New Music New Haven: Martin Bresnick

EZRA LADERMAN Artistic Director

MARTIN BRESNICK Featured Faculty Composer

APRIL 2 2009

MUSIC OF Martin Bresnick Ted Hearne Polina Nazaykinskya Andrew Norman Naftali Schindler

Robert Blocker, Dean

NEW MUSIC NEW HAVEN

TED HEARNE

Eyelid Margin Thomas Bergeron, trumpet John Heinen, trumpet Patrick Hines, horn Matthew Wright, trombone Stephanie Fairbairn Ycaza, tuba Michelle Farah, oboe Merideth Hite, oboe Jennifer Shark, oboe Jeremy Friedland, bassoon Ellen Connors, bassoon

POLINA NAZAYKINSKYA

Three Fairy Tales for mezzo-soprano Ana Sinicki, mezzo-soprano Elena Miraztchiyska, piano

ANDREW NORMAN

Make Believe Andrew Norman, piano

NAFTALI SCHINDLER

Violin Duet I. Izig Shai II. Blintzes Kyung-Jun Kim, violin So Young Kwon, violin

Intermission

April 2, 2009 / 8 PM / Morse Recital Hall

MARTIN BRESNICK

Caprichos Enfáticos: Los Desastres de la Guerra (Emphatic Caprices: The Disasters of War) after Goya (2007) Farándula simple Farándula de charlatanes—No saben el camino (Farandole of charlatans—They don’t know the way) Estragos de la guerra (Ravages of war) Farándula de políticos—Contra el bien general (Farandole of politicians—Against the common good) Farándula de populacho (Farandole of the rabble) ¡Extraña Devoción! (Strange devotion!)

Farándula de creyentes—Nada. Ello dirá (Farandole of believers—Nothing. It will say) Farándula doble (Farandole double)

Lisa Moore, piano So Percussion: Eric Beach Josh Quillen Adam Sliwinski Jason Treuting Johanna Bresnick, DVD projections

As a courtesy to the performers and to other audience members, turn off cell phones and pagers. Please do not leave the theater during selections.

Photography or recording of any kind is not permitted.

TED HEARNE Eyelid Margin

: Notes Constantine Koukias’ Prayer Bells with Opera ihos and the world premiere of a new ballet

by Bryan Senti. Ted has received the Charles Ives Scholarship from the American Academy of Arts and Letters and participated in the 2008 Minnesota Orchestra Composer Institute. He attended the Manhattan School of Music and Yale School of Music, and has studied with Martin Bresnick, Ezra Laderman, David Lang, Aaron Jay Kernis, Julia Wolfe, and Nils Vigeland.

Upcoming commissions include a work for the : Biography combined forces of the Yale Glee Club and Yale Ted Hearne is an active composer, conductor, Symphony Orchestra, to be premiered in and performer of new music in the New York and celebration of the Glee Club’s 150th anniversary.

Chicago areas. He is artistic director of Yes is a World, composer-in-residence for the Chicago Children’s Choir, and resident conductor of Red : Website Light New Music. Ted’s music has been performed by the Minnesota Orchestra, Newspeak, www.tedhearne.com The Knights, and Third Coast Percussion. He has worked extensively with ICE, Ridge Theater, and New Music Collective (Charleston), and his band Your Bad Self will perform this spring at the 2009 Bang on a Can Marathon.

The Eyelid Margin is the edge where the front and back of an eyelid meet. Viewed from the front, the eye is hidden, but behind the back of the eyelid, the eye continues to perceive light.

The margin is the first and last point at which the eye is fully exposed, and like a horizon, the first direct light appears as a long and narrow strip when the eyelid first opens.

Ted’s hour-long work Katrina Ballads, setting entirely primary-source texts from the week following Hurricane Katrina, was premiered at the 2007 Piccolo Spoleto Festival and subsequently released on New Amsterdam Records as a digital download. Katrina Ballads will be featured this May at New York City Opera’s vox 2009 Festival, and will compete as a finalist in this year’s Gaudeamus Festival in Amsterdam.

Ted has worked as music director for premieres of David Lang’s Anatomy Theater and Michael Gordon’s Lightning at our Feet. In Fall 2009, he will conduct the American premiere of

POLINA NAZAYKINSKYA Three Fairy Tales for mezzo-soprano and piano

: Notes The idea for this cycle came to me a long time ago. When I was 15, I wrote one very early romance, which was a "fairy-tale" to a text by Alexander Blok. This past summer I decided to come back to that early piece: I re-worked it and organized a group of similar pieces into a cycle of fairy tales. At that point I also included but later removed – one more romance with this similar sense of magic in it.

