Guest Artist Eunmi Ko, piano will give a recital. Free and open to the public.PROGRAMSa-ak* | Jared RedmondPersistence of Melancholy | Robert VoiseyLittle Suite* | Daniel Pesca (world premiere) I. Prelude II. Corrente III. Sarabande IV. Gigue en rondeauLe rêve caché* | Hwaen Ch’uqi (world premiere)Suite for piano* | David Liptak (world premiere) Prelude Bourrée Sarabande Forlane Menuet GigueTATTOO (world premiere) | Tyler Kline Part I: obliterate all prior things Part II: shadow work*denotes works written for Eunmi KoPROGRAM NOTES & BIOSSa-ak (四樂 / 邪惡) was originally planned as a suite of four character pieces, with contrasting motivic and harmonic materials inspired by four homophonous Sino-Korean characters all pronounced "Ak." Multiple variations on these original ideas eventually combined into a one-movement work, shifting freely between those four harmonic and expressive worlds, with a labyrinthine narrative of contrasts, reappearances, and metamorphoses. Sa-ak is thus a ruined set of variations; a collapsed fantasia. It was composed from 2020-21 and is dedicated to pianist Eunmi Ko.Jared Redmond is a pianist-composer from the San Francisco Bay Area, currently based in Berlin. As a composer, Jared’s works deal especially in literary and historical allusion, expressive microtonalism, and increasingly, music for the piano. Living in Seoul for nearly a decade, Jared researched traditional Korean aristocratic music and notation at the Academy of Korean Studies and the Kyujanggak Institute of Seoul National University; he develops experimental compositions and new notation systems for Korean traditional performers. From 2018-20 he was Visiting Scholar-Professor of Composition and Music Theory at Hanyang University, and from 2020-24 he taught at the Seoul National University School of Music. Jared’s compositions, and his performances of classical and new music, have appeared in concert halls, universities, and small experimental venues throughout North America, Europe, and East Asia. www.jaredredmond.com.~~~~Persistence of Melancholy explores the unyielding nature of depression, where moments of hope briefly surface only to be drawn back into resignation. Through delicate shifts in texture and dynamic contrast, the piano work captures a cycle of struggle that never fully releases its grip. Each recurrence underscores melancholy’s presence as an ever-returning force. Debuted at Carnegie Hall in 2019 and later included on the album ENDURANCE, the piece stands as a poignant meditation on the human condition: the fragile tension between glowing aspiration and the shadows that persist, echoing a truth both intimate and universally felt.Robert Voisey has a bit of music played in many places. Beginning with modest pieces for friends and small ensembles, his work gradually found its way to concerts, festivals, and broadcasts around the world. As a composer, his output spans chamber music, vocal works, and adventurous multimedia experiments. Yet he is best known as the creator of groundbreaking platforms such as 60x60 and Fifteen-Minutes-of-Fame, projects that have given thousands of composers and performers opportunities to be heard. Called “madness that makes the cultural world go round” by The New York Times, Voisey’s vision continues to inspire and empower new music communities. www.VoxNovus.com.~~~~Composed for Eunmi Ko, my Little Suite for solo piano is a conversation with the Baroque keyboard collections by Bach, Rameau and Couperin. What does it mean to write in these time-honored forms in 2025; how does my musical language fit into, or stretch, their boundaries? After a spirited, perpetual-motion Prelude, the Corrente playfully alternates between fleet passagework, mini-explosions, and suspended resonances. Shadows get longer and deeper in the Sarabande, which unfolds as though scored for antiphonal choirs. It ends with a hushed, mysterious coda. I composed the Gigue en Rondeau while watching a beautiful snowfall; the movement’s flickering, delicate ornamentation echoes the sunlight playing across the snowflakes.Daniel Pesca has been called “the perfect composer-virtuoso pianist” (All about the Arts). Noted for their poetry and lyricism, his works have been commissioned by the National Endowment for the Arts, the Howard Hanson Institute, and New Music USA. He has composed for the American Wild Ensemble, Constellation Chamber Concerts, the Chicago Center for Contemporary Composition, the Oberlin Contemporary Ensemble, and Sound Impact. An album of his music, Walk with me, my joy, appeared on New Focus Recordings this June.As pianist, Daniel has taken part in the premiere of about 200 works. He is a member of the Grossman Ensemble and the Zohn Collective, and he appears on 20 commercial recordings (including a solo album, Promontory). He has performed as concerto soloist in his own Up North, as well as works by Messiaen, Bernstein, Stravinsky, and others. He is on the composition faculty at the Eastman School of Music. https://www.danielpesca.com.