Yale Symphony Orchestra
Elizabeth Askren, Music Director
William Boughton, Guest Conductor
Brandon Du, Violin
Program
Hymn (Largo
Charles Ives
Cantabile)
Violin Concerto
Jean Sibelius
Brandon Du, Violin
in D minor, Op. 47
Winner of the William Waite Concerto Competition
Allegro Moderato Adagio di molto Allegro, ma non tanto
INTERMISSION
Prelude to Act III of Madama Butterfly
Giacomo Puccini
La Mer
Claude Debussy
"De l'aube à midi sur la mer" – très lent – animez peu à peu "Jeux de vagues" – allegro (dans un rythme très souple) – animé "Dialogue du vent et de la mer" – animé et tumultueux –cédez très légèrement
The 24/25 Woolsey Series is generously supported by the Daniel Feller ’74 Yale Symphony Endowment Fund in Honor of John Mauceri (Music Director 1968-74).
Elizabeth Askren, Director
Praised for “inspiring virtuosic achievements from the pit” (Opera Today) and “palpable happiness” (Le Monde) from the artists with whom she collaborates, Elizabeth Askren empowers musicians around the world as a conductor, educator, and cultural activist.
An OPERA America 2024 Opera Grant winner, Askren performs regularly with leading opera houses and orchestras, including The Dallas Opera, with which she enjoys a privileged relationship, Chicago Lyric Opera, where she was on music staff for the 2024-25 season, and Hawaii Opera Theatre, of which she is the company's first ever Principal Guest Conductor. She is also the Music Director of Paola Prestini and Brenda Shaughnessey’s Sensorium Ex, a Ford Foundation-funded multi-modal opera exploring issues at the intersection of AI, disability, and the human voice.
Askren is the Founder and Artistic Director of Transylvanian Opera Academy (TOA), Romania’s first opera studio. Created in 2017, TOA has been featured on national television, radio, and press while partnering with the Paris Opera’s Academy, TEDx, and Opera for Peace. She is also the creator and host of MaestraMagic!, a children’s edutainment series distributed by The Dallas Opera. Askren recently published The Magic Flute comic book, an adaptation from MaestraMagic!’s Opera Bytes episode, which is available on amazon.com and select bookstores.
A master teacher at both The Dallas Opera’s Hart Institute and at the Paris Opera’s Academy, Askren made history by judging the Paris Philharmonic’s inaugural La Maestra Competition for Women Conductors. She is invited regularly to speak about
leading and entrepreneurship in the arts, mentoring young artists, and cultivating humanity in the age of AI through outlets including PBS Newshour, NPR, Radio France Internationale, and The Ford Foundation/ How Institute.
Learn more at www.elizabethaskren.com.
William Boughton, Guest Conductor
Born into a musical family - his grandfather (Rutland Boughton) was a composer, his father a professional viola player and his mother a singer. After studies, at New England Conservatory (Boston), Guildhall School of Music (London) and Prague Academy as a cellist, he entered the profession in London playing with the Royal Philharmonic, BBC and London Sinfonietta Orchestras.
The experience of playing in orchestras led to a passion to pursue a career in conducting studying with George Hurst and then Sir Colin Davis. In 1980 he formed the English String Orchestra initially focusing on early 20th Century English repertoire but developing it into late 20th and 21st Century Contemporary music commissioning over 20 works from composers such Peter Sculthorpe, John Joubert, Anthony Powers, Michael Berkeley, John Metcalf, Stephen Roberts and Adrian Williams. The depth of his partnership with the ESO was epitomised in 1985 when, as Artistic Director of the Malvern Festival, he collaborated with Sir Michael Tippett to present a musical celebration of the composer’s eightieth birthday which was the subject of a BBC “Omnibus” documentary. With the ESO he built a significant discography of internationally acclaimed recordings with Nimbus Records - predominantly of English music, a number of which reached the Top Ten in the US Billboard charts.
Between 1986–93 he was also Artistic & Music Di-
rector of the Jyvaskyla Sinfonia in Finland and guest conducted with numerous orchestras including the London Symphony, Philharmonia, San Francisco, Royal Philharmonic, Finnish Radio, Mittel Deutsch Radio, working with artists such as Nigel Kennedy, Leonidas Kavakos, Emmanuel Ax, Radu Lupu and Viktoria Mullova.
