MUSIC AT EMORY UNIVERSITY. EMORY UNIVERSITY SYMPHONY ORCHESTRA WITH JONATHAN KEEBLE, FLUTE Donna and Marvin Schwartz Artist in Residence

Transcription

1 17 18 MUSIC AT EMORY UNIVERSITY EMORY UNIVERSITY SYMPHONY ORCHESTRA WITH JONATHAN KEEBLE, FLUTE Donna and Marvin Schwartz Artist in Residence RICHARD PRIOR, CONDUCTOR SATURDAY, SEPTEMBER 30, 2017, 8:00 P.M. EMERSON CONCERT HALL SCHWARTZ CENTER FOR PERFORMING ARTS

2 PROGRAM Overture to Il Barbiere di Siviglia (The Barber of Seville) Gioachino Rossini ( ) Concerto for Flute and Orchestra Richard Prior I. prelude (recitative; arioso and march) (b. 1966) II. kinna for shira banki III. conclusion Suite from The Firebird Igor Stravinsky I. Introduction: The Firebird and Her Dance; ( ) Variation of the Firebird II. The Princesses Round: Khorovode III. Infernal Dance of King Kastcheï IV. Berceuse V. Finale 2

3 PROGRAM NOTES Overture to Il Barbiere di Siviglia (The Barber of Seville) Gioachino Rossini s The Barber of Seville is based upon the play of the same name by the French author, Beaumarchais. But Rossini s Barber was not the first operatic adaptation of the Beaumarchais comedy. A Barber of Seville by the eminent Italian composer, Giovanni Paisiello, had already premiered in Rossini and his librettist, Cesare Sterbini, were afraid of a negative reaction by Paisiello and his supporters to their new Barber. Rossini and Sterbini tried to placate everyone by retitling their Barber of Seville, Almaviva, Or the Useless Precaution. They publicly stated that this name change was out of respect for Paisiello and for his prior version of The Barber. As it turned out, Rossini and Sterbini s efforts proved to be their own useless precaution. The February 20, 1816, premiere in Rome of Rossini s The Barber of Seville was one of the greatest fiascoes in operatic history. Supporters of Paisiello and the rival theaters turned out en masse to jeer any shortcomings in the performance. And to be sure, they had ample material at their disposal. Manuel García, the great Spanish tenor, sang the role of the Count Almaviva. In his first aria, García accompanied himself on an out-of-tune guitar, snapping one of the strings. The Don Basilio, Zenobio Vitarelli, made his grand entrance, immediately tripped over a trapdoor, fell, and injured his nose. Vitarelli sang his great Calumny aria while holding a handkerchief and sleeve to his bleeding face. As a coup de grace, a theater worker s pet cat walked onto the stage during the first-act finale, and made its way from performer to performer, looking for attention. But the next evening s performance was a triumph. Since that time, Rossini s The Barber of Seville has maintained its lofty status as one of the greatest of comic operas. The sparkling Overture, one of the most famous orchestral selections in all of opera, has maintained a prominent place in the orchestral repertoire. Concerto for Flute and Orchestra This is the third work I have created for my longtime friend and colleague, Jonathan Keeble, being preceded by icarus, which premiered at the National Flute Association s national convention in 2000, and by call of the sirens for flute and harp, which received its premiere at the 42nd national conference of the American Harp Society earlier this year. Written for and inspired by the extraordinary artistry of our soloist this evening, the work is dedicated to my father. While it is not unusual for my works to carry an element of personal meaning, it would be fair to say that this particular dedication is, at the very least, special. (The story of my relationship to and with my father is a wonderful, complex one that is often described as worthy of a movie.) Suffice to say, my own musical lineage has its roots deeply embedded in my father s side of the family where there are the musical figures 3

