Music at Yale: Spring 2009
The Yale School of Music's annual magazine, featuring an interview with the donors of YSM's transformational gift, the Musicathlon, Aldo Parisot's 50 years at Yale, the Messiaen Centenary Celebration, and the alumniVentures project.
atyale yale at 2008–2009 Donors of the School of Music’s Transformational Gift Come Forward Stephen ’59yc and Denise Adams speak about their philanthropy. . . . Story on page 10 Also in this issue . . . Aldo Parisot’s 50 years on the Faculty Musicathlon and the Philharmonia’s first Asian Tour Messiaen Centenary at Yale alumniVentures music at yale table of contents 2008–2009 4 6 12 24 Message from the Dean 3 Musicathlon and Philharmonia Tour 4 Aldo Parisot: Virtuoso and master teacher 6 Denise and Stephen Adams (cover story) 10 Commencement and Convocation 12 Norfolk 2008 wrap-up 14 Yale celebrates Messiaen Centenary 16 Faculty Appointments 18 Announcing 2009 Symposium on Music in Schools 21 Carol Høgel honored 21 In Memoriam 22 Yale in New York — the Second Season 24 alumniVentures and Award Winners 26 Yale Institute for Music Theatre 28 New Website 28 New Staff 29 Why I Give 29 Music Briefs 30 Alumni News 34 Student News 37 07–08 Contributors to the Yale School of Music Alumni Fund 38 30 Cover photo: Denise and Stephen Adams at the School of Music’s Convocation, 1999, Photo: Harold Shapiro. 2 2008–2009 photo by bob handelman dear alumni and friends: Greetings from your friends and colleagues at the School of Music. Since my last letter regarding the innovative alumniVentures program, much has happened in our school, our nation, and our world both to excite and to challenge us in the days ahead. In particular, the convergence of three important events has made this a defining moment in the history of the Yale School of Music, and I want to share with you some thoughts on how we intend to shape our future in light of them. The first notable event was the transformational gift by Denise and Stephen Adams ’59yc, publicly announced in 2005. We are delighted that they have agreed to be identified as the donors of the previously anonymous gift. To those of you who are not already familiar with these two extraordinary cultural leaders and philanthropists, we are happy to introduce them in the cover story of this magazine. The magnitude of the Adamses’ generosity has inspired us to define a bold vision for the School. In 2008 we graduated the first class of students to benefit from the full-tuition policy made possible by the Adamses’ donation. Recently, we have seen the full impact of this historical gift on our programs and initiatives. The second important event is the creation of a new strategic plan. Beyond Boundaries: A plan for preparing a new generation of international artists and cultural leaders reflects the thoughts and ideas that have been discussed and deliberated in many settings over the past two and a half years, and it will serve as a blueprint for continued dialogue and action. In addition to faculty, staff, and student contributions, Beyond Boundaries incorporates many of the recommendations made by the University Council Committee on Music, appointed by President Levin and chaired by Stephen Hendel. The recommendations of visiting consultants, the University Officers, the Deputy Provost for the Arts and the University Provost, the School of Music Board of Visitors, and the Education Policy Committee of the Yale Corporation are also addressed in the document. A strategic plan for Norfolk and one being developed for the Collection of Musical Instruments will enhance the strategies outlined in Beyond Boundaries. Beyond Boundaries begins with our new mission: The Yale School of Music educates and inspires students with exceptional artistic and academic talent for service to the profession and to society. The School fosters a vibrant musical environment where graduate level performers and composers realize their highest artistic potential with an internationally distinguished faculty. To prepare students for roles as cultural leaders, the School engages fully with the University’s extraordinary intellectual and technological resources while collaborating with artistic centers throughout the world. In pursuit of this mission, we have outlined six broad goals: • To enhance the artistic and academic excellence of the School of Music • To embrace the future with a transformed curriculum centered in the Western classical music tradition • To employ technology as a didactic, creative, and administrative tool that strengthens and broadens the stature of the school • To ensure that YSM students are prepared for careers as artists and cultural leaders, with passion for their art and an understanding of its role in society • To position the School for distinguished leadership • To secure the financial resources that enable the School to fulfill its mission and assume self-support status. In March, I appointed committees for each goal in the plan and developed a schedule for our work together. Although a number of recommendations in Beyond Boundaries have already been implemented, there is still much to be done. The third important event is the continuing global financial crisis, whose impact on the nation, the University, and the School — indeed, on us all as individuals and families — poses a major challenge. On February 24, President Levin sent a letter to all Yale alumni outlining the economy’s effect on the University’s budget. The University endowment is down — continued on page 15 3 music at yale photo courtesy of ccom The Yale Philharmonia joins with alumni soloists and musicians from Beijing’s Central Conservatory of Music to perform Mahler’s Second Symphony, “Resurrection,” in China’s National Center for the Performing Arts. Musicathlon: The Conservatory Music Festival by Dana Astmann B efore the cauldron was lit to open the Olympic Games this summer, a musical Olympiad greeted Beijing. Musicathlon: The Conservatory Music Festival was presented jointly by the Yale School of Music and Beijing’s Central Conservatory of Music. Over a twoweek period, ten of the world’s most renowned conservatories presented concerts, lectures, and masterclasses. In the meantime, the Philharmonia Orchestra of Yale toured Korea and China, converging with the Musicathlon in its final days. Musicathlon concerts ranged from full-orchestral programs to chamber music to solo recitals. Conservatories often showcased their national musical heritage, sometimes fused with other musical traditions. Musicians from the Sydney Conservatorium performed works by contemporary Australian composers, including music featuring the didgeridoo; the Shanghai and Central Conservatories included traditional Chinese instruments such as pipa and zheng; a trio from the Sibelius Academy in Helsinki performed jazz infused with influences of Finnish and Pygmy folk music. 4 Lectures and master classes aimed to educate young Beijing musicians. András Batta, director of the Liszt Academy, presented a lecture on the influence of Hungarian folk music on Hungary’s great composers. James Watson, director of brass at London’s Royal Academy of Music, held a lecturemaster class on the British brass tradition. Yale horn professor William Purvis presented a well-received master class, and Yale faculty percussionist Robert Van Sice, with members of the Yale Percussion Group, offered a popular master class-recital. The Musicathlon culminated in a critically-acclaimed performance of Mahler’s Second Symphony at the National Performing Arts Center on July 24, featuring the Yale Philharmonia, members of ccom’s orchestra and chorus, and Yale alumni singers Heather Buck ’96mm and Mary Phillips ’93mm. Yongyan Hu, the artistic director of the Central Conservatory eos orchestra and a former student of the Yale School of Music, conducted. Before that momentous concert, the Philharmonia had already been in Asia for over a week. Taking up residence 2008–2009 photos this page by vincent oneppo > in Seoul, the 90-piece orchestra spent four days with maestro Shinik Hahm rehearsing its tour program of music by Bernstein, Dvorák, Beethoven, and Saint-Saëns, along with national anthems and encores. The Korean encore was an arrangement by Thomas C. Duffy of a Korean folk song interwoven with “America the Beautiful,” and in China the orchestra played the Chinese folk song “Valley Mountain Sky” arranged by Derrick Wang ’08mm. The orchestra performed a sold-out concert in the beautiful Seoul Arts Center, featuring Korean violinist Sun-Mi Chang ’08ad. Afterwards, the Yale Club of Korea treated the orchestra to a lavish reception at the Seoul Marriott, attended by Vice President Linda Lorimer, Corporation member Charles Ellis, Alexander Vershbow ’74, U.S. Ambassador to the Republic of Korea, Young-Moo Shin, President of the Yale Club of Korea; and Hong-Koo Lee ’68PhD, among many others. Elizabeth Fleming ’09mma and Alma Liebrecht ’08mm practice in the Shanghai airport. John Sipher ’08mm and other members of the Yale Philharmonia warm up backstage at the Shanghai Grand Theatre. The Philharmonia tour concluded in Shanghai, where the orchestra posed on the Bund before the view of Pudong. The Philharmonia then traveled to Beijing, where it performed its first Musicathlon concert to a sold-out house at the Forbidden City Concert Hall. After the July 24 Mahler concert, the orchestra flew to Shanghai to play its fourth and final concert at the Shanghai Grand Theater. The soloist at the Forbidden City and in Shanghai was cellist Jian Wang ’88cert, who was welcomed rapturously by the Chinese audiences. William Purvis, professor of horn, coaches students from the Central Conservatory of Music in a master class as part of the 2008 Musicathlon. 5 music at yale photo sequence by robert handelman Aldo Parisot: Virtuoso and master teacher by Susan Hawkshaw As you walk into the newly-renovated Leigh Hall, you see three brightly colored paintings by renowned cello virtuoso Aldo Parisot that convey the immediate impression of a vibrant, vital personality. The paintings seem to symbolize the long and happy relationship between Parisot and the School of Music that culminates this year in the celebration of his fiftieth year on the faculty. The name of Yale is worked into the closest one. When entering his studio, one sees more of these unusual canvases — one of them spills over its rectangular edge, another can be turned in any direction. Parisot tells his students: “Try for a variety of color in your sound, as I do in my painting.” Going beyond the ordinary has been part of his life. Born in Natal, in Brazil’s Nordeste, he studied with his stepfather at an early age, playing difficult concerti in the evening and acquiring a formidable technique. At ten Parisot was already concertizing, touring all over South America. At sixteen he took a lucrative job with a radio station in Recife. Soon he became principal cellist of the Orquestra National do Brasil in Rio de Janeiro. He wanted to study with the virtuoso Emmanuel Feuermann, but when Feuermann passed away, Parisot decided to attend Yale at the recommendation of Carleton Sprague Smith, then attaché to the U. S. Embassy in Rio. Parisot flew to the U.S. with two hundred dollars in his pocket, and began his studies here in 1946. Parisot was enrolled as a special student, and among his many activities he studied theory and played chamber music with Paul Hindemith, who invited students to his home on the weekends. He made his debut in 1947 at Tanglewood with the Boccherini Concerto, conducted by Eleazar de Carvalho, who later joined the School’s faculty in the 1990s. Parisot was principal cellist of the Pittsburgh Symphony Orchestra from 1948–1950 but left the post to realize his dream: to concertize with all the major orchestras of the world as soloist. At his New York debut at Town Hall in 1950, again with Carvalho conducting, he played Boccherini and a piece entitled Fantasy and Dance, written for him by Quincy Porter, then at Yale. After that, Parisot’s career took off: he played 6 Parisot enjoyed a sensational career as a soloist, performing with the world’s leading orchestras. approximately sixty-five concerts in this country and twenty-five in Europe every year, with prominent conductors and first-rate orchestras in Berlin, London, Paris, Amsterdam, Stockholm, Rio, Munich, Warsaw, Chicago, Los Angeles and Pittsburgh, including difficult concerti by Schoenberg, Lutoslawski, and Barber, adding interpretive touches and making suggestions that delighted the composers. Following these successes, Dean Luther Noss invited Parisot to return to New Haven to join the Yale faculty in 1958, filling a vacancy created by the departure of Luigi Silva. The position became full time in 1965. As chamber musician, Parisot played widely: in Pittsburgh with Lorin Maazel, violinist in the orchestra; at Yale with Quincy Porter, a violist, his wife Lois, and Howard Boatwright. “Every piece that Porter wrote for string quartet, he’d try first with us,” Parisot recalls. Parisot played at Norfolk for decades, and in the 1960s he made acclaimed recordings of the late Beethoven 2008–2009 quartets and other repertoire with the Yale Quartet. The assemblage of first-rate composers and performers at the School provided an ideal stimulus to creative work. “It is our obligation, really, to help the composers of our time. I always felt very strongly about that,” Parisot says. In addition to Porter’s piece (written at Parisot’s request), Mel Powell wrote his Setting for Cello and Orchestra (1961) for Parisot, performed by the St. Louis Symphony under Carvalho in 1965, and Donald Martino’s difficult Parisonatina al’Dodecafonia was performed at Tanglewood in 1964. Michael Steinberg of the Boston Globe wrote of Parisot’s performance there: “…there is probably no cellist that can equal Parisot’s dazzling achievement. If in thirty years there are a dozen, I shall not be surprised, but not now.” The work is twelve-tone, using a motto based on the letters of Parisot’s name. (P:a indicates the first part of the prime set P; other letters of his name are solmization syllables.) At an Alice Tully Hall concert in 1971, Parisot played additional works by Yale composers: Alvin Etler’s Concerto for Cello with Chamber Group, written at Parisot’s request, and Yehudi Wyner’s Composition for Cello and Ensemble, “De Novo.” Harold Schonberg in the New York Times wrote: “In all of this music, Mr. Parisot was the most refined and elegant of musicians. He plays the cello in almost a confidential manner, avoiding heroics, yet always on top of the notes. A very strong technician with a sweet tone and impeccable intonation, he is altogether a superior instrumentalist and musician. He is interested in making music, not in exhibiting himself as a virtuoso or a personality.” Joan Panetti’s string chamber orchestra piece for Parisot premiered in the seventies at Tully Hall, and Ezra Laderman wrote three works titled Aldo, Simões, and Parisot that have been recorded for Albany Records. Among contemporary nationalist Brazilian composers, Camargo Guarnieri wrote Choro (Brazilian dance) at Parisot’s request in 1961; Claudio Santoro, who studied with Nadia Boulanger, wrote a cello concerto for him; and Heitor Villa-Lobos wrote his second cello concerto, which was premiered with the New York Philharmonic in 1955, for his long-time friend Aldo Parisot. Parisot was a member of the acclaimed Yale Quartet, with violinists Broadus Erle and Syoko Aki and violist David Schwartz, in the 1960s. 7 music at yale photo by eugene cook Heitor Villa-Lobos at the piano working on his Cello Concerto No. 2 with Parisot in 1953 photo by harold shapiro Mstislav Rostrovopich was just one of many renowned cellists Parisot brought to Yale for a master classes throughout the years. Yo Yo Ma joined Parisot and the Yale Cellos for a benefit concert at Yale in 1995. 