Honoring Hispanic Heritage Month with Music, Culture, and Conversation
Hispanic Heritage Month, observed September 15 to October 15, honors the histories, cultures, and contributions of Hispanic and Latin American communities.
In recognition of this celebration, piano faculty member Victor Galindo organizes an annual recital with fellow piano faculty members. Evan Meier, Chair of Music Theory and Composition, spoke with Victor about his passion for Latin American and Spanish music, the folk traditions that shaped these works, and the voices of composers like Granados, Cervantes, Ponce, and Carreño. They also reflect on how pianists bring this repertoire to life and the broader cultural influences woven into the music. Watch their conversation in the video below.
The Art of Improvisation in Music
At the heart of a spontaneous jazz solo or a soulful blues riff is a musical phenomenon as old as the art itself: improvisation. Improvisation in music is the creative process of composing and performing simultaneously, often on the spot and without premeditation. It is a test of skill, a demonstration of mastery, and an intimate conversation with the audience — all rolled into one fluid performance.
In this article, we’ll take a closer look at musical improvisation, some of the contexts in which it’s used, and some tips for those who want to learn to improvise.
What Is Improvisation in Music?
Improvisation is creating music in real-time, weaving melodies, harmonies, and rhythms on the fly. It requires a deep understanding of musical structures and a spontaneous, creative mindset. Unlike composed music, which follows a predetermined score, improvisation invites the musician to explore new territories within or beyond the formal boundaries of their genre.
Common Contexts of Improvisation
In Jazz
Jazz is perhaps the most widely recognized genre for improvisation. Improvisation is the soul of jazz, allowing musicians like Louis Armstrong, Miles Davis, and Ella Fitzgerald to leave indelible marks on the world. It turns performances into conversations where musicians ‘speak’ to each other and their audience through their instruments, pushing the music into new and exciting directions.
Join us at Levine for regular jam sessions, masterclasses, and performances devoted to appreciating and understanding the vibrant art form of jazz improvisation. Whether you’re a traditionally trained student curious about the world of jazz or an experienced jazz musician looking to expand your skills, Levine is the place to develop your talent. Explore our jazz offerings today!
In Classical Music
While improvisation is synonymous with jazz in the modern mindset, it’s also a long-attested part of classical music. Historically, musicians of the Baroque and Classical periods were expected to improvise, exemplified by the cadenzas of concertos, where soloists commonly embellished the written material. Today, classical musicians are reviving this tradition, showcasing their creativity within the structure of the classical repertoire.
In Music Education
For students, improvisation is a powerful tool for learning. It encourages exploration and personal expression, helping to develop a strong musical ear, a sense of timing, and familiarity with the instrument. Improvisational skills also allow students to understand musical theory better and to communicate musically with others, laying the foundation for a more comprehensive music education.
Want to dive deeper into these foundational concepts? Check out our classes on music theory and composition to see how we can help you grow.
In Music Therapy
Improvisational music therapy uses the creation of music to help individuals express themselves and facilitate healing. Therapists guide clients through musical improvisation, allowing them to explore emotions and experiences through the universal language of music. This form of music therapy has been effective in various settings, helping individuals manage stress, communicate emotions, and improve cognitive and motor skills.
At Levine, we have an entire team of board-certified music therapists trained to access music’s therapeutic value to help others connect and grow. Our experts use evidence-based practices to work with children and adults of all ages in private and group music therapy sessions. In this way, we use music therapy to assist people with various needs through offerings at each Levine campus and in the community through assorted partnership programming.
How to Improvise Music
Improvising music may seem daunting, but it’s a skill that can be developed like any other. Here are some tips for getting started with musical improvisation:
Learn the basics: Before breaking the rules, you need to learn them. Have a firm grasp of keys, scales, chords and chord progressions, and the structure of music. This knowledge will be the foundation upon which you’ll build your improvisational skills: You need to understand the key of a song to know which notes (within which scales) will sound good while improvising along with it. This, of course, demands that you know your scales. Mastering these music theory and composition building blocks will allow you to implement them on the fly.
Listen and analyze: Absorb as much music as you can, especially from genres known for improvisation. Listen to the greats and analyze their techniques. Understand the frameworks they improvise within and note how they build tension and release.
Start simple: Begin with simple melodies and rhythms. Improvise over familiar chord progressions or blues patterns. Don’t overcomplicate things; let your ideas flow naturally and build upon them as you grow more comfortable.
Practice regularly: Improvisation is a skill honed over time. Integrate it into your practice routine. Regular improvisation will help you develop a personal style and increase your confidence.
Learn to take risks: Improvisation involves stepping out of your comfort zone. Be bold in your choices, and don’t fear mistakes — they are often the best teachers.
Play with others: Joining a band or jam session can accelerate your growth. It’s a chance to respond to other musicians in real-time and learn the art of musical conversation.
Record and reflect: Recording your improvisations can provide insights into your style and progress. Listen back to identify what worked, what didn’t, and where you can improve.
Additional Tips for Learners
Learning to improvise can be both exciting and challenging. Here are some additional tips to help music students embrace the full spectrum of improvisational experiences:
Be patient: Improvisation is a journey, not a destination. Patience is essential as you develop your unique voice.
