EZRA LADERMAN Artistic Director
DAVID LANG Featured faculty composer
APRIL 30 2009
MUSIC OF Andres Harrold Hearne Kuspa Lam Lang Nazaykinskaya Norman Schindler
Robert Blocker, Dean
NEW MUSIC NEW HAVEN
ANGEL LAM
Disappearing Garden, Capital Dream. Farkhad Khudyev, conductor Alvin Wong, solo cello Angel Lam, narrator Katherine Hyun, violin Liesl Schoenberger, violin Vesselin Todorov, viola Shannon Hayden, cello Alexander Smith, double bass Sabatino Scirri, flute Jen Shark, oboe Sam Blair, bassoon Patrick Hines, horn Michael Compitello, percussion Michael Zell, percussion Shih-Yun Joy Yeh, harp Robert Thompson, piano
NAFTALI SCHINDLER
Water Tropes Jae-Won Bang, violin Katherine Hyun, violin Mathilde Geismar Roussel, viola Laura Usiskin, cello Naftali Schindler, Tuvan throat-singing
ANDREW NORMAN
Sabina Laura Usiskin, cello
RICHARD HARROLD
Study for Guitar Duo Bruno Roussel, guitar Hans Garon, guitar
NEW MUSIC NEW HAVEN
JORDAN KUSPA
Songs and Dances: Three Poems of Lewis Carroll I. A Game of Fives II. Jabberwocky III. The Lobster Quadrille Mireille Asselin, soprano Helen Huang, piano
POLINA NAZAYKINSKAYA
Scene from The Sleeping Beauty Amanda Hall, soprano Emily Righter, mezzo-soprano Damien Pass, bass-baritone Jeong-Ah Ryu, piano Intermission
TED HEARNE
THAW Michael Compitello, percussion Lia DeRoin, percussion Ji-Hye Jung, percussion John Corkill, percussion
TIMOTHY ANDRES
Fast Flows the River Hannah Collins, cello Timothy Andres, organ
DAVID LANG
the so-called laws of nature (2001-2002) part II part III Ji Hye Jung, Lia DeRoin, Michael Compitello, John Corkill, percussion
As a courtesy to the performers and to other audience members, turn off cell phones and pagers. Please do not leave the theater during selections. Photography or recording of any kind is not permitted.
ANGEL LAM Disappearing Garden, Capital Dream.
: Notes her compositions performed throughout the United States and in major cities around the world. She is a two-time winner of the Carnegie Hall emerging composer commission. She first received the award in 2005-06, where she worked with Yo-Yo Ma and the Silk Road Project, and then again in 2006-07, where she worked with Grammy Award-winning composer Osvaldo Golijov and vocalist Dawn Upshaw. These two collaborations, together with the Weill Music Institute at Carnegie Hall, culminated in two Carnegie Hall premieres of her work in September 2006 and April 2007. Most recently, her composition Empty Mountain, Spirit Rain was selected to be on the touring repertoire of Yo-Yo Ma and the Silk Road Ensemble, who toured with her piece in the United States, Music tattoos into our memory. I remember an China, Japan and Switzerland's Lucerne Festival. event as music mingled with emotions, images, This work was released by Sony/BMG on Silk and the atmosphere of that time and space. All Road Ensemble's latest CD New Impossibilities. of these deeply affect the way I write music, and this is the way I explore the 'spirit' within Her recent commissions include Hong Kong an art work. I'm interested in the fusion of Sinfonietta, Australia's Grainger Quartet, literature and music, and I write them with Greenwich Village Orchestra in New York, passion for life and love for those around me. Houston Chamber Choir, Orange County Women's Chorus, Loyola High Lessons and Carols Commission, Peabody Dance, and a new : Biography work for cello and orchestra written for Yo-Yo Angel Lam is a young artist who continually Ma and the Atlanta Symphony to premiere at seeks to retell the memories and beauty she finds Carnegie Hall and in Atlanta in the fall of 2009. in everyday life. Her music has been praised as “beautiful, even ravishing at moments,” as Angel's other interests include writing, traveling, “windswept, pastoral beauty.” Ms. Lam grew up cooking, herbal medicine, onsens, and meeting in Hong Kong and Los Angeles and is currently people of diverse cultural backgrounds. pursuing an Artist Diploma at Yale, where she is studying with Ezra Laderman, Aaron Jay Kernis, Ingram Marshall, and Christopher Theofanidis. : Website She has been an active composer since her days as an undergraduate in Hong Kong and has had www.angellam.com Disappearing Garden, Capital Dream. is an ensemble version of a larger work-in-progress written for cello and orchestra. The story is inspired by my deep interest in the lives of women in Chinese culture. Several times, female figures have caused major events that have changed the course of Chinese history. What these women stood for is embodied in many classic Chinese novels, which have a strong influence on my art. This piece tells a story about two different generations of young women, both named Number Five. It begins with a narrative about a recurring dream; as the music unfolds, the solo cello takes over the narrative of the piece. The second part begins with a scene in Beijing, the capital of modern-day China.
