Boston Conservatory Orchestra: Romance pour deux
Event Dates
(EST)
For Valentine’s Day, Boston Conservatory Orchestra celebrates three famous couples from different locations and historical styles. The performance begins with a fandango, the centuries-old, romantic couple’s dance.
Berklee students, faculty, and staff may receive two comp tickets when they show their Berklee ID at Sanders Theatre.
Program Information
Repertoire
ROBERTO SIERRA (b. 1953): Fandangos
RICHARD WAGNER (1813–1883): Tristan und Isolde: Prelude and Love Death
GEORGE GERSHWIN (1898–1937) arr. Robert Russell Bennett: Porgy and Bess—A Symphonic Picture
MAURICE RAVEL (1875–1937): Daphnis and Chloe Suite No. 2
RICHARD WAGNER (1813–1883): Tristan und Isolde: Prelude and Love Death
GEORGE GERSHWIN (1898–1937) arr. Robert Russell Bennett: Porgy and Bess—A Symphonic Picture
MAURICE RAVEL (1875–1937): Daphnis and Chloe Suite No. 2
Program Notes
ROBERTO SIERRA (b. 1953): Fandangos
Hailing from Vega Baja, Puerto Rico, Roberto Sierra (b. 1953) has had a fruitful career as a composer spanning over four decades. His works have gained international recognition and appreciation. He has been nominated for a Grammy award twice in the Best Contemporary Composition category (2009 and 2014), won a Latin Grammy for the Best Classical Contemporary Composition (2021), and received the Tomás Luis de Victoria Prize from the Society of Spanish Composers Foundation (2017), among other numerous awards. Many major American and European orchestras and international ensembles have commissioned and performed his works. In addition to composing, he also has been a professor at Cornell University in Ithaca, New York since 1992, and now holds the title of Old Dominion Foundation Professor of Music, Emeritus.
Sierra studied composition in Puerto Rico and Europe, where one of his teachers was György Ligeti at the Hochschule für Musik in Hamburg, Germany (1979–1982). In his works, Sierra employs Afro-Caribbean, South and Central American, and Spanish musical traditions as a fundamental aspect of his work, even as his treatment of instruments and the orchestra is rooted in European traditions, including those of the twentieth century, which is evident in his Fandangos for orchestra. The piece was commissioned in 2000 for the National Symphony Orchestra and its music director Leonard Slatkin, who gave the world premiere in Washington, DC, on February 28, 2001. Since then, it has become one of the composer’s most-performed orchestral works, with one of its most famous performances being at the inaugural concert of the 2002 Proms in London, where it was performed by the BBC Symphony Orchestra in a concert that was broadcast by both BBC radio and television throughout the UK and Europe.
The work’s title and content is representative of the traditional fandango—a lively partner dance originating in Portugal and Spain, usually in triple meter, traditionally accompanied by guitars, castanets, tambourine, or hand-clapping. Fandango can both be sung and danced. Sung fandango is usually bipartite: it has an instrumental introduction followed by variations. Sierra’s take on the fandango draws from the seventeenth- and eighteenth-century trend, where composers included dance forms into purely instrumental works, with his Fandangos drawing inspiration from and quoting two eighteenth-century fandangos: a fandango for solo harpsichord by Antonio Soler and a guitar-quintet fandango by Luigi Boccherini. It is in these multiple facets of the work that it owns up to the plurality of its title.
Sierra’s orchestral treatment of the dance is a series of episodes exploring different perspectives on orchestral possibility, like constantly changing variations, all while keeping it consistent in meter, rhythm, and harmonic aspects. As in Soler and Boccherini, the harmony occasionally moves into major-key territory. Characterized by an ostinato bass line and a set of variations above it, the piece moves from very light orchestration to very dense, occasionally diverting into moments of underlying chaos which appears in the form of impossibly fast runs and dissonances that then dissolve before the fandango ostinato resurfaces. The orchestral detail is never less than extraordinary, even in less ostentatious moments, and trumpets and castanets keep the piece firmly rooted in the traditional Spanish style.
