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Chamber Singers and University Chorale 

Friday, March 3, 2023 - 7:30pm
$10 all tickets. Tickets on sale soon.
  • UW Chorale

The Chamber Singers (Geoffrey Boers) and University Chorale (Giselle Wyers) present their Winter Quarter concert. The University Chorale presents “Village Bells," a program of works by Ralph Vaughn Williams, Aaron J. Kernis, Veljo Tormis, and others. With special guest narrator Guntis Smidchens, and soloist Sophia Parker. The Chamber Singers presents "Improvisation, Collaboration, Creation," a program of music by Claudio Monteverdi, Jocelyn Hagen/Spearfisher, and young composers from Seattle's Columbia Choirs organization (Katrina Turman, executive director). With special guest Marc Seales, piano. 

Download the complete concert program


Chamber Singers

DHAYOUNG YOON, rehearsal pianist
"Improvisation, Collaboration, Creation”

With special guests:
CARRIE SHAW, UW voice faculty
MARC SEALES, UW jazz faculty 

Claudio Monteverdi: Hor che’l ciel e la terra
Marc Seales, piano
Young Composers of Columbia Choirs: Miscellaneous Works
Jocelyn Hagen/Spearfisher: Hummingbird

University Chorale
GISELLE WYERS, conductor

“Village Bells"

Solos in order of appearance: Mia Jang, Claire Killian, Emma Koslosky

Ralph Vaughan Williams: Full Fathom Five from Three Shakespeare Songs
Mykola Leontovich: Shchedryk (English version, arranged by Giselle Wyers) 
Aaron J Kernis: Dorma Ador 
Sophia Parker, solo
Veljo Tormis: The Tower Bell in my Village 
Guntis Smidchens, guest narrator
Nilo Alcala: Kaisa-Isa Niyan

Program Notes: Chamber Singers 

As the title suggests, we are collaborating with other faculty artists, Marc Seales and Carrie Shaw, as well as an alumnus, Katrina Turman (2021), and some of her singers in the Columbia Choirs organization, for which she is Executive Director. The concert will be full of improvisation of various kinds! The choir will sing a dramatic, extended madrigal by Claudio Monteverdi, Hor che’l ciel e la terra, instead of the traditional Baroque continuo (accompaniment) part which would have been improvised, noted jazz pianist Marc Seales will improvise a jazz accompaniment. The combination of ancient poetry on love, war, and death with jazz harmony is a poetry of its own kind. 
Next we will sing three works created by young ‘composers’ from the upper elementary and middle school age choirs in the Columbia Choir organization. These students are learning to write graphic notation, which are symbols which evoke sound, rather than traditional notation. The hope is that a barrier to composition and creativity (needing to read and write Western notation) can be removed and inspire children to create works of art. We have been working with the children since the fall—they submit drawings, the choir “sings” them, and sends recordings back to the students. They then fine-tune what they are writing to get closer to the idea in their minds! We will project the scores on the Meany stage so the audience can see what we are working with! The choir will prepare the sounds and form guided by Dr. Carrie Shaw. Dr. Shaw is known for her solo work as well as ensemble work with Quince, who specialize in performance of modern vocal works.  No matter what our preparation is, our performance of these pieces will be different every time!
Finally we will present a performance of Hummingbird, a piece created by choral composer Jocelyn Hagen and techno-artist Spearfisher. The work depicts hummingbirds as an icon of nature, and then as an allegory for survival in the inner city. Scored for choir, soloists, piano and synthesizer, the piece is created in “chunks” where notated parts can come and go, repeat, and be shaped in a number of ways. In addition the chunks can progress slowly or quickly depending on the amount of improvisation varies depending on how the synthesizer integrates with the choir. The score says “Duration 5-10 minutes, or more.” 

