Music at Yale Spring/Summer 2019
125th Anniversary Edition 1
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Music at Yale Spring/Summer 2019
From the Dean
Dear YSM alumni and friends, Throughout the 2019-2020 academic year, several important anniversaries will be celebrated. The University, with alumni and friends, will observe the 50th anniversary of women being admitted to Yale College, the 150th anniversary of women enrolling at a professional school at Yale, and the 125th anniversary of the School of Music. These occasions are historically significant for Yale, for each reflects its own account of the struggle to be recognized, to be included. While we look back with pride on the accomplishments of many, it is the promise and hope for the future that should capture our attention. The School of Music and the University will celebrate the lives and work of alumni who, through all the seasons of Yale, led us to this moment of opportunity. YSM’s Convocation on September 5 will be the first celebratory event of the 125th anniversary year. University President Salovey and President Emeritus Levin will join us on this occasion and offer us their thoughts and insights. The singular purpose of this event, as always, is to welcome and install the entering class and to encourage them to use the gift of the next 750 days at Yale to consider, engage, and forge a pathway for their talents that will make a difference in the world. Some of these themes will be further explored as we resume the practice of hosting YSM reunions, a time for connecting with former classmates and the current YSM community. The brightness of our future is reflected in the appointment of six new faculty members and several new staff who bring to YSM distinctive talents and experiences that will expand our artistic and intellectual horizons. The excitement of a new entering class on our 125th anniversary year is multiplied by the arrival of these new colleagues. Together, our community will share our talents with friends and audiences in New Haven and beyond. Martin Jean, the Director of the Institute of Sacred Music, initiated a conversation last year about a collaborative tour with David Hill and the London Bach Choir, the Yale Schola Cantorum (ISM), and the Yale Philharmonia. I am delighted that this venture will take place in March 2020, and I hope you will join us as we bring music to several cities on the East Coast. As we chart our future, we must intentionally sustain and strengthen the School’s mission to prepare students “for service to the profession and to society.” An impassioned commitment to this charge has always been the foundation of music at Yale. Today, as we celebrate the School’s history, we do so with gratitude for those who have brought us this far and with appreciation for those who will take us into the future. Warmest regards,
Robert Blocker The Henry and Lucy Moses Dean of Music 4 Music at Yale
Contents
04 From the Dean 06 Staff & Faculty Appointments 08 Honors Banquet 09 Commencement 10 Concert News 11 Fall 2019 Preview 12 Faculty News 14 Student News 16 Faculty Retirements 19 Alumni Reunion Save the Date 20 Announcements 22 Spotlights 24 Feature: Composition Program Fosters Individuality
28 Feature: The School of Music’s Beginnings 34 Class Notes 44 Recordings & Publications 46 In Memoriam 47 YSM Alumni Fund 48 Giving Spotlight 49 Planned Giving 50 YSM Honor Roll of Donors
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Staff & Faculty Appointments
Lynette Bowring Assistant Professor Adjunct of Music History Dr. Lynette Bowring was appointed Assistant Professor Adjunct of Music History at the Yale School of Music and will teach survey courses and electives in music history. Dr. Bowring has been serving as an adjunct faculty member at The Juilliard School. She has also taught at Westminster Choir College and in the Music Department at Rutgers University. Dr. Bowring specializes in the instrumental repertoire of the Italian Baroque, with secondary interests that include 20th-century music, and has contributed to a number of scholarly journals. Current projects include an article on the implications of musical literacy for 17th-century instrumentalists in a forthcoming issue of Early Music, and a coedited essay collection, Music and Jewish Culture in Early Modern Italy. Dr. Bowring earned a Ph.D. in musicology from Rutgers University, a master of music degree in musicology from the University of Manchester (UK), and a bachelor of music degree from the Royal Northern College of Music (UK), where she studied violin. She continues to perform as a Baroque violinist. Kevin Cobb Visiting Associate Professor Adjunct of Trumpet Kevin Cobb was appointed Visiting Associate Professor Adjunct of Trumpet and will begin teaching at YSM in fall 2019. Cobb has performed with such renowned ensembles as the 6 Music at Yale
American Brass Quintet, New York Philharmonic, American Composer’s Orchestra, Cleveland Orchestra, Metropolitan Opera Orchestra, New York New Music Ensemble, and Philadelphia Orchestra. In addition to his solo recording One: American Music for Unaccompanied Trumpet and those made with the American Brass Quintet, Cobb appears on recordings by the St. Louis Symphony Orchestra and the Metropolitan Opera Brass. Cobb also holds teaching positions at The Juilliard School, New York University, and SUNY Stony Brook, and at the Aspen Music Festival and School and the Colorado Summer Music Festival.
Kevin Cobb
Fallon Colavolpe Senior Administrative Assistant Fallon Colavolpe joined the YSM staff as Senior Administrative Assistant in the Dean’s Office. She most recently worked as General Manager of School of Rock Fairfield, a youth and adult music education and performance program. During her tenure there, she participated in the program as a bass guitarist and vocalist in the adult band. Colavolpe, who holds a degree in psychology from Southern Connecticut State University, supports the Dean’s Office and the offices of Communication and Development. Bernarda Fink Lecturer in Voice Mezzo-soprano Bernarda Fink will join the YSM and ISM faculties as Lecturer in Voice for the fall 2019 semester while faculty tenor James Taylor is
Bernarda Fink
on sabbatical. Acclaimed for her musical versatility, Fink’s repertoire ranges from ancient to contemporary music. She has appeared with such orchestras as the Vienna Philharmonic Orchestra, Berlin Philharmonic, Royal Concertgebouw Orchestra, and Cleveland Orchestra. Fink has also worked with such wellknown conductors as Nikolaus Harnoncourt and John Eliot Gardiner and has an impressive discography of releases ranging from Monteverdi and Rameau to Schubert and Bruckner. Many of these recordings have been awarded such coveted prizes as the Diapason d’Or and the Grammy Award.
Staff & Faculty Appointments
Boris Slutsky
Seth Monahan
Dionne James Operations Associate Dionne James joined the staff as Operations Associate. James, who graduated from Hill Regional Career High School, worked previously for Securitas and came to YSM through New Haven Works. Outside of Yale, James works as a peer-support volunteer for the National Multiple Sclerosis Society, communicating with people around the United States who have recently been diagnosed with the disease. Jon Laukvik Visiting Professor of Organ Distinguished organist and pedagogue Jon Laukvik will join
the YSM and ISM faculties as Visiting Professor of Organ for the 2019-2020 academic year. Fluent in a broad collection of organ repertoire, Laukvik taught at the State University of Music and Performing Arts Stuttgart for more than 30 years and has held visiting professorships at the Norwegian Academy of Music and the Royal Academy of Music in London. He has served as a juror at virtually every major international organ competition in the world and has taught courses and seminars throughout Europe and Asia. Laukvik has contributed two volumes to the series Historical Performance Practice in Organ Playing, published by CarusVerlag, Stuttgart. Christina Linsenmeyer Associate Curator, Yale Collection of Musical Instruments Dr. Christina Linsenmeyer has been appointed Associate Curator at the Yale Collection of Musical Instruments. Dr. Linsenmeyer previously worked as a researcher at the Sibelius Academy at the University of the Arts Helsinki, in Finland. Before that, she was a founding curator and served as interim Head of Curatorial Affairs at the Musical Instrument Museum in Phoenix, Ariz. Seth Monahan Visiting Associate Professor Adjunct of Music Analysis and Musicianship Dr. Seth Monahan was appointed Visiting Associate Professor Adjunct of Music Analysis and Musicianship at the School of Music. He previously served as Associate Professor of Music
Theory and Chair of the Music Theory Department at the University of Rochester’s Eastman School of Music. Dr. Monahan has earned widespread acclaim for his publications, lectures, and conference presentations. His research focuses on the relationships that exist between form, narrative meaning, and interpretation. Dr. Monahan earned a bachelor of music degree in composition from the University of the Arts in Philadelphia, where he also studied guitar, a master of music degree in music theory from Temple University, and a Ph.D. from Yale University. Boris Slutsky Visiting Professor in the Practice of Piano Pianist Boris Slutsky will join the YSM faculty as a Visiting Professor in the Practice of Piano for the 2019-2020 academic year, during which he will teach applied piano and coach chamber music. A native of Moscow, Slutsky won first prize at the 1981 William Kapell International Piano Competition. He has since appeared as a soloist with the world’s major orchestras and has presented recitals and master classes on nearly every continent. An avid chamber musician, Slutsky’s many musical collaborations include a critically acclaimed Naxos recording of Schumann’s Sonatas for Violin and Piano with Ilya Kaler. Slutsky is on the faculties of the Peabody Conservatory of the Johns Hopkins University and the Eastman School of Music at the University of Rochester.
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Honors Banquet
Prizes awarded at Honors Banquet At the School’s annual Honors Banquet in May, Dean Robert Blocker presented awards to graduating and returning students and recognized three faculty members for their contributions to and beyond the YSM community. Faculty trumpeter Allan Dean, who retired after 30 years at the School, received the Gustave Stoeckel Award for Excellence in Teaching. Blocker said Prof. Dean was always ready to perform in service to the School “with love and affection” for the music he was making. “It’s been a great run,” Dean said. Blocker presented faculty cellist Ole Akahoshi with the Ian
Mininberg Distinguished Service Award, describing Akahoshi as a “distinguished alumnus” of the School and a “wonderful human being.” Akahoshi led the Yale Cellos this year in the absence of longtime Prof. Aldo Parisot, who retired in June 2018 after 60 years on the School’s faculty and passed away in December at age 100. Akahoshi dedicated the award to the Yale Cellos, saying, “We all miss Mr. Parisot. He would have been proud.” William Boughton, a lecturer at YSM and Conductor of the Yale Symphony Orchestra, received the School’s Cultural Leadership Citation in large part for his artistic leadership of the New
Students, faculty, staff, and guests celebrate the end of the academic year. 8 Music at Yale
Haven Symphony Orchestra. The 2018-2019 season was Boughton’s final one as Music Director of the NHSO, a position to which he was appointed in 2007. During his tenure, the NHSO twice earned an ASCAP Award for Adventurous Programming. Boughton “reignited the New Haven Symphony Orchestra,” Blocker said. “Let tonight be a harbinger of what is to come as we celebrate your collective futures,” Blocker told graduating students. At the conclusion of the awards ceremony, students remained at the Omni New Haven Hotel at Yale for an after-party.
Commencement
Commencement focuses on the artist’s role In his remarks to members of the Class of 2019 during the School of Music’s 126th Commencement, Dean Robert Blocker told graduates, “The world needs you! It is gasping for the oxygen that your talent and sense of justice can provide.” Blocker lauded efforts to make the YSM community a more welcoming place for those who call the School home, even for a few years. He cited OutLoud, the School’s first-ever affinity group, which seeks to create a safe space for LGBTQ students, faculty, and staff. He also praised the YSM Black Collective, whose leadership, “with courage, kindness, and restraint, called on our community to become better educated about unconscious and implicit bias.” In pointing to the School’s commitment to advocacy and action, Blocker referenced the Music in Schools Initiative and the School’s Declaration on Equity in Music for City Students. Before awarding diplomas to 110 graduates, Blocker presented three student prizes. Composer Miles Walter ’20MM was awarded the Harriet Gibbs Fox Memorial Prize, which is given to the student who has achieved the highest grade-point average during the student’s first year at the School. Composer Frances Pollock ’19MM ’24DMA was awarded the Horatio Parker Memorial Prize, which is given to the student who best fulfills Dean Parker’s lofty musical ideals. And violist Marta Lambert ’19MM was presented with the
Dean’s Prize, the School’s highest excellence award. In keeping with tradition, students, faculty, and staff sang Schubert’s An die Musik, with faculty trumpeter Allan Dean and faculty and University organist Thomas Murray (on piano) performing instrumental parts. For Dean and Murray, both of whom retired at the end of the academic year, the performance marked the end of decades-long careers at Yale.
Graduates participate in the School’s 126th Commencement. 125th Anniversary Edition 9
Concerts
Memorable performances mark spring semester
Left: Principal Conductor Peter Oundjian leads the Yale Philharmonia in a performance in Woolsey Hall; right: soprano Lauren McQuistin, as Tatiana, in Yale Opera’s production of Tchaikovsky’s Eugene Onegin.
The Yale Philharmonia, led by Principal Conductor Peter Oundjian, kicked off the new year with a spirited performance of Shostakovich’s Symphony No. 11, “The Year 1905.” The symphony was commissioned by Soviet leaders to mark the 50th anniversary of Bloody Sunday— January 22, 1905—a day on which members of the working class approached the Winter Palace in St. Petersburg asking that working and living conditions be improved, only to be massacred by Imperial troops. Shostakovich, who endured the oppression that gripped Russia/the Soviet Union for most of his life, captures in the symphony the struggle of the many against the power of the few. Oundjian called it “one of the most powerful pieces ever written.”
10 Music at Yale
In January, as part of the Oneppo Chamber Music Series, YSM’s ensemble-in-residence, the Brentano String Quartet, performed a program called “Lamentations.” The program, Brentano violinist Mark Steinberg said, “celebrates that art of cathartic expression in songs of lamentation from Purcell through Bartók and Carter, evincing strength and vulnerability in equal measure, through the intimacy and immediacy of the string quartet.” In February, Yale Opera presented a new production of Tchaikovsky’s Eugene Onegin, an operatic treatment of Pushkin’s beloved verse novel, in New Haven’s Shubert Theatre. Led by acclaimed stage director Paul Curran and accompanied by
the Yale Philharmonia under the direction of conductor Perry So, Yale Opera singers introduced audiences to the ever-timely tale of youthful passion and lasting regret. This year’s Yale Cellos concert in April was directed by faculty cellist Ole Akahoshi and paid tribute to the memory of longtime faculty cellist Aldo Parisot, who retired in June 2018 and passed away in December 2018. The concert followed a celebration of Prof. Parisot’s extraordinary life and career that included tributes and remembrances offered by his friends, colleagues, and family. Prof. Parisot taught at YSM from 1958 to 2018 and founded the Yale Cellos in 1983.
Concerts
Fall 2019 concert preview The Yale Philharmonia will open its 2019-2020 season with a performance of Gustav Mahler’s Fifth Symphony under the direction of Principal Conductor Peter Oundjian. Bruno Walter, a legendary conductor and Mahler’s one-time assistant, wrote of the symphony, “The world has now a masterpiece which shows its creator at the summit of his life, of his power, and of his ability.” The Philharmonia’s opening-night program will also include a performance of Mozart’s Sinfonia concertante in E-flat major, featuring bassoonist Frank Morelli, horn player William Purvis, clarinetist David Shifrin, and oboist Stephen Taylor, all of whom are members of the YSM faculty. In October, guest conductor Ludovic Morlot, who recently stepped down as Music Director of the Seattle Symphony, with which he won a Grammy Award, will lead the Yale Philharmonia in a performance of Prokofiev’s Fifth Symphony
and music by Debussy and Szymanowski.
pianists Robert Blocker, Melvin Chen, and Boris Slutsky.
This season’s Oneppo Chamber Music Series presents performances by compelling ensembles of varied instrumentation, including the Akropolis Reed Quintet, whose playing was described by the San Francisco Chronicle as “pure gold, shot through with tenderness and grace.” This season also features a performance by the Horszowski Trio of Dvořák’s “Dumky” Trio, Elliott Carter’s Epigrams, and Shostakovich’s Piano Trio in E minor, Op. 67.
The first concert of the 2019-2020 Ellington Jazz Series welcomes the Ignacio Berroa Trio to Yale. Legendary trumpeter Dizzy Gillespie once described Berroa as “the only Latin drummer in the world in the history of American music that intimately knows both worlds: his native Afro Cuban music as well as Jazz.”
