YCB March 8 Program

College Band Directors National Association 2018 Eastern Division Conference

Yale Concert Band

thomas c. duffy, music director

Ask the Sky and the Earth

An Oratorio Cantata for the Sent-down Youth

for wind band and chorus Commemorating the 50th Anniversary of the “Sent-down Youth” Movement of China’s Cultural Revolution Music by Dongling Huo (Tony Fok) Libretto by Wei Su Orchestrated by Dong Yan Transcribed by Thomas C. Duffy Translated by Austin Woerner with the SYGQ Chorus Charles Lu, Music Director Also featuring

Three Places in New Haven

By Thomas C. Duffy Sam Um, marimba

thursday, march 8, 2018 7:30 pm woolsey hall yale university

The Yale Concert Band is grateful for the assistance and support of the Yale School of Music,; Office of the Arts, Yale College Dean’s Office; Yale Percussion Studio; Yale Glee Club; the Associate Curators of Organs (Nicholas Thompson-Allen and Joseph F. Dzeda), and the Yale-China Association.

The appearance of the vocal soloists is supported in part by the Rosamonde Safier Yale Band Endowment, established in honor of Rosamonde Safier, a piano prodigy and Tin Pan Alley song composer, to support collaborations between the Yale Bands and the professional world.

Yale University Bands P.O. Box 209048 New Haven, Connecticut 06520–9048 tel: (203) 432–4111 • fax: (203) 432–7213 stephanie.hubbard@yale.edu www.yale.edu/yaleband

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program Three Places in New Haven (2000)

Thomas C. Duffy

i. Castle in the Sky (Rollo Reads a Book) ii. The Long Wharf (Rollo Sails Away) iii. City Band March (Rollo Gets a Job) Sam Um MMA ’18, marimba

— i nter mi ss i on — Ask the Sky and the Earth: An Oratorio Cantata for the Sent-down Youth (2009)

Music by Dongling Huo (Tony Fok)

Libretto by Wei Su

Orchestrated by Dong Yan

Transcribed by Thomas C. Duffy

with the SYGQ Chorus Charles Lu, Music Director i. A Spring to Feed the Passing Years ii. Our Journey Awaits

Ricky Nan, tenor iii. Push Back the Wild iv. Dawn in the Rubber Groves

Jin-Xiang Yu, soprano

Luis Aguilar, tenor v. A Letter Home

Min Chen, soprano

Tong Kong, xiao vi. The Mountain’s Answer

Ding Gao, bass-baritone vii. We’re Back! viii. This Soil, These Hills

Ricky Nan, tenor

Ding Gao, bass-baritone

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program notes Three Places in New Haven (2000) thomas c. duffy Charles Ives spent four years on the Yale campus in New Haven from 1894-1898. Many of the places he frequented are still intact. Each movement of Three Places in New Haven addresses one particular place in New Haven. Each is frequented or visited by Rollo, Ives’ fictional character of lowest common denominator aesthetic sophistication and taste.

I. Castle in the Sky (Rollo Reads a Book) Yale’s library was built by stonemasons and is set in a gothic style. The workers took leftover materials and, instead of constructing ventilation boxes on the roof in the traditional square-box fashion, covered the air vents with a miniature medieval castle, complete with flying buttresses and cobbled walls. From some distance, one can see this castle, perched curiously on the top of a ten-story building. It floats above Yale’s Cross Campus green-space, where students go to sit on the grass after studying.

One hears the opening bustle of students currying to class. The motives are made of Charles Ives’ name through the ancient technique of soggeto cavato (carved subject). C=c, H=b, A=a, R=re=d, L=la=a, E=e, S=E-flat, and I=ti=b.

Thus the Ives motive is c, b, a, d, e, e-flat, b. The scurrying fades to reveal the quiet contemplative sound of students at work (Yale’s alma mater, “Bright College Years” [“Die Wacht Am Rhein”]). Students run for the library before it closes and one hears the clock tower sounding the warning for doors to close. Once inside, students set to work and the solo marimba presents a four-part hymn.

But Rollo has a very short attention span. As the monotony of reading begins to affect him, he daydreams. First the sounds of student life outside begin to invade his consciousness. In fact, he wonders why he studies at all—what’s the use? (The metaphysical question is presented by the trumpet, in the style of a question that “may never be answered.”)

Eventually, he fantasizes that a military maneuver is taking place in the castle in the sky. One hears the sounds of percussion, troops marching here and there. The solo marimba attempts to “question” Rollo’s daydream, and things end with neither an answer to the question nor a firm sense of whether the dream is real or the reality a dream.

II. The Long Wharf (Rollo Sails Away) The Long Wharf extended far out into the shallow New Haven harbor, and had for many years been the place where ships loaded and unloaded their produce and other goods. This was the harbor into which the British sailed during the Revolutionary War (and a few patriots fired a cannon at the British ships. Their aim was so poor that the British reported that they conquered New Haven unchallenged!). The harbor also is the home of Savin Rock, for years New Haven’s miniature version of Coney Island. Now the New Haven Green is far inland from the harbor’s water, but before a century of land fill, the church in which Ives played the organ was very close to the shore itself. Close enough for the sounds of the church’s bells to be heard on the water.

Rollo opts to spend Sunday morning not in church, but sailing on the harbor. The sun comes up on the peaceful waters of the harbor and Rollo floats about in a state of blissful detachment. While Rollo dozes on the boat, here and there one (and perhaps he) hears the sounds of the church service. The hymn that wafts out over the harbor contains a message—it is “Wachet auf ” (“Sleepers Wake!”).

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III. City Band March (Rollo Gets A Job) City Band March is homage paid to Charles Ives’ Country Band March. This march follows the form of its country cousin, including a da capo exposition, and a “coda” in which things become complicated.

The city of New Haven was home to Eli Whitney, the innovator who brought the concept of mass production to life.

During Ives’ time in New Haven, industry boomed and citizens enjoyed a fine mass transportation system, founded on a network of trains and trolley cars. This music presents the sounds of a city at work, busily producing “things”—some of metal, some needing to be stamped out, and some requiring much repetitive attention.

Rollo works in a factory and dreams throughout the workday of the pleasant train ride home to the country. He himself is a “mass product:” he dresses like everyone else, he rides the train in like everyone else, he repeats the same task all day like everyone else, and at day’s end, he joins the long trudging line of automatons as the “masses” move in synchronicity, coming and going to their assigned jobs (hear their robot-like cadence: two quarter notes, two eighthnotes, and one quarter note!).

Does the piece end with Rollo boarding a train that increasingly speeds him home, or is it his imagination—the acceleration representing his increasing desperation to be out of the factory and on his own? You decide.

soloist Sam Seyong Um is a percussionist artist, performer, and educator. Sam has been featured in many music series and festivals such as Yellow Barn, Sunset Music Series, and Essex Winter Music Series, among others. He is the winner of the 2017 Woolsey Hall Concerto Competition at the Yale School of Music, Sam Seyong Um where he performed under marimba the direction of Maestro Peter Oundjian. He is also the winner of the Concerto Competition at the Eastman School of Music and a recipient of 3rd place at the 2012 PAS Marimba Competition.

Sam has performed in world-renowned halls including Carnegie Hall, Kennedy Center, Strathmore, and Kodak Hall. Sam is also a member of The Percussion Collective Robert van Sice, which emerged from one of the world’s foremost student percussion ensembles, the Yale Percussion Group. As an active educator, Sam has given lectures and clinics at The Peabody Conservatory, The Eastman School of Music Summer at Eastman program, and New Life Foundation. He premiered many new works by wellknown composers such as Martin Bresnick, Christopher

Theofanidis, and Hannah Lash. Sam is an active artist in community outreach and community engagement programs, performing in places such as Mexico, Costa Rica, and around the United States with programs including the Yellow Barn Music Haul and The New Life Foundation. Sam earned his M.M. degree at the Yale School of Music with the Havemeyer Scholarship under Robert van Sice. He earned his B.M. degree at the Eastman School of Music with the Howard Hanson Scholarship and John Beck Scholarship under Michael Burritt, and he was honored with the prestigious Performer’s Certificate. He is currently pursuing the M.M.A. degree at the Yale School of Music. Sam is a proud endorser of mallet manufacturer Vic Firth.

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Ask the Sky and the Earth: An Oratorio Cantata for the Sent-down Youth (2009) Music by Dongling Huo (Tony Fok) Libretto by Wei Su Four decades ago, close to 20 million of China’s urban youth of middle- and high-school age streamed into the countryside to participate in the “up to the mountains and down to the villages” movement. In distant borderlands, on remote islands, in harsh wilderness, these young men and women passed the precious years of their youths, sacrificing formal educations to be schooled in hard agricultural labor. This was a unique course of life—full of idealism and hardship, drenched by tears and sweat, by turns tragic, romantic, dazed, and ecstatic. Ask the Sky and the Earth attempts to convey the spirit of this epoch, the sentiments of an entire generation as they think back upon their youths and “give thanks to life, give thanks to the land.”

— Wei Su, librettist (2009)

The Cantata Ask the average American what they know about the Chinese Cultural Revolution and they will tell you: nothing. Many might recognize the face of Mao, most would tell you he did terrible things; some might have heard of the Red Guards, have seen images of crowds of teenagers waving the Little Red Book. But few can tell you more than that.

The “Down to the Countryside Movement,” which began in the late 1960s and lasted into the mid-1970s, scattered almost 20 million children of middle- and highschool to remote regions of the Chinese countryside, separating them for years from their homes and families.

They were sent to “live among the peasants,” to become better Communists, to build a new society; it was a time of great idealism, and of incalculable hardship for many.

Today it is regarded as one of the twentieth century’s most massive utopian fantasies gone wrong. But no matter how history judges it, it shaped the lives of an entire generation of Chinese: it was the defining experience of their adolescence in the same way that the Sixties defined the adolescences of a generation of Americans. It was the air they drank, the water they breathed; it changed who they were, and who they’d become.

Americans know about the Holocaust; they know, to some degree, about the excesses of Soviet communism: these major events of the twentieth century have entered into our popular consciousness through books, through films; they are covered thoroughly in our history classes.

Yet we know little about the Cultural Revolution. Why? Because little or no art has emerged out of the Cultural

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Revolution that can truly span the culture gap. We have no Schindler’s List or Anne Frank’s Diary, no Quartet for the End of Time or Shostakovich Five to carry the strength and power of the Cultural Revolution the same way these works of art do for their historical events.

Ask the Sky and the Earth is unique in that it grapples with this difficult history while engaging the audience in an accessible musical language. It has more memorable melodies per square inch than the best of Broadway musicals. It conveys both the idealism and the darkness of the era, using a musical language that evokes the music of the time, giving the American listener—or singer—an unusual glimpse into what it was like to be young in China during the late 1960s. I myself have a long relationship with this piece—I am currently translating the lyrics into singable English and revising the orchestral score—and when I play the songs for other Americans I’m surprised by how stirred they are by the music. To make something so distant, so foreign, emotionally immediate—that is the power of this music.

Why is it important that Americans understand the Cultural Revolution? It broadens our worldview—true.

But there’s an even more simple answer: it’s our history too. Almost anyone my age whose parents emigrated from China (I’m 25) has a parent who was sent to the countryside. A vast number of Americans are connected to this history. It’s rarely discussed—it’s hard to talk about, and the language barrier makes it harder— but it’s there.

