  at the age of 26. He died just over six years later in an avalanche. Desp
 ite this\, Karłowicz left us some of the most emotionally resonant Polish 
 music of his time. Influenced by Tchaikovsky\, Wagner\, and Richard Straus
 s\, his music is characterized as late Romantic with rich orchestration an
 d color. Karłowicz dedicated the concerto to his violin teacher\, Stanisła
 w Barcewicz\, and premiered it with Barcewicz as violinist and himself on 
 the podium with the Berlin Philharmonic. Since then\, the work has been re
 latively unknown outside Poland\, though more recordings have been made re
 cently. The first movement begins nobly\, much like Tchaikovsky’s First Pi
 ano Concerto (nearly a quotation in reverse!)\, but unlike Tchaikovsky’s c
 oncerto and many other concertos\, the soloist\, as opposed to the orchest
 ra\, takes over and introduces the main melody. The second movement\, the 
 Romanza\, follows without pause. The violin presents a contemplative melod
 y and repeats it several times\, each with a different orchestral color an
 d harmony. The finale is a lively\, dance-like movement with a recurring v
 iolin theme. Between the recurrences are two contrasting sections\; the se
 cond is notable for its soaring cello melody. The piece concludes with a t
 riumphant build and release of energy\, recalling the theme from the first
  movement.<br>-Sota Emura</p><p><strong>Prokofiev: Symphony No.5 in B-flat
  major\, op.100</strong><br>Composed in 1944\, Symphony No.5 stands at the
  center of Sergei Prokofiev’s complicated relationship with his homeland. 
 Fourteen years had passed since his Fourth Symphony. After leaving Russia 
 in the wake of the 1917 Revolution\, Prokofiev built a career abroad\, yet
  the Soviet government persistently called to him with commissions and sup
 port for premiers in hopes of bringing him back. Hopeful that the USSR wou
 ld offer greater opportunities for musicians\, he returned permanently in 
 1936\, surrendering his passport for “safekeeping\,” ultimately never goin
 g abroad again.</p><p>Written in a month during the Summer of 1944 in Ivan
 ovo at a retreat for composers\, the Fifth symphony was a success in its w
 artime context. Though artists were subjected to ideological scrutiny and 
 encouraged to produce large-scale patriotic works\, World War II provided 
 a brief sense of national unity against the German invasion and brought re
 lief from strict ideological pressures on composers and other artists. Pro
 kofiev wrote the symphony for a large-scale orchestra\, including expanded
  winds and percussion\, and described the symphony as “glorifying the huma
 n spirit.” Its expansive first movement (Andante) unfolds with arching the
 mes\, the second movement (Scherzo) bristles with energy\, the third movem
 ent (Adagio) is dissonant and introspective\, and the finale drives forwar
 d with force.</p><p>The premier in January 1945 in Moscow was a success\, 
 and it famously said that Prokofiev had to pause before the first downbeat
  as military fire sounded in the distance. Though later political condemna
 tions would shadow the remainder of his career\, Symphony No. 5 serves as 
 a testament to resilience.<br>-Andrew Vu</p><hr><h2>Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:bb3947af-c6b4-4872-8ba6-97424737e51b
DTSTAMP:20260612T083118Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20260312T165240Z
DESCRIPTION:<p>Students of Yuchen Qi\, Kane Chang\, and Boheng Wang perform
  in this recital presented by the Secondary Piano class.</p>
DTSTART;TZID=America/Los_Angeles:20260320T193000
DTEND;TZID=America/Los_Angeles:20260321T000000
LAST-MODIFIED:20260312T165701Z
SUMMARY:: Secondary Piano Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-03-20/secondary-piano-recital
END:VEVENT
BEGIN:VEVENT
UID:4d5b5b46-1791-4304-8e30-b0b03926225a
DTSTAMP:20260612T083118Z
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><h2 class='x_M
 soNormal'>Featured Performers</h2>  Program details <a href='/sites/music/
 files/documents/April%201%2C%202026.pdf'>HERE</a>.
DTSTART;TZID=America/Los_Angeles:20260401T123000
DTEND;TZID=America/Los_Angeles:20260402T000000
LAST-MODIFIED:20260330T144819Z
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>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><
 /div><div> </div><div>Program details <a href='/sites/music/files/document
 s/April%201%2C%202026.pdf'>HERE</a>.</div>
END:VEVENT
BEGIN:VEVENT
UID:0728bc06-62d9-49f0-87b3-d8db638b124c
DTSTAMP:20260612T083118Z
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> <stro
 ng>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
DTEND;TZID=America/Los_Angeles:20260408T000000
LAST-MODIFIED:20251002T191642Z
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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:b8674ac2-85e1-4c46-bdce-595aff239158
DTSTAMP:20260612T083118Z
CATEGORIES:Community Events\, Faculty Performances\, Talks
CLASS:PUBLIC
CREATED:20260327T194554Z
DESCRIPTION:<p>A post-screening discussion with visionary <a style='-webkit
 -text-stroke-width:0px\;border-width:0px\;box-sizing:inherit\;color:rgb(11
 9\, 102\, 35)\;font-family:'Open Sans'\, Corbel\, 'Lucida Grande'\, 'Lucid
 a Sans Unicode'\, 'Lucida Sans'\, 'DejaVu Sans'\, 'Bitstream Vera Sans'\, 
 'Liberation Sans'\, Verdana\, 'Verdana Ref'\, sans-serif\;font-feature-set
 tings:inherit\;font-kerning:inherit\;font-optical-sizing:inherit\;font-siz
 e-adjust:inherit\;font-size:16px\;font-style:normal\;font-variant-alternat
 es:inherit\;font-variant-caps:normal\;font-variant-east-asian:inherit\;fon
 t-variant-ligatures:inherit\;font-variant-numeric:inherit\;font-variant-po
 sition:inherit\;font-variation-settings:inherit\;font-weight:400\;font-wid
 th:inherit\;letter-spacing:0.16px\;line-height:inherit\;margin:0px\;orphan
 s:auto\;padding:0px\;text-align:start\;text-decoration:underline\;text-ind
 ent:0px\;text-transform:none\;transition:color 0.5s ease-in-out\, text-sha
 dow 0.5s ease-in-out\;vertical-align:baseline\;white-space:normal\;widows:
 auto\;word-spacing:0px\;' href='https://meanycenter.org/engage/artistic-pa
 rtner-2025-26-season' rel='noreferrer' target='_blank'>Peter Sellars</a> a
 nd Grammy Award-winning\, multi-instrumentalist <a style='-webkit-text-str
 oke-width:0px\;border-width:0px\;box-sizing:inherit\;color:rgb(119\, 102\,
  35)\;font-family:'Open Sans'\, Corbel\, 'Lucida Grande'\, 'Lucida Sans Un
 icode'\, 'Lucida Sans'\, 'DejaVu Sans'\, 'Bitstream Vera Sans'\, 'Liberati
 on Sans'\, Verdana\, 'Verdana Ref'\, sans-serif\;font-feature-settings:inh
 erit\;font-kerning:inherit\;font-optical-sizing:inherit\;font-size-adjust:
 inherit\;font-size:16px\;font-style:normal\;font-variant-alternates:inheri
 t\;font-variant-caps:normal\;font-variant-east-asian:inherit\;font-variant
 -ligatures:inherit\;font-variant-numeric:inherit\;font-variant-position:in
 herit\;font-variation-settings:inherit\;font-weight:400\;font-width:inheri
 t\;letter-spacing:0.16px\;line-height:inherit\;margin:0px\;orphans:auto\;p
 adding:0px\;text-align:start\;text-decoration:underline\;text-indent:0px\;
 text-transform:none\;transition:color 0.5s ease-in-out\, text-shadow 0.5s 
 ease-in-out\;vertical-align:baseline\;white-space:normal\;widows:auto\;wor
 d-spacing:0px\;' href='https://music.washington.edu/people/john-carlos-per
 ea' rel='noreferrer' target='_blank'>John-Carlos Perea</a>\, Chair of Ethn
 omusicology at UW\, follows this special screening of THE MUSIC OF STRANGE
 RS: Yo-Yo Ma and The Silkroad Ensemble\, presented by the Meany Center for
  the Performing Arts<br><br><strong style='-webkit-text-stroke-width:0px\;
 border-width:0px\;box-sizing:inherit\;caret-color:rgb(26\, 26\, 26)\;color
 :rgb(26\, 26\, 26)\;font-family:'Open Sans'\, Corbel\, 'Lucida Grande'\, '
 Lucida Sans Unicode'\, 'Lucida Sans'\, 'DejaVu Sans'\, 'Bitstream Vera San
 s'\, 'Liberation Sans'\, Verdana\, 'Verdana Ref'\, sans-serif\;font-featur
 e-settings:inherit\;font-kerning:inherit\;font-optical-sizing:inherit\;fon
 t-size-adjust:inherit\;font-size:16px\;font-style:normal\;font-variant-alt
 ernates:inherit\;font-variant-caps:normal\;font-variant-east-asian:inherit
 \;font-variant-ligatures:inherit\;font-variant-numeric:inherit\;font-varia
 nt-position:inherit\;font-variation-settings:inherit\;font-width:inherit\;
 letter-spacing:0.16px\;line-height:inherit\;margin:0px\;orphans:auto\;padd
 ing:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;text-tra
 nsform:none\;vertical-align:baseline\;white-space:normal\;widows:auto\;wor
 d-spacing:0px\;'>This event will be held at UW Communications Building\, R
 oom 120 Lecture Hall. Registration required. </strong><a style='border-wid
 th:0px\;box-sizing:inherit\;color:rgb(119\, 102\, 35)\;font-family:inherit
 \;font-feature-settings:inherit\;font-kerning:inherit\;font-optical-sizing
 :inherit\;font-size-adjust:inherit\;font-size:inherit\;font-style:inherit\
 ;font-variant-alternates:inherit\;font-variant-caps:inherit\;font-variant-
 east-asian:inherit\;font-variant-ligatures:inherit\;font-variant-numeric:i
 nherit\;font-variant-position:inherit\;font-variation-settings:inherit\;fo
 nt-weight:inherit\;font-width:inherit\;line-height:inherit\;margin:0px\;pa
 dding:0px\;text-decoration:underline\;transition:color 0.5s ease-in-out\, 
 text-shadow 0.5s ease-in-out\;vertical-align:baseline\;' href='https://doc
 s.google.com/forms/d/1a6I7UgpVOBwqqbWf-fIzDQ2ohcQNsr5GuqyOClVbV9c/viewform
 ?edit_requested=true' target='_blank'><strong style='-webkit-text-stroke-w
 idth:0px\;border-width:0px\;box-sizing:inherit\;caret-color:rgb(26\, 26\, 
 26)\;color:rgb(26\, 26\, 26)\;font-family:'Open Sans'\, Corbel\, 'Lucida G
 rande'\, 'Lucida Sans Unicode'\, 'Lucida Sans'\, 'DejaVu Sans'\, 'Bitstrea
 m Vera Sans'\, 'Liberation Sans'\, Verdana\, 'Verdana Ref'\, sans-serif\;f
 ont-feature-settings:inherit\;font-kerning:inherit\;font-optical-sizing:in
 herit\;font-size-adjust:inherit\;font-size:16px\;font-style:normal\;font-v
 ariant-alternates:inherit\;font-variant-caps:normal\;font-variant-east-asi
 an:inherit\;font-variant-ligatures:inherit\;font-variant-numeric:inherit\;
 font-variant-position:inherit\;font-variation-settings:inherit\;font-width
 :inherit\;letter-spacing:0.16px\;line-height:inherit\;margin:0px\;orphans:
 auto\;padding:0px\;text-align:start\;text-decoration:none\;text-indent:0px
 \;text-transform:none\;vertical-align:baseline\;white-space:normal\;widows
 :auto\;word-spacing:0px\;'>Reserve your spot</strong></a></p><p><a href='h
 ttps://meanycenter.org/tickets/2026-04/events/music-strangers-yo-yo-ma-and
 -silkroad-ensemble' data-entity-type='external'>Details available here</a>
 </p>
DTSTART;TZID=America/Los_Angeles:20260407T173000
DTEND;TZID=America/Los_Angeles:20260408T000000
LAST-MODIFIED:20260327T195354Z
SUMMARY:: External Event: Screening & Discussion: THE MUSIC OF STRANGERS: Y
 o-Yo Ma and The Silkroad Ensemble
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-07/external-event-screening
 -discussion-music-strangers-yo-yo-ma-and-silkroad
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span style='-webkit-text-stroke-width:0px\
 ;background-color:rgb(255\, 255\, 255)\;caret-color:rgb(26\, 26\, 26)\;col
 or:rgb(26\, 26\, 26)\;display:inline !important\;float:none\;font-family:'
 Open Sans'\, Corbel\, 'Lucida Grande'\, 'Lucida Sans Unicode'\, 'Lucida Sa
 ns'\, 'DejaVu Sans'\, 'Bitstream Vera Sans'\, 'Liberation Sans'\, Verdana\
 , 'Verdana Ref'\, sans-serif\;font-size:16px\;font-style:normal\;font-vari
 ant-caps:normal\;font-weight:400\;letter-spacing:0.16px\;orphans:auto\;tex
 t-align:start\;text-decoration:none\;text-indent:0px\;text-transform:none\
 ;white-space:normal\;widows:auto\;word-spacing:0px\;'>A post-screening dis
 cussion with visionary </span><a style='-webkit-text-stroke-width:0px\;bor
 der-width:0px\;box-sizing:inherit\;color:rgb(119\, 102\, 35)\;font-family:
 'Open Sans'\, Corbel\, 'Lucida Grande'\, 'Lucida Sans Unicode'\, 'Lucida S
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 0.16px\;line-height:inherit\;margin:0px\;orphans:auto\;padding:0px\;text-a
 lign:start\;text-decoration:underline\;text-indent:0px\;text-transform:non
 e\;transition:color 0.5s ease-in-out\, text-shadow 0.5s ease-in-out\;verti
 cal-align:baseline\;white-space:normal\;widows:auto\;word-spacing:0px\;' h
 ref='https://meanycenter.org/engage/artistic-partner-2025-26-season' rel='
 noreferrer' target='_blank'>Peter Sellars</a><span style='-webkit-text-str
 oke-width:0px\;background-color:rgb(255\, 255\, 255)\;caret-color:rgb(26\,
  26\, 26)\;color:rgb(26\, 26\, 26)\;display:inline !important\;float:none\
 ;font-family:'Open Sans'\, Corbel\, 'Lucida Grande'\, 'Lucida Sans Unicode
 '\, 'Lucida Sans'\, 'DejaVu Sans'\, 'Bitstream Vera Sans'\, 'Liberation Sa
 ns'\, Verdana\, 'Verdana Ref'\, sans-serif\;font-size:16px\;font-style:nor
 mal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:0.16px\;orp
 hans:auto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-t
 ransform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'> and G
 rammy Award-winning\, multi-instrumentalist </span><a style='-webkit-text-
 stroke-width:0px\;border-width:0px\;box-sizing:inherit\;color:rgb(119\, 10
 2\, 35)\;font-family:'Open Sans'\, Corbel\, 'Lucida Grande'\, 'Lucida Sans
  Unicode'\, 'Lucida Sans'\, 'DejaVu Sans'\, 'Bitstream Vera Sans'\, 'Liber
 ation Sans'\, Verdana\, 'Verdana Ref'\, sans-serif\;font-feature-settings:
 inherit\;font-kerning:inherit\;font-optical-sizing:inherit\;font-size-adju
 st:inherit\;font-size:16px\;font-style:normal\;font-variant-alternates:inh
 erit\;font-variant-caps:normal\;font-variant-east-asian:inherit\;font-vari
 ant-ligatures:inherit\;font-variant-numeric:inherit\;font-variant-position
 :inherit\;font-variation-settings:inherit\;font-weight:400\;font-width:inh
 erit\;letter-spacing:0.16px\;line-height:inherit\;margin:0px\;orphans:auto
 \;padding:0px\;text-align:start\;text-decoration:underline\;text-indent:0p
 x\;text-transform:none\;transition:color 0.5s ease-in-out\, text-shadow 0.
 5s ease-in-out\;vertical-align:baseline\;white-space:normal\;widows:auto\;
 word-spacing:0px\;' href='https://music.washington.edu/people/john-carlos-
 perea' rel='noreferrer' target='_blank'>John-Carlos Perea</a><span style='
 -webkit-text-stroke-width:0px\;background-color:rgb(255\, 255\, 255)\;care
 t-color:rgb(26\, 26\, 26)\;color:rgb(26\, 26\, 26)\;display:inline !import
 ant\;float:none\;font-family:'Open Sans'\, Corbel\, 'Lucida Grande'\, 'Luc
 ida Sans Unicode'\, 'Lucida Sans'\, 'DejaVu Sans'\, 'Bitstream Vera Sans'\
 , 'Liberation Sans'\, Verdana\, 'Verdana Ref'\, sans-serif\;font-size:16px
 \;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spa
 cing:0.16px\;orphans:auto\;text-align:start\;text-decoration:none\;text-in
 dent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spaci
 ng:0px\;'>\, Chair of Ethnomusicology at UW\, follows this special screeni
 ng of THE MUSIC OF STRANGERS: Yo-Yo Ma and The Silkroad Ensemble\, present
 ed by the Meany Center for the Performing Arts</span><br><br><strong style
 ='-webkit-text-stroke-width:0px\;border-width:0px\;box-sizing:inherit\;car
 et-color:rgb(26\, 26\, 26)\;color:rgb(26\, 26\, 26)\;font-family:'Open San
 s'\, Corbel\, 'Lucida Grande'\, 'Lucida Sans Unicode'\, 'Lucida Sans'\, 'D
 ejaVu Sans'\, 'Bitstream Vera Sans'\, 'Liberation Sans'\, Verdana\, 'Verda
 na Ref'\, sans-serif\;font-feature-settings:inherit\;font-kerning:inherit\
 ;font-optical-sizing:inherit\;font-size-adjust:inherit\;font-size:16px\;fo
 nt-style:normal\;font-variant-alternates:inherit\;font-variant-caps:normal
 \;font-variant-east-asian:inherit\;font-variant-ligatures:inherit\;font-va
 riant-numeric:inherit\;font-variant-position:inherit\;font-variation-setti
 ngs:inherit\;font-width:inherit\;letter-spacing:0.16px\;line-height:inheri
 t\;margin:0px\;orphans:auto\;padding:0px\;text-align:start\;text-decoratio
 n:none\;text-indent:0px\;text-transform:none\;vertical-align:baseline\;whi
 te-space:normal\;widows:auto\;word-spacing:0px\;'>This event will be held 
 at UW Communications Building\, Room 120 Lecture Hall. Registration requir
 ed. </strong><a style='border-width:0px\;box-sizing:inherit\;color:rgb(119
 \, 102\, 35)\;font-family:inherit\;font-feature-settings:inherit\;font-ker
 ning:inherit\;font-optical-sizing:inherit\;font-size-adjust:inherit\;font-
 size:inherit\;font-style:inherit\;font-variant-alternates:inherit\;font-va
 riant-caps:inherit\;font-variant-east-asian:inherit\;font-variant-ligature
 s:inherit\;font-variant-numeric:inherit\;font-variant-position:inherit\;fo
 nt-variation-settings:inherit\;font-weight:inherit\;font-width:inherit\;li
 ne-height:inherit\;margin:0px\;padding:0px\;text-decoration:underline\;tra
 nsition:color 0.5s ease-in-out\, text-shadow 0.5s ease-in-out\;vertical-al
 ign:baseline\;' href='https://docs.google.com/forms/d/1a6I7UgpVOBwqqbWf-fI
 zDQ2ohcQNsr5GuqyOClVbV9c/viewform?edit_requested=true' target='_blank'><st
 rong style='-webkit-text-stroke-width:0px\;border-width:0px\;box-sizing:in
 herit\;caret-color:rgb(26\, 26\, 26)\;color:rgb(26\, 26\, 26)\;font-family
 :'Open Sans'\, Corbel\, 'Lucida Grande'\, 'Lucida Sans Unicode'\, 'Lucida 
 Sans'\, 'DejaVu Sans'\, 'Bitstream Vera Sans'\, 'Liberation Sans'\, Verdan
 a\, 'Verdana Ref'\, sans-serif\;font-feature-settings:inherit\;font-kernin
 g:inherit\;font-optical-sizing:inherit\;font-size-adjust:inherit\;font-siz
 e:16px\;font-style:normal\;font-variant-alternates:inherit\;font-variant-c
 aps:normal\;font-variant-east-asian:inherit\;font-variant-ligatures:inheri
 t\;font-variant-numeric:inherit\;font-variant-position:inherit\;font-varia
 tion-settings:inherit\;font-width:inherit\;letter-spacing:0.16px\;line-hei
 ght:inherit\;margin:0px\;orphans:auto\;padding:0px\;text-align:start\;text
 -decoration:none\;text-indent:0px\;text-transform:none\;vertical-align:bas
 eline\;white-space:normal\;widows:auto\;word-spacing:0px\;'>Reserve your s
 pot</strong></a></p><p><a href='https://meanycenter.org/tickets/2026-04/ev
 ents/music-strangers-yo-yo-ma-and-silkroad-ensemble' data-entity-type='ext
 ernal'><span style='-webkit-text-stroke-width:0px\;background-color:rgb(25
 5\, 255\, 255)\;caret-color:rgb(26\, 26\, 26)\;color:rgb(26\, 26\, 26)\;di
 splay:inline !important\;float:none\;font-family:'Open Sans'\, Corbel\, 'L
 ucida Grande'\, 'Lucida Sans Unicode'\, 'Lucida Sans'\, 'DejaVu Sans'\, 'B
 itstream Vera Sans'\, 'Liberation Sans'\, Verdana\, 'Verdana Ref'\, sans-s
 erif\;font-size:16px\;font-style:normal\;font-variant-caps:normal\;font-we
 ight:400\;letter-spacing:0.16px\;orphans:auto\;text-align:start\;text-deco
 ration:none\;text-indent:0px\;text-transform:none\;white-space:normal\;wid
 ows:auto\;word-spacing:0px\;'>Details available here</span></a></p>
END:VEVENT
BEGIN:VEVENT
UID:9efbd890-358a-4968-8032-11d4c9b64b1e
DTSTAMP:20260612T083118Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20250815T003953Z
DESCRIPTION:<p>Seattle’s contemporary music orchestra performs new works fo
 r sinfonietta by faculty composers William Dougherty\, Joël-François Duran
 d\, and Huck Hodge and by graduate student composer Oliver Schoonover. A p
 erformance of György Ligeti's Piano Concerto features guest pianist Aaron 
 Wonson. With Donna Shin\, flute\, and select graduate-student members of t
 he UW Modern Music Ensemble. Julia Tai conducts. </p><hr><h2>Program</h2><
 p><br><strong>OLIVER SCHOONOVER: </strong>tearing down a forest to build a
  dog bar (2026) (world premiere)<br><br><strong>JOËL FRANÇOIS-DURAND: </st
 rong>Musica fict(iv)a for wind quintet (2026) (preview)<br>I. Musica fict(
 iv)a<br>Interlude<br>II. Variation en noir et blanc<br><br><strong>WILLIAM
  DOUGHERTY: </strong>the new normal (2016)<br><br><strong>HUCK HODGE: </st
 rong>La Llorona for flute and ensemble (2012)<br><strong>           </stro
 ng>Donna Shin\, flute soloist<br><br>INTERMISSION<br><br><strong>GYÖRGY LI
 GETI: </strong>Piano Concerto (1985-1988)<br> I.    Vivace molto ritmico e
  preciso<br>II.    Lento e deserto<br>III.    Vivace cantabile<br>IV.    A
 llegro risoluto<br>V.    Presto luminoso<br><strong>           </strong>Aa
 ron Wonson\, piano soloist</p><hr><h2>Seattle Modern Orchestra</h2><p>Juli
 a Tai\, conductor <br><br>Evan Pengra Sult\, flute *^<br>Janet Putnam\, ob
 oe *~<br>Angelique Poteat\, clarinet *^~<br>Cameron Deluca\, ocarina <br>S
 teven Morgan\, bassoon *^~<br>Jill Jaques\, horn ~<br>Brian Shaw\, trumpet
  *^~<br>Grant Reed\, trombone *^~<br>Bonnie Whiting\, percussion *^~<br>Ty
 ler Smith\, percussion *<br>Jiaxuan Wu\, piano *~<br>Jingshi Zhao\, piano 
 ^<br>Pala Garcia\, violin I *^~<br>Mikhail Schmidt\, violin I<br>Eric Ryne
 s\, violin II *^<br>Taylor DeCastro\, violin II<br>Erin Wight\, viola *^~<
 br>John Popham\, cello *^~<br>Abbey Blackwell\, bass *^~</p><p>*Schoonover
   ^Dougherty  ~Hodge</p><hr><h2>Program Notes</h2><p><strong>OLIVER SCHOON
 OVER: tearing down a forest to build a dog bar (2026)</strong><br>The wood
 s by my parents’ apartment are being torn down. I grew up playing in these
  woods. I remember waking up before dawn to go on early morning runs with 
 my dad and brother. My dad would lead the way to break through the spiderw
 ebs that were built across the trail the night before. The sound of the fr
 ogs from the pond in the morning was enormous. Sometimes if we were really
  quiet\, we would get into a long staring contest with a fox. After every 
 hurricane or tropical storm\, we would go to see what had fallen. Pine tre
 es snapped\, brought down to the forest floor\, but providing new life to 
 moss and fungi. Now they’re cleared away\, for Doghaus\, a bar you can bri
 ng your dog to if you pay the membership fee.</p><p>Every time I come back
  home\, more trees have been removed. The pond’s been filled in to make a 
 driveway. I don’t know what they did with the frogs. My parents started se
 eing deer outside their apartment\, searching for a new home.</p><p>I want
  to be clear that I’m not a NIMBY. I would celebrate affordable housing\, 
 community owned grocery stores\, projects that benefit our community. I al
 so want to be clear that I love both dogs and bars. But I’ve had a hard ti
 me expressing my anger towards this membership dog bar\, being built on a 
 road inaccessible to anyone without a car\, destroying the rich ecosystem 
 and driving out the original inhabitants.</p><p>In this piece\, I’ve asked
  members of the ensemble to share their own memories of nature that are me
 aningful to them. We all have unique experiences in nature that have shape
 d us\, and many of the locations of these memories are disappearing. Writi
 ng this piece has helped me feel and process my emotions as I watch my chi
 ldhood woods being torn down. As you listen\, I want to invite you to thin
 k about your own memories of nature\, and celebrate the ways that nature h
 as affected you in your life.</p><p><strong>JOËL-FRANÇOIS DURAND: Musica f
 ict(iv)a for wind quintet (2026) (preview)</strong><br>Musica fict(iv)a is
  a set of seven pieces and two interludes that make extensive use of first
 -order beats—an acoustic phenomenon that occurs when two pitches of very c
 lose frequency are played at the same time—presented in various musical co
 ntexts. In each piece\, the beats take on a different role.  The title Mus
 ica fict(iv)a refers to both the notion of 'outside' notes found in the mu
 sical theory of musica ficta from the middle ages\, and to the 'fictive' c
 haracter of the beats produced by these outside notes.</p><p>In parallel t
 o the medieval notion of Musica ficta\, the reference here is to the fact 
 that the tonal inflections that generate beats don’t so much create a micr
 otonal language as they are explorations of the musical potential of beats
 \, in particular as we approach the unison. In that sense\, they operate o
 utside the conventional notion of intervals.<br>Fictive music: since the b
 eats are not actually produced by the musicians (the performers just playe
 d two closely related\, but different tones)\, but result from the acousti
 c phenomenon of interference\, one could argue that the music they create 
 is not 'real': it exists in another\, non-material dimension. The beats pr
 oduce a 'fictive\,' but clearly perceived musical line beyond the more tra
 ditional musical gestures.</p><p>One of the main reasons why I find this p
 articularly interesting is because these two types of discourse\, the fict
 ive and the traditional ones\, require very different types of listening\,
  different types of attention. The listener has to switch their level of a
 ttention in order to follow one or the other type\, and perceiving them at
  the same time is akin to listening to a new kind of polyphony.<br><br>We 
 will hear movements I and II\, and the first Interlude tonight:<br>I.    M
 usica fict(iv)a<br>Interlude I<br>II.    Variation en noir et blanc</p><p>
 - In I.\, Musica fict(iv)a\, the held notes that create the beat phenomeno
 n (at first in the duo flute-clarinet) are hidden behind faster gestures i
 n the other three instruments\, and can be heard as an echo. They progress
 ively come more to the foreground in the course of the piece.<br>- In II.\
 , Variation en noir et blanc (Variation in black and white)\, the beats ar
 e the result of melodic lines of tiny\, microtonal intervals played by cla
 rinet\, French horn and bassoon against a more steady held tone\; addition
 ally\, one of the lines (generally in the bassoon) is a glissando\, which 
 enhances the constant variation of beats.</p><p><strong>WILLIAM DOUGHERTY:
  the new normal (2016)</strong><br>The summer of 2016 was a particularly v
 iolent and dark time in the world\, one that now reads less as an aberrati
 on than as an early signal of a longer period of instability that continue
 s today. The aftermath of the Arab Spring\, which began in late 2010\, gav
 e way to protracted conflict across North Africa and the Middle East\, and
  to the mass displacement of civilians from cities still marked by war. Ac
 ross Europe\, stagnant wages and the arrival of refugees—many fleeing the 
 war in Syria—contributed to a political backlash and the rise of populist\
 , often xenophobic\, right-wing movements. The United Kingdom voted to lea
 ve the European Union\, choosing a path of isolation over long-standing ec
 onomic and political partnership. In the United States\, the presidential 
 election cycle was marked by a pervasive sense of unease\, as a candidate 
 gained traction with a message that framed the country in stark and divisi
 ve terms\, resonating strongly with segments of the population who felt ex
 cluded from the promises of globalization. At the same time\, gun violence
  in major cities such as Chicago and Philadelphia surged\, and mass shooti
 ngs—in malls\, nightclubs\, churches\, universities\, workplaces\, and cou
 rthouses—became a recurring feature of public life. The experiences of Bla
 ck Americans living with biased policing were brought into wider public vi
 ew through the increasing ubiquity of mobile recording and social media\, 
 which in some cases broadcast acts of violence in real time.<br>This work 
 emerged as a response to those conditions. It is constructed through a pro
 cess of collage\, connecting short samples drawn from six different musica
 l sources. The piece unfolds in four continuous sections. Following a brie
 f introduction\, each section draws on sampled material as its primary sou
 rce. Some samples appear in their original form in the fixed media part\, 
 while others are transformed—filtered\, stretched\, or orchestrated—and pe
 rformed by the instrumentalists.<br>The second section incorporates a reco
 rding made by 20th-century ethnomusicologist and folklorist Alan Lomax of 
 Black prisoners at the Mississippi State Penitentiary at Parchman in 1947\
 , singing “Old Alabama” while chopping wood. Its harmonic framework is der
 ived from “Ahi troppo\, ahi troppo e duro\,” an aria from Claudio Montever
 di’s 1608 Ballo delle ingrate. In the aria\, a woman condemned to Hades la
 ments her return to the underworld after briefly experiencing the warmth a
 nd light of the living world. This section also features orchestrated mate
 rial derived from Merzbow’s 1996 album Pulse Demon.<br>The third and fourt
 h sections similarly draw on historical material for their harmonic basis\
 , in this case a passage from Henry Purcell’s Music for the Funeral of Que
 en Mary (1695)\, specifically “In the midst of life we are in death.” Acro
 ss these sections\, non-voiced sounds—pops\, clicks\, static\, and beeps d
 rawn from police radio recordings connected to mass shootings and the kill
 ings of unarmed Black Americans—are layered into dense\, heterophonic text
 ures.</p><p><strong>HUCK HODGE: La Llorona for flute and ensemble (2012)</
 strong><br>This chamber concerto draws on images from the 1585 Florentine 
 Codex of Bernardino Sahagun. Known in English as A General History of the 
 Things of New Spain\, this codex is regarded as the first ethnographic stu
 dy of pre- Columbian Mexico. This piece focuses on the final volume\, The 
 Conquest\, and in particular\, on the accounts of the omens that were in c
 irculation among the Nahua (Aztecs) some years before. Though written in a
  temporally and culturally specific context\, these texts are striking for
  their sheer poetic beauty as well as their universal evocations of loss\,
  fear and hope. One of the more arresting passages is as follows\,     <br
 >A sixth omen: often was heard a woman going weeping\, going crying out. L
 oudly did she cry out at night. She walked about saying: “¡O hijos míos\, 
 ya nos perdimos (O My sons\, now we are about to go)!” Sometimes she said:
  “¿O hijos míos\, adónde os llevaré (My sons\, where am I to take you)”?<b
 r>This depiction bears a striking similarity to the figure of la llorona (
 the Weeping Woman)\, a ghostly figure that appears in various forms in the
  folklore of Mesoamerica and whose cries fortell the coming of death and m
 isfortune. In some accounts\, if her cry sounds close at hand then the spi
 rit is far away and all is well\, but if she sounds distant then la lloron
 a is in reality close by and death will come soon. In an exploration of th
 is disorienting experience of space and distance\, the ensemble is amplifi
 ed and its sound sent to various unpredictable locations in the performanc
 e hall. This work was commissioned by the Talea Ensemble with support from
  New Music USA for the 2012 Contempuls Festival\, Prague.</p><p><strong>GY
 ÖRGY LIGETI: Piano Concerto (1985-1988)</strong><br>I composed the Piano C
 oncerto in two stages: the first three movements during the years 1985-86\
 , the next two in 1987\, the final autograph of the last movement was read
 y by January\, 1988. The concerto is dedicated to the American conductor M
 ario di Bonaventura. <br>The markings of the movements are the following:<
 /p><p>1. Vivace molto ritmico e preciso <br>2. Lento e deserto <br>3. Viva
 ce cantabile <br>4. Allegro risoluto <br>5. Presto luminoso.<br>The first 
 performance of the three-movement Concerto was on October 23rd\, 1986 in G
 raz. Mario di Bonaventura conducted while his brother\, Anthony di Bonaven
 tura\, was the soloist. Two days later the performance was repeated in the
  Vienna Konzerthaus. After hearing the work twice\, I came to the conclusi
 on that the third movement is not an adequate finale\; my feeling of form 
 demanded continuation\, a supplement. That led to the composing of the nex
 t two movements. The premiere of the whole cycle took place on February 29
 th\, 1988\, in the Vienna Konzerthaus with the same conductor and the same
  pianist.</p><p>The orchestra consisted of the following: flute\, oboe\, c
 larinet\, bassoon\, horn\, trumpet\, tenor trombone\, percussion and strin
 gs. The flautist also plays the piccoIo\, the clarinetist\, the alto ocari
 na. The percussion is made up of diverse instruments\, which one musician-
 virtuoso can play. It is more practical\, however\, if two or three musici
 ans share the instruments. Besides traditional instruments the percussion 
 part calls also for two simple wind instruments: the slide whistle and the
  harmonica.</p><p>In the Piano Concerto I realized new concepts of harmony
  and rhythm.</p><p>The first movement is written simultaneously 12/8 and 4
 /4 (8/8). This “three over two” relation is in itself nothing new. Because
 \, however\, I articulate 12 triola and 8 duola pulses\, an entangled\, up
  till now unheard kind of polymetry is created. The rhythm is additionally
  complicated because of asymmetric groupings inside two speed layers\, whi
 ch means accents are asymmetrically distributed. These groups\, as in the 
 talea technique\, have fixed\, continuously repeating rhythmic structures 
 of varying lengths in speed layers of 12/8 and 4/4. This means that the re
 peating pattern in the 12/8 level and the pattern in the 4/4 level do not 
 coincide and continuously give a kaleidoscope of renewing combinations.</p
 ><p>In our perception we quickly resign from following particular rhythmic
 al successions and that what is going on in time appears for us as somethi
 ng static\, resting. This music\, if it is played properly\, in the right 
 tempo and with the right accents inside particular layers\, after a certai
 n time “rises'\, as it were\, as a plane after taking off: the rhythmic ac
 tion\, too complex to be able to follow in detail\, begins 'flying'. This 
 diffusion of individual structures into a different global structure is on
 e of my basic compositional concepts: from the end of the fifties\, from t
 he orchestral works Apparitions and Atmosphères I continuously have been l
 ooking for new ways of resolving this basic question. The harmony of the f
 irst movement is based on mixtures\, hence on the parallel leading of voic
 es. This technique is used here in a rather simple form\; later in the fou
 rth movement it will be considerably developed.</p><p>The second movement 
 (the only slow one amongst five movements) also has a talea type of struct
 ure\, it is however much simpler rhythmically\, because it contains only o
 ne speed layer. The melody is developed through a rigorous interval mode i
 n which two minor seconds and one major second alternate\, therefore nine 
 notes inside an octave. This mode is transposed into different degrees and
  it also determines the harmony of the movement\; however\, in the closing
  episode in the piano part there is a combination of diatonics (white keys
 ) and pentatonics (black keys) in brilliant\, sparkling quasimixtures\, wh
 ile the orchestra continues to play in the nine tone mode.</p><p>In this m
 ovement I used isolated sounds and extreme registers (piccolo in a very lo
 w register\, bassoon in a very high register\, canons played by the slide 
 whistle\, the alto ocarina and brass with a 'harmon-mute'' damper\, 'cutti
 ng' sound combinations of the piccolo\, clarinet and oboe in an extremely 
 high register\, also alternating of a whistle-siren and xylophone). The th
 ird movement also has one speed layer and because of this it appears as si
 mpler than the first\, but actually the rhythm is very complicated in a di
 fferent way here. Above the uninterrupted\, fast and regular basic pulse\,
  thanks to the asymmetric distribution of accents\, different types of hem
 iolas and 'inherent melodical patterns' appear (the term was coined by Ger
 hard Kubik in relation to central African music). If this movement is play
 ed with the adequate speed and with very clear accentuation\, illusory rhy
 thmic-melodical figures appear. These figures are not played directly\; th
 ey do not appear in the score\, but exist only in our perception as a resu
 lt of co-operation of different voices.</p><p>Already earlier I had experi
 mented with illusory rhythmics: in Poème symphonique for 100 metronomes (1
 962)\, in Continuum for harpsichord (1968)\, in Monument for two pianos (1
 976)\, and especially in the first and sixth piano etude Désordre and Auto
 mne à Varsovie (1985).</p><p>The third movement of the Piano Concerto is u
 p to now the clearest example of illusory rhythmics and illusory melody. I
 n intervallic and chordal structure this movement is based on alternation\
 , and also inter-relation of various modal and quasi-equidistant harmony s
 paces. The tempered twelve-part division of the octave allows for diatonic
 al and other modal interval successions\, which are not equidistant\, but 
 are based on the alternation of major and minor seconds in different group
 s. The tempered system also allows for the use of the anhemitonic pentaton
 ic scale (the black keys of the piano). From equidistant scales\, therefor
 e interval formations which are based on the division of an octave in equa
 l distances\, the twelve-tone tempered system allows only chromatics (only
  minor seconds) and the six-tone scale (the whole-tone: only major seconds
 ).</p><p>Moreover\, the division of the octave into four parts only minor 
 thirds) and three parts (three major thirds) is possible. In several music
  cultures different equidistant divisions of an octave are accepted\, for 
 example\, in the Javanese slendro into five parts\, in Melanesia into seve
 n parts\, popular also in South¬east Asia\, and apart from this\, in south
 ern Africa. This does not mean an exact equidistance: there is a certain t
 olerance for the inaccurateness of the interval tuning.</p><p>These tuning
 s have attracted me for several years. However I did not want to re-tune t
 he piano (microtone deviations appear in the concerto only in a few places
  in the horn and trombone parts led in natural tones). After the period of
  experimenting\, I got to pseudo- or quasi¬equidistant intervals\, which i
 s neither whole-tone nor chromatic: in the twelve-tone system\, two whole-
 tone scales are possible\, shifted a minor second apart from each other. T
 herefore\, I connect these two scales (or sound resources)\, and for examp
 le\, places occur where the melodies and figurations in the piano part are
  created from both whole tone scales\; in one band one six-tone sound reso
 urce is utilized\, and in the other hand\, the complementary. In this way 
 whole-tonality and chromaticism mutually reduce themselves: a type of defo
 rmed equidistancism is formed\, strangely brilliant and at the same time '
 slanting'\; illusory harmony\, indeed being created inside the tempered tw
 elve-tone system\, but in sound quality not belonging to it anymore.</p><p
 >The appearance of such 'slanted¬equidistant harmony fields' alternating w
 ith modal fields and based on chords built on fifths (mainly in the piano 
 part)\, complemented with mixtures built on fifths in the orchestra\, give
 s this movement an individual\, soft-metallic colour (a metallic sound res
 ulting from harmonics).</p><p>The fourth movement was meant to be the cent
 ral movement of the Concerto. Its melodc-rhythmic elements (embryos or fra
 gments of motives) in themselves are simple. The movement also begins simp
 ly\, with a succession of overlapping of these elements in the mixture typ
 e structures. Also here a kaleidoscope is created\, due to a limited numbe
 r of these elements - of these pebbles in the kaleidoscope - which continu
 ously return in augmentations and diminutions.</p><p>Step by step\, howeve
 r\, so that in the beginning we cannot hear it\, a compiled rhythmic organ
 ization of the talea type gradually comes into daylight\, based on the sim
 ultaneity of two mutually shifted to each other speed layers (also triplet
  and duoles\, however\, with different asymmetric structures than in the f
 irst movement). While longer rests are gradually filled in with motive fra
 gments\, we slowly come to the conclusion that we have found ourselves ins
 ide a rhythmic-melodical whirl: without change in tempo\, only through inc
 reasing the density of the musical events\, a rotation is created in the s
 tream of successive and compiled\, augmented and diminished motive fragmen
 ts\, and increasing the density suggests acceleration.</p><p>Thanks to the
  periodical structure of the composition\, 'always new but however of the 
 same' (all the motivic cells are similar to earlier ones but none of them 
 are exactly repeated\; the general structure is therefore self-similar)\, 
 an impression is created of a gigantic\, indissoluble network. Also\, rhyt
 hmic structures at first hidden gradually begin to emerge\, two independen
 t speed layers with their various internal accentuations.</p><p>This great
 \, self-similar whirl in a very indirect way relates to musical associatio
 ns\, which came to my mind while watching the graphic projection of the ma
 thematical sets of Julia and of Mandelbrot made with the help of a compute
 r. I saw these wonderful pictures of fractal creations\, made by scientist
 s from Brema\, Peitgen and Richter\, for the first time in 1984. From that
  time they have played a great role in my musical concepts. This does not 
 mean\, however\, that composing the fourth movement I used mathematical me
 thods or iterative calculus\; indeed\, I did use constructions which\, how
 ever\, are not based on mathematical thinking\, but are rather 'craftman’s
 ' constructions (in this respect\, my attitude towards mathematics is simi
 lar to that of the graphic artist Maurits Escher). I am concerned rather w
 ith intuitional\, poetic\, synesthetic correspondence\, not on the scienti
 fic\, but on the poetic level of thinking.</p><p>The fifth\, very short Pr
 esto movement is harmonically very simple\, but all the more complicated i
 n its rhythmic structure: it is based on the further development of ''inhe
 rent patterns' of the third movement. The quasi-equidistance system domina
 tes harmonically and melodically in this movement\, as in the third\, alte
 rnating with harmonic fields\, which are based on the division of the chro
 matic whole into diatonics and anhemitonic pentatonics. Polyrhythms and ha
 rmonic mixtures reach their greatest density\, and at the same time this m
 ovement is strikingly light\, enlightened with very bright colours: at fir
 st it seems chaotic\, but after listening to it for a few times it is easy
  to grasp its content: many autonomous but self-similar figures which cros
 sing themselves.</p><p>I present my artistic credo in the Piano Concerto: 
 I demonstrate my independence from criteria of the traditional avantgarde\
 , as well as the fashionable postmodernism. Musical illusions which I cons
 ider to be also so important are not a goal in itself for me\, but a found
 ation for my aesthetical attitude. I prefer musical forms which have a mor
 e object-like than processual character. Music as 'frozen' time\, as an ob
 ject in imaginary space evoked by music in our imagination\, as a creation
  which really develops in time\, but in imagination it exists simultaneous
 ly in all its moments. The spell of time\, enduring its passing by\, closi
 ng it in a moment of the present is my main intention as a composer. -Györ
 gy Ligeti</p><hr><h2>Biographies</h2><h3><a href='https://www.seattlemoder
 norchestra.org'>Seattle Modern Orchestra</a></h3><p></p><p>Founded in 2010
 \, <strong>Seattle Modern Orchestra (SMO)</strong> is the only large ensem
 ble in the Pacific Northwest solely dedicated to the music of the 20th and
  21st centuries. Led by co-artistic directors <strong>Julia Tai </strong>a
 nd <strong>Bonnie Whiting\, </strong>SMO commissions and premieres new wor
 ks from an international lineup of composers\, in addition to presenting i
 mportant pieces from the contemporary repertoire that are rarely if ever h
 eard by Seattle audiences. The ensemble “operates at that exciting cusp be
 tween old and new\, between tradition and innovation” (Vanguard Seattle) c
 urating new sounds and experiences for concert goers in the region.<br>SMO
  provides audiences with performances of the best in contemporary chamber 
 and orchestral music\, and develops podcasts\, lectures\, educational resi
 dencies\, and other forms of community engagement in an accessible and inv
 iting format all designed to expand the listener’s appreciation and awaren
 ess of the music of today.<br> </p><h3>Aaron Wonson</h3><p>Pianist <strong
 >Aaron Wonson </strong>is equally at home with the music of Ives and Liget
 i as he is with Bach\, Debussy\, or Thelonious Monk. Jeremy Denk described
  his technique as “scary\,” and his extensive new music collaborations inc
 lude composers Phillip Cashian\, Lei Liang\, Elizabeth Ogonek\, and conduc
 tors David Dzubay and Timothy Weiss. Recent recording projects include an 
 arrangement of Bela Bartok’s first violin sonata for piano and alto saxoph
 one and a jazz trio album.</p><p>Wonson holds degrees from Oberlin Conserv
 atory\, studying with Peter Takács\, and from Jacobs School of Music\, wit
 h Spencer Myer. He is currently pursuing a DMA degree in piano performance
  and pedagogy at Boston University with Andrius Zlabys. While at the Jacob
 s School\, he was involved in a piano\, violin\, and clarinet trio funded 
 by the Verdehr Trio of Michigan University. In addition to classical perfo
 rmance\, Wonson also composes\, plays jazz\, and teaches at the Rhode Isla
 nd Philharmonic Music School. He currently resides in the greater Boston a
 rea. </p><h3>Oliver Schoonover</h3><p><strong>Oliver Schoonover</strong> i
 s a composer and pianist based in Seattle\, Washington. He writes music th
 at celebrates the musicality of everyday objects and the performer as a hu
 man being. He is especially interested in ASMR sounds\, soft sounds that p
 roduce a tingling\, static-like sensation.</p><p>Oliver is currently pursu
 ing a master of music in composition at the University of Washington. Prev
 iously\, he graduated from Florida State University with a B.M. in composi
 tion. His works have been performed by Polymorphia\, the FSU Electric Cham
 ber Orchestra\, the St. John's Episcopal Church Compline Choir\, at the FS
 U Festival of Creative Arts\, and at TEDxFSU.</p><p>As a pianist\, he has 
 performed contemporary music with Polymorphia\, the FSU Electric Chamber O
 rchestra\, the FSU Wind Ensemble\, and the UW Wind Ensemble and Symphonic 
 Band\, and has performed at the FSU Festival of New Music\, the FSU Festiv
 al of Creative Arts\, and the FSU Panama City ASCENT Tech Expo.</p>
DTSTART;TZID=America/Los_Angeles:20260408T193000
DTEND;TZID=America/Los_Angeles:20260409T000000
LAST-MODIFIED:20260521T200912Z
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 <meta charset='UTF-8'>new works for sinfonietta by faculty composers 
 William Dougherty\, Joël-François Durand\, and Huck Hodge and by graduate 
 student composer Oliver Schoonover. A performance of György Ligeti's Piano
  Concerto features guest pianist Aaron Wonson. With Donna Shin\, flute\, a
 nd select graduate-student members of the UW Modern Music Ensemble. Julia 
 Tai conducts. </p><hr><h2>Program</h2><p><br><strong>OLIVER SCHOONOVER: </
 strong><em>tearing down a forest to build a dog bar </em>(2026) (world pre
 miere)<br><br><strong>JOËL FRANÇOIS-DURAND: </strong><em>Musica fict(iv)a 
 </em>for wind quintet (2026) (preview)<br>I. Musica fict(iv)a<br>Interlude
 <br>II. Variation en noir et blanc<br><br><strong>WILLIAM DOUGHERTY: </str
 ong><em>the new normal </em>(2016)<br><br><strong>HUCK HODGE: </strong><em
 >La Llorona</em> for flute and ensemble (2012)<br><strong>           </str
 ong><em>Donna Shin\, flute soloist</em><br><br>INTERMISSION<br><br><strong
 >GYÖRGY LIGETI: </strong><em>Piano Concerto </em>(1985-1988)<br><span styl
 e='-webkit-text-stroke-width:0px\;background-color:white\;color:rgb(32\, 3
 2\, 32)\;font-family:Arial\, sans-serif\;font-size:12pt\;font-style:normal
 \;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;line-h
 eight:18.4px\;orphans:auto\;text-align:start\;text-decoration:none\;text-i
 ndent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spac
 ing:0px\;'> I.    Vivace molto ritmico e preciso</span><br><span style='-w
 ebkit-text-stroke-width:0px\;background-color:white\;color:rgb(32\, 32\, 3
 2)\;font-family:Arial\, sans-serif\;font-size:12pt\;font-style:normal\;fon
 t-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;line-height
 :18.4px\;orphans:auto\;text-align:start\;text-decoration:none\;text-indent
 :0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0
 px\;'>II.    Lento e deserto</span><br><span style='-webkit-text-stroke-wi
 dth:0px\;background-color:white\;color:rgb(32\, 32\, 32)\;font-family:Aria
 l\, sans-serif\;font-size:12pt\;font-style:normal\;font-variant-caps:norma
 l\;font-weight:400\;letter-spacing:normal\;line-height:18.4px\;orphans:aut
 o\;text-align:start\;text-decoration:none\;text-indent:0px\;text-transform
 :none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>III.    Vivace
  cantabile</span><br><span style='-webkit-text-stroke-width:0px\;backgroun
 d-color:white\;color:rgb(32\, 32\, 32)\;font-family:Arial\, sans-serif\;fo
 nt-size:12pt\;font-style:normal\;font-variant-caps:normal\;font-weight:400
 \;letter-spacing:normal\;line-height:18.4px\;orphans:auto\;text-align:star
 t\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-space
 :normal\;widows:auto\;word-spacing:0px\;'>IV.    Allegro risoluto</span><b
 r><span style='-webkit-text-stroke-width:0px\;background-color:white\;colo
 r:rgb(32\, 32\, 32)\;font-family:Arial\, sans-serif\;font-size:12pt\;font-
 style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:no
 rmal\;line-height:18.4px\;orphans:auto\;text-align:start\;text-decoration:
 none\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:aut
 o\;word-spacing:0px\;'>V.    Presto luminoso</span><br><strong>           
 </strong><em>Aaron Wonson\, piano soloist</em></p><hr><h2>Seattle Modern O
 rchestra</h2><p><em>Julia Tai\, conductor </em><br><br>Evan Pengra Sult\, 
 flute *^<br>Janet Putnam\, oboe *~<br>Angelique Poteat\, clarinet *^~<br>C
 ameron Deluca\, ocarina <br>Steven Morgan\, bassoon *^~<br>Jill Jaques\, h
 orn ~<br>Brian Shaw\, trumpet *^~<br>Grant Reed\, trombone *^~<br>Bonnie W
 hiting\, percussion *^~<br>Tyler Smith\, percussion *<br>Jiaxuan Wu\, pian
 o *~<br>Jingshi Zhao\, piano ^<br>Pala Garcia\, violin I *^~<br>Mikhail Sc
 hmidt\, violin I<br>Eric Rynes\, violin II *^<br>Taylor DeCastro\, violin 
 II<br>Erin Wight\, viola *^~<br>John Popham\, cello *^~<br>Abbey Blackwell
 \, bass *^~</p><p>*Schoonover  ^Dougherty  ~Hodge</p><hr><h2>Program Notes
 </h2><p><strong>OLIVER SCHOONOVER: tearing down a forest to build a dog ba
 r (2026)</strong><br>The woods by my parents’ apartment are being torn dow
 n. I grew up playing in these woods. I remember waking up before dawn to g
 o on early morning runs with my dad and brother. My dad would lead the way
  to break through the spiderwebs that were built across the trail the nigh
 t before. The sound of the frogs from the pond in the morning was enormous
 . Sometimes if we were really quiet\, we would get into a long staring con
 test with a fox. After every hurricane or tropical storm\, we would go to 
 see what had fallen. Pine trees snapped\, brought down to the forest floor
 \, but providing new life to moss and fungi. Now they’re cleared away\, fo
 r Doghaus\, a bar you can bring your dog to if you pay the membership fee.
 </p><p>Every time I come back home\, more trees have been removed. The pon
 d’s been filled in to make a driveway. I don’t know what they did with the
  frogs. My parents started seeing deer outside their apartment\, searching
  for a new home.</p><p>I want to be clear that I’m not a NIMBY. I would ce
 lebrate affordable housing\, community owned grocery stores\, projects tha
 t benefit our community. I also want to be clear that I love both dogs and
  bars. But I’ve had a hard time expressing my anger towards this membershi
 p dog bar\, being built on a road inaccessible to anyone without a car\, d
 estroying the rich ecosystem and driving out the original inhabitants.</p>
 <p>In this piece\, I’ve asked members of the ensemble to share their own m
 emories of nature that are meaningful to them. We all have unique experien
 ces in nature that have shaped us\, and many of the locations of these mem
 ories are disappearing. Writing this piece has helped me feel and process 
 my emotions as I watch my childhood woods being torn down. As you listen\,
  I want to invite you to think about your own memories of nature\, and cel
 ebrate the ways that nature has affected you in your life.</p><p><strong>J
 OËL-FRANÇOIS DURAND: Musica fict(iv)a for wind quintet (2026) (preview)</s
 trong><br>Musica fict(iv)a is a set of seven pieces and two interludes tha
 t make extensive use of first-order beats—an acoustic phenomenon that occu
 rs when two pitches of very close frequency are played at the same time—pr
 esented in various musical contexts. In each piece\, the beats take on a d
 ifferent role.  The title Musica fict(iv)a refers to both the notion of 'o
 utside' notes found in the musical theory of musica ficta from the middle 
 ages\, and to the 'fictive' character of the beats produced by these outsi
 de notes.</p><p>In parallel to the medieval notion of Musica ficta\, the r
 eference here is to the fact that the tonal inflections that generate beat
 s don’t so much create a microtonal language as they are explorations of t
 he musical potential of beats\, in particular as we approach the unison. I
 n that sense\, they operate outside the conventional notion of intervals.<
 br>Fictive music: since the beats are not actually produced by the musicia
 ns (the performers just played two closely related\, but different tones)\
 , but result from the acoustic phenomenon of interference\, one could argu
 e that the music they create is not 'real': it exists in another\, non-mat
 erial dimension. The beats produce a 'fictive\,' but clearly perceived mus
 ical line beyond the more traditional musical gestures.</p><p>One of the m
 ain reasons why I find this particularly interesting is because these two 
 types of discourse\, the fictive and the traditional ones\, require very d
 ifferent types of listening\, different types of attention. The listener h
 as to switch their level of attention in order to follow one or the other 
 type\, and perceiving them at the same time is akin to listening to a new 
 kind of polyphony.<br><br>We will hear movements I and II\, and the first 
 Interlude tonight:<br>I.    Musica fict(iv)a<br>Interlude I<br>II.    Vari
 ation en noir et blanc</p><p>- In I.\, Musica fict(iv)a\, the held notes t
 hat create the beat phenomenon (at first in the duo flute-clarinet) are hi
 dden behind faster gestures in the other three instruments\, and can be he
 ard as an echo. They progressively come more to the foreground in the cour
 se of the piece.<br>- In II.\, Variation en noir et blanc (Variation in bl
 ack and white)\, the beats are the result of melodic lines of tiny\, micro
 tonal intervals played by clarinet\, French horn and bassoon against a mor
 e steady held tone\; additionally\, one of the lines (generally in the bas
 soon) is a glissando\, which enhances the constant variation of beats.</p>
 <p><strong>WILLIAM DOUGHERTY: the new normal (2016)</strong><br>The summer
  of 2016 was a particularly violent and dark time in the world\, one that 
 now reads less as an aberration than as an early signal of a longer period
  of instability that continues today. The aftermath of the Arab Spring\, w
 hich began in late 2010\, gave way to protracted conflict across North Afr
 ica and the Middle East\, and to the mass displacement of civilians from c
 ities still marked by war. Across Europe\, stagnant wages and the arrival 
 of refugees—many fleeing the war in Syria—contributed to a political backl
 ash and the rise of populist\, often xenophobic\, right-wing movements. Th
 e United Kingdom voted to leave the European Union\, choosing a path of is
 olation over long-standing economic and political partnership. In the Unit
 ed States\, the presidential election cycle was marked by a pervasive sens
 e of unease\, as a candidate gained traction with a message that framed th
 e country in stark and divisive terms\, resonating strongly with segments 
 of the population who felt excluded from the promises of globalization. At
  the same time\, gun violence in major cities such as Chicago and Philadel
 phia surged\, and mass shootings—in malls\, nightclubs\, churches\, univer
 sities\, workplaces\, and courthouses—became a recurring feature of public
  life. The experiences of Black Americans living with biased policing were
  brought into wider public view through the increasing ubiquity of mobile 
 recording and social media\, which in some cases broadcast acts of violenc
 e in real time.<br>This work emerged as a response to those conditions. It
  is constructed through a process of collage\, connecting short samples dr
 awn from six different musical sources. The piece unfolds in four continuo
 us sections. Following a brief introduction\, each section draws on sample
 d material as its primary source. Some samples appear in their original fo
 rm in the fixed media part\, while others are transformed—filtered\, stret
 ched\, or orchestrated—and performed by the instrumentalists.<br>The secon
 d section incorporates a recording made by 20th-century ethnomusicologist 
 and folklorist Alan Lomax of Black prisoners at the Mississippi State Peni
 tentiary at Parchman in 1947\, singing “Old Alabama” while chopping wood. 
 Its harmonic framework is derived from “Ahi troppo\, ahi troppo e duro\,” 
 an aria from Claudio Monteverdi’s 1608 Ballo delle ingrate. In the aria\, 
 a woman condemned to Hades laments her return to the underworld after brie
 fly experiencing the warmth and light of the living world. This section al
 so features orchestrated material derived from Merzbow’s 1996 album Pulse 
 Demon.<br>The third and fourth sections similarly draw on historical mater
 ial for their harmonic basis\, in this case a passage from Henry Purcell’s
  Music for the Funeral of Queen Mary (1695)\, specifically “In the midst o
 f life we are in death.” Across these sections\, non-voiced sounds—pops\, 
 clicks\, static\, and beeps drawn from police radio recordings connected t
 o mass shootings and the killings of unarmed Black Americans—are layered i
 nto dense\, heterophonic textures.</p><p><strong>HUCK HODGE: La Llorona fo
 r flute and ensemble (2012)</strong><br>This chamber concerto draws on ima
 ges from the 1585 Florentine Codex of Bernardino Sahagun. Known in English
  as A General History of the Things of New Spain\, this codex is regarded 
 as the first ethnographic study of pre- Columbian Mexico. This piece focus
 es on the final volume\, The Conquest\, and in particular\, on the account
 s of the omens that were in circulation among the Nahua (Aztecs) some year
 s before. Though written in a temporally and culturally specific context\,
  these texts are striking for their sheer poetic beauty as well as their u
 niversal evocations of loss\, fear and hope. One of the more arresting pas
 sages is as follows\,     <br>A sixth omen: often was heard a woman going 
 weeping\, going crying out. Loudly did she cry out at night. She walked ab
 out saying: “¡O hijos míos\, ya nos perdimos (O My sons\, now we are about
  to go)!” Sometimes she said: “¿O hijos míos\, adónde os llevaré (My sons\
 , where am I to take you)”?<br>This depiction bears a striking similarity 
 to the figure of la llorona (the Weeping Woman)\, a ghostly figure that ap
 pears in various forms in the folklore of Mesoamerica and whose cries fort
 ell the coming of death and misfortune. In some accounts\, if her cry soun
 ds close at hand then the spirit is far away and all is well\, but if she 
 sounds distant then la llorona is in reality close by and death will come 
 soon. In an exploration of this disorienting experience of space and dista
 nce\, the ensemble is amplified and its sound sent to various unpredictabl
 e locations in the performance hall. This work was commissioned by the Tal
 ea Ensemble with support from New Music USA for the 2012 Contempuls Festiv
 al\, Prague.</p><p><strong>GYÖRGY LIGETI: Piano Concerto (1985-1988)</stro
 ng><br>I composed the Piano Concerto in two stages: the first three moveme
 nts during the years 1985-86\, the next two in 1987\, the final autograph 
 of the last movement was ready by January\, 1988. The concerto is dedicate
 d to the American conductor Mario di Bonaventura. <br>The markings of the 
 movements are the following:</p><p>1. Vivace molto ritmico e preciso <br>2
 . Lento e deserto <br>3. Vivace cantabile <br>4. Allegro risoluto <br>5. P
 resto luminoso.<br>The first performance of the three-movement Concerto wa
 s on October 23rd\, 1986 in Graz. Mario di Bonaventura conducted while his
  brother\, Anthony di Bonaventura\, was the soloist. Two days later the pe
 rformance was repeated in the Vienna Konzerthaus. After hearing the work t
 wice\, I came to the conclusion that the third movement is not an adequate
  finale\; my feeling of form demanded continuation\, a supplement. That le
 d to the composing of the next two movements. The premiere of the whole cy
 cle took place on February 29th\, 1988\, in the Vienna Konzerthaus with th
 e same conductor and the same pianist.</p><p>The orchestra consisted of th
 e following: flute\, oboe\, clarinet\, bassoon\, horn\, trumpet\, tenor tr
 ombone\, percussion and strings. The flautist also plays the piccoIo\, the
  clarinetist\, the alto ocarina. The percussion is made up of diverse inst
 ruments\, which one musician-virtuoso can play. It is more practical\, how
 ever\, if two or three musicians share the instruments. Besides traditiona
 l instruments the percussion part calls also for two simple wind instrumen
 ts: the slide whistle and the harmonica.</p><p>In the Piano Concerto I rea
 lized new concepts of harmony and rhythm.</p><p>The first movement is writ
 ten simultaneously 12/8 and 4/4 (8/8). This “three over two” relation is i
 n itself nothing new. Because\, however\, I articulate 12 triola and 8 duo
 la pulses\, an entangled\, up till now unheard kind of polymetry is create
 d. The rhythm is additionally complicated because of asymmetric groupings 
 inside two speed layers\, which means accents are asymmetrically distribut
 ed. These groups\, as in the talea technique\, have fixed\, continuously r
 epeating rhythmic structures of varying lengths in speed layers of 12/8 an
 d 4/4. This means that the repeating pattern in the 12/8 level and the pat
 tern in the 4/4 level do not coincide and continuously give a kaleidoscope
  of renewing combinations.</p><p>In our perception we quickly resign from 
 following particular rhythmical successions and that what is going on in t
 ime appears for us as something static\, resting. This music\, if it is pl
 ayed properly\, in the right tempo and with the right accents inside parti
 cular layers\, after a certain time “rises'\, as it were\, as a plane afte
 r taking off: the rhythmic action\, too complex to be able to follow in de
 tail\, begins 'flying'. This diffusion of individual structures into a dif
 ferent global structure is one of my basic compositional concepts: from th
 e end of the fifties\, from the orchestral works Apparitions and Atmosphèr
 es I continuously have been looking for new ways of resolving this basic q
 uestion. The harmony of the first movement is based on mixtures\, hence on
  the parallel leading of voices. This technique is used here in a rather s
 imple form\; later in the fourth movement it will be considerably develope
 d.</p><p>The second movement (the only slow one amongst five movements) al
 so has a talea type of structure\, it is however much simpler rhythmically
 \, because it contains only one speed layer. The melody is developed throu
 gh a rigorous interval mode in which two minor seconds and one major secon
 d alternate\, therefore nine notes inside an octave. This mode is transpos
 ed into different degrees and it also determines the harmony of the moveme
 nt\; however\, in the closing episode in the piano part there is a combina
 tion of diatonics (white keys) and pentatonics (black keys) in brilliant\,
  sparkling quasimixtures\, while the orchestra continues to play in the ni
 ne tone mode.</p><p>In this movement I used isolated sounds and extreme re
 gisters (piccolo in a very low register\, bassoon in a very high register\
 , canons played by the slide whistle\, the alto ocarina and brass with a '
 harmon-mute'' damper\, 'cutting' sound combinations of the piccolo\, clari
 net and oboe in an extremely high register\, also alternating of a whistle
 -siren and xylophone). The third movement also has one speed layer and bec
 ause of this it appears as simpler than the first\, but actually the rhyth
 m is very complicated in a different way here. Above the uninterrupted\, f
 ast and regular basic pulse\, thanks to the asymmetric distribution of acc
 ents\, different types of hemiolas and 'inherent melodical patterns' appea
 r (the term was coined by Gerhard Kubik in relation to central African mus
 ic). If this movement is played with the adequate speed and with very clea
 r accentuation\, illusory rhythmic-melodical figures appear. These figures
  are not played directly\; they do not appear in the score\, but exist onl
 y in our perception as a result of co-operation of different voices.</p><p
 >Already earlier I had experimented with illusory rhythmics: in Poème symp
 honique for 100 metronomes (1962)\, in Continuum for harpsichord (1968)\, 
 in Monument for two pianos (1976)\, and especially in the first and sixth 
 piano etude Désordre and Automne à Varsovie (1985).</p><p>The third moveme
 nt of the Piano Concerto is up to now the clearest example of illusory rhy
 thmics and illusory melody. In intervallic and chordal structure this move
 ment is based on alternation\, and also inter-relation of various modal an
 d quasi-equidistant harmony spaces. The tempered twelve-part division of t
 he octave allows for diatonical and other modal interval successions\, whi
 ch are not equidistant\, but are based on the alternation of major and min
 or seconds in different groups. The tempered system also allows for the us
 e of the anhemitonic pentatonic scale (the black keys of the piano). From 
 equidistant scales\, therefore interval formations which are based on the 
 division of an octave in equal distances\, the twelve-tone tempered system
  allows only chromatics (only minor seconds) and the six-tone scale (the w
 hole-tone: only major seconds).</p><p>Moreover\, the division of the octav
 e into four parts only minor thirds) and three parts (three major thirds) 
 is possible. In several music cultures different equidistant divisions of 
 an octave are accepted\, for example\, in the Javanese slendro into five p
 arts\, in Melanesia into seven parts\, popular also in South¬east Asia\, a
 nd apart from this\, in southern Africa. This does not mean an exact equid
 istance: there is a certain tolerance for the inaccurateness of the interv
 al tuning.</p><p>These tunings have attracted me for several years. Howeve
 r I did not want to re-tune the piano (microtone deviations appear in the 
 concerto only in a few places in the horn and trombone parts led in natura
 l tones). After the period of experimenting\, I got to pseudo- or quasi¬eq
 uidistant intervals\, which is neither whole-tone nor chromatic: in the tw
 elve-tone system\, two whole-tone scales are possible\, shifted a minor se
 cond apart from each other. Therefore\, I connect these two scales (or sou
 nd resources)\, and for example\, places occur where the melodies and figu
 rations in the piano part are created from both whole tone scales\; in one
  band one six-tone sound resource is utilized\, and in the other hand\, th
 e complementary. In this way whole-tonality and chromaticism mutually redu
 ce themselves: a type of deformed equidistancism is formed\, strangely bri
 lliant and at the same time 'slanting'\; illusory harmony\, indeed being c
 reated inside the tempered twelve-tone system\, but in sound quality not b
 elonging to it anymore.</p><p>The appearance of such 'slanted¬equidistant 
 harmony fields' alternating with modal fields and based on chords built on
  fifths (mainly in the piano part)\, complemented with mixtures built on f
 ifths in the orchestra\, gives this movement an individual\, soft-metallic
  colour (a metallic sound resulting from harmonics).</p><p>The fourth move
 ment was meant to be the central movement of the Concerto. Its melodc-rhyt
 hmic elements (embryos or fragments of motives) in themselves are simple. 
 The movement also begins simply\, with a succession of overlapping of thes
 e elements in the mixture type structures. Also here a kaleidoscope is cre
 ated\, due to a limited number of these elements - of these pebbles in the
  kaleidoscope - which continuously return in augmentations and diminutions
 .</p><p>Step by step\, however\, so that in the beginning we cannot hear i
 t\, a compiled rhythmic organization of the talea type gradually comes int
 o daylight\, based on the simultaneity of two mutually shifted to each oth
 er speed layers (also triplet and duoles\, however\, with different asymme
 tric structures than in the first movement). While longer rests are gradua
 lly filled in with motive fragments\, we slowly come to the conclusion tha
 t we have found ourselves inside a rhythmic-melodical whirl: without chang
 e in tempo\, only through increasing the density of the musical events\, a
  rotation is created in the stream of successive and compiled\, augmented 
 and diminished motive fragments\, and increasing the density suggests acce
 leration.</p><p>Thanks to the periodical structure of the composition\, 'a
 lways new but however of the same' (all the motivic cells are similar to e
 arlier ones but none of them are exactly repeated\; the general structure 
 is therefore self-similar)\, an impression is created of a gigantic\, indi
 ssoluble network. Also\, rhythmic structures at first hidden gradually beg
 in to emerge\, two independent speed layers with their various internal ac
 centuations.</p><p>This great\, self-similar whirl in a very indirect way 
 relates to musical associations\, which came to my mind while watching the
  graphic projection of the mathematical sets of Julia and of Mandelbrot ma
 de with the help of a computer. I saw these wonderful pictures of fractal 
 creations\, made by scientists from Brema\, Peitgen and Richter\, for the 
 first time in 1984. From that time they have played a great role in my mus
 ical concepts. This does not mean\, however\, that composing the fourth mo
 vement I used mathematical methods or iterative calculus\; indeed\, I did 
 use constructions which\, however\, are not based on mathematical thinking
 \, but are rather 'craftman’s' constructions (in this respect\, my attitud
 e towards mathematics is similar to that of the graphic artist Maurits Esc
 her). I am concerned rather with intuitional\, poetic\, synesthetic corres
 pondence\, not on the scientific\, but on the poetic level of thinking.</p
 ><p>The fifth\, very short Presto movement is harmonically very simple\, b
 ut all the more complicated in its rhythmic structure: it is based on the 
 further development of ''inherent patterns' of the third movement. The qua
 si-equidistance system dominates harmonically and melodically in this move
 ment\, as in the third\, alternating with harmonic fields\, which are base
 d on the division of the chromatic whole into diatonics and anhemitonic pe
 ntatonics. Polyrhythms and harmonic mixtures reach their greatest density\
 , and at the same time this movement is strikingly light\, enlightened wit
 h very bright colours: at first it seems chaotic\, but after listening to 
 it for a few times it is easy to grasp its content: many autonomous but se
 lf-similar figures which crossing themselves.</p><p>I present my artistic 
 credo in the Piano Concerto: I demonstrate my independence from criteria o
 f the traditional avantgarde\, as well as the fashionable postmodernism. M
 usical illusions which I consider to be also so important are not a goal i
 n itself for me\, but a foundation for my aesthetical attitude. I prefer m
 usical forms which have a more object-like than processual character. Musi
 c as 'frozen' time\, as an object in imaginary space evoked by music in ou
 r imagination\, as a creation which really develops in time\, but in imagi
 nation it exists simultaneously in all its moments. The spell of time\, en
 during its passing by\, closing it in a moment of the present is my main i
 ntention as a composer. -György Ligeti</p><hr><h2>Biographies</h2><h3><a h
 ref='https://www.seattlemodernorchestra.org'>Seattle Modern Orchestra</a><
 /h3><p><meta charset='UTF-8'></p><p>Founded in 2010\, <strong>Seattle Mode
 rn Orchestra (SMO)</strong> is the only large ensemble in the Pacific Nort
 hwest solely dedicated to the music of the 20th and 21st centuries. Led by
  co-artistic directors <strong>Julia Tai </strong>and <strong>Bonnie Whiti
 ng\, </strong>SMO commissions and premieres new works from an internationa
 l lineup of composers\, in addition to presenting important pieces from th
 e contemporary repertoire that are rarely if ever heard by Seattle audienc
 es. The ensemble “operates at that exciting cusp between old and new\, bet
 ween tradition and innovation” (Vanguard Seattle) curating new sounds and 
 experiences for concert goers in the region.<br>SMO provides audiences wit
 h performances of the best in contemporary chamber and orchestral music\, 
 and develops podcasts\, lectures\, educational residencies\, and other for
 ms of community engagement in an accessible and inviting format all design
 ed to expand the listener’s appreciation and awareness of the music of tod
 ay.<br> </p><h3>Aaron Wonson</h3><p>Pianist <strong>Aaron Wonson </strong>
 is equally at home with the music of Ives and Ligeti as he is with Bach\, 
 Debussy\, or Thelonious Monk. Jeremy Denk described his technique as “scar
 y\,” and his extensive new music collaborations include composers Phillip 
 Cashian\, Lei Liang\, Elizabeth Ogonek\, and conductors David Dzubay and T
 imothy Weiss. Recent recording projects include an arrangement of Bela Bar
 tok’s first violin sonata for piano and alto saxophone and a jazz trio alb
 um.</p><p>Wonson holds degrees from Oberlin Conservatory\, studying with P
 eter Takács\, and from Jacobs School of Music\, with Spencer Myer. He is c
 urrently pursuing a DMA degree in piano performance and pedagogy at Boston
  University with Andrius Zlabys. While at the Jacobs School\, he was invol
 ved in a piano\, violin\, and clarinet trio funded by the Verdehr Trio of 
 Michigan University. In addition to classical performance\, Wonson also co
 mposes\, plays jazz\, and teaches at the Rhode Island Philharmonic Music S
 chool. He currently resides in the greater Boston area. </p><h3>Oliver Sch
 oonover</h3><p><strong>Oliver Schoonover</strong> is a composer and pianis
 t based in Seattle\, Washington. He writes music that celebrates the music
 ality of everyday objects and the performer as a human being. He is especi
 ally interested in ASMR sounds\, soft sounds that produce a tingling\, sta
 tic-like sensation.</p><p>Oliver is currently pursuing a master of music i
 n composition at the University of Washington. Previously\, he graduated f
 rom Florida State University with a B.M. in composition. His works have be
 en performed by Polymorphia\, the FSU Electric Chamber Orchestra\, the St.
  John's Episcopal Church Compline Choir\, at the FSU Festival of Creative 
 Arts\, and at TEDxFSU.</p><p>As a pianist\, he has performed contemporary 
 music with Polymorphia\, the FSU Electric Chamber Orchestra\, the FSU Wind
  Ensemble\, and the UW Wind Ensemble and Symphonic Band\, and has performe
 d at the FSU Festival of New Music\, the FSU Festival of Creative Arts\, a
 nd the FSU Panama City ASCENT Tech Expo.</p>
END:VEVENT
BEGIN:VEVENT
UID:7f8a594f-28cd-42ef-ad86-b8ebfd38d936
DTSTAMP:20260612T083118Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20260326T142315Z
DESCRIPTION:<p>The School of Music and the UW Indigenous Arts Collaboratory
  present a talk by Maxwell Yamane (assistant professor\, University of Okl
 ahoma School of Music) and Mary Phillips (Umoⁿhoⁿ/Laguna Pueblo)\, “Powwow
  in the Capital: The Native American Urban Community and Sonic Acts in Was
 hington\, D.C.\,” in this installment of the THEME Lecture series.</p><hr>
 <h2>Abstract</h2><p>In this collaborative talk\, we examine how powwow sin
 gers mobilize song and sound to assert Indigeneity in the heart of the set
 tler colonial nation-state. Drawing on ethnographic research\, performance
  analysis\, and Indigenous methodologies\, Yamane examines what he calls “
 sonic acts\,” powwow performances that enact both generative Indigenous wo
 rld-making (resurgence) and direct disruption of settler colonialism (inte
 rference). He analyzes two case studies: 1) powwow at the Pentagon as a fo
 rm of martial resurgence nested within the U.S. military\, and 2) powwow a
 s sonic interference during the Change the Name movement against Indian st
 ereotyping in the Washington football team. Mary Phillips (Umoⁿhoⁿ/Laguna 
 Pueblo)\, a DC-based consultant and powwow singer\, reflects on her praxis
  of “speaking in Red” and performing at federal institutions. We conclude 
 by describing a related co-curated\, community-based archival project for 
 the DC Native community. Together\, we demonstrate the power of Indigenous
  musicking to transform and reclaim settler institutions\, soundscapes\, a
 nd land in the nation’s capital.</p><hr><h2>Biographies</h2><p><strong>Max
 well Yamane</strong> is an assistant professor of ethnomusicology at the U
 niversity of Oklahoma. He is Yonsei (四世\, Fourth Generation Japanese Ameri
 can) and resides in Oklahoma\, the traditional territories of the Caddo\, 
 Wichita\, and traveling Tribes such as the Kiowa\, Osage\, and Comanche Na
 tions.</p><p>Maxwell’s academic interests include Indigenous music studies
 \, language reclamation/revitalization and music\, powwow\, as well as Ind
 igenous protests and music. His dissertation examines how music\, particul
 arly Kiowa Christian hymns\, play a key role in the resurgence of Kiowa la
 nguage and identity. Maxwell’s co-published work with Mary Phillips (Omaha
 /Laguna Pueblo) on the politics of telling stories about Indigenous langua
 ges was published in the Journal for Multilingualism and Multicultural Dev
 elopment. His activist work during the #NoDAPL movement in Washington\, D.
