New Music for Orchestra, December 12, 2019

Robert Blocker, Dean

NEW MUSIC NEW HAVEN Aaron Jay Kernis, Artistic Director

Featuring music by Yale School of Music graduate-student composers with the Yale Philharmonia Ryan Tani, conducting fellow Thursday, December 12, 2019 | 7:30 pm | Woolsey Hall

Alexis C. Lamb b. 1993

She Was There, Too

Peter Shin b. 1991

Relapse

Gabrielle Herbst b. 1986

The Ache

intermission

Paul Mortilla b. 1995

aporia // dance-trance // riot Isobel Anthony, voice Rachel Glodo, voice Chase Loomer, organ

Joel Thompson b. 1988

La Lluvia Michele Currenti, soprano

Miles Walter b. 1994

GIVE US PEACE

Artist Profiles Ryan Tani, conductor

Yale Philharmonia

A driven and versatile conductor, Ryan Tani has been praised for his compelling musicianship in a wide range of symphonic and choral repertoire. Ryan currently serves as the orchestral conducting fellow for the Yale Philharmonia, where he studies under the guidance of Peter Oundjian. He also serves as the Music Director of the Occasional Symphony in Baltimore. In 2015, he was declared the winner of the ACDA Undergraduate Student Conducting Competition at their national conference in Salt Lake City, Utah.

The Yale Philharmonia is one of America’s foremost music-school ensembles. The largest performing group at the Yale School of Music, the Philharmonia offers superb training in orchestral playing and repertoire.

Ryan served as Assistant Conductor of the Chesapeake Youth Symphony Orchestra, where he was the principal conductor of the Preparatory Orchestra. He also served as Conducting Fellow for the Montgomery Philharmonic.

During his tenure as Co-Founder and Music Director of the Concerto Chamber Orchestra from 2012-2015, Ryan helped positively shape the orchestral scene in the Los Angeles area by providing a medium for high-level performance opportunities to student musicians of all majors.

Ryan is a graduate of the Peabody Institute where he studied conducting with Marin Alsop and Markand Thakar, and of the University of Southern California, where he studied voice with Gary Glaze. Ryan remains an active tenor in New Haven, and plays violin, jazz piano, and viola da gamba for enjoyment.

Performances include an annual series of concerts in Woolsey Hall, as well as Yale Opera productions in the Shubert Theatre.

The Yale Philharmonia has also performed on numerous occasions in Carnegie Hall and Alice Tully Hall in New York City and at the John F. Kennedy Center for the Performing Arts in Washington, D.C.

Composer Profiles

Staff

Alexis C. Lamb ’20MM Student of Hannah Lash alexislamb.com

Manager Jeffrey M. Mistri

Peter Shin ’21MMa Student of Christopher Theofanidis peter-shin.com Gabrielle Herbst ’20MM Student of Aaron Jay Kernis www.iamgabimusic.com Paul Mortilla ’20MM Student of David Lang Joel Thompson ’20MM Student of Aaron Kernis Miles Walter ’20MM Student of Martin Bresnick

Assistant Manager/Librarian Samuel Bobinski office assistant Andrew Sledge Stage Crew Héloïse Carlean-Jones Gabriel Mairson Andrew Sledge Lucas Guedes Oliveira Arlo Shultis Cameron Daly Anna Leunis William Karceski Matt Peralta Michael Fleming Nathan Peebles Chris Rogers-Beadle Seojin Kim Tamara Snyder David Lassila Library Alex McLaughlin Aidan Zimmermann Jillian Honn Elise Conti Sam Zagnit Claudia Ng

Program Notes by the composers Alexis C. Lamb 2019 marks the celebration at Yale of two important milestones in coeducation: 150 years since women were allowed in the graduate schools, and 50 years since undergraduate women were included in Yale College. However, there were also other pioneering women in faculty and other professional positions at Yale throughout these years, such as University Librarian, who have seemingly been forgotten in these celebrations. She Was There, Too honors six of these women: Penny Abell, Marie Borroff, Margaret Farley, Florence Haseltine, Maureen Quilligan, and Dorothy Singer. Their stories are important to recognize if we want to see continued efforts to make our academic institutions welcoming and supportive of women.