In October 1993, William Boughton was awarded an Honorary Doctorate from Coventry University in recognition of his expertise in British music. In November 1995, he and the ESO presented a weekend of music celebrating the 60th birthday of English composer Nicholas Maw, marking another milestone in his championship of contemporary English music. In 1996 William Boughton commenced a second term as Artistic Director of the Malvern Festival.
The 2005/6 Season was his final year with the ESO in which they celebrated the Orchestra’s 25th Anniversary performing a ‘Complete Beethoven Symphony Cycle’, and created a new series of pre-concert performances of British contemporary music, including works by Birtwistle, Knussen. Watkins, Woolrich, Holloway and Turnage.
In July 2007 he became the 10th Music Director of the New Haven Symphony Orchestra (NHSO), with whom he instituted a ‘Composer in Residence’ Scheme (Augusta Read Thomas, Christopher Theofanidis, Hannah Lash) and started a major Walton Project with concerts, lectures/talks and recordings on the Nimbus Label. With the NHSO he has received two ASCAP Awards (2011 & 2014) for Adventurous Programming and received critical acclaim for the Walton Project, with Gramophones Edward Greenfield nominating it for ‘Record of the Year’ (2010). In October 2014 two new recordings were released with the New Haven Symphony of William Walton and Augusta Read Thomas.
His commitment and dedication to the younger generation is epitomized through his teaching – creating a cello studio in one of the poorest areas of New Haven, building the NHSO’s Education Dept, working with the State and Regional Youth Orchestras and teaching at the Yale School of Music. In May 2016 he visited Central China University for Conducting Master-classes and conducted the Hubei Symphony. He regularly records for both Nimbus and Lyrita Labels and guest conducts in the USA.
Brandon Du, Violin
Brandon Du, 21, is a violinist and Trumbull College senior from Ellicott City, Maryland. He began studying the violin at age four with Irina and Leonid Briskin, and currently studies with Kyung Yu at Yale University. Brandon was awarded second place at the 2024 Arthur Grumiaux International Violin Competition and first place at the 2023 Chicago International Violin Competition. In addition, he was a semifinalist at the Cooper International Violin Competition, a quarterfinalist and the Zhuhai International Mozart Competition, and a National YoungArts winner. Brandon has performed in masterclasses for Hilary Hahn, Ray Chen, Danielle Belen, and Sibbi Bernhardsson, and has studied with Viktor Danchenko, Herbert Greenberg, Brian Lewis, and Soovin Kim. At Yale, Brandon is doublemajoring in Math and Computer Science and enjoys hanging out with his friends in his free time.
Hymn (Largo Cantabile)
Charles Ives
This is the first time the YSO has performed this work.
Charles Ives composed Hymn: Largo Cantabile in 1904 while living in Morristown, NJ, only a few years after completing his studies at Yale University under the tutelage of composer Horatio Parker. Drawn from material once intended for a string quartet, the piece found new life as part of Ives’ suite A Set of Three Short Pieces, though it is often performed on its own. In this brief work, Ives’ affinity for American hymnody meets his early experimentations with tonal harmony.
Notably, the Yale Symphony Orchestra’s music director James Sinclair (1974-75) conducted the world premiere recording of the Ives Society Critical Edition of this piece in Yale University’s Sprague Hall with the Orchestra New England in 1990 – a fitting tribute to the composer whose artistic roots trace back to this campus.
The marking Largo Cantabile – “broad and singing” –sets the music in unhurried motion. Scored for strings, the piece opens with a ruminating double bass line as other string voices unfold slowly, shaping sustained, organ-like sonorities. Throughout, Ives draws from two nineteenth-century hymns, More Love to Thee and Olivet, though their presence is obscured within webs of free counterpoint and rich harmonic suspensions. As quiet phrases drift ephemerally through the meditative soundscape, a solo cello line emerges from the texture, guiding the listener through the hymn as a voice of remembrance. Midway through, a brief Più animando section stirs the ambience, a restrained pulse of energy that soon after settles back into tranquility. In its final measures, the orchestral texture thins out, the solo cello ceases, and the motion fades into silence, coming to rest on a soft, tender B-major chord.
