New Music New Haven 2/5/2015

NEWMUSIC NEWHAVEN hannah lash & christopher theofanidis 路 artistic directors

featuring music by

HANNAH LASH DAVID LANG and music by Yale graduate composers

with guest artists

ANTICO MODERNO HILARY SUMMERS Morse Recital Hall 路 February 5, 2015

Robert Blocker, Dean

Hannah Lash & Christopher Theofanidis, Artistic Directors

Ian Gottlieb b. 1990

song of the mosquito

Krists Auznieks b. 1992

Nuts and Bolts

Katherine Balch b. 1991

Recordatorio

Liliya Ugay b. 1990

...that glowing face, beautiful and blind Antico Moderno Jesse Irons, Emily Dahl, baroque violin Jacques Lee Wood, baroque cello Balint Karosi, harpsichord/organ Hilary Summers, contralto intermission

David Lang b. 1957

ark luggage Julia Ghica, Nathan Lesser, violin Danielle Wiebe, viola Ji Eun Lee, cello Molly Netter, soprano

Hannah Lash b. 1981

From the Depths I Cry Out Yale Voxtet Sarah Yanovitch, Molly Netter, soprano Mindy Ella Chu, Daniel Moody, alto Gene Stenger, Tyler Ray, tenor Brendan Fitzgerald, Edmund Milly, bass Patrick Murray, conductor

As a courtesy to the performers and audience, silence all electronic devices.

Please do not leave the hall during selections. Photography or recording of any kind is prohibited.

PROGRAM NOTES biography Ian Gottlieb Ian Gottlieb (b. 1990) grew up in Los Angeles, California, where he studied classical and jazz cello at the Crossroads School for the Arts and Sciences. He graduated in 2012 from Boston University as a student of the late Marc Johnson, receiving his bachelor’s degree in music composition and cello performance, magna cum laude. His music has been performed by various ensembles throughout North America, notably Le Nouvel Ensemble Moderne, Ensemble dal Niente, Triple Helix, and Palaver Strings. Ian has received commissions from renowned artist Dennis Kim (concertmaster of the Tampere Philharmonic) as well as Boston University faculty Bayla Keyes and Michelle Lacourse. In 2013, he received a Morton Gould Honorable Mention for his composition Medium for solo cello. Ian recently toured with a piano trio throughout China, performing a program showcasing his own works alongside standard repertoire. He currently attends the Yale School of Music in pursuit of a Master of Music degree in Composition, where he studies with Martin Bresnick, David Lang, Aaron Jay Kernis, and Hannah Lash. program note song of the mosquito This is a song composed of words no one ever said. Within the text are misquotations, malapropisms, sayings commonly misattributed to other people, mondegreens, and fragments of famously misunderstood lyrics. The impetus for this work came about after viewing Tom Stoppard’s Arcadia.

Set in an old English manor, a sequence of

scenes juxtaposes two sets of its inhabitants, one from the 1810s and one from modern times. Aided by various objects inherited from the past, the present-day characters try to decipher what took place in the past, each with theories both partially true and partially false. What was so captivating to me was not the characters’ struggles to discover the truth, but the way in which they create meaning through their misinterpretations. Each character’s subsequent actions are predicated on false assumptions and half-truths that turn out to be unexpectedly meaningful. We are constantly confronted with mysterious things left over from the past. It’s not the historical accuracy of our attempts to understand, “it’s the wanting to know that makes us matter,” says Hannah, one of the protagonists.

Similarly, the Baroque ensemble is made up of a centuries-old body of instruments originally designed to serve a music fit for a very different world than the one I inhabit.

Highly regarded opinions on what it means to practice authentic baroque performance have differed throughout the past century, and even from person to person. Likewise, words’ meanings change as they move through time. This text is not meant to highlight how misquotations can stick with people more than the intended quotation, but the beauty in the fact that a falsehood has the capacity to bear more relevant meaning to a group of individuals. I tried to find misquotes that permeate throughout film and literature whose incorrect manifestation is better known and more meaningful to a contemporary audience than its arguably more true predecessor.

