University Symphony David Alexander Rahbee with Saeunn Thorsteinsdottir November 4, 2016, DA Rahbee, S Thorsteinsdottir, UWS Orchestra

Tags: Music Education, Performance, Edmonds, WA, Cello Concerto, David Alexander Rahbee, Johannes Brahms, Shostakovich, Seattle Symphony, Vienna, Dr, Musical Arts, Allegro con moto, Richard Aaron, Vienna State opera, Vienna Philharmonic, Fidelio Chamber Orchestra, orchestral conducting, the Pierre Monteux School, principal teachers, New England Conservatory, Joel Krosnick, Hingham Symphony, classical music, Indiana University, SUNY Stony Brook, Nikolaus Harnoncourt, Conducting Associate, Gustav Mahler, Atlantic Music Festival, Grand Harmonie, Benjamin Britten, Saeunn Thorsteinsdottir, Fifth Symphony, Martinu, The Fourth Symphony, UNIVERSITY SYMPHONY, Nina Vasilyevna, UNIVERSITY of WASHINGTON, Moscow Conservatory of Music, Dmitri Dmitriyevich, Kennett Symphony, Orchestre Philharmonique, Jorma Panula, Stavanger Symphony, Dmitry Shostakovich, Sergei Prokofiev, Redwood Symphony Brahms, Rostropovich, Charles Bruck, Harvard University, WA, Bellevue, WA, Seattle, WA, Music Performance, Performance Victoria Crewdson, David Wall, Cleveland Institute of Music, Juilliard School, Bassoon Performance, Scholarship Chamber Group, Chamber Singers &University Chorale, Brechemin Piano Series, Jonathan Bernard, Christopher Anderson, Meany Theater, Concerto Competition, Max Reger, Voice Division Recital, Ted Botsford, Studio Jazz Ensemble &UW Modern Band, Symphony Orchestra, Orchestre de la Francophonie, Rhode Island Philharmonic Youth Orchestras, Boston New Music Initiative, Weill Music Institute, Chapman University, Vienna University, Michael Jinbo atthe Pierre Monteux School, Boston University, Brechemin Auditorium, University of Washington School of Music, Naumburg Competition, David Rahbee, Seattle Modern Orchestra, RTE National Symphony Orchestra of Ireland, Carnegie Hall, Seattle, Armenian Philharmonic Orchestra, New York City Public Schools, Boston Youth Symphony Orchestras, International Attergau Institute Orchestra
Content: COMQLtct t\ i~C. 9q ~[\J; SCHOOL OF MUSIC S V!I\J UNIVERSITY of WASHINGTON )0 1~ \\' y UNIVERSITY SYMPHONY David Alexander Rahbee, conductor with S~unn Thorsteinsd6ttir, cello Friday, November 4,2016 7:30 pm Meany Theater UW MUSIC 2016-17 SEASON
Cf/fft/t s1;1 PROGRAM l (t/YntV1 fo::.7, ;QdJh-ee... ~: ~ 2- Memorial to Udice, H. 296 <1943> .....................~..~..~.~..................... Bohuslav MartinG (1890-1959) Cello Concerto No.1, op. 107, in Eb Major <1959> ...~.~.:..~~........ Dmitry Shostakovich (1906·1975)
3 I. Allegretto f II. Moderato 5" III. Cadenza ((, IV. Allegro con moto Saeunn Thorsteinsdottir, cello
INTERMISSION (]:D~rT'S-~%
:.!..:.??:. . . Symphony No.4, in eminor, op. 98 <1884-1885> ......
