Oneppo Chamber Music Series · David Shifrin, Artistic Director Wendy Sharp, Director of Chamber Music
competition winners
Music of Bartók, Poulenc, Schubert, and Stucky Morse Recital Hall • Tuesday, May 7, 2013 at 8 pm
Robert Blocker, Dean
competition winners Oneppo Chamber Music Series · David Shifrin, Artistic Director Chamber Music Program · Wendy Sharp, Director Morse Recital Hall in Sprague Memorial Hall
steven stucky b. 1949
may 7, 2013 tue · 8:00 pm
Sonate en forme de préludes 1. Accords brisés (Broken chords) 2. La Danseuse perdue en pensées (The dancer lost in her thoughts) 3. Course de vitesse (Speeding) 4. Musicques nocturnes (Night music) 5. Jongleurs (Jugglers) 6. Perrot se cache dans les ombres (Pierrot hides in the shadows) 7. Feux d’artifice (Fireworks) Caroline Ross, oboe Patrick Jankowski, horn Oliver Jia, harpsichord
francis poulenc 1899–1963
Sextet in C major, FP 100 I. Allegro vivace II. Divertissement. Andantino III. Prestissimo Jacob Mende-Fridkis, flute Timothy Gocklin, oboe David Perry, clarinet John Searcy, bassoon Philip Browne, horn Esther Park, piano
As a courtesy to the performers and audience members, turn off cell phones and pagers. Please do not leave the concert cljhall during selections. Photography or recording of any kind is not permitted.
intermission
franz schubert 1797–1828
Fantasia in C major, D. 934 Andante molto – Allegretto –Andantino – Allegro – Allegretto – Presto Cordelia Paw, violin Henry Kramer, piano
béla bartók 1881–1945
Sonata for two pianos and two percussion I. Assai lento – Allegro troppo II. Lento, ma non troppo III. Allegro non troppo Peter Klimo, piano Melody Quah, piano Cristóbal Gajardo-Benitez, percussion Jonathan Allen, percussion
Special thanks to the coaches who worked with the ensembles: Stucky William Purvis Poulenc Ransom Wilson Schubert Ani Kavafian Bartók Robert van Sice
Notes on the Program
steven stucky Sonate en forme de préludes for oboe, horn, and harpsichord Steven Stucky (b. 1949), professor of composition at Cornell University and renowned American composer, wrote Sonate en forme de préludes for oboe, horn, and harpsichord in 2003–2004 on a commission by the Carnegie Hall Corporation as part of Emanuel Ax’s Perspectives series. It was premiered at Carnegie Hall in 2004 with Ax playing harpsichord and YSM faculty members Stephen Taylor, oboe, and William Purvis, horn. The piece came to life as the result of a project left unfinished by Claude Debussy. In 1915, Debussy decided to compose six sonatas for varied instrumental groups, but he was already fighting a losing battle with cancer. By his death in 1917, he had only completed three of the sonatas. Carnegie Hall decided in 2003 to commission Stucky, Kaija Saariaho, and Marc-André Dalbavie to write one sonata each to complete Debussy’s project, after a fashion. Stucky had the task of matching Debussy’s plan of writing a sonata for oboe, horn, and harpsichord, a complicated task due to the harpsichord’s lesser volume in comparison with the other two instruments. Stucky employs arpeggios and other rapid figuration to use the harpsichord’s articulation as a strength, starting with the first movement, Accords brisés (Broken chords). The nineteen-minute piece has seven movements, each its own character piece. Stucky pays further tribute to Debussy by choosing a sequence of preludes as the form and placing the titles in parentheses.
