program
Till Eulenspiegels lustige Streiche (Till Eulenspeigel’s Merry Pranks) Richard Strauss Ian Niederhoffer, guest conductor
Vier Letzte Lieder (Four Last Songs) Richard Strauss Lauren McQuistin, soprano Frühling (Spring) September Beim Schlafengehen (When Falling Asleep) Im Abendrot (At Sunset)
Intermission
Петрушка (Pétrouchka) Igor Stravinsky First Tableau: The Shrovetide Fair Second Tableau: Pétrouchka’s Room Third Tableau: The Moor’s Room Fourth Tableau: The Shrovetide Fair (Toward Evening)
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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.
Ian Niederhoffer, Guest Conductor Ian Niederhoffer was born in New York City and is a music major at Yale University. He is Assistant Conductor of the Yale Symphony Orchestra, Founder and Music Director of the Yale Undergraduate Chamber Orchestra, and Music Director of the Opera Theater of Yale College. He made his U.S. professional debut with the Vermont Mozart Festival in 2017 and was invited back for their 2018 season. He made his European debut conducting the
Bacau Philharmonic in 2016. In February 2018, he made his Carnegie Hall debut with the Salomé Chamber Orchestra. He has formerly held the positions of Assistant Conductor of the Berkeley College Orchestra, Assistant Conductor of the InterSchool Orchestras of New York and Apprentice Conductor of the New York Youth Symphony. As an instrumentalist, Ian began his violin studies at the age of three, switching to viola at thirteen. He began studying piano at the age of five. He is Assistant Principal Viola of the Yale Symphony Orchestra and has recently performed in concert series including Summer Music from Greensboro and Burlington Evenings with Mozart. In May 2015, he performed a Photo by Rebecca Fay solo recital in Merkin Concert Hall. Drawn to conducting at an early age, Ian began his conducting studies with Jeffrey Grogan at the age of 15. He continued his studies with Joshua Gersen, current Assistant Conductor of the New York Philharmonic while studying score reading with Edith Kraft, a former Juilliard professor. He currently studies with Toshiyuki Shimada, Music Director of the Yale Symphony Orchestra and Eastern Connecticut Symphony Orchestra and has recently studied with Markand Thakar, Ovidiu Balan, and Robert Gutter.
Lauren McQuistin, Soprano Scottish soprano, Lauren McQuistin, completed her undergraduate studies at the Royal Conservatoire of Scotland before moving to America to pursue a Masters of Music under the tutelage of Carol Vaness. In Scotland she featured as a soloist with BBC Choir of the Year Les Sirenes, as well as performing as Donna Anna in scenes performances. A keen interpreter of Russian music, McQuistin made her Scottish Opera debut as Marfa in Shostakovich’s Rotschild’s Violin, as well as competing in and winning the Art Song class in the Sergei Leiferkus Competition for Voice in Moscow. As a recitalist she has premiered works in Scots Tongue at the Wigtown Book Festival, and been a finalist in the Governors’ Recital Prize, the Elgar Spedding Prize for Lieder and
the Norma Grieg French Melodie competition. Since moving to America she has performed as Alice Ford and Adriana Lecouvreur in Vaness’ Opera workshop, chorus in the Jacob’s School of music production of Dead Man Walking, Carmen and Peter Grimes, and was a District Winner of the Metropolitan Opera National Council Auditions. She made her IU principal debut in 2016 as the title role of Florencia in the Jacob’s School of Music production of Florencia en el Amazonas. Recent roles have included The Countess in Le Nozze di Figaro with Bloomingvoce, and Donna Elvira in Don Giovanni with The Center for Opera Studies in Italy. At the Yale School of Music she has performed as the title role of Lucrezia Borgia and the Prima Donna in Ariadne Auf Naxos in their scenes production, and First Lady in The Magic Flute for their Spring Show.
