New Music for Orchestra, Dec 10

NEW MUSIC FOR ORCHESTRA New Music New Haven & Yale Philharmonia

with music by

Liliya Ugay Natalie Dietterich Tiange Zhou Dylan Mattingly Katherine Balch Krists Auznieks Brian Heim December 10, 2015 Woolsey Hall

Robert Blocker, Dean

NEW MUSIC FOR ORCHESTRA New Music New Haven & Yale Philharmonia December 10, 2015 路 Woolsey Hall Hannah Lash & Christopher Theofanidis, Artistic Directors Liliya Ugay b. 1990

Oblivion

Natalie Dietterich b. 1992

Aeolian Dust

Tiange Zhou b. 1990

One Choice

Dylan Mattingly b. 1991

Visions of Johanna, Excerpt from Act 2 intermission

Katherine Balch b. 1991

Leaf Catalogue

Krists Auznieks b. 1992

Scarlet Sounds

Brian Heim b. 1993

ANOTHER FOREST Yale Philharmonia Heejung Park, 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 Liliya Ugay Liliya Ugay is an award-winning composer and pianist. Among her competition prizes are the Edward Grieg International Composers Competition, National MTNA Young Artist Composition Competition, Pre-Art International Composition Competition (Switzerland), Crystal Camerton International Competition of Young Composers (Moscow Conservatory/Union of Composers of Russia), and the 14th International Beethoven Piano Sonatas Competition, among many others. Her compositions range from traditional classical ensembles to musical theater and electronic music. Ugay’s works have been featured at many festivals including the 45th Darmstadt Summer Courses of New Music, June in Buffalo, Oslo International Grieg Festival, Boston New Music Initiative, and the 52nd Venice Biennale.

Originally from Uzbekistan, Liliya studied composition and piano at the Uspensky Special Music School before coming to the U.S. to study piano with Alexander Kobrin at Columbus State University as a Woodruff Scholarship recipient. Currently, she is a Master of Music degree candidate at the Yale School of Music, studying with Martin Bresnick, Christopher Theofanidis, and Aaron Jay Kernis. program note Oblivion “THERE ARE FLOWERS THAT PRESERVE THEIR COLOUR EVEN AFTER THEY DIE and remembrances sound from a distance… Like underwear buried at the bottom of the luggage, some things are repressed deep, deep inside us

hidden even from ourselves… and like a childhood long since gone with a single scent they bounce right back to us…

Then the road appears again to those with no city left to their name to those who when asked “have you come back?” find no answer, not a sob not in any language… nothing comes out. Naught…”

Excerpted from Mehmet Yashin, Cities We Return To biography Natalie Dietterich Natalie Dietterich is an American composer from Harleysville, Pennsylvania. Her music has been performed by the ensemble wild Up as part of the L.A. Philharmonic’s National Composers Intensive, at the So Percussion Summer Institute (Princeton, New Jersey), the 21st Annual Young Composers Meeting (Apeldoorn, the Netherlands), the highSCORE Festival (Pavia, Italy), the Charlotte New Music Festival (North Carolina), and Spectrum (New York), and she was recently featured on Q2 Music (WQXR, New York).

She is a winner of two Philadelphia Composers’ Ink calls for scores: “Airs of Other Planets” (2014) and “Songs of Metamorphosis” (2014).

Natalie is currently a Master of Music candidate at the Yale School of Music studying with David Lang. She holds a dual degree in violin performance and composition from West Chester University of Pennsylvania, where she ran the NOW Music Society new music concert series; coordinated Danza Symbiotica, a dance and composer collaboration; and was a member of the West Chester Laptop Ensemble. Her previous composition

PROGRAM NOTES teachers include Christopher Theofanidis, Robert Maggio, Larry Nelson, Mark Rimple, Adam Silverman, and Van Stiefel. program note Aeolian Dust The idea of Aeolian, or atmospheric, dust could be considered an analog to the passage of time within a world where unrelated events coexist and have potential to become something bigger than themselves, or perhaps simply occupy a space together with nothing to bridge them together but the moment in which they occur. biography Tiange Zhou Born in China in 1990, Tiange Zhou is a composer, playwright, and improv dancer.

