Yale Philharmonia: Mahler Symphony No. 1

Yale Philharmonia Shinik Hahm, conductor 路 January 21, 2011 路 Woolsey Hall

music by Akiho Berg Mahler

Illustration by Hans Lindloff

Robert Blocker, Dean

Yale Philharmonia January 21, 2011 · Friday at 8:00 pm · Woolsey Hall

andy akiho

Concerto for Steel Pans and Orchestra

b. 1979

Andy Akiho, steel pans Adrian Slywotzky, conductor

alban berg

Wozzeck: Three Excerpts Act I, scene 3 (Military March and Lullaby) Act III, scene 1 (Theme and Variations ) Act III, scene 4 – scene change – scene 5

1885–1935

Janna Baty, soprano Intermission

gustav mahler 1860–1911

Symphony No. 1 in D major, Op. 98 I. Langsam, Schleppend – Immer sehr gemächlich II. Kräftig bewegt, doch nicht zu schnell –Rechtgemächlich III. Feierlich und gemessen, ohne zu schleppen – Sehr einfach und schlicht wie eine Volksweise – Wieder etwas bewegter, wie im Anfang IV. Stürmisch bewegt – Energisch

As a courtesy to others, please silence all cell phones and devices. Photography of any kind is strictly prohibited. Please do not leave the hall during musical selections. Thank you.

philharmonia orchestra of yale

shinik hahm krista johnson renata steve

Conductor in Residence Managing Director Librarian

yang jiao adrian slywotzky roberta senatore

Assistant Conductor Assistant Conductor Production Assistant

Violin 1 Sun Min Hwang, concertmaster Domenic Salerni † Hyerin Kim Soo Ryun Baek Edson Scheid Sung Mao Liang † Nayeon Kim Geoffrey Herd Naria Kim Seok Jung Lee Joo Hye Lim David Radzynski Tao Zhang

Cello Jeonghwan Kim, principal Shinae Kim Jinhee Park Neena Deb-Sen Ying Zhang † Soo Jin Chung Yoon Hee Ko Philo Lee Jung min Han Weipeng Lu Mo Mo Jurrian van der Zanden

Bassoon SaMona Bryant, 1, 2, 3* Thomas Fleming, 1*, 2*, 3 (contrabassoon) Jennifer Hostler, 2, 3 Helena Kranjc, 2 (contrabassoon), 3

Percussion Yun-Chu Chiu, 2 Michael Compitello, 1, 2, 3 John Corkill, 2, 3 Leonardo Gorosito, 1, 2 Adam Rosenblatt, 3

Violin 2 Sun Kyung Ban, principal Domenic Salerni Yeseul Ann Igor Pikayzen Youngsun Kim Xi Chen Jiin Yang Hyewon Kim Laura Keller Hyun Sun Sul Tammy Wang Edward Tan Viola Edwin Kaplan, principal Janice Lamarre Eleanor James Min Jung Chun On You Kim Amina Tebini Eve Tang Timothy Lacrosse Eren Tuncer Colin Meinecke † Hyun Jung Lee Kristin Chai

Double Bass NaHee Song, principal Michael Levin Paul Nemeth Eric Fischer Gregory Robbins Aleksey Klyushnik † Nathaniel Chase Flute & Piccolo Cho-Long Kang, 1*, 2, 3* Anouvong Liensavanh, 1, 2*, 3 Ginevra Petrucci, 2, 3 Peng Zhou, 2, 3 Oboe Alexandra Detyniecki, 2, *3 Rebecca Kim, 1, 2, 3 Jeffrey Reinhardt, 1*, 2*, 3 Kaitlin Taylor, 2, 3 (English horn) Clarinet & Bass Clarinet Wai Lau, 1*, 2, 3 Emil Khudyev, 2 In Hyung Hwang, 2, 3 Soo Jin Huh 3* Ashley Smith 1* Sara Wollmacher, 1, 2, 3 (bass clarinet)