 C.\, was co-published with Erik Gooding and Bret Salter in American Compar
 ative Studies. Maxwell also presented his research at Society for Ethnomus
 icology\, Mid-Atlantic Chapter Society for Ethnomusicology\, and Texas Tec
 h University Indigenous Literature conferences.</p><p>Prior to teaching at
  OU\, Maxwell served as a Program Specialist and Program Analyst at the Ad
 ministration for Native Americans in Washington\, D.C.\, where he worked c
 losely with a multitude of American Indian\, Alaska Native\, and Pacific I
 slander projects that centered around social-economic development\, enviro
 nmental regulatory enhancement\, and language preservation and maintenance
  through community-based efforts. He also contributed to several inter-age
 ncy initiatives that support critical grassroots initiatives\, including t
 he White House Council on Indian Affairs 10-Year Native Language Revitaliz
 ation Plan.</p><p>Maxwell is dedicated to culturally-responsible and colla
 borative research that benefits the community. In his free time\, he sings
  with Zotigh\, Ottertrail\, and Uptown powwow drum groups.</p><p><strong>M
 ary Phillips</strong> is an enrolled member of the Pueblo of Laguna tribe 
 and also from the Umoⁿhoⁿ (Omaha) Tribe of Nebraska. Her career has focuse
 d on program evaluation\, community-based research\, community development
 \, and strategic planning for tribes and Native Americans living in urban 
 areas. She was the co-editor and a chapter author of the book\, “Speaking 
 In Red: Healing and Mental Health for Native Americans”. She is also a pow
 wow dancer and sings “lady back-up” for Native American powwow drum groups
 .</p><hr><h2>Series Background</h2><p>THEME: A colloquium of UW faculty an
 d students of Theory\, History\, Ethnomusicology\, and Music Education hel
 d on select Friday afternoons during the academic year. </p>
DTSTART;TZID=America/Los_Angeles:20260410T160000
DTEND;TZID=America/Los_Angeles:20260411T000000
LAST-MODIFIED:20260329T221820Z
SUMMARY:: THEME Lecture: Maxwell Yamane (University of Oklahoma) and Mary P
 hillips (Umoⁿhoⁿ/Laguna Pueblo)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-10/theme-lecture-maxwell-ya
 mane-university-oklahoma-and-mary-phillips-umonhonlaguna
END:VEVENT
BEGIN:VEVENT
UID:71345d00-d596-47d5-a756-5ba3acd6e942
DTSTAMP:20260612T083118Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20260605T174937Z
DESCRIPTION:<p>A degree recital by Chloe Lian (MM Voice)\, a student of Tho
 mas Harper\, performing works by Debussy\, Schubert\, Bach\, and others.</
 p><hr><h2>Biography</h2><p> </p>
DTSTART;TZID=America/Los_Angeles:20260412T183000
DTEND;TZID=America/Los_Angeles:20260413T000000
LAST-MODIFIED:20260605T182148Z
SUMMARY:: Degree Recital: Chloe Lian\, MM Voice
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-12/degree-recital-chloe-lia
 n-mm-voice
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span style='-webkit-text-stroke-width:0px\
 ;background-color:rgb(255\, 255\, 255)\;caret-color:rgb(0\, 0\, 0)\;color:
 rgb(0\, 0\, 0)\;display:inline !important\;float:none\;font-family:Calibri
 \, Helvetica\, sans-serif\;font-size:14.666667px\;font-style:normal\;font-
 variant-caps:normal\;font-weight:400\;letter-spacing:normal\;orphans:auto\
 ;text-align:left\;text-decoration:none\;text-indent:0px\;text-transform:no
 ne\;white-space:normal\;widows:auto\;word-spacing:0px\;'>A degree recital 
 by Chloe Lian (MM Voice)\, a student of Thomas Harper\, performing works b
 y Debussy\, Schubert\, Bach\, and others.</span></p><hr><h2>Biography</h2>
 <p> </p>
END:VEVENT
BEGIN:VEVENT
UID:4617c1ca-c6c7-4081-b5bc-e56f5099c776
DTSTAMP:20260612T083118Z
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><p><strong>Note: Please note change of time and location for t
 his class. </strong></p><hr><h2>Biography</h2><p>Lauded for “superb playin
 g” and “poised\, alert musicianship” by the Boston Globe\, and labeled “de
 finitely a man to watch” by London’s The Independent after his 2012 Wigmor
 e Hall recital debut\, American pianist SPENCER MYER is one of the most re
 spected and sought-after artists on today’s concert stage.           </p><
 p>He has been soloist with The Cleveland Orchestra\, the Cape Town and Joh
 annesburg Philharmonics\, and the Indianapolis and New Haven Symphonies\, 
 among others. His 2005 tour of South Africa included a performance of Beet
 hoven’s five piano concerti with the Chamber Orchestra of South Africa\, f
 ollowed by six subsequent return tours.  An in-demand chamber musician\, h
 is artistic partners have included cellists Lynn Harrell and Ralph Kirshba
 um\, clarinetist David Shifrin\, soprano Nicole Cabell\, and the Jupiter\,
  Miami and Pacifica String Quartets.</p><p>His career was launched with th
 ree important prizes: First Prize in the 2004 UNISA International Piano Co
 mpetition in South Africa\, the 2006 Christel DeHaan Classical Fellowship 
 from the American Pianists Association and the Gold Medal from the 2008 Ne
 w Orleans International Piano Competition. He is also a laureate of the 20
 05 Cleveland and Busoni International Competitions.  He was a member of As
 tral Artists’ performance roster from 2003-2010.</p><p>Previously on the p
 iano faculty of Boston’s Longy School of Music\, Spencer Myer is currently
  Associate Professor of Piano at the Indiana University Jacobs School of M
 usic\, where he received the 2024 Trustees Teaching Award.  He has release
 d six CDs on the Steinway & Sons label — Piano Rags of William Bolcom\, fo
 ur discs with cellist Brian Thornton\, and the Four Chopin Impromptus. </p
 ><p>Spencer Myer is a Steinway Artist.</p>
DTSTART;TZID=America/Los_Angeles:20260413T153000
DTEND;TZID=America/Los_Angeles:20260414T000000
LAST-MODIFIED:20260408T001724Z
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
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Spencer Myer\, associate professor of music
  at the Jacobs School of Music at Indiana University\, leads a master clas
 s with UW piano students.</p><p><em><strong>Note: Please note change of ti
 me and location for this class. </strong></em></p><hr><h2>Biography</h2><p
 >Lauded for “superb playing” and “poised\, alert musicianship” by the Bost
 on Globe\, and labeled “definitely a man to watch” by London’s The Indepen
 dent after his 2012 Wigmore Hall recital debut\, American pianist SPENCER 
 MYER is one of the most respected and sought-after artists on today’s conc
 ert stage.           </p><p>He has been soloist with The Cleveland Orchest
 ra\, the Cape Town and Johannesburg Philharmonics\, and the Indianapolis a
 nd New Haven Symphonies\, among others. His 2005 tour of South Africa incl
 uded a performance of Beethoven’s five piano concerti with the Chamber Orc
 hestra of South Africa\, followed by six subsequent return tours.  An in-d
 emand chamber musician\, his artistic partners have included cellists Lynn
  Harrell and Ralph Kirshbaum\, clarinetist David Shifrin\, soprano Nicole 
 Cabell\, and the Jupiter\, Miami and Pacifica String Quartets.</p><p>His c
 areer was launched with three important prizes: First Prize in the 2004 UN
 ISA International Piano Competition in South Africa\, the 2006 Christel De
 Haan Classical Fellowship from the American Pianists Association and the G
 old Medal from the 2008 New Orleans International Piano Competition. He is
  also a laureate of the 2005 Cleveland and Busoni International Competitio
 ns.  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 Professor of Piano at the Indiana Uni
 versity Jacobs School of Music\, where he received the 2024 Trustees Teach
 ing Award.  He has released six CDs on the Steinway & Sons label — Piano R
 ags of William Bolcom\, four discs with cellist Brian Thornton\, and the F
 our Chopin Impromptus. </p><p>Spencer Myer is a Steinway Artist.</p>
END:VEVENT
BEGIN:VEVENT
UID:d7c71517-d1bc-42b4-8403-7dd30ee841b4
DTSTAMP:20260612T083118Z
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 selections from Ming Tsao's Das wassergewordene Kanonbuch (2017) and Me
 ara O'Reilly's Hocket for Two Voices (2016) alongside polyphonic 13th- to 
 16th-century works by Willaert\, Pérotin\, Grimace\, Ciconia\, and Josquin
  des Prez.  Wind Up Vocal Project is Danielle Reutter-Harrah and Carrie Sh
 aw\, sopranos\; Anjali Chudasama\, alto\; Lyon Stewart\, tenor\; Adam Free
 mantle\, baritone\; and Evan Norberg\, bass.</p><hr><h2 style='font-weight
 :400\;'>Program</h2><p><strong>Wind Up Vocal Project</strong><br>Danielle 
 Reutter-Harrah\, Carrie Shaw\, sopranos<br>Anjali Chudasama\, alto<br>Lyon
  Stewart\, tenor<br>Adam Freemantle\, baritone<br>Evan Norberg\, bass</p><
 p>Salve sancta parens - <strong>Adrian Willaert</strong> (1490-1562)</p><p
 >14. Fuga trium temporum in diapente remissum- <strong>Ming Tsao</strong> 
 (b. 1966)<br>from Das wassergewordene Kanonbuch (2017)</p><p>===</p><p>Sal
 vatoris hodie-Novus - <strong>Adam Pérotin</strong> (fl. c. 1200)</p><p>Ho
 ckets for Two Voices (2016) - <strong>Meara O’Reilly </strong>(b. 1982)<br
 >III.<br>IV.</p><p>Se Zephirus - Se Jupiter Grimace (fl. mid- to late 14th
  century)</p><p>Hockets for Two Voices - <strong>O’Reilly</strong><br>VII.
 </p><p>==</p><p>Le ray au soleyl -<strong> Johannes Ciconia</strong> (c. 1
 370-1412)</p><p>5. Dum tria percurris quatuor valet - <strong>Tsao</strong
 ><br>7. Omnia per circuitus<br>2. Die Zahlen<br>from Das wassergewordene K
 anonbuch - (2017)</p><p>Gloria -<strong> Josquin des Prez</strong> (c. 145
 0-1521)<br>from Missa l’homme armé super voces musicales</p><hr><h2>Notes 
 and Translations</h2><p><strong>Salve Sancta Parens - Willaert</strong></p
 ><p>Salve sancta parens enixa puerpera Regem<br>Qui caelum terramque regit
  in saecula saeculorum.</p><p>Virgo Dei Genitrix\, quem totus non capit or
 bis:<br>In tua se clausit viscera factus homo.</p><p><strong>Translation</
 strong><br>Hail\, Holy Mother\, who in childbirth brought forth the King<b
 r>who rules heaven and earth\, world without end.</p><p>Virgin Mother of G
 od\, He whom the whole world can not contain:<br>Enclosed Himself in thy w
 omb\, and became a man.<br><br><strong>from Das wassergewordene Kanonbuch 
 - Tsao</strong><br>14. Fuga trium temporum in diapente remissum - <br><str
 ong>Translation:</strong> Fugue after three measures at the fifth below<br
 >Based on Willaert’s Salve sancta Parens - Virgo Dei Genitrix<br><br><stro
 ng>Salvatoris hodie-Novus Adam - Pérotin</strong></p><p>Salvatoris hodie<b
 r>sanguis pregustatur<br>in quo Sion filie<br>stola candidatur.</p><p>Ecce
  nomen domini<br>de longin quo venit<br>hodie quod homini<br>perdito sub v
 enit.</p><p>Ecce salva veritas<br>veraque salvatio<br>cuius in preputio<br
 >literalis cecitas<br>terminum invenit.</p><p>Novus Adam natus est<br>ut n
 ovetur mundus<br>a quo tamen factus est<br>primus et secundus.<br>Quippe t
 am principium<br>idem sit et terminus<br>servus atque dominus<br>nescit ho
 c prepucium<br>nescit hoc inmundus.</p><p><strong>Translation</strong><br>
 Today the Savior’s<br>blood is being consumed in advance\,<br>in which the
  the daughter of Zion’s<br>robe is whitened.<br>                    <br>Be
 hold\, the name of the Lord\, <br>has come from afar <br>today\, and which
  lost mankind<br>aids.<br>                    <br>Behold saving truth<br>a
 nd true salvation\, <br>in whose circumcision <br>the blindness of the Old
  Law <br>finds an end.<br>                    <br>A new Adam has been born
  <br>to renew the world\;<br>yet by him were made<br>the first and second.
 <br>In fact\, since the beginning <br>and the end are the same\, <br>so ar
 e the servant and master. <br>“Uncircumcision” knows this not\; <br>the un
 clean knows this not.</p><p>—Translation prepared with acknowledgements to
  Thomas B. Payne</p><p><strong>Se Zephirus-Se Jupiter - Grimace (From Code
 x Chantilly)          </strong>                 </p><p>I.             <br>
 Se Zephirus\, Phebus et leur lignie <br>Fussent d'acort pour moy douner co
 nfort\, <br>Et s'eüsse fortune pour amie\,<br>En croi je bien qu'encor ser
 oit ce fort <br>Que eusse bien\, santé ne reconfort<br>Quant a present\, e
 sbatement ne joye\,<br>Se devant moy ma dame ne veoye.</p><p>Car c'est cel
 le que me puet donner vie <br>Ne je quier avoir autre ressort\;<br>Si li s
 opli que me soit en aye\,<br>Car certes je n'ay soulas ne depourt <br>Et s
 a beauté si doucement m'a mort <br>Que nullement estre liez ne pourroye\, 
 <br>Se devant moy ma dame ne veoye.</p><p>II.                         <br>
 Se Jupiter\, qui donna seigneurie<br>Au cler veant Argus pour amer fort <b
 r>Temis\, qui fu sa deesse et s'amie\,<br>Et me vousist d'amors douner le 
 port\,<br>Ne pouroit pas mon cuer estre d'acort <br>Que fusse gay pour cho
 se que je voye\, <br>Se devant moy ma dame ne veoye.<br>                  
   <br>Si pri amours et a merci supplie<br>Que pitié\, qu'ou cuer ma dame d
 ort\, <br>recueillent pour estre de ma partie\;<br>Ou autrement\, certes\,
  brief m'aroit mort\, <br>Car ma langor trop fort me point et mort\, <br>S
 i qu'ensement vivre ainsy ne porroye\, <br>Se devant moy ma dame ne veoye.
 </p><p><strong>Translation</strong><br>I.<br>If Zephyrs\, Phoebus\, and th
 eir line<br>make a pact to comfort me\,<br>and if I had Fortune for a frie
 nd\,<br>Then I believe that it would be as difficult<br>to find health and
  comfort\,<br>as it is now\, or pleasure or joy\, <br>if\, before me\, I d
 o not see my lady .</p><p>For it is she who can give me life\,<br>nor do I
  wish any other resort\;<br>So I beg her to give me what I need\,<br>for s
 urely I have neither solace nor pleasure\,<br>and her beauty has bitten me
  so sweetly<br>that in no way can I be happy<br>if\, before me\, I do not 
 see my lady.</p><p>II.<br>If Jupiter\, who gave power<br>to clear-seeing A
 rgus to love<br>Venus\, who was his goddess and his beloved\,<br>wished to
  grant me entry through the door of love\,<br>my heart could not agree<br>
 to be happy on account of any thing I see\,<br>if\,  before me\, I do not 
 see my lady.</p><p>Thus I pray Love and beg for mercy<br>that pity\, which
  sleeps in my lady’s heart\,<br>agrees to take my side\,<br>for otherwise\
 , surely\, it will quickly kill me\,<br>for my suffering too sharply pierc
 es and stings me\,<br>so that I can not live like this<br>if\,  before me\
 , I do not see my lady.</p><p><strong>Le ray au soleyl - Ciconia</strong><
 /p><p>Le ray au soleyl qui dret som kar meyne<br>En soy braçant la douce t
 ortorelle\,<br>Laquel compangnon onques renovelle\,<br>A bon droit sembla 
 que en toy perfect regne.</p><p><strong>Translation</strong><br>The ray of
  sunlight\, who drives his chariot straight on<br>Is embracing the sweet t
 urtledove\, <br>Whose companion is ever reborn\, <br>With good reason it s
 eems that in you perfection reigns.  </p><p><strong>from Das wassergeworde
 ne Kanonbuch - Tsao</strong><br>5. Dum tria percurris quatuor valet<br><st
 rong>Translation:</strong><strong> </strong>While three traversed\, four c
 ounts. Third octave but it makes delays one under a white<br>Based on Joha
 nnes Ciconia’s Le ray au soleyl</p><p>7. Omnia per circuitum<br><strong>Tr
 anslation:</strong> Everything about<br>Based on Baude Cordier’s Tout par 
 compas suy compose</p><p>2. Die Zahlen<br><strong>Translation:</strong><st
 rong> The Numbers</strong><br>Based on Johannes Ockeghem’s Missa Prolation
 um Kyrie</p><p>DIE ZAHLEN\, im Bund <br>mit der Bilder Verhängnis <br>und 
 Gegen –<br>verhängnis.<br>                    <br>Der drübergestülpte <br>
 Schädel\, an dessen <br>schlafloser Schläfe ein irr – <br>lichternder Hamm
 er<br>all das im Welttakt besingt.</p><p>Paul Celan Atemwende        </p><
 p><strong>Translation  </strong>          <br>THE NUMBERS\, in league <br>
 with the images‘ doom <br>and counter –<br>doom.    <br><br>The clapped – 
 on<br>skull\, at whose <br>sleepless temple a will – <br>of – the – wispin
 g hammer <br>celebrates all that in <br>worldbeat. <br>                <br
 >Translation - Pierre Joris\, 2014</p><p><strong>Gloria - Josquin</strong>
 <br>                           <br>Gloria in excelsis Deo\, <br>et in terr
 a pax hominibus <br>bonae voluntatis. <br>Laudamus te. <br>Adoramus te. <b
 r>Benedicimus te. <br>Glorificamus te.<br>                    <br>Gratias 
 agimus tibi <br>propter magnam gloriam tuam. <br>Domine Deus\, rex coelest
 is\, Deus Pater omnipotens. <br>Domine Fili unigenite\, Jesu Christe. <br>
 Domine Deus\, Agnus Dei\, Filius Patris:</p><p>Qui tollis peccata mundi\, 
 miserere nobis. <br>Qui tollis peccata mundi\, suscipe deprecationem nostr
 am. <br>Qui sedes ad dexteram Patris\, miserere nobis.</p><p><strong>Trans
 lation</strong><br>Glory to God in the highest\, <br>and on earth peace\, 
 <br>goodwill toward men.<br>We praise thee. <br>We adore thee.<br>We bless
  thee. <br>We glorify thee.</p><p>We give thanks to thee <br>on account of
  thy great glory. <br>Lord God\, king of heaven\, God the omnipotent Fathe
 r. <br>Lord the only- begotten Son\, Jesus Christ. <br>Lord God\, Lamb of 
 God\, Son of the Father:</p><p>Who takest away the sins of the world\, hav
 e mercy upon us. <br>Who takest away the sins of the world\, hear our pray
 er. <br>Who sittest at the right hand of the Father\, have mercy upon us. 
 </p><hr><h2> Biographies</h2><p>The composer <strong>Ming Tsao</strong> wr
 ites music with a sensuality that arises out of a focus on the inherent qu
 alities of sound – what the composer calls its “materiality” – coupled to 
 an extreme formal rigour and a highly precise\, finely-crafted composition
 al style. In the foreground of his music is a contemporary conception of m
 usical lyricism\, which is fractured\, multi-faceted and problematised to 
 reflect the modern experience.<br>Many of Ming Tsao’s works are the result
  of a critical and deep-thinking examination of the Western classical trad
 ition as well as his serious engagement with Chinese traditional music. In
 creasingly\, opera is the forum where Ming Tsao brings these interests tog
 ether. The chamber opera Prosperos Garten consists of two acts that are al
 so separate works: Die Geisterinsel\, commissioned by the Staatsoper Stutt
 gart\, is a re-working of Johann Rudolph Zumsteeg’s 18th century opera on 
 Shakespeare’s The Tempest and Mirandas Atemwende\, premiered in Berlin\, t
 akes Schoenberg’s Erwartung as the starting point for an exploration of la
 nguage and expression that focusses on the poetry of Paul Celan and J. H P
 rynne. His large-scale opera Mudan ting (The Peony Pavilion) is a re-worki
 ng of the Chinese Ming dynasty Kunqu opera of the same name\, which will h
 ave its world premiere at the National Theatre Mannheim in 2026.</p><p>Min
 g Tsao has composed works for ensembles including the Arditti Quartet\, EL
 ISION Ensemble\, ensemble ascolta\, ensemble recherche\, Ensemble KNM Berl
 in and Ensemble SurPlus and has had premieres at the Darmstadter Ferienkür
 se\, Donaueschinger Musiktage\, MaerzMusik Berlin\, Wien Modern and the Wi
 ttener Tage für neue Kammermusik. In recent seasons his major projects inc
 lude two works for large ensemble: Refuse Collection\, a reaction to the o
 euvre of French filmmakers Danièle Huillet und Jean-Marie Straub\; and Plu
 s Minus\, the first full realisation of Stockhausen’s open composition of 
 the same name. In May 2022\, the Ensemble Musikfabrik under Emilio Pomàric
 o premiered the Triode Variations in Cologne\, a piece for 22 instruments 
 lasting about half an hour\, the recording of which was released in 2023 o
 n the Kairos label. A second realization of Stockhausen’s Plus Minus\, tit
 led Plus or Minus\, will premiere in the Wittener Tage für neue Kammermusi
 k Festival in 2025\, with the GrauSchumacher Duo and the Experimental Stud
 io Freiburg.</p><p>Ming Tsao was born in Berkeley\, California. His father
  emigrated from China and his mother’s parents emigrated from Austria. He 
 studied violin and viola before travelling to Suzhou\, China\, to study wi
 th the renowned Guqin (Chinese zither) performer Wu Zhao-ji. He studied co
 mposition at Berklee College of Music in Boston and Ethnomusicology at Col
 umbia University in New York before studies in Logic\, Philosophy and Math
 ematics. Returning to composition\, he gained a Ph.D. in Music Composition
  from the University of California\, San Diego under Chaya Czernowin and P
 hilipp Manoury as well as studying privately with Brian Ferneyhough. He wa
 s Professor of Composition at Göteborg University and Visiting Professor o
 f Composition at the Hanover University of Music\, Drama and Media. He was
  awarded a Guggenheim Fellowship in 2021 for music composition. In 2024\, 
 he was appointed as Birge-Cary Professor of Music at the University of Buf
 falo in New York.</p><p>A selection of his chamber works was collected on 
 the portrait CD Pathology of Syntax\, released by Mode Records. Kairos Mus
 ic has released his works on three CDs\, Die Geisterinsel\, Plus Minus and
  Triode Variations. A fifth CD was released in 2025 under the title Plus o
 r Minus with the Neos label. His music is published by Edition Peters. Min
 g Tsao is represented worldwide by the Berlin–based Karsten Witt Music Man
 agement.</p><p><br><strong>Meara O'Reilly</strong> is a composer and artis
 t\, focusing on perception and new musical interfaces. Her Hockets for Two
  Voices album was released on Cantaloupe in 2019. It was named in several 
 year-end best of lists\, including Art Forum\, Bandcamp\, and Second Inver
 sion. Sonic Youth’s Lee Ranaldo reviewed the album for Talkhouse\, saying 
 it “sends you\, moves you\, destroys you with beauty“.</p><p>Her music ser
 ved as score for Daniel Soares’ short film “Bad for a Moment”\, which won 
 Mention Spéciale at Cannes in 2024. She wrote\, performed\, and recorded v
 ocal arrangements for several tracks on the 2020 grammy nominated Fleet Fo
 xes album\, Shore. Most recently\, she co-created a musical primate langua
 ge for Isaiah Saxon’s 2025 A24 fantasy film “The Legend of Ochi”.</p><p>Sh
 e is co-creator of the Rhythm Necklace app\, a musical sequencer that uses
  two-dimensional geometry to create rhythm. In 2013 she completed a perman
 ent exhibit at the Exploratorium\, titled Chladni Singing. Her collaborati
 on with design firm Snibbe Interactive on sound-based 'cymatic' concert vi
 suals for Björk's Biophilia album was included in the world tour.</p><p>He
 r work has been presented at Carnegie Hall\, Bang on a Can\, National Sawd
 ust\, Los Angeles' Walt Disney Hall\, Rewire Festival\, SF Davies Symphony
  Hall\, the Bauhaus Dessau\, and as part of Wild Up’s Endless Season. Sele
 cted past performances also include The Kitchen\, SFMOMA\, the Berkeley Ar
 t Museum\, Jeffrey Deitch Gallery in New York\, Yerba Buena Center for the
  Arts\, and the Brooklyn Academy of Music\, opening for artists such as Be
 ck\, Kronos Quartet\, Meredith Monk\, Laurie Anderson\, Lucky Dragons\, Di
 rty Projectors\, Deerhoof\, Michael Hurley\, Bill Callahan\, Matmos\, and 
 Dinosaur Jr. She toured internationally as a solo musician and in the band
 s Feathers and Brightblack Morning Light.</p>
DTSTART;TZID=America/Los_Angeles:20260413T193000
DTEND;TZID=America/Los_Angeles:20260414T000000
LAST-MODIFIED:20260413T212825Z
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
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Faculty soprano Carrie Shaw’s new Seattle-b
 ased group Wind Up Vocal Project performs musical puzzles of the past and 
 present\, including selections from Ming Tsao's Das wassergewordene Kanonb
 uch (2017) and Meara O'Reilly's Hocket for Two Voices (2016) alongside pol
 yphonic 13th- to 16th-century works by Willaert\, Pérotin\, Grimace\, Cico
 nia\, and Josquin des Prez.  Wind Up Vocal Project is Danielle Reutter-Har
 rah and Carrie Shaw\, sopranos\; Anjali Chudasama\, alto\; Lyon Stewart\, 
 tenor\; Adam Freemantle\, baritone\; and Evan Norberg\, bass.</p><hr><h2 s
 tyle='font-weight:400\;'>Program</h2><p><strong>Wind Up Vocal Project</str
 ong><br><em>Danielle Reutter-Harrah\, Carrie Shaw\, sopranos</em><br><em>A
 njali Chudasama\, alto</em><br><em>Lyon Stewart\, tenor</em><br><em>Adam F
 reemantle\, baritone</em><br><em>Evan Norberg\, bass</em></p><p>Salve sanc
 ta parens - <strong>Adrian Willaert</strong> (1490-1562)</p><p>14. Fuga tr
 ium temporum in diapente remissum- <strong>Ming Tsao</strong> (b. 1966)<br
 >from Das wassergewordene Kanonbuch (2017)</p><p>===</p><p>Salvatoris hodi
 e-Novus - <strong>Adam Pérotin</strong> (fl. c. 1200)</p><p>Hockets for Tw
 o Voices (2016) - <strong>Meara O’Reilly </strong>(b. 1982)<br>III.<br>IV.
 </p><p>Se Zephirus - Se Jupiter Grimace (fl. mid- to late 14th century)</p
 ><p>Hockets for Two Voices - <strong>O’Reilly</strong><br>VII.</p><p>==</p
 ><p>Le ray au soleyl -<strong> Johannes Ciconia</strong> (c. 1370-1412)</p
 ><p>5. Dum tria percurris quatuor valet - <strong>Tsao</strong><br>7. Omni
 a per circuitus<br>2. Die Zahlen<br>from Das wassergewordene Kanonbuch - (
 2017)</p><p>Gloria -<strong> Josquin des Prez</strong> (c. 1450-1521)<br>f
 rom Missa l’homme armé super voces musicales</p><hr><h2>Notes and Translat
 ions</h2><p><strong>Salve Sancta Parens - Willaert</strong></p><p>Salve sa
 ncta parens enixa puerpera Regem<br>Qui caelum terramque regit in saecula 
 saeculorum.</p><p>Virgo Dei Genitrix\, quem totus non capit orbis:<br>In t
 ua se clausit viscera factus homo.</p><p><em><strong>Translation</strong><
 /em><br>Hail\, Holy Mother\, who in childbirth brought forth the King<br>w
 ho rules heaven and earth\, world without end.</p><p>Virgin Mother of God\
 , He whom the whole world can not contain:<br>Enclosed Himself in thy womb
 \, and became a man.<br><br><strong>from Das wassergewordene Kanonbuch - T
 sao</strong><br>14. Fuga trium temporum in diapente remissum - <br><strong
 >Translation:</strong> Fugue after three measures at the fifth below<br>Ba
 sed on Willaert’s Salve sancta Parens - Virgo Dei Genitrix<br><br><strong>
 Salvatoris hodie-Novus Adam - Pérotin</strong></p><p>Salvatoris hodie<br>s
 anguis pregustatur<br>in quo Sion filie<br>stola candidatur.</p><p>Ecce no
 men domini<br>de longin quo venit<br>hodie quod homini<br>perdito sub veni
 t.</p><p>Ecce salva veritas<br>veraque salvatio<br>cuius in preputio<br>li
 teralis cecitas<br>terminum invenit.</p><p>Novus Adam natus est<br>ut nove
 tur mundus<br>a quo tamen factus est<br>primus et secundus.<br>Quippe tam 
 principium<br>idem sit et terminus<br>servus atque dominus<br>nescit hoc p
 repucium<br>nescit hoc inmundus.</p><p><em><strong>Translation</strong></e
 m><br>Today the Savior’s<br>blood is being consumed in advance\,<br>in whi
 ch the the daughter of Zion’s<br>robe is whitened.<br>                    
 <br>Behold\, the name of the Lord\, <br>has come from afar <br>today\, and
  which lost mankind<br>aids.<br>                    <br>Behold saving trut
 h<br>and true salvation\, <br>in whose circumcision <br>the blindness of t
 he Old Law <br>finds an end.<br>                    <br>A new Adam has bee
 n born <br>to renew the world\;<br>yet by him were made<br>the first and s
 econd.<br>In fact\, since the beginning <br>and the end are the same\, <br
 >so are the servant and master. <br>“Uncircumcision” knows this not\; <br>
 the unclean knows this not.</p><p>—Translation prepared with acknowledgeme
 nts to Thomas B. Payne</p><p><strong>Se Zephirus-Se Jupiter - Grimace (Fro
 m Codex Chantilly)          </strong>                 </p><p>I.           
   <br>Se Zephirus\, Phebus et leur lignie <br>Fussent d'acort pour moy dou
 ner confort\, <br>Et s'eüsse fortune pour amie\,<br>En croi je bien qu'enc
 or seroit ce fort <br>Que eusse bien\, santé ne reconfort<br>Quant a prese
 nt\, esbatement ne joye\,<br>Se devant moy ma dame ne veoye.</p><p>Car c'e
 st celle que me puet donner vie <br>Ne je quier avoir autre ressort\;<br>S
 i li sopli que me soit en aye\,<br>Car certes je n'ay soulas ne depourt <b
 r>Et sa beauté si doucement m'a mort <br>Que nullement estre liez ne pourr
 oye\, <br>Se devant moy ma dame ne veoye.</p><p>II.                       
   <br>Se Jupiter\, qui donna seigneurie<br>Au cler veant Argus pour amer f
 ort <br>Temis\, qui fu sa deesse et s'amie\,<br>Et me vousist d'amors doun
 er le port\,<br>Ne pouroit pas mon cuer estre d'acort <br>Que fusse gay po
 ur chose que je voye\, <br>Se devant moy ma dame ne veoye.<br>            
         <br>Si pri amours et a merci supplie<br>Que pitié\, qu'ou cuer ma 
 dame dort\, <br>recueillent pour estre de ma partie\;<br>Ou autrement\, ce
 rtes\, brief m'aroit mort\, <br>Car ma langor trop fort me point et mort\,
  <br>Si qu'ensement vivre ainsy ne porroye\, <br>Se devant moy ma dame ne 
 veoye.</p><p><em><strong>Translation</strong></em><br>I.<br>If Zephyrs\, P
 hoebus\, and their line<br>make a pact to comfort me\,<br>and if I had For
 tune for a friend\,<br>Then I believe that it would be as difficult<br>to 
 find health and comfort\,<br>as it is now\, or pleasure or joy\, <br>if\, 
 before me\, I do not see my lady .</p><p>For it is she who can give me lif
 e\,<br>nor do I wish any other resort\;<br>So I beg her to give me what I 
 need\,<br>for surely I have neither solace nor pleasure\,<br>and her beaut
 y has bitten me so sweetly<br>that in no way can I be happy<br>if\, before
  me\, I do not see my lady.</p><p>II.<br>If Jupiter\, who gave power<br>to
  clear-seeing Argus to love<br>Venus\, who was his goddess and his beloved
 \,<br>wished to grant me entry through the door of love\,<br>my heart coul
 d not agree<br>to be happy on account of any thing I see\,<br>if\,  before
  me\, I do not see my lady.</p><p>Thus I pray Love and beg for mercy<br>th
 at pity\, which sleeps in my lady’s heart\,<br>agrees to take my side\,<br
 >for otherwise\, surely\, it will quickly kill me\,<br>for my suffering to
 o sharply pierces and stings me\,<br>so that I can not live like this<br>i
 f\,  before me\, I do not see my lady.</p><p><strong>Le ray au soleyl - Ci
 conia</strong></p><p>Le ray au soleyl qui dret som kar meyne<br>En soy bra
 çant la douce tortorelle\,<br>Laquel compangnon onques renovelle\,<br>A bo
 n droit sembla que en toy perfect regne.</p><p><em><strong>Translation</st
 rong></em><br>The ray of sunlight\, who drives his chariot straight on<br>
 Is embracing the sweet turtledove\, <br>Whose companion is ever reborn\, <
 br>With good reason it seems that in you perfection reigns.  </p><p><stron
 g>from Das wassergewordene Kanonbuch - Tsao</strong><br>5. Dum tria percur
 ris quatuor valet<br><em><strong>Translation:</strong></em><strong> </stro
 ng>While three traversed\, four counts. Third octave but it makes delays o
 ne under a white<br>Based on Johannes Ciconia’s Le ray au soleyl</p><p>7. 
 Omnia per circuitum<br><em><strong>Translation:</strong> </em>Everything a
 bout<br>Based on Baude Cordier’s Tout par compas suy compose</p><p>2. Die 
 Zahlen<br><em><strong>Translation:</strong></em><strong> The Numbers</stro
 ng><br>Based on Johannes Ockeghem’s Missa Prolationum Kyrie</p><p>DIE ZAHL
 EN\, im Bund <br>mit der Bilder Verhängnis <br>und Gegen –<br>verhängnis.<
 br>                    <br>Der drübergestülpte <br>Schädel\, an dessen <br
 >schlafloser Schläfe ein irr – <br>lichternder Hammer<br>all das im Weltta
 kt besingt.</p><p>Paul Celan Atemwende        </p><p><em><strong>Translati
 on  </strong></em>          <br>THE NUMBERS\, in league <br>with the image
 s‘ doom <br>and counter –<br>doom.    <br><br>The clapped – on<br>skull\, 
 at whose <br>sleepless temple a will – <br>of – the – wisping hammer <br>c
 elebrates all that in <br>worldbeat. <br>                <br>Translation -
  Pierre Joris\, 2014</p><p><strong>Gloria - Josquin</strong><br>          
                  <br>Gloria in excelsis Deo\, <br>et in terra pax hominibu
 s <br>bonae voluntatis. <br>Laudamus te. <br>Adoramus te. <br>Benedicimus 
 te. <br>Glorificamus te.<br>                    <br>Gratias agimus tibi <b
 r>propter magnam gloriam tuam. <br>Domine Deus\, rex coelestis\, Deus Pate
 r omnipotens. <br>Domine Fili unigenite\, Jesu Christe. <br>Domine Deus\, 
 Agnus Dei\, Filius Patris:</p><p>Qui tollis peccata mundi\, miserere nobis
 . <br>Qui tollis peccata mundi\, suscipe deprecationem nostram. <br>Qui se
 des ad dexteram Patris\, miserere nobis.</p><p><em><strong>Translation</st
 rong></em><br>Glory to God in the highest\, <br>and on earth peace\, <br>g
 oodwill toward men.<br>We praise thee. <br>We adore thee.<br>We bless thee
 . <br>We glorify thee.</p><p>We give thanks to thee <br>on account of thy 
 great glory. <br>Lord God\, king of heaven\, God the omnipotent Father. <b
 r>Lord the only- begotten Son\, Jesus Christ. <br>Lord God\, Lamb of God\,
  Son of the Father:</p><p>Who takest away the sins of the world\, have mer
 cy upon us. <br>Who takest away the sins of the world\, hear our prayer. <
 br>Who sittest at the right hand of the Father\, have mercy upon us. </p><
 hr><h2> Biographies</h2><p>The composer <strong>Ming Tsao</strong> writes 
 music with a sensuality that arises out of a focus on the inherent qualiti
 es of sound – what the composer calls its “materiality” – coupled to an ex
 treme formal rigour and a highly precise\, finely-crafted compositional st
 yle. In the foreground of his music is a contemporary conception of musica
 l lyricism\, which is fractured\, multi-faceted and problematised to refle
 ct the modern experience.<br>Many of Ming Tsao’s works are the result of a
  critical and deep-thinking examination of the Western classical tradition
  as well as his serious engagement with Chinese traditional music. Increas
 ingly\, opera is the forum where Ming Tsao brings these interests together
 . The chamber opera Prosperos Garten consists of two acts that are also se
 parate works: Die Geisterinsel\, commissioned by the Staatsoper Stuttgart\
 , is a re-working of Johann Rudolph Zumsteeg’s 18th century opera on Shake
 speare’s The Tempest and Mirandas Atemwende\, premiered in Berlin\, takes 
 Schoenberg’s Erwartung as the starting point for an exploration of languag
 e and expression that focusses on the poetry of Paul Celan and J. H Prynne
 . His large-scale opera Mudan ting (The Peony Pavilion) is a re-working of
  the Chinese Ming dynasty Kunqu opera of the same name\, which will have i
 ts world premiere at the National Theatre Mannheim in 2026.</p><p>Ming Tsa
 o has composed works for ensembles including the Arditti Quartet\, ELISION
  Ensemble\, ensemble ascolta\, ensemble recherche\, Ensemble KNM Berlin an
 d Ensemble SurPlus and has had premieres at the Darmstadter Ferienkürse\, 
 Donaueschinger Musiktage\, MaerzMusik Berlin\, Wien Modern and the Wittene
 r Tage für neue Kammermusik. In recent seasons his major projects include 
 two works for large ensemble: Refuse Collection\, a reaction to the oeuvre
  of French filmmakers Danièle Huillet und Jean-Marie Straub\; and Plus Min
 us\, the first full realisation of Stockhausen’s open composition of the s
 ame name. In May 2022\, the Ensemble Musikfabrik under Emilio Pomàrico pre
 miered the Triode Variations in Cologne\, a piece for 22 instruments lasti
 ng about half an hour\, the recording of which was released in 2023 on the
  Kairos label. A second realization of Stockhausen’s Plus Minus\, titled P
 lus or Minus\, will premiere in the Wittener Tage für neue Kammermusik Fes
 tival in 2025\, with the GrauSchumacher Duo and the Experimental Studio Fr
 eiburg.</p><p>Ming Tsao was born in Berkeley\, California. His father emig
 rated from China and his mother’s parents emigrated from Austria. He studi
 ed violin and viola before travelling to Suzhou\, China\, to study with th
 e renowned Guqin (Chinese zither) performer Wu Zhao-ji. He studied composi
 tion at Berklee College of Music in Boston and Ethnomusicology at Columbia
  University in New York before studies in Logic\, Philosophy and Mathemati
 cs. Returning to composition\, he gained a Ph.D. in Music Composition from
  the University of California\, San Diego under Chaya Czernowin and Philip
 p Manoury as well as studying privately with Brian Ferneyhough. He was Pro
 fessor of Composition at Göteborg University and Visiting Professor of Com
 position at the Hanover University of Music\, Drama and Media. He was awar
 ded a Guggenheim Fellowship in 2021 for music composition. In 2024\, he wa
 s appointed as Birge-Cary Professor of Music at the University of Buffalo 
 in New York.</p><p>A selection of his chamber works was collected on the p
 ortrait CD Pathology of Syntax\, released by Mode Records. Kairos Music ha
 s released his works on three CDs\, Die Geisterinsel\, Plus Minus and Trio
 de Variations. A fifth CD was released in 2025 under the title Plus or Min
 us with the Neos label. His music is published by Edition Peters. Ming Tsa
 o is represented worldwide by the Berlin–based Karsten Witt Music Manageme
 nt.</p><p><br><strong>Meara O'Reilly</strong> is a composer and artist\, f
 ocusing on perception and new musical interfaces. Her Hockets for Two Voic
 es album was released on Cantaloupe in 2019. It was named in several year-
 end best of lists\, including Art Forum\, Bandcamp\, and Second Inversion.
  Sonic Youth’s Lee Ranaldo reviewed the album for Talkhouse\, saying it “s
 ends you\, moves you\, destroys you with beauty“.</p><p>Her music served a
 s score for Daniel Soares’ short film “Bad for a Moment”\, which won Menti
 on Spéciale at Cannes in 2024. She wrote\, performed\, and recorded vocal 
 arrangements for several tracks on the 2020 grammy nominated Fleet Foxes a
 lbum\, Shore. Most recently\, she co-created a musical primate language fo
 r Isaiah Saxon’s 2025 A24 fantasy film “The Legend of Ochi”.</p><p>She is 
 co-creator of the Rhythm Necklace app\, a musical sequencer that uses two-
 dimensional geometry to create rhythm. In 2013 she completed a permanent e
 xhibit at the Exploratorium\, titled Chladni Singing. Her collaboration wi
 th design firm Snibbe Interactive on sound-based 'cymatic' concert visuals
  for Björk's Biophilia album was included in the world tour.</p><p>Her wor
 k has been presented at Carnegie Hall\, Bang on a Can\, National Sawdust\,
  Los Angeles' Walt Disney Hall\, Rewire Festival\, SF Davies Symphony Hall
 \, the Bauhaus Dessau\, and as part of Wild Up’s Endless Season. Selected 
 past performances also include The Kitchen\, SFMOMA\, the Berkeley Art Mus
 eum\, Jeffrey Deitch Gallery in New York\, Yerba Buena Center for the Arts
 \, and the Brooklyn Academy of Music\, opening for artists such as Beck\, 
 Kronos Quartet\, Meredith Monk\, Laurie Anderson\, Lucky Dragons\, Dirty P
 rojectors\, Deerhoof\, Michael Hurley\, Bill Callahan\, Matmos\, and Dinos
 aur Jr. She toured internationally as a solo musician and in the bands Fea
 thers and Brightblack Morning Light.</p>
END:VEVENT
BEGIN:VEVENT
UID:66bafa17-d017-49c5-a123-5891feb33309
DTSTAMP:20260612T083118Z
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' style='border-w
 idth:medium\;text-align:start\;'>Fantasia in C Major\, Hob. XVII: 4:  <str
 ong>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 & 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
DTEND;TZID=America/Los_Angeles:20260414T000000
LAST-MODIFIED:20260408T232404Z
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:a7ed29e5-be98-44bd-b603-4e579d974b49
DTSTAMP:20260612T083118Z
CATEGORIES:Special Events\, Visiting Artists and Scholars\, Workshops
CLASS:PUBLIC
CREATED:20260403T023124Z
DESCRIPTION:<p>The Jazz Studies program hosts a free workshop led by Chris 
 Speed's Yeah NO\, featuring Chris Speed\, saxophone and clarinet\; Jim Bla
 ck\, drums\; Cuong Vu\, trumpet\; and Skúli Sverrisson\, bass.</p><hr><h2>
 <strong>YEAH NO</strong></h2><p><strong>Chris Speed • Jim Black • Cuong Vu
  • Skúli Sverrisson</strong><br>OGs of the NYC Jazz. & New Music Undergrou
 nd</p><p>Before genre-blurring became a buzzword and boundary-pushing a br
 anding strategy\, Yeah NO was already redefining jazz on their own terms— 
 authentic\, dynamic\, and unapologetically original. Initially convened in
  the mid-90s as an experiment in decoding and scoring group improvisations
 \, the band - led by saxophonist and clarinetist Chris Speed (The Bad Plus
 ) alongside Jim Black\, Skúli Sverrisson\, and trumpeter Cuong Vu - crafte
 d an unconventional book of music that fused jazz\, rock\, Eastern Europea
 n  folk and minimalism\, together pushing the NYC jazz and new music under
 ground into new territory.</p><p>Thriving in New York City's late 90s unde
 rground scene\, Yeah NO toured extensively across the U.S. and Europe\, es
 tablishing a vital legacy through four influential recordings\, including 
 Swell Henry (2004) and Emit (2000).</p><p>Featuring an all-star lineup of 
 innovators:</p><p><strong>Chris Speed -</strong> Tenor saxophone and clari
 net visionary\; equally at home in expressive lyricism and post-bop abstra
 ction.</p><p><strong>Jim Black </strong>- Drummer\, electronic experiment
 alist\, rhythmic architect\; a foundational voice in NYC's avant-jazz drum
 ming vocabulary.</p><p><strong>Cuong Vu </strong>- Trumpeter known for bl
 istering sonics and lyrical intensity\, blending noise\, jazz\, and ambien
 t textures with fearless grace.</p><p><strong>Skúli Sverrisson</strong> - 
 Bassist\, composer\, and sonic innovator whose genius and unique approach 
 have left a profound mark on contemporary music.</p><p>Now\, two decades l
 ater\, Yeah NO returns with the same deep musical connection\, fearless en
 semble playing\, and intensity that defined their early sound. 2026 will m
 ark a rare opportunity to hear and experience their dynamic performance li
 ve!</p>
DTSTART;TZID=America/Los_Angeles:20260416T143000
DTEND;TZID=America/Los_Angeles:20260417T000000
LAST-MODIFIED:20260403T214938Z
SUMMARY:: Workshop: Chris Speed's YEAH NO featuring Jim Black\, Cuong Vu\, 
 and Skúli Sverrisson
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-16/workshop-chris-speeds-ye
 ah-no-featuring-jim-black-cuong-vu-and-skuli-sverrisson
END:VEVENT
BEGIN:VEVENT
UID:728eb310-80d5-44f5-bd99-be5e899cdf41
DTSTAMP:20260612T083118Z
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.  <a href='https://www.elizabrown.net/through-the-eye-s' tar
 get='_blank' rel='noopener noreferrer'><strong>Through The Eye(s) </strong
 ><strong>Project Page</strong></a> <hr><h2><strong>PROGRAM </strong></h2><
 p class='font_8'>Through the Eye(s)</p><p class='font_8'>1. Calm and Storm
  <br>Text by Whittney (CoCo) Bales-Malone<br>Music by Eliza Brown</p><p cl
 ass='font_8'> 2. Nightly Storm<br>Music and text by Ashley Strong</p><p cl
 ass='font_8'> 3. Lost in the Fog <br>Text by Marjorie Woods<br>Music by El
 iza Brown</p><p class='font_8'>4. My Tunnel <br>Graphic score and text by 
 Ingrid Swinford</p><p class='font_8'> 5. Violent Passion <br>Music and tex
 t by Char’Dae Avery</p><p class='font_8'> 6. Fortitude <br>Music and text 
 by LaDawn Johnson</p><p class='font_8'> 7. Who’s That? <br>Improvisatory s
 core and text by Dawnetta Taylor (Shelton)</p><p class='font_8'> 8. HER <b
 r>Music and lyrics by Lara Campbell</p><p class='font_8'>9. Emergence<br>M
 usic and text by Amaris Rose Bunyard and Joyce (Potter) Hawkins</p><p clas
 s='font_8'><a href='https://www.elizabrown.net/_files/ugd/dd3986_cc1b92ed5
 4ff4250901434a7d749abd4.pdf' data-entity-type='external'><strong>Through t
 he Eye(s) Texts</strong></a></p><hr><h2 class='font_7'><strong>Biographies
  </strong></h2><p>The music of composer <strong>Eliza Brown</strong>\, des
 cribed as “delicate\, haunting\, [and] introspective” by Symphony Magazine
 \, has been performed around the world by leading new music ensembles incl
 uding Ensemble Dal Niente\, ensemble recherche\, Network for New Music\, Q
 uince Contemporary Vocal Ensemble\, Spektral Quartet\, ICE\, Wet Ink Ensem
 ble\, Wild Rumpus New Music Collective\, and PRISM Saxophone Quartet. Eliz
 a’s work is frequently intertextual\, opening dialogues with existing piec
 es of music\, historical styles\, and other cultural artifacts. Deeply int
 erested in the relationships between music and the other arts and humaniti
 es\, Eliza has also engaged in interdisciplinary collaborations with pract
 itioners of theater\, dance\, architecture\, painting\, and film\, frequen
 tly taking on other artistic roles in these collaborations in addition to 
 composer and facilitating intentional\, project-specific collaborative pro
 cesses. Eliza is currently an Associate Professor of Music at DePauw Unive
 rsity in Greencastle\, Indiana. elizabrown.net</p><p><strong>Bonnie Whitin
 g</strong> performs\, improvises\, and creates new music for percussion. E
 xploring intersections of storytelling and experimental music\, her work i
 ntegrates text\, movement\, and technology. Her debut album\, featuring a 
 solo-simultaneous realization of John Cage's 45' for a speaker and 27'10.5
 54 for a percussionist was released by Mode Records in 2017\, and her seco
 nd album\, Perishable Structures\, launched on the New Focus Recordings la
 bel in 2020. Her original music with James Falzone (clarinets) and Lisa Ca
 y Miller (prepared piano) can be heard on Six Artifacts (Allos Documents\,
  2024.) Recent projects include collaboration with composer Wang Lu on the
  expansive solo theatrical work Stages\, the world premiere of Jonathan Bi
 ngham’s percussion concerto with the National Symphony Orchestra\, and per
 formances on the original Harry Partch instrumentarium.  She is the on-sta
 ge percussionist in The Ritual of Breath Is the Rite to Resist\, a multime
 dia opera featured at Lincoln Center\, The Hopkins Center at Dartmouth\, a
 nd Stanford Live. Her collaboration with multimedia artist Afroditi Psarra
  generated  (Zero Moon records.) Their project with designer Audrey Desjar
 dins transcoding data from IoT devices as performance received a Mellon Cr
 eative Fellowship\, lives as an interactive net art installation\, and was
  explored in workshop at the 2020 Transmediale Festival. She is co-Artisti
 c Director of Seattle Modern Orchestra\, and has performed with Ensemble D
 al Niente\, International Contemporary Ensemble\, Talea Ensemble\, and red
  fish blue fish percussion group. She is the Donald E. Petersen Endowed As
 sociate Professor of Music and Chair of Percussion Studies at the Universi
 ty of Washington in Seattle. More at <a href='http://www.bonniewhitingperc
 ussion.com'>www.bonniewhitingpercussion.com</a></p>
DTSTART;TZID=America/Los_Angeles:20260416T193000
DTEND;TZID=America/Los_Angeles:20260417T000000
LAST-MODIFIED:20260414T174118Z
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><
 hr><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><div><a href='https://www.elizabr
 own.net/through-the-eye-s' target='_blank' rel='noopener noreferrer'><em><
 strong>Through The Eye(s) </strong></em><strong>Project Page</strong></a><
 /div><div> </div><hr><h2><strong>PROGRAM </strong></h2><div><p class='font
 _8'>Through the Eye(s)</p><p class='font_8'><span>1. Calm and Storm </span
 ><br><em>Text by Whittney (CoCo) Bales-Malone</em><br><em>Music by Eliza B
 rown</em></p><p class='font_8'><span> 2. Nightly Storm</span><br><em>Music
  and text by Ashley Strong</em></p><p class='font_8'><span> 3. Lost in the
  Fog </span><br><span>Text by Marjorie Woods</span><br><em>Music by Eliza 
 Brown</em></p><p class='font_8'><span>4. My Tunnel </span><br><em>Graphic 
 score and text by Ingrid Swinford</em></p><p class='font_8'><span> 5. Viol
 ent Passion </span><br><em>Music and text by Char’Dae Avery</em></p><p cla
 ss='font_8'><span> 6. Fortitude </span><br><em>Music and text by LaDawn Jo
 hnson</em></p><p class='font_8'><span> 7. Who’s That? </span><br><em>Impro
 visatory score and text by Dawnetta Taylor (Shelton)</em></p><p class='fon
 t_8'><span> 8. HER </span><br><em>Music and lyrics by Lara Campbell</em></
 p><p class='font_8'>9. Emergence<br><em>Music and text by Amaris Rose Buny
 ard and Joyce (Potter) Hawkins</em></p><p class='font_8'><a href='https://
 www.elizabrown.net/_files/ugd/dd3986_cc1b92ed54ff4250901434a7d749abd4.pdf'
  data-entity-type='external'><em><strong>Through the Eye(s) Texts</strong>
 </em></a></p><hr><h2 class='font_7'><strong>Biographies </strong></h2><p>T
 he music of composer <strong>Eliza Brown</strong>\, described as “delicate
 \, haunting\, [and] introspective” by Symphony Magazine\, has been perform
 ed around the world by leading new music ensembles including Ensemble Dal 
 Niente\, ensemble recherche\, Network for New Music\, Quince Contemporary 
 Vocal Ensemble\, Spektral Quartet\, ICE\, Wet Ink Ensemble\, Wild Rumpus N
 ew Music Collective\, and PRISM Saxophone Quartet. Eliza’s work is frequen
 tly intertextual\, opening dialogues with existing pieces of music\, histo
 rical styles\, and other cultural artifacts. Deeply interested in the rela
 tionships between music and the other arts and humanities\, Eliza has also
  engaged in interdisciplinary collaborations with practitioners of theater
 \, dance\, architecture\, painting\, and film\, frequently taking on other
  artistic roles in these collaborations in addition to composer and facili
 tating intentional\, project-specific collaborative processes. Eliza is cu
 rrently an Associate Professor of Music at DePauw University in Greencastl
 e\, Indiana. elizabrown.net</p><p><strong>Bonnie Whiting</strong> performs
 \, improvises\, and creates new music for percussion. Exploring intersecti
 ons of storytelling and experimental music\, her work integrates text\, mo
 vement\, and technology. Her debut album\, featuring a solo-simultaneous r
 ealization of John Cage's 45' for a speaker and 27'10.554 for a percussion
 ist was released by Mode Records in 2017\, and her second album\, Perishab
 le Structures\, launched on the New Focus Recordings label in 2020. Her or
 iginal music with James Falzone (clarinets) and Lisa Cay Miller (prepared 
 piano) can be heard on Six Artifacts (Allos Documents\, 2024.) Recent proj
 ects include collaboration with composer Wang Lu on the expansive solo the
 atrical work Stages\, the world premiere of Jonathan Bingham’s percussion 
 concerto with the National Symphony Orchestra\, and performances on the or
 iginal Harry Partch instrumentarium.  She is the on-stage percussionist in
  The Ritual of Breath Is the Rite to Resist\, a multimedia opera featured 
 at Lincoln Center\, The Hopkins Center at Dartmouth\, and Stanford Live. H
 er collaboration with multimedia artist Afroditi Psarra generated <null_ab
 c> (Zero Moon records.) Their project with designer Audrey Desjardins tran
 scoding data from IoT devices as performance received a Mellon Creative Fe
 llowship\, lives as an interactive net art installation\, and was explored
  in workshop at the 2020 Transmediale Festival. She is co-Artistic Directo
 r of Seattle Modern Orchestra\, and has performed with Ensemble Dal Niente
 \, International Contemporary Ensemble\, Talea Ensemble\, and red fish blu
 e fish percussion group. She is the Donald E. Petersen Endowed Associate P
 rofessor of Music and Chair of Percussion Studies at the University of Was
 hington in Seattle. More at <a href='http://www.bonniewhitingpercussion.co
 m'>www.bonniewhitingpercussion.com</a></p></div>
END:VEVENT
BEGIN:VEVENT
UID:b9ae4b02-386c-4d93-ae92-3e0660f5bd74
DTSTAMP:20260612T083118Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20251008T214349Z
DESCRIPTION:<p>Ana Alonso Minutti\,  professor of musicology and ethnomusic
 ology at the University of New Mexico\, presents 'Noising the Desert: Land
  and Memory in Raven Chacon’s Work' in this installment of the 2025-26 THE
 ME lecture Series.</p><hr><h2>Abstract</h2><p>Description: Composer and in
 stallation artist Raven Chacon (Fort Defiance\, 1977) has developed a body
  of work shaped by the sonic landscapes of the New Mexican desert. This pr
 esentation traces how his engagement with noise amplifies place and activa
 tes personal and cultural memory\, positioning noising as a borderlands pr
 actice that unsettles colonial histories.</p><hr><h2>Biography</h2><p>Ana 
 Alonso-Minutti is Professor of Musicology and Associate Chair of the Depar
 tment of Music at the University of New Mexico. She is the author of Mario
  Lavista: Mirrors of Sounds (Oxford University Press\, 2023)\, recipient o
 f the Robert M. Stevenson Award from the American Musicological Society\, 
 and coeditor of the journal Twentieth-Century Music.</p><hr><h2 style='-we
 bkit-text-stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68
 \, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Encode Sans Compressed Regul
 ar'\, 'Open Sans'\, Arial\, sans-serif\;font-size:1.875rem\;font-style:nor
 mal\;font-variant-caps:normal\;font-weight:normal\;letter-spacing:0.3px\;l
 ine-height:1.4\;margin:0.2rem 0px 0.5rem\;orphans:auto\;padding:0px\;text-
 align:start\;text-decoration:none\;text-indent:0px\;text-rendering:optimiz
 elegibility\;text-transform:none\;white-space:normal\;widows:auto\;word-sp
 acing:0px\;'>Series Background</h2><p class='p1' style='-webkit-text-strok
 e-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:r
 gb(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-height:1.875rem\;margin:0px 0px 1.5625re
 m\;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\;'>THEME: A colloquium of UW 
 faculty and students of Theory\, History\, Ethnomusicology\, and Music Edu
 cation held on select Friday afternoons during the academic year. </p>
DTSTART;TZID=America/Los_Angeles:20260417T160000
DTEND;TZID=America/Los_Angeles:20260418T000000
LAST-MODIFIED:20260406T150806Z
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\,  professor of musicolo
 gy and ethnomusicology at the University of New Mexico\, presents 'Noising
  the Desert: Land and Memory in Raven Chacon’s Work' in this installment o
 f the 2025-26 THEME lecture Series.</p><hr><h2>Abstract</h2><p>Description
 : Composer and installation artist Raven Chacon (Fort Defiance\, 1977) has
  developed a body of work shaped by the sonic landscapes of the New Mexica
 n desert. This presentation traces how his engagement with noise amplifies
  place and activates personal and cultural memory\, positioning noising as
  a borderlands practice that unsettles colonial histories.</p><hr><h2>Biog
 raphy</h2><p>Ana Alonso-Minutti is Professor of Musicology and Associate C
 hair of the Department of Music at the University of New Mexico. She is th
 e author of <em>Mario Lavista: Mirrors of Sounds </em>(Oxford University P
 ress\, 2023)\, recipient of the Robert M. Stevenson Award from the America
 n Musicological Society\, and coeditor of the journal <em>Twentieth-Centur
 y Music.</em></p><hr><h2 style='-webkit-text-stroke-width:0px\;box-sizing:
 border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-f
 amily:'Encode Sans Compressed Regular'\, 'Open Sans'\, Arial\, sans-serif\
 ;font-size:1.875rem\;font-style:normal\;font-variant-caps:normal\;font-wei
 ght:normal\;letter-spacing:0.3px\;line-height:1.4\;margin:0.2rem 0px 0.5re
 m\;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\;'>Series Background</h2><p c
 lass='p1' style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;car
 et-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open San
 s'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-style:normal\;fo
 nt-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;line-heigh
 t:1.875rem\;margin:0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-alig
 n:start\;text-decoration:none\;text-indent:0px\;text-rendering:optimizeleg
 ibility\;text-transform:none\;white-space:normal\;widows:auto\;word-spacin
 g:0px\;'>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>
END:VEVENT
BEGIN:VEVENT
UID:e0d476e7-fb0b-4d38-a5f2-3d89e1379bc3
DTSTAMP:20260612T083118Z
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. Kane Chang\, Jiaxuan Wu\, El
 i Antony\, and Yuchen Qi.<br><br>This performance is made possible with su
 pport from the Willard Schultz Piano Fund in the School of Music.</p><hr><
 h2>Program</h2><p><br><strong>Kane Chang</strong><br><strong>Schumann:</st
 rong> Concerto in A minor\, Opus 54<br>Allegretto affettuoso</p><p><strong
  style='box-sizing:border-box\;line-height:inherit\;'>Yuchen Qi</strong><b
 r><strong>Beethoven:</strong> Concerto No. 3 in C minor\, Opus 37<br>Alleg
 ro con brio<br> Hsing-Hui Hsu\, assistant conductor</p><p>-INTERMISSION-<b
 r><br><strong>Jiaxuan Wu</strong><br><strong>Beethoven:</strong> Concerto 
 No. 4 in G major\, Opus 58<br>Allegro moderato</p><p style='-webkit-text-s
 troke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;col
 or:rgb(68\, 68\, 68)\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-s
 erif\;font-size:16px\;font-style:normal\;font-variant-caps:normal\;font-we
 ight:400\;letter-spacing:normal\;line-height:1.875rem\;margin:0px 0px 1.56
 25rem\;orphans:auto\;padding:0px\;text-align:start\;text-decoration:none\;
 text-indent:0px\;text-rendering:optimizelegibility\;text-transform:none\;w
 hite-space:normal\;widows:auto\;word-spacing:0px\;'><strong style='box-siz
 ing:border-box\;line-height:inherit\;'>Eli Antony</strong><br><strong>Carl
  Maria von Weber:</strong> Konzerstucke in F minor\, Opus 79<br>Larghetto 
 affetuoso<br>Allegro passionato<br>Tempo di marcia<br>Presto giocoso</p><h
 r><h2>Biographies</h2><h3>Kane Chang </h3><p>Kane is a second-year student
  in the Doctor of Musical Arts piano division at the University of Washing
 ton. He is currently studying with Craig Sheppard. He lived in Australia\,
  where he attended the University of Melbourne and the prestigious Austral
 ian National Academy of Music. He moved to the U.S. in 2022 to study with 
 Alexandre Moutouzkine at the Manhattan School of Music in New York. Kane h
 as performed in several significant venues in China\, Australia\, and the 
 United States\, including the Shanghai Oriental Art Centre\, Melbourne Rec
 ital Centre\, and Lincoln Center in New York. </p><h3>Yuchen Qi </h3><p>Yu
 chen Qi is a second-year Doctor of Musical Arts student at the University 
 of Washington\, studying with Dr. Robin McCabe\, where he also serves as a
  teaching assistant in the UW Secondary Piano program. He received his Bac
 helor of Arts degree from Beijing Normal University and his Master of Musi
 c degree from the Indiana University Jacobs School of Music. As a pianist\
 , Yuchen has performed across Asia\, Europe\, Australia\, and the United S
 tates\, with appearances at venues including Hannover City Hall in Germany
  and the European Times Vienna Chinese Cultural Center. He is a prizewinne
 r of several international competitions\, including the 20th Hong Kong–Asi
 a Piano Open Competition and the Singapore International Piano Competition
 . </p><h3>Jiaxuan Wu </h3><p>Jiaxuan Wu is a first-year Doctor of Musical 
 Arts student in piano performance at the University of Washington\, where 
 she studies with Dr. Cristina Valdés\, and was awarded a teaching assistan
 tship with the Modern Music Ensemble. She received her bachelor’s degree f
 rom Soochow University and her master’s degree from Tianjin Conservatory o
 f Music. Born in China\, Jiaxuan began studying piano at the age of five a
 nd erhu at the age of eight. Alongside the standard piano repertoire\, she
  has a particular interest in contemporary music and enjoys exploring the 
 wide range of sounds and colors the piano can create. </p><h3>Eli Antony <
 /h3><p>Eli Antony is a First-year Undergraduate Piano Major student at the
  University of Washington School of Music\, studying under Dr. Robin McCab
 e. He was accepted into the University of Washington as a freshman at the 
 age of fifteen through the highly selective Robinson Center for Young Scho
 lars' UW Academy Program. A recipient of multiple state-level awards as a 
 pianist\, he is also an accomplished cellist and composer. His composition
 al works for cello and piano have received national recognition and acclai
 m. In addition to a piano major\, he is working towards studying medical s
 ciences\, and is pursuing a minor in Japanese language studies.</p><h3>Har
 monia</h3><p>Harmonia is a vocal-instrumental ensemble unique among Pacifi
 c Northwest musical organizations\, combining a 70-member orchestra with a
  55-voice chorus to perform oratorio masterworks alongside symphonic and a
  cappella repertoire\, world premieres and chamber music.</p><p>Founded by
  George Shangrow in 1969 as the Seattle Chamber Singers\, from its incepti
 on the group performed a diverse array of music — works of the Medieval\, 
 Renaissance and Baroque periods to contemporary pieces and world premieres
  — accompanied by an ad hoc group of instrumentalists for Bach cantatas an
 d Handel oratorios (many of which received their first Seattle performance
 s at SCS concerts).</p><p>A decade later\, in 1979\, Shangrow formed an or
 chestra at the request of these musicians\, calling it the Broadway Chambe
 r Symphony (after the Broadway Performance Hall on Seattle’s Capitol Hill\
 , where it gave its first concerts). The orchestra’s name soon became the 
 Broadway Symphony and then (beginning with the 1991–1992 season) Orchestra
  Seattle.</p><p>With Shangrow on the podium (or conducting from the harpsi
 chord)\, the combined ensembles became renowned for performances of the Ba
 ch Passions and numerous Handel oratorios — particularly Messiah. During t
 he “Bach Year” of 1985\, the organization presented 35 concerts devoted to
  dozens 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 
 performed all of the greatest choral-orchestral masterpieces\, from Beetho
 ven’s Ninth and Missa Solemnis to Stravinsky’s Symphony of Psalms\, Mendel
 ssohn’s Elijah to Brahms’ German Requiem\, and Haydn’s The Creation and Th
 e Seasons to Britten’s War Requiem. Meanwhile\, the orchestra\, partnering
  with world-class soloists\, has explored the symphonic repertoire\, progr
 amming beloved warhorses alongside seldom-performed gems. Throughout\, Sha
 ngrow championed the music of local composers (in particular Huntley Beyer
 \, Robert Kechley\, Roupen Shakarian and Carol Sams\, pictured below)\, pr
 esenting well over 100 world premieres.</p><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.</p><p>A sear
 ch process during the 2012–2013 season led to the selection of Clinton Smi
 th as the group’s second music director. Clinton led the ensemble for four
  seasons. The 2017–2018 season brought four music-director candidates to t
 he podium\, resulting in William White being named music director and prin
 cipal conductor beginning with the 2018–2019 season. White’s tenure has al
 ready been marked by several notable developments: a season devoted to the
  works of Lili Boulanger\; the organization’s 50th anniversary celebration
 s\; a pandemic year commissioning project\; and the adoption of a new name
 : Harmonia.</p><h3>William White</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 span
 ned genres and crossed disciplines. For four seasons (2011–2015) he served
  as assistant conductor of the Cincinnati Symphony Orchestra\, working clo
 sely with music director Louis Langrée and an array of guest artists\, inc
 luding John Adams\, Philip Glass\, Jennifer Higdon\, Itzhak Perlman and Ja
 mes Conlon.</p><p>A noted pedagogue\, he has led some of the nation’s fine
 st youth orchestra programs\, including Portland’s Metropolitan Youth Symp
 hony and the Cincinnati Symphony Youth Orchestra. Mr. White has long-stand
 ing associations with a number of musical organizations\, including the Ch
 icago Symphony Orchestra\, the Pierre Monteux School for Conductors and th
 e Interlochen Academy.</p><p>In addition\, Mr. White maintains a significa
 nt career as a composer of music for the concert stage\, theater\, cinema\
 , church\, radio and film. His music — which includes a symphony\, an orat
 orio\, chamber music of all varieties\, and several works intended for you
 ng audiences — has been performed throughout North America as well as in A
 sia and Europe. Several of his works have been recorded on the MSR Classic
 s\, Cedille and Parma record labels. Recordings of his music can be heard 
 at <a href='http://www.willcwhite.com'>www.willcwhite.com</a>\, where he a
 lso maintains a blog and publishing business.</p><p>Mr. White earned a mas
 ter’s degree in conducting from Indiana University’s Jacobs School of Musi
 c\, studying symphonic and operatic repertoire with David Effron and Arthu
 r Fagan. He received a Bachelor of Arts in Music from the University of Ch
 icago\, where his principal teachers were composer Easley Blackwood and co
 nductor Barbara Schubert.</p><h3>Harmonia Orchestra </h3><p><strong>Flute 
 </strong><br>Lisa Hirayama <br>Elana Sabovic Matt* </p><p><strong>Oboe</st
 rong> <br>Yuh-Pey Lin* <br>Margaret Siple </p><p><strong>Clarinet </strong
 ><br>Christopher Peterson*<br>Gregory Glatzer </p><p><strong>Bassoon </str
 ong><br>Jeff Eldridge* <br>Kerry Philben </p><p><strong>Horn </strong><br>
 Robin Stangland <br>Carey LaMothe </p><p><strong>Trumpet </strong><br>Aaro
 n Coe <br>Janet Young* </p><p><strong>Bass Trombone </strong><br>Albert Hu
 ang </p><p><strong>Timpani </strong><br>Dan Oie </p><p><strong>Violin </st
 rong><br>Leah Anderson* <br>Lauren Daugherty <br>Dean Drescher <br>Jason F
 orman <br>Jason Hershey <br>Manchung Ho <br>Fritz Klein <br>Jonathan Kuehn
  <br>Stephen Provine** <br>Kyle Purnell <br>Theo Schaad <br>Kenna Smith-Sh
 angrow </p><p><strong>Viola </strong><br>Colleen Chlastawa* <br>Deborah Da
 oust <br>Grant Hanner <br>Katherine McWilliams <br>Karoline Vass </p><p><s
 trong>Cello</strong> <br>Christy Johnson <br>Patricia Lyon <br>Katie Saute
 r Messick <br>Valerie Ross <br>Matthew Wyant* </p><p><strong>Bass </strong
 ><br>Jo Hanson <br>Steven Messick* </p><p>*principal **concertmaster</p><h
 r><p> </p>
DTSTART;TZID=America/Los_Angeles:20260417T193000
DTEND;TZID=America/Los_Angeles:20260418T000000
LAST-MODIFIED:20260416T230520Z
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. Kane Chang\
 , Jiaxuan Wu\, Eli Antony\, and Yuchen Qi.<br><br><em>This performance is 
 made possible with support from the Willard Schultz Piano Fund in the Scho
 ol of Music.</em></p><hr><h2>Program</h2><p><br><strong>Kane Chang</strong
 ><br><strong>Schumann:</strong> Concerto in A minor\, Opus 54<br><span sty
 le='-webkit-text-stroke-width:0px\;background-color:rgb(255\, 255\, 255)\;
 caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;display:inline !im
 portant\;float:none\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-se
 rif\;font-size:16px\;font-style:normal\;font-variant-caps:normal\;font-wei
 ght:400\;letter-spacing:normal\;orphans:auto\;text-align:start\;text-decor
 ation:none\;text-indent:0px\;text-transform:none\;white-space:normal\;wido
 ws:auto\;word-spacing:0px\;'>Allegretto affettuoso</span></p><p><strong st
 yle='box-sizing:border-box\;line-height:inherit\;'>Yuchen Qi</strong><br><
 strong>Beethoven:</strong> Concerto No. 3 in C minor\, Opus 37<br>Allegro 
 con brio<br><em> Hsing-Hui Hsu\, assistant conductor</em></p><p>-INTERMISS
 ION-<br><br><strong>Jiaxuan Wu</strong><br><span style='-webkit-text-strok
 e-width:0px\;background-color:rgb(255\, 255\, 255)\;caret-color:rgb(68\, 6
 8\, 68)\;color:rgb(68\, 68\, 68)\;display:inline !important\;float:none\;f
 ont-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;f
 ont-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacin
 g:normal\;orphans:auto\;text-align:start\;text-decoration:none\;text-inden
 t:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:
 0px\;'><strong>Beethoven:</strong> Concerto No. 4 in G major\, Opus 58</sp
 an><br><span style='-webkit-text-stroke-width:0px\;background-color:rgb(25
 5\, 255\, 255)\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;di
 splay:inline !important\;float:none\;font-family:'Open Sans'\, Arial\, Hel
 vetica\, sans-serif\;font-size:16px\;font-style:normal\;font-variant-caps:
 normal\;font-weight:400\;letter-spacing:normal\;orphans:auto\;text-align:s
 tart\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-sp
 ace:normal\;widows:auto\;word-spacing:0px\;'>Allegro moderato</span></p><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'\, Aria
 l\, Helvetica\, sans-serif\;font-size:16px\;font-style:normal\;font-varian
 t-caps:normal\;font-weight:400\;letter-spacing:normal\;line-height:1.875re
 m\;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\;'>
 <strong style='box-sizing:border-box\;line-height:inherit\;'>Eli Antony</s
 trong><br><strong>Carl Maria von Weber:</strong> Konzerstucke in F minor\,
  Opus 79<br>Larghetto affetuoso<br>Allegro passionato<br>Tempo di marcia<b
 r>Presto giocoso</p><hr><h2>Biographies</h2><h3>Kane Chang </h3><p>Kane is
  a second-year student in the Doctor of Musical Arts piano division at the
  University of Washington. He is currently studying with Craig Sheppard. H
 e lived in Australia\, where he attended the University of Melbourne and t
 he prestigious Australian National Academy of Music. He moved to the U.S. 
 in 2022 to study with Alexandre Moutouzkine at the Manhattan School of Mus
 ic in New York. Kane has performed in several significant venues in China\
 , Australia\, and the United States\, including the Shanghai Oriental Art 
 Centre\, Melbourne Recital Centre\, and Lincoln Center in New York. </p><h
 3>Yuchen Qi </h3><p>Yuchen Qi is a second-year Doctor of Musical Arts stud
 ent at the University of Washington\, studying with Dr. Robin McCabe\, whe
 re he also serves as a teaching assistant in the UW Secondary Piano progra
 m. He received his Bachelor of Arts degree from Beijing Normal University 
 and his Master of Music degree from the Indiana University Jacobs School o
 f Music. As a pianist\, Yuchen has performed across Asia\, Europe\, Austra
 lia\, and the United States\, with appearances at venues including Hannove
 r City Hall in Germany and the European Times Vienna Chinese Cultural Cent
 er. He is a prizewinner of several international competitions\, including 
 the 20th Hong Kong–Asia Piano Open Competition and the Singapore Internati
 onal Piano Competition. </p><h3>Jiaxuan Wu </h3><p>Jiaxuan Wu is a first-y
 ear Doctor of Musical Arts student in piano performance at the University 
 of Washington\, where she studies with Dr. Cristina Valdés\, and was award
 ed a teaching assistantship with the Modern Music Ensemble. She received h
 er bachelor’s degree from Soochow University and her master’s degree from 
 Tianjin Conservatory of Music. Born in China\, Jiaxuan began studying pian
 o at the age of five and erhu at the age of eight. Alongside the standard 
 piano repertoire\, she has a particular interest in contemporary music and
  enjoys exploring the wide range of sounds and colors the piano can create
 . </p><h3>Eli Antony </h3><p>Eli Antony is a First-year Undergraduate Pian
 o Major student at the University of Washington School of Music\, studying
  under Dr. Robin McCabe. He was accepted into the University of Washington
  as a freshman at the age of fifteen through the highly selective Robinson
  Center for Young Scholars' UW Academy Program. A recipient of multiple st
 ate-level awards as a pianist\, he is also an accomplished cellist and com
 poser. His compositional works for cello and piano have received national 
 recognition and acclaim. In addition to a piano major\, he is working towa
 rds studying medical sciences\, and is pursuing a minor in Japanese langua
 ge studies.</p><h3>Harmonia</h3><p>Harmonia is a vocal-instrumental ensemb
 le unique among Pacific Northwest musical organizations\, combining a 70-m
 ember orchestra with a 55-voice chorus to perform oratorio masterworks alo
 ngside symphonic and a cappella repertoire\, world premieres and chamber m
 usic.</p><p>Founded by George Shangrow in 1969 as the Seattle Chamber Sing
 ers\, from its inception the group performed a diverse array of music — wo
 rks of the Medieval\, Renaissance and Baroque periods to contemporary piec
 es and world premieres — accompanied by an ad hoc group of instrumentalist
 s for Bach cantatas and Handel oratorios (many of which received their fir
 st Seattle performances at SCS concerts).</p><p>A decade later\, in 1979\,
  Shangrow formed an orchestra at the request of these musicians\, calling 
 it the Broadway Chamber Symphony (after the Broadway Performance Hall on S
 eattle’s Capitol Hill\, where it gave its first concerts). The orchestra’s
  name soon became the Broadway Symphony and then (beginning with the 1991–
 1992 season) Orchestra Seattle.</p><p>With Shangrow on the podium (or cond
 ucting from the harpsichord)\, the combined ensembles became renowned for 
 performances of the Bach Passions and numerous Handel oratorios — particul
 arly Messiah. During the “Bach Year” of 1985\, the organization presented 
 35 concerts devoted to dozens upon dozens of Bach’s works to celebrate the
  300th anniversary of the composer’s birth.</p><p>Over the past five decad
 es\, the ensemble has performed all of the greatest choral-orchestral mast
 erpieces\, from Beethoven’s Ninth and Missa Solemnis to Stravinsky’s Symph
 ony of Psalms\, Mendelssohn’s Elijah to Brahms’ German Requiem\, and Haydn
 ’s The Creation and The Seasons to Britten’s War Requiem. Meanwhile\, the 
 orchestra\, partnering with world-class soloists\, has explored the sympho
 nic repertoire\, programming beloved warhorses alongside seldom-performed 
 gems. Throughout\, Shangrow championed the music of local composers (in pa
 rticular Huntley Beyer\, Robert Kechley\, Roupen Shakarian and Carol Sams\
 , pictured below)\, presenting well over 100 world premieres.</p><p>George
  Shangrow lost his life in a car crash on July 31\, 2010\, an event that s
 hocked not only our musicians and our audiences\, but the entire Pacific N
 orthwest musical community. Over the ensuing three seasons\, the volunteer
  performers of our orchestra and chorus partnered with a number of disting
 uished guest conductors to carry on the astounding musical legacy Shangrow
  created.</p><p>A search process during the 2012–2013 season led to the se
 lection of Clinton Smith as the group’s second music director. Clinton led
  the ensemble for four seasons. The 2017–2018 season brought four music-di
 rector candidates to the podium\, resulting in William White being named m
 usic director and principal conductor beginning with the 2018–2019 season.
  White’s tenure has already been marked by several notable developments: a
  season devoted to the works of Lili Boulanger\; the organization’s 50th a
 nniversary celebrations\; a pandemic year commissioning project\; and the 
 adoption of a new name: Harmonia.</p><h3>William White</h3><p>The 2025–202
 6 season marks William White’s eighth as Harmonia’s music director. Maestr
 o White is a conductor\, composer\, teacher\, writer and performer whose m
 usical career has spanned genres and crossed disciplines. For four seasons
  (2011–2015) he served as assistant conductor of the Cincinnati Symphony O
 rchestra\, working closely with music director Louis Langrée and an array 
 of guest artists\, including John Adams\, Philip Glass\, Jennifer Higdon\,
  Itzhak Perlman and James Conlon.</p><p>A noted pedagogue\, he has led som
 e of the nation’s finest youth orchestra programs\, including Portland’s M
 etropolitan Youth Symphony and the Cincinnati Symphony Youth Orchestra. Mr
 . White has long-standing associations with a number of musical organizati
 ons\, including the Chicago Symphony Orchestra\, the Pierre Monteux School
  for Conductors and the Interlochen Academy.</p><p>In addition\, Mr. White
  maintains a significant career as a composer of music for the concert sta
 ge\, theater\, cinema\, church\, radio and film. His music — which include
 s a symphony\, an oratorio\, chamber music of all varieties\, and several 
 works intended for young audiences — has been performed throughout North A
 merica as well as in Asia and Europe. Several of his works have been recor
 ded on the MSR Classics\, Cedille and Parma record labels. Recordings of h
 is music can be heard at <a href='http://www.willcwhite.com'>www.willcwhit
 e.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 Fagan. He received a Bachelor of Arts in Music fro
 m the University of Chicago\, where his principal teachers were composer E
 asley Blackwood and conductor Barbara Schubert.</p><h3>Harmonia Orchestra 
 </h3><p><strong>Flute </strong><br>Lisa Hirayama <br>Elana Sabovic Matt* <
 /p><p><strong>Oboe</strong> <br>Yuh-Pey Lin* <br>Margaret Siple </p><p><st
 rong>Clarinet </strong><br>Christopher Peterson*<br>Gregory Glatzer </p><p
 ><strong>Bassoon </strong><br>Jeff Eldridge* <br>Kerry Philben </p><p><str
 ong>Horn </strong><br>Robin Stangland <br>Carey LaMothe </p><p><strong>Tru
 mpet </strong><br>Aaron Coe <br>Janet Young* </p><p><strong>Bass Trombone 
 </strong><br>Albert Huang </p><p><strong>Timpani </strong><br>Dan Oie </p>
 <p><strong>Violin </strong><br>Leah Anderson* <br>Lauren Daugherty <br>Dea
 n Drescher <br>Jason Forman <br>Jason Hershey <br>Manchung Ho <br>Fritz Kl
 ein <br>Jonathan Kuehn <br>Stephen Provine** <br>Kyle Purnell <br>Theo Sch
 aad <br>Kenna Smith-Shangrow </p><p><strong>Viola </strong><br>Colleen Chl
 astawa* <br>Deborah Daoust <br>Grant Hanner <br>Katherine McWilliams <br>K
 aroline Vass </p><p><strong>Cello</strong> <br>Christy Johnson <br>Patrici
 a Lyon <br>Katie Sauter Messick <br>Valerie Ross <br>Matthew Wyant* </p><p
 ><strong>Bass </strong><br>Jo Hanson <br>Steven Messick* </p><p>*principal
  **concertmaster</p><hr><p> </p>
END:VEVENT
BEGIN:VEVENT
UID:e3b921e6-3d02-4309-a8e1-7a5ed602ba94
DTSTAMP:20260612T083118Z
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> <stro
 ng>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
DTEND;TZID=America/Los_Angeles:20260424T000000
LAST-MODIFIED:20251002T191702Z
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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:20260612T083118Z
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 style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;c
 aret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open S
 ans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-style:normal\;
 font-variant-caps:normal\;letter-spacing:normal\;line-height:inherit\;orph
 ans:auto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-tr
 ansform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>Friday 
 Night Headliner:</strong> Kassa Overall with Ted Poor\, Steve Rodby\, Cuon
 g Vu\, Greg Sinibaldi and Jacob Zimmerman<br><strong style='-webkit-text-s
 troke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;col
 or:rgb(68\, 68\, 68)\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-s
 erif\;font-size:16px\;font-style:normal\;font-variant-caps:normal\;letter-
 spacing:normal\;line-height:inherit\;orphans:auto\;text-align:start\;text-
 decoration:none\;text-indent:0px\;text-transform:none\;white-space:normal\
 ;widows:auto\;word-spacing:0px\;'>Saturday Night Headliner:</strong>  Skùl
 i Sverisson wtih UW faculty Ted Poor\, Steve Moore\, and Cuong Vu</p><hr>
 \n  \n      \n    \n          \n\n      \n\n\n  \n<hr><h2>Biographies</h2>
 <p><strong>KASSA OVERALL</strong> is a Grammy-nominated jazz artist\, drum
 mer\, emcee\, singer and producer. He seamlessly blends jazz\, hip-hop and
  avant-garde experimentation into a sound uniquely his own. His music is b
 oth innovative and accessible\, pushing the boundaries of genre while rema
 ining deeply engaging. Overall has released seven critically acclaimed mix
 tapes and albums\, including I Think I’m Good and Go Get Ice Cream and Lis
 ten to Jazz. His latest project\, CREAM\, reinterprets eight hip-hop class
 ics as if they were 1960's jazz instrumentals. It features tracks from art
 ists like The Notorious B.I.G.\, Wu-Tang Clan\, and OutKast\, blending imp
 rovisation with hip-hop roots. A graduate of the Oberlin Conservatory of M
 usic\, Overall has been a driving force in the jazz world for over two dec
 ades. In 2020\, he was called “one of modern jazz music’s most audacious f
 uturists” by Pitchfork. He has toured and recorded with renowned artists l
 ike Geri Allen\, Jon Batiste\, Steve Coleman\, Vijay Iyer\, Terri Lyne Car
 rington\, and Gary Bartz\, and his production work can be heard on albums 
 by Theo Croker\, Arto Lindsay and Danny Brown. A Seattle native\, Kassa Ov
 erall attended Washington MS and Garfield HS. A child drum prodigy\, he ta
 ught himself to make beats on an MPC and an ASR 10 he acquired at a Seattl
 e Police Department auction.<br> </p>
DTSTART;TZID=America/Los_Angeles:20260424T193000
DTEND;TZID=America/Los_Angeles:20260425T000000
LAST-MODIFIED:20260423T193344Z
SUMMARY:: Improvised Music Project Festival (IMPFEST) featuring Kassa Overa
 ll
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-24/improvised-music-project
 -festival-impfest-featuring-kassa-overall
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The School of Music and the student-run Imp
 rovised Music Project (IMP) present IMPFest\, featuring UW Jazz Studies st
 udents and faculty  performing with guest artists of international renown.