As the opening piece on tonight’s program, Hymn: Largo Cantabile serves as a moment of quiet arrival, suspending time, and inviting the listener to be spiritually reflective yet fully present with the music. In his Essays
Before a Sonata (1920), Ives introspects, “Maybe it is better to hope that music may always be transcendental language in the most extravagant sense.” Modest in scale yet profound in spirit, this piece embodies Ives’ belief that music, at its purest essence, offers a glimpse of the ineffable.
— Marco Opeña ’28
Concerto for Violin in D minor, Op.
47
Jean Sibelius
The YSO has performed this work twice before in its 60 year history: December 2, 1989, David Stern, conductor; Ralph Allen, violin October 4, 1997, Shinik Hahm, conductor; Justin Kim, violin
Jean Sibelius once hoped to become a violin virtuoso, but he began serious study too late for that dream to materialize. Even so, he became a capable player, performing in the Vienna Conservatory’s orchestra in 1890–91 and auditioning, unsuccessfully, for a seat in the Vienna Philharmonic. Though he eventually set aside the goal of a performing career, the violin remained the instrument closest to his imagination as a composer.
Sibelius wrote a number of pieces for the violin apart from this concerto. He began a second violin concerto in 1915 but abandoned it, reusing parts of the material in his Sixth Symphony. His catalog also includes a Violin Sonata (1889), a Violin Sonatina (1915), and several sets of shorter pieces for violin and piano. In his final years, long after he had largely stopped composing, he made one last attempt to return to the instrument in a projected suite for violin and orchestra that was left incomplete. After 1931, aside from minor revisions and a few short choral works, Sibelius wrote nothing more in the twenty-six remaining years of his life.
The D minor Concerto stands apart from his other works for violin in both scope and substance. Its musical language is unmistakably Sibelius’s—dark, concentrated, and introspective—yet it succeeds as a true virtuoso concerto. Sibelius managed to reconcile the
violin’s need for brilliance with his own preference for restraint and depth. The musicologist James Hepokoski has described the result as “a virtuoso concerto simultaneously affirmed and transcended by a thoroughgoing seriousness of purpose and surplus density of compositional pondering.”
Sibelius also reimagined the traditional form of the concerto. The first movement opens in a hushed atmosphere, the soloist entering almost imperceptibly, as if emerging from the orchestral texture. Instead of placing the cadenza at the end as a display of bravura, Sibelius situates it midway through the movement, where it serves as the development section itself—a structural and expressive turning point rather than an appendix. Throughout, the usual interplay between soloist and orchestra is subdued, replaced by a more organic integration of the two forces.
The second movement, Adagio di molto, unfolds as a broad, melancholic song for the solo violin, supported by warm but understated orchestral writing. The finale, Allegro ma non tanto, returns with rhythmic drive and muscular energy. Donald Francis Tovey famously dubbed it “a polonaise for polar bears,” a wry but apt description of its heavy, earthy dance rhythm. Tovey went on to observe that Sibelius’s great works possess “huge and simple outlines,” comparing him to a “Bruckner gifted with an easy mastery and the spirit of a polar explorer.”
The Violin Concerto in D minor remains Sibelius’s only concerto and one of the most original in the repertory. It joins technical brilliance to an inner, symphonic logic—music that is less a contest between soloist and orchestra than a meditation on the instrument Sibelius loved most.
— Brandon Du ’26
Prelude to Act III of Madama Butterfly
Giacomo Puccini
This is the first time the YSO has performed this work.
Madame Butterfly is an opera written by Italian composer Giacomo Puccini, highlighting a tragic cross-cultural relationship between a Japanese geisha woman, Madame Butterfly, and American naval lieutenant B.F. Pinkerton. The plot of the opera is based on a short story written by John Luther Long in 1898 and begins with an arranged marriage between Madame Butterfly and Pinkerton. Madame Butterfly is a lot more invested in the relationship than Pinkerton, revealing her many beliefs and displaying her possessions while Pinkerton views her as a mere pastime on his journey around the world. Although they end up getting married, Pinkerton knows deep down that he will eventually settle down with an American wife, rather than with Madame Butterfly. Pinkerton leaves her and spends several years away from Japan, all while Madame Butterfly waits for him, sacrificing everything and raising their child in his absence. A few years later, Pinkerton does return, except he is accompanied by his American wife. Madame Butterfly is so heartbroken by this fact that she kills herself so she can die with honor, ending the opera in one of the most dramatic scenes ever written.