Horn Jessica Lascoe, 2, 3 Jamin Morden 2, 3 Ian Petruzzi, 1*, 3 Timothy Riley *1, 2, 3 Elizabeth Upton 3* Mimi Zhang, 2, 3 Trumpet Paul Futer, 2, 3 Ryan Olsen 2, 3 Kyle Sherman, 1, 2, 3 Andreas Stoltzfus, 1*, 3* David Wharton 2* Trombone Brittany Lasch, 1*, 2*, 3 Brian Reese, 2, 3 Ruben Rodriguez, 1* Matthew Russo 2 Bass Trombone Benjamin Firer, 2 Craig Watson, 1, 3 Tuba Jerome Stover, 1, 2, 3 Timpani Yun-Chu Chiu, 1 Leonardo Gorosito, 3 Adam Rosenblatt, 2 Ian Rosenbaum, 3

Harp Kristan Toczko, 1, 2 Maura Valenti, 3 Piano Aura Go, 1 Celeste Xiaoxi Wu, 2 1- Performer in Akiho 2- Performer in Berg 3- Performer in Mahler *- Principal Player † - String Principal in Akiho Assistant Joseph Peters Music Librarians Yeseul Ann Wai Lau Holly Piccoli Kaitlin Taylor Elizabeth Upton Sara Wollmacher Stage Crew Landres Bryant Paul Futer Michael Levin Brian Reese Ruben Rodriguez Andreas Stoltzfus Craig Watson David Wharton

notes on the program

Andy Akiho » b. 1979

Concerto for Steel Pans and Orchestra The steel pan was the catalyst that led me to become a composer. I was first introduced to the instrument at the University of South Carolina in 1997, where I studied percussion performance under Jim Hall.

After I finished my studies in 2001, I made four extensive visits to Trinidad to immerse myself in the culture of the music.

I returned several times in subsequent years to study and perform with two of the greatest pioneers of the instrument— Len “Boogsie” Sharpe and Ray Holman.

Encouraged by my experiences in Trinidad, in 2003 I moved to the Caribbean community in Brooklyn, NY. There I had the opportunity to perform and learn from some of the greatest pan innovators, including Scipio Sargeant, Eddie Quarless, Clive Bradley, and Freddy Harris III. Their positive influences ultimately led me to the Manhattan School of Music, where I began to compose new art music that often integrated the steel pan in combination with traditional classical instruments.

My goal with this piece, and with my other pieces involving the steel pan in

combination with traditional classical instruments, is to create sonorous textures that explore the frontiers of the instrument. I often find that compositions incorporating the steel pan outside of the pure Calypso and Soca genres use the instrument as a novelty gimmick without realizing the instrument’s full potential. I believe that the steel pan is an extremely versatile instrument capable of both producing an extraordinarily unique timbre and contributing to a homogenous orchestral texture.

The configuration of the steel pans in this concerto consists of a “tenor pan” (soprano range: one instrument = one pan) centered between a set of “double seconds” (alto range: one instrument = two pans).

These three pans are combined to create an extended range of three fully chromatic octaves from the E below middle C to the E above the treble staff. There is also an optional fourth pan that is used only for percussive effects: rim clicks and “skirt” (side of the pan) hits.

– Andy Akiho

Alban Berg » 1885–1935 Wozzeck

Wozzeck tells the story of a poor German soldier, who, having fathered a child out of wedlock with his beloved Marie, becomes enraged by her betrayal and commits the ultimate act of revenge. The opera, based

on an unfinished play by Georg Büchner, is remarkable for its powerful atonality, its unusual use of classical forms, and its uncompromising portrayal of the degradation and exploitation of the poor.

Berg created a novel structure for the opera, organizing its fifteen scenes into three acts, with each act creating a larger form in itself. The first act is comprised of a suite, with a rhapsody and hunting song, a march and lullaby, a passacaglia (21 variations on a tone-row), and a rondo.

