Hindemith: Master & Prankster

HINDEMITH MASTER & PRANKSTER

YALE in NEW YORK DAVID SHIFRIN 路 ARTISTIC DIRECTOR April 25, 2013 路 Thursday at 8 pm Morse Recital Hall in Sprague Memorial Hall April 28, 2013 路 Sunday at 7:30 pm Weill Recital Hall at Carnegie Hall

Robert Blocker, Dean

HINDEMITH: MASTER & PRANKSTER T H U R S D AY, A P R I L 2 5 • 8 : 0 0 P M S U N D AY, A P R I L 2 8 • 7 : 3 0 P M Paul Hindemith 1895 – 1963

Sonata for viola and piano, Op. 11, No. 4 I. Fantasie II. Thema mit Variationen III. Finale (mit Variationen) Ettore Causa, viola Boris Berman, piano Overture to The Flying Dutchman as Played by a Second-Rate Concert Orchestra at the Village Well at 7 O’Clock in the Morning Die Serenaden: Kleine Kantate nach Romantischen Texten, Op. 35 part i Barkarole (Barcarole) An Phyllis (To Phyllis) Nur Mut (Only Power) part ii Duett Der Abend (Evening) Der Wurm am Meer (The Sea Serpent) part iii Trio Gute Nacht (Good Night) Claudia Rosenthal, soprano • Timothy Gocklin, oboe Dashiel Nesbitt, viola • Jurrian van der Zanden, cello intermission

As a courtesy to the performers and audience, turn off cell phones and pagers. Please do not leave the hall during selections. Photography or recording of any kind is prohibited.

Presented by the Yale School of Music • Robert Blocker, Dean Yale in New York • David Shifrin, Artistic Director April 25 • Morse Recital Hall in Sprague Memorial Hall April 28 • Weill Hall at Carnegie Hall

Hindemith

Minimax: Repertorium für Militärorchester I. Armeemarsch 606 (Der Hohenfürstenberger) II. Overtüre zu “Wasserdichter und Vogelbauer” III. Ein Abend an der Donauquelle (Intermezzo für

zwei entfernte Trompeten) IV. Löwenzähnchen an Baches Rand (Konzertwalzer) V. Die beiden lustigen Mistfinken

(Charakterstück, Solo für zwei Pikkoloflöten) VI. Alte Karbonaden (Marsch) the jasper string quartet J Freivogel, Sae Chonabayashi, violins Sam Quintal, viola • Rachel Henderson Freivogel, cello Kammermusik No. 2, Op. 36, No. 1 I. Sehr lebhafte Achtel. Molto vivace II. Sehr langsame Achtel. Molter moderato III. Kleines Potpourri. Sehr lebhafte Viertel IV. Finale. Schnelle Viertel Julian Pellicano, conductor Boris Berman, piano Victor Fournelle-Blain, violin Eleanor Kendra James, viola James Jeonghwan Kim, cello Jonathan Hammonds, double bass Cholong Kang, flute • Hsuan-Fong Chen, oboe Wai Lau, clarinet • Igal Levin, bass clarinet Yuki Katayama, bassoon • Lauren Hunt, horn John Allen, trumpet • Kevin Dombrowski, trombone

Texts and Translations

Barkarole (Adolf Licht) Treibe, treibe, Schifflein, schnelle Durch die leicht bewegte Flut; Wiege, wiege, süße Welle, In der Sterne goldner Glut!

Töne, Liedlein, durch die Nacht, Wo die Liebe harrt und wacht.

Barcarole Carry me, little boat, quickly through the gentle sea; Rock me, sweet waves, In the golden glow of the stars.

Echo, oh song, through the night, To where my love wakes and waits.

Liebe, Liebe steht am Strande, Nekkend eilte sie voraus, Breitet sehnsuchtsvoll vom Lande Ihre treuen Arme aus.

Töne, Liedlein, durch die Nacht, Wo die Liebe harrt und wacht.

My love stands on the shore playful, she hurries forth.

Spreads her faithful arms Longingly from the shore.

Echo, oh song, through the night To where my love wakes and waits.

An Phyllis (Johann Wilhelm Ludwig Gleim) Phyllis, unter diesen Buchen Will ich junge Veilchen suchen.

Komm und suche sie mit mir.

To Phyllis Phyllis, under these beech trees I will seek young violets Come and search with me.

Phyllis, müssen wir in finstern Gründen Lange suchen, sie zu finden, Dann so ruh’ ich auch mit dir.

