Yale Concert Band Thomas C. Duffy, Music Director
with special guests
The United States Coast Guard Band CDR Adam R. Williamson, Music Director
Sunday, November 17, 2019 at 2:00 pm
Woolsey Hall, Yale University
Yale Concert Band CHEN YI
JENNIFER HIGDON
Dragon Rhyme (2010) I. Mysteriously-Harmoniously II. Energetically Fanfare Ritmico (2002)
U.S. Coast Guard Band CAROLYN BREMER
Early Light (1999)
JOHN PHILIP SOUSA
Gallant Seventh March (1922)
SAMUEL BARBER trans. Kenneth Singleton
Knoxville: Summer of 1915 (1947) MU1 Megan Weikleenget, soprano
arr. MUC SEAN NELSON
Armed Forces Medley (2016)
~ Intermission ~
Combined Ensembles JAMES BARNES
JOHN PHILIP SOUSA
Symphony No. 3 (1997) I. II. Scherzo Thomas C. Duffy, Music Director III. (for Natalie) IV. Finale CDR Adam R. Williamson, Music Director Stars and Stripes Forever (1896)
About Tonight’s Music Dragon Rhyme (2010) CHEN YI “Dragon Rhyme for symphonic band is in two movements: I. Mysteriously-Harmoniously, and II. Energetically. The first movement is lyrical, and the second powerful. Featuring the basic intervals found in Beijing Opera music, the thematic material in both movements is matched, and used economically for development throughout the work. The instrumental texture is rich in colors, from transparent and delicate to angular and strong. Taking the image of the dragon, which is auspicious, fresh, and vivid, the music is layered and multidimensional. It symbolizes Eastern culture. When it meets the world, it becomes a part of the global family.” – Chen Yi Fanfare Ritmico (2002) JENNIFER HIGDON “Fanfare Ritmico celebrates the rhythm and speed (tempo) of life. Writing this work on the eve of the move into the new Millennium, I found myself reflecting on how all things have quickened as time has progressed. Our lives now move at speeds much greater than what I believe anyone would have ever imagined in years past. Everyone follows the beat of their own drummer, and those drummers are beating faster and faster on many different levels. As we move along day to day, rhythm plays an integral part of our lives, from the individual heartbeat to the lightning speed of our computers. This fanfare celebrates that rhythmic motion, of man and machine, and the energy which permeates every moment of our being in the new century.” – Jennifer Higdon Early Light (1999) CAROLYN BREMER The United States Coast Guard Band opens their portion of this afternoon’s concert with a celebratory fanfare-like work by American composer Carolyn Bremer entitled Early Light. Originally written for the Oklahoma City Philharmonic, Early Light gained popularity quite quickly after its premiere performance. Inspired by Bremer’s passion for and love of baseball, the character of the work depicts her feelings of “happy anticipation at hearing the [Star Spangled Banner] played before ball games.” The piece is sprinkled with motivic material derived directly from The Star Spangled Banner and reflects Bremer’s reverence for the national anthem itself. (Program note by MUJ1 Joel Baroody) Knoxville: Summer of 1915 (1947) SAMUEL BARBER (trans. Kenneth Singleton) Coast Guard Band soprano, Musician First Class Megan Weikleenget, performs American composer Samuel Barber’s 1947 “lyric rhapsody” Knoxville: Summer of 1915, the title of which was taken from a short prose piece of the same name written by American novelist, poet, screenwriter, and Pulitzer Prize-winner James Agee in 1935. Barber uses roughly one-third of Agee’s text. “It has become that time of evening when people sit on their porches, rocking gently and talking gently and watching the street…” begins Barber’s adaptation, hewing closely to Agee’s richly descriptive, deeply nostalgic reverie of his growing up in the American South just after the turn of the twentieth century. Barber was drawn to Agee’s words, which struck a chord in him regarding his own childhood, which unfolded several states to the north, but not without significant similarities. “I had always admired Mr. Agee’s writing, and this prose poem particularly struck me because the summer evening he describes in his native southern town reminded me so much of similar evenings when I was a child at home [in West Chester, Pennsylvania],” Barber told a CBS radio interviewer in 1949. “I found out after setting this that Mr. Agee and I are the same age. And the year he described was 1915, when we were both five. You see, it expresses a child’s feeling of loneliness, wonder, and lack of identity in that marginal world between twilight and sleep.”