NAFTALI SCHNDLER Water Tropes
: Notes
: Biography
This piece is inspired by the idea of troping environmental sounds, explored by Ingram Marshall in several pieces. The idea is to trope, or ovelay, the environmental sound with musical responses. In Water Tropes I use the string quartet, throat singing (singing more than one pitch at a time), to imitate and respond to the percussive bubbliness, and the trills of the water sounds. Over time, the musical response gains independence, forcing the water sounds to trope the music. Eventually, the music loses cohesion and start returning to water, creating an overall “from the water and back to the water� theme for the piece.
Naftali Schindler is studying for his Master of Musical Arts at Yale, where he studied with Aaron Jay Kernis, Martin Bresnick, Ezra Laderman, and David Lang. He was born in Boston in 1982, but grew up in Israel. He began his musical studies at age 15, studying piano and composition with Shlomo Schnall. Upon returning to the US in 2001, he studied composition and theory at Boston University, graduating summa cum laude with a Bachelor of Music degree. His teachers at BU included Martin Amlin and Theodore Antoniou. He has presented his work in master-classes given by Lukas Foss, Samuel Adler, and David Liptak, among others. His music has been performed across the US, including performances by the Travers Siblings, Alea III, Yale Philharmonia, Pykka Quintet, and a performance of his Petrarch sonnets by the BU Symphony Orchestra, as part of the 2006 BU honors concert. He has been commissioned by Alea III, Norfolk Chamber Music Festival, and Steve Parker, among others. He is a member of Pi Kappa Lambda and Eliezer Society, and is a recipient of the John Day Jackson Prize. Naftali is also an aspiring throat-singer in the Tuvan manner.
: Website www.naftalischindler.com
ANDREW NORMAN Sabina
: Notes
: Biography
In October 2006 I visited the ancient church of Santa Sabina on Rome’s Aventine Hill. I entered very early in the morning, while it was still dark, and as I listened to the morning mass I watched the sunrise from within the church. The light in Santa Sabina is breathtaking; the large clerestory windows are made not of glass but of translucent stone, and when light shines through these intricately patterned windows, luminous designs appear all over the church’s marble and mosaic surfaces. As I watched the light grow and change that morning, I was struck by both its enveloping, golden warmth and the delicacy and complexity of its effects. I sketched some musical ideas shortly thereafter that have since taken a number of different forms: first a string trio, then a solo viola piece, and now this version for solo cello.
Andrew Norman is a graduate of the University of Southern California and an Artist Diploma candidate at the Yale School of Music. Andrew has been commissioned by the Minnesota Orchestra, the Tonhalle Orchestra Zurich, the New York Youth Symphony, and the Oakland East Bay Symphony, among others. His works have been programmed at numerous festivals and performing venues including Carnegie Hall, the Kennedy Center, the Tanglewood Festival of Contemporary Music, the MATA Festival, the Juilliard School Focus Festival, and the Monday Evening Concerts in Los Angeles. Andrew is the recipient of the 2009 Berlin Prize, the 2006 Rome Prize, the ASCAP Kaplan and Nissim Prizes, and the Aspen Music Festival Druckman Prize. He has held residencies at the MacDowell Colony, the Copland House, the Cascade-Head Music Festival, and the National Youth Orchestra Festival. Andrew is a committed educator who enjoys helping people of all ages explore their musical creativity. He recently finished a two-year educational residency in Colorado’s Roaring Fork Valley, where he worked with pre-college composers and elementary school students. Upcoming projects include commissions from the Aspen Music Festival, the Des Moines and Modesto Symphonies, and an extended work for the Scharoun Ensemble and members of the Berlin Philharmonic. Andrew is currently Composer-in-Residence for Young Concert Artists, and his works are published by Schott Music.
RICHARD HARROLD Study for Guitar Duo
: Notes
: Biography
These are the first two of a set of studies for guitar duo. The first is a neo-baroque exploration of asynchrony, whose systematic disconnecting of the sense of ensemble creates a composite melody and counterpoint. The second utilises a click track to overlay distantly related metronome marks, and ends with a canon in which the second guitar must catch up with the first.
