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program

Ma mère l’Oye (Mother Goose Suite) Maurice Ravel Pavane of the Sleeping Beauty Hop o’ My Thumb Laideronette, Empress of the Pagodas Conversations of Beauty and the Beast The Fairy Garden

Music in Common Time (World Premiere) Caroline Shaw with Yale Glee Club Jeffrey Douma, guest conductor Intermission

Symphony No. 4 in G Major Gustav Mahler Jessica Pray, soprano Bedächtig, nicht eilen (Moderately, not rushed) In gemächlicher Bewegung, ohne Hast (Leisurely moving, without haste) Ruhevoll, poco adagio (Peacefully, somewhat slowly) Sehr behaglich (Very comfortably)

{Please silence all portable electronic devices}


about the artists

Toshiyuki Shimada, Music Director Toshiyuki Shimada is Music Director and Conductor of the Eastern Connecticut Symphony Orchestra in New London; Music Director and Conductor of the Orchestra of the Southern Finger Lakes; and has been Music Director of the Yale Symphony Orchestra of Yale University since 2005. He is also Music Director Laureate of the Portland Symphony Orchestra in Portland, Maine, for which he served as Music Director from 1986 to 2006. Prior to his Portland engagement he was Associate Conductor of the Houston Symphony Orchestra for six years. This season Maestro Shimada will continue to be active with his three orchestras, as well as his teaching duties at Yale University. He will also be guest conducting the Borusan Istanbul PhilPhoto by Harold Shapiro harmonic Orchestra in Istanbul, Turkey; and the Bilkent Symphony Orchestra in Ankara, Turkey. Maestro Shimada has been a frequent guest conductor with a number of international orchestras, including the Bilkent Symphony Orchestra in Ankara, the Izmir State Symphony Orchestra in Izmir, the Lithuanian State Symphony Orchestra in Vilnius; La Orquesta Filharmónica de Jalisco, Guadalajara, Mexico; the Moravian Philharmonic Orchestra; the Karlovy Vary (Karlsbad) Symphony Orchestra; the Prague Chamber Orchestra; the Slovak Philharmonic; NÖ Tonkünstler Orchestra in Vienna; L’Orchestre National de Lille in France; and the Royal Scottish National Orchestra at the Edinburgh Festival. He has also guest conducted the Houston Symphony, the Honolulu Symphony Orchestra, the Chautauqua Symphony Orchestra, the San José Symphony Orchestra, the Boston Pops Orchestra, the Pacific Symphony Orchestra, the Edmonton Symphony Orchestra, and many other US and Canadian orchestras. He has collaborated with distinguished artists such as Itzhak Perlman, Andre Watts, Peter Serkin, Emanuel Ax, Yefim Bronfman, Idil Biret, Peter


Frankl, Janos Starker, Joshua Bell, Hilary Hahn, Nadjia Salerno-Sonnenberg, Cho-Liang Lin, Sir James Galway, Evelyn Glennie, and Barry Tuckwell. In the Pops field he has performed with Doc Severinsen, Willie Nelson, Johnny Cash, Marvin Hamlisch, and Toni Tennille. Maestro Shimada has had the good fortune to study with many distinguished conductors of the past and the present, including Leonard Bernstein, Herbert von Karajan, Herbert Blomstedt, Hans Swarovsky, and Michael Tilson Thomas. He was a finalist in the 1979 Herbert von Karajan conducting competition in Berlin, and a Fellow Conductor in the Los Angeles Philharmonic Institute in 1983. In addition, he was named Ariel Musician of the Year in 2003 by Ariel Records, and received the ASCAP award in 1989. He graduated from California State University, Northridge, studying with David Whitwell and Lawrence Christianson, and attended the University of Music and Dramatic Arts in Vienna, Austria. He records with the Vienna Modern Masters label, and currently has fifteen recordings with the label. He also records for Capstone Records, Querstand-VKJK (Germany), and Albany Records. His recording of Gregory Hutter’s Skyscrapers and his Hindemith CD project with pianist Idil Biret have been released through the Naxos label. His Music from the Vatican with the Prague Chamber Orchestra and Chorus is available through iTunes and Rhapsody. Maestro Shimada holds a teaching position at Yale University, as Associate Professor of Conducting with Yale School of Music and Department of Music. He has a strong commitment to music education, and has been a faculty member of Rice University, Houston, Texas; the University of Southern Maine; and served as Artist Faculty at the Houston Institute of Aesthetic Study. He resides in Connecticut with his wife, concert pianist Eva Virsik.

