Yale Philharmonia

Yale Philharmonia Shinik Hahm, conductor

yale philharmonia Friday, September 23, 8 pm Woolsey Hall with Amanda Hall, soprano Kelly Hill, mezzo-soprano Samuel Levine, tenor Andrew Brown, bass-baritone Yale Camerata Yale Glee Club music by Beethoven Strauss

Robert Blocker, Dean

september 23, 2011

Yale Philharmonia Shinik Hahm, conductor

richard strauss

Fanfare für die Wiener Philharmoniker

1864–1949

Paolo Bortolameolli, conductor

ludwig van beethoven

Leonore Overture No. 3

1770–1827

Yang Jiao, conductor Intermission ludwig van beethoven

Symphony No. 9 I. Allegro ma non troppo, un poco maestoso II. Scherzo: Molto vivace III. Adagio molto e cantabile IV. Recitative Amanda Hall, soprano Kelly Hill, mezzo-soprano Samuel Levine, tenor Andrew Brown, bass-baritone Yale Camerata • Marguerite L. Brooks, director Yale Glee Club • Jeffrey Douma, director

As a courtesy to others, please silence all cell phones and devices.

Photography and recording of any kind are strictly prohibited.

Please do not leave the hall during musical selections. Thank you.

philharmonia orchestra of yale

Shinik Hahm Conductor

Roberta Senatore Librarian

Yang Jiao Assistant Conductor

Krista Johnson Managing Director

Kate Gonzales Production Assistant

Paolo Bortolameolli Assistant Conductor

Violin 1 Geoffrey Herd Laura Keller Victor Fournelle-Blain Corin Lee Ki Won Kim Sun Kyung Ban Hye Jin Koh Edson Scheid Hen Shuo Chang Yuan Ma Nayeon Kim David Radzynski Christian Sitzmann Seok Jung Lee Rebekah Durham Cordelia Paw

Cello Arnold Choi James Jeonghwan Kim Jurrian van der Zanden Sung Chan Chang Joonhwan Kim Elisa Rodriquez Sadaba Hae Yoon Shin Shinae Kim Andrew Hayhurst Jinhee Park Jia Cao Bo Zhang

Yuki Katayuma Helena Kranjc, contrabassoon Meryl Summers Scott Switzer 3* Lauren Yu 2*

Violin 2 Sun Min Hwang Edward Tan Tao Zhang Joo Hye Lim Minhye Helena Choi Jacob Ashworth Shawn Moore Ji Hyun Kim Go Woon Choi Won Young Jung Kayla Moffett Eun-young Jung Yoon Won Song Jiwon Kwark Viola Eleanor Kendra James Timothy Lacrosse On You Kim Colin Brookes Dashiel Nesbitt Min Jung Chun Leonard Chiang Jane Mitchell Jessica Li Heejin Chang Dan Zhang Sara Rossi

Double Bass Nicholas Jones Michael Levin Andrew Small Gregory Robbins Jonathan McWilliams NaHee Song Matthew Rosenthal Paul Nemeth Asa Maynard Flute Rosa Jang Cho-Long Kang 3* Anouvong Liensavanh, piccolo Ginevra Petrucci 2* Kyeong Hoon Seung Oboe Hsuan-Fong Chen Kristin Kall Ji Hyun Kim Rebecca Kim 2* Caroline Ross Kaitlin Taylor 3* Clarinet Soo Jin Huh 3* Gleb Kanasevich Wai Lau 2* Igal Levin Bassoon Elisabeth Garrett

Horn Craig Hubbard 1* Lauren Hunt Patrick Jankowski Jessica Lascoe Jamin Morden Ian Petruzzi 3* William Purvis Mimi Zhang 2* Trumpet John Allen 2 offstage John Ehrenburg 3* Paul Futer 1* Jean Laurenz Gerado Mata 2* Gerald Villella Trombone Jeffery Arredondo Hana Beloglavec Benjamin Firer Timothy Hilgert 3* Brittany Lasch 1* Matthew Russo 2* Tuba Landres Bryant 1* Jonathan Hill Percussion Jonathan Allen Victor Caccese Cristobal Gajardo-Benitez 2* Leonardo Gorosito Adam Rosenblatt 1*, 3*

