The Thomas C. Duffy YALE CONCERT BAND SPRING CONCERT
Thomas C. Duffy, Music Director
Seraph Brass, guest artists
Friday, April 4, 2025
7:30 pm
Woolsey Hall, Yale University
Director of Bands and Professor in the Practice of Music Thomas C. Duffy celebrated his 40 th year at Yale in 2022. As a special gift, Yale Bands alumni and friends mounted a fundraising campaign to honor him by naming an annual concert after him. In perpetuity, the Band’s April concert will be “The Thomas C. Duffy Yale Concert Band Spring Concert,” the program of which will include one of his wind band compositions.
The Program
RALPH VAUGHAN WILLIAMS
RYAN LINDVEIT
VIET CUONG
THOMAS C. DUFFY
STEPHEN ROBERTS
Toccata Marziale (1924)
Like an Altar with 9,000 Robot Attendants (2016)
Deciduous (2024)
Frozen Flames March (2009)
The Other Side of Silence (2021)
~ intermission ~
JENNIFER JOLLEY
ANTHONY DILORENZO
JULIAN WORK
GUSTAV HOLST
ed. Colin Matthews
Dust (2023)* feat. Seraph Brass**
Mary Elizabeth Bowden, trumpet Raquel Samayoa, trumpet
Layan Atieh, horn
Lauren Casey-Clyde, trombone Robyn Black, tuba
Go (2009)†
Stand the Storm (1963)
Second Suite in F for Military Band (1911)
I. March: Morris dance, Swansea Town, Claudy Banks
II. Song Without Words, “I’ll Love My Love”
III. Song of the Blacksmith
IV. Fantasia on the Dargason
*commissioned with funds from the Robert Flanagan Yale Band Commissioning Endowment
**Seraph Brass appears, in part, with support from the Rosamonde Safier Yale Band Endowment, established in honor of Rosamonde Safier, a piano prodigy and Tin Pan Alley composer whose songs were sung by Yale alumnus Rudy Vallee, to support collaborations between the Yale Bands and the professional world †performed by Seraph Brass only
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.
Toccata Marziale (1924)
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
RALPH VAUGHAN WILLIAMS
Composed for the Commemoration of the British Empire Exhibition of 1924, the Toccata Marziale is a first-rate work by a composer with an unrivaled skill in scoring for wind band. The opening is somewhat akin to a fanfare, with movement in triads that is especially effective. Its contrapuntal texture involves the juxtaposition of brass and reed tonal masses, and occasional lyric entrances soon give way to the primary brilliance of the basic theme. Another important melody is first sung by the euphonium and then by the cornet, a broad, flowing theme that sings against the constant movement of the basic theme, which is never completely lost. Skillfully woven together into a unified whole, the piece exploits the fundamental properties of the band’s sonority, virtuosity, and color. Toccata Marziale has an immense, non-contrived vigor.
Like an Altar with 9,000 Robot Attendants (2016)
RYAN LINDVEIT
The composer writes of his piece:
“Like an Altar with 9,000 Robot Attendants was inspired by Ray Bradbury’s short story “There Will Come Soft Rains” (1950). The futuristic story describes a computer-controlled house, in which robots do everything from cooking breakfast to cleaning house. The house even reads poetry aloud. In Bradbury’s future, all humans have been destroyed, but this house remains steadfast to its tasks in service of its absent denizens. The author describes it: “And inside, the house was like an altar with nine thousand robot attendants, big and small, servicing, attending, singing in choirs, even though the gods had gone away and the ritual was meaningless.” All humans have been annihilated, and yet Bradbury’s futurist prose remains characteristically exuberant in describing these household robots—a tension which stimulated me to write the music in this piece. I also felt that the orchestra—an ensemble associated with myriad rituals— was the perfect medium through which to explore ideas of robotic ritual.”
Deciduous (2024) VIET CUONG
The composer writes of his piece:
“For a long time after my father passed away, I felt like I had “lost my leaves.” In the ways that leaves harness light to create energy for trees and plants, I felt like I had so little left to harness creatively. Many days I feared those leaves would never grow back. After struggling for months to write, I finally found some healing while creating Deciduous. This involved revisiting chord progressions that brought me solace as a child and activating them in textures that I have
enjoyed exploring as an adult. The piece cycles through these chord progressions, building to a moment where it’s stripped of everything and must find a way to renew itself. While I continue to struggle with this loss, I have come to understand that healing is not as much of a linear process as it is a cyclical journey, where, without fail, every leafless winter is followed by a spring.