Jeffrey Douma, Guest Conductor Since the fall of 2003, Jeffrey Douma has served as Director of the Yale Glee Club. He also serves as Professor of Conducting at the Yale School of Music, where he teaches in the graduate choral program, as founding Director of the Yale Choral Artists, and as Artistic Director of the Yale International Choral Festival. Douma has appeared as guest conductor with choruses and orchestras


on six continents, including the Royal Melbourne Philharmonic Orchestra, Singapore’s Metropolitan Festival Orchestra, Lithuanian Chamber Orchestra, Daejeon Philharmonic Choir, Buenos Aires Philharmonic Orchestra, Moscow Chamber Orchestra, Tbilisi Symphony Orchestra, Orquesta Solistas de la Habana, Istanbul’s Tekfen Philharmonic, Norway’s Edvard Grieg Kor, the Symphony Choir of Johannesburg, the New Haven Symphony Orchestra, and the Central Conservatory’s EOS Orchestra in Beijing, as well as the Yale Philharmonia and Yale Symphony Orchestras. He also currently serves as Musical Director of the Yale Alumni Chorus, which he has lead on nine international tours. He also served as Choirmaster at the Cathedral of St. Joseph in Hartford, CT, where performances ranged from Bach St. John Passion with baroque orchestra to Arvo Pärt Te Deum. Choirs under his direction have performed in Leipzig’s Neue Gewandhaus, Dvorak Hall in Prague, St. Peter’s Basilica in Rome, Notre Dame de Paris, Singapore’s Esplanade, Argentina’s Teatro Colon, the Oriental Arts Center in Shanghai, Avery Fisher Hall and Carnegie Hall, and he has prepared choruses for performances under such eminent conductors as William Christie, Valery Gergiev, Sir Neville Marriner, Sir David Willcocks, Dale Warland, Krzysztof Penderecki, Nicholas McGegan, and Helmuth Rilling. Douma has presented at state, divisional, and national conventions of the ACDA and NCCO. Active with musicians of all ages, Douma served for four years on the conducting faculty at the Interlochen Center for the Arts, America’s premier training ground for high school age musicians, conducting the Concert Choir, Women’s Choir, and Festival Choir. He frequently serves as clinician for festivals and honor choirs. Recent engagements include conducting masterclasses at the China International Chorus Festival, the University of Michigan School of Music, the Jacobs School of Music at Indiana University, the Hochschule der Künste in Zurich, the Florence International Choral Festival, and the Berlin Radio Choir’s International Masterclass. In January and February 2017 he was in residence at Luther College as Visiting Conductor of the internationally renowned Nordic Choir, and in April 2017 was in residence at the Central Conservatory of Music, Beijing. An advocate of new music, Douma established the Yale Glee Club Emerging Composers Competition and Fenno Heath Award, and has premiered


new works by such composers as Jennifer Higdon, Dominick Argento, Bright Sheng, Ned Rorem, Jan Sandström, Ted Hearne, Hannah Lash, Martin Bresnick, David Lang, Rene Clausen, Lewis Spratlan, and James Macmillan. He also serves as editor of the Yale Glee Club New Classics Choral Series, published by Boosey & Hawkes. His original compositions are published by G. Schirmer and Boosey & Hawkes. A tenor, Douma has appeared as an ensemble member and soloist with many of the nation’s leading professional choirs, including the Dale Warland Singers, Bella Voce of Chicago, the Oregon Bach Festival Chorus, and the Robert Shaw Festival Singers. In the spring of 2003, Douma was one of only two North American conductors invited to compete for the first Eric Ericson Award, the premier international competition for choral conductors. Prior to his appointment at Yale he served as Director of Choral Activities at Carroll College, and also taught on the conducting faculties of Smith College and St. Cloud State University. 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. He lives in Hamden, CT, with his wife, pianist and conductor Erika Schroth, and their two children, Sofia and Will.