The Prelude to Act III takes place as Madame Butterfly finally sees Pinkerton returning on his ship, and she faces the open harbor in a vigil, anticipating her husband’s return home. The piece begins with a foreboding melody that depicts a scene of darkness and despair, foreshadowing the moments before Madame Butterfly is to find out about Pinkerton’s new wife. In the quiet, dramatic harmonies of the first half, picture a yearning Madame Butterfly dressed in white, facing out towards the wide expanse of ocean, determined to stay up the whole evening in anticipation of the boat’s return. Unbeknownst to her, this very boat carries news that is going to tear her life apart. The first part of the Prelude represents Madame Butterfly’s patience and longing for the final return of her long awaited lover.
Later on, the music transitions to a more light-hearted melody signaling the arrival of daybreak, distinguished by flute melodies, wind solos, and the sounds of birds
chirping from the percussion. Pinkerton has returned and perhaps there is hope in Madame Butterfly’s mind of the couple’s reunion. The end of the Prelude concludes just before Madame Butterfly finds out about Pinkerton’s wife, with a dramatic cliffhanger played by the violin section.
This opera sheds light on the disparity between the two characters’ cultures and beliefs, and the tragic conclusion that it created. It contains an innovative message and exudes astounding cultural awareness for an opera written in the early 1900s. This is mainly due to Puccini’s fascination with Japanese culture and music; he was greatly inspired by Japanese folk songs and interviewed several Japanese artists in the writing of this opera. It is a powerful mix of cultures: an Italian’s take on a relationship between an American man and a Japanese woman, symbolic of the changing times of the early 1900s.
— Amanda Wu ’28
La Mer
Claude Debussy
The YSO has performed this work three times before in its 60 year history: November 14, 1970, John Mauceri, conductor December 1, 1990, James Ross, conductor September 27, 2014, Toshiyuki Shimada, conductor
“The sea is always endless and beautiful. It is really the thing in nature which best puts you in your place.”
Claude Debussy’s deep appreciation for the sea dates back to his childhood. He often spent weeks-long summer vacations at beaches in Cannes, France, where he became enamored with the water. Debussy explained to a colleague that he was “destined for the life of a sailor and that it was only by chance that I was led away from it” — that “chance” being the discovery by others of his musical talent. While Debussy may not have pursued an aquatic career, his vivid memories of the unpredictable and transient nature of the sea left a lasting impression that would inspire Debussy in his composition of his twenty-four minute orchestral mas-
terpiece, La Mer.
Debussy’s love of the sea was also shared by the great English Romantic painter J.M.W. Turner (17751851), many of whose masterpieces are currently on display at the Yale Center for British Art (YCBA). Turner was known for the use of light and color in his atmospheric landscape and seascape paintings, which depict the sun, wind, storms, and other weather events. Debussy encountered several of Turner’s paintings on a trip to London in 1902; Turner’s emphasis on color and texture would profoundly inspire Debussy when he began composing La Mer the next year in 1903.
Debussy’s reflections on his own work and praise of Turner in a 1908 letter to his publisher provide further insight:
“I am trying to do 'something different' – an effect of reality... what the imbeciles call 'impressionism', a term which is as poorly used as possible, particularly by the critics, since they do not hesitate to apply it to [J.M.W.]
Turner, the finest creator of mysterious effects in all the world of art.”
Perhaps the most fascinating of Debussy’s influences in La Mer comes from an entirely different part of the world. Between 1830 and 1832, famous Japanese painter Katsushika Hokusai (1760-1849) created a series of woodblock prints entitled Thirty-Six Views of Mount Fuji. The most famous, The Great Wave off Kanagawa, depicts a large, violent wave spiraling over three boats during a storm. Debussy was enthralled by the Kanagawa print and had it reproduced on the cover of the published score.
