Boston Conservatory Orchestra: Rising Stars
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Event Dates
(EDT)
Boston Conservatory Orchestra presents a commencement concert for graduating conducting majors and a celebratory performance by the winner of the 2025 Orchestra Concerto Competition, violinist Youngmi Hwang (GPD '26).
Program Information
Repertoire
ADOLPHUS HAILSTORK (b. 1941): An American Port of Call
NICOLAI RIMSKY-KORSAKOV (1844–1908): Capriccio Espagnol
Harold Rivas Perdomo, MM '25, conductor
VALERIE COLEMAN (b. 1970): Umoja–Anthem of Unity
Nur Pratama, MM '25, conductor
LEONARD BERNSTEIN (1918–1980): Overture from Candide
Nur Pratama, MM '25, conductor
JOHANNES BRAHMS (1833–1897): Violin Concerto in D Major, op. 77
Youngmi Hwang, violin soloist
NICOLAI RIMSKY-KORSAKOV (1844–1908): Capriccio Espagnol
Harold Rivas Perdomo, MM '25, conductor
VALERIE COLEMAN (b. 1970): Umoja–Anthem of Unity
Nur Pratama, MM '25, conductor
LEONARD BERNSTEIN (1918–1980): Overture from Candide
Nur Pratama, MM '25, conductor
JOHANNES BRAHMS (1833–1897): Violin Concerto in D Major, op. 77
Youngmi Hwang, violin soloist
Program Notes
ADOLPHUS HAILSTORK: An American Port of Call
Adolphus Cunningham Hailstork (b.1941) is a composer and professor currently based in Virginia. He studied at Howard University and Manhattan School of Music, and received a doctorate degree at Michigan State University. As a composer, Hailstork has written numerous works for chorus, solo voice, solo instruments, various chamber ensembles, band, and orchestra. His works have received abundant appreciation through performance and recordings, with him receiving numerous commissions from orchestras and other ensembles. Among his notable early compositions are Celebration, and Out of the Depths (1977), and American Guernica (1983), two band works which won national competitions. Consort Piece (1995), commissioned by the Norfolk Chamber Ensemble, was awarded first prize by the University of Delaware Festival of Contemporary Music. Significant performances by major orchestras (Philadelphia, Chicago, and New York) have been directed by leading conductors, including James de Priest, Daniel Barenboim, Kurt Masur, and Lorin Maazel. His career as a teacher includes graduate assistantships at Michigan State University (1969–1971), and professorships at Youngstown State University in Ohio (1971–1977), Norfolk State University in Virginia (1977–2000), and Old Dominion University, also in Norfolk, Virginia (2000–present), where he is an eminent scholar and professor of music.
An American Port of Call was commissioned by—and written for—the Virginia Symphony in 1984 and premiered in 1985. It is a brief, highly energetic concert overture in sonata-allegro form. The piece’s title draws from Jacque Ibert’s “Ports of Call,” with Hailstork mentioning the great port of Norfolk, Virginia, as the direct inspiration for the work, calling the piece its tribute. He views An American Port of Call as a work that “captures the strident (and occasionally tender and even mysterious) energy of a busy American port city.” The vocabulary is largely tonal with some dramatic use of dissonance and Americanisms, as shown in the blues and jazz-inflected solos within the piece.
—Adrian Atonya, BM '26
NICOLAI RIMSKY-KORSAKOV: Capriccio Espagnol (1888)
Nikolay Rimsky-Korsakov, master orchestrator and major contributor to Russian symphonic literature, composed Capriccio Espagnol around 1888. It is one of his best-known and most celebrated works. It is a reflection of the orchestrational prowess he developed through his varied experiences. He was a band leader in the Russian Navy; he led the orchestra at the St. Petersburg Conservatory, and even wrote his own textbook on the art of orchestration and music theory. In addition, he even learned to play all the wind instruments so he could have a hands-on understanding of how they work, in order to inform his own compositions.
Capriccio Espagnol is a work in five movements that showcases each section of the orchestra at different moments, all the while creating a lively depiction of Spain. There are a number of important excerpts here for various instruments. Rimsky-Korsakov was initially going to make it a fantasy for solo violin and orchestra, but gradually the piece evolved into something akin to a concerto for orchestra.
