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Yale Concert Band

Thomas C. Duffy, Music Director

“A New Haven Psalter” featuring the Yale Glee Club

Jeffrey Douma, Musical Director Woolsey Hall, Yale University

Friday, November 30, at 7:30 pm cole Porter George Gershwin arr. Jerry Brubaker

“Bingo,” “Whoop It Up,” and “Bulldog” (1912) An American in Paris (1929)

Thomas C. Duffy A Parisian in America (2000) charles ives trans. Richard Thurston Charles Ives arr. Keith Brion

Quincy Porter arr. Keith L. Wilson

The Alcotts (1920) Variations on “Jerusalem the Golden” (1888) featuring the Atticus Brass Quintet: Robby Moser, trumpet; Jay Villella, trumpet; Zachary Quortrup, horn; Kevin Dombrowski, trombone; Chris Brown, bass trombone “Dance” from Poem and Dance (1938)

~ INtermission ~

Ingram Marshall A New Haven Psalter (2012) (world premiere) I. “Give Ear, O God” II. “Broad is the Road That Leads to Death” featuring the Yale Glee Club Jeffrey Douma, Musical Director Alex Weiser

Winter Prayer (2011)

delvyn case

Rocket Sleigh (2008)

About Tonight’s Music “Bingo,” “Whoop It Up,” and Bulldog” (1912) Cole Porter ’13 Cole Porter (1891-1964) entered Yale University in the fall of 1909 and graduated in the spring of 1913. During his time at Yale, he composed about 300 songs, including his contest-winning athletic fight songs. Tonight’s concert performance commemorates the centennial of his three most famous Yale fight songs. An American in Paris (1929) George Gershwin/trans. Jerry Brubaker George Gershwin (1898-1937) made several excursions into the realm of art music. One of these, An American in Paris, was the result of a trip to Europe in 1928. Gershwin himself called this piece a “rhapsodic ballet: I have not endeavored to present any definite scenes in this music. The rhapsody is programmatic in a general impressionistic sort of way so that the individual listener can read into the music such episodes as his imagination pictures for him. The opening section is followed by a rich ‘blues’ with a strong rhythmic undercurrent. Our American friend, perhaps after strolling into a café, has suddenly succumbed to a spasm of homesickness. The blues rises to a climax followed by a coda in which the spirit of the music returns to the vivacity and bubbling exuberance of the opening part with its impressions of Paris.” A Parisian in America (2000) Thomas C. Duffy (1955 - ) A Parisian in America is a complement to George Gershwin’s An American in Paris. Unlike Gershwin’s piece, which was generally programmatic, Duffy’s piece fulfills a specific program, and creates a kind of musical travelogue for a fictional Parisian, Monsieur Rolleaux, visiting New York City in 1928 (the same year that Gershwin’s American was in Paris). M. Rolleaux (a distant relative of America’s Rollo) presents himself as a jaunty, cosmopolitan gentleman, perhaps one who has lived off the family money and is accustomed to a life of privileges (he “appears” first as a bassoon). He ambles around and lets everyone know that he has arrived, surrounded by whiffs of his national anthem. As his self-satisfaction grows, his particular theme takes on rhythm and begins to subsume everything, including The Star-Spangled Banner, the very anthem of his host country! At the height of his revelry, M. Rolleaux steps off the curb and this reverie is broken by taxis and the mad rush of Fifth Avenue traffic, all of which threaten to extinguish him. He brushes himself off, and then, regathering his deflated French ego, again attempts to cross the street. He probes the traffic here and there and eventually makes it across, turning the corner, only to run smack dab into the middle of the Macy’s Thanksgiving Day Parade! The marching bands immediately engulf him—hear his frantic attempts to reach the other side as he is buffeted by the marchers, who are also disrupted by him in their attempts to deliver standard march melodies. M. Rolleaux’s façade breaks a bit and one hears traces of his common ancestry—Frère Jacques, Sur le Pont D’Avingon, Alouette, and a snippet here and there of Gershwin’s American across the sea. M. Rolleaux makes it to the island in the center of the street and rests. This episode was a major trauma for him, a man unaccustomed to manual labor of any kind and any contact with the vulgate. He puffs up in pride that he triumphed over the parade and achieved the “island.” His motive and La Marseillaise begin to spin out and he regains his jaunty composure and, tentatively at first (perhaps by extending only one toe onto the street), strikes out again to conquer the other half of the street. A car whizzes by, taxis threaten: defeated, he resolves to try Canada (hear a whiff of O Canada), and scurries off into the bustle of New York traffic.

