Dr. Stuart Chapman Hill is a teacher, composer, conductor, and scholar based in St. Louis, Missouri, where he serves as Assistant Professor of Music and Director of Music Education at Webster University—and is thrilled to be spending a second season with CHARIS, the St. Louis Women’s Chorus, as Artistic Director. In the summers, his teaching takes him to his native North Carolina, where he serves on the choral music faculty of the Governor’s School of North Carolina (East campus). Stuart’s choral compositions are published by G. Schirmer and by Hinshaw Music, which recently established a composer series in his name. He enjoys serving as a guest conductor and clinician with choirs of all kinds, with recent engagements in Batavia, NY; Murfreesboro, TN; Charlottesville, VA; and New Delhi, India. His scholarship focuses on forging stronger connections between the world of popular music and the curricula of K–12 school music programs, with a specific research interest in investigating the learning practices of popular songwriters. Stuart earned his Ph.D. in music education and choral conducting from Michigan State University and holds Master of Education and Bachelor of Music degrees from Vanderbilt University.
Susan Young loves playing the piano and being part of this wonderfully supportive organization known as CHARIS - The St. Louis Women's Chorus. She has accompanied the chorus under the direction of Merry Keller, Aric Henson, Claire Minnis, Jeremiah Selvey, and now Stuart Chapman Hill. Some of her favorite musical memories outside of the regular concert venue include playing for both CHARIS and the Gateway Men's Chorus at GALA chorus festivals, rehearsing with Holly Near for the CHARIS 10th anniversary concert, and giving a smashing performance of the Claude Bolling Suite for Flute and Jazz Piano, along with CHARIS member and flutist, Loretta Haggard, at the 2018 CHARIS Showcase. Susan has accompanied high school soloists and small ensembles at various state competitions, and reports are that she remained characteristically unflappable when sight-reading the piano part for a flute trio that seemed to have misplaced their own accompanist. Susan continues to explore piano music written and performed by women who were as awesome as male composers of the time, but who didn't get nearly as much publicity, such as Irene Giblin, Cecile Chaminade and Alicia de Larrocha.