Program Notes, University Chorale

Veljo Tormis: The Tower Bell in my Village

In 1978, the year when Veljo Tormis (1930-2017) composed “Tower Bell in My Village,” a massive hotel was built across the street from his apartment window in Estonia’s capital city Tallinn, forever blocking his view of the sky. One cannot but see a connection to his song’s defiant critique of urbanized claustrophobia.

Part I concludes in “moonlit ruins,” conjuring images of centuries-old Estonian village churches whose bells were looted and towers burned during the Second World War, leaving their charred stone walls and elaborate interiors to crumble under the rain and snow during decades of postwar Communist occupation. It was in these actual ruined churches of western Estonia that conductor Tõnu Kaljuste and Ellerhein choir premiered Tormis’s work in the summer of 1978, raising donations to preserve their nation’s architectural and spiritual heritage. Within weeks, Soviet government censors silenced the “Tower Bell” concert tour, but Ellerhein choir’s underground popularity would grow into new initiatives. And Veljo Tormis would double down and compose ever more subversive songs of resistance to the Soviet destruction of indigenous cultures.

Tormis found refuge in traditional regilaul folksongs of Estonian villages: long, lilting threads of oral poetry that were as endless as the improvisational skill of singers. Part IV features folk melodies of Jaaniöö, Midsummer night (June 23, Saint John’s Night in the Christian calendar), which Estonians and other North Europeans today continue to celebrate as they have for centuries: They light enormous bonfires and pass the night through dawn, dancing and singing. We can but listen from a distance, longing to hear more of their musical wealth.
—Guntis Šmidchens


Hor che'l ciel e la terra           Claudio Monteverdi (1567-1643)

Hor che 'l ciel e la terra e 'l vento tace

e le fere e gli augelli il sonno affrena,

notte il carro stellato in giro mena

e nel suo letto il mar senz' onda giace,


Veglio, penso, ardo, piango; e chi mi sface

sempre m'è innanzi per mia dolce pena.

Guerra è'l mio stato, d'ira e di duol piena,

e sol di lei pensando ho qualche pace.


Così sol d'una chiara fonte viva

move 'l dolce e l'amaro ond'io mi pasco;

una man sola mi risana e punge.


E perché 'l mio martir non giunga a riva,

mille volte al dì moro e mille nasco,

tanto da la salute mia son lunge.

Now, that heaven and earth and wind are silent

and animals and birds are locked in sleep,

the night leads her starred chariot in its orbit

and waveless the sea rests in its bed,


I wake, I muse, I burn, I weep and who upsets me

ever drives me forth to my sweet pain.

War is upon me, full of wrath and grief,

and only thinking of her gives me some peace.


Thus from only one clear and vivid source

flows the sweet and the bitter, in which I cherish me.

One and the same hand heals and wounds me.


And since my torments do not reach an ending,

a thousandfold a day I die, a thousandfold I'm born;

from my well-being I am away so far.

Hummingbird                                         Spearfisher  & Jocelyn Hagen (b. 1980)

A numbing

made of many

wings. A kissing

so fast they look

like blurs. A plump passive

drop of fur

with all the swirl and anxiety

of a city’s veins

hovering past its

puff head to create

an irritating song in this drain

like voice and humility.

An awareness of good;

a need to make to

control each cloud

of jewels, the child’s


the cold in the back

corner, her own

foolish dreams. She keeps

a bubble

around herself

and it is

not bad the layers

because a wall can be made

of static vibration, not

not stopped, but settled

assumed where the paths

are walkable despite

the odd looks

of a black girl as stranger

or rebarb to guard

the body against

the gunshot the frown-look

the need to press small

where it can to

gold the air,

dot each beat with

falsetto: feathers

dry winking wings

and her hope for love maybe

right there the frantic motion

propelling her

to keep murmuring

for more.

Full Fathom Five from 3 Shakespeare Songs                                        Ralph Vaughan Williams (1872-1958) 
Text by William Shakespeare

(from The Tempest)

Full fathom five thy father lies;

Of his bones are coral made;

Those are pearls that were his eyes:

Nothing of him that doth fade,

But doth suffer a sea-change

Into something rich and strange.