francis poulenc Sextet for winds and piano in C major Francis Poulenc (1899–1963) had begun plans for the Sextet in C major by 1931. Writing to a friend, he apologized that he had not completed the work on his original schedule, as he did not expect to find a publisher for it and needed to work on the pieces that would sustain him. He finished the Sextet in 1932, with a premiere the next year, though he later became extremely critical of this original version and, several years later, decided to revise it. The prospect of war played a large role in this decision and in Poulenc’s life as a whole in the 1930s. He had been part of the French army reserve since 1934, and at age 19 had already fought in World War I. Seeing the rising tensions in Europe, he worried about the possibility of fighting again, at one point writing to a friend that he would gladly sacrifice his legs if he could only keep his hands. With war at hand in 1939–40, he worked at consolidating his oeuvre and revising works such as the Sextet. He was drafted into the anti-aircraft division in the spring of 1940, but by that summer, after France’s surrender, had been demobilized. Poulenc kept the manuscript of the Sextet with him, so that he could make sure it got to Copenhagen, where Hansen had agreed to publish it for the first time. The new premiere occurred that year, and the piece was finally published in 1945 as the war ended. Poulenc dedicated the Sextet to George Salles, with whom he stayed in Paris when he visited in the early 1930s after having moved to Noizay. The piece has three movements and takes about eighteen minutes to perform.
Notes on the Program
Poulenc writes effectively for winds, using the colors of various registers to achieve particular tones. The lively first movement, Allegro vivace, evokes the energy and colors of Poulenc’s Le Bal Masqué, also written in 1932. The lyrical slow middle section features solo instruments before returning to the faster tempo. The movement begins and ends in A, but like the rest of the piece, does not settle in any one key for long. The Divertissement has rich harmonies and subtle shifts in mood. The Finale, in a brisk Prestissimo, functions similarly to a rondo in that a central theme continually returns, each time in a new key. The coda of the piece suddenly slows and softens, leading to a grand climax in C major.
franz schubert Fantasia in C major, D. 934 for violin and piano Franz Schubert (1797–1828) completed the Fantasy in C major, D. 934 for violin and piano in December 1827, during the last year of his life. He had composed it for the violinist Josef Slavík (1806–1833), whom he had met the year before, and the pianist Carl Maria von Bocklet (1801–1881), who had arrived in Vienna in 1821. Contemporary accounts note that, in Vienna, Bocklet had “created a great stir there through his interesting free fantasias on the piano,” and Schubert decided to expand his contributions to the genre with this piece. Though he wrote many fantasias for piano solo and duet, D. 934 was the only one that involved another instrument. Unfortunately, the first performance in January 1828 did not go well. A review noted that “Bocklet is the right man,” but Slavík was reportedly “unable to cope with the difficult part,” and the fantasia
did not gain much traction. The Viennese Allgemeine Theaterzeitung opined that the composition “really can be enjoyed properly only by an educated audience in a smaller hall.” Diabelli finally published the piece in 1850 as Op. posth. 159, after the violin part was simplified to become more playable. Much of the difficulty stemmed from the rapid arpeggiation and keys filled with flats. The virtuoso violinist August Wilhelmj got around the difficulty by transposing the variations from A-flat major to A major in his public concerts. The piece has as its centerpiece a set of elaborate variations on Schubert’s own song “Sei mir gegrüsst,” D. 741, composed 1821–22. Long instrumental melodic lines contrast the work with the more usual vocal phrases common to Schubert’s music. The keys C, A, and A-flat play pivotal roles in the work. The first and last movements affirm the official key of C major, but the second movement centers around A until modulating to the harmonically distant key of A-flat for the third movement. The rapid figurework in a difficult key for the violin gives an idea of why Slavík might have found the piece challenging. In the final movement, more highly virtuosic violin passages lead to a deceptive cadence as A-flat major returns one final time, complete with the song melody from the third movement. A strong ending in C major completes the virtuosic work. – Notes by Noah Horn
Notes on the Program
béla bartók Sonata for two pianos and two percussion
sixth motive appears like a horn call and is present throughout the rest of the movement, including as the subject of a fugato at the end.
Béla Bartók’s Sonata for two pianos and two percussion stands as a seminal work in the 20th-century classical music repertoire. Written in 1937, the piece was premiered with Bartók and his wife playing the two piano parts. Bartók called it a “sonata” because he did not know whether the percussion part would require two or three players and thus circumvented the word “quartet.” He later found that two percussionists were sufficient but kept the title nonetheless.