Johannes Brahms (1833-1897)
) I. Allegro non troppo
2 II. Andante moderato
3i
III. Allegro giocoso IV. Allegro energico e passionato
PROGRAM NOTES: Martinu, Memorial to Lidice, H. 296 <1943> On Ju ne 10th, 1942, Nazis obliterated the village of Lid ice, outside of Prague. 'They killed the men, sent the women and most of the children to concentration camps, and burnt or leveled the entire town even the cemetery. Why? The week before, elite forces had assassinated one ofthe chief architects of the Nazis' "Final Solution./I So Hitler then ordered the extermination ofthe little village, which just happened to be near that attack. Its name was lidice. Martinu was living in Connecticut, but was from Czechoslovakia. living in Paris, his star was on the rise. But with the Germans advancing, he fled forthe United States. Martinu was fond of old Czech or Bohemian tunes throughout his life, and a hymn to Wenceslaus, the martyred patron saint of Bohemia, appears. We also hearthe so-called IIfate" motif from Beethoven's Fifth Symphony, as well as acontorted version ofthe Dies Irae, from the Roman Catholic Requiem mass, and best known in music for its use by Berlioz, Liszt and others. ,Kile Smith (ed.) Shostakovich, Cello Concerto No.1, op. 107, in Eb Major, 1959 Cellist Mstislav "Slava" Rostropovich was an important influence on many of the great composers of the twentieth century, encouraging artists from Benjamin Britten to Sergei Prokofiev to write works for celio. In 1943, Rostropovich entered the Moscow Conservatory of Music, where he studied composition with Dmitri Shostakovich. Having become friends with the composer, Rostropovich hoped that he might ask Shostakovich to write awork for cello. This proved to be more difficultthan he expected. As the cellist later described it: "Once, when talking with Nina Vasilyevna, Dmitri Dmitriyevich's late wife, Iraised the question of a commission: 'Nina Vasilyevna, what should Ido to make Dmitri Dmitriyevich write me a cello concerto?' She answered, 'Slava, if you want Dmitri Dmitriyevich to write something for you, the only recipe 1can give you is this--never ask him or talk to him about it.''' So Rostropovich kept his silence and waited. Eventually Shostakovich did write his First Cello Concerto, in July of 1959. Rostropovich premiered the work with the leningrad Philharmonic in October, 1959. Shostakovich described the first movement, Allegretto, as a "jocular march," but it is afrenetic rather than happy jocularity. The movement contrasts aquestioning four-note motto with a brisk motif consisting of adescending third repeated twice, followed by four notes descending chromatically. The solo cello trades these themes back and forth with the full orchestra and, notably, with the single brass instrument scored in this work, the French horn. This sets up a musical relationship between cello and horn that continues throughout the piece, with the horn "reminding" us of athematic point while the soloist takes off on aflight of variation. Like the Prokofiev work that inspired the concerto, this movement features afew abrupt bangs on the timpani that both punctuate and end the section.
The next three movements are played without separation, beginning with the Moderato second movement, in A-B-A form. Once again the horn takes the lead, stating the elegiac first theme after an introduction by the strings, then the solo cello takes over, alternating with the string sections and the clarinet. The "B" section becomes ever more agitated, segueing back to the opening "A" melody played fortissimo by the full orchestra. Then the solo cello takes over in harmonics, aided by an ethereal celesta. Asoft drum roll denotes the break between this section and the cadenza. The solo Cadenza, at 148 bars long, is enough to constitute amovement on its own. This section ties together the entire work, beginning with material from the second movement, accelerating to musical musings on the first movement, and developing to foreshadow the rhythmic intensity of the fjnale. The last movement, Allegro con moto, includes amusical quotation from Stalin's favorite song, "Suliko," which Shostakovich also used in his musical satire on the Soviet system, "Rayok" (1948 1957). In both cases, the quotation is used ironically. The mood in this movement is once again grimly frenetic, augmented by timpani and strident winds in their high register. The horn brings back the four-note motto from the opening movement to begin the coda. The opening and finale themes intertwine as the soloist shines in avirtuosic whirlwind of scales and octaves. -Barbara Heninger, Redwood Symphony Brahms, Symphony No.4 in eminor, op. 98 Johannes Brahms was born in Hamburg on May 7, 1833 and died in Vienna on April 