Sea-nymphs hourly ring his knell:


Hark! now I hear them,—ding-dong, bell.

Shchedryk (Ukrainian folk song, in English and Ukrainian)           Mykola Leontovych (1877-1921)

Щедрик, щедрик, щедрівочка,

Прилетіла ластівочка,

Стала собі щебетати,

Господаря викликати.

Вийди, вийди, господарю,

Подивися на кошару.

Там овечки покотились,

А ягнички народились.

В тебе товар весь хороший,

Будеш мати мірку грошей.

В тебе жінка чорноброва.

Хоч не гроші, то полова,

В тебе жінка чорноброва.

Shchedryk, shchedrivochka

Here flew the swallow from afar

Started to sing, lively and loud

Asking the master to come out

Come here, o come, master, it’s time

In the sheepfold wonders to find

Your lovely sheep have given birth

To little lambs of great worth.

All of your wares are very fine

Coins you will have in a big pile.

You have a wife, fair as a dove

If not the coin, then the chaff

You have a wife, fair as a dove.

Dorma Ador (sung in Portuguese)           Aaron J Kernis (b. 1960)

Dorma, ador, adormeça

Boyoyo balu

Sleep, go to sleep,

My sweet little boy.

Tower Bell in my Village         Veljo Tormis (1930-2017)



Oh, tower bell in my village!

Sorrowful, nocturnal ringing,

Every time that you’re chiming,

My soul replies,

Like an echo.


Lui-lui lui lui lui

Melodies come from the meadow

Uii-uii uii uii uii


Oh death, it’s a bend in the road and

You can’t be seen when you’ve passed by

But still your steps continue

Our own existence is endless.


La-li-lu-li, la li lu li


Oh, tower bell in my village…

…As ruefully as our lives are,

So measuredly are ringing,

That first chimes are just recurrence.

Recurrence is all that’s ringing.



 From my village, I can see as much of the universe as can be seen from anywhere on earth.

Because my village is as large as any country.

Because I am as tall as I am able to see…

…and not simply as tall as I am.

In cities, life is smaller that it is here, in my village, by this hillside…

In cities, big houses obstruct the view; they fill the horizon; and they keep our eyes from taking in the whole sky…

They make us small because we can only grasp what our eyes are able to show us…

and they make us poor because seeing is the only thing that makes us wealthy.

But something false is creeping into us, and into the crumbling moonlit ruins of our times.


A fife in the night…

A shepherd, maybe?

This lu-ii-lu-ii-lu-ii is lilting along as aimlessly as life itself.

No beginning to it nor any ending, melodies come from the meadow. 

No special skill to it nor thrilling pleasure - pure air and echo.

No secret harmonies I might remember,

And even while listening, I yearn to hear it again…

and for it to stop!

And—if everything does go silent?

Maybe it’s not so hard,

Because my eyes are already getting used to the darkness.


The earth, too, is made from heaven.

A lie shall not be inherited.

No one can simply vanish.

Everything is only the truth, and the way.


It is Midsummer night over there, beyond my garden wall.

I am here, on this side, without Midsummer night.

Because Midsummer night is there, where the celebrations are.

All I have is the glow of their bonfires in the night,

and echoes of bursts of laughter and thumping feet,

and a random shout from someone who doesn’t know I exist.


Chime as nearby as you please —

To me, forever wandering,

You are like a dream

Ringing beyond farthest distance. 

Kaisa-Isa Niyan (Maguindanaon counting chant)     Nilo Alcala (b. 1978)

          Kaisa-isa niyan, 

          Kaduwa-duwa niyan, 

          Katelo-telo niyan,

          Kapati pingapatan,

          Kalima ni tagedteb,

          Kanem i dagedeban,

          Kapito-pito naga, 

          Kawalo banubugan, 

          Kasiyam kabankaban,

          Kasapolo bindasan. 

