"Shared Breadth"
Paul V. Galvin Playhouse
Friday, November 21, 2025
5:00pm
Embedded Files
PROGRAM
ASU Wind Ensemble
Little Threepenny Music, Kurt Weill
1. Ouverture
2. Die Moritat von Mackie Messer (The Ballad of Mack the Knife)
3. Anstatt daß-Song (The Instead-Of Song)
4. Die Ballade vom angenehmen Leben (Ballad of the Easy Life)
5. Pollys Lied (Polly's Song and Tango Ballad)
6. Tango-Ballade
7. Kanonen-Song (Cannon Song)
8. Dreigroschen-Finale (Threepenny Finale)
Jason Caslor, conductor
ASU Symphony Orchestra
Prometheus's Negotiations, Addison Hill
Lauren Burchell, conductor
Serenade for Strings in E Minor, Op. 20, Edward Elgar
I. Allegro
II. Larghetto
III. Allegretto
Hayoung Jeong, conductor
Sisyphus, Fernanda Aoki Navarro
Serena Fornay, conductor
Chamber Symphony No. 1 in E Major, Op. 9, Arnold Schoenberg
Alejandro Gomez Guillen, conductor
Little Threepenny Music (1929)
Kurt Weill
Kurt Weill’s Little Threepenny Music distills the sharp wit and streetwise spirit of his hit stage work The Threepenny Opera into a suite for wind orchestra. Blending jazz rhythms, cabaret flair, and biting satire, the music paints a portrait of Weimar-era Berlin—elegant on the surface, but edged with irony and grit. Familiar tunes like “Mack the Knife” mingle with sly dance numbers, creating a sound world that’s as playful as it is subversive.
Prometheus's Negotiations (2025)
Addison Hill
Addison Hill's Prometheus's Negotiations follows the journey of Prometheus as he disobeys the God of all Gods in order to bring fire to humanity.
Addison Hill
Addison Hill is an artist, composer, multi-instrumentalist, and educator from Phoenix, Arizona. Her work collages together different mediums, stories, and sonic possibilities to create experiences that strive for emotional liberation and connection. When composing, Addison steps into the role of a director to holistically consider the relationship between sound and space, allowing for a more visceral experience inspired by the imaginary worlds Addison lives in.
She received her Bachelors of Music in Music Composition from Arizona State University and is currently pursuing a Master's in Music Composition with Music Technology University of Colorado Boulder, where she teaches Intro to Music Technology.
Addison’s works have been performed at the Gammage Auditorium, PRISMS festival, Wildflower Composer’s Festival, Arizona Women’s Collaboration Concert, soundSCAPE, Sō Summer Institute, Superbloom Drone Festival, and National Sawdust. Addison spends her free time yapping, napping, yearning and learning, while providing love and support to her needy cat (which is definitely a full time job).
Serenade for Strings in E Minor, Op. 20 (1892)
Edward Elgar
Elgar’s Serenade for Strings is one of his earliest and most beloved works. Its gentle sway and luminous harmonies give the music an intimate, almost nostalgic charm. At its center lies the Larghetto—a moment of quiet beauty that feels both deeply personal and timeless.
Sisyphus (2024)
Fernanda Aoki Navarro
Drawing on the myth of Sisyphus, this piece reflects on endurance, repetition, and the search for meaning within a bleak and cyclical world. Its sound world is intentionally sparse — dry, rocky, and tense — where lower strings strain upward as percussion moves indifferently forward, echoing the impassive flow of time. Moment of calm or hope briefly emerge, only to erode and vanish, leaving the music suspended between struggle and stillness, limbo and oasis. Read more about composer Fernanda Aoki Navarro below!
Fernanda Aoki Navarro
Fernanda Aoki Navarro is a composer of acoustic and electroacoustic music, developing concert music, intermedia works, performance art and installations. She is interested in sound, in the idiosyncratic relationship between the corporeality of the performers and the physicality of their instruments, in the exploration between music and language, the use and misuse of technology, and in the transformational power that experimental music can exert on issues related to feminism and social otherness.
At Harvard, she was a fellow of the Radcliffe Institute for Advanced Study; she studied composition at Universidade de São Paulo (Brazil), completed her masters at UC Santa Cruz, and her PhD at UC San Diego.
Her music has been performed nationally and internationally by soloists and ensembles such as NY Philharmonic, International Contemporary Ensemble, Talea, Yarn/Wire, Fonema Consort, Gnarwhallaby, Platypus, Nadar, among others. Her works have been featured at festivals such as June in Buffalo, Banff music festival, Domaine Forget, Festival Internacional de Campos do Jordão, New Music Gathering, Visiones Sonoras, MATA, SEAMUS, NYC Electronic Music Festival, Darmstadt Summer Festival and others.
She is engaged with promoting contemporary music, working as an organizer and curator of concerts and music festivals, such as Springfest, FIME, PRISMS New Music Festival, and the XX concert series. Fernanda is also an educator, working as assistant professor of music composition at Arizona State University.
Fernanda doesn’t like to be reduced to her gender, doesn’t know how to samba, procrastinates to write program notes, doesn’t know how to react to compliments or critiques, goes to the cinema every week, drinks coffee every day.
Chamber Symphony No. 1 in E Major, Op. 9 (1906)
Arnold Schoenberg
Schoenberg’s Chamber Symphony No. 1 stands at a crossroads between the lush romanticism of the 19th century and the bold modernism to come. Scored for just fifteen instruments, it condenses the power of a full orchestra into a vivid, tightly woven sound world. The work surges with restless energy—harmonies stretch and twist, melodies overlap, and momentum rarely pauses. Yet beneath the intensity lies a remarkable sense of unity and drive, as if the entire piece is propelled by one unbroken breath.