Use backing tracks: Practicing with backing tracks can simulate a live ensemble and help with timing and rhythm.
Explore different genres: Dabble in various musical styles. Each genre can teach you something different about improvisation.
Seek feedback: Constructive criticism from teachers or peers is invaluable. It offers new perspectives on your improvisational approach.
Improvisation in music opens doors to personal expression, creativity, and connection with others. Whether in jazz, classical music, learning environments, music therapy, or elsewhere, improvisation enriches the player and the listener. As you dive into this timeless practice, remember that every great improviser started with a single note. You can turn that note into your musical language with dedication, patience, and passion.
If you’re eager to explore the world of musical improvisation, consider enrolling in music classes at Levine. Levine Music offers a supportive environment and expert instruction to help you discover and develop your improvisational talents. Whether you’re a budding musician or an experienced player, Levine provides the resources and community to take your musical skills to new heights. Explore our classes today!
Levine Music is excited to announce the appointment of David Crane and Ben Sweetbaum to our Board of Trustees, as well as the addition of Deborah Rutter to our Council of Advisors.
Each brings their own unique background, perspective, and approach. Their varied experiences will help us continue to inspired everyone in our region to love music.
David Crane discovered Levine Music when he began adult piano lessons in 2019 after a 50-year hiatus. He had recently retired as Vice President of Government Affairs and Senior Corporate Counsel at Autodesk, a design software company. Prior to joining Autodesk, he represented technology companies and non-profit LGBTQ rights organizations, among others.
Music has always been a passion for David. In addition to piano, he sang in The Washington Chorus and other local choruses, though he retired from playing his alto saxophone long ago.
David earned his BA in History and Religion from Southern Methodist University, Master of Theological Studies from Harvard Divinity School, and JD from the Georgetown University Law Center.
“Music is a vital part of any education for the joy it brings as well as the critical thinking and self-discipline it cultivates. I look forward to supporting Levine’s work to bring music and musicianship to everyone.” – David Crane
Deborah Rutter is one of the leading voices in arts administration today. As President of the John F. Kennedy Center for the Performing Arts from 2014-2025, Rutter oversaw programming across all genres, as well as a global network of education initiatives.
Along with Renee Fleming and Dr. Francis Collins, she started Sound Health in 2016, an ongoing partnership between the Kennedy Center and National Institutes of Health, in association with the National Endowment for the Arts, exploring potential health benefits of music. In 2019, Deborah opened the REACH — the first expansion of the Center’s campus designed to bring audiences into the artistic process.
Before her tenure at the Kennedy Center, Deborah held executive leadership roles with the Chicago Symphony Orchestra Association, the Seattle Symphony, the Los Angeles Chamber Orchestra, and the Los Angeles Philharmonic.
Rutter is a graduate of Stanford University and holds an MBA from the University of Southern California.
“Music, and the arts in general, are not merely entertainment, but rather a powerful force for societal good, enriching lives, and fostering hope. I’m excited to spark the joy of music in even more people as part of the Council of Advisors at Levine.” – Deborah Rutter
Ben Sweetbaum is responsible for leading the project management team at JM Zell, where he brings over 15 years of owner representation and construction management experience. Ben has overseen several projects in the Washington, DC metro area for a variety of uses, including trophy retail, hospitality, office, and multi-family. Ben is experienced in delivering ground-up development, adaptive re-use, and interior renovations.
Prior to joining JM Zell, Ben managed the design, construction, and delivery of the hotel, retail, and garage components of CityCenterDC, and he led the construction management team responsible for the planning and delivery of The Marketplace Plaza at Walter Reed, a four-building mixed-use area of the overall Parks at Walter Reed master development.
Ben attended Syracuse University, receiving a BA in Public Policy and Political Science, before earning a Master of Real Estate from Georgetown University.
“I’m thrilled to join the Board at Levine. I’ve spent my career building community through construction, and I’m excited to support Levine’s mission of creating community through music education.” – Ben Sweetbaum
2025 Advanced Piano Student Recital
William Wu, Student of Marina Alekseyeva
By Dr. Jason Solounias, Levine Piano Faculty Presenting an advanced recital is considered a towering achievement for a piano student at Levine. At 16-years-old, William Wu not only played a beautiful and demanding recital program, which demonstrated his command of the instrument and passion for music, but it was his second time giving a recital of this sort! To say the audience was impressed would be an understatement.
There is no question that William possesses the means of what could become a gargantuan piano technique and the musical fire to go along with it. In stark contrast to his dramatic piano playing, William has a warm and personable demeanor. If you met him at a cafe, you would never suppose he would be the type to rip through the passagework in the Rachmaninoff second piano concerto, the piece that started his program.
Read William's full review
It is perhaps an unconventional selection for a solo recital, but after learning that William will be attending the famed Aspen Music Festival this summer, it became obvious the challenge of playing the Rachmaninoff concerto movement was a warmup for his likely performances of the piece later on this summer in Colorado. He was accompanied brilliantly by Irina Kats. They made for a dynamic duo, filing the Lang Recital hall with the sonorous melodies the concerto is famous for. William played with passion and energy, bringing to the devilish passagework a clarity one rarely hears in any concert hall. I don’t think he missed a single note. That being said, the performance lacked grandiosity, luxuriating in the sound of the piano, while also capturing the dark mood that surrounds the movement. Nonetheless William gave an incredibly confident and well-prepared performance of the piece. He finished the first segment of the recital with an encore – an etude of Chopin in C minor nicknamed ‘the ocean’. He played it brilliantly and was a clever choice given the etude shares the key with the Rachmaninoff concerto.