––Adrian Atonya, BM '26
RICHARD WAGNER (1813–1883): Tristan und Isolde: Prelude and Love Death
Prior to his opera Tristan und Isolde, Richard Wagner (1813–1883) had only mild success as an opera composer, making ends meet through music journalism. Yet in the 1850s, came a turning point; Wagner became engrossed in the values of German philosopher Arthur Schoepenhauer, who regarded music to be on a higher level than all art forms, including poetry. This newfound ideal influenced Wagner’s works, especially Tristan, to employ music to convey the drama of the work, not just the text. Within Tristan und Isolde, Wagner opened a new pathway for music portraying all aspects of human emotion.
Tristan und Isolde was composed between 1858 and 1859 while Wagner worked in Switzerland. The opera pulls from Gottfried von Strassburg’s drama Tristano, which tells the story of the knight Tristan and Irish princess Isolde. Though they begin as enemies, they fall in love after they drink a love potion, revealing their true feelings. In a desperate attempt to consummate their love, they die to be together eternally. Filled with yearning, anguish, desire, sensuality, and love, Wagner depicts all aspects of Tristan and Isolde’s relationship throughout the opera through the music, evident in the concert version of the opera’s Prelude and Liebestod. All through this version, Wagner employs leitmotifs (leading motif), musical ideas that represent a person, feeling, or thing, to illustrate the drama. These two movements bookend the opera with its opening, Prelude, and its ending, Liebestod (Love Death). Despite missing the inner text of the opera, these two works together paint the fated yet fatal love of Tristan and Isolde.
The Prelude opens with the cellos softly playing four notes with the winds entering on the last note to fill the space with a yearning chord, characterized by its unresolved dissonance. This chord appears all throughout the work and is known as the “Tristan chord.” These two gestures that surround the “Tristan chord” come together to form the first leitmotif of the work: the love and death motif, reflecting the love and fate of Tristan and Isolde. By the climax of the Prelude, the love of Tristan and Isolde is tangible as Wagner has highlighted both the adoration and longing these two lovers share. Similar to the Prelude, Liebestod builds slowly with a solo clarinet supported only by ostinato strings. The solo clarinet repeats its melody, building in texture as the orchestra awakens. As the strings take over, the entire orchestra flourishes, reflecting the fully realized love of Tristan and Isolde. Yet, this melody has a bittersweet edge, underscoring the ill-fated love of this couple. As Liebestod reaches its peak, the romantic melody has a sense of desperation as Tristan and Isolde are frantic to find a way to preserve their love, at all costs. Thus, this theme of their love turns to one of transfiguration as they consummate their love in the only way possible: through death.
––Stella Feliberti, BM '27
GEORGE GERSHWIN (1898–1937) arr. Robert Russell Bennett: Porgy and Bess—A Symphonic Picture
One of the most successful and highly performed American operas of all time, Porgy and Bess was first written as a novel by poet Dubose Heyward in 1925. The story was then adapted into a play with the help of his wife, playwright Dorothy Kuhn Heyward, and subsequently into the opera that audiences know today, in collaboration with American composer George Gershwin (1898–1937). Porgy and Bess tells the story of the inhabitants of Catfish Row, a fictional black tenement in Charleston, South Carolina. This neighborhood acts as the backdrop for a romance between Porgy, a disabled man living as a beggar in Catfish Row, and Bess, a woman trapped in a relationship with the notorious criminal kingpin, Crown. The story of Gershwin’s opera explores themes of class, ambition, liberation, addiction, and unconditional love.
As an opera with primarily African American characters, Porgy and Bess was the first major source of representative roles for people of color within classical music. Even with many lucrative propositions for staging the opera with well-known white actors, both Gershwin and the Heywards insisted that Porgy and Bess would always feature black performers. As a result, many black opera singers were able to build careers as musicians throughout the ’30s and ’40s even as they faced Jim Crow-era segregation and social exclusion throughout the US. While the opportunities Porgy and Bess provided to people of color were revolutionary at the time, the story perpetuates a number of negative stereotypes about African Americans. This revolutionary spotlight for black artists coming with the caveat of misrepresentation reveals the complex historical context of its creation.
In 1942, the arrangement of Gershwin’s original work into a symphonic medley known as Porgy and Bess—A Symphonic Picture was written by American composer and orchestrator Robert Russell Bennett. This orchestral synopsis features many of the most popular melodies from Porgy and Bess, including “Summertime,” “I Got Plenty of Nothin,’” “Bess, You Is My Woman,” “It Ain’t Necessarily So,” and, “Oh Lord, I’m on My Way.” Gershwin’s original writing together with Bennett’s careful reorchestration gives audiences an energetic and rich experience of one of the foremost pieces of American music.
