Music at Yale | Spring/Summer 2021

1

Music at Yale Spring/Summer 2021

YSM holds auditions online

YALE COLLECTION OF MUSICAL INSTRUMENTS RECEIVES MAJOR GIFT

Students perform outside during the Winds 2 and Brass Festival in May 2021

letter from the dean

3

The Collection of Musical Instruments this spring received an extraordinary gift from Yale alumnus Timothy Steinert ’82BA, the great-great-grandson of Morris Steinert, whose donation of musical instruments to Yale in 1900 was fundamental to the establishment of the museum, which is now, fittingly, the Morris Steinert Collection of Musical Instruments.

Just as this issue of Music at Yale began its journey to you, the School of Music hosted a virtual Symposium on Music in Schools that explored our collective opportunity, in this season of much-needed change, to reimagine the place music has in our nation’s public-education system. The critical nature of the conversation was affirmed by the presence of U.S. Deputy Secretary of Education Cindy Marten.

Photo by Matt Fried

Dear alumni and friends, In these pages this past winter, I wrote to you, and to myself, about summoning “the resolve to move forward.” Today, as summer finds us growing ever-more hopeful about tomorrow, I point out that together we have accomplished much in recent months, thanks largely to the spirit of possibility that imbues this place.

Dr. Albert R. Lee, an accomplished tenor and a thoughtful scholar, will return to his native New Haven and join the Yale School of Music faculty and administration as Associate Professor, Adjunct, and Director of Equity, Belonging, and Student Life. We will also welcome to the violin faculty Tai Murray and Augustin Hadelich, and to the Yale Opera program Mark Lawson and J.J. Penna.

Most important, we persevered.

Our students made music at Yale—and they did it perfectly, in circumstances that were far from ideal. They showed us, not just in their stellar performances but in their unrestrained enthusiasm, that a better tomorrow is up to us.

Warmest regards,

Robert Blocker Henry and Lucy Moses Dean of Music

Music at Yale CONTENTS 3 Letter from the Dean

6 Director of Equity, Belonging, and Student Life appointed

7 Violinist Augustin Hadelich appointed to faculty

8 Violinist Tai Murray joins faculty

9 Mark Lawson and J.J. Penna join Yale Opera faculty

10 Lecturer Richard Gard retires

11 Faculty violinist Hyo Kang retires

12 Commencement 2021

16 Fellows and faculty artists return to Norfolk

17 Octet suite improves collaboration amid restrictions

18 2020-2021 performances

20 YSM produces podcast, Simply Listen: Women in Dialogue

21 Callisto Quartet named fellowship quartet-in-residence

22 FEATURE: Yale Collection of Musical Instruments receives major gift

28 FEATURE: School holds auditions online

34 Faculty news

36 Class notes

40 Symposium on Music in Schools goes online

41 Planned Giving at YSM

42 In memoriam: Frank Tirro

44 In memoriam: Jeanne Kazzi

45 In memoriam

46 Honor roll

4

Soprano Nicole5Leung ’21mm ’22mma prepares to go onstage as Sophie in Der Rosenkavalier with help from costume designer Rebecca Welles

Editors David Brensilver Katie Kelley Designer Jenny Reed Contributors Katherine Darr Megan Doran Paul Hawkshaw Soomin Kim Lila Meretzky Donna Yoo Send us your news musicnews@yale.edu Follow us yalemusic @yale.music @yalemusic YaleSchoolofMusicOfficial Front cover: Mid-19th-century ivory and wooden harp in Gothic Revival style (Accession Number: 4254.1962).

Photo by Bob Handelman

Music at Yale is a publication of the Yale School of Music P.O. Box 208246 New Haven, CT 06520-8246 music.yale.edu musicnews@yale.edu

School appoints first Director of Equity, Belonging, and Student Life literature, and led an opera and opera-theater workshop in which students presented productions of Menotti’s The Medium, Puccini’s Gianni Schicchi and Suor Angelica, Mozart’s Die Zauberflöte, and Monica Houghton and Jon Christensen’s The Big Bonanza, which the university’s Nevada Chamber Opera premiered.

At the University of Nevada, Reno, Dr. Lee served as a faculty adviser to the Black Student Organization and the Phi Beta chapter of the Alpha Phi Alpha Fraternity, chaired the Faculty Diversity Committee, and sat on the Academic Honesty and Conduct Review Board and the Chief Diversity Officer Advisory Board. He has also taught at Troy University and Lincoln University and was a graduate teaching assistant at Florida State University.

Albert Lee

Dr. Albert R. Lee has been appointed Associate Professor of Music, Adjunct, and the school’s inaugural Director of Equity, Belonging, and Student Life. He will teach two courses annually in the academic-studies area and will guide the school as it works with the university on long-term commitments to belonging.

Dr. Lee will contribute to the development of the curriculum, particularly as relates to equity and belonging, and participate in the admissions process. He will also create equity and belonging initiatives for students, faculty, and staff and oversee affinity groups and student participation on university committees and in student government.

Dr. Lee comes to Yale from the University of Nevada, Reno, where, as associate professor of voice and opera, he coached 6

“As someone who grew up in New Haven ... this opportunity and the path that led here have reached beyond my wildest imagination.”

–Dr. Albert Lee graduate students in an advanced repertoire class, taught a course in art song, oratorio, and opera

Dr. Lee’s doctoral treatise at Florida State University explored The Poetic Voice of Langston Hughes in American Art Song.

His essay “All You Have Gotten is Tokenism” was published in Prejudice, Stigma, Privilege, and Oppression: A Behavioral Health Handbook (2020, Springer International Publishing).

In 2017, at the University of Nevada, Reno, Dr. Lee gave a TEDx presentation called When I Sing the Anthem, in which he sang The Star-Spangled Banner and said, “We must embrace our responsibility as citizens to demand … that the actions that our country takes continue to live up to our brightest and best hope.”

At universities across the United States, Dr. Lee has delivered such lectures as American Art Song: Reframing and Reforming the Canon and The Musical Legacy of Langston Hughes and the Harlem

Renaissance, among others.

A native of New Haven, Dr. Lee earned his bachelor-of-music degree cum laude from the University of Connecticut, his master-of-music degree from The Juilliard School, and his doctor-of-music degree from Florida State University. He has performed as a recitalist and in oratorio and operatic settings with such ensembles as the Philadelphia Orchestra, Collegiate Chorale, Jupiter Symphony Chamber Players, National Chorale, New Haven Chorale, Reno Philharmonic, Cincinnati Opera, Opera Las Vegas, Opera Steamboat, and Palm Beach Opera, among others. He appears as a featured soloist on Sinfonia da Camera’s 2013 Albany Records recording of George Walker’s Lilacs, for voice and orchestra, which won the composer the 1996 Pulitzer Prize, and has also recorded with the American Spiritual Ensemble and the Bach Choir of Pittsburgh.

“It is a particularly humbling honor to serve as the first Director of Equity, Belonging, and Student Life at the Yale School of Music,” Dr. Lee said.

“As someone who grew up in New Haven but left after high school, this opportunity and the path that led here have reached beyond my wildest imagination.”

“Albert Lee’s experience and academic career epitomize the qualities our search committee was seeking in this significant appointment, and we all anticipate our collaborative work will lead to an even more vibrant and welcoming community,” YSM Dean Robert Blocker said. q

school news

7

Violinist Augustin Hadelich appointed to Yale School of Music faculty Mr. Hadelich has appeared with all of the world’s major orchestras and has released recordings that have become as essential as they are seminal. Following his world-premiere performance of Pulitzer Prize-winning YSM faculty composer David Lang’s mystery sonatas, The New York Times described Mr. Hadelich as a “brilliant young violinist” and “a riveting storyteller.” His recording with Ludovic Morlot and the Seattle Symphony of Dutilleux’s violin concerto L’arbre des songes earned Mr. Hadelich a 2016 Grammy Award in the “Best Classical Instrumental Solo” category.

Mr. Hadelich’s “credentials are without equal.”

–Ani Kavafian Augustin Hadelich

The eminent violinist Augustin Hadelich will join the Yale School of Music in fall 2021 as a member of the faculty. Mr. Hadelich will work initially with four students while offering master classes to all YSM violinists and string players. Mr. Hadelich’s “credentials are without equal,” YSM faculty violinist Ani Kavafian said.

Mr. Hadelich has established himself as a rare and peerless musician since winning the Gold Medal at the 2006 International Violin Competition of Indianapolis and has received such coveted awards as an Avery Fisher Career Grant, Warner Music Prize, and BorlettiBuitoni Trust Fellowship. Mr. Hadelich’s accomplishments were widely celebrated in 2018 when Musical America named him its Instrumentalist of the Year. “The essence of Hadelich’s playing,” The Washington Post has said, “is beauty: reveling in the myriad ways of making a phrase come alive on the violin, delivering the musical message with no technical impediments whatsoever, and thereby revealing something from a plane beyond ours.”

“I am excited to join the faculty of Yale School of Music this fall and look forward to working with YSM’s talented students,” Mr. Hadelich said. “I hope to pass on to the students what I have learned in my performing career and know that they will in turn inspire my own practicing and performances around the world.”

“Mr. Hadelich is a one of the most renowned violinists on the world stage today,” School of Music Dean Robert Blocker said unequivocally, “and we look forward to welcoming him to the School of Music and the university this fall.” q

Violinist Tai Murray joins Yale School of Music faculty a 2012 recipient of the Sphinx Medal of Excellence, which the Sphinx Organization bestows on “extraordinary classical Black and Latinx musicians.”

A recipient of artist diplomas from Indiana University and The Juilliard School, Ms. Murray’s recordings to date include an album of Ysaÿe sonatas (Harmonia Mundi, 2014), 20th Century: The American Scene (eaSonus, 2014), and a recording of Bernstein’s Serenade (after Plato’s Symposium), which was released in 2014 on the Mirare label.

The School of Music community welcomes Ms. Murray to Yale. q

Tai Murray. Photo by Gaby Merz

The Yale School of Music is excited to welcome distinguished violinist Tai Murray to its faculty.

Ms. Murray will serve as full-time Assistant Professor, Adjunct, of Violin, teaching applied violin and coaching chamber music at YSM. In an email to the School of Music community, YSM Dean Robert Blocker described Murray as “a violinist of international acclaim” and said, “Like many of our performance faculty, she will remain active as a concert artist both in the United States and abroad.”

Ms. Murray has appeared in recital and with such major ensembles as the Atlanta Symphony Orchestra and BBC Scottish Symphony Orchestra, among others, on stages around the world. A 2004 winner of the Avery Fisher Career Grant, Ms. Murray has been named a 8

BBC Radio 3 New Generation Artist and has been a member of Chamber Music Society II at Lincoln Center for the Performing Arts. She has also toured with Musicians from Marlboro and appeared at the West Cork Chamber Music Festival and the Great Lakes Chamber Music Festival. The Philadelphia Inquirer has described Ms. Murray as “a violinist with more than technique on her mind” and an artist of “exceptional assurance and style.”

Dedicated to showcasing new music for the violin, particularly works by composers of color, Ms. Murray, writing in The Strad, has said, “Celebrating the music of today is hugely important, and making heard contemporary composers of every visual colour and every invisible one, on every concert programme, I consider a responsibility.” Ms. Murray was

school news

Yale Opera welcomes new faculty

A year ago, Gerald Martin Moore was appointed Professor in the Practice of Voice and Director of the Yale Opera, and mezzo-soprano Adriana Zabala joined the faculty as Associate Professor Adjunct of Voice.

And despite the fact that the pandemic prevented singers from performing for audiences, the voice program at the school gave students much this past year.

In the coming year, as the school bids a fond and grateful farewell to Timothy Shaindlin, who resigned at the end of the spring 2021 term after 13 years at YSM, two new faculty members will continue to offer students unsurpassed training. Drs. Mark Lawson and J.J. Penna are both “returning” to YSM, Moore pointed out, as each has spent time at the school in the past working with the Yale Opera. Dr. Lawson, who served as an opera coach at YSM in the mid-1990s, has worked as principal repetiteur for the Bavarian State Opera in Munich, Germany, among other houses including the Royal Opera House in Covent Garden and the Bolshoi Theater in Moscow, and, more recently, assisted in the musical preparation for Yale Opera’s 2019 production of Tchaikovsky’s Eugene Onegin. “It’s a big coup for us to get someone of his caliber,” Moore said.

Dr. Penna, an equally soughtafter collaborative pianist and coach, last worked with Yale Opera this past academic year, visiting with students over Zoom as part of Moore’s efforts to introduce students to his contacts at the top of the industry. Dr. Penna, who worked as a coach with Yale Opera in the mid-2000s, has collaborated with such distinguished artists as mezzo-sopranos Denyce

Graves and Florence Quivar and soprano Kathleen Battle, among others, and has appeared at the Tanglewood Music Center, Banff Centre for Arts and Creativity, and Norfolk Chamber Music Festival/ Yale Summer School of Music, to name a handful of festivals. “I was thrilled that he accepted the offer to join us,” Moore said.

The school also welcomes Anna Smigelskaya, who’ll join YSM’s roster of collaborative piano fellows and work exclusively for the Yale Opera. Ms. Smigelskaya recently participated in Carnegie Hall’s SongStudio program, which is overseen by acclaimed soprano Renée Fleming, and serves as a coach and staff pianist at the Manhattan School of Music.

