The Thomas C. Duffy
YALE CONCERT BAND
SPRING CONCERT
Thomas C. Duffy, Music Director
Friday, April 14, 2023 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 with this evening’s concert, the Band’s annual April concert will be titled “The Thomas C.
Program
TICHELI BLACKSHAW
SAN MIGUEL ed. Fennell
MAZONE TYZIK
Postcard (1991)
Peace Dancer (2017)
La Oreja de Oro (1984)
Shut Out (2022)
Brian Coffill, guest conductor
Riffs (2009)
Makana Medeiros YSM ’23, drum set
~ intermission ~
COPLEY
Serenade for Wind Nonet (2019)
I. Slow
II. Dance
III. Waltz
IV. Dance
SANTOS
The Seer (2019)
Albert R. Lee, tenor
I. Lonely Nocturne (Langston Hughes, 1942)
II. Circles (Hughes, 1946)
III. Beale Street (Hughes, 1947)
IV. Final Sonnet to Orpheus (Rainer Maria Rilke, 1923)
V. Not What Was (Hughes, 1965)
VI. Call to Creation (Hughes, 1931)
VII. Fire (Hughes, 1926)
VIII. Moan (Hughes, 1926)
IX. Island (Hughes, 1950)
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.
Duffy Yale Concert Band Spring Concert.”
Tonight’s Music
Postcard (1991)
FRANK TICHELI (b. 1958)
“Postcard was commissioned by my friend, colleague, and former mentor, H. Robert Reynolds, in memory of his mother, Ethel Virginia Curry. He requested that I compose not an elegy commemorating her death, but a short energetic piece celebrating her life. In response, I have composed this brief “postcard” as a musical reflection of her character—vibrant, whimsical, succinct.
“It is cast in an ABA’ form. The primary theme, first heard in the flute and clarinet and used in the outer sections, is a palindrome—that is, it sounds the same played forwards or backwards. This theme honors a long-standing tradition in the Reynolds family of giving palindromic names (such as Hannah and Anna) to their children. H. Robert Reynolds’ first name is Harrah. The theme’s symmetry is often broken, sometimes being elongated, other times being abruptly cut off by unexpected events.
“The B section is based on a five-note series derived from the name Ethel: E (E natural) T (te in the solfeggio system, B flat) H (in the German system, B natural) E (E-flat this time) L (la in the solfeggio system, A natural). The development of this motive can be likened to a journey through a series of constantly changing landscapes.
“The A’ section is articulated by the return of the main melody. This section is not identical to the A section but is close enough in spirit to it to give the effect of a large-scale palindrome surrounding the smaller ones.” – Frank Ticheli
Peace Dancer (2017)
JODIE BLACKSHAW (b. 1971)
“Peace Dancer is inspired by the Australian First Nations text of the same name by Roy Henry Vickers (Squamish Nation). In the words of the author:
“‘The story Peace Dancer is about a song and dance that is thousands of years old originating from the time of the flood. Songs have been composed for different Chiefs up and down the Pacific Northwest coast. The Chief who is chosen to do this sacred dance is recognized as a healer in each community, and the songs and dances are a reminder of the great flood and how the people lost their way and their love for all things in creation. During the dance there is a time when the dancer shakes the eagle down from their headdress to remind the people of the flood.’
“While this text affords many music-making opportunities, the composer chose to focus on one moment: ‘We have really lost our way; we have not taught our children love and respect.’
“This is achieved by dividing this short piece into ‘moments’ of meditation, awakening, realization, and humility. It takes you, the audience, on an emotional journey, similar to realizing you have been in the wrong; maybe you have been unkind or acted in a way that does not become you. Once you realize the consequences of your actions, remorse and the understanding that there is a need to move forward with grace and humility follows. Thus is the lesson of Peace Dancer.’ ” –
Jodie Blackshaw
La Oreja de Oro
MARIANO SAN MIGUEL (1879–1935)
(ed. Frederick Fennell) (1984)
Mariano San Miguel drew extensively on the popular musical traditions of his native Spain in his many compositions for band and orchestra. La Oreja de Oro is a pasodoble torero, or bullfighter two-step, with the fanfares, trumpet solo lines, and ornamentation expected in the musical accompaniment to Spain’s most popular traditional sport. The title means “ear of gold” and refers to one of the most prized rewards for a bullfighter: the ear of the bull.
