MOZART Y
Mass in C minor Z
yale choral artists philharmonia orchestra of yale yale baroque ensemble Jeffrey Douma, conductor February 8, 2014 • Morse Recital Hall
Robert Blocker, Dean
Yale School of Music
MOZART: Mass in C minor Yale Choral Artists • Philharmonia Orchestra of Yale • Yale Baroque Ensemble Saturday, February 8, 2014 • 8:00 pm • Morse Recital Hall Jeffrey Douma, conductor Wolfgang Amadeus Mozart 1756–1791
Mass in C minor, K. 427 (K. 417a) Completed and edited by Robert D. Levin Kyrie (Andante moderato) Teresa Wakim, soprano Gloria Gloria in excelsis Deo (Allegro vivace) Laudamus te (Allegro aperto) Clara Rottsolk, soprano Gratias agimus tibi (Adagio) Domine Deus (Allegro moderato) Sonja Tengblad, soprano Brenna Wells, soprano Qui tollis (Largo) Quoniam tu solus (Allegro) Jessica Petrus, soprano Brenna Wells, soprano Stephen Soph, tenor Jesu Christe (Adagio) – Cum Sancto Spiritu Jessica Petrus, soprano Amanda Sidebottom, soprano Stephen Soph, tenor
As a courtesy to the performers and audience, silence all electronic devices. Please do not leave the hall during selections. Photography or recording of any kind is prohibited.
Mozart: Mass in C minor
Credo Credo in unum Deum (Allegro maestoso) Et incarnatus est (Andante) Clara Rottsolk, soprano Crucifixus Et resurrexit Et in Spiritum Sanctum Dann Coakwell, tenor Et unam sanctam Et vitaam venturi Sanctus (Largo) Benedictus qui venit Teresa Wakim, soprano Jessica Petrus, soprano Dann Coakwell, tenor Paul Max Tipton, baritone Agnus Dei Sonja Tenglad, soprano Dona nobis pacem Sonja Tengblad, soprano Amanda Sidebottom, soprano Stephen Soph, tenor Bradford Gleim, baritone
Texts & Translations
1. Kyrie Kyrie eleison Christe eleison Kyrie eleison
Lord have mercy Christ have mercy Lord have mercy
2. Gloria Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis
Glory to God in the highest. And on earth peace to all those of good will
3. Laudamus te Laudamus te. Benedictus te. Adoramus te. Glorificamus te.
We praise thee. We bless thee. We worship thee. We glorify thee.
4. Gratias agimus tibi Gratias agimus tibi propter magnum gloriam tuam.
We give thanks to thee According to thy great glory.
5. Domine Deus Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili, unigenite, Jesu Criste. Domine Deus, Agnus Dei, Filius Patris.
Lord God, Heavenly King, God the Father almighty. Lord Jesus Christ, the only begotten Son. Lord God, Lamb of God, Son of the Father.
6. Qui tollis Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis.
Thou who takest away the sins of the world, have mercy on us. Thou who takest away the sins of the world, receive our prayer. Thou who sittest at the right hand of the Father, have mercy upon us
7. Quoniam Quoniam tu solus sanctus. Tu solus Dominus. Tu solus Altissimus,
For Thou art alone holy. Thou art alone the Lord. Thou art alone the most high,
8. Jesu Christe Jesu Christe Cum Sancto Spiritu In Gloria Dei Patris. Amen.
Jesus Christ. With the Holy Spirit In the glory of God the Father. Amen.
Texts & Translations
9. Credo Credo in umum Deum, Patrem omnipotetem, factorum coeli et terrae, visibilium omnium, et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei, unigenitum. Et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum non factum, consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines et propter nostrum salutem descendit de caelis.
I believe in one God, the Father Almighty, maker of heaven and earth, and of all things visible and invisible. And I believe in one Lord, Jesus Christ, the only begotten Son of God, born of the Father before all ages. God from God, Light from Light, True God from True God. Begotten not made, of one substance with the Father by whom all things were made. Who for us and our salvation came down from heaven
10. Et incarnatus est Et incarnatus est de Spiritu Sancto ex Maria Virgine: Et homo factus est.
And was incarnate by the Holy Spirit of the Virgin Mary: And was made man.
11. Crucifixus Crucifixus etiam pro nobis sub Pontio Pilato, passus, et sepultus est.
Crucified also for us under Pontius Pilate he suffered, and was buried.