With all of these influences in mind, Debussy embarked on composing La Mer, which he subtitled “Three Symphonic Sketches.” This is notable, as Debussy’s wording implies neither a “symphony” nor a “tone poem.” The work is in three movements, and does not exhibit the typical musical development seen in a symphony. In fact, some have even called La Mer an “anti-symphony,” as it has a focus on shorter, overlapping themes rather than a clear compositional logic and strict form.
The first movement is titled “From Dawn to Midday on the Sea,” and starts in darkness, before sunrise. This is accomplished by low strings playing at a pianissimo dynamic, two harps playing a beat apart for an “echo” effect, and quiet, rolling timpani. Fragmented themes and shapes gain clarity as the movement unfolds and
the sun rises. After a long symphonic crescendo, the movement ends at noon with particularly strong brass. Debussy’s friend, the French composer Erik Satie, remarked somewhat humorously that his favorite part was “the little bit between half past 10 and quarter to 11.”
The second movement is titled “Play of the Waves.” Its function is similar to that of a symphonic scherzo. The musical character is mischievous, with waves quickly forming and breaking. There are no repeated themes, but rather fragmented melodic cells, new rhythms, and brief swells that travel around the orchestra.
The final movement is titled “Dialogue of the Wind and Sea.” The opening is fragmented, and the trumpet plays a melodic idea that possibly represents “the wind.” Oboes, English horn, and bassoon introduce a melody that represents “the sea.” A dialogue between these two themes occurs throughout the movement, and is joined by a return of material from the first movement. At the end of the movement, a radiant brass chorale ushers in a surge of the waves and the sun breaking through the clouds, creating a thrilling conclusion.
— Jacob Leshnower ’27
Yale Symphony Orchestra
Elizabeth Askren, Director
Brian Robinson, Manager
Tommaso Bailo, Assistant Conductor
President
Tobias Liu
Secretary
Eleanor Ohm
Publicity
Helen Qi
David Stolyarov
Social
Sasha Tarassenko
Emily Zhang
Programming
Jacob Leshnower
Community
Jasmine Chen
Naomi Main
Nathaniel Strothkamp
Tour
Eric Zhang
Librarians
Gloria Baek
Head Librarian
Jasmine Chen
Ella Saputra
Stage Crew
Lee Dufallo
Grady Flinn
Eugene Lee
Amber Sun
Eric Zhang
Cover Design
Becca Cheng ART ’26
First Violin
Nate Strothkamp ’26 Concertmaster
Toby Huang ’29 Co-Concertmaster
Tai Caputo ’29
Mina Chang ’28
Josie Kelleher ’26
Rachel Kim ’26
Jonah Kwon ’29
Holly Lacey ’29
Isabel Li ’29
Isabelle Ong ’28
Marco Opeña ’28
Ella Saputra ’27
Amber Sun ’28
Amy Xiao ’29
Justine Xu ’27
Mindy Zhao ’29
Second Violin
Skylar Peck ’27, Principal
Richard Eichhorst ’29, Co-Principal
Gloria Baek ’27
Maxine Chen ’29
Ines Choi ’27
Camille Denman ’26
Sofia Heredia ’29
Timothy Lee ’27
Jacob Lewis ’29
Jane Lim ’29
Henry Liu ’28
Ruoshui Liu ’29
Tobias Liu ’26
Naomi-Jeanne Main ’26
Parisa Verma ’27
Jinan Laurentia Woo ’29
Viola
Elan Jiang ’28, Principal
Josephine Buruma ’29, Co-Principal
Jia Dunsby ’28
R. Grady Flinn ’29
Benjamin Graham ’28
Jewon Im ’27
Anna Koontz ’29
Lucian Mikush ’29
Aviv Pilipski ’29
Helen Qi ’27
Sarah Wagner ’29
Amanda Wu ’28
Violoncello
Sergey Blinov GRD ’29, Principal
Kira Wang ’26, Co-Principal
Josef Bell ’29
Gabriela Berger ’27
David Cho ’27
Lee Dufallo ’28
Benjamin Gruenbaum ’27
Sarah J. Lee ’28
Juliette Mandelbrot ’28
Danielle Yoon ’28
Justin Yu ’28
Contrabass
Yuvin Kang ’29, Principal
Logan Lee MUS ’27
Eleanor Ohm ’27
Joshua Rhodes MUS ’26