The recital continued on to solo pieces, first, the Schumann Variations on the name “Abegg”. William’s brilliant finger-work shined in this piece as well. He captured the jue perle virtuosity — a trademark of Schumann’s early piano works — and played the dazzling passagework with ease. William’s youthful and bright approach made the piece sparkle and come to life with razor sharp precision.
He went on to the Ballade No.2 by Chopin, and here William brought a forceful and dramatic approach. It was an apt choice to follow the variations considering that Chopin dedicated his Ballade to Schumann. William played the cascading arpeggios with stormy confidence and interspersed the calm and swaying lullaby theme, controlling the challenging contrasts in the Ballade with deft skill. The violent contrasts make it a conceptually difficult piece to interpret; a bipolarity indicative not of Chopin, but of Schumann’s two musical personalities Florestan and Eusebius. Perhaps I missed synergy in William’s presentation, a poetic unity to the Ballade’s albeit wildly contrasting music.
The recital closed with a tumultuous rendition of the precipitato movement from Prokofiev’s seventh sonata. Composed in 1943 and premiered by Sviatoslav Richter, this is the second of three so-called ‘war sonatas’, a candid reflection of the composer’s true feelings of the second world war. Prokofiev bears his soul in the dissonant and angular writing – finding some artistic freedom from his otherwise unmemorable compositions constructed on orders to glorify Stalin’s regime. William no doubt understood this context in his volcanic rendition of the movement, teetering on the edge of what one might think possible to control. I did find myself wanting the feeling of inevitability, of a deathly metallic dance — rather than that of a rocket engine — but he still delivered an exciting performance of the piece. It’s a testament to William’s abilities and work ethic to bring such a difficult work to a high pianistic level.
William concluded with an encore from the Bach E major French Suite, which was a soothing balm to the storminess that permeated his recital program. William is an inspiration. His commitment and passion for the piano shines through every note he plays. To present such demanding repertoire is a testament of his dedication to craft of piano playing and speaks for a promising future in music.
For the second half of the program, Robert treated his audience to Robert Schumann’s second sonata, reminding us of the dedication “To Clara from Florestan and Eusebius” (Schumann’s two alter-egos). Both personalities were present: from the fiery, relentless Florestan in the tumultuousness of the first movement, to the Eusabian soaring melodies in the aria of the second movement. Robert moved seamlessly through the flippant scherzo with its light, airy Mendelssohnian finger action, to the grand finale. He exhibited no signs of exhaustion even after leading his audience through such wild emotional extremes. Robert was still passionate and energetic as he wove Florestan and Eusebius together in a declaration of love coupled with poetic reflection; the magic and majesty of Schumann.
Robert’s audience leapt to their feet in a well-deserved standing ovation. A testament to his development, dedication, and great musical depth.
Yuhan Li, Student of Dr. Wen-Yin Chan
By Dr. Rachel Chen, Levine Piano Faculty It has been a privilege to witness pianist Yuhan Li’s growth as a musician since we first met at the Indiana University Piano Academy (IUPA) in the summer of 2023. As her former piano camp counselor, I’ve followed her journey since, and it’s been inspiring to see her evolve into a thoughtful and deeply expressive pianist in just two years.
Her Advanced Student Recital on May 30, 2025, was a powerful testament to that growth and dedication. The room was filled with people who loved her, and the energy in the space was full of warmth and encouragement. The evening opened with J.S. Bach’s Partita No. 6 in E minor, BWV 830. This is the last, longest, and most dramatic of his six keyboard partitas. This suite is a masterclass in counterpoint and dance form, challenging both technically and emotionally.
Read Yuhan's full review
Yuhan began with the Toccata, a bold and improvisatory movement marked by expressive flourishes, which she executed with both sensitivity and conviction. In the fugue section, she demonstrated impressive control, incorporating imaginative ornamentation while maintaining a clear sense of direction. Her phrasing through the polyphonic textures was articulated expressive, and the fugue unfolded with poise and beautifully shaped lines.
Next came the Tempo di Gavotta, a stylized French dance with a rhythmic lift created by upbeat figures on the third and fourth beats. Yuhan played it with charm and grace. Her left hand provided a gentle, galloping rhythm while her right hand articulated the melody with poise and precision. The final movement, the Gigue, is one of Bach’s most intricate fugues. It begins with a subject containing 12 different notes—reminiscent of Schoenberg’s twelve-tone rows.
When the second subject appears, the total expands to 14 unique pitches. This is likely a nod to Bach’s own name, which adds up to 14 when converted into numbers (B=2, A=1, C=3, H=8). It’s as if Bach subtly signed the music with his identity. Yuhan delivered this intellectually rich and technically demanding movement with brilliance and clarity. Her tempo was brisk yet controlled, and the texture sparkled with a varied color palette and clarity. It was a confident and elegant performance and an impressive conclusion to the suite!