Phyllis, we must search long on the dark ground, Search long to find them.

So I will also sleep with you.

Nur Mut (Ludwig Tieck) Aus Wolken fällt die frohe Stunde, O Mensch, gesunde!

Laß Leiden fliehn und Bangigkeit, Wenn Liebchens Kuß dein Herz erfreut.

Have Courage From the clouds fall happy moments O, Mankind, be quick!

Forget sorrow and doubts, When your sweetheart’s kiss delights your heart.

In Küssen weht ein Zaubersegen, Drum sey verwegen!

Was fürchten, wenn der Donner rollt, Wenn nur der rote Mund nicht schmollt!

In kissing waves a magic charm So be bold.

Why fear the crash of thunder If red lips are willing.

Der Abend (Joseph von Eichendorff ) Schweigt der Menschen laute Lust: Rauscht die Erde wie in Träumen Wunderbar mit allen Bäumen, Was dem Herzen kaum bewußt, Alte Zeiten, linde Trauer, Und es schweifen leise Schauer Wetterleuchtend durch die Brust.

Evening The loud joys of man lie silent The earth rustles as in dreams Wondrous with all the trees.

Now the heart is scarcely conscious, Ancient times, gentle sorrows, And a soft shudder sweeps Like lightning through the breast.

Texts and Translations

Der Wurm am Meer (J. Wilhelm Meinhold) Wie dies Gewürm aus unermeßnem Meer, Taucht auch der Mensch aus deinem dunklen Schoß.

Unendlichkeit, und ahnet nicht, woher!

So klimmt er denn auf seinen Erdenkloß, Von Tränen feucht, und tastet um sich her, Ob er ergreif ’ ein wenig Gras und Moos Für seinen Mund und er ergreift’s so schwer.

Der arme Mensch, wie trüb ist doch sein Los! Er ahnet nichts und mühet sich so sehr, Da kommt die Flut, da wird die Welle groß, Und er versinket wiederum ins Meer.

The Serpent in the Sea Like the serpent out of the raging sea, Appears mankind from thy dark womb.

Infinite, and knows not whence!

So he clambers up upon his lump of earth, wet with tears, and gropes about him to see if he can grasp a bit of grass and moss to eat. And it is hard to find.

The poor fellow, how murky is his fate.

He understands nothing and tries so hard, Then comes the tide, the wave is so huge, And he sinks again into the sea.

Gute Nacht (Siegfried August Mahlmann) Liebchen sich, mit gold’ner Pracht, Rings umkränzt vom Heer der Sterne, Blickt der Mond aus blauer Ferne Traulich lächelnd auf uns zu: Gute Nacht und süße Ruh! Gute Nacht!

Good Night Sweetheart, with golden splendor, Crowned with the host of stars, The moon gazes from the blue distance gently smiling upon us; Good night and sweet rest Good night

Liebchen, ach, wie schön vollbracht, Unter Scherz und Tanz und Singen, Flog der Tag auf goldnen Schwingen Den verschwundnen Tagen zu!

Gute Nacht und süße Ruh! Gute Nacht!

Sweetheart, how well t’was done With pleasure, dance and singing, Flew the day on golden wings To join the days gone by.

Good night, rest well!

Good night.

Wie mich das fröhlich macht, Daß ich weiß, du bist die Meine, Daß ich weiß, ich bin der Deine, Du und ich und ich und Du! Gute Nacht und süße Ruh! Gute Nacht!

How happy it makes me To know that you are mine, To know that I am yours, You and I and I and you Good night and rest well Good night!

Liebchen, ruft mich bald die Nacht, Dir am Busen zu erwarmen?

Ach, wann schließt in meinen Armen, Sich dein blaues Auge zu?

Gute Nacht und süße Ruh! Gute Nacht!

Sweetheart, will the night soon call me.

To warm myself upon your breast?

Oh, when will you, enclosed in my arms, Close your blue eyes?

Good night and sweet rest.

Good night.

Notes on the Program

In the fiftieth anniversary of the passing of Paul Hindemith (1895–1963), a selection of works shows the composer as a master and a prankster. Hindemith, a member of the Yale School of Music faculty from 1940 to 1953, composed these pieces while living in Frankfurt following his service in World War I. He published the first of these in 1919, when he began to consider himself primarily a composer and earned an exclusive publishing contract with Schott.

