Brass of Yale- Yale in New York Preview Concert, November 29, 2016

Robert Blocker, Dean

yale in new york

Brass of Yale

David Shifrin, Artistic Director November 29, 2016 • Tuesday at 7:30 pm Morse Recital Hall

This is a preview of a December 4 concert at Carnegie Hall

Brass of Yale November 29, 2016 • Morse Recital Hall

trans. Raymond Mase Johann Melchior Molter 1695–1765 Moritz von Hessen 1572–1632 Johann Hermann Schein 1586–1630 Daniel Speer 1636–1707 Samuel Scheidt 1587–1654 Andreas Berger 1584–1656

Music from the German Baroque I. Intrada II.

Intrada

III. Intrada IV. Sonata für 4 Posaunen V.

Symphony in F

VI. Canzon for 8 Voices Ashley HaleS, Nozomi ImamuraS, Aaron PlourdeS, Jonathan ShadleS, Andrew StadlerS, Theo Van DyckS, trumpet Alexander WaldenS, William WortleyS, Hillary SimmsS, Eliud GarciaS, trombone

Carl Maria von Weber 1786–1826 arr. Klaus Wallendorf

Der Freischütz, J. 277 I. Overture II. Ariette III. Jäger-Chor Leelanee Sterrett A, Reese FarnellS, Luke BakerS, William PurvisF, Scott LegerS, Joshua ThompsonS, Antonia ChandlerS, Cody HalquistS, horn

Jan Koetsier 1911–2006

Symphony for Brass, Op. 80 I. Allegro II. Larghetto III. Rondo: Presto William PurvisF, conductor Aaron PlourdeS, Ashley HaleS, Jonathan ShadleS, Theo Van DyckS, trumpet Matthew GrayS, horn Hillary SimmsS, William WortleyS, Alexander WaldenS, Eliud GarciaS, trombone Jake FewxS, tuba

Yale School of Music

intermission Gunther Schuller 1925–2015

Magical Trumpets (2014) William PurvisF, conductor Nozomi ImamuraS, Theo Van DyckS, Andrew StadlerS, Craig Hlavac A, Paul MurphyA, Aaron PlourdeS, Jonathan ShadleS, Jean Laurenz A, trumpet Daniel VenoraS, cornet Allan Dean F, flugelhorn Ashley HaleS, Alexander WaldenS, bass trumpet

Eugène Bozza 1905–1991

Trois pièces pour quatuor de trombones (1964) I. Allegro II. Moderato III. Allegro Vivo Grant FutchS, Hillary SimmsS, William WortleyS, trombone Zachary HaasS, bass trombone

Giovanni Gabrieli c. 1554–1612

Canzon per sonar septimi toni a 8 from Sacrae Symphoniae, Ch. 172 Canzon XVI a 12 from Canzone e Sonate, Ch. 209 William PurvisF, conductor Ashley HaleS, Nozomi ImamuraS, Aaron PlourdeS, Jonathan ShadleS, Andrew StadlerS, Theo Van DyckS, trumpet Luke BakerS, Matthew GrayS, Cody HalquistS, horn Grant FutchS, Alexander WaldenS, trombone Zachary HaasS, bass trombone Jake FewxS, Joseph GuimaraesS, tuba S

Yale School of Music student Yale School of Music alumni F Yale School of Music faculty A

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

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

Artist Profiles

Allan Dean, trumpet Allan Dean is the Yale School of Music’s professor of trumpet (adjunct) and is currently performing with Summit Brass, St. Louis Brass, and the Yale Brass Trio.

In the early music field he was a founding member of Calliope: A Renaissance Band and the New York Cornet and Sacbut Ensemble. Dean was a member of the New York Brass Quintet for 18 years and freelanced in the New York City concert and recording field for more than 20 years before joining the faculty at Indiana University in 1982. Upon retiring from the New York Brass Quintet in 1984, Dean joined the St. Louis Brass. In 1989 he moved back to the Northeast to join the Yale faculty. At Yale, Dean coaches brass chamber music and directs the Yale Cornet and Sacbut Ensemble in addition to teaching trumpet. Dean performs and teaches each summer at the Mendez Brass Institute and the Norfolk (Connecticut) Chamber Music Festival.

He is a frequent soloist with Keith Brion’s New Sousa Band.

Dean has also appeared at the Spoleto and Casals festivals, the Banff Centre (Canada), the Orford Arts Centre (Canada), Musiki Blekinge (Sweden), Curitiba Music Festival (Brazil), and the Morella Festival (Spain).

He can be heard playing both modern trumpet and early brass on more than 80 recordings on most major labels including RCA, Columbia, Nonesuch, and Summit.