Shut Out (2022)
TYLER MAZONE (b. 1998)
Tyler Mazone is a deaf composer. He says of his piece:
“Shut Out is a piece about the experience of being a disabled person and not quite fitting into society. The repeating structures throughout represent society with disabled people being the melodic and harmonic ideas that wash over and around these structures.
YALE CONCERT BAND
“The piece is cast in three distinct sections, each showing a range of emotions that I and my disabled friends, colleagues, and family feel every day. Shut Out starts off with ponderous music which is the exposition of the burden that we feel every day having to fit into a society that really isn’t built for us. A faster section is ushered in, representing the daily charades that have to be played with society with factors such as ableism, intersectionality, barriers to accessibility, and even socioeconomics. This comes to a climax which leads into an optimistic statement about what society could be like if we worked harder to be more inclusive and accessible. This dream is then yanked out by a sudden ending that sounds like a door being shut in someone’s face.
“Obviously, being shut out is not an experience that is exclusive to disabled people. People affected by things like racial injustice, various stigmas such as xenophobia and homophobia, ableism, and poverty all feel this way. I simply wrote the piece from my lens as a disabled person, but I hope that others who have been shut out of society can connect with this piece, as society could not exist without so many of those that are excluded.”
Riffs (2009)
JEFF TYZIK (b. 1951)
Riffs is a one-movement composition in three sections, which include a fast swing, a heavy medium swing, and an Afro-Cuban finale that turns the wind ensemble into a huge jazz ensemble with the jazz drum soloist leading the way. There is an optional cadenza where the soloist can choose to work out a call-and-response section with the percussionists.
This work was premiered by Michael Burritt and the Eastman Wind Ensemble conducted by Mark Scatterday at the Chicago Midwest Clinic in December 2009.
Serenade for Wind Nonet (2019)
KATAHJ COPLEY (b. 1998)
“This is a piece originally seen as an anti-serenade. I wanted to write about the idea of a relationship going bad. However, I took that idea and decided to go a different route. Instead of this being a piece for the love of someone or the breakup of someone...this is the growth of a person from heartache. The first movement is written from the perspective of someone out of a relationship, hence the rather somber beginning; however, the movement shifts into a change of mood for the person—a more hopeful mood. The second movement is a quirky encounter between two people—they are both shy and don’t know what the future holds for them. The third movement is a scene for a first date for the couple. The final movement begins with the clarinet and is rather slow, however as the movement progresses, it gets faster and louder until the end. This movement represents the pacing of the couple so that they finally admit their love for one another.” – Katahj Copley
The Seer (2019)
ERIK SANTOS
“A ‘Seer’ is one who, through supernatural insight, can see what the future holds, and see through to unseen truths.
“Who is the seer? What does the seer see?
“‘…I’m sitting here in the center of my house this quiet morning. Through the windows, in the outer corners of my eyes, I can see full moon setting on my left and new sun rising on my right. Both gloriously happening now, however, I can only see one or the other if I turn my head. Can’t see both simultaneously. I sit here trying to sum it all up, and see it all at once, but I can’t. There’s a lesson here somewhere in between. The difference between sleeping dreams and waking dreams is difficult to explain…’
“This musical mandala weaves together many disparate strands of creative inspiration i.e., the work of Langston Hughes and Rainer Maria Rilke, Nina Simone, Howlin’ Wolf, Killing Joke, Lee ‘Scratch’ Perry, Rod Serling, Stanley Kubrick’s 2001: A Space Odyssey, the stories of Parsifal, and Ulysses. As much as possible, I let the subconscious lead, as my conscious mind struggled to render dream dictation into a linear language that might resonate with another. In this liminal state, in between both and neither, the answers lie.” – Erik Santos
Text for The Seer
Lonely Nocturne (Langston Hughes, 1942)
When dawn lights the sky
And day and night meet, I climb my stairs high
Above the grey street. I lift my window
To look at the sky
Where moon kisses star
Goodbye.