The first movement, “Alborada,” is a festive dance of the morning, featuring solo clarinet and solo violin takes the passage. The second movement, “Variazioni,” is a series of variations on a theme, featuring a lush French horn chorale, echoed by cellos. From there, the English horn and French horn engage in dialogue. The third movement, “Alborada (Reprise),” is a return of the first movement, in which harp enters for the first time in the piece to accompany the solo violin. The fourth movement, “Scena e canto gitano,” (Scene and gypsy song) begins with a strong snare drum roll, after which the horns and trumpets present a fiery fanfare. Then the solo violin takes the stage. After this, a series of instrument-pair cadenzas ensue, featuring the flute and timpani, clarinet and suspended cymbal, and harp and triangle. Finally, the brass marks the beginning of the canto gitano, which the full orchestra interprets with great passion. The fifth movement, “Fandango asturiano,” is a festive dance that builds from the previous canto gitano. Violin and flute solos exchange dialogue, later a solo clarinet appears. And then the orchestra comes back to end it all with a bang!
Overall, Capriccio Espagnol presents orchestral musicians with an exciting opportunity to showcase their skills as performers. It is a piece of great renown and a great challenge to take on. It is a party in and of itself!
For me personally, this piece helps me to express my feelings about the art of conducting: It allows me to explore the many different worlds of music, from festive dances to the more contemplative and serene. Today, I get to explore these worlds in the company of my friends as we delight in performing great symphonic music together.
—Harold Rivas Perdomo, MM '25
VALERIE COLEMAN (b. 1970): Umoja: Anthem of Unity
Prior to the orchestral version of Umoja: Anthem of Unity, composer and flutist Valerie Coleman (b. 1970) had already established a reputation as a prominent chamber musician and composer, having founded the wind quintet Imani Winds. The title Umoja derives from the Swahili word for “unity,” which represents the first principle of Kwanzaa. It was originally conceived as a simple song for a women’s choir with a memorable melody, inspired by the rhythmic elements of a drum circle and call-and-response traditions. A wind quintet arrangement became a signature piece for Imani Winds, which then evolved afterwards into various instrumental forms. This ultimately led to the Philadelphia Orchestra commissioning Coleman to expand Umoja into a full orchestral work in 2019, almost 20 years since the piece’s initial creation. This established a twofold historic milestone: a fresh take on Umoja as an orchestral piece, as well as it being the first orchestral work by a living African American woman performed by the ensemble. The premiere of Umoja: Anthem of Unity was part of the Philadelphia Orchestra’s WomenNOW initiative, a concert series dedicated to highlighting works by female composers.
Adding layers of texture and emotional depth while maintaining the core essence of the original melody, the orchestral version of Umoja contains three sections.Its introduction opens with sustained tones in the bowed vibraphone, setting a serene atmosphere. A solo violin introduces a simple, folk-inspired main melody which moves fluidly across the different sections of the orchestra families. The second section provides a contrast by introducing moments of dissonant melodies and atonality, particularly in the brass and percussion sections, which along with the compound 5/8 meter portrays a sense of conflict, tension, and imbalance. The return of the original melody signals the entrance into the third section of the piece. A mellow, gentle start of this section conveys a sense of healing and restoration, before it evolves into a triumphant, celebratory moment with every section of the orchestra participating in unity. Coleman describes the orchestral version as an expansion of her original vision, stating, “This version honors the simple melody that ever was, but is now a full exploration into the meaning of freedom and unity. Now more than ever, Umoja has to ring as a strong and beautiful anthem for the world we live in today.”
With its powerful themes and evocative orchestration, Umoja stands as a testament to Coleman’s artistic voice and her ability not only to create music that resonates across cultures and generations, but also tells a story of kindness and humanity that triumphs over conflict and tension.