The second movement is an example of Bartók’s signature “Night music,” also heard in such pieces as his third piano concerto and his concerto for orchestra. This second movement opens with a sturdy rhythm from the percussion that sets the mood for a spacious, dark melody from the pianos. A second section introduces nocturnal creatures through short quintuplet figures that rap over bell-like chords. The movement is in ternary form, though when the opening section returns it sounds like a dream sequence by way of the rippling scales and tremolos rolling around it. The return also brings with it the percussion’s steady, square beat.
The piece’s instrumentation is quite unusual and caused Bartók much trepidation in how it would be performed and received. He had a fascination with percussion that came partly from Stravinsky and Varèse, but what influenced him most were the percussive timbres and colors of the Far East and Africa. As for the piano, Bartók had an intimate relationship to the instrument, being a teacher, performer, and composer of it. In his two piano concerti written prior to the sonata, he experimented with the piano’s percussive nature by occasionally matching it with the percussion section of the orchestra. This sonata exploits the piano’s percussiveness to the fullest.
In contrast, the music of the last movement evokes the brightest of sunshine. The xylophone first introduces a folk-like melody that is more diatonic and linear than the chromatic and circuitous first movement theme. The movement is full of humor, irony, and energy. At the end, a steady, slowly fading snare drum ostinato evokes a marching band drummer is walking away, and a surprising, delightful C major chord in the upper registers of the pianos ends the piece with a smile. – Bartók notes by Laura Usiskin
The first movement opens with an ominous, circular, seven-note theme that gradually gains momentum until a dramatic arrival at the allegro section, where the two pianos shout in rhythmic unison. From there the movement, whose length takes up half the entire piece, is a series of climaxes within extended sonata form. In the midst, a rising
About the Artists Whether he is playing chamber music in Carnegie Hall, a drum set concerto in Woolsey Hall, or giving a marimba recital in a castle outside Salzburg, Jonathan Allen ’13mm performs with a passion and mastery that enthralls audiences and draws them into even the most contemporary of soundscapes. A strong advocate for percussion chamber music, Jonathan co-founded the Volta Trio and is a member of Sandbox Percussion Quartet. Through these ensembles, he strives to advance the art-form and enrich communities with performances, clinics, and commissions of new works. Jonathan Allen has won prizes at both the International Chamber Music Competition and the International Marimba Competition in Salzburg. He is a recipient of the Performer’s Certificate from the Eastman School of Music, where he completed his bachelor’s degree in 2011. Jonathan is currently pursuing a Master of Music degree in percussion performance from the Yale School of Music, where he studies with Robert van Sice and performs with the Yale Percussion Group. A native of Columbia, Maryland, Philip Browne ’14mm is an experienced orchestral, chamber, and solo artist on the horn. As an active freelance musician, he has worked with the Baltimore Symphony, New World Symphony, National Philharmonic, Delaware Symphony, New Haven Symphony, Baltimore Chamber Orchestra, Harrisburg Symphony, Symphony in C, Mid-Atlantic Symphony, and the Fairfax Symphony, among others. Philip has been awarded fellowships to the Pacific Music Festival, National Repertory Orchestra, National Orchestral Institute, and the Singapore Sun Music Festival. Victor Fournelle-Blain ’13mm is currently pursuing his master’s degree at the 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 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 was a finalist in 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 in 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. Jacob Mende-Fridkis ’14mm, flute, has performed as a soloist throughout the world with concerto appearances in United States, Germany, Italy, France, Brazil, and most recently in Woolsey Hall with the Yale Concert Band. He is currently pursuing a master’s degree at the Yale School of Music, where he studies with Ransom Wilson. He is also a member of the new music ensemble Le Train Bleu, led by Wilson. Jacob previously studied at the Cleveland Institute of Music, where he was awarded the Presidential Merit Scholarship and earned a Bachelor of Music degree as a student of Joshua Smith. In Cleveland, he served as principal flute of the
About the Artists Ohio Philharmonic, and was a member of the Firelands Symphony Orchestra. Cristóbal Gajardo Benitez ’13mm was born in Santiago, Chile and began his studies in piano and percussion at the age of ten. He won second prize in the International Snare Drum Competition in Paris, France. Gajardo has played with the National Symphony Orchestra of Chile, Pittsburgh Youth Symphony, Youth Orchestra of the Americas, Annapolis Symphony, Schleswig-Holstein Orchestral Academy and Baltimore Symphony. He has toured Argentina, Uruguay, Brazil, Poland, Germany, Spain, Hungary, and the Czech Republic. As a chamber music player, he has performed with the Peabody Percussion Group and in the Percussive Arts Society International Convention 2010 (Indianapolis). Currently, he is a member of the Yale Percussion Group. Cristóbal completed a Bachelor of Music degree at the Peabody Institute of Johns Hopkins University. He will graduate in May from the Yale School of Music with a Master of Music degree under the tutelage of Robert van Sice. 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.
