Yale Concert Band - April 12, 2024, 7:30 PM, Woolsey Hall

The Thomas C. Duffy YALE CONCERT BAND SPRING CONCERT

Thomas C. Duffy, Music Director

Friday, April 12, 2024 7:30 pm

Woolsey Hall, Yale University

Director of Bands and Professor of Music Thomas C. Duffy celebrated his 40 th year at Yale in 2022. As a special gift, Yale Bands alumni and friends mounted a fundraising campaign to honor him by naming an annual concert after him. Beginning in 2023, the Band’s April concert was titled “The Thomas C. Duffy Yale Concert Band Spring Concert,” as will each subsequent Yale Concert Band Spring Concert, in perpetuity.

The Program

RON NELSON

Medieval Suite (1983)

I. Homage to Leonin

II. Homage to Perotin

III. Homage to Machaut

AARON ISRAEL LEVIN

WILLIAM SCHUMAN

In Between (2023) (premiere of wind band version)*

New England Triptych (1956)

I. Be Glad Then, America

II. When Jesus Wept

III. Chester

David Mills, Director of Bands (emeritus), University of Connecticut, guest conductor

~ intermission

WILLIAM GRANT STILL arr. Robert O. O’Brien

Symphony No. 1 in Ab major, “Afro-American” (1930)

I. Moderato assai

II. Adagio

III. Animato

IV. Lento, con risoluzione

*commissioned with funds from the Robert Flanagan Yale Band Commissioning Endowment.

Yale University acknowledges that indigenous peoples and nations, including Mohegan, Mashantucket Pequot, Eastern Pequot, Schaghticoke, Golden Hill Paugussett, Niantic, and the Quinnipiac and other Algonquian-speaking peoples, have stewarded through generations the lands and waterways of what is now the state of Connecticut. We honor and respect the enduring relationship that exists between these peoples and nations and this land.

About Tonight’s Music

Medieval Suite (1983)

RON NELSON (1929-2023)

Medieval Suite was written in homage to three great masters of the Middle Ages: Leonin (middle 12th century), Perotin (c. 1155-1200), and Machaut (c. 1300-1377). These are neither transcriptions of their works nor attempts at emulating their respective styles. Rather, their music served as a sort of launching pad for three pieces that draw on some of the stylistic characteristics of music from that period.

Homage to Leonin evokes his sinuous melodic style and use of Gregorian chant. Homage to Perotin is based on his viderunt style, in which low parts hold out notes of a Gregorian chant, creating a drone over which very active higher parts are presented with a repeated rhythmic pattern. Homage to Machaut evokes the stately, gently syncopated and flowing sounds of this master of choral writing.

New England Triptych (1956)

WILLIAM SCHUMAN (1910-1992)

In Between (2023)

AARON ISRAEL LEVIN (b. 1995)

The composer says of his piece:

“

In Between takes its inspiration from movies about making movies, like Federico Fellini’s 8½ or David Lynch’s Mulholland Drive. In these films, the lives of fictitious filmmakers ‘off-set’ often become intermingled with the film they’re attempting to make. I took this premise as a jumping-off point for my composition process, thinking of the ensemble as a crew of filmmakers. Specifically, the whip a percussion instrument that makes a distinctive whack stands in for the director’s clapperboard. Every time the whip is sounded, it signifies an ‘action’ for the filming to begin, or a ‘cut’ for the filming to stop. The title refers to what happens in between ‘takes,’ and the inevitable merging of off- and on-set.

“Tonight’s performance is the premiere of the band arrangement, which is dedicated to Thomas C. Duffy.”

William Schuman wrote New England Triptych as a tribute to the music of William Billings, an early-American New England composer. In subsequent years, he transcribed the music for band, greatly enlarging the score. The first movement, Be Glad Then, America, highlights timpani and a two-part chordal counterpoint. Typical of Billings’ music, it is noble and exciting. The second part of the triptych is a development of When Jesus Wept, a round by Billings. This movement contains a sacred theme that is particularly sensitive, beginning with low skin drums and a single cornet and euphonium. Chester, the third section, is based on a famous American Revolutionary hymn and marching song of the same name. It was practically the unofficial national anthem during the war. After the initial introduction of the hymn tune in the woodwinds and then brasses, Schuman presents the main melody in a wonderful contemporary setting.