YALE CONCERT BAND The Alcotts (1920) Charles Ives ’98/ trans. richard thurston Richard Thurston (1933 - ) was the third director of Yale Bands, serving from 1980 to 1982. He served as the Director of the United States Air Force Band, and is known for his fine transcriptions for the contemporary concert band. He left Yale in 1982 to become the Dean of the School of the Performing Arts at Oklahoma City University. He writes about The Alcotts: “The Piano Sonata No. 2: the Concord Sonata, was composed by Charles Ives (1874-1954 and Yale class of 1898) in about 1915. It consists of four movements, each bearing the name of a famous mid-19th-century resident of Concord, Massachusetts: Emerson, Hawthorne, The Alcotts, Thoreau. Each movement is a musical impression of the personality and philosophical attitudes of its subject. While movements I, II, and IV are lengthy, musically complex, and pianistically difficult, The Alcotts is a section of simple and serene beauty—a touching and lovingly etched remembrance of the Alcott’s Orchard House ‘under the elms.’” Variations on “Jerusalem the Golden” (1888) Charles Ives ’98/trans. keith brion Keith Brion was the second Director of Yale Bands, serving from 1973 until 1980, where he led the Yale Band in concerts at the Kennedy Center, Carnegie Hall, and in an all-Ives program at Amsterdam’s Concertgebouw. Prior to coming to Yale, he was the founder and music director of the North Jersey Wind Symphony and a longtime band educator and music supervisor in the New Jersey public schools. Brion is now the Director of the New Sousa Band. He built the early part of his career primarily as a director of orchestral pops concerts, and since the founding of his New Sousa Band, he has impressed audiences throughout the nation with his knowledge and acute attention to detail in his performance practice of Sousa’s music as art, not simply entertainment. Charles Ives’ most important musical influences certainly included his experiences as the son of a Civil War Bandmaster, George Ives, and the various band musics he performed in his father’s band in Danbury, Connecticut. Although the younger Ives was born ten years after the close of the Civil War, his brass composition, Variations on “Jerusalem the Golden,” is an accurate representation of the sounds and performance practices of his father’s Union army band. “On certain national holidays, such as Washington’s or Lincoln’s Birthday, or the Fourth of July, it was usual for several bands from the country nearby to join under George Ives’ leadership in Danbury, and he would sometimes try breaking them up into sections that were stationed about, one perhaps up in the church steeple, another on the roof of the Danbury News Building on Main Street, and a third on the village green. Each section would play, in turn, a variation on Greenland’s Icy Mountains or Jerusalem the Golden specially composed for it.” “I always do Jerusalem the Golden on the cornet, first meeting. Knocks ’em cold...I can get more sinners weeping on Eb cornet than nine gospel artists...!” Charles Ives is thought to have written as least ten pieces specifically for band. Of these, only the marches Omega Chi and Intercollegiate exist in a completed form. Except for a portion of Runaway Horse on Main Street, the original versions of the others are thought to be lost. Fantasia on Jerusalem the Golden is one of the lost manuscript pieces. This arrangement uses another Ives work, Variations on “Jerusalem the Golden,” to recreate the Fantasia. The Variations was probably composed for organ, although some of the passages appear to be unplayable on that instrument. The music was thought to have been composed in 1888 when Ives was fourteen, and the possibility exists that the score was a sketch for a missing band piece. The tune Jerusalem the Golden is typical of the New England hymn tunes that were part of the fabric of Ives’ musical vocabulary. The band of Ives’ day, as exemplified by the marches, used a group of small-bore 19thcentury instruments, less full in the middle and bass than the modern concert band. In this reconstruction by

