Yale Concert Band
Thomas C. Duffy, Music Director
Winter Concert
Mark Gahm, Nicole Lam, and Rory Bricca, Guest Conductors
Friday, February 14, 2025, at 7:30 pm, Woolsey Hall, Yale University
KARL JENKINS
arr. Robert Longfield
THOMAS C. DUFFY
JONATHAN F. WEISS
L’Homme armé diptych:
The Armed Man: A Mass for Peace (1999)
I. Marziale
The Philosopher’s Stone (1995)
Mark Gahm, guest conductor
The Cancer-Free Party (2024)*
Jonathan F. Weiss, narrator
Rory Bricca, guest conductor
PERCY GRAINGER
arr. Richard Franko Goldman
Handel in the Strand (1911)
Nicole Lam, guest conductor
~ intermission ~
GUSTAV HOLST
ed. Frederick Fennell
EDWARD ELGAR
arr. Earl Slocum
HENRY FILLMORE
ed. Frederick Fennell
First Suite in E-Flat for Military Band (1909)
I. Chaconne
II. Intermezzo
III. March
Mark Gahm, guest conductor
Enigma Variations (1899)
Nicole Lam, guest conductor
Americans We (1929)
Mark Gahm, guest conductor
*commissioned with funds from the Robert Flanagan Yale Band Commissioning Endowment
Yale University acknowledges that Indigenous peoples and nations, including Mohegan, Mashantucket Pequot, Eastern Pequot, Schaghticoke, Golden Hill Paugussett, Niantic, and the Quinnipiac and other Algonquin-speaking peoples, have stewarded through generations the lands and waterways of what is now the state of Connecticut. We honor and respect the enduring relationship that exists between these peoples and nations and this land.
The Yale Concert Band was organized by Keith L Wilson in 1946. At that time and for decades afterward, the majority of music played by wind bands in the United States consisted of arrangements and transcriptions of popular orchestral, opera, and show music. Wilson was a nationally recognized band director, composer, and arranger, whose work is still held in the highest regard. As president of the College Band Directors National Association in 1962, he led the organization in the commissioning of music specifically for the wind band; these compositions were solicited from nationally and internationally known composers. The many years of music being transcribed for wind band did generate some masterpieces, and many Americans learned and loved opera, orchestral, and popular music through their local wind bands.
About Tonight’s Music
The Armed Man: A Mass for Peace, I. Marziale (1999)
KARL JENKINS
(arr. Robert Longfield)
The Armed Man: A Mass for Peace was commissioned by the Royal Armouries to mark the transition from one millennium to another. It reflects on the passing of ‘the most war-torn and destructive century in human history’ and looks forward in hope to a more peaceful future. The Armed Man is dedicated to the victims of the Kosovo conflict, whose tragedy was unfolding as it was being composed. It was first performed in 2000 by the London Philharmonic Orchestra and the National Youth Choir of Great Britain, conducted by Jenkins himself.
The “mass for peace” is introduced by a marching drumbeat and the tune of a French folk song (based on a 15th-century original) played on the flute. The choir sing the folk song, which celebrates the man of arms: the armed man is to be feared, let every man arm himself with a coat of steel.
-Stuart Brown
The Philosopher’s Stone (1995)
THOMAS C. DUFFY
This composition sings the praises of the South Shore Conservatory on the occasion of its twenty-fifth anniversary (1970-1995). The title refers to the medieval Philosopher’s Stone, an imaginary substance sought for by alchemists in the belief that it would transform base metals into silver or gold. The compositional techniques used herein show great concern for the properties of numbers, symmetry and symbols, much in line with the concerns of the medieval alchemists. The specific compositional technique employed here is soggetto cavato (carved subject), the 16th century practice of carving a musical subject out of the vowels (and even consonants in this piece) of a title or sentence and transforming them into a melody by means of the solmization syllables of the Guidonian hexachord (or German/Latin nomenclature).