3, 1897. He began composing his fourth and final symphony in 1884 -just one year after completing his third symphony -while living in the Austrian resort town of Miirzzuschlag, and conducted its premiere on Oct 25, 1885 in Meiningen, Germany. His first three symphonies were commended by the public; however, due to the much 'darker and more complex nature ofthe Fourth, his final symphony was not as well received. As Brahms' final work of its kind, the Fourth Symphony displays aculmination of his life and ideas ofthe art form. The first and second movements present simple, yet mournful, motifs; the lighthearted energy of the third movement sharply contrasts the more serious tone for the finale. The symphony ends harshly, areminder of the unrelenting tragedy it encapsulates. As acomposer of the Romantic era, Brahms was deeply influenced by the works of Beethoven. The famous finale is notable as arare example ofthe symphonic passacaglia, amusical form which was much more common in the Baroque era. The Fourth Symphony is considered to draw from all of Brahms' past experience with expression, development, and symphonic modes. The first movement opens with aseries of resigned, yet inquisitive sighs. Beginning with the upbeat in the violins gives the impression of being mid-thought. Slowly, but surely, the motif is developed organically through extended, compelling passages. Fragmentation ofthe primary theme adds new complexity and allows for occasional fanfare-like interludes, reminiscent phrases, and stormy passages which scream with passion. Two forceful horns introduce the passionate sostenuto theme characterized in the second movement. As the theme steps back into amore contemplative role, the woodwinds add complexity, with deliberate pizzicato in the strings. Violins introduce ayearning, aching melody which soars over
UWSymphony David Alexander Rahbee, music director and conductor Mario Alejandro Torres, Lorenzo Guggenheim, Abbie Naze assistant conductors
Flute/piccolo A+Sabrina Bounds, Edmonds, WA - Music Performance Audrey Cullen, Norman, OK - Music Performance *Elise Kim, Mukilteo, WA - Neurobiology/Music Performance Miao Liu, Beijing, China - Music Performance Oboe/English horn *A+Logan Esterling, Madison, AL - Music Performance Diego Espinoza, Lima, Peru - Music Performance Ashley Llltsch, Tacoma, WA - Music Performance/ Biology Clarinet +AlexanderTu, Renton, WA - Music Performance *AMo Van, Beijing, China - Music Performance/ Music Education David Bissell, Bellevue, WA - Community Member
Trombone *John Morrow, Bellevue, WA - MUSIC Education AGregory Ketron, Issaquah, WA - Business Administration Raine Myrvold, Snoqualmie, WA - Music Performance Tuba Andy Abel- Music performance Timpani Evan Berge, Woodinville, WA - Music Performance/ political science Percussion David Gaskey David Norgaard Harp Nikki Chang, West Linn, OR - Music Performance
Bassoon Julien Tsang, Kent, WA - Music Performance/
Political Science David Wall, Hemet, CA - Music Performance *A +Lucas Zeiter, Las Vegas, NV - Bassoon Performance HOUl A+Bradley Leavens, Seattle, WA - Music Performance *Kelly Brown, Snohomish, WA - Music Performance Nathan Lloyd, Spokane, WA - Music Performance Levi Sy, Battle Ground, WA - Biochemistry Trumpet *Ross Venneberg, Sitka, AK - Music Performance AElizabeth Solon, Cedar Falls, IA - Music Performance
Piano/Celesta Jimmy Goeijenbier, Dublin, Ireland - Music Performance Violin 1 #Erin Kelly, Seattle, WA - Music Performance Anastasia Nicolov, Snohomish, WA Bioengineering/Music Performance Victoria Crewdson, Bellevue, WA - Undecided Joanne Chen, Fresno, CA - Pre-NurSing Tyler Kim, Bellevue, WA Allion Salvador, Seattle, WA - (Alumnus) Music Performance Kelsey Luu, Bellevue, WA - Bioengineering Sheryl Wang, Shanghai, China - Communications Gloria Huang, Chengdu, China - Archaeology David Huentelman, Bellevue, WA - Undecided Jonathan Ramos, Sammamish, WA - Atmospheric Sciences
Miri Nishikawa, Bend, OR - Business Administration %Jonathan Kuehn, Sammamish, WA Atmospheric Sciences Erika Wakatake, Huntington Beach. CA Biochemsitry Dakota White, Kelso, WA- Chemistry Valentina Tsygankova - Music Education Violin 2 Halie Borror. Vancouver. WA - Neurobiology/Music Performance Cordelia IIton, Philadelphia, PA - Sociology Hannah Tsai Undecided Kevin Zhu, Bellevue. WA - Biology Yingju Lu, Tainan, Taiwan - Speech and Hearing Sciences Nicole Chen. Bellingham, WA - Visual Communication Design Samara Williams, San Ramon, CA - Bioengineering Clara orndorff, Seattle, WA- Mechanical Engineering Dayoung Cheong, Federal Way, WA - Undecided Madeline Meek Hayley Boyd, Woodinville, WA - Bioengineering Kate Terrado, Kent. WA - Medical Laboratory Sciences Serena Allendorfer, Bellingham, WA - Business Administration Alyssa Spickermann, Odessa, TX Undecided Sherry Wei, Shandong. China - Biology Nathan Hwang, Tacoma, WA - (Alumnus) Biochemistry Viola Alessandra Barrett, Seattle, WA - Music Performance Alex Strong, Seattle, WA - Music Performance Rebecca Putnam, Seattle, WA - Music Performance &Composition Emily Hennings, Auburn, WA - Cellular. Molecular, and Developmental Biology