12. Et resurrexit Et resurrexit tertia die, secundum Scripturas. Et ascendit in caelum: sedet ad dexteram Patris. Et iterum venturus est cum gloria, judicare vivos et mortuos: cujus regni non erit finis.
And on the third day he rose again, according to the Scriptures. He ascended into heaven: he sits at the right hand of the Father. He shall come again in glory to judge the living and the dead; and of this kingdom there will be no end.
13. Et in Spiritum Sanctum Et in Spiritum Sanctum Dominum et vivificantem: qui ex Patre Filoque procedit. Qui cum Patre, et Filio simul adoratur et conglorificatur: qui locutus est per Prophetas
And I believe in the Holy Spirit, the Lord the Giver of life, who proceeds from the Father and the Son who together with the Father and the Son is adored and glorified, who spoke to us through the Prophets.
Texts & Translations
14. Et unam sanctam Et unam sanctam, catholicam et apostalicam Ecclesiam. Confitero unum baptisma in remissionem peccatorum. Et expect resurrectionem mortuorum.
And I believe in one holy catholic and Apostolic church. I confess one baptism for the remission of sins. I await the resurrection of the dead,
15. Et vitam venturi Et vitam venturi saeculi. Amen
and the life of the world to come. Amen
16. Sanctus Sanctus, Sanctus, Sanctus, Dominus, Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.
Holy, Holy, Holy, Lord God of hosts. Heaven and earth are full of thy glory. Hosanna in the highest.
17. Benedicitus Benedicitus qui venit in nomine Domini. Hosanna in excelsis.
Blessed is He who comes in the name of the Lord. Hosanna in the highest.
18. Agnus Dei Agnus Dei, qui tollis peccata mundi: miserere nobis.
Lamb of God who takest away the sins of the world, have mercy upon us.
Agnus Dei, qui tollis peccata mundi: miserere nobis.
Lamb of God who takest away the sins of the world, have mercy upon us.
Agnus Dei, qui tollis peccata mundi:
Lamb of God who takest away the sins of the world,
19. Dona nobis pacem Dona nobis pacem.
Grant us peace.
Notes on the Program
Wolfgang Amadeus Mozart: Mass in C minor (“The Great”), K. 427 It is a vexing but inescapable fact that both of Wolfgang Amadeus Mozart’s two towering choral masterworks were left unfinished by the master himself. In the case of his Requiem, we know the reason – Mozart’s untimely death in 1791 at the age of 35 arrived before he was able to complete the piece. In the case of the Mass in C minor (“The Great”), K. 427, however, the reasons are not clear. Indeed, we can’t say exactly why he began the work – an expansive cantata mass almost on the scale of Bach’s Mass in B minor – in the first place. Some clues are found in a letter he wrote to his father, Leopold, on the 4th of January, 1783: It is quite true about my moral obligation and indeed I let the word flow from my pen on purpose. I made the promise in my heart of hearts and hope to be able to keep it. When I made it, my wife was not yet married; yet, as I was absolutely determined to marry her after her recovery, it was easier for me to make it – but, as you yourself are aware, time and other circumstances made our journey impossible. The score of half a Mass, which is still lying here waiting to be finished, is the best proof that I really made the promise. The “half a Mass” undoubtedly refers to the piece presented tonight, and the “other circumstances” which delayed the young couple’s journey to Salzburg included the fact that Mozart’s wife, Constanze, was pregnant with their first child, Raimund. Leopold had been openly skeptical about Mozart’s engagement to the young soprano, withholding his consent until the day after their wedding. Was Mozart’s “promise” to compose a large-scale mass setting an attempt to make amends with his father, who was also a composer and Mozart’s mentor?
Or was it a promise to his wife? Mozart had served as an occasional vocal coach to Constanze, and a solfeggio (K. 393/385b) he once composed for her closely resembles his setting of the Christe eleison in the mass. When portions of the mass were first performed in Salzburg in October of 1783, Constanze sang the virtuosic Christe and Laudamus te.* Moreover, Constanze had been seriously ill during their engagement. She recovered, and after they wed in 1782, Mozart wrote that he had “never prayed so fervently or confessed or communicated so devoutly as at her side, and it was the same for her.” Such religious fervor is not what we usually expect from Mozart, and it seems possible that this is what moved him to compose such a monumental piece of sacred music. 1782 was also the year Mozart became intimately acquainted with the music of Handel and Bach through the Baron Gottfried van Swieten. He once commented that “nothing but Handel and Bach” was played at the music lover’s famous gatherings, and it was van Swieten who commissioned Mozart’s new orchestration of Messiah and other works of Handel. This may have been the spark that led Mozart to begin his new mass. Unmistakable echoes of Handel (in the double choir setting of the Qui tollis and the elaborate Cum sancto fugue, for example) and of Bach (in the solemn Kyrie and Gratias agimus tibi, among other passages) can be heard throughout the Mass in C minor, which ingeniously unites Mozart’s own late eighteenthcentury voice (most evident in the solo writing) with earlier sacred choral traditions.