Symphony No. 1 in Ab major, “Afro-American” (1930)

WILLIAM GRANT STILL (1895-1978)

(arr. Robert O. O’Brien)

In his original program notes for the Afro-American Symphony, Still explains his intention “to portray [...] the sons of the soil,” the descendants of enslaved people marginalized and erased in what academic writer Saidiya Hartman names “the afterlives of slavery.” To this end, Still imbues Western symphonic form with the rich traditions of Black protest music, specifically blues and jazz. This concert band arrangement, with its full brass and percussion, amplifies the grandiose, big band-like orchestration techniques Still employs in what would become the first symphony by an African American composer performed by a major orchestra.

The first movement appears at first to take a traditional sonata form, as was customary for Classical and Romantic symphonies. The English horn, muted trumpets, and solo clarinet trade the first theme, constructed using the minor blues scale and harmonized over the twelve-bar blues progression, before the oboe introduces a pentatonic theme in the far-off key of G major. But after an ingenious development section, Still reverses the order of the themes in the recapitulation. His subversion of the Western sonata structure punctuates the second theme, poignantly reharmonized in the parallel minor of the home key.

The introspective second movement reclaims the interiority denied to African Americans in the wake of enslavement as intimate woodwind solos meld with lush brass chords. Eventually, the minor blues theme from the first movement returns to remind us of how blues, spirituals, and work songs have always subversively articulated Black agency and interiority. One important component of this subversion is humor, which Still evokes in the dancelike third movement. Listen to the conversations between each section of the band as Still introduces a melody that George Gershwin quotes in his song “I Got Rhythm.”

A resonant chorale in the clarinets and low brass begins the final movement in the soundscape of the second. As the rest of the band jumps into the fray, altered dominant chords and outbursts from the brass punctuate the return of the chorale in episodes. Eventually, the soundscape of the third movement resurfaces, with fragments of the original minor blues theme in the oboes and clarinets. In a magnificent tutti ending, Still once again ingeniously subverts Western symphonic norms by ending his masterwork in the relative minor of the home key.

— Program note by Luc Ta GH ’25

Photos: Harold Shapiro

Senior Reflections

KAMALI CLORA, trombone

JULIA CHEN, tuba

I am so grateful for the opportunity to have performed with YCB during my time here in grad school. YCB has given me such a great community outside of my program and helped me improve my tuba playing. I have looked forward to every Tuesday and Thursday getting to make music and meet new people. There are so many amazing memories of playing tuba in Woolsey and incredible venues throughout Spain that I will never forget. YCB has brought me so much joy and allowed me to share my love of music with my friends. Thank you, Mr. Duffy and Stephanie, for all you do to support the band and to all the members of YCB for sharing this journey with me.

Ever since high school, all I’ve ever wanted to do is relive the musical moments that birthed my deep passion for music-making. As a healthcare professional, YCB has been a place of solitude and a break from the heavy realities of patient care. Not only has YCB given me an opportunity to be a musician again but also some meaningful relationships. The selflessness of playing in an ensemble is one of the many aspects that makes this experience so special and connected. I can’t thank Dr. Duffy and Stephanie enough for welcoming me into this community!

DANIEL DENNEY, clarinet

Joining the Yale Concert Band has been one of the highlights of my time at Yale. It has not only brought me some of my closest friends but also opened the door to amazing opportunities such as our tour in Spain. I remember walking into my first YCB audition— I was so nervous and completely unsure of what to expect—but was immediately greeted with such openness and kindness by Dr. Duffy. Given that college is so fast paced and can be quite intense, it was such a relief to have something as constant as band; I knew that no matter how hard my week was, I could always guarantee that I would come out of rehearsal in a better mood. Dr. Duffy always works so hard to bring such a positive, uplifting attitude to the band, and I always felt like it was a place for us to not only come together as musicians, but also make lasting connections and have fun. I will definitely look back at my time in the Yale Concert Band fondly and hope to not only continue pursuing music, but use it in a way that brings others together like we did in band.