MEET THE ASU WIND ENSEMBLE
Conductor & Music Director
Jason Caslor
Flute/Piccolo
Yundian (Elle) Cao
Anika Gray
Bassoon
Eddie Martinez
Kate Muehring
Clarinet
Alanna Benoit
Aiden Millsap
Saxophone
Daniel Dauber
Wesley Taylor
Trumpet
Andrew Smith
Justin Esperitu
Trombone
Michael Thompson
Tuba
Max Godfrey
Timpani
Matthew Sandridge
Percussion
Caleb Hupp
Banjo/Guitar
Wes Crenshaw
Accordion
Stephen Kuebelbeck
Piano
Elizabeth Ritchie
MEET THE ASU SYMPHONY ORCHESTRA
Conductor & Music Director
Alejandro Gómez Guillén
Assistant Conductors
Hayoung Jeong, Serena Fornay, Lauren Burchell
Violin I
Ramses Cid #
Yu Zhuo ^
Zoe Chen
Choimei Lao =
Sharice Yeh
Grace Guthrie
Josh Thai
Seoin Kim
Xuanyu Shen
Wei-Jhen Chen
Megan Frederick
Chih-Lin Chen
Susan Dunn
Andrew Nix
Sean Sasaki
Emma Hill
Violin II
Louis Coste #
Daimien Benally *
Carlos Gamez =
Le Luo^
Roman Rivera
Qi Gao
Mingyang Yuan
Yijun Wu
Esme Peters
Elizabeth Jones
Sadie Christie
Shuqing Yuan
Yun Hao
Evan Whipple
Manxi Xu
Viola
Guangyu Shan #
Harriet Cohen =
Paul Hagge *
Hannah Bradshaw ^
Zhaojun Cai
Catherine Padigos
Iris Yang
Ruth Wu
Cello
Lo Pinhan ^
Rea Drewett *
Dayoung Park #
Bolin Ye =
Dat Pham
Matt Sullivan
Jan Dacoycoy
Yun-De Tsai
Miriam Rodriguez
Kate Frederick
Tzu Yi Yeh
Benjamin Lewis
Daniel Kim
Double Bass
Siqing Zhang #
Lauren Burchell
Sila Kuvanci ^
Camden Eaton =*
Flute
Ya-Yun Chiang ^#
Benjamin Hernandez *
Piccolo
Ya-Yun Chiang
Oboe
Gabbie Wong #
Adelaide Martinez
English Horn
Lauren Fox
Clarinet
Koby Slavin*#
Tongxiao Rosabelle Zhou ^
Eb Clarinet
Tongxiao Rosabelle Zhou ^
Bb Clarinet
Jason Wilcox
Bassoon
Cooper Taylor #
Caroline Sanders ^*
Contabassoon
Kaitlyn Beasley-Zeitler
Horn
Katherine Phillips #
Jesse Boyd ^
Just Wise ^
Blake Allen
Trumpet
Diego Enriquez
Trombone
Alexander Skelton
Tuba
Runmin Lin
Percussion
Asha Pitti
Manueal Miranda
Eric Saroian
Haiyue Wang
Concert Master/ Principal
*Hill
^Navarro
#Schoenberg
=Elgar
About ASU Symphony Orchestra
The ASU Symphony Orchestra provides its members with intensive orchestral training and professional level artistic performance experience. The ASUSO performs challenging and diverse repertoire chosen to help emerging professional musicians develop a wide range of skills and aptitudes. Rich concert programming offers audiences and the greater arts community opportunities to engage with major works of the orchestral canon as well as cutting-edge works of our time. Exploring the full creative range of the contemporary symphony orchestra, the ASUSO seeks to perform canonical works with technical excellence and artistry while also pushing musical boundaries through innovative multi-disciplinary collaborations.
The ASU Symphony Orchestra aims to extend student learning through rich interactions with professional artists. ASU faculty are closely involved with their students’ orchestral experience and regularly lead orchestral sectionals. The ASU orchestras also maintain a vibrant relationship with the Phoenix Symphony with frequent guest artist visits in both sectional rehearsals and side-by-side rehearsal contexts.
Learn more about our program at musicdancetheatre.asu.edu/ensembles/orchestras.
About ASU Wind Ensemble
The ASU Wind Ensemble, made up of the finest woodwind, brass and percussion players on campus, has the flexibility to perform the highest quality wind band works, as well as chamber music of all kinds.
The students share in this commitment, aspiring to the highest possible standards of musical excellence and maximizing their own trajectory by setting personal goals for the productive use of ensemble rehearsal time. Balancing the needs of the community with those of the individual, the ensembles study and perform a range of wind band repertory on campus and throughout the Valley.
ASU Wind Bands, located in the School of Music, Dance and Theatre at Arizona State University, honors its rich history while reflecting the “state of the art” through dynamic and innovative performances. They have performed multiple times at national conventions of the College Band Directors National Association (CBDNA), the American Bandmasters Association (ABA), the Music Educators’ National Conference (MENC), and at the Midwest International Clinic.
Learn more about our program at musicdancetheatre.asu.edu/ensembles/wind-bands.
Land Acknowledgement
The Herberger Institute for Design and the Arts acknowledges the twenty-two Native Nations that have inhabited this land for centuries. Arizona State University’s four campuses are located in the Salt River Valley on ancestral territories of Indigenous peoples, including the Akimel O’odham (Pima) and Pee Posh (Maricopa) Indian Communities, whose care and keeping of these lands allows us to be here today.
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