1* Principal in Strauss 2* Principal in Leonore 3* Principal in Ninth Symphony

philharmonia orchestra of yale

Assistant Benjamin Firer Music Librarians Cristobal Gajardo-Benitez Timothy Hilgert Wai Lau Holly Piccoli Matthew Rosenthal Kathryn Salfelder Kaitlin Taylor Stage Crew John Allen Jonathan Allen Landres Bryant Colin Brookes Timothy Hilgert Michael Levin Cameron McPhail Matthew Rosenthal Aaron Sorensen Gerald Villella

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 Otto-Werner 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.

yale camerata

Marguerite L. Brooks Conductor

Miles Canaday Noah Horn Principal Assistant Conductors

Dann Coakwell Sara Marks Caleb Bennetch Managers

Janet Gurniak Katie Hart Bob Havery Bonnie Havery Charles Matthew “Matt” Hill* Noah Horn*† Allison Hsiang* Joyce Hsiang* Simon Jacobs*† Breanne Johnson Katherine Jones Patricia King Sarah Koenig* Donald Kohn Ronald L. Krauss Matthew Lane Jean Laurenz Steven Lauritano* Hannah Leckman Michel Ledizet* Clara Marcus* Alexandria Marino* Sara Marks*† John Masko* Hayley McCullough* Erica Miao* Catherine Miller Elizabeth Miller Kenneth Miller* Caroline Murphy

Philip Oegema* Tawnie Olson Laurie Ongley Samantha Ostrowski* Laura Rais Angharad Rebholz* Sarah Reed* Melissa Rooklidge Michael Salazar William B. Sawyer Daniel A.R. Schlorff* Dana Steele Robert Strebendt*† Martha Kirk Swartz Adrianna Tam*† Brent Te Velde Meredith Owen Thomas Paul Thomas* Amanda Weber*† Megan Wilhelm Sandra Yannielli Jason Zahorchak* Katherine Zodrow

Douglas Dickson Accompanist

Arianne Abela* Elizabeth Auld Louis Auld Jessica Barnes* Helen Barnstable* Carol Beckwith Caleb Bennetch*† Michael Blaakman* Katherine Blossom * Jerry Boryca Faith F. Brill Colin Britt Marguerite Brooks Miles Canaday*† Karen Clute Doug Dickson Frank Dodd* Dayna Drake Katie Dryden* Emily Eisenlohr Stephen Feigenbaum* Louis Ferland Faith Ferry Paul Futer* Heather Gallagher* William (Bill) Gassman Naomi Geier* Michael Gilbertson Gerald Goh Veronica Guimaraes

* Chamber Chorus † Assistant Conductor

yale glee club

Jeffrey Douma Director T. Sean Maher Manager

Soprano I Caroline Diehl Abigail Droge Rachel Glodo Jessica Moore Sarah Norvell Samantha Sanders Aria Thaker Becca Trietch Fiona Vella Soprano II Ashby Cogan Katharine Dryden Marisa Karchin Camille Labarre Liya Lomsadze Johanna Press Emma Schmidt Stephanie Tubiolo Jennifer Witthuhn Lisa Zhang Alto I Ye Seul Byeon Emily Diana Miriam Lauter Claire Paulson Victoria Pierre Rachel Protacio Ingrid Rochon Harriet Weaver Marcella Wigg Ayanna Woods

Alto II Cynthia Deng Claire Donnelley Kyle Eichner Leah Latterner Julia Myers Merav Stern Arielle Susu-Mago Maria Luisa Torruella Cynthia Weaver Rachel Wilf

Tenor I Brent Barbieri John Clayton Daniel Cruse Connor Kenaston Jacob Metrick Daniel Reardon Jackson Thea Daniel Thompson Ives (Tony) Valenzuela Tenor II Edward Delman Wee Shian Goh Atid Kimelman Timothy Lind Joshua Okonkwo Daniel Olson Kyle Picha Jonathan Rajaseelan Peter Thompson Joseph Tremblay Justin Young

Bass I Markus Boesl Miles Canaday Ned Dana Sam Dealy Adam Fishman Matthew Hoffer-Hawlik Abraham Killanin Timothy Laciano Andre Shomorony Bryce Wiatrak Robert Yaman Bass II Andy Berry Connor Buechler Ryan Dailey Timothy Gladding Michael Haycock David Kemper Spencer Klavan Noah Kleinberg Evan Patel Ben Robbins Henry Wilkin

notes on the program

richard strauss 1864–1949

Strauss: Fanfare for the Vienna Philharmonic Richard Strauss was the son of the principal horn player of the Munich Court Orchestra. As a young boy, Strauss would listen to his father’s rehearsals, which not only provided the budding composer with an intimate knowledge of the orchestra, but also instilled in him a great love of brass instruments. Scattered throughout Strauss’s oeuvre are some of the most powerful and exciting moments for brass in all of the orchestral literature, like the opening fanfare of Also Sprach Zarathustra or the coruscating horn melody of Don Juan.

