The Soldier's Tale, Sep 27, 2018

oneppo chamber music series David Shifrin, Artistic Director

The Soldier’s Tale Yale School of Music | Robert Blocker, Dean Yale School of Drama | James Bundy, Dean

Thursday, September 27, 2018 | 7:30 p.m.

Morse Recital Hall in Sprague Memorial Hall Sunday, September 30, 2018 | 7:30 p.m.

Zankel Hall at Carnegie Hall

Robert Blocker, Dean

The Soldier’s Tale Music by Igor Stravinsky Text by C.F. Ramuz Translation by Liz Diamond*

Jarlath Conroy± Julian Elijah Martinez± ’16mfa Matty Oaks± Rachel Chew ’20ba Manu Nefta Heywot Kumasi ’19mfa Ani Kavafian* Kohei Yamaguchi ’18mm ’19mma David Shifrin* Kristy Tucker ’19mma Theo Van Dyck ’18mm William Wortley ’18mm ’19mma YoungKyoung Lee ’18mm ’19mma Liz Diamond* Emily Coates* ’06ba ’11ma Michael Yeargan* Ilona Somogyi* ’94mfa Solomon Weisbard ’13mfa Dana Tanner-Kennedy ’14mfa James Mountcastle*± John A. Carlin ’19mfa Graeme Steele Johnson ’17mm ’18mma

the narrator the soldier the devil the princess understudy: soldier & devil violin double bass clarinet bassoon trumpet trombone percussion stage director choreographer scenic designer costume designer lighting designer production dramaturg production stage manager stage manager music coordinator

*Yale faculty

±

The actor appears through the courtesy of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

By arrangement with G. Schirmer, Inc., publisher and copyright owner.

As a courtesy to others, please silence all devices. Photography and recording of any kind is strictly prohibited. Please do not leave the hall during musical selections. Thank you.

Program Notes Introduction by the Directors

The Genesis of The Soldier’s Tale

In the decades since its premiere on September 28, 1918, The Soldier’s Tale has had all kinds of productions: adapted for stars to read solo, concertized without spoken text, staged as a ballet with dozens of dancers, adapted and translated for Inuit speakers, adapted as a piece about a soldier in Iraq, and produced by PBS as a marvelous cartoon illustrated and directed by R.O. Blechman. Now exactly 100 years after its premiere, and inspired by Stravinsky’s original “fairground theatre” conception, we’re pleased to revive this deceptively charming, bitter moral fable in its fully staged form, using simple design elements, seven musicians, and four actors, showcasing faculty, student, and alumni members of Yale’s distinguished artistic community.

The first decades of the 20th century in Russia, known as the Silver Age, was a time of extraordinary intellectual and artistic ferment. This Janus-faced moment produced fantastical hybrid works that combined mysticism with the machine age, reimagined folk art through radical aesthetic innovations, and infused forgotten art forms with the spirit of modernity. One of the most famous reimaginings of Russian folk culture was Stravinsky’s groundbreaking, incendiary Rite of Spring. Stravinsky returned to the wellspring of Russian folk material many times, discovering there the stories that would inspire his ballets The Firebird and Petrushka and his music theater gem The Soldier’s Tale.

We’ve envisioned this production as a music/ dance chamber theater piece, in which the playfully rhyming poetry of the libretto, and movement and dance (from ballet to jazz to hip-hop) will collide and combine, much as the lyrical and ironic modes of the music do.

At the heart of The Soldier’s Tale is a great, aching longing for a sense of place, which we seem to have abandoned in our modern “pursuit of happiness.” At the same time, the unsentimental exuberance of the music, its cosmopolitan celebration of sounds — modern and folk, jazzy and classical — seems to urge us to brace up, to make choices with our eyes open. With heartfelt thanks to our collaborators for lending their time and talent to the cause, we welcome you to this production of The Soldier’s Tale. Enjoy!