   Headliners for this year's festival are Grammy nominated drummer\, produ
 cer\, and emcee Kassa Overall and Icelandic composer and bass guitarist Sk
 ùli Sverisson.</p><p><strong style='-webkit-text-stroke-width:0px\;box-siz
 ing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;fo
 nt-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;fo
 nt-style:normal\;font-variant-caps:normal\;letter-spacing:normal\;line-hei
 ght:inherit\;orphans:auto\;text-align:start\;text-decoration:none\;text-in
 dent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spaci
 ng:0px\;'>Friday Night Headliner:</strong><span style='-webkit-text-stroke
 -width:0px\;background-color:rgb(255\, 255\, 255)\;caret-color:rgb(68\, 68
 \, 68)\;color:rgb(68\, 68\, 68)\;display:inline !important\;float:none\;fo
 nt-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;fo
 nt-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing
 :normal\;orphans:auto\;text-align:start\;text-decoration:none\;text-indent
 :0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0
 px\;'> Kassa Overall with Ted Poor\, Steve Rodby\, Cuong Vu\, Greg Sinibal
 di and Jacob Zimmerman</span><br><strong 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-s
 ize:16px\;font-style:normal\;font-variant-caps:normal\;letter-spacing:norm
 al\;line-height:inherit\;orphans:auto\;text-align:start\;text-decoration:n
 one\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto
 \;word-spacing:0px\;'>Saturday Night Headliner:</strong><span style='-webk
 it-text-stroke-width:0px\;background-color:rgb(255\, 255\, 255)\;caret-col
 or:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;display:inline !important\;
 float:none\;font-family:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font
 -size:16px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;
 letter-spacing:normal\;orphans:auto\;text-align:start\;text-decoration:non
 e\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;
 word-spacing:0px\;'>  Skùli Sverisson wtih UW faculty Ted Poor\, Steve Moo
 re\, and Cuong Vu</span></p><hr><article> <div class='field-wrapper field 
 field-media--field-media-oembed-video field-name-field-media-oembed-video 
 field-type-string field-label-hidden'> <div class='field-items'> <div clas
 s='field-item'><iframe src='https://music.washington.edu/media/oembed?url=
 https%3A//youtu.be/ZAQovHe_dPQ%3Fsi%3DJgBdHzkgECZvZ7b2&max_width=220&max_h
 eight=0&hash=pyQIKrw8biCAwNc0EtU6dbsBgbluNdowUXBHSAV0B04' width='220' heig
 ht='124' class='media-oembed-content' loading='eager' title='Kassa Overall
  - C.R.E.A.M. [Wu-Tang Clan] Live at the Cubes\, Rotterdam (Official Perfo
 rmance Video)'></iframe> </div> </div> </div> </article> <hr><h2>Biographi
 es</h2><p><strong>KASSA OVERALL</strong> is a Grammy-nominated jazz artist
 \, drummer\, emcee\, singer and producer. He seamlessly blends jazz\, hip-
 hop and avant-garde experimentation into a sound uniquely his own. His mus
 ic is both innovative and accessible\, pushing the boundaries of genre whi
 le remaining deeply engaging. Overall has released seven critically acclai
 med mixtapes and albums\, including I Think I’m Good and Go Get Ice Cream 
 and Listen to Jazz. His latest project\, CREAM\, reinterprets eight hip-ho
 p classics as if they were 1960's jazz instrumentals. It features tracks f
 rom artists like The Notorious B.I.G.\, Wu-Tang Clan\, and OutKast\, blend
 ing improvisation with hip-hop roots. A graduate of the Oberlin Conservato
 ry of Music\, Overall has been a driving force in the jazz world for over 
 two decades. In 2020\, he was called “one of modern jazz music’s most auda
 cious futurists” by Pitchfork. He has toured and recorded with renowned ar
 tists like Geri Allen\, Jon Batiste\, Steve Coleman\, Vijay Iyer\, Terri L
 yne Carrington\, and Gary Bartz\, and his production work can be heard on 
 albums by Theo Croker\, Arto Lindsay and Danny Brown. A Seattle native\, K
 assa Overall attended Washington MS and Garfield HS. A child drum prodigy\
 , he taught himself to make beats on an MPC and an ASR 10 he acquired at a
  Seattle Police Department auction.<br> </p>
END:VEVENT
BEGIN:VEVENT
UID:51da1fff-390f-4c50-9ea2-c21edf6cee14
DTSTAMP:20260612T083118Z
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 t
 his year's festival are Grammy nominated drummer\, producer\, and emcee Ka
 ssa Overall and Icelandic composer and bass guitarist Skùli Sverisson.</p>
 <p><strong>Friday Night Headliner:</strong> Kassa Overall with UW faculty 
 Ted Poor\, Steve Rodby\, Cuong Vu\, Greg Sinibaldi and Jacob Zimmerman<br>
 <strong>Saturday Night Headliner:</strong>  Skùli Sverisson wtih UW facult
 y Ted Poor\, Steve Moore\, and Cuong Vu</p><hr><h2>Biographies</h2><p><str
 ong>Skúli Sverrisson</strong> has built a unique international career as a
  composer\, instrumentalist\, and creative collaborator with a very broad 
 spectrum of international artists. Skúli was active in the downtown music 
 scene of New York\, where he collaborated with Ben Monder\, Pachora\, amon
 g others. During this period\, he recorded and toured worldwide with the l
 egendary guitarist Alan Holdsworth and was a member of Ryuichi Sakamoto’s 
 band. Skúli worked closely with artist Laurie Anderson for over a decade a
 s a creative collaborator\, performer\, and producer. He was the music dir
 ector of Life on a String\, which won Anderson a Grammy for the best-sound
 ing record of the year. Skúli has played<br>with free jazz legends such as
  Wadada Leo Smith and Derek Bailey\, performed with revolutionaries like L
 ou Reed\, Jon Hassell\, David Sylvian\, and Arto Lindsay\, and collaborate
 d with new music composers and performers such as Anthony Burr\, Sidsel En
 dresen\, and Bára Gísladóttir.<br><br>Skúli has been a soloist with the Ic
 eland Symphony Orchestra three times\, one of which was a recording for De
 utsche Grammophon of Jóhann Jóhannsson’s Sicario Suite. He also wrote a pi
 ece for the orchestra and Ólöf Arnalds’ voice\, Kaldur sólargeisli (A Cold
  Ray of Sun). Skúli has worked with Víkingur Ólafsson as an instrumentalis
 t\, composer\, and arranger. He recorded the celebrated<br>album Strata wi
 th Bill Frisell\, featuring Skúli’s compositions.<br><br>Skúli is recogniz
 ed for his bass playing on the records of Blonde Redhead and his duo album
  Strata with Bill Frisell\, which features his compositions. He is also kn
 own for his work as the producer of Ólöf Arnalds’ solo albums and for his 
 collaborative work with trumpet player Arve Henriksen and the vocal group 
 Trio Mediæval. He recently completed a duo album with Kjartan Sveinsson (S
 igur Rós)\,<br>awaiting release. Skúli has also recently started working w
 ith Jakob Bro on new material for live performance and recording\, alongsi
 de saxophonist Óskar Guðjónsson\, with whom he has released two critically
  acclaimed albums\, After Silence and The Box Tree.<br><br>In the world of
  film\, Skúli has been involved in creating some of the highly acclaimed s
 cores by Ryuichi Sakamoto and Jóhann Jóhannsson. Skúli frequently collabor
 ated with Jóhann\, for example\, on his composition Virðulegir forsetar an
 d his scores for Sicario and Mandy. He also co-composed the track Glacier\
 , featured in Sakamoto's score for The Revenant. Skúli has had a very clos
 e working relationship with composer Hildur Guðnadóttir. He performed on h
 er solo album Without Sinking and performed and arranged all the guitar pa
 rts for her score to Women Talking\, which was nominated for the Golden Gl
 obe Awards.<br><br>Skúli has written new music for the National Theater of
  Iceland and won the Icelandic Theatre Awards\, Gríman\, for Music of the 
 Year. He has also been involved as a composer with the Icelandic Dance Com
 pany and Theater Freiburg\, where he worked with dancer and choreographer 
 Erna Ómarsdóttir. He produced the music for the exhibition of artist Hrafn
 hildur Arnardóttir (Shoplifter) along with the Icelandic cult band HAM for
  the Venice Biennale\, which has now become a<br>permanent installation at
  Höfuðstöðin in Reykjavík.<br><br>In his successful career\, Skúli has per
 formed on over 200 records and played concerts all over the world. He has 
 won the Icelandic Music Awards seven times for his compositions and perfor
 mances and has been nominated twice for the Nordic Council Music Prize. He
  has also been mentioned in the prestigious yearly critic’s poll of DownBe
 at over ten times. Skúli founded Mengi (a creative music venue in Reykjaví
 k) in 2013 and has been the creative director of the institution from the<
 br>beginning.</p>
DTSTART;TZID=America/Los_Angeles:20260425T193000
DTEND;TZID=America/Los_Angeles:20260426T000000
LAST-MODIFIED:20260423T193258Z
SUMMARY:: Improvised Music Project Festival (IMPFEST)\, featuring Skúli Sve
 risson
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-25/improvised-music-project
 -festival-impfest-featuring-skuli-sverisson
END:VEVENT
BEGIN:VEVENT
UID:df09c1cb-aaa5-4378-ac8f-1e00873ea89b
DTSTAMP:20260612T083118Z
CATEGORIES:Degree Recitals\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20260413T172840Z
DESCRIPTION:<p>Jingshi Zhao (DMA\, Piano)\, a student of Craig Sheppard\, p
 erforms works by Debussy\, Ravel\, and Poulenc in her graduate degree reci
 tal.</p><hr><h2>Program</h2><p><strong>Claude Debussy </strong>— Estampes<
 br><strong>Maurice Ravel </strong>— Pavane pour une infante défunte<br><st
 rong>Claude Debussy</strong> — Preludes Book II<br><strong>Francis Poulenc
 </strong> — Napoli</p><hr><h2>Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260426T140000
DTEND;TZID=America/Los_Angeles:20260427T000000
LAST-MODIFIED:20260413T173604Z
SUMMARY:: Degree Recital: Jingshi Zhao (DMA\, Piano)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-04-26/degree-recital-jingshi-z
 hao-dma-piano
END:VEVENT
BEGIN:VEVENT
UID:a537ea8f-a123-4a24-82b5-76ed255ad209
DTSTAMP:20260612T083118Z
CATEGORIES:Community Events\, Performances\, Special Events\, Student Activ
 ities and Performances
CLASS:PUBLIC
CREATED:20260225T234536Z
DESCRIPTION:<p>Organ students of Dr. Stephen Price perform works by Jehan A
 lain\, Johann Sebastian Bach\, Emma Lou Diemer\, Sigfrid Karg-Elert\, Rach
 el Laurin\, Felix Mendelssohn\, Eurydice Osterman\, and others. </p><hr><h
 2>Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260428T193000
DTEND;TZID=America/Los_Angeles:20260429T000000
LAST-MODIFIED:20260416T013929Z
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:20260612T083118Z
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\, Carl Maria von Weber\, Viet Cuong\, David Maslanka\, 
 and Benjamin Horne\, plus the West Coast premiere of a new work by Ryan Li
 ndveit. With Solomon Encina and Yuman Wu\, graduate conductors\; Kyle Gran
 t\, alto saxophone\; Luqi Wang\, clarinet\; and guest graduate conductors 
 Noah Scanlan and Nicholas Renaud. </p><hr><h2>Program</h2><p>University of
  Washington Wind Ensemble and Symphonic Band present: <br>“Scenes and Port
 raits” <br>Thursday April 30\, 2026 7:30 pm  Meany Hall <br><br><strong>Er
 in Bodnar\,</strong> conductor <br><strong>Solomon Encina\,</strong> gradu
 ate conductor <br><strong>Yuman Wu\,</strong> graduate conductor <br><stro
 ng>Kyle Grant\,</strong> alto saxophone <br><strong>Luqi Wang\,</strong> c
 larinet  </p><h3>UW Symphonic Band </h3><p>Erin Bodnar\, conductor <br><br
 >Cane River Murals (2012) ……………….....………....................……<strong>Mart
 in Ellerby</strong> (b. 1957) <br>Spring Planting (Spiritual) <br>Wash Day
  (Scherzo) <br>Noah Scanlan\, guest graduate conductor <br><br>Baptism\, W
 edding & Funeral (Triptych)  <br>Nicholas Renaud\, guest graduate conducto
 r <br><br>Honky Tonk (Blues)  <br>Pecan Harvest (Celebration)  <br><br><br
 >Second Concerto for Clarinet (1811) ……….............……….<strong>Carl Mari
 a von Weber </strong>(1786-1826) <br>Allegro <br>Luqi Wang\, clarinet <br>
 Solomon Encina\, graduate conductor <br><br>John and Jim (2024)………….......
 ...........….….................…..……………. <strong>Viet Cuong</strong> (b. 1
 990) <br>With UW Wind Ensemble and members from the UW Concert\, Campus\, 
 and University Band  <br><br>INTERMISSION </p><h3>UW Wind Ensemble </h3><p
 >Dr. Erin Bodnar\, conductor <br><br>Concerto for Alto saxophone and Wind 
 Ensemble (1999)…………<strong>David Maslanka</strong> (1943-2017) <br>Song: “
 Fire in the Earth” <br>Kyle Grant\, alto saxophone <br>Yuman Wu\, graduate
  conductor <br><br><br>Hammersmith: Prelude and Scherzo (1930)……….....…...
 ........…..…<strong>Gustav Holst </strong> (1874-1934)  <br><br>Deep River
  (2021)…………………….............................……………<strong>Benjamin Horne</s
 trong> (b. 1995)  <br><br>Brilliant Brushstrokes (2025)……….…………...........
 .…….........…..…<strong>Ryan Lindveit</strong> (b. 1994)  <br>West Coast P
 remiere </p><hr><h2>Program Notes </h2><p><strong>Cane River Murals (2012)
  ……………….....………....................……Martin Ellerby </strong><br>Cane Rive
 r Murals was commissioned by and dedicated to the Northwestern State Unive
 rsity Wind Symphony\, Natchitoches\, Louisiana\, William E. Brent\, conduc
 tor\, for the 100th anniversary of their band program. The work is based o
 n the African House Murals by Clementine Hunter that are housed and preser
 ved on the Melrose Plantation. Ellerby also used the idea of the Cane Rive
 r to bind five separate movements together\, flowing as it does through th
 e whole scenario\, as do bells in their various symbolic guises. The movem
 ents are as follows:</p><p>Spring Planting (Spiritual) A kind of miniature
  overture\, the river motif is announced immediately and combined with the
  spiritual Deep River\, which is partially quoted\, forming the basis for 
 the opening.</p><p>Wash Day (Sjherzo) A scene depicting much activity and 
 individual endeavor set in a swing tempo. There are ‘improvised’ patterns 
 in the percussion and even a wash board employed to convey the mood sugges
 ted by the mural.</p><p>Baptism\, Wedding & Funeral (Triptych) In three se
 ctions linked without a break but the outer ones sharing common material\,
  this opens with delicate textures and lyrical solo contributions.</p><p>H
 onky Tonk (Blues) A mono-thematic movement\, the simple blues melody\, hea
 rd initially on solo saxophone\, finds its way into more involved orchestr
 ations and denser textures until a full tutti rendition is delivered\, fol
 lowed by a swift but exhausted coda.</p><p>Pecan Harvest (Celebration) A b
 right and optimistic concluding movement\, highly charged and rarely witho
 ut a change of time signature every bar.</p><p><strong>Second Concerto for
  Clarinet (1811) ……….............……….Carl Maria von Weber </strong><br>The
  <strong>Clarinet Concerto No. 2 in E-flat</strong> is described as the mo
 re symphonic of Weber’s two concertos for the instrument. It fully exploit
 s the expressive range of the clarinet\, from dark Romanticism to virtuosi
 c fireworks\, and moves through the entire tessitura of the instrument\, e
 xploring both the rich\, deep register and the piercing upper range. The t
 hree-movement work includes an Allegro and a Romanze\, in addition to the 
 lively Polacca . In this final movement\, Weber uses rather large leaps to
  embellish the clarinet melody\, which is usually made up of flashy\, spar
 kling rhythms. The melody is often dotted and syncopated to give a somewha
 t cheeky character to the music. The work finishes with one of the most gl
 ittery\, virtuosic passages in the clarinet repertoire\, and it is appropr
 iately marked “brillante.”</p><p><strong>John and Jim (2024)…………..........
 ........….….................…..……………. Viet Cuong </strong><br>I first hear
 d the name Obergefell in 2015 when the case that bears it\, Obergefell v. 
 Hodges\, was decided by the Supreme Court. Among the most important in his
 tory for queer Americans\, this landmark ruling granted marriage rights to
  all same-sex couples. At that moment\, Obergefell was etched in history. 
 For those writing about the law\, the name would thereafter be written in 
 italics\, and today it’s as much a shorthand for the case law of marriage 
 equality as it is the name of a man. But at its core\, the case begins wit
 h two people.</p><p>John Arthur and Jim Obergefell were married in July of
  2013. They had been together in a loving relationship for 22 years\, and 
 Jim was caring for John as he faced the end stages of ALS. In the last yea
 r of John’s life\, they traveled on a medical plane to Maryland -- one of 
 just a handful of states where same-sex marriage was legal at the time -- 
 to be married. The marriage ceremony was conducted on board the plane befo
 re they returned home to Ohio for their last months together. John passed 
 away that October\, and\, because Ohio did not recognize their marriage as
  legal\, Jim had to challenge the state in court to be listed as John’s su
 rviving spouse on his death certificate. The state appealed\, and the cour
 t battle worked its way through the legal system until 2015\, when Jim and
  his team were victorious before the Supreme Court. Their efforts ensured 
 that the relationships of same-sex couples\, including my marriage to my h
 usband\, would be seen as equal under the law. For that I am deeply and pe
 rsonally grateful.</p><p><strong>John and Jim</strong> is my effort to pay
  tribute to the men whose love and devotion gave rise to great change\, an
 d I do so by interpolating source material from an iconic piece of traditi
 onal wedding music: Pachelbel’s Canon in D. In my youth I adored Pachelbel
 ’s Canon\, and I learned a piano arrangement of it when I was 11 years old
 . For months I would play the piece every morning before school\, endlessl
 y repeating its bass line while improvising melodies when the treble clef’
 s music ran out. Through these explorations\, I discovered some basic prin
 ciples of music composition\, and it was through the Pachelbel that I bega
 n composing in earnest. It was also around that time that I first learned 
 of its use in weddings\, as it was the frequent soundtrack to reality TV s
 hows chronicling the weddings of straight couples. At the time it saddened
  me that music I found so beautiful was emblematic of something that\, acc
 ording to the law\, I could never have. It feels fitting then\, that in th
 e year of my own wedding to my partner of 11 years\, reframing (and perhap
 s reclaiming) the Pachelbel should provide the inspiration for a celebrati
 on of marriage equality.<br><br>My piece is a conversation between two alt
 ernating phrases\, one of which uses melodic fragments and harmonic progre
 ssions from the Canon in D as source material. In the Canon\, Pachelbel es
 tablishes a single bass line and layers it with several melodies\, two of 
 which are quite iconic but never performed simultaneously in the original.
  I disassembled and rewrote these to work harmoniously with one another up
 on the arrival of the piece’s climax\, which appears after several minutes
  of what I think of as the music finding and piecing itself together. Ulti
 mately\, I believe John and Jim sounds like both a departure and nod to th
 e piece that first inspired me to compose. All of this takes place in a re
 verberant atmosphere\, where notes linger and continually echo around one 
 another\, symbolic of both the persistence and impact of people like John 
 and Jim.</p><p>John and Jim was commissioned by The Columbus Pride Bands a
 nd the Queen City Freedom Band of Cincinnati for the 2024 Pride Bands Alli
 ance Annual Conference\, where it was premiered on July 20\, 2024\, by Dr.
  Jon Norywota and the combined concert bands. Heartfelt thanks to the Prid
 e Bands Alliance for this opportunity to tell my story and celebrate John 
 Arthur\, Jim Obergefell\, and the progress that has been made in the name 
 of love.<br>- Program Note by composer</p><p><strong>Concerto for Alto sax
 ophone and Wind Ensemble (1999)…………David Maslanka</strong><br>This concert
 o turned out to be a good deal larger than I would reasonably want. As I g
 ot into the composing\, the ideas became insistent: none of them would be 
 left out! The format of songs and interludes arises from my other recent w
 orks for saxophones (Mountain Roads for saxophone quartet and Song Book fo
 r alto saxophone and marimba)\, and suggests a music that is more intimate
  than symphonic. There is a strong spiritual overtone with quotes from Bac
 h chorales\, and from my own works Hell’s Gate and Mass. A story is hinted
  at which has the Crucifixion right smack in the middle -- the climax of t
 he third movement quotes the “Crucifixus” from the Mass. I don’t know what
  the story is\, only that it wants to be music and not words.</p><p>I. Son
 g: “Fire in the Earth”<br>Walking through a Montana field on a brilliant l
 ate fall day\, three images came in rapid succession: a distant row of red
  plant stems caught by the morning sun\, snow on the surrounding high moun
 tains\, green grass at my feet. The following poetic image came:<br>Fire i
 n the earth <br>Snow in the heavens <br>New green grass in the middle of N
 ovember <br>This is a quiet\, emotional music – sometimes not so quiet – c
 ontained by a very simple song form.<br>- Program Note by the composer </p
 ><p><strong>Hammersmith: Prelude and Scherzo (1930)……….....…...........…..
 …Gustav Holst</strong><br>Hammersmith’s mood is the outcome of long years 
 of [Holst’s] familiarity with the changing crowds and the changing river: 
 those Saturday night crowds\, who were always good-natured even when they 
 were being pushed off the pavement into the middle of the traffic\, and th
 e stallholders in that narrow lane behind the Broadway\, with their unexpe
 cted assortment of goods lit up by brilliant flares\, and the large woman 
 at the fruit shop who always called him ‘dearie’ when he bought oranges fo
 r his Sunday picnics. As for the river\, he had known it since he was a st
 udent\, when he paced up and down outside William Morris’s house\, discuss
 ing Ibsen with earnest young socialists. During all the years since then\,
  his favorite London walk had been along the river-path to Chiswick. In Ha
 mmersmith\, the river is the background to the crowd\; it is a river that 
 goes on its way unnoticed and unconcerned.<br>- Program Note by Imogen Hol
 st  <br><br><strong>Deep River (2021)…………………….............................
 ……………Benjamin Horne</strong><br><strong>Deep River</strong> is an arrangem
 ent of the traditional spiritual of the same name for wind band. This arra
 ngement is inspired by a popular art song version by Henry Burleigh. His l
 ow baritone voice as well as renditions by singers such as Paul Robeson ar
 e the motivation for this version's use of solo tuba for the song's initia
 l presentation. Other allusions to Burleigh can be found through the work.
 </p><p>Deep River for wind band opens with solos from various voices evoca
 tive of short testimonies before we begin the song. The low voice of the t
 uba then leads us in with the first verse as others join in. At the conclu
 sion of the lyric 'peace\,' an alto saxophone solo 'crosses' us over into 
 a new place where the song starts again\, but livelier featuring the entir
 e saxophone section.<br>- Program Note by the composer</p><p><strong>Brill
 iant Brushstrokes (2025)……….…………............…….........…..…Ryan Lindveit</
 strong><br>Brilliant Brushstrokes is inspired by an overwhelmingly colorfu
 l and bold painting that the Knoxville-born artist Beauford Delaney (1901-
 1979) painted on a fragment of his old raincoat when he was living in Pari
 s in 1954. Delaney’s raincoat fragment overflows abstractly with swirls\, 
 rings\, splotches\, and lines of forest green\, deep orange\, bright yello
 w\, fire-engine red\, hazy gray\, spacious white\, peaceful azure\, and de
 ep ocean blue. Upon closer viewing\, the seams and pockets of the cut-up r
 aincoat are also visible\, revealing that the fanciful artwork is the resu
 lt of Delaney’s resourcefulness in the face of limited money and art suppl
 ies.</p><p>As a fellow artist\, I find Delaney’s unrelenting and restless 
 impulse to be creative even when he lacked proper materials to be almost i
 nspiring as the painting itself. Although Brilliant Brushstrokes is tightl
 y constructed around only a few melodic gestures\, the music constantly cy
 cles through changes in instrumental texture\, density\, harmony\, and ene
 rgy. Musical phrases are often cut off abruptly with a quick down-up gestu
 re that I view as related to the stitched seams on the raincoat. Overall\,
  the composition uses the vast and variegated color palette of the wind en
 semble to capture the inventive spirit and brilliant dynamism of Delaney’s
  brushstrokes\, splatters\, and daubs.<br>- Program Note by composer</p><h
 r><p><strong>UW SYMPHONIC BAND  </strong><br> <br><strong>Flute </strong> 
  <br>Naomi Cho\, Fr.\, Flute Performance\, Auburn <br>Ananya Sai Parlapall
 i\, Fr.\, Biochemistry & Flute Performance\, Spokane\, WA  <br>Rob Rosenth
 al\, Fr.\, Flute Performance\, Evanston\, IL  <br>Gabriel Rui\, Fr.\, Engi
 neering Undeclared\, San Francisco\, CA  <br>Emily Wen\, Fr.\, Flute Perfo
 rmance\, Sherwood\, OR  <br>Xiage Zhang\, Gr.\, Flute Performance\, Shanxi
  Province\, China  <br> <br><strong>Oboe</strong>  <br>David Kelly\, Fr.\,
  Pre-Sciences\, Chelan <br>Meagan Paxman\, So.\, Pre-Sciences\, Vancouver 
  <br>Brandon Tsai\, So.\, ECE\, Shoreline <br> <br><strong>Bassoon</strong
 >   <br>Arina Pushkina\, So.\, Materials Science Engineering\, Woodinville
   <br> <br><strong>Clarinet</strong>   <br>Ezra Agpaoa\, So. Music Educati
 on\, Everett <br>Willow Chartrand\, So.\, Biology (MCD)\, Los Alamos\, NM 
  <br>Matilda Gauss\, Sr.\, Material Science and Engineering\, Bellevue <br
 >Nick Hildebrand\, Fr.\, Microbiology\, San Pedro\, CA  <br>Audrey Jamrows
 ki\, Fr.\, English\, Port Orchard  <br>Andrew Kester\, Fr.\, Pre-Science\,
  Aurora\, CO  <br>Arman Vega\, Fr.\, Geoscience\, Pasco <br> <br><strong>B
 ass Clarinet </strong>  <br>Conrad Gauss\, So.\, Electrical & Computer Eng
 ineering\, Bellevue  <br> <br><strong>Saxophone</strong>   <br>Polina Doro
 gova\, Jr.\, Psychology & Music\, Gig Harbor  <br>Kaua Roberton\, So.\, Mu
 sic Education\, Spokane  <br>Daniel Song\, So.\, Chemical Engineering\, Bo
 thell  <br>Yu Wang\, Fine Art\, Taipei\, Taiwan <br>Josh Williams\, Fr.\, 
 Music Education\, Zillah <br><br><strong>Trumpet</strong>    <br>Deneil Be
 tfarhad\, So.\, Pre-Sciences\, Westport\, CT  <br>Nico Masputra\, Jr.\, Ne
 uroscience <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>
 Andrew Chen\, Community Member\, Othello  <br>Cole Dickson\, Fr.\, Enginee
 ring\, Snohomish <br>Yihan Li\, Jr.\, Horn Performance <br>Arya Nagvekar\,
  Fr.\, Pre-Sciences\, Redmond <br><br><strong>Trombone </strong>  <br>Stev
 e Teng\, So.\, Pre-Science\, Taipei\, Taiwan <br>Robin Yi\, Fr.\, Pre-Huma
 nities\, Santa Cruz\, CA  <br> <br><strong>Bass Trombone </strong> <br>Isa
 iah Ikeda\, Fr.\, Medical Laboratory Science\, Spokane  <br>Jason Lai\, So
 .\, Mechanical Engineering\, Camas  <br>  <br><strong>Euphonium</strong>  
   <br>John Yi\, Community Member <br>Tom Lewis\, Sr.\, Mechanical Engineer
 ing: Mechatronics\, Snoqualmie  <br>  <br><strong>Tuba</strong>    <br>Sam
  Charney\, Gr.\, Astronomy\, Swarthmore\, PA  <br>Robin Ding\, Fr.\, ECE\,
  ZhuHai\, China <br> <br><strong>Percussion</strong>   <br>Brian Chen\, Me
 chanical Engineering\, Taipei\, Taiwan <br>Kendall Johnson\, Gr.\, Mechani
 cal Engineering\, La Conner  <br>Alexander McLean\, So.\, Environmental Sc
 ience\, Snoqualmie  <br>Jaden Zika\, Jr.\, Psychology\, Livermore\, CA  <b
 r><br><strong>Piano  </strong><br>Oliver Schoonover\, Gr.\, Music Composit
 ion\, Tallahassee\, FL  <br><br><strong>String Bass </strong><br>Lexi Vanc
 e\, Gr\, Environmental Health Science\, Tucson\, AZ <br><br><strong>Gradua
 te Conductor </strong><br>Noah Scanlan\, Gr.\, Architecture\, Ridgecrest\,
  CA <br>Nicholas Renaud\, DMA\, Langley\, BC\, Canada <br><br><strong>Bras
 s from UW Campus\, Concert and University Bands </strong><br>Natalie Lai\,
  trombone <br>Benjamin Ratner\, trumpet  <br><br><br><strong>UW WIND ENSEM
 BLE</strong><br><strong>Flute/Piccolo</strong>  <br>Brooke Bart\, Jr.\, Sc
 andinavian Studies & Music\, Endwell\, NY  <br>Tracia Pan\, Sr.\, Flute Pe
 rformance & Statistics\, Bellevue <br>Grace Playstead\, Gr.\, Flute Perfor
 mance\, Olympia  <br>Claire Wei\, Jr.\, Flute Performance\, Bellevue*  <br
 > <br><strong>Oboe  </strong><br>MinhThi Butler\, Sr.\, Oboe Performance\,
  Hoquiam* <br>Max Bolen\, So.\, Marine Biology & Music Education\, Ballard
   <br>Will Cummings\, Fr.\, Linguistics & French\, Chehalis  <br>Aika Ishi
 zuki\, Fr.\, Pre Sciences\, Seattle  <br> <br><strong>Bassoon</strong>  <b
 r>Levi Beck\, Fr.\, Music Performance\, Snohomish <br>Annika Fisher\, Ju.\
 , Anthropology\, Lake Forest Park <br>Ryan Kapsandy\, Sr.\, Bassoon Perfor
 mance <br>Rian Morgan\, Sr.\, Nutrition (FSNH)\, Des Moines  <br> <br><str
 ong>Clarinet</strong>  <br>Ezra Agpaoa\, So. Music Education\, Everett <br
 >Caitlin Dong\, So.\, Biology (MCD) & Music Performance\, Englewood\, CO  
 <br>Alex Gee\, Sr.\, Mechanical Engineering\, Camas  <br>Arthur Gim\, Jr.\
 , Mechanical Engineering\, Bothell  <br>Luqi Wang\, Gr.\, Music Performanc
 e\, Dalian\, China*  <br>Eric Zhu\, Fr.\, Engineering Undeclared\, Guangdo
 ng\, China  <br>Jason Liu\, Community Member\, Mathematics\, Camas <br> <b
 r><strong>Bass Clarinet </strong> <br>Akshat Ghuge\, So.\, Informatics\, D
 allas\, TX  <br>Michael Stella\, Jr.\, Political Science\, Puyallup  <br> 
 <br><strong>Saxophone </strong>  <br>Kairui Cheng\, Fr.\, Computer Science
 \, Bothell  <br>Curtis Chung\, Sr.\, Mechanical Engineering\, Sunnyvale\, 
 CA   <br>Kyle Grant\, Jr.\, Music Education & Saxophone Performance\, Sumn
 er*  <br>Kaua Roberton\, So.\, Music Education\, Spokane <br>Katherine Zun
 del\, Sr.\, Saxophone Performance & Mathematics\, Clinton  <br><br><strong
 >Trumpet</strong>   <br>Meier Eagan\, Music Education\, Seattle    <br>Han
 s Faul\, Sr.\, Trumpet Performance\, Seattle*  <br>Erika Berreth\, Ju.\, A
 eronautical and Astronautical Engineering\, Redmond <br>Antti Mannisto\, S
 r.\, Physics\, Bellevue  <br>Kevin Nguyen Thomas\, So.\, Trumpet Performan
 ce\, Spokane  <br> <br><strong>Horn</strong>  <br>Ethan Hicks\, Fr.\, Musi
 c Performance\, Anacortes <br>Cassidy Rea\, Fr.\, Music Performance\, Vanc
 ouver*  <br>Olivia Stall\, Fr.\, Pre-Social Sciences\, Bothell  <br>Ben vo
 n Jess\, Jr.\, Music Education\, Renton  <br> <br><strong>Trombone</strong
 >  <br>Owen Fang\, Fr.\, Trombone Performance\, Redmond  <br>Richie Torres
 -Antúnez\, Jr.\, Music Performance & Applied Math\, Mattawa*  <br>Neal Mup
 pidi\, Sr.\, Music Performance <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 Y
 aroslavsky\, Jr.\, Psychology/Law\, Societies and Justice\, Mercer Island*
   <br> <br><strong>Tuba  </strong> <br>Dylan Aagaard\, Fr.\, Tuba Performa
 nce\, Debary\, FL <br>Chris Seay\, DMA\, Tuba Performance*  <br> <br><stro
 ng>String Bass</strong>  <br>Jason Lai\, So.\, Mechanical Engineering\, Ca
 mas  <br> <br><strong>Percussion </strong> <br>Monaka Kakuta\, Fr.\, Music
  Performance\, Shoreline  <br>Colin Lehman\, So.\, Music Education\, Moses
  Lake  <br>Ivy Moore\, Jr.\, Music Performance & Bioresource Science & Eng
 ineering\, Norfolk\, VA <br>Hazel Salvaggio\, Jr.\, Music Performance\, Ma
 nhattan Beach\, CA*  <br>Xander Swanson\, Fr.\, Music Performance\, Marysv
 ille <br> <br><strong>Piano </strong><br>Oliver Schoonover\, Gr.\, Music C
 omposition\, Tallahassee\, FL <br><br>*principal  </p><hr><h2>Biographies<
 /h2><p><strong>Kyle Grant</strong> is a saxophonist at the University of W
 ashington who studies under Dr. Michael Brockman. He has performed with th
 e UW Wind Ensemble for three years and notably traveled with the group to 
 Woosong University in Korea in 2024. He has also appeared with the Husky M
 arching Band\, UW Symphony Orchestra\, and Modern Music Ensemble. As a sax
 ophonist\, he has performed at the 2025 North American Saxophone Regional 
 Conference and is a member of the 204th Army Reserve Band. <br>Kyle is exc
 ited to perform David Maslanka's Concerto for Alto Saxophone—a staple of t
 he saxophone repertoire and one of his favorites. In January\, he performe
 d the work with pianist Kiwa Mizutani at the Wind Ensemble Concerto Compet
 ition\, where he shared it with colleagues and faculty. <br>Tonight\, he w
 ill be wearing traditional Korean attire known as hanbok as a tribute to h
 is heritage. A male hanbok is a traditional Korean outfit consisting of a 
 short jacket (jeogori) and loose-fitting pants (baji)\, designed for both 
 comfort and elegance. Worn for centuries during formal occasions and celeb
 rations\, it reflects Korean cultural values of simplicity\, harmony\, and
  respect. <br><br><strong>Luqi Wang </strong>is a clarinetist currently pu
 rsuing a Doctor of Musical Arts degree at the University of Washington. He
  holds a Master of Music in Performance from the University of British Col
 umbia and a Bachelor of Music in Performance from Brandon University. Acti
 ve as a solo\, chamber\, and orchestral musician\, he has appeared in musi
 c festivals across North America and Europe. He has performed a wide range
  of repertoire in recitals and collaborative settings\, and continues to d
 evelop a versatile artistic profile as both performer and educator. His ma
 jor teachers include Ben Lulich\, Jose Franch-Ballester\, Michelle Anderso
 n\, and Dr. Cathy Wood. <br><br><strong>Solomon Encina</strong> is a Gradu
 ate Assistant at the University of Washington\, where he is pursuing a Doc
 tor of Musical Arts (D.M.A.) in Instrumental Conducting. Solomon holds a B
 achelors of Music degree in Instrumental Performance in Percussion from Ca
 lifornia Baptist University. He also holds a Masters in Music Education de
 gree from Azusa Pacific University where he studied under Dr. Alexander Ko
 ops and Dr. John Burdett.   <br>Solomon is a native of the Southern Califo
 rnia region\, where he has taught and arranged music for several high qual
 ity institutions. Most recently\, he served as the Director of Bands at Lo
 s Osos High School in Rancho Cucamonga\, CA\, where the band\, orchestra a
 nd color guard program regularly received high distinction awards at festi
 vals throughout the state under his direction. During this time he also pe
 rformed as a percussionist with several touring groups throughout the Unit
 ed States and as a guest conductor of the European Tour for Southern Calif
 ornia Ambassadors of Music. After several years as a high school educator\
 , Solomon is thrilled to begin pursuing his highest academic aspirations b
 y attending UW to study under Professor Timothy Salzman. <br>Solomon Encin
 a has affiliations with the National Association for Music Education (NAfM
 E)\, the College Band Directors National Association (CBDNA)\, the Califor
 nia Music Educators Association (CMEA)\, and the Southern California Schoo
 l Band and Orchestra Association (SCSBOA). Solomon Encina is proudly endor
 sed by the Vic Firth Company and is a part of the Vic Firth Education team
 .</p><p><strong>Yuman Wu</strong> is a Graduate Assistant at the Universit
 y of Washington\, where she is pursuing a Doctor of Musical Arts (D.M.A.) 
 in Instrumental Conducting under the mentorship of Timothy Salzman and Eri
 n Bodnar. At UW\, she serves as the conductor for UW Concert Band\, assist
 ant conductor for the UW Wind Ensemble and Symphonic Band\, and contribute
 s to the Husky Marching Band. She also assists in teaching the undergradua
 te conducting classes\, working closely with music education majors. As a 
 conductor\, multi-instrumentalist\, and educator\, Yuman enjoys playing mu
 sic from all cultural backgrounds\, innovating new ideas\, and leading the
  music industry forward with inclusivity. She was recently selected as one
  of five conductors for the prestigious 2025 U.S. Army Band Conductors Wor
 kshop\, where she conducted The U.S. Army Band “Pershing’s Own” in a publi
 c performance at the Rachel M. Schlesinger Concert Hall in Washington\, D.
 C. <br>Yuman holds a Master of Music in Wind Conducting from the Peabody I
 nstitute of Johns Hopkins University\, where she studied with Dr. Harlan P
 arker and served as Teaching Assistant for Secondary Instrumental Conducti
 ng. She also earned a Master of Science in Business Analytics from Cornell
  University. Yuman completed three Bachelor's degrees in Music\, Statistic
 s\, and Economics from the University of Illinois at Urbana-Champaign.</p>
 <p><strong>Erin Bodnar</strong> is Visiting Associate Professor of Music a
 nd Director of Concert Bands at the University of Washington where she con
 ducts the Wind Ensemble and Symphonic Band\, leads the graduate wind band 
 conducting program and provides administrative leadership for the UW Bands
 . Previously\, Dr. Bodnar directed the Wind Symphony and Orchestra at the 
 University of North Florida. Under Dr. Bodnar’s baton\, the UNF Wind Symph
 ony performed at the Florida Music Educators Association Conference in Jan
 uary 2025\, and the World Association of Symphonic Bands and Ensembles in 
 Buñol\, Spain in July 2019. The UNF NuMIX\, co-directed by Dr. Bodnar and 
 Dr. Venet\, performed at the College Band Directors National Association S
 outhern Division Conference in February\, 2022. Prior to her appointment a
 t UNF\, Dr. Bodnar was Director of Bands at Graceland University for four 
 years during which time the Symphonic Band performed at the Iowa Bandmaste
 rs Association Conference. During 2013-2014\, Dr. Bodnar was the conductor
  of the Wind Symphony and Orchestra at Mahidol University in Bangkok\, Tha
 iland. Dr. Bodnar maintains an active schedule as a guest conductor and cl
 inician\, traveling to Argentina\, Thailand\, Indonesia\, and throughout t
 he United States and Canada. Dr. Bodnar has contributed to A Composer's In
 sight: Thoughts\, Analysis and Commentary on Contemporary Masterpieces for
  Wind Band\, Volume 5\, the GIA Teaching Music Through Performance Series 
 for Volume 7 and the revised Volume 1. She excelled at teaching both middl
 e and high school band in Alberta\, Canada for which she received the Keit
 h Mann Young Band Director’s Award and the Edwin Parr First Year Teacher A
 ward. Dr. Bodnar has presented at conferences in Canada\, the United State
 s\, Scotland\, Thailand and Austria. Her research interests include conduc
 ting pedagogy and motor cognition\, and her articles have been published i
 n the Journal of Music Teacher Education and Music Perception. An avid run
 ner and group fitness instructor\, Dr. Bodnar has completed 63 marathons\,
  including 6 Boston marathons\, ten 50 km races and one 100 km race. </p>
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LAST-MODIFIED:20260424T225614Z
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\, Carl Maria von Weber\, Viet
  Cuong\, David Maslanka\, and Benjamin Horne\, plus the West Coast premier
 e of a new work by Ryan Lindveit. With Solomon Encina and Yuman Wu\, gradu
 ate conductors\; Kyle Grant\, alto saxophone\; Luqi Wang\, clarinet\; and 
 guest graduate conductors Noah Scanlan and Nicholas Renaud. </p><hr><h2>Pr
 ogram</h2><p>University of Washington Wind Ensemble and Symphonic Band pre
 sent: <br>“Scenes and Portraits” <br>Thursday April 30\, 2026 7:30 pm  Mea
 ny Hall <br><br><strong>Erin Bodnar\,</strong> conductor <br><strong>Solom
 on Encina\,</strong> graduate conductor <br><strong>Yuman Wu\,</strong> gr
 aduate conductor <br><strong>Kyle Grant\,</strong> alto saxophone <br><str
 ong>Luqi Wang\,</strong> clarinet  </p><h3>UW Symphonic Band </h3><p><em>E
 rin Bodnar\, conductor </em><br><br>Cane River Murals (2012) ……………….....……
 …....................……<strong>Martin Ellerby</strong> (b. 1957) <br>Sprin
 g Planting (Spiritual) <br>Wash Day (Scherzo) <br><em>Noah Scanlan\, guest
  graduate conductor </em><br><br>Baptism\, Wedding & Funeral (Triptych)  <
 br><em>Nicholas Renaud\, guest graduate conductor </em><br><br>Honky Tonk 
 (Blues)  <br>Pecan Harvest (Celebration)  <br><br><br>Second Concerto for 
 Clarinet (1811) ……….............……….<strong>Carl Maria von Weber </strong>
 (1786-1826) <br>Allegro <br><em>Luqi Wang\, clarinet </em><br><em>Solomon 
 Encina\, graduate conductor </em><br><br>John and Jim (2024)…………..........
 ........….….................…..……………. <strong>Viet Cuong</strong> (b. 1990
 ) <br><em>With UW Wind Ensemble and members from the UW Concert\, Campus\,
  and University Band  </em><br><br>INTERMISSION </p><h3>UW Wind Ensemble <
 /h3><p><em>Dr. Erin Bodnar\, conductor </em><br><br>Concerto for Alto saxo
 phone and Wind Ensemble (1999)…………<strong>David Maslanka</strong> (1943-20
 17) <br>Song: “Fire in the Earth” <br><em>Kyle Grant\, alto saxophone </em
 ><br><em>Yuman Wu\, graduate conductor </em><br><br><br>Hammersmith: Prelu
 de and Scherzo (1930)……….....…...........…..…<strong>Gustav Holst </strong
 > (1874-1934)  <br><br>Deep River (2021)……………………..........................
 ...……………<strong>Benjamin Horne</strong> (b. 1995)  <br><br>Brilliant Brush
 strokes (2025)……….…………............…….........…..…<strong>Ryan Lindveit</st
 rong> (b. 1994)  <br><em>West Coast Premiere </em></p><hr><h2>Program Note
 s </h2><p><strong>Cane River Murals (2012) ……………….....……….................
 ...……Martin Ellerby </strong><br>Cane River Murals was commissioned by and
  dedicated to the Northwestern State University Wind Symphony\, Natchitoch
 es\, Louisiana\, William E. Brent\, conductor\, for the 100th anniversary 
 of their band program. The work is based on the African House Murals by Cl
 ementine Hunter that are housed and preserved on the Melrose Plantation. E
 llerby also used the idea of the Cane River to bind five separate movement
 s together\, flowing as it does through the whole scenario\, as do bells i
 n their various symbolic guises. The movements are as follows:</p><p>Sprin
 g Planting (Spiritual) A kind of miniature overture\, the river motif is a
 nnounced immediately and combined with the spiritual Deep River\, which is
  partially quoted\, forming the basis for the opening.</p><p>Wash Day (Sjh
 erzo) A scene depicting much activity and individual endeavor set in a swi
 ng tempo. There are ‘improvised’ patterns in the percussion and even a was
 h board employed to convey the mood suggested by the mural.</p><p>Baptism\
 , Wedding & Funeral (Triptych) In three sections linked without a break bu
 t the outer ones sharing common material\, this opens with delicate textur
 es and lyrical solo contributions.</p><p>Honky Tonk (Blues) A mono-themati
 c movement\, the simple blues melody\, heard initially on solo saxophone\,
  finds its way into more involved orchestrations and denser textures until
  a full tutti rendition is delivered\, followed by a swift but exhausted c
 oda.</p><p>Pecan Harvest (Celebration) A bright and optimistic concluding 
 movement\, highly charged and rarely without a change of time signature ev
 ery bar.</p><p><strong>Second Concerto for Clarinet (1811) ………............
 .……….Carl Maria von Weber </strong><br>The <strong>Clarinet Concerto No. 2
  in E-flat</strong> is described as the more symphonic of Weber’s two conc
 ertos for the instrument. It fully exploits the expressive range of the cl
 arinet\, from dark Romanticism to virtuosic fireworks\, and moves through 
 the entire tessitura of the instrument\, exploring both the rich\, deep re
 gister and the piercing upper range. The three-movement work includes an A
 llegro and a Romanze\, in addition to the lively Polacca . In this final m
 ovement\, Weber uses rather large leaps to embellish the clarinet melody\,
  which is usually made up of flashy\, sparkling rhythms. The melody is oft
 en dotted and syncopated to give a somewhat cheeky character to the music.
  The work finishes with one of the most glittery\, virtuosic passages in t
 he clarinet repertoire\, and it is appropriately marked “brillante.”</p><p
 ><strong>John and Jim (2024)…………..................….….................…..…
 …………. Viet Cuong </strong><br>I first heard the name Obergefell in 2015 wh
 en the case that bears it\, Obergefell v. Hodges\, was decided by the Supr
 eme Court. Among the most important in history for queer Americans\, this 
 landmark ruling granted marriage rights to all same-sex couples. At that m
 oment\, Obergefell was etched in history. For those writing about the law\
 , the name would thereafter be written in italics\, and today it’s as much
  a shorthand for the case law of marriage equality as it is the name of a 
 man. But at its core\, the case begins with two people.</p><p>John Arthur 
 and Jim Obergefell were married in July of 2013. They had been together in
  a loving relationship for 22 years\, and Jim was caring for John as he fa
 ced the end stages of ALS. In the last year of John’s life\, they traveled
  on a medical plane to Maryland -- one of just a handful of states where s
 ame-sex marriage was legal at the time -- to be married. The marriage cere
 mony was conducted on board the plane before they returned home to Ohio fo
 r their last months together. John passed away that October\, and\, becaus
 e Ohio did not recognize their marriage as legal\, Jim had to challenge th
 e state in court to be listed as John’s surviving spouse on his death cert
 ificate. The state appealed\, and the court battle worked its way through 
 the legal system until 2015\, when Jim and his team were victorious before
  the Supreme Court. Their efforts ensured that the relationships of same-s
 ex couples\, including my marriage to my husband\, would be seen as equal 
 under the law. For that I am deeply and personally grateful.</p><p><strong
 >John and Jim</strong> is my effort to pay tribute to the men whose love a
 nd devotion gave rise to great change\, and I do so by interpolating sourc
 e material from an iconic piece of traditional wedding music: Pachelbel’s 
 Canon in D. In my youth I adored Pachelbel’s Canon\, and I learned a piano
  arrangement of it when I was 11 years old. For months I would play the pi
 ece every morning before school\, endlessly repeating its bass line while 
 improvising melodies when the treble clef’s music ran out. Through these e
 xplorations\, I discovered some basic principles of music composition\, an
 d it was through the Pachelbel that I began composing in earnest. It was a
 lso around that time that I first learned of its use in weddings\, as it w
 as the frequent soundtrack to reality TV shows chronicling the weddings of
  straight couples. At the time it saddened me that music I found so beauti
 ful was emblematic of something that\, according to the law\, I could neve
 r have. It feels fitting then\, that in the year of my own wedding to my p
 artner of 11 years\, reframing (and perhaps reclaiming) the Pachelbel shou
 ld provide the inspiration for a celebration of marriage equality.<br><br>
 My piece is a conversation between two alternating phrases\, one of which 
 uses melodic fragments and harmonic progressions from the Canon in D as so
 urce material. In the Canon\, Pachelbel establishes a single bass line and
  layers it with several melodies\, two of which are quite iconic but never
  performed simultaneously in the original. I disassembled and rewrote thes
 e to work harmoniously with one another upon the arrival of the piece’s cl
 imax\, which appears after several minutes of what I think of as the music
  finding and piecing itself together. Ultimately\, I believe John and Jim 
 sounds like both a departure and nod to the piece that first inspired me t
 o compose. All of this takes place in a reverberant atmosphere\, where not
 es linger and continually echo around one another\, symbolic of both the p
 ersistence and impact of people like John and Jim.</p><p>John and Jim was 
 commissioned by The Columbus Pride Bands and the Queen City Freedom Band o
 f Cincinnati for the 2024 Pride Bands Alliance Annual Conference\, where i
 t was premiered on July 20\, 2024\, by Dr. Jon Norywota and the combined c
 oncert bands. Heartfelt thanks to the Pride Bands Alliance for this opport
 unity to tell my story and celebrate John Arthur\, Jim Obergefell\, and th
 e progress that has been made in the name of love.<br>- Program Note by co
 mposer</p><p><strong>Concerto for Alto saxophone and Wind Ensemble (1999)…
 ………David Maslanka</strong><br>This concerto turned out to be a good deal l
 arger than I would reasonably want. As I got into the composing\, the idea
 s became insistent: none of them would be left out! The format of songs an
 d interludes arises from my other recent works for saxophones (Mountain Ro
 ads for saxophone quartet and Song Book for alto saxophone and marimba)\, 
 and suggests a music that is more intimate than symphonic. There is a stro
 ng spiritual overtone with quotes from Bach chorales\, and from my own wor
 ks Hell’s Gate and Mass. A story is hinted at which has the Crucifixion ri
 ght smack in the middle -- the climax of the third movement quotes the “Cr
 ucifixus” from the Mass. I don’t know what the story is\, only that it wan
 ts to be music and not words.</p><p>I. Song: “Fire in the Earth”<br>Walkin
 g through a Montana field on a brilliant late fall day\, three images came
  in rapid succession: a distant row of red plant stems caught by the morni
 ng sun\, snow on the surrounding high mountains\, green grass at my feet. 
 The following poetic image came:<br>Fire in the earth <br>Snow in the heav
 ens <br>New green grass in the middle of November <br>This is a quiet\, em
 otional music – sometimes not so quiet – contained by a very simple song f
 orm.<br>- Program Note by the composer </p><p><strong>Hammersmith: Prelude
  and Scherzo (1930)……….....…...........…..…Gustav Holst</strong><br>Hammer
 smith’s mood is the outcome of long years of [Holst’s] familiarity with th
 e changing crowds and the changing river: those Saturday night crowds\, wh
 o were always good-natured even when they were being pushed off the paveme
 nt into the middle of the traffic\, and the stallholders in that narrow la
 ne behind the Broadway\, with their unexpected assortment of goods lit up 
 by brilliant flares\, and the large woman at the fruit shop who always cal
 led him ‘dearie’ when he bought oranges for his Sunday picnics. As for the
  river\, he had known it since he was a student\, when he paced up and dow
 n outside William Morris’s house\, discussing Ibsen with earnest young soc
 ialists. During all the years since then\, his favorite London walk had be
 en along the river-path to Chiswick. In Hammersmith\, the river is the bac
 kground to the crowd\; it is a river that goes on its way unnoticed and un
 concerned.<br>- Program Note by Imogen Holst  <br><br><strong>Deep River (
 2021)…………………….............................……………Benjamin Horne</strong><br>
 <strong>Deep River</strong> is an arrangement of the traditional spiritual
  of the same name for wind band. This arrangement is inspired by a popular
  art song version by Henry Burleigh. His low baritone voice as well as ren
 ditions by singers such as Paul Robeson are the motivation for this versio
 n's use of solo tuba for the song's initial presentation. Other allusions 
 to Burleigh can be found through the work.</p><p>Deep River for wind band 
 opens with solos from various voices evocative of short testimonies before
  we begin the song. The low voice of the tuba then leads us in with the fi
 rst verse as others join in. At the conclusion of the lyric 'peace\,' an a
 lto saxophone solo 'crosses' us over into a new place where the song start
 s again\, but livelier featuring the entire saxophone section.<br>- Progra
 m Note by the composer</p><p><strong>Brilliant Brushstrokes (2025)……….…………
 ............…….........…..…Ryan Lindveit</strong><br>Brilliant Brushstroke
 s is inspired by an overwhelmingly colorful and bold painting that the Kno
 xville-born artist Beauford Delaney (1901-1979) painted on a fragment of h
 is old raincoat when he was living in Paris in 1954. Delaney’s raincoat fr
 agment overflows abstractly with swirls\, rings\, splotches\, and lines of
  forest green\, deep orange\, bright yellow\, fire-engine red\, hazy gray\
 , spacious white\, peaceful azure\, and deep ocean blue. Upon closer viewi
 ng\, the seams and pockets of the cut-up raincoat are also visible\, revea
 ling that the fanciful artwork is the result of Delaney’s resourcefulness 
 in the face of limited money and art supplies.</p><p>As a fellow artist\, 
 I find Delaney’s unrelenting and restless impulse to be creative even when
  he lacked proper materials to be almost inspiring as the painting itself.
  Although Brilliant Brushstrokes is tightly constructed around only a few 
 melodic gestures\, the music constantly cycles through changes in instrume
 ntal texture\, density\, harmony\, and energy. Musical phrases are often c
 ut off abruptly with a quick down-up gesture that I view as related to the
  stitched seams on the raincoat. Overall\, the composition uses the vast a
 nd variegated color palette of the wind ensemble to capture the inventive 
 spirit and brilliant dynamism of Delaney’s brushstrokes\, splatters\, and 
 daubs.<br>- Program Note by composer</p><hr><p><strong>UW SYMPHONIC BAND  
 </strong><br> <br><strong>Flute </strong>  <br>Naomi Cho\, Fr.\, Flute Per
 formance\, Auburn <br>Ananya Sai Parlapalli\, Fr.\, Biochemistry & Flute P
 erformance\, Spokane\, WA  <br>Rob Rosenthal\, Fr.\, Flute Performance\, E
 vanston\, IL  <br>Gabriel Rui\, Fr.\, Engineering Undeclared\, San Francis
 co\, CA  <br>Emily Wen\, Fr.\, Flute Performance\, Sherwood\, OR  <br>Xiag
 e Zhang\, Gr.\, Flute Performance\, Shanxi Province\, China  <br> <br><str
 ong>Oboe</strong>  <br>David Kelly\, Fr.\, Pre-Sciences\, Chelan <br>Meaga
 n Paxman\, So.\, Pre-Sciences\, Vancouver  <br>Brandon Tsai\, So.\, ECE\, 
 Shoreline <br> <br><strong>Bassoon</strong>   <br>Arina Pushkina\, So.\, M
 aterials Science Engineering\, Woodinville  <br> <br><strong>Clarinet</str
 ong>   <br>Ezra Agpaoa\, So. Music Education\, Everett <br>Willow Chartran
 d\, So.\, Biology (MCD)\, Los Alamos\, NM  <br>Matilda Gauss\, Sr.\, Mater
 ial Science and Engineering\, Bellevue <br>Nick Hildebrand\, Fr.\, Microbi
 ology\, San Pedro\, CA  <br>Audrey Jamrowski\, Fr.\, English\, Port Orchar
 d  <br>Andrew Kester\, Fr.\, Pre-Science\, Aurora\, CO  <br>Arman Vega\, F
 r.\, Geoscience\, Pasco <br> <br><strong>Bass Clarinet </strong>  <br>Conr
 ad Gauss\, So.\, Electrical & Computer Engineering\, Bellevue  <br> <br><s
 trong>Saxophone</strong>   <br>Polina Dorogova\, Jr.\, Psychology & Music\
 , Gig Harbor  <br>Kaua Roberton\, So.\, Music Education\, Spokane  <br>Dan
 iel Song\, So.\, Chemical Engineering\, Bothell  <br>Yu Wang\, Fine Art\, 
 Taipei\, Taiwan <br>Josh Williams\, Fr.\, Music Education\, Zillah <br><br
 ><strong>Trumpet</strong>    <br>Deneil Betfarhad\, So.\, Pre-Sciences\, W
 estport\, CT  <br>Nico Masputra\, Jr.\, Neuroscience <br>Vaughn B. Schnell
 e\, Sr.\, Music History\, West Seattle  <br>Arjun Sur\, Fr.\, Pre-Sciences
 \, San Diego\, CA  <br>Reimer Wolf\, Fr.\, Mechanical Engineering\, Oahu\,
  HI  <br> <br><strong>Horn</strong>   <br>Andrew Chen\, Community Member\,
  Othello  <br>Cole Dickson\, Fr.\, Engineering\, Snohomish <br>Yihan Li\, 
 Jr.\, Horn Performance <br>Arya Nagvekar\, Fr.\, Pre-Sciences\, Redmond <b
 r><br><strong>Trombone </strong>  <br>Steve Teng\, So.\, Pre-Science\, Tai
 pei\, Taiwan <br>Robin Yi\, Fr.\, Pre-Humanities\, Santa Cruz\, CA  <br> <
 br><strong>Bass Trombone </strong> <br>Isaiah Ikeda\, Fr.\, Medical Labora
 tory Science\, Spokane  <br>Jason Lai\, So.\, Mechanical Engineering\, Cam
 as  <br>  <br><strong>Euphonium</strong>    <br>John Yi\, Community Member
  <br>Tom Lewis\, Sr.\, Mechanical Engineering: Mechatronics\, Snoqualmie  
 <br>  <br><strong>Tuba</strong>    <br>Sam Charney\, Gr.\, Astronomy\, Swa
 rthmore\, PA  <br>Robin Ding\, Fr.\, ECE\, ZhuHai\, China <br> <br><strong
 >Percussion</strong>   <br>Brian Chen\, Mechanical Engineering\, Taipei\, 
 Taiwan <br>Kendall Johnson\, Gr.\, Mechanical Engineering\, La Conner  <br
 >Alexander McLean\, So.\, Environmental Science\, Snoqualmie  <br>Jaden Zi
 ka\, Jr.\, Psychology\, Livermore\, CA  <br><br><strong>Piano  </strong><b
 r>Oliver Schoonover\, Gr.\, Music Composition\, Tallahassee\, FL  <br><br>
 <strong>String Bass </strong><br>Lexi Vance\, Gr\, Environmental Health Sc
 ience\, Tucson\, AZ <br><br><strong>Graduate Conductor </strong><br>Noah S
 canlan\, Gr.\, Architecture\, Ridgecrest\, CA <br>Nicholas Renaud\, DMA\, 
 Langley\, BC\, Canada <br><br><strong>Brass from UW Campus\, Concert and U
 niversity Bands </strong><br>Natalie Lai\, trombone <br>Benjamin Ratner\, 
 trumpet  <br><br><br><strong>UW WIND ENSEMBLE</strong><br><strong>Flute/Pi
 ccolo</strong>  <br>Brooke Bart\, Jr.\, Scandinavian Studies & Music\, End
 well\, NY  <br>Tracia Pan\, Sr.\, Flute Performance & Statistics\, Bellevu
 e <br>Grace Playstead\, Gr.\, Flute Performance\, Olympia  <br>Claire Wei\
 , Jr.\, Flute Performance\, Bellevue*  <br> <br><strong>Oboe  </strong><br
 >MinhThi Butler\, Sr.\, Oboe Performance\, Hoquiam* <br>Max Bolen\, So.\, 
 Marine Biology & Music Education\, Ballard  <br>Will Cummings\, Fr.\, Ling
 uistics & French\, Chehalis  <br>Aika Ishizuki\, Fr.\, Pre Sciences\, Seat
 tle  <br> <br><strong>Bassoon</strong>  <br>Levi Beck\, Fr.\, Music Perfor
 mance\, Snohomish <br>Annika Fisher\, Ju.\, Anthropology\, Lake Forest Par
 k <br>Ryan Kapsandy\, Sr.\, Bassoon Performance <br>Rian Morgan\, Sr.\, Nu
 trition (FSNH)\, Des Moines  <br> <br><strong>Clarinet</strong>  <br>Ezra 
 Agpaoa\, So. Music Education\, Everett <br>Caitlin Dong\, So.\, Biology (M
 CD) & Music Performance\, Englewood\, CO  <br>Alex Gee\, Sr.\, Mechanical 
 Engineering\, Camas  <br>Arthur Gim\, Jr.\, Mechanical Engineering\, Bothe
 ll  <br>Luqi Wang\, Gr.\, Music Performance\, Dalian\, China*  <br>Eric Zh
 u\, Fr.\, Engineering Undeclared\, Guangdong\, China  <br>Jason Liu\, Comm
 unity Member\, Mathematics\, Camas <br> <br><strong>Bass Clarinet </strong
 > <br>Akshat Ghuge\, So.\, Informatics\, Dallas\, TX  <br>Michael Stella\,
  Jr.\, Political Science\, Puyallup  <br> <br><strong>Saxophone </strong> 
  <br>Kairui Cheng\, Fr.\, Computer Science\, Bothell  <br>Curtis Chung\, S
 r.\, Mechanical Engineering\, Sunnyvale\, CA   <br>Kyle Grant\, Jr.\, Musi
 c Education & Saxophone Performance\, Sumner*  <br>Kaua Roberton\, So.\, M
 usic Education\, Spokane <br>Katherine Zundel\, Sr.\, Saxophone Performanc
 e & Mathematics\, Clinton  <br><br><strong>Trumpet</strong>   <br>Meier Ea
 gan\, Music Education\, Seattle    <br>Hans Faul\, Sr.\, Trumpet Performan
 ce\, Seattle*  <br>Erika Berreth\, Ju.\, Aeronautical and Astronautical En
 gineering\, Redmond <br>Antti Mannisto\, Sr.\, Physics\, Bellevue  <br>Kev
 in Nguyen Thomas\, So.\, Trumpet Performance\, Spokane  <br> <br><strong>H
 orn</strong>  <br>Ethan Hicks\, Fr.\, Music Performance\, Anacortes <br>Ca
 ssidy Rea\, Fr.\, Music Performance\, Vancouver*  <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.\, Trombon
 e Performance\, Redmond  <br>Richie Torres-Antúnez\, Jr.\, Music Performan
 ce & Applied Math\, Mattawa*  <br>Neal Muppidi\, Sr.\, Music Performance <
 br><br><strong>Bass Trombone</strong>  <br>Evan Mao\, Jr.\, Computer Scien
 ce\, Redmond  <br> <br><strong>Euphonium</strong>   <br>Aidan Borlet\, Fr.
 \, Pre-Science\, Austin\, TX  <br>Simona Yaroslavsky\, Jr.\, Psychology/La
 w\, Societies and Justice\, Mercer Island*  <br> <br><strong>Tuba  </stron
 g> <br>Dylan Aagaard\, Fr.\, Tuba Performance\, Debary\, FL <br>Chris Seay
 \, DMA\, Tuba Performance*  <br> <br><strong>String Bass</strong>  <br>Jas
 on Lai\, So.\, Mechanical Engineering\, Camas  <br> <br><strong>Percussion
  </strong> <br>Monaka Kakuta\, Fr.\, Music Performance\, Shoreline  <br>Co
 lin Lehman\, So.\, Music Education\, Moses Lake  <br>Ivy Moore\, Jr.\, Mus
 ic Performance & Bioresource Science & Engineering\, Norfolk\, VA <br>Haze
 l Salvaggio\, Jr.\, Music Performance\, Manhattan Beach\, CA*  <br>Xander 
 Swanson\, Fr.\, Music Performance\, Marysville <br> <br><strong>Piano </st
 rong><br>Oliver Schoonover\, Gr.\, Music Composition\, Tallahassee\, FL <b
 r><br>*principal  </p><hr><h2>Biographies</h2><p><strong>Kyle Grant</stron
 g> is a saxophonist at the University of Washington who studies under Dr. 
 Michael Brockman. He has performed with the UW Wind Ensemble for three yea
 rs and notably traveled with the group to Woosong University in Korea in 2
 024. He has also appeared with the Husky Marching Band\, UW Symphony Orche
 stra\, and Modern Music Ensemble. As a saxophonist\, he has performed at t
 he 2025 North American Saxophone Regional Conference and is a member of th
 e 204th Army Reserve Band. <br>Kyle is excited to perform David Maslanka's
  Concerto for Alto Saxophone—a staple of the saxophone repertoire and one 
 of his favorites. In January\, he performed the work with pianist Kiwa Miz
 utani at the Wind Ensemble Concerto Competition\, where he shared it with 
 colleagues and faculty. <br>Tonight\, he will be wearing traditional Korea
 n attire known as hanbok as a tribute to his heritage. A male hanbok is a 
 traditional Korean outfit consisting of a short jacket (jeogori) and loose
 -fitting pants (baji)\, designed for both comfort and elegance. Worn for c
 enturies during formal occasions and celebrations\, it reflects Korean cul
 tural values of simplicity\, harmony\, and respect. <br><br><strong>Luqi W
 ang </strong>is a clarinetist currently pursuing a Doctor of Musical Arts 
 degree at the University of Washington. He holds a Master of Music in Perf
 ormance from the University of British Columbia and a Bachelor of Music in
  Performance from Brandon University. Active as a solo\, chamber\, and orc
 hestral musician\, he has appeared in music festivals across North America
  and Europe. He has performed a wide range of repertoire in recitals and c
 ollaborative settings\, and continues to develop a versatile artistic prof
 ile as both performer and educator. His major teachers include Ben Lulich\
 , Jose Franch-Ballester\, Michelle Anderson\, and Dr. Cathy Wood. <br><br>
 <strong>Solomon Encina</strong> is a Graduate Assistant at the University 
 of Washington\, where he is pursuing a Doctor of Musical Arts (D.M.A.) in 
 Instrumental Conducting. Solomon holds a Bachelors of Music degree in Inst
 rumental Performance in Percussion from California Baptist University. He 
 also holds a Masters in Music Education degree from Azusa Pacific Universi
 ty where he studied under Dr. Alexander Koops and Dr. John Burdett.   <br>
 Solomon is a native of the Southern California region\, where he has taugh
 t and arranged music for several high quality institutions. Most recently\
 , he served as the Director of Bands at Los Osos High School in Rancho Cuc
 amonga\, CA\, where the band\, orchestra and color guard program regularly
  received high distinction awards at festivals throughout the state under 
 his direction. During this time he also performed as a percussionist with 
 several touring groups throughout the United States and as a guest conduct
 or of the European Tour for Southern California Ambassadors of Music. Afte
 r several years as a high school educator\, Solomon is thrilled to begin p
 ursuing his highest academic aspirations by attending UW to study under Pr
 ofessor Timothy Salzman. <br>Solomon Encina has affiliations with the Nati
 onal Association for Music Education (NAfME)\, the College Band Directors 
 National Association (CBDNA)\, the California Music Educators Association 
 (CMEA)\, and the Southern California School Band and Orchestra Association
  (SCSBOA). Solomon Encina is proudly endorsed by the Vic Firth Company and
  is a part of the Vic Firth Education team.</p><p><strong>Yuman Wu</strong
 > is a Graduate Assistant at the University of Washington\, where she is p
 ursuing a Doctor of Musical Arts (D.M.A.) in Instrumental Conducting under
  the mentorship of Timothy Salzman and Erin Bodnar. At UW\, she serves as 
 the conductor for UW Concert Band\, assistant conductor for the UW Wind En
 semble and Symphonic Band\, and contributes to the Husky Marching Band. Sh
 e also assists in teaching the undergraduate conducting classes\, working 
 closely with music education majors. As a conductor\, multi-instrumentalis
 t\, and educator\, Yuman enjoys playing music from all cultural background
 s\, innovating new ideas\, and leading the music industry forward with inc
 lusivity. She was recently selected as one of five conductors for the pres
 tigious 2025 U.S. Army Band Conductors Workshop\, where she conducted The 
 U.S. Army Band “Pershing’s Own” in a public performance at the Rachel M. S
 chlesinger Concert Hall in Washington\, D.C. <br>Yuman holds a Master of M
 usic in Wind Conducting from the Peabody Institute of Johns Hopkins Univer
 sity\, where she studied with Dr. Harlan Parker and served as Teaching Ass
 istant for Secondary Instrumental Conducting. She also earned a Master of 
 Science in Business Analytics from Cornell University. Yuman completed thr
 ee Bachelor's degrees in Music\, Statistics\, and Economics from the Unive
 rsity of Illinois at Urbana-Champaign.</p><p><strong>Erin Bodnar</strong> 
 is Visiting Associate Professor of Music and Director of Concert Bands at 
 the University of Washington where she conducts the Wind Ensemble and Symp
 honic Band\, leads the graduate wind band conducting program and provides 
 administrative leadership for the UW Bands. Previously\, Dr. Bodnar direct
 ed the Wind Symphony and Orchestra at the University of North Florida. Und
 er Dr. Bodnar’s baton\, the UNF Wind Symphony performed at the Florida Mus
 ic Educators Association Conference in January 2025\, and the World Associ
 ation of Symphonic Bands and Ensembles in Buñol\, Spain in July 2019. The 
 UNF NuMIX\, co-directed by Dr. Bodnar and Dr. Venet\, performed at the Col
 lege Band Directors National Association Southern Division Conference in F
 ebruary\, 2022. Prior to her appointment at UNF\, Dr. Bodnar was Director 
 of Bands at Graceland University for four years during which time the Symp
 honic Band performed at the Iowa Bandmasters Association Conference. Durin
 g 2013-2014\, Dr. Bodnar was the conductor of the Wind Symphony and Orches
 tra at Mahidol University in Bangkok\, Thailand. Dr. Bodnar maintains an a
 ctive schedule as a guest conductor and clinician\, traveling to Argentina
 \, Thailand\, Indonesia\, and throughout the United States and Canada. Dr.
  Bodnar has contributed to A Composer's Insight: Thoughts\, Analysis and C
 ommentary on Contemporary Masterpieces for Wind Band\, Volume 5\, the GIA 
 Teaching Music Through Performance Series for Volume 7 and the revised Vol
 ume 1. She excelled at teaching both middle and high school band in Albert
 a\, Canada for which she received the Keith Mann Young Band Director’s Awa
 rd and the Edwin Parr First Year Teacher Award. Dr. Bodnar has presented a
 t conferences in Canada\, the United States\, Scotland\, Thailand and Aust
 ria. Her research interests include conducting pedagogy and motor cognitio
 n\, and her articles have been published in the Journal of Music Teacher E
 ducation and Music Perception. An avid runner and group fitness instructor
 \, Dr. Bodnar has completed 63 marathons\, including 6 Boston marathons\, 
 ten 50 km races and one 100 km race. </p>
END:VEVENT
BEGIN:VEVENT
UID:c3a1af32-e8b3-4476-8685-cd2ada87895c
DTSTAMP:20260612T083118Z
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: Xinyi Cao\, piano\; Claire Wei\, flute\; and Hanu Nahm\, violin. Progr
 am includes works by Liszt\, Reinecke\, and Barber. Also on the program: A
  new work by DMA composition student Yongwoo Lee: Submerged Glitches in a 
 Synthetic Field (Robert Stahly\, conductor)\; and Richard Strauss: Till Eu
 lenspiegel’s Merry Pranks\, op. 28.</p><hr><h2>Program:</h2><p>Submerged G
 litches in a Synthetic Field - <strong>Yongwoo Lee</strong> (b 1995)<br>DM
 A student composition commission<br>Robert Stahly\, conductor</p><p>Violin
  Concerto\, op.14 - <strong>Samuel Barber</strong> (1910-1981)<br>I.    Al
 legro<br>Hanu Nahm\, violin (student of Rachel Lee Priday)</p><p>Flute Con
 certo in D major\, op. 283 - <strong>Carl Reinecke</strong> (1824-1910)<br
 >I.    Allegro molto moderato<br>III.    Moderato<br>Claire Wei\, flute (s
 tudent of Donna Shin)<br><br>-Intermission-</p><p>Totentanz\, S.126 - <str
 ong>Franz Liszt</strong> (1811-1886)<br>Xinyi Cao\, piano (student of Robi
 n McCabe)<br><br>Till Eulenspiegel’s Merry Pranks\, op. 28 ………………………………………
 .<strong>Richard Strauss </strong>(1864-1949)</p><hr><h3>University of Was
 hington Symphony Orchestra</h3><p>David Alexander Rahbee\, Music Director 
 and Conductor<br>Robert Stahly and Zach Banks\, Assistant Conductors<br><b
 r><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 Perfo
 rmance<br><br><strong>Piccolo</strong><br>Tracia Pan\, BM Flute Performanc
 e/Statistics <br>Grace Playstead\, MM Flute Performance <br>Peyton Ray\, B
 M Flute Performance<br>Alto Flute<br>Tracia Pan\, BM Flute Performance/Sta
 tistics</p><p><strong>Oboe</strong><br>Max Bolen\, Music Education/Marine 
 Biology <br>Minh-Thi Butler\, BM Oboe Performance <br>Aika Ishizuki\, Pre-
 science <br>Meagan Paxman\, Biochemistry</p><p><strong>English Horn</stron
 g><br>Max Bolen\, Music Education/Marine Biology</p><p><strong>Clarinet</s
 trong><br>Cameron DeLuca\, DMA Clarinet Performance <br>Caitlin Dong\, BM 
 Clarinet Performance/MCD Biology <br>Ysanne Webb\, DMA Clarinet Performanc
 e <br>Eb Clarinet<br>Alessandro Martinez\, Environmental Engineering<br>Ba
 ss Clarinet<br>Cameron DeLuca\, DMA Clarinet Performance</p><p><strong>Bas
 soon</strong><br>Levi Beck\, BM Bassoon Performance <br>Alex Fraley\, Musi
 c Education<br>Ryan Kapsandy\, BM Bassoon Performance <br>Eric Spradling\,
  BM Bassoon Performance</p><p><strong>Contrabassoon</strong><br>Eric Shank
 land\, BA Bassoon Performance</p><p><strong>Horn </strong>    <br>Nicole B
 ogner\, BM Horn Performance <br>Ethan Hicks\, BM Horn Performance <br>Coli
 n Laskarzewski\, BS Physics <br>Elise Moe\, BM Horn Performance<br>Sam Nut
 t\, Molecular & Cellular Biology<br>Cassidy Rea\, BM Horn Performance</p><
 p><strong>Trumpet</strong><br>Hans Faul\, BM Trumpet Performance <br>Patri
 ck Hunninghake\, DMA Trumpet Performance<br>Antti Männistö\, BS Physics <b
 r>Drew Theran\, MM Trumpet Performance</p><p><strong>Trombone</strong><br>
 Owen Fang\, BM Trombone Performance <br>Neal Muppidi\, BM Trombone Perform
 ance <br>Nathanael Wyttenbach\, BM Trombone Performance/BA International S
 tudies</p><p><strong>Bass Trombone</strong><br>Miles Carter\, BM Trombone 
 Performance <br><br><strong>Tuba</strong><br>Chris Seay\, DMA Tuba Perform
 ance</p><p><strong>Timpani</strong><br>Cyan Duong\, Music Education <br>De
 von Rafanelli\, MM Percussion Performance<br>Regan Wong\, Neuroscience</p>
 <p><strong>Percussion</strong><br>Cyan Duong\, Music Education  <br>Monaka
  Kakuta\, Percussion Performance <br>Devon Rafanelli\, MM Percussion Perfo
 rmance <br>Hazel Salvaggio\, Percussion Performance<br>Regan Wong\, Neuros
 cience</p><p><strong>Piano</strong><br>Zixi Fu\, MM Piano Performance</p><
 p><strong>Celesta</strong><br>Kaisho Barnhill\, Music Education/Music Theo
 ry/Psychology<br><br><strong>Violin I</strong><br>Grace Pandra\, Violin Pe
 rformance/Business Administration (Concertmaster)<br>Michaela Klesse\, Mus
 ic<br>Gustavo Berho\, BM Music<br>Yerin Hwang\, Music<br>Brandon Bailey\, 
 Computer Science<br>Justin Chae\, Computer Science/Mathematics<br>Kieran H
 orowitz\, Biology<br>Rosalia Feng\, Statistics<br>Justene Li\, Biology: Ph
 ysiology<br>Qurin Choi\, Biochemistry<br>Jie Zhou\, Music<br>Ethan Li\, En
 gineering<br>Lyle Deng\, Computer Science<br>Thea Higgins\, MS Industrial 
 Engineering<br>Danny Zhang\, ACMS<br>Bat McLellan\, Environmental Science 
 & Terrestrial Resource Management<br>Hanu Nahm\, BM Violin Performance/BS 
 Chemistry</p><p><strong>Violin II</strong><br>David Teves-Tan\, Pre-Scienc
 es (Principal)<br>Nicole Chen\, Informatics<br>Victoria Zhuang\, Informati
 cs and Geography: Data Science<br>Alice Leppert\, Chemistry<br>Saraim Gebr
 etsadik\, Biochemistry<br>Mckinley Xia\, Engineering<br>Daniel Park\, Mole
 cular\, Cellular and Developmental Biology<br>Talal Kheiry\, Pre-Sciences<
 br>Amar Salmi\, Biochemistry/CHID<br>Cristina Kosilkina\, BS Biochemistry<
 br>Jasmine Palikhya\, Political Science<br>Leo Li\, Computer Science<br>Al
 essandra Fernandez\, Pre-science<br>Lily Bingham\, Engineering<br>Anja Wes
 tra\, Marine Biology<br>Christina Kim\, Pre-music</p><p><br><strong>Viola 
   </strong>  <br>Flora Cummings\, Viola Performance (Principal)<br>Abigail
  Schidler\, Computer Science/BA Music<br>Emma Boyce\, Music History<br>Ala
 n Arriola\, Music/Physics<br>Helen Young\, MM Music Education<br>Annika Jo
 hnson\, Earth and Space Sciences/Geoscience<br>Lexi Scida\, MA Music Histo
 ry<br>Mia Grayson\, Biochemistry<br>Henry Yang\, Computer Science<br>Jacob
  Dagen\, History/Education<br>Aribella Brushie\, Biochemistry</p><p><stron
 g>Violoncello         </strong><br>Cory Chen\, BA in Music/BS MCD Biology 
 (Principal)<br>Sota Emura\, BM Cello Performance<br>Ian Jung\, Engineering
 <br>Nathan Evans\, BA Music History<br>Jayden Kang\, Pre-business<br>Nacho
  Tejeda\, PhD Mathematics<br>Ben Gallafent\, Pre-science<br>Mina Wang\, In
 formatics<br>Mimi Leung\, Chemistry<br>Lucy Finnell\, Biochemistry<br>Jack
  Ruffner\, Political Science/History<br>Andrew Vu\, Chemistry/Biochemistry
 /Math<br>Stephan Rivera\, Engineering<br>Meichen Liu\, Undecided<br>Bashir
  Abdel-Fattah\, PhD Mathematics</p><p><br><strong>Bass  </strong>  <br>Edd
 ie Mospan\, BM Bass Performance (Principal)<br>Amelia Matsumoto\, BM Bass 
 Performance<br>Nathan Eskridge\, MM Bass Performance<br>Colm Scott\, Histo
 ry<br>Joshua Bonifas\, BA Jazz Studies</p><hr><h2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260501T193000
DTEND;TZID=America/Los_Angeles:20260502T000000
LAST-MODIFIED:20260424T204112Z
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: Xinyi Cao\, piano\; Claire Wei\, flute\; and Hanu Nah
 m\, violin. Program includes works by Liszt\, Reinecke\, and Barber. Also 
 on the program: A new work by DMA composition student Yongwoo Lee: Submerg
 ed Glitches in a Synthetic Field (Robert Stahly\, conductor)\; and Richard
  Strauss: Till Eulenspiegel’s Merry Pranks\, op. 28.</p><hr><h2>Program:</
 h2><p>Submerged Glitches in a Synthetic Field - <strong>Yongwoo Lee</stron
 g> (b 1995)<br>DMA student composition commission<br><em>Robert Stahly\, c
 onductor</em></p><p>Violin Concerto\, op.14 - <strong>Samuel Barber</stron
 g> (1910-1981)<br>I.    Allegro<br><em>Hanu Nahm\, violin</em> (student of
  Rachel Lee Priday)</p><p>Flute Concerto in D major\, op. 283 - <strong>Ca
 rl Reinecke</strong> (1824-1910)<br>I.    Allegro molto moderato<br>III.  