YALE CONCERT BAND Knoxville: Summer of 1915 begins with the gently rocking melody – nearly a lullaby – accompanying lyrics describing the warm summer evening in vivid word paintings rich with alliteration. The middle section, with the brief, chaotic passage of a streetcar – “raising into iron moan, stopping, belling and starting, stertorous” – interrupts the reverie, but it, too, fades, melting into the coming night, described as “one blue dew.” The narrator pictures himself and his family, lying on quilts over the “rough wet grass” and quietly talking of “nothing in particular or nothing at all.” He recounts his family members, one by one, and stares up at the vastness of space. Here the soprano voice, expertly performed by Musician First Class Megan Weikleenget, takes flight, hitting some of the highest notes of the piece, soaring over the band’s calm support. As the piece draws to a close, the narrator turns serious, asking God to bless his people and “remember them in their time of trouble; and in the hour of their taking away” – hinting here of not only the personal travails of any normal family, but of the hard challenges of the years to come that would be faced by all Americans. But such dreadful contemplations, too, eventually cease, and the narrator is carried to bed, and Barber, with a repetition of the opening theme and then notes rising to the heavens above, brings the piece to an appropriately dreamlike end. (Program note by MUJ1 Joel Baroody)
The Text to Knoxville: Summer of 1915 We are talking now of summer evenings in Knoxville Tennessee in the time that I lived there so successfully disguised to myself as a child. ...It has become that time of evening when people sit on their porches, rocking gently and talking gently and watching the street and the standing up into their sphere of possession of the trees, of birds’ hung havens, hangars. People go by; things go by. A horse, drawing a buggy, breaking his hollow iron music on the asphalt: a loud auto: a quiet auto: people in pairs, not in a hurry, scuffling, switching their weight of aestival body, talking casually, the taste hovering over them of vanilla, strawberry, pasteboard, and starched milk, the image upon them of lovers and horsemen, squaring with clowns in hueless amber. A streetcar raising its iron moan; stopping; belling and starting, stertorous; rousing and raising again its iron increasing moan and swimming its gold windows and straw seats on past and past and past, the bleak spark crackling and cursing above it like a small malignant spirit set to dog its tracks; the iron whine rises on rising speed; still risen, faints; halts; the faint stinging bell; rises again, still fainter; fainting, lifting, lifts, faints foregone: forgotten. Now is the night one blue dew. Now is the night one blue dew, my father has drained, he has coiled the hose. Low in the length of lawns, a frailing of fire who breathes… Parents on porches: rock and rock. From damp strings morning glories hang their ancient faces. The dry and exalted noise of the locusts from all the air at once enchants my eardrums. On the rough wet grass of the back yard my father and mother have spread quilts. We all lie there, my mother, my father, my uncle, my aunt, and I too am lying there.…They are not talking much, and the talk is quiet, of nothing in particular, of nothing at all in particular, of nothing at all. The stars are wide and alive, they seem each like a smile of great sweetness, and they seem very near. All my people are larger bodies than mine,...with voices gentle and meaningless like the voices of sleeping birds. One is an artist, he is living at home. One is a musician, she is living at home. One is my mother who is good to me. One is my father who is good to me. By some chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night. May God bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away. After a little I am taken in and put to bed. Sleep, soft smiling, draws me unto her: and those receive me, who quietly treat me, as one familiar and well-beloved in that home: but will not, oh, will not, not now, not ever; but will not ever tell me who I am.