The Fanfare for the Vienna Philharmonic was written in 1924 for the orchestra’s first benefit ball, and has been performed at the annual event ever since. The short work has proven popular elsewhere as well—it was even included in the YouTube Symphony performance at the Sydney Opera House earlier this year. Scored for eight horns, six trumpets, six trombones, two tubas, and timpani, the Fanfare is yet another example of Strauss’s impeccable brass writing, which culminates in a virtuosic horn riff that spans three octaves.

Notes by Jordan Kuspa

notes on the program

ludwig van beethoven 1770–1827

Beethoven: Leonore Overture No. 3 When Ludwig van Beethoven (1770-1827) began work on his first opera in 1803, he had already gained considerable fame as a pianist and composer in Vienna. Recent successes included his first symphony and the ballet Die Geschöpfe des Prometheus, both composed in 1800. Beethoven originally planned to set a libretto by Emanuel Schikaneder (the librettist for Mozart’s The Magic Flute); he eventually abandoned it in favor of a German adaptation of Bouilly’s Léonore, ou L’amour conjugal which he simply called Leonore. Later, the theater insisted on the title Fidelio.

The opera was finished in 1805, though the political climate in Austria was not stable enough to premiere it. Napoleon had recently taken the city of Vienna, and most of Beethoven’s supporters had fled the city. Nevertheless, Fidelio was premiered in November of that year.

The perceived inconsistency in form (which adapted elements of grand opera, singspiel, and melodrama), lack of a full audience, and what was considered an over-lengthy plot contributed to its immediate failure. Beethoven continued to adapt and restage the opera over the following nine years, although it was not until the 1814 version (with the 1822 casting of the great soprano Wilhelmine Schroeder-Devrient in the lead role) that Fidelio became a success.

Fidelio tells the story of a Spanish nobleman, Florestan, who has been imprisoned for political reasons by the cruel governor of Seville, Pizarro. Leonora, his wife, disguises herself as a man called Fidelio, intending to find and rescue her husband by becoming assistant to the chief jailer, Rocco. On the day that Florestan is to be executed, Rocco allows Leonora to accompany him to the cell of the condemned prisoner, whose grave they must prepare. Leonora throws herself in front of the treacherous Pizarro, reveals her true identity, and stops him from killing her husband. The Prime Minister, Don Fernando, recognizes Florestan and Leonora as old friends, releases Florestan from prison, and orders Pizarro led away in chains.

notes on the program

Notes by Kevin Zakresky

Through Beethoven’s many revisions of the opera, he wrote four complete overtures for the work – all of which have also become popular on the concert stage. The second, called now Leonore No. 3, was composed for the 1806 revision of the opera and is considered the strongest of the four. The fourth overture was written for the 1814 revision of the opera and is now most often used in staged performances. Gustav Mahler began the now common practice of playing the Leonore No. 3 overture between the two scenes in Act II because of its thematic connections with the prison scenes in the opera. The intensity and rigorous symphonic development of Leonore No. 3 can overwhelm at the opera but contribute to its power as a concert work.

The piece begins with a slow introduction in C that quickly modulates to the remote key of A-flat, where we hear the opening phrases of Florestan’s “In des Frühlingstagen” music from Act II. The rest of the introduction reluctantly steers back to the dominant of C in preparation for the main body of the overture. The allegro section opens quietly with a theme heard first in the violins and cellos. The second theme, more tender, is introduced first by the horns.