* Constanze’s sister, Aloysia, was also a promising soprano and possibly Mozart’s first love, having caught his attention back in 1777. Sadly for him, she wasn’t interested. Constanze’s oldest sister, Josepha, a brilliant coloratura, sang the Queen of the Night in the first production of The Magic Flute.
Notes on the Program
So, why didn’t he finish? There are many theories. The church reforms of Emperor Joseph II in the 1780s greatly reduced the demand for elaborate orchestral settings of the mass. Another possibility is that, if Mozart viewed the mass primarily as a way to explore his new interest in baroque music, he may have decided that he’d explored enough. Or perhaps he was simply too busy with other projects for which he was actually being paid. The portions of the mass not set by Mozart include the Agnus Dei and the majority of the Credo. Mozart did set the first two portions of the Credo, including a transcendent setting of the Et incarnatus for solo soprano, considered by many to be among the most beautiful music Mozart ever composed. The Mozarts’ son Raimund died in August of 1783, ten days after the couple had left for Salzburg (having left their son in Vienna with a nurse). Some have speculated that — after composing such a sublime setting of the words describing Christ’s birth — the news of his own son’s death may have made the task of finishing the Credo too painful for Mozart. Traditionally, the Mass in C minor is performed as a torso, omitting much of the Credo and ending with the reprise of the Hosanna fugue following the Benedictus. The piece was not well known during the 19th century, but this began to change in 1901, when Alois Schmitt and Ernst Lewicki published a new edition that filled in the missing movements by incorporating music from other works by Mozart and the composer Johann Ernst Eberlin. In 1956, Mozart scholar H.C. Robbins Landon produced a new edition that did not offer new movements, but attempted to patch up small gaps in the movements completed by Mozart. Later editions by Helmut Eder, Richard Maunder, Franz Beyer, and Philip Wilby have offered other solutions.
The version we perform tonight was completed in by pianist and Harvard music professor Robert Levin, whose brilliant edition of Mozart’s Requiem has met with widespread acclaim. Levin’s completion is the most ambitious of any modern edition in its willingness to incorporate new material, providing newly composed music for all of the missing mass portions. It was first performed in January, 2005 by the Orchestra of St.Luke's and the Carnegie Hall Festival Chorus under the direction of Helmuth Rilling. Levin began his project by determining the number of additional movements needed to complete the mass, using two earlier Mozart masses as models. He then turned to several sketches by Mozart. One such sketch — for a Dona nobis pacem fugue — dates from July of 1783, and was almost surely a study for the Mass in C minor. Other sketches, also from 1783, are not texted, but could plausibly be for movements of the mass, and Levin chose to use these additional sketches as the basis for the Crucifixus, Et resurrexit, and Et unam sanctam movements. In 1785, Mozart himself adapted the Kyrie and Gloria from the mass (which had still only been performed in Salzburg) to complete a cantata commission for the Viennese Society of Musicians. He replaced the Latin texts with Italian psalm paraphrases by Lorenzo da Ponte (librettist for Le nozze di Figaro and Don Giovanni), and dubbed it Davide penitente (K. 469). Mozart composed two new arias to round out this new cantata, and because he clearly considered these arias to be suitable for performance alongside the music of the mass, Levin considered them fair game for his mass completion. The extensive introduction of a soprano aria becomes the Agnus Dei, and its main body becomes Et in Spiritum Sanctum, transposed to key of G so that it can be sung by a tenor, mirror-
Notes on the Program • Artist Biographies
ing Mozart’s practice in earlier cantata mass settings of the Credo. Lastly, Levin composed an entirely new fugue on the text Et vitam venturi, based on a motive derived from the counter subject in Mozart’s Kyrie. Levin draws on his thorough understanding of Mozart’s compositional language to create music that is as wonderfully inventive as it is stylistically convincing, and which carefully considers the unique context and sound world of the existing mass movements. His work makes it possible for modern audiences to hear Mozart’s “Great” mass in a new light, and to contemplate anew what the master might have envisioned. — Jeffrey Douma