THEO HAAKS, trombone

Joining the Concert Band is among the best decisions I have made during my time at Yale. Entering sophomore year after a Covid-era hiatus from making music, I knew I had to fill the trombone-shaped hole in my heart somehow. Fortunately, I found the YCB and have embraced the opportunity to play among its wonderful, dedicated musicians ever since. In addition to a much-needed space for music, the band has been an incredibly warm and welcoming community. Whether on a tour bus ride through the Spanish countryside or at a weekly b’dinner in the Hopper dining hall, spending time with fellow YCB band members never fails to bring a smile to my face. Thank you to Dr. Duffy for programming such a great variety of engaging pieces, and thank you Stephanie for your tireless behind-the-scenes work that makes all of this possible. Cheers to you all YCB, thanks for an unforgettable three years!

LISA MEIXUAN HUANG, flute

EMILY HE, flute

When I first entered Yale as a first year, I had no plans on continuing music in any capacity—I believed it would be too much for me to balance with my other commitments. I will forever be grateful I auditioned for the Concert Band anyway. The Yale Concert Band renewed my love for music and made me realize just how much I value both the act of music-making and the strong sense of community. Being a member of the band for the past four years has given me the most cherished relationships, memories, and opportunities I wouldn’t have found anywhere else. I have always looked forward to Tuesdays and Thursdays (and especially the dinners after rehearsal) and can only hope that I have helped foster a similar excitement for others during my time as social chair. I will miss everyone dearly and hope to stay in contact with you all!

I still clearly recall the happiness that bubbled up inside me after getting through the Yale Concert Band audition. And when Mr. Duffy said, “Welcome to Yale Band,” it felt like hitting the perfect note after a complex melody. I immediately shared the exciting news with my family and friends. Having played the flute for over a decade, it’s been an indispensable hobby in my life. Even better has been the experience of playing music with an ensemble of friends who share the same enthusiasm and passion. I’ll always cherish every friend I met in the YCB, coming from various academic majors and sharing the same passion for music. I’ll fondly recall every rehearsal and performance with the Yale Concert Band, which were some of the highlights of my time at Yale. My heartfelt thanks go out to Mr. Duffy, Stephanie, and everyone in the ensemble!

MIRIAM HUERTA, horn

Many people know me as someone who dabbles in many different subjects and activities, and they may find it rather challenging to locate me around campus given the many different hats I wear. Yet, throughout my six years at Yale (given COVID), perhaps my only constant this whole time has been band. The Yale Bands have fundamentally shaped my time and experiences in college, and I could not be more grateful for having been a member of. Although sometimes I may have complained about not being able to attend almost every single college tea due to conflicting times with rehearsals, I treasured every moment I spent in band. I honestly don’t think it has hit me yet how much I will miss being in both the Yale Concert Band and the Yale Precision Marching Band. Many of my best friends were first formed from this insane hodgepodge of people, and engaging in crazy shenanigans with them (like basking in Duffy Music™, our tour to Spain, The Game, and of course [REDACTED]) has solidified our bonds for life. That is to say, thank you all so much for this unforgettable journey, I will miss you all more than I can express, and I am proud to be playing today for once last time alongside all of you.

DENNIS LEE, alto saxophone

I have made some of my most wonderful memories at Yale with the Concert Band. It was my dream as a high schooler to one day play in the Yale Concert Band – because that implies being accepted to Yale and being pretty good at saxophone! What I could not have realized then was how much fun I would end up having with the music and the people as a member of the Band. I per-

formed some of my favorite pieces – such as Smetana’s The Moldau (with the Saxophone Ensemble) and Maslanka’s A Child’s Garden of Dreams – and became friends with some of the most amazing people I have ever met. It has been an immense privilege to be a part of this community filled with music and joy. The time that I have spent with the Concert Band is an important part of what makes Yale a very special place in my heart.