Symphony No. 3 (1997) JAMES BARNES The composer writes: “The Third Symphony was commissioned by the United States Air Force Band in Washington, D. C. The conductor of the band at that time, Col. Alan Bonner, told me that he wanted a major work for wind band. He said that he didn’t care about style, length, difficulty, or anything else – I was given complete freedom to write whatever I wanted to. I began to work on it in earnest at a very difficult time in my life, right after our baby daughter, Natalie, died. This symphony is the most emotionally draining work that I have ever composed. If it were to be given a nickname, I believe that “Tragic” would be appropriate. “The Work progresses from the deepest darkness of despair all the way to brightness of fulfillment and joy. The first movement is a work of much frustration, bitterness, despair, and despondency – all of my own personal feelings after losing my daughter. The scherzo (second movement) has a sarcasm and bitter sweetness about it, because it has to do with the pomposity and conceit of certain people in this world. The third movement is a fantasia about what my world would have been like if Natalie had lived. It is a farewell to her. The finale (fourth movement) represents a rebirth of spirit, a reconciliation for us all. The second theme of the last movement is based on an old Lutheran children’s hymn called “I am Jesus’ Little Lamb.” This hymn was sung at Natalie’s funeral. The last stanza of the song reads:
Who so happy as I am Even now the Shepherd’s lamb? And when my short life is ended, By His angel host attended, He shall fold me to His breast, There within His arms to rest.
“Three days after I completed this symphony, on June 25, 1994, our son Billy Barnes was born. If the third movement is for Natalie, then the Finale is really for Billy, and our joy in being blessed with him after the tragic death of his sister.” Mr. Barnes freely draws on all the harmonies and textures available to a composer at the end of the 20th century, but contains them within the traditional forms for the movements of a symphony. The first movement, in C minor, is a modified sonata form, with an extended coda. The second is an ABA form in the subdominant F minor. The outer “A” sections are scored for woodwinds and percussion, with the “B” section scored for muted brass. Both themes return scored for the full band at the end of the movement. Exquisite in its simplicity, the hauntingly beautiful third movement is a fantasia in D-flat in the form ABCABC-Coda. Balancing the entire work, the fourth movement, in C Major, is again in sonata form. The first theme is stated by the horns, and the second theme, as previously mentioned, is the tune of the children’s hymn.
About Tonight’s Soloist Since joining the Coast Guard Band in 2010, Musician 1st Class Megan Weikleenget, soprano, has performed for audiences across the United States. A versatile performer, MU1 Weikleenget has showcased musical styles ranging from classical to musical theater to jazz. She has performed at the International World Symphonic Band Conference in Chiayi City, Taiwan and the renowned National Theater and Concert Hall in Taipei, Taiwan. She has also been a soloist with The Collegiate Chorale, The Dessoff Choir, and The Berkshire Bach Society with conductor James Bagwell. MU1 Weikleenget holds a Bachelor of Music degree in vocal performance and music education from The Crane School of Music at SUNY Potsdam and a Master of Music degree in vocal performance from New England Conservatory. In 2010, she attended Bard College's Vocal Arts Program in Red Hook, New York, under the direction of Dawn Upshaw and Kayo Iwama. In 2009, MU1 Weikleenget made her Carnegie Hall debut through the Composing Song Workshop conducted by Ms. Upshaw and Osvaldo Golijov. Her teachers include Dr. Deborah Massell and Patricia Misslin. Off the stage, Megan enjoys spending time with her husband Ethan and their two young children, Hannah and Luke.