Richard Harrold was born in 1984 and brought up in Manchester, England. He graduated with First Class Honours from the Royal Academy of Music in 2007, where he studied Composition with Philip Cashian and second study Jazz Piano with Tom Cawley, and on graduating was awarded the Evan Senior Scholarship. He was an SPNM shortlisted composer from 2005–2008.
The first of a set of studies for guitar duo, this piece uses the baroque gigue as the starting point for an exploration of rhythmic asyuchrony; the ensemble is systematically disconnected and reunited to create a variety of rhythmic cannons and composte melodies.
Richard is fascinated with endurance sports and spends all of his free time cycling to remote areas of the globe. His music derives much inspiration from the psychological aspect present in such endurance endeavours. Richard is currently in his first year of postgraduate study at the Yale School of Music, studying with Christopher Theofanidis.
JORDAN KUSPA Songs and Dances: Three Poems of Lewis Carroll
: Notes The central conceit of Songs and Dances is that each piece includes an extended dance sequence (e.g. the “galumphing” jig in “Jabberwocky”), often seeming to appear out of nowhere. “A Game of Fives” is a short dance in (what else?) 5/8 meter that rises and falls in key as the text follows the development of five little girls into grown women. Notice how the 5/8 feel changes to a “waltzy” 6/8 when the girls get older. In “Jabberwocky” I wanted to give the feel of an old epic ballad, telling a classic tale of a heroic youth who slays a great beast. “The Lobster Quadrille” is in a way the closest to a true “song and dance” number. The freely sung conversation between the whiting (a type of fish) and the snail repeatedly gives way to exhortations to “come and join the dance.” Songs and Dances was premiered by Katina Mitchell and Peter Walsh on December 22, 2008, at All Hallows Church in La Jolla, California. : Texts
When girls may be ENGAGING, but they somehow don't ENGAGE. Five dressy girls, of Thirty-one or more: So gracious to the shy young men they snubbed so much before! II. Jabberwocky 'Twas brillig, and the slithy toves Did gyre and gimble in the wabe; All mimsy were the borogoves, And the mome raths outgrabe. "Beware the Jabberwock, my son! The jaws that bite, the claws that catch! Beware the Jubjub bird, and shun The frumious Bandersnatch!" He took his vorpal sword in hand: Long time the manxome foe he sought – So rested he by the Tumtum tree. And stood awhile in thought.
I. A Game of Fives And as in uffish thought he stood, FIVE little girls, of Five, Four, Three, Two, One: The Jabberwock, with eyes of flame, Rolling on the hearthrug, full of tricks and fun. Came wiffling through the tulgey wood, And burbled as it came! Five rosy girls, in years from Ten to Six: Sitting down to lessons - no more time for tricks. One, two! One, two! And through and through The vorpal blade went snicker-snack! Five growing girls, from Fifteen to Eleven: He left it dead, and with its head Music, Drawing, Languages, and food He went galumphing back. enough for seven! "And hast thou slain the Jabberwock? Come to my arms, my beamish boy! Five winsome girls, from Twenty to Sixteen: O frabjous day! Callooh! Callay!" Each young man that calls, I say “Now tell me He chortled in his joy. which you MEAN!” Five dashing girls, the youngest Twenty-one: 'Twas brillig, and the slithy toves But, if nobody proposes, what is there to be done? Did gyre and gimble in the wabe; All mimsy were the borogoves, Five showy girls - but Thirty is an age And the mome raths outgrabe.
: Biography III. The Lobster Quadrille "Will you walk a little faster?" said a whiting to a snail. "There's a porpoise close behind us, and he's treading on my tail. See how eagerly the lobsters and the turtles all advance! They are waiting on the shingle - will you come and join the dance? Will you, won't you, will you, won't you, will you join the dance? Will you, won't you, will you, won't you, won't you join the dance? "You can really have no notion how delightful it will be When they take us up and throw us, with the lobsters, out to sea!" But the snail replied "Too far, too far!" and gave a look askance - Said he thanked the whiting kindly, but he would not join the dance. Would not, could not, would not, could not, would not join the dance. Would not, could not, would not, could not, could not join the dance. "What matters it how far we go?" his scaly friend replied. "There is another shore, you know, upon the other side. The further off from England the nearer is to France-Then turn not pale, beloved snail, but come and join the dance. Will you, won't you, will you, won't you, will you join the dance? Will you, won't you, will you, won't you, won't you join the dance?"