Keith Brion, a small village brass band is contrasted in concerto grosso style with a modern concert band, whose scoring more approximates the fuller sound of Ives’ symphonies. The Atticus Brass Quintet, made up of musicians from the Yale School of Music, is tonight’s featured “village brass band.” “Dance” from Poem and Dance (1938) Quincy Porter ’19/’21/trans. keith l. wilson Born in New Haven, Connecticut (1887-1966), Quincy Porter attended Yale University where his teachers included Horatio Parker and David Stanley Smith. Porter received two awards while studying music at Yale: the Osborne Prize for Fugue, and the Steinert Prize for orchestral composition. He performed the winning composition, a violin concerto, at graduation. Porter earned two degrees at Yale, an A.B. from Yale College and a Mus. B. from the music school, and was awarded the Pulitzer Prize in Music in 1954. Porter served on the faculty of the Yale School of Music and was a close friend of Yale Professor and first Director of Bands Keith L. Wilson. Following a performance of Porter’s Poem and Dance by the New Haven Symphony Orchestra (of which Keith Wilson was principal clarinet), Prof. Wilson asked for and received permission to arrange the Dance for band. Keith L. Wilson (1916 - ) was Yale University’s first Director of Bands, serving from 1946 to 1973. A New Haven Psalter (2012) Ingram Marshall (1942 - ) Part I “Give Ear, O God” (“Hackney” from Bay Psalmbook of 1698) Part II “Broad is the Road That Leads to Death” (“Windham” from Daniel Read’s American Singing Book 1785) “I have long been intrigued by early American psalmody, especially the composed works of ‘singing masters’ such as William Billings, Justin Morgan, and Daniel Read, whose tunes I have used as ground material for several compositions. “These itinerant musicians were active in New England in the later part of the 18th century into the early 19th. The tunes of the Massachusetts Bay Psalm Book of 1698 – the first printed music in North America – were used by congregations a century before the more ‘learned’ setting by Read and company. “The tune ‘Hackney’ was paired with Psalm 617 (‘Give Ear, O God’) and most likely would have been heard in some of the early New Haven Congregational-Puritan meetinghouses. The psalm setting by New Haven’s own Daniel Read most certainly did resound over the Green fairly frequently as can be attested to by his prodigious array of compositions, most of which he himself published. “It struck me that a tune from the Bay Psalm book and one by Read would cover a period from the earliest Puritan days (the later 1600s) to the Federalist Era of the late 1700s. “My setting of these texts, using the basic melodic ideas found in them, is pretty straightforward; but there is much textural variation, especially in the use of cascading canons which are often heard in the chorus as well as the band, sometimes separately, sometimes in doubling unisons. In keeping with its earlier origins, ‘Hackney’ is perhaps a bit more rudimentary in its construction, while Read’s ‘Windham’ (‘Broad is the Road’) is more sophisticated, reflecting his more learned background.” – Ingram Marshall A New Haven Psalter was commissioned by the Yale Concert Band and the Yale Glee Club. The Band’s portion of the commission was provided, in part, by the Robert Flanagan Yale Band Commissioning Endowment. Robert Flanagan (’63) was a member of the Yale Bands, and is now Konosuke Matsushita Professor of International Labor Economics and Policy Analysis, Emeritus, at Stanford University. His generosity made it possible to commission this fine music.

YALE CONCERT BAND I. Give Ear, O God Give ear, O God unto my cry, unto my pray’r attend. When my heart is opprest, to thee cry will I from earth’s end. Lead thou me up into the rock that higher is than I. For thou my shelter and strong fort hast been from th’ enemie. Within thy tabernacle I for ever will abide; Within the covert of thy wing I’ll seek my self to hide. For thou O God hast heard the vows that I to thee have past: The heritage to them that fear thy name, thou given hast. Unto the king his days there shall be added days by thee;

His years as generation and generation be. In the presence of the mighty God he shall abide for aye: Benignity and truth prepare, that him preserve they may. So then will I for evermore unto thy Name sing praise; That I the vows that I have made performe may all my days. II. Broad is the Road That Leads to Death Broad is the road that leads to death, And thousands walk together there; But wisdom shows a narrower path, With here and there a traveler.