The words are by Alexander Blok, the greatest poet-symbolist of the twentieth century. He is my favorite poet, and I have been inspired by his poetry many times. I always choose his early poetry, which is non-revolutionary but very lyrical, full of tenderness, idealism, and beautiful ideas.

It is nearly impossible to translate this poetry due to the many symbols in it. However, an approximate translation and transliteration of the original text follows on the next page.

: Biography

Polina has participated in numerous regional and international performance and composers competitions. She has also been awarded the Spivakov Foundation stipend for outstanding young musicians. In 2003 Polina received the First Prize for the best violin performance with a symphony orchestra in the regional Lagovskaya competition (Samara region, Russia). In 2006 she and her music partner became winners of the Dmitri Shostakovich chamber music competition.

As a leading violinist of the Volga Young Musicians Symphony Orchestra (1998-2007), Polina participated in a number of Russian and international festivals and tours.

For the last few years Polina has focused primarily on composition. She is the winner of several composers' competitions, such as the Dmitri Kabalevsky Competition and the International Composers Competition named after Vyacheslav Zolotarev.

In 2008 Polina was included in the “Golden Book of the Samara Region” as an outstanding Polina Nazaykinskaya was born in Togliatti, violinist and a young composer.

Russia on January 20, 1987. She has been studying music professionally since the age of four. In 2004, she graduated with honors from the Music Academic Gymnasium in Togliatti (performance program in violin and flute). In 2008 she graduated from the Moscow State Conservatory Music College as a violinist and composer. Currently she is a graduate student at the Yale School of Music, majoring in composition.

She studies composition with Ezra Laderman and violin with Kyung Hak Yu.

POLINA NAZAYKINSKYA Three Fairy Tales for mezzo-soprano and piano

Fairy Tale 1 I pora usnut`, da jalko, Ne hochu usnut`!

Kon` kachaetsya kachalka, Na konya b skaknut`!

Luch lampadki, kak v tumane, Raz-dva, raz-dva, raz!

Idet konnica... a nyanya Tyanet svoi rasskaz...

Vnemlyu skazke drevnei, drevnei O bogatiryah, O zamorskoi, o carene, O carevne, ah...

There is time to sleep, but I regret, I do not want to sleep!

Toy-horse is dandling teeter-totter, I want to jump on this horse!

Raz-dva, raz-dva! Konnik v latah Trogaet konya I manit kuda-to Za soboi menya...

Za morya za okeani On manit i mchit, V dimno-sinie tumani Gde carevna spit...

Spit v hrustal`noi, spit v krovatke Dolgih sto nochei, I zeleniy svet lampadki Svetit v ochi ei...

One-two, one-two! The hero in armor Starts riding And lures me somewhere With him...

Pod parchami, pod luchami Slishno ei skvoz` sni, Kak zvenyat i b`ut klyuchami O hrustal` steni...

S kem tam bietsya konnik gnevniy, Bietsya sem` nochei?

Na sed`muyu- nad carevnoi Svetliy krug luchei...

I skvoz dremnye pokrovy Stelyatsya luchi, O tyuremnye zasovy Zvyakayut klyuchi...

Under the brocades, under the lights She hears in her dreams, How ring and beat the keys Of crystal walls...

Sladko dremletsya v krovatke.

Dremlesh? Vnemlyu... splyu.

Luch zeleny, luch lampadki, Ya tebya lyublyu!

It is very pleasant to sleep in bed.

Do you sleep? I hear... I sleep.

The green light of the icon lamp, I love you!

The light of the icon lamp as in mist, One-two, one-two, one!

There is cavalry coming, but nanny Continues her tale...

I hear the old, old tale About the heroes, About the princess who lives overseas, About the princess, ah...

Over the seas and oceans He lures and rides, In the mist-blue smoke Where the princess sleeps...

She sleeps in a crystal bed A long one hundred nights, And the green light of the icon lamp Shines in her eyes...

With whom is fighting the hero, Fighting during seven nights?

On the seventh's - over the princess The bright circle of lights...

And through sleeping covers Laying the lights, Of a jail's locks Ringing the keys...

Fairy Tale 2 No v kamine dozveneli ugolki.

Za okoshkom dogoreli ogonki.

I na vyuzhnom more tonut korabli.

I nad yuzhnym morem stonut zhuravli.