~~~~Le rêve caché The Hidden Dream An Inca Indian and a native of Perú, Hwaen Ch'uqi enjoys world-wide acclaim and an equally wide-ranging career. As pianist, he has performed in venues from Alice Tully Hall in NYC to Philharmonic Hall in St. Petersburg, Russia. As a composer, he has received commissions from institutions such as MTNA and the University of British Columbia School of Music; orchestras such as the Taipei Civic and the Cusco Symphony Orchestras, and individuals such as James VanDemark of the Eastman School of Music. He holds B.M. and M.M. degrees in Piano Performance from the Eastman School, studying under Natalya Antonova.~~~~Suite for piano (2025) Suite, composed for pianist Eunmi Ko, is a collection of six short pieces that take their titles and character from keyboard dance suites of the past. The particular models are found in Bach’s French suites, and the titles are Prelude, Bourrée, Sarabande, Forlane, Menuet, and Gigue. Keyboard suites are more less collections of dances that vary greatly in style and form, and I wrote my suite with composers like Ravel, Schoenberg, Debussy, Bartok, and … J.S. Bach looking over my shoulder.David Liptak's music has been described as “luminous and arresting,” “richly atmospheric,” and having “transparent textures, incisive rhythms, shimmering lightness.” His compositions have been performed throughout the United States and abroad, and recordings of his music are found on the Bridge, Albany, New Focus, Innova, and other labels. David Liptak was recognized with the Elise L. Stoeger Prize, given by the Chamber Music Society of Lincoln Center, and he has received many awards that include those from the American Academy of Arts and Letters and the Barlow Endowment for Music Composition. Much of his recent music has explored the poetry and magical quality of stars and starlight, imagined and real. His large piano work Constellations has been performed and recorded by Eunmi Ko on Innova Recordings. https://www.dliptak.com~~~~“Another tattoo is never going to make me younger, or tougher, or more relevant… At best it’s a reminder that you’re still alive and lucky as hell. Another tattoo, another thing you did. Another place you’ve been.” ~Anthony Bourdain, Parts Unknown, Season 6, Episode 7: BorneoI have seven tattoos, each tied to places, people, or periods that have shaped me. More and more, I’m interested in tattoos simply for their existence; the way each one chisels me closer to a truer version of myself. TATTOO mirrors that duality: both a metaphorical reflection on permanence and a literal rendering of the tattoo process in sound.The piece unfolds in two parts: Part 1 ("obliterate all prior things") as line work, Part 2 ("shadow work") as shading. Tattoo-like textures appear in repetition, evolving harmonies, and the spaciousness of starts and stops. From the pianist’s perspective, the score begins with almost no traditional musical information – a single pitch stretched across time with graphic notation. Gradually, more detail is added: rhythm, then tempo, then meter, until traditional notation emerges. Like a tattoo, the image only comes into focus through the act of making it.What lingers beneath is a thread of memory... quiet moments with people and places that continue to shape me. Composing this piece over three years was not just a matter of struggle, but a necessary process that pushed me toward a new way of thinking about my music. TATTOO is both process and meditation: a ritual in sound where image, memory, and transformation converge.Tyler Kline (b. 1991; he/him) is a composer, audio engineer, and radio broadcaster whose music explores impermanence, memory, and the quiet poetry of things slipping from view. Deeply influenced by the Japanese aesthetic of wabi-sabi, his work spans chamber, orchestral, and electroacoustic forms, and has been performed in 18 countries. Tyler also hosts Modern Notebook, a nationally syndicated radio program, and founded Loose Leaf Transmissions, home to the podcast music/Maker. Originally from rural Kentucky, he now lives in Cincinnati with his wife, Susanna, and their cat, Tofu. Learn more and listen at www.tylerklinemusic.com.Audience members are reminded to silence alarm watches, pagers and cellular phones before the performance. As a matter of courtesy and copyright law, no recording or unauthorized photographing is allowed. BGSU is a nonsmoking campus.

Guest Artist Eunmi Ko, piano, will give a Masterclass. Free and open to the public.

BGSU Department of Theatre & Film teaching professor, Sara Lipinski Chambers, joins Clint Corpe on The Morning Show to talk about her role as facilitator for the department’s upcoming productions of White Rabbit, Red Rabbit and BL_NK. These experimental plays challenge actors and audiences alike to consider authority, identity, and the power of story. Performances run September 18-27 in the Eva Marie Saint Theatre. Tune in live on 88.1 FM or stream online at wbgu.org to catch the full interview.

