Yale Symphony Orchestra - February 9, 2019 Concert Program

yale symphony orchestra

WILLIAM BOUGHTON INTERIM CONDUCTOR

parfum de la nuit february 9 8pm in woolsey hall YALE GLEE CLUB JEFFREY DOUMA MUSIC DIRECTOR

YALE CAMERATA MARGUERITE BROOKS MUSIC DIRECTOR

program

España Emanuel Chabrier Henry Shapard, guest conductor

Danse Macabre Camille Saint-Saëns Henry Shapard, guest conductor Evan Pasternak, violin

Nocturnes Claude Debussy Ian Niederhoffer, guest conductor Nuages Fêtes Sirènes

Intermission

Gloria Francis Poulenc Laura Nielsen, soprano Jeffrey Douma, guest conductor Gloria Laudamus Te Domine Deus Domine fili unigenite Dominus Deus, Agnus Dei Qui sedes ad dexteram Patris {Please silence all portable electronic devices}

about the artists William Boughton, Interim Conductor Born into a musical family - his grandfather (Rutland Boughton) was a composer, his father a professional viola player and his mother a singer. After studies, at New England Conservatory (Boston), Guildhall School of Music (London) and Prague Academy as a cellist, he entered the profession in London playing with the Royal Philharmonic, BBC and London Sinfonietta Orchestras.

The experience of playing in orchestras led to a passion to pursue a career in conducting studying with George Hurst and then Sir Colin Davis. In 1980 he formed the English String Orchestra initially focusing on early 20th Century English repertoire but developing it into late 20th and 21st Century Contemporary music commissioning over 20 works from composers such Peter Sculthorpe, John Joubert, Anthony Powers, Michael Berkeley, John Metcalf, Stephen Roberts and Adrian Williams. The depth of his partnership with the ESO was epitomised in 1985 when, as Artistic Director of the Malvern Festival, he collaborated with Sir Michael Tippett to present a musical celebration of the composer’s eightieth birthday which was the subject of a BBC “Omnibus” documentary.

With the ESO he built a significant discography of internationally acclaimed recordings with Nimbus Records - predominantly of English music, a number of which reached the Top Ten in the US Billboard charts.

Between 1986–93 he was also Artistic & Music Director of the Jyvaskyla Sinfonia in Finland and guest conducted with numerous orchestras including the London Symphony, Philharmonia, San Francisco, Royal Philharmonic, Finnish Radio, Mittel Deutsch Radio, working with artists such as Nigel Kennedy, Leonidas Kavakos, Emmanuel Ax, Radu Lupu and Viktoria Mullova.

In October 1993, William Boughton was awarded an Honorary Doctorate from Coventry University in recognition of his expertise in British music. In November 1995, he and the ESO presented a weekend of music celebrating the 60th birthday of English composer Nicholas Maw, marking another milestone in his championship of contemporary English music. In

1996 William Boughton commenced a second term as Artistic Director of the Malvern Festival.

The 2005/6 Season was his final year with the ESO in which they celebrated the Orchestra’s 25th Anniversary performing a ‘Complete Beethoven Symphony Cycle’, and created a new series of pre-concert performances of British contemporary music, including works by Birtwistle, Knussen. Watkins, Woolrich, Holloway and Turnage.

In July 2007 he became the 10th Music Director of the New Haven Symphony Orchestra (NHSO), with whom he instituted a ‘Composer in Residence’ Scheme (Augusta Read Thomas, Christopher Theofanidis, Hannah Lash) and started a major Walton Project with concerts, lectures/talks and recordings on the Nimbus Label. With the NHSO he has received two ASCAP Awards (2011 & 2014) for Adventurous Programming and received critical acclaim for the Walton Project, with Gramophones Edward Greenfield nominating it for ‘Record of the Year’ (2010). In October 2014 two new recordings were released with the New Haven Symphony of William Walton and Augusta Read Thomas.

His commitment and dedication to the younger generation is epitomized through his teaching – creating a cello studio in one of the poorest areas of New Haven, building the NHSO’s Education Dept, working with the State and Regional Youth Orchestras and teaching at the Yale School of Music.

In May 2016 he visited Central China University for Conducting Masterclasses and conducted the Hubei Symphony. He regularly records for both Nimbus and Lyrita Labels and guest conducts in the USA.