Just one,


Or three of that.

Four are alternating.

Five: too noisy, it’s disturbing.

Six: a sound so loud!

Seven: a dragon…

Eight: pounds heavily on a puddle.

Nine: a box.

Ten: a drawer.



Kaelyn Barnes, Everett, WA; BM, Vocal Performance

Sydney Belden, San Clemente, CA; Sophomore BM/BS, Music-Voice/Environmental Studies

Aida Bowen, Mount Vernon, WA; Junior Vocal Performance & American Indian Studies

Mavis Chan, Bellevue, WA; BM, Vocal Performance and BA, Business Administration - Marketing

Naomi-Hal Hoffman, Bellevue, WA; Vocal Performance Drama: Design

Sydney Huang, Cleveland, OH; Freshman Pre-health Science 

Shalini Pullarkat, La Cañada, CA; BS, General Biology

Nandini Rathod, Mercer Island, WA; Freshman Pre-Sciences

Lauren Reynolds, Colorado Springs, CO; MMA, Marine and Environmental Affairs

Caitlin Sarwono, BA Music Education


Cee E. Adamson, Washington, D.C.; DMA, Vocal Performance

Lily Campbell, Olympia, WA; BA, Public Health-Global Health

Anjali Chudasama, Upland, CA; MM, Choral Conducting

Kristin Deitrich, Baroda, MI; Music Education

Heather Halverson, Woodinville, WA; Sophomore BM/BA,Vocal Performance/Communications

Elizabeth Lu, Tacoma, WA; BS, Molecular, Cellular, Developmental Biology

Anna Messenger, Olympia, WA; BM, Music Education

Jaminfaye Reduque, DuPont, WA; BS, Bioresource Science and Engineering

Larke Witten, San Antonio, TX; MM, Choral Conducting 


Eyad Alsimimy, Mount Vernon, WA; Computer Eng.

Oliver Callahan, Anaheim, CA; BM, Music Education

Caleb Chin-Yung Chan, Portland, Oregon; BS, Computer Science

Tyler Todd Kimmel, Seattle, WA; DMA, Choral Conducting

Marshell Lombard, Johannesburg, Gauteng Place of Gold, South Africa; DMA, Choral Conducting

Chad Miller, Lansing, KS; PhD, Psychology

Tri Nguyen, Everett, WA; BS, Mechanical Engineering

Maggie Petersen, Mercer Island, WA; Undeclared Freshman

Isaac Tian, San Diego, CA ; PhD, Computer Science & Engineering


Justin Birchell, Anchorage, AK; DMA, Choral Conducting

Charlie Dawson, Austin, TX; Economics

Scott Fikse, Tacoma, WA; MM, Choral Conducting 

Grant Hopkins, Blue Bell, PA; PhD student, Biostatistics

Evan Norberg, Seattle, Washington; DMA Choral Conducting

Christian Rolfson, Mount Vernon, WA; Environmental Science and Resource Management

Trey Wheeler, Vancouver, WA; BM, Music Education & Vocal Performance 

James Wilcox, Nashville, TN; Computer Science & Engineering




Tia Bjornson, Tacoma, Wa; Community, Environment and Planning

Emily Cameron, Snohomish, WA; Mechanical Eng.

Chloe Chapman, Vancouver, WA; Astronomy and Physics

Lauren Chenoweth, Bellevue, WA; Intended: Linguistics

Sarah Clark, Mercer Island WA; Political Science

Kate Connors, Kennewick, WA; Vocal Performance

Julia Fung, Bothell, WA; Pre-major

Claire Killian, Evergreen, CO; Political Science & Phil.