Born and raised in Cape Canaveral, Florida, Patrick Jankowski ’13mm earned an International Baccalaureate diploma before attending the Florida State University College of Music, where he earned the Bachelor of Music degree, Magna cum Laude, with an additional concentration in international affairs. As an orchestral performer, Patrick has been a member of the Tallahassee Symphony Orchestra and Tallahassee Ballet, and has performed with the New World Symphony in Miami Beach. An active chamber musician, Patrick is a founding member of Terpsichore Winds, a woodwind quintet which recently performed with Imani Winds in Carnegie Hall, and were semi-finalists in the 2012 Concert Artist Guild competition. Patrick is an alumnus of the Imani Winds Chamber Music Festival, Music Academy of the West, and Norfolk Chamber Music Festival, and has won top prize in the International Horn Society solo competition. In the fall of 2013, Patrick will enter the DMA program at Yale. Oliver Jia ’13ad is an Artist Diploma candidate in piano, studying with renowned professor Peter Frankl at the Yale School of Music. First-Prize winner of four international piano competitions and many other numerous prizes, Oliver also has extensive performance experiences, ranging from concert tours in China with the China Philharmonic, to debuts at Carnegie Hall (Stern Auditorium) and Alice Tully Hall (Lincoln Center), as well as performing for the mayor of New York City, Mr. Michael Bloomberg. Oliver has also been a recipient of numerous scholarships and grants. He holds Swedish citizenship. Peter Klimo ’14mm is a Hungarian-American pianist currently studying at the Yale School
About the Artists of Music with Peter Frankl. From a young age, Peter discovered an enthusiasm for performance and was able to explore and develop that passion throughout his schooling. He is a versatile pianist who enjoys performing a wide variety of repertoire with ensembles of all types, including collaboration with composers on new works. In 2011, Peter won the Eastman Concerto Competition and performed the Saint-Saëns’ Piano Concerto No. 2 with the Eastman School Symphony Orchestra in Kodak Hall. That same year, Peter was named a Liberace Scholar of Eastman by the Liberace Foundation for the Performing and Creative Arts. In May 2012, Peter received his bachelor’s degree in piano performance with Nelita True from the Eastman School of Music. A winner of the 2013 Woolsey Concerto Competition at the Yale School of Music, Henry Kramer ’14ad has been lauded as “triumphant” and “thrilling” (New York Times) and “technically effortless” (La Presse, Montreal). Originally from Cape Elizabeth, Maine, he was a top prizewinner in the Eighth National Chopin Competition and the 2011 Montreal International Music Competition. Most recently, Henry garnered the top prize and prize for the Best Performance of Strauss Lieder at the Sixth China Shanghai International Piano Competition. He has pursued his love of chamber music as a two-time fellow at the Steans Institute at the Ravinia Festival in Chicago, and has appeared at the La Jolla Music Society’s Summerfest in San Diego. A graduate of the Juilliard School, he is currently pursuing an Artist Diploma at the Yale School of Music, where he received the Charles S. Miller Prize for the most outstanding first-year pianist. He studies with Boris Berman.