It’s time we made it our own.

— Austin Woerner (2011-12)

关于《岁月甘泉》 四十多年前的 1968 年，全中国有将近两千万的中学生和城市青年——他们都是共和国的同龄人， 到遥远的边疆、海岛、山村、荒原务农劳作，在穷乡僻壤渡过了自己宝贵的青春岁月。这是一段理 想与苦难同行、汗水和泪水共洒，充满浪漫、悲壮、迷茫和欢笑的特殊生命里程。 交响叙事合唱《岁月甘泉》，是粤海知青群体为纪念知青上山下乡运动四十周年而创作的大型音乐 作品。词、曲作者都是当年下乡海南岛的知青。作品以明朗中蕴涵沧桑的基调，以深富南疆风情的 音乐元素和史诗式的结构格局，缅怀、再现了知青一代人的青春历程。全曲以八段、九首曲目组成 ，以合唱、独唱、对唱、领唱等多种形式，重现了当年知识青年挥别亲人，在乡村垦荒劳作，思亲 、爱恋、迷茫、牺牲等等的历练和场景。作品缅怀过往，感念人生，感念乡亲和土地，充溢着知青 一代人浪漫主义、理想主义的激情，同时也寓涵着历史反思、温故知新、继往开来的深沉意蕴，自 2008 年九月在广州首演之后，得到广大知青群体的热烈反响和音乐界人士的广泛好评，曾由南方 电视台和凤凰卫视美洲台等多次转播，并在广州星海音乐厅一再上演。作品由广州太平洋影音公司 正式出版后，更是广为流传，一版再版。2009 年 11 月，《岁月甘泉》获得了广东省四年一评的文 学艺术最高奖项——“鲁迅文学艺术奖”，并于同月在北京国家大剧院上演。 — 词作 者 苏 炜 2009 关于《岁月甘泉》- 从一个美国青年的视角 关于中国的文化大革命，如果你随便问一个普通美国人，多数只是一脸的茫然。他们也许能认出毛 泽东的面孔，还可能告诉你他做了些很糟糕的事情。有些人也可能听说过红卫兵，也可能在电视上 见过一群手摇小红书的十几岁的孩子们，等等。不过，恐怕也仅此而已了。 1960 年代后期到 1970 年代中，中国大约有近两千万中学年龄的城市孩子被卷入了一场轰轰烈烈的 “上山下乡”运动。他们被送到农村和边疆，与他们的家庭和父母亲人分离多年。上面号称是为了 让他们接受农民的再教育，成为合格的共产主义接班人，从而建立一个更好的社会。那是一个理想 主义的时代。对很多孩子来说，亦是不可估量的艰苦岁月。如今，那场运动被认为是 20 世纪人类 历史上最大规模的乌托邦之一。无论历史将如何评价，那场运动永远改变了中国整整一代人的人生 轨迹，如同我们 1960 年代美国年青一代的经历一样。正是他们所喝的空气和所呼吸的水，塑造了 他们和他们的一生。 通过描述发生在 20 世纪的若干重要事件的书本和电影，几乎所有美国人都知道纳粹大屠杀以及前 苏联的残酷统治。我们的历史书中对此都有详尽的描述。但关于中国的文化大革命，他们就知之甚 少了。那是因为：源于文化大革命时期的事件并能真正跨越文化差异的艺术作品，不说是无处可觅 ，也是寥寥无几。《辛德勒的名单》、《安-弗兰克的日记》、《时间终结四重奏》和《肖斯塔科 维奇第五交响乐》等，以杰出的艺术形式，强悍地表达和展现了当时的历史事件。而对于文化大革 命，我们两手空空。 《岁月甘泉》的独特性就在于，她能以音乐的语言，将听众带入一段扣人心弦及令人难以回首的历 史。从形式到内容，其对历史的演绎都超越了最好的百老汇音乐剧。她以音乐符号与韵律，向美国 听众或演唱者展现了那一个充满理想主义与黑暗的时代，并给予他们以身历其境的陶醉。我和这个 作品打交道已有不短的历史——我正在把歌词翻译可以演唱的英文并且重新编排交响乐配器。我深 深感到，这个组歌的魅力，正在于她把看似遥远而陌生的历史，带予我们感情的共鸣。 为什么美国人也应该知道中国的文化大革命？当然，它能拓展我们的视野。不过，有一个更明晰的 回答：它也是我们的历史。几乎每一个从中国来的我的同龄人（我今年 25 岁），都有一个下过乡 的父亲或母亲。众多的普通美国人都与这段历史有不可分割的联系。但它却极少被谈及-——或由 于不堪回首，或由于语言交流的障碍。现在，是把它融入我们的历史的时候了。 — 《 岁 月 甘 泉 》 英 译 者 温 侯 庭 （—Austin 2011–2012 AustinWoerner） Woerner 2011–2012

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LYRICS LYRICS lyrics I. A Spring to Feed the Passing Years (Chorus)

I. A Spring to Feed Passing Years (chorus) (Chorus) i. a spring to feed the the passing years

A unique generation, shaped by an unusual era, A uniqueconfronts shaped by an unusual era, confronts Ageneration, unique their generation, shaped by an era, difficult past and theunusual complex feelings that their difficult past and the complex feelings that accompany it. that confronts their feelings accompany it. difficult past and the complex accompany it.

Dawns, dawns like brocade Dawns, dawns like brocade Sunsets, Dawns, sunsets of gold!like brocade Sunsets,dawns sunsets of gold!

Sunsets, sunsets of gold!

Dawns like brocade, sunsets ofsunsets gold—of gold— Dawns like brocade, Every morning covered by our footprints and our sweat.

Dawns like brocade, sunsets of footprints gold— Every morning covered by our and our On the earth, campfires burning, Every sweat.morning covered by our footprints and our sweat.

In the sky, stars On the turning: earth, campfires burning, Onthe thesky, earth, campfires Those were our eyes, flashing In stars turning:burning, In the sky, stars turning: Those were our flashing As we marched down oureyes, youth’s hard, long road.

Those were our down eyes, flashing As we marched our youth’s hard, long road.

As brocade, we marched down youth’s hard, long road.

Dawns like sunsets of our gold— Dawns like brocade, sunsets of gold— The muddy soil taught us to love, Dawns like brocade, sunsets of gold— The muddy soil taught us to love, The clinging grass-roots taught us to care.

The muddy taught ustaught to love, The clingingsoil grass-roots us to care.

On the earth, campfires burning, taught us to care.

Thethe clinging On earth,grass-roots campfires burning, In the sky, turning.

Onstars thesky, earth, campfires In the stars turning.burning, We crossed a thousand mountains and rivers: In the sky, stars turning.mountains We crossed a thousand and rivers: We won’tWe be young again.

We won’t crossedbea young thousand mountains and rivers: again.

We won’t be young again.

Dawns like brocade, sunsets ofsunsets gold—of gold— Dawns like brocade, Dawns like ofour gold— We give thanks thebrocade, land, tosunsets our elders, our friends.

We giveto thanks to the land, to elders, our We give thanksburning, to the land, to our elders, our friends.

On the earth, campfires friends.

On the turning: earth, campfires burning, In the sky, stars On the campfires burning, In the sky, stars turning: We dug a well inearth, hardship, tapped a spring In the sky, starsinturning: We dug a well hardship, tapped a spring To feed the passing years.

Wefeed dug the a well in hardship, To passing years. tapped a spring To feed the passing years. ii. our journey awaits (tenor with II. Our Journey Awaits (Tenorsolo, Solo with Chorus) II. Our Journey Awaits (Tenor Solo with Chorus) chorus) Thesounds: whistlethe sounds: the steamship for Hainan The whistle steamship bound forbound Hainan Island The whistle sounds: the Standing steamship bound for Hainan Island will soon depart. on the pier, a teenager, will soon Island depart. Standing on the pier, a teenager, fired by soon depart.

Standing on the pier, aprepares teenager, fired bywill idealism and filled with apprehension, idealism and filled with apprehension, prepares to set sail into fired andand filled with apprehension, prepares to set by sailidealism into a vast uncharted future. a vast andtouncharted future. set sail into a vast and uncharted future.

Wave to the vanishing mountains, Wave to the vanishing mountains, Wavethe tocold the vanishing mountains, Feel spray on your face, Feel the cold spray on your face, Feel goodbye the cold spray onloved your ones face, and friends.

Say to your Say goodbye to your loved ones andones friends.

Say goodbye to your loved and friends.

The whistle wails: The whistle Thewails: whistle Our journey wails: awaits.

Our journey Ourawaits. journey awaits, awaits. our journey awaits!

Our journey Our journey journey Ourawaits, journeyour awaits, ourawaits! journey awaits!

Say goodbye to your childhood dreams, Say goodbye to your childhood dreams,

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1. 序 曲 ： 岁 月 甘 泉 （ 合 唱 ） 1. 序 曲 ： 岁 月 甘 泉 （ 合 唱 ） 回望忧患年代的青春岁月，一个特殊年代造就的 回望忧患年代的青春岁月，一个特殊年代造就的 特殊群体，一段百感交集的深情歌唱。 特殊群体，一段百感交集的深情歌唱。 朝霞，朝霞似锦，啊……晚霞，晚霞啊……若 朝霞，朝霞似锦，啊……晚霞，晚霞啊……若 金！ 金！ 朝霞似锦，晚霞若金， 朝霞似锦，晚霞若金， 汗水和脚印，铺满我们每一个早 晨。 汗水和脚印，铺满我们每一个早 晨。 遍地篝火，满天繁星， 遍地篝火，满天繁星， 那是我们青春长路上，闪烁的眼睛。 那是我们青春长路上，闪烁的眼睛。 朝霞似锦，晚霞若金， 朝霞似锦，晚霞若金， 从泥土获得真情，从草根中了解责任。 从泥土获得真情，从草根中了解责任。 遍地篝火， 满天繁星， 遍地篝火， 满天繁星， 走过了千山和万水，我们不再年轻。 走过了千山和万水，我们不再年轻。 朝霞似锦，晚霞若金， 朝霞似锦，晚霞若金， 向大地父老乡亲，献上我们的感恩。 向大地父老乡亲，献上我们的感恩。 遍地篝火，满天繁星，在苦难中掘一口深井， 遍地篝火，满天繁星，在苦难中掘一口深井， 岁月的甘泉啊……啊，岁月甘泉… 岁月的甘泉啊……啊，岁月甘泉…

2. 汽 笛 一 声 海 天 阔 （ 男 高 音 独 唱 与 合 唱 ） 2. 汽 笛 一 声 海 天 阔 （ 男 高 音 独 唱 与 合 唱 ） 汽笛马上拉响，驶向海南岛的出海轮船马上启 汽笛马上拉响，驶向海南岛的出海轮船马上启 航。站在走向未知前景的人生码头，一个满怀理 航。站在走向未知前景的人生码头，一个满怀理 想和迷茫的少年，告别童年、告别亲人的怅 想和迷茫的少年，告别童年、告别亲人的怅 望…… 望…… 挥手云山远，珠水起浪波。 挥手云山远，珠水起浪波。 告别亲人上征途，汽笛一声海天阔。 告别亲人上征途，汽笛一声海天阔。 海天阔，海天阔，海天阔，啊…… 海天阔，海天阔，海天阔，啊…… 再见了再见，童年的梦想，我们要出海，迎击风 再见了再见，童年的梦想，我们要出海，迎击风 浪。 浪。

Say goodbye to your We’re off to bechildhood tossed by dreams, the wind.

