BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Drupal iCal API//EN BEGIN:VEVENT UID:17044 DTSTART;TZID=America/Chicago:20261201T160000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261201T170000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Austin Wulliman: music for violin and electronics  CLASS:PUBLIC DESCRIPTION:Violinist Austin Wulliman of JACK Quartet celebrates the releas e of\nhis new album of multi-tracked and electronically processed violins \n\"un árbol es una canoa pero también es este violín\,\" including\nw ork by composition faculty member Vicente Atria. Wulliman will\nperform a wide range of works for violin and electronics\, ranging from\nthe soaring virtuosity of Tania Leon's \"abanico\" to the immersive\nlandscape of Yaz Lancaster's \"ISOLATION\" and the playful rhythmic\ncanons of Atria's \"f az\". Also on the program are works written for\nWulliman by Daniel Bruno\ , Pablo Chin\, Connor Elias Way\, and original\nmusic by Wulliman.\n \n\n > “…hardcore chops and ceaseless curiosity—the kind of music ian\n> that devours new ideas\, masters new techniques\, and pour s himself\n> into every endeavor with unabashed devotion.”\n> -P eter Margasak: Best of Bandcamp \n\nPROGRAM\n\n_ISOLATION_ by Yaz Lan caster\n_abanico_ by Tania Leon\n_faz_ by Vicente Atria\n_un árbol es una canoa pero también es este violín_ by Daniel Bruno\nnew work tba by Aus tin Wulliman\n_Retrato del Gran Pájaro Feo_ by Pablo Chin\n_the sun must bear no name_ by Connor Elias Way\n\nBIOGRAPHY\n\nViolinist\, composer and educator Austin Wulliman embodies the imagined\nand empathizes with the a bsurd through sounds both familiar and\nradical\, telling stories with a l imitless passion for tuning cries\nfrom every corner of the human capacity to hear. He is a member of\nJACK Quartet\, called “the nation’s most important quartet” by\nthe New York Times and has been praised as a “g ifted\, adventuresome\nviolinist” by the Chicago Tribune. Through in-dep th collaboration\nwith performers and composers working in a panoply of ae sthetic\nrealms\, Austin searches daily for the violin’s voice in today ’s\nmusical world. He has two albums of original music\, The News From\n Utopia (2023) and Escape Rites (2025\, with JACK Quartet).\n\nAustin has p layed in such renowned venues as Wigmore Hall\, the Berlin\nPhilharmonie\, the Elbphilharmonie\, Carnegie Hall\, and the Wiener\nKonzerthaus\, and f eatured on such festivals as Tanglewood\, Ojai\,\nSpoleto\, and Lucerne. W ork with JACK has included premieres by John\nLuther Adams\, Chaya Czernow in\, Philip Glass\, Georg Friedrich Haas\,\nClara Iannotta\, George Lewis\ , Tyshawn Sorey and John Zorn\, as well as\ncollaborating with the likes o f Barbara Hannigan\, Patricia\nKopatchinskaja\, Helmut Lachenmann\, Igor L evit\, Julia Wolfe\, and\nleading a chamber orchestra of members of the Be rlin Philharmonic. \nHe has received awards from Musical America (“2019 Ensemble of the\nYear” JACK Quartet)\, Chamber Music America’s Michae l Jaffee\nVisionary Award in 2024\, and was presented with Lincoln Center ’s\nAvery Fisher Career Grant in 2018.\n\nEqually in demand as an educat or\, Austin serves on faculty at the\nMannes School of Music\, where JACK is Quartet in Residence. He has\ntaught violin and musicianship on faculty at the Banff Centre for the\nArts\, the Lucerne Festival Academy\, and th e University of Chicago.\nAdditionally\, he has given guest instruction an d presentations at such\ninstitutions as the Curtis Institute\,  Juilliar d School\, Carnegie\nHall’s Ensemble Connect\, New World Symphony\, Univ ersity of Michigan\nand Northwestern University.\n\nWATCH AUSTIN WULLIMAN IN ACTION!\n\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17043 DTSTART;TZID=America/Chicago:20261203T120000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261203T130000 LOCATION:4580 Scott Ave\, St. Louis\, MO\, United States SUMMARY:Oliver/Lenihan/Hicks Trio at the Med Campus CLASS:PUBLIC DESCRIPTION:The trio of Oliver\, Lenihan\, Hicks will perform a set of jazz \nstandards based in the traditions of the Great American Songbook\,\nbebo p\, and modern jazz\, including music by Miles Davis\, Bill Evans\,\nJohn Coltrane\, and Keith Jarrett. Pianist Jay Oliver's distinctive\,\nadventur ous approach to improvisation within the trio's interactivity\nbreathes li fe into the standard repertoire of jazz.\n\nOLIVER/LENIHAN/HICKS TRIO\n\nJ ay Oliver\, keyboards\nWilliam Lenihan\, guitar\, bass\nDemarius Hicks\, p ercission\n\nLOCATION/PARKING\n\nThe best entrance to access Moore Auditor ium is through the Farrell\nLearning and Teaching Center\, 522 Euclid Ave\ , St Louis\, MO\, 63110. MAP\n[https://www.google.com/maps/place/522+Eucli d+Ave\,+St.+Louis\,+MO+63110/@38.635374\,-90.2655604\,841m/data=!3m2!1e3!4 b1!4m5!3m4!1s0x87d8b52094bda175:0x6bb584b2b573c1e8!8m2!3d38.635374!4d-90.2 629855?entry=ttu&g_ep=EgoyMDI1MTExNy4wIKXMDSoASAFQAw%3D%3D]\n\nPlaza Garag e is the best place to park. 3 Barnes-Jewish Hospital\nPlaza\, St. Louis\, MO 63110. Map\n[https://www.google.com/maps/place/3+Barnes+Jewish+Hospita l+Plaza\,+St.+Louis\,+MO+63110/@38.6347008\,-90.26755\,841m/data=!3m2!1e3! 4b1!4m6!3m5!1s0x87d8b5210f6bd195:0x720258c706995a60!8m2!3d38.6347008!4d-90 .2649751!16s%2Fg%2F11cncj9kq4?entry=ttu&g_ep=EgoyMDI1MTExNy4wIKXMDSoASAFQA w%3D%3D]\n\n-------------------------\n\nJAY OLIVER\n\nJay Oliver\, keyboa rds\, jazz and studio musician\, producer who for\ndecades based in both New York and Los Angeles - performed and\nrecorded with jazz icons of the industry including the famed Maynard\nFerguson Band\, Dave Weckl\, Chick C orea\, Mike Brecker\, Mike Stern and\nnumerous others. In the studio and t ouring worlds he has worked with\nBonnie Raitt\, Celine Dion\, Glenn Frey\ , The Eagles\, legendary studio\ndrummer Russ Kunkel\, producer Jay Graydo n\, Sheryl Crow\, Jimmy Buffett\nand many others. \n\nWILLIAM LENIHAN\n\n William Lenihan\, guitar\, bass\, composer\, performer and producer who\nf or decades has performed\, recorded and toured with a wide array of\niconi c artists from jazz\, pop\, the theatre and film worlds to\nclassical musi c - including jazz legends Ron Carter\, Michael Brecker\,\nDave Weckl\, Ga ry Husband\, Marc Copland\, John Patitucci\, Bob Brookmeyer\nand many more . In the pop world he has worked with legends Petula\nClark\, Julie Andrew s\, Bernadette Peters\, The Shirelles\, Suzanne\nSomers\, Sheryl Crow and dozens more. He also works in film music with\nnumerous credits including music for George Lucas\, Ron Howard and has\nperformed as classical guitar ist and mandolinist with major symphony\,\nopera\, studio and theatre orch estras in New York\, Los Angeles\, St.\nLouis and Europe. He has collabora ted in concert with noted composers\nand performers such as Donald Erb\, A lexander Goehr\, Roberto\nFabricciani.\n\nDEMARIUS HICKS\n\nDemarius Hicks is a percussionist whose expressive creativity and\ngenre-spanning versat ility have made him one of the region’s most\ndynamic musical voices. A native of East St. Louis\, Hicks brings a\nvibrant blend of gospel\, strai ght-ahead jazz\, funk\, fusion\,\nAfro-Cuban\, R&B\, hip hop\, and more to every performance. Mentored by\nMarvin Sparks at the University of Missou ri–St. Louis\, Hicks honed\nhis craft with a deep respect for tradition and a bold\, innovative\nspirit. He has performed on tour with artists suc h as Stefon Harris\,\nMarc Cary\, Nicholas Payton\, and Russell Gunn\, whi le also remaining a\nvital force in the St. Louis scene alongside locals D enise Thimes\,\nAnita Jackson\, Ptah Williams.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17041 DTSTART;TZID=America/Chicago:20261002T183000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261002T210000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:The Voice of the Piano Informance CLASS:PUBLIC DESCRIPTION:Tickets\n[https://www.zeffy.com/en-US/ticketing/the-voice-of-th e-piano-informance?zlinkid=2775e3ec-9494-4855-acf2-73b72618f07f]\n$15 - Wa shU Students\n$35 -Regular Admission\n \n6:30 PM Pre-Concert Talk\n7:00 P M Voicing Demonstration\n \nThe Piano Technicians Guild Midwest Regional Conference is presenting\na masterclass/concert on voicing a concert grand piano. Join our\nresident Great Artists Series Concert Piano Technician\, Keith\nWehmeier\, and Registered Piano Technician Ben Cross in the E. Des mond\nLee Concert Hall as they demonstrate on one of our Steinway D concer t\ngrands everything that goes into curating the singing tone of the\npian o before a concert!\n \nIn preparation for our extra special guest\, Yuja Wang\, Keith spent the\nsummer reconditioning the action parts and instal ling new hammers on\none of our concert grands.  The piano has since been regulated to\nplay like new and now awaits the exciting task of voicing t he hammers\nto really put the finishing touches on the piano.\n \nCome an d witness this once-in-a-lifetime event and hear what is\npossible for you r own instruments at home as well!\n\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17034 DTSTART;TZID=America/Chicago:20261016T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261016T160000 SUMMARY:Department of Music Lecture: Graduate Student Conference Lectures CLASS:PUBLIC DESCRIPTION:LECTURER\n\nJ. P. Cupps\, PhD in Music Theory at Washington Uni versity in St. Louis\n\nTITLE\n\nAn Unknown Infinite (Archive): Flow\, Lay ering\, and Rupture as a\nFugitive Theory for Hip-Hop Form\n\nABSTRACT\n\n Responding to calls to deconstruct the mandate of legibility and\npolitics of racial exclusion inscribed in hip-hop formal analysis\,\nthis paper re visits the culture-theoretic tools developed by\nethnomusicologist Tricia Rose as the foundation for a theory of form\nin hip-hop production. I argu e that – despite Rose’s canonic\nreception in the fields of hip-hop st udies\, cultural studies\, and\nother related fields – she has been rend ered peripheral to music\ntheory on account of its epistemologically white -and-male frame. She\nthus represents what Marc Hannaford has recently def ined as a fugitive\nmusic theorist\; more specifically\, her conception of flow\, layering\,\nand ruptures in line provides a basis for analyzing hi p-hop’s\nmusical forms.\n\nTo consider these concepts as fugitive music theory\, I demonstrate how\nthey operate in an alternative theoretical spa ce to popular music\ntheory’s governing precepts of function\, hierarchy \, and syntax. I\ncontend that Rose embeds the musical within the visual\, \nconceptualizing hip-hop’s process of musical assembly in relation to\n fields like film editing and visual collage. I corroborate by\nexploring o verlaps with visual art theory and practice presented by\nthe Black cinema tographer Arthur Jafa\, to whom Rose attributes her\ndevelopment of the co ncepts\, and to visual collage practice of Romare\nBearden. My analysis th en turns to visual and sonic objects from\nQueens hip-hop artists amani an d King Vision Ultra’s LP _An Unknown\nInfinite_. Examining both the visu al elements of collage demonstrated\nin the album’s “archive book” a nd their sonic counterpart\ndemonstrated on the track “Scrapes\,” I co nclude that flow\,\nlayering\, and rupture relationships expressed in thes e texts are\nirreducible from formal analysis\, and contrary to pop-rock t heory\,\nremain embedded within hip-hop as a set of intermedial and\ninter cultural practices.\n\nBIOGRAPHY\n\nJ. P. Cupps is a PhD candidate in musi c theory and Lynne Cooper Harvey\nfellow in American Culture Studies. Thei r research centers on race\,\nregionalism\, and recording process in music al subcultures across the\nUS\, spanning interregional scenes for electron ic and dance music\, as\nwell as styles within broad umbrellas of post-pun k and hardcore. This\npaper’s materials are drawn from their dissertatio n\, tentatively\ntitled _An Unknown Infinite: Musical Practices and Discou rses of\nUndergroundness in Contemporary Hip-Hop._ In this project\, J. P. \ncollaborates with and analyzes alongside members of the Queens-based\nhi p-hop crew PTP to consider how these artists express\, historicize\,\nand revise the larger imaginary of the hip-hop tradition within the\nflexible boundaries of the contemporary New York DIY music scene.\n\n-------------- -----------\n\n  \n\nLECTURER\n\nChristina Smiley\, PhD student in Musico logy at Washington University\nin St. Louis\n\nTITLE\n\n(Sonic) Environmen ts: Black Ecological Activism in Wadada Leo\nSmith’s America’s Nationa l Parks (2016)\n\nABSTRACT\n\nThere is a myth that African Americans\, bro adly speaking\, are detached\nfrom the environment—that Blackness and na ture\, and by extension\nenvironmentalism\, are incommensurate concepts. T aking up an invocation\nto narrate Black ecological engagement and activis m\, I engage with\nAACM composer and trumpeter Wadada Leo Smith and his 20 16 album\n_America’s National Parks_\, to consider how Black musicians e ngage\n(with) the environment. Smith’s album attempts to narrate a holis tic\naccount of African American’s relationship to waterways\, land\, an d\nthe environment broadly. Various movements from the work serve as\nconc eptual points of departure for dealing with the fraught histories\nof Blac k connection to United States’ soil from the brutal and\nexploitative hi stories of enslavement\, sharecropping\, and lynching to\ncommunal healing and solidarities in the convergence of Black and\nIndigenous epistemologi es. Building on the work of scholars such as\nKimberly Ruffin\, Camille T. Dungy\, Dianne Glave\, and Michael W.\nMurphy\, my paper places Smith wit hin a genealogy of Black ecological\nactivists. I argue\, two-fold\, that Black activists are not solely\ninterested in socio-political life\, but t hat their political\ncommitments extend to the environment. Conversely\, I suggest that\necological concerns are racial concerns\, impacting the his tories and\nlived experiences of African Americans. \n\nBIOGRAPHY\n\nChri stina Smiley is a 5th-year PhD candidate in musicology with an\nAmerican C ulture Studies certificate at Washington University in St.\nLouis. She is a recipient of the American Musicological Society Howard\nMayer Brown fell owship\, the WashU CRE2 Race & Ethnicity fellowship\,\nand the Lynne Coope r Harvey fellowships. Her dissertation “Beyond\nSignifyin’: Sound Expl orations in Black Studies and the Political\nPotential of Sacred Choral Wo rks (1900-1990)” explores Black\nparticipation in classical music\, cent ering the intersections of race\,\ntheology\, and politics in 20th-century large-scale sacred choral\nworks. Most recently\, she has presented at th e University of Mannheim\,\nthe American Musicological Society\, Indiana U niversity’s Jacobs\nSchool of Music\, Evangelisch Reformierte Kirche in Leipzig\, Germany\,\nand performed as a soloist alongside Metropolitan ope ra singer\nAdrienne Danrich at the Sheldon Theatre. In conjunction with he r\nscholarly pursuits\, Christina is passionate about performance and\npub lic-facing education initiatives\, having worked closely with the\nSt. Lou is Children’s Choirs and the Opera Theatre of St. Louis\,\npresenting fo r the St. Louis Public School’s Teacher Professional\nDevelopment Works hop and the Engaging the Local Public Humanities\nColloquium and Workshop\ , and serving as co-chair for the Julia Perry\nCentenary Symposium in 2024 . \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17035 DTSTART;TZID=America/Chicago:20261030T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261030T160000 SUMMARY:Department of Music Lecture: Graduate Student Conference Lectures CLASS:PUBLIC DESCRIPTION:LECTURER\n\nTad Biggs\, Ph.D. in Musicology at Washington Unive rsity in St. Louis\n\nTITLE\n\nA Fugitive Quixote: Julia Perry's _Quinary Quixotic Songs_ (1976)\n\nABSTRACT\n\nCompleted in 1976 but unperformed a nd unpublished until 2024\, _Quinary\nQuixotic Songs_ stands out among Ju lia Perry’s final works and\nremains one of her least examined. Scored f or bass-baritone and an\nunusual chamber ensemble of flute\, clarinet\, vi ola\, baritone horn\, and\npiano\, the five-movement song cycle sets Perry ’s own surreal\,\ncryptic texts. Although the title invokes Cervantes’ _Don Quixote_\,\nthe music stages a darker meditation on striving against injustice and\nhuman limitation\, locating a “quixotic” impulse in si tes as varied\nas an imprisoned poet and the spectacle of a bullfight.\n\n This paper argues that _Quinary Quixotic Songs_ offers unique insight\nin to ongoing historiographic efforts to categorize Perry within\nneoclassici st\, modernist\, and postmodernist frameworks. This study\nengages Tammy K ernodle’s account of the “Black postmodern concert\naesthetic” along side Ryan Dohoney’s notion of “metamodernist\ndrift\,” both of which advance historiographic and ideological\naccounts of Julia Perry’s musi cal aesthetic. By focusing on one of\nPerry’s later\, most experimental works\, this paper extends and\nrecalibrates their insights. Through close analysis\, I demonstrate\nthat although Perry deploys postmodern composit ional techniques\, like\nfragmentation\, irony\, and intertextuality\, the work does not rupture\ninto a play of surfaces or postmodern detachment. Each song\narticulates its own musico-structural logic and moves through\n dramatically different subjects\, generating a dizzying heterogeneity.\nFr agmentation becomes the condition through which structural depth\nemerges. Beneath this fractured surface persists a fundamentally\nmodernist utopia n gesture: an ethical demand for striving.\n\n_Quinary Quixotic Songs_ of fers a striking example of how Perry\noperated within a space of fugitive abstraction\, where the work’s\nopacity unsettles hermeneutic containmen t yet betrays a distinctly\nmodernist meditation on striving as a necessar y\, if unrealizable\,\nutopian demand. Given Perry’s eclectic style\, th is work provides one\ninstance of how Perry’s music resists totalizing n arratives of race\,\ngender\, and conventional stylistic periodization in twentieth-century\nAmerican concert music. This analysis thus contributes to the\nnecessary recontextualization of Perry within ongoing historiograp hic\ndebates demanded by her diverse output and suggests a model for the\n interpretation of Perry and other Black women composers of her\ngeneration .\n\nBIOGRAPHY\n\nTad is a Ph.D. candidate in Musicology at Washington Uni versity in St.\nLouis\, where he is also a Lynne Cooper Harvey Fellowship in American\nCulture Studies. \n\nTad’s research focuses on classical a nd popular music in the United\nStates\, with particular attention to Afri can American composers and\nthe ways race\, gender\, and class shape the r eception\, circulation\, and\nstudy of music. A central dimension of his w ork is the recovery of the\nlife and music of composer Julia Perry (1924 –1979). As part of this\nproject\, Tad organized and secured funding for the 2024 Julia Perry\nCentenary Symposium and Concert\, a multi-day event in St. Louis that\nfeatured talks by an international group of guest scho lars\, a\nroundtable\, and a concert devoted entirely to Perry’s music.  \n\nHis dissertation\, _Listening for Julia Perry’s Voice_\, traces a\ nselection of her vocal works across the postwar era\, the Civil Rights\nM ovement\, and the Cold War\, situating her output within Black\nModernist and feminist frameworks. The project blends musical analysis\nand archival research and extends critical theoretical approaches\nwithin the study of Black modernist concert music. \n\n-------------------------\n\nLECTURER  \n\nKimia Fakharinia\, Ph.D. in Musicology at Washington University in S t.\nLouis\n\nTITLE\n\n“Too virile”: Progressive Compositional Ambition and Unconstrained\nVirtuosity in Cécile Chaminade’s Concertstück\n\nA BSTRACT\n\nCécile Chaminade was a French composer and pianist best known for her\ncharacter pieces and mélodies. Yet her early oeuvre also include d\norchestral and symphonic works\, such as the _Concertstück_ for piano \nand orchestra. By the 1890s\, however\, her output shifted significantly \ntoward shorter\, commercially viable piano pieces and songs. Previous\ns cholarship\, notably Marcia J. Citron’s monograph\, has explained\nChami nade’s limited engagement with large-scale genres in financial\,\naesthe tic\, or discriminatory terms. While these factors form an\nimportant back drop to her career\, they leave room for closer\nanalytical attention to i ndividual large-scale works. I therefore\ncenter the _Concertstück_\, a c oncerted orchestral work through which\nChaminade staged her early artisti c ambitions\, yet one that has\nreceived little sustained scholarly analys is. Rather than focusing\nsolely on reception or scale\, I examine how Cha minade articulated her\nambitions within the composition itself\, engaging contemporary\naesthetics and culturally coded virtuosity in tension with gendered\nexpectations in nineteenth-century musical discourse.\n\nI argue that the _Concertstück_ synthesizes two modes of\ncompositional and pia nistic performance: a compositional ambition\narticulated through Lisztian piano virtuosity\, rich orchestration\, and\nambiguous formal design alig ned with the “progressive” aesthetics\nof the New Germans\, and a high ly popular\, exoticist\, and culturally\ncoded mode of virtuosity in its i nvocation of the _style hongrois_. In\ndoing so\, Chaminade positions hers elf both as a composer of\nlarge-scale works and as a pianist capable of d elivering the\nexpressive intensity associated with the _style hongrois_. Drawing on\nJonathan Bellman’s discussion of the _style_ _hongrois_ an d his\nexploration of nineteenth-century stereotypes of Roma\, I show that \nthis idiom carried connotations sharply opposed to the ideals of\ncultiv ation\, restraint\, and refinement that governed women’s musical\nexpres sion at the time. The reception of the _Concertstück _was\ngendered\, wi th a critic describing it as “strong and\nvirile—perhaps too virile\, ” lamenting the absence of the grace\ntypically associated with her pian o works and songs. The charge of\nvirility thus emerges as a response to C haminade’s aesthetic\ntransgression of prevailing norms of feminine musi cianship. This\ntension had lasting consequences\, contributing to her sub sequent move\naway from large-scale works in her compositional output and concert\nprogramming.\n\nBIOGRAPHY\n\nKimia is a third-year PhD student in musicology. Her research centers\non nineteenth-century women composers a nd pianists such as Cécile\nChaminade and Fannie Bloomfield-Zeisler. Prio r to graduate studies at\nWashington University in St. Louis\, Kimia earne d her master’s in\npiano performance at the University of Tehran.\n\n--- ----------------------\n\nLECTURER \n\nSeoyoon Choi\, Ph.D. in Music Theo ry at Washington University in St.\nLouis\n\nTITLE\n\n\"A New Phase of Sou th Korean Democratic Participation: K-pop Fandom\,\nYoung Women\, and the Transformation of Protest Culture\"\n\nABSTRACT\n\nIn December 2024\, Sout h Korean citizens organized large-scale yet\npeaceful rallies demanding th en-President Yoon’s resignation after\nhis declaration of martial law. M usic played a visible role in the\nrallies\, from collective singing to th e use of K-pop light sticks and\nthe recirculation of “Into the New Worl d” (2007)\, the debut song\nof the prominent K-pop girl group Girls’ G eneration. In this paper\,\nI argue that K-pop and its largely female fand om practices have\ntransformed South Korean protest culture by translating fan-based\nsolidarity into political solidarity. I analyze how “Into th e New\nWorld” came to function as a protest anthem and how fan-based\ncu ltural practices and responses to women’s political expression\nfacilita ted new forms of participation in protest movements.\n\nI demonstrate how contemporary protest practices differ from those of\nthe Gwangju Uprising of 1980\, a response to the military coup and\nmartial law under Chun Doo- hwan. Citizens resisted state violence\nthrough armed struggle and protest songs\, including the national\nanthem and “March for Our Beloved” (1 981). Traumatic memories of\nthis period have shaped later protest practic es: rather than\nconfronting authorities through physical conflict\, conte mporary\nprotesters emphasize solidarity through collective\, nonviolent\n expression.\n\nIn the 2016 and 2024 impeachment rallies\, “Into the New World”\nemerged as a powerful protest anthem. Its lyrics such as “Migh t be\nan unknown future with obstacles\, but I won’t change” and “We \ncan’t give up” were recontextualized as protest slogans\, while\nK-p op light sticks\, originally designed for concerts\, were repurposed\nas v isual symbols of collective presence. Young women with experience\nof affe ctive solidarity within K-pop fandoms played a central role in\ngenerating political-affective solidarity across diverse backgrounds\nand sustaining mass participation. In addition to fan-based practices\,\nwomen’s democ ratic engagement took shape under constraints on their\npolitical expressi on\, as evidenced by the cyberbullying of female\nsingers who implied poli tical solidarity with protesters through\nfan-communication platforms. Thi s study shows how “Into the New\nWorld” and the pressures surrounding women’s political expression\njointly reshaped democratic participation in South Korea\, signaling a\nnew phase in its ongoing evolution.\n\nBIOGR APHY\n\nSeoyoon was an active clarinetist who performed professionally\nth roughout her undergraduate studies. She then shifted her focus from\nperfo rmance to analysis and earned her master’s degree in Music\nTheory at Yo nsei University. For her master’s thesis\, she analyzed\nthe first movem ent of Brahms’s _Clarinet Sonata_ Op. 120/1 from\nSchenkerian perspecti ve\, focusing on its non-stereotypical scheme. She\nis currently working o n Debussy’s_ Première rhapsodie_ and\nexpanding her research on K-pop and its political and social\ninfluences.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17021 DTSTART;TZID=America/Chicago:20261208T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261208T160000 SUMMARY:Wind Division Recital CLASS:PUBLIC DESCRIPTION:The wind division students of WashU Music will perform solo wor ks. \n\n \n\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17013 DTSTART;TZID=America/Chicago:20261121T133000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261121T143000 SUMMARY:Piano Division Recital CLASS:PUBLIC DESCRIPTION:WashU students will perform solo piano works.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17018 DTSTART;TZID=America/Chicago:20261205T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261205T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Holiday Celebration Concert CLASS:PUBLIC DESCRIPTION:Join us for a magical evening in the E. Desmond Lee Concert Hal l\,\nlocated within the 560 Music Center. Revel in the holiday spirit as\n the WashU Jazz Band\, Concert and Chamber Choirs\, and jazz combo\nprogram present a diverse selection of music that spans the genres and\neras\, al l with a special seasonal twist. From classic holiday tunes to\ncontempora ry favorites\, there’s something for everyone to enjoy.\nDon’t miss th is opportunity to celebrate with music\, merriment\, and\ncommunity! Join us for the Department of Music Holiday Party following\nthe concert with p erformances by the WashU Jazz Combos! Drinks and\ndessert will be provided .\n\nFREE\, family-friendly\n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17006 DTSTART;TZID=America/Chicago:20261110T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261110T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Jazz Series: Cabaret CLASS:PUBLIC DESCRIPTION:Throughout the semester\, enjoy free live performances by noted local\nand regional jazz artists at the 560 Music Center!\n\nThis is a r elaxed evening of jazz\, Broadway favorites\, and hits\nthrough the genera tions alongside original works featuring students\nand faculty from the vo ice\, jazz\, and composition divisions. \n\nPROGRAM\n\n_My Future_ by Bil lie Eilish\nElla Johnson\n\nTBD\nLindsay Reamer\n\n_If I Were a Bell_ from _Guys and Dolls_ by Frank Loesser\nFiona Guzniczak\n\nTBD\nJared Berger\n \n_Stardust_ by Hoagy Carmichael\nKatya Cavanaugh\n\n_Creep_ by Thom Yorke and Radiohead\nScarlet Reo\n\n_The Gentleman is a Dope _by Oscar Hammerst ein II and Richard Rodgers\nMazie Drummond\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17008 DTSTART;TZID=America/Chicago:20261117T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261117T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Jazz Series: Jazz Combo Program CLASS:PUBLIC DESCRIPTION:Throughout the semester\, enjoy free live performances by noted local\nand regional jazz artists at the 560 Music Center!\n\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17022 DTSTART;TZID=America/Chicago:20261006T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261006T203000 SUMMARY:Inaugural WashU Choir Invitational with guest conductor/clinician\n Brandon Williams CLASS:PUBLIC DESCRIPTION:The inaugural WashU Choir Invitational brings together four\nou tstanding high school choirs from the St. Louis region - Clayton\nHigh Sch ool\, Ritenour High School\, Triad High School (IL)\, and Webster\nGroves High School - for a celebration of choral music and the work of\ncomposer\ , conductor\, and educator Dr. Brandon Williams. The WashU\nChamber Choir will also join the festival\, with each ensemble\nperforming a work by Dr. Williams. The evening will culminate in a\ncombined performance of _Seeki ng Light_\, led by the composer himself.\n\nInaugural WashU Choral Invitat ional with guest Conductor and Composer\nDr. Brandon Williams\, Associate Professor and Director of Choral\nActivities\, Rutgers University\n\nPROGR AM\n\nRITENOUR HIGH SCHOOL CHAMBER CHOIR\nStephanie Ruggles\, conductor\nK imberly Carson\, piano\n\n_And So It Goes _by Billy Joel\, arranged by Bob Chilcott\n_Winter Wind_ by Brandon Williams\n\nWEBSTER GROVES HIGH SCHOOL CHAMBER SINGERS\nJaylen Davis\, conductor\nMalachi Williams\, piano\n\n_L orelei_ by Clara Schumann\, arranged by Brandon Williams\n_From the Window of Despair_ by Eric Tuan\n\nCLAYTON HIGH SCHOOL CHAMBER CHOIR\nBrian Parr ish\, conductor\nMalachi Williams\, piano\n\n_Sing Out Your Joy_ by Victor Johnson\n_Fierce Love_ by Brandon Williams\n\nTRIAD HIGH SCHOOL TREBLE CH AMBER CHOIR\nVeronica Rice\, conductor\nStephen Eros\, piano\n\n_Can’t H elp It_ by Michael Jackson and Stevie Wonder\, arr. Amanda\nTaylor and Teh illah Alphonso of Saje\n_Allerseelen_ by Richard Strauss\, arranged by Bra ndon Williams\n\nWASHU CHAMBER CHOIR\nJohn McDonald\, conductor\nYeon-Kyun g Kim\, piano\n\n_Voices of the Earth_ by Brandon Williams\n_Grace Before Sleep _by Susan LaBarr\n_RIUH (Chaotic Joy_) by Tracy Wong\n     Crysta l Lovato\, soloist\n     Wilson Hou\, vocal percussion\n\nCOMBINED CHOI RS\nBrandon Williams\, conductor\nYeon-Kyung Kim\, piano\n\n_Seeking Light _ by Brandon Williams\n\nTRANSLATIONS\n\n_LORELEI_\nText by Heinrich Heine \n\nI do not know what it means\nThat I should feel so sad\;\nThere is a t ale from olden times\nI cannot get out of my mind.\n\nThe air is cool\, an d twilight falls\,\nAnd the Rhine flows quietly by\;\nThe summit of the mo untains glitters\nIn the evening sun.\n\nThe fairest maiden is sitting\nIn wondrous beauty up there\,\nHer golden jewels are sparkling\,\nShe combs her golden hair.\n\nShe combs it with a golden comb\nAnd sings a song the while\;\nIt has an awe-inspiring\,\nPowerful melody.\n\nIt seizes the boat man in his skiff\nWith wildly aching pain\;\nHe does not see the rocky ree fs\,\nHe only looks up to the heights.\n\nI think at last the waves swallo w\nThe boatman and his boat\;\nAnd that\, with her singing\,\nThe Loreley has done.\n\n_ALLERSEELEN_\nText by Hermann von Gilm\n\nSet on the table t he fragrant mignonettes\,\nBring in the last red asters\,\nAnd let us talk of love again\nAs once in May.\n\nGive me your hand to press in secret\,\ nAnd if people see\, I do not care\,\nGive me but one of your sweet glance s\nAs once in May.\n\nEach grave today has flowers and is fragrant\,\nOne day each year is devoted to the dead\;\nCome to my heart and so be mine ag ain\,\nAs once in May.\n\n_RIUH_\nText by Bihzhu\n\nIn the chaos of the wo rld\nTreasure the seeds of stillness\nWoven together - chaos and peace - t hey shine\nAs the waves of life are sailed.\n \n\nBIOGRAPHY\n\nBrandon Wi lliams is an associate professor and the director of Choral\nActivities at Rutgers\, The State University of New Jersey\, where he\nconducts the Rut gers Kirkpatrick Choir and the Rutgers Glee Club.\nPreviously\, he conduct ed the Rutgers Voorhees Choir\, which was\nselected to perform at Carnegie Hall (2019) and Eastern ACDA (2020\,\n2024). Dr. Williams also appears in ternationally as a guest conductor\,\nclinician\, and presenter.\n\nDr. Wi lliams amassed a decade of middle and high school teaching\nexperience in St. Louis\, Missouri\, where he also served on the voice\nfaculty at Maryv ille University and as a conductor with the St. Louis\nSymphony IN UNISON Chorus and the St. Louis Children’s Choirs. His\nschool ensembles receiv ed invitations to perform at the 2010 and 2013\nMissouri Music Educators A ssociation conventions\, and his middle\nschool ensemble was featured on G IA’s DVD “How to Make a Good\nChoir Sound Great!” Dr. Williams has w on numerous awards\, including\nthe 2009 Missouri Choral Directors Associa tion Prelude Award\, an\nOutstanding Teacher Award from the University of Missouri-Columbia\nHonors College\, the 2020–21 Rutgers Provost’s Awar d for Excellence\nin Teaching Innovations\, the Mason Gross Inclusive Comm unity Faculty\nAward\, and the 2021–22 Rutgers Presidential Fellowship f or Teaching\nExcellence Award.\n\nDr. Williams holds degrees from Western Illinois University\, the\nUniversity of Illinois Urbana-Champaign\, and M ichigan State\nUniversity. He also completed an Artist Teacher Diploma fro m the\nChoral Music Experience–Institute for Choral Teacher Education. H e\nis the editor of _Choral Reflections: Insights from American Choral\nCo nductor-Teachers_\, and his writing appears in the _Choral\nJournal\, Mu sic Educators Journal\, _and_ Bulletin of the Council for\nResearch in Mu sic Education_. Dr. Williams also edits The Brandon\nWilliams Choral Seri es with Gentry Publications. His choral\ncompositions and arrangements ar e published with Hal Leonard\, G.\nSchirmer\, Mark Foster\, Colla Voce\, M orningstar Publications\, and\nMusicSpoke.\n\nPERSONNEL\n\nRITENOUR HIGH S CHOOL CHAMBER CHOIR\nKeaton Betts\nDexter Chambers \nRae Clark\nPayton Da wson \nCody Hoffman\nJacob Hutson \nCaprice Jones \nKatrina Kesselring  \nNoah McCuistion \nJaylian McKnight \nSabrina McNabb \nJoselyn Mille r\nAmy Minster\nArmani Perkins\nTy Rosemann \nBrooklynn Sanderson \nWilb ur Starr\n\nWEBSTER GROVES HIGH SCHOOL CHAMBER SINGERS\nMavis Alvarez\nSav annah Bullerdick\nPhoebe Dunn\nCalem Ecker\nElizabeth Foppe\nKathryn Fresh our\nSummer Hill\nCharlotte Hoff\nAlexa Marshall\nMabel Metzger\nFiona Mor ayta\nAmelia Mueller\nAva Olsen\nAdeline Perry\nElla Plegge\nMartha Poppen \nAlexandra Roche\nMatilda Simmons\nMiriam Yau\n\nCLAYTON HIGH SCHOOL CHAM BER CHOIR\nEleanor Ahn\nJulia Barber\nCatie Baxter\nSaya Canter\nApollo Ch u\nCate Gabel\nLily Goldman\nNoah Haupt\nLevi Holmes\nEleanor Holt-Shippey \nSadie Hong\nZain Kokan\nFletcher Kraus\nStella Mann\nRachel Marler\nAyla Martin\nAspen Meyer\nBrody Mitchell\nLouisa Nafzger\nFord Nissenholtz\nEd ie Schaumburg\nAud Schulz\nBen Shanker\nZoe Shook\nDavid Wharton\nAlec Wil kinson\nAva Wilkinson\nMaggie Zeng\nKati Zustiak\n\nTRIAD HIGH SCHOOL TREB LE CHAMBER CHOIR\nRosalyn Cigliana\nNora Mae Daugherty \nElliana Eichense er\nAnison Funkhouser\nAnayah Lillard\nMakayla Hout\nLeah Kim\nLeah Masine lli\nAleigha Millikin\nPaige Obernuefemann\nBrinley Presson\nIsabella Ton\ nAria Wiley\nSaya Walker\nHarper Wiedau\nJosie Wyatt\n \n\nWASHU CHAMBER CHOIR\nAsha Aggarwal\nJared Berger\nRaymond Brooks\nDuyen Bui\nNick Chiu\n Julianna Cool\nAllison Cooper\nJaidyn Cugier\nEvan Daly\nEmily Della Pietr a\nRose Freedman-Riles\nElizabeth George\nReilly Groves\nJames Heinrichs\n Michael Hilzendeger\nPratik Jha\nLily Johnson\nCrystal Lovato\nEve McMilli n\nMaseo Mercer\nAaron Miller\nRishi Mokkarala\nAllison Montalvo\nDanae Ro mero Leal\nSarah Rose\nAva Silverstein\nAlena Wadzinske\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17020 DTSTART;TZID=America/Chicago:20261207T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261207T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:442s Holiday Spectacular CLASS:PUBLIC DESCRIPTION:Back by popular demand\, The 442s are joined by some of the bri ghtest\nstars of the local and national music scene in presenting their\nn ot-to-be-missed annual Holiday Spectacular! Performing traditional\nand or iginal favorites that break down boundaries between jazz\, soul\,\npop\, a nd classical music\, this concert will get you in the perfect\nholiday spi rit!\n\nTICKETS\n\nTickets\n[https://washu.vbotickets.com/event/442s_Holid ay_Spectacular/208207]\n\nGeneral Admission: $30\nWashU Faculty/Staff: $25 \nYouth/students: $15\n(Washington University Box Office - 314-935-6543)\n  \n\nABOUT THE 442S\n\nCombining three members of the world-class St. Lou is Symphony\nOrchestra and three of the St. Louis region’s finest jazz m usicians\,\nThe 442s are a genre-defying acoustic sextet named for the mod ern\nstandard tuning of 442 Hz! Brought together by the innovative and\nin spired compositions of Adam Maness\, who plays piano\, guitar\,\naccordion \, melodica\, and glockenspiel in the group\, The 442s features\nShawn Wei l on violin\, Shannon Williams on viola\, Bjorn Ranheim on\ncello\, Bob De Boo on bass and Kaleb Kirby on drums. Formed in 2012\,\nthis unique ensemb le blends virtuosic musicianship\, group singing\, and\ninventive improvis ation\, all while breaking down barriers between\njazz\, classical\, folk\ , and pop music.\n \nThe 442s were born of a common musical inquisitivene ss and a search\nfor new and exciting musical possibilities and collaborat ions. This\nsearch has taken them to venues and concert series throughout the\nMidwest\; including Powell Symphony Hall\, Jazz Saint Louis\, and The \nSheldon Concert Hall. They have appeared as soloists with The Saint\nLou is Symphony Orchestra and Metropolitan Orchestra of St. Louis. \n\nThe 44 2s have released four albums to date\; their 2014 self-titled\ndebut album has been featured on radio stations worldwide. _Relay_ and\n_Home for Chr istmas_\, both released in 2016\, feature collaborations\nwith celebrated musicians from across the musical spectrum. Their\nnewest album\, _Aim To Please_\, was released in early 2023.\n\nThe 442s have been profiled on th e nationally syndicated television\nprogram\, _Arts America\,_ and their m usic serves as the soundtrack for\nthe 2016 Emmy Award-winning documentary film\, _Show Me 66: Main Street\nThrough Missouri\,_ which was produced b y the Missouri History Museum.\nIn the summer of 2016\, The 442s were name d the first-ever\nArtists-In-Residence at Forest Park in St. Louis and emb arked on a\nunique public commissioning project in collaboration with the people\nwho love and use the park. The culminating multi-media work premie red\nin 2016.\n \n\n-------------------------\n\nADAM MANESS\n\nAdam Mane ss is a versatile multi-instrumentalist\, songwriter\, and\ncomposer. Born in St. Louis\, Missouri\, Maness has performed around the\nglobe with awa rd-winning artists from a plethora of musical genres.\nHis songs and compo sitions have been featured on several national and\ninternational recordin gs\, television shows\, and films. Adam Maness\nresides in St. Louis with his wife and two children.\n \n\nSHAWN WEIL\n\nA native of Chicago\, Shaw n Weil is a dynamic and sought-after\nviolinist and musician. Upon complet ing undergraduate and graduate\nwork at Indiana University\, he accepted a fellowship with the New\nWorld Symphony in Miami Beach\, Florida. Weil ha s performed throughout\nthe U.S. and Europe in chamber music and orchestra l settings. Weil has\nbeen a member of the Saint Louis Symphony Orchestra since 2003 and is\nalso a member of the Sun Valley Music Festival in Idaho .\n\nSHANNON WILLIAMS\n\n Shannon Williams has been a recovering violinis t for 23 years and a\nmember of the St. Louis Symphony viola section since 2005. She has\nperformed with orchestras\, and as a chamber musician on f our\ncontinents\, and as soloist with the SLSO most recently in 2021. She\ nlives in Tower Grove South with her husband\, three children\, one dog\,\ nand one cat.\n\nBJORN RANHEIM\n\nCellist Bjorn Ranheim\, is a passionate and versatile performer. A\nmember of the St. Louis Symphony since 2005\, he is also a member of\nthe Sun Valley Music Festival. Ranheim has perform ed and toured with\nmany American orchestras and frequently collaborates w ith world-class\nmusicians from across the musical spectrum as a chamber m usician\,\nrecording artist\, and soloist. He lives in the Shaw neighborho od of\nSt. Louis with his wife and two daughters and their Hungarian Vizsl a\,\nGinger.\n \n\nBOB DEBOO\n\nBob DeBoo is one of the most active jazz bassists in the Midwest. He\nhas performed with luminaries such as Houston Person\, Terrence\nBlanchard\, Peter Martin\, David Sanborn\, Geoff Keeze r\, Matt Wilson\,\nMontez Coleman\, Marcus Strickland\, Ron Miles\, and Jo hnny O’Neal and\nis a member of the ‘Adam Maness Trio’. Bob has been a guest\nmusician with the St. Louis\, Fort Worth and Charleston Symphoni es and\nwas one of the Kranzberg Arts Foundation’s “Residency Artists ”\nin 2018. Committed to sharing the gift of music with young musicians\ ,\nDeBoo has been a dedicated educator for many years\, working with Jazz\ nSTL’s JazzU program\, Jazz at Lincoln Center’s Jazz for Young\nPeople \, Peter Martin’s Open Studio Network\, and has led a free\nweekly jam s ession for all ages at the Kranzberg Arts Center.\n\nKALEB KIRBY\n\nKaleb Kirby is a drummer\, audio engineer\, and composer residing in St.\nLouis\ , MO. Kaleb majored in Jazz Performance and Composition at\nBerklee Colleg e of Music\, and attended the Marcel DeSautels\nConservatory in Winnipeg\, Canada. He holds a Bachelor of Music from\nthe University of Missouri - S t. Louis. He maintains an active\nperformance schedule around St. Louis wi th his own group Kleb Qntet\,\ncollaborates with other artists and works a s a studio operations\nmanager at Open Studio.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17012 DTSTART;TZID=America/Chicago:20261121T103000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261121T113000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Chamber Music Division Recital CLASS:PUBLIC DESCRIPTION:WashU music students will perform in small ensembles.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17011 DTSTART;TZID=America/Chicago:20261120T155000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261120T165000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Friends of Music Concerto & Aria Competition CLASS:PUBLIC DESCRIPTION:The Friends of Music Concerto & Aria Competition is open to stu dents\nof Washington University in St. Louis. The winner will perform with \nthe Washington University Symphony Orchestra and will receive a\nFriends of Music $500 merit award. \n\nAPPLICATION DEADLINE IS: Friday\, October 9\, 2026\nPDF OF PIANO SCORE DEADLINE IS: Friday\, October 9\, 2026\, to Jennifer\nGartley (jgartley@wustl.edu)\n\nAudition Application\n[https:// music.washu.edu/form/2026-2027-friends-of-music-conce]\n\nPANELISTS\n\nAng ela Kim\, Southern Illinois University - Edwardsville\nLinda Phipps\, Webs ter University\nLaura Reycraft\, Chamber Project St. Louis\nStephanie Tenn ill\, Saint Louis University DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16998 DTSTART;TZID=America/Chicago:20261016T190000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261016T200000 SUMMARY:Her Light\, Her Line\, Her Song: Chamber Music at the St. Louis Art \nMuseum CLASS:PUBLIC DESCRIPTION:This concert features chamber music by Lili Boulanger\, Mélani e Bonis\,\nand Louise Farrenc for flute\, cello\, piano\, and voice. Inspi red by\nWomen Impressionists and the Land\, the program shines a light on the\nImpressionist influences that extended beyond the canvas to women\nco mposers of the era—artists who broke boundaries\, defied\nexpectations\, and helped shape the musical landscape of their time.\n\nPROGRAM\n\n_Suit e Orientale_\, Op. 48 (1900) by Mélanie \"Mel\" Bonis (1858-1937) \nFrom _Clairières dans le ciel_ (1914) by Lili Boulanger (1893-1918)\n      No. 2. _Elle est gravement gaie_\n     No. 4. _Un poète disait_\n     No. 8. _Vous m'avez regardé avec toute votre âme_\n_Le retour _(1912) by Lili Boulanger \n_Octobre\,_ Op. 23 No. 1 (1932) by Charlotte Sohy (1 887-1955)\nTrio\, Op. 45 (1862) by Louise Farrenc (1804-1875)\n\nWASHU FAC ULTY PERFORMERS\n\nJennifer Gartley\nKimberly Jeong\nErin Haupt\nYeon-Kyun g Kim\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17019 DTSTART;TZID=America/Chicago:20261206T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261206T160000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Guitar Gala CLASS:PUBLIC DESCRIPTION:Students in the WashU guitar studios will perform a concert of solos\nand ensembles.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17017 DTSTART;TZID=America/Chicago:20261203T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261203T203000 SUMMARY:Voice Division Recital CLASS:PUBLIC DESCRIPTION:WashU students in the Voice Division will perform solos\, duets \, and\nmore!\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17005 DTSTART;TZID=America/Chicago:20261107T110000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261107T120000 SUMMARY:String Division Recital CLASS:PUBLIC DESCRIPTION:This recital features student musicians from the studios of Reb ecca\nChung\, Amy Greenhalgh\, Kimberly Jeong\, Mckayla Talasek\, and Manu ela\nTopalbegovic. Assisted by Dr. Young Kim as a collaborative pianist.\n \nPROGRAM\n\nSuite No. 4 in E-flat Major (1717–1723) by Johann Sebastian Bach\n(1685–1750)\n     I. _Prelude_\nMax Zeller\, cello\n\n_Allegro _ from _Pièces de clavecin_\, Op. 1 (1730) by Joseph-Hector\nFiocco (1703 –1741)\nCynthia Cheng\, viola\n\nViola Concerto in D Major (1793) by Fra nz Anton Hoffmeister\n(1754–1812)\n     III. _Rondo_\nNora Reichert\, viola\n\nViola Concerto (1929) by William Turner Walton (1902–1983)\n     I. _Andante comodo_\nHannah An\, viola\n\nViola Concerto (1929) by W illiam Turner Walton (1902–1983)\n     II. _Vivo\, con molto preciso_ \nDelia Zacks\, viola\n\nViola Sonata (1919) by Rebecca Clarke (1886–197 9)\n     III. _Adagio_\nCedric Leong\, viola\n\n_Romanian Folk Dances_ (1915) by Béla Bartók (1881–1945)\nTranscribed by Zoltán Székely\n     I. _Joc cu bâtă_\n     II. _Brâul_\n     III. _Pe loc_\n     IV. _Buciumeana_\n     V. _Poargă românească_\n     VI. _Mă runțel_\nShira Miller\, violin\n\nViolin Concerto No. 3 in B Minor\, Op. 61 by Camille Saint-Saëns\n(1835–1921)\n     I. _Allegro non troppo_ \nClaire Yi\, violin\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17003 DTSTART;TZID=America/Chicago:20261031T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261031T160000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Department of Music Showcase CLASS:PUBLIC DESCRIPTION:Spend an afternoon enjoying the musical talents of students fro m all\nover Washington University. The Music Department Showcase is an\nex citing event featuring some of the University's most gifted singers\nand i nstrumentalists as soloists and in small ensembles. Free\nadmission. No re servations\, tickets\, or registration required. Free\nParking is availabl e in the garage behind the building.\n\nPROGRAM\n\nSonata in E minor\, Hob XVI:34 (1778) by Joseph Haydn (1732 - 1809)\n    _ Presto       _                    \nHayden McAllister\, piano\n\n_Vo i che sapete_ from _Le Nozze di Figaro_ (1786) by W.A. Mozart\n(1756 - 17 91)\nAllison Cooper\, soprano\nYeon-Kyung Kim\, piano\n\n_Koyunbaba_ by Ca rlo Domeniconi (b. 1947)\n     _IV: Presto    _\n                        \nDani Bosci\, guitar\n\n_Etude de Concert_ “Au matin” (1940) by Marcel Tournier (1879 -\n1951)\nAmelia Schwartz\, harp\n\nConcerto in C Major\, K. 314 (1777) by W.A. Mozart\n     _Alle gro Aperto_\nMichelle Zhang\, oboe\nYeon-Kyung Kim\, piano\n\n_Deluge_ by Wayne Shorter (1933 - 2023)\nPhil Zhang\, guitar\nLandon Kahl\, guitar\n\n _O mio babbino caro_ from _Gianni Schicchi _(1917) by Giacomo Puccini\n(1 858 - 1924)\nJuliana Cool\, soprano\nYeon-Kyung Kim\, piano\n\nString Quar tet No. 1 in G minor (1877) by Edvard Grieg (1843 - 1907)\n     _Un poc o andante-Allegro molto ed agitato    _\n          \nBradley Gober\, violin  \nMichelle Lu\, violin  \nDelia Zacks\, viola\nColette Wicks\, cello\n\n_Transcendental_ Etude No. 10 in F minor (1851) by Franz Liszt (1811 -\n1886)\nJane Ser\, piano\n\n_Ugetsu _(1975) by Cedar Walton (1934 - 2013)\n_Blue in Green_ (1959) by Bill Evans (1929 - 1980)\nMargo N euberger\, voice\nBinghan Yan\, guitar\nOwen Kim\, saxophone\nNate Sapp\, piano\nGavin Goldsmith\, drums\n\nTRANSLATIONS\n\n_VOI CHE SAPETE_\nYou la dies\nWho know what love is\,\nSee if it is\nWhat I have in my heart.\nAll that I feel\nI will explain\;\nSince it is new to me\,\nI don't understan d it.\nI have a feeling\nFull of desire\,\nWhich now is pleasure\,\nNow is torment.\nI freeze\, then I feel\nMy spirit all ablaze\,\nAnd the next mo ment\nTurn again to ice.\nI seek for a treasure\nOutside of myself\;\nI kn ow not who holds it\nNor what it is.\nI sigh and I groan\nWithout wishing to\,\nI flutter and tremble\nWithout knowing why.\nI find no peace\nBy nig ht or day\,\nBut yet to languish thus\nIs sheer delight.\nYou ladies\nWho know what love is\,\nSee if it is\nWhat I have in my heart.\n\n_O MIO BABB INO CARO_\nOh my dear papa\,\nI love him\, he is handsome\, handsome.\nI w ant to go to Porta Rossa\nTo buy the ring!\nYes\, yes\, I want to go there !\nAnd if I loved him in vain\,\nI would go to the Ponte Vecchio\,\nbut to throw myself in the Arno!\nI am anguished and tormented!\nOh God\, I'd wa nt to die!\nPapa\, have pity\, have pity!\nPapa\, have pity\, have pity!\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16995 DTSTART;TZID=America/Chicago:20260918T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260918T203000 SUMMARY:\"Music to heal the soul\" featuring Ustad Shafaat Khan\,\nsitar/vo cals/tabla CLASS:PUBLIC DESCRIPTION:Ustad Shafaat Khan will present an energetic\, engaging\, and\n educational performance featuring the rich traditions of Indian\nClassical and Folk music.\n\nIn addition to the performance\, he will guide audienc es through the\nhistory and cultural significance of Indian music\, introd ucing the\nconcepts of Raag\, Taal\, traditional instruments\, and perform ance\ntechniques. The program includes selections that showcase Indian\nCl assical music as well as lighter musical forms such as Qawwali\,\nGhazal\, and Thumri\, offering listeners a diverse and captivating\nmusical experi ence.\n\n> \"Virtuoso...Classical purity astonishing... intellectual  and\n> poetic...creator as well as performer\" - _THE WASHINGTON  POST_\n> \n> \"Absolutely superb\"\n> _THE TIMES_ London\, England\ n\nBIOGRAPHIES:\n\nUSTAD SHAFAAT KHAN\n\nUstad Shafaat Khan's career is no thing short of extraordinary. He\ndebuted at the Kings Lynn Festival opene d by the Queen of England. The\nson of Ustad Imrat Khan and nephew of Usta d Vilayat Khan\, he has\ngraced the stages of prestigious concert halls\, festivals\, and\nuniversities across India\, the U.S.\, Europe\, China\, R ussia\, and Japan.\nHe has performed alongside legends like Stevie Wonder at Bonnaroo and\nshared a televised concert with Ray Charles in Germany.\n \nDANIEL JOHNSON : TABLA/PERCUSSION/VOX\n\nDaniel’s path in Music has be en a journey from the pounding\npercussive energy of performing with Phila delphia’s 20 member Spoken\nHand Percussion Orchestra\, to the Freedom a nd Vibe of performing with\nMiles Davis alum’s Badal Roy’s “Dharma J azz” to the intense\ndepth of Tabla player to North Indian Classical Sit ar legend Ustad\nShafaat Khan. These and many more projects including bein g a\npercussionist at Princeton University for the department of Modern\nD ance have kept him moving further into subtle pulsation.\n\nANAWIM AVILA  - SAXOPHONE \n\nAnawim Avila is a multi-instrumentalist and composer. Hi s eclectic\ncareer includes collaborations with the Odean Pope Saxophone C hoir\,\nMaryland Symphony Orchestra\, Billy Harper\, Les Savy Fav\, and ma ny\nmore. He is currently active in the jazz fusion group Blás Vasco\,\n singer/songwriter Christina Ward’s band\, prog-rock outfit Clockwise\non Fire\, as well as his own art-dance-rock group\, Our Bodies\nThemselves.  He studied composition under influential mentors Tania\nLeón\, Amir Sh pilman\, Charles Tolliver\, and Knoel Scott of the Sun Ra\nArkestra\, and has had his pieces performed internationally.\n  \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17000 DTSTART;TZID=America/Chicago:20261021T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261021T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Jazz Series: Jazz Band Concert CLASS:PUBLIC DESCRIPTION:Get ready for a night of big band jazz! The WashU Jazz Band\, u nder the\ndirection of Chris Becker\, takes the stage with a fantastic lin eup\nfeaturing Hank Mobley’s _This I Dig of You\,_ Wayne Shorter’s\n_C hildren of the Night_\, the playful _Peel Me a Grape_\, and Ellen\nRowe’ s _The Hip-Hop Bop Stop_. A special highlight is _Tribute to\nMiles_\, a m edley of Miles Davis classics including _So What\, All\nBlues_\, and _Mile stones_\, celebrating the centennial of his birth.\nWith great ensemble pl aying\, outstanding student soloists\, and plenty\nof jazz favorites\, thi s is an evening you won’t want to miss!