When dawn lights the sky
I seek my lonely room. The halls as I go by Echo like a tomb.
And I wonder why
As I take out my key, There is nobody there But me —
When dawn lights the sky.
Wake Up! (Clockwork)
Circles (Hughes, 1946)
The circles spin round
And the circles spin round
And meet in their own tail.
Seasons come, seasons go, The years build their bars
Till we’re in jail.
Like a squirrel in a cage —
For the jail is round — We sometimes find Ourselves upside down.
Beale Street (Hughes, 1947)
The dream is vague
And all confused
With dice and women
And jazz and booze. The dream is vague, Without a name, Yet warm and wavering
And sharp as flame. The loss
Of the dream
Leaves nothing
The same.
Final Sonnet to Orpheus (Rainer Maria Rilke, 1923)
Stiller Freund der vielen Fernen, f ühle, wie dein Atem noch den Raum vermehrt. Im Gebälk der finstern Glockenstühle laß dich läuten. Das, was an dir zehrt, wird ein Starkes über dieser Nahrung. Geh in der Verwandlung aus und ein. Was ist deine leidendste Erfahrung?
Ist dir Trinken bitter, werde Wein. Sei in dieser Nacht aus Übermaß Zauberkraft am Kreuzweg deiner Sinne, ihrer seltsamen Begegnung Sinn. Und wenn dich das Irdische vergaß, zu der stillen Erde sag: Ich rinne. Zu dem raschen Wasser sprich: Ich bin.
Wake Up! (Chaos)
Not What Was (Hughes, 1965)
By then the poetry is written and the wild rose of the world blooms to last so short a time before its petals fall. The air is music and its melody a spiral until it widens beyond the tip of time and so is lost to poetry and the rose — belongs instead to vastness beyond form, to universe that nothing can contain, to unexplored space which sends no answers back to fill the vase unfilled or spread in lines upon another page —
YALE CONCERT BAND
that anyhow was never written because the thought could not escape the place in which it bloomed before the rose had gone
Call to Creation (Hughes, 1931)
Listen!
All you beauty-makers, Give up beauty for a moment.
Look at harshness, look at pain, Look at life again.
. . . (text omitted)
Listen!
Futile beauty-makers —
Work for a awhile with the pattern-breakers!
Come for a march with the new-world-makers: Let beauty be!
Fire (Hughes, 1926)
Fire,
Fire, Lord!
Fire gonna burn ma soul!
I ain’t been good, I ain’t been clean —
I been stinkin’, low-down, mean.
Fire,
Fire, Lord!
Fire gonna burn ma soul!
Tell me, brother, Do you believe
If you wanta go to heaben
Got to moan an’ grieve?
Fire,
Fire, Lord!
Fire gonna burn ma soul! . . . (text omitted)
Fire, Fire, Lord!
Fire gonna burn ma soul!
I means Fire, Lord!
Fire gonna burn ma soul!
Moan (Hughes, 1926)
I’m deep in trouble, Nobody to understand, Lord, Lord!
Deep in trouble, Nobody to understand, Lord, Lord!
Gonna pray to ma Jesus, Ask him to gimme His hand. Ma Lord!
I’m moanin’, moanin’, Nobody cares just why.
No Lord!
Moanin’, moanin’, Feels like I could die.
O, Lord!
Sho, there must be peace, Ma Jesus, Somewhere in yo’ sky. Yes, Lord!
