New Music for Orchestra

december 8, 2011 Woolsey Hall Thursday at 8 pm artistic director Christopher Theofanidis music of Kerekes Lash Loiacono Neustadter Rogerson Salfelder Tierney Wohl

Robert Blocker, Dean

PROGRAM

Paul Kerekes

timber Shinik Hahm, conductor

Christopher Rogerson

Oaken Sky Shinik Hahm, conductor

Daniel Wohl

Found Object – Faded Music for orchestra and mixed media Yang Jiao, conductor

Justin Tierney

PASSA Paolo Bortolameolli, conductor intermission

Hannah Lash

Music for Loss Yang Jiao, conductor

Garth Neustadter

By the Open Window Eric Barry, tenor Shinik Hahm, conductor

Kathryn Salfelder

Lux Perpetua IV. Shadows V. Glimmers VI. Elegy Geoffrey Landman, soprano saxophone Kathryn Salfelder, conductor

Lauren Loiacono

Stalks, hounds Paolo Bortolameolli, conductor

PROFILES + NOTES

PAUL KEREKES composer Composer and Pianist Paul Kerekes (b. 1988, Huntington, NY) is currently pursuing a master’s degree in composition at the Yale School of Music, studying with David Lang.

His music draws inspiration from a wide variety of sources, including free improvisation, early music, repeating patterns, and visual art.

In July 2010 Paul worked alongside eighth blackbird as both a composer and performer at the festival Music10 in Blonay, Switzlerland.

He has also attended notable programs such as the Stony Brook Summer Music Festival, the Young Artists Piano Program at Tanglewood, California Summer Music, and Yale’s New Music Workshop in Norfolk, Connecticut.

He received his undergraduate degree in piano performance and composition from Queens College. There, Paul received numerous awards, such as the Gabriel Fontrier Award and the George Perle Award for achievement as an undergraduate composer.

Paul has worked closely with David Fulmer and the Second Instrumental Unit, who have premiered many of his works. He has also had the privilege of hearing his music performed

by TwoSense, the Stonewall Chorale, Mannes Preparatory Division Choir, Norfolk Contemporary Ensemble, cellist Nicholas Photinos, flutist Kelli Kathman, and saxophonist/composer Ed Rosenberg in such venues as (le) poisson rouge, Symphony Space, Centre de Musique Hindemith, Lefrak Hall, and Central Park.

timber notes timber is a macabre and hallucinatory look into the forest. The piece begins with a mysterious and dark harmonic palette which represents dawn and awakening. The harmonies brighten, as more daylight is revealed, and lead into a new section marked by falling chords. The chords fall like trees, more intricately after the other leading into a slow build of string pizzicatos surging upward. The final section finally bursts open with a jazzy flare and quickly evaporates into a dreamlike state as the temple blocks remind us of the falling chords.

PROFILES + NOTES

Hall, the premiere of a solo guitar work at Wolf Trap, and performances at the Kennedy Center, Merkin Hall, the Philadelphia Art Museum, and the Isabella Gardner Museum in Boston. He is represented exclusively by Young Concert Artists, Inc. and is their composerin-residence.

Oaken Sky notes

Christopher Rogerson composer The music of 22-year old composer Chris Rogerson has been praised for its “virtuosic exuberance” and “haunting beauty” (New York Times). Leading ensembles such as the Buffalo Philharmonic Orchestra and the JACK Quartet have performed his work at venues including the Library of Congress, the Kennedy Center, and Lincoln Center. Chris has won awards from ASCAP, the National Foundation for the Advancement of the Arts, and the Theodore Presser Foundation, and was recently honored with a MacDowell Colony fellowship. His music has been featured at Angel Fire, Aspen, Bowdoin, Cabrillo, Norfolk, and Ravinia, and on NPR’s Performance Today, CBC (Canadian national radio), Radio France, Italian National Radio, and Radio New Zealand. Chris’s 2011– 2012 season includes a mini-residency with the Grand Rapids Symphony, a cello concerto for Jay Campbell commissioned by the New York Youth Symphony to be premiered at Carnegie

Oaken Sky was written in June 2011 and premiered by the Cabrillo Festival Orchestra in August. The title of the work is simply an image: imagine it’s night and you are standing under a tree looking at the stars. Some of the light from the stars is blurred by the branches of the tree. I try to recreate this “blurry” effect in the orchestra in addition to moments of pure clarity.

as an album dedicated to his electro-acoustic music on New Amsterdam Records. Daniel Wohl is a three time ASCAP Young Composer Award winner, and has received grants from the Jerome Foundation, Meet the Composer, and the Brooklyn Arts Council, among others.