Winter Prayer (2011) Alex Weiser ’11 “The shimmering frozen landscapes of winter can give us pause. They can make us stop and contemplate life’s transience and beauty. Winter Prayer is a meditation on these feelings. The sounds of bells are heard above undulating, slowly moving textures painting a frozen wintery landscape from which elegiac lyrical lines sprout.” – Alex Weiser (Learn more about Alex Weiser’s work at the composer’s website, Rocket Sleigh (2008) Delvyn Case ’97 How does Santa deliver THAT many presents to THAT many children, all in one night? Maybe he’s taken advantage of some space-age technology... Delvyn Case is a composer, conductor, scholar, performer and educator based in Boston. While at Yale he played euphonium in the Yale Concert Band, conducted the Bach Society Orchestra, and wrote music for the Yale Concert Band and Yale Symphony Orchestra.


About The Featured Composer Composer Ingram Marshall lived and worked in the San Francisco Bay Area from 1973 to 1985 and in Washington State, where he taught at Evergreen State College, until 1989. His current base is Connecticut, where he is a Visiting Lecturer in Composition at the Yale School of Music. He studied at Columbia University and California Institute of the Arts, where he received an M.F.A., and has been a student of Indonesian gamelan music, the influences of which may be heard in the slowed-down sense of time and use of melodic repetition found in many of his pieces. In the mid-seventies he developed a series of “live electronic” pieces such as Fragility Cycles, Gradual Requiem, and Alcatraz, in which he blended tape collages, extended vocal techniques, Indonesian flutes, and keyboards. He performed widely in the United States and Europe with these works. In recent years he has concentrated on music combining tape and electronic processing with ensembles and soloists. His music has been performed by ensembles and orchestras such as the Theater of Voices, Kronos Quartet, Bang on a Can All-Stars, Los Angeles Philharmonic, San Francisco Symphony, St. Louis Symphony, and American Composers Orchestra. He has received awards from the National Endowment for the Arts, Rockefeller Foundation, Fromm Foundation, Guggenheim Foundation, and the American Academy of Arts and Letters. Recent recordings are on Nonesuch (Kingdom Come) and New Albion (Savage Waters). Among recent chamber works are Muddy Waters, which was commissioned and performed by the Bang on a Can All-Stars, and In Deserto (Smoke Creek), commissioned by Chamber Music America for the ensemble Clogs. January 2004 saw the premiere of Bright Kingdoms, commissioned by Magnum Opus/Meet the Composer, and performed by the Oakland-East Bay Symphony under Michael Morgan. The American Composers Orchestra in New York premiered his new concerto for two guitars and orchestra, Dark Florescence, at Carnegie Hall in February 2005. Orphic Memories, commissioned by the Cheswatyr Foundation, was composed for the Orpheus Chamber Orchestra and premiered in Carnegie Hall in April 2007.

Upcoming Yale Bands Performances

• Sunday, December 2, 2012: Yale Jazz Ensemble “Double Bars” at GPSCY. Two concerts of cabaret jazz, featuring the music of Count Basie and Miles Davis. 3:00 pm and 7:00 pm. Yale’s GPSCY Bar, 204 York St., New Haven. Free. • Friday, February 15, 2013: Yale Concert Band Winter Concert. Breaking Winds Bassoon Concerto (Scott Switzer YSM 12), with the Breaking Winds Quartet. Firebird Suite (Igor Stravinsky, arr. Randy Earles, ed. Frederick Fennell); Lost Vegas (Michael Daugherty). 7:30 pm, Woolsey Hall. Free. • Monday, February 25, 2013: Yale Jazz Ensemble Cole Porter Centennial Celebration. Featuring an assortment of Cole Porter arrangements in honor of the centennial of Porter’s graduation from Yale University. 7:30 pm, Morse Recital Hall in Sprague Memorial Hall. Free. For further information, please contact: Yale University Bands P.O. Box 209048, New Haven, CT 06520–9048 ph: (203) 432–4113; fax: (203) 432–7213;