The composition appears as a rough rounded binary form. Both the first and third section stand as tribute to the 25th-year anniversary. The middle section reflects the state of the country when the Conservatory was founded in 1970 (a year that saw the escalation of the Vietnam War, the Kent State killings, and tremendous societal upheaval). Here again the composer relies on ancient compositional techniques. The simple melody presented by the woodwinds is the ancient folk tune, “L’Homme Armé,” The Armed
Photo: Harold Shapiro
Man. The words that accompanied this simple tune translated from Medieval French as: “The armed man is to be feared; everywhere it has been proclaimed that everyone should arm himself with a coat of iron mail.” Its presence here represents the martial atmosphere of the United States in 1970. Mimicking the overall form of the entire composition, this middle section is in three parts the first two being instrumental settings of “L’Homme Armé.” The third part contains the setting of “L’Homme Armé” as the cantus firmus (tenor) sung by band members. Around this cantus firmus are three contrapuntal lines drawn from a Latin Mass by Guillaume Dufay, specifically the Agnus Dei. The original Latin words accompanying this section were: “Agnus Dei qui tollis peccata mundi miserere (nobis)”—“Lamb of God that takest away the sins of the world, have mercy (on us).” Thus, the most popular war hymn of the 15th and 16th enturies is transformed into the basis for a plea to God for mercy and peace. (The music is written so as to allow for four different combinations of instruments with the voice cantus firmus, which aligns with the medieval practice of writing music for voices without specifying instruments other than by range or tessitura.)
The Cancer-Free Party (2024)
JONATHAN F. WEISS
The Yale Concert Band is excited to share a very special song this evening. We were contacted by the Sing Me a Story Foundation, an organization that creates music inspired by the creative stories of children in need.
Through Cancer Support Community Greater NY & CT at Gilda’s Club, we were connected with 12-year-old Hamish and his younger sister, Lola. In September 2023, Hamish was diagnosed with a rare and aggressive cancer. Beforehand, he was an athletic, energetic, cheeky 11-year-old boy. Hamish has endured brutal chemotherapy, multiple surgeries, a clinical trial, and targeted therapy, and is about to embark on yet another clinical trial. His strength and ability to make others smile is his special gift. He has a zest for life and is determined to beat this!
Through Sing Me a Story, Hamish and Lola were given the opportunity to write and illustrate a story about anything they wanted. Together, they wrote a story titled “Hamish and Lola’s Story.” We gave the story to composer Jonathan Weiss, who turned it into a piece of music for our ensemble. Hamish, Lola, and their family are here tonight, hearing the song for the first time. We hope you enjoy the world premiere of The Cancer-Free Party, inspired by the story written by Hamish and Lola, and narrated by the composer himeslf.
Jonathan Weiss graduated from Yale College in 2024, and is a composer, pianist, and private music teacher based in New Haven. An inaugural recipient of the Chauncey Fellowship, he released his debut album, OH VASTNESS, on February 6 and is composing an opera about the medieval fairy Melusina. Growing up with a brother with severe disabilities has given Jonathan a passion for connecting with children and a deep interest in the experiences and needs of families facing health challenges.
Handel in the Strand (1911)
PERCY ALDRIDGE GRAINGER
(arr. Richard Franko Goldman)
Percy Aldridge Grainger, a pianist, composer, and champion of the saxophone, was born in Brighton, a suburb of Melbourne, Australia. His architect father was
an immigrant from London, and his mother, Rose, was the daughter of hoteliers from Adelaide, South Australia. His father was an alcoholic, and when Grainger was 11, his parents separated. His mother – a domineering and possessive, but cultured, figure who recognized his musical abilities – took him to Europe in 1895 to study at Dr. Hoch’s Conservatory in Frankfurt. There he displayed his talents as a musical experimenter, composing in irregular and unusual meters. From 1901 to 1914, Grainger lived in London, where he befriended Edvard Grieg and developed a particular interest in recovering the folk songs of rural England.
Grainger originally planned to name this piece Clog Dance, but his close friend William Gair Rathbone, to whom the piece is dedicated, suggested the title Handel in the Strand. The piece reminded Rathbone of both Handel’s music and English musical comedy (the “Strand” – a street in London – is the home of London musical comedy) — as if “jovial old Handel were careening down the Strand to the strains of modern English popular music.”