Beethoven’s development section for this overture is shorter than for Leonore No. 2, but more variety in texture makes it dramatically very potent. At the climax of the piece, we hear the offstage trumpet call that foreshadows the fanfare in the Act II prison scene, and the overture’s coda section is a massive buildup that leads to an outburst of the entire orchestra playing the opening allegro theme.

notes on the program

ludwig van beethoven 1770–1827

Beethoven: Symphony No. 9 in D minor It was as a young man that Ludwig van Beethoven first imagined setting Friedrich Schiller’s An die Freude (“Ode to Joy”). Although this ambition would be revisited several times throughout the composer’s life, it would not be realized until the creation of the towering Ninth Symphony. In 1822, responding to a commission from the Philharmonic Society of London, Beethoven combined his ideas for a “pious song in a symphony in the ancient modes” and a large symphony in D minor. Work on the new symphony progressed through 1823, with the finishing touches added in the early months of 1824.

What ultimately emerged was one of Beethoven’s greatest works, and possibly his most famous. Yet the ubiquity of the “Ode to Joy” theme in our modern world should not obscure the boldness of Beethoven’s vision. The inclusion of voices and poetry into the symphonic realm was nearly unprecedented (a choral symphony by the German opera composer Peter Winter predates the Ninth by a decade), as was the enormous scope of the work. At well over an hour, the Ninth remains one of the longest symphonies in the repertoire to this day.

Beethoven’s innovations exerted a profound influence on nearly all of the great composers of the nineteenth century. Symphonies by Brahms, Bruckner, Dvorák, Mahler, and Mendelssohn all owe a debt to the Ninth, and many other composers told of their fascination with this gigantic opus. Of the opening of the symphony, Richard Wagner wrote, “I was struck at once, as if by force of destiny, with the long-sustained perfect fifths with which the first movement begins: these sounds, which played such a spectral role in my earliest impressions of music, came to me as the ghostly fundamental of my own life. This symphony surely held the secret to all secrets….”

Hector Berlioz called the Ninth “the most magnificent expression of

notes on the program

Notes by Jordan Kuspa

Beethoven’s genius.” He also movingly described the two interwoven themes of the third movement: “As to the beauty of these melodies, the infinite grace of the ornaments applied to them, the sentiments of melancholy, tenderness and passionate sadness and of religious meditation which they express—if my prose could give [of ] all this even an approximate idea, music would have found in the written word such a competitor as even the greatest of all poets was never able to oppose to it. It is an immense work; and, when once its powerful charm has been experienced, the only answer for the critic who reproaches the composer for having violated the law of unity is ‘So much the worse for the law.’ ” Despite their great length and profundity, the first three movements of the symphony are vastly outstripped in these regards by the choral finale. The great variety of textures and emotions encompassed within the movement’s massive structure have both thrilled and perplexed listeners for generations. What could possibly prepare us for the shock of the entrance of the “Turkish” march, or for the revelatory entrance of the baritone soloist? When the full chorus and orchestra proclaim Schiller’s text in waves of blazing glory, Beethoven’s vision of a liberated and enlightened future for all of mankind becomes nearly impossible to resist.

text & translation

Ludwig van Beethoven: Symphony No. 9 Text by Friedrich Schiller Translated by Paul Brians

O Freunde, nicht diese Töne!

Sondern laßt uns angenehmere anstimmen, und freudenvollere.

O friends, not these notes!

Rather let us take up something more pleasant, and more joyful.

Freude, schöner Götterfunken Tochter aus Elysium Wir betreten feuertrunken, Himmlische, dein Heiligtum.

Deine Zauber binden wieder, Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.

Wem der grosse Wurf gelungen, Eines Freundes Freund zu sein Wer ein holdes Weib errungen, Mische seinen Jubel ein!

Joy, lovely divine light, Daughter of Elysium We march, drunk with fire, Holy One, to thy holy kingdom.

Thy magic binds together What tradition has strongly parted, All men will be brothers Dwelling under the safety of your wings.

He who has had the great pleasure To be a true friend to a friend, He who has a noble wife Let him join our mighty song of rejoicing!

Ja – wer auch nur eine Seele Sein nennt auf ’ dem Erdenrund!

Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund.

Freude trinken alle Wesen An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur.

Küsse gab sie uns und Reben Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott.

Yes – if there is a solitary soul In the entire world which claims him – If he rejects it, then let him steal away Weeping out of this comradeship.

All beings drink in joy From nature’s breasts.

All good and evil things Follow her rose-strewn path.

