program
Carmina Burana Carl Orff Sarah Yanovitch, soprano Lucas van Lierop, tenor Bryan Murray, baritone Yale Glee Club Yale Camerata United Girls’ Choir Fortuna Imperatrix Mundi I Primo Vere II In Taberna III Cour d’amours Fortuna Imperatrix Mundi
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A Note Regarding Tonight’s Program The Yale Symphony Orchestra and the Yale Glee Club are united in a commitment to produce informed and responsible musical programs. With this goal in mind, we offer some thoughts on tonight’s concert, which we hope you will take into consideration as you listen: Following the 1937 Frankfurt premiere of Orff ’s Carmina Burana, the cantata quickly gained popularity in Nazi Germany. The animalistic setting of medieval Latin and German texts resonated with themes of Aryan neo-paganism and German nationalism in the context of the Third Reich. While historical accounts suggest that Orff had an ambiguous personal relationship with the Nazi regime - never belonging to the Nazi party and later falsely claiming involvement in the White Rose resistance effort - the use and reception of his music as Nazi propaganda challenges us to consider what it means to be performing Carmina Burana today. The history and popularity of Carmina Burana - from its premiere in Nazi Germany, to its frequent performance in today’s concert halls, to its prevalence in advertisements and pop culture - underscore the numerous ways a single piece of music can influence society, for better or for worse. Our performance tonight is tied to the many socio-political resonances Carmina Burana has gained through its 80 years of performance. It will undoubtedly take on new resonances tonight as well. Thank you for sharing in our performance. Noah Stevens-Stein and Cindy Xue, Yale Symphony Orchestra Emma Hathaway, Yale Glee Club
1. FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World) O Fortuna (Chorus) O Fortune O Fortuna velut luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem.
O Fortune, like the moon you are changeable, ever waxing and waning; hateful life first oppresses and then soothes as fancy takes it; poverty and power it melts them like ice.
Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris nunc per ludum dorsum nudum fero tui sceleris.
Fate - monstrous and empty, you whirling wheel, you are malevolent, well-being is vain and always fades to nothing, shadowed and veiled you plague me too; now through the game I bring my bare back to your villainy.
Sors salutis et virtutis michi nunc contraria, est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!
Fate is against me in health and virtue, driven on and weighted down, always enslaved. So at this hour without delay pluck the vibrating strings; since Fate strikes down the string man, everyone weep with me!
2. Fortune plango vulnera (I bemoan the wounds of Fortune) Fortune plango vulnera stillantibus ocellis quod sua michi munera subtrahit rebellis. Verum est, quod legitur, fronte capillata, sed plerumque sequitur Occasio calvata.
I bemoan the wounds of Fortune with weeping eyes, for the gifts she made me she perversely takes away. It is written in truth, that she has a fine head of hair, but, when it comes to seizing an opportunity she is bald.
In Fortune solio sederam elatus, prosperitatis vario flore coronatus; quicquid enim florui
On Fortune’s throne I used to sit raised up, crowned with the many-coloured flowers of prosperity; though I may have flourished
felix et beatus, nunc a summo corrui gloria privatus.
happy and blessed, now I fall from the peak deprived of glory.
Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice caveat ruinam! nam sub axe legimus Hecubam reginam.
The wheel of Fortune turns; I go down, demeaned; another is raised up; far too high up sits the king at the summit let him fear ruin! for under the axis is written Queen Hecuba.
PRIMO VERE (SPRING) 3 Veris leta facies (The merry face of spring) Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur, in vestitu vario Flora principatur, nemorum dulcisono que cantu celebratur.
The merry face of spring turns to the world, sharp winter now flees, vanquished; bedecked in various colours Flora reigns, the harmony of the woods praises her in song. Ah!
Flore fusus gremio Phebus novo more risum dat, hac vario iam stipate flore. Zephyrus nectareo spirans in odore. Certatim pro bravio curramus in amore.
Lying in Flora’s lap Phoebus once more smiles, now covered in many-coloured flowers, Zephyr breathes nectarscented breezes. Let us rush to compete for love’s prize. Ah!
Cytharizat cantico dulcis Philomena, flore rident vario prata iam serena, salit cetus avium silve per amena, chorus promit virgin iam gaudia millena.
In harp-like tones sings the sweet nightingale, with many flowers the joyous meadows are laughing, a flock of birds rises up through the pleasant forests, the chorus of maidens already promises a thousand joys. Ah!
4 Omnia sol temperat (The sun warms everything) Omnia sol temperat purus et subtilis, novo mundo reserat faciem Aprilis, ad amorem properat animus herilis et iocundis imperat deus puerilis.
The sun warms everything, pure and gentle, once again it reveals to the world April’s face, the soul of man is urged towards love and joys are governed by the boy-god.
Rerum tanta novitas in solemni vere et veris auctoritas jubet nos gaudere;
All this rebirth in spring’s festivity and spring’s power bids us to rejoice;
vias prebet solitas, et in tuo vere fides est et probitas tuum retinere.
it shows us paths we know well, and in your springtime it is true and right to keep what is yours.
Ama me fideliter, fidem meam noto: de corde totaliter et ex mente tota sum presentialiter absens in remota, quisquis amat taliter, volvitur in rota.
Love me faithfully! See how I am faithful: with all my heart and with all my soul, I am with you even when I am far away. Whosoever loves this much turns on the wheel.
5 Ecce gratum (Chorus) (Behold, the pleasant spring) Ecce gratum et optatum Ver reducit gaudia, purpuratum floret pratum, Sol serenat omnia. Iamiam cedant tristia! Estas redit, nunc recedit Hyemis sevitia.
Behold, the pleasant and longed-for spring brings back joyfulness, violet flowers fill the meadows, the sun brightens everything, sadness is now at an end! Summer returns, now withdraw the rigours of winter. Ah!
Iam liquescit et decrescit grando, nix et cetera; bruma fugit, et iam sugit Ver Estatis ubera; illi mens est misera, qui nec vivit, nec lascivit sub Estatis dextera.
Now melts and disappears ice, snow and the rest, winter flees, and now spring sucks at summer’s breast: a wretched soul is he who does not live or lust under summer’s rule. Ah!
Gloriantur et letantur in melle dulcedinis, qui conantur, ut utantur premio Cupidinis: simus jussu Cypridis gloriantes et letantes pares esse Paridis.
They glory and rejoice in honeyed sweetness who strive to make use of Cupid’s prize; at Venus’ command let us glory and rejoice in being Paris’ equals. Ah!
UF DEM ANGER 6. Tanz (Dance) 7. Floret silva nobilis (The woods are burgeoning) (Chorus) Floret silva nobilis floribus et foliis.
The noble woods are burgeoning with flowers and leaves.
(Small Chorus) Ubi est antiquus meus amicus? Hinc equitavit, eia, quis me amabit?
Where is the lover I knew? Ah! He has ridden off ! Oh! Who will love me? Ah!
(Chorus) Floret silva undique, nah min gesellen ist mir we.