Since the fall of 2003, Jeffrey Douma has served as director of the Yale Glee Club, recently hailed by the New York Times as “one of the best collegiate singing ensembles, and one of the most adventurous.” He also serves as Professor of Conducting at the Yale School of Music, where he teaches in the graduate choral program, and as founding director of the Yale Choral Artists. He served as artistic director of the first Yale International Choral Festival in June 2012. Douma has appeared as guest conductor with choruses and orchestras on six continents, including the Royal Melbourne Philharmonic Orchestra, Daejeon Philharmonic Choir, Tbilisi Symphony Orchestra, Buenos Aires Philharmonic Orchestra, Moscow Chamber Orchestra, Windsor Symphony Orchestra, Orquesta Solistas de la Habana, Istanbul’s Tekfen Philharmonic, the Symphony Choir of Johannesburg, and the Lithuanian Chamber Orchestra. Recent engagements also include conducting masterclasses for the Beijing International College Choir Festival, the University of Michigan and Indiana
University Schools of Music, Fudan University, and the Berlin Radio Choir’s International Masterclass, and he has prepared choruses for such conductors as Valery Gergiev, William Christie, Sir Neville Marriner, Nicholas McGegan, Mark Morris, and Helmuth Rilling. He has appeared as a tenor with many of the nation’s leading professional choirs, and also currently serves as Musical Director of the Yale Alumni Chorus, which he has led on eight international tours, and as Artist-in-Residence at the Cathedral of St. Joseph in Hartford. Douma earned a Bachelor of Music degree from Concordia College (Moorhead, MN), and the Doctor of Musical Arts degree in conducting from the University of Michigan.
yale choral artists Dann Coakwell, tenor, has performed as a soloist internationally and nationally under such acclaimed conductors as Helmuth Rilling, Masaaki Suzuki, William Christie, Nicholas McGegan, Matthew Halls, and Craig Hella Johnson. He has appeared multiple times in New York’s Carnegie Hall, and with organizations such as the Philharmonia Baroque Orchestra in San Francisco, Bachakademie Stuttgart in Germany, and the Oregon Bach Festival. He makes his solo debut at Lincoln Center’s Avery Fisher Hall, New York, in May 2014, and can be heard as a soloist on the Harmonia Mundi record label in the 2009 Grammy Award-nominated album, Conspirare: A Company of Voices, and on The Sacred Spirit of Russia (February 2014). » www.danncoakwell.com Baritone Bradford Gleim performs opera, oratorio, song, and choral music to critical acclaim throughout the United States and abroad. He has appeared with such festivals and en-
Artist Biographies
sembles as the Handel and Haydn Society, Seraphic Fire, Opera Boston, Emmanuel Music, the Hereford Three Choirs Festival, Boston Baroque, the Princeton Singers, Cut Circle, Bermuda Festival, Boston Cecilia, Conspirare, Santa Fe Desert Chorale, Borromeo String Quartet, and Mark Morris Dance Group. When not singing, Bradford devotes his life to teaching and is Assistant Professor of Voice at Berklee College of Music. Passionate about chamber music from the medieval era to the present, soprano Jessica Petrus has been praised for her “impressive clarity and color” by the New York Times and for her “brilliant, agile soprano” by the San Diego Story. Highlights from her 2013–2014 season include solo and ensemble appearances with the Handel and Haydn Society, Oratorio Chorale of Maine, Yale Choral Artists, Chamber Music Society of Central Virginia, Staunton Music Festival, Cantata Profana, and Skylark Vocal Ensemble. Jessica is a core member of Etherea, an eightpart treble vocal ensemble making its Carnegie Hall debut in June 2014, and The Broken Consort, which made its debut with the Houston Early Music Festival in January. She graduated from the Yale Institute of Sacred Music’s Oratorio, Art Song, and Chamber Ensemble program where she sang with Yale Schola Cantorum. She now lives in Cambridge, Mass. “Pure and shining” soprano Clara Rottsolk has been lauded by the New York Times for her “clear, appealing voice and expressive conviction.” In a repertoire extending from the Renaissance to the contemporary, her solo appearances with orchestras and chamber ensembles have taken her across the globe with ensembles such as American Bach Soloists, Tempesta di Mare, Seattle Baroque Orchestra, Les Délices, Pacific Musicworks, the Carmel Bach Festival, Piffaro— The Renaissance Wind Band, Magnificat