Jessica Pray, Soprano Jessica Pray, soprano, recently performed Faure’s Requiem with the Jacksonville Symphony. “With exquisite control and warm vocal timbre, she provided this listener’s highlight of the evening.” — Jacksonville News Ms. Pray’s recent opera credits include the roles of Despina in Cosí fan Tutte and Helena in A Midsummer Night’s Dream with Yale Opera, and Zerlina in Don Giovanni with Cedar Rapids Opera Theatre. On the concert stage, credits include Bach’s Mass in B Minor with Orchestra Iowa, Messiah with the New Haven Symphony Orchestra, and Gabriel in The Creation with the Yale Philharmonia. Ms. Pray earned a Master of Music in Voice (Opera) from the Yale School of Music in May 2017, where she studied with Doris Yarick-Cross. Jessica is the 2017 winner of the David L. Kasdon Memorial Prize.


notes on the program Ma mère l’Oye (Mother Goose Suite) Maurice Ravel Like so many of Ravel’s orchestral works, the Mother Goose Suite was originally conceived as a piano piece. The original form was a suite for piano, four hands, written in 1908. The inspiration for the piece came from an illustrated volume of the 17th-century Mother Goose stories of Charles Perrault which Ravel used to read to the children of his friends, the Godebskis. The composition was written to help the children practice and was also dedicated to them. Two years after its completion, Ravel was commissioned to orchestrate the work as a ballet for the Paris Opera. Interludes were added, the order was changed to make a complete ballet, and the libretto, which now consisted of a series of dream scenes within the Sleeping Beauty story, was written by Ravel himself. Later the five pieces of the original piano version were taken out and placed in their original order to become the suite heard tonight. The piece is a superb example of Ravel’s style- the refined sensibility of the mature composer is present everywhere. Harmonic richness is tempered with classical restraint. Delicately subtle reharmonizations of simple material (like the opening four bars) glide by almost unnoticed; momentary chromaticism decorates diatonic passages, and exotic pentatonic colors mix with modal cadences. Perhaps the most superb example of harmonic control is the breathtakingly beautiful opening of the final movement. There is probably no section in all of Ravel’s works more sumptuous in its harmony, yet the entire 22 bars (but for one F# in the viola) contain not a single accidental, non-diatonic note. This restraint can also be heard in the extraordinary orchestration. Ravel has always been famous as a creator of unique instrumental textures, and there are novel sounds in the piece: the piccolo and harmonics of the chirping birds in the second movement, and the contrabassoon representing the Beast in the fourth movement. What is more virtuosic, however, is the intimacy of the orchestration: Ravel preserves the simplicity of the musical conception as the fragile scoring isolates refined orchestral moments — a pizzicato bass, a flute in the low register, a chord shifting from horns to cello harmonics. The instrumental writing comes out of the very essence of the musical thought. The simple world of a child’s fairy tale is preserved and enhanced by Ravel’s transparent dreamlike orchestration.


The five scenes, or tableaux, in the ballet are as follows: I Pavanne de la Belle au bois dormant — The sleeping princess is gently laid to rest by two ladies-in-waiting as the dream spectacle is about to begin. II Petit Poucet — The children of a poor woodcutter wander through a forest. Hop of My Thumb tries to reassure his brothers, who fear they are lost, by leaving a trail of bread crumbs. While they are sleeping, birds eat the crumbs, and the children awake to find their trail has disappeared. III Laideronnette Imperatrice des Pagodes — The ugly Laideronnette is an enchanted princess on the island of the Pagodins. The Pagodins are made of precious stones and crystal, and fall on their knees as a gong announces the approach of the princess. As she bathes, the Pagodins sing and play on their exotic instruments of nut shells. IV Les entretiens de la Belle et de la Bete — Beauty and the Beast meet. At first Beauty is scared of the Beast and repulses his advances. When he finally wins her affections, the spell is broken and the Beast is transformed into a handsome prince. V Le jardin feerique — The opening scene of the sleeping princess’ garden returns. Prince Charming comes and wakes the princess, and the spirit is one of great glee. Robert Kapilow