The woods are burgeoning all over, I am pining for my lover.
(Small Chorus) Gruonet der walt allenthalben, wa ist min geselle alse lange? Der ist geriten hinnen, o wi, wer sol mich minnen?
The woods are turning green all over, why is my lover away so long? Ah! He has ridden off, Oh woe, who will love me? Ah!
8. Chramer, gip die varwe mir (Shopkeeper, give me colour) (Semi-Chorus) Chramer, gip die varwe mir, die min wengel roete, damit ich die jungen man an ir dank der minnenliebe noete. Seht mich an, jungen man! lat mich iu gevallen!
Shopkeeper, give me colour to make my cheeks red, so that I can make the young men love me, against their will. Look at me, young men! Let me please you!
Minnet, tugentliche man, minnecliche frouwen! minne tuot iu hoch gemout unde lat iuch in hohen eren schouwen Seht mich an jungen man! lat mich iu gevallen!
Good men, love women worthy of love! Love ennobles your spirit and gives you honour. Look at me, young men! Let me please you!
Wol dir, werit, daz du bist also freudenriche! ich will dir sin undertan durch din liebe immer sicherliche. Seht mich an, jungen man! lat mich iu gevallen!
Hail, world, so rich in joys! I will be obedient to you because of the pleasures you afford. Look at me, young men! Let me please you!
9. Reie (Round dance) Swaz hie gat umbe Swaz hie gat umbe, daz sint alles megede, die wellent an man allen disen sumer gan!
Those who go round and round are all maidens, they want to do without a man all summer long. Ah! Sla!
Chume, chum, geselle min Chume, chum, geselle min, ih enbite harte din, ih enbite harte din, chume, chum, geselle min.
Come, come, my love, I long for you, I long for you, come, come, my love.
Suzer rosenvarwer munt, chum un mache mich gesunt chum un mache mich gesunt, suzer rosenvarwer munt
Sweet rose-red lips, come and make me better, come and make me better, sweet rose-red lips.
Swaz hie gat umbe Swaz hie gat umbe, daz sint alles megede, die wellent an man allen disen sumer gan!
Those who go round and round are all maidens, they want to do without a man all summer long. Ah! Sla!
10. Were diu werlt alle min (Were all the world mine) Were diu werlt alle min von deme mere unze an den Rin des wolt ih mih darben, daz diu chunegin von Engellant lege an minen armen.
Were all the world mine from the sea to the Rhine, I would starve myself of it so that the queen of England might lie in my arms.
IN TABERNA 11. Estuans interius (Burning Inside) Estuans interius ira vehementi in amaritudine loquor mee menti: factus de materia, cinis elementi similis sum folio, de quo ludunt venti.
Burning inside with violent anger, bitterly I speak to my heart: created from matter, of the ashes of the elements, I am like a leaf played with by the winds.
Cum sit enim proprium viro sapienti supra petram ponere sedem fundamenti, stultus ego comparor uvio labenti, sub eodem tramite nunquam permanenti.
If it is the way of the wise man to build foundations on stone, the I am a fool, like a owing stream, which in its course never changes.
Feror ego veluti sine nauta navis, ut per vias aeris vaga fertur avis; non me tenent vincula, non me tenet clavis, quero mihi similes et adiungor pravis.
I am carried along like a ship without a steersman, and in the paths of the air like a light, hovering bird; chains cannot hold me, keys cannot imprison me, I look for people like me and join the wretches.
Mihi cordis gravitas res videtur gravis; iocis est amabilis dulciorque favis; quicquid Venus imperat,
The heaviness of my heart seems like a burden to me; it is pleasant to joke and sweeter than honeycomb; whatever Venus commands
labor est suavis, que nunquam in cordibus habitat ignavis.
is a sweet duty, she never dwells in a lazy heart.
Via lata gradior more iuventutis inplicor et vitiis immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis.
I travel the broad path as is the way of youth, I give myself to vice, unmindful of virtue, I am eager for the pleasures of the flesh more than for salvation, my soul is dead, so I shall look after the flesh.
12. Cignus ustus cantat (The Roast Swan) Olim lacus colueram, olim pulcher extiteram, dum cignus ego fueram.
Once I lived on lakes, once I looked beautiful when I was a swan.
(Male chorus) Miser, miser! modo niger et ustus fortiter!
Misery me! Now black and roasting fiercely!
(Tenor) Girat, regirat garcifer; me rogus urit fortiter; propinat me nunc dapifer,
The servant is turning me on the spit; I am burning fiercely on the pyre: the steward now serves me up.
(Male Chorus) Miser, miser! modo niger et ustus fortiter!
Misery me! Now black and roasting fiercely!
(Tenor) Nunc in scutella iaceo, et volitare nequeo dentes frendentes video:
Now I lie on a plate, and cannot fly anymore, I see bared teeth:
(Male Chorus) Miser, miser! modo niger et ustus fortiter!
Misery me! Now black and roasting fiercely!
13. Ego sum abbas (I am the abbot) Ego sum abbas Cucaniensis et consilium meum est cum bibulis, et in secta Decii voluntas mea est, et qui mane me quesierit in taberna, post vesperam nudus egredietur, et sic denudatus veste clamabit:
I am the abbot of Cockaigne and my assembly is one of drinkers, and I wish to be in the order of Decius, and whoever searches me out at the tavern in the morning, after Vespers he will leave naked, and thus stripped of his clothes he will call out:
(Baritone and Male Chorus) Wafna, wafna! quid fecisti sors turpassi
Woe! Woe! what have you done, vilest Fate?
Nostre vite gaudia abstulisti omnia!
the joys of my life you have taken all away!
14. In taberna quando sumus (When we are in the tavern) In taberna quando sumus non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus. Quid agatur in taberna ubi nummus est pincerna, hoc est opus ut queratur, si quid loquar, audiatur.
When we are in the tavern, we do not think how we will go to dust, but we hurry to gamble, which always makes us sweat. What happens in the tavern, where money is host, you may well ask, and hear what I say.
Quidam ludunt, quidam bibunt, quidam indiscrete vivunt. Sed in ludo qui morantur, ex his quidam denudantur quidam ibi vestiuntur, quidam saccis induuntur. Ibi nullus timet mortem sed pro Baccho mittunt sortem:
Some gamble, some drink, some behave loosely. But of those who gamble, some are stripped bare, some win their clothes here, some are dressed in sacks. Here no-one fears death, but they throw the dice in the name of Bacchus.
Primo pro nummata vini, ex hac bibunt libertini; semel bibunt pro captivis, post hec bibunt ter pro vivis, quater pro Christianis cunctis quinquies pro ďŹ delibus defunctis, sexies pro sororibus vanis, septies pro militibus silvanis.
First of all it is to the wine-merchant the the libertines drink, one for the prisoners, three for the living, four for all Christians, ďŹ ve for the faithful dead, six for the loose sisters, seven for the footpads in the wood,
Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus undecies pro discordaniibus, duodecies pro penitentibus, tredecies pro iter agentibus. Tam pro papa quam pro rege bibunt omnes sine lege.