Evan Pasternak, Violin Evan Pasternak, 21, serves as Concertmaster of the Yale Symphony Orchestra, and studies with Kyung Yu. Evan has toured with the National Youth Orchestra (NYO-USA), both in the United States and China under St. Louis Symphony Music Director David Robertson and Charles Dutoit. While in residency with NYO-USA, he had the opportunity to work closely with Robert Chen and Jennifer Ross. This past summer, Evan attended Music House International, where he studied with Kimberly Fisher, Bob DePasquale and

Marc Rovetti, and won first place in their Concerto Competition. As a soloist, Evan has performed with the New Jersey Youth Symphony Orchestra after winning their Concerto Competition, New York Sinfonietta, and the World Alliance Chamber Orchestra. He has participated in masterclasses with Kimberly Fisher, David Ying, Sheryl Staples, Stefan Milenkovich, and Laura Frautschi. Besides studying and performing on the violin, Evan is earning a bachelor’s degree in molecular biophysics and biochemistry and spent summers 2016 and 2017 conducting HIV-related research at the National Institutes of Health in Bethesda, MD.

Laura Nielsen, Soprano Originally from London, Ontario, Laura Nielsen is a young operatic soprano currently studying her Master’s of Music in Voice at Yale University.

Previously, she completed a One-Year Artist Diploma (2016) and Bachelor of Music (2015) at The University of Western Ontario. Her most recent operatic experience includes travelling to Vienna, Austria to study with Bojidar Nikolov in an operatic masterclass series and concert.

She has also performed the role of Micaela in G. Bizet’s Carmen at the Halifax Summer Opera Festival (2017) as well as the roles of Soeur Constance in F. Poulenc’s The Dialogues of the Carmelites and Violetta (cover) in G. Verdi’s La Traviata (La Musica Lirica 2016). This fall with Yale Opera, Ms. Nielsen performed in scenes from Rigoletto as Gilda and Die Entführung aus dem Serial as Konstanza, Most recently she appeared as the soprano soloist in Handel’s Messiah with the Waterbury Symphony. Her upcoming performances include Miriam in The Scarf and the Cook in Le Rossignol with Yale Opera in May.

Jeffrey Douma, Guest Conductor Since the fall of 2003, Jeffrey Douma has served as Director of the Yale Glee Club, hailed under his direction by The New York Times as “one of the best collegiate singing ensembles, and one of the most adventurous.” 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 served for five years 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, and currently serves as Director of Music at the Unitarian Society of New Haven.

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 Marin Alsop, William Christie, Valery Gergiev, Sir Neville Marriner, Sir David Willcocks, Dale Warland, Krzysztof Penderecki, Nicholas McGegan, and Helmuth Rilling.

Douma has presented at conferences of the ACDA and NCCO, and the Yale Glee Club has appeared as a featured ensemble at NCCO national and ACDA divisional conferences. 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, Caroline Shaw, 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.

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 the 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, Fi and Will.

Henry Shapard, Guest Conductor Henry Shapard, 20, serves as Principal Cello and Assistant Conductor of the Yale Symphony Orchestra and studies with Ole Akahoshi. This past summer, he was a fellow of the Tanglewood Music Center, working with Boston Symphony Music Director Andris Nelsons and Herbert Blomstedt, among other notable conductors. In the summer of 2017, he was a member of the Schleswig-Holstein Festival Orchestra in Germany. He has also served as the Principal Cello of the National Youth Orchestra of the United States

of America under Christoph Eschenbach, Charles Dutoit, and Valery Gergiev. As a concerto soloist, he has performed with the Cleveland Orchestra Youth Orchestra, the Cleveland Philharmonic Orchestra, and the Cleveland Institute of Music Orchestra, among others. His solo and chamber music performances have been featured on BBC Radio 3 and on WCLV 104.9, Cleveland’s classical music station. He has performed on three continents, including in the Royal Concertgebouw in Amsterdam, the Elbphilharmonie in Hamburg, the Konzerthaus in Berlin, the National Centre for the Performing Arts in Beijing, and twice at Carnegie Hall. He returns to Carnegie Hall in February 2019 for a collaborative performance between the Royal Concertgebouw Orchestra and selected alumni of NYO-USA led

by Daniel Harding.