Gina Lee, Bellevue, WA - Human Centered Design &Engineering and Informatics Heegi Yun, Seoul, Korea - Undecided Emily Wilbur, Bonney Lake, WA - Geoscience Jerry Bi, Houston, TX Psychology Miles Goodner, Kirkland, WA- Undecided Brian Dang, Seattle, WA English Haley Birdoes, Los Angeles, CA - Undecided Edwin Li, Honolulu, HI- aeronautical engineering
Cello Chris Young, Idaho Falls, 10 - Music Performance Christian Selig, Vancouver, WA - CHEMICAL ENGINEERING Blaire Ziegenhagel, Lake Forest Park, WA- Music Education Lucas Chen, Bellevue. WA - Biology/Music Performance Isabella Kodama, Edmonds, WA - Music Performance Ben Terry, Issaquah, WA - Chemistry Peter Tracy, Redmond, WA- Music Performance Kevin McClenahan, Bothell. WA - Music Education Michael McNorvell, Los Angeles, CA - Music Performance Yun En, Tsai, HSlnchu, Taiwan - Musid Communications Carla Hwee, Lake Forest Park, WA - Undecided Thomas Zadrozny, New York, NY -international studies/History Morgan Thatcher, Renton, WA - Music Education Laura Keil, Seattle, WA - Landscape Architecture
Bass Darian Woller, Merrill, WI- Music Performance Attila Kiss Meadowdale HS Logan Grimm, Olympia, WA - Music Mitchell Estberg, Evanston, IL - Undecided Brad Gaylor
*- Principal, Brahms +- Principal, Shostakovich %- Orchestra Assistant
A_ Principal, Martinu # Concertmaster
the orchestra. The movement is interrupted several times with more animated passages before returning to its feel of alamenting meditation. Despite his roots in the style of Beethoven, none of Brahms' symphonies have atrue scherzo movement - with the exception of his Fourth. The third movement introduces alighter, more energetic theme from the very first beat. In addition, it is the only movement in Brahms' Fourth which employs triangle and piccolo, adding to the bright sound and raw energy which characterize this high-spirited interlude. The contrasting middle section acts as asort of reflection before ahigh-impact return to the primary theme of the movement. Brahms loved to draw on earlier styles and forms of music. The finale of his final symphony, classified as asymphonic passacqglia, references the work of Bach: the entire fourth movement is built upon abass line from aBach cantata. Eight sustained, organ-like chords introduce the structure of the theme, which is present almost constantly throughout the many variations in the finale. Following a haunting flute solo, the ethereal-sounding middle section seems to portray aconversation between wind players, which becomes ever more beautiful with the emergence ofthe trombone chorale. Two more explicit restatements ofthe theme dictate the remainder ofthe piece and its growing intensity. Contrary to common symphonic form, the finale ends abruptly, without acoda; Brahms himself described his final symphonic work as being "like unripened cherries": there is very little sweetness to the harsh truth with which the finale concludes. BIOGRAPHIES SiEunn Thorsteinsd6ttir, cello "Riveting" (New York Times) cellist, SiEunn Thorsteinsd6ttir, has appeared as soloist with the Los Angeles Philharmonic, Toronto and Iceland Symphonies, and her recital and chamber music performances have taken her across the US, Europe and Asia. Following the release of her debut recording of Britten's Suites for Solo Cello on Centaur Records, she has performed in some of the world's greatest halls including Carnegie Hall, Suntory Hall and Disney Hall. The press has described her as "charismatic" (New York Times) and praised her performances for their "emotional intensity" (Los Angeles Times). As achamber musician, she has collaborated with Itzhak Perlman, Mitsuko Uchida, Richard Goode and members ofthe Emerson, Guarneri and Cavani Quartets, and has performed at numerous chamber Music Festivals, including Prussia Cove and Marlboro (with whom she has toured). She is cellist of Frequency and the Manhattan Piano Trio, and founding member and co-Artistic Director ofthe acclaimed New York-based chamber ensemble Decoda. Along with masterpieces ofthe 18th, 19th and 20th centuries, Thorsteinsd6ttir inspired by music of ourtime and enjoys collaborating with living composers. In addition to working.with Daniel Bjarnason on his award-winning composition "Bow to String", she has premiered dozens of works, including pieces by Peter Schikele, Paul Schoenfield, Kendall Briggs and Jane Antonia Cornish.