   Moderato<br><em>Claire Wei\, flute</em> (student of Donna Shin)<br><br>-
 Intermission-</p><p>Totentanz\, S.126 - <strong>Franz Liszt</strong> (1811
 -1886)<br><em>Xinyi Cao\, piano</em> (student of Robin McCabe)<br><br>Till
  Eulenspiegel’s Merry Pranks\, op. 28 ……………………………………….<strong>Richard Stra
 uss </strong>(1864-1949)</p><hr><h3>University of Washington Symphony Orch
 estra</h3><p><em>David Alexander Rahbee\, Music Director and Conductor</em
 ><br><em>Robert Stahly and Zach Banks\, Assistant Conductors</em><br><br><
 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 Performa
 nce<br><br><strong>Piccolo</strong><br>Tracia Pan\, BM Flute Performance/S
 tatistics <br>Grace Playstead\, MM Flute Performance <br>Peyton Ray\, BM F
 lute Performance<br>Alto Flute<br>Tracia Pan\, BM Flute Performance/Statis
 tics</p><p><strong>Oboe</strong><br>Max Bolen\, Music Education/Marine Bio
 logy <br>Minh-Thi Butler\, BM Oboe Performance <br>Aika Ishizuki\, Pre-sci
 ence <br>Meagan Paxman\, Biochemistry</p><p><strong>English Horn</strong><
 br>Max Bolen\, Music Education/Marine Biology</p><p><strong>Clarinet</stro
 ng><br>Cameron DeLuca\, DMA Clarinet Performance <br>Caitlin Dong\, BM Cla
 rinet Performance/MCD Biology <br>Ysanne Webb\, DMA Clarinet Performance <
 br>Eb Clarinet<br>Alessandro Martinez\, Environmental Engineering<br>Bass 
 Clarinet<br>Cameron DeLuca\, DMA Clarinet Performance</p><p><strong>Bassoo
 n</strong><br>Levi Beck\, BM Bassoon Performance <br>Alex Fraley\, Music E
 ducation<br>Ryan Kapsandy\, BM Bassoon Performance <br>Eric Spradling\, BM
  Bassoon Performance</p><p><strong>Contrabassoon</strong><br>Eric Shanklan
 d\, BA Bassoon Performance</p><p><strong>Horn </strong>    <br>Nicole Bogn
 er\, BM Horn Performance <br>Ethan Hicks\, BM Horn Performance <br>Colin L
 askarzewski\, BS Physics <br>Elise Moe\, BM Horn Performance<br>Sam Nutt\,
  Molecular & Cellular Biology<br>Cassidy Rea\, BM Horn Performance</p><p><
 strong>Trumpet</strong><br>Hans Faul\, BM Trumpet Performance <br>Patrick 
 Hunninghake\, DMA Trumpet Performance<br>Antti Männistö\, BS Physics <br>D
 rew Theran\, MM Trumpet Performance</p><p><strong>Trombone</strong><br>Owe
 n Fang\, BM Trombone Performance <br>Neal Muppidi\, BM Trombone Performanc
 e <br>Nathanael Wyttenbach\, BM Trombone Performance/BA International Stud
 ies</p><p><strong>Bass Trombone</strong><br>Miles Carter\, BM Trombone Per
 formance <br><br><strong>Tuba</strong><br>Chris Seay\, DMA Tuba Performanc
 e</p><p><strong>Timpani</strong><br>Cyan Duong\, Music Education <br>Devon
  Rafanelli\, MM Percussion Performance<br>Regan Wong\, Neuroscience</p><p>
 <strong>Percussion</strong><br>Cyan Duong\, Music Education  <br>Monaka Ka
 kuta\, Percussion Performance <br>Devon Rafanelli\, MM Percussion Performa
 nce <br>Hazel Salvaggio\, Percussion Performance<br>Regan Wong\, Neuroscie
 nce</p><p><strong>Piano</strong><br>Zixi Fu\, MM Piano Performance</p><p><
 strong>Celesta</strong><br>Kaisho Barnhill\, Music Education/Music Theory/
 Psychology<br><br><strong>Violin I</strong><br>Grace Pandra\, Violin Perfo
 rmance/Business Administration (Concertmaster)<br>Michaela Klesse\, Music<
 br>Gustavo Berho\, BM Music<br>Yerin Hwang\, Music<br>Brandon Bailey\, Com
 puter Science<br>Justin Chae\, Computer Science/Mathematics<br>Kieran Horo
 witz\, Biology<br>Rosalia Feng\, Statistics<br>Justene Li\, Biology: Physi
 ology<br>Qurin Choi\, Biochemistry<br>Jie Zhou\, Music<br>Ethan Li\, Engin
 eering<br>Lyle Deng\, Computer Science<br>Thea Higgins\, MS Industrial Eng
 ineering<br>Danny Zhang\, ACMS<br>Bat McLellan\, Environmental Science & T
 errestrial Resource Management<br>Hanu Nahm\, BM Violin Performance/BS Che
 mistry</p><p><strong>Violin II</strong><br>David Teves-Tan\, Pre-Sciences 
 (Principal)<br>Nicole Chen\, Informatics<br>Victoria Zhuang\, Informatics 
 and Geography: Data Science<br>Alice Leppert\, Chemistry<br>Saraim Gebrets
 adik\, Biochemistry<br>Mckinley Xia\, Engineering<br>Daniel Park\, Molecul
 ar\, Cellular and Developmental Biology<br>Talal Kheiry\, Pre-Sciences<br>
 Amar Salmi\, Biochemistry/CHID<br>Cristina Kosilkina\, BS Biochemistry<br>
 Jasmine Palikhya\, Political Science<br>Leo Li\, Computer Science<br>Aless
 andra Fernandez\, Pre-science<br>Lily Bingham\, Engineering<br>Anja Westra
 \, Marine Biology<br>Christina Kim\, Pre-music</p><p><br><strong>Viola   <
 /strong>  <br>Flora Cummings\, Viola Performance (Principal)<br>Abigail Sc
 hidler\, Computer Science/BA Music<br>Emma Boyce\, Music History<br>Alan A
 rriola\, Music/Physics<br>Helen Young\, MM Music Education<br>Annika Johns
 on\, Earth and Space Sciences/Geoscience<br>Lexi Scida\, MA Music History<
 br>Mia Grayson\, Biochemistry<br>Henry Yang\, Computer Science<br>Jacob Da
 gen\, History/Education<br>Aribella Brushie\, Biochemistry</p><p><strong>V
 ioloncello         </strong><br>Cory Chen\, BA in Music/BS MCD Biology (Pr
 incipal)<br>Sota Emura\, BM Cello Performance<br>Ian Jung\, Engineering<br
 >Nathan Evans\, BA Music History<br>Jayden Kang\, Pre-business<br>Nacho Te
 jeda\, PhD Mathematics<br>Ben Gallafent\, Pre-science<br>Mina Wang\, Infor
 matics<br>Mimi Leung\, Chemistry<br>Lucy Finnell\, Biochemistry<br>Jack Ru
 ffner\, Political Science/History<br>Andrew Vu\, Chemistry/Biochemistry/Ma
 th<br>Stephan Rivera\, Engineering<br>Meichen Liu\, Undecided<br>Bashir Ab
 del-Fattah\, PhD Mathematics</p><p><br><strong>Bass  </strong>  <br>Eddie 
 Mospan\, BM Bass Performance (Principal)<br>Amelia Matsumoto\, BM Bass Per
 formance<br>Nathan Eskridge\, MM Bass Performance<br>Colm Scott\, History<
 br>Joshua Bonifas\, BA Jazz Studies</p><hr><h2>Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:3217ef13-f4bb-4bcf-8414-f3833ee2e340
DTSTAMP:20260612T083118Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20260430T234939Z
DESCRIPTION:<p>Graduate student Nicholas Renaud (DMA\, Choral Conducting) p
 resents 'The Space Between Us\,' a degree recital featuring the UW Recital
  Choir and UW Glee Club\, the West Coast Vocal Dectet\, La Chorale Francop
 hone de Seattle\, and the Recital Chamber Orchestra. Program includes the 
 Duruflé Requiem as well as works by Monteverdi\, Saindon\, Beatch\, and Or
 bán. </p><hr><h2>Biography</h2><p> </p>
DTSTART;TZID=America/Los_Angeles:20260501T193000
DTEND;TZID=America/Los_Angeles:20260502T000000
LAST-MODIFIED:20260501T000128Z
SUMMARY:: Doctoral Degree Recital: Nicholas Renaud\, Choral Conducting
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-01/doctoral-degree-recital-
 nicholas-renaud-choral-conducting
END:VEVENT
BEGIN:VEVENT
UID:3b3c644f-4bba-4cab-81c9-468c8d07c154
DTSTAMP:20260612T083118Z
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> <stro
 ng>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
DTEND;TZID=America/Los_Angeles:20260506T000000
LAST-MODIFIED:20251002T191745Z
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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:20260612T083118Z
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><h2 class='x_M
 soNormal'>Featured Performers</h2>  Full program <a href='/sites/music/fil
 es/documents/May%206%2C%202026.pdf'>HERE</a>.
DTSTART;TZID=America/Los_Angeles:20260506T123000
DTEND;TZID=America/Los_Angeles:20260507T000000
LAST-MODIFIED:20260504T152816Z
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>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><
 /div><div> </div><div>Full program <a href='/sites/music/files/documents/M
 ay%206%2C%202026.pdf'>HERE</a>.</div>
END:VEVENT
BEGIN:VEVENT
UID:818e7e89-03e8-476f-9639-1f8c3c4f2f90
DTSTAMP:20260612T083118Z
CATEGORIES:Lectures\, Talks\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20260417T004634Z
DESCRIPTION:<p>Hannah Lewis\, associate professor of musicology at the Butl
 er School of Music\, University of Texas at Austin\, presents 'Nostalgia i
 n the 21st Century Film Musical\,' in this installment of the THEME Lectur
 e series.</p><hr><h2>Abstract</h2><p>Nostalgia has been a feature of Holly
 wood musicals since the genre’s beginning. Since the dawn of synchronized 
 sound in the late 1920s\, film musicals have dialogued with their own stag
 e and screen pasts\, combining familiarity and novelty to entertain audien
 ces and reinforce certain cultural values. Classic Hollywood musicals–such
  as Singin’ in the Rain\, White Christmas\, and Meet Me in St. Louis–have 
 become staples of American culture\, kept alive by strong feelings of nost
 algia. More recently\, in the spate of new Hollywood musicals released in 
 the 21st century\, both original film musicals and Hollywood adaptations h
 ave contended in different ways with nostalgia\, referencing older films a
 nd styles while also relying on new technology\, cinematic techniques\, an
 d narrative approaches to update the genre and make it feel newly relevant
  and resonant. This presentation considers the manifestations of nostalgia
  in several contemporary film musicals (including La La Land\, In the Heig
 hts\, and West Side Story) in their audiovisual styles\, narratives\, and 
 reception\, to consider what the Hollywood musical genre\, and its inheren
 t nostalgic impulses\, means for contemporary audiences.</p><hr><h2>Biogra
 phy</h2><p>Hannah Lewis serves as Director of Graduate Studies and Associa
 te Professor of Musicology at the Butler School of Music at the University
  of Texas\, Austin.</p><p>Dr. Lewis is a musicologist who specializes in m
 usic for film and visual media\, American popular music traditions\, music
 al theater\, early twentieth-century French music\, and American avant-gar
 de and experimental music. She is the author of French Musical Culture and
  the Coming of Sound Cinema (Oxford University Press\, 2019)\, La La Land 
 (Oxford University Press\, 2024)\, and co-editor (with Jim Buhler) of Voic
 ing the Cinema: Film Music and the Integrated Soundtrack (University of Il
 linois Press\, 2020). Her work has also appeared in the Journal of the Ame
 rican Musicological Society\, Journal of the Society for American Music\, 
 Journal of Musicological Research\, Musical Quarterly\, American Music\, F
 rench Screen Studies\, and The Soundtrack\, as well as several edited volu
 mes\, and she presents regularly at national and international conferences
 \, including the American Musicological Society\, Society for American Mus
 ic\, and Music and the Moving Image.</p><p>Her current research explores c
 ultural and aesthetic aspects of the contemporary film musical\, as well a
 s musical theater and contemporary politics. In 2019\, she received a coll
 aborative research grant (with Media Studies professor Suzanne Scott) thro
 ugh UT’s Office of the Vice President of Research titled “The Cultural Imp
 act of ‘The Eyes of Texas’: Antiracist Activism\, Participatory Singing\, 
 and Fan Identity\,” which explores the affective attachment different stak
 eholders have to the song\, and how stakeholders navigate their relationsh
 ip with the song with their lived identities (race\, class\, etc.). She re
 ceived her Ph.D. from Harvard University in 2014 and has been teaching at 
 the Butler School since then.</p><hr><h2>Series Background</h2><p>THEME: A
  colloquium of UW faculty and students of Theory\, History\, Ethnomusicolo
 gy\, and Music Education held on select Friday afternoons during the acade
 mic year. </p>
DTSTART;TZID=America/Los_Angeles:20260508T160000
DTEND;TZID=America/Los_Angeles:20260509T000000
LAST-MODIFIED:20260417T005909Z
SUMMARY:: THEME Lecture Series: Hannah Lewis (University of Texas\, Austin)
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-08/theme-lecture-series-han
 nah-lewis-university-texas-austin
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Hannah Lewis\, associate professor of music
 ology at the Butler School of Music\, University of Texas at Austin\, pres
 ents 'Nostalgia in the 21st Century Film Musical\,' in this installment of
  the THEME Lecture series.</p><hr><h2>Abstract</h2><p>Nostalgia has been a
  feature of Hollywood musicals since the genre’s beginning. Since the dawn
  of synchronized sound in the late 1920s\, film musicals have dialogued wi
 th their own stage and screen pasts\, combining familiarity and novelty to
  entertain audiences and reinforce certain cultural values. Classic Hollyw
 ood musicals–such as Singin’ in the Rain\, White Christmas\, and Meet Me i
 n St. Louis–have become staples of American culture\, kept alive by strong
  feelings of nostalgia. More recently\, in the spate of new Hollywood musi
 cals released in the 21st century\, both original film musicals and Hollyw
 ood adaptations have contended in different ways with nostalgia\, referenc
 ing older films and styles while also relying on new technology\, cinemati
 c techniques\, and narrative approaches to update the genre and make it fe
 el newly relevant and resonant. This presentation considers the manifestat
 ions of nostalgia in several contemporary film musicals (including La La L
 and\, In the Heights\, and West Side Story) in their audiovisual styles\, 
 narratives\, and reception\, to consider what the Hollywood musical genre\
 , and its inherent nostalgic impulses\, means for contemporary audiences.<
 /p><hr><h2>Biography</h2><p>Hannah Lewis serves as Director of Graduate St
 udies and Associate Professor of Musicology at the Butler School of Music 
 at the University of Texas\, Austin.</p><p>Dr. Lewis is a musicologist who
  specializes in music for film and visual media\, American popular music t
 raditions\, musical theater\, early twentieth-century French music\, and A
 merican avant-garde and experimental music. She is the author of French Mu
 sical Culture and the Coming of Sound Cinema (Oxford University Press\, 20
 19)\, La La Land (Oxford University Press\, 2024)\, and co-editor (with Ji
 m Buhler) of Voicing the Cinema: Film Music and the Integrated Soundtrack 
 (University of Illinois Press\, 2020). Her work has also appeared in the <
 em>Journal of the American Musicological Society\, Journal of the Society 
 for American Music\, Journal of Musicological Research\, Musical Quarterly
 \, American Music\, French Screen Studies\,</em> and <em>The Soundtrack\, 
 </em>as well as several edited volumes\, and she presents regularly at nat
 ional and international conferences\, including the American Musicological
  Society\, Society for American Music\, and Music and the Moving Image.</p
 ><p>Her current research explores cultural and aesthetic aspects of the co
 ntemporary film musical\, as well as musical theater and contemporary poli
 tics. In 2019\, she received a collaborative research grant (with Media St
 udies professor Suzanne Scott) through UT’s Office of the Vice President o
 f Research titled “The Cultural Impact of ‘The Eyes of Texas’: Antiracist 
 Activism\, Participatory Singing\, and Fan Identity\,” which explores the 
 affective attachment different stakeholders have to the song\, and how sta
 keholders navigate their relationship with the song with their lived ident
 ities (race\, class\, etc.). She received her Ph.D. from Harvard Universit
 y in 2014 and has been teaching at the Butler School since then.</p><hr><h
 2>Series Background</h2><p><span style='-webkit-text-stroke-width:0px\;bac
 kground-color:rgb(255\, 255\, 255)\;caret-color:rgb(68\, 68\, 68)\;color:r
 gb(68\, 68\, 68)\;display:inline !important\;float:none\;font-family:'Open
  Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-style:normal
 \;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;orphan
 s:auto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-tran
 sform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>THEME: A 
 colloquium of UW faculty and students of Theory\, History\, Ethnomusicolog
 y\, and Music Education held on select Friday afternoons during the academ
 ic year. </span></p>
END:VEVENT
BEGIN:VEVENT
UID:3d62a389-662d-4705-952f-e65f20857ea4
DTSTAMP:20260612T083118Z
CATEGORIES:Faculty Performances\, Performances\, Special Events
CLASS:PUBLIC
CREATED:20260325T194820Z
DESCRIPTION:<p>The School of Music presents a faculty concert by electric b
 assist John-Carlos Perea\, chair of UW Ethnomusicology and Grammy winning 
 multi-instrumentalist. He is joined by guests Marc Seales\, piano\, Gary H
 obbs\, drums\, Michael Brockman\, saxophone\, and Shahin Shahbazi\, tar\, 
 in a program featuring works by Perea\, Seales\, Coltrane\, Ellington\, an
 d Shorter.</p><hr><h2>Biographies</h2><p>Drummer <strong>Gary Hobbs</stron
 g> is a native of the Pacific Northwest and lives in Vancouver\, WA. He ha
 s played professionally for over 4 decades and appears on over 60 recordin
 gs. Gary played with The Stan Kenton Orchestra from 1975 through 1977. Thr
 ough the years Gary has played with Randy Brecker\, Bud Shank\, George Cab
 les\, Ken Peplowski\, Pete Christlieb\, Greta Matassa\, Anita O'Day\, Dan 
 Siegel\, Glen Moore\, The New York Voices\, Eddie Harris and many more. Ra
 ndy Brecker\, Bill Mays\, Kurt Elling\, Dave Frishberg\, David Freisen\, B
 obby Shew\, Bobby Watson\, Bob Florence\, Carl Saunders\, The Woody Herman
  Orchestra\,Terry Gibbs\, Jaquie Naylor\, Jim Widner Big Band\, Stan Kento
 n Alumni Big Band and Tom Grant are just a few of the artists that Gary ha
 s recently performed with. Carnegie Hall\, Royal Festival Hall\, Tivoli Ga
 rden\, Kennedy Center and Wolf Trap are among the venues Gary has played a
 long with scores of festivals and clubs all over the world. Gary is very a
 ctive in Jazz Education teaching at The University Of Oregon and traveling
  all over the US doing clinics\, concerts and jazz camps with the help of 
 Crescent Cymbal Company and Yamaha Drum Company.<br><br><strong>Shahin Sha
 hbazi</strong> is an Iranian composer\, scholar\, and virtuoso tar and set
 ar player based in Northern California. His journey in music began at the 
 age of ten with the tombak\, before transitioning to the tar and setar und
 er the encouragement of his mother. Shahbazi received foundational trainin
 g in Persian classical music from renowned masters such as Mohammad Reza L
 otfi\, Dariush Talaei\, Hooshang Zarif\, Masoud Shaari\, and Farhad Fakhre
 ddini\, who shaped his approach to composition. He further refined his ski
 lls in composition and orchestration through the master classes of Profess
 or Manuchehr Sahbai. His academic perspective was profoundly influenced by
  the ethnomusicology courses of Dr. Mohsen Hajarian\, which deepened his u
 nderstanding of musicology and inspired his scholarly pursuits. Shahin con
 tinued his studies of ethnomusicology and composition in the United States
  under distinguished professors such as Hafez Modirzadeh\, John Carlos Per
 ea\, Ben Sabey\, and Bruce Cook\, further broadening his interdisciplinary
  approach to music.<br> </p>
DTSTART;TZID=America/Los_Angeles:20260510T150000
DTEND;TZID=America/Los_Angeles:20260511T000000
LAST-MODIFIED:20260509T023906Z
SUMMARY:: Faculty Concert: John-Carlos Perea 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-10/faculty-concert-john-car
 los-perea
END:VEVENT
BEGIN:VEVENT
UID:3a74b090-f679-44c0-b928-bcc20483ba84
DTSTAMP:20260612T083118Z
CATEGORIES:Master Classes\, Special Events\, Student Activities and Perform
 ances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20260508T235144Z
DESCRIPTION:<p>Renowned pianist Min Kwon leads a master class with UW piano
  students\, hosted by Meany Center for the Performing Arts\,<a href='https
 ://meanycenter.org/tickets/2026-05/production/min-kwon' data-entity-type='
 external'> presenting Min Kwon in concert on Tuesday\, May 12.</a></p><hr>
 <p>Sonatine (1903-05) - <strong>Maurice RAVEL</strong>  (1875-1937)<br>1. 
    Modéré.                                                                
                               <br>2.    Movement de minuet<br>ZIXI FU</p><
 p>Barcarolle in F sharp Major\, Opus 60 (1845-46) - <strong>Frédéric CHOPI
 N</strong> (1810-1849)                                                    
     JINGYANG (JAM) HUANG<br> </p><p>Impromptu in C minor\, D899 #1(1827)  
 - <strong>Franz SCHUBERT</strong>  (1797-1828) <br>OLIVIA HSU</p><hr><p>Th
 is masterclass is made possible through a collaboration of Meany Center fo
 r the Performing Arts and the School of Music.<br> </p>
DTSTART;TZID=America/Los_Angeles:20260511T160000
DTEND;TZID=America/Los_Angeles:20260512T000000
LAST-MODIFIED:20260511T014043Z
SUMMARY:: External Event: Guest Artist Master Class\, Min Kwon\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-11/external-event-guest-art
 ist-master-class-min-kwon-piano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Renowned pianist Min Kwon leads a master cl
 ass with UW piano students\, hosted by Meany Center for the Performing Art
 s\,<a href='https://meanycenter.org/tickets/2026-05/production/min-kwon' d
 ata-entity-type='external'> presenting Min Kwon in concert on Tuesday\, Ma
 y 12.</a></p><hr><p>Sonatine (1903-05) - <strong>Maurice RAVEL</strong>  (
 1875-1937)<br>1.    Modéré.                                               
                                                <br>2.    Movement de minue
 t<br><em>ZIXI FU</em></p><p>Barcarolle in F sharp Major\, Opus 60 (1845-46
 ) - <strong>Frédéric CHOPIN</strong> (1810-1849)                          
                               <em>JINGYANG (JAM) HUANG</em><br> </p><p>Imp
 romptu in C minor\, D899 #1(1827)  - <strong>Franz SCHUBERT</strong>  (179
 7-1828) <br><em>OLIVIA HSU</em></p><hr><p><em>This masterclass is made pos
 sible through a collaboration of Meany Center for the Performing Arts and 
 the School of Music.</em><br> </p>
END:VEVENT
BEGIN:VEVENT
UID:87ffc7d2-2742-466b-b940-e9ffb16ceec2
DTSTAMP:20260612T083118Z
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-François Durand\, Chair of Percus
 sion Bonnie Whiting\, and Watras. Watras is joined onstage by UW faculty P
 ala Garcia (violin)\, Rachel Lee Priday (violin)\, John Popham (cello) and
  Whiting\, student Flora Cummings (viola)\, and Pacific Northwest Ballet c
 oncertmaster Michael Jinsoo Lim.</p><hr><h2>Program</h2><p class='Body' st
 yle='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;font
 -family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-
 caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:a
 uto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-transfo
 rm:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><strong>unde
 rtows & gentle rips </strong>for Melia\, solo<strong> </strong>(2025)*°………
 ……………………….…...….…Bonnie Whiting (b. 1981)</p><p class='text-align-center B
 ody' style='-webkit-text-stroke-width:0px\;border-width:medium\;color:blac
 k\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-v
 ariant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;or
 phans:auto\;text-decoration:none\;text-indent:0px\;text-transform:none\;wh
 ite-space:normal\;widows:auto\;word-spacing:0px\;'>Melia Watras\, viola</p
 ><p class='Body' style='-webkit-text-stroke-width:0px\;border-width:medium
 \;color:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:no
 rmal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;ma
 rgin:0in\;orphans:auto\;text-align:start\;text-decoration:none\;text-inden
 t:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:
 0px\;'> </p><p class='Body' style='-webkit-text-stroke-width:0px\;border-w
 idth:medium\;color:black\;font-family:'Helvetica Neue'\;font-size:11pt\;fo
 nt-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing
 :normal\;margin:0in\;orphans:auto\;text-align:start\;text-decoration:none\
 ;text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;wo
 rd-spacing:0px\;'> </p><p class='Body' style='-webkit-text-stroke-width:0p
 x\;border-width:medium\;color:black\;font-family:'Helvetica Neue'\;font-si
 ze:11pt\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;let
 ter-spacing:normal\;margin:0in\;orphans:auto\;text-align:start\;text-decor
 ation:none\;text-indent:0px\;text-transform:none\;white-space:normal\;wido
 ws:auto\;word-spacing:0px\;'> </p><p class='Body' style='-webkit-text-stro
 ke-width:0px\;border-width:medium\;color:black\;font-family:'Helvetica Neu
 e'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-weig
 ht:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align:start\
 ;text-decoration:none\;text-indent:0px\;text-transform:none\;white-space:n
 ormal\;widows:auto\;word-spacing:0px\;'><strong>set a trap </strong>for Me
 lia with (sympathetic) assistant<strong> </strong>(2024)*°………………...…….....
 ............................Bonnie Whiting</p><p class='text-align-center 
 Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;color:bla
 ck\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-
 variant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;o
 rphans:auto\;text-decoration:none\;text-indent:0px\;text-transform:none\;w
 hite-space:normal\;widows:auto\;word-spacing:0px\;'>Melia Watras\, viola\,
  Bonnie Whiting\, percussion</p><p class='Body' style='-webkit-text-stroke
 -width:0px\;border-width:medium\;color:black\;font-family:'Helvetica Neue'
 \;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-weight
 :400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align:start\;t
 ext-decoration:none\;text-indent:0px\;text-transform:none\;white-space:nor
 mal\;widows:auto\;word-spacing:0px\;'> </p><p class='Body' style='-webkit-
 text-stroke-width:0px\;border-width:medium\;color:black\;font-family:'Helv
 etica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;
 font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-ali
 gn:start\;text-decoration:none\;text-indent:0px\;text-transform:none\;whit
 e-space:normal\;widows:auto\;word-spacing:0px\;'> </p><p class='Body' styl
 e='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;font-f
 amily:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-ca
 ps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:aut
 o\;text-align:start\;text-decoration:none\;text-indent:0px\;text-transform
 :none\;white-space:normal\;widows:auto\;word-spacing:0px\;'> </p><p class=
 'Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;color:bl
 ack\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font
 -variant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;
 orphans:auto\;text-align:start\;text-decoration:none\;text-indent:0px\;tex
 t-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><st
 rong>duo audiation </strong>for two or more musicians (2025)*°………………….…………
 ………………...…...Bonnie Whiting</p><p class='text-align-center Body' style='-w
 ebkit-text-stroke-width:0px\;border-width:medium\;color:black\;font-family
 :'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:no
 rmal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;te
 xt-decoration:none\;text-indent:0px\;text-transform:none\;white-space:norm
 al\;widows:auto\;word-spacing:0px\;'>Michael Jinsoo Lim\, violin\, Melia W
 atras\, viola</p><p class='text-align-center Body' style='-webkit-text-str
 oke-width:0px\;border-width:medium\;color:black\;font-family:'Helvetica Ne
 ue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-wei
 ght:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-decoration:
 none\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:aut
 o\;word-spacing:0px\;'> </p><p class='text-align-center Body' style='-webk
 it-text-stroke-width:0px\;border-width:medium\;color:black\;font-family:'H
 elvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:norma
 l\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-
 decoration:none\;text-indent:0px\;text-transform:none\;white-space:normal\
 ;widows:auto\;word-spacing:0px\;'> </p><p class='text-align-center Body' s
 tyle='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;fon
 t-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant
 -caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:
 auto\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-sp
 ace:normal\;widows:auto\;word-spacing:0px\;'> </p><p class='Body' style='-
 webkit-text-stroke-width:0px\;border-width:medium\;color:black\;font-famil
 y:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:n
 ormal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;t
 ext-align:start\;text-decoration:none\;text-indent:0px\;text-transform:non
 e\;white-space:normal\;widows:auto\;word-spacing:0px\;'><strong>Roman </st
 rong>for violin solo (1982-rev. 2000)……………………………………………...Joël-François Dur
 and (b. 1954)</p><p class='text-align-center Body' style='-webkit-text-str
 oke-width:0px\;border-width:medium\;color:black\;font-family:'Helvetica Ne
 ue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-wei
 ght:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-decoration:
 none\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:aut
 o\;word-spacing:0px\;'>Michael Jinsoo Lim\, violin</p><p class='Body' styl
 e='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;font-f
 amily:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-ca
 ps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:aut
 o\;text-align:start\;text-decoration:none\;text-indent:0px\;text-transform
 :none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><strong>      
    </strong></p><p class='Body' style='-webkit-text-stroke-width:0px\;bord
 er-width:medium\;color:black\;font-family:'Helvetica Neue'\;font-size:11pt
 \;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spa
 cing:normal\;margin:0in\;orphans:auto\;text-align:start\;text-decoration:n
 one\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto
 \;word-spacing:0px\;'> </p><p class='Body' style='-webkit-text-stroke-widt
 h:0px\;border-width:medium\;color:black\;font-family:'Helvetica Neue'\;fon
 t-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-weight:400\
 ;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align:start\;text-d
 ecoration:none\;text-indent:0px\;text-transform:none\;white-space:normal\;
 widows:auto\;word-spacing:0px\;'> </p><p class='Body' style='-webkit-text-
 stroke-width:0px\;border-width:medium\;color:black\;font-family:'Helvetica
  Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-
 weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align:st
 art\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-spa
 ce:normal\;widows:auto\;word-spacing:0px\;'>from <strong>The almond tree d
 uos </strong>for two violas (2019-21)………….……..………………..……..Melia Watras (b.
  1969) </p><p class='Body' style='-webkit-text-stroke-width:0px\;border-wi
 dth:medium\;color:black\;font-family:'Helvetica Neue'\;font-size:11pt\;fon
 t-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:
 normal\;margin:0in\;orphans:auto\;text-align:start\;text-decoration:none\;
 text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;wor
 d-spacing:0px\;'>            Nothing to prove (2020)</p><p class='Body' st
 yle='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;font
 -family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-
 caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:a
 uto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-transfo
 rm:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>            
 Perlucere (2020)</p><p class='Body' style='-webkit-text-stroke-width:0px\;
 border-width:medium\;color:black\;font-family:'Helvetica Neue'\;font-size:
 11pt\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter
 -spacing:normal\;margin:0in\;orphans:auto\;text-align:start\;text-decorati
 on:none\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:
 auto\;word-spacing:0px\;'>            Reflection (2021)</p><p class='text-
 align-center Body' style='-webkit-text-stroke-width:0px\;border-width:medi
 um\;color:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:
 normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;
 margin:0in\;orphans:auto\;text-decoration:none\;text-indent:0px\;text-tran
 sform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>Flora Cum
 mings\, Melia Watras\, violas</p><p class='text-align-center Body' style='
 -webkit-text-stroke-width:0px\;border-width:medium\;color:black\;font-fami
 ly:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:
 normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;
 text-decoration:none\;text-indent:0px\;text-transform:none\;white-space:no
 rmal\;widows:auto\;word-spacing:0px\;'> </p><p class='text-align-center Bo
 dy' style='-webkit-text-stroke-width:0px\;border-width:medium\;color:black
 \;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-va
 riant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orp
 hans:auto\;text-decoration:none\;text-indent:0px\;text-transform:none\;whi
 te-space:normal\;widows:auto\;word-spacing:0px\;'> </p><p class='text-alig
 n-center Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;
 color:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:norm
 al\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;marg
 in:0in\;orphans:auto\;text-decoration:none\;text-indent:0px\;text-transfor
 m:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'> </p><p class
 ='Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;color:b
 lack\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;fon
 t-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\
 ;orphans:auto\;text-align:start\;text-decoration:none\;text-indent:0px\;te
 xt-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><s
 trong>Future Eruptions Are Expected </strong>for violin and viola (2025)*…
 ……….……..…….Mary Kouyoumdjian (b. 1983)</p><p class='text-align-center Body
 ' style='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;
 font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-vari
 ant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orpha
 ns:auto\;text-decoration:none\;text-indent:0px\;text-transform:none\;white
 -space:normal\;widows:auto\;word-spacing:0px\;'>Michael Jinsoo Lim\, violi
 n\, Melia Watras\, viola<br> </p><p class='Body' style='-webkit-text-strok
 e-width:0px\;border-width:medium\;color:black\;font-family:'Helvetica Neue
 '\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-weigh
 t:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align:start\;
 text-decoration:none\;text-indent:0px\;text-transform:none\;white-space:no
 rmal\;widows:auto\;word-spacing:0px\;'> </p><p class='text-align-center Bo
 dy' style='-webkit-text-stroke-width:0px\;border-width:medium\;color:black
 \;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-va
 riant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orp
 hans:auto\;text-decoration:none\;text-indent:0px\;text-transform:none\;whi
 te-space:normal\;widows:auto\;word-spacing:0px\;'><strong>INTERMISSION</st
 rong></p><p class='text-align-center Body' style='-webkit-text-stroke-widt
 h:0px\;border-width:medium\;color:black\;font-family:'Helvetica Neue'\;fon
 t-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-weight:400\
 ;letter-spacing:normal\;margin:0in\;orphans:auto\;text-decoration:none\;te
 xt-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-
 spacing:0px\;'> </p><p class='text-align-center Body' style='-webkit-text-
 stroke-width:0px\;border-width:medium\;color:black\;font-family:'Helvetica
  Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-
 weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-decorati
 on:none\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:
 auto\;word-spacing:0px\;'> </p><p class='Body' style='-webkit-text-stroke-
 width:0px\;border-width:medium\;color:black\;font-family:'Helvetica Neue'\
 ;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-weight:
 400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align:start\;te
 xt-decoration:none\;text-indent:0px\;text-transform:none\;white-space:norm
 al\;widows:auto\;word-spacing:0px\;'><strong>Quadrato </strong>for string 
 quartet (2025)*………….…………………………………..………………..……..Melia Watras</p><p class='B
 ody' style='-webkit-text-stroke-width:0px\;border-width:medium\;color:blac
 k\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-v
 ariant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;or
 phans:auto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-
 transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>     
        I. Aria del violino</p><p class='Body' style='-webkit-text-stroke-w
 idth:0px\;border-width:medium\;color:black\;font-family:'Helvetica Neue'\;
 font-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-weight:4
 00\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align:start\;tex
 t-decoration:none\;text-indent:0px\;text-transform:none\;white-space:norma
 l\;widows:auto\;word-spacing:0px\;'>            II. Racconto di violoncell
 o</p><p class='Body' style='-webkit-text-stroke-width:0px\;border-width:me
 dium\;color:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-styl
 e:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal
 \;margin:0in\;orphans:auto\;text-align:start\;text-decoration:none\;text-i
 ndent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spac
 ing:0px\;'>            III. Notturno viola</p><p class='Body' style='-webk
 it-text-stroke-width:0px\;border-width:medium\;color:black\;font-family:'H
 elvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:norma
 l\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-
 align:start\;text-decoration:none\;text-indent:0px\;text-transform:none\;w
 hite-space:normal\;widows:auto\;word-spacing:0px\;'>            IV. Il vio
 lino balla</p><p class='text-align-center Body' style='-webkit-text-stroke
 -width:0px\;border-width:medium\;color:black\;font-family:'Helvetica Neue'
 \;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-weight
 :400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-decoration:non
 e\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;
 word-spacing:0px\;'>Pala Garcia\, Rachel Lee Priday\, violins\, Melia Watr
 as\, viola\, John Popham\, cello</p><p class='text-align-center Body' styl
 e='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;font-f
 amily:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-ca
 ps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:aut
 o\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-space
 :normal\;widows:auto\;word-spacing:0px\;'> </p><p class='text-align-center
  Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;color:bl
 ack\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font
 -variant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;
 orphans:auto\;text-decoration:none\;text-indent:0px\;text-transform:none\;
 white-space:normal\;widows:auto\;word-spacing:0px\;'> </p><p class='Body' 
 style='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;fo
 nt-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-varian
 t-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans
 :auto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-trans
 form:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><strong>Pe
 lagic </strong>for any number of performers (2025)*°….……………………………..……………….
 .……....Melia Watras</p><p class='text-align-center Body' style='-webkit-te
 xt-stroke-width:0px\;border-width:medium\;color:black\;font-family:'Helvet
 ica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;fo
 nt-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-decor
 ation:none\;text-indent:0px\;text-transform:none\;white-space:normal\;wido
 ws:auto\;word-spacing:0px\;'>Pala Garcia\, Rachel Lee Priday\, Michael Jin
 soo Lim\, violins </p><p class='text-align-center Body' style='-webkit-tex
 t-stroke-width:0px\;border-width:medium\;color:black\;font-family:'Helveti
 ca Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;fon
 t-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-decora
 tion:none\;text-indent:0px\;text-transform:none\;white-space:normal\;widow
 s:auto\;word-spacing:0px\;'>Melia Watras\, viola\, John Popham\, cello\, B
 onnie Whiting\, percussion</p><p class='Body' style='-webkit-text-stroke-w
 idth:0px\;border-width:medium\;color:black\;font-family:'Helvetica Neue'\;
 font-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-weight:4
 00\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align:start\;tex
 t-decoration:none\;text-indent:0px\;text-transform:none\;white-space:norma
 l\;widows:auto\;word-spacing:0px\;'> </p><p class='Body' style='-webkit-te
 xt-stroke-width:0px\;border-width:medium\;color:black\;font-family:'Helvet
 ica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;fo
 nt-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align
 :start\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-
 space:normal\;widows:auto\;word-spacing:0px\;'> </p><p class='Body' style=
 '-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;font-fam
 ily:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps
 :normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\
 ;text-align:start\;text-decoration:none\;text-indent:0px\;text-transform:n
 one\;white-space:normal\;widows:auto\;word-spacing:0px\;'><strong>observe\
 , record\, sonify </strong>for any number of musicians (2025)*°…………..……………
 …..……....Bonnie Whiting</p><p class='text-align-center Body' style='-webki
 t-text-stroke-width:0px\;border-width:medium\;color:black\;font-family:'He
 lvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal
 \;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-d
 ecoration:none\;text-indent:0px\;text-transform:none\;white-space:normal\;
 widows:auto\;word-spacing:0px\;'>Pala Garcia\, Rachel Lee Priday\, Michael
  Jinsoo Lim\, violins </p><p class='text-align-center Body' style='-webkit
 -text-stroke-width:0px\;border-width:medium\;color:black\;font-family:'Hel
 vetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\
 ;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-de
 coration:none\;text-indent:0px\;text-transform:none\;white-space:normal\;w
 idows:auto\;word-spacing:0px\;'>Melia Watras\, viola\, John Popham\, cello
 \, Bonnie Whiting\, percussion</p><p class='Body' style='-webkit-text-stro
 ke-width:0px\;border-width:medium\;color:black\;font-family:'Helvetica Neu
 e'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-weig
 ht:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align:start\
 ;text-decoration:none\;text-indent:0px\;text-transform:none\;white-space:n
 ormal\;widows:auto\;word-spacing:0px\;'> </p><p class='Body' style='-webki
 t-text-stroke-width:0px\;border-width:medium\;color:black\;font-family:'He
 lvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal
 \;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-a
 lign:start\;text-decoration:none\;text-indent:0px\;text-transform:none\;wh
 ite-space:normal\;widows:auto\;word-spacing:0px\;'>*\, world premiere     
                                                                           
                                                     </p><p class='Body' st
 yle='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;font
 -family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-
 caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:a
 uto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-transfo
 rm:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>°\, text/gra
 phic score</p><hr><h2>Biographies</h2><p><strong>Flora Cummings</strong> i
 s a Seattle native and a 4th-year music student at the University of Washi
 ngton\, where she studies with Professor Melia Watras and is the recipient
  of the Pauline and Paul Soder Memorial Scholarship and the Dolores Plath 
 Music Trust Fund. She began violin lessons at age six with Laura Martin\, 
 before studying viola with Dr. Alessandra Barrett (a former student of Wat
 ras) and violin with Dr. Sarah Pizzichemi. Flora won first prize in the Wa
 shington State Solo Viola Competition in 2022 and is a finalist in the Ame
 rican Viola Society’s 2026 Collegiate Solo Competition (finals to be held 
 in June 2026). She joined the Seattle Collaborative Orchestra in high scho
 ol and was a soloist with the ensemble her senior year. Flora is an avid c
 hamber music player and loves to play Scottish fiddle music - playing with
  her family band and performing at the 2018 “More Music@the Moore” showcas
 e for young talent. In October\, 2023\, she won the prestigious Silver Pen
 dant Competition for Scottish Gaelic learners at the Royal National Mòd\, 
 held in Oban\, Scotland. Winners of the competition are recognized as amon
 g 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 B
 BC television\, as well as live on BBC Radio nan Gàidheal. Flora plays on 
 a 2017 viola by Portland maker David Van Zandt. She will attend the Royal 
 Academy of Music in Westminster\, London\, England in the fall of 2026.</p
 ><p><br>Violinist<strong> Michael Jinsoo Lim</strong> has been praised for
  his “showmanship to spare\,” “terrific swagger” and “delicious abandon” b
 y Gramophone\, hailed by the Los Angeles Times as a “conspicuously accompl
 ished champion of contemporary music\,” and described as “a tour de force”
  and “bewitching” by the Seattle Times. Concertmaster and solo violinist f
 or the internationally-acclaimed Pacific Northwest Ballet\, Lim’s solo app
 earances with the company include performances in Paris\, New York City\, 
 Los Angeles\, Washington DC and Seattle\, in concertos by Stravinsky\, Pro
 kofiev\, Bach\, Max Richter and others. Lim was co-founder of the award-wi
 nning Corigliano Quartet\, with whom he toured and recorded for twenty yea
 rs and appeared on over a dozen albums\, including the group’s Naxos label
  CD which was honored as one of The New Yorker’s Ten Best Classical Record
 ings of the Year. His discography can be found on Naxos\, Planet M\, Sono 
 Luminus\, DreamWorks\, Albany\, Bridge\, CRI\, Bayer Records\, RIAX and Ne
 w Focus. His recent solo album Kinetic has been highly acclaimed by the pr
 ess. Gramophone said “This intelligently assembled recital of contemporary
  solo violin music provides a vivid portrait of Michael Jinsoo Lim’s first
 -class musicianship and technical finesse\,” while noting that “Lim’s read
 ing is thrilling in its virtuosity yet offers charm and a sense of fun as 
 well.” The WholeNote called it a “remarkable solo album” and “a fascinatin
 g recital of quite brilliant playing by Lim.” 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 at Se
 attle University.</p>
DTSTART;TZID=America/Los_Angeles:20260513T193000
DTEND;TZID=America/Los_Angeles:20260514T000000
LAST-MODIFIED:20260512T145039Z
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 style='-webkit-text-stroke-width:0px\;car
 et-color:rgb(0\, 0\, 0)\;color:rgb(0\, 0\, 0)\;font-family:Helvetica\;font
 -size:12px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;
 letter-spacing:normal\;orphans:auto\;text-align:start\;text-decoration:non
 e\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;
 word-spacing:0px\;'><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-François Durand\, Chair 
 of Percussion Bonnie Whiting\, and Watras. Watras is joined onstage by UW 
 faculty Pala Garcia (violin)\, Rachel Lee Priday (violin)\, John Popham (c
 ello) and Whiting\, student Flora Cummings (viola)\, and Pacific Northwest
  Ballet concertmaster Michael Jinsoo Lim.</p></div><hr><h2>Program</h2><p 
 class='Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;co
 lor:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal
 \;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin
 :0in\;orphans:auto\;text-align:start\;text-decoration:none\;text-indent:0p
 x\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\
 ;'><span style='font-family:'Avenir Next LT Pro Light'\, sans-serif\;'><st
 rong>undertows & gentle rips </strong>for Melia\, solo<strong> </strong>(2
 025)*°……………………………….…...….…Bonnie Whiting (b. 1981)</span></p><p class='tex
 t-align-center Body' style='-webkit-text-stroke-width:0px\;border-width:me
 dium\;color:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-styl
 e:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal
 \;margin:0in\;orphans:auto\;text-decoration:none\;text-indent:0px\;text-tr
 ansform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><span s
 tyle='font-family:'Avenir Next LT Pro Light'\, sans-serif\;'>Melia Watras\
 , viola</span></p><p class='Body' style='-webkit-text-stroke-width:0px\;bo
 rder-width:medium\;color:black\;font-family:'Helvetica Neue'\;font-size:11
 pt\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-s
 pacing:normal\;margin:0in\;orphans:auto\;text-align:start\;text-decoration
 :none\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:au
 to\;word-spacing:0px\;'> </p><p class='Body' style='-webkit-text-stroke-wi
 dth:0px\;border-width:medium\;color:black\;font-family:'Helvetica Neue'\;f
 ont-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-weight:40
 0\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align:start\;text
 -decoration:none\;text-indent:0px\;text-transform:none\;white-space:normal
 \;widows:auto\;word-spacing:0px\;'> </p><p class='Body' style='-webkit-tex
 t-stroke-width:0px\;border-width:medium\;color:black\;font-family:'Helveti
 ca Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;fon
 t-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align:
 start\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-s
 pace:normal\;widows:auto\;word-spacing:0px\;'> </p><p class='Body' style='
 -webkit-text-stroke-width:0px\;border-width:medium\;color:black\;font-fami
 ly:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:
 normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;
 text-align:start\;text-decoration:none\;text-indent:0px\;text-transform:no
 ne\;white-space:normal\;widows:auto\;word-spacing:0px\;'><span style='font
 -family:'Avenir Next LT Pro Light'\, sans-serif\;'><strong>set a trap </st
 rong>for Melia with (sympathetic) assistant<strong> </strong>(2024)*°……………
 …...…….................................Bonnie Whiting</span></p><p class='
 text-align-center Body' style='-webkit-text-stroke-width:0px\;border-width
 :medium\;color:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-s
 tyle:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:nor
 mal\;margin:0in\;orphans:auto\;text-decoration:none\;text-indent:0px\;text
 -transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><spa
 n style='font-family:'Avenir Next LT Pro Light'\, sans-serif\;'>Melia Watr
 as\, viola\, Bonnie Whiting\, percussion</span></p><p class='Body' style='
 -webkit-text-stroke-width:0px\;border-width:medium\;color:black\;font-fami
 ly:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:
 normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;
 text-align:start\;text-decoration:none\;text-indent:0px\;text-transform:no
 ne\;white-space:normal\;widows:auto\;word-spacing:0px\;'> </p><p class='Bo
 dy' style='-webkit-text-stroke-width:0px\;border-width:medium\;color:black
 \;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-va
 riant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orp
 hans:auto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-t
 ransform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'> </p><
 p class='Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;
 color:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:norm
 al\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;marg
 in:0in\;orphans:auto\;text-align:start\;text-decoration:none\;text-indent:
 0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0p
 x\;'> </p><p class='Body' style='-webkit-text-stroke-width:0px\;border-wid
 th:medium\;color:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font
 -style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:n
 ormal\;margin:0in\;orphans:auto\;text-align:start\;text-decoration:none\;t
 ext-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word
 -spacing:0px\;'><span style='font-family:'Avenir Next LT Pro Light'\, sans
 -serif\;'><strong>duo audiation </strong>for two or more musicians (2025)*
 °………………….…………………………...…...Bonnie Whiting</span></p><p class='text-align-ce
 nter Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;colo
 r:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;
 font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0
 in\;orphans:auto\;text-decoration:none\;text-indent:0px\;text-transform:no
 ne\;white-space:normal\;widows:auto\;word-spacing:0px\;'><span style='font
 -family:'Avenir Next LT Pro Light'\, sans-serif\;'>Michael Jinsoo Lim\, vi
 olin\, Melia Watras\, viola</span></p><p class='text-align-center Body' st
 yle='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;font
 -family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-
 caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:a
 uto\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-spa
 ce:normal\;widows:auto\;word-spacing:0px\;'> </p><p class='text-align-cent
 er Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;color:
 black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;fo
 nt-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in
 \;orphans:auto\;text-decoration:none\;text-indent:0px\;text-transform:none
 \;white-space:normal\;widows:auto\;word-spacing:0px\;'> </p><p class='text
 -align-center Body' style='-webkit-text-stroke-width:0px\;border-width:med
 ium\;color:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style
 :normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\
 ;margin:0in\;orphans:auto\;text-decoration:none\;text-indent:0px\;text-tra
 nsform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'> </p><p 
 class='Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;co
 lor:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal
 \;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin
 :0in\;orphans:auto\;text-align:start\;text-decoration:none\;text-indent:0p
 x\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\
 ;'><span style='font-family:'Avenir Next LT Pro Light'\, sans-serif\;'><st
 rong>Roman </strong>for violin solo (1982-rev. 2000)……………………………………………...Jo
 ël-François Durand (b. 1954)</span></p><p class='text-align-center Body' s
 tyle='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;fon
 t-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant
 -caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:
 auto\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-sp
 ace:normal\;widows:auto\;word-spacing:0px\;'><span style='font-family:'Ave
 nir Next LT Pro Light'\, sans-serif\;'>Michael Jinsoo Lim\, violin</span><
 /p><p class='Body' style='-webkit-text-stroke-width:0px\;border-width:medi
 um\;color:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:
 normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;
 margin:0in\;orphans:auto\;text-align:start\;text-decoration:none\;text-ind
 ent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacin
 g:0px\;'><span style='font-family:'Avenir Next LT Pro Light'\, sans-serif\
 ;'><strong>         </strong></span></p><p class='Body' style='-webkit-tex
 t-stroke-width:0px\;border-width:medium\;color:black\;font-family:'Helveti
 ca Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;fon
 t-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align:
 start\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-s
 pace:normal\;widows:auto\;word-spacing:0px\;'> </p><p class='Body' style='
 -webkit-text-stroke-width:0px\;border-width:medium\;color:black\;font-fami
 ly:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:
 normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;
 text-align:start\;text-decoration:none\;text-indent:0px\;text-transform:no
 ne\;white-space:normal\;widows:auto\;word-spacing:0px\;'> </p><p class='Bo
 dy' style='-webkit-text-stroke-width:0px\;border-width:medium\;color:black
 \;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-va
 riant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orp
 hans:auto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-t
 ransform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><em><s
 pan style='font-family:'Avenir Next LT Pro Light'\, sans-serif\;'>from</sp
 an></em><span style='font-family:'Avenir Next LT Pro Light'\, sans-serif\;
 '> <strong>The almond tree duos </strong>for two violas (2019-21)………….……..
 ………………..……..Melia Watras (b. 1969) </span></p><p class='Body' style='-webk
 it-text-stroke-width:0px\;border-width:medium\;color:black\;font-family:'H
 elvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:norma
 l\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-
 align:start\;text-decoration:none\;text-indent:0px\;text-transform:none\;w
 hite-space:normal\;widows:auto\;word-spacing:0px\;'><span style='font-fami
 ly:'Avenir Next LT Pro Light'\, sans-serif\;'>            Nothing to prove
  (2020)</span></p><p class='Body' style='-webkit-text-stroke-width:0px\;bo
 rder-width:medium\;color:black\;font-family:'Helvetica Neue'\;font-size:11
 pt\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-s
 pacing:normal\;margin:0in\;orphans:auto\;text-align:start\;text-decoration
 :none\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:au
 to\;word-spacing:0px\;'><span style='font-family:'Avenir Next LT Pro Light
 '\, sans-serif\;'>            Perlucere (2020)</span></p><p class='Body' s
 tyle='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;fon
 t-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant
 -caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:
 auto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-transf
 orm:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><span style
 ='font-family:'Avenir Next LT Pro Light'\, sans-serif\;'>            Refle
 ction (2021)</span></p><p class='text-align-center Body' style='-webkit-te
 xt-stroke-width:0px\;border-width:medium\;color:black\;font-family:'Helvet
 ica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;fo
 nt-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-decor
 ation:none\;text-indent:0px\;text-transform:none\;white-space:normal\;wido
 ws:auto\;word-spacing:0px\;'><span style='font-family:'Avenir Next LT Pro 
 Light'\, sans-serif\;'>Flora Cummings\, Melia Watras\, violas</span></p><p
  class='text-align-center Body' style='-webkit-text-stroke-width:0px\;bord
 er-width:medium\;color:black\;font-family:'Helvetica Neue'\;font-size:11pt
 \;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spa
 cing:normal\;margin:0in\;orphans:auto\;text-decoration:none\;text-indent:0
 px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px
 \;'> </p><p class='text-align-center Body' style='-webkit-text-stroke-widt
 h:0px\;border-width:medium\;color:black\;font-family:'Helvetica Neue'\;fon
 t-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-weight:400\
 ;letter-spacing:normal\;margin:0in\;orphans:auto\;text-decoration:none\;te
 xt-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-
 spacing:0px\;'> </p><p class='text-align-center Body' style='-webkit-text-
 stroke-width:0px\;border-width:medium\;color:black\;font-family:'Helvetica
  Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-
 weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-decorati
 on:none\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:
 auto\;word-spacing:0px\;'> </p><p class='Body' style='-webkit-text-stroke-
 width:0px\;border-width:medium\;color:black\;font-family:'Helvetica Neue'\
 ;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-weight:
 400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align:start\;te
 xt-decoration:none\;text-indent:0px\;text-transform:none\;white-space:norm
 al\;widows:auto\;word-spacing:0px\;'><span style='font-family:'Avenir Next
  LT Pro Light'\, sans-serif\;'><strong>Future Eruptions Are Expected </str
 ong>for violin and viola (2025)*………….……..…….Mary </span><span style='-webk
 it-text-stroke-width:0px\;caret-color:rgb(0\, 0\, 0)\;color:rgb(0\, 0\, 0)
 \;display:inline !important\;float:none\;font-family:Helvetica\;font-size:
 14px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter
 -spacing:normal\;orphans:auto\;text-align:start\;text-decoration:none\;tex
 t-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-s
 pacing:0px\;'>Kouyoumdjian</span><span style='font-family:'Avenir Next LT 
 Pro Light'\, sans-serif\;'> (b. 1983)</span></p><p class='text-align-cente
 r Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;color:b
 lack\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;fon
 t-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\
 ;orphans:auto\;text-decoration:none\;text-indent:0px\;text-transform:none\
 ;white-space:normal\;widows:auto\;word-spacing:0px\;'><span style='font-fa
 mily:'Avenir Next LT Pro Light'\, sans-serif\;'>Michael Jinsoo Lim\, violi
 n\, Melia Watras\, viola</span><br> </p><p class='Body' style='-webkit-tex
 t-stroke-width:0px\;border-width:medium\;color:black\;font-family:'Helveti
 ca Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;fon
 t-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align:
 start\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-s
 pace:normal\;widows:auto\;word-spacing:0px\;'> </p><p class='text-align-ce
 nter Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;colo
 r:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;
 font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0
 in\;orphans:auto\;text-decoration:none\;text-indent:0px\;text-transform:no
 ne\;white-space:normal\;widows:auto\;word-spacing:0px\;'><span style='font
 -family:'Avenir Next LT Pro Light'\, sans-serif\;'><strong>INTERMISSION</s
 trong></span></p><p class='text-align-center Body' style='-webkit-text-str
 oke-width:0px\;border-width:medium\;color:black\;font-family:'Helvetica Ne
 ue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;font-wei
 ght:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-decoration:
 none\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:aut
 o\;word-spacing:0px\;'> </p><p class='text-align-center Body' style='-webk
 it-text-stroke-width:0px\;border-width:medium\;color:black\;font-family:'H
 elvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:norma
 l\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-
 decoration:none\;text-indent:0px\;text-transform:none\;white-space:normal\
 ;widows:auto\;word-spacing:0px\;'> </p><p class='Body' style='-webkit-text
 -stroke-width:0px\;border-width:medium\;color:black\;font-family:'Helvetic
 a Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;font
 -weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align:s
 tart\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-sp
 ace:normal\;widows:auto\;word-spacing:0px\;'><span style='font-family:'Ave
 nir Next LT Pro Light'\, sans-serif\;'><strong>Quadrato </strong>for strin
 g quartet (2025)*………….…………………………………..………………..……..Melia Watras</span></p><p
  class='Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;c
 olor:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:norma
 l\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;margi
 n:0in\;orphans:auto\;text-align:start\;text-decoration:none\;text-indent:0
 px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px
 \;'><span style='font-family:'Avenir Next LT Pro Light'\, sans-serif\;'>  
           I. Aria del violino</span></p><p class='Body' style='-webkit-tex
 t-stroke-width:0px\;border-width:medium\;color:black\;font-family:'Helveti
 ca Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal\;fon
 t-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-align:
 start\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-s
 pace:normal\;widows:auto\;word-spacing:0px\;'><span style='font-family:'Av
 enir Next LT Pro Light'\, sans-serif\;'>            II. Racconto di violon
 cello</span></p><p class='Body' style='-webkit-text-stroke-width:0px\;bord
 er-width:medium\;color:black\;font-family:'Helvetica Neue'\;font-size:11pt
 \;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spa
 cing:normal\;margin:0in\;orphans:auto\;text-align:start\;text-decoration:n
 one\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto
 \;word-spacing:0px\;'><span style='font-family:'Avenir Next LT Pro Light'\
 , sans-serif\;'>            III. Notturno viola</span></p><p class='Body' 
 style='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;fo
 nt-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-varian
 t-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans
 :auto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-trans
 form:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><span styl
 e='font-family:'Avenir Next LT Pro Light'\, sans-serif\;'>            IV. 
 Il violino balla</span></p><p class='text-align-center Body' style='-webki
 t-text-stroke-width:0px\;border-width:medium\;color:black\;font-family:'He
 lvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:normal
 \;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text-d
 ecoration:none\;text-indent:0px\;text-transform:none\;white-space:normal\;
 widows:auto\;word-spacing:0px\;'><span style='font-family:'Avenir Next LT 
 Pro Light'\, sans-serif\;'>Pala Garcia\, Rachel Lee Priday\, violins\, Mel
 ia Watras\, viola\, John Popham\, cello</span></p><p class='text-align-cen
 ter Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;color
 :black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;f
 ont-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0i
 n\;orphans:auto\;text-decoration:none\;text-indent:0px\;text-transform:non
 e\;white-space:normal\;widows:auto\;word-spacing:0px\;'> </p><p class='tex
 t-align-center Body' style='-webkit-text-stroke-width:0px\;border-width:me
 dium\;color:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-styl
 e:normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal
 \;margin:0in\;orphans:auto\;text-decoration:none\;text-indent:0px\;text-tr
 ansform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'> </p><p
  class='Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;c
 olor:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:norma
 l\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;margi
 n:0in\;orphans:auto\;text-align:start\;text-decoration:none\;text-indent:0
 px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px
 \;'><span style='font-family:'Avenir Next LT Pro Light'\, sans-serif\;'><s
 trong>Pelagic </strong>for any number of performers (2025)*°….…………………………….
 .………………..……....Melia Watras</span></p><p class='text-align-center Body' st
 yle='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;font
 -family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-
 caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:a
 uto\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-spa
 ce:normal\;widows:auto\;word-spacing:0px\;'><span style='font-family:'Aven
 ir Next LT Pro Light'\, sans-serif\;'>Pala Garcia\, Rachel Lee Priday\, Mi
 chael Jinsoo Lim\, violins </span></p><p class='text-align-center Body' st
 yle='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;font
 -family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-
 caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:a
 uto\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-spa
 ce:normal\;widows:auto\;word-spacing:0px\;'><span style='font-family:'Aven
 ir Next LT Pro Light'\, sans-serif\;'>Melia Watras\, viola\, John Popham\,
  cello\, Bonnie Whiting\, percussion</span></p><p class='Body' style='-web
 kit-text-stroke-width:0px\;border-width:medium\;color:black\;font-family:'
 Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-caps:norm
 al\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:auto\;text
 -align:start\;text-decoration:none\;text-indent:0px\;text-transform:none\;
 white-space:normal\;widows:auto\;word-spacing:0px\;'> </p><p class='Body' 
 style='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;fo
 nt-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-varian
 t-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans
 :auto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-trans
 form:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'> </p><p cl
 ass='Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;colo
 r:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;
 font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0
 in\;orphans:auto\;text-align:start\;text-decoration:none\;text-indent:0px\
 ;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'
 ><span style='font-family:'Avenir Next LT Pro Light'\, sans-serif\;'><stro
 ng>observe\, record\, sonify </strong>for any number of musicians (2025)*°
 …………..………………..……....Bonnie Whiting</span></p><p class='text-align-center B
 ody' style='-webkit-text-stroke-width:0px\;border-width:medium\;color:blac
 k\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-v
 ariant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;or
 phans:auto\;text-decoration:none\;text-indent:0px\;text-transform:none\;wh
 ite-space:normal\;widows:auto\;word-spacing:0px\;'><span style='font-famil
 y:'Avenir Next LT Pro Light'\, sans-serif\;'>Pala Garcia\, Rachel Lee Prid
 ay\, Michael Jinsoo Lim\, violins </span></p><p class='text-align-center B
 ody' style='-webkit-text-stroke-width:0px\;border-width:medium\;color:blac
 k\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-v
 ariant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;or
 phans:auto\;text-decoration:none\;text-indent:0px\;text-transform:none\;wh
 ite-space:normal\;widows:auto\;word-spacing:0px\;'><span style='font-famil
 y:'Avenir Next LT Pro Light'\, sans-serif\;'>Melia Watras\, viola\, John P
 opham\, cello\, Bonnie Whiting\, percussion</span></p><p class='Body' styl
 e='-webkit-text-stroke-width:0px\;border-width:medium\;color:black\;font-f
 amily:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font-variant-ca
 ps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;orphans:aut
 o\;text-align:start\;text-decoration:none\;text-indent:0px\;text-transform
 :none\;white-space:normal\;widows:auto\;word-spacing:0px\;'> </p><p class=
 'Body' style='-webkit-text-stroke-width:0px\;border-width:medium\;color:bl
 ack\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:normal\;font
 -variant-caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0in\;
 orphans:auto\;text-align:start\;text-decoration:none\;text-indent:0px\;tex
 t-transform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'><sp
 an style='font-family:'Avenir Next LT Pro Light'\, sans-serif\;'>*\, world
  premiere                                                                 
                                                                   </span><
 /p><p class='Body' style='-webkit-text-stroke-width:0px\;border-width:medi
 um\;color:black\;font-family:'Helvetica Neue'\;font-size:11pt\;font-style:
 normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;
 margin:0in\;orphans:auto\;text-align:start\;text-decoration:none\;text-ind
 ent:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacin
 g:0px\;'><span style='font-family:'Avenir Next LT Pro Light'\, sans-serif\
 ;'>°\, text/graphic score</span></p><hr><h2>Biographies</h2><p><strong>Flo
 ra Cummings</strong> is a Seattle native and a 4th-year music student at t
 he University of Washington\, where she studies with Professor Melia Watra
 s and is the recipient of the Pauline and Paul Soder Memorial Scholarship 
 and the Dolores Plath Music Trust Fund. She began violin lessons at age si
 x with Laura Martin\, before studying viola with Dr. Alessandra Barrett (a
  former student of Watras) and violin with Dr. Sarah Pizzichemi. Flora won
  first prize in the Washington State Solo Viola Competition in 2022 and is
  a finalist in the American Viola Society’s 2026 Collegiate Solo Competiti
 on (finals to be held in June 2026). She joined the Seattle Collaborative 
 Orchestra in high school and was a soloist with the ensemble her senior ye
 ar. Flora is an avid chamber music player and loves to play Scottish fiddl
 e music - playing with her family band and performing at the 2018 “More Mu
 sic@the Moore” showcase for young talent. In October\, 2023\, she won the 
 prestigious Silver Pendant Competition for Scottish Gaelic learners at the
  Royal National Mòd\, held in Oban\, Scotland. Winners of the competition 
 are recognized as among the best emerging Gaelic vocalists in the world. S
 he received top marks in both music and Gaelic\, earning her a chance to s
 ing for broadcast on BBC television\, as well as live on BBC Radio nan Gài
 dheal. Flora plays on a 2017 viola by Portland maker David Van Zandt. She 
 will attend the Royal Academy of Music in Westminster\, London\, England i
 n the fall of 2026.</p><p><br>Violinist<strong> Michael Jinsoo Lim</strong
 > has been praised for his “showmanship to spare\,” “terrific swagger” and
  “delicious abandon” by Gramophone\, hailed by the Los Angeles Times as a 
 “conspicuously accomplished champion of contemporary music\,” and describe
 d as “a tour de force” and “bewitching” by the Seattle Times. Concertmaste
 r and solo violinist for the internationally-acclaimed Pacific Northwest B
 allet\, Lim’s solo appearances with the company include performances in Pa
 ris\, New York City\, Los Angeles\, Washington DC and Seattle\, in concert
 os by Stravinsky\, Prokofiev\, Bach\, Max Richter and others. Lim was co-f
 ounder of the award-winning Corigliano Quartet\, with whom he toured and r
 ecorded for twenty years and appeared on over a dozen albums\, including t
 he group’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 Na
 xos\, Planet M\, Sono Luminus\, DreamWorks\, Albany\, Bridge\, CRI\, Bayer
  Records\, RIAX and New Focus. His recent solo album Kinetic has been high
 ly acclaimed by the press. Gramophone said “This intelligently assembled r
 ecital of contemporary solo violin music provides a vivid portrait of Mich
 ael Jinsoo Lim’s first-class musicianship and technical finesse\,” while n
 oting that “Lim’s reading is thrilling in its virtuosity yet offers charm 
 and a sense of fun as well.” The WholeNote called it a “remarkable solo al
 bum” and “a fascinating recital of quite brilliant playing by Lim.” Lim ha
 s served on the faculty of the Banff Centre\, taught at Indiana University
  as a guest professor\, and currently serves on the faculty of Cornish Col
 lege of the Arts at Seattle University.</p>
END:VEVENT
BEGIN:VEVENT
UID:06b47892-e1a4-4171-bc6f-101283266ad2
DTSTAMP:20260612T083118Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T194426Z
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>Fake Monk</h3><p>Cuong Vu\, advisor<br><br>Misterioso - <strong>Thelo
 nious Monk</strong><br>Étude - <strong>Paul Motian</strong><br>Stablemates
  - <strong>Benny Golson</strong></p><h4>Personnel</h4><p>Maxim Langs - Dru
 ms<br>Yotam Snir - Saxophone<br>Hanjun Ma - Piano<br>Riley Tobin - Bass</p
 ><h3>********************<br>Vudapest</h3><p>Cuong Vu - Advisor<br><br>Thi
 rd Wind - <strong>Pat Metheny\, </strong>arr. <strong>Marko Vidich</strong
 ><br>Time Remembered - <strong>Bill Evans\,</strong> arr. <strong>Alex Phe
 lps</strong><br>Sudra Funk - <strong>Dhafer Youssef</strong><br>What is Hi
 p - <strong>Tower of Power\,</strong> arr. <strong>Marcus Miller</strong><
 /p><h4>Personnel</h4><p>Rohini Vrajmohan - Trumpet\, Vocals<br>Henry Kelly
  - Alto Sax<br>Rishabh McIntosh - Trombone\, Sarod<br>Alex Phelps - Trombo
 ne<br>Mira Santa Lucia - Piano<br>Marko Vidich - Guitar<br>AJ Marto - Bass
 <br>Brayson Young - Drums</p><p>********************<br><strong>Band Name:
  TBD</strong><br> Jacob Zimmerman\, advisor</p><p>Repertoire - TBA</p><p>*
 *******************<br>Band Name: TBD<br>Advisor: Cuong Vu</p><p>F.T.B - <
 strong>Robert Glaspe</strong>r<br>Mlomje-Voices Joined - <strong>Nubiyan t
 wist</strong><br>317 E 32nd street: <strong>Lenny Tristano</strong><br>Cal
 sifer - <strong>Aiden Chan</strong></p><h4>Personnel </h4><p>Aiden Chan: D
 rums<br>Coralin Coastello: Piano<br>Owen Nguyen: Tenox Saxophone<br>Carson
  Johnson: Tenor Saxophone<br>Packard Stephenson: Bass</p><hr><h2>Biographi
 es</h2>
DTSTART;TZID=America/Los_Angeles:20260513T193000
DTEND;TZID=America/Los_Angeles:20260514T000000
LAST-MODIFIED:20260512T184415Z
SUMMARY:: Jazz Innovations I
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-13/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>Fake Monk</h3><p><em>Cuong Vu\, advisor</em><br><br>
 Misterioso - <strong>Thelonious Monk</strong><br>Étude - <strong>Paul Moti
 an</strong><br>Stablemates - <strong>Benny Golson</strong></p><h4>Personne
 l</h4><p><em>Maxim Langs - Drums</em><br><em>Yotam Snir - Saxophone</em><b
 r><em>Hanjun Ma - Piano</em><br><em>Riley Tobin - Bass</em></p><h3>*******
 *************<br>Vudapest</h3><p><em>Cuong Vu - Adviso</em>r<br><br>Third 
 Wind - <strong>Pat Metheny\, </strong>arr. <strong>Marko Vidich</strong><b
 r>Time Remembered - <strong>Bill Evans\,</strong> arr. <strong>Alex Phelps
 </strong><br>Sudra Funk - <strong>Dhafer Youssef</strong><br>What is Hip -
  <strong>Tower of Power\,</strong> arr. <strong>Marcus Miller</strong></p>
 <h4>Personnel</h4><p><em>Rohini Vrajmohan - Trumpet\, Vocals</em><br><em>H
 enry Kelly - Alto Sax</em><br><em>Rishabh McIntosh - Trombone\, Sarod</em>
 <br><em>Alex Phelps - Trombone</em><br><em>Mira Santa Lucia - Piano</em><b
 r><em>Marko Vidich - Guitar</em><br><em>AJ Marto - Bass</em><br><em>Brayso
 n Young - Drums</em></p><p>********************<br><strong>Band Name: TBD<
 /strong><br><em> Jacob Zimmerman\,</em> advisor</p><p>Repertoire - TBA</p>
 <p>********************<br>Band Name: TBD<br><em>Advisor: Cuong Vu</em></p
 ><p>F.T.B - <strong>Robert Glaspe</strong>r<br>Mlomje-Voices Joined - <str
 ong>Nubiyan twist</strong><br>317 E 32nd street: <strong>Lenny Tristano</s
 trong><br>Calsifer - <strong>Aiden Chan</strong></p><h4>Personnel </h4><p>
 <em>Aiden Chan: Drums</em><br><em>Coralin Coastello: Piano</em><br><em>Owe
 n Nguyen: Tenox Saxophone</em><br><em>Carson Johnson: Tenor Saxophone</em>
 <br><em>Packard Stephenson: Bass</em></p><hr><h2>Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:b069bdcf-0748-4f05-8d1c-44f54e9a06e8
DTSTAMP:20260612T083118Z
CATEGORIES:Master Classes\, Special Events\, Student Activities and Perform
 ances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20260424T213724Z
DESCRIPTION:<p>Esteemed composer and musician Vijay Iyer leads a master cla
 ss with UW music students\, followed by a Q & A moderated by School of mus
 ic professor and improvisational trumpeter Steph Richards. This event is c
 o-hosted by Meany Center for the Performing Arts and the UW School of Musi
 c.  Vijay Iyer appears at Meany Center for the Performing Arts on May 14 a
 nd 15 with East Coast Chamber Ensemble. <a href='https://meanycenter.org/t
 ickets/east-coast-chamber-orchestra-seattle' data-entity-type='external'>D
 etails here. </a> </p><hr><p><strong>Note: </strong>The class is free to a
 ttend\, but RSVP is required. <strong>RSVP </strong><a class='OWAAutoLink'
  style='color:rgb(163\, 117\, 25)\;margin:0px\;' href='https://urldefense.
 com/v3/__https://docs.google.com/forms/d/e/1FAIpQLSfN_QzbUMmK8husmMgOodLD6
 X16csji7oyLjrUy-1Njgh--2g/viewform?usp=sharing&ouid=115793146249725703083_
 _\;!!K-Hz7m0Vt54!irFOZuNQ_uRajqaqIqe6zL3tgjNwXfp8hvxCDFJcjkVVnUqcdrGCyRwrf
 5oJgYBrWukhs9G56XLMqFg$' id='OWA489851c6-51c6-6fe1-f548-ed2d6f0ed0f5' titl
 e='https://docs.google.com/forms/d/e/1FAIpQLSfN_QzbUMmK8husmMgOodLD6X16csj
 i7oyLjrUy-1Njgh--2g/viewform?usp=sharing&ouid=115793146249725703083' data-
 auth='NotApplicable' data-linkindex='0'><strong>HERE</strong></a></p><hr><
 h2>Program</h2><p>for violin alone (3') - <strong>Michaela Klesse\,</stron
 g> violin</p><p>The Diamond\, Movt. I. A Dream (6') - <strong>David Teves-
 Tan\, </strong>violin\, <strong>Jeffrey Tso\, </strong>piano </p><p>Crown 
 Thy Good (5')\, <strong>Freya Frahm</strong>\, piano</p><p>Mlonje: Voices 
 Joined by Nubiyan Twist & The Zawose Queens\, <strong>Owen Tucker Gwinn\,<
 /strong> Sax\; <strong>Carson Johnson\,</strong> Sax\;  <strong>Corlan Cos
 tello\, </strong>Piano\; <strong>Aiden Lok Fung Chan\,</strong> Drums\; <s
 trong>Packard Stephenson\, </strong>Bass</p><hr><h2>Biographies</h2><p><st
 rong>VIJAY IYER</strong> is a composer and pianist in New York. In 2025 he
  released Defiant Life with Wadada Leo Smith\, and Thereupon with the grou
 p Fieldwork. Rolling Stone observed\, “Iyer’s music knows no bounds.” He r
 eceived a MacArthur Fellowship\, a Doris Duke Artist Award\, and three Gra
 mmy nominations. He teaches at Harvard.</p><p><strong>STEPH RICHARDS</stro
 ng> is a dynamic improvisor known for her innovative approach to the trump
 et and interdisciplinary expression as a composer. An “innately adventurou
 s trumpeter\,” (Downbeat)\, she has collaborated with visionaries Henry Th
 readgill\, Anthony Braxton\, Muhal Richard Abrams and John Zorn as well as
  art pop luminaries Yoko Ono\, St. Vincent\, David Byrne and Laurie Anders
 on. She is the Floyd and Delores Jones Endowed Chair in the Arts and Profe
 ssor of Music at the University of Washington. <br><br><strong>NUBIAN TWIS
 T'S</strong> music is categorized as a fusion of jazz\, Afrobeat\, UK soul
 \, hip-hop\, highlife\, and reggae. Orchestrated by producer Tom Excell\, 
 their sound blends global grooves with modern horn-led arrangements and el
 ectronics\, often characterized as a\, jazztastic\, danceable 'big band' s
 ound. </p>
DTSTART;TZID=America/Los_Angeles:20260514T140000
DTEND;TZID=America/Los_Angeles:20260515T000000
LAST-MODIFIED:20260430T233344Z
SUMMARY:: Guest Artist Master Class\, Q and A: Vijay Iyer 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-14/guest-artist-master-clas
 s-q-and-vijay-iyer
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Esteemed composer and musician Vijay Iyer l
 eads a master class with UW music students\, followed by a Q & A moderated
  by School of music professor and improvisational trumpeter Steph Richards
 . This event is co-hosted by Meany Center for the Performing Arts and the 
 UW School of Music.  Vijay Iyer appears at Meany Center for the Performing
  Arts on May 14 and 15 with East Coast Chamber Ensemble. <a href='https://
 meanycenter.org/tickets/east-coast-chamber-orchestra-seattle' data-entity-
 type='external'>Details here. </a> </p><hr><p><strong>Note: </strong>The c
 lass is free to attend\, but RSVP is required. <span style='color:black\;'
 ><strong>RSVP </strong></span><a class='OWAAutoLink' style='color:rgb(163\
 , 117\, 25)\;margin:0px\;' href='https://urldefense.com/v3/__https://docs.
 google.com/forms/d/e/1FAIpQLSfN_QzbUMmK8husmMgOodLD6X16csji7oyLjrUy-1Njgh-
 -2g/viewform?usp=sharing&ouid=115793146249725703083__\;!!K-Hz7m0Vt54!irFOZ
 uNQ_uRajqaqIqe6zL3tgjNwXfp8hvxCDFJcjkVVnUqcdrGCyRwrf5oJgYBrWukhs9G56XLMqFg
 $' id='OWA489851c6-51c6-6fe1-f548-ed2d6f0ed0f5' title='https://docs.google
 .com/forms/d/e/1FAIpQLSfN_QzbUMmK8husmMgOodLD6X16csji7oyLjrUy-1Njgh--2g/vi
 ewform?usp=sharing&ouid=115793146249725703083' data-auth='NotApplicable' d
 ata-linkindex='0'><span style='color:rgb(163\, 117\, 25)\;'><strong>HERE</
 strong></span></a></p><hr><h2>Program</h2><p>for violin alone (3') - <stro
 ng>Michaela Klesse\,</strong> violin</p><p>The Diamond\, Movt. I. A Dream 
 (6') - <strong>David Teves-Tan\, </strong>violin\, <strong>Jeffrey Tso\, <
 /strong>piano </p><p>Crown Thy Good (5')\, <strong>Freya Frahm</strong>\, 
 piano</p><p>Mlonje: Voices Joined by Nubiyan Twist & The Zawose Queens\, <
 strong>Owen Tucker Gwinn\,</strong> Sax\; <strong>Carson Johnson\,</strong
 > Sax\;  <strong>Corlan Costello\, </strong>Piano\; <strong>Aiden Lok Fung
  Chan\,</strong> Drums\; <strong>Packard Stephenson\, </strong>Bass</p><hr
 ><h2>Biographies</h2><p><strong>VIJAY IYER</strong> is a composer and pian
 ist in New York. In 2025 he released Defiant Life with Wadada Leo Smith\, 
 and Thereupon with the group Fieldwork. Rolling Stone observed\, “Iyer’s m
 usic knows no bounds.” He received a MacArthur Fellowship\, a Doris Duke A
 rtist Award\, and three Grammy nominations. He teaches at Harvard.</p><p><
 strong>STEPH RICHARDS</strong> is a dynamic improvisor known for her innov
 ative approach to the trumpet and interdisciplinary expression as a compos
 er. An “innately adventurous trumpeter\,” (Downbeat)\, she has collaborate
 d with visionaries Henry Threadgill\, Anthony Braxton\, Muhal Richard Abra
 ms and John Zorn as well as art pop luminaries Yoko Ono\, St. Vincent\, Da
 vid Byrne and Laurie Anderson. She is the Floyd and Delores Jones Endowed 
 Chair in the Arts and Professor of Music at the University of Washington. 