—Adam Broce, MM '25
MAURICE RAVEL (1875–1937): Daphnis and Chloe Suite No. 2
Maurice Ravel, one of the foremost French composers of the early twentieth century, was commissioned by Sergei Diaghilev to compose a work for the Ballet Russes in Paris. Around the same time, Diaghilev was working with Stravinsky and Debussy for the same purpose, thus developing a portfolio of modern works for the dance company. The ballet Daphnis et Chloé was produced by Sergei Diaghilev, Michael Fokine, and Vaslav Nijinsky, among others, forming a team with whom Ravel collaborated.
He sketched the work in 1907 and almost desisted from completing it a number of times, but ultimately finished it over the course of the next two years. One account has it that, at a moment of desperation with the composition, Ravel took out his copy of Rimsky-Korsakov’s Scheherazade for inspiration. This likely influence can be heard in the Dionysian dance at the end of the ballet, where a recurring theme alluding to Scheherazade is exchanged between the clarinets, alto flute, and strings.
By 1909, Diaghilev received the score and became uneasy about premiering the work, soon expressing his concern about the piece to publisher J. Durand. The music was undoubtedly excellent, but some rhythmically irregular passages posed challenges to Fokine’s choreography. Thus, an ongoing thread of disagreements ensued between Ravel and the producers about how the music and choreography should unite onstage, and their language barriers only complicated matters further. Nonetheless, out of a tense working relationship, this great classic was born.
The ballet is inspired by the ancient Greek legend of two lovers, shepherd Daphnis and shepherdess Chloe. Ravel’s depiction of ancient Greece is idyllic by design, using extended tonality and mixed meter to paint the aural landscape. The two suites emerged around the time of the ballet’s creation–the second suite consists of the music from the last act of the work. Moreover, the score includes a wordless choir, adding another dimension of timbre and shimmer in performance. The piece is often programmed either with or without the choir.
The suite begins with a gorgeous musical depiction of the rising sun, including the murmur of the morning breeze and the beauty of the flowers and chirping birds, as interpreted by the woodwinds, French horns, harps, and strings. Flutes and the E-flat clarinet make enchanting solo statements as the low strings sing like a sacred choir. Daphnis, awakened by fellow shepherds, sees Chloe approaching in the distance. He realizes that the dream he had about nymphs motivating deity Pan to save Chloe was true, and welcomes Chloe with a warm embrace. Then, they reenact the love story of Pan, in which he becomes enthralled by the nymph Syrinx and tries to court her. In the end, an array of percussion instruments drive the jubilation of shepherdesses and shepherds, who arrive with festive Dionysian music to celebrate the union of Daphnis and Chloe.
––Harold Rivas Perdomo, MM '25
Hailing from Vega Baja, Puerto Rico, Roberto Sierra (b. 1953) has had a fruitful career as a composer spanning over four decades. His works have gained international recognition and appreciation. He has been nominated for a Grammy award twice in the Best Contemporary Composition category (2009 and 2014), won a Latin Grammy for the Best Classical Contemporary Composition (2021), and received the Tomás Luis de Victoria Prize from the Society of Spanish Composers Foundation (2017), among other numerous awards. Many major American and European orchestras and international ensembles have commissioned and performed his works. In addition to composing, he also has been a professor at Cornell University in Ithaca, New York since 1992, and now holds the title of Old Dominion Foundation Professor of Music, Emeritus.
Sierra studied composition in Puerto Rico and Europe, where one of his teachers was György Ligeti at the Hochschule für Musik in Hamburg, Germany (1979–1982). In his works, Sierra employs Afro-Caribbean, South and Central American, and Spanish musical traditions as a fundamental aspect of his work, even as his treatment of instruments and the orchestra is rooted in European traditions, including those of the twentieth century, which is evident in his Fandangos for orchestra. The piece was commissioned in 2000 for the National Symphony Orchestra and its music director Leonard Slatkin, who gave the world premiere in Washington, DC, on February 28, 2001. Since then, it has become one of the composer’s most-performed orchestral works, with one of its most famous performances being at the inaugural concert of the 2002 Proms in London, where it was performed by the BBC Symphony Orchestra in a concert that was broadcast by both BBC radio and television throughout the UK and Europe.