Thorsteinsd6ttir has garnered top prizes in international competitions, including the Naumburg Competition in New York and the Antonio Janigro Competition in Zagreb, Croatia. She received a Bachelor of Music from the Cleveland Institute of Music, aMaster of Musicfrom The Juilliard School and aDoctorate of Musical Arts from SUNY Stony Brook. Her principal teachers include Richard Aaron, Tanya l. Carey and Joel Krosnick. Thorsteinsd6ttir currently serves on the faculty ofthe University of Washington in Seattle, where she teaches cello and chamber music. Thorsteinsd6ttir was afellow of Ensemble ACJW-The Academy, aprogram of Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education-performing chamber music at Carnegie Hall and bringing classical music to New York City public schools. Born in Reykjavik, Iceland, Thorsteinsd6ttir moved to the states as achild-however, she still has family in Iceland and enjoys returning, both for concerts and family visits. David Alexander Rahbee, conductor David Alexander Rahbee is currently Senior Artist in Residence at the University of Washington School of Music in Seattle, where he is director of orchestral activities and teaches conducting. He is recipient ofthe American-Austrian Foundation's 2003 Herbert von Karajan Fellowship for Young Conductors, the 2005 International Richard-Wagner-Verband Stipend, and the Acanthes Centre in Paris in 2007. Dr. Rahbee has appeared in concert with orchestras such as the RTE National Symphony Orchestra of Ireland, Orchestre Philharmonique du Luxembourg, Kammerphilharmonie Berlin-Brandenburg, Orchestre de la Francophonie, Orchesterakademie der Bochumer Symphoniker, the Dresden Hochschule orchestra, Grand Harmonie, the Boston New Music Initiative, Seattle Modern Orchestra, Orquesta Sinf6nica de Loja (Ecuador), Armenian Philharmonic Orchestra, Savaria Symphony Orchestra (Hungary), Seattle Modern Orchestra, Cool Opera of Norway (members of the Stavanger Symphony), Schonbrunner Schloss Orchester (Vienna), the Whatcom Symphony Orchestra, the Kennett Symphony, and the Divertimento Ensemble of Milan. He collaborated twice with the Seattle Symphony in 2015, assisting for the performance and recording of Ives' Fourth Symphony, and as guest conductor for their Native Lands project. He has collaborated with several prominent soloists such as violinists Sarah Chang, Glenn Dicterow, David Chan, and Joseph Lin. He has been aguest rehearsal conductorfor numerous young orchestras, such as the New England Conservatory Symphony Orchestra, The Symphony Orchestras ofthe Hall-Musco Conservatory of Music at Chapman University, and the Vienna University ofTechnology orchestra, the Boston Youth Symphony Orchestras (BYSO), and Rhode Island Philharmonic Youth Orchestras (RIPYO). He currently serves on faculty of the Pierre Monteux School as Conducting Associate, and has been resident conductor of the Atlantic Music Festival in Maine. Dr. Rahbee was an assistant at the Vienna State opera from 2002-2010. As part of his fellowship and residency at the 2003 Salzburg Festival, Dr. Rahbee was assistant conductor ofthe International Attergau Institute Orchestra, where he worked with members ofthe Vienna Philharmonic. He has been selected to actively participate in masterclasses with prominent conductors such as Kurt Masur, Sir Colin Davis, Jorma Panula, Zdenek Macal, Peter Eotvos, Zoltan Pesk6, and Helmut Rilling, and counts Nikolaus Harnoncourt to be among his most influential mentors. From 1997-2001, David Rahbee was
conductor of the Fidelio Chamber Orchestra in Cambridge, Massachusetts, selecting its talented young members from Harvard University, the New England Conservatory, and Boston University. From 1997 to 2000, he served as assistant conductor of the Atlantic Symphony Orchestra (formerly known as the Hingham Symphony) in Massachusetts. Dr. Rahbee's principal conducting teachers were Charles Bruck and Michael Jinbo atthe Pierre Monteux School. He holds aBachelor of Music degree in violin and composition from Indiana University, aMaster of Music degree from the New England Conservatory in orchestral conducting, and aDoctorate of Musical Arts from the University