Russian pianist Sofya Gulyak will kick off this year’s Horowitz Piano Series. The Guardian has described Gulyak as “a fearless pianist, never afraid to scale the most technically demanding heights of the repertoire and equally proud to wear her heart on her sleeve.” The first semester also features recitals by faculty
Clockwise: The Akropolis Reed Quintet; conductor Ludovic Morlot; and pianist Sofya Gulyak. 125th Anniversary Edition 11
News
Faculty In spring 2019, faculty choral conductor Jeffrey Douma presented conducting master classes in the graduate choral programs at the Royal Academy of Music in London and the Hochschule der Künste in Zurich. In the summer, he appeared as a guest conductor with the Youth Choir at the Hong Kong Youth Music Camp and led performances of choral and orchestral works by faculty composer Christopher Theofanidis ’94MMA ’97DMA with the Yale Alumni Chorus at Greece’s Nostos and Nafplion Festivals. Faculty harpist June Han ’96MM ’97AD was featured in a concert at the Chesapeake Chamber Music Festival that showcased harp and flute. Han performed alongside flutist Tara Helen O’Connor on a program that included Ravel’s Introduction and Allegro for harp, flute, clarinet, and string quartet, and David Bruce’s The Eye of Night for flute, viola, and harp. Faculty composer Aaron Jay Kernis ’83 was a featured artist at the 39th annual New Music Festival at Bowling Green State University last October. His Violin Concerto won Grammy Awards in the “Best Contemporary Classical Composition” and “Best Classical Instrumental Solo” categories. New CDs include The Kernis Project: Debussy on Sono Luminus, featuring the world-premiere recording of String Quartet No. 3 (“River”) with the Jasper Quartet. Kernis’s Fourth Symphony (“Chromelodeon”) was recently performed and recorded by the Nashville Symphony. 12 Music at Yale
Faculty composer David Lang ’83MM ’89DMA premiered his work The Mile-Long Opera: a biography of 7 o’clock, in collaboration with architect Liz Diller in October. The performance took place along the High Line in New York City, with 1,000 singers spread across the park, and featured text by poets Anne Carson and Claudia Rankine. Lang’s new opera, prisoner of the state, received its premiere in June as part of “Music of Conscience,” the New York Philharmonic’s politically minded music series. Music-history professor Markus Rathey was interviewed by Sveriges (Swedish) Radio for a documentary on Johann Sebastian Bach’s St. Matthew Passion in May. He also gave a pre-concert lecture for a performance of Bach’s “Christmas” Oratorio by the Boston Symphony Orchestra
and was invited to give lectures at conferences at Harvard University, the University of Toronto, and Oxford University. The Yale Symphony Orchestra performed Rainbow Body by faculty composer Christopher Theofanidis in October. The piece was commissioned by the Houston Symphony, premiered in 2000, and won the 2003 London Masterprize competition. Theofanidis wrote that the piece was inspired by chant melodies of medieval composer and mystic Hildegard von Bingen. Rainbow Body takes its title from the Buddhist concept of the same name—the dissolution into light of an enlightened being’s body after death.
News
Clockwise from top left: faculty composer Aaron Jay Kernis; music-history professor Markus Rathey; faculty harpist June Han; faculty composer Christopher Theofanidis and the Yale Philharmonia rehearse his Rainbow Body; and faculty choral conductor Jeffrey Douma. Left: David Lang’s The Mile-Long Opera. Photo by Iwan Baan.
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News
Students The Los Angeles Philharmonic and the city of Berlin commissioned works by composer Ethan Braun ’21DMA. The works received their premieres this past winter. Braun’s transdisciplinary concerto for jazz piano, electronics, and video, commissioned by The Shed’s Open Call program in New York, received its premiere in June. Harpist Héloïse Carlean-Jones ’20MM is a Tanglewood Music Center Fellow this summer. In May, the United States Marine Band premiered Usonian Dwellings by composer Michael Gilbertson ’13MM ’21DMA on its concert tour of Japan. Gilbertson accompanied the Marine Band on the tour as a guest artist. Pianist Hilda Huang ’19MM ’20MMA was named a 2019 Paul and Daisy Soros Fellow. Percussionist Ji Su Jung ’19MM ’20AD will join the Peabody Conservatory percussion faculty on a visiting basis for the 20192020 academic year. Violinist Bora Kim ’16MM ’17MMA ’23DMA was granted a three-year loan of a 1747 Palmason Januarius Gagliano violin by the Canada Council for the Arts’ Musical Instrument Bank. She performed at Carnegie Hall in November with the Sejong Soloists. Composer Ryan Lindveit ’19MM ’20MMA won Symphony in C’s Young Composers’ Competition for his orchestral work Pray Away. Symphony in C performed Pray 14 Music at Yale
Away in Camden, N.J., in May.
Hartford Chorale in December.
Composers Ryan Lindveit ’19MM ’20MMA, Paul Mortilla ’20MM, and Miles Walter ’20MM were awarded Charles Ives Scholarships by the American Academy of Arts & Letters.
Conductor Oscar Osicki ’20MM launched Discovering Classical Music, a podcast that examines history, form, and recommended recordings. He also produced an educational YouTube series called Inside the Score.
Organists Chase Loomer ’20MM and Grant Wareham ’20MM were named semifinalists at the 2019 Longwood International Organ Competition at Longwood Gardens in Kennett Square, Penn. They competed for the $40,000 Pierre S. du Pont First Prize in June.
In March, soprano Nola Richardson ’20DMA won the Grand Rapids Bach Festival’s $10,000 Keller Award and that evening, only hours after the competition, performed as the soprano soloist in Bach’s A-minor Mass with the Grand Rapids Symphony.
Pianist Yun Lu ’20MM was one of eight semifinalists at the 2018 Geneva International Music Competition. David McNeil ’22DMA was appointed Assistant Professor of Music and Director of Choral Studies at Colorado Christian University, where he oversees the choral program, directs the University Choir and other ensembles, and teaches conducting. Violinist Julia Mirzoev ’20MM won third prize and Best Performance of the Commissioned Work at the Irving M. Klein International String Competition in June. Last November, Mirzoev performed Mozart’s Sinfonia concertante with the Durham Youth Orchestra in Ontario, Canada. Laura Nielsen ’20MM performed as the soprano soloist in Handel’s Messiah with the Waterbury Symphony Orchestra and
Organist David Simon ’17MM ’23DMA was appointed organist at St. James Cathedral in Toronto. Simon won First Prize and the Audience Prize at the University of Michigan’s Organ Improvisation Competition in September. Pianist Gabriele Strata ’19MM ’20MMA won the 2018 Venice Prize (Premio Venezia) Piano Competition. Composer Liliya Ugay ’16MM ’22DMA was appointed Assistant Professor of Composition at Florida State University. Ugay was a 2019 Rome Prize finalist, received an ASCAP Morton Gould Award, accepted a commission from the Washington National Opera American Opera Initiative, was named a Nashville Symphony Composer Lab Fellow and a Baumgardner Fellow at the Norfolk Choral Festival, and was selected as an American Lyric Theater composer-in-residence.
News
Last December, the Albany Symphony premiered a new work for orchestra by composer Benjamin Wallace ’14MM ’21DMA titled Chocolate Waltzes. The piece and concert were dedicated to the memory of Dr. Heinrich Medicus, who was an Albany Symphony patron. Pianist Po-Wei Ger ’20MM competed in the 2018 Panama International Piano Competition in October.
Clockwise from top: pianist Gabriele Strata; percussionist Ji Su Jung; composer Ethan Braun; conductor Oscar Osicki; violinist Bora Kim; violinist Julia Mirzoev; and soprano Nola Richardson. 125th Anniversary Edition 15
Retirements
Marguerite Brooks to retire after 2019-2020 academic year The Institute of Sacred Music announced in January that faculty choral conductor Marguerite Brooks plans to retire at the end of the 2019–2020 academic year. Prof. Brooks has had a long and celebrated career at Yale, leading the program in choral conducting and the Yale Camerata since 1985. As founding conductor of the Yale Camerata, one of Yale’s first campus/city arts collaborations, Brooks has led nearly 200 musical performances featuring some of the most innovative and wideranging programming in the field. The Camerata and its associated chamber choir have performed music from the middle ages to the present day. For more than 30 years, the Yale Camerata and Chamber Chorus
have encouraged students, faculty, and staff from virtually every department and school at Yale, along with hundreds of Connecticut residents, to be part of the ensemble and work with the Yale Glee Club, Yale Schola Cantorum, Yale Philharmonia, Yale Symphony Orchestra, Hartford Symphony Orchestra, Yale Concert Band, New Haven Chorale, and other groups. The Camerata has been featured on NPR’s Performance Today and on Connecticut Public Radio. Brooks has shared a broad vision for music-making with her students. Many graduates of her program have held positions of musical leadership at respected academic institutions and at major churches and cathedrals around the world. Among her
Faculty choral conductor Marguerite Brooks pictured conducting and with YSM Dean Robert Blocker.
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former students are the founding members of the Grammy-nominated choirs Conspirare, Roomful of Teeth, and Seraphic Fire. Brooks has also been active as a clinician and guest conductor in North and South America, Europe, and Asia. In 2015, YSM Dean Robert Blocker awarded Brooks the School’s Cultural Leadership Citation for distinguished service to music. In 2016, Brooks received the Connecticut chapter of the American Choral Directors Association’s Lifetime Achievement Award and her work was recognized by New Haven’s Barnard Environmental Studies School.
Retirements
Trumpeter Allan Dean retires after 30 years on faculty Over the course of 30 years at the Yale School of Music, faculty trumpeter Allan Dean shared with students, colleagues, and audiences alike the yield of his vast musical experience. “My gratitude for his collegiality and personal friendship is boundless,” YSM Dean Robert Blocker said. “Allan has contributed significantly to the artistic and academic maturation of the School of Music and to the discipline of music.” Dean retired at the end of the academic year. Dean has played with the most venerated brass ensembles, including the American Brass Quintet, Summit Brass, St. Louis Brass Quintet, and New York Brass Quintet, of which he was a member for nearly two decades. He was also a member of the
Yale Brass Trio with faculty horn player William Purvis and faculty trombonist Scott Hartman. For more than 20 years in New York City, Dean performed and recorded extensively, appearing on dozens of major-label releases of repertoire from early music to contemporary works. A founding member of Calliope: A Renaissance Band and the New York Cornet and Sackbut Ensemble, Dean’s exploration of early music and period instruments has included performances with the Waverly Consort and the Smithsonian Chamber Players.
a remarkably independent life in music that has epitomized curiosity and excellence in every aspect, every corner of music, to an extent that continues to inspire and instruct me on a daily basis.” Trumpeter and Yale School of Music alumna Jean Laurenz ’13MM ’14AD said that Dean, “more than anything, created an environment of camaraderie that allowed each of our individual artistic voices to flourish.”
“This is a profoundly sad moment for me, but also an extraordinarily inspiring moment,” Purvis wrote on Facebook. “Allan has pursued
Faculty trumpeter Allan Dean, pictured with his instrument and with YSM Dean Robert Blocker.
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Retirements
Faculty organist Thomas Murray retires Faculty organist and Yale University Organist Thomas Murray retired at the end of the academic year. A graduate of Occidental College, Murray joined the faculties of the School of Music and Institute of Sacred Music in 1981 after an eightyear tenure as organist and choirmaster at the Cathedral Church of St. Paul in Boston. In addition to teaching courses in organ literature and church music, Murray was involved at various times in the Marquand Chapel music program at the Yale Divinity School and served as organist and choir director at Battell Chapel. For 37 years, he taught graduate organ majors who have gone on to hold positions in the academy, in churches and cathedrals, and in the field of performance throughout the world.
His own performing career has taken Murray to all parts of Europe and to Japan, Australia, and Argentina. He has appeared as a soloist with the Pittsburgh, Houston, Milwaukee, and New Haven symphony orchestras, the National Chamber Orchestra in Washington, D.C., and the Moscow Chamber Orchestra. The American Guild of Organists named him its International Performer of the Year in 1986. In 2003, Murray received a diploma honoris causa as a Fellow of the Royal College of Organists in England, and in 2007 the Yale School of Music awarded him the Gustave Stoeckel Award for excellence in teaching. Murray is also the recipient of an honorary fellowship from the Royal Canadian College of Organists.
Faculty organist Thomas Murray pictured with colleagues and with students. 18 Music at Yale
SAVE the DATE YSM Alumni Reunion October 24–25, 2019 Join us for the Yale School of Music Alumni Reunion! In honor of the School’s 125th anniversary, we invite you back to campus to reconnect with schoolmates, faculty, and staff, take a tour of the expanded YSM campus, participate in discussions, engage in performances, hear remarks by Yale University President Peter Salovey, and revisit favorite spots in and around New Haven! Stay up-to-date by visiting music.yale.edu/alumni-reunion
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Announcements
Faculty composer Aaron Jay Kernis and three other alumni win Grammy Awards
Aaron Jay Kernis
Sheila Fiekowsky
Several Yale School of Music alumni, including faculty composer Aaron Jay Kernis ’83, took home Grammy Awards in February. Kernis’ Violin Concerto won Grammy Awards in the “Best Contemporary Classical Composition” and “Best Classical Instrumental Solo” categories. The concerto was recorded by violinist James Ehnes, conductor Ludovic Morlot, and the Seattle Symphony.
Owen Young
Violinist Sheila Fiekowsky ’75MM and cellist Owen Young ’86BA ’87MM earned Grammy Awards as members of the Boston Symphony Orchestra in the “Best Orchestral Performance” category for the ensemble’s recording of Shostakovich Symphonies Nos. 4 and 11. For that recording, which was engineered by Shawn Murphy, Nick Squire, and Tim Martyn, the Boston Symphony Orchestra also won in the “Best Engineered Album, Classical” category.
Erica Brenner
Erica Brenner ’89MM earned a Grammy Award for producing Songs of Orpheus, a recording that features tenor Karim Sulayman and Apollo’s Fire, conducted by Jeannette Sorrell, in a performance of music by Monteverdi, Caccini, d’India, and Landi. The recording won in the “Best Classical Solo Vocal Album” category. Brenner, who studied flute at YSM, is a member of the Recording Academy.
New Haven DREAMer contributes to Grammy-winning album Among those who contributed to Grammy Award-winning recordings this year is clarinetist Jesús Cortés-Sanchez, an alumnus of YSM’s Music in Schools Initiative and a former intern and Morse Summer Music Academy teaching artist. CortésSanchez graduated from the University of Connecticut in 2019 with a master’s degree in music education and will start teaching in the fall in West Hartford, Conn. He appears on John Daversa’s
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American Dreamers: Voices of Hope, Music of Freedom, which won a Grammy in the “Best Large Jazz Ensemble Album” category. The album features young musicians who are living, studying, and working in the United States through the Deferred Action for Childhood Arrivals (DACA) program. Cortés-Sanchez, who immigrated to the United States from Mexico as a child, contributed to three
tracks on the album: “Los Gatos (Deportees),” “Living in America,” and “Stars and Stripes.” American Dreamers weaves together music and narrative through instrumental and vocal performances. “I felt so connected with the stories,” Cortés-Sanchez said. “Sharing that little piece of me playing the clarinet was my way of sharing my story.”
Announcements
YSM percussionists and Oregon Symphony premiere faculty composer Christopher Theofanidis’ Drum Circles On March 9, the Oregon Symphony, led by Music Director Carlos Kalmar, premiered Drum Circles, a concerto for percussion quartet and orchestra by YSM faculty composer Christopher Theofanidis ’94MMA ’97DMA. Drum Circles was commissioned by a consortium of six organizations, including the Aspen Music Festival, Baltimore Symphony Orchestra, Colorado Symphony, Curtis (Institute) Symphony Orchestra, Hartford Symphony Orchestra, and Oregon Symphony. The title of the five-movement work stemmed from its stage setup, which featured the quartet— YSM alumni Ji Hye Jung ’09MM, Matthew Keown ’16MM ’22DMA, Svet Stoyanov ’07MM, and Sam Um ’17MM ’18MMA—and three of the orchestra’s percussionists surrounding the full ensemble in a large circle.
While composing Drum Circles, Theofanidis checked in periodically with the YSM percussionists, incorporating their feedback into the writing process. “The great thing about having a consortium of six orchestras as part of the premiere was that we could continue to tailor the piece and get it ‘just so,’” he said. “Much of Drum Circles centers around the joy of sound and collaboration,” Theofanidis said. “More than any other musicians, percussionists are collaborators. They were careful to let me know that they wanted their orchestralpercussion colleagues to very much be a part of the piece, not just a background group of players.”
instruments that most orchestras already have. “To have four players on the road with an enormous amount of gear didn’t make sense either artistically or economically and would have probably limited the opportunities for the work to get done,” he said. Still, the piece calls for some nonconventional instruments including amplified typewriter, wooden slats, and spring coils—“plenty of bells and whistles, so to speak,” Theofanidis said.