Her music is performed across Asia, Europe, and North America. Her works have been performed at the Highscore Music Festival, Ostrava New Music Days, June in Buffalo, the Atlantic Center for the Arts, Pocket Opera Project, and the Salt New Music Festival. Zhou has collaborated with musicians from the Mivos Quartet, I.C.E., the S.E.M. Ensemble, the Philip Glass Ensemble, Sandbox Percussion, and the Talujon Percussion Ensemble. She holds a Bachelor of Music degree from the Manhattan School of Music and spent a year studying at the Musikhochschule in Stuttgart, Germany.

She is currently pursuing a Master of Music degree at the Yale School of Music, where she studies with Aaron Jay Kernis. She previously studied with Reiko Fueting, Nils Vigeland, Casper Walter, Marco Stroppa, and Hannah Lash. Zhou specifically focuses on dramatic musical composition, often in collaboration with visual art, theater, dance and film.

program note One Choice This work was originally inspired by Robert Frost’s poem “The Road Not Taken.” The poem evoked my thoughts about every choice I had previously made, every path human beings walked back and forth. The writing process for this piece mirrors the progression of the ideas in Jean-Paul Sartre’s L’Être et le Néant (Being and Nothingness). In my personal philosophy, the people we are, in a very big part, depends on the choices we make. The consequences of those choices build up in our lives. Thus, while we make a choice, we have no choice any more. Life has no shortcuts. biography Dylan Mattingly Called “visionary magic,” composer Dylan Mattingly’s work is fundamentally ecstatic, committed to the extremes of human emotion, drawing from influences such as Thomas Adès, Joni Mitchell, and the microtonal folk singing of Polynesian choirs.

Mattingly is the founding co-artistic director of Contemporaneous, and was previously the co-director of Formerly Known as Classical, a youth-run new music ensemble whose members play only music written in their lifetimes. Among the musicians who have performed Mattingly’s music are the Los Angeles Philharmonic, the Cabrillo Festival Orchestra, the Berkeley Symphony, Contemporaneous, the Del Sol String Quartet, and many others.

Mattingly holds a B.A. in Classical Greek and a B.M. in Music Composition from Bard College. He currently attends the Yale School of Music, where he studies

PROGRAM NOTES with David Lang, and is mentored in Berkeley by composer John Adams. program note Visions of Johanna, Excerpt from Act 2 This is an opera in three acts. In the first act, a love story plays out, tracing the seasons—Spring: they meet; Summer: the unfolding; Fall: a threat from without; Winter: a threat from within. Material is drawn from the letters of Heloise and Abelard, though the story is abstracted: not simply the story of these lovers, but a story of lovers. Singers act and sing upon the stage as in traditional opera. After an intermission, the second act begins. The singers are no longer actors on the stage, but part of the ensemble. Instead, the action now belongs to six dancers in three pairs.

These dancers move across the space slowly towards each other. The music follows another seasonal arc, as does the lighting. Light snow falls slowly in Winter.

Finally, the pairs of dancers reach each other, and each path finds a different outcome: one pair meets in a kiss; one pair collides; one pair… misses.

There is a second intermission, and when the audience returns, the room is completely dark. There are no more singers or dancers, but a constellation of lights scattered through the space vertically. These lights move slowly away from the center at slightly different speeds, creating depth as though the audience is traveling into the negative space. The music, however, is not a dying away, but a statement of pure ecstasy, pure joy, the velocity of this universal expansion. The opera ends in pitch black.

The unsaid architecture of the opera is that it is Plato’s Symposium. The first act depicts love in a human, personal frame (Alcibiades’ speech). The second act depicts an archetypal human love, not of the human but of humanity (Aristophanes’ speech). The third act depicts a divine love (Socrates’ speech).

The music you’re hearing tonight is a short excerpt from the summer of Act II. biography Katherine Balch Katherine Balch (b. 1991) writes music that explores lyricism through textural soundscapes. Her music has been commissioned and performed by the Albany Symphony Orchestra, the New York Youth Symphony (First Music Commission), Ensemble Intercontemporain (IRCAM ManiFeste), Collage New Music, the Yale Camerata, Aspen Contemporary Ensemble, Antico Moderno, FLUX Quartet (Santa Fe Chamber Music Festival), ZOFO duo, and the New York Virtuoso Singers, with upcoming performances by American Modern Ensemble, Contemporaneous, Departure Duo, and the Yale Philharmonia.

