Music at Yale | Spring 2017

spring 2017

Music at Yale faculty retirements

Willie Ruff and Peter Frankl Move On, Leave Legacies

ysm alumni take home grammys

special edition

The adams

center for

musical arts Opens

contents

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Letter from the Dean

3 Faculty Retirements

7 Norfolk Festival Celebrates

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7

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75 Years at Yale

Yaffe Recognized as Music in Schools Turns 10

8 Convocation 2016 Celebrates “Transcendent Yale Legacy”

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elen Hagan’s Grave Site H Marked in Overdue Ceremony YSM Jazz Initiative Announced

11 Class of 2016 Presents Gift to School

YSM Alumni Take Home Grammys

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Student & Alumni News

24

Faculty News

38

Concert News

27 Adams Center for Musical Arts Opens

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41 YSM Featured at 2016 NY Phil Biennial

Andrew Norman ’09ad Receives High-Profile Awards

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YSM Students Perform in London

Gilmore, Beinecke Libraries Reopen after Renovations

43 Staff Retirements 44 47

Recordings & Publications In Memoriam

49 Contributors

38 stay connected!

follow #insideysm for news, updates, and more.

Dear YSM alumni, This special edition of Music at Yale celebrates several new beginnings. The first and most obvious is the completion and opening of the Adams Center for Musical Arts. This space welcomes musicians and friends who create, re-create, and hear music in an environment expressly designed for teaching, learning, and performing. In these pages, you will sense the excitement that surrounds these new facilities.

We also celebrate the arrival of a new Communications team, headed by alumna Donna Yoo ’09mm, that has revamped and redesigned our print and digital media. You will notice in this edition a lengthy section on students and alumni and their professional activities, along with other format changes. One constant theme resounds, however, and that cantus firmus is that we want to hear from you! Please send us your news.

The legacies that have been established at YSM compel us to look to and plan for the future. Simply put, our hopes can now be transformed into expectations. The third new beginning for us is the announcement of a strategic planning process that will reach fruition as we celebrate the 125 th anniversary of our School’s founding. All members of the YSM community will be invited (and urged) to participate – to dream with us about a future that sustains, broadens, and deepens the impact and influence that the School of Music has on people at home and abroad.

Our School of Music is a vibrant community of people – alumni, students, faculty, staff, and friends. The physical spaces where we learn together are certainly important, as are the curricula and extracurricular programs. But it is the care, compassion, and nurturing of the artists and cultural leaders of the future that makes this community extraordinary. From the YSM soundscape comes the reverberating commitment to share our musical gifts with those who are able to listen.

With heartfelt thanks and warmest regards,

Robert Blocker The Lucy and Henry Moses Dean of Music

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Willie Ruff Retires Leaving Legacy of “Conservatory Without Walls” by lucile bruce

Willie Ruff, who gave rise to the legacy of jazz at Yale, will retire in the spring of 2017 after 46 extraordinary years at YSM.

While stationed at Lockbourne Air Base in Ohio alongside the Tuskegee Airmen, Ruff happened to read an interview with the famous jazz saxophonist Charlie Parker. Parker was quoted as saying he would like to go to Yale and study music with Paul Hindemith. “I figured if Yale was good enough for Charlie Parker, it was good enough for me,” Ruff said, laughing.

He applied, was accepted, and enrolled under the G.I. Bill at Ruff was born in 1931 in Sheffield, Alabama, a rural town on YSM, where at the time students earned undergraduate and the south side of the Tennessee River. As a child, he showed graduate degrees. He completed his bachelor of music degree an aptitude for music and immersed himself in the musical in 1953 and his master of music degree in 1954. Hindemith, a resources of his community. A neighborhood boy shared his German composer, music historian, and conductor, was Ruff ’s drum set with young Willie and they became lifelong friends. teacher and an enormous influence. Ruff said he learned The pianist at church became his piano teacher. But the best “everything” from Hindemith, citing one course in particular: music he heard was the drumming in the African Pentecostal The History of the Theory of Music. church half a block from his house. “We would sit on the ground outside the church and listen to the people playing those drums,” Ruff recalled. “It was the most exciting, the most “It was my first serious foray into early music,” Ruff explained.

“We started at the beginning of polyphonic music and went moving music. I heard them in my sleep.” from there.”

Across the river from Sheffield stands Florence, the hometown of W.C. Handy, the “Father of the Blues.” Handy visited Ruff ’s While Ruff was a student, Hindemith worked steadily on an opera about the 16 th century astronomer-mathematician elementary school classroom, played for the children, and accompanied their singing. “W.C. Handy was a big presence in Johannes Kepler and the ancient theory of “music of the spheres.” Similarly following an interdisciplinary path, Ruff my world,” Ruff recounted. “When I saw him on stage in my has forged creative connections between music and other fields, school, talking about the importance of our musical heritage, I collaborating for many years with faculty across the University said, ‘I want to do that.’ I think I have.” including those with expertise in astronomy, geology, computer science, and medicine. This spring he looks forward to traveling At 14, Ruff joined the U.S. Army. He was assigned to the 25 th to Linz, Austria, to attend a performance of Hindemith’s Die Infantry, an old and distinguished African American unit Harmonie der Welt (The Harmony of the World, composed in formed just after the Civil War. The Army turned out to be an 1957). It will be his first experience hearing a Hindemith opera excellent place to train as a musician. He learned to play the in person. horn and met pianist Dwike Mitchell, who taught Ruff to play the bass and later became his longtime musical collaborator.

Ruff joined the YSM faculty in 1971 at a time of national turmoil The Mitchell-Ruff Duo traveled the country and the world for and violence. Yale, he recalled, was recovering from the May nearly 60 years, famously performing in the Soviet Union in Day 1970 protests sparked by the New Haven trial of members 1959 and in China in 1981. of the Black Panther Party. “It was a propitious time for me to broach an idea I had with Kingman Brewster, then president of the University,” he said. music at yale / spring 2017 —

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FACULTY RETIREMENTS / WILLIE RUFF American churches, and to Scotland. In 2005 and 2007, he organized international conferences on line singing, both at Yale. His discoveries are the subject of a documentary film, A Conjoining of Ancient Song, and have been featured on National Public Radio.

The prodigiously talented Ruff is also a master storyteller who generously shares his life with others in conversation. In 1991 he published A Call to Assembly: The Autobiography of a Musical Storyteller, a critically acclaimed memoir for which he won an ASCAP Deems Taylor Award for Music Writing. When Ruff tells stories, his Southern heritage shines through. A great oral historian with an epic sense of time, he connects with his listener as if sitting on a front porch in summer, intertwining personal narrative, sensory experience, and historical context.

In his final semester at YSM, Ruff is teaching one of his most popular courses, Instrumental Arranging — what he calls a “history of the theory of music under the umbrella of arranging” Ruff proposed that the University invite Duke Ellington, whom Yale had recently awarded an honorary doctorate, to return for — as well as Edison’s Talking Machine and the American Jazz Century. In the latter course, he’s drawn heavily on interviews a special event to honor him and other luminaries of African he recorded in 1974 with numerous jazz greats including American music.

Gillespie, Ethel Waters, Eubie Blake, Earl Hines, Benny Carter, Miles Davis, and others. He recently donated his original set “Brewster said, ‘That sounds like a great idea, but we don’t of these recordings to Yale’s Oral History of American Music have the money,’” Ruff recalled. Within a year, Ruff had raised project (OHAM). the money, and in 1972 he organized a concert at Woolsey Hall that featured 40 of the greatest musicians of our time, Upon retirement, Ruff plans to return to his roots. He’ll reside performers like Ellington, Paul Robeson, Marian Anderson, in the small town of Killen, Alabama, not far from Sheffield and Dizzy Gillespie, Charles Mingus, Roland Hayes, William Florence, in the beautiful home and studio he’s built there. His Warfield — the list goes on. The University honored them farewell to New Haven will be bittersweet. He said he won’t with inaugural Duke Ellington Medals and the Duke Ellington miss the New England winters, but he will miss the School and Fellowship was born. the people who have meant so much to him for so long.

“The idea was not to have these people come, flex the muscle It’s difficult to imagine YSM without him, but, fortunately, Ruff of genius, and then go home,” Ruff explained. “The idea was plans to continue sharing his remarkable gifts and stories with to establish a relationship.” others as he works, travels, and lectures. “I’m going to visit the institutions of the world,” he said. “I’m warming up the show Since then, under the auspices of the Ellington Fellowship, and taking it on the road.” more than 150,000 New Haven schoolchildren have heard the greats of jazz “live” and participated in workshops with them, either on the Yale campus or in the public schools.

Today, this program, Ruff ’s singular gift to Yale and the New Haven community, continues to celebrate what Ruff calls the “conservatory without walls” — the “invisible institution” through which African American music has been nurtured and developed over time.

One of Ruff ’s most important contributions to musical scholarship was his discovery of present-day line singing, church music in which psalms are sung responsively between a solo voice and the congregation. Line singing is not notated and exists only in the oral tradition. “I thought it had died out,” he explained. “I accidentally discovered it in a small black Presbyterian church in North Alabama.”

Ruff eventually traced the music to a diverse group of churches in the United States, including black, white, and Native 4

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Top: Charles Mingus, Duke Ellington, and Willie Ruff at the historic 1972 jazz convocation in Woolsey Hall.

Bottom: Willie Ruff and Frank Tirro perform in Sprague Hall.

YSM Faculty Pianist Peter Frankl Retires After 30 Years, Having Inspired Generations by lucile bruce

Peter Frankl will retire at the end of this year, concluding his remarkable 30 year career at the Yale School of Music, where he has touched the minds — and more important, the hearts — of hundreds of students.

A virtuoso performer and beloved teacher, Frankl was born in Budapest, Hungary, in 1935, into a musical family. His parents were semi-professional musicians who played piano at home.

They took their son to many concerts and he remembers hearing “many great artists like Klemperer, Bernstein, and my idol, the pianist Annie Fischer.”

Frankl began playing the piano at age 5. “It has been my passion in life ever since,” he said.

He made his London debut in 1962 and his New York debut with the Cleveland Orchestra under George Szell in 1967.

Since then, he has played on the world’s top stages with the most celebrated orchestras and eminent conductors, including Abbado, Boulez, Davis, Haitink, Maazel, Masur, Muti, and Solti. His world tours have taken him to Japan, Korea, Australia, New Zealand, and South Africa. He has appeared more than 20 times at London’s BBC Proms and at many major festivals. Inspired as a young musician by the legendary Leó Weiner, his chamber music teacher, Frankl is also a wellknown chamber music performer. For years, the Frankl-PaukKirshbaum Trio traveled the world, and Frankl’s many chamber music partners include the world’s most renowned artists.

It was Boris Berman, professor of piano and coordinator of the piano department at YSM, who invited Frankl to come to Yale, first in 1987 as a visiting teaching artist.

Until that time, Frankl’s occupation was mainly concertizing; he rarely taught, even master classes. “It never occurred to me to teach on a regular basis,” he said. “However, Yale’s reputation attracted me greatly and I decided to give it a try.”

He harbored a deeper reason, however, for teaching. “By then I was 52 years old,” he explained. “I had the impression that the young generation of pianists were more interested in reaching technical perfection than in involving themselves in the emotional and spiritual meaning of what each composer wanted to express in their works.

“Somehow I started feeling responsible towards the future of music-making,” he continued. “Instead of grumbling about this, I wanted to do something positive.”

He thoroughly enjoyed the atmosphere at YSM, including the School’s “relatively intimate size.” As two esteemed piano faculty members were approaching retirement, Yale offered to extend Frankl’s appointment. He gladly accepted.

“The time that followed was one of my happiest,” Frankl recalled. “For many years, Boris Berman, the unforgettable Claude Frank, and I were a very special and enviable team of the piano faculty. All three of us were active in pursuing our performing careers. We helped each other with our teaching responsibilities without any problems. We were greatly assisted

by Dean Ezra Laderman and subsequently Dean Robert Blocker to make this work. I’m extremely grateful to all the friends and colleagues who accommodated me.”

At Yale, Frankl has become a cherished member of the School of Music community, teaching individual piano students and coaching chamber music. He has maintained a busy international performance schedule, commuting from London to New Haven to teach. He has appeared regularly at Yale in recitals, orchestral concerts, and chamber music performances alongside his distinguished colleagues. music at yale / spring 2017 —

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FACULTY RETIREMENTS / PETER FRANKL As a performer, mentor, and friend, Frankl has profoundly influenced his students. “He is a remarkable person,” said pianist David Fung ’11mm ’12mma ’17dma. “He lives and breathes the joy of music. He has so much heart and genuinely cares about all of his students. His repertoire aligns with the works I love so much, and I came to love them even more after studying with him.”

Exploring what Frankl calls the “emotional and spiritual meaning” of music is exactly what Hyeyeon Park ’05mm ’06ad experienced in her studies with him.

“When I first met him, I was too concerned about making mistakes, and I was not recovering well from minor errors I might have made during my performance,” she recalled. “He simply told me that he wants me to tell stories through music.

That simple fact made total sense, and I felt free from the constraints I’d always had.”

Frankl’s approach to teaching has reflected his broad mastery of music. “A pianist should be an all-around musician,” Frankl said. “They should be encouraged to be interested in, and to become familiar with all aspects of music — symphonic repertoire, operas, chamber music, lieder, and more.

Right to left: Peter Frankl, Boris Berman, and Claude Frank rehearse for an all-Mozart concert in 2005.

Summer School of Music/Norfolk Chamber Music Festival, Frankl and his wife, Annie, were deeply honored to receive seats marked with their names. This precious gift was initiated and executed by YSM faculty pianist Wei-Yi Yang.

“As a student,” Park said, “you cannot ask for more than seeing your mentor living a life totally immersed in music, and seeing your mentor performing with so much love.” At the 80 th “I’m convinced it’s impossible to do justice to the interpretation birthday celebration, she continued, “I saw how much Mr. and and characterization of works like Mozart piano concerti Mrs. Frankl’s warmth, genuine love, and support affected his without knowing Mozart’s operas,” he explained. “It is students, regardless of their generation.” equally important to know thoroughly all the major works

by Bach, Beethoven, Haydn, Schubert, and many others by “In my concert career I meet people all over the world who have great masters.” studied with him,” Fung said. “We have a connection. I call it the ‘Frankl Family.’ We have all been influenced by his teaching, Frankl’s recordings include the complete works for piano of his great kindness, his love of music.”

Schumann and Debussy, solo albums of works by Bartók and Chopin, a Hungarian anthology, concerti and four-hand works “The School of Music has been incredibly fortunate to have had

by Mozart, several works by Brahms, and chamber music.

Peter on the faculty for 30 years,” Blocker said. “In that time, he has had a profound influence on our lives, and he and Annie While he cannot choose a “favorite” composer, he said, “I could have embraced the School and community with infectious perhaps name two great geniuses who have been closest to me warmth and love. His passionate teaching and artistry reflect throughout my life: Mozart and Schumann. his distinguished international career. I can assure everyone that Peter and Annie will return to Yale in future years and “Mozart’s concerti give me everything that is possible: emotion, continue to share his musical gifts and their friendship with us.” poetry, humor, the way he uses colors in orchestration — especially in the wind section — his richness of imagination, As Frankl retires from Yale, he leaves behind his transatlantic and so on. Schumann, on the other hand, was the great travels to New Haven six times a year, but remains connected romantic. His kaleidoscope of expressing passion, lyricism, and to colleagues and former students. He will carry on performing using his imagination to show all the extremes that he felt he — “Maybe even at Yale!” he said — and giving master classes, had to express fully has been moving me to tears all my life.” as well as participating in jury activities at competitions. “As a musician, I don’t believe in the word ‘retirement,’” Frankl said.

In recognition of his artistic achievements, Frankl was awarded Musing on his career as a teacher at Yale, he concluded, the Officer’s Cross by the Hungarian Republic on his 70 th “I sincerely hope my time has not been wasted.” By every birthday, and he was given one of the highest civilian awards measure, it has not. in Hungary for his lifetime artistic achievement in the world of music. In 2015, on the occasion of Frankl’s 80 th birthday, Dean Robert Blocker presented Frankl with the Gustave Stoeckel Award for excellence in teaching. In the Shed at the Yale

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norfolk festival celebrates 75 years at yale hawkshaw retires as director, chen assumes role The Yale Summer School of Music/ Norfolk Chamber Music Festival celebrated 75 years at Yale during the 2016 season, a milestone that was reached as longtime Festival Director Paul Hawkshaw, a professor in the practice of music history at the Yale School of Music since 1984 and the 2000 recipient of the School’s prestigious Sanford Medal, retired from his work at Norfolk. At a gala event in July 2016, Dean Robert Blocker announced the establishment of the Paul and Susan Hawkshaw Scholarship in honor of Hawkshaw’s leadership of the Festival.

Norfolk faculty and staff purchased four benches at the Ellen Battell Stoeckel Estate in Hawkshaw’s name.

Under Hawkshaw’s leadership, the Festival has flourished, with ticket sales increasing even as other classical music organizations around the world suffer from declining audience numbers.

Hawkshaw, whose tenure as Festival director began in 2004, will continue to lead fundraising efforts for a threepart project to upgrade the interior of the historic Music Shed and restore the long-unused teaching annex. The first part of the project saw the shed’s exterior replaced, along with the familiar cupola, which had been struck and damaged by lightning decades ago. The Music Shed, originally designed by the New York-based architect E.K. Rossiter, first opened in June 1906.

Yale School of Music Deputy Dean and faculty pianist Melvin Chen succeeds Hawkshaw as director of the Norfolk Chamber Music Festival. Chen is Norfolk’s fifth director — following Bruce Simonds (1941–1954), Keith Wilson (1955–1980), Joan Panetti (1981–2003), and Hawkshaw — since Yale began running the summer school and festival in 1941, two years after the 1939 death of Ellen Battell Stoeckel, who left instructions that her estate be used “for the benefit and development of the School of Music at Yale University.”

yaffe recognized as music in schools turns 10 The Yale School of Music’s Music in Schools Initiative celebrates its 10 th year in 2017 and will mark the occasion in June with the sixth biennial Symposium on Music in Schools, during which Yale Distinguished Music Educator Awards will be given to 10 respected teachers from around the United States.

The 10 anniversary of Music in Schools coincides with the 60th reunion of Yale’s Class of 1957, whose members, at their 50th reunion, gave YSM an endowment with which to establish the Initiative. th

During the School of Music’s September 2016 Convocation ceremony, Dean Robert Blocker presented Associate Dean Michael Yaffe with the School’s Cultural Leadership Citation.

“Ten years ago, when Michael came to Yale from The Hartt School, his reputation as a passionate advocate for music as the birthright of all humanity — regardless of race, creed, economic station in life — was well known throughout our profession,” Blocker said.

with making a difference through your music.”

Referencing Yaffe’s leadership of the Music in Schools Initiative, Blocker said Yaffe has “steadily refined and developed this program into a national model that exemplifies diversity, inclusivity, and the power of music in our lives.”

One ascendant cultural leader is Stephanie Tubiolo ’14ba ’16mm, who was named the first postgraduate teaching artist fellow at the Music in Schools Initiative. The position was created through an endowment from Mr. and Mrs. Lester Morse ’51ba, whose generosity helped establish the Morse Summer Music Academy, which is part of the Initiative.