notes on the program Till Eulenspiegels lustige Streiche (Till Eulenspiegel’s Merry Pranks) Richard Strauss Who is Till Eulenspiegel? A trickster, a prankster, a lovable scamp – Till Eulenspiegel is among the most vibrant characters in German folklore. His pranks target those in positions of power. If something (or someone) was deemed untouchable, Till’s life goal was to poke it. Composed in 1895, Strauss’s Till Eulenspiegels Lustige Streiche (Till Eulenspiegel’s Merry Pranks) brings Till’s story to life. Strauss pushes the orchestra to its limits, invoking its full virtuosic and coloristic potential to invite the audience into Till’s world. The piece opens – as many stories do – with “once upon a time”. The violins tenderly draw the audience into a story about a “knavish fool”. Our protagonist enters with his iconic, onomatopoeic horn call (“Till Eu-lenSPIE-gel”). After this call is passed through the orchestra, the delicate opening notes morph into Till’s “laughter motive”, introduced by the solo clarinet. These two motives underlie the entire work. They poke through at every
turn, like a prankster peeking out from around a corner. Till’s misadventures begin with him riding his horse through a busy marketplace. He then scampers away and mocks the clergy. Till upsets the status quo whenever possible. He attempts to seduce – and is ultimately rejected by – local girls and confuses a group of “philistines” with his incomprehensible theses. After a return to his signature horn call, Till’s antics finally catch up to him, as the entire orchestra unites in a fierce unison passage culminating in an exuberant fanfare. The music is at its most victorious, but it is snapped off by a ferocious drumroll. Till has been captured and put on trial! Even in the face of execution, Till, portrayed by the shrieking Eb clarinet, impishly mocks authority. The low brass section sentences him to death, and a drooping wind line depicts his body swinging from the gallows. The story concludes, and the “once upon a time” music returns. The epilogue extends the opening theme into a lush phrase, as if we are finally hearing the music that was cut off at the opening. The idyllic finale comes to an end, closing the book that opened at the beginning of the piece. But wait! Till comes roaring back with a triumphant final joke. Till may be gone, but his rambunctious spirit lives on, long after the story ends. Ian Niederhoffer ’19
Vier Letzte Lieder (Four Last Songs) Richard Strauss Nearing the age of eighty-five, Richard Strauss was able to look back on a long and illustrious career as a composer that had spanned close to threequarters of a century. His so-called “Indian Summer” had given him a new burst of creative energy at a time when it might be least expected. The Four Last Songs (completed in September 1948) provide a matchless crown to this late blossoming, as well as to a lifetime of Lieder writing. The first three are settings of poems by Heinrich Heine, the last by Joseph von Eichendorff, though it was the latter which was the first to be completed. Strauss must have found the text particularly appropriate with its touching depiction of two old people preparing themselves for final rest. A mood of tender resignation characterizes all four poems; they are contemplative and valedictory, yet never morbid. Indeed there is a haunting sensuousness present in much of the music--consider the flowing melisma of “Fruh-
ling,” or the delicate textures of “September.” “Beim Schlafengehen” features a long-breathed violin solo gloriously taken up and decorated by the voice. At the end of “Im Abendrot”, when the poet asks, “How tired we are of wandering; could this perhaps be death?”, the horn quotes the main motive of Death and Transfiguration to introduce a coda of ineffable poignancy and unearthly beauty, a fitting summation to Strauss’s life. Alasdair Neale
Петрушка (Pétrouchka) Igor Stravinsky Petrouchka, written in 1910-11, was first intended to be a short concert’ piece for piano and orchestra. It finally emerged as a ballet for Diaghilev’s famous Ballet Russe in Paris with Nijinsky in the title role. The story takes place in St. Petersburg in 1930 during the Shrovetide festival. A Charlatan appears, produces the puppets Petrouchka, the Ballerina and the Moor, and brings them to life with his magic. He gives them human feelings and emotions. Petrouchka is bitter at being enslaved to the Moor and also at his own ugliness. He seeks consolation from the Ballerina but she resists his advances. The Moor is more successful. He seduces the Ballerina, but just as the love scene is about to begin, Petrouchka bursts in, mad with jealousy and is kicked out by the Moor. The final tableau returns to the fair. There are gypsy singers, coachmen and wetnurses: even a bear-tamer with his bear. Suddenly, the Moor appears, chasing Petrouchka, and kills him. The Charlatan quickly assures the crowd that Petrouchka is just a doll. The crowd leaves, but when they are gone, Petrouchka’s ghost appears over the puppet theatre and threatens the Charlatan who hurries away fearfully. Robert Kapilow
Texts and Translations Früling
Spring
Poem by Hermann Hesse In dämmrigen Grüften träumte ich lang von deinen Bäumen und blauen Lüften, von deinem Duft und Vogelgesang. Nun liegst du erschlossen in Gleiß und Zier, von Licht übergossen wie ein Wunder vor mir. Du kennest mich wieder, du lockest mich zart, es zittert durch all meine Glieder deine selige Gegenwart.