Emma Koslosky, Castro Valley, CA; Linguistics

Anna Kucinski, Redmond, WA; Human-Centered Design & Engineering

Meena Kuduva, Kirkland, WA; Computer Science 

Ellen Kwon, Federal Way, WA; Piano Performance and Music Education 

Lena Lee, Lynwood, WA; Music Education; Pre-major

Joely Loucks, Friday Harbor, WA; Music Education

Anna Messenger, Olympia, WA; Music Education

Julia Nipert, Renton, WA; Pre-Nursing

Chloe O'Keefe, San Francisco, CA; Gender, Women, Sexuality Studies and Public Health

Sophia Parker, Bothell, WA; Vocal Performance

Clara Propst, Seattle, WA; Psychology

Meliza Redulla, Olympia, WA; Music Education

Sophie Root, Kirkland, WA; Psychology

Anne Tinker, Seattle, WA; Pre-Health

Erin Tsai, Irvine, CA; Environmental Science and Resource Management


Lyla Cain, Seattle, WA; Electrical Engineering

Sofiia Fedzhora, Kyiv, Ukraine; Slavic Languages and Literatures Department

Alexis Georgiades, Basking Ridge, NJ; Chemistry

Christine Han, Suzhou, China; Intended: Philosophy

Naomi-Hal Hoffman, Bellevue, WA; Vocal Performance Drama: Design

Hongyi Ji, Shanghai China; Computer Science

Lexi Koperski, Chicago, IL; Anthropology and Music history

Ella L'Heureux, Leavenworth, KS; Linguistics

Hannah Limb, Mountlake Terrace, WA; Biology

Karissa Longo, Pittsburgh, PA; Music Education

Sophie Ma, Tokyo, Japan; Music Composition

Akhila Narayanan, Redmond, WA; Computer Eng.

Ari Okin Los Angeles, CA; Ethnomusicology

Leah Peterson, Bellevue, WA; Astronomy and Physics

Natalie Peterson, Poulsbo, WA; Pre-Science

Jaminfaye Reduque, DuPont, WA; Bioresource Science and Engineering

Silvana Segura, Redmond, WA; Psychology

Maya Shah, Portland, OR; Undeclared

Nelly Sunstrum, Redmond, WA; Civil Engineering

Jessica Thaxton, Tampa, FL; Psychology

Aliyah Wachob, Belmont, CA; Law, Societies and Justice & Creative Writing

Ruby Whelan, Madison, WI; Sociology


Hannah Carpenter, Puyallup, WA; Physics and Astronomy

Gray Creech, Nashville, TN; Political Science

Eric Gagliano, Magnolia, TX; Civil Engineering

Cam Gardner, Sammamish, WA; Political Economy

Michael Lim, Du Pont, WA; Music Education

Karsten Lomax, Edmonds, WA; Comparative History of Ideas & Cinema and Media Studies

Marshell Lombard, Johannesburg, Gauteng (Place of Gold), South Africa, DMA Choral Conducting

Tri Nguyen, Everett, WA; BS, Mechanical Engineering

John O’Kane, Seattle, WA; Industrial Systems Eng.

Luke van Sickel, Oregon City, OR; Engineering undeclared

Ryan Singh, Redmond, WA; Geography: Data Science

Ethan Walker, Lynnwood, WA; Biology

Trey Wheeler, Vancouver, WA; Music Education & Vocal Performance


Eyad Alsilimy, Mount Vernon, WA; Computer Eng.