Upon receiving the award, Yaffe issued a challenge to YSM students, saying, “What I would like to do when you graduate from here is hand this award to you, because what this is really about is cultural leadership. It has to do

Tubiolo, who studied choral conducting with Marguerite Brooks, Jeffrey Douma, and David Hill at Yale, is teaching and serving as an administrator, working directly with the Initiative’s lead teacher, Rubén Rodríguez ’11mm. music at yale / spring 2017 —

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convocation 2016

celebrates “transcendent yale legacy” In his 2016 Convocation address, titled Music: A Transcendent Yale Legacy, School of Music Dean Robert Blocker told incoming and returning students, faculty, staff, and guests that “transcendent qualities are born and nurtured by people. Yale University and the School of Music are a collection of voices, a community and society of mutual learners. We, along with our predecessors, came here to better prepare ourselves to repair the world.

“It may surprise some of you to know that when the Yale Corporation voted to establish a School of Music in 1894, they also approved a bachelor of music degree that was open to women and men,” Blocker said in his remarks. “Cynics might say that not offering a bachelor of arts in music retained the exclusivity of Yale College as a male enclave, but I find it a lot more interesting and compelling that music was Yale’s very first commitment to diversity and inclusivity.”

Celebrating the “transcendent voices” that have shaped the School’s legacy, Blocker recognized Ellen and Carl Stoeckel, Helen Hagan, Elaine Toscanini, Aldo Parisot, and Willie Ruff, among others.

“These transcendent musical voices of Yale and their cultural leadership transform lives, enrich communities, and bring hope to a broken world,” Blocker said. “Yale’s sons and daughters entrusted some of humankind’s treasures to us so that the transcendent qualities of character and mind,

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of light and truth – Yale’s motto, lux et veritas – can live through each of us and can bring hope to our planet. That is our responsibility, and it is our joy.”

made the School their musical home. The Brentano String Quartet – who, with Blocker on piano and students, faculty, and staff singing, played Schubert’s An die Musik earlier in the evening – performed two movements of Haydn’s String Quartet in E-flat major, Op. 20, No. 1.

As much as he was talking about the past, Blocker was looking to the future, which rests in the hands of the next generation Hornist Leelanee Sterrett ’10mm, a member of the New York of cultural leaders – represented by the School’s incoming Philharmonic, and current dma-candidate pianist Yevgeny and returning students. The entering class, whose members Yontov ’14mm, returned to Yale to perform two movements of Blocker pointed out come from five continents, 22 countries, and 20 states, was formally installed by Yale University Provost Hindemith’s Sonata for Horn in F major.

Benjamin Polak following Blocker’s emotional presentation, to And student pianist Kaisaier Ainiwaer ’17mm punctuated School of Music Associate Dean Michael Yaffe, of the Cultural Leadership Citation. Yaffe was recognized for working over the the program with a performance of the first movement of Prokofiev’s Piano Sonata in A major, No. 6, Op. 82. course of decades to make music more accessible to everyone and championing the important role music plays in our society.

Fittingly, just moments earlier, Blocker had pointed out that “great music is transcendent, touching us centuries after the While the first half of the Convocation program celebrated composer filled a blank page with notes.” accomplishments and responsibilities, the second half showcased the remarkable talents of several musicians who’ve

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helen hagan's grave site marked in overdue ceremony A long overdue ceremony was held at New Haven’s Evergreen Cemetery on September 29, 2016, to honor Helen Eugenia Hagan, who died in 1964 and was buried alongside her parents, albeit without individual mention.

A headstone was placed on Hagan’s grave as members of the local community and others who’ve been connected to Hagan’s legacy acknowledged her extraordinary life.

Elizabeth Foxwell, who edited the 2015 anthology In Their Own Words: American Women in World War I (Oconee Spirit Press), organized a crowd-funding campaign, to which the School of Music contributed, to permanently mark Hagan’s resting place.

Hagan is believed to have been the first female African American student to attend the Yale School of Music and Yale University. She graduated from the School in 1912 and soon thereafter became the only African American performer to travel to France to entertain black troops stationed there after World War I. Hagan was the first African American pianist to perform a recital at a New York concert venue. While at Yale, Hagan performed with the New Haven Symphony Orchestra and composed and performed her Piano Concerto in C minor, which, sadly, is the only one of her compositions to have survived.

In his 2016 Convocation address, Dean Robert Blocker pointed out that upon its founding the School of Music offered bachelor’s degrees to men and women. During the 2016 grave-marking ceremony, Blocker talked about that aspect of the School’s history, saying, “Here you have … a small School of Music that says, ‘Yes, we’re going to take women. Yes, we’re going to disregard color … we’re going to take people on the promise of their God-given talent.’”

ysm jazz initiative announced Dean Robert Blocker announced in July 2016 an expansion of the legacy of jazz at Yale University, thanks to an anonymous gift. The initiative, which is overseen by YSM Professor and Director of Yale Bands Thomas C. Duffy, promises to strengthen the School’s collaborative efforts with the Yale College Dean’s Office and Department of Music, as well as the New Haven community.

After being suspended in April 2016 due to a lack of qualified players and adequate rehearsal space, the Yale Jazz Ensemble was reconstituted in fall 2016 under Duffy’s direction. The School of Music has provided modest support for the Yale Jazz Ensemble through the years, though it had previously been an extracurricular undergraduate organization. The group is now open to all Yale students.

Other aspects of the jazz initiative include an improvisation course taught by Grammy Award-winning jazz saxophonist Wayne Escoffery, who, along with bassist and composer Jeff Fuller ’67ba ’69mm, coaches jazz combos.

Distinguished saxophonist Carrie Koffman teaches private lessons in saxophone as part of the initiative.

Professor Willie Ruff, through his teaching, performances, and scholarly work, opened Yale’s gates to jazz in the early 1970s. A historic 1972 concert in Woolsey Hall was the primary impetus for the Ellington Jazz Series and gave Ruff ’s concept of a “conservatory without walls” a home in the New Haven community. The list of jazz greats who have subsequently appeared as part of the Ellington Jazz Series and presented master classes for all Yale students represents a veritable “who’s who” in the field.

From left: Paul McCraven, a member of Evergreen Cemetery’s board of directors; Robert Elliott, head of the music department at Tennessee State University; Connecticut state Rep. Patricia Dillon; New Haven Mayor Toni Harp; YSM Dean Robert Blocker; and Elizabeth Foxwell, editor of In Their Own Words: American Women in World War I.

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Courses in jazz have long been part of the School’s academic offerings. In addition to Ruff ’s courses in jazz history, Dean Emeritus Frank Tirro regularly taught a class in jazz during his tenure as Dean, and Duffy, formally established the Yale Jazz Ensemble (big band) and has taught jazz in the classroom for many years.

class of 2016 presents gift to school

In May 2016, the YSM’s Class of 2016 became the first graduating class to present a gift to the School. More than half the class’ 98 members contributed to the gift, which exceeded $1,000.

A seat in Sprague Hall (seat C101) was adorned with a plaque identifying the Class of 2016 as having made a contribution to the School.

Acknowledging the gift during the School’s Commencement ceremony in May, Dean Robert Blocker said to the graduating class, “You’re starting a very, very important tradition, and the tradition is more about staying connected to your School and to this community and what has become your family than it is giving a gift.”

Donna Yoo ’09mm, the School’s director of communications and alumni affairs, said, “Any gift from alumni, no matter the size, is a reflection of their connection to the School. I look forward to continuing this special relationship with the Class of 2016 and working with them to continue building a vibrant community for all YSM graduates.”

Guitarist Solomon Silber ’14ba ’16mm was among those who contributed.

“That is the forge through which we’ve all passed as musicians,” Silber said of his alma mater. “It’s helped to mold us into what we are.”

It’s fitting, Silber said, that a seat in Sprague Hall will acknowledge his class’ gift. “I gave the best of myself on that stage,” he said, “and I was pushed to do so by the School’s faculty and students.”

ysm alumni take home grammys Yale School of Music alumnus Michael Daugherty ’82mma ’87dma received three 2017 Grammy Awards in February for his Tales of Hemingway for cello and orchestra, which was recorded by cellist Zuill Bailey and the Nashville Symphony conducted by Giancarlo Guerrero. The piece won in the Best Classical Instrumental Solo, Best Contemporary Classical Composition, and Best Classical Compendium categories. Tales of Hemingway was commissioned and premiered by Guerrero and the Nashville Symphony, whose live recording of that performance was released on an album with Daugherty’s American Gothic and a 2015 revision of his Once Upon a Castle, a work for organ and orchestra whose solo part was performed by YSM alumnus Paul Jacobs ’02mm ’03ad. Guerrero conducted the Yale Philharmonia in a January 2017 program that included Wagner’s Prelude and Liebestod from Tristan und Isolde and Shostakovich’s Symphony No. 10.

Composition category for his Bassoon Concerto, which was recorded by bassoonist Martin Kuuskmann ’95cert and the Northwest Sinfonia, under the direction of Barry Jekowsky.

Theofanidis’ Bassoon Concerto was originally a two-movement work composed in 1997. He expanded it in 2002 to include what is now the second movement.

Composer Thomas Lloyd ’79mm received a Grammy nomination in the Best Choral Performance category for his choral-theater work Bonhoeffer.

And clarinetist Joaquin Valdepeñas ’80mm received a Grammy nomination as a member of the ARC (Artists of the Royal Conservatory, in Toronto) Ensemble, in the Best Chamber Music/Small Ensemble Performance category, for ARC’s recording of music by Jerzy Fitelberg.

Percussionist David Skidmore ’08mm earned a 2017 Grammy Award as a member of Third Coast Percussion, whose recording of works by Steve Reich won in the Best Chamber Music/ Small Ensemble Performance category.

YSM faculty composer Christopher Theofanidis ’94mma ’97dma received a 2017 Grammy nomination in the Best Contemporary Classical music at yale / spring 2017 —

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STUDENT & ALUMNI NEWS Michelle Abraham ’09mm was named associate concertmaster of the Tucson Symphony Orchestra. Abraham serves on the advisory board and performs on the Musical Upcoming Stars in the Classics concert series in Northeast Ohio. Additionally, Abraham is the founding member of the Thalia String Quartet.

Jacob Adams ’06mm ’07ad was appointed assistant director of graduate studies at the University of Alabama School of Music, where he is also assistant professor of viola and coordinator of the chamber music program. His album Czech Portraits was released in 2016 on Centaur and was called “engaging, expressive, and intense” by the American Record Guide. The album includes original transcriptions of Janáček violin works for viola, which Adams has been invited to perform at the 2017 International Viola Congress in Wellington, New Zealand.

Composer Krists Auznieks ’21dma was nominated for the 2017 Latvian Grand Music Award for his opera NeoArctic. This year, Auznieks’ piece Piano was selected for presentation at the MATA festival in New York City.

MATA received submissions from 1,159 composers from more than 72 countries. Auznieks was also selected to be a composition fellow at the Aspen Music Festival and School’s Susan and Ford Schumann Center for Composition Studies in summer 2017.

Balch’s music has been commissioned and performed by the Albany Symphony Orchestra, the New York Youth Symphony (First Music Commission), Ensemble Intercontemporain (IRCAM ManiFeste), Collage New Music, the Yale Camerata, Aspen Contemporary Ensemble, Antico Moderno, FLUX Quartet (Santa Fe Chamber Music Festival), ZOFO duo, the New York Virtuoso Singers, Yale Philharmonia, Alea III, Departure Duo, and the flutepiano duo Zach Sheets and Wei-Han Wu (New Music USA), among others, in such venues as Carnegie Hall, National Sawdust, and Centquatre (Paris).

In 2016, Third Practice, directed by Brian Bartoldus ’09mm ’11mma ’15dma, received a grant from New Music USA to commission Tawnie Olson’s No Capacity to Consent. The work is a halfhour chamber oratorio setting a legal complaint filed by a pregnant woman in which she recounts how, after being stopped for a minor traffic violation in an American town infamous for police abuse, she was raped by a corrections officer. Third Practice, with percussionist Chris Salvito, cellist Camilo Perez-Mejia, and organist Santana Bartoldus ’08bm, performed the work in Washington D.C., and Baltimore, Frederick, and Emmitsburg, Maryland, in spring 2016.

Hana Beloglavec ’13mm was appointed visiting assistant professor of trombone at Louisiana State University. She previously held a position as visiting instructor of low brass at Midwestern State University Katherine Balch in Wichita Falls, Texas. Beloglavec has ’16mm was among performed as a substitute trombonist seven emerging with the Chicago Symphony Orchestra young composers as well as the Chicago-based early chosen to participate music ensemble Music of the Baroque. in the Minnesota She has also performed as a member Orchestra’s 14 th of the American Institute of Musical annual Composer Studies Festival Orchestra in Graz, Institute. The seven finalists were Austria. Her accomplishments include chosen from a pool of 212 applicants, a record-breaking number for the institute. winning the 2014 Jerome and Elaine

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Nerenberg Foundation Scholarship and the 2012 International Women’s Brass Conference’s Division II Solo Competition.

Robert Bennesh ’14mm ’15ad, director of music at the Church of Sweden in Skanör-Falsterbo, founded the Festival of Sacred Arts, which launched its first season in August 2016. Located in Bennesh’s home parishes in Skanör-Falsterbo, the festival seeks to provide a space in which music of various genres, art, drama, poetry, and nature intersect. The four-day event featured 13 concerts, eight lectures, and other performances and exhibitions.

Through grants, Bennesh has raised approximately $80,000 to develop the festival, forming partnerships with the local and provincial governments as well as other parishes, the diocese, various businesses, and individuals. At Yale, Bennesh studied organ performance with Thomas Murray and improvisation with Jeffrey Brillhart.

Sergio Bernal ’92mm was promoted to full-time professor at Utah State University, where he’s been the director of orchestras since 2001. Bernal worked for a decade at El Sistema in Venezuela, the country’s groundbreaking system of youth orchestras. There, he served as music director of the Mérida Symphony Orchestra, was a permanent guest conductor and artistic advisor of orchestras nationwide, conducted the Orquesta de Juventudes de los Países Andinos on a South American tour, and developed an orchestral conducting instructional video to be used by El Sistema in Venezuela and other Latin American countries.

Gulli Björnsson ’17mm worked with Yale Cabaret to create a 30-minute live musical performance using virtual reality headsets. The work was created and performed by Drew Busmire and LINÜ, a duo comprised of Björnsson and guitarist Jiyeon “Jiji” Kim ’17mm, as part of the Satellite Series.

Jonathan Brandani ’14mm is currently a finalist for the position of music director and principal conductor of the St. Cloud Symphony Orchestra in Minnesota. Brandini has conducted the Minnesota Opera in performances of Puccini’s Tosca and is slated to lead the orchestra in a run of La bohème opening in May 2017. Brandani was admitted into the prestigious Merola Opera Program at the San Francisco Opera Center and was a finalist of the Donatella Flick/London Symphony Orchestra Conducting Competition in London.

Current dma candidate Ethan Braun was one of seven emerging composers, all younger than age 30, to receive a commission from the New York Youth Symphony through the organization’s First Music program. His work was scheduled to be performed by the ensemble in March 2017 at Carnegie Hall’s Stern Auditorium.

Braun has written music for the Albany Symphony Orchestra, Shanghai Symphony, the Asko|Schönberg Ensemble, the Ictus Ensemble, the Yale Percussion Group, and Ensemble Synaestesis, among others. He has released two EPs of electroacoustic music on the experimental music label Khalija Records and has performed with the free-improvisation group Out of Your Head.

the Shenzhen Symphony Orchestra and Christoph embarked on a European tour with the Campestrini ’92mm ensemble in September 2016. was appointed kapellmeister at Hannah Collins Vienna’s Hofkapelle, ’08mm ’09ad was home of the Vienna appointed visiting Boys’ Choir. With assistant professor of the appointment, cello at the University Campestrini joined the ranks of the of Kansas School historically important and influential of Music. Winner musicians who have been members of the De Linkprijs of the Hofkapelle. He leads the famed competition (the Netherlands) for Hofmusikkapelle, which includes the contemporary interpretation, Collins Vienna Boys’ Choir and members of takes an active role in catalyzing and the Vienna State Opera orchestra and championing the works of young chorus. Campestrini has worked with composers as a soloist and as part of the such internationally acclaimed artists duo New Morse Code with percussionist as Gidon Kremer, Julian Rachlin, Alisa Michael Compitello ’09mm ’12mma Weilerstein, Lang Lang, and Julia ’16dma. She is co-director of the Fischer and has led many of the world’s Avaloch Farm New Music Initiative and renowned orchestras including the appears frequently on both modern and London Symphony Orchestra, the Baroque cello with Cantata Profana, the radio orchestras of Moscow, Frankfurt, Sebastians, NOVUS NY, and the Trinity Budapest, and Vienna, and the national orchestras of Mexico and Taiwan, among Baroque Orchestra. others. He appears regularly as a guest Kim Cook ’81mm was conductor in the United States and the 2016 recipient of Canada, having led the Philadelphia Penn State’s Faculty Orchestra, Houston Symphony, Detroit Scholar Medal in the Symphony Orchestra, Vancouver Arts and Humanities Symphony Orchestra, National Arts in recognition Centre Orchestra (Ottawa), Orchestre of her critically Symphonique de Québec, and Orchestra acclaimed recordings, Métropolitain in Montreal. international performing career, and successful efforts to grow the Penn Alan Carr ’10ad was appointed brass State School of Music’s cello studio. Cook ensemble director at Bates College. Carr has released six CDs, including solo directs the applied music program, concertos recorded with orchestras in teaches applied low brass, and manages Russia, the Czech Republic, and Bulgaria. the guest artist concert series at Bates.

Carr is also a director of the Maine Trombonist Omar DeJesus ’16mm won a Music Society. Previously, he served position with the U.S. Army Ceremonial on the music faculty at Concordia Band, a division of the United States University Wisconsin. In addition to his work at Bates, Carr is a founding member Army Band “Pershing’s Own,” and also won the first prize in the Division of the Sequenza Trombone Quartet.

III National Solo Competition at the American Trombone Workshop in Xi Chen ’14mm is Washington, D.C. a faculty member of China Central Conservatory of Music in Beijing, China. Chen is the resident soloist of

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Composer Emma Lou Diemer ’49bm ’50mm received the Lifetime Achievement Award from the Western Division of the American Choral Directors Association.

Diemer has been awarded ASCAP awards for her numerous performances and publications. She has received a Fulbright Scholarship and has also been named the American Guild of Organists’ Composer of the Year. In addition, Diemer received a Ford Foundation grant for a composer residency in the Arlington, Virginia, schools. Diemer is on the faculty at the University of California, Santa Barbara.

Composer Natalie Dietterich ’16mm ’17mma received a commission to write an orchestral piece for the Shanghai Philharmonic Orchestra. Dietterich is a two-time winner of the Philadelphia Composers’ Ink Composition Competition and was recently selected to participate in a speed-writing competition sponsored by the National Endowment for the Arts. Additionally, Dietterich was named one of the recipients of the 2016 Morton Gould Young Composer Awards and is the recipient of a Leo Kaplan Award.