About the Music Directors Thomas C. Duffy (b. 1955), composer and conductor, is Professor (adjunct) of Music and Director of Bands at Yale University. He served as Acting Dean of the School of Music in 2005-2006, having served as Associate Dean since 1996 and Deputy ­­Dean since 1999. He has served as a member of the Fulbright National Selection Committee and was a member of the historic Tanglewood II Symposium (2007). He attended the Harvard University Institute for Management and Leadership in Education in 2005. He has served as president of the College Band Directors National Association (CBDNA) and the New England College Band Association (NECBA), editor of the CBDNA Journal, publicity chair for the World Association of Symphonic Bands and Ensembles, and chair of the Connecticut Music Educators Association’s Professional Affairs and Government Relations committees, and has represented music education in Yale’s Teacher Preparation Program. He is member of American Bandmasters Association, American Composers Alliance, Connecticut Composers Inc., the Connecticut Academy of Arts and Sciences, and BMI. An active composer with a D.M.A. in composition from Cornell University, where he was a student of Karel Husa and Steven Stucky, he has accepted commissions from the American Composers Forum, the United States Military Academy at West Point, the U.S. Army Field Band, and numerous bands, choruses and orchestras. He joined the Yale faculty in 1982. In 2009 he received an award from the United States Attorney’s Office for his innovative program with the Yale Concert Band (Yale 4Peace Rap for Justice) which, through the integration of classical and rap music, addressed gangs, crime and violence in Connecticut’s cities. Since the fall of 2003, Jeffrey Douma has served as Director of the Yale Glee Club, recently hailed by The New York Times as “one of the best collegiate singing ensembles, and one of the most adventurous.” He also serves as Associate Professor of Conducting at the Yale School of Music, where he teaches in the graduate choral program, and as founding Director of the Yale Choral Artists. He served as Artistic Director of the first Yale International Choral Festival in June 2012. Douma has appeared as guest conductor with choruses and orchestras on six continents, including the Royal Melbourne Philharmonic Orchestra, Daejeon Philharmonic Choir, Tbilisi Symphony Orchestra, Buenos Aires Philharmonic Orchestra, Moscow Chamber Orchestra, Windsor Symphony Orchestra, Orquesta Solistas de la Habana, Istanbul’s Tekfen Philharmonic, and the Symphony Choir of Johannesburg. He also currently serves as Musical Director of the Yale Alumni Chorus, which he has lead on seven international tours, and as Artist-in-Residence at the Cathedral of St. Joseph in Hartford, CT, where recent performances include Handel Messiah with the New Haven Symphony Orchestra, Schütz Musikalische Exequien and Bach St. John Passion with baroque orchestra, Robert Levin’s completion of Mozart Requiem, and Arvo Pärt Te Deum. Douma earned a Bachelor of Music degree from Concordia College, Moorhead, MN, and the Doctor of Musical Arts degree in conducting from the University of Michigan.

YALE GLEE CLUB 2012-2013 JEFFREY DOUMA, Music Director T. SEAN MAHER, Business Manager Soprano I Emily Diana ’15 Caroline Diehl ’15 Rachel Glodo ’13* Rachel Goldstein ’16 Emily Johnson ’16 Helen McCreary ’13† Jessica Moore ’13 Sarah Norvell ’15 Becca Trietch ’13 Stephanie A. Tubiolo ’14 Harriet Weaver ’13 Soprano II Ashby B. Cogan ’14 Marisa Karchin ’14 Eleanor Killiam ’15* Brooke Lamell ’16* Liya Lomsadze ’13 Tess Maggio ’16 Lauren Morgan ’13* Johanna Press ’15 Emma Schmidt ’15 Hana Zegeye ’13 Lisa T. Zhang ’15 Alto I Ye Seul Byeon ’15 Miriam Lauter ’13 Jenna Li ’15 Victoria Pierre ’15 Ruthie Prillaman ’16 Rachel Protacio ’15* Ingrid Rochon ’13 Helen Rouner ’16 Adrianna Tam ’13 Marcella Wigg ’14 Jessica Yang ’16

Adrianna Tam SOM ‘13, Assistant Conductor Peter Thompson ‘13, Assistant Student Conductor Stephanie Tubiolo ‘14, Assistant Student Conductor

Alto II Claire Donnelley ’14*† Leah Latterner ’14 Esther Portyansky ’16 Isabel Singer ’16 Merav Stern ’13 Ari Susu-Mago ’13 Maria Luisa Torruella ’15* Cynthia Weaver ’12 Ayanna Woods ’14* Scarlett Zuo ’16* Tenor I Terrence Chin-Loy ’14 John B. Clayton ’13 Connor Kenaston ’14 Ker Medero ’13 Jacob Metrick ’13 Eli Mitchell-Larson ’13 Kyle Picha ’14 Alexander Turner ’16 Tony Valenzuela ’13 Ben Watsky ’13