Zaref Anderson, Seattle, WA; Community, Environment and Planning

Zane Bowmer-Vath, Issaquah, WA; Marketing

Nshan Burns, Graham, WA; Economics

Charlie Dawson, Austin, TX; Economics

Matthew Hansen, Camas WA

Will Henry, Richland, WA; Civil Engineering

Andrew Hoch, Burr Ridge, IL; Informatics

Jacob Knight, Lynnwood, WA; Computer Science

Jonah Ladish-Orlich, Renton, WA; Undeclared

Sidharth Lakshaman, Bellevue, WA; Computer Engineering

Zach Shafer, Camas, WA; Computer Science

Daniel Troyan, Mission Viejo, CA; Intended: Psych

Director and Guest Artist Biographies

Guntis Šmidchens

Guntis Šmidchens is Kazickas Family Endowed Professor of Baltic Studies in the UW Scandinavian Department, where he teaches courses about Estonian, Latvian and Lithuanian culture,  history and politics. His book, The Power of Song: Nonviolent National Culture in the Baltic Singing Revolution (2014) studied the songs of the successful nonviolent movement that restored independence to Latvia, Estonia and Lithuania in 1991. Guntis is a long-time fan of the UW choral music program; he was honored to accompany the UW Chorale and UW Chamber Singers (as a guide!) on their concert tours to the Baltic countries in 2000, 2005, 2010, 2013 and 2019. 

Professor Geoffrey Boers

Geoffrey Boers is Director of Choral Activities at the University of Washington in Seattle, a program widely recognized as forward thinking, unique, and of great distinction. Under his direction, the graduate choral program has developed a singular mission: to nurture the whole student as conductor-teacher-servant-leader-scholar. This vision has led the program to become one of the most vibrant and innovative in the country, attracting students from around the world interested in exploring the future of our art. Through his teaching he is exploring the evolution of conducting gesture and rehearsal pedagogy and their connection with the emerging neuroscience of mirror neurons, empathy, perception, learning, and personal transformation. His exploration has led to new thoughts about conducting and teaching with regard to breath, movement, artistry, personal awareness, and cultural development. Recently, his work has led to the mentoring of local choral cohorts of teachers and conductors who are interested in building professional communities of ongoing mentorship and musical development.  He has developed such mentorship programs across the United States and Canada. In addition to these thoughts about mentorship he is actively working with other leaders in ACDA and NAfME to develop a more unified and useful system for development of musicianship, assessment, adjudication, and repertoire grading. 

Geoffrey maintains an active conducting, teaching, workshop and clinic schedule; his recent engagements have included conducting concerts in Orchestra Hall in Minneapolis, Meyerson Concert Hall in Dallas, New York’s Alice Tully and Avery Fischer Hall at Lincoln Center, the Mormon Tabernacle in Salt Lake City, and Benaroya Hall in Seattle. In addition he has served as artist-in-residence in Toronto, Ontario, Mainz, Germany, as well as Seoul, Korea with the world-renown choir the Incheon City Chorale

In addition to his position at the UW, Boers sings professionally and is the conductor of the Tacoma Symphony Chorus where he conducts both the choir and symphony players in a four-concert season.

Since his tenure at the University of Washington, the choral program has become a leader in promoting the performance, study and exchange of Baltic music in the United States. The choir has toured to the Baltic countries in 2000, 2005, 2010, and 2013. Geoffrey Boers was awarded a prestigious Royalty Research Grant in 2004 to create a Baltic Choral Library in collaboration with the UW Library as well as State and academic libraries in the Baltic. This collection of scores, manuscripts, vocal music, and writings is the first of its kind in the United States. This collection has promoted yearly exchanges with choirs and conductors from the Baltic area who travel each year to Seattle. Further, it has led to numerous UW choral students winning awards and scholarships to travel, study, and work in the Baltic countries.

Giselle Wyers (she/her/hers) is the Donald E. Petersen Endowed Professor of Choral Music at the University of Washington, where she conducts the award-winning University Chorale and teaches graduate and undergraduate courses in choral conducting and music education. She serves as the newly appointed School of Music's designated Diversity Liaison. University Chorale’s latest CD, Resonant Streams (on the MSR Music Recordings label) was featured in a 2018 Gramophone magazine article. Wyers is the newly appointed director of Concord Chamber Choir, an adult community chorus within the Columbia Choirs community. Her professional project choir Solaris Vocal Ensemble, specializes in the performance of contemporary American choral literature. Their premiere album Floodsongs, on the Albany Music label, won the American Prize Ernst Bacon Memorial Award for the Performance of American Music in 2017-18.