The work’s title and content is representative of the traditional fandango—a lively partner dance originating in Portugal and Spain, usually in triple meter, traditionally accompanied by guitars, castanets, tambourine, or hand-clapping. Fandango can both be sung and danced. Sung fandango is usually bipartite: it has an instrumental introduction followed by variations. Sierra’s take on the fandango draws from the seventeenth- and eighteenth-century trend, where composers included dance forms into purely instrumental works, with his Fandangos drawing inspiration from and quoting two eighteenth-century fandangos: a fandango for solo harpsichord by Antonio Soler and a guitar-quintet fandango by Luigi Boccherini. It is in these multiple facets of the work that it owns up to the plurality of its title.
Sierra’s orchestral treatment of the dance is a series of episodes exploring different perspectives on orchestral possibility, like constantly changing variations, all while keeping it consistent in meter, rhythm, and harmonic aspects. As in Soler and Boccherini, the harmony occasionally moves into major-key territory. Characterized by an ostinato bass line and a set of variations above it, the piece moves from very light orchestration to very dense, occasionally diverting into moments of underlying chaos which appears in the form of impossibly fast runs and dissonances that then dissolve before the fandango ostinato resurfaces. The orchestral detail is never less than extraordinary, even in less ostentatious moments, and trumpets and castanets keep the piece firmly rooted in the traditional Spanish style.
––Adrian Atonya, BM '26
RICHARD WAGNER (1813–1883): Tristan und Isolde: Prelude and Love Death
Prior to his opera Tristan und Isolde, Richard Wagner (1813–1883) had only mild success as an opera composer, making ends meet through music journalism. Yet in the 1850s, came a turning point; Wagner became engrossed in the values of German philosopher Arthur Schoepenhauer, who regarded music to be on a higher level than all art forms, including poetry. This newfound ideal influenced Wagner’s works, especially Tristan, to employ music to convey the drama of the work, not just the text. Within Tristan und Isolde, Wagner opened a new pathway for music portraying all aspects of human emotion.
Tristan und Isolde was composed between 1858 and 1859 while Wagner worked in Switzerland. The opera pulls from Gottfried von Strassburg’s drama Tristano, which tells the story of the knight Tristan and Irish princess Isolde. Though they begin as enemies, they fall in love after they drink a love potion, revealing their true feelings. In a desperate attempt to consummate their love, they die to be together eternally. Filled with yearning, anguish, desire, sensuality, and love, Wagner depicts all aspects of Tristan and Isolde’s relationship throughout the opera through the music, evident in the concert version of the opera’s Prelude and Liebestod. All through this version, Wagner employs leitmotifs (leading motif), musical ideas that represent a person, feeling, or thing, to illustrate the drama. These two movements bookend the opera with its opening, Prelude, and its ending, Liebestod (Love Death). Despite missing the inner text of the opera, these two works together paint the fated yet fatal love of Tristan and Isolde.
The Prelude opens with the cellos softly playing four notes with the winds entering on the last note to fill the space with a yearning chord, characterized by its unresolved dissonance. This chord appears all throughout the work and is known as the “Tristan chord.” These two gestures that surround the “Tristan chord” come together to form the first leitmotif of the work: the love and death motif, reflecting the love and fate of Tristan and Isolde. By the climax of the Prelude, the love of Tristan and Isolde is tangible as Wagner has highlighted both the adoration and longing these two lovers share. Similar to the Prelude, Liebestod builds slowly with a solo clarinet supported only by ostinato strings. The solo clarinet repeats its melody, building in texture as the orchestra awakens. As the strings take over, the entire orchestra flourishes, reflecting the fully realized love of Tristan and Isolde. Yet, this melody has a bittersweet edge, underscoring the ill-fated love of this couple. As Liebestod reaches its peak, the romantic melody has a sense of desperation as Tristan and Isolde are frantic to find a way to preserve their love, at all costs. Thus, this theme of their love turns to one of transfiguration as they consummate their love in the only way possible: through death.