Ian Niederhoffer, Guest Conductor Ian Niederhoffer was born in New York City and is a music major at Yale University. He is Associate 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 Photo by Rebecca Fay 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 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 William Boughton, Interim Conductor of the Yale Symphony Orchestra and has recently studied with Markand Thakar, Ovidiu Balan, and Robert Gutter.

Marguerite Brooks, Director, Yale Camerata Marguerite L. Brooks holds degrees from Mount Holyoke College and Temple University. She has served on the faculties of Smith and Amherst Colleges, and was director of choral music at the State University of New York at Stony Brook.

Brooks joined the Yale faculty in 1985 as chair of the choral conducting program at the School of Music and director of choral music at the Institute of Sacred Music. Active as a guest conductor, teacher, and clinician, she has been a juror for the Eric Ericson conducting competition in Sweden; she has conducted, given master classes, taught, and adjudicated in North and South America, Europe, and Asia. Brooks was cited by the Yale School of Music for cultural leadership in music, and has received alumni awards for distinguished work in her ďŹ eld from both Mount Holyoke College and Temple University. The Connecticut chapter of the ACDA honored her with its 2016 Lifetime Achievement Award. She is most proud to have been honored recently as a Woman in History by the Barnard School.

notes on the program España Emanuel Chabrier The French composer Emmanuel Chabrier (1841-1894) was, in educational background at least, more similar to the members of the Yale Symphony Orchestra than he was to his composer contemporaries. Indeed, his pragmatic parents forbade him from pursuing a career in music and insisted that he become a lawyer. It was not until he was nearly forty years old—in 1880—that Chabrier broke free of the grasp of his parents and became a professional composer. He wrote very few orchestral works, of which España is by far the most well-known.

España, which Chabrier composed in 1882-83 after a joyful trip he took to Spain with his wife, is a Spanish jota—a dance in a fast ¾ (or, in the case of España itself, 3/8) time most known for its flamboyant use of guitars and castanets. There are neither guitars nor castanets in Chabrier’s work, but his use of pizzicato in the strings and prominent percussion parts (notably the tambourine) give the work a decidedly authentic flavor.

Chabrier intended España to be a smash hit in Paris, and it was. Charles Lamoureux, the conductor for whom Chabrier wrote the work, stirred his orchestra into an appropriate frenzy, and the audience immediately requested an encore. The work has since been a staple of concert programming in everywhere except Spain, of all places, where it was mildly resented as an inaccurate representation of Spanish culture.

Regardless, Chabrier’s work persists in the repertoire as a thrilling orchestral showpiece that perhaps contributes to the oft-repeated maxim that French composers wrote the ‘best’ Spanish music.

Henry Shapard ’20

Danse Macabre Camille Saint-Saëns Zig, zig, zig, Death in cadence, Striking with his heel a tomb, Death at midnight plays a dance-tune, Zig, zig, zig, on his violin.

The winter wind blows and the night is dark; Moans are heard in the linden-trees.

Through the gloom, white skeletons pass, Running and leaping in their shrouds.

Zig, zig, zig, each one is frisking.

The bones of the dancers are heard to crackBut hist! of a sudden they quit the round, They push forward, they fly; the cock has crowed.

(Translation: Columbus, Indiana Philharmonic/Joe Nickell) The above poem by Henri Cazalis is a retelling of an old French legend about a group of skeletons that dance on Halloween night and inspired Camille Saint-Saëns, the doyen of French romantic composers, to write a piece by the same name. Saint-Saëns wanted to emulate the tone poems that Franz Liszt had recently composed; he ended up producing a work whose success greatly eclipsed any of Liszt’s work.

Part of the reason why Danse Macabre is unfailingly popular has to do with its vivid sonic representations of events in the poem. The single harp note that sounds twelve times at the opening of the work represents the clock at midnight; the xylophone imitates the sound of skeletons dancing on top of graves; the grotesque violin solos (played on a violin whose top string is tuned down a half-step to produce a grating tritone, the “devil’s chord”) give the work a sinister tone. The melodic motifs are simple and repeated many times; one of them, the Dies Irae, is a medieval chant that many composers, from Berlioz to Mahler, have employed as a harbinger of doom. In Danse Macabre—as in the later Le Carnaval des Animaux (The Carnival of the Animals)—certain instruments imitate animals, like the oboe that plays the role of rooster towards the end of the work.