Theofanidis decided at the beginning that the piece should be accessible to orchestras—“portable” in the sense that it would require Christopher Theofanidis
Institute of Sacred Music opens new home This past academic year saw the opening of Miller Hall, the Institute of Sacred Music’s new home at 406 Prospect Street. The facility was named in honor of Clementine Miller Tangeman and J. Irwin Miller ’31BA, whose family foundation provided the $10 million gift with which the ISM was established in 1973. First
built as a private home in 1909 by architect and Yale College graduate Grosvenor Atterbury 1891BA, the building underwent extensive renovations in the spring of 2018 and opened in the fall. In February, the ISM held an opening gala featuring speeches, a poetry reading, and a musical performance by the Yale Voxtet.
Miller Hall is home to staff and faculty offices, classrooms, and student and faculty lounges. The building’s Tangeman Common Room serves as a space for student events and a venue for art installations, the first of which, Ineffable Manifestations, curated by Jon Seals ’15MAR, ran from February 22 through June 18.
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Spotlights
Composer Frances Pollock practices artistic activism When creating new works, composer Frances Pollock ’19MM ’24DMA feels a responsibility to serve more than just her creative impulses. Her opera Stinney: An American Execution, for which she wrote the score and co-wrote the libretto with Tia Price, is representative of how she intends to serve the wider world through her compositions. Stinney was staged at Florence Gould Hall in New York City in January in conjunction with the Prototype Festival, French Institute Alliance Française, and Harlem Stage. The opera received its premiere in 2015 in Baltimore and was described by The Baltimore Sun as a “bold, bracing opera that pulls no punches and never flinches.” “Part of our audience came to the
show because of their profound dedication to new music,” Pollock said of the Baltimore premiere. “The other part came out of a profound dedication to the fight for human rights. I caught my first glimpse of how art can be a powerful unifier in a moment when there doesn’t seem to be a way to move forward.” Stinney tells the story of George Junius Stinney Jr., an AfricanAmerican boy who was executed at age 14 after being wrongly accused and convicted of the rape and murder of two white girls in Alcolu, S.C., in 1944. Stinney was the youngest person legally executed in 20th-century America. “Most of the royalties will go directly to the Stinney family,”
Pollock said. “The cast and creative team will also continue to receive collaborative royalties as the show progresses.” Pollock was inspired to write Stinney after working with the North Carolina-based Innocence Project and after working in the Baltimore Public Schools. “I was faced with the reality that low-income communities of color were chronically undersupported and over-policed, which perpetuated the cycle of the school-to-prison pipeline,” she said. “At the same time, I was confronted with the status quo of classical music training, training that felt wholly unaware of the social injustices that were taking place right outside the ivory walls of the conservatory.”
Left: composer Frances Pollock; right: a judge (Daryl Yoder) sentences George Stinney Jr. (A.J. Garrett) to death in Stinney: An American Execution Photo by Will Kirk/Homewood Photography. 22 Music at Yale
Spotlights
Miki Sawada brings music to rural audiences Political divisions in recent years have had many musicians thinking about the artist’s role in society. “As a musician, what is the way forward?” pianist Miki Sawada ’14AD began asking herself nearly three years ago. “Playing piano like I’d always played piano was no longer an option.” Sawada, an accomplished performer and music educator, decided the way forward, for her, was to use the piano as a gathering place, where people of all backgrounds who may not ordinarily have access to live performances could enjoy music together. In August 2017, Sawada launched the Gather Hear project, which involved touring Alaska for three weeks in a van with a piano and a
filmmaker, documenting the journey and giving a total of 25 performances in the cafés, bars, parks, and schools of largely rural communities.
featured a new work, A Kind of Mirror, by composer and fellow YSM alumnus Brendon Randall-Myers ’14MM, a West Virginia native.
Sawada, who had long been interested in taking classical music beyond the concert hall, toured Alaska with a hybrid keyboard. It was equipped with its own amplification and required no tuning. The instrument was a central focus of the Gather Hear project, which has encouraged people to stop and listen, and to participate in the music-making.
In May, Gather Hear was one of eight projects invited to the National Arts Incubation Lab at the University of Oklahoma, where Sawada had the opportunity to work with such industry leaders as Kim Noltemy, President and CEO of the Dallas Symphony Orchestra.
In October 2018, following the tour of Alaska, Sawada turned her attention to West Virginia, where Gather Hear performances
Eventually, Sawada hopes to tour all 50 states, but she’s in no rush to do so. “If it takes 50 years, that’s fine,” she said. “It will be interesting to see how the project changes over time.”
Pianist Miki Sawada brings her Gather Hear project to Alaska. Photos courtesy of the artist.
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Composition program fosters individuality By Lucile Bruce
At the Yale School of Music, composition means far more than writing notes and rhythms on a page. It is an approach to music itself and a way of practicing music-making in the world. It is also an approach to the relationships musicians have with themselves and with one another. Composition has always been integral to the School, exerting a major influence on its structure, curriculum, and reputation. If the Yale School of Music were a tree, the composition program would be its “root system,” to use YSM Dean Robert Blocker’s description, ever-present and foundational. In the past, the program was led by such influential composers as Horatio Parker (the School’s first dean), Paul Hindemith, and Jacob Druckman. Today, faculty composers Martin Bresnick, Aaron Jay Kernis ’83, David Lang ’83MMA ’89DMA, Hannah Lash ’12AD, and Christopher Theofanidis ’94MMA ’DMA run the program collaboratively. Bresnick, who joined the Yale faculty in 1976 as Assistant Professor of Theory and Composition at Yale College’s Department of 24 Music at Yale
Music, became coordinator of YSM’s composition program in 1981, when he joined the School of Music faculty. He shared decision-making responsibilities with Kernis, Lang, Lash, and Theofanidis as those colleagues joined the faculty. Bresnick passed the coordinator role to Theofanidis in 2018. Students in the School’s composition program may, if they choose, work with more than one teacher—or all of them—during their time at Yale. In turn, far from being a distraction from their work as composers, teaching inspires and nourishes the School’s faculty. “You become a better problem solver for others and for yourself,” Theofanidis said. “You see your own work more clearly.” For Kernis, the greatest inspiration comes from watching his students “search for a personal voice as composers.” The composition program at Yale isn’t designed to imprint any one perspective or style on students. There is currently, for instance, no “Yale style of composition,” Prof. Emeritus of Music Paul Hawkshaw has said. Kernis, Lang,
Composer Hilary Purrington ’17mma during a New Music for Orchestra rehearsal with the Yale Philarmonia.
and Theofanidis returned to Yale, where they each studied, after spending years cultivating their careers. Lash studied at Yale after completing her formal education elsewhere and joined the faculty the following year. What these composers all brought with them to the composition department was a desire to help younger composers develop an individual, authentic voice.
Bresnick’s colleagues share and echo his philosophy. The teacher’s first job, they say, is to try to understand the student’s aims, not to critique or impose on the student. “My feeling is that every composer has something he or she is passionate about in every piece,” Lang said. “If you can uncover what that passionate intent is, then you can test all the decisions the composer has made.”
The search for voice lies at the heart of composition at Yale. It’s a “legacy,” as Blocker notes, that reaches back to the beginning, when Yale appointed composer Horatio Parker (who taught Charles Ives at Yale) to the faculty in 1894, the year the Yale School of Music was established, having existed previously as a program within Yale College. Today, the quest for voice unfolds in faculty studios, during weekly one-onone composition lessons.
Students and faculty come together to discuss student work in a weekly composition seminar. “The idea,” Lash said, “is that we should learn to talk to one another in a really constructive way, to offer criticism in a spirit of generosity as opposed to a more self-interested cutting down of one’s colleagues.” Recognizing that music is a difficult field to survive in, the faculty seek to foster habits that will support the well-being of composers and the health of the communities to which they belong.
“I try to find out: What is the interior spark that makes them want to write a piece of music?” Bresnick said. “I try to recognize it, value and support it. But then my job, as an older colleague, is to ask them constantly, ‘Is that horizon actually wide enough for you? Is the goal you have now, as worthy as it is, an end goal? Or is it the first step in a series of goals you’ll be developing?’” He works to “gently expand the horizon of possibility and self-criticism” so his students not only achieve their particular compositional goal but also come to understand “the wider demands of whatever that goal might eventually be or become.”
Beyond the lessons and seminars, faculty composers teach electives that are open to all YSM students and to students from across the Yale campus. Among the courses that Lash teaches are one in counterpoint and another that focuses on “Schubert’s Last Year.” This past spring, Bresnick taught “Analysis of Music from the Composer’s Perspective.” While the composition faculty teach some electives, the School also has an impressive academic faculty who teach required courses and electives in history, analysis, and musicianship. The composition faculty’s presence in the classroom offers students
different perspectives: While the theorist approaches things from an “abstract and theoretical point of view,” Bresnick explained, a composer looks at music in a fundamentally practical way “to discover what’s valuable and useful to their own compositional practice.” And practice they do—extensively. On average, each composition student has new work performed two or three times each year as part of the School’s New Music New Haven series, in which student works are performed alongside works by faculty and guest composers. At the end of two years at Yale, each student will have created enough work for an evening-length recital program. Lash, who served as Artistic Director of the series during the 2018-2019 academic year, said putting together the series is “a very democratic process” in which her main role is to ensure equity. Students submit proposals for the pieces they would like to have performed and YSM instrumentalists are assigned on a rotating basis to perform on New Music New Haven concerts. Although many schools’ programs have new music ensembles, Lash says that at Yale “the entire school in effect is the new music ensemble.” That is, while YSM has no dedicated new music ensemble, the New Music New Haven series and the School’s annual New Music for Orchestra concert, which features orchestral works by current students performed by the Yale Philharmonia, foster dialogue and collaboration between student composers and instrumentalists 125th Anniversary Edition 25
throughout the year. “It’s very unusual in the landscape of conservatories,” Lash said. “For the composers it creates a sense of inclusivity, and for the performers a sense that what they’re doing with their composer colleagues is an important part of how they’re moving forward as professional musicians.” As a result of their collaborations, composers and instrumentalists form lasting relationships. Gaining admission into the YSM composition program is competitive. Students apply to pursue a master of music, master of musical arts, or doctor of musical arts degree. Doctoral candidates study for two years on campus, then go out into the world for three years to launch their careers. They return to present a recital program of their work and take a final oral examination. During the nonresidential portion of the program, Bresnick said, D.M.A. candidates are encouraged to “go away from the nest and spread their wings in the broader newmusic world.” Composition students find success before and after completing their degrees. They’ve been awarded Pulitzer and Rome prizes and Grammy Awards, won Guggenheim fellowships, earned residencies at the MacDowell Colony, and received commissions from the Fromm and Koussevitzky music foundations, to name just a few. And in addition to receiving commissions and having their work performed by respected ensembles, Yaleaffiliated composers have founded such important organizations
as Bang on a Can, and others. The faculty take great pride in these accomplishments because they signal that the program is working as intended. “You have to go out there and swim in the sea of modern musical production and reception,” Bresnick explained. “Nobody here is an ivory tower kind of person.”
and audience are all united in a single ecosystem, the conviction that the goal of composition is to make your own individual choices.” This approach encourages composers to find common ground. Students develop a sense of solidarity and mutual respect, Lang said, “that is good for the entire field of contemporary music.”
No profile of the Yale composition department would be complete without acknowledging Bresnick’s role within it. By all accounts he is a gifted teacher. Yet beyond the value of his mentorship, he is also credited with defining the program’s culture. “I think it’s because of Martin that the rest of us believe it’s so important to be a good community,” Lash said. Lash studied with Bresnick, whom she calls “an enormous and extraordinarily positive influence on my life, a huge influence over my musical philosophy and my craft.” Lang, who also studied with Bresnick, believes the program’s culture evolved “out of Jacob Druckman’s and Martin Bresnick’s desire to find a way to live and teach harmoniously with each other in the early 1980s.”
For more than four decades, Bresnick has been intentional about building a composition program—and a culture—that does not depend on him alone. “I’m a 1960s guy,” he said. “We were always taught to raise up a ‘leadership cadre.’ In other words, we should not consider ourselves indispensable or the final iteration of what this or that could be.” To that end, he has hired faculty members who he knows will bring artistic excellence to Yale and continue the composition program’s tradition of developing individual voices.
“They came from different ideological and aesthetic backgrounds, and it would have been easy for them to draw up battle lines and divide the department into little competing fiefdoms,” Lang said. “Instead, they created a program that looks beyond ideological and aesthetic difference to focus on the things composers share—the love for music of all periods and styles, the desire to communicate directly to an audience, the recognition that composers, performers,
The program succeeds by embodying the musical and humanistic values it espouses. “The allure of this program is not only a plethora of soundscapes that mark this moment in time,” YSM Dean Robert Blocker said, “but also a curiosity among faculty and students that assumes respect for new ideas, tolerance of new musical languages, and admiration for a colleague’s craft and artistry.” “Many people come out of Yale feeling they were nurtured in a beautiful and uniquely caring way,” Lash said. “They have been and will continue to be part of a very special community.”
Clockwise from top left: Jacob Druckman, left, and Martin Bresnick; Paul Hindemith works with students; David Lang works with a student; Christopher Theofanidis; Hannah Lash teaches a class in the Adams Center; and Aaron Jay Kernis conducts the Yale Philharmonia. 26 Music at Yale
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T
he Yale School of Music’s mission to prepare young musicians “for service to the profession and to society” reflects values that arrived at Yale on the shoulders of those who considered music important enough to be part of the curriculum and offered as a course of study to all who are called to pursue it.
28 Music at Yale
Those ideals are shared by those who today look to the School’s future with an eye and an ear on its past, driven by a conviction that music uniquely connects people to themselves, to one another, and to the wider world. While Yale’s charter called in 1701 for the establishment of an institution “wherein Youth may be instructed in the Arts & Sciences who … may be fitted for Publick employment both in Church & Civil State,” a century and a half passed before music had a formal place at Yale. The first curricular mention of music appears in the 1855 Yale College catalog: “Scientific instruction is given in vocal music, twice a week, during the year. The exercises in this department are open to all the classes. The entire course extends through two years, and has especial reference to sacred music.”
it may go, of a teacher of the science of music to such students as may avail themselves of the opportunity.” The following year, Stoeckel was appointed to the teaching position. Thus began the development of music at Yale, which would reach an initial milestone in 1890 with the establishment of the Department of Music.
That inaugural course was taught by Gustave J. Stoeckel, who had immigrated to the United States from Germany in 1848 and soon thereafter met Irene Battell Larned, a music aficionado who was married to Yale Professor William Larned and who, in 1847, had established the New Haven County Musical Association. Impressed with Stoeckel’s musical background, Irene had urged her brother, Joseph Battell of Norfolk, Connecticut, to invest in music at Yale. Joseph gave Yale $5,000 in 1854 “for the support, as far as
Not everyone in New Haven thought this a measure of progress. Naysayers, as the department was taking shape, included the New Haven Register’s editor, who asked, rhetorically, if not myopically, “The Yale Corporation is not seriously thinking of establishing a department of music in the University, is it?” suggesting, “It will be time enough for Yale to get into the enterprise when the art finds an intelligent foothold in the nation,” according to Luther Noss’ A History of the Yale School of Music,
Top to bottom: Irene Battell Larned, Joseph Battell, and Gustave J. Stoeckel.
1855-1970. Those who felt music belonged in the curriculum of a leading academic institution were serious, of course. Among them were the editorial staff of the Yale Daily News, who wrote, in part, “Harvard and the University of Michigan are the only two large universities which now give courses in music, and it is but becoming that Yale should meet her sister universities in the race of progression,” Noss’ book indicates.
In 1894, the School of Music was established as one of Yale’s standalone professional schools and four bachelor of music degrees were conferred. It’s important to note that while women weren’t admitted to Yale College until the start of the 1969 academic year, they were welcome at the School of Music from the outset. One of the degrees conferred in 1894 was awarded to Virginia Brisac Moore, and Lola Phinney and Luella Totten graduated in 1900 and 1902, respectively, according to Irving S. Gilmore Music Library records. A photograph from Musical Daughters of Eli: Women Pioneers at Yale, a spring 2019 Gilmore Music Library exhibit, shows the School of Music’s Class of 1911, which included seven men and seven women, along with five male faculty members. Among those who earned a bachelor of music degree in 1912 was Helen Eugenia Hagan, the 125th Anniversary Edition 29
Above: composer Horatio Parker, the School of Music’s first dean; the Class of 1911.