PROGRAM NOTES text I’ve seen fire between people as they pass each other in this flood some people feel the rain others just get wet and everywhere and not a drop to drink the milk of human kindness theirs not to reason why history does not repeat itself but it does rhyme with signatures of all things that I am here to read all they have done eyes turned skyward is to awaken a sleeping giant and to soothe the savage beast head bent in sorrow filled him with the white heat of technology born down in a dead man’s town born every minute the splendid beast prowling about in search of sweet dreams and flying machines Fe-Fi-Fo-Fum I am the walrus I am the tiger I’m an ocean in your bedroom I’m king of the world I am the American I am the devil I am a donut look, I am your father

the journey of a thousand miles begins with one small step for man one fell swoop biography Krists Auznieks Born in Riga, Latvia, composer Krists Auznieks grew up touring Europe with the Riga Dome Boys Choir and studying classical piano, later on venturing into jazz. He received his bachelor’s degree in composition from the Royal Conservatory of The Hague under teachers Peter Adriaansz and Guus Janssen. He also studied extensively at The Hague Institute of Sonology.

Currently he is pursuing his M.M. degree at the Yale School of Music with David Lang and Hannah Lash. He has written for Latvian Radio Chamber Singers, David Kweksilber Big Band, Claron McFadden, recorder orchestra Praetorius, Brendan Faegre Edge Ensemble, Modelo62, Slagwerk Den Haag, the vocal groups Anima Solla and Framest, and a chamber opera for Riga—European Capital of Culture 2014 festival. He received a recommendation in the UNESCO Rostrum of Composers 2014 for his work I Exist As I Am, which was broadcast on classical music radio worldwide in 2014. His works have been performed at the Beijing National Arts Centre, Shanghai City Theatre, Amsterdam Muziekgebouw, Gaudeamus Muziekweek and Ereprijs YCM 2014 (Netherlands), Riga A Capella Festival (Latvia), Druskomanija (Lithuania), and Casa del Jazz (Italy).

PROGRAM NOTES program note Nuts and Bolts

program note Recordatorio

—What if I went out into the fields and pondered over the romantic nature of slowly moving mechanical bodies?

—Oh, Isaac, you dreamer…

—Newton’s Pseudologoi, § 9.8 m/s

In Ecclesiastes 1:11, the author reflects on the folly of human forgetfulness, suggesting that history’s cyclic nature is due in part to mankind’s appropriation and reiteration of former things, often without realizing it. Recordatorio intertwines references to musical idioms of the past in a language that forgets where these tropes properly belong. For me, this piece is trapped in a short-term memory of its own, sometimes forgetting where it left off and how it began.

biography Katherine Balch Katherine Balch (b. 1991) is a composer whose work often explores visual processes as a means to musical narrative and drama.

Recognitions include an ASCAP Morton Gould Award, New England Conservatory’s Donald Martino prize, the American Conservatory at Fontainebleau’s prix du composition, fellowships from Norfolk, Fontainebleau, Aspen Music Festival, and IRCAM’s Manifeste, and commissions from Collage New Music, the New York Virtuoso Singers, the Santa Fe Chamber Music Festival, ZOFO duo, and the New York Youth Symphony. An alumna of the Tufts University/New England Conservatory double degree program, Katherine double majored in history and political science at Tufts (summa cum laude) and is a published author in the field of political theory, as well as the recipient of many academic awards. At NEC, she studied composition with Kati Agócs and Stratis Minakakis. She is currently pursuing her master’s degree at the Yale School of Music, studying with Aaron Jay Kernis. Aside from composing, Katherine enjoys cooking, playing with her cat, Zarathustra, various combinations of espresso and steamed milk, and the outdoors.

biography Liliya Ugay Liliya Ugay is an award-winning pianist and composer whose works have been performed in Russia, Ukraine, Germany, Italy, Switzerland, Georgia, Armenia, Kazakhstan, Azerbaijan, Uzbekistan and the United States. Originally from Uzbekistan, she graduated from the Uspensky Special Music School for gifted children studying piano with G. Ardashirova and composition with P. Medyulyanova and F. Yanov-Yanovsky.

While in Tashkent, Liliya collaborated regularly with the contemporary music ensemble Omnibus as both pianist and composer. In 2010, Liliya was awarded the Woodruff scholarship at Columbus State University to study piano with Alexander Kobrin. In Columbus, her works were premiered by the CSU Philharmonic orchestra led by Paul Hostetter and on several student recitals. Her compositions were featured in several festivals including the 45th Darmstadt International Summer Courses of New Music, 52nd Venice Biennale, and the International Trumpet Guild and Convergence

PROGRAM NOTES New Music festivals. Presently, Liliya is pursuing her Master of Music degree in composition at the Yale School of Music studying with Martin Bresnick. Liliya’s competition awards include first prizes at the National MTNA Young Artist and DeKalb Choral Guild composition competitions, second prize at the Third Verfemte Musik International Piano Competition (Germany), honorable mention at the PreArt International composition competition (Switzerland), second prize at the Crystal Camerton Composition Competition (supported by the Union of Composers of Russia and the Moscow Tchaikovsky Conservatory), the Esta Kirkey award at the 14th International Beethoven Piano Sonata Competition, and many others.