Frozen Flames March (2009)
THOMAS
C.
DUFFY
“Frozen Flames March was composed for the Yale Band’s appearance in the 2009 Sony Pictures movie, ‘The Bounty Hunter.’ (Although the Yale Band was on set for three days, Sony Pictures did not use a single note of the march in the movie soundtrack!) The title comes from the ubiquitous question asked by all French horn players who must endure the standard formula for using the horns to play off-beats: ‘when will the horns have melody in a march?’ One of many glib responses to that question is: ‘When hell freezes over.’ Introducing Frozen Flames March, in which, for 32 measures, the horns have the melody and the rest of the band plays the off-beats!” - T. Duffy
The Other Side of Silence (2021)
STEPHEN ROBERTS
The Other Side of Silence was commissioned by Leamington Music and was originally written for two brass bands. It celebrates coming through the COVID-19 pandemic lockdown to hearing live music once again.
The title is borrowed from George Eliot’s 1871 book Middlemarch, and the piece is in the form of eight variations that progress from blithe spirit through adversity to end in ecstatic jubilation. It was used as the brass band set test piece for the 2022 Swiss Open Championships.
- Keith Farrington
Dust (2023)
JENNIFER JOLLEY
feat. Seraph Brass, solo brass quintet
The composer writes of her piece:
“In its Declaration of Causes to secede from the Union in 1861, Delegates of the People of Texas wrote: ‘She was received as a commonwealth holding, maintaining and protecting the institution known as negro slavery…which her people intended should exist in all future time.’ After the war, Texas failed to ratify the Thirteenth Amendment. It was one of the fiercest resistors of the Civil Rights Movement. Presently, it is a perennial sight of the worst of our national gun crisis.
“But in Texas’ vastness, there are other histories. How could there not be? Coincident with this history of violence is a legacy of idealism and pluralism. Texas is also a state of utopian religious societies, socialist communes, and a diversity that resisted its foundational white supremacy. Its lands hosted three of the most significant pre-modern societies and nearly twenty indigenous tribes. This Texas was and is a crucial site for developing a range of musical styles, including Mariachi, Country, Rock ‘n Roll, Blues, and Conjunto.
“Dust reflects my time in West Texas and my engagement with its complex past. The form of the piece is ideal for this. I employ the brass quintet as a deliverer of triumphant melodies and bombastic power. It’s hard not to hear them when you see images of the favorite avatars of Manifest Destiny, like the stagecoach or the cowboy. But a brass fanfare too often distracts us from critically engaging with what is being celebrated. I wanted to use these instruments to evoke something else. In parts, you’ll hear whispers of Mariachi tunes ‘El Rey’ and ‘Volver Volver’ that I heard on local radio, which recognizes Hispanic culture's centrality to the state. Mainly, you’ll hear excerpts from the cowboy tune ‘The Old Chisholm Trail.’ Written to commemorate the cattle trail established by two businessmen—the Lenape rancher Black Beaver and Jesse Chisholm, a merchant of partial Cherokee descent—that provided a means for Texas ranchers to reach eastern markets. Based on a seventeenth-century English melody, the song would have
Photo: Harold Shapiro
been sung thousands of times over hundreds of miles. It was a literal musical accompaniment to the growing prosperity of the state’s signal industry. Surrounding these musical citations are passages that fill out this world. To create a sonic analog of the massive space and textures that define the landscape, I expanded rhythms and wrote lines that conveyed unfolding vistas rather than an epic outcome. It was my way of translating this place to make it comprehensible.”
Go (2009)
ANTHONY DILORENZO
performed by Seraph Brass
This brass quintet by Anthony DiLorenzo picks up on the high energy, fast pace and brilliant excitement of his “Fire Dance” and takes it to a whole new level! The intensely driving, machine-like compound rhythms are unyielding.
The Center City Brass Quintet premiered this work in 2009, in the final performances of the late Steven Witser. Composer Anthony DiLorenzo dedicates this piece to his memory, in remembrance of his tireless intensity and positive energy.