MARGALIT PATRY-MARTIN, clarinet

When I look back at my three in-person years at Yale, band will appear in so many of my memories because of how connected it’s been to my personal growth. Coming off a year and a half of quarantine where I struggled to play clarinet and even listen to music, my first year in band was honestly incredibly frustrating. It wasn’t until we played The Planets that I saw a glimpse of my old abilities, and the hope I felt in that concert cycle makes it my best memory of that whole year. It’s been so moving to heal from those difficult times with the band, as individuals and as a group, to reach a place where we’re stronger than we were before the pandemic. I’m truly grateful to everyone involved; to Mr. Duffy for letting me experiment and prioritizing my happiness over the band’s needs, to Stephanie for supporting my insane graphic design dreams, and to my friends for getting me out of my shell (I know it took a lot of work!) and working with me to improve our playing together. Thank you all and I’ll miss you!

BEN SWINCHOSKI, clarinet

From my very first day in the Yale Concert Band, I was struck by the sense of warmth, community, and camaraderie in the ensemble. There is no way I would have rather spent my Tuesday and Thursday afternoons in college than with the Yale Concert Band, playing staples of the repertoire such as Bernstein’s Overture to Candide and Holst’s Second Suite to reimagining the scope of what constitutes a band piece with innovative works like Viet Cuong’s Re(new)al and Russell Peck’s Cave of the Winds (didn’t know I would need choreography skills to succeed in the YCB!) while listening to Mr. Duffy’s wild stories. The Spain tour, in particular, was truly one of the best spent weeks of my life to this point. I have made some lifelong friends through this ensemble, and I credit the shared language of music, along with the supportive culture created by Mr. Duffy and the officers, for facilitating these connections. Going forward, I will do my very best to bring the energy and spirit of B’love into every group I join!

MICHAEL YING, clarinet

Playing with YCB has been an incredible musical experience these past two years. After seeing YCB perform The Planets with projections in Woolsey Hall during my sophomore year, I knew I wanted to join and have the opportunity to play on such a big stage. Although I’m still amazed every time we get to perform on stage for the Yale and New Haven communities, what’s been even more wonderful is the community and all the other opportunities that YCB has provided for us. From going on tour internationally to having guest conductors to playing at Commencement, there’s always something to look forward to throughout the year. And most of all, I’ve loved getting to meet and make music with people who share the same passion and desire to have fun while creating something amazing together. Deciding to join YCB for the past two years has been one of the best decisions during my time at Yale, and I hope the band continues to inspire and enrich the lives of its members for years to come.

About Tonight’s Guest Conductor

David Mills, University of Connecticut Emeritus Professor of Music, was chosen to direct the UConn Marching Band, Symphonic Band, and Pep Bands in 1990, and from 1997 to 2023 was the University of Connecticut’s Director of Bands. Dr. Mills received the 2010 School of Fine Arts Outstanding Faculty Award, and the next Fall received the UConn Alumni Association’s Faculty Excellence in Teaching Award. He was inducted into the University of Miami’s “Band of the Hour” Hall of Fame.

Dr. Mills is a frequent guest conductor and clinician and served nationally as a member and chairman of the national Marching Band Committee of the College Band Directors National Association. Before UConn, he directed outstanding band programs at Valdosta State University in Valdosta, GA, and Blacksburg High School in Blacksburg, VA. He earned his PhD from the University of Miami and his master’s and bachelor’s degrees in Music Education from Western Carolina University. He served as Chairman of the Athletic Band Committee of the College Band Directors Athletic Association and hosted the 2009 CBDNA National Symposium for Athletic Bands. His UConn Marching Band was twice the finalist for the national Sudler Trophy as an outstanding band program in the nation. In his multi-faceted career, he has enjoyed significant success in the broad range of band activity in music education, Concert Band, and Marching Band.