The development of the Yale Opera program under Moore’s leadership, following a year in which students safely recorded performances for broadcast and interacted with some of the field’s most respected professionals, has morale exceedingly high. “I am thrilled that we have hired such prestigious new faculty members who will help us continue to build on everything we initiated for our students during this past year,” Moore said. q

Mark Lawson

J.J. Penna

Anna Smigelskaya

9

Richard Gard, who inspired and guided the YSM community, retires Richard Gard ’02MM MM ’04mma mma ’07DMA DMA retired as Lecturer in Musicianship and Analysis at the end of the 2020-2021 academic year. Since 2003, Gard’s “spirited enthusiasm for discovery,” YSM Dean Robert Blocker wrote in an announcement to colleagues, “inspired students and faculty alike.” Gard was instrumental in guiding YSM through a transition when Professor Emerita Joan Panetti ’67MM ’73MMA ’74DMA retired in 2018 after 37 years on the faculty. Specifically, Blocker said, Gard “helped the school retain important elements of Joan’s beloved and insightful Hearing course,” which introduced generations of young musicians to new ways of experiencing, thinking about, and making music.

Gard studied choral and orchestral conducting at YSM and the Institute of Sacred Music, earning his master-of-music-, master-ofmusical-arts-, and doctor-of-musical-arts degrees in 2003, 2004, and 2007, respectively.

He earned his bachelor-of-music degree from California State University, Long Beach.

Richard Gard

Gard has served as Director of Music at Yale’s Saint Thomas More Chapel and, through the church’s Center for Music and Liturgy, which he founded, published the Cloud Hymnal, an online resource that includes thousands of sacred works. Gard’s technological expertise is also reflected in his work with the musiceducation software-development company Music Prodigy, where he serves as Chief Academic Officer. “The breadth of his musical interests is really amazing,” Blocker said recently.

Gard, who served as director of undergraduateand graduate-level lessons for the university, has been an important point of contact for students. Blocker described him as an “invaluable mentor and adviser to those who came to Yale to study, and to the school’s faculty and administration.”

“Whether inspiring students in his classroom or conducting his choir at Saint Thomas More Chapel, Richard has been admiringly committed to his pursuits and to our school,” Blocker told colleagues earlier this year. More recently, he paid Gard a higher compliment: “He is kind,” Blocker said. “It oozes out of him.” q

10

school news

11

Hyo Kang, “one of the most respected violin teachers anywhere in the world,” retires world, Kang has built foundations, including the Great Mountains Music Festival and School in PyeongChang, South Korea, from which others have launched careers—earning coveted prizes at competitions and joining the ranks of acclaimed ensembles. In 1994, Kang founded the celebrated Sejong Soloists, a string ensemble that CNN’s Paula Zahn has described as “one of the top chamber music groups in the world.”

“He is that rare musician who can nourish another’s potential as if it were his own.”

–Robert Blocker Hyo Kang

Faculty violinist Hyo Kang retired at the end of the 2020-2021 academic year after 15 years at YSM—years during which he demonstrated, “with his extraordinary musicianship and through his students’ captivating performances, what artistic excellence sounds like,” School of Music Dean Robert Blocker said in an announcement to the YSM community.

“He is that rare musician who can nourish another’s potential as if it were his own.”

The Korean Broadcasting System’s 2013 documentary Violinist Hyo Kang: Teacher of Genius Musicians reflects in a larger sense the gifts that Kang has brought to his work and the dedication he has shown his students and the institutions with which he has been affiliated. Kang completed his undergraduate and graduate education at The Juilliard School, where he studied with Dorothy DeLay and more than four decades ago joined the faculty. He also studied with Berl Senofsky at the Peabody Conservatory of the Johns Hopkins University.

In addition to solo and chamber music performances that have taken him around the

Through his artistic leadership—whether on the concert stage, at music festivals, or in the teaching studio—Kang has guided students as they progressed in their musical lives from the pre-college program at Juilliard to the Yale School of Music and into the professional world. Without question, Blocker said recently, he is “one of the most respected violin teachers anywhere in the world,” and the music community will continue to hear and recognize the yield of his lessons in performances by future generations. q

Commencement festivities look backward and forward Like last year, YSM celebrated commencement online with a video in which each graduating student was named. While the handshakes and hugs that have marked past ceremonies were verboten, an outdoor Commencement Send-off gave graduating students and Dean Robert Blocker a chance to share a moment and have photos taken.

At the event, graduating students shared favorite memories of their time at YSM for inclusion in this issue of Music at Yale (see page 14) and received a commemorative gift bag. Commencement weekend also included a Commencement Concert stream featuring student performances that were recorded during the year.

In addition to the presentation of student prizes—those typically given out during the school’s annual Honors Banquet and graduation ceremony, respectively—commencement itself featured recorded performances by students and faculty from the school’s brass and woodwind studios, the Yale Opera and early music voice programs, the Yale Philharmonia, and violinist Katherine Arndt ’19MM ’20MMA ’26DMA, who played the melody of Schubert’s An die Musik outside Sprague Memorial Hall in September. Vocalists, accompanied by Professor in the Practice of Voice and Yale Opera Director Gerald Martin Moore, sang YSM Lecturer in Voice and Opera Richard Cross’ English translation of An die Musik. Perhaps the most moving performance was Principal Conductor Peter Oundjian and the Yale Philharmonia’s reading of faculty composer Aaron Jay Kernis’ Elegy (for those we lost), which served as the ceremony’s invocation. Kernis ’83 arranged the work, which was originally 12

written for piano and performed by the composer as part of the school’s Postcards from Confinement video series, for string orchestra.

Kernis dedicated the piece “to the families of loved ones who passed away from the coronavirus and to the doctors, nurses, and other health-care professionals who worked so tirelessly to save those loved ones.”

Just as the pandemic was acknowledged explicitly through the performance of Kernis’ Elegy (for those we lost), it was also addressed in Blocker’s charge to the Class of 2021, a speech titled Choices: What Now? that urged graduating students to move forward purposefully.

“I remind myself and each of you that these recoveries and reckonings are ongoing,” he said. “We all grieve for what has happened. But more importantly, we grieve for what has not happened since March 6, 2020.” Beyond what was lost in terms of music-making and the ability to gather in person, Blocker expressed his own anger at the state of the world.

“We must not forget or diminish the impact of several other pandemic-like conditions that will also require years and years of recovery,” he said, talking to graduating students and their friends and families watching remotely. “Among them are America’s systemic racism and hate crimes, the economic plight and abject poverty faced by far more than half the world’s population, a willingness by many to support dictators and authoritarian governments, the moral decay of our elected leaders who lie and boldly propagate their lies in order to retain their power and acquire wealth, and an

immigration policy that could be described as one which tragically deletes the inscription on the base of the Statue of Liberty. …

These conditions and others complicate the choices before us about recovery and, indeed, what recovery actually means in terms of how we live our lives, how we find purpose and meaning.”

Reflecting on the words of 20th century psychiatrist and logotherapy developer Viktor Frankl—who wrote, “Everything can be taken from us but one thing: the last of human freedoms, to choose one’s attitude in any given set of circumstances, to choose one’s own way”—Blocker said, “The present is our moment to live with courage, to change reality for ourselves and others, and to discover who we truly are because of the dire circumstances that made our choices so important.”

Blocker also quoted Sister Ruth Fox, the Benedictine nun who, as a chaplain at what in 1985 was Dickinson State College, shared “A Non-traditional Blessing” with graduating students.

“May God bless you with enough foolishness to believe that you can make a difference in the world,” Fox wrote, “so that you can do what others claim cannot be done.”

“What now?” the Dean asked, rhetorically. “The choice is ours to make.”

In all, this year’s graduation festivities were enveloped in more hopefulness than was last year’s commencement. This past May found the YSM community looking perhaps at a long road ahead but one that seemed hardly visible a year earlier. q

13

“The present is our moment to live with courage, to change reality for ourselves and others, and to discover who we truly are because of the dire circumstances that made our choices so important.”

—Robert Blocker

Bassoonists Eleni Katz ’20mm ’21 mma and Mateen Milan ’21 mm at the YSM Commencement Send-off event

During commencement weekend we asked graduating students to share a favorite memory of their time at YSM. Here’s what they had to say!

My favorite memory would have to be performing at the Shubert Theatre with all of my classmates! I love and will miss every one of them!

–Julia Orosz ’20MM ’21MMA, voice

The New Music for Orchestra concert in April 2021! It was so magical and rewarding to make music with everyone.

–Soomin Kim ’21MM ’22MMA, composition

Boris Berman’s holiday party for the piano department.

–Jonathan Mak ’21MM ’22MMA, piano

Getting to share the Shubert Theatre stage with my colleagues in Yale Opera!

–Ryan Capozzo ’21MMA, voice

My teacher, the Yale vs. Harvard game, my piano quartet, and my friends!

–Salome Jordania ’21MM ’22MMA, piano

Hanging out with everyone at Wall Street Pizza.

–Po-Wei Ger ’20MM ’21MMA, piano

The Yale Cellos concert!

–Hye In Lee ’21MM ’22MMA, cello

14

Performing in New Music New Haven and with the Yale Philharmonia!

–Harris Bernstein ’21MM ’22MMA, viola

Creating friendships that will last a lifetime.

–Nathan Peebles ’21MM, horn

I appreciate the opportunity to study with such amazing, inspiring professors! Truly enjoyed my YSM life.

Thank you very much.

–Kanako Koyama ’21MM, harpsichord

Valuable and unforgettable. Full of inspiration and passionate musicians. So thankful to have been a YSM student for three years!

Meeting lifelong friends and after-concert celebrations.

–Anna Leunis ’21MM, violin

–Hae Sol (Amy) Hur ’20MM ’21MMA, clarinet

Learning amazing chamber repertoire with the Brentano String Quartet – I won’t soon forget all the instruction and inspiration from them.

–Rebecca Benjamin ’21MMA, violin

Interacting with great people.

–Seojin Kim ’21MM ’22MMA, double bass

Traveling to New York City with the Yale Schola Cantorum to perform with Juilliard 415 in Alice Tully Hall!

–Andréa Walker ’21mm, voice

“Looking Forward,” Norfolk Festival presents compelling program The 2021 Norfolk Chamber Music Festival/ Yale Summer School of Music welcomed students and faculty back to its idyllic setting in Litchfield County, Conn., for an abbreviated chamber music session whose performances were broadcast online. The theme of the 2021 Festival, “Looking Forward,” broadly captured the cautious optimism that was shared by artists and organizers alike.

While this year’s Festival couldn’t include wind and brass players due to health and safety concerns, it did offer a compelling program that was kicked off by the long-anticipated worldpremiere performance of a work by violinist and composer Daniel Bernard Roumain. The Festival had commissioned the new work from DBR in 2019 through its Musical Bridges project with an eye on premiering the piece— TWIN STARS: 32 Diamond Variations for Dae’Anna—in summer 2020. The work “will seek to musically respond to the confrontations and conversations that have and are happening between Black men, people of color, law enforcement, and an undefined civic morality,” DBR was quoted on the YSM website as saying.

The premiere and DBR’s weeklong residency at Norfolk were rescheduled for summer 2021.

Next summer will mark the centenary of the last concert of the original festival as organized

by Ellen Battell Stoeckel and Carl Stoeckel on their Norfolk estate. Those performances, which began at the turn of the 20th century, ended in 1922, when Carl became ill. He died

The Brentano String Quartet.

Photo by Sonja Zinke

The 2021 Festival program featured Friday- and Saturday-night concerts by faculty and fellows with such guests as the Emerson, Miró, and Brentano string quartets (the latter is the Yale School of Music’s ensemble-in-residence), YSM faculty members Ole Akahoshi ’95CERT ’97MM, Boris Berman, and Robert Blocker (YSM Dean), and distinguished artists Ann Schein, Steven Tenenbom, and Gilles Vonsattel. The repertoire performed during the 2021 Festival included works by Grażyna Bacewicz, YSM faculty composer Aaron Jay Kernis ’83, Jessie Montgomery (’95 Norfolk), YSM alum Kevin Puts ’96MM, Germaine Tailleferre, Samuel Coleridge-Taylor, George Walker, and Chen Yi, among other composers.

While the choral component of the Festival was canceled for safety reasons, the New Music Workshop run by YSM faculty composer Martin Bresnick did take place, albeit virtually, with performances of music by Festival fellows streamed for audiences online.

16

The Miró Quartet

in 1925. Ellen passed away in 1939 having left her estate to Yale “for the benefit and development of the School of Music of Yale University and for extending said University’s courses in music, art, and literature,” the YSM website explains. q

17

Flutist David Lassila ’21mm using the octet suite. Photo by Travis Wurges

Octet suite allows increased collaboration amid restrictions

At the beginning of the fall 2020 semester, Matthew LeFevre, YSM’s Media Production Manager, outfitted a three-room suite in which musicians could collaborate without latency— the audio lag that has made making music over the internet in real time all-but impossible.

LeFevre’s solution in creating the “triangle” suite was not to seek out newer technologies but to rely on equipment that had been around for decades in recording studios around the world.