 <br><br><strong>NUBIAN TWIST'S</strong> music is categorized as a fusion o
 f jazz\, Afrobeat\, UK soul\, hip-hop\, highlife\, and reggae. Orchestrate
 d by producer Tom Excell\, their sound blends global grooves with modern h
 orn-led arrangements and electronics\, often characterized as a\, jazztast
 ic\, danceable 'big band' sound. </p>
END:VEVENT
BEGIN:VEVENT
UID:145356b7-008f-4a6e-b843-27f58d8a6f71
DTSTAMP:20260612T083118Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T195556Z
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>
  </p><h3>Poor Timing </h3><p>Advisor: Ted Poor</p><p>Our Broken Little Wor
 ld - <strong>Gus Scharler</strong><br>Mad House - <strong>Thomas Jennings<
 /strong><br>Behind Bars - <strong>Riley Tobin </strong><br>The Dreamer - <
 strong>Immanuel Wilkins</strong><br>Tomorrow is Yesterday - <strong>Coen R
 ios</strong></p><p>Gus Scharler - tenor saxophone\; Coen Rios - tenor saxo
 phone\; Nick Ang - piano\; Thomas Jennings - guitar\; Riley Tobin - bass\;
  Shane Ryan - drums</p><h3>Standing Waves</h3><p>Coen Rios and Rory Somers
 \, advisors<br><br>Terminal Lucidity  -  <strong>Dominic Apostol</strong><
 br>Lovely Lilies  -  <strong>Phineas Ruge</strong><br>Imposition  -  <stro
 ng>Standing Waves</strong></p><p>Jacqueline Biscay\, Tenor Saxophone\; Phi
 neas Ruge\, Tenor Saxophone\; Nandini Mishra\, Violin\;<br>Eliana Koenig\,
  Piano\; Dominic Apostol\, Bass\; Maxim Langs\, Drums</p><h3>Six In Five <
 /h3><p>Steve Rodby\, advisor<br><br>Prism  -  <strong>Keith Jarrett</stron
 g><br>Good Morning  -  <strong>Alex Sipiagin</strong><br>Pilgrimage  -  <s
 trong>Michael Brecker</strong><br>Confirmation that Klactoveedsedstene has
  Gotta Get Some Sleep\, or The Sphinx will become Bird Food -    <strong>C
 harlie Parker\, Dewey Redman\, Ornette Coleman</strong><br>    <br>Rory So
 mers\, trumpet\; Aadithya Mano\, alto & soprano saxophone\; Graeme Gentle\
 , tenor saxophone\;<br>Gavin Westland\, piano\; Don Viet Tran\, bass\; Eth
 an Horn\, drums</p><hr><h2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260514T193000
DTEND;TZID=America/Los_Angeles:20260515T000000
LAST-MODIFIED:20260515T030225Z
SUMMARY:: Jazz Innovations II
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-14/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><p> </p><h3>Poor Timing </h3><p><em>Advisor: Ted Poor</em></
 p><p>Our Broken Little World - <strong>Gus Scharler</strong><br>Mad House 
 - <strong>Thomas Jennings</strong><br>Behind Bars - <strong>Riley Tobin </
 strong><br>The Dreamer - <strong>Immanuel Wilkins</strong><br>Tomorrow is 
 Yesterday - <strong>Coen Rios</strong></p><p><em>Gus Scharler - tenor saxo
 phone\; Coen Rios - tenor saxophone\; Nick Ang - piano\; Thomas Jennings -
  guitar\; Riley Tobin - bass\; Shane Ryan - drums</em></p><h3>Standing Wav
 es</h3><p><em>Coen Rios and Rory Somers\, advisors</em><br><br>Terminal Lu
 cidity  -  <strong>Dominic Apostol</strong><br>Lovely Lilies  -  <strong>P
 hineas Ruge</strong><br>Imposition  -  <strong>Standing Waves</strong></p>
 <p><em>Jacqueline Biscay\, Tenor Saxophone\; Phineas Ruge\, Tenor Saxophon
 e\; Nandini Mishra\, Violin\;</em><br><em>Eliana Koenig\, Piano\; Dominic 
 Apostol\, Bass\; Maxim Langs\, Drums</em></p><h3>Six In Five </h3><p><em>S
 teve Rodby\, advisor</em><br><br>Prism  -  <strong>Keith Jarrett</strong><
 br>Good Morning  -  <strong>Alex Sipiagin</strong><br>Pilgrimage  -  <stro
 ng>Michael Brecker</strong><br>Confirmation that Klactoveedsedstene has Go
 tta Get Some Sleep\, or The Sphinx will become Bird Food -    <strong>Char
 lie Parker\, Dewey Redman\, Ornette Coleman</strong><br>    <br><em>Rory S
 omers\, trumpet\; Aadithya Mano\, alto & soprano saxophone\; Graeme Gentle
 \, tenor saxophone\;</em><br><em>Gavin Westland\, piano\; Don Viet Tran\, 
 bass\; Ethan Horn\, drums</em></p><hr><h2>Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:2cbb137e-38f6-4ade-bcd8-0de8c8aba746
DTSTAMP:20260612T083118Z
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\, presents When the Ocean Sets the Terms: On Li
 stening and Making “of ice and oceans” in this installment of the 2025-26 
 THEME lecture Series.</p><hr><h2>Abstract</h2><p>This talk focuses on my r
 ecent work of ice and oceans (2024) for large ensemble and fixed media\, d
 eveloped in close engagement with underwater recordings by Jana Winderen. 
 Made in the Barents Sea and along the Russian-Norwegian border\, these rec
 ordings carry the sounds of marine life\, shifting ice\, and the steady pr
 esence of industrial activity.</p><p>In this work\, the recorded material 
 shapes how the music unfolds. It influences pacing\, density\, and form. A
 t moments the musicians move alongside the recordings\; at others they pre
 ss into them or are absorbed within them. The piece develops as a slowly e
 volving sound mass in which distinctions between sources begin to loosen.<
 /p><p>This process has pushed me to rethink authorship and control. If the
  structure of a piece can emerge from environmental sound\, the composer’s
  role becomes less about imposing form and more about negotiating with wha
 t is already there. This raises questions that resonate with recent work t
 hat challenges human-centered models of listening and creativity. Thinkers
  such as Timothy Morton and Donna Haraway have argued for ways of understa
 nding the world as entangled\, distributed\, and resistant to clean bounda
 ries\; this piece takes up those ideas in a compositional setting.</p><p>A
 t the same time\, there is a tension that the work can not resolve. Presen
 ting these recordings in a concert hall draws attention to fragile environ
 ments\, but it can also detach them from the conditions that give them mea
 ning. of ice and oceans stays with that friction\, holding open the questi
 on of how—and whether—we can listen to these sounds without fully absorbin
 g them into our own ways of hearing.<br> </p><hr><h2>Biography</h2><p>Will
 iam Dougherty is an American composer\, sound artist\, educator\, and writ
 er who joined the University of Washington faculty in January 2025. Doughe
 rty's works have been performed internationally by ensembles including BBC
  Scottish Symphony 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)\, an
 d Talea Ensemble (New York). His music has been featured in festivals such
  as Tectonics Glasgow (2023)\, IRCAM's ManiFeste (2019)\, musikprotokoll (
 2018)\, Donaueschingen Musiktage (2017)\, New Music Miami (2017)\, Tectoni
 cs Festival New York (2015)\, the New York City Electroacoustic Music Fest
 ival (2015)\, the 47th Internationale Ferienkurse für Neue Musik in Darmst
 adt (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 Music Composition from the American Academy in Rome. He hasreceiv
 ed additional recognitions\, awards\, and fellowships from Harvard Univers
 ity's Radcliffe Institute for Advanced Study\, Columbia University's Insti
 tute for Ideas & Imagination\, Civitella Ranieri Foundation\, the American
  Academy of Arts and Letters\, Gaudeamus Muziekweek\, the Internationale G
 esellschaft für Neue Musik (IGNM/ISCM)\, the Aaron Copland House\, SEAMUS/
 ASCAP\, BMI\, PARMA Recordings\, the PRS for Music Society\, the American 
 Composers Forum\, the Philadelphia Orchestra Association\, the Institute f
 or European Studies\, and the UK Foreign Aid and Commonwealth Office.</p><
 p>Dougherty earned his Doctorate of Musical Arts (DMA) degree at Columbia 
 University in New York City\, where he taught and assisted undergraduate c
 ourses in composition\, music technology\, and music theory at Columbia Un
 iversity. He previously served on the composition faculty at Temple Univer
 sity. </p><p>Dougherty graduated with a Bachelor’s in Music Composition fr
 om Temple University’s Boyer College of Music and Dance in Philadelphia wh
 ere he studied with Maurice Wright\, Richard Brodhead\, and Jan Krzywicki.
  As a Marshall Scholar\, Dougherty earned his Master’s from the Royal Coll
 ege of Music in London studying with Kenneth Hesketh and Mark-Anthony Turn
 age after which he completed supplementary studies (Ergänzungsstudium) und
 er the guidance of Georg Friedrich Haas at the Hochschule für Musik Basel 
 in Switzerland. In 2018-19\, William completed the Cursus Programme in com
 position and computer music at IRCAM in Paris while in residence at Cité I
 nternationale des Arts. </p><hr><h2 style='-webkit-text-stroke-width:0px\;
 box-sizing:border-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 
 68)\;font-family:'Encode Sans Compressed Regular'\, 'Open Sans'\, Arial\, 
 sans-serif\;font-size:1.875rem\;font-style:normal\;font-variant-caps:norma
 l\;font-weight:normal\;letter-spacing:0.3px\;line-height:1.4\;margin:0.2re
 m 0px 0.5rem\;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\;'>Series Backgrou
 nd</h2><p class='p1' style='-webkit-text-stroke-width:0px\;box-sizing:bord
 er-box\;caret-color:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-famil
 y:'Open Sans'\, Arial\, Helvetica\, sans-serif\;font-size:16px\;font-style
 :normal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\
 ;line-height:1.875rem\;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\;'>THEME: A colloquium of UW faculty and students of Theo
 ry\, History\, Ethnomusicology\, and Music Education held on select Friday
  afternoons during the academic year. </p>
DTSTART;TZID=America/Los_Angeles:20260515T160000
DTEND;TZID=America/Los_Angeles:20260516T000000
LAST-MODIFIED:20260414T232622Z
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\, presents <em>When the Ocean 
 Sets the Terms: On Listening and Making “of ice and oceans”</em> in this i
 nstallment of the 2025-26 THEME lecture Series.</p><hr><h2>Abstract</h2><p
 >This talk focuses on my recent work of ice and oceans (2024) for large en
 semble and fixed media\, developed in close engagement with underwater rec
 ordings by Jana Winderen. Made in the Barents Sea and along the Russian-No
 rwegian border\, these recordings carry the sounds of marine life\, shifti
 ng ice\, and the steady presence of industrial activity.</p><p>In this wor
 k\, the recorded material shapes how the music unfolds. It influences paci
 ng\, density\, and form. At moments the musicians move alongside the recor
 dings\; at others they press into them or are absorbed within them. The pi
 ece develops as a slowly evolving sound mass in which distinctions between
  sources begin to loosen.</p><p>This process has pushed me to rethink auth
 orship and control. If the structure of a piece can emerge from environmen
 tal sound\, the composer’s role becomes less about imposing form and more 
 about negotiating with what is already there. This raises questions that r
 esonate with recent work that challenges human-centered models of listenin
 g and creativity. Thinkers such as Timothy Morton and Donna Haraway have a
 rgued for ways of understanding the world as entangled\, distributed\, and
  resistant to clean boundaries\; this piece takes up those ideas in a comp
 ositional setting.</p><p>At the same time\, there is a tension that the wo
 rk can not resolve. Presenting these recordings in a concert hall draws at
 tention to fragile environments\, but it can also detach them from the con
 ditions that give them meaning. of ice and oceans stays with that friction
 \, holding open the question of how—and whether—we can listen to these sou
 nds without fully absorbing them into our own ways of hearing.<br> </p><hr
 ><h2>Biography</h2><p><span class='C9DxTc' style='box-sizing:border-box\;'
 >William Dougherty is an American composer\, sound artist\, educator\, and
  writer who joined the University of Washington faculty in January 2025. D
 ougherty's works have been performed internationally by ensembles includin
 g BBC Scottish Symphony Orchestra (Glasgow)\, The Sun Ra Arkestra (Philade
 lphia)\, Yarn/Wire (New York)\, Ensemble Phoenix (Basel)\, TILT Brass (New
  York)\, Ensemble for New Music Tallinn(Estonia)\, JACK Quartet (New York)
 \, and Talea Ensemble (New York). His music has been featured in festivals
  such as Tectonics Glasgow (2023)\, IRCAM's ManiFeste (2019)\, musikprotok
 oll (2018)\, Donaueschingen Musiktage (2017)\, New Music Miami (2017)\, Te
 ctonics Festival New York (2015)\, the New York City Electroacoustic Music
  Festival (2015)\, the 47th Internationale Ferienkurse für Neue Musik in D
 armstadt (2014)\, the New York Philharmonic Biennale (2014)\, and broadcas
 t on BBC Radio 3. </span></p><p><span class='C9DxTc' style='box-sizing:bor
 der-box\;'>Dougherty was the recipient of the Luciano Berio Rome Prize in 
 Music Composition from the American Academy in Rome. He hasreceived additi
 onal recognitions\, awards\, and fellowships from Harvard University's Rad
 cliffe Institute for Advanced Study\, Columbia University's Institute for 
 Ideas & Imagination\, Civitella Ranieri Foundation\, the American Academy 
 of Arts and Letters\, Gaudeamus Muziekweek\, the Internationale Gesellscha
 ft für Neue Musik (IGNM/ISCM)\, the Aaron Copland House\, SEAMUS/ASCAP\, B
 MI\, PARMA Recordings\, the PRS for Music Society\, the American Composers
  Forum\, the Philadelphia Orchestra Association\, the Institute for Europe
 an Studies\, and the UK Foreign Aid and Commonwealth Office.</span></p><p>
 <span class='C9DxTc' style='box-sizing:border-box\;'>Dougherty 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. </span></p><p><sp
 an class='C9DxTc' style='box-sizing:border-box\;'>Dougherty graduated with
  a Bachelor’s in Music Composition from Temple University’s Boyer College 
 of Music and Dance in Philadelphia where he studied with Maurice Wright\, 
 Richard Brodhead\, and Jan Krzywicki. As a Marshall Scholar\, Dougherty ea
 rned his Master’s from the Royal College of Music in London studying with 
 Kenneth Hesketh and Mark-Anthony Turnage after which he completed suppleme
 ntary studies (Ergänzungsstudium) under the guidance of Georg Friedrich Ha
 as at the Hochschule für Musik Basel in Switzerland. In 2018-19\, William 
 completed the Cursus Programme in composition and computer music at IRCAM 
 in Paris while in residence at Cité Internationale des Arts. </span></p><h
 r><h2 style='-webkit-text-stroke-width:0px\;box-sizing:border-box\;caret-c
 olor:rgb(68\, 68\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Encode Sans 
 Compressed Regular'\, 'Open Sans'\, Arial\, sans-serif\;font-size:1.875rem
 \;font-style:normal\;font-variant-caps:normal\;font-weight:normal\;letter-
 spacing:0.3px\;line-height:1.4\;margin:0.2rem 0px 0.5rem\;orphans:auto\;pa
 dding:0px\;text-align:start\;text-decoration:none\;text-indent:0px\;text-r
 endering:optimizelegibility\;text-transform:none\;white-space:normal\;wido
 ws:auto\;word-spacing:0px\;'>Series Background</h2><p class='p1' style='-w
 ebkit-text-stroke-width:0px\;box-sizing:border-box\;caret-color:rgb(68\, 6
 8\, 68)\;color:rgb(68\, 68\, 68)\;font-family:'Open Sans'\, Arial\, Helvet
 ica\, sans-serif\;font-size:16px\;font-style:normal\;font-variant-caps:nor
 mal\;font-weight:400\;letter-spacing:normal\;line-height:1.875rem\;margin:
 0px 0px 1.5625rem\;orphans:auto\;padding:0px\;text-align:start\;text-decor
 ation:none\;text-indent:0px\;text-rendering:optimizelegibility\;text-trans
 form:none\;white-space:normal\;widows:auto\;word-spacing:0px\;'>THEME: A c
 olloquium of UW faculty and students of Theory\, History\, Ethnomusicology
 \, and Music Education held on select Friday afternoons during the academi
 c year. </p>
END:VEVENT
BEGIN:VEVENT
UID:73b7dac1-5b0b-42fc-9170-210878ca33f8
DTSTAMP:20260612T083118Z
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. In the first half of the program
 \, Sheppard’s current students perform works of American composers commiss
 ioned by Rutgers Professor Min Kwon for her America/Beautiful project. On 
 the second half of the program\, former students living in the Seattle are
 a bring their pianistic gifts to four-hand and two-piano works of Samuel B
 arber\, William Bolcom\, Aaron Copland\, George Gershwin\, and John Philip
  Sousa\, with a couple of extra surprises thrown in.</p><hr><h2 style='fon
 t-weight:400\;'>Program</h2><h3>Craig Sheppard and His Students</h3><p>Cel
 ebrating the 250th Anniversary of the signing of the Declaration of Indepe
 ndence<br> </p><h4>Part I  </h4><p>Professor Sheppard’s current students p
 erform selections from Min Kwon’s America/Beautiful series\; Professor Kwo
 n delivers a brief introduction.</p><p>Oh\, Beautiful (<strong>Andrew Bamb
 ridge</strong>\, b.1996)                      <br>Yige Han </p><p>To Be Be
 autiful (<strong>Charles Coleman</strong>\, b. 1968)                      
        <br>Xinrui Huang </p><p>Endeavor (<strong>Pierre Jalbert</strong>\,
  b. 1967)                   <br>Jingshi Isabella Zhao </p><p>America the B
 eautiful – sotto voce (<strong>Juri Seo</strong> (b.1981)            <br>A
 lex Fang </p><p>Habanera (<strong>John Musto</strong>\, b. 1954)          
         <br>Alyssa Hironaka </p><p>Latin\, America Beautiful (<strong>Samu
 el Zyman</strong>\, b. 1956)       <br>Lefei Kane Change </p><p>United Und
 erdog (<strong>Leila Adu-Gilmore</strong>)                                
    <br>Mia Hyeyeon Kim (Mia graduated with her DMA in March 2025!)</p><p>A
  Most Glorious Grace (<strong>Dave Ragland\, </strong>b. 1978)      <br> J
 ingyang Jam Huang </p><p>Echo Chamber (<strong>Viet Cuong</strong>\, b. 19
 90)  <br>Ronin Crawford                               </p><p>Ameritango (<
 strong>Jed Distler\,</strong> b. 1956)                        <br>Katherin
 e Lee </p><p>Melting! (<strong>Patrick Zimmerli\, </strong>b. 1968)       
                                      <br>Tianchen Yan<br><br>-Intermission
 -</p><h4>PART II  </h4><p>Professor Sheppard is joined by five former stud
 ents living in the Seattle area</p><p>Souvenirs - <strong>Samuel Barber</s
 trong> (1910-1981)      <br>    1. Waltz   (Tom Lee and Craig Sheppard)<br
 >    2. Schottische (Jessica/Paiyu Chiu and Masha Khavin)<br>    5. Hesita
 tion Tango (Tom Lee and Jong Eun Lee)</p><p>Garden of Eden - <strong>Willi
 am Bolcom </strong>(b. 1938)<br>1.    Old Adam (Jensina Oliver and Masha K
 havin)<br>2.    The Serpent’s Kiss (Jong Eun Lee and Craig Sheppard)</p><p
 >Waltz - <strong>Valery Gavrilin</strong> (1939-1999)<br>Masha Khavin and 
 Craig Sheppard</p><p>The Train Running - <strong>Yoshinao Nakada</strong> 
 (1923-2000)<br>Sota Kobata and Jessica/Paiyu Chiu</p><p>Caprice Italienne 
 from ‘Napoli’ - <strong>François Poulenc</strong> (1899-1963)<br>Jingshi I
 sabella Zhao<br><br>The Man I Love  - <strong>George Gershwin</strong> (18
 98-1937)<br>       Transcribed by <strong>Earl Wild</strong> (1915-2010)<b
 r>Seoyoung Gabby Lee<br><br>I Got Rhythm - <strong>George Gershwin</strong
 ><br>Craig Sheppard</p><p>Stars and Stripes Forever - <strong> John Philip
  Sousa</strong> (1854-1932)<br>Craig Sheppard and Jensina Oliver\, Piano I
 <br>Alex Fang and Masha Khavin\, Piano II<br>(With help from Brooke Bart\,
  Grace Playstead\, Robert Rosenthal\, Claire Wei\, Ananya Parlapalli\, Pey
 ton Ray\, and Tracia Pan - flute students of Donna Shin).</p><hr><h2 style
 ='font-weight:400\;'>Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260515T193000
DTEND;TZID=America/Los_Angeles:20260516T000000
LAST-MODIFIED:20260515T181932Z
SUMMARY:: Faculty Recital: Craig Sheppard with Students - 'America the Beau
 tiful at 250'
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-15/faculty-recital-craig-sh
 eppard-students-america-beautiful-250
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Faculty pianist Craig Sheppard is joined by
  current and former UW students in this concert celebrating the 250th anni
 versary of the signing of the Declaration of Independence. In the first ha
 lf of the program\, Sheppard’s current students perform works of American 
 composers commissioned by Rutgers Professor Min Kwon for her <em>America/B
 eautiful </em>project. On the second half of the program\, former students
  living in the Seattle area bring their pianistic gifts to four-hand and t
 wo-piano works of Samuel Barber\, William Bolcom\, Aaron Copland\, George 
 Gershwin\, and John Philip Sousa\, with a couple of extra surprises thrown
  in.</p><hr><h2 style='font-weight:400\;'>Program</h2><h3>Craig Sheppard a
 nd His Students</h3><p>Celebrating the 250th Anniversary of the signing of
  the Declaration of Independence<br> </p><h4>Part I  </h4><p><em>Professor
  Sheppard’s current students perform selections from Min Kwon’s America/Be
 autiful series\; Professor Kwon delivers a brief introduction.</em></p><p>
 Oh\, Beautiful (<strong>Andrew Bambridge</strong>\, b.1996)               
        <br>Yige Han </p><p>To Be Beautiful (<strong>Charles Coleman</stron
 g>\, b. 1968)                             <br>Xinrui Huang </p><p>Endeavor
  (<strong>Pierre Jalbert</strong>\, b. 1967)                   <br>Jingshi
  Isabella Zhao </p><p>America the Beautiful – sotto voce (<strong>Juri Seo
 </strong> (b.1981)            <br>Alex Fang </p><p>Habanera (<strong>John 
 Musto</strong>\, b. 1954)                  <br>Alyssa Hironaka </p><p>Lati
 n\, America Beautiful (<strong>Samuel Zyman</strong>\, b. 1956)       <br>
 Lefei Kane Change </p><p>United Underdog (<strong>Leila Adu-Gilmore</stron
 g>)                                   <br>Mia Hyeyeon Kim (Mia graduated w
 ith her DMA in March 2025!)</p><p>A Most Glorious Grace (<strong>Dave Ragl
 and\, </strong>b. 1978)      <br> Jingyang Jam Huang </p><p>Echo Chamber (
 <strong>Viet Cuong</strong>\, b. 1990)  <br>Ronin Crawford                
                </p><p>Ameritango (<strong>Jed Distler\,</strong> b. 1956) 
                        <br>Katherine Lee </p><p>Melting! (<strong>Patrick 
 Zimmerli\, </strong>b. 1968)                                            <b
 r>Tianchen Yan<br><br>-Intermission-</p><h4>PART II  </h4><p><em>Professor
  Sheppard is joined by five former students living in the Seattle area</em
 ></p><p>Souvenirs - <strong>Samuel Barber</strong> (1910-1981)      <br>  
   1. Waltz   (Tom Lee and Craig Sheppard)<br>    2. Schottische (Jessica/P
 aiyu Chiu and Masha Khavin)<br>    5. Hesitation Tango (Tom Lee and Jong E
 un Lee)</p><p>Garden of Eden - <strong>William Bolcom </strong>(b. 1938)<b
 r>1.    Old Adam (Jensina Oliver and Masha Khavin)<br>2.    The Serpent’s 
 Kiss (Jong Eun Lee and Craig Sheppard)</p><p>Waltz - <strong>Valery Gavril
 in</strong> (1939-1999)<br>Masha Khavin and Craig Sheppard</p><p>The Train
  Running - <strong>Yoshinao Nakada</strong> (1923-2000)<br>Sota Kobata and
  Jessica/Paiyu Chiu</p><p>Caprice Italienne from ‘Napoli’ - <strong>Franço
 is Poulenc</strong> (1899-1963)<br>Jingshi Isabella Zhao<br><br>The Man I 
 Love  - <strong>George Gershwin</strong> (1898-1937)<br>       Transcribed
  by <strong>Earl Wild</strong> (1915-2010)<br>Seoyoung Gabby Lee<br><br>I 
 Got Rhythm - <strong>George Gershwin</strong><br>Craig Sheppard</p><p>Star
 s and Stripes Forever - <strong> John Philip Sousa</strong> (1854-1932)<br
 >Craig Sheppard and Jensina Oliver\, Piano I<br>Alex Fang and Masha Khavin
 \, Piano II<br>(With help from Brooke Bart\, Grace Playstead\, Robert Rose
 nthal\, Claire Wei\, Ananya Parlapalli\, Peyton Ray\, and Tracia Pan - flu
 te students of Donna Shin).</p><hr><h2 style='font-weight:400\;'>Biography
 </h2>
END:VEVENT
BEGIN:VEVENT
UID:007e40af-44f7-42cd-a19b-e8fbee14b689
DTSTAMP:20260612T083118Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20260512T234852Z
DESCRIPTION:<p>Taylor DeCastro (MM\, Violin Performance)\, a student of Rac
 hel Lee Priday\, presents a master's degree recital\, performing works by 
 Biber\, Pejačević \, Knox\, and Bartók. With Cameron DeLuca\,  Alexander K
 ostadinov\, and Jiaxuan Wu. </p><hr><h2>Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260515T193000
DTEND;TZID=America/Los_Angeles:20260516T000000
LAST-MODIFIED:20260512T235834Z
SUMMARY:: Master's Degree Rectial: Taylor DeCastro\, Violin
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-15/masters-degree-rectial-t
 aylor-decastro-violin
END:VEVENT
BEGIN:VEVENT
UID:51927655-0d2f-404e-81a0-16c85cb6df9a
DTSTAMP:20260612T083118Z
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 style='font
 -weight: 400\;'>Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260518T193000
DTEND;TZID=America/Los_Angeles:20260519T000000
LAST-MODIFIED:20250814T232729Z
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:20260612T083118Z
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>\n<h
 2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260519T160000
DTEND;TZID=America/Los_Angeles:20260520T000000
LAST-MODIFIED:20250814T211057Z
SUMMARY:: Voice Division Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-19/voice-division-recital
END:VEVENT
BEGIN:VEVENT
UID:7c83643f-c5b8-42c8-8156-8435c46a04c9
DTSTAMP:20260612T083118Z
CATEGORIES:Faculty Performances\, Performances
CLASS:PUBLIC
CREATED:20260421T122647Z
DESCRIPTION:<p>The Department of Digital Arts and Experimental Media (DXART
 S) presents 'Aural Cinema\,' an evening of electronic music showcasing wor
 ks by UW faculty composers Richard Karpen\, Joseph Anderson\, and Juan Pam
 pin. The works will be played through the DXARTS 3D audio system\, a state
 -of-the-art\, high-fidelity multi-channel system designed for immersive\, 
 spatial audio experiences.</p><p><a href='https://dxarts.washington.edu/ev
 ents/2026-05-20/dxarts-spring-concert-aural-cinema' data-entity-type='exte
 rnal'>Program details at DXARTS listing</a></p><hr><h2>Program</h2><p>Mass
 \, Richard Karpen<br>Pacific Slope\, Joseph Anderson<br>Camera Cantorum\, 
 Richard Karpen<br>A Line\,  Juan Pampin<br>Denouement\, Richard Karpen</p>
 <hr><h2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260520T193000
DTEND;TZID=America/Los_Angeles:20260521T000000
LAST-MODIFIED:20260421T123518Z
SUMMARY:: External Event: DXARTS Spring Concert
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-20/external-event-dxarts-sp
 ring-concert
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The Department of Digital Arts and Experime
 ntal Media (DXARTS) presents 'Aural Cinema\,' an evening of electronic mus
 ic showcasing works by UW faculty composers Richard Karpen\, Joseph Anders
 on\, and Juan Pampin. The works will be played through the DXARTS 3D audio
  system\, a state-of-the-art\, high-fidelity multi-channel system designed
  for immersive\, spatial audio experiences.</p><p><a href='https://dxarts.
 washington.edu/events/2026-05-20/dxarts-spring-concert-aural-cinema' data-
 entity-type='external'>Program details at DXARTS listing</a></p><hr><h2>Pr
 ogram</h2><p><em>Mass\,</em> Richard Karpen<br><em>Pacific Slope\,</em> Jo
 seph Anderson<br><em>Camera Cantorum\,</em> Richard Karpen<br><em>A Line\,
  </em> Juan Pampin<br><em>Denouement\, </em>Richard Karpen</p><hr><h2>Biog
 raphies</h2>
END:VEVENT
BEGIN:VEVENT
UID:4ae18f9b-42a7-4eb6-b1f2-60bdece5b857
DTSTAMP:20260612T083118Z
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> <stro
 ng>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
DTEND;TZID=America/Los_Angeles:20260522T000000
LAST-MODIFIED:20251002T191800Z
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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:20260612T083118Z
CATEGORIES:Performances\, Visiting Artists and Scholars
CLASS:PUBLIC
CREATED:20200715T195031Z
DESCRIPTION:<p>The master Javanese gamelan musician Heri Purwanto from Indo
 nesia performs with students and special guests in this evening of music f
 rom central and east Java\, Indonesia. With guest musicians Jesse Snyder a
 nd Stephanie Shadbolt. </p><hr><h2>Program</h2><h3>Ethnomusicology Visitin
 g Artist Concert</h3><p><strong>Heri Purwanto & UW Students</strong><br><s
 trong>With Stephanie Shadbolt and Jesse Snyder</strong><br>Central and Eas
 t Javanese Gamelan Music</p><ol><li>Bedhat\, laras pélog pathet barang<br>
 This piece usually accompanies the masked dance Gunungsari in a style from
  Malang\, east Java.</li><li>Ladrang Santi Mulyå\, laras pélog pathet limå
 <br>This is a classical composition with 32 beats per gong stroke.</li><li
 >Gendhing Caranggantung - Ladrang Sigråmangsah - Ketawang Manggung Soré\, 
 laras sléndro pathet manyura<br>This suite features three pieces\, each in
  a different structure\, transitioning from a composition with 64 beats pe
 r gong stroke to one with 32 beats per gong to one with 16 beats per gong.
 </li><li>Trebangan\, Måcåpat Gambuh - Gendhing Santiswårå Kaumdawuk\, lara
 s pélog pathet barang<br>This is usually played as an offering to celebrat
 e a baby’s birth or to mark a person’s passing.</li><li>Suite to accompany
  a shadow puppet theater excerpt video projection:<br>Lancaran Whrahatbålå
  – Srepeg – Sampak laras sléndro pathet nem<br>Puppet master - Bagus Cahya
  Kesawa<br>Video camera - Devon Berkeley Purwanto</li><li>Lancaran Warung 
 Pojok\, laras slendro pathet sångå<br>This piece\, by Ki Nartosabdo\, ofte
 n accompanies puppet theater\, providing a happy mood.</li></ol><hr><h2>Ac
 knowledgements</h2><p>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 Suquamish\, Tulalip and Muckleshoot nation
 s.<br>This concert would not have been possible without the generous suppo
 rt of the School of Music under the directorship of Joël Durand and the Fl
 oyd & Delores Jones Endowed Professorship in the Arts program.  We are gra
 teful for this support.  Many thanks go as well to Tom Burke\, Doug Niemel
 a\, the staff at the Katharyn Alvord Gerlich Theater\, the staff in the Sc
 hool of Music\, Martinson Piano Moving\, John-Carlos Perea\, Shannon Dudle
 y\, Jarrad Powell and all the performers.</p><h2>About Gamelan</h2><p>Game
 lan are ensembles largely composed of gongs and keyed percussion instrumen
 ts.  Although many such ensembles are found throughout Southeast Asia\, ga
 melan are primarily associated with musical cultures on the Indonesian isl
 ands of Java\, Madura\, Bali\, and Lombok.  In Java\, the most preferred m
 aterial is bronze\, but iron and brass are also used as less expensive alt
 ernatives.  </p><p>Although different gamelan may vary slightly in their t
 unings\, most gamelan music in central and east Java uses a five-tone tuni
 ng system called sléndro or a seven-tone tuning system called pélog.  Ther
 e are a number of modes\, or pathet\, in each tuning system.  Tonight’s pe
 rformance features compositions in both pélog and sléndro using the instru
 ments of the UW School of Music’s bronze gamelan\, which is named Hapsari 
 Kusumajaya (Heavenly Nymph Flower Power).  </p><p>Most gamelan include fou
 r groups of instruments.  The large gongs of various sizes mark the musica
 l structure of repeated gong cycles.  The largest hanging gongs (gong) mar
 k the very end of each cycle while the smaller hanging gongs (kempul) and 
 horizontal gongs (kenong\, kethuk\, and kempyang) divide the cycle into ph
 rases.  A family of one-octave metallophones (saron\, demung\, and slenthe
 m) plays a basic or skeletal version of the melody.  A third group of inst
 ruments elaborates the melody and includes other metallophones (peking\, g
 endèr\, and gendèr panerus)\, the xylophone (gambang)\, gong-chimes (bonan
 g and bonang panerus)\, flute (suling)\, bowed fiddle (rebab)\, and voice\
 , although sometimes the saron\, demung and slenthem elaborate the melody 
 as well. The drums (kendhang)\, the fourth group\, control the tempo.  Ton
 ight’s performance includes a set of kemanak—two banana-shaped bronze perc
 ussion instruments that play interlocking patterns--lent to us by Jarrad P
 owell.</p><h2>Performers</h2><p><strong>Heri Purwanto\,</strong> a highly 
 respected teacher\, performer\, and master musician of Javanese gamelan\, 
 comes from a family of musicians in Wonogiri\, Central Java.  After gradua
 ting from the college level academy (now Institut Seni Indonesia) in Surak
 arta\, Central Java\, at the top of his class in 2000\, he taught gamelan 
 at the University of California-Berkeley from 2001 to 2004 and directed th
 e Berkeley-based ensemble Gamelan Sari Raras.  Since returning to Java in 
 2004\, Heri has continued his work as an artist\, building and running an 
 arts studio in his community as well as performing as a musician throughou
 t Indonesia\, as well as in Singapore\, Thailand\, China\, and across the 
 United States.  He has been a Visiting Artist in the Ethnomusicology Progr
 am at the University of Washington in 2011\, 2014\, 2019\, and 2022 and ha
 s performed with the Seattle-based ensemble Gamelan Pacifica.  From 2014 t
 o 2016 he taught gamelan at Earlham College in Richmond\, Indiana\, where 
 he was in residence on a Fulbright award during the 2014-2015 year.  Over 
 the course of 2025-2026 before returning to the UW\, he taught and perform
 ed in the U.S. Northeast with the Nusantara Arts Gamelan in Buffalo and Co
 rnell University.  <br> <br><strong>Guest Musicians:</strong> Stephanie Sh
 adbolt and Jesse Snyder</p><p><strong>UW gamelan musicians (students of He
 ri Purwanto) </strong><br>Rowan Bever\, Lucy Brandt\, Haley Chávez\, Samue
 l Chen\, Elene Liu\, Rayne Mescallado\, Tierra Nakamura\, Jimmy Pollard\, 
 Jaye Regalado\, Juan Santiago Posada Abal\, Shahin Shahbazi\, Christina Su
 nardi\, Esther Sunardi\, Sunardi\, Genta Takasu\, Markus Teuton\, Joel Tib
 bs\, David Yu</p>
DTSTART;TZID=America/Los_Angeles:20260521T193000
DTEND;TZID=America/Los_Angeles:20260522T000000
LAST-MODIFIED:20260520T222824Z
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 students and special guests in this e
 vening of music from central and east Java\, Indonesia. With guest musicia
 ns Jesse Snyder and Stephanie Shadbolt. </p><hr><h2>Program</h2><h3>Ethnom
 usicology Visiting Artist Concert</h3><p><strong>Heri Purwanto & UW Studen
 ts</strong><br><strong>With Stephanie Shadbolt and Jesse Snyder</strong><b
 r><em>Central and East Javanese Gamelan Music</em></p><ol><li>Bedhat\, lar
 as pélog pathet barang<br>This piece usually accompanies the masked dance 
 Gunungsari in a style from Malang\, east Java.</li><li>Ladrang Santi Mulyå
 \, laras pélog pathet limå<br>This is a classical composition with 32 beat
 s per gong stroke.</li><li>Gendhing Caranggantung - Ladrang Sigråmangsah -
  Ketawang Manggung Soré\, laras sléndro pathet manyura<br>This suite featu
 res three pieces\, each in a different structure\, transitioning from a co
 mposition with 64 beats per gong stroke to one with 32 beats per gong to o
 ne with 16 beats per gong.</li><li>Trebangan\, Måcåpat Gambuh - Gendhing S
 antiswårå Kaumdawuk\, laras pélog pathet barang<br>This is usually played 
 as an offering to celebrate a baby’s birth or to mark a person’s passing.<
 /li><li>Suite to accompany a shadow puppet theater excerpt video projectio
 n:<br>Lancaran Whrahatbålå – Srepeg – Sampak laras sléndro pathet nem<br>P
 uppet master - Bagus Cahya Kesawa<br>Video camera - Devon Berkeley Purwant
 o</li><li>Lancaran Warung Pojok\, laras slendro pathet sångå<br>This piece
 \, by Ki Nartosabdo\, often accompanies puppet theater\, providing a happy
  mood.</li></ol><hr><h2>Acknowledgements</h2><p>The University of Washingt
 on acknowledges the Coast Salish peoples of this land\, the land which tou
 ches the shared waters of all tribes and bands within the Suquamish\, Tula
 lip and Muckleshoot nations.<br>This concert would not have been possible 
 without the generous support of the School of Music under the directorship
  of Joël Durand and the Floyd & Delores Jones Endowed Professorship in the
  Arts program.  We are grateful for this support.  Many thanks go as well 
 to Tom Burke\, Doug Niemela\, the staff at the Katharyn Alvord Gerlich The
 ater\, the staff in the School of Music\, Martinson Piano Moving\, John-Ca
 rlos Perea\, Shannon Dudley\, Jarrad Powell and all the performers.</p><h2
 >About Gamelan</h2><p>Gamelan are ensembles largely composed of gongs and 
 keyed percussion instruments.  Although many such ensembles are found thro
 ughout Southeast Asia\, gamelan are primarily associated with musical cult
 ures on the Indonesian islands of Java\, Madura\, Bali\, and Lombok.  In J
 ava\, the most preferred material is bronze\, but iron and brass are also 
 used as less expensive alternatives.  </p><p>Although different gamelan ma
 y vary slightly in their tunings\, most gamelan 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 tu
 ning system.  Tonight’s performance features compositions in both pélog an
 d sléndro using the instruments of the UW School of Music’s bronze gamelan
 \, which is named Hapsari Kusumajaya (Heavenly Nymph Flower Power).  </p><
 p>Most gamelan include four groups of instruments.  The large gongs of var
 ious sizes mark the musical structure of repeated gong cycles.  The larges
 t hanging gongs (gong) mark the very end of each cycle while the smaller h
 anging gongs (kempul) and horizontal gongs (kenong\, kethuk\, and kempyang
 ) divide the cycle into phrases.  A family of one-octave metallophones (sa
 ron\, demung\, and slenthem) plays a basic or skeletal version of the melo
 dy.  A third group of instruments elaborates the melody and includes other
  metallophones (peking\, gendèr\, and gendèr panerus)\, the xylophone (gam
 bang)\, gong-chimes (bonang and bonang panerus)\, flute (suling)\, bowed f
 iddle (rebab)\, and voice\, although sometimes the saron\, demung and slen
 them elaborate the melody as well. The drums (kendhang)\, the fourth group
 \, control the tempo.  Tonight’s performance includes a set of kemanak—two
  banana-shaped bronze percussion instruments that play interlocking patter
 ns--lent to us by Jarrad Powell.</p><h2>Performers</h2><p><strong>Heri Pur
 wanto\,</strong> a highly respected teacher\, performer\, and master music
 ian of Javanese gamelan\, comes from a family of musicians in Wonogiri\, C
 entral Java.  After graduating from the college level academy (now Institu
 t Seni Indonesia) in Surakarta\, Central Java\, at the top of his class in
  2000\, he taught gamelan at the University of California-Berkeley from 20
 01 to 2004 and directed the Berkeley-based ensemble Gamelan Sari Raras.  S
 ince returning to Java in 2004\, Heri has continued his work as an artist\
 , building and running an arts studio in his community as well as performi
 ng 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 University of Washington in 2011\, 201
 4\, 2019\, and 2022 and has performed with the Seattle-based ensemble Game
 lan Pacifica.  From 2014 to 2016 he taught gamelan at Earlham College in R
 ichmond\, Indiana\, where he was in residence on a Fulbright award during 
 the 2014-2015 year.  Over the course of 2025-2026 before returning to the 
 UW\, he taught and performed in the U.S. Northeast with the Nusantara Arts
  Gamelan in Buffalo and Cornell University.  <br> <br><strong>Guest Musici
 ans:</strong> Stephanie Shadbolt and Jesse Snyder</p><p><strong>UW gamelan
  musicians (students of Heri Purwanto) </strong><br>Rowan Bever\, Lucy Bra
 ndt\, Haley Chávez\, Samuel Chen\, Elene Liu\, Rayne Mescallado\, Tierra N
 akamura\, Jimmy Pollard\, Jaye Regalado\, Juan Santiago Posada Abal\, Shah
 in Shahbazi\, Christina Sunardi\, Esther Sunardi\, Sunardi\, Genta Takasu\
 , Markus Teuton\, Joel Tibbs\, David Yu</p>
END:VEVENT
BEGIN:VEVENT
UID:cadcc2d2-82d9-47cb-8b94-5c8054839859
DTSTAMP:20260612T083118Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T203259Z
DESCRIPTION:<p> </p><p>UW keyboard students perform music by Bach\, Mozart\
 , Scriabin\, Chopin\, and Liszt in the Spring Quarter Brechemin Piano Seri
 es. </p><hr><h2>Program</h2><p>Partita #1 in B flat\, BWV825 (1725) -<stro
 ng> Johann Sebastian BACH </strong>(1685-1750)<br>Praeludium<br>Allemande<
 br>Corrente<br>Sarabande<br>Menuet<br>Giga<br><strong>DAN-THY NGOC HOANG</
 strong><br><br>Sonata in D Major\, K.284 (1775) - <strong>Wolfgang Amadeus
  MOZART </strong>(1756-1791)<br>Allegro<br>Rondeau en Polonaise<br>Andante
  (Variations)<br><strong>OLIVIA HSU</strong></p><p>Sonata #2 in G# minor\,
  Opus 19 (1898) - <strong>Alexander SCRIABIN</strong> (1872-1915)<br>Andan
 te<br>Presto<br><strong>BOHENG WANG</strong></p><p>Intermission</p><p>Barc
 arolle\, Opus 60 (1845-46) - <strong>Frédéric CHOPIN</strong> (1810-1849)<
 br><strong>ALYSSA HIRONAKA</strong></p><p>Sonata in B minor\, S.178 (1853)
  - <strong>Franz LISZT</strong> (1811-1886)<br><strong>HAIKUO HUANG</stron
 g></p>
DTSTART;TZID=America/Los_Angeles:20260521T193000
DTEND;TZID=America/Los_Angeles:20260522T000000
LAST-MODIFIED:20260520T211739Z
SUMMARY:: Brechemin Piano Series
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-21/brechemin-piano-series
END:VEVENT
BEGIN:VEVENT
UID:46488c05-fb3f-4ccd-9d48-bb06c455aaac
DTSTAMP:20260612T083118Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250819T224047Z
DESCRIPTION:<p>Guitar students of Michael Partington present music from the
  Renaissance to the 21st Century by Dowland\, Bach\, Sor\, Celso Machado\,
  Annette Kruisbrink and Steve Reich. Featuring special guest flutist Xinyi
  Ma.</p><hr><h2>Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260522T193000
DTEND;TZID=America/Los_Angeles:20260523T000000
LAST-MODIFIED:20260511T194410Z
SUMMARY:: Guitar Studio Recital
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-22/guitar-studio-recital
END:VEVENT
BEGIN:VEVENT
UID:5be1ecf6-6727-4bd2-8315-dfc45f9c50e2
DTSTAMP:20260612T083118Z
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\,  Treble Choir and Advanced Treble Choir—present an e
 clectic year-end concert. </p><hr><h2>Program</h2><h3>TREBLE CHOIR</h3><p>
 Directed by: <br>Heidi Blythe\, DMA<br>Tatiana Boggs\, DMA<br>Julianna Gra
 bowski\, DMA</p><p>Collaborative Pianist: Yuly Kopkin</p><p>Home on the Ra
 nge - Dan Kelly\; Arr. Andrea Ramsey</p><p>Home on the Range - Dan Kelly\;
  Arr. Ben Kendall</p><p>She Tore a Map -Timothy C. Takach</p><p>Crossroad 
 -Reginal Wright<br>Lea Fetterman\, violin<br>Heather Hunter\, violin</p><p
 >No Time - Arr. Susan Brumfield</p><hr><h3>GLEE</h3><p>Directed By:<br>Dav
 id Ferguson\, DMA<br>Adam Freemantle\, MM<br>Nicholas Renaud\, DMA<br><br>
 Collaborative Pianist\; Chiao-Yu Wu</p><p>In Praise of Music - Jens Rohwer
 </p><p>Michael’s Tree - Sammy Copley\; arr. David Ferguson</p><p>They Call
  the Wind Maria -Alan Joy Lerner/Frederick Loewe\; arr. David Ferguson</p>
 <p>Hope Lingers On -  Lissa Schneckenburger\; arr. Andrea Ramsey</p><p>Goo
 dnight - Matthew Emery</p><p>Wedding Qawwali - A. R. Rahman\; arr. Ethan S
 perry</p><hr><h3>ADVANCED TREBLE CHOIR</h3><p>Heidi Blythe\, director<br>H
 aley Westberg\, choral assistant<br>Tina Amrith\, sectional pianist  </p><
 p>Cantate Domino - Josu Elberdin</p><p>When The Earth Stands Still - Don M
 acdonald</p><p>The Beauty of Their Dreams- Reena Esmail<br>Lea Fetterman\,
  violin</p><p>A Beautiful Noise- Brandi Carlile & Alicia Keys</p><hr><h3>U
 NIVERSITY SINGERS</h3><p>Directed by:<br>Michael McKenzie\, DMA<br>Alexand
 ra Rameau\, MM<br>Katia (Yekaterina) Velit\, MM</p><p>Collaborative Pianis
 t: Yuly Kopkin</p><p>Water Fountain - Nathaniel Brenner and Merrill Garbus
 \; arr. Kristopher Fulton</p><p>Blue Flower - Rosana Eckert\; arr. Kerry M
 arsh</p><p>Soon We Will Be Done - African American Spiritual\; arr. Kyle P
 ederson</p><p>I Shall Be Released - Bob Dylan\; arr. Matt and Adam Podd </
 p><p>A Beautiful Noise - Brandi Carlile and Alicia Keys</p><hr><h4><strong
 >TREBLE CHOIR</strong></h4><p><strong>Soprano 1</strong><br>Sambriddhi Adh
 ikari<br>Maggie Anderson<br>Olivia Cady<br>Helen Chen<br>*Ella Collins<br>
 Sammi Huang<br>Stella Hudson<br>Abby Hussein<br>Sanskriti Joshi<br>Ana Mar
 riott<br>*Isadora Miller<br>Micaela Omoto<br>Amy Roon<br>Ava Taing<br>Char
 lotte Underwood<br>Dalena Young<br>*Adrienne Wegerer</p><p><strong>Soprano
  2</strong><br>*Leah Barracoso<br>Esha Bangur<br>Helena Abiye<br>Sydney Be
 dell<br>Sydney Christensen<br>Janella Chung<br>Julia Fraczek<br>Amy Gretch
 <br>Robin Larson<br>Cadence Lay<br>Kai-Jing Lee<br>Annabelle Martin<br>*Ju
 lianna Monroe<br>Lexie Payton<br>Belle Pearson<br>Abigail Swanson</p><p><s
 trong>Alto 1</strong><br>Greyson Collins-Price<br>Sophia De Jesus Martinez
 <br>Tatum Hunter<br>*Eliza Lightfoot<br>Shiori Kasahara<br>Caroline Shynsh
 yn<br>Cora Supasatit<br>Ackland Xi<br>Lauren Yarrington</p><p><strong>Alto
  2</strong><br>Sarah Carpenter<br>*Chaitna Deshmukh<br>Wren Feng<br>Lucy M
 arkham<br>*Loris Martin<br>*Addy Miller<br>Raziel Spinosa Holguin<br>Yifei
  Zhao<br>Zoia Zinoveva</p><p>*denotes section leader or cabinet</p><h4>GLE
 E</h4><p>Ezra Acevedo<br>Layla Afrasiabi<br>Alexander Beck<br>Barbara Bend
 a<br>Micah Carpenter<br>Joseph Clayson<br>Thane Dilbeck<br>Wren Feng<br>Da
 vid Ferguson<br>Adam Freemantle<br>Claire Gingerich<br>Jonas Golm<br>Manue
 l Gomez<br>Christoph Heller<br>Paul Johns<br>Keanen Kehoe<br>Kai-Jing Lee<
 br>Ziqi Liu<br>Aris Mitchell<br>Avi Mittal<br>Tristan Needham<br>William R
 adke<br>Nicolas Renaud<br>Michael Santillo<br>Alex Shuen<br>Gabriel Sison<
 br>Raziel Spinosa Holguin<br>Carmela Stewart<br>Andi van der Burght<br>Bar
 ry Wang<br>Natalie Wang<br>Thomas Wardian<br> </p><h4>ADVANCED TREBLE</h4>
 <p><strong>Soprano 1</strong><br>Anya Riabov<br>Isadora Miller<br>Adrienne
  Wegerer<br>Kailani Marson<br>Maggie Li<br>Irene Lee<br>Arianna Amador<br>
 <br><strong>Soprano 2</strong><br>Camille Tetreault<br>Ava Wilhite<br>McKe
 nna Kernan<br>Tina Amrith<br>Jolee Zamira<br><br><strong>Alto 1</strong><b
 r>Medha Sarkar<br>Anna Carlson<br>Dina Tsang<br>Eliza Lightfoot<br>Haley W
 estberg<br><br><strong>Alto 2</strong><br>Maddie Rivera<br>Sydney Jordan<b
 r>Ella Heide  <br>Addy Miller<br>Alex Retteghieri</p><p>Best wishes to our
  members participating in the “Lips of the Sky” premiere at Carnegie Hall 
 tonight!<br> </p><h4>UNIVERSITY SINGERS</h4><p><strong>PART 1:</strong><br
 >Aidin Behroozi<br>Irene Cai<br>Josephine Chia <br>Ashley Elviro<br>Anja L
 ovegren<br>Grace Lovitt<br>Madelyn Price<br>Noa Resnikoff<br>Katelyn Schau
 res<br>Caroline Stratton<br>Yanmin Tan<br>Lorelai Taylor<br>Ariel Wygant<b
 r>Anna Yang</p><p><br><strong>PART 2:</strong><br>Alexandra Alsabih<br>Car
 sen DeMers Broga<br>Lily Collet<br>Haley Cripe<br>Katie Davis<br>Emma Elli
 son<br>Gaea Guyer<br>Andrea Gyimah<br>Yooeun Kang<br>Alena Karpova<br>Aman
 da Leung<br>Kristen Li <br>Lida Moore<br>Anna Elizabeth Ross<br>Maya Schwa
 n<br>Julia Shimshock <br>Polina Shuklina<br>Madeline Stroup<br>Renee Yeung
 </p><p><br><strong>PART 3:</strong><br>Colemann Brenner<br>Aiden Clegg <br
 >Austin Elenzano <br>Keanen P. Kehoe<br>Samuel Martens <br>Michael Munson 
 <br>Alexis Torres-Morales <br>Edmund Tsai</p><p><br><strong>PART 4:</stron
 g><br>Alexander Beck<br>Michael Cinnamon<br>Luke Eriksen <br>Dylan Ewert<b
 r>Abraham Plager<br>Joshua Rolfe<br>Allan Xuan</p><hr><h2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260522T193000
DTEND;TZID=America/Los_Angeles:20260523T000000
LAST-MODIFIED:20260522T204042Z
SUMMARY:: UW Sings
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-22/uw-sings
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The UW's graduate-student-led choral ensemb
 les—the University Singers\, UW Glee\,  Treble Choir and Advanced Treble C
 hoir—present an eclectic year-end concert. </p><hr><h2>Program</h2><h3>TRE
 BLE CHOIR</h3><p>Directed by: <br>Heidi Blythe\, DMA<br>Tatiana Boggs\, DM
 A<br>Julianna Grabowski\, DMA</p><p>Collaborative Pianist: Yuly Kopkin</p>
 <p><em>Home on the Range</em> - Dan Kelly\; Arr. Andrea Ramsey</p><p><em>H
 ome on the Range</em> - Dan Kelly\; Arr. Ben Kendall</p><p><em>She Tore a 
 Map</em> -Timothy C. Takach</p><p><em>Crossroad</em> -Reginal Wright<br><e
 m>Lea Fetterman\, violin</em><br><em>Heather Hunter\, violin</em></p><p><e
 m>No Time</em> - Arr. Susan Brumfield</p><hr><h3>GLEE</h3><p>Directed By:<
 br>David Ferguson\, DMA<br>Adam Freemantle\, MM<br>Nicholas Renaud\, DMA<b
 r><br>Collaborative Pianist\; Chiao-Yu Wu</p><p><em>In Praise of Music</em
 > - Jens Rohwer</p><p><em>Michael’s Tree </em>- Sammy Copley\; arr. David 
 Ferguson</p><p><em>They Call the Wind Maria</em> -Alan Joy Lerner/Frederic
 k Loewe\; arr. David Ferguson</p><p><em>Hope Lingers On</em> -  Lissa Schn
 eckenburger\; arr. Andrea Ramsey</p><p><em>Goodnight </em>- Matthew Emery<
 /p><p>Wedding Qawwali - A. R. Rahman\; arr. Ethan Sperry</p><hr><h3>ADVANC
 ED TREBLE CHOIR</h3><p>Heidi Blythe\, director<br>Haley Westberg\, choral 
 assistant<br>Tina Amrith\, sectional pianist  </p><p><em>Cantate Domino </
 em>- Josu Elberdin</p><p><em>When The Earth Stands Still</em> - Don Macdon
 ald</p><p><em>The Beauty of Their Dreams</em>- Reena Esmail<br><em>Lea Fet
 terman\, violin</em></p><p><em>A Beautiful Noise- </em>Brandi Carlile & Al
 icia Keys</p><hr><h3>UNIVERSITY SINGERS</h3><p>Directed by:<br>Michael McK
 enzie\, DMA<br>Alexandra Rameau\, MM<br>Katia (Yekaterina) Velit\, MM</p><
 p>Collaborative Pianist: Yuly Kopkin</p><p><em>Water Fountain </em>- Natha
 niel Brenner and Merrill Garbus\; arr. Kristopher Fulton</p><p><em>Blue Fl
 ower </em>- Rosana Eckert\; arr. Kerry Marsh</p><p><em>Soon We Will Be Don
 e</em> - African American Spiritual\; arr. Kyle Pederson</p><p><em>I Shall
  Be Released</em> - Bob Dylan\; arr. Matt and Adam Podd </p><p><em>A Beaut
 iful Noise - </em>Brandi Carlile and Alicia Keys</p><hr><h4><strong>TREBLE
  CHOIR</strong></h4><p><strong>Soprano 1</strong><br>Sambriddhi Adhikari<b
 r>Maggie Anderson<br>Olivia Cady<br>Helen Chen<br>*Ella Collins<br>Sammi H
 uang<br>Stella Hudson<br>Abby Hussein<br>Sanskriti Joshi<br>Ana Marriott<b
 r>*Isadora Miller<br>Micaela Omoto<br>Amy Roon<br>Ava Taing<br>Charlotte U
 nderwood<br>Dalena Young<br>*Adrienne Wegerer</p><p><strong>Soprano 2</str
 ong><br>*Leah Barracoso<br>Esha Bangur<br>Helena Abiye<br>Sydney Bedell<br
 >Sydney Christensen<br>Janella Chung<br>Julia Fraczek<br>Amy Gretch<br>Rob
 in Larson<br>Cadence Lay<br>Kai-Jing Lee<br>Annabelle Martin<br>*Julianna 
 Monroe<br>Lexie Payton<br>Belle Pearson<br>Abigail Swanson</p><p><strong>A
 lto 1</strong><br>Greyson Collins-Price<br>Sophia De Jesus Martinez<br>Tat
 um Hunter<br>*Eliza Lightfoot<br>Shiori Kasahara<br>Caroline Shynshyn<br>C
 ora Supasatit<br>Ackland Xi<br>Lauren Yarrington</p><p><strong>Alto 2</str
 ong><br>Sarah Carpenter<br>*Chaitna Deshmukh<br>Wren Feng<br>Lucy Markham<
 br>*Loris Martin<br>*Addy Miller<br>Raziel Spinosa Holguin<br>Yifei Zhao<b
 r>Zoia Zinoveva</p><p>*denotes section leader or cabinet</p><h4>GLEE</h4><
 p>Ezra Acevedo<br>Layla Afrasiabi<br>Alexander Beck<br>Barbara Benda<br>Mi
 cah Carpenter<br>Joseph Clayson<br>Thane Dilbeck<br>Wren Feng<br>David Fer
 guson<br>Adam Freemantle<br>Claire Gingerich<br>Jonas Golm<br>Manuel Gomez
 <br>Christoph Heller<br>Paul Johns<br>Keanen Kehoe<br>Kai-Jing Lee<br>Ziqi
  Liu<br>Aris Mitchell<br>Avi Mittal<br>Tristan Needham<br>William Radke<br
 >Nicolas Renaud<br>Michael Santillo<br>Alex Shuen<br>Gabriel Sison<br>Razi
 el Spinosa Holguin<br>Carmela Stewart<br>Andi van der Burght<br>Barry Wang
 <br>Natalie Wang<br>Thomas Wardian<br> </p><h4>ADVANCED TREBLE</h4><p><str
 ong>Soprano 1</strong><br>Anya Riabov<br>Isadora Miller<br>Adrienne Wegere
 r<br>Kailani Marson<br>Maggie Li<br>Irene Lee<br>Arianna Amador<br><br><st
 rong>Soprano 2</strong><br>Camille Tetreault<br>Ava Wilhite<br>McKenna Ker
 nan<br>Tina Amrith<br>Jolee Zamira<br><br><strong>Alto 1</strong><br>Medha
  Sarkar<br>Anna Carlson<br>Dina Tsang<br>Eliza Lightfoot<br>Haley Westberg
 <br><br><strong>Alto 2</strong><br>Maddie Rivera<br>Sydney Jordan<br>Ella 
 Heide  <br>Addy Miller<br>Alex Retteghieri</p><p>Best wishes to our member
 s participating in the “Lips of the Sky” premiere at Carnegie Hall tonight
 !<br> </p><h4>UNIVERSITY SINGERS</h4><p><strong>PART 1:</strong><br>Aidin 
 Behroozi<br>Irene Cai<br>Josephine Chia <br>Ashley Elviro<br>Anja Lovegren
 <br>Grace Lovitt<br>Madelyn Price<br>Noa Resnikoff<br>Katelyn Schaures<br>
 Caroline Stratton<br>Yanmin Tan<br>Lorelai Taylor<br>Ariel Wygant<br>Anna 
 Yang</p><p><br><strong>PART 2:</strong><br>Alexandra Alsabih<br>Carsen DeM
 ers Broga<br>Lily Collet<br>Haley Cripe<br>Katie Davis<br>Emma Ellison<br>
 Gaea Guyer<br>Andrea Gyimah<br>Yooeun Kang<br>Alena Karpova<br>Amanda Leun
 g<br>Kristen Li <br>Lida Moore<br>Anna Elizabeth Ross<br>Maya Schwan<br>Ju
 lia Shimshock <br>Polina Shuklina<br>Madeline Stroup<br>Renee Yeung</p><p>
 <br><strong>PART 3:</strong><br>Colemann Brenner<br>Aiden Clegg <br>Austin
  Elenzano <br>Keanen P. Kehoe<br>Samuel Martens <br>Michael Munson <br>Ale
 xis Torres-Morales <br>Edmund Tsai</p><p><br><strong>PART 4:</strong><br>A
 lexander Beck<br>Michael Cinnamon<br>Luke Eriksen <br>Dylan Ewert<br>Abrah
 am Plager<br>Joshua Rolfe<br>Allan Xuan</p><hr><h2>Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:3ad39579-4961-4584-babb-437e967d560c
DTSTAMP:20260612T083118Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20260520T153915Z
DESCRIPTION:Yuchen Qi (DMA\, Piano Performance)\, a student of Robin McCabe
 \, presents 'A Soft Rain\, A Distant Song\,' a doctoral chamber recital fe
 aturing music by Hummel\, Brahms\, and songs from China and Italy. With Gr
 ace Playstead\, flute\; Tianyuan Gao\, tenor\; and Martessa Davis\, violin
 .<hr>  <p><br><br> </p>
DTSTART;TZID=America/Los_Angeles:20260525T140000
DTEND;TZID=America/Los_Angeles:20260526T000000
LAST-MODIFIED:20260520T154858Z
SUMMARY:: Doctoral Chamber Recital: Yuchen Qi\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-25/doctoral-chamber-recital
 -yuchen-qi-piano
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div style='-webkit-text-stroke-width:0px\;col
 or:rgb(0\, 0\, 0)\;font-family:Aptos\, Aptos_MSFontService\, -apple-system
 \, Roboto\, Arial\, Helvetica\, sans-serif\;font-size:12pt\;font-style:nor
 mal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;orp
 hans:auto\;text-align:start\;text-decoration:none\;text-indent:0px\;text-t
 ransform:none\;white-space:normal\;widows:auto\;word-spacing:0px\;' dir='l
 tr'>Yuchen Qi (DMA\, Piano Performance)\, a student of Robin McCabe\, pres
 ents 'A Soft Rain\, A Distant Song\,' a doctoral chamber recital featuring
  music by Hummel\, Brahms\, and songs from China and Italy. With Grace Pla
 ystead\, flute\; Tianyuan Gao\, tenor\; and Martessa Davis\, violin.</div>
 <hr><div style='-webkit-text-stroke-width:0px\;color:rgb(0\, 0\, 0)\;font-
 family:Aptos\, Aptos_MSFontService\, -apple-system\, Roboto\, Arial\, Helv
 etica\, sans-serif\;font-size:12pt\;font-style:normal\;font-variant-caps:n
 ormal\;font-weight:400\;letter-spacing:normal\;orphans:auto\;text-align:st
 art\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-spa
 ce:normal\;widows:auto\;word-spacing:0px\;' dir='ltr'> </div><div style='-
 webkit-text-stroke-width:0px\;color:rgb(0\, 0\, 0)\;font-family:Aptos\, Ap
 tos_MSFontService\, -apple-system\, Roboto\, Arial\, Helvetica\, sans-seri
 f\;font-size:12pt\;font-style:normal\;font-variant-caps:normal\;font-weigh
 t:400\;letter-spacing:normal\;orphans:auto\;text-align:start\;text-decorat
 ion:none\;text-indent:0px\;text-transform:none\;white-space:normal\;widows
 :auto\;word-spacing:0px\;' dir='ltr'> </div><p><br><br> </p>
END:VEVENT
BEGIN:VEVENT
UID:20fba89f-9cc9-4b59-ae20-549ffeaaf8d5
DTSTAMP:20260612T083118Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250819T221628Z
DESCRIPTION:<p> </p><p>The UW Percussion Ensemble (Bonnie Whiting\, directo
 r) and UW Steelband (Shannon Dudley\, director) present a shared year-end 
 program. </p><hr><h2 style='font-weight:400\;'>Program</h2><h3>University 
 of Washington Percussion Ensemble</h3><p>IV. (1935) - <strong>Johanna Magd
 alena Beyer</strong> (1888-1944)<br>I. Restless (from Suite for Percussion
 \, 1939)<br>IV. (1935)</p><p>Träd (2006) -<strong> John Ericsson</strong> 
 (b. 1974)</p><p>Halo (2012) - <strong>Joe W. Moore </strong>III (b. 1986)<
 /p><p>Six Pieces for Piano (1903-05) - <strong>Ottorino Respighi</strong> 
 (1879-1936)\;  arr. <strong>Kaisho Barnhill</strong><br>arranged for vibra
 phone and piano (2026)<br>III. Notturno                                   
                                                                </p><p>Ragt
 ime Suite - arr. <strong>Bob Becker</strong> (b. 1947)<br>Xylophonia - <st
 rong>Joe Green</strong>\, 1925 <br>Colin Lehman\, xylophone<br>    <br>The
  Whistler - George Hamilton Green\, 1924<br>Monaka Kakuta\, xylophone</p><
 p>Log Cabin Blues - <strong>G. H. Green\,</strong> 1924<br>Xander Swanson\
 , xylophone</p><p>Bye-Bye Medley (1927 - <strong>Ray Henderson</strong> an
 d <strong>Fred Hamm/Dave Bennett/Bert Lown/Chauncey Gray</strong><br>Devon
  Rafanelli\, xylophone<br><br>In Common Time (2017) - <strong>Tom Lopez </
 strong>(b. 1965)</p><h4>UW Percussion Ensemble</h4><p>Kaisho Barnhill\, Pe
 nny Crichton\, Simon Harty\, Monaka Kakuta\, Colin Lehman\, Dustin Lie\, I
 vy Moore\, Colin Nelson\, Devon Rafanelli\, Hazel Salvaggio\, Tyler Smith\
 , Xander Swanson\, Nat Yamamoto <br>Dr. Bonnie Whiting\, Director</p><hr><
 h4>Intermission<br> </h4><h3>University of Washington Steelband</h3><p>Yes
 terday - Lennon/McCartney\; arr. <strong>Shannon Dudl</strong>ey<br>Solois
 ts: Marques Locke\, Joey Schafer</p><p>Guantanamera -<strong> Joseito Fern
 ández</strong>\; arr. <strong>Shannon Dudley</strong><br>Soloists: Marques
  Locke\, Joey Schafer\, Elena Hafner</p><p>Tico Tico no Fubá - <strong>Zaq
 uinho de Abreu\;</strong> arr. <strong>Joey Schafer</strong></p><p>Manicer
 o -  <strong>Moises Simón</strong>\; arr. <strong>Shannon Dudley</strong><
 br>Soloists: Elena Hafner\, Joey Schafer\, Teddy Seligman\, Calder Broadhe
 ad</p><p>Charlotte St. - <strong>Ray Holman</strong>\; arr. <strong>Shanno
 n Dudley</strong><br>Soloists: Joey Schafer\, Elena Hafner\, Gabriel Kenne
 dy-Gibbens\, Calder Broadhead</p><h4>UW Steelband</h4><p>Calder Broadhead\
 , Damon Chan\, Elena Hafner\, Gabriel Kennedy-Gibbens\, Marques Locke\, Ha
 nnah Park. Joel Prinos\, Joseph Schafer\, Teddy Seligman\, Xander Swanson\
 , Nina Tharamal<br>Dr. Shannon Dudley\, Director</p><hr><h2>Program Notes<
 /h2><p><strong>Johanna Magdalena Beyer</strong> composed some of the first
  pieces with open/indeterminate percussion instrumentation\; Beyer’s<stron
 g> </strong><strong>IV</strong> precedes John Cage’s Quartet by just a few
  months. To illustrate the flexibility of this technique\, we present Beye
 r’s short IV twice with different instrument choices. Works like this one 
 illustrate structure\, form\, and time in a starkly experimental way\, art
 iculating musical phrases in terms of resonance\, sound\, silence\, and du
 ration. Percussionists are drawn to these early pieces in part because the
 y offer an opportunity to creatively engage our favorite sounds within str
 ict formal guidelines. Beyer’s later work\, Three Movements for Percussion
 \, is similarly forward-looking. Tonight we present the first movement\,  
 Restless: a rhythmic palindrome written for more traditionally orchestral 
 percussion instruments. Beyer’s music anticipates so many qualities of the
  later\, outwardly divergent but similarly process-driven schools of moder
 nism and minimalism: confrontational sounds\; ritualistic rigor\; austerit
 y that shades into deadpan wit\; persistently rational procedures that cha
 nnel the emotional heft of an obsessive quest.</p><p><strong>Träd</strong>
  (“Trees” in Swedish) is a showcase of the marimba's textural range via a 
 forest of hands on a single instrument. John Ericsson asks each player to 
 drive the piece forward with an individual motive\, while melodies float a
 bove the undulating chord progressions.</p><p><strong>Halo</strong> is wri
 tten for percussion trio and is one of the first pieces I composed while b
 eginning my compositional studies at LSU under Dinos Constantinides and Br
 ett Dietz. The term “halo” refers to the optical phenomena that occur when
  the light from the sun or moon is reflected or refracted by ice particles
  in the atmosphere causing a ring of colored light to appear around the ce
 lestial body. This serves as inspiration for the piece and is portrayed th
 roughout the piece from the instrumentation to the compositional processes
 .' - Joe W. Moore III</p><p>During the “roaring” 1920’s an exciting kind o
 f ragtime music became the rage in North America. Popularly known as “nove
 lty ragtime”\, this music was associated with the various dance styles in 
 vogue at the time. Highly technical\, often programmatic and certainly spe
 edier than previous ragtime music\, it was a perfect vehicle for the xylop
 hone. Propelled by the newly-invented phonograph\, the xylophone as a solo
  instrument enjoyed a true ‘golden age’ during the 1920’s and 30’s. Xyloph
 one soloists appeared with piano accompaniment\, in dance orchestras and c
 oncert bands\, and were heard regularly on radio broadcasts and in animate
 d cartoons and motion pictures.  <strong>Bye Bye Medley</strong><strong> <
 /strong>features two great Tin Pan Alley songs from the 1920’s.  The first
  is Ray Henderson’s famous stop-time melody Bye Bye Blackbird (lyrics by M
 ort Dixon) which is still popular as a jazz standard.  Second is Bye Bye B
 lues\, written by Fred Hamm\, Dave Bennett\, Bert Lown and Chauncey Gray. 
  An old banjo favorite\, this tune was often used as a virtuoso showpiece 
 by xylophonists as well.”  -Bob Becker<br><br><strong>In Common Time</stro
 ng> was inspired by Terry Riley's composition “In C.” From the time I was 
 a young musician\, I’ve enjoyed performing and listening to Terry Riley’s 
 seminal composition. It is recognized as one of the first\, if not the fir
 st\, pieces of minimalist music. Performances of “In C” can have any numbe
 r of performers on any instrument\, who all play through the same sequence
  of short melodic fragments. Each player decides how many times to repeat 
 each fragment before moving on to the next\, thus creating a constantly sh
 ifting fabric of melodic interplay.<br><br>In 2014\, a full fifty years af
 ter “In C” was written\, I began working on a musical response. The simple
  premise at the core of my piece is the exploration of rhythm\, as opposed
  to Riley’s heterophonic exploration of pitch. In my piece\, a minimum of 
 8 percussionists on a variety of instruments play through a sequence of rh
 ythmic fragments. The result is a constantly shifting fabric of timbre and
  rhythm. I am very grateful for the dedication and commitment of Michael R
 osen and the phenomenal performers of the Oberlin Percussion Group who pre
 sented the premiere of this work in 2017. -Tom Lopez</p><h3>Notes on the S
 teelband instruments</h3><p>The steel pan (sometimes called steel drum) wa
 s an innovation made by people of African descent in Trinidad for their ca
 rnival percussion ensembles. In the 19th century these ensembles typically
  featured call and response singing accompanied by drums\, but colonial re
 strictions on drumming compelled them to try different things. Bamboo stam
 ping tubes\, known as tamboo bamboo\, were popular in carnival during the 
 early 20th century. In the 1930s tamboo bamboo ensembles began incorporati
 ng metal containers of various kinds\, and at some point it was discovered
  that the surface of a metal drum could be tuned to different pitches. Mus
 ical rivalry between neighborhoods drove the rapid development of this ide
 a into a new melodic instrument by the mid-1940s\, and ambitious steel ban
 ds learned to play music of all kinds\, from calypso to classical music. T
 oday the steel pan is Trinidad and Tobago’s national instrument and steel 
 bands feature many different types of pan\, from the low booming basses to
  high-pitched tenors. Though modern steel pans are crafted by expert tuner
 s who use oscilloscopes to perfect the overtones\, most of them are still 
 built from 55-gallon steel barrels that are manufactured for shipping oil\
 , chemicals and other commodities. The steel band’s roots in making music 
 from discarded metal are also reflected in the brake drum\, a discarded ca
 r part whose ringing clanging rhythm is the heartbeat of the “engine room”
  alongside drumset\, scratcher\, congas and other percussion.</p><hr><h2>A
 cknowledgements </h2><p>Many thanks to: Tyler Smith (our TA)\, Devon Rafan
 elli (our grad student worker)\,  the Meany Center staff\, Doug Niemela an
 d the School of Music staff\, as well as 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 ba
 nds within the Suquamish\, Tulalip and Muckleshoot nations.</p><hr><h2 sty
 le='font-weight:400\;'>Director Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260526T193000
DTEND;TZID=America/Los_Angeles:20260527T000000
LAST-MODIFIED:20260521T205612Z
SUMMARY:: Percussion Ensemble and UW Steelband
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-26/percussion-ensemble-and-
 uw-steelband
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>The UW Percussion Ensemble (Bonnie 
 Whiting\, director) and UW Steelband (Shannon Dudley\, director) present a
  shared year-end program. </p><hr><h2 style='font-weight:400\;'>Program</h
 2><h3>University of Washington Percussion Ensemble</h3><p>IV. (1935) - <st
 rong>Johanna Magdalena Beyer</strong> (1888-1944)<br>I. Restless (from Sui
 te for Percussion\, 1939)<br>IV. (1935)</p><p>Träd (2006) -<strong> John E
 ricsson</strong> (b. 1974)</p><p>Halo (2012) - <strong>Joe W. Moore </stro
 ng>III (b. 1986)</p><p>Six Pieces for Piano (1903-05) - <strong>Ottorino R
 espighi</strong> (1879-1936)\;  arr. <strong>Kaisho Barnhill</strong><br>a
 rranged for vibraphone and piano (2026)<br>III. Notturno                  
                                                                           
       </p><p>Ragtime Suite - arr. <strong>Bob Becker</strong> (b. 1947)<br
 >Xylophonia - <strong>Joe Green</strong>\, 1925 <br>Colin Lehman\, xylopho
 ne<br>    <br>The Whistler - George Hamilton Green\, 1924<br>Monaka Kakuta
 \, xylophone</p><p>Log Cabin Blues - <strong>G. H. Green\,</strong> 1924<b
 r>Xander Swanson\, xylophone</p><p>Bye-Bye Medley (1927 - <strong>Ray Hend
 erson</strong> and <strong>Fred Hamm/Dave Bennett/Bert Lown/Chauncey Gray<
 /strong><br>Devon Rafanelli\, xylophone<br><br>In Common Time (2017) - <st
 rong>Tom Lopez </strong>(b. 1965)</p><h4>UW Percussion Ensemble</h4><p>Kai
 sho Barnhill\, Penny Crichton\, Simon Harty\, Monaka Kakuta\, Colin Lehman
 \, Dustin Lie\, Ivy Moore\, Colin Nelson\, Devon Rafanelli\, Hazel Salvagg
 io\, Tyler Smith\, Xander Swanson\, Nat Yamamoto <br>Dr. Bonnie Whiting\, 
 Director</p><hr><h4>Intermission<br> </h4><h3>University of Washington Ste
 elband</h3><p>Yesterday - Lennon/McCartney\; arr. <strong>Shannon Dudl</st
 rong>ey<br>Soloists: Marques Locke\, Joey Schafer</p><p>Guantanamera -<str
 ong> Joseito Fernández</strong>\; arr. <strong>Shannon Dudley</strong><br>
 Soloists: Marques Locke\, Joey Schafer\, Elena Hafner</p><p>Tico Tico no F
 ubá - <strong>Zaquinho de Abreu\;</strong> arr. <strong>Joey Schafer</stro
 ng></p><p>Manicero -  <strong>Moises Simón</strong>\; arr. <strong>Shannon
  Dudley</strong><br>Soloists: Elena Hafner\, Joey Schafer\, Teddy Seligman
 \, Calder Broadhead</p><p>Charlotte St. - <strong>Ray Holman</strong>\; ar
 r. <strong>Shannon Dudley</strong><br>Soloists: Joey Schafer\, Elena Hafne
 r\, Gabriel Kennedy-Gibbens\, Calder Broadhead</p><h4>UW Steelband</h4><p>
 Calder Broadhead\, Damon Chan\, Elena Hafner\, Gabriel Kennedy-Gibbens\, M
 arques Locke\, Hannah Park. Joel Prinos\, Joseph Schafer\, Teddy Seligman\
 , Xander Swanson\, Nina Tharamal<br>Dr. Shannon Dudley\, Director</p><hr><
 h2>Program Notes</h2><p><strong>Johanna Magdalena Beyer</strong> composed 
 some of the first pieces with open/indeterminate percussion instrumentatio
 n\; Beyer’s<strong> </strong><em><strong>IV</strong></em> precedes John Ca
 ge’s Quartet by just a few months. To illustrate the flexibility of this t
 echnique\, we present Beyer’s short IV twice with different instrument cho
 ices. Works like this one illustrate structure\, form\, and time in a star
 kly experimental way\, articulating musical phrases in terms of resonance\
 , sound\, silence\, and duration. Percussionists are drawn to these early 
 pieces in part because they offer an opportunity to creatively engage our 
 favorite sounds within strict formal guidelines. Beyer’s later work\, Thre
 e Movements for Percussion\, is similarly forward-looking. Tonight we pres
 ent the first movement\,  Restless: a rhythmic palindrome written for more
  traditionally orchestral percussion instruments. Beyer’s music anticipate
 s so many qualities of the later\, outwardly divergent but similarly proce
 ss-driven schools of modernism and minimalism: confrontational sounds\; ri
 tualistic rigor\; austerity that shades into deadpan wit\; persistently ra
 tional procedures that channel the emotional heft of an obsessive quest.</
 p><p><em><strong>Träd</strong></em> (“Trees” in Swedish) is a showcase of 
 the marimba's textural range via a forest of hands on a single instrument.