The earth is sown with landmines. Do not gather their sudden, deadly blossoms.

How full and romantic the moon is over the city’s vacant streets.

No one pauses to gaze at it. Kidnappers wait in the dark. People stay at home – not that their homes are safe.

text ...that glowing face, beautiful and blind

Far from me, a girl wishes she lived on the moon, that she could bound weightless through the air, never hear another cry. Silence, she prays, silence.

Dark Side of the Moon

by Lois Beckett The moon hangs tonight in the summer sky: distant, sweetly tinged with gold.

Such serenity comes only with distance. I am like the moon.

I am calm because I am far from suffering.

I can walk outside tonight hearing nothing but the sighing of the breeze. I am only afraid of shadows.

I shine tonight in my quiet world, peaceful as the moon.

How could I not love such beauty?

With that same loveliness the moon shines on a deserted field. No one walks there.

Gun shots, moans of the sick, weeping, and the moon is beautiful, beautiful.

It turns and turns around the earth, does nothing.

The moon does not understand suffering.

And though I barely understand it, I cannot rest in the moon’s soft light.

But I cannot be silent.

Though the sun is far from the earth, its shining is not as cold and empty as the moon’s.

Its life brings life. I must find a way, whatever my distance, to help, to give comfort I cannot numb my gaze with stars or veil my eyes, as clouds cover the face of the moon, that glowing face, beautiful and blind.

PROGRAM NOTES biography Antico Moderno The Boston-based Antico Moderno is a new, unique period chamber ensemble. Born out of a mutually shared passion by its members for both historically informed performance on period instruments and the creation and performance of new music, A/M seeks to combine these two seemingly disparate musical worlds by commissioning new works specifically for historical instruments. Collaborating closely with their composer-in-residence during every step of the compositional process, Antico Moderno presents exciting, intelligent, and trailblazing programs that incorporate works both old and new on period instruments. Currently the ensemble-in-residence at First Lutheran Church in Boston, Antico Moderno has been visiting artists at the Norfolk Chamber Music Festival and the Yale School of Music. biography Hilary Summers A true contralto with a wide vocal range, Hilary Summers has excited the attention of many contemporary composers. In 1999 she created the roles of Stella in Elliot Carter’s opera What Next? and Irma in Eötvös’s opera Le Balcon. Since 2002 she has performed Boulez’ Le Marteau sans Maître throughout Europe with the Ensemble Intercontemporain. She recorded the work with Boulez on Deutsche Grammophon; the recording won a Grammy Award.

In Britain, Summers has recorded several of Michael Nyman’s film scores and toured with the Michael Nyman Band. She also works frequently with the composer Joby

Talbot and sings on his soundtrack to the film Hitchhiker’s Guide to the Galaxy and the television series The League of Gentlemen.

A fine interpreter of the Baroque repertoire, Hilary sings regularly with many of Europe’s leading early instrument orchestras. These have included Christopher Hogwood and the Academy of Ancient Music, Paul McCreesh and the Gabrieli Consort, Christophe Rousset and Les Talens Lyriques, Thomas Hengelbrock and the Balthasar Neumann Ensemble, and The English Concert directed by Andrew Manze. A warm association with William Christie and Les Arts Florissants led to a recording of Handel’s Orlando with Erato, in the role of Medoro, and as the Sorceress in Purcell’s Dido and Aeneas. She works often with The King’s Consort and has recorded two CDs with them in the Hyperion Series of Vivaldi’s sacred music. She performs regularly with Christian Curnyn and the Early Opera Company and has recorded the role of Rosmira in Handel’s Partenope and Juno/Ino in Semele for Chandos.