There are no more lights in the fireplace.

There are no more lights over the window.

And there are ships dying on a blizzard sea.

And there are cranes crying on a south sea.

Ver mne, v etom mire solntsa bolshe net.

Ver lish mne, nochnoe serdtse, ya poet!

Ya kakie khochesh skazki rasskazhu, I kakie khochesh maski privedu.

Believe me, there is no more sun in this world.

Believe just to me, the night heat. I am a poet!

I will tell you the fairy tales that you want to hear, I will show you the masks that you want to see.

I proydut lyubye teni pri ogne, Strannykh ocherki videniy na stene.

I lyuboy koleni sklonit pred toboy...

I lyuboy tsvetok uronit goluboy...

And there would not be any shadows with the fire.

There would not be any strange lines on a wall.

And anyone will be on their knees in front of you...

And anyone will put the blue flower‌

Fairy Tale 3 Ne v zemnoi temnice dushnoi Ya gublyu.

Dushu vver` lad`e vozdushnoi- Korablyu.

Ti poyimi dushoi poslushnoi, Chto lyublyu.

Vzor svoi yasniy k visi zvezdnoi Obrati I v ruke svoi mech gelezniy Opusti.

Serdce s drog`u bespoleznoi Ukroti.

Vihri snegnie nad bezdnoi Zakruti.

Rukavom moih meteley Zadushu.

Serebrom moih veseliy Oglushu.

Na vozdushnoi karuseli Zakrugu.

Pryagei sputannoi kudeli Obov`u.

Legkoi bragoi snegnih hmelei Napoyu.

Not in the earthly sultry prison I do destroy.

Entrust your soul to the air boat to the ship.

Understand by the docile soul, that I love.

Turn your bright sight to the starry night And release your iron sword from the hand Tame your heart with the useless trembling Twist snow whirlwinds over the abyss By the sleeve of my snowstorms I will strangle.

By the silver of my furs I will stun.

On the air merry-go-round I will turn.

With the spinner of muddled fibre I will embrace.

With a light drink of snowy hops I will imbue.

ANDREW NORMAN Make Believe

: Notes

: Biography

Make Believe was commissioned by Peter Marino on behalf of Young Concert Artists and pianist Wonny Song. The piece, like so much of my work, was slow to arrive at its present shape. It takes the form of an improvisatory journey, and the initial impetus for the musical material came from the Schmidt von Lubeck poem at the core of Schubert’s Wanderer Fantasy. The speaker in this poem travels aimlessly through a shifting world of mountain mists and crashing waves, proclaiming to no one in particular, “I am a stranger everywhere.”

Andrew Norman is a graduate of the University of Southern California and an Artist Diploma candidate at the Yale School of Music. Andrew has been commissioned by the Minnesota Orchestra, the Tonhalle Orchestra Zurich, the New York Youth Symphony, and the Oakland East Bay Symphony, among others. His works have been programmed at numerous festivals and performing venues including Carnegie Hall, the Kennedy Center, the Tanglewood Festival of Contemporary Music, the MATA Festival, the Juilliard School Focus Festival, and the Monday Evening Concerts in Los Angeles.

Andrew is the recipient of the 2009 Berlin Prize, the 2006 Rome Prize, the ASCAP Kaplan and Nissim Prizes, and the Aspen Music Festival Druckman Prize. He has held residencies at the MacDowell Colony, the Copland House, the Cascade-Head Music Festival, and the National Youth Orchestra Festival.

Andrew is a committed educator who enjoys helping people of all ages explore their musical creativity. He recently finished a two-year educational residency in Colorado’s Roaring Fork Valley, where he worked with pre-college composers and elementary school students.

Upcoming projects include commissions from the Aspen Music Festival, the Des Moines and Modesto Symphonies, and an extended work for the Scharoun Ensemble and members of the Berlin Philharmonic.

Andrew is currently Composer-in-Residence for Young Concert Artists, and his works are published by Schott Music.

NAFTALI SCHINDLER Violin Duet

: Notes

: Biography

This violin duet is inspired by two musical cultures that have figured prominently in my musical life. The first movement's harmonics over drones are inspired by the Central Asian art of throat singing and by music for the igil (spike fiddle) from Tuva. It is titled “Izig Shai,” which means “Hot Tea” in the Tuvan language.

To continue the culinary metaphors, the second movement is named “Blintzes,” due to the inspiration from eastern European Jewish klezmer music, and due to its cheesy middle section. It is in a modified rondo form, with the last appearance of the theme punctuated by exhortations of “Lebedik!” which means “lively!” in Yiddish.