Found Object – Faded Music for Orchestra and mixed media notes

Daniel Wohl composer French-American composer Daniel Wohl draws on his background in electronic music to create works that intimately merge electronic and acoustic elements. Recently reviewed by the New York Times as a composer whose music runs “deeper than the cleverness at its surface,” his pieces have been commissioned and/or performed by leading ensembles such as eighth blackbird, the Calder Quartet, the American Symphony Orchestra, and the St. Luke’s Chamber Ensemble in venues such as Carnegie Hall, Mass MoCA, the Dia Beacon, and over media outlets including France 2, PBS, and NPR. Current events and projects include performances of Aorta for piano and electronics, a piece hailed as “mesmerizing” by the New Jersey Star-Ledger, at the Gaudeamus Interpreters Competition (Amsterdam) and at Merkin Hall’s Ecstatic Music Festival; commissions from the Albany Symphony, So Percussion, TwoSense and pianist Kathleen Supove, as well

Now that the digital age has virtually overtaken our musical landscape, old mediums are starting to age and vanish. Some of them, like the vinyl record, find a new life, and are collected because of their characteristic warmth; but others, like the DAT, have almost completely disappeared. The concept behind Found Object – Faded Music comes from imagining an old, discarded cassette tape: much of the music remains intact, but some is faded and replaced by pops, hisses, and other noises that have accumulated over the years. I tried to evoke this sense of decay, with the brass and winds reflecting the still-recognizable music, and the strings and electronics providing noisy interruptions.

The electronics in this piece consist mainly of pre-recorded brass instruments that have been decayed and distorted in-studio.

PROFILES + NOTES

their sum.” Mr. Tierney has studied composition with Jeffrey Johnson and Douglas Townsend at the University of Bridgeport, John McDonald at Tufts University, and privately with Ryan Vigil. He spent the past summer composing in Japan and building a bathroom in his attic.

PASSA notes

JUSTIN TIERNEY composer Justin Tierney, born 1984 in New Haven, CT, is pursuing an Artist Diploma in music composition at the Yale School of Music with Aaron Kernis. His recent projects include a Piano Trio, Zephyrus for clarinet, viola, and harp, and The God Script, a music drama based on the short story “La Escritura del Dios” by Jorge Luis Borges. The fifty-minute work relates the cosmic revelations of an imprisoned Aztec mystic who deciphers the words of God embedded in the skin of a jaguar. The premiere performance by the Firebird Ensemble was declared “superb, robust, and grand” by the Boston Globe, which avowed that “Tierney’s dark-hued music had polished, ominous richness… [and that] the sound-worlds were cogent and immediate.” Regarding his aesthetic, Tierney has stated that “the nightly stars can be admired from either a scientific or aesthetic view, yet the coupling of the two modalities creates an appreciation greater than

Passa, short for Passacaglia (but also meaning walking or path, passage, and street) is a series of narrative-based variations on two different theme groups and a rhythm. The main theme, a two-voice wedge-shaped melodic line, is heard at the outset with the rhythmic motive short-short-short, short-long. The second group of music is presented next — fifth-based tremolo wave patterns. These two musics interact and overlap driving the narrative forward to its explosive conclusion.

HANNAH LASH composer Hannah Lash has been the recipient of numerous awards and commissions, including the Naumburg Prize in Composition, a Fromm Music Foundation Commission, a Charles Ives Scholarship from the American Academy of Arts and Letters, a fellowship from the Yaddo Artist Colony, and the ASCAP Morton Gould Young Composers Award. Conductors including George Manahan, Jeffrey Milarsky, Alan Pierson, and Osmo Vänskä have programmed and conducted her orchestral works.