Operatically, Hilary is destined to play Handelian heroes such as Giulio Cesare or the god Mars (Legrenzi’s Il divisione del mondo) but occasionally has fun with such roles as the dominatrix Mescalina (Ligeti’s Le grande macabre), the Amazon Hippolyta (Britten’s A Midsummer Night’s Dream), or even the bearded Baba the Turk (Stravinsky’s The Rake’s Progress). More mature females include the earth mother Gaea in Strauss’ Daphne and Mrs Sedley in Britten’s Peter Grimes for Glyndebourne Festival Opera. She sang Hippolyta for the Teatro Real in Madrid, where she also sang Geneviève in Pelléas et Mélisande and the role of the Bartender in Wuorinen’s Brokeback Mountain.

PROGRAM NOTES Recent engagements have included concerts at the Aldeburgh and Holland Festivals, performances at the Liceu Barcelona and Frankfurt Opera, Tisbe in La Cenerentola with Cecilia Bartoli at the Salzburg Whitsun and Summer Festivals, and two appearances at the 2014 BBC Proms. Hilary created the role of Miss Prism in concert performances of Gerald Barry’s The Importance of Being Earnest, which she performed with the Los Angeles Philharmonic. Future highlights include the role of Juno/Semele for Canadian Opera Company and Mrs. Darling/Tiger Lily in Welsh National Opera’s new production of Richard Ayres’ Peter Pan. Hilary’s many recordings include Handel’s Messiah with King’s College Cambridge, Handel’s Lotario (Idelberto) with Alan Curtis and Il Complesso Barocco, A Midsummer Night’s Dream (Hippolyta) with the LSO and Sir Colin Davis, Rossini’s Petite Messe Solonelle with TKC, and Six Celan Songs

by Michael Nyman. biography David Lang The music of David Lang has been performed by major musical, dance, and theatrical organizations throughout the world, including the Santa Fe Opera, the New York Philharmonic, the San Francisco Symphony, the Cleveland Orchestra, the Kronos Quartet, the Nederlands Dans Theater, and the Royal Ballet, and has been performed in the most renowned concert halls and festivals in the United States and Europe.

He is well known as cofounder and coartistic director of New York’s legendary music festival Bang on a Can. David Lang received the 2008 Pulitzer Prize for the little match girl passion, commissioned by Carnegie Hall for the vocal ensemble Theater of Voices, directed by Paul Hillier.

His recent works include love fail for the early music vocal ensemble Anonymous 4, with libretto and staging by Lang, at the Kennedy Center, UCLA and the Next Wave Festival at BAM; reason to believe, for Trio Mediaeval and the Norwegian Radio Orchestra; death speaks, for Shara Worden, Bryce Dessner, Nico Muhly, and Owen Pallett, at Carnegie Hall; writing on water for the London Sinfonietta, with libretto and visuals by English filmmaker Peter Greenaway; and the difficulty of crossing a field, a fully-staged opera with the Kronos Quartet. The CD of the little match girl passion, on Harmonia Mundi, won the 2010 Grammy Award for Best Small Ensemble Performance.

Lang was Musical America’s Composer of the Year for 2013 and held Carnegie Hall’s Richard and Barbara Debs Chair in Composition for the 2013–2014 season. He holds degrees from Stanford University and the University of Iowa and received the D.M.A. from the Yale School of Music in 1989. He has studied with Jacob Druckman, Hans Werner Henze, and Martin Bresnick. His music is published by Red Poppy (ascap) and is distributed worldwide by G. Schirmer, Inc.

PROGRAM NOTES program note ark luggage In 2005 I did a project with the English artist and filmmaker Peter Greenaway called “writing on water.� It was a kind of circus with live calligraphy, live multiscreen video and film projection on four screens that surrounded the stage, and the London Sinfonietta. I enjoyed it a lot.

What I enjoyed the most, however, was the beautiful libretto that Peter had crafted out of fragmentary descriptions of sea travel and shipwrecks from The Tempest, The Rime of the Ancient Mariner, and Moby Dick. The text was so moving to me that I asked Peter if he would write me another one, this time possibly on a religious subject, or at least somehow related to an old testament theme. ark luggage was the text he sent me, a list of 92 things Noah took along with him during the flood. The way I interpreted this text was to notice how Peter shows the confidence Noah has in packing for his life after the flood, confident about his survival past the catastrophe.

The act of packing these suitcases itself becomes a statement of faith, and a simple list becomes a kind of prayer. ark luggage was commissioned by Glasgow Concert Halls and was written for Else Torp and the Smith Quartet, who premiered it on March 24, 2012, in Glosgow, Scotland. ark luggage is dedicated to Else Torp.

text 1. drinking water, black & white smoke, & ice. red ribbons. rope, coal & ashes, sand & earth. horse-shoes, twenty Gouda cheeses. candles, lightbulbs, tulip bulbs, locks & keys, fresh linen, clean sheets, warm underwear. clear alcohol (for medicinal purposes), new and old boots for walking the deck, boot-laces, fish-hooks for fish on Fridays.