Saint-Saëns was a master of instrumentation and of orchestral coloration, and the lush qualities of the Danse Macabre are exceptional. The work is so widely performed that it has permeated popular culture, from professional figure skating soundtracks to Buffy the Vampire Slayer to a commercial for Jameson Irish Whiskey. Unlike many classical works that have become cliché (take Pachelbel’s Canon or Mozart’s Eine Kleine Nachtmusik), Danse Macabre deserves its reputation as a centerpiece of the repertoire.

Henry Shapard ’20

Nocturnes Claude Debussy Debussy’s Nocturnes, along with his Prélude à l’après-midi d’un faune, are two of the earliest examples of Modernism in music. His innovative harmonic language shuns traditional conventions, and his unparalleled gift for color is infused throughout his scores. Inspired by the Impressionist and Symbolist art movements of the time, (notably artists such as Baudelaire and Whistler) Debussy infuses the orchestra with color, light, and ambiguity.

“Nuages” (Clouds) opens with a rocking, ambiguous motive that seems to roll forward without ever progressing. An English horn appears, only to recede back into the texture moments later. “Nuages” is a languid cycle of disappearing and reappearing figures. “Fêtes” (Festivals) shimmers, as brass fanfares and rhythmic strings punctuate a swirling, ever-changing texture.

The middle procession marches forward in the cello and bass, as a single fanfare grows from a distant, incessant blur to Debussy’s “dazzling fantastic vision,” as the material from the opening returns. In “Sirènes,” (Sirens) Debussy reimagines the sirens of Homer’s Odyssey as a wordless female chorus.

The result is an ethereal, quasi-instrumental effect as the voices of the Sirens both transcend and blend with the orchestra. Nocturnes is a vibrant collection of Impressionist and Symbolist imagery, as Debussy’s glistening score conjures enough color to make even Monet blush.

In the words of Debussy, “The title Nocturnes is to be interpreted here in a general and, more particularly, in a decorative sense. Therefore, it is not meant to designate the usual form of the Nocturne, but rather all the various impressions and the special effects of light that the word suggests. ‘Nuages’ renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white. ‘Fêtes’ gives us the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling fantastic vision), which passes through the festive scene and becomes merged in it. But the background remains resistantly the same: the festival with its blending of music and luminous dust participating in the cosmic rhythm. ‘Sirènes’ depicts the sea and its countless rhythms and presently, amongst the waves silvered by the moonlight, is heard the mysterious song of the Sirens as they laugh and pass on.”

Ian Niederhoffer ’19

Gloria Francis Poulenc Four years prior to his death, French composer Francis Poulenc wrote what would become one of his most celebrated works. Gloria (1959) for orchestra, choir, and soprano solo, premiered by the Boston Symphony Orchestra, was an immediate success with the American public. Despite early criticism, the piece went on to obtain similar positive reception in Europe.

Gloria provides not only a unique take on the text of the Roman Rite Mass, but also gives the audience a directed look into Poulenc’s personal life: his father was a passionately religious man from rural France, while his mother was a worldly, urban woman from Paris itself. Poulenc exploits this playful juxtaposition of secular with sacred, jocular with dignified, to compose a Gloria that reflects many different faces of faith.

A powerful brass fanfare opens the piece in a familiar picture of exaltation.

After a few moments of orchestral calm, the chorus launches into fervent proclamations of “Gloria in excelsis Deo.” The movement remains largely exclamatory, with few moments of tranquility. This energy is the carried into the Laudamus te , which is as whimsical as it is reverant. The bouncing nature of this movement is interrupted only once as the altos “give thanks” (“gratias agimus tibi”), foreshadowing the soprano solos that follow.

The next two movements— Domine Deus, Rex caelestis and Domine Fili Unigenite —offer two different sides of supplication. Domine Deus, Rex caelestis opens with a call and response, the chorus supplementing the gentleness of the soprano solo. As the chorus confronts the duality of God as both father and heavenly king, this slow-paced movement grows in ferocity until its climax, after which it returns once more to soft prayer and contemplation.