School’s first African American graduate—but not the first African American student; that distinction belongs to soprano Effie Grant, who attended YSM from 1906 to 1909. As much as 1894 marked a culmination, it marked another beginning. Stoeckel, then 75, retired and was succeeded by Horatio Parker, a composer whose profile had been raised with the popularity of his oratorio Hora Novissima. Parker had previously worked at the National Conservatory of Music of America, in New York, under the leadership of Czech composer Antonín Dvořák. In addition to hiring Parker, Yale appointed pianist Samuel Simons Sanford to its faculty. While Stoeckel had turned the Battell family’s gifts into the foundation of a music program at Yale, Parker and Sanford effectively built the School, expanding the curriculum, faculty, and enrollment. In 1904, 10 years after arriving at Yale, Parker was named the 30 Music at Yale
School’s first dean, a position in which he served until he died in December 1919. After Parker’s death, he was held up as the very embodiment of the School’s ethos. “The ideals of the School [were] the offspring of his brilliant and energetic mind,” David Stanley Smith wrote upon succeeding Parker as dean, according to Noss’ book. “His belief in the dignity of music as a profession and as an ennobling element in life had the earnestness of a creed.” Noss, who served as the School’s dean from 1954 to 1970—a period during which the School stopped offering a bachelor-of-music degree and became a graduateprofessional school—echoed Smith’s encomium to Parker’s leadership. “The Yale School of Music will probably never again be in a position to compile a record of growth and progress comparable to that which it achieved” between 1894 and 1919, Noss wrote.
“
The ideals of the School [were] the offspring of his brilliant and energetic mind.
”
That growth can be measured in faculty, courses, facilities, and such resources as a musicalinstrument collection that began in 1900 with a donation from local instrument dealer Morris Steinert and a library that was started in 1902 in the Department of Music. Today, the Yale Collection of Musical Instruments has its own facility on Hillhouse Avenue. The library, which existed for years as the John Herrick Jackson Music Library, was given a proper home, as the Irving S. Gilmore Music Library, in Yale’s Sterling Memorial Library in 1998.
Above: Construction begins on Albert Arnold Sprague Memorial Hall; the Irving S. Gilmore Music Library.
Albert Arnold Sprague Memorial Hall, built in 1917 and made possible by a gift from Elizabeth Sprague Coolidge—a classically trained pianist, composer, and philanthropic champion of chamber music—and her mother, Nancy Atwood, was Yale’s first dedicated music building. It was named after Coolidge’s father, who’d graduated from Yale in 1859. Upon its completion, Sprague Hall became home to an acoustically magnificent recital venue (now Morse Recital Hall) and the library that had begun to take shape 15 years earlier. To be fair, Noss couldn’t have imagined a return to the kind of expansion the School underwent during between 1894 and 1919. While another gift from the Battell family (whose generosity had continued after Joseph’s initial endowment) had arrived in 1939, for example, its full value wasn’t fully realized for three decades. Upon her death, Ellen Battell Stoeckel, who was married to Gustave’s son, Carl, left her family’s Norfolk, Connecticut,
estate to Yale “for the benefit and development of the School of Music of Yale University and for extending said University’s courses in music, art, and literature.” Ellen and Carl had been presenting concerts on their property since 1899, hosting such artists as Parker, Samuel Coleridge-Taylor, Jean Sibelius, Ralph Vaughan Williams, Sergei Rachmaninoff, Maud Powell, and Fritz Kreisler. While Yale established a formal program of study in music at Norfolk in 1941, it wasn’t until around 1970 that a focus on chamber music made the Yale Summer School of Music/ Norfolk Chamber Music Festival a destination for audiences, as the estate had been at the turn of the century. In 1973, the Institute of Sacred Music—a partnership with the Divinity School—was established, further expanding the reach of the School’s curriculum and revisiting the first mention of music at Yale, in the 1855 College catalog, which described an inaugural course’s “especial reference to sacred music.”
That music can be “an ennobling element in life” is a belief that has been held by many over the years. Generous support from philanthropic friends and alumni has helped YSM realize the kind of expansion it experienced at the start of the 20th century, helping to broaden the curriculum, dramatically grow the campus, make the School tuition free, and share the value of music-making with young people in the local public schools. While YSM became a graduate school in 1958, it was in the 1970s that YSM enthusiastically embraced its role as a global professional school, making a concerted effort to seek out international faculty and students. Today, 40 percent of the School’s students come to New Haven from outside the United States to prepare for careers that will take them into and around the world. While they are here in New Haven, students have an opportunity, through the Music in Schools Initiative and the Morse Summer 125th Anniversary Edition 31
Left: Helen Eugenia Hagan’s Piano Concerto in C minor; right: an essay in the music journal The Etude by Yale School of Music Dean David Stanley Smith.
Music Academy, to share the value of music with students in the local public schools. To current Dean Robert Blocker, music is more than “an ennobling element,” to once again use Smith’s words. It is a birthright that belongs to all of humanity. That notion was the focus of the School’s 2007 Symposium on Music in Schools. Ten years later, following the 2017 Symposium on Music in Schools, the School crafted and published a Declaration on Equity in Music for City Students, which calls “for every student in every city in America to have access to a robust and active music life.” Today, School of Music alumni are serving both the profession and society, in keeping with YSM’s mission. They’ve gone on from the School of Music to win 32 Music at Yale
Pulitzer Prizes and prestigious competitions, to perform with and found respected ensembles, and to teach at and lead prestigious university music programs. The Yale School of Music’s beginnings reflect a seemingly matter-of-fact opinion: music is important. How that value came to be turned into a curriculum, beginning in the mid-19th century is the story of the people who held that value and felt compelled to share it, to put it into practice. It is the story of the School’s impressive faculty, without whom there would be no students. Certainly, it is in the teaching studios and rehearsal rooms that tomorrow’s musical storytellers are groomed, where the value of music is most well understood. What the New Haven Register’s editor missed in his late-19th
century criticism of a nascent music program at Yale was that this was music finding “an intelligent foothold in the nation”— this was that foothold. Over the course of 125 years, the School of Music has remained focused on connecting people to themselves, to one another, and to the wider world.
Opposite page clockwise from top left: Dean Bruce Simonds with students; Alumni Day outside Sprague Memorial Hall; Dean Philip Nelson; Louis Sudler, Phyllis Curtin and Willie Ruff; Tokyo String Quartet at Norfolk Chamber Music Festival; Gilmore Music Library dedication in Sprague Memorial Hall; faculty composer Paul Hindemith with the Collegium Musicum; facility renovations of music campus.
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Class Notes 1950s Composer Emma Lou Diemer ’49bM ’50MM has received commissions for choral works from Quire of Voyces in Santa Barbara, Calif., the Women’s Chorus at the University of Southern California, Indiana University, and the University of Alabama in Huntsville. Her collection of organ works was recently published by Augsburg Fortress.
1960s Early instrument specialist Grace Feldman ’63MM was honored by the Connecticut Women’s Hall of Fame and named one of TIAA’s 100 Difference Makers for her work as Department Chair at Neighborhood Music School in New Haven, Conn. Composer Tom Johnson ’61ba ’67MM recently presented a sound installation in Lausanne, Switzerland, called Knock on Wood, which consists of mechanical wood blocks that tap out rhythms. This spring and summer, compositions by Lewis Spratlan ’62ba ’65MM were performed in Philadelphia and San Francisco, and at Tufts University, Rutgers University, and the Carmel Bach Festival in Carmel-by-the-Sea, Calif. Pianist Althea Waites ’65MM and her duo partner Mark Uranker are launching a recording project featuring works written for and dedicated to them. Waites and Uranker 34 Music at Yale
are faculty members at California State University, Long Beach.
1970s Composer Sheila Barnes ’74MM ’75MMA has taught voice at Trinity College, Cambridge, since 2010. Barnes is currently writing an opera for the Netherlands Opera and the London-based early music group La Nuova Musica. Saxophonist Jane Ira Bloom ’76ba ’77MM won the 2019 Jazz Journalists Association Award for Soprano Saxophone. A composition by percussionist M. Susan Brown ’76MM titled Two French Noels was performed by St. Martin’s Chamber Choir in Denver, Co., in December. In March, pianist Andrew Kraus ’75 and multi-instrumentalist Doug Gately presented a concert of works by women composers at the University of Mary Washington in Fredericksburg, Va. After performing in California and teaching in Nevada, bassoonist Tonia Marcune ’73MM completed a master’s degree in educational psychology and worked as a child abuse investigator. Today, Marcune lives in Florida, where she works in forensics and performs with a summer orchestra. Last February, the Youth Symphonic Orchestra of Russia, led by Alexis Soriano, gave the world premiere performance
of Across Differences by Alvin Singleton ’71MMA in Sochi, Russia. The concert was part of the 11th Anniversary Winter International Arts Festival. In March, a cantata by Max Stern ’71 titled Out of the Whirlwind was premiered by the Tel Aviv Philharmonic Choir at the Diaspora Museum of the Jewish People in Tel Aviv. The concert commemorated International Holocaust Remembrance Day.
1980s Violinist Claudia Bloom ’80MM is Director of the Palo Alto School of Chamber Music, an intergenerational chamber music program in Palo Alto, Calif. The program offers professional coaching for strings, woodwinds, and pianists. In August, pianist Susan Breitung ’86MM will begin teaching music to fourth- through sixth-grade students at a Gemeinschaftsschule in Jena, Germany. Breitung also teaches piano privately and collaborates with singers and instrumentalists in the JenaWeimar area. Trumpet player Kelly Dehnert ’86MM will start working as Director of Bands at Central Wyoming College in Riverton, Wyo., beginning in fall 2019. Cellist Nadine Deleury ’81MM retired from her position as Principal Cellist of the Michigan Opera Theater after 34 seasons. She will continue to perform chamber music at Detroit’s Scarab Club.
Class Notes Percussionist Peter Derheimer ’88MM completed a tour of Germany with the Real Orquesta Sinfónica de Sevilla in March with celebrated guitar soloist Pepe Romero. The internationally acclaimed chamber ensemble Spectrum Concerts Berlin opened its 31st season in March. Cellist Frank Dodge ’81MM is the series’ founder and Artistic Director. Pianist Richard Dowling ’87MM has been named a Visiting Artist Faculty member at the Aureus Conservatory of Music in Singapore. He will teach lessons, give master classes, and perform solo recitals during each of his six two-week residencies in 2019 and 2020. Violinist Kirstin Fife ’86MM had many of her compositions performed this year, including Four Paintings by Salvador Dalí, by the Lobo Ensemble, Tango Johana for violin and piano, and her choral piece A Rose. Stuart Malina ’87MM was named a finalist for the position of Music Director of the Lake Placid Sinfonietta and conducted the ensemble in July as part of an audition. Malina is currently in his 19th season as Music Director and Conductor of the Harrisburg Symphony Orchestra. In 2019, composer Pamela Marshall ’80MM joined Triad: Boston’s Choral Collective as a composer and conductor.
In January, the group performed Marshall’s work Sweet Princesses (Birmingham 1963) as part of a Martin Luther King Jr. memorial concert. Last season, pianist Susan Merdinger ’84ba ’85MM performed with the Highland Park Strings and the Northbrook Symphony Orchestra and completed a solo recital tour of California. Next season, Merdinger will again play with the Northbrook Symphony Orchestra and will release a new CD. Organist David Perry Ouzts ’87MM co-chaired the Liturgy/ Music Committee and conducted music for the Consecration of the Fourth Bishop of West Tennessee in May. Ouzts is currently Music Director and Organist at Church of the Holy Communion in Memphis, Tenn. Violinist Kate Ransom ’81MM created the Serafin Ensemble, a group of acclaimed performers devoted to collaborative chamber music performances. Ransom also served as Artistic Director of Serafin Summer Music, a chamber music festival that took place in Wilmington, Del., in June. Cellist Rhonda Rider ’80MM is Head of Strings at the Boston Conservatory at Berklee and an artist-in-residence at the Grand Canyon and Petrified Forest National Parks. Rider recently presented solo cello commissions at Brandeis University and at the University of California, Davis.
Composer Augusta Read Thomas ’88 had a new chamber work premiered at Tanglewood in June. Thomas’ opera Sweet Potato Kicks the Sun will be premiered by Santa Fe Opera in October, and a new ballet will be premiered at Montclair State University in November. Oboist Larry Timm ’73MM ’74MMA ’81DMA was named the Distinguished Faculty Member of 2019 at California State University, Fullerton for his work as Director of the School of Music and Professor of Music for the last 42 years. Following his Fulbright Scholarship and lectures in Serbia, tubist Antonio D. Underwood ’87MM was asked to create the Serbia Children’s Jazz Festival in Nis, Serbia. Underwood is the owner and CEO of Tone East Music Technology, LLC. Composer Joseph Waters ’82MM presented pieces from his developing opera-musical El Colibrí Magicó: A California Story at the Cutting Room in New York City in November and at the New West Evolving Arts & Music Organization Festival at San Diego State University in April.
1990s Pianist Lydia Brown ’95MM ’96AD was named Chair of the Juilliard Collaborative Piano Department for fall 2019. She continues as Assistant Conductor of the Metropolitan Opera and head of the vocal program at the Marlboro Music Festival. 125th Anniversary Edition 35
Class Notes Composer Carlos Carrillo ’96MM and flutist Christine Gangelhoff ’95AD recently co-organized “Puentes Caribeños” (“Caribbean Bridges”), a Symposium of Caribbean Art Music, which focused on strengthening bonds between composers, performers, artists, and scholars throughout the Caribbean and its diaspora. In August, cellist Jesús CastroBalbi ’99MM will perform with the Fort Worth Symphony Orchestra and adjudicate the ninth Carlos Prieto International Cello Competition in Morelia, Mexico. Castro-Balbi was an American Council on Education Fellow during the 2018-2019 academic year. Dirty Business, a musical by composer Robert Elhai ’86MM ’88MMA ’95DMA, was staged at the History Theatre in St. Paul, Minn. Elhai’s future projects include working on the Minnesota Orchestra’s new annual holiday show and orchestrating Julie Taymor’s upcoming Gloria Steinem biopic. Guitarist Lars Frandsen ’93MM was appointed Director of Music Theory and Ear Training at Nyack College last October. Dr. Frandsen is also an Associate Professor and Director of Classical Guitar Studies at Brooklyn College, City University of New York. Violinist and Pacific Symphony Orchestra Concertmaster Dennis Kim ’98MM was profiled in the Orange County Register. He has served as the PCO’s Concertmaster since September. 36 Music at Yale
During the 2018-2019 season, cellist John Marshall ’92MM completed his 25th year as Principal Cellist of the Spokane Symphony Orchestra and Director of Orchestra/Professor of Cello at Eastern Washington University. Composer Tim Olsen ’88MM ’89MMA ’95DMA was promoted to Professor of Music at Union College in Schenectady, N.Y. Olsen was also named Music Director at the Unitarian Universalist Society of Schenectady. Trumpeter Jason Rubinstein ’91MM was appointed Chief Operating Officer of Level Ex, a Chicago-based company that creates video games for doctors. Level Ex’s free-to-play mobile apps enable doctors and other medical professionals to sharpen their skills. Composer Carlos SanchezGutierrez ’91MM was a featured guest at Hong Kong Baptist University’s “The Keyboard in the 21st Century,” an international conference for composers, at the Mexico Remixed Festival at Indiana University’s Jacobs School of Music, and at the Chicago Center for Contemporary Composition. In April, Jennifer Griffin Schaeffer ’93MM published the first book in a fiction series titled The Architects of Vascularization. Schaeffer is the founder of onlea.org, a nonprofit digital learning company, and Vice President of Information Technology and
Chief Information Officer at Athabasca University. Cellist Inbal Segev ’93CERT premiered Anna Clyne’s cello concerto in June with the Baltimore Symphony Orchestra. Segev will record the piece with the London Philharmonic in September. Next season, Segev will perform Timo Andres’ ’09MM cello concerto with the Cincinnati Symphony Orchestra. Clarinetist Jason Weinberger ’96ba ’97MM, known for his creative programming as Artistic Director of the Waterloo-Cedar Falls Symphony in Iowa, founded the production group The New Live to bring his multimedia productions to orchestras and other presenters worldwide.
2000s Horn players Katy Ambrose ’07AD, Lauren Hunt ’13MM, and Valerie Sly ’17MM founded a quartet with Shona Goldberg-Leopold called Izula Horns. Hunt was recently appointed Assistant Professor of Horn at Utah State University, Ambrose is an Assistant Professor in the Department of Music at the University of Virginia, and Sly is Principal Horn player of the West Virginia Symphony. The New Sussex Symphony in New Jersey introduced concertgoers to its new Music Director, Jordan Brown ’04, in November.