Yuhan continued with Robert Schumann’s Aufschwung from Fantasiestücke, Op. 12. Schumann was inspired by the contrasting sides of his personality—Florestan, the fiery extrovert, and Eusebius, the dreamy introvert. Yuhan captured both sides beautifully. She played with passion and lyricism, balancing the bold rhythms and tender inner voices with such sensitivity. Her deep understanding of Schumann’s emotional contrastscame through clearly.
She then performed Franz Schubert’s Impromptu in A-flat Major, Op. 142 No. 2. This piece, structured as a theme and variations, showcasesSchubert’s lyrical gift and subtle harmonic shifts. Yuhan shaped each variation with delicate dynamics and a singing tone. Her voicing was thoughtful, and her pacing allowed the music to breathe. The use of silence and gentle rubato in the central variations was especially moving. She handled the rhythmic complexity and hemiolas with ease, making the whole piece feel intimate and expressive. After intermission, Yuhan returned with Beethoven’s Piano Sonata No. 15 in D Major, Op. 28 (“Pastoral”).
She opened the first movement with a grounded, timpani-like touch, voicing the lyrical themes with elegance and shaping the development with subtle pacing. Her playing evoked a serene, woodland atmosphere. She made the piano sing, and the final moments of the movement floated like birdsong, full of color and clarity.
Her performance of the third and the fourth movement were especially compelling. The third was crisp and playful, while the finale showcased her energy and control, with clear fugual textures, witty articulation, and joyful momentum. It was a strong and deeply satisfying conclusion to the sonata.
To close the recital, Yuhan played an exciting William Bolcom’s The Serpent’s Kiss from The Garden of Eden. This was my favorite piece of the program this evening because she brought this piece to life with her charisma and flair. Her use of finger snaps, foot stomps, and body movement was both fun and polished, and the audience was fully engaged from start to finish.
It was a brilliant and unexpected way to end the evening. What makes Yuhan truly special isn’t just her musical skill, but her heart. She is a pianist with purpose. She cares deeply about social justice and is committed to advocating for the visually impaired music community. That sincerity comes through in her playing, making her performances deeply human and meaningful.
At the end of the recital, Yuhan gave a short speech that touched everyone in the room. She spoke about the people who have supported her and especially her teacher, Dr. Wen-Yin Chan, whose encouragement and belief helped her grow. Their mutual admiration was so clear. She also thanked her family, especially her mother, who has been there for every lesson and every practice session. It was heartfelt and genuine. Any longer, and we all might have cried. It was a beautiful, meaningful concert, and I was proud to witness it.
Raghav Belle-Trichur, Student of Dr. Deborah Lloyd
By Dr. Luke Ratcliffe, Levine Piano Faculty This past weekend, I had the pleasure of attending Raghav Trichur’s public piano recital at the West Falls Church campus, and I’m still struck by the scope and ambition of the program.
It’s always exciting to witness a young pianist emerge from his early student years into greater maturity, taking on major works from the literature with seriousness and depth. Raghav’s playing reminded me why I love this art form: at its best, it invites us into something riveting and personal.
Read Raghav's full review
The program centered around two of Beethoven’s most iconic piano sonatas. Raghav began with the Sonata in C-sharp Minor, Op. 27 No. 2, the beloved “Moonlight”. In the opening movement, he captured the spacious stillness of the music with impressive poise, allowing the triplets to shimmer without ever sounding mechanical. The tempo was slower than I was used to hearing, however the pacing was natural and unfussy, bringing the audience into a mystical world, evincing early signs of the composer’s experiment with form, as both the Op.27 sonatas are aptly titled “Sonata quasi una fantasia”.
As the sonata progressed, Raghav built tension steadily, leading to a thrilling third movement that was alive with fire, energy, and direction. It was a bold start to the program and already demonstrated Raghav’s capacity to balance control with emotional depth. Next came Chopin’s Étude in G-flat Major, Op. 10 No. 5, the so-called “Black Key” Étude. Here, Raghav showed a completely different side of his musical personality—bright, virtuosic, and bursting with exuberant charm. The right-hand figurations sparkled with clarity and precision, while the left hand provided a firm and punctuated foundation. His articulation was playful without ever becoming glib, and the touch was delicate yet confident. The tempo never felt rushed, which allowed Chopin’s wit and buoyancy to shine through.
But it was Beethoven’s Appassionata Sonata, Op. 57, that revealed the true breadth of Raghav’s artistry. From the opening measures of the first movement, it was clear that this performance would be intense. The music erupted with restless urgency, driven by rhythmic intensity and shaped with careful attention to contrast and color in the second subject. The development section was especially gripping, with crisp articulation and a fearless approach to Beethoven’s harmonic shocks.
The second movement offered a moment of reflection. Raghav found a beautiful balance between lyricism and structural clarity, letting each variation unfold with a natural sense of pacing. The finale, however, was where the performance reached its most exhilarating heights. He tackled the movement’s technical demands with focus and fire, never losing sight of the broader emotional arc. The electrifying coda exploded with energy that left the hall silent for a brief moment before the applause began. Of course, behind every remarkable performance is a strong support system.