Baroque, Baltimore Chamber Orchestra, Colorado Bach Ensemble, Trinity Wall Street Choir, and Seraphic Fire under the direction of conductors including Joshua Rifkin, Bruno Weil, Paul Goodwin, Stephen Stubbs, Jeffrey Thomas, John Scott, David Effron, and Andrew Megill. Among her stage roles are Micaëla (Carmen), Dido (Dido and Aeneas), Arminda (La finta giardiniera) and Laetitia (The Old Maid and the Thief). Her solo recordings include French cantatas with Les Délices, and a “supple and stylish… and unflaggingly attractive” (Gramophone Magazine) recording of Scarlatti Cantatas with Tempesta di Mare. A native of Seattle, Ms. Rottsolk earned her music degrees at Rice University and Westminster Choir College. Currently she is based in Philadelphia and teaches voice at Swarthmore, Haverford, and Bryn Mawr Colleges. » www.clararottsolk.com Soprano Amanda Sidebottom is increasingly sought after as a soloist and chamber singer. Recent performances include solo turns with Yale Choral Artists and under the baton of Mark Morris in Vivaldi Gloria and Bach Jesu meine Freude. This season brought her duo WellTuned Words — with lutenist Erik Ryding — on tour, giving recitals in Milan, Paris, and Amsterdam. This spring, they will perform closer to home in New York, Connecticut, and Boston. As a soloist with period chamber ensembles Brooklyn Baroque and the Soul’s Delight, Amanda sang concerts throughout New York State and in Washington, D.C. Also an active ensemble singer, she made her Alice Tully debut with the American Classical Orchestra, singing Brahms and Mendelssohn, and will make happy returns with both the Yale Choral Artists and the Bach Choir at Holy Trinity. A founding member of New Haven-based Etherea Vocal Ensemble, Amanda can also be heard on their lauded debut album Ceremony of Carols as well
Artist Biographies
as the recently-released Hymn to the Dawn, both available through Delos Music. » amandasidebottom.com A “sweetly soaring tenor” (Dallas Morning News) with “impressive clarity and color” (New York Times), Steven Soph performs as a soloist and chamber musician throughout the United States. Upcoming engagements include Handel’s Dettingen Te Deum with the Cleveland Orchestra under Ton Koopman, Evangelist in Bach’s St. John Passion with Chicago Chorale, arias in Bach’s St. John Passion with Voices of Ascension in NYC, and a residency at Stanford University with Cut Circle interpreting the works of DuFay and Josquin. Recent solo appearances include Handel’s Dettingen Te Deum as a 2012 Young American Artist with Robert Shafer’s City Choir of Washington; Handel’s Messiah with Miami’s Seraphic Fire; Beethoven’s Choral Fantasy in Alice Tully Hall with Musica Sacra; Bach cantata arias (BWV 70 and 181) on Trinity Wall Street’s Bach at One series; arias in Bach’s St. Matthew Passion with Dennis Keene’s Voices of Ascension; Uriel in Haydn’s Creation, arias in Bach’s St. Matthew Passion, and Monteverdi’s Vespers of 1610 with the Yale Schola Cantorum and Juilliard 415 under Masaaki Suzuki; Zadok in Handel’s Solomon with Simon Carrington; Gabriel in the world premier of Robert Kyr’s The Annunciation with the Yale Camerata and Maggie Brooks; and Lurcanio in Handel’s Ariodante with American Bach Soloists Academy under Jeffrey Thomas. Steven is on the rosters of New York’s Musica Sacra, Miami’s Seraphic Fire, Cut Circle, Yale Choral Artists, Boston’s Handel and Haydn Society, and Boston Baroque and appears on numerous recordings including Blue Heron’s Hugh Aston: Three Marian Antiphons. Steven holds a B.A. in music from the University of North Texas and is a 2012 graduate of Yale’s School of Music and Institute
of Sacred Music where he studied with tenor James Taylor. Praised by the Boston Globe for her “crystalline tone and graceful musicality”, soprano Sonja DuToit Tengblad’s vocal versatility lends itself to music ranging from the Renaissance era to some of the newest compositions of our time. Recent highlights include her Carnegie Hall and Lincoln Center solo debuts, both with the New York Civic Orchestra, and appearances with the Haydn Society in Purcell’s King Arthur (Cupid) and Bach’s Christmas Oratorio, and the Oregon Bach Festival for many of Helmuth Rilling’s performances of Bach. Other solo highlights include performances with the Boston Modern Orchestra Project in Oliver Knussen’s Symphony No. 2 for high soprano and orchestra, as well Kati Agocs’ Vessel for three solo voices and chamber orchestra, and the American premiere of Sigfried Matthus’ Te Deum at the American Guild of Organists National Convention in 2008. Ms. Tengblad sings with Conspirare, the five-time Grammy nominated ensemble out of Austin, Texas; as well as Boston’s Blue Heron and Lorelei Ensemble, an 8-voice women’s ensemble specializing in early and new music. Described by the Atlanta Journal-Constitution as a dignified and beautiful singer, baritone Paul Max Tipton performs nationally to acclaim in repertoire ranging from Schütz and Monteverdi to Britten and Bolcom. He solos under such notable figures as Masaaki Suzuki, Matthias Pintscher, Nicholas McGegan, Leonard Slatkin, Ton Koopman, Helmuth Rilling and Martin Katz, and has performed with Bach Collegium Japan, the New York Philharmonic, Apollo’s Fire, Seraphic Fire, and the Orchestra of St. Luke’s. Recent engagements include Britten’s War Requiem, Rameau’s La Lyre Enchantée, and a recording of Brahms’ Ein Deutsches Requiem, which earned a 2012 Grammy
Artist Biographies
nomination. His singing of the Bach Passions is noted in particular for its strength and sensitivity. He studied at the University of Michigan at Ann Arbor and Yale University, and is a Lorraine Hunt Lieberson Fellow at Emmanuel Music in Boston. » www.paulmaxtipton.com Praised for her “gorgeous, profoundly expressive instrument” and possessing a voice of “extraordinary suppleness and beauty,” soprano Teresa Wakim has garnered wide acclaim, and is perhaps best known as “a fine baroque stylist.” Recent and future soloist engagements include performances with the Cleveland Orchestra, Amsterdam Baroque Orchestra, San Francisco Symphony, San Antonio Symphony, Omaha Symphony, Charlotte Symphony, Tucson Symphony, Alabama Symphony, and New World Symphony, as well as with Boston Baroque, Apollo’s Fire, the Handel and Haydn Society, Atlanta Baroque Orchestra, Handel Choir of Baltimore, and Dallas Bach Society. She is a featured soloist on four Grammy-nominated recordings with the Boston Early Music Festival and Seraphic Fire. Critics have praised Brenna Wells for her “angelic,” “soaring,” and “captivating” soprano voice. Her operatic roles include Galatea in Acis and Galatea, First Witch in Purcell’s Dido and Aeneas, La Musique in Charpentier’s Les Plaisirs de Versailles, and she was Première Nymphe de l’Acheron in the Boston Early Music Festival’s production and Grammy-nominated recording of Lully’s Psyché. Ms. Wells has sung and recorded with the BEMF Orchestra, Blue Heron, Britten-Pears Baroque Orchestra, Boston Baroque, Opera Boston, L’Académie, Seraphic Fire, and the Handel and Haydn Society. She has appeared in many festivals worldwide including the London Handel Festival, Aldeburgh Festival, Amherst Early Music Festival, and
BBC Proms. In both 2008 and 2009, she was selected to perform in the Early Music Seminars at the Fondazione Giorgio Cini in Venice, Italy. Highlights from recent seasons include her soloist debut at Symphony Hall under the direction of Harry Christophers as well as soloist debuts with Emmanuel Music, Boston Baroque, Ensemble VIII, and Boston Cecilia among others. The 2013–2014 season includes solo appearances with the Handel and Haydn Society, Collage New Music, Yale Choral Artists, and a return to the Boston Early Music Festival’s tour of the Charpentier Opera double bill, La Descente d’Orphée aux Enfers and La Couronne de Fleurs, to Victoria, British Columbia, and New York. The Yale Choral Artists is a professional choir recently founded by the Yale School of Music and the Yale Glee Club to enhance and enrich Yale’s strong commitment to the choral arts. The choir is a project-based ensemble comprised of leading singers from around the country and is directed by School of Music faculty member Jeffrey Douma. Current members of the Choral Artists also perform in the ranks of such acclaimed ensembles as the Trinity Wall Street Choir, Chanticleer, the Handel and Haydn Society Chorus, the Oregon Bach Festival Chorus, Voices of Ascension, Conspirare, and many others, and are also leading concert soloists, particularly in the area of early music. The Yale Choral Artists made their debut in an all-Handel program led by guest conductor William Christie at Yale and in Zankel Hall in February of 2012. The Choral Artists have since performed as a featured ensemble at the first Yale International Choral Festival, the International Festival of Arts & Ideas, the Norfolk Chamber Music Festival, and with the renowned Mark Morris Dance Group. Upcoming projects include premieres of new works by composers Ted Hearne and Hannah Lash.