Saytogoodbye to by yesterday’s We’re off be tossed the wind.happy songs.

In the depths of time,happy we’ll light Say goodbye to yesterday’s songs.our lanterns.

Say goodbye to your childhood dreams, In the We’re depthsoff of to time, we’ll light ourwind. lanterns. be tossed by the To yesterday’s happy songs.

Say goodbye to yourtochildhood dreams, Say goodbye yesterday’s happy songs.

The whistle wails: To yesterday’s happy In the depths ofsongs. time, we’ll light our lanterns.

Our journey awaits.

Say goodbye The whistle wails: to your childhood dreams, The whistle wails: To yesterday’s Our journey awaits. happy songs.

Our journey awaits, our journey awaits!

The whistle The whistle wails: wails: Our journey Our journey awaits,awaits. our journey awaits!

Remember hopes of your parents The whistlethe wails: As you raise your sail at the edge of the sky.

Our journey awaits, our journey awaits!

Remember the hopes of your Remember the voice of parents the wild As youCalling raise your at the of the sky. our sail plows, ouredge and axes.

Remember the hopes ofshovels your parents Remember the hopes of your parents, Remember the voice of the wild As you raise your sail at the edge of the sky. ofthe thevoice wild.

CallingThe ourvoice plows, our shovels andwild axes.

Remember of the Goodbye, goodbye!

Remember theour hopes of your parents,and axes.

Calling plows, our shovels The whistle wails: The voice of the wild.

Remember the hopes of your parents, Our journey awaits.

Goodbye, Thegoodbye! voice of the wild.

The whistle wails: Goodbye, goodbye!

The whistle wails: Our journey wails: awaits.

The whistle Our journey awaits.

Our journey The whistle wails: awaits.

Gaze out over the ocean, The whistle wails: Our journey awaits.

Over its heartsick sweep.

Our journey awaits.

Distant mountains and rivers are calling us Gaze out the ocean, Andover aout stirring anthem falls from the sky.

Gaze over the ocean, Over its heartsick sweep.

Over its heartsick sweep.

DistantDistant mountains and rivers calling us III. Pushmountains Back the Wild (Chorus) and are rivers are calling us And a And stirring anthem falls from the sky. a stirring anthem falls from the sky.

Slash and Burn: The wilds of Hainan are ablaze: sentdownPush youthBack participate in(chorus) the burning of forestland in iii. push back the wild III. the Wild (Chorus) order to plant rubber orchards and spur national rubber Slash and Burn: The wilds of Hainan areasablaze: sent-down production.

Youthful flames leap andsentSlash and Burn: Thehearts wildsthrill of Hainan are ablaze: youth participate in the burning of forestland in order to plant crackle. down youth participate in the burning of forestland in rubber order orchards and spur national rubber Youthful to plant rubber orchards andproduction. spur national rubber Ho hey, ho hey, hearts thrill as flames leap and crackle. production. Youthful hearts thrill as flames leap and Ho hey, ho hey, crackle.

Our boots stamp the ruddy clay, Ho hey, ho hey, As spring from hill to hill.

Hoour hey,fires ho hey, Ho hey, ho hey, Vines split, weeds Ho hey, ho hey, crackle, Our boots stamp the ruddy clay, And the jungle wakens to our call.

Our boots stamp the ruddy clay, As ourMountain fires spring from hill to hill. winds, come fan our flames, As our fires spring from hill to hill.

Set our youthful faces aglow.

Vines split, weeds crackle, Vines split, weeds crackle, Push back the jungle!

And the jungle wakens to our to call.

And the jungle wakens our call.

Hey-ho hey-ho Mountain winds,winds, come fan ourfan flames, Mountain come our flames, Smite boulders!

Set ourSet youthful faces aglow. ourthe youthful faces aglow.

Hey-ho hey-ho Push back the jungle!

Push back the jungle!

Burn the wild grasses!

Hey-ho hey-ho Hey-ho hey-ho Hey-ho hey-ho the boulders!

Smite Smite the boulders!

For tomorrow we hope to see Hey-ho hey-ho Hey-ho hey-hotrees growing in emerald waves.

Rubber Burn thegrasses! wild grasses!

Burn the wild Hey-ho hey-ho Hey-ho hey-hoho hey, Ho For hey, tomorrow we hope to see For tomorrow we hope to see Rubber trees growing in emerald waves.

Rubber trees growing in emerald waves.

Ho hey, ho hey,

再见了再见了，往日的欢歌， 我们到岁月深处，点起灯火。 再见，再见，童年的梦想，往日的欢歌啊，再见 了再见。 再见了再见了，往日的欢歌， 我们到岁月深处，点起灯火。 汽笛一声海天阔，汽笛一声海天阔。 再见，再见，童年的梦想，往日的欢歌啊，再见 海天阔，海天阔，海天阔，啊…… 了再见。 记住了，记住了，亲人的嘱托，在天涯海角，扬 汽笛一声海天阔，汽笛一声海天阔。 起风帆； 海天阔，海天阔，海天阔，啊…… 记住了，记住了，荒野的诉说， 为屯垦戍边，辛勤耕耘开拓。 记住了，记住了，亲人的嘱托，在天涯海角，扬 记住了，记住了，亲人的嘱托， 起风帆； 荒野的诉说啊，再见了再见！ 记住了，记住了，荒野的诉说， 为屯垦戍边，辛勤耕耘开拓。 汽笛一声海天阔，汽笛一声海天阔…… 记住了，记住了，亲人的嘱托， 荒野的诉说啊，再见了再见！ 抬头望沧海，千里怅寥廓。 远山远水呼唤我，壮歌一曲从天落！ 汽笛一声海天阔，汽笛一声海天阔…… 从天落，从天落，从天落！ 抬头望沧海，千里怅寥廓。 远山远水呼唤我，壮歌一曲从天落！ 从天落，从天落，从天落！

3. 垦 荒 曲 （ 合 唱 ） 烧 荒 : 随着烧毁荒林的熊熊大火，燃烧的土 地，燃烧的青春。 3. 垦 荒 曲 （ 合 唱 ） 烧 荒 : 随着烧毁荒林的熊熊大火，燃烧的土 地，燃烧的青春。 嘿哎！嘿哎！嘿哎！嘿_嘿_嘿！嘿_嘿_ 踏着红红的山泥，我们点燃一个个山岗。 荒草化作烈焰，把山野林莽来唤醒； 嘿哎！嘿哎！嘿哎！嘿_嘿_嘿！嘿_嘿_ 山风吹拂烈火，映红了我们青春的脸庞。 踏着红红的山泥，我们点燃一个个山岗。 劈开丛林呀，嘿_嘿_！炸开顽石呀，嘿_嘿_！ 荒草化作烈焰，把山野林莽来唤醒； 烧尽荒草呀，嘿_嘿_！希望在明天，胶林翻绿 山风吹拂烈火，映红了我们青春的脸庞。 浪。 劈开丛林呀，嘿_嘿_！炸开顽石呀，嘿_嘿_！ 嘿哎！嘿哎！嘿哎！嘿_嘿_嘿！嘿_嘿_ 烧尽荒草呀，嘿_嘿_！希望在明天，胶林翻绿 浪。 劈开重重的山岭，我们筑起 一层层山行。 荒野献出沃土，把青春年华来相迎； 嘿哎！嘿哎！嘿哎！嘿_嘿_嘿！嘿_嘿_ 山风吹拂烈火，拍打着我们骄傲的胸膛。 劈开重重的山岭，我们筑起 一层层山行。 劈开丛林呀，嘿_嘿_！炸开顽石呀，嘿_嘿_！ 荒野献出沃土，把青春年华来相迎； 烧尽荒草呀，嘿_嘿_！希望在明天，胶林翻绿浪 山风吹拂烈火，拍打着我们骄傲的胸膛。 劈开丛林呀，嘿_嘿_！炸开顽石呀，嘿_嘿_！ 烧尽荒草呀，嘿_嘿_！希望在明天，胶林翻绿浪 9

Ho hey, ho hey, Ho hey,Sunder ho hey,the serried ridges, Bind them with terrace fields.

Ho hey, ho hey, Wringing soil from trackless wild, Sunder the serriedfertile ridges, We call our youths to greet us.

Bind them with terrace fields.

Mountain winds, come fan our flames, Wringing fertile soil from trackless wild, Let ruddy light blaze on our proud breasts.

We call Push our youths to greet us. back the jungle!

Mountain winds, come fan our flames, Hey-ho hey-ho Let ruddy lightthe blaze on our proud breasts.

Smite boulders!

Push back the jungle!

Hey-ho hey-ho Hey-hoBurn hey-ho the wild grasses!

Hey-ho hey-ho Smite the boulders!

For tomorrow we hope to see Hey-ho hey-ho Rubber trees growing in emerald waves.

Burn the wild grasses!

Hey-ho hey-ho Song ofwe thehope Bulldozers: For tomorrow to see Clearing boulders and debris, sent-down youth heed Chairman Mao's call to “move the Rubber trees growing in emerald waves. mountain”—to assume the weighty responsibility of building a new nation.

Song of the Bulldozers: Clearing boulders and debris, sent-down youth Chairman Mao’s call to “move the Hear theheed mountain winds howl, mountain”—to assume the weighty Hear the bulldozers roar. responsibility of building a new nation.boom, banners flutter, Shovels As our commandos storm the ridge.

Hear the mountain winds howl, front-line Hear theWe’re bulldozers roar.troops, We’re warriors pioneers.

Shovels boom, bannersand flutter, Watch us smite the stubborn As our commandos storm the ridge. rocks And drive away the wild, Watch us move the mountains on our shoulders.

We’re front-line troops, Watch us smite the stubborn rocks We’re warriors and pioneers.

And drive away the wild, Watch us smiteusthe stubborn rocks Watch move the mountains on our shoulders.

And drive away the wild, Watch us move the mountains on our shoulders.

Their treads grind, Watch us smite the stubborn Their bodies gleam: rocks And drive away A line of the steelwild, oxen Drives lashing on rainour to shoulders. meet the dawn.

Watch us movethrough the mountains We’regrind, front-line troops, Their treads We’re warriors Their bodies gleam: and pioneers. us smite the stubborn rocks A line ofWatch steel oxen And drive away the wild, Drives through lashing rain to meet the dawn.

Watch us move the mountains on our shoulders.

Watch us smite the stubborn rocks We’re front-line And drivetroops, away the wild, We’re warriors and pioneers.

Watch us move the mountains on our shoulders.

Watch us smite the stubborn rocks And drive the wild, Letaway the wide frontier be watered by our blood, Watch us move the mountains on our shoulders.

And let lusty songs of dreamers rise from every distant Watch us smitefield. the stubborn rocks Letaway the wide frontier be watered by our blood, And drive the wild, Watch us move the mountains on our shoulders.

10

Let the wide frontier be watered by our blood, And let lusty songs of dreamers rise from every distant field.