Class Notes Organist Vincent Carr ’06MM received a grant from Indiana University, where he is an Associate Professor, to pursue research on American organist and composer Florence Price. Carr will use a portion of the funding to begin work on his open monograph textbook on organ and sacred music. Countertenor Jay Carter ’08MM and soprano Sherezade Panthaki ’11AD were featured soloists with the Grammy-nominated Ars Lyrica Houston ensemble in a March performance of Alessandro Stradella’s San Giovanni Battista, an oratorio based on the death of John the Baptist. Composer Suzanne Farrin ’00MM ’03MMA ’08DMA is currently the Frayda B. Lindemann Professor of Music and Chair at Hunter College and The City University of New York Graduate Center. Farrin also plays the ondes Martenot and has appeared on award-winning international film scores. Guitarist Thomas Flippin ’07MM ’08AD was part of “Two Wings: The Music of Black America in Migration” at Carnegie Hall in March. Flippin played his solo guitar arrangement of Florence Price’s piano work Dances in the Canebrakes. Organist Jessica French ’08MM was nominated as a finalist in the choral division of the 2019 American Prize in Composition for her setting of O Nata Lux.
The Pacifica Quartet, which includes violinist Austin Hartman ’06AD and cellist Brandon Vamos ’94MM ’95AD, performed as part of the 25th anniversary season of the Neskowin Chamber Music series at Camp Winema in Oregon in February. Percussionists Ji Hye Jung ’09MM, Matthew Keown ’16MM ’22DMA, Svet Stoyanov ’07MM, and Sam Um ’17MM ’18MMA performed the world premiere of Drum Circles by faculty composer Christopher Theofanidis ’94mma ’97DMA with the Oregon Symphony in March. Composer John Kaefer ’01MM scored the upcoming films A Score to Settle and The Divine Plan, as well as the video game series Quantum Break. Kaefer’s recent concert work States of Motion was premiered by the Hollywood Chamber Orchestra with pianist Molly Morkoski. Yaroslav Kargin ’04AD will return to the Festival Eleazar de Carvalho, where he has been Professor of Viola since 2010. Carvalho, a prominent Brazilian conductor, was also a YSM faculty member from 1987 to 1994 and conducted the Yale Philharmonia. Composer Daniel Kellogg ’01MM ’03MMA ’07DMA was appointed President of Young Concert Artists in New York City.
Violinist Kyung Jun Kim ’09CERT won fifth prize at the Rising Stars Grand Prix International Music Competition in Berlin last year. In May, bassoonist Peter Kolkay ’02MMA ’05DMA and the Calidore String Quartet premiered Mark-Anthony Turnage’s Massarosa for bassoon and string quartet at the Rose Studio at the Chamber Music Society of Lincoln Center. Kolkay also performed Joan Tower’s Red Maple. Violinist Sarita Kwok ’05MMA ’06AD ’09DMA, Professor of Music at Gordon College in Massachusetts, holds the college’s new Adams Endowed Chair in Music. The chair was established through a donation by Stephen (’59 Yale College) and Denise Adams. Portraits of Andromeda, a work by composer Caroline Mallonee ’00MM created in collaboration with Buffalo Philharmonic Orchestra cellist Feng Hew and Conductor Chris Weber, had its premiere in May. The work was commissioned by the New York State Council on the Arts. St. James Episcopal Church in West Hartford, Conn., established a new music series, “Concerts at St. James,” under the artistic direction of organist and Choirmaster Vaughn Mauren ’09MM. The series presents a variety of local, regional, and internationally recognized performers.
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Class Notes The New York Times listed the opera Proving Up by composer Missy Mazzoli ’06MM in the “Best Performances” section of its review “The Best Classical Music of 2018.” Writer Zachary Woolfe called the score “a landscape of shimmering aridity.” Guitarist Michael McCallie ’08MM joined the faculty of the McCallie School, an esteemed private boarding school for boys in Chattanooga, Tenn., as Director of the Classical Guitar Program. Violinist Ai Nihira ’08MM will join the first violin section of the San Diego Symphony for the 2019-2020 season. Pianist Naomi Niskala ’01AD performed a recital as part of Pacific Lutheran University’s Artist Series last October in Parkland, Wash. Composer Andrew Norman ’09AD was named a 2019 Pulitzer Prize Finalist in Music for his orchestral work Sustain, which was commissioned by the Los Angeles Philharmonic and received its premiere in October under the baton of Music and Artistic Director Gustavo Dudamel. Conductor Julian Pellicano ’07MM ’09MM was appointed Principal Conductor of the Royal Winnipeg Ballet. He will conduct productions in Winnipeg and on international tours. Pellicano was also promoted to Associate Conductor of the Winnipeg Symphony Orchestra.
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Kim Perlak ’01MM was named Chair of the Guitar Department at the Berklee College of Music in Boston, Mass., following her appointment as Assistant Chair of Guitar in 2013. Perlak is the first woman to chair the department. Organist Iain Quinn ’04MM was promoted to Associate Professor of Organ and Coordinator of Sacred Music at Florida State University. Quinn’s recent recordings include Hindemith’s complete organ sonatas (Guild Records) and Haydn’s organ concertos (Chandos Records). Bassoonist Dantes Rameau ’07MM, founder of the Atlanta Music Project, was named one of Musical America’s 2018 Top 30 Professionals of the Year. Rameau was also selected for the fellowship program at the DeVos Institute of Arts Management. Last year, flutist Catherine Ramirez ’02MM won a Professional Development Grant from St. Olaf College, where she is an artist-inresidence. More recently, Ramirez has won opportunities through the Sphinx Organization, including a fellowship at the SphinxConnect Conference and an instrument grant. Tenor Rolando Sanz ’02MM ’03AD was the executive producer of a new concept opera, I Am Anne Hutchinson/I Am Harvey Milk, by Andrew Lippa. Sanz served as Executive Producer of The Songs of Tim Rice, an Emmy Award-
winning PBS television program. Flutist Enrico Sartori ’05MM made his conducting debut in China with the Changchun Theater Symphony Orchestra in May. Sartori was appointed Music Director and Conductor at the Changchun Foreign Language School in March. Organist Andrew Scanlon ’03MM was a recitalist/clinician last August for the Royal School of Church Music Nigerian Training Course in Lagos. He continues to serve as Organ Professor at East Carolina University and OrganistChoirmaster at St. Paul’s Episcopal Church in Greenville, N.C. Performances in 2018 by pianist Yury Shadrin ’08MM included a debut with the Gilmore Festival Chamber Orchestra in Kalamazoo, Mich., a solo recital at the Mariinsky Theater in St. Petersburg, Russia, and an appearance with the Philippines Philharmonic Orchestra. The Pasadena Symphony performed composer Caroline Shaw’s ’07MM work Red, Red, Rose on a concert in March as part of its Composer Showcase. The American Music Festival in Morehead City, N.C., produced a concert in March featuring composer, vocalist, and violinist Caroline Shaw ’07MM and the Jasper Quartet, which includes
Class Notes violinist J. Freivogel ’10AD, violist Sam Quintal ’10AD, and cellist Rachel Henderson Freivogel ’10AD. Oboist James Austen Smith ’08MM was recently appointed CoPrincipal Oboe of the Orpheus Chamber Orchestra and became Artistic and Executive Director of Tertulia Chamber Music, a series that presents concerts in restaurants in New York and San Francisco. Conductor Anna Song ’00MM received the 2018 Julie Olds and Thomas Hellie Creative Achievement Award for her artistic direction of In Mulieribus, an early music women’s vocal ensemble. Song was also appointed Chair of the Music Department at Linfield College. In January, tubist Daniel Trahey ’03MM produced and conducted a new work with the National Youth Orchestra of Chile about civil rights issues in Latin America. Trahey composed the piece in collaboration with students, educators, and professional orchestral musicians. Composer Jay Wadley ’07MM ’08AD scored the 2019 Netflix miniseries Tales of the City and will score Charlie Kaufman’s forthcoming Netflix film, I’m Thinking of Ending Things. In March, pianist Clara Yang ’06MM ’07AD was a featured soloist with the Winston-Salem Symphony, performing Mozart’s Piano Concerto No. 25.
2010s Composers Samuel Adams ’10MM and Suzanne Farrin ’00MM ’03MMA ’08DMA were named 2019 Guggenheim Fellows. The fellowships “are intended for individuals who have already demonstrated exceptional capacity for productive scholarship or exceptional creative ability in the arts,” the organization says. Tenor Luis Aguilar ’18MM ’19MMA, bass Brady Muth ’19MM, and mezzo-soprano Rachel Weishoff ’19MMA performed as soloists in Handel’s Messiah with the Waterbury Symphony Orchestra and Hartford Chorale in December. Conductor Kathleen Allan ’14MM was named Artistic Director and Conductor of the Amadeus Choir of Greater Toronto in February. After two years as a Resident Artist with the Pittsburgh Opera, bass Andy Berry ’16MM joined the Grammy-winning vocal chamber ensemble Chanticleer. Adam Ward ’05MM has sung alto with the group for 13 years. Double bassist Andrea Beyer ’15MM, bassoonist Francisco Joubert Bernard ’17MM, violinist Ethan Hoppe ’16MM ’18MMA, double bassist Levi Jones ’16MM, clarinetist Jesse McCandless ’17MM, cellist Alan Ohkubo ’14MM ’15ad, violist Yuan Qi ’15MM, and violinist Yefim Romanov ’16AD are currently New World Symphony Fellows.
Guitarist Gulli Bjornsson’s ’17MM ’18MMA composition Dimmar Öldur Rísa (Dim Waves Rise) for electric guitar and MaxPatch, commissioned by guitarist Jiji Kim ’17MM, was selected to represent Iceland at the 2019 Ung Nordisk Musik festival in Pitea, Sweden. Trumpet player Joel Brennan ’06MM ’07MMA ’11DMA, currently Head of Upper Brass at the University of Melbourne in Australia, and violist Anne Leilehua Lanzilotti ’08MM have been appointed members of the inaugural faculty of the Tianjin Juilliard School. Lanzilotti will co-direct the school’s New Music Ensemble and New Music Festival. Bass trombonist Alan Carr ’10AD was appointed Director of Brass and Assistant Professor of Music at George Mason University. Carr is also on faculty at the University of Maine at Augusta and the New England Music Camp. The American Academy of Arts & Letters awarded composer Christopher Cerrone ’09MM ’10MMA ’14DMA a Charles Ives Fellowship. Tanner Porter ’19MM received a Charles Ives Scholarship. The Peabody Conservatory of Johns Hopkins University will welcome composers Christopher Cerrone ’09MM ’10MMA ’14DMA and Harold Meltzer ’97MMA ’00DMA to its composition faculty for the 20192020 academic year while faculty 125th Anniversary Edition 39
Class Notes artist Kevin Puts ’96MM is on sabbatical. Soprano Megan Chartrand ’13MM and conductor Knox Sutterfield ’14MM are Executive Director/ Treasurer and Associate Artistic Director, respectively, of Inspire: A Choir for Unity, a New York Citybased chamber choir dedicated to cultivating compassion and action for social issues.
’06MMA, with text by E.E. Cummings, was included in NewMusicShelf ’s Anthology of New Music: Mezzo-Soprano, Vol. I. Fisk was awarded a 2019 New Work Grant by the Queens Council on the Arts. In January, harpsichordist Stephen Gamboa-Díaz ’16AD was the soloist and continuo player in a performance of the complete Brandenburg Concerti of J.S. Bach with Chamber Music Silicon Valley.
NOTUS, the Indiana University Contemporary Vocal Ensemble conducted by Dominick DiOrio ’08MM ’09MMA ’12DMA, has been selected to perform at the 12th World Symposium on Choral Music in Auckland, New Zealand, in July 2020.
Trombonist Eliud Garcia ’17MM performed in multiple cities throughout Puerto Rico as a participant in the 2019 Puerto Rico Summer Music Festival.
Violinist Emre Engin ’19 was awarded the Cihat Askin Award by the CEV Sanat Foundation in Istanbul.
Pianist Christopher Goodpasture ’18MMA was named a winner of Astral Artists’ 2019 National Auditions.
Composer Reena Esmail ’11MM ’14MMA ’18DMA was named a 2019 United States Artists Fellow and won the 2019 S&R Washington Award Grand Prize. Her music was recently programmed by the Los Angeles Master Chorale and the Pasadena Symphony.
The European Studies Council at the Yale MacMillan Center presented a concert featuring Russian pianist and composer Vyacheslav Gryaznov ’18AD in November. The performance was the second in a two-part series titled “Reflections on the Music of the Russian Exodus.”
Organist Joseph Fala ’17MM, currently in his second year at the Duke Chapel Organ Scholar program, was among those recognized in The Diapason’s 2019 “20 Under 30” listing. He has been a featured performer at Organ Historical Society conventions. The song “love is a place” by composer Douglas Fisk ’05MM 40 Music at Yale
Trombonist Zachary Haas ’18MM won third prize at the Susan Slaughter Solo Competition at the International Women’s Brass Conference in May. Haas earned an Honorable Mention at the Edward Kleinhammer Orchestral Bass Trombone Competition of the International Trombone Association in February.
Bass Alexander Hahn ’12MM ’13AD was recently appointed Director of Vocal Studies at the Bob Cole Conservatory at California State University at Long Beach. Cellist Jung Min (Grace) Han ’11MM presented her research project Restoring the Internal Musical Space of the Sacred: The Unity of the Musical Mind-Body at the International Symposium of Spirituality and Music Education, which was hosted by the University of Winchester, U.K., in June. Andrew Chun Fung Hon ’19MMA was named a finalist at the Hong Kong Choral Conducting Competition. The final took place in July at the Hong Kong Cultural Centre, where finalists conducted the Asia Pacific Youth Choir during the Asia Pacific Choral Summit. Pianist Nansong Huang ’18MM was named a 2019 Luminarts Fellow in Classical Music by the Luminarts Cultural Foundation, which cultivates Chicago’s arts community by supporting young artists through financial awards, artistic opportunities, and mentoring. Pianist Oliver Jia ’14AD will begin serving as Assistant Professor of Piano at Bilkent University in Ankara, Turkey, in fall 2019.
Class Notes Pianist San Jittakarn ’19MMA won third prize at the 2018 Geneva International Music Competition. Violinist Jacob Joyce ’14ba ’15MM was appointed Associate Conductor of the Indianapolis Symphony Orchestra and has released a new podcast called Attention to Detail: The Classical Music Listening Guide. Composer Molly Joyce ’17MM was selected as a 2019-2020 Halcyon Arts Lab Fellow. The Washington, D.C.-based program supports emerging artists working at the intersection of art and social impact. Oboist Kristin Kall ’13MM ’14AD was named Director of Operations of the National Repertory Orchestra festival in Breckenridge, Colo. The icarus Quartet won Chamber Music Yellow Springs’ 34th Annual Competition for Emerging Professional Ensembles in May. The group includes percussionists Matthew Keown ’16MM ’22DMA and Jeff Stern ’16AD and pianists Larry Weng ’12AD ’14MMA ’19DMA and Yevgeny Yontov ’14MM ’20DMA. In April, soprano Angela Jihee Kim ’11AD sang the role of Mimi in Puccini’s La bohème with the Orchestra of St. Peter by the Sea conducted by Father Alphonse Stephenson at the Algonquin Arts Theatre in Manasquan, N.J. In December, guitarist Jiji Kim ’17MM performed light, beloved, a concerto by Natalie Dietterich ’16MM ’17MMA, with the New
York Youth Symphony Orchestra. In April, Kim appeared with the Sequoia Symphony in California, which with she performed Joaquin Rodrigo’s Concerto de Aranjuez. In 2018-2019, Baritone Paweł Konik ’17MM sang Mercutio in Gounod’s Roméo et Juliette at the Opera Śląska in Poland. He also debuted at Staatsoper Stuttgart, singing in Verdi’s Rigoletto, Richard Strauss’ Ariadne auf Naxos, and Offenbach’s Les Contes d’Hoffmann. Pianist Henry Kramer ’13AD ’19DMA, the L. Rexford Whiddon Distinguished Chair in Piano at the Schwob School of Music at Columbus State University, was awarded a $25,000 Avery Fisher Career Grant. Trombonist Brittany Lasch ’12MM was one of the five recipients of a 2019 S&R Washington Award. Trumpet player Jean Margaret Laurenz ’13MM ’14AD joined the faculty at the University of Wisconsin-Madison as Assistant Professor of Trumpet. Composer Aaron Israel Levin ’19MM took part in the Underwood New Music Readings with the American Composers Orchestra, which performed his piece In Between in May. In Between also won the Chelsea Symphony’s 20182019 Composition Competition and was performed by the group in June.