8 Parisot is a master teacher who seeks out talented students around the world. “I feel always that I am a guest at Yale, and the students are the residents. I am here to serve the students, from the very beginning, and my philosophy remains this forever, as long as I’m teaching,” he says. He runs the cello department with another extraordinary cellist, Ole Akahoshi, who also studied with him. In addition to lessons and master classes, his work with cello ensemble was formalized in 1983 with the organization of the Yale Cellos, unique in this country, which celebrated their twenty-fifth anniversary in 2008. Students “listen to each other, they know each other better; they discuss technical problems and musical problems,” Parisot says. His motions as a conductor are rich with musical information and expression. The Yale Cellos have performed widely, including contemporary repertoire — works by Villa-Lobos, Christopher Rouse and Dave Brubeck, including excerpts from some largescale Brubeck works and arrangements. Beyond teaching, Parisot has financially aided many of his students, and together with Elizabeth, his wife, has opened his home to them: Claudio Jaffe, Alexander Mandl, Jian Wang (who plays a David Wiebe cello given to him by Parisot) — all have lived with the Parisots. Jian Wang, whom Parisot brought to the U.S., says: “I feel very lucky to be a student of Mr. Parisot. Being one of the greatest performing artists I know, he inspired me with his talent, guided me with his experiences and made me feel strong with his encouragement. Above all else, I gained a lifelong friend. I love him. He is like a father for me.” Parisot taught at Banff from 1980 until last year, sometimes letting his students teach during master classes. Alan Rich in New York Magazine wrote: “The master classes are extraordinary — Parisot has that enormous rare gift of translating musical feeling into solid information about what to do with a set of fingers and a bow. Maybe there are master classes for clarinet, or trombone, somewhere in the world, but I doubt that they operate on the level of intensity that you find at Parisot’s classes at Yale — as a teacher, he is an object of pilgrimage.” Parisot has established and funded prizes and has organized festivals of his own and competitions worldwide, including five cello festivals in Brazil, sometimes in the poor Nordeste region, the first in 1977 and the last in 1988. He was assisted by his student Juarez Johnson, a Brazilian cellist who recently passed away. Parisot also sells his paintings to benefit his students. In 2007 the First Aldo Parisot International Cello Competition at the Great Mountains International Festival in South Korea, where Parisot teaches, was established. photo by vincent oneppo 2008–2009 photo by vincent oneppo Recent concerts by the Yale Cellos in Sprague Hall have included exhibitions and sales of Parisot’s paintings, with proceeds benefiting the Cello Enrichment Fund at the School. In 2005, the Yale Cellos recorded “Bach to Brubeck” for Naxos, including premiere recordings of music by Dave Brubeck (seated next to Parisot). Aldo and Elizabeth Parisot at dinner on the 2005 Yale Cellos tour of Korea. In all this he is assisted by Elizabeth, an outstanding collaborative musician and Yale dma appointed to the faculty in 1977. She has performed with him and his students in locations close at hand and far distant and helped to organize his festivals. In 2007 she received the Eva Janzer “Grande Dame du Violoncelle” award from Indiana University. Parisot acquired an excellent technique at a very early age, studying solfège and beating rhythms with his feet for two years before his stepfather would teach him, and he stresses the importance of this training: “Technique is at the service of music. If you don’t have it, it’s like me telling you to read Shakespeare, but you say, ‘I don’t know the alphabet.’” Some distinguished students of Parisot are Ralph Kirshbaum, Shauna Rolston, Jian Wang, Maya Beiser, Carter Brey, and Roman Jablonski. Kirshbaum says, “Aldo Parisot is an exceptional human being and a creative, instinctive, and inspirational teacher. I feel blessed to have known him for over 40 years, first as a highly respected mentor, and latter as an equally respected, admired and beloved friend. It is remarkable that he has retained his indomitable spirit and boundless energy over all these years — truly a force of nature and a lesson for us all! I owe so much to this wonderful man.” Ms. Rolston says of Parisot: “The depth and beauty of his soul, the fantasy and wonderment of his spirit, the fearless precision and abandon of his playing, the whimsical charm of his paintings, his passion and compassion for sharing and believing… these are just some of the things about this remarkable man that have inspired me and changed me forever. My time with Mr. Parisot continues to be transformative. His belief in me as a person and an artist means everything to me. Every day.” Parisot has been honored with medals, honorary degrees and honorary citizenships that are testimony to his unusual ability and his teaching. In November, 2006 he was honored at the Sejong Soloists Concert in Carnegie Hall, with cnn Anchor Paula Zahn as mistress of ceremonies. All the cellists in the Sejong Soloists are Parisot’s former students. To celebrate Parisot’s 50 years on the faculty, the School of Music presents two concerts with the Yale Cellos directed by Mr. Parisot on April 20 in Sprague Hall and on April 21 in Zankel Hall in Carnegie Hall. The program features Hyunah Yu, soprano, and Elizabeth Parisot, piano. Every piece on the program was written for cello ensemble, including music by Heitor Villa-Lobos, Christopher Rouse, David Popper, Dave Brubeck, and Ezra Laderman. Thanks to Oral History American Music, Vivian Perlis, Director, for use of material from four interviews with Mr. Parisot conducted in November and December 2007. 9 music at yale Denise and Stephen Adams by Vincent Oneppo and Dana Astmann photo by Yale President Richard Levin presents Denise and Stephen Adams with the key to Sprague Hall in 2003, in recognition of their contributions to the building’s renovation and restoration. T he dramatic announcement in 2005 of an unprecedented and historic gift of $100 million to the Yale School of Music by an anonymous donor made headlines for weeks. Not only music and education publications but even the national popular media brought out stories about the School of Music, the high cost of a first-class musical education, and the struggles of professional musicians. But two questions remained: Who was the anonymous donor, and why was this person so generous to the Yale School of Music? Now, over three years later, hundreds of students have benefited from the School’s full-tuition policy. With the School of Music’s burnished national and international reputation, the donors have quietly decided to identify themselves. Stephen Adams ’59 and Denise 10 Rhea Adams first revealed their gift in an article about their wineries in The Wine Spectator, and later discussed it in a short interview in the November/ December 2008 issue of the Yale Alumni Magazine. Looking back over the past decade, it should have come as no surprise to learn that the Adamses were the donors of the transformational gift. Though Stephen Adams did not pursue music at Yale, his interest in the arts deepened through his wife, a painter, and through a friend and classmate, pianist John Contigulglia ’59yc, ’61mm, who has been giving him piano lessons for the past ten years. Original members of the School’s Board of Visitors, in 1999 the Adamses established an endowed scholarship fund at the School of Music with a $10 million gift. At the time, Stephen Adams said, “It is a great pleasure to be able to celebrate my fortieth Yale College reunion by supporting Yale, which has meant so much in my life and my personal development. Denise and I are excited about recent developments at the University, particularly in the realm of the arts. We feel that the School of Music under Dean Robert Blocker is making enormous strides and demonstrating leadership in the formation of new generations of musicians. This is an exciting period for Yale.” At that fall’s Convocation, they were presented with the School’s Cultural Leadership citation in honor of their generosity to music at Yale. That Denise and Stephen Adams should only recently allow the source of the $100 million gift to be revealed both demonstrates their modesty and 2008–2009 photo by vincent oneppo Dean Blocker and his wife, Serena, share a humorous moment with Stephen Adams, center, during a recent Board of Visitors luncheon. illustrates their strategy for the timing. In a Yale Daily News interview, Stephen Adams explained that, given his strong religious foundation, he believed that it is wiser to give in secret. “It doesn’t point the importance to the giver; it points to the recipients. The attention should really go to them.” “Denise and Steve Adams believe that music, with all the arts, is a significant influence in both individual lives and the fabric of society . . . ” — dean robert blocker His wish became reality: after the announcement of the gift, media attention was quickly directed at the recipient, the Yale School of Music. National and international press descended on Yale to write about the School, its programs, and — most of all — its students. Numerous pieces in print, online, and broadcast media described how full-tuition scholarships enabled talented young musicians to study at Yale and embark on their careers without overwhelming financial obligations. Interviews with then-acting dean Thomas Duffy explored how the School would play a leading role in training professional musicians, catalyze creative thought in music education, and bring together international partners to enrich the experience of students and faculty alike. Just as the first large gift coincided with Stephen Adams’s fortieth reunion, the recent announcement identifying the $100 million donors anticipates the Class of 1959’s upcoming fiftieth reunion. Why? As Stephen Adams explained, he wanted to inspire his classmates to give generously to Yale on this milestone occasion. The Adams’ extraordinary gifts to Yale comprise only part of their philanthropic largesse. They are major donors to Westmont College in Santa Barbara, California, and World Vision, a Christian humanitarian organization, among many other worthy causes and programs. In fact, they are among the top 50 philanthropists in the country. Following his graduation from Yale as a major in American Studies, Mr. Adams completed a Master’s of Business Administration at Stanford University in 1962 and started a career in finance and business. His entrepreneurial work and investments have been diverse and extremely successful. He began his career in banking in Minnesota, and by the 1980s he owned 90 banks. Soon he established his own investment firm and served as a director of numerous companies. Adams serves as chief executive of Affinity Group Holding, Inc., a holding company he founded in 1988 that operates as a license membership organization for campers, recreational vehicle owners, skiers, and golfers. He has operated television stations, banks, and newspapers, and — his latest passion — wineries. Adams’s first investments in wineries were in California, and he continues building enterprises there that not only produce wine, but offer an enormous selection of labels through wine clubs, all made possible by a large-scale and highly-efficient distribution center. Stephen Adams also owns seven vineyards in Bordeaux, France, and has invested heavily in improving the quality of those wineries. “Denise and Steve Adams believe that music, with all the arts, is a significant influence in both individual lives and the fabric of society,” said Dean Blocker. “Their gift, truly transformative, ensures that the Yale School of Music will prepare future generations of students who will contribute measurably to the world as artists and cultural leaders. The vision of the Adamses and their extraordinary trust and benevolence is inspiring to all of us.” 11 music at yale commencement A year ends, another begins Yale School of Music’s 115th Commencement, May 26, 2008 all photos this page by bernie staggers 12 Professor Paul Hawshaw carries the School’s mace, leading the faculty procession to the stage. The new Doctors of Musical Arts join in singing An Die Musik. (Left-right) Suzanne Farrin, composer; Jared Johnson, organ; Charles Kamm, choral conducting; Michael Mizrahi, piano, Keith Murphy, composition; Yevgeniy Sharlat, composition; and Paul Weber, organ. Dean Blocker delivers his Commencement address, “Chance and Commitment: The Journey Toward Artistry.” The graduates show their appreciation for the support of family and friends. 2008–2009 convocation Fall Convocation September 4, 2008 photos this page by harold shapiro This year’s honored guest and recipient of the Samuel Simons Sanford Medal was Marin Alsop ’77yc, music director of the Baltimore Symphony Orchestra. While a student at Yale, Ms. Alsop studied violin with Broadus Erle and Syoko Aki. Yale vice president Linda Koch Lorimer, left, presented Aldo Parisot with a special citation from the Yale Corporation for his 50 years on the faculty. They are joined by Dean Blocker. Among the performers for the musical portion of the program was Tanya Bannister ’01 cert. She performed “All Dreams Begin With the Horizon” (2006) by newly-appointed associate professor of composition Christopher Theofanidis. The Jasper Quartet, the School’s 2008–09 fellowship string quartet, takes a bow after playing Haydn. Left-right, J Freivogel and Sae Niwa, violin; Rachel Henderson, cello; and Sam Quintal, viola. 13 music at yale all photos this page by bob handelman Norfolk 2008 wrap-up Longtime artists-in-residence the Tokyo String Quartet rehearse on the stage of the historic Music Shed. Mathias Tacke, the second violinist of the Vermeer Quartet, gestures during a coaching. A sold-out concert with Midori proved the highlight of the season. With pianist Charles Abramovic, she performed a rich program of Bach, Shostakovich, and Respighi. Another program of interest included rarely-heard Messiaen works and the premiere of Richard Stoltzman’s arrangement of Einojuhani Rautavaara’s Clarinet Concerto for chamber ensemble, performed by Stoltzman himself. The Festival also joined in celebrating the 250th anniversary of the Town of Norfolk. An open house welcomed visitors to the Ellen Battell Stoeckel Estate, Whitehouse opened its doors for tours, and the Copper Street Brass Quintet performed on the town Green. A free concert with the United States Coast Guard Band packed the Music Shed to capacity. For the third year in a row, the season concluded with the Norfolk Choral Festival, with Simon Carrington and student conductors leading the choir in works from Gesualdo to Vaughan Williams, as well as the premiere of a new work by Joan Panetti. Said Director Paul Hawkshaw, “It has been an especially gratifying season. Ticket sales increased by an average of 10%, the concerts were marvelous, the students wonderful, and the 250th birthday celebration for the town was an unqualified success.” Norfolk’s longstanding Winter Series moves into a new venue this year. With the opening of the Infinity Music Hall just across Route 44, the Festival has the opportunity to bring classical music into a new environment and become a part of a broader yearround concert series. The four-concert Winter Series opened on November 19 with the Jasper Quartet. T he 2008 season brought new levels of success to the Norfolk Chamber Music Festival: increased attendance, strong support from the surrounding community, and what General Manager Jim Nelson called “one of the strongest student bodies we’ve ever had.” At the Young Artist Recitals, Nelson commented, “The quality of the playing was just tremendous.” An unusually high percentage of the Fellows were international students, hailing from countries as widespread as Japan, Australia, Canada, England, Austria, and the Ukraine. The Verus Quartet, from Tokyo, won third prize in the Munich Competition immediately following their summer at Norfolk. At the end of the summer, the Jasper Quartet moved to New Haven to become the School of Music’s fellowship quartet-in-residence. (See page 13 for photo.) The Yale Baroque Opera Project opened the season with two performances of Monteverdi’s L’Orfeo directed by Ethan Heard, with period instruments and historically-informed staging. The New Music Workshop presented three concerts. The first featured Don Byron, Iva Bittová, and Lisa Moore; the second focused on the works of the resident composers. 14 Japan’s up-and-coming Verus Quartet rehearses in the newlyrenovated Brookside Studio. 