Island 1 (Hughes, 1950)
Wave of sorrow, Do not drown me now:
I see the island
Still ahead somehow.
I see the island
And its sands are fair:
Wave of sorrow, Take me there.
Permission to use Langston Hughes’ poetry granted by Harold Ober Associates Incorporated
Tonight’s Guest Artists
Tenor Albert Rudolph Lee’s performances have been described as “vocally sumptuous,” “musically distinctive” and even “acrobatically agile.” Having appeared with Opera Theater of Saint Louis, Palm Beach Opera, Opera Theater of Pittsburgh, Philadelphia Orchestra, Saint Luke’s Chamber Orchestra, the Collegiate Chorale of New York City, Caramoor International Music Festival, and the Aspen Music Festival, Lee’s operatic and oratorio roles include Don Ramiro in Rossini’s La Cenerentola, Don Ottavio in Mozart’s Don Giovanni, Almaviva in Rossini’s Il Barbiere di Siviglia, Nemorino in L’Elisir d’Amore, Ferrando in Cosi Fan Tutte, and the tenor solos in Mendelssohn’s Elijah, Beethoven’s 9 th Symphony, Handel’s Judas Maccabeus, and the Rossini Stabat Mater.
Throughout his performing career he has also worked to preserve and expand the performance of Negro Spirituals in domestic and international performances with the American Spiritual Ensemble. In addition, he performed a recital of art song settings of Langston Hughes poetry in Weill Recital Hall at Carnegie Hall and is a featured soloist on a recording of works by Pulitzer Prize-winning composer, George Walker (on Albany Records), singing musical settings of the Walt Whitman poem “When lilacs last in dooryard bloomed,” a poem written as an elegy to Abraham Lincoln after his assassination. Most recently, he appeared as tenor soloist in Handel’s Messiah with the Duke University Chapel, joined the British based classical crossover group Vox Fortura in domestic and international performances, and made a debut with the London Symphony singing the tenor solo in Adolphus Hailstork’s I Will Lift Up Mine Eyes. He earned a Bachelor of Music in Vocal Performance at the University of Connecticut, a Master of Music at The Juilliard School, and a Doctor of Music degree at Florida State University, with a doctoral treatise titled “The Poetic Voice of Langston Hughes in American Art Song.” He is Associate Professor of Music and the inaugural Director of Equity, Belonging, and Student Life at the Yale School of Music.
Dr. Brian Coffill, D.M.A., is the Founding Director of Instrumental Ensembles and Assistant Professor of Music at Randolph-Macon College in Ashland, Virginia. He is a conductor and pedagogue actively shaping the future of instrumental performance through equity and inclusion in student musical achievement, the performance of works by historically-excluded composers, and the development of twenty-first century performance experiences for musicians and audiences alike.
Since launching RMC’s “Chamber Orchestra” in 2018, Dr. Coffill has shaped the rapid growth of the instrumental music program to include a Wind Ensemble, Symphony Orchestra, Jazz Improvisation Laboratory, Chamber Ensembles, Jacketeers New Orleans Brass Band, and RMC’s traditional Yellow Jacket Pep Band; he also teaches courses in music and coordinates the Music Education program. Prior to arriving at RMC, he earned degrees from the University of Maryland (Doctor of Musical Arts, Conducting), the University of Illinois (Master of Music, Conducting), and the University of Connecticut (Bachelor of Arts, Music; Bachelor of Science, Education), and held positions teaching bands and orchestras at public high schools in Virginia (Yorktown High School, Arlington) and Maryland (Century High School, Sykesville).
Dr. Coffill’s diverse research interests range from inclusive expansion of the instrumental repertoire to investigating the many connections between Baseball and the American Wind Band. He is both a Charles Ives (Yale Class of 1898) scholar and a distant relative, and his scholarship on a variety of subjects encompasses publications, presentations, and performances nationwide, including the National Baseball Hall of Fame. Groups under his baton have been invited to perform at state (Virginia Music Educators Association) and national conferences (College Band Directors National Association), and his published transcriptions and arrangements have been performed by ensembles nationwide. He is also on the teaching faculty of t1he GreenSpring International Academy of Music in Richmond, Virginia, and maintains an active schedule as a conductor and clinician throughout the United States.