\n\nWatch Live [https://youtube.c om/live/tBSZNGXBnb0?feature=share]\n\nPROGRAM\n\n_This I Dig of You_ (1960 )\, Hank Mobley (1930-1986)\, arr. Mike Tomaro\n_Peel Me A Grape_ (1962)\, Dave Frishberg (1933-2021)\, arr. George\nStone\n_Children of the Night_ (1961)\, Wayne Shorter (1933-2023)\, arr. Mark\nTaylor\n_All or Nothing at All_ (1939)\, Words by Jack Lawrence (1912-2009)\,\nMusic by Arthur Altma n (1910-1994)\, arr. George Stone\n_Tribute to Miles_\, arr. Mark Taylor - Medley of _So What_ (1959)\,\n_All Blues_ (1959)\, _Seven Steps to Heaven _(1963)\, and _Milestones_\n(1948)\, in recognition of the centennial of Miles Davis' birth.\n_The Hip-Hop Bop Stop _(2017)\, Ellen Rowe (b. 1958)\ n\nJAZZ BAND\n\nSAXOPHONES\nNoah Clayton\, Alto\nEthan Lin\, Alto\nAaron C iu\, Tenor\nOwen Ross\, Tenor\nSeth Steuck\, Baritone\n\nTRUMPETS\nTori Va squez\nTeo Giannini\nCaleb Kessler\nKelsey Conover\nJeremy Xu\n\nTROMBONES \nJayden Thankamani\nEllis Kopcho\nJacob Karni\nHenry Wasserman\, Bass\n\n RHYTHM SECTION\nCody Peck\, Guitar\nElla Heisel\, Guitar\nSeoha Kim\, Guit ar\nHenry Daut\, Piano\nJunxian Xu\, Piano\nLivy Best\, Bass\nMatt Anto\, Bass\nCollin Lloyd\, Drums\nYJ Zhao\, Drums\nWilson Hou\, Vibraphone\n\nDI RECTOR\n\nChris Becker is the Director of the Wind Ensemble and the Jazz B ands\nat Washington University in St. Louis\, and serves as the director o f\nwinds and percussion. Mr. Becker graduated from the University of\nMiss ouri - Kansas City Conservatory of Music “With Distinction” in\n1977\, receiving the Bachelor of Music Education Degree\, and earned a\nMaster o f Arts in Education from Lindenwood University.\n\nMr. Becker has taught i nstrumental music in Missouri for 49 years from\nthe elementary to the uni versity level. In June 2017\, he retired as\nDirector of Bands at Parkway South High School\, after serving for 36\nyears in the Parkway School Dist rict (St. Louis County\, Missouri).\nDuring his tenure there\, he directed Marching Bands\, Symphonic Bands\,\nJazz Bands\, and all other related ba nd activities.\n\nIn addition\, he is the Artistic Director and Conductor of the\nManchester Community Band\, a highly successful ensemble founded t en\nyears ago and enthusiastically received by the residents of\nMancheste r. Mr. Becker has also been a frequent guest conductor for\nboth concert b ands and jazz bands in Missouri and Illinois.\n\nMr. Becker has served as the Jazz Vice President for the Missouri\nMusic Educators Association\, th e first educator to hold that position\nafter it was established as a part of the MMEA Board. Mr. Becker is a\nPast President of the Missouri unit o f the International Association\nof Jazz Educators. During his term he hel ped clarify the mission and\ngoals of the unit\, and endeavored to reach o ut to music educators\,\nthose in the music industry\, and professional pl ayers to create a\nbroader base of support for jazz education. Becker has also served as\nJazz Vice President for the St. Louis Suburban Music Educa tors\nAssociation. Becker plays the trumpet professionally with a variety of\nensembles in the St. Louis area\, and has taught trumpet privately in\ nboth the Kansas City and St. Louis areas.\n\nMr. Becker is a member of th e College Band Directors National\nAssociation\, the National Association for Music Education\, the\nMissouri Music Educators Association\, the Miss ouri Association for\nJazz Education\, the Missouri Band Masters Associati on\, and Phi Beta Mu\nBand Directors Fraternity. He was named \"Charles Em mons Outstanding\nBand Director of the Year\" by Phi Beta Mu in January 19 99. He was\nnominated numerous times for the Pillar of Parkway Award\, whi ch\nrecognizes commitment and dedication for work in the Parkway School\nD istrict\, and was awarded a Pillar of Parkway in April 2016. Mr.\nBecker w as honored for his distinguished career by the St. Louis\nSuburban Music E ducators Association in January 2018\, and named to\ntheir Hall of Fame.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16993 DTSTART;TZID=America/Chicago:20260911T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260911T203000 SUMMARY:Meridian Clarinet Quartet Presented by the Ariel Concert Series CLASS:PUBLIC DESCRIPTION:Performed by the Meridian Clarinet Quartet\, this program pairs \n19th-century Romantic works with 20th-century jazz and tango\ntraditions . It features chamber pieces by Mendelssohn and Tchaikovsky\nalongside sel ections by Gershwin and the quartet's own arrangement of\nPiazzolla.\n\nMU SICIANS\n\nSang Yoon Kim\, clarinet\nYao Guang Zhai\, clarinet​\nLin Ma\ , clarinet\nTzuying Huang\, bass clarinet \n\nPROGRAM\n\nFelix Mendelssoh n: Concert Piece No. 1 in F Minor\, Op. 113\nFelix Mendelssohn: Concert Pi ece No. 2 in D Minor\, Op. 114\nGeorge Gershwin: Three Preludes\nPyotr Ily ich Tchaikovsky: Selections from The Seasons\nAstor Piazzolla: Nightclub 1 960 for Clarinet Quintet (arr. Sang Yoon\nKim)\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16997 DTSTART;TZID=America/Chicago:20261013T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261013T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Jazz Series: Vincent Varvel Quartet CLASS:PUBLIC DESCRIPTION:Guitarist Vincent Varvel\, Director of Guitar Studies\, brings his\nquartet to the 560 Music Center in the WashU Jazz Series.  The\nquar tet\, featuring WashU faculty Joel Vanderheyden on saxophone and\nelectron ics\, Eric Warren on bass\, Joe Meyer on drums\, and Varvel on\nelectric g uitars\, plays music that combines atmospheric electronica\,\ndeep grooves \, and captivating melodies with exploration and jazz\nimprovisation.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16992 DTSTART;TZID=America/Chicago:20260908T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260908T203000 SUMMARY:WashU Jazz Series: Carolbeth True-Two Times True CLASS:PUBLIC DESCRIPTION:Two Times True is an instrumental jazz and jazz/rock quartet th at\nformed in 2007\, thanks to our dear friend and former president of\nVi ctoria Records Bill Becker\, who liked the family connection within\nthe g roup. The instrumentation is Carolbeth True—piano and keys\;\nDave True —drums\; Glen Smith—bass\; and Larry Johnson—saxophones.\nThe group has performed at many festivals and concerts in the area\,\nand is often j oined by Kim Fuller on vocals. Kim Fuller is a St. Louis\ntreasure\, havin g worked for many years with the Galaxy Band. Now Kim\nand the trio are al so members of The Oikos Ensemble\, and Kim and\nCarolbeth are members of t he cast of The Jazz Story—the original\neducational offering at The Shel don.\n\nBIOGRAPHIES\n\nPianist CAROLBETH TRUE has been a very active membe r of the St. Louis\nmusical community as a teacher/coach and performer. Sh e is a long-time\nmember of the Webster University music faculty\, also do ing extensive\nprivate teaching\; an original member of the cast of “The Jazz\nStory” at the Sheldon\, just finishing 27th season. She was also the\npianist for the Missouri Music Program created by Paul Reuter\,\nform erly Sheldon executive director\, which presented\, around the\neastern pa rt of the state\, all styles of music composed and performed\nby Missouri musicians. She was pianist with Variety Children’s\nTheatre doing all re hearsals and shows for 10 years\, as well as many\nyears with The Muny—r ehearsals and orchestra pianist. Her group Two\nTimes True\, with Dave Tru e on drums\, Larry Johnson—saxophones\, and\nGlen Smith—bass performs around the St. Louis area in festivals and\nservices. The group is heard o n multiple recordings: “Two Times\nTrue” (2007)\, Larry Johnson’s “Circles” and “I’m Just\nSayin’ “ and released “True Christm as”-- a cd of\njazz/contemporary settings of Christmas carols and hymns\ , in 2018. The\nCarolbeth Trio\, with Glen Smith—bass and Kevin Gianino —drums is\nheard on the cd “True” as well as with vocalist Debby Len non on\nher cd “I’m All Smiles”. Carolbeth is a member of The Oikos\ nEnsemble directed by saxophonist/ Reverend Cliff Aerie. She has backed\nm any name jazz artists\, performed a dozen concertos with various\norchestr as 1991-2005. Her awards include: Excellence in the Arts Award\nfrom Arts and Education Council\; Riverfront Times Jazz Musician of the\nYear\; St. Louis Musician of the Year by St. Louis Magazine\; Rock Hill\nCitizen of t he Year. Carolbeth is in her 13th year as rehearsal and\nperformance piani st for the MCDA Jazz Vocal Ensemble\, having worked\nwith top world-renown ed jazz vocal names including this past year’s\ndirector and clinician M ike Engelhardt and this year’s\, Janice\nVlachos.\n\nDAVE TRUE started p laying the drums at the age of two. He studied\ndrums with Kevin Gianino a nd classical percussion with Chris Treloar\nthroughout his school years in St. Louis. Dave performed with the\nParkway Central Marching Colts in the Rose Bowl Parade and the\nMacy’s Day Parade. As a percussionist\, David performed with the\nWashington University Wind Ensemble\, under the direc tion of Dan\nPresgrave. As a drum set artist\, David was involved in the\n All-Suburban jazz band and also performed with his own group\, formerly\nk nown as the TrueJazz Quintet. Before leaving St. Louis\, Dave received\nth e prestigious Louis Armstrong Jazz Award. \n\nDave True continued his own studies at DePaul University in Chicago\,\nreceiving a music business deg ree. Upon returning to St. Louis\, he\nbegan working for Commerce Bank and was with that organization for 15\nyears in multiple capacities. Recently \, Dave has developed his own\ncompany: Shield Pro Home Services\, where h e offers his skills in\nmaintenance and repair. Musically\, he plays with the stellar party\nband Fanfare\, the Concordia Kirkwood Praise Band\, the Oikos Ensemble\,\nand of course Two Times True. He and his wife Kelly hav e two wonderful\nchildren: Ava and Logan.\n\nGLEN SMITH was born into a ho me where music was always playing\, and\neveryone in the family played an instrument.  Glen took up the guitar\nwhen he was 12 years old and shortl y thereafter was performing at\nparties and dances in a band with his Fath er.  Glen went to college\nto study music theory and classical guitar bef ore leaving to travel\nwith a number of national touring acts.  Glen retu rned to St. Louis\,\nwhere he spent years as an A-List bass player\, worki ng shows for star\nperformers at the Fox Theatre\, Powell Hall\, and other venues.  \n\nGlen is humbled to have been able to play with some of the finest\nmusicians in the world who live and work right here in St. Louis\, \nincluding the pianist Carolbeth True\, guitarist Eric Slaughter\,\ntrump eter Jim Manley\, and many others.\n\nLARRY JOHNSON is a highly regarded s axophone player and mentor. In the\narea of education\, he won the Outstan ding Teacher Award from the\nArchdiocese in 2004\; has been nominated eigh t times for “Who’s Who\nAmong American Teachers”\; is band director at St. Joseph’s School\nin Cottleville and St. Dominic High School jazz band director. \n\nLarry has been a professional musician for 35 years\, his longest\nassociation being with Jim Manley’s groups Fantasy and Wild Cool and\nSwingin’\; and Charley Boehme’s Charley B Jazz. He has perf ormed\nwith Two Times True\, now in its 19th year\, since 2007. Larry is o n the\n2007 cd TWO TIMES TRUE\; and his own releases CIRCLES and I’M JUS T\nSAYIN.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17007 DTSTART;TZID=America/Chicago:20261115T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261115T160000 SUMMARY:WashU Choirs Concert: Seeking Light CLASS:PUBLIC DESCRIPTION:What does it mean to persevere through the darkness - and what happens\nwhen we finally find the light?\n\nJoin the WashU Chamber Choir a nd Concert Choir for a powerful musical\njourney exploring resilience\, ho pe\, and the emotional landscape of\ndifficult times. Featuring W.A. Mozar t’s _Sancta Maria\, Mater Dei_\,\nOla Gjeilo’s _Dark Night of the Soul _\, and more.\n\nCome experience an evening of music that reminds us that even in the\ndarkest moments\, there is always a path toward light.\n\n \ n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16994 DTSTART;TZID=America/Chicago:20260914T173000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260914T183000 SUMMARY:St. Louis Symphony on the South 40 CLASS:PUBLIC DESCRIPTION:This special collaboration will take place outside on the South 40\n(near Bear's Den) on the beautiful Danforth Campus.  Members of the \nSt. Louis Symphony will perform following a WashU string\nensemble. Thi s event is free\, family-friendly\, and open to the\npublic! \n\nDirecti ons [https://wustl.edu/about/campuses/maps-directions-parking/]\nCampus Ma p [https://washu.edu/life-at-washu/getting-around/]\n(performance location outside Umrath House\, building #326\, map\nlocation C8)\nPublic Parking Information\n[https://washu.edu/life-at-washu/getting-around/] (It is sug gested\nthat visitors park in the Danforth University Center parking garag e -\n#200\, map location E4 on the campus map.)\n\nIn case of inclement weather\, the concert will take place inside Risa\nCommons just southeast of the outdoor space.\n\nThis event is in cooperation with Student Transi tions & Family\nPrograms\n\nWASHU STRING ENSEMBLE\n\nPROGRAM\n\n_Hornpipe_ from _Water Music_ by Handel\n_Adagio Cantabile _from _Cinnamon Grove_ by Nathaniel Dett\n_Autumn_ from _The Four Seasons _by Vivaldi \n_Nine To F ive _by Dolly Parton \n\nENSEMBLE\n\nVIOLINS\nBrad Gober\nIan Lee\nMichel le Lee\nErin Suh\nJessica Hu\nSadie Navid\nAshley Hong\n\nVIOLA\nEmily Upd ike\nHannah An\nAnanyaa Srivatsan\n\nCELLO\nMax Zeller\nJackson Bai\nYoann a Choi\n\nBASS\nMichael Moore\n\nST. LOUIS SYMPHONY ENSEMBLE\n\n_Landscape _for Low Brass - “El Cholla Cha-Cha” by Gerry Pagano \n_Harmonic Tap estry_ for Low Brass_ _by Adrienne Albert  \nSuite for Bass Trombone and Tuba by John Stevens \n“Ballade” from Trombone Quartet Memories by K ieko Takashima\nQuartet No. 1 - II. _Allegro_ & IV. _Allegro_ by Anthony Plog \n_The Pink Panther_ by Henry Mancini/ arr. J. Krush \n_St. Louis B lues_ by W. C. Handy/ arr. G. Pagano \nPiece for Low Brass\, Mvt. IV by S teven Franklin\n\nJonathan Randazzo\, trombone\nAmanda Stewart\, trombone\ nJonathan Reycraft\, trombone\nChristopher Bassett\, trombone and bass tro mbone\nBridget Conley\, tuba\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16996 DTSTART;TZID=America/Chicago:20261009T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261009T203000 LOCATION:560 Music Center\, 63130 SUMMARY:Chamber Project St. Louis: Trailblazer\, a tribute to Rebecca Clark e CLASS:PUBLIC DESCRIPTION:Discover the music of a true pioneer. Join us for _TRAILBLAZER_ \, a\ncaptivating evening celebrating the brilliant\, fiercely original\nc hamber music of Rebecca Clarke.\n\nTickets\n[https://www.eventbrite.com/e/ trailblazer-a-tribute-to-rebecca-clarke-tickets-1994995638659?aff=oddtdtcr eator]\n\nWashU students free with WashU ID\n$5 students\n$20 general adm ission\n\nABOUT THE PROGRAM\n\nAs both a virtuoso violist and a composer\, Clarke smashed 20th-century\nglass ceilings\, writing music of incredible emotional depth and\nharmonic color. She has been a huge inspiration to u s since the\nbeginning\, and we’re paying her tribute with a feature con cert. Her\nsweeping _Piano Trio_ is not to be missed\, and CPSTL founder L aura\nReycraft brings the beloved _Viola Sonata_ to life with WashU pianis t\nYoung Kim.\n\nPERFORMERS\n\nJane Price\, violin\nLaura Reycraft\, viola \nMarta Simidtchieva\, cello\nYoung Kim\, piano\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17042 DTSTART;TZID=America/Chicago:20261023T140000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261023T150000 LOCATION:560 Music Center\, 63130 SUMMARY:A Workshop with composer Adolphus Hailstork CLASS:PUBLIC DESCRIPTION:Join us for a special performer-composer workshop featuring mus ic by\nesteemed composer Adolphus Hailstork and students in the WashU musi c\nprogram. Known for a rich musical language that blends lyricism\,\nspir itual depth\, and vivid orchestral color\, Hailstork has written\nwidely f or chorus\, chamber ensembles\, orchestra\, and solo voice\, often\ndrawin g inspiration from African American history\, literature\, and\nfaith trad itions. During the workshop\, student performers—including\nGiulia Vitol o\, the WashU Chamber Choir\, and several others—will\nshare selected wo rks for discussion\, rehearsal insight\, and direct\nfeedback from the com poser himself. This collaborative event offers a\nrare opportunity to hear Hailstork’s music interpreted by WashU\nmusicians while also learning f rom his perspective on style\,\ninterpretation\, and expressive intent. Th e workshop will highlight the\nenduring significance of Hailstork’s voic e in contemporary American\nmusic.\n\nOpera Theatre of Saint Louis will fe ature _Joshua’s Boots\, _an opera\nfor young people by Adolphus Hailstor k and Susan Kander from October\n21-24th.  Follow the link to learn more! \n\nJoshua's Boots [https://opera-stl.org/whats-on/joshuas-boots/]\n\nPROG RAM\n\n_Yuhwa (The Goddess of the Willow Trees) _for solo flute (sophomore )\nGiulia Vitolo\, flute \n\n\"My Heart to Thy Heart\" from Four _Romanti c Love Songs _(PhD student)\nChristina Smiley\, voice \n\n_Three Smiles f or Tracey_ for solo clarinet (Faculty)\nDana Hotle\, clarinet\n\n_Nocturne _from _Five Short Choral Works_\nWashU Chamber Choir \n\nBIOGRAPHY\n\nAD OLPHUS HAILSTORK (b. April 17\, 1941) is one of America's most\ndistinguis hed contemporary composers\, renowned for a body of work that\nspans orche stral\, choral\, chamber\, band\, and operatic music. Born in\nRochester\, New York\, and raised in Albany\, he began studying piano\,\nviolin\, org an\, and voice as a child and demonstrated an early passion\nfor compositi on. His musical education included studies with some of\nthe twentieth cen tury's most influential teachers\, including Mark Fax\nat Howard Universit y\, Vittorio Giannini and David Diamond at the\nManhattan School of Music\ , Nadia Boulanger at the American\nConservatory in Fontainebleau\, and H. Owen Reed at Michigan State\nUniversity\, where he earned his doctorate in composition in 1971.\n\nThroughout a career spanning more than five decad es\, Hailstork has\ncreated music that draws upon African American musical traditions\nwhile embracing the broader classical canon. His compositions often\naddress themes of history\, justice\, and cultural identity\, refl ecting\nhis belief that music can speak powerfully to social and human\nco ncerns. His works have been performed by leading ensembles including\nthe Philadelphia Orchestra\, the Chicago Symphony Orchestra\, the New\nYork Ph ilharmonic\, and the Detroit Symphony Orchestra\, and have been\nchampione d by conductors such as James DePreist\, Daniel Barenboim\,\nKurt Masur\, and Lorin Maazel. \n\nAmong Hailstork's most notable compositions are his symphonies\,\nconcertos\, choral works\, and operas. Opera audiences know him\nespecially for _Joshua's Boots_\, commissioned by Opera Theatre of\n Saint Louis and Kansas City Lyric Opera and premiered in 1999\, as well\na s _Rise for Freedom_\, inspired by the Underground Railroad. His\ncatalog also includes celebrated works such as _American Guernica_\,\n_Whitman's J ourney_\, _Earthrise_\, and _Fanfare on “Amazing\nGrace\,”_ which gain ed national attention when it was performed\nduring the 2021 U.S. presiden tial inauguration.\n\nIn addition to his accomplishments as a composer\, H ailstork has been a\ndedicated educator and advocate for American music. H e taught at\nYoungstown State University\, Norfolk State University\, and Old\nDominion University\, where he served as Professor of Music and\nComp oser-in-Residence. His contributions have been recognized with\nnumerous h onors\, including a Fulbright Fellowship and designation as a\nCultural La ureate of the Commonwealth of Virginia. Today\, Hailstork is\ncelebrated a s a pioneering voice in American classical music whose\nworks continue to enrich the repertoire and inspire audiences around\nthe world.\n\nThis eve nt is supported in part by Washington University in St. Louis\nCenter for the Study of Race\, Ethnicity & Equity DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17004 DTSTART;TZID=America/Chicago:20261101T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261101T160000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Parent & Family Weekend Wind Ensemble Concert CLASS:PUBLIC DESCRIPTION:Cap off your Parent & Family Weekend with a high-energy\,\nfami ly-friendly concert you won’t want to miss! Join us for a\n50-minute per formance highlighting WashU’s talented student\nmusicians in the Departm ent of Music’s largest performing ensembles.\nLed by the powerhouse Wind Ensemble and featuring over 65 incredible\nstudents\, this concert promis es a toe-tapping celebration of teamwork\,\npassion\, and musical excellen ce. After the show\, keep the good vibes\ngoing with a stroll through the Delmar Loop—perfect for a sweet\ntreat or bite to eat before heading hom e.\n\nDigital Program\n[https://wustl.box.com/s/jp0w4mnawr07hf0zifvvtepujt j30gou]\n\nWatch Live [https://youtube.com/live/OWYfhZwRjU4?feature=share] \n\nPROGRAM\n\n_The Fairest of the Fair _by John Philip Sousa\nFirst Suite in E-flat for Military Band by Gustav Holst\n_Nocturne _by_ Gabriel Futhe y _(member of the WashU Wind Ensemble)\n_Lawrence of Arabia _by_ _Maurice Jarre\, arr. Alfred Reed\n_Play!_ by Carl Holmquist\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17028 DTSTART;TZID=America/Chicago:20261015T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261015T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Wind Ensemble Concert CLASS:PUBLIC DESCRIPTION:Get ready for an evening of bold brass\, soaring melodies\, and the\nthrilling sound of the full wind ensemble! From Holst’s beloved\nF irst Suite in E-flat to the energy of _Play!_ and the dramatic\ncontrasts of _Chiaroscuro_\, this program has something for everyone.\nThe concert f inishes in grand style with the unmistakable music of\nJohn Philip Sousa\, including _The Fairest of the Fair_ and Ira\nHearshen’s spectacular Sym phony on Themes of John Philip Sousa.\n\nDigital Program\n[https://wustl.b ox.com/s/we54zbdpult1sjqiany17237ocjmqore]\n\nWatch Live [https://youtube. com/live/NfCNq71GDoY?feature=share]\n\nPROGRAM\n\nPERCUSSION ENSEMBLE\n_Ve ctor_ (2020) - Matt Moore\n\nWIND ENSEMBLE\n_The Fairest of the Fair_ - Jo hn Philip Sousa\nSymphony on Themes of John Philip Sousa - Ira Hearshen\nF irst Suite in E-flat for Military Band - Gustav Holst\n_Play! _- Carl Holm quist\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17009 DTSTART;TZID=America/Chicago:20261119T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261119T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Wind Ensemble Concert CLASS:PUBLIC DESCRIPTION:Join the WashU Wind Ensemble for an evening of musical contrast s\,\ndramatic rhythms\, and cinematic favorites! The program opens with\nR obert Sheldon’s _Chiaroscuro_\, exploring the interplay of light and\nda rk\, followed by _Nocturne_\, an original work by Wind Ensemble member\nGa briel Futhey. John Barnes Chance’s powerful _Incantation and\nDance_ bri ngs driving rhythms and intensity to the stage\, while\nMaurice Jarre’s sweeping score from the epic film _Lawrence of\nArabia_\, arranged by Alfr ed Reed\, provides a grand cinematic finish.\n\nPROGRAM\n\n_Chiaroscuro _b y Robert Sheldon\n_Nocturne by Gabriel Futhey_ (Member of the WashU Wind E nsemble)\n_Incantation and Dance_ by John Barnes Chance\n_Lawrence of Arab ia -_ Maurice Jarre\, arr. Alfred Reed\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17001 DTSTART;TZID=America/Chicago:20260925T120000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260925T130000 SUMMARY:Kemper Unplugged: A Journey Through Latin Sounds CLASS:PUBLIC DESCRIPTION:A Journey Through Latin Sounds is a concert that features diffe rent\ntraditional covers and original songs from Latin America. To this en d\,\nEsteban Tonio & Emerson Magaña play different latin genres and\ninst ruments. Some of the Latin rhythms that this concert covers are\ncumbia\, huaynos\, cuban son\, bailecitos\, guajira\, and rumba.\nAdditionally\, di fferent instruments are played in this concert such as\nCharango\, Colombi an Tiple\, and Quena.\n\nArrive early or stay after to grab lunch at the M useum’s Coffee Bar.\nEnjoy ice cream sandwiches from Sugarwitch\, savory deli sandwiches\nfrom Parker’s Table\, and pastries from Colleen’s. M embers get 10%\noff your purchase with every visit. Learn more and join he re\n[https://www.kemperartmuseum.washu.edu/membership].\n\nThese 45-minute concerts are free and open to the public.\n\nPERFORMERS\n\nEsteban Tonio\ nEmerson Magaña\n\nBIOGRAPHIES\n\nESTEBAN TONIO\n\nEsteban Tonio is a Lat in folk singer-songwriter currently living in\nthe US. Through his lyrics\ , Esteban writes about personal reflections\non life\, love\, heartbreak\, and everyday experiences. As to his music\,\nEsteban plays mainly nylon-s tring guitar\, but he also incorporates\nother Latin American instruments\ , such as the charango and the\nColombian tiple\, in his songs.\nEsteban h as been collaborating with other musicians\, including Kent\nRousseau\, Ch ris Endicott\, and Julia Hornberger\, among others. These\ncollaborations have allowed him to incorporate the cello\, violin\,\nelectric guitar\, an d keyboard into his songs.\n\nEsteban Tonio is one of the co-founders of t he Latin American band Los\nChascones Rotos\, who recorded their first pro fessional EP in 2017\nthanks to the song Gülu Mapu\, which won first plac e in a music\ncontest organized by Casa de la Cultura Anáhuac of the Sant iago\nMetropolitan Park (Parquemet).\n\nEMERSON MAGAÑA\n\nEmerson Magaña is a gifted vocalist and classically trained guitarist\nfrom Colima\, Mex ico\, currently based in Saint Louis\, MO. He is known\nfor his versatilit y as a musician\, navigating between different genres\nand Latin styles an d collaborating with a diverse range of musicians.\n\nHis vocals are an em bodiment of soulful storytelling\, and his guitar\nskills are a testament to years of dedication to his craft. With a\nstage presence that exudes ch arisma and charm\, Emerson connects with\nthe audience on a profound level . His unique style and musical\nexperience include alternating musical Lat in genres such as:\nBossanova\, Bolero\, Salsa\, Cuban\, Trova\, and more! \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17002 DTSTART;TZID=America/Chicago:20261023T120000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261023T130000 SUMMARY:Kemper Unplugged: From Tango to Bossa Nova CLASS:PUBLIC DESCRIPTION:Featuring guitarists W. Mark Akin\, Brian Vaccaro\, and Farshid \nSoltanshahi\n\nExplore Latin and Latin-inspired music for classical guit ar with\nperformances by W. MARK AKIN and guitar duo BRIAN VACCARO AND FAR SHID\nSOLTANSHAHI. Akin will perform works by Sergio Assad\, Máximo Diego \nPujol\, and Roland Dyens\, while Vaccaro and Soltanshahi will present a\ nselection of Latin American music featuring Brazilian Bossa Nova and\nSam ba\, as well as Cuban Son Cubano. The program includes compositions\nby An tônio Carlos Jobim\, Luiz Bonfá\, Francisco Repilado\, and others.\n\nAr rive early or stay after to grab lunch at the Museum’s Coffee Bar.\nEnjo y ice cream sandwiches from Sugarwitch\, savory deli sandwiches\nfrom Park er’s Table\, and pastries from Colleen’s. Members get 10%\noff your pu rchase with every visit. Learn more and join here\n[https://www.kemperartm useum.washu.edu/membership].\n\nThese 45-minute concerts are free and open to the public.\n\nPERFORMERS\n\nW. Mark Akin\nBrian Vaccaro\nFarshid Solt anshahi\n\nBIOGRAPHIES\n\nAward-winning classical guitarist W. MARK AKIN i s a St. Louis-based\nmusician who has engaged audiences across the country with his dynamic\non-stage presence and musicality.\n\nMark has won prize s in numerous competitions such as the Wilson Center\nGuitar Competition i n Wisconsin\, Beethoven Club Competition in\nMemphis\, the University of A rizona's Beeston Competition and Sholin\nCompetition\, and was most recent ly selected as a winner of the Artist\nPresentation Society of St. Louis C ompetition.\n\nOriginally from Tennessee\, Mark started his guitar studies by learning\nto play electric hard rock\, idolizing guitarists such as Er ic Johnson\,\nYngwie Malmsteen\, and Eddie Van Halen.  After discovering the\nclassical guitar in high school\, he then decided to study the\ninstr ument full-time and subsequently received his bachelor's and\nmaster's deg rees in guitar performance from Belmont University in\nNashville\, and the University of Arizona in Tucson.  He has performed\nin master classes an d taken lessons with some of the greatest\nguitarists in the world\, namel y Sergio and Odair Assad\, Manuel\nBarrueco\, David Russell\, Jason Vieaux \, Olivier Chassain\, Marcin Dylla\,\nand Adam Holzman.\n\nAn active teach er\, Mark has taught innumerable private lessons and\nclasses. In addition to being on faculty at Washington University\, he\nworks with the St. Lou is Classical Guitar Society’s outreach\neducation initiative entitled Gu itar Horizons.\n\n-------------------------\n\nBRIAN VACCARO graduated fro m Webster University in St. Louis in 1996\nwith a Bachelor's Degree in Mus ic with an emphasis in Jazz Studies. He\ncontinued his education at Southe rn Illinois University at\nEdwardsville\, where he earned a Master's Degre e in Music in Guitar\nPerformance in 2000. Since completing his studies\, Brian has been\nactive as an educator as well as a performer. He has taugh t a variety\nof jazz and general music courses including Jazz History\, Ja zz\nEnsemble\, Guitar Ensemble\, Rock History\, Private Guitar Study\, and \nnumerous others at Lindenwood University\, Southwestern Illinois\nColleg e\, St. Louis Community College\, Grand Center Arts Academy\, and\nSt. Cha rles Community College. In 2010\, Brian received the Outstanding\nAdjunct Faculty award from St. Louis Community College at Meramec.\nBrian is now E xecutive Director of the 501c3 organization \"St. Louis\nClassical Guitar\ ".  He has also performed and recorded with many of\nthe top musicians in the St. Louis area.  \"Going Through the\nMotions\"\, the debut album by the Brian Vaccaro Trio\, was honored to be\nincluded in the \"Notable Rel eases of 2011\" list by noted critic and\nauthor W. Royal Stokes. Brian cu rrently performs in and around the St.\nLouis area.\n\n------------------- ------\n\nWith a style that’s as diverse as it is captivating\, FARSHID\ nSOLTANSHAHI brings together various musical forms to create a sound\nthat ’s both innovative and deeply rooted in tradition. His work\,\ncharacter ized by intricate arrangements and impeccable musicianship\,\nshowcases hi s ability to transcend musical genres and cultures.\n\nWhile details on aw ards and nominations remain as diverse and eclectic\nas his music\, Farshi d Etniko’s discography\, including his celebrated\ndebut album _Nightmar e in Heaven_\, stands as a testament to his\nartistic brilliance. With top songs and albums that feature a rich\ntapestry of sounds—from the class ical guitar preludes to the\npowerful fusion of drums\, bass\, and traditi onal Persian\ninstruments—Farshid’s music invites listeners into a wor ld where\nmusical boundaries cease to exist.\n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17010 DTSTART;TZID=America/Chicago:20261120T120000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261120T130000 SUMMARY:Kemper Unplugged: EcoTones CLASS:PUBLIC DESCRIPTION:Curated to intersect with the themes of the Kemper Art Museum ’s Fall\n2026 exhibition _Carolina Ceycedo: Growing Deep Roots\, _EcoTon es\npresents a concert of chamber jazz works inspired by St. Louis urban\n prairies\; relationships of interdependence between plants\,\npollinators\ , and humans\; and the health and wellbeing of St. Louis\nrivers and their nonhuman inhabitants. Inspired by Ceycado’s ongoing\nwork to connect hu man\, flora\, and fauna\, this EcoTones performance\npromotes an eco-socia l worldview of interrelatedness amongst humans\nand the natural world.  C oncertgoers are encouraged to visit the\nmuseum’s exhibition before or a fter the concert\, and upon exit\,\nconsider the myriad native species of flora and fauna immediately\nsurrounding the museum as beings with agency\ , requiring time and space\nto develop into a mature and biodiverse local food web\, thriving\namongst a human-made campus environment.\n\nArrive ea rly or stay after to grab lunch at the Museum’s Coffee Bar.\nEnjoy ice c ream sandwiches from Sugarwitch\, savory deli sandwiches\nfrom Parker’s Table\, and pastries from Colleen’s. Members get 10%\noff your purchase with every visit. Learn more and join here\n[https://www.kemperartmuseum.w ashu.edu/membership].\n\nThese 45-minute concerts are free and open to the public.\n\nPERFORMERS\n\nMatthew Allison\, flute\nThomas Jostlein\, alpho rn & French horn\nTricia Jostlein\, alphorn & French horn\nEmily Aponte\, alphorn & French horn\nJoel Vanderheyden\, saxophone\nJoseph Hendricks\, b assoon\nJody Redhage Ferber\, cello\nVince Varvel\, guitar\nBob Deboo\, ba ss\n\n \n\nBIOGRAPHY\n\nEcoTones Concerts are whimsical outdoor performan ces\, braiding\nworld-class musicians\, audiences\, and local public natur e spaces to\ngrow new audiences for live instrumental music and an eco-soc ial\nworldview of interrelatedness amongst humans\, flora\, and fauna. Nam ed\n“Best New Concert Series of 2022” by the _Riverfront Times _of St. \nLouis\, EcoTones features instrumentalists and vocalists performing\nrep ertoire inspired by the flora and fauna surrounding trailside\nstages\, en couraging musicians and audiences to listen in a new way and\nto cultivate a sense of belonging within local nature spaces. EcoTones\nConcerts has p resented once-in-a-lifetime performance events in St.\nLouis’s Tower Gro ve Park\, St. Louis’ legendary Bellefontaine\nCemetery Arboretum\, Nyack \, New York’s River Hook Preserve\, and most\nrecently in Manhattan’s Madison Square Park\, with an upcoming\npermanent audio trail of newly com posed chamber music celebrating the\npark’s notable horticultural collec tions launching in Fall 2026.\nPlease visit www.ecotonesconcerts.org\n[htt p://www.ecotonesconcerts.org] for information about upcoming live\nperform ances.\n\nPhoto Credit: Andrea B. Swenson\n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17014 DTSTART;TZID=America/Chicago:20261122T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261122T160000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Symphony Orchestra Concert CLASS:PUBLIC DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16999 DTSTART;TZID=America/Chicago:20261016T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261016T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Symphony Orchestra Concert: “Tapestry of Sounds” featurin g\npianist Nina Ferrigno CLASS:PUBLIC DESCRIPTION:“Tapestry of Sounds\,” featuring WashU faculty pianist Nina \nFerrigno\, brings together drama\, virtuosity\, and brilliant orchestral \ncolor. The WashU Symphony Orchestra and conductor Darwin Aquino move\nfr om the operatic excitement of Verdi’s _Nabucco_ Overture to\nGrieg’s d azzling Piano Concerto in A minor\, followed by the St.\nLouis premiere of Armando Bayolo’s _A Shelter that Filters the Sun_.\nThe evening wraps u p with Britten’s lively _Soirées Musicales_—a\ncolorful finale filled with dance\, energy\, and orchestral sparkle.\n\nDigital Program\n[https: //wustl.box.com/s/nbz0lo88u81nral1vtgj3x67yuklhvzl]\n\nWatch Live [https:/ /youtube.com/live/_DCShB0tDN4?feature=share]\n\nPROGRAM\n\nOverture to _Na bucco_ by Giuseppe Verdi \n \nPiano Concerto in A minor Op. 16 by Edvard Grieg \n     I. _Allegro molto moderato_\n     II. _Adagio_\n     III. _Allegro moderato molto e marcato_\nNina Ferrigno\, piano\n \nInt ermission \n \n_A Shelter that Filters the Sun_ (STL premiere) by Armand o Bayolo \n \n_Soirées Musicales\, _Op. 9 by Benjamin Britten\n      I. _March_\n     II. _Canzonetta_\n     III. _Tirolese_\n     IV. _Bolero_\n     V. _Tarantella _ DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16987 DTSTART;VALUE=DATE:20261109 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;VALUE=DATE:20270407 LOCATION:560 Trinity Ave\, University City 63130 SUMMARY:Great Artists Series '26-'27: Learn About Our 10th Anniversary Seas on CLASS:PUBLIC X-MICROSOFT-CDO-ALLDAYEVENT:TRUE DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16966 DTSTART;TZID=America/Chicago:20260327T093000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260327T170000 SUMMARY:Day 1: The 27th Biennial St. Louis Symposium on German Literature a nd\nCulture CLASS:PUBLIC DESCRIPTION:ARCHIVING THE SOUNDS OF GERMAN CULTURES: A CENTURY OF COLLECTIO N\,\nCURATION\, AND CREATIVE PRACTICE\n\n \n\nARCHIVING THE SOUNDS OF GER MAN CULTURES EXPLORES HOW THE RECORDING AND\nDOCUMENTATION OF SOUND HAS SH APED GERMAN CULTURES AND THEIR NARRATIVES\nFROM THE EARLY TWENTIETH CENTUR Y TO THE PRESENT. FEATURING THE WORK OF\nGROUND-BREAKING ARTISTS AND LEADI NG EXPERTS ON THIS TOPIC FROM THE\nFIELDS OF HISTORY\, MEDIA STUDIES\, MUS IC\, ART HISTORY\, AND LITERATURE\,\nTHIS SYMPOSIUM EXAMINES THE PRACTICE OF SOUND ARCHIVING NOT ONLY AS\nMATERIAL PRESERVATION BUT ALSO AS RE-FORMA TION: THE USE OF ARCHIVAL\nSOUND AS SOURCE MATERIAL AND INSPIRATION FOR CR EATIVE PRACTICE. \n\n \n\nFRIDAY\, MARCH 27\nDANFORTH UNIVERSITY CENTER\ , ROOM 276\n\n9:30 – 9:45 AM\nOPENING REMARKS\nStephanie Kirk\, Director \, Center for the Humanities \nMatt Erlin\, Professor and Chair\, Departm ent of Comparative Literature\nand Thought\n\n9:45 – 10:30 AM\nSESSION 1 : SONIC INTERVENTIONS AS CURATORIAL PRACTICE \nModerator: Lynne Tatlock\, Washington University in St. Louis\nSarah Koellner\, Washington Universit y in St. Louis: “Exhibiting\nListening to the Art of German Cultures: On Sonic Interventions\,\nCuratorial Practices\, and the Narration of a Nati on.”\n\n11:00 – 12:30 PM\nSESSION 2: ARCHIVING THE SOUNDS OF ATROCITY\ nModerator: Corinna Treitel\, Washington University in St. Louis\nFlorence Feiereisen & Erin Sassin\, Middlebury College: “The Archive\nas a Porta l: Auralizing the Mundane in Extraordinary Times”\nPeter Davies\, Univer sity of Edinburgh: “Voices in the Dark: How do\nAudio Dramas refer to th e Holocaust?”\n\n1:30-3:00 PM\nSESSION 3: SOUNDING FROM THE RADIO ARCHIV ES\nModerator: Alex Ullman\, Washington University in St. Louis\nOlivia La ndry\, Virginia Commonwealth University: “Broadcasting with\nan Accent: Sounds from the Fifth Wall”\nCarolyn Birdsall\, University of Amsterdam: “Celebrating 100 Years of\nRadio? Curating Diffcult (Audio) Heritage in Exhibition Spaces in\nGermany and Austria”\n\n3:30-5:00 PM\nSESSION 4: SOUND\, PERFORMANCE AND THE ARCHIVE\nModerator: Pat Burke\, Washington Uni versity in St. Louis\nKira Thurman\, University of Michigan: “The Munich Machine: Disco and\nthe Making of a Black German Pop Star”\nEla Gezen\, University of Massachusetts\, Amherst: “Archived Sounds\nand Audiovisua l Traces of Turkish Migration to West Berlin”\n\nSPONSORED BY:\n\nDepart ment of Comparative Literature and Thought\, Washington\nUniversity in St. Louis\nThe Federal Foreign Office of the Federal Republic of Germany thro ugh\nthe German Academic Exchange Service (DAAD)\nThe Embassy of the Feder al Republic of Germany\, Washington\nGoethe Institut Chicago\nGoethe Insti tut New York\nLive and Mediated Performance Faculty Research Seminar suppo rted by\nthe Center for the Humanities\, Washington University in St. Loui s.\nDepartment of African and African American Studies\, Washington\nUnive rsity in St. Louis\n\n \n\nCLICK THE RSVP BUTTON BELOW TO REGISTER:\n\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16957 DTSTART;TZID=America/Chicago:20260323T160000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260323T180000 SUMMARY:‘Sweet Willie Rollbar’s Orientation’ Screening and Talk with\ nBrent Hayes Edwards CLASS:PUBLIC DESCRIPTION:_Sweet Willie Rollbar’s Orientation_ is an experimental film shot in\n1972 by the saxophonist Julius Hemphill\, the poet K. Curtis Lyle \, the\nactor Malinke Elliott and other members of the Black Artists’ Gr oup\nof St. Louis. Made in part with funding from WashU\, the film is an\n astonishing document of the post-Black Arts moment\, a series of\nfragment ed\, surreal “trickster tale” vignettes set in the detritus\nof the St . Louis ghetto. Brent Hayes Edwards\, who has produced a\ndigital restorat ion of the film from the original 16 mm reels (mixing\nthe footage with an original soundtrack recorded by Hemphill)\, will\nplace the film in the c ontext of the Black Artists’ Group in St.\nLouis and more broadly in rel ation to other Black experimental\ncurrents in the early 1970s.\n\nBrent H ayes Edwards is the Peng Family Professor of English and\nComparative Lite rature at Columbia University. He writes and teaches\non topics including African American literature\, Francophone\nliterature\, theories of the Af rican diaspora\, translation studies\,\narchive theory\, black radical his toriography\, cultural politics in\nParis in the 1920s and 1930s\, surreal ism\, experimental poetics and\njazz. His most recent books include _Ecrir e le monde noir_\n[https://nam10.safelinks.protection.outlook.com/?url=htt ps%3A%2F%2Fwww.rot-bo-krik.com%2Fecrire-le-monde-noir&data=05%7C02%7Calici ad%40wustl.edu%7Ceffc3ff202b745f2270208de5de6e86d%7C4ccca3b571cd4e6d974b4d 9beb96c6d6%7C0%7C0%7C639051443517770211%7CUnknown%7CTWFpbGZsb3d8eyJFbXB0eU 1hcGkiOnRydWUsIlYiOiIwLjAuMDAwMCIsIlAiOiJXaW4zMiIsIkFOIjoiTWFpbCIsIldUIjoy fQ%3D%3D%7C0%7C%7C%7C&sdata=QH%2F4LNFGavflrU66iREf8CkzuCpawOynI4qxmYHQfbo% 3D&reserved=0]_\n_(Rot-Bo-Krik\, 2024)\, a collection of the interwar writ ings of the\npioneering Martinican intellectual Paulette Nardal\, and _Eas ily Slip\ninto Another World_\n[https://nam10.safelinks.protection.outlook .com/?url=https%3A%2F%2Fwww.penguinrandomhouse.com%2Fbooks%2F626186%2Feasi ly-slip-into-another-world-by-henry-threadgill-and-brent-hayes-edwards%2F& data=05%7C02%7Caliciad%40wustl.edu%7Ceffc3ff202b745f2270208de5de6e86d%7C4c cca3b571cd4e6d974b4d9beb96c6d6%7C0%7C0%7C639051443517800924%7CUnknown%7CTW FpbGZsb3d8eyJFbXB0eU1hcGkiOnRydWUsIlYiOiIwLjAuMDAwMCIsIlAiOiJXaW4zMiIsIkFO IjoiTWFpbCIsIldUIjoyfQ%3D%3D%7C0%7C%7C%7C&sdata=JtuxThd9M0%2Fe4wT%2FMUalS4 tFRD7csT1KouNWoBCDZuo%3D&reserved=0]\n(Knopf\, 2023)\, the co-written auto biography of Pulitzer Prize-winning\ncomposer Henry Threadgill\, which was awarded a 2024 American Book\nAward and a 2024 Jazz Journalists Associati on Book of the Year Award\nfor Biography or Autobiography. Since 2021 he h as served as the editor\nof _PMLA_\, the flagship journal of the Modern La nguage Association.\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16949 DTSTART;TZID=America/Chicago:20260206T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260206T160000 SUMMARY:Department of Music Lecture: Walter Parks\, guitarist\, composer\,\ nstoryteller based in St Louis CLASS:PUBLIC DESCRIPTION:TITLE\n\n\"The Story of Finding Style by Honoring Roots– An A rt's Journey From\nHometown to The World Stage\"\n \n\nABOUT\n\nPerformer \, historian and writer Walter Parks shares the bounty of his\nLibrary of Congress-archived research on three genres of music from\nSoutheast Georgi a’s Okefinokee Swamp – hymns\, hollers and reels.\nThis entertaining a nd educational workshop with performance examples\nand relevant stories al so encompasses originals\, reimagined Southern\nU.S. spirituals and Richie Havens classics.  Walter will discuss how\nresearching the art\, music\, and culture of the area from which an\nartist comes can inform the artist 's style.\n\nWalter toured and recorded the world over with Woodstock lege nd Richie\nHavens – performing at New York’s Carnegie Hall and Madison Square\nGarden and at The Glastonbury Festival in England.  In 2014\, Wa lter\nwas the sole accompanist of Judy Collins at her Lincoln Center tribu te\nto Pete Seeger. Walter is the leader of two Americana roots groups – \nSwamp Cabbage (electric-folk/rock) and The Unlawful Assembly\n(reimagine d spirituals).\n \n\nBIOGRAPHY\n\nWalter Parks is both entertaining and e ducational\, presenting historic\nmusic\, original music\, and stories tha t preface songs in a\ncontemporary way. Walter toggles between hollers\, s pirituals\,\nAppalachian reels\, Delta blues\, work songs\, swamp jazz\, a nd even bits\nof opera\, all delivered with Walter’s northeast Florida s wampy feel.\nAt every show\, Walter tributes Woodstock legend Richie Haven s\, with\nwhom he served as sideman for 10 years\, performing worldwide in \nMadison Square Garden\, The Glastonbury Festival\, and Carnegie Hall\,\n amongst other prestigious venues. Walter was recently invited by The\nLibr ary of Congress/American Folklife Collection to archive his\nresearch work on the music made in southeast Georgia’s Okefinokee\nSwamp. Now based o ut of St. Louis\, Walter has recently co-written with\nStan Lynch\, former Tom Petty drummer\, and has performed at various\nvenues with R&B drum le gend Bernard Purdie and at Lincoln Center with\nJudy Collins. Walter tours solo\, with his trio Swamp Cabbage and with\nThe Unlawful Assembly\, a gr oup that reimagines historic spirituals\,\npropelled by drummer Steven Wil liams and female vocalist Ada Dyer\,\nwho’s currently on the Bruce Sprin gsteen world tour. Walter was a\nfounding member of The Nudes\, a popular folk duo\, with cellist\nStephanie Winters.  \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16951 DTSTART;TZID=America/Chicago:20260213T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260213T160000 SUMMARY:Department of Music Lecture: Mvstermind\, Damon Davis\, and Blvck S pvde CLASS:PUBLIC DESCRIPTION:TITLE\n\n\"Music in St. Louis\"\n\nABOUT\n\nAssociate Professor Christopher Stark moderates a panel discussion on\nSt. Louis Music with m usicians Damon Davis\, Blvck Spvde\, and\nMvstermind.\n\nBIOGRAPHIES\n\nDA MON DAVIS\n\nDamon Davis is a post-disciplinary\, Emmy Award-winning artis t who\nworks and resides in St. Louis\, Missouri. In a practice that is pa rt\ntherapy\, part social commentary\, his work spans a spectrum of creati ve\nmediums to tell stories exploring how identity is informed by power\na nd mythology. He is well known for his solo exhibition\, Darker Gods\nin T he Garden of Low Hanging Heavens\, which premiered in St. Louis in\n2018 a nd went to Art Basel Miami later that year. The exhibit explored\nthe surr ealist manifestations of Black culture by constructing new\nmythologies in response to tropes of Blackness.\n\nDavis is the founder and creative dir ector of music collective/ label\nFarFetched. Filmmaker Magazine selected him and Sabaah Folayan as part\nof the “25 New Faces of Independent Film 2016” for their work\nco-directing the critically acclaimed documentary Whose Streets?\nchronicling the Ferguson uprising of 2014. In 2020\, crit ic Ben Davis\ncited his project All Hands On Deck\, which captured the han ds of\npeople who shaped and upheld the Ferguson movement\, as one of the\ n“100 Works of Art That Defined the Decade.” He is a Firelight\nMedia\ , Sundance Labs\, TED\, and Kennedy Center Citizen Artist Fellow.\n\nBLVCK SPVDE\n\nBlvck Spvde stands as a multi-talented artist with a storied car eer\nspanning decades in both the realms of music and fashion\, earning hi m\na profound level of recognition within underground circles. Notably\,\n he has received accolades and admiration from some of your beloved\nartist s.\n\nMVSTERMIND\n\nMuhammad “Mvstermind” Austin challenges the box of being a\nsuccessful “Independent Music Artist” and opens up a world o f\ncreative storytelling. Through the power of music\, voice\, and\nexperi ences he leaves an intentional mark of community. His work has\nimpacted M LS Franchises\, as seen in RollingStones\, as he is cemented\nin stone in his hometown as an entrepreneurial hero. Born and bred in\nSaint Louis\, M issouri. Muhammad “Mvstermind” Austin is the new\nproof of concept of what is possible in your own “backyard” as a\nmusical entrepreneur. In spired by possibility\, his distinctive\napproach and sound leave the fing erprints of a true “Mastermind.”\nAs an artist\, Muhammad creates musi c under the moniker\n“Mvstermind” writing\, recording & producing musi c for the soul’s\nignite with his collaborators & friends. Born in the m idst of diverse\nmusical tastes\, Mvstermind fuses sounds from all genres\ , paying homage\nto his musical memories. Age 12 is when he first began to produce\nmusic. “I selfishly create music for me\, FIRST” he states\, music\nis his therapy & motivation to be GREATER\, sharing his creative\n expressions with the world with an intention for it to serve as the\nsame. From streaming services to Apple TV web series “City Flavor”\nand nat ional stages across the country\, Mvstermind’s music has the\nlikes of N PR\, Complex\, & the world buzzing for more. His touring and\nperformances have had him share stages with the greats\, such as Snoop\nDogg\, Chance The Rapper\, Lupe Fiasco\, Travis Scott & more. As a\nproducer Mvstermind has been catching the wind in the film/media\nworld. Received recognition from the likes of the Berlin Film Festival\nfor his involvement with “Su mmer in Saint Louis”. Working with\ncollaborators such as “My friends and I” Mvstermind produces\nmusic\, scores\, and voiceovers\, for artist s\, films & commercials that\nhave touched the globe. Mvstermind’s dedic ated music hustle evolved\nover the years and helped him develop a keen se nse of business acumen.\nHis impact along with partnerships has served as an essential\ncomponent of the Saint Louis ecosystem. For instance\, his p artnership\nwith Dr. Scholl’s resulted in a custom-designed “Mvstermin d”\neco-friendly tennis shoe\, which was available in Zappos and Kole’ s\nand is now currently sold out worldwide. Being a creative visionary\nan d a man of his word\, his business approach grew his name and impact\nover the years\, resulting in him being able to create a 1 of its kind\nmoment . In 2022 he was appointed The Director of Musical Experience\nfor MLS’s new expansion team “Saint Louis City SC”. A role in\nwhich he created and pitched to the owners himself. As stated by the\nteam’s CXO - Mat S ebek “There’s nobody better than\nMvstermind\,” he says. “We could have done a nationwide casting\ncall\, but he’s right here.” Here Muh ammad “Mvstermind” Austin\ncurated the franchise's first-ever musical philosophy to represent its\nCITY on a global scale. Muhammad “Mvstermin d” Austin is a true\nproduct of his community\, therefore his urge to bu ild platforms to\nassist and inspire others is purely innate. His platform \n“Mvstercamp” was created to enrich the artist community across the\n globe with programming designed to discover themselves spiritually &\ncrea tively\, all while building up business acumen to be discovered.\nThis pas t fall they incubated 95 in total performance artists through\na six-day a rtist boot camp that resulted in a performance at the\nnationally recogniz ed “Music at the Intersection” music festival.\nAs much as Muhammad “Mvstermind” Austin believes in Saint Louis\,\nso does Saint Louis. In 2022\, Mayor Tishaura Jones appointed October\n2nd to be the official “ Mvstermind Day” in the City of St.\nLouis… Giving proof of what we are all witnessing. - “May we all\nstrive to be GREATER” - Muhammad “Mv stermind” Austin\n\nCHRISTOPHER STARK\n\nChristopher Stark\, whose music _The New York Times_ has called\,\n\"fetching and colorful\,\" has been a warded prizes from the Guggenheim\nFoundation\, Chamber Music America\, th e Barlow Endowment\, and the Fromm\nFoundation at Harvard. Named a \"Risin g Star\" by the _St. Louis\nPost-Dispatch_\, his music and arrangements ha ve been performed by\nensembles such as the Detroit Symphony\, Los Angeles Philharmonic\,\nToronto Symphony\, and members of the St. Louis Symphony. In 2012\, he\nwas in residence at Civitella Ranieri\, a fifteenth-century castle in\nItaly\, and in June of 2016\, he was in residence at the Copla nd House.\nRecent highlights included performances at the 2016 Santa Fe Ch amber\nMusic Festival and at the Whitney Museum of American Art as part of \nthe 2016 NY Phil Biennial. In 2018\, he lived in Bergen\, Norway\, where \nhe worked with musicians from the BIT20 Ensemble\, and in 2020\, he was\ na resident artist at the Bogliasco Foundation in Italy as the Aaron\nCopl and Fellow in Music. His film score for the feature-length film\n_Novitiat e_ premiered at Sundance in January 2017 and was theatrically\nreleased by Sony Pictures Classics. His debut CD\, Seasonal Music\, was\nreleased in 2019 on Bridge Records.\n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16952 DTSTART;TZID=America/Chicago:20260220T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260220T160000 SUMMARY:Department of Music Lecture: Varun Chandrasekhar & Bryce Noe CLASS:PUBLIC DESCRIPTION:VARUN CHANDRASEKHAR\, PHD STUDENT IN MUSIC THEORY\n\n(Conferenc e: International Association for the Study of Popular\nMusic-U.S. Chapter) \n\nTITLE\n\n“CAN I STILL GET INTO HEAVEN IF I KILL MYSELF”:\nLa Dispu te and Emo’s Suburban Whiteness\n\nABSTRACT\n\nMichigan-based emo band L a Dispute “King Park” chronicles the\ndeath of an unintended teenage v ictim of a drive-by shooting. The\nsong\, narrated by a ghost who follows the shooter as he attempts to\nflee the police\, climaxes with the murdere r screaming\, “Can I still\nget into Heaven if I kill myself” as a way to avoid his oncoming\npunishment. Shockingly\, the song ends abruptly\, offering no resolution\nto the story’s tragedy. Although the song does n ot explicitly state\nthat the shooter was Black\, the lyrical reference to endemic gang\nviolence in a city with a relatively large Black population signals\nBlackness\, which contrasts against La Dispute’s generally whi te\nperformance style (Kajikawa 2023).\n\n \nI argue that the song should be read as an exemplar of emo’s complex\nrelationship to its own whiten ess. I argue that emo reflects the\ncontradictions that emerge out of whit e flight to the suburbs. La\nDispute’s treatment of the narrator\, a lit eral ghost\, symbolizes the\nwhite desire to be aware of\, but safely dist anced from\, Black culture.