Nina Deutsch ’73mma gave a piano recital for the Yale Club of Phoenix in January 2017 in a program at the Steinway Showroom Recital Hall, which included music by Cole Porter and Charles Ives. Deutsch is the United States music nominator for the Inamori Foundation in Japan. She is starting a Friends of Charles discussion group in Fort Lee, New Jersey, and is the author of ninadeutschmusicblog.com and is a member of YaleWomen.

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Conductor Dominick DiOrio ’08mm ’09mma ’12dma was promoted to the tenured rank of associate professor of music in choral conducting at Indiana University’s Jacobs School of Music. At 31, he is the youngest member of the school’s conducting faculty to achieve this rank. Additionally, DiOrio was selected by the American Choral Directors Association to participate in the organization’s International Conductors Exchange Program with Sweden, where he gave a presentation on new choral music at the Nordic Choral Conference in Malmö alongside Kimberly Dunn Adams ’05mm. They will repeat this presentation at the 11 th World Symposium on Choral Music, in Barcelona, Spain, in July 2017.

Pianist Richard Dowling ’87mm is scheduled to perform the complete piano works of famous ragtime composer Scott Joplin in two consecutive recitals at Carnegie Hall’s Weill Recital Hall. The April 2017 concerts will celebrate the composer on the 100 th anniversary of his death. Dowling is the first pianist to undertake the complete works of Joplin in a public performance.

Five Yale School of Music students received a grant from the Yale Entrepreneurial Institute’s Venture Creation Program to create Practice Portal, a platform designed to foster dialogue about effective approaches to practicing. The YSM Liesl Schoenberger Doty ’11ad was students — flutist Felice Doynov ’17mm, appointed assistant professor of violin oboist Lydia Consilvio ’17mm, violinist at the Crane School of Music at SUNY Jiwon Sun ’17mm, and guitarists Chris Potsdam. She has appeared as a recitalist Garwood ’17mm and Igor Lichtmann and chamber musician in numerous ’18mm— developed Practice Portal during festivals and concert series throughout North America and Europe. As a crossover a course taught by YSM’s coordinator of career strategies, Astrid Baumgardner. artist, Doty has released three commercial The project has been featured on NPR and fiddle albums and has appeared as a the Knowledge Green. guest at the legendary Grand Ole Opry in Nashville, Tennessee. While at Yale, she Eric Dudley ’93mm was a student of Ani Kavafian. ’04mma ’11dma was appointed Michael Daugherty music director of ’82mma ’87dma the San Francisco received three 2017 Conservatory of Music Grammy Awards for for the 2016–2017 his Tales of Hemingway academic year. Dudley for cello and orchestra, is a Grammy Award-winning musician and which was recorded conductor. Prior to his new appointment, by cellist Zuill Bailey Dudley taught at Mannes School of Music and the Nashville Symphony conducted at The New School in New York and was

by Giancarlo Guerrero. The piece won in the music director of the Mannes Prep the Best Classical Instrumental Solo, Best Contemporary Classical Composition, and Philharmonic and The New School Chorus.

In addition to his work as a conductor, Best Classical Compendium categories.

Daugherty is a professor of composition at Dudley is a member of the cutting-edge vocal ensemble Roomful of Teeth. The the University of Michigan. ensemble won its first Grammy in 2014 and received a nomination for Render, which includes one of Dudley’s compositions.

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Violinist Jennifer Elowitch ’90mm was a 2016 recipient of the E.E. Ford Faculty Award for Exceptional Merit at Walnut Hill School for the Arts in Natick, Massachusetts, where she serves as director of music.

Elowitch is the artistic director of the Portland Chamber Music Festival in Maine, and has been featured on WGBH radio in Boston, NPR’s Performance Today, and at the Harvard Musical Association. Elowitch has appeared at the Composers Conference at Wellesley College and with well-known contemporary ensembles including Boston Musica Viva, Collage New Music, and the Fromm Players at Harvard.

Reena Esmail ’11mm will travel to India with the Yale Schola Cantorum and Juilliard415 for performances of her piece This Love Between Us: Prayers for Unity, a 35-minute work for choir, baroque orchestra, sitar, and tabla.

Esmail has won the Walter Hinrichsen Award from the American Academy of Arts and Letters, received of a FulbrightNehru grant for the 2011–2012 year, and has won two ASCAP Morton Gould Young Composer Awards.

Sarah Ford ’16mm was appointed principal hornist of the Colorado Springs Philharmonic. Ford’s summers have been spent in programs such as the National Symphony Orchestra’s Summer Music Institute, the Maine Chamber Music Seminar, the Pierre Monteux School, the National Music Festival, and the Kendall Betts Horn Camp. While at Yale, Ford studied with William Purvis.

Eliud Garcia ’17mm was one of two finalists at the Edwards Bass Trombone Competition at the Texas State Trombone Symposium and will be attending the Collegium Musicum festival in summer 2017, in Germany.

Flutist Isabel Gleicher ’14mm is a 2016– 2017 New York Philharmonic Teaching Artist Apprentice. Gleicher premiered Candlemas Eve by John Zorn on New York’s Miller Theater Composer Portrait Series. She won first prize at the Texas Flute Society’s 30 th annual Myrna Brown Competition. Gleicher recorded music for San Fermin’s latest album, Jackrabbit, on Downtown Records, and was part of the premiere recording of Lee Hoiby’s The Tempest on Albany Records, as principal flute of the Purchase Symphony Orchestra. While at Yale, Gleicher studied with Ransom Wilson.

O Mistress Mine, a song-cycle for countertenor by composer Juliana Hall ’87mm, received its world premiere performance in August at the Yale Summer School of Music/Norfolk Chamber Music Festival. The piece, which is set to texts from Shakespeare’s plays, was performed by Darryl Taylor with the composer at the piano.

Aaron Hill ’07mm ’08mma was recently appointed to the faculty of the University of Wisconsin-Madison’s Mead Witter School of Music, where he teaches oboe and performs with the Wingra Quintet. Prior to moving to Madison, Hill taught at the University of Virginia and James Madison University and served as principal oboist of the Charlottesville Symphony and as English hornist of the Roanoke Symphony Orchestra.

Composer An-lun Huang ’86mm premiered his opera Yue Fei at the National Grand Theatre in Beijing in June 2016. Sponsored by China’s National Arts Fund, Yue Fei combines Chinese cultural traditions with Western operatic styles. The opera was produced by Xu Changjun, dean of the Tianjin Conservatory of Music, and Ma Mei, director of the school’s vocal department. Playwright Xu Qingdong wrote the libretto in collaboration with the composer, and conductor Zheng Xiaoying served as artistic director. The production was directed by Chen Xinyi.

Violinist Sirena Huang ’18mm won the inaugural Elmar Oliveira International Violin Competition at the Lynn University Conservatory of Music, in Boca Raton, Florida. Huang earned a $30,000 prize, artist management, and promotional support, as well as a new instrument, bow, and case. In 2009, she was the First Prize Gold Medalist at the Sixth International Tchaikovsky Competition for Young Musicians, which took place in Suwon, Korea. Huang is in her first year at the Yale School of Music, where she studies with Hyo Kang.

Katie Hyun ’09ad was appointed concertmaster of NOVUS NY, the resident contemporary music orchestra of “expert and versatile musicians” (The New Yorker) at Trinity Wall Street. Hyun is a founding member of the awardwinning Amphion String Quartet, as well as founder and artistic director of the Quodlibet Ensemble chamber orchestra.

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Stephen Ivany ’14mm and Christopher Brown ’14ad made their Carnegie Hall debuts with their ensemble, the Seminole Trombone Quartet. The program, which took place in Carnegie’s Weill Recital Hall, featured a world premiere by John Mackey alongside some of the best of the trombone quartet literature. The group was joined onstage by Ivany and Brown’s former teacher, YSM trombone professor Scott Hartman. The Seminole Trombone Quartet earned this prestigious performance opportunity by winning the “Noles in NYC” campaign.

Paul Jacobs ’02mm ’03ad joined the Philadelphia Orchestra and music director Yannick Nézet-Séguin in giving the world premiere of Pulitzer Prize-winning composer Christopher Rouse’s Organ Concerto, which is dedicated to Jacobs. The work was co-commissioned with the Los Angeles Philharmonic and National Symphony Orchestra, with which Jacobs will perform the work in spring 2017. This season, Jacobs appears as soloist with the Cleveland Orchestra, the Los Angeles Philharmonic, the National Symphony, the Montreal Symphony, and the Kansas City Symphony. In September 2016, Jacobs was featured on a Naxos recording with the Nashville Symphony, performing Michael Daugherty’s organ concerto Once Upon a Castle.

Seolyeong Jeong ’17mm collected two top prizes at the inaugural New York Piano Competition, winning the award for Best Performance of a 20 th Century Composition, as well as third-prize overall in her age group. Jeong has performed solo and chamber music in prestigious halls including Seoul Arts Center, Youngsan Art Hall, and Buam Art Hall. Jeong graduated from Seoul National University summa cum laude in 2015. She is currently studying with Peter Frankl.

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Laura Jeppesen ’71mm received awards from the National Academy of Recording Arts and Sciences and Harvard University. She was part of the Boston Early Music Festival team that won a 2015 Grammy, for Best Opera Recording, of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs for Classic Produktion Osnabrück. She also received an award from Harvard University for excellence in teaching, reflecting student evaluations in a course on Renaissance music in which she taught students to play the viola da gamba. Jeppesen teaches viola da gamba at Boston University and Wellesley College.

Center, among others. He is a core member of Decoda, an affiliate ensemble of Carnegie Hall, and is the artistic director of Lyrica Chamber Music, a concert series in Chatham Township, New Jersey. Throughout his time at Yale, Kaplan studied with Claude Frank.

Emil Khudyev ’11mm was appointed associate principal clarinetist of the Seattle Symphony. He previously served as acting associate principal, second, and E-flat clarinetist of the Kansas City Symphony and the instructor of clarinet at the Interlochen Arts Academy. While at Yale, Khudyev won the Yale Chamber Music Society Competition and was a recipient of YSM’s prestigious Thomas Daniel Nyfenger Award for Outstanding Achievement and Leadership in Music.

Organist Woosug Kang ’05mm joined forces with the Connecticut Virtuosi Chamber Orchestra for the American premiere of Organ Concerto No. 1 by New Zealand composer John Wells.

Kang is currently the director of music ministries at St. George’s Episcopal Church, in Nashville.

Farkhad Khudyev ’10mm was awarded third prize and conducted the Frankfurt Radio Symphony Orchestra at the eighth International Sir Georg Solti Conducting Competition, in Frankfurt, Germany. In addition to winning the Gold Medal at the 2007 National Fischoff Chamber Music Competition, Khudyev has been a firstprize winner (as a violinist) of the Yale Chamber Music Society Competition and a prizewinner at the Glenn Miller Competition. Khudyev’s teachers have included Kurt Masur, Peter Oundjian, Milan Vitek, Shinik Hahm, Krzysztof Penderecki, Christopher Theofanidis, and David Shifrin. He is the music director and conductor of the orchestras of Youth Music Monterey County, in California.

Pianist David Kaplan ’07mm ’08mma ’14dma was appointed lecturer in piano for the 2016–2017 academic year at the UCLA Herb Alpert School of Music.

Kaplan has appeared in programs presented by the Ravinia Festival, National Gallery of Art, Tanglewood Music Center, Mostly Mozart Festival, and Chamber Music Society of Lincoln

Jiyeon “Jiji” Kim ’17mm won the Victor and Sono Elmaleh First Prize at the Concert Artists Guild’s 2016 Victor Elmaleh Competition.

Kim has worked in chamber music settings with members

Pianist Wenbin Jin ’13mm ’15ad was appointed associate director of performing arts at the Keystone Academy in Beijing. His position, which also includes serving as the music instructor for the program, began in 2016. Located in Beijing’s Shunyi District, the Keystone Academy is one of China’s foremost private schools, serving students from primary school through high school.

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of eighth blackbird, the Bang on a Can All-Stars, and the Aizuri Quartet, has recorded for Bridge Records, and has worked as a composer at the Yale Repertory Theatre, Yale Cabaret, and Yale School of Art. Kim premiered Paul Lansky’s guitar duo Talking Guitars in 2015 with Hao Yang and regularly performs her original compositions, which incorporate acoustic and electronic elements. Kim currently studies at YSM with Benjamin Verdery.

Soprano Alison King ’14mm was a first-place winner at the Upper Midwest Region of the Metropolitan Opera National Council Auditions. King has performed frequently at The Song Continues and Neighborhood Concerts at Carnegie Hall, The Song Continues: Paris Residency, Marilyn Horne’s Song Celebration with Susan Graham, and in Joyce DiDonato’s master classes, broadcast live on medici.tv. King has received awards from the Gerda Lissner Foundation, the Licia Albanese Puccini Competition, Opera Birmingham Competition, and the Metropolitan Opera National Council Auditions, New England Region.

Wayne Kirby ’73mm was named the Ruth Paddison Distinguished Professor of Music at the University of North Carolina, Asheville, where he serves as the founding director of the Bob Moog Electronic Music Studio. Kirby recorded two albums on Capitol Records and wrote arrangements and conducted for television shows including the Tonight Show from the 1960s to the 1980s.

Cellist Ralph Kirshbaum ’68ba was one of three acclaimed artists to receive an honorary degree from the Royal Conservatoire of Scotland in July 2016. A former student of Aldo

Parisot, Kirshbaum has worked with many of the world’s most renowned ensembles and artists. For three decades, he performed and recorded in a trio with violinist György Pauk and YSM faculty pianist Peter Frankl. He is the Gregor Piatigorsky chair in violoncello and chair of the string department at the University of Southern California’s Thornton School of Music. He taught previously at the Royal Northern College of Music in Manchester, England, and, in 2012, founded the Piatigorsky International Cello Festival in Los Angeles.

Bass-baritone Paweł Konik ’17mm reached the final round of Le Grand Prix de l’Opéra, the International Voice Competition organized by the Bucharest National Opera. Konik earned a special Excellency Prize, presented by the Russian Embassy, for his interpretation of “Aleko’s Cavatina” from Rachmaninoff ’s Aleko. Konik is a member of the Polish National Opera’s Young Artists’ Programme (Opera Academy) at Teatr Wielki in Warsaw.

Lachezar Kostov ’08mma is the newly appointed assistant principal cellist of the Baltimore Symphony Orchestra. Kostov has appeared as a guest soloist and chamber musician throughout the United States, Japan, Italy, Germany, the United Kingdom, and Bulgaria. In 2011, Kostov and pianist Viktor Valkov won the first prize and all the special prizes at the Third International LisztGarrison Piano and Duo Competition in Baltimore, Maryland. Kostov is represented as a member of the KostovValkov Duo by Pro-Piano Management.

Henry Kramer ’13ad ’15mma was awarded second prize at the Queen Elisabeth Competition. The competition was held in Brussels in May 2016, bringing together 76 pianists of 23 various nationalities to compete in front of a prestigious international jury. The win earned Kramer a cash prize of €20,000, and was one of 12 awards distributed to laureates and semifinalists totalling €128,500. Kramer has earned top prizes at the 2015 Honens International Piano Competition, the 2011 Montreal International Music Competition, and the sixth China Shanghai International Piano Competition. He was also a prizewinner at the eighth National Chopin Competition in Miami and received the 2014 Harvard Musical Association Arthur Foote Award.

He was a winner of Astral Artists’ 2014 National Auditions.

Sheng-Yuan Kuan ’05mm, currently the staff pianist at Lynn University Conservatory of Music, recently served as one of the official pianists for the inaugural Elmar Oliveira International Violin Competition, held in Boca Raton, Florida. Kuan has performed at the Kennedy Center, Weill Recital Hall, Taiwan National Concert Hall, and Musikverein in Vienna. She has been a featured artist at the Heifetz International Music Institute, KUAF/Fulbright Summer Chamber Music Festival, Baltimore Symphony Orchestra’s Chamber Music

by Candlelight series, and the Sylvia Adalman Chamber Concert Series at the Peabody Conservatory.

Heather Kurzbauer ’82mm received the 2016 Hijmans Scholarship for Ph.D. research at the University of Amsterdam (the Netherlands).

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Tracking changes in governance and industrial relations in orchestras on both sides of the Atlantic, she was selected to speak at the International Federation of Musicians conference in Montreal in May 2017. Kurzbauer is active in both law and music. She was a member of the Netherlands Radio Chamber Orchestra from 1987 to 2013, is currently a member of the Sinfonia Rotterdam, and is on faculty at the University of Amsterdam.

Composer Lori Laitman ’75ba ’76mm had her opera The Scarlet Letter premiered by Opera Colorado in May 2016. Laitman has composed multiple operas and choral works, and more than 250 songs, setting texts by classical and contemporary poets, including those who perished in the Holocaust.

Her music is widely performed, internationally and throughout the United States, and has generated critical acclaim. The Journal of Singing opined: “It is difficult to think of anyone before the public today who equals her exceptional gifts for embracing a poetic text and giving it new and deeper life through music.”

Marjolaine Lambert ’10mm became a member of the National Arts Centre Orchestra in February 2016. Lambert is currently the solo violinist of NOVUS NY, the contemporary music orchestra of Trinity Wall Street, and she is an active member of the Center for Interdisciplinary Research in Music and Technology. Lambert is a member of the Epsilon String Quintet and continues to perform as first violinist of the Onslow Quartet. While at Yale, Lambert studied with Ani Kavafian.

Tubist John Leibensperger ’16mm won a job with The King’s Brass, with which he completed a 21-week tour of the United States.

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He also spent a week at the College of the Bahamas, where he presented a solo recital, performed a duet with the low-brass professor, gave a public master class, and conducted a 25-member lowbrass ensemble.

Igal Levin ’13mm was appointed principal clarinetist of the Israel Netanya Kibbutz Orchestra by new music director and acclaimed trombonist Christian Lindberg. Levin previously served as principal clarinetist of the Israel Chamber Orchestra, Ashdod Symphony Orchestra, and Racine Symphony Orchestra in Wisconsin. While at Yale, Levin studied with David Shifrin.

faculty pianist and chamber music coach in the undergraduate division at McGill University’s Schulich School of Music in Montreal, where she is completing the doctoral program under Dr. Stéphane Lemelin. While at Yale, Li studied with Peter Frankl.

Trombonist Richard Liverano ’16mm served as the festival manager for the Music Mountain summer music festival in 2016. He was responsible for managing the festival’s operations, including those associated with the box office, marketing and fundraising efforts, concessions, performances, community engagement, and the festival’s internship program.

Conductor, composer, and singer Thomas Qizhen Liu ’13mm Lloyd ’79mm was joined the San nominated for a Antonio Symphony 2017 Grammy in as a section cellist. the Best Choral Liu previously held Performance category the principal cello for a recording of position at the his 70-minute choral-theater work, Topeka Symphony Bonhoeffer. He is currently a professor Orchestra and the acting principal of music at Haverford College in cello position with the Symphony of Pennsylvania, where he has directed Northwest Arkansas. In addition to her the combined choral and vocal studies performing career, Liu is an adjunct program for Haverford and Bryn instructor of cello at Ottawa University.

Mawr colleges since 1996. Lloyd has served as artistic director of the Bucks Current YSM students Dylan Mattingly County Choral Society since 2000. He ’17mm and Liliya Ugay ’17mm were was appointed director of music at the recognized by the American Academy of Philadelphia Episcopal Cathedral in 2010, Arts and Letters as recipients of Charles where he reconstituted the Cathedral Ives scholarships. The $7,500 award is Singers with a core of eight professional given to composition students of great choral scholars. He has remained active promise. The Lakond Award in music as a tenor soloist in his role as cantor at composition was awarded to Chia-Yu the cathedral and as a recitalist with Lyric Hsu ’02mm, who won $10,000.