Dr. Coffill is a member of various professional, service, and scholarly organizations including CBDNA, VMEA, the Virginia Band & Orchestra Directors Association, the National Association for Music Education, the American Association of University Professors, and the Society for American Baseball Research. He serves on VMEA’s Council for Innovation and Creativity and is the State Chair for the Virginia Composition Festival. He an inducted member of Kappa Kappa Psi and an honorary member of Tau Beta Sigma. A fervent Red Sox fan despite being raised in Litchfield on the New York side of Connecticut’s “Munson-Nixon Line,” Dr. Coffill has also lived across the river from Nationals Park, down the street from Camden Yards, and deep in disputed Cubs-Cardinals territory. He currently resides near the AA Flying Squirrels ballpark in Richmond, Virginia with his wife, Caroline, and their two highly-regarded young prospects.
Makana Medeiros is a percussionist emerging as a musician participating in many genres ranging from jazz to classical to contemporary music.
As a chamber musician, Makana has performed with ensembles and festivals including the Yale Percussion Group, New Music New Haven, Eastman Percussion Ensemble, Eastman Jazz Combos, Nief-Norf Summer Festival, and Chautauqua Festival Orchestra. He has performed with established artists in the contemporary music genre including Pamela Z, Caroline Shaw, and Eighth Blackbird. With a reputation as an advocate of contemporary music, he has held leadership positions and participated in peer-managed ensembles including Ossia New Music at the Eastman School of Music and Versicolor New Music at Yale University, both with a mission to promote innovative music of the last century.
Makana holds a Bachelor of Music degree from the Eastman School of Music, where he was also awarded the prestigious Performer’s Certificate and Arts Leadership Certificate. He is currently pursuing a Master of Music degree at the Yale School of Music under the tutelage of Robert van Sice.
YALE CONCERT
BAND
ROSA KLEINMAN bf ’23, flute
Senior Reflections
MICHAEL CHEN gh ’23, baritone saxophone
There’s something really human about being in band. It has this kind of quiet, unrelenting power. Sometimes band fades into routine: a set sanity check from classes, to enjoy making music and good company. But other times, you tap into that “bigger-than-myself” thing. That natural and instantaneous acceptance of each other. That unconditional joy of playing meaningful pieces that are important to you, alongside those who are important to you. That sharing of an awed smile with a friend who’s just casually played something really special. I can’t remember a single rehearsal, performance, or b’dinner where I didn’t at some point think, “Wow. I’m so fortunate to be here, just existing with these extraordinary people, growing doing something that I love.” Each year this has been true, and even though it is time for some of us to leave I know it will continue to be true. But of course, the real treasure was the Jalens we made along the way...
In the past four years, I’ve looked forward to Tuesday and Thursday afternoons every week. Rehearsing with the band has always been a pleasant break from academics and a time to connect, both musically and socially, with amazing people. I have enjoyed the diverse repertoire and the mixing of distinct art forms (as in our performance of The Planets last spring), audiences (as in our participation in Project 14 last fall), and ensembles (as in our joint concert with the U.S. Coast Guard band my first year). I am furthermore grateful for the many friends that I’ve made in the process.
JALEN LI pc ’23, Bb clarinet
My time in YCB has been defined by the community. When I joined YCB my first year, band upperclassmen instantly welcomed me at b’dinners and retreat. When COVID’s halt to group music making had taken my love for music and resulted in my taking months off from playing my instruments, it was the encouragement of YCB members that led me to pick back up my clarinet. I feel deeply indebted to the amazing people of YCB who have made this such a pivotal part of my time at Yale, and I don’t think I can do you all justice with just a few written words. My hope has been to bring genuine friendliness and positivity to the lives of newer band members, because those elements that have persisted as a part of YCB’s culture are what make this group more than just another music ensemble. Love you all!