Yale Concert Band 2023-24, Thomas C. Duffy, Music Director. Photo: Harold Shapiro

About the Music Director

Thomas C. Duffy is Professor (Adjunct) of Music, Director of University Bands, and Clinical Professor of Nursing at Yale University, where he has worked since 1982. He is known as a composer, a conductor, a teacher, an administrator, and a leader. His interests and research range from non-tonal analysis to jazz, from wind band history to creativity and the brain. Under his direction, the Yale Bands have performed at conferences of the College Band Directors National Association and New England College Band Association; for club audiences at New York City’s Village Vanguard, Birdland, Dizzy’s Club, and Iridium; Ronnie Scott’s (London); the Belmont (Bermuda); as part of the inaugural ceremonies for President George H.W. Bush; and concertized in twenty-one countries in the course of nineteen international tours. Duffy produced a two-year lecture/performance series, Music and the Brain, with the Yale School of Medicine; and, with the Yale School of Nursing, developed a musical intervention to train nursing students to better hear and identify body sounds with the stethoscope. He combined his interests in music and science to create a genre of music for the bilateral conductor – in which a “split-brained conductor” must conduct a different meter in each hand, sharing downbeats. His compositions have introduced a generation of school musicians to aleatory, the integration of spoken/sung words and “body rhythms” with instrumental performance, and the pairing of music with political, social, historical and scientific themes. He has been awarded the Yale Tercentennial Medal for Composition, the Elm/ Ivy Award, the Yale School of Music Cultural Leadership Citation and certificates of appreciation by the United States Attorney’s Office for his Yale 4/Peace: Rap for Justice concerts – music programs designed for social impact by using the power of music to deliver a message of peace and justice to impressionable middle and high school students. Duffy has served as associate, deputy and acting dean of the Yale School of Music. He has served as a member of the Fulbright National Selection Committee, the Tanglewood II Symposium planning committee, the Grammy Foundation Music Educators Award Screening Committee, and completed the MLE program at the Harvard University Institute for Management and Leadership in Education. He has served as: president of the Connecticut Composers Inc., the New England College Band Directors Association and the College Band Directors National Association (CBDNA); editor of the CBDNA Journal, publicity chair for the World Association of Symphonic Bands and Ensembles; and chair of the Connecticut Music Educators Association’s Professional Affairs and Government Relations committees. He is a member of American Bandmasters Association, American Composers Alliance, the Connecticut Academy of Arts and Sciences, Connecticut Composers Incorporated, the Social Science Club, and BMI. Duffy has conducted ensembles all over the world, including the National Association for Music Education’s National Honor Band in the Kennedy Center, Washington, D.C. (More extensive data is available at www.duffymusic.com, including a high resolution downloadable photo.)

Yale Concert Band

Annual Twilight Concert

Thomas C. Duffy, Music Director

Celebratory music on the eve of Yale’s Commencement

Sunday, May 19 7:00-7:45 p.m.

Outside on the Old Campus

Free (no tickets required) (chairs provided)

Photo: Harold Shapiro

THOMAS C. DUFFY, Music Director

STEPHANIE HUBBARD, Operations and Productions Manager

President: Ana Rodrigues | General Managers: Cody Uman, Julien Yang

Social Chairs: Zoe Frost, Elizabeth Seward | Publicity Chair: Sophia Graham

Piccolos

Salena Huang YSEAS ’26 - Mechanical Engineering and Materials Science

Flutes

Tiffany Jiang MED ’27* - Medicine

Emily He DC ’24† - Molecular, Cellular, and Developmental Biology

Julien Yang TC ’27 - Undeclared

Allie Gruber PC ’26 - English

Noah Tin-yu Brazer MED ’27 - Medicine

Alliese Bonner BK ’27 - Undeclared

Zoe Frost MY ’27 - Undeclared

Peter Nelson JE ’26 - Molecular Biophysics and Biochemistry

Lisa Meixuan Huang SOM ’24 - Global Business and Society

Mei Hao YSEAS ’28 - Mechanical Engineering

Oboes

Ana Rodrigues BR ’25* - History of Art and Urban Studies

Sophia Graham DC ’26 - Economics

English Horn

Ana Rodrigues BR ’25 - History of Art and Urban Studies

Eb Clarinet

Nick Hamblin YSM ’25 - Music

Bb Clarinets

Ben Swinchoski BF ’25, Keith L. Wilson Principal Clarinet Chair‡ - Neuroscience

Margalit Patry-Martin GH ’24† - Music/History of Science, Medicine, and Public Health