Fest of Philadelphia.

Countertenor Daniel Pianist Zhenni Li ’14ad won second Moody ’16mm prize and took home the Orchestra’s gave the American Prize and a cash award at the 2016 premiere of George Edvard Grieg International Piano Benjamin’s piece Competition, in Bergen, Norway. The Dream of the Song Orchestra’s Prize is awarded by members at Tanglewood’s of the Bergen Philharmonic Orchestra, Festival of with which Li performed Beethoven’s Contemporary Music in July 2016.

Piano Concerto No. 4, Op. 58, during In addition, Moody was one of four the final round of the competition in vocalists in Joyce DiDonato’s Carnegie September. Li currently serves as a Hall opera workshop (broadcast on

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medici.tv), performed Bach’s St. Matthew Passion and Handel’s Messiah with the Charleston Symphony and WinstonSalem Symphony orchestras, respectively, and sang the role of Oberon in A Midsummer Night’s Dream at the Lakes Area Music Festival in Minnesota. He also enjoyed engagements with Mark Morris Dance Group, Apollo’s Fire, and the Boston Symphony Orchestra.

Scott Morris ’96mm was unanimously elected by the faculty of the department of music at California State University, Dominguez Hills to serve as its next department chair. Morris had served for the past decade as supervisor of guitar studies at the school.

Composer Thomas Newman ’77ba ’78mm was nominated for a 2017 Academy Award for his original score for Passengers. The Oscar nomination was Newman’s 14 th. In addition to numerous Oscar and Golden Globe nominations over the years, Newman won a Primetime Emmy Award in 2002 for his theme music for HBO’s Six Feet Under and a 2013 BAFTA Award for his score for the James Bond film Skyfall, for which he also won an ASCAP Film and Television Music Award.

Composer Tawnie Olson ’99mm ’00ad was commissioned

by Third Practice after receiving a grant from New Music USA. The work, called No Capacity to Consent, is a half-hour chamber oratorio setting a legal complaint filed by a pregnant woman in which she recounts how, after being stopped for a minor traffic violation in an American town infamous for police abuse, she was raped by a corrections officer. Third Practice performed the work in Washington D.C. and Baltimore, Frederick, and Emmitsburg, Maryland in spring

2016. The Canadian Art Song Project commissioned Olson to compose a song cycle for the winner of the 2016 Jeunesses Musicales Maureen Forrester Award tour. The resulting work, Three Songs on Poems by Lorri Neilsen Glenn, will be performed more than two dozen times by soprano Magali SimardGaldès and pianist Olivier HébertBouchard. Olson is currently an adjunct professor of composition at the Hartt School of Music.

Members of Duo Amadeae Esther Park ’12ad ’13mma ’17dma and Sun-A Park ’16ad were named first-prize winners and recipients of the Director’s Award for their performance at the Chicago International Duo Piano Competition.

The duo competed alongside 18 other piano duos representing 14 countries in Asia, Europe, and North America. The duo received a cash prize of $10,000.

Flutist Ginevra Petrucci ’12mm ’13ad and YSM Professor Boris Berman presented a recital at the Santa Cecilia Conservatory of Rome, Italy, in May 2016. The recital, which was dedicated to the memory of flutist Aurèle Nicolet (1926–2016), featured music by Mozart, Debussy, and Franck. The event was co-organized by the Santa Cecilia Conservatory and the Yale Club of Italy.

The Melodia Women’s Choir of New York named Hilary Purrington ’17mma the winner of its Women Composers Commission

Competition. Purrington, a composer and vocalist, has composed a work titled Cassandra, scored for choir, percussion, and piano. The work was inspired by the priestess Cassandra, the beautiful and tragic figure from Greek mythology who is bestowed the gift of prophecy.

Ravi S. Rajan ’00mm was named president of the California Institute of the Arts following a unanimous board vote. Rajan had worked at SUNY Purchase College for 16 years and was named dean of the School of the Arts in 2012. In that role, he launched a $100 million capital renovation of the art and design facilities and helped strengthen the college’s philanthropic efforts. He also spearheaded the creation of a master’s degree program titled Entrepreneurship in the Arts, intended to help students learn how to launch their own arts organizations.

Catherine Ramirez ’00mm was appointed artist-in-residence at St. Olaf College in Minnesota. Ramirez won a 2017 Minnesota State Arts Board Artist’s Initiative Grant to record with Minnesota Public Radio and will serve on the jury of the 2017 Fischoff National Chamber Music Competition’s Pre-College Division. Ramirez is the winner of three top prizes at the Città di Padova International Music Competitions in Italy, and she won first prize in the New York Flute Club Young Artist Competition.

Dantes Rameau ’07mm is the cofounder and executive director of The Atlanta Music Project, a nonprofit that provides conservatory-like music training to inner-city children. The project received a $200,000 Neighborhood Builders Program Grant from the Bank of America.

The current project breaks down barriers and reaches more than 200 children who receive instruments and musical instruction from accomplished musicians. music at yale / spring 2017 —

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STUDENT & ALUMNI NEWS CONT.

Andre Raphel ’86mm was appointed conductor of the Temple University Concert Orchestra.

In his 14 th season as music director of the Wheeling Symphony Orchestra, Raphel led the orchestra in works by Richard Danielpour, Kenneth Fuchs, Jennifer Higdon, Avner Dorman, and Ellen Taaffe Zwilich. Raphel has appeared with most of the major American orchestras including the Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, and New York Philharmonic.

While at Yale, he studied conducting with Otto-Werner Mueller.

The Rolston String Quartet (’16 Norfolk) was named the First Prize Laureate of the 2016 Banff International String Quartet Competition. The win allows the Rolston Quartet to tour more than 50 North American and European cities and secured the group a $25,000 prize and a professional recording opportunity.

The ensemble also won the Esterházy Foundation Prize and the Lunenburg Academy of Music Performance Prize at the Banff Competition.

Haley Rhodeside ’15mm won the Mezzo-soprano Aleksandra Romano principal harp ’14mm was a regional finalist and second position with the place winner at the 2016 Metropolitan Annapolis Symphony Orchestra. Rhodeside Opera National Council Auditions.

Additionally, Romano was the was a winner of the 2016 George London Competition Miami Summer Encouragement Winner, first Music Festival’s concerto competition, a prize winner at the Gerda Lissner first prize winner of the Young Artists Foundation Competition, and made Harp Competition, and a finalist at her Carnegie Hall debut in the Gerda the American Harp Society’s national Lissner Foundation Competition Gala. competition, among other awards. She was awarded the prestigious performer’s Romano made her professional debut as Isabella in L'italiana in Algeri with certificate at Indiana University, where Portland Opera, and she sang the role she completed her undergraduate studies of Cherubino in Le Nozze di Figaro at the as a student of Susann McDonald.

Washington National Opera in fall 2016.

Courtney Rodriguez ’88mm was appointed head of creative arts at Albanian College Tirana in Albania.

He previously taught in Singapore at the Canadian International School.

Rodriguez served as chairman of the European Council of International Schools Music Committee from 1996 to 2002, and has performed solo recitals throughout Europe, the Middle East, and Asia while teaching overseas.

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Claudia Rosenthal ’08ba ’14mm and David Pershall (pictured) ’10mm ’11ad won the top prizes at the 45 th George London Foundation Awards Competition. The annual event, which is for young American and Canadian opera singers, held its final round on February 19, 2016, at the Morgan Library and Museum in New York City.

One of the most prestigious vocal competitions, the Gerda Lissner Competition named three singers from the Yale Opera program as 2016 prize winners. Tenor Galeano Salas (pictured) ’13mm was awarded a top prize of $15,000, mezzo-soprano Aleksandra Romano ’14mm won a $10,000 first prize, and bass-baritone Paweł Konik ’17mm won a $3,000 third prize. The singers who are awarded prizes were featured at a winner’s concert in May 2016 at Carnegie Hall’s Zankel Recital Hall.

Composer John Sichel’s ’90dma Fishbowl Diaries for violin, double bass, and narrator was performed on a New York Philharmonic Ensembles chamber music concert at Merkin Hall in New York City. John appeared as narrator, accompanied by New York Philharmonic violinist Vladimir Tsypin and double bassist Blake Hinson. While at Yale, Sichel studied with Martin Bresnick, Jacob Druckman, and Nicholas Maw. Harpist Laura Sherman ’93mm is in her 13 th year of performing with the Broadway show Wicked and can be heard on various recordings and film scores, including the double-platinum Broadway cast recordings of Hamilton and Wicked. She toured internationally four times with Barbra Streisand, appeared on the cover of Harp Column magazine, and has written for the World Harp Congress Review and the American Harp Journal. She also travels internationally giving master classes about playing J.S. Bach’s music on the harp. In 2012, she founded Gotham Harp Publishing and was recently named the interim editor of the American Harp Journal. Sherman is an adjunct instructor at Hunter College in Manhattan.

STUDENT & ALUMNI NEWS CONT.

Hillary Simms ’18mm has been named a finalist at the American Trombone Workshop’s Division II Solo Competition and the International Trombone Festival Marstellar Tenor Trombone Solo Competition.

Eugene Thamon Simpson ’53bm ’54mm has been the founding curator of the Hall Johnson Collection for the past 32 years. The collection was donated to the new Smithsonian Museum of African American History and Culture, which opened on the National Mall this past year. Simpson also established and endowed the Edmund Farrell Memorial Scholarship in vocal performance at Rowan University, where Simpson is professor emeritus of voice and choral literature.

Percussionist David Skidmore ’08mm is a member of the quartet Third Coast Percussion. The quartet won a Grammy in the Best Chamber Music/Small Ensemble category, for its recording of music by Steve Reich. The ensemble performed at the 59 th Grammy Premiere Ceremony in Los Angeles in February 2017. Skidmore served for four years on the percussion faculty at the Peabody Conservatory and is the executive director of Third Coast Percussion.

Lewis Spratlan ’62ba ’65mm was awarded the prestigious Charles Ives Opera Prize for his opera Life is a Dream.

The award, given by the American Academy of Arts and Letters, is one of

the largest prizes for vocal composition.

The win earned Spratlan a cash prize of $35,000, and awarded the work’s librettist, James Maraniss, a prize of $15,000. Life is a Dream was composed in 1978 and is based on the 1635 play by Spanish playwright Pedro Calderón de la Barca. Spratlan has been the recipient of Guggenheim, Rockefeller, and NEA fellowships, an Arts and Letters Award in Music from the American Academy of Arts and Letters, and the 2000 Pulitzer Prize. He attended Yale College and YSM, and is a professor emeritus of music at Amherst College, where he taught from 1970 to 2006.

Daniel Stone ’15mm ’16mma was appointed section violist of the Calgary Philharmonic. Stone studied with Ettore Causa while at Yale.

Double bassist Samuel Suggs ’14mm ’20dma was named the New Music/New Places Fellow at the Concert Artists Guild’s 2016 Victor Elmaleh Competition. Suggs is pursuing a doctor of musical arts degree at YSM, where he studies with Donald Palma, and is an assistant professor of bass at James Madison University.

Yingying Su ’10mm ’11ad was appointed visiting piano faculty member at the University of Oklahoma School of Music for the 2016–2017 academic year. While at Yale, she studied with Peter Frankl.

Alexander Svensen ’10mm was appointed assistant principal bassist of the Springfield Symphony Orchestra in Massachusetts.

In addition to his performing career, Svensen is an active music educator, teaching classical and jazz double bass as well as jazz theory, improvisation, and historical concepts.

While at Yale, he served as music director of the Yale Tango Orchestra, a group that gave educational concerts at local schools.

Suliman Tekalli ’16ad was named the newest member of the Catalyst Quartet. As a chamber musician, Tekalli has appeared extensively in festivals including Music@Menlo, the Yellow Barn Festival, and the summer chamber festival at the Banff Centre. His concertizing has taken him throughout the United States, Canada, Central America, and Europe performing as a soloist with orchestras such as the International Sejong Soloists, Sendai Philharmonic, and la Orquesta Sinfónica del Estado de México.

Augusta “Gusty” Thomas mm, professor of composition at the University of Chicago, created Ear Taxi, a six-day event featuring new music by 87 composers in 32 events presented by more than 500 local musicians.

The series featured performances, discussions, sound installations, and meet-the-artist events that were intended to bring listeners into Chicago’s contemporary classical music scene. In 2007, her Astral Canticle was a finalist for the Pulitzer Prize in Music. The Colors of Love CD by Chanticleer, which features two of Thomas’ compositions, won a Grammy award. Additionally, Thomas was one of five finalists at the eighth International Henri Dutilleux Composition Contest celebrating the centennial year of the composer’s birth.

An Tran ’16mm won first prize at the 2016 Hamilton International Guitar Competition in Ontario, Canada, earning a cash prize, a custom handmade guitar, and an appearance at the 2017 Hamilton Guitar Festival. In music at yale / spring 2017 —

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2010, Tran earned the Best Overseas Student Award, which was presented by the vice president of Vietnam. In 2015, he was invited to perform Rodrigo’s Concierto de Aranjuez with the Hanoi Philharmonic Orchestra. While at Yale, Tran studied with Benjamin Verdery.

television and film and has received both the Charles Ives Scholarship and the Charles Ives Fellowship from the American Academy of Arts and Letters and an ASCAP/SCI Student Composer Award. He has received commissions from Carnegie Hall’s Ensemble Connect and arranged or orchestrated music for Ian Tuski ’15mm was appointed Rufus Wainwright, Calexico, and Mark development associate at Austin Classical Ronson that has been performed by such Guitar, an arts nonprofit serving Central acclaimed ensembles as the San Francisco Texas. Tuski works with the director Symphony, Louisville Symphony of development to help manage donor Orchestra, New York City Opera, and the relations, grant proposals and reporting, Royal Ballet. corporate sponsorships, underwriting, memberships, and funding campaigns Alexander Walden ’17mm was named for the organization. the winner of the 2016 Conn-Selmer Tenor Trombone Competition, a solo Clarinetist Joaquin competition at the Texas State Valdepeñas ’80mm Trombone Symposium. received a 2017 Grammy nomination Jeb Wallace ’05ad as a member of the was appointed to ARC (Artists of the a joint position Royal Conservatory, in as principal horn Toronto) Ensemble, in with the Wichita the Best Chamber Music/Small Ensemble Symphony and Performance category, for ARC’s recording assistant professor of of music by Jerzy Fitelberg. horn at the Wichita State University School of Music. In Baritone Brian Vu ’14mm ’15ad was addition to his orchestral and teaching awarded the top prize at the 2016 Lotte duties, Wallace will perform with the Lenya Competition sponsored by the Lieurance Woodwind Quintet and Kurt Weill Foundation for Music. The Wichita Brass Quintet, both faculty win earned Vu a cash prize of $15,000. ensembles at WSU. Previously, Wallace Vu was named a grand finalist at this served as associate professor of horn year’s Metropolitan Opera National and brass area coordinator at Utah Council Auditions, one of the most Valley University. prestigious vocal competitions in the country, and will appear as the Kurt Clarinetist Mingzhe Weill/Lotte Lenya Young Artist at the Wang ’03mm ’06mma Glimmerglass Festival this summer. Vu ’12dma was appointed is making his Houston Grand Opera associate professor of debut in the 2017–2018 season as Riff in clarinet at the College a new production of West Side Story. of Music at Michigan State University Jay Wadley ’07mm in East Lansing, ’08ad composed Michigan. Wang joined the faculty the score to James at MSU in August 2016. Wang was a Schamus’ film prizewinner at the National Society of Arts Indignation, which is and Letters Woodwind Competition, and based on Philip the Orchestral Instrument Competition, Roth’s 2008 novel and was a recipient of the Tennessee of the same name.

Arts Commission’s 2013 Individual Artist Wadley has composed music for Fellowship award.

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Victor Wang ’14bs ’15mm won the position of principal flutist of the Charlotte Symphony Orchestra. Prior to his appointment, Wang completed a year as an inaugural member of The Orchestra Now, a training orchestra that performs at Bard College and around New York City. Wang is an alumnus of Yale College, where he earned a bachelor of sciences in molecular, cellular, and developmental biology, as well as YSM, where he studied with Ransom Wilson.

John Taylor Ward ’12mm will join Sir John Eliot Gardiner and the English Baroque Soloists on a tour singing Monteverdi operas throughout Europe and the United States in celebration of the composer’s 450 th birth year.

Ward appears as Ulisse and Proteo on a Warner Classics DVD of the premiere staging of Christina Pluhar’s Orfeo Chaman. The Lakes Area Music Festival is celebrating its ninth season and its first grant from the National Endowment for the Arts. The festival, of which Ward is co-founder and associate artistic director, brings 125 artists from around the country and the world to the small town of Brainerd, Minnesota, every year for chamber music, symphonic repertoire, ballet, and opera productions.

Kensho Watanabe ’09bs ’10mm was appointed assistant conductor of the Philadelphia Orchestra, under acclaimed music director Yannick Nézet-Séguin. Watanabe studied conducting with Otto-Werner Mueller at the Curtis Institute of Music, earning a diploma in 2013. As the school’s first Rita E. Hauser Conducting Fellow, Watanabe was mentored for two years

by Nézet-Séguin and had access to the Philadelphia Orchestra, with which he’s worked as a substitute violinist.

string quartet news

Watanabe has directed numerous Curtis Opera Theatre productions and served as an assistant to Nézet-Séguin for Opera de Montréal’s 2015 production of Elektra. Watanabe studied molecular, cell, and developmental biology at Yale College, earning a bachelor of science degree in 2009. He earned his master’s degree in violin from YSM, where he studied with Syoko Aki. Paul Weber ’03mm ’04mma accepted the position of organist and choirmaster at Trinity Episcopal Church in the Garden District of New Orleans, where he directs the semi-professional Trinity Choir. He spent summer 2016 forming a professional early music chamber choir, Krewe du Voix, which began its first season with a program of Palestrina and Praetorius.

Larry Weng ’12ad ’14mma was named a laureate at the Queen Elisabeth Competition. The competition was held in Brussels in May 2016 and brought together 76 pianists of 23 nationalities to compete in front of a prestigious international jury. A laureate of YSM’s Elizabeth Parisot Piano Prize in 2012, Weng was second laureate of the Wideman International Competition in Louisiana two years later. While at Yale, Weng studied with Boris Berman.

Composer Julia Wolfe ’86mm was named a 2016 MacArthur Fellow.

The MacArthur Fellowship is a prize awarded annually by the John D. and Catherine T. MacArthur Foundation to exceptional individuals. As a prize, the recipients are given a $625,000 grant in equal installments over five years.

Wolfe was awarded a 2015 Pulitzer Prize for her work Anthracite Fields. In 2009, Wolfe joined the NYU Steinhardt School composition faculty and is co-founder and co-artistic director of New York’s legendary music collective Bang on a Can. Her music is published by Red Poppy Music (ASCAP) and is distributed worldwide by G. Schirmer, Inc.