4 of the composer, conductor, cellist, choral singer in fact, all of the facets of what I have been and have also become to some degree. My father, and my grandfather, were professional flutists: my grandfather playing with many of the great English orchestras and ensembles of the pre- and post-war years, and my father, having graduated from the Royal Guildhall School of Music served in the military bands. While never having been a flutist myself, as a composer and a conductor, I find a deep resonance with the rich coloristic qualities and characterizations offered by the instrument, some of which at least you will hear this evening. Cast in a traditional three-movement structure, the concerto is typical of the muscial language of my more recent projects that have focused predominantly on large-scale symphonic works for the Atlanta Symphony Orchestra. Lyricism is very important to me as are the integrally associated opportunities offered by an expanded tonality in terms of harmony. The first movement, prelude (recitative; arioso and march) introduces the soloist in an essentially unaccompanied recitative that dramatically speaking has something of the nature of a soliloquy: there are clearly moments of declamation, asides, and more intimate reverie within the melody and phrasing. The arioso continues that notion but now supported by the orchestra before leading to a short march-like section that seems to have a darker tale to tell. The somewhat manic chaos of the conclusion of the march is dispelled by a brief return to the opening call and clarity of the recitative, bringing the movement to a close. The slow second movement, kinna for shira banki, is in memoriam for Shira Banki who was tragically cut down by a religious extremist at just sixteen years old while at a peaceful march in Jerusalem. It is impossible to look at the pictures of her that appeared in the media taken before that tragedy and not see the endless promise and gift of youth. A clearly passionate, articulate young person and a musician who should have had her whole life in front of her, lost in a senseless act. A kinna is a traditional Jewish lament in memory of the dead; here I hope that the poetry of music, reflection, and emotion meet. The third movement, conclusion, transforms a number of thematic ideas as well as basic musical moods found in the preceding movements. Ideas that were explored and contained in separate musical excursions are now combined and heard in a new context and with new relevance as the journey through the work reaches its end. Richard Prior Suite from The Firebird For the spring 1910 Paris season of his Ballets Russes, impresario Sergei Diaghilev commissioned Anatoli Liadov to compose The Firebird, a full-length ballet based upon Russian folk tales. However, by summer 1909, it became clear that Liadov would not finish the score in time for production. Diaghilev contacted Igor Stravinsky and offered him the commission. 4

5 For various reasons, Stravinsky had misgivings about undertaking this assignment on such short notice. Nevertheless, according to Stravinsky, I accepted the order. It was highly flattering to be chosen among the musicians of my generation, and to be allowed to collaborate in so important an enterprise side by side with personages who were generally recognized as masters in their own spheres. Stravinsky began composition of The Firebird in November 1909, and completed the score on May 18, The composer participated in all the rehearsals at the Paris Opéra. Tamara Karsavina, who danced the title role in the premiere of The Firebird, recalled that during one rehearsal when Stravinsky approached the orchestra pit, Diaghilev turned to her and said, Mark him well. He is a man on the eve of celebrity. The fulfillment of Diaghilev s prophecy took place on June 25, 1910, with The Firebird s triumphant premiere. The Firebird s winning synthesis of lyric and dramatic elements, couched in dazzling orchestration, captured the imagination of the Paris audience, and ultimately the world. Among the appreciative audience members at the premiere was French composer Claude Debussy, who came on stage after the performance to offer Stravinsky his compliments. The Story of The Firebird I. Introduction: The Firebird and Her Dance; Variation of the Firebird The Firebird is based upon Russian folk legend. While wandering in the forest at night, the Prince Ivan encounters a magic Firebird. The Prince is entranced by the Firebird s beauty and captures her. However, the Prince takes pity on the Firebird and sets her free. In gratitude, the Firebird gives the Prince one of her feathers, and promises to aid him in his hour of need. II. The Princesses Round: Khorovode The Prince comes to the courtyard of an enchanted castle, where he finds thirteen beautiful princesses, captives of the evil magician Kastcheï. The princesses warn Prince Ivan not to enter the castle, for Kastcheï has the power to turn intruders to stone. The Prince boldly ignores their warnings. III. Infernal Dance of King Kastcheï The Prince suddenly encounters Kastcheï s horrible servants, and ultimately, the magician himself. Kastcheï tries to turn the Prince into stone, but the hero produces the Firebird s magic feather. The Firebird appears and forces Kastcheï and his followers into a frenetic dance. IV. Berceuse When Kastcheï and his followers are exhausted, the Firebird lulls them to sleep. V. Finale Kastcheï and his retinue are destroyed. All of the prisoners are set free, including the thirteenth princess, whom the Prince weds. Program notes by Ken Meltzer, unless otherwise indicated. 5