Hindemith wrote the Sonata for viola and piano, Op. 11, No. 4 in 1919. A highly accomplished violist, he wrote seven sonatas for viola, more than for any other instrument. He published this sonata first of those seven, unusually featuring piano: all but one of the other viola sonatas are unaccompanied. Though the Sonata Op. 11, No. 4 is in three movements, these act as a unity.

The viola’s last note in the first movement holds over and becomes the first note of the second, and the phrasing between the last two movements blends seamlessly as well.

The lyrical Fantasie that begins the piece uses late-Romantic harmony that sets the listener far from the stark quartal harmony later espoused

by Hindemith. Snippets of the opening theme pervade the movement, and an expressive cadenza bursts forth at the first climax of the piece. The second movement, Thema mit Variationen, plainly states the theme, and Hindemith asks for this to be “quiet and simple, like a folk song.”

The variations continue into the Finale (mit Variationen), which changes characters as the variations progress until the strong conclusion.

Hindemith specifies in a preface that the last movement should continue from the second without a pause, so the listener should interpret it as a continuation of the variations from the second movement.

Hindemith’s Ouvertüre zum Fliegenden Holländer, wie sie eine schlechte Kurkapelle morgens um 7 am Brunnen vom Blatt spielt (“Overture to The Flying Dutchman as Played at Sight By a Second-Rate Concert Orchestra at the Village Well at 7 O’Clock in the Morning”), written for string quartet around 1925, needs little further explanation than its highly amusing title. Hindemith evokes a stoic orchestra that can battle through mistakes made by other players, such as intonation that goes seriously awry, or when the oboe (as played by the first violin) misses its first solo entrance and enters a bar late and too fast. By the end of the piece, the musicians appear to have given up hope of producing a decent rendition of Wagner’s overture.

Hindemith wrote the cantata Die Serenaden, Op. 35 in 1924. Scored for soprano, oboe, viola, and cello, the piece has three larger parts in eight total movements and lasts about twenty-two minutes. He wrote of this piece that he had been striving “for the highest degree of purity and orderliness.” Only in Der Wurm am Meer do all four musicians participate. A clear understanding of the texts that he set, for which he selected six different poets, yields insights into the music.

The first part contains Barkarole (text by Adolf Licht), An Phyllis (“To Phyllis,” Johann Wilhelm Ludwig Gleim), and Nur Mut (“Only Courage,” Ludwig Tieck). The second part begins with a duet between the viola and cello, then continues with Der Abend (“Evening,” Joseph von Eichendorff ) and Der Wurm am Meer (“The Sea Serpent,” J. Wilhelm Meinhold). The third part has a trio and concludes with Gute Nacht (“Good Night,” Siegfried August Mahlmann).

Notes on the Program

Minimax: Repertorium für Militärorchester (“Repertoire for Military Orchestra”) for string quartet was written in 1923. Hindemith played viola in the Amar Quartet at the piece’s premiere later that year. With a performance time of around 21 minutes, the piece has six movements and, with the frequent use of “wrong” notes, quickly reveals itself as a parody. Hindemith hides quotes of other composers’ works in the piece as well.

The first movement, Armeemarsch 606 (“Der Hohenfürstenberger”), a stereotypical army march in C major, includes the instruction for the cello to behave as if it were a tuba (“Kaiserbass,” as Hindemith puts it) with a stuck valve. This results in some egregious D-flats and glissandi as the cello tries to work around the valve problem.

Occasional other wrong notes pop in as well.

The second movement, Ouvertüre zu “Wasserdichter und Vogelbauer” follows, an over-the-top overture. The pleasant third movement, Ein Abend an der Donauquelle, is described as an intermezzo for two distant trumpets. The second violinist and violist retreat off stage to act as the trumpets, culminating in a cadence in which Hindemith briefly quotes Beethoven’s Fifth Symphony. The fourth movement, Löwenzähnchen an Baches Rand, parodies the concert waltz genre. For the fifth movement, Die beiden lustigen Mistfinken, Hindemith writes a character piece that asks the two violins to play like piccolos. The sixth and final movement, Alte Karbonaden, hearkens back to the first movement with its march style, but has trouble finding stability, instead changing meters frequently.

Many scholars regard Hindemith’s seven pieces entitled Kammermusik as the most successful instrumental works of the new music developing in the 1920s. The Kammermusiken turned away from the grand orchestral sound toward a style seeking more clarity and new formal structures.

Hindemith wrote Kammermusik No. 2, Op. 36, No. 1 in the summer of 1924. Subtitled “Piano Concerto” for that instrument’s prominent role, it is scored for piano and twelve instruments.