2008–2009 Dean’s Message — continued from page 3 26% so far this year and will draw less in earnings next year. All units at the University have been asked to reduce budgets significantly for 2009–2010. What will be our course, then, as we try to achieve the ambitious goals set forth in Beyond Boundaries in light of our reduced resources? We are fortunate that the benevolence of friends, the commitment of faculty and staff, and the devotion of alumni allow us to address the challenges from a position of strength. It is absolutely essential that we continue our forward progress and not retreat from pursuing these goals. The School remains committed to the appointment and support of a distinguished faculty. As we go to press with this magazine, I am happy to announce two appointments effective in 2009–2010: Emanuel Ax as visiting professor (adjunct) of piano and Masaaki Suzuki as visiting professor of choral conducting. (More information on these appointments is available on our website). Deputy Provost Barbara Shailor has approved the search for an artist-teacher of viola, and we hope to make this appointment prior to the end of term. We continue to attract the most gifted students from around the world, and by all accounts the entering class is extraordinarily talented. The School will continue to offer full-tuition scholarships and stipends to students. As President Levin indicated, the design phase of all facility projects will be completed so that work can begin when funding is available. The Hendrie Hall project is among those being deferred, and I am pleased to report that the design phase has been completed. In a recent meeting, the funding levels for naming opportunities were approved by the University Officers. The importance of our public programming cannot be overstated at this time. A troubled world needs the arts, and as I have said on many occasions, the currency of music is hope. Especially in hard times, we are compelled to sustain our musical offerings to the public — particularly those with no admission charge. The various series in Sprague and Woolsey Halls will continue, with admission-free concerts to our Philharmonia, faculty, new music, lieder, and student chamber music concerts. Next season in Carnegie Hall, we will present four musically diverse and intellectually challenging programs. Additionally, we will do everything possible to undergird the performance programs at our Norfolk Chamber Music Festival and the Collection of Musical Instruments. All of these programs contribute measurably to the professional training of our students and to the School’s place in the local community and the broader musical world. The significance of the Music in Schools Initiative is poignantly obvious. Many programs in the public schools are not only at risk but in great jeopardy. It is, in my judgment, imperative for us to continue our partnership with the public schools. We will continue to strengthen ties with our alumni. The School has redesigned its website, and several new features of the site encourage the flow of information between the School and our alumni. Although this magazine will be published only once a year, school and alumni news will be available in abundance and instantaneously on the web. Finally, you will receive information regarding the second year of the alumniVentures program later in the spring. What significance do these three events — the gift from Denise and Stephen Adams, the Strategic Plan, and the economic downturn — have for the School’s alumni? Beyond Boundaries and the transformational gift provide the blueprint and the means to position the School as a leading international program. The economic situation has brought together all of us who care about the School and the future of our art, requiring us to channel our energies and resources prudently. You are a vital part of this community, and we welcome your thoughts, suggestions, and participation in meeting these challenges. Warmest regards, Robert Blocker The Henry and Lucy Moses Dean of Music 15 music at yale photos pgs. 16–17 by vincent oneppo Yale celebrates Messiaen Centenary Reinbert de Leeuw and the Philharmonia take a bow after their highly-successful performance of Turangalîla in Stern Auditorium in Carnegie Hall. Yale University celebrated the hundredth birthday of Olivier Messiaen (1908–1992) with numerous events that explored the breadth and depth of the work of the influential French composer. The Messiaen Centenary Celebration at Yale, sponsored by the School of Music, included concerts throughout the year, with most of the events featured as part of a minifestival from Monday, December 8 to Sunday, December 14, encompassing Messiaen’s birthday on December 10. The Messiaen Centenary Celebration at Yale featured concerts of Messiaen’s organ, chamber, vocal, and piano music, and culminated in a performance in Yale’s Woolsey Hall and in Stern Auditorium at Carnegie Hall of Messiaen’s spectacular Turangalîla-Symphonie. Overseeing the project as artistic director was William Purvis, who teaches horn at Yale, coordinates the wind and brass departments, and serves as interim director of the Collection of Musical Instruments. One of the world’s foremost authorities and interpreters of Messiaen’s music, the renowned Dutch musician Reinbert de Leeuw, participated in the celebration and conducted the performances of the Turangalîla-Symphonie. The mini-festival began with two evenings of vocal and chamber music, on Monday and Tuesday, December 8 and 9. The free concert on December 8 included Poèmes pour Mi with Samantha Talmadge, soprano, and Joan Panetti, piano; and Visions de l’Amen for two pianos, with Liam Viney and Anna Grinberg. The Chamber Music Society at Yale concert on December 9 included Quartet for the End of Time with David Shifrin, clarinet; Ani Kavafian, violin; Sophie Shao, cello; Joan Panetti, piano; and Harawi with Adelaide Muir, soprano and Ryo Yanagitani, piano. One of America’s foremost interpreters of Messiaen’s organ music, Paul Jacobs ’03AD, performed Livre du Saint Sacrement on the Newberry Memorial Organ in Woolsey Hall on Wednesday, Dec. 10. 16 On Friday evening in Woolsey Hall and again on Sunday night in New York’s Carnegie Hall, the Yale Philharmonia performed the Turangalîla-Symphonie under the direction of Reinbert de Leeuw. Faculty pianist Wei-Yi Yang and guest artist Genevieve Grenier, who performs on the exotic ondes Martenot, were featured. A panel discussion on Saturday, December 13, with William Purvis, Joan Panetti, and Reinbert de Leeuw, was followed by a Sprague Hall concert of Messiaen’s Vingt Regards sur l’Enfant Jesus performed by eleven current graduate pianists. Given Messiaen’s enormous contribution to music for organ, three recitals on the Great Organ Music at Yale series, sponsored by the Yale Institute of Sacred Music, were devoted to his music. In addition to the Paul Jacobs recital on December 10, British artist Dame Gillian Weir performed on the Newberry Organ on November 23, and later in the season, on April 19, Institute director and Yale professor of organ, Martin Jean, will perform an all-Messiaen program in New Haven’s Christ Church. The idea for the mini-festival emerged in a conversation Purvis had with the renowned Dutch musician Reinbert de Leeuw, a friend of Messiaen and a long-time champion of his music. De Leeuw’s many excellent Messiaen recordings, as well as his long artistic association with the composer, have earned him international recognition as a foremost interpreter of Messiaen’s music. “I first met Reinbert at Tanglewood, where I was on the faculty and he was the Director of the Contemporary Music Festival,” said William Purvis. “There, I heard Reinbert conduct a number of works of Messiaen, including Turangalîla, and was deeply impressed by his feeling for and commitment to this wonderful music. Since then I have performed the solo horn part in Messiaen’s From Canyons to the Stars with him many times over, including 2008–2009 reviews of turangalîla “The performance was sensational: well prepared, solidly and precisely executed, and rippling with high-energy percussion and brass playing and a fluid interplay of polished strings as well as winds. If you were looking for a demonstration of how completely a conductor can convey an unusual work’s ideas in all their complexity and beauty, and inspire his musicians to play the piece as if it is the most vivid, original music ever written, you could hardly have done better than this … Wei-Yi Yang, playing the sparkling piano line, contributed significantly and virtuosically, as did Geneviève Grenier, who produced the score’s otherworldly electronic lines on the ondes martenot.” — Allan Kozinn, New York Times “Carnegie Hall on Sunday night resounded to the Frenchman’s hour-and-a-halflong Turangalîla Symphony, brilliantly performed by the Yale Philharmonia under guest conductor (and Messiaen specialist) Reinbert de Leeuw… Mr. de Leeuw and his charges gave it their considerable all, and pianist Wei-Yi Yang played dazzlingly.” — Scott Cantrell, Dallas Morning News “The performance was assured and luminous. It might be easy to just go for the grand effects, but the so-called “Love song” movements were played with a type of lyricism that stressed the melodic content, with long lines played handsomely by the Yale strings. The sexy swooping of the ondes Martenot was never reduced to a gimmick; the integration of this strange instrument, gorgeously played by Geneviève Grenier, into the orchestral fabric was masterful throughout. Wei-Yi Yang, the pianist, whether hanging out at the top of the keyboard making the most astonishing tinkling sounds or attacking the big cadenzas at the close of the first or fourth movements, was untiring, passionate and poetic. He practically danced during the jazzy sections; it was a joy to behold.” — Robert Levine, Classics Today For complete reviews and more, visit music.yale.edu/news, and select the “Yale in New York” category. Panel discussion on Messiaen with (left to right) Joan Panetti ’75DMA, who performed in two chamber music concerts; Paul Jacobs ’05DMA, who played the entire Livre du Saint Sacrement in Woolsey Hall; conductor Reinbert DeLeeuw, who led the Philharmonia in two performances of Turangalîla; and William Purvis, who served as artistic director of the Messiaen celebration. three performances in the summer of 2006. During that time I began to think how inspiring for the students it would be for Reinbert to come to conduct the Yale Philharmonia in this repertoire. When I asked him about this, he pointed out that December of 2008 would be a perfect time for a mini festival, since it would be Messiaen’s centenary. His first question was, ‘Do you have an organ?’ I then told him about Yale’s Newberry Memorial Organ in Woolsey Hall, which is one of the world’s great instruments. At that moment I saw what a perfect project this could be for Yale, and how wonderful it would be for Reinbert to conduct Turangalîla as the centerpiece of the celebration. Not only is Reinbert a passionate advocate for this music, he is a ‘pure musician’ — all of his energy goes into making the music come alive. I knew that this would be a great experience for the orchestra and for the audience.” “I’m very excited to be part of Yale’s celebration,” says Reinbert de Leeuw. “Messiaen was one of the most important composers of the second half of the twentieth century, and the Turangalîla-Symphonie — a really fantastic piece — marked the close of his early career. Though I had heard it many times, the first time I performed it I worked directly with Messiaen and with his wife, Yvonne Loriod, who played the very prominent piano part. It was with a conservatory orchestra in the Hague, and he was concerned because this was the first time a student orchestra played it. But we worked on every detail together, and it was very successful.” De Leeuw’s participation in Yale’s mini- festival included not only the performances of Turangalîla in New Haven and New York, but his coaching other repertoire with Yale performers and participating in a panel discussion during the centenary celebration. He also worked with conducting and composition students during his visit to the School. Another Yale faculty member with a deep connection to Messiaen is Professor Joan Panetti, a distinguished composer and pianist, who has developed an internationally-recognized course at Yale called “Hearing.” “Upon graduation from college, I went to Paris, not knowing if I would be able to make it into Olivier Messiaen’s famous class of around 15 students, and/or whether I could study with his equally legendary wife, Yvonne Loriod,” she recalls. “Long story short: I was lucky. Class was every day from 9–12. Messiaen taught from the piano. Repertoire learned and memorized included over 100 Gregorian chants, Mozart’s The Magic Flute, Bach’s Mass in B minor, and major portions of Messiaen’s Catalogue d’Oiseaux. At any time he could ask us questions or call us to the piano to play an excerpt by memory. There was nowhere to hide! What an extraordinary year. Both Messiaen and Yvonne Loriod were extremely humble and kind, and this, too, was a powerful example. Every year I give thanks for my study with them, and that is a testament to great teaching.” Panetti performed in two Messiaen chamber and vocal music concerts, on December 8 and 9 in Sprague Hall, and was one of the panelists in a discussion of Messiaen and his music on December 13. 17 music at yale faculty appointments The music of David Lang, professor of composition (adjunct), has been performed by major musical, dance, and theatrical organizations throughout the world, including the Santa Fe Opera, the New York Philharmonic, the San Francisco Symphony, The Cleveland Orchestra, the Kronos Quartet, The Nederlands Dans Theater, and the Royal Ballet to name a few, and has been performed in the most renowned concert halls and festivals in the United States and Europe. Lang is well known as co-founder and co-artistic director of New York’s legendary music festival, Bang on a Can. In 2008, Lang was awarded the Pulitzer Prize in Music for The Little Match Girl Passion, commissioned by Carnegie Hall for Paul Hillier’s vocal ensemble, Theater of Voices. He has also has been honored with the Rome Prize, the BMW Music-Theater Prize (Munich), a Kennedy Center/Friedheim Award, the Revson Fellowship with the New York Philharmonic, a Bessie Award, a Village Voice OBIE Award, and grants from the Guggenheim Foundation, the Foundation for Contemporary Performance Arts, the National Endowment for the Arts, the New York Foundation for the Arts, and the American Academy of Arts and Letters. His work is recorded on the Sony Classical, Teldec, BMG, Point, Chandos, Argo/Decca, Caprice, Koch, Albany, CRI and Cantaloupe labels. Born in Los Angeles in 1957, David Lang holds degrees from Stanford University and the University of Iowa, and received the dma from the Yale School of Music in 1989. He has studied with Jacob Druckman, Hans Werner Henze, and Martin Bresnick. His music is published by Red Poppy (ascap) and is distributed worldwide by G. Schirmer, Inc. Christopher Theofanidis, associate professor of composition (adjunct), has had performances by many leading orchestras from around the world, including the National Symphony, the London Symphony, the Oslo Philharmonic, the Orchestre Philharmonique de Monte-Carlo, the Moscow Soloists, the Atlanta and Houston Symphonies, the California Symphony (for which he was composer-in-residence from 1994 to 1996), the Oregon Symphony, the Brooklyn Philharmonic, and the Pro Arte Chamber Orchestra, among others. He served as Composer of the Year for the Pittsburgh Symphony for their 2005-2006 Season. Mr. Theofanidis holds degrees from Yale, the Eastman School of Music, and the University of Houston, and has been the recipient of the Masterprize, the Rome Prize, a Guggenheim Fellowship, the Barlow Prize, six ascap Gould Prizes, a Fulbright Fellowship to France, a Tanglewood 18 Fellowship, and the American Academy of Arts and Letters’ Charles Ives Fellowship. Mr. Theofanidis’s recent projects include an opera for the Houston Grand Opera, a ballet for the American Ballet Theatre, and a work for the Atlanta Symphony and Chorus based on the poetry of Rumi. He has served as a delegate to the US-Japan Foundation’s Leadership Program. He has been on the faculty of the Peabody Conservatory at Johns Hopkins University in Baltimore and the Juilliard School in New York City. Mezzo-soprano Janna Baty ’93mm has been appointed assistant professor (adjunct) of voice. Recent engagements include appearances with Boston Symphony, Los Angeles Philharmonic, Daejeon Philharmonic, Hamburgische Staatsoper, L’Orchestre National du Capitole de Toulouse, Royal Philharmonic Orchestra, Hartford Symphony, the Orquesta Filarmónica de Bogotá, Opera Theatre of St. Louis, and Boston Lyric Opera. She has performed at festivals worldwide, including the Aldeburgh and Britten Festivals in England, the Varna Festival in Bulgaria, the Semanas Musicales de Frutillar Festival in Chile, and the Tanglewood, Norfolk, and Coastal Carolina festivals in the U.S. With Boston Modern Orchestra Project, Ms. Baty has recorded the critically lauded Vali: Flute Concert/ Deylaman/Folk Songs (sung in Persian), Lukas Foss’ opera Grifflekin, and the world-premiere recording of Eric Sawyer’s Civil War-era opera Our American Cousin. Robert Holzer has been appointed associate professor (adjunct) of music history. Holzer received his Ph.D. from the University of Pennsylvania. A specialist in the music of the Italian Baroque and the Second Viennese School, he has served on the faculties of Rutgers University, Princeton University, and the University of Chicago. He taught in the Yale Department of Music from 1997 and in the School of Music beginning in 2005. His work has been published in Cambridge Opera Journal, Journal of the American Musicological Society, Music & Letters, Il saggiatore musicale, Studi musicali, and he is a musical commentator for Radiotelevisione Italiana. Tiffany Kuo, a musicologist and pianist, was appointed assistant professor (adjunct) of hearing. Ms. Kuo is a graduate of Stanford University (ba, music; bs, biological sciences), The Juilliard School 2008–2009 faculty appointments (mm, piano performance), and New York University (ma, musicology). As musicologist, her research topics include: avant-garde music, post-World War II American intellectual history, and music making cultures during the Cold War. She is currently completing a dissertation entitled, “Composing American Individualism: Luciano Berio in Cold War America,” a monograph that imagines and reconstructs an episode of Berio’s life, from 1960 to 1971, by integrating the local textures of politics with the momentum of his career. Tiffany is also an active pianist, performing regularly with her chamber music group. Wing Ho, left, with Robert Blocker, Dean of the Yale School of Music, at a rehearsal by the combined orchestras of Beijing’s Central Conservatory of Music and the Yale School of Music. The ensemble was preparing for a performance in the National Center for the Performing