Student chamber jazz ensembles will perform. This event is free and open to the public.LIVESTREAM LINKPROGRAMAutumn Leaves | Joseph Kosma, arr. Luke Wells Song for my Father | Horace SilverLuke Wells, alto saxophone Christian Amaya, trumpet  Gwen Krupp, bass Ian Holdridge, drums & cymbals Coached by Jonathan Guelfand~~~~~~~~~~~Green Chimneys | Thelonious Monk (1917-1982) Misterioso Monk | MonkAlyssa Brennen, flute Abby Jesso, trumpet  Lucas Glenn, piano  Liam O’Hara, guitar Danny Yang, bass  Max Welch, drums & cymbals Coached by David Bixler~~~~~~~~~~~Zoltan | Woody Shaw (1944-1989) Firm Roots | Cedar Walton (1934-2013) I'm Looking For A Miracle | The Clark Sisters, arr. Allyn Johnson (b. 1975)Dylan Rees, tenor saxophone  Miles Anderson, guitar  Tumaini Sango, piano  Evan Palermo, drums & cymbals  Coached by Aidan Plank

Voice faculty members Sarah Luebke and Katherine Pracht Phares will present a joint recital as part of the Faculty Artist Series. This event is free and oen to the public.LIVESTREAM LINKPROGRAMMaîtresse de chant: An Evening with Pauline ViardotI. Lament & Longing Plainte d’amour Séparation Fleur desséchéeII. Playful & Pastoral Scenes Les deux roses Aime-moi Havanaise IntermissionIII. Dreams & Reflections Lamento Rêverie Gentilles hirondelles Haï luliIV. Passion & Fire Évocation Morirò Les BohémiensTRANSLATIONS LINKBIOGRAPHIESDr. Sarah Luebke is a 2025 American Prize National Finalist and a versatile soprano recognized for her artistry as both a performer and pedagogue.As a performer, Dr. Luebke has appeared in major works including Handel’s Messiah, Brahms’ Ein deutsches Requiem, Poulenc’s Gloria, Rossini’s Stabat Mater, Bach’s St. Matthew Passion, Sibelius’ The Tempest, and James Whitbourn’s Annelies. She made her Carnegie Hall debut with Vivaldi’s Magnificat in 2023.A trail-blazing interpreter of 21st century vocal repertoire, she has collaborated with and performed works of Chen Yi, Missy Mazzoli, Benjamin Moore, and James Whitbourn. Stage roles include Juno (The Tempest), Masha (Enemies: A Love Story), Isabelle Eberhardt (Songs from the Uproar), Yum-Yum (Mikado), Rose Maybud (Ruddigore), La Fée (Cendrillon), Fiordiligi (Così fan tutte), Lauretta (Gianni Schicchi), Najade (Ariadne auf Naxos), Monica (The Medium), Serpina (La Serva Padrona), Nora (Riders to the Sea), Nella (Gianni Schicchi), Lucinda (Into the Woods), and Jane McDowell (The Stephen Foster Story). Concert work includes Messiah (Handel), Annelies (Whitbourn), St. Matthew Passion (Bach), Requiem (Fauré), Ein deutches Requiem (Brahms). She was as a young artist with Twin Cities’ Opera Guild and Janiec Opera Company of the Brevard Music Festival.Recognized for her studio teaching, she was selected for the 2022 NATS Intern Program and awarded the 2022 NATS Mario Martinez Intern Prize and 2020 ESM Teaching Assistant Prize. Her students have won and placed in national competitions, including the National Classical Singer Competition, Schubert Club Competition, Schmidt Vocal Competition, state, regional, and national NATS auditions, and The Voice (NBC). They have been accepted into top music schools and performance programs, including The Juilliard School, Eastman School of Music, Boston Conservatory, Interlochen Summer Music Festival, and Brevard Music Festival, and several are now teaching at universities and conservatories throughout the United States.Dr. Luebke is an active lecturer and clinician, presenting at National Association of Teachers of Singing (NATS) and College Music Society (CMS) conferences, and giving masterclasses, recitals, and workshops at universities across the U.S.Prior to her appointment at Bowling Green State University, Dr. Luebke taught applied voice and pedagogy at SUNY Fredonia and French lyric diction at the Eastman School of Music. She holds a DMA in vocal performance from the Eastman School of Music, an MM from the University of Kentucky, and a BM from St. Olaf College. Her principal teachers include Kathryn Cowdrick, Robert McIver, and Everett McCorvey.Katherine Pracht Phares, mezzo-soprano, comes to BGSU with twenty years of professional singing experience in opera, recital, and oratorio performances. She champions contemporary opera and much of her recent professional activity is in this genre. Katy is currently a student in the DMA in Contemporary Music program at BGSU.The 2022-23 season featured several premieres for the busy mezzo. Pracht