GARTH NEUSTADTER composer Garth Neustadter is an Emmy Award-winning composer and multi-instrumentalist. He has composed feature-length scores for PBS, Turner Classic Movies, Warner Bros., and China’s CCTV. The Baltimore Sun says, “The guy’s a natural, as his soaring theme makes plain.”

In 2011, Neustadter received a Primetime Emmy Award for his score for the PBS American Masters documentary, “John Muir in the New World.”

Lash obtained her undergraduate degree in composition from the Eastman School of Music, performance degree from the Cleveland Institute of Music, and her Ph.D. from Harvard University, with further studies at the Yale School of Music. Her primary teachers have included Martin Bresnick, Bernard Rands, Julian Anderson, and Robert Morris.

MUSIC FOR LOSS notes This piece is dedicated to the memory of my father.

Neustadter gained international attention in 2007 when he was selected by Academy Awardwinning composer Hans Zimmer as the first prize winner in the Turner Classic Movies Young Film Composers Competition. He was subsequently commissioned by Turner Classic Movies and Warner Brothers to compose and produce the feature-length musical score for the film The White Sister, which premiered on the TCM channel.

Neustadter has been recognized as a five-time DownBeat Magazine award winner in the areas of composition, classical violin performance, and jazz saxophone performance. His achievements have been profiled in USA Today, Baltimore Sun, Film Music Magazine, Chronicle of Higher Education, DownBeat Magazine, the National Federation of Music Clubs Review, and NPR. He recently received an ASCAP Morton Gould Award, ASCAP Young Jazz Composers Award, and ASCAP Fellowship for film scoring studies at Aspen, as well as multiple awards from the National Federation of Music Clubs. Most recently, he was selected as the second prize winner in the Transatlantyk Film Music Com-

PROFILES + NOTES

I feel indistinct, far-reaching hopes And in the venerable silence Of creation, my ears hear melodies, They hear crystalline, mystical Music from the chorus of the stars.

And, with their sound, for a moment return Sounds, echoing back from the first poetry of our lives, Like distant music in the night, fading.

petition (Poland). He currently studies with Martin Bresnick at the Yale School of Music.

BY THE OPEN WINDOW text by C. P. Cavafy (1863–1933) In the calm of the autumn night I sit by the open window For whole hours in perfect Delightful quietness.

The light rain of leaves falls.

The sigh of the corruptible world Echoes in my corruptible nature.

But it is a sweet sigh, it soars as a prayer.

My window opens up a world Unknown. A source of ineffable, Perfumed memories is offered me; Wings beat at my window— Refreshing autumnal spirits Come unto me and encircle me And they speak with me in their innocent tongue.

KATHRYN SALFELDER composer Kathryn Salfelder (b. 1987) is fast gaining international recognition as a rising young composer. Her works for wind ensemble, Cathedrals and Crossing Parallels, are published

by Boosey & Hawkes and have been featured in over one hundred twenty performances, including concerts in the United States, Paris, Stockholm, Singapore, Taiwan, Canada, and Japan. Recent awards include the ASCAP/ CBDNA Frederick Fennell Prize, Ithaca College Beeler Memorial Composition Prize, and U.S. Air Force Gabriel Award.

Her orchestral works have been performed by the Albany Symphony, Minnesota Orchestra, Eastern Connecticut Symphony, and New England Philharmonic. Current projects include a commission from the United States Air Force Band (Washington, D.C.) and a new choral work featuring the poetry of Bostonbased healer and writer Tom Tam.

of sorrow. The inner four movements focus on light’s physical properties and how they are perceived by the human eye.

LUX PERPETUA FOR SOPRANO SAXOPHONE AND ORCHESTRA notes Light surrounds us, omnipresent in our physical world. We thrive on its warmth and brightness; we are inspired by its seemingly endless brilliance and grandeur. In the words of J.R.R. Tolkien, “There, peeping among the cloud-wrack above a dark tor high up in the mountains, Sam saw a white star twinkle for a while. The beauty of it smote his heart, as he looked up out of the forsaken land, and hope returned to him. For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing; there was light and high beauty forever beyond its reach.”