—Liz Diamond and David Shifrin

With the outbreak of the First World War and the Russian Revolution, Stravinsky found himself in dire financial straits. Living in forced exile in Switzerland and unable to access his bank accounts back in Russia, Stravinsky devised The Soldier’s Tale as an inexpensive, mobile production he could tour as a money-making venture. Some of his happiest childhood memories were of the puppet shows, clowns, and musicians who performed at Russian country fairs, and he wanted to create a similar type of popular entertainment. He and his collaborator, the Swiss librettist C.F. Ramuz, based The Soldier’s Tale on an old folk tale, “The Runaway Soldier and the Devil,” which Stravinsky had found in the collection of folklorist Alexander Afanasyev. Considered the Russian equivalent of the Brothers Grimm, Afanasyev painstakingly recorded more than 600 Russian folk and fairy tales,

including a group of stories that feature a young soldier called Ivan who, in a variety of clever ways, manages to outwit the devil.

Stravinsky’s version complicates the story, however, offering a sharp moral to the fable.

The Soldier’s Tale is a picture of a man entangled in a devil’s bargain. The Soldier is caught between worlds just as Stravinsky was caught between cultures, political systems, and countries. It seems, at first, to be a story we know about the dangers of filthy lucre, but the piece slowly reveals itself to be as critical of the revolution’s nostalgic longings for a homeland as it is of unbridled capitalist gain. Finally, the story takes an unsettling turn to contemplate a more existential question.

After The Soldier’s Tale premiered in Lausanne in September 1918, the flu pandemic curtailed any possibility of touring it. Since then, the piece has been remounted in a variety of productions, including concert and ballet versions as well as fully realized stagings. This production, which premiered in 2014 at the Yale School of Music, is being remounted in a centennial celebration of Stravinsky’s modernist musical fable.

What we discover in the end is that modernity itself is, perhaps, a devil’s bargain.

If the project of modernity was, as Ezra Pound wrote, to “make it new,” Stravinsky asks, what must be destroyed to make way for such renewal? And at what price?

— Dana Tanner-Kennedy ’14mfa DFA Candidate Production Dramaturg

The Music: Revolution and Evolution The Soldier’s Tale is as revolutionary in its musical parameters as in its bohemian conception. It is scored for the unconventional septet of violin, double bass, clarinet, bassoon, cornet (a close relative of the trumpet), trombone, and percussion. The composer treats each player as a soloist, fully exploiting each instrument’s distinctive character and extramusical associations.

The violin is the central protagonist, representing the soldier and his fiddle; the percussionist—with little precedent in music history–takes on a central role as the musical embodiment of the devil. With the remaining instruments, Stravinsky provides a jazz band of sorts, complete with a brass section, clarinet (a central instrument in early jazz), and rhythm section. The bassoon, with its wide range, is the composer’s stand-in for the saxophone.

Around the time of the war, American jazz music made its way to Europe with American troops. Stravinsky studied some jazz scores with great fascination, though he had never heard jazz performed. The composer noted, “Jazz meant a wholly new sound in my music, and The Soldier’s Tale marks my final break with the Russian orchestral school in which I had been fostered.”

The Soldier’s Tale was written by a composer swallowed up in a great exodus, wherein the movement of people across borders and oceans mixed language, culture, and art with rapidity and vigor. Music was more portable than ever, its mobility embodied in the styles entwined into The Soldier’s Tale: Viennese

Program Notes cont. waltz, gypsy violin music, Argentinian tango, military brass bands, the Spanish pasodoble, and even a chorale that appropriates the style of Lutheran hymn settings. These cosmopolitan influences all come together in the central Petit concert, wherein Stravinsky layers musical motives from earlier in the narrative, even mixing their metrical groupings. The result is reminiscent of walking through a village and hearing strains of different music coming from each house. The spare orchestration makes this layering even easier to discern. Here is perhaps Stravinsky’s most boldly modern statement in The Soldier’s Tale: the simplicity of the instrumentation—with its bright colors and distinctive timbres—paradoxically enhances the complexity of the music. Yet this complexity never muddles the sinister fun of the score.

The harmonic language of The Soldier’s Tale appropriates traditional tonality in a new way.

Stravinsky’s earlier works strike listeners as dissonant, more preoccupied with clashing sonorities than with the resolution of harmonies— although our ears do mislead us.

In The Soldier’s Tale, Stravinsky incorporates traditional triadic harmonies and diatonic voice leading (picture the white keys on a piano), yet in loose, playful, occasionally grotesque ways.

We are shocked by hearing the familiar, and are shocked a second time by the manipulation, fragmentation, and distortion of the familiar.