Michael Ying BK ’24† - Statistics & Data Science

Joshua Chen SY ’27 - Undeclared

Daniel Denney ES ’24† - Molecular Biophysics and Biochemistry

Avery Maples PC ’26 - Ethnicity, Race & Migration

Jessica Liu GH ’25 - Applied Mathematics/Chemistry

Meiling Laurence BF ’26 - Mathematics

Amalee Bowen GSAS ’28 – Egyptology

Bass Clarinet

Jonathan Lopez YSM ’24 - Music

Bassoon

Kennedy Plains YSM ’25 - Music

Soprano Saxophone

Dennis Lee DC ’24† - Ethics, Politics and Economics/Mathematics and Philosophy

Alto Saxophones

Dennis Lee DC ’24*† - Ethics, Politics and Economics/Mathematics and Philosophy

Jesse H. Mullins MY ’27 - Ethics, Politics, and Economics

Tenor Saxophone

Kenny Georges

Amal Dhanesh SM ’27 - Undeclared

Baritone Saxophone

Aaron Yu MC ’25 - Computer Science and Applied Mathematics

Cornets/Trumpets

Jared Wyetzner PC ’27* - Physics

Aidan Garcia MC ’26 - Economics

Kyle Chen SY ’27 - Undeclared

Sander Cohen-Janes GSAS ’29 - Chemistry

Will Rich YSM ’25 - Music

Grace O’Connell YSM ’25 - Music

French Horns (rotating)

Rory Bricca ES ’26 - Music

Kate Hall ES ’26 - Applied Physics

Miriam Huerta BF ’24† - Electrical Engineering and Computer Science

Andrés Luengo TC ’27 - Astrophysics

Shell Ross GH ’26 - Classics

Trombones

Theo Haaks BR ’24*† - Political Science

Cody Uman MC ’25 - Mathematics

Max Watzky BF ’27 - Astrophysics

Nathaniel Lange SY ’27 - Molecular Biophysics and Biochemistry

Kamali Clora YSPH ’24 - Public Health

Euphoniums

John Liu TD ’25* - Statistics and Data Science

Anna Calkins MC ’27 - Undeclared

Tubas

Benson Wang BK ’27* - Applied Mathematics & Economics

Karim Najjar MC ’27 - Undeclared

Julia Chen YSE ’24 - Forestry

Gregory Wolf TD ’26 – Psychology

String Bass

Hector Ponce YSM ’24 - Music

Piano

Serina Wang SY ’26 - Computer Science & Economics

Banjo

Spencer Greenfield BF ’25§ - Earth & Planetary Sciences

Harp

Yun Chai Li YSM ’24§ - Music

Percussion (rotating)

Max Su SY ’25* - Mathematics and Computer Science

Madeline Chun SM ’26 - Undeclared

Jacob Leshnower GH ’27 - Statistics & Data Science and Music

Nikolai Stephens-Zumbaum BF ’26 - Mechanical Engineering

Tally Vaneman GH ’27 - Astrophysics

Zahra Virani SY ’26 - Urban Studies/Film and Media Studies

Music Librarian

Madeline Chun SM ’26 - Undeclared

* principal

† Yale College seniors graduating this year

‡ Friends of Keith L. Wilson (Director of Yale Bands from 1946-1973) honored him by endowing the principal clarinet chair in the Yale Concert Band in his name. If you would like information about naming a Yale Concert Band chair, please contact the Yale Bands Office.

§ playing on Afro-American Symphony only