6 JONATHAN KEEBLE, FLUTE As the flute professor at University of Illinois, Jonathan Keeble is known for his rich tone, effervescent personality, and nuanced musicality. In high demand as performing artist and masterclass clinician, he has been described as having an infinitely flexible sound, with many subtle colors, and is among the leading performer/pedagogues of his generation. Keeble s passion for new music led him to commission many new works for the flute from rising young composers. From these efforts come the recently released, critically acclaimed recordings, Voyage and Song of the Black Swan as the Aletheia Duo, and Turbulent Winds with the Prairie Winds. Critics have lauded the collaboration in Voyage as being memorable, and Keeble s performance as spellbinding. In Song of the Black Swan, his playing is lauded as exquisite (Fanfare Magazine) and Keeble s depth of tone and palate of colors is magnificent throughout the album. This is a fabulous addition to a... CD collection, both for the quality of the performance and the diversity of the repertoire (Flutist Quarterly). He is a regular performer, adjudicator, and presenter at National Flute Association conventions, and he is currently immediate past president of the association. Keeble is the flutist for the award-winning Prairie Winds and Aletheia Duo, and principal flute of the Sinfonia da Camera. He spends summers performing and teaching at Aria International, Madeline Island Music Camp, and at the University of Illinois Pre-College Flute Seminar. EMORY UNIVERSITY SYMPHONY ORCHESTRA The Emory University Symphony Orchestra (EUSO) experience provides a musical environment of the highest caliber, nurturing individual artistic excellence and ensemble performance. The EUSO presents a varied repertoire of music from the Baroque period to the twenty-first century, combining forces annually with the Emory University Chorus to feature masterworks from the rich symphonicchoral tradition. The ninety-member orchestra draws its membership from all disciplines across the campus and from all divisions of the university. Richard Prior, conductor Award-winning conductor and composer Richard Prior holds the Edward Goodwin Scruggs Chair at Emory University. As director of orchestral studies, he conducts the Emory University Symphony Orchestra and the Emory Youth Symphony Orchestra in addition to being the senior lecturer in composition. Prior s musical training began in his native England, where he received degrees from Leeds and Nottingham Universities. He has taught at several universities and colleges in the United States and at St. Catherine s College, Oxford University as a visiting fellow in music. 6

7 Prior has led performances as a guest conductor with members of the New York Philharmonic, Chicago Symphony, Atlanta Symphony, Houston Symphony, Montreal Symphony, Charlotte Symphony, and the Minnesota Orchestra. Internationally, he has appeared with the National Symphony of Ukraine, the Odessa Philharmonic, and the Cairo National Symphony, Egypt. Reviews in the professional press cite his stirring conviction, precision, and stylishness and flexibility, with the noted meteoric rise of ensembles under his direction. A deeply committed music educator, Prior conducts and clinics high school honor groups all over the country, including All State orchestras, and he has undertaken residencies at major schools of music. Prior was music director and conductor of the Rome Symphony Orchestra from 2008 to 2014, holding the Georgia Power Conducting Chair; in July of 2014, he was appointed music director and conductor of the LaGrange Symphony Orchestra. Prior s own music has been performed, recorded, and broadcast widely in Europe and North America. Matt Haimovitz premiered Prior s Cello Concerto in October 2014 and said of the work Prior s music embraces a soaring lyricism, cinematic in scope with a rich sense of orchestral colors. The cello writing is wonderfully idiomatic, deeply satisfying for the cellist to play and interact with the orchestra. This new concerto is a major contribution to the cello repertoire. The Atlanta Symphony Orchestra (ASO) commissioned... of shadow and light... (incantations for orchestra) in Subsequent critical review called the work forbidding and dramatic, stunning, and jubilant and exuberant; the piece identified Prior as perhaps the most gifted of the Atlanta composers, citing his mastery of orchestration, lyricism, and musical drama. In 2014, the ASO presented multiple performances of his Symphony No. 3 under the direction of Robert Spano a work also featured at Northwestern University and in Cairo, Egypt. Critical reviews in Atlanta called the work a major new symphony, always engaging, and the soundscape constantly changing; longtime Atlanta Journal-Constitution critic James Paulk wrote... it s the best new work I ve heard here. Prior is rapidly becoming Atlanta s preeminent composer. Atlanta music critic William Ford wrote, This is a major work that is a triumph of integration, flow, emotion, and orchestration. Other recent premieres have included the Flute Concerto with renowned flutist Jonathan Keeble, Call of the Sirens for flute and harp featured at the National Harp Society s 2016 national conference, string quartets No. 1 and 2 with the Vega String Quartet, The Darkening Land with clarinet virtuoso Richard Stoltzman, and the Pulitzer-nominated, choral-orchestral work Stabat Mater, the subject of a PBS televised broadcast. A winner of numerous awards for his compositions and conducting, Prior received the 2008 Harvey Philips Award for Excellence in Composition at the Cincinnati Conservatory of Music, the 2009 Emory University Winship Senior Faculty Award, and the 2011 Crystal Apple Award for Excellence in Undergraduate Education. 7