Lux Perpetua explores the many facets of light, scored in six continuous movements performed without pause. The first and final movements offer emotional reflections on hope in a time

Tonight’s performance will feature the second half of the work, beginning with the fourth movement. “Shadows” explores the timbral colors of the saxophone including the use of multiphonics, in which the soloist performs multiple pitches simultaneously. In “Glimmers,” dashes of light, like paintbrush strokes of brilliance, shimmer across the texture in the violins and upper winds. These high voices quote Asola’s sixteenth-century motet, O Vos Omnes: “O all ye who pass by, attend and see, if there be any sorrow like my sorrow.” “Elegy,” the final movement of the work, was actually the beginning of my creative process, and it contains the very first notes I composed after a year-long hiatus in my writing. Its final bars re-establish ideas from the opening three movements, but in a new register with a decidedly different aura.

Lux Perpetua was commissioned by the Albany Symphony and premiered on October 22, 2011 featuring soprano saxophonist Tim McAllister, with David Alan Miller, conductor. I dedicate this work to the memory of my mother, my best friend, Elizabeth J. Salfelder (1948–2011).

She is deeply missed, forever loved, and always present in my heart and in my music.

PROFILES + NOTES

LOREN LOIACONO composer Loren Loiacono (b. 1989), a native of Stony Brook, New York, is currently pursuing her master’s degree in composition at the Yale School of Music, where she is a student of Ezra Laderman and Christopher Theofanidis.

As an undergraduate, she received her B.A. in music from Yale University, where she was a student of Kathryn Alexander and Michael Klingbeil and was the recipient of the 2009 Abraham Beekman Cox Composition Prize.

She is also the recipient of the 2010 Susan and Ford Schumann Fellowship from the Aspen Music Festival, and was a Composer Fellow at the 2011 Bennington Chamber Music Conference. She has also received awards from ascap’s Morton Gould Awards and the National Foundation for the Advancement of the Arts, among others. Her works have been performed by the Eastern Connecticut Symphony Orchestra, Yale Symphony Orchestra, Fifth House Ensemble, Argento Ensemble, Berkeley College Orchestra, Jonathan Edwards College Philharmonic, and soprano Rachael Garcia, among others.

STALKS, HOUNDS notes When writing an orchestra piece, it’s easy to become obsessed with finding a novel color or texture. While writing Stalks, Hounds, I went with a different approach, and picked the most clichéd orchestral gesture I could think of: a harp and woodwind flourish. Yes, I can find that gesture in many of my favorite

orchestral pieces (Ravel’s Daphnis et Chloé in particular). I also know that it was the go-to sound effect for any of the early 90’s Barbiebased computer games I played as a dorky child. In that context, the musicality of the harp glissando lost all meaning. Instead, it was just a “pretty noise,” spit back when the right button was clicked. The idea that something so beautiful could be decontextualized and turned into a stock sound ended up becoming a driving force for this piece. Stalks, Hounds is a realization of that transformation, from warmth and humanity into claustrophobia and unfamiliarity.

YALE PHILHARMONIA 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 New Haven’s historic Shubert Theater. The Yale Philharmonia 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 undertook its first tour of Asia in 2008, with acclaimed performances in the Seoul Arts Center, the Shanghai Grand Theatre, and Beijing’s Forbidden City Concert Hall and National Center for the Performing Arts.

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.

SHINIK HAHM conductor A dynamic and innovative conductor, Shinik Hahm is also the 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 Philharmonia Orchestra of Yale.

Maestro Hahm has led the KBS Symphony on tour with concerts at the General Assembly of the United Nations, Carnegie Hall, and the Kennedy Center. His extensive work in China includes collaborations with the China Philharmonic Orchestra, Guangzhou Symphony Orchestra, Shenzhen Symphony, and Shanghai Opera. He is an honorary professor of Hwa Gong University. In 2006 he 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.