  John Ericsson asks each player to drive the piece forward with an individ
 ual motive\, while melodies float above the undulating chord progressions.
 </p><p><em><strong>Halo</strong></em> is written for percussion trio and i
 s one of the first pieces I composed while beginning my compositional stud
 ies at LSU under Dinos Constantinides and Brett Dietz. The term “halo” ref
 ers to the optical phenomena that occur when the light from the sun or moo
 n is reflected or refracted by ice particles in the atmosphere causing a r
 ing of colored light to appear around the celestial body. This serves as i
 nspiration for the piece and is portrayed throughout the piece from the in
 strumentation to the compositional processes.' - Joe W. Moore III</p><p>Du
 ring the “roaring” 1920’s an exciting kind of ragtime music became the rag
 e in North America. Popularly known as “novelty ragtime”\, this music was 
 associated with the various dance styles in vogue at the time. Highly tech
 nical\, often programmatic and certainly speedier than previous ragtime mu
 sic\, it was a perfect vehicle for the xylophone. Propelled by the newly-i
 nvented phonograph\, the xylophone as a solo instrument enjoyed a true ‘go
 lden age’ during the 1920’s and 30’s. Xylophone soloists appeared with pia
 no accompaniment\, in dance orchestras and concert bands\, and were heard 
 regularly on radio broadcasts and in animated cartoons and motion pictures
 <em>.  <strong>Bye Bye Medley</strong></em><strong> </strong>features two 
 great Tin Pan Alley songs from the 1920’s.  The first is Ray Henderson’s f
 amous stop-time melody Bye Bye Blackbird (lyrics by Mort Dixon) which is s
 till popular as a jazz standard.  Second is Bye Bye Blues\, written by Fre
 d Hamm\, Dave Bennett\, Bert Lown and Chauncey Gray.  An old banjo favorit
 e\, this tune was often used as a virtuoso showpiece by xylophonists as we
 ll.”  -Bob Becker<br><br><em><strong>In Common Time</strong> </em>was insp
 ired by Terry Riley's composition “In C.” From the time I was a young musi
 cian\, I’ve enjoyed performing and listening to Terry Riley’s seminal comp
 osition. It is recognized as one of the first\, if not the first\, pieces 
 of minimalist music. Performances of “In C” can have any number of perform
 ers on any instrument\, who all play through the same sequence of short me
 lodic fragments. Each player decides how many times to repeat each fragmen
 t before moving on to the next\, thus creating a constantly shifting fabri
 c of melodic interplay.<br><br>In 2014\, a full fifty years after “In C” w
 as written\, I began working on a musical response. The simple premise at 
 the core of my piece is the exploration of rhythm\, as opposed to Riley’s 
 heterophonic exploration of pitch. In my piece\, a minimum of 8 percussion
 ists on a variety of instruments play through a sequence of rhythmic fragm
 ents. The result is a constantly shifting fabric of timbre and rhythm. I a
 m very grateful for the dedication and commitment of Michael Rosen and the
  phenomenal performers of the Oberlin Percussion Group who presented the p
 remiere of this work in 2017. -Tom Lopez</p><h3>Notes on the Steelband ins
 truments</h3><p>The steel pan (sometimes called steel drum) was an innovat
 ion made by people of African descent in Trinidad for their carnival percu
 ssion ensembles. In the 19th century these ensembles typically featured ca
 ll and response singing accompanied by drums\, but colonial restrictions o
 n drumming compelled them to try different things. Bamboo stamping tubes\,
  known as tamboo bamboo\, were popular in carnival during the early 20th c
 entury. In the 1930s tamboo bamboo ensembles began incorporating metal con
 tainers of various kinds\, and at some point it was discovered that the su
 rface of a metal drum could be tuned to different pitches. Musical rivalry
  between neighborhoods drove the rapid development of this idea into a new
  melodic instrument by the mid-1940s\, and ambitious steel bands learned t
 o play music of all kinds\, from calypso to classical music. Today the ste
 el pan is Trinidad and Tobago’s national instrument and steel bands featur
 e many different types of pan\, from the low booming basses to high-pitche
 d tenors. Though modern steel pans are crafted by expert tuners who use os
 cilloscopes to perfect the overtones\, most of them are still built from 5
 5-gallon steel barrels that are manufactured for shipping oil\, chemicals 
 and other commodities. The steel band’s roots in making music from discard
 ed metal are also reflected in the brake drum\, a discarded car part whose
  ringing clanging rhythm is the heartbeat of the “engine room” alongside d
 rumset\, scratcher\, congas and other percussion.</p><hr><h2>Acknowledgeme
 nts </h2><p>Many thanks to: Tyler Smith (our TA)\, Devon Rafanelli (our gr
 ad student worker)\,  the Meany Center staff\, Doug Niemela and the School
  of Music staff\, as well as our Director Joël-François Durand.<br>The Uni
 versity of Washington acknowledges the Coast Salish peoples of this land\,
  the land which touches the shared waters of all tribes and bands within t
 he Suquamish\, Tulalip and Muckleshoot nations.</p><hr><h2 style='font-wei
 ght:400\;'>Director Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:d45bfef7-1f6d-429e-9293-557acc107a8c
DTSTAMP:20260612T083118Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250819T180439Z
DESCRIPTION:<p>The Chamber Singers and University Chorale present 'A Thousa
 nd Cadences\,' featuring J.S. Bach’s Magnificat\, Reena Esmail’s This Love
  Between Us: Prayers for Unity\, and movements from The Lips of the Sky\, 
 a new set of works by UW professor Giselle Wyers.  With special guests the
  Seattle Bach Orchestra (Tekla Cunningham\, director).</p><hr><h2>Program 
 </h2><p>A Thousand Cadences</p><h3>University of Washington Chorale</h3><p
 >Giselle Wyers\, Conductor</p><p><strong>Assistant Conductors:</strong><br
 >Julianna Grabowski\; Nic Renaud\; Chung-An Wang\; Helen Woodruff</p><p><s
 trong>Collaborative Pianist:</strong> Serena Chin<br><strong>Rehearsal col
 laborative pianists:</strong><br>Serena Chin\; Ingrid Verlhulsdonk</p><p><
 strong>Du Dob Dob (Latvian) - Vaclovas Augustinas</strong><br>Soloists: Ti
 na Amrith and Katelyn Wales<br>Percussionist: Soren Fosnick Davis <br>Gise
 lle Wyers\, conductor</p><p><strong>The Lips of the Sky - Giselle Wyers</s
 trong></p><p>3. Imagine You Know How To Fly<br>Conducted by Julianna Grabo
 wski</p><p>4. You are the Music <br>Conducted by Helen Woodruff</p><p>5. T
 he Lips of the Sky<br>Conducted by Chung-An Wang</p><p>6. The Green Ray<br
 >Conducted by Nic Renaud</p><p><strong>Dark Clouds/Sky - Children’s song a
 rr. Tsai Yu-Shan</strong><br>Conducted by Chung-An Wang</p><p><strong>Unde
 rneath the Stars - Kate Rusby</strong><br>Conducted by Helen Woodruff</p><
 h3><br>University of Washington Chamber Singers</h3><p>Geoffrey Boers\, di
 rector</p><p><strong>Assistant Conductors:</strong> Michael McKenzie\; Sco
 tt Fiske\; Tatiana Boggs<br><strong>Collaborative Pianists:</strong> Ingri
 d Verlhulsdonk\, Serena Chin<br><br><strong>Magnificat in D\, BWV 243 - Jo
 hann Sebastian Bach (1685-1750)</strong><br>1. Magnificat <br>3. Quia resp
 exit <br>    Soledad Mayorga-Maldonado\, soprano<br>4. Omnes generationes<
 br>10. Suscepit Israel<br>11. Sicut locutus est<br>12. Gloria Patri</p><p>
 <strong>This Love between Us: Prayers for Unity - Reena Esmail (b. 1983)</
 strong><br>I. Buddhism<br>II. Sikhism<br>Tatiana Boggs\, alto<br>III. Chri
 stianity<br>IV. Zoroastrianism<br>Kevin Allen-Schmidt\, bass<br>V. Hinduis
 m<br>Julianna Grabowski-Porceng\, soprano<br>Nicholas Renaud\, tenor<br>VI
 . Jainism<br>VII.Islam</p><p><strong>“Dona nobis Pacem\,” from B minor Mas
 s\, BWV 232 - Johann Sebastian Bach (1685-1750)</strong></p><hr><h2>Progra
 m Notes</h2><p><strong>The Lips of the Sky</strong><br>On a quiet May afte
 rnoon\, I wandered the poetry stacks of the University of Washington’s his
 toric Suzzallo Library in search of inspiration. Within minutes\, I came a
 cross a simply bound\, typed collection entitled Mantras: An Anthology of 
 Immanentist Poetry. Intrigued\, I flipped through the pages and was immedi
 ately drawn to “The Lips of the Sky\,” an enchanting poem by Nicomedes Suá
 rez-Arauz\, a Bolivian poet from the Amazonian region of Bolivia.</p><p>Af
 ter setting this text to music and premiering it with Concord Chamber Choi
 r in December 2024\, I began to envision a larger work: a cycle of choral 
 pieces tracing the rise and fall of the sun as a metaphor for the passage 
 of time in human life. During a three-month spring sabbatical in 2025\, I 
 discovered additional texts and ideas that supported this vision\, culmina
 ting in a 25-minute cycle entitled The Lips of the Sky. It was an honor an
 d pleasure to premiere separate movements in Minneapolis with University o
 f Washington alumni conductors and their respective college choirs in Octo
 ber. Tonight\, you will hear four of the six movements.</p><p>The six move
 ments of The Lips of the Sky trace the arc of the sun crossing the sky and
  descending into twilight\, serving as a metaphor for the human life cycle
 .</p><p>Mvt 3\, Imagine You Know How to Fly\, reflects promise\, optimism\
 , and bravery in the face of uncertainty. Pastoral imagery invites the sin
 ger—and listener—to feel at home in nature’s landscapes\, where surprises 
 can be celebrated rather than feared. <br><br>The text of Mvt 4\, by Ameri
 can poet Amy Lowell\, explores universal aspects of the human experience. 
 While we may think of our lives as “a song\,” Lowell urges us to look deep
 er\, imagining all living beings within a vast ocean of shared experience 
 and consciousness. Ocean imagery runs throughout The Lips of the Sky. In t
 his movement\, music and the ocean become parallel forces—vast\, timeless\
 , and powerful—uniting and inspiring us. Humanity is likened to “one music
  with a thousand cadences\,” each voice unique yet part of a greater whole
 . <br>The title movement\, The Lips of the Sky (Movement V)\, hints at bot
 h the grandeur and intimacy of the approaching night\, and how we are simu
 ltaneously cradled and swallowed up by nature. I aimed to create a work th
 at is sincere yet harmonically surprising. <br><br>The final movement\, Th
 e Green Ray\, draws inspiration from Jules Verne’s iconic novel\, reimagin
 ed here as poetry. It describes the rare phenomenon of a brilliant green f
 lash that appears as the sun dips below the ocean horizon at sunset. I sou
 ght to portray the end of life not as something fearful or mournful\, but 
 as a burst of radiant energy that continues to reverberate beyond its orig
 inal form. <br>Recurring upward-rolling arpeggios suggests the motion of o
 cean waves. Choral voices often abandon text for the universal “ah\,” shap
 ed into sighing motifs that evoke the gentle murmuration of water. Musical
  ideas from the opening movement return here\, bringing the 25-minute jour
 ney full circle and allowing the day to conclude in a shimmering finish.<b
 r>—Giselle Wyers</p><p><strong>Magnificat\, This Love Between Us and Dona 
 Nobis Pacem</strong><br>Across today’s program runs a single\, insistent h
 uman aspiration: the wish to see the world made whole. Not resolved or sim
 plified\, necessarily\, but somehow held within a form of justice large en
 ough to contain all of humanity’s beautiful variations. The three works pr
 esented here do not approach that longing as an idea alone\, but instead a
 s the fragile act of voices and instruments trying to mean something toget
 her in time.</p><p>To begin\, we have Johann Sebastian Bach’s Magnificat. 
 At its core\, it is the Virgin Mary’s response to the announcement—communi
 cated to her by a supernatural angel of God—that she will bear a child. In
  the Lutheran Germany of Bach’s time\, her words would not have been heard
  as abstract theology\, but as something far more immediate: a young woman
 ’s response to a life-altering interruption. But Mary does not merely rece
 ive the news\; she interprets it\, claims it\, and gives it her own voice\
 , using the words of her time to make a wish for the future. And what she 
 says is anything but passive\, because the Magnificat is not only praise\,
  it is a radical reordering of the world.</p><p>The proud are scattered. T
 he powerful are cast down. The hungry are filled. The rich are sent away e
 mpty. It is\, in other words\, a vision of a world in which dignity is res
 tored\, and inequity is exposed\, confronted\, and undone. And perhaps tha
 t is why\, out of over 1\,100 works that Bach composed\, his Magnificat ha
 s had such enduring appeal: because Mary’s proclamation of social justice 
 continues to meet us wherever we are. It offers\, again and again\, the po
 ssibility that fairness\, shared humanity\, and deep personal meaning migh
 t still be drawn from our world.</p><p>At the center stands Indian America
 n composer Reena Esmail’s This Love Between Us: Prayers for Unity\, a work
  that gathers the many devotional languages of the Indian subcontinent int
 o a shared musical space. It is bookended by two of Baroque composer Johan
 n Sebastian Bach’s choral works and\, in being placed between them\, Esmai
 l’s music enters into a living conversation with its eighteenth-century co
 unterpart\, offering another way of listening and another way of giving vo
 ice to the same enduring questions.</p><p>This Love Between Us: Prayers fo
 r Unity places texts from India's religious traditions in musical dialogue
  with one another. While it is written for the same eighteenth-century orc
 hestral forces as Bach’s Magnificat\, it opens into a different musical an
 d spiritual world through Esmail’s addition of instruments used in North I
 ndian classical music. The Baroque orchestra on stage\, with its clarity o
 f line\, counterpoint\, and harmonic motion\, is set alongside the cyclica
 l rhythmic structures (tal) and richly inflected melodic frameworks (raga)
  of Hindustani music\, performed here by a sitar (a plucked string instrum
 ent) and tabla (a pair of tuned hand drums). Hindustani classical music—al
 so known as North Indian classical music—has developed over more than a th
 ousand years\, shaped through courtly\, devotional\, and folk traditions\,
  and sustained through an oral practice in which music is transmitted and 
 refined as much through listening and imitation as through notation.</p><p
 >Over the course of the work\, these approaches come into contact\, creati
 ng a miraculous communication between musical worlds. Bach’s sound world i
 s not translated here so much as used to build something different\, with 
 the same strings\, winds\, percussion\, and voices serving as unchanged so
 nic bodies in different temporal and cultural circumstances. What we hear 
 is not imitation\, but a shared musical space inhabited nearly 300 years a
 part. And even the act of tuning becomes part of this underlying continuit
 y. This blending of cultural and musical perspectives becomes central to T
 his Love Between Us: not conflict\, but coexistence\; multiple identities 
 and musical languages inhabiting a shared artistic space. What emerges is 
 not the erasure of difference\, but a generous\, curious\, and attentive l
 istening—an invitation to hear how many voices can speak at once and still
  find connection in a world that often seeks to separate.</p><p>When an or
 chestra does this at the beginning of a concert\, they usually gather to a
  single pitch where the note “A” is sounded at 440 hertz. This is the mode
 rn standard—bright and exact—the frequency by which instruments in our tim
 e agree to agree. But here\, the music leans elsewhere: to A=415 Hz\, the 
 Baroque era’s equivalent pitch\, lower by a half step. Keen ears will hear
  how the sound settles differently in the room—less brilliant\, more burni
 shed\; less declarative\, more inward\; maybe a bit softer—shaped not only
  by the lowered pitch\, but by instruments built using Baroque constructio
 n techniques\, which themselves change the grain of the sound.</p><p>From 
 within that altered air\, these works begin to speak to one another—not as
  past and present\, but as concurrent expressions of a single\, enduring h
 uman reaching: toward justice\, toward one another\, toward peace.<br>Adap
 ted from Joshua Shank</p><hr><h2>Notes and Translations</h2><p>Texts and T
 ranslations</p><p>Du Dob Dob:<br>Who is riding over the field?<br>When sha
 ll we arrive?<br>We shall take a new carriage.<br>We shall go into the chu
 rch.<br>I shall ring you. You shall ring me.</p><p>Dark Clouds/Sky / 天烏烏:<
 br>天烏烏<br>The sky is dark\, dark.<br>天烏烏欲落雨<br>The sky is dark\, and it is
  going to rain.<br>阿公仔夯鋤頭欲掘芋<br>Grandpa carries a hoe and goes to dig for 
 taro.<br>掘阿掘 掘著一尾辿鰡鼓<br>He digs and digs\, and digs up a loach.<br>伊呀嘿都真正趣
 味<br>Oh\, now that is really fun / really interesting.<br>阿公仔欲煮鹹<br>Grandp
 a wants to cook it salty.<br>阿媽欲煮汫 伊欲煮汫<br>Grandma wants to cook it plain\
 ; she wants to cook it light.<br>兩個相打弄破鼎<br>The two of them quarrel and en
 d up breaking the pot.<br>伊呀嘿都啷噹叱噹嗆<br>Oh\, then it goes clang\, bang\, cr
 ash!<br>哇哈哈<br>Wa-ha-ha! / Hahaha!</p><p><br>Magnificat:<br>Magnificat ani
 ma mea Dominum\;<br>et exsultavit spiritus meus in Deo salutari meo\,<br>q
 uia respexit humilitatem ancillae suae\;<br>Ecce enim ex hoc beatam me dic
 ent omnes generationes.<br>quia fecit mihi magna\, qui potens est\, et san
 ctum nomen eius.<br>Et misericordia eius a progenie in progenies timentibu
 s eum.<br>Fecit potentiam in brachio suo\;<br>dispersit superbos mente cor
 dis sui\;<br>deposuit potentes de sede\, et exaltavit humiles\;<br>esurien
 tes implevit bonis<br>et divites dimisit inanes.<br>Suscepit Israel puerum
  suum\, recordatus misericordiae suae\,<br>sicut locutus est ad patres nos
 tros\,<br>Abraham et semini eius in saecula.<br>Gloria Patri\, et Filio\, 
 et Spiritui Sancto\,<br>sicut erat in principio\, et nunc\, et semper: et 
 in Saecula saeculorum.<br>Amen.</p><p>Text from Luke 1:55 with the Lesser 
 Doxology (Gloria Patri)<br>Translations for each movement below</p><p>1. M
 agnificat anima mea<br>My soul magnifies the Lord.</p><p>3. Quia respexit 
 humilitatem<br>For he has regarded the lowliness of his servant. Behold\, 
 from henceforth\, I will be called blessed...</p><p>4. Omnes generationes<
 br>...by all generations.</p><p>10. Suscepit Israel<br>He has helped his s
 ervant Israel in remembrance of his mercy.</p><p>11. Sicut locutus est<br>
 As he spoke to our fathers\, to Abraham. and his descendants forever.</p><
 p>12. Gloria Patri / Sicut erat in principio<br>Glory to the Father\, the 
 Son\, and to the Holy Spirit\,<br>As it was in the beginning\, is now and 
 ever shall be\, Amen.</p><p>This Love Between Us: Prayers for Unity:</p><p
 >1. Buddhism</p><p>    All beings tremble before violence<br>sǝbbĕ tāntǝsī
  dǝndāsǝ<br>All fear death<br>sǝbbĕ bhǝyyǝntĭ mǝchūnō<br>All love life<br>
 sǝbbĕ sǝm jĭvītǝm pĭyǝm<br>See yourself in others.<br>Then whom can you hu
 rt?<br>What harm can you do?<br>For he who seeks happiness (su-khǝ)<br>By 
 hurting those who seek happiness<br>Will never find happiness<br>For your 
 brother and your sister\, they are like you<br>They\, too\, long to be hap
 py<br>Never harm them.<br>dǝndēnā nǝ hĭmsǝtī<br>And when you leave this li
 fe<br>Then you will find happiness too</p><p>Text from the Dhammapada<br>(
 Danda Vagga - 10:129-132)<br>Sung in English and Pali</p><p>2. Sikhism</p>
 <p>How can we call someone evil\, when all are the creation of One?<br>mǝn
 dā kĭs nō akhĭyāī jān sǝbhnā sāhĭb ēk</p><p>Text from the Guru Granth Sahi
 b (p.1238)<br>Sung in English and Gurumukhi</p><p>3. Christianity</p><p>Ow
 e no man anything but to love one another.<br>ǝnyōnyĕm snĕhĭkyūgā<br>For h
 e that loveth his neighbor hath fulfilled the law.<br>For\, Thou shalt not
  kill<br>kŭllā chĕyyĭǝrūthǝ<br>Thou Shalt not steal<br>Mōshtĭkĕrūthǝ<br>Th
 ou Shalt not bear false witness<br>kǝllǝ sāchyǝm pārāyǝdǝdā<br>Thou shalt 
 not covet<br>Mōhikkĕrūthǝ<br>And if there be any other commandment\, it is
  comprised in this word:<br>Thou shalt love thy neighbor as thyself.<br>nĭ
 nnĕpolĕ nĭntĕ ǝyyālkārǝnĕyūm snēhĭkĕnǝm<br>The love of our neighbor hath n
 o evil. Love\, therefore\, is the fulfilling of the law.<br>The night is p
 assed and the day is at hand.<br>Let us therefore cast off the works of da
 rkness and put on the armour of light.<br>jēātĭs</p><p>Text from the Bible
  (Romans 13:8-13)<br>Sung in English and Malayalam</p><p>4. Zoroastrianism
 </p><p>All humankind would know its own lineage and stock\;<br>hamāg mardō
 m paywand ud tōhmag ī xwēš dānist hē\;<br>never would a brother be abandon
 ed in love by his brother nor a sister by her sister.<br>haguriz brād ōy ī
  brād ud xwah ōy ī xwah az dōstīh bē nē hišt hē.</p><p>Text from the Pahla
 vi Rivayat (8a8)<br>Sung in English and Pahlavi</p><p>5. Hinduism</p><p>Th
 is love between us was born from the first humans\;<br>mōhī tōhī ādī ǝnt b
 ǝnāī<br>It cannot be eradicated<br>ǝb kăsĕ lǝgǝn dŭrāī<br>as the river fin
 ds its way into the ocean<br>jăsĕ sǝrītā sĭndh sǝmāī<br>what is inside me 
 flows into you.<br>hǝmǝrā mǝn lāgā<br>[For the] one who sees all beings in
  the Self and the Self in all beings\,<br>[he] harbors no hatred\;<br>To t
 he seer\, all things become the Self.<br>What delusion\, what sorrow can t
 here be<br>for him (the one?) who beholds such oneness?<br>Are you searchi
 ng for me?<br>mōkō kǝhĩ ḍhūnḍhĕ bǝndĕ<br>I am in the next seat<br>My shoul
 der rests against yours.<br>mẽ tō tĕrĕ pās hĕ<br>The [Lord] is inside you\
 , and also inside me\;<br>sāhĕb hǝm mẽ sāhĕb tŭm mẽ<br>[just as] the bloom
  is hidden in the seed.<br>jăsĕ prānā bīj mẽ</p><p>Text from the Isa Upani
 shad (verses 6-7) and selections from Kabir (c. 1440-1518)<br>Sung in Engl
 ish and Hindi</p><p>6. Jainism</p><p>If the mind is sinful\,<br>Blamable\,
 <br>intent on works\,<br>acting on impulses\,<br>producing cutting and spl
 itting\,<br>quarrels\, faults and pains\,<br>if it injures living beings\,
 <br>if it kills creatures\,<br>then one should not employ such a mind in a
 ction.<br>tǝhǝpǝgārǝm mǝnǝm nō pǝdhārĭjjā gǝmǝnāĕ.<br>If the speech is sin
 ful\,<br>Blamable\,<br>intent on works\,<br>acting on impulses\,<br>produc
 ing cutting and splitting\,<br>quarrels\, faults and pains\,<br>if it inju
 res living beings\,<br>if it kills creatures\,<br>then one should not utte
 r that sinful speech.<br>tǝhǝpǝgārǝm vāĭm nō ŭccārĭjjā.<br>jĕ yĕ mǝnĕ pāvǝ
 ĕ<br>Sāvǝjjĕ<br>Sǝkĭrĭyĕ<br>Ǝnhǝyǝkǝrĕ<br>Chǝyǝkǝrĕ<br>Bhǝyǝkǝrĕ<br>Ǝhĭgǝr
 ǝnĭĕ<br>Pāŭsĭĕ<br>Pārĭyāvĭĕ<br>Bhūōvǝghāĭĕ<br>tǝhǝpǝgārǝm mǝnǝm nō pǝdhārĭ
 jjā gǝmǝnāĕ.</p><p>Text from the Acharanga Sutra\, Part 3: Lecture 15<br>S
 ung in English and Adha Maghadi</p><p>7. Islam</p><p>The lamps may be diff
 erent\, but the Light is the same<br>All religions\, all this singing\, on
 e song.<br>I have bestowed on each one a unique mode of worship\,<br>I hav
 e given every one a unique form of expression.<br>I look not at the tongue
  and speech\, I look at the spirit and the inward feeling.<br>Religions ar
 e many\, God is one.<br>The lamps are different\, but the Light is the sam
 e: it comes from Beyond.<br>Concentrate on the essence\,<br>Concentrate on
  the Light.<br>Ōm shāntĭ shāntĭ shāntĭ<br>Sādhū Sādhū<br>Wāhĕgŭrū<br>Āmīn<
 br>Āmĕn<br>Wāj Bāj<br>Concentrate on the Light.</p><p>Text by Rumi (1207-1
 273)\, supplemented with phrases of affirmation drawn from Sikh\, Islamic\
 , Hindu\, and Christian Traditions<br>Sung in Sanskrit\, Punjabi\, Arabic\
 , and English.</p><p>Dona nobis pacem:<br>Grant us peace.</p><p>Text: Last
  line from the ‘Agnus Dei’ of Latin Mass liturgy</p><hr><h3>University Cho
 rale</h3><p><strong>Soprano</strong><br>Tina Amrith<br>Elizabeth Brown<br>
 Lauren Chenoweth<br>Aria Fowler<br>Sofia Groff<br>Mari Hirayama<br>Evelyn 
 Jones<br>Tanushri Narendran<br>Sophia Peterson<br>Anya Riabov<br>Olivia Sp
 aid<br>Hope Villarreal<br>Katelyn Wales<br>Jolee Zamira<br>Tara Zolfalghar
 i</p><p><strong>Alto</strong><br>Mallak Attwa<br>Ariel Baldwin<br>June Bel
 isle<br>Juniper Blessing<br>Samara Chacko<br>Suwan Chambers<br>Julianna Cu
 llen<br>Alexis Georgiades<br>Lainey Graham<br>Sydney Jordan<br>Alex Retteg
 hieri<br>Madeline Rivera<br>Leah Peterson<br>Jessica Thaxton<br>Anne Tinke
 r<br>Anna Vu<br>Haley Westberg</p><p><strong>Tenor</strong><br>Beau Bradne
 y<br>Gray Creech<br>Eric Gagliano<br>Armour Johnson<br>Braden Innes<br>Col
 in Loerkhe<br>Liam Natarajan<br>Andrew Nguyen<br>Haoran Peng<br>Tyler Sant
 os<br>Nick Seamons<br>Caleb Strader<br>Luke Van Sickle</p><p><strong>Bass<
 /strong><br>Eden Alvarado<br>Thayden Boome<br>Will Cummings<br>Mario D'Amb
 rosio<br>Luke Granger<br>Jack Hawley<br>Will Henry<br>Aidan Maynard<br>Gav
 in Morrow<br>Timon Nguyenphuoc<br>Paul Orekhov<br>Anthony Pacurar<br>Noah 
 Tonneson<br>Marshall Tsai<br>Daniel Vizenor</p><h3>Chamber Singers</h3><p>
 <strong>Soprano</strong><br>Jaden Ritscher<br>Hope Villarreal<br>Tyleen St
 ults<br>Jenny Green<br>Helen Woodruff<br>Mari Hirayama <br>Julianna Grabow
 ski-Porceng <br>Kyla Marshall<br>Soledad Mayorga-Maldonado</p><p><strong>A
 lto</strong><br>Katia Velit <br>Heidi Blythe<br>Tatiana Boggs<br>Ava Valen
 tin <br>Lameya Appling<br>Alexandra Rameau<br>Maddie Rivera<br>Jaminfaye R
 eduque</p><p><strong>Tenor</strong><br>Nicholas Renaud<br>Caleb Strader<br
 >Zayn Mir<br>Beau Bradney<br>Emmanuel Noyola-Juarez<br>Grayson Creech<br>J
 ulian Zhang<br>David Ferguson</p><p><strong>Bass</strong><br>Chung-An Wang
  <br>Jack Hawley<br>Thayden Boome<br>Adam Freemantle<br>Santiago Miranda-M
 arion <br>Michael McKenzie<br>Scott Fikse<br>Kyle Mahoney</p><h3>Seattle B
 ach Orchestra </h3><p>Director: Tekla Cunningham<br>Violin I: Tekla Cunnin
 gham* and Eleanor Legault<br>Violin II: Ethan Lin* and Elizabeth Phelps<br
 >Viola: Joanna Hood* and Byron Rakitzis<br>Cello: William Skeen <br>Bass: 
 Stephen Swanson<br>Flute: Josh Romatowski* and Janet See<br>Oboe: Curtis F
 oster* and Darlene Franz<br>Bassoon: Anna Marsh <br>Trumpet: Kris Kwapis*\
 , Luke Balslov\, and Gordon Ullman<br>Timpani: Mark Goodenberger<br>Tabla:
  Ravi Albright<br>Sitar: Sampada Bhalerao</p><p>*denotes principal</p><hr>
 <h3><br>Acknowledgements</h3><p>Special thanks to <br>Gina Holvoet\, Scand
 inavian Studies Department<br>Choral Arts Northwest<br>Seattle Bach Festiv
 al Orchestra<br>Ravi Albright and Sampada Bhalerao<br>Justin Birchell</p><
 h3>University of Washington Land Acknowledgement</h3><p>“We acknowledge th
 at we live and work on the unceded ancestral lands of the Coast Salish peo
 ple\, the land which touches the shared waters of all tribes and bands wit
 hin the Suquamish\, Tulalip and Muckleshoot nations\, and pay our respects
  to elders past and present. We make this acknowledgment as one part of ou
 r commitment to working to create inclusive and respectful partnerships th
 at honor Indigenous cultures\, histories\, identities\, knowledges\, and s
 ociopolitical realities\, that dismantle ongoing legacies of settler colon
 ialism\, and they recognize the hundreds of indigenous Nations who continu
 e to resist\, live\, and uphold their sacred relations across their lands.
 ”</p><hr><p> </p>
DTSTART;TZID=America/Los_Angeles:20260528T193000
DTEND;TZID=America/Los_Angeles:20260529T000000
LAST-MODIFIED:20260529T202220Z
SUMMARY:: Chamber Singers and University Chorale: 'A Thousand Cadences'
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-28/chamber-singers-and-univ
 ersity-chorale-thousand-cadences
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The Chamber Singers and University Chorale 
 present 'A Thousand Cadences\,' featuring J.S. Bach’s Magnificat\, Reena E
 smail’s <em>This Love Between Us: Prayers for Unity\, </em>and movements f
 rom <em>The Lips of the Sky\,</em> a new set of works by UW professor Gise
 lle Wyers.  With special guests the Seattle Bach Orchestra (Tekla Cunningh
 am\, director).</p><hr><h2>Program </h2><p><em>A Thousand Cadences</em></p
 ><h3>University of Washington Chorale</h3><p><em>Giselle Wyers\, Conductor
 </em></p><p><strong>Assistant Conductors:</strong><br>Julianna Grabowski\;
  Nic Renaud\; Chung-An Wang\; Helen Woodruff</p><p><strong>Collaborative P
 ianist:</strong> Serena Chin<br><strong>Rehearsal collaborative pianists:<
 /strong><br>Serena Chin\; Ingrid Verlhulsdonk</p><p><strong>Du Dob Dob (La
 tvian) - Vaclovas Augustinas</strong><br><em>Soloists: Tina Amrith and Kat
 elyn Wales</em><br><em>Percussionist: Soren Fosnick Davis </em><br><em>Gis
 elle Wyers\, conductor</em></p><p><strong>The Lips of the Sky - Giselle Wy
 ers</strong></p><p>3. Imagine You Know How To Fly<br><em>Conducted by Juli
 anna Grabowski</em></p><p>4. You are the Music <br><em>Conducted by Helen 
 Woodruff</em></p><p>5. The Lips of the Sky<br><em>Conducted by Chung-An Wa
 ng</em></p><p>6. The Green Ray<br><em>Conducted by Nic Renaud</em></p><p><
 strong>Dark Clouds/Sky - Children’s song arr. Tsai Yu-Shan</strong><br><em
 >Conducted by Chung-An Wang</em></p><p><strong>Underneath the Stars - Kate
  Rusby</strong><br><em>Conducted by Helen Woodruff</em></p><h3><br>Univers
 ity of Washington Chamber Singers</h3><p><em>Geoffrey Boers\, director</em
 ></p><p><strong>Assistant Conductors:</strong> Michael McKenzie\; Scott Fi
 ske\; Tatiana Boggs<br><strong>Collaborative Pianists:</strong> Ingrid Ver
 lhulsdonk\, Serena Chin<br><br><strong>Magnificat in D\, BWV 243 - Johann 
 Sebastian Bach (1685-1750)</strong><br>1. Magnificat <br>3. Quia respexit 
 <br>   <em> Soledad Mayorga-Maldonado\, soprano</em><br>4. Omnes generatio
 nes<br>10. Suscepit Israel<br>11. Sicut locutus est<br>12. Gloria Patri</p
 ><p><strong>This Love between Us: Prayers for Unity - Reena Esmail (b. 198
 3)</strong><br>I. Buddhism<br>II. Sikhism<br><em>Tatiana Boggs\, alto</em>
 <br>III. Christianity<br>IV. Zoroastrianism<br><em>Kevin Allen-Schmidt\, b
 ass</em><br>V. Hinduism<br><em>Julianna Grabowski-Porceng\, soprano</em><b
 r><em>Nicholas Renaud\, tenor</em><br>VI. Jainism<br>VII.Islam</p><p><stro
 ng>“Dona nobis Pacem\,” from B minor Mass\, BWV 232 - Johann Sebastian Bac
 h (1685-1750)</strong></p><hr><h2>Program Notes</h2><p><strong>The Lips of
  the Sky</strong><br>On a quiet May afternoon\, I wandered the poetry stac
 ks of the University of Washington’s historic Suzzallo Library in search o
 f inspiration. Within minutes\, I came across a simply bound\, typed colle
 ction entitled Mantras: An Anthology of Immanentist Poetry. Intrigued\, I 
 flipped through the pages and was immediately drawn to “The Lips of the Sk
 y\,” an enchanting poem by Nicomedes Suárez-Arauz\, a Bolivian poet from t
 he Amazonian region of Bolivia.</p><p>After setting this text to music and
  premiering it with Concord Chamber Choir in December 2024\, I began to en
 vision a larger work: a cycle of choral pieces tracing the rise and fall o
 f the sun as a metaphor for the passage of time in human life. During a th
 ree-month spring sabbatical in 2025\, I discovered additional texts and id
 eas that supported this vision\, culminating in a 25-minute cycle entitled
  The Lips of the Sky. It was an honor and pleasure to premiere separate mo
 vements in Minneapolis with University of Washington alumni conductors and
  their respective college choirs in October. Tonight\, you will hear four 
 of the six movements.</p><p>The six movements of The Lips of the Sky trace
  the arc of the sun crossing the sky and descending into twilight\, servin
 g as a metaphor for the human life cycle.</p><p>Mvt 3\, Imagine You Know H
 ow to Fly\, reflects promise\, optimism\, and bravery in the face of uncer
 tainty. Pastoral imagery invites the singer—and listener—to feel at home i
 n nature’s landscapes\, where surprises can be celebrated rather than fear
 ed. <br><br>The text of Mvt 4\, by American poet Amy Lowell\, explores uni
 versal aspects of the human experience. While we may think of our lives as
  “a song\,” Lowell urges us to look deeper\, imagining all living beings w
 ithin a vast ocean of shared experience and consciousness. Ocean imagery r
 uns throughout The Lips of the Sky. In this movement\, music and the ocean
  become parallel forces—vast\, timeless\, and powerful—uniting and inspiri
 ng us. Humanity is likened to “one music with a thousand cadences\,” each 
 voice unique yet part of a greater whole. <br>The title movement\, The Lip
 s of the Sky (Movement V)\, hints at both the grandeur and intimacy of the
  approaching night\, and how we are simultaneously cradled and swallowed u
 p by nature. I aimed to create a work that is sincere yet harmonically sur
 prising. <br><br>The final movement\, The Green Ray\, draws inspiration fr
 om Jules Verne’s iconic novel\, reimagined here as poetry. It describes th
 e rare phenomenon of a brilliant green flash that appears as the sun dips 
 below the ocean horizon at sunset. I sought to portray the end of life not
  as something fearful or mournful\, but as a burst of radiant energy that 
 continues to reverberate beyond its original form. <br>Recurring upward-ro
 lling arpeggios suggests the motion of ocean waves. Choral voices often ab
 andon text for the universal “ah\,” shaped into sighing motifs that evoke 
 the gentle murmuration of water. Musical ideas from the opening movement r
 eturn here\, bringing the 25-minute journey full circle and allowing the d
 ay to conclude in a shimmering finish.<br>—Giselle Wyers</p><p><strong>Mag
 nificat\, This Love Between Us and Dona Nobis Pacem</strong><br>Across tod
 ay’s program runs a single\, insistent human aspiration: the wish to see t
 he world made whole. Not resolved or simplified\, necessarily\, but someho
 w held within a form of justice large enough to contain all of humanity’s 
 beautiful variations. The three works presented here do not approach that 
 longing as an idea alone\, but instead as the fragile act of voices and in
 struments trying to mean something together in time.</p><p>To begin\, we h
 ave Johann Sebastian Bach’s Magnificat. At its core\, it is the Virgin Mar
 y’s response to the announcement—communicated to her by a supernatural ang
 el of God—that she will bear a child. In the Lutheran Germany of Bach’s ti
 me\, her words would not have been heard as abstract theology\, but as som
 ething far more immediate: a young woman’s response to a life-altering int
 erruption. But Mary does not merely receive the news\; she interprets it\,
  claims it\, and gives it her own voice\, using the words of her time to m
 ake a wish for the future. And what she says is anything but passive\, bec
 ause the Magnificat is not only praise\, it is a radical reordering of the
  world.</p><p>The proud are scattered. The powerful are cast down. The hun
 gry are filled. The rich are sent away empty. It is\, in other words\, a v
 ision of a world in which dignity is restored\, and inequity is exposed\, 
 confronted\, and undone. And perhaps that is why\, out of over 1\,100 work
 s that Bach composed\, his Magnificat has had such enduring appeal: becaus
 e Mary’s proclamation of social justice continues to meet us wherever we a
 re. It offers\, again and again\, the possibility that fairness\, shared h
 umanity\, and deep personal meaning might still be drawn from our world.</
 p><p>At the center stands Indian American composer Reena Esmail’s This Lov
 e Between Us: Prayers for Unity\, a work that gathers the many devotional 
 languages of the Indian subcontinent into a shared musical space. It is bo
 okended by two of Baroque composer Johann Sebastian Bach’s choral works an
 d\, in being placed between them\, Esmail’s music enters into a living con
 versation with its eighteenth-century counterpart\, offering another way o
 f listening and another way of giving voice to the same enduring questions
 .</p><p>This Love Between Us: Prayers for Unity places texts from India's 
 religious traditions in musical dialogue with one another. While it is wri
 tten for the same eighteenth-century orchestral forces as Bach’s Magnifica
 t\, it opens into a different musical and spiritual world through Esmail’s
  addition of instruments used in North Indian classical music. The Baroque
  orchestra on stage\, with its clarity of line\, counterpoint\, and harmon
 ic motion\, is set alongside the cyclical rhythmic structures (tal) and ri
 chly inflected melodic frameworks (raga) of Hindustani music\, performed h
 ere by a sitar (a plucked string instrument) and tabla (a pair of tuned ha
 nd drums). Hindustani classical music—also known as North Indian classical
  music—has developed over more than a thousand years\, shaped through cour
 tly\, devotional\, and folk traditions\, and sustained through an oral pra
 ctice in which music is transmitted and refined as much through listening 
 and imitation as through notation.</p><p>Over the course of the work\, the
 se approaches come into contact\, creating a miraculous communication betw
 een musical worlds. Bach’s sound world is not translated here so much as u
 sed to build something different\, with the same strings\, winds\, percuss
 ion\, and voices serving as unchanged sonic bodies in different temporal a
 nd cultural circumstances. What we hear is not imitation\, but a shared mu
 sical space inhabited nearly 300 years apart. And even the act of tuning b
 ecomes part of this underlying continuity. This blending of cultural and m
 usical perspectives becomes central to This Love Between Us: not conflict\
 , but coexistence\; multiple identities and musical languages inhabiting a
  shared artistic space. What emerges is not the erasure of difference\, bu
 t a generous\, curious\, and attentive listening—an invitation to hear how
  many voices can speak at once and still find connection in a world that o
 ften seeks to separate.</p><p>When an orchestra does this at the beginning
  of a concert\, they usually gather to a single pitch where the note “A” i
 s sounded at 440 hertz. This is the modern standard—bright and exact—the f
 requency by which instruments in our time agree to agree. But here\, the m
 usic leans elsewhere: to A=415 Hz\, the Baroque era’s equivalent pitch\, l
 ower by a half step. Keen ears will hear how the sound settles differently
  in the room—less brilliant\, more burnished\; less declarative\, more inw
 ard\; maybe a bit softer—shaped not only by the lowered pitch\, but by ins
 truments built using Baroque construction techniques\, which themselves ch
 ange the grain of the sound.</p><p>From within that altered air\, these wo
 rks begin to speak to one another—not as past and present\, but as concurr
 ent expressions of a single\, enduring human reaching: toward justice\, to
 ward one another\, toward peace.<br><em>Adapted from Joshua Shank</em></p>
 <hr><h2>Notes and Translations</h2><p>Texts and Translations</p><p>Du Dob 
 Dob:<br>Who is riding over the field?<br>When shall we arrive?<br>We shall
  take a new carriage.<br>We shall go into the church.<br>I shall ring you.
  You shall ring me.</p><p>Dark Clouds/Sky / 天烏烏:<br>天烏烏<br>The sky is dark
 \, dark.<br>天烏烏欲落雨<br>The sky is dark\, and it is going to rain.<br>阿公仔夯鋤頭
 欲掘芋<br>Grandpa carries a hoe and goes to dig for taro.<br>掘阿掘 掘著一尾辿鰡鼓<br>H
 e digs and digs\, and digs up a loach.<br>伊呀嘿都真正趣味<br>Oh\, now that is rea
 lly fun / really interesting.<br>阿公仔欲煮鹹<br>Grandpa wants to cook it salty.
 <br>阿媽欲煮汫 伊欲煮汫<br>Grandma wants to cook it plain\; she wants to cook it li
 ght.<br>兩個相打弄破鼎<br>The two of them quarrel and end up breaking the pot.<br
 >伊呀嘿都啷噹叱噹嗆<br>Oh\, then it goes clang\, bang\, crash!<br>哇哈哈<br>Wa-ha-ha! 
 / Hahaha!</p><p><br>Magnificat:<br>Magnificat anima mea Dominum\;<br>et ex
 sultavit spiritus meus in Deo salutari meo\,<br>quia respexit humilitatem 
 ancillae suae\;<br>Ecce enim ex hoc beatam me dicent omnes generationes.<b
 r>quia fecit mihi magna\, qui potens est\, et sanctum nomen eius.<br>Et mi
 sericordia eius a progenie in progenies timentibus eum.<br>Fecit potentiam
  in brachio suo\;<br>dispersit superbos mente cordis sui\;<br>deposuit pot
 entes de sede\, et exaltavit humiles\;<br>esurientes implevit bonis<br>et 
 divites dimisit inanes.<br>Suscepit Israel puerum suum\, recordatus miseri
 cordiae suae\,<br>sicut locutus est ad patres nostros\,<br>Abraham et semi
 ni eius in saecula.<br>Gloria Patri\, et Filio\, et Spiritui Sancto\,<br>s
 icut erat in principio\, et nunc\, et semper: et in Saecula saeculorum.<br
 >Amen.</p><p>Text from Luke 1:55 with the Lesser Doxology (Gloria Patri)<b
 r>Translations for each movement below</p><p>1. Magnificat anima mea<br>My
  soul magnifies the Lord.</p><p>3. Quia respexit humilitatem<br>For he has
  regarded the lowliness of his servant. Behold\, from henceforth\, I will 
 be called blessed...</p><p>4. Omnes generationes<br>...by all generations.
 </p><p>10. Suscepit Israel<br>He has helped his servant Israel in remembra
 nce of his mercy.</p><p>11. Sicut locutus est<br>As he spoke to our father
 s\, to Abraham. and his descendants forever.</p><p>12. Gloria Patri / Sicu
 t erat in principio<br>Glory to the Father\, the Son\, and to the Holy Spi
 rit\,<br>As it was in the beginning\, is now and ever shall be\, Amen.</p>
 <p>This Love Between Us: Prayers for Unity:</p><p>1. Buddhism</p><p>    Al
 l beings tremble before violence<br>sǝbbĕ tāntǝsī dǝndāsǝ<br>All fear deat
 h<br>sǝbbĕ bhǝyyǝntĭ mǝchūnō<br>All love life<br>sǝbbĕ sǝm jĭvītǝm pĭyǝm<b
 r>See yourself in others.<br>Then whom can you hurt?<br>What harm can you 
 do?<br>For he who seeks happiness (su-khǝ)<br>By hurting those who seek ha
 ppiness<br>Will never find happiness<br>For your brother and your sister\,
  they are like you<br>They\, too\, long to be happy<br>Never harm them.<br
 >dǝndēnā nǝ hĭmsǝtī<br>And when you leave this life<br>Then you will find 
 happiness too</p><p>Text from the Dhammapada<br>(Danda Vagga - 10:129-132)
 <br>Sung in English and Pali</p><p>2. Sikhism</p><p>How can we call someon
 e evil\, when all are the creation of One?<br>mǝndā kĭs nō akhĭyāī jān sǝb
 hnā sāhĭb ēk</p><p>Text from the Guru Granth Sahib (p.1238)<br>Sung in Eng
 lish and Gurumukhi</p><p>3. Christianity</p><p>Owe no man anything but to 
 love one another.<br>ǝnyōnyĕm snĕhĭkyūgā<br>For he that loveth his neighbo
 r hath fulfilled the law.<br>For\, Thou shalt not kill<br>kŭllā chĕyyĭǝrūt
 hǝ<br>Thou Shalt not steal<br>Mōshtĭkĕrūthǝ<br>Thou Shalt not bear false w
 itness<br>kǝllǝ sāchyǝm pārāyǝdǝdā<br>Thou shalt not covet<br>Mōhikkĕrūthǝ
 <br>And if there be any other commandment\, it is comprised in this word:<
 br>Thou shalt love thy neighbor as thyself.<br>nĭnnĕpolĕ nĭntĕ ǝyyālkārǝnĕ
 yūm snēhĭkĕnǝm<br>The love of our neighbor hath no evil. Love\, therefore\
 , is the fulfilling of the law.<br>The night is passed and the day is at h
 and.<br>Let us therefore cast off the works of darkness and put on the arm
 our of light.<br>jēātĭs</p><p>Text from the Bible (Romans 13:8-13)<br>Sung
  in English and Malayalam</p><p>4. Zoroastrianism</p><p>All humankind woul
 d know its own lineage and stock\;<br>hamāg mardōm paywand ud tōhmag ī xwē
 š dānist hē\;<br>never would a brother be abandoned in love by his brother
  nor a sister by her sister.<br>haguriz brād ōy ī brād ud xwah ōy ī xwah a
 z dōstīh bē nē hišt hē.</p><p>Text from the Pahlavi Rivayat (8a8)<br>Sung 
 in English and Pahlavi</p><p>5. Hinduism</p><p>This love between us was bo
 rn from the first humans\;<br>mōhī tōhī ādī ǝnt bǝnāī<br>It cannot be erad
 icated<br>ǝb kăsĕ lǝgǝn dŭrāī<br>as the river finds its way into the ocean
 <br>jăsĕ sǝrītā sĭndh sǝmāī<br>what is inside me flows into you.<br>hǝmǝrā
  mǝn lāgā<br>[For the] one who sees all beings in the Self and the Self in
  all beings\,<br>[he] harbors no hatred\;<br>To the seer\, all things beco
 me the Self.<br>What delusion\, what sorrow can there be<br>for him (the o
 ne?) who beholds such oneness?<br>Are you searching for me?<br>mōkō kǝhĩ ḍ
 hūnḍhĕ bǝndĕ<br>I am in the next seat<br>My shoulder rests against yours.<
 br>mẽ tō tĕrĕ pās hĕ<br>The [Lord] is inside you\, and also inside me\;<br
 >sāhĕb hǝm mẽ sāhĕb tŭm mẽ<br>[just as] the bloom is hidden in the seed.<b
 r>jăsĕ prānā bīj mẽ</p><p>Text from the Isa Upanishad (verses 6-7) and sel
 ections from Kabir (c. 1440-1518)<br>Sung in English and Hindi</p><p>6. Ja
 inism</p><p>If the mind is sinful\,<br>Blamable\,<br>intent on works\,<br>
 acting on impulses\,<br>producing cutting and splitting\,<br>quarrels\, fa
 ults and pains\,<br>if it injures living beings\,<br>if it kills creatures
 \,<br>then one should not employ such a mind in action.<br>tǝhǝpǝgārǝm mǝn
 ǝm nō pǝdhārĭjjā gǝmǝnāĕ.<br>If the speech is sinful\,<br>Blamable\,<br>in
 tent on works\,<br>acting on impulses\,<br>producing cutting and splitting
 \,<br>quarrels\, faults and pains\,<br>if it injures living beings\,<br>if
  it kills creatures\,<br>then one should not utter that sinful speech.<br>
 tǝhǝpǝgārǝm vāĭm nō ŭccārĭjjā.<br>jĕ yĕ mǝnĕ pāvǝĕ<br>Sāvǝjjĕ<br>Sǝkĭrĭyĕ<
 br>Ǝnhǝyǝkǝrĕ<br>Chǝyǝkǝrĕ<br>Bhǝyǝkǝrĕ<br>Ǝhĭgǝrǝnĭĕ<br>Pāŭsĭĕ<br>Pārĭyāv
 ĭĕ<br>Bhūōvǝghāĭĕ<br>tǝhǝpǝgārǝm mǝnǝm nō pǝdhārĭjjā gǝmǝnāĕ.</p><p>Text f
 rom the Acharanga Sutra\, Part 3: Lecture 15<br>Sung in English and Adha M
 aghadi</p><p>7. Islam</p><p>The lamps may be different\, but the Light is 
 the same<br>All religions\, all this singing\, one song.<br>I have bestowe
 d on each one a unique mode of worship\,<br>I have given every one a uniqu
 e form of expression.<br>I look not at the tongue and speech\, I look at t
 he spirit and the inward feeling.<br>Religions are many\, God is one.<br>T
 he lamps are different\, but the Light is the same: it comes from Beyond.<
 br>Concentrate on the essence\,<br>Concentrate on the Light.<br>Ōm shāntĭ 
 shāntĭ shāntĭ<br>Sādhū Sādhū<br>Wāhĕgŭrū<br>Āmīn<br>Āmĕn<br>Wāj Bāj<br>Con
 centrate on the Light.</p><p>Text by Rumi (1207-1273)\, supplemented with 
 phrases of affirmation drawn from Sikh\, Islamic\, Hindu\, and Christian T
 raditions<br>Sung in Sanskrit\, Punjabi\, Arabic\, and English.</p><p>Dona
  nobis pacem:<br>Grant us peace.</p><p>Text: Last line from the ‘Agnus Dei
 ’ of Latin Mass liturgy</p><hr><h3>University Chorale</h3><p><strong>Sopra
 no</strong><br>Tina Amrith<br>Elizabeth Brown<br>Lauren Chenoweth<br>Aria 
 Fowler<br>Sofia Groff<br>Mari Hirayama<br>Evelyn Jones<br>Tanushri Narendr
 an<br>Sophia Peterson<br>Anya Riabov<br>Olivia Spaid<br>Hope Villarreal<br
 >Katelyn Wales<br>Jolee Zamira<br>Tara Zolfalghari</p><p><strong>Alto</str
 ong><br>Mallak Attwa<br>Ariel Baldwin<br>June Belisle<br>Juniper Blessing<
 br>Samara Chacko<br>Suwan Chambers<br>Julianna Cullen<br>Alexis Georgiades
 <br>Lainey Graham<br>Sydney Jordan<br>Alex Retteghieri<br>Madeline Rivera<
 br>Leah Peterson<br>Jessica Thaxton<br>Anne Tinker<br>Anna Vu<br>Haley Wes
 tberg</p><p><strong>Tenor</strong><br>Beau Bradney<br>Gray Creech<br>Eric 
 Gagliano<br>Armour Johnson<br>Braden Innes<br>Colin Loerkhe<br>Liam Natara
 jan<br>Andrew Nguyen<br>Haoran Peng<br>Tyler Santos<br>Nick Seamons<br>Cal
 eb Strader<br>Luke Van Sickle</p><p><strong>Bass</strong><br>Eden Alvarado
 <br>Thayden Boome<br>Will Cummings<br>Mario D'Ambrosio<br>Luke Granger<br>
 Jack Hawley<br>Will Henry<br>Aidan Maynard<br>Gavin Morrow<br>Timon Nguyen
 phuoc<br>Paul Orekhov<br>Anthony Pacurar<br>Noah Tonneson<br>Marshall Tsai
 <br>Daniel Vizenor</p><h3>Chamber Singers</h3><p><strong>Soprano</strong><
 br>Jaden Ritscher<br>Hope Villarreal<br>Tyleen Stults<br>Jenny Green<br>He
 len Woodruff<br>Mari Hirayama <br>Julianna Grabowski-Porceng <br>Kyla Mars
 hall<br>Soledad Mayorga-Maldonado</p><p><strong>Alto</strong><br>Katia Vel
 it <br>Heidi Blythe<br>Tatiana Boggs<br>Ava Valentin <br>Lameya Appling<br
 >Alexandra Rameau<br>Maddie Rivera<br>Jaminfaye Reduque</p><p><strong>Teno
 r</strong><br>Nicholas Renaud<br>Caleb Strader<br>Zayn Mir<br>Beau Bradney
 <br>Emmanuel Noyola-Juarez<br>Grayson Creech<br>Julian Zhang<br>David Ferg
 uson</p><p><strong>Bass</strong><br>Chung-An Wang <br>Jack Hawley<br>Thayd
 en Boome<br>Adam Freemantle<br>Santiago Miranda-Marion <br>Michael McKenzi
 e<br>Scott Fikse<br>Kyle Mahoney</p><h3>Seattle Bach Orchestra </h3><p>Dir
 ector: Tekla Cunningham<br>Violin I: Tekla Cunningham* and Eleanor Legault
 <br>Violin II: Ethan Lin* and Elizabeth Phelps<br>Viola: Joanna Hood* and 
 Byron Rakitzis<br>Cello: William Skeen <br>Bass: Stephen Swanson<br>Flute:
  Josh Romatowski* and Janet See<br>Oboe: Curtis Foster* and Darlene Franz<
 br>Bassoon: Anna Marsh <br>Trumpet: Kris Kwapis*\, Luke Balslov\, and Gord
 on Ullman<br>Timpani: Mark Goodenberger<br>Tabla: Ravi Albright<br>Sitar: 
 Sampada Bhalerao</p><p>*denotes principal</p><hr><h3><br>Acknowledgements<
 /h3><p>Special thanks to <br>Gina Holvoet\, Scandinavian Studies Departmen
 t<br>Choral Arts Northwest<br>Seattle Bach Festival Orchestra<br>Ravi Albr
 ight and Sampada Bhalerao<br>Justin Birchell</p><h3>University of Washingt
 on Land Acknowledgement</h3><p>“We acknowledge that we live and work on th
 e unceded ancestral lands of the Coast Salish people\, the land which touc
 hes the shared waters of all tribes and bands within the Suquamish\, Tulal
 ip and Muckleshoot nations\, and pay our respects to elders past and prese
 nt. We make this acknowledgment as one part of our commitment to working t
 o create inclusive and respectful partnerships that honor Indigenous cultu
 res\, histories\, identities\, knowledges\, and sociopolitical realities\,
  that dismantle ongoing legacies of settler colonialism\, and they recogni
 ze the hundreds of indigenous Nations who continue to resist\, live\, and 
 uphold their sacred relations across their lands.”</p><hr><p> </p>
END:VEVENT
BEGIN:VEVENT
UID:12127804-d425-4fb4-a240-5c60580f85c8
DTSTAMP:20260612T083118Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T235029Z
DESCRIPTION:<p>Students of John Popham present a chamber music showcase.</p
 ><hr><h2><strong>Program</strong></h2><p>String Quartet in E-flat Major - 
 <strong>Fanny Hensel </strong>(1805-1847)<br>III. Romanze<br>Tia-Jane Fowl
 er\, violin<br>Hailey Vaught\, violin<br>Abigail Schidler\, viola<br>Cory 
 Chen\, cello</p><p>Piano Quartet\, Op. 47 - <strong>Robert Schumann</stron
 g> (1810-1856)<br>III. Andante cantabile<br>Grace Hwang\, violin<br>Grace 
 Pandra\, viola<br>Sota Emura\, cello<br>Chloe Song\, piano</p><p>Assobio a
  Játo - <strong>Heitor Villa-Lobos</strong> (1887-1959)<br>Jenny Jin\, Flu
 te<br>Manyi Guo\, cello</p><p>Piano Quartet\, Op. 1 - <strong>Josef Suk</s
 trong> (1874-1935)<br>I. Allegro appassionato\, II. Adagio\, III. Allegro 
 con fuoco<br>Grace Pandra\, Violin<br>Flora Cummings\, Viola<br>Ignacio Te
 jeda\, Cello<br>Jeffrey Tso\, Piano</p><hr><h2>Director Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260529T140000
DTEND;TZID=America/Los_Angeles:20260530T000000
LAST-MODIFIED:20260527T191857Z
SUMMARY:: Chamber Music Showcase
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-29/chamber-music-showcase
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Students of John Popham present a chamber m
 usic showcase.</p><hr><h2><strong>Program</strong></h2><p>String Quartet i
 n E-flat Major - <strong>Fanny Hensel </strong>(1805-1847)<br>III. Romanze
 <br><em>Tia-Jane Fowler\, violin</em><br><em>Hailey Vaught\, violin</em><b
 r><em>Abigail Schidler\, viola</em><br><em>Cory Chen\, cello</em></p><p>Pi
 ano Quartet\, Op. 47 - <strong>Robert Schumann</strong> (1810-1856)<br>III
 . Andante cantabile<br><em>Grace Hwang\, violin</em><br><em>Grace Pandra\,
  viola</em><br><em>Sota Emura\, cello</em><br><em>Chloe Song\, piano</em><
 /p><p>Assobio a Játo - <strong>Heitor Villa-Lobos</strong> (1887-1959)<br>
 <em>Jenny Jin\, Flute</em><br><em>Manyi Guo\, cello</em></p><p>Piano Quart
 et\, Op. 1 - <strong>Josef Suk</strong> (1874-1935)<br>I. Allegro appassio
 nato\, II. Adagio\, III. Allegro con fuoco<br><em>Grace Pandra\, Violin</e
 m><br><em>Flora Cummings\, Viola</em><br><em>Ignacio Tejeda\, Cello</em><b
 r><em>Jeffrey Tso\, Piano</em></p><hr><h2>Director Biography</h2>
END:VEVENT
BEGIN:VEVENT
UID:1ec90a1c-662d-47c5-8c2b-9bf248367e44
DTSTAMP:20260612T083118Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250818T163440Z
DESCRIPTION:<p> </p><p>The Modern Music Ensemble (Cristina Valdés\, directo
 r) premieres new works written especially for the ensemble by UW student c
 omposers Yongwoo Lee\, Oliver Schoonover\, Eddie Mospan\, and Yonatan Ron.
  Several of the composers join the ensemble for a performance of Alexis Po
 rfiriadis' The most delicate flower.</p><hr><h2>Program</h2><p><strong>Tur
 ning a Screw of Unhidden Shadow* - Yongwoo Lee </strong>(b. 1995) <br><str
 ong>Grace Playstead\,</strong> flute\; <strong>Minh-Thi Butler\,</strong> 
 oboe\; <strong>Cameron DeLuca\, </strong>bass clarinet\; <strong>Taylor De
 Castro\, </strong>violin </p><p><strong>Timbral Variations* - Eddie Mospan
 </strong> (b. 2001) <br><strong>Claire Wei\,</strong> flute\; <strong>Minh
 -Thi Butler\, </strong>oboe\; <strong>Cameron DeLuca\,</strong> clarinet\;
  <strong>Taylor DeCastro\, </strong>violin\; <strong>Emma Boyce\, </strong
 >viola\;<strong> Jiaxuan Wu\,</strong> piano\; <strong>Devon Rafanelli\, <
 /strong>percussion </p><p><strong>getting mad at origami lilies* - Oliver 
 Schoonover </strong>(b. 2001) <br><strong>Jiaxuan Wu\, </strong>piano\; <s
 trong>Dan-Thy Ngoc Hoang</strong>\, piano\; <strong>Devon Rafanelli\, </st
 rong>percussion\; <strong>Tyler Smith\,</strong> percussion <br><br>Interm
 ission <br><br><strong>Holographic Flashabou* - Yonatan Ron </strong>(b. 1
 992) <br><strong>Claire Wei\, </strong>flute\; <strong>Cameron DeLuca\,</s
 trong> clarinet\; <strong>Taylor DeCastro\,</strong> violin\; <strong>Mart
 essa Davis\, </strong>violin\; <strong>Cory Chen\, </strong>cello\; <stron
 g>Devon Rafanelli\, </strong>percussion\; <strong>Tyler Smith\, </strong>p
 ercussion </p><p><strong>The most delicate flower</strong> -<strong> Alexi
 s Porfiriadis </strong>(b. 1971)<strong> </strong><br><strong>Claire Wei\,
  </strong>flute\; <strong>Minh-Thi Butler\, </strong>oboe\; <strong>Camero
 n DeLuca\, </strong>clarinet\; <strong>Taylor DeCastro\, </strong>violin\;
  <strong>Emma Boyce\, </strong>viola\; E<strong>ddie Mospan\, </strong>bas
 s\; <strong>Yonatan Ron\,</strong> guitar\; <strong>Devon Rafanelli\,</str
 ong> voice\; <strong>Jiaxuan Wu\,</strong> piano\; <strong>Tyler Smith\, <
 /strong>percussion </p><p>* = world premiere</p><hr><h2>Biographies</h2><p
 ><strong>Eddie Mospan</strong> is a Russian-American bassist and composer.
  They strive to create works that encourage somatic perception and embodie
 d understanding\, while foregrounding perspectives and experiences that ar
 e typically excluded or diminished within the context of classical music. 
 Eddie is currently an undergraduate student at the University of Washingto
 n\, where they study double bass with Jordan Anderson and have studied com
 position with teachers including Huck Hodge\, William Dougherty\, Yiğit Ko
 lat\, and Jeffrey Bowen.</p>
DTSTART;TZID=America/Los_Angeles:20260529T193000
DTEND;TZID=America/Los_Angeles:20260530T000000
LAST-MODIFIED:20260528T224844Z
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:20260612T083118Z
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\, featuring music by Gr
 ieg\, De Falla\, Telemann\, Sibelius\, Massenet\, and Elgar. With special 
 guest soloist Tyree Carr\, viola\, winner of the Key to Change/UW Campus P
 hilharmonia Orchestras Concerto Competition. </p><hr><h2>Program</h2><p><s
 trong>Grieg:</strong> Morning from Peer Gynt<br><strong>De Falla:</strong>
  Ritual Fire Dance from El amor brujo <br><strong>Telemann:</strong> Viola
  Concerto\, mvts 3 & 4<br>     Tyree Carr\, viola\, winner of the Key to C
 hange/UW CPO Concerto Competition<br><strong>Sibelius: </strong>Spring Son
 g\, op. 16<br><strong>Grieg: </strong>Triumphal March from Sigurd Jorsalfa
 r\, op. 56<br><strong>Massenet: </strong>Aragonaise & Navarraise from Le C
 id<br><strong>Elgar: </strong>Pomp & Circumstance March No. 1</p><hr><h2>B
 iographies </h2><p><strong>Tyree Carr III</strong> has called Seattle home
  for nearly five years and has been playing the viola for much of that tim
 e. He began his musical studies in his school’s Intro to Strings program a
 nd enrolled in Key to Change Studio in August 2024. Since then\, Tyree has
  drawn inspiration from the achievements and determination of his peers\, 
 motivating him to pursue increasingly challenging repertoire.</p><p>Tyree 
 is a sophomore at Garfield High School. He plans to continue his musical p
 ursuits in college by performing in a collegiate symphony while studying b
 iochemistry. In his spare time\, he enjoys helping his younger sister prac
 tice the violin and participating in track and field. Tyree studies viola 
 at Key to Change\, where his private instructors are Dr. Quinton Morris an
 d Mara Gearman\, Assistant Principal Viola of the Seattle Symphony.</p><p>
 This performance marks Tyree’s solo debut with the UW Campus Philharmonia.
  Later in the year\, he will also make his debut with the Federal Way Symp
 hony Orchestra.</p>
DTSTART;TZID=America/Los_Angeles:20260530T150000
DTEND;TZID=America/Los_Angeles:20260531T000000
LAST-MODIFIED:20260416T232224Z
SUMMARY:: Campus Philharmonia Orchestras
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-30/campus-philharmonia-orch
 estras
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The Campus Philharmonia Orchestras (Robert 
 Stahly\, Zach Banks\, conductors) present an end-of-quarter concert\, feat
 uring music by Grieg\, De Falla\, Telemann\, Sibelius\, Massenet\, and Elg
 ar. With special guest soloist Tyree Carr\, viola\, winner of the Key to C
 hange/UW Campus Philharmonia Orchestras Concerto Competition. </p><hr><h2>
 Program</h2><p><strong>Grieg:</strong> Morning from Peer Gynt<br><strong>D
 e Falla:</strong> Ritual Fire Dance from El amor brujo <br><strong>Teleman
 n:</strong> Viola Concerto\, mvts 3 & 4<br>    <em> Tyree Carr\, viola\, w
 inner of the Key to Change/UW CPO Concerto Competition</em><br><strong>Sib
 elius: </strong>Spring Song\, op. 16<br><strong>Grieg: </strong>Triumphal 
 March from Sigurd Jorsalfar\, op. 56<br><strong>Massenet: </strong>Aragona
 ise & Navarraise from Le Cid<br><strong>Elgar: </strong>Pomp & Circumstanc
 e March No. 1</p><hr><h2>Biographies </h2><p><strong>Tyree Carr III</stron
 g> has called Seattle home for nearly five years and has been playing the 
 viola for much of that time. He began his musical studies in his school’s 
 Intro to Strings program and enrolled in Key to Change Studio in August 20
 24. Since then\, Tyree has drawn inspiration from the achievements and det
 ermination of his peers\, motivating him to pursue increasingly challengin
 g repertoire.</p><p>Tyree is a sophomore at Garfield High School. He plans
  to continue his musical pursuits in college by performing in a collegiate
  symphony while studying biochemistry. In his spare time\, he enjoys helpi
 ng his younger sister practice the violin and participating in track and f
 ield. Tyree studies viola at Key to Change\, where his private instructors
  are Dr. Quinton Morris and Mara Gearman\, Assistant Principal Viola of th
 e Seattle Symphony.</p><p>This performance marks Tyree’s solo debut with t
 he UW Campus Philharmonia. Later in the year\, he will also make his debut
  with the Federal Way Symphony Orchestra.</p>
END:VEVENT
BEGIN:VEVENT
UID:e0208bb3-5533-4958-a644-1e0387edb519
DTSTAMP:20260612T083118Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20260522T201101Z
DESCRIPTION:<p>Alyssa Hironaka (DMA\, Piano Performance)\, a student of Cra
 ig Sheppard\, performs music by Chopin\, Debussy\, York Bowen\, and Beetho
 ven in her doctoral degree recital.</p><hr><h2>Program</h2><p>Two Nocturne
 s\, Op. 32 by Frédéric Chopin (1810-1849)<br>      No. 1 in B Major <br>  
     No. 2 in A-flat Major <br><br>Estampes by Claude Debussy (1862-1918)<b
 r>      I. Pagodes (Pagodas) <br>      II. La soirée dans Grenade (The Eve
 ning in Granada) <br>      III. Jardins sous la pluie (Gardens in the Rain
 ) <br><br>Reverie\, Op. 86 by York Bowen (1884-1961)<br><br>-Intermission-
 <br><br>Barcarolle\, Op. 60 by Frédéric Chopin (1810-1849)<br><br>Sonata i
 n F Minor\, Op. 57\, “Appassionata” by Ludwig van Beethoven (1770-1827) <b
 r>      I. Allegro assai <br>      II. Andante con moto <br>      III. All
 egro ma non troppo – Presto </p><hr><h2>Biography<br> </h2>
DTSTART;TZID=America/Los_Angeles:20260530T163000
DTEND;TZID=America/Los_Angeles:20260531T000000
LAST-MODIFIED:20260522T201631Z
SUMMARY:: Doctoral Degree Recital: Alyssa Hironaka\, piano
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-30/doctoral-degree-recital-
 alyssa-hironaka-piano
END:VEVENT
BEGIN:VEVENT
UID:2e1afc2f-c8db-4235-ac4d-cc145ca3339f
DTSTAMP:20260612T083118Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20260522T184319Z
DESCRIPTION:<p>Lily Gebs\, voice student of Thomas Harper\, presents a grad
 uate degree recital. With pianist Jieun Kim. </p><hr><p> </p>
DTSTART;TZID=America/Los_Angeles:20260531T183000
DTEND;TZID=America/Los_Angeles:20260601T000000
LAST-MODIFIED:20260522T184715Z
SUMMARY:: Degree Recital: Lily Gebs\, voice
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-05-31/degree-recital-lily-gebs
 -voice
END:VEVENT
BEGIN:VEVENT
UID:39374fa4-042b-4e11-9d6e-4c6a51a43bc5
DTSTAMP:20260612T083118Z
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>Program</h2><p>Anthem of Pra
 ise - <strong>Richard Smallwood</strong></p><p>Amazing Grace - <strong>Arr
 . Marcus Pettit</strong></p><p>Again I say Rejoice -<strong> Israel Hought
 on/Aaron Lindsay</strong></p><p>While You Wait - <strong>Joe Pace</strong>
 </p><p>I Will Sing Praises - <strong>Richard Smallwood</strong><br>Soloist
 : Alexandra Rameau</p><p>I Am Your Song - <strong>Jonathan Nelson</strong>
 </p><p>My Joy - <strong>Rev. Alvin Slaughter</strong><br>Soloist: Isaiah I
 keda</p><p>The Joy Medley - <strong>Richard Smallwood\, </strong>arr. <str
 ong>Marcus Pettit/Tye Triplett</strong><br>Soloists: Ryan Kapsandy\, Mitch
 el Pepper\, Soledad-Mayorga-Maldonado</p><p>Psalm 8 - <strong>Richard Smal
 lwood</strong><br>Soloist: Elena Liu</p><p>Celebration - <strong>Kool and 
 the Gang</strong></p><hr><h3>UW Gospel Choir</h3><p><strong>SOPRANO</stron
 g><br>Dulgunn Uuganbaatan<br>Annie Liu<br>Maria Oommen<br>Alysha Lopein<br
 >Alex Billingsley<br>Ave Dimond<br>Avalon Whitten<br>Soledad Mayorga-Maldo
 nado<br>Corrie Zhai<br><br><strong>ALTO</strong><br>Elene Liu<br>Kelsey Za
 ne<br>Sola Feldheger<br>Diane Chapel<br>Salome Muruts<br>Shreya Sumanth<br
 >Juliette Hale<br>Kelly Xie<br>Haruba Milano<br>Isla Kim<br>Jieun Jang<br>
 Ashley Jang<br>Anna Kim<br>Araceyle Rodriquez-Mitchell<br>Kaycee Fehme<br>
  </p><p><strong>TENOR</strong><br>Kyle Orth<br>Isaiah Ikeda<br>Santy Gomez
 <br>Aiden Shek<br>Tyan Knight<br>Carmela Stewart<br>Michel Pepper<br>Kayah
  Corpis<br>Violet Fitzgerald<br>Owen Carang<br>Evan Pham<br>Deryn Bagley<b
 r>Bouba Katompa<br><br><strong>BASS</strong><br>Bronislaw Andrus<br>Sihyeo
 n Song<br>Ryan Kapsandy<br>Matthew Young<br>Matthew Gohar<br>Mark Alexande
 r<br>Joshua Rolfe<br>Alexander Beck<br>Gabriel Wan<br>Ciaran McNeely<br>Qu
 innan Mack<br>Yin Pai<br>Austin Shin<br>Ryan Lahagu</p><hr><h2>Biographies
 </h2>
DTSTART;TZID=America/Los_Angeles:20260601T193000
DTEND;TZID=America/Los_Angeles:20260602T000000
LAST-MODIFIED:20260601T204353Z
SUMMARY:: UW Gospel Choir
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-06-01/uw-gospel-choir
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>Phyllis Byrdwell leads the 100-voic
 e Gospel Choir in songs from the Gospel tradition. </p><hr><h2>Program</h2
 ><p>Anthem of Praise - <strong>Richard Smallwood</strong></p><p>Amazing Gr
 ace - <strong>Arr. Marcus Pettit</strong></p><p>Again I say Rejoice -<stro
 ng> Israel Houghton/Aaron Lindsay</strong></p><p>While You Wait - <strong>
 Joe Pace</strong></p><p>I Will Sing Praises - <strong>Richard Smallwood</s
 trong><br><em>Soloist: Alexandra Rameau</em></p><p>I Am Your Song - <stron
 g>Jonathan Nelson</strong></p><p>My Joy - <strong>Rev. Alvin Slaughter</st
 rong><br><em>Soloist: Isaiah Ikeda</em></p><p>The Joy Medley - <strong>Ric
 hard Smallwood\, </strong>arr. <strong>Marcus Pettit/Tye Triplett</strong>
 <br><em>Soloists: Ryan Kapsandy\, Mitchel Pepper\, Soledad-Mayorga-Maldona
 do</em></p><p>Psalm 8 - <strong>Richard Smallwood</strong><br><em>Soloist:
  Elena Liu</em></p><p>Celebration - <strong>Kool and the Gang</strong></p>
 <hr><h3>UW Gospel Choir</h3><p><strong>SOPRANO</strong><br>Dulgunn Uuganba
 atan<br>Annie Liu<br>Maria Oommen<br>Alysha Lopein<br>Alex Billingsley<br>
 Ave Dimond<br>Avalon Whitten<br>Soledad Mayorga-Maldonado<br>Corrie Zhai<b
 r><br><strong>ALTO</strong><br>Elene Liu<br>Kelsey Zane<br>Sola Feldheger<
 br>Diane Chapel<br>Salome Muruts<br>Shreya Sumanth<br>Juliette Hale<br>Kel
 ly Xie<br>Haruba Milano<br>Isla Kim<br>Jieun Jang<br>Ashley Jang<br>Anna K
 im<br>Araceyle Rodriquez-Mitchell<br>Kaycee Fehme<br> </p><p><strong>TENOR
 </strong><br>Kyle Orth<br>Isaiah Ikeda<br>Santy Gomez<br>Aiden Shek<br>Tya
 n Knight<br>Carmela Stewart<br>Michel Pepper<br>Kayah Corpis<br>Violet Fit
 zgerald<br>Owen Carang<br>Evan Pham<br>Deryn Bagley<br>Bouba Katompa<br><b
 r><strong>BASS</strong><br>Bronislaw Andrus<br>Sihyeon Song<br>Ryan Kapsan
 dy<br>Matthew Young<br>Matthew Gohar<br>Mark Alexander<br>Joshua Rolfe<br>
 Alexander Beck<br>Gabriel Wan<br>Ciaran McNeely<br>Quinnan Mack<br>Yin Pai
 <br>Austin Shin<br>Ryan Lahagu</p><hr><h2>Biographies</h2>
END:VEVENT
BEGIN:VEVENT
UID:75b36736-d9fa-45f4-b1da-b16026e51f1e
DTSTAMP:20260612T083118Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20260602T000343Z
DESCRIPTION:<p>Piano students of Cristina Valdés present an end-of-year stu
 dio recital.</p><hr><h2>Program</h2><h3>Valdés Piano Studio Recital</h3><p
 >Brechemin Auditorium<br>June 2\, 2026 7:30 pm<br>                        
     <br><strong>Partita #1 in B flat\, BWV825 (1725) -  Johann Sebastian B
 ach  (1685-1750)</strong><br>Praeludium                                   
                                                                  <br>​Alle
 mande<br>​Corrente<br>​Sarabande<br>​Menuet<br>​Giga<br>Dan-Thy Ngoc Hoang
 \, MM\, Piano Performance</p><p><br><strong>Piano Sonata in E Minor\, Hob.