She gave us kisses and grapes, A friend, tested unto death, Pleasure is given even to the worm And the cherubim stand before God.

text & translation

Froh, wie seine Sonnen fliegen Durch des Himmels prächt’gen Plan, Wandelt, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen.

Freude, schöner Götterfunken Tochter aus Elysium Wir betreten feuertrunken, Himmlische, dein Heiligtum.

Deine Zauber binden wieder, Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.

Seid umschlungen, Millionen!

Diesen Kuss der ganzen Welt!

Brüder – überm Sternenzelt Muss ein lieber Vater wohnen!

Ahnest du den Schöpfer, Welt?

Such’ ihn überm Sternenzelt! Über Sternen muss er wohnen.

Happy, like thy Sun which flies Through the splendid Heavens, Wander, Brothers, on your road Joyful, like a hero going to victory.

Joy, lovely divine light, Daughter of Elysium We march, drunk with fire, Holy One, to thy holy kingdom.

Thy magic binds together What tradition has strongly parted, All men will be brothers Dwelling under the safety of your wings.

Be embraced, you multitudes, In this kiss of the entire world.

Brothers – over the canopy of stars A loving Father must live.

Do you sense the Creator, world?

Seek Him above the canopy of stars!

Surely He lives above the stars.

artist profiles

shinik hahm conductor

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. His recent guest conducting activities include concerts in St. Petersburg, Avignon, Beijing, Shanghai, Chemnitz, Prague, Malaga, Bilbao, Hong Kong, Tokyo Osaka, Mexico City, Minden, Detmold, and Herford, among others.

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 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.

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.

artist profiles

yang jiao conducting fellow

Yang Jiao currently is a conducting fellow at the Yale University School of Music, where he studies with Shinik Hahm. He also serves as assistant conductor of the Philharmonia Orchestra of Yale and New Music New Haven ensembles. Yang graduated from the Central Conservatory of Music in Beijing, where he studied conducting with Xin Xu and Yi Zhang and was assistant conductor to Yongyan Hu. In 2006, Yang was awarded a prize at the Shenzhen National Conducting Competition in China. He has also been invited to conduct at the Beijing Modern Music Festival annually. Yang has participated in conducting master classes with Daniel Harding and Peter Oundjian.

Yang was the resident guest conductor of the Lanzhou Symphony Orchestra in China from 2008 to 2010. As a pianist, he was awarded a silver medal in the First National Piano Competition in the 2004 German Beethoven Festival.

artist profiles

amanda hall soprano

The young American soprano Amanda Hall has earned recognition for her performances of demanding roles on both the operatic and concert stages. In the 2011-12 season, she sings her first performances as Fiordiligi in Così fan tutte in her debut with Lyric Opera of Kansas City and as soloist in Carmina Burana in her Hartford Symphony Orchestra debut. In 2010–11 she sang Violetta in La traviata with Western Plains Opera Company, joined the roster of New York City Opera for its production of A Quiet Place, sang the role of Donna Anna in Don Giovanni as a guest artist with Yale Opera, and appeared as soloist in Verdi’s Requiem with Lynn University and in Haydn's The Creation with the Idaho State Civic Symphony.

A graduate of the Yale School of Music, Amanda Hall also studied at the University of Southern California and La Sierra University.

She has twice been a Regional Finalist in the Metropolitan Opera National Council Auditions and has received Opera Buff ’s Performance Scholarship, AEIOU Opera Scholarship, Thornton Merit Scholarship, and Leni Fe Bland Vocal Scholarship.

Kelly Hill is currently pursuing her master's degree in vocal performance in the opera program at the Yale School of Music. While at Yale, she has performed the role of Dido in Dido and Aeneas as well as scenes from Faust, Falstaff, and La Clemenza di Tito.

kelly hill mezzo-soprano

As a graduate of the University of Northern Iowa, she has worked extensively for the Cedar Rapids Opera Theatre, including the roles of Tessa in The Gondoliers and The Page in Salome. She has also enjoyed working as an apprentice artist with both Central City Opera, covering the role of Suzuki in Madama Butterfly, and Santa Fe Opera, covering in the recent production of Menotti's The Last Savage.

Kelly looks forward to performing scenes this fall from Cosi fan tutte, Giulio Cesare, and La Traviata with Yale Opera.

artist profiles

Samuel Levine is a second-year M.M. candidate at the Yale School of Music, where his credits have included Don Ottavio in Don Giovanni, Aeneas in Dido and Aeneas, and Reuel in The Scarf.