Pianist Esther Park ’13mma has performed as a soloist with orchestras and in recitals across the United States as well as Asia and major European cities. Solo appearances include the Houston Symphony, the New Jersey Symphony, the Juilliard Symphony, and the Yale Philharmonia. Ms. Park has given a five-city recital tour in Korea and has performed at the Juilliard Theater, Alice Tully Hall, Lincoln Center, Weill Recital Hall at Carnegie Hall, Salle Cortot in Paris, and the New Jersey Performing Arts Center. Born in Pusan, Korea in 1984, Ms. Park has received her bachelor’s and master’s degrees from the Juilliard School, studying with Yoheved Kaplinsky. Ms. Park also studied at the Hochschule für Musik und Theater (Hannover) under the tutelage of Bernd Goetzke. She is currently a Master of Musical Arts candidate at the Yale School of Music under the guidance of Boris Berman. Chinese-Canadian violinist Cordelia Paw ’14ad completed her bachelor’s degree at the Boston Conservatory and holds a Master of Music degree from the Juilliard School. Her teachers have included Hyo Kang, Naoko Tanaka, Lynn Chang, and Mela Tenenbaum. Ms. Paw has attended numerous festivals including the Banff Summer Music Festival, the International Holland Music Sessions, Accademia Musicale Chigiana in Siena, Casalmaggiore, Meadowmount School of Music, and Chamberfest at the Juilliard School. In 2008, Cordelia was a first-prize winner of the International Chamber Ensemble Competition as a member of the Sospiro Quartet. Cordelia is currently an Artist Diploma candidate at the Yale School of Music, studying with Hyo Kang.
About the Artists Described as a “poet with titanium fingers” by the Vancouver Sun, pianist Melody Quah ’14ad has performed solo recitals and appeared as a soloist with orchestras on the stages of Asia, Europe, and North America. Born in Kuala Lumpur, Malaysia, she is a prizewinner of the Seventh International Paderewski Competition held in Bydgoszcz, Poland. She has performed for the gala opening of the Fourth ASEAN International Chopin Competition and has presented masterclasses in Canada and Indonesia. As a part of Boris Berman’s Complete Prokofiev Sonatas project, she performed in Weill Hall at Carnegie Hall. Melody recently performed in Hillingdon, London and at Steinway Hall in New York City. She received her master’s degree from the Juilliard School under Matti Raekallio and is currently in Yale’s Artist Diploma program under the tutelage of Peter Frankl.
Caroline Ross, a native New Yorker, is currently finishing the second year of her master’s degree in oboe performance at the Yale School of Music under the tutelage of Stephen Taylor. Prior to Yale, Caroline studied at the University of Michigan where she received bachelor’s degrees in comparative literature and in oboe performance, for which she studied with Nancy Ambrose King. She has competed and placed in competitions including the International Double Reed Society’s Young Artist Competition and the Barbirolli International Oboe Competition. An active performer on baroque and modern oboe, Caroline has worked with conductors such as Peter Oundjian, Michael Stern, Simon Carrington, Nicholas McGegan, and Masaaki Suzuki. This summer she will be joining the Yale Schola Cantorum and Juilliard415 under Maestro Suzuki’s direction for performances Clarinetist David Perry ’14ad has great passion of Bach’s Mass in B minor across Japan and Singapore. Following graduation, Caroline for the connective power of music through will be returning to Yale to work with Robert teaching and performance. With his strong Mealy as the first woodwind player in the Yale commitment to creating community and to innovation in arts education in public schools, Baroque Ensemble. David has already made a mark in his current community of New Haven, CT, where he has A native of Pflugerville, Texas, John Searcy is currently pursuing a master of music degree been teaching for two years through Yale University’s Music in Schools Initiative. David at Yale University, as a student of Frank also maintains a private studio and periodically Morelli. An active performer, John has participated in numerous music festivals, performs recitals in New Haven, and he has including a summer at the National Repertory performed as a guest with numerous Orchestra, as well as the National Orchestral symphony orchestras, including those of Institute. In undergraduate studies, he was Toronto and New Haven. David currently also selected as a winner of the general holds a Master of Music degree from the concerto competition. John received his University of Toronto, and his Bachelor of Music degree from the University of Wyoming, bachelor of music at Southern Methodist University, as a student of Wilfred Roberts. the state where he grew up. David expects to receive his Artist Diploma from Yale in May 2013, and he is consistently searching for new ways to use his career to combine music performance and education.