  XVI: 34 - Joseph Haydn  (1770-1827)</strong><br>I.Presto                 
                                                                <br>II.Adag
 io<br>III.Vivace molto    <br>Yooeun Kang\, BA\, Piano Performance\, Engin
 eering Undeclared</p><p><br><strong>Trois Études de Concert No. 3 (Un Sosp
 iro)  - Franz Liszt  (1811-1886)</strong><br>Chloe Song\, BM\, Piano Perfo
 rmance</p><p><br><strong>Visions Fugitives\, Op. 22 - Sergei Prokofiev (18
 91–1953)        </strong><br>I. Lentamente                                
                                                                           
  <br>II.  Andante<br>III.  Allegretto<br>IV. Animato<br>V. Molto giocoso<b
 r>VI. Con eleganza<br>VII. Pittoresco (Arpa)<br>VIII. Comodo<br>VIIII. All
 egro tranquillo<br>X. Ridicolosamente<br>XI. Con vivacita<br>XII. Assai Mo
 derato<br>XIII. Allegretto<br>XIV. Feroce<br>Freya Frahm\, BM\, Piano Perf
 ormance\, BA\, Computer Science</p><p>Intermission</p><p><br><strong>Prélu
 des: I. La colombe  -  Olivier Messiaen (1908-1992)         </strong>     
                                           <br><br><strong>Prelude & Fugue 
 No. 7 in E-Flat Major\, BWV 852 -  J.S. Bach   (1685-1750)       </strong>
    <br><br><strong>On An Overgrown Path - Leoš Janáček (1854-1928)   </str
 ong><br>A Blown-Away Leaf                                                 
                                                                           
          <br>Good Night!<br>Olivia Hsu\, BM\, Piano Performance</p><p><br>
 <strong>Piano Sonata No. 31 in A-flat Major\, Op. 110 -  Ludwig van Beetho
 ven  (1770-1827)</strong><br>I.Moderato cantabile\, molto espressivo      
                                                <br>II. Allegro molto    <b
 r>Jiayi Wang\, PhD\, Physics</p><p><br><strong>Preludes\, Op. 32 - Sergei 
 Rachmaninoff  (1873-1943)</strong><br>V. Moderato                         
                   <br>X. Lento<br> XII. Allegro<br>Jeffrey Tso\, BS\, Comp
 uter Science</p><p><strong>Six Pieces for Piano\, Op. 118 - Johannes Brahm
 s (1873-1897)</strong><br>I. Intermezzo in A Minor                        
                               <br>II. Intermezzo in A Major<br>III. Ballad
 e in G Minor <br>Jiaxuan Wu\, DMA.\, Piano Performance</p><hr><h2>Biograph
 y<br> </h2>
DTSTART;TZID=America/Los_Angeles:20260602T193000
DTEND;TZID=America/Los_Angeles:20260603T000000
LAST-MODIFIED:20260602T001556Z
SUMMARY:: Cristina Valdés Studio Concert
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-06-02/cristina-valdes-studio-c
 oncert
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>Piano students of Cristina Valdés present a
 n end-of-year studio recital.</p><hr><h2>Program</h2><h3>Valdés Piano Stud
 io Recital</h3><p>Brechemin Auditorium<br>June 2\, 2026 7:30 pm<br>       
                      <br><strong>Partita #1 in B flat\, BWV825 (1725) -  J
 ohann Sebastian Bach  (1685-1750)</strong><br>Praeludium                  
                                                                           
         <br>​Allemande<br>​Corrente<br>​Sarabande<br>​Menuet<br>​Giga<br><
 em>Dan-Thy Ngoc Hoang\, MM\, Piano Performance</em></p><p><br><strong>Pian
 o Sonata in E Minor\, Hob. XVI: 34 - Joseph Haydn  (1770-1827)</strong><br
 >I.Presto                                                                 
                <br>II.Adagio<br>III.Vivace molto    <br><em>Yooeun Kang\, 
 BA\, Piano Performance\, Engineering Undeclared</em></p><p><br><strong>Tro
 is Études de Concert No. 3 (Un Sospiro)  - Franz Liszt  (1811-1886)</stron
 g><br>Chloe Song\, BM\, Piano Performance</p><p><br><strong>Visions Fugiti
 ves\, Op. 22 - Sergei Prokofiev (1891–1953)        </strong><br>I. Lentame
 nte                                                                       
                                     <br>II.  Andante<br>III.  Allegretto<b
 r>IV. Animato<br>V. Molto giocoso<br>VI. Con eleganza<br>VII. Pittoresco (
 Arpa)<br>VIII. Comodo<br>VIIII. Allegro tranquillo<br>X. Ridicolosamente<b
 r>XI. Con vivacita<br>XII. Assai Moderato<br>XIII. Allegretto<br>XIV. Fero
 ce<br><em>Freya Frahm\, BM\, Piano Performance\, BA\, Computer Science</em
 ></p><p>Intermission</p><p><br><strong>Préludes: I. La colombe  -  Olivier
  Messiaen (1908-1992)         </strong>                                   
             <br><br><strong>Prelude & Fugue No. 7 in E-Flat Major\, BWV 85
 2 -  J.S. Bach   (1685-1750)       </strong>   <br><br><strong>On An Overg
 rown Path - Leoš Janáček (1854-1928)   </strong><br>A Blown-Away Leaf     
                                                                           
                                                      <br>Good Night!<br><e
 m>Olivia Hsu\, BM\, Piano Performance</em></p><p><br><strong>Piano Sonata 
 No. 31 in A-flat Major\, Op. 110 -  Ludwig van Beethoven  (1770-1827)</str
 ong><br>I.Moderato cantabile\, molto espressivo                           
                           <br>II. Allegro molto    <br><em>Jiayi Wang\, Ph
 D\, Physics</em></p><p><br><strong>Preludes\, Op. 32 - Sergei Rachmaninoff
   (1873-1943)</strong><br>V. Moderato                                     
       <br>X. Lento<br> XII. Allegro<br><em>Jeffrey Tso\, BS\, Computer Sci
 ence</em></p><p><strong>Six Pieces for Piano\, Op. 118 - Johannes Brahms (
 1873-1897)</strong><br>I. Intermezzo in A Minor                           
                            <br>II. Intermezzo in A Major<br>III. Ballade i
 n G Minor <br><em>Jiaxuan Wu\, DMA.\, Piano Performance</em></p><hr><h2>Bi
 ography<br> </h2>
END:VEVENT
BEGIN:VEVENT
UID:13dde154-7ef9-4be5-b8d2-a39448e8eaf2
DTSTAMP:20260612T083118Z
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>Program</h2><h3> Wind Ensemble and Symphonic Band<
 /h3><h4>'Emblems'</h4><p>Erin Bodnar\, conductor  <br>Eden Garza\, bass tr
 ombone <br>Solomon Encina\, graduate conductor  <br>Nicholas Renaud\, grad
 uate conductor <br>Noah Scanlan\, graduate conductor <br>Yuman Wu\, gradua
 te conductor  <br> </p><h3>UW Symphonic Band  </h3><p>Erin Bodnar\, conduc
 tor  </p><p>Big Things (2026) - <strong>Holly Harrison</strong> (b. 1988) 
 <br>Big Smoke  <br>Big Boots <br>Big Heart <br> <br>Some treasures are hea
 vy with human tears (2022) -<strong> John Mackey</strong> (b. 1973)  <br> 
 <br>American Hymnsong Suite (2007) - <strong>Dwayne Milburn</strong> (b. 1
 963) <br>Prelude on Wondrous Love <br>Ballad on Balm in Gilead <br>Noah Sc
 anlan\, graduate conductor <br>Scherzo on Nettleton <br>March on Wilson <b
 r>Nicholas Renaud\, graduate conductor <br> <br>-Intermission-</p><h3> UW 
 Wind Ensemble  </h3><p>Erin Bodnar\, conductor  <br> <br>Emblems (1964)  -
  <strong>Aaron Copland</strong> (1900-1990) <br> <br>Vademecum (2008/2014)
   - <strong>Wim Bex</strong> (b. 1977) <br>School Life <br>Love Life <br>C
 afé Life  <br>Eden Garza\, bass trombone <br> <br> <br>Concerto for Wind E
 nsemble (2021) - <strong>Kevin Day</strong> (b. 1996) <br>Flow <br>Yuman W
 u\, graduate conductor <br>II. Riff  <br>Solomon Encina\, graduate conduct
 or </p><hr><h2>Program Notes</h2><p>Written in three movements\, <strong>B
 ig Things </strong>is all about…well\, big things. From the urban feel of 
 Big Smoke to the swagger of Big Boots\, to the courageous spirit of Big He
 art. Think big city buzz\, big attitude\, and big endings. When first writ
 ing the work\, my ear was drawn to masses of big bold sounds: a mix of big
  contrasts\, big grooves\, and big beats. In Australia\, we often refer to
  large cities as the ‘big smoke’. With more than a trace of disco\, the op
 ening movement captures the bustling\, bursting energy of big cities\, ima
 gining a streetscape dancefloor flooded with commuters. Big Boots embraces
  a sleazy funk groove with a smattering of honky-tonk. With big boots to f
 ill\, who be er to call on than the bass section? This movement offers plen
 ty of swagger\, stomp\, and bass breakdowns. The final movement\, Big Hear
 t\, is a big ending in disguise. Featuring numerous soloists in the lyrica
 l first half\, melodic strains and lines become increasingly entangled thr
 oughout. This lyrical web ultimately gives way to triumph\, showcasing two
  contrasting sides of what I like to think of as the heart of band.<br>Pro
 gram Note by composer <br> </p><p>(CONTENT WARNING: This program note desc
 ribes an act of public mass violence and may be traumatic or uncomfortable
  to some readers. Discretion is advised.)<br><br>At 1:05 a.m. on Sunday\, 
 August 4\, 2019\, in the Oregon Historic District of Dayton\, Ohio\, a man
  armed with a semiautomatic AM-15 approached a crowded neighborhood bar an
 d opened fire. In under 30 seconds\, he fired 41 rounds\, killing nine peo
 ple and injuring another 17. That’s where the story of John Mackey’s <stro
 ng>Some treasures are heavy with human tears</strong> begins.</p><p>One of
  the victims of the shooting was Megan Betts\, a 22-year-old woman who had
  played trumpet in her high school band in nearby Bellbrook. The Bellbrook
  program reached out to Mackey to commission a work that would commemorate
  the tragedy\, a task he approached with some reluctance:</p><p>'I’ve been
  asked on several occasions to write pieces in response to tragedies\, but
  I’ve rarely felt like it was appropriate. Something about this\, though -
 - happening in Dayton\, where I’ve been many times\, and so close to Colum
 bus\, where I grew up -- that I felt like I wanted to try to say something
  musically\, even though I was at a loss for what I could say verbally. Fo
 rtunately\, Abby (my spouse) found this incredible title\, which says so m
 uch before the music even starts. The last thing the community needed was 
 a piece of music that relived the event. The piece isn’t trying to sound l
 ike WHAT happened\; it’s trying to convey what it feels like to KNOW that 
 it happened.'</p><p>The piece is not programmatic. Rather\, it exists in a
 bstraction: a meditation on grief. In framing the work in this way\, Macke
 y’s music transcends elegizing a singular horrific event and instead provi
 des an artistic representation of how we cope with all tragedies\, both th
 ose that are intensely personal and the ones that are communal. It explore
 s a wide range of emotions\, from denial through shock\, fury\, and anguis
 h before finally finding an incomplete peace.</p><p>Some treasures are hea
 vy with human tears begins with a simple motivic gesture: a rocking oscill
 ation between flute and vibraphone that sounds akin to a lullaby. This pri
 ncipal motive carries throughout the piece\, acting as the listener’s avat
 ar through the emotional journey. A melody spins out from it\, accompanied
  by ethereal ringing provided by crystal glasses and whirly tubes\, and al
 though the overall mood is one of melancholy\, the atmosphere is also peac
 eful until a disorienting fog of trombone glissandi passes over. The songl
 ike melody continues\, at times abruptly shifting from the resigned mood o
 f the home key of G minor to the distantly bright C major\, evoking a flee
 ting remembrance of a more hopeful spirit\, before just as quickly dissipa
 ting back. The simplicity of the opening returns\, but this time fuller\, 
 with more voices joining before the glissando cloud returns (this time aug
 mented by timpani)\, ushering in a new mood: confusion. The opening gestur
 e reemerges\, ceaselessly rocking in a rhythmic nature\, oblivious to a bu
 ilding torment in the surrounding harmonies which become brasher and angri
 er as the piece approaches its dramatic climax. The apex of the piece is a
  wail\, acknowledging the reality of the trauma in a moment of agony borde
 ring on rage. This too\, however\, subsides\, and the peacefulness of the 
 beginning of the work returns to stay with one exception: as the final phr
 ase of the work cadences and the last tones decay\, a single muted trumpet
  rises from the silence in a bright flash and is suddenly extinguished.<br
 >- Program Note by Jacob Wallace</p><p><strong>American Hymnsong Suite</st
 rong> is firmly rooted in my family history as church musicians. I grew up
  singing and playing many different hymns\, including the four tunes featu
 red in this work. The final impetus to compose this particular treatment c
 ame during the course of an organ concert in Atlanta\, Georgia. One sectio
 n of the program featured innovative settings of three hymns. With the gra
 cious consent of composers Joe Utterback and Brooks Kukendall\, I adapted 
 their settings to act as the inner movements of the suite\, bracketed with
  my own original treatments of favorite hymns.</p><p>The Prelude on Wondro
 us Love (“What Wondrous Love is This”) opens with a chant-like statement o
 f this Southern tune before proceeding to a more kinetic retelling. Ballad
  on “Balm in Gilead” features a rich jazz harmonization of this familiar s
 piritual. The Scherzo on “Nettleton” (“Come Thou Fount of Every Blessing”)
  contains all the rhythmic playfulness inherent in the best orchestral thi
 rd movements\, and the March on “Wilson” (“When We All Get to Heaven”) cal
 ls to mind the wildest marching band ever heard.</p><p>While audience memb
 ers will certainly make various connections to this piece\, the ongoing go
 al is to introduce all listeners to the richness of our American musical h
 eritage.<br>- Program Note by composer</p><p>In May\, 1963\, I received a 
 letter from Keith Wilson\, President of the College Band Directors Nationa
 l Association\, asking me to accept a commission from that organization to
  compose a work for band. He wrote: 'The purpose of this commission is to 
 enrich the band repertory with music that is representative of the compose
 r's best work\, and not one written with all sorts of technical or practic
 al limitations.' That was the origin of Emblems. I began work on the piece
  in the summer of 1964 and completed it in November of that year. It was f
 irst played at the CBDNA National Convention in Tempe\, Arizona\, on Decem
 ber 18\, 1964\, by the Trojan Band of the University of Southern Californi
 a\, conducted by William A. Schaefer.</p><p>Keeping Mr. Wilson's injunctio
 n in mind\, I wanted to write a work that was challenging to young players
  without overstraining their technical abilities. The work is tripartite i
 n form: slow-fast-slow\, with the return of the first part varied. Embedde
 d in the quiet\, slow music the listener may hear a brief quotation of a w
 ell-known hymn tune Amazing Grace\, published by William Walker in The Sou
 thern Harmony in 1835. Curiously enough\, the accompanying harmonies had b
 een conceived first\, without reference to any tune. It was only a chance 
 of perusal of a recent anthology of old 'Music in America' that made me re
 alize a connection existed between my harmonies and the old hymn tune.</p>
 <p>An emblem stands for something - it is a symbol. I called the work <str
 ong>Emblems</strong> because it seemed to me to suggest musical states of 
 being: noble or aspirational feelings\, playful or spirited feelings. The 
 exact nature of these emblematic sounds must be determined for himself by 
 each listener.<br>- Program Note by composer</p><p><strong>Vademecum</stro
 ng> was written between October 2007 and May 2008. It was commissioned by 
 the Metropole Brass Band and dedicated to Geert De Vos.</p><p>The concerto
  is an ode to three distinct facets of the bass trombone: it’s dark\, hars
 h\, and aggressive character -- its lyrical\, melodious\, and romantic nat
 ure -- and its playful\, virtuoso abilities. It can be considered a transl
 ation into music of the shared time the composer and the soloist spent dur
 ing their studies together. Love Life is an ode to the relationship betwee
 n Geert and his wife Katrien. It also describes the energy between a man a
 nd a woman when love is dawning\, and how the outside world reacts to it: 
 some people with joy\, others with questions\, but in the end love prevail
 s.<br>- Program Note by composer</p><p>After several fruitful conversation
 s with Dr. Cynthia Johnston Turner\, director of bands at the University o
 f Georgia\, the concept for the <strong>Concerto for Wind Ensemble</strong
 > began to take form. We had talked about doing a potential commission for
  the UGA Hodgson Wind Ensemble\, and ultimately the conversation led to th
 e idea of doing a substantial work to further the wind band repertoire. I 
 knew off the bat that I wanted to write something that reflected my upbrin
 ging as a young black man and the musical culture that I grew up in\, whic
 h hasn’t always been represented in concert band music.</p><p>My experienc
 e and the inspiration for this work come from a world of various intersect
 ions. My father\, born in West Virginia\, was a hip-hop producer in the la
 te 1980s who worked in Southern California\, and my mother (also from West
  Virginia) was a gospel singer. During my childhood\, I grew up listening 
 to hip-hop\, R&B\, jazz\, and gospel music. Simultaneously\, I was learnin
 g classical music through playing in band\, and later orchestra. I was pla
 ying jazz and gospel music on piano\, while also playing classical music o
 n euphonium and tuba. This dual learning environment had a huge impact on 
 my musicianship and my development as a composer. While these words had be
 en separated in my head when I was growing up\, in this work I intentional
 ly wanted to merge them together in new fusions\, paying homage to my pare
 nts\, the culture I grew up in\, and to the wind band world.</p><p>What ca
 me from this concept is this Concerto for Wind Ensemble\, a five-movement 
 work for band that is my most ambitious composition to date\, and a work t
 hat took almost two years to compose. The movements entitled Flow\, Riff\,
  Vibe\, Soul\, and Jam reflect the various musical styles that I have been
  immersed in. Vibe and Soul are specifically dedicated to my parents\, wit
 hout whom I could not have made it this far. I am immensely grateful to Dr
 . Turner and to the consortium members of this work\, who believed in my v
 ision and sought to bring this work to life. I’m happy to share this contr
 ibution and love letter to the wind band and to the culture.<br>- Program 
 Note by composer</p><hr><h2>Biographies</h2><p>Canadian conductor-educator
 -tenor Nicholas Renaud is passionate about working with others toward musi
 cal growth and dynamic performances. Currently\, Nicholas is pursuing his 
 DMA in Choral Conducting at the University of Washington under the supervi
 sion of Dr. Geoffrey Boers and Dr. Giselle Wyers\, where he serves as Assi
 stant Conductor of the award-winning UW Chorale\, co-conductor of the UW R
 ecital Choir\, the Glee Club Tenor-Bass Choir\, and Choral Cohort Ensemble
 \, and as a Graduate Teaching Assistant in the School of Music.</p><p>Out 
 in the community\, Nicholas works frequently as a tenor\, guest conductor\
 , clinician and French-language diction coach for local choirs and serves 
 as Artistic Director of La Chorale francophone de Seattle\, a multi-genera
 tional community choir specializing in the performance of French-language 
 music from around the world. He also serves as Associate Artistic Director
  of the Magnolia Chorale\, a large\, auditioned multigenerational concert 
 choir which regularly performs major works. Prior to commencing his studie
 s at UW\, Nicholas conducted a variety of community bands and choirs and h
 ad a busy career teaching K-12 Music and French classes in public schools 
 and serving his fellow teachers as a union activist in and around Vancouve
 r\, Canada.</p><p>Nicholas holds degrees and graduate-level diplomas in mu
 sic\, French and education from some of Canada's top universities. While c
 ompleting his Bachelor of Music at the University of Victoria\, he served 
 as Assistant Director of the Vocal Jazz Ensemble and Chamber Singers\, and
  as Conductor of the Massed Men's Choir and Director of the Vocal Jazz Wom
 en's Chorus\, Ellavation. He has been the recipient of numerous fellowship
 s\, scholarships and awards\, but his proudest accomplishment throughout h
 is studies was receiving the Outstanding Practicum Award from the Universi
 ty of British Columbia. This was given in recognition of Nicholas' dedicat
 ion\, commitment and diligence while teaching high school students in choi
 r\, band and IB French classes during his Bachelor of Education degree.  <
 /p><p>An earnest scholar\, Nicholas' research interests include inclusive 
 and decolonial approaches to leadership and pedagogy\, incorporating voice
  science in the choral rehearsal process\, empathetic choral conducting\, 
 and early Canadian choral music. Nicholas is devoted to building community
  and cooperation through the study of music\, engaging in innovative teach
 ing that involves a variety of approaches and activities to foster teamwor
 k. He works hard to empower others––no matter their age or experience leve
 l––to develop confidence as they learn to express their creativity through
  group music-making and engaging musical performances.</p><p>Noah Scanlan 
 is a Master of Architecture student at the University of Washington with a
  background in music performance and conducting. A California native\, Noa
 h grew up in the small town of Ridgecrest\, California\, and was constantl
 y exposed to all genres of music at home. This introduction shaped his int
 erest in playing the saxophone and\, eventually\, conducting\, leading him
  to continue his music making endeavors in his undergraduate studies.  </p
 ><p>Noah received his Bachelor of Arts in Music and Bachelor of Science in
  Civil Engineering at California Polytechnic State University\, San Luis O
 bispo. It was here that his interests in conducting grew\, leading him to 
 be a field conductor for the Cal Poly Mustang Marching Band\, a student co
 nductor for the Cal Poly Symphony\, and a conductor for various small ense
 mbles. After deciding to pursue a career in architecture\, Noah continues 
 to pursue musical opportunities whenever possible. He has kept his passion
  for music alive at UW by taking music courses\, conducting the UW Symphon
 ic Band\, and playing the piano at home.</p><p>Solomon Encina is a Graduat
 e Assistant at the University of Washington\, where he is pursuing a Docto
 r of Musical Arts (D.M.A.) in Instrumental Conducting. Solomon holds a Bac
 helors of Music degree in Instrumental Performance in Percussion from Cali
 fornia Baptist University. He also holds a Masters in Music Education degr
 ee from Azusa Pacific University where he studied under Dr. Alexander Koop
 s and Dr. John Burdett.  </p><p>Solomon is a native of the Southern Califo
 rnia region\, where he has taught and arranged music for several high qual
 ity institutions. Most recently\, he served as the Director of Bands at Lo
 s Osos High School in Rancho Cucamonga\, CA\, where the band\, orchestra a
 nd color guard program regularly received high distinction awards at festi
 vals throughout the state under his direction. During this time he also pe
 rformed as a percussionist with several touring groups throughout the Unit
 ed States and as a guest conductor of the European Tour for Southern Calif
 ornia Ambassadors of Music. After several years as a high school educator\
 , Solomon is thrilled to begin pursuing his highest academic aspirations b
 y attending UW to study under Professor Timothy Salzman.</p><p>Solomon Enc
 ina has affiliations with the National Association for Music Education (NA
 fME)\, the College Band Directors National Association (CBDNA)\, the Calif
 ornia Music Educators Association (CMEA)\, and the Southern California Sch
 ool Band and Orchestra Association (SCSBOA). Solomon Encina is proudly end
 orsed by the Vic Firth Company and is a part of the Vic Firth Education te
 am.</p><p>Yuman Wu is a Graduate Assistant at the University of Washington
 \, where she is pursuing a Doctor of Musical Arts (D.M.A.) in Instrumental
  Conducting under the mentorship of Timothy Salzman and Erin Bodnar. At UW
 \, she serves as the conductor for UW Concert Band\, assistant conductor f
 or the UW Wind Ensemble and Symphonic Band\, and contributes to the Husky 
 Marching Band. She also assists in teaching the undergraduate conducting c
 lasses\, working closely with music education majors. As a conductor\, mul
 ti-instrumentalist\, and educator\, Yuman enjoys playing music from all cu
 ltural backgrounds\, innovating new ideas\, and leading the music industry
  forward with inclusivity. She was recently selected as one of five conduc
 tors for the prestigious 2025 U.S. Army Band Conductors Workshop\, where s
 he conducted The U.S. Army Band “Pershing’s Own” in a public performance a
 t the Rachel M. Schlesinger Concert Hall in Washington\, D.C.</p><p>Yuman 
 holds a Master of Music in Wind Conducting from the Peabody Institute of J
 ohns Hopkins University\, where she studied with Dr. Harlan Parker and ser
 ved as Teaching Assistant for Secondary Instrumental Conducting. She also 
 earned a Master of Science in Business Analytics from Cornell University. 
 Yuman completed three Bachelor's degrees in Music\, Statistics\, and Econo
 mics from the University of Illinois at Urbana-Champaign. </p>
DTSTART;TZID=America/Los_Angeles:20260602T193000
DTEND;TZID=America/Los_Angeles:20260603T000000
LAST-MODIFIED:20260601T203011Z
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
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>The Wind Ensemble and Symphonic Ban
 d (Erin Bodnar\, director) present 'Emblems\,' featuring music by Aaron Co
 pland\, Wim Bex\, Kevin Day\, Dwayne Milburn\, John Mackey and others. Wit
 h Eden Garza\, bass trombone.</p><hr><h2>Program</h2><h3> Wind Ensemble an
 d Symphonic Band</h3><h4><em>'Emblems'</em></h4><p>Erin Bodnar\, conductor
   <br>Eden Garza\, bass trombone <br>Solomon Encina\, graduate conductor  
 <br>Nicholas Renaud\, graduate conductor <br>Noah Scanlan\, graduate condu
 ctor <br>Yuman Wu\, graduate conductor  <br> </p><h3>UW Symphonic Band  </
 h3><p><em>Erin Bodnar\, conductor  </em></p><p>Big Things (2026) - <strong
 >Holly Harrison</strong> (b. 1988) <br>Big Smoke  <br>Big Boots <br>Big He
 art <br> <br>Some treasures are heavy with human tears (2022) -<strong> Jo
 hn Mackey</strong> (b. 1973)  <br> <br>American Hymnsong Suite (2007) - <s
 trong>Dwayne Milburn</strong> (b. 1963) <br>Prelude on Wondrous Love <br>B
 allad on Balm in Gilead <br><em>Noah Scanlan\, graduate conductor </em><br
 >Scherzo on Nettleton <br>March on Wilson <br><em>Nicholas Renaud\, gradua
 te conductor </em><br> <br>-Intermission-</p><h3> UW Wind Ensemble  </h3><
 p>Erin Bodnar\, conductor  <br> <br>Emblems (1964)  - <strong>Aaron Coplan
 d</strong> (1900-1990) <br> <br>Vademecum (2008/2014)  - <strong>Wim Bex</
 strong> (b. 1977) <br>School Life <br>Love Life <br>Café Life  <br>Eden Ga
 rza\, bass trombone <br> <br> <br>Concerto for Wind Ensemble (2021) - <str
 ong>Kevin Day</strong> (b. 1996) <br>Flow <br>Yuman Wu\, graduate conducto
 r <br>II. Riff  <br>Solomon Encina\, graduate conductor </p><hr><h2>Progra
 m Notes</h2><p>Written in three movements\, <strong>Big Things </strong>is
  all about…well\, big things. From the urban feel of Big Smoke to the swag
 ger of Big Boots\, to the courageous spirit of Big Heart. Think big city b
 uzz\, big attitude\, and big endings. When first writing the work\, my ear
  was drawn to masses of big bold sounds: a mix of big contrasts\, big groo
 ves\, and big beats. In Australia\, we often refer to large cities as the 
 ‘big smoke’. With more than a trace of disco\, the opening movement captur
 es the bustling\, bursting energy of big cities\, imagining a streetscape 
 dancefloor flooded with commuters. Big Boots embraces a sleazy funk groove
  with a smattering of honky-tonk. With big boots to fill\, who be er to ca
 ll on than the bass section? This movement offers plenty of swagger\, stomp
 \, and bass breakdowns. The final movement\, Big Heart\, is a big ending i
 n disguise. Featuring numerous soloists in the lyrical first half\, melodi
 c strains and lines become increasingly entangled throughout. This lyrical
  web ultimately gives way to triumph\, showcasing two contrasting sides of
  what I like to think of as the heart of band.<br>Program Note by composer
  <br> </p><p>(CONTENT WARNING: This program note describes an act of publi
 c mass violence and may be traumatic or uncomfortable to some readers. Dis
 cretion is advised.)<br><br>At 1:05 a.m. on Sunday\, August 4\, 2019\, in 
 the Oregon Historic District of Dayton\, Ohio\, a man armed with a semiaut
 omatic AM-15 approached a crowded neighborhood bar and opened fire. In und
 er 30 seconds\, he fired 41 rounds\, killing nine people and injuring anot
 her 17. That’s where the story of John Mackey’s <strong>Some treasures are
  heavy with human tears</strong> begins.</p><p>One of the victims of the s
 hooting was Megan Betts\, a 22-year-old woman who had played trumpet in he
 r high school band in nearby Bellbrook. The Bellbrook program reached out 
 to Mackey to commission a work that would commemorate the tragedy\, a task
  he approached with some reluctance:</p><p>'I’ve been asked on several occ
 asions to write pieces in response to tragedies\, but I’ve rarely felt lik
 e it was appropriate. Something about this\, though -- happening in Dayton
 \, where I’ve been many times\, and so close to Columbus\, where I grew up
  -- that I felt like I wanted to try to say something musically\, even tho
 ugh I was at a loss for what I could say verbally. Fortunately\, Abby (my 
 spouse) found this incredible title\, which says so much before the music 
 even starts. The last thing the community needed was a piece of music that
  relived the event. The piece isn’t trying to sound like WHAT happened\; i
 t’s trying to convey what it feels like to KNOW that it happened.'</p><p>T
 he piece is not programmatic. Rather\, it exists in abstraction: a meditat
 ion on grief. In framing the work in this way\, Mackey’s music transcends 
 elegizing a singular horrific event and instead provides an artistic repre
 sentation of how we cope with all tragedies\, both those that are intensel
 y personal and the ones that are communal. It explores a wide range of emo
 tions\, from denial through shock\, fury\, and anguish before finally find
 ing an incomplete peace.</p><p>Some treasures are heavy with human tears b
 egins with a simple motivic gesture: a rocking oscillation between flute a
 nd vibraphone that sounds akin to a lullaby. This principal motive carries
  throughout the piece\, acting as the listener’s avatar through the emotio
 nal journey. A melody spins out from it\, accompanied by ethereal ringing 
 provided by crystal glasses and whirly tubes\, and although the overall mo
 od is one of melancholy\, the atmosphere is also peaceful until a disorien
 ting fog of trombone glissandi passes over. The songlike melody continues\
 , at times abruptly shifting from the resigned mood of the home key of G m
 inor to the distantly bright C major\, evoking a fleeting remembrance of a
  more hopeful spirit\, before just as quickly dissipating back. The simpli
 city of the opening returns\, but this time fuller\, with more voices join
 ing before the glissando cloud returns (this time augmented by timpani)\, 
 ushering in a new mood: confusion. The opening gesture reemerges\, ceasele
 ssly rocking in a rhythmic nature\, oblivious to a building torment in the
  surrounding harmonies which become brasher and angrier as the piece appro
 aches its dramatic climax. The apex of the piece is a wail\, acknowledging
  the reality of the trauma in a moment of agony bordering on rage. This to
 o\, however\, subsides\, and the peacefulness of the beginning of the work
  returns to stay with one exception: as the final phrase of the work caden
 ces and the last tones decay\, a single muted trumpet rises from the silen
 ce in a bright flash and is suddenly extinguished.<br>- Program Note by Ja
 cob Wallace</p><p><strong>American Hymnsong Suite</strong> is firmly roote
 d in my family history as church musicians. I grew up singing and playing 
 many different hymns\, including the four tunes featured in this work. The
  final impetus to compose this particular treatment came during the course
  of an organ concert in Atlanta\, Georgia. One section of the program feat
 ured innovative settings of three hymns. With the gracious consent of comp
 osers Joe Utterback and Brooks Kukendall\, I adapted their settings to act
  as the inner movements of the suite\, bracketed with my own original trea
 tments of favorite hymns.</p><p>The Prelude on Wondrous Love (“What Wondro
 us Love is This”) opens with a chant-like statement of this Southern tune 
 before proceeding to a more kinetic retelling. Ballad on “Balm in Gilead” 
 features a rich jazz harmonization of this familiar spiritual. The Scherzo
  on “Nettleton” (“Come Thou Fount of Every Blessing”) contains all the rhy
 thmic playfulness inherent in the best orchestral third movements\, and th
 e March on “Wilson” (“When We All Get to Heaven”) calls to mind the wildes
 t marching band ever heard.</p><p>While audience members will certainly ma
 ke various connections to this piece\, the ongoing goal is to introduce al
 l listeners to the richness of our American musical heritage.<br>- Program
  Note by composer</p><p>In May\, 1963\, I received a letter from Keith Wil
 son\, President of the College Band Directors National Association\, askin
 g me to accept a commission from that organization to compose a work for b
 and. He wrote: 'The purpose of this commission is to enrich the band reper
 tory with music that is representative of the composer's best work\, and n
 ot one written with all sorts of technical or practical limitations.' That
  was the origin of Emblems. I began work on the piece in the summer of 196
 4 and completed it in November of that year. It was first played at the CB
 DNA National Convention in Tempe\, Arizona\, on December 18\, 1964\, by th
 e Trojan Band of the University of Southern California\, conducted by Will
 iam A. Schaefer.</p><p>Keeping Mr. Wilson's injunction in mind\, I wanted 
 to write a work that was challenging to young players without overstrainin
 g their technical abilities. The work is tripartite in form: slow-fast-slo
 w\, with the return of the first part varied. Embedded in the quiet\, slow
  music the listener may hear a brief quotation of a well-known hymn tune A
 mazing Grace\, published by William Walker in The Southern Harmony in 1835
 . Curiously enough\, the accompanying harmonies had been conceived first\,
  without reference to any tune. It was only a chance of perusal of a recen
 t anthology of old 'Music in America' that made me realize a connection ex
 isted between my harmonies and the old hymn tune.</p><p>An emblem stands f
 or something - it is a symbol. I called the work <strong>Emblems</strong> 
 because it seemed to me to suggest musical states of being: noble or aspir
 ational feelings\, playful or spirited feelings. The exact nature of these
  emblematic sounds must be determined for himself by each listener.<br>- P
 rogram Note by composer</p><p><strong>Vademecum</strong> was written betwe
 en October 2007 and May 2008. It was commissioned by the Metropole Brass B
 and and dedicated to Geert De Vos.</p><p>The concerto is an ode to three d
 istinct facets of the bass trombone: it’s dark\, harsh\, and aggressive ch
 aracter -- its lyrical\, melodious\, and romantic nature -- and its playfu
 l\, virtuoso abilities. It can be considered a translation into music of t
 he shared time the composer and the soloist spent during their studies tog
 ether. Love Life is an ode to the relationship between Geert and his wife 
 Katrien. It also describes the energy between a man and a woman when love 
 is dawning\, and how the outside world reacts to it: some people with joy\
 , others with questions\, but in the end love prevails.<br>- Program Note 
 by composer</p><p>After several fruitful conversations with Dr. Cynthia Jo
 hnston Turner\, director of bands at the University of Georgia\, the conce
 pt for the <strong>Concerto for Wind Ensemble</strong> began to take form.
  We had talked about doing a potential commission for the UGA Hodgson Wind
  Ensemble\, and ultimately the conversation led to the idea of doing a sub
 stantial work to further the wind band repertoire. I knew off the bat that
  I wanted to write something that reflected my upbringing as a young black
  man and the musical culture that I grew up in\, which hasn’t always been 
 represented in concert band music.</p><p>My experience and the inspiration
  for this work come from a world of various intersections. My father\, bor
 n in West Virginia\, was a hip-hop producer in the late 1980s who worked i
 n Southern California\, and my mother (also from West Virginia) was a gosp
 el singer. During my childhood\, I grew up listening to hip-hop\, R&B\, ja
 zz\, and gospel music. Simultaneously\, I was learning classical music thr
 ough playing in band\, and later orchestra. I was playing jazz and gospel 
 music on piano\, while also playing classical music on euphonium and tuba.
  This dual learning environment had a huge impact on my musicianship and m
 y development as a composer. While these words had been separated in my he
 ad when I was growing up\, in this work I intentionally wanted to merge th
 em together in new fusions\, paying homage to my parents\, the culture I g
 rew up in\, and to the wind band world.</p><p>What came from this concept 
 is this Concerto for Wind Ensemble\, a five-movement work for band that is
  my most ambitious composition to date\, and a work that took almost two y
 ears to compose. The movements entitled Flow\, Riff\, Vibe\, Soul\, and Ja
 m reflect the various musical styles that I have been immersed in. Vibe an
 d Soul are specifically dedicated to my parents\, without whom I could not
  have made it this far. I am immensely grateful to Dr. Turner and to the c
 onsortium members of this work\, who believed in my vision and sought to b
 ring this work to life. I’m happy to share this contribution and love lett
 er to the wind band and to the culture.<br>- Program Note by composer</p><
 hr><h2>Biographies</h2><p>Canadian conductor-educator-tenor Nicholas Renau
 d is passionate about working with others toward musical growth and dynami
 c performances. Currently\, Nicholas is pursuing his DMA in Choral Conduct
 ing at the University of Washington under the supervision of Dr. Geoffrey 
 Boers and Dr. Giselle Wyers\, where he serves as Assistant Conductor of th
 e award-winning UW Chorale\, co-conductor of the UW Recital Choir\, the Gl
 ee Club Tenor-Bass Choir\, and Choral Cohort Ensemble\, and as a Graduate 
 Teaching Assistant in the School of Music.</p><p>Out in the community\, Ni
 cholas works frequently as a tenor\, guest conductor\, clinician and Frenc
 h-language diction coach for local choirs and serves as Artistic Director 
 of La Chorale francophone de Seattle\, a multi-generational community choi
 r specializing in the performance of French-language music from around the
  world. He also serves as Associate Artistic Director of the Magnolia Chor
 ale\, a large\, auditioned multigenerational concert choir which regularly
  performs major works. Prior to commencing his studies at UW\, Nicholas co
 nducted a variety of community bands and choirs and had a busy career teac
 hing K-12 Music and French classes in public schools and serving his fello
 w teachers as a union activist in and around Vancouver\, Canada.</p><p>Nic
 holas holds degrees and graduate-level diplomas in music\, French and educ
 ation from some of Canada's top universities. While completing his Bachelo
 r of Music at the University of Victoria\, he served as Assistant Director
  of the Vocal Jazz Ensemble and Chamber Singers\, and as Conductor of the 
 Massed Men's Choir and Director of the Vocal Jazz Women's Chorus\, Ellavat
 ion. He has been the recipient of numerous fellowships\, scholarships and 
 awards\, but his proudest accomplishment throughout his studies was receiv
 ing the Outstanding Practicum Award from the University of British Columbi
 a. This was given in recognition of Nicholas' dedication\, commitment and 
 diligence while teaching high school students in choir\, band and IB Frenc
 h classes during his Bachelor of Education degree.  </p><p>An earnest scho
 lar\, Nicholas' research interests include inclusive and decolonial approa
 ches to leadership and pedagogy\, incorporating voice science in the chora
 l rehearsal process\, empathetic choral conducting\, and early Canadian ch
 oral music. Nicholas is devoted to building community and cooperation thro
 ugh the study of music\, engaging in innovative teaching that involves a v
 ariety of approaches and activities to foster teamwork. He works hard to e
 mpower others––no matter their age or experience level––to develop confide
 nce as they learn to express their creativity through group music-making a
 nd engaging musical performances.</p><p>Noah Scanlan is a Master of Archit
 ecture student at the University of Washington with a background in music 
 performance and conducting. A California native\, Noah grew up in the smal
 l town of Ridgecrest\, California\, and was constantly exposed to all genr
 es of music at home. This introduction shaped his interest in playing the 
 saxophone and\, eventually\, conducting\, leading him to continue his musi
 c making endeavors in his undergraduate studies.  </p><p>Noah received his
  Bachelor of Arts in Music and Bachelor of Science in Civil Engineering at
  California Polytechnic State University\, San Luis Obispo. It was here th
 at his interests in conducting grew\, leading him to be a field conductor 
 for the Cal Poly Mustang Marching Band\, a student conductor for the Cal P
 oly Symphony\, and a conductor for various small ensembles. After deciding
  to pursue a career in architecture\, Noah continues to pursue musical opp
 ortunities whenever possible. He has kept his passion for music alive at U
 W by taking music courses\, conducting the UW Symphonic Band\, and playing
  the piano at home.</p><p>Solomon Encina is a Graduate Assistant at the Un
 iversity of Washington\, where he is pursuing a Doctor of Musical Arts (D.
 M.A.) in Instrumental Conducting. Solomon holds a Bachelors of Music degre
 e in Instrumental Performance in Percussion from California Baptist Univer
 sity. He also holds a Masters in Music Education degree from Azusa Pacific
  University where he studied under Dr. Alexander Koops and Dr. John Burdet
 t.  </p><p>Solomon is a native of the Southern California region\, where h
 e has taught and arranged music for several high quality institutions. Mos
 t recently\, he served as the Director of Bands at Los Osos High School in
  Rancho Cucamonga\, CA\, where the band\, orchestra and color guard progra
 m regularly received high distinction awards at festivals throughout the s
 tate under his direction. During this time he also performed as a percussi
 onist with several touring groups throughout the United States and as a gu
 est conductor of the European Tour for Southern California Ambassadors of 
 Music. After several years as a high school educator\, Solomon is thrilled
  to begin pursuing his highest academic aspirations by attending UW to stu
 dy under Professor Timothy Salzman.</p><p>Solomon Encina has affiliations 
 with the National Association for Music Education (NAfME)\, the College Ba
 nd Directors National Association (CBDNA)\, the California Music Educators
  Association (CMEA)\, and the Southern California School Band and Orchestr
 a Association (SCSBOA). Solomon Encina is proudly endorsed by the Vic Firt
 h Company and is a part of the Vic Firth Education team.</p><p>Yuman Wu is
  a Graduate Assistant at the University of Washington\, where she is pursu
 ing a Doctor of Musical Arts (D.M.A.) in Instrumental Conducting under the
  mentorship of Timothy Salzman and Erin Bodnar. At UW\, she serves as the 
 conductor for UW Concert Band\, assistant conductor for the UW Wind Ensemb
 le and Symphonic Band\, and contributes to the Husky Marching Band. She al
 so assists in teaching the undergraduate conducting classes\, working clos
 ely with music education majors. As a conductor\, multi-instrumentalist\, 
 and educator\, Yuman enjoys playing music from all cultural backgrounds\, 
 innovating new ideas\, and leading the music industry forward with inclusi
 vity. She was recently selected as one of five conductors for the prestigi
 ous 2025 U.S. Army Band Conductors Workshop\, where she conducted The U.S.
  Army Band “Pershing’s Own” in a public performance at the Rachel M. Schle
 singer Concert Hall in Washington\, D.C.</p><p>Yuman holds a Master of Mus
 ic in Wind Conducting from the Peabody Institute of Johns Hopkins Universi
 ty\, where she studied with Dr. Harlan Parker and served as Teaching Assis
 tant for Secondary Instrumental Conducting. She also earned a Master of Sc
 ience in Business Analytics from Cornell University. Yuman completed three
  Bachelor's degrees in Music\, Statistics\, and Economics from the Univers
 ity of Illinois at Urbana-Champaign. </p>
END:VEVENT
BEGIN:VEVENT
UID:048d949f-93ab-4f78-9695-48febfe2578c
DTSTAMP:20260612T083118Z
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><h2 class='x_M
 soNormal'>Featured Performers</h2>  Full program <a href='/sites/music/fil
 es/documents/June%203%2C%202026.pdf'>HERE</a>.
DTSTART;TZID=America/Los_Angeles:20260603T123000
DTEND;TZID=America/Los_Angeles:20260604T000000
LAST-MODIFIED:20260526T143447Z
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>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><
 /div><div> </div><div>Full program <a href='/sites/music/files/documents/J
 une%203%2C%202026.pdf'>HERE</a>.</div>
END:VEVENT
BEGIN:VEVENT
UID:e39322c9-e05a-4acb-ab63-579e5bd3ab50
DTSTAMP:20260612T083118Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250819T190152Z
DESCRIPTION:<p> </p><p>The Studio Jazz Ensemble and Modern Band present a s
 hared program of repertory selections\, original music\, and inspired arra
 ngements.  Students in the Modern Band (Greg Sinibaldi\, director) dissect
  the music of  Thelonious Monk and Billy Strayhorn with their own arrangem
 ents of tunes by Monk and Strayhorn. Students in the Studio Jazz Ensemble 
 (Jacob Zimmerman\, director) perform older-style jazz selections from the 
 1920s to 1940s\, including works by Frank Foster\, Dizzy Gillespie\, Henry
  Mancini\, Wes Montgomery\, and others. </p><hr><h2>Program</h2><h3>Modern
  Band</h3><p>Greg Sinibaldi\, director</p><p>Blue\, (kind of)\, no not tha
 t one - <strong>Thelonius Monk\, Billy Strayhorn\,</strong> arr. <strong>J
 aiden Garcia</strong><br>Isfahan - <strong>Billy Strayhorn</strong>\, arr.
  <strong>Coen Rios</strong><br>Blood Count - <strong>Billy Strayhorn\,</st
 rong> arr. <strong>AJ Marto</strong><br>Monk's is in the Mood - <strong>Th
 elonius Monk\,</strong> arr. <strong>Brayson Young</strong><br>Ugly Manhat
 tan Beauty Group - <strong>Thelonius Monk\, Billy Strayhorn\,</strong> arr
 . <strong>Riley Tobin</strong><br>A Flower is a Toothsome Thing - <strong>
 Billy Strayhorn\, </strong>arr. <strong>Rory Somers</strong><br>Pannonica/
 Chelsea Bridge - <strong>Thelonius Monk\, Billy Strayhorn\,</strong> arr. 
 <strong>Thomas Jennings</strong></p><h4>Personnel</h4><p>Coen Rios - tenor
  sax and electronics<br>Rory Somers - trumpet and electronics<br>Graeme Ge
 ntle - tenor sax<br>Yotam Snir - tenor sax<br>Jaiden Garcia - trombone<br>
 Gavin Westland - piano and synthesizer<br>AJ Marto - electric bass<br>Rile
 y Tobin - bass<br>Brayson Young - drums</p><hr><h3>Studio Jazz Ensemble</h
 3><p>Jacob Zimmerman\, director</p><p>Tomorrow's Blues Today -  <strong>Fr
 ank Foster</strong><br>Chris and His Gang - <strong>Tommy Dorsey\, Fletche
 r Henderson </strong>and<strong> Horace Henderson</strong><br>D Natural Bl
 ues - <strong>Wes Montgomery</strong><br>One Bass Hit - <strong>John 'Dizz
 y' Gillespie</strong><br>Magnatism - <strong>Pete Christlieb</strong><br>C
 harleston -<strong> James P. Johnson </strong>and<strong> Cecil Mack</stro
 ng><br>Fallout - <strong>Henry Mancini</strong><br>It's Only A Paper Moon 
 - <strong>Harold Arlen\, Yip Harburg </strong>and <strong>Billy Rose</stro
 ng><br>Countless Blues - <strong>Lester Young</strong> and <strong>Milt Ga
 bler</strong><br>Gap Toothed Grin - <strong>Eric Jekabson</strong>  </p><h
 4>Personnel</h4><p><strong>Reeds:</strong> Jacob Zimmerman\, Graham Cobden
 \, Brady Poor\, Phineas Ruji\, Maya Rasche<br><strong>Trombones:</strong> 
 Eliana Koenig\, Mack Henry\, Alex Weber<br><strong>Trumpets: </strong>Ben 
 von Jess\, Rory Somers\, Teddy Seligman\, Logan Carte<br><strong>Rhythm Se
 ction: </strong>Erica Boatwright\, Nico King\, Jonas Medford\, Dominic Apo
 stol\, Max Langs</p><hr><h2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260603T193000
DTEND;TZID=America/Los_Angeles:20260604T000000
LAST-MODIFIED:20260602T215030Z
SUMMARY:: Studio Jazz Ensemble and Modern Band
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-06-03/studio-jazz-ensemble-and
 -modern-band
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p> </p><p>The Studio Jazz Ensemble and Modern
  Band present a shared program of repertory selections\, original music\, 
 and inspired arrangements.  Students in the Modern Band (Greg Sinibaldi\, 
 director) dissect the music of  Thelonious Monk and Billy Strayhorn with t
 heir own arrangements of tunes by Monk and Strayhorn. Students in the Stud
 io Jazz Ensemble (Jacob Zimmerman\, director) perform older-style jazz sel
 ections from the 1920s to 1940s\, including works by Frank Foster\, Dizzy 
 Gillespie\, Henry Mancini\, Wes Montgomery\, and others. </p><hr><h2>Progr
 am</h2><h3>Modern Band</h3><p><em>Greg Sinibaldi\, director</em></p><p>Blu
 e\, (kind of)\, no not that one - <strong>Thelonius Monk\, Billy Strayhorn
 \,</strong> arr. <strong>Jaiden Garcia</strong><br>Isfahan - <strong>Billy
  Strayhorn</strong>\, arr. <strong>Coen Rios</strong><br>Blood Count - <st
 rong>Billy Strayhorn\,</strong> arr. <strong>AJ Marto</strong><br>Monk's i
 s in the Mood - <strong>Thelonius Monk\,</strong> arr. <strong>Brayson You
 ng</strong><br>Ugly Manhattan Beauty Group - <strong>Thelonius Monk\, Bill
 y Strayhorn\,</strong> arr. <strong>Riley Tobin</strong><br>A Flower is a 
 Toothsome Thing - <strong>Billy Strayhorn\, </strong>arr. <strong>Rory Som
 ers</strong><br>Pannonica/Chelsea Bridge - <strong>Thelonius Monk\, Billy 
 Strayhorn\,</strong> arr. <strong>Thomas Jennings</strong></p><h4>Personne
 l</h4><p>Coen Rios - tenor sax and electronics<br>Rory Somers - trumpet an
 d electronics<br>Graeme Gentle - tenor sax<br>Yotam Snir - tenor sax<br>Ja
 iden Garcia - trombone<br>Gavin Westland - piano and synthesizer<br>AJ Mar
 to - electric bass<br>Riley Tobin - bass<br>Brayson Young - drums</p><hr><
 h3>Studio Jazz Ensemble</h3><p><em>Jacob Zimmerman\, director</em></p><p>T
 omorrow's Blues Today -  <strong>Frank Foster</strong><br>Chris and His Ga
 ng - <strong>Tommy Dorsey\, Fletcher Henderson </strong>and<strong> Horace
  Henderson</strong><br>D Natural Blues - <strong>Wes Montgomery</strong><b
 r>One Bass Hit - <strong>John 'Dizzy' Gillespie</strong><br>Magnatism - <s
 trong>Pete Christlieb</strong><br>Charleston -<strong> James P. Johnson </
 strong>and<strong> Cecil Mack</strong><br>Fallout - <strong>Henry Mancini<
 /strong><br>It's Only A Paper Moon - <strong>Harold Arlen\, Yip Harburg </
 strong>and <strong>Billy Rose</strong><br>Countless Blues - <strong>Lester
  Young</strong> and <strong>Milt Gabler</strong><br>Gap Toothed Grin - <st
 rong>Eric Jekabson</strong>  </p><h4>Personnel</h4><p><strong>Reeds:</stro
 ng> Jacob Zimmerman\, Graham Cobden\, Brady Poor\, Phineas Ruji\, Maya Ras
 che<br><strong>Trombones:</strong> Eliana Koenig\, Mack Henry\, Alex Weber
 <br><strong>Trumpets: </strong>Ben von Jess\, Rory Somers\, Teddy Seligman
 \, Logan Carte<br><strong>Rhythm Section: </strong>Erica Boatwright\, Nico
  King\, Jonas Medford\, Dominic Apostol\, Max Langs</p><hr><h2>Biographies
 </h2>
END:VEVENT
BEGIN:VEVENT
UID:e101426c-c469-40d8-8566-8db1a8079970
DTSTAMP:20260612T083118Z
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. Soledad Mayorga-Maldonado is featured soloist for Francis Poulenc's G
 loria\, with Giselle Wyers conducting.</p><hr><h2>Program</h2><p><strong>O
 ttorino Respighi: </strong>Fountains of Rome</p><p><strong>Nadia Boulanger
 : </strong>6 Songs\, orchd. Rahbee<br>Clara Osowski\, mezzo-soprano </p><p
 ><strong>Francis Poulenc:</strong> Gloria<br>Soledad Mayorga-Maldonado\, s
 oprano<br>Giselle Wyers\, conductor</p><hr><h2>Program Notes</h2><p><br><s
 trong>Ottorino Respighi (1879-1936): Fountains of Rome (1916)</strong></p>
 <p>Ottorino Respighi's Fountains of Rome was composed in 1916 and was the 
 first work in what would become his famous Roman Trilogy\, followed by Pin
 es of Rome and Roman Festivals. Although Respighi began his career as a pi
 anist\, violinist\, and violist\, he is best known today for these three o
 rchestral works which use colorful orchestration to depict scenes in the c
 ity of Rome. Fountains of Rome is a symphonic poem in four parts\, each po
 rtraying a different Roman fountain at a particular time of day when its s
 urroundings and atmosphere are most notable.</p><p>The work opens with the
  Fountain of Valle Giulia at dawn. During Respighi's lifetime\, this area 
 was still largely pastoral\, and the music reflects the peace of the count
 ryside as the day begins. The second section depicts the Triton Fountain\,
  designed by sculptor Gian Lorenzo Bernini. The music is livelier\, reflec
 ting the movement and energy of Triton\, a sea god of ancient Greco-Roman 
 legend\, who is represented here as a merman kneeling on a large shell.</p
 ><p>The third movement shifts to the Trevi Fountain at midday. One of the 
 largest and most famous fountains in Rome is shown in broad\, powerful orc
 hestral writing that gives the sense of grandeur. The final scene depicts 
 the Fountain of the Villa Medici at sunset. Located on a hill overlooking 
 St. Peter's Basilica\, the fountain is presented in a much quieter and mor
 e contemplative atmosphere. As evening sets\, the music slowly dies away\,
  bringing the work to a tranquil close. Through these four scenes\, Respig
 hi transforms familiar landmarks into musical landscapes\, using the orche
 stra to paint the changing sights and moods of Rome throughout the day.</p
 ><p><strong>Nadia Boulanger (1887-1979): Six Songs (1907-1922)</strong></p
 ><p>Nadia Boulanger is remembered today as one of the most influential mus
 ic teachers of the twentieth century. Born into a musical family in Paris\
 , she studied at the Paris Conservatoire\, where she quickly became known 
 as a talented musician. In 1908\, she became the first woman to place seco
 nd in the prestigious Prix de Rome composition competition. During her car
 eer\, she worked as a composer\, pianist\, organist\, teacher\, and conduc
 tor\, and became one of the first women to conduct many major orchestras i
 n the United States and Europe.</p><p>The impact Boulanger had on music is
  often measured by the work of her students. She mentored generators of co
 mposers\, including Aaron Copland\, Philip Glass\, Astor Piazzolla\, Ellio
 tt Carter\, and Quincy Jones\, teaching at the American Conservatory in Fo
 ntainebleau. Her focus on craftsmanship\, structure\, and score study impa
 cted musicians across a wide range of styles.</p><p>These songs were compo
 sed for voice and piano while Boulanger was very active as a performer. Th
 e songs are in the tradition of French mélodie\, in which the voice and pi
 ano combine to express the meaning and mood of the text. Influenced by com
 posers such as Gabriel Fauré\, Boulanger often favors subtle harmonic shif
 ts and expressive vocal lines over dramatic displays. Dr. Rahbee selected 
 six songs that he feels would sound best in an orchestral setting and orch
 estrated them in late 2024 into early 2025. This is the premier performanc
 e of the orchestral versions.</p><p>These songs also give show us a side o
 f Boulanger that is often overshadowed by her teaching career. After the d
 eath of her younger sister\, the composer Lili Boulanger\, Nadia gradually
  devoted less time to composing and more to teaching and conducting. This 
 is a rare opportunity to hear the work of a musician whose greatest legacy
  may have been the generations of artists she inspired\, but who also was 
 a thoughtful and accomplished composer in her own right.</p><p><strong>Fra
 ncis Poulenc (1899-1963): Gloria\, FP 177 (1959)</strong></p><p>Francis Po
 ulenc's Gloria was composed in 1959 and is one of the most performed sacre
 d choral works of the 20th century. Written for soprano soloist\, chorus\,
  and orchestra\, the Gloria was commissioned by the Koussevitzky Foundatio
 n and premiered in Boston in 1961. Poulenc was a French composer and piani
 st whose music often combined elements that seem incompatible\, like humor
  and reverence. Although he had already written many choral works\, he ret
 urned to Catholicism after the death of his friend Pierre-Octave Ferroud i
 n 1936 which marked the beginning of a period in which religious music bec
 ame the focus of his compositions.</p><p>The text of the Gloria comes from
  the Latin Mass\, where it is traditionally sung after the Kyrie on feast 
 days and other celebratory occasions. Poulenc does not take the text as on
 e statement of praise\, each movement has a different mood\, from energeti
 c and playful to reflective and solemn. Poulenc said that some of the musi
 c was inspired by watching Benedictine monks play soccer\, an image that h
 elps explain why you can hear unexpected bright moments appear next to mor
 e serious passages.</p><p>The work is divided into six movements. The open
 ing Gloria in excelsis Deo begins with a theme quoted from Igor Stravinsky
 's Serenade in A and starts off with syncopated rhythms heard throughout t
 he movement. The second movement\, Laudamus te\, is driven by off-beat acc
 ents in the strings\, while the third movement\, Domine Deus\, introduces 
 the soprano soloist and a more lyrical sound. Poulenc marks the fourth mov
 ement\, Domine Fili unigenite\, as 'very lively and joyful.' The fifth mov
 ement\, Domine Deus\, Agnus Dei\, is more restrained\, with the chorus oft
 en finishing off ideas begun by the soloist. In the final movement\, Qui s
 edes ad dexteram Patris\, Poulenc alternates between fast and slow section
 s before bringing the work to a conclusion.<br>—Program notes by Andrew Vu
 .</p><hr><h2>Biographies</h2><h3><a href='https://music.washington.edu/peo
 ple/soledad-mayorga-maldonado' data-entity-type='external'>Soledad Mayorga
 -Maldonado </a></h3><p>Soledad Mayorga-Maldonado is an accomplished Chilea
 n soprano and singing professor who will soon graduate from the Master's p
 rogram in Voice Performance at the School of Music at the University of Wa
 shington. She has extensive training in classical singing\, having studied
  with renowned international artists who have enriched her vocal and perfo
 rmance skills.</p><p>Her professional career spans stages in Chile\, Peru\
 , Russia\, France\, England\, Ireland\, and the United States. Her varied 
 repertoire includes opera\, art song\, contemporary music\, and Latin Amer
 ican works. As a soloist\, she has performed with prestigious ensembles su
 ch as the National Philharmonic Orchestra of Chile and the National Sympho
 ny Orchestra of Chile. She has also participated in recordings\, including
  Sonido de Mujer (2024)\, a tribute to female composers.</p><p>As educator
 \, she has taught singing and vocal performance classes for several years.
  She has taught at the University of Valparaíso\, served as a singing tuto
 r at Universidad Mayor\, the Juan Miguel Rojas Cultural Center\, and Adolf
 o Ibáñez University. Soledad has also been a vocal coach and soloist for t
 he Choir of the Metropolitan Cathedral of Santiago de Chile and the Sympho
 ny Choir of the University of Chile.</p><p>Beyond her experience as a sing
 er Soledad is also passionate about Chilean and Latin American musical her
 itage. She has taught master classes on Chilean music at the University of
  Washington and has contributed to the revitalization of lesser-known comp
 osers and their works.</p><p></p><h3><a href='https://www.claraosowski.com
 '>Clara Osowski</a></h3><p>Mezzo-soprano Clara Osowski\, who sings 'from i
 nside the music with unaffected purity and sincerity' (UK Telegraph)\, is 
 an active soloist and chamber musician hailed for her 'rich and radiant vo
 ice' (UrbanDial Milwaukee). She was a Metropolitan Opera National Council 
 Upper-Midwest Regional Finalist\, the winner of several competitions inclu
 ding Bel Canto Chorus Regional Artists Competition of Milwaukee\, the Hous
 ton Saengerbund Competition\, several time runner-up in The Schubert Club 
 Bruce P. Carlson Scholarship Competition\, and third place in the Madison 
 Handel Aria Competition. Recognized for her excellence in Minnesota\, Clar
 a was a recipient of the prestigious 2018-2019 McKnight Artist Fellowships
  for Musicians administered by MacPhail Center for Music.</p><p>In interna
 tional competition with pianist Tyler Wottrich\, in March of 2017\, Clara 
 became the first ever American prize winner when she placed second at Thom
 as Quasthoff's International Das Lied Competition in Heidelberg\, Germany.
  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 London\
 , and Clara was awarded the Richard Tauber Prize for the best interpretati
 on of Schubert Lieder. She recently won the Radio-Canada People’s Choice A
 ward and third place in the song division at the 2018 Concours Musical Int
 ernational de Montréal. </p><p>Recent performance highlights include her d
 ebut with Minnesota Opera as Mrs. Herring in Britten’s Albert Herring\, an
 d active as a recitalist\, she stepped in for Susanna Philips in The Schub
 ert Club International Artist Series Recital with Eric Owens. She has also
  been a feature recitalist at the Enlightenment Festival of Seraphic Fire\
 , The Pablo Center of Eau Claire\, Wisconsin\, The Dame Myra Hess Memorial
  Concerts\, and several universities. She has collaborated with many chamb
 er musicians\, including pianist Wu Han\, The Lydian String Quartet\, Voca
 lEssence Ensemble Singers\, the Minneapolis Guitar Quartet\, Accordo\, and
  Dark Horse Consort. Clara’s passion for contemporary music is exhibited i
 n the song-cycles and chamber music she has premiered or commissioned by n
 umerous composers including James Kallembach\, Libby Larsen\, David Evan T
 homas\, Linda Kachelmeier\, Reinaldo Moya\, Carol Barnett\, and Juliana Ha
 ll. </p><p>Orchestral performance highlights include her soloist debuts of
  Bach's St. Matthew Passion with the Bel Canto Chorus of Milwaukee\, B Min
 or Mass with the Back Bay Chorale of Boston\, Christmas Oratorio with Bach
  Society of Minnesota\, Mozart’s Requiem with Milwaukee Symphony Orchestra
 \, Mahler's Symphony No. 2 with Tulsa Signature Symphony\, Bernstein’s Jer
 emiah with Mid-Columbia Symphony\, and Dominick Argento's orchestral song 
 cycles Casa Guidi and A few words about Chekhov with the Metropolitan Symp
 hony Orchestra of Minneapolis.</p><p>Active also as an educator\, Clara ha
 s enjoyed giving masterclasses and convocations at several universities\, 
 including Syracuse University\, Muhlenberg College\, Seattle University\, 
 Concordia College (Moorhead)\, and North Dakota State University. She was 
 also the guest artist in residence at Indiana State University's 50th Cont
 emporary Music Festival celebrating the music of Libby Larsen. Clara also 
 served on the faculty at the Aspen Music Festival's Professional Choral In
 stitute in partnership with Seraphic Fire\, and has been a panelist for So
 ngFest and the Lakes Area Music Festival.</p><p>Previous season highlights
  include her Wigmore Hall debut recital with Julius Drake\, debuts with Ka
 nsas City Symphony and Handel and Haydn Society\, a premiere oratorio with
  the National Lutheran Choir by Steve Heitzig\, and a premiere orchestral 
 song cycle by Carol Barnett with the Metropolitan Symphony Orchestra. </p>
 <p>In addition to performing\, Clara serves as the Artistic Director of So
 urce Song Festival\, a week-long art song festival in Minneapolis\, Minnes
 ota. This festival strives to create and perform new art song\, and cultiv
 ate an educational environment for students of song\, including composers\
 , vocalists\, and collaborative pianists. In addition to her solo work\, s
 he participates in a number of ensembles\, including Lumina Women's Ensemb
 le\, Lorelei Ensemble\, and Seraphic Fire. </p>
DTSTART;TZID=America/Los_Angeles:20260605T193000
DTEND;TZID=America/Los_Angeles:20260606T000000
LAST-MODIFIED:20260603T185655Z
SUMMARY:: UW Symphony Orchestra with UW Choirs\, Giselle Wyers\, Clara Osow
 ski\, and Soledad Mayorga-Maldonado
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-06-05/uw-symphony-orchestra-uw
 -choirs-giselle-wyers-clara-osowski-and-soledad-mayorga
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. Soledad Mayorga-Maldonado is featured soloist for Fr
 ancis Poulenc's Gloria\, with Giselle Wyers conducting.</p><hr><h2>Program
 </h2><p><strong>Ottorino Respighi: </strong>Fountains of Rome</p><p><stron
 g>Nadia Boulanger: </strong>6 Songs\, orchd. Rahbee<br><em>Clara Osowski\,
  mezzo-soprano </em></p><p><strong>Francis Poulenc:</strong> Gloria<br><em
 >Soledad Mayorga-Maldonado\, soprano</em><br><em>Giselle Wyers\, conductor
 </em></p><hr><h2>Program Notes</h2><p><br><strong>Ottorino Respighi (1879-
 1936): Fountains of Rome (1916)</strong></p><p>Ottorino Respighi's Fountai
 ns of Rome was composed in 1916 and was the first work in what would becom
 e his famous Roman Trilogy\, followed by Pines of Rome and Roman Festivals
 . Although Respighi began his career as a pianist\, violinist\, and violis
 t\, he is best known today for these three orchestral works which use colo
 rful orchestration to depict scenes in the city of Rome. Fountains of Rome
  is a symphonic poem in four parts\, each portraying a different Roman fou
 ntain at a particular time of day when its surroundings and atmosphere are
  most notable.</p><p>The work opens with the Fountain of Valle Giulia at d
 awn. During Respighi's lifetime\, this area was still largely pastoral\, a
 nd the music reflects the peace of the countryside as the day begins. The 
 second section depicts the Triton Fountain\, designed by sculptor Gian Lor
 enzo Bernini. The music is livelier\, reflecting the movement and energy o
 f Triton\, a sea god of ancient Greco-Roman legend\, who is represented he
 re as a merman kneeling on a large shell.</p><p>The third movement shifts 
 to the Trevi Fountain at midday. One of the largest and most famous founta
 ins in Rome is shown in broad\, powerful orchestral writing that gives the
  sense of grandeur. The final scene depicts the Fountain of the Villa Medi
 ci at sunset. Located on a hill overlooking St. Peter's Basilica\, the fou
 ntain is presented in a much quieter and more contemplative atmosphere. As
  evening sets\, the music slowly dies away\, bringing the work to a tranqu
 il close. Through these four scenes\, Respighi transforms familiar landmar
 ks into musical landscapes\, using the orchestra to paint the changing sig
 hts and moods of Rome throughout the day.</p><p><strong>Nadia Boulanger (1
 887-1979): Six Songs (1907-1922)</strong></p><p>Nadia Boulanger is remembe
 red today as one of the most influential music teachers of the twentieth c
 entury. Born into a musical family in Paris\, she studied at the Paris Con
 servatoire\, where she quickly became known as a talented musician. In 190
 8\, she became the first woman to place second in the prestigious Prix de 
 Rome composition competition. During her career\, she worked as a composer
 \, pianist\, organist\, teacher\, and conductor\, and became one of the fi
 rst women to conduct many major orchestras in the United States and Europe
 .</p><p>The impact Boulanger had on music is often measured by the work of
  her students. She mentored generators of composers\, including Aaron Copl
 and\, Philip Glass\, Astor Piazzolla\, Elliott Carter\, and Quincy Jones\,
  teaching at the American Conservatory in Fontainebleau. Her focus on craf
 tsmanship\, structure\, and score study impacted musicians across a wide r
 ange of styles.</p><p>These songs were composed for voice and piano while 
 Boulanger was very active as a performer. The songs are in the tradition o
 f French mélodie\, in which the voice and piano combine to express the mea
 ning and mood of the text. Influenced by composers such as Gabriel Fauré\,
  Boulanger often favors subtle harmonic shifts and expressive vocal lines 
 over dramatic displays. Dr. Rahbee selected six songs that he feels would 
 sound best in an orchestral setting and orchestrated them in late 2024 int
 o early 2025. This is the premier performance of the orchestral versions.<
 /p><p>These songs also give show us a side of Boulanger that is often over
 shadowed by her teaching career. After the death of her younger sister\, t
 he composer Lili Boulanger\, Nadia gradually devoted less time to composin
 g and more to teaching and conducting. This is a rare opportunity to hear 
 the work of a musician whose greatest legacy may have been the generations
  of artists she inspired\, but who also was a thoughtful and accomplished 
 composer in her own right.</p><p><strong>Francis Poulenc (1899-1963): Glor
 ia\, FP 177 (1959)</strong></p><p>Francis Poulenc's Gloria was composed in
  1959 and is one of the most performed sacred choral works of the 20th cen
 tury. Written for soprano soloist\, chorus\, and orchestra\, the Gloria wa
 s commissioned by the Koussevitzky Foundation and premiered in Boston in 1
 961. Poulenc was a French composer and pianist whose music often combined 
 elements that seem incompatible\, like humor and reverence. Although he ha
 d already written many choral works\, he returned to Catholicism after the
  death of his friend Pierre-Octave Ferroud in 1936 which marked the beginn
 ing of a period in which religious music became the focus of his compositi
 ons.</p><p>The text of the Gloria comes from the Latin Mass\, where it is 
 traditionally sung after the Kyrie on feast days and other celebratory occ
 asions. Poulenc does not take the text as one statement of praise\, each m
 ovement has a different mood\, from energetic and playful to reflective an
 d solemn. Poulenc said that some of the music was inspired by watching Ben
 edictine monks play soccer\, an image that helps explain why you can hear 
 unexpected bright moments appear next to more serious passages.</p><p>The 
 work is divided into six movements. The opening Gloria in excelsis Deo beg
 ins with a theme quoted from Igor Stravinsky's Serenade in A and starts of
 f with syncopated rhythms heard throughout the movement. The second moveme
 nt\, Laudamus te\, is driven by off-beat accents in the strings\, while th
 e third movement\, Domine Deus\, introduces the soprano soloist and a more
  lyrical sound. Poulenc marks the fourth movement\, Domine Fili unigenite\
 , as 'very lively and joyful.' The fifth movement\, Domine Deus\, Agnus De
 i\, is more restrained\, with the chorus often finishing off ideas begun b
 y the soloist. In the final movement\, Qui sedes ad dexteram Patris\, Poul
 enc alternates between fast and slow sections before bringing the work to 
 a conclusion.<br>—Program notes by Andrew Vu.</p><hr><h2>Biographies</h2><
 h3><a href='https://music.washington.edu/people/soledad-mayorga-maldonado'
  data-entity-type='external'>Soledad Mayorga-Maldonado </a></h3><p>Soledad
  Mayorga-Maldonado is an accomplished Chilean soprano and singing professo
 r who will soon graduate from the Master's program in Voice Performance at
  the School of Music at the University of Washington. She has extensive tr
 aining in classical singing\, having studied with renowned international a
 rtists who have enriched her vocal and performance skills.</p><p>Her profe
 ssional career spans stages in Chile\, Peru\, Russia\, France\, England\, 
 Ireland\, and the United States. Her varied repertoire includes opera\, ar
 t song\, contemporary music\, and Latin American works. As a soloist\, she
  has performed with prestigious ensembles such as the National Philharmoni
 c Orchestra of Chile and the National Symphony Orchestra of Chile. She has
  also participated in recordings\, including Sonido de Mujer (2024)\, a tr
 ibute to female composers.</p><p>As educator\, she has taught singing and 
 vocal performance classes for several years. She has taught at the Univers
 ity of Valparaíso\, served as a singing tutor at Universidad Mayor\, the J
 uan Miguel Rojas Cultural Center\, and Adolfo Ibáñez University. Soledad h
 as also been a vocal coach and soloist for the Choir of the Metropolitan C
 athedral of Santiago de Chile and the Symphony Choir of the University of 
 Chile.</p><p>Beyond her experience as a singer Soledad is also passionate 
 about Chilean and Latin American musical heritage. She has taught master c
 lasses on Chilean music at the University of Washington and has contribute
 d to the revitalization of lesser-known composers and their works.</p><p><
 meta charset='UTF-8'></p><h3><a href='https://www.claraosowski.com'>Clara 
 Osowski</a></h3><p>Mezzo-soprano Clara Osowski\, who sings 'from inside th
 e music with unaffected purity and sincerity' (UK Telegraph)\, is an activ
 e soloist and chamber musician hailed for her 'rich and radiant voice' (Ur
 banDial Milwaukee). She was a Metropolitan Opera National Council Upper-Mi
 dwest Regional Finalist\, the winner of several competitions including Bel
  Canto Chorus Regional Artists Competition of Milwaukee\, the Houston Saen
 gerbund Competition\, several time runner-up in The Schubert Club Bruce P.
  Carlson Scholarship Competition\, and third place in the Madison Handel A
 ria Competition. Recognized for her excellence in Minnesota\, Clara was a 
 recipient of the prestigious 2018-2019 McKnight Artist Fellowships for Mus
 icians administered by MacPhail Center for Music.</p><p>In international c
 ompetition with pianist Tyler Wottrich\, in March of 2017\, Clara became t
 he first ever American prize winner when she placed second at Thomas Quast
 hoff's International Das Lied Competition in Heidelberg\, Germany. Later t
 hat year\, the duo was also one of four to reach the finals in the very pr
 estigious Wigmore Hall/Kohn Foundation Song Competition in London\, and Cl
 ara was awarded the Richard Tauber Prize for the best interpretation of Sc
 hubert Lieder. She recently won the Radio-Canada People’s Choice Award and
  third place in the song division at the 2018 Concours Musical Internation
 al de Montréal. </p><p>Recent performance highlights include her debut wit
 h Minnesota Opera as Mrs. Herring in Britten’s Albert Herring\, and active
  as a recitalist\, she stepped in for Susanna Philips in The Schubert Club
  International Artist Series Recital with Eric Owens. She has also been a 
 feature recitalist at the Enlightenment Festival of Seraphic Fire\, The Pa
 blo Center of Eau Claire\, Wisconsin\, The Dame Myra Hess Memorial Concert
 s\, and several universities. She has collaborated with many chamber music
 ians\, including pianist Wu Han\, The Lydian String Quartet\, VocalEssence
  Ensemble Singers\, the Minneapolis Guitar Quartet\, Accordo\, and Dark Ho
 rse Consort. Clara’s passion for contemporary music is exhibited in the so
 ng-cycles and chamber music she has premiered or commissioned by numerous 
 composers including James Kallembach\, Libby Larsen\, David Evan Thomas\, 
 Linda Kachelmeier\, Reinaldo Moya\, Carol Barnett\, and Juliana Hall. </p>
 <p>Orchestral performance highlights include her soloist debuts of Bach's 
 <em>St. Matthew Passion</em> with the Bel Canto Chorus of Milwaukee\, <em>
 B Minor Mass</em> with the Back Bay Chorale of Boston\, <em>Christmas Orat
 orio</em> with Bach Society of Minnesota\, Mozart’s <em>Requiem</em> with 
 Milwaukee Symphony Orchestra\, Mahler's <em>Symphony No. 2</em> with Tulsa
  Signature Symphony\, Bernstein’s <em>Jeremiah</em> with Mid-Columbia Symp
 hony\, and Dominick Argento's orchestral song cycles <em>Casa Guidi</em> a
 nd <em>A few words about Chekhov</em> with the Metropolitan Symphony Orche
 stra of Minneapolis.</p><p>Active also as an educator\, Clara has enjoyed 
 giving masterclasses and convocations at several universities\, including 
 Syracuse University\, Muhlenberg College\, Seattle University\, Concordia 
 College (Moorhead)\, and North Dakota State University. She was also the g
 uest artist in residence at Indiana State University's 50th Contemporary M
 usic Festival celebrating the music of Libby Larsen. Clara also served on 
 the faculty at the Aspen Music Festival's Professional Choral Institute in
  partnership with Seraphic Fire\, and has been a panelist for SongFest and
  the Lakes Area Music Festival.</p><p>Previous season highlights include h
 er Wigmore Hall debut recital with Julius Drake\, debuts with Kansas City 
 Symphony and Handel and Haydn Society\, a premiere oratorio with the Natio
 nal Lutheran Choir by Steve Heitzig\, and a premiere orchestral song cycle
  by Carol Barnett with the Metropolitan Symphony Orchestra. </p><p>In addi
 tion to performing\, Clara serves as the Artistic Director of Source Song 
 Festival\, a week-long art song festival in Minneapolis\, Minnesota. This 
 festival strives to create and perform new art song\, and cultivate an edu
 cational environment for students of song\, including composers\, vocalist
 s\, and collaborative pianists. In addition to her solo work\, she partici
 pates in a number of ensembles\, including Lumina Women's Ensemble\, Lorel
 ei Ensemble\, and Seraphic Fire. </p>
END:VEVENT
BEGIN:VEVENT
UID:cf421d91-7122-43c1-902a-06764222752f
DTSTAMP:20260612T083118Z
CATEGORIES:Degree Recitals\, Performances\, Student Activities and Performa
 nces
CLASS:PUBLIC
CREATED:20260605T015125Z
DESCRIPTION:<p>Alexandra Rameau (MM\, Choral Conducting)\, presents 'Season
 s of the Soul\,' a master's degree recital. With Yuly Kopkin and Chiao-Yu 
 Wu\, collaborative pianists.</p><hr><h2>Biography</h2>
DTSTART;TZID=America/Los_Angeles:20260606T190000
DTEND;TZID=America/Los_Angeles:20260607T000000
LAST-MODIFIED:20260605T020117Z
SUMMARY:: Degree Recital: Alexandra Rameau\, MM Choral Conducting
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-06-06/degree-recital-alexandra
 -rameau-mm-choral-conducting
END:VEVENT
BEGIN:VEVENT
UID:3816f9a3-e32b-4485-b77a-663c28a6ad73
DTSTAMP:20260612T083118Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250814T210018Z
DESCRIPTION:<p>The UW Composition Program presents a concert of world premi
 eres of original works by UW students Scott Humphreys\, Michaela Klesse\, 
 James Larson\, Ben von Jess\, and Kevin Wang—students in Professor William
  Daugherty's introductory composition class--as well as well as pieces by 
 student composers Oliver Schoonover and Amelia Matsumoto. </p><hr><h2>Prog
 ram</h2><p><strong>Oliver Schoonover: - </strong>the piano remembers being
  a maple tree<br>Doogan Townsend\, piano<br><br><strong>Amelia Matsumoto</
 strong> - <strong>ある霧がかった朝</strong><strong>  </strong>On One Foggy Morning
  <br>Eddie Mospan (Double Bass) and Amelia Matsumoto (Double Bass)</p><p><
 strong>*Ben von Jess</strong> - as a bottle<br><br>*<strong>Michaela Kless
 e</strong> - the butterfly knight and his son<br><br>*<strong>James Larson
  </strong>- Flow Treatment<br><br>*<strong>Kevin Wang</strong> - Nota Flor
 a</p><p><strong>*Scott Humphreys</strong> - Sans qu’on le sache/ Le repli<
 /p><p><strong>*</strong>Musicians:<strong> </strong>Ben von Jess\, trumpet
 \, trombone\; James Larson\, ARP 2600\, bowed cymbal\, amplified kalimba\,
  melodica\; Kevin Wang\, piano\; Michaela Klesse\, violin\; Scott Humphrey
 s\, double bass\;  Bill Dougherty\, conductor\, den den</p><hr><h2>Program
  Notes</h2><p><strong>Oliver Schoonover - </strong><strong>the piano remem
 bers being a maple tree </strong><br>Pianos are made from a variety of dif
 ferent woods\, but the body of Steinway pianos are made of hard rock maple
 . A piano is probably the most beautiful thing a maple tree could be chopp
 ed down to create\, but that doesn’t mean the maple tree wasn’t killed all
  the same. This piece is a celebration of the beauty of both the living ma
 ple tree and the piano it became\, but also a grappling with the discomfor
 t of this transformation. The pianist is an equal partner in helping the p
 iano to remember\, centering the pianist as a human being\, with many ways
  of making sound beyond pressing the keys. Many of us have complex network
 s of memories and feelings related to the piano\, ranging from love\, nost
 algia\, comfort\, shame\, fear\, and this piece explores all of these feel
 ings.</p><p><strong>Amelia Matsumoto - ある霧がかった朝 </strong><strong> [On One 
 Foggy Morning]</strong><strong> </strong><br><strong>Content Warning: Viol
 ence and Death</strong><br><br>On one foggy morning\, <br>a murder. <br><b
 r>On the serene\, shrouded beaches of Saint-Irénée\, <br>a murder<br>occur
 s. <br><br>One person with deep rooted pain<br>approaches\,<br>and another
  sits with stillness.<br><br>A rock is brought down:<br>Once\, Twice\, Thr
 ee times\, Four times…<br><br>And a person succumbs.</p><p><strong>Ben von
  Jess - </strong><strong>as a bottle</strong><br>When I started my process
 \, I was inspired by the particular instruments I was working with. I was 
 particularly interested in the melodica’s ability to play chords while sti
 ll sustaining its sound and increase in volume. The chordal swelling of th
 e melodica brought me to think of the rolling tide and wave motion. From t
 here\, discovering different parts of the ocean–the beauty\, the flow\, an
 d the vast nature of the ocean revealed the story behind the piece. Follow
 ing these different parts of the ocean was exciting for me to explore. Wha
 t would it be like to experience these different moods\, floating through 
 them freely? I spent time utilizing each instrument in various ways\, crea
 ting unique textures\, ranges\, and even having them mimic animal sounds. 