Kayla Ruano-Lumpris ’28
Flute
Joelle Kim ’28
Lauren Kim ’26
Eugene Lee ’29
Sasha Tarassenko ’27
Oboe
Benjamin Hambleton ’28
Alex Moore ’26
Alexander Vakov ’29
Si Wong GRD ’26
Clarinet
Ethan Chen ’28
Mia Gribbon ’29
Daniel Lee ’29
Amelia Shaw ’28
Bassoon
Amelia Newman ’29
Leah Wu ’29
Eric Zhang ’27
Linda Zhou ’29
French Horn
Thomas Chang ’29
Jasmine Chen ’27
Julian Kolthammer ’29
Joshua Lee ’29
Bryce Lowden ’28
Ethan Mash ’27
Trumpet and Cornet
Ty Ishikawa ’29
Evan Kessler ’28
August Lee-Kovach ’29
Caden Mather ’29
Emily Zhang ’27
Trombone
Lucas Haas ’26, Principal
Sophie Richardson ’27
Konrad Kurczynski ’26
Tuba
Benson Wang ’27
Harp
Sophia Jho ’28
Jiaxian Chen MUS ’27
Timpani and Percussion
Nate Mathew ’26, Principal
Jonny Duncan ’29
Jacob Leshnower ’27
David Stolyarov ’28
Zahra Virani ’27
About the Orchestra
The Yale Symphony Orchestra was founded in 1965 by a group of students who saw the growing potential for a large orchestral ensemble to thrive on campus. The YSO provides a means for students to perform orchestral music at the conservatory level while taking advantage of all that Yale, a liberal-arts institution, has to offer.
The YSO boasts an impressive number of alumni who have gone on to successful musical careers with: New York Philharmonic (Sharon Yamada, 1st violin), the Boston Symphony Orchestra (Haldan Martinson, principal 2nd violin, and Owen Young, cello), Vancouver Symphony (Henry Shapard, principal cellist), the Los Angeles Philharmonic (David Howard, clarinet), the San Francisco Symphony (the late William Bennett, oboe), Philadelphia Orchestra (Jonathan Beiler, violin), Toronto Symphony (Harry Sargous, oboe, ret.) and the Israel Philharmonic (Miriam Hartman, viola); as well as music director of the Baltimore Symphony Orchestra Marin Alsop; National Public Radio commentator Miles Hoffman; composers Michael Gore, Robert Beaser, Conrad Cummings, Stephen Paul Hartke, Robert Kyr, and more.
Throughout its history the YSO has been committed to commissioning and performing new music. Notably, the YSO presented the European premiere of Leonard Bernstein’s Mass in 1973, the world premiere of the definitive restoration of Charles Ives’ Three Places in New England, the U.S. premiere of Debussy’s Khamma, and the East Coast premiere of Benjamin Britten’s The Building of the House.
The YSO programs orchestral works written by new and emerging composers, as well as lesserheard works by established and obscure composers. The full list of YSO premieres can be seen at https://yso.yale.edu/concert-history/premieres.
The YSO has performed with internationally recog-
nized soloists; including Yo-Yo Ma, Frederica von Stade, Emmanuel Ax, David Shifrin, Thomas Murray, and Idil Biret. Each year the YSO is proud to perform major solo concerti played by the student winners of the William Waite Concerto Competition.
The YSO has performed at New York City’s Carnegie Hall, Avery Fisher Hall at Lincoln Center, and St. Patrick’s Cathedral. In the past ten years, the YSO has toured domestically and internationally, including a 2010 tour of Turkey with acclaimed pianist Idil Biret. Ms. Biret rejoined the orchestra for a recording of Paul Hindemith’s piano concerti, which were released in 2013 on the Naxos label.
Past tours have brought the orchestra to Portugal, Korea, Central Europe, Italy, Brazil, and Russia. The YSO completed its first tour of Mexico in March of 2023, and just returned from a five concert tour of North Macedonia and Greece. The full list of YSO tours can be seen at https://yso.yale.edu/concert-history/tours.