Arts as part of the Musicathlon sponsored by the two schools. Blocker used the occasion to announce Wing Ho’s appointment as the first Class of ’57 Visiting Professor of Music Education at Yale. Michael Roylance, lecturer in tuba, is principal tuba of the Boston Symphony Orchestra. He attended the University of Miami and received a ba degree from Rollins College in Winter Park, Fla. He studied with Chester Schmitz, Connie Weldon, James Jenkins, Bob Tucci, Gene Pokorny, and Floyd Cooley. At Rollins College, he served on the faculty conducting the brass ensemble and later was appointed professor of tuba and euphonium at the University of Central Florida. He has performed with the Chicago Symphony Orchestra, Minnesota Orchestra, and Seattle Symphony Orchestra and served as principal tubist with the Civic Orchestra of Chicago. As a freelance musician and teacher in Orlando, Fla., he performed on tuba and electric bass in a wide variety of ensembles. He was a member of Walt Disney World’s “Future Corps” and principal tubist with the Walt Disney World Orchestra. His career also inludes performances and master classes in Europe and Japan. of the National Prodigies Chamber Orchestra at the Central Conservatory of Music. In additional, he is conductor of several orchestras at the Renmin University School of the Arts, Beijing University, and Beijing 101 High School. From 2000 to 2002, he served as principal of the ccom’s Preparatory School. While in the United States, he was director of instrumental music and conductor of the University Orchestra at the College of Charleston in South Carolina and taught at the Brevard Music Center in North Carolina. His extensive orchestral experience includes the Singapore, Akron, Canton (Ohio), Charleston, and Savannah symphony orchestras, Ohio Ballet Orchestra, and Orchestra New England among others. He has edited 63 published works for viola, a “Viola Encyclopedia,” and a handbook on music competitions. Wing Ho earned a Bachelor of Music degree from Kent State University and a Master of Music degree from the Yale School of Music, where he studied with Jesse Levine. The Chinese musician and educator Wing Ho ’87mm is the first Class of ’57 Visiting Professor of Music, serving in the 2008–09 academic year. Dean Blocker announced the appointment in July in Beijing on the last day of the historic Musicathlon, sponsored by Yale and Beijing’s Central Conservatory of Music, where Wing Ho is chair of the viola department. This professorship is one of three primary components of the endowment given by the Yale College Class of ’57 to support public school music and the training of young artist teachers who will help ensure the birthright of music for all children. Since his appointment, Professor Ho has been working with public school teachers and interns in the New Haven Public Schools and offers a class open to Yale College and graduate students that addresses pedagogy and the philosophy of teaching. Wing Ho is a prominent educator, violist, and conductor. He is professor of viola and chamber music, chair of the viola department, and artistic director and conductor Robert Mealy, professor (adjunct) of early music, is one of America’s leading historical string players. He has been praised by the Boston Globe for his “imagination, taste, subtlety, and daring,” and the New Yorker called him “a world-class early music violinist.” He has recorded over 50 cds on most major labels, ranging from Hildegard of Bingen with Sequentia and Renaissance consorts with the Boston Camerata to Rameau operas with Les Arts Florissants. In New York he is a frequent leader and soloist with the New York Collegium, artek, Early Music New York, and the Clarion Society. He also leads the distinguished Boston Early Music Festival Orchestra, and has appeared as guest concertmaster and director with the Phoenix Symphony. A devoted chamber musician, he is a member of the 19 music at yale medieval ensemble Fortune’s Wheel, the Renaissance violin band The King’s Noyse, and the seventeenth-century ensemble Spiritus Collective. Since 2002, he has performed frequently at Yale as director of the Yale Collegium Musicum players, and received Early Music America’s Binkley Award for outstanding teaching at Yale and Harvard in 2004. David Shifrin and William Purvis assume new roles at the School of Music David Shifrin, who has served as professor of clarinet the Yale School of Music since 1987, has assumed full-time responsibilities at the School beginning September 1, 2008. Mr. Shifrin will continue his studio teaching and will play a leading role as advisor to the School’s highly-regarded chamber music program. He will also serve as artistic director of both the Chamber Music Society at Yale and the School’s concert series in Carnegie Hall in New York. “For over twenty years, David has made significant contributions to the artistic life of our School,” said Blocker. “To have such a distinguished and internationally-renowned musician now give his complete attention to our students and programs will certainly enhance our artistic endeavors.” The Chamber Music Society at Yale, now in its 92nd season, is one of the oldest and most prestigious concert series in the country. The Society’s concerts take place in Morse Recital Hall in Sprague Memorial Hall, an architectural and acoustical treasure. The Yale in New York series, on the other hand, is a new series that debuted in the 2007-2008 season with five concerts by faculty, alumni, and student artists in Carnegie Hall. “The Yale School of Music is a unique place to teach, perform, hear, and learn about music,” says Shifrin. “After 21 rewarding years on the School of Music faculty as clarinet teacher and chamber music coach, I am extremely excited about my newly-expanded roles as artistic director of the Chamber Music Society at Yale and Yale’s ongoing concert series at Carnegie Hall. The tradition of musical performance at Yale is rich and varied, and the School is an integral part of the artistic community of one of the world’s great universities. The performance level of the world-class faculty, students and, distinguished alumni is unsurpassed. I view the opportunity to plan concert programs with such a vibrant musical community for both the Yale campus and for Carnegie Hall to 20 be one of the great opportunities and great honors of a lifetime in music.” Reflecting on the role of the School of Music in preparing young artists for professions in music, Shifrin continued, “Our students are at the stage where they have achieved professional-level proficiency on their instruments, and are widening their repertoire while refining their technical and interpretive skills. In many ways the School of Music is a place where the most gifted performers go through a real metamorphosis from student to professional performing artist.” On August 26, 2008, Dean Robert Blocker announced the appointment of William Purvis as Interim Director of the Yale Collection of Musical Instruments. “We are indeed fortunate that Mr. Purvis has agreed to assume this position,” said Blocker. “I know that the Collection, and indeed the entire music community at Yale, will be enhanced by his artistic insight and professional experience.” “Known to international audiences as one of the finest horn soloists and chamber musicians in the profession, Mr. Purvis brings to this task a record of early music performance, recordings, and substantial administrative experience,” Blocker continued. “As Interim Director, Purvis will engage the Collection staff in a planning process that will inform the School’s efforts in this regard. He will also work with all university and community constituencies to ensure that the Collection enhances its artistic, scholarly, and public roles.” Since 1999 Mr. Purvis has served on the artist faculty in the School of Music, teaching horn and chamber music. He is also the Coordinator of Brass and Woodwinds, an administrative responsibility he will continue along with his assignment as Interim Director. This season, he also served as artistic director of the Messiaen Centenary Celebration at Yale. 2008–2009 photo by harold shapiro Announcing the 2009 Symposium on Music in Schools A choral directors’ workshop at the 2007 Symposium. The second biennial Symposium on Music in Schools has been set for June 10–11, 2009. Sponsored by the Yale College Class of 1957 and the School of Music, the Symposium is part of the Music in Schools project, initiated by the Class of ’57 in honor of their 50th reunion in 2007. Once again, the Symposium will bring together approximately fifty teachers from around the country who are selected for their outstanding accomplishments in teaching music in public schools. This year’s Distinguished Music Educators are being selected from a large pool of candidates from all over the country. While the Class of ’57 again nominated teachers to participate in the Symposium, this year the School also reached out to school superintendents across the country. The response was phenomenal, with 448 nominations from 46 states, plus Washington, D.C. The selected music educators will travel to New Haven, all expenses paid, to attend the Symposium and receive the Yale Distinguished Music Educator Award. Events begin on June 10 with a welcome dinner, which will include a keynote address as well as a ceremony to recognize the teacher honorees. Sessions on June 11 will focus on two topics: 1) Linking Music to the General Classroom 2) Is El Sistema, Venezuela’s famous music education program, adaptable in the U.S.? In addition to facilitated discussions on these topics, participating teachers will attend workshops presented by two selected alumni from the 2007 Symposium on Music in Schools. Carol Høgel awarded medal by Prince of Wales, later honored at USC Dr. Carol Høgel ’69mma, one of Scotland’s most generous and artistically informed philanthropists, was one of only five recipients of the Medal for Arts Philanthropy awarded by His Royal Highness the Prince of Wales on November 27, 2008. The medal celebrates individuals who support the arts, recognizing the contribution of the United Kingdom’s most inspiring philanthropists. Her charitable foundation, the Carol Høgel is congratulated by Dunard Fund, is among the few HRH Prince Charles. trusts that support the arts in Scotland. It has provided vital support for the Edinburgh International Festival, Scottish Opera, the Scottish Chamber Orchestra, National Galleries of Scotland, and the Royal Scottish National Orchestra, among others. These five major Scottish cultural institutions joined together to nominate Dr. Høgel for the Philanthropy Medal. According to Alex Reedijk, general director of Scottish Opera, “Without her support, all five of our organizations would be the poorer. She’s passionate about the performing arts and a pianist in her own right. In the American tradition of philanthropy, she really wants to do good by the communities she has chosen to live in. For her, it is a strong sense of duty.” Carol Høgel is also a generous patron of the arts in the United States. Only a week after receiving the Medal for Arts Philanthropy from the Prince of Wales, she was presented with the John C. Argue Dickens Medal of Honor at the Charles Dickens Dinner at the University of Southern California. Nominated by faculty and the Board of Advisors, Dickens Medal recipients are chosen for their transformational impact on Southern California’s music community through their philanthropic, administrative, and leadership abilities. Carol Høgel is the founder and director of Dunard Fund, a British registered charity, and Dunard Fund USA, both devoted to classical music and visual arts. She received an honorary cbe (Commander of the British Empire) award from Queen Elizabeth in 2004 for her contribution to the arts in the UK, particularly in Scotland. A resident of Scotland since 1984, she is a longtime member of the Edinburgh International Festival Council and has served on the boards of many other music and arts organization in the UK. Taking up the mantle of her late father, Richard D. Colburn, she is very active on the boards of the Colburn School and Colburn Foundation in Los Angeles, the Los Angeles Philharmonic, and the Marlboro Festival in Vermont. Trained as a pianist, she earned degrees from the Indiana University School of Music and the Yale School of Music, where she is currently an active member of the Board of Visitors. 21 music at yale photo by eugene cook in memoriam Fenno Heath ’52mm 1926–2008 Fenno Follansbee, Jr., director of the Yale Glee Club from 1953 until his retirement in 1992, passed away peacefully December 5, 2008 at his home in Hamden, Connecticut, following a long illness. Widely respected as a composer, teacher and choral conductor, Heath built on the achievements of his predecessor, Marshall Bartholomew, bringing together generations of Yale students in song, and assuring the Glee Club’s place as one of Yale’s most cherished institutions. Under his inspired leadership, the Glee Club made the transition from male chorus to mixed chorus. “When the history of music at Yale is recorded, a special chapter will be devoted to the legacy of Fenno Heath,” said Dean Robert Blocker. “As Director of the Yale Glee Club, he explored new musical frontiers — from international tours to football concerts, from his own compositions for the Glee Club to his performances of major works in the literature. Fenno’s passion for choral music permeated his life, but his influence reached far beyond the conductor’s podium. He was a University citizen, a faculty member who loved this institution and relished its values. As President of the Friends of Music, his concern for students and their well-being was, for me, a memorable quality he brought to us in his retirement. In these days of reflection, we celebrate the many ways his life enriched us all. For Fenno and the gifts he brought to us, we are and shall be always grateful.” Fenno Heath was born in Hampton, Va., on December 30, 1926. He graduated from Newport News High School and attended Loomis School before entering Yale University. His college career was interrupted by service in the U.S. Army during wwii. He graduated from Yale with the Class of 1950 during which he conducted the Apollo Glee Club and sang with the Yale Glee Club, the Spizzwinks, and the Whiffenpoofs. At the Yale School of Music he received his bm in 1951 and mm in 1952 as a student of Quincy Porter and Paul Hindemith. He remained at Yale to pursue a lifetime in music, eventually becoming the first Marshall Bartholomew 22 Professor of Choral Conducting. Through many national and international tours, he brought international recognition to the Yale Glee Club. Yale’s Alumni Chorus is a direct outgrowth of Mr. Heath’s success in creating a life-long love of song in his former singers. He received numerous commissions for choral compositions and many awards, including the Yale Medal, the Sanford Medal, The Yale Glee Club Medal, the University Glee Club of New York City Medal, the Mory’s Cup, and the Vernon Prize for composition. Fenno Heath was also a longtime conductor of the Litchfield County Choral Union and of the University Glee Club of New Haven. Fenno Heath is survived by his wife, Carol Quimby Heath of Hamden, CT, his children and extended family: Sarah Heath and Franz Douskey of Hamden, CT, Lucy (Heath) and Robert McLellan of Lebanon, NH, Marguerite Heath Ogilvy and Daniel Hertzler of Windsor, VT, and Fenno F. and Paris (Stamos) Heath III of Woodbridge, CT, and six grandchildren: Heather, Sedgwick and Benjamin Ogilvy, Max Heath, and Quinby and Eliza McLellan. photo by irene haupt Jesse Levine 1940–2008 Jesse Levine, violist, teacher, and conductor, died on November 12, 2008, at his home after a long fight with pancreatic cancer. He was Professor in the Practice of Viola and Chamber Music and coordinator of the string department at the Yale School of Music since 1983. “Jesse dearly loved his students and our school,” said Robert Blocker, Dean of the School of Music. “In his quarter-century on our faculty, he shared his commitment to the highest standards of artistic excellence. His major contribution to the School of Music was inspiring his students to discover their distinct musical voice, and his influence will be felt for generations. We are deeply saddened by the loss of a wonderful artist, teacher, colleague, and friend, but are grateful for his contributions to music and to our school.” As violist or conductor, Jesse Levine performed in Europe, South America, Israel, Australia, Mexico, and throughout the United States. He was principal violist of the Buffalo, Dallas, Baltimore, and New Jersey symphony orchestras. 