Eight for the errant brethren, nine for the dispersed monks, ten for the seamen, eleven for the squabblers, twelve for the penitent, thirteen for the wayfarers. To the Pope as to the king they all drink without restraint.
Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servis cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudis, bibit magnus.
The mistress drinks, the master drinks, the soldier drinks, the priest drinks, the man drinks, the woman drinks, the servant drinks with the maid, the swift man drinks, the lazy man drinks, the white man drinks, the black man drinks, the settled man drinks, the wanderer drinks, the stupid man drinks, the wise man drinks,
Bibit pauper et egrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit presul et decanus, bibit soror, bibit frater, bibit anus, bibit mater, bibit ista, bibit ille, bibunt centum, bibunt mille.
The poor man drinks, the sick man drinks, the exile drinks, and the stranger, the boy drinks, the old man drinks, the bishop drinks, and the deacon, the sister drinks, the brother drinks, the old lady drinks, the mother drinks, this man drinks, that man drinks, a hundred drink, a thousand drink.
Parum sexcente nummate durant, cum immoderate bibunt omnes sine meta. Quamvis bibant mente leta, sic nos rodunt omnes gentes et sic erimus egentes. Qui nos rodunt confundantur et cum iustis non scribantur.
Six hundred pennies would hardly suffice, if everyone drinks immoderately and immeasurably. However much they cheerfully drink we are the ones whom everyone scolds, and thus we are destitute. May those who slander us be cursed and may their names not be written in the book of the righteous.
III. COUR D’AMOURS 15. Amor volat undique (Cupid flies everywhere) Amor volat undique, captus est libidine. Iuvenes, iuvencule coniunguntur merito.
Cupid flies everywhere seized by desire. Young men and women are rightly coupled.
(Soprano) Siqua sine socio, caret omni gaudio; tenet noctis infima sub intimo cordis in custodia:
The girl without a lover misses out on all pleasures, she keeps the dark night hidden in the depth of her heart;
(Boys) fit res amarissima.
it is a most bitter fate.
16. Dies, nox et omnia (Day, night and everything) Dies, nox et omnia michi sunt contraria; virginum colloquia me fay planszer, oy suvenz suspirer, plu me fay temer.
Day, night and everything is against me, the chattering of maidens makes me weep, and often sigh, and, most of all, scares me.
O sodales, ludite, vos qui scitis dicite michi mesto parcite, grand ey dolur, attamen consulite per voster honur.
O friends, you are making fun of me, you do not know what you are saying, spare me, sorrowful as I am, great is my grief, advise me at least, by your honour.
Tua pulchra facies me fay planszer milies, pectus habet glacies. A remender statim vivus fierem per un baser.
Your beautiful face, makes me weep a thousand times, your heart is of ice. As a cure, I would be revived by a kiss.
17. Stetit puella (A girl stood) Stetit puella rufa tunica; si quis eam tetigit, tunica crepuit. Eia.
A girl stood in a red tunic; if anyone touched it, the tunic rustled. Eia!
Stetit puella tamquam rosula; facie splenduit, os eius ďŹ oruit. Eia.
A girl stood like a little rose: her face was radiant and her mouth in bloom. Eia!
18. Circa mea pectora (In my heart) (Baritone and Chorus) In my heart Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere.
In my heart there are many sighs for your beauty, which wound me sorely. Ah!
Manda liet, Manda liet min geselle chumet niet.
Mandaliet, Mandaliet, my lover does not come.
Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris.
Your eyes shine like the rays of the sun, like the ashing of lightening which brightens the darkness. Ah!
Manda liet Manda liet, min geselle chumet niet.
Mandaliet, Mandaliet, my lover does not come.
Vellet deus, vallent dii quod mente proposui: ut eius virginea reserassem vincula.
May God grant, may the gods grant what I have in mind: that I may loose the chains of her virginity. Ah!
Manda liet, Manda liet, min geselle chumet niet.
Mandaliet, Mandaliet, my lover does not come.
19. Si puer cum puellula (If a boy with a girl) Si puer cum puellula moraretur in cellula, felix coniunctio.
If a boy with a girl tarries in a little room, happy is their coupling.
Amore suscrescente pariter e medio avulso procul tedio, fit ludus ineffabilis membris, lacertis, labii
Love rises up, and between them prudery is driven away, an ineffable game begins in their limbs, arms and lips.
20.Veni, veni, venias (Come, come, O come) Veni, veni, venias
Come, come, O come
Veni, veni, venias, ne me mori facias, hyrca, hyrce, nazaza, trillirivos...
Come, come, O come, do not let me die, hycra, hycre, nazaza, trillirivos!
Pulchra tibi facies oculorum acies, capillorum series, o quam clara species!
Beautiful is your face, the gleam of your eye, your braided hair, what a glorious creature!
Rosa rubicundior, lilio candidior omnibus formosior, semper in te glorior!
redder than the rose, whiter than the lily, lovelier than all others, I shall always glory in you!
21. In truitina (In the balance) In truitina mentis dubia fluctuant contraria lascivus amor et pudicitia. Sed eligo quod video, collum iugo prebeo: ad iugum tamen suave transeo.
In the wavering balance of my feelings set against each other lascivious love and modesty. But I choose what I see, and submit my neck to the yoke; I yield to the sweet yoke.
22. Tempus es iocundum (This is the joyful time) Tempus es iocundum, o virgines, modo congaudete vos iuvenes.
This is the joyful time, O maidens, rejoice with them, young men!
(Baritone) Oh, oh, oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo.
Oh! Oh! Oh! I am bursting out all over! I am burning all over with first love! New, new love is what I am dying of !
(Women) Mea me confortat promissio, mea me deportat
I am heartened by my promise, I am downcast by my refusal
(Soprano and boys) Oh, oh, oh totus floreo iam amore virginali totus ardeo, novus, novus amor est, quo pereo. (Men) Tempore brumali vir patiens, animo vernali lasciviens. (Baritone) Oh, oh, oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. (Women) Mea mecum ludit virginitas, mea me detrudit simplicitas. (Soprano and Boys) Oh, oh, oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. (Chorus) Veni, domicella, cum gaudio, veni, veni, pulchra, iam pereo. (Baritone, Boys and Chorus) Oh, oh, oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo.
Oh! Oh! Oh! I am bursting out all over! I am burning all over with first love! New, new love is what I am dying of !
In the winter man is patient, the breath of spring makes him lust.
Oh! Oh! Oh! I am bursting out all over! I am burning all over with first love! New, new love is what I am dying of !
My virginity makes me frisky, my simplicity holds me back.
Oh! Oh! Oh! I am bursting out all over! I am burning all over with first love! New, new love is what I am dying of !
Come, my mistress, with joy, come, come, my pretty, I am dying!
Oh! Oh! Oh! I am bursting out all over! I am burning all over with first love! New, new love is what I am dying of !