Music in Common Time (World Premiere) Caroline Shaw From the beginning, Music in Common Time was a dream project. Not just for the prospect of bringing together some of my favorite musical colleagues from different worlds, but also for the sonic possibilities of combining A Far Cry’s rich string sound with Roomful of Teeth’s varied vocal timbres. The version performed tonight is a newly expanded version for full orchestra and chorus created for the Yale Glee Club and Yale Symphony Orchestra. The music begins with a D-Major chord unraveling into arpeggiating strings, pulsating winds, and humming voices, eventually settling into a darker harmonic world. The heart of the piece, about halfway through, is a continuously rising harmonic sequence that pivots toward and away from expecta-


tion. What follows is a quiet reflection on the inevitable passing of time and perhaps the ephemerality of music. Caroline Shaw

Symphony No. 4 in G major Gustav Mahler It seems an appropriately Mahlerian irony that the symphony which eventually took its place as the most immediately accessible in the composer’s oeuvre was greeted initially with such bewilderment and in some cases outrage. Certainly the relatively conservative forces Mahler employed (there are no trombones or tuba, scant percussion and generally restrained scoring for the horns and trumpets) would have come as a surprise to contemporary listeners, particularly following on the heels of the gargantuan third symphony. What proved to be the greatest source of controversy, however, was the symphony’s finale—a setting of the poem from Des Knaben Wunderhorn entitled Das himmlische Leben (“The Heavenly Life”). Originally intended as a finale for the third symphony (and bearing the subtitle “what the child tells me”), it was later discarded, becoming instead the genesis for the fourth symphony. The subtitle might well have been placed at the head of the whole piece, since the fourth symphony is continually concerned—one might almost say obsessed—with the notion of innocence and childhood. This is immediately apparent from the opening bars of the first movement, where chirping flutes and sleigh-bells make an obvious allusion to the cradle. This symbolic sound returns at crucial points, serving to delineate the movement’s formal architecture. The principal themes are Viennese charm incarnate, from the violins’ beautifully poised first subject to the broadly sung second theme in the cellos. The development combines old and new material (notably an extended theme for four unison flutes which will later crown the third movement and serve as the basis for the finale), building to a joyful climax that suddenly and sourly erupts in a great tidal wave of bitterness, causing the music to stutter and disintegrate. But in the same way as a child’s temper tantrum vanishes as quickly as it appeared, so the good spirits are restored in the recapitulation after the briefest of pauses. The coda bids a fond farewell to the principal theme at an exaggerated slow tempo before a boisterous accelerando rounds off the movement.


The second movement has been likened by the English music critic Sir Neville Cardus to “the shadows cast by flickering candlelight on the walls of a child’s nursery.” The music has a shadowy, unsettled quality to it that does indeed seem to evoke images of a child’s nightmare. The scherzo sections feature a concertante role for the concertmaster, who is instructed to use a violin tuned up a whole step in order to create a rather grotesque, cheap sound—death plays the fiddle. The two trios, with their unabashed pure Viennese Schmaltz, provide appropriate respite from this ghoulish morbidity. The vast slow movement opens with a memorable cantilena for divided cellos that breathes the same air of sublime calm as the famous Adagietto from the fifth symphony. This spawns two sets of variations which are interspersed by two turbulent, impassioned interludes (the second being itself a variation of the first). The second set of variations gives way to the movement’s extraordinary climax — a huge, unexpected outburst in the luminous key of E major as the gates of heaven are gloriously revealed in a blaze of awe-inspiring might This forms a wondrous transition to the finale, a child’s vision of the newly attained paradise. In this fairy-tale world where the angels bake the bread, Saint Peter catches the fishes and Saint Lukas slaughters the oxen, we are presented with a vivid and blissfully unaffected view of true child-like wonderment. “The angelic voices elevate the senses so that everything awakes for joy”, sings the soprano, and the harp rocks us gently into eternity. Alasdair Neale