It was clear how much care had gone into preparing this recital—from the keen guidance of his teacher, Dr. Deborah Lloyd, to the evident support of family and friends in attendance. That kind of encouragement makes all the difference, and it was moving to see how it contributed to such a confident, expressive performance. This recital was a compelling mix of intellect, emotion, and courage. I wish Raghav well in his continued studies and growth as a musician.
2025 Piano Distinction
The Piano Department would like to congratulate the following students for achieving Distinction in the 2025 Spring Juries.
We thank Jane and Bob Loeffler for their visionary leadership and generous support in founding our Loeffler Alumni Series ten years ago. What started as an inspired idea has blossomed into a vibrant tradition. Over the years, we have welcomed back more than 30 accomplished alumni to perform at the place where their musical journeys began.
This flourishing series stands as a testament to the Loeffler family’s unwavering commitment to music education and to Levine. Time and again, participating alumni have expressed how meaningful it is to return to their first musical home. It is a tremendous gift — to Levine and to these talented young artists — that we can support and celebrate their careers with justifiable pride.
This series has not only elevated the trajectories of our alumni but also inspired our current students to imagine a future in music for themselves. For this, we are profoundly grateful.
Program
Fratres | Arvo Pärt
Luke Ratcliffe, piano; Jonathan Velsey, cello
Ballade No. 2 in F Major, Opus 38 | Frédéric Chopin
Rachel Yu Chen, piano
Waltz-Scherzo | Sam Post
Sam Post, piano
Barcarolle in F-sharp Major, Opus 60 | Frédéric Chopin
Luke Ratcliffe, piano
Trio for Oboe, Bassoon, and Piano, FP 43 | Francis Poulenc II. Andante
Kenneth Stilwell, oboe; Jonathan Velsey, cello; Jamila Tekalli Hanner, piano
The Bells | Gabriel Ruiz-Bernal I. Silver Bells III. Brazen Bells
Gabriel Ruiz-Bernal, piano; Colleen Daly, soprano
Cello Suite No. 3 in C Major, BWV 1009 | Johann Sebastian Bach Sarabande
Jonathan Velsey, cello
Hungarian Dances Nos. 1-5 | Johannes Brahms
Luke Ratcliffe, piano; Rachel Yu Chen, piano
Meet the Artists
Rachel Yu Chen
Levine Teacher: Mikhail Volchok
Rachel Yu Chen received her BM in Piano Performance and MM in Piano Performance and Pedagogy from the University of Michigan and a DM in Piano Performance with minors in Music Education and a Certificate in Preparing Educators of Students with Autism from Indiana University’s Jacobs School of Music. In addition to Levine Music, Rachel is also an alumna of the Colburn Community School of Performing Arts in Los Angeles. Throughout her career, she has taught at Indiana University, the University of Michigan, Stafford Music Academy, and the P.A.L.S. Program with the Aspen Music Festival and School. Rachel has also been a private studio instructor since 2012 and teaches weekly private lessons to students of all levels. Rachel joined the Levine faculty in 2022.
Rachel’s other notable achievements include being the Vice President/Co-Founder and President of the Music Teacher National Association (MTNA) at Indiana University in 2019-2020 and 2020-2021 respectively, and she also co-founded two community-focused performance series: Keys to the Future and Musical Time.
Sam Post
Levine Teacher: Irena Orlov
Following his time at Levine Music, pianist Sam Post received his BS in Physics from Yale University and MM in Piano from Northwestern University. He has spent summers performing at Pianofest in the Hamptons, the Bowdoin International Music Festival, at the Bard Conductor’s Institute as a fellow, and as a resident at Avaloch Farms Music Institute.
Sam made his recital debut when he was 14 with an all-Bach program at Levine and has since gone on to compose and perform throughout the United States. He has performed with Reneé Fleming and Yo-Yo Ma, written a chamber symphony for the San Francisco Symphony, and his most recent solo album of ragtime was featured in No Depression and The Syncopated Times. Prior to returning to Levine as a teacher in 2013, Sam was on faculty with the Connecticut School of Music and the Westport School of Music. He also serves as the music director and pianist for the Kassia Music Collective.
Luke Ratcliffe
Levine Teacher: Ralitza Patcheva
Dr. Luke Alexander Ratcliffe received both his BM and MM in Piano Performance from George Mason University. Subsequently, he received his DMA in Piano Performance from the Cleveland Institute of Music (CIM), where he earned a concentration in Piano Pedagogy. He also served as a Graduate Teaching Assistant for Music Theory, Aural Skills, Keyboard Skills, and Piano Pedagogy, both in Cleveland and at George Mason University. Luke joined the Levine faculty in 2023.
Luke was a Judson Artist-in-Residence from 2021 to 2023 and received the Arthur Loesser Memorial Prize in Piano upon graduating from CIM. Through the Judson Artist-in-Residence program, Luke performed extensively, offering celebrated solo recitals and chamber music collaborations during his residency. More recently, he was a concerto soloist with the Lakeside Symphony Orchestra.
He has taken a particular interest in composer Einojuhani Rautavaara and is the first person to perform his complete works for solo piano.