23. Dulcissime (Sweetest one) Dulcissime, totam tibi subdo me!
Sweetest one! Ah! I give myself to you totally!
Blanziflor Et Helena 24. Ave formosissima (Hail, most beautiful one) Ave formosissima, gemma pretiosa, ave decus virginum, virgo gloriosa, ave mundi luminar, ave mundi rosa, Blanziflor et Helena, Venus generosa!
Hail, most beautiful one, precious jewel, Hail, pride among virgins, glorious virgin, Hail. light of the world, Hail, rose of the world, Blanchefleur and Helen, noble Venus!
Fortuna Imperatrix Mundi 25. O Fortuna (O Fortune) O Fortuna, velut luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem.
O Fortune, like the moon you are changeable, ever waxing and waning; hateful life first oppresses and then soothes as fancy takes it; poverty and power it melts them like ice.
Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.
Fate - monstrous and empty, you whirling wheel, you are malevolent, well-being is in vain and always fades to nothing, shadowed and veiled you plague me too; now through the game I bring my bare back to your villainy.
Sors salutis et virtutis michi nunc contraria, est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!
Fate is against me in health and virtue, driven on and weighted down, always enslaved. So at this hour without delay pluck the vibrating strings; since Fate strikes down the strong man, everybody weep with me!
about the artists
Toshiyuki Shimada, Music Director TOSHIYUKI SHIMADA is Music Director and Conductor of the Eastern Connecticut Symphony Orchestra in New London; Music Director and Conductor of the Orchestra of the Southern Finger Lakes; and has been Music Director of the Yale Symphony Orchestra of Yale University since 2005. He is also Music Director Laureate of the Portland Symphony Orchestra in Portland, Maine, for which he served as Music Director from 1986 to 2006. Prior to his Portland engagement he was Associate Conductor of the Houston Symphony Orchestra for six years. This season Maestro Shimada will continue to be active with his three orchestras, as well as his teaching duties at Yale University. He will also be guest conducting the Borusan Istanbul Philharmonic Photo by Harold Shapiro Orchestra in Istanbul, Turkey; and the Bilkent Symphony Orchestra in Ankara, Turkey. Maestro Shimada has been a frequent guest conductor with a number of international orchestras, including the Bilkent Symphony Orchestra in Ankara, the Izmir State Symphony Orchestra in Izmir, the Lithuanian State Symphony Orchestra in Vilnius; La Orquesta Filharmónica de Jalisco, Guadalajara, Mexico; the Moravian Philharmonic Orchestra; the Karlovy Vary (Karlsbad) Symphony Orchestra; the Prague Chamber Orchestra; the Slovak Philharmonic; NÖ Tonkünstler Orchestra in Vienna; L’Orchestre National de Lille in France; and the Royal Scottish National Orchestra at the Edinburgh Festival. He has also guest conducted the Houston Symphony, the Honolulu Symphony Orchestra, the Chautauqua Symphony Orchestra, the San José Symphony Orchestra, the Boston Pops Orchestra, the Pacific Symphony Orchestra, the Edmonton Symphony Orchestra, and many other US and Canadian orchestras. He has collaborated with distinguished artists such as Itzhak Perlman, Andre Watts, Peter Serkin, Emanuel Ax, Yefim Bronfman, Idil Biret,
Peter Frankl, Janos Starker, Joshua Bell, Hilary Hahn, Nadjia SalernoSonnenberg, Cho-Liang Lin, Sir James Galway, Evelyn Glennie, and Barry Tuckwell. In the Pops field he has performed with Doc Severinsen, Willie Nelson, Johnny Cash, Marvin Hamlisch, and Toni Tennille. Maestro Shimada has had the good fortune to study with many distinguished conductors of the past and the present, including Leonard Bernstein, Herbert von Karajan, Herbert Blomstedt, Hans Swarovsky, and Michael Tilson Thomas. He was a finalist in the 1979 Herbert von Karajan conducting competition in Berlin, and a Fellow Conductor in the Los Angeles Philharmonic Institute in 1983. In addition, he was named Ariel Musician of the Year in 2003 by Ariel Records, and received the ASCAP award in 1989. He graduated from California State University, Northridge, studying with David Whitwell and Lawrence Christianson, and attended the University of Music and Dramatic Arts in Vienna, Austria. He records with the Vienna Modern Masters label, and currently has fifteen recordings with the label. He also records for Capstone Records, Querstand-VKJK (Germany), and Albany Records. His recording of Gregory Hutter’s Skyscrapers and his Hindemith CD project with pianist Idil Biret have been released through the Naxos label. His Music from the Vatican with the Prague Chamber Orchestra and Chorus is available through iTunes and Rhapsody. Maestro Shimada holds a teaching position at Yale University, as Associate Professor of Conducting with Yale School of Music and Department of Music. He has a strong commitment to music education, and has been a faculty member of Rice University, Houston, Texas; the University of Southern Maine; and served as Artist Faculty at the Houston Institute of Aesthetic Study. He resides in Connecticut with his wife, concert pianist Eva Virsik.
Jeffrey Douma, Music Director, Yale Glee Club Since the fall of 2003, Jeffrey Douma has served as Director of the Yale Glee Club, hailed under his direction 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, as founding Director of the Yale Choral Artists, and as Artistic Director of the Yale International Choral
Festival. Douma has appeared as guest conductor with choruses and orchestras on six continents, including the Royal Melbourne Philharmonic Orchestra, Singapore’s Metropolitan Festival Orchestra, Lithuanian Chamber Orchestra, Daejeon Philharmonic Choir, Buenos Aires Philharmonic Orchestra, Moscow Chamber Orchestra, Tbilisi Symphony Orchestra, Orquesta Solistas de la Habana, Istanbul’s Tekfen Philharmonic, Norway’s Edvard Grieg Kor, the Symphony Choir of Johannesburg, the New Haven Symphony Orchestra, and the Central Conservatory’s EOS Orchestra in Beijing, as well as the Yale Philharmonia and Yale Symphony Orchestras. He also currently serves as Musical Director of the Yale Alumni Chorus, which he has lead on nine international tours. He also served as Choirmaster at the Cathedral of St. Joseph in Hartford, CT, where performances ranged from Bach St. John Passion with baroque orchestra to Arvo Pärt Te Deum. Choirs under his direction have performed in Leipzig’s Neue Gewandhaus, Dvorak Hall in Prague, St. Peter’s Basilica in Rome, Notre Dame de Paris, Singapore’s Esplanade, Argentina’s Teatro Colon, the Oriental Arts Center in Shanghai, Avery Fisher Hall and Carnegie Hall, and he has prepared choruses for performances under such eminent conductors as William Christie, Valery Gergiev, Sir Neville Marriner, Sir David Willcocks, Dale Warland, Krzysztof Penderecki, Nicholas McGegan, and Helmuth Rilling. Douma has presented at state, divisional, and national conventions of the ACDA and NCCO, and the Yale Glee Club has appeared as a featured ensemble at the 2009 NCCO National Conference and the 2012 ACDA Eastern Division Convention. Active with musicians of all ages, Douma served for four years on the conducting faculty at the Interlochen Center for the Arts, America’s premier training ground for high school age musicians, conducting the Concert Choir, Women’s Choir, and Festival Choir. He frequently serves as clinician for festivals and honor choirs. Recent engagements include conducting masterclasses at the China International Chorus Festival, the University of Michigan School of Music, the Jacobs School of Music at Indiana University, the Hochschule der Künste in Zurich, and the Berlin Radio Choir’s International Masterclass. In January and Febru-
ary 2017 he will be in residence at Luther College as Visiting Conductor of the internationally renowned Nordic Choir, and in April 2017 will be in residence at the Central Conservatory of Music, Beijing. An advocate of new music, Douma established the Yale Glee Club Emerging Composers Competition and Fenno Heath Award, and has premiered new works by such composers as Jennifer Higdon, Dominick Argento, Bright Sheng, Ned Rorem, Jan Sandström, Ted Hearne, Hannah Lash, Theodore Morrison, Rene Clausen, Lewis Spratlan, and James Macmillan. He also serves as editor of the Yale Glee Club New Classics Choral Series, published by Boosey & Hawkes. His original compositions are published by G. Schirmer and Boosey & Hawkes. A tenor, Douma has appeared as an ensemble member and soloist with many of the nation’s leading professional choirs, including the Dale Warland Singers, Bella Voce of Chicago, the Oregon Bach Festival Chorus, and the Robert Shaw Festival Singers. In the spring of 2003, Douma was one of only two North American conductors invited to compete for the first Eric Ericson Award, the premier international competition for choral conductors. Prior to his appointment at Yale he served as Director of Choral Activities at Carroll College, and also taught on the conducting faculties of Smith College and St. Cloud State University. 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. He lives in Hamden, CT, with his wife, pianist and conductor Erika Schroth, and their two children, Sofia and Will.