—Nur Pratam, MM '25
LEONARD BERNSTEIN (1918–1990): Overture to Candide
Leonard Bernstein (1918–1990) was a composer, conductor, educator, and one of the most influential American musicians of the 20th century. His style, which blended classical, jazz, and popular influences, is vividly showcased in Candide, a comic operetta based on Voltaire’s satirical novella of the same name. Conceived as a collaboration with playwright Lillian Hellman, Candide premiered on Broadway in 1956, though it underwent multiple revisions over the years. Despite its initial mixed reception, the operetta’s brilliant overture quickly became a concert favorite; in 1987, it was the most often performed piece of concert music by the composer.
Bursting with energy and wit, the overture to Candide showcases the orchestral colors and rhythmic vitality. The piece opens with a bold fanfare in the brass, immediately setting a lively tone. It is then followed by a whirlwind of contrasting themes such as “The Best of All Possible Worlds,” “Oh, Happy We,” and “Glitter and Be Gay,” drawn from the operetta’s score, which highlight Bernstein’s blend of lyricism, rhythmic drive, and inclusion of the songs from the show as a musical foretelling. Sweeping melodies in the strings, syncopated dance-like figures, and playful woodwind interjections contribute to the overture’s theatrical character. One of its most striking elements is the use of rapid shifts in tempo and dynamics, as well as occasional meter changes from duple to triple, propelling the music forward with a sense of unpredictability.
The overture to Candide encapsulates Bernstein’s genius for fusing brilliant artistry with entertainment, embodying the satirical spirit of Candide while remaining engaging as a standalone orchestral showpiece. Its brilliance and exuberance made this piece a staple in both symphonic concerts and celebratory occasions, reflecting Bernstein’s legacy as a composer of boundless imagination and vitality.
—Nur Pratam, MM '25
JOHANNES BRAHMS: Violin Concerto in D Major, op. 77
Despite once being described as a concerto “against the violin,” the Brahms violin concerto remains at the center of the violin repertoire. While writing his violin concerto, Johannes Brahms (1833–1897) was at the height of his friendship with violinist Joseph Joachim (1831–1907). Joachim was a leading virtuoso at the time, who worked with many composers such as Bruch (1838–1920) and Schumann (1810–1856) on their violin concerti. The pair met first when Brahms was about 20 years old, leading to a lifelong friendship and collaboration. Brahms cultivated this concerto to underscore the talent of his lifelong friend.
Brahms began his violin concerto in the summer of 1878 while in Pörtschach. At this time, Brahms had two well-received symphonies and sought to emulate the grandeur of Beethoven’s violin concerto (1806). His approach to his concerto was similar to Beethoven as both concerti share the same key (D major) and treat the violin and orchestra as equals. Throughout the compositional process, Brahms sent Joachim drafts, seeking advice on the violin technique as well as the musical material. Other observers were critical of the concerto as there were moments where the soloist was in the background, such as during the extended oboe solo in the Adagio. Virtuoso Pablo Sarasate (1844–1908) allegedly rejected the concerto, although sources disagree on the reason, some citing this oboe solo, but others claiming he felt the work was “too symphonic.” Regardless, Brahms retained the oboe solo, as it creates a nostalgic character that contrasts the yearning quality of the soloist’s entrance.
The concerto opens with an idyllic pastoral atmosphere with a simple pentatonic phrase. Yet, this scene turns dark as Brahms exploits more dissonant harmonies until he arrives in D minor with stern dotted rhythms. The violin soloist then enters dramatically, exchanging fiery phrases with the orchestra. The second theme of this movement returns to the opening character, expressing the richness of the violin. Yet, the most poignant moment is reserved for the soloist’s final ethereal climb into resounding chords in D major.
Harnessing the sweetness of the first movement, the Adagio opens with a serenade of woodwinds, followed by a simplistic yet nostalgic oboe solo. Brahms once described the second movement as “a meager Adagio” after scrapping his plans for two inner movements. However, this movement is anything but. From this pastoral scene the violin soloist emerges with a yearning variation on the oboe’s theme. The soloist and orchestra veer towards a darker character as Brahms goes to the remote key of F-sharp minor. This darkness is fended off as the opening theme returns, now shared between the oboe and soloist.
As a tribute to Joachim’s Hungarian heritage, the Allegro giocoso, ma non troppo vivace is a boisterous Hungarian dance. Intertwined with this joyous character are episodes of scalar and lyrical moments, ending with a shift into 6/8 that winds down the energy of the piece before closing with powerful chords.