The second act follows the plan of a fivemovement symphony, while the final act contains six inventions on musical ideas such as “Invention on a 6-Note Chord” (Act III, Scene 4) and “Invention on an Eighth-Note” (Act III, Scene 5).

These forms however, are merely a backdrop for a story of gripping emotional power. Berg creates a sense of realism by employing harsh, brutal language not often found in opera. He adds to this sensibility by often setting the words in rhythms that mimic normal speech. Still, the realism of the world in which these poor characters live is heightened by the madness of the title character himself.

Subjected to experiments by an unscrupulous doctor, taunted by his military captain, and tormented by an unfaithful lover, Wozzeck is driven insane. He earns our pity and sympathy even as he commits his terrible crime.

– Jordan Kuspa

notes on the program

Gustav Malher » 1860-1911

Symphony No. 1 in D major, Op. 98 Gustav Mahler rose to musical prominence as one of the most important and innovative conductors of opera in the late nineteenth century. His conducting career included appointments at opera houses in Prague, Leipzig, Budapest, and Hamburg, leading up to his ten-year residency as director of the Vienna Hofoper.

At the end of his life, Mahler came to New York, where he led both the Metropolitan Opera and the New York Philharmonic.

This busy schedule made it impossible for Mahler to devote his full energies to composition during the concert season, forcing him to write mainly in periodic bouts of feverish activity. The demands on his time notwithstanding, he crafted the small but powerful catalog of his works that survive today.

Within Mahler’s oeuvre only two genres are represented: the symphony and the lied. Despite the vast chasm that separates the intimate sentiment usually found in art song from the public utterances of the great symphonies, Mahler creates in his work a synthesis of these musical antipodes.

His orchestrated song cycles, particularly the late Das Lied von der Erde, approach symphonic scope and construction, while many of his symphonies incorporate vocal soloists, choruses, and, as is the case in the First Symphony, material from Mahler’s own songs.

Two of the songs from Mahler’s Lieder eines fahrenden Gesellen are reused extensively in the First Symphony. After the vast opening of the first movement, in which birdcalling woodwinds and offstage trumpets emerge out of the haze of strings playing the note A across seven octaves, the cellos introduce the melody of the song “Ging heut Morgen übers Feld” (“I Went This Morning over the Field”), and the bulk of the movement is derived from this song. Similarly, in the third movement, a funeral march that begins with the round most commonly known as “Frère Jacques,” Mahler introduces much of the song “Die zwei blauen Augen von meinem Schatz” (“The Two Blue Eyes of my Beloved”).

However, unlike many of Mahler’s later symphonies, these songs are not performed by vocalists, and therefore are stripped of their explicit textual meaning. Mahler provided a programmatic explanation for the symphony at one of its earliest performances, but this too was excised.

Ultimately, it seems that Mahler decided it best to leave the interpretation of the work in the hands of the listener. We must believe that he would have been open to multiple readings of this work, for it was he who said, “A symphony must be like the world. It must embrace everything.”

– Jordan Kuspa

wozzeck: texts & translations Translation by Richard Stokes, 2003

act 1

akt 1

Scene 3

Dritte Szene.

Marie’s room. Evening. Marie stands with her child on her arm at the window.

Mariens Stube. Abends. Die Militärmusik nähert sich. Marie mit ihrem Kinde am Arm beim Fenster.

Marie (singing to herself ) ‘Soldiers, soldiers, are good-looking guys!’ (stops singing)

Marie (singt vor sich hin) Soldaten, Soldaten sind schöne Burschen!

(Slams the window. She is alone with the child.

The military band is suddenly inaudible as the window is closed.) (flaring up) Come, my boy! Some people will say anything! (takes the child in her arms) You are just a son of a whore (sits) and give your mother such joy with your dishonest face!

(She rocks the child.)