This piece is dedicated not only to Abell, Borroff, Farley, Haseltine, Quilligan, and Singer, but to all of the women in my life who have helped pave the way for my own path. To those women: I am sure that you have all experienced varying oppressions in your lifetimes, and I want to thank you for finding the strength to persevere and create positive change. Your presence in those less-than-welcoming spaces at the time made it so that I can exist in those same spaces now.

All excerpts from these six interviews are from the “Oral Histories Documenting Yale University Women” (RU 1051) collection in the Yale University Manuscripts and Archives. Copyright permissions from Yale University have been generously granted for the use of this content.

*Names of each interviewee are listed at the end of the quote with their first and last initial. The key is as follows: Penny Abell (PA), Marie Borroff (MB), Margaret Farley (MF), Florence Haseltine (FH), Maureen Quilligan (MQ ), Dorothy Singer (DS).

“I think my mother wanted me to do what she couldn’t do, you know, to really just go out and fly, and I always got that message from her.” (DS) “I came from a family of strong women, meaning, in particular, my mother and my grandmother.” (MF) “…but I don’t think there was any thought that women needed role models…” (MB) “So I had a little contact with women, but there were very few women at the university on the faculty…” (MB) “…you know I was the first woman here, I was the first woman there, I was the first woman there.” (PA) “…the one thing that was clear to me was that I was going to do something and I was going to be the best at it…” (PA) “I mean, yes, there were people who had their problems with the fact that I was a woman.” (PA) “…you didn’t have to go to the section if you didn’t want to, and they weren’t about to sit in the section with some little girl coming in and trying to teach them. So half the class would get up and go.” (MB) “I get a letter from them saying, ‘Would you please separate your publications from your husband’s, because we don’t know whether your husband did these and you just—and you signed it.’ Could you imagine a letter like that?” (DS) “…you’re in a meeting and you say something and somebody else—and nobody pays

attention. Somebody else says the same thing two minutes later and everybody says, ‘Oh, wow. That’s really an interesting insight.’ You know, I mean, it happened a lot.” (PA) “I mean, they didn’t take me seriously on that. I took myself seriously but they didn’t.” (FH) “…I remember thinking to myself, ‘If there were even one woman around that I could talk to,’ and there wasn’t.” (MF) “I don’t know, maybe if I had been a young man it would have been different.” (MB) “You know the old saying, ‘You have to learn to be a man, or act like a man.’ I think that’s the worst—why would you want to do that?” (MF) “‘…you don’t seem to know you’re a woman.’

And I remember how perplexing that comment was.” (MQ ) “There have been several other times men have tried to instruct me on how to behave and I haven’t gotten it.” (FH) “Somebody once asked me, ‘How do you make women sensitized to questions of gender and political inequality?’ I said, ‘You just ask them what their experience has been.’” (MQ ) “…it was important that you light the bonfire, but it also means that there was a lot of tinder there, and that bonfire was going to get lit.” (FH) “You really had to be outstanding because it was harder.” (DS) “But nothing is as hard as changing the way people think about each other and what they’re doing and why they’re working and what their role is in the organization…

And that they might just have more freedom and control if they reached for it. Nothing was as hard as that.” (PA)

“I think that’s still true. I think that’s still here. Quiet but still here. You have to shine much more.” (DS) “So that in spite of all the stress, I feel like we accomplished a lot that was critically important.” (PA) “…I think, you know, if you help even one other person, something’s worth doing.”

(MF) “You needn’t open the door for me, I can open the door perfectly well for myself.”

(MB) “But what if someone like myself hadn’t been there to articulate, ‘This is what’s going on’?” (MF) Citation: Oral Histories Documenting Yale University Women (RU 1051). Manuscripts and Archives, Yale University Library. https://archives.yale.edu/repositories/12/ resources/2559 Accessed October 14, 2019.

Program Notes, cont.