推 土 机 手 之 歌 : 扛起移山的重任，也扛起了一 个时代的苦难和风流。

山风呼呼吹，推土机车隆隆响。 钢铲一声 吼，突击队红旗过山岗。 我们是开路先锋，我们是垦荒战士。 看我们劈开顽石，赶走蛮荒，把移山重任担在肩 上； 履带辚辚走，推土机车闪闪亮。 铁牛列成行，穿过暴雨迎接朝阳。 我们是开路先锋，我们是垦荒战士。 看我们劈开顽石，赶走蛮荒，把移山重任担在肩 上； 把青春热血洒遍边疆，让理想歌声四处飞扬！ 飞扬，飞扬，飞扬！

Let the wide frontier be watered by our blood, And let lusty songssongs of dreamers rise from everyevery distant And let lusty of dreamers rise from field. distant field.

Rise, Rise, rise, rise everyevery distant field!field! rise,from rise from distant

iv. dawn in the rubber (soprano IV. Dawn in the Rubbergroves Groves (Soprano and and Tenor tenorDuet duet with chorus) with Chorus) In a puritanical era, even love was a taboo subject, yet the furtive In a puritanical era, even love was a taboo subject, yet buds of adolescent romance blossomed nonetheless. A young pair the furtive buds of adolescent romance blossomed flirts while tappingArubber the wee morning nonetheless. youngtrees pairinflirts while tappinghours—and rubber are discovered and teased by their comrades. trees in the wee morning hours—and are discovered and

4. 半 湾 银 月 半 湾 潮 （ 男 女 声 对 唱 与 合 唱 ）

少男少女在劳动中萌发的爱情，在那个时代常常 会冒犯禁忌。凌晨割胶和收胶，悄悄的传情，悄 悄的来去，却被大伙儿发现和调侃。

teased by their comrades.

Silver moonlight on the water, Silver moonlight on the water, Lamps ablaze at three o’clock, the bugle sounds the hour.

Lamps ablaze at three o’clock, the bugle sounds the Silver moonlight on the water, hour.

Lamps ablaze at three o’clock, the bugle sounds the hour.

Silver moonlight on the water, Rubber-tapping time again, and much be done.

Lamps ablaze at three o’clock, the work bugleto sounds the Our voices hour. rise and chase the rays of dawn.

Rubber-tapping time again, and much work to be Heeheehee… done. voices rise La la Our la la la!

La la la and la la!chase the rays of dawn.

Heeheehee…

Let me get that pail for you, Laspell la la you la la!a La la la la la!

Let me while.

Let’s walk and talk, laugh and smile.

Let me get that pail for you, Don’t ask me what’s between me and my handsome Let me spell you a while. comrade Let’s walk and talk, laugh and smile.

Don’tDon’t ask me, hills between and streams askask methe what’s me and my handsome Ask them why we laugh! comrade Don’t ask me, ask the hills and streams Lovebirds wingwhy in the Ask them wemorning laugh! light, Flitting furtively through the air.

Lovebirds wing there. in the morning light, Flitting here, flitting Flitting furtively through the air. in my eyes, There’s honey in my heart and laughter Flitting here, flitting there.

Ask the twilight!

There’s Ask the dawn!honey in my heart and laughter in my eyes, Ask the twilight!

Ask the twilight and the dawn!

Ask the dawn!

They know, they know, and soon will everyone.

Ask the twilight and the dawn!

They know, they know, and soon will everyone.

One, two, three, four, five, six, seven!

Soon One, will everyone! two, three, four, five, six, seven!

Ha haSoon ha hawill ha everyone! ha ha …

Ha ha ha ha ha ha ha …

Silver moonlight on the water, Silver moonlight on the water, Lamps ablaze at three o’clock, the bugle sounds the hour.

Lamps ablaze at three o’clock, the work bugleto sounds the Rubber-tapping time again, and much be done. hour.

Rubber-tapping time andofmuch work to be Our songs rise and greet theagain, coming the sun. done.

Our songs rise and greet the coming of the sun.

Oh-yah-way, oh-yah-way, oh-lei-oh…

半湾银月半湾潮，三更灯火五更号，噢咧噢…… 半湾银月半湾潮，三更灯火五更号， 南渡江头收胶忙，歌声追着那彩霞跑， 歌声追着那彩霞跑。 咿── 啦啦啦……你收胶水我来挑，我来挑， 一路欢歌一路笑，一路都在笑， 若问我和阿哥我俩的心， 山也知道，水也知道。山水都知道！山水都知 道！ 清晨里飞过比翼鸟，飞过比翼鸟， 来也悄悄，去也悄悄，来去都悄悄， 甜在心中笑在脸，笑在脸， 早霞知道，晚霞知道。早晚都知道，早晚都知 道！ 你也知道，我也知道，一二三四五六七，大家都 知道！ 哈哈哈…… 半湾银月半湾潮，三更灯火五更号， 南渡江头收胶忙，歌声追着那彩霞跑， 歌声追着那彩霞跑。 哎！嘿罗喂！哎！嘿罗喂！噢咧噢──

11

Oh-yah-way, oh-yah-way, oh-lei-oh…

v. a letter (soprano solo with V. Ahome Letter Home (Soprano Solo with Women’s women’sChorus) chorus)

5. 一 封 家 书 （ 女 高 音 独 唱 与 合 唱 ）

A young girl teaches peasant workers in the local night school; A young girl teaches peasant workers in the local night after class is over, she writes a letter home. Homesick, faced with school; after class is over, she writes a letter home. an uncertain future, yet heartened the carefuture, and solace of the Homesick, faced with anby uncertain yet heartened locals, she unburdens herself to her mother far away. by the care and solace of the locals, she unburdens herself

一个刚刚从文化夜校下课的知青小老师，写给远 方妈妈的信。她的思亲想家和人生迷惘，她在山 村生活里感受到的亲情和希望。

to her mother far away.

The moon is bright, the stars are out.

The moon is bright, the stars are out.

All around me, mountains sleep.

All around me, mountains sleep.

I lock the Ischoolhouse door behind me, lock the schoolhouse door behind me, I light theIlantern in my hut. light the lantern in my hut.

Mother, soMother, far away: so far away: Your daughter you.

Your misses daughter misses you.

What I want to say What I want to say Can’t be expressed word or two.

Can’t be expressed in a word in or atwo.

I want to gaze upon the stars, I want to gaze upon the stars, But the clouds are obscuring But the clouds are obscuring my view. my view.

I want to fly, I want to fly, find my wings.

But I can’tBut findI can’t my wings.

Let the morning dew, the evening light Let the morning dew, the evening light Wash away my sweat and my sorrow.

Wash away my sweat and my sorrow.

Towering mountains, Towering Bottomless mountains,night, Bottomless night,is this life taking me?

Where Where is this life taking me?

Mom, I miss you, I miss you.

Mom, I miss you, I miss you.

My new aunts and uncles crowd the schoolroom.

Slowly, teach them how to write.

My new aunts andpainstakingly, uncles crowd Ithe schoolroom.

Years of sweat and sorrow in each labored stroke, Slowly, painstakingly, I teach them how to write.

We laugh and joke, they tell me stories Years of sweat and sorrow in each labored stroke,of kin and land.

We laugh and joke, they tell me stories of kin and land.

In the groves, beneath the midday sun, In the groves, beneath the midday sun, Uncle teaches me how to tap the trees.

Uncle teaches me how to the tap wind the trees.

At night, while wails, At night, while the wind wails, Auntie brings a pot of ginger soup.

Auntie brings a pot of gingersprings soup. run, In the mountains, In the mountains, springs And flowers wakerun, beneath the sun, And flowers wake beneath sun, me hope.

Bringing me love,the bringing Bringing me love, bringing me hope.

Towering mountains, Towering Bottomless mountains,night, Where Bottomless night,is this life taking me?

Where is this life taking me?

Mom, I miss you.

Oh, I miss you.

Mom, I miss you.

Oh, I miss you.

The moon is bright, the stars are out.

All around me, mountains sleep.

12

月明星稀，啊，月明星稀…… 群山静谧，群山静谧，啊，静谧…… 轻轻地，掩上夜校的小门，默默点亮茅草房的油 灯。 远方的妈妈啊，女儿想你，三言两语，道不尽万 千思绪。 我想眺望星空啊，思绪被云雾遮挡； 我要飞翔啊找不到翅膀。 早起的寒露，西下的夕阳， 和着我的汗水，带走我的悲伤。 啊…… 山苍苍，夜茫茫，人生的路，走向何方？ 妈妈啊，女儿想你，想你，想你！ 满满的，夜校坐着阿叔阿婶，一字一句我教他们 学文化。 汗水和心思啊，都在笔画里； 多少话儿，连着乡亲和土地。 白天烈日下啊，阿叔教我学割胶； 夜晚风雨狂啊，阿婶端来热姜汤。 山泉的流淌，山花的芳香，带给我亲情，带给我 希望。 啊…… 山苍苍，夜茫茫，人生的路，走向何方？ 妈妈啊，女儿想你，想你，想你！ 我想你，我想你，我想你！ 月明星稀，群山静谧……

The moon is bright, the stars are out.

All around me, mountains sleep.

vi. the answer solo VI.mountain’s The Mountain’s Answer (baritone (Baritone Solo with withChorus) chorus)

6. 山 的 壮 想 （ 男 中 音 独 唱 与 合 唱 ）

On a mountainside far from home, a sudden flash flood took the On a mountainside far from home, a sudden flash flood lives of twenty-two sent-down youth. Years later, standing at their took the lives of twenty-two sent-down youth. Years graves, a former sent-down youth mourns their deaths, cherishes later, standing at their graves, a former sent-down youth their memories, and deaths, ponderscherishes the fate of an entire generation. mourns their their memories, and

一场铺天盖地的大洪水，曾经一瞬间就毁灭了二 十二个青春的花季。多少年后，站在知青墓前缅 怀往事，所有对于生命的追悼，都包含了一代人 的命运慨叹。

ponders the fate of an entire generation.

Deep in the hills, silently, in the hills, silently, A rowDeep of gravestones stands.

A row of gravestones stands.

Beneath the weeds, the soil keeps its secrets.

Beneath the weeds, the soil keeps its secrets.

When that great typhoon came ripping through the land, When that great typhoon came ripping through the How many land, springtimes did it tear apart?

How many springtimes did it tear apart?

Mountain winds sigh, GreenMountain mountainswinds scrapesigh, the sky, Do notGreen ask me whether Iscrape regretthe mysky, youth. mountains Do not ask me whether I regret my youth.

Mountain winds sigh, Mountain winds sigh, Green mountains scrape the sky, Green mountains scrape Nothing is more precious than the life sky, itself.

Nothing is more precious The rainbow in the clearing sky than life itself.

The rainbow in the sky Feels no shame before theclearing mountain, Feels no shame before the mountain, Bears no grudge against the earth.

Bears no grudge against the earth.

Out onOut theon sea, once again, thea sail sea, flutters a sail flutters once again, Waiting for another storm storm to put to it to test.

Waiting for another putthe it to the test.

Only we who the flavor of sorrow and pain Only weknow who know the flavor of sorrow and pain Can claim havetotruly happiness.

Can to claim havetasted truly tasted happiness.

The mountain its mantras, The mountain has itshas mantras, The ocean has its dreams, The ocean has its dreams, me whether I regret my youth.

Do notDo asknot meask whether I regret my youth.

The mountain has its mantras, The mountain has its mantras, The ocean its dreams, The ocean has itshas dreams, Nothing is more precious than life itself.