Hush-a-bye baby…

(Schlägt das Fenster zu. Die Militärmusik ist plötzlich, als Folge des zugeschlagenen Fensters, unhörbar geworden. Marie ist allein mit dem Kind.)

Komm, mein Bub! Was die Leute wollen!

Bist nur ein arm’ Hurenkind und machst Deiner Mutter doch so viel Freud’ mit Deinem unehrlichen Gesicht! (wiegt das Kind) Eia popeia…

[Lullaby] “What will you do now, poor lamb?

You have a child but no man!

Ah, why worry poor mite, I’ll sing through the live-long night: Hush-a-bye baby, my sweet boy, Nobody gives a damn about us!

Hansel, go saddle your six horses, Fill up their troughs to the brim.

They won’t eat oats,

Mädel, was fangst Du jetzt an?

Hast ein klein Kind und kein Mann!

Ei, was frag’ ich darnach, Sing’ ich die ganze Nacht: Eia popeia, mein süßer Bu’, Gibt mir kein Mensch nix dazu!

Hansel, spann’ Deine sechs Schimmel an, Gib sie zu fressen auf ’s neu, Kein Haber fresse sie,

They won’t drink water, Purest, cool wine it must be.

(She notices that the child is asleep.)

Purest, cool wine it must be!”

Kein Wasser saufe sie, Lauter kühle Wein muss es sein!

(Das Kind ist eingeschlafen.)

Lauter kühle Wein muss es sein!

wozzeck: texts & translations

act 3

akt 3

Scene 1

Erste Szene

Marie’s room. Night, candlelight. Marie, alone, sits at the table, turning the pages of the Bible and reading. The child is near her.

Mariens Stube. Es ist Nacht. Kerzenlicht. Marie sitzt am Tisch, blättert in der Bibel; das Kind in der Nähe. Sie liest.

[Invention on a Theme] Marie (spoken) ‘And out of his mouth there came forth neither deceit nor falsehood…’ (sung) Dear God! Dear God! Don’t look on me!

Marie Und ist kein Betrug in seinem Munde erfunden worden’ ... Herr-Gott! Herr-Gott!

Sieh’ mich nicht an!

[Variation I] (turns the pages and reads again; spoken) ‘Wherefore the Pharisees brought him a woman taken in adultery.’ ‘But Jesus said to her: “I condemn thee henceforth no more.

Go forth…

(blättert weiter) Aber die Pharisäer brachten ein Weib zu ihm, so im Ehebruch lebte. Jesus aber sprach: “So verdamme ich dich auch nicht, geh’

[Variation II] …and sin no more.” ’ (sung) Dear God! (covers her face with her hands)

hin, und sündige hinfort nicht mehr.” ’ Herr-Gott! (schlägt die Hände vors Gesicht.)

[Variation III] (The child presses up to her.)

It pierces my heart to see the boy. Out! (pushes the child away)

(Das Kind drängt sich an Marie.)

Der Bub’ gibt mir einen Stich in’s Herz. Fort! (stößt das Kind von sich)

[Variation IV] He’s out there for all to see. (suddenly gentler) Ah, no! Come! (draws him closer) Come here!

Das brüst’ sich in der Sonne! (plötzlich milder) Nein, komm, komm her! (zieht das Kind an sich)

[Variation V] (spoken) ‘And once there was a lonely child, and he had no father and had no mother, for both were dead; there was no one in the world, and so he went hungry and he wept, day and night.

Komm zu mir! Es war einmal ein armes Kind und hatt’ keinen Vater und keine Mutter ... war Alles tot und war Niemand auf der Welt, und es hat gehungert und geweint Tag und Nacht.

As he had nobody else in the world…’

Und weil es Niemand mehr hatt’ auf der Welt ...’

[Variation VI] (sung) Franz never came, not yesterday, not today…

Der Franz ist nit kommen, gestern nit, heut’ nit...