\nIf the suburbs used whiteness to implicitly c onfirm their\n“homogeneity\, containment\, and predictability” (Avila 2006\, 6)\,\nthen La Dispute\, through making their whiteness hypervisible (Dyer\n1997\, Yancy 2012)\, notes how such suburban flight (which gave bi rth to\nemo) constructs an urban Other. I provide a hermeneutic reading of the\nsong’s incomplete ending\, noting how the song ends without a clea r\nconclusion\, arguing the incompleteness expresses a racialized\nunderst anding of Carillo-Vincent’s (2013\, 38) claim that emo is a\n“normativ e critique of normativity.”\n \n\nBIOGRAPHY\n\nVarun's research reframe s discussions of \"freedom\" in jazz cultures\nthrough a lens of Sartrean existentialism. Building upon Sartre's\nclaim that freedom is the anxious reality of being forced to take\naction in an objectively meaningless worl d\, Varun argues that jazz\nrepresents the freedom of enduring the absurdi ties of the racialized\nexistence of its musicians. Varun then applies the se insights to\nexplicate the life and music of the jazz bassist and compo ser Charles\nMingus\, arguing that Mingus's eccentric\, exaggerated\, and enigmatic\nactions demonstrate the anxious existence of the jazz musician. \n\nIn addition to his work on jazz\, Varun also studies pop-punk and emo\ nmusic\, highlighting the ways the genres respond to the depressing\nstate of neoliberal decay. In the Spring of 2026\, Varun will host \"A\nConfere nce...But It's Midwestern Emo\,\" the first conference dedicated\nto the s tudy of emo music.\n\nVarun has had articles published in the journals _Ja zz and Culture_\,\n_The Journal of Popular Music Studies_\, and _Musicolog y Now\,_ and\nreviews published in _The Journal for the Society of America n Music\,\nThe Journal of Jazz Studies_\, and _The Journal of Musicologica l\nResearch_. Varun has presented his research at a litany of national\nan d international conferences\, including all three major music\nconferences (AMS\, SMT\, SEM)\, Cultural Studies Conferences\, Jazz\nStudies Conferen ces\, and Popular Music Studies Conferences. Varun's\nresearch has been su pported by WashU's Center for the Humanities\nGraduate Student Fellowship and WashU's American Cultural Studies\nDepartment's Lynne Cooper Harvey Fe llow. He is also an affiliate of\nWashU's Center for the Study of Race\, E quity\, and Ethnicity.\n\nBRYCE NOE\, PHD STUDENT IN MUSICOLOGY\n\nTITLE\n \n\"The 'Death' and Revival of Freestyle Skateboarding\"\n\nABSTRACT\n\nFr eestyle—the earliest subdiscipline of skating whereby\npractitioners per form choreographed routines to self-selected music on\nopen\, flat terrain —has become a taboo topic of inquiry in dominant\nskateboard circles. Do minant skateboarding media represent freestyle\nas an old-school form of s kateboarding that died in the early 1990s\nand remains dead. Additionally\ , publications in skateboard studies\neither overlook freestyle or describ e the subdiscipline as\nconstituting an early stage of skateboarding’s e volution (i.e.\, the\n1960s–1980s) (Borden\, 2019\; O’Connor\, 2018). And yet\, 2025 was one\nof the most eventful years in freestyle history wi th 19 contests\nhappening in seven countries\, a World Championships that garnered 108\ncompetitors\, and the revival of the World Freestyle Skatebo ard\nAssociation. Freestyle\, which experienced a hiatus in the 1990s\, is \nnow a thriving pocket of skateboard culture. But why is freestyle\nmisre presented as “dead” or a topic avoided altogether (i.e.\, the\nsecret past of skating) within the mainstream skateboard industry?\nThis paper il lustrates (1) how the hypermasculinity of street\nskateboarding and its ho mophobia in the late 1980s contributed to the\n“death” and discursive suppression of freestyle and (2) the ways\nin which the modern-day freesty le scene leverages its mainstream image\nas “dead” to stay alive. Free style’s supposed death-knell can be\nattributed to Steve Rocco’s effor ts to amplify the machismo image of\nskateboarding through his company Wor ld Industries (1987–) and\nmagazine _Big Brother_ (1992–2004). These two business ventures\npromulgated skateboarding as a gritty and degenerat ive street culture\nwhereby engaging in dangerous acts on urban structures —street\nskating—and demonstrating pain tolerance and aggression when falling\nwere markers of an unruly and stoic masculinity that became rider s’\ncurrency for magazine coverage and credibility.\n \nThis shift in s kateboarding’s mainstream values not only\nsubordinated freestyle as eff eminate or “gay” due to its emphasis\non mostly male bodies enacting r efined\, graceful routines to music for\n“safe” contest environments\; it also catapulted the subdiscipline\ninto its “dark age” (1992–200 0) when brands stopped\nmanufacturing freestyle boards and no one organize d freestyle\ncontests. Practitioners\, fortunately\, resuscitated their su bpractice\nin the early 2000s through organizing low-budget and grassroots \n“reunion” contests as well as creating internet forums that\nfostere d a tight-knit global community. Keeping their scene relatively\nsmall and developing an insular subculture that operates in resistance\nto the hege monic skateboard industry are also ways freestylers yield\ntheir collectiv e friendship. As professional rider Tony Gale (2021)\nstates\, “[W]ith f reestyle being so marginalized for so long\, we\nbecame this tight-knit tr ibe that was very self-policing because we\nwere protecting it.” Freesty lers fear that they might lose control\nover and access to their community if it becomes too widespread. As\nsuch\, freestyle companies like Moonshi ne and Decomposed denounce any\ninvolvement from the mainstream skateboard world and screenprint\n“Keeping Freestyle Dead” on their product. Fre estylers are\nabhorrent toward being “revived” and embrace performing within\nskateboarding’s oft-neglected and feminized subpractice. This pa per\nis not meant to “revive” freestyle but rather revise erroneous\nd iscourse on the subdiscipline and shed light on how these\npractitioners a re navigating the margins of skateboarding.\n \n\nBIOGRAPHY\n\nBryce stud ies choreography and sound in sport settings. In particular\,\nhe examines sporting spaces and events as sites whereby\nknowledge—both semantic an d somatic—is transmitted sonically.\nAdditional research interests inclu de disability studies\, popular\nmusic\, and urban musicology. Prior to gr aduate study at Washington\nUniversity in St. Louis\, Bryce earned his Mas ter of Music degree in\nMusicology at the University of Miami’s Frost Sc hool of Music. His\nmaster’s thesis\, “Freestyle Soundscapes: An Acous temology of\nFreestyle Skateboarding Contests\,” is an exploration of fr eestyle\nskateboarders’ engagement with music and sound during contests as\nwell as the (sub)cultural and gender politics embedded within such\nsp orting spaces.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16953 DTSTART;TZID=America/Chicago:20260320T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260320T160000 SUMMARY:Department of Music Lecture: Naomi André\, Professor of Music at U NC\nChapel Hill CLASS:PUBLIC DESCRIPTION:TITLE\n\n\"Engaging Opera: Stories from Black experiences and S panish Language\nLatin Diasporic Opera\"\n \n\nABSTRACT\n\nThis presentat ion explores how leading artists are centering new\nvoices and stories on the operatic stage. Inside and outside of the\nopera house\, living creati ves (composers\, librettists\, singers\, and\nadministrators) are shaping how culture can articulate and represent\nlived experiences. They bring to life experiences from the past that\nprovide a deeper context for how we think about the present. Belonging\nto a shadow culture of artistic activi ty that has been hidden from\nmainstream view\, in this paper I examine op eras that had Black\ncomposers\, librettists\, and singers involved with t he compositional\nprocess. (Denyce Graves\, Nkeiru Okoye\, Sandra Seaton\, and Damien\nGeter). A portion of this talk will also explore another oper atic\nshadow culture of Spanish-language works from the Latin Diaspora by\ nManuel de Falla\, Daniel Catán\, Osvaldo Golijov\, and Gabriela Lena\nFr ank. Seen together\, operas involving interracial compositional teams\nfro m a wide range of racial\, ethnic\, and cultural experiences animate\nhist ories from the past and shape a new vanguard in opera for an\nartistic vis ion that has a new relevance for the present.\n\nBIOGRAPHY\n\nNAOMI ANDRÉ  is the David G. Frey Distinguished Professor in the\nDepartment of Music at the University of North Carolina at Chapel Hill\nand Professor _Emerit a_ at the University of Michigan in Afroamerican\nand African Studies\, W omen’s and Gender Studies\, and the Residential\nCollege.\n\nHer publica tions include the books _Black Opera: History\, Power\,\nEngagement_ and _Voicing Gender: Castrati\, Travesti\, and the Second\nWoman in Early Nine teenth-Century Italian Opera_ and co-edited\ncollections _Blackness in Op era_\; _African Performance Arts and\nPolitical Acts_\; and _The Music of Mzilikazi Khumalo: Language\,\nCulture\, and Song in South Africa_. Active ly engaged with performance\ntoday\, she has worked with opera companies\, symphonies\, and is a\nfounding member of the Black Opera Research Networ k (BORN). She was\nthe inaugural _Scholar in Residence_ at the Seattle Op era (2019-2024)\nand has served on the Boards of the American Musicologica l Society\,\nthe Kurt Weill Foundation\, and Detroit Opera.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16955 DTSTART;TZID=America/Chicago:20260410T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260410T160000 SUMMARY:Department of Music Lecture: Steve Lamos\, Associate Professor in t he\nProgram for Writing and Rhetoric and English Department at UC Boulder CLASS:PUBLIC DESCRIPTION:TITLE\n\n“Writing With Emo Nostalgia: Navigating Pasts\, Pres ents\, and\nFutures”\n \n\nABSTRACT\n\nThis talk explores how researche rs\, teachers\, and students can\n“write with” the unfolding embodied experience of nostalgic music\,\nespecially emo music\, as a means to navi gate past experience\, present\nfeeling\, and future challenge.   It comb ines insights from musicology\n(e.g.\, Robinson\; Brett) with insights fro m rhetoric and composition\n(e.g.\, Adams\; Ceraso) to analyze two case st udies of such writing:\nfirst\, a personal example exploring how writing w ith a live drumming\nperformance can generate a particular kind of presenc e and\nmindfulness\; second\, an example from a student writer highlightin g how\nwriting with a studio recording can help to navigate both past trau ma\nand present-day healing.  Finally\, the talk explores the potential\n benefits of writing with emo in a world critical of the value of a\ncolleg e education in general and of education in humanistic endeavors\nin partic ular.\n\nBIOGRAPHY\n\nSteve Lamos is an Associate Professor in the Program for Writing and\nRhetoric and English Department at the University of Col orado-Boulder.\nHis publications include the book _Interests and Opportun ities: Race\,\nRacism\, and University Writing Instruction in the Post-Civ il Rights\nEra_ (Pitt UP)\, winner of a 2013 “Special Commendation” f rom the\nConference on College Composition and Communication\; the essay\n “Toward Job Security for Teaching-Track Composition Faculty:\nRecognizin g and Rewarding Affective-Labor-in-Space\,” winner of the\n2016 Richard C. Ohmann prize from _College English_\; and work in\n_College Compositio n and Communication_\, _College English_\, _Journal\nof Basic Writing_\,  _Writing Program Administration_\, _Composition\nStudies_\, _The CEA Cr itic_\, and elsewhere.\n\nLamos’ current book project is tentatively tit led _Resonant\nRhythms: Drumming\, Writing\, and Professing a Literate Li fe_.  It\nexplores intersections between his academic work and his work a s the\ndrummer and trumpet player for the indie / emo band American\nFoot ball.  American Football has been lauded as a particularly\ninfluential “Midwest Emo” artist by _Rolling\nStone_\, _Spin_\, _New Music Expr ess_\, _The Guardian_\, _Alternative\nPress_\, _Pitchfork_\, _NPR_\, an d many others.\n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16976 DTSTART;TZID=America/Chicago:20260408T160000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260408T170000 SUMMARY:Department of Music Lecture: Eric Clarke\, Emeritus Professor of Mu sic\nat the University of Oxford CLASS:PUBLIC DESCRIPTION:TITLE\n\nEntangled. An Ecological Perspective on Being-with-Mus ic\n\nABSTRACT\n\nFrom music and empathy\, to the togetherness of musical ensembles\, the\nemotional contagion of collective musicking\, and the imp ortance of\nmusic for people in distress and isolation\, music’s capacit y to\nconnect is increasingly recognised and celebrated. And equally\, as\ ndemonstrated by the burgeoning literature on music and subjectivity\,\nmu sic and emotion\, and ‘strong experiences’ with music\, music has\nlon g been recognised as affording intense\, focused and apparently\nprivate e xperiences. Within what kind of conceptual framework might we\nunderstand these various manifestations of the connectedness of\nmusicking? How can t he intensely solitary form of connection that\nheadphone listening in a da rkened room seems to represent be\nreconciled with the manifestly socially connected musicking of\nfestivals\, clubs\, orchestras\, choirs and bands ? Starting from a broad\nperspective on organisms and their environments I make the case for\nunderstanding being-with-music in terms of entanglemen t\, and for the\nvarious kinds of productive and problematic entanglements that music\naffords. With mycelial webs in mind I join the anthropologist Tim\nIngold\, the musician Björk\, and the biologist Merlin Sheldrake in \nconsidering what might be learned from fungi\, and what entanglement\nmi ght afford conceptually.\n\nBIOGRAPHY\n\nEric Clarke is Emeritus Professor of Music at the University of\nOxford\, and an Emeritus  Fellow of Wadha m College. He studied music\nat the University of Sussex and completed a P hD in psychology at the\nUniversity of Exeter. He held posts at City Unive rsity\, London\, and at\nthe University of Sheffield\, and was Heather Pro fessor of Music at\nOxford until 2022. He has published on various topics in the\npsychology of music\, including ecological approaches to music\npe rception\, expressive performance\, musical meaning\, music and\nconscious ness\, and musical creativity. Books include _Ways of\nListening_ (OUP 200 5) and _Music and Mind in Everyday Life _(with\nDibben and Pitts\; OUP 20 09)\, _Music and Consciousness_ (with David\nClarke\; OUP 2011)\, _Distrib uted Creativity_ (with Doffman\; OUP 2018)\,\nand _Practice in Context _( with Holden and Ponchione-Bailey\; OUP\n2025). He is a member of Academia Europaea\, and a Fellow of the\nBritish Academy\, and is active as an amat eur violin and viola player.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16956 DTSTART;TZID=America/Chicago:20260415T163000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260415T173000 SUMMARY:Department of Music Lecture: Brian Wright\, Associate Professor of\ nMusic History at University of North Texas CLASS:PUBLIC DESCRIPTION:TITLE\n\nPaul McCartney’s Evolution as a Bass Player: From Em ulation to\nInnovation  \n\nABSTRACT\n\nThe Beatles’ global popularity was the single most significant\ndevelopment in popular music of the mid-t o-late 1960s\, so much so that\nit is difficult to fully convey the immens ity of their impact. Over\nthe course of their short career\, they had sev enteen No. 1 hits in the\nUK and twenty in the US. Millions and millions o f young people bought\ntheir records\, and their commercial success was so vast and\nunprecedented that it fundamentally altered the direction of bo th the\nBritish and American music industries. To this day\, fans and\nhis torians continue to obsess over the trajectory and significance of\nthe Be atles’ career. Yet relatively few have specifically explored\nPaul McCar tney’s development as a bass player. \n\nBuilding on the work of Jack H amilton and Andy Babiuk\, this\npresentation chronicles the wider cultural \, social\, and technological\nfactors that shaped McCartney’s bass play ing across the Beatles’\nrecorded output\, from their early days in Hamb urg up through _Sgt.\nPepper’s Lonely Hearts Club Band_ (1967). It conte xtualizes\nMcCartney as part of a wider generation of young British musici ans who\nwere drawn to the perceived rebelliousness of American popular mu sic\,\nespecially African American music. It then charts how McCartney\nev olved from imitating American pop styles to developing his own\nmelodic ap proach to bass playing—a process that Andrew Kellett\ndescribes as “ad option\, emulation\, creativity.” Ultimately\, this\npresentation highli ghts both McCartney’s musical ingenuity and the\ninherent complexities o f his cross-cultural borrowings\, revealing the\nprocess through which he became the most famous bass player of the\n1960s.\n\nBIOGRAPHY\n\nBrian F. Wright is Associate Professor of Music History at the\nUniversity of Nort h Texas\, where he specializes in the history of\nAmerican popular music. He holds a Ph.D. in historical musicology from\nCase Western Reserve Unive rsity and is a former research assistant for\nthe Rock & Roll Hall of Fame Library and Archive. His book-length\nhistory of the electric bass\, _The Bastard Instrument_\, received the\n2025 ASCAP Deems Taylor / Virgil Thom son Book Award\, and his work has\nappeared in the _Journal of the Societ y for American Music_ and\nthe _Journal of Popular Music Studies_\, as we ll as in _Vintage Guitar\n_and _Bass Player Magazine_.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17030 DTSTART;TZID=America/Chicago:20261023T153000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261023T163000 SUMMARY:Department of Music Lecture: Joe Morris\, composer/improviser\nmult i-instrumentalist CLASS:PUBLIC DESCRIPTION:Joe Morris\, composer\, improviser\, and multi-instrumentalist\ , will\nshare his ideas about music\, improvisation\, and his life as an a rtist.\n\nThis event is free and open to the public\, presented by New Mus ic\nCircle and the WashU Department of Music.\n\nBIOGRAPHY\n\nGuitarist-Ba ssist-multi-instrumentalist Joe Morris has performed\nand/or recorded with many of the most impactful contemporary artists\nin improvised music incl uding\, Anthony Braxton\, Wadada Leo Smith\,\nWilliam Parker\, Matthew Shi pp\, David S.Ware\, Evan Parker\, Tyshawn\nSorey\, Tomeka Reid\, John Zorn \, Barry Guy\, Mary Halvorson\, Dewey\nRedman\, Marshall Allen\, Barre Phi llips\, Lowell Davidson\, Ken\nVandermark\, Ikue Mori\, John Butcher\, Agu sti Fernandez\, Peter Evans\,\nJoe Maneri\, Joe McPhee\, Joelle Leandre\, Nicolle Mitchell\, Darius\nJones\, Nasheet Waits\, Fay Victor\, Sei Miguel \, etc. \n\nHe is featured leading his own groups\, as a sideman or colla borator on\nmore than 190 recordings on the labels ECM\, ESPdisk\, Clean F eed\, Hat\nHut\, Aum Fidelity\, Avant\, OkkaDisk\, Not Two\, Soul Note\, L eo\, No\nBusiness\, Rogue Art\, Relative Pitch\, Incus\, RareNoise\, Funda cja\nSluchaj\, Mahakala Music\, his own labels Riti\, Glacial Erratic and\ nothers. Morris has toured extensively throughout North America and\nEurop e as well as in Brazil\, Korea and Japan. He has lectured and\nconducted w orkshops on his own music and on improvisation throughout\nthe U.S.\, incl uding at the New School\, Princeton University\, Dartmouth\nCollege and Ha rvard University\, New York University\, Longy School of\nMusic \, as well as at colleges and universities in Canada\, Korea\, the\nNetherlands\, Po rtugal\, Sweden\, Belgium\, Latvia and Ireland. Since\n2000\, he has been on the faculty in the Jazz and Contemporary Musical\nArts Department at Ne w England Conservatory of Music. Morris is the\nauthor of the book\, _Perp etual Frontier: The Properties of Free Music\n_(Riti Publishing\, 2012).  \n\nHe was the recipient of the 2026 Arts for Art/Vision Festival Lifetime \nAchievement Award.\n\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:17031 DTSTART;TZID=America/Chicago:20261113T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261113T160000 SUMMARY:Department of Music Lecture: Sophie Brady\, Assistant Professor of\ nMusicology\, University of Arkansas CLASS:PUBLIC DESCRIPTION:TITLE\n\n\"African Experimentalism: Avant-Garde Potential at Ra dio France’s\nStudio-École (1955-1969)\"\n\nABSTRACT\n\nBetween 1955 an d 1969\, more than 300 African students from over a\ndozen countries atten ded the Studio-École\, a radio training school\nfounded by composer and p hilosopher Pierre Schaeffer and operated near\nParis by the French oversea s broadcasting service. Many trainees began\ntheir studies as colonial sub jects and graduated as citizens of\nindependent nations. Established to tr ain African broadcasters\,\nproducers\, and technicians\, the Studio-Écol e served France’s\nefforts to preserve its political and cultural influe nce amid\ndecolonization and the Cold War. Yet its technical and creative\ neducation also provided students with opportunities to explore the\npossi bilities of radiophonic sound beyond the institution’s colonial\nobjecti ves. \n\nThis talk examines the Studio-École as a site where musical\nex perimentation\, technical education\, and decolonization intersected.\nWhi le scholars have emphasized the studio’s radical potential within\ntwent ieth-century music (Bohlman 2021\; Cohen 2021\; Goldman\, Gribenski\,\nand Romão 2020\; Iverson 2018)\, I consider how the Studio-École\, a\nbroad casting\, rather than electronic music studio\, complicates\nconventional understandings of experimentalism. Students learned\nrecording\, editing\, sound montage\, and radiophonic production\ntechniques that overlapped wi th practices associated with the European\navant-garde. Despite Schaeffer ’s claim that experimental music and\nAfrican radio work were separate\, the Studio-École shared personnel\,\ntechnologies\, pedagogical approach es\, and resources with avant-garde\ninstitutions such as the Studio d’E ssai and the Groupe de Recherches\nMusicales. For some trainees\, the expe rimental dimensions of their\neducation extended beyond radio production i nto musical careers that\nreworked techniques associated with the European avant-garde within\npopular and traditional idioms.\n\nDrawing on student projects\, instructor notes\, and oral histories\, I\nexplore how African trainees navigated the contradictory possibilities\nof this late colonial institution\, using their newfound skills and\nresources to develop new f orms of sonic expression and even\, at times\,\nchallenge or reject the po litical structures that sustained it. By\ntracing the circulation of exper imental techniques between the\nStudio-École and its students’ later mu sical practices\, this\nlecture argues for a broadening of our understandi ng of musical\nexperimentalism that moves beyond specialized studios and a utonomous\ncompositions to consider the entanglements of aesthetics\, peda gogy\,\ntechnological innovation\, and decolonization. \n\nBIOGRAPHY\n\nD r. Sophie Brady researches the history of twentieth-century\nexperimental music\, focusing on connections between the European and\nAfrican continen ts. Her first book\, _Towards a Global Avant-Garde:\nAfrican Experimental Music and the Radiophonic Imagination\, _follows\nthe musical lives and influences of a group of musicians from more\nthan a dozen African countri es who studied at the Studio-École\, a\nradio school in Paris founded by experimental composer and philosopher\nPierre Schaeffer. How does the exis tence of a robust tradition of\nmusical experimentation on the African con tinent change our existing\nunderstandings of the avant-garde and African music? What does African\nmusical experimentalism sound like? To answer th ese questions\, Brady\nexamines interconnected individuals and musical ins titutions spanning\nWest Africa\, France\, and the United States. Through this transnational\nlens\, Brady reveals how avant-garde composition was r eimagined as a\nproduct of postcolonial movement—of both people and musi cal\nideas—between continents\, enabled by technologies like radio in th e\nsecond half of the twentieth century. She has presented at national\na nd international conferences\, and her publications have appeared in\nthe  _Journal of Popular Music Studies _and the _Journal of the\nAmerican M usicological Society._\n\nDr. Brady received her PhD in historical musicol ogy from Princeton\nUniversity in 2024. She was awarded the Paul A. Pisk p rize by the\nAmerican Musicological Society in 2022\, and her doctoral res earch was\nsupported by the International Dissertation Research Fellowship from\nthe Social Science Research Council\, the Chateaubriand Fellowship\ , the\nM. Elizabeth Bartlet Fund for Research in France and the Jan LaRue\ nTravel Fund for European Research from the American Musicological\nSociet y\, and a Pre-Doctoral Fellowship from the West African Research\nAssociat ion\, among others. Prior to joining the University of\nArkansas\, Dr. Bra dy taught at the Peabody Institute of Johns Hopkins\nUniversity and Rowan College of South Jersey.\n\nAt Arkansas\, Dr. Brady teaches undergraduate and graduate-level\ncourses on the history of western music\, twentieth-ce ntury music\,\nmusic appreciation\, music and politics\, and the history o f musical\ntechnologies.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16968 DTSTART;TZID=America/Chicago:20260327T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260327T160000 SUMMARY:Department of Music Lecture: Kevin Puts\, Pulitzer-Prize winning\nc omposer CLASS:PUBLIC DESCRIPTION:ABOUT\n\nPulitzer Prize–winning composer Kevin Puts will visi t WashU for a\nlecture on his work and creative process. He is currently t he composer\nin residence at the St. Louis Symphony Orchestra. Puts is wid ely known\nfor his opera _Silent Night_\, which won the 2012 Pulitzer Priz e for\nMusic\, and his compositions have been performed by leading orchest ras\,\nopera companies\, and chamber ensembles around the world. Currently a\nprofessor of composition at the Peabody Institute of Johns Hopkins\nUn iversity\, he will share insights into his work and his career as one\nof today’s prominent American composers.\n\nBIOGRAPHY\n\nWinner of numerous prestigious awards\, including the 2012 Pulitzer\nPrize for his debut ope ra _Silent Night_\, Kevin Puts’ works have\nbeen commissioned\, perform ed\, and recorded by leading ensembles\, and\nsoloists throughout the wor ld\, including Yo-Yo Ma\, Renée Fleming\,\nJeffrey Kahane\, Dame Evelyn Glennie\, the New York Philharmonic\, the\nTonhalle Orchester (Zurich)\, t he St. Paul Chamber Orchestra\, the Miro\nQuartet\, and the symphony orch estras of Baltimore\, Cincinnati\,\nDetroit\, Atlanta\, Colorado\, Housto n\, Fort Worth\, St. Louis\, and\nMinnesota. His newest orchestral work\, _The City_\, was\nco-commissioned by the Baltimore Symphony Orchestra in honor of its\n100th anniversary and by Carnegie Hall in honor of its 125t h\nanniversary. His new vocal \nwork _Letters From Georgia_\, written for Soprano Renée Fleming and\norchestra and based on the personal letters of Georgia O’Keeffe\,\nhad its world premiere in New York in Fall 2016\, and his\nfirst chamber opera\, an adaptation of Peter Ackroyd’s gothic novel\n_The Trial of Elizabeth Cree_ commissioned by Opera Philadelphia\ , had\nits world premiere in September 2017\, followed by performances wi th\nChicago Opera Theater in February 2018. Kevin is currently a member of \nthe composition department at the Peabody Institute and the Director\no f the Minnesota Orchestra Composer’s Institute. \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16919 DTSTART;TZID=America/Chicago:20260410T200000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260410T210000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:James Brandon Lewis Trio CLASS:PUBLIC DESCRIPTION:TICKETS\n\nTICKETS\n[https://www.eventbrite.com/e/james-brandon -lewis-trio-lewis-taylor-werner-friday-april-10th-tickets-1980433558084?af f=oddtdtcreator]\n\n$10-$20 suggested sliding scale (please note online ti cket sales end\nat 3 pm on day of event\, and we will hold tickets to purc hase at the\ndoor).\nWashU students with ID receive free admission.\n\nART ISTS\n\nJames Brandon Lewis is one of the modern titans of the tenor. His\ ncurrent trio collaborators are Chad Taylor (drums) and Josh Werner\n(bass ).\n\nBIOGRAPHY\n\nJames Brandon Lewis is one of the modern titans of the tenor.  He’s\nreceived accolades from mainstream cultural tastemakers s uch as _Ebony\nMagazine_ who hailed him as one of “7 Young Players to Wa tch\,” and\nearned the respect of a diverse cross-section of esteemed ar tists.\n James has worked with such intrepid artists as Weather Report\nb assist Alphonso Johnson\, William Parker\, Gerald Cleaver\, Charles\nGayle \, Marilyn Crispell\, Ken Filiano\, Cooper Moore\, Darius Jones\, and\nSab ir Mateen.  In addition\, he has collaborated with the dance\ncompany Cir cuitDebris under the direction of Mersiha Mesihovic.\n James attended How ard University and holds an MFA from the\nCalifornia Institute of the Arts .\n\nCurrently\, James resides in New York City\, where he actively gigs a s a\nsideman and leads his own ensembles.  In NYC\, he is a co-founder of \n“Heroes Are Gang Leaders” with poet Thomas Sayers Ellis — a\ncolle ctive of poets and musicians — and he is a member of the\ncollective “ Dark Matter\,” a conceptual musical collaboration\nexploring that which is invisible but is detected by its gravitational\neffects.  Outside NYC\ , James is an active national and international\ntouring artist with a hig hly respected profile.  Some career\nhighlights are playing such esteemed festivals as Winter Jazz\nFestival\, Sony Okeh Records Showcase with Will iam Parker and Gerald\nCleaver\, and The Eric Dolphy Festival with an ense mble featuring\nGrachan Moncur III\, Richard Davis\, Andrew Cyrille\, Ange lica Sanchez\,\nTed Daniel\, and Alfred Patterson.\n\n_Apple Cores_ is the latest full-length album from New York tenor\nsaxophonist James Brandon L ewis\, “one of the fiercest sounds in jazz\ntoday” (_The Guardian_) wi th a “penchant for unbound\nexploration” (_Pitchfork_).  Informed by the rhythms and textures\nof hip-hop and funk while remaining rooted in ja zz\, James Brandon\nLewis Trio’s _Apple Cores_ was recorded with Chad Ta ylor\n(drums/mbira) and Josh Werner (bass/guitar).  The recording was a\n collective compositional process that happened over the course of two\nint ense\, entirely improvised sessions.\n\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16911 DTSTART;TZID=America/Chicago:20260306T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260306T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Mark Sparks\, flute and Peter Henderson\, piano\, Guest Recital CLASS:PUBLIC DESCRIPTION:TICKETS\n\nPurchase Tickets [https://ci.ovationtix.com/35674/pr oduction/1259577]\n\nGeneral Admission: $25\nWashU Faculty/Staff: $15\nYou th/Students: $5\nWashU Students: Free with WashU ID\n\nPROGRAM\n\nViolin S onata No. 2 in E minor\, Op. 36a\, BV 244 (1898-1900) by\nFerruccio Busoni (1866-1924) transcr. for flute and piano by Mark\nSparks\nI. _ Langsam — Poco con moto\, assai deciso_— attacca:\nII. _Presto_ — attacca:\n III. _Andante\, piùttosto grave_\n\nViolin Sonata in B minor\, P 11 (1917 ) by Ottorino Respighi (1879-1936)\ntranscr. for flute and piano by Mark S parks\nI. _Moderato  _\nII. _Andante espressivo_\nIII. _Passacaglia. Alle gro moderato ma energico_\n\nBIOGRAPHIES\n\nMARK SPARKS\n\nMark Sparks is an American solo flutist\, orchestral artist\, teacher\,\nand writer. He is the former Principal Flutist of the St. Louis\nSymphony Orchestra. Duri ng his tenure (2000-2021) he served under\nMusic Directors Hans Vonk\, Dav id Robertson\, and Stéphane Denève\, and\nappeared as soloist with the o rchestra numerous times. He has toured\nand performed with many orchestra s\,\nincluding the New York Philharmonic\, the Chicago\, Dallas\,  Bergen Philharmonic\,\nDetroit\, Cincinnati\, Houston\, San Fancisco\, an d Pittsburgh Symphony\nOrchestras. Prior to his appointment in St. Louis\ , Sparks served as\nAssociate Principal Flutist of the Baltimore Symphony\ , Principal Flute\nof the Canton\, Memphis and San Antonio Symphony Orches tras\, and began\nhis professional career with the Caracas Philharmonic.\n \nSparks maintains an active solo career\, having appeared in rec ital and with\norchestras on 5 continents. He presented the world premie r of\nKatherine Hoover’s _Four Winds _Concerto in 2014. Sparks can be\n heard as solo recording artist on the Summit\, Pesen\, and AAM labels\nan d has recorded with many orchestras on the Sony\, Telarc\, Nonesuch\,\nand Decca labels.\n\nSparks recently celebrated his 32nd season as an  Artist-Faculty member of\nthe Aspen Music Festival\, and is a former f aculty member of the\nPeabody Conservatory and DePaul University. He has c oached many of\nAmerica’s emerging orchestral artists at top orchestral training\nprograms such as the New World Symphony\, National Youth Orchest ra\,\nNational Orchestral Institute\, and the Pacific Music Festival. A\n frequent guest at major U.S. music schools and flute courses\, many of\nhi s students occupy orchestral positions in America and abroad. Recent\nacti vities include classes and performances at UT Austin\, New World\nSymphony \, Cleveland Institute\, and regular coaching at the Oberlin\nConservatory .\n\nSparks writes and publishes several acclaimed book series for\nflutis ts\, including _Exploring Sound\, Resonance\, Orchestral Excerpt\nPractice Books\,\nExcerpt Duos\, and Mozart X2. _He has published many ar rangements with his\nown _sparksflute _publishing\, and with Theodore P resser. Mark Sparks\nis a _Pi Kappa Lambda _graduate of the Oberlin Conse rvatory where he\nstudied with Robert Willoughby.\n\nPETER HENDERSON\n\nA versatile pianist\, Peter Henderson is active as a performer in\norchestra l\, chamber music\, and solo settings. Before the 2023-24\nseason\, he was appointed Principal Keyboardist of the St. Louis\nSymphony Orchestra (SLS O) by Music Director Stéphane Denève.\nHenderson is also Associate Profe ssor of Music and Artist-in-Residence\nat Maryville University\, where he has served on the faculty since\n2005. Since 2015\, Henderson has been Pri ncipal Keyboardist of the Sun\nValley Music Festival Orchestra.\n\nHenders on was the piano soloist in the SLSO’s February 2016\nCalifornia tour pe rformances of Olivier Messiaen’s _Des Canyons aux\nétoiles… (From the Canyons to the Stars…)_. Critics described him\nas a “powerhouse solo ist” (San Francisco Chronicle) and praised\nhis Messiaen playing for its “intense focus and thrilling\nvibrancy” (San Jose Mercury News). His most recent solo appearances\nwith the SLSO\, in March 2023\, featured per formances of Joseph\nHaydn’s Keyboard Concerto No. 11.\n\nIn addition to his regular ensemble performances with the SLSO\,\nHenderson often delive rs pre-concert lectures\, introducing classical\nconcert programs from Pow ell Hall’s stage.\n\nHenderson’s discography includes collaborations w ith violinist David\nHalen\, flutist Mark Sparks\, bass trombonist Gerry P agano\, violist\nJonathan Vinocour\, and soprano Marlissa Hudson. His most recent solo\nalbum is _A Celebration of African Composers for Piano_\n[ht tps://ampublishers.org/product/a-celebration-of-african-composers-for-pian o/]\n(AMP AGCD 2706\, released 2017).\n\nHenderson also occasionally compo ses music. _Rückblick (Looking\nBack)_\, his song without words for tromb one and piano\, appears on bass\ntrombonist Gerry Pagano’s album _Solitu de_\, released 2018. Printed\nand electronic editions [https://ascendamusi c.com/product/ruckblick/]\nof _Rückblick_ were issued by Ascenda Music Pu blishing in January\n2024.\n\nHenderson holds a Doctor of Music degree fro m Indiana University\,\nBloomington\, where his main piano instructor was Dr. Karen Shaw\; he\npreviously studied piano with Dr. Jay Mauchley at the University of\nIdaho. He and his wife Kristin Ahlstrom\, the SLSO’s Ass ociate\nPrincipal Second Violinist\, live in St. Louis with their lively\, sweet\nbeagle/terrier-mix\, Zinni.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16948 DTSTART;TZID=America/Chicago:20260224T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260224T160000 SUMMARY:Climate Change in Concert CLASS:PUBLIC DESCRIPTION:Join composer Christopher Stark\n[https://music.washu.edu/peopl e/christopher-stark]\, Associate\nProfessor of Composition and violinist C lara Kim\n[https://www.clarakimviolin.com/] for a performance of four work s\nexploring humanity and climate change.\n\nThe concert will include a Q& A with Stark and Kim and will be followed\nby a networking reception\; lig ht fare is included.\n\nThis event is open to the entire WashU Community a nd the public.\n\nRegistration is required.\n[https://forms.clickup.com/68 650/f/231a-396093/TU6NYK90OXLEB0XV1I]\n\nPROGRAM\n\nWelcome and Introducti ons\n\nRemarks from Chris Stark and Clara Kim\n\nConcert\n“Ko’u inoa ” by Leilehua Lanzilotti \n“to speak in a forgotten language” by Le ilehua Lanzilotti \n“Jeux d’eau” from Fire Ecologies by Christopher Stark \n“2nd Nature” by Christopher Stark \n\nQ&A\n\nNetworking Rec eption \n \nThe concert is part of the 2026 Environmental Research & Cre ativity\nWeek\n[https://environment.washu.edu/environmental-research-creat ivity-week-2026/]\nFeb. 23-27\, a series of events hosted by the WashU Cen ter for the\nEnvironment and its partners to showcase the interdisciplinar y\nenvironmental work at the university. \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16906 DTSTART;TZID=America/Chicago:20260213T120000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260213T130000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:POSTPONED - Young Whun Kim\, piano\, Faculty Recital CLASS:PUBLIC DESCRIPTION:THIS EVENT HAS BEEN POSTPONED. A NEW PERFORMANCE DATE IS FORTHC OMING.\n\nPROGRAM\n\nPiano Sonata No. 23 in F minor\, Op. 57 \"Appassionat a\" (1805) by Ludwig\nvan Beethoven (1770-1827)\n     _Allegro assai_\n _     Andante con moto_\n_     Allegro ma non troppo-Presto_\n\nPian o Sonata in B minor\, S.178 (1853) by Franz Liszt (1811-1886) \n\nBIOGRAP HY\n\nYoung Whun Kim\, a native of South Korea\, is a highly accomplished\ npianist renowned for his captivating performances as a soloist\,\nchamber musician\, and collaborative artist. With a career that has\nflourished i n both the United States and South Korea\, Kim's musical\njourney began at the age of 6 when he started his piano studies.\n\nIn 2008\, Kim crossed continents to the United States to further his\nmusical education at the p restigious Jacobs School of Music\, Indiana\nUniversity. Under the guidanc e of Shigeo Neriki\, Kim continued to\nrefine his artistry\, and in 2010\, he earned his Master of Music.\nContinuing his relentless pursuit of exce llence\, Kim is currently\npursuing his Doctor of Musical Arts in piano pe rformance and\nliterature at the University of Illinois\, under the tutela ge of\nrenowned artists Ian Hobson and Timothy Ehlen. His passion for\ncol laborative piano has led him to study with the distinguished Dennis\nHelmr ich.\n\nAs a devoted chamber musician and collaborative pianist\, Kim's\na rtistry has graced numerous vocal recitals and chamber music\nconcerts. Hi s talent and dedication have earned him opportunities to\nperform in guest artist recitals at esteemed institutions such as\nDePaul University\, Bal l State University\, Butler University\, and Grand\nValley State Universit y. Additionally\, Kim has had the privilege to\nwork alongside acclaimed m usicians such as Janos Starker\, Mark Kaplan\,\nIk-Hwan Bae\, and Teresa K ubiak as a studio pianist. Enriching his\nmusical journey\, Kim has partic ipated in chamber music masterclasses\nconducted by world-class musicians such as Gil Shaham\, Janos Starker\,\nand Renee Fleming. Furthermore\, Kim has generously shared his\nexpertise as an opera coach in the Chamber Ope ra Association in Seoul\,\nSouth Korea.\n\nKim has achieved several signif icant milestones in his career\,\nincluding winning the UISO Concerto Comp etition with a mesmerizing\nperformance of Brahms' Piano Concerto No.1 in D minor\, accompanied by\nthe University of Illinois Symphony Orchestra. A dditionally\, he\nimpressed audiences with his rendition of Beethoven's Ch oral Fantasy\,\nOp. 80 alongside the Kankakee Valley Symphony Orchestra. B esides his\nperformances\, Kim has also demonstrated his expertise as a ju dge for\nthe Midwest National Chamber Music Competition.\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16904 DTSTART;TZID=America/Chicago:20260204T190000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260204T200000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:A Clinic with Walter Parks\, guitar CLASS:PUBLIC DESCRIPTION:The guitarist/singer Walter Parks will be performing a clinic o n\nWednesday\, Feb 4th at 7 pm in the Recital Hall of the 560 Music\nCente r.  Walter is a very dynamic performer who delivers unique takes\non song s from many styles of music\, from standard jazz repertoire to\nspirituals to modern rock and folk and beyond.  At the clinic\, Walter\nwill share his approach to arranging and improvising\, and how he has\ndrawn on his e xperiences touring worldwide both as a featured artist\nand as a sideman.  The concert on Friday\, Feb 6th\, will feature\nWalter and his bandmates in a unique performance.\n\nBIOGRAPHY\n\nWalter Parks is both entertainin g and educational\, presenting historic\nmusic\, original music\, and stor ies that preface songs in a\ncontemporary way. Walter toggles between holl ers\, spirituals\,\nAppalachian reels\, Delta blues\, work songs\, swamp j azz\, and even bits\nof opera\, all delivered with Walter’s northeast Fl orida swampy feel.\nAt every show\, Walter tributes Woodstock legend Richi e Havens\, with\nwhom he served as sideman for 10 years\, performing world wide in\nMadison Square Garden\, The Glastonbury Festival\, and Carnegie H all\,\namongst other prestigious venues. Walter was recently invited by Th e\nLibrary of Congress/American Folklife Collection to archive his\nresear ch work on the music made in southeast Georgia’s Okefinokee\nSwamp. Now based out of St. Louis\, Walter has recently co-written with\nStan Lynch\, former Tom Petty drummer\, and has performed at various\nvenues with R&B drum legend Bernard Purdie and at Lincoln Center with\nJudy Collins. Walte r tours solo\, with his trio Swamp Cabbage and with\nThe Unlawful Assembly \, a group that reimagines historic spirituals\,\npropelled by drummer Ste ven Williams and female vocalist Ada Dyer\,\nwho’s currently on the Bruc e Springsteen world tour. Walter was a\nfounding member of The Nudes\, a p opular folk duo\, with cellist\nStephanie Winters.  \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16905 DTSTART;TZID=America/Chicago:20260206T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260206T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Jazz Series: Walter Parks Group CLASS:PUBLIC DESCRIPTION:BIOGRAPHIES\n\nWALTER PARKS\n\nWalter Parks is both entertainin g and educational\, presenting historic\nmusic\, original music\, and stor ies that preface songs in a\ncontemporary way. Walter toggles between holl ers\, spirituals\,\nAppalachian reels\, Delta blues\, work songs\, swamp j azz\, and even bits\nof opera\, all delivered with Walter’s northeast Fl orida swampy feel.\nAt every show\, Walter tributes Woodstock legend Richi e Havens\, with\nwhom he served as sideman for 10 years\, performing world wide in\nMadison Square Garden\, The Glastonbury Festival\, and Carnegie H all\,\namongst other prestigious venues. Walter was recently invited by Th e\nLibrary of Congress/American Folklife Collection to archive his\nresear ch work on the music made in southeast Georgia’s Okefinokee\nSwamp. Now based out of St. Louis\, Walter has recently co-written with\nStan Lynch\, former Tom Petty drummer\, and has performed at various\nvenues with R&B drum legend Bernard Purdie and at Lincoln Center with\nJudy Collins. Walte r tours solo\, with his trio Swamp Cabbage and with\nThe Unlawful Assembly \, a group that reimagines historic spirituals\,\npropelled by drummer Ste ven Williams and female vocalist Ada Dyer\,\nwho’s currently on the Bruc e Springsteen world tour. Walter was a\nfounding member of The Nudes\, a p opular folk duo\, with cellist\nStephanie Winters.  \n\nBEN DICKE\n\nBen Dicke earned a BM (2013) in drum set performance from the Berklee\nCollege of Music in Boston\, MA\, where he studied with Ian Froman and\nTerry Lyn e Carringtion\, focusing on traditional and contemporary jazz\nvocabulary and technique. He continued his education in 2015 with\nlegendary jazz dru mmer and educator Bob Gullotti of the Fringe. He has\nperformed with numer ous Americana\, R&B\, and jazz artists on stages\nacross New England and t he US. Since moving to St. Louis in 2018\, Ben\nhas become an active membe r of its thriving jazz scene\, performing\nregularly in the region\, most notably as a member of the Kendrick\nSmith Quartet. Always inspired by the greats of the past as well as\nthose with whom he shares the stage\, Ben continues to push the\ntradition with his honest and expressive performanc es.\n\nFEYZA EREN\n\nInternationally acclaimed jazz vocalist\, Feyza Eren\ , returned to her\nhometown of St. Louis from Istanbul\, in 2011\, after s pending 15 years\nsinging jazz with Turkey's finest musicians\, including world-renowned\nsaxophonist\, Ricky Ford.  In 2015\, Feyza was featured i n HEC-TV'S\, I\nLOVE JAZZ with Don Wolff.  She continues to perform with St. Louis'\nfinest musicians at many notable venues\, major jazz festival s and\nspecial events in and around St. Louis.  She designed and performe d a\nsuccessful tribute project\, \"_A Dozen Divas_\,\" at the Sheldon Con cert\nHall.  Since her return to St. Louis\, Feyza celebrated the release of\n7 CD’s with drummer/studio engineer\, Steve Davis. Most recently\,\ nlast year Feyza performed with Walter Parks at the Fifth Annual\nConcert at the Burroak Music Festival. \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16901 DTSTART;TZID=America/Chicago:20260123T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260123T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Vicki Ray\, piano\, Guest Recital CLASS:PUBLIC DESCRIPTION:PROGRAM\n\nNox (2024) by Taylor Brook \n     _Crepesculum  _\n     _Lullaby _\n     _Interlude I: Synapse _\n     _Paramne sia _\n     _Ballad _\n     _Interlude 2: Crystallization _\n     _Toccata (midnight) _\n     _Spiral _\n     _Interlude 3: Fun gus _\n     _Numbers Eros (after Ligeti) _\n     _Interlude 4: Mus cles _\n     _Bes _\n     _Hypnagogia (predawn)_\n\nABOUT_ NOX:_\n \n_Nox_ was written in 2024/2025 for Vicki Ray for the Piano Spheres\nFest ival 2025 in LA\, with the support of a Fromm Foundation\ncommission.\n\n_ Nox_ is a set of fourteen pieces\, conceptualized together as the\npassage of time through a single night: falling asleep\, dreaming\, deep\nsleep\, wakefulness\, and gradually awakening in the predawn. The music\nexplores this by drawing on my personal experience of unconscious and\nsemi-consci ous states where logic becomes fuzzy\, and imagination goes\nto unusual an d seemingly-impossible places. With the use of\ninteractive electronic sou nd and audio-reactive projections\, the\nlighting follows the passage thro ugh the night that Nox portrays. The\nprojections are intended as a subtle addition to the music that helps\nto focus concentration and perception o n the music.\n\nEach of the movements has a unique focus and character\, o ften\nexploring tuning\, microtonal harmony\, and experimenting with music al\ntropes. Most of these pieces are precisely notated\, but the interlude s\nare semi-notated guides for improvisation. For these interludes\, the\n soloist is prompted to interact with the electronic sound\, sometimes\nask ed to only use a single note\, and other times provided with more\ncomplex instructions to improvise in reaction to.\nThe electronic sounds are made exclusively with Pianoteq\, which is a\nphysical modelling synthesizer wi th a realistic piano sound. Some\nsections of the piece are set\, where th e live pianist and virtual\npianos are synchronized with a click track\, w hile other sections are\ninteractive\, with the software listening and res ponding to what the\nlive pianist plays. The projections were created usin g TouchDesigner\,\nbased on the programming of Simon David Ryden.\n \n\nB IOGRAPHY\n\nVICKI RAY\n\nDescribed as “phenomenal and fearless\,” Vick i Ray is a pianist\,\nimproviser\, and composer. She has commissioned and premiered countless\nnew works by today’s leading composers. Ray is a fo unding member of\nPiano Spheres and has served as Head of Keyboard Studies at the\nCalifornia Institute of the Arts where she was named the first\nr ecipient of the Hal Blaine Chair in Musical Performance. She has\nappeared on numerous international festivals and was a regular member\nof the facu lty at the Bang On a Can Summer Festival at MASS MoCA. Ray\nhas been featu red on the Los Angeles Philharmonic Green Umbrella\nSeries as a soloist an d collaborative artist. Her widely varied\nperforming and recording career covers the gamut of new and old music:\nfrom Boulez to Reich\, Wadada Leo Smith to Beethoven. Notable\nrecordings include the first Canadian disc o f Schoenberg’s _Pierrot\nLunaire_ with the Blue Rider Ensemble\, the pre miere recordings of\nSteve Reich’s _You Are (Variations)\, _the _Daniel Variations_ with\nthe Los Angeles Master Chorale\, and the first recording of John\nCage’s _Europeras 3 and 4_. Her recording of Cage’s _The Ten \nThousand Things_ on Microfest Records received a 2013 Grammy\nnomination . Her recording of Daniel Lentz’s _River of 1000 Streams_\nwas named by Alex Ross in the _New Yorker_ as one of the top 20\nrecordings of 2017. Vi cki also serves as the chromolodeonist for the\nGrammy-winning Los Angeles Partch ensemble.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16912 DTSTART;TZID=America/Chicago:20260317T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260317T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Jazz Series: William Lenihan\, Paul DeMarinis Quartet CLASS:PUBLIC DESCRIPTION:The William Lenihan/Paul DeMarinis Group will perform original music -\nand music of John McLaughlin\, Ralph Towner. The evening features music\nof the instrumental group - with featured cameo vocal performances of\nsinger Chloe Haynes\, including music from McLaughlin's _Apocalypse_. \n\nThroughout the semester\, enjoy free live performances by noted local\ nand regional jazz artists at the 560 Music Center!\n\nMUSICIANS\n\nPaul DeMarinis\, saxophones\nWilliam Lenihan\, guitar\, piano\nRic Vice\, bass\ nKyle Honeycutt\, drums\nZach Radwine\, piano\nChloe Haynes\, voice\n\nWIL LIAM LENIHAN\n\nWilliam Lenihan is a composer\, guitarist\, and pianist wo rking in the\nfields of new music\, jazz\, classical music\, and film musi c. In the\njazz world\, he has performed or recorded with Ron Carter\, Mic hael\nBrecker\, Dave Weckl\, Marc Copland\, John Patitucci\, Gary Husband\ , Bob\nBrookmeyer\, George Lewis\, and many others. As well\, he works in\ norchestral and chamber music as a classical guitarist. His work in\ntheat rical music includes that with icons from the Broadway music and\nHollywoo d film worlds. \n\nAs a composer\, he is regularly commissioned for work in chamber music\,\nhis works having been recorded by members of the St. L ouis Symphony\nOrchestra\, as well as soloists and chamber ensembles in Eu rope. His\nmost recent collaboration includes a large-scale work with Ital ian\nflutist\, Roberto Fabbriciani. His newest recording\, _The Reprieve_\ nwith Weckl/Husband/Patitucci\, will be released in spring 2026. His\nprim ary teachers include Ralph Towner\, Richie Beirach\, and Gary\nPeacock.   \n\nPAUL DEMARINIS\n\nSaxophonist Paul DeMarinis and guitarist William Len ihan\, longtime\nmusical associates\, perform their newest music with a co mpelling new\nensemble. Over decades\, their collaborations have been nume rous\, with\nconcerts encompassing small groups to big bands. Demarinis ha s\nperformed with many artists\, including Dave Liebman\, Ray Charles\,\nC ount Basie Orchestra. Lenihan has performed with Ron Carter\, Bob\nBrookme yer\, Gary Husband\, and Dave Weckl\, among numerous others.\nTogether\, t hey bring a fresh voice to new music in song and\nimprovisation.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16862 DTSTART;TZID=America/Chicago:20251104T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251104T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Jazz Series: Cabaret CLASS:PUBLIC DESCRIPTION:Throughout the semester\, enjoy free live performances by noted local\nand regional jazz artists at the 560 Music Center!\n\nThis is a r elaxed evening of jazz\, Broadway favorites\, and hits\nthrough the genera tions alongside original works featuring students\nand faculty from the vo ice\, jazz\, and composition divisions. \n\nPROGRAM\n\nSuite for Flute an d Jazz Piano Trio (1974) by Claude Bolling\n(1930-2020)\n          Pa rt 1. _Baroque and Blues_\n          Part 2. _Sentimentale _   \n      Olivia Lee\, flute\n     Yeon-Kyung Kim\, piano\n\n_Corner of t he Sky _from_ Pippin_\n     TJ Cannistraro\, voice\n     Yeon-Kyung Kim\, piano \n\n_Tenderly_ by Walter Gross\n     Selah Pabon\, voice\n      Yeon-Kyung Kim\, piano\n\n_Maybe This Time_ from _Cabaret_\n     Lindsay Reamer\, voice\n     Yeon-Kyung Kim\, piano\n\n_Come Rain or Come Shine_ by Johnny Mercer\n     Toni John\, voice\n     Yeon-Kyun g Kim\, piano\n\n_All The Things You Are _by Jerome Kern\n     Natalie Green\, voice\n     Matthew Galik\, piano\n\n_All of Me_ by Gerald Mark s/Seymour Simons\n     Precious Barry\, voice\n     Matthew Galik\, piano\n\n_In a Sentimental Mood_ (1935) by Duke Ellington (1899-1974)\n     Katya Cavanaugh\, voice\n     Matthew Galik\, piano\n \n\nFACULTY MUSICIANS\n\nJeffrey Anderson\, bass\nBen Dicke\, drums\nYeon-Kyung Kim\, piano\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16900 DTSTART;TZID=America/Chicago:20260120T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260120T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Jazz Series: Maurice Carnes Quartet with Kendrick Smith CLASS:PUBLIC DESCRIPTION:Throughout the semester\, enjoy free live performances by noted local\nand regional jazz artists at the 560 Music Center!