8 EMORY UNIVERSITY SYMPHONY ORCHESTRA The Joel M. Felner, MD, and Edward Goodwin Scruggs Chairs The two named chairs, concertmaster and principal second violin, are in recognition of instruments given to the Emory University Symphony Orchestra in the value of $350,000. Joel M. Felner is associate dean at the Emory University School of Medicine; Edward Goodwin Scruggs was for thirty-seven years a tenured member of the Atlanta Symphony Orchestra. The lives of both men represent distinguished careers and great philanthropy as patrons of music and friends of Emory University. The concertmaster plays a 1687 Grancino and the principal second an 1870 Scarampella. FLUTE AND PICCOLO Evangelia Diplas Chatham, NJ Music/Psychology Claire Mahon Norcross, GA Music/Business Olivia Stam Cumberland Foreside, ME Music OBOE Daniel Shin Holmdel, NJ Music/Biology Ria Brown Houston, TX Music/Biology CLARINET Kelsey Newman Martinsville, VA Music/Political Science Sarah Tran Marietta, GA Undecided BASSOON Haley Matthews u Nelson, GA Music/Biology Rachel Brenner Columbia, MO Psychology/Anthropology HORN Samuel Edwards Palm Beach, FL Music Owain Thorogood Havertown, PA Undecided Danielle Staffin Bridgewater, NJ Business David Pickworth Naples, FL Music 99C TRUMPET Jacob Germany Alpharetta, GA Music Kiko Tomei Dacula, GA Music/Anthropology and Biology Antonio Kasper Huntington, NY Music TROMBONE Ed Nicholson Atlanta, GA Emory Artist Affiliate/ Columbus Symphony/Atlanta Opera Mathew Hodgson Atlanta, GA Emory IT BASS TROMBONE Grant Singer 4 Milton, GA Music/Biology TUBA Sean Delaney Winchester, MA Music/Business TIMPANI AND PERCUSSION K Mani Blyden Acworth, GA Music/Chemistry Jason Goodman Los Angeles, CA Music/Political Science Ziyu (Teresa) Pan Hockessin, DE Music/Biology Christopher Prugh Swarthmore, PA Music/Biology HARP Amanda Melton u Kennesaw, GA Music 8

9 EMORY UNIVERSITY SYMPHONY ORCHESTRA PIANO AND CELESTE Rachel Chon Centreville, VA Music VIOLIN I Anders Olsen 4 Atlanta, GA Music/Economics Joel M. Felner MD Concertmaster Chair Justin Liu Longmeadow, MA Music/Biology Catherine Magregor Marietta, GA Music Patricia Lin Atlanta, GA Music/Chemistry Amy Zhang Johns Creek, GA Music/Business Hyerin Yoon Great Neck, NY Music/Chemistry Trevor Chun Alpharetta, GA Music Kathy Li Lilburn, GA Music/Biology Meg Winata Houston, TX Music/Nursing 14C Daun Kwag u Logan, UT Music/English 16C Rachel Lin Memphis, TN Music/Linguistics/Psychology 14C Troy Cotton Atlanta, GA Emory Healthcare Lesley Mun Chicago, IL Biology Katherine Lee Poughkeepsie, NY Math/Economics John Kang Brentwood, NY Biology Julia Zhong Staten Island, NY NBB VIOLIN II Claire Roesler Western Springs, IL Music/Chemistry Edward Goodwin Scruggs Principal Second Chair James Nance Knoxville, TN Visiting Assistant Professor in Math and Computer Science 11C Judy Oh Auburn, AL Music Matthew Huang Shrewsbury, MA Finance Alec Reinhardt Decatur, GA Music/Applied Math Henry Hays Boston, MA Comparative Literature/Int l Studies Ben Furman Atlanta, GA Undecided Grace Snyder Saint Paul, MN Undecided John Park Atlanta, GA Marcus Autism Center Catherine Barth Decatur, GA Art History PhD Jeffrey You Chelmsford, MA Chemistry/Biology Priyam Mazumdar Austin, TX NBB/Computer Science/Math Emma Kantor Oakland, CA Undecided Sizhe (Alex) Ren Changsha, Hunan, China Music VIOLA Emma DeJarnette Snellville, GA Music Zola Berger-Schmitz Venice, CA Music/Political Science Mallory Carnes Fletcher, NC Music/Chinese Minnie Yang West Lafayette, IN Music Alex Sabol Bethesda, MD Music/NBB Katherine Hur Atlanta, GA Music/Creative Writing Ji Won Lee Princeton, NJ Music/Chemistry Minjee Kim Johns Creek, GA Emory Autism Center 17C Sophia Weinstein Brooklyn, NY Music/Political Science Sobin (Sophie) Ahn Seoul, Korea Music Sarah Samaranayake White Plains, NY Undecided Julia Borthwick Atlanta, GA Psychology 9