Gabriel Ruiz-Bernal
Levine Teacher: Eva Pierrou (classical), Jean Butler (jazz)
Gabriel Ruiz-Bernal received his PhD in Aesthetics and Philosophy of Art from the Universidad de Sevilla and his MM in Piano Performance from Shenandoah Conservatory. He has held many professorships, including piano, French horn, music theory, and a title of superior professor in piano, all from the Conservatorio Superior de Málaga in Spain. He completed summer courses in Interpretation of Music and Music History and Analysis at Yale University and in Composition and Film Scoring at New York University’s Steinhardt School.
Gabriel has given solo piano, chamber music, and collaborative piano recitals throughout the United States, Europe, and Latin America, where he has also performed as a concerto soloist with orchestras. He has released two recordings, Live at Armstrong Concert Hall and Piano Favorites.
Gabriel has been on faculty at the Pablo Ruiz-Picasso Conservatory in Malaga, Spain, Shenandoah Conservatory, and Universidad de Sevilla, and he has been on the Levine faculty since 1996.
Kenneth Stilwell
Levine Teacher: Richard White
Kenneth has a BM and BA from Oberlin Conservatory and an MM in Oboe Performance from the Peabody Conservatory. He was a student of acclaimed oboists James Caldwell, Joseph Turner, and Alex Klein. Kenneth has performed with the Baltimore Symphony Orchestra and Delaware, Annapolis, Maryland, and Lancaster Symphony Orchestras.
A recipient of the Irving Lowens Award for research in Musicology and the Ruth Blaustein Memorial Scholarship at Peabody, Kenneth has published a chapter in monograph on Jesuits and Music (St. Joseph’s University Press), with reviews in Nineteenth Century Music Review and Ars Lyrica. He is also a member of the American Musicological Society.
He is a former Adjunct Faculty at Towson University, University of Alaska Fine Arts Festival, and Baltimore School for the Arts. Kenneth has been a member of Levine’s faculty for 23 years and currently teaches oboe and music theory.
Jonathan Velsey
Levine Teacher: Judith Shiffers
Jonathan began his cello studies with Judith Shiffers, first at the DC Youth Orchestra Program, and later, as a Levine student during his high school years. He was a member of the Levine Chamber Orchestra during its first year and went on to receive his BA from Bard College, where he studied cello with Luis Garcia Renart. He then earned an MM in Performance at Northwestern University, studying with Hans Jørgen Jensen.
Jonathan has been a freelance cellist in the greater Washington area since 1996. From 1996 to 2003, Jonathan was a section cellist, Associate, and Acting Principal Cello in the Maryland Symphony Orchestra. He has performed with the Fairfax Symphony, Arlington Symphony, Natal Philharmonic Orchestra in South Africa, Memphis Symphony Orchestra, and the Civic Orchestra of Chicago, and he has given numerous solo and chamber recital appearances both at home and abroad. Jonathan began teaching individual and group classes at Levine in the spring of 2017.
Guest Artists
Colleen Daly
Hailed for her “mezzo-tinted lower register rising to a wonderful warm top,” (The Washington Post) American soprano Colleen Daly skillfully balances engagements on both the concert and opera stages. Recent and upcoming engagements include the Governess in Britten’s Turn of the Screw with Opera Tampa, Older Alyce in Greensboro Opera’s Glory Denied, and joining the Washington Chorus and the National Symphony for Beethoven’s Mass in C Major at the Kennedy Center.
Equally at home on the operatic stage, her engagements have included a wide repertoire of roles ranging from Mozart to contemporary opera and musical theater, with a special affinity for Romantic repertoire. Career highlights thus far include the title roles in Floyd’s Susannah, Massenet’s Thaïs, and Janáček’s Kát’a Kabanová, Violetta in Verdi’s La Traviata, Musetta in Puccini’s La bohème, Micaëla in Bizet’s Carmen, and Countess in Mozart’s Le nozze di Figaro.
Jamila Tekalli Hanner
Pianist Dr. Jamila Tekalli Hanner is a member of the piano faculty at Levine and the Artistic Director of the Washington Musical Pathways Initiative. She has performed as a soloist and collaborative musician in concerts, festivals, and competitions throughout the United States, Canada, and Central and South America, including performances at the Kennedy Center, Carnegie Hall, the Adrienne Arsht Center, and the New World Center.
Jamila holds a DMA in Piano Performance from the University of Miami, an MA from the University of Central Florida, and a BM from Indiana University. She served as Lecturer in Music at Barry University in Miami, Florida.
The Loeffler Alumni Series is sponsored by Robert and Jane Loeffler.
In Celebration of AANHPI Composers
As we honor Asian American, Native Hawaiian, and Pacific Islander (AANHPI) Heritage Month, we celebrate the powerful contributions of composers whose musical voices resonate across cultures and generations. From sovereign queens to contemporary film composers, the artists highlighted below have made a profound impact on both traditional and contemporary music landscapes.
Queen Liliʻuokalani (1838–1917)
Liliʻuokalani was the last reigning monarch of the Kingdom of Hawai‘i, remembered not only for her political leadership but also for her enduring contributions to Hawaiian music. A trained musician, she composed over 150 mele — songs and chants that reflect the rich oral traditions of her people. Her work embraced a diverse array of musical forms, ranging from sacred hymns to folk ballads, showcasing her deep cultural pride and musical skill. Even after the US-backed coup that overthrew her reign, Liliʻuokalani continued to serve her people through advocacy and art.