Yale Glee Club From its earliest days as a group of thirteen men from the Class of 1863 to its current incarnation as an eighty-voice chorus of women and men, the Yale Glee Club, Yale’s principal undergraduate mixed chorus and oldest musical organization, has represented the best in collegiate choral music. During its recent 150th anniversary season, the Glee Club’s performances received rave reviews in the national press, from The New York Times (“One of the best collegiate singing ensembles, and one of the most adventurous…an exciting, beautifully sung concert at Carnegie Hall”) to The Washington Post (“Under the direction of Jeffrey Douma, the sopranos
- indeed, all the voices - sang as one voice, with flawless intonation…their treacherous semitones and contrapuntal subtleties became otherworldly, transcendent even”). The students who sing in the Yale Glee Club might be majors in music or engineering, English or political science, philosophy or mathematics. They are drawn together by a love of singing and a common understanding that raising one’s voice with others to create something beautiful is one of the noblest human pursuits. The Glee Club’s repertoire embraces a broad spectrum of choral music from the 16th century to the present, including Renaissance motets, contemporary choral works, world music, spirituals and folk songs, and traditional Yale songs. Committed to the creation of new music, the Glee Club presents frequent premieres of newly commissioned works and sponsors two annual competitions for young composers. They have recently been featured on NPR’s Weekend Edition, WQXR’s “The Choral Mix with Kent Tritle,” and BBC Radio 3’s “The Choir.” The great choral masterworks are also an important part of the Glee Club’s repertoire; recent performances include Verdi Requiem, Mozart Requiem, Stravinsky Symphony of Psalms, Orff Carmina Burana, Vaughan Williams Dona Nobis Pacem, Bernstein Chichester Psalms, Britten War Requiem and Cantata Misericordium, Rossini Stabat Mater, Fauré Requiem, Haydn Missa in Tempore Belli, Missa in angustiis, and Creation, Brahms Ein deutsches Requiem and Nänie, Mendelssohn Elijah, Penderecki Credo, Aaron Jay Kernis Symphony of Meditations, and choral symphonies of Mahler and Beethoven. One of the most traveled choruses in the world, the Yale Glee Club has performed in every major city in the United States and embarked on its first overseas tour in 1928. It has since appeared before enthusiastic audiences throughout North and South America, Europe, Asia, Australia, and Africa. Historically a leading advocate of international choral exchange, the Glee Club has hosted countless guest ensembles at Yale and at New York’s Lincoln Center in conjunction with its own international festivals. In 2012, the Glee Club carried this tradition forward with the first Yale International Choral Festival in New Haven, and in June of 2015 presented the second incarnation of the festival, hosting choirs from Singapore, Sweden, Cuba, and Israel, along with the Yale Alumni Chorus and Yale Choral Artists. The Glee Club has appeared under the baton of many distinguished
guest conductors from Leopold Stokowski to Robert Shaw. Recent collaborations have included performances under the direction of Matthew Halls, Sir David Willcocks, Krzysztof Penderecki, Sir Neville Marriner, Dale Warland, Nicholas McGegan, Stefan Parkman, Simon Carrington, Erwin Ortner, David Hill, and Helmuth Rilling.
Marguerite Brooks, Conductor, Yale Camerata Marguerite L. Brooks holds degrees from Mount Holyoke College and Temple University. She has served on the faculties of Smith and Amherst Colleges, and was director of choral music at the State University of New York at Stony Brook. Brooks joined the Yale faculty in 1985 as chair of the choral conducting program at the School of Music and director of choral music at the Institute of Sacred Music. Active as a guest conductor, teacher, and clinician, she has been a juror for the Eric Ericson conducting competition in Sweden; she has conducted, given master classes, taught, and adjudicated in North and South America, Europe, and Asia. Brooks was cited by the Yale School of Music for cultural leadership in music, and has received alumni awards for distinguished work in her ďŹ eld from both Mount Holyoke College and Temple University. The Connecticut chapter of the ACDA honored her with its 2016 Lifetime Achievement Award. She is most proud to have been honored recently as a Woman in History by the Barnard School. Brooks is the director of music at Church of the Redeemer in New Haven.