\n\nMUSICIANS\n \nMAURICE CARNES\, DRUMS\nZACH RADWINE\, PIANO \nCHRIS THOMAS\, BASS\nKEN DRICK SMITH\, SAXOPHONE \n\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16866 DTSTART;TZID=America/Chicago:20251112T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251112T203000 SUMMARY:WashU Jazz Series: The Bridge #2.8 CLASS:PUBLIC DESCRIPTION:Throughout the semester\, enjoy free live performances by noted local\nand regional jazz artists at the 560 Music Center!\n\nABOUT THE B RIDGE #2.8\n\nWe've seen it a hundred times before\, and never before. Two saxophones\n(and other things) on each side\, pillars in flames of course \, the\nframework of a double bass and all the terraces of the drums when it\nwas Mikel Patrick Avery with Tracteur Hammer (a band name inherited\nf rom their tour of France\, at the height of the mobilization of the\nCoord ination rurale\, whose machines threatened to invade Paris...)\,\nwhen it will be olula negre and its cello grooves. Or conversely\, the\nhouse is u pside down\, where and when Hunter Diamond\, Florian Nastorg\,\nYoram Rosi lio and olula negre decide to do things differently.\n“What's certain fo r me\, says Nastorg\, is that whatever I plan or\nexpect\, the music can b e something else. In improvisational contexts\,\nwhenever I expected music to go this way or that way\, it always went\nanother way. And that other direction has always been the right one.\nThe music decides\, we play it. It's as if we were the tools that make\nit possible to listen to it.” It can decide\, for example\, to be\nbuilt like a house with windows everywh ere\, dormer windows\, portholes\,\nwindow wells. And the musicians make o penings\, embrasures everywhere\,\neach showing a different exterior. “P art of my current creative\npractice is site-specific improvisation\, says Diamond\, and I'm a great\nbeliever in the ability of a space to influenc e the energy of a\nperformance. We achieve a collective sensibility throug h contact with\nthe spaces in which we play\, and the development of a gro up sound is\nindebted to the character of these spaces\, to the objective and\nrenewed lenses through which musicians engage.” Which they did\,\no nce\, many times\, in France\, in January and February 2024. Indeed\,\nDia mond's ideas\, like those of Avery or olula negre\, were heavily\ninfluenc ed by the culture of improvised music in Chicago: rejection of\nrigid boun daries between genres\, approaching or ascending music from\nall sides at once. Because there's this “trust in the impalpable\nmagic that can exis t between living\, sensitive beings\, which Rosilio\nknows very well\, end owed with the ability to externalize and\nmaterialize small chemical and e lectrical mysteries\, which can be\nreceived and taken into account by oth er living\, sensitive beings\, and\nfind a meaning\, an echo\, a resonance \, a response\, a shadow\, a\ncontrast\, a rebound\, a crush\, an engulfme nt\, a disappearance\, a crush\,\nan explosion...”. An adelphity born of an epic journey. We haven't\nseen anything yet.\n\nARTISTS\n\nHunter Diam ond\, tenor saxophone & electronics \nFlorian Nastorg\, baritone saxophon e \nolula negre\, cello \nYoram Rosilio\, double bass\n\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16917 DTSTART;TZID=America/Chicago:20260331T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260331T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Jazz Series: Cabaret CLASS:PUBLIC DESCRIPTION:Throughout the semester\, enjoy free live performances by noted local\nand regional jazz artists at the 560 Music Center!\n\nThis is a r elaxed evening of jazz\, Broadway favorites\, and hits\nthrough the genera tions alongside original works featuring students\nand faculty from the vo ice\, jazz\, and composition divisions. \n\nPROGRAM\n\nYeon-Kyung Kim\, p iano\nMatthew Galik\, piano\nBen Dicke\, drums\n\n_My Foolish Heart_ (1949 ) Lyrics by Ned Washington\, Music by Victor\nYoung\n     Nick Karamich alis\n\n_Besame Mucho_ (1932) Consuelo Velázquez\n     Selah Pabon\n\n _Hot Water_ by Bean Royal\n     Bean Royal\n\n_Late Nights and Heartbre ak_ (2016) Hannah Williams\n     Jonah Ste. Marie and Alex Wills\, guit ar\n\n_Fly Me to the Moon _(1954) Bart Howard\n     Jack Zhang\n\n_Jade Lyrics_ by Li Cong Music by Yu Jiaoyan\n     Jennifer Li\n\n_Ain’t M isbehavin’_ (1929) Lyrics by Andy Razaf\, Music by Thomas\n“Fats” Wa ller and Harry Brooks\n     Toni John\n\n_I’m Glad There is You _(194 1) Jimmy Dorsey and Paul Madeira\n     Mazie Drummond\n\n_O Grand Amor _(1960 Antonio Carlos Jobim\n     Vanya Aggrawal\n\n_Willow Weep for Me _ (1932) Ann Ronell\n     Natalie Green\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16871 DTSTART;TZID=America/Chicago:20251118T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251118T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Jazz Series: Jazz Combo Program CLASS:PUBLIC DESCRIPTION:Throughout the semester\, enjoy free live performances by noted local\nand regional jazz artists at the 560 Music Center!\n\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16922 DTSTART;TZID=America/Chicago:20260414T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260414T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Jazz Series: Jazz Combo Program CLASS:PUBLIC DESCRIPTION:Throughout the semester\, enjoy free live performances by noted local\nand regional jazz artists at the 560 Music Center!\n\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16874 DTSTART;TZID=America/Chicago:20251206T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251206T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Holiday Celebrations: Lights\, Laughter\, and Fa-La-La CLASS:PUBLIC DESCRIPTION:Join us for a magical evening at \"Holiday Celebrations: Lights \,\nLaughter\, and Fa-La-La\" in the E. Desmond Lee Concert Hall\, located \nwithin the 560 Music Center. Revel in the holiday spirit as the WashU\nJ azz Band\, Concert and Chamber Choirs\, and jazz combo program present\na diverse selection of music that spans the genres and eras\, all with\na sp ecial seasonal twist. From classic holiday tunes to contemporary\nfavorite s\, there’s something for everyone to enjoy. Don’t miss\nthis opportun ity to celebrate with music\, merriment\, and community!\nJoin us for the Department of Music Holiday Party following the\nconcert with performances by the WashU Jazz Combos! Drinks and dessert\nwill be provided.\n\nFREE\, family-friendly\n\nPROGRAM\n\nJAZZ BAND\n\n_Strike Up the Band_ (1940) Mu sic and Lyrics by George Gershwin and\nIra Gershwin\, Arranged by Mark Tay lor\n\n_Have Yourself a Merry Little Christmas_ (1943) from the film _Meet Me\nin St. Louis _Words and Music by Hugh Martin (1914-2011) and Ralph\nB lane (1914-1995)\, Arranged by Alan Baylock (in the style of Neal\nHefti's _Lil' Darlin'_)\n\nWASHU CONCERT CHOIR\n\n_Deck the Hall_ (1958) Traditio nal Welsh Carol\, Arranged by Alice\nParker (1925-2023)\n\n_Bashana Haba ’ah_ (1994) Lyrics by Ehud Manor (1941-2005)\, Music by\nNurit Hirsch (b . 1942)\, Arranged by John Leavitt (b. 1956)\n     Felix Guo\, clarinet \, Claire Yi\, violin\, Evelyn Nedelciuc\,\ncello\, Melissa Parkinson\, do uble bass\, and Yeon-Kyung Kim\, piano\n\n     Translation: Next year\, when peace will come\, we shall return\nto the simple pleasures of life s o long denied us. You will see\, you\nwill see\, O how good it will be\, n ext year!\n\nSING-ALONG\n\n _Jingle Bells_ \n\nSOLOS/DUETS\n\n_Let It Sn ow! Let It Snow! Let It Snow! _by_ _Sammy Cahn and Jule\nStyne\n     Ph il Zhang and Vincent Varvel\, guitars\n\n_The Christmas Song_ arr. by Jaco b Koller\n     Hayden McAlister\, jazz piano\n\nJAZZ BAND\n\n_My Funny Valentine_ (1937) from _Babes in Arms _Words by Lorenz Hart\n(1895-1943)\, Music by Richard Rodgers (1902-1979)\, Arranged by Sammy\nNestico\n_Winte r Wonderland_ (1934) Words by Dick Smith (1901-1935)\, Music by\nFelix Ber nard (1897-1944)\, Arranged by Dave Wolpe\n\nCHAMBER CHOIR\n\n_Bell Carol_ (2014) Traditional Ukrainian Carol Arranged with Original\nWords by Heath er Sorenson  \n     Young Whun Kim and Yeon-Kyung Kim\, piano\n\nJAZZ BAND\n\n_Salsa Amigo_ (1982) Composed and Arranged by Pete Coulman (1956-2 016)\n\nJAZZ BAND AND CHAMBER CHOIR\n\n_Rudolph\, the Red-Nosed Reindeer_ (2022) Words and Music by Johnny\nMarks\, Additional Lyrics by Garry Willi ams\, Arranged by Garry Williams\nand Alvin Trotman\n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16864 DTSTART;TZID=America/Chicago:20251108T110000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251108T120000 SUMMARY:String Division Recital CLASS:PUBLIC DESCRIPTION:This recital features student musicians from the string studios .\n\nPROGRAM\n\nPartita No. 3 for Solo Violin in E Major (1720) by Johann Sebastian\nBach (1685-1750)\n         _ Preludio _\n     Shira Mi ller\, violin\n\nViolin Sonata No.5 in F Major\, Op.24\, “Spring” (180 0-1801) by\nLudwig van Beethoven (1770-1824)\n          IV. _Rondo_: _Allegro ma non troppo_\n     Yang Yang\, violin\n     Edgar Palomin o\, piano\n\nViola Concerto in G Major (1716-1721) by Georg Philipp Telema nn\n(1681-1767)\n          II. _Allegro_\n     James Smith\, viola \n     Young Whun Kim\, piano\n\n_Légende_ (1860) by Henryk Wieniawski (1835-1880)\n     Jake Tetenman\, violin\n     Young Whun Kim\, pia no\n\n15 Characteristic Studies_ _(1969) by Lillian Fuchs (1901-1995)\n.         V. _Allegro Piacevole _\n     Klara Schmidt\, viola\n\nVio la Concerto in D Major (1799) by Franz Hoffmeister (1754-1812)\n          III. _Rondo_\n     Mikayla Gregory\, viola\n     Young Whun Ki m\, piano\n\nViola Concerto in G minor (1903) by Cecil Forsyth (1870-1941) \n          _Appassionato-Moderato_\n     Emily Updike\, viola\n      Young Whun Kim\, piano\n\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16918 DTSTART;TZID=America/Chicago:20260404T110000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260404T120000 SUMMARY:String Division Recital CLASS:PUBLIC DESCRIPTION:This recital features student musicians from the studios of Amy \nGreenhalgh\, Ken Kulosa\, Jane Price\, Chris Sasse\, Megan Stout\, and\n Manuela Topalbegovic. \n\nAssisted by Dr. Young-Whun Kim as a collaborati ve pianist*\n\nPROGRAM\n\nCello Suite No. 1 in G Major (1717-1723) by J.S. Bach (1685-1750)\n     _Prelude_\nChris Lee\, viola\n\nMozart Violin C oncerto No. 4 in D Major (1775) by W.A. Mozart\n(1756-91)\n     I. _All egro_\nRyder Sink\, violin*\n\nConcerto (in the style of J.C. Bach) in C m inor for viola and piano\n(1947) by Henri Casadesus (1879-1947)\n     I I. _Adagio molto espressivo_\nMikayla Gregory\, viola* \n\nConcerto (in t he style of J.C. Bach) in C minor for Viola and Piano\n(1947) by Henri Cas adesus (1879-1947)\n     III. _Allegro molto energico_\nSavannah McKay\ , viola*\n\n_Chanson dans la Nuit_ (1927) by Carlos Salzedo (1885-1961)\nA melia Rose Schwartz\, harp\n\n_La Follia_ (1672) by A. Corelli (1653-1713) \nJoshua Berner\, violin*\n\nViolin Sonata No. 1 in G Major\, Op. 78\, _Re gensonate_ (1878) by\nJohannes Brahms (1833-1897)\n     I. _Vivace ma n on troppo _\nYang Yang\, violin    \nEdgar Palomino\, piano\n\nSuite H ébraïque (1951) by Ernest Bloch (1880 - 1959)\n     I. _Rapsodie_\n      II. _Processional_\nAnanyaa Srivatsan\, viola*\n\n_Chanson Celtiqu e _(1905) by Cecil Forsyth (1870-1941)\nDelia Zacks\, viola\n\nCello Sonat a No. 4 in C Major\, Op. 102 No. 1(1815) by Ludwig van\nBeethoven (1770-18 27)\n     I. _Andante  _\nCoco Wicks\, cello*\n\n_Introduction et Rond o Capriccioso _(1863) by Camille Saint-Saëns\n(1835-1921)\nJake Tetenman\ , violin*\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16926 DTSTART;TZID=America/Chicago:20260422T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260422T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Jazz Series: Jazz Band Concert CLASS:PUBLIC DESCRIPTION:The WashU Jazz Band will perform a wide variety of tunes writte n for\nthe large jazz ensemble\, featuring tight ensemble work and outstan ding\nstudent soloists.  Selections include student compositions\, modern \nsettings of jazz standards\, and original tunes composed specifically\nf or the contemporary big band.\n\nWATCH LIVE [https://youtube.com/live/7T2d GSr30AI?feature=share]\n\nPROGRAM\n\n_Point\, Counterpoint_ (2018) by Elle n Rowe (b. 1958)\n\n_Una Mas_ (1964) by Kenny Dorham (1924-1972) Arr. Mich ael Philip\nMossman\n\n_Come Sunday_ (1943) by Duke Ellington (1899-1974) Arr. Mike Tomaro\n\n_Naima_ (1959) by John Coltrane (1926-1967) Arr. Crai g Skeffington\n\n_C-Jam Blues Ala Mambo_ (1942) by Duke Ellington Arr. Mic hael Philip\nMossman\n\n_Bodysnatchers_ (2007) by Radiohead\, established 1985\n\nWASHU JAZZ BAND\n\nSAXOPHONES\nNoah Clayton\, Alto\nEthan Lin\, A lto \nWill Kodner\, Alto \nSeth Steuck\, Tenor \nAman Jajodia\, Tenor\n Cyrus Beauvais\, Baritone \n\nTRUMPETS\nKelsey Conover \nTeo Giannini \ nJeremiah Haile \nAuriel Prepejchal \nTori Vasquez \n\nTROMBONES\nGage Fowlkes \nJacob Karni \nJayden Thankamani \nPeter Ochalek \n\nTUBA\nSy las Sindle \n\nRHYTHM SECTION\nCody Peck\, Guitar \nElla Heisel\, Guitar  \nHenry Daut\, Piano \nJunxian Xu\, Piano \nLivy Best\, Bass \nYejia ‘YJ’ Zhao\, Drums \nWilson Hou\, Vibraphone \n\nDIRECTOR\n\nChris Be cker is the Director of the Wind Ensemble and the Jazz Bands\nat Washingto n University in St. Louis\, and serves as the director of\nwinds and percu ssion. Mr. Becker graduated from the University of\nMissouri - Kansas City Conservatory of Music “With Distinction” in\n1977\, receiving the Bac helor of Music Education Degree\, and earned a\nMaster of Arts in Educatio n from Lindenwood University.\n\nMr. Becker has taught instrumental music in Missouri for 47 years from\nthe elementary to the university level. In June 2017\, he retired as\nDirector of Bands at Parkway South High School\ , after serving for 36\nyears in the Parkway School District (St. Louis Co unty\, Missouri).\nDuring his tenure there\, he directed Marching Bands\, Symphonic Bands\,\nJazz Bands\, and all other related band activities.\n\n In addition\, he is the Artistic Director and Conductor of the\nManchester Community Band\, a highly successful ensemble founded ten\nyears ago and enthusiastically received by the residents of\nManchester. Mr. Becker has also been a frequent guest conductor for\nboth concert bands and jazz band s in Missouri and Illinois.\n\nMr. Becker has served as the Jazz Vice Pres ident for the Missouri\nMusic Educators Association\, the first educator t o hold that position\nafter it was established as a part of the MMEA Board . Mr. Becker is a\nPast President of the Missouri unit of the Internationa l Association\nof Jazz Educators. During his term he helped clarify the mi ssion and\ngoals of the unit\, and endeavored to reach out to music educat ors\,\nthose in the music industry\, and professional players to create a\ nbroader base of support for jazz education. Becker has also served as\nJa zz Vice President for the St. Louis Suburban Music Educators\nAssociation. Becker plays the trumpet professionally with a variety of\nensembles in t he St. Louis area\, and has taught trumpet privately in\nboth the Kansas C ity and St. Louis areas.\n\nMr. Becker is a member of the College Band Dir ectors National\nAssociation\, the National Association for Music Educatio n\, the\nMissouri Music Educators Association\, the Missouri Association f or\nJazz Education\, the Missouri Band Masters Association\, and Phi Beta Mu\nBand Directors Fraternity. He was named \"Charles Emmons Outstanding\n Band Director of the Year\" by Phi Beta Mu in January 1999. He was\nnomina ted numerous times for the Pillar of Parkway Award\, which\nrecognizes com mitment and dedication for work in the Parkway School\nDistrict\, and was awarded a Pillar of Parkway in April 2016. Mr.\nBecker was honored for his distinguished career by the St. Louis\nSuburban Music Educators Associati on in January 2018\, and named to\ntheir Hall of Fame.\n\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16907 DTSTART;TZID=America/Chicago:20260218T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260218T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Jazz Series: Jazz Band Concert CLASS:PUBLIC DESCRIPTION:The WashU Jazz Band will perform a wide variety of tunes writte n for\nthe large jazz ensemble\, featuring tight ensemble work and outstan ding\nstudent soloists.  Selections include student compositions\, modern \nsettings of jazz standards\, and original tunes composed specifically\nf or the contemporary big band.\n\nWatch Live [https://youtube.com/live/5frW sCBJeOc?feature=share]\n\nPROGRAM\n\n_Blues in the Closet_ (1953) - Oscar Pettiford (1922-1960)\, arr. Mark\nTaylor\n_Alone Together_ (1932) - Art hur Schwartz (1900-1984) and Howard\nDietz (1896-1983)\, arr. Mike Kamuf\n _Foot Pattin' Time _(1991) - Lou Donaldson (1926-2024)\, arr. Terry\nWhite \n_Catfish Voodoo_ (2025) - Joel Vanderheyden \n__Sidewinder __(1963) - Lee Morgan (1938-1972)\, arr. Mark Taylor\n\nDIRECTOR\n\nChris Becker is t he Director of the Wind Ensemble and the Jazz Bands\nat Washington Univers ity in St. Louis\, and serves as the director of\nwinds and percussion. Mr . Becker graduated from the University of\nMissouri - Kansas City Conserva tory of Music “With Distinction” in\n1977\, receiving the Bachelor of Music Education Degree\, and earned a\nMaster of Arts in Education from Li ndenwood University.\n\nMr. Becker has taught instrumental music in Missou ri for 47 years from\nthe elementary to the university level. In June 2017 \, he retired as\nDirector of Bands at Parkway South High School\, after s erving for 36\nyears in the Parkway School District (St. Louis County\, Mi ssouri).\nDuring his tenure there\, he directed Marching Bands\, Symphonic Bands\,\nJazz Bands\, and all other related band activities.\n\nIn additi on\, he is the Artistic Director and Conductor of the\nManchester Communit y Band\, a highly successful ensemble founded ten\nyears ago and enthusias tically received by the residents of\nManchester. Mr. Becker has also been a frequent guest conductor for\nboth concert bands and jazz bands in Miss ouri and Illinois.\n\nMr. Becker has served as the Jazz Vice President for the Missouri\nMusic Educators Association\, the first educator to hold th at position\nafter it was established as a part of the MMEA Board. Mr. Bec ker is a\nPast President of the Missouri unit of the International Associa tion\nof Jazz Educators. During his term he helped clarify the mission and \ngoals of the unit\, and endeavored to reach out to music educators\,\nth ose in the music industry\, and professional players to create a\nbroader base of support for jazz education. Becker has also served as\nJazz Vice P resident for the St. Louis Suburban Music Educators\nAssociation. Becker p lays the trumpet professionally with a variety of\nensembles in the St. Lo uis area\, and has taught trumpet privately in\nboth the Kansas City and S t. Louis areas.\n\nMr. Becker is a member of the College Band Directors Na tional\nAssociation\, the National Association for Music Education\, the\n Missouri Music Educators Association\, the Missouri Association for\nJazz Education\, the Missouri Band Masters Association\, and Phi Beta Mu\nBand Directors Fraternity. He was named \"Charles Emmons Outstanding\nBand Dire ctor of the Year\" by Phi Beta Mu in January 1999. He was\nnominated numer ous times for the Pillar of Parkway Award\, which\nrecognizes commitment a nd dedication for work in the Parkway School\nDistrict\, and was awarded a Pillar of Parkway in April 2016. Mr.\nBecker was honored for his distingu ished career by the St. Louis\nSuburban Music Educators Association in Jan uary 2018\, and named to\ntheir Hall of Fame.\n\nWASHU JAZZ BAND\n\nSAXOPH ONES\nNoah Clayton\, Alto (Ecology and Evolutionary Biology Ph.D.\, Boston \,\nMA)\nEthan Lin\, Alto (Data Science\, Taipei\, Taiwan)\nWill Kodner\, Alto (Biology\, St. Louis\, MO)\nSeth Steuck\, Tenor (Undeclared\, Waynesv ille\, MO)\nAman Jajodia\, Tenor (Biology\, Piedmont\, CA)\nCyrus Beauvais \, Baritone (Undeclared\, Arlington\, VA)\n\nTRUMPETS\nKelsey Conover (Pol itical Science\, Kansas City\, MO)\nTeo Giannini (Electrical Engineering\, Berkeley\, CA)\nJeremiah Haile (Electrical Engineering\, Kaiser\, MO)\nAu riel Prepejchal (Computational Biology\, Carbondale\, IL)\nTori Vasquez (H istory and Education\, Hazelwood\, MO)\n\nTROMBONES\nGage Fowlkes (Chemist ry\, Fort Worth\, TX)\nJacob Karni (Economics\, Houston\, TX)\nJayden Than kamani (Mechanical Engineering\, Nevada\, MO)\nPeter Ochalek (Neuroscience \, Jericho\, NY)\n\nTUBA\nSylas Sindle (Studio Art\, Springfield\, MO)\n\n RHYTHM SECTION\nCody Peck\, Guitar (Computer Engineering\, Crestwood\, IL) \nElla Heisel\, Guitar (Studio Art\, Eureka\, MO)\nHenry Daut\, Piano (Bio logy\, Fayetteville\, AR)\nJunxian Xu\, Piano (Finance\, China)\nLivy Best \, Bass (Biology\, New Orleans\, LA)\nYejia ‘YJ’ Zhao\, Drums (Mathema tics and Philosophy\, Shanghai\,\nChina)\nWilson Hou\, Vibraphone (Chemica l Engineering\, Singapore)\n\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16915 DTSTART;TZID=America/Chicago:20260327T180000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260327T190000 SUMMARY:WashU Choirs: Because You Sang CLASS:PUBLIC DESCRIPTION:Singing has long been a way for people to express joy\, seek re fuge\,\nand call for justice. Join the WashU Chamber Choir and Concert Cho ir\nwith special guest Lindbergh High School A Cappella Concert Choir to\n celebrate the act of singing and the power it has to bring people\ntogethe r.\n\nWATCH LIVE [https://youtube.com/live/1IdvYk4GoPo?feature=share]\n\nP ROGRAM\n\nWASHU CHAMBER CHOIR\n\nJohn McDonald\, conductor\nYeon-Kyung Kim \, piano \n\n_Cantemus!_ (1978) by Lajos Bárdos (1899-1986)\n\n_Because You Sang _(2020) Music by Arianne Abela (b. 1986) Text by\nRuthie Prillama n\n     Crystal Lovato\, solo\n\n_Go Down Moses_ (2026) Traditional Spi ritual Arranged by Nolawi Araya\n(b. 1995)\n\n_Sing Creations Music On_ (2 001) by Stephen Paulus (1949-2014)\nArranged by Drew Collins\n\nLINDBERGH HIGH SCHOOL A CAPPELLA CONCERT CHOIR \n\nLaura Swearingen\, conductor \n Brook Bisaillon\, piano\n\n_Muusika_ (2003) by Pärt Uusberg (b. 1986)\n\n _Song for Justice_ (2018) Music by Kim André Arnesen (b. 1980) Text\nby C harles Anthony Silvestri\n     Rachel Schrage\, solo\n\nWASHU CONCERT C HOIR\n\nJohn McDonald\, conductor\nYeon-Kyung Kim\, piano\n\n_I’m Gonna Sing ‘Til the Spirit Moves in My Heart _(1995) by Moses\nHogan (1957-200 3)\n\n_Refuge_ (2016) by Elaine Hagenberg (b. 1979) Text by Sara Teasdale\ n(1884-1933)\n     Eric Liu\, cello\n     Christina Smiley\, solo\n\ n_Your Soul Is Song_ (2019) by Jake Runestad (b. 1986) Text by Germán\nAg uilar (1980-2014)\n\nCOMBINED CHOIRS\n\nJohn McDonald\, conductor\nYeon-Ky ung Kim\, piano\n\n_Flight Song_ (2015) by Kim André Arnesen (b. 1980)\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16870 DTSTART;TZID=America/Chicago:20251116T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251116T160000 SUMMARY:WashU Choirs present \"Woven Song: A Choral Journey through America n\nHistory\" CLASS:PUBLIC DESCRIPTION:Travel through the American story as told by its voices. This p rogram\ntraces the evolution of choral music in the United States - from f olk\nsongs and spirituals to contemporary compositions - revealing how\nco mmunities have expressed identity\, struggle\, hope\, and change\nthrough song. Each piece offers a window into a particular moment in\ntime\, toget her forming a rich tapestry of sound that reflects the\nnation’s complex ity and resilience. Featuring the WashU Concert\nChoir and Chamber Choir w ith guest faculty performers Erin Haupt and\nDana Hotle\, as well as stude nt instrumentalists.\n\nDIGITAL PROGRAM\n[https://wustl.box.com/s/u0oetkix maynt3e9yywjsn6vlyhptjyq]\n\nWatch Live [https://youtube.com/live/Qoo8-VGi Yi0?feature=share]\n\nPROGRAM\n\nCONCERT CHOIR\n_Idumea_ (2010) by Ananais Davisson (1780-1857) Arr. Richard Bjella  \n     Claire Yi and Carolo ine Ladendorf\, violins\n     Evelyn Nedelciuc\, cello\n\n_Is Any Affli cted?_ (2002) by William Billings (1746-1800)\n\n_Peace I Leave With You_ (2021) by Amy Beach (1867-1944)\n\n_The Year’s at the Spring_\, Op. 44\, No. 1 (1900) by Amy Beach\n(1867-1944)\n     Erin Haupt\, mezzo-sopran o\n     Yeon-Kyung Kim\, piano\n\n_Shenandoah _(1975) Arr. James Erb (1 925-2014)\n     Erin Haupt\, soloist\n\n_Zion’s Walls _(1954) by Aaro n Copland (1900-1990) Arr. Glenn\nKoponen (1943-2021)\n\nCHAMBER CHOIR\n_P oor Man Lazrus_ (1950) Arr. Jester Hairston (1901-2000)\n\n_Acquaintance With Nature _(2002) by Gwyneth Walker (b. 1947)\n     Dana Hotle\, clar inet\, and Nicholas Chiu\, narrator\n     Alena Wadzinske\, Meghan Elli ot\, Jared Berger\, and Aaron\nMiller\, soloists\n\n_More Waters Rising_ ( 2025) by Saro Lynch-Thomason\, Arr. Adam and Matt\nPodd\n     Abi Wilem an and Nicholas Chiu\, soloists
\n     Kian Eghtesady\, snare drum\, 
and Christian Kim\, bass drum\n \n\nCONCERT CHOIR\n_Deep River_ (1913) Arr. H. T. Burleigh (1866-1949)\n\n_March Down to Jordan_ (2025) by Nolaw i Araya\n\n_Flight _(2021) by Craig Carnella (b. 1949) Arr. Ryan Murphy (b . 1971)\n     Claire Yi and Caroline Ladendorf\, violin\n     Emily Updike\, viola\n     Evelyn Nedelciuc\, cello\n     Melissa Parkinso n\, double bass\n\n_The Best of All Possible Worlds _(1975) by Leonard Ber nstein\n(1918-1990)\, Arr. Robert Page\n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16965 DTSTART;TZID=America/Chicago:20260407T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260407T203000 LOCATION:4431 Lindell Blvd\, St. Louis\, MO 63108 SUMMARY:Chamber Choir Concert at the Basilica CLASS:PUBLIC DESCRIPTION:Experience an evening of choral music in the stunning Cathedral \nBasilica of Saint Louis\, where exceptional acoustics meet dazzling\nmos aics and captivating decoration. Featuring the WashU Chamber Choir\nalongs ide ensembles from UMSL\, East Central College\, SIUE\, Lindenwood\nUniver sity\, Missouri Baptist University\, and SEMO\, the concert\nculminates in a combined performance of Anton Bruckner’s _Os Justi_\,\nconducted by S t. Louis Symphony Chorus Conductor\, Erin Freeman.\n\nPresented with suppo rt from the Vassia Foundation at the glorious St.\nLouis Cathedral Basilic a.\n\nTickets not required – Freewill donation taken at the door\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16879 DTSTART;TZID=America/Chicago:20251107T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251107T203000 LOCATION:560 Music Center\, 63130 SUMMARY:Tyondai Braxton\, composer\, guest artist performance CLASS:PUBLIC DESCRIPTION:Tyondai Braxton will play a sprawling set of electronic and\nsa mple-based music based upon the ideas of space and contrast\, stasis\nand forward motion. \n\n> \"ONE OF THE MOST ACCLAIMED EXPERIMENTAL MUS ICIANS OF THE LAST\n> DECADE\" - WASHINGTON POST\n> \n> \"A SONI CALLY ABSORBING EXPERIENCE.\" - Q MAGAZINE\n>  \n\nABOUT TYONDAI BR AXTON\n\nTyondai Braxton is an American composer of electronic and notated \nmusic. He studied music composition at The Hartt School of the\nUniversi ty of Hartford in West Hartford\, Connecticut\, with Robert Carl\nand Ingr am Marshall. His work ranges from solo pieces to music for\nlarge orchestr a and electronics.\n\nBraxton has been commissioned for compositions by en sembles and\norganizations such as The BBC Concert Orchestra\, The Finnish Radio\nSymphony Orchestra\, The Bang on a Can All Stars\, Kronos Quartet\ , Alarm\nWill Sound\, Yarn/Wire\, Carnegie Hall\, Black Mountain College\, and many\nmore. His critically acclaimed work\, Central Market\, has been \nperformed by world-renowned orchestras such as the LA Philharmonic\,\nTh e Wordless Music Orchestra\, and the BBC Symphony Orchestra. Notable\ncoll aborations include performing as a duo with Philip Glass for the\nfestival All Tomorrow’s Parties\, collaborating visual artist Thomas\nDemand pre senting work at Los Angeles County Museum of Art and Prada\nFoundation at Venice Biennale\, His multimedia project HIVE for 3\npercussionists and 2 modular synth performers was commissioned by and\npremiered at the Guggenh eim NYC in 2014 followed by the recording\nreleased in 2015 HIVE1 on Nones uch Records.\n\nIn 2018\, Braxton premiered Telekinesis for large orchestr a\, choir\, and\nelectronics at The Southbank Centre’s Queen Elizabeth H all in London\nwith the BBC Concert Orchestra and BBC Singers. The Finnish Radio\nSymphony Orchestra performed the piece in February 2019 in Helsink i\,\nFinland\, as part of the Music Nova Festival.\n\nAs a solo performer of electronic music\, he has performed all over the\nworld\, most notably at The Elbphilharmonie Hamburg\, Sydney Opera House\nin Sydney\, Australia \, Big Ears Festival in Knoxville\, Tennessee\, The\nBroad in Los Angeles\ , California\, and Sonar Festival in Barcelona\,\nSpain.\n\nHe has given l ectures at universities/organizations such as Princeton\nUniversity\, Colu mbia University\, Copenhagen Rhythmic Conservatory\,\nModular Workshop Tok yo Japan\, and currently works as the Assistant\nProfessor of Music at Pri nceton University Music Department.\n\nWATCH TYONDAI BRAXTON IN ACTION!\n\ n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16895 DTSTART;TZID=America/Chicago:20251107T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251107T160000 SUMMARY:Department of Music Lecture: Tyondai Braxton\, composer/performing\ nartist CLASS:PUBLIC DESCRIPTION:TITLE\n\n\"Zones of Activity\"\n \n\nABSTRACT\n\nNavigating an artistic life in a complex culture\n \n\nABOUT TYONDAI BRAXTON\n\nTyonda i Braxton is an American composer of electronic and notated\nmusic. He stu died music composition at The Hartt School of the\nUniversity of Hartford in West Hartford\, Connecticut\, with Robert Carl\nand Ingram Marshall. Hi s work ranges from solo pieces to music for\nlarge orchestra and electroni cs.\n\nBraxton has been commissioned for compositions by ensembles and\nor ganizations such as The BBC Concert Orchestra\, The Finnish Radio\nSymphon y Orchestra\, The Bang on a Can All Stars\, Kronos Quartet\, Alarm\nWill S ound\, Yarn/Wire\, Carnegie Hall\, Black Mountain College\, and many\nmore . His critically acclaimed work\, Central Market\, has been\nperformed by world-renowned orchestras such as the LA Philharmonic\,\nThe Wordless Musi c Orchestra\, and the BBC Symphony Orchestra. Notable\ncollaborations incl ude performing as a duo with Philip Glass for the\nfestival All Tomorrow ’s Parties\, collaborating visual artist Thomas\nDemand presenting work at Los Angeles County Museum of Art and Prada\nFoundation at Venice Bienna le\, His multimedia project HIVE for 3\npercussionists and 2 modular synth performers was commissioned by and\npremiered at the Guggenheim NYC in 20 14 followed by the recording\nreleased in 2015 HIVE1 on Nonesuch Records.\ n\nIn 2018\, Braxton premiered Telekinesis for large orchestra\, choir\, a nd\nelectronics at The Southbank Centre’s Queen Elizabeth Hall in London \nwith the BBC Concert Orchestra and BBC Singers. The Finnish Radio\nSymph ony Orchestra performed the piece in February 2019 in Helsinki\,\nFinland\ , as part of the Music Nova Festival.\n\nAs a solo performer of electronic music\, he has performed all over the\nworld\, most notably at The Elbphi lharmonie Hamburg\, Sydney Opera House\nin Sydney\, Australia\, Big Ears F estival in Knoxville\, Tennessee\, The\nBroad in Los Angeles\, California\ , and Sonar Festival in Barcelona\,\nSpain.\n\nHe has given lectures at un iversities/organizations such as Princeton\nUniversity\, Columbia Universi ty\, Copenhagen Rhythmic Conservatory\,\nModular Workshop Tokyo Japan\, an d currently works as the Assistant\nProfessor of Music at Princeton Univer sity Music Department.\n\nWATCH TYONDAI BRAXTON IN ACTION!\n\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16908 DTSTART;TZID=America/Chicago:20260220T120000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260220T130000 SUMMARY:Kemper Unplugged: Kimberly Jeong\, cello CLASS:PUBLIC DESCRIPTION:In conjunction with the exhibition _Looking Back Toward the Fut ure:\nContemporary Photography from China_ at the Kemper Art Museum\, this \nprogram presents a dialogue between a solo suite by J.S. Bach\, and a\ns et of Chinese folk songs arranged by Zhou Long\, telling stories\nseparate d by time and geography through the voice of the solo cello.\n\nArrive ear ly or stay after to grab lunch at the Museum’s Coffee Bar.\nEnjoy ice cr eam sandwiches from Sugarwitch\, savory deli sandwiches\nfrom Parker’s T able\, and pastries from Colleen’s. Members get 10%\noff your purchase w ith every visit. Learn more and join here\n[https://www.kemperartmuseum.wa shu.edu/membership].\n\nThese 45-minute concerts are free and open to the public.\n\nPROGRAM\n\nA Set of Chinese Folk Songs for Solo Cello\, Arr. Zh ou Long\n     _Lan Hua Hua (Shaanbei)_\n_     Driving the Mule Team (Shaanxi)_\n_     The Flowing Stream (Yunnan)_\n_     Jasmine Flower (Jiangsu)_\n_     A Horseherd’s Mountain Song (Yunnan)_\n_     Wh en will the Acacia Bloom? (Sichuan)_\n_     A Single Bamboo Can Easily Bend (Hunan)_\n_     Leaving Home (Shanxi)_\n\nSuite No. 2 by J.S. Bach \n   _  Prelude_\n_     Allemande_\n_     Courante_\n_     Sar abande_\n_     Minuet I & II_\n_     Gigue_\n\nBIOGRAPHY\n\nKIMBERLY JEONG\n\nKorean Canadian cellist Kimberly Jeong deeply believes in the\nt ransformative power of music and its unique ability to connect people\nacr oss cultures\, generations\, and backgrounds. She feels honored to\nshare her story with audiences\, students\, and community members\nthrough the m usic that she loves.\n\nAs an active recitalist and a chamber musician\, s he has performed\nwidely across North America and Europe in venues such as Avery Fisher\nHall\, National Sawdust\, Dutch National Opera\, Smetana Ho use\, Prague\nNational Theatre\, and Wigmore Hall\, among others. Her perf ormances\nhave been broadcast on WFMT\, CBC Radio\, and BBC\, and she can be heard\non recording projects by Chandos with the Grammy-nominated ARC\n ensemble\, and Linn Records. She has also collaborated with\ndistinguished composers such as John Adams\, Hans Abrahamsen\, John\nHarbison\, and Ste ven Stucky.\n\nAs an educator\, Jeong serves as Director of Strings and Ch amber Music\nat Washington University in St. Louis. She has worked with a number of\neducational initiatives\, including Yale Music in Schools and\n Ravinia’s Reach Teach Play Program. Her interests include\ninterdiscipli nary arts\, connecting with new audiences through varied\nmediums\, and ex panding access to music education for all.\n\nJeong holds degrees from the Eastman School of Music (BM)\, Yale School\nof Music (MM)\, and Northwest ern University (DMA)\, with cognates in\nMusicology and Music Theory. Her principal mentors include Hans\nJørgen Jensen and Steven Doane\, and she received additional training\nat the Royal Conservatory of The Hague and t he Glenn Gould School in\nToronto\, Canada.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16913 DTSTART;TZID=America/Chicago:20260320T120000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260320T130000 SUMMARY:Kemper Unplugged: Early Music Missouri CLASS:PUBLIC DESCRIPTION:DIGITAL PROGRAM [https://earlymusicmissouri.net/todays-event]\n \nChamber\, Court & Convent: Songs & Sonatas by 17th-century Italian\nWom en Composers\n\nEarly Music Missouri brings a recital program to the Kempe r that\nfeatures songs and sonatas by women composers and composer/perform ers\nfrom 17th-century Italy. The program will include secular music\ncomp osed for a private academy in Venice and the Medici court in\nFlorence\, a s well as devotional works for convents in Milan and\nNovara. The program offers music by the composers/performers Francesca\nCaccini and Barbara St rozzi\, as well as the nuns Isabella Leonarda and\nChiara Margarita Cozzol ani.\n\nPerformers\, drawn from the ranks of Early Music Missouri's roster of\nregional Early Music specialists:\n\nArianna Aerie & Samantha Arten\, sopranos\nCelina Boldrey\, Baroque violin\nStephanie Hunt\, viola da gamb a\nJeffrey Noonan\, theorbo & Baroque guitar\n\nArrive early or stay after to grab lunch at the Museum’s Coffee Bar.\nEnjoy ice cream sandwiches f rom Sugarwitch\, savory deli sandwiches\nfrom Parker’s Table\, and pastr ies from Colleen’s. Members get 10%\noff your purchase with every visit. Learn more and join here\n[https://www.kemperartmuseum.washu.edu/membersh ip].\n\nThese 45-minute concerts are free and open to the public.\n\nPERFO RMERS\n\nSamantha Arten & Arianna Aerie\, sopranos\nCelina Boldrey\, Baroq ue violin\nStephanie Hunt\, Baroque cello\nJeffrey Noonan\, theorbo & Baro que guitar\n\n \n\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16867 DTSTART;TZID=America/Chicago:20251114T120000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251114T130000 SUMMARY:Kemper Unplugged: The Perseid String Quartet CLASS:PUBLIC DESCRIPTION:Presented alongside _Making Their Mark_\, this program celebrat es\nwomen's creative voices. The Perseid Quartet highlights female\ncompos ers from the classical to the contemporary\, weaving a legacy of\nresilien ce in the face of artistic and societal barriers.\n\nArrive early or stay after to grab lunch at the Museum’s Coffee Bar.\nEnjoy ice cream sandwic hes from Sugarwitch\, savory deli sandwiches\nfrom Parker’s Table\, and pastries from Colleen’s. Members get 10%\noff your purchase with every v isit. Learn more and join here\n[https://www.kemperartmuseum.washu.edu/mem bership].\n\nThese 45-minute concerts are free and open to the public.\n\n PROGRAM\n\nMaddalena Lombardini Sirmen - String Quartet in G minor\, Op. 3 \, No. 3\nLouise Farrenc - _Sketches and Fragments_\nDobrinka Tabakova - _ The Smile of the Flamboyant Wings_\nJessie Montgomery -_ Strum_\n\n \n\n  \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16903 DTSTART;TZID=America/Chicago:20260130T120000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260130T130000 SUMMARY:Kemper Unplugged: Afolia CLASS:PUBLIC DESCRIPTION:Arrive early or stay after to grab lunch at the Museum’s Coff ee Bar.\nEnjoy ice cream sandwiches from Sugarwitch\, savory deli sandwich es\nfrom Parker’s Table\, and pastries from Colleen’s. Members get 10% \noff your purchase with every visit. Learn more and join here\n[https://w ww.kemperartmuseum.washu.edu/membership].\n\nThese 45-minute concerts are free and open to the public.\n\nTHE MUSICIANS\n\nMark Tonelli - guitar\nFe yza Eren - vocals\nBennett Wood - saxophone and flute\nBen Wheeler - bass\ nBen Dicke - drums\n\nABOUT\n\nMARK TONELLI AND AFOLIA \n\nDiscover the s oulful sounds of Brazil with Mark Tonelli & Afolia! This\nunique group of top St. Louis musicians shines a spotlight on\nlesser-known Brazilian gems \, moving beyond the classic bossa novas to\nunearth hidden treasures. Joi n Afolia as they take you on a journey\nthrough the vibrant rhythms and po ignant melodies of 1970’s and\n80’s Brazil\, celebrating the richness of Brazilian music. Afolia has\nperformed in renowned St. Louis venues suc h as The Dark Room and Blue\nStrawberry and has appeared on CBS KMOVTV Cha nnel 4’s Emmy-nominated\n“The Stage.”\n\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16909 DTSTART;TZID=America/Chicago:20260222T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260222T160000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Symphony Orchestra CLASS:PUBLIC DESCRIPTION:This program spans folk tradition\, classical brilliance\, new music\,\nand cinematic spectacle—from the colorful _Dance of the Yao Peo ple_\nto Wolfgang Amadeus Mozart’s Flute Concerto in G Major\, featuring \nflutist Jimin Lee\, winner of the Friends of Music Concerto & Aria\nComp etition. A St. Louis premiere by Andrew List leads into Antonín\nDvořák ’s _American Suite\,_ before the evening concludes with\nHoward Shore’ s music from _The Lord of the Rings_.\n\nDIGITAL PROGRAM\n[https://wustl.b ox.com/s/jaqnv01ctns6j1jf8eizm6jbunxhf6j3]\n\nWatch Live [https://youtube. com/live/p1JT2wu2Ssc?feature=share]\n\nPROGRAM\n\n_Dance of the Yao People _ - Liu Tieshan / Mao Yuan\nFlute Concerto in G Major\, 1st movement\, W. A Mozart\n     Jimin Lee\, flute (Winner of the Friends of Music Concer to &\nAria Competition)\n_Sholem Aleichem’s Clock _(STL premiere) by And rew List\nSuite in A major Op. 98a “American\" by A. Dvorak \nSymphoni c Suite from _The Lord of the Rings_ by Howard Shore \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16865 DTSTART;TZID=America/Chicago:20251109T190000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251109T200000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Symphony Orchestra: Symphonic Adventures CLASS:PUBLIC DESCRIPTION:Go on a Symphonic Adventure with conductor-in-residence Darwin Aquino\nand the WashU Symphony Orchestra! These adventures will take you t o\nMexico\, England\, Shakespeare's Italy\, and will end in Spain. This\nc oncert features an evocative STL premiere by Mexican composer\nGabriela Or tiz\, the St. Louis Symphony's Chance Huiet performing the\nwarm and beaut iful tuba concerto by Ralph Vaughan Williams\, the\nromantic _Fantasy Over ture_ on _Romeo and Juliet_ by Tchaikovsky\, and\nends with the splashy an d delightful _España_\, Rhapsody for Orchestra\nby Emmanuel Chabrier.\n\n DIGITAL PROGRAM\n[https://wustl.box.com/s/o0sjxh7h2at2lbxuof2p8nx5w5pgcqd7 ]\n\nWATCH LIVE [https://youtube.com/live/K4CtgeC9bHk?feature=share]\n\nPR OGRAM\n\n_Kauyumari_ for Orchestra (2021) (St Louis premiere) by Gabriela Ortiz\nConcerto for Bass Tuba and Orchestra in F minor by Ralph Vaughan\nW illiams \n     Chance Huiet\, tuba\n_Fantasy Overture_ on _Romeo and J uliet _by Pyotr Ilyich Tchaikovsky\n_España_\, Rhapsody for Orchestra by Emmanuel Chabrier\n\nABOUT OUR GUEST ARTIST\n\nChance Huiet is currently t he Assistant Professor of Euphonium and\nTuba at Michigan State University . Prior to his appointment\, Chance\nwas the replacement Principal Tuba wi th the Saint Louis Symphony\nOrchestra for several seasons. He also held t he Principal Tuba\nposition with the Fort Wayne Philharmonic from 2016-202 4. Chance has\nperformed with the orchestras of Cleveland\, Melbourne (Aus tralia)\,\nUtah\, Detroit\, Kansas City\, Iceland\, and Malaysia\, and Kal amazoo\,\nMichigan-based New Orleans-style group\, the Kanola Band.\n\nAs a soloist\, Chance has performed recitals around the country\nincluding a guest artist recital at the 2018 International Tuba and\nEuphonium Confere nce held at the University of Iowa. Chance performed\nthe John Williams Tu ba Concerto on a subscription series with the Fort\nWayne Philharmonic in February 2022\, his first solo appearance with\nthe orchestra. In March 20 19\, he had the privilege of premiering Viet\nCuong’s Concerto for Tuba and Wind Ensemble with the Purdue Fort\nWayne Wind Ensemble.\n\nIn the las t few years\, Chance has been interested in learning about\nbirds and love s exploring the native birds in places he gets to\ntravel. Most recently\, he saw the critically endangered Helmeted\nHoneyeater in Healesville\, Au stralia. In the 1980s\, its population had\ndropped to fewer than 60 breed ing pairs in the wild\, but is slowly\ngrowing due to diligent work at san ctuaries like in Healesville.\nThough not explicitly bird-related\, he rec orded and self-produced an\nalbum of original folk songs released in Janua ry 2021 called “For\nthe Birds.” The album is on Spotify and all liste ning sources.\n\nHis primary teachers\, who deserve much gratitude\, inclu de Orcenith\nSmith\, Jacob Cameron\, and Philip Sinder. \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16818 DTSTART;TZID=America/Chicago:20260430T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260430T193000 SUMMARY:Great Artists Series '26: Steven Isserlis\, cello and Connie Shih\, \npiano CLASS:PUBLIC DESCRIPTION:TICKETS\n\n(Washington University Box Office - 314-935-6543)\n* purchases only refundable due to presenter cancellation\n\nSingle Tickets [https://ci.ovationtix.com/35674/production/1234957]\n$35-40 General Admis sion\n$32-37 WashU Faculty/Staff\n$15 Students/Youth\n\nBEWARE OF SCAMS! T ickets purchased through the Washington University\nBox Office or online v ia AudienceView (also known as OvationTix) are\nthe only approved tickets for this event. Purchases made through a\nthird-party vendor such as StubH ub\, Ticketmaster\, or MetroTix will NOT\nbe valid for entry to the perfor mance.\n\n> \"Isserlis and Connie Shih’s performance collaboration s are full of\n> spontaneity and lyrical delight.” - _The Stra d_\n\nPROGRAM\n\nBeethoven: 12 Variations on _Ein Mädchen oder Weibchen _ from Mozart's\n_Die Zauberflöte_\, F Major\, Op.66\nR. Schumann: Three _F antasiestücke_\, Op. 73\nKabalevsky: Cello Sonata\nKaprálová: _Ritourne lle_\, for cello and piano\nBeethoven: Cello Sonata No. 3 in A Major\, Op. 69\n\nBIOGRAPHIES\n\nSTEVEN ISSERLIS\n\nBritish cellist Steven Isserlis C BE enjoys an international career as\na soloist\, chamber musician\, autho r\, educator\, and broadcaster.\nEqually at home in music from baroque to the present day\, he performs\nwith the world’s greatest orchestras\, in cluding period ensembles\,\nand has given many world premieres\, including Sir John Tavener’s\n_The Protecting Veil_\, Thomas Adès’s _Lieux ret rouvés_\, four works\nfor solo cello by György Kurtág\, and pieces by H einz Holliger\, Jörg\nWidmann\, Olli Mustonen\, Mikhail Pletnev and many others.\n\nHis vast award-winning discography includes most of the cello\n repertoire\, including the JS Bach suites (Gramophone Instrumental\nAlbum of the Year)\, Beethoven’s complete works for cello and piano\,\nand the Brahms double concerto with Joshua Bell and the Academy of St\nMartin in the Fields. He has received two Grammy nominations\, for his\nrecordings o f Haydn’s cello concertos\, and Martinů’s cello\nsonatas with Olli Mu stonen. Premiere recordings include late works by\nSir John Tavener _(BBC Music magazine_ Premiere Award). His latest\nrecording\, _A Golden Cello D ecade 1878 – 1888_\, was released in\nNovember 2022.\n\nAs an author\, h is latest book is a critically-acclaimed companion to\nthe Bach cello suit es\, while his two books for children about music\nare among the genre’s most popular ever written and have been\ntranslated into many languages. He has also authored a commentary on\nSchumann’s famous _Advice for Youn g Musicians_. As a broadcaster\, he\nhas written and presented two in-dept h documentaries for BBC Radio\, on\nRobert Schumann and Harpo Marx.\n\nAn insightful musical explorer and curator\, he has programmed\nimaginative s eries for London’s Wigmore Hall\, New York’s 92nd St\nY\, and the Salz burg Festival. Unusually\, he also directs orchestras\nfrom the cello\, in cluding Luzerner Sinfonieorchester in 2019 with Radu\nLupu in his final pu blic performance.\n\nHe was awarded a CBE by Queen Elizabeth II in 1998\, in recognition of\nhis services to music. International recognition includ es the\nPiatigorsky Prize (USA) and the Glashütte Original Music Festival \nAward (Germany). Since 1997\, he has been Artistic Director of the\nInte rnational Musicians Seminar\, Prussia Cove\, Cornwall.\n\nHe plays the 172 6 ‘Marquis de Corberon’ Stradivarius\, on loan from\nthe Royal Academy of Music.\n\nCONNIE SHIH\n\nThe Canadian pianist\, Connie Shih\, is repea tedly considered to be one\nof Canada’s most outstanding artists. In 199 3 she was awarded the\nSylva Gelber Award for most outstanding classical a rtist under age 30.\nAt the age of nine\, she made her orchestral debut wi th Mendelssohn's\nfirst Piano Concerto with the Seattle Symphony Orchestra . At the age\nof 12\, she was the youngest ever protégé of Gyorgy Sebok\ , and then\ncontinued her studies at the Curtis Institute in Philadelphia with\nClaude Frank\, himself a protégé of Arthur Schnabel. Later studies \nwere undertaken with Fou Tsong in Europe.\n​\nAs soloist\, she has app eared extensively with orchestras throughout\nCanada\, the U.S.A. and Euro pe. In a solo recital setting\, she has made\ncountless appearances in Can ada\, the U.S.\, Iceland\, England\, Spain\,\nItaly\, Germany\, Japan and China. Connie has given chamber music\nperformances with many world-renown ed musicians. To critical acclaim\,\nshe appears regularly in recital with cellist Steven Isserlis.\nIncluding chamber music appearances at the Wigm ore and Carnegie Halls\,\nshe performs at the prestigious Bath Music Festi val\, Aldeburgh\,\nCheltenham\, Weill Hall (N.Y.)\, and at the Kronberg Fe stival. Her\ncollaborations have included Maxim Vengerov\, Tabea Zimmerman \, and\nIsabelle Faust.\n​\nIn 2019/20 Connie will tour North America an d Europe with Steven\nIsserlis\, and includes a tour of Asia with Joshua B ell. In addition\,\nshe appears at concert venues across Germany with the cellist Manuel\nFischer-Dieskau with whom she recorded the first-ever CD o f the\nSonatas for piano and cello by Carl Reinecke and the complete\nBeet hoven sonatas. Her CD with Steven Isserlis on the BIS label was\nrecently released.\n \nConnie's performances are frequently broadcast via televisi on and\nradio on CBC (Canada)\, BBC (U.K.)\, SWR\, NDR\, and WDR (Germany) as well\nas on other various television and radio stations in North Ameri ca and\nEurope.\n​\nShe is on faculty at the Casalmaggiore Festival in I taly.\n\nSUPPORT\n\nFinancial assistance for this project has been provide d by the the\nRegional Arts Commission and the Missouri Arts Council\, a s tate\nagency. \n\nWebsite for the Missouri Arts Council\n[https://www.mis souriartscouncil.org/]\nWebsite for the Regional Arts Commission [https:// racstl.org/grants/]\n\nWATCH STEVEN ISSERLIS AND CONNIE SHIH IN ACTION!\n\ n  \n\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16817 DTSTART;TZID=America/Chicago:20260412T190000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260412T190000 SUMMARY:Great Artists Series '26: Catalyst Quartet CLASS:PUBLIC DESCRIPTION:TICKETS\n\n(Washington University Box Office - 314-935-6543)\n* purchases only refundable due to presenter cancellation\n\nSingle Tickets [https://ci.ovationtix.com/35674/production/1234956]\n$35-40 General Admis sion\n$32-37 WashU Faculty/Staff\n$15 Students/Youth\n\nBEWARE OF SCAMS! T ickets purchased through the Washington University\nBox Office or online v ia AudienceView (also known as OvationTix) are\nthe only approved tickets for this event. Purchases made through a\nthird-party vendor such as StubH ub\, Ticketmaster\, or MetroTix will NOT\nbe valid for entry to the perfor mance.\n\n> “Like all great chamber groups\, the Catalyst Quarte t is beautiful\n> to watch\, like a family in lovely conversatio n at the dinner table:\n> anticipating\, interrupting\, changing s ubjects.” - _The New York\n> Times_\n\nPROGRAM\n\n_Negro Folksongs in Counterpoint_ for String Quartet by Florence\nPrice\n     _Go down Moses_\n_     Somebody’s Knockin’ at Yo Do’_\n_     Little Dav id Play on Yo’ Harp_\n_     Joshua Fit de Bettle ob Jericho_\n \n_Fi ve Negro Folksongs in Counterpoint_ for String Quartet by Florence\nPrice \n     _Calvary.  Adagio vigoroso_\n_     Oh my darlin’ Clementin e.  Tempo moderato_\n_     Drink to me only with thine eyes.  Andante cantabile_\n_     Shortnin’ Bread.  Allegro_\n_     Swing Low\, Sweet Chariot.  Andantino_\n\n_Sorrow Song_ and _Jubilee_ by Libby Larse n\n\nQuartet in F Major\, Op. 96 “American” by Antonín Dvořák\n    _ Allegro ma non troppo_\n_     Lento_\n_     Molto vivace_\n_     Finale. Vivace ma non troppo_\n\n(All programs subject to change)\n\ nBIOGRAPHIES\n\nHailed by _The New York Times_ at its Carnegie Hall debut as\n“invariably energetic and finely burnished… playing with earthy\nv igor\,” the Grammy Award-winning Catalyst Quartet was founded by the\nin ternationally acclaimed Sphinx Organization in 2010. The ensemble\n(Karla Donehew Perez\, violin\; Abi Fayette\, violin\; Paul Laraia\, viola\;\nand Karlos Rodriguez\, cello) believes in the unity that can be\nachieved thr ough music and imagine their programs and projects with\nthis in mind\, re defining and reimagining the classical music\nexperience.\n\nCatalyst Quar tet\, known for “perfect ensemble unity” and\n“unequaled class of ex ecution” (_Lincoln Journal Star_)\,  has\ntoured widely throughout the United States and abroad\, including\nsold-out performances at the Kennedy Center in Washington D.C.\, at\nChicago’s Harris Theater\, Miami’s Ne w World Center\, and Stern\nAuditorium/Perelman Stage at Carnegie Hall in New York. The quartet\nhas been guest soloists with the Cincinnati Symphon y\, New Haven\nSymphony\, St. Paul Chamber Orchestra\, and the Orquesta Fi larmónica de\nBogotá\, and has served as principal players and featured ensemble\nwith the Sphinx Organization’s featured ensemble\, the Sphinx\ nVirtuosi\, on six national tours. They have been invited to perform at\ni mportant music festivals such as Mainly Mozart in San Diego\, the\nGreat L akes Chamber Music Festival\, Sitka Music Festival\, Juneau Jazz\nand Clas sics\, Strings Music Festival\, and the Grand Canyon Music\nFestival. The Catalyst Quartet was ensemble-in-residence at the Vail\nDance Festival in 2016 and in the 2021-22 season were in residence\nwith San Francisco Perfo rmances where they presented the complete\nseries of works from their Unco vered Project. In 2014\, they opened the\nFestival del Sole in Napa\, Cali fornia with Joshua Bell and\nparticipated in England’s Aldeburgh Music F oundation String Quartet\nResidency with two performances in Jubilee Hall. In 2022 the Catalyst\nQuartet was named ensemble in residence for the Cha mber Music\nNorthwest Festival in Portland and for the Met Museum's LiveAr ts\nseries in NYC. \n\nCatalyst Quartet’s largest ongoing project\, _UN COVERED_\, is a\nmulti-volume set of albums on Azica records that celebrat es composers\nof color whose works have been overlooked by the traditional canon.