10 EMORY UNIVERSITY SYMPHONY ORCHESTRA CELLO Anna Bing Atlanta, GA Music/Spanish Literature Clifford Redwine Marietta, GA Music/Psychology 15C Sirian Yi Suwanee, GA Music Molly Ball Viginia Beach, VA Music Brandon Wang Cleveland, OH Music/Biology Alice Oh u Plainview, NY Music Eric Yang Houston, TX Music/Chemistry Haley Roesler Western Springs, IL Music/NBB James Allen Chapel Hill, NC Music/Biology Isabel Goddard Atlanta, GA Music BASS Dashiell Wakeman Atlanta, GA Music/Economics Zijian Tan Atlanta, GA Music /Biology Samuel Zinga Loganville, GA Music/Chemistry Tegan Matthews Alpharetta, GA LaGrange Symphony Orchestra Max Heeden Atlanta, GA Undecided Kait McGann-Ludwin Palm City, FL Business Richard Lorenc Atlanta, GA Int l Relations/Chinese/Russian 06C Bijean Ford Durham, NC Immunology PhD NBB: Neuroscience and Behavioral Biology Emory Youth Symphony Orchestra Alumni Music Woodruff Scholar 4 Dean s Music Scholar H Edward Goodwin Scruggs Lesson Scholarship holder u Margery and Robert McKay Lesson Scholarship holder 10

11 EMORY STRING, WIND, AND PERCUSSION FACULTY Laura Ardan, clarinet* Marc Boehm, trombone Emily Brebach, oboe* Jay Christy, violin* Elizabeth Fayette, violin 4 Karen Freer, cello* Adam Frey, euphonium Roee Harran, cello Yinzi Kong, viola 4 Michael Kurth, bass* Michael Moore, tuba* Paul Murphy, viola* Ed Nicholson, trombone Shawn Pagliarini, violin Gary Paulo, saxophone Scott Pollard, percussion Jaclyn Rainey, horn* Elisabeth Remy, harp* Alexandra Shatalov, oboe u Jessica Sherer, flute u Christina Smith, flute* Stuart Stephenson, trumpet* Amy Trotz, horn** Shelly Unger, bassoon Guang Wang, cello 4 Jessica Wu, violin 4 Lisa Yancich, violin* Mark Yancich, percussion* James Zellers, flute *Atlanta Symphony Orchestra **Atlanta Ballet Orchestra Atlanta Opera Orchestra 4 Vega String Quartet Savannah Philharmonic u LaGrange Symphony Orchestra DEPARTMENT OF MUSIC ADMINISTRATION Deborah Slover, chair Kristin Wendland, director of undergraduate studies Richard Prior, director of performance studies Lynn Bertrand, director of graduate studies Martha Shockey, senior secretary Kathy Summers, academic department administrator Alexandra Shatalov, program coordinator Derrick Montgomery, academic services coordinator 11