Yale Camerata Founded in 1985 by its conductor, Marguerite L. Brooks, the Yale Camerata is a vocal ensemble sponsored by the Yale Institute of Sacred Music. The group’s singers are Yale graduate and undergraduate students, faculty, staff, and experienced singers from the New Haven community. The Camerata performs a widely varied spectrum of choral
literature, with a specific commitment to recently composed choral music. It has collaborated with the Yale Glee Club, Yale Philharmonia, Yale Symphony, Yale Band, Yale Chamber Players, Yale Collegium Musicum, the New Haven Chorale, and the orchestras of Hartford, New Haven, and Norwalk. The ensemble has also performed for Yale Music Spectrum and New Music New Haven. The chamber chorus of the Yale Camerata has performed at the Yale Center for British Art and at Lincoln Center’s Alice Tully Hall, and has traveled to Germany to perform the Berlioz Requiem with choruses from Germany, Japan, the Netherlands, Israel, Great Britain, and the Ukraine. The chamber chorus has also done a residency at Saint Paul’s Cathedral in London, England. The Camerata has been heard on Connecticut Public Radio and on national broadcasts of National Public Radio’s program Performance Today. Guest conductors have included Simon Carrington, Matthew Halls, David Hill, Sir Gilbert Levine, Sir Neville Marriner, Nicholas McGegan, Erwin Ortner, Stephan Parkman, Krzysztof Penderecki, Helmuth Rilling, Jaap Schröder, Robert Shaw, Dale Warland, and Sir David Willcocks,. With the Institute of Sacred Music, the Camerata has commissioned and premiered works of Martin Bresnick, Daniel Kellogg, Aaron J. Kernis, Robert Kyr, Tawnie Olson, Stephen Paulus, Daniel Pinkham, and Ellen Taaffe Zwilich, among others. The chorus has sung first performances of works by many composers, including Kathryn Alexander, Tawnie Olson, Robert Sirota, and Francine Trester, and regularly programs student works.
Rebecca Rosenbaum, Music Director, United Girls’ Choir Rebecca Rosenbaum, Music Director, received her DMA and MM degrees in choral conducting from Yale University, and her BA in music from Vassar College. In addition to her experience conducting various ensembles of the Elm City Girls’ Choir and United Girls’ Choir, Rebecca served as the Director of Choral Activities at Vassar College, where
she taught music classes and conducted the Vassar Women’s Choir for three years. She has recently taught at Yale University and Bay Path College, and has also served as a choral advisor to the music department at the Spence School in New York, NY. Rebecca has appeared as guest conductor and clinician for a number of regional choral festivals and music programs throughout the United States.
United Girls’ Choir United Girls’ Choir is Connecticut’s leading provider of choral ensembles for girls. Founded in 1993, the organization currently serves over 550 students from 40 towns and 150 schools throughout the state. UGC has chapters based in 11 different towns, with additional chapters under development in other communities. UGC is made up of 26 ensembles of various levels, from beginner to advanced, most of which rehearse once per week and perform in several local concerts during the school year. The program’s curriculum focuses on the cultivation of leadership skills, musicianship, confidence, and musical literacy, while emphasizing the importance of sisterhood, teamwork, commitment, integrity, and respect. The mission of UGC is to enable its choristers to experience the joy of realizing their full potential, both as musicians and as human beings, while working together in a cooperative, professional environment. UGC Leadership Academy is a highly selective program for exceptionally talented choristers of all ages from all around CT. In addition to singing with the Leadership Academy, each chorister in this division also serves as a Peer Leader, mentoring and providing leadership for less experienced students. Choristers in this division are frequently invited to participate in special projects including weekend tours and performances of choral-orchestral masterworks, and are occasionally called upon to perform as guests with the Elm City Girls’ Choir, the flagship ensemble of the United Girls’ Choir program. Choir membership is open by audition to girls, ages 6-18.
For information about auditions or concert bookings, please call (203) 787-1244 or e-mail info@unitedchoir.com
Sarah Yanovitch Recognized by The Boston Globe as “a name to keep an eye on”, Soprano Sarah Yanovitch earned her Master’s in Early Music Voice from the Yale Institute of Sacred Music in 2015. She is currently a Lorraine Hunt Lieberson Fellow with Emmanuel Music in Boston, recently singing the role of Melia in their production of Mozart’s Apollo et Hyacinthus and joining them regularly as a soloist in their Bach Cantata Series. In October Sarah made her solo debut with Boston Cecilia, appearing in Handel’s Dixit Dominus and Mozart’s Davide Penitente with Director Nicholas White, and she was a soloist with H+H on their recent Bach Christmas program in BWVs 10 and 61, with conductor Ian Watson. Solo highlights this spring include Bach’s Mass in B Minor with the Concord Chorus and conductor Kevin Leong, Beethoven’s Symphony No. 9 with maestro Toshi Shimada and the Eastern Connecticut Symphony, Bach Cantata 51 (Jauchzet Gott in allen Landen) with Emmanuel Music, and Carmina Burana at MIT in May. During her time at Yale Sarah worked as a soloist with esteemed conductors David Hill, Masaaki Suzuki, and Simon Carrington, performing throughout the major cities of the United States, Italy, France, the Baltics, and the UK. Sarah freelances out of Boston but is originally from Griswold, CT.
Lucas van Lierop Hailed as “a gifted tenor” (China Daily), Lucas van Lierop is a versatile singer, performing in operas, oratorios, and song recitals. He has performed with many premiere ensembles and artistic organizations, including the New Haven Symphony Orchestra, the Vancouver Symphony Orchestra, The Vancouver Opera, The Hartford Chorale,
Opera McGill at the Schulich School, City Opera Vancouver, MusicFest Vancouver, the Vancouver International Song Institute, and SongFest. Recent performances include Vašek in The Bartered Bride and Grimoaldo in Rodelinda, both as part of Yale Opera’s scenes concerts. This Spring he will sing the title role in Milhaud’s Le Pauvre Matelot. Last year he appeared in the role of Snout in Benjamin Britten’s Midsummer Night’s Dream, and as Juan in Massenet’s Don Quichotte, both also with Yale Opera. In December, Lucas performed Messiah with the New Haven Symphony Orchestra. Solo concert performances have included Die schöne Müllerin at SongFest’s Hidden Valley Winter Festival, “Mu Renzhi” from the Chinese Opera White-Haired Girl at the Chinese National Centre for the Performing Arts, and “Moon” from an excerpt of the Chinese Opera Poet Li Bai, at Lincoln Centre. Born in Hilversum, the Netherlands, Lucas completed his Masters in Vocal Performance at McGill University, in Canada, studying under the guidance of Sanford Sylvan and Michael McMahon. He recently completed his Masters of Musical Arts at Yale University, where he studied under the guidance of professors Richard Cross and Doris Yarick Cross. Lucas’ studies at Yale University were graciously sponsored by the Stephen and Denise Adams Scholarship Fund. He can next be seen performing Die schöne Müllerin at Yale’s Morse Recital Hall on March 5th at 7:30pm.