Her most famous composition, “Aloha ʻOe,” written during a time of political upheaval, has become a symbol of farewell, longing, and love for the Hawaiian homeland. The song’s lyrical beauty and heartfelt melody continue to be cherished around the world.
An internationally acclaimed Chinese American composer and conductor, Tan Dun is best known for his genre-defying works that blend Eastern musical traditions with Western classical forms. His work spans concert halls, opera stages, and Hollywood soundtracks, most notably the Oscar-winning score for Crouching Tiger, Hidden Dragon. Tan has also held prestigious conducting posts and currently serves as the dean of Bard College Conservatory of Music.
With his sweeping orchestral palette and poetic use of traditional Chinese instruments, Tan’s music transports listeners to transcendent sound worlds.
Japanese composer Karen Tanaka is known for her evocative soundscapes and sensitive integration of acoustic and electronic elements. Trained in both Japan and France, where she studied with spectralist composer Tristan Murail and worked at the renowned IRCAM institute, Tanaka has forged a distinctive voice that resonates across contemporary classical, film, and multimedia platforms. Her compositions are often inspired by nature and human emotion, offering listeners both technical finesse and poignant expressivity.
Tanaka’s “Wind Whisperer,” performed by the Left Coast Chamber Ensemble, exemplifies her delicate orchestration and imaginative timbral language.
An Emmy Award-winning composer and singer-songwriter, Siddhartha Khosla has brought emotional depth and melodic sophistication to some of television’s most beloved series, including This Is Us and Only Murders in the Building. A founding member of the band Goldspot, Khosla’s work spans both popular and orchestral music, infusing South Asian influences into mainstream American media. In 2024, he became the first Asian person to win a Primetime Emmy for original score.
Khosla’s “Rush to Sazz,” featured in Only Murders in the Building, highlights his nuanced fusion of traditional instruments and cinematic storytelling.
A Filipino-American composer of extraordinary range and sensitivity, Nilo Alcala bridges traditional Filipino instruments and Western musical idioms in compelling and often spiritually resonant works. He is the first Philippine-born composer awarded the Copland House Residency and has collaborated with renowned groups like the Los Angeles Master Chorale and the Philippine Madrigal Singers. Alcala’s accolades span continents, and his compositions reflect a deep engagement with both cultural identity and global musical languages.
“I Am Here With You Always,” performed by the Philippine Madrigal Singers, offers a heartfelt testament to Alcala’s lyrical and communicative power.
As we honor the contributions of AANHPI composers and musicians around the world, we also take pride in celebrating the artistry within our own Levine community.
In this video from last year, faculty members Yeonjung Ellie Kim (voice) and Minji Kim (piano) perform the beloved Korean art song “강 건너 봄이 오듯” (“Like Spring Coming Across the River”). Composed by Im Geung-soo with lyrics by poet Song Kil-ja, the song evokes the quiet hope that love, like spring after a long winter, will one day arrive.
This poignant performance reflects not only the beauty of Korean musical traditions but also the deep cultural and emotional resonance music can carry across borders and generations.
2025 Marlin-Engel Solo Competition Results
The Marlin-Engel Solo Competition was established by the Board of Trustees of Levine Music in 1980 to honor Jackie Marlin and Diana Engel, two of the school’s founders and co-directors from 1976 to 1980. Originally offering a single “Marlin-Engel prize,” the competition today offers awards in both piano, strings, and instrumental categories and three age divisions: Junior (up to age 9), Intermediate (ages 10-13), and Senior (ages 14-18). The first-place prize for piano is the Ida Canter Prize, established by Dr. Jane Loeffler and her family as a tribute to her grandmother.
The 2025 Competition took place on Sunday, April 27, 2025. Each participant performed two solo works or movements that contrast in style and period.
Congratulations to all the participants, their teachers, and their families!
Awards
Congratulations to all the finalists and their extraordinary teachers!
Strings Intermediate
1st Place: Philip Thankachan, student of Susan Katsarelis 2nd Place: Chloe Chu, student of Virgilo Joven Honorable mention: Akira Inoue, student of Maxfield Wollam-Fisher
Strings Senior
1st Place: Benjamin Whiting-Eisemann, student of Patrick LeStrange 2nd Place: Bright Wang, student of Peter Sirotin Honorable mention: Jasper Frelinghuysen, student of Leo Sushansky Honorable mention: Abby Reid, student of Henry Stubbs
Winds, Brass, Guitar Intermediate
1st Place: Felix Karacson-Major, student of Claire Eichhorn 2nd Place: Ryan Li, student of Jorge Amaral Honorable mention: Ari Carare, student of Mia Pomerantz
Winds, Brass, Guitar Senior
1st Place: Chloe Robertson, student of Jimmy Ren 2nd Place: Caroline Keefe, student of Philippe Brunet Honorable mention: Owen Sung, student of Jorge Amaral
Piano Junior
1st Place: Kantaro Araki, student of Sayaka Jordan 2nd Place: Faith Reyes, student of Amanda Halstead Honorable mention: Riley Ding, student of Dasha Gabay
Piano Intermediate
1st Place: Minjae Jeon, student of Jinha Park 1st Place: Neel Perdue, student of Martin Labazevitch 2nd Place: Jason Ding, student of Dasha Gabayabay
Piano Senior
1st Place: Pamina Burton, student of Cecilia Cho 1st Place: Anastasia Fitenko, student of Martin Labazevitch 2nd Place: Azael Araya, student of Gina Hong Honorable mention: Sam Brose, student of Jamila Tekalli Hanner
*Grand Prize Winners
Special thanks to: Aaron Percy, Recording Engineer; Maxfield Wollam-Fisher and Jinha Park, competition organizers; and Darya Gabay and Irina Kats, collaborative pianists.