Surprising asymmetry and polytonality (the simultaneous use of multiple keys) throw off our expectations.

In another way, the tongue-in-cheek appropriation of “traditional” diatonic composition— in a manner that defies that very tradition— engenders a sense of surrealism, in that it appropriates the familiar in an unexpected and

irrational way. Just as Dalí shows us everyday images through a distorted lens of dream-like hallucination, Stravinsky incorporates elements of the music that we hear every day, but blurs them. This music is both intellectually stimulating and emotionally arousing; it can be appreciated by all audiences, regardless of background. This above all makes The Soldier’s Tale a revolutionary work of art.

The Soldier’s Tale marks a pivotal moment in the development of Stravinsky’s style in that it shares much with both what came before and what came after. Though it is difficult to say precisely when the composer became a “neoclassicist”—and Stravinsky himself disliked the term—there is a shift in his compositional style from The Soldier’s Tale onward, from a Dionysian sensuality to an Apollonian orderliness and clarity.

Stravinsky’s neoclassical period is often said to begin with his ballet Pulcinella from 1920, which incorporates themes taken from early 18th-century manuscripts. Music historians are often eager to divide Stravinsky’s compositional output into “periods.” However, the composer’s evolution was more of a continuum than a series of deliberate philosophical shifts. The historian Theodor Adorno noted, “Parallel to Picasso, Stravinsky had launched neoclassicism in the early 1920s. But unlike Picasso he practiced the style for more than three decades.”

In The Soldier’s Tale, we find traces of surrealism, primitivism, and neoclassicism.

The work provides a snapshot of a composer trying to hold onto his roots while exploring new, futuristic possibilities. For this reason, it embodies both revolution and evolution.

—Patrick Campbell Jankowski ’15mma

Artist Profiles Jarlath Conroy appeared at Yale Rep in An Enemy of the People, Happy Days and Hamlet. Broadway credits: The Seagull; The Weir; The Iceman Cometh; On the Waterfront; Philadelphia, Here I Come!; The Visit; Ghetto, and Comedians. Off-Broadway credits: Happy Days, Loot, The Coward, A Man of No Importance, A Life, Our Lady of Sligo, A Couple of Blaguards, Gardenia, Translations, and The Matchmaker. He has worked extensively in regional theaters where he earned Helen Hayes and Barrymore Awards. He has appeared numerous times in movies and on television.

Julian Elijah Martinez was most recently seen in Father Comes Home From The Wars with The Yale Rep and American Conservatory Theater. Other New York credits include Alligator (New Georges) and Mud (Boundless Theater Company). Regional credit includes The Square Root of 3 Sisters (Dmitry Krymov Lab); 9 Circles (Forum Theatre, Helen Hayes nomination); Locomotion (The John F. Kennedy Center); and The Hampton Years (Theater J).

Television credits include Elementary and Madam Secretary. Mr. Martinez is a graduate of the Yale School of Drama. www.julianelijahmartinez.com Matty Oaks Broadway: Angels In America (2018 Tony Award, Best Revival of a Play) Off-Broadway: Angel Reapers (The Signature, dir. Martha Clarke); The Tempest (The Public/SITP, dir. Michael Greif ); original off-broadway cast of Sleep No More (Punchdrunk) (winner of the 2011 Drama Desk for Unique Theatrical Experience & 2011 Drama League

Nominated Ensemble). New York Theater/ Regional: Changers, (La Mama, dir. Spike Jonze); Orchid (Miami). TV: Gone (NBC Universal), Girls, Gossip Girl, VH1- You Oughta Know Live, 2018 Tony Awards telecast. MFA in dance from NYU-Tisch, BS in biology and psychology from Dickinson College. Bloc Agency. www.mattyoaks.com @mattyoaks Rachel Chew is a Junior majoring in Anthropology in Yale College. Prior to Yale, she studied theatre and film at School of The Arts (Singapore). She is currently interested in exploring the possibilities that emerge at the intersection of ethnography and art, whether as methods of observation or of narrative-telling. She is still figuring out the space that things like performance occupy in her life but is grateful for every opportunity to engage in them and to remember the ways they matter to her.