—Stella Feliberti, BM '27
Adolphus Cunningham Hailstork (b.1941) is a composer and professor currently based in Virginia. He studied at Howard University and Manhattan School of Music, and received a doctorate degree at Michigan State University. As a composer, Hailstork has written numerous works for chorus, solo voice, solo instruments, various chamber ensembles, band, and orchestra. His works have received abundant appreciation through performance and recordings, with him receiving numerous commissions from orchestras and other ensembles. Among his notable early compositions are Celebration, and Out of the Depths (1977), and American Guernica (1983), two band works which won national competitions. Consort Piece (1995), commissioned by the Norfolk Chamber Ensemble, was awarded first prize by the University of Delaware Festival of Contemporary Music. Significant performances by major orchestras (Philadelphia, Chicago, and New York) have been directed by leading conductors, including James de Priest, Daniel Barenboim, Kurt Masur, and Lorin Maazel. His career as a teacher includes graduate assistantships at Michigan State University (1969–1971), and professorships at Youngstown State University in Ohio (1971–1977), Norfolk State University in Virginia (1977–2000), and Old Dominion University, also in Norfolk, Virginia (2000–present), where he is an eminent scholar and professor of music.
An American Port of Call was commissioned by—and written for—the Virginia Symphony in 1984 and premiered in 1985. It is a brief, highly energetic concert overture in sonata-allegro form. The piece’s title draws from Jacque Ibert’s “Ports of Call,” with Hailstork mentioning the great port of Norfolk, Virginia, as the direct inspiration for the work, calling the piece its tribute. He views An American Port of Call as a work that “captures the strident (and occasionally tender and even mysterious) energy of a busy American port city.” The vocabulary is largely tonal with some dramatic use of dissonance and Americanisms, as shown in the blues and jazz-inflected solos within the piece.
—Adrian Atonya, BM '26
NICOLAI RIMSKY-KORSAKOV: Capriccio Espagnol (1888)
Nikolay Rimsky-Korsakov, master orchestrator and major contributor to Russian symphonic literature, composed Capriccio Espagnol around 1888. It is one of his best-known and most celebrated works. It is a reflection of the orchestrational prowess he developed through his varied experiences. He was a band leader in the Russian Navy; he led the orchestra at the St. Petersburg Conservatory, and even wrote his own textbook on the art of orchestration and music theory. In addition, he even learned to play all the wind instruments so he could have a hands-on understanding of how they work, in order to inform his own compositions.
Capriccio Espagnol is a work in five movements that showcases each section of the orchestra at different moments, all the while creating a lively depiction of Spain. There are a number of important excerpts here for various instruments. Rimsky-Korsakov was initially going to make it a fantasy for solo violin and orchestra, but gradually the piece evolved into something akin to a concerto for orchestra.
The first movement, “Alborada,” is a festive dance of the morning, featuring solo clarinet and solo violin takes the passage. The second movement, “Variazioni,” is a series of variations on a theme, featuring a lush French horn chorale, echoed by cellos. From there, the English horn and French horn engage in dialogue. The third movement, “Alborada (Reprise),” is a return of the first movement, in which harp enters for the first time in the piece to accompany the solo violin. The fourth movement, “Scena e canto gitano,” (Scene and gypsy song) begins with a strong snare drum roll, after which the horns and trumpets present a fiery fanfare. Then the solo violin takes the stage. After this, a series of instrument-pair cadenzas ensue, featuring the flute and timpani, clarinet and suspended cymbal, and harp and triangle. Finally, the brass marks the beginning of the canto gitano, which the full orchestra interprets with great passion. The fifth movement, “Fandango asturiano,” is a festive dance that builds from the previous canto gitano. Violin and flute solos exchange dialogue, later a solo clarinet appears. And then the orchestra comes back to end it all with a bang!
Overall, Capriccio Espagnol presents orchestral musicians with an exciting opportunity to showcase their skills as performers. It is a piece of great renown and a great challenge to take on. It is a party in and of itself!