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 at the Besançon, Pedrotti, and Toscanini conducting competitions. Shinik Hahm has won the Gregor Fitelberg Competition, the Walter Hagen Prize from the Eastman School of Music, and the Shepherd Society Award from Rice University. In 1995 he was decorated by the Korean government with the Arts and Culture Medal.

PROFILES + NOTES YANG JIAO conductor

PAOLO BORTOLAMEOLLI conductor

Yang Jiao currently is a conducting fellow at the Yale 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. 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.

Paolo Bortolameolli is a graduate both of the Arts Faculty of Universidad de Chile, where he studied conducting with David del Pino Klinge, and from Pontificia Universidad Católica, where he studied piano with Frida Conn. He is now doing his first year of the Master of Music degree program in orchestral conducting at the Yale School of Music, under the guidance of Maestro Shinik Hahm.

In 2006, Yang was awarded a prize at the Shenzhen National Conducting Competition in China. He has been invited annually to conduct at the Beijing Modern Music Festival.

Yang has participated in conducting master classes with Daniel Harding and Peter Oundjian.

In Chile he was the principal conductor of a youth orchestra for three years and assistant conductor of the Orquesta USACH. Recently he performed along with the Orquesta de la Universidad de Concepción and the National Symphonic Orchestra of Perú.

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.

As a pianist, Paolo won first prize in the National Chopin Competition in 2003, and in 2005 he won the National Competition for Young Soloists playing Tchaikovsky’s Piano Concerto No. 1 with the National Symphonic Orchestra of Chile.

ERIC BARRY tenor

GEOFFREY LANDMAN saxophone

Spanish-American tenor Eric Barry has set himself apart through his signature sound, musical sincerity, and ease of dramatic expression. On stage he is an excellent actor with surprising range, while off stage he is a remarkably generous and giving colleague. His performances have earned him international approval - the PBS documentary Young Opera declared him to be “the next big thing in the tenor world.” He has been heard throughout the US and Europe, including broadcasts on National Public Radio.

New York- and Boston-based saxophonist Geoffrey Landman is a performer, teacher, and advocate of the saxophone and new music.

Having performed across North America, Europe, and in some of New York City’s most well-known music venues, he has collaborated with ensembles such as the Metropolis Ensemble, Either/Or, Fireworks Ensemble, and Opera Cabal.

In addition to operatic repertoire, Mr. Barry is well versed in early music and oratorio. In 2012 you can hear him performing with the Washington National Cathedral, Beethoven Easter Festival in Warsaw, Poland, the Caramoor Festival, Wolf Trap Opera, and others.

He holds a Master of Music degree and Artist Diploma from the Yale School of Music. For more information, or to hear recordings, please visit www.eric-barry.com.

Geoffrey holds degrees from the University of Michigan (BM) and University of Cincinnati College-Conservatory of Music (MM). He has done post-graduate work at the MusikAkademie der Stadt Basel in Switzerland, and began his doctoral studies at the New England Conservatory this fall. His principal teachers are Donald Sinta, James Bunte, Marcus Weiss, and Ken Radnofsky.

Geoffrey has won many competitions, including the Yamaha Young Performing Artist Competition, College-Conservatory of Music University of Cincinnati Concerto Competition, and the Cincinnati Arts Association Overture Award, as well as prizes at the Fischoff National Chamber Music Competition.

Orchestra for the first half Violin 1 David Radzynski, concertmaster Sun Kyung Ban Cordelia Paw Sung Mao Liang Won Young Jung Edward Tan Shawn Moore Violin 2 Joo Hye Lim Brian Bak Ki Won Kim Piotr Filochowski Minhye Helena Choi Viola Min Jung Chun Sara Rossi Timothy Lacrosse Leonard Chiang Cello Jinhee Park Sung Chan Chang Arnold Choi Weipeng Liu Bass Matthew Rosenthal NaHee Song Flute Rosa Jang Anouvong Liensavanh Oboe Kristin Kall Rebecca Kim Clarinet David Perry Soo Jin Huh Bassoon Elisabeth Garrett Helena Kranjc Horn Ian Petruzzi Andrew Mee