Manu Nefta Heywot Kumasi is a second-year MFA candidate at Yale School of Drama, where his credits include The Last Days of Judas Iscariot and Marty and the Hands That Could. Selected credits include Lost in the Stars, Darius and Twig (Kennedy Center); Soulagraphie (La Mama E.T.C); Ruined (Everyman Theatre); Hamlet (Annapolis Shakespeare Company); Measure for Measure (Shakespeare Theatre Company); Titus Andronicus (Faction of Fools); The Gospel of Loving Kindness (Mosaic Theater); and How We Got On (Forum Theatre).

Artist Profiles cont.

Violinist Ani Kavafian enjoys a prolific career as a soloist, recitalist, and chamber musician. She has performed with virtually all of America’s leading orchestras, including the New York Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, Los Angeles Chamber Orchestra, and many others. Ms. Kavafian has served as concert-mistress of the New Haven Symphony Orchestra and co-artistic director of the “Mostly Music” chamber music series in New Jersey and has performed with the Chamber Music Society of Lincoln Center since 1979. She is professor of violin at the Yale School of Music and plays the 1736 Muir McKenzie Stradivarius violin.

Kohei Yamaguchi is a master of musical arts candidate at the Yale School of Music studying under Donald Palma. A former member of the Ann Arbor Symphony Orchestra, he also toured Japan as the principal bassist of the 2015, 2016, and 2017 Pacific Music Festival Orchestra, directed by Valery Gergiev. This summer, he was an artist in residence at the Caroga Arts Collective. He earned his Master of Music degree from the Yale School of Music in 2018 and earned his Bachelor of Music degree in 2015 from the University of Michigan School of Music, Theatre, and Dance, studying under Diana Gannett and Stephen Molina.

Winner of the 2000 Avery Fisher Prize, David Shifrin has appeared with the Philadelphia and Minnesota Orchestras and the Dallas, Seattle, Houston, Milwaukee, Detroit, and Denver symphonies. He has appeared in recital at Alice Tully Hall,

Carnegie Hall’s Weill Recital Hall, and in venues around the world. A faculty member at the Yale School of Music since 1987, Mr. Shifrin is professor in the practice of clarinet and chamber music, and serves as artistic director of the Oneppo Chamber Music Series and the Yale in New York concert series.

Hailed as one of CBC Canada’s “hot 30 under 30” classical musicians, Kristy Tucker has performed internationally as a chamber musician, orchestral player, and soloist. She is the recipient of numerous awards, including the University of Manitoba concerto competition, WMC scholarships, Manitoba Arts Council grants, and the NYO Canada Award of Excellence. Ms. Tucker is a teaching artist with the Waterbury Symphony Orchestra, and the Yale School of Music, teaching undergraduate and secondary bassoon lessons. She is currently pursuing a graduate degree at the Yale School of Music, studying with Frank Morelli.

Theo Van Dyck is a freelance musician based in New York City. He studied at Juilliard for his bachelor of music degree and Yale University for his master of music degree, where he also held the jazz studies teaching assistant position for two years.

He has performed in the San Antonio Symphony and the Binghamton Philharmonic, and is also a member of folk and jazz ensembles around the New York area.

Recently, Mr. Van Dyck recorded a piece for five trumpets and electronics for celebrated composer Du Yun’s forthcoming album.

William Wortley attended the Eastman School of Music, earning his bachelor of music degree and performer’s certificate studying with Mark Kellogg and Larry Zalkind; he is pursuing a master of musical arts degree at Yale, studying with Scott Hartman. He has been a member of Syracuse Symphoria and the Wheaton Municipal Band. Mr. Wortley has been a member of chamber ensembles that have won the 2017 American Trombone Workshop’s quartet competition, taken second place in the 2016 ITEC Chamber Competition, and been a semifinalist in the 2018 M-Prize competition.

Youngkyoung Lee performs internationally as a soloist and chamber musician. As an advocate of chamber music, Ms. Lee has performed as a member of the Yale Percussion Group, Peabody Percussion Group, and Korean Traditional Percussion Ensemble. She completed her bachelor of music degree at the Peabody Conservatory and her master of music degree at Yale School of Music. Ms. Lee is currently a master of musical arts candidate at the Yale School of Music, where she studies with Robert van Sice.