The YSO is famous for its legendary Halloween Show, a student-directed and -produced silent movie, performed around midnight in full costume. Long a Yale tradition, the Halloween Show sells out Woolsey Hall days in advance, and the production details and storyline remain closely guarded secrets until the night of performance. Recent cameo film appearances include James Franco, Woody Allen, Alanis Morisette, Rosa DeLauro, Jodie Foster and Jimmy Kimmel.
The YSO music directors include Richmond Browne, John Mauceri, C. William Harwood, Robert Kapilow, Leif Bjaland, Alasdair Neale, David Stern, James Ross, James Sinclair, Shinik Hahm, George Rothman, and Toshiyuki Shimada and William Boughton. This year marks Elizabeth Askren's first year as Director.
The Yale Symphony Orchestra would like to thank the following for their support:
$5,000 or more
Anonymous
The William Bray Fund for Music
Daniel B. Feller, M.D. ’74
James M. Ford, M.D. ’84, MED ’89
Kerry Fowler '73 B.S., '74 M.S., '78 Ph.D. Itzak Gartenberg
David N. Herskovitz ’84
Yale Symphony Orchestra Director’s Resource Fund
James R. Meehan, Ph.D. ’71
Prof. John K. Roth GRD ’66
Wendy Sharp ’82 and Dean Takahashi ’80, ’83 SOM
Mr. Hao and Michelle Wang
$1,000—4,999
Diane Z. Alexander ’83
Ms. Ana Isabel Ayerbe ’86
Daniel Berger ’93
Ms. Jean S. Brenner ’71
Dr. Stephen Y. Chang ’95
Randall S. Edson, M.D. ’70
Mr. Gary S. Ginstling ’88
Mr. Abel G. Halpern ’88
Ms. Rebecca Rusack Hawkins ’83
Dr. Elizabeth Petri Henske ’81
Mr. Robert C. Hensky ’81
Dr. Hyun Jung Ko
Steven Liu, M.D. ’97
Ms. Linda A. Marianiello ’80
Mr. Joel Marks
Mr. Frank Oh
Ms. Isabel Padien O’Meara ’99
Ms Sarah Payne ’98
Mr. Jeremy Mrose Rissi ’99
Dr. Pamela S. Tauchi-Nishi
Mrs. Julia A. Viazmenski
$500—999
Mr. Peter Belina
Mr. Daniel Meyer Berger ’93
Mindy B. Chanan
Prof. Lori Fisler Damrosch ’73
Mr. Matthew T. Gabbard ’07
Mr. Matthew Dean Griffith ’14
Drake M. Lamen, M.D. ’73
Karl R. Laskowski, M.D. ’03
MED ’07 MED ’08
Ms. Caroline Sangwon Lee ’89
Mr. Robert C. Lieberman ’86
Mr. Jonathan Lewis
Mr. Christopher Lin-Brande ’10
Mr. Robert P. Masland, III ’72
Dr. Steven Nishi
Valeria Constance Norton, M.D. ’87
Ms. Erika Johnson Rissi ’98
Mr. Peter Johannes van Roessel ’96
Dr. John K. Roth ’65 M.A., ’66 Ph.D.
Prof. Margo J. Schlanger ’89, LAW ’93
Charles Michael Sharzer ’12
Mr. Ralph A. Schweinfurth
Dr. Jennifer Kyung Shin ’99
Dietrich L. Snell, Esq. ’78 LAW ’82
Justin Daniel Stilwell ’09
Mrs. Linda & Steve Totilas
Mr. Austin Wang ’25
Prof. Robert K. Wimpleberg ’68
Mr. James Charles Barket MUS ’88
John A. Baron, M.D. ’67
Mr. Benjamin G. Bartolome ’16
Jean Bennett M.D., Ph.D. ’76
Dr. Joshua A. Bloom ’77
Mr. Martin J. Brennan III ’87
Mr. Devon R. Breton-Pakozdi ’16
Mr. Samuel William Byrne ’09
Mr. Michael A. Carrier ’91
Ms. Danica Chin ’99
Mr. Charles Cocores
Mr. Conrad M. Cummings ’70
Ms. Jane C. Datta ’84
Dr. Frank Samuel David ’92
Ms. Amy C DeLouise ’85
Dr. Sarah R. Dewey
Mr. Thomas C. Duffy
Richard H. Dumas
Ms. Margaret Edwards
Mr. Thomas K. Emmons ’69
Ms. Sarah A. Felstiner ’91
Mr. Brian Christopher Fidali ’11
Daniel S. Fierer
Mr. Matthew T. Gabbard ’07
Ms. Donna Gacek
Kathleen Gacek
Pamela J. Gray ’74
Richard W. Hadsell, ’71 M.Phil., ’75 Ph.D.