Naftali Schindler was born in Boston in 1982 but grew up in Israel. He began his musical studies at age 15, studying piano and composition with Shlomo Schnall. Upon returning to the US in 2001, he studied composition and theory at Boston University, graduating summa cum laude with a Bachelor of Music degree.

His teachers at B.U. included Martin Amlin and Theodore Antoniou.

: Website

His music has been performed across the U.S., including performances by The Travers Siblings, Alea III, Yale Philharmonia, Pykka Quintet, and a performance of his Petrarch sonnets by the B.U. Symphony Orchestra, as part of the 2006 B.U. honors concert. He has been commissioned

by Alea III, Norfolk Chamber Music Festival, and Steve Parker, among others. He is a member of Pi Kappa Lambda and the Eliezer Society, and is a recipient of the John Day Jackson Prize.

Naftali is also an aspiring throat-singer in the Tuvan manner.

www.naftalischindler.com

He presented his work in master-classes given

by Lukas Foss, Samuel Adler, and David Liptak, among others. He is currently pursuing a Master of Music degree at Yale University, studying with Aaron Jay Kernis, Martin Bresnick, Ezra Laderman, and David Lang.

MARTIN BRESNICK Caprichos Enfáticos: Los Desastres de la Guerra after Goya

: Notes Caprichos Enfáticos is a concerto in eight movements for piano/keyboard and percussion quartet composed by Martin Bresnick. It was commissioned by Meet the Composer for pianist Lisa Moore and So Percussion. The eight movements are accompanied by interpolated DVD projections created by Johanna Bresnick based on Francisco Goya’s book of etchings Los Destastres de la Guerra. Konrad Kaczmarek was the technical consultant.

The titles of the eight movements are either by Goya himself or suggested by his ideas. A farándula, or farandole, was a chain dance popular in Provence, although its origins are much older. The dance is often in 6/8 time, with a moderate to fast tempo. In modern Spanish, a farándula is a company of actors.

: Biography Composer Martin Bresnick was born in New York City in 1946. He is presently Professor of Composition and Coordinator of the Composition Department at the Yale School of Music.

He was educated at the High School of Music and Art, the University of Hartford (BA '67), Stanford University (MA '68, DMA '72), and the Akademie für Musik, Vienna ('69-'70).

His principal teachers of composition include György Ligeti, John Chowning, and Gottfried von Einem. Mr. Bresnick has taught at many schools in the United States and Europe, including the San Francisco Conservatory of Music (1971-72), Eastman School of Music (2002-03), New College in Oxford (2004), and the Royal Academy of Music in London (2005), among others. In 2006, Mr. Bresnick was also elected

Jon Else, director). Mr. Bresnick's music has been recorded by Cantaloupe Records, Composers Recordings Incorporated, Centaur, New World Mr. Bresnick's compositions cover a wide range Records, Artifact Music, and Albany Records, of instrumentation, from chamber music to and is published by Carl Fischer Music (NY), symphonic compositions and computer music. Bote and Bock (Berlin), and CommonMuse His orchestral music has been performed by Music Publishers (New Haven). major symphonies around the world, including the San Francisco Symphony, St. Paul Chamber Orchestra, M端nster Philharmonic, Orquestra : Website Sinfonica do Estado de Sao Paulo, and Izumi Sinfonietta Osaka. His chamber music has been www.martinbresnick.com performed in concert by The Chamber Music Society of Lincoln Center, Da Capo Chamber Players, Bang on A Can All Stars, and MusicWorks!, among others. to membership of the American Academy of Arts and Letters.

His music has been heard at numerous festivals, including Prague Spring, Tanglewood, Banff, New Music America, and New Horizons. He has also received commissions from the National Endowment for the Arts (1992), Fromm Foundation (1995), Lincoln Center Chamber Players (1997), Meet the Composer (1998), and Chamber Music America (1999).

He has received many prizes, the most recent including the Chamber Music Society of Lincoln Center Elise L. Stoeger Prize for Chamber Music (1996), the Charles Ives Living award from the American Academy of Arts & Letters (1998), the ASCAP Foundation's Aaron Copland Prize for teaching (2000), and a Guggenheim Fellowship (2003).