Nothing is more precious than life itself.

We who have crossed the sea We who have crossed the sea Do not fear the wind, Do notDo fear wind, notthe fear the dark.

Do notOh, fearwe thedodark. not fear them.

Oh, we do not fear them.

We are the children of the mountains and the sea, We areWe theknow children of the mountains the ocean’s vastness, and the sea, We know the mountain’s We know the ocean’s vastness, heights.

We know the mountain’s heights.

Mountain winds sigh, Green mountains Mountain winds sigh, scrape the sky, Mountain winds Green mountains scrapesigh… the sky,

山的壮想，山的壮想，啊…… 大山里静静地站立的墓碑，荒草里掩埋着沉默的 土堆。 那一场暴风雨铺天盖地，把多少年轻的花季粉 碎， 把多少花季粉碎。 啊……噢呀喂，噢呀喂！ 山风轻轻吹，青山高巍巍。不要问我青春悔不 悔？ 山风轻轻吹，青山高巍巍。没有什么比生命更可 贵。 雨后的彩虹，对苍山无愧，对大地无愧。 啊，无愧！无愧！ 大海里重新竖起的船桅，等待着和风浪再次的相 会。 品尝过峥嵘岁月千般甘苦，最知道什么是幸福滋 味。 啊……噢呀喂，噢呀喂！ 山有山的壮想，海有海的沉醉。不要问我青春悔 不悔？ 山有山的壮想，海有海的沉醉。没有什么比生命 更可贵。 我们曾经沧海，对风浪无畏，对黑暗无畏。啊， 无畏！ 我们是那大山大海的儿女，有海的辽阔，有山的 壮伟！ 山风轻轻吹，青山高巍巍；山风轻轻吹，山风轻 轻吹……

Mountain winds sigh…

13

vii. we’re back! (chorus) VII. We’re Back!

(Chorus) Sent-down youth, no longer young, return to the countryside.

Sent-down youth, no longer young, return to the With tears and smilesWith they tears reunite, longthey years, with the locals countryside. andafter smiles reunite, after who cared for them and the land that became their second home. long years, with the locals who cared for them and the land that became their second home.

La la la la…

La la la la…

We’re back!

We’re back!

We’re back, groves,groves, We’rerubber back, rubber Bringing tidings from waters of the Pearl Bringing tidingsthe from the waters of theRiver, Pearl River, We’re back, orchards, We’remango back, mango orchards, Bringing greetings from the breezes of the of the Bringing greetings from the breezes Chaoshan Plains,Plains, Chaoshan Bringing the echoes of yesteryear’s Bringing the echoes of yesteryear’s songs, songs, Bringing today’s laughter, and Bringing today’s laughter, and today’stoday’s tears. tears.

Greeting old loves that took root this earth, Greeting old loves that took root in this in earth, Telling of our pride in our children’s Telling of our pride in our children’s growth,growth, Singing of the torrents of the passing Singing of the torrents of the passing years, years, And our eternal youth.

And our eternal youth.

7. 我 们 回 来 啦 （ 合 唱 ） 回来了，已经不再年青的“知青”们回到了他们的 第二故乡，和当年的乡亲与土地久别重逢，笑中 含泪，泪中带笑。

啦啦啦啦……我们回来啦！我们回来啦！ 橡胶林，我们回来了！带来了珠江水日夜的牵 挂； 芒果园，我们回来了！带来了潮汕平原清风的问 好…… 带来了，往日的歌声缭绕；带来了，今天的泪水 和欢笑。 欢叙着土地结下的深情；诉说着儿女成长的骄 傲。 歌唱着岁月滔滔，青春永不老！ 啊，我们回来啦！啊，我们回来啦！ 啦啦啦啦……我们，我们回来啦！ 小学校，我们回来了！带来了山南海北儿女的欢 闹； 老班长，我们回来了！带来了大洋彼岸游子的关 照…… 带来了，往日的歌声缭绕；带来了，今天的泪水 和欢笑。 欢叙着土地结下的深情，诉说着儿女成长的骄 傲。 歌唱着岁月滔滔，青春永不老！ 啊，我们回来啦！啊，我们回来啦！ 啦啦啦啦……我们，我们回来啦！

VIII. This Soil, These Hills (Baritone and Tenor

viii. this these hills (baritone and Solo soil, with Chorus) tenor solo with chorus)

8. 终 曲 ： 情 系 青 山 （ 男 中 音 、 男 高 音 领 唱 与合唱）

A generation offers their gratitude to life, and to the land and A generation gratitude to life,and andtheir to the land people who nurturedoffers them.their To their homeland future, and people who nurtured them.

To their homeland and they offer their love and pride. their future, they offer their love and pride.

感念土地，感念人生，感念我们的乡亲父老。向 今天和未来、大地和祖国，献上我们的爱心与骄 傲。

Give thanks to life, Gives thanks to the land.

Give thanks to our elders, our friends.

Our hearts are bound to this soil, these hills.

14

感念人生，感念土地， 我们感念乡亲父老，情系青山，心连乡土。

Give thanks to life, Gives thanks to the land.

To the present, we offer our love.

Give thanks to our elders, ourour friends.

To the future, we offer pride.

To the wetooffer Our hearts areearth, bound this our soil,love. these hills.

To our homeland, we offer our pride. hearts bound to this soil, these hills.

To theOur present, weare offer our love.

To the future, we offer our pride. the we present, and love. to the future, To theTo earth, offer our We offer our love and our pride.

To our homeland, we offer our pride.

To the earth, and to our homeland, Our hearts are bound to this soil, these hills.

We offer our love and our pride.

To the present, and to the future, We offer our love and our pride.

To the earth, and to our homeland, We offer our love and our pride.

向今天，献上我们的爱心；向未来，献出我们的 骄傲。 向大地，献上我们的爱心；向祖国，献出我们的 骄傲。 心连乡土，情系青山…… 向今天献上，向未来献出，我们的爱心，我们的 骄傲； 向大地献上，向祖国献出，我们的爱心，我们的 骄傲！ 向今天献上，向未来献出，我们的爱心，我们的 骄傲； 向大地献上，向祖国献出，献出我们，我们的爱 心， 我们的骄傲！

15

guest artists composer Tony Fok is the Chairman and President of Comba Telecom. During the Cultural Revolution, Fok was sent to rural Hainan Island as part of the “down to the countryside” movement. In 1977 he entered the South China University of Technology, where he majored in radio communications. In 1995 he founded Comba Telecom, one of the earliest developers of mobile repeater products and wireless telecommunications services in China. Comba was listed on the Hong Kong Stock Exchange in 2003 and awarded “Business Superbrand” status in 2006.

In addition to his business achievements, Fok has distinguished himself in the artistic sphere. As a young man he was considered the artistic backbone of his school and later of his peers in the “sent-down youth”; while in Hainan he taught himself in music theory and composition and composed a considerable number of vocal and instrumental works. From July 2007 to August 2008, Fok composed the songs for the symphonic choral suite Ask the Sky and the Earth, a tribute to the sent-down youth generation, which won accolades from many quarters.

librettist Wei Su is a senior lecturer at Yale University, where he teaches in the Department of East Asian Languages and Literatures. A writer and critic whose work has been widely published in China, Su spent his teenage years (1968-1978) in the countryside of Hainan Island, where he was sent during the Cultural Revolution’s “down to the countryside” movement. He is the author of several novels: Dukou, You Yige Zaochen (“Ferry: Another Morning,” 1982, Guangdong), Mi Gu (“Invisible Valley,” 1999, Taiwan; 2006, Beijing), Mi Diao (“Key of E,” included in the “Best Chinese Novels of the Year, 2004,” 2007, Guangdong), and Mo Fang de Gu Shi 16

(“Story of a Mill House,” 2016, USA); a collection of short stories, Yuan Xing Ren (“Sojourners,” 1987); a collection of academic essays, Xiyang Jingyu (“Western Mirror, ” 1988, Zhejiang); and three collections of memoirs, Duzi Miandui (“Going It Alone,” 2003, Shanghai), Zhanzai Yelu de Jiangtai Shang (“At the Podium at Yale,” 2006, Taipei) and ZoujinYelu (“Inside Yale,” 2009, Beijing).

choral director SYGQ Music Director Charles Lu grew up in Beijing, China. Nearly fifty years ago, he was among the Sent-down youth during China’s cultural revolution, and spent more than six years on a farm in the northeast part of China.

Mr. Lu has been the general coordinator, music director, and choral conductor for the Oratorio Cantata Ask the Sky and the Earth in its overseas concert performances. He received several years of professional music education when he was young, and later, he was involved in music composition, chorus and instrument ensemble conducting, as well as performance and concert production. He is a co-founder of the Yale Chinese Chorus and the Kanghua Chorus of Connecticut, and has been the director of the Yale Chinese Chorus for more than 12 years.

Mr. Lu came to the United States and Yale in 1986 as an associate research scientist. He is currently the Associate Director for Technology and Systems Development at the Yale University Center for Medical Informatics.

VOCAL SOLOISTS

in order of appearance vocal soloists Ricky international schools.

She holds a degreeChina. in theatre RickyFeng Feng Nan Nan ((南枫)) is a dynamic young tenor from Guangzhou, Hedance is iscurrently a dynamic young tenor TheatAmerican Musical Dramatic Academy, a a first-year M.M.A.from student the Yale School of and Music, studying with Richard Cross. Most recently,Bachelor Ricky played theinrole of Monostatos in Yale Opera’s from Guangzhou, China. of Arts linguistics and a Bachelor of Music production of aDie Zauberflöte.inHe participated as a studio artist inQueens CentralCollege, City and He is currently first-year vocal performance from CUNY Opera’s 2017 season, where he covered the role of Remendado in Carmen.

2017, M.M.A. student at the Yale a Master of Music in Opera from Yale School ofInMusic.

Ricky played the role of Martin in Northwestern University’s production of The School of Music, studying Following her recent appearance Elle inLynch Poulenc’s Tender Land,Cross. and premiered the role of Aaron in Joseph’s Gift byasFrancis withLa with Richard Most humaine, by theinNew York Classical Music at Saint Matthew’s. Invoix 2016, he sangshe thewas rolepraised of Rinuccio Gianni recently, Ricky played the a “robust soprano with secure amber tone…

Schicchi with Miami SummerReview Music as Festival.

Ricky made his professional opera role of Monostatos in Yale debut as Car Man in Tri-Cities Opera’s production Dating in 2015. [with a] beautiful senseof of Speed phrasing and Tonight formidable French Opera’s production Die Hayes (Susannah) with Northwestern University Opera Other roles includeofElder diction” and by Parterre as “a startling departure as Elle...

Zauberflöte.

He with participated Theatre and Silvio (Doctor Miracle) Northwestern’s Chamber Initiative, Frederic (The Piratesand of remarkable for Opera its conviction, guts, and endurance,” as a studio artist in Central Penzance) with the Peking University Opera Center,The andNew Fenton/Dr. Caius (Falstaff) at Binghamton York Times hailed her “compelling performance City Opera’s 2017 season, where he covered the role of University. that traced the shifting moods vividly.” In Jack Perla’s Remendado in Carmen. In 2017, Ricky played the role of An American Dream at Opera Maine, the Portland Press VOCAL also enjoysUniversity’s balancing his operatic career Martin inRicky Northwestern production ofSOLOISTS Thewith work in theatre and film. Most recently, he performed Herald praised “her bright, clear timbre and admirable inI order of appearance the role Hanks Jr.the in Where with Beijing Haidian Theatre. He starred in the microfilm Fall in New Tender Land, and of premiered role of am Aaron in Joseph’s flexibility createRicky a moving portrayal York, Lynch which with was selected the finals of theIn Asian vocal Film Festival of to Dallas. received his of Setsuko.”