The Parnassus String Quartet, which includes violinists Gregory Lewis ’19MM and Emily Switzer ’19MM ’20MMA, violist Marta Lambert ’19MM, and cellist Bo Bae Lee ’19MM ’20mMA, performed works by Mozart and Brahms at the Woodbury Senior Community Center in April. Liberation Programs, Inc. named trombonist Richard Liverano ’16MM the organization’s Manager of Institutional Giving. Vocalist Jamilyn Manning-White ’12AD sang the soprano solo in Ralph Vaughan Williams’ Dona Nobis Pacem with the Hartford Chorale and the Hartford Symphony Orchestra in April. Kramer Milan ’16MM ’17MMA will begin serving as Instructor of Percussion at the University of Northern Iowa in the fall. Percussionist Dmitrii Nilov ’18MM was awarded a management prize at the 2018 Concert Artists Guild Victor Elmaleh Competition and performed as part of the organization’s Winners’ Showcase Concert last October. Bassoonist Marissa Olegario ’15MM accepted the tenure track position of Assistant Professor of Music in Bassoon at the University of Arizona Fred Fox School of Music and will begin work there in fall 2019.
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Class Notes Oboist Andrew Parker ’10MM performed Richard Strauss’ Oboe Concerto with the Quad City Symphony Orchestra in March. Parker was recently named Assistant Professor of Oboe at Oklahoma State University and will start work there in fall 2019. Last season, baritone David Pershall ’10MM ’11AD performed in the Metropolitan Opera’s production of Bizet’s Carmen and in the San Francisco Opera’s production of Leoncavallo’s Pagliacci, as Silvio. Pershall’s upcoming engagements include the title role in Il Barbiere di Siviglia at San Diego Opera, Silvio in Pagliacci at Greensboro Opera, and recitals and master classes throughout the United States. Flutist Ginevra Petrucci ’12MM ’13AD is starting a large-scale commissioning project for flauto d’amore, a rare instrument that lacks contemporary repertoire. The project involves composers Gleb Kanasevich ’13MM and Liliya Ugay ’16MM ’22DMA. In January, violinist Igor Pikayzen ’11MM ’12AD was appointed Assistant Professor of Violin at the University of Denver’s Lamont School of Music. Pikayzen has recently performed at the Westport Women’s Club and the Wilton Library in Connecticut. Composer Hilary Purrington ’17MMA joined Barnard College’s Office of Development as Associate Director of Advancement. 42 Music at Yale
In May, soprano Natalia Rubis ’17MMA sang the title role in Stanislaw Moniuszko’s Halka at the Wroclaw Opera House in Poland. Other highlights of her season include singing Merab in Handel’s Saul in Czechia and recording Salieri’s La fiera di Venezia with the chamber orchestra L’arte del mondo. In 2020, Rubis will sing Marzelline in Beethoven’s Fidelio. In January, violinist Diomedes Saraza Jr. ’17MMA was appointed Concertmaster of the Manila Symphony Orchestra in the Philippines, one of the oldest orchestras in Asia. Marco Sartor ’13MMA ’18dMA was appointed Assistant Teaching Professor of Guitar at Wake Forest University in Winston-Salem, N.C. He will start the position in the fall, having served for three years on the faculty of the New World School of the Arts in Miami, Fla. Trumpet player Kyle Sherman ’11MM, Principal Trumpeter of the Dallas Chamber Symphony, was the solo trumpeter in a performance of J.S. Bach’s “Brandenburg” Concerto No. 2 in November. As the winner of the 2018 Music Academy of the West’s Solo Piano Competition, pianist Sophiko Simsive ’18MM ’19MMA embarked on an international recital tour featuring the premiere of
Elizabeth Ogonek’s Orpheus Suite, written for Simsive. The Royal Canadian College of Organists presented a recital performance and workshop by organist and music educator Sarah Svendsen ’15MM in November. The workshop featured a child-oriented program with improvisation on the pipe organ. Double bassist Alexander Svensen ’10MM was appointed Principal Bassist of the Norwalk Symphony Orchestra in Connecticut and began performing with the group last September. Svensen is also Assistant Principal Bass of the Springfield Symphony Orchestra in Massachusetts. Horn player Josh Thompson ’17MM ’18MMA joined the Washington, D.C.-based wind quintet District 5 in April. Pianist Robert Thompson ’10MM was appointed Assistant Director of Music and Head of Keyboard at Christ’s Hospital School in West Sussex, UK, after nine years as Head of Piano at the Bedford School in England. Double bassist Eric Timperman ’19MM joined the double bass section of the Winnipeg Symphony Orchestra. Bassoonist Kristy Tucker ’19MMA was appointed Second Bassoonist of the Winnipeg Symphony Orchestra.
Class Notes Mezzo-soprano Alexandra Urquiola ’18MM will join the Opernstudio at Staatsoper Stuttgart in the 2019-2020 season. As a member of the studio, Urquiola will sing the roles of Annina in La Traviata, Fjodor/Die Aktivistin in Boris Godunov and Marta/Pantalis in Mefistofele, among others.
in Winchester, Mass., in March. Donations from the event went toward the research of treatments for children’s hearing loss.
Conductor Kensho Watanabe ’09bs ’10MM made his debut with the Detroit Symphony Orchestra in May leading a program that included Ravel’s Le Tombeau de Couperin, Korngold’s Violin Concerto, and Beethoven’s Eighth Symphony. In May, conductor Amanda Weber ’13MM accepted the position of Minister of Music and the Arts at Westminster Presbyterian Church in Minneapolis, Minn. In October, she celebrated three years as founder and Director of Voices of Hope Women’s Prison Choir. Pianist Naomi Woo ’12ba ’13MM will begin serving as Assistant Conductor of the Winnipeg Symphony Orchestra at the start of the 2019-2020 season. Pianist Amy Yang ’10AD was a featured guest pianist on the Newport Symphony’s “Spring Bursts Forth” concert in March. Pianist Hanna Yukho ’17MMA hosted the event “Celebrate the Gift of Hearing with an Evening of Music” at Stage Music Center
Want to see your news featured in Music at Yale? Send us your news–awards, appointments, recordings, premieres, important performances and projects, fellowships, and other successes–and keep the YSM community informed about your career. musicnews@yale.edu
125th Anniversary Edition 43
Recordings & Publications
Pianist Miki Aoki ’02MM released her fourth CD, Tokyo Story, in September. The recording includes music by Takanobu Saito from the soundtracks to the last seven films by Yasujiro Ozu. It is the world’s first recording of the piano versions of these soundtracks since the discovery of the original piano manuscripts in 2015. Trumpeter Thomas Bergeron ’08MM ’09AD released his third album of hybrid jazz chamber music, We Are a Moment, early this year. Bergeron is a member of the Atlantic Brass Quintet, which recently released its 10th album, Ascent. The Great Necks Guitar Trio’s debut album, Original Arrangements for Three Guitars, reached No. 10 on the Traditional Classical Billboard Charts in December. The trio includes alumni guitarists Scott Borg ’06AD and Matthew Rohde ’06ba ’07MM. Violinist Davis Brooks ’78MM released his fourth solo violin CD, Violin & Electronics 2, in December. The recording includes works by composers Richard Einhorn, Filipe Leitao, Frank Felice, Patrick Long, James Aikman, and Otto Luening. The album features three world-premiere recordings. Eric Cha-Beach ’07MM, a member of So Percussion, has contributed to tracks on the new album I Am Easy to Find by The National and appears on upcoming albums with Caroline Shaw, Buke and Gase, Tristan Perich, and other artists. So Percussion recently premiered Construction, a project with choreographer Susan Marshall. 44 Music at Yale
War & Peace. And Music, an essay by violinist Gerald Elias ’75ba ’75MM about the Boston Symphony Orchestra’s 2017 trip to Japan, won first prize in the Nonfiction Creative Essay category of the Utah Division of Arts and Museums’ Original Writing Competition last September. Since 2016, composer Kirsten Vogelsang Eyerman ’84MM has released two CDs, Cello Holiday: Carols and Incantations and Glowing Prayer. The recordings include arrangements and original works. Organist Stuart Forster’s ’98MM ’99AD recent publications include two volumes of arrangements and Harmonizations and Descants, Sets 1 & 2 (Selah Publishing Company). Forster’s recording Love So Amazing: The Hymn Arrangements of Stuart Forster was released in May by Affetto Records. Composer Jeff Fuller ’67ba ’69MM released his third album, Happenstance, which was recorded by his trio, Jeff Fuller & Friends. Fuller formed the trio in 2014 to perform original music in the jazz tradition. The group has since played at concerts, festivals, and clubs throughout Connecticut. The latest CD by Grammy-award winning guitarist Sharon Isbin ’78ba ’79MM, Souvenirs of Spain & Italy, will be released in August by Cedille Records. In 2019, Isbin toured internationally and recorded albums of music written for her. In April, MusikTexte published a 600-page book of the writings of composer Tom Johnson ’61ba ’67MM titled Finding Music.
Guitarist and songwriter Alan Kulka ’12MM released his latest single, “Special,” in March. The video can be viewed on Kulka’s Facebook page. A new single by Canadian Brass trombonist Achilles Liarmakopoulos ’10MM is now available on his website. The Buffalo Philharmonic Orchestra’s 2018 recording Built for Buffalo 2 features Whistler Waves for cello and orchestra by Caroline Mallonee ’00MM and solos by English horn player/ oboist Anna Mattix ’98MM in Robert Deemer’s Vox Humana. Percussionist Kramer Milan ’16MM ’17MMA commissioned composer Krists Auznieks ’16MM ’22DMA to write Five Times for solo percussion. Milan’s performance can be seen on the Vic Firth company’s YouTube page. Loft Recordings recently released Salome’s Dance, a recording by organist Robert Parkins ’73MM ’75MM ’80DMA performed on the renovated Aeolian organ in the Duke University Chapel. The CD, Parkins’ eighth solo recording, features late German Romantic music and works by American composers. Sharon Ruchman ’73MM wrote a memoir titled The Gift of Rudy in honor of her great-uncle Rudy Fuchs, a virtuoso violinist who died at age 25. Ruchman composed Another Time for viola and piano in Fuchs’ memory. Violinist Maura Scanlin ’19MM recorded albums with her folk bands Pumpkin Bread and
Recordings & Publications
Rakish titled Dear Starling and Rakish, respectively. In November, composer Arlene Sierra ’94MM released her latest CD in a composer portrait series on Bridge Records titled Arlene Sierra, Vol. 3: Butterflies Remember a Mountain. Gramophone described the disc as “enthrall[ing] from first bar to last.” The Israel Music Institute, in cooperation with the Ministry of Culture, released a retrospective CD of compositions by Max Stern ’71. Stern’s pieces are inspired by themes from the Bible, folklore, and the desert.
125th Anniversary Edition 45
In Memoriam
The Yale School of Music recognizes the passing of these faculty, alumni, colleagues, and friends: Robert C. Barker ’52BM ’53MM
Aldo S. Parisot ’48 ’70MAH
Solomon C. Epstein ’70MM
Vivian Perlis
John I. Goodman ’63MM
Brett A. Terry ’12MM
Peter J. Hedrick ’61MM
Elaine T. Toscanini ’55BM
Alan D. Hirschhorn ’66MM
Clayton Westermann ’53 ’55MM
Mildred N. McClellan ’48BM ’49MM
46 Music at Yale
School of Music Alumni Fund Year after year, support from alumni enables the School of Music to attract world-class students and faculty. Gifts to the Alumni Fund are directed to the School’s most urgent priorities, such as offsetting the financial burden of professional study at Yale through living stipends, acquiring and preserving instruments for practice and performance, and maintaining state-of-the-art facilities. The Alumni Fund touches nearly every corner of the School of Music, and gifts to the Fund help the School address its most pressing needs. No matter the gift amount, your participation is vital to advancing the School’s mission. Alumni Fund gifts of $1,000 or more are recognized in the following giving categories: Nathan Hale Leaders Circle Fourth Century Associates $100,000 and above Elihu Yale Associates $50,000–$99,999 Woodbridge Associates $25,000–$49,999 Hillhouse Associates $15,000–$24,999 Sterling Associates $10,000–$14,999 Harkness Associates $5,000–$9,999 Woolsey Associates $1,000–$4,999
For more information about the School of Music Alumni Fund or other areas of giving, please contact Katherine Darr, Director of Development, at 203 432-2208 or katherine.darr@yale.edu.
125th Anniversary Edition 47
Support
Scholarship honors local family’s ties to New Haven music scene The newly endowed Frank DiLeone Family Scholarship, which supports School of Music students studying string instruments, honors the memory of a musician and instrument dealer whose business operated in the New Haven area for decades. Francesco DiLeone immigrated to the United States from Italy at 13 and took up the double bass. In 1914, as an adult, he opened the DiLeone Music Store on State Street. When he wasn’t selling instruments, Frank was playing them, working with the New
Haven Symphony Orchestra and in the pit at the Shubert Theatre, where musicals were staged before heading to Broadway. After Frank died in 1976, his sons John and Louis continued running the business. John was a cellist who’d studied for a time at the School of Music and worked with the New Haven Symphony Orchestra. Louis, a double bassist and luthier, transformed the business, restoring and appraising fine string instruments from around the world. John died in 2017 at 103. Louis, 98, recently retired and lives in Orange.
“Music played an important role in the DiLeone family,” Louis and his sister, Yolanda, said. “The endowed scholarship at Yale will be a meaningful way to honor our father’s love of music.” The DiLeones recently donated instrument parts from the former shop to Music Haven, a New Haven-based organization that “empowers and connects young people through exceptional tuition-free music education, mentoring, and performance.” Music Haven was founded by violinist and School of Music alumna Tina Lee Hadari ’04MM.
Left: Louis DiLeone; right: Louis DiLeone in Mike Asetta’s workshop. Photos courtesy of Mike Asetta ’95cert.
48 Music at Yale
Support
Your Future and YSM, Stronger Together Charitable Gift Annuities at the School of Music Simple and stable, a Yale gift annuity offers you guaranteed payments for life and the opportunity to make an impact on YSM’s future. Here’s how it works: In exchange for your gift, Yale makes fixed payments for life to you or to individual(s) you select. When the annuity ends, the remainder is directed for a purpose at YSM, which you may choose.
Sample Rates for Yale Charitable Gift Annuities Age
Immediate
Deferred 3 years
Deferred 5 years
65 4% 5% 6% 70 5% 6.5% 8% 75 6% 8.5% 10.5% 80 8% 12% 12%
Charitable IRA Rollover: Make a Tax-Free Gift to YSM Individuals age 70½ and older can make direct transfers of up to $100,000 per year from individual retirement accounts to qualified charities without having to count the transfers as income for federal tax purposes. Gifts may be counted toward an individual’s minimum required distribution, and designated to any area at YSM.
For more information, contact Katherine Darr, Director of Development, at 203 432-2208 or katherine.darr@yale.edu.
125th Anniversary Edition 49
Honor Roll The School of Music is grateful for the generous support of its alumni and friends. The following individuals made a contribution between September 1, 2018 and June 30, 2019. To make your gift, please visit yale.edu/givemusic.