Oneppo Chamber Music Series 2012-13 Patrons
The Yale School of Music gratefully acknowledges the generosity of its donors. Following are the patrons of the Oneppo Chamber Music Series as of May 1, 2013. To find out more about becoming a Yale School of Music Patron:
禄 music.yale.edu/giving You can also add a contribution to your ticket purchase to any Yale School of Music concerts. Concert Office 路 203 432-4158 Charles Ives Circle $600 and above Crystal Chen & Richard Olmsted Victoria Keator DePalma Ronald & Susan Netter Bill Tower, in memory of Liz Tower Paul Hindemith Circle $250 to $599 Henry & Joan Binder Carole & Arthur Broadus Mr. & Mrs. Douglas Crowley Mark Bauer & Joseph W. Gordon Rev. Hugh MacDonald Marc & Margaret Mann Barbara & Bill Nordhaus Ray Fair & Sharon Oster Patty & Tom Pollard Jean & Ronald Rozett Maggie & Herb Scarf Josephine Shepard Drs. Lorraine Siggins & Braxton McKee Abby N. Wells Elizabeth B. Womer Horatio Parker Circle $125 to $249 Anonymous Stephen Anderson & Janine Anderson-Bays
Susan Anderson Anne P. Reed Dean, in memory of Prof. & Mrs. E.B. Reed Richard Flavell John and Stacey Gemmill Norman S. Hewitt Barbara & Ivan Katz Joseph & Constance LaPalombara Peggy & Ramsay MacMullen Dr. Leonard E. Munstermann Peter & Kathryn Patrikis Mary Jane & Steve Pinchus Ernst & Rosemarie Prelinger Jules Prown Maryanne & W. Dean Rupp Helen L. Sacks Nathan M. Silverstein Clifford & Carolyn Slayman Emily Aber & Robert Wechsler Samuel Simons Sanford Circle $50 to $124 Anonymous (4) Nina Adams & Moreson Kaplan Susan S. Addiss Angelo A. Alonzo & Nancy Reynolds Stephen & Judith August Richard & Nancy Beals David & Carolyn Belt Victor & Susan Bers Jerome Berson Donald Bialos, M.D. & Saundra Bialos Ethel & Sidney Blatt Eric & Lou Ann Bohman Robert & Linda Burt Walter Cahn Anne and Guido Calabresi Mimi & John Cole Joe & Phyllis Crowley Drew Days & Ann Langdon Emma Dickey Anne-Marie & William Foltz Ellen Cohen & Steven Fraade Geraldine Frei Kalman L. Watsky & Deborah Fried Clara Genetos Dr. Lauretta E. Grau Paul Guida & Patricia LaCamera Elizabeth Haas Kenneth R. Hanson Robert & Noel Heimer Faith Hentschel Bente & Walter Jr. Hierholzer Jay & Marjorie Hirshfield Marilyn A. Katz Elise K. Kenney
Alan & Joan Kliger Jack & Elaine Lawson Stan Leavy Colin & Suki McLaren William & Irene Miller Sara Ohly Dr. E. Anthony Petrelli Marc Rubenstein & Patricia Pierce Michael & Kuni Schmertzler Emilie & Richard D. Schwartz Cis & Jim Serling John & Laura Lee Simon Joan & Tom Steitz Betsy & Lawrence Stern R. Lee Stump Barbara & Michael Susman Alan & Betty Trachtenberg George Veronis Nonna D. Wellek, Ph.D. Ken & Marge Wiberg Herbert & Hannah Winer Marcia & Richard Witten Werner & Elizabeth Wolf Gustave Jacob Stoeckel Circle $25 to $49 Gusta & Bob Abels Anne-Marie N. Allen Irma & Robert Bachman Marie Borroff Charlotte B. Brenner Judith Colton & Wayne Meeks Peter & Diana Cooper Mr. & Mrs. Dana Kathryn Feidelson Barbara Fussiner Howard & Sylvia Garland Jane L. Jervis Ann Marlowe Marlene Martin Alice. S. Miskimin Priscilla Waters Norton Melissa Perez Paul Pfeffer Joseph & Susan Saccio Karen & Mel Selsky Ms. Thomasine Shaw Caesar T. Storlazzi Sheila & Arthur Taub Antoinette Tyndall
Upcoming Events
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YSM Commencement Concert
may 8
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