He dedicated the piece to his friend Emma Lübbecke-Job, a German pianist and a frequent collaborator, who played in the premiere of the piece in October 1924.

The piece has four movements and takes around twenty minutes to perform. Though the piano has primacy over the other instruments, and occasionally embarks on extended solo passages, the chamber orchestra has a strong role as well.

Groups of instruments play together at times, alternating with the piano in a concertante style.

The first movement launches into a virtuosic pianistic display and acts as a modern replacement for the sonata-allegro form in the first movement of a classical symphony. The slow second movement features long melodic lines and slowly moving underlying harmonies. The third movement, marked Kleines Potpourri, is by far the shortest and is a modern scherzo. The Finale uses a recurring angular theme, marked by leaps and a dotted rhythm. In the entire Kammermusik, Hindemith has reimagined the symphonic tradition, adapting new concepts of form and harmony toward a new conception of a multi-movement piece.

– Notes by Noah Horn

Artist Profiles

ettore causa · viola

boris berman · piano

Italian-born violist Ettore Causa is praised for his exceptional artistry, passionate intelligence, and complete musicianship. He was awarded both the P. Schidlof Prize and the John Barbirolli Prize for the most beautiful sound at the prestigious Lionel Tertis International Viola Competition in England in 2000 He has since made soloist and recital appearances in many of the major venues around the world. A devoted chamber musician, Mr. Causa was a member of the Aria Quartet from 2004-2009 and currently plays in the Poseidon Quartet. He is frequently invited to prestigious chamber music festivals where he has performed with such internationally renowned musicians as the Tokyo String Quartet, Pascal Rogé, Boris Berman, Thomas Adès, Ana Chumachenco, Natalie Clein, Alberto Lysy, Thomas Demenga, Anthony Marwood, Ulf Wallin, William Bennett, and others. Mr. Causa taught both viola and chamber music at the International Menuhin Music Academy for many years. He was appointed as an associate professor at the Yale School of Music in September 2009. Among his recording, both the Brahms Sonatas and the collection of Romantic pieces garnered overwhelming success and were highly praised by critics world-wide.

Ettore plays on a viola made for him by Frédéric Chaudière in 2003.

Boris Berman is well known to the audiences of close to fifty countries on six continents. He regularly appears with leading orchestras, on major recital series, and in important festivals.

He studied at the Moscow Tchaikovsky Conservatory with the distinguished pianist Lev Oborin.

An active recording artist and a Grammy nominee, Boris Berman was the first pianist to record the complete Prokofiev solo works (Chandos). Other acclaimed releases include all the Scriabin piano sonatas (Music and Arts) and Shostakovich piano works (Ottavo), which received the Edison Classic Award. The recording of three Prokofiev concertos with the Royal Concertgebouw Orchestra, Neeme Järvi conducting (Chandos), was named Compact Disc of the Month by CD Review. Other recordings include works by Mozart, Beethoven, Franck, Weber, Debussy, Stravinsky, Schnittke, Shostakovich, Joplin, and Cage. In 1984, Mr. Berman joined the faculty of the Yale School of Music, where he is professor of piano, coordinator of piano, and music director of the Horowitz Piano Series. He gives master classes throughout the world, and in 2005 he was named an honorary professor of the Shanghai Conservatory of Music. In 2000, Yale University Press published Berman’s Notes from the Pianist’s Bench, which has been translated into several languages. In 2008, the same publisher released Berman’s Prokofiev’s Piano Sonatas: A Guide for the Listener and the Performer.

Artist Profiles

jasper string quartet Winner of the 2012 Cleveland Quartet Award, the Jasper String Quartet has been hailed as “sonically delightful and expressively compelling” (The Strad) and as “powerful” (New York Times).

They play “with sparkling vitality and great verve.... polished, engaged, and in tune with one another” (Classical Voice of North Carolina).

Based in New Haven, CT, the Jasper Quartet recently released two highly acclaimed albums on Sono Luminus, featuring the works of Beethoven, Schubert and Aaron Jay Kernis. The quartet has been awarded, in conjunction with Astral Artists of Philadelphia, a 2012 grant from Chamber Music America through their Residency Partnership Program. In addition, they are Ensemble-in-Residence at Classic Chamber Concerts (Naples, FL).