Yale Symphony Orchestra Toshiyuki Shimada, Music Director Brian Robinson, Managing Director Ian Niederhoffer, Assistant Conductor Henry Shapard, Assistant Conductor Presidents Noah Stevens-Stein Jacob Sweet Librarians Shiori Tomatsu, Head Librarian Annabel Chyung Dennis Zhao Publicity Mary Martin Kai-Lan Olson Social Sonali Durham Spencer Parish Alumni Laura Michael Amanda Vosburgh Alex Wang Stage Crew Evan Pasternak, Manager Cameron Daly Sonali Durham Mary Martin Spencer Parish Poster Design Sida Tang

First Violin Cameron Daly ’18, Co-Concertmaster Evan Pasternak ’19, Co-Concertmaster Annabel Chyung ’19, Asst. Concertmaster Julia Carabatsos ’20 Jennifer Cha ’18 Allison Chun ’21 Laura Clapp ’21 Miriam Gerber ’20 James Lin ’19 Sophie Luyten ’21 Vivian Mayers ’21 Jasmine Stone ’20 Stephen Tang ’18 Chie Xu ’21 Second Violin Alexander Wang ’19, Principal Serena Shapard ’20, Asst. Principal Epongue Ekille ’21 Julia Hossain ’21 Hannah Lawrence ’19 Emma Mueller ’21 Taishi Nojima ’18 Eileen Norris ’20 Sam Panner ’21 Isaiah Schrader ’21 Alice Tao ’20 Margo Williams ’20 Julia Zhu ’19

Viola Sarah Switzer ’19, Principal Ian Niederhoffer ’19, Asst. Principal Ella Belina ’18 Sonali Durham ’20 Ethan Gacek ’18 George Gemelas ’18 Wei Li ’19 Linus Lu ’19 Jacob Miller ’21 Timothy White ’20 Grant Young ’20 Violoncello Harry Doernberg ’19, Co-Principal Amanda Vosburgh ’19, Co-Principal Henry Shapard ’20, Asst. Principal Alma Bitran ’21 Sofia Checa ’20 Emery Kerekes ’21 Kimberly Lai ’18 Paul Lee ’18 Allison Park ’21 Gabriel Rainey ’20 Mac Taback ’21


Contrabass Connor Reed ’19, Principal Prof. David Evans Aedan Lombardo ’20 Spencer Parish ’20 Noah Stevens-Stein ’18 Arvind Venkataraman ’19 Alice Zhao ’21 Flute and Piccolo Shiori Tomatsu, ’18 Principal Monica Barbosa ’19 Beatrice Brown ’19 Benjamin Tillinger ’21 Oboe and English Horn Lauren McNeel ’18, Principal Jake Houston ’19 Laura Michael ’20 Clarinet Jacob Sweet ’18, Principal Allen Chang ’19 Dennis Zhao ’19 Bassoon Dennis Brookner ’19 Brian Kirkman ’21 Lily Sands ’18 Kenny Wang ’20 French Horn Leah Meyer ’18, Principal Stephen Newberry MUS ’19 Steven Harmon MUS ’19 Morgan Jackson ’18 Mary Martin ’20

Trumpet Megan Ahern ’21 Noah Montgomery ’19 Ryan Petersberg GRD ’21 Trombone Eli Mennerick ’21 Mitchell Ostorow ’21 Tuba Josef Lawrence ’20 Harp Caroline Zhao ’19, Principal Michelle Tong ’21 Celesta Miles Walter ’18 Timpani and Percussion Adrian Lin ’18, Principal Alvin Chung ’21 Charles Comiter ’20 Sean Guo ’19 Dylan Lesko ’19