Jordan Kuspa’s compositions have been performed and workshopped by the New York New Music Ensemble, Speculum Musicae, California E.A.R. Unit, the Enso and Kailas String Quartets, and the Woodlands Symphony. His violin/ viola duo “Beneath the Magma” was premiered by the Gang of Two at Carnegie Hall’s Weill Recital Hall. Among his many honors, Jordan was the winner of the 2007 Robert Avalon Young Composers Competition, sponsored by Houston’s Foundation for Modern Music. At age 16, Jordan founded the Houston Young Musicians, a group that sought to broaden interest in classical music among new listeners as well as promote the works of American and other contemporary composers. Jordan was also co-founder and artistic director of the Sonus Chamber Music Society, an organization that presented an interactive concert series in the Houston museum district. Jordan was homeschooled before entering Rice University’s Shepherd School of Music, where he received his BM. Currently, Jordan is a graduate student at the Yale School of Music, studying with Christopher Theofanidis and Ingram Marshall.
POLINA NAZAYKINSKAYA Scene from The Sleeping Beauty
: Notes
: Biography
The Sleeping Beauty is my upcoming opera that I am writing for our opera workshop under the guidance of Ezra Laderman. I started writing the music without any prepared libretto, but rather took the lyrics directly from Alexander Pushkin's poem "Fairy tale about a dead princess and seven warriors." Although I have found it challenging to work without a libretto, at the same time, Pushkin's poetry is very lyrical and melodic, which has made it very pleasant for me to set it to music.
Polina Nazaykinskaya was born in Togliatti, Russia on January 20, 1987. She has been studying music professionally since the age of 4. In 2004, she graduated with Honors from the Music Academic Gymnasium in Togliatti (Performance program in violin and flute). In 2008 she graduated from the Moscow State Conservatory Music College as a violinist and composer. Currently she is a graduate student at the Yale School of Music, studying composition with Ezra Laderman and violin with Kyung Hak Yu.
Narrator: Meanwhile the evil queen Did not forget about the princess And could not forgive her. As for her mirror, She was offended and angry with it. At last she felt she missed her mirror And found it and sat down In front of it, and all her wrath was suddenly forgotten: Queen: "Hello, my mirror! Do tell me All the truth: Am I the prettiest, The most pink-cheeked and tender in the world?" And immediately she hears the reply: Mirror: "Doubtless you are beautiful, But there lives in obscurity Among leafy groves With seven mighty warriors The one who is still prettier than you are." Queen: I should kill her, I should kill her... Princess: "Wait, Old lady, please, do wait, I will calm the dog And fetch you something". Queen: "Oh you, my child, my girl! Please, come out to me" God bless you; Take this for your kindness, please, catch it!"
Polina has participated in numerous regional and international performance and composers competitions. She has also been awarded the Spivakov Foundation Stipend for outstanding young musicians. In 2003 Polina received the First Prize for the best violin performance with a symphony orchestra in the regional Lagovskaya competition (Samara Region, Russia). In 2006 she and her music partner became winners of the Dmitri Shostakovich Chamber Music Competition. As a leading violinist of the Volga Young Musicians Symphony Orchestra (1998-2007), Polina participated in a number of Russian and international festivals and tours. For the last few years Polina has focused primarily on composition. She is the winner of several composers competitions such as the Dmitriy Kabalevskiy Competition and the International Composers Competition named after Vyacheslav Zolotarev. In 2008 Polina was included in the Golden Book of the Samara Region as an outstanding violinist and a young composer.
TED HEARNE THAW
: Notes will be conducting the American premiere of Constantine Koukias’ Prayer Bells with Opera IHOS and the world premiere of a new ballet by Bryan Senti. Ted has received the Charles Ives Scholarship from the American Academy of Arts and Letters and participated in the 2008 Minnesota Orchestra Composer Institute. He attended Manhattan School of Music and Yale School of Music, and has studied with Martin Bresnick, Ezra Laderman, David Lang, Aaron Jay Kernis, Julia Wolfe, and Nils Vigeland. : Biography Upcoming commissions include a work for the Ted Hearne is an active composer, conductor, combined forces of Yale Glee Club and Yale and performer of new music in the New York Symphony Orchestra, to be premiered in and Chicago areas. He is artistic director of Yes celebration of the Glee Club’s 150th anniversary. is a World, composer-in-residence for the Chicago Children’s Choir, and resident : Website conductor of Red Light New Music. Ted’s music has been performed by the Minnesota www.tedhearne.com Orchestra, Newspeak, The Knights, and Third Coast Percussion, and he has worked extensively with ICE, Ridge Theater, and New Music Collective (Charleston). His band Your Bad Self will perform this spring at the 2009 Bang on a Can Marathon. Thaw imagines what it might sound like to be immersed in a block of ice, still and cold with only the faintest beat of the outside world. The piece begins with the sound of two glockenspiels and a large drum. As the ice starts to thaw, solid rhythms and pulse streams break apart. One solid structure is transformed into countless frigid tributaries, which, in time, evaporate completely.