Artist Biographies
The Philharmonia Orchestra of Yale 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. Performances include an annual series of concerts in Woolsey Hall, as well as Yale Opera productions in the Shubert Theater. The Yale Philharmonia has also performed on numerous occasions in Carnegie Hall and Alice Tully Hall in New York City and at the Kennedy Center in Washington, D.C. The orchestra undertook its first tour of Asia in 2008, with acclaimed performances in the Seoul Arts Center, the Forbidden City Concert Hall and National Center for the Performing Arts (Beijing), and the Shanghai Grand Theatre. The Yale Baroque Ensemble is a postgraduate ensemble at the Yale School of Music dedicated to the highest level of study and performance of the Baroque repertoire. It is directed by baroque violinist Robert Mealy. Using the Yale Collection of Musical Instruments’ set of new baroque instruments, members of the Ensemble go through an intensive one-year program of study, immersing themselves in the chamber and solo repertoire from 1600 to 1785 to create idiomatic and virtuosic performances of this music. The Yale Baroque Ensemble plays on the Collection’s set of new baroque string instruments made by Jason Viseltear of New York City, after del Gesù, Amati, and Testore. Bows are also from the Collection, made by David Hawthorne and Christopher English after seventeenth- and eighteenth-century originals.
yale choral artists Jeffrey Douma, director soprano Jessica Petrus Clara Rottsolk Amanda Sidebottom Sonja Tengblad Teresa Wakim Brenna Wells
tenor Max Blum Dann Coakwell Brian Giebler Alex Guerrero Steven Soph Robert Strebendt
alto Yonah Gershator Kate Maroney Solange Merdinian Esther Morgan-Ellis Heather Petrie Virginia Warnken
bass Paul Fletcher Bradford Gleim Daniel Moore Tian-Hui Ng Jason Thoms Paul Max Tipton
Philharmonia Orchestra of Yale
violin 1 Nayeon Kim, 1 * Matheus Garcia Souza Inyoung Hwang Eun-young Jung Mann-Wen Lo violin 2 Corin Lee, 1 * Shuaili Du Nathan Lesser Do Hyung Kim viola David Mason 1 Hyeree Yu Xinyi Xu Rebecca Wiebe
trumpet Timothy Will, 1 Jean Laurenz trombone Stephen Ivany, 1 Elisabeth Shafer bass trombone Christopher Brown timpani Jonathan Allen organ Tate Addis 1 - Principal * - Yale Baroque Ensemble
cello Jurrian van der Zanden, 1 * Bora Kim Sohyang Yoo bass Ha Young Jung
shinik hahm Conductor in Residence philharmonia staff
flute Jonathan Slade oboe Caroline Ross, 1 * Fiona Last bassoon Darren Hicks, 1 Michael Zuber horn Wing Lam Au, 1 John Craig Hubbard
andrew w. parker Manager roberta senatore Music Librarian brent laflam Production Assistant jonathan brandani Assistant Conductor louis lohraseb Assistant Conductor
philharmonia student staff assistant Timothy Gocklin music librarians Batmyagmar Erdenebat Allan Hon Choha Kim Hye Jin Koh Fiona Last Michael Laurello David Mason Alan Ohkubo Nicole Percifield Rachel Perfecto Elisa Rodriguez Sadaba Matheus Garcia Souza stage crew Jonathan Allen Garrett Arney Samuel Bobinski Patrick Durbin Batmyagmar Erdenebat Jonathan Hammonds Julia Ghica Christopher Hwang Stephen Ivany John Kossler Fiona Last Christopher Lettie Louis Lohraseb Thomas Park Douglas Perry Zachary Quortrup