New Music New Haven

2019-2020 Season Joel Thompson A musical depiction of a journey of a woman and her daughter fleeing violence and seeking a better life, only to be met with inhumanity at our southern border.

feb 6

Martin Bresnick, faculty composer Featuring pianist Lisa Moore and violinist Elly Toyoda ’16MM.

mar 5

Suzanne Farrin, guest composer New works by alumna Suzanne Farrin ’08dma.

apr 16

Tania Leon, guest composer “Fueled by a humanist curiosity” — NBC News

Miles Walter The title of this work is GIVE US PEACE. This title should always be rendered in caps.

Most of the time, they don’t give it to you — so you have to grab their attention with all the means you have available.

Thursdays at 7:30 p.m.

Morse Recital Hall free

Yale Philharmonia Peter Oundjian, principal conductor

Violin I Ye Jin Yoon Jessie Chen Yoon Be Kim Erin White Julia Mirzoev Hikaru Yonezaki Pei Wen Liao Rebecca Benjamin Yun Jae Choi Kate Arndt Yebeen Seo Wei Zhu Violin II Albert Yamamoto Ye Jin Min James Poe Jisun Lee Eva Wetzel Boyu Li Dustin Wilkes-Kim Hannah Tarley Anna Leunis Cheuky Tse Viola Charlie Galante James Yoon Bethany Hargreaves Harris Bernstein Rubina Lee Minji Kim Emma Wernig Abby Elder Cello Guilherme Nardelli Monegatto Miriam Liske-Doorandish

Ssu-Yang Sophie Yu Megan Yip Yun Han Jihyun Hwang Hye In Lee Ha eun Song

Trombone Danny Alford 1 Lyman McBride 2

Bass Seojin Kim Max Mulpagano Ross Wightman Zhenyuan Yao

Tuba Michael Fleming 1 Aidan Zimmermann 1

Flute Cameron Cullen 1 Jungah Yoon 2

Bass Trombone Samuel Anderson

Timpani Arlo Shultis

Oboe Elise Conti 1 Jillian Honn 2

Percussion Russell Fisher Zach Gutierrez Jisu Jung 2 Kevin Zetina 1 Shiqi Zhong

Clarinet Juan Martinez 1 Ziqi Yue 2

Harp Héloïse Carlean-Jones 1 Violetta Norrie 2

Bassoon Eleni Katz 1 Molly Murphy 2

Piano/celesta Chuang-Chuang Fang Janice Lu

Horn Henry Bond Olivia Martinez 1 Nathan Peebles 2 Kyle Thompson

1

Trumpet Connor Holland Melissa Muñoz 2 Brian Voelz 1

Principal on Thompson/ Herbst/Mortilla Principal on Shin/Lamb/ Walter 2

Upcoming Events dec 14 Early Instrumental

Performance Class Recital A performance of early instrumental music by students in Daniel S. Lee’s and Arthur Haas’ MUS 626 class.

3:00 p.m. | Sudler Recital Hall

free

Catherine Russell Ellington Jazz Series “One of jazz’s most celebrated vocalists, an incandescent performer who can make a century-old blues song as fresh and bracing as tomorrow’s bad news.” — San Francisco Chronicle 7:30 pm | Morse Recital Hall

Tickets start at $22, students $10 jan 17

dec 14 Yale Percussion Group

YSM Ensembles Works by student composers Krists Auznieks and Miles Walter receive premieres on a program that features percussionist and School of Music alumna Jisu Jung.

7:30 p.m. | Morse Recital Hall

free dec 15

dec 16 Bassoonarama

YSM Ensembles A performance by students from faculty bassoonist Frank Morelli’s studio.

7:30 p.m. | Sudler Recital Hall

free

David Shifrin & Friends Faculty Artist Series Works by Mendelssohn, Enescu, Poulenc, and Paganini, with faculty pianist Robert Blocker, and students and alumni from the clarinet studio.

3:00 p.m. | Morse Recital Hall free

Melvin Chen Horowitz Piano Series A performance of Janaček’s In the Mists, faculty composer Hannah Lash’s Six Etudes and a Dream, and Shostakovich’s infrequently performed Piano Sonata No. 2 in B minor.

7:30 pm | Morse Recital Hall

Tickets start at $15, students $7

jan 22

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