YALE CONCERT BAND
About the United States Coast Guard Band Commander Adam Williamson serves as the seventh Director of the United States Coast Guard Band, carrying out the Band’s missions of promoting public goodwill through unwavering dedication to the highest levels of musical performance, preserving and honoring the heritage, history, and traditions of the nation and service, and supporting official Coast Guard functions. CDR Williamson is responsible for the overall presentation of all Coast Guard Band activities, for maintaining the world-class stature of the 55-member ensemble, and for supporting hundreds of engagements annually. CDR Williamson originally joined the Coast Guard Band on tenor saxophone in 2003, and was a featured soloist on multiple occasions, including the Band’s 2007 Southeast Tour and at notable venues such as Carnegie Hall with the New York Pops Orchestra and Boston’s Hatch Shell. As a member of the Coast Guard Band Saxophone Quartet, he performed concerts and conducted masterclasses extensively throughout the U.S. and abroad, including Carnegie Hall’s Weill Recital Hall, numerous university schools of music, and throughout Taiwan and Japan. CDR Williamson served in the saxophone section for 10 years before being named director, receiving a commission to Lieutenant Commander in October 2013. In addition to his musical accolades, CDR Williamson recently promoted to the rank of Commander in October 2019. As the leader of the sole official musical representative of the Department of Homeland Security and the Coast Guard, CDR Williamson is the musical authority of the service. He frequently provides musical guidance for official functions and creates musical programs to advance the Coast Guard’s public affairs missions. In his time as director, Williamson has led the Coast Guard Band in performances for President Trump, President Obama, members of congress, DHS secretaries, and Coast Guard leadership. The Coast Guard Band performed for the 2015 National Tree Lighting in Washington D.C., sharing the stage with celebrities Reese Witherspoon, Trombone Shorty, and Andra Day, and marched in the 2017 Presidential Inaugural Parade. CDR Williamson is committed to supporting music education, and during his tenure has expanded the Coast Guard Band’s outreach programs, now reaching over 14,000 students in Connecticut and Washington D.C. He created the ‘American Composers Series’ recordings to capture the musical language, sound, and aesthetic of living American composers, so far recording the works of Grammy-nominated composer Kenneth Fuchs, and up-and-comer Jess Langston Turner. His endeavor to engage a worldwide audience has led to extensive use of online and social media platforms, enabling the Coast Guard Band’s concerts and outreach activities to be broadcast to millions around the globe. CDR Williamson earned musical degrees from the State University of New York, College at Potsdam, studying saxophone with Tim McAllister. He also began graduate studies at Indiana University with saxophonist Otis Murphy. He attended the Hartt School at the University of Hartford, where he pursued studies in instrumental conducting with Glen Adsit and Edward Cumming. He currently resides in Connecticut with his wife and son. His wife, former Coast Guard Band Vocalist Lisa Williamson, maintains an active career as an in-demand lyric soprano. The United States Coast Guard Band is the premier band representing the United States Coast Guard and the Department of Homeland Security. The 55-member ensemble has performed at some of the most prestigious venues in the nation, including the John F. Kennedy Center for the Performing Arts, Lincoln Center, and Carnegie Hall. The Band also has a rich history of performing internationally: it is especially honored to have been the first American military band to perform in the former Soviet Union, with concerts in Leningrad and the surrounding area in 1989. In 2008, the Coast Guard Band became the first premier American military band to perform a concert tour of Japan. In addition, the US Coast Guard Band toured Taiwan in July 2011. Based at the U.S. Coast Guard Academy in New London, Connecticut, the Coast Guard Band frequently
appears in Washington, DC, at presidential and cabinet level functions on formal and informal occasions. Historic events include National Christmas Tree lighting ceremonies, the American Bicentennial Celebration with President Gerald Ford, World War II Fiftieth Anniversary events in England, and Inaugural celebrations for every President since Herbert Hoover. A number of notable vocal artists have appeared with the Coast Guard Band, including Placido Domingo, Marilyn Horne, Elizabeth Futral, Andy Williams, Roberta Flack, Lee Greenwood, Lorrie Morgan, Shirley Jones, Lonestar, and the Boys Choir of Harlem. Film, literary and television personalities have included Gregory Peck, Lucie Arnaz, Willard Scott, Walter Cronkite, John Amos, Alex Haley, and Richard Thomas. Coast Guard Band concerts have also featured instrumental artists such as Bill Watrous, Dale Clevenger, Slide Hampton, Cecil Bridgewater, Chris Vadala, David Shifrin, and Philip Smith. In 2008, under the direction of Maestro Leonard Slatkin, the Band performed a superb concert of music by Copland, Bach, and Hindemith, among others. The United States Coast Guard Band was organized in March 1925 with the assistance of Lt. Charles Benter, leader of the United States Navy Band; Dr. Walter Damrosch, conductor of the New York Philharmonic; and “American March King” John Philip Sousa, former director of the United States Marine Band. In 1965, President Lyndon B. Johnson signed congressional legislation resulting in the Coast Guard Band becoming the permanent, official musical representative of the nation’s oldest continuous seagoing service. This event also established the Coast Guard Band as one of our nation’s premier service bands.