\nVolume 1\, released in February 2021\, includes the string quarte t and\nquintets of Samuel Coleridge-Taylor with clarinetist Anthony McGill \nand pianist Stewart Goodyear. Volume 2 features works by Florence B.\nPr ice and Volume 3\, released in February 2023\, featuring\nColeridge-Taylor \, Perkinson\, William Grant Still\, and George Walker\,\nwas nominated fo r a GRAMMY in the best small chamber ensemble\ncategory.\n\nAbi Fayette pe rforms on a violin made in 1860 by Jean-Baptiste\nVuillaume generously on loan from Marlboro Music.\n\nKarla Donehew Perez performs on a violin made in 2013 by renowned\nGerman luthier Stefan Peter Greiner\, supported in p art by a Sphinx\nMPower Artist Grant\, and a fine violin bow by Victor Fet ique on\ngenerous loan from the Rachel Elizabeth Barton Foundation.\n\nPau l Laraia performs on a beautiful Hiroshi Iizuka viola in the\n‘viola d ’amore’ style\, a prized Belgian bow by Pierre Guillaume\nawarded by t he Bishops Strings shop in London\, and is a proud\nsupporter of Pirastro ’s Eva Pirazzi Strings.\n\nKarlos Rodriguez performs on the ‘ex-Gérar d Hekking’ Gustave\nBernardel cello made in Paris\, 1897 decorated ‘Pr emier Prix\nDécerné Par Le Conservatoire National de Musique’ and a ‘Col de\nCygne’ Dominique Pecatte bow c. 1840. He is a Pirastro artist and\nendorses their Perpetual line of strings.\n\nSUPPORT\n\nFinancial as sistance for this project has been provided by the the\nRegional Arts Comm ission and the Missouri Arts Council\, a state\nagency.  \n\nWebsite for the Missouri Arts Council\n[https://www.missouriartscouncil.org/]\nWebsit e for the Regional Arts Commission [https://racstl.org/grants/]\n\nWATCH T HE CATALYST QUARTET IN ACTION!\n\n  \n\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16920 DTSTART;TZID=America/Chicago:20260411T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260411T160000 SUMMARY:A Masterclass with Catalyst Quartet CLASS:PUBLIC DESCRIPTION:PERFORMERS\n\n_Fantasy Quartet _(1946) by Ernest John Moeran (1 894-1950)\n     Michelle Zhang\, oboe\n     Bradley Gober\, violin\n      Delia Zacks\, viola\n     Colette Wicks\, cello\n\nPiano Trio N o.2\, Op.67 (1943) by Dimitri Shostakovich (1906-1975)\n        IV. _A llegretto-Adagio_\n     Noah Kennedy\, violin\n     Zoe Zuo\, cello\ n     Lucy Li\, piano\n\n> “Like all great chamber groups\, the  Catalyst Quartet is beautiful\n> to watch\, like a family in l ovely conversation at the dinner table:\n> anticipating\, interrupt ing\, changing subjects.” - _The New York\n> Times_\n\nBIOGRAPHIE S\n\nHailed by _The New York Times_ at its Carnegie Hall debut as\n“inva riably energetic and finely burnished… playing with earthy\nvigor\,” t he Grammy Award-winning Catalyst Quartet was founded by the\ninternational ly acclaimed Sphinx Organization in 2010. The ensemble\n(Karla Donehew Per ez\, violin\; Abi Fayette\, violin\; Paul Laraia\, viola\;\nand Karlos Rod riguez\, cello) believes in the unity that can be\nachieved through music and imagine their programs and projects with\nthis in mind\, redefining an d reimagining the classical music\nexperience.\n\nCatalyst Quartet\, known for “perfect ensemble unity” and\n“unequaled class of execution” (_Lincoln Journal Star_)\,  has\ntoured widely throughout the United Stat es and abroad\, including\nsold-out performances at the Kennedy Center in Washington D.C.\, at\nChicago’s Harris Theater\, Miami’s New World Cen ter\, and Stern\nAuditorium/Perelman Stage at Carnegie Hall in New York. T he quartet\nhas been guest soloists with the Cincinnati Symphony\, New Hav en\nSymphony\, St. Paul Chamber Orchestra\, and the Orquesta Filarmónica de\nBogotá\, and has served as principal players and featured ensemble\nw ith the Sphinx Organization’s featured ensemble\, the Sphinx\nVirtuosi\, on six national tours. They have been invited to perform at\nimportant mu sic festivals such as Mainly Mozart in San Diego\, the\nGreat Lakes Chambe r Music Festival\, Sitka Music Festival\, Juneau Jazz\nand Classics\, Stri ngs Music Festival\, and the Grand Canyon Music\nFestival. The Catalyst Qu artet was ensemble-in-residence at the Vail\nDance Festival in 2016 and in the 2021-22 season were in residence\nwith San Francisco Performances whe re they presented the complete\nseries of works from their Uncovered Proje ct. In 2014\, they opened the\nFestival del Sole in Napa\, California with Joshua Bell and\nparticipated in England’s Aldeburgh Music Foundation S tring Quartet\nResidency with two performances in Jubilee Hall. In 2022 th e Catalyst\nQuartet was named ensemble in residence for the Chamber Music\ nNorthwest Festival in Portland and for the Met Museum's LiveArts\nseries in NYC. \n\nCatalyst Quartet’s largest ongoing project\, _UNCOVERED_\, is a\nmulti-volume set of albums on Azica records that celebrates composer s\nof color whose works have been overlooked by the traditional canon.\nVo lume 1\, released in February 2021\, includes the string quartet and\nquin tets of Samuel Coleridge-Taylor with clarinetist Anthony McGill\nand piani st Stewart Goodyear. Volume 2 features works by Florence B.\nPrice and Vol ume 3\, released in February 2023\, featuring\nColeridge-Taylor\, Perkinso n\, William Grant Still\, and George Walker\,\nwas nominated for a GRAMMY in the best small chamber ensemble\ncategory.\n\nAbi Fayette performs on a violin made in 1860 by Jean-Baptiste\nVuillaume generously on loan from M arlboro Music.\n\nKarla Donehew Perez performs on a violin made in 2013 by renowned\nGerman luthier Stefan Peter Greiner\, supported in part by a Sp hinx\nMPower Artist Grant\, and a fine violin bow by Victor Fetique on\nge nerous loan from the Rachel Elizabeth Barton Foundation.\n\nPaul Laraia pe rforms on a beautiful Hiroshi Iizuka viola in the\n‘viola d’amore’ s tyle\, a prized Belgian bow by Pierre Guillaume\nawarded by the Bishops St rings shop in London\, and is a proud\nsupporter of Pirastro’s Eva Piraz zi Strings.\n\nKarlos Rodriguez performs on the ‘ex-Gérard Hekking’ G ustave\nBernardel cello made in Paris\, 1897 decorated ‘Premier Prix\nD écerné Par Le Conservatoire National de Musique’ and a ‘Col de\nCygn e’ Dominique Pecatte bow c. 1840. He is a Pirastro artist and\nendorses their Perpetual line of strings.\n\nSUPPORT\n\nFinancial assistance for th is project has been provided by the the\nRegional Arts Commission and the Missouri Arts Council\, a state\nagency.  \n\nWebsite for the Missouri A rts Council\n[https://www.missouriartscouncil.org/]\nWebsite for the Regio nal Arts Commission [https://racstl.org/grants/]\n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16970 DTSTART;TZID=America/Chicago:20261109T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20261109T203000 LOCATION:560 Trinity Ave\, University City 63130 SUMMARY:Great Artists Series '26-'27: Igor Levit\, piano CLASS:PUBLIC DESCRIPTION:Learn more about this season's Great Artists Series!\n[https:// music.washu.edu/great-artists-series-26-27]\n\nTICKETS\n\n(Washington Univ ersity Box Office - 314-935-6543)\n\nPurchase Subscriptions\n[https://wash u.vbotickets.com/subscriptions/9179]\n\nFive Concerts Subscription $150 (T his does not include the sold-out\n10th Anniversary Celebration with piani st Yuja Wang)\n\nPURCHASE SINGLE TICKETS \n[https://washu.vbotickets.com/ event/Igor_Levit_Great_Artist_Series_27/191924]\n\n$35-$40 General Admissi on\n$32-$37 WashU Faculty/Staff\n$15 Students/Youth\n\nBEWARE OF SCAMS! Ti ckets purchased through the Washington University\nBox Office or online vi a AudienceView (also known as OvationTix) are\nthe only approved tickets f or this event. Purchases made through a\nthird-party vendor such as StubHu b\, Ticketmaster\, or MetroTix will NOT\nbe valid for entry to the perform ance.\n\n> “One of the most important artists of his generation ” - New\n> Yorker \n\nPROGRAM\n\nLudwig van Beethoven: \nPiano Sona ta No. 1 in F minor\, Op. 2 No. 1\nPiano Sonata No. 17 in D minor\, Op. 31 No. 2 “The Tempest”\nIntermission\nPiano Sonata No. 25 in G major\, O p. 79\nPiano Sonata No. 21 in C major\, Op. 53 “Waldstein”\n\nBIOGRAPH Y\n\nWith an alert and critical mind\, Igor Levit places his art in the\nc ontext of social events and understands it as inseparably linked to\nthem. The New York Times describes Igor Levit as one of the “most\nimportant artists of his generation”\, the New Yorker as a pianist\n“like no oth er”. Since the 2022-23 season\, Igor Levit is the\nCo-Artistic Director of the Heidelberger Frühling Musikfestival. With\nthe Lucerne Festival he initiated the Piano Fest in 2023. \n\nIn the 2025/26 season\, Igor Levit performs in recital at the\nElbphilharmonie Hamburg\, La Fenice Venice\, Théâtre des\nChamps-Élysées Paris\, Palau de la Música Barcelona as w ell as in\nLuxembourg\, Milano\, and Tokyo\, among others. In the fall of 2025\, he\npresented four concerts to mark the Shostakovich memorial year 2025 at\nthe Musikverein Wien. With five recitals and chamber music\nperfo rmances\, he helps to celebrate Wigmore Hall’s 125th anniversary\nseason 2025/26. To mark the 250th anniversary of the United States\nDeclaration of Independence in 2026\, he presented Ludwig van\nBeethoven's ‘Diabelli Variations’ and Frederic Rzewski's ‘The\nPeople United’ for New Yor k's Carnegie Hall and Washington\nPerforming Arts in early 2026. With the Budapest Festival Orchestra\nand Iván Fischer\, Igor Levit performs all P rokofiev concertos at the\nPhilharmonie Berlin. Further highlights of Igor Levits' orchestral\nseason are performances of the monumental piano conce rto of Ferruccio\nBusoni with Esa-Pekka Salonen and the Los Angeles Philha rmonic\, a\nEuropean tour with the Orchestra dell‘Accademia Nazionale di Santa\nCecilia and Daniel Harding\, as well as concerts with the\nTonhall eorchester Zürich and Paavo Järvi\, the Vienna Philharmonic\nand Adam Fi scher\, and the Staatskapelle Berlin and Christian\nThielemann. \n\nIgor Levit’s recordings for Sony Classical have been honored with\ncountless awards\, including four Opus Klassik Awards\, Gramophone‘s\n\"Artist of the Year 2020” Award\, Musical America’s “Recording\nArtist of the Y ear 2020 as well as the \"Recording of the Year\" Award\nand the Instrumen tal Award of the BBC Music Magazine. His latest\nalbum\, a live recording of the acclaimed piano concertos of Johannes\nBrahms with the Vienna Philh armonic Orchestra and Christian\nThielemann\, has been awarded the Opus Kl assik 2025 in the category\n‘Concert Recording of the Year’.\n\nTogeth er with performance artist Marina Abramović\, Igor Levit\npresented a 13- hour performance of Erik Satie's _Vexations _at\nLondon's Southbank Centre in spring 2025 - 10 years earlier\, the two\nhad already performed Bach's Goldberg Variations together at the Park\nAvenue Armory in New York. In s pring 2021\, Hanser published Igor\nLevit’s first book\, _House Concert\ , _co-authored by Florian\nZinnecker\, followed in Fall 2022 by the releas e of the feature\ndocumentary “Igor Levit – No Fear” in cinemas and on DVD. \n\nBorn in Nizhni Novgorod\, Igor Levit moved to Germany with hi s family\nat the age of eight. Igor Levit completed his piano studies in\n Hannover with the highest score in the history of the institute. His\nteac hers included Karl-Heinz Kämmerling\, Matti Raekallio\, Bernd\nGoetzke\, Lajos Rovatkay and Hans Leygraf. In spring 2019\, he was\nappointed profes sor of piano at his alma mater\, the University of\nMusic\, Theatre and Me dia Hanover. Igor Levit was the youngest\nparticipant in the 2005 Internat ional Arthur Rubinstein Competition in\nTel Aviv\, where he won silver\, t he special prize for chamber music\,\nthe audience prize\, and the special prize for the best performance of\ncontemporary pieces. In 2018\, Igor Le vit was named the eighth\nrecipient of the prestigious \"Gilmore Artist Aw ard\" - conferred only\nevery four years to a classical pianist and recogn ized as the largest\nand one of the world's most distinguished music award s. \n\nFor his political commitment\, Igor Levit has been awarded the 5th \nInternational Beethoven Prize in 2019\, followed by the award of the\n\" Statue B\" of the International Auschwitz Committee in January 2020.\nHis 53 Twitter-streamed live house concerts during the lockdown in\nspring 202 0 garnered a worldwide audience\, offering a sense of\ncommunity and hope in a time of isolation and desperation. In October\n2020\, Igor Levit was recognized with the Order of Merit of the Federal\nRepublic of Germany. In Berlin\, where he makes his home\, Igor Levit is\nplaying on a Steinway D Grand Piano kindly given to him by the\nTrustees of Independent Opera at Sadler’s Wells.\n\n*Programs and artists are subject to change\n\nFinanc ial assistance for this project has been provided by the the\nRegional Art s Commission and the Missouri Arts Council\, a state\nagency.  \n\nwww.m issouriartscouncil.org\n[https://web.archive.org/web/20250207181022/http:/ /www.missouriartscouncil.org/]\n\nhttps://racstl.org/grants/\n[https://web .archive.org/web/20250207181022/https://racstl.org/grants/]\n\nWATCH IGOR LEVIT IN ACTION!\n\n  \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16971 DTSTART;TZID=America/Chicago:20270131T190000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20270131T200000 LOCATION:560 Trinity Ave\, University City 63130 SUMMARY:Great Artists Series '26-'27: Imani Winds CLASS:PUBLIC DESCRIPTION:Learn more about this season's Great Artists Series!\n[https:// music.washu.edu/great-artists-series-26-27]\n\nTICKETS\n\n(Washington Univ ersity Box Office - 314-935-6543)\n\nPurchase Subscriptions\n[https://wash u.vbotickets.com/subscriptions/9179]\n\nFive Concerts Subscription $150 (T his does not include the sold-out\n10th Anniversary Celebration with piani st Yuja Wang)\n\nPURCHASE SINGLE TICKETS\n[https://washu.vbotickets.com/ev ent/Imani_Winds_Great_Artists_Series_27/192404] \n\n$35-$40 General Admis sion\n$32-$37 WashU Faculty/Staff\n$15 Students/Youth\n\nBEWARE OF SCAMS! Tickets purchased through the Washington University\nBox Office or online via AudienceView (also known as OvationTix) are\nthe only approved tickets for this event. Purchases made through a\nthird-party vendor such as Stub Hub\, Ticketmaster\, or MetroTix will NOT\nbe valid for entry to the perfo rmance.\n\n> “The signature contribution of this group is a tec hnical ease with\n> extravagant gestures\, intense production of s ound\, and the daring\n> expressive liberties that come only afte r musicians have developed a\n> sixth sense of ensemble-bonding.  Imani’s got it all.”\n> — Philadelphia Inquirer\n\nPROGRAM\n\n TAKE FLIGHT\n\nSoaring melodies and fluttering rhythms come together in th is\nbird-inspired program exploring freedom\, migration\, and the beauty o f\nnature. From whimsical birdsong to sweeping improvisation\, Take Flight \ninvites listeners to experience the world from above.\n\n_Scherzo_ from_ A Midsummer Night's Dream_ by Felix Mendelssohn arr.\nFriedrich Gabler\n \n_Five Poems _by Karel Husa\n     I. _Walking Birds_\n     II. _Ha ppy Bird_\n        Interlude:_ Lamenting Bird…_\n     III. _With a Dead Bird_\n     IV. _Fighting Birds_\n     V. _Bird Flying High A bove_\n\n_Firebird Suite _by Igor Stravinsky arr. Hank Landrum\n\n_Avian Escapades _by Augusta Read Thomas\n_     Hummingbirds_\n_     Swans _\n_     Canaries_\n\n_Kites_ by_ _Paquito D'Rivera \n     _Kites O ver Havana_\n_     Wind Chimes_\n\n_Yardbird Suite_* by Charlie Parker arr. Helen Sung\n_*world premiere arrangement_\n\nBIOGRAPHY\n\nCelebratin g nearly three decades of transformative music-making\, the\nGRAMMY®-winn ing and four-time nominated Imani Winds has led both a\nrevolution and an evolution of the wind quintet. Known for their\ndynamic playing\, adventur ous programming\, imaginative collaborations\,\nand impactful outreach\, t hey have inspired audiences of all ages\naround the globe.\n\nImani Winds ’ repertoire bridges the traditional and the\ncontemporary\, featuring c ore chamber works\, reimagined arrangements\,\nand newly commissioned piec es by both renowned and rising composers.\nTheir programming reflects the urgency and diversity of our times\,\namplifying stories and voices too of ten left unheard.\n\nTheir 2024 release\, BeLonging\, a collaboration with composer Andy\nAkiho exploring the issue of mass incarceration\, earned a 2025\nGRAMMY® nomination. Other recent highlights include a double quint et\nby Arturo Sandoval featuring Boston Brass\; Jessie Montgomery’s work \ninspired by her great-grandfather’s migration north\; and Carlos\nSimo n’s tribute to African American icons. These works are part of\nthe ense mble’s ongoing Legacy Commissioning Project\, encompassing\ndozens of wo rld premieres.\n\nNow in their 29th touring season\, Imani Winds regularly appears on\nmajor chamber music series and at leading performing arts cen ters and\nsummer festivals\, including Carnegie Hall\, The Kennedy Center\ , Chamber\nMusic Northwest\, Banff Centre\, and Chautauqua Institution.\nI nternationally\, their reach extends across Asia\, Europe\, South\nAmerica \, Australia\, and New Zealand.\n\nEducation is central to Imani Winds’ mission. Appointed in 2021 as\nthe Curtis Institute of Music’s first-eve r Faculty Wind Quintet\,\nthey also lead residencies and masterclasses nat ionwide\, reaching\nthousands of students annually at institutions such as the University\nof Chicago\, Eastman School of Music\, and Duke Universit y.\n\nIn 2010\, they launched the Imani Winds Chamber Music Festival\, an\ nacclaimed summer program nurturing the next generation of professional\nm usicians through mentorship\, masterclasses\, and entrepreneurial\ntrainin g. In 2019\, they deepened their mission by founding the Imani\nWinds Foun dation\, followed by the creation of Imani Winds Media\, a\nrecord label s potlighting artists of color. Its first release\, Jeff\nScott’s Passion for Bach and Coltrane\, won a GRAMMY® in 2024.\n\nImani Winds’ deep con nection to jazz is reflected in collaborations\nwith legends such as Wayne Shorter\, Paquito D’Rivera\, and Jason\nMoran. Their multidisciplinary project Josephine Baker: A Life of Le\nJazz Hot! featuring jazz vocalist R ené Marie earned rave reviews in\ncities across the U.S.\n\nTheir 2021 al bum Bruits (Bright Shiny Things) was nominated for a 2022\nGRAMMY® Award for Best Chamber Music/Small Ensemble Performance.\nGramophone praised the ensemble’s “hot rapport [that] churns with\nconviction throughout.” \n\nWith recordings on Koch\, Naxos\, Blue Note\, and Warner Classics\,\ni ncluding a celebrated arrangement of The Rite of Spring and their\n2006 GR AMMY®-nominated album The Classical Underground\, Imani Winds\nis frequen tly featured on NPR\, BBC\, SiriusXM\, and in publications such\nas The Ne w York Times and The Philadelphia Inquirer.\n\nOne of their most meaningfu l honors is a permanent installation in the\nclassical music section of th e Smithsonian National Museum of African\nAmerican History and Culture\, a fitting tribute to their enduring\nimpact on the American musical landsca pe.\n\n*Programs and artists are subject to change\n\nFinancial assistance for this project has been provided by the the\nRegional Arts Commission a nd the Missouri Arts Council\, a state\nagency.  \n\nwww.missouriartscou ncil.org\n[https://web.archive.org/web/20250207181022/http://www.missouria rtscouncil.org/]\n\nhttps://racstl.org/grants/\n[https://web.archive.org/w eb/20250207181022/https://racstl.org/grants/]\n\nThis event is supported i n part by Washington University in St. Louis\nCenter for the Study of Race \, Ethnicity & Equity\n\nWATCH IMANI WINDS IN ACTION!\n\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16972 DTSTART;TZID=America/Chicago:20270221T190000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20270221T200000 LOCATION:560 Trinity Ave\, University City 63130 SUMMARY:Great Artists Series '26-'27: Viano Quartet CLASS:PUBLIC DESCRIPTION:Learn more about this season's Great Artists Series!\n[https:// music.washu.edu/great-artists-series-26-27]\n\nTICKETS\n\n(Washington Univ ersity Box Office - 314-935-6543)\n\nPurchase Subscriptions\n[https://wash u.vbotickets.com/subscriptions/9179]\n\nFive Concerts Subscription $150 (T his does not include the sold-out\n10th Anniversary Celebration with piani st Yuja Wang)\n\nPURCHASE SINGLE TICKETS\n[https://washu.vbotickets.com/ev ent/Viano_Quartet_Great_Artists_Series_27/192409] \n\n$35-$40 General Adm ission\n$32-$37 WashU Faculty/Staff\n$15 Students/Youth\n\nBEWARE OF SCAMS ! Tickets purchased through the Washington University\nBox Office or onlin e via AudienceView (also known as OvationTix) are\nthe only approved ticke ts for this event. Purchases made through a\nthird-party vendor such as St ubHub\, Ticketmaster\, or MetroTix will NOT\nbe valid for entry to the per formance.\n\n> “Huge range of dynamics\, massive sound\, and spo ntaneity…all the\n> warmth\, balanced sound\, rhythmic solidity\,  and elegance one could\n> wish for.” - The American Record G uide\n\nPROGRAM\n\nHAYDN String Quartet in C Major\, Op. 20 No. 2 \nREENA ESMAIL String Quartet #2: Dhara (धरा)\nIntermission\nDVOŘÁK Selec tions from “Cypresses” B. 152 \n   I. _I Know that My Love to Thee_ \n   III. _When Thy Sweet Glances Fall on Me_\n   XI. _Nature Lies Pea ceful in Slumber and Dreaming_\nMENDELSSOHN String Quartet No. 4 in E mino r\, Op. 44 No. 2 \n\nBIOGRAPHY\n\nPraised for their “virtuosity\, visce ral expression\, and rare unity\nof intention” (Boston Globe)\, the Vian o Quartet has quickly soared\nto international acclaim as one of the most dynamic and in-demand\nstring quartets of their generation. Winners of the prestigious Avery\nFisher Career Grant in 2025\, the ensemble has captiva ted audiences\nworldwide ever since they were awarded First Prize at the 1 3th Banff\nInternational String Quartet Competition\, with appearances at renowned\nvenues such as Lincoln Center in New York\, Berlin’s Konzertha us\,\nToronto’s Koerner Hall\, Hong Kong’s City Hall\, and London’s\ nWigmore Hall. The Viano Quartet are Bowers Program Artists at The\nChambe r Music Society of Lincoln Center from 2024-2027.\n\nHighlights of the Via no Quartet’s 2025–26 season include debut\nperformances at London’s Southbank Centre\, the Frick Collection in\nNew York\, Dublin’s National Concert Hall\, Coast Live Music\, Friends\nof Chamber Music Kansas City\, Apex Concerts\, the Amelia Island Chamber\nMusic Festival\, the Fortas Se ries at the Kennedy Center\, Premiere\nPerformances HK\, and a mainstage f ull recital debut at the Chamber\nMusic Society of Lincoln Center. The qua rtet also makes return\nappearances at Stanford Live\, Forte Chamber Music \, the Beaches Fine\nArts Series\, the Buffalo Chamber Music Society’s S lee Series (for\nthe second half of their Beethoven cycle)\, Chamber Music Albuquerque\,\nand the Sanibel Music Festival. The quartet looks forward to visiting\nresidencies this season at Stanford University through the St .\nLawrence Legacy Series\, the University of Victoria\, Music in the\nMor ning in Vancouver\, and the Auditorium Chamber Music Series at the\nUniver sity of Idaho. This season also features exciting collaborations\nwith man dolinist Avi Avital\, pianist Sir Stephen Hough\, pianist\nGilbert Kalish\ , clarinetist Anthony McGill\, guitarist Miloš\nKaradaglić\, and singer- songwriter Vienna Teng.\n\nEqually committed to both beloved masterworks a nd contemporary\nrepertoire\, the Viano Quartet actively collaborates with today’s\nleading composers\, including Sir Stephen Hough\, Kevin Lau\, Chris\nRogerson\, and Caroline Shaw. They are set to premiere a newly writ ten\nstring quartet by Indian American composer Reena Esmail in the summer \nof 2026.\n\nThe quartet’s recent discography highlights the ensemble ’s range\nacross both traditional and modern repertoire. Their first ful l-length\nalbum _Voyager_ was newly released in the summer of 2025 with Ap ple\nMusic/Platoon Records. Inspired by humankind's enduring spirit of\nex ploration that connects music and people across vast boundaries\, the\nalb um features Beethoven’s Op. 130 alongside Alistair Coleman’s\n_Moonsho t_. Their debut EP _Portraits_ was released in 2023 as one of\nthe first a lbums to be launched on the Curtis Studio label\, featuring\nworks by Schu bert\, Florence Price\, Tchaikovsky\, and Ginastera.\n\nPassionate about s haring their love for chamber music with the next\ngeneration of musicians \, the quartet has worked with some of the most\ntalented young artists at the world’s leading universities and music\ninstitutions\, including No rthwestern University\, Music@Menlo Chamber\nMusic Institute\, the Colburn Academy\, and Duke University. They have\nalso collaborated with many of the world’s finest artists\, including\nEmanuel Ax\, Inon Barnatan\, Fle ur Barron\, Mahan Esfahani\, Marc-André\nHamelin\, James Ehnes\, Bridget Kibbey\, Paul Neubauer\, David Shifrin\,\nand Pinchas Zukerman.\n\nThe Vi ano Quartet was formed in Los Angeles at the Colburn\nConservatory of Musi c in 2015. Each member of the quartet is grateful\nfor the unwavering supp ort from their mentors at the Curtis Institute\nand Colburn Conservatory\, including members of the Dover\, Guarneri\,\nand Tokyo string quartets.\n \n\"Viano\" is a portmanteau that symbolizes how the four individual\ninst ruments of a string quartet—each beginning with the letter\n\"v\"—work harmoniously as one\, like a piano\, creating a unified\ninstrument calle d the \"Viano.\"\n\n*Programs and artists are subject to change\n\nFinanci al assistance for this project has been provided by the the\nRegional Arts Commission and the Missouri Arts Council\, a state\nagency.  \n\nwww.mi ssouriartscouncil.org\n[https://web.archive.org/web/20250207181022/http:// www.missouriartscouncil.org/]\n\nhttps://racstl.org/grants/\n[https://web. archive.org/web/20250207181022/https://racstl.org/grants/]\n\nWATCH THE VI ANO QUARTET IN ACTION!\n\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16816 DTSTART;TZID=America/Chicago:20260329T190000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260329T190000 SUMMARY:Great Artists Series '26: Isabel Leonard\, mezzo-soprano and John\n Arida\, piano CLASS:PUBLIC DESCRIPTION:TICKETS\n\n(Washington University Box Office - 314-935-6543)\n* purchases only refundable due to presenter cancellation\n\nSingle Tickets [https://ci.ovationtix.com/35674/production/1234955]\n$35-40 General Admis sion\n$32-37 WashU Faculty/Staff\n$15 Students/Youth\n\nBEWARE OF SCAMS! T ickets purchased through the Washington University\nBox Office or online v ia AudienceView (also known as OvationTix) are\nthe only approved tickets for this event. Purchases made through a\nthird-party vendor such as StubH ub\, Ticketmaster\, or MetroTix will NOT\nbe valid for entry to the perfor mance.\n\n> \"She has an effervescent personality and a voice to  match\" - _San\n> Francisco Classical Voice_\n\nPROGRAM\n\n_Claveli tos _by J. Valverde\n\n_Nana de Sevilla_ by F. García-Lorca\n_La Tarara\n  _                                                       \n\n_Cinco Canciones Negras _by Xavi er Montsalvatge\n    _Cuba dentro de un piano_\n_    Punto Habañer a_\n_    Chévere_\n_    Canción de cuna para dormir un negrito_\ n_    Canto negro_\n\nIntermission\n\n_Why Do They Shut Me Out of Heav en?_ (1950) by Aaron Copland/Emily\nDickinson\n_I’ll Be Seeing You\, fro m Right This Way_ (1938) by Sammy\nFain/Irving Kahal\n_My Ship\, from Lady in the Dark_ (1941) by Kurt Weill/Ira Gershwin\n_The Way You Look Tonight \, from Swing Time_ (1936\; arr. Isabel Leonard\nand John Arida) by  Jero me Kern/Dorothy Fields\n\n_I’m a Person Too_\, from _I Hate Music: A Cyc le of Five Kid Songs_\n(1943) by  Leonard Bernstein\n_Lonely Town\, _from _ On the Town _(1944) by Leonard Bernstein/Betty\nComden/Adolph Green\n_I ’m a Stranger Here Myself\,_ from _One Touch of Venus _(1943) by\nKurt W eill/Ogden Nash\n_A Dream Is a Wish Your Heart Makes_\, from _Cinderella_ (1949\; arr.\nIsabel Leonard and John Arida) by Mack David/Al Hoffman/Jerr y\nLivingston\n\nBIOGRAPHIES\n\nISABEL LEONARD \n\nThree-time Grammy Awar d-winning artist Isabel Leonard has established\nherself as one of the mos t in-demand performers as a star on the\nworld’s leading stages and scre ens. The 2024 – 2025 season sees\nMs. Leonard’s much anticipated retur n to Opéra National de Paris as\nRosina in Damiano Michieletto’s produc tion of _Il barbiere di\nSiviglia_\, conducted by Diego Matheuz\, and her house debut with Gran\nTeatre del Liceu as Anita in a concert performance of Bernstein’s\n_West Side Story_\, conducted by Gustavo Dudamel. Ms. Le onard also\nreturns to Houston Grand Opera to sing Angelina in Joan Font ’s\nproduction of _Cenerentola_ and for her directorial debut leading th e\nHGO Family Day production of _Cinderella_\, as well as her return to\nT he Metropolitan Opera as Rosina in Bartlett Sher’s celebrated\nproductio n of_ Il barbiere di Siviglia_. Orchestral appearances\ninclude performanc es of _Les Nuits d’été _with Kevin John Edusei\nconducting the New Yor k Philharmonic\, and Mahler’s _Resurrection\nSymphony_ conducted by musi c director Courtney Lewis. Ms. Leonard also\ncontinues her collaboration w ith guitarist Pablo Sáinz Villegas\,\nperforming their all-Spanish progra m at the Gallo Center for the\nPerforming arts\, and appears in recital wi th Matinee Musicale in\nCincinnati\, OH\, Teatro de la Ciudad in Monterrey \, Mexico\, Sala Sao\nPaulo\, and Teatro Municipal de Río de Janeiro.\n\n The 2023 – 2024 season saw Ms. Leonard’s return Bayersiche\nStaatsoper as Angelina in Jean-Pierre Ponnelle’s production of _La\nCenerentola_\, and a return to Los Angeles Opera to sing the roles of\nDonna Elvira in t he Kasper Holton production of _Don Giovanni_ as well\nas her signature ro le of Rosina in _Il barbiere di Siviglia_. She also\nreturned to Houston G rand Opera for her role debut as Maria in\nFrancesca Zamebllo’s producti on of _The Sound of Music_\, and to\nWashington National Opera to reprise her appearance as the title\ncharacter in Offenbach’s _La Périchole_. C oncert work includes\nopening the Dallas Symphony’s season in a special gala performance\nwith Emanuel Ax\, an appearance hosting Palm Beach Opera ’s season\ngala\, and a live recording of Stravinsky’s _Pulcinella_ wi th Gustavo\nGimeno conducting the Toronto Symphony Orchestra. Additional c oncert\nappearances included Ravel’s _Schéhérazade _with both the New\ nWorld Symphony and longtime collaborator Stéphane Denève and with\nthe Orchestre symphonique de Québec\, and an eleven-city concert tour\nwith r enowned Italian tenor Andrea Bocelli. Ms. Leonard also appeared\nin recita l with Pablo Sáinz Villegas at the Philharmonic Society of\nOrange County \, reprising their program of songs in Spanish.\n\nHighlights of Ms. Leona rd’s career include the title roles in\n_Carmen\, La Périchole\, Cendri llon\, Marnie_\, and _Der Rosenkavalier_\,\nas well as Rosina in _Il barbi ere di Siviglia_\, Angelina in _La\nCenerentola_\, Cherubino in _Le nozze di Figaro_\, Dorabella in _Così\nfan tutte_\, Zerlina and Donna Elvira in _Don Giovanni_\, Sesto in _La\nclemenza di Tito_\, Charlotte in _Werther_ \, Blanche de la Force in\n_Dialogues des Carmélites_\, Costanza in _Gris elda_\, Musetta in _La\nbohème_\, Der Komponist in _Ariadne auf Naxos_\, Sesto in _Giulio\nCesare_\, Maria in _West Side Story_\, and Marguerite in a concert\nperformance of Berlioz’s _La damnation de Faust._\n\nMs. Leo nard regularly appears on the stages of the world’s leading\nopera stage s including The Metropolitan Opera\, Opéra National de\nParis\, Wiener St aatsoper\, Los Angeles Opera\, Bayerische Staatsoper\,\nGlyndebourne Festi val Opera\, San Francisco Opera\, Teatro alla Scala\,\nAix-en-Provence Fes tival\, Salzburg Festspiele\, and Teatro Comunale di\nBologna. She regular ly enjoys collaboration with esteemed conductors\nincluding Valery Gergiev \, Seiji Ozawa\, Antonio Pappano\, Charles\nDutoit\, Gustavo Dudamel\, Esa -Pekka Salonen\, Yannick Nézét-Seguin\,\nFranz Welser-Möst\, Plácido D omingo\, Edward Gardner\, James Levine\,\nEdo de Waart\, James Conlon\, Ma rin Alsop\, Sir Andrew Davis\, Michele\nMariotti\, Harry Bicket\, Andris N elsons\, and Michael Tilson Thomas.\nOrchestral highlights include appeara nces with Cleveland Orchestra\,\nChicago Symphony Orchestra\, New York Phi lharmonic\, Los Angeles\nPhilharmonic\, Teatro Colón in Buenos Aires\, Or questra Acadêmica\nMozarteum Brasileiro\, in São Paulo\, and at Teatro P ositivo in\nCuritiba\, Brazil\, Boston Symphony Orchestra\, and Vienna Phi lharmonic\,\nand San Francisco Symphony\, among others. She also enjoys a regular\ncollaboration with celebrated international star Andrea Bocelli\, \nperforming with him at arenas around the world.\n\nIn the recital hall\, Ms. Leonard has partnered with Spanish guitarist\nPablo Sáinz Villegas f or performances of an all Spanish program with\nLincoln Center Presents th e Metropolitan Opera at Alice Tully Hall\, LA\nOpera at the Colburn School \, San Diego Opera at the La Jolla Music\nSociety\, the Harris Theatre in Chicago\, and the Conservatorìo de\nMúsica de Puerto Rico.\n\nTelevision and film credits include an appearance in the Rebecca\nMiller film _She C ame to Me_\, starring Anne Hathaway and Marisa Tomei\,\nan appearance in t he Leonard Bernstein biopic _Maestro_\, directed by\nBradley Cooper\, bein g featured on the season 43 finale of _Sesame\nStreet_ in Murray Monster ’s “People in Your Neighborhood’\nsegment\, scenes from Terrence McN ally’s _Masterclass_ directed by\nNicole Alexander\, and as a regular ho st of _The Metropolitan Opera’s\nLive in HD_ broadcasts.\n\nMs. Leonard was named recipient of the prestigious Richard Tucker\nAward and currently has three Grammy Awards for Michael Tilson\nThomas’ _From the Diary of Anne Frank _on SFS Media\, Ravel’s\n_L’enfant et les sortilèges_ on D ecca\, and _The Tempest_ from The\nMetropolitan Opera on Deutsche Grammoph on.  She currently resides in\nNew York and sits on the Board of Trustees at Carnegie Hall and on the\nArtistic Advisory Board of ArtSmart.\n\nJOHN ARIDA\n\nPianist and coach John Arida has been praised as “an ardent\na ccompanist… catching fire in the accompaniments and in the solo\npiece ” by The Washington Post. The Philadelphia Inquirer heralded\nhis interp retative prowess\, proclaiming that “Arida was the great\nsource illumin ating text” and that his “…touch was just\nright.” His relationshi ps with some of classical music’s most\nesteemed performers including Ju lia Bullock\, Samantha Hankey\, Isabel\nLeonard\, and Jack Swanson have le d to international recital\nengagements across the United States\, Canada\ , and Mexico. Notable\nvenues include Carnegie Hall\, The Kennedy Center\, the Aspen Music\nFestival and Tanglewood.\n\nBeyond the concert stage\, A rida has assisted many notable conductors\nincluding Harry Bicket\, Daniel a Candilari\, John DeMain\, Christian\nReif\, Speranza Scappucci\, and Emm anuel Villaume. He has been a member\nof the music staff of several U.S. c ompanies and festivals including\nSanta Fe Opera\, Washington National Ope ra\, Central City Opera\,\nVirginia Opera and the Juilliard School. \n\n John has recorded two albums with frequent collaborator mezzo soprano\nMeg an Marino. Their first collaboration\, “The Traveled Road” was\nreleas ed on Ravello Records featuring the music of Evan Mack. Their\nsecond\, “It’s You I Like” was released on Lexicon Classics with\nsongs that celebrate childhood. \n\nArida has held fellowships at the Aspen Music F estival and the Music\nAcademy of the West. He holds a master’s degree i n collaborative\npiano from The Juilliard School and a bachelor’s degree in vocal\nperformance from SUNY Purchase. While maintaining a private stu dio in\nNew York City\, John is currently a full time faculty member in th e\nVocal Arts division at the Juilliard School.\n\nSUPPORT\n\nFinancial as sistance for this project has been provided by the the\nRegional Arts Comm ission and the Missouri Arts Council\, a state\nagency.  \n\nWebsite for the Missouri Arts Council\n[https://www.missouriartscouncil.org/]\nWebsit e for the Regional Arts Commission [https://racstl.org/grants/]\n\nWATCH I SABEL LEONARD IN ACTION!\n\n  \n\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16973 DTSTART;TZID=America/Chicago:20270307T190000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20270307T200000 LOCATION:560 Trinity Ave\, University City 63130 SUMMARY:Great Artists Series '26-'27: Jennifer Johnson Cano\, mezzo-soprano \,\nwith Beth Guterman Chu\, viola\, and Christopher Cano\, piano CLASS:PUBLIC DESCRIPTION:Learn more about this season's Great Artists Series!\n[https:// music.washu.edu/great-artists-series-26-27]\n\nTICKETS\n\n(Washington Univ ersity Box Office - 314-935-6543)\n\nPurchase Subscriptions\n[https://wash u.vbotickets.com/subscriptions/9179]\n\nFive Concerts Subscription $150 (T his does not include the sold-out\n10th Anniversary Celebration with piani st Yuja Wang)\n\nPURCHASE SINGLE TICKETS\n[https://washu.vbotickets.com/ev ent/Jennifer_Johnson_Cano_Great_Artists_Series_27/192411] \n\n$35-$40 Gen eral Admission\n$32-$37 WashU Faculty/Staff\n$15 Students/Youth\n\nBEWARE OF SCAMS! Tickets purchased through the Washington University\nBox Office or online via AudienceView (also known as OvationTix) are\nthe only approv ed tickets for this event. Purchases made through a\nthird-party vendor su ch as StubHub\, Ticketmaster\, or MetroTix will NOT\nbe valid for entry to the performance.\n\n> “voluminous voice with remarkable agility”  -Washington Post\n\nPROGRAM\n\nBrahms: Two Songs\, Op. 91\nSchumann: _A dagio_ and _Allegro_\, Op. 70 (Arr. for Viola and Piano)\nGrieg: _Sechs Li eder_\, Op. 48\nLiszt: _Romance oubliée _(Arr. For Viola and Piano)\nLisz t: Three Songs\nBridge: Three Songs for Voice\, Viola\, and Piano\nVaughan Williams: _Romance_\nDove: _Night's Not Spent Alone_\n\n \n\nBIOGRAPHIES \n\nJENNIFER JOHNSON CANO\n\nJennifer Johnson Cano’s portrayal of Michel e in the recent premiere\nof _The Righteous _at Santa Fe Opera earned her accolades from _The\nNew York Times\, _which_ _noted how she_ _“volu ptuously\ncaptured” the pain and strength of her character\; _Opera Toda y_\ncalled Ms. Cano’s arias in _The Righteous_ “flawless combinations\ nof radiant\, poised\, attractive singing invested with heartfelt\ndeliver y.”\n\nAfter creating the role of Michele in the world premiere of Grego ry\nSpears's _The Righteous_ with Santa Fe Opera in summer 2024\, she wa s\ninvited back to sing the role of Mrs. Grose in Britten's _The Turn\no f the Screw_ as well as Schwertleite in Wagner's _Die Walküre _in\nsum mer of 2025. Her 2025-2026 season includes engagements with the\nChicago \, San Francisco\, Colorado\, and Seattle Symphonies and The\nApollo Orche stra. The Philadelphia Chamber Music\nSociety presents Ms. Cano in recit al with pianist Christopher Cano\nand violist Beth Guterman Chu. Tours inc lude a project with Simone\nDinnerstein and her ensemble Baroklyn as well as a week with the\nNational Symphony Orchestra of Taiwan. Ms. Cano retur ns to the MET\nOpera in her role debut as Suzuki in _Madama Butterfly_. S he\npremieres a new song cycle by Gregory Spears at the Tucson Desert Song \nFestival.\n\nMs. Cano joined the Lindemann Young Artist Development Prog ram at The\nMetropolitan Opera after winning the Metropolitan Opera Nation al\nCouncil Auditions. Among her honors are Winner of the Young Concert\nA rtist International Auditions\, a Sara Tucker Study Grant\, a Richard\nTu cker Career Grant and a George London Award.  \n\nBETH GUTERMAN CHU\n\nB eth Guterman Chu is one of the most sought-after violists of her\ngenerati on. Before joining the St. Louis Symphony Orchestra in 2013 as\nPrincipal Viola\, she was a member of the Chamber Music Society of\nLincoln Center a nd enjoyed a varied career as a chamber musician and\nrecitalist. Chu is s till an avid chamber musician\, and collaborates\nwith many artists includ ing Gil Shaham\, Itzhak Perlman\, Joseph\nKalichstein\, Menahem Pressler\, Jaime Laredo\, James Ehnes\, and members\nof the Guarneri\, Emerson\, and Orion quartets. As a recording artist\,\nshe has recorded for Deutsche Gr ammophon\, Tzadik\, Naxos\, and the CMS\nStudio Recordings.\n\nDuring the summer Chu performs and works with young musicians at the\nAspen Music Fes tival and School\, National Youth Orchestra-USA\, and at\nthe Marlboro Mus ic Festival. In recent years\, she has also performed\nat festivals in Sea ttle\; Lake Champlain\, Vermont\; Portland\, Maine\; as\nwell as Luzerne\,  Bridgehampton\, and Skaneateles\, New York. Chu has\nalso performed a s soloist with many distinguished conductors\nincluding Hannu Lintu\, Bram well Tovey\, David Robertson\, Leonard\nSlatkin\, and James DePreist.\n\nC hu received her Artist Diploma at the New England Conservatory\nstudying w ith Kim Kashkashian\, and her Bachelor of Music and Master of\nMusic degre es from the Juilliard School studying with Masao Kawasaki\nand Misha Amory . She lives in St. Louis with her husband Jonathan\,\nanother violist\, an d their three children.\n\nA seasoned recitalist\, orchestra soloist\, and collaborative pianist\,\nChristopher Cano has performed throughout the US \, Mexico\, Israel\,\nEurope and the Far East.\n\nCHRISTOPHER CANO \n\nMr . Cano has prepared singers for appearances at the Metropolitan\nOpera\, T eatro alla Scala\, Lyric Opera of Chicago\, and orchestral\nappearances wi th the New York Philharmonic\, San Francisco Symphony\,\nChicago Symphony Orchestra\, London Symphony Orchestra\, and the Berlin\nPhilharmonic\, amo ng others.\n\nMr. Cano has had the distinct privilege of working with some of the\ngreat artists and teachers of singing including Marilyn Horne\,\n Sherrill Milnes\, Luciano Pavarotti\, Marni Nixon\, Patricia McCaffrey\,\n Joan Patenaude-Yarnell\, Rita Shane and Diana Soviero.\n\nMr. Cano has bee n a member of the music staff at the Festival Lyrique\nen Mer in Belle Isl e\, France\, Toledo Opera\, San Diego Opera\, Utah\nFestival Opera\, Opera Company of North Carolina\, Florida Grand Opera\,\nand Opera Theatre of S aint Louis\, among others.\n\nAs a collaborative pianist\, Mr. Cano has ap peared at Carnegie Hall\,\nThe Kennedy Center\, and Isabella Stewart Gardn er Museum and on WQXR\,\nNPR\, and KUAT radio. Mr. Cano made his Carnegie Hall solo debut in the\n2017/18 season.\n\nIn 2017\, Mr. Cano was appointe d as the Head of Music and Director of\nthe Marion Roose Pullin Opera Stud io of Arizona Opera and promoted to\nthe position of Director of Artistic Operations in 2022.\n\nMr. Cano currently holds the position of Director o f the Cafritz Young\nArtists and American Opera Initiative of Washington N ational Opera.\n\n*Programs and artists are subject to change\n\nFinancial assistance for this project has been provided by the the\nRegional Arts C ommission and the Missouri Arts Council\, a state\nagency.  \n\nwww.miss ouriartscouncil.org\n[https://web.archive.org/web/20250207181022/http://ww w.missouriartscouncil.org/]\n\nhttps://racstl.org/grants/\n[https://web.ar chive.org/web/20250207181022/https://racstl.org/grants/]\n\nWATCH JENNIFER JOHNSON CANO IN ACTION!\n\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16974 DTSTART;TZID=America/Chicago:20270402T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20270402T203000 LOCATION:560 Trinity Ave\, University City 63130 SUMMARY:Great Artists Series '26-'27: \"Northern Lights in a Persian Sky\"\ nfeaturing Benedicte Maurseth\, Hardanger fiddle with Constantinople CLASS:PUBLIC DESCRIPTION:Learn more about this season's Great Artists Series!\n[https:// music.washu.edu/great-artists-series-26-27]\n\nTICKETS\n\n(Washington Univ ersity Box Office - 314-935-6543)\n\nPurchase Subscriptions\n[https://wash u.vbotickets.com/subscriptions/9179]\n\nFive Concerts Subscription $150 (T his does not include the sold-out\n10th Anniversary Celebration with piani st Yuja Wang)\n\nPURCHASE SINGLE TICKETS \n[https://washu.vbotickets.com/ event/Northern_Lights_in_a_Persian_Sky_Great_Artists_Series_27/192414]\n\n $35-$40 General Admission\n$32-$37 WashU Faculty/Staff\n$15 Students/Youth \n\nBEWARE OF SCAMS! Tickets purchased through the Washington University\n Box Office or online via AudienceView (also known as OvationTix) are\nthe only approved tickets for this event. Purchases made through a\nthird-part y vendor such as StubHub\, Ticketmaster\, or MetroTix will NOT\nbe valid f or entry to the performance.\n\nABOUT\n\nNordic Lights brings together Con stantinople and renowned Hardanger\nfiddle virtuoso Benedicte Maurseth in a collaboration inspired by the\nlandscapes and traditions of Norway. Blen ding Nordic folk heritage\nwith a cross-cultural “North–South” dialo gue\, the program\nexplores the deep connection between music\, nature\, a nd human\nexperience\, creating immersive soundscapes that evoke fjords\,\ nglaciers\, and centuries-old traditions. Featuring Maurseth alongside\nKi ya Tabassian (setar\, voice) and Patrick Graham (percussion)\, the\nperfor mance weaves together voices and instruments into a richly\ntextured\, tra nsportive musical journey. \n\nBIOGRAPHIES\n\nBENEDICTE MAURSETH\n\nBened icte Maurseth is a well-established and esteemed performer and\ncomposer o n Norway’s music scene.\n\nShe has studied with Hardanger fiddle master Knut Hamre for close to\nthirty years and is an alumna of the Ole Bull Aca demy. Maurseth has\ntoured extensively as a soloist and in collaboration w ith others\, both\nin Norway and internationally. She works closely with m any of the\nleading artists across genres and artistic expressions such as Jon\nFosse\, Anne Marit Jacobsen\, Rolf Lislevand\, Mats Eilertsen\, Beri t\nOpheim\, Merilyn Crispell\, and more.\n\nMaurseth has written music for theater and film and other commissioned\nworks for festivals and albums. The work Tidekverv\, which was\npremiered in 2017\, was awarded NOPA’s m usic prize\, and her song\n_Very Ful_l\, which was specially written for t he TV series Loki\n(Marvel Studio)\, ranked high on the Billboard list. Ma urseth also\nreceived many prestigious artist grants from the Norwegian st ate for\ncultivating her tradition and creative work. She has recorded alb ums\nfor Grappa Musikkforlag (Hubro & Heilo) and ECM Records\, and has als o\npublished books\, articles and essays. Her book To be nothing.\nConvers ations with Knut Hamre\, Hardanger Fiddle Master\, was published\nat Terra Nova Press / MIT Press fall 2019. Her latest album Hárr was\nawarded «B est Nordic album of the year»\, and received the\nprestigious Nordic Musi c Prize for 2022. In 2022 she also released the\nbook Systerspel (Fiddlesi sters) about the history of female fiddle\nplayers in Norway from 1700 unt il today.\n\nKIYA TABASSIAN\n\nSetar virtuoso and acclaimed composer\, Kiy a Tabassian\, has carved out\na privileged place on the international musi c scene with his ensemble\nConstantinople and as a soloist. With his celeb rated cross-cultural\nmusical encounters\, he travels across the five cont inents to present\nhis creations and his music on stages all over the worl d.\n\nHe has contributed to many eclectic projects as a composer\, perform er\,\nand improviser. To cite a few\, he has collaborated with the Montrea l\nSymphony Orchestra\, the CBC\, and the Nouvel Ensemble Moderne. He has\ nactively participated in the international project MediMuses from 2002\nt o 2005\, as a member of a research group on the history and the\nrepertoir e of Mediterranean music\, and acted as a contributor to\nseveral publishi ng and recording projects. He also intervened in the\nAtlas ensemble (Neth erlands) since 2009 and contributed to the Atlas\nAcademy as a tutor\, a d ouble project aimed at conjoining contemporary\nmusic and oral traditions. \n\nIn 2015\, he established and directed the very first world music\nresi dency program at the Banff Center for Arts and Creativity\, and\nbetween 2 017 and 2022\, he acted as Associate Artist of the prestigious\nRencontres musicales de Conques (France)\, where he participates at the\nannual prog ram of the festival and also presented recent creations\nfrom Constantinop le.\n\nKiya was a member of the Conseil des arts de Montréal for seven\ny ears\, including as active chairman of the musical decision-making\ncommit tee for three years. He is currently a member of the Board of\nDirectors o f the Conseil des arts et des lettres du Québec.\n\nHe is the artistic di rector of the Centre des musiciens du monde\, a\nmusic Centre he co-founde d in Montreal\, in 2017\, as a space for\ncreation\, meetings\, exchanges\ , and the transmission of knowledge\nbetween professional musicians and th e public. For many years\, the\nensemble of his work has been supported by the Conseil des arts de\nMontréal\, the Conseil des arts et des lettres du Québec\, and the\nCanada Council for the Arts.\n\n*Programs and artist s are subject to change\n\nFinancial assistance for this project has been provided by the the\nRegional Arts Commission and the Missouri Arts Counci l\, a state\nagency.  \n\nwww.missouriartscouncil.org\n[https://web.arch ive.org/web/20250207181022/http://www.missouriartscouncil.org/]\n\nhttps:/ /racstl.org/grants/\n[https://web.archive.org/web/20250207181022/https://r acstl.org/grants/]\n\nWATCH BENEDICTE MAURSETH AND KIYA TABASSIAN IN ACTIO N!\n\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16975 DTSTART;TZID=America/Chicago:20270406T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20270406T203000 LOCATION:560 Trinity Ave\, University City 63130 SUMMARY:Great Artists Series '26-'27: 10th Anniversary Celebration with\npi anist Yuja Wang CLASS:PUBLIC DESCRIPTION:Learn more about this season's Great Artists Series!\n[https:// music.washu.edu/great-artists-series-26-27]\n\nSOLD-OUT PERFORMANCE!\n\n>  \"Wang’s rippling lines were serene and silky. She provided u pfront\n> volatility in the finale... it felt bold and fresh.\"\n > The Times\n\nPROGRAM\n\nTBD\n\nBIOGRAPHY\n\nPianist Yuja Wang is celeb rated for her charismatic artistry\,\nemotional honesty and captivating st age presence. She has performed\nwith the world’s most venerated conduct ors\, musicians and ensembles\,\nand is renowned not only for her virtuosi ty\, but her spontaneous and\nlively performances\, famously telling the  _New York Times_ “I\nfirmly believe every program should have its own l ife\, and be a\nrepresentation of how I feel at the moment.”\n\nYuja was born into a musical family and began studying the piano at\nthe age of si x. She received advanced training in Canada and at the\nCurtis Institute o f Music under Gary Graffman. Her international\nbreakthrough came in 2007\ , when she replaced Martha Argerich as\nsoloist with the Boston Symphony O rchestra. Two years later\, she\nsigned an exclusive contract with Deutsch e Grammophon and has since\nestablished her place among the world’s lead ing artists\, with a\nsuccession of critically acclaimed performances and albums. Her\nrecordings have garnered multiple awards\, including five Gra mmy\nnominations and her first Grammy win for Best Classical Instrumental \nSolo with her 2023 release of “The American Project”. For this\nsh e also won an Opus Klassik award in the Concerto category. \n\nRecent pro jects include a collaborative project with David Hockney at\nLondon’s Li ghtroom\, play-direct tours with the Mahler Chamber to\nEurope and South A merica\, an international duo recital tour with\npianist Vikingur Olafsson and a residency with the New York\nPhilharmonic Orchestra.\n\nThe 2025/26 season will see Yuja open the seasons of many major US\nOrchestras includ ing the San Francisco Symphony\, The Philadelphia\nOrchestra and at Carneg ie Hall where she will play direct the\nTchaikovsky Piano Concerto No. 1. Among her orchestral performances\,\nshe will embark on a major European t our with the Swedish Radio\nOrchestra. Other orchestral appearances this s eason include\nperformances with the Royal Concertgebouw Orchestra\, the N ew York\nPhilharmonic\, The Cleveland Orchestra\, and the Rotterdam Philha rmonic.\nHer play directing continues with tours with the Mahler Chamber\n Orchestra to Spain and the US and she will give a recital tour\nthroughout Asia.  In November 2025\, _Playing with Fire: An immersive\nodyssey with Yuja Wang _will open at the Paris Philharmonie. This\ngroundbreaking\, m ulti-sensory installation will take visitors behind\nthe scenes and offer a rare perspective on the emotion and artistry\nbehind Yuja’s performanc es. \n\n*Programs and artists are subject to change\n\nFinancial assistan ce for this project has been provided by the the\nRegional Arts Commission and the Missouri Arts Council\, a state\nagency.  \n\nwww.missouriartsc ouncil.org\n[https://web.archive.org/web/20250207181022/http://www.missour iartscouncil.org/]\n\nhttps://racstl.org/grants/\n[https://web.archive.org /web/20250207181022/https://racstl.org/grants/]\n\nWATCH THE YUJA WANG IN ACTION!