Mr. Bresnick has written music for films, two of which, Arthur & Lillie (1975) and The Day After Trinity (1981), were nominated for Academy Awards in the documentary category (both with

SO PERCUSSION Eric Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting

: Website

: Biography

www.sopercussion.com

Since coming together at the Yale School of Music in 1999, So Percussion has been creating music that is at turns raucous and touching, barbarous and heartfelt. Realizing that percussion instruments can communicate all the extremes of emotion and musical possibility, it has not been an easy music to define. Called “astonishing and entrancing” by Billboard Magazine and “brilliant” by the New York Times, the Brooklyn based quartet’s innovative work with today’s most exciting composers and their own original music have quickly helped them forge a unique and diverse career.

Although the drum is one of humanity’s most ancient instruments, Europe and America have only recently begun to explore its full potential, aided by explosions of influence and experimentation from around the world. In the twentieth century, musical innovators like Edgard Varese, John Cage, Steve Reich, and Iannis Xenakis have brought these instruments out from behind the traditional orchestra and given them new voice.

Excitement about these composers and the sheer fun of playing together inspired the members of So to begin performing while still in school: Cage’s Third Construction wove elaborate rhythmic counterpoint using ordinary objects, while Reich’s Drumming harnessed African inspiration to ecstatic effect.

A blind call to David Lang, Pulitzer Prize winning composer and co-founder of New York’s Bang on a Can Festival, yielded their first big commissioned piece, the so-called laws of nature, which appeared with Evan Ziporyn’s gamelan romp Melody Competition on their first album “So Percussion.” In the following years, the

thrill of working with amazing composers would yield new pieces by Paul Lansky, Dan Trueman, Steve Reich, Steve Mackey, Fred Frith, and many others.

For their next disc they tackled Drumming, one of the first and few percussion pieces of symphonic scope (well over an hour long). A landmark American work, Drumming fuses African aesthetics, Western philosophical concepts, and technologically inspired processes in a minimalist masterpiece.

Festival, Carnegie Hall, Stanford Lively Arts, the Cleveland Museum of Art, and many others.

In addition, recent tours to Russia, Australia, Italy, Germany, Spain, and the Ukraine have brought them international acclaim.

With an audience comprised of "both kinds of blue hair... elderly matron here, arty punk there" (as the Boston Globe described it), So Percussion makes a rare and wonderful breed of music that both compels instantly and offers vast rewards for engaged listening. Edgy (at least in the sense that little other music sounds So’s third album Amid the Noise saw a dramatic like this) and ancient (in that people have been new direction for the group: original music, hitting objects for eons), perhaps it doesn’t written by member Jason Treuting. Eager to need to be defined after all. expand their palette, the members experimented with glockenspiel, toy piano, vibraphones, bowed marimba, melodica, tuned and prepared pipes, metals, duct tape, a wayward ethernet port, and all kinds of sound programming. The resulting idiosyncratic tone explorations were synchronized to Jenise Treuting’s haunting films of street scenes in Brooklyn and Kyoto.

This ongoing work has resulted in exciting new projects such as the site-specific Music For Trains in southern Vermont and Imaginary City, a sonic meditation on urban soundscapes.

In 2006, So joined the dynamic electronic duo Matmos for shows around the country and in Europe, using beer cans, hair clippers, and dry ice to great effect. In this ongoing collaboration, no raw material or household object is safe from sonic exploitation!

Since 1999, So Percussion has performed this unusual and exciting music all over the United States, with concerts at the Lincoln Center

LISA MOORE piano

: Biography Australian-American performer Lisa Moore has been crowned “New York's queen of avantgarde piano” by The New Yorker magazine. The New York Times claims “her energy is illuminating” and The American Record Guide writes that “her concerts are legendary.” Lisa Moore is based in New York City where she has lived since 1985. She collaborates with a large and diverse range of musicians and artists and has released four solo CDs (on Cantaloupe Music and the Tall Poppies labels) and 30 collaborative discs (on Sony, Nonesuch, DG, CRI, BMG, Point, New World, ABC Classics and New Albion). A new solo Cantaloupe EP will be released this summer featuring the music of Don Byron.

Next Wave, MassMoca, Bang on a Can, Keys to the Future, Healing The Divide, Adelaide, Perth, Queensland, Canberra, Sydney, Sydney's Olympic Arts, Sydney Spring and Mostly Mozart, Brisbane Biennale, and the Darwin Festival.

In May 2008, Moore curated Australia’s Canberra International Music Festival Sounds Alive series, importing over 35 musicians from around the world for ten days of music making at the Street Theatre. Moore teaches at the Yale-Norfolk New Music Workshop summer festival and at Wesleyan University. She is a graduate of the University of Illinois, Eastman School of Music, and SUNY Stonybrook.