With wind and brass players unable to participate meaningfully in the school’s mid-semester performance block, LeFevre and his colleagues recognized that “the stakes were really high,” that the school needed to expand the “triangle” suite, which resembled recording-studio isolation booths, into a configuration in which whole small ensembles could make music while being conducted or coached by a faculty member working remotely (since some faculty members weren’t permitted on campus for reasons associated with pandemic-related restrictions).

The result, which came online on Feb. 1 (though equipment was ordered in November), in time for the second semester, was an “octet suite”—

a “hard-wired, routable system,” LeFevre explained, that didn’t even touch the internet until the complete mix of eight audio feeds was sent through Zoom so faculty participating remotely could coach students. Essentially, LeFevre took the idea he’d implemented in the “triangle” suite and “made it bigger.”

“That’s how we kept the latency down and the costs down,” LeFevre said. “The way to do that was by trying to keep the internet out of it until the end.”

Technologically speaking, the functionality of the “octet suite,” without the video component, was achievable years ago. “The technology to do this has been around forever,” LeFevre said, “since analog mixers have been around.” The question was: “How do we give these people in the ‘octet suite’ the Zoom experience in a low-latency environment?” By going old school, then hooking into the web—“like dropping in on a session that already existed.” The addition of Zoom to the sound mix, in other words, was the “modern addition” to an audio design that had been used for decades. q

2020-2021 performances

lives lost during the COVID-19 pandemic and to health-care workers on the front lines.

In April, the Ellington Jazz Series presented a pre-recorded performance by the Black Art Jazz Collective, an ensemble cofounded by YSM Lecturer in Jazz and Grammy Awardwinning saxophonist Wayne Escoffery and “dedicated to celebrating African-American cultural and political icons, as well as preserving the historical significance of African Americans in jazz,” as Escoffery’s website explains. The ensemble performed selections from its latest album, Ascension, and answered questions from fans and YSM students and faculty in a post-performance Q&A session.

Above: The Black Art Jazz Collective; Ryan Tani ’21mma leads a physically distanced New Music New Haven rehearsal

By Lila Meretzky Despite pandemic-related restrictions, recorded, livestreamed, and outright live performances continued in every area at YSM during the 2020-2021 academic year.

No audiences were in attendance during the performances, many of which were streamed live or available on-demand after the fact.

The school’s Lunchtime Chamber Music series presented performances by YSM ensembles over weekly midday streams during the spring semester. The series featured live performances from Morse Recital Hall, performances that were recorded remotely, and those that were recorded in YSM’s octet suite (see page 17).

Recorded performances from the fall semester were streamed weekly during the spring semester in a series called Fall Playback.

Yale Opera kept the lights of the virtual theater on with several recorded programs that were streamed during the year. Individual singers were highlighted in a Fall Aria Showcase that was recorded in Morse Recital Hall and 18

streamed in December. Masked duos recorded performances of short opera scenes in Morse Recital Hall for a Spring Opera Showcase that was streamed in April. The Yale Opera closed its season with a program of semi-staged opera scenes that were recorded in Woolsey Hall in May and set for broadcast over the summer.

The Yale Philharmonia, operating without wind and brass players (due to pandemicrelated restrictions), gave performances of works for large string ensemble. Highlights included a program of music by English composers and a performance of Principal Conductor Peter Oundjian’s string-orchestra arrangement of Beethoven’s String Quartet No. 14 in C-minor, Op. 131. The Yale Philharmonia also gave a special performance of faculty composer Aaron Jay Kernis’ Elegy (for those we lost). The piece was first premiered on the school’s Postcards from Confinement video series in May 2020, where it was performed by the composer in its original solo piano form. Arranged by Kernis ’83 for string orchestra for the Yale Philharmonia’s performance, the work is dedicated to the

New Music New Haven presented six concerts featuring new works by YSM student composers. The first five concerts were recorded and comprised of chamber works and remotely recorded large ensembles of YSM students and musical collaborators from around the world. The NMNH season ended in April with a livestreamed performance, in Woolsey Hall, by the Yale Philharmonia. The orchestra performed works for string orchestra and percussion by second-year YSM composers.

The Yale Cellos continued their celebrated series of music for cello ensemble, streaming a pre-recorded concert in December, as well as a livestreamed performance in May, both from Morse Recital Hall.

To wrap up the school year, YSM students took the music into the beautiful spring weather outside for a Winds and Brass Festival. Presenting outdoor, physically distanced programs to small audiences of passers-by around campus, this was the first time many students had performed live together in more than a year. Over two weeks in May, students performed music by Stravinsky, Schubert, Berlioz, and Dvořák, among others. Ensemble sizes ranged in size from trios, quartets, and quintets to a large chamber ensemble.

This year’s performances from many of YSM’s flagship concert series are available for ondemand streaming on the school’s YouTube channel and at music.yale.edu/multimedia. q Lila Meretzky ’22mm is a second-year student in the composition program at the Yale School of Music.

19

Above from top: Alex Longnecker ’21mma, early music voice; Nathan Peebles ’21mm during the Winds and Brass Festival.

Right: Greer Lyle ’22cert as Marschallin in a scene from Der Rosenkavalier

YSM produces podcast, Simply Listen: Women in Dialogue

By Lila Meretzky In celebration of Women’s History Month, in March, the school produced its first-ever podcast series, Simply Listen: Women in Dialogue. Hosted by student composer Soomin Kim ’21MM ’22MMA, the five-part series featured interviews with distinguished female Yale School of Music alumni and celebrated the achievements of graduates “whose contributions to music and society reflect those of so many women of the YSM community,” as the school’s description of the series explained. The conversations were as varied and wide-ranging as the interviewees’ careers. The first episode, a conversation with composer Lori Laitman ’76MM, explored Laitman’s unusual path to composition. A flutist at YSM, Laitman chose to invest fully in composition after graduating.

Kim and Laitman also discussed the latter’s compositional approaches to art song, of which she has written more than 300.

Kim’s conversation with cellist Inbal Segev ’98MM began with Segev’s experiences as an international student and covered her extensive commissioning, curatorial, and recording projects. Segev’s YouTube series, Musings with Inbal Segev, was also highlighted. A more recent graduate, rising opera star Leah Hawkins ’15MM, talked with Kim about making the transition from mezzo-soprano to soprano, as well as her recent engagements with the Metropolitan Opera and numerous 20

European ensembles. Hawkins also shared her perspective as a Black woman at Yale and in the opera world at large, discussing the difficulties presented by some environments and the pride she feels for her background and achievements.

Kim’s interview with pianist, educator, and recording artist Althea Waites ’65MM ran the gamut from Black Diamonds, Waites’ seminal recording of music by African American composers, to her efforts as a voter-registration volunteer in New Haven during her time as a student at Yale. The interview series wrapped up with an episode featuring percussionist Ji Su Jung ’19MM ’20AD, whose career has included engagements with the Colorado Music Festival and Baltimore Symphony Orchestra and a demonstrated passion for commissioning new music and educating the next generation of percussionists.

heard,” Kim said. “Each musician we invited had such unique and amazing stories to share, and I was honored to be a part of sharing those stories with the world.” q Simply Listen: Women in Dialogue is available on SoundCloud and Spotify.

Lila Meretzky ’22mm is a second-year student in the composition program at the Yale School of Music.

“The experience of hosting Simply Listen made me realize how much I care about listening to the voices of musicians who are often marginalized, and making them

Clockwise from top left: Althea Waites, Lori Laitman (photo by Christian Steiner), Soomin Kim, Leah Hawkins (photo by Kerry Hallihan), Inbal Segev (photo by Grant Legan), and Ji Su Jung

school news

21

Callisto Quartet named YSM’s fellowship quartet-in-residence through Yale’s Department of Music.

Callisto Quartet violinist Paul Aguilar said he and his colleagues “have had a longterm relationship with (the Brentano String Quartet), going back to before we were a quartet.” Members of the Callisto Quartet have in the past worked with members of the Brentano String Quartet individually, in various settings. “(It’s) such a treat for us to be able to work with them in a more structured manner,” Aguilar said.

Yale School of Music faculty violinist Wendy Sharp, who leads the school’s chamber music program, said, “I look forward to welcoming the Callisto Quartet to work with our talented undergraduates in the Performance of Chamber Music seminar. They bring an infectious enthusiasm for chamber music and a dedication to the craft of ensemble playing.”

Aguilar said the quartet looks forward to the studying and teaching components of the residency and to the space the group will have to explore its own music-making.

The Callisto Quartet. Photo by Titilayo Ayangade

The Callisto Quartet was named the Yale School of Music’s incoming fellowship quartet-in-residence, succeeding the Omer Quartet. The Callisto Quartet will begin its yearlong residency in fall 2021. During the 2021-2022 academic year, the quartet will be mentored by YSM’s ensemble-inresidence, the Brentano String Quartet, and coach undergraduate chamber music groups

“They bring an infectious enthusiasm for chamber music and a dedication to the craft of ensemble playing.”

–Wendy Sharp

The Callisto Quartet, which was formed in 2016 at the Cleveland Institute of Music, won the Grand Prize at the 2018 Fischoff National Chamber Music Competition and was a finalist at the 2019 Banff International Chamber Music Competition. The quartet was the Graduate String Quartet in Residence at Rice University’s Shepherd School of Music and the 2020-2021 Ernst Stiefel String Quartet-inResidence at the Caramoor Center for Music and the Arts. The Callisto Quartet received a fellowship in 2017 from the Norfolk Chamber Music Festival/Yale Summer School of Music.

The Callisto Quartet’s yearlong fellowship residency at YSM will include a recital in Morse Recital Hall in Sprague Memorial Hall. The fellowship, which includes a $15,000 stipend for each musician, is renewable for a second year. q

YALE COLLECTION OF MUSICAL INSTRUMENTS RECEIVES MAJOR GIFT 22

23

A visitor looks at a lute made by Sebastian Schelle, Nuremberg, 1726 (Accession number 4559.1960) alongside a mid-19th-century ivory and wooden harp in Gothic Revival style (Accession Number: 4254.1962)

“Timothy Steinert’s transformational gift will allow the Collection to considerably enhance its role as a teaching museum at the intersection of many constituencies within Yale.”

– William Purvis 24

Feature: Collection

25

The turn of the 20th century marked a watershed moment for music at Yale. The School of Music had been established and conferred its first degrees—50 years after the first music course was taught at the university by a German immigrant named Gustave Stoeckel, thanks to an endowment from the Battell family. By 1894, Stoeckel had retired and composer Horatio Parker had arrived in New Haven, and, along with pianist Samuel Simons Sanford, began to grow the nascent program. That same year, thanks to the efforts of another German immigrant—a local musical-instrument dealer named Morris Steinert—the New Haven Symphony Orchestra was founded with Parker as its conductor.

In 1900, Steinert gave Yale a collection of musical instruments, mostly keyboards, with which to bolster its music programs, and thus was born a resource befitting of a leading university, one that—more than a century and a quarter later—remains “committed to improving the world today and for future generations through outstanding research and scholarship, education, preservation, and practice,” as Yale’s mission statement reads.

In April, Morris Steinert’s great-greatgrandson Timothy Steinert and his wife, Lixia Zhang, gave the Collection an extraordinary endowment that will allow the School of Music, under whose auspices the museum operates, to significantly enhance and expand on its offerings.

“This historic gift will enable us to reimagine and extend the scope of the Collection as a teaching museum where performance and

Left: Some of the many violins in the museum’s holdings; above: the Collection, at 15 Hillhouse Ave.

scholarship are enhanced by in-person and digital access to the Collection’s remarkable holdings,” the school’s April 30 announcement explained. “With new curricular initiatives and through our Concerts at the Collection, the museum’s profile will be dramatically broadened. The endowment will also allow us to forge new professional collaborations, bolster conservation efforts with the help of key Yale University partners, and complete necessary improvements to the building at 15 Hillhouse Ave., the Collection’s home for years to come.”

The gift from Tim Steinert, who earned his bachelor-of-arts degree in history from Yale in 1982 and whose sister Alexandra Steinert-Evoy and brother John Steinert (Morris Steinert’s great-great grandchildren) graduated from Yale in 1990 and 1993 with a master of divinity and a master of business administration, respectively, was secured as the school and the university made plans to address much-needed improvements to the museum’s home—a location whose permanence had become part of a larger conversation about the Collection’s future.

A committee of Collection, School of Music, and University officials was charged in 2019

by Yale’s provost to make recommendations about the future stewardship of the museum.

Tim Steinert, recognizing that the Collection’s history is tied inextricably to the legacy of music at Yale and in New Haven, saw an opportunity to celebrate that legacy and his family’s role therein. “I wanted in particular to commemorate the role music has played in bringing Yale and the New Haven community together through the founding of the New Haven Symphony Orchestra and the contribution to music scholarship and practice at Yale,” he said. Among Steinert’s chief desires was to see the museum remain where it is, and to add his great-great-grandfather’s name to it.

In April, Yale Provost Scott Strobel approved the terms of an agreement that in part renamed the museum the Morris Steinert Collection of Musical Instruments and guaranteed that the museum will remain where it is.