Alumni Fund Marita Abner ’78MM Kent R. Adams Ole Akahoshi ’95CERT Mary Katherine Ambrose ’07MM Richard E. Andaya ’84MM Eric Anderson ’14MM Gregory N. Anderson ’08MMA ’13DMA Stephen T. Anderson ’61BA ’64MM Sara Elizabeth Andon ’96AD Daniel I. Asia ’77MM Dmitri Atapine ’05MMA ’06AD ’10DMA Laura Catherine Atkinson ’09MM Halina D. Avery ’96MM Soo Ryun Baek ’11MM William Il-Hwan Bai ’90MM Eliot T. Bailen ’80MM ’82MMA ’89DMA Amanda Dawn Baker ’00MM Howard N. Bakken ’67MM David B. Baldwin ’73MM ’74MMA ’79DMA Elena G. Bambach ’55BM ’56MM Sun Kyung Ban ’12MM ’13AD Carolyn A. Barber ’92MM Cecylia B. Barczyk ’79MM Robert C. Barker ’52BM ’53MM † Geoffrey W. Barnes ’74MM Monifa D. Barrow-Wass ’97MM James R. Barry ’83MM Julie Anne Bates ’94MM Janna Margaret Baty ’93MM Alexander Sylvain Bauhart ’99MMA Leslie Van Becker ’77MM David A. Behnke ’77MM Mark E. Bergman ’97MM Amy Feldman Bernon ’91MM Patricia M. Bissell ’66MM Martha H. Bixler ’51BM George S. Blackburn, Jr. ’64BA ’67MM Michael C. Borschel ’74MMA ’79DMA Ryan J. Brandau ’06MM ’07MMA ’11DMA Anna Kay Rachel Brathwaite ’03MM Inbal Segev Brener ’93CERT Jeffrey Evans Brooks ’83MM ’84MMA ’89DMA K. Butler-Hopkins ’78MMA ’82DMA David Calhoon ’82MM Robert Carpenter ’65BA ’68MM Amy R. Catlin, Ph.D. ’72MM Min Jeong Cha ’09MM 50 Music at Yale
Yu Rhee Chae ’00MM Susan Chan ’90MM Heejin Chang ’13MM Violeta N. Chan-Scott ’84MM Wayman L. Chin ’83MM Minsol Cho ’13MM ’14AD Paul Won Jin Cho ’09MM ’10AD Jaewon Choi ’08AD David James Chrzanowski ’95MM Jihye Chung ’08MM Soo Jin Chung ’11MM ’12AD W. Ritchie Clendenin, Jr. ’67MM Carol Cohen Gene J. Collerd ’73BA ’74MM Rosemary Colson ’65MM Michael Patrick Compitello ’09MM ’12MMA ’16DMA Charlotte M. Corbridge ’62 Jeanine and Herbert J. Coyne ’49 Ronald A. Crutcher ’72MMA ’79DMA Edward H. Cumming III ’84MM ’85MMA ’92DMA Mark Edward Daniel ’88MM Steven F. Darsey ’85MM ’86MMA ’90DMA Richard L. De Baise ’67MM ’70MMA Galen H. Deibler ’54BM ’55MM Irina Faskianos DePatie ’89BA ’90MM Sharon Dennison ’79MM Judy Dermer Deborah Dewey ’79MM Emma Lou Diemer ’49BM ’50MM Dominick DiOrio III ’08MM ’09MMA ’12DMA Karen DiYanni ’96MM ’97AD Ralph P. D’Mello ’62MM Sylvia W. Dowd ’62MM Patrick J. Durbin ’15MM Robert A. Elhai ’86MM ’88MMA ’95DMA Kathryn Lee Engelhardt ’87MM Jayson Rodovsky Engquist ’96MM Joan Osborn Epstein ’76MM Helen B. Erickson ’69MM Ethel H. Farny ’66MM Grace Ann Feldman ’63MM Michael Steven Flynt ’91MM Jeff Fuller ’67BA ’69MM Nina Ardito Gambardella ’47MUS Richard J. Gard ’02MM ’04MMA ’07DMA Tyra E. Gilb ’81MM Joanna B. Gillespie ’53BM ’54MM Alexander Glantz ’93BA Linda W. Glasgal ’56BM ’57MM Renee K. Glaubitz ’51BM Hall N. Goff ’75MM Jie Gong ’07MM Daniel M. Graham ’63MM M. Graziano, Ph.D. ’66MM ’70MPHIL ’75PhD
Honor Roll Marisa Wickersham Green ’06MM William H. Greer, Jr. ’51BA Andrew F. Grenci ’84MM Barbara J. Hamilton-Primus ’86MMA ’93DMA Jiyun Han ’09MM ’10AD Suyoun Han ’17MMA Norine P. Harris ’52BM Edward Duffield Harsh ’88MM ’92MMA ’95DMA Robert L. Hart ’74MM Eiji Hashimoto ’62MM Eva Marie Heater ’91MM Robert C. Hebble ’55BM Peter J. Hedrick ’61MM Andrew Elliot Henderson ’01MM Benjamin P. Hoffman ’14MM Jee-Youn Hong ’05MM ’06AD Michael M. Horvit ’55BM ’56MM William G. Hoyt, Jr. ’76MM William Lee Hudson ’61MM Mary Wannamaker Huff ’01MM Timothy I. Hurd, QSM ’77MM Sun-Kyung Hwang ’06MM Sun Min Hwang ’12MM Janne E. Irvine ’74MM Paul Abraham Jacobs ’02MM ’03AD Sunhee Jeon ’10AD David B. Johnson ’72MMA Thomas F. Johnson ’61BA ’67MM G. Lawrence Jones ’59MM Jang Soo Jun ’10MM Jennie Eun-Im Jung ’01MM ’02AD Marie Jureit-Beamish ’81MM ’83MMA ’85DMA Jiwon Kang ’16MM Joyce B. Kelley ’56BM ’57MM Daniel Dixon Kellogg ’01MM ’03MMA ’07DMA Hsing-Ay Hsu Kellogg ’01MM Aaron Jay Kernis ’83 Barbara Peterson Kieffer ’81MM Richard E. Killmer ’67MM ’71MMA ’75DMA Bora Kim ’14MM ’15ad Ji Hyun Kim ’13AD Joonwhan Kim ’13AD Myungju D. Kim ’91MM Naria Kim ’10MM ‘11AD Nayeon Kim ’12MM ’13AD Yeon-Su Kim ’98MM Marjory R. Kimbell ’49BM Richard A. Konzen ’76MM ’77MMA ’84DMA David M. Kurtz ’80MM Sarita Kit Yee Kwok ’05MMA ’06AD ’09DMA So Young Kwon ’08MM ’09AD Christian Mark Lane ’08MM Theresa E. Langdon ’79MM David Lasker ’72BA ’74MM
Ronald Ling-Fai Lau ’95MM Christopher Matthew Lee ’02MM Eun-Sook Lee ’99MM ’00AD Gee Yun Lee ’07AD Genevieve Feiwen Lee ’89MM ’90MMA ’94DMA Hyun-Joo Lee ’08AD Hyun-Jung Lee ’10MM ’11AD Jenny J. Lee ’18MM Ji Eun Lee ’15MM Joo-Hee Julienne Lee ’95MM Kangho Lee ’96MM Ka-won Lee ’96MM Kyung Mi Anna Lee ’10MM Min Jung Lee ’91MMA ’96DMA Seok Jung Lee ’12MM ’13AD Seunghee Lee ’92MM ’94AD Soyoung Lee ’92MM Robert B. Leete Stephane Levesque ’95MM Jill P. Levine Shelley Levitz Nora Anderson Lewis ’01MM Jessica K. Liebowitz ’87BA Linda T. Lienhard ’62MM Stephanie Yu Lim ’00BA Donald Glenn Loach ’53BM ’54MM Jane P. Logan ’69MM Richard W. Lottridge ’58MM Vincent F. Luti ’67MM ’70MMA ’78DMA Maija M. Lutz ’63MM Xinhua Ma Martha Maas ’68PHD Anita La Fiandra MacDonald ’70MM Ivan MacDonald † Paige E. Macklin ’69MM Joan M. Mallory ’59BM Dennis P. Malone ’84MM Robert M. Manthey ’01MM Sheila A. Marks ’60MM Melissa J. Marse ’98MM Florrie A. Marshall ’18MM Peter M. Marshall ’80MMA ’85DMA Katherine Mireille Mason ’04MM Thomas Masse ’91MM ’92AD and James Perlotto ’78BS Marjorie J. McClelland ’50 Bruce G. McInnes ’64MM Donald Miller, Jr. ’55BA ’60MM Mallory Miller Edmund J. Milly ’15MM Chouhei Min ’72MMA Pamela Getnick Mindell ’99MM ’00MMA ’05DMA Jane Mitchell ’13MM Robert W. Molison ’60MM Joanna C. Mongiardo ’98MM 125th Anniversary Edition 51
Honor Roll James R. Morris ’62Mm Grant R. Moss ’82MM ’83MMA ’91DMA Joan Maurine Moss ’67MM Neil Richard Mueller ’95MM John-Michael Muller ’05MM Paul Daniel Murphy ’06MM Hando Nahkur ’06CERT Conor R. Nelson ’05MM Thomas Newman ’77BA ’78MM Tian Hui Ng ’10MM Eliot Norman ’69BA Patricia Grignet Nott ’66MM ’69MMA ’76DMA Martha ’77MM and Vincent Oneppo ’73MM John C. Orfe V ’01MM ’02MMA ’09DMA William A. Owen III ’79MM Eun Young Park ’06MM JeeEun Park ’03MM Sokang Park ’06MM ’07AD Reinhard G. Pauly ’48MM ’56PHD Florence Fowler Peacock ’62MM Aaron M. Peisner ’16MM Stephen R. Pelkey ’85MM Julian V. Pellicano ’07MM ’09MM Sarah Marie Perkins ’07MM Stephen B. Perry ’81MM Gregory M. Peterson ’85MM Kirsten Peterson ’90MM Gail M. Pettler Joan Jooyeon Pi ’00MM ’01AD Kevin J. Piccini ’85MM Susan Poliacik ’74MM Joseph W. Polisi ’73MM ’75MMA ’80DMA ’14mah Tammy Pollock Joan F. Popovic ’57BM ’58MM Nigel Charles Potts ’02MM James H. Pyle ’78MM Jan Radzynski ’79MM ’80MMA ’84DMA Robert J. Redvanly ’80MM Daniel W. Reinker ’81MM Dorothy C. Rice ’57 Eckhart Richter ’49BA ’52BM ’53MM Gerald M. Rizzer ’65MM Hildred E. Roach ’62MM Kay George Roberts ’75MM ’76MMA ’86DMA Stephen Thomas Roberts ’76MM Svend J. Ronning ’91MM ’93MMA ’97DMA Linda L. Rosdeitcher ’59BM Melissa Kay Rose ’85MM Werner G. Rose ’61MM David N. Rosen, Esq. ’69LLB Donald S. Rosenberg ’76MM ’77MMA Steven L. Rosenberry ’76MM Susan Rotholz ’81MM Bernard Rubenstein ’61MM 52 Music at Yale
Jason Arthur Rubinstein ’91MM Sharon L. Ruchman ’73MM Rogene Russell ’73MM Victor W. Ryder ’58BA ’60MM Siyeon Ryu ’94MM ’95AD Jonathan A. Salamon ’17MM Domenic Robert Salerni ’11MM Robert Scott Satterlee ’89MMA ’94DMA Andrew Patrick Scanlon ’03MM Karen Schneider-Kirner ’90MM ’90MAR S. W. Schwenterly III ’67BS Shannon M. Scott ’87MM Permelia S. Sears ’74MM Frank Shaffer, Jr. ’73MM ’75MMA ’80DMA Jihoon Shin ’09MM Jill Shires ’70MMA Alvin Shulman ’65MM John A. Sichel ’85MMA ’90DMA Solomon Louis Silber ’14BA ’16MM Preethi I. de Silva ’71MMA ’76DMA Bryan R. Simms ’66BA ’69MM ’70MPHIL ’71PhD Kenneth D. Singleton ’74MM ’75MMA ’81DMA James Austin Smith ’08MM Regan W. Smith ’81MM Rheta R. Smith ’65MM Changwoo Sohn ’96MM Jee Eun Song ’10MM Frank A. Spaccarotella ’73MM Tram Ngoc Sparks ’98MMA ’03DMA Timothy Dale Spelbring ’05MM Philip D. Spencer ’77MM Richard S. Steen ’72MMA ’78DMA Thomas Jared Stellmacher ’09MM Luke D. Stence ’16MM ’17MMA Julie Margaret Stoner ’72MM Cynthia T. Stuck ’52BM Ah-Young Sung ’04MM ’05AD Knox K. Sutterfield ’14MM Kiyoshi Tamagawa ’83MM Timothy D. Taylor ’85MM Suliman Tekalli ’16AD Haskell L. Thomson ’61MM Justin Mark Tierney ’12AD Motoko Toba ’95MM Vesselin T. Todorov ’09MM ’10AD Anthony C. Tommasini ’70BA ’72 Michael C. Tusa ’75BA ’76MM Joyce M. Ucci ’63MM William W. Ulrich, Jr. ’55BM ’57MM Sara E. Usher ’76CERT William Jacob Van Wyk III ’97BA Antoinette C. Van Zabner ’74MM ’75MMA John P. Varineau ’78MM Ferenc Xavier Vegh, Jr. ’92MM
Honor Roll Raymond Vun Kannon ’53BA ’54BM ’55MM Cheryl Rita Wadsworth ’95MM Althea Waites ’65MM Christopher R. Wall ’74BA Derrick Li Wang ’08MM Houng-Yu Hsu Wang ’72MM Carol Kozak Ward ’85MM Elizabeth Ward ’70MMA Marvin Warshaw ’79MM ’80MMA Abby N. Wells ’67MM William F. Westney ’71MMA ’76DMA Donald F. Wheelock ’66MM Joseph L. Wilcox ’66MM Christopher P. Wilkins ’81MM Mary Diane Willis-Stahl ’80MM Dawn Dongeun Wohn ’08MM ’09AD Gregory Christopher Wrenn ’92MM Rodney A. Wynkoop ’73BA ’80MMA ’85DMA Wei-Yi Yang ’95MM ’96AD ’99MMA ’04DMA Donna Yoo ’09MM Meejung Yoo ’95AD Sohyang Yoo ’14MM ’15AD Kyung Hak Yu ’87MM Lauren K. Yu ’13MM Shin Y. Yu ’17MM Sung-Hyun Yun ’86MM Joyce Ship Zaritsky ’63MM Michael A. Zuber ’14MM Sebastian Zubieta ’00MM ’02MMA ’09DMA
Patron Programs Nina R. Adams ’69MS ’77MSN Susan S. Addiss ’69MUS ’69MPH Cecle and Josef Adler Bonita M. Albanese Victor A. Altshul, M.D. ’60MD Adam Anderson Nancy Apfel Linda and Roger Astmann Tom Attea Judith and Stephen August Christopher Avallone Irma Bachman Richard W. Beals ’60BA ’62MA ’64PHD Barbara Beitch Scott S. Bell ’83 David L. Belt, Esq. ’65BA ’70LLB Susan A. Bers ’87PHD C. Blake Bidwell ’60BA Henry J. Binder, M.D. ’78MAH Eric J. Bohman, Ph.D. ’74MPHIL ’84PHD Rich Boritz Harold D. Bornstein, Jr., M.D. ’53MD
Michael B. Bracken, Ph.D. ’70MPH ’72MPHIL ’74PhD Marian and Stanley Brownstein Robert A. Burt Walter B. Cahn ’76MAH Judith Colton ’88MAH and Wayne Meeks ’65PhD Diana Starr Cooper ’69MFS Michael Couturie Douglas J. Crowley ’63BA Roseline G. Crowley, Ph.D ’76PHD Enrique Cruz Robert T. Danaher Diana L. Dang ’16MSN Hannah M. Darrin Laurie Anne M. Deredita ’70MPHIL Elizabeth M. Dock Conor Duffy Richard H. Dumas Vic Dvorak Wenting Fei Kathryn Feidelson Catalina Folch Melissa Fountain Steven David Fraade ’89MAH William French Deborah Fried, M.D. Paul J. Gacek ’67BA ‘70MUS Sylvia and Howard Garland Tamar Szabo Gendler ’87BA ’06MAH Sonya and Saul Goldberg Courtney Gordon Carolyn P. Gould Lauretta Grau Elizabeth Greenspan ’76BA Thomas Griggs, Sr. Eduardo A. Groisman ’11MAH Paul C. Guida Elizabeth Haas Jane Henry Jean Herzog Mary-Michelle Hirschoff, Esq. ’70LLB Marjorie and Jay Hirshfield ’68MAH Peter Hunt Francesco Iachello ’78MAH Mr. and Mrs. Robert A. Jaeger Jennie Eun-Im Jung ’01MM ’02AD Susan Kapec Michael Karpilow Heidi E. Katter Alan Katz Barbara and Ivan Katz Ted R. Killiam Joan and Alan Kliger, M.D. Karen A. Kmetzo ’79MPH Michael Koreiwo 125th Anniversary Edition 53
Honor Roll Hannah R. Kosman Galina Kramarenko Maria Lamberto Robin C. Landis ’66 Eliza Carlson Lee ’89BA Charles Levene Judith Liebmann, Ph.D. ’69PHD Judith B. Long Mark E. Ludwig, M.D. Sean Ma Maurice J. Mahoney, M.D. ’82MAH James R. Mansfield Joel Marks Ann H. Marlowe Sarah McCormack Colin McLaren Santiago Mejia Teresa J. Mensz John M. Merriman Elizabeth D. C. Meyer David S. Miller, Jr. ’65 ’74MARCH Irene Miller Mary Jane Minkin, M.D. ’75MD Mitja Mitrovic Luis Fabiano Carvalho Monteiro Leonard Munstermann Sri S. Muthu ’16MBA Barbara and William Nordhaus ’63BA ’73MAH Sharon Oster ’83MAH and Ray Fair ’79MAH Henry Soo-Min Park, M.D. ’07BS ’12MD Tristin S. Park Peter C. Patrikis Melissa A. Perez Steven M. Perrett ’76BA ’77MM Andrew Petracco E. Anthony Petrelli Thomas D. Pollard ’01MAH Jerome J. Pollitt ’57BA ’73MAH Mary Ellen Porcelli Jules D. Prown ’71MAH Ms. Denise Rioux Anthony Rizzo Fred C. Robinson Susan Rollins Arthur Rosenfield ’83MAH Ethan Rundell ’16MPHIL W. Dean Rupp, Jr., Ph.D. ’65PHD Leonard J. Rutkosky Jim R. Scala ’16MAR Cecelia and Jerome Serling Mary Jo P. Shepard ’76MPH Robert G. Shulman ’79MAH Tyler Silva Nathan Silverstein 54 Music at Yale
Clifford L. Slayman ’83MAH Carolyn Sloan Richard Sonder Stephanie S. Spangler, M.D. Joan A. Steitz ’78MAH Barbara and Michael Susman Takashi Tamagawa ’84MS ’88PHD Lisa and David Totman ’61BA ’65LLB Jiawei Wang Mary-Jo W. Warren Jonathan Waters Joseph Weicher Abby N. Wells ’67MM Roy H. Wiseman ’76MM Marcia and Richard Witten Elizabeth and Werner P. Wolf ’65MAH Hao Wu Donna Yoo ’09MM Michael A. Zuber ’14MM Bernard Zuckerman, M.D.