Katherine has received fellowships from Aspen Music Festival, Norfolk, and Fontainebleau, where she won the Prix du Composition. Other recognitions include two ASCAP Morton Gould awards, New England Conservatory’s Donald Martino Prize, and first prize in American Modern Ensemble’s composition competition. 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

PROGRAM NOTES recipient of many academic awards and grants. At NEC, she studied composition with Kati Agócs and Stratis Minakakis.

She is currently pursuing her Master of Music degree at the Yale School of Music, studying with Aaron Jay Kernis and Christopher Theofanidis. program note Leaf Catalogue Leaf Catalogue is an ode to all the tiny little netted veins, the malachite spines and splintery emerald epidermi, the viridian curves and fern-green webs turned to sea-foam in the sun.

Music Conference. Currently he is working on his second opera, called NeoArctic, in collaboration with Danish multi-media company Hotel Pro Forma. The opera is scheduled to be performed in the Royal Danish Theatre in Copenhagen and the Mikhail Chekhov Riga Russian Theatre, Latvia, in the fall of 2016. program note Scarlet Sounds Large colored fields Mark Comes by and leaves a death

biography Krists Auznieks Auznieks’s work I Exist As I Am, written for Latvian Radio Chamber Singers, was a Selected Work (under 30) at the International Rostrum of Composers in Finland and was broadcast on classical music radio worldwide. Auznieks has worked with Antico Moderno, Sandbox Percussion, David Kweksilber Big Band, Claron McFadden, Modelo62, Slagwerk Den Haag, Brendan Faegre Edge Ensemble, Orkest de Ereprijs, and the vocal groups Framest and Anima Solla. His chamber opera was featured in the Riga—European Capital of Culture 2014 festival and broadcast on national radio. His works have been performed at Beijing National Arts Centre, Shanghai City Theatre, and Amsterdam Muziekgebouw, and featured in Gaudeamus Muziekweek, Ereprijs YCM, Druskomanija, Riga A Capella Festival, New Music New Haven, and others. A scholarship recipient at the American Academy of Fontainebleau, France, Krists was also a composition fellow at the 2015 Bennington (Vermont) Chamber

the death a kiss on a forehead blood everywhere love is biography Brian Heim Brian Heim is a composer, programmer, and live electronics performer whose work concerns the intersections of art, technology, and philosophy. Ultimately interested in the experience of sound as a physical and contextual phenomenon, his work questions normalized rituals of performance and listening. He studies with Martin Bresnick at the Yale School of Music. www.soundcloud.com/brian-heim www.brianlheim.com

PROGRAM NOTES program note ANOTHER FOREST ANOTHER FOREST is my response to the orchestra and orchestration. The loudest possibilities of each instrument are thrown into an arena to fend for survival, and the physical efforts of the players are at times defaced or obliterated by others, recasting orchestration as a technique of competition rather than combination. Woolsey Hall’s acoustic adds to these deformations in its own way. This venture may seem anarchic, especially if social power and sonic loudness are treated as equivalents; however, I think that this sonic force is better felt as a touch, intimate, communal, and present, reminding us of the endless incomprehensibility of experience.

PROFILES 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. In 2008, the Philharmonia undertook its first tour of Asia, 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 Otto-Werner Mueller as resident conductor and William Steinberg, then music director of the Pittsburgh Symphony, as Sanford Professor of Music. Brazilian conductor Eleazar di Carvalho became music director in 1987, and Gunther Herbig joined the conducting staff as guest conductor and director of the Affiliate Artists Conductors program in 1990. Lawrence Leighton Smith, music director of the Louisville Symphony Orchestra, conducted the Philharmonia for a decade, until his retirement in 2004. Currently Peter Oundjian is the principal guest conductor, and Shinik Hahm is the resident conductor.

conductor Heejung Park Originally from South Korea, Heejung Park is a dynamic rising conductor. Mr. Park began his study of music at the age of 26, leaving his career as a mathematician behind in 2004. He studied conducting at the Korean National University of the Arts, where he was received his Bachelor of Music degree cum laude. He earned his master’s degree from the Sibelius Academy under the tutelage of Leif Segerstam and Jorma Panula. Heejung has a special affinity for contemporary music which he attributes to the combination of his mathematical training and warmhearted humanity in music. He is also a promising composer.