Domine Fili Unigenite , lacking the restraint provided by the soprano soloist, returns to a punchy and vigorous mood. Nonetheless, the enthusiastic repetitions of the words “only-begotten Son” lack stamina and soon thereafter segues back to serenity.

In the final movements— Domine Deus, Agnus Dei and Qui sedes ad dexteram Patris —Poulenc engineers a full-on collision between the worlds of the soprano soloist and the chorus. The Domine Deus, Agnus Dei is no longer the picture of peacefulness; instead, it is tinted with mystery and uncertainty, musically hinting at “peccata mundi”—the sins of the world. The chorus periodically cries out “suscipe!” (“receive thou!”), seeking acceptance

through a prayer of atonement. Qui Sedes serves as a final burst of choral force, with the orchestra continually reinforcing its opening motifs. Finally, the piece dissolves into a waxing and waning of ethereal harmonies, sealed by a near-whispered “Amen”—a release into contemplation.

Alex Whittington ’22

Gloria Gloria in excelsis Deo. Et in terra hominibus, bonae, voluntatis.

Glory to God in the highest.

And on earth peace to all of good will.

Laudamus te, benendicimus te, adoramus te, glorifi camus te; Gratias agimus, agimus tibi, propter magnam gloriam tuam.

We praise Thee, we bless Thee, We adore Thee, we glorify Thee.

We give Thee thanks for Thy great glory.

Domine Deus, Rex coelestis!

Deus, Pater omnipotens!

Lord God! Heavenly King!

God, the father Almighty!

Domine, Fili unigenite, Jesu Christe!

Lord Jesus Christ, the only begotten Son!

Domine Deus! Agnus Dei! Filius Patris!

Qui tollis peccata mundi, miserere nobis.

Qui tollis peccata mundi, suscipe deprecationem nostram.

Lord God! Lamb of God! Son of the Father.

Thou, who takest away the sins of the world, have mercy upon us.

Thou, who takest away the sins of the world, receive our prayer.

Qui sedes ad dexteram Patris, miserere nobis.

Quoniam tu solus sanctus.

Tu solus Dominus.

Tu solus altissimus, Jesu Christe!

Cum Sancto Spirtitu in gloria Dei patris.

Thou, who sits at the right hand of the Father, have mercy upon us.

For Thou alone art holy, Thou alone art Lord, Thou alone art the most high, Jesus Christ.

With the Holy Ghost in the glory of God the Father.

Amen.

Amen

Yale Symphony Orchestra Toshiyuki Shimada, Music Director (On Leave) William Boughton, Interim Conductor Thomas C. Duffy, Interim Director Brian Robinson, Managing Director Ian Niederhoffer, Assistant Conductor Henry Shapard, Assistant Conductor Presidents Laura Michael Spencer Parish Librarians Dennis Zhao, Head Librarian Vivian Mayers Ben Tillinger Publicity Epongue Ekille Mary Martin Eli Mennerick Social Alma Bitran Sonali Durham Jacob Miller Alumni Margo Williams Chie Xu Stage Crew Evan Pasternak, Manager Alma Bitran Eli Mennerick Sam Panner Ryan Zhou Graphic Design Victoria Gebert

First Violin Evan Pasternak ’19, Concertmaster Vivian Mayers ’21 Co-Concertmaster Alex Goldberg ’22, Asst. Concertmaster Alexander Wang ’19, Principal Albert Cao ’19 Nanki Chugh ’22 Laura Clapp ’21 Janet Hsu ’22 Hannah Lawrence ’19 Oliver Leitner ’22 Phoebe Liu ’22 Sophie Luyten ’21 Jocelyn Ra ’22 Second Violin Serena Shapard ’20, Principal Margo Williams ’20, Co-Principal Formosa Deppman ’22 Epongue Ekille ’21 Ernestina Hsieh ’22 Won Ho Lee ’22 Chaihyun Kim ’20 Emma Mueller ’21 Sam Panner ’21 Isaiah Schrader ’21 Jasmine Stone ’20 Alice Tao ’20 Stella Vujic ’22 Julia Zhu ’19