Opera Joyce Ahrens Robert J. Alpern, M.D. ’05MAH Burton Alter Victor A. Altshul, M.D. ’60MD Paul B. Bailey ’72MARCH Elisabeth Bohlen Carole and Arthur Broadus Anne Tyler Calabresi Guido Calabresi ’53BS ’58LLB ’62MAH Belinda J. Chan, M.D. ’94MD Melvin Chen ’91BS Joseph D. Crowley ’55BA Roseline ’76PHD and Douglas Crowley ’63BA Anne Curtis, M.D. ’70MD Priscilla S. Dannies ’90MAH Charles DiSabatino, Jr., M.D. Valerie Ferrucci Penelope Fitzgerald Brin R. Ford ’70MARCH Catherine ’71MSN and John Forrest ’85MAH Christopher Getman ’64BA Javier Gonzalez Mary J. Greer ’78BA ’86MA Susan and Paul Hawkshaw Erica ’05PHD and Raimund Herzog ’12Mhs Cheryl Hewitt Maija Jansson ’67GRD Richard G. Kibbey Joan and Alan Kliger Elias Nicholas Kulukundis ’54BA Richard Lalli ’80MMA ’86DMA
Honor Roll Barry Lawless Jane ’75PHD and Richard Levin ’74phd Stephanie Yu Lim ’00BA Judith B. Long Linda Koch Lorimer ’77JD and Charles Ellis ’59BA ’97MAH Li Lu Maurice J. Mahoney, M.D. ’82MAH Jocelyn S. Malkin, M.D. ’52MD John M. Merriman George I. Miller, Jr. ’81MA ’83MPHIL Rashmi Misra Marta Moret ’84MPH and Peter Salovey ’86phd Marcia and James Morley Crystal and Timothy Niemi Nancy D. Olson, M.D. ’78MA ’80MPHIL ’87MD Shanna Peng Melissa A. Perez Kitt Falk Petersen ’13MAH Alexander Purves ’58BA ’65MARCH Gerald I. Shulman, M.D. ’96MAH Robert G. Shulman ’79MAH Lorraine D. Siggins, M.D. Damon B. Smith ’56BA Stephanie S. Spangler, M.D. Mary Louise and Dennis D. Spencer, M.D. ’85MAH Richard S. Steen ’72MMA ’78DMA David T. Totman, Esq. ’61BA ’65LLB Yi Wang Steven Wolfson Richard E. Ya Deau, M.D. ’53BA Ken Yoshida
Endowed Scholarship, Support, and Resource Funds Denise and Stephen Adams ’59BA Richard S. Auchincloss, Jr. ’64BA Henry P. Becton, Jr. ’65BA Frederick W. Beinecke II ’66BA Lincoln E. Benet ’85BA Nancy Marx Better ’84BA Serena and Robert Blocker ’95MAH Christopher A. di Bonaventura ’77BA Elizabeth C. Caspe George L. Cohn, M.D. Carole Cowan ’68MM ’69MMA ’80DMA C. Alison Cunningham ’84MDIV William A. D’Amato Louis DiLeone Yolanda DiLeone Richard S. Dodd II ’81BA ’97MBA Syoko Aki Erle ’69MM Christopher Getman ’64BA Carole and Harold Greenbaum
Edward J. Greenberg ’59BA Mary J. Greer ’78BA ’86MA Abel G. Halpern ’88BA Cheryl Hewitt G. Truett Hollis ’55BM Frederick J. Iseman ’75BA Lydia M. Kovi Kenneth W. Liebman ’56BA Judith B. Long Patricia and John Mooney Georgia Ann Nelson Elizabeth Sawyer Parisot ’66MM ’70MMA ’73DMA Regine Powell Lori Laitman Rosenblum ’75BA ’76MM Roberta Roth Evy and Michael Saulich Irving Sitnick Arlene and Edward Steinlauf Myra S. Swallow ’99BA
Music in Schools Initiative James M. Banner, Jr. ’57BA Serena and Robert Blocker ’95MAH Hope S. Childs Merrell M. Clark ’57BA ’70MAR Kimberly A. Crose William F. Eaton ’57BA Stephen V. Flagg, M.D. ’57BS Andrew J. Glass ’57BA Stephen A. Hopkins ’57BA Victor Thane Norton, Jr. ’57BS Anne G. Perkins ’81BA Philip C. Richards ’57BE Rubén Rodríguez-Ferreira ’11MM Jane and Alfred Ross Robert J. Smith ’57BA C. Nicholas Tingley ’57BE Robert S. Walker ’57BA
Norfolk Chamber Music Festival Mary M. Ackerly, Esq. ’77JD Bernard R. Adams, Esq. ’69LLB Joyce Ahrens Jeffrey C. Alexander ’01MAH Samuel A. Anderson Jane and Richard Andrias Vincent D. Andrus ’63BA Kimberly Arndt Annemarie and Herbert Arnold Linda and Roger Astmann Joanna Aversa Carolyn and Ivan Backer 125th Anniversary Edition 55
Honor Roll Emily Bakemeier and Alain Moureaux Jeremy Barnum Battell Arts Foundation Sonia and John Batten Astrid and John Baumgardner Patricia A. Beaudoin Joanne and Warren Bender Jonathan Berger Amy and Peter Bernstein Donald A. Bickford ’66BS Elizabeth and Donald Black Lori Black Gayle Blakeslee Serena and Robert Blocker ’95MAH Les Bluestone Constantin R. Boden Edward H. Boehner Elizabeth Bradford Borden ’04MEM Ivan Brice Joyce G. Briggs Trip Brizell Awilda and Bernard Buchholz Cynthia and Burton Budick Jane Leslie Burgin Margaret E. Burnett Ann and Robert Buxbaum Steven B. Callahan, Esq. ’74BA Susan E. Carpenter Sally Carr Bradley Carson Coleman H. Casey, Esq. ’73JD Nancy and Peter Chaffetz Virginia R. Chalmers Oscar G. Chase ’63JD Hope S. Childs Marlene Childs Michelle and Starling Childs II ’76bs ’80mfs Deanna G. Chin, M.D. ’99MD Deanne Chin Roger Clarke Peter Coffeen and Stephen Getz Philip L. Cohen, M.D. ’72MD Catherine Cole Lewis G. Cole, Esq. ’54LLB George Cronin Joseph D. Crowley ’55BA Judi and Michael Crowley Martha Crutchfield and Robert Hobbs Deborah Davis ’91MAH and Michael Friedmann Richard Davis Patricia Deans Andrew G. DeRocco Katharine and Rohit Desai Judith and Paul Dorphley 56 Music at Yale
Elizabeth Dubbs Louise Ducas Dalton G. Dwyer Daryl W. Eaton Susan and Jon Eisenhandler Paul Ellner Professor David H. Elwell ’57BS Michael J. Emont, Esq. ’74JD Eiko and Robert Engling Nicholas Fanelli Mary E. Fanette Claudia and Eliot Feldman William E. Flowers Genevieve L. Fraiman Ralph W. Franklin Lawrence Freedman Judith N. Friedlander Sara Frischer William Fuller John G. Funchion Adrienne Gallagher and James Nelson Richard J. Gard ’02MM ’04MMA ’07DMA Anne Garrels John C. Garrels III ’61BA Linda Garrettson Barbara L. Garside Stephen Getz Elisabeth C. Gill Gary Godwin Roberto S. Goizueta ’76BA Gerry E. Goodrich Fred S. Gorelick, M.D. ’94MAH Carolyn P. Gould The William & Mary Greve Foundation, Inc Barbara Gridley Morton E. Grosz Michael J. Halloran Shelley B. Harrison John Hartje Ann Havemeyer, Ph.D. ’75BA ’79MA ’82MPHIL ’12PhD Susan and Paul Hawkshaw Peter S. Heller Ann Coleen Hellerman Suzanne M. Hertel Peter L. Hess Tom Hlas and Paul Madore Daphne M. Hurford Meredith and Arthur Hurst Colta and Garrison Ives Leila Javitch Blair A. Jensen, Ph.D. Philip C. Jessup Paul H. Johnson Doreen and Michael Kelly
Honor Roll Joseph G. Kelly Richard H. Kessin ’66BA Kristin King and Gerald Friedmann Bernadette Kinsman Elizabeth Kitridge and Christopher Little ’71BA Martha W. Klein Nancy Kriegel David M. Kurtz ’80MM Myron L. Kwast Kathryn and Robert Lapkin Evelyn Laufer Carlene C. Laughlin Joseph L. Lavieri Starling Lawrence Wynn Lee David Levin Douglas J. Lint Robert B. Loper David N. Low, Jr. ’87MPPM Maija M. Lutz ’63MM Susan MacEachron Ernest Malecki Lenore and Stanley Mand Judith and Ronald Maxwell Maura E. May ’81BA Zdenek S. Meistrick Lisa and Theo Melas-Kyriazi Stephen Melville Andrea Seigerman Milstein Barbara and Richard Moore Deborah and Timothy Moore Katherine C. Moore Michael J. Moran Frank Morelli Ingrid and Michael Morley James Moye Ivan Mueller Christian Murck ’65BA Jacqueline Ann Muschiano and Andrew Ricci Valerie Nelson Ronald A. Netter ’69BA Michael D. Nicastro Nichols & Pratt, LLP Phillip Niles Patricia Nooy and Roger Miller Grace Noyes E. Devere Oakes Kevin M. O’Connor Rowena Okie Judith and Tician Papachristou Catherine Perga Jennifer Perga Jane Perkins John R. Perkins ’84MARCH
Heather Perrault Ned King Peterson ’99BA Eileen Reed and C. A. Polnitsky Charles Pullaro Sally and Andrew Quale Donna and Dennis Randall Nancy and James Remis Peter Restler Belle K. Ribicoff Cristin and David Rich ’83BA Sandra Landau and Richard Rippe Gary L. Robison Evelyn Rogoff Caren and Barry Roseman Marc Rosen Edward W. Russell II Barbara and John Rutledge Linda and Raleigh Sahl Anita and Alain Saman Carlene Sawyer Kim Scharnberg Marilyn and Richard Schatzberg Anthony E. Scoville ’62BA Thomas R. Shachtman Dee and Stanley Shapiro, M.D. Julie Shapiro ’80MFA Harriet Shelare Benjamin Shiff Julia Shin Jonathan J. Silbermann Geoffrey Silverstein Frank J. Silvestri, Jr., Esq. ’74JD Cornelia and Jonathan Small Dotty Smith Judith Schlump Sneath ’87MPPM Howard A. Sobel Edmund H. Sonnenblick Anne-Marie Soulliere and Lindsey Chao-Yun Kiang ’64BA ’68LLB Marcia and Robert Sparrow Janet and Ronald Spencer ’64LLB Barbara Spiegel Patricia and Kurt Steele Bruce Stein ’80BA Roxann Steinberg Abbe S. and Peter Steinglass, M.D. Keith Stevenson Elizabeth Stott Paul Stranieri J. W. Streett, D.V.M. Gretchen A. and Richard E. Swibold Sarah and Nicholas Thacher ’98MDIV ’67BA Jean Thompson Chilton Thomson, Jr. ’67BA Roger Tilles 125th Anniversary Edition 57
Honor Roll Sandra and Richard Tombaugh Jane Edwards and Humphrey Tonkin David Troyansky Beverly and Robert Vail Sandra and David Van Buren Herbert A. Vance, Jr. ’65BA Sally and William Vaun Nancy H. Wadelton Nancy R. Wadhams Eliot Wadsworth Rodney B. Wagner Alexandra Walcott Mark A. Walker, Esq. ’66LLB Mary-Jo W. Warren Emily Aber and Robert Wechsler Kate Wenner and Gilbert Eisner G. Warren Whitaker William N. White Virginia ’62MAT and John Wilkinson ’60BA ’63MAT ’79MAH Sally P. Williams Susannah and Willard Wood Donald G. Workman Gail and Michael Yaffe Wei-Yi Yang ’95MM ’96AD ’99MMA ’04DMA Donna Yoo ’09MM Henry M. Zachs
Collection of Musical Instruments Milton N. Allen Chace Anderson Robert P. Anderson ’57BA ’60LLB Caroline S. Bacon ’04MAR Alexander S. Bauhart ’99MMA Ronald G. Bell F V. Bigelow Robert Blocker ’95MAH Emile L. Boulpaep ’79MAH Thatcher M. Brown ’58BA Guido Calabresi ’53BS ’58LLB ’62MAH Berclee Cameron Shulamith S. Chernoff Juliet T. Chon ’85BS Grace A. Clark Constance Clement Philip J. Conforti Ignace M. De Keyser Victoria K. DePalma Peter K. Dickinson ’60BE Edward J. Greenberg ’59BA Mary J. Greer ’78BA ’86MA Diane Hill Joseph F. Hoffman ’65MAH C E. Hood 58 Music at Yale
Francesco Iachello ’78MAH Claude January Boyd M. Jones ’77MM ’78MMA ’84DMA Jeffrey S. Kahn ’70BA Richard D. Kaplan ’66MS ’68MPHIL ’70PhD Philip J. Kass Kerry K. Keane David A. Keller Elias N. Kulukundis ’54BA Bruce D. Larkin William Lepler ’80MM Barbara D. Loucks Susan J. Marchant ’76MM ’77MMA ’82DMA Elizabeth D. Meyer Craig A. Monson ’66BA George P. O’Leary ’64BS ’66MS ’69PHD Leonard Passano ’52PHD Kathryn Patrikis E. Anthony Petrelli Ellen Ryerson and Leon Plantinga ’64PHD David G. Powrie Jean B. Purvis William Purvis Diane K. Ransom David N. Rosen ’69LLB Lynda Rosenfeld and Richard Weiss ’16MAH Daniel E. Rosner ’74MAH Alan D. Seget ’71BA Alan Steinert Damon B. Smith ’56BA Kerala J. Snyder ’70PHD James N. Spencer John R. Stieper Marlene and Shepard Stone John F. Sutton ’55BA ’56MA Sally L. Taylor Erica Warnock Stephanie L. Wiles Elizabeth S. Williams Avril Winks Nick Wolf Beverly Woodward Gail and Michael Yaffe Constance and Earl Young
Deceased † List as of June 30, 2019
P.O. Box 208246 New Haven, ct 06520-8246