This program has been made possible through the generous support of the Marinus and Minna B. Koster Foundation, Inc.
Remembering Bill Reeder (1949–2025)
Levine Music mourns the passing of Bill Reeder, who served as Executive Director from 1993 to 1996. Bill guided Levine through a pivotal period of growth and transformation, overseeing the expansion of our reach with the opening of new campuses in Southeast DC, Maryland, and Virginia. His tenure marked a significant chapter in Levine’s evolution into the DC area’s home for music education.
Beyond Levine, Bill was a celebrated tenor with a distinguished international career, including eight seasons as a leading artist with the Zurich Opera and performances in major tenor roles across many prominent European opera houses. He brought this same passion and dedication to arts leadership, serving in key roles such as the founding Dean of the College of Visual and Performing Arts at George Mason University and Vice President and General Manager of Washington Performing Arts.
Bill Reeder (left) pictured with Levine supporters.
Bill also held leadership posts at the Saint Louis Conservatory of Music and Opera Music Theatre International and contributed to the founding of the Sallie Mae Trust for Education. His academic contributions included teaching appointments at Indiana University and Illinois State University.
Bill Reeder’s impact on the arts was profound, and his legacy at Levine endures in the campuses and programs he helped bring to life. We extend our heartfelt condolences to his family, friends, colleagues, and the countless students and artists whom he supported through his leadership.
2025 Misbin Family Memorial Chamber Music Competition Winners
Designed to support the development of young artists and celebrate the lifelong creativity of DC-area performers, the Misbin Family Memorial Chamber Music Competition is open to instrumental chamber music students and adult amateur musicians. Participants are adjudicated by a panel of judges made up of distinguished performers, teachers, and other recognized members of the greater Washington music community.
The competition is open to the public free of charge—a great opportunity to hear promising young artists in a varied program. Winners receive cash awards and opportunities to perform in prestigious venues across the Washington, DC metro region.
The 2025 competition took place on Sunday, April 6, 2025. Special thanks to this year’s judges, Lisa Cella, Cleveland Chandler Jr., and Jon Goldberg.
Levine Music and Washington Performing Arts gratefully acknowledge Dr. Robert Misbin as well as the support of the DC Commission on the Arts and Humanities and the Dallas Morse Coors Foundation for the Performing Arts.
Awards
Congratulations to all the finalists and their extraordinary teachers!
Junior Division
First Place: Bellissima Duo (Chloe Robertson, violin; Addison Ellis-Otovo, viola; coached by Mahoko Eguchi) Second Place: Harmonics Quintet (Daniel Sungun Won, violin; Christopher Yun, violin; Jonathan Y. Chi, viola; Jules Amyot, cello; Minjae Jeon, piano; coached by Jinha Park) Honorable Mention: The Clefhangers Trio (Philip Thankachan, violin; Momo Sasaki, violin; Akira Inoue, cello; coached by Virgilio Joven)
Senior Division
First Place: Quintessence Quintet (Enzo Baldanza, violin; Esther Bonney, violin; Chloe Lee, viola; Elisa Swift, cello; Jessica Chen, piano; coached by Loewi Lin) Second Place (ex aequo): Reinecke Trio (Evelin Kleczek, piano; Donovan Holt-Harrington, clarinet; Ian Lander, French horn; coached by Lin Ma) & Caravan Quartet (Noelle Fiegl, violin; Jingjing Wu, violin; Katie Hwang, viola; Elena Kim, cello; coached by Claudia Chudacoff) Honorable Mentions: Ayr Hill Trio (Eileen Maloney Cunningham, violin; Valerie Lai, cello; Felix Xu, piano; coached by Nancy O’Neill Breth) & Del Frutal (Noah Wilkins, alto saxophone; Isaac Seiken, piano; coached by Kenneth Stilwell)
Adult Amateur Division
First Place: Q Street Trio (Felicia Weiss, piano; Ginger Anders, violin; Jenny Petrow, cello) Second Place: Duo for Democracy (Corby Johnson, viola; Thomas Carter, viola)
Misbin Family Memorial Award
On the Other Hand (Uma Das, piano; Sam Brose, piano; coached by Natalia Efremova)
Liliʻuokalani was the last reigning monarch of the Kingdom of Hawai‘i, remembered not only for her political leadership but also for her enduring contributions to Hawaiian music. A trained musician, she composed over 150 mele — songs and chants that reflect the rich oral traditions of her people. Her work embraced a diverse array of musical forms, ranging from sacred hymns to folk ballads, showcasing her deep cultural pride and musical skill. Even after the US-backed coup that overthrew her reign, Liliʻuokalani continued to serve her people through advocacy and art.