12 UPCOMING MUSIC EVENTS Go to music.emory.edu to view the complete list of upcoming music events. Ticket prices are listed in the following order: Full price/discount category member price/emory student price (unless otherwise noted as the price for all students). For more information contact the Arts at Emory Box Office at , or visit arts.emory.edu. Thursday, October 5, 6:00 p.m., Jazz on the Green, Patterson Green, free Saturday, October 7, 8:00 p.m., Alessio Bax, piano, and Chee-Yun, violin, Candler Concert Series, Schwartz Center, Emerson Concert Hall, $50/$40/$5 Wednesday, October 11, 8:00 p.m., Aster Duo, artist affiliate recital, Schwartz Center, Emerson Concert Hall, free Saturday, October 14, 8:00 p.m., Double Take, Atlanta Master Chorale, Schwartz Center, Emerson Concert Hall, $30/$25/$10 all students Sunday, October 15, 4:00 p.m., Karen Freer, cello, artist affiliate recital, Schwartz Center, Emerson Concert Hall, free Sunday, October 15, 4:00 p.m., Invitation to the Dance!, ECMSA: Family Series, Michael C. Carlos Museum, free Thursday, October 19, 6:00 p.m., Jazz on the Green, Patterson Green, free Friday, October 20, noon, Edoardo Catemario, guitar, ECMSA: Cooke Noontime Series, Michael C. Carlos Museum, free Friday, October 20, 8:00 p.m., Emory Wind Ensemble, Schwartz Center, Emerson Concert Hall, free Saturday, October 21, 8:00 p.m., Emory Concert Choir: Director Eric Nelson s Twentieth Anniversary, Schwartz Center, Emerson Concert Hall, free Sunday, October 22, 4:00 p.m., Vienna Boys Choir, Candler Concert Series, Schwartz Center, Emerson Concert Hall, $55/$44/$5 Thursday, October 26, 8:00 p.m., Emory University Symphony Orchestra and Emory University Chorus, Schwartz Center, Emerson Concert Hall, free Saturday, October 28, 8:00 p.m., Jazz Meets Classics: Songs of Love, ECMSA: Emerson Series, Schwartz Center, Emerson Concert Hall, free Sunday, October 29, 7:00 p.m., Emory s Annual Concerto and Aria Competition, Schwartz Center, Emerson Concert Hall, free 12

13 Thursday, November 2, 8:00 p.m., Crosscurrents: Featuring Zakir Hussain, tabla and Dave Holland, bass, Candler Concert Series, Schwartz Center, Emerson Concert Hall, $65/$52/$10 Wednesday, November 8, 6:00 p.m., and Thursday, November 9, 4:00 p.m., Spanish Art Song Symposium, Performing Arts Studio, 1804 N. Decatur Rd., free Friday, November 10, 7:00 p.m. and 9:00 p.m., Bach under the Stars, ECMSA: Emerson Series, Emory Planetarium, free, limited seating Friday, November 10, 8:00 p.m., Sounds of Ibero-America, Emory Alumni Recital, Performing Arts Studio, 1804 N. Decatur Rd., free Sunday, November 12, 7:00 p.m., Emory Chamber Ensembles, Schwartz Center, Emerson Concert Hall, free Wednesday, November 15, 8:00 p.m., Emory Youth Symphony Orchestra, Schwartz Center, Emerson Concert Hall, free Thursday, November 16, 8:00 p.m., Irma Thomas, the Blind Boys of Alabama, and the Preservation Hall Legacy Quintet, Candler Concert Series, Schwartz Center, Emerson Concert Hall, $55/$44/$10 Friday, November 17, noon, Vijay Venkatesh, piano, ECMSA: Cooke Noontime Series, Michael C. Carlos Museum, free Saturday, November 18, 8:00 p.m., Emory University Symphony Orchestra and Emory Wind Ensemble, Schwartz Center, Emerson Concert Hall, free Tuesday, November 28, 8:00 p.m., Emory Jazz Ensembles, Schwartz Center, Emerson Concert Hall, free Friday, December 1, noon, Emory s Young Artists, ECMSA: Cooke Noontime Series, Michael C. Carlos Museum, free Arts at Emory Box Office/Audience Information arts.emory.edu IN CONSIDERATION Please turn off all electronic devices. PHOTOGRAPHS AND RECORDINGS Not permitted without advance permission. COUGH DROPS Available in the lobby. USHERS Members of Music at Emory Volunteers and Alpha Phi Omega, a national service and social fraternity. Call for ushering opportunities. EVENT AND PROGRAM INFORMATION Available online at arts.emory.edu. BACK COVER PHOTOS Courtesy of Emory Photo/Video. TREE LIGHTS AND EXTERIOR IN-GROUND BUILDING LIGHTS Made possible by a generous gift from Donna and Marvin Schwartz. 13