For me personally, this piece helps me to express my feelings about the art of conducting: It allows me to explore the many different worlds of music, from festive dances to the more contemplative and serene. Today, I get to explore these worlds in the company of my friends as we delight in performing great symphonic music together.
—Harold Rivas Perdomo, MM '25
VALERIE COLEMAN (b. 1970): Umoja: Anthem of Unity
Prior to the orchestral version of Umoja: Anthem of Unity, composer and flutist Valerie Coleman (b. 1970) had already established a reputation as a prominent chamber musician and composer, having founded the wind quintet Imani Winds. The title Umoja derives from the Swahili word for “unity,” which represents the first principle of Kwanzaa. It was originally conceived as a simple song for a women’s choir with a memorable melody, inspired by the rhythmic elements of a drum circle and call-and-response traditions. A wind quintet arrangement became a signature piece for Imani Winds, which then evolved afterwards into various instrumental forms. This ultimately led to the Philadelphia Orchestra commissioning Coleman to expand Umoja into a full orchestral work in 2019, almost 20 years since the piece’s initial creation. This established a twofold historic milestone: a fresh take on Umoja as an orchestral piece, as well as it being the first orchestral work by a living African American woman performed by the ensemble. The premiere of Umoja: Anthem of Unity was part of the Philadelphia Orchestra’s WomenNOW initiative, a concert series dedicated to highlighting works by female composers.
Adding layers of texture and emotional depth while maintaining the core essence of the original melody, the orchestral version of Umoja contains three sections.Its introduction opens with sustained tones in the bowed vibraphone, setting a serene atmosphere. A solo violin introduces a simple, folk-inspired main melody which moves fluidly across the different sections of the orchestra families. The second section provides a contrast by introducing moments of dissonant melodies and atonality, particularly in the brass and percussion sections, which along with the compound 5/8 meter portrays a sense of conflict, tension, and imbalance. The return of the original melody signals the entrance into the third section of the piece. A mellow, gentle start of this section conveys a sense of healing and restoration, before it evolves into a triumphant, celebratory moment with every section of the orchestra participating in unity. Coleman describes the orchestral version as an expansion of her original vision, stating, “This version honors the simple melody that ever was, but is now a full exploration into the meaning of freedom and unity. Now more than ever, Umoja has to ring as a strong and beautiful anthem for the world we live in today.”
With its powerful themes and evocative orchestration, Umoja stands as a testament to Coleman’s artistic voice and her ability not only to create music that resonates across cultures and generations, but also tells a story of kindness and humanity that triumphs over conflict and tension.
—Nur Pratam, MM '25
LEONARD BERNSTEIN (1918–1990): Overture to Candide
Leonard Bernstein (1918–1990) was a composer, conductor, educator, and one of the most influential American musicians of the 20th century. His style, which blended classical, jazz, and popular influences, is vividly showcased in Candide, a comic operetta based on Voltaire’s satirical novella of the same name. Conceived as a collaboration with playwright Lillian Hellman, Candide premiered on Broadway in 1956, though it underwent multiple revisions over the years. Despite its initial mixed reception, the operetta’s brilliant overture quickly became a concert favorite; in 1987, it was the most often performed piece of concert music by the composer.
Bursting with energy and wit, the overture to Candide showcases the orchestral colors and rhythmic vitality. The piece opens with a bold fanfare in the brass, immediately setting a lively tone. It is then followed by a whirlwind of contrasting themes such as “The Best of All Possible Worlds,” “Oh, Happy We,” and “Glitter and Be Gay,” drawn from the operetta’s score, which highlight Bernstein’s blend of lyricism, rhythmic drive, and inclusion of the songs from the show as a musical foretelling. Sweeping melodies in the strings, syncopated dance-like figures, and playful woodwind interjections contribute to the overture’s theatrical character. One of its most striking elements is the use of rapid shifts in tempo and dynamics, as well as occasional meter changes from duple to triple, propelling the music forward with a sense of unpredictability.
The overture to Candide encapsulates Bernstein’s genius for fusing brilliant artistry with entertainment, embodying the satirical spirit of Candide while remaining engaging as a standalone orchestral showpiece. Its brilliance and exuberance made this piece a staple in both symphonic concerts and celebratory occasions, reflecting Bernstein’s legacy as a composer of boundless imagination and vitality.