[Variation VII] (hastily leafing through the Bible) What is written of Mary Magdalen?…

(blättert hastig in der Bibel) Wie steht es geschrieben von der Magdalena? ...

[Fugue] (with some singing voice) ‘And falling on her knees before Him, and weeping, she kissed his feet and washed them with her weeping, anointing them with ointment…’ (beating her breast; fully sung) Savior! I want to anoint your feet – Savior, you took pity on her; take pity on me now!

‘Und kniete hin zu seinen Füssen und weinte und küsste seine Füsse und netzte sie mit Tränen und salbte sie mit Salben.’ (schlägt sich auf die Brust) Heiland! Ich möchte Dir die Füße salben!

Heiland! Du hast Dich ihrer erbarmt, erbarme Dich auch meiner!

wozzeck: text & translation

Scene 5 (last)

Fünfte Szene

In front of Marie’s house. Bright morning, sunshine. Marie’s child is riding a hobby horse.

Strasse vor Mariens Tür. Heller Morgen.

Sonnenschein. Kinder spielen und lärmen.

Mariens Knabe auf einem Steckenpferd reitend.

Children (playing and shouting) Ring around the rosey, pocket full of posies, Ring around the rosey, pocket...

Die spielenden Kinder Ringel, Ringel, Rosenkranz, Ringelreih’n!

Ringel, Ringel, Rosenkranz, Rin...

(They break off. Other children come rushing on with news that a dead body has been found. ) Marie’s Boy Hop, hop! Hop, hop! Hop, hop!

Mariens Knabe Hopp, hopp! Hopp, hopp! Hopp, hopp!

Marie’s boy, not understanding, keeps riding his hobby-horse as the other children run off to look.

Marie’s Boy Hop, hop! Hop, hop! Hop, hop!

Mariens Knabe (reitet) Hopp, hopp! Hopp, hopp! Hopp, hopp!

(Marie’s boy, alone, hesitates a moment, then rides off after the other children.)

(zögert einen Augenblick und reitet dann den anderen Kindern nach.)

End of the Opera

Ende.

artist profiles

U.S. and Japan. Hahm served as music director of the Abilene Philharmonic Orchestra from 1993 to 2003 and was profiled on ABC’s World News Tonight for his role in rejuvenating the Abilene community. His leadership has been similarly vital to the Tuscaloosa Symphony, where he has been music director for ten years.

Shinik Hahm, conductor in residence A dynamic and innovative conductor, Shinik Hahm is the newly appointed chief conductor of the kbs (Korean Broadcasting System) Symphony Orchestra. Concurrently, he is a professor of conducting at the Yale School of Music, where he leads the Yale Philharmonia.

Recently, Maestro Hahm led the kbs Symphony on tour with concerts at the General Assembly of the United Nations, Carnegie Hall, and the Kennedy Center. His debut with the Nordwestdeutsche Philharmonie at Amsterdam’s Concertgebouw resulted in an immediate reengagement for the 2010 season. Hahm’s extensive work in China includes collaborations with the China Philharmonic Orchestra, Guangzhou Symphony Orchestra, Shenzhen Symphony, and Shanghai Opera. He was named an honorary professor of Hwa Gong University in China.

In 2006 Hahm successfully completed his tenure as the artistic director and principal conductor of the Daejeon (Korea) Philharmonic Orchestra, with which he toured the

Similarly inspirational to young musicians, Hahm has led the Philharmonia Orchestra of Yale at Carnegie Hall and in Boston, Seoul, Beijing, and Shanghai. His Yale students have won top prizes in prestigious conducting competitions. Hahm has won the Gregor Fitelberg Competition for Conductors, the Walter Hagen Conducting Prize from the Eastman School of Music, and the Shepherd Society Award from Rice University. In 1995 Maestro Hahm was decorated by the Korean government with the Arts & Culture Medal.