About the Orchestra Founded in 1965 by a group of students who saw the growing potential for a large ensemble to thrive on campus, the Yale Symphony Orchestra has become one of the premier undergraduate ensembles in the United States. The largest orchestra in Yale College, the YSO provides a means for students to perform orchestral music at a conservatory level while taking advantage of all Yale, as a liberal-arts institution, has to offer. The YSO boasts and impressive number of alumni who have gone on to successful musical careers, but for a conservatory-level musician seeking a strong liberal arts or STEM education, we are one of the few – if not the only – opportunity for a talented orchestra musician to maintain the trajectory of their musical studies in a non-conservatory environment. As a result, most of YSO musicians are non-music majors. That said, the YSO numbers among its alumni members of the New York Philharmonic (Sharon Yamada, 1st violin), the Boston Symphony Orchestra (Haldan Martinson, principal 2nd violin, and Owen Young, cello), the Los Angeles Philharmonic (David Howard, clarinet), the San Francisco Symphony (the late William Bennett, oboe), Philadelphia Orchestra (Jonathan Beiler, violin), Toronto Symphony (Harry Sargous, oboe, ret.) and the Israel Philharmonic (Miriam Hartman, viola), as well as music director of the Baltimore Symphony Orchestra Marin Alsop, National Public Radio commentator Miles Hoffman, composers, Michael Gore, Robert Beaser, Conrad Cummings, Stephen Paul Hartke, Robert Kyr, and more. Although the YSO is an extracurricular ensemble within a liberal arts university, its reputation and output rival those of conservatories worldwide. Throughout its history the YSO has been committed to commissioning and performing new music. Notably, the YSO presented the European premiere of Leonard Bernstein’s Mass in 1973, the world premiere of the definitive restoration of Charles


Photo by Harold Shapiro

Ives’ Three Places in New England, the U.S. premiere of Debussy’s Khamma, and the East Coast premiere of Benjamin Britten’s The Building of the House. In every season the YSO works to program and perform orchestral works written by new and emerging composers, as well as lesser-heard works by established and obscure composers. The YSO has performed with internationally recognized soloists, including Yo-Yo Ma, Frederica von Stade, Emmanuel Ax, David Shifrin, Thomas Murray, and Idil Biret. Each year the YSO is proud to present student winners of the William Waite Concerto Competition the opportunity to perform major solo works alongside the orchestra. Outside New Haven’s Woolsey Hall, the YSO have performed at New York City’s Carnegie Hall, Avery Fisher Hall at Lincoln Center, and St. Patrick’s Cathedral. In 2011, the YSO joined the Yale Glee Club at Carnegie Hall in celebration of their 150th anniversary, and was hailed by New York Times music critic Zachary Woolfe as “the excellent Yale Symphony Orchestra.” Under the baton of music director Toshiyuki Shimada, the YSO has toured domestically and internationally, including a 2010 tour of Turkey with acclaimed pianist Idil Biret. Ms. Biret rejoined the orchestra for a recording of Paul Hindemith’s piano concerti, which were released in 2013 on the Naxos label. Past tours have brought the orchestra to Portugal, Korea, Central Europe, Italy, and Brazil. The YSO just completed its first tour of Russia in May of 2017. Beyond its season concerts, the YSO is famous for its legendary Halloween Show, a student-directed and -produced silent movie, whose score the orchestra performs at midnight in full costume. Long a Yale tradition, the Halloween Show sells out Woolsey Hall days in advance, and the production remains a closely guarded secret until the night of performance; recent cameo appearances include James Franco, Woody Allen, Alanis Morisette, Rosa DeLauro, and Jimmy Kimmel. Former music directors include Richmond Browne, John Mauceri, C. William Harwood, Robert Kapilow, Leif Bjaland, Alasdair Neale, David Stern, James Ross, James Sinclair, Shinik Hahm, and George Rothman.