Flutist Joanna Wu ’16mm won first place at the Eastern Connecticut Symphony Orchestra’s annual instrumental competition. Wu received a cash prize of $3,000 and performed the Nielsen Concerto for flute and orchestra. While at Yale, Wu studied with Ransom Wilson.

Jeanine Wynton ’03mm joined the North Carolina Symphony as a section violinist.

Wynton previously held the positions of assistant concertmaster of the Richmond Symphony in Virginia and section violinist with the Florida Orchestra.

During the summers, she performs with the Grant Park Orchestra in Chicago. Wynton was the first American woman to design educational-outreach concerts for a Russian Orchestra. For three months, she performed and conceived educational concerts with the principal players of the Moscow Symphony Orchestra. While in Moscow, she performed concerts with both the Moscow Symphony Orchestra and the Russian National Orchestra.

Grammy-nominated conductor and cellist Dmitry Yablonsky ’85cert was named conductor laureate of the Jerusalem Symphony Orchestra.

The announcement came ahead of a tour of the United States that featured Yablonsky as conductor and cello soloist, along with pianist Fahard Badalbayli and cellist Daniele Akta. The tour visited many East Coast states, starting in Florida and ending in Massachusetts.

Michael Zuber ’14mm was appointed principal bassoonist of the Cape Symphony in Cape Cod, Massachusetts.

An alumnus of Ensemble Connect (formerly Ensemble ACJW), Zuber studied with Frank Morelli while at Yale.

The Ulysses Quartet was named the Grand Prize winner in the Senior String Division of the 2016 Fischoff National Chamber Music Competition.

The group includes violist and YSM alumnus Colin Brookes ’13mm ’14ad and cellist and 2010 Norfolk alumna Grace Ho. The members of the Ulysses Quartet were also named gold medalists at the Fischoff Competition.

Ten quartets were chosen to participate in the prestigious live rounds of the 2016 Banff International String Quartet Competition.

The Rolston String Quartet (’16 Norfolk) was named the First Prize Laureate, and the Tesla Quartet (’11 Norfolk), whose members include violist Edward Kaplan ’10mm ’11ad, earned Second Prize. The Argus Quartet and the Ulysses Quartet each earned a Career Development Award.

argus quartet welcomes new member The Argus Quartet, the Yale School of Music’s fellowship quartet-in-residence, welcomed a new member, violist Dana Kelley, to the ensemble in January 2017. “Dana is a truly dynamic performer with an inquisitive spirit, and we are deeply impressed by her musicianship and her personality,” the quartet said in a statement.

Kelley joined violinists Clara Kim and Jason Issokson and cellist Joann Whang ’09mm in the quartet.

Kelley recently completed a fellowship with the prestigious Ensemble Connect (formerly Ensemble ACJW). She received her bachelor of music degree from the Blair School of Music at Vanderbilt University and her master of music degree from the New England Conservatory.

Kelley takes the place of violist Diana Wade, who returned to Los Angeles, where the quartet was formed, to pursue other projects. music at yale / spring 2017 —

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FACULTY NEWS William Boughton, lecturer in music and principal conductor of the New Haven Symphony Orchestra, was invited to give conducting master classes at Central China University and Conservatory in Wuhan. He received an honorary professorship and will visit the University biennially. He conducted the premiere recording of Bernard van Dieren’s Chinese Symphony with the BBC National Orchestra and Chorus of Wales on the British record label Lyrita.

The NHSO commissioned composerin-residence and YSM faculty member Hannah Lash’s The Voynich Symphony, which will receive its premiere in May 2017.

In honor of composer Martin Bresnick’s 70 th birthday, the Yale Percussion Group, YSM faculty guitarist Benjamin Verdery, violinist Elly Toyoda ’16mm, and pianist Lisa Moore performed Bresnick’s Joaquin is Dreaming, Bird as Prophet, Ishi’s Song, and Caprichos Enfáticos in a concert honoring Bresnick’s achievements. Bresnick’s Bird as Prophet – as well as pieces by Michael Gilberston ’13mm, Balint Karosi ’14mma, and YSM faculty Aaron Jay Kernis – were performed at Bridging the Gap II, a series of concerts created by National Sawdust curator Robert Sirota. Additionally, Bresnick was the composer-in-residence at the Frost School of Music at Miami University in 2016.

Professor Emeritus Simon Carrington became the visiting professor of conducting at the University of Birmingham, UK. He continues to teach conducting courses in Sarteano, Tuscany, at Westminster Choir College, in Princeton, New Jersey, and at the Norfolk Chamber Music Festival.

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Associate Professor of Richard Gard has Viola Ettore Causa been the director of was one of six guests music at Yale’s St. of honor at the 43 rd Thomas More Chapel since 2000 and a International Viola lecturer in hearing Congress in Cremona, at YSM since 2003.

Italy. Causa taught In 2015, he unveiled a master class and Music Prodigy, an interactive digitalperformed his arrangement of the Schumann Cello Concerto. Additionally, instruction and practice application that provides immediate feedback to students Causa gave master classes at the and teachers. In January 2017, Gard Guildhall School in London, the Liszt and his team at the chapel’s Center for Academy in Budapest, the Colburn Music and Liturgy released the Cloud School in Los Angeles, and at the Hymnal, a free and interactive sacredMenuhin Festival in Switzerland. music website that features display and planning tools for church musicians, Jeffrey Douma, liturgists, and congregations. professor of choral conducting and Professor of director of the Yale Musicology Paul Glee Club and Yale Hawkshaw will be Choral Artists, served a Fulbright Visiting as a jury member Scholar in Vienna and master teacher at in 2017–2018. the China International Chorus Festival Hawkshaw will in July 2016. He conducted the Yale be in residence Alumni Chorus, National University at the University of Vienna’s Institute of Singapore Choir, and Metropolitan of Musicology and at the University of Festival Orchestra in a performance Music and Performing Arts, Vienna. As of Mozart’s Requiem in Singapore’s he works on a project titled A Bequest Esplanade. Additionally, Douma served and a Complex Legacy: Untangling Anton as visiting conductor of Luther College’s Bruckner’s Revisions in Later Times, Nordic Choir in January and early Hawkshaw will be doing research at the February 2017, leading the ensemble in Austrian National Library. According to performances throughout the midwest.

Hawkshaw, the International Bruckner Society has recently begun a new Collected Wayne Escoffery, Works Edition under the auspices of the lecturer in jazz Austrian National Library and the Vienna improvisation, has Philharmonic to produce definitive scores taught students to of Bruckner’s works. The new score of transcribe, play and the first version of Bruckner’s Eighth analyze solos by Jazz greats Charlie Parker, Symphony will be used in the fall for a Lester Young, Charlie performance by the Yale Philharmonia conducted by Peter Oundjian.

Rouse, and Dexter Gordon. As a part of YSM’s new jazz initiative, Escoffery Professor of Violin has introduced students to a variety of Ani Kavafian toured improvisational devices such as bebop North Carolina scales, pentatonics, and chord tone with the Four exercises and has introduced students Seasons Festival to world-class guest lecturers including and went on tour pianists Bruce Barth and Jeb Patton, as with the Chamber well as drummer Carl Allen.

Music Society of Lincoln Center. That tour culminated

in a performance at Alice Tully Hall.

Additionally, Kavafian had performances in Seattle with the Emerald City Chamber Music Series and gave a recital and master class at Princeton University.

Assistant Professor of Composition Hannah Lash ’12ad was one of two winners of the Charles Ives fellowship and will receive a $15,000 prize. Additionally, Lash wrote a symphony based on the mysterious Voynich texts housed at Yale’s Beinecke Rare Book and Manuscript Library. The two-season collaboration between Lash and the New Haven Symphony Orchestra, called the Lash/Voynich Project, will culminate in May 2017 with the premiere of Lash’s The Voynich Symphony. The Lash/Voynich Project has won awards from the National Endowment for the Arts, Women’s Philharmonic Advocacy Award, and the Alison M. Ditson Fund at Columbia University.

Peter Oundjian, principal conductor of the Yale Philharmonia and professor of music and orchestral conducting, joined the Toronto Symphony Orchestra in 2004 and is now the TSO’s longest-serving music director. During his tenure with the TSO, Oundjian has released four recordings on the orchestra’s self-produced record label, tsoLIVE. The award-winning documentary Five Days In September: The Rebirth of An Orchestra, is available on DVD and chronicles Oundjian’s first week as music director of the TSO. William Purvis, professor of horn and director of the Yale Collection of Musical Instruments, will perform with the U.S. Coast Guard Band

as guest soloist at the 2017 Northeast Horn Workshop. In April 2017, Purvis and YSM faculty members Stephen Taylor (oboe) David Shifrin (clarinet) and Frank Morelli (bassoon), along with YSM students and alumni, will perform an all-Beethoven program at Carnegie Hall as part of the School’s Yale in New York series. A similar program was also scheduled for a performance at the Phoenix Chamber Music Society’s Winter Festival, of which Shifrin is artistic director, and will be recorded for release on the Naxos label. Purvis is a member of the Yale Brass Trio, which performed a program at Yale in February 2017 that honored the legacy of Robert E. Nagel Jr.

Professor of Composition Christopher Theofanidis ’94mma ’97dma received a 2017 Grammy nomination in the Best Contemporary Classical Composition category for his Bassoon Concerto, which was recorded by bassoonist Martin Kuuskmann ’95cert and the Northwest Sinfonia, under the direction of Barry Jekowsky.

Theofanidis’ Bassoon Concerto was originally a two-movement work composed in 1997. He expanded it in 2002 to include what is now the second movement.

Markus Rathey, associate professor of music history, published two books in 2016. His Bach’s Major Vocal Works: Music, Drama, Liturgy was published by the Yale University Press. The second book, Johann Sebastian Bach’s Christmas Oratorio, is an extensive and groundbreaking study that explores the historical context of the piece as well as Bach’s compositional process. Additionally, Rathey was elected president of the American Bach Society.

Associate Professor of Guitar Benjamin Verdery and his student Solomon Silber ’14ba ’16mm founded a record label called Elm City Records. According to the website, ECR offers “all-inclusive audio and video recording production services, starting from the first take to the digital distribution and promotion of artists’ projects.” Additionally, Verdery’s recording of the Chaconne from J.S. Bach’s Partita for Solo Violin in D minor, BWV 1004, was featured as the video pick of the week by Classical Guitar magazine.

This is Verdery’s 30 th year at YSM.

Toshiyuki Shimada, associate professor of conducting and conductor of the Yale Symphony Orchestra, was invited by Turkish pianist Idil Biret to conduct her 75 th birthday gala concert with the Borusan Istanbul Philharmonic Orchestra. The program consisted of Rachmaninoff ’s Rhapsody on a Theme of Paganini, Hindemith’s Piano Concerto, on which Shimada, Biret, and the Yale Symphony Orchestra collaborated for a Naxos recording, and works by Ives and Tüzün.

Flutist Ransom Wilson released a new CD titled Ransom Wilson plays Jean-Michel Damase and Jean Françaix.

According to Barbara Siesel, Wilson plays “precisely in the character of each piece and so in alignment with the composer’s intention that one ceases to be aware of his technique – it’s perfectly there to serve the music.” Additionally, Wilson was appointed music director and conductor of the Redlands Symphony.

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the adams center for musical arts opens The new Adams Center for Musical Arts opened on January 17, 2017, as students, faculty, and staff returned for the spring semester. Twenty-four months after ground was broken, students from the School of Music and Yale College began making music in the new complex.

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Left to right: Serena Blocker, Robert Blocker, Denise Adams, Stephen Adams, Marta Salovey, and Peter Salovey visit the Adams Center atrium before the grand-opening ceremony in February 2017.

“The Adams Center for Musical Arts is a welcoming space and place for Yale’s musical community.” robert blocker the lucy and henry moses dean of music

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The new Adams Center for Musical Arts opened in January 2017, as students, faculty, and staff returned to the Yale School of Music and Yale College to begin the spring semester. Twenty-four months after ground had been broken, the complex’s doors were opened to School of Music students and to Yale College students who participate in the University’s undergraduate ensembles.

“The Adams Center for Musical Arts is a welcoming space and place for Yale’s musical community,” School of Music Dean Robert Blocker said. “It was designed to enhance and enrich the creative, artistic, and intellectual process of making music together. Each space — from the smallest practice room to the beautiful ensemble halls and the student commons — was designed with the intent of supporting and sustaining the cherished musical culture that Yale has enjoyed for more than three centuries.” Indeed, as Blocker pointed out during his 2016 Convocation address, when a small group of ministers gathered in 1701 to organize a new collegiate school that would become Yale University, they sang a

hymn and in doing so gave life to music’s transcendent legacy at Yale.

Named for Stephen ’59ba and Denise Adams in recognition of their continued generosity and support of the Yale School of Music, the $57.1 million Adams Center for Musical Arts was made possible primarily through gifts from Yale alumni. A musicfilled grand-opening ceremony held on February 16 offered students, faculty, and staff from the School and Yale College a chance to thank the Adamses and other donors and to celebrate the new complex.

“This is a day not just for music,” Yale University President Peter Salovey said during the grand-opening ceremony, “but it is a day for Yale University, as well, because this is a day where our University places an exclamation point on a place to study music that is second to none for graduate students and undergraduates, alike. One Yale — a place that celebrates a great College set alongside a great professional School, a place that gives our superb musicians from across all of our campus magnificent

“This is a day not just for music, but it is a day for Yale University, as well, because this is a day where our University places an exclamation point on a place to study music that is second to none for graduate students and undergraduates, alike." peter salovey president , yale university

facilities to make music together during their bright College and their bright University years.

We are really humbled by the extraordinary generosity and vision of Stephen and Denise Adams, our principal donors to this project … Their profound love of music, and of Yale, is what shines throughout this shining new light of campus architecture.”

Top, left to right: Peter Salovey, Michael Yaffe, Stefanie Parkyn, and Robert Blocker.

Bottom, left to right: Peter Salovey, Tara Deming, Christopher Melillo, and Robert Blocker.

One bench outside the Adams Center bears the names of YSM Associate Dean Michael Yaffe and Chief of Staff Stefanie Parkyn – co-chairs of the Adams Center building committee. A second bench bears the names of YSM Operations Manager Tara Deming and Assistant Operations Manager Chris Melillo.

The February 16 ceremony began with YSM Professor and Yale Bands Director Thomas C. Duffy’s Adams Dedication Fanfare, which was composed for the occasion. The piece, whose melody uses the letters in “Adams,” was performed by students from YSM’s brass studios. Other performances included a reading by pianist Chuhan Zhang ’18ba/ mm of Chopin’s Scherzo No. 4 in E major, Op. 54, and the “Alleluia” from Mozart’s Exsultate, jubilate, K. 165, sung by soprano Jessica Pray ’17mm, with Blocker at the

piano. In keeping with tradition, guests sang Schubert’s An die Musik, as set to text

by Franz von Schober and translated by YSM faculty bass-baritone Richard Cross.

That performance, which featured violinist Sarita Kwok ’05mma ’06ad ’09dma, pianist and YSM Deputy Dean Melvin Chen, and Yale Glee Club Director Jeffrey Douma conducting, was a bit more poignant than usual.

After introducing several generations of Adamses at the February 16 event, Blocker admitted, “This is a bit overwhelming,” explaining, “There’s no way to acknowledge or thank the countless hundreds of

Sarita Kwok, foreground, and Melvin Chen perform Schubert’s An die Musik.

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thousands of people who dreamed about a day like this for music at Yale and who worked all through their careers to make it possible.”

The Adams Center for Musical Arts connects a newly renovated Hendrie Hall to the previously renovated Leigh Hall by way of a new structure that is anchored by a dedicated orchestra rehearsal room and an atrium and commons in which students from the School of Music and Yale College can gather.

“It will be a tremendous joy working together in this new space as we embark on a new chapter in our history.” peter oundjian principal conductor , yale philharmonia

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Combining the space in Leigh Hall (23,523 gross square feet), the pre-existing space in Hendrie Hall (34,805 gross square feet), and the space in the new structure (30,276 gross square feet), the Adams Center totals 88,604 gross square feet.

“From floor plan and square footage to ceiling height and volume, every space reflects a plethora of detailed, local restrictions that had to meet the criteria of the finished performance of the rooms,” YSM Chief of Staff Stefanie Parkyn, a co-chair of the Adams Center building

committee, said. “The language of music and exchange of ideas will permeate all of these spaces.”

they play on [in Woolsey Hall] and there were no existing spaces in Hendrie Hall that corresponded with that kind of size.”

The orchestra rehearsal hall, a stunning, three-story soundstage-like space, is the first permanent home that the Yale Philharmonia and Yale Symphony Orchestra have had at Yale. Reflecting a commitment to serving the needs of today’s musicians, the space is equipped with a full, digital recording studio and advanced audio and visual technology that will allow students and faculty to connect with peers and audiences around the world. It is a facility that in large part dictated the scope of the broader project.

The Yale Philharmonia and the Yale Symphony Orchestra are among the most respected professional-school and college ensembles in the country. The new orchestra rehearsal hall provides students and conductors alike a dedicated space in which to make music.

Peter Oundjian, the principal conductor of the Yale Philharmonia, said, “It will be a tremendous joy working together in this new space as we embark on a new chapter in our history.” He believes that the Adams Center will “enhance the remarkable musicmaking that is currently taking place at the School of Music.”

“The need for an orchestra rehearsal room transcended the space that was available in Hendrie Hall, and an expansion was necessary,” KPMB Architects principal Chris “It had some distinctive challenges,” said Couse said. “The orchestra rehearsal space Joseph Myers, president of Kirkegaard needs to be at least as big as the stage that Associates, the firm that designed the

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“The rooms have been created with strong digital infrastructure so that the School can keep up with new technologies to enhance learning and performance.” michael yaffe , associate dean , ysm

Above: Students enjoy a master class, via distance-learning technology, with YSM alumna and New York Philharmonic hornist Leelanee Sterrett ’10mm.

Right: Members of the Yale Opera rehearse for their February 2017 production of Mozart’s Così fan tutte.

Adams Center’s acoustics. “We want a space that a very large group can go into and be very comfortable playing in and producing a really nice quality of sound. And the larger the group that you’re putting in it, the greater that challenge is.” Myers said the orchestra rehearsal hall “has a really pleasant, smooth, clean sound that I think will help rehearsals to be effective and still pleasurable.”

While the Adams Center for Musical Arts features entirely new facilities, it also boasts magnificently reimagined spaces in Hendrie Hall, including those that are home to Yale’s undergraduate ensembles — the Yale Glee Club and Yale Bands — and, from YSM, the Yale Opera and Yale Percussion Group. The large ensemble rooms are also suitable for classes and various rehearsals.

In addition to carefully engineered acoustics “Hendrie Hall was a state of the art lawincorporated throughout the complex, the school building — in the 19 th century,” Duffy Adams Center is equipped with $1.2 million in said. “The bands lived on the third floor advanced audio- and video-recording systems of an elevator-less building, with tons of equipment to haul up and down for and distance-learning technology. “The concerts in Woolsey. And the ambulances rooms in the new portions of the complex st century that passed on the way to the hospital added will have technology to allow 21 musicians to record — either on their own or a sonic component to our rehearsals that professionally — to use distance learning, to made for acoustical layering reminiscent of create interactive performances, and to play the music of Charles Ives. Now, the building back audio and video in every room,” YSM is a triumph of form and function. The Associate Dean Michael Yaffe, a co-chair of the building has a resonance of the respectable Adams Center building committee, said. “The academy of the last 200 years but provides rooms have been created with strong digital the utility of the most modern facility. The infrastructure so that the School can keep up musicians in the Band can now rehearse with new technologies to enhance learning in the sound-secure Band room without and performance.” the counterpoint of passing trucks and

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Above right: Percussionist Matthew Keown rehearses with the Yale Philharmonia in the orchestra rehearsal hall.