\n\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16916 DTSTART;TZID=America/Chicago:20260330T160000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260330T170000 SUMMARY:A Masterclass with Isabel Leonard\, mezzo-soprano CLASS:PUBLIC DESCRIPTION:PROGRAM\n\n_Beau soir_ by Claude Debussy\n     Amelia Muelle r\, OTSL AIT \n\n_Ridente La Calma_ by W.A. Mozart\n     Sofia La Rosa \, WashU Student \n\n_Laurie’s Song_ from _The Tender Land_ by Aaron Co pland\n     Julianna Cool\, WashU Student\n\n_Aquarelles_: _Green _from _Ariettes oubliées_ by Claude Debussy\n     Audrey Sondag\, Webster U niversity\n\nYeon-Kyung Kim\, collaborative pianist\n\n> \"She has an  effervescent personality and a voice to match\" - _San\n> Francis co Classical Voice_\n\nBIOGRAPHY\n\nISABEL LEONARD \n\nThree-time Gramm y Award-winning artist Isabel Leonard has established\nherself as one of t he most in-demand performers as a star on the\nworld’s leading stages an d screens. The 2024 – 2025 season sees\nMs. Leonard’s much anticipated return to Opéra National de Paris as\nRosina in Damiano Michieletto’s production of _Il barbiere di\nSiviglia_\, conducted by Diego Matheuz\, an d her house debut with Gran\nTeatre del Liceu as Anita in a concert perfor mance of Bernstein’s\n_West Side Story_\, conducted by Gustavo Dudamel. Ms. Leonard also\nreturns to Houston Grand Opera to sing Angelina in Joan Font’s\nproduction of _Cenerentola_ and for her directorial debut leadin g the\nHGO Family Day production of _Cinderella_\, as well as her return t o\nThe Metropolitan Opera as Rosina in Bartlett Sher’s celebrated\nprodu ction of_ Il barbiere di Siviglia_. Orchestral appearances\ninclude perfor mances of _Les Nuits d’été _with Kevin John Edusei\nconducting the New York Philharmonic\, and Mahler’s _Resurrection\nSymphony_ conducted by music director Courtney Lewis. Ms. Leonard also\ncontinues her collaborati on with guitarist Pablo Sáinz Villegas\,\nperforming their all-Spanish pr ogram at the Gallo Center for the\nPerforming arts\, and appears in recita l with Matinee Musicale in\nCincinnati\, OH\, Teatro de la Ciudad in Monte rrey\, Mexico\, Sala Sao\nPaulo\, and Teatro Municipal de Río de Janeiro. \n\nThe 2023 – 2024 season saw Ms. Leonard’s return Bayersiche\nStaats oper as Angelina in Jean-Pierre Ponnelle’s production of _La\nCenerentol a_\, and a return to Los Angeles Opera to sing the roles of\nDonna Elvira in the Kasper Holton production of _Don Giovanni_ as well\nas her signatur e role of Rosina in _Il barbiere di Siviglia_. She also\nreturned to Houst on Grand Opera for her role debut as Maria in\nFrancesca Zamebllo’s prod uction of _The Sound of Music_\, and to\nWashington National Opera to repr ise her appearance as the title\ncharacter in Offenbach’s _La Périchole _. Concert work includes\nopening the Dallas Symphony’s season in a spec ial gala performance\nwith Emanuel Ax\, an appearance hosting Palm Beach O pera’s season\ngala\, and a live recording of Stravinsky’s _Pulcinella _ with Gustavo\nGimeno conducting the Toronto Symphony Orchestra. Addition al concert\nappearances included Ravel’s _Schéhérazade _with both the New\nWorld Symphony and longtime collaborator Stéphane Denève and with\n the Orchestre symphonique de Québec\, and an eleven-city concert tour\nwi th renowned Italian tenor Andrea Bocelli. Ms. Leonard also appeared\nin re cital with Pablo Sáinz Villegas at the Philharmonic Society of\nOrange Co unty\, reprising their program of songs in Spanish.\n\nHighlights of Ms. L eonard’s career include the title roles in\n_Carmen\, La Périchole\, Ce ndrillon\, Marnie_\, and _Der Rosenkavalier_\,\nas well as Rosina in _Il b arbiere di Siviglia_\, Angelina in _La\nCenerentola_\, Cherubino in _Le no zze di Figaro_\, Dorabella in _Così\nfan tutte_\, Zerlina and Donna Elvir a in _Don Giovanni_\, Sesto in _La\nclemenza di Tito_\, Charlotte in _Wert her_\, Blanche de la Force in\n_Dialogues des Carmélites_\, Costanza in _ Griselda_\, Musetta in _La\nbohème_\, Der Komponist in _Ariadne auf Naxos _\, Sesto in _Giulio\nCesare_\, Maria in _West Side Story_\, and Marguerit e in a concert\nperformance of Berlioz’s _La damnation de Faust._\n\nMs. Leonard regularly appears on the stages of the world’s leading\nopera s tages including The Metropolitan Opera\, Opéra National de\nParis\, Wiene r Staatsoper\, Los Angeles Opera\, Bayerische Staatsoper\,\nGlyndebourne F estival Opera\, San Francisco Opera\, Teatro alla Scala\,\nAix-en-Provence Festival\, Salzburg Festspiele\, and Teatro Comunale di\nBologna. She reg ularly enjoys collaboration with esteemed conductors\nincluding Valery Ger giev\, Seiji Ozawa\, Antonio Pappano\, Charles\nDutoit\, Gustavo Dudamel\, Esa-Pekka Salonen\, Yannick Nézét-Seguin\,\nFranz Welser-Möst\, Pláci do Domingo\, Edward Gardner\, James Levine\,\nEdo de Waart\, James Conlon\ , Marin Alsop\, Sir Andrew Davis\, Michele\nMariotti\, Harry Bicket\, Andr is Nelsons\, and Michael Tilson Thomas.\nOrchestral highlights include app earances with Cleveland Orchestra\,\nChicago Symphony Orchestra\, New York Philharmonic\, Los Angeles\nPhilharmonic\, Teatro Colón in Buenos Aires\ , Orquestra Acadêmica\nMozarteum Brasileiro\, in São Paulo\, and at Teat ro Positivo in\nCuritiba\, Brazil\, Boston Symphony Orchestra\, and Vienna Philharmonic\,\nand San Francisco Symphony\, among others. She also enjoy s a regular\ncollaboration with celebrated international star Andrea Bocel li\,\nperforming with him at arenas around the world.\n\nIn the recital ha ll\, Ms. Leonard has partnered with Spanish guitarist\nPablo Sáinz Villeg as for performances of an all Spanish program with\nLincoln Center Present s the Metropolitan Opera at Alice Tully Hall\, LA\nOpera at the Colburn Sc hool\, San Diego Opera at the La Jolla Music\nSociety\, the Harris Theatre in Chicago\, and the Conservatorìo de\nMúsica de Puerto Rico.\n\nTelevi sion and film credits include an appearance in the Rebecca\nMiller film _S he Came to Me_\, starring Anne Hathaway and Marisa Tomei\,\nan appearance in the Leonard Bernstein biopic _Maestro_\, directed by\nBradley Cooper\, being featured on the season 43 finale of _Sesame\nStreet_ in Murray Monst er’s “People in Your Neighborhood’\nsegment\, scenes from Terrence M cNally’s _Masterclass_ directed by\nNicole Alexander\, and as a regular host of _The Metropolitan Opera’s\nLive in HD_ broadcasts.\n\nMs. Leonar d was named recipient of the prestigious Richard Tucker\nAward and current ly has three Grammy Awards for Michael Tilson\nThomas’ _From the Diary o f Anne Frank _on SFS Media\, Ravel’s\n_L’enfant et les sortilèges_ on Decca\, and _The Tempest_ from The\nMetropolitan Opera on Deutsche Grammo phon.  She currently resides in\nNew York and sits on the Board of Truste es at Carnegie Hall and on the\nArtistic Advisory Board of ArtSmart.\n\nSU PPORT\n\nFinancial assistance for this project has been provided by the th e\nRegional Arts Commission and the Missouri Arts Council\, a state\nagenc y.  \n\nWebsite for the Missouri Arts Council\n[https://www.missouriarts council.org/]\nWebsite for the Regional Arts Commission [https://racstl.or g/grants/]\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16815 DTSTART;TZID=America/Chicago:20260301T190000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260301T190000 SUMMARY:Great Artists Series '26: Conrad Tao\, piano CLASS:PUBLIC DESCRIPTION:TICKETS\n\n(Washington University Box Office - 314-935-6543)\n* purchases only refundable due to presenter cancellation\n\nSingle Tickets [https://ci.ovationtix.com/35674/production/1234954]\n$35-40 General Admis sion\n$32-37 WashU Faculty/Staff\n$15 Students/Youth\n\nBEWARE OF SCAMS! T ickets purchased through the Washington University\nBox Office or online v ia AudienceView (also known as OvationTix) are\nthe only approved tickets for this event. Purchases made through a\nthird-party vendor such as StubH ub\, Ticketmaster\, or MetroTix will NOT\nbe valid for entry to the perfor mance.\n\n> “Conrad is the kind of musician who is shaping the  future of\n> classical music.” - _New York Magazine_\n> \n>  “adventurous\, agile and often electrifying as he navigated work s\n> both contemporary and classical.” - _The New York Times_\n \nPROGRAM\n\n\"Poetry and Fairytales\" - Using Brahms’ _Klavierstucke_ O p. 118 as a\nframe\, Tao will weave selections influenced by jazz and the written\nword through selections from contemporary composers.\n\nBrahms\, _Klavierstücke_\, Op. 118 \n     I. _Intermezzo_ \nDavid Fulmer\, I have loved a stream and a shadow (_With glitter of\nsun-rays\, Nor with s tars stretched\, nor looking back from heaven_) \n     I. \nBrahms\, _Klavierstücke_\, Op. 118 \n     II.   _Intermezzo_ \n     III . _Ballade_ \n     IV. _Intermezzo_ \nRebecca Saunders\, _Mirror\, mi rror on the wall_ \nBrahms\, _Klavierstücke_\, Op. 118 \n     V. Ro manze \nIntermission \nTodd Moellenberg\, _Leg of Lamb _(after Bernadett e Mayer) \nDavid Fulmer\, _I have loved a stream and a shadow_ \n     II. — \n     III. \nRavel\, _Gaspard de la nuit_ \n     _Ondi ne _\n_     Le gibet _\n_     Scarbo _\nBrahms\, _Klavierstücke _\, Op. 118 \n     VI._ Intermezzo_\n\n(All programs subject to change )\n\nBIOGRAPHY\n\nConrad Tao is a pianist and composer celebrated for his\ nboundary-defying artistry as well as his powerful performances of\ntradit ional repertoire. Described by_ New York Magazine_ as “the\nkind of musi cian who is shaping the future of classical music\,” and\npraised by _Th e New York Times_ for his “probing intellect and\nopen-hearted vision\, ” Tao appears regularly as a soloist with\nleading orchestras and at maj or venues across the world.\n\nIn the 2025–26 season\, Tao returns to th e Chicago Symphony Orchestra\nas both soloist and recitalist\, performing Bartók’s Piano Concerto\nNo. 3 with Karina Canellakis and later present ing a recital program\nfeaturing Gershwin song arrangements alongside work s by Schoenberg\,\nStrayhorn\, Schumann\, and others. Recital highlights i nclude debuts at\nBerlin’s Philharmonie and Hamburg’s Elbphilharmonie\ , as well as\nreturns to Klavierfestival Ruhr\, and to the Celebrity Serie s of\nBoston\, and the Seattle Symphony with Poetry and Fairy Tales\, a\np rogram blending works by David Fulmer\, Rebecca Saunders\, Todd\nMoellenbe rg\, Brahms\, and Ravel.\n\nTao reunites with Robert Spano for performance s of John Adams’\n_Century Rolls_ (San Diego Symphony) and Bernstein’s _The Age of\nAnxiety_ (Atlanta Symphony). He also joins Matthias Pintsche r and the\nKonzerthausorchester Berlin for Pintscher’s NUR\, and travels to\nTokyo to perform Mozart’s Piano Concerto No. 17 with the NHK\nSymph ony and Jaap van Zweden. He makes his harpsichord debut at\nPrinceton Univ ersity in Patricia Kopatchinskaja’s _Dies Irae_.\n\nRecent highlights in clude his return to Carnegie Hall with Debussy’s\n12 Études and his ori ginal composition _Keyed In_\, as well as\nappearances with the San Franci sco Symphony and Nicholas Collon\,\nPhiladelphia Orchestra and Marin Alsop \, Boston Symphony and Dima\nSlobodeniouk\, New York Philharmonic and Jaap van Zweden\, and Cleveland\nOrchestra and Jahja Ling. In 2024\, he also t oured Europe with the\nKansas City Symphony and Matthias Pintscher to mark the 100th\nanniversary of _Rhapsody in Blue_\, with sold-out performances at the\nElbphilharmonie\, Berlin Philharmonie\, and Concertgebouw.\n\nTao continues performing his own works\, including _Flung Out_\, an\nhomage t o Gershwin\, which he played recently at the Aspen Festival\,\nand _The Ha nd_\, a companion to Beethoven’s Piano Concerto No. 1\,\nwhich was commi ssioned and performed by the Kansas City Symphony. His\norchestral work _E verything Must Go_ premiered with the New York\nPhilharmonic and later in Europe with the Antwerp Symphony. He also\ntours Counterpoint\, his collab oration with dancer Caleb Teicher\, and\nperforms regularly with the Junct ion Trio alongside Stefan Jackiw and\nJay Campbell. Additional recent coll aborators include vocalist\nCharmaine Lee\, artist Avram Finkelstein\, cho reographer Miguel\nGutierrez\, and brass quartet The Westerlies.\n\nTao’ s acclaimed recordings include _Voyages_\, _Pictures_\, and\n_American Rag e_ (all on Warner)\, as well as the _loser_ by David Lang\,\nand _Bricolag e_ with The Westerlies.\n\nHe is a recipient of the Avery Fisher Career Gr ant\, the Gilmore Young\nArtist Award\, and a New York Dance and Performan ce “Bessie” Award\nfor his collaboration with Caleb Teicher on More Fo rever.\n\nSUPPORT\n\nFinancial assistance for this project has been provid ed by the the\nRegional Arts Commission and the Missouri Arts Council\, a state\nagency.  \n\nWebsite for the Missouri Arts Council\n[https://www. missouriartscouncil.org/]\nWebsite for the Regional Arts Commission [https ://racstl.org/grants/]\n\nWATCH CONRAD TAO IN ACTION!\n\n  \n\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16931 DTSTART;TZID=America/Chicago:20260228T190000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260228T203000 SUMMARY:A Masterclass with Conrad Tao\, piano CLASS:PUBLIC DESCRIPTION:Featuring students from the piano and chamber music divisions\n \nPROGRAM\n\nPiano Sonata No. 3 in F minor\, Op. 5 (1853) by Johannes Brah ms\n(1833-1897)\n_   Allegro maestoso_\n     Wilson Gao\, piano\n\nPi ano Quartet No. 1 in G minor\, Op. 25 (1861) by Johannes Brahms\n(1833-189 7)\n_     Allegro_\nCaroline Ladendorf\, violin \nSavannah Mckay\, vio la\nEvelyn Nedelciuc\, cello\nEliza Podvalny\, piano\n\nPiano Sonata No. 1 in F minor (1909) by Sergei Prokofiev (1892-1953)\n     Gus Bachner\, piano\n \n\n> “Conrad is the kind of musician who is shaping  the future of\n> classical music.” - _New York Magazine_\n> \n>  “adventurous\, agile and often electrifying as he navigated wo rks\n> both contemporary and classical.” - _The New York Times_ \n\nBIOGRAPHY\n\nConrad Tao is a pianist and composer celebrated for his\n boundary-defying artistry as well as his powerful performances of\ntraditi onal repertoire. Described by_ New York Magazine_ as “the\nkind of music ian who is shaping the future of classical music\,” and\npraised by _The New York Times_ for his “probing intellect and\nopen-hearted vision\, ” Tao appears regularly as a soloist with\nleading orchestras and at maj or venues across the world.\n\nIn the 2025–26 season\, Tao returns to th e Chicago Symphony Orchestra\nas both soloist and recitalist\, performing Bartók’s Piano Concerto\nNo. 3 with Karina Canellakis and later present ing a recital program\nfeaturing Gershwin song arrangements alongside work s by Schoenberg\,\nStrayhorn\, Schumann\, and others. Recital highlights i nclude debuts at\nBerlin’s Philharmonie and Hamburg’s Elbphilharmonie\ , as well as\nreturns to Klavierfestival Ruhr\, and to the Celebrity Serie s of\nBoston\, and the Seattle Symphony with Poetry and Fairy Tales\, a\np rogram blending works by David Fulmer\, Rebecca Saunders\, Todd\nMoellenbe rg\, Brahms\, and Ravel.\n\nTao reunites with Robert Spano for performance s of John Adams’\n_Century Rolls_ (San Diego Symphony) and Bernstein’s _The Age of\nAnxiety_ (Atlanta Symphony). He also joins Matthias Pintsche r and the\nKonzerthausorchester Berlin for Pintscher’s NUR\, and travels to\nTokyo to perform Mozart’s Piano Concerto No. 17 with the NHK\nSymph ony and Jaap van Zweden. He makes his harpsichord debut at\nPrinceton Univ ersity in Patricia Kopatchinskaja’s _Dies Irae_.\n\nRecent highlights in clude his return to Carnegie Hall with Debussy’s\n12 Études and his ori ginal composition _Keyed In_\, as well as\nappearances with the San Franci sco Symphony and Nicholas Collon\,\nPhiladelphia Orchestra and Marin Alsop \, Boston Symphony and Dima\nSlobodeniouk\, New York Philharmonic and Jaap van Zweden\, and Cleveland\nOrchestra and Jahja Ling. In 2024\, he also t oured Europe with the\nKansas City Symphony and Matthias Pintscher to mark the 100th\nanniversary of _Rhapsody in Blue_\, with sold-out performances at the\nElbphilharmonie\, Berlin Philharmonie\, and Concertgebouw.\n\nTao continues performing his own works\, including _Flung Out_\, an\nhomage t o Gershwin\, which he played recently at the Aspen Festival\,\nand _The Ha nd_\, a companion to Beethoven’s Piano Concerto No. 1\,\nwhich was commi ssioned and performed by the Kansas City Symphony. His\norchestral work _E verything Must Go_ premiered with the New York\nPhilharmonic and later in Europe with the Antwerp Symphony. He also\ntours Counterpoint\, his collab oration with dancer Caleb Teicher\, and\nperforms regularly with the Junct ion Trio alongside Stefan Jackiw and\nJay Campbell. Additional recent coll aborators include vocalist\nCharmaine Lee\, artist Avram Finkelstein\, cho reographer Miguel\nGutierrez\, and brass quartet The Westerlies.\n\nTao’ s acclaimed recordings include _Voyages_\, _Pictures_\, and\n_American Rag e_ (all on Warner)\, as well as the _loser_ by David Lang\,\nand _Bricolag e_ with The Westerlies.\n\nHe is a recipient of the Avery Fisher Career Gr ant\, the Gilmore Young\nArtist Award\, and a New York Dance and Performan ce “Bessie” Award\nfor his collaboration with Caleb Teicher on More Fo rever.\n\nSUPPORT\n\nFinancial assistance for this project has been provid ed by the the\nRegional Arts Commission and the Missouri Arts Council\, a state\nagency.  \n\nWebsite for the Missouri Arts Council\n[https://www. missouriartscouncil.org/]\nWebsite for the Regional Arts Commission [https ://racstl.org/grants/]\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16814 DTSTART;TZID=America/Chicago:20260201T190000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260201T190000 SUMMARY:Great Artists Series '26: Ballaké Sissoko\, kora and Derek Gripper \,\nguitar CLASS:PUBLIC DESCRIPTION:TICKETS\n\n(Washington University Box Office - 314-935-6543)\n* purchases only refundable due to presenter cancellation\n\nSUBSCRIPTIONS [ https://ci.ovationtix.com/35674/store/packages/146183]\n$150 for 6 concert s\n \n\nSingle Tickets [https://ci.ovationtix.com/35674/production/123495 3]\n$35-40 General Admission\n$32-37 WashU Faculty/Staff\n$15 Students/You th\n\nBEWARE OF SCAMS! Tickets purchased through the Washington University \nBox Office or online via AudienceView (also known as OvationTix) are\nth e only approved tickets for this event. Purchases made through a\nthird-pa rty vendor such as StubHub\, Ticketmaster\, or MetroTix will NOT\nbe valid for entry to the performance.\n\nABOUT\n\nMalian kora master Ballaké Sis soko and South Africa’s premier\nclassical guitarist\, Derek Gripper\, r eunite on the E. Desmond Lee\nstage to recreate their acclaimed 2022 perfo rmances in Paris and\nLondon.\n\nDespite not sharing a common spoken langu age\, Ballaké and Derek\ncommunicate through their deep understanding of the kora—West\nAfrica’s 21-string harp. Ballaké\, born into a disting uished lineage\nof griots\, embodies the instrument’s rich oral traditio n\, while\nDerek\, a classical guitarist\, has dedicated himself to transc ribing\nand interpreting the works of these great African composers on the \nguitar.\n\nTogether\, these two virtuosos transcend linguistic and cultu ral\nbarriers\, effortlessly improvising entire concerts. They weave new\n melodies with familiar ones\, allowing the music to flow organically\,\nbl ending diverse traditions into a singular\, innovative musical\nexpression .\n\nBIOGRAPHIES\n\nBALLAKÉ SISSOKO\n\nAfter the success of _Djourou_\, the Malian virtuoso returns for an\nintimate _tête à tête _with h is kora – intimate yet simple\nand majestic.\n\nOn his last album _Djou rou_\, Ballaké Sissoko explored new horizons\nby inviting musicians as v aried as Salif Keita\, Arthur Teboul (Feu!\nChatterton)\, Camille\, Oxmo P uccino\, Vincent Segal and Patrick Messina\,\nPiers Faccini to collaborate with him. The highly praised release was\na demonstration of the art of m usical conversation\, Ballaké style\,\nthat plaited new strands into the long cord or ‘djourou’ that\nlinks him to other musicians and to the history of the kora. There’s\nno doubt that Ballaké owes his taste and talent for the musical\nencounter to his consummate listening skills. But they’re also the\nfruit of the long conservations he never tires of hav ing with his own\ninstrument.\n\nDuring these strange and paradoxical ‘s olitary dialogues’\, he\nmakes his kora speak and reacts to the emotions it arouses in him\,\nletting his imagination and his fingers fly off to l andscapes that are\nboth magnificent and unknown. It’s there that his qu alities as an\nimproviser can be accurately measured\, qualities that he b egan\ncultivating long ago in the shadow of the venerable elders of the\nI nstrumental Ensemble of Mali\, when he was still a young boy. Taking\ntime off from the _Djourou_ sessions\, Ballaké recorded these eight\ninstr umental pieces in the intimate confines of the Chapelle\nSainte-Apolline i n Belgium. Together they proclaim\, without need for\nfurther evidence\, t he heights of mastery and freedom that this\ndiscreet giant of global musi c has scaled in his forty-year-long\ncareer.\n\nThough two of the pieces a lso feature on _Djourou_\, the new album\ngathers together all eight of t hem in a musical conversation between a\nmaster\, made of flesh and spirit \, and his ‘double’\, made of string\nand wood. It’s a captivating\, intimate and authentic testament\,\nrecorded in one afternoon\, in which Ballaké takes us on a journey\, a\nmeandering trip full of majesty that borders on the sacred and touches\nserene meditative uplands as well as pl ains criss-crossed by Manding\nwarriors straight out of the epics of a cou ntry of whom they are the\npride. Ballaké is that country’s best ambas sador. He was recently\ninvited by the famous COLORS studio in Berlin to p lay ‘Nan Sira\nMadi’\, the song that opens the new album. As for the t itle ‘A\nTouma’\, take it to mean ‘this is the moment’: the moment for\nBallaké to share the fruits of his maturity\, and for us to discov er\nand be blown away.\n\nThe CD and vinyl editions of ‘A Touma’ will be available\nexclusively to Nø Førmat! subscribers.\n\nDEREK GRIPPER\n\ nDerek Gripper is one of South Africa’s leading guitarists whose love\no f the kora set him transcribing and recording some of its greatest\nworks\ , changing the face of classical guitar...\n\nWhen Gripper released _One N ight on Earth_\, his first album of kora\ntranslations\, classical guitar legend John Williams said he thought it\nwas “absolutely impossible unt il I heard Derek Gripper do it\,”\nwhile kora maestro Toumani Diabaté a sked for confirmation that it was\nindeed just one person playing. Both in vited Derek to collaborate with\nthem: Derek performed with Williams in Lo ndon’s Shakespeare’s\nGlobe and King’s Place\, and with Diabaté and his Symmetric\nOrchestra at the Acoustik Festival Bamako\, Mali. His 2016 Carnegie\nHall debut paired him with Mali’s Trio da Kali\, and the UK ’s\nSonglines honored him with best album in Africa and the Middle East\ nfor his 2016 album _Libraries on Fire_.\n\nSince these two recordings put kora/guitar translations on the map\,\nhis recent recordings _A Year of S wimming_ (2020)\, _Billy Goes to\nDurban_\, (2021) and _Sleep Songs for M y Daughter_ (2022)\, have\nincorporated elements of his kora explorations in original\ncompositions and improvisations\, captured on tape in the fi eld and in\nstudio\, while his Bach recordings have shown that African mus ic has a\nlot to teach us about recapturing the natural simplicity of earl y\nEuropean music. \n\nTouring globally from his home in Cape Town\, Grip per is collaborating\nwith Malian kora master Ballaké Sissoko on a new du o project\, and\nrecording for the record label Platoon.\n\nSUPPORT\n\nIn collaboration with St. Louis Classical Guitar\n \n\nWashU Department of A frican & African American Studies\n\nFinancial assistance for this project has been provided by the the\nRegional Arts Commission and the Missouri A rts Council\, a state\nagency.  \n\nWebsite for the Missouri Arts Counci l\n[https://www.missouriartscouncil.org/]\nWebsite for the Regional Arts C ommission [https://racstl.org/grants/]\n\nWATCH BALLAKÉ SISSOKO AND DERE K GRIPPER IN ACTION!\n\n  \n\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16930 DTSTART;TZID=America/Chicago:20260202T120000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260202T130000 SUMMARY:Artist Talk: Ballaké Sissoko\, kora CLASS:PUBLIC DESCRIPTION:Master kora virtuoso Ballaké Sissoko will be joined by Profess or of\nMusic Patrick Burke and Senior Lecturer in African and African\nAme rican Studies El Hadji Samba Amadou Diallo in a conversation about\nthe ko ra and its significance in West African musical traditions.\n\nBIOGRAPHIES \n\nBALLAKÉ SISSOKO\n\nAfter the success of _Djourou_\, the Malian virt uoso returns for an\nintimate _tête à tête _with his kora – inti mate yet simple\nand majestic.\n\nOn his last album _Djourou_\, Ballaké Sissoko explored new horizons\nby inviting musicians as varied as Salif K eita\, Arthur Teboul (Feu!\nChatterton)\, Camille\, Oxmo Puccino\, Vincent Segal and Patrick Messina\,\nPiers Faccini to collaborate with him. The h ighly praised release was\na demonstration of the art of musical conversat ion\, Ballaké style\,\nthat plaited new strands into the long cord or ‘djourou’ that\nlinks him to other musicians and to the history of the kora. There’s\nno doubt that Ballaké owes his taste and talent for th e musical\nencounter to his consummate listening skills. But they’re als o the\nfruit of the long conservations he never tires of having with his o wn\ninstrument.\n\nDuring these strange and paradoxical ‘solitary dialog ues’\, he\nmakes his kora speak and reacts to the emotions it arouses in him\,\nletting his imagination and his fingers fly off to landscapes that are\nboth magnificent and unknown. It’s there that his qualities as an\ nimproviser can be accurately measured\, qualities that he began\ncultivat ing long ago in the shadow of the venerable elders of the\nInstrumental En semble of Mali\, when he was still a young boy. Taking\ntime off from the  _Djourou_ sessions\, Ballaké recorded these eight\ninstrumental piece s in the intimate confines of the Chapelle\nSainte-Apolline in Belgium. To gether they proclaim\, without need for\nfurther evidence\, the heights of mastery and freedom that this\ndiscreet giant of global music has scaled in his forty-year-long\ncareer.\n\nThough two of the pieces also feature o n _Djourou_\, the new album\ngathers together all eight of them in a musi cal conversation between a\nmaster\, made of flesh and spirit\, and his ‘double’\, made of string\nand wood. It’s a captivating\, intimate a nd authentic testament\,\nrecorded in one afternoon\, in which Ballaké t akes us on a journey\, a\nmeandering trip full of majesty that borders on the sacred and touches\nserene meditative uplands as well as plains criss- crossed by Manding\nwarriors straight out of the epics of a country of who m they are the\npride. Ballaké is that country’s best ambassador. He w as recently\ninvited by the famous COLORS studio in Berlin to play ‘Nan Sira\nMadi’\, the song that opens the new album. As for the title ‘A\n Touma’\, take it to mean ‘this is the moment’: the moment for\nBalla ké to share the fruits of his maturity\, and for us to discover\nand be blown away.\n\nThe CD and vinyl editions of ‘A Touma’ will be availabl e\nexclusively to Nø Førmat! subscribers.\n\nPATRICK BURKE\n\nPatrick Bu rke received his B.A. in music at the University of\nPennsylvania (1996) a nd his Ph.D. in ethnomusicology at the University\nof Wisconsin-Madison (2 003). Since 2004\, he has been a professor of\nmusic at Washington Univers ity in St. Louis\, where he teaches\nundergraduate and graduate courses on such topics as the history of\njazz and popular music\, music of the Afri can diaspora\, and the methods\nand theories of ethnomusicology.  In 201 3-14\, he was a Guest Scholar\nat the University of Oslo\, Norway\, and he served on the editorial\nboard of the _Journal of the American Musicolog ical Society_ from\n2013 to 2018.  In past years\, Prof. Burke has serv ed as Director of\nUndergraduate Studies and Head of Musicology in the Dep artment of\nMusic.\n\nProf. Burke's research centers on jazz and popular m usic in the United\nStates\, with a focus on the relationship between musi c's performance\nand reception and the formation of racial ideology.  His work has\nbeen supported by fellowships from the American Musicological S ociety\,\nthe American-Scandinavian Foundation\, the National Endowment fo r the\nHumanities\, the Rock and Roll Hall of Fame\, the Social Science\nR esearch Council\, and the Center for the Humanities at WashU.  Prof.\nBur ke is the author of _Come In and Hear the Truth: Jazz and Race on\n52nd S treet_ (University of Chicago Press\, 2008) and _Tear Down the\nWalls: Wh ite Radicalism and Black Power in 1960s Rock_ (University of\nChicago Pres s\, 2021). He was also project director\, researcher\, and\nwriter for the digital humanities project _Music and Racial\nSegregation in Twentieth-C entury St. Louis: Uncovering the\nSources_ (link below).  Prof. Burke’ s current research addresses\nthe role of the Norwegian shipping industry in establishing Western\nideas and stereotypes about music of the global S outh during the Age\nof Empire. In addition to his academic work\, Prof. B urke is a\nguitarist and composer.  He has also performed in a Javanese gamelan\nand on the amadinda\, a Ugandan xylophone.\n\nEL HADJI SAMBA AMAD OU DIALLO\n\nEl Hadji Samba Diallo joined African and African American St udies in\n2011 to expand the language offerings by teaching Wolof. Sinc e\njoining\, he expanded his course offerings to include classes on Islam\ ,\nSufism\, and Francophone Africa.\n\nHis research explores the ways reli gious institutions reproduce\nthemselves and how adherents accept as natur al\, the interpretation of\nthose institutions by their leaders. Diallo us es a variety of\ninternational archives in France and Senegal as well as e thnographic\nresearch. His first book was entitled _La Tijāniyya sénéga laise:\nLes métamorphoses des modèles de succession_ (Paris: Publisud\,\ n2010). In addition to the book\, he has published several articles on\nth e expansion of the Tijāniyya brotherhood in French Colonial\nHistory\, Af rica Zamani\, Incursions\, and Social Compass. His most\nrecent publicati ons have examined the dissemination of Sufism and\nIslam as well as democ ratization processes in Africa.\n\nHis current research project explores m usical influences between\nAfrica and its diaspora. Inspired by his popula r freshman seminar\,\nYouth in Africa\, the research looks to newer diaspo ric connections\ntaking place via dance and the movement of Hip-Hop. The c onnections\ninclude a variety of music such as Zouk\, Cabo Love\, and Kizo mba\,\nstretching from Cape Verde\, Angola\, the Netherlands\, France\, an d\nPortugal to Brazil and the Antilles.\n\nIn addition to his teaching and research commitments\, Diallo continues\nto work with graduate and underg raduate students while fostering\nconnections with African communities in St. Louis. To this end\, he\norganizes many events on campus\, includin g the annual Ñiari Ràkka\nconference with African Islamic leaders and sc holars of Islam.\n\nBefore coming to Washington University\, Samba taught courses at\nSouthern Illinois University at Edwardsville. He received his\ ndoctorate in History and Social Anthropology from the École des\nHautes Études en Sciences Sociales (EHESS) in Paris\, France in July\n2005.\n\nS UPPORT\n\nIn collaboration with St. Louis Classical Guitar\n \n\nWashU De partment of African & African American Studies\n\nFinancial assistance for this project has been provided by the the\nRegional Arts Commission and t he Missouri Arts Council\, a state\nagency.  \n\nWebsite for the Missour i Arts Council\n[https://www.missouriartscouncil.org/]\nWebsite for the Re gional Arts Commission [https://racstl.org/grants/]\n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16811 DTSTART;TZID=America/Chicago:20260222T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260222T203000 SUMMARY:Great Artists Series '26: Anthony Roth Costanzo\, countertenor and\ nBryan Wagorn\, piano CLASS:PUBLIC DESCRIPTION:TICKETS\n\nSingle TICKETS\n[https://ci.ovationtix.com/35674/pro duction/1234952?performanceId=11617580]\n\n(Washington University Box Offi ce - 314-935-6543)\n*purchases only refundable due to presenter cancellati on\n \nSINGLE TICKETS (CALL THE WASHINGTON UNIVERSITY BOX OFFICE -\n314-9 35-6543)\n$35-40 General Admission\n$32-37 WashU Faculty/Staff\n$15 Studen ts/Youth\n\nBEWARE OF SCAMS! Tickets purchased through the Washington Univ ersity\nBox Office or online via AudienceView (also known as OvationTix) a re\nthe only approved tickets for this event. Purchases made through a\nth ird-party vendor such as StubHub\, Ticketmaster\, or MetroTix will NOT\nbe valid for entry to the performance.\n\nPROGRAM\n\n_Quella Fiamma_ by G.F. Handel\n_Gelido in Ogni Vena_ by Antonio Vivaldi\n\n_Supplication and Com pensation _by Joel Thompson\n\nWorks by Franz Liszt:\n_Im Rhein in Schone Strome_\n_Uber Allen Gipfeln ist Ruh_\n_Hohe Liebe_\n_Ihr Glocken von Marl ing_\n\nINTERMISSION\n\n_Villanelle _by Hector_ _Berlioz\n_L’Invitation Au Voyage _by Henri Duparc\n_Non T’accostare A L’urna_ by Giuseppe Ver di\n\nWorks by Philip Glass:\n_Liquid Days_\n_In the Arc of Your Mallet_\n _The Encounter_\n\nWorks by George Gershwin:\n_The Man I Love _\n_Embrace able You_\n_I Got Rhythm _\n\n**All programs subject to change\n \n\n>  “Vocally brilliant and dramatically fearless”\n> - _The New Yo rk Times_\n> \n> “A bona-fide star” - _The New Yorker_“A p erfect musician”\n> - _Le Monde_\n\nBIOGRAPHIES\n\nANTHONY ROTH COST ANZO\n\nGRAMMY-winning Countertenor Anthony Roth Costanzo began performing \nprofessionally at the age of 11 and has since appeared in opera\,\nconce rt\, recital\, film\, and on Broadway. He is the General Director\nand Pr esident of Opera Philadelphia\, and the Artistic Director of\nSongStudio a t Carnegie Hall. He has with appeared many of the\nworld’s leading op era companies and orchestras including the\nMetropolitan Opera\, Opera Na tional de Paris\, Lyric Opera of Chicago\,\nSan Francisco Opera\, Teatro Real\, New York Philharmonic\, Berlin\nPhilharmonic\, LA Philharmonic\,  London Symphony Orchestra\,\nThe Cleveland Orchestra\, National Symphon y Orchestra\, San Francisco\nSymphony\, Met Orchestra Chamber Ensemble\, a nd NDR at the\nElbphilharmonie in Hamburg\, among others. He has performe d at venues\nsuch as Carnegie Hall\, Versailles\, Madison Square Garden\, The\nHollywood Bowl\, Kabuki-Za Tokyo\, The Guggenheim\, The Park Avenue\ nArmory\, and Little Island. As a producer\, he has created projects for\ nThe Paris Opera\, The New York Philharmonic\, The BBC Proms\, WQXR\, and \nSt. Ann’s Warehouse among others. Costanzo graduated with honors\nfr om Princeton University\, and Manhattan School of Music\, where he\nis no w on the board of trustees along with being on the board of\nNational Bla ck Theater. A winner of the Met Opera Competition and\nOperalia\, Costan zo also has an Honorary Doctorate from Manhattan\nSchool of Music\, a  History Makers Award from the New York\nHistorical\, has been a visiting fellow Oxford University\, and a\ndistinguished visiting scholar at Harv ard. He has been in a Merchant\nIvory film and has a forthcoming book for Farrar\, Straus\, and Giroux.\n \n\nBRYAN WAGORN\n\nCanadian-American pia nist Bryan Wagorn serves as Assistant Conductor\nat The Metropolitan Opera . He has appeared on such television and\nradio stations as Good Morning A merica\, WQXR and CBC Radio. He\nregularly performs with the Met Chamber E nsemble in concerts at\nCarnegie Hall and performed as pianist in the Met ’s Grammy-winning\nproductions of Gershwin’s _Porgy and Bess_ and Blan chard’s _Fire\nShut Up in my Bones_ and _Champion_. He recently performe d the role of\npianist Boleslao Lazinski onstage at the Metropolitan Opera in their\n2023 production of _Giordano’s Fedora_ directed by David McVi car\,\nthe role having been last performed by Jean-Yves Thibaudet. As a\nc onductor he collaborated with Angel Blue and the LA Opera on a\ndigital sh ort film with music by David Lang directed by Bill Morrison.\nHe also perf ormed and recorded on the Met Museum’s Cristofori\nfortepiano\, the olde st such instrument in existence. In 2022 he\nperformed in Carnegie Hall’ s gala fundraiser for Ukraine in Carnegie\nHall’s Stern Auditorium along such artists as Angel Blue\, Denyce\nGraves\, Isabel Leonard\, Midori\, a nd Evgeny Kissin. \n\nMr. Wagorn has been engaged by summer festivals inc luding Tanglewood\,\nRavinia\, Salzburg\, Glyndebourne\, Marlboro\, Seiji Ozawa’s Matsumoto\nfestival\, and has served on the faculties of the Nat ional Arts Centre\nOrchestra of Canada’s Summer Music Institute\, Youth Orchestra of the\nAmericas\, and Carnegie Hall's National Youth Orchestra. He has\nperformed with internationally acclaimed artists including Angel Blue\,\nAnthony Roth Costanzo\, Lise Davidsen\, Joyce DiDonato\, Midori\, Nadine\nSierra\, and Pinchas Zukerman. He has been a guest teacher at the Royal\nAcademy of Music in London\, the Glenn Gould School of Music in\nTo ronto\, the Met’s Lindemann Young Artist Development Program\,\nGlynebou rne’s Jerwood Young Artist Program\, and the McGill Schulich\nSchool of Music. \n\nHe made his solo recital debut at New York's Carnegie Hall in 2009 and\nhas also appeared at the Library of Congress\, the United Nation s\nGeneral Assembly\, the Teatro Real in Madrid\, the Teatro di San Carlo\ nin Napoli\, the Kennedy Center for the Performing Arts\, the Hamburg\nOpe ra\, Summer Stage in New York’s Central Park\, the Chamber Music\nSociet y of Lincoln Center\, and he has also toured extensively with\nJeunesses M usicales. He has also performed recitals for the Marilyn\nHorne Foundation \, Richard Tucker Foundation\, and George London\nFoundation. Mr. Wagorn i s on the advisory boards of the Hildegard\nBehrens Foundation and the Bagb y Foundation\, and serves on faculty at\nthe Mannes College of Music and t he Manhattan School of Music. He is a\ngraduate of the University of Ottaw a\, the Mannes College of Music\, and\nthe Manhattan School of Music. \n\ nMr. Wagorn is a Steinway artist.\n \n\nSUPPORT\n\nFinancial assistance f or this project has been provided by the\nRegional Arts Commission and the Missouri Arts Council\, a state agency\nand the Robert H. Orchard Fund\n\ nWebsite for the Missouri Arts Council\n[https://www.missouriartscouncil.o rg]\nWebsite for the Regional Arts Commission [https://racstl.org/grants/] \n\nWATCH ANTHONY ROTH COSTANZO IN ACTION!\n\n  \n\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16902 DTSTART;TZID=America/Chicago:20260126T100000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260126T110000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:CANCELLED - Coffee and Conversation with Anthony Roth Costanzo\,\nc ountertenor CLASS:PUBLIC DESCRIPTION:DUE TO EXPECTED SEVERE WEATHER\, THE COFFEE AND CONVERSATION WI TH\nANTHONY ROTH COSTANZO IS CANCELLED.\n\nJoin us for a conversation\, co ffee\, and donuts with Anthony Roth\nCostanzo. \n\nWe are excited to kick off this amazing Great Artists Series with the\none and only Anthony Roth Costanzo—internationally acclaimed\ncountertenor and General Director & President of Opera Philadelphia. \nFollowing his performance on Sunday\, January 25th\, join us that Monday\nat 10 AM for an intimate and engaging morning with\nAnthony for Coffee & Conversation.\n\nIn addition to his celebrated performing career\, Anthony is redefining\nwhat opera leadershi p can look like today.  Since stepping into his\nrole at Opera Philadelph ia\, he is considered \"now the most innovative\nimpresario in the USA\" ( _STL Today_).  He has championed bold\ninitiatives focused on accessibili ty\, audience growth\, and reimagining\nhow opera connects with communitie s\, bringing the perspective of an\nactive artist directly into the execut ive suite.\n\nOver coffee\, Anthony will share insights into his dual life as\nperformer and arts leader\, his creative process\, and his vision for \nthe future of opera\, moderated by WashU's Professor Tod Decker. This\ni nformal conversation offers a rare opportunity to hear from an artist\nwho is shaping the art form both onstage and behind the scenes\, with\nan ele ctric energy.\n\n> “Vocally brilliant and dramatically fearless”\ n> - _The New York Times_\n> \n> “A bona-fide star” - _The  New Yorker_“A perfect musician”\n> - _Le Monde_\n\nBIOGRAPHY\n \nANTHONY ROTH COSTANZO\n\nGRAMMY-winning Countertenor Anthony Roth Costan zo began performing\nprofessionally at the age of 11 and has since appeare d in opera\,\nconcert\, recital\, film\, and on Broadway. He is the Gener al Director\nand President of Opera Philadelphia\, and the Artistic Direct or of\nSongStudio at Carnegie Hall. He has with appeared many of the\nw orld’s leading opera companies and orchestras including the\nMetropolit an Opera\, Opera National de Paris\, Lyric Opera of Chicago\,\nSan Franci sco Opera\, Teatro Real\, New York Philharmonic\, Berlin\nPhilharmonic\,  LA Philharmonic\, London Symphony Orchestra\,\nThe Cleveland Orchestra \, National Symphony Orchestra\, San Francisco\nSymphony\, Met Orchestra C hamber Ensemble\, and NDR at the\nElbphilharmonie in Hamburg\, among othe rs. He has performed at venues\nsuch as Carnegie Hall\, Versailles\, Madi son Square Garden\, The\nHollywood Bowl\, Kabuki-Za Tokyo\, The Guggenheim \, The Park Avenue\nArmory\, and Little Island. As a producer\, he has cr eated projects for\nThe Paris Opera\, The New York Philharmonic\, The BBC Proms\, WQXR\, and\nSt. Ann’s Warehouse among others. Costanzo gradua ted with honors\nfrom Princeton University\, and Manhattan School of Music \, where he\nis now on the board of trustees along with being on the boa rd of\nNational Black Theater. A winner of the Met Opera Competition and\ nOperalia\, Costanzo also has an Honorary Doctorate from Manhattan\nSch ool of Music\, a History Makers Award from the New York\nHistorical\, h as been a visiting fellow Oxford University\, and a\ndistinguished visit ing scholar at Harvard. He has been in a Merchant\nIvory film and has a fo rthcoming book for Farrar\, Straus\, and Giroux.\n\nTODD DECKER\n\nTodd De cker is the Paul Tietjens Professor of Music and a member of\nthe faculty of the Program in Film and Media Studies. He has published\nfive books (mo st recently _Astaire by Numbers: Time & the Straight\nWhite Male Dancer_) and over thirty articles and book chapters on\npopular music and media in the United States in the twentieth and\ntwenty-first centuries. Decker reg ularly introduces film screenings at\nthe Hi-Pointe Theatre.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16875 DTSTART;TZID=America/Chicago:20251207T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251207T160000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Guitar Gala CLASS:PUBLIC DESCRIPTION:Students in the WashU guitar studios will perform a concert of solos\nand ensembles.\n\nPROGRAM\n\n_All the Things You Are_ by Jerome Ker n(1885-1945) \n_Polka Dots and Moonbeams_ by Jimmy Van Heusen (1913-1990)  \n_Footprints_ by Wayne Shorter (1933-2023)\n     Landon Kahl and Phi l Zhang\n\n_Ejercicio_ in E minor by Jose Ferrer (1835-1916)\n     Andr es Orbegozo \n\n兰亭序 _Orchid Pavilion_周杰伦 by Jay Chou (b. 1979 )\n     Spring Ensemble\n     Susie Sun\, 葫芦丝 hulusi \n     Keyao Song\, ⽵笛 zhudi \n     Michelle Zhang\, ⽵笛 zhudi\n     Angelica Han\, 琵琶 pipa\n     Grace Wu\, 琵琶 pipa\n     Y onghe Han\, cello \n     Niuniu Zhang\, piano\n     Zoe Sun\, flute  \n\n_Koyunbaba _by Carlo Domeniconi (b. 1947) \n     Dani Bosci \n\ n_Trio pour 2 violons et guitare\,_ Op 47 by Matteo Bevilacqua\n(1772-1849 ) \n     I. _Andante _\n     Karis Chen\, violin\n     Caroline Cramer\, violin\n     Daniel Bocsi\, guitar\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16927 DTSTART;TZID=America/Chicago:20260426T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260426T160000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Guitar Gala CLASS:PUBLIC DESCRIPTION:Students in the WashU guitar studios will perform a concert of solos\nand ensembles.\n\nPROGRAM\n\n_Spanish Romance_ (Anonymous)\n     Andres Orbegozo \n\n_Autumn Leaves_ by Joseph Kozma (1905-1969) with Ch et Baker(1929-1988)\nsolo transcription \n_Midnight Blue _by Kenny Burrel l (b.1931) \n     Myles Feingold-Black \n\n_Climbing Spring Mountain _by_ _Zhang Chao (b.1981)\n        Spring Ensemble\n     Xintian Wa ng\, erhu\n     Keyao Song\, dizi\n     Michelle Zhang\, dizi\n     Susie Sun\, hulusi\n     Christine Mo\, percussion\n     Carol Pe ng\, guzhen\n\n_La Catedral_ by Agustín Barrios Mangore (1885-1944) \n         I._   Preludio Saudade _\n         II.  _Andante Relig ioso _\n         III. A_llegro Solemne _\n_Koyunbaba_ by Carlo Dome niconi (b. 1947) \n         III. _Cantabile _\n         IV. _P resto _\n     Dani Bocsi \n\n_Scrapple From the Apple_ by Charlie Par ker \n_It Might As Well Be Spring_ by Richard Rogers (1919-1979) \n_Witc h Hunt _by Wayne Shorter (1933-2023) \n     Landon Kahl/Phil Zhang\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16937 DTSTART;TZID=America/Chicago:20260416T170000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260416T183000 SUMMARY:Laptop Music Concert CLASS:PUBLIC DESCRIPTION:Students in Christopher Douthitt’s course “Laptop Music” in the\nDepartment of Music in Arts & Sciences will perform their final\np rojects in the Kemper Art Museum galleries. Students will activate\nvariou s spaces through multichannel sound installations that respond\nto the arc hitecture\, artworks\, and visitor interaction.\n\nFree and open to the pu blic. \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16880 DTSTART;TZID=America/Chicago:20251204T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251204T203000 SUMMARY:Voice Division Recital CLASS:PUBLIC DESCRIPTION:WashU students in the Voice Division will perform solos\, duets \, and\nmore!\n\nPROGRAM\n\n_Bluesette_ (1962) by Toots Thielemans (1922- 2016)\nNatalie Green\, voice\nMatthew Galik\, piano\n\n_Think of Me_ from _The Phantom of the Opera_ (1986) by Andrew Lloyd\nWebber (b. 1948)\nAllis on Cooper\, soprano\nYeon-Kyung Kim\, piano\n\n_Lydia _Op. 4\, No. 2 (1870 ) by Gabriel Fauré (1845-1924)\nSam Powell\, tenor\nYeon-Kyung Kim\, pian o\n\n_I’m Still Hurting_ from _Last Five Years _(2001) by Jason Robert\n Brown (b. 1970)\nJulia Kahn\, soprano\nYeon-Kyung Kim\, piano\n\n_Come to Me\, Bend to Me from Brigadoon_ (1947) Music by Frederick\nLoewe (1901-198 8)\, Lyrics by Alan Jay Lerner (1918-1986)\nYunshi Qi\, tenor\nYeon-Kyung Kim\, piano\n\n_Aquarelles_ I. _Green_ from _Ariettes oubliées_ (1885) by Claude\nDebussy (1862-1918)\nElla Johnson\, soprano\nYeon-Kyung Kim\, pia no\n\n_Je veux vivre_ from _Roméo et Juliette_ (1867) by Charles Gounod\n (1818-1893)\nSofia La Rosa\, soprano\nYeon-Kyung Kim\, piano\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16938 DTSTART;TZID=America/Chicago:20260423T190000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260423T200000 SUMMARY:Voice Division Recital CLASS:PUBLIC DESCRIPTION:WashU students in the Voice Division will perform solos\, duets \, and\nmore!\n\nPROGRAM\n\n_Quia respexit from Magnificat_ - J. S. Bach (1685-1750)\n     Emily Li\, soprano\n\n_Les Berceaux_ - Gabriel Fauré (1845-1924)\n     Colin Falvey\, tenor\n\n_Come ready and see me_ - Ri chard Hundley (1931-2018)\n     Abi Wileman\, mezzo-soprano\n\n_I Have a Love_ from _West Side Story_ - Leonard Bernstein\n(1918-1990)\n      Selah Pabon\, soprano\n\n_Fly Me to the Moon_ - Bart Howard (1915-2004)\n      Rami Hahami\, baritone\n\n_Pie Jesu_ from _Requiem _- Gabriel Fau ré (1845-1924)\n     Lauren Poprik\, soprano\n\n_Dein blaues Auge _- J ohannes Brahms (1833-1897)\n     Sam Powell\, tenor\n\n_Ch’io Mai vi possa _from _Siore _- G. F. Handel (1685-1759)\n     Sofia La Rosa\, s oprano\n\n_Widmung_ - Robert Schumann (1810-1856)\n     Lihao Liu\, ten or\n\n_Summertime_ from _Porgy and Bess_ - George Gershwin (1898-1937)\n      Precious Barry\, mezzo-soprano\n\n_Laurie’s Song _from _The Ten der Land_ - Aaron Copland (1900-1990)\n     Julianna Cool\, soprano\n\n _The Swimmer _from _Sea Pictures _- Edward Elgar (1857-1934)\n     Max ine Silverstein\, baritone\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16925 DTSTART;TZID=America/Chicago:20260419T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260419T160000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:WashU Symphony Orchestra and Choirs CLASS:PUBLIC DESCRIPTION:The WashU Symphony Orchestra and WashU Choirs will unite for a special\nperformance of Franz Joseph Haydn's _Mass in Time of War\, _featu ring\nsoloists Kelly Daniel-Decker\, soprano\, Erin Haupt\, alto\, Clark\n Sturdevant\, tenor\, and Ben Worley\, bass.\n\nDIGITAL PROGRAM\n[https://w ustl.box.com/s/rzz50ojgb9ngaldlljj4t4a5304n1u9k]\n\nWatch Live [https://yo utube.com/live/8wqZ0PYlTHY?feature=share]\n\nPROGRAM\n\nFanfare from _La  Peri_ (1912) by Paul Dukas (1865-1935)\n\n_Mass in Time of War _ (1796) by Joseph Haydn (1732-1809)\n     I.   _Kyrie_\n     II.  _Gloria_\n     IV. _Sanctus_\n     VI. _Agnus Dei_\n\nKelly Dani el-Decker\, soprano Erin Haupt\, alto\,\nClark Sturdevant\, tenor\, &  Ben Worley\, bass\n\nINTERMISSION\n\n_An Outdoor Overture _(1938) by Aaron Copland (1900 – 1990)\n\nSymphony No. 8 in B minor\, D.  759 “_Unfinished Symphony” _(1822) by\nFranz Schubert (1797  – 1828)\n     I. _Allegro ma non troppo_\n\nHighlights from _Wicked  _(2003) by\nStephen Schwartz (1948 – ) Arr. Ted Ricketts\n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16932 DTSTART;TZID=America/Chicago:20260418T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260418T160000 SUMMARY:Gus Bachner\, Senior Major Recital\, piano CLASS:PUBLIC DESCRIPTION:PROGRAM\n\nPiano Sonata No. 1 in F minor\, Op. 1 (1909) by Serg ei Prokofiev\n_Nocturne_ No. 2 in B Flat Minor\, Op. 27 (1836) by Chopin\n _Nocturne_ No. 2\, Op. 31 (1990) by Lowell Liebermann\,\n_Jazz Nocturne _( 1931) by Dana Suesse\n_The Garden of Eden: Four Rags for piano_ (1969) by William Bolcom\n     No. 1. _Old Adam _\n     No. 2. _The Eternal F eminine _\n     No. 3. _The Serpent’s Kiss_\n     No. 4. _Through Eden’s Gates_\n\nBIOGRAPHY\n\nGus Bachner\, who originally hails from W eston\, Connecticut\, began\ntaking piano lessons at the age of five. Afte r graduating high school\,\nGus continued his musical studies at Washingto n University in St\nLouis\, where he is now completing a Music and Politic al Science\ndegree. While classical music has always been Gus’ central f ocus\, he\nhas a particular interest in repertoire that blends the sounds of\nragtime and jazz with traditional forms. This has led him to study and \nperform works such as George Gershwin’s Concerto in F and Rhapsody\nin Blue\, and such styles feature prominently in the latter half of the\npro gram. Additionally\, while Gus enjoys playing a range of classical\nstyles \, from Baroque period fugues to Romantic era sonatas\, he has\ndiscovered a special love for 20th-century compositions that bridge\nthe gap between traditional forms and modern approaches. He hopes you\nenjoy this program \, which\, as a culmination of his studies at WashU\,\nseeks to present th is balance in the series of selected works. \n\nTHANK YOU\n\nI would like to thank my piano professor\, Dr. Johnson\, for helping me\ngrow as a mus ician and performer over the last four years. This\nperformance would not be possible without your continuous support for\nme as a student. I would also like to thank my advisor\, Professor\nEldridge Stewart\, for your hel p in preparing this recital.\nAdditionally\, I am deeply grateful for my f ormer teacher\, Robert Kwan\,\nwho instilled in me a lifelong commitment t o music\, and from whom I\nlearned to love and appreciate the piano. Final ly\, I would not be in a\nposition to undertake this performance today wit hout my parents\, who\nhave shown nothing but encouragement and support fo r my pursuit of the\npiano\, and whose presence in the next room over I wi ll always miss\nwhen I practice.\n\nPROGRAM NOTES\n\nPIANO SONATA NO. 1\, OP. 1\n_Sergei Prokofiev _(1909)\n\nSergei Prokofiev was born in 1891 to a middle-class family in the\nrural village of Sontsovka\, then a part of t he Russian empire. The\nyoung Prokofiev was exposed to music from an early age by his mother\,\na devoted musician and pianist\, who arranged for hi m to take piano and\ncomposition lessons. In 1904\, Prokofiev enrolled in the Saint\nPetersburg Conservatory\, where he began to gain a reputation f or the\nnovel\, rebellious musical style that would characterize his futur e\ncompositions. By his late teens and early twenties\, Prokofiev had\nbec ome known in St Petersburg by the experimental nature of his works\,\npart icularly in their use of harmonic and tonal clash. His approach to\ndisson ance and tempo was so bold that it sometimes caused Russian\naudiences to leave in an uproar. It was in this time (1909)\, while\nstill a conservato ry student\, that Prokofiev composed his first\npublished work: Piano Sona ta No. 1. The dissonant\, often bewildering\,\nnature of Prokofiev’s mus ical style perhaps serves as a paradigm of\nhis adult life\, which was thr own into chaos by both World Wars and the\n1917 Russian Revolution. He liv ed nearly two decades outside of Russia\nfollowing the Revolution\, return ing only in 1936\, just in time to\nexperience the upheaval of World War T wo. He died on the same day as\nJoseph Stalin\, on March 5\, 1953. This co incidence may have\novershadowed his death\, but does not diminish his leg acy as one of the\n20th centuries’ greatest composers\, who helped usher in a radical\nnew method of composing and performing classical music.\n\n Prokofiev’s first piano sonata is as much a reflection of a budding\ncom poser developing his own musical style as it is a glimpse into the\nrevolu tionary fervor gripping Russia during the early 20th century\,\nparticular ly among young students. These tumultuous times are well\nreflected in the turbulence and strong emotions of the sonata. It\nopens with fierce desce nding left hand octaves and brilliant right\nhand chords before dissolving to a quieter level\, but the piece never\nloses its intensity\, even when the dynamics are restrained. When the\nmusic builds\, it gives the impres sion of cannon fire or bugles blaring\nover a marching army. However\, Pro kofiev still leaves space for\nmoments\, albeit brief\, of serenity and be auty. It is difficult not to\nassume an emotional conflict within the comp oser himself\, a young man\ngrappling with the political and cultural forc es bearing down on his\nlife and working their way into his musical expres sion. As such\, this\nsonata retains the beauty and expressiveness of the Romantic period\nfrom which Prokofiev was taught and inspired\, but it int roduces the\nharshness and confusion that had already begun to engulf the composer\nand the world in which he lived.\n\nNOCTURNE IN D FLAT MAJOR\, O P. 27\, NO. 2\n_Frédéric Chopin _(1836)\n\nFrédéric Chopin was born in 1810 in the small Polish village of\nŻelazowa Wola before moving to Wars aw as an infant\, five years before\nthe city was incorporated into the Ki ngdom of Poland. Chopin was\nraised in a musical family\, and quickly deve loped into a child prodigy\nat the piano\, giving his first public perform ance at the age of seven.