—Nur Pratam, MM '25
JOHANNES BRAHMS: Violin Concerto in D Major, op. 77
Despite once being described as a concerto “against the violin,” the Brahms violin concerto remains at the center of the violin repertoire. While writing his violin concerto, Johannes Brahms (1833–1897) was at the height of his friendship with violinist Joseph Joachim (1831–1907). Joachim was a leading virtuoso at the time, who worked with many composers such as Bruch (1838–1920) and Schumann (1810–1856) on their violin concerti. The pair met first when Brahms was about 20 years old, leading to a lifelong friendship and collaboration. Brahms cultivated this concerto to underscore the talent of his lifelong friend.
Brahms began his violin concerto in the summer of 1878 while in Pörtschach. At this time, Brahms had two well-received symphonies and sought to emulate the grandeur of Beethoven’s violin concerto (1806). His approach to his concerto was similar to Beethoven as both concerti share the same key (D major) and treat the violin and orchestra as equals. Throughout the compositional process, Brahms sent Joachim drafts, seeking advice on the violin technique as well as the musical material. Other observers were critical of the concerto as there were moments where the soloist was in the background, such as during the extended oboe solo in the Adagio. Virtuoso Pablo Sarasate (1844–1908) allegedly rejected the concerto, although sources disagree on the reason, some citing this oboe solo, but others claiming he felt the work was “too symphonic.” Regardless, Brahms retained the oboe solo, as it creates a nostalgic character that contrasts the yearning quality of the soloist’s entrance.
The concerto opens with an idyllic pastoral atmosphere with a simple pentatonic phrase. Yet, this scene turns dark as Brahms exploits more dissonant harmonies until he arrives in D minor with stern dotted rhythms. The violin soloist then enters dramatically, exchanging fiery phrases with the orchestra. The second theme of this movement returns to the opening character, expressing the richness of the violin. Yet, the most poignant moment is reserved for the soloist’s final ethereal climb into resounding chords in D major.
Harnessing the sweetness of the first movement, the Adagio opens with a serenade of woodwinds, followed by a simplistic yet nostalgic oboe solo. Brahms once described the second movement as “a meager Adagio” after scrapping his plans for two inner movements. However, this movement is anything but. From this pastoral scene the violin soloist emerges with a yearning variation on the oboe’s theme. The soloist and orchestra veer towards a darker character as Brahms goes to the remote key of F-sharp minor. This darkness is fended off as the opening theme returns, now shared between the oboe and soloist.
As a tribute to Joachim’s Hungarian heritage, the Allegro giocoso, ma non troppo vivace is a boisterous Hungarian dance. Intertwined with this joyous character are episodes of scalar and lyrical moments, ending with a shift into 6/8 that winds down the energy of the piece before closing with powerful chords.