After winning the Grand Prize and the Audience Prize in the 2008 Plowman Chamber Music Competition, the Jaspers went on to win the Grand Prize at the 2008 Coleman Competition, First Prize at Chamber Music Yellow Springs 2008, and the Silver Medal at the 2008 and 2009 Fischoff Chamber Music Competitions.

They were the first ensemble to win the Yale School of Music’s Horatio Parker Memorial Prize (2009), an award established in 1945 and selected by the faculty for “best fulfilling ... lofty musical

ideals.” In 2010, they joined the roster of Astral Artists after winning their national auditions.

Originally formed at Oberlin Conservatory, the Jasper Quartet began pursuing a professional career in 2006 when they studied with James Dunham, Norman Fischer, and Kenneth Goldsmith as Rice University’s Graduate Quartet-in-Residence. In 2008, the quartet continued its training with the Tokyo String Quartet as Yale University’s Graduate Quartet-inResidence.

They are named after Jasper National Park in Alberta, Canada, and J and Rachel are married.

Dispeker Artists represents the quartet throughout the world and Astral Artists represents the quartet in Pennsylvania. » www.jasperquartet.com » facebook.com/jasperstringquartet

Artist Profiles

julian pellicano · conductor Conductor Julian Pellicano is quickly distinguishing himself as a dynamic presence on the concert stage. In September 2013, Mr. Pellicano will start an appointment as Resident Conductor of the Winnipeg Symphony Orchestra.

He recently made his South American debut with the Orquestra Sinfonica de Porto Alegre (Brazil), and has appeared with the Hartford Symphony Orchestra, Eastern Connecticut Symphony, New Britain Symphony, and Boston’s Dinosaur Annex Ensemble. In June, Pellicano will conduct premiere performances of a new opera by Martin Bresnick at New Haven’s Festival of Arts and Ideas. 2012–2013 marks his final season as music director of the Longy Conservatory Orchestra, where he has been Music Director since 2009. An artist in residence at the Norfolk Chamber Music Festival, he has conducted the Norfolk New Music Ensemble since 2008. At the Yale School of Music, Pellicano was assistant conductor of the Yale Philharmonia, assisting Shinik Hahm as well as guest conductors Sir Neville Marriner, Helmuth Rilling, Reinbert de Leeuw, and Peter Oundjian. He has worked in masterclasses with Kurt Masur, Peter Eötvös, Zsolt Nagy, Martyn Brabbins, Carl St. Clair, L’Orchestre Philharmonique du Luxembourg, and the Royal Scottish National Orchestra. He holds degrees from the Peabody Conservatory, the Royal College of Music (Stockholm), and the Yale School of Music.

Oboist Hsuan-Fong Chen ’13mm generously shares her passion for creating meaningful musical experiences with her audiences. A native of Taiwan who came to the United States at age 16, she is an active orchestral player as well as an enthusiastic soloist and chamber musician. As an English horn player, she performed John Adams’ City Noir and appeared in Carnegie Hall under the baton of John Adams. She has given multiple world premieres of new music at Juilliard, including the American premiere of Eliot Carter’s Wind Rose for wind ensemble.

Hsuan-Fong’s prizes include first prize at the 2003 National Oboe Competition (Taiwan), second prize at the New England Conservatory Preparatory School’s Concerto Competition, and finalist at the Boston Symphony Orchestra’s Youth Concerto Competition. Her summer festival appearances include the Aspen Music Festival, Pacific Music Festival, and Spoleto Festival, U.S.A. Hsuan-Fong received her Bachelor of Music degree from The Juilliard School, where she studied with Nathan Hughes, Elaine Douvas, Pedro Diaz, and Linda Strommen. Hsuan-Fong is currently pursuing her Master of Music degree at the Yale School of Music, studying with Stephen Taylor.

Kevin Dombrowski ’14mm is currently studying at the Yale School of Music for his Master of Music degree. He earned his Bachelor of Music degree from the Eastman School of Music in 2012. Aside from orchestral music, Kevin is an avid chamber musician. The Handsome Dans Trombone Quartet, of which he is a member, was recently featured in a recital at the Eastern Trombone Workshop in Washington, D.C. as the quartet competition winners. He has been featured on the NPR show “From the Top” on two separate occasions with The Bone Rangers, and has competed in the Fischoff Chamber Competition and won the Rembrandt Chamber Players and Midwest Young Artists chamber competitions with that group. As a soloist, Kevin

Artist Profiles

has won several competitions and notably had the chance to play in Aarhus, Denmark for the International Trombone Association’s solo trombone competition. His principal teachers include Scott Hartman, John Marcellus, and Timothy Riordan.