Bottom left: Members of the Yale Glee Club rehearse in their renovated space.

Bottom right: YSM professor Thomas C. Duffy leads the Yale Concert Band in the ensemble’s newly renovated home in the Adams Center.

ambulances. We have a space that will allow us to focus on conquering the challenges of music and creativity, not the challenges of the environment.”

Yale Percussion Group Director Robert van Sice also compared his program’s former home in the basement of Hendrie Hall with the new percussion suite in the Adams Center.

“It is 20 years ago now that I joined the Yale faculty and I will never forget Dean

Blocker showing me the percussion studio for the first time,” van Sice said. “Although it was never the most beautiful space on campus, we made a lot of great music down there and saw many fabulously talented young people blossom into professional percussionists. Today, with the extraordinary new percussion suite in the Adams Center, we have the privilege to work in a whole new way. The space allows for us to run multiple chamber music coachings and rehearsals simultaneously. My students now have all the modern technology they

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Hendrie Hall opened in 1895 as the home of the Yale Law School.

Photo from the Detroit Publishing Company Collection at the Library of Congress.

need to charge into the 21 st century. There percussionists … when I say ‘Thank you for is sunlight in each of our rooms — a rarity this convenience.’” for percussion studios that are generally sequestered to basement space — and an ease Renovating Hendrie Hall as part of the larger of moving instruments from space to space Adams Center project necessarily meant that will save so much time and frustration. retrofitting the building for its current use.

We at YPG are genuinely grateful to have “Hendrie Hall started life as a building for this amazing new studio to further our the Yale Law School [in 1895] and was never exploration of the percussive art.” constructed for use as a School of Music building,” Couse pointed out.

“As percussionists, we are constantly moving equipment from one space to another, and According to language in Buildings and the generosity with which the new building Grounds of Yale University (1973, Richard was designed, in respect to this need, is C. Carroll, ed.), “Hendrie Hall was erected greatly appreciated,” dma candidate Matthew from the gifts [$65,000] of John W. Hendrie, Keown ’16mm said. “On any given day in B.A. 1951, M.A. 1961, and others. Built of the old Hendrie Hall, I am told, you could brick with limestone façade in a Renaissance spot percussionists carrying timpani upstairs. Revival style, it was occupied by the Law I think I speak for all current and future School from 1895 until the completion of

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“To renovate Hendrie Hall, the building was stripped back to its structure, removing all but the most significant heritage finishes.” chris couse principal , kpmb architects

the Sterling Law Buildings in 1931. The said. “To take advantage of that, we shifted architects, Cady, Berg & See, prepared the the loudest uses — with the exception of the plans in two sections and the rear half was Yale Bands — out of the existing building built with the funds then available; the and into the new building.” Before that building was completed in 1900. It was could happen, “the building was stripped used briefly by the Divinity School, then as back to its structure, removing all but the a Drama annex and faculty offices, before most significant heritage finishes.” being converted to its present use by the undergraduate musical organizations, radio The mosaic tile and stone in Hendrie Hall’s station WYBC, Associated Student Agencies, Elm Street entranceway remain, as does the and administrative offices.” cast-iron staircase that was incorporated as a signature feature in the building’s original Needless to say, the Adams Center building design. Just as Hendrie Hall’s rich history project required a complete overhaul of has been honored, an earlier renovation of Hendrie Hall. It also required thought as Leigh Hall preserved important architectural to which facilities should exist where in the features, including the exterior carvings new complex. “We can put a higher level that identify the building’s original use. of isolation in new construction than in Constructed in 1930 as the Yale health retrofitting existing construction,” Myers center, Leigh Hall was thoughtfully

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renovated in 2005, at which point it was named for Mitch ’51bm ’52mm and Abby Leigh. Home to most of YSM’s faculty studios, Leigh Hall has long been the heart of the Yale School of Music.

Perhaps the most quietly symbolic element of the new Adams Center for Musical Arts is the atrium, one of whose walls was previously the north-facing exterior of Hendrie Hall. It is in the atrium and student commons that School of Music and Yale College musicians can gather and interact.

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“The opening of the Adams Center is a defining moment for the Yale School of Music, the Yale College ensembles that have resided for decades in Hendrie Hall, and the University’s entire, extraordinary music community,” Blocker said. “From the traditional spaces to the newest digital frontiers located in the Adams Center for Musical Arts, the rich legacy of music at Yale will be sustained and shared throughout the world.”

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CONCERT NEWS

Peter Oundjian and the Yale Philharmonia

yale philharmonia Peter Oundjian kicked off the Philharmonia season — his first full season as the ensemble’s principal conductor — with a program of revolutionary works including Bartók’s Concerto for Orchestra and Beethoven’s Symphony No. 7.

The season continued with Oundjian leading the orchestra in a program of short works by Ravel, Nielsen, Sibelius, and Rimsky-Korsakov. Joanna Wu, a winner of the 2016 Woolsey Hall Concerto Competition, was the featured soloist, performing Nielsen’s Flute Concerto.

Guest conductor Yongyan Hu returned to Yale to lead the orchestra in a program of works by Brahms and Bruckner that paid tribute to the late conductor Otto-Werner Mueller.

The second semester opened with a performance of Wagner’s Prelude and Liebestod from Tristan and Isolde, followed by Shostakovich’s powerful Symphony No. 10, led by guest conductor Giancarlo Guerrero in his first appearance at Yale.

The annual Sprague Hall concert, featuring conducting fellow David Yi and student pianist Viacheslav Gryaznov, included music by Ravel, Shostakovich, and Brahms.

Oundjian returned to the podium for the final two concerts of the season, leading the orchestra in performances of Martin Bresnick’s The Way It Goes, Prokofiev’s Piano Concerto No. 2 with Woolsey Hall Concerto Competition winner Yang Liu, Brahms’ Symphony No. 4, Messiaen’s Poèmes pour Mi with Woolsey Hall Concerto Competition winner Jin-Xiang Yu, soprano and Adams’ Naive and Sentimental Music.

new music new haven This year, the Yale School of Music welcomed guest composers Joan Tower and Kurt Rohde, giving performances of Tower’s Second String Force and White Granite, and Rohde’s Concertino for violin and small ensemble.

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Yale Opera's Così fan tutte

The series also featured performances of works by YSM faculty composers, with music by Aaron Jay Kernis, Christopher Theofanidis, Hannah Lash, and Martin Bresnick, alongside works by graduate-student composers.

The annual New Music for Orchestra concert presented the world premieres of works by YSM student composers Molly Joyce, Hilary Purrington, Michael Gilbertson, Ethan Braun, and Benjamin Wallace led by conducting fellow David Yi.

The series concluded with programs of works by Rohde and Tower and a program of choral music by faculty composer David Lang, along with music by graduate-student composers.

yale opera The Yale Opera, directed by Doris Yarick Cross, presented its annual performances of opera scenes, which included selections from Handel’s Rodelinda, Massenet’s Thaïs, Gounod’s Faust, Donizetti’s L’elisir d’amore, Mozart’s Così fan tutte, Smetana’s The Bartered Bride, and Tchaikovsky’s The Maid of Orleans and Eugene Onegin.

Members of the Yale Opera took to the Sprague Hall stage for an evening of Russian song in December’s Liederabend. The program featured art-songs by famed Russian composers from Tchaikovsky to Borodin.

For its annual fully-staged production at the Shubert Theater, the Yale Opera presented a new production of Mozart’s Così fan tutte, with stage direction by Chas Rader-Shieber and music direction by Giuseppe Grazioli.

The spring production featured two one-act operas, Walton’s The Bear and Milhaud’s Le pauvre matelot (The Poor Sailor).

Yale Choral Artists

yale in new york Jeffrey Douma and the Yale Choral Artists kicked off this year’s Yale in New York series – which features performances by YSM faculty, alumni, and students in New York City – with a program of works by YSM faculty composers David Lang and Hannah Lash and YSM alumnus Ted Hearne.

The Brentano String Quartet, YSM’s faculty quartet-inresidence, was joined by YSM faculty violist Ettore Causa and the Argus Quartet, the School’s fellowship quartet-inresidence, for a program of works by Haydn and Mendelssohn.

Brentano String Quartet

The Collection hosted two tours for the annual assembly of the Yale Alumni Association. This year’s gathering focused on the arts, stressing the importance of the professional schools of art, drama, architecture, and music as integral parts of Yale’s creative environment. Discussions ranged from descriptions of treasured objects to the Collection’s interdisciplinary collaborations with different University departments.

oneppo chamber music series The 2016–2017 Oneppo Chamber Music Series, directed by David Shifrin, featured a wide array of programs from contemporary saxophone music to concert drama.

YSM brass faculty, students, and alumni performed works from the German Renaissance as well as the New York premieres The Brentano String Quartet opened both the fall and spring of David Lang’s press release for tuba and Gunther Schuller’s semesters by collaborating with other YSM artists. They were Magical Trumpets, among other works. joined on a first-semester program by YSM faculty violist Ettore Causa and the Argus Quartet for performances of two And faculty members Stephen Taylor, oboe, David Shifrin, string-ensemble works by Mendelssohn, and on an early clarinet, Frank Morelli, bassoon, and William Purvis, horn, second-semester program by pianist Jonathan Biss and violist were joined by students and alumni for an all-Beethoven Hsin-Yun Huan for quintets by Elgar and Mozart. program.

collection of musical instruments The 2016–2017 season opened with the Flanders Recorder Quartet performing a concert titled “Beauté parfait.”

Fortepianist Kristian Bezuidenhout followed with a recital featuring works by Beethoven and Haydn. House of Time performed a program of music by Handel and Rameau, showcasing instrumental selections from the Baroque opera stage.

The London Haydn Quartet and clarinetist Eric Hoeprich performed a program of music by Haydn, Beethoven, and Weber.

To close the season, vocalist and Anglo-Saxon harpist Benjamin Bagby presented his re-imagination of the epic poem Beowulf.

The series also welcomed the PRISM Quartet, the renowned saxophone ensemble — which performed music by contemporary composers, including YSM faculty composer Martin Bresnick — as well as the Miró String Quartet with violist and former Tokyo String Quartet member Martin Beaver, and the Imani Winds, who returned to YSM for a performance with YSM faculty pianist Wei-Yi Yang.

Shifrin presented Harry Clark’s An Unlikely Muse, a concert drama for actor and six musicians that explores the inspiration that clarinetist Richard Mühlfeld provided Brahms during the composer’s later years.

The season also featured the Jerusalem String Quartet and the annual Competition Winners Concert, which showcased performances by the winners of YSM’s chamber music competition.

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CONCERT NEWS CONT.

Yefim Bronfman

Olga Kern

horowitz piano series

This season, the Horowitz Piano Series celebrated the 125 th anniversary of Prokofiev’s birth and showcased performances

by YSM’s distinguished piano faculty and esteemed guests.

The series’ artistic director, YSM faculty pianist Boris Berman, opened the series with a performance of Debussy’s complete 24 Preludes. Recitals by YSM faculty pianists Wei-Yi Yang and Hung-Kuan Chen followed Berman’s season opener.

Savion Glover

Ezra Laderman

ellington jazz series In his final year at Yale, Ellington Jazz Series Artistic Director Willie Ruff presented a season that crossed disciplines to include dance, photography, video, and more.

The season showcased three programs beginning with Tony Award-winning tap dancer Savion Glover and his quartet, The Otherz. Glover and his band are the first ensemble to include tap dancing as part of a group’s instrumentation.

Acclaimed pianist Yefim Bronfman performed a program that included Schumann’s Humoreske, Op. 20, alongside works by Bartók, Debussy, and Stravinsky.

The series continued with the Langston Hughes Project, a multimedia presentation of Langston Hughes’ trailblazing poem Ask Your Mama: 12 Moods for Jazz, for which Hughes wrote musical cues, featuring spoken-word artist Kenyon The first semester concluded with Prokofiev at 125, a program Adams, the Ron McCurdy Quartet, and imagery from the that celebrated the 125 th anniversary of the composer’s birth and Harlem Renaissance. The Savion Glover event and the Langston Hughes Project were co-sponsored by the Beinecke featured YSM student pianists performing transcriptions and Rare Book and Manuscript Library as part of a yearlong series arrangements of Prokofiev’s ballets. of events celebrating the 75 th anniversary of the James Weldon The spring semester opened with a recital by Van Cliburn Johnson Memorial Collection.

International Piano Competition Gold Medalist Olga Kern, who performed piano music by composers from her native Concluding the series, Grammy award-winning multiRussia including Rachmaninoff, Scriabin, and Balakirev. instrumentalist Vince Giordano performed an all-Ellington program with his band, The Nighthawks.

The final performances of the season featured recitals by YSM faculty pianists Robert Blocker, Dean of the School, and Melvin Chen, the School’s Deputy Dean.

special events

On October 15, 2016, the Faculty Artist Series honored the late YSM composer and former Dean Ezra Laderman with the world-premiere performance of his last completed work, Voices.

Based on Dante’s Inferno, the work features a libretto that was written and read by former U. S. poet laureate Robert Pinsky.

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ysm featured at 2016 ny phil biennial songs by Yale alumnus Charles Ives The Yale School of Music and its — “our historically most distinguished New Music New Haven series were student,” according to Yale composition highlighted in May 2016 at the NY Phil chair Martin Bresnick — and concluded Biennial, a wide-ranging exploration with For your judicious and pious of music by contemporary and modern consideration, a work by “one of our very composers. YSM’s performance promising current students,” Hilary took place at The Jerome L. Greene Purrington ’17mma.

Performance Space at WQXR and was streamed live via webcast on WQXR’s new-music channel, Q2 Music, with host In between were performances of works

by YSM faculty composers, including Helga Davis. the North American premiere of Martin Bresnick’s And I Always Thought, the The program represented the past, New York premieres of David Lang’s present, and future of the Yale School where you go and Hannah Lash’s Leaves, of Music’s composition program, which Space, a world-premiere performance by was established in 1894 and whose pianist and YSM Dean Robert Blocker faculty has included Paul Hindemith, of Aaron Jay Kernis’ Toward the Setting Krzysztof Penderecki, and Jacob Sun, and a performance of Christopher Druckman. The program opened with

Theofanidis’ Kaoru. Performers included Yale School of Music faculty, students, and alumni.

A flagship project of the New York Philharmonic, the NY Phil Biennial brings together an international roster of composers, performers, and curatorial voices for concerts presented on the Lincoln Center for the Performing Arts campus and in venues throughout the city.

The May 2016 concert was co-presented by the Yale School of Music and WQXR’s Q2 Music.

andrew norman ’09ad receives high-profile awards In November 2016, YSM alumnus composer Andrew Norman ’09ad earned the 2017 Grawemeyer Award for Music Composition for his orchestral work Play. According to language on the award-program’s website, “Play was commissioned by the Boston Modern Orchestra Project, with funding from Music Alive, a national residency program of the League of American Orchestras and New Music USA.” The work received its premiere in 2013.

Norman was awarded a $100,000 cash prize.

The Grawemeyer Awards were established at the University of Louisville in 1984 by the program’s namesake, entrepreneur and philanthropist H. Charles Grawemeyer.

Previous winners of the Grawemeyer

Award for Music Composition include YSM faculty composer Aaron Jay Kernis, former YSM faculty composer Krzysztof Penderecki, Esa-Pekka Salonen, György Kurtág, Kaija Saariaho, Joan Tower, and Pierre Boulez, among others.

In December 2016, Norman was named Musical America Worldwide’s 2017 Composer of the Year. He was again in impressive company. Other 2017 awardees include eighth blackbird (Ensemble of the Year), bass-baritone Eric Owens (Vocalist of the Year), Susanna Mälkki (Conductor of the Year), and pianist Yuja Wang (Artist of the Year).

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ysm students perform in london In October 2016, students from the Yale School of Music, along with Dean Robert Blocker and Director of Communications and Alumni Affairs Donna Yoo ’09mm, traveled to London where they gave concerts, for Yale alumni and friends, at the Royal Automobile Club and the Royal College of Music. As part of the visit, which was made possible by Helen Chung-Halpern and Abel Halpern ’88ba (pictured; each is a member of YSM’s Board of Advisors), Blocker presented a master class to graduate and undergraduate student piano trios at the Royal College of Music.

The YSM students who traveled to London are violinists Sophia Mockler ’17mm and Laura Park ’18mm, violist Joshua Newburger ’17mm, cellist Eric Adamshick ’17mm, pianist Sun-A Park ’16ad ’17mma, and soprano Jessica Pray ’17mm. Mockler, Laura Park, Newburger, and Adamshick performed as the Béla Quartet.

Among the works the YSM students performed were Elgar’s String Quartet in E minor, Op. 83, and Adamshick’s arrangement for piano quintet of “Nimrod,” from Elgar’s Variations on an Original Theme, Op. 36, “Enigma.”

Elgar holds a special place in Yale’s history, having visited the United States, and specifically New Haven, Connecticut, in June 1905, to receive an honorary doctorate from the University. The honor was initiated by Yale School of Music professor Samuel Simons Sanford.

gilmore, beinecke libraries reopen after renovations The Irving S. Gilmore Music Library underwent a renovation project from June 2016 through the end of January 2017. Upon reopening, the Gilmore presented A Riff on Ruff: Yale’s Jazz Ambassador to the World, a modest exhibition mounted in honor of YSM Professor Willie Ruff ’s 85 th birthday and in acknowledgement of Ruff ’s extraordinary contributions to music, scholarship, and Yale. The opening of the exhibition, which was scheduled to remain on view through April 25, coincided with an open house designed to show off improvements made to the Gilmore, including new work and seminar spaces and enhanced audio-visual technology. Ruff presented a talk (And This is What They Said) at the Sterling Memorial Library in midFebruary about a series of interviews he did in 1974 with a number of jazz icons. Ruff gave the original records of those interviews to Yale’s Oral History of American Music project.

The Beinecke Rare Book and Manuscript Library underwent a 16-month renovation between May 2015 and September 2016. The project included the replacement of the building’s all-important mechanical systems, an expansion of classroom and curatorial space, and the conservation and restoration of architectural elements and the sculpture court. The reopening of the Beinecke coincided with the 75 th anniversary of the establishment of the James Weldon Johnson Memorial Collection, an occasion that was celebrated with an exhibition called Destined to Be Known: The James Weldon Johnson Memorial Collection at 75. Soprano Lisa Williamson ’12mm performed at the opening of the exhibition. In October 2017, in further celebration of that collection, the Beinecke and YSM co-sponsored the Langston Hughes Project, a multimedia presentation of Hughes’ trailblazing poem Ask Your Mama: 12 Moods for Jazz.

The event, which was part of YSM’s Ellington Jazz Series, featured spokenword artist Kenyon Adams, the Ron McCurdy Quartet, and imagery from the Harlem Renaissance.