of Montreal in orchestral conducting. He has also participated in post-graduate conducting classes atthe Universitat fUr Musik und Darstellende Kunst, Vienna. His arrangements of various music for brass are published by Warwick Music, and his articles on the music of Gustav Mahler have appeared in journals of the International Gustav Mahler Gesellschaft, among others. Dr. Rahbee was afinalist for the American Prize, in the category of Orchestral Programming at the university level forthe 2013-14 season. The University of Washington Symphony Orchestra The UW Symphony is made up of music majors as well as students from departments all across campus. They rehearse twice weekly, and perform at least two concerts per quarter. Under the leadership of Dr. Rahbee since the fall of 2013, the UW Symphony has performed over eighty works, spanning from the early baroque through contemporary, and collaborated with'faculty soloists, as well as members of the Seattle Symphony and other local organizations. Each year, the orchestra has the opportunity to work with two Grammy-award winning artists: Ludovic Morlot (Affiliate Professor of Conducting and Seattle Symphony Music Director) and Stephen Stubbs (Senior Artist in Residence). Other yearly collaborations include an opera on period instruments with Pacific MusicWorks, as well as aperformance with the combined university choirs. Concerts are given in Meany lheater, as well as various other locations on campus, and occasionally at Benaroya Hall. From time to time during the School Year, the orchestra may split up into smaller groups underthe title UW Chamber Orchestras. Do you play an orchestral instrument? Are you a UW student? Students interested in joining the UW Symphony or Campus Philharmonia Orchestras may email Dr. Rahbee at [email protected] New enrollment occurs each quarter on aspace-available basis. NEXT CONCERT: December 9th, 7:30 pm in Meany Theater UW Symphony with Jonathan Biss, piano Moszkowski: Prelude and fugue, op. 85 Beethoven: Piano concerto no. 1, in CMajor, op. 15 Tchaikovsky: Symphony no. 5, in eminor, op. 64
Upcoming Events: Nov 10, Brechemin Piano Series. 7:30 PM, Brechemin Auditorium. 12, Lecture: Jonathan Bernard, "How to Listen to Reger." 2:45 PM, Brechemin Auditorium. 12, Lecture: Christopher Anderson, liThe Chamber Works of Max RegeL" 4:00 PM, Brechemin Auditorium. 12, Recital: Chamber Music of Max Reger. 7:30 PM, Brechemin Auditorium. 13, Barry Lieberman and Friends Recital: Ted Botsford. 2:00 PM, Brechemin Auditorium. 14, Studio Jazz Ensemble &UW Modern Band. 7:30 PM, Meany Theater. 15, Concerto Competition: Strings. 7:30 PM, Brechemin Auditorium. 17, DXArts: Indigo Mist (Phase II). 7:30 PM, Jones Playhouse. 18, Concerto Competition: Keyboard. 7:30 PM, BrecheminAuditorium. 19, Barry Lieberman and Friends Master Class: Ted Botsford. 2:00 PM, Brechemin Auditorium. 21, Concerto Competition, Woodwinds, Brass &Percussion. 7:30 PM, Brechemin Auditorium. 22, Baroque Ensemble. 7:30 PM, Brechemin Auditorium. 28, Voice Division Recital. 7:30 PM, Brechemin Auditorium. Dec 1, Chamber Singers &University Chorale. 7:30 PM, Meany Theater. 1, Brechemin Piano Series. 7:30 PM, Brechemin Auditorium. 2, Scholarship Chamber Group: Corda Quartet. 7:30 PM, Brechemin Auditorium. 2, Luke Fitzpatrick: Cage and Partch, 7:30 PM, Jones Playhouse. 4, Intersections: Music, Words, and Pictures (4pm lecture by Leroy Searle). 4:30 PM, Brechemin Auditorium. 5, Gospel Choir. 7:30 PM, Meany Theater. 6, Ethnomusicology Visiting Artist Concert: Marisol Berrios-Miranda. 7:30 PM, Brechemin Auditorium. 6, UW Modern Ensemble: Steve Reich 80th Birthday Celebration. 7:30 PM, Meany Theater. 7, CarolFest. 7:30 PM, Meany Theater. 7, Jazz Innovations, Part I. 7:30 PM, Brechemin Auditorium. 8, wind ensemble and Symphonic Band. 7:30 PM, MeanyTheater. 8, Jazz Innovations, Part II. 7:30 PM, Brechemin Auditorium. 9, University Symphony with Jonathan Biss, piano. 7:30 PM, Meany Theater.

DA Rahbee, S Thorsteinsdottir, UWS Orchestra

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Author: DA Rahbee, S Thorsteinsdottir, UWS Orchestra
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