On early instruments he has recorded with Calliope, the New York Cornets and Sacbuts, Waverly Consort, Ensemble for Early Music, and Smithsonian Chamber Players. He has previously served on the faculties of the Manhattan School of

Music, the Hartt School, and the Eastman School of Music.

Scott Hartman, trombone Scott Hartman began his chamber music career as a member of the famed Empire Brass and with that group alone he performed in all 50 states. In addition to his role as trombonist with the Yale Brass Trio, Scott presently is a member of Proteus7, Summit Brass, the Brass Band of Battle Creek, the Millennium Brass, and Four of a Kind.

Scott has been a featured performer with many major United States symphony orchestras—including the Chicago Symphony, Boston Symphony, Philadelphia Symphony, Detroit Symphony, San Francisco Symphony, and National Symphony orchestras— and abroad. Mr. Hartman has been a soloist with orchestras such as the BBC Orchestra, the New Japan Philharmonic, the Caracas Symphony, the Simone Bolivar Symphony, the National Symphony of Taiwan, and the Korean Orchestra in Seoul.

Mr. Hartman heads the trombone department at the Yale School of Music and each summer performs and coaches brass chamber music at the Norfolk Chamber Festival, the Chautauqua Music Festival, and the Raphael Mendez Institute.

William Purvis, horn William Purvis pursues a multifaceted career both in the United States and abroad as horn soloist, chamber musician, conductor, and educator. A passionate

Artist Profiles · Notes on the Program

advocate of new music, he has participated in numerous premieres including horn concerti by Peter Lieberson, Bayan Northcott, Krzysztof Penderecki, and Paul Lansky; horn trios by Poul Ruders and Paul Lansky; Sonate en Forme de Préludes by Steven Stucky; and recent premieres by Elliott Carter, Retracing II for Solo Horn and Nine by Five with the New York Woodwind Quintet. He is a member of the New York Woodwind Quintet, the Orchestra of St. Luke’s, the Yale Brass Trio, and the Triton Horn Trio, and is an emeritus member of the Orpheus Chamber Orchestra. A frequent guest artist with the Chamber Music Society of Lincoln Center and the Boston Chamber Music Society, Mr. Purvis has collaborated with many of the world’s most esteemed string quartets, including the Juilliard, Tokyo, Orion, Brentano, Daedalus, Mendelssohn, Sibelius, and Fine Arts string quartets. A Grammy Award winner, Mr. Purvis has recorded extensively on numerous labels including Deutsche Grammophon, Sony Classical, Naxos, Koch, and Bridge. He is currently the professor in the practice of horn and chamber music at the Yale School of Music, where he is also coordinator of winds and brass and serves as director of the Yale Collection of Musical Instruments.

Music from the German Baroque By the end of the 15th century, Germany played a leading role in the development of European secular instrumental music.

The widespread use of music printing, which began in 1501, contributed to the dissemination of polyphonic song and stylistic variety in German secular music.

It is in this context that Molter, Hessen, Schien, Speer, Scheidt, and Berger were active. An “Intrada,” from the Italian intrare (“to go into”), refers to a short prelude with the task of pleasing the ears and setting the tone for the rest of a dance suite. The term was also applied specifically to sonatas for trumpet ensemble in the 16th and 17th centuries. The terms sonata, symphony, and canzona were relatively vague during the late Renaissance and early Baroque periods, referring generally to a type of instrumental song.

— Katherine Balch carl maria von weber Der Freischütz, J. 277 In many ways, the overture to Carl Maria von Weber’s opera Der Freischütz of 1821 lends itself to arrangement for brass. The plot is indelibly tied to the practice of hunting, and horns have long evoked connotations, in art music, of the hunt.

Weber’s original orchestration features brass prominently, as the tonality shifts to foreshadow the impending conflict between the young forester Max and the evil supernatural antagonist Samiel. In the overture, the antagonist is evoked through the appearance of a diminished seventh chord, which presages further appearances throughout the remainder

Notes on the Program

of the work. Der Freischütz holds a critical place in Weber’s life, marking the apex of his career, as well as an important role in the development of German Romantic opera. jan koetsier Symphony for Brass, Op. 80 The Symphony for Brass, Op. 80, written for four trumpets, horn, four trombones, and tuba, stands as one of the pillars of Jan Koetsier’s mature style. Composed in 1979 for the pioneering trumpeter Philip Jones, the piece is divided into three large sections. Koetsier’s music draws on the neoclassicism of Stravinsky in its rhythmic propulsion, although the Symphony remains more firmly grounded in traditional tonal practice than much of Stravinsky’s work. The Symphony is characterized also by a diverse array of melodic material that ranges from grandiose to jaunty and playful to jazzy. Koetsier, a Dutch composer and conductor, favored brass instruments in many of his pieces, and the Symphony is likely his most widely-performed work for brass ensemble. gunther schuller Magical Trumpets (2014) American composer and horn player Gunther Schuller not only coined the term “third stream” to characterize works bridging the gap between traditional Western art music and jazz, but he embodied its principles, as well. Although untrained, Schuller rose prominently within both the art music and jazz worlds, eventually serving as president of the New England Conservatory.