Morris Steinert’s involvement in New Haven’s musical culture was more personal than philanthropic. An article that appeared in the Arts Council of Greater New Haven’s The Arts Paper and in the New Haven Independent 26

explains that the Bavarian immigrant arrived in the United States in 1850. “In New Haven,” The Arts Paper piece explains, “Steinert found work as a substitute organist at a Congregational church that is now the New Haven Free Public Library, and then as the organist at St. Thomas’s Episcopal Church. He also had a growing roster of private students.

The modest good fortune continued.” After a brief flirtation with an entrepreneurial pursuit of a nonmusical nature, Steinert connected himself with Steinway & Sons, the world’s most preeminent piano manufacturer, and opened a dealership in town. It was there, The Arts Paper explains, that “a group of amateur musicians from Dorscht Lodge No. 2, a music club on Crown Street, approached a local piano dealer named Morris Steinert about helping to grow their modest ensemble into a full-fledged orchestra.” That was 1894, when the New Haven Symphony Orchestra was founded and the newly established Yale School of Music sent its first graduates into the world.

More than a century and a quarter later, the Collection has been reconnected to its past, and to the Steinert family, who have given so generously to Yale. “I see the school as being a passionate advocate for the Collection, not just for Yale but for the whole of music,” YSM Dean Robert Blocker said recently. Pointing to Morris Steinert’s donation of instruments in 1900 and to subsequent gifts and acquisitions, Blocker explained that “these things happen because people who have items that are important to civilization want to ensure that they are preserved in some way.”

Since Morris Steinert made his donation in 1900, the Collection has quietly grown into one of the most important of its kind. In the 1960s, Yale acquired the private holdings of philanthropist Belle Skinner and violin dealer Emil Herrmann, and the Collection was moved from under the dome of Woolsey Hall to its current location on Hillhouse Avenue. The 1970s saw the museum acquire a collection of bells that belonged to actress Robyna Neilson Ketchum. In the 2000s, the museum acquired a collection of string instruments (and bows) that were owned by art conservator and onetime Collection board member Andrew F. Petryn. Most recently, the Collection acquired a trove of brass instruments, including trumpets that were owned and played by longtime Chicago Symphony Orchestra principal trumpeter Adolphe “Bud” Herseth. Given the breadth of the Collection’s holdings—more than 1,000 objects, in all— the gift from Tim Steinert is an impetus for the school and the university to more

closely align the Collection with Yale’s other museums.

“Our role as a steward is typical of Yale’s role as a steward” of numerous other collections, including the holdings of the Beinecke Rare Book & Manuscript Library, Yale Center for British Art, Yale Peabody Museum of Natural History, and Yale University Art Gallery, Blocker said. “Part of Yale’s role as an international research and teaching university is to be custodians of important artifacts and knowledge.”

William Purvis, the Collection’s director, spoke to the vision that he, the school, and the university have for the museum. Tim Steinert’s “transformational gift,” Purvis said, “will allow the Collection to considerably enhance its role as a teaching museum at the intersection of many constituencies within Yale, including the School of Music, Institute of Sacred Music, Department of Music, and

Feature: Collection

27

also other collections. The Collection has the extraordinary potential to serve as a meeting place for students and faculty—from across the university and many areas of scholarship— where they can work collaboratively on research and performance projects.”

Katherine Darr, YSM’s development director, spoke about the beneficiaries of Tim Steinert’s generosity. His gift to the museum, she said, ensures that future students will have access to what they would not elsewhere. While the gift expands on the Steinert family’s legacy at Yale and in New Haven, Darr said, the continued growth of music at Yale is what counts. “This gift is going to allow us to ensure that that continues,” Darr said. “It underpins the importance of it. Our past dictates our future.” q

Clockwise from top: A special exhibition of the museum’s Robyna Neilson Ketchum Collection of bells; visitors at what is now the Morris Steinert Collection of Musical Instruments admire the museum’s keyboard instruments; flutes and violin accessories on display; two virginals (Accession Numbers.: 4871.1960 and 4870.1960) in the museum’s collection of keyboard instruments; and a recently opened exhibition celebrating brass instruments, including loans and new acquisitions

Students audition remotely; Clockwise from top left: Alexa Stier, Dani Zanuttini-Frank, Chandler McLaughlin, and Xin He

28

Feature: Auditions

29

YSM HOLDS AUDITIONS ONLINE FOR FIRST TIME While applying to graduate school for most students involves holding one’s academic record up to the scrutiny of admissions officials and the myriad measures they use in making acceptance decisions, the music-school admissions process focuses almost entirely on an applicant’s audition, a singular performance for which the student has long been preparing.

Yes, the musician’s preparations are based on years of study, practice, and development and in that sense reflect a body of experience.

What’s different, though, about auditioning for a place in a music school’s incoming class, is that all that experience has to add up, in about half an hour, to a convincing performance.

Music-school faculty assess an applicant’s ability and promise after what amounts to one, abbreviated recital program. Sound matters, as does technique, interpretation, and, without a screen to ensure anonymity—a practice employed by many professional orchestras in filling vacancies—an applicant’s presence matters, too. These are the Olympic trials of the classical-music world: years of training for one race against peers, only a few of whom will earn a spot on the team. So what happens if the trials can’t happen the way they have in the past? Such was the case at

the Yale School of Music in winter 2021. The pandemic, which arrived just after audition week in 2020, imposed a daunting challenge for applicants, faculty, and admissions staff alike: How could the school audition potential students in a moment during which in-person gatherings weren’t possible? Only through the technology of the day was it possible.

With the pandemic’s arrival came obvious concerns. Over the summer of 2020 and into the fall of that year, administration and staff at YSM implored developers at Zoom to upgrade the platform’s audio quality, which the company did in September. During the fall 2020 semester and during the winter break, the school’s media-production team configured an “octet suite” (see page 17) whose technological capabilities allowed wind and brass players, who, like their vocalist counterparts had been prevented from working together because they couldn’t wear masks while making music, to do just that. Still, even well before the second semester began, YSM Director of Admissions Donna Yoo had to think about connecting with each and every auditionee whose prescreening video had gotten them an invitation to audition online but live, in real time.

“Before,” Yoo said, talking in vague-butfamiliar terms about pre-pandemic days, “all the pressure was on live auditions”—helping auditionees “have the best day and experience possible.” Given that applicants and faculty alike would have to move an age-old process online, Yoo “knew they needed our help.”

Her concerns were the “unknowns and unexpected”—the weather, even, which, during the winter, knocked out power and internet connections in and around New Haven, across the country, and beyond.

And as much as nobody on the YSM staff or faculty could do much about that, nor could anyone rest easily heading into what

soprano Adriana Zabala expressed a similar thought. “Without even thinking about it,” Zabala said, “we know what we’re hearing.”

Still, audition week had to go well, and there were plenty of variables to worry about. LeFevre and Yoo spent months “laying the groundwork for people to be able to set this stuff up themselves and test it ahead of time,” LeFevre said. Each auditionee was given the opportunity to work over Zoom with the media-production team to make sure their audio and video settings were dialed in and optimized. An hour before each applicant’s audition, admissions staff conducted soundchecks with and for

“I had enough practice teaching Zoom lessons to understand the difference in sound quality.”

–Carol Jantsch Professor of Choral Conducting Jeffrey Douma aptly if understatedly referred to as “uncharted territory.” Planning and troubleshooting became the mission of the moment. Matthew LeFevre, the school’s Media Production Manager, said the concerns auditionees and faculty might typically have during audition week—logistics, etc.—gave way to “technical concerns.” The best thing the school’s staff could do, he said, was to “overcommunicate” and give applicants and faculty plenty of resources.

It did help that working over Zoom had become something of a default setting during the pandemic. “We had nine or 10 months of this under our belt,” LeFevre pointed out.

“People had learned these skills already.”

“We’ve all had to learn how to interface with this technology,” Douma said, offering that holding auditions last April, say, would’ve been “really, really hard.”

By February, though, the YSM community had adapted to the unfortunate and imperfect circumstance. “I had enough practice teaching Zoom lessons to understand the difference in sound quality,” faculty tubist Carol Jantsch said, referring to microphone setups and acoustics. She’d gotten to know what something coming over the internet would sound like in real life. Faculty mezzo30

auditionees. And “we essentially did the same with faculty,” LeFevre said. “It was really just a matter of getting people comfortable with it all,” through meetings and the dissemination of tutorials and checklists. The Admissions Office also set up a hotline of sorts, a channel through which, if an auditionee encountered problems during their soundcheck they’d get bumped over to the media-production team for a tech-diagnosis. “That only happened a handful of times,” LeFevre said.

In some areas, the audition format had to be reimagined. Douma, for instance, pointed out that the school couldn’t put applicants in front of an ensemble and watch them conduct the group. In addition to paying extra close attention to applicants’ pre-screening audition videos, Douma and his colleagues in the choral-conducting program added formal interviews to the process for those who passed the pre-screening round, and had a one-on-one lesson with each auditionee during the final round to observe the applicant’s technique, experience their musical personality, and gauge whether they seemed able to absorb information and adapt. The school’s voice program, too, expanded on the typical audition format. “There was a bit more of an emphasis on interview and discussion,” Zabala said, an “attempt to interact more holistically, more comprehensively. I don’t know that we would have had the chance to do that otherwise.”

Feature: Auditions

31

Clockwise from top left: David Steinhardt, Yi-Chen Feng, Marty Tung, and Da Young Lim

Director of Admissions Donna Yoo and Media Production Manager Matt LeFevre meet with faculty in preparation for audition week

Clockwise from top left: Professor Adjunct of Cello Paul Watkins, Director of Admissions Donna Yoo, and Assistant Professor Adjunct of Cello Ole Akahoshi listen to cello auditions

Clockwise from top left: Director of Admissions Donna Yoo, Lecturer in Oboe Stephen Taylor, and Professor Adjunct of Flute Ransom Wilson in between flute and oboe auditions 32

Feature: Auditions

Beyond audition performances, the school had to administer entrance exams to those who’d applied to the doctor-of-musical-arts degree program. Professor of Music History Paul Berry, who serves as the school’s coordinator of academic studies, said an interview component was added to the mix. Those conversations, he said, were a way of feeling out if an applicant knew the material. “The entrance exam is a bar below which you cannot be considered for admission for your area,” Berry said. “These

Conducting auditions online “certainly removed an economic barrier.”

–Jeffrey Douma are an assessment of the applicant’s academic aptitude in musical areas.” While the audition itself is still the core of the admissions process, applicants to the school’s DMA program know that consideration for admission counts on the entrance exam, which “we had to rewrite,” Berry said, given that exam-takers might be tempted to use Google or Shazam. “We’re trying to get to the same information,” Berry said, “but to get at that information we had to design—for some parts of the test—a very different test.” The challenge was to create an exam that was equivalent in measures but not in format. The faculty needed “a way of administering the exam synchronously,” even though that meant some applicants would be taking the exam at odd hours. Again, experience proved invaluable. In the fall, placement exams in analysis and musicianship, and in music history, were administered online and asynchronously (in several time-windows) to 80 or 90 incoming students. “That helped us figure out what platforms we could use,” Berry said, and what software could be used in new ways for the DMA entrance exams.

By week’s end, Yoo and her admissions team had run an audition week that was almost entirely without disruption. “We truly did do everything that we could to prepare for this week, and we were prepared for whatever was going to happen,” she said. “It went so smoothly.”

33

“I even got some feedback from students saying how much they appreciated how smoothly the auditions went,” Jantsch said. “I knew we’d be able to make it work.”

YSM Dean Robert Blocker was impressed, but not surprised. “Our colleagues whose expertise is in media production really made it possible for us to engage people where they were,” he said. “It said to people: ‘We’re here,’ we’re teaching, we’re performing. It said all of those positive things about our community.”

“I think our outreach was strong,” LeFevre said.

So what might remain of this year’s audition-week experience, even as the pandemic dissipates?

Conducting auditions online “certainly removed an economic barrier,” Douma said.

Jantsch agreed, saying most applicants to the tuba program bring two instruments to an audition. “That’s just so cost prohibitive,” she said. “As a way of equaling the playing field, this could be a viable option.”

An appreciation for what the added interviews with applicants offered faculty was echoed, too. “These things matter a great deal,” Zabala said, as did Berry: “That’s something I don’t want to lose.” q

Faculty news The Italian music publisher Edizioni Curci released an Italian translation of faculty pianist Boris Berman’s book Notes from the Pianist's Bench. Previously, the book had been available in two U.S. editions and translated into Chinese, Korean, Japanese, and Spanish languages.

Faculty composer Martin Bresnick’s violin and piano duo Mayn Rue Plats received its world-premiere performance in February via the Melbourne Digital Concert Hall. A new composition by Bresnick was recorded in April by saxophonist Branford Marsalis and Quartetto Obrigado at the Ellis Marsalis Center for Music in New Orleans.

Professor Emeritus of Music Simon Carrington, founder of the Yale Schola Cantorum, has continued with his teaching at the University of Birmingham, in the UK, and at Westminster Choir College, in Princeton, N.J. With the cancellation of many of his engagements worldwide, he has given remote workshops on various subjects for McGill University, the University of Northern Iowa, Forward Motion (New York), the China Choral Directors Association, and the World Peace Choral Festival. He is now looking forward to conducting a choral reopening at the Berlin Philharmonic next season.