Gift by Francis Music atfor Saint Matthew’s. undergraduate degree at in Binghamton University 2015, and his master’s degree from Northwestern In recent years, she has been a guest soloist 2016, he sang the role of Rinuccio Gianni Schicchi with inyoung Ricky Feng Nan (南枫) is a dynamic tenor from Guangzhou, China.

Hewith is the Yonkers University in 2017.

This summer he will be singing Spoletta in Tosca with Opera Theater of Connecticut.

Philharmonic under Tong Chen and with the Yale currently a first-year student at the Yale School ofMaestra Music, studying with Miami Summer Music Festival.

Ricky made hisM.M.A. professional Richard Cross.

Most recently, Ricky played the role of Monostatos in Yale Opera’s Philharmonia in Messiaen’s Poèmes pour Mi under Maestro opera debut as Car Man in Tri-Cities Opera’s production production of Die Zauberflöte.

He participated as a studio artist in Central City Peter Oundjian, has sung O Holy Night at St. Patrick’s of Speed Dating Tonight in 2015. Other roles include Elder 2017 season, whereOpera he covered the role of inof Carmen.

In Songs 2017,of Peace and Cathedral, andRemendado has been part NAXOS’s Hayes (Susannah) withOpera’s Northwestern University Jin-Xiang Yu (郁金香) is a Chinese/Japanese/Korean/Russian soprano raised Ricky played the role of Martin in Northwestern University’s production of The Praise. This year, she will be performing with the American Theatre and Silvio (Doctor Miracle) with Northwestern’s in premiered Japan. Shethe grew in a musical family speaking Japanese, English, and Tender Land, and role up ofSongbook Aaron in Joseph’s Gift by Francis Lynch with and American Festival of Microtonal Chamber Opera Initiative, Frederic (TheMandarin Pirates of Penzance) while learningOrchestra Spanish and being an avid athlete, a trumpet Music at Saint Matthew’s.Chinese In 2016, he sang the role of Rinuccio in Gianni Music, among others.

SheShe is aholds recipient of the Jack Kent with the Peking University Opera Center, and Fenton/Dr. player, and a Music pianistFestival. at international schools. a degree in theatre Schicchi with Miami Summer Ricky made his professional opera Cooke Graduate Arts Award and the William Orr Dingwall Caius (Falstaff) at Binghamton University. dance from TheOpera’s American Musical and Dramatic Bachelor of Arts debut as Car Man in Tri-Cities production of Speed DatingAcademy, Tonight ina 2015.

Korean Ancestry Grant, among others.

She has CUNY been a in linguistics and a Bachelor of Music in vocal performance from Other roles include Elder Hayes (Susannah) with Northwestern University Opera Ricky also enjoys balancing his operatic career with semi-finalist of the Young Concert Artist Competition Queens College, and a Master of Music in Opera from Yale School of Music.

Theatre Silvio (Doctor with Northwestern’s work inand theatre and film. Miracle) Most recently, he performed Chamber Opera Initiative, Frederic (The Pirates of and first-place winner ofatthe Lyra NY International Vocal Penzance) with the Peking University Opera Center, and Fenton/Dr. Caius (Falstaff) Binghamton the role of Hanks Jr. in Where am I with Beijing Haidian Following her recent appearance as Elle in Poulenc’s La voix humaine, she was praised by the New York Competition in Art Song.

University.

Theatre. Classical He starred in the microfilm Fall in New York, Review as a “robust soprano with secure amber tone…[with a] beautiful sense of phrasing and Previous roles include: Kaede in the world premiere of which wasformidable selected forFrench the finals of the and Asian Festival diction” byFilm Parterre as “ainstartling departure as Elle...remarkable for its conviction, Ricky also enjoys balancing his operatic career with work theatre and film. Most recently, he performed Mumyo and Aizen (Lincoln Center), Tehillim with Face of Dallas.

Ricky received his undergraduate degree at andJr.endurance,” The Beijing New York Times Theatre. hailed her performance thatin traced the role ofguts, Hanks in Where amand I with Haidian He“compelling starred in the microfilm Fall New the shifting the Music and Alarm Will Sound (le Poisson Rouge), Binghamton University in 2015, and his master’s degree moods Perla’sofAn Dream at Opera Maine, the received Portlandhis Press Herald praised “her York, which wasvividly.” selected In forJack the finals theAmerican Asian Film Festival of Dallas.

Ricky Domina in A Funny Thing Happened On The Way To The from Northwestern inadmirable 2017.University Thisvocal summer he and bright,degree clearUniversity timbre and flexibility to create a moving portrayal of Setsuko.” undergraduate at Binghamton in 2015, his master’s degree from Northwestern Forum (Kupferberg Mary in South Pacific will be singing Spoletta Tosca with Opera TheaterSpoletta of University in 2017.

Thisin summer he will be singing in Tosca with OperaCenter), TheaterBloody of Connecticut.

Center), Constance in Dialogues des Chen Carmélites In recent years, she has been a guest soloist with the(Kupferberg Yonkers Philharmonic under Maestra Tong and Connecticut. with the Yale Philharmonia in Messiaen’s Poèmes pour Mi underCenter), MaestroLauretta Peter Oundjian, has sung O Holy (Kupferberg in Gianni Schicchi (Sprague Night at St. Patrick's Cathedral, and has been part of NAXOS's Songs of Peace and Praise. ThisNight’s year, she will Hall), Titania in Britten’s A Midsummer Dream be performing withJin-Xiang the American Songbook Orchestra and American Festival of Microtonal Music, among Jin-XiangYu Yu (郁金香) ( ), is a Chinese/Japanese/Korean/Russian (Shubert Theatre). She has performed in scenes as Magda in soprano raised others. She is a recipient of She the Jack Graduate Award and the etWilliam Orr inChinese/Japanese/Korean/ Japan. grewKent up inCooke a musical familyArts English, and Dingwall La Rondine, thespeaking title role Japanese, in Roméo Juliette, Zerlina in Don Korean Ancestry Grant, among others. been a and semi-finalist of the Young Concert Artist Mandarin Chinese whileShe learning Spanish being an in avid athlete, a trumpet Russian soprano raised in hasGiovanni, and Bystrouška Janáček’s Príhody lišky Bystroušky Competition and first-place winner of the at Lyra NY International Vocal Competition in Art player, pianist schools. holds a degree in Song. theatre Japan.and Sheagrew up ininternational a at Yale Opera.

AsShe a 2015 Bonfils-Stanton Apprentice Artist dance from The American Musical and Dramatic Academy, a Bachelor of Arts musical family speaking at Central City Opera, she played Annina in La Traviata and Previous roles include: Kaede in the premiere of Mumyo and Aizen (Lincoln from Center), Tehillim with inJapanese, linguistics and world a Bachelor of Music ininvocal performance CUNY English, and laRouge), Japonaise Boismortier’s DonThing Quichotte chez la Duchesse Face the Music andQueens Alarm College, Will Sound (le Poisson Domina in A Funny Happened On The and a Master of Music in Opera from Yale School of Music.

Chinese while covered Aldonza Man of La Mancha.

Way To The Forum Mandarin (Kupferberg Center), Bloody and Mary in South Pacificin(Kupferberg Center), Constance learning Spanish and being Following her recent appearance as Elle in Poulenc’s La voix humaine, she was praised by the New York avid athlete, a trumpet Classical Review as a “robust an soprano with secure amber tone…[with a] beautiful sense of phrasing and player, and a pianist at departure as Elle...remarkable for its conviction, formidable French diction” and by Parterre as “a startling guts, and endurance,” and The New York Times hailed her “compelling performance that traced the shifting moods vividly.” In Jack Perla’s An American Dream at Opera Maine, the Portland Press Herald praised “her bright, clear timbre and admirable vocal flexibility to create a moving portrayal of Setsuko.”

In recent years, she has been a guest soloist with the Yonkers Philharmonic under Maestra Tong Chen and

17

Tenor Luis Aguilar In China, Ms. Chen’s outstanding performances earned Regalado is a native of her the title of National Class-A Performing Artist in 2007.

Torreon, Mexico, praised She served as a vice president of the Sichuan Provincial in Mexico’s leading opera Association for Popular Music, and was a professor in magazine, ProOpera, as a the Department of Vocal Music at Sichuan Conservatory “rising and refined tenor of Music. with great musicality.”

Since coming to the United States in 2010, Ms. Chen has Recent performances performed concerts in venues including Carnegie Hall, include his role debut of Manhattan Central Theater, the United Nations in New Ferrando in Yale Opera’s York, and the Lincoln Center concert halls. She is active production of Così fan tutte.

Dialogues des Carmélites (Kupferberg Center), Lauretta in Gianni Schicchi (Sprague Titania both on Hall), the stage and ininthe recording studio, and has In 2016 he as tten’s A Midsummer Night’s Dream (Shubert Theatre).

Sheperformed has performed in scenes as Magda in La been appointed to judge various competitions, including Almaviva in Zerlina Rossini’s barbiere di Siviglia with ndine, the title roleCount in Roméo et Juliette, in IlDon Giovanni, and Bystrouška in SinoVision Janáček’s Příhody lišky the Teenage Talent Show Competition.

OperaAsdea Nuevo Leon in Monterrey, Mexico.Artist He canatbe stroušky at Yale Opera.

2015 Bonfils-Stanton Apprentice Central City Opera, she played Ms. Chen is dedicated to promoting and spreading Chinese as Tamino in the new Yale production nina in La Traviataseen andinla2018 Japonaise in Boismortier’s DonOpera Quichotte chez la Duchesse and covered Aldonza music in the United States, and has been an active member Man of La Mancha.of Die Zauberflöte, as well as the title role in a concert of the Chinese Musicians Association, as well as the World version of Bernstein’s Candide with Eastern Connecticut Artists Association, for many years. She is the founder Symphony Orchestra. and President of the New York International Art Institute.

SinceTenor his debut 2013 asRegalado Nemorino d’amore) at Mexico, praised in Mexico’s Luis in Aguilar is a(L’elisir native of Torreon, Centro Cultural Ollin Yoliztli,ProOpera, Mr. Aguilarashas performed leading opera magazine, a “rising and refined tenor with great Bass-baritone Ding Gao many roles including Don Ottavio in Mozart’s Don musicality.” Recent performances include his role debut of Ferrando in Yale ( ) has has enjoyed enjoyedmuch muchsuccess and popula Ding Giovanni, Belfiore in Mozart’s La tutte. finta giardiniera Opera’s production of Così fan In 2016 he and performed asBass-baritone Count Almaviva in Gao (丁羔) the United States and worldwide (Europe, Canada, and Hong Kong) success and popularity Rossini’s Il barbiere di Siviglia with with OperaOberlin de Nuevo Ernesto in Donizetti’s Don Pasquale in Leon in Monterrey, Mexico. received a Performance Certificate from Yale University, where he stu in the United States and in 2018 as Tamino in the Bruschino, new Yale Opera production of Die Italy,He as can wellbeasseen Florville in Rossini’s Il signor with Richard Cross and Sherrill Milnes.