His Magical Trumpets, written in the final months of his life and premiered at Tanglewood in 2015, is scored for 12 brass instruments in nearly as many different keys. The work itself contains elements of jazz and facets of traditional modern art music, with the players utilizing mutes to enhance the range of sounds possible across a widely varied soundscape. Although brief, the piece buzzes with energy throughout. eugène bozza Trois pièces pour quatuor de trombones (1964) French composer Eugène Bozza enjoyed a career that spanned the majority of the 20th century. In France, Bozza’s reputation as a composer of large-scale orchestral works and as a conductor of the École Nationale de Musique is stable, but throughout the rest of the world he is known primarily for his chamber music. The Trois pièces for trombone quartet of 1964 is among those chamber works that enjoys wider acclaim.

Tonally grounded and yet harmonically adventurous, the three brief pieces display fluid melodies and richly voiced chords that capitalize on the unique features of the trombone. As in many of his other works, here Bozza seems to wield great facility in his ability to compose idiomatic and compelling lines for each player.

— Nathan Reiff

Notes on the Program

giovanni gabrieli Canzon per sonar septimi toni a 8 from Sacrae Symphoniae, Ch. 172 Canzon XVI a 12 from Canzone e Sonate, Ch. 209 Giovanni Gabrieli was at the center of the late Renaissance flourishing of instrumental music. As the organist and house composer for Saint Mark’s Basilica in Venice, he had a professional ensemble at his disposal, as well as an acoustically pristine space with multiple choir lofts.

This inspired many spacially oriented compositions, in which instruments and choirs would sing in alternation from different parts of the church, manipulating the balance, volume, and delay of sound.

One such work is his famous Sonata pian e forte, one of the first known scores that designated specific dynamics for the performers. Canzon per sonar septimi toni and Canzon XVI both appear in published volumes of instrumental and vocal music, the first in the Sacrae Symphoniae (1597) and the second in the posthumous Canzone e Sonate. Though popular throughout Europe, this music was written specifically for the acoustics of St. Mark’s. In the call and response of these pieces, one can imagine the veritable physical force of sound that wind and brass instruments created in such a resonant space. — Katherine Balch

Upcoming Events Lunchtime Chamber Music

november 30 Wendy Sharp, director School of Music students perform a lunchtime chamber music program Morse Recital Hall | Wednesday | 12:30 pm free admission

Vista: Chamber Music

december 1 Yale School of Music Ensembles Student ensembles, under the direction of faculty violinist Wendy Sharp, perform and provide insight into the repertoire Morse Recital Hall | Thursday | 7:30 pm free admission

Liederabend

december 6 Yale Opera An enchanting evening of Russian song Morse Recital Hall | Tuesday | 7:30 pm free admission

Yefim Bronfman

december 7 Horowitz Piano Series Acclaimed pianist Yefim Bronfman performs works by Bartók, Schumann, Debussy, and Stravinsky Morse Recital Hall | Wednesday | 7:30 pm Tickets start at $21 • Students $11

New Music for Orchestra

december 8 Yale Philharmonia/New Music New Haven Conducting fellow David Yi leads the Yale Philharmonia in a program of new works by YSM composition students Woolsey Hall | Thursday | 7:30 pm Tickets start at $7 • Yale Faculty/Staff $5 Students $3 $3 surcharge for purchases at the door

Christian Gerhaher, baritone ISM Guest Artists december 9 Baritone Christian Gerhaher performs lieder by Gustav Mahler; Gerold Huber, piano Morse Recital Hall | Friday | 7:30 pm free admission

Bassoonarama

december 12 Yale School of Music Ensembles Students from Frank Morelli’s bassoon studio present their annual Bassoonarama program Sudler Recital Hall | Monday | 7:30 pm free admission

Miró Quartet & Martin Beaver

december 13 Oneppo Chamber Music Series Violist Martin Beaver joins the Miró Quartet for a program of Haydn, Ginastera, and Mozart Morse Recital Hall | Tuesday | 7:30 pm Tickets start at $26 • Students $13

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Robert Blocker, Dean