Liz Diamond is the Resident Director of Yale Repertory Theatre. Production highlights at Yale Rep and nationally include Suzan Lori Parks’ Father Comes Home From the Wars, The Death of the Last Black Man in the Whole Entire World, The America Play, and Imperceptible Mutabilities in the Third Kingdom; Brecht’s Caucasian Chalk Circle and St Joan of the Stockyards; Shakespeare’s The Winter’s Tale; Seamus Heaney’s The Cure at Troy; Racine’s

Phaedre; Strindberg’s Miss Julie; and Euripides’ The Trojan Women. She is a winner of the OBIE and Connecticut Critics Circle Awards for Outstanding Direction, serves on the Executive Board of the Society of Stage Directors and Choreographers, and is Chair of Directing at Yale School of Drama.

Emily Coates has danced internationally with New York City Ballet, Mikhail Baryshnikov, Twyla Tharp, and Yvonne Rainer. Her choreography has been presented by Danspace Project, the Guggenheim Museum, Performa, and the Wadsworth Atheneum, among other venues. Her newest work, A History of Light, developed with artist Josiah McElheny, will premiere at Danspace Project this November. In theater, her choreographic work includes The Soldier’s Tale (2014), directed by Liz Diamond, and The Square Root of Three Sisters (2016), directed by Dmitry Krymov. Her book, Physics and Dance, cowritten with particle physicist Sarah Demers, is forthcoming from Yale University Press. She graduated magna cum laude with a Bachelor of Arts in English and holds a Master of Arts in American Studies from Yale University.

She directs dance studies at Yale University.

Among Michael Yeargan’s designs for Yale Rep are The Winter’s Tale, Hay Fever, Pentecost, Edward II, A Lesson from Aloes, The Ladies of the Camellias, and the world premiere of Stephen Sondheim’s The Frogs, which was staged in the Yale swimming pool. He has designed extensively for resident theaters across the country, including Long Wharf and Hartford Stage.

Artist Profiles cont.

A two-time Tony Award winner, his Broadway credits include The Light in the Piazza, South Pacific, Joe Turner’s Come and Gone, The Bridges of Madison County, Awake and Sing, and this season’s My Fair Lady. In London’s West End, he designed Becket with Derek Jacoby, Cyrano de Bergerac with Robert Lindsey, and the musical Napoleon.

Internationally known for his work in opera, he has designed many productions for the Met and New York City Opera. Mr. Yeargan is the co-chair of the design department at Yale School of Drama.

Ilona Somogyi: London West End: Nice Fish. Broadway: Clybourne Park. OffBroadway: Sleep (BAM), Gloria, Nice Fish (St. Anne’s) Body of an American, Satchmo at the Waldorf, Dinner With Friends, My Name is Asher Lev, The Soldier’s Tale (Zankel Hall), The Lying Lesson, Almost an Evening, Scarcity (Atlantic), Maple and Vine, A Small Fire (Playwrights Horizons), Jerry Springer: The Opera (Carnegie Hall), and the original production of Wit. Recent regional theater: Oklahoma (Glimmerglass); Carousel, King Hedley II, Smokey Joe’s Café (Arena Stage); Grey Gardens (Ahmanson/LA); Assassins, Three Sisters, We Have Always Lived in the Castle, and Passion Play (Yale Rep); Will Roger’s Follies, Anything Goes (Goodspeed Opera House); Cloud 9, Heartbreak House, Romeo & Juliet, The Crucible, Gem of the Ocean, Midsummer Night’s Dream (Hartford Stage); Richard III (OSF), Vanya, Sonia, Masha & Spike, Nice Fish, Cat on a Hot Tin Roof (Guthrie); Disgraced, 4000 Miles (Long Wharf ); Julius Caesar (Chicago Shakespeare Theater); Disgraced, Good People (Huntington Theater); Training and faculty: Yale School of Drama.