Professor of Choral Conducting Jeffrey Douma appeared as conductor of the virtual Connecticut All-State Choir, guest lecturer at the Zürcher Hochschule der Künste, panelist for the Massachusetts chapter of the American Choral Directors Association’s Collegiate Choral Festival, and jury member for the Indian Council for Cultural Relations’ International Choral Festival and Competition.

He served on the National Collegiate Choral Organization’s new Task Force for Mission, Vision, and Principles and in May directed the Yale Glee Club in the virtual premiere of Joel Thompson’s ’20MMA ’26DMA Prayer for Deliverance in collaboration with the Kaleidoscope Vocal Ensemble (founded by Arianne Abela ’10MM).

In October 2020 and January 2021, faculty harpsichordist Arthur Haas made solo recordings on fully restored antique instruments at The Barn at Flintwoods, in Wilmington, Del. The music featured suites

by Johann Jacob Froberger, Claude-Bénigne 34

Balbastre, and Girolamo Frescobaldi. The recordings were premiered online in April.

In January, Haas gave a master class on the preludes of François Couperin for the Amherst Early Music Festival.

In December 2020, Professor in the Practice of Voice and Director of Yale Opera Gerald Martin Moore was a judge for the Metropolitan Opera’s National Council Auditions. He was also a teacher and artistic associate for Carnegie Hall’s SongStudio in January, and a member of the international jury for the finals of the Premiere Opera Competition. This summer he will teach at the Music Academy of the West, in Santa Barbara, Calif.

In June, Deutsche Grammophon released a 55-CD set of the complete Orpheus Chamber Orchestra recordings, which feature faculty double bassist Donald Palma. Palma performs on 51 of these recordings along with faculty bassoonist Frank Morelli, faculty horn player William Purvis, and faculty oboist Stephen Taylor who, among numerous contributions, are featured soloists in performances of works

by Mozart.

Professor of Music History Markus Rathey recently published Theology, Music, and Modernity: Struggles for Freedom (Oxford University Press, 2021) with co-editors Jeremy Begbie (Cambridge and Duke universities) and Daniel Chua (Hong Kong University and 2014–2015 ISM fellow). The book is an interdisciplinary conversation about shifting concepts of freedom and involves perspectives from musicology, theology, and philosophy. Prof. Rathey’s chapter deals with Mendelssohn’s revival of the St. Matthew Passion and the changing perspectives on individual and communal freedom within the century between 1727 and 1829.

Visiting Lecturer in Community Engagement Sebastian Ruth and colleagues at Community MusicWorks in Providence, R.I., recently premiered a new work by composer Shaw Pong Liu. The work, Traces, was commissioned to honor the history of the land and community where CMW will build its new performance and education center. In addition to being a first live performance since the beginning of the pandemic, the project also grew from themes of community, music, dialogue, and racial justice work that have been central to Ruth’s class at YSM: Music, Service, and Society.

Faculty clarinetist David Shifrin released an album of music by Poulenc on the Musica Solis label, which was launched by YSM alum Seunghee Lee ’92MM ’94AD. The recording was made in Sprague Memorial Hall and features performances with pianist and YSM Dean Robert Blocker, faculty bassoonist Frank Morelli, and alumni clarinetists Romie de Guise-Langlois ’06MM ’07AD, Graeme Steele Johnson ’17MM ’18MMA, and Giovanni Bertoni ’18MM ’20MMA. Shifrin will perform in live concerts this summer at Chamber Music Northwest, the La Jolla Music Society’s SummerFest, the Santa Fe Chamber Music Festival, and the Lake Champlain Chamber Music Festival in Burlington, Vt. André J. Thomas, Visiting Professor of Choral Conducting and Interim Conductor of the Yale Camerata, became the national president of the American Choral Directors Association in July. The ACDA is the largest choral association in the world, and Thomas will be the first person of color to head the organization. Thomas was also recently appointed an associate artist with the London Symphony Orchestra.

In February and April, the New York City Classical Guitar Society presented Peace Love and Guitars, a pair of benefit concerts organized by faculty guitarist Benjamin Verdery. Verdery performed duos with YSM alumni guitarists Simon Powis ’08MM ’10MMA ’14DMA, Jiyeon “JIJI” Kim ’17MM, and Ian O'Sullivan ’11MM, as well as YSM Lecturer in Electronic Music Jack Vees, faculty violist Ettore Causa, Lecturer in Jazz Wayne Escoffery, and Professor in the Practice of Voice James Taylor. This summer, Verdery will virtually hold his annual Hawaii Masterclass with guest artist Laura Snowden.

Faculty pianist Wei-Yi Yang ’95MM ’96AD ’99MMA ’04DMA presented several virtual concerts in the past year for the Virtuoso & Belcanto Festival, in Lucca, Italy, and Radiotelevisione italiana. Yang was also featured in a recorded performance with members of the St. Paul Chamber Orchestra for American Public Media’s YourClassical programming. He will return to the Music in the Vineyard chamber music festival in Napa Valley in August. Throughout the pandemic, Yang has conducted master classes virtually and in person for the Manhattan School of Music, New England Conservatory, and other institutions.

Associate Professor Adjunct of Voice Adriana Zabala was appointed director of the Opera

faculty news

35

Studio at Wolf Trap Opera and gave a master class to undergraduate voice majors at Furman University as a guest of Dr. Alison Trainer. In October, Zabala will perform the title role of Nadia Boulanger in the chamber-music play Nadia, by Mina Fisher, at Lebanon Valley College. In December, Zabala will join the Santa Fe Opera for the stage premiere of Laura Kaminski and Kimberly Reed's Hometown to the World.

Clockwise from top left: Boris Berman, Benjamin Verdery, Jeffrey Douma, André J. Thomas, Gerald Martin Moore, Wei-Yi Yang, Martin Bresnick, and Adriana Zabala (center)

Clockwise from top: Jiyeon “JIJI” Kim, Sharon Isbin, Michael Mizrahi, Jessica French, Tom Johnson, Joseph Guimaraes, Rhonda Rider, Suzana Bartal, and Katy Ambrose (center) 36

class notes

Class notes

served for eight years. Dehnert was recognized for his work with a $10,000 2010-2011 School of Music Alumni Ventures grant.

1960

New York’s site-specific company On Site Opera presented A World Turned Upside Down by composer Juliana Hall ’87MM, a setting of the Diary of Anne Frank, as one of three large song-cycles in a pandemic-inspired, first-ofits-kind “opera by mail” program called The Beauty That Still Remains: Diaries in Song.

Composer Tom Johnson ’61BA ’67MM started a YouTube series called Illustrated Music, which offers an inside look into his musical works.

Composer Lewis Spratlan ’62BA ’65MM was the subject of a podcast retrospective of his works that focused primarily on his Pulitzer Prizewinning opera Life is a Dream. The series was produced as a webcast by the Pioneer Valley Symphony Orchestra and first aired in February.

In August 2020, pianist, educator, and recording artist Althea Waites ’65MM retired from her faculty position at Cole Conservatory at California State University, Long Beach.

Since then, she has given a number of lecturerecitals and webinars for the School of Music at Memorial University in Newfoundland and the Los Angeles County School District.

1970 Guitarist Sharon Isbin ’78BA ’79MM was honored as the “best of 2020” in multiple media outlets, including SiriusXM, Audiophile Review, Classical Guitar Magazine, and others for her recent albums of world premieres Strings for Peace, with India’s sarod master Amjad Ali Khan, and Affinity. The award-winning documentary Sharon Isbin: Troubadour is now streaming on Amazon Prime Video.

1980 Trends from the Periodic Table of Elements, a suite for solo piano by composer Peter Mackenzie Armstrong ’72MMA ’80DMA, was published by Edition Ottaviano Petrucci. The piece consists of 15 movements, each about 50 seconds in duration.

Flutist Erica Brenner ’89MM received a Certificate of Appreciation from the Recording Academy.

Kelly Dehnert ’86MM published a book about his family’s work in Malawi. The book, To Africa On a Lark, was written as a memoir with an emphasis on cross-cultural servanthood.

One of the chapters describes Dehnert’s experiences teaching and performing with music students and professional Malawian musicians at the mission college in which he

Carter Huntley ’82MM founded The Village Music School and The Village Music School Foundation, the latter a 501(c)(3) that seeks to increase the study of music at the elementary school level across the United States and will endow schools with fully subsidized music lessons.

Martin Kluger ’78BA ’80MM continues to perform as principal timpanist with the Springfield Symphony Orchestra in Massachusetts. He recently retired from his role as a research scientist in the Department of Immunobiology at the Yale School of Medicine.

Since August 2020, vocalist Naomi Lewin ’74BA ’80MM has hosted the 92nd Street Y’s online series Inside the Concert. As part of the series, she has interviewed top music professionals.

Lewin also writes, hosts, and produces the internationally syndicated radio feature/podcast Classics for Kids, which demystifies classical music for young listeners. To celebrate the 50th anniversary of undergraduate co-education at Yale, the Yale Glee Club commissioned Lewin to produce a podcast about the integration of women into the organization.

In December 2020, cellist Rhonda Rider ’80MM celebrated the release of her latest recording, The Sonatas of Gabriel Fauré, on Centaur Records.

1990 Invitation to Love, a work for children’s chorus

by Jeremy Beck ’92MMA ’95DMA with text by Paul Laurence Dunbar, was a winner of The King’s Singers New Music Prize (2020-2021).

The world premiere of Beck’s piece took place in February as part of the Washington National Cathedral’s online Sacred Choral Music Festival.

Jesús Castro-Balbi ’99MM was appointed director of the Dr. Bobbie Bailey School of Music at Kennesaw State University, a post he assumed on July 1.

37

Organist Karen Schneider Kirner ’90MM ’90MAR published a new collection of responsorial psalms for SATB chorus and soloists titled Let the Peoples Praise You: Psalms for the Liturgical Year (Liturgical Press, 2021).

Percussionist Todd Scot ’93MM released a single from his upcoming CD Song from the Attic. Scot composed, played, and arranged all the music on the album, which consists of songs for his two children. He runs a recording studio that provides radio-ready drum tracks for clients in Nashville, Tenn.

2000 In May, Katy Ambrose ’07AD completed the doctor-of-musical-arts program at Temple University with a monograph titled A Dissonant History: The French Horn in the lives of Musicians of African and Creole Descent in America. She presented a lecture on her research for the Yale Concert Band in September at the invitation of Yale University Bands Director Thomas C. Duffy.

Organist Jessica French ’08MM was awarded the 2020 AGO/ECS Publishing Award in Choral Composition. As part of the award, she will write a work for choir and organ on a text by Christina Rossetti. The piece will be published by ECS Publishing and will receive a world-premiere performance at the National Convention of the American Guild of Organists in Seattle in 2022.

Pianist Michael Mizrahi ’03MM ’04MMA ’08DMA was promoted to full professor of music (piano) at Lawrence University in Appleton, Wis. He was also appointed co-director of the Decoda Chamber Music Festival.

Vocalist Andrea Moore ’03MM ’04AD made the debut recording of composer Daniel Thomas’ chamber opera Family Secrets: Kith & Kin for Albany Records. Moore starred in North Carolina Opera’s worldpremiere production of the work in 2018.

In response to the pandemic, tubist Dan Trahey ’03MM started a new organization called The Collective Conservatory to help nurture and support musicians and students through immersive online courses.

The organization has already collaborated with the American Ballet Theatre, Los Angeles Philharmonic, Dallas Symphony Orchestra, Baltimore Symphony Orchestra, Peabody Conservatory of the Johns Hopkins University, and numerous music programs

in the United States and Latin America.

In December 2021 and January 2022, flutist

Prize at the inaugural Arthur Nikisch International Conducting Competition.

possibility of being commissioned for an evening-length piece.

Enrico Sartori ’05MM will lead the Global Festival Symphony Orchestra in a New Year’s celebration tour through China.

The ensemble, which is comprised of musicians from all over the world who are currently living in China, will visit more than 20 major cities around the country.

Violinist Naria Kim ’10MM ’11AD, in collaboration with cellist Joon Whan Kim ’13AD and pianist Joo Hyeon Park ’11MM ’12AD, released an album of works by Astor Piazzolla on the SONY Classical label in September 2020.

The documentary series Honor Guard, which was released on Amazon Prime Video, features an original score by composer Ryan Lindveit ’19MM ’20MMA. The music was released as a soundtrack album and is available on all streaming platforms.

Trombonist Brittany Lasch ’12MM edited a best-selling collection of 22 opera arias transcribed for trombone titled Book of Arias (Price & Co. Publishing).

Cellist Atticus Mellor-Goldman ’21MM won the principal cello position in the Air Force Strings, an ensemble of the United States Air Force.

2010 In March, pianist Suzana Bartal ’13MM ’14MMA ’18DMA celebrated the release of her recording of Liszt’s Années de pèlerinage on the Naïve label. The recording earned a distinction from the Liszt Ferenc Society in Budapest and has received many positive reviews in the international press.

A new album of music by composer Reena Esmail ’11MM ’14MMA ’18DMA, breathe, was released and features two piano trios and a violin and piano piece performed by pianist Suzana Bartal ’13MM ’14MMA ’18DMA, violinist Vijay Gupta ’07MM, and cellist Peter Myers. In conjunction with this release, The Wallis Annenberg Center for the Performing Arts began a four-part series of video recordings of Esmail’s piano trio (shot by Louis Ng), with commentary from Esmail, Bartal, Gupta, and Myers.