Viola Sarah Switzer ’19, Principal Ian Niederhoffer ’19, Co-Principal Brian Isaacs ’22, Sub-Principal Lili Cerise ’22 Daniel Chabeda ’22 Jisoo Choi ’22 Sonali Durham ’20 Linus Lu ’19 Jacob Miller ’21 Gabrielle Sevillano ’22 Timothy White ’20 Grant Young ’20 Ryan Zhou ’22 Violoncello Henry Shapard ’20, Principal Alma Bitran ’21, Co-Principal Jason Campe ’22 Sofia Checa ’20 Anastasia Dalianis ’22 Giacomo Glotzer ’22 Julia Hu ’22 Emery Kerekes ’21 Dayle Chung ’21

Contrabass Connor Reed ’19, Principal Alice Zhao ’21, Co-Principal Archer Frodyma ’22 Aedan Lombardo ’20 Spencer Parish ’20 Arvind Venkataraman ’19 Flute and Piccolo Beatrice Brown ’19 Co-Principal Monica Barbosa ’19 Co-Principal Benjamin Tillinger ’21 Annie Zhao ’22 Oboe and English Horn Laura Michael ’20 Co-Principal Alec Chai ’22 Co-Principal Olivia Johann ’22 Kaitlin Kan ’22 Clarinet Christopher Zhou ’19, Co-Principal Dennis Zhao ’19 Co-Principal Richard Zhou ’22 Daniel Kim ’22 Bassoon Dennis Brookner ’19, Co-Principal Maddy Tung ’21 Co-Principal Kenny Wang ’20 Brian Kirkman ’21

French Horn Mary Martin ’20, Principal Claire Calkins ’22 Abigail Cipparone ’19 Stephen Newberry MUS ’19 Trumpet Ryan Petersberg GRD ’21 Principal Megan Ahern ’21 James Brandfonbrener ’21 Oscar Mason, MUS ’19 Trombone Eli Mennerick ’21 Danny Alford, MUS ’20 Fernando Trejos Suarez ’22 Tuba Gigi Barrios ’22 Harp Heloise Carlean-Jones, MUS ’20 Margaret Davis Timpani and Percussion Alvin Chung ’21 Principal Noah Carlson ’22 Robert Kelly Anise Overton ’22

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

Former Ives’ music Three Places directors in New include England, Richmond the U.S. Browne, premiere John of Mauceri, Debussy’s C. William Khamma, Harand wood,the Robert East Coast Kapilow, premiere Leif Bjaland, of Benjamin Alasdair Britten’s Neale,The David Building Stern,ofJames the House.

Ross,InJames every Sinclair, season Shinik the Hahm, YSO works and George to program Rothman. 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 YoYo 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.”

In the past decade, 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.

Yale Glee Club Jeffrey Douma, Music Director T. Sean Maher, Business Manager David McNeill, Assistant Conductor Madeline Lemberg and Sarah Speller, Student Conductors President Jared Michaud Manager Evaline Xie Alumni Coordinators Andrew Ballard and Raquel Sequeira Stage Manager Sofia Laguarda and Brooke Milosh Archivists Emery Kerekes and Sophie Latham Community Engagement Mahima Kumara and Charlotte Winkler International Tour Managers Calvin Schwartzberg and Alexa Vaghenas Winter Tour Managers Ece Bozkurt and Devin O’Banion Web Managers Rajshekhar Basak and Rianna Turner Publicity Chairs Divine Uchegbu and Angela Zhao Social Chairs Ryan Howzell and Jack McAuliffe Wardrobe Managers Mary Clare McMahon and Stephanie Smelyansky

Soprano I Angela Gong, ’21 Margaret (Migs) Grabar Sage, ’19 Sarah Lauren Grube, ’22 Sophie Latham, ’21 Lara Schull, ’21 Charlotte Winkler, ’20 Angela Zhao, ’21 Isabella Zou, ’22 Soprano II Magda Andrews-Hoke, ’19 Kristine Sungyeon Chung, ’19 Daniella Cohen ’20 Aria Falcone ’22 Lena Goldstein, ’22 Sofia Laguarda, ’20 Brooke Milosh, ’21 Isabella Pazaryna, ’19 Stephanie Smelyansky, ’19 Alexa Vaghenas, ’20 Alto I Sharon Ahn, ’22 Ece Bozkurt, ’20 Abigail Cipparone ’19 Isabel Guarco, ’20 Lucy Ellis, ’22 Ryan Howzell, ’20, Eleanor Iskander, ’21 Mahima Kumara , ’20 Julianna Lai, ’21 Raquel Sequeira, ’21