\nHe enrolled in the Warsaw Conservatory in 1826. His compositions and\nperformances gained him fame beyond the city\, part icularly regarding\nhis work with the aeolomelodicon (a piano-organ hybrid ). In 1830\,\nChopin moved to Paris\, where the bulk of his compositions w ere written\n(including this D flat nocturne)\, and where he died in 1849. The vast\nmajority of Chopin’s work is exclusively for the piano\, with his\nnocturnes maintaining the most enduring fame outside the world of\nc lassical music. While the nocturne form is not Chopin’s invention\n(the Irish composer John Field wrote the first nocturnes decades\nearlier)\, he introduced a complexity of harmony\, expression\, and form\nto the genre that has allowed the nocturne to define the Romantic\nmusical style.\n\nCh opin’s work is known for its virtuosic style\, and many of his\ncomposit ions reflect his strong sense of Polish nationalism that can\nbe heard in songs that evoke military marches and rural folk tunes.\nHowever\, his Noc turne in D flat major is probably better understood in\nthe context of Cho pin’s perpetually ill health and sensitive\, even\ntimid\, personality. According to those who knew him\, Chopin was an\nintrovert\, and preferred the intimacy of performing in salons rather\nthan concert halls. Indeed\, this nocturne has a drifting\, light\nquality that may sound lost in a la rge venue filled with attentive\npeople. The light melody of the right han d floats over the broken\nchords of the left hand in an unceasing way unti l the piece concludes\,\ngiving the entire song a sense of unity until it eventually ends.\nWhile it builds dramatically in some parts\, these clima xes resemble\nmore closely the wider\, rushing parts of a river than crash ing\nwaterfalls. From childhood\, Chopin was afflicted by ill-health\,\nap parent in his physical fragility\, which he succumbed to at an early\nage. Understanding that his life was tainted by his own every-present\nmortali ty\, one can surmise the source of melancholy that characterizes\nthis pie ce.\n\nNOCTURNE NO. 2\, OP. 31\n_Lowell Liebermann _(1990)\n\nLowell Liebe rmann was born in New York City in 1961. He was\nclassically trained in th e piano\, and took to composition from a young\nage\, studying under the f amous composer and pedagogue Ruther\nSchonthal. At age 15\, Liebermann wro te a sonata for the piano which he\nsubsequently performed at Carnegie Hal l. He enrolled in the Juilliard\nSchool after graduating high school\, and has since continued to\nsolidify himself as a top composer of the modern classical music\nworld. His most notable works include the Sonata for Flut e and Piano\nOp. 23 as well as the solo piano work Gargoyles Op. 29. Liebe rmann’s\ncompositions\, including operas\, concertos\, various solo pian o works\,\nand pieces for an assortment other instruments\, have been perf ormed by\nsome of the most renowned modern musicians and orchestras around the\nworld. Across Liebermann’s catalogue of music\, a theme of\nRomant icism can be found\, but his style represents a complexity and\nexperiment al nature at the center of modern classical compositions.\nListeners may f ind most jarring his use of dissonant harmonies\,\nsharply contrasting dyn amics and tempos\, and a freer structural form\nthat almost gives the impr ession of improvisation. Indeed\, the beauty\nof Liebermann’s piano work s can be attributed as much\, if not more\,\nto the general body and textu re of his sound as the melodies\nthemselves. While Liebermann’s composit ions sometimes approach\natonality\, he still maintains a clear sense of h armony that makes his\noutput accessible to listeners interested in modern works.\n\nCompared to the coherent and gentle nature of Chopin’s Noctur ne in D\nflat major\, Liebermann’s Nocturne No. 2 is strikingly restless and\nuncomfortable. To accomplish these effects\, Liebermann employs a ra nge\nof techniques\, including dynamic and harmonic contrasts\, tempo shif ts\,\nand polyrhythms. While he provides a clear pulse in the left hand\, he\nintroduces a haunting right hand melody over top\, continuously\nchrom atically shifting this voice to build tension. He allows no build\nup to t he first major climax of the piece\, instead surprising the\naudience with a dissonant serious of banging chords. These quickly\ndisappear\, leaving the listener which a right hand voice that now\nflutters disconcertingly up and down the upper keyboard. With these\nflutters\, Liebermann allows t he song to build into an even more\ndramatic climax\, marked by ringing ch ords above thunderous rolling\npatterns in the lower voice. After this sto rm passes\, Liebermann ends\nthe song as softly as it began\, but its comp letion does not exactly\nleave the listener at peace. In fact\, the harmon ically simple\,\nagonizingly slow nature of the final cadence almost seems mocking in\nthe face of the tormenting sound that preceded it. If Chopin ’s take\non the nocturne is a resigned longing in the dark of night\,\nL iebermann’s approach is the previous night’s nightmare that one\ncanno t seem to escape even in the light of day.\n\nJAZZ NOCTURNE\n_Dana Suesse _(1931)\n\nDana Suesse was born in Kansas City\, Missouri in 1909. Through out her\nyouth\, Suesse received classical piano training from some of the most\nrenowned contemporary pianists and pedagogues\, including Alexander \nSiolti (a former student of Liszt)\, Rubin Goldmark (who gave lessons\nt o George Gershwin)\, and Nadia Boulanger (a teacher of some of the\n20th c entury’s best musicians). It was a result of her immense\nsuccess as a c areer composer and performer\, beginning as a teen\, that\nshe received th e title of “The Girl Gershwin.” Like Gershwin\,\nSuesse blended the so unds of jazz with classical forms\, producing work\nmainly for the piano a nd orchestra. In 1987\, in the midst of composing\na musical\, Suesse pass ed away in New York City. Despite her prolific\ncomposition and acclaimed performances at venues including Carnegie\nHall and with the General Motor s Symphony\, Suesse is not nearly as\nwell known today as her contribution s to modern American music would\nsuggest.\n\nSuesse’s _Jazz Nocturne_\, later recorded as a jazz standard by the\nlikes of Peggy Lee and Harry Ja mes\, is an excellent example of the\nbridge between jazz and classical th at Suesse developed. While the\npiece was written for solo piano\, one can hear the sounds of a big\nband throughout. The opening theme gives the im pression of a soft oboe\nand other assorted horns\, while the next section crashes in with the\nentire of the brass and percussion section. Next\, t he vocals drift\nthrough with the melody that Peggy Lee and friends would sing decades\nlater\, followed perhaps by a dreamy trumpet or saxophone so lo. The\nsong concludes with the full effort of the entire ensemble\, dyin g\naway\, it seems\, just as soon as the piece began. While this piece is\ nlabeled a nocturne\, it is obviously far different from the style\nChopin popularized. First\, of course\, in style\; the song is as jazzy\nas a cl assical work can be\, incorporating the striding left hand and\nsyncopated right hand characteristic of ragtime with the harmonies one\nwould expect from the 1930s New York City jazz scene. Second\, the\npiece is highly se ctional in form\, giving it feel of a tune that might\nbe put on by an orc hestra or ensemble. These contrasts move away from\nthe flowing coherency of Chopin’s nocturne\, but there is no doubt\nthat Suesse maintains in h er melodies the same haunting\, melancholy\nfeel that the three nocturnes in this program share.\n\nTHE GARDEN OF EDEN\n_William Bolcom _(1969)\n\nW illiam Bolcom was born in Seattle\, Washington in 1938. He began his\nstud y of piano and composition from a young age\, first at the\nUniversity of Washington as only a child and then at Mills College and\nStanford Univers ity. He completed his musical education at the Paris\nConservatory. He stu died under and was influenced by some of the 20th\ncentury’s most prolif ic composers and musicians\, including Darius\nMilhaud\, Leland Smith\, an d Olivier Messiaen. In the latter half of the\n20th century\, Bolcom becam e distinguished as a significant modern\nAmerican composer\, winning the P ulitzer Prize for music\, the National\nMedal of Arts\, and a Grammy. He h as written a variety of works for the\nsolo piano\, strings\, orchestra\, organ\, and various vocal compositions.\nThe sounds of ragtime have heavil y influenced Bolcom’s work\, and he\nhas proven adept at blending this s tyle with classical forms\, often\nincluding other popular 20th century mu sical styles such as cabaret\nand show tunes.\n\nBolcom’s Garden of Eden set includes four ragtime pieces\, which\ncollectively tell the story of Genesis from the Bible. The first\,\n“Old Adam\,” is a two-step\, and it may be heard as Bolcom’s\ncharacterization of Adam himself. The impre ssion of the song is light\,\nhumorous\, and at times bumbling. There is a carefree nature to the\ntune\, which also portrays a sense of confidence\ , perhaps even\nhaughtiness. “The Eternal Feminine\,” a slow drag\, is far more\nintrospective and sensitive. If we take this rag to be an intro duction\nto Eve\, her character is undeniability more reserved. However\, Bolcom\nalso gives the character a clear sense of authority. After the\nso mewhat subdued nature of the opening theme\, the piece breaks out\ninto st rong\, clear chords that sharply contrast the quiet beginning.\nIf Adam is self-assured and untroubled\, Eve is evidently more complex\nand intellig ent while still maintaining control over her male\ncounterpart.\n\n“The Serpent’s Kiss\,” a rag fantasy\, introduces us to the snake\nin the g arden\, and it is here where the trouble begins. Bolcom directs\nthe tempo to be “fast\, diabolical\,” and our sudden shift to a\nminor key indi cates a sense of impending doom. Throughout the piece\,\nthe listener can vividly imagine the snake tempting Adam and Eve to\neat the forbidden frui t\, the shameful pair hiding from God\, and\nGod’s eventual wrath inflic ted upon them. Bolcom gives the piece a\nstrong intensity via the percussi ve right and left hand chords as well\nas the sharp contrasts between each section. He adds another layer of\nperformance to the work\, directing th e pianist to accentuate certain\nchords with foot stomps and including a t ap dance-esque section in\nwhich the performer raps the piano with their k nuckles and clicks\ntheir tongue. Listeners may also hear pop-culture refe rences in the\ntune\, such as “Gee Officer Krupke!” from _West Side St ory _and the\nspiritual “Joshua Fought the Battle of Jericho.” In the final rag\nof the set\, a cakewalk titled “Through Eden’s Gates\,” w e see our\ncharacters departing paradise. Curiously\, the song does not po rtray\nmuch shame\, but instead conveys a sense of acceptance and even\nop timism. One can imagine the pair strolling off into the distance\,\narm-in -arm\, chatting among themselves about nothing in particular.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16983 DTSTART;TZID=America/Chicago:20260418T123000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260418T133000 SUMMARY:David Zhu\, Senior Minor Recital\, violin CLASS:PUBLIC DESCRIPTION:PROGRAM\n\nSonata No. 2 in A minor\, _Allegro_ (1720) by Johan n Sebastian\nBach (1685 – 1750)\nSonata No. 9 in A major\,_ Adagio sost enuto _– _Presto_ (1804) by\nLudwig van Beethoven (1770 – 1827)\n_In troduction et Rondo Capriccioso_ (1863) by Camille\nSaint-Saëns (1835 – 1921)\n \n\nBIOGRAPHY\n\nDavid is a graduating senior majoring in Com putational Biology and\nminoring in Computer Science and Music.\n\nTHANK Y OU\n\nThank you to everyone I’ve had the honor of interacting with or\nb eing supported by over the past four years. It’s been a wonderful\ntime! \n\nPROGRAM NOTES\n\nBACH – Composed in 1720\, this sonata reflects the clarity and\nstructure of the Baroque era. The Allegro movement is charac terized by\nintricate counterpoint and rhythmic precision\, showcasing Bac h’s\ninterweaving melodies and balanced musical architecture.\nBEETHOVEN  – Composed in 1804\, this sonata marks Beethoven’s\ntransition into his middle period\, where he began to foster greater\nemotional depth and structural innovation. The Adagio sostenuto\nintroduces a reflective\, exp ressive atmosphere\, which contrasts\nsharply with the energetic and virtu osic Presto\, creating a dramatic\nand compelling movement.\nSAINT-SAËNS  – Composed in 1863\, _Introduction et Rondo\nCapriccioso_ is a showca se of Romantic virtuosity. The work begins\nwith a lyrical introduction be fore launching into a lively rondo. Its\ndazzling passages and rhythmic vi tality highlight both elegance and\nintensity. DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16933 DTSTART;TZID=America/Chicago:20260425T170000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260425T180000 SUMMARY:Juana Derdoy\, Senior Capstone Recital\, voice CLASS:PUBLIC DESCRIPTION:WATCH LIVE [https://youtube.com/live/1FhdM7TmdOU?feature=share] \n\nPROGRAM\n\nENGLISH ART SONGS\n\n_Sure on this Shining Night_ (1938) by Samuel Barber\n\n_Heavenly Grass _(1946) by Paul Bowles\n\n_Cabin_ (1946) by Paul Bowles\n\n_Where Corals Lie_ (1888) by Edward Elgar\n\nSPANISH AR T SONGS\n\n_Mi Sueño_ (1914) by Edward Kilenyi\n\n_El Tra La La y el Punt eado _(1910) by Enrique Granados\n\n_La Maja Dolorosa_ (1910) by Enrique G ranados\n\n_Caminito _(1926) by Julián Aguirre\n\nARGENTINE ZAMBAS\n\n_Lu na Tucumana (_1940) by Atahualpa Yupanqui\n\n_Zamba de mi Esperanza _(1950 ) by Luis Profili\n\n_La Lopez Pereyra _(1901) by Artidorio Cresseri\n\n_T onada del Viejo Amor_ (1955) by Eduardo Falú\n\nENGLISH CONTEMPORARY\n\n_ Stand _(2021) by Yebba arr: Carter Anderson\n\nTRANSLATIONS\n\nTranslation s Here\n[https://wustl.box.com/s/rftl0tz7mdw14gqflf2gdbza81je9dml]\n\nPROG RAM NOTES\n\n_SURE ON THIS SHINING NIGHT _(1938)\nSamuel Barber (1910-1981 )\nOriginal Text by James Agee (1909-1955)\n\nAmerican composer Samuel Bar ber was one of the most prominent lyrical\nvoices in twentieth-century Ame rican music. Born in Pennsylvania\, he\nbegan composing at age 7\, writing his first operetta\, _The Rose Tree_\,\nat 10. During his career\, he com posed a wide variety of works for\norchestra\, opera\, chamber ensembles\, and voice. Barber composed\n“Sure on This Shining Night” in 1938 as t he third song of his\n_Four Songs\, Op. 13 _song cycle. The text for “Su re on This Shining\nNight” is taken from James Agee’s anthology “Per mit Me\nVoyage.” The lyrics evoke the quiet wonder of a summer evening a nd\nreflect on the beauty and fragility of human life. Barber responds to\ nthis text with music of remarkable lyrical continuity\, engaging a\nconve rsation between pianist and vocalist. The music mirrors the\npoem’s refl ective tone\, resulting in a work that captures this\nmoment of stillness\ , acceptance\, and awe in the face of life’s\ntransience.\n\n_HEAVENLY G RASS\, CABIN_\nPaul Bowles (1910-1999)\nOriginal Text by Tennessee William s (1911-1983)\n\nPaul Bowles\, born in New York City\, is best known for h is song cycle\,\n_Blue Mountain Ballads _(1946). The cycle sets four poems by American\nplaywright Tennessee Williams\, who grew up in St. Louis: “Heavenly\nGrass\,” “Lonesome Man\,” “Cabin\,” and “Sugar in the\nCane.” These poems reflect the rural American South and Midwest of \nWilliam’s youth. In “Heavenly Grass\,” the song traces visuals of\ nheaven and Earth with contrasting tempos\, charting the course of a\nsoul ’s journey from “a walk in heavenly grass” down to Earth’s\n“far ” and “fast” pace\, eventually returning to the source.\nBowles juxt aposes modality within G major. “Cabin\,” contrastingly\,\nis the only song of the cycle written in the third person. Within the\nsuccinct parab le\, the cabin\, ravaged by the elements\, serves as a\nmetaphor for shatt ered innocence.\n\n_WHERE CORALS LIE_\nEdward Elgar (1857-1934)\nOriginal Text by Richard Garnett (1817-1863)\n\nEdward Elgar\, an English composer from Worcestershire\, emerged as a\nleading figure of late Romantic Britis h music during the late\nnineteenth century. _Sea Pictures_\, composed in 1899 for the Norfolk\nand Norwich Festival\, is the only song cycle Elgar wrote for voice and\norchestra. The cycle\, consisting of five songs set t o poems by\ndifferent authors\, each reflecting different emotional and sy mbolic\naspects of the sea. “Where Corals Lie” was originally written for\nClara Butt\, a renowned English contralto. In the text\, the narrator is\nirresistibly drawn to the mysterious “land where corals lie\,”\nf ascinated by the dangers of the sea's unknown depths.\n\n_MI SUEÑO _(1914 )\nEdward Kilenyi (1884-1968)\nOriginal Text by Unknown\n\nEdward Kilenyi Sr.\, a Hungarian-born violinist and composer living in\nthe United States \, became an active figure in American music during\nthe early 20th centur y. As a teacher\, Kilenyi notably taught George\nGershwin. “Mi Sueño” is one of several Latin American folk songs\narranged by Kilenyi. Based o n a traditional Mexican melody\, the song\nreflects Kilenyi’s passion fo r converting folk music into a\nclassical context. The poem expresses the anguish of a lover facing\nrejection and longing for reconciliation. Set w ithin a minor tonality\nand largely within a lower vocal register\, origin ally designed for a\nmale performer\, conveys the depth of the narrator’ s sorrow. As the\nsong unfolds\, the vocal line grows increasingly express ive\,\nculminating in a passionate farewell that underscores the melodrama \nassociated with traditional Mexican melodies.\n\n_EL TRA LA LA Y EL PUNT EADO\, LA MAJA DOLOROSA _(1910)\nEnrique Granados (1867-1916)\nOriginal Te xt by Fernando Periquet (1873-1940)\n\nEnrique Granados was a Spanish comp oser and pianist central to the\ndevelopment of musical nationalism in Spa in at the turn of the\ntwentieth century.\n\n“El tra la la y el punteado ” presents the spirited voice of a\n_maja_\, a fashionable and confident young Madrileña woman. In the\ntext\, the singer humorously dismisses he r admirer's complaints and\ninsists on continuing to sing despite his obje ctions.\n\nGranados reflects this playful defiance through guitar-like fig ures in\nthe accompaniment\, evoking the strumming patterns of Spanish fol k\ninstruments while reinforcing the character’s independence.\n\nIn con trast\, “La Maja Dolorosa” offers a more introspective\nportrayal of t his woman. Here\, the maja laments the loss of her lover.\nThe vocal line unfolds in sustained\, expressive phrases while the\naccompaniment support s the melody with restrained harmonic motion. The\nslower tempo and sustai ned phrases heighten the longing grief\,\nrevealing a more vulnerable side of the character through the stark\nemotional contrast to the prior song. \n\n_CAMINITO_ (1926)\nJulián Aguirre (1868-1924)\nOriginal Text by Leopo ldo Lugones (1874-1938)\n\nJulián Aguirre was among the earliest composer s to cultivate a\ndistinctly Argentine voice within the art music traditio n. Educated at\nthe Conservatory of Madrid\, Aguirre returned to Buenos Ai res and\nbecame an important figure in the development of Argentine musica l\nnationalism\, drawing inspiration from the melodies and character of\nt he _gaucho _(cowboys of the Argentinian _pampas_) musical tradition.\nAlth ough primarily composing for piano\, Aguirre\, in “Caminito\,”\ndepart ed from his norm to evoke the atmosphere of Argentine folk music\nwithin t he art-song medium. The text evokes themes of nostalgia\,\nmemory\, and lo nging associated with the landscape\, whereas the music\nitself is reminis cent of the guitar accompaniment typical of Pampean\nfolk melodies.\n\n_LU NA TUCUMANA_ (1940)\nAtahualpa Yupanqui (1908-1992)\nOriginal Text by Atah ualpa Yupanqui (1908-1992)\n\nAtahualpa Yupanqui\, born in a small town in the province of Buenos\nAires\, is widely regarded as the most influentia l figure in Argentine\nfolkloric music. A guitarist\, composer\, and ethno grapher passionate\nabout preserving indigenous traditions\, Yupanqui play ed a central role\nin bringing regional folk styles to the national stage. “Luna\nTucumana” uses the moon as a symbol of guidance and companions hip\nduring a journey through the Tucumán landscape and in a relationship .\n\n_ZAMBA DE MI ESPERANZA_ (1950)\nLuis Profili (1906-1975)\nOriginal Te xt by Luis Profili (1906-1975)\n\nWritten and composed by Luis Profili in 1950\, “Zamba de mi\nEsperanza” has become one of the best-known songs in the Argentine\nfolk repertoire. Structured in the traditional form of a zamba\, the\ntext reflects on artistic creation itself. Although it lack ed\npolitical or social content\, it was banned by the military\ndictators hip in Argentina in 1976\, a ban that was eventually lifted\nupon the end of the regime in 1983. The lyrics follow the classic\nstructure of the zam ba\, with two parts\, each with two stanzas and a\nrefrain\, and an intros pective line of thought typical of the zamba\ntradition. Popularized by si ngers such as Jorge Cafrune and groups\nlike Los Chalchaleros\, the song h as become an enduring emblem of\nArgentine folk identity.\n\n_LA LOPEZ PER EYRA _(1901)\nArtidorio Cresseri (1862-1950)\nOriginal Text by Unknown\n\n Composed in 1901 by Artidorio Cresseri\, born in Salta\, “La Lopez\nPere yra” is one of the earliest and most enduring works in the\nArgentine za mba repertoire. Often regarded as the “anthem of\nSalta”\, it is uniqu ely situated within the history of Argentine\nfolkloric music as a “zama cueca\,” or precursor to the zamba.\nUniquely\, “La Lopez Pereyra” d oes not have a refrain\; instead\, it\nis told as a continuous story\, and it has only one theme\, whereas\ntraditional zambas have two. The authors hip of the lyrics is\nuncertain\, with many attributing at least the first three verses to\nthe Uruguayan Juan Francia.\n\n_TONADA DEL VIEJO AMOR _( 1955)\nEduardo Falú (1923-2013)\nOriginal Text by Jaime Dávolos (1921-19 81)\n\nIn the 1950’s\, Argentina experienced a “folklore boom” as a\ nlarge wave of internal migration from the countryside to the city and\nfr om the provinces to Buenos Aires\, establishing folklore as the main\ngenr e of national popular music alongside the tango. Falú\, widely\nrenowned as one of the best guitarists in Argentina\, paired closely\nwith poet Jai me Dávolos to become the renowned “duo from Salta\,”\nand became a ce ntral figure in the folkloric revival of the\nmid-twentieth century. Altho ugh titled a _tonada_\, because of the\n“voice it recalls\,” it is typ ically thought of as a _zamba_\, due\nto its distance from the classic _to nada _rhythm typical to the\nMendoza region of Argentina\, and aligning mo re closely with that of a\n_zamba\, _typical to the Northwest region (incl uding Salta\, Tucumán\,\netc.). Since its publication in 1962\, “Tonada del Viejo Amor” was\nan instant hit\, recorded by countless artists\, i ncluding Los Tucu\nTucu\, Mercedes Sosa\, and Jun Carlos Baglietto with Li to Vitale.\n\n_STAND_\nYebba (1995- present)\nOriginal Text by Yebba (1995 - present)\nArranged by Carter Anderson\nPerformed with the Evergreens A C appella group\n\nYebba\, or Abigail (Abbey) Smith\, was born in Memphis an d draws on\nsoul\, R&B\, and gospel traditions within her music. “Stand ”\nreflects an inner emotional struggle\, questioning whether the speake r\ncan endure hardship and remain strong in the face of change and\nhardsh ip. Performed here in an a cappella arrangement with the\nEvergreens A Cap pella group\, this setting highlights the nuances of\nphrasing\, allowing shifts in timbre and improvisatory gestures\nthroughout.\n\nBIOGRAPHY\n\nJ uana Derdoy\, who grew up in St. Louis\, Missouri\, began singing at age\n 6 with the St. Louis Children's Choir and learning classical guitar at\nag e 10. After graduating from Ladue Horton Watkins High School\, Juana\ncont inued her musical studies at Washington University in St. Louis\,\nwhere s he is completing Music and Biology: Neuroscience degrees on the\npre-medic al track. Juana has been drawn to a variety of genres\,\nranging from clas sical art song and musical theatre to contemporary\nR&B\, and the Argentin ian zambas she grew up singing with family and\nfriends. She hopes you enj oy her program\, which blends her love for\nSpanish and English repertoire and genres as a celebration of her time\nat WashU.  \n\nTHANK YOU\n\nI w ould like to thank my vocal coach\, Dr. Tamara Campbell\, for helping\nme grow as a musician and performer over the last four years. Your\nconstant guidance and support made this recital possible. I would also\nlike to tha nk my advisor\, ​Dr. Snarrenberg\, for your help in\npreparing this reci tal\, as well as Dr. Yeon-Kyung Kim\, for your\nbeautiful artistry and acc ompaniment at the piano. Additionally\, I\nwould like to thank the Evergre ens for singing alongside me today and\nfor being a constant light through out my time at WashU. Finally\, I am\nmost grateful for my parents\, who f irst instilled in me a love for\nmusic through the music we shared at home \, and have supported me in my\npursuits ever since. \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16984 DTSTART;TZID=America/Chicago:20260501T140000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260501T150000 SUMMARY:Bo Canfield\, Senior Major Capstone Recital\, composition CLASS:PUBLIC DESCRIPTION:WATCH LIVE [https://youtube.com/live/4n3St3miSj8?feature=share] \n\nPROGRAM\n\n\"I wrote _Horse_ throughout the entirety of my senior year . All 15\nsongs have gone through many iterations and\, in many cases\, ti tles—\nit's been quite a journey and learning experience. The album focu ses\non the theme of detachment\, utility\, and positioning\, centering ar ound\nthe idea of a horse— a living means of transportation. The songs\n draw on both the experiences of myself and others through a personal\nlens \, often touching on relationship dynamics\, self-conception\, or a\ncombi nation of the two. Each song tells a story\, albeit some more\nliterally t han others. Regardless\, my writing focuses on the\ndevelopment of narrati ve and headspace\, with each song serving as a\nvignette of sorts.\" \n  \nThe songs are as follows: \n_Voicemail_\n_Jack_\n_Clog _\n_Hack_\n_But terfly Effect_\n_Sucker Punch_\n_Shotgun_\n_Dummy_\n_Hole_\n_Horse_\n_Stra tus Cloud_\n_Storm Cloud_\n_Cheap_\n_Grace_\n_Bed_\n\nMUSICIANS\n\n \nBo Canfield\, voice/piano\nNoel Hixson\, bass\nJoseph Fitzgerald\, drums\nAu riel Prepejchal\, trumpet\n \n\nBIOGRAPHY\n\nBo Canfield is a senior at W ashington University\, double-majoring in\nPsychology and Music with a min or in Writing. From Foxboro\,\nMassachusetts\, Bo began composing music sh ortly after learning how to\nplay piano at age 7. Despite not taking forma l piano lessons until\ncollege\, Bo grew up playing piano with jazz ensemb les and accompanying\nsingers. While he enjoys writing instrumental music\ , having now scored\nthree short films for students in the film department \, his main\npassion is songwriting. Bo began songwriting in his sophomore year of\ncollege\, after discovering a love for poetry and creative writi ng. His\ndebut album\, \"Horse\,\" focuses on Bo's relationships with othe rs\,\ntouching on themes of distance\, attachment\, and personal patterns. His\nmain inspirations include Elliott Smith\, Alex G\, and the Beatles\, \nprioritizing musical and lyrical content over elaborate production and\n instrumentation. Bo is currently working on producing an EP with a few\nof the songs off the album and hopes to release it by the end of May.\nHe ho pes you not only enjoy the performance but also connect with the\npersonal elements behind his songwriting.\n \nI would like to thank my compositio n mentor\, Professor Stark\, for his\ncontinuous support and guidance thro ughout the years. Without his\nhelp\, this album would not have been able to be performed. I would\nalso like to thank my jazz piano instructor\, Ka ra Baldus-Mehrmann\, for\nher guidance in improving my piano technique and part writing. She has\nconsistently been one of my biggest supporters and cheerleaders. I\nwould also like to thank my fellow performers\, Noel\, J oseph\, and\nAuriel\, for their willingness to contribute their time and t alent to\nthis project. Finally\, I would like to thank my parents for alw ays\nencouraging me to participate in the arts and engage with my\ncreativ ity. Without them\, I would never have become the musician I am\ntoday.  DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16934 DTSTART;TZID=America/Chicago:20260411T110000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260411T120000 SUMMARY:Benjamin Faden\, Senior Minor Recital\, viola CLASS:PUBLIC DESCRIPTION:PROGRAM\n\nCello Suite No. 2 in D minor\, BWV 1008 (c. 1717-172 3) by Johann\nSebastian Bach (1685 —1750)\n     I.  _ Prelude_\n     II.  _Allemande_\n     III. _Courante_\n     IV. _Sarabande_\n      V.   _Menuet _I & II\n     VI. _Gigue_\n\n_Blues for Benni _( c. 1991)_ _by Eduard Pütz (1911-2000)\n\nViola Concerto in E-flat Major  (c. 1779) by Carl Friedrich Zelter\n(1758-1832) \n     I.   _Alleg ro_\n     II.  _Adagio non troppo_\n     III. _Rondo_\n\n_Adagio_ ( c. 1905) by Zoltán Kodály (1882-1967)\,\n\nArpeggione Sonata in A minor (c. 1824) by Franz Schubert (1797-1828)\n     I. _Allegro Moderato_\n\n _Until Next Time_ (c. 2010) Kenji Bunch (1973-present) \n\n_Andante _and _Hungarian Rondo_\, Op. 35 (c. 1809) Primrose Edition by\nCarl Maria von W eber (1786-1826) \n     I.   _Andante_\n     II. _Hungarian Rondo _\n\nAccompanist: Dr. Young Whun Kim\n\nBIOGRAPHY\n\nBenjamin Faden is a v iolist from Iowa City\, Iowa\, and a senior at\nWashU. Ben began his music al career at five years old at the Preucil\nSchool of Music\, playing the violin. In eighth grade\, seeking more\nexcitement in his classical journe y\, he chose to switch to an\nobjectively richer and more beautiful instru ment: the viola. He has\nloved it ever since. After learning from a violin teacher throughout\nhigh school\, it was not until college that he first began playing\nproper viola repertoire. This recital is the culmination of all that\nhe has learned.\n\nAs a WashU student\, Ben has become involved in many musical endeavors.\nHe has taken lessons every semester\, played in a chamber group for six\nsemesters\, and served as the principal violis t of the WashU orchestra\nfor three. He studied abroad in Santiago\, Chile \, and played with a\nconservatory chamber group\, upping his viola game t remendously.\nOutside of the classroom\, he has performed at weddings\, fo rmal\ndinners\, and at nursing homes. He played in the pit orchestra for C ast\nand Crew’s Pippin\, a student theater group\, and he played Britney \nSpears’ “Toxic” by Britney Spears with a rock band.\nAdditionally\ , he worked as a strings instructor in Webster Groves\nSchool District thi s year\, teaching third graders the violin.\n\nOutside of viola\, Ben is a n avid improviser — he is a member of\nK.A.R.L. Improv and the Camp Dire ctor of a nonprofit improv camp\ncalled “Yesandia” in Cedar Rapids\, I owa. After graduation\, Ben\nintends to move to Chicago to work as an EMT before applying to\nmedical school in 2027. He cannot wait to see where el se viola\nperformance can take him in the future.\n\nTHANK YOU\n\nThank yo u to my childhood violin and viola teacher Mary Neumann. If\nnot for you\, I could not have stuck with this instrument and would not\nbe where I am today. Thank you\, too to my current professor\, Amy\nGreenhalgh. You have taught me why I should love this instrument\, and\nI will be forever grat eful for everything I’ve learned from you.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16985 DTSTART;TZID=America/Chicago:20260428T163000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260428T173000 SUMMARY:Oluwatoni John\, Senior Minor Recital\, voice CLASS:PUBLIC DESCRIPTION:PROGRAM\n\n\"A Miscellany of Music\"\n\nART SONGS\n\n_An die Mu sik_ by Franz Schubert (1797-1828)\n\n_Dolente immagine di Fille mia _by_ _Vincenzo Bellini (1801-1835)\n\n_Canción de cuna para dormir un negrito_ by Xavier Montsalvage\n(1912-2002)\n\n_Where Corals Lie _by Edward Elgar (1857-1934)\n\nJAZZ\n\n_Misty_ by Erroll Garner (1921-1977)\n\n_Dream a Li ttle Dream of Me_ by Fabian Andre (1910-1960) and Wilburt\nSchwandt (1904- 1998)\n\n_Just the Two of Us_ by Bill Withers (1938-2020)\, William Salter \n(1937-2025) & Ralph MacDonald (1944-2011)\n\nMUSICAL THEATER\n\n_Some En chanted Evening _by Richard Rodgers (1902-1979)\n\n_Bill _by Jerome Kern ( 1885-1945)\n\n_You’ve Got Possibilities_ by Charles Strouse (1928-2025)\ n\nGOSPEL/SPIRITUAL/CHRISTIAN\n\n_My Lord What a Morning_ by Jay Althouse (1951-)\n\n_His Eye is On the Sparrow_ by Charles H. Gabriel (1856-1932)\n \n_Zion’s Walls _by Aaron Copeland (1900-1990\n\nBIOGRAPHY\n\nOluwatoni “Toni” John is a graduating senior at WashU studying\nhistory with min ors in music and applied linguistics. Although she\ngrew up singing\, she more concretely began her vocal journey in her\nsixth-grade choir class. E very year since then\, she has sung in school\nand district choirs. At Was hU\, she has been a member of Concert Choir\nand has taken voice lesson wi th Tamara Campbell since her freshman\nyear. Toni also founded\, leads\, a nd arranges for Unending Praise\nGospel Choir\, WashU’s premier a cappel la gospel choir. The group has\nperformed at events including Black Convoc ation\, WashU’s annual\nMartin Luther King Jr. Celebrations\, and variou s others. After\ngraduation\, Toni plans to take a gap year before enrolli ng in a Ph.D.\nprogram in African studies.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16935 DTSTART;TZID=America/Chicago:20260321T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260321T160000 SUMMARY:Leonard Ma\, Senior Minor Recital\, violin CLASS:PUBLIC DESCRIPTION:PROGRAM\n\nViolin Partita No. 2 in D minor\, BWV 1004 (1720) by J.S. Bach (1685 -\n1750)\n     III. _Sarabande _\n     IV. _Gigue  _\n\nViolin Sonata No. 7\, Op. 30 (1803) Ludwig van Beethoven (1770 -\n1 827) \n     I. _Allegro con brio _\n\n_Souvenir d'un lieu cher_\, Op. 42\, No. 3 (1878) Pyotr Ilyich\nTchaikovsky (1840 - 1893) \n     _Mé lodie _\n\nViolin Concerto No. 1\, Op. 26 (1866) Max Bruch (1838 - 1920)\ n     III. _Finale: Allegro energico _\n\nBIOGRAPHY\n\nLeonard Ma is a recent graduate of Washington University in St. Louis\,\nmajoring in biol ogy on the biochemistry track with a minor in music.\nHailing from New Yor k\, he has been happy to call St. Louis home for\nthe last four years and currently works in a lab at WashU. He first\nbegan playing the violin at a ge 10 and has been a member of the WashU\nSymphony Orchestra. Outside of t he violin\, he enjoys reading and\nskateboarding.\n\nTHANK YOU\n\nI extend my deepest gratitude to Prof. Manuela Topalbegovic. Her\nthoughtful tutel age and patience has helped me grow tremendously both\ntechnically and in my musicality. I have many fond memories of our\nlessons together since my very first week of college. She has been a\nsteadfast mentor to me in mus ic and beyond. \n\nI thank Profs. Amy Greenhalgh and Kimberly Jeong for t heir\nencouragement and the many opportunities to perform. I extend my\nhe artfelt appreciation for Prof. Young Whun Kim for his patience and\nexpert ise through our rehearsals togethers—he has helped me connect\nmore deep ly with this program and made this recital especially\nspecial. \n\nI am grateful of the opportunity to integrate music into my\nundergraduate stud ies\, including through the symphony orchestra and\ntheory classes. The mu sic department has been incredibly supportive\,\nand I cherish the friends hips I have made with my professors and\nclassmates. \n\nLastly\, I thank my family and friends for teaching me to give myself\ngrace and making my time in college so enjoyable. They have been a\nconstant source of suppor t and encouragement.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16960 DTSTART;TZID=America/Chicago:20260513T163000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260513T173000 SUMMARY:Jimin Lee and Angelica Han\, Senior Minor Recital\, flute CLASS:PUBLIC DESCRIPTION:PROGRAM\n\n_Poem _(1918) by Charles T. Griffes\n    Angelica Han\, flute\n    Matthew Mazzoni\, piano\n\nSonata for Flute and Piano\, Op.14 (1961) by Robert Muczynski\n             I. _Allegro Deciso_ \n    Jimin Lee\, flute\n    Matthew Mazzoni\, piano\n\nIntroduction a nd Variations on \"Trockne Blumen\" from _Die schöne\nMüllerin_ by Franz Schubert (1797–1828) \n        Introduction:_ Andante _\n        Theme: _Andantino _\n        Variation I \n        Variation III \n        Variation IV \n        Variation V \n        Variation VII: _Allegro_\n    Angelica Han\, flute\n    Matthew Mazzo ni\, piano\n\nFlute Concerto (1926) by Carl Nielsen\n         I. _All egro Moderato_\n    Jimin Lee\, flute\n    Matthew Mazzoni\, piano\n\n _Carmen Fantasy_\, _\"the best bits\"_ arranged for two flutes & piano by\ nBizet-Borne\, arranged by McLearnon\n    Angelica Han\, flute\n    Ji min Lee\, flute\n    Matthew Mazzoni\, piano\n\nBIOGRAPHY\n\nJIMIN LEE i s a graduating senior at Washington University in St.\nLouis\, pursuing a Bachelor of Science in Data Science with a minor in\nMusic. She has studie d flute with Dr. Jennifer Gartley since 2022 and\nwas a member of the Wash U Wind Ensemble for seven semesters\, serving\nas one of the principal flu tists during the most recent academic year.\nShe is the first-place winner of the 2025–2026 Friends of Music\nConcerto and Aria Competition and th e 2026 Flute Society of St. Louis\n(FSSL) Young Artist Competition. Previo usly\, she performed _Breeze in\nthe Forest_ as a soloist with the WashU W ind Ensemble in recognition\nof her runner-up placement in the 2024–2025 Concerto Competition.\nShe also placed 3rd at the 2023 FSSL Young Artist Competition and is a\ntwo-time recipient of the Music Department Award at WashU.\n\nIn her free time\, Jimin enjoys listening to music\, reading\nco ming-of-age novels\, exercising\, and spending time with her friends.\nFol lowing graduation\, she will move to Vancouver to pursue a Master of\nScie nce in Statistics\, where she looks forward to continuing her flute\njourn ey.\n\nANGELICA HAN was a senior at Washington University in St. Louis. Sh e\nearned her Bachelor of Arts in Philosophy-Neuroscience-Psychology with\ na minor in Music in December 2025\, and currently works as a Research\nAs sistant at the Cognitive Control and Psychopathology (CCP) Lab at\nWashU. She began her flute journey at age 10 in Beijing\, and has\nstudied with D r. Jennifer Gartley at WashU since 2023. She has\nperformed with the WashU Wind Ensemble for seven semesters\, and served\nas a flutist with SymfUni Copenhagen (the Symphony Orchestra of the\nUniversity of Copenhagen) whil e studying abroad.\n\nIn addition to her flute journey\, Angelica has play ed the pipa since\nage 9 and has been an active member of the Spring Ensem ble at WashU\nfor 4 years. Following graduation\, she will continue her re search at\nthe CCP Lab at WashU while pursuing a career in the AI engineer ing\nfield. In her free time\, she enjoys traveling\, painting\, listening to\nmusic\, and having existential crises with various LLMs while ponderi ng\nthe fate of the future world.\n\nTHANK YOU\n\nWe would first like to t hank Dr. Jennifer Gartley for her mentorship.\nHer kindness\, musical expe rtise\, and positivity have nurtured our\ngrowth as musicians and flutists . Thank you for making lessons so fun\nand for always encouraging us to st ep out of our comfort zones. We\nhave made unforgettable memories and conn ections that we will cherish\nwell beyond our time at WashU.\n\nWe would a lso like to thank Chris Becker\, Director of the WashU Wind\nEnsemble. Tha nk you for teaching us the joy of ensemble music-making\nand for creating such a fun\, collaborative space for students. With\nyour guidance\, we ha ve grown in our confidence and musicality and are\ngrateful for our time i n this wonderful group.\n\nFinally\, we would like to extend our thanks to the entire WashU Music\nDepartment for making it possible for student mus icians like us to\ngrow and thrive through amazing opportunities and exper iences.\n\nA special thank you to our families and friends for your unwave ring\nsupport and being our biggest fans. We would not be here without you r\nlove and presence. We are grateful to celebrate this milestone with\nyo u. \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16963 DTSTART;TZID=America/Chicago:20260502T180000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260502T190000 SUMMARY:Arim Fremont\, Senior Minor Recital\, piano CLASS:PUBLIC DESCRIPTION:PROGRAM\n\nPrelude in C-sharp minor\, Op. 3 No. 2 (1892) — Se rgei Rachmaninoff\n(1873–1943)\n\nPiano Sonata No. 8 in C minor\, Op. 13 “Pathétique” (1798) —\nLudwig van Beethoven (1770–1827)\n\n_Rêv erie_ (c. 1890) — Claude Debussy (1862–1918)\n\n_Un Sospiro_ (1848) — Franz Liszt (1811–1886)\n\nBIOGRAPHY\n\nArim Fremont\, born in St. L ouis\, Missouri\, began taking piano lessons\nat the age of six. She is cu rrently a senior at Washington University\nin St. Louis\, where she is maj oring in\nPhilosophy–Neuroscience–Psychology on the cognitive neurosci ence\ntrack and minoring in music.\nFrom an early age\, she was drawn to c lassical music\, particularly the\nexpressive intensity of the Romantic er a. This early fascination has\ncontinued to shape her musical interests\, with a special admiration\nfor composers such as Franz Liszt and Sergei Ra chmaninoff. Among her\nfavorite works are Ballade No. 1 in G minor\, Op. 2 3 by Frédéric\nChopin and Rhapsody on a Theme of Paganini\, pieces that reflect her\nappreciation for both technical brilliance and emotional dept h. While\nshe mostly enjoys playing Romantic repertoire\, Arim’s musical tastes\nhave also been shaped by early exposure to the minimalist element s of\nPhilip Glass through her father’s love of his work.\n\nTHANK YOU\n \nI would like to thank my piano teacher and mentor\, Professor Amanda\nKi rkpatrick\, for sharing with me a deep and lasting love for music.\nHer gu idance and dedication have shaped not only my playing but also\nthe way I connect with the repertoire. I am also grateful to all of my\npast music i nstructors\, each of whom has contributed in meaningful\nways to my musica l growth and curiosity. Finally\, I would like to\nthank my family\, whose unwavering support has been foundational to\nthis journey. They have alwa ys encouraged me to continue\, surrounding\nme with classical music and br inging me to concerts\, orchestras\, and\nsymphonies. Looking back\, those experiences are what sustained and\ndeepened my appreciation for music\, and ultimately brought me to where\nI am today.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16964 DTSTART;TZID=America/Chicago:20260503T110000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260503T120000 SUMMARY:Sofia La Rosa\, Junior Major Recital\, voice CLASS:PUBLIC DESCRIPTION:WATCH LIVE [https://youtube.com/live/JYNFw96yfW4?feature=share] \n\nPROGRAM\n\n_Ch’io mai vi possa_ (1728) from _Siroe_ by George Frider ic Handel\n(1685-1759)\n\n_Ridente la calma _(1775) by Wolfgang Amadeus Mo zart (1756-1791)\n_Oiseaux\, si tous les ans _(1777) \n_Als luise die Bri efe ihres ungetreuen Liebhabers verbrannte_ (1787) \n\n_Die Nacht _(1885) by Richard Strauss (1864-1949)\n\n_Ah! Je veux vivre! _(1867) from_ Romé o et Juliette_ by Charles\nGounod (1818-1893)\n\nFrom _Cuatro Madrigales A matorios_ (1947) by Joaquín Rodrigo\n(1901-1999)\n    _ Vos me matást eis _\n _    ¿De dónde venís amore? _\n\n_Willow Song_ (1955) from _ The Ballad of Baby Doe_ by Douglas Moore\n(1893-1969)\n\n_Love’s Philo sophy_ (1905) by Roger Quilter (1877-1953)\n\nTEXTS & TRANSLATIONS\nTEXTS & TRANSLATIONS\n[https://wustl.box.com/s/te7doezmum34wyukttrf9b46omgkktu2] \n\nBIOGRAPHY\n\nSofia La Rosa\, born and raised in Tacoma\, Washington\, began her study\nof music at age 5 as a violinist and pianist\, later begi nning\nclassical voice at 16. Sofia now attends Washington University in S t.\nLouis\, where she is pursuing a dual degree in Vocal Performance and\n Political Science. Her interest in opera began in middle school after\nhea ring Gregorian chants and latin hymns performed at her home church.\nThis developed into a love and appreciation for the romantic period\,\nworship music\, and connecting her audience to the passion expressed by\na compose r in their work. Sofia enjoys coloratura passages\, which\nfeature rapid  ornamentation through agile leaps and trills\, as they remind h er of similar qualities in those\nsame latin hymns that originally in spired her love for opera.\n\nTHANK YOU\n\nI would like to thank my instru ctor\, Kelly Daniel-Decker. Her support\nand expertise have grown me into the singer that I am today. I’d\nalso like to thank all my music instruc tors\, both past and present\;\neach has\nplayed an enormous role in  shaping my musical knowledge and enjoyment of my craft. Above al l\, I’d like\nto thank my parents\, who have supported me unconditiona lly throughout\nmy music journey. They have been the backbone behind my su ccess\, and I\nalways look for their faces in the audience.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16941 DTSTART;TZID=America/Chicago:20260507T130000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260507T140000 SUMMARY:Maxine Silverstein\, Senior Minor Recital\, voice CLASS:PUBLIC DESCRIPTION:PROGRAM\n\nSelections from_ Schwanengesang_ (D. 957) by Franz Schubert\n\n* \n_Liebesbotschaft_\n* \n_Der Atlas_\n* \n_Die Stadt_\n* \n _Der Doppelgänger_\n* \n_Die Taubenpost_\n\n_Don Quichotte à Dulcinée _ (M.84) by Maurice Ravel\n\n* \n_Chanson Romanesque_\n* \n_Chanson épique_ \n* \n_Chanson à boire_\n\nINTERMISSION\n \n“Hai già vinta la causa ” from _Le Nozze di Figaro_ (K.492) by_\n_Wolfgang Amadeus Mozart\n\n “L’ultima canzone” by Francesco Paolo Tosti\n\nSelections from _Sea Pictures _(Op. 37) by  Edward Elgar\n\n* \n_Sabbath Morning at Sea_\n* \n _In Haven_\n* \n_The Swimmer_\n\nBIOGRAPHY\n\nMaxine Silverstein is a seni or at Washington University in St. Louis.\nMaxine has a major in mathemati cs with a minor in music\, focusing on\nmusic composition and voice. Their musical journey began in elementary\nschool\, where they experimented wit h the piano and violin before\nsettling on the cello. They discovered thei r passion for voice in the\ntheater\, participating in several musicals th roughout their middle and\nhigh school years. For the past four years\, th ey have been studying\nvoice under Nathan Ruggles\, with a focus on classi cal voice. They have\nhad the privilege of performing in masterclasses wit h Lawrence\nBrownlee\, Marques Jerrell Ruff\, and Dr. Bethany Worrell. Max ine wants\nto extend their gratitude to their family\, friends\, and mento rs who\nhave supported their endeavors at WashU. DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16942 DTSTART;TZID=America/Chicago:20260404T143000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260404T153000 SUMMARY:Wilson Gao\, Senior Minor Recital\, piano CLASS:PUBLIC DESCRIPTION:PROGRAM\n\nPiano Sonata No. 3\, _Allegro maestoso_\, Op. 5 (185 3) by Johannes\nBrahms (1833 – 1897)\n\n_Jeux d'eau _(1901) by Maurice R avel (1875 – 1937)\n\n_Études-Tableaux _Op. 39\, No. 5 (1916 – 1917) by Sergei\nRachmaninoff (1873 – 1943)\n\n_Transcendental_ Étude No. 12 (1852) by Franz Liszt (1811 – 1886)\n\nBIOGRAPHY\n\nWilson Gao\, 21\, is a senior at Washington University in St. Louis\nmajoring in computer scie nce and mechanical engineering\, with minors\nin economics and music. He h as studied piano for sixteen years and\ncurrently works with Amanda Kirkpa trick\, having previously studied\nwith Laura Schindler from 2017 to 2022. \n\nWilson has earned multiple honors in the Missouri Music Teachers\nAsso ciation State Piano Competition\, including first place in Solo\nPiano in both 4th and 9th grade and second place in 8th and 11th\ngrade. In 2022\, he performed Prokofiev’s Toccata at the Fox Theater\nas a finalist in th e St. Louis Teen Talent Competition\, where he\nreceived the $1\,500 Burge ss Award for Classical Performance. Most\nrecently\, Wilson placed second in the 2025-2026 WashU Concerto and\nAria Competition\, playing Beethoven ’s Fifth Piano Concerto. He has\nalso participated in masterclasses with Javor Bracic\, Brian Woods\,\nVictor Rosenbaum\, Sir Stephen Hough\, and Conrad Tao.\n\nPROGRAM NOTES\n\n_Brahms_ – Composed when Brahms was just twenty\, this sonata would\nbecome the last he ever wrote in the genre. T he first movement unfolds\nfrom two contrasting musical ideas: a bold\, ma rch‑like theme with\nsteady\, grounded rhythm\, and a lyrical\, singing second subject cast in\na warm major key. As the movement progresses\, the se ideas intertwine\nand intensify\, ultimately converging in a triumphant \, sweeping coda.\n\n_Ravel_ – _Jeux d’eau_ (“Fountains\,” “Play ing Water\,” or\nliterally “Water Games”) was Ravel’s first major work\, written\nsix years after his expulsion from the Paris Conservatoire for a lack\nof prizes. Often cited as an early landmark of musical\nImpre ssionism—a label Ravel himself disliked—the piece inspired\nlater work s by Debussy and others. Brilliant and technically\nintricate\, it evokes the play of light on moving water through\nshimmering textures\, cascading figures\, and a sense of effortless\nfluidity.\n\n_Rachmaninoff_ – Rach maninoff’s two sets of Études‑Tableaux\n(“study‑paintings”) exp lore vivid emotional and pictorial ideas.\nThe Op. 39 set\, composed as he fled the turmoil of the October\nRevolution\, is darker and more intense than its predecessor. The fifth\netude is fiery and impassioned\, shifting between forceful declamation\nand moments of introspective lyricism. Its energy gradually\ndissipates\, ending in a quiet\, fading glow\, like a fl ame burning its\nlast embers.\n\n_Liszt_ – The final work in Liszt’s c elebrated Transcendental\nÉtudes\, themselves the culmination of revision s spanning decades\,\n_Chasse-neige_ (“Snow‑whirls”) serves as a poe tic end to a set\nof incredibly demanding works. Built from two simple mel odic ideas yet\naccompanied by constant tremolos\, jumps\, and chromatic s cales\, the\npiece evokes the winter wind: beginning as a gentle breeze\, gathering\ninto a powerful\, thunderous climax\, only to recede into still ness once\nmore.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16943 DTSTART;TZID=America/Chicago:20260502T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260502T160000 SUMMARY:Michelle Zhang\, Junior Major Recital\, oboe CLASS:PUBLIC DESCRIPTION:Fantasy Quartet (1946) by Ernest John Moeran (1894–1950)\n     Michelle Zhang\, oboe\n     Bradley Gober\, violin\n     Delia Zacks\, viola\n     Coco Wicks\, cello\nSonata for Oboe and Piano\, Op. 55 (2009) by Stefan Heucke (b. 1959)\n         I. Nicht schnell\, ab er in fließender Bewegung (Not\nfast\, but with flowing motion)\n         II. Schnell\, hart\, hämmernd (Fast\, hard\, hammered)\n         III. Sehr langsam (Very slowly)\n     Michelle Zhang\, oboe\n     Young Whun Kim\, piano\n\nBIOGRAPHY\n\nMichelle Zhang is a third-year st udent from St. Louis\, Missouri\,\npursuing a Bachelor of Music in Music P erformance at Washington\nUniversity in St. Louis. Michelle began playing the oboe at age 11. At\nWashU\, Michelle has been the principal oboist of the WashU Symphony\nOrchestra and Wind Ensemble\, a member of several cham ber ensembles\,\nand a winner of the 2023–2024 Friends of Music Concerto and Aria\nCompetition. Michelle currently studies oboe with Nadia Para\, having\npreviously studied with Claire Workinger\, and has also received\n additional instruction from Dr. Sara Fraker of the University of\nArizona and Tucson Symphony Orchestra.\n\nTHANK YOU\n\nThank you\, Claire\, for al l that you shared with me during our lessons.\nThe generosity with which y ou passed on your tools for oboe\, music\,\nand life brought me here.\n\nI am also deeply grateful to all in the Washington University\nDepartment o f Music who have been involved in my musical journey.\nThank you for the e xtraordinary support you have given me. I am\nespecially grateful to Amy G reenhalgh\, Kimberly Jeong\, and Chris\nBecker for always encouraging and believing in me.\n\nFinally\, I am most indebted to my foremost role model s\, Jo Nardolillo\nand James Nacy. The amount of wisdom and generosity the y shared in a\nbrief time profoundly shaped my development and remains a c ontinual\nsource of inspiration for the kind of person I want to become.\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16944 DTSTART;TZID=America/Chicago:20260319T190000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260319T200000 SUMMARY:Staging Baldwin and Buckley: Why Opera? Why Now? CLASS:PUBLIC DESCRIPTION:A performance of the opera _The Tongue and The Lash_ and a roun d-table\ndiscussion.\n\nWashU Music\, Center for the Study of Race\, and E thnicity & Equity\n(CRE²)\, and Opera Theatre of St. Louis present a perf ormance and\nroundtable discussion of _The Tongue & The Lash _by composer Damien\nSneed and librettist Karen Chilton\, commissioned by Opera Theatre of\nSaint Louis in 2021. _The Tongue and The Lash _imagines the\nconversa tion between James Baldwin and William Buckley immediately\nfollowing the 1965 debate. In the opera\, the two men continue to spar\nover the meaning of racial freedom in America\, maintaining both their\ndignity and convic tions. This opera invites us to reflect on whether\,\nas a nation still gr appling with deep divisions\, we can preserve the\nart of civil discourse. \n\nA round-table discussion will immediately follow the performance\,\nmo derated by Professor Adrienne Davis\n[https://law.washu.edu/directory/prof ile/adrienne-davis/]\, William M.\nVan Cleve Professor of Law and Professo r of Organizational and\nBehavioral and Leadership\, Olin Business School\ , WashU. The discussion\nwill feature scholars with expertise in opera and the writings of\nJames Baldwin including composer Damien Sneed\n[https:// www.damiensneed.com/]\, distinguished visiting scholar Dr.