In 2019, tubist Joseph Guimaraes ’18MM was appointed to the United States Navy Band in Washington, D.C. Due to pandemic-related delays, he began his tenure with the ensemble in 2020.

Violist Eleanor Kendra James ’12MM ’13AD was appointed principal violist of the Hessian State Orchestra in Wiesbaden.

Composer Molly Joyce ’17MM was selected as one of the inaugural Toulmin Fellows at National Sawdust and The Center for Ballet and the Arts at New York University. She was also featured in The Washington Post and on eBay in profiles that highlighted her use of vintage toy organs.

David Kaplan ’07MM ’08MMA ’14DMA was recently appointed assistant professor of piano at the UCLA Herb Alpert School of Music.

Orchestral conductor Farkhad Khudyev ’10MM was chosen from a pool of 200 competitors as winner of the Gold Medal “Beethoven 250” Special 38

Brendon Randall-Myers ’14MM won a Classical Commissioning Grant from Chamber Music America to support the composition of a new piece for the Warp Trio.

Vocalist Lucas van Lierop ’17MMA sang the role of Basilio in the Dutch National Opera’s production of Mozart’s Le Nozze di Figaro, which was performed for an online audience to comply with Holland’s pandemic restrictions.

2020 Harpist Héloïse Carlean-Jones ’20MM joined L’Orchestre de la Garde Républicaine in Paris.

She was also invited to perform the famous Bach Chaconne in a three-part concert series on the Instrumentarium Salvi’s (Paris) YouTube channel. The three concerts explore the original composition, the Busoni piano transcription, and the Owens harp transcription.

Composer Linda Dallimore ’21MMA won a commissioning prize from Chamber Music New Zealand. She will write a piece for violin and marimba to be performed on a national tour in New Zealand in 2022.

Composers Julián Fueyo ’23MM, Soomin Kim ’21MM ’22MMA, and Marco-Adrián Ramos ’22MMA each received a Morton Gould Young Composer Award from the ASCAP Foundation.

Po-Wei Ger ’20MM ’21MMA won Second Prize, the Chamber Music Prize, and the Audience Award at the Premio Jaén International Piano Competition in Spain.

Composers Eli Greenhoe ’18MM ’25DMA and Gabrielle Herbst ’20MM were named finalists in the New York-based opera company Beth Morrison Projects’ Next Generation competition. Each will have recordings made of original theatrical vocal works with the

Composer Frances Pollock ’19MM ’25DMA, with seven other artists—mostly alums from the Yale School of Music and Yale School of Drama—founded the Midnight Oil Collective, an artist-led investment group that seeks economic and social justice through equitable project development. The group is in its first season and is incubating five inaugural projects.

Pianist Anthony Ratinov ’22BS ’22MM won First Prize at the Canada International Piano Competition.

Cellist Samuel Walter ’20MM ’21MMA won a position in the Chicago Civic Orchestra.

Cellist Megan Yip ’20MM ’21MMA won a Fulbright scholarship to pursue her studies in Freiburg with the eminent French cellist and teacher Jean-Guihen Queyras, who teaches at the city’s Hochschule für Musik. Yip had long wanted to spend time in Europe, and earning a Fulbright, she said, “is a way to fund studying there.” Upon receiving the scholarship, Yip deferred her enrollment at the University of Michigan, where she plans to pursue a doctorate.

Want to see your news featured in the next Music at Yale?

Send us your news–awards, appointments, recordings, premieres, important performances and projects, fellowships, and other successes–and keep the YSM community informed about your career. music.yale.edu/alumni

class notes

39

Clockwise from top: Lucas van Lierop, Megan Yip, Eleanor Kendra James, Julian Fueyo, Heloise CarleanJones, Farkhad Khudyev, Naria Kim, Eli Greenhoe, and Reena Esmail (center)

Symposium on Music in Schools goes online

Students from the Music in Schools Initiative give a performance during a previous summer program

The symposium, a biennial event that’s part of YSM’s Music in Schools Initiative, included input from Jennifer Olson, Executive Director of Think 360 Arts for Learning; Chris Duncombe, Senior Policy Analyst at the Education Commission of the States; Carlos Abril, Professor of Music Education and Associate Dean at the University of Miami’s Frost School of Music; Kristi Wilson, Superintendent of the Buckeye Elementary School District; and other participants.

The entirety of the 2021 Symposium on Music in Schools, Equity & Opportunity: Advancing Music Learning Ecosystems, can be watched on YSM’s YouTube channel beginning July 23. The Yale School of Music’s Music in School Initiative is supported by a gift from the Yale College Class of 1957.

in

sch

ools

•

iu

c

The online gathering used YSM’s Declaration on Equity in Music for City Students, the yield of the school’s 2017 Symposium on Music in Schools, as a jumping-off point for this year’s conversation about the value of imagining and fostering community music learning ecosystems through which students across the United States can grow artistically, intellectually, and emotionally.

of mu ool si h c

s

40

Perhaps the most resounding comments came from students themselves. Eva, who has participated in Music in Schools Initiative programs and will begin the ninth grade at ACES Educational Center for the Arts in the fall, said, “Music teaches you how to be a good person … to be confident … to help others … and express yourself.” q

2021 sympo

“I see how the arts change lives,” U.S. Deputy Secretary of Education Cindy Marten, a longtime educator and former superintendent of the San Diego Unified School District, said, explaining that music and the arts are fundamentally critical to a young person’s development and to our culture at large. “The whole-child approach is really what’s most important.”

Tarik Ward, Director of Music Programs and Strategic Operations at The ELMA Philanthropies, pointed out—in a panel discussion with representatives from the public-school, higher-ed, and nonprofit sectors—that “we’re not in the business of making good musicians. We’re in the business of making good people.”

•s

In June, the school hosted a free, virtual Symposium on Music in Schools, the subject and title of which was Equity & Opportunity: Advancing Music Learning Ecosystems. The afternoon-long event featured discussion about the development and implementation of community-wide systems designed to ensure an active music life for every child in the United States. The symposium’s direct focus—addressed through interviews, panel discussions, a town-hall-style conversation, and comments from and performances by students from the New Haven Public Schools—was on the necessity of collaboration among people in the fields of education and music, in government and in the private sector, and in the world of philanthropy. The symposium was produced in partnership with the NAMM Foundation.

U.S. Deputy Secretary of Education Cindy Marten

ic mo n mus

planned giving

Your future and YSM, stronger together Charitable gift annuities at the School of Music Simple and stable, a Yale gift annuity offers you guaranteed payments for life and the opportunity to make an impact on YSM’s future. Here’s how it works: In exchange for your gift, Yale makes fixed payments for life to you or to individual(s) you select. When the annuity ends, the remainder is directed for a purpose at YSM, which you may choose.

Sample Rates for Yale Charitable Gift Annuities Age

Immediate

Deferred 3 years

Deferred 5 years

65

3.5%

4.5%

5%

70

4.5%

5.5%

7%

75

5.5%

7.5%

10%

80

7%

11%

12%

Charitable IRA rollover: make a tax-free gift to YSM Individuals ages 70 ½ and older can make direct transfers of up to $100,000 per year from individual retirement accounts to qualified charities without having to count the transfers as income for federal tax purposes. Gifts may be counted toward an individual’s minimum required distribution and designated to any area at YSM.

For more information, contact Katherine Darr, Director of Development, at 203 432-2208 or katherine.darr@yale.edu.

41

In memoriam: Frank Tirro, Dean, scholar, performer, and teacher

Frank Tirro (1935-2021)

By Paul Hawkshaw Professor Emeritus of Music, Yale School of Music Frank Pascale Tirro, Dean of the Yale School of Music from 1980-1989, passed away after an extended illness on March 28, 2021. Dean Robert Blocker described Frank as “one of the most kind, honest people that I knew at Yale.”

Frank will be remembered for his pathbreaking writings on music, education, and racism in America; his landmark contributions to our understanding of the history of jazz; his studies of late Medieval and Renaissance music; and his considerable administrative accomplishments. He was also an ASCAP Award-winning composer and a respected professional clarinetist and saxophone player.

Born in Omaha, Frank earned his bachelor-ofmusic degree from the University of Nebraska in 1960 and received the Distinguished Alumnus Award from that institution in 2006.

He earned his master-of-music degree from Northwestern University in 1961 and his doctorate in musicology from the University of Chicago in 1974. While still a graduate student, he began his distinguished administrative career by establishing and then chairing the music program for the University of Chicago’s Laboratory School from 1963 to 1970. The next year he was a fellow at Harvard University’s 42

Villa I Tatti for advanced research into Italian Renaissance music.

After earning his doctorate, a one-year term as visiting lecturer at the University of Kansas led to his appointment to the faculty of Duke University, where he served as chair of the Music Department from 1974 to 1980. After his tenure as dean of the Yale School of Music, he continued to teach, perform, and chair the doctorof-musical-arts committee at the school until his retirement in 2010.

Among Frank’s most important contributions to Renaissance studies is his investigation of the sources in the archive of San Petrino in his beloved city of Bologna (Stuttgardt, 1986). With his article “The Silent Theme Tradition in Jazz” (The Musical Quarterly, 1967) he became a pioneer in bringing the study of jazz into mainstream musicology. Jazz was his passion, and he dedicated the remainder of his life to leveling barriers and raising up the contributions of Black musicians to this uniquely American genre, born out of their experiences as a gift to all. His Jazz: A History (W.W. Norton & Company, 1977 and 1993) became a foundational text in the field and was translated into Japanese, Chinese, and Spanish. This was followed by Living with Jazz (Harcourt Brace College Publishers, 1996), The Birth of the Cool: Miles Davis and His Associates (Pendragon Press, 2009), and With Trumpet and Bible: The Illustrated Life of James Hembray Wilson (Pendragon Press, 2015, © 2012).

Frank also co-authored multiple editions of the textbook Humanities: Cultural Roots and Continuities; contributed to 38 biographies of jazz greats for the World Book Encyclopedia; and authored eight entries on Medieval and Renaissance composers for the New Grove Dictionary of Music and Musicians, as well as dozens of articles on jazz, late medieval music, and other facets of music history throughout his career. In addition, his compositions earned numerous prizes including multiple ASCAP Awards, which he received for the first time in 1970. His American Jazz Mass, published in 1959, was the first mass composed for that genre.

Frank’s career was characterized by his remarkable care for his colleagues and his natural humility. Though he walked and played with giants like Benny Goodman, Henny Youngman, Dizzy Gillespie, and scores of big-band jazz legends, he always took a back seat to let others’ gifts shine. As dean, he led the Yale School of Music through one of the most difficult periods in its history with grace and a relentless dedication to the best interests of its faculty and students. He was also devoted to his family and is survived by his wife of 60 years, Charlene (Whitney) Tirro, a daughter, son, and four grandchildren. q

Tributes to Frank Tirro “I had the pleasure of working with Frank Tirro from my joining the YSM faculty in 1984 until his retirement in 2010. With great pleasure I remember the warm atmosphere when he and his wife, Charlene, welcomed the entire School of Music to his house at the beginning of each of his years as dean. My most memorable interactions with him were in his capacity as the dean and, later, as the head of the doctor-of-musical-arts committee.

In both, Frank displayed his respect for fellow faculty members and willingness to enable and encourage the robust exchange of opinions among us. I remember his words with which he charged me to head my first search committee at Yale and to find the highest quality candidate because, he said, ‘When the time for a new search comes, first-rate people will choose first-rate people; secondrate people will choose third-rate people.’ For me, this view exemplifies his appreciation and support of the talent of each individual.”

Boris Berman Sylvia and Leonard Marx Class of 1954 Professor in the Practice of Piano, Yale School of Music “Frank Tirro was the dean of YSM when I joined the faculty in 1987. Frank was a fellow clarinetist and could not have been more supportive and welcoming as a ‘boss’ and as a colleague. I was fortunate to know Frank Tirro as a leader with a steady hand, a valuable, skilled, and inspired colleague, and a warm and kind friend. Frank’s gentle demeanor masked his enormous achievements as a musician

in memoriam and scholar and his remarkable versatility. I loved that he would perform regularly at YSM in music from Beethoven and Brahms to Duke Ellington along with his very own compositions. He touched so many of our lives and we are richer for that experience.”

David Shifrin Professor in the Practice of Clarinet, Yale School of Music “My husband, Aldo Parisot, and I were extremely fortunate to have been faculty members during Frank Tirro’s tenure as dean of YSM. In addition to interacting with him as part of the faculty, we were privileged to perform with him several times, playing familiar and lesserknown works for clarinet, cello, and piano.”

Elizabeth Parisot ’66mm ’70mma ’73dma Associate Professor Adjunct of Piano, Yale School of Music “I will always be indebted to Frank for the opportunities he provided me. My first job was as Yale Philharmonia manager, then director of the concert and press office, and fi nally as executive officer, working directly with Frank.

“Frank’s administrative style was marked by a genuine sense of fairness and openmindedness. The staff knew that they could bring any problem or suggestion to him, and that he would give their ideas serious consideration. He was enthusiastic about incorporating new technologies into our work.