––Stella Feliberti, BM '27
GEORGE GERSHWIN (1898–1937) arr. Robert Russell Bennett: Porgy and Bess—A Symphonic Picture
One of the most successful and highly performed American operas of all time, Porgy and Bess was first written as a novel by poet Dubose Heyward in 1925. The story was then adapted into a play with the help of his wife, playwright Dorothy Kuhn Heyward, and subsequently into the opera that audiences know today, in collaboration with American composer George Gershwin (1898–1937). Porgy and Bess tells the story of the inhabitants of Catfish Row, a fictional black tenement in Charleston, South Carolina. This neighborhood acts as the backdrop for a romance between Porgy, a disabled man living as a beggar in Catfish Row, and Bess, a woman trapped in a relationship with the notorious criminal kingpin, Crown. The story of Gershwin’s opera explores themes of class, ambition, liberation, addiction, and unconditional love.
As an opera with primarily African American characters, Porgy and Bess was the first major source of representative roles for people of color within classical music. Even with many lucrative propositions for staging the opera with well-known white actors, both Gershwin and the Heywards insisted that Porgy and Bess would always feature black performers. As a result, many black opera singers were able to build careers as musicians throughout the ’30s and ’40s even as they faced Jim Crow-era segregation and social exclusion throughout the US. While the opportunities Porgy and Bess provided to people of color were revolutionary at the time, the story perpetuates a number of negative stereotypes about African Americans. This revolutionary spotlight for black artists coming with the caveat of misrepresentation reveals the complex historical context of its creation.
In 1942, the arrangement of Gershwin’s original work into a symphonic medley known as Porgy and Bess—A Symphonic Picture was written by American composer and orchestrator Robert Russell Bennett. This orchestral synopsis features many of the most popular melodies from Porgy and Bess, including “Summertime,” “I Got Plenty of Nothin,’” “Bess, You Is My Woman,” “It Ain’t Necessarily So,” and, “Oh Lord, I’m on My Way.” Gershwin’s original writing together with Bennett’s careful reorchestration gives audiences an energetic and rich experience of one of the foremost pieces of American music.
—Adam Broce, MM '25
MAURICE RAVEL (1875–1937): Daphnis and Chloe Suite No. 2
Maurice Ravel, one of the foremost French composers of the early twentieth century, was commissioned by Sergei Diaghilev to compose a work for the Ballet Russes in Paris. Around the same time, Diaghilev was working with Stravinsky and Debussy for the same purpose, thus developing a portfolio of modern works for the dance company. The ballet Daphnis et Chloé was produced by Sergei Diaghilev, Michael Fokine, and Vaslav Nijinsky, among others, forming a team with whom Ravel collaborated.
He sketched the work in 1907 and almost desisted from completing it a number of times, but ultimately finished it over the course of the next two years. One account has it that, at a moment of desperation with the composition, Ravel took out his copy of Rimsky-Korsakov’s Scheherazade for inspiration. This likely influence can be heard in the Dionysian dance at the end of the ballet, where a recurring theme alluding to Scheherazade is exchanged between the clarinets, alto flute, and strings.
By 1909, Diaghilev received the score and became uneasy about premiering the work, soon expressing his concern about the piece to publisher J. Durand. The music was undoubtedly excellent, but some rhythmically irregular passages posed challenges to Fokine’s choreography. Thus, an ongoing thread of disagreements ensued between Ravel and the producers about how the music and choreography should unite onstage, and their language barriers only complicated matters further. Nonetheless, out of a tense working relationship, this great classic was born.
The ballet is inspired by the ancient Greek legend of two lovers, shepherd Daphnis and shepherdess Chloe. Ravel’s depiction of ancient Greece is idyllic by design, using extended tonality and mixed meter to paint the aural landscape. The two suites emerged around the time of the ballet’s creation–the second suite consists of the music from the last act of the work. Moreover, the score includes a wordless choir, adding another dimension of timbre and shimmer in performance. The piece is often programmed either with or without the choir.
The suite begins with a gorgeous musical depiction of the rising sun, including the murmur of the morning breeze and the beauty of the flowers and chirping birds, as interpreted by the woodwinds, French horns, harps, and strings. Flutes and the E-flat clarinet make enchanting solo statements as the low strings sing like a sacred choir. Daphnis, awakened by fellow shepherds, sees Chloe approaching in the distance. He realizes that the dream he had about nymphs motivating deity Pan to save Chloe was true, and welcomes Chloe with a warm embrace. Then, they reenact the love story of Pan, in which he becomes enthralled by the nymph Syrinx and tries to court her. In the end, an array of percussion instruments drive the jubilation of shepherdesses and shepherds, who arrive with festive Dionysian music to celebrate the union of Daphnis and Chloe.