2008–2009 in memoriam photo by eugene cook He was the music director of several orchestras, most recently the New Britain (Connecticut) Symphony Orchestra. Previously, Mr. Levine was music director of the Norwalk Symphony Orchestra, the Orquesta del Principado de Asturias in Spain, the Chappaqua Orchestra, and the Feld Ballet. As a guest conductor Mr. Levine conducted many orchestras in the United States and abroad. Known for his work in contemporary music, he was frequently invited to conduct new music with the Buffalo Philharmonic Orchestra. In the dual role of conductor/teacher Mr. Levine conducted Spanish youth Orchestras in Madrid, Seville, and Barcelona. As a member of the Bruch Trio he has recorded the music of Max Bruch, Rebecca Clarke, Jean Françaix, Gordon Jacob and Mozart for Summit Records. Mr. Levine previously served on the faculties of the State University of New York at Buffalo, Stony Brook, and Purchase, and the Peabody Conservatory of Music in Baltimore. He presented master classes at conservatories and festivals throughout Spain, Festival Flaine Musique (France), and the Paris and Lyon Conservatories of Music. Jesse Levine was born in 1940 in the Bronx in New York City, to a family of first and second generation Jewish Polish immigrants. His father, David, was a cellist and at an early age, he took up the viola. He spent his formative years studying with his beloved teacher, William Kroll. He studied principally at Mannes College of the Arts. He also studied conducting with Igor Markevitch in Monaco. Jesse Levine is survived by his wife, Jill Pellett Levine, his sons Alexander and Josh, and his sister Lisa Nowakowski. Donations in memory of Jesse Levine may be made to Pancreatic Cancer Research at the Yale Cancer Center, 157 Church Street, New Haven, CT 06510, or online to the Pancreatic Action Center Network. A memorial concert in honor of Jesse Levine took place on Sunday, February 22, 2009, in Battell Chapel. In addition to spoken tributes and remembrances were performances by Aldo Parisot and the Yale Cellos, pianists Joan Panetti, Elizabeth Parisot, and Morey Ritt, violinist Syoko Aki, bassoonist Frank Morelli, and a large number of Prof. Levine’s viola students from the past 40 years. Arthur Weisberg 1931–2009 Arthur Weisberg, who taught bassoon and conducted the Yale Contemporary Music Ensemble at the Yale School of Music from 1973 to 1987, died on January 17, 2009, in Boca Raton, Fla. Professor Weisberg was also a frequent faculty member and performer at the Yale Summer School of Music in Norfolk. Arthur Weisberg attended the High School of Music and Art and the Juilliard School of Music, majoring in bassoon with Simon Kovar. He played first bassoon with the Houston and Baltimore Symphonies and second bassoon with the Cleveland Orchestra, before coming back to New York City to study conducting with Jean Morel. He was first bassoon with the Symphony of the Air (formerly the nbc Symphony under Arturo Toscanini) and bassoonist with the New York Woodwind Quintet for 14 years. Weisberg taught at Juilliard and the State University of New York at Stony Brook in addition to Yale University. In 1961, Arthur Weisberg created the Contemporary Chamber Ensemble, touring throughout the United States and the rest of the world, and presenting over 100 world premieres. Weisberg also conducted the New York Philharmonic in a recording of George Crumb’s A Haunted Landscape. Arthur Weisberg authored two books, The Art of Wind Playing, published by G. Schirmer, and Performing 20th Century Music: A Handbook for Conductors and Instrumentalists, published by Yale University Press. He composed numerous works, and made several editions for bassoon, including a transcription of the Bach Cello Suites and 15 Etudes for Bassoon in the Style of 20th Century Music. in memoriam Dr. M. Louise Miller ’34cert Dr. Rita Hutcherson ’39cert Sylvia E. Hodge ’40mus Charles DeWolf LaMond ’40mm Celeste (Needy) Morrison ’44mus Elizabeth B. Dearborn ’45mus Helen M. Lindsey ’45bm Jean T. Copp, ’46mus Dr. George H. Jacobson ’47mm Rev. Perry R. Williams ’48mus Greta Cramer ’49bm Kurt R. Glaubitz ’50bm George T. Sinclair ’52mus John A. Riley, Jr. ’55mm Prof. Walther A. Schenkman ’55mm Robert M. Henderson ’56mm Joseph F. Andreucci ’57mm Lorraine S. Snowden ’57mm Prof. Henry B. Ingram, Jr. ’58mm Colleen P. Hagen ’59bm Alvin Lunde ’62mm John Lipp III ’67mm Rev. Joseph P. Bronder ’72mm Abraham I. Menkin ’60mus Gordon C. Emerson, ’61mm Robert G. Meyers, ’64mm Wendell H. Piehler, Ph.D. ’70mma Charles W. England ’73mm Andrew Abel ’85mus 23 music at yale photo by vincent oneppo Yale in New York — The Second Season On February 7, Wei-Yi Yang ’04dma, Boris Berman, and Robert Blocker opened the program with Carl Czerny’s 6-hands arrangement of Mozart’s overture to the Marriage of Figaro. F ollowing the success of its first season, the Yale School of Music has begun the second year of its annual Yale in New York series. Over the course of the 2008–09 season, ysm will showcase its outstanding faculty, student, and alumni musicians in five concerts using all three performance spaces of Carnegie Hall. Beginning with this season, clarinetist David Shifrin, longtime Yale faculty member and chamber music artist, serves as Artistic Director of the Yale in New York series. The season began October 14 with “Serenades,” a concert of chamber music for winds in Zankel Hall. The concert featured Yale faculty Stephen Taylor, oboe; David Shifrin, clarinet; Frank Morelli, bassoon; and William Purvis, horn, as well as select ysm graduate students performing serenades by Mozart, Dvorak, and Strauss. Joining the wind faculty were Donald Palma, bass, and Ole Akahoshi ’95cert, cello. A highlight of this evening is the world premiere of a new piece for winds, “Open,” written for the occasion by David Lang ’83mma, this year’s Pulitzer Prize winner who, along with Christopher Theofanidis ’97dma, was recently appointed to the ysm’s composition faculty. On Sunday, November 2, the series moved to the intimate space of Weill Recital Hall for an all-Mozart 24 program, highlighting the tradition of excellence in chamber music that is the Yale School of Music’s trademark. Stephen Taylor was soloist in the Oboe Quartet in F major, performing with Sun-Mi Chang ’08mm, violin; Raul Garcia ’09mm, viola; and Laura Usiskin ’09mma. Peter Frankl performed the Piano Quartet in G minor, with Wendy Sharp, violinist and coordinator of the chamber music program at ysm, and graduate musicians Vesselin Todorov ’09mm, viola and Hannah Collins ’09ad, cello. David Shifrin performed the Clarinet Quintet in A major with the Jasper String Quartet, Yale’s graduate quartet-in-residence (J Freivogel, violin, Sae Niwa, violin, Sam Quintal, viola, and Rachel Henderson, cello). Olivier Messiaen’s spectacular Turangalîla-Symphonie received a thrilling performance by the Yale Philharmonia under guest conductor Reinbert de Leeuw, with pianist Wei-Yi Yang, in Stern Auditorium on December 14. It was the highlight of Yale’s year-long celebration of the Messiaen centenary, and received rave reviews in the national press (see article on the Messiaen Celebration on page 16 ). On February 7, 2009, the series returned to Weill Recital Hall for a program called “One and Two Pianos, Four and Six Hands.” Faculty artists Boris Berman, Robert Blocker, 2008–2009 photo by vincent oneppo Yale faculty and students perform Mozart’s C minor Serenade K. 388 in Zankel Hall on October 14. a concert of the Yale Cellos, featuring music by Villa-Lobos, David Popper, Dave Brubeck, Christopher Rouse, and Ezra Laderman. Joining the Cellos and Parisot will be soprano Hyunah Yu and pianist Elizabeth Parisot. (See page 6 ). Steinway Hall The piano department once again presented two recitals in the intimate venue of Steinway Hall. On February 9, three selected student pianists — Helen Huang, Marko Mustonen, and Jessica Osborne – performed to a warm audience reception. March 24 featured three recent alumni: Quentin Kim, Ryo Yanagitani, and Vanessa Perez. photo by dana astmann photo by vincent oneppo Claude Frank, Elizabeth Parisot ’73dma, and Wei-Yi Yang ’04dma took the stage with alums Pei-Yao Wang ’99cert and Ilya Poletaev ’04mma and current student Reinis Zarins ’09cert in music by Mozart, Schnittke, and Stravinsky. For the final program of the season, on April 21 in Zankel Hall, the School will honor Parisot for his 50 years on the Yale faculty. Parisot will direct Pei-Yao Wang ’98cert and Professor Claude Frank play Mozart’s Sonata for Two Pianos in D Major, K. 448. Boris Berman, coordinator of the piano department, welcomes the audience at Steinway Hall. 25 alumniVentures Yale School of Music supports alumni projects “to advance the cause of music” with grants totaling $100,000 In June, 2008, Dean Robert Blocker of the Yale School of Music announced alumniVentures, a bold and innovative program that will provide $100,000 in grants to the School’s alumni. In the first year of what Dean Blocker promised to be an annual program, alumniVentures grants would be given to projects that best followed one simple but transcendent criterion: to advance the cause of music. Three hundred proposals from 329 alumni (there were several joint proposals) were submitted, including commissions, travel to support teaching and scholarship, recital performances, recording projects, and outreach. The number of responses was remarkable, considering that the Yale School of Music, a small graduate professional school, has just over three thousand alumni. On November 10, the grants were announced. Schools providing grants to its own alumni are rare in the world of higher education. In explaining the inspiration for alumniVentures, Dean Blocker said, “Since coming to Yale in 1995 I have been inspired by the many ways our alumni advance the cause of music. Knowing how many musicians sacrifice financial security because of their passion for music, I wanted to assist and acknowledge some of these extraordinary contributions to our art. The program I envisioned was one where we could reconnect alumni to the School through their work as musicians and assist them by using part of the Annual Fund for these awards.” Project applications were received from alumni throughout the world and from classes ranging from the 1940s to alumni just out of school. Deputy Dean Thomas Masse ’91mm, ’92ad chaired a committee that included four other alumni to review the applications and determine the winners. Joining Masse were William Funderburk, IV ’98mm, Robert Hickok ’49musb, Richard Killmer ’67mm, ’71mma, ’75dma, and Sarita Kwok ’05mma, ’06ad. “The breadth, scope, originality and quality of these ventures was overwhelming,” said Masse. “As the projects began to arrive in the School of Music offices back in August, I realized that the challenges facing the committee would be significant: the process of selecting only a handful of projects from so many worthy and deserving proposals submitted by distinguished and accomplished alums would be formidable.” In evaluating proposals, Deputy Dean Masse asked his fellow committee members, “To what degree does the proposal satisfy the Dean’s charge ‘to advance the cause of music’? Does it do so in a relatively noble and generous way?” Masse also asked them to consider four general guidelines for assessment: mission, feasibility, artistic quality, and creativity. Ultimately there was unanimous committee endorsement for the projects that were chosen. “I think I speak for the entire committee when I state that the impression we were left with was that Yale School of Music alums are involved in some of the most dynamic, creative, and inspiring work that many of us have seen in quite a long time.” Dean Blocker expressed enthusiasm for the quality of applications and with those chosen to receive grants. “The number of proposals and the work of the selection committee 26 was simply incredible,” he said. “I hope we can increase the funding allocation, and perhaps other institutions will create similar programs to benefit their graduates and enhance the role of music in our lives.” Several of the winning projects take advantage of music’s potential for public service. Four will bring quality musical experiences to various underserved school-age children, while others bring music to prisons and hospitals. Guitarist Lars Frandsen ’92mm, thanks to one of the $10,000 grants, will be able to present performances and master classes in 20 state prisons and rehabilitation facilities throughout California and New York state. He will also work with guitarists among the prison population. Harpist Julia Cunningham ’99mm uses the healing power of music to serve the sick and dying. “There is something magical and soothing about the harp,” says Cunningham. “The grant will allow me to purchase therapy harps for healing volunteer work at several Los Angeles hospitals where, for the past five years I have witnessed first hand the powerful effect of music on people struggling for courage in the face of death. Many times people have reached out from their hospital beds and have asked me if they could simply touch the strings of my harp. While I will continue to perform at patients’ bedsides, I am very excited to have the possibility of bringing harps of different sizes to the hospital including a harp that is small and light enough to place in the bed with the patients, allowing them to participate. To be able to share the gift of music in a such a setting is profoundly meaningful to me.” Arthur Bloom ’94mm is also doing some work in a hospital setting, at Walter Reed Army Medical Center in Washington, D.C. Through Musicorps, a rehabilitative music program he developed for injured combat veterans, participants embrace the opportunity to learn, create, and produce original music during long and difficult periods of recovery. “These guys are badly injured, yet work for hours and hours on their music,” said Bloom. “They work with this tremendous passion, and it’s impossible not to be inspired by that. It is an incredible thing for a musician to be able to directly improve someone else’s life, particularly a life that has been derailed. It is tremendously gratifying.” 2008–2009 alumniVentures Award Winners November 10, 2008 Lars Frandsen ’92mm Guitar $10,000 To support presentations of the Prison Concert Project. Mr. Frandsen will present performances and masterclasses in 20 state prisons and rehabilitation facilities throughout California and New York state, and will present workshops for inmates who are guitarists and coach prison bands for performances. $10,000 Mildred C. Rosner ’56bm Cello Margot D. Schwartz ’07mm Violin (joint proposal) To support Summer Music Berkeley (SMB), a year-round program for string players at the Allen Temple Baptist Church in Oakland, California. The award will provide additional scholarships to low income, diverse string instrumental students who would otherwise not be able to participate. In addition, SMB will use grant money to acquire several string instruments for loan to students. $10,000 Terri Sundberg ’86mm Flute To support her work with “Peace Through Music Uganda” and the Shropshire Foundation to work to improve the quality of life for war-affected children and teach tolerance and non-violence through music education and performance programs. $7,500 Dennis Michel ’77mm Bassoon To support the Chamber Music Professional Development Program, a fellowship program undertaken by The Chicago Chamber Musicians to nurture the development and viability of the next generation of American chamber ensembles. $7,250 Pedro de Alcantara ’83mm Cello To support the production of video clips which will supplement his latest book, The Integrated Musician (Oxford University Press) $7,250 Andrew Shenton ’93mm Organ To support the development of a course and publication of a textbook entitled Music in World Religions. $5,000 Mark Bergman ’97mm Bass Nancy Jin ’02mm Violin (joint proposal) To support “Music for All,” their Washington, D.C.