First Suite in E-Flat for Military Band (1909) GUSTAV HOLST
(ed. Frederick Fennell)
Gustav Holst wrote his First Suite in E-Flat for Military Band in 1909, one of the few early band originals that has been transcribed for symphony orchestra. The suite consists of three movements: Chaconne, Intermezzo, and March. The opening theme of the Chaconne is passed from the low brass through the middle brass to the upper brass, while the woodwinds weave filigrees above the “ground.” Eventually, the filigrees give way to the actual theme, presented high in the woodwinds, thus completing the orchestral journey of the ground from the lowest to highest instruments. The Intermezzo is based on a variation of the Chaconne theme, presented first in an angular and giocoso setting, then in a cantabile style. The two settings alternate throughout the movement. The two themes of the March, one dynamic and the other lyric, are also taken from the Chaconne theme, the first being something of an inversion, the latter being “right side up.” The suite culminates in a setting of the two themes contrapuntally.
Enigma Variations (1899)
EDWARD ELGAR
(arr. Earl Slocum)
“To My Friends Pictured Within” was Elgar’s dedication for this work for orchestra. The variations’ titles were only initials or nicknames, and the work remained an “enigma of its own” for many years to all but the subjects and Elgar’s own circle of friends. Earl Slocum has selected six of the fourteen variations to transcribe for winds and percussion.
The theme is notable for its use of a falling seventh (an Elgarian fingerprint) and for the fact that each phrase in the opening and closing sections begins on the second beat of the bar. Variation I is a portrait of the composer’s wife, Alice. W.M. Baker, “a country squire, gentleman, and scholar, “is the subject of Variation IV and parodied by Elgar for his habit of regimenting guests at country parties. Richard P. Arnold (Variation V) was the son of Matthew Arnold and played the piano “in a self-taught manner, evading difficulties but suggesting in a mysterious way the real feeling.” George Robertson Sinclair (Variation XI), organist of Hereford Cathedral, is depicted
by an episode on the banks of the Wye, when his bulldog, Dan, fell down a steep bank into the river and found his way up again. The “Nimrod” of Variation IX was Elgar’s great friend and publisher, A.J. Jaeger. This variation “is the record of a long summer evening talk, when my friend discoursed eloquently on the slow movements of Beethoven.” The initials E.D.U., which head Variation XIV (Finale), are a paraphrase of “Edoo,” Alice Elgar’s pet name for her husband.
Americans We (1929) HENRY FILLMORE
(ed. Frederick Fennell)
Henry Fillmore, who composed this classic march during a series of concerts his band presented at the local zoo, originally referred to the piece using several unflattering titles, such as “The Cincinnati Zoo” and — for reasons unknown — “Pure Food and Health.” In 1929, he finally published the march, which he later considered his finest, as Americans We, dedicating the work to “all of us.”
Roy Stahle
Lola and I sprawled on the soft grass in the backyard, the sun casting playful shadows around us. She twirled her vibrant pink and purple ribbons, her favorite colors, and began talking about all her favorite things.
The Cancer-Free Party
by Hamish and Lola
“I love panda bears!” she exclaimed, her eyes lighting up. “I have three special ones: Mandy, Pandy, and Pearl. They’re my best pals!”
I grinned, knowing how much she adored those cuddly creatures. “What about your family?” I asked.
She beamed as she mentioned him. “We play soccer together, and I loved when I got to go to the MSK prom with him!”
“Tell me everything about prom!” I urged.
“Hamish wore a hat and a suit. We danced and ate yummy food. It was the best night ever!”
Her voice was full of excitement, and I could see how much it meant to her.
As we talked, Lola shifted the conversation to her friends.
“Charlotte, Nora, Daphne, Gigi, Clementine, and Brooke are all amazing! We do art and dance together.
I want to be a panda hugger or a pediatric oncologist doctor when I grow up!”
Her ambition inspired me.
thing you and Hamish have done together?”
Her face lit up. “The MSK prom, definitely! But we also planned a cancer-free party! After that, we want to go on an African safari to see all the animals. That’ll be so much fun!”
“That sounds incredible!” I replied.
“What about your family? What do you love doing together?”
“Sports, of course! We love playing with our dogs, Rocket and Tyson. Legos, dance parties, and Hamish loves lacrosse!” she listed, her excitement bubbling over.
“Those were the best!” Lola chimed in. “We had so much fun! Oh, and the food —crepes with Nutella are my favorite!”
“Yeah, the food was great,” Hamish agreed, ruffling Lola’s hair affectionately.