Ted’s hour-long work Katrina Ballads, setting entirely primary-source texts from the week following Hurricane Katrina, was premiered at the 2007 Piccolo Spoleto Festival, and subsequently released on New Amsterdam Records as a digital download. Katrina Ballads will be featured this May at New York City Opera’s vox 2009 Festival, and will compete as a finalist in this year’s Gaudeamus Festival in Amsterdam. Ted has worked as music director for premieres of David Lang’s Anatomy Theater and Michael Gordon’s Lightning at our Feet. In fall 2009, he
TIMOTHY ANDRES Fast Flows the River
: Notes Timo has spent summers at the Tanglewood, Norfolk, Bowdoin, and Aspen music festivals. He first studied composition during high school, at Juilliard’s Pre-College division (with Eric Ewazen), and has since worked with Ingram Marshall, Aaron Jay Kernis, Chris Theofanidis, John Halle, Matthew Suttor, : Biography Kathryn Alexander, Michael Klingbeil, and Timothy Andres (b. 1985, Palo Alto, CA) is a Orianna Webb. composer and pianist. He grew up in rural Connecticut and is currently studying at the As an undergraduate at Yale, Timo wrote music Yale School of Music with Martin Bresnick. criticism for the Yale Daily News and ran IGIGI, His compositions juxtapose his classical-music a coalition of Yale-affiliated composers. He background with interests in the natural world, was a founding member of the Hindemith graphic arts, cooking, and photography. He has Ensemble, Yale’s premiere chamber ensemble, been praised for his “acute ear” by the New York and toured Germany with them as pianist and Times’s Anthony Tommasini and his “stubborn composer-in-residence. He has been awarded a Charles Ives Scholarship from the American nose” by the New Yorker’s Alex Ross. Academy of Arts and Letters, the BMI Carlos An avid pianist from an early age, Timothy Surinach Award, and three ASCAP Morton (Timo for short) performs frequently, focusing Gould Young Composers’ Awards. especially on music by his contemporaries. “New music cannot be intimidating when played : Website with this degree of skill and zest,” proclaimed Boston Globe critic Richard Dyer of a recent For sounds, a bloglet, a calendar, visuals, vicconcert. Eleanor Hancock was his piano teacher tuals, metadata, colophon and more, please for many years; later, he studied with Frederic visit www.andres.com Chiu, Boris Berman, and Elisabeth Parisot. Fast Flows the River is a textless setting of the anonymous folk song “Call John the Boatman” for cello and electric organ. The lyrics of the song describe a sailor who “sleeps” more deeply the worse a storm buffets his boat.
Recent commissions include a work for the acme string quartet and New York Youth Symphony (Senior), an octet for members of New World Symphony (Some Connecticut Gospel), an orchestral elegy for the Yale Symphony (Bathtub Shrine), and a chamber orchestra work for the Los Angeles Philharmonic, to be conducted by John Adams in May 2009 (Nightjar). He will also perform on the Philharmonic’s Green Umbrella new music series.