Adrian Slywotzky, assistant conductor Conductor Adrian Slywotzky has been active as a musician in the New Haven area since 1998.

For the last three years he has been the director of the New Haven Chamber Orchestra, and he is the founding conductor of the Yale Medical Symphony Orchestra. Following his passion for teaching, Adrian has worked as an educator throughout New England. Since 2005 he has been on the conducting staff of the Boston Youth Symphony Orchestras, and he is serving as interim conductor of the Greater New Haven Youth Orchestra for the 2008-2010 seasons. For five years he was the director of instrumental music at Hopkins School in New Haven, and he has taught at Neighborhood Music School,

artist profiles

Elm City ChamberFest, and the Southern Maine String Camp. As a violinist, Adrian has participated in festivals including Tanglewood Music Center, California Summer Music, and the Norfolk Contemporary Music Festival.

Adrian holds a BA in architecture from Yale College, where he studied violin with Kyung Yu, and an MM in violin performance from the Yale School of Music, where he studied with Wendy Sharp. He is currently pursuing a Master of Music degree in orchestral conducting at the Yale School of Music, where he studies with Shinik Hahm.

Andy Akiho, steel pans Andy Akiho is an eclectic composer whose interests run from steel pan to traditional classical music. He has won a 2010 Horatio Parker Award at the Yale School of Music, a 2009 ascap Morton Gould Young Composers Award, and a 2008 Brian M. Israel Prize. Akiho’s works have been featured on PBS’s News Hour with Jim Lehrer, and by organizations such as Meet the Composer, Bang on a Can, and the American Composers Forum. He has composed for the Bang on a Can Marathon, the Red Line

Saxophone Quartet, the Playground Ensemble, and the Norfolk Chamber Music Festival. Akiho’s compositions have been heard in venues such as Jazz at Lincoln Center, Merkin Hall, mit’s Kresge Auditorium, Mass moca, and the St. James Theater (Port of Spain, Trinidad). A graduate of the University of South Carolina (bm, percussion performance) and the Manhattan School of Music (mm, contemporary performance), Akiho is currently studying composition at the Yale School of Music. As a percussionist Akiho has performed with numerous professional ensembles. Recent engagements include the South Carolina Philharmonic Orchestra, Ethos Percussion Group, Djoliba Don West African Drum and Dance Ensemble, Gamelan Lila Muni, Island Close By Steel Band, and many chamber ensembles throughout New York City. Akiho won Second Prize in the 2002 World Steelband Music Festival solo competition. As an educator, he has served as a lead teaching artist for ArtsConnection in New York. Akiho plans to continue his career as a performer while emphasizing his chamber and orchestral compositions. » www.andyakiho.com

artist profiles

Janna Baty, soprano Praised by the Boston Globe for “a rich, violalike tone and a rapturous, luminous lyricism,” mezzo-soprano Janna Baty has sung with Boston Symphony, Los Angeles Philharmonic, Daejeon Philharmonic, Hamburgische Staatsoper, L’Orchestre National du Capitole de Toulouse, Royal Philharmonic Orchestra, Tallahassee Symphony, Hartford Symphony, Orquesta Filarmónica de Bogotá, Opera Theatre of St. Louis, Eugene Opera, Opera North, and Boston Lyric Opera. She has sung under the batons of James Levine, Seiji Ozawa, Michel Plasson, Carl Davis, Robert Spano, Steuart Bedford, Stephen Lord, Stefan Asbury, Christopher Lyndon Gee, Dean Williamson, Gil Rose, David Hoose, and Edward Cumming.