“And I can’t wait until we can have our cancer-free party. It’ll be the best day ever!”
“Together, we can do anything!” Lola shouted, throwing her arms around Hamish.
Just then, Hamish joined us, a big smile on his face. “Did someone mention prom?”he asked, pretending to adjust an imaginary tie. Lola giggled.
“Tell me your favorites, Hamish!” I encouraged him.
“Well,” he started, “I love our family vacations. Bintan Island in Indonesia was amazing! We also loved camping at Apollo Bay in Australia. And don’t forget the Maco cruise and the Asian cruise!”
Under the warm sun, surrounded by love, laughter, and dreams, I knew that whatever challenges lay ahead, this family—filled with adventure and kindness—would face them together.
And when they finally went on that African safari, they’d carry the spirit of their special bond with them, ready to embrace whatever came next.
To learn more about the Sing Me A Story Foundation, visit https://www.singmeastory.org/
Upcoming Yale Bands Performances
• Wednesday, March 5 – 7:30 p.m. Yale Jazz Ensembles Big Band, Wayne Escoffery, Music Director. “Comrades in Jazz: Celebrating Musical Connections and Fellowship.” In celebration of Escoffery’s 50th birthday and his 8th year at Yale, the band will perform big band arrangements and compositions by Steve Davis, Conrad Herwig, Michael Mossman, and others. Morse Recital Hall in Sprague Memorial Hall. Free/no tickets required.
• Friday, April 4 – 7:30 p.m. The Thomas C. Duffy Yale Concert Band Annual Spring Concert, Thomas C. Duffy, Music Director. Dust (Jennifer Jolley) feat. Seraph Brass, guest artists. Deciduous (Viet Cuong), The Other Side of Silence (Stephen Roberts), Second Suite in F for Military Band (Gustav Holst). Woolsey Hall. Free/no tickets required.
• Tuesday, April 8 – 5:00-5:45 p.m. Yale Concert Band, Thomas C. Duffy, Music Director. “Commuter Concert.” Enjoy a 45-minute mini-concert after work or school before you head home for the day. Woolsey Hall. Free/no tickets required.
• Monday, April 22 – Yale Jazz Ensemble Big Band at Dizzy’s Club, New York, New York. Wayne Escoffery, Music Director. 7:00 and 9:00 p.m. sets. $ Tickets: jazz.org/dizzys
• Sunday, May 18 – 7:00 p.m. Yale Concert Band Annual Twilight Concert. Thomas C. Duffy, Music Director. Celebratory music and Yale songs on the eve of Yale’s Commencement. Outside on the Old Campus (chairs provided). Free/no tickets required.
Photo: Harold Shapiro
About Tonight’s Guest Conductors
Mark Gahm earned his B.A. from Yale University and his M.M. from the University of Massachusetts at Amherst. He studied conducting with Thomas C. Duffy and Malcolm W. Rowell, Jr. Currently in his 27th year as a music teacher at Guilford High School, Mr. Gahm directs the Concert Band, Wind Ensemble, Jazz Ensemble, Sports Band, and Pit Orchestra. Under his leadership, the GHS Wind Ensemble has toured both the United States and Europe and has been invited to perform at the CMEA All-State Conference and the MICCA Honors Festival at Tanglewood. Previously, Mr. Gahm was on the faculty at the Neighborhood Music School in New Haven, Connecticut, where he founded the Greater New Haven Concert Band and conducted the Greater New Haven Symphonic Wind Ensemble, a select group of top high school musicians from the region. Before moving to Connecticut, he taught instrumental music in the Ipswich Public Schools in Ipswich, Massachusetts, and served as the assistant conductor of the Massachusetts Youth Wind Ensemble at New England Conservatory as well as the director of the University of Massachusetts Youth Wind Ensemble. He has also been a guest conductor for the Yale University Concert Band, the University of Massachusetts Symphony Band, and numerous festival ensembles, including the CMEA Northern Region High School Festival Band in 2015.
An active member of NAfME, CMEA, ASBDA, and Phi Beta Mu, Mr. Gahm was honored with the Yale Distinguished Music Educator Award in 2007 and was recognized by School Band and Orchestra Magazine in 2018 as one of “50 Directors Who Make a Difference.”