DAVID LANG the so-called laws of nature
: Notes I went to college to study science. I was expected to become a doctor, or at the very least a medical researcher, and I spent much of my undergraduate years studying math and chemistry and physics, hanging out with future scientists, going to their parties, sharing their apartments, eavesdropping on their conversations. I remember a particularly heated discussion about a quote from Wittgenstein: “At the basis of the whole modern view of the world lies the illusion that the so-called laws of nature are the explanation of natural phenomena.” This quote rankled all us future scientists, as it implied that science can't explain the universe but can only offer mere descriptions of things observed. Over the years it occurred to me that this could be rephrased as a musical problem. Because music is made of proportions and numbers and fomulas and patterns, I always wonder what these numbers actually mean. Do the numbers themselves generate a certain structure, creating the context and the meaning and the form, or are they just the incidental byproducts of other, deeper, more mysterious processes? My piece the so-called laws of nature tries to explore the "meaning" of various processes and formulas. The individual parts are virtually identical – the percussionists play identical patterns throughout, playing unison rhythms on subtly different instruments. Most of these instruments the performers are required to build themselves. Some of the patterns between the players are displaced in time; some are on instruments which have a kind of incoherence built into their sound. Does the music come out of the patterns, or in spite of them? I am not sure which, but I know that this piece is as close to becoming a scientist as I will ever get. the so-called laws of nature - part 1 was premiered
on the Bang on a Can Marathon at the 2001 Next Wave Festival at BAM. The complete the so-called laws of nature was premiered 19 October 2002 by So Percussion at the Miller Theater, New York City. : Biography The music of David Lang has been performed by major organizations throughout the world, including the Santa Fe Opera, New York Philharmonic, San Francisco Symphony, Cleveland Orchestra, Kronos Quartet, Nederlands Dans Theater, and Royal Ballet, to name a few. Lang is well-known as co-founder and co-artistic director of Bang on a Can. In 2008, Lang was awarded the Pulitzer Prize in Music for The Little Match Girl Passion, commissioned by Carnegie Hall for Theater of Voices. He has also has been honored with the Rome Prize, bmw Music-Theater Prize, Kennedy Center/Friedheim Award, Revson Fellowship, Bessie Award, Village Voice OBIE Award, and grants from the Guggenheim Foundation, Foundation for Contemporary Performance Arts, nea, New York Foundation for the Arts, and American Academy of Arts and Letters. His work is recorded on the Sony Classical, Teldec, BMG, Point, Chandos, Argo/Decca, Caprice, Koch, Albany, CRI and Cantaloupe labels. Born in 1957, David Lang holds degrees from Stanford,University of Iowa, and Yale School of Music. He has studied with Jacob Druckman, Hans Werner Henze, and Martin Bresnick. His music is published by Red Poppy (ASCAP) and is distributed worldwide by G. Schirmer, Inc. David Lang joined the Yale faculty in 2008.
YALE PERCUSSION GROUP
: Biography Founded in 1997 by Robert van Sice, the Yale Percussion Group has been called “something truly extraordinary” by composer Steve Reich. It is composed of talented and dedicated young artists who have come from around the world for graduate study at the Yale School of Music. Members of the YPG have gone on to form the acclaimed percussion quartet So Percussion, and to perform with Lincoln Center’s Chamber Music Two, the Carnegie Hall Academy Ensemble, the Oslo Philharmonic, and the Orpheus Chamber Orchestra. Yale percussion students and graduates have recently won the Linz (Austria) International Marimba Competition and the Concert Artist Guild Competition, and recent alumni teach at such institutions as Cornell, Dartmouth, Michigan State, SUNY Stonybrook, UMass Amherst, Baylor, and the Conservatoire de Genève (Switzerland).
NEW MUSIC NEW HAVEN Staff
Artistic Director
Ezra Laderman
Managing Director
Krista Johnson
Production Coordinator
Meryn Daly
Music Librarian
Renata Steve
Assistants
Christopher Matthews Andrew Parker Donna Yoo
Music librarians
Michelle Abraham Samuel Blair Michael Compitello James Hasspacher Scott Holben Julian Pellicano Liesl Schoenberger Christopher Williams
Stage crew
Nicholas Akdag Keturah Bixby Nathaniel Chase Brian Ellingsen* Jennifer Griggs Jessica Hsieh Patrick O’Connell Kurt Schewe* Alexander Smith Kate Swisher Brian Thacker * denotes head
UPCOMING
For a complete listing of all our concerts: music.yale.edu
YALE PHILHARMONIA
Free Admission / Woolsey Hall Shinik Hahm, music director; Julian Pellicano, assistant conductor; Reinis Zarins, piano. Strauss: Till Eulenspiegel; Ravel: Piano Concerto for Left Hand; Rachmaninoff: Symphony No. 2. Zarins is a winner of the 2008 Woolsey Hall Competition.
May 1 / Fri / 8pm
YSM COMMENCEMENT CONCERT
Free Admission / Sprague Hall Featuring outstanding performers from the Class of 2009.
May 24 / Tue / 4pm
NORFOLK MUSIC FESTIVAL
Tickets for summer concerts at Norfolk now on sale! Don't miss an amazing season: June 20 - August 22, 2009. Visit http://www.norfolkmusic.org for more information.
Grounds open May 26
CONCERTS & MEDIA YALE SCHOOL OF MUSIC Robert Blocker, Dean
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RECORDING STUDIO