2. potatoes, swedes, carrots for seeing in the dark, turnips, coins and buttons, bread, buns for the elephants. cook-books, tobacco (for chewing). safety-pins.

PROGRAM NOTES brushes for painting, brushes for sweeping, brushes for cleaning your teeth. green apples, hens’ eggs, blood & ink, bottles for sending messages. jokes. red roses, gold paint for celebrating, old testament bibles, spoons, forks, clean saucepans, tomatoes for making tomato sauce, toys for amusing the children in case there should be any, dolls (ditto).

3. clocks & calendars, colanders, mousetraps & rat-traps, passports, lemons, bricks. flea-powder, antimacassars. needles, navigational maps, iodine & medicines. a hebrew – dutch – hebrew dictionary. spectacles, sharpened pencils, buttons & string, combs for women and horses, scissors.

hay, cannon-balls (for ballast only) firewood, instruments to measure by. board-games for passing the long evenings, zoo animals in miniature for reminding us of what is being saved.

4. feathers for soft pillows, bones for dogs, umbrellas. parrot seed, honey, red yarn. sou’westers, a new toilet-seat, mirrors, gloves, thread, & onions. soap and washing powder, aspiring. flags & banners & bunting, wings & stars. champagne. place-names for new towns and villages. & songs, & some new music for rejoicing, & thank you letters to God and the angels, & white beach pebbles to edge the borders of my new garden.

PROGRAM NOTES biography Hannah Lash Prize-winning composer Hannah Lash has emerged as a leading voice of her generation.

In addition to numerous academic awards, she has received the ASCAP-Morton Gould Young Composer Award, a Charles Ives Scholarship from the American Academy of Arts and Letters, a fellowship from Yaddo Artist Colony, the Naumburg Prize, the Bernard Rogers Prize, and the Bernard and Rose Sernoffsky Prize. She has received commissions from the Fromm Foundation, the Naumburg Foundation, the Great Lakes Chamber Music Festival, Aspen Music Festival, the Orpheus Duo, the Howard Hanson Foundation, Case Western Reserve’s University Circle Wind Ensemble, MAYA, Great Noise Ensemble, and the Aspen Contemporary Ensemble.

Her orchestral music has been singled out by the American Composers Orchestra, which selected Furthermore for the 2010 Underwood New Music Readings, and by the Minnesota Orchestra, which selected her work God Music Bug Music for performance in January 2012 as part of the Minnesota Composers Institute. Her chamber opera Blood Rose was presented by New York City Opera’s vox in 2011. Lash’s music has also been performed at Carnegie Hall, Le Poisson Rouge, the Chelsea Art Museum, Harvard University, Tanglewood Music Center, the Times Center, and the Chicago Art Institute.

Hannah Lash earned a bachelor’s degree in composition from the Eastman School of Music, her Ph.D. from Harvard University, a performance degree from the Cleveland Institute of Music, and an Artist Diploma

from the Yale School of Music. Her primary teachers include Martin Bresnick, Bernard Rands, Julian Anderson, and Robert Morris.

Her music is published by Schott. program note From the Depths I Cry Out From the Depths I Cry Out is a piece inspired

by Josquin des Prez’s late five-voice motet, De Profundis Clamavi. As I began the process of getting to know this extraordinary motet of Josquin, I felt more and more that my task of responding to it with my own music would be near impossible.

Josquin’s motet is constructed in such a way that three of the five voices are locked in a strict canon throughout the piece, while the remaining two voices are free. By nature a canon is something of a musical straightjacket – especially one in which the intervals of imitation are, as in the case of this motet, at the fourth and octave below the cantus part, so that the three voices’ intervals group vertically as a harmonic determinant in our ears. Melodically, harmonically, and rhythmically the music’s trajectory is determined by the interaction of the parts involved in the canon. And yet Josquin was able to achieve a music that seems transcendent and heartrendingly expressive: infinitely flexible in horizontal and vertical realms as well as in rhythm and pacing.