—Stella Feliberti, BM '27
Ensemble
CONDUCTOR
Bruce Hangen*
Harold Rivas Perdomo, MM '25
Nur Pratama, MM ’25
VIOLIN SOLOIST
Youngmi Hwang, GPD '26
PICCOLO
Dayna Dengler, BM '26
Mia Mravle, BM '27
FLUTE
⧫ Claressa Castro, BM '28
Yuwen Ho, MM '26
Rhea Karnick, BM '27
⬨ Abby Leary, BM '25
OBOE
Isabelle Guevarra, BM '28
⬨ Christopher Mavrogian, MM '25
Coleton Morgan, BM '25
⧫ JD Uchal, MM '26
E-FLAT CLARINET
Mingxuan Song, BM '28
CLARINET
⬨ Andrew Coleman, MM '25
⧫ Rose Lao, MM '26
Chase J. Oliveri, BM '25
Huiyu Wang, MM '25
BASS CLARINET
Wesley A Rivera, MM '25
BASSOON
Matthew Gaudio, BM '28
⧫ Carson Saponaro, BM '26
⬨ Lizzie Sylves, BM '25
Tin P. Tran, BM '28
CONTRABASSOON
Matthew Gaudio, BM '28
Carson Saponaro, BM '26
HORN
⬨ Yi-Hwa Chen, MM '25
Holly Fullerton, BM '26
Jack Krugman, GPD '26
Drew Lingenfelter, BM '28
⧫ Connor Strauss, BM '25
TRUMPET
Emily Dillon, BM '27
⧫ Freddie Poor, BM '27
⬨ CJ Waldrop, MM '25
TROMBONE
Collin Hawkinson, BM '28
⧫ Kevin Smith, MM '26
⧫ Brooke Thomson, BM '26
⬨ Sum Ho Tsui, BM '27
BASS TROMBONE
Collin Good, BM '26
Ben Pilon, MM '26
TUBA
Clayton Frank, BM '27
Lowrider James, BM '27
TIMPANI
Erin Burke, MM ’25
Jin Cho, BM '26
Alexa Clawson, BM '25
Yueyang (William) Shi, MM '25
Lesley Silva-Garcia, BM '27
PERCUSSION
Erin Burke, MM ’25
Jin Cho, BM '26
⧫ Alexa Clawson, BM '25
⧫ Grant Mellone, BM '27
Shixiao Shan, MM '26
Yueyang (William) Shi, MM '25
⬨ Lesley Silva-Garcia, BM '27
Dennis Smith, BM '27
⧫ Christian Weimer, BM '25
Ritvik Yaparpalvi, BM '25
HARP
Claudia Moreno Fraile, MM '26
PIANO/CELESTE
Julian Dürr, MM '26
VIOLIN I
⧫⬨ Emily Scicchitano, MM '26, concertmaster
Celeste di Meo, PSC '25
Annali Wirtz, BM '26
Anna Vittoria Furlanetto, GPD '26
Tess O.B. Reed, BM '28
Adrian Atonya, BM '26
Acadia Kunkel, BM '28
Tommaso Lorenzon, GPD '25
Zhuoma Jiangyong, MM’26
Luis Estrada, MM '25
Sophia Bernitz^
VIOLIN II
⧫⬨ Stella Feliberti, BM '27
Emily Tang, MM '26
Finnian Long, BM '26
Rose Barranco, BM '26
Leon Baker III, BM '25
Shu-Yi Huang, MM '26
Serene Sung, BM '28
YenYu Kuo, BM '26
Gloria Fortner, BM '25
Pippin Forrest, BM '27
VIOLA
⧫⬨ Changhyun Paek, MM '26
Lauren Wilson, BM '25
Emily Tardiff, MM '26
Justin Williams, BM '26
Lydia Tan, BM '27
Zeynep Yiğitoğlu, BM '25
Julian Bernal, BM '27
Jocelyn Scully, BM '28
Webb Hiaasen, BM '27
CELLO
⧫⬨ Ricardo Sardiñas, PSC '25
Adam Broce, MM '25
Lilya Arustamyan, BM '25
Yoon Jun Lee, MM '25
Zi Zeng, MM '26
Ting-Chen Chen, MM '25
Yi Hsien Lin, MM '26
Xingyu (Charley) Wang, MM '25
Arturo Romero, BM '25
BASS
⧫⬨ Zakar Basan, BM '27
Leo Martinez, BM '25
Joseph Holt*
Nicolette Kindred, BM ’24^
* Faculty member
^ Guest musician
⧫ Principal on first half
⬨ Principal on second half
Bruce Hangen*
Harold Rivas Perdomo, MM '25
Nur Pratama, MM ’25
VIOLIN SOLOIST
Youngmi Hwang, GPD '26
PICCOLO
Dayna Dengler, BM '26
Mia Mravle, BM '27
FLUTE
⧫ Claressa Castro, BM '28