\nNaomi André [ https://music.unc.edu/people/musicfaculty/naomi-andre/]\;\nNicholas Buccol a\, Ph.D.\, Dr. Jules K. Whitehill Professor of Humanism\nand Ethics\, Dep artment of Government\, Claremont McKenna College\; and\nLauren Eldridge S tewart\,\n[https://music.washu.edu/people/lauren-eldridge-stewart] Assista nt\nProfessor of Ethnomusicology\, WashU.\n\nFree\, but advanced registrat ion encouraged.\n\nREGISTER HERE\n[https://ticketing.opera-stl.org/4846/48 48?_gl=1*1w7kkv6*_gcl_au*NTE4MTc3OTU0LjE3Njc3MjgxNTc.*_ga*MTMwOTM3NDgyNi4x NzY3NzI4MTU4*_ga_2D7WY8XCFX*czE3NjgyNDc3MDEkbzIkZzEkdDE3NjgyNDgwNjAkajYwJG wwJGgw]\n\nCast & Creative Team\nMovement Consultant: Olivia Gacka\nMusic Director/Pianist: Jonathan Heaney\nStage Manager: Emma Fletcher\nJames Bal dwin: Markel Reed\nWilliam F. Buckley\, Jr.: Andrew Morstein\nAdjudicator: Robert Mellon\n\nREAD MORE\n\nSTL American\, “Revisiting Baldwin”\n[h ttps://www.stlamerican.com/arts-and-entertainment/living-it-arts-and-enter tainment/revisiting-baldwin/] \n\nSTL Mag\, “Short Opera about Baldwin and Buckley makes a triumphant\nSt. Louis return” \n[https://www.stlmag .com/culture/the-tongue-and-the-lash-opera-stlouis/]\n\nThe Source\, “Th e Tongue and the Lash” \n[https://source.washu.edu/2026/03/the-tongue-a nd-the-lash/]\n\n_Header Image Credit: Baldwin and Buckley debate at Cambr idge Union\,\nFebruary 18\, 1965_\n\n-------------------------\n\n_This vi sit is sponsored in part through funding from the __Office of\nthe Provost _\n[https://facultyaffairs.washu.edu/funding-opportunities/distinguished-v isiting-scholars-program/]_:\nDistinguished Visiting Scholar Program._\n\n _Belonging in Opera_\n[https://cre2.washu.edu/community/arts-culture/race- and-opera/]_ is\npresented by the Center for the Study of Race\, Ethnicit y & Equity\,\nOpera Theatre of St. Louis\, and Washington University’s D epartment\nof Music._\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16914 DTSTART;TZID=America/Chicago:20260323T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260323T203000 SUMMARY:Faculty Showcase CLASS:PUBLIC DESCRIPTION:Join us for a program featuring members of the WashU performanc e\nfaculty! Drinks will be served\, doors open at 7:00 pm.\n\nPROGRAM\n\nT rio for flute\, clarinet\, and harp (1958) by Elizabeth Poston (1905 -\n19 87)\n    Jennifer Gartley\, flute\, Dana Hotle\, clarinet\, and Megan St out\,\nharp\n\nSonata for Piano (2018) by Bruce Stark\n     I. _Allegro _\n    Yeon-Kyung Kim\, piano\n\n_Three Smiles for Tracey_ by Adolphus H ailstork (b. 1941)\n     I. _Swiftly _\n     II. _Gently _\n     III. _Sprightly_\n    Dana Hotle\, clarinet\n\n_Ein Shwert verhiess mi r der Vater_ from _Die Walküre_ (1856-70) by\nRichard Wagner (1813 - 1883 )\n    Nathan Ruggles\, tenor\, and Yeon-Kyung Kim\, piano\n\n_Grand Ove rture\, _Op. 61_ _by Mauro Giuliani (1781 - 1829)\n    W. Mark Akin\, gu itar\n\n_Grossmachtige Prinzessin_ from _Ariadne auf Naxos _(1912) by Rich ard\nStrauss (1864 - 1949)\n    Kelly Daniel-Decker\, soprano\, and Todd Decker\, piano\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16959 DTSTART;TZID=America/Chicago:20260318T163000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260318T180000 SUMMARY:The Potential of Operatic Spaces Today\, Dr. Naomi André CLASS:PUBLIC DESCRIPTION:DATE: March 18\, 2026\n\nTIME: 4:30 PM\n\nLOCATION: Seigle Hall \, Room 109\n\nDetails about directions & parking located below.\n\n------ -------------------\n\nFor many\, the opera house conjures images of a pas t glory that has\nfaded in importance and relevance. Yet even though its s todginess\nmight seem out of date\, today operatic spaces are being transf ormed in\nmultiple ways that speak directly to our current realities. As t he\ncanonic repertory is performed in thoughtful and provocative\nproducti ons\, the people involved with opera (performers\, directors\,\nadministra tors) are expanding the way familiar stories are being told.\nAdditionally \, the types of narratives being portrayed include\ninventive and ground-b reaking themes and situations. The most\ncompelling opera companies are pr esenting traditional operas in novel\nways along with creating paths for i nnovative newer works. A key\nelement in opera today is for the audience t o see something that\nconnects to who they are and represents a wide range of experiences\nand situations. In this talk I explore these themes that set the\ngroundwork for my models of shadow operatic cultures and engaged\ nmusicology. This presentation will also include discussions of\n_Winnie: The Opera_ (Ndodana-Breen/Wilensky/Vundla) and _Fire Shut Up\nin My Bones_ (Blanchard/Lemmons). \n\nRSVP Here [https://form.jotform.com/26019705588 9168]\n \nNAOMI ANDRÉ is the David G. Frey Distinguished Professor in th e\nDepartment of Music at the University of North Carolina at Chapel Hill\ nand Professor _Emerita_ at the University of Michigan in Afroamerican\nan d African Studies\, Women’s and Gender Studies\, and the Residential\nCo llege. \n\nHer publications include the books _Black Opera: History\, Pow er\,\nEngagement_ and _Voicing Gender: Castrati\, Travesti\, and the Secon d\nWoman in Early Nineteenth-Century Italian Opera_ and co-edited\ncollect ions _Blackness in Opera_\; _African Performance Arts and\nPolitical Acts_ \; and _The Music of Mzilikazi Khumalo: Language\,\nCulture\, and Song in South Africa_. Actively engaged with performance\ntoday\, she has worked w ith opera companies\, symphonies\, and is a\nfounding member of the Black Opera Research Network (BORN). She was\nthe inaugural _Scholar in Residenc e_ at the Seattle Opera (2019-2024)\nand has served on the Boards of the A merican Musicological Society\,\nthe Kurt Weill Foundation\, and Detroit O pera.\n\nShe has served on the Graduate Alumni Council for Harvard\nUniver sity’s Graduate School of Art and Sciences\, the Executive\nCommittee fo r the Criminal Justice Program at the American Friends\nService Committee (Ann Arbor\, MI)\, the Board of Directors for the\nAmerican Musicological Society\, and is currently on the boards of\nDetroit Opera and the Kurt We ill Foundation. From 2019-2024\, Dr.\nAndré served as the inaugural Schol ar in Residence at the Seattle\nOpera. In her role\, she advised Seattle O pera staff and leadership on\nmatters of race and gender in opera\; consul ted in artistic planning as\nit relates to representation of race and gend er\; participated in\ncompany panel discussions\, podcast recordings\; and contributed essays\nto opera programs.\n\n-------------------------\n\nDI RECTIONS & PARKING\n\nThis event will take place in Seigle Hall\n[https:// happenings.washu.edu/seigle_hall_387]\, located on the\nDanforth Campus of Washington University in St. Louis. Once within\nSeigle Hall\, Room 109 i s on the first floor.\n\nFor those of you coming from off campus\, we reco mmend parking in\nthe Danforth University Center (DUC) Parking Garage\n[h ttps://parking.washu.edu/items/danforth-underground-garage/] (You\ncan ac cess the DUC Garage by the Wallace and Forsyth intersection\n(northbound)) . Visitor parking is available on the first level or on\nthe down ramp to the second level. To exit the garage\, take the North\nelevator up and go East towards Graham Chapel. \n\nTo view a map of campus\, click here\n[h ttps://washu.edu/app/uploads/2024/09/Danforth-Campus-Map.pdf].\nSeigle Hal l is location #166 (C3) on the map. The Danforth University\nCenter Parki ng Garage\n[https://parking.washu.edu/items/danforth-underground-garage/]  is\nlocation #200 (E4) on the map. To view an interactive map of campus \,\nclick here\n[https://nam10.safelinks.protection.outlook.com/?url=http s%3A%2F%2Fprotect.checkpoint.com%2Fv2%2Fr01%2F___https%3A%2F%2Fwustladm.ma ps.arcgis.com%2Fapps%2Fwebappviewer%2Findex.html%3Fid%3D1d935c37546d408ea9 5e02f9793ef0f8___.YzJ1OnN0bG9wZXJhOmM6bzoxZWYxMzIzODEwYWE4NDJlOTBhOTdiOTZm N2I2NWY3Mzo3OjZlNTY6NmE5N2IwY2FjODU2MWNiNGQ4YzA3MmMyYjI2YmYwMGEzZTYwMjhhNj djMTA0ZThiYmZmMDQ5MTY2YmM1YjUzNDpoOlQ6Tg&data=05%7C02%7Cg.l.lauriello%40wu stl.edu%7Cc73c2631059e4b6350bc08de7bd49ccc%7C4ccca3b571cd4e6d974b4d9beb96c 6d6%7C0%7C0%7C639084350258313437%7CUnknown%7CTWFpbGZsb3d8eyJFbXB0eU1hcGkiO nRydWUsIlYiOiIwLjAuMDAwMCIsIlAiOiJXaW4zMiIsIkFOIjoiTWFpbCIsIldUIjoyfQ%3D%3 D%7C0%7C%7C%7C&sdata=z%2BsULAzJ8ysNkfC4rS85we%2BjRRKAhMzcB6mEGCsGur0%3D&re served=0].\nYou may also search “Graham Memorial Chapel” and “Danfor th\nUniversity Center Parking Garage” to find their location.\n\nParking is free for visitors after 5:00pm in yellow spaces. \n\n---------------- ---------\n\n_This visit is sponsored in part through funding from the __O ffice of\nthe Provost_\n[https://facultyaffairs.washu.edu/funding-opportun ities/distinguished-visiting-scholars-program/]_:\nDistinguished Visiting Scholar Program._\n\n_Belonging in Opera_\n[https://cre2.washu.edu/communi ty/arts-culture/race-and-opera/]_ is\npresented by the Center for the Stu dy of Race\, Ethnicity & Equity\,\nOpera Theatre of St. Louis\, and Washin gton University’s Department\nof Music._\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16877 DTSTART;TZID=America/Chicago:20251120T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251120T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Wind Ensemble Concert CLASS:PUBLIC DESCRIPTION:WashU Wind Ensemble will perform works under the direction of C hris\nBecker. This performance will feature flutist Jimin Lee\, who will\n perform a work for solo flute and winds.  Additional programming for\nthe Wind Ensemble concert will include both traditional works for\nwinds and engaging newer compositions for the wind band.\n\nWatch Live [https://yout ube.com/live/iZosZLlMxr8?feature=share]\n\nDIGITAL PROGRAM\n[https://wustl .box.com/s/5iphwtlpkiq8mo11h0do0t6nk5kw1awu]\n\nPROGRAM\n\nPERCUSSION ENSE MBLE\n_Edge of the World_ (2011) by Nathan Daughtrey (b. 1975)\n\nWIND ENS EMBLE\n_The Hounds of Spring_ (1981) by Alfred Reed (1921 - 2005)\n \n_Do wn a Country Lane_ (1962/1991) by Aaron Copland (1900 - 1990)\n\n_Breeze i n the Forest_ by Satoshi Yagisawa (b. 1975)\n.    Jimin Lee\, flute\n\n_ Thawing_ (2024) by Kazuki Shimoda (b. 1992)\n\n_On the Waterfront _(1954/2 011) by Leonard Bernstein (1918 - 1990)\,\narr. Jay Bocook (b. 1953)\n\n   \n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16910 DTSTART;TZID=America/Chicago:20260226T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260226T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Wind Ensemble Concert CLASS:PUBLIC DESCRIPTION:WashU Wind Ensemble will perform works under the direction of C hris\nBecker. The Wind Ensemble concert will include both traditional work s\nfor winds and engaging newer compositions for the wind band.\n\nDIGITAL PROGRAM\n[https://wustl.box.com/s/wrryo0ern5h6y36ukl441fbcz5ptxjq9]\n\nWA TCH LIVE [https://youtube.com/live/QOGXMawZ6tk?feature=share]\n\nPROGRAM\n \n_Transcendent Journey_ (2010) by Rossano Galante (b. 1967)\n_Dusk_ (2004 ) by Steven Bryant (b. 1972)\n_Children’s March_ (1916-18/1995) by Percy Grainger (1882 - 1961)\ned. R. Mark Rogers (b. 1955)\n_Pirates Revenge_ ( 2025) by Adrian B. Sims (b. 2000)\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16923 DTSTART;TZID=America/Chicago:20260416T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260416T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Wind Ensemble Concert CLASS:PUBLIC DESCRIPTION:WashU Wind Ensemble will perform works under the direction of C hris\nBecker. The Wind Ensemble concert will include both traditional work s\nfor winds and engaging newer compositions for the wind band.\n\nDIGITAL PROGRAM\n[https://wustl.box.com/s/cpzcabgnfryrf2d4nnghyoy99tt8thmr]\n\nWa tch Live [https://youtube.com/live/qP6H8y9h5SQ?feature=share]\n\nPROGRAM\n \nPERCUSSION ENSEMBLE\n\n_Shared Space _(2015) by Ivan Trevino (b. 1983)\n \nWIND ENSEMBLE\n\n_Juxtaposition_ (2020) by Michael Oare (b. 1960)\n\nSym phony for Band (1956) by Vincent Persichetti (1915 - 1987)      \n                                 \n      I. _Adagio\; Alleg ro               _            \n                                         \n      II. _Adagio sostenuto_\n      III. _Allegretto_\n      IV. _Vivace_\n\nFantasia in G Major (170 3-1707/1957/2012) by J.S. Bach (1685 - 1750)\ntrans. Richard Franko Goldma n & Robert L. Leist\n\nGive Us This Day (2005) by David Maslanka (1943 - 2 017)\n      I. _Moderately Slow  _                         \n                                       \n      II . _Very Fast_\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16878 DTSTART;TZID=America/Chicago:20251208T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251208T160000 SUMMARY:Wind Division Recital CLASS:PUBLIC DESCRIPTION:The wind division students of WashU Music will perform solo wor ks. \n\nPROGRAM\n\nSTUDENTS OF JENNIFER GARTLEY\n\nMatthew Mazzoni\, pian o\n\nIntroduction and Variations on “Trockne Blumen\,” D. 802 (1824) b y\nFranz Schubert (1797–1828)\n     Introduction\, _Thema_\, Variatio ns I\, III\, IV\, V\n     Angelica Han \n\n_Pièce pour flûte seule_ (1936) by Jacques Ibert (1890–1962) \n     Jimin Lee \n\nSonata in G major\, HWV 363B (c. 1711–16) by George Frideric Handel\n(1685–1759)  \n     _Adagio – Allegro_\n     Sunny Tan \n\nConcerto in G maj or for Flute\, K. 313 (1778) by Wolfgang Amadeus\nMozart (1756–1791) \n     _ Allegro moderato_\n     Olivia Lee \n\nFlute Sonata (1968) by Otar Taktakishvili (1924–1989) \n_     Allegro cantabile_\n      Cherie Liu \n\nSonata in E-flat Major for Flute\, BWV 1031 (c. 1730s) by Johann\nSebastian Bach (1685–1750) \n     _Allegro moderato_\n     Elizabeth Papolotzi \n\n_Suite Modale_ (1956) by Ernst Bloch (1880–19 59) \n_     Moderato_\n     Cody Peck\n\n_Andalouse_\, Op. 20 by É mile Pessard (1843–1917) \n     Nikol Krol \n\n_Ballade_\, Op. 288 (c. 1908) by Carl Reinecke (1824–1910) \n     Lena Stern \n\nSuite\ , Op. 34 (1877) by Charles-Marie Widor (1844–1937) \n    _ Romance_\ n     Dalia Heller \n\nSonata (1936) by Paul Hindemith (1895–1963)\n _     Heiter bewegt_\n     Alexa Wienhoff \n\n_Fantaisie_ (1913) by Georges Hüe (1858–1948) \n     _Assez lent_\n     Shang Jiang  \n\nConcerto in D\, Op. 283 (1908) by Carl Reinecke (1824–1910) \n     _Allegro molto moderato_\n     Giulia Vitolo \n\nSonata “Undine\, ” Op. 167 (1882) by Carl Reinecke (1824–1910) \n    _ Allegro_\n     Elizabeth Chen \n\n_Carmen Fantasie _(c. 1880 or 1900) by François Borne (1840–1920) \n     Priya Ramotar \n\nINTERMISSION\n\nSTUDENT S OF CLAIRE WORKINGER\n\n_Six Metamorphoses after Ovid _(1951) by Benjamin Britten\n(1913–1976) \n     I. _Pan _\n     V. _Narcissus_\n     Michelle Zhang \n\n_Incantation and Dance _(1945) by William Grant S till (1895–1978) \n     Sarah Ye\, oboe\, and Sarah Johnson\, piano\ n\nIntroduction\, Theme\, and Variations\, Op. 102 (1825) by Johann Nepomu k\nHummel (1778–1837)\n     Michelle Zhang\, oboe\, and Sarah Johnson \, piano\n\nSTUDENT OF TRICIA JOSTLEIN\n\n_Nocturno_\, Op. 7 (1864) by Fra nz Strauss (1822–1905) \n     Maddie Peck\, French horn\, and Young Whun Kim\, piano\n\nSTUDENT OF CHRIS BECKER\n\nTrumpet Concerto (1796) by Joseph Haydn (1732–1809) \n     II. _Andante _\n     Cara Lichty \, trumpet\, and Sarah Johnson\, piano\n\nSTUDENTS OF DANA HOTLE\n\n_Five Bagatelles_ (1938–45) by Gerald Finzi (1901–1956) \n     I. A_lleg ro deciso _\n     Raymond Brooks\, clarinet\, and Young Whun Kim\, pia no\n\nConcerto No. 2 (1811) by Carl Maria von Weber (1786–1826) \n     I. _Allegro _\n     David Bai\, clarinet\, and Young Whun Kim\, pia no\n\nSonate for Two Clarinets (1814) by Giuseppe Donizetti (1788–1856)  \n     I. _Allegro _\n     Felix Guo and Dana Hotle\, clarinets\n \nConcerto No. 1 (1809) by Louis Spohr (1784–1859) \n     I. _Allegr o _\n     Shelby Elliot\, clarinet\, and Young Whun Kim\, piano\n\n \ n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16928 DTSTART;TZID=America/Chicago:20260427T150000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260427T160000 SUMMARY:Wind Division Recital CLASS:PUBLIC DESCRIPTION:The wind division students of WashU Music will perform solo wor ks. \n\nPROGRAM\n\nFLUTE STUDIO\n\nStudents of Jennifer Gartley\nMatthew Mazzoni\, piano\n\nConcerto in C Major for Piccolo\, RV 443 (c. 1728) by A ntonio Vivaldi\n(1678–1741)\n      I.  _Allegro_\n      II. _Larg o_\n   Priya Ramotar\n\nSonata in E-flat Major for flute and harpsichord \, BWV 1031 (c.\n1730–1734) by Johann Sebastian Bach (1685–1750)\n      II. _Siciliano_\n   Elizabeth Papalotzi\n\n_L’Arlésienne _Suite (1879) by Georges Bizet (1838–1875)\n   Alyssa Huang\n\n_Pan!_ (1905) by Johannes Donjon (1839–1912)\n   Nikol Krol\n\n_Suite Modale _for f lute and piano (1956) by Ernest Bloch\n(1880–1959)\n      III. _Alleg ro giocoso_\n   Cody Peck\n\nSonata for Flute and Piano (1957) by Jindř ich Feld (1925–2007)\n      I. _Allegro_\n   Olivia Lee\n\nIntroduc tion and Variations on “Trockne Blumen\,” D. 802 (1824) by\nFranz Schu bert (1797–1828)\n      Introduction\, Theme\, Variation I\n   Dali a Heller\n\nDuo for Flute and Piano (1971) by Aaron Copland (1900–1990)\ n      I. M_oderato_\n   Giulia Vitolo\n\n_Cantabile et Presto_ (1904 ) by George Enescu (1881–1955)\n _     Cantabile_\n   Alexa Wienhof f\n\n_Grande Fantaisie _On Themes from_ Mignon _ (1888) by Paul Taffanel\ n(1844–1908)\n   Lena Stern\n\n_Morceau de Concours _(1904) by Gabriel Fauré (1845–1924)\n   Sunny Tan\n\nSuite for Flute and Piano\, Op. 3 4 (1877) by Charles-Marie Widor\n(1844–1937)\n_      Romance_\n   J acquelin Cardenas-Lopez\n\nCLARINET STUDIO\n\nStudents of Dana Hotle \n\n Minuet from Divertimento in D\, K 334 by W.A. Mozart (1756-1791) \n     Sophie Hsu\, clarinet\, and Young Whun Kim\, piano\n\nSonate for Clarine t (1921) by Camille Saint-Saëns (1835-1921)\n        1. _Allegretto_\ n     Raymond Brooks\, clarinet\, and Young Whun Kim\, piano\n\nSonata No. 1 (1895) by Johannes Brahms (1883-1897)\n     _   Allegro appassio nato _\n     Theodor Martin\, clarinet\, and Young Whun Kim\, piano\n\ n_Blues_ from _American in Paris _(2003) by George Gershwin [1898-1937]\na rr. by Michele Mangani (b. 1966)\n     David Bai\, clarinet\, and Young Whun Kim\, piano\n \n\nBASSOON STUDIO\n\nStudents of Andy Gott \n\nSona ta for Bassoon (1938) Paul Hindemith (1895-1963)\n        I.  _Lebhaf t _\n        II. _Langsam - Marsch – Pastorale_\n     Lucas Nere s\, bassoon\, and Young Whun Kim\, piano\n\nSix studies in English Folk So ng (1926) by R. Vaughan Williams\n(1872-1958)\n        I. _Adagio_\n        VI. _Allegro vivace_\nConcerto in C Minor by G.F. Handel (1741)\ n        I. _Grave - Allegro_\nAdam Fleischman\, bassoon\, and Young W hun Kim\, piano\n\nTRUMPET STUDIO\n\nStudent of Mary Weber \n\nTrumpet Co ncerto (1804) by Nepomuk Hummel (1778-1837)\n       _ Allegro con Spir ito_\n     Grant Wilson\, trumpet\, and Dr. Yeon-Kyung Kim\, piano\n\nS AXOPHONE STUDIO\n\nStudent of Dr. Joel Vanderheyden \n\nConcerto for Alto Saxophone (1959) by Pierre Max Dubois (1930-1995)\n       _ Lento esp ressivo – allegro_\n     Sarah Baek\, saxophone\, and Dr. Yeon Kyung Kim\, piano\n\n_Fantasia _(1948) by Heitor Villa Lobos (1887-1959)\n_        Animé_\n     Bret Carnes\, saxophone\, and Dr. Yeon-Kyung Kim\, piano\n\n_Estrellita_ (_Star of Love_) (1911) by M.M. Ponce (1882-1948)\n      Steven Chi\, saxophone\, and Dr. Yeon-Kyung Kim\, piano\n\nTROMBON E STUDIOS\n\nStudent of Amanda Stewart\n\n_The Green Hill_ (2011) by Bert Appermont (b. 1973)\n     Jayden Thankmani\, euphonium\, and Dr. Yeon-K yung Kim\, piano\n\nStudent of John Reycraft\n\nTrombone Concerto (1991) b y Christopher Rouse (1949-2019)\n        I. _Adagio_\n        II. _Scherzo _\n     Julian Mitchell\, trombone\, and Dr. Yeon-Kyung Kim\, piano\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16868 DTSTART;TZID=America/Chicago:20251116T130000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251116T140000 SUMMARY:Piano Division Recital CLASS:PUBLIC DESCRIPTION:WashU students will perform solo piano works.\n\nPROGRAM\n\nNoc turne in C minor\, Op. 48\, No. 1 (1841) by Frédéric Chopin\n(1810-1849) \n     Richard Qiu\n\n_Deux Arabesques_\, No. 1 in E Major (1888-1891) by Claude Debussy\n(1862-1918)\n     Hay Zin Htike\n\nÉtude Op. 10\, N o. 3 in E Major (1832) by Frédéric Chopin\n     Anshika Virani\n\n_In termezzo _in A Major\, Op. 118\, No. 2 (1893) by Johannes Brahms\n(1833-18 97)\n     Christian Kim\n\n_Pagodes _from_ Estampes_ (1908) by Claude D ebussy\n     Matthew Gomez\n\nWaltz in C-sharp minor\, Op. 64\, No. 2  (1847) by Frédéric Chopin\n     Jack Salamon \n\n_Zwiegesang_ Op. 52\, No. 3 (1894) by Moritz Moszkowski (1854-1925)\n     Eliza Podvalny \n\n_Nocturne_ in D-flat Major\, Op. 27\, No. 2 (1835) by Frédéric Chopi n\n(1810-1849)\n     Gloria Zhang\n\n_Fantasiestücke_\, Op. 12\, No. 2 “Aufschwung” (1837) by Robert\nSchumann (1810-1856)\n     Yuqiao Z ou\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16921 DTSTART;TZID=America/Chicago:20260411T133000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260411T143000 SUMMARY:Piano Division Recital CLASS:PUBLIC DESCRIPTION:WashU students will perform solo piano works.\n\nPROGRAM\n\n_Li eder ohne Worte _(Songs without Words)\, Op. 38\, No. 6 (1837) by\nFelix Mendelssohn (1809-1847)\nSophie Lin\n \n_Nocturne_\, Op. 9 No. 1 (1831) b y Frédéric Chopin (1810-1849)\nArowyn Casenhiser\n \nSonata in G Major \, Op. 49\, No. 2:  _Allegro\, ma non troppo_ (1797) by\nLudwig van Beeth oven (1770-1827)\nEzra Miller\n \n_Estampes_: _La Soiree dans Grenade_ ( 1903) by Claude Debussy\n(1862-1918)\nMatthew Gomez\n \n_Kreisleriana_\, Op. 16 (1838) by Robert Schumann (1810-1856)\n_   _  I._ Äußerst bewe gt_\n_    _ IV._ Sehr langsam_\nAnshika Virani\n \n_The Serpent's Kiss _ from the _Garden of Eden_ (1969) by William\nBolcom (b.1938)\nGus Bachne r\n \n_Tarantella_ (1888) by Paul Beaumont (1839-1889)\nNithya Pippala\n  \nPiano Sonata in C minor\, D. 958:  Allegro (1828) by Franz Schubert\n (1797-1828)\nGloria Zhang\n \n_Five Sarcasms_\, Op. 17\, No. 1(1912) by S ergei Prokofiev (1891-1953)\nLucy Chen\n \nBallade No. 1 in G minor\, Op. 23 (1831) by Frédéric Chopin\nEdgar Palomino DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16876 DTSTART;TZID=America/Chicago:20251208T193000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251208T203000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:442s Holiday Spectacular CLASS:PUBLIC DESCRIPTION:Back by popular demand\, The 442s are joined by some of the bri ghtest\nstars of the local and national music scene in presenting their\nn ot-to-be-missed annual Holiday Spectacular! Performing traditional\nand or iginal favorites that break down boundaries between jazz\, soul\,\npop\, a nd classical music\, this concert will get you in the perfect\nholiday spi rit!\n\nTICKETS\n\nGeneral Admission: $30\nWashU Faculty/Staff: $25\nYouth /students: $15\nTickets on sale 9/8 at 10 AM \n(Washington University Box Office - 314-935-6543)\nTICKETS [https://ci.ovationtix.com/35674/producti on/1249286]\n\nBEWARE OF SCAMS! Tickets purchased through the Washington U niversity\nBox Office or online via AudienceView (also known as OvationTix ) are\nthe only approved tickets for this event. Purchases made through a\ nthird-party vendor such as StubHub\, Ticketmaster\, or MetroTix will NOT\ nbe valid for entry to the performance.\n\nABOUT THE 442S\n\nCombining thr ee members of the world-class St. Louis Symphony\nOrchestra and three of t he St. Louis region’s finest jazz musicians\,\nThe 442s are a genre-defy ing acoustic sextet named for the modern\nstandard tuning of 442 Hz! Broug ht together by the innovative and\ninspired compositions of Adam Maness\, who plays piano\, guitar\,\naccordion\, melodica\, and glockenspiel in the group\, The 442s features\nShawn Weil on violin\, Shannon Williams on vio la\, Bjorn Ranheim on\ncello\, Bob DeBoo on bass and Kaleb Kirby on drums. Formed in 2012\,\nthis unique ensemble blends virtuosic musicianship\, gr oup singing\, and\ninventive improvisation\, all while breaking down barri ers between\njazz\, classical\, folk\, and pop music.\n \nThe 442s were b orn of a common musical inquisitiveness and a search\nfor new and exciting musical possibilities and collaborations. This\nsearch has taken them to venues and concert series throughout the\nMidwest\; including Powell Symph ony Hall\, Jazz Saint Louis\, and The\nSheldon Concert Hall. They have app eared as soloists with The Saint\nLouis Symphony Orchestra and Metropolita n Orchestra of St. Louis. \n\nThe 442s have released four albums to date\ ; their 2014 self-titled\ndebut album has been featured on radio stations worldwide. _Relay_ and\n_Home for Christmas_\, both released in 2016\, fea ture collaborations\nwith celebrated musicians from across the musical spe ctrum. Their\nnewest album\, _Aim To Please_\, was released in early 2023. \n\nThe 442s have been profiled on the nationally syndicated television\np rogram\, _Arts America\,_ and their music serves as the soundtrack for\nth e 2016 Emmy Award-winning documentary film\, _Show Me 66: Main Street\nThr ough Missouri\,_ which was produced by the Missouri History Museum.\nIn th e summer of 2016\, The 442s were named the first-ever\nArtists-In-Residenc e at Forest Park in St. Louis and embarked on a\nunique public commissioni ng project in collaboration with the people\nwho love and use the park. Th e culminating multi-media work premiered\nin 2016.\n \n\n---------------- ---------\n\nADAM MANESS\n\nAdam Maness is a versatile multi-instrumentali st\, songwriter\, and\ncomposer. Born in St. Louis\, Missouri\, Maness has performed around the\nglobe with award-winning artists from a plethora of musical genres.\nHis songs and compositions have been featured on several national and\ninternational recordings\, television shows\, and films. Ad am Maness\nresides in St. Louis with his wife and two children.\n \n\nSHA WN WEIL\n\nA native of Chicago\, Shawn Weil is a dynamic and sought-after\ nviolinist and musician. Upon completing undergraduate and graduate\nwork at Indiana University\, he accepted a fellowship with the New\nWorld Symph ony in Miami Beach\, Florida. Weil has performed throughout\nthe U.S. and Europe in chamber music and orchestral settings. Weil has\nbeen a member o f the Saint Louis Symphony Orchestra since 2003 and is\nalso a member of t he Sun Valley Music Festival in Idaho.\n\nSHANNON WILLIAMS\n\n Shannon Wi lliams has been a recovering violinist for 23 years and a\nmember of the S t. Louis Symphony viola section since 2005. She has\nperformed with orches tras\, and as a chamber musician on four\ncontinents\, and as soloist with the SLSO most recently in 2021. She\nlives in Tower Grove South with her husband\, three children\, one dog\,\nand one cat.\n\nBJORN RANHEIM\n\nCel list Bjorn Ranheim\, is a passionate and versatile performer. A\nmember of the St. Louis Symphony since 2005\, he is also a member of\nthe Sun Valle y Music Festival. Ranheim has performed and toured with\nmany American orc hestras and frequently collaborates with world-class\nmusicians from acros s the musical spectrum as a chamber musician\,\nrecording artist\, and sol oist. He lives in the Shaw neighborhood of\nSt. Louis with his wife and tw o daughters and their Hungarian Vizsla\,\nGinger.\n \n\nBOB DEBOO\n\nBob DeBoo is one of the most active jazz bassists in the Midwest. He\nhas perf ormed with luminaries such as Houston Person\, Terrence\nBlanchard\, Peter Martin\, David Sanborn\, Geoff Keezer\, Matt Wilson\,\nMontez Coleman\, M arcus Strickland\, Ron Miles\, and Johnny O’Neal and\nis a member of the ‘Adam Maness Trio’. Bob has been a guest\nmusician with the St. Louis \, Fort Worth and Charleston Symphonies and\nwas one of the Kranzberg Arts Foundation’s “Residency Artists”\nin 2018. Committed to sharing the gift of music with young musicians\,\nDeBoo has been a dedicated educator for many years\, working with Jazz\nSTL’s JazzU program\, Jazz at Linco ln Center’s Jazz for Young\nPeople\, Peter Martin’s Open Studio Networ k\, and has led a free\nweekly jam session for all ages at the Kranzberg A rts Center.\n\nKALEB KIRBY\n\nKaleb Kirby is a drummer\, audio engineer\, and composer residing in St.\nLouis\, MO. Kaleb majored in Jazz Performanc e and Composition at\nBerklee College of Music\, and attended the Marcel D eSautels\nConservatory in Winnipeg\, Canada. He holds a Bachelor of Music from\nthe University of Missouri - St. Louis. He maintains an active\nperf ormance schedule around St. Louis with his own group Kleb Qntet\,\ncollabo rates with other artists and works as a studio operations\nmanager at Open Studio.\n\nGUEST ARTISTS\n\nCHRISTINE BREWER\n\nGrammy Award-winning Amer ican soprano Christine Brewer's appearances\nin opera\, concert\, and reci tal are marked by her own unique timbre\, at\nonce warm and brilliant\, co mbined with a vibrant personality and\nemotional honesty reminiscent of th e great sopranos of the past. Named\none of the top 20 sopranos of all tim e (_BBC Music_)\, her range\,\ngolden tone\, boundless power\, and control make her a favorite of the\nstage and highly sought-after recording artis t. \n\nMs. Brewer sang a concert in Los Angeles honoring and remembering\ nworld-renowned cellist Lynn Harrell in 2021. She had performed and\nrecor ded with Harrell many times prior to his death in 2020. Their\nrecording s ession of _Somewhere Over the Rainbow_ with John Williams\nconducting is a moving arrangement that they recorded in the same\nstudio where Judy Garl and recorded that song in 1939. The video of\nthat recording session is av ailable on YouTube. \n\nShe has sung around the world in concert halls an d opera houses with\nrenowned conductors like Donald Runnicles\, Zubin Meh ta\, David\nRobertson\, Leonard Slatkin\, Kurt Masur\, and Michael Tilson Thomas. One\nof her favorite concert hall requests is Richard Strauss' _Fo ur Last\nSongs_\, which she has performed over 100 times in 40 different\n countries on five continents. She recorded those songs with the\nAtlanta S ymphony and Donald Runnicles conducting. In 2011\, Christine\njoined _Arts and Faith_ in St. Louis to perform a memorial concert at\nThe Sheldon Con cert Hall\, remembering the September 11 attacks and\nhonoring those who l ost their lives that day. She has continued\nworking with Arts and Faith a s they bring musicians from the St. Louis\nmetro area together to make mus ic together each year. The program has\ngrown over the years\, and audienc es see and hear artists of all faiths\nperforming their music and singing together in harmony. \n\nMs. Brewer began a program with the Marissa\, Il linois 6 graders\ncalled_ Opera-tunities _and continued the program for ne arly 15 years\nalongside their teacher Nancy Wagner\, conductor David Robe rtson\, and\nmembers of the St. Louis Symphony Orchestra. She is also a vi siting\nprofessor at Webster University. In April 2015\, Christine joined 140\nother notable celebrities receiving a bronze star on the St. Louis\nW alk of Fame. Christine's discography includes over 25 recordings. One\nof her most recent recordings _Divine Redeemer_ on Naxos\, contains\nselectio ns with concert organist Paul Jacobs.\n\nANITA JACKSON\n\nAnita Michelle J ackson is a native of St. Louis\, Missouri\, who\nreturned home after livi ng in New York City for twelve years. She is a\ngraduate of the American M usic and Dramatic Academy in New York and\nhas performed extensively natio nally and internationally in theater\nproductions\, concerts\, and worksho ps. She has recorded and performed\nas a background vocalist for several a rtists in the music industry.\n\nShe recorded as a background vocalist for Bette Midler on her\nacclaimed song _From a Distance_ which won the Gramm y Award for Song\nof the Year in 1991\; as a background vocalist for Patti Austin on _I\nCan Move this Mountain_\; and for Mariah Carey on _Anytime You Need a\nFriend_.  Anita has toured and performed as a background voca list for\nrecording artist Chico DeBarge on his _Long Time\, No See _album \, which\nwas released in 1997.  His national tour featured the artist Jo e\, and\nErykah Badu\, with whom Anita was blessed to perform and tour. Sh e is a\nbackground vocalist on Cissy Houston's 1996 Grammy award-winning _ Face\nto Face_ album\, which won the Grammy Award for Best Traditional Gos pel\nAlbum of 1996\, as well as her _He Leadeth Me_ album\, which won the\ nGrammy Award in the same category in 1997.\n\nAs a gospel BGV\, Anita has performed with Shirley Caesar\, the late\nAlbertina Walker\, Dorothy Norw ood\, and Tramaine Hawkins. Anita was a\nfeatured vocalist on the 2014 “ Reach Week in New York City” live\nrecording for New Hope for the World Ministries\, recorded in Harlem\,\nNew York\, under the auspices of Rev. T errance L. Kennedy and New Hope\nCommunity Church\, which also featured na tional gospel artist Vickie\nWinans and New York’s own  Melonie Daniels . With New Hope for the\nWorld Ministries\, Anita has been blessed to be a featured missionary\nvocalist in Kampala\, Uganda\, and Buenos Aires\, Ar gentina.\n\nIn St. Louis\, Anita has been a featured player with the St. L ouis\nBlack Repertory Theatre. She has performed as a featured player in\n _Gospel at Colonus_\, _Ain't Misbehavin_'\, _Crowns\,_ as Caroline in\n_Ca roline or Change\, _and as the Lady in _Blues in the Night\,_ for\nwhich s he was nominated for a St. Louis Kevin Kline Award for Best\nActress in a Musical. Anita performed as Bertha in \"Hello from Bertha\"\nat the inaugu ral Tennessee Williams festival in St. Louis under the\ndirection of David Kaplan.  She was nominated for Outstanding\nSupporting Actress in a Dram a by the St. Louis Theatre Circle for her\nperformance.  She performed th e role of Grandma Dorothy in the new\nfilm _A New Holiday\,_ a Christmas c elebration based on the life of a\nyoung Thelma Steward\, wife of Dave Ste ward of World Wide Technologies\,\ndirected by Brian Owens for Nine PBS.  This past summer\, Anita made\nher debut as Medda Larkin in Stages St. L ouis' production of Disney's_\nNewsies_.  Afterward\, she was honored to portray Lena Younger/Mamma\nin Saint Louis University's production of _A R aisin in the Sun_ under\nthe direction of Kathryn Bentley.\n\nShe has appe ared as a featured vocalist with several jazz\, R&B\, soul\,\nblues and go spel musical groups in and around St. Louis at venues such\nas Jazz\, St. Louis (formally Jazz at the Bistro) to BB’s Jazz\, Blues\n& Soups to the St. Louis Ethical Society to the Heman Park Starlight\nConcert Series to the Sheldon Concert Hall - as a solo artist\, as well\nas a collaborative artist with many of St. Louis’ finest musicians\nand groups. \n\nAnita accepted a fellowship as a resident artist with the Kranzberg\nArts Founda tion (KAF) as a featured jazz performance and recording\nartist in 2018\, releasing a jazz compilation EP with her fellow KAF\nartists-in-residence from the Dark Room series at the Grandel with her\nown original compositio n called “Your Time” written with Phillip\nGraves\, Joshua Crump\, and Jeff Taylor.\n\nOn March 29\, 2024\, she released her first solo jazz alb um\, _Life is\nBeautiful_\, in honor of dear family and friends lost durin g the\nCOVID-19 pandemic. \n\nAnita gives thanks to the family of Christ and praises God for HIS\nmatchless goodness and mercy.\n\nShe dedicates al l her performances to her late mom\, Barbara Marie\nJackson\; her late aun ts\, Marian Ashford and Jackie Broom\; and to her\nbeautiful daughter\, Ch ristian Reignah-Lee for giving her so much\nstrength.\n\nPETER MARTIN\n\nP eter Martin is an acclaimed jazz pianist\, composer\, arranger\,\neducator \, and founder of Open Studio. \n\nHis touring career has taken him to si x continents numerous times\, and\nhe has played in the White House by inv itation from President Obama\nseveral times.\n\nPeter Martin performed on and arranged Dianne Reeves’ Grammy-winning\nrelease _A Little Moonlight_ and appeared in George Clooney’s 2005\nfilm _Good Night\, and Good Luck _\, as well as being the featured\npianist and an arranger on the Grammy-w inning soundtrack. Peter has\nalso performed\, toured\, and recorded with Wynton Marsalis\, Chris\nBotti\, Betty Carter\, Christian McBride\, and Jo shua Redman\, as well as\nthe Berlin Philharmonic\, Chicago Symphony Orche stra\, and the New York\nPhilharmonic.\n\nPeter attended the Juilliard Sch ool of Music and has been on the\nfaculties of Southern Illinois Universit y-Edwardsville\, Northwestern\nUniversity\, Tulane University\, the Univer sity of New Orleans\, and New\nOrleans Center for Creative Arts. He has pe rformed workshops and\nmaster classes at institutions worldwide\, includin g Oberlin College\,\nDuke University\, the Carnegie Hall Professional Trai ning Workshops\,\nSteinway Piano Gallery\, the Rotterdam Conservatory\, an d the Royal\nScottish Academy of Music in Glasgow.\n\nIn 2015\, after laun ching a successful educational video podcast\,\n2-Minute Jazz\, Martin fou nded a revolutionary jazz educational web\nplatform\, Open Studio\, where students from over 140 countries are part\nof an active community and are continuing to learn from Martin\, Dianne\nReeves\, Fred Hersch\, Christian McBride\, Greg Hutchinson\, Romero\nLubambo\, and other artists.\n\nPeter co-hosts a chart-topping podcast\, You’ll Hear It.\n \n\nBRIAN OWENS\n \nBrian Owens is a renowned soul artist\, producer\, and community\nadvoca te based in St. Louis\, Missouri. He gained international\nrecognition whe n a heartwarming video of him singing Sam Cooke’s _A\nChange Is Gonna Co me _with his father went viral\, amassing millions of\nviews. This touchin g father-son duet showcased Owens' deep connection\nto classic soul music and his passion for using music as a bridge\nbetween generations.\n\nAs a soul artist\, Owens has collaborated with legendary musicians\,\nincluding Grammy Award-winning artist Michael McDonald. Their work\ntogether has ce mented Owens' reputation as a soulful\, authentic voice\nin the music indu stry\, blending old-school R&B with contemporary\nsensibilities.\n\nBeyond music\, Owens is deeply involved in creative production and\ncommunity-fo cused initiatives. He is the Executive Producer of *Pray\nFor Pac*\, a sur realist dramedy series set in St. Louis\, and leads BOS\nMedia Group\, a p roduction company that has worked with prestigious\nclients like PBS and J azz STL. As the founder of Life Creative STL\,\nOwens fosters creative tal ent and development within the community.\nThrough his various projects\, Brian Owens continues to make a profound\nimpact\, blending artistry with advocacy and always staying rooted in\nthe power of storytelling and soul. \n\nDENISE THIMES\n\nAfter describing her brilliant voice as a perfect mix of Nancy\, Sassy\,\nand Lady Day\, it came only naturally that the late l egendary jazz\ntrumpeter Clark Terry would\, at New York’s historical Fl ushing Town\nHall\, select Denise Thimes as that night’s featured vocali st.\n\nThis truly unique and inspirational artist is often asked by fellow \nnoteworthy musicians “why haven’t we heard of you”? Not to\nworry. With a voice as noticeably (as Terry puts it) “ranks with all\nof the g reats\,” it won’t be long.\n\nOver the course of a multi-faceted caree r spanning just a little under\n3 decades\, Thimes is no stranger to the m usic world\, growing up in a\nhome surrounded by all types of music from h er father & radio icon\,\nthe late Lou “Fatha” Thimes.\n\nThimes has p erformed with such jazz notables as Wynton Marsalis and\nthe Jazz at Linco ln Center Orchestra\, (St. Louis\, MO\,) the late Clark\nTerry(The Blue No te-NY)\, Dr. Billy Taylor\, Earl May\, Benny Powell\,\n(Flushing Town Hall )\, and James Moody(Blue Note-NY). She has also\ngraced the stage with the likes of Houston Person\, Jimmy&Tootie Heath\,\nBobby McFerrin\, and Buck y Pizzarelli.\n\nIn recent years she has appeared and toured Paris with Da vid Sanborn\,\nsung for the Queen of Thailand (Mandarin Oriental Hotel)\, Queen\nElizabeth II (British Embassy-Washington D.C. (during her 2009 visi t\nto the U.S)\, President George W. Bush (White House 2007)\, and was han d\npicked by the Queen of Soul (Aretha Franklin) to perform for her 72nd\n birthday celebration (2015-Ritz Carlton\, NY).\n\nMost say that her acting is just as great as her singing\, and founding\ndirector Ron Himes of the St. Louis Black Repertory would agree.\nThimes has received 8 Woodie Awar ds( named after Freedom Theatre\nFounder-Woody King-NY) for her roles as l ead and supporting for\nacting\, and musical performances.\n\nAlthough a n ative of St Louis\, MO\, Thimes\, has recently become a\nresident of Chica go IL\, where she can be seen at Winter’s jazz club\ndowntown Chicago.\n \nWhen Denise is not performing\, Thimes wears another hat and is equally\ npassionate as Founder & Executive Director of the Mildred Thimes\nFoundat ion for Pancreatic Cancer Research.(named after Thimes'\nmother). Thimes c ontinues to appeal for more education and awareness\nfor this fatal diseas e that struck her mother in 1997.\n\nThimes has truly been one of the cher ished voices of modern jazz.\n\nWhether headlining at Dizzy’s Coca Cola Room in New York\, or\nconquering the national jazz festival scene\, or sh aring the stage with\nthe legendary Tony Bennett\, Denise Thimes has an un mistakable tendency\nto steal the show and astonish crowds of every size a nd background. As\njazz aficionado Phoebe Jacobs stated following another famed New York\nshow\, “Denise Thimes is like Ella and Sarah born all ov er again.”\nIt’s time for you to experience Denise Thimes.\n\n-------- -----------------\n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16896 DTSTART;TZID=America/Chicago:20251203T120000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251203T130000 LOCATION:4580 Scott Ave\, St. Louis\, MO\, United States SUMMARY:WashU Faculty String Quartet at the Med Campus CLASS:PUBLIC DESCRIPTION:Join us for a noon concert in Moore Auditorium on the medical c ampus\,\nfeaturing a program of classical elegance.  \n\nPROGRAM\n\nDiver timento for Strings in D Major\, K.136 by Wolfgang Amadeus Mozart\n(1756-1 791)\n     _Allegro_\n_     Andante_\n_     Presto_\n\nString Qua rtet in F minor\, Hob. III: 35\, Op. 20/No. 5 by Franz Joseph\nHaydn (1732 -1809) \n   _  Moderato _\n_     Minuet - Trio _\n_     Adagio Finale. Fuga a 2 soggetti _\n\nAmerican Diptych \n_At the Purchaser’s Option_ by Rhiannon Giddens \n_Lento_ from String Quartet No. 12 in F Ma jor\, Op. 96 “American”\nby Antonín Dvořák (1841-1904)\n\n_Have You rself a Merry Little Christmas\,_ arr. Danish String Quartet \n\nWASHU FA CULTY STRING QUARTET\n\nManuela Topalbegovic\, violin\nRebecca Chung\, vio lin\nAmy Greenhalgh\, viola \nKimberly Jeong\, cello\n\nLOCATION/PARKING\ n\nThe best entrance to access Moore Auditorium is through the Farrell\nLe arning and Teaching Center\, 522 Euclid Ave\, St Louis\, MO\, 63110. MAP\n [https://www.google.com/maps/place/522+Euclid+Ave\,+St.+Louis\,+MO+63110/@ 38.635374\,-90.2655604\,841m/data=!3m2!1e3!4b1!4m5!3m4!1s0x87d8b52094bda17 5:0x6bb584b2b573c1e8!8m2!3d38.635374!4d-90.2629855?entry=ttu&g_ep=EgoyMDI1 MTExNy4wIKXMDSoASAFQAw%3D%3D]\n\nPlaza Garage is the best place to park. 3 Barnes-Jewish Hospital\nPlaza\, St. Louis\, MO 63110. Map\n[https://www.g oogle.com/maps/place/3+Barnes+Jewish+Hospital+Plaza\,+St.+Louis\,+MO+63110 /@38.6347008\,-90.26755\,841m/data=!3m2!1e3!4b1!4m6!3m5!1s0x87d8b5210f6bd1 95:0x720258c706995a60!8m2!3d38.6347008!4d-90.2649751!16s%2Fg%2F11cncj9kq4? entry=ttu&g_ep=EgoyMDI1MTExNy4wIKXMDSoASAFQAw%3D%3D]\n\n------------------ -------\n\nMANUELA TOPALBEGOVIC\n\nManuela Topalbegovic\, native of Rousse \, Bulgaria\, began her violin\nstudies at the age of five. She emigrated to the States in 1995 with\nher family. Manuela holds a Bachelor of Music from Webster University\,\nwhere she received the Buder scholarship for gi fted students and\nstudied with Yuly Iliashov. She holds a Master of Music degree in\nViolin Performance from the University of Missouri-Kansas City \, where\nshe was awarded the graduate string quartet assistantship for th ree\nyears. Her teachers there include Benny Kim and Gregory Sandomirsky.\ nManuela is an active chamber music and orchestral performer in the\nSaint Louis area. She performs regularly with Union Avenue Opera\, Bach\nSociet y of St. Louis\, Winter Opera\, Kingsbury Ensemble\, Metropolitan\nOrchest ra of St. Louis\, Webster University Orchestra\, Paducah\nSymphony\, Milli kin-Decatur Symphony Orchestra\, Rosewood Ensemble\,\nSalem Chamber Orches tra\, and many others. Manuela is the second\nviolinist of the Perseid Str ing Quartet. She has also given numerous\nsolo recitals with her good frie nd and pianist Diana Umali.\n\nIn addition to performing\, Manuela is also an active and experienced\npedagogue. She holds teaching positions at the Community Music School\nof Webster University\, Webster Groves Elementary Schools Strings\nProgram\, and maintains a private studio at home. In her free time\,\nManuela enjoys traveling\, cooking\, reading\, and spending time with\nfriends\, family\, and her black lab Sasha.\n\nREBECCA CHUNG\n\ nViolinist Rebecca Chung is an accomplished orchestral musician and\nteach er. She holds a Bachelor of Music in violin performance as well\nas a Bach elor of Arts in Psychology from Northwestern University as a\nstudent of R oland and Almita Vamos. She has performed with the\nNorthwestern Universit y Symphony as a winner of the concerto\ncompetition. Rebecca went on to ea rn her Master of Music in violin\nperformance at The Juilliard School unde r the tutelage of Naoko\nTanaka.\n\nRebecca has performed with the Los Ang eles Chamber Orchestra\, Pacific\nSymphony\, and Pasadena Symphony and was a tenured member of the Santa\nBarbara Symphony Orchestra and New West Sy mphony prior to relocating\nto St. Louis.\n\nWhile living in Los Angeles\, Rebecca has performed with major\nrecording artists including Ariana Gran de\, Sarah McLachlan\, Barry\nManilow\, Metro Boomin\, Melissa Manchester\ , Andrea Bocelli\, and Marvin\nHamlisch.  As a studio session player\, Re becca has performed on\nnumerous soundtrack scores\, including HOUSE OF CA RDS\, STAR TREK\nDISCOVERY\, AGENTS OF S.H.I.E.L.D.\, ORVILLE \, ONWARD\, and the LEAGUE OF\nLEGENDS video game soundtrack.\n\nHer television appear ances include on-screen performances for CHUCK\nand HOW I MET YOUR MOTHER. Rebecca has also worked as a music\nconsultant providing coaching for Aca demy Award-nominated actress\nCatherine Keener’s performance in A LATE Q UARTET.\n\nRebecca is on the violin faculty at Webster University’s Comm unity\nMusic School and maintains a private studio. She has also recently\ njoined the Chamber Project Saint Louis.\n\nAMY GREENHALGH\n\nAmy Greenhal gh is an Assistant Dean at Washington University in St.\nLouis\, and is pa ssionate about creating a diverse and inclusive\nlearning environment. Amy lives with their spouse\, Ana\, and a little\ndog with a big personality\ , Bean.\n\nAmy studied at Oxford University and the Royal College of Music . After\ncollege\, they performed chamber and orchestral music throughout\ nEurope.  Amy moved to Chile\, South America\, as principal viola of the\ nPhilharmonic Orchestra of Santiago\, and lived there for nearly a\ndecade .\n\nAmy relocated to St. Louis in 2015\, is the former Director of String s\nand Lecturer at Washington University in St. Louis\, and regularly\ncol laborates with local organizations to bring cultural experiences to\nthe c ommunity. Amy is also a teacher of viola and chamber music at\nWashU and a doctoral candidate in higher education leadership at\nMaryville Universit y.\n\nKIMBERLY JEONG\n\nKorean Canadian cellist Kimberly Jeong deeply beli eves in the\ntransformative power of music and its unique ability to conne ct people\nacross cultures\, generations\, and backgrounds. She feels hono red to\nshare her story with audiences\, students\, and community members\ nthrough the music that she loves.\n\nAs an active recitalist and a chambe r musician\, she has performed\nwidely across North America and Europe in venues such as Avery Fisher\nHall\, National Sawdust\, Dutch National Oper a\, Smetana House\, Prague\nNational Theatre\, and Wigmore Hall\, among ot hers. Her performances\nhave been broadcast on WFMT\, CBC Radio\, and BBC\ , and she can be heard\non recording projects by Chandos with the Grammy-n ominated ARC\nensemble\, and Linn Records. She has also collaborated with\ ndistinguished composers such as John Adams\, Hans Abrahamsen\, John\nHarb ison\, and Steven Stucky.\n\nAs an educator\, Jeong serves as Director of Strings and Chamber Music\nat Washington University in St. Louis. She has worked with a number of\neducational initiatives\, including Yale Music in Schools and\nRavinia’s Reach Teach Play Program. Her interests include\ ninterdisciplinary arts\, connecting with new audiences through varied\nme diums\, and expanding access to music education for all.\n\nJeong holds de grees from the Eastman School of Music (BM)\, Yale School\nof Music (MM)\, and Northwestern University (DMA)\, with cognates in\nMusicology and Musi c Theory. Her principal mentors include Hans\nJørgen Jensen and Steven Do ane\, and she received additional training\nat the Royal Conservatory of T he Hague and the Glenn Gould School in\nToronto\, Canada.\n\n------------- ------------\n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16924 DTSTART;TZID=America/Chicago:20260418T103000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260418T113000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Chamber Music Division Recital CLASS:PUBLIC DESCRIPTION:WashU music students will perform in small ensembles.\n\nPROGRA M\n\nPiano Trio No.39 in G major (1795) by Joseph Haydn (1732-1809) \n      III. _Rondo all’Ongarese: Presto_\nEmma Gerhard\, violin\nCharlott e Chen\, cello\nIris Qi\, piano\n\nPiano Trio No. 3 in C minor\, Op. 1 No. 3 (1795) by Ludwig van\nBeethoven (1770-1827)\nYang Yang\, violin\nKimber ly Jeong\, cello\nEdgar Palomino\, piano\n\n_Oblivion_ (1982) by Astor Pia zzolla (1921-1992)\nLance Yeh\, violin\nEllie Warsh\, cello\nEric Yang\, p iano\n\nPiano Quartet in E Flat Major\, Op.47 III. _Adante Cantabile_ (184 2) by\nRobert Schumann (1810-1856)\nLance Yeh\, violin\nAmy Greenhalgh\, v iola\nEllie Warsh\, cello\nEric Yang\, piano\n\nString Quartet No. 4 in C minor\, Op. 18\, No. 4 (1798-1800) by Ludwig\nvan Beethoven (1770-1827)\n      I. _Allegro ma non tanto_\nJulia Huang\, violin\nAmelia Sakai\, vi olin \nChristopher Lee\, viola \nKimberly Jeong\, cello\n\nPiano Quartet No. 1 in G minor\, Op. 25 (1856-1861) by Johannes Brahms\n(1833-1897)\n     I. _Allegro_\nCaroline Ladendorf\, violin\nSavannah Mckay\, viola\nE velyn Nedelciuc\, cello\nEliza Podvalny\, piano\n\nPiano Quintet in F Majo r (1905) by Clément François Théodore Dubois\n(1837-1924)\n     IV. A_llegro con fuoco_\nYuxuan He\, violin\nYussif Ramadan\, violin\nCedric L eong\, viola\nLuke David-Pennington\, cello\nMatthew Gomez\, piano\n\nFant asy Quartet (1946) by Ernest John Moeran (1894-1950)\nMichelle Zhang\, obo e\nBradley Gober\, violin\nDelia Zacks\, viola\nColette Wicks\, Cello\n\nP iano Trio No. 2 in E minor\, Op. 67 (1944) by Dmitri Shostakovich\n(1906 –1975)\n     IV. _Allegretto_\nNoah Kennedy\, violin\nZoe Zuo\, cello \nLucy Li\, piano\n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16873 DTSTART;TZID=America/Chicago:20251122T103000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20251122T113000 LOCATION:560 Trinity Ave\, University City\, 63130 SUMMARY:Chamber Music Division Recital CLASS:PUBLIC DESCRIPTION:WashU music students will perform in small ensembles.\n\nPROGRA M\n\n_Trio pour 2 violons et guitare_ Op 47 (1807) by Matteo Bevilacqua\n( 1772-1849)\n     I. _Andante_\nKaris Chen\, violin\nCaroline Cramer\, v iolin\nDaniel Bocsi\, guitar\n\nPiano Quintet in F-sharp minor\, Op. 30 (1 892) by Carl Frühling\n(1868-1937) \n     I. _Allegro molto agitato e d appassionato_\nYuxuan He\, violin\nYussif Ramadan\, violin\nCedric Leong \, viola\nLuke David-Pennington\, cello\nMatthew Gomez\, piano\n\nPiano Qu intet in E minor (1865) by Elfrida Andrée (1841-2929)\n     I. _Allegr o molto vivace_\nYang Yang\, violin\nEdgar Palomino\, violin\nSavannah Mck ay\, viola\nFareeha Siddique\, cello\nAnnabel Lee\, piano\n\nSuite for Two Violins and Piano\, Op. 71 (1903) by Moritz Moszkowski\n(1854-1925)\n     IV. _Molto vivace_\nIan Lee\, violin\nKishiro Goto\, violin\nEliza Po dvalny\, piano\n\nQuartet for Piano\, Violin\, Clarinet\, and Cello\, Op.1 (1896) Walter\nRabl (1873–1940)\n     I. _Allegro moderato_\nEllie C apobianco\, violin\nMichelle Zhang\, oboe\nZoe Zuo\, cello\nLucy Li\, pian o\n\nString Sonata No. 1 in G Major (1804) by Gioacchino Rossini\n(1972-18 68)\n     I.   _Moderato_\nLizzie Wagner\, violin\nEmma Gerhard\, vio lin\nEllie Warsh\, cello\nCharlotte Chen\, cello\n\nString Quartet No. 3 i n A major Op 41/3 (1842) by Robert Schumann\n(1810-1856)\n    II._ Assai agitato_\nCaroline Ladendorf\, violin\nHannah LaPorte\, violin\nDelia Zac ks\, viola\nKimberly Jeong\, cello\n\n_Souvenir De Florence_ String Quarte t in D minor Op. 70 (1890) by\nPyotr Ilyich Tchaikovsky (1840-1893)\n     1. _Allegro con spirito_\nNoah Kennedy\, violin\nMatthew Du\, violin\nB en Faden\, viola\nAnastasia Waid\, viola\nCoco Wicks\, cello\nEric Liu\, c ello\n \n\n \n DTSTAMP:20261102T232638Z END:VEVENT BEGIN:VEVENT UID:16989 DTSTART;TZID=America/Chicago:20260818T100000 SEQUENCE:0 TRANSP:TRANSPARENT DTEND;TZID=America/Chicago:20260818T113000 SUMMARY:Department of Music Open House CLASS:PUBLIC DESCRIPTION:All WashU students are invited to the Department of Music Open House\non Tuesday\, August 18 from 10:00-11:30 am in Lopata House\, Room 21.\nThis is a great opportunity to talk with faculty and staff about the\ nopportunities available to you as a student. \n\nLight refreshments will be served.  We look forward to meeting you!\n\nQuestions?  Contact Jess ie Flannigan at 314-935-5566 or\nflanniganj@wustl.edu\n\nShuttle Informati on & Map\n[https://wustl.box.com/s/s4ifaccf809phxpy3puqqba91pahaxq2]\n DTSTAMP:20261102T232638Z END:VEVENT END:VCALENDAR