I decided that simply to dip my feet in the surface of that music would never satisfy what I hoped to achieve. There would be no way for me simply to take and repurpose some affect or feature of the music in any meaningful way without digesting Josquin’s language in a very thorough and personal way. So I set out to write a piece that re-

PROGRAM NOTES sponded to the demands of dissonance treatment, rhythmic organization, and most importantly, canonic disposition, in the same way Josquin’s piece does.

But the line is fine between digesting and using a musical syntax from a previous era and writing a “model composition.” So while my piece is constructed with great consideration taken to the conventions of 16th-century polyphony, it differs from music of that era in several important ways.

Most obviously, I took the text of Psalm 130 and translated it into my own completely secular English, and structured it in such a way that I felt comfortable setting it.

My piece is based on the same three-voice canonic premise as Josquin’s with the minor difference that the parts are spaced one bar closer to one another than his, and the three adjacent upper parts participate in the canon rather than Josquin’s two upper parts plus the second tenor.

As my piece progressed, I found that I needed some concluding music after the setting of my translation of Psalm 130. I wanted to engage the lower parts in a canon of their own. So the final section of my motet uses text from Genesis: “dust thou art, and unto dust thou shalt return,” set in a canon in the lower two voices, which runs forward through “dust thou art” and then retrogrades for “and unto dust thou shalt return,” which in my mind responds to the reflexive sense of the text.

The piece then ends with all the voices breaking out of canon and joining together for a final homophonic statement of the text from Genesis.

To me, this is a piece about facing the inevitability of death. I wanted to illuminate the close relationship between fear and hope – an intersection where faith is often born out of necessity.

NEW MUSIC NEW HAVEN

Artistic Directors Hannah Lash Christopher Theofanidis Manager Andrew W. Parker Assistant Manager Roberta Senatore Office Assistant Timothy Gocklin Conducting Fellows Heejung Kim Louis Lohraseb

Stage Crew Samuel Bobinski John Caughman Patrick Durbin Batmyagmar Erdenebat Yifei Fu Julia Ghica John Kossler Fiona Last Christopher Lettie Thomas Park Elisabeth Shafer Terrence Sweeney Georgi Videnov John Weisgerber

Music Librarians Nicholas DeBerardino Allan Hon Matthew Keown Fiona Last Michael Laurello Ricard Liverano David Mason Marie Oka Yefim Romanov

NEW MUSIC NEW HAVEN 2014–2015 HANNAH LASH & CHRISTOPHER THEOFANIDIS ARTISTIC DIRECTORS THURSDAYS AT 7 : 30 PM MORSE RECITAL HALL MAR 05

BRYCE DESSNER Featuring Dessner’s “Tenebre” and “Murder Ballads.”

With Sandbox Percussion.

APR 02

VIJAY IYER Composer-pianist Vijay Iyer, a Yale alumnus, performs his piece “Time, Place, Action” with the Brentano String Quartet.

Tickets $10–15 $5 with student ID

UPCOMING EVENTS Beethoven: Complete Cello Sonatas

The Marriage of Figaro

february 8 Morse Recital Hall | Sunday | 2 pm Faculty Artist Series Ole Akahoshi, cello, and Peter Frankl, piano, perform the complete Beethoven sonatas for cello and piano Free Admission

february 13, 14, 15 Shubert Theater | Fri & Sat, 8 pm | Sun, 2 pm Yale Opera Where servants become masters, and love conquers all. Ted Huffman directs this new production of Mozart’s timeless comedy.

Dominique Trottein conducts Tickets $19–$50 • Students $13 Available at the Shubert Theater box office 203 562-5666 or www.shubert.com

Yale Brass Trio february 9 Morse Recital Hall | Monday | 7:30 pm Faculty Artist Series William Purvis, horn; Allan Dean, trumpet; Scott Hartman, trombone With Mihae Lee, piano Free Admission

Benjamin Verdery, guitar february 11 Morse Recital Hall | Wednesday | 7:30 pm Faculty Artist Series Music by Yale composers, featuring world premieres of pieces by Hannah Lash and Aaron Jay Kernis, plus music by Lang, Lash, Laderman, Theofanidis, and Verdery Free Admission

Ettore Causa, viola Boris Berman, piano february 16 Morse Recital Hall | Wednesday | 7:30 pm Faculty Artist Series Music for viola and piano by Beethoven and Brahms, including arrangements by Causa Free Admission

Danish String Quartet february 17 Morse Recital Hall | Tuesday | 7:30 pm Oneppo Chamber Music Series String quartets by Haydn, Thomas Adès, and Schubert Tickets start at $26 • Students $13

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