In dusky caverns I dreamed long of your trees and azure breezes, of your scents and birdsong. Now you lie revealed in glitter and array, bathed in light like a miracle before me. You recognise me again, tenderly you beckon to me. Through all my limbs quivers your blissful presence.
September
September
Poem by Hermann Hesse Der Garten trauert, kühl sinkt in die Blumen der Regen. Der Sommer schauert still seinem Ende entgegen. Golden tropft Blatt um Blatt nieder vom hohen Akazienbaum. Sommer Lächelt erstaunt und matt in den sterbenden Gartentraum. Lange noch bei den Rosen bleibt er stehn, sehnt sich nach Ruh, langsam tut er die (großen) müdgewordnen Augen zu.
The garden is in mourning: the rain sinks coolly on the flowers. Summertime shudders quietly to its close. Leaf upon golden leaf is dropping down from the tall acacia tree. Summer smiles, amazed and exhausted, on the dying dream that was this garden. Long by the roses still it tarries, yearns for rest, slowly closes its (great) weary eyes.
Beim Schlafengehen
Going to Sleep
Poem by Hermann Hesse Nun der Tag mich müd gemacht, soll mein sehnliches Verlangen freundlich die gestirnte Nacht wie ein müdes Kind empfangen. Hände, laßt von allem Tun, Stirn, vergiß du alles Denken, alle meine Sinne nun wollen sich in Schlummer senken. Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben.
Now that day has tired me, my spirits long for starry night kindly to enfold them, like a tired child. Hands, leave all your doing; brow, forget all your thoughts. Now all my senses want to sink themselves in slumber. And the soul unwatched, would soar in free flight, till in the magic circle of night it lives deeply and a thousandfold.
Im Abendrot
At Gloaming
Poem by Joseph von Eichendorff Wir sind durch Not und Freude gegangen Hand in Hand; vom Wandern ruhen wir beide nun überm stillen Land.
Through want and joy we have walked hand in hand; we are both resting from our travels now, the quiet countryside below us.
Rings sich die Täler neigen, es dunkelt schon die Luft. Zwei Lerchen nur noch steigen nachträumend in den Duft.
Around us the valleys incline; already the air grows dark. Two larks still soar alone half-dreaming, into the haze.
Tritt her und lass sie schwirren, bald ist es Schlafenszeit. Dass wir uns nicht verirren in dieser Einsamkeit.
Come here, and let them fly about; soon it is time for sleep. We must not go astray in this solitude.
O weiter, stiller Friede! So tief im Abendrot. Wie sind wir wandermüde-Ist dies etwa der Tod?
O spacious, tranquil peace, so profound in the gloaming. How tired we are of travelling – is this perchance death?
German texts © Copyright 1950 by Boosey & Co. Ltd. Reproduced by permission of Boosey & Hawkes Music Publishers Ltd.
English translation © William Mann
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 Graphic 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 Sonali Durham ’20 Ethan Gacek ’18 * Wei Li ’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 * Gabriel Rainey ’20 Mac Taback ’21
Contrabass Connor Reed ’19, Principal 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 Lauren White MUS ’19 Clarinet Jacob Sweet ’18 *, Principal Allen Chang ’19 Dennis Zhao ’19 Christopher Zhou ’19 Bassoon Dennis Brookner ’19 Brian Kirkman ’21 Lily Sands ’18 * Kenny Wang ’20
Trumpet Megan Ahern ’21 Michael Flynt Noah Montgomery ’19 Ryan Petersberg GRD ’21 Trombone Eli Mennerick ’21 Mitchell Ostorow ’21 Zachary Haas MUS ’18 * Tuba Josef Lawrence ’20 Steven Lewis ’18 * Harp Caroline Zhao ’19, Principal Kai-Lan Olson ’20 Piano Thomas Shen ’20 Celesta Nathan Wu ’21 Timpani and Percussion Adrian Lin ’18 *, Principal Alvin Chung ’21 Charles Comiter ’20 Sean Guo ’19 Dylan Lesko ’19
* indicates graduating senior French Horn Leah Meyer ’18 *, Principal Esteban Garcia MUS ’19 Steven Harmon MUS ’ Morgan Jackson ’18 * Mary Martin ’20
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.
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