As a guest conductor, Wyers has led high school honor choirs and all-state choruses in New York (Alice Tully Hall, Lincoln Center), Kansas, Wisconsin, Georgia, Missouri, Louisiana, Connecticut, Nebraska, Texas, Washington, Alaska, Idaho, and Vancouver, Canada. She has conducted semi-professional ensembles across the United States and in Germany, the Netherlands, Estonia, and Sweden. Wyers was in demand for Zoom lectures during the pandemic with Res Diversa Chamber Choir (Chile), Western Washington University (a three-week group composition project), University of Iowa, Northern Illinois University, Montana State University, and with the Mastersingers of Milwaukee (Wisconsin), as well as conducting Nevada All-State online. 

Wyers is a leading national figure in the application of Laban movement theory for conductors. She has served as guest lecturer in conducting at Sweden’s Örebro Universitet, European Festival of Church Music (Germany), Latvian Academy of Music, Eastman School of Music, Ithaca College, Westminster Choir College, University of Iowa, Hobart and William Smith Colleges and Portland State University.

Wyers’ choral works are published by Santa Barbara Music Publishing Company as part of the "Giselle Wyers Choral Series," and have been performed across the United States, South America, Canada, Australia, Cuba, and numerous European cities. She will conduct her 30-minute choral cycle entitled And All Shall Be Well, in Carnegie Hall May of 2022 with a consortium of NW-based choruses. In 2021-22, she will serve as composer-in-residence for the Greater Seattle Choral Consortium's annual festivities celebrating the return of in-person singing (her appearance is sponsored by Consortio). Wyers is also committed to mentoring scholar-writers in the field, and serves on the editorial board of ACDA’s Choral Journal.

Marc Seales

A noted pianist, composer and leading figure in the Northwest jazz scene, Marc Seales has shared stages with many of the great players of the last two decades. He has played with nearly every visiting jazz celebrity from Joe Henderson and Art Pepper to Benny Carter, Mark Murphy, and Bobby Hutcherson. With the late Don Lanphere he performed in such places as London, England; Kobe, Japan; The Hague in the Netherlands; and the North Sea Jazz Festival.

The musicians he admires most are Herbie Hancock, Charlie Parker, John Lewis, John Coltrane, Miles Davis, and Wynton Kelly, though he is quick to acknowledge that he owes the basically be-bop/post be-bop sound of his playing to his mentors, Don Lanphere and Floyd Standifer.

Critics have praised Seales variously for his "meaty piano solos," and "blues inflected, Hancock-inspired modernism." Winner of numerous Earshot awards (Instrumentalist of the Year in 1999 and Acoustic Jazz Group in 2000 and 2001; Jazz Hall of Fame, 2009), Seales is today promoting jazz awareness and molding young talents as a Professor of Music at the University of Washington, where he is a professor in the Jazz Studies Program. He teaches an array of courses, including History of Jazz, Jazz Piano, and Beginning and Advanced Improvisation, as well as leading various workshops and ensembles.

Newly appointed voice faculty Carrie Shaw (Ben Marcum Photo)

Carrie Henneman Shaw joined the Voice Program as an artist in residence in Autumn 2020. As a singer, Carrie engages in a wide variety of musical projects, but she focuses on early and contemporary music.

A sample of her work includes an upcoming solo recording on Naxos Records of early 18th-century French song; creating music for a live-music-for-dance project with James Sewell Ballet; and collaborating on a recording with the band Deerhoof. Carrie is a two-time winner of a McKnight Fellowship for Performing Musicians, and she is a member of two groups that focus on music by living composers, Ensemble Dal Niente, a mixed chamber collective, and Quince Ensemble, a treble voice quartet.

She appears in numerous recordings ranging from medieval sacred music to a video-game soundtrack, and before coming to the UW, she has been maintaining a full university studio for the six years and participating in educational residencies for composers and performers around the country, including UC-Berkeley, Stanford, New York University, the University of Chicago, and beyond.