Victor Fournelle-Blain ’13mm is currently pursuing his master’s degree at Yale School of Music in Ani Kavafian’s studio. In 2011, he completed his Artist Diploma at the Montreal Conservatory, in Johanne Arel’s studio, receiving the Great Distinction for violin and chamber music. In 2012, he was the winner of the Prix d’Europe in Montreal, where he had been awarded the John Newmark Award (second prize) in 2011. At Yale, his piano trio was a winner of the Chamber Music Competition, and he took part in the finals of the Woolsey Competition. Second-prize winner of the 2010 OSM Standard Life Competition and the 2010 Trois-Rivières Symphony Competition, he also won several first prizes at the Canadian Music Competition and from regional competitions.

Victor has played with the Trois-Rivières Symphony Orchestra and twice with the Conservatory Symphony Orchestra, and received grants from the McAbbie and Hnatyshyn foundations. A versatile artist, he also plays viola, is an active chamber musician, and often performs new works by his colleagues. Victor is very grateful to Canimex, Qc, Canada, for the loan of a G.F. Pressenda violin and a Sartory bow.

In 2001, Timothy Gocklin ’14mm began his oboe studies in New Hampshire with Margaret Herlehy. Since then he has gone on to study with Dr. Nancy Ambrose King at the University of Michigan. While at Michigan, Tim was a founding member of the Akropolis Reed Quintet, a five-time national prize winning ensemble providing prominent composers a place to write dynamic, accessible music where they can trust it will be performed with precision and passion.

Timothy further explored his passion for chamber music by attending the Sarasota Music Festival during the summers of 2009 to 2011. He is currently pursuing his Master of Music degree at Yale University, studying with Stephen Taylor.

Double-bassist Jonathan Hammonds ’14mm is originally from Ann Arbor, Michigan, where he began studying the double bass at the age of twelve. He graduated from the University of Michigan with a Bachelor of Music degree in 2012 and is currently working on a Master of Music at the Yale School of Music, where he studies with Donald Palma. His previous teachers have included Barton Dunning, Diana Gannett, Stephen Molina, and Robert Hurst. Jonathan has competed and won prizes as a soloist including a first prize award in the national ASTA competition. He is also active in jazz and world music.

Horn player Lauren Hunt ’13mm has toured ten countries with the Youth Orchestra of the Americas, Youth Orchestra of Bahia, and the World Orchestra, all as principal horn. A 2012 fellow at Music Academy of the West, Ms. Hunt holds a permanent guest teaching artist position with NEOJIBA, an “El Sistema” program in Brazil. With the Andra Winds, of which she was a founding member, Lauren Hunt became a New England Conservatory Honors Chamber Music Fellow. She will receive a master’s degree in horn performance from the Yale School of Music in May, and will begin her DMA this fall at the University of Georgia. In the summer of 2013, Lauren Hunt will attend the Norfolk Chamber Music Festival. Ms. Hunt’s principal teachers include Bill Purvis and Dick Mackey.

Eleanor Kendra James ’13ad, violist, has soloed with the Edmonton Symphony Orchestra, Brentwood-Westwood Symphony, and the Vancouver Youth Symphony Orchestra. She placed first in the 2011 Shean Competition, was

Artist Profiles

a prizewinner in the Atlantic Symphony Competition and the Eastern Connecticut Symphony Competition in 2011, and was the grand prizewinner in the 2010 BrentwoodWestwood Symphony Competition. Kendra has collaborated with Ani Kavafian, Ron Leonard, Paul Neubauer and Paul Coletti. Her quartet won the 2011 Yale Chamber Music Competition.

Principal violist of the Yale Philharmonia and the Delphi Chamber Orchestra, she is also a member of New Music New Haven. Kendra has attended Music@Menlo, Sarasota, Norfolk, Morningside Music Bridge, and Zukerman’s Young Artists Programme. Kendra studied at the Vancouver Academy of Music with Gerald Stanick, and The Colburn School with Paul Coletti. She is currently a student of Ettore Causa at the Yale School of Music.