Stand the Storm (1963)
JULIAN WORK
Julian Work’s Stand the Storm is an untraditional march composed in a compilation of meters and machinations. While Work described himself as a composer who was influenced by the music of Debussy and Ravel, he hastened to add that he was not wholly an Impressionist, for he hoped that he had developed his own style of orchestration. Like many other Impressionist composers, he insisted on the freedom to use whatever compositional devices might best serve the needs of his current subject. His melodies are generally built not from strong, broadly articulated themes, but from short motives of narrow range. The effect of the chord was an important compositional device for Work. If the chord was particularly striking, it may have been repeated in parallel motion, a typical Impressionist harmonic technique. These chords can move by any interval, but most often move by step. Work also used triads with ninths, elevenths, and thirteenths that often resolved unexpectedly. The extensive chromaticism in his compositions, along with parallel chords, weaken the progression toward the tonic. Work, although bound by tradition, sought to create new compositional forms that suited his musical taste. He wished to leave his listeners not with a profound answer, but with an impression. (Note: No photographs of Work are available.)
Second Suite in F for Military Band (1911)
GUSTAV HOLST
(ed. Colin Matthews)
Having been written at a time when the composer “needed rest from the strain of original composition,” this piece uses English folk songs and folk dance tunes throughout. The opening march movement uses as the first of three tunes a lively morris dance, a type of dance popular in the Renaissance, and commonly danced in England as part of the May games. There were two groups of six male characters each, plus several solo dancers, often including a boy with a hobby horse. In Holst’s setting, the tune’s opening five-note motive is heard twice as an introduction to the first tune. The second tune, “Swansea Town,” is broad and lyrical, played by the first baritone horn. The third tune, “Claudy Banks,” is distinctly different from the other two, having a lilting, swinging feeling derived from its compound duple meter.
The second movement is a slow, tender English love song, “I’ll Love my Love.” The sad tune, heard first in the oboe, is a setting of the folk song lyrics which tell of two lovers separated by their parents and of the deep love that they will always have for each other.
“The Song of the Blacksmith” is complex rhythmically, much of it being in septuple meter. One actually hears the stroke of the hammer on the anvil.
“The Dargason” is an English country dance dating from the sixteenth century. Its peculiar property is that it does not really have an end but keeps repeating endlessly. Holst combines “The Dargason” with the well-known haunting chantlike “Greensleeves,” a love song which later acquired different words and became a Christmas carol.
Senior Reflections
ESTEBAN FIGUEROA, tenor saxophone
JESSICA LIU, clarinet
Music has always been an integral part of my life, especially after I began playing an instrument. In high school, band was central to much of my personal growth, and I remember wondering how I would find the time to continue making music in college while pursuing a challenging major. Despite this doubt, Mr. Duffy graciously gave me the opportunity to play with the Yale Concert Band, demonstrating incredible flexibility with my busy schedule throughout the years. This group has provided an essential outlet to continue making music and escape from the stresses of college life for four hours each week. Moreover, having the opportunity to take our music abroad has given me some of my most memorable experiences and friendships I will cherish forever. Those rehearsals in the band room and concerts in Woolsey Hall are moments that will always hold a special place in my heart—moments I’ll remember most from college. I’m deeply thankful to Mr. Duffy and Stephanie for an impactful four years of music-making.
Playing in the Yale Concert Band has been an incredible experience during my time in college. I remember it as one of the first communities I found as a first-year student, where everyone is warm and welcoming, talented yet humble. I loved the weekly band dinners, the scavenger-hunt initiations, the conversations, and the many other social events, through which I formed some of my closest friendships at Yale. Musically, I was exposed to a wide variety of repertoires, from classical transcription and military band marches to innovative contemporary works. Each piece has its unique challenges and charm, and I thoroughly enjoyed learning from and performing them. I also loved our Spain tour, where we enjoyed beautiful scenery while sharing music with the locals, and I look forward to our upcoming UK tour. Thank you for an unforgettable four years and I will miss the band and everyone involved!
JOHN LIU, euphonium
I’m incredibly grateful to have had the opportunity to continue making music throughout college in the Yale Concert Band. Touring Spain was one of the highlights of my time in YCB—from performing in stunning venues to immersing myself in the culture, it was an experience I’ll never forget. I especially enjoyed collaborating with the Yale Percussion Group and performing Viet Cuong’s Re(new)al on tour. I’m looking forward to our upcoming tour to Scotland and Wales! Thank you to Mr. Duffy and Stephanie for all the time, energy, and care you put into making every rehearsal, performance, and trip so special—and thank you to the entire band for being a fun, supportive, and inspiring group to make music with.