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STAFF RETIREMENTS For Rosemary Gould, it was always about the students

Jeanne Kazzi spent more than two decades at Yale

Eugene Kimball documented 45 years of concerts

Rosemary Gould began her journey at Yale in 1996 as a collector of student loans for the University and moved to YSM in 2000. From the beginning of her tenure, she worked in the offices of the Registrar and Financial Aid and always remained busy. For a while, she worked as the receptionist at the School’s offices at 98 Wall St., fielding questions about locations within the school, directing people every which way, and handling packages when necessary, all in addition to her primary responsibilities.

Jeanne Kazzi, the senior admissions assistant at the Yale School of Music for more than 16 years, began working for the Yale University Office of Admissions in 1995 and in 2000 joined the YSM staff.

Her commitment to and enthusiasm for the School and her tremendous work ethic helped the YSM community continue to achieve excellence.

Anyone who listens to a Yale School of Music recording made during the past 45 years or so can be sure that it was expertly balanced and mixed by master recording engineer Eugene Kimball. It was clear from the onset that Kimball had a flair for the art of recording, as he became a self-described “class technician” of sorts while he studied at the School of Drama from 1969 to 1972. He built a sturdy and multifaceted foundation for his skillset while taking electives at YSM, including a composition course with Mario Davidovsky and a film-scoring class with Frank Lewin, in addition to learning from retired Columbia Records chief engineer Fred Plaut, who’d recently joined the YSM faculty.

Gould was devoted to the students throughout her stay at YSM. She enjoyed chatting and exchanging stories with them and was a fixture at degree recitals.

“I will always remember seeing you at all of those recitals — you were almost like a parent to those students,” YSM Dean Robert Blocker said at a retirement reception. Gould said she loved the students “coming in and singing” to her and enjoyed being constantly surrounded by music.

“We used to be in Stoeckel before we moved to Sprague,” she said. “That was the best because you could hear the students in the building. You could hear them singing, you could hear them playing … we had the piano department right above us, and it was just beautiful music.”

Asked what she will miss most about YSM, she replied, without hesitation, “The students!”

“I loved making the Dean proud,” Kazzi said, unabashed about her adoration for the School and those with whom she worked. She experienced the evolution of the School over the years. She began working in Stoeckel Hall, the current Department of Music building, while Sprague Hall was being renovated.

One of Kazzi’s proudest and happiest Kimball was the first recording engineer memories is of the School’s receipt of ever to be hired by the Yale School of a generous gift that made YSM tuition Music, beginning in 1973. free for all students; Kazzi called it a “milestone.” Before the institution of a “There was no equipment — no nothing,” full scholarship for all, she recalls the total number of applications being in the Kimball said. He was given a budget and told to run with it — and he neighborhood of 400 to 500. In the first developed unique recording technology year after the School became tuitionfree, the Admissions Office received four that today is considered top-of-theline. Over the course of his tenure times the number of applications. at YSM, Kimball and his team made thousands of recordings, but there are “In those days, it was still all paper,” a couple of which he is most proud: Kazzi remembered. “Rosemary [Gould] a 1985 recording of the Britten’s War and I spent six days a week, 10 hours a Requiem with the Yale Philharmonia and day working together. She would work Choruses under the baton of Robert her job and then stay an hour or two Shaw, which involved driving halfway afterward and help me, and then we to Hartford to acquire two DPA 4006 could come in and work four to five microphones (which were state-of-the hours on Saturday together.” That level art and not yet being sold commercially), of dedication speaks for itself. and a recording made by the Gil Evans Orchestra in Sprague Hall in 1987.

Kimball said he’ll miss the “artistry, musicianship, and fellowship of the faculty and students” at YSM, “and the professionalism and friendship of the staff.”

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RECORDINGS & PUBLICATIONS Pedro de Alcantara ’83mm wrote The Integrated String Player: Embodying Vibration, which will be published by Oxford University Press. Alcantara’s work represents the idea that “music is a language, and to speak it a musician must both learn the language itself and the psychophysical tools to actually ‘speak music.’” The book focuses on how musicians can better focus their skills in order to achieve their highest potential.

Suzana Bartal ’13mm ’14mma released her first CD, Suzana Bartal plays Schumann, in March 2016.

The album was released on the French label Paraty. The CD features Schumann’s beloved Kreisleriana, Op. 16, alongside Waldszenen, Op. 82, and Geistervariationen, WoO 24.

Soprano saxophonist and composer Jane Ira Bloom ’77mm released her first trio album, Early Americans, her sixth recording on the Outline label. The recording features Mark Helias ’76mm on bass and drummer Bobby Previte. Bloom is a nine-time winner of the Jazz Journalists Award for Soprano Saxophonist of the Year and a recipient of a Guggenheim Fellowship in Music Composition.

Her album has appeared on numerous best-of lists including NPR’s “Best Music of 2016.”

Classical guitarist Rupert Boyd ’08ad released a new solo CD, Fantasías, on the Little Mystery Records label.

The album was first released in Boyd’s native Australia and released in the United States in June 2016.

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Violinist Davis Brooks ’78mm released his third CD, Early Musings: New Music for Violin.

The recording was released on Navona Records and contains new works for solo violin written for him by 10 Alabama-based composers. Brooks previously released Violin and Electronics, as well as a recording of composer C. P. First’s violin music.

Kim Cook ’81mm is the solo cellist on a recently released MSR Classics CD, featuring Cook performing concertos

by Camille Saint-Saëns and Édouard Lalo and Gabriel Fauré’s Élégie with the Philharmonica Bulgarica. Valeri Vatchev and Grigor Palikarov conducted the orchestra for the recording, which was made in Sofia, Bulgaria.

Composer-flutist Robert Dick ’71ba ’73mm released two CDs in 2016. The Galilean Moons (NEMU) features original music for flute and piano in collaboration with composer and pianist Ursel Schlicht, and Our Cells Know (Tzadik) is a series of solo contrabass flute improvisations.

New World Records will release Dick’s CD length recording of William Hellermann’s solo flute masterpiece Three Weeks in Cincinnati in December.

Written in collaboration with Dick in 1979, this 50-minute work combines an ethereal multiphonic sound world with the athleticism of over 45 minutes of non-stop circular breathing.

Conductor Frank Dodge ’80mm released an album titled Chamber Music of Erwin Schulhoff.

The recording, released on the

Naxos label in 2016, features violinists Boris Brovtsy and Valeriy Sokolov, violists Philip Dukes and Maxim Rysanov, cellists Jens Maintz and Torleif Thedeen, and pianist Eldar Nebolsin.

Pianist and Steinway Artist Richard Dowling ’87mm released The Complete Piano Works of Scott Joplin on Rivermont Records in fall 2016. Dowling is scheduled to perform Joplin’s piano music in two consecutive recitals at Weill Hall at Carnegie Hall in April 2017. Dowling will be the first pianist in history to perform the complete cycle of Joplin works in public.

Gerald Elias ’75ba/mm released the audio version of his first novel, Devil's Trill: A Mystery in SonataAllegro Form. Elias’ work is the firstever audio book to integrate musical passages that provide clues to solving the mysteries. As a former member of the Boston Symphony Orchestra and associate concertmaster of the Utah Symphony, Elias had the opportunity to perform the excerpts on the audio book himself.

Katrin Endrikat ’14mm released her second album, Joie de Vivre. The recording features works by popular and contemporary composers on the theme of joie de vivre. Endrikat has recorded works by such seminal guitar composers as Francisco Tarrega, Augustin Barrios, José Merlin, and Paulo Bellinati, along with arrangements of works by Isaac Albéniz and Enrique Granados, and folk songs.

Violinist Ralph Evans ’74ba ’76mm ’77mma ’80dma has recorded more than 100 solo and chamber works to date and in May 2017 will be recording with the Fine Arts Quartet for his 15 th CD on the Naxos label. Many of these recordings have been selected for Grammy Awards entry lists in the Best Classical Album and/or Best Chamber Music

Performance categories, and have earned a variety of distinctions.

Christine Gangelhoff ’95ad released a new recording titled Tour de Force with her ensemble, C Force. The twodisc collection features art music of the Caribbean and includes works by composers from Guadeloupe, Haiti, the U.S. Virgin Islands, and elsewhere. This release is the group’s third recording and follows the success of their first two albums, Tchaka Mizik and Deep Blue.

Composer Joseph Gregorio ’04mm will be releasing two works accepted for publication by E.C. Schirmer including Five Whitman Songs for voice and piano and Advent Reflections for chorus and harp. In addition to his publications, Gregorio’s composition Sudden Light will be performed by the Rutgers University Glee Club at the March 2017 national conference of the American Choral Directors Association in Minneapolis.

Gregorio was selected to present a panel discussion at the same conference titled “Got a Mind to Do Right: Approaching, Discussing, and Performing Spirituals Respectfully.”

Composer Juliana Hall ’87mm released her first solo album, Love’s Signature, on the MSR Classics label. The CD was made possible by a recording grant from the Sorel Organization. Love’s Signature presents three of Hall’s song cycles: O Mistress Mine, a cycle of 12 songs on texts from Shakespeare plays for countertenor and piano that was premiered in August 2016 at the Yale Summer School of Music/Norfolk Chamber Music Festival; Syllables of Velvet, Sentences of Plush, a cycle of seven songs for soprano and piano on letters of Emily Dickinson; and Propriety, a soprano cycle on poems by Marianne Moore.

Mark Helias ’76mm released The Long Road, a double CD with the cooperative trio BassDrumBone which is celebrating 40 years together. The CD features composer and percussionist Gerry Hemingway, trombonist Ray Anderson, composer and saxophonist Jane Ira Bloom, and composer and pianist Uri Caine.

Molly Joyce ’17mm released her debut EP release, Lean Back and Release, on New Amsterdam Records. The EP features violinists Monica Germino and Adrianna Mateo. The recording has already received press from multiple outlets, including being praised as an “intoxicating, deepening experience” by Das Klienicum. The Hartford Courant proclaimed, that “with Lean Back and Release, Joyce’s music will likely receive even more acclaim.”

John Kaefer ’01mm completed the score for Remedy Entertainment and Microsoft Studios’ Quantum Break, which was released for Xbox One. The revolutionary game features a liveaction TV series that interacts with the gameplay based on the player’s choices. Other recent film and TV work includes the score for the original series Sequestered (Crackle/Sony Pictures) and three soundtrack albums for Discovery Music Source. Kaefer’s music continues to be featured in popular series on all the major networks, including his theme music for ABC’s 20/20.

Pianist Sean Kennard, a current dmacandidate and student of Boris Berman, released a CD on the Naxos label of 18 sonatas by Domenico Scarlatti.

The recording is the 17 th volume of a complete set of Scarlatti’s sonatas being recorded by various pianists for Naxos.

Kennard is a laureate of the 2013 Queen Elisabeth Competition.

Michael Laurello ’15ad released his first EP, Rose, in September 2016 in collaboration with Ravello Records.

Laurello’s work features a blend of Western classical music, jazz-fusion, progressive rock/ metal, and EDM/IDM. Moonkyung Lee ’06mm made a recording of the Tchaikovsky Violin Concerto with the London Symphony Orchestra that was released in February 2017.

Peter Scott Lewis ’84mm released a new CD on Naxos’ American Classics series called The Four Cycles. The CD was released in August 2016 and features Susan Narucki, soprano; Colin McAllister, guitar; Christine Abraham, mezzo-soprano; Keisuke Nakagoshi, piano; and Lewis conducting a vocal quartet from the New York Virtuoso Singers.

Marianne Prjevalskaya ’07mm ’10ad released a new CD of works by Rachmaninoff.

The recording features two works for solo piano: Variations on a Theme of Chopin, Op. 22, and Variations on a Theme of Corelli, Op. 42.

Marianna Prjevalskaya plays Rachmaninoff (Fanfare Cincinnati) was released in June 2016.

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RECORDINGS & PUBLICATIONS CONT.

Ginevra Petrucci ’12mm ’13ad and Gleb Kanasevich ’13mm joined pianist Dmitry Samogray and cellist Dorotea Racz as Ensemble Accendo for a CD entirely dedicated to Robert Muczynski, to be released by the Dutch label Brilliant Classics in May 2017. Ensemble Accendo’s album represents the first time an album solely devoted to Muczynski’s music has been recorded for and published by any European music label.

Ian Rosenbaum ’10mm ’11ad released his first solo record, Memory Palace, on VIA Records in January 2017. Among other works, it contains music by YSM alumni Timothy Andres ’07bs ’09mm, Christopher Cerrone ’09mm ’10mma ’14dma, and Tawnie Olson ’99mm ’00ad.

Richard Rosenberg ’77mm is recording his critical edition of Arnold Schoenberg’s Verklarte Nacht for an allSchoenberg compact disc on the Naxos label with the National Music Festival, of which he is the artistic director.

Edson Scheid ’11mm ’12ad completed a recording of the 24 Caprices of Paganini on the Baroque violin.

The album was released in September 2016 on the Naxos label.

Eugene Simpson ’53bm ’54mm established and endowed for 20 years the NATS Hall Johnson Spirituals Competition that began at the national convention in Chicago. To encourage proper performance practice of the Spirituals, Simpson published The Hall Johnson Concert Spirituals: An Annotated Guide to Interpretation and Performance, in November 2016.

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Organist Wyatt Smith ’15mm released a recording on the Raven label titled Make A Joyful Noise with Dr. Tracelyn Gesteland, mezzo-soprano. The recording features the 1925 E.M. Skinner organ at the University of South Dakota in Vermillion, which is a much smaller, yet equally beautiful sister to the great E.M. Skinner organ in Woolsey Hall. The program consists of music for voice and organ along with works for solo organ.

Robert Thompson ’58mm released a historic recording of the Panufnik Bassoon Concerto with the BBC Symphony Orchestra and a compilation of his greatest recordings in a box set, both on the Heritage label. Currently, Thompson is writing his autobiography, An Innocent in the Arts. Advance excerpts from this work have been featured in Gramophone magazine as well as in Musical Opinion.

Justin Tierney ’12ad created a timelapse film that won both first place in the Cityscape category and best-in-show at the 2016 Time-lapse Film Festival in Los Angeles. Tierney scored, filmed, and edited the film which was described by the BBC as “a futuristic roller coaster ride … a breakneck front seat to the gorgeous streets of the planet’s biggest urban centre.” The film, titled At the Conflux, shows the beauty of modern life as Tierney films Tokyo from above the city.

Composer Zachary Wadsworth ’07mm released a new album of music titled The Far West. The recording was conducted by Timothy Shantz and performed by tenor Lawrence Wilford with Luminous Voices, a professional chamber choir based in Calgary, Alberta.

The album’s central work, which also lends the album its title, sets the text of Tim Diugos, a poet who died of

AIDS in 1990 while studying at the Yale Divinity School. The cantata explores the defiance of a poet who chose to live with lightness and dignity in the face of plague and loss.

Derrick Wang’s ’08mm libretto to his opera Scalia/Ginsburg is excerpted as an entire chapter in Supreme Court Justice Ruth Bader Ginsburg’s 2016 book My Own Words. The audio-book version features a special segment narrated and performed by Wang, recorded at New York’s Steinway Hall. Originally launched at the Supreme Court and premiered at Lorin Maazel’s Castleton Festival in 2015, Scalia/Ginsburg will receive its next production in August 2017 at the Glimmerglass Festival. It will star acclaimed tenor William Burden as Scalia and feature a Q&A with Justice Ginsburg.

Bassoonist Hanna Wendell ’87mm published a book titled The Children’s Music Studio: A Reggioinspired Approach.

Wendell’s work provides music teachers, parents, and early childhood educators with a roadmap for applying Reggio Emilia principles and practices to preschool and early childhood music education.

Artis Stiffey Wodehouse ’71mm released a new CD that features music composed by Arthur Bird, an American living in Germany. The CD, titled Arthur Bird: Music for the American Harmonium, was released in June 2016 through Raven Pipe Organ CDs. Bird was a member of the Liszt Circle, but was raised outside Boston, Massachusetts, as the son of a pioneering music educator and hymn composer.

in memoriam

philip f. nelson 88, musicologist

Musicologist and a former Dean of the Yale School of Music Philip F. Nelson died on June 10, 2016, at age 88. A native of Waseca, Minnesota, Nelson graduated with a ba degree in music composition from Grinnell College in Iowa in 1950, and an am (1956) and ph.d. (1958) in musicology from the University of North Carolina at Chapel Hill. He also received the Diplôme of the Université de Paris in 1957, and studied conducting with M. Louis Forestier at the Conservatorie National de Paris as a Fulbright Scholar.

Nelson chaired the music department at SUNY Binghamton from 1963 until his appointment as Dean of the Yale School of Music in 1970, a position he held until 1980. Under Nelson’s visionary leadership, the School began its transformation into a major professional music school.

Nelson is credited for pioneering the overarching concept of “music at Yale,” which advances the intersection of the School of Music, Department of Music, and Yale College. He supported the activities and growth of the Yale Glee Club, Yale Symphony, Yale Band, and other undergraduate music ensembles.

It was during his tenure as Dean that the Yale Institute of Sacred Music was established with a major gift from the Irwin Sweeney Miller Foundation.

In addition to enhancing the faculty of the School and the administrative infrastructure of the University, Nelson expanded the School’s resources and reach by establishing programs like the Duke Ellington Fellowship and the Sanford Visiting Artist Fellowship.

“He opened new musical horizons for those who were not inclined to pursue appointments in the traditional pathways of professorships, orchestra musicians, and administrators,” YSM Dean Robert Blocker said. “The Philip Nelson Prize for Musical Entrepreneurship [at the School] exemplifies his broad view of the profession, and it is awarded annually to a graduating student who has demonstrated his values.”

phyllis curtin

War Requiem (U.S. premiere) and creating the title role in Carlisle Floyd’s Susannah.

At the Yale School of Music, Curtin was known as a devoted and passionate teacher. Richard Lalli ’80mm ’86dma, now a faculty member at the Yale University Department of Music, studied with Curtin at YSM. “One example of her dedication, generosity of spirit, and daring was singing and acting alongside her students in Sprague Hall as Lady Billows in Britten’s Albert Herring,” Lalli said.

94, soprano

The legacy of Phyllis Curtin as a renowned artist and teacher is celebrated Renowned and continued annually when the American School of Music awards the Phyllis soprano Phyllis Curtin Career Entry Prize to the Curtin passed graduating singer who has demonstrated away on June 5, exceptional promise and talent for a 2016, at age 94. professional career. The recipients of From 1974 to the Curtin Prize emulate the artistic, 1983, she taught academic, and personal qualities for voice at the Yale which Phyllis Curtin is remembered School of Music, and loved. where she oversaw the opera program. Curtin also served as Master (now Head of College) of Branford College from 1979 to 1983.

89, conductor She was the first female Master of Branford College.

otto-werner mueller

During her career on the stage in the 1950s and ’60s, Curtin performed with the New York City Opera, and on the stages of many world-renowned opera houses.

Known for her fierce intelligence and musical curiosity, Curtin worked closely with many musicians across genres.

School of Music Professor Willie Ruff ’53bm ’54mm, said, “Phyllis Curtin was a great artist. The Mitchell-Ruff Duo’s performance of ‘Twenty by Cole’ [Porter] with her is remembered as one of the towering highlights of our concert career.” Curtin embraced the challenge of new work. She had close working partnerships with 20 th century composers, premiering numerous works including Benjamin Britten’s

Otto-Werner Mueller, professor of conducting at the Yale School of Music and music director of the Yale Philharmonia from 1973 to 1987, passed away at his home in Charlotte, North Carolina, on February 25, 2016. He was 89.