I remember his demonstrating something at a staff meeting that was quite exotic at the time: his own personal computer.

Goodman, bringing this major figure in American music to Yale for performances of both jazz and classical repertoire, and convincing Goodman that Yale would be the best place for his papers and memorabilia.”

Vincent Oneppo ’73mm Former member of the Yale School of Music staff “My friendship with Frank Tirro began shortly after he arrived at Duke University to assume the chair of the Music Department.

Others may speak to his service to Yale, the quality of his leadership, the scope and value of his scholarship, his care in preparation for whatever he undertook, his maintenance of skill as an active musician.

“Let me add some personal observations.

Over the next half-century our friendship developed and deepened as I shared events and important occasions with him and his family. When I needed employ, he asked me to take charge of the record library in the Duke Music Department. Several years later, when he moved from North Carolina to North Haven, I drove his furniture. Then, six months later, he called to invite me to become his assistant in the School of Music, so my family and I came happily to New England.

“When he drove his vintage car to a rally in Omaha, I went along to meet his mother and discover his hometown. We went to Alabama— he always drove—with carefully planned research stops as he prepared his biography of an itinerant trumpeter who developed into a preacher and an important force in Black education (With Trumpet and Bible: The Illustrated Life of James Hembray Wilson).

43

“I remain indebted in many ways to my friend Frank Tirro.”

Louis Auld Professor (French) and chair emeritus, Central Connecticut State University Assistant to Dean Tirro, Yale School of Music, 1980–1984 “The warmth and sincerity of the greeting Serena and I received from Charlene and Frank when we arrived at YSM in 1995 deepened through the years. Frank understood the headwinds of a deanship better than most people, and he knew instinctively that calm, thoughtful, and solicited counsel would be essential in charting a course for the school. And I called on him for that counsel.

For me, Frank embodied the ideals of a renaissance man—an uncommon breadth of interests, an insatiable curious intellect, an unassailable integrity, and a sense of fairness.

“I looked forward to DMA committee oral examinations because I learned from Frank as he engaged candidates in a professional conversation, one born of humility and respect for the topic and the candidate.

Those innate values are why Frank made such stellar faculty appointments during his deanship–in spite of very limited resources.

His scholarship in jazz and the humanities has enriched our discipline, and we celebrate his gifts to us through his life and work.”

Robert Blocker Henry and Lucy Moses Dean of Music

“The early 1980s were a difficult time economically for the country, the university, and the school. Yet Frank was able to attract and maintain both an extraordinary faculty and a talented student body, despite limited resources. He reformed the curriculum and opened a new pathway for the school to China.

“He was dean during a major labor upheaval: the campaign to establish a union for clerical and technical employees and the strike of 1984.

I remember well how respectful and generous he was to those of us who chose to strike. He remained neutral during those difficult days, and understood the strain experienced by all of YSM’s employees, whether they remained at their desks or joined the picket line.

“Of course, from my own point of view as a clarinetist and a jazz player, I was thrilled that Frank had become friends with Benny

Dean Frank Tirro and YSM faculty members Elizabeth Parisot and Aldo Parisot

In memoriam: Jeanne Kazzi, every YSM student’s friend Reflecting on the passing of Jeanne Kazzi, who served as Senior Admissions Assistant at the school for 16 years beginning in 2000, having arrived on the university staff in 1995, YSM Dean Robert Blocker said Kazzi offered the “same support and enthusiasm and counsel to students the entire time she was at Yale. They were the center of her universe.” Kazzi, who died in December 2020, would have wholeheartedly agreed.

Jeanne Kazzi (1948-2020)

“I remember the genuine smiles on the faces of students and alumni who walked through her door.”

–Lily Sutton

“She would always be there,” Blocker said, and the students knew it.

“I love making the dean proud,” Kazzi was quoted as saying in the spring 2017 issue of Music at Yale, upon announcing her retirement.

Kazzi was seemingly omnipresent—at her desk in Sprague Memorial Hall, at student recitals and other school performances, and wherever she could be helpful and supportive.

“Jeanne’s presence was keenly felt in the School of Music for many years,” Blocker said in an email to the YSM community upon Kazzi’s passing. “One particular observation I recall,” Blocker wrote, “was Jeanne’s compassion and/or joy for each of the DMA students who waited patiently for the committee’s deliberation of their oral examination,” referring to another area to which Kazzi provided administrative support.

“Her sincere kindness and tenderness for YSM students was something rare,” Lily Sutton, who was Director of Admissions at YSM from 2012 to 2017 and is now Director of Student Affairs at Yale’s Jackson Institute for Global Affairs, said. “I remember the genuine smiles on the faces of students and alumni who

44

walked through her door. Even after interludes of several years, alums would be greeted with a sparkling smile and a hug from Jeanne, who delighted in remembering the names of their spouses and children, all of whom affectionally referred to her as ‘Grandma Jeanne.’ Photos and birth announcements from across the YSM community covered her carefully curated photo wall at the office. She truly was an iconic Grandma Jeanne to all of us.”

Kazzi epitomized the spirit of the YSM community, and her memory will forever be part of this place that she so dearly loved.

Kazzi is survived by her husband, Jeff, “who was her best friend, soulmate, and camping buddy,” according to an obituary in the New Haven Register. She is also survived by her mother, a brother, daughter, son, stepdaughter, stepson, and two grandchildren, according to the Register.

“To her beloved Jeff and the entire family, we extend our heartfelt sympathy and condolences,” Blocker wrote to the YSM community after receiving the news of Kazzi’s passing. q

45

In memoriam Martha H. Bixler ’51BM Martin Boykan ’53MM Joel A. Chadabe ’62MM James S. Darling, Jr. ’50BA ’51BM Eleanor G. Eriksson ’60BM ’61MM Charles F. Fraker ’46BM Renee K. Glaubitz ’51BM Eiji Hashimoto ’62MM Sherman Kahn ’56BM

Roderic M. Keating ’65MM Tonia O. Marcune ’73MM Bruce G. McInnes ’64MM Charles E. Page ’65MM Julia Schnebly-Black ’49BM ’50MM Eugene T. Simpson ’53BM ’54MM Deborah A. Shidler ’78MM Adrian P. Standaart ’73MM ’74MMA Mary D. Torrence ’41cert

Honor roll

The School of Music is grateful for the generous support of its alumni and friends. The following individuals made a contribution between November 1, 2020 and June 30, 2021. To make your gift, please visit yale.edu/givemusic.

Alumni Fund Marita Abner ’78MM Kent R. Adams Ole Akahoshi ’95CERT ’97MM Benjamin L. Aldridge ’72BA ’75MM Judith R. Alstadter ’66MM ’72MMA ’75DMA Hwayoung An ’12MM Gregory N. Anderson ’08MMA ’13DMA Wing Lam Au ’14MM Krists Auznieks ’16MM Amanda Dawn Baker ’00MM David B. Baldwin ’73MM ’74MMA ’79DMA Elena G. Bambach ’55BM ’56MM Carolyn A. Barber ’92MM Geoffrey W. Barnes ’74MM Monifa D. Barrow-Wass ’97MM James R. Barry ’83MM Julie Anne Bates ’94MM Janna Margaret Baty ’93MM David A. Behnke ’77MM Marco E. Beltrami ’91MM Gerda E. Bielitz ’56BM Jean S. Bills ’63MM George S. Blackburn, Jr. ’64BA ’67MM Michael C. Borschel ’74MMA ’79DMA Malcolm C. Bosma Ryan J. Brandau ’06MM ’07MMA ’11DMA Anna Kay Rachel Brathwaite ’03MM Karen L. Burlingame ’85MM K. Butler-Hopkins ’78MMA ’82DMA Bryan T. Campbell ’91MM Jesús Castro-Balbi ’99MM Yu Rhee Chae ’00MM Susan Chan ’90MM Heejin Chang ’13MM Melvin Chen ’91BS Wayman L. Chin ’83MM Diana L. Chou ’19MMA W. Ritchie Clendenin, Jr. ’67MM Rosemary Colson ’65MM Kim D. Cook ’81MM Gary Crow-Willard ’80MM Ronald A. Crutcher ’72MMA ’79DMA Ralph P. D’Mello ’62MM Richard L. De Baise ’67MM ’70MMA 46

Sharon Dennison ’79MM Irina Faskianos DePatie ’89BA ’90MM Deborah Dewey ’79MM Emma Lou Diemer ’49BM ’50MM Dominick DiOrio, III ’08MM ’08MMA ’12DMA Karen DiYanni ’96MM ’97AD Marie F.J. Dore ’81MM Robert A. Elhai ’86MM ’88MMA ’95DMA Jayson Rodovsky Engquist ’96MM Helen B. Erickson ’69MM Clinton J. Everett, III ’75MM Grace A. Feldman ’63MM Jamie Forseth ’12MBA Stuart A. Forster ’98MM ’99AD Kenneth H. Freed ’83BA ’87MM Jeff Fuller ’67BA ’69MM Richard J. Gard ’02MM ’04MMA ’07DMA Daniel Tran Gien ’94BS ’96MM Alexander Glantz ’93BA Richard H. Goering ’86MM Jie Gong ’07MM Daniel M. Graham ’63MM John M. Graziano ’66MM ’70MPhil ’95PhD Richard F. Green ’68MM ’69MMA ’75DMA Mary J. Greer ’78BA ’86MA Andrew F. Grenci ’84MM Barbara J. Hamilton-Primus ’86MMA ’93DMA June Young Han ’96MM ’97AD Ellen Schwartz Harris ’71BA ’87MPPM Edward Duffield Harsh ’88MM ’92MMA ’95DMA Eiji Hashimoto ’62MM Eva Marie Heater ’91MM Alexander Evergates Henry ’02BA ’03MM Benjamin P. Hoffman ’14MM Jee-Youn Hong ’05MM ’06AD Melissa Hopwood ’98MM William G. Hoyt, Jr. ’76MM Hsing-Ay Hsu Kellogg ’01MM Helen K. Hui ’69MM Wenbin Jin ’09cert ’13MM ’16AD David B. Johnson ’72MMA Boyd M. Jones, II ’77MM ’78MMA ’84DMA Molly S. Joyce ’17MM Jennie Eun-Im Jung ’01MM ’02AD Joyce B. Kelley ’56BM ’57MM Daniel Dixon Kellogg ’01MM ’03MMA ’07DMA Richard E. Killmer ’67MM ’71MMA ’75DMA Dong-Geun Kim ’09AD Naria Kim ’10MM ’11AD Nayeon Kim ’12MM ’13AD Youyoung Kim John T. King ’85MM Karen Schneider-Kirner ’90MM ’90MAR Daniel Kops, Jr.

Krzysztof D. Kowalewski ’01MM ’02AD Ronald H. Krasney ’75BA Mark R. Kroll ’71MM Sarita Kit Yee Kwok ’05MMA ’06AD ’09DMA Richard Lalli ’80MMA ’86DMA Christian Mark Lane ’08MM Theresa E. Langdon ’79MM David Lasker ’72BA ’74MM Genevieve Feiwen Lee ’89MM ’90MMA ’94DMA Linda T. Lienhard ’62MM Stephanie Yu Lim ’00BA Richard W. Lottridge ’58BM Michelle Lynn Louer ’95MDIV ’95MM Maija M. Lutz ’63MM Martha Maas ’68PhD Paige E. Macklin ’69MM Antoine Malette-Chénier ’14MM Michael E. Manning ’78MM John C. Marsh ’59MD Katherine Mireille Mason ’04MM Charles M. McKnight ’73MM Chouhei Min ’72MMA Robert W. Molison ’60MM Joanna C. Mongiardo ’98MM James R. Morris ’62MM Grant R. Moss ’82MM ’83MMA ’91DMA John-Michael Muller ’05MM Hando Nahkur ’06CERT ’08MM Conor R. Nelson ’05MM Abigail Andrews Nims ’07AD Lee Edwin Northcutt ’88MM Alan M. Ohkubo ’14MM ’15AD Vincent P. Oneppo ’73MM Martha B. Oneppo ’77MM John C. Orfe, V ’01MM ’02MMA ’09DMA Carl Joseph Oswald ’10MM William A. Owen, III ’79MM Stephen R. Pelkey ’85MM Lisa Ann Pelon Putukian ’81BA Sarah Marie Perkins ’07MM David T. Perry ’13AD Gregory M. Peterson ’85MM Kirsten Peterson ’90MM Kevin J. Piccini ’85MM Susan Poliacik ’74MM Joseph W. Polisi ’73MM ’75MMA ’80DMA ’14MDH Katharine F. Pollock ’19MM Benjamin Poole Tammy L. Preuss ’87MM William Purvis David J. Recca ’14MMA ’18DMA Linda S. Reinfeld ’67MM Gerald M. Rizzer ’65MM Hildred E. Roach ’62MM