Alto II Maryanne Cosgrove, ’20 Mehana Daftary, ’22 Amelia Haynes , ’20 Ella Henry, ’20 SungMi Johnson, ’21 Annli Nakayama, ’22 Lauryn Phinney, ’21 Helen Rouner, ’19 Rianna Turner ’21 Divine Uchegbu, ’21 Evaline Xie, ’19

Bass I Andrew Ballard, ’20 Mark Barnett, ’21 Brendan Campbell, ’21 Emery Kerekes, ’21 Johanan Knight , ’19 Jules Manresa, ’22 Jared Andrew Michaud ’19 Andrew Hon, MUS ’19 William Suzuki, ’22 Henry Townley, ’19 Xavier Washington, ’20

Tenor I Rajshekhar Basak, ’20 Luke Ciancarelli, ’19 John Cooper, 21 Nolan Crawford, ’19 Zev Kazati-Morgan, ’22 Joe Landman, ’19 Jackson Leipzig, ’19 Ethan Reid Lester, ’20 Jack McAuliffe, ’20

Bass II Joshua Collier Brooks, ’21 Patrick Aidan Brooks, ’19 Anthony Hejduk, ’20 Jonathan Jalbert, ’22 Nick Jones, ’22 Corin Katzke, ’22 Elliot Lewis, ’22 John Fitzpatrick McKissack, ’20 Rajiv Nelakanti, ’22 Devin O’Banion, ’20 Louis Sokolow, ’21

Tenor II Josh Czaczkes, ’22 Eric Duong, ’20 Andrés Gómez-Colunga, ’21 Christopher Irsfeld Jr., ’21 Shaun Radgowski, ’20 Charlie Romano ’19 Calvin Schwartzberg, ’20 Jack Bain Softcheck, ’22 Alex Whittington, ’22 Tavi Wolfwood, ’21 Yiming Zhang, ’22

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 all-gender chorus, 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 2018 presented the third incarnation of the festival, hosting choirs from Sri Lanka, Mexico, Germany, and New York City, 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.

Yale Camerata Marguerite Brooks, Music Director Andrew Hon, Principal Assistant Conductor Douglas Dickson, Accompanist Laurie Ongley, Manager Jasmine Gelber Hannah Goodwillie Daniel Tucker, Student Managers Victor Altshul Megan Ankuda Helen Barnstable* Helen Bartlett* Jerry Boryca Sophie Bradburn* Faith Brill Maria Brouard Maggie Burk*† Olivia Campbell Leif Castren Andy Celella Joseph Choi Karen Clute Yi Ding Dayna Lee Drake* Ismo Dunderberg Mary Alice Dutkanicz Charlotte Finegold Jasmine Gelber*† Scott Gigante Josh Goodbaum Hannah Goodwillie*† Ross Harris* Stephen Harrop Bonnie Havery Robert Havery Jonathan Held Patrick Holland*

Andrew Hon*† Joyce Hsiang* Hao-Li Huang Katherine Jones* Donald Kohn Ronald Krauss Carolyn Ladd* Michel Ledizet* Madeline Lemberg* Tony Leonard Peter Lifland* Tim Lind* Allison Merrill* Jackson Merrill* Catherine Miller Paul Mortilla* Gregory P. Muccilli* Sarah Noble*† Kate Nyhan* Tawnie Olson* Oscar Osicki*† Laura Ostrowsky* Nathaniel Peters Natalie Plaza* Laura Rais Chitra Ramalingam Julia Blue Raspe* Sarah Reed* Gail Reen

Chandler Riker* David Schaengold* Jonas Schupp Misha Semenov* Margaret Sipple* Peter Sipple* Rebecca Stoll Ryan Sutherland Martha Kirk Swartz Daniel Tucker*† Geriana Van Atta* Grant Wareham* Michael Warrener Jonathan Weber* Madeleine Woodworth*† Jason Zentz* Lawrence Zukof* * Chamber chorus † Assistant conductor

About Yale Camerata Founded in 1985 by its conductor, Marguerite L. Brooks, the Yale Camerata is a vocal ensemble sponsored by the Yale Institute of Sacred Music.