Combining powerful technique with vivid : Website vocal theatricality, Moore plays, sings, speaks, improvises and acts in shows such as “ipiano: www.lisamoore.org my brilliant career,” Wilde's World, “The Totally Wired Piano,” “Janacek from the street” and “Musically Speaking.” She was the founding pianist for the Bang on a Can All-Stars, touring with them for 16 years worldwide. She has performed in La Scala, Carnegie Hall, the Musikverein, the Sydney Opera House, and the Royal Albert Hall and has made guest appearances at festivals such as Holland, Lincoln Center, Schleswig-Holstein, BBC Proms, Israel, Warsaw, Uzbekistan, Musica Ficta Lithuania, Prague Spring, Istanbul, Athens, Taormina, Southbank's Meltdown, Dublin’s Crash, Graz, Huddersfield, Scotia, Paris d'Automne, Shanghai, Beijing, Hong Kong, Turin, Palermo, Barcelona, Heidelberg, Berlin, Perugia, Tanglewood, Houston Da Camera, Jacob's Pillow, Aspen, Norfolk, Sandpoint, Saratoga, Victoriaville, Ojai, Other Minds, NY's Sonic Boom, BAM

NEW MUSIC NEW HAVEN 2008-09 Season

APR 30 Thu / 8 pm

David Lang Featured faculty composer with the Yale Percussion Group Timo Andres: Fast Flows the River, for MIDI keyboard and cello Richard Harrold: Two Studies for Guitar Duo Ted Hearne: THAW, for percussion quartet Jordan Kuspa: Songs and Dances: Three Poems of Lewis Carroll Angel Lam: Wandering Garden, Capital Dream for solo cello, string quintet, piano, harp, and percussion Pobinz Nazaykinskaya: Scene from Sleeping Beauty Andrew Norman: Sabina, for solo cello Naftali Schindler- Two-eyed Elk, for solo trombone, and Water Tropes for string quartet, sampler, and Tuvan throat singer

NMNH Staff

Ezra Laderman Artistic Director

Meryn Daly Production Coordinator

Krista Johnson Managing Director

Renata Steve Music Librarian

Assistants

Music librarians

Christopher Matthews, Andrew Parker, Donna Yoo

Stage crew

Nicholas Akdag, Keturah Bixby, Nathaniel Chase, Brian Ellingsen*, Jennifer Griggs, Jessica Hsieh, Patrick O’Connell, Kurt Schewe*, Alexander Smith, Kate Swisher, Brian Thacker

Michelle Abraham, Samuel Blair, Michael Compitello, James Hasspacher, Scott Holben, Julian Pellicano, Liesl Schoenberger

* denotes head

UPCOMING

For a complete listing of all our concerts: music.yale.edu

YALE PHILHARMONIA

Music of Mahler, Britten, and Saint-Saëns Free Admission / Woolsey Hall Shinik Hahm, music director; Farkhad Khudyev, conductor; Ashley Bathgate, cello. Mahler's Symphony No. 5, Britten's Four Sea-Interludes, and Saint-Saëns' Cello Concerto.

April 4 / Sat / 8pm

NASH ENSEMBLE April 7 / Tue / 8pm

LA NAVARRAISE & THE BEAR April 17-18 / Fri-Sat / 8pm

Chamber Music Society Tickets $27-34, Students $14 / Sprague Hall From London, a program for clarinet, horn, string trio, and piano. Featuring the music of Vaughan Williams, Dukas, Schumann, and Dvorák.

Yale Opera Tickets $8-12, Students $5 / Sprague Hall A double bill of Jules Massenet's La Navarraise and William Walton's The Bear. Doris Yarick-Cross, artistic director; Douglas Dickson and Timothy Shaindlin, musical direction and accompaniment.

CONCERTS & MEDIA Vincent Oneppo Director

Kelly Yamaguchi-Scanlon Accomodations & Travel

Dana Astmann Assistant Director

Brian Daley Piano Curator

Monica Ong Design Manager

William Harold Piano Curator

203 432 4158 Box Office

Tara Deming Operations Manager

RECORDING STUDIO

concerts@yale.edu E-mail Us

Christopher Melillo Operations Coordinator

Eugene Kimball Director / Recording Engineer

Danielle Heller Box Office Coordinator

Jason Robins Assistant Recording Engineer

YALE SCHOOL OF MUSIC Robert Blocker, Dean