Yale Glee Club Jeffrey Douma, Music Director T. Sean Maher, Business Manager David McNeill, Assistant Conductor Madeline Lemberg and Sarah Speller, Student Conductors President Erika Lynn-Green Manager Claire Carroll Alumni Coordinator Mary Petzke Stage Manager Tristan Brockwell Archivists Magda Andrews-Hoke Sofia Laguarda Community Engagement Calvin Schwartzberg Ece Bozkurt Tour Manager Jared Michaud Mini-Tour Managers Mahima Kumara Charlotte Winkler Web Manager Evaline Xie Publicity Chairs Daniel Packard Emily Boring Social Chairs Maryanne Cosgrove John McKissack Wardrobe Managers Nolan Crawford Isabella Pazaryna

Soprano I Emily Boring ’18 Sophie Latham ’21 Erika Lynn-Green ’18 Mary Clare McMahon ’21 Kellen Mermin-Bunnell ’21 Alexandra O’Brien ’20 Lara Schull ’21 Samantha Stroman ’18 Charlotte Jeanné Winkler ’20 Angela Zhao ’21 Soprano II Magda Andrews-Hoke ’19 Kristine Chung ’19 Daniella Cohen ’20 Sedina Dzodzomenyo ’18 Margaret Grabar Sage ’19 Eleanor Iskander ’21 Sofia Laguarda ’20 Brooke Milosh ’21 Isabella Pazaryna ’19 Stephanie Smelyansky ’19 Madeleine Stern ’21 Alexa Vaghenas ’20 Alto I Kayla Bartsch ’20 Madeline Bogert ’19 Ece Bozkurt ’20 Abigail Cipparone ’19 Ryan Howzell ’20 Mahima Kumara ’20 Julianna Lai ’21 Madeline Lemberg ’18 Raquel Sequeira ’21 Sara Viola Speller ’19


Alto II Josephine Attal ’21 Claire Carroll ’18 Maryanne Cosgrove ’20 Amelia Haynes ’20 SungMi Johnson ’21 Anna McNeil ’20 Mary Petzke ’18 Lauryn Phinney ’21 Rianna Turner ’21 Divine Uchegbu ’21 Evaline Xie ’19 Tenor I Raj Basak GRD ’20 Luke Ciancarelli ’19 John Cooper ’21 Nolan J. Crawford ’19 Jackson Leipzig ’19 Ethan Lester ’20 Tim Lind ’18 Jack McAuliffe ’20 Tenor II Nicholas Dell Isola ’18 Eric Duong ’20 Andres Gómez-Colunga ’21 Tyler Harkness ’18 Charles Hawkings ’21 Shaun Radgowski ’20 Charlie Romano ’19 Calvin Schwartzberg ’20 Tavi Wolfwood ’21

Bass I Andrew Ballard ’20 Mark Barnett ’21 Aidan Brooks ’19 Emery Kerekes ’21 Johanan Knight ’19 Max Levatich ’20 Will Magliocco ’18 Jared Andrew Michaud ’19 James Nydam ’19 Daniel Packard ’18 Brendan Rose ’21 Louis Sokolow ’21 Bass II Tristan Brockwell ’18 Josh Brooks ’21 Anthony Hejduk ’20 Sam Hollister ’18 Simon Horn ’18 Zach Lee ’21 Eric Liu ’21 John McKissack ’20 David McNeil Jr. ’18 Devin O’Banion ’20 Jonah Pearl ’18 Dustin Zhao ’19