About the Yale Concert Band Music Director Thomas C. Duffy (b. 1955) is Professor (Adjunct) of Music and Director of University Bands at Yale University, where he has worked since 1982. He has established himself 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 NYC’s Village Vanguard and Iridium, Ronnie Scotts’s (London), and the Belmont (Bermuda); performed as part of the inaugural ceremonies for President George H.W. Bush; and concertized in twenty-three countries in the course of twenty 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. From 1996 to 2006, he 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, and 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. For nine years, he represented music education in Yale’s Teacher Preparation Program. 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 and was selected to conduct the NAFME National Honor Band in the Kennedy Center, Washington, D.C. Yale University Bands P.O. Box 209048, New Haven, CT 06520-9048 ph: 203-432-4111; fax; 203-432-7213 stephanie.hubbard@yale.edu; www.yale.edu/yaleband
YALE CONCERT BAND
THE UNITED STATES COAST GUARD BAND Lieutenant Commander Adam R. Williamson, Director Piccolo MUC Laura Rakel Pirruccello - San Antonio, TX Flute* MU1 Ryan Foley - Excelsior Springs, MO MU1 Meera Gudipati - Düsseldorf, Germany MUC Laura Rakel Pirruccello Oboe* MU1 Leah Bedard - Winder, GA MUCS Barrett Seals - Miami, FL MU1 Briana Tarby - Edison, NJ English Horn MUCS Barrett Seals Clarinet MUC Kelly Hurrell (c) - West Palm Beach, FL MUC Leah Abbott - Coral Springs, FL MUC Chantal Hovendick - Blair, NE MUC Christopher Howard - San Antonio, TX MU1 Noel Marcano - San Juan, Puerto Rico MUC Cedric Mayfield - Houston, TX MU1 Charlie Suriyakham - Chiang Mai, Thailand MU1 Steven Zhang - Vernon Hills, IL Eb Clarinet MUC Chantal Hovendick Bass Clarinet MU1 Robert Durie - Parkland, FL Bassoon* MUC Brooke Allen - Jacksonville, NC MU1 Sean Maree - Springfield, VA MU1 Tyler Wilkins - Erlanger, KY Contraforte MU1 Tyler Wilkins Alto Saxophone* MUC Greg Case - Doylestown, PA MUCS Joshua Thomas - Plano, TX Tenor Saxophone MU1 Joe D’Aleo - Farmington, CT Baritone Saxophone MUC Jeffrey Emerich - Fresno, CA Cornet/Trumpet MU1 Joel Baroody (p) - Herndon, VA MU1 Thomas Brown - Sparta, MI MU1 Bryce Call - Brier, WA MU1 Christopher Lane - Orlando, FL MUC Gino Villarreal - Rio Grande City, TX MUCS Kelly Watkins - Henderson, TX
French Horn MU1 Matthew Muehl-Miller (p) - Charleston, IL MU1 Timothy Bedard - Melbourne, FL MU1 Bryce Nakaoka - Pearl City, HI MUCS Brian Nichols - Bradenton, FL Trombone MU1 Karna Millen (p) - Edina, MN MUC Sean Nelson - Dallas, TX MUCM Vince Yanovitch - East Stroudsburg, PA BASS TROMBONE MU1 Wesley Mayhew - Glasgow, KY Euphonium MUCS James Jackson, III (p) - Lexington, KY MUC Bonnie Denton - Fairfield, IL Tuba MUC Adam Crowe (p) - Guin, AL MUCS Richard Denton - Monroe, CT MUC Stephen Lamb - Plano, TX String Bass MUCS Mark McCormick - St. Louis, MO Percussion MUC Robert McEwan (p) - Albany, NY MU1 Nathan Lassell - Arlington, VA MUC Steven Petersen - Scottville, MI MUC Christopher Smith - Danbury, CT MU1 David West - Buffalo, NY Harp MUC Megan Sesma - Las Vegas, NV Vocalist MU1 Megan Weikleenget - Buffalo, NY Audio Engineers MU1 Ian Dobie - Boise, ID MUC Robert Holtorff - Omaha, NE Public Affairs MUCS Mark McCormick Recruiting MUC Gino Villarreal (p) - principal chair (c) - concertmaster * - players rotate principal position MU1—Musician 1st Class MUC—Chief Musician MUCS—Senior Chief Musician MUCM—Master Chief Musician