Flutist Cholong Kang ’13ad, born in Korea, is currently an Artist Diploma candidate at the Yale School of Music, where she also received her master’s degree under the tutelage of Ransom Wilson. Before coming to America to pursue her studies, she attended Kay Won High School of Arts and continued her studies at Sookmyung Women’s University. Ms. Kang has won numerous competitions including first place in the Music Association of Korea Flute Competition, the Korean Flute Association Flute Competition, the Music Education News Flute Competition, Seoul National Symphony Orchestra Flute Competition, and the Korean Music Journal Flute Competition. As a soloist, she has performed with the Seoul National Symphony Orchestra and Janácek Chamber Orchestra (Czech Republic). In February, she gave a solo performance in Carnegie Hall. She has performed in masterclasses with world-renowned artists such as Jeanne Baxtresser, Denis Bouriakov, Karl-Heinz Schutz, and Jean-Michel Tanguy.

Her past teachers include Steven Finley, Hyun Sook Kim, Mi Sook Kim, Hyun Joo Lee, Soo-Kyung Park, and Adam Workman.

From Los Angeles, bassoonist Yuki Katayama ’13mm is currently finishing her master’s degree at Yale with Frank Morelli. Yuki graduated from the Eastman School of Music with a Bachelor of Music degree in bassoon performance and a Performer’s Certificate under the tutelage of John Hunt. She can be heard performing with the Eastman Wind Ensemble on their latest CD of Stravinsky’s Octet and L’Histoire du Soldat.

Yuki has participated in summer programs at the Pierre Monteux School, Aspen Music Festival, Eastern Music Festival, Idyllwild Summer Arts Program, and the N.Y.U. Wind Quintet and Chamber Institution. She has played in master classes for Dominic Teresi, Jeff Robinson, Per Hannevold, Nancy Goers, Loren Glickman, and Judith LeClair. She is also a member of the Breaking Winds Bassoon Quartet. A multi-genre group formed in 2008, the BWBQ incorporates comedy, choreography, and costumes into their YouTube videos and educational concerts across the country. Yuki sells her BWBQ Edition arrangements and compositions with TrevCo Music Publishing. The Breaking Winds will be releasing their debut album, Breaking In, this summer.

James Jeonghwan Kim ’13cert is the winner of the 2012 Sony-USA Foundation Career Grant sponsored by Charlotte White’s Salon de Virtuosi.

He won first prizes in the Boston Symphony Orchestra Concerto Competition, the New England Conservatory’s Preparatory School Concerto Competition, and the International David Popper Cello Competition. His recent debut at Carnegie Hall received critical acclaim.

He has performed as soloist with the Boston Symphony Orchestra, the New England Conservatory’s Youth Philharmonic, and the Korean Broadcasting System Symphony. He has appeared in a national broadcast on NPR’s “From the Top” with pianist Christopher O’Riley and on Robert Sherman’s Young Artists Showcase on WQXR. Born in Seoul, Korea in 1993, James

Artist Profiles

Kim began his studies in with Susan Moses at Indiana University, Bloomington, where he also received tutelage from Janos Starker. In 2007 he enrolled at the Walnut Hill School for the Arts and the New England Conservatory, where he studied with Laurence Lesser. He currently studies with Aldo Parisot at the Yale School of Music.

Wai Lau ’12ad is currently on the faculty of Mount Holyoke College. She is a recent Artist Diploma graduate of the Yale School of Music, where she studied under David Shifrin. She has won First Prize in the Asian Youth Music Competition, Grand Prize in the Canadian National Music Festivals Competition, the Harold Wright Award from the Boston Woodwind Society, and the Alumni Association Prize from the Yale School of Music. Wai has appeared in concerts at Festival of the Sound, the Banff Centre, Norfolk Music Festival, and Lachine Music Festival. Prior to Yale, Wai received her B.M. with distinction from Indiana University with James Campell, where she was also awarded the Performer’s Certificate for outstanding performance in clarinet. She graduated with her M.M. from McGill University as a Schulich Scholar, studying with Robert Crowley and Alain Desgagné. Most recently, Wai has been awarded the prestigious Graduate Center Fellowship to pursue her DMA studies at the City University of New York beginning in fall 2013.

Born in Tel Aviv, Israel, Igal Levin ’13mm began studying clarinet with Yitzhak Catap. He was the winner of the Israeli Music Conservatory Competition in 2000. Igal has also received numerous scholarship awards from the AmericaIsrael Cultural Foundation, DAAD in Germany, and the Keith Wilson scholarship at Yale University. In 2008, Igal was a member of Yehudi Menuhin’s “Live Music Now” foundation.