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Francesco Iachello Paul Jacobs Judy Long Helen and Doug MacRae Mrs. Susan Matheson & Mr. Jerome J. Pollitt Ms. Suzanne Solensky & Mr. Jay Rozgonyi Mary-Jo Worthey Warren Samuel Simons Sanford Circle $50 to $124 Anonymous (3) Cecle & Josef Adler Nancy Ahlstrom Angelo Alonzo & Nancy Reynolds Craig Baker Dr. & Mrs. Dwight P. Baker Peter Basel Henry & Joan Binder Peter & Nancy Blomstrom Ernest Bodenweber Michael Hall & Otto Bohlmann Anna Broell Bresnick Mindy & Sam Brownstein Anthony Cavaliere Joel Cogen & Elizabeth Gilson Barbara & Frank Dahm R.R. D’Ambruoso Mr. & Mrs. Dana Elizabeth M. Dock Thomas & Judith Foley Henry Friedman Dolores M. Gall Martin & Katie Gehner Mr. Marshall D. Gibson Saul & Sonya Goldberg Gloria Hardman Thomas & Sharon Haskell James S. Johnson III & Marion Kloeg Raejeanne Kier Mr. James C. Kloss & Ms. Esther E. Golton Dave Kozma Peter & Suzanna Lengyel Judith & Karl-Otto Liebmann Nancy C. Liedlich & William R. Liedlich Margaret Lord & Arthur Kover Carmen Lund James Mansfield Ann Marlowe Stephen Marsh Thomas Martin & Harold Spitzer Betty Mettler Ron & Sue Miller
Martha & Vincent Oneppo Dr. E. Anthony Petrelli James V. Pocock Rocco & Velma Pugliese Fred & Helen Robinson Arthur T. Rosenfield, MD Dr. Victoria Rothenhausen Leonard Rutkosky Allan R. Silverstein Rev. Dr. Michael Tessman & Mrs. Carol Tessman Suzanne Tucker Mr. & Mrs. Gregory D. Tumminio G.M. & M. E.Turnbull Peter & Dana Uhrynowski Monika & Fred Volker Victor Vu Roger & Beth Wardwell Werner & Elizabeth Wolf Gustave Jacob Stoeckel Circle $25 to $49 Natalie Cybriwsky Bill & Barbara Dickerson Mr. Charles W. Forman Mrs. Ken L. Grubbs Henry Harrison & Ruth Lambert Mr. Charles Levene Joel Marks Joseph & Patricia Rutlin Mr. James N. Trimble David Vecchia Burton & Ellen Zempsky as of 3 February, 2014
Upcoming Events
La Bohème
Yale Percussion Group
february 14–16 Yale Opera Shubert Theater | Fri & Sat, 8 pm | Sun, 2 pm Yale Opera presents a new production of Puccini’s La Bohème, conducted by Giuseppe Grazioli and directed by Michael Gieleta. Tickets $19–50, Students $13, on sale at www.shubert.com or 203-562-5666
february 23 YSM Student Ensembles Morse Recital Hall | Sunday | 8 pm Robert van Sice, director. Free Admission
Artis Quartet february 18 Oneppo Chamber Music Series Morse Recital Hall | Tuesday | 8 pm Mozart: Quartet in D major, K. 575; Zemlinsky: Quartet No. 4; Brahms: Quartet in A minor, Op. 51, No. 2. Tickets start at $30 • Students $12
Peter Frankl, Wei-Yi Yang, and Boris Berman february 19 Horowitz Piano Series Morse Recital Hall | Wednesday | 8 pm Music of Brahms and Schumann for piano four hands and two pianos, including Brahms’ Variations on a Theme by Haydn, Op. 56b, and Sonata in F minor, Op. 34b. Tickets start at $12 • Students $6
Conducting Fellows february 28 Philharmonia Orchestra of Yale Morse Recital Hall | Friday | 5 pm Jonathan Brandani and Louis Lohraseb, conductors. Beethoven: Symphony No. 3, “Eroica”; Copland: Music for the Theater; Wagner: Siegfried Idyll. Free Admission
Vista: A Fresh Look at Chamber Music march 4 YSM Student Ensembles Morse Recital Hall | Tuesday | 8 pm Student performances enhanced by commentary on the music. Free Admission
Concert Programs & Box Office: Krista Johnson, Carol Jackson Communications: Dana Astmann, Monica Ong Reed, Austin Kase Operations: Tara Deming, Chris Melillo Piano Curators: Brian Daley, William Harold Recording Studio: Eugene Kimball P.O. Box 208246, New Haven, CT · 203 432-4158
music.yale.edu
Robert Blocker, Dean