honor roll

Svend J. Ronning ’91MM ’93MMA ’97DMA Linda L. Rosdeitcher ’59BM Werner G. Rose ’61MM Donald S. Rosenberg ’76MM ’77MMA Steven L. Rosenberry ’76MM Robert Scott Satterlee ’89MMA ’94DMA Elizabeth B. Schurgin ’07BA ’08MM S W. Schwenterly, III ’67BS Permelia S. Sears ’74MM Alan D. Seget ’71BA Inbal Segev Brener ’93CERT ’98MM Kenneth D. Singleton ’74MM ’75MMA ’81DMA James Austin Smith ’08MM Frank A. Spaccarotella ’73MM Philip D. Spencer ’77MM Luke D. Stence ’16MM ’17MMA Julie Margaret Stoner ’72MM Margaret A. Strahl ’56BM ’57MM Cynthia T. Stuck ’52BM Sarah Deborah Swersey ’89MM Derek Saiho Tam ’11BA Timothy D. Taylor ’85MM Suliman Tekalli ’16AD Laurance Milo Timm ’73MM ’74MMA ’81DMA Ling-Huei Tsai ’98MM Michael C. Tusa ’75BA ’76MM Ian Tuski ’15MM William W. Ulrich, Jr. ’55BM ’57MM William Jacob Van Wyk, III ’97BA Antoinette C. Van Zabner ’74MM ’75MMA June W. Vangerven ’81BA ’82MM John P. Varineau ’78MM Ferenc Xavier Vegh, Jr. ’92MM Emily Payne Veletzos ’99MM Allan D. Vogel ’71MMA ’75DMA Cheryl Rita Wadsworth ’95MM Althea Waites ’65MM Christopher R. Wall ’74BA Derrick Li Wang ’08MM Adam Brett Ward ’05MM Carol Kozak Ward ’85MM Elizabeth Ward ’70MMA Donald F. Wheelock ’66MM Joseph L. Wilcox ’66MM Christopher P. Wilkins ’81MM Christopher John Williams ’10MM Mary Diane Willis-Stahl ’80MM Rodney A. Wynkoop ’73BA ’80MMA ’85DMA Wei-Yi Yang ’95MM ’96AD ’99MMA ’04DMA Donna Yoo ’09MM Kyung Hak Yu ’87MM Joyce Ship Zaritsky ’63MM Kevin Zheng ’18MM ’20MPH

Michael A. Zuber ’14MM Sebastian Zubieta ’00MM ’02MMA ’09DMA

Endowed Scholarship, Support, and Resource Funds Denise and Stephen Adams ’59BA Preston G. Athey ’71BA Richard S. Auchincloss, Jr. ’64BA Frederick W. Beinecke, II ’66BA Nancy Marx Better ’84BA Serena and Robert Blocker ’95MAH Carole Cowan ’68MM ’69MMA ’80DMA Louis DiLeone Yolanda DiLeone Syoko A. Erle Susan and Edward Greenberg ’59BA Mary J. Greer ’78BA ’86MA Elinor L. Hoover ’89BA Carol Lieberman ’67MM ’70MMA ’74DMA and Mark Kroll ’71MM Tonia O. Marcune ’73MM† Elizabeth Sawyer Parisot ’66MM ’70MMA ’73DMA Bernard Perlmutter Eugene A. Pinover Arnold L. Polinger ’68BS The Presser Foundation Lori ’75BA ’76MM and Bruce Rosenblum ’75BA C. Newton Schenck, III Irving Sitnick Myra S. Swallow ’99BA

Morris Steinert Collection of Musical Instruments Chace Anderson Thomas P. Anderson Margaret and J. Warren Axline Alexander Sylvain Bauhart ’99MMA F. Vining Bigelow William E. Bliss Emile L. Boulpaep ’79MAH George Bozarth Kevin Brodie Sarah L. Brown John Burkhalter, III Guido Calabresi ’56BS ’58LLB ’62MAH Berclee Cameron Robert G. Clark

47

Constance Clement John J. Collins Philip J. Conforti Linda A. Cunningham Zach Domrese Richard G. Fabian ’65BA Grace A. Feldman ’63MM Mary J. Greer ’78BA ’86MA Arthur Haas Eric Hansen Malcolm S. Harris ’65BA Paul Hawkshaw Stephen S. Herseth ’69BA Joseph F. Hoffman ’65MAH C. Ellsworth Hood Peter Huvelle Francesco Iachello ’78MAH Donna Jarlenski and Bruce Larkin Susan Rees Jones Jeffrey S. Kahn ’70BA Richard D. Kaplan ’66MA ’69MPhil ’70PhD Philip J. Kass Kerry K. Keane David A. Keller Richard Kingston Elias Nicholas Kulukundis ’54BA Jim Lande William B. Lepler ’80MM Cynthia H. Livingston ’60MAT Robert W. Lyons ’64MD Thomas G. MacCracken ’73BA Harry G. Mairson ’78BA Susan J. Marchant ’76MM ’77MMA ’82DMA Ann H. Marlowe Elizabeth D. C. Meyer Craig A. Monson ’66BA Tiffany Kwan Ng ’05BA Marie-Suzanne Niedzielska George P. O’Leary ’64BS ’66MS ’69PhD Leonard Passano ’52PhD Peter C. Patrikis David G. Powrie William Purvis Diane K. Ransom Rodney J. Regier Lynda E. Rosenfeld ’16MAH Daniel E. Rosner ’74MAH Jeff C. Rubin Charles Rudig ’77MM Leonard J. Rutkosky Ellen Ryerson ’66MA ’70PHD ’87JD and Leon Plantinga ’64PHD Susan Schill Alan D. Seget ’71BA † Deceased

Honor roll

Damon B. Smith ’56BA John H. Solum Alan Steinert, Jr. Kurt S. Stenn ’84MAH Shepard B. Stone Robert Storr Susan E. Thompson ’79MM Erica Warnock Nick Wolf Beverly Woodward Nathaniel S. Yordon Earl L. Young Lixia Zhang and Timothy Steinert ’82BA

Music in Schools Initiative Judah E. Adashi ’98BA Carol E. Allen Wing Lam Au ’14MM and Ian Tuski ’15MM James M. Banner, Jr. ’57BA Thomas A. Blumenthal ’54BA ’62MPH Anna Kay Rachel Brathwaite ’03MM Jay Warren Bright ’71MArch Barbara and Joseph Cadolino Katherine N. Campbell ’58MN Hope S. Childs Merrell M. Clark ’57BA ’70MAR Roderick W. Correll ’57BS ’85MBA Gina Di Salvo Stephen V. Flagg ’57BS Richard J. Gard ’02MM ’03MMA ’07DMA Andrew J. Glass ’57BA Harold M. Hochman ’57BA ’59MA ’65PhD Pamela Getnick Mindell ’99MM ’00MMA ’05DMA Victor Thane Norton, Jr. ’57BS Robert B. Oppel Thomas D. Pollard ’01MAH Rubén Rodríguez-Ferreira ’11MM Laurie A. Brent Schiavone John B. Schoonmaker ’57BA Robert J. Smith ’57BA Leslie Storr C. Nicholas Tingley ’57BE Stephanie A. Tubiolo ’14BA ’16MM Robert S. Walker ’57BA Wei-Yi Yang ’95MM ’96AD ’99MMA ’04Dma Kurt Zinser

48

Norfolk Chamber Music Festival/Yale Summer School of Music Joyce Ahrens Jane and Richard Andrias Kimberly Arndt Annemarie and Herbert Arnold Ann Auburn and Trav Auburn Astrid and John Baumgardner John R. Beecher ’84MPH Alice and David Belgray Warren S. Bender Jonathan Berger Donald A. Bickford ’66BS Donald E. Black Lori Black Christopher Blair Gayle Blakeslee Serena and Robert Blocker ’95MAH Les Bluestone Ellen Beth Bogolub Elizabeth Bradford Borden ’04MEM D. Weston Boyd Joyce G. Briggs Cynthia and Burton Budick Margaret E. Burnett Annabella Bushra Ann Buxbaum Carol Camper and John Hartje Susan E. Carpenter Christopher and Craig Carr Shirley and George Carr Sally Carr George S. Case Oscar G. Chase ’63JD Melvin Chen ’91BS Starling W. Childs, II ’76BS ’80MFS John W. Childs ’65BA Deanne Chin Marvin L. Chin Marjorie and Roger Clarke Lewis G. Cole ’54LLB Suzanne K. Colt Connecticut Community Foundation Connecticut Public Broadcasting Inc. George Cronin John D’Agostino Barbara D’Ambruoso Robert A. Dance ’80MAR and Robert B. Loper Drew S. Days, III ’66LLB Paul H. Decoster ’55BA ’58LLB Andrew G. DeRocco

Katharine and Rohit Desai Johanna Dezurik Dianne Dinnean Louise Ducas Randall Dwenger Dalton G. Dwyer Daryl W. Eaton Bonnie and Clifford Eisler Norman S. Ellman Paul Ellner Robert J. Engling Rosalee and Nicholas Fanelli Mary and William Flowers Patricia M. Foston Alison B. Fox William Fuller Adrienne C. Gallagher and James H. Nelson John C. Garrels, III ’61BA Linda Garrettson Barbara L. Garside Catherine Gevers Elisabeth C. Gill David D. Gilmore Ellen D. Glass Alisa Goz Barbara Gridley Morton E. Grosz Ann Havemeyer ’75BA ’79MA ’82MPhil ’12PhD Paul Hawkshaw Peter S. Heller Ruth J. Henderson Suzanne M. Hertel Gerald Hess Mary and Peter Hess Tom Hlas and Paul Madore David P. Howard ’70BA Daphne M. Hurford Gary Ives James Jasper ’84BA Leila Javitch Marilyn and Steven Jeffrey Blair A. Jensen Philip C. Jessup Ralph C. Jones, Jr. ’64BA Edward Kamens ’74BA ’79MA ’82PhD Judith Kellner Joseph G. Kelly Richard H. Kessin ’66BA Robert N. Kitchen Sara M. Knight Elizabeth Knowles Bernard Kosto ’57BS ’62MD Carl Kraus Tom Kush

honor roll

Marlene Kwast Sandra Landau and Richard Rippe Carlene C. Laughlin Robert E. Lee Douglas J. Lint Elizabeth Kitridge and Christopher Little ’71BA David Long David N. Low, Jr. ’87MPPM Maija M. Lutz ’63MM Caitlin Macy ’92BA Ernest Malecki Joan Maloney Stephen Melville Mary E. Miller ’78MA ’80MPhil ’81PhD Robert M. Milstein ’70BA ’78PhD ’81MD Roger Mitchell and Frank Peterson Richard W. Moore David E. Moore Katherine C. Moore Deborah and Timothy Moore Michael J. Moran Jeffrey Morrison James Moye Grant Mudge Christian Murck ’65BA Valerie Nelson Colleen and Michael Nicastro Arthur Rosenblatt Jose W. Noyes Grace Noyes E. Devere Oakes Lois and Richard Pace Dorothy and Robert Pam Jennifer Perga Catherine Perga Heather Perrault Faye M. Polayes Edward R. Potter ’69MAT Andrew C. Quale, Jr. James Stephen Remis Peter Restler Cristin G. Rich ’88MEM and David B. Rich ’83BA Susan Roberts Marc Rosen Edward W. Russell, III Barbara and John Rutledge Samuel Schestenger Elizabeth Schorr and Eric Grossman Marla Schreibman Harvey Schussler Olga Schwede Helen E. Scoville Adrian Selby

Michael K. Selleck Julie Shapiro ’80MFA Judith Sherman Kathleen Sherrill Jonathan J. Silbermann Frank J. Silvestri, Jr. ’74JD Gordon W. Smith ’65BA Howard A. Sobel Elizabeth Sollors Anne-Marie Soulliere and Lindsey Chao-Yun Kiang ’64BA ’68LLB Barbara Spiegel Richard Stebbins Bruce Stein ’80BA Roxann Steinberg Peter Steinglass Keith Stevenson J. W. Streett Sarah ’98MDIV and Nicholas Thacher ’67BA Heather N. Thomson Richard F. Tombaugh Jack E. Triplett David Troyansky Beverly and Robert Vail David Van Buren Herbert A. Vance, Jr. ’65BA William S. Vaun Eliot Wadsworth, II Annick F. Wadsworth Walcott Family Fund Mark A. Walker ’66LLB Mary-Jo W. Warren Robert Wechsler Kate Wenner and Gilbert Eisner William N. White Willard L. Wood Donald G. Workman Wei-Yi Yang ’95MM ’96AD ’99MMA ’04Dma

Patron Programs Victor A. Altshul ’60MD Anne and Guido Calabresi ’53BS ’58LLB ’62MAH Terry S. Flagg Marjorie Funk ’84MSN ’92PHD Mary J. Greer ’78BA ’86MA Peter Hunt Daniel R. Kopti ’78BA Richard Lalli ’80MMA ’86DMA Maurice J. Mahoney ’82MAH Timothy A. Niemi Richard L. Petrelli ’65BA ’68MPH Thomas D. Pollard ’01MAH

Michael O. Rigsby ’88MD Marcus Sak Damon B. Smith ’56BA Jessica A. Tueller ’21JD

49

Principal Conductor Peter Oundjian leads a string-orchestra version of the Yale Philharmonia in a 50 recording session in Woolsey Hall

51

P.O. Box 208246 New Haven, CT 06520-8246

Special guests Handsome Dan and Heidi the Service Dog joined us in Morse Recital Hall prior to the 2021 Commencement Send-off event on May 21