In concert, Mr. Levine recently performed in Bernstein’s Wonderful Town with the Orchestra Sinfonico di Milano Giuseppe Verdi under the auspices of Yale Opera. He has also sung Bach’s Cantata No. 163 at the Tanglewood Music Festival and the Aspen Music Festival. samuel levine tenor

The Boston native has received awards from the Metropolitan Opera National Council Auditions, the Licia-Albanese-Puccini Foundation, and Opera Index, Inc., among others. Mr. Levine has appeared with Chicago Opera Theater, Opera Theatre of Saint Louis, Wexford Festival Opera, and the Santa Fe Opera, where most recently sang the role of the First American Tailor in Menotti’s The Last Savage and covered the title role in Gounod’s Faust.

Andrew Brown, bass-baritone, is a Yale Opera student from Cerro Gordo, Illinois. His professional credits include Handel’s Messiah, Solomon, and Alexander's Feast with the Baroque Artists of Champaign.

andrew brown bass-baritone

Mr. Brown has sung lead and supporting roles in Die Zauberflöte, Le Nozze Di Figaro, Les Dialogues des Carmelites, and HMS Pinafore.

He has worked with such conductors as Michael Luxner, Timothy Schmidt, and Jason Garrett, and has sung in masterclasses with Alan Held and JR Fralick. Andrew holds a BM degree in vocal performance from Millikin University.

Andrew Brown was a first-place winner at the Central Region NATS Competition in 2007.

artist profiles

marguerite brooks Conductor, Yale Camerata

Marguerite L. Brooks holds degrees from Mount Holyoke College and Temple University. She has served on the faculties of Smith and Amherst Colleges, and was also director of choral music at the State University of New York at Stony Brook.

Ms. Brooks joined the Yale faculty in 1985 as chair of the choral conducting program at the School of Music and director of choral music at the Institute of Sacred Music. Active as a guest conductor, teacher and clinician, she was a juror for the most recent Eric Ericson conducting competition in Sweden. She is also director of music at the Church of the Redeemer in New Haven.

artist profiles

yale camerata

Founded in 1985 by its conductor, Marguerite L. Brooks, the Yale Camerata is a vocal ensemble sponsored by the Yale Institute of Sacred Music. The group’s singers are Yale graduate and undergraduate students, faculty, staff, and experienced singers from the New Haven community. The Camerata performs a widely varied spectrum of choral literature, with a specific commitment to recently composed choral music. It has collaborated with the Yale Glee Club, Yale Philharmonia, Yale Symphony, Yale Band, Yale Chamber Players, Yale Collegium Musicum, the New Haven Chorale, and the symphony orchestras of Hartford, New Haven, and Norwalk.

The ensemble has also performed for Yale Music Spectrum and New Music New Haven. The chamber chorus of the Yale Camerata has performed at the Yale Center for British Art and at Lincoln Center’s Alice Tully Hall, and has traveled to Germany to perform the Berlioz Requiem with choruses from Germany, Japan, the Netherlands, Israel, Great Britain, and the Ukraine. In 2001 the chamber chorus spent a week in residence at Saint Paul’s Cathedral in London, England. The Camerata has been heard on Connecticut Public Radio and on national broadcasts of National Public Radio’s program “Performance Today.” Guest conductors have included Robert Shaw, Jaap Schröder, Sir David Willcocks, Krzysztof Penderecki, Sir Neville Marriner, Helmuth Rilling, Nicholas McGegan, Dale Warland, and Simon Carrington. With the Institute of Sacred Music, the Camerata has commissioned and premiered works of Aaron J. Kernis, Martin Bresnick, Daniel Kellogg, Stephen Paulus, Daniel Pinkham, and Ellen Taaffe Zwilich, among others. The chorus has sung first performances of works by many composers, including Kathryn Alexander, Tawnie Olson, and Francine Trester. During the 2011-12 season, the Camerata has a residency with guest conductor Stefan Parkman. The season’s repertoire also includes music of Bach, Pärt, and Handel, as well as a newly commissioned work by Robert Kyr.

artist profiles

jeffrey douma Director, Yale Glee Club

Jeffrey Douma is the director of the Yale Glee Club, Yale’s principal undergraduate mixed chorus, and Associate Professor of Conducting at the Yale School of Music.