His work as a guest conductor includes engagements across North and South America, Europe, and Asia. He has guest conducted numerous professional orchestras such as the Turku Philharmonic Orchestra, Joensuu City Orchestra, Tapiola Sinfonietta, and NYKY Ensemble in Finland; the Orquesta Sinfonica de Xalapa in Mexico; and the Suwon City Orchestra and Kwacheon Philharmonic Orchestra in Korea. He was the founding conductor of the Dyne Classical Orchestra and Theatre, which focused specifically on ballet and theatre. Currently, he is a second-year Artist Diploma student at the Yale School of Music, where he is also the assistant conductor of the Yale Philharmonia. In addition, he is the music director of the New Haven Chamber Orchestra and an assistant conductor of Symphony S.O.N.G. in South Korea. His current teachers include Shinik Hahm and William Boughton.

PHILHARMONIA ORCHESTRA OF YALE Violin I Elly Toyoda Sarah Arnold Benjamin Hoffman Jiazhi Wang Celia Zhang Ludomil Wojtkowski Ruda Lee Diomedes Saraza Hyunjae Bae Diana Do Hyung Kim Manaka Matsumoto Elliot Lee Violin II Michael Duffett Suliman Tekalli Ethan Hoppe Yena Lee Adelya Nartadjieva Dae Hee Ahn Jiwon Sun Jing Yang Linda Lee Ye Hyung Chung Viola Wei Peng Ryan Davis Yang Li Ye In Son Hee-Sun Yang Rebecca Danielle Wiebe Alexandra Simpson Emily Brandenburg

Cello Zhilin Wang Jiwon Kang Yeji Yoo Chang Pan Jenny Kwak Yoonha Yi Nayeon Kim Pall Kalmansson Bass Lee Starovich Luke Stence Will Robbins Levi Jones Flute Felice Doynov Joanna Wu Oboe Ron Cohen Mann Timothy Feil Clarinet Sam Boutris Graeme Steele Johnson Bassoon Cornelia Sommer Yen-Chen Wu

Horn Reese Farnell Matthew Gray Joshua Thompson Valerie Sly Trumpet Nozomi Imamura Aaron Krumsieg Andrew Stadler Trombone Richard Liverano Alexander Walden Bass Trombone Eliud Garcia Tuba Stephen Lamb Percussion Garret Arney Maria Chlebus Jeffrey Stern Se Um Piano/Celeste Conlan Miller Harp NoĂŤl Wan Shin Young Yu

PHILHARMONIA ORCHESTRA OF YALE Artistic Directors Hannah Lash Christopher Theofanidis Manager Andrew W. Parker Assistant Manager Roberta Senatore Conducting Fellow Heejung Kim Assistant Andrew Robson

Music Librarians Krists Auznieks Bora Kim Yefim Romanov Valerie Sly Hanna Yukho Stage Crew Eric Braley Maria Chlebus Lydia Consilvio Julia Ghica Reese Farnell Matthew Keown John Kossler Richard Liverano NoĂŤl Wan

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UPCOMING EVENTS Horn Studio Recital

Hung-Kuan Chen, piano

december 12 YSM Student Ensembles Morse Recital Hall | Saturday | 4:30 pm A variety of music for horn, featuring students in the studio of William Purvis Free admission

december 16 Horowitz Piano Series Morse Recital Hall | Wednesday | 7:30 pm Haydn: Sonata in G major, Hob. XVI: 6; Schubert: Sonata in C minor, D. 958; Chopin: 24 Preludes, Op. 28 Tickets start at $13, Students $7

Clarinet Studio Recital Benjamin Verdery, guitar

december 14 YSM Student Ensembles Sudler Recital Hall | Monday | 4:30 pm Music by Mozart, Françaix, Ponchielli, Weber, and others, featuring students in the studio of David Shifrin Free admission

january 19 Faculty Artist Series Morse Recital Hall | Tuesday | 7:30 pm Celebrating Verdery’s 30 years on the Yale School of Music faculty Free admission

Guitar Chamber Music

Pierre Réach, piano

december 15 YSM Student Ensembles Morse Recital Hall | Tuesday | 7:30 pm Music by Françaix, Paganini, Ourkouzounov, Javier Farias, Gulli Björnsson, Terry Riley, and more • Benjamin Verdery, director Free admission

january 20 Horowitz Piano Series Morse Recital Hall | Wednesday | 7:30 pm Beethoven: Sonata No. 17 in D minor, Op. 31, No. 2, “Tempest”; Schumann: Carnaval, Op. 9; Berlioz-Liszt: Symphonie Fantastique Tickets start at $13, Students $7

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