Bass I Ehrik Aldana ’15* Markus Aron Boesl ’14*† Adam Fishman ’13 Travis Heine ’14 Matthew Hoffer-Hawlik ’13 Timothy Laciano ’15* Retley Locke, Jr. ’15* Pietro Miozzo ’15 Andre Shomorony ’13 Peter Thompson ’13* Justin Young ’15 Bass II Nicholas Agar-Johnson ’16 Beau Birdsall ’16 Connor Buechler ’14 Yan-Yang Feng ’16 Dayrin Jones ’16 David Kemper ’13 Christopher Murray ’13 Evan Patel ’15 Gabe Petegorsky ’16* Andrés Alfredo Valdivieso ’16 Henry Wilkin ’13

Tenor II Brent Barbieri ’13* * Chamber singers Acshi Haggenmiller ’15 † Section leader Atid Kimelman ’13*† Timothy Lind ’15 Nicholas Maas ’14 Alexander Oki ’13 Joshua Ugochukwu Okonkwo ’13 Jonathan Rajaseelan ’15 Joseph Tremblay ’15 Sharif Vakili ’13

Yale Glee Club Officers President: Eli Mitchell-Larson Stage Manager: Miriam Lauter Social Chairs: Connor Buechler, Connor Kenaston I nternational Tour Managers: Caroline Diehl, Rachel Protacio Outreach Chairs: Leah Latterner, Stephanie Tubiolo

Manager: Wardrobe Chair: Publicity Chair: Archivist:

Jacob Metrick John Clayton Lisa Zhang Ingrid Rochon

YALE CONCERT BAND 2012-2013 THOMAS C. DUFFY, Music Director STEPHANIE T. HUBBARD, Business Manager Piccolo Joohee Son SY 15 *

Bass Clarinet Ben Weissler CC 15 *

Flute Leah Latterner CC 14 * Principal Paige Breen SY 16 * Ariana Hackenburg GSAS 17 Lance Banks ES 15 Monica Ague SM 14 Vicky Tu DC 16

Bassoon Nick Baskin ES 14 * Principal Miguel Goncalves ES 16 * Elizabeth Qi CC 16 *

Oboe Mason Ji MC 16 * Principal Jessica Hallam SM 16 * Jeffrey Reinhardt YSM 13 * English Horn Jessica Hallam SM 16 Eb Clarinet Carrie Cao MC 15 * Clarinet Albert Jiao SY 16 * Keith L. Wilson Principal Clarinet Chair Eugene Kim BK 16 * Acshi Haggenmiller MC 15 * Daniel Hwang TC 16 * Molly Haig DC 14 * Catherine Holland ES 16 * Liz Jones BR 15 * James Mandilk SY 13 * Carrie Cao MC 15 * Nathan Prillaman JE 13 * Melinda Becker TC 15 * Rachel Yen SM 14 * Paul Singer JE 16 *

Alto Saxophone Alex Pappas SM 15 Principal Alyssa Hasbrouck MC 14 Tenor Saxophone William Gearty BR 14 Baritone Saxophone Catherine Stark BR 16 Trumpet Jean Laurenz YSM 13 Principal Robby Moser YSM 14 * William Thomas PC 16 * Joshua Stein TD 13 * Connor Moseley BK 14 * Jeffery March TD 15 Sagar Setru BR 13

Trombone Emily Massey JE 14 * Principal Noah Steinfeld MC 14 * Melvin Loong SY 14 * Euphonium Stephen Ivany YSM 14 * Tuba James Volz SY 15 * Piano David Molina TD 15 Percussion Chase Young CC 13 Principal Samuel Anklesaria ES 15 Victor Caccese YSM 13 Erin Maher SM 14 Anne Schweikert BK 15 Music Librarian Nick Baskin ES 14

* playing in A New Haven Psalter

French Horn Daniel Rigberg BK 15 * Principal Samuel Nemiroff JE 16 * Katherine McDaniel JE 14 * Austin Long CC 15 *

Yale Concert Band Officers President: Sagar Setru Personnel Manager: Katherine McDaniel General Managers: Monica Ague, Erin Maher Media Specialist: Rachel Yen Social Chairs: Melinda Becker, Annie Schweikert

Yale Concert Band  

performance on 11/30/2012

Yale Concert Band  

performance on 11/30/2012