Douma has appeared as guest conductor with choruses and orchestras on six continents, and has prepared choruses for performances under such eminent conductors as Valery Gergiev, Sir Neville Marriner, Sir David Willcocks, Krzysztof Penderecki, Nicholas McGegan, and Helmuth Rilling. He is also currently Musical Director of the Yale Alumni Chorus and Choirmaster at the Cathedral of St. Joseph in Hartford, where recent performances have included Finzi In Terra Pax, Duruflé Requiem, and Bach St. John Passion with the baroque ensemble Arcadia Players.

An advocate of new music, Douma has premiered new works with the Glee Club by such composers as Dominick Argento, Ned Rorem, Jan Sandström, Lee Hoiby, and James MacMillan, has established two competitions for young composers, and is editor of the Yale Glee Club New Classics Choral Series, Boosey & Hawkes.

A tenor, Douma has appeared as ensemble member and frequent tenor soloist with the nation’s leading professional choirs, including the Dale Warland Singers, Oregon Bach Festival Chorus under Helmuth Rilling, and Robert Shaw Festival Singers. A former conducting faculty member at the Interlochen Center for the Arts, he appears frequently as clinician and guest conductor for festivals and honor choirs.

Douma served previously on the conducting faculties of Smith College and Carroll College. He holds the Bachelor of Music degree from Concordia College (Moorhead, MN) and the Doctor of Musical Arts degree in conducting from the University of Michigan.

artist profiles

yale glee club

From its earliest days as a group of thirteen men from the Class of 1863 to its current incarnation as an eighty-voice chorus of women and men, the Yale Glee Club has represented the best in collegiate choral music.

During the 2010–11 season, the Glee Club’s performances received rave reviews in the national press, from the New York Times (“One of the best collegiate singing ensembles, and one of the most adventurous... an exciting, beautifully sung concert at Carnegie Hall”) to the Washington Post (“Under the direction of Jeffrey Douma, the sopranos – indeed, all the voices – sang as one voice, with flawless intonation... their treacherous semitones and contrapuntal subtleties became otherwordly, transcendent even”).

They have recently been featured on NPR’s Weekend Edition and WQXR’s The Choral Mix with Kent Tritle.

One of the most traveled choruses in the world, the Yale Glee Club has performed in every major city in the United States and embarked on its first overseas tour in 1928. It has since appeared before enthusiastic audiences throughout North and South America, Europe, Asia, and Africa.

The Glee Club’s repertoire embraces a broad spectrum of choral music from the sixteenth century to the present, including Renaissance motets, contemporary choral works, folk music, spirituals, and traditional Yale songs. Committed to the creation of new music, the Glee Club presents frequent premieres of newly commissioned works and sponsors two annual competitions for young composers.

The great choral masterworks are also an important part of the Glee Club’s repertoire; recent performances include Verdi Requiem, Orff Carmina Burana, Vaughan Williams Dona Nobis Pacem, Mozart Requiem, Britten War Requiem, Haydn Creation, Brahms Nänie, Mendelssohn Elijah, Penderecki Credo, and Aaron Jay Kernis Symphony of Meditations.

philharmonia orchestra of yale 2011–2012 Patrons

The Yale School of Music gratefully acknowledges the generosity of its patrons.

Following are patrons of the Yale Philharmonia as of September 21, 2011.

Charles Ives Circle $600 and above Richard H. Dumas Thomas Masse & Dr. James M. Perlotto Ronald & Susan Netter

Paul Hindemith Circle $250 to $599 Serena & Robert Blocker Carole & Arthur Broadus Marbelia Gonzalez Dr. & Mrs. James Kupiec Tom & Patty Pollard Clifford & Carolyn Slayman

Horatio Parker Circle $125 to $249 Angelo A. Alonzo & Nancy R. Reynolds Ann Bliss Derek & Jennifer Briggs Joan K. Dreyfus Edwin M. & Karen C. Duval Mrs. Lory ffrench-Mullen Paul Gacek Evelyn & Richard Gard Francesco Iachello Paul Jacobs Carleton & Barbara Loucks Rev. Hugh J. MacDonald Susan Matheson & Jerome Pollitt Ransom Wilson & Walter Foery