He lives in Guilford, CT, with his wife, Ursula, and their two daughters, Mary and Clara.
Nicole Lam is an orchestral conductor, musical director, pianist, and vocalist in her final year of study at Yale University, where she is thrilled to serve as the assistant conductor of the Yale Symphony Orchestra this year.
In addition to her role with YSO, Nicole is the music director of the Berkeley College Orchestra, the oldest student-run symphony orchestra at Yale, an ensemble of undergraduate and graduate students, professors, and faculty.
Nicole’s musical leadership also extends deeply into Yale’s musical theater scene. She most recently music-directed Into the Woods with the Yale Dramatic Association in Fall 2024. Her other selected credits include Pippin, The Great Comet of 1812, Gypsy, Violet, and A Chorus Line. She has also music-directed several productions produced by the Yale Schwarzman Center and Yale Artists Cabaret.
Nicole’s journey into conducting began during sophomore year of college, but her roots in classical music began as a pianist and vocalist. As a concert pianist, she was the first prize winner at Houston International Music Competition and the Steinway Junior Southern California Division. She continues to study under Professor Elizabeth Parisot at the Yale School of Music. Additionally, she has experience singing in ensembles such as the Yale Schola Cantorum and the Yale Glee Club.
Outside of music, Nicole is pursuing a Bachelor’s and Master’s degree in Applied Mathematics and Computer Science. Nicole is extremely grateful to work alongside such extraordinary musicians and friends at YSO who have enriched her journey at Yale and continue to inspire her as she prepares for the next chapter of her life.
Rory Bricca (ES ’26) is a Yale Concert Band French horn player, composer, and Music major. After practicing conducting with William Boughton, the Davenport Pops Orchestra, and Pierson Swing Band, he is honored to be making his official conducting debut with his friend Jonathan’s The Cancer-Free Party. In April, he will also be flying home to Tucson, Arizona to conduct his work Salem with the Tucson Unified School District’s faculty orchestra.
As a composer, he looks to blend influences from classical music, band music, and contemporary music, and capture concepts in astronomy, psychology, and neuroscience. His piece Duplicity was premiered by the Yale Concert Band in December 2023, and he has written five works for full symphony orchestra; his piece Active Galactic Nuclei is a finalist for the 2025 Brevard Performance Prize and his piece Landfall has been performed by the Tucson Symphony Orchestra with audiences totaling over 8,000. At Yale, he is also involved as a pianist, French horn player, percussionist, music director, arranger, and bandleader in a variety of ensembles on campus.
About the Music Director
Thomas C. Duffy is Professor (Adjunct) of Music, Director of University Bands, and Clinical Professor of Nursing at Yale University, where he has worked since 1982. He is known as a composer, a conductor, a teacher, an administrator, and a leader. His interests and research range from non-tonal analysis to jazz, 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 New York City’s Village Vanguard, Birdland, Dizzy’s Club, and Iridium; Ronnie Scott’s (London); the Belmont (Bermuda); as part of the inaugural ceremonies for President George H.W. Bush; and concertized in twenty-one countries in the course of nineteen 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. Duffy has 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, 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. 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, including the National Association for Music Education’s National Honor Band in the Kennedy Center, Washington, D.C. (More extensive data is available at www.duffymusic.com, including a high resolution downloadable photo.)