Mr. James B. Harding ’87
Mr. Kyung Suk Hwang
Dr. Michel T. Jackson ’83
Mrs. Jeanie K. Jho ’99
Dr. David H. Jho, M.D., Ph.D. ’98
Ms. Ellen Kaner ’80
John W. Karrel ’75
Michael S. Kerekes
Brian D. Koh ’99 M.S., ’01 M.Phil., ’07 M.D.
Mr. Steven Lewis ’18
Ms. Samantha Lichtin ’16
Ms. Sharon B. Like ’78
Ms. Roopa K. Kalyanaraman Marcello ’01
Ms. Michelle Elizabeth Kanter ’03
Mr. Steven M. Kaufman ’81
Ms. Erika Penzer Kerekes ’88
Ms. Bee-Seon Keum ’05 MUS ’06
Brian D. Koh, M.D.
GRD ’01, MED ’01
Ms. Kathrin D. Lassila ’81
Mr. Steven Lewis ’18
Ms. Sharon B. Like ’78
Mr. Philip Henry Lima ’83
Mr Jeffrey Lipnick
Prof. Mary T. Lui HON ’10
Ms. Caitlin L. McAuliffe ’09
Mr. Jared Lee Middleman ’13
Mrs. Veronica Calle Middleman ’13
Dr. Sayuri Miyamoto ’82
Mr. Randi Moore
Mr. Brian G. Mountford ’86
Mr. Mark Mulligan ’84
Dr. Natalia Neparidze
Mr. Jesse Newman ’70
Mr. Ian A. Niederhoffer ’19
Mr. Andre L. O’Neil ’88
Mr. Timothy A. Orr ’09
Ms. Julianne Theresa Parolisi ’02
Ms. Nira Pollock ’93
Paul P. Promadhat ’90
Mr. Kevin Qian ’14
Glenn M. Reiter ’73 B.A., ’76 J.D.
Daniel Rissi ’73
Mr. Peter Johannes van Roessel ’96
Ms. Julie Ann Schneider ’93
Ms. Dana Lee Schneider ’15
Mrs. C. Newton Schenck
Ms. Serena W. Shapard ’20
Mr. Shu-Ping Shen ’02
Dr. Robert J. Shevlin ’69
Ms. Jennifer Siegel ’90 GRD ’98
Mr. Jie Song
Mr. Sasha Henry Spector ’93
Dr. Gary K. Steinberg ’74
Dr. Mary C. Stoddard ’08
Ms. Victoria Yu-Than Su ’96
Ms. Elizabeth A. Sullivan ’74 GRD ’76
Ms. Patricia Borga Suvari ’83
Dr. Sandra M. Sweetnam ’71
Ms. Tasha Yap Tanhehco ’01
Mr. Glenn R. Thrope ’08
Meghan K. Titzer ’06
Mr. Peter Tropper ’73
Mr. & Mrs. Andrew F. Veitch
Claudia B. Veitch
Dr. Nathaniel O. Wallace ’69
Ms. Anna T. Weesner ’87
Mr. David Adam Weinstein ’10
Ms. Cindy Q. Xue ’17
Mr. Jonathan H. Zeitlin ’87
Tax-deductible contributions to the Yale Symphony Orchestra make up a significant part of our total operating budget. Your donations are vital to us, and are very much appreciated. Please consider making a donation to the Yale Symphony Orchestra. https://yso.yale.edu/why-give-to-the-yso