Bryan Murray Bryan Murray, baritone, is currently pursuing a Master of Musical Arts degree at Yale University. Mr. Murray has just received an Artist Diploma from the Purchase College Conservatory of Music where he also received his Master’s in vocal performance. While at Purchase, Mr. Murray appeared as John Proctor in Robert Ward’s The
Crucible (with a recording done by Albany Records), Count Almaviva in Mozart’s Le Nozze di Figaro, Demetrius in Britten’s A Midsummer Night’s Dream, and the Father in Humperdinck’s Hänsel und Gretel. Mr. Murray has a Bachelor’s in Music from Stony Brook University where he also appeared as the Father, as well as the Consul in Pier Francesco Cavalli’s Eliogabalo, and ensemble work in Eliogabalo, Mozart’s Entführung aus dem Serail, and Sheila Silver’s The Wooden Sword.
notes on the program
Carmina Burana Carl Orff Following the premiere of Carmina Burana in 1937 in Frankfurt, Germany, the forty-one year old Carl Orff remarked that, “Everything I have written to date…can be destroyed. With Carmina Burana, my collected works begin.” The cantata is indeed monumental in scale and theme. The text for Carmina Burana comes from a collection of medieval poems from the 11th13th century, written in a variety of languages that include Latin, Middle High German, Old French. Composed by secular monks called Goliards, the subjects of the poems were often satirical, anti-clerical, and lewd. Orff ’s original conception for Carmina also included dancers, complex staging and visual design. Though rarely performed in its full production, Orff ’s music has entered both the canon of orchestral repertoire and found a place in popular culture. Carmina Burana demands an extraordinarily large ensemble of a symphony orchestra, complete with two pianos, celesta, and a whole collection of percussion instruments; two choirs, a boy’s choir, and a number of vocal soloists. Despite the large force required to perform the piece, Carmina is surprisingly accessible in its musical content. Orff rarely strays away from conventional tonality, and some of the movements have rather catchy melodies. Instead, Orff innovates in ways of rhythm, timbre, and sheer scale. He employs irregular meters and truncated measures to rally a feeling of dance that maintains energy without recourse to typical 4/4 or 3/4 meter. His clever use of instrumentation invokes scenes of green fields, carnivals, and taverns; his harmonic simplicity and straightforward orchestration also conjure a rustic feel, a kind of Stravinsky-esque primitive energy, and the blossoming of young love. However, when the occasion demands, Orff does not stray away from the grandiose and the dramatic. Carmina’s opening movement, “O Fortuna,” has become almost universally recognizable for its extensive—and perhaps overused—appropriation in popular culture, including numerous movies
and T.V. shows. Few pieces of music are so viscerally striking and immediately powerful; its text is similarly stirring—and equally epic and melodramatic. The piece is also rife with humor. The movement, “Olim Lacus Calueram,” notorious for its high tenor part, is almost completely sung in falsetto, accompanied by bassoon and shivering strings. The song, sung from the point of view of a roasted swan, laments the good old days when he swam on beautiful lakes, and curses his fate of being burned atop a fire and served upon a plate. The lyrics, which border on the outrageous, juxtaposed with the macabre orchestral accompaniment, make for but one instance of Orff ’s humor in Carmina Burana. Likewise, “In Taberna Quando Sumus,” or “When We are in the Tavern,” begins with a chant-like line in the tenor and basses over a syncopated rhythm, creating an ominous texture. However, the music quickly transforms into a jolly, spritely tune, with the choir exclaiming how everyone in town is drinking, young and old, man and woman, the stupid and the wise. Carmina Burana captures the serious and the light, the tragic, comic, and everything in between. Its general structure of can be split into six parts. The first contains the opening two movements, which cover the woes of Fate. The second part celebrates the coming of spring; the third, a series of dances in the green. The fourth part is all contained within the tavern, while the fifth—the longest—is all about love and lust. Carmina finally ends with a reprise of “O Fortuna.” The previous movement, “Ave Formosissima,” comes to a climax in praise of Venus with soaring voices and sound, only to crash down into the gongs and drumming of terrible fortune. Fate has come full circle. The energy builds slowly once again, until the chorus in the final line, cries, “everyone weep with me!” as the orchestra erupts with exuberance and triumphant fanfare. Linus Lu ’19
Yale Symphony Orchestra Toshiyuki Shimada, Music Director Brian Robinson, Managing Director Elias Brown, Assistant Conductor Ian Niederhoffer, Assistant Conductor
President Cindy Xue Librarians Emily Switzer, Head Librarian Shiori Tomatsu Dennis Zhao Publicity Noah Stevens-Stein Jacob Sweet Stephen Tang Social Jessie Li Arvind Venkataraman Alumni Annabel Chyung Amanda Vosburgh Stage Crew Jacob Sweet, Manager Henry Shapard Cindy Xue Caroline Zhao Poster Design William Kortum
First Violin Cameron Daly ’18, Co-Concertmaster Emily Switzer ’17, Co-Concertmaster Annabel Chyung ’19, Asst. Principal Ana Barrett ’18 Albert Cao ’18 Julia Carabatsos ’20 Jennifer Cha ’18 Miriam Gerber ’19 Yumi Koga ’17 Jessie Li ’17 James Lin ’19 Kay Nakazawa ’17 Serena Shapard ’20 Stephen Tang ’18 Andrew Zhang ’20
Second Violin Evan Pasternak ’19, Principal Alex Wang ’19, Asst. Principal Vanessa Ague ’17 Madeleine Bauer ’17 Hannah Lawrence ’19 Taishi Nojima ’18 Eileen Norris ’20 Jasmine Stone ’20 Alice Tao ’20 Margo Williams ’20 Cindy Xue ’17 Julia Zhu ’19 Viola Abigail Elder ’17, Co-Principal Sarah Switzer ’19, Co-Principal Sonali Durham ’20 George Gemelas ’18 Wei Li ’19 Linus Lu ’19 Lauren McNeel ’18 Ian Niederhoffer ’19 Timothy White ’20 Grant Young ’20