He won the Yale School of Music Chamber Music Society competition in 2012. In addition to holding the principal clarinet position of the

Israel Chamber Orchestra, he has performed as a guest principal clarinet in orchestras including the Israeli Opera, Israel Symphony Orchestra, Moscow Virtuosi, and the Shanghai Oriental Orchestra. Igal studied at the Musikhochschule in Lübeck, Germany with Sabine Meyer and Reiner Wehle from 2005 to 2011. Currently, he is pursuing his graduate studies at the Yale School of Music under the tutelage of David Shifrin.

Violist Dashiel Nesbitt ’13mm, originally from Tulsa, Oklahoma, has appeared as a soloist with the Bartlesville Symphony Orchestra and the Evansville Philharmonic Orchestra. An active chamber musician, Dash has performed at the Norfolk Chamber Music Festival, Sarasota Music Festival, the Birdfoot Chamber Music Festival and the Thy Chamber Music Festival (Denmark). He has performed chamber works with Alexander Kerr, Eric Kim, Danny Driver, and Kristopher Tong. As an orchestral player Dash has performed with the New York String Orchestra, Kammerorchester Basel, Schleswig Holstein Festival Orchestra, the YouTube Symphony Orchestra, Tulsa Symphony Orchestra, Evansville Philharmonic, and the New Haven Symphony Orchestra, in addition to extensive principal work in his university orchestra studies.

Also an enthusiastic baroque violist, Dash has performed extensively with Robert Mealy as part of both Juilliard415 and the Yale Baroque Ensemble. He began playing the viola at the age of twelve in his local public school string program.

Soprano Claudia Rosenthal ’14mm was named a recipient of the Shoshana Foundation’s Richard F. Gold Career Grant, a Career Bridges Grand Prize Winner by the Schuyler Foundation, and a winner of both the Galli-Campi coloratura award and third-place winner by the Amici Competition in 2012. This season, Claudia starred in Yale Opera’s mainstage production as Giulietta in Bellini’s I Capuleti e i Montecchi and performed the roles of Desdemona (Rossini’s Otello), Sophie

Artist Profiles

(Werther), and Edith (Pirates of Penzance) in Yale Opera’s Fall Scenes. She also performed the soprano solos in Handel’s Messiah with the Hartford Symphony Orchestra. Claudia holds degrees from Yale College, The Hartt School, and Mannes College the New School for Music, and spent two summers with the Wolf Trap Opera Company as a studio artist, performing the roles of Stella (Les contes d’Hoffmann) and Cobweb (A Midsummer Night’s Dream). She is a student of Doris Yarick-Cross at the Yale School of Music.

Dutch cellist Jurrian van der Zanden ’13ad studied with Jeroen den Herder and Elias Arizcuren at the Utrecht Conservatory, where he received his bachelor’s degree with distinction.

He continued his studies in London, England with Leonid Gorokhov at the Guildhall School of Music. As a member of both Cello Octet Amsterdam and the New Holland Piano Trio, he has toured extensively in Europe, South America, and the United States. In September of 2010 he moved to New Haven, Connecticut to study with Aldo Parisot at the Yale School of Music. Jurrian plays a 1929 Max Moeller cello generously loaned to him by the Dutch National Instrument Foundation.

Yale in New York 2013–2014 Season Dates

november 22, 2013

april 6, 2014

Friday at 7:30 pm • Zankel Hall Hindemith & His Yale Legacy Featuring music by Hindemith and by Yale composers influenced by him.

Program includes Hindemith’s Kammermusik and Kleine Kammermusik. Additional repertoire to be announced.

Sunday at 7:30 pm • Zankel Hall Stravinsky’s L’histoire du soldat Featuring a new translation by Liz Diamond.

Ani Kavafian, violin; David Shifrin, clarinet; and more.

In collaboration with actors, dancers, and designers from the Yale School of Drama.

Directed by Liz Diamond.

Additional repertoire to be announced.

february 9, 2014 Sunday at 7:30 pm • Zankel Hall Program to be announced.

yale school of music Robert Blocker Dean Melvin Chen Deputy Dean

WQXR is the media sponsor of the Yale in New York concert series.

concert programs Krista Johnson Carol Jackson Julie Blindauer

Michael Yaffe Associate Dean

communications Dana Astmann Monica Ong Reed Austin Kase

yale in new york David Shifrin Artistic Director

operations Tara Deming Christopher Melillo

P.O. Box 208246, New Haven, CT · 203 432-4158

Robert Blocker, Dean

piano curators Brian Daley William Harold recording studio Eugene Kimball librarians Roberta Senatore Darren Hicks publicity Aleba Gartner Associates

music.yale.edu