The group’s singers are Yale graduate and undergraduate students, faculty, staff, and experienced singers from the New Haven community. The Camerata performs a widely varied spectrum of choral literature, with a specific commitment to recently composed choral music. It has collaborated with the Yale Glee Club, Yale Philharmonia, Yale Symphony, Yale Band, Yale Chamber Players, Yale Collegium Musicum, the New Haven Chorale, and the orchestras of Hartford, New Haven, and Norwalk. The ensemble has also performed for Yale Music Spectrum and New Music New Haven.

The chamber chorus of the Yale Camerata has performed at the Yale Center for British Art and at Lincoln Center’s Alice Tully Hall, and has traveled to Germany to perform the Berlioz Requiem with choruses from Germany, Japan, the Netherlands, Israel, Great Britain, and the Ukraine. The chamber chorus has also done a residency at Saint Paul’s Cathedral in London, England.

The Camerata has been heard on Connecticut Public Radio and on national broadcasts of National Public Radio’s program Performance Today.

The chorus has performed at a national meeting of the National Collegiate Choral Organization and a regional meeting of the American Choral Directors Association. Guest conductors have included Marin Alsop, Simon Carrington, Matthew Halls, David Hill, Sir Gilbert Levine, Sir Neville Marriner, Nicholas McGegan, Erwin Ortner, Stefan Parkman, Grete Pedersen, Krzysztof Penderecki, Helmuth Rilling, Jaap Schröder, Robert Shaw, Dale Warland, and Sir David Willcocks.

With the Institute of Sacred Music, the Camerata has commissioned and premiered works of Martin Bresnick, Daniel Kellogg, Robert Kyr, Tawnie Olson, Stephen Paulus, Daniel Pinkham, and Ellen Taaffe Zwilich, among others. The chorus has sung first performances of works by many composers, including Kathryn Alexander, Aaron Jay Kernis, Ingram Marshall, Tawnie Olson, Robert Sirota, and Francine Trester, and regularly programs student works.

The Yale Symphony Orchestra would like to thank the following for their support: $5,000 or more The William Bray Fund for Music Yale Symphony Orchestra Director’s Resource Fund Dr. David Lobdell Wendy Sharp ’82 and Dean Takahashi ’80, ’83 SOM

$1,000—4,999 Anonymous Nancy Gutman Dr. Elizabeth Petri Henske ’81 B.A. Mr. Robert C. Henske ’81 B.S. Mr. Kenneth Richard Kato ’11 B.A. Dr. Robert L. Perkel, M.D. ’72 Mr. Feng Wang Mr. Ling Zhu

$500—999 Richard Dumas James M. Ford, M.D. ’84 B.A., ’89 M.D. Mr. Steven M. Kaufman ’81 B.A. Dr. Judith L. Ostrow Ms. Sarah P. Payne ’98

$100—499 Anonymous

Yichun Chung Prof. Lori Fisler Damrosch ’73 B.A., ’76 J.D. Mr. Thomas C. Duffy Prof. Edwin M. Duval ’71 M.Phil., ’73 Ph.D. Mr. Charles D. Ellis ’59 B.A., ’97 M.A.H. Mr. Phillip H. Falk ’10 B.A. Ms. Mayumi Fukui ’77 B.A., ’83 M.B.A. Mr. Paul J. Gacek ’67 B.A., ’70 Mus Ms. Pamela J. Gray ’74 B.A. Mr. Richard W. Hadsell, Ph.D ’71 M.Phil., ’75 Ph.D. Michel Jackson Mr. John W. Karrel ’75 Mr. Kevin G. Lawrence Jonathan Lewis Mr. Philip Henry Lima ’83 Mr. Daniel Lombardo Mrs. Maryanne Lombardo Ms. Linda Koch Lorimer ’77 J.D. Mr. Patrick P. McCreless ’98 M.A.H. Mr. Benjamin I. Nathans ’84 B.A. Ms. Isabel Padien O’Meara ’99 B.A. Carolee Rainey Donald Redmond Mr. Charles Michael Sharzer ’12 B.S. Mr. Justin Daniel Stilwell ’09 B.S. Mr. William McHenry Strom ’05 B.A. Ms. Victoria Yu-Than Su ’96 B.A. Ms. Meghan K. Titzer ’06 Vendini Mr. George Vosburgh Dr. Wenbin Xu Lawrence Young

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

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