Solomon Weisbard: Opera: Le Trouvère (Robert Wilson/ Teatro Farnese, Italy) L’Egisto, Xerse (Yale Baroque Opera Project); The Magic Flute (Yale); L’incoronazione di Poppea (Princeton); Il barbiere di Siviglia, Faust (Tri-Cities). New York theater: Duat (Soho Rep); Men on Boats (world premiere, Playwrights Horizons/ Clubbed Thumb); Hollow Roots (Public/ Under the Radar). Regional theater: Arden, Berkshire Theatre Festival, Magic, Portland Playhouse, Westport Country Playhouse, Yale Rep. In dance and music, pieces with Martha Graham, Joshua Beamish/MOVE, Maria Chavez, Belinda McGuire, Ximena Garnica/ Leimay, Invisible Anatomy, Patricia Noworol, and Waxfactory. MFA: Yale School of Drama. www.solweisbard.com John Carlin is a third-year MFA candidate at the Yale School of Drama where his credits include Death of Yazdgerd, Blood Wedding, Othello, and If Pretty Hurts. Other credits include Father Comes Home From the Wars Parts 1, 2 & 3, and Assassins (Yale Repertory Theatre). Mr. Carlin has also worked at The Goodman Theatre, Arden Theatre Company, and Northlight Theatre.

He is a proud graduate of Loyola University Chicago where he received his bachelor of arts degree in theatre with a focus in stage management and lighting design.

Established in 1894, the Yale School of Music continues a position of international leadership in the training of performers, composers, and teachers. A professional graduate school and the only school of music in the Ivy League, the Yale School of Music maintains a highly selective admissions process, admitting approximately 200 students who come from the finest American and international conservatories and universities to study with a distinguished faculty. The School has one of the highest international profiles at Yale, engaging globally in cooperative partnerships with leading conservatories, schools, orchestras, and opera companies.

Alumni of the Yale School of Music hold major positions throughout the music world.

In addition to performing with and conducting preeminent American and international orchestras, many graduates have founded or joined prominent chamber music ensembles. Voice alumni earn renown in professional opera companies, with over a dozen Yale graduates on the artist roster of the Metropolitan Opera. Yale composition alumni enjoy noted success with continual premieres of new music. Along with artistic accomplishment, Yale School of Music graduates provide strong leadership in guiding the course of numerous academic and cultural institutions.

The Yale School of Music awards the doctor of musical arts, master of musical arts, and master of music degrees, as well as the artist diploma and the certificate in performance. music.yale.edu

Yale School of Drama and Yale Repertory Theatre train and advance leaders to raise the standard of global professional practice in every theatrical discipline, pursuing excellence in art to promote wonder, empathy, and understanding in the world.

The application of theory to professional practice is a central tenet of training at the School of Drama, enhanced in scope by the integration of the School with the multiple Tony Award–winning Yale Repertory Theatre in a relationship analogous to that of a medical school and a teaching hospital. More than 40 productions are staged at Yale School of Drama, Yale Repertory Theatre, and Yale Cabaret each season.

Yale School of Drama has an unparalleled track record of training oustanding and diverse students. Together, our students, interns, faculty, staff, and guest artists form a richly collaborative community reflecting the extraordinary breadth of contemporary society, aesthetics, and theater experience. drama.yale.edu

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Robert Blocker, Dean Melvin Chen, Deputy Dean Michael Yaffe, Associate Dean Krista Johnson, Manager of Concert Programs Kate Gonzales, Concert Office Coordinator Winona van Alstyne, Assistant Box Office Manager Aric Isaacs, Soldier’s Tale Project Manager Doug Harry, Lighting Matthew LeFevre, Recording Engineer Benjamin Schwartz, Audio Engineer Mackenzie A. Dilbeck, Director of Communications Katie Kelley, Designer Manager David Brensilver, Communications Officer Travis Wurges, Video Producer Tara Deming, Operations Manager Chris Melillo, Operations Associate Manager Patty Torello, Business Manager Charles Stupekevich, Financial Analyst Elizabeth Wilford, Business Office Assistant Samuel Bobinski, Music Librarian