Photo: Harold Shapiro
Photos: Harold Shapiro
Piccolo
YALE CONCERT BAND 2024-2025
THOMAS C. DUFFY, Music Director
STEPHANIE HUBBARD, Operations and Productions Manager
President: Jared Wyetzner | General Managers: Isaiah Harvey, Julien Yang
Social Chairs: Zoe Frost, Lizzie Seward | Publicity Chairs: Greta Garrison, Amelia Shaw
Salena Huang YSEAS ’26 Mechanical Engineering and Materials Science
Flutes
Zoe Frost MY ’27* Undeclared
Alliese Bonner BK ’27 Music
Allie Gruber PC ’26 English
Julien Yang TC’27 Undeclared
Noah Watson TD ’28 Molecular, Cellular, and Developmental Biology
Allan An BR ’28 Music/Molecular, Cellular, and Developmental Biology
Peter Nelson JE ’26 Biomedical Engineering
Renee Wu MY ’28 Chemical Engineering
Mei Hao YSEAS ’28 Mechanical Engineering
Winni Lin BR ’28 Biomedical Engineering
Candace Skorupa SY ’12 Senior Lector 1 in French and Lecturer in Comparative Literature**
Oboes
Ana Rodrigues BR ’25* History of Art/Urban Studies
Sophia Graham DC ’26 Economics
Estelle Balsirow JE ’26 Linguistics
Cameron Gray-Lee DC ’27 Undeclared
English Horn
Ana Rodrigues BR ’25 History of Art/Urban Studies
Eb Clarinet
Nickolas Hamblin YSM ’25
Bb Clarinets
Ben Swinchoski BF ’25 Keith L. Wilson Principal Clarinet Chair† Neuroscience
Amelia Shaw TC ’28 Undeclared
Sammy Feingold MY ’28 Neuroscience
Joshua Chen SY ’27 Undeclared
Jessica Liu GH ’25 Applied Mathematics/Chemistry
Joey Berger DC ’28 English/Environmental Studies
Amalee Bowen GSAS ’28 Egyptology
Trevor Strano MC ’28 Earth and Planetary Sciences
Cameron Nye BR ’27 Political Science
Yue Ying SOM ’28**
Bass Clarinet
Ari Blehert JE ’28 Applied Physics/Music
Bassoons
Kennedy Plains YSM ’25
Freddy Laux TD ’27 Political Science
Laressa Winters YSM ’26
Soprano Saxophone
Lizzie Seward DC ’27* Physics and Philosophy
Alto Saxophones
Lizzie Seward DC ’27* Physics and Philosophy
Richard Wong DC ’28 Undeclared
Alina Martel TC ’23/MED ’28
Tenor Saxophones
Esteban Figueroa MC ’25* Electrical Engineering
Aaron Yu MC ’25 Computer Science/Applied Mathematics
Baritone Saxophone
Hanson Qin ES ’28 Computer Science and Economics
Cornets/Trumpets (rotating)
Jared Wyetzner PC ’27* Physics
Greta Garrison BF ’28 Undeclared
Graydon Nolen DC ’28 Undeclared
Kyle Chen SY ’27 Molecular, Cellular, and Developmental Biology
Aidan Garcia MC’26, Economics
Isaiah Harvey TD’28 Ethics, Politics, and Economics
French Horns (rotating)
Micah Draper PM ’28 Global Affairs
Julia Landres JE ’28 Physics
Katie Howard GSAS ’25 Personalized Medicine and Applied Engineering
Rory Bricca ES ’26 Music
Zakariya Bouzid GH ’28 Undeclared
Shell Ross GH ’26 Classics
Alexander Bello ES ’28 Undeclared
Andrés Luengo TC ’27 Physics
Trombones
Cody Uman MC ’25* Mathematics
Max Watzky BF ’27 Physics/Applied Mathematics
Beatrice Beale Tate PC ’28 Undeclared
Nathan Lange SY ’27 Molecular Biophysics and Biochemistry
Euphonium
John Liu TD ’25* Statistics and Data Science
Anna Calkins MC ’27 Cognitive Science
Tubas
Benson Wang BK ’27* Economics
Karim Najjar MC ’27 History
Gregory Wolf TD ’26 Psychology
Hari Manchi TC ’28 Undeclared
String Bass
Chelsea Strayer YSM ’25
Piano
Aaron Yu MC ’25 Computer Science/Applied Mathematics‡
Organ
Ethan Haman YSM/ISM ’22
Percussion (rotating)
Max Su SY ’25* Mathematics and Computer Science
Madeline Chun SM ’26 Economics/Humanities
Jacob Leshnower GH ’27 Statistics and Data Science/Music
Mirabel Solomon BF ’28 Undeclared
Nikolai Stephens-Zumbaum BF ’26 Mechanical Engineering
Tally Vaneman GH ’27 Astrophysics
Zahra Virani SY ’26 Urban Studies/History of Art
Music Librarians
Zahra Virani SY ’26 Urban Studies/History of Art
Allan An BR ’28 Music/Molecular, Cellular, and Developmental Biology
* principal
** Yale staff/faculty guest musicians playing on Holst only
† 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.