performed Madeleine in Jake Heggie’s Three Decembers with Opera on the Avalon, returned to West Edge Opera for her first Cornelia in Giulio Cesare, and workshopped two new operas, Bulrusher, and Laura Kaminsky’s February. She then debuted Beethoven’s Ninth Symphony with the Quad-City Symphony, as well as the role of Mary Johnson in Virginia Opera’s production of Fellow Travelers. In October, Pracht creates the role of Helen in Kaminsky’s next world premiere opera February at Opera on the Avalon in St. John's, Newfoundland; and she looks forward to another exciting announcement coming soon!2021 engagements included a world premiere and cast recording as Horatio in Joseph Summer’s Hamlet at the Dohodno Zdanie Theater in Ruse, Bulgaria, and a reprisal of the title role in Kevin Puts’ opera, Elizabeth Cree with West Edge Opera. Katy also won outstanding reviews as Miss Jessel in Britten’s The Turn of the Screw with IlluminArts in Miami. The 2019 season also had important role debuts: Charlotte in A Little Night Music with Madison Opera, Ottavia in L'incoronazione di Poppea with Florentine Opera, Kate Julian in Britten’s rarely heard Owen Wingrave with Little Opera Theatre of NY, Duruflé’s Requiem with the Washington Chorus, and Prokofiev’s The Love for Three Oranges with Opera Philadelphia.Other recent credits are Glenda (cover) in We Shall Not Be Moved with Opera Philadelphia; Philip Glass' Symphony No. 5 for Trinity Wall Street; Lady Wang in Bright Sheng’s Dream of the Red Chamber in Changsha, Beijing, and Wuhan, China; Prokofiev’s Alexander Nevsky with York Symphony; and her premiere as Elizabeth Cree with Chicago Opera Theater, where the Chicago Tribune said “Katherine Pracht brought a mezzo of size and quality, and confident dramatic presence, to the complicated title role.”Ms. Pracht appeared as Mariam in the AOP-sponsored workshop of Sheila Silver’s opera, A Thousand Splendid Suns, sang A Bernstein Marathon and Arias & Barcarolles with Steven Blier and Michael Barrett (New York Festival of Song) at the Lyric Opera of Kansas City’ Karl Jenkins’ The Armed Man and the world premiere of Sing! The Music Was Given at Carnegie Hall, and Stravinsky’s Requiem Canticles with The Orchestra NOW at the Bard Festival under the baton of Leon Botstein. She returned to that Bard Festival in Rimsky-Korsakov’s From Homer with the American Symphony Orchestra, and as Dunyasha in The Tsar’s Bride. Katy performed Bernstein’s Arias and Barcarolles with Bright Sheng and Michael Barrett for The Intimacy of Creativity 2017 Festival in Hong Kong. Her Kennedy Center debut was as Mezzo soloist in Philip Glass' Symphony No. 5 with the Washington Chorus.Katy has performed and workshopped many roles in new works: Florence Williams in Susan Kander’s The News From Poems, Hester Prynne in Eric Sawyer's The Scarlet Professor; Eve in Julian Wachner and Cerise Jacobs’ Rev 23 for the Prototype Festival, Sharon Falconer in Elmer Gantry with Florentine Opera and Ariel in the world premiere of Joseph Summer’s The Tempest for The Shakespeare Concerts in Boston recorded by Albany Records. In concert she sang Mahler’s Das Lied von der Erde with the York Symphony, and Lieberson’s Neruda Songs with Grand Rapids Symphony. Pracht made her Carnegie Hall debut as Alto Soloist in Verdi's Requiem, her debut with Opera Philadelphia as Third Lady in Die Zauberflöte, twice sang Der Trommler in Der Kaiser von Atlantis for Central City Opera with the Colorado Symphony and for Chicago’s New Millennium Orchestra, sang Meg in Little Women directed by David Gately for Opera on the James, and two concerts with the Georgia Symphony Orchestra and Chorus singing John Corigliano’s Fern Hill and Prokofiev’s Alexander Nevsky.

The Arts at BGSU will host a book reading and Q&A session with Bonnie Jo Campbell, the best-selling author of six books, most recently a novel, The Waters.Her 2009 collection American Salvage was a finalist for both the National Book Award and the National Book Critics Circle Award, and her 2011 novel Once Upon a River was made into an award-winning feature film in 2019. Her work is set in her home region of Western Michigan among working people seeking a place for themselves in our times.Books will be available for purchase at the event. Campbell will be available for book signings immediately following the onstage presentation in the Wolfe Center Lobby.This event is free and open to the public.