ANA RODRIGUES, oboe
I will always look back fondly on my four years in the band playing oboe, and the extra-special two years I spent as madame president. When I arrived in YCB, we were still reeling from COVID, and no one was sure if or when live music would bounce back from the pandemic. We had to wear masks with slits in them in rehearsal, the ensemble was low on musicians, and many members had not played their instruments in years because of the pandemic. Four years later, in spite of everything, and thanks to lots of committed musicians, we are stronger than ever. I beam with pride every time I think about
the numerous triumphs of our band: Maslanka’s Symphony No. 4, The Firebird, The Planets, and Re(new)al come to mind as some particularly great pieces of repertoire that I am very grateful to have played with the Concert Band, but the truth is that every Band concert was memorable and filled with joyful music. At the end of my time here, I cannot help but be filled with overwhelming gratitude for Stephanie, Mr. Duffy, and the entire Yale Concert Band. I also feel a wave of gratitude for Dan McKenzie and the Taunton High School Band, without whom I would not have been here at all. We are all lucky to create, and to have created, beautiful music with the help of our friends. GoodB’bye, YCB, I will cherish you forever!
MAX SU, percussion
Thank you to Mr. Duffy and Stephanie Hubbard for being the GOATs (greatests of all time) and the percussion section for being my second family here at Yale.
CODY UMAN, trombone
I joined YCB in the fall of 2021, after a pandemic gap year where I picked up my trombone twice. After that break from playing, I wasn’t sure if I wanted to continue being a musician. YCB quickly reminded me that making music as a community is an irreplaceable magical experience. YCB rehearsals are a welcome break from academic stress, where I can put my worries aside and enjoy our music. I love the variety of music we play, from unusual experimental pieces to upbeat traditional transcriptions. Many thanks to everyone who made my YCB experience possible: Mr. Duffy and Stephanie Hubbard, my many previous music educators, YCB musicians and officers, and everyone who has attended our concerts!
AARON YU, tenor saxophone
YCB has been one of the only constants in my four years at Yale, and for good reason. Band rehearsals have consistently given me something to look forward to twice a week, and I’ve always counted on YCB to be a place where I can leave behind the worries and stress of college life and think only about making music alongside a group of people that made YCB the welcoming place it is today. I’m especially grateful for the opportunity I’ve had to play great music and meet so many kind and talented people that are still a central part of my life. I also want to thank Mr. Duffy for enabling my lack of commitment to the tenor saxophone and giving me the chance to play percussion, piano, bari sax, and contrabass clarinet (with varying degrees of success) throughout my time in the band. I couldn’t have asked for a more supportive, caring, or hard-working team than Stephanie and Mr. Duffy, on both a musical and a personal level. Thank you to everyone in the band who made it such a special part of my life!
About Tonight’s Guest Artists
In its 11th season, Seraph Brass was founded by trumpet soloist Mary Elizabeth Bowden with a mission to showcase the excellence of women brass players and highlight musicians from marginalized groups, both in personnel and in programming. Winners of the American Prize in Chamber Music, the group has been praised for its “beautiful sounds” (American Record Guide), “fine playing” (Gramophone), and “staggeringly high caliber of performance” (Textura). In addition to performances and residencies, Seraph performs as a 10-piece ensemble, as soloists with symphony orchestras and wind bands, and in collaboration with other chamber artists.
The 2024-2025 season highlights include a residency at the Festival International De Vientos that includes a performance of Anthony DiLorenzo’s Chimera with the Cusco Symphony Orchestra in Peru, a performance at the 78th Midwest Band & Orchestra Clinic in Chicago, and performances at the Jeju Festival in South Korea, Guanajuato’s Pro Musica Classica Series in Mexico, Foo Foo Festival in Pensacola (FL), Pro Music Joplin (MO), Trinity Concert Series in Watertown (NY), and Celebrity Concert Series in Huntsville (AL). Seraph’s residency highlights of the season include Yale School of Music, University of Miami, University of Memphis, University of Missouri, Mary Baldwin University, and the Pear Arts Residency in Fort Wayne. Seraph released a new album in February 2025 through Tower Grove Records, showcasing new works for brass quintet and featuring compositions by Jeff Scott, Reena Esmail, Kevin Day, and Kevin McKee.