-based educational outreach programs in Virginia, Maryland, and D.C. with their string trio, “Virginia Virtuosi.” $5,000 Anna Brathwaite ’03mm Violin To support the music curriculum and outreach at the Achievement First Crown Heights Charter Middle School in Brooklyn, NY (of which Ms. Brathwaite was a founder). The grant will help bring private teachers to her school and will facilitate class trips to music events in Manhattan. Arthur Bloom ’94mma Composition $5,000 To support Musicorps, a rehabilitative music program he developed for injured combat veterans recovering at Walter Reed Army Medical Center. Soldiers participating in Musicorps collaborate with visiting artists, use a speciallyassembled computer-based music workstation, and work on individualized projects. Jane Chung ’99mm Violin $5,000 To support the creation of a substantive body of collaborative, multi-media works with noted choreographers and for the presentation of the works with two important dance companies in the Northeast. $5,000 Julia Cunningham ’99mm Harp To support the purchase of Celtic therapy harps to use in her work as a healing volunteer at several Los Angeles hospitals, where she uses the healing power of music to serve the sick and dying. Jonathan Dimmock ’83mm Organ $5,000 To support Artists’ Vocal Ensemble, a high-quality professional vocal ensemble in San Francisco, CA which links its concerts with social causes. $5,000 Thomas (T.J.) Flippin ’07mm Guitar To support Duo Noire (with current YSM guitar student Christopher Mallett) to perform and lecture in neighborhoods with high-minority and low-income demographics in the Northeast. Tina Lee Hadari ’04mm Violin $5,000 Michelle Lee ’03mm Violin (joint proposal) To support the educational workshops of Music Haven, a nonprofit organization that builds long-term learning and mentoring relationships between professional musicians and at-risk youth in the four most underserved neighborhoods of New Haven. Vanessa Reynolds ’04mm Bassoon $5,000 To support a performance component to the music curriculum at the Brooklyn Friends Preschool, in Brooklyn, NY. This is an experimental program which seeks to introduce the instruments of the orchestra to preschool-aged children. Joseph Rubenstein ’01dma Composition $3,000 To support Keys to the Future, a non-profit organization that presents contemporary piano music in annual multi-day festivals and individual concerts in New York City. 27 music at yale A joint venture by the Yale School of Drama and Yale School of Music New website The Yale Institute for Music Theatre June 7–21, 2009 On November, 2008, the Yale School of Drama and the Yale School of Music announced the establishment of The Yale Institute For Music Theatre. Under the leadership of Artistic Director Mark Brokaw and Producer Beth Morrison, the Yale Institute For Music Theatre will select three original music theatre works to receive a two-week workshop in New Haven June 7–21, 2009. The mission of the Institute is to identify distinctive and original music theatre works by emerging writers and composers, and to serve those writers by matching them with collaborators such as directors, music directors, and actors/ singers who can help them further develop their work. By limiting production resources and values, the workshop will keep the focus on the creative process of the artistic team. “We are delighted that Yale School of Drama and Yale School of Music are joining forces to nurture gifted young music theatre writers. The Yale Institute for Music Theatre supports their creative process by providing the writers with this developmental opportunity to hear and see their work interpreted in a professional environment including their peers in training here at the University,” Dean Robert Blocker and Dean James Bundy said in a joint statement. “We are very pleased that Mark Brokaw and Beth Morrison will provide such experienced leadership to this new endeavor as artistic director and producer of the Institute.” Applications were accepted from November 19, 2008, to January 23, 2009, and the selection of participants was announced in March (after this publication went to press). The Institute accepted applications for projects at various stages of development, but focused on work that is ready to be explored musically and dramatically with performers and directors. Book musicals and other imaginative music theatre projects written by composers, playwrights, lyricists, or librettists who are current graduate students, who have graduated from an accredited institution within the past five years, or by current Yale students, were eligible. Writers and composers could apply as individuals or as part of a team. For further information, visit drama.yale.edu/musictheatreinstitute We are pleased to announce the launch of our new website at http://music.yale.edu. In creating a fresh online presence for the Yale School of Music, the website also offers many features for students, alumni, staff, faculty, prospective students, and music lovers. Design manager Monica Ong Reed sees the website as “a place where the Yale School of Music fosters relationships with a broad range of people. We took that into consideration in every aspect of its design, from the user interface to the photography to the use of social media.” The new website links to the School of Music’s other online pages, such as Facebook and Twitter. The School has also entered the blogosphere with a news blog offering press releases and announcements for and about the ysm community. Readers can subscribe to an rss feed or search by category or keyword. We encourage alumni to send news and media clips, from appointments and awards to premieres of new works or performances on YouTube, to firstname.lastname@example.org. More features are still to come; the new site offers the flexibility to expand into new media. Says Reed: “On the horizon are offerings of concerts streaming live and on demand. Many of our students have friends and family who can’t come to New Haven to attend their recitals — but soon they will be able to watch from their laptops, wherever they are.” new links home page music.yale.edu alumni music.yale.edu/alumni/ news music.yale.edu/news Subscribe to our feed at music.yale.edu/news/?feed=rss2 social media Facebook Search for “Yale School of Music” and become a fan Twitter Follow us at http://twitter.com/yalemusic 28 2008–2009 new staff photo by vincent oneppo Danielle Heller, Gregory Johnson and Jessica J. Johnson — new School of Music staff. Danielle Heller, Box Office Coordinator, is a Hicksville, Long Island native and is very happy to be back in Connecticut and at Yale. She attended the Hartt School at the University of Hartford, where she was a sister of Sigma Alpha Iota and received her bachelor’s degree in French horn performance. Besides music, her hobbies include reading, theatre, softball, animals, and attempting to sing. She has two rabbits named Harry and Valentine who are both turning five years old and prefer broccoli rabe to carrots. Danielle’s favorite vegetable is also broccoli rabe. She loves eggplant too, although the rabbits don’t care for it. Gregory Johnson, Yale School of Music IT Professional, is originally from Portland, Conn., but now resides in Durham with his wife and children. Greg brings 18 years of experience in the technology industry, many certifications and awards ranging from Apple to Microsoft, including being the first student ever to receive a technology recognition award in his hometown’s school system. When Greg is not spending time with his family, he can be found playing the Hammond organ and piano with his band, the Whiskey River Band. His love of music and technology have allowed him to work with new technologies relating to music over the years, and this is what brought him to the School of Music. Jessica J. Johnson ’08yc, Assistant to the Director of Development in Leigh Hall, has joined the School of Music staff full time after being a Stage Manager and Operations Assistant student worker since 2006. Originally from Central New Jersey, she is now a permanent resident of New Haven. Though she is not currently a practicing musician, Jessica followed years of amateur cello study before college with four years in the Yale Precision Marching Band’s percussion and props sections. Having concentrated in Latin American Studies and spent several summers in Nicaragua as an undergraduate, she remains an active volunteer for the New Haven/León Sister City Project, as well as participating in Elm City Cycling and the Yale Tango Club. Why I Give The students at the Yale School of Music have much to be grateful for. They are studying tuition-free at one of the world’s premier educational and artistic environments with an extraordinary faculty of artists and mentors. The funds that make this all possible are the result of one magnificent gift combined with many generous and thoughtful gifts dating back to the School’s founding. Each student who has ever attended the Yale School of Music has benefitted from someone else’s generosity. This is why Professor Robert Hickok ’49MusB urges ysm alumni to support the Annual Fund: “The Yale University School of Music was and has been a crucial element in my life. The training and education it provided me in the development of a successful career as a conductor, teacher and author. My teachers were, without exception, valuable role models not only as musicians but also examples of inspired and dedicated humanity. I contribute to the annual fund in appreciation of and gratitude for that expertise, guidance and inspiration.” In addition to helping the students who are here now, the Annual Fund also supports alumniVentures, an innovative program that provides $100,000 in grants to the School’s alumni for projects that advance the cause of music. Last year 300 proposals were submitted and in November 10 grants were announced. All School of Music alumni are eligible for grants of up to $10,000 to further a specific project or idea. Gifts to the Annual Fund are now more important that ever. Please consider making a gift to the Yale School of Music Alumni Fund today. If you have any questions about the Alumni Fund, or other ways you can support ysm, please contact Betsy Carr, Director of Development at email@example.com or (203) 436-4928. Mailing address: Yale University School of Music, 435 College Street, P.O. Box 208246, New Haven, CT 06520 Dean Hickok graduated from Yale in 1949. His principal teacher was Paul Hindemith. He went on to a distinguished career in choral conducting and teaching at the North Carolina School of the Arts, Brooklyn College and the Manhattan School of Music. While at the North Carolina School of the Arts he became Dean of the School of Music. He also served as Dean of the School of Fine Arts at the University of Wisconsin-Milwaukee and at the University of California – Irvine. Dean Hickok and his wife Roanne, an artist, have retired to Irvine, California where he devotes his time to writing. He has been a consistent donor to the Yale School of Music Annual Fund and believes that gifts of all sizes are important to sustaining the vitality and excellence of the School. 29 music at yale music briefs photo by vincent oneppo Third “Help Can’t Wait” Concert photo by harold shapiro Responding to the great humanitarian need created by three recent natural disasters, musicians from Yale University and the New Haven community performed a special benefit concert titled “Help Can’t Wait” in Sprague Hall on May 21, 2008. Members of the Yale-New Haven Chinese School Children’s Chorus. All proceeds — over $10,000 — were given to major charities providing services to the victims of the earthquakes in China, the typhoon in Myanmar and the recent tornadoes in the United States. To ensure that these three disaster areas were served, benefits were shared by the American Red Cross, Save the Children and AmeriCares. Performers included members of the Yale Concert Band, Yale Symphony Orchestra, Yale Glee Club, New Haven Symphony Orchestra, students, faculty, and alumni from the School of Music, and the Yale-New Haven Chinese School Children’s Chorus. This was the third “Help Can’t Wait” concert organized by musical organizations at Yale. The first was in response to the Tsunami and earthquakes in Southeast Asia and the Pacific in 2004 and the second to benefit victims of Hurricane Katrina in 2005. More YSM alums in The Academy Owen Dalby ’07mm, violin, Alma Maria Liebrecht ’08mm, horn, David Skidmore ’08mm percussion, and James Austin Smith ’08mm oboe, have been accepted into The Academy, a program of Carnegie Hall, The Juilliard School, and The Weill Music Institute in partnership with the New York City Department of Education, for the 2008–09 season. This prestigious program is an innovative two-year 30 The first Yale/New Have Young Artists Competition. First row: NHPS Music Supervisor Regina Warner, Fourth Prize Winner Cristina Rodriguez (Flute), Second Prize Winner Andrew Suzuki (Euphonium), Fifth Prize Winner, Tyron Pouncey (Trombone), Third Prize Winner Annakate Schatz (Clarinet), and First Prize Winner Kevin Lopez (Clarinet) Back row, L to R: Manager of community programs John Miller ’06mm, Rebecca Doggett ’08mm, Hyun-Joo Lee ’08ad, Patrick Hines ’09mm, John Concklin ’08mm, and Associate Dean Michael Yaffe. fellowship that offers post-graduate musicians from leading music schools performance experience, advanced musical training, and intensive teaching experience. They join second-year fellows Paul Murphy ’06mm, trumpet, Romie de Guise-Langlois ’07ad, clarinet, James Dietz ’07ad, percussion, and Alex Reicher ’07, trombone, in bringing the number of ysm alums in the program to eight out of a total of 33 fellows. First Yale/New Haven Young Artists Solo Competition The Yale School of Music and the New Haven Public Schools presented the first Yale/New Haven Young Artists Solo Competition on May 10, 2008 in Sprague Hall. All of the soloists were New Haven Public School students in grades four through eight, and the judges were all graduate students at the School of Music: flutist Hyun-Joo Lee ’08ad, hornist Patrick Hines ’09mm, clarinetist Rebecca Doggett ’08mm, and conductor John Concklin ’08mm. At the conclusion of the solo competition, five winners were announced to receive prizes of $350, $250, $150, $100 and $50. The competing public school students have been taking music lessons with graduate students at the Yale School of Music through one of the programs in the highly successful Music in Schools Initiative, supported by an endowment from the Yale College Class of 1957. In addition to the lessons and the competition, the Music in Schools Initiative includes programs in music and creative writing, music and art, music and poetry. To learn about Music in Schools and the work being done by Yale School of Music students in the New Haven Public Schools, visit music.yale.edu/community. Fall Opera Scenes Yale Opera, under the artistic direction of Doris Yarick-Cross and the stage direction of Vera Lúcia Calábria, opened their 2008–09 season with an evening of Opera Scenes Friday, October 31 and Saturday, November 1 in Sprague Hall. Each night offered a different program: October 31 includes scenes from Handel’s Giulio Cesare, Smetana’s The Bartered Bride, Mozart’s Idomeneo, Verdi’s Don Carlo, and Massenet’s Werther. November 1 featured scenes from Mozart’s Le nozze de Figaro, Lehar’s Frühling, Tchaikovsky’s Iolanta, and Massenet’s Don Quichotte and Manon. The cast featured the 2008–2009 music briefs photo by jennifer lester singers of Yale Opera: sopranos Mireille Asselin, Amanda Hall, Adelaide Muir, and Samantha Lane Talmadge; mezzo sopranos Gala El Hadidi, Ana Sinicki, Emily Righter, Chrystal Williams; tenors Eric Barry, Tadeusz Szlenkier, and Michael-Paul Krubitzer; baritones David Pershall and Vince Vincent; and basses Jeremy Bowes, Damien Pass, and Tyler Simpson. Douglas Dickson and Timothy Shaindlin provided musical direction. Successful Magic Flute at the Shubert An ensemble scene from The Magic Flute. Set design by Mikiko Suzuki MacAdams (’02mfa, School of Drama). The music was sung in German with projected English translations; Verzatt collaborated with Richard Cross on a new and often laugh-out-loud translation of the spoken dialogue. Guitar Extravaganza On March 7, the School hosted the Sixth Yale Guitar Extravaganza: From Baroque to Electric. Highlights of the day included a body mapping workshop with Jerald Harscher ’90mm, master classes with Jerry Willard, who focused on Baroque and Classical-era guitars, and Benjamin Verdery, coordinator photo by jennifer lester In its most popular production to date, Yale Opera sold out all three performances of Mozart’s Die Zauberflöte February 13–15. The new production was directed by Marc Verzatt and led by Italian conductor Federico Cortese. Other members of the creative team included lighting designer William Warfel, costume designer Thierry Bosquet (principal and men’s chorus costumes originally created for New York City Opera), and set designer Mikiko Suzuki MacAdams. The original set was built by students from the Yale School of Drama. In addition to the singers from Yale Opera, performers included the Yale Philharmonia, singers from Yale Opera (the three spirits), a chorus drawn from the New Haven and Yale communities, and guest artist Stephanie Gregory ’00mm, ’01ad. Alumni Seth Josel ’94dma and Eliot Fisk Eliot Fisk ’76ba, ’77mm performed in recital at the Sixth Guitar Extravaganza. of the guitar department; lectures by Seth Josel ’94dma and (jointly) Kevin Vigil ’90mm and Kim Perlak ’01mm; and a panel discussion amongst faculty composers Martin Bresnick, Ingram Marshsall, and Jack Vees on composing for classical guitar, moderated by Verdery. Concerts began with young guitar ensembles and continued with Jerry Willard, performing Baroque and Classical works on two period instruments, and a double bill of Seth Josel and Gyan Riley. Eliot Fisk ’76 BA, ’77 MM concluded the Extravaganza with a special benefit recital. Nicholas McGegan guest conducts Philharmonia, choral ensembles Nicholas McGegan, music director of San Francisco’s Philharmonia Baroque Orchestra (PBO) and artistic director of Germany’s International Tamino holds the magic flute aloft while Papageno and the three ladies look on. From L to R: Emily Righter ’09mm (Second Lady), guest artist Stephanie Gregory ’00mm, ’01ad (First Lady), Tadeusz Szlenkier ’09mm (Tamino), Ana Sinicki ’09ad (Third Lady), Vince Vincent ’10mm (Papageno) 31 music at yale music briefs photo by vincent oneppo Nicholas McGegan. Handel-Festival at Göttingen, guest conducted a festive program of choral and orchestral works in Woolsey Hall on March 1. Performers included the Yale Philharmonia, led by concertmaster Robert Mealy, along with the Yale Camerata, Yale Glee Club, Schola Cantorum, and Voxtet. The program featured choral and orchestral works by Haydn, Mendelssohn, and Handel, marking the 250th anniversary of Handel’s death and the 200th anniversary of both Mendelssohn’s birth and Haydn’s death. The concert culminated in the Hallelujah Chorus from Handel’s Messiah sung by the combined forces of all the participating choirs. Marin Alsop works with the Philharmonia. During her September visit to the School of Music, Marin Alsop led the Yale Philharmonia in a rehearsal of Mahler’s First Symphony. Graf and Bösendorfer used. The veneer is American black walnut. Moody is the newest Ellington Fellow Malcolm Bilson performs first recital on the School’s new fortepiano 32 The new fortepiano built by R.J. Regier. of 6 ½ octaves, from CC to g’’’’, and the dynamic power to fill Morse Recital Hall. The instrument has four pedals: keyboard shift, bassoon, moderator, and damper. Both the moderator pedal, popular in Vienna, and the bassoon pedal alter the tone by inserting a layer of leather or cloth between hammers and strings. Perhaps the most significant feature of this fortepiano is its wooden frame, in contrast to the metal frames of present-day pianos. Regier uses a variety of woods, including maple, white ash, and spruce, each of which is the North American equivalent of species that photo by vincent oneppo Malcolm Bilson, acclaimed for his pioneering work in the period-instrument movement, gave the inaugural recital on the School of Music’s new fortepiano on February 24. The program included music by Schubert, Beethoven, Schumann, and Brahms, plus an encore by Chopin and another by Schumann. The fortepiano was built by R.J. Regier, whose Maine workshop designs and crafts fortepianos and harpsichords based on historical examples. Yale’s new fortepiano is based on instruments made in Vienna by Conrad Graf around 1830, as well as one in the Yale own Collection of Music Instruments, built by Ignaz Bösendorfer around 1828 — one of the earliest Bösendorfers. In the late 1830s, pianos were undergoing rapid development in both structure and sound. With developments in structure and strength, and as pianos began to move into concert halls from private homes and salons, the instruments’ dynamic range increased enormously. Yale’s fortepiano has a range Saxophonist James Moody was the most recent recipient of the Duke Ellington Fellowship Medal. Willie Ruff, director of the Ellington program, awarded the medal during intermission of the James Moody Quartet concert in Sprague Hall on October 3. Moody is best known for his signature song “Moody’s Mood for Love,” an improvisation on the chord progressions of “I’m in the Mood for Love.” The following day, he gave a jazz master class for New Haven area high school jazz musicians. James Moody admires his new Ellington medal. 