Among other roles at Yale, he worldwide (Europe, Zauberflöte, as Falstaff, well as the role inina concert Fenton in Verdi’s andtitle Tamino Mozart’sversion Die of Bernstein’s Candide with performed Don Basilio in Rossini's Il Barbiere di Siviglia, Lord Sidney Canada, and Hong Kong).

EasternWith Connecticut Symphony Orchestra.

Zauberflöte.

Yale Opera he has performed as Gennaro first original language production in the United States of Rossini's Il V He received a Performance in Donizetti’s Lucrezia Borgia and Father Grenville in a Reims, and Figaro in Mozart's Le nozze di Figaro.

He also performed Since his debut in 2013 as Nemorino (L’elisir d’amore) at Centro Cultural Ollin Certificate from Yale Heggie’s Dead Man Walking, as well as Tanzmeister in da Requiem with the Yale Philharmonia Orchestra conducted by Yoliztli, Mr. Aguilar has performed many roles including DonMessa Ottavio in University, where he Strauss’s Ariadne auf Naxos. Recently he expanded his Maestro ozart’s Don Giovanni, Belfiore in Mozart’s La finta giardiniera and Ernesto in Donizetti’s Don de Carvalho. studied with Richard Stravinsky’s ballet/opera squale with Oberlinconcert in Italy,repertoire, as well as performing Florville in Rossini’s Il signor Bruschino, Fenton in Cross and Sherrill Milnes.

Renard with New England Orchestra and the In theassummer rdi’s Falstaff, and Tamino in Mozart’s Die Zauberflöte. With Yaletenor Operasolos he has performed Gennaroofin2001, Ding Gao performed Don Basilio in Rossini' Among other roles at Yale, of Bach’s and Mozart’s Requiem.

Mr. Aguilar di Siviglia nizetti’s Lucrezia Borgia andMagnificat Father Grenville in Heggie’s Dead Man Walking, as wellBarbiere as Tanzmeister in with Utah Festival Opera and the title role of Moza he performed Don Basilio in Rossini’s Barbiere Siviglia, nozze di Figaro with the El Paso Il Opera.

In di the 2001-02 season, he was was a finalist in The Giulio Gari competition auss’s Ariadne auf Naxos.

Recently he expanded hisFoundation concert repertoire, performing Stravinsky’s Lord Sidney in the first original language production by the Nashville Opera and Opera Memphis to sing the role of Timur in Turandot.

He made his deb in 2017. let/opera Renard with New England Orchestra and the tenor solos of Bach’s Magnificat and Mozart’s in the United States of Rossini’s Il Viaggio a Reims, and Seattle Opera as Nilakantha in Delibes's Lakmé, and with the Boston Pops and conductor Keith Lock quiem. Mr. Aguilar was a finalist in The Giulio Gari Foundation competition in 2017.

Mr. Aguilar holds a Bachelor in Music magnaofcum laudeexcerpts, Figaro Letelevision. nozze di Figaro. a concert operatic to in beMozart’s filmed for Ding He Gaoalso is a performed 1995 winner of the Sullivan from theinHartt Music. is the currently at the of Music.

Foundation Competition and ofHe the Caruso Voice Competition (1st Prize). Futu Verdi’s Messa da Requiem with the Yale Philharmonia . Aguilar holds a Bachelor MusicSchool magnaof cum laude He from Hartt School isEnrico currently at International YaleasSchool as a part of Yale pursuing engagements include concert to be performed and Shanghai, China.

Orchestra conducted

by MaestroindeChicago Carvalho.

Yale School of Music a part of of Music Yale Opera pursuing hisOpera Master’s degree. an operatic his Master’s degree.

In the summer of 2001, Ding Gao performed Don Basilio in Rossini’s Il Barbiere di Siviglia with Utah Festival Opera Soprano Min Chen title role ofand Mozart’s ( ) was andand raised wasborn born raisedand in the Chongqing has Le nozze di Figaro with the El Soprano Min Chen (陈旻) Paso Opera.

In the 2001-02 Chongqing andthehas performed extensively in in both China and United States. She received her season, he was invited by the Nashville bachelor’s degree in performed Music fromextensively Sichuan Conservatory of Opera Music and andOpera her Memphis to sing the role of in Timur in Turandot. He made his debut with Seattle Opera master’s degree from the Central of Music in Beijing. both ChinaConservatory and the United as Nilakantha in Delibes’s Lakmé, and with the Boston States. She received her In China, Ms. Chen’s outstanding performances earned her the title Pops and conductor KeithofLockhart in a concert of operatic bachelor’s degree in Music National Class-A Performing Artist in 2007.

She served as a vice president oftelevision. Ding Gao is a 1995 excerpts, to be filmed for from Sichuan Conservatory the Sichuan Provincial Association for Popular Music, and was a professor in winner of the Sullivan Foundation Competition and of of Music and her master’s the Department of Vocal Music at Sichuan Conservatory of Music. the Enrico Caruso International Voice Competition (1 st degree from the Central Prize). Future engagements include an operatic concert Conservatory of Music in Since coming to the United States in 2010, Ms. Chen performedin concerts to has be performed Chicago and Shanghai, China.

Beijing. in venues including Carnegie Hall, Manhattan Central Theater, the United Nations in New York, and the Lincoln Center concert halls. She is active both 18 the stage and in the recording studio, and has been appointed to judge various competitions, including SinoVision Teenage Talent Show Competition.

sygq chorus Charles Lu, Music Director Susan Shabazian, Anna Chen, pianists In the seven years since the oversea premiere performance of this fabulous oratorio cantata presented by Yale Concert Band and the SYGQ Chorus, more than 1500 singers from across the United States, Australia, and Germany have participated in 15 performances around the globe. The 180 choral singers tonight hail from around Connecticut; from Boston, Chicago, Austin, Dallas, Portland, Washington DC and the San Francisco Bay Area; as well as from Sydney, Australia and Stuttgart, Germany. They represent a variety of musical organizations, including the Chicago Huanghe Art Group and Houston Yellow River Chorus, Texas.

Soprano

Ky April, Ping Bai, Meili Cai, Catherine Chen, Yihong Chen, Yuanqian Chen, Yumei Cheng, Na Chu, Weili Chu, Chaohua Cuan, Yunfang Dong, Maggie Emery, Yuan Fang, Lancy Feng, Xing Gao, Yusheng Ge, Beiping Guo, Jing Guo, Liping He, Xiaohong He, Yonghua He, Yanling Huang, Jian Jin, Xiao-ling Kelleher, May Kwok, Xuelong Lai, Fengzhen Li, Jialing Li, Jian Li, Jianhua Li, Jinhuan Li, Nancy Li, Die Lin, Jieping Lin, Ying Lin, Hui Liu, Ranying Liu, Sha Liu, Shuyan Liu, Xiaoyan Liu, Xingtie Nie, Dansui Pan, Huilin Qi, Zhangmei Qiao, Caihong Qiu, Hong Shi, Monica Shum, Tao Song, Nancy Stewart, Mary Wang, Lanna Wu, Liyuan Wu, Hong Xiao, Yanhong Xiao, Ning Xie, Shelly Xu, Tracy Xu, Shuting Yang, Zhongping Yang, Ping Yu, Ruihua Yu, Ruohong Yu, Lu Zeng, Qingzhu Zhai, Shuning Zhan, Jiaqing Zhang, Qinying Zhao, Helen Zheng, Han Zhou, Julia Zhou, Xiaoshan Zhou Odom

alto

Lynn M. Buentgen, Sherry Chen, Xiaopu Chen, Christine Chen, Cathy Fang, Yiguang Fu, Xiaosha Ge, Yi Guan, Pattie Gubins, Koon Eng Ho, Yan Hong, Xilin Jordan, Jingjing Li, Meixia Li, Min Li, Yuanjun Li, Zhufang Li, Yangyan Liang, Susan Lou, Ying Lu, Xiaolin Luo, Shanna Peng, Anna Roof, Kirie Santos, Susan Shabazian, Judy Shao, Hui Shen, Huifen Shen, Jie Zhang Tyrrell, Hong Wang, Jane Wang, Qing Wang, Weihua Wang, Winter Wang, Jinxia Xie, Shuping Xu, Ping Yan, Yangyang Yan, Yiping Yang, Yanling Ye, Hillary Yin, Weiping Yu, Shufang Yu, Eve Zhang, Huilan Zhang, Wanru Zhang, Zimei Zhang, Minghui Zhao, Sally Zhao, Hong Zheng, Lieyang Zhou, Qien Zhou, Xiaoye Zhou, Judy Zhu

tenor

Jian Chen, Xiaoliang Chen, Youzeng Chen, Yibing Deng, Xin Du, Dah Fang, Dinghai Gan, Changhui Guan, Jack (Yu) He, Mingzhu Huang, Jack Jian Jiang, Yu Liu, Yue Liyong, Daqing Lu, Houmin Luo, David Ma, August Miller, Tao Peng, Yamin Shen, George Shi, Nanmin Shi, Hongjie Wang, Hua Wei, Lu Weimin, Hao Xu, Leming Xu, Yibo Xu, Frank Yang, You-Wen Yi, Guoying Yu, Dongsheng Zhang, Guohua Zhang, Edison Zhou

bass

Brian Emery, Jiaju Gong, Yin Guoquan, William Hart, Shulin He, Shengqiang Huang, Darwin Keichline, Bruce Larkin, Xinji Li, Yawei Li, Sydney Liang, Su Liu, Charles Lu, Qifang Mei, Tony Santos, Xiaozhong Shao, Theodore Smith, Ping Su Su, Anqiang Sun, Liping Zhao