 As it would for a bottle drifting through the ocean\, the story of this co
 mposition was gradually revealed to me.<br><br><strong>Michaela Klesse - <
 /strong><strong>the butterfly knight and his son</strong><br>From the very
  beginning of this composition\, I hungered for some contrast of sharpness
  and softness. To sound out vicious energy versus a gentleness. From this 
 abstract concept emerged the butterfly knight. A siege of the palace is ta
 king place and a noble butterfly knight is fighting an adversary. Their fi
 erce confrontation is underscored by an aggressive\, unyielding sixteenth-
 note texture.  This intensity gives way to softness as the delicate kalimb
 a introduces the butterfly knight’s son. He toddles about\, unaware of the
  fighting that occurs in the courtyard below his chambers. His mother join
 s him with the support and grace of the violin\, before the son tries to i
 mitate the meter of his father's theme. Then\, the air sours as both mothe
 r and son realize something is wrong. They gaze into the courtyard and fin
 d the body of the butterfly knight lying still against the wall. The piano
  cradles him in a death melody as the son and mother mourn in tears. But\,
  hearing the crying of his family\, the butterfly knight miraculously stir
 s to life. Renewed with vigor\, his opening melodic material returns. The 
 butterfly knight hugs his wife\, picks up his son\, and together they char
 ge through the castle with a new ambition. To escape.<br><br><strong>James
  Larson - </strong><strong>Flow Treatment</strong><br>I was a problem chil
 d in elementary school. To calm me down\, my ever-patient teachers let me 
 bring an electric piano to class — and somehow\, that worked.</p><p>Even t
 oday\, messing around with an instrument is a sacred pastime. Whenever I’m
  stressed\, upset\, or overwhelmed\, the remedy I desire most is a flow st
 ate. This piece is a love letter to that groove.</p><p>The finger-drumming
  throughout this composition might sound familiar to the trained ear. I’m 
 using drum samples from The Winstons’ seminal track “Amen Brother\,” maybe
  the most sampled song of all time. As an electronic producer by specialty
 \, I’ve always loved the shared language of sampling and remixing. The int
 ersection of the electronic and the acoustic is a unique place in modern m
 usic and one I’m happy to explore.</p><p>Thank you for coming and supporti
 ng us all\, Have a wonderful summer break!</p><p><br><strong>Kevin Wang - 
 </strong><strong>Nota Flora</strong><br>​​Nota Flora was inspired by my ap
 preciation of flowers and their beauty in the different stages of their  l
 ife cycle. As my fourth year living in Seattle\, I adore the way the stree
 ts and parks transform during  the springtime blossoms\, with iridescent p
 etals gathering along the sidewalks and branches slowly  filling with colo
 r. The many floral scenes in the city led me to compose a piece that aimed
  to reflect  those images. At times\, I imagined the music as the flower i
 tself through its gradual growth and  changing forms. In other moments\, I
  envisioned the music as more of the surrounding scene\, almost  like a so
 undtrack to a spring landscape filled with flowers. Rather than following 
 a strict narrative\, the piece aims to capture fragments of those impressi
 ons. Nota Flora became a way for me to translate something visual into mus
 ic\, a literal note on flowers</p><p><br><strong>Scott Humphreys - </stron
 g><strong>Sans qu’on le sache/ Le repli</strong><br>There is a rhythm\, it
  is insistent. <br>There is a melody that can’t keep its promise.<br>There
  is a moment when you realize you have gotten used to something.<br>Have y
 ou gotten used to it?</p><p>The piece takes its title from the observation
  that even when alarm bells<br>can go off\, we\, as a population\, can be 
 unaware of the withdrawal<br>around us as progress is reversed\, voices ar
 e silenced\, and the erosion<br>becomes a new norm.</p><hr><h2>Director Bi
 ographies</h2>
DTSTART;TZID=America/Los_Angeles:20260606T193000
DTEND;TZID=America/Los_Angeles:20260607T000000
LAST-MODIFIED:20260604T233808Z
SUMMARY:: Composition Studio Concert
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-06-06/composition-studio-conce
 rt
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p>The UW Composition Program presents a conce
 rt of world premieres of original works by UW students Scott Humphreys\, M
 ichaela Klesse\, James Larson\, Ben von Jess\, and Kevin Wang—students in 
 Professor William Daugherty's introductory composition class--as well as w
 ell as pieces by student composers Oliver Schoonover and Amelia Matsumoto.
  </p><hr><h2>Program</h2><p><strong>Oliver Schoonover: - </strong><em>the 
 piano remembers being a maple tree</em><br><em>Doogan Townsend\, piano</em
 ><br><br><strong>Amelia Matsumoto</strong> - <span style='background-color
 :transparent\;color:rgb(0\, 0\, 0)\;font-family:'Times New Roman'\, serif\
 ;font-size:12pt\;font-style:normal\;font-variant-alternates:normal\;font-v
 ariant-caps:normal\;font-variant-east-asian:normal\;font-variant-ligatures
 :normal\;font-variant-numeric:normal\;font-variant-position:normal\;text-d
 ecoration:none\;vertical-align:baseline\;white-space:pre-wrap\;'><strong>あ
 る霧がかった朝</strong></span><em><span style='background-color:transparent\;colo
 r:rgb(0\, 0\, 0)\;font-family:'Times New Roman'\, serif\;font-size:12pt\;f
 ont-variant-alternates:normal\;font-variant-caps:normal\;font-variant-east
 -asian:normal\;font-variant-ligatures:normal\;font-variant-numeric:normal\
 ;font-variant-position:normal\;text-decoration:none\;vertical-align:baseli
 ne\;white-space:pre-wrap\;'><strong>  </strong></span>On One Foggy Morning
 </em> <br><em>Eddie Mospan (Double Bass) and Amelia Matsumoto (Double Bass
 )</em></p><p><strong>*Ben von Jess</strong> - <em>as a bottle</em><br><br>
 *<strong>Michaela Klesse</strong> - <em>the butterfly knight and his son</
 em><br><br>*<strong>James Larson </strong>- <em>Flow Treatment</em><br><br
 >*<strong>Kevin Wang</strong> - <em>Nota Flora</em></p><p><strong>*Scott H
 umphreys</strong> - <em>Sans qu’on le sache/ Le repli</em></p><p><strong>*
 </strong>Musicians:<strong> </strong><em>Ben von Jess\, trumpet\, trombone
 \; James Larson\, ARP 2600\, bowed cymbal\, amplified kalimba\, melodica\;
  Kevin Wang\, piano\; Michaela Klesse\, violin\; Scott Humphreys\, double 
 bass\;  Bill Dougherty\, conductor\, den den</em></p><hr><h2>Program Notes
 </h2><p><strong>Oliver Schoonover - </strong><em><strong>the piano remembe
 rs being a maple tree </strong></em><br>Pianos are made from a variety of 
 different woods\, but the body of Steinway pianos are made of hard rock ma
 ple. A piano is probably the most beautiful thing a maple tree could be ch
 opped down to create\, but that doesn’t mean the maple tree wasn’t killed 
 all the same. This piece is a celebration of the beauty of both the living
  maple tree and the piano it became\, but also a grappling with the discom
 fort of this transformation. The pianist is an equal partner in helping th
 e piano to remember\, centering the pianist as a human being\, with many w
 ays of making sound beyond pressing the keys. Many of us have complex netw
 orks of memories and feelings related to the piano\, ranging from love\, n
 ostalgia\, comfort\, shame\, fear\, and this piece explores all of these f
 eelings.</p><p><strong>Amelia Matsumoto - ある霧がかった朝 </strong><em><strong> [
 On One Foggy Morning]</strong></em><strong> </strong><br><em><strong>Conte
 nt Warning: Violence and Death</strong></em><br><br>On one foggy morning\,
  <br>a murder. <br><br>On the serene\, shrouded beaches of Saint-Irénée\, 
 <br>a murder<br>occurs. <br><br>One person with deep rooted pain<br>approa
 ches\,<br>and another sits with stillness.<br><br>A rock is brought down:<
 br>Once\, Twice\, Three times\, Four times…<br><br>And a person succumbs.<
 /p><p><strong>Ben von Jess - </strong><em><strong>as a bottle</strong></em
 ><br>When I started my process\, I was inspired by the particular instrume
 nts I was working with. I was particularly interested in the melodica’s ab
 ility to play chords while still sustaining its sound and increase in volu
 me. The chordal swelling of the melodica brought me to think of the rollin
 g tide and wave motion. From there\, discovering different parts of the oc
 ean–the beauty\, the flow\, and the vast nature of the ocean revealed the 
 story behind the piece. Following these different parts of the ocean was e
 xciting for me to explore. What would it be like to experience these diffe
 rent moods\, floating through them freely? I spent time utilizing each ins
 trument in various ways\, creating unique textures\, ranges\, and even hav
 ing them mimic animal sounds. As it would for a bottle drifting through th
 e ocean\, the story of this composition was gradually revealed to me.<br><
 br><strong>Michaela Klesse - </strong><em><strong>the butterfly knight and
  his son</strong></em><br>From the very beginning of this composition\, I 
 hungered for some contrast of sharpness and softness. To sound out vicious
  energy versus a gentleness. From this abstract concept emerged the butter
 fly knight. A siege of the palace is taking place and a noble butterfly kn
 ight is fighting an adversary. Their fierce confrontation is underscored b
 y an aggressive\, unyielding sixteenth-note texture.  This intensity gives
  way to softness as the delicate kalimba introduces the butterfly knight’s
  son. He toddles about\, unaware of the fighting that occurs in the courty
 ard below his chambers. His mother joins him with the support and grace of
  the violin\, before the son tries to imitate the meter of his father's th
 eme. Then\, the air sours as both mother and son realize something is wron
 g. They gaze into the courtyard and find the body of the butterfly knight 
 lying still against the wall. The piano cradles him in a death melody as t
 he son and mother mourn in tears. But\, hearing the crying of his family\,
  the butterfly knight miraculously stirs to life. Renewed with vigor\, his
  opening melodic material returns. The butterfly knight hugs his wife\, pi
 cks up his son\, and together they charge through the castle with a new am
 bition. To escape.<br><br><strong>James Larson - </strong><em><strong>Flow
  Treatment</strong></em><br>I was a problem child in elementary school. To
  calm me down\, my ever-patient teachers let me bring an electric piano to
  class — and somehow\, that worked.</p><p>Even today\, messing around with
  an instrument is a sacred pastime. Whenever I’m stressed\, upset\, or ove
 rwhelmed\, the remedy I desire most is a flow state. This piece is a love 
 letter to that groove.</p><p>The finger-drumming throughout this compositi
 on might sound familiar to the trained ear. I’m using drum samples from Th
 e Winstons’ seminal track “Amen Brother\,” maybe the most sampled song of 
 all time. As an electronic producer by specialty\, I’ve always loved the s
 hared language of sampling and remixing. The intersection of the electroni
 c and the acoustic is a unique place in modern music and one I’m happy to 
 explore.</p><p>Thank you for coming and supporting us all\, Have a wonderf
 ul summer break!</p><p><br><strong>Kevin Wang - </strong><em><strong>Nota 
 Flora</strong></em><br>​​Nota Flora was inspired by my appreciation of flo
 wers and their beauty in the different stages of their  life cycle. As my 
 fourth year living in Seattle\, I adore the way the streets and parks tran
 sform during  the springtime blossoms\, with iridescent petals gathering a
 long the sidewalks and branches slowly  filling with color. The many flora
 l scenes in the city led me to compose a piece that aimed to reflect  thos
 e images. At times\, I imagined the music as the flower itself through its
  gradual growth and  changing forms. In other moments\, I envisioned the m
 usic as more of the surrounding scene\, almost  like a soundtrack to a spr
 ing landscape filled with flowers. Rather than following a strict narrativ
 e\, the piece aims to capture fragments of those impressions. Nota Flora b
 ecame a way for me to translate something visual into music\, a literal no
 te on flowers</p><p><br><strong>Scott Humphreys - </strong><em><strong>San
 s qu’on le sache/ Le repli</strong></em><br>There is a rhythm\, it is insi
 stent. <br>There is a melody that can’t keep its promise.<br>There is a mo
 ment when you realize you have gotten used to something.<br>Have you gotte
 n used to it?</p><p>The piece takes its title from the observation that ev
 en when alarm bells<br>can go off\, we\, as a population\, can be unaware 
 of the withdrawal<br>around us as progress is reversed\, voices are silenc
 ed\, and the erosion<br>becomes a new norm.</p><hr><h2>Director Biographie
 s</h2>
END:VEVENT
BEGIN:VEVENT
UID:1cbdf34c-490f-438b-bd97-b78740317e1a
DTSTAMP:20260612T083118Z
CATEGORIES:Performances\, Student Activities and Performances
CLASS:PUBLIC
CREATED:20250910T120528Z
DESCRIPTION:<p style='font:12.0px 'Avenir Next Condensed'\;margin:0.0px 0.0
 px 0.0px 0.0px\;min-height:16.0px\;'> </p><p><strong>Please note:</strong>
  This event has been canceled. </p><hr><h2>Biographies</h2>
DTSTART;TZID=America/Los_Angeles:20260607T150000
DTEND;TZID=America/Los_Angeles:20260608T000000
LAST-MODIFIED:20260603T175940Z
SUMMARY:: CANCELED: Canceled: Opera Workshop
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-06-07/canceled-opera-workshop
END:VEVENT
BEGIN:VEVENT
UID:36a46d82-7263-4d32-8342-f0736b063504
DTSTAMP:20260612T083118Z
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> <stro
 ng>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
DTEND;TZID=America/Los_Angeles:20260610T000000
LAST-MODIFIED:20251002T192041Z
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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:20260612T083118Z
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> <stro
 ng>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
DTEND;TZID=America/Los_Angeles:20260626T000000
LAST-MODIFIED:20251002T192052Z
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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:20e9c03c-5e8d-4dc7-9a72-e244ef328862
DTSTAMP:20260612T083118Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20260520T172233Z
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> <stro
 ng>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:20260707T120000
DTEND;TZID=America/Los_Angeles:20260708T000000
LAST-MODIFIED:20260520T172301Z
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-07-07/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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:c03d5c7d-1a21-499c-a783-6b11494fa519
DTSTAMP:20260612T083118Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20260520T172310Z
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> <stro
 ng>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:20260723T120000
DTEND;TZID=America/Los_Angeles:20260724T000000
LAST-MODIFIED:20260520T172320Z
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-07-23/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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:4b903fe3-65ac-428b-a3b9-45a0a1a1c22b
DTSTAMP:20260612T083118Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20260520T172324Z
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> <stro
 ng>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:20260811T120000
DTEND;TZID=America/Los_Angeles:20260812T000000
LAST-MODIFIED:20260520T172339Z
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-08-11/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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:1a52dfba-386b-4d53-8aed-7b8749c1e2ee
DTSTAMP:20260612T083118Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20260520T172343Z
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> <stro
 ng>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:20260827T120000
DTEND;TZID=America/Los_Angeles:20260828T000000
LAST-MODIFIED:20260520T172356Z
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-08-27/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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:18c44fc2-2eff-42bc-8221-5510edffe121
DTSTAMP:20260612T083118Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20260520T172403Z
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> <stro
 ng>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:20260908T120000
DTEND;TZID=America/Los_Angeles:20260909T000000
LAST-MODIFIED:20260520T172415Z
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-09-08/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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:c08738b0-a40f-4875-89db-367a7cbba327
DTSTAMP:20260612T083118Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20260520T172421Z
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> <stro
 ng>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:20260924T120000
DTEND;TZID=America/Los_Angeles:20260925T000000
LAST-MODIFIED:20260520T172432Z
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-09-24/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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:4c97a5a9-d1ba-4184-8fbc-aef13985ac55
DTSTAMP:20260612T083118Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20190415T165915Z
DESCRIPTION:Winds\, Brass & Percussion auditions for the following ensemble
 s: Wind Ensemble\, Symphonic Band\, UW Symphony Orchestra & Campus Philhar
 monia OrchestraThe <a href='http://www.uwbands.com' target='_blank' rel='n
 oopener noreferrer'><strong>University of Washington instrumental ensemble
  program</strong></a> includes four large concert ensembles and over 300 s
 tudent musicians from across campus—from freshmen to grad students\, from 
 anthropology to zoology majors. The <a href='ensembles/wind-ensemble'><str
 ong>Wind Ensemble</strong></a> (MUSEN 301/501)\, <a href='ensembles/sympho
 nic-band'><strong>Symphonic Band</strong></a> (MUSEN 302/502)  are the aud
 itioned concert band ensembles at the University of Washington\, performin
 g a repertoire of classic\, contemporary and newly commissioned music. The
 se groups offer a high level of musical challenge and opportunities for la
 rge group\, chamber and one-on-a-part performance experiences. <p class='y
 iv4781220154MsoNormal'> </p><p class='yiv4781220154MsoNormal'><a href='htt
 ps://music.washington.edu/ensembles/university-washington-symphony-orchest
 ra'><strong>Symphony Orchestra</strong></a> (MUSEN 300/500) is the top orc
 hestral ensemble on campus\, performing major symphonic literature. This o
 rchestra is made up of music majors and non-music majors alike. Auditions 
 are held at the start of each academic year\; seating rotates throughout t
 he year. <a href='https://music.washington.edu/ensembles/campus-philharmon
 ia-orchestras'><strong>University of Washington Campus Philharmonia Orches
 tras</strong></a> (MUSEN 210) perform one concert per quarter and are open
  to non-music majors. The course is led/conducted entirely by graduate stu
 dents of the orchestral conducting program.</p><p class='yiv4781220154MsoN
 ormal'><br> </p><p class='yiv4781220154MsoNormal'><strong style='font-size
 :1em\;'>Membership in all groups is open to undergraduate and graduate stu
 dents from all schools and departments of the UW—over half of the musician
 s in these ensembles are from majors other than music! And remember\, perf
 ormance in a UW ensemble counts toward VLPA credit requirements. </strong>
 </p><p class='yiv4781220154MsoNormal'><br> </p><p class='yiv4781220154MsoN
 ormal'><strong style='font-size:1em\;'>Brass\, woodwind and percussion aud
 itions for Fall 2026 will be held on:</strong></p><br> <strong>MONDAY\, SE
 PTEMBER 28\, 2026</strong>8:30-9:40 HORN 9:50-10:50 BASSOON 11:00-12:50 TR
 UMPET1:00-2:10 TROMBONE 2:20-3:20 TUBA/EUPHONIUM 3:30-4:10 OBOE 4:20-5:50 
 CLARINET  <strong>TUESDAY\, SEPTEMBER 29\, 2026</strong>9:30-11:20 PERCUSS
 ION 11:30-2:30 FLUTE 2:40-4:00 SAXOPHONE  <strong>Auditions will be held i
 n Meany Hall\, room 268 and Studio Theater</strong> (<a href='http://www.w
 ashington.edu/maps/?l=MNY' rel='nofollow noopener noreferrer' target='_bla
 nk'>where is Meany Hall?</a>)<hr><strong>AUDITION PROCEDURE</strong><p>Sig
 n up for an audition <a href='https://urldefense.com/v3/__https://forms.gl
 e/xkVNFT3xMjmE4wG7A__\;!!K-Hz7m0Vt54!h_O5jcYyJtcW9m6k6VZ7LRjLxoIob6ljtvRi8
 DbYAYcLpjkszRrAKh0yjSZuqWQ5AeeyL_6fhdaP-w$' data-entity-type='external'>HE
 RE</a></p><ul><li>Be sure to be available during the entire listed date an
 d time for your instrument. You will be assigned a specific 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 the audition date. If 
 you have a time conflict\, please contact UW Bands TA Yuman Wu at <a href=
 'mailto:yumanwu@uw.edu'>yumanwu@uw.edu</a> ASAP to work out a solution.</l
 i><li>Check in with the audition coordinator outside of the audition room.
 </li><li>When it is your time\, the audition coordinator will guide you to
  enter the room.</li><li>The audition is anonymous (behind a screen) so pl
 ease do not speak during the audition. Listen carefully to the instruction
 s given by the adjudicators. Music will be provided but you may bring your
  own in as well. The audition will last 5-10 minutes.</li><li>After the au
 dition\, please take any music you brought in with you\, but leave any mus
 ic that was already on the stand.</li><li>You will be sent audition result
 s by email shortly after the audition day.</li><li>Note: As of now\, 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></ul><hr><strong>QU
 ESTIONS?</strong> For more information regarding UW Bands contact Yuman Wu
  at <a href='mailto:yumanwu@uw.edu'>yumanwu@uw.edu</a><br> For more inform
 ation regarding UW Orchestras contact David A. Rahbee at <a href='mailto:d
 arahbee@uw.edu'>darahbee@uw.edu</a><br><strong>CAN I PLAY WITHOUT AN AUDIT
 ION?</strong>Yes! The <a href='ensembles/concertcampus-bands'>UW Concert a
 nd Campus Bands</a> (MUSEN 309/509) are open to all players without auditi
 on\, Wednesday evenings\, 7:00-9:00. The first rehearsal for Concert/Campu
 s Bands will be Wednesday September 27th\, 7:00 PM in Meany Hall\, Room 26
 8. All campus and concert band students should attend first rehearsal. Bri
 ng your instruments\, as we will play at the first rehearsal. <strong>IS I
 T POSSIBLE TO PLAY IN MORE THAN ONE ENSEMBLE?</strong>Yes! Rehearsals are 
 scheduled to avoid conflicts between different ensembles including jazz en
 sembles and Husky Marching Band. Visit the UW Bands <a href='areas/band-ac
 tivities' target='_blank' rel='noopener noreferrer'>web page</a> to find o
 ut more about UW BandsVisit the UW Orchestras <a href='/areas/orchestral-a
 ctivities' target='_blank' rel='noopener noreferrer'>web page</a> to find 
 out more about UW Orchestras
DTSTART;TZID=America/Los_Angeles:20260928T000000
DTEND;TZID=America/Los_Angeles:20260929T000000
LAST-MODIFIED:20260511T160044Z
SUMMARY:: Winds/ Brass/ Percussion Fall 2026 Ensemble Auditions
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-09-28/winds-brass-percussion-f
 all-2026-ensemble-auditions
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div class='yiv4781220154MsoNormal'><blockquot
 e><div class='yiv4781220154MsoNormal'>Winds\, Brass & Percussion auditions
  for the following ensembles: Wind Ensemble\, Symphonic Band\, UW Symphony
  Orchestra & Campus Philharmonia Orchestra</div></blockquote><div class='y
 iv4781220154MsoNormal'>The <a href='http://www.uwbands.com' target='_blank
 ' rel='noopener noreferrer'><strong>University of Washington instrumental 
 ensemble program</strong></a> includes four large concert ensembles and ov
 er 300 student musicians from across campus—from freshmen to grad students
 \, from anthropology to zoology majors.</div><div class='yiv4781220154MsoN
 ormal'> </div><div class='yiv4781220154MsoNormal'>The <a href='ensembles/w
 ind-ensemble'><strong>Wind Ensemble</strong></a> (MUSEN 301/501)\, <a href
 ='ensembles/symphonic-band'><strong>Symphonic Band</strong></a> (MUSEN 302
 /502)  are the auditioned concert band ensembles at the University of Wash
 ington\, performing a repertoire of classic\, contemporary and newly commi
 ssioned music. These groups offer a high level of musical challenge and op
 portunities for large group\, chamber and one-on-a-part performance experi
 ences. </div><p class='yiv4781220154MsoNormal'> </p><p class='yiv478122015
 4MsoNormal'><a href='https://music.washington.edu/ensembles/university-was
 hington-symphony-orchestra'><span style='font-size:1em\;'><strong>Symphony
  Orchestra</strong></span></a><span style='font-size:1em\;'> (MUSEN 300/50
 0) is the top orchestral ensemble on campus\, performing major symphonic l
 iterature. This orchestra is made up of music majors and non-music majors 
 alike. Auditions are held at the start of each academic year\; seating rot
 ates throughout the year. </span><a href='https://music.washington.edu/ens
 embles/campus-philharmonia-orchestras'><span style='font-size:1em\;'><stro
 ng>University of Washington Campus Philharmonia Orchestras</strong></span>
 </a><span style='font-size:1em\;'> (MUSEN 210) perform one concert per qua
 rter and are open to non-music majors. The course is led/conducted entirel
 y by graduate students of the orchestral conducting program.</span></p><p 
 class='yiv4781220154MsoNormal'><br> </p><p class='yiv4781220154MsoNormal'>
 <span><strong style='font-size:1em\;'>Membership in all groups is open to 
 undergraduate and graduate students from all schools and departments of th
 e UW—over half of the musicians in these ensembles are from majors other t
 han music! And remember\, performance in a UW ensemble counts toward VLPA 
 credit requirements. </strong></span></p><p class='yiv4781220154MsoNormal'
 ><br> </p><p class='yiv4781220154MsoNormal'><strong style='font-size:1em\;
 '>Brass\, woodwind and percussion auditions for Fall 2026 will be held on:
 </strong></p><div class='yiv4781220154MsoNormal'><br> </div></div><div cla
 ss='yiv4781220154MsoNormal'><div class='yiv4781220154MsoNormal'><strong>MO
 NDAY\, SEPTEMBER 28\, 2026</strong></div><div class='elementToProof' style
 ='-webkit-text-stroke-width:0px\;color:rgb(36\, 36\, 36) !important\;direc
 tion:ltr\;font-family:'Segoe UI'\, 'Segoe UI Web (West European)'\, -apple
 -system\, system-ui\, Roboto\, 'Helvetica Neue'\, sans-serif\;font-size:15
 px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-s
 pacing:normal\;margin:0px\;orphans:auto\;text-align:left\;text-decoration:
 none\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:aut
 o\;word-spacing:0px\;' data-ogsc='rgb(36\, 36\, 36)'>8:30-9:40 HORN </div>
 <div class='elementToProof' style='-webkit-text-stroke-width:0px\;color:rg
 b(36\, 36\, 36) !important\;direction:ltr\;font-family:'Segoe UI'\, 'Segoe
  UI Web (West European)'\, -apple-system\, system-ui\, Roboto\, 'Helvetica
  Neue'\, sans-serif\;font-size:15px\;font-style:normal\;font-variant-caps:
 normal\;font-weight:400\;letter-spacing:normal\;margin:0px\;orphans:auto\;
 text-align:left\;text-decoration:none\;text-indent:0px\;text-transform:non
 e\;white-space:normal\;widows:auto\;word-spacing:0px\;' data-ogsc='rgb(36\
 , 36\, 36)'>9:50-10:50 BASSOON </div><div class='elementToProof' style='-w
 ebkit-text-stroke-width:0px\;color:rgb(36\, 36\, 36) !important\;direction
 :ltr\;font-family:'Segoe UI'\, 'Segoe UI Web (West European)'\, -apple-sys
 tem\, system-ui\, Roboto\, 'Helvetica Neue'\, sans-serif\;font-size:15px\;
 font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spaci
 ng:normal\;margin:0px\;orphans:auto\;text-align:left\;text-decoration:none
 \;text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;w
 ord-spacing:0px\;' data-ogsc='rgb(36\, 36\, 36)'>11:00-12:50 TRUMPET</div>
 <div class='elementToProof' style='-webkit-text-stroke-width:0px\;color:rg
 b(36\, 36\, 36) !important\;direction:ltr\;font-family:'Segoe UI'\, 'Segoe
  UI Web (West European)'\, -apple-system\, system-ui\, Roboto\, 'Helvetica
  Neue'\, sans-serif\;font-size:15px\;font-style:normal\;font-variant-caps:
 normal\;font-weight:400\;letter-spacing:normal\;margin:0px\;orphans:auto\;
 text-align:left\;text-decoration:none\;text-indent:0px\;text-transform:non
 e\;white-space:normal\;widows:auto\;word-spacing:0px\;' data-ogsc='rgb(36\
 , 36\, 36)'>1:00-2:10 TROMBONE </div><div class='elementToProof' style='-w
 ebkit-text-stroke-width:0px\;color:rgb(36\, 36\, 36) !important\;direction
 :ltr\;font-family:'Segoe UI'\, 'Segoe UI Web (West European)'\, -apple-sys
 tem\, system-ui\, Roboto\, 'Helvetica Neue'\, sans-serif\;font-size:15px\;
 font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spaci
 ng:normal\;margin:0px\;orphans:auto\;text-align:left\;text-decoration:none
 \;text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;w
 ord-spacing:0px\;' data-ogsc='rgb(36\, 36\, 36)'>2:20-3:20 TUBA/EUPHONIUM 
 </div><div class='elementToProof' style='-webkit-text-stroke-width:0px\;co
 lor:rgb(36\, 36\, 36) !important\;direction:ltr\;font-family:'Segoe UI'\, 
 'Segoe UI Web (West European)'\, -apple-system\, system-ui\, Roboto\, 'Hel
 vetica Neue'\, sans-serif\;font-size:15px\;font-style:normal\;font-variant
 -caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0px\;orphans:
 auto\;text-align:left\;text-decoration:none\;text-indent:0px\;text-transfo
 rm:none\;white-space:normal\;widows:auto\;word-spacing:0px\;' data-ogsc='r
 gb(36\, 36\, 36)'>3:30-4:10 OBOE </div><div class='elementToProof' style='
 -webkit-text-stroke-width:0px\;color:rgb(36\, 36\, 36) !important\;directi
 on:ltr\;font-family:'Segoe UI'\, 'Segoe UI Web (West European)'\, -apple-s
 ystem\, system-ui\, Roboto\, 'Helvetica Neue'\, sans-serif\;font-size:15px
 \;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spa
 cing:normal\;margin:0px\;orphans:auto\;text-align:left\;text-decoration:no
 ne\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\
 ;word-spacing:0px\;' data-ogsc='rgb(36\, 36\, 36)'>4:20-5:50 CLARINET </di
 v><div class='yiv4781220154MsoNormal'> </div><div class='yiv4781220154MsoN
 ormal'><strong>TUESDAY\, SEPTEMBER 29\, 2026</strong></div><div class='ele
 mentToProof' style='-webkit-text-stroke-width:0px\;color:rgb(36\, 36\, 36)
  !important\;direction:ltr\;font-family:'Segoe UI'\, 'Segoe UI Web (West E
 uropean)'\, -apple-system\, system-ui\, Roboto\, 'Helvetica Neue'\, sans-s
 erif\;font-size:15px\;font-style:normal\;font-variant-caps:normal\;font-we
 ight:400\;letter-spacing:normal\;margin:0px\;orphans:auto\;text-align:left
 \;text-decoration:none\;text-indent:0px\;text-transform:none\;white-space:
 normal\;widows:auto\;word-spacing:0px\;' data-ogsc='rgb(36\, 36\, 36)'>9:3
 0-11:20 PERCUSSION </div><div class='elementToProof' style='-webkit-text-s
 troke-width:0px\;color:rgb(36\, 36\, 36) !important\;direction:ltr\;font-f
 amily:'Segoe UI'\, 'Segoe UI Web (West European)'\, -apple-system\, system
 -ui\, Roboto\, 'Helvetica Neue'\, sans-serif\;font-size:15px\;font-style:n
 ormal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;m
 argin:0px\;orphans:auto\;text-align:left\;text-decoration:none\;text-inden
 t:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:
 0px\;' data-ogsc='rgb(36\, 36\, 36)'>11:30-2:30 FLUTE </div><div class='el
 ementToProof' style='-webkit-text-stroke-width:0px\;color:rgb(36\, 36\, 36
 ) !important\;direction:ltr\;font-family:'Segoe UI'\, 'Segoe UI Web (West 
 European)'\, -apple-system\, system-ui\, Roboto\, 'Helvetica Neue'\, sans-
 serif\;font-size:15px\;font-style:normal\;font-variant-caps:normal\;font-w
 eight:400\;letter-spacing:normal\;margin:0px\;orphans:auto\;text-align:lef
 t\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-space
 :normal\;widows:auto\;word-spacing:0px\;' data-ogsc='rgb(36\, 36\, 36)'>2:
 40-4:00 SAXOPHONE </div><div class='yiv4781220154MsoNormal'> </div><div cl
 ass='yiv4781220154MsoNormal'><strong>Auditions will be held in Meany Hall\
 , room 268 and Studio Theater</strong> (<a href='http://www.washington.edu
 /maps/?l=MNY' rel='nofollow noopener noreferrer' target='_blank'>where is 
 Meany Hall?</a>)</div><hr></div><div class='yiv4781220154MsoNormal'><stron
 g>AUDITION PROCEDURE</strong></div><div class='yiv4781220154MsoNormal'><p>
 Sign up for an audition <a href='https://urldefense.com/v3/__https://forms
 .gle/xkVNFT3xMjmE4wG7A__\;!!K-Hz7m0Vt54!h_O5jcYyJtcW9m6k6VZ7LRjLxoIob6ljtv
 Ri8DbYAYcLpjkszRrAKh0yjSZuqWQ5AeeyL_6fhdaP-w$' data-entity-type='external'
 >HERE</a></p><ul><li><span>Be sure to be available during the entire liste
 d date and time for your instrument. You will be assigned a specific audit
 ion slot within the time   range for your instrument. This info will be se
 nt to the email 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
  </span><a href='mailto:yumanwu@uw.edu'><span>yumanwu@uw.edu</span></a><sp
 an> ASAP to work out a solution.</span></li><li><span style='font-size:1em
 \;'>Check in with the audition coordinator outside of the audition room.</
 span></li><li><span style='font-size:1em\;'>When it is your time\, the aud
 ition coordinator will guide you to enter the room.</span></li><li><span s
 tyle='font-size:1em\;'>The audition is anonymous (behind a screen) so plea
 se do not speak during the audition. Listen carefully to the instructions 
 given by the adjudicators. Music will be provided but you may bring your o
 wn in as well. The audition will last 5-10 minutes.</span></li><li><span s
 tyle='font-size:1em\;'>After the audition\, please take any music you brou
 ght in with you\, but leave any music that was already on the stand.</span
 ></li><li><span style='font-size:1em\;'>You will be sent audition results 
 by email shortly after the audition day.</span></li><li><span style='font-
 size:1em\;'>Note: As of now\, there are no warm-up rooms or areas in the b
 uilding. However\, you are welcome to warmup outside or in the parking gar
 age. We encourage everyone to warm up prior to arriving on campus if at al
 l possible.</span></li></ul></div><hr><div class='yiv4781220154MsoNormal'>
 <strong>QUESTIONS?</strong> </div><div class='yiv4781220154MsoNormal'>For 
 more information regarding UW Bands contact Yuman Wu at <a href='mailto:yu
 manwu@uw.edu'>yumanwu@uw.edu</a><br> </div><div class='yiv4781220154MsoNor
 mal'>For more information regarding UW Orchestras contact David A. Rahbee 
 at <a href='mailto:darahbee@uw.edu'>darahbee@uw.edu</a></div><div class='y
 iv4781220154MsoNormal'><div class='yiv4781220154MsoNormal'><br><strong>CAN
  I PLAY WITHOUT AN AUDITION?</strong></div><div class='yiv4781220154MsoNor
 mal'>Yes! The <a href='ensembles/concertcampus-bands'>UW Concert and Campu
 s Bands</a> (MUSEN 309/509) are open to all players without audition\, Wed
 nesday evenings\, 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>All campus and concert band students should attend first rehearsal
 . Bring your instruments\, as we will play at the first rehearsal.</div><d
 iv class='yiv4781220154MsoNormal'> </div><div class='yiv4781220154MsoNorma
 l'><strong>IS IT POSSIBLE TO PLAY IN MORE THAN ONE ENSEMBLE?</strong></div
 ><div class='yiv4781220154MsoNormal'>Yes! Rehearsals are scheduled to avoi
 d conflicts between different ensembles including jazz ensembles and Husky
  Marching Band.</div><div class='yiv4781220154MsoNormal'> </div><div class
 ='yiv4781220154MsoNormal'>Visit the UW Bands <a href='areas/band-activitie
 s' target='_blank' rel='noopener noreferrer'>web page</a> to find out more
  about UW Bands</div><div class='yiv4781220154MsoNormal'>Visit the UW Orch
 estras <a href='/areas/orchestral-activities' target='_blank' rel='noopene
 r noreferrer'>web page</a> to find out more about UW Orchestras</div></div
 >
END:VEVENT
BEGIN:VEVENT
UID:9e6ae273-0ec8-4c11-be62-ed10cc909a1b
DTSTAMP:20260612T083118Z
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><
 strong>fit you\, your schedule\, your interests\, and musical experience. 
 Follow the steps below to register or sign up for placement.</strong></p><
 p><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 <
 a href='https://music.washington.edu/ensembles/gospel-choir' target='_blan
 k' rel='noopener noreferrer'>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='https
 ://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 28 and 29.</p><p>Those students who are unable 
 to audition are encouraged to email <a href='mailto:wyersg@uw.edu' target=
 '_blank' 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/__h
 ttps://outlook.office.com/book/UWChoirsAuditions@cloud.washington.edu/s/wS
 zMen9xQky7buThmjPOIw2?ismsaljsauthenabled__\;!!K-Hz7m0Vt54!lhzm3xTfcfKrUGN
 e5i_7bCuom5wVtphcHgXKoF4EPq6Z96RvnGOs3cBhoTut31mNROIn5vxiNkCT3ig$'>HERE</a
 >. You must sign in with your UW netID and password.</p><p><strong>STEP 3:
 </strong> Prepare for your placement (if applicable):</p><ul><li>You will 
 begin your time with us with a <strong>musical ‘get acquainted’ time</stro
 ng> where our graduate music students will ask you about your singing back
 ground\, 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
  which students say is always a positive experience!</li><li>Following tha
 t\, you will sing a prepared piece of your choice\; from <strong>prepared 
 solos</strong>\, to songs from your <strong>home country</strong>\, to son
 gs 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.washin
 gton.edu/ensembles/chamber-singers' target='_blank' rel='noopener noreferr
 er'><strong>Chamber Singers</strong></a><br>Meets Mondays\, Tuesdays\, Wed
 nesdays\, Thursdays\, and some Fridays\, 12:30 to 1:20 p.m. in Brechemin A
 uditorium.</p><p><a href='https://music.washington.edu/ensembles/gospel-ch
 oir' target='_blank' rel='noopener noreferrer'><strong>Gospel Choir</stron
 g></a><br>Meets Mondays\, 6:30 to 8:20 p.m. in Meany Room 268.</p><p><a hr
 ef='https://music.washington.edu/ensembles/uw-glee-club' target='_blank' r
 el='noopener noreferrer'><strong>Glee Club</strong></a><br>Meets Tuesdays\
 , 5:30 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='
 _blank' rel='noopener noreferrer'><strong>Recital Choir</strong></a><br>Me
 ets Tuesdays and Thursdays\, 4:30 to 5:20pm in Music Building\, Room 213.<
 /p><p><a href='https://music.washington.edu/ensembles/uw-treble-choir' tar
 get='_blank' rel='noopener noreferrer'><strong>Treble Choir</strong></a><b
 r>Meets 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' 
 target='_blank' rel='noopener noreferrer'><strong>University Chorale</stro
 ng></a><br>Meets Mondays and Wednesdays\, 3:30 to 5:20 p.m.\, in Kane Hall
 \, Room 220.</p><p><a href='https://music.washington.edu/ensembles/univers
 ity-singers' target='_blank' rel='noopener noreferrer'><strong>University 
 Singers</strong></a><br>Meets Mondays in Brechemin Auditorium and Wednesda
 ys in Music Building\, Room 213\, 3:30 to 4:50 p.m.</p><hr><p> </p>
DTSTART;TZID=America/Los_Angeles:20260928T000000
DTEND;TZID=America/Los_Angeles:20260929T000000
LAST-MODIFIED:20260511T160154Z
SUMMARY:: 2026-27 Choral Placements 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-09-28/2026-27-choral-placement
 s
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span><strong> </strong></span><a href='htt
 ps://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:</stron
 g><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 28 and 29.</p><p><span style='font-family:inheri
 t\;font-size:1rem\;'>Those students who are unable to audition are encoura
 ged to email </span><a href='mailto:wyersg@uw.edu' target='_blank' rel='no
 opener noreferrer'><span style='font-family:inherit\;font-size:1rem\;'>wye
 rsg@uw.edu</span></a><span style='font-family:inherit\;font-size:1rem\;'> 
 for make-up audition times</span></p><p><span style='font-family:inherit\;
 font-size:1rem\;'>Sign Up for a Placement </span><a href='https://urldefen
 se.com/v3/__https://outlook.office.com/book/UWChoirsAuditions@cloud.washin
 gton.edu/s/wSzMen9xQky7buThmjPOIw2?ismsaljsauthenabled__\;!!K-Hz7m0Vt54!lh
 zm3xTfcfKrUGNe5i_7bCuom5wVtphcHgXKoF4EPq6Z96RvnGOs3cBhoTut31mNROIn5vxiNkCT
 3ig$'><span style='font-family:inherit\;font-size:1rem\;'>HERE</span></a>.
  You must sign in with your UW netID and password.</p><p><strong>STEP 3:</
 strong><span> </span>Prepare for your placement (if applicable):</p><ul><l
 i>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
  students will ask you about your singing background\, and lead you in som
 e 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<span> </span><e
 m><strong>prepared to sing</strong></em><span> </span>for Dr. Wyers and Dr
 . Boers which students say is always a positive experience!</li><li>Follow
 ing that\, you will sing a prepared piece of your choice\; from<span> </sp
 an><em><strong>prepared solos</strong></em>\, to songs from your<span> </s
 pan><em><strong>home country</strong></em>\, to songs on your latest<span>
  </span><em><strong>playlist!</strong></em></li><li><p>Bring piano sheet m
 usic 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://musi
 c.washington.edu/ensembles/chamber-singers' target='_blank' rel='noopener 
 noreferrer'><strong>Chamber Singers</strong></a><br><em>Meets Mondays\, Tu
 esdays\, Wednesdays\, Thursdays\, and some Fridays\, 12:30 to 1:20 p.m. in
  Brechemin Auditorium.</em></p><p><a href='https://music.washington.edu/en
 sembles/gospel-choir' target='_blank' rel='noopener noreferrer'><strong>Go
 spel 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-gl
 ee-club' target='_blank' rel='noopener noreferrer'><strong>Glee Club</stro
 ng></a><br><em>Meets Tuesdays\, 5:30 to 6:20 p.m.</em> and <em>6:30 to 7:2
 0 p.m. in Music Building\, Room 35.</em></p><p><a href='https://music.wash
 ington.edu/ensembles/recital-choir' target='_blank' rel='noopener noreferr
 er'><strong>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:
 //music.washington.edu/ensembles/uw-treble-choir' target='_blank' rel='noo
 pener noreferrer'><strong>Treble Choir</strong></a><br><em>Meets Thurs­day
 s\, 5:30 to 7:20 p.m. in the Music Build­ing\, Room 213.</em></p><p><a hre
 f='https://music.washington.edu/ensembles/university-chorale' target='_bla
 nk' rel='noopener noreferrer'><strong>University Chorale</strong></a><br><
 em>Meets Mondays and Wednesdays\, 3:30 to 5:20 p.m.\, in Kane Hall\, Room 
 220.</em></p><p><a href='https://music.washington.edu/ensembles/university
 -singers' target='_blank' rel='noopener noreferrer'><strong>University Sin
 gers</strong></a><br><em>Meets Mondays in Brechemin Auditorium and Wednesd
 ays in 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:20260612T083118Z
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><
 strong>fit you\, your schedule\, your interests\, and musical experience. 
 Follow the steps below to register or sign up for placement.</strong></p><
 p><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 <
 a href='https://music.washington.edu/ensembles/gospel-choir' target='_blan
 k' rel='noopener noreferrer'>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='https
 ://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 28 and 29.</p><p>Those students who are unable 
 to audition are encouraged to email <a href='mailto:wyersg@uw.edu' target=
 '_blank' 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/__h
 ttps://outlook.office.com/book/UWChoirsAuditions@cloud.washington.edu/s/wS
 zMen9xQky7buThmjPOIw2?ismsaljsauthenabled__\;!!K-Hz7m0Vt54!lhzm3xTfcfKrUGN
 e5i_7bCuom5wVtphcHgXKoF4EPq6Z96RvnGOs3cBhoTut31mNROIn5vxiNkCT3ig$'>HERE</a
 >. You must sign in with your UW netID and password.</p><p><strong>STEP 3:
 </strong> Prepare for your placement (if applicable):</p><ul><li>You will 
 begin your time with us with a <strong>musical ‘get acquainted’ time</stro
 ng> where our graduate music students will ask you about your singing back
 ground\, 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
  which students say is always a positive experience!</li><li>Following tha
 t\, you will sing a prepared piece of your choice\; from <strong>prepared 
 solos</strong>\, to songs from your <strong>home country</strong>\, to son
 gs 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.washin
 gton.edu/ensembles/chamber-singers' target='_blank' rel='noopener noreferr
 er'><strong>Chamber Singers</strong></a><br>Meets Mondays\, Tuesdays\, Wed
 nesdays\, Thursdays\, and some Fridays\, 12:30 to 1:20 p.m. in Brechemin A
 uditorium.</p><p><a href='https://music.washington.edu/ensembles/gospel-ch
 oir' target='_blank' rel='noopener noreferrer'><strong>Gospel Choir</stron
 g></a><br>Meets Mondays\, 6:30 to 8:20 p.m. in Meany Room 268.</p><p><a hr
 ef='https://music.washington.edu/ensembles/uw-glee-club' target='_blank' r
 el='noopener noreferrer'><strong>Glee Club</strong></a><br>Meets Tuesdays\
 , 5:30 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='
 _blank' rel='noopener noreferrer'><strong>Recital Choir</strong></a><br>Me
 ets Tuesdays and Thursdays\, 4:30 to 5:20pm in Music Building\, Room 213.<
 /p><p><a href='https://music.washington.edu/ensembles/uw-treble-choir' tar
 get='_blank' rel='noopener noreferrer'><strong>Treble Choir</strong></a><b
 r>Meets 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' 
 target='_blank' rel='noopener noreferrer'><strong>University Chorale</stro
 ng></a><br>Meets Mondays and Wednesdays\, 3:30 to 5:20 p.m.\, in Kane Hall
 \, Room 220.</p><p><a href='https://music.washington.edu/ensembles/univers
 ity-singers' target='_blank' rel='noopener noreferrer'><strong>University 
 Singers</strong></a><br>Meets Mondays in Brechemin Auditorium and Wednesda
 ys in Music Building\, Room 213\, 3:30 to 4:50 p.m.</p><hr><p> </p>
DTSTART;TZID=America/Los_Angeles:20260929T000000
DTEND;TZID=America/Los_Angeles:20260930T000000
LAST-MODIFIED:20260511T160154Z
SUMMARY:: 2026-27 Choral Placements 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-09-28/2026-27-choral-placement
 s
X-ALT-DESC;FMTTYPE=TEXT/HTML:<p><span><strong> </strong></span><a href='htt
 ps://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:</stron
 g><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 28 and 29.</p><p><span style='font-family:inheri
 t\;font-size:1rem\;'>Those students who are unable to audition are encoura
 ged to email </span><a href='mailto:wyersg@uw.edu' target='_blank' rel='no
 opener noreferrer'><span style='font-family:inherit\;font-size:1rem\;'>wye
 rsg@uw.edu</span></a><span style='font-family:inherit\;font-size:1rem\;'> 
 for make-up audition times</span></p><p><span style='font-family:inherit\;
 font-size:1rem\;'>Sign Up for a Placement </span><a href='https://urldefen
 se.com/v3/__https://outlook.office.com/book/UWChoirsAuditions@cloud.washin
 gton.edu/s/wSzMen9xQky7buThmjPOIw2?ismsaljsauthenabled__\;!!K-Hz7m0Vt54!lh
 zm3xTfcfKrUGNe5i_7bCuom5wVtphcHgXKoF4EPq6Z96RvnGOs3cBhoTut31mNROIn5vxiNkCT
 3ig$'><span style='font-family:inherit\;font-size:1rem\;'>HERE</span></a>.
  You must sign in with your UW netID and password.</p><p><strong>STEP 3:</
 strong><span> </span>Prepare for your placement (if applicable):</p><ul><l
 i>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
  students will ask you about your singing background\, and lead you in som
 e 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<span> </span><e
 m><strong>prepared to sing</strong></em><span> </span>for Dr. Wyers and Dr
 . Boers which students say is always a positive experience!</li><li>Follow
 ing that\, you will sing a prepared piece of your choice\; from<span> </sp
 an><em><strong>prepared solos</strong></em>\, to songs from your<span> </s
 pan><em><strong>home country</strong></em>\, to songs on your latest<span>
  </span><em><strong>playlist!</strong></em></li><li><p>Bring piano sheet m
 usic 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://musi
 c.washington.edu/ensembles/chamber-singers' target='_blank' rel='noopener 
 noreferrer'><strong>Chamber Singers</strong></a><br><em>Meets Mondays\, Tu
 esdays\, Wednesdays\, Thursdays\, and some Fridays\, 12:30 to 1:20 p.m. in
  Brechemin Auditorium.</em></p><p><a href='https://music.washington.edu/en
 sembles/gospel-choir' target='_blank' rel='noopener noreferrer'><strong>Go
 spel 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-gl
 ee-club' target='_blank' rel='noopener noreferrer'><strong>Glee Club</stro
 ng></a><br><em>Meets Tuesdays\, 5:30 to 6:20 p.m.</em> and <em>6:30 to 7:2
 0 p.m. in Music Building\, Room 35.</em></p><p><a href='https://music.wash
 ington.edu/ensembles/recital-choir' target='_blank' rel='noopener noreferr
 er'><strong>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:
 //music.washington.edu/ensembles/uw-treble-choir' target='_blank' rel='noo
 pener noreferrer'><strong>Treble Choir</strong></a><br><em>Meets Thurs­day
 s\, 5:30 to 7:20 p.m. in the Music Build­ing\, Room 213.</em></p><p><a hre
 f='https://music.washington.edu/ensembles/university-chorale' target='_bla
 nk' rel='noopener noreferrer'><strong>University Chorale</strong></a><br><
 em>Meets Mondays and Wednesdays\, 3:30 to 5:20 p.m.\, in Kane Hall\, Room 
 220.</em></p><p><a href='https://music.washington.edu/ensembles/university
 -singers' target='_blank' rel='noopener noreferrer'><strong>University Sin
 gers</strong></a><br><em>Meets Mondays in Brechemin Auditorium and Wednesd
 ays in Music Building\, Room 213\, 3:30 to 4:50 p.m.</em></p><hr><p> </p>
END:VEVENT
BEGIN:VEVENT
UID:4c97a5a9-d1ba-4184-8fbc-aef13985ac55
DTSTAMP:20260612T083118Z
CATEGORIES:Auditions
CLASS:PUBLIC
CREATED:20190415T165915Z
DESCRIPTION:Winds\, Brass & Percussion auditions for the following ensemble
 s: Wind Ensemble\, Symphonic Band\, UW Symphony Orchestra & Campus Philhar
 monia OrchestraThe <a href='http://www.uwbands.com' target='_blank' rel='n
 oopener noreferrer'><strong>University of Washington instrumental ensemble
  program</strong></a> includes four large concert ensembles and over 300 s
 tudent musicians from across campus—from freshmen to grad students\, from 
 anthropology to zoology majors. The <a href='ensembles/wind-ensemble'><str
 ong>Wind Ensemble</strong></a> (MUSEN 301/501)\, <a href='ensembles/sympho
 nic-band'><strong>Symphonic Band</strong></a> (MUSEN 302/502)  are the aud
 itioned concert band ensembles at the University of Washington\, performin
 g a repertoire of classic\, contemporary and newly commissioned music. The
 se groups offer a high level of musical challenge and opportunities for la
 rge group\, chamber and one-on-a-part performance experiences. <p class='y
 iv4781220154MsoNormal'> </p><p class='yiv4781220154MsoNormal'><a href='htt
 ps://music.washington.edu/ensembles/university-washington-symphony-orchest
 ra'><strong>Symphony Orchestra</strong></a> (MUSEN 300/500) is the top orc
 hestral ensemble on campus\, performing major symphonic literature. This o
 rchestra is made up of music majors and non-music majors alike. Auditions 
 are held at the start of each academic year\; seating rotates throughout t
 he year. <a href='https://music.washington.edu/ensembles/campus-philharmon
 ia-orchestras'><strong>University of Washington Campus Philharmonia Orches
 tras</strong></a> (MUSEN 210) perform one concert per quarter and are open
  to non-music majors. The course is led/conducted entirely by graduate stu
 dents of the orchestral conducting program.</p><p class='yiv4781220154MsoN
 ormal'><br> </p><p class='yiv4781220154MsoNormal'><strong style='font-size
 :1em\;'>Membership in all groups is open to undergraduate and graduate stu
 dents from all schools and departments of the UW—over half of the musician
 s in these ensembles are from majors other than music! And remember\, perf
 ormance in a UW ensemble counts toward VLPA credit requirements. </strong>
 </p><p class='yiv4781220154MsoNormal'><br> </p><p class='yiv4781220154MsoN
 ormal'><strong style='font-size:1em\;'>Brass\, woodwind and percussion aud
 itions for Fall 2026 will be held on:</strong></p><br> <strong>MONDAY\, SE
 PTEMBER 28\, 2026</strong>8:30-9:40 HORN 9:50-10:50 BASSOON 11:00-12:50 TR
 UMPET1:00-2:10 TROMBONE 2:20-3:20 TUBA/EUPHONIUM 3:30-4:10 OBOE 4:20-5:50 
 CLARINET  <strong>TUESDAY\, SEPTEMBER 29\, 2026</strong>9:30-11:20 PERCUSS
 ION 11:30-2:30 FLUTE 2:40-4:00 SAXOPHONE  <strong>Auditions will be held i
 n Meany Hall\, room 268 and Studio Theater</strong> (<a href='http://www.w
 ashington.edu/maps/?l=MNY' rel='nofollow noopener noreferrer' target='_bla
 nk'>where is Meany Hall?</a>)<hr><strong>AUDITION PROCEDURE</strong><p>Sig
 n up for an audition <a href='https://urldefense.com/v3/__https://forms.gl
 e/xkVNFT3xMjmE4wG7A__\;!!K-Hz7m0Vt54!h_O5jcYyJtcW9m6k6VZ7LRjLxoIob6ljtvRi8
 DbYAYcLpjkszRrAKh0yjSZuqWQ5AeeyL_6fhdaP-w$' data-entity-type='external'>HE
 RE</a></p><ul><li>Be sure to be available during the entire listed date an
 d time for your instrument. You will be assigned a specific 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 the audition date. If 
 you have a time conflict\, please contact UW Bands TA Yuman Wu at <a href=
 'mailto:yumanwu@uw.edu'>yumanwu@uw.edu</a> ASAP to work out a solution.</l
 i><li>Check in with the audition coordinator outside of the audition room.
 </li><li>When it is your time\, the audition coordinator will guide you to
  enter the room.</li><li>The audition is anonymous (behind a screen) so pl
 ease do not speak during the audition. Listen carefully to the instruction
 s given by the adjudicators. Music will be provided but you may bring your
  own in as well. The audition will last 5-10 minutes.</li><li>After the au
 dition\, please take any music you brought in with you\, but leave any mus
 ic that was already on the stand.</li><li>You will be sent audition result
 s by email shortly after the audition day.</li><li>Note: As of now\, 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></ul><hr><strong>QU
 ESTIONS?</strong> For more information regarding UW Bands contact Yuman Wu
  at <a href='mailto:yumanwu@uw.edu'>yumanwu@uw.edu</a><br> For more inform
 ation regarding UW Orchestras contact David A. Rahbee at <a href='mailto:d
 arahbee@uw.edu'>darahbee@uw.edu</a><br><strong>CAN I PLAY WITHOUT AN AUDIT
 ION?</strong>Yes! The <a href='ensembles/concertcampus-bands'>UW Concert a
 nd Campus Bands</a> (MUSEN 309/509) are open to all players without auditi
 on\, Wednesday evenings\, 7:00-9:00. The first rehearsal for Concert/Campu
 s Bands will be Wednesday September 27th\, 7:00 PM in Meany Hall\, Room 26
 8. All campus and concert band students should attend first rehearsal. Bri
 ng your instruments\, as we will play at the first rehearsal. <strong>IS I
 T POSSIBLE TO PLAY IN MORE THAN ONE ENSEMBLE?</strong>Yes! Rehearsals are 
 scheduled to avoid conflicts between different ensembles including jazz en
 sembles and Husky Marching Band. Visit the UW Bands <a href='areas/band-ac
 tivities' target='_blank' rel='noopener noreferrer'>web page</a> to find o
 ut more about UW BandsVisit the UW Orchestras <a href='/areas/orchestral-a
 ctivities' target='_blank' rel='noopener noreferrer'>web page</a> to find 
 out more about UW Orchestras
DTSTART;TZID=America/Los_Angeles:20260929T000000
DTEND;TZID=America/Los_Angeles:20260930T000000
LAST-MODIFIED:20260511T160044Z
SUMMARY:: Winds/ Brass/ Percussion Fall 2026 Ensemble Auditions
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-09-28/winds-brass-percussion-f
 all-2026-ensemble-auditions
X-ALT-DESC;FMTTYPE=TEXT/HTML:<div class='yiv4781220154MsoNormal'><blockquot
 e><div class='yiv4781220154MsoNormal'>Winds\, Brass & Percussion auditions
  for the following ensembles: Wind Ensemble\, Symphonic Band\, UW Symphony
  Orchestra & Campus Philharmonia Orchestra</div></blockquote><div class='y
 iv4781220154MsoNormal'>The <a href='http://www.uwbands.com' target='_blank
 ' rel='noopener noreferrer'><strong>University of Washington instrumental 
 ensemble program</strong></a> includes four large concert ensembles and ov
 er 300 student musicians from across campus—from freshmen to grad students
 \, from anthropology to zoology majors.</div><div class='yiv4781220154MsoN
 ormal'> </div><div class='yiv4781220154MsoNormal'>The <a href='ensembles/w
 ind-ensemble'><strong>Wind Ensemble</strong></a> (MUSEN 301/501)\, <a href
 ='ensembles/symphonic-band'><strong>Symphonic Band</strong></a> (MUSEN 302
 /502)  are the auditioned concert band ensembles at the University of Wash
 ington\, performing a repertoire of classic\, contemporary and newly commi
 ssioned music. These groups offer a high level of musical challenge and op
 portunities for large group\, chamber and one-on-a-part performance experi
 ences. </div><p class='yiv4781220154MsoNormal'> </p><p class='yiv478122015
 4MsoNormal'><a href='https://music.washington.edu/ensembles/university-was
 hington-symphony-orchestra'><span style='font-size:1em\;'><strong>Symphony
  Orchestra</strong></span></a><span style='font-size:1em\;'> (MUSEN 300/50
 0) is the top orchestral ensemble on campus\, performing major symphonic l
 iterature. This orchestra is made up of music majors and non-music majors 
 alike. Auditions are held at the start of each academic year\; seating rot
 ates throughout the year. </span><a href='https://music.washington.edu/ens
 embles/campus-philharmonia-orchestras'><span style='font-size:1em\;'><stro
 ng>University of Washington Campus Philharmonia Orchestras</strong></span>
 </a><span style='font-size:1em\;'> (MUSEN 210) perform one concert per qua
 rter and are open to non-music majors. The course is led/conducted entirel
 y by graduate students of the orchestral conducting program.</span></p><p 
 class='yiv4781220154MsoNormal'><br> </p><p class='yiv4781220154MsoNormal'>
 <span><strong style='font-size:1em\;'>Membership in all groups is open to 
 undergraduate and graduate students from all schools and departments of th
 e UW—over half of the musicians in these ensembles are from majors other t
 han music! And remember\, performance in a UW ensemble counts toward VLPA 
 credit requirements. </strong></span></p><p class='yiv4781220154MsoNormal'
 ><br> </p><p class='yiv4781220154MsoNormal'><strong style='font-size:1em\;
 '>Brass\, woodwind and percussion auditions for Fall 2026 will be held on:
 </strong></p><div class='yiv4781220154MsoNormal'><br> </div></div><div cla
 ss='yiv4781220154MsoNormal'><div class='yiv4781220154MsoNormal'><strong>MO
 NDAY\, SEPTEMBER 28\, 2026</strong></div><div class='elementToProof' style
 ='-webkit-text-stroke-width:0px\;color:rgb(36\, 36\, 36) !important\;direc
 tion:ltr\;font-family:'Segoe UI'\, 'Segoe UI Web (West European)'\, -apple
 -system\, system-ui\, Roboto\, 'Helvetica Neue'\, sans-serif\;font-size:15
 px\;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-s
 pacing:normal\;margin:0px\;orphans:auto\;text-align:left\;text-decoration:
 none\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:aut
 o\;word-spacing:0px\;' data-ogsc='rgb(36\, 36\, 36)'>8:30-9:40 HORN </div>
 <div class='elementToProof' style='-webkit-text-stroke-width:0px\;color:rg
 b(36\, 36\, 36) !important\;direction:ltr\;font-family:'Segoe UI'\, 'Segoe
  UI Web (West European)'\, -apple-system\, system-ui\, Roboto\, 'Helvetica
  Neue'\, sans-serif\;font-size:15px\;font-style:normal\;font-variant-caps:
 normal\;font-weight:400\;letter-spacing:normal\;margin:0px\;orphans:auto\;
 text-align:left\;text-decoration:none\;text-indent:0px\;text-transform:non
 e\;white-space:normal\;widows:auto\;word-spacing:0px\;' data-ogsc='rgb(36\
 , 36\, 36)'>9:50-10:50 BASSOON </div><div class='elementToProof' style='-w
 ebkit-text-stroke-width:0px\;color:rgb(36\, 36\, 36) !important\;direction
 :ltr\;font-family:'Segoe UI'\, 'Segoe UI Web (West European)'\, -apple-sys
 tem\, system-ui\, Roboto\, 'Helvetica Neue'\, sans-serif\;font-size:15px\;
 font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spaci
 ng:normal\;margin:0px\;orphans:auto\;text-align:left\;text-decoration:none
 \;text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;w
 ord-spacing:0px\;' data-ogsc='rgb(36\, 36\, 36)'>11:00-12:50 TRUMPET</div>
 <div class='elementToProof' style='-webkit-text-stroke-width:0px\;color:rg
 b(36\, 36\, 36) !important\;direction:ltr\;font-family:'Segoe UI'\, 'Segoe
  UI Web (West European)'\, -apple-system\, system-ui\, Roboto\, 'Helvetica
  Neue'\, sans-serif\;font-size:15px\;font-style:normal\;font-variant-caps:
 normal\;font-weight:400\;letter-spacing:normal\;margin:0px\;orphans:auto\;
 text-align:left\;text-decoration:none\;text-indent:0px\;text-transform:non
 e\;white-space:normal\;widows:auto\;word-spacing:0px\;' data-ogsc='rgb(36\
 , 36\, 36)'>1:00-2:10 TROMBONE </div><div class='elementToProof' style='-w
 ebkit-text-stroke-width:0px\;color:rgb(36\, 36\, 36) !important\;direction
 :ltr\;font-family:'Segoe UI'\, 'Segoe UI Web (West European)'\, -apple-sys
 tem\, system-ui\, Roboto\, 'Helvetica Neue'\, sans-serif\;font-size:15px\;
 font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spaci
 ng:normal\;margin:0px\;orphans:auto\;text-align:left\;text-decoration:none
 \;text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\;w
 ord-spacing:0px\;' data-ogsc='rgb(36\, 36\, 36)'>2:20-3:20 TUBA/EUPHONIUM 
 </div><div class='elementToProof' style='-webkit-text-stroke-width:0px\;co
 lor:rgb(36\, 36\, 36) !important\;direction:ltr\;font-family:'Segoe UI'\, 
 'Segoe UI Web (West European)'\, -apple-system\, system-ui\, Roboto\, 'Hel
 vetica Neue'\, sans-serif\;font-size:15px\;font-style:normal\;font-variant
 -caps:normal\;font-weight:400\;letter-spacing:normal\;margin:0px\;orphans:
 auto\;text-align:left\;text-decoration:none\;text-indent:0px\;text-transfo
 rm:none\;white-space:normal\;widows:auto\;word-spacing:0px\;' data-ogsc='r
 gb(36\, 36\, 36)'>3:30-4:10 OBOE </div><div class='elementToProof' style='
 -webkit-text-stroke-width:0px\;color:rgb(36\, 36\, 36) !important\;directi
 on:ltr\;font-family:'Segoe UI'\, 'Segoe UI Web (West European)'\, -apple-s
 ystem\, system-ui\, Roboto\, 'Helvetica Neue'\, sans-serif\;font-size:15px
 \;font-style:normal\;font-variant-caps:normal\;font-weight:400\;letter-spa
 cing:normal\;margin:0px\;orphans:auto\;text-align:left\;text-decoration:no
 ne\;text-indent:0px\;text-transform:none\;white-space:normal\;widows:auto\
 ;word-spacing:0px\;' data-ogsc='rgb(36\, 36\, 36)'>4:20-5:50 CLARINET </di
 v><div class='yiv4781220154MsoNormal'> </div><div class='yiv4781220154MsoN
 ormal'><strong>TUESDAY\, SEPTEMBER 29\, 2026</strong></div><div class='ele
 mentToProof' style='-webkit-text-stroke-width:0px\;color:rgb(36\, 36\, 36)
  !important\;direction:ltr\;font-family:'Segoe UI'\, 'Segoe UI Web (West E
 uropean)'\, -apple-system\, system-ui\, Roboto\, 'Helvetica Neue'\, sans-s
 erif\;font-size:15px\;font-style:normal\;font-variant-caps:normal\;font-we
 ight:400\;letter-spacing:normal\;margin:0px\;orphans:auto\;text-align:left
 \;text-decoration:none\;text-indent:0px\;text-transform:none\;white-space:
 normal\;widows:auto\;word-spacing:0px\;' data-ogsc='rgb(36\, 36\, 36)'>9:3
 0-11:20 PERCUSSION </div><div class='elementToProof' style='-webkit-text-s
 troke-width:0px\;color:rgb(36\, 36\, 36) !important\;direction:ltr\;font-f
 amily:'Segoe UI'\, 'Segoe UI Web (West European)'\, -apple-system\, system
 -ui\, Roboto\, 'Helvetica Neue'\, sans-serif\;font-size:15px\;font-style:n
 ormal\;font-variant-caps:normal\;font-weight:400\;letter-spacing:normal\;m
 argin:0px\;orphans:auto\;text-align:left\;text-decoration:none\;text-inden
 t:0px\;text-transform:none\;white-space:normal\;widows:auto\;word-spacing:
 0px\;' data-ogsc='rgb(36\, 36\, 36)'>11:30-2:30 FLUTE </div><div class='el
 ementToProof' style='-webkit-text-stroke-width:0px\;color:rgb(36\, 36\, 36
 ) !important\;direction:ltr\;font-family:'Segoe UI'\, 'Segoe UI Web (West 
 European)'\, -apple-system\, system-ui\, Roboto\, 'Helvetica Neue'\, sans-
 serif\;font-size:15px\;font-style:normal\;font-variant-caps:normal\;font-w
 eight:400\;letter-spacing:normal\;margin:0px\;orphans:auto\;text-align:lef
 t\;text-decoration:none\;text-indent:0px\;text-transform:none\;white-space
 :normal\;widows:auto\;word-spacing:0px\;' data-ogsc='rgb(36\, 36\, 36)'>2:
 40-4:00 SAXOPHONE </div><div class='yiv4781220154MsoNormal'> </div><div cl
 ass='yiv4781220154MsoNormal'><strong>Auditions will be held in Meany Hall\
 , room 268 and Studio Theater</strong> (<a href='http://www.washington.edu
 /maps/?l=MNY' rel='nofollow noopener noreferrer' target='_blank'>where is 
 Meany Hall?</a>)</div><hr></div><div class='yiv4781220154MsoNormal'><stron
 g>AUDITION PROCEDURE</strong></div><div class='yiv4781220154MsoNormal'><p>
 Sign up for an audition <a href='https://urldefense.com/v3/__https://forms
 .gle/xkVNFT3xMjmE4wG7A__\;!!K-Hz7m0Vt54!h_O5jcYyJtcW9m6k6VZ7LRjLxoIob6ljtv
 Ri8DbYAYcLpjkszRrAKh0yjSZuqWQ5AeeyL_6fhdaP-w$' data-entity-type='external'
 >HERE</a></p><ul><li><span>Be sure to be available during the entire liste
 d date and time for your instrument. You will be assigned a specific audit
 ion slot within the time   range for your instrument. This info will be se
 nt to the email 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
  </span><a href='mailto:yumanwu@uw.edu'><span>yumanwu@uw.edu</span></a><sp
 an> ASAP to work out a solution.</span></li><li><span style='font-size:1em
 \;'>Check in with the audition coordinator outside of the audition room.</
 span></li><li><span style='font-size:1em\;'>When it is your time\, the aud
 ition coordinator will guide you to enter the room.</span></li><li><span s
 tyle='font-size:1em\;'>The audition is anonymous (behind a screen) so plea
 se do not speak during the audition. Listen carefully to the instructions 
 given by the adjudicators. Music will be provided but you may bring your o
 wn in as well. The audition will last 5-10 minutes.</span></li><li><span s
 tyle='font-size:1em\;'>After the audition\, please take any music you brou
 ght in with you\, but leave any music that was already on the stand.</span
 ></li><li><span style='font-size:1em\;'>You will be sent audition results 
 by email shortly after the audition day.</span></li><li><span style='font-
 size:1em\;'>Note: As of now\, there are no warm-up rooms or areas in the b
 uilding. However\, you are welcome to warmup outside or in the parking gar
 age. We encourage everyone to warm up prior to arriving on campus if at al
 l possible.</span></li></ul></div><hr><div class='yiv4781220154MsoNormal'>
 <strong>QUESTIONS?</strong> </div><div class='yiv4781220154MsoNormal'>For 
 more information regarding UW Bands contact Yuman Wu at <a href='mailto:yu
 manwu@uw.edu'>yumanwu@uw.edu</a><br> </div><div class='yiv4781220154MsoNor
 mal'>For more information regarding UW Orchestras contact David A. Rahbee 
 at <a href='mailto:darahbee@uw.edu'>darahbee@uw.edu</a></div><div class='y
 iv4781220154MsoNormal'><div class='yiv4781220154MsoNormal'><br><strong>CAN
  I PLAY WITHOUT AN AUDITION?</strong></div><div class='yiv4781220154MsoNor
 mal'>Yes! The <a href='ensembles/concertcampus-bands'>UW Concert and Campu
 s Bands</a> (MUSEN 309/509) are open to all players without audition\, Wed
 nesday evenings\, 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>All campus and concert band students should attend first rehearsal
 . Bring your instruments\, as we will play at the first rehearsal.</div><d
 iv class='yiv4781220154MsoNormal'> </div><div class='yiv4781220154MsoNorma
 l'><strong>IS IT POSSIBLE TO PLAY IN MORE THAN ONE ENSEMBLE?</strong></div
 ><div class='yiv4781220154MsoNormal'>Yes! Rehearsals are scheduled to avoi
 d conflicts between different ensembles including jazz ensembles and Husky
  Marching Band.</div><div class='yiv4781220154MsoNormal'> </div><div class
 ='yiv4781220154MsoNormal'>Visit the UW Bands <a href='areas/band-activitie
 s' target='_blank' rel='noopener noreferrer'>web page</a> to find out more
  about UW Bands</div><div class='yiv4781220154MsoNormal'>Visit the UW Orch
 estras <a href='/areas/orchestral-activities' target='_blank' rel='noopene
 r noreferrer'>web page</a> to find out more about UW Orchestras</div></div
 >
END:VEVENT
BEGIN:VEVENT
UID:9d1b7508-1b3a-4167-bbbc-2098244413ec
DTSTAMP:20260612T083118Z
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\, Octobe
 r 1\, 2026<br>12:30 pm - 1:30 pm<br>no sign up necessary</p><p>Auditions i
 nclude group improvisation with other auditionees\, as well as a prepared 
 one-minute solo reflecting your personal improvisational voice. Backing tr
 acks are welcome\, and self-created material is encouraged.</p><p><strong>
 Studio Jazz Ensemble – MUSEN 346/546 B</strong><br><strong>Rehearsals are 
 Tuesdays and Thursdays\, 12:30 pm – 2:20 pm</strong></p><hr><h2>Director B
 io</h2>
DTSTART;TZID=America/Los_Angeles:20261001T123000
DTEND;TZID=America/Los_Angeles:20261002T000000
LAST-MODIFIED:20260511T160322Z
SUMMARY:: Fall 2026 Studio Jazz Ensemble: Modern Band Auditions
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-10-01/fall-2026-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></blockqu
 ote><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><stron
 g>Audition:­</strong><br>Thursday\, October 1\, 2026<br>12:30 pm - 1:30 pm
 <br><span>no sign up necessary</span></p><p>Auditions include group improv
 isation with other auditionees\, as well as a prepared one-minute solo ref
 lecting your personal improvisational voice. Backing tracks are welcome\, 
 and self-created material is encouraged.</p><p><strong>Studio Jazz Ensembl
 e – MUSEN 346/546 B</strong><br><strong>Rehearsals are Tuesdays and Thursd
 ays\, 12:30 pm – 2:20 pm</strong></p><hr><h2>Director Bio</h2>
END:VEVENT
BEGIN:VEVENT
UID:64c7e3b0-d1e9-418c-9855-d5a964fb7448
DTSTAMP:20260612T083118Z
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\, October 1\, 2026<br><strong>Time</strong> - 2:30 pm <br><stro
 ng>Room</strong> - 35 (on the lowest floor of the Music Building)</p><p>No
  sign up necessary. <a href='https://music.washington.edu/ensembles/jazz-w
 orkshop-small-ensembles'>More info</a></p><h2>Audition process</h2><p>Audi
 tions will involve playing with a small group of auditionees\, reading lea
 d sheets as a band\, and each member taking up to two choruses of 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*</s
 trong></p><hr><h2>Director Bio: </h2>
DTSTART;TZID=America/Los_Angeles:20261001T143000
DTEND;TZID=America/Los_Angeles:20261002T000000
LAST-MODIFIED:20260511T160356Z
SUMMARY:: Fall 2026 Small Jazz Ensembles (Jazz Combo) Auditions
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-10-01/fall-2026-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></blo
 ckquote><p><strong>Audition Date</strong> - Thursday\, <span>October 1\, 2
 026</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 nece
 ssary. </span><a href='https://music.washington.edu/ensembles/jazz-worksho
 p-small-ensembles'><span>More info</span></a></p><h2>Audition process</h2>
 <p>Auditions will involve playing with a small group of auditionees\, read
 ing lead sheets as a band\, and each member taking up to two choruses of s
 oloing.</p><p class='text-align-center'><strong>Jazz Workshop - MUSEN – 34
 5/545</strong><br><strong>Rehearsals are Tuesdays and Thursdays\, 2:30 – 3
 :20*</strong></p><hr><h2>Director Bio: </h2>
END:VEVENT
BEGIN:VEVENT
UID:b4525795-7eb9-4e51-8405-3858a8125619
DTSTAMP:20260612T083118Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20260605T180805Z
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 coming soon!
DTSTART;TZID=America/Los_Angeles:20261007T123000
DTEND;TZID=America/Los_Angeles:20261008T000000
LAST-MODIFIED:20260605T180855Z
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-10-07/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><
 /div><div> </div><div>Program details coming soon!</div>
END:VEVENT
BEGIN:VEVENT
UID:818defcf-dcc1-4f05-8af0-94240daf6683
DTSTAMP:20260612T083118Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20260520T172442Z
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> <stro
 ng>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:20261013T120000
DTEND;TZID=America/Los_Angeles:20261014T000000
LAST-MODIFIED:20260520T172455Z
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-10-13/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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:ef453b77-54f8-4969-a835-5c1979b8e865
DTSTAMP:20260612T083118Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20260520T172504Z
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> <stro
 ng>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:20261029T120000
DTEND;TZID=America/Los_Angeles:20261030T000000
LAST-MODIFIED:20260520T172514Z
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-10-29/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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:c5ed6323-260b-4549-ab8b-1b2780814ada
DTSTAMP:20260612T083118Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20260520T172524Z
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> <stro
 ng>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:20261103T120000
DTEND;TZID=America/Los_Angeles:20261104T000000
LAST-MODIFIED:20260520T172536Z
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-11-03/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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:a0517c7a-915a-4df4-92b1-b73a8e86a83f
DTSTAMP:20260612T083118Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20260605T180924Z
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 coming soon!
DTSTART;TZID=America/Los_Angeles:20261104T123000
DTEND;TZID=America/Los_Angeles:20261105T000000
LAST-MODIFIED:20260605T180940Z
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-11-04/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><
 /div><div> </div><div>Program details coming soon!</div>
END:VEVENT
BEGIN:VEVENT
UID:8aacb832-0032-4996-b215-1e800993d1df
DTSTAMP:20260612T083118Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20260520T172540Z
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> <stro
 ng>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:20261119T120000
DTEND;TZID=America/Los_Angeles:20261120T000000
LAST-MODIFIED:20260520T172552Z
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-11-19/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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:02b790a4-774c-48ef-a43e-9e8004232c0a
DTSTAMP:20260612T083118Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20260520T172555Z
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> <stro
 ng>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:20261201T120000
DTEND;TZID=America/Los_Angeles:20261202T000000
LAST-MODIFIED:20260520T172604Z
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-12-01/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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:f09b94be-c01b-4264-82cc-3aaed4635f6a
DTSTAMP:20260612T083118Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20260605T180944Z
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 coming soon!
DTSTART;TZID=America/Los_Angeles:20261202T123000
DTEND;TZID=America/Los_Angeles:20261203T000000
LAST-MODIFIED:20260605T180959Z
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-12-02/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><
 /div><div> </div><div>Program details coming soon!</div>
END:VEVENT
BEGIN:VEVENT
UID:f164b436-13a3-482e-a4ec-17469263d751
DTSTAMP:20260612T083118Z
CATEGORIES:Information Sessions
CLASS:PUBLIC
CREATED:20260520T172607Z
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> <stro
 ng>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:20261217T120000
DTEND;TZID=America/Los_Angeles:20261218T000000
LAST-MODIFIED:20260520T172614Z
SUMMARY:: Prospective Undergraduate Student Information Session
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2026-12-17/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:</stro
 ng></p><ul><li>An overview of the School of Music and its resources</li><l
 i>Degree programs offered</li><li>The application and audition process</li
 ><li>Scholarships</li><li>Opportunities for non-music majors</li></ul><p><
 strong>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:98990901-ed00-42e9-a331-6ced770ab821
DTSTAMP:20260612T083118Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20260605T181002Z
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 coming soon!
DTSTART;TZID=America/Los_Angeles:20270106T123000
DTEND;TZID=America/Los_Angeles:20270107T000000
LAST-MODIFIED:20260605T181014Z
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2027-01-06/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><
 /div><div> </div><div>Program details coming soon!</div>
END:VEVENT
BEGIN:VEVENT
UID:749b2328-0ea7-459d-904b-7a0cb56a5f7e
DTSTAMP:20260612T083118Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20260605T181020Z
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 coming soon!
DTSTART;TZID=America/Los_Angeles:20270203T123000
DTEND;TZID=America/Los_Angeles:20270204T000000
LAST-MODIFIED:20260605T181030Z
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2027-02-03/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><
 /div><div> </div><div>Program details coming soon!</div>
END:VEVENT
BEGIN:VEVENT
UID:b504cf9d-1b14-4ae8-8ecf-788cde580f0b
DTSTAMP:20260612T083118Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20260605T181035Z
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 coming soon!
DTSTART;TZID=America/Los_Angeles:20270303T123000
DTEND;TZID=America/Los_Angeles:20270304T000000
LAST-MODIFIED:20260605T181053Z
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2027-03-03/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><
 /div><div> </div><div>Program details coming soon!</div>
END:VEVENT
BEGIN:VEVENT
UID:85860dc5-fd70-4ce8-9766-a18f58bbb3bd
DTSTAMP:20260612T083118Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20260605T181058Z
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 coming soon!
DTSTART;TZID=America/Los_Angeles:20270407T123000
DTEND;TZID=America/Los_Angeles:20270408T000000
LAST-MODIFIED:20260605T181108Z
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2027-04-07/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><
 /div><div> </div><div>Program details coming soon!</div>
END:VEVENT
BEGIN:VEVENT
UID:65e31113-3f97-491e-94fc-36f01b3521d6
DTSTAMP:20260612T083118Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20260605T181111Z
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 coming soon!
DTSTART;TZID=America/Los_Angeles:20270505T123000
DTEND;TZID=America/Los_Angeles:20270506T000000
LAST-MODIFIED:20260605T181118Z
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2027-05-05/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><
 /div><div> </div><div>Program details coming soon!</div>
END:VEVENT
BEGIN:VEVENT
UID:5653f84d-bdda-49dd-809e-3077add92638
DTSTAMP:20260612T083118Z
CATEGORIES:Community Events\, Performances\, Student Activities and Perform
 ances
CLASS:PUBLIC
CREATED:20260605T181126Z
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 coming soon!
DTSTART;TZID=America/Los_Angeles:20270602T123000
DTEND;TZID=America/Los_Angeles:20270603T000000
LAST-MODIFIED:20260605T181136Z
SUMMARY:: First Wednesday Concert Series: Students of the UW School of Musi
 c 
TRANSP:OPAQUE
URL:https://music.washington.edu/events/2027-06-02/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><
 /div><div> </div><div>Program details coming soon!</div>
END:VEVENT
END:VCALENDAR