2008–2009 music briefs photo by bob handelman Oral History American Music now part of the Gilmore Library The Directors of Oral History of American Music (oham) have announced that oham is now an official component of Yale’s Irving S. Gilmore Music Library. oham is the only ongoing project in the field of music that is dedicated to the collection and preservation of recorded memoirs in the voices of the creative musicians of our time. For the nearly forty years of its distinguished history, oham has been affiliated with both the Yale School of Music and the Yale University Library, existing as an independent project responsible for raising its own funding. With the move to the Library, oham now enjoys ongoing support for its many activities. That support was complemented in March 2008, when the Andrew W. Mellon Foundation awarded oham and the Library a substantial grant to facilitate the transition of oham from project to Library department. In addition, oham Director Vivian Perlis and Associate Director Libby Van Cleve, working with University development officers, have embarked on a fundraising effort to establish a permanent endowment for oham. All of these changes will help to ensure that oham can continue to collect and disseminate the oral history of American music, and that this unique and valuable archive will be preserved. oham’s involvement with the Yale School of Music continues with several new undertakings: an oral history of the Yale School of Music began with interviews of Keith Wilson and Aldo Parisot, with many distinguished faculty to follow. Also, in partnership with the Yale School of Music, oham continues to produce netcasts from the archive’s historical interviews distributed over iTunes at no charge. oham’s first netcasts featured Aaron Copland and Charles Ives; another, focusing on Virgil Thomson, is in production, and future netcasts are in the planning stages. For decades, oham staff members have used innovative means to document music history, and we are pleased to use new technology to further disseminate some of the archive’s holdings. — Libby Van Cleve ’92dma 33 music at yale Alumni News Listings are by year of the last degree awarded. Please send in news and updated information to firstname.lastname@example.org. Dr. Eugene Thamon Simpson ’53bm, ’54mm, Professor Emeritus of Voice and Choral Literature at Rowan University, has completed a definitive biography of Francis Hall Johnson, the greatest collector, preserver and arranger of the Negro Spiritual, and the most charismatic African-American conductor of the twentieth century. The book, Hall Johnson: His Life, His Sprit, and His Music, was published in February by Scarecrow Press and includes a detailed history of Johnson’s life; his work with his famous Hall Johnson Negro Choir on Broadway, in concert, and in motion pictures; and chapters on his letters, his music, and his poetry. Johnson’s arrangements, first made famous by Marian Anderson, have been staples on the recital programs of African-American singers since 1950 and have been recorded by Robert McFerrin, Leontyne Price, and Kathleen Battle. www.eugenetsimpson.com Walter Schenkman ’55mm released two new cds in 2007 featuring four Clementi piano sonatas and four Beethoven Sonatas (including the “Waldstein” and the “Lebewohl”). A prolific writer on musical topics, Schenkman also saw publication of two of his articles during the past year in the Italian musical journal Ad Parnassum. One study considers the treatment of Diabelli’s theme in the performance of Beethoven’s Diabelli Variations, while the other offers a comprehensive review of “Numbers in the Goldberg.” A complete listing of Schenkman’s CDs and articles may be found at www.wspiano.com, and selections from his performances may be downloaded at www.bravomaestro.com. John Contiguglia ’61mm and Richard Contiguglia ’61mm were the featured pianists for Myra Hess Day, 2008, Nov. 25th, at London’s National Gallery. In recognition of their associations with Dame Myra Hess, with whom they studied for four years, they were invited to be the featured pianists for Dame Myra Hess Day, 2008, at the National Gallery in London. Their performance of a lunchtime concert at 1:00 pm called to mind the 1:00 pm lunchtime concerts (1,698, over a period of 6½ years) that Dame Myra organized during World War II at London’s National Gallery, for which she was made Dame Commander of the British Empire by King George VI. Their program included Schubert’s Variations on an Original Theme in A-Flat, Op. 35, D 813; the Finale of Beethoven’s 9th Symphony, in Liszt’s transcription for 34 two pianos; and Howard Ferguson’s four-movement Partita, Op. 5b, in celebration of the 100th anniversary of Ferguson’s birth. Ferguson was actively involved with Hess in organizing the programs for the lunchtime concerts. For further information and tickets, readers should consult the website of London’s National Gallery, www.nationalgallery.org.uk. Acclaimed composer Lori Laitman ’75ba ’76mm has teamed up with award-winning American poet David Mason to create a new dramatic opera, The Scarlet Letter. The opera is based on Nathaniel Hawthorne’s 19th century American novel. Commissioned by the University of Central Arkansas, the opera saw its world premiere on November 6, 7 and 9, 2008, at the Donald W. Reynolds Theater at UCA in Conway, Arkansas. Robert Holden, co-director of the UCA Opera Theater, developed the idea for the commission. “We are beginning a commissioning project for new operas based on classic American literature. In The Scarlet Letter, Lori Laitman and David Mason have created something spectacular that should become part of standard operatic repertoire.” On October 25, the Catskill Symphony Orchestra conducted by Charles Schneider presented five works by Frank Bennett ’69mma, ’76dma in Oneonta, NY. Featured on the program were Frank’s concert for Indian veena (lute); Asian Colors; Big City Styles, a jazz/Latin work; and Oneonta Fanfare, written for this program. Two arrangements, West Side Variants for clarinet and orchestra and Mokshamu Galada by Sri Tyagaraja for Indian voice and orchestra strings, were also included. Soloists were Timothy Perry ’77mm, clarinet, and Geetha Bennett, veena and voice. The Catskill Conservatory under the direction of Carleton Clay ’69mm has presented several festivals of Frank’s music on other occasion. In addition to the Catskill concert, Frank and Geetha gave lecture/demonstrations at SUNY Binghamton, Hamilton College, and SUNY Oneonta on Indian Carnatic classical music and performed a concert at Colgate University. Frank also talked to classes at SUNY Binghamton and SUNY Oneonta about working as an orchestror for the film industry, demonstrating some of his arrangements. On Friday January 23, 2009, Sharon Isbin ’79mm joined Grammy-winning violinist/fiddler Mark O’Connor in concert at Symphony Space in New York City. They performed the New York premiere of O’Connor’s Strings & Threads Suite for Violin & Guitar. This work, along with John Duarte’s Joan Baez Suite for solo guitar, is featured on her new recording, Journey to the New World on Sony Classical. Joan Baez is featured on the CD in duo performances with Isbin. www.sharonisbin.com A new solo CD of music by composer Arthur Levering ’79mm came out recently on the New World label. Titled Still Raining, Still Dreaming, it includes performances by Donald Berman, piano and celesta, Nicholas Kitchen, violin, Fumito Nunoya, vibraphone, as well as the Dinosaur Annex Chamber Orchestra. Copies can be purchased on 2008–2009 alumni news the web (Amazon.com, etc.) or through the New World records website. An earlier solo CD “School of Velocity”, which originally came out on the CRI label, is also now available on New World. David Perry Ouzts ’87mm recently completed his Doctor of Sacred Music degree at the Graduate Theological Foundation in South Bend, Indiana, taking much of the coursework at the Jacobs School of Music at Indiana University, where he was an organ and church music student of Marilyn Keiser and served as a graduate assistant to department chair Larry Smith. Through the Graduate Theological Foundation he has been invited as to be a research fellow in the School of Theology, University of Oxford, England, in June 2009. Ouzts is organist and director of music of Church of the Holy Communion (Episcopal), Memphis, Tennessee. Percussionist Peter Derheimer ’88mm writes, “It’s unfortunate in this world of instant communication that I was in Beijing with my orchestra, the Royal Symphony Orchestra of Seville, at a welcoming banquet unaware that across town the Yale Philharmonia was playing Mahler 2 at the National Center for the Performing Arts. The Philharmonia played on the 24th July, we played in the same titanium Arts Center on the 26th. Your entourage then went on to Shanghai, as we did two days later.” Deep Sky by John Sichel ’90dma was performed by the New Philharmonic of New Jersey on Sunday November 23, 2008 in the new Dolan Perfomance Hall at the College of Saint Elizabeth in Morristown, New Jersey. Deep Sky was originally commissioned by the New Jersey Youth Symphony and was premiered by the Youth Symphony’s OSTE and Junior Strings in April, 2008, conducted by Barbara Barstow. After the premiere, Sichel prepared a “professional version,” which was premiered by the New Philharmonic. Amy Lieberman ’95mm is entering her fifth year as Director of Choral Activities at the New England Conservatory of Music, where she conducts the choral ensembles and teaches choral conducting. She is also a doctoral candidate in Choral and Orchestral conducting at Boston University’s College of Fine Arts. This fall, she will become a pre-concert lecturer for the Boston Symphony Orchestra. She has appeared as guest conductor of the Lexington Symphony (Mass.), the Tallahassee Symphony Orchestra, and as assistant conductor of the Rhode Island Philharmonic. Lieberman (with Laura Goldberg, YSM Wardwell Fellow, ’90–’92) is also the artistic director of ArtsAhimsa, an international performance series that explores the connection between the power of the arts and non-violent causes. Her work with ArtsAhimsa has brought her to New Delhi and Calcutta, India to give concerts and masterclasses. Karen Elizabeth DiYanni ’96mm, ’97arta and Ned King Peterson ’99ba were married in June, 2007 in New York. DiYanni is a violinist and member of the New York Pops, and performed with the Orchestra of St. Luke’s, the Mostly Mozart festival Orchestra, and on Broadway in the orchestra for The Producers. Joseph Aaron Drew ’00musm married Regina Syquia in June in Annapolis, MD. Mr. Drew plays trumpet and piano with the Analog Arts Ensemble, of which he is a founding member. The ensemble runs a new-music festival, ARTSaha!, now in its fifth year, at the University of Nebraska in Omaha. Two School of Music alumni oversaw the installation of a new Schoenstein organ at Christ & St. Stephen’s Episcopal Church in the City of New York during the winter of 2008. Church staff members Nigel Potts ’02mm (Organist & Choirmaster) and Paul Jacobs ’03ad (Artist in Residence) dedicated the new Schoenstein on Trinity Sunday, May 18th, 2008 with the Bishop of New York. That same weekend Paul Jacobs gave the opening dedicatory concert, and the series continued with concerts to be given by Nigel Potts on October 25th and Professor Thomas Murray on November 22nd. (Pictured are: Jack M. Bethards, President and Tonal Director of Schoenstein & Co.; Paul Jacobs, Nigel Potts and Robert J. Russell, Organist & Choirmaster Emeritus). Shizuo Kuwahara ’01mm won the Fourth International Sir Georg Solti Conductors’ Competition in Frankfurt, Germany in November. In 2006, he placed second in the competition. The first prize was €15,000 as well as an invitation to guest conduct the Frankfurt Museum Orchestra and the HR Symphony Orchestra, as well as other German and international orchestras. After two days of rehearsals and a public performance day, the jury members’ selection of Kuwahara was unanimous. Natalie Zhu ’01ad stepped in for Christoph Eschenbach, who had suffered a minor hand injury, in a chamber music performance presented by the Philadelphia Orchestra on January 18. She performed Schumann’s Andante and Variations, WoO 10, for two pianos, two cellos, and horn at the Kimmel Center’s Perelman Theater. Dr. Sue-Jean Park ’02mm, Assistant Professor of Violin and Viola at Murray State University, had the opportunity to appear as a concerto soloist with The Jackson, Tennessee, Symphony on Saturday, March 8, 2008. Professor Park performed He-Zang Hao and Chen Gang’s Butterfly Lovers Concerto for solo violin and orchestra as part of the Jackson Symphony’s Firebirds and Butterflies subscription concert under the baton of maestro Jordan Tang. This performance had particular significance in 35 music at yale alumni news that it was the Tennessee premiere of this concerto. Besides appearing as a concerto soloist, Dr. Park also currently serves as the concertmaster of the Jackson Symphony. position at the San Francisco Conservatory of Music teaching music theory and musicianship. His website is www.josephgregoriomusic.com. Robert Woolfrey ’02mm, ’03ad, currently the principal clarinetist with the Memphis Symphony Orchestra, has won the second clarinet position with the world-renowned Cleveland Orchestra. Before joining the Memphis Symphony, Robert was a member of the New World Symphony in Florida for three seasons. Mr. Woolfrey has also performed with the Toronto Symphony Orchestra and is a member of the IRIS Chamber Orchestra in Germantown, Tennessee where he has participated in recording sessions for the Naxos music label. Born and raised in Toronto, Canada, Mr. Woolfrey has been the recipient of numerous awards including the prestigious Chalmers Performing Arts Training Grant (on two separate occasions) from the Ontario Arts Council. In recent summers he has participated in a variety of music festivals including the Tanglewood Music Center and the Aspen Music Festival. Performances of Mr. Woolfrey’s have been heard on National Public Radio’s Performance Today, wqxr, as well as cbc Radio Two. Music Haven, an organization founded by Tina Lee Hadari ’04mm that provides tuition-free music lessons to urban New Haven students, was one of five organizations honored in December as artistic “ground breakers” by the Arts Council of Greater New Haven. The 2008 Arts Awards are given to those whose “fresh, raw ideas spur innovative programs, unleash remarkable results and foster a lively, ambitious artistic community.” The recipients were selected by a community jury. Jamie Kirsch ’03mm and Diana Lemly ’03ba were married in September 2007. Kirsch is the interim director of choral activities at Vanderbilt University and received his dma from Indiana University in Bloomington. Ilya