Trumpet Jean Laurenz Gerald Villella

Bass Jonathan McWilliams Nicholas Jones

Trombone Timothy Hilgert Benjamin Firer

Flute Cholong Kang Kyeong Hoon Seung

Tuba Landres Bryant

Oboe Ji Hyun Kim Caroline Ross

Percussion Jonathan Allen Michael Compitello Leonardo Gorosito Adam Rosenblatt Harp Chelsea Lane

Clarinet Igal Levin Gleb Kanasevich Bassoon Scott Switzer Lauren Yu

Keyboard Daniel Schlosberg

Horn Craig Hubbard Jamin Morden

Orchestra for the second half

Trumpet Gerado Mata Paul Futer

Violin I Hye Jin Koh, concertmaster Tammy Wang Ji Hyun Kim Yoon Won Song Cordelia Paw Igor Pikayzen Laura Keller Violin II Won Young Jung Nayeon Kim Seok Jung Lee Eun-young Jung Go Woon Choi Viola Dashiel Nesbitt Heejin Chang Colin Brookes Timothy Lacrosse Cello Jurrian van der Zanden Qizhen Liu Hae Yoon Shin Christopher Hwang

Trombone Brittany Lasch Jeffery Arredondo Percussion Jonathan Allen Michael Compitello Leonardo Gorosito Adam Rosenblatt Harp Yue Guo Kristan Toczko Keyboard Daniel Schlosberg

NEW MUSIC NEW HAVEN

artistic director Christopher Theofanidis managing director Krista Johnson music librarian Roberta Senatore production assistant Kate Gonzales conducting fellows Paolo Bortolameoli Yang Jiao assistant Benjamin Firer music librarians Cristobal Gajardo-Benitez Timothy Hilgert Wai Lau Qizhen Liu Rachel Perfecto Holly Piccoli Matthew Rosenthal Kathryn Salfelder Kaitlin Taylor stage crew John Allen Jonathan Allen Landres Bryant Colin Brookes Timothy Hilgert Michael Levin Matthew Rosenthal Aaron Sorensen Gerald Villella

Thursdays at 8 pm Morse Recital Hall Free admission

FEB 2 Ezra Laderman: Piano Sonata No. 5, with Amy J. Yang, piano.

MAR 1 Aaron Jay Kernis: Ballade out of the Blues, with Charles Richard-Hamelin, piano; Christopher Theofanidis: Flow, my Tears, with Julie Eskar, violin.

MAR 29 Steve Reich: Vermont Counterpoint, and Proverb (1995), with members of the Yale Camerata and Yale Schola Cantorum.

APR 12 Kaija Saariaho: Serenatas and Terrestre.

COMING UP

Anniversaries and Messages Yale School of Music 203 432-4158 concerts@yale.edu music.yale.edu/media

concerts & public relations Dana Astmann Danielle Heller Dashon Burton new media Monica Ong Reed Austin Kase operations Tara Deming Christopher Melillo piano curators Brian Daley William Harold recording studio Eugene Kimball

music.yale.edu

december 9 Christ Church | Friday | 5 pm Yale Institute of Sacred Music Yale Schola Cantorum performs music of Lang, Liszt, Theofanidis, and Victoria.

Simon Carrington, guest conductor.

Free Admission

Toshiko Akiyoshi Quartet december 9 Morse Recital Hall | Friday | 8 pm Ellington Jazz Series Featuring Toshiko Akiyoshi, piano, and Lew Tabackin, flute and saxophone, with Paul Gill, bass, and Shinnosuke Takahashi, drums.

Tickets $20–30, Students $10

Vista december 10 Morse Recital Hall | Saturday | 8 pm A fresh look at chamber music. Works by Haydn, Poulenc, Frank Martin, and Anton Arensky, illuminated by commentary.

Free Admission

Messiah Sing-along december 11 Battell Chapel | Sunday | 2 pm An audience sing-along of Handel’s Messiah with the Yale Glee Club, Yale Camerata, and Yale Symphony Orchestra. $5 suggested donation; a portion of the proceeds will benefit New Haven’s homeless.