Seraph Brass performs a diverse body of repertoire, ranging from original transcriptions to newly commissioned works and core classics. The group has commissioned pieces by Grammy award winner Jeff Scott, as well as Jennifer Jolley, Joseph Hallman, Catherine McMichael, Marcus Grant, and Rene Orth. The pieces by Orth and McMichael are featured on Seraph’s Silver Medal Global Music Award-winning debut album Asteria. The group regularly participates in commissioning consortiums, recently supporting works by Kevin Day, Mischa Zupko, Sara Jacovino, and Lillian Yee. Seraph recently commissioned and premiered Jennifer Jolley’s Dust for brass quintet and wind ensemble, which was performed with various ensembles across the US. Other concerto performances have included Rick DeJonge’s Prelude and Fantasy, James Stephenson’s Dodecafecta, Suite from Mass by Leonard Bernstein and Anthony DiLorenzo’s Chimera.
Members of Seraph Brass are passionate about music education, and hold teaching positions at the University of North Texas, Shenandoah Conservatory, Texas State University, and Texas Lutheran University. In each of their tours, the group works to provide educational outreach to local schools, and they also offer a variety of entrepreneurship and career development workshops, in addition to traditional brass pedagogy and technique classes.
The ensemble has toured around the world, including performances at the Tafalla Brass Week in Spain, Lieksa Brass Week in Finland, the Busan Maru International Music Festival in South Korea, University of Toronto in Canada, the Forum Cultural Guanajuato in Mexico, International Women’s Brass Conference, the International Trumpet Guild Conference, and a two-week tour across China. Recent touring highlights have included shows and residencies at Oberlin College, Brevard Music Center, Chautauqua Institution, Swarthmore College, the Lyric Chamber Music Society in NYC, Interlochen Arts Academy, University of Michigan, Chamber Music Raleigh, National Gallery of Art in D.C., Asheville Chamber Music Series, Virginia Arts Festival, Boise Chamber Music Series, University of North Carolina School for the Arts, Michigan State University, Sarasota’s Artist Series Concerts, Dame Myra Hess Concert Series in Chicago, and Del Valle Fine Arts Presents in California, as well as concerto appearances with the Florence Symphony, the United States Army Band “Pershing’s Own,” Texas Tech University Wind Ensemble, University of North Texas Wind Orchestra, Shenandoah Conservatory Wind Ensemble, University of Nebraska-Omaha Wind Ensemble, and Swarthmore College Wind Ensemble. The group has also toured extensively as Allied Concert Services and Live On Stage artists, and was formerly in residency alongside the Dover Quartet at the Artosphere Festival in Fayetteville, Arkansas.
Members of Seraph Brass have performed with such esteemed ensembles as the London Symphony Orchestra, The Cleveland Orchestra, Baltimore Symphony Orchestra, Artosphere Festival Orchestra, Cincinnati Symphony Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony Orchestra, The Phoenix Symphony, Marlboro Music Festival, Lucerne Music Festival in Switzerland, Britt Festival Orchestra, Richmond Symphony, Chameleon Arts Ensemble, and the Daejeon Philharmonic. Many members of Seraph Brass performed with Adele on her North American tour.
Seraph Brass is a Yamaha Performing Group.
Upcoming Yale Bands Performances
• Monday, April 22 – Yale Jazz Ensembles 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.
About the Music Director
Thomas C. Duffy is Professor in the Practice 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 Mathematics and Philosophy
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
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
Bass Clarinet
Ari Blehert JE ’28 Applied Physics/Music
Bassoons
Kennedy Plains YSM ’25†
Freddy Laux TD ’27 Political Science
Laressa Winters YSM ’26
Contrabassoon
Darius Farhoumand YSM ’24 MM/’25 MMA†
Soprano Saxophone
Lizzie Seward DC ’27* Physics/Humanities
Alto Saxophones
Lizzie Seward DC ’27* Physics/Humanities
Richard Wong DC ’28 Undeclared
Alina Martel TC ’23 Neuroscience/MED ’28
Tenor Saxophones
Esteban Figueroa MC ’25*† Electrical Engineering
Aaron Yu MC ’25 † Computer Science/Applied Mathematics
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)
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
Kate Hall ES ’26 Applied 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
String Bass
Chelsea Strayer YSM ’25†
Harp
Sebastian Gobbels YSM ’26§
Piano
Aaron Yu MC ’25 Computer Science/Applied Mathematics
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
* principal
† Yale College seniors or YSM students graduating this year
† 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.
‡ performing on Frozen Flames March only
§ performing on Like an Altar with 9,000 Robot Attendants only
Yale University Bands P.O. Box 209048 New Haven, CT 06520-9048
ph: 203-432-4111 | stephanie.hubbard@yale.edu | bands.yalecollege.yale.edu