As a soloist, chamber musician, and recitalist, she has performed at festivals worldwide, including the Aldeburgh and Britten Festivals (England), the Varna Festival (Bulgaria), the Semanas Musicales de Frutillar Festival (Chile), and the Tanglewood, Norfolk, and Coastal Carolina festivals. A noted specialist in contemporary music, Ms. Baty has worked alongside many celebrated composers, including John

Harbison, Bernard Rands, Yehudi Wyner, Sydney Hodkinson, Peter Child, Reza Vali, Paul Salerni, and Paul Moravec, on performances of their music. Ms. Baty has enjoyed a long collaboration with Boston Modern Orchestra Project, and with them has recorded the critically lauded Vali: Flute Concert/Deylaman/Folk Songs (sung in Persian), Lukas Foss’s opera Grifflekin, the world-premiere recording of Eric Sawyer’s Civil War-era opera Our American Cousin; and the premiere recording of John Harbison’s opera Full Moon in March, which also includes Ms. Baty performing his Mirabai Songs. Upcoming appearances include The Woman in Hindemith’s opera Cardillac with Opera Boston, Bach’s Mass in B Minor with Cantata Singers, Mahler’s Second Symphony with Eastern Connecticut Symphony Orchestra, and principal roles in two new operas. Ms. Baty joined the Yale School of Music faculty in 2008.

philharmonia orchestra of yale

The Philharmonia Orchestra of Yale is one of America’s foremost music school ensembles.

The largest performing group at the Yale School of Music, the Philharmonia offers superb training in orchestral playing and repertoire. Performances include an annual series of concerts in Woolsey Hall, as well as Yale Opera productions in the Schubert Performing Arts Center. In addition to its New Haven appearances, the Philharmonia Orchestra of Yale has performed on numerous occasions in Carnegie Hall and Alice Tully Hall in New York City and at the Kennedy Center in Washington, D.C. The Philharmonia recently undertook its first tour of Asia, with acclaimed performances in the Seoul Arts Center, the Forbidden City Concert Hall and National Center for the Performing Arts (Beijing), and the Shanghai Grand Theatre.

The beginnings of the Yale Philharmonia can be traced to 1894, when an orchestra was organized under the leadership of the School’s first dean, Horatio Parker. The orchestra became known as the Philharmonia Orchestra of Yale in 1973, with the appointment of OttoWerner Mueller as resident conductor and William Steinberg, then music director of the Pittsburgh Symphony, as Sanford Professor of Music. Brazilian conductor Eleazar di Carvalho became music director in 1987, and Gunther Herbig joined the conducting staff as guest conductor and director of the Affiliate Artists Conductors program in 1990. Lawrence Leighton Smith, music director of The Louisville Symphony Orchestra, conducted the Philharmonia for a decade, and upon his retirement in 2004, Shinik Hahm was appointed music director.

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coming up Yale School of Music 203 432-4158 concerts@yale.edu music.yale.edu/media

Peter Frankl, piano February 2 | 8 pm | Wed | Sprague Peter Frankl continues his 75th birthday celebration. Bartók: Allegro barbaro; Three Burlesques; Three Rondos on Slova Folk Tunes. Beethoven: Sonata in E-flat major, “Quasi una Fantasia,” Op. 27, no. 1; Sonata in C-sharp minor, Op. 27, no. 2, “Moonlight”; Sonata in C minor, Op. 111.

Tickets $12-22, Students $6

Tokyo String Quartet February 8 | 8 pm | Tue | Sprague Mozart: “Hunt” Quartet in B-flat major, K. 458; Szymanowski: Quartet No. 1 in C major, Op. 37; Mendelssohn: String Quintet in B-flat major, Op. 87, with violist Ettore Causa.

Yale Opera: Don Giovanni February 11–13 | Fri & Sat 8 pm | Sun 2 pm Tickets $19–41, Students $13, at the Shubert Theater | www.shubert.com | 203 562-5666

peter frankl

Celebrating 75 Years february 2

An exciting new production of Mozart’s Don Giovanni, conducted by Giuseppe Grazioli and directed by Sam Helfrich. With set design by Andrew Holland, costume design by Kaye Voyce, and lighting design by William Warfel.

Performed in Italian with projected English translations.