––Harold Rivas Perdomo, MM '25
Ensemble
CONDUCTOR
Bruce Hangen
BANJO
Jim Dalton*
PICCOLO
Dayna Dengler, BM '26
Rhea Karnick, BM '27
Abby Leary, BM '25
FLUTE
Claressa Castro, BM '28
Abby Leary, BM '25
Teo Mondiru, BM '27
Julia Spretty, BM '27
Maggie Stuteville, BM '27
ALTO FLUTE
Teo Mondiru, BM '27
OBOE
JD Uchal, MM '26
Coleton Morgan, BM '25
Jesse Myers, BM '26
E-FLAT CLARINET
Elly (Hsuan-Hsun) Hsu, MM '25
CLARINET
John Azpuru Jr., MM '25
Rose Lao, MM '26
Mason Davis, BM '25
Nathan Soric, MM '26
BASS CLARINET
Annika Pollock, BM '25
Wesley A. Rivera, MM '25
BASSOON
Matthew Gaudio, BM '28
Max Li, MM '25
Carson Saponaro, BM '26
Lizzie Sylves, BM '25
Tin P. Tran, BM '28
CONTRABASSOON
Kyle Sodman, GPD '26
HORN
Yi-Hwa Chen, MM '25
Holly Fullerton, BM '26
Drew Lingenfelter, BM '28
Cameron McCarty, BM '25
Sophie Steger ^
Connor Strauss, BM '25
Zachery Watson, BM '27
TRUMPET
Charlotte Berube-Gray, BM '26
Emily Dillon, BM '27
Liz Jewell ^
Cal Richards, BM '25
Jackson Stahlman, BM '28
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
Cole MacEwen, BM '28
TUBA
Clayton Frank, BM '27
Lowrider James, BM '27
TIMPANI
Ritvik Yaparpalvi, BM '25
Christian Weimer, BM '25
Grant Mellone, BM '27
John Hanchey, BM '27
PERCUSSION
Logan Bass, BM '28
Jin Cho, BM '26
Tianyu Guo, MM '26
John Hanchey, BM '27
Grant Mellone, BM '27
Lesley Silva-Garcia, BM '27
Jack Tarpley, BM '28
Amy Weyand, BM '28
Christian Weimer, BM '25
HARP
Claudia Moreno Fraile, MM '26
Yinong Zhang, BM '28
PIANO/CELESTE
Julian Dürr, MM '26
VIOLIN I
Anna Vittoria Furlanetto, GPD '26, concertmaster
Isabella Yee, BM '26
Emily Scicchitano, MM '26
Sai Tang, GPD '26
Rose Barranco, BM '26
Finnian Long, BM '26
Alexander Estrella, BM '25
Shu-Yi Huang, MM '26
Zhuoma Jiangyong, MM '26
Leon Baker III, BM '25
Stella Feliberti, BM '27
Tommaso Lorenzon, GPD '25
Joshua Rosenthal, BM '26
VIOLIN II
Youngmi Hwang, GPD '26
Lauren Oeser, BM '25
Gloria Fortner, BM '25
Caden Burston, BM '25
Yen-Yu Kuo, BM '26
Luis Estrada, MM '25
Spencer Lee, BM '26
Acadia Kunkel, BM '28
Pippin Forrest, BM '27
Tian Tian, BM '26
Isabelle Parker, BM '28
VIOLA
Victoria Skinner, MM '25
Dylan Cohen, BM '27
Simon Daly, BM '26
Julian Bernal, BM '27
Katy Rose Bennett, MM '26
Maya Hartglass, BM '27
Lydia Tan, BM '27
Webb Hiaasen, BM '27
Zeynep Yiğitoğlu, BM '25
Jocelyn Scully, BM '28
CELLO
Adam Broce, MM '25
Milla Chitwood, BM '27
Lilya Arustamyan, BM '25
Will Rawlinson, BM '27
Enrique Garcia, BM '28
Nadia Brooks, MM '26
Tzu-Yi (Tiffany) Yeh, MM '25
Olivia Myers, MM '25
Lauren Roberts, MM '25
Madeleine Corrigan, MM '26
Davis Mann, BM '27
Arturo Romero, BM '25
BASS
Leo Martinez, BM '25
Gabriel de los Reyes, BM '27
Nicolette Kindred, BM '24 ^
Diego Martinez ^
* Faculty member
^ Guest musician
Bruce Hangen
BANJO
Jim Dalton*
PICCOLO
Dayna Dengler, BM '26