Poletaev ’03mm, ’05mma has just won the first prize in the International Piano Competition in Monza, Italy. He was also awarded the Bach prize, the audience prize, and the orchestra prize. Jemmie Robertson ’03mm, trombone, has released his first solo CD on the MSR Classics Label (www.msrcd.com) with pianist Yoko Yamada-Selvaggio. New Day is Dawning features music by John Davison, Kenneth Kreuzer, John LaMontaine, Jean-Francois Michel, and James D. Thornton. Robertson writes, “A New Day Dawning refers to the continually expanding expressive possibilities of the trombone. On this recording, I have sought to champion several great works I believe deserve a more prominent place in the trombone discography.” Robertson is Visiting Assistant Professor of Low Brass at Augustana College in Rock Island, Illinois, and an active soloist, recitalist and chamber musician. He is a busy musician in the Chicago area where he has performed with numerous ensembles including the Chicago Chamber Musicians, Music of the Baroque, Lyric Opera of Chicago, Chicago Philharmonic, Chicagoland Pops, and Illinois Philharmonic among many others. Joseph Gregorio ’04mm (choral conducting) was recently commissioned by the Ives Quartet to compose a piece for the ensemble’s tenth anniversary season. His piece, Sudden Light, composed for his wife Ilene Wong (‘04 md) and premiered under the baton of Kimberly Dunn Adams ’05mm, was recently accepted for publication by E. C. Schirmer Music Co. His Dona nobis pacem, also published by ecs, has received very favorable reviews and numerous recent performances, including one during Mass at the National Cathedral in Washington, D.C. Gregorio has accepted a part-time faculty 36 In 2009, many of the compositions of Calvin Bowman ’05dma will be performed and recorded as part of his Australia Council Fellowship. Highlights include the release of a recording of his song “Now Touch the Air Softly” with Emma Matthews and the Monte Carlo Philharmonic Orchestra on Deutsche Grammophon, the performance of a new children’s opera with the National Boys Choir of Australia, and the performance of his song cycle I would sing a little while with soprano Jacqueline Porter, the Melbourne Chamber Orchestra, and conductor Sir Neville Marriner. Joshua Quillen ’06mm married Stephanie Grace Kershner in New Middletown, OH, in June. Quillen is a member of So Percussion and is artistic director of the New York University Steel Drum Band. Marianna Prjevalskaya ’07mm placed third in the Jose Iturbi International Piano Competition in Valencia, Spain. She was also given the prize for the best Spanish participant. Adrian Anantawan ’08mm will be inducted into the Terry Fox Hall of Fame in the category of Achiever. The Terry Fox Hall of Fame recognizes Canadians whose leadership and accomplishments set an example that inspire action to ensure full inclusion for all Canadians. Since taking his first violin lesson as a nine-year-old, Adrian Anantawan has won numerous awards and has appeared with numerous orchestras, including the Toronto Symphony. Born without his right hand, Anantawan was closely involved with Bloorview Kid’s Rehab and the War Amps of Canada Champ program as a young child, and he remains active with both organizations as a highly valued speaker and inspiration for other young people with a disability. Upcoming appearances include engagements with the Saskatoon Symphony Orchestra in May 2009 and the Nova Scotia Symphony Orchestra in November, 2009. Three recent alumni — Alma Maria Liebrecht ’08MM, David Skidmore ’08MM, and James Austin Smith ’08MM — have been accepted into The Academy, a program of Carnegie Hall, The Juilliard School, and The Weill Music Insitute in partnership with the New York City Department of Education, for the 2008–09 season. This prestigious program, covered in the May 2008 issue of Music at Yale, is an innovative two-year fellowship for post-graduate musicians from leading music schools, and it is highly competitive. 2008–2009 student news Student News Chelsea Chen ’09ad has been awarded the 2009 Lili Boulanger Memorial Prize of $5000. The prize is given annually to an outstanding young musician under the age of 35 exhibiting unusual talent and promise for the future. The prize is awarded by the Lili Boulanger Memorial Fund, Inc. in Boston, Mass. The organization holds a nomination-only competition each year, and this year’s designated field was organ performance. The selection committee received cds and resumes from 5 nominees, each nominated by an eminent leader in the field; Chen was nominated by Professor Thomas Murray. Chen also received glowing reviews for her debut in Los Angeles’s Disney Concert Hall. Critic Robert D. Thomas noted her “technical prowess” and “powerful, affecting performance,” and reviewer Mark Swed of the Los Angeles Times called Chen a “wonderful, self-assured player with a fine technique and a rare musicality.” Nicholas DiEugenio ’08ad, ’09mma and Katie Hyun ’09ad recorded Ezra Laderman’s Violin Duets following their March 2008 performance in Weill Recital Hall at Carnegie Hall as part of the Yale in New York series. Last autumn, Nicholas performed concerts in Seattle’s Town Hall, Merkin Hall in New York, and at the Society for Ethical Culture as part of a Chamber Music Society of Lincoln Center concert commemorating 25 years of the Kavafian Duo. New York City Opera will feature works in progress by two composition students, Christopher Cerrone ’09mm and Ted Hearne ’09mma, as part of its tenth annual VOX festival. Hearne’s Katrina Ballads, which explores the aftermath of the eponymous hurricane through primary-source texts from politicians such as George Bush and celebrities like Kanye West, will be performed on Friday, May 1. Cerrone’s Invisible Cities, based on Italo Calvino’s novel about Marco Polo’s travels through the empire of Kublai Khan, will be performed on Saturday, May 2. VOX: Showcasing American Opera offers a stage to new or previously unperformed American operas. This year, eight new operas were chosen from a pool of approximately eighty submissions. On November 7, 2008, Hearne’s Patriot opened the Minnesota Orchestra’s third annual Future Classics concert, which featured performances of seven new works under the baton of Music Director Osmo Vanska. Hearne’s piece explores themes of war and heroism, and the composer was on hand to introduce his piece to the public. The concert was the culminating event of the Minnesota Orchestra Composer Institute, a program that has earned national recognition. Faculty member Aaron Jay Kernis is the Orchestra’s new music advisor and founder and co-director of the Composer Institute. In the summer of 2008, pianist Amy J. Yang ’10ad was a guest artist at the OK Mozart Festival and was also a participant at The Marlboro Music Festival. Future engagements include concerts in New York City, Tulsa, and Istanbul. In the fall, she made two chamber music recordings. She also serves as staff pianist at the New England Conservatory. Yang and Andrea Lam ‘04AD have both been selected as two of the thirty competitors for the preliminary round of the 2009 Cliburn Competition in May. Beverly Shangkuan ’10mm won the American Choral Directors Association National Convention Graduate Conducting competition in Oklahoma City in March. Shangkuan, a student in choral conducting, competed against other finalists from the University of Arizona, University of Colorado, Eastman School of Music, University of Michigan, Penn State, Rutgers, and University of Southern California. This is the third consecutive win for Yale students at these conventions, which occur every other year: Soo-yeon Lee won the competition at the last National Convention in Miami 2007, and Kimberly Dunn gained second prize in Los Angeles in 2005. photo by vincent oneppo After a rehearsal in Beijing’s National Center for Performing Arts, members of the Yale Philharmonia gather outside the iconic building. 37 music at yale Contributors to the 2007–2008 Yale School of Music Alumni Fund Thank you for your generous support of the School’s educational and artistic endeavors. Class of 1939 Mr. Norman F. Leyden Class of 1940 Mr. Philip William Maas, Jr. Class of 1941 Mr. Victor E. Cherven Mrs. Dorothy Smith Havens Mrs. Mary D. Torrence Class of 1942 Professor John Woldt Class of 1943 Mrs. Josephine C. Del Monaco Mrs. Jean Harris Mainous Mrs. Libbe R. Murez Mrs. Hope L. Whitehead Class of 1944 Mrs. Alice G. Canaday Mrs. Florence G. Smith Professor David S. York Class of 1945 Mrs. Muriel Port Stevens Class of 1946 Professor James M. Beale, Jr. Dr. Joseph B. Carlucci Professor Charles F. Fraker Miss Lee L. Goebel Mrs. Melba H. Sandberg Class of 1947 Professor Donald R. Currier Mrs. Nina Ardito Gambardella Mrs. Charlotte K. Krosnick Miss Martha F. Lachowska Class of 1948 Mrs. Mary Louise Yoder Hicks Mrs. Jane S. Lee Mrs. Grace P. Lukas Mrs. Mildred McClellan Krebs Professor Aldo S. Parisot Mrs. Reymour B. Rice Mrs. Janet Weeks Roberts Mr. Albert C. Sly Mrs. Helen W. Wriston Class of 1949 Mr. Herbert J. Coyne Professor Emma Lou Diemer Mrs. Rosamond H. Fouser Mrs. Hannah K. Friedman Robert B. Hickok Mrs. Eleanore H. Lange Kard Donald H. Keats, Ph.D. Professor Henry N. Lee, Jr. Ms. Marion E. Mansfield Professor Franklin E. Morris Mrs. Marie B. Nelson, Ph.D. Ms. Jean Belfanc Northup Mrs. Arleen G. Rowley * deceased 38 Class of 1950 Mr. Vincent B. Allison Professor John C. Crawford Mr. Lee Howard Mrs. Virginia H. Jenkins Mrs. Ruth Cole Kainen Mrs. Anne P. Lieberson Dr. Mischa Semanitzky Professor William F. Toole Class of 1951 Miss Martha H. Bixler Professor Robert M. Cecil Mr. William A. Dresden Mrs. Renee K. Glaubitz Professor Fenno F. Heath Mrs. Hannelore H. Howard Mr. Robert L. Mahaffey Mrs. Lorraine L. Schaefer Class of 1952 Mr. Robert C. Barker Professor William Cerny Mrs. Norine P. Harris Mrs. Judith L. Lipner Mrs. Louann H. Montesi Mr. David A. O’Leary Professor Eckhart Richter Mr. Ezra G. Sims, Jr. Mrs. Gwendolyn H. Stevens Mrs. Cynthia T. Stuck Class of 1953 Professor Leonard F. Felberg Professor Seymour Melvin Fink Professor Joanna B. Gillespie Mr. Edwin Hymovitz Dr. Donald Glenn Loach Mr. Richard C. McCoy Dr. Nancy C. Phillips Prof. Willie H. Ruff, Jr. Ms. Joan G. Stanko Professor Armin J. Watkins Class of 1954 Professor Galen H. Deibler Ms. Jo Ann B. Locke Mr. Glen Michaels Professor Robert A. Montesi Dean David W. Sweetkind Mrs. Georgene V. Vogt Professor Charles Vun Kannon Professor Clayton Westermann Mrs. Cora W. Witten Class of 1955 Mrs. Elena G. Bambach Mr. Earl M. Banquer Ms. Donia A. Carey Dr. Martha Novak Clinkscale Mr. Robert C. Hebble Professor G. Truett Hollis Dr. Michael M. Horvit Mr. George A. Mathes, Jr. Ms. Elaine Troostwyk Toscanini Mr. William W. Ulrich, Jr. Class of 1956 Miss Gerda E. Bielitz Mr. Charles Burkhart Miss Virginia M. Carson Professor Robert S. Conant Mrs. Mary D. Doeringer Mr. Joseph Lawrence Gilman Mrs. Linda W. Glasgal Class of 1957 Professor Richmond Browne Mrs. Ella A. Holding Mrs. Joan B. Mathes Denis Mickiewicz, Ph.D. Mrs. Joyce B. Osborn Mr. Goff Owen, Jr. Mrs. Joan F. Popovic Mrs. Dorothy C. Rice Mr. Ronald D. Simone Class of 1958 Mrs. Margaret D. Gidley Professor Richard W. Lottridge Mr. Philip A. Prince Class of 1959 Ms. Bernadette B. Gutter Dr. G. Lawrence Jones Mrs. Alice K. Kugelman Mrs. Joan M. Oppenheim Mallory Mrs. Linda L. Rosdeitcher Mr. Johannes F. Somary Class of 1960 Dr. Ronald L. Byrnside Mr. Gerard R. Le Tendre Mrs. Sheila A. Marks Professor Donald Miller, Jr. Miss LoisAnn Oakes Professor Victor W. Ryder Class of 1961 Mr. John J. Contiguglia Mr. Richard T. Contiguglia Mr. Ernesto Epistola Professor Peter J. Hedrick Professor William Lee Hudson Ms. Lois Wetzel Regestein Professor Werner G. Rose Dr. Carl B. Staplin Mr. Haskell L. Thomson Class of 1962 Mr. Raymond P. Bills Professor Joel A. Chadabe Ms. Charlotte M. Corbridge Mr. Ralph P. D’Mello Mrs. Sylvia W. Dowd Professor Roger Ermili Professor Eiji Hashimoto Mrs. Linda T. Lienhard Professor James R. Morris Mr. Peter P. D. Olejar Mrs. Florence Fowler Peacock Mrs. Neva S. Pilgrim Professor Hildred E. Roach Professor John E. Rogers Mr. Robert S. Rogers, Jr. Mr. George R. Schermerhorn Class of 1963 Professor Charles Aschbrenner Mrs. Jean S. Bills Miss Grace Ann Feldman D.V. Gladden, CSP, EA Dr. Daniel M. Graham Dr. Maija M. Lutz Mrs. Joyce M. Ucci Class of 1964 Mr. Stephen T. Anderson Dr. Robert C. Mann Professor Bruce G. McInnes Mr. Robert G. Meyers Class of 1965 Miss Rosemary Colson Professor Brian Fennelly Dr. Roderic M. Keating Professor Charles E. Page Mr. Gerald M. Rizzer Professor Alvin Shulman Ms. Rheta R. Smith Professor M. L. Spratlan, Jr. Class of 1966 Dr. Lucy E. Cross Mrs. Ethel H. Farny Mr. John M. Graziano Mr. Dennis Helmrich Ms. Patricia Grignet Nott Ms. Lola Odiaga Ms. Elizabeth Sawyer Parisot Professor Donald F. Wheelock Mr. Joseph L. Wilcox Class of 1967 Mr. Howard N. Bakken Mr. George S. Blackburn, Jr. Mr. W. Ritchie Clendenin, Jr. Professor Richard L. De Baise Mrs. Paula Blank Fearn Mr. Thomas F. Johnson Mr. Richard E. Killmer Professor Carol F. Lieberman Professor Vincent F. Luti Prof. Joan Panetti Mrs. Abby N. Wells Class of 1968 The Rev. Dr. Robert Carpenter Professor Frank V. Church Professor Garry E. Clarke Professor Carleton C. Clay Mr. Thomas L. Colville Professor Michael G. Finegold Mr. Richard F. Green Class of 1969 Ms. Kunie F. DeVorkin Mrs. Helen B. Erickson Mr. Jeff Fuller Ms. Carol Colburn Hogel Ms. Jane P. Logan Ms. Paige E. Macklin Mr. Bryan R. Simms Ms. Patricia M. Zahrt Class of 1970 Mr. Paul J. Gacek Mr. Geoffrey Groshong Ms. Anita La Fiandra MacDonald Ms. Georgia McEwan Palmieri Mr. Richard E. Rodda, Ph.D. Ms. Janet S. Schmalfeldt Ms. Jill Shires Dr. Martin R. Sunderland Class of 1971 Mrs. Ellen L. Camm Prof. Preethi I. de Silva Randall S. Edson, M.D. Professor Mark R. Kroll Mr. Paul H. Severtson Mr. Max R. Stern Professor William F. Westney Class of 1972 Mr. Gregory H. Bonenberger Ms. Nelly Maude Case Pres. Ronald A. Crutcher Mrs. Portia Shuler Hawkins Mr. David B. Johnson Ms. Chouhei Min Dr. Richard S. Steen Ms. Julie Margaret Stoner Mr. Anthony C. Tommasini Mr. David G. Tubergen Class of 1973 Mr. Benjamin L. Aldridge Professor David B. Baldwin Mr. William B. Brice Ms. Adrienne M. Drapkin Ms. Susanna B. Knoble Ms. Penney K. Maloney Professor Charles M. McKnight Mr. Vincent P. Oneppo Rogene Russell Professor Frank Shaffer, Jr. Mr. Frank A. Spaccarotella Class of 1974 Mr. Michael C. Borschel Professor Gene J. Collerd Mr. Robert L. Hart Dr. Janne E. Irvine Ms. Ola Verine Jones-White Mr. David Lasker Professor David B. Northington Ms. Susan Poliacik Mrs. Permelia S. Sears Prof. Emilia Simone Westney Mr. Kenneth D. Singleton Mr. Paul H. Severtson Mr. Max R. Stern Ms. Antoinette C. Van Zabner Professor William F. Westney 2008–2009 alumni fund Class of 1975 Mr. Hall N. Goff Ms. Mariel I. Jensen Bailey Professor Larry E. Jones Mr. Barry M. Lenson Mr. Anthony M. Lopez Mr. David A. Marshall Ms. Christie A. Rollason-Reese Class of 1976 David B. Bernstein Ms. Katherine A. Brewster Ms. M. Susan Brown Professor Joan Osborn Epstein Professor William G. Hoyt, Jr. Mr. Richard A. Konzen Professor Susan J. Marchant Mr. Dale Thomas Rogers Mr. Donald S. Rosenberg Ms. Lori Laitman Rosenblum Prof. Michael C. Tusa Ms. Barbara M. Westphal Mr. Roy H. Wiseman Class of 1977 Mr. Daniel I. Asia Mr. David A. Behnke Dr. Mark Allen Brombaugh Mr. Timothy I. Hurd, QSM Professor Boyd M. Jones II Ms. Marilyn S. Smart Mr. Philip D. Spencer Ms. Leslie Van Becker Class of 1978 Ms. Gwen Adams Professor Paul Garritson II Ms. Laurie Hartzel Haller Dr. Janice Levine Mr. Jerrold Pope Mr. James H. Pyle Mr. John P. Varineau Class of 1979 Mr. Evan C. Ahern Professor Susan M. Blaustein Ms. Sharon Dennison Ms. Deborah Dewey Mr. Frederick L. Giampietro Mrs. Theresa E. Langdon Dr. Thomas Lloyd Mr. William J. Myers Mr. William A. Owen III Professor Jan Radzynski Ms. Susan E. Thompson Mr. Marvin Warshaw Class of 1980 Ms. Claudia Lois Ayer Mr. Eliot T. 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Howe Mr. Jason Arthur Rubinstein Ms. Jennifer Louise Smith Class of 1989 Mr. Dante Santiago Anzolini Ms. Erica Brenner Mr. William Jerold Crone Ms. Genevieve Feiwen Lee Ms. Jo-Ann Sternberg Ms. Patti Wolf Class of 1990 Ms. Siu-Ying Susan Chan Mr. Bruce A. Demaree Ms. Irina Faskianos DePatie Mr. Jerald W. Harscher Ms. Kirsten Peterson Mr. Benjamin Carey Poole Ms. Karen Schneider-Kirner Dr. John A. Sichel Mr. Joseph Talleda Class of 1991 Mr. Richard D. Adams Ms. Amy Feldman Bernon Mr. Lei Fan Ms. Eva Marie Heater Mr. Thomas G. Masse Mr. Ian C. McNutt Ms. Tamara A. Meinecke Mr. D. Thomas Toner Mr. John Austin Totter Prof. Nadine C. Whitney Class of 1992 Ms. Dawn Michelle Alitz Dr. Carolyn A. Barber Mr. Cheung Chau Mr. Ronald Charles Evans, Jr. Mr. John Scott Marshall Mr. Christopher P. Shepard Kenneth L. Tarver, Jr Ms. Amy Lynn Thiaville Mr. Ferenc Xavier Vegh, Jr. Mr. Todd Hall Waldecker Mr. Gregory Christopher Wrenn Class of 1993 Mr. Rodney V. Ayers Ms. Kin Chau Dr. Barbara J. 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Box 208246 New Haven, Connecticut 06520-8246 website: music.yale.edu email: email@example.com The audience stands as the Yale Philharmonia plays the Chinese national anthem at the start of its concert in Beijing’s Forbidden City Concert Hall.