IZZY LOPEZ my ’23, trumpet
YCB has been an amazing experience throughout my time at Yale! I have played so many beautiful pieces and I appreciate being able to show up to rehearsal and make music with everyone. It’s so nice being able to decompress from a stressful day with good music, Mr. Duffy’s wild stories, and my friends. From b’dinners to concerts, the people I’ve met and the adventures I’ve had along the way have been invaluable. I’m so grateful to be part of YCB, and I can’t wait to see what the band takes on in years to come!
MIRANDA MARGULIS-OHNUMA br ’23, oboe
Yale Band is such a steadfast and supportive community and I’m so lucky to have been a part of it these past four years. Band has given me amazing musical experiences and some of my best friends. With this group of current seniors, I watched the band’s trajectory from full force my first year to, like all music groups, being muted by covid… then I watched this group regain its energy and life and return stronger than ever. During the covid year, I looked forward every week to our zoom meetings, where we got excited about band history and spent time together. Since then, our director Mr. Duffy, our manager Stephanie, and the student board have brought the Yale band experience to its fullest with new concert ideas, diverse repertoire, and inspiring guest artists. I am so, so proud of where the band is now, with the addition of these three tight-knit, talented, lovely classes, and I can’t wait to see this community continue to thrive.
ALINA MARTEL tc ’23, alto saxophone
Anyone who has spent a few rehearsals with the YCB will hear Mr. Duffy say, “There’s a lot of love in this band.” I couldn’t say it any better. The YCB is home to the most wonderful human beings – people who are passionate about music, hard work, and each other. For four years, I have had the privilege of walking into Hendrie 301 – the B’room, as we call it – to rehearse with the funniest, most welcoming, and most dedicated people I know. And when we rehearse, the world melts away. All of the stresses of Yale life fade into the background; we lose ourselves in sound. When we perform in Woolsey Hall, the magic only grows. While my time with the YCB is coming to an end, I will always cherish the friends, music, and memories I have made. I am so grateful to my fellow musicians, Mr. Duffy, and Stephanie for giving me a home away from home – even in a chaotic world. From my first rehearsal to my years as President to my final concert, it has been an honor. Thank you.
JOSHUA ROTHBAUM td ’23, Bb clarinet
I never would have imagined that when I first picked up the clarinet as a fourth grader that I would still be playing it as a senior in college. But as has been the case from then until now, music has not only become an important emotional and creative outlet for me; it has also been an incredible avenue for building some of my most cherished friendships and communities. That is what being a part of YCB for the past four years has been for me. My advice to all the first-years, sophomores, and juniors—enjoy all the rehearsals, concerts, and activities while they last! This community is definitely one of the things I’ll miss most about Yale as I go my own way.
SEB SEAGER sm ’23, flute
The past four years were an incredible journey, and I am unbelievably lucky to have had the YCB family during my time at Yale. Since I joined as a first year, being able to enjoy rehearsing with this wonderful group every week has become a subconscious and essential part of my experience here. Through the years of concert band, I have had the chance to explore some really cool, unique, and moving pieces of music—and most importantly, have been able to do so with some of my favorite people at Yale. I’m so proud to be a part of the YCB and can’t wait to see what new heights the band will attain in the years to come.
YALE CONCERT BAND
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 eighteen 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.)
Photo: Harold Shapiro
• Sunday, May 21, 2023, 7:00–7:45 p.m. Yale Concert Band Twilight Concert, Thomas C. Duffy, Music Director. A pre-Commencement preview of ceremonial music and Yale songs. Outside on the Old Campus Main Stage (block bounded by Elm, College, Chapel, and High Streets). Free/no tickets required (chairs provided).
Upcoming Yale Concert Band Performance
Photo: Harold Shapiro