Rhea Karnick, BM '27
Abby Leary, BM '25
FLUTE
Claressa Castro, BM '28
Abby Leary, BM '25
Teo Mondiru, BM '27
Julia Spretty, BM '27
Maggie Stuteville, BM '27
ALTO FLUTE
Teo Mondiru, BM '27
OBOE
JD Uchal, MM '26
Coleton Morgan, BM '25
Jesse Myers, BM '26
E-FLAT CLARINET
Elly (Hsuan-Hsun) Hsu, MM '25
CLARINET
John Azpuru Jr., MM '25
Rose Lao, MM '26
Mason Davis, BM '25
Nathan Soric, MM '26
BASS CLARINET
Annika Pollock, BM '25
Wesley A. Rivera, MM '25
BASSOON
Matthew Gaudio, BM '28
Max Li, MM '25
Carson Saponaro, BM '26
Lizzie Sylves, BM '25
Tin P. Tran, BM '28
CONTRABASSOON
Kyle Sodman, GPD '26
HORN
Yi-Hwa Chen, MM '25
Holly Fullerton, BM '26
Drew Lingenfelter, BM '28
Cameron McCarty, BM '25
Sophie Steger ^
Connor Strauss, BM '25
Zachery Watson, BM '27
TRUMPET
Charlotte Berube-Gray, BM '26
Emily Dillon, BM '27
Liz Jewell ^
Cal Richards, BM '25
Jackson Stahlman, BM '28
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
Cole MacEwen, BM '28
TUBA
Clayton Frank, BM '27
Lowrider James, BM '27
TIMPANI
Ritvik Yaparpalvi, BM '25
Christian Weimer, BM '25
Grant Mellone, BM '27
John Hanchey, BM '27
PERCUSSION
Logan Bass, BM '28
Jin Cho, BM '26
Tianyu Guo, MM '26
John Hanchey, BM '27
Grant Mellone, BM '27
Lesley Silva-Garcia, BM '27
Jack Tarpley, BM '28
Amy Weyand, BM '28
Christian Weimer, BM '25
HARP
Claudia Moreno Fraile, MM '26
Yinong Zhang, BM '28
PIANO/CELESTE
Julian Dürr, MM '26
VIOLIN I
Anna Vittoria Furlanetto, GPD '26, concertmaster
Isabella Yee, BM '26
Emily Scicchitano, MM '26
Sai Tang, GPD '26
Rose Barranco, BM '26
Finnian Long, BM '26
Alexander Estrella, BM '25
Shu-Yi Huang, MM '26
Zhuoma Jiangyong, MM '26
Leon Baker III, BM '25
Stella Feliberti, BM '27
Tommaso Lorenzon, GPD '25
Joshua Rosenthal, BM '26
VIOLIN II
Youngmi Hwang, GPD '26
Lauren Oeser, BM '25
Gloria Fortner, BM '25
Caden Burston, BM '25
Yen-Yu Kuo, BM '26
Luis Estrada, MM '25
Spencer Lee, BM '26
Acadia Kunkel, BM '28
Pippin Forrest, BM '27
Tian Tian, BM '26
Isabelle Parker, BM '28
VIOLA
Victoria Skinner, MM '25
Dylan Cohen, BM '27
Simon Daly, BM '26
Julian Bernal, BM '27
Katy Rose Bennett, MM '26
Maya Hartglass, BM '27
Lydia Tan, BM '27
Webb Hiaasen, BM '27
Zeynep Yiğitoğlu, BM '25
Jocelyn Scully, BM '28
CELLO
Adam Broce, MM '25
Milla Chitwood, BM '27
Lilya Arustamyan, BM '25
Will Rawlinson, BM '27
Enrique Garcia, BM '28
Nadia Brooks, MM '26
Tzu-Yi (Tiffany) Yeh, MM '25
Olivia Myers, MM '25
Lauren Roberts, MM '25
Madeleine Corrigan, MM '26
Davis Mann, BM '27
Arturo Romero, BM '25
BASS
Leo Martinez, BM '25
Gabriel de los Reyes, BM '27
Nicolette Kindred, BM '24 ^
Diego Martinez ^
* Faculty member
^ Guest musician
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
Sanders Theatre Rules and Emergency Exit Plan
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