About Yale Glee Club From its earliest days as a group of thirteen men from the Class of 1863 to its current incarnation as an eighty-voice chorus of women and men, the Yale Glee Club, Yale’s principal undergraduate mixed chorus and oldest musical organization, has represented the best in collegiate choral music. During its recent 150th anniversary season, the Glee Club’s performances received rave reviews in the national press, from the New York Times (“One of the best collegiate singing ensembles, and one of the most adventurous…an exciting, beautifully sung concert at Carnegie Hall”) to The Washington Post (“Under the direction of Jeffrey Douma, the sopranos - indeed, all the voices - sang as one voice, with flawless intonation…their treacherous semitones and contrapuntal subtleties became otherworldly, transcendent even”). The Glee Club’s repertoire embraces a broad spectrum of choral music from the 16th century to the present, including Renaissance motets, contemporary choral works, world music, spirituals and folk songs, and traditional Yale songs. Committed to the creation of new music, the Glee Club presents frequent premieres of newly commissioned works and sponsors two annual competitions for young composers. They have been featured on NPR’s Weekend Edition, WQXR’s “The Choral Mix,” and BBC Radio 3’s “The Choir.” The great choral masterworks are also an important part of the Glee Club’s repertoire; recent performances include Beethoven Mass in C, Verdi Requiem, Mozart Requiem, Stravinsky Symphony of Psalms, Orff Carmina Burana, Vaughan Williams Dona Nobis Pacem, Bernstein Chichester Psalms, Britten War Requiem and Cantata Misericordium, Fauré Requiem, Haydn Missa in Tempore Belli, Missa in angustiis, and Creation, Brahms Ein deutsches Requiem and Nänie, Mendelssohn


Elijah, Penderecki Credo, Aaron Jay Kernis Symphony of Meditations, and choral symphonies of Mahler and Beethoven. One of the most traveled choruses in the world, the Yale Glee Club has performed in every major city in the United States and embarked on its first overseas tour in 1928. It has since appeared before enthusiastic audiences throughout North and South America, Europe, Asia, Australia, and Africa. Historically a leading advocate of international choral exchange, the Glee Club has hosted countless guest ensembles at Yale and at New York’s Lincoln Center in conjunction with its own international festivals. In 2012, the Glee Club carried this tradition forward with the first Yale International Choral Festival in New Haven, and in June of 2015 presented the second incarnation of the festival, hosting choirs from Singapore, Sweden, Cuba, and Israel, along with the Yale Alumni Chorus and Yale Choral Artists. The Glee Club has appeared under the baton of many distinguished guest conductors from Leopold Stokowski to Robert Shaw. Recent collaborations have included performances under the direction of Matthew Halls, Sir David Willcocks, Krzysztof Penderecki, Sir Neville Marriner, Dale Warland, Nicholas McGegan, Stefan Parkman, Simon Carrington, Erwin Ortner, David Hill, and Helmuth Rilling. The Yale Glee Club has had only seven directors in its 157-year history and is currently led by Jeffrey Douma. Previous directors include Marshall Bartholomew (1921-1953), who first brought the group to international prominence and who expanded the Glee Club’s repertoire beyond college songs to a broader range of great choral repertoire; Fenno Heath (1953-1992), under whose inspired leadership the Glee Club made the transition from male chorus to mixed chorus; and most recently David Connell (1992-2002), whose vision helped carry the best traditions of this ensemble into the twenty-first century.


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The William Bray Fund for Music Yale Symphony Orchestra Director’s Resource Fund Azamat Kumykov ’15 M.A.S. Judy Glickman Lauder Dr. David Lobdell Ms. Wendy S. Sharp ’82

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Tax-deductible contributions to the Yale Symphony Orchestra make up a significant part of our total operating budget. Your donations are vital to us, and are very much appreciated. Please consider making a donation to the Yale Symphony Orchestra. Yale Symphony Orchestra c/o Yale University Office of Development—Contributions Processing P.O. Box 2038 New Haven, CT 06521-2038 http://yso.yalecollege.yale.edu/support-us


Upcoming Concerts

April 14, 2018 8pm in Woolsey Hall At the Cusp of the Modern Richard Strauss Till Eulenspiegels lustige Streiche Richard Strauss Vier Letzte Lieder with Lauren McQuistin, soprano Igor Stravinsky Petrushka (1947)

May 18, 2018 6pm in Battell Chapel Commencement Concert Admission is free

$12/$17 General Admission | $3/$6 Student To purchase tickets, visit www.yalesymphony.com


Yale Symphony Orchestra - February 10, 2018 Concert Program  
Yale Symphony Orchestra - February 10, 2018 Concert Program  
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