Yuwen Ho, MM '26
Rhea Karnick, BM '27
⬨ Abby Leary, BM '25
OBOE
Isabelle Guevarra, BM '28
⬨ Christopher Mavrogian, MM '25
Coleton Morgan, BM '25
⧫ JD Uchal, MM '26
E-FLAT CLARINET
Mingxuan Song, BM '28
CLARINET
⬨ Andrew Coleman, MM '25
⧫ Rose Lao, MM '26
Chase J. Oliveri, BM '25
Huiyu Wang, MM '25
BASS CLARINET
Wesley A Rivera, MM '25
BASSOON
Matthew Gaudio, BM '28
⧫ Carson Saponaro, BM '26
⬨ Lizzie Sylves, BM '25
Tin P. Tran, BM '28
CONTRABASSOON
Matthew Gaudio, BM '28
Carson Saponaro, BM '26
HORN
⬨ Yi-Hwa Chen, MM '25
Holly Fullerton, BM '26
Jack Krugman, GPD '26
Drew Lingenfelter, BM '28
⧫ Connor Strauss, BM '25
TRUMPET
Emily Dillon, BM '27
⧫ Freddie Poor, BM '27
⬨ CJ Waldrop, MM '25
TROMBONE
Collin Hawkinson, BM '28
⧫ Kevin Smith, MM '26
⧫ Brooke Thomson, BM '26
⬨ Sum Ho Tsui, BM '27
BASS TROMBONE
Collin Good, BM '26
Ben Pilon, MM '26
TUBA
Clayton Frank, BM '27
Lowrider James, BM '27
TIMPANI
Erin Burke, MM ’25
Jin Cho, BM '26
Alexa Clawson, BM '25
Yueyang (William) Shi, MM '25
Lesley Silva-Garcia, BM '27
PERCUSSION
Erin Burke, MM ’25
Jin Cho, BM '26
⧫ Alexa Clawson, BM '25
⧫ Grant Mellone, BM '27
Shixiao Shan, MM '26
Yueyang (William) Shi, MM '25
⬨ Lesley Silva-Garcia, BM '27
Dennis Smith, BM '27
⧫ Christian Weimer, BM '25
Ritvik Yaparpalvi, BM '25
HARP
Claudia Moreno Fraile, MM '26
PIANO/CELESTE
Julian Dürr, MM '26
VIOLIN I
⧫⬨ Emily Scicchitano, MM '26, concertmaster
Celeste di Meo, PSC '25
Annali Wirtz, BM '26
Anna Vittoria Furlanetto, GPD '26
Tess O.B. Reed, BM '28
Adrian Atonya, BM '26
Acadia Kunkel, BM '28
Tommaso Lorenzon, GPD '25
Zhuoma Jiangyong, MM’26
Luis Estrada, MM '25
Sophia Bernitz^
VIOLIN II
⧫⬨ Stella Feliberti, BM '27
Emily Tang, MM '26
Finnian Long, BM '26
Rose Barranco, BM '26
Leon Baker III, BM '25
Shu-Yi Huang, MM '26
Serene Sung, BM '28
YenYu Kuo, BM '26
Gloria Fortner, BM '25
Pippin Forrest, BM '27
VIOLA
⧫⬨ Changhyun Paek, MM '26
Lauren Wilson, BM '25
Emily Tardiff, MM '26
Justin Williams, BM '26
Lydia Tan, BM '27
Zeynep Yiğitoğlu, BM '25
Julian Bernal, BM '27
Jocelyn Scully, BM '28
Webb Hiaasen, BM '27
CELLO
⧫⬨ Ricardo Sardiñas, PSC '25
Adam Broce, MM '25
Lilya Arustamyan, BM '25
Yoon Jun Lee, MM '25
Zi Zeng, MM '26
Ting-Chen Chen, MM '25
Yi Hsien Lin, MM '26
Xingyu (Charley) Wang, MM '25
Arturo Romero, BM '25
BASS
⧫⬨ Zakar Basan, BM '27
Leo Martinez, BM '25
Joseph Holt*
Nicolette Kindred, BM ’24^
* Faculty member
^ Guest musician
⧫ Principal on first half
⬨ Principal on second half
Concert Services Staff
Assistant Director, Concert Services – Luis Herrera
Coordinator, Concert Services – Matthew Carey
Concert Production Manager – Kendall Floyd
Performance Technology Technicians – Sara Pagiaro, Goran Daskalov
Performance Technology Specialist – Andrei Radu
Coordinator, Concert Services – Matthew Carey
Concert Production Manager – Kendall Floyd
Performance Technology Technicians – Sara Pagiaro, Goran Daskalov
Performance Technology Specialist – Andrei Radu
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