Violoncello Harry Doernberg ’19, Co-Principal Amanda Vosburgh ’19, Co-Principal Sofia Checa ’20 Benjamin Fleischacker ’17 Kimberly Lai ’18 Paul Lee ’18 Megan Lim ’19 Gabriel Rainey ’20 Henry Shapard ’20 Robert Wharton ’17 Contrabass Connor Reed ’19, Principal Aedan Lombardo ’20 Spencer Parish ’20 Noah Stevens-Stein ’18 Arvind Venkataraman ’19 Flute /Piccolo Michelle Peters ’17 Co-Principal Shiori Tomatsu ’18, Co-Principal Monica Barbosa ’19 Beatrice Brown ’19 Oboe Collum Freedman ’17, Principal Laura Michael ’20 English Horn Jake Houston ’19 Clarinet Jacob Sweet ’18, Principal Allen Chang ’19 Dennis Zhao ’19
Bassoon Daniel Henick ’17, Principal Dennis Brookner ’19 Lily Sands ’18 French Horn Leah Meyer ’18, Principal Morgan Jackson ’18 Mary Martin ’20 Nishwant Swami ’17 Trumpet Elias Brown ’17, Principal Noah Montgomery ’19 Ryan Petersberg GRD ’21 Trombone Grant Futch MUS ’18 Hillary Simms MUS ’18 Bass Trombone Zachary Haas MUS ’18 Tuba Josef Lawrence ’20 Piano and Celesta Rishi Mirchandani ’19 Thomas Shen ’20 Timpani and Percussion Adrian Lin ’18, Principal Charles Comiter ’20 Sean Guo ’19 YoungKyoung Lee MUS ’18 Ephraim Sutherland ’20 Georgi Videnov MUS ’17
Yale Glee Club Jeffrey Douma, Music Director T. Sean Maher, Business Manager Nathan Reiff, MUS ’17, Assistant Conductor Serene Li and Sam Hollister, Student Conductors President Emma Hathaway Manager Jane Strauch Alumni Coordinator Danny Keller Stage Manager Tristan Brockwell Archivists Nicolette Mantica Evaline Xie Community Engagement Jared Michaud Mari Kawakatsu International Tour Managers Claire Carroll Simon Horn Mini-Tour Managers Max Bryski Courtney Sanders Publicity Chair Sara Speller Social Chairs Isabella Pazaryna Jackson Leipzig Wardrobe Managers Jonah Pearl Erika Lynn-Green
SOPRANO Magda Andrews-Hoke ‘19 Emily Boring ’18 Emma Hathaway ‘17 Grace Castillo ‘19 Kristine Chung ‘19 Sedina Dzodzomenyo ‘18 Margaret Grabar Sage ‘19 Sierra Janik ‘17 Sofia Laguarda ‘20 Alison Levosky ‘17 Erika Lynn-Green ’18 Cameron Hill ‘20 Alexandra O’Brien ‘20 Kiri Van Lengen-Welty ’17 Rita Prangchikul ‘20 Isabella Pazaryna ‘19 Rita Rangchaikul ‘17 Courtney Sanders ‘17 Eleanor Slota ’17 Stephanie Smelyansky ‘19 Abby Sneider ‘17 Jane Strauch ‘17 Alexa Vaghenas ‘20 Charlotte Winkler ‘20 Julie Zhu ‘17
ALTO Zoya Afridi ‘17 Kayla Bartsch ‘20 Madeline Bogert ‘19 Ece Bozkurt ‘20 Claire Carroll ‘18 Abigail Cipparone ‘19 Irene Connelly ‘17 Maryanne Cosgrove ‘20 Marianna Gailus ‘17 Mari Kawakatsu ‘17 Mahima Kumara ‘20 Madeline Lemberg ‘18 Serene Li ‘17 Audrey Luo ‘17 Nicolette Mantica ’19 Meg Mathile ‘17 Anna McNeil ‘20 Mary Petzke ‘18 Sara Speller ‘19 Claire Williamson ‘17 Evaline Xie ‘19 TENOR Andrew Bean ‘17 Zachary Blickensderfer ‘17 Xinyuan Chen ‘17 Luke Ciancarrelli ‘19 Nolan Crawford ‘19 Cooper D’Agostino ‘17 Nicholas Dell Isola ‘18 Myles Garbarini ‘17 Tyler Harkness ’18 Jackson Leipzig ‘19 Ethan Lester ‘20 Timothy Lind ‘18
Jack McAuliffe ‘20 Jacob Miller ‘19 Shaun Radgowski ‘20 Nathan Reiff SOM ‘17 Ryan Reza ‘17 Charlie Romano ‘19 Calvin Schwarztberg ‘20 BASS Nicholas Agar-Johnson ‘17 Elias Bartholomew Nick Biniaz-Harris ‘18 Tristan Brockwell ‘18 Mitchell Bryski ‘17 Aidan Brooks ‘19 Jake Gluckman ‘20 Anthony Hejduk ‘20 Sam Hollister ‘18 Simon Horn ‘18 Johanan Knight ‘19 Max Levatich ‘20 Will Magliocco ‘18 John McKissack ‘20 Jared Michaud ‘19 James Nydam ‘19 Devin O’Banion ‘20 Daniel Packard ‘18 Jonah Pearl ‘18 Paul Styslinger ‘17 Greg Suralik ‘17 Christopher Valdes ‘17
Yale Camerata Marguerite L. Brooks, Conductor Nathan Reiff, Principal Assistant Conductor Douglas Dickson, Accompanist Laurie Ongley, Manager Matthew Cramer and David McNeil, Jr., Student Managers
Laura Airas* Helen Barnstable* Katherine Blossom* Jerry Boryca Clifton Boyd* Amy Bridge* Faith Brill Olivia Campbell Mark Caprio Hannah Carr*† Rachel Chung* Karen Clute Matthew Cramer*† Natalie Dietterich* Dayna Lee Drake Sophie Duvernoy* Emily Eisenlohr Rachel Glodo Joshua Goodbaum Daniel Gurvich* Bonnie Havery Robert Havery Lindsay Hermany Joyce Hsiang* Holly Huff Katherine Jones* Sarah Kahn* Joseph Kemper*† Rehanna Kheshgi* Clara Kim* Donald Kohn Ronald Krauss Ala Krivov*
Michel Ledizet* Simon Lee*† Tony Leonard Octavia McAloon*† Jerilyn McLean* David McNeil, Jr.*† Catherine Miller Gregory Muccilli* Qiyang Niu Kate Nyhan Tawnie Olson* Laurie Ongley* Henry Park* Apolline Pernet* Natalie Plaza Laura Rais Johnson Ramsaur Julia Blue Raspe* Sarah Reed* Daniel Reid* Nathan Reiff *† Chandler Riker* Rebecca Rutzou Lauren Schiffer Misha Semenov James Souder Catherine Ta Stamey Martha Kirk Swartz Jacob Swindells*† Amelia Tatarian Geriana Van Atta* Susan Van Cott Molly Van Dams*
Michael Warrener Esther Woo Wesley Wright* Jason Zentz* Lawrence Zukof* * Chamber chorus † Assistant conductor
United Girls’ Choir Rebecca Rosenbaum, Music Director Tom Brand, Assistant Director
Princess Aggrey Emily C. Alletzhauser Nicole Ankrah Emma Blair Haley Jane Bracken Joseline Buggie Sarah M. Burke Jasmine Byrne Chloe Chauvot de Beauchene Sophia Cheng Suzette Chin Ra’Miah Davis Assata Dawson Destiny Dawson Raquel Farray Alexis Ferreira Emma Leigh Freel Rachel Amirah Genn Hannah Elisabeth Geyer Kruttika Gopal Lily Goren Virginia Taylor Grabovsky Melanie Rose Grasso Amara Greenshpun Courtney Greifenberger Julia Marion Groves Maggie Guarino-Trier Cora Marieke Hagens Briana Robinson Hambor Natalie Rose Houlton Katherine Huang Kaylee Kamryn Jamieson SungMi Anna Johnson* Aurelia M. Keberle
Annalise Kennedy Eva Knaggs Samantha Lamontagne Sonya Leilani Lessing Erin Low Talia Fay Mayerson Emily Elizabeth Mazzucco RoriAnne McCarthy Jude Victoria Meares-Garcia Mary Louise Montini Linda Katherine Nelson Angie Nucolo Christine Victoria Padberg Dorothy Parniawski Sofie M. Passante Alicia Mary Pekar Bethany Qian Joy Qiang Gillian Nicole Regan Audrey Rivetta Emma Lydia Ross Dominique Zoe Service Sofia Shubin Gabrielle Siena Alexandra Sims Willow Lee Smith Anjali Subramanian Moriah Thomas Serena