Videographer, Photographer Chengyue Lao, Youshan Yang

Director for Management and Support Xiaoyuan Yu, Junqi Ding

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岁月甘泉合唱团 指挥：陆成东 钢琴伴奏: Susan Shabazian, 陈亚拿 自从耶鲁交响管乐团与岁月甘泉合唱团 7 年前在海外首演《岁月甘泉》之后，在美国各地，澳大利 亚悉尼和德国法兰克福以及中国举行了 15 场《岁月甘泉》的演出。 参加过演出的歌手超过 1500 人。 这场音乐会有 180 位岁月甘泉歌友前来参加。 他们来自德州奥斯汀，波士顿，芝加哥黄河艺 术团，康州，德州达拉斯，华盛顿 DC 地区，俄勒冈波特兰，德州休士顿黄河合唱团，旧金山及湾 区，澳洲悉尼以及德国斯图华特。 女高音 赖素莲, 柏萍, 蔡美莉, 陈薏友, 陈艺虹, 陈远倩, 程玉梅, 褚娜, 储为砺, 崔朝华, 董云芳, Maggie Emery, 方圆, 冯兰茜, 高星, 葛玉生, 郭北平, 郭静, 何莉萍, 何晓红, 贺拥华, 黄岩玲, 金坚, 邱晓玲, 刘美娓, 赖雪隆, 李逢珍, 李家玲, 李建, 李建华, 李金环, 李铁春, 林 蝶, 林洁萍, 林莹, 刘晖, 刘然英, 刘霞, 刘舒燕, 刘晓岩, 聂型铁, 潘丹穗 , 祁慧霖, 乔张梅, 邱彩虹, 史红, 岑敏玲, 宋涛, Nancy Stewart, 汪丽, 吴兰娜, 吴丽渊, 萧红, 肖艳红, 谢宁, 许志美, 徐惠群, 杨书婷, 杨钟萍, 于萍, 于瑞华, 余若红 , 翟青竹, 占舒宁, 张嘉庆, 赵琴英, 郑玉轩, 周菡, 周晓萍, 周小姗, 曽璐 女中音 马小文, 陈宪珠, 陈晓璞, 陈瑜, 方向明, 傅乙光, 戈晓莎, 关毅, Pattie Gubins, 何君英, 洪燕, 冯希琳, 李晶晶, 李美霞, 李皿, 李元军, 李竹芳, 梁杨燕, 娄述, 卢莹, 罗筱琳, 彭珊, Anna Roof, Kirie Santos, Susan Shabazian, 邵永丽, 沈惠, 沈慧芬, 张杰, 王宏, 王晓燕, 王青, 王伟华, 王薇, 谢锦霞, 徐淑萍, 闫平, 严扬扬, 杨贻平, 叶彦玲, 殷晖, 于卫平, 喻淑芳, 張意, 张慧兰, 章宛如, 张子梅, 赵明辉, 赵惠珍, 郑红, 周列阳, 周期恩, 周小叶, 朱晓红 男高音 陈建, 陈晓亮, 陈佑曾, 邓宜兵, 杜欣, 方达, 甘定海, 关常辉, 和雨, 黄明竹, 大姜, 刘煜, 岳利勇, 吕大庆, 罗厚民, 马殷平, August Miller, 彭涛, 沈亚民, 史鍾麒, 石南民, 王宏杰, 卫华, 卢伟民, 徐皓, 徐乐明, 徐一波, 杨钟衡, 易幼闻, 余国营, 张东升, 张国华, 周小颖 男低音 Brian Emery, 龚家驹, 尹国权, William Hart, 何庶林, 黄胜强, Darwin Keichline, Bruce Larkin, 李新纪, 李亚维, 梁熙, 刘肃, 陆成东, 梅齐放, Tony Santos, 邵晓钟, Theodore Smith, 苏平, 孙安强, 赵立平

摄影、摄像 劳承跃，杨又山 管理与后勤支持总管 俞小源，丁俊琪

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about the yale concert band Music Director Thomas C. Duffy (b. 1955)) is Professor (Adjunct) of Music and Director of University Bands at Yale University, where he has worked since 1982. He has established himself as a composer, a conductor, a teacher, an administrator, and a leader. His interests and research range from non-tonal analysis to jazz, Thomas C. Duffy Composer and Conductor from wind band history to creativity and the brain.

Under his direction, the Yale Bands have performed at conferences of the College Band Directors National Association and New England College Band Association; for club audiences at NYC’s Village Vanguard and Iridium, Ronnie Scotts’s (London), and the Belmont (Bermuda); performed as part of the inaugural ceremonies for President George H.W. Bush; and concertized in nineteen countries in the course of sixteen international tours.

Duffy produced a two-year lecture/performance series, Music and the Brain, with the Yale School of Medicine; and, with the Yale School of Nursing, developed a musical intervention to train nursing students to better hear and identify body sounds with the stethoscope. He combined his interests in music and science to create a genre of music for the bilateral conductor — in which a “split-brained conductor” must conduct a different meter in each hand, sharing downbeats. His compositions have introduced a generation of school musicians to aleatory, the integration of spoken/sung words and “body rhythms” with instrumental performance, and the pairing of music with political, social, historical, and scientific themes. He has been awarded the Yale Tercentennial Medal for Composition, the Elm/Ivy Award, the Yale School of Music Cultural Leadership Citation and certificates of appreciation by the United States Attorney’s Office for his “Yale 4/Peace: Rap for Justice” concerts — music programs designed for social impact by using the power of music to deliver a message of peace and justice to impressionable middle and high school students.

From 1996 to 2006, he served as associate, deputy and acting dean of the Yale School of Music. He has served as a member of the Fulbright National Selection Committee, the Tanglewood II Symposium planning committee, and the Grammy Foundation Music Educators Award Screening Committee, and completed the MLE program at the Harvard University Institute for Management and Leadership in Education. He has served as: president of the Connecticut Composers Inc., the New England College Band Directors Association and the College Band Directors National Association (CBDNA); editor of the CBDNA Journal, publicity chair for the World Association of Symphonic Bands and Ensembles; and chair of the Connecticut Music Educators Association’s Professional Affairs and Government Relations committees. For nine years, he represented music education in Yale’s Teacher Preparation Program. He is a member of American Bandmasters Association, American Composers Alliance, the Connecticut Academy of Arts and Sciences, Connecticut Composers Incorporated, the Social Science Club, and BMI. Duffy has conducted ensembles all over the world and was selected to conduct the NAFME National Honor Band in the Kennedy Center, Washington, D.C.

Projects and Performances The Yale Concert Band is known throughout the country and the world for its performances of traditional and unusual music in a variety of settings. The Concert Band has received critical acclaim for such projects and performances as its historical recreation of Sousa’s Band (in Carnegie Hall); its collaboration with Walter Cronkite to present the music of the American Civil War for Black History Month and Lincoln’s birthday; its re-creation of Glenn Miller’s Army Air Force Band to commemorate the 50th anniversary of the D-Day landing at Normandy; the premiere of Percy Grainger’s last band piece, reconstructed

by Director of Bands Thomas C. Duffy; the U. S. premiere of an undiscovered 1930 march by John Philip Sousa; and, to date, four combined concerts with the United States Coast Guard Band. Other musical distinctions include commissions of both well-known and up-andcoming composers: Roberto Sierra, Sid Hodkinson, Daron Hagen, Gunther Schuller, David Diamond, Byron Adams, Alan Hovhaness, Gregory Woodward, Jonathan 21

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Berger, Frank Ticheli, David Maslanka, Andy Akiho, Michael Colgrass, and Steven Stucky, whose 1985 piece, Voyages, was a nominee for the Pulitzer Prize in Music.

(Director of Yale Bands Thomas C. Duffy is a frequently commissioned composer; his band and orchestra music receive performances worldwide.)

Upcoming Yale Bands Performances

The Yale Concert Band has the distinction of being the first United States university concert band to tour Europe – that being in 1956 with Director of Bands and Professor Emeritus Keith L. Wilson. Since that time, the Concert Band has completed twenty-seven concert tours to Puerto Rico, California, Florida, Texas, the Netherlands, Germany, France (twice), Switzerland, England (three times), Denmark, Bermuda (twice), Japan, Italy (twice), Ireland, Spain, the north coast of Africa, Austria, the Czech Republic, Finland, Russia, Brazil, Mexico, South Africa, Lithuania, Latvia, Estonia (twice), Ghana, and most recently, Greece. The Band will tour Australia this coming May, to complete its 28 th tour.

• Friday, April 13, 2018, 7:30 p.m. Yale Concert Band Spring Concert. Thomas C. Duffy, Music Director. From the Blue Ridge (Jeff Midkiff ), Jeff Midkiff, mandolin; Shakata: Singing the World into Existence (Dana Wilson); Bell Piece (Percy Grainger/arr. Thomas C. Duffy).

With special guests the Fair Haven Middle School Band, Daniel Kinsman, Music Director. Woolsey Hall. Free.

• Sunday, April 8, 2018, 2:00 p.m. Stan Wheeler Memorial Jazz Concert: The Yale Jazz Ensemble, Thomas C. Duffy, Music Director, and the Reunion Jazz Ensemble.

Program TBA. Yale Law School Auditorium, 127 Wall St., New Haven. Free.

• Sunday, May 20, 2018, 7:00 p.m. Yale Concert Band Annual Twilight Concert. Thomas C. Duffy, Music Director. Ceremonial music on the eve of Yale’s Commencement. Outside on the Old Campus. Free.

yale concert band 2017 – 2018 Thomas C. Duffy, Music Director Stephanie Hubbard, Business Manager Piccolo Ben Tillinger MY ’21 Flutes Beatrice Brown PC ’19* Monica Barbosa DC ’19 Jeremy Goldwasser SM ’21 Neyén Romano BK ’18 Catherine Lacy BR ’18 Julia Cai BR ’20 Melissa Leone SY ’21 Joan Gomez-Aguilar BK ’20 Katie Handler TC ’21 Oboe Michelle Nguyen YSM ’18* Lauren Williams YSM ’18 English Horn Lauren Williams YSM ’18 Eb Clarinet Alex Brod BK ’19 Bb Clarinet Christopher Zhou PC ’19 ¿ Keith L. Wilson Principal Clarinet Chair** Alexander Ringlein BR ’18 Alison Ho GH ’20 Chengpei Liu NUS/JE ’20 Eric Wang PC ’21 Jessica Oki TC ’20 Christian Fernandez BF ’20 Jacob Neis SY ’18 Madeline Bender TD ’20 Heather McClure MY ’20 Betsy Li MY ’18 Bb Bass Clarinet Ellie Handler ES ’18

Bassoon Maddy Tung TD ’21* Bradford Case SM ’20 Jorge Nunez MC ’20 Alto Saxophone Jacob Hillman MC 19* Nick DeWalt SY 21 Flynn Chen TC 20 Tenor Saxophone Antonio Medina MY 19 Baritone Saxophone Sara Harris SY 19 Trumpet (rotating) Eli Baum JE ’19* James Brandfonbrener MC ’21 Noah Montgomery GH ’19 Adam Tucker MC ’21 Jacob Zavatone-Veth MY ’19 French Horn Michael McNamara TD ’20* Sida Tang SY ’19 Derek Boyer BR ’18 Juliet Yates TC ’21

Harp Michelle Tong MY ’21 Celeste Julia Weiner BK ’19 Timpani Rebecca Leibowitz TC ’18 Percussion David Zuckerman DC ’20* Melina Delgado MY ’19 Ryan Haygood BF ’21 Nasser Odetallah BR ’20 Jonathan Roig BF ’18 Xiao Tong Kong † Music Librarian Derek Boyer BC ’18 * principal ** Friends of Keith L. Wilson (Director of

Yale Bands from 1946-1973) honored him by endowing the principal clarinet chair in the Yale Concert Band in his name. If you would like information about naming a Yale Concert Band chair, please contact the Yale Bands office.

† A xiao is a Chinese, vertical, end-blown flute,

Trombones William Burns MC ’20* Robert Howard GH ’21 Luke Benz SM ’19 Zach Haas YSM ’18

generally made of bamboo. Tonight’s guest artist is an undergraduate musician at Wesleyan University in Middletown, CT, whose commitment spans from classical music to Chinese music to jazz. We thank her for performing with us this evening on Ask the Sky and the Earth, to lend even more authenticity to this beautiful cantata.

Euphonium Wil Wortley YSM ’18

YALE CONCERT BAND OFFICERS President: Beatrice Brown General Managers: Madeline Bender, Heather McClure Social Chairs: Maddy Tung, David Zuckerman Personnel Manager: Adam Tucker Publicity Chair: Jeremy Goldwasser

Tuba Josef Lawrence TC ’20* Alison Ross GH ’20 String Bass Kohei Yamaguchi YSM ’18

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