James Bundy, Dean Victoria Nolan, Deputy Dean Chantal Rodriguez, Associate Dean Kelvin Dinkins, Jr., Assistant Dean Shaminda Amarakoon, Director of Production Jonathan Reed, Production Manager Jennifer McClure, Properties Master David P. Schrader, Properties Craftsperson Tom McAlister, Costume Shop Manager Harry Johnson, Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Patricia Van Horn, Senior First Hands Donald W. Titus, Lighting Supervisor Jennifer Carlson, Linda-Cristal Young, Senior Head Electricians Mike Backhaus, Sound Supervisor Stephanie Smith, Staff Sound Engineer Soule Golden, Associate Costume Designer Ryan Seelig, Associate Lighting Designer Gwyneth Muller, Assistant to the Choreographer Mike Rossmy, Fight Choreographer Ito Tatsuya, Production Supervisor Beatrice Vena, Wardrobe Crew David Mitsch, Make-up Artist Leandro Zaneti, Associate Managing Director, Special Projects Laurie Ortega-Murphy, Assistant Managing Director Will Gaines, Management Assistant

special thanks Laura Adam Katherine Burgueño Ron Carlos Ralph Chipman Hanna Diamond Chipman Allan Dean Jeffrey Douma T. Charles Erickson Mika Eubanks Matthew Fried Markie Gray Nicole Lang Ruoqia Li Sean Maher Jeffrey M. Mistri Scott Hartmann C. Nikki Mills Frank Morelli Krya Murzyn Will Orzo and Eula Coates Orzo Don Palma Stephen Padla Stefanie Parkyn Teressa Reese Oakton Reynolds Catherine Sheehy Hyejin Son Valerie Tu Robert van Sice Stacie Wcislo Yaro Yarashevich

Oneppo Chamber Music Series

2018–2019 Season sep 27

The Soldier’s Tale A fully-staged production The New York Times has described as “fresh, funny and aptly ominous”

oct 9

Brentano String Quartet Works by Dvořák, Janáček, and Smetana, with pianist Jonathan Biss

nov 13

Escher String Quartet Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, and music by Mozart and Korngold

dec 4

Emerson String Quartet String quartets by Haydn, Bartók, and Dvořák

jan 29

Brentano String Quartet Lamentations: a celebration of the art of cathartic expression from Gesualdo to Carter

feb 26

Jordi Savall Music from the film Tous les Matins du Monde, featuring works by Couperin, Lully, and more

apr 16

A Far Cry Gravity: a progression of works for strings by Pärt, Xenakis, Kernis, Bartók, and Golijov

May 7

Competition Winners Performances by the winners of the School’s annual Chamber Music Competition

About the Oneppo Chamber Music Series

Samplers for the 2018–2019 Season

Chamber music is an integral part of the Yale School of Music, and this concert series presents many of the world’s leading concert artists on the stage of Morse Recital Hall.

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Ever since Sprague Memorial Hall was built in 1917, it has been home to chamber music performances. The origins of this series can be traced to concerts organized

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Upcoming Events Sep 28 Peter Oundjian, principal conductor

Yale Philharmonia Selections from Prokofiev’s Romeo and Juliet and music by Berlioz, and Vaughan Williams.

7:30 p.m. | Woolsey Hall Tickets start at $12, Yale faculty/ staff $8, students $5

oct 9 Brentano String Quartet Oneppo Chamber Music Series YSM’s exceptional quartet-inresidence, the Brentano String Quartet, performs music by Dvorák, Janácek, and Smetana, with guest pianist Jonathan Biss.

7:30 p.m. | Morse Recital Hall

Tickets start at $28, students $13

oct 3 Hung-Kuan Chen, piano Horowitz Piano Series

A recital by faculty pianist Hung-Kuan Chen, whom The Boston Globe has called “a deeply probing, imaginative player.”

7:30 p.m. | Morse Recital Hall

Tickets start at $15, students $7

oct 24 Boris Berman, piano

Horowitz Piano Series

Faculty pianist Boris Berman performs Haydn’s “London” Sonatas and late sonatas by Prokofiev.

7:30 p.m. | Morse Recital Hall Tickets start at $15, students $7

oct 7 Landowska in Memoriam

Collection of Musical Instruments

Wladyslaw Klosiewicz pays tribute to the harpsichord’s early 20th century champion, Wanda Landowska.

3 p.m. | Collection of Musical Inst.

Tickets $30, Yale staff and seniors and museum associates $25, students $15

oct 30 The Sebastians

Collection of Musical Instruments The Collection’s ensemblein-residence performs works

by Baroque and Classical composers.

7:30 p.m. | Collection of Musical Inst. Tickets $30, Yale staff and seniors and museum associates $25, students $15

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