In a statement to the Yale School of Music community, Dean Robert Blocker said, “Under Otto-Werner Mueller’s artistic direction in the 1970s and ’80s, the Yale Philharmonia emerged as music at yale / spring 2017 —

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in memoriam

one of the nation’s leading university orchestras. His accomplishments with his orchestras and his talent for nurturing young conductors have influenced the careers and lives of his students at Yale, Juilliard, and Curtis — and indeed our musical landscape.”

Mueller was a commanding presence on and off the podium due to his physical stature — he stood six feet, seven inches tall — as well as his probing intellect and uncompromising musical standards.

In addition to attracting enthusiastic audiences to Woolsey Hall, Mueller and the Yale Philharmonia regularly recorded for NPR’s Performance Today, made frequent appearances at Carnegie Hall and Alice Tully Hall in New York City, and served for two seasons as the resident orchestra of the Evian (France) Music Festival.

Widely regarded as the most important conducting pedagogue of the past 50 years, Mueller’s approach to conducting technique and score analysis attracted a generation of talented conductors from around the world to study at Yale.

After leaving New Haven, he continued to teach at the Juilliard School in New York and at the Curtis Institute in Philadelphia, where he served on the faculty for 26 years until his retirement in 2012.

Born in Bensheim, Germany, in 1926, he immigrated to Canada in 1951, where he worked extensively for the Canadian Broadcasting Corporation. Before coming to Yale, he founded the Victoria Conservatory of Music in British Columbia and taught at the University of Wisconsin, Madison.

robert e. nagel jr.

91, trumpet

Trumpeter Robert E. Nagel Jr. passed away on June 5, 2016, at age 91. He was a member of the Yale School of Music faculty from 1957 to 1988, and was named professor

and the Contemporary Chamber Ensemble and at the Casals Festival in Puerto Rico, Yale Summer School of Music/Norfolk Chamber Music Festival, and Aspen Music Festival and School.

In 1957, Nagel joined the Yale School of Music faculty where he collaborated with other members of the brass faculty and performed with the New York Brass Quintet. For more than 30 years, the NYBQ performed in major concert venues across the United States and Europe. Nagel was also the founder of the International Trumpet Guild.

emeritus in 1988.

He is best known as the founder and director of the renowned New York Brass Quintet. In addition to paving the way for brass chamber music, Nagel was an active and highly respected performer as well as a prolific composer.

In 1959, Nagel founded a publishing company, Mentor Music, in an effort to make brass music more available to the public. He leaves a legacy of numerous seminal recordings including a 1961 recording of Stravinsky’s L’histoire du soldat (conducted by the composer) and a recording of Bach’s Brandenburg Concerto No. 2, BWV 1047 (conducted

by Pablo Casals).

Born on September 29, 1924, in Freehand, Pennsylvania, Nagel began studying trumpet, piano, and composition as a child. He studied composition at the Juilliard School with Peter Mennin and Vincent Persichetti and spent summers at Tanglewood, where he studied trumpet with George Mager of the Boston Symphony Orchestra and composition with Aaron Copland.

Working as a freelancer in New York City after the completion of his studies, Nagel worked with such celebrated conductors as Leopold Stokowski, Leonard Bernstein, Casals, and Stravinsky. During that time, he performed with the Bach Aria Group

The Yale School of Music also recognizes the passing of these faculty, alumni, colleagues, and friends: Richmond H. Browne ’57bm ’58mm Assistant Professor of Theory 1961–1968 Gustav Meier Assistant Professor of Ensemble Performance, and Director of the Yale Collegium Musicum 1960–1973 Charles C. Aschbrenner ’63mm Garry E. Clarke ’68mm James M. Deitz ’06mm ’07ad Margery A. Enix ’57bm Margaret D. Gidley ’58bm ’59mm Madlyne C. Guthrie ’53bm James E. Harrington ’75mm Frank K. Honey ’50bm ’52mm Harry L. Huff ’78mm Janine M. Kam ’84cert Pearl B. Levy ’41mus Betty Jane W. Olsson ’48bm Peter J. Re ’48bm Arthur D. Rhea ’48bm ’50mm

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contributors to the ysm alumni fund The School of Music is grateful for the generous support of the School's educational and artistic endeavors.

The following individuals have given a gift during the 2016 calendar year.

To make your gift, please visit yale.edu/givemusic.

1940s

Anonymous Florence G. Smith ’44bm Charles F. Fraker ’46bm Nina Ardito Gambardella ’47mus Reymour B. Rice ’48bm Aldo S. Parisot ’48mus ’70mah Reinhard G. Pauly ’48mm ’56phd Marie B. Nelson Bennett ’49bm Eckhart Richter ’49mm ’52bm ’53mm

1950s

Marjorie J. McClelland ’50mus William F. Toole ’50bm ’52mm Norine P. Harris ’52bm Cynthia T. Stuck ’52bm Edward H. Higbee, Jr. ’52bm ’53mm Gwendolyn H. Stevens ’52bm ’55mm Raymond Vun Kannon ’53ba ’54bm ’55mm Leonard F. Felberg ’53bm ’54mm Joanna B. Gillespie ’53bm ’54mm Donald Glenn Loach ’53bm ’54mm Jo Ann B. Locke ’53bm John A. Bauer, Jr. ’54bm ’55mm

In honor of David W. Sweetkind Galen H. Deibler ’54bm ’55mm Donald Miller, Jr. ’55ba ’60mm Elaine Troostwyk Toscanini ’55bm Elena G. Bambach ’55bm ’56mm William W. Ulrich, Jr. ’55bm ’57mm Gerda E. Bielitz ’56bm Joseph Lawrence Gilman ’56bm Joyce B. Kelley ’56bm ’57mm Dorothy C. Rice ’57mus Denis Mickiewicz ’57bm ’58ma ’67phd Ronald D. Simone ’57bm ’58mm Richard W. Lottridge ’58bm Joan M. Mallory ’59bm Linda L. Rosdeitcher ’59bm G. Lawrence Jones ’59mm

1960s

Sheila A. Marks ’60mm Thomas F. Johnson ’61ba ’67mm Peter J. Hedrick ’61mm William Lee Hudson ’61mm Werner G. Rose ’61mm Bernard Rubenstein ’61mm Haskell L. Thomson ’61mm Charlotte M. Corbridge ’62mus Raymond P. Bills ’62mm Sylvia W. Dowd ’62mm

Eiji Hashimoto ’62mm Linda T. Lienhard ’62mm James R. Morris ’62mm Peter P. D. Olejar ’62mm

In memory of Robert E. Nagel Florence Fowler Peacock ’62mm Hildred E. Roach ’62mm Grace Ann Feldman ’63mm Daniel M. Graham ’63mm Maija M. Lutz ’63mm Joyce M. Ucci ’63mm George S. Blackburn, Jr. ’64ba ’67mm Bruce G. McInnes ’64mm Robert Carpenter ’65ba ’68mm J. David Weinland ’65ba ’69mm Rosemary Colson ’65mm Alvin Shulman ’65mm Rheta R. Smith ’65mm Melinda K. Spratlan ’65mm ’71mma ’75dma Bryan R. Simms ’66ba ’69mm ’70mphil ’71phd Ethel H. Farny ’66mm John M. Graziano ’66mm ’70mphil ’75phd Patricia Grignet Nott ’66mm ’69mma ’76dma Lola Odiaga ’66mm Elizabeth Sawyer Parisot ’66mm ’70mma ’73dma Timothy M. Sullivan ’66mm ’71mma ’79dma Donald F. Wheelock ’66mm Joseph L. Wilcox ’66mm Jeff Fuller ’67ba ’69mm Howard N. Bakken ’67mm W. Ritchie Clendenin, Jr. ’67mm Richard L. De Baise ’67mm ’70mma Pauline Blank Fearn ’67mm Joan Maurine Moss ’67mm Abby N. Wells ’67mm Richard E. Killmer ’67mm ’71mma ’75dma Carol F. Lieberman ’67mm ’70mma ’74dma Vincent F. Luti ’67mm ’70mma ’78dma David S. Malkus ’68ba Frank V. Church ’68mm ’69mma Richard F. Green ’68mm ’69mma ’75dma Ralph K. Williams ’68mm David N. Rosen ’69llb Syoko Aki Erle ’69mm Helen B. Erickson ’69mm Helen K. Hui ’69mm Jane P. Logan ’69mm Paige E. Macklin ’69mm

music at yale / spring 2017 —

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contributors to the ysm alumni fund The School of Music is grateful for the generous support of the School's educational and artistic endeavors.

The following individuals have given a gift during the 2016 calendar year.

To make your gift, please visit yale.edu/givemusic.

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1970s

Wendy S. Schwartz ’70mat ’71mm Jill Shires ’70mma Elizabeth Ward ’70mma Anita La Fiandra MacDonald ’70mm Allan D. Vogel ’71mma ’75dma Preethi I. de Silva ’71mma ’76dma Mark R. Kroll ’71mm Evelyn K. Lee ’71mm David Lasker ’72ba ’74mm Ronald A. Crutcher ’72mma ’79dma

In honor of Aldo S. Parisot David B. Johnson ’72mma Chouhei Min ’72mma Richard S. Steen ’72mma ’78dma Julie Margaret Stoner ’72mm Rodney A. Wynkoop ’73ba ’80mma ’85dma David B. Baldwin ’73mm ’74mma ’79dma Gene Crisafulli ’73mm Vincent P. Oneppo ’73mm Sharon L. Ruchman ’73mm Frank Shaffer, Jr. ’73mm ’75mma ’80dma Michael C. Borschel ’74mma ’79dma Robert L. Hart ’74mm Janne E. Irvine ’74mm Permelia S. Sears ’74mm Kenneth D. Singleton ’74mm ’75mma ’81dma Antoinette C. Van Zabner ’74mm ’75mma Lori Laitman Rosenblum ’75ba ’76mm Michael C. Tusa ’75ba ’76mm Nansi E. Carroll ’75mm ’76mma ’82dma Hall N. Goff ’75mm Barbara M. Westphal ’76cert M. Susan Brown ’76mm Richard A. Konzen ’76mm ’77mma ’84dma Dale Thomas Rogers ’76mm Donald S. Rosenberg ’76mm ’77mma Steven L. Rosenberry ’76mm Robert W. Weirich ’76mm ’81dma Thomas Newman ’77ba ’78mm Philip D. Spencer ’77mm Leslie Van Becker ’77mm Mary J. Greer ’78ba ’86mm James M. Perlotto ’78bs

In honor of Serena S. Blocker Marita Abner ’78mm Cecylia B. Barczyk ’78mm Jerrold Pope ’78mm John P. Varineau ’78mm Sharon Dennison ’79mm Deborah Dewey ’79mm Susan Bell Leon ’79mm William A. Owen, III ’79mm Jan Radzynski ’79mm ’80mma ’84dma Marvin Warshaw ’79mm ’80mma

1980s

Peter M. Marshall ’80mma ’85dma Gary Crow-Willard ’80mm David M. Kurtz ’80mm M. Teresa Beaman ’81ba ’82mm

In memory of Thomas Nyfenger Marie Jureit-Beamish ’81mm ’83mma ’85dma

In honor of Lindsay J. Garritson Stephen B. Perry ’81mm Susan Rotholz ’81mm Regan W. Smith ’81mm Christopher P. Wilkins ’81mm Elaine G. Chu ’82ba David Calhoon ’82mm Lisa Wiedman Yancich ’82mm Aaron Jay Kernis ’83mus James R. Barry ’83mm Theresa Nedry-Molinaro ’83mm Violeta N. Chan-Scott ’84mm Edward H. Cumming, III ’84mm ’85mma ’92dma Gregory M. Peterson ’85mm Kevin J. Piccini ’85mm Melissa Kay Rose ’85mm Timothy D. Taylor ’85mm

In memory of Keith L. Wilson Carol Kozak Ward ’85mm

In memory of Felix Kozak Barbara J. Hamilton-Primus ’86mma ’93dma

In memory of Jesse L. Levine Nicholas Robert Smith ’86mm Jessica K. Liebowitz ’87ba Tammy L. Preuss ’87mm Mark Edward Daniel ’88mm Edward Duffield Harsh ’88mm ’92mma ’95dma Jennifer Louise Smith ’88mm Irina Faskianos DePatie ’89ba ’90mm Robert Scott Satterlee ’89mma ’94dma Genevieve Feiwen Lee ’89mm ’90mma ’94dma

1990s

Siu-Ying Susan Chan ’90mm Kirsten Peterson ’90mm Benjamin Carey Poole ’90mm Melvin Chen ’91bs Marco E. Beltrami ’91mm Amy Feldman Bernon ’91mm Eva Marie Heater ’91mm Thomas G. Masse ’91mm ’92ad

In honor of Robert L. Blocker

contributors to the ysm alumni fund Svend J. Ronning ’91mm ’93mma ’97dma Carolyn A. Barber ’92mm Seunghee Lee ’92mm ’94dma Ferenc Xavier Vegh, Jr. ’92mm Gregory Christopher Wrenn ’92mm Inbal Segev Brener ’93cert Mahoko Eguchi ’93mm ’94mma ’00dma Jill A. Pellett Levine ’93mm ’94ad Julie Anne Bates ’94mm Bonjiu Koo ’94mm ’95ad Ole Akahoshi ’95cert David James Chrzanowski ’95mm Eleanor Sandresky ’95mm Ayako Tsuruta ’95mm ’96ad Cheryl Rita Wadsworth ’95mm Wei-Yi Yang ’95mm ’96ad ’99mma ’04dma Maureen L. Hurd Hause ’96mm ’97mma ’02dma Peter M. Miyamoto ’96mm ’97ad Mark E. Bergman ’97mm Melissa J. Marse ’98mm Joanna C. Mongiardo ’98mm Alexander Sylvain Bauhart ’99mma Jesus Castro-Balbi ’99mm Pamela Getnick Mindell ’99mm ’00mma ’05dma

2000s

Stephanie Yu Lim ’00ba Andrew Elliot Henderson ’01mm Jennie Eun-Im Jung ’01mm ’02ad Hsing-Ay Hsu Kellogg ’01mm Mary Wannamaker Huff ’01mm Daniel Dixon Kellogg ’01mm ’03mma ’07dma Nora Anderson Lewis ’01mm Robert M. Manthey ’01mm John C. Orfe V ’01mm ’02mma ’09dma Yves Raymond Dharamraj ’02ba ’03mm Paul Abraham Jacobs ’02mm ’03ad Christopher Matthew Lee ’02mm Katherine Mireille Mason ’04mm Jonathan Harold Taylor ’04mm Ah-Young Sung ’04mm ’05ad Kan Chiu ’05mm Sarita Kit Yee Kwok ’05mm ’06ad ’09dma Conor R. Nelson ’05mm Hando Nahkur ’06cert Emily Margaret Boyer ’06mm Vincent A. Carr ’06mm Colin D Lynch ’06mm Paul Daniel Murphy ’06mm

In memory of John Richard Miller

Jie Gong ’07mm Thomas Alfred Bergeron, II ’08mm ’09ad Dominick DiOrio, III ’08mm ’09mma ’12dma

In honor of Marguerite Brooks Christian Mark Lane ’08mm Naftali Yitzhak Schindler ’08mm ’09mma Laura Catherine Atkinson ’09mm Paul W. Cho ’09mm ’10ad Michael Patrick Compitello ’09mm ’12mma ’16dma Thomas Jared Stellmacher ’09mm Donna Yoo ’09mm

In memory of John Richard Miller

2010s

Neena Deb-Sen ’10ba ’11mm Tian Hui Ng ’10mm Lindsay Jane Garritson ’10mm ’11ad Ruben Rodriguez ’11mm Jamie Brooke Forseth ’12mba Wai Lau ’12ad Justin Mark Tierney ’12ad Samuel R. Backman ’12mm Brittany Michele Lasch ’12mm Xiang Xue ’13mba John S. Allen ’13mm Minsol Cho ’13mm ’14ad Heejin Chang ’13mm Alissa B. Cheung ’13mm Jeffrey S. Arredondo ’13mm ’16mma Jessica Li ’13mm Jane Mitchell ’13mm Solomon Louis Silber ’14ba ’16mm Stephanie Anastasia Tubiolo ’14ba ’16mm Thomas Andrew Berry ’14bs ’16mm Zhenni Li ’14ad Eric Anderson ’14mm Noah J. Cotler ’14mm Benjamin P. Hoffman ’14mm Edouard H. E. Maetzener ’14mm Evanna Chiew ’15mm ’16ad Inyoung Hwang ’15mm ’16mma Daniel Stone ’15mm ’16mma Jing Yang ’15mm ’16mma Stefan Chaplikov ’16ad Ron Cohen Mann ’16ad Stephen P. Gamboa-Diaz ’16ad John M. Leibensperger ’16ad Sun-A Park ’16ad Yefim S. Romanov ’16ad Suliman Tekalli ’16ad Johnathan Weisgerber ’16ad Kenta Akaogi ’16mm

Krists Auznieks ’16mm Katherine Balch ’16mm Dominic A. Cheli ’16mm Julia Clancy ’16mm Mary Copely ’16mm Natalie Dietterich ’16mm Reese Farnell ’16mm George Fergus ’16mm Sarah Ford ’16mm Yifei Fu ’16mm Carl Gardner ’16mm Levi G. Jones ’16mm Pall Q. Kalmansson ’16mm William B. Kennedy ’16mm Matthew G. Keown ’16mm Aaron Krumsieg ’16mm Herman Leon Martinez ’16mm Ting Li ’16mm Dylan Mattingly ’16mm Conlan K. Miller ’16mm Yurie Mitsuhashi ’16mm Patrick J. Murray ’16mm Mari Oka ’16mm Sarah L. Paquet ’16mm Aaron M. Peisner ’16mm Cornelia Sommer ’16mm Luke D. Stence ’16mm Elly Toyoda ’16mm An T. Tran ’16mm Liliya Ugay ’16mm Noel Y. Wan ’16mm Jiazhi Wang ’16mm Thomas L. Williford ’16mm Ludomil A. Wojtkowski ’16mm Yen-Chen Wu ’16mm Jinxiang Yu ’16mm

Friends of YSM

Serena and Robert Blocker Leroy L. and Hope S. Bruff Frank M. and Toshi Kimovec Betsy Mak

Special thanks to members of the Class of 2016 for your thoughtful and inspired gift, which has established an important tradition at the Yale School of Music. music at yale / spring 2017 —

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credits writers

David Brensilver

Lucile Bruce Felice Doynov Noah Kay Valerie Sly Donna Yoo

photography Beinecke Digital Studio

Fly on the Wall Juergen Frank Matthew Fried Ben Gibbs Bob Handelman Graham Hebel Eugene Hutchinson Chris Lee Michael Marsland Cade Martin and So & So Harold Shapiro

design Katie Dune

music at yale is a publication of the

Yale School of Music P.O. Box 208246 New Haven, CT 06520-8246 music.yale.edu musicnews@yale.edu

Cover photo by Bob Handelman

music at yale / spring 2017 —

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P.O. Box 208246 New Haven, ct 06520-8246

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