Samuel Simons Sanford Circle $50 to $124 Cecle & Josef Adler Nancy Ahlstrom William & Joyce Alton L.S. Auth Irma & Bob Bachman Annette & Max Bailey

Dr. & Mrs. Dwight P. Baker Blake & Helen Bidwell Henry & Joan Binder Peter & Nancy Blomstrom Muriel & Ernest Bodenweber Harold & Maureen Bornstein Anna Broell Bresnick Joel Cogen & Elizabeth Gilson Mimi & John Cole Mrs. Janet Ripley Cooper Leo Cristofar & Bernadette DiGiulian Frank & Barbara Dahm R.R. D’Ambruoso Mr. & Mrs. Dana Becky Daymon Mr. & Mrs. William C. Dickerson Elizabeth M. Dock Keita Ebisu Thomas & Judith Foley Dolores M. Gall Martin & Katie Gehner Saul & Sonya Goldberg Susan Holahan Raejeanne Kier Margaret Lord & Arthur Kover Dave & Liz Kozma Colonel & Mrs. Thomas LaCrosse Nancy C. Liedlich & William R. Liedlich Betty Mettler Jim & Mimi Niederman Martha & Vincent Oneppo Dr. E. Anthony Petrelli James V. Pocock Rocco & Velma Pugliese Helen & Fred Robinson Arthur T. Rosenfield, MD Red Wine Audio Rev. Dr. Michael Tessman & Mrs. Carol Tessman Mr. & Mrs. Gregory Tumminio Robert B. Wheeler Werner & Elizabeth Wolf

Gustave Jacob Stoeckel Circle $25 to $49 Anonymous (2) Greg Berg & Nina Binin Jennifer Bonito Rose & Frank Bonito Mindy & Stan Brownstein Rosemarie S. Chaves Mr. & Mrs. Charles Forman Fred & Bernice Gillman Mr. Eric J. Glover Helen W. Greene

Mrs. Ken L. Grubbs Debra & Mark Halvorsen Victoria Hoffer Tom & Fran King Joel Marks Ann Marlowe Mr. & Mrs. Ronald Miller Dr. Adria Pearlman Leonard Rutkosky Patricia & Joseph Rutlin Betsy Schwammberger Karen & Mel Selsky Allan R. Silverstein Mr. James N. Trimble Mr. & Mrs. Gordon Turnbull Peter & Dana Uhrynowski Monika & Fred Volker

Becoming a patron is a wonderful way to support the Yale Philharmonia and offers benefits including preferred seating and invitations to special events.

To learn more about our patron program:

» music.yale.edu/giving » 203 432-4397

upcoming

Greg Anderson, piano Thu, Sep 29 | 8 pm | Sprague Hall | Free Doctor of Musical Arts recital. Music by Bach, Rachmaninoff, Radiohead, and more. With the Anderson & Roe Piano Duo. media sponsor 91.1 fm · 800 937-6045

Boris Berman, piano

yale school of music Box Office · 203 432-4158

Horowitz Piano Series Wed, Oct 5 | 8 pm | Sprague Hall Tickets $12–22 | Students $6

concerts & public relations Dana Astmann Danielle Heller Dashon Burton

Music of Beethoven, Schumann, Brahms, and Schoenberg.

new media Monica Ong Reed Austin Kase

Songs of Schumann, De Falla, Shostakovich, and Beethoven, plus Ivan Fischer’s Ein Deutsch-Jiddische Kantate. With Ani Kavafian, violin; Ole Akahoshi, cello; and Allan Dean, trumpet.

operations Tara Deming Christopher Melillo

Brian Lewis, violin

piano curators Brian Daley William Harold

Music of Milhaud, Brahms, Bennett, and Robert Avalon.

Peter Frankl, piano; Janna Baty, soprano; and friends Faculty Artist Series Sun, Oct 9 | 4 pm | Sprague Hall | Free

Faculty Artist Series Tue, Oct 11 | 8 pm | Sprague Hall | Free

Brentano String Quartet

recording studio Eugene Kimball

Oneppo Chamber Music Series Tue, Oct 18 | 8 pm | Sprague Hall Tickets $20–$30 | Students $10

music.yale.edu

Quartets of Haydn, Beethoven, and Schubert, plus Ginastera’s Piano Quintet with pianist Ignat Sozhenitsyn.