YALE CONCERT BAND 2019-2020 THOMAS C. DUFFY, Music Director STEPHANIE HUBBARD, Business Manager
Piccolo Sarah Guan ES 23 Flute Jeremy Goldwasser MC 21* Rosa Kleinman BF 23 Julia Cai BR 20 Seb Seager SM 23 Melissa Leone GH 21 Joan Gomez-Aguilar BK 21 Yaa Owusu JE 22 Katie Handler TC 21 Sarah Monahan MY 21 Oboe Miranda Margulis-Ohnuma BR 23* Marcos Barrios ES 23 Ryan Tie-Shue SM 22 English Horn Ryan Tie-Shue SM 22 Bb Clarinet Jalen Li PC ** Keith L. Wilson Principal Clarinet Chair Joshua Nguyen GH 23 Benjamin Kramer BF 23 Joshua Rothbaum TD 23 Daphne Zhu ES 22 Jessica Oki TC 20 Catherine Zhang SM 23 Heather McClure MY 20 Bb Bass Clarinet Christian Fernandez BF 20 Eb ContraAlto Clarinet Claudia Ng YSM 21
Bassoon Maddy Tung TD 21* Bradford Case SM 20 Soprano Saxophone Nick DeWalt SY 21 Alto Saxophone Nick DeWalt SY 21* Michael Chen GH 23 Alina Martel TC 23 Bb Tenor Saxophone Tilden Chao ES 23 Eb Baritone Saxophone Flynn Chen TC 20 Cornet/Trumpet James Brandfonbrener MC 21* Izzy Lopez MC 23 Adé Ben-Salahuddin PC 21 Noah Montgomery GH 20 Joseph Cho BR 22 French Horn Ally Hammer DC 20 Miriam Huerta BF 22 Nivanthi Karunaratne YSM 20 Michael McNamara TD 20 Trombone JT Mullins MY 23* Matt Kirschner ES 23 Andy Pantoja BK 22 Robert Howard GH 21 Ella Lubin SM 23 Euphonium Alexandra Griffith BF 23
Tuba Josef Lawrence TC 20* Adam Wolnikowski TC 21 Kevin Im PC 23 String Bass Ying-Yin Chia YSM 20 Piano/Celeste Jack McArthur MY 22 Harp Charlotte Murphy TC 22 Percussion David Zuckerman DC 20* Meshach Cornelius ES 22 Ari Essunfeld GH 23 Ryan Haygood BF 21 Jack McArthur MY 22 Alexandria Wynn TD 22 Andrew Zheng TD 22 Music Librarian Joseph Cho BR 22 * principal ** 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.
OFFICERS David Zuckerman, President Heather McClure, General Manager Sarah Monahan, General Manager Katie Handler, Social Chair Andrew Zheng, Social Chair Ryan Haygood, Personnel Manager Miriam Huerta, Publicity Chair
Upcoming Yale Bands Performance • Friday, December 6, 2019 at 7:30 p.m. ~ Yale Bands 1940s Holiday Concert Re-enactment: Glenn Miller’s Army Air Force Band 19944 Radio Show and 1940s All-Women “Big Band.” Thomas C. Duffy, Music Director. The Yale Bands will present its acclaimed Glenn Miller radio show broadcast re-enactment from Woolsey Hall (premiered in 1994 for the 50th anniversary year, and, by popular demand, repeated multiple times both domestically and abroad -- most notably in France in June 1994!). Commemorating the year-long celebration of 50 years of women in Yale College and 150 years of women at Yale, this re-enactment will include an all-women big band playing an old-fashioned 1940s holiday concert. Tickets $28, $23 ($15 students with ID): Online (24/7): https://music-tickets.yale.edu/; Phone (M-F, 11am-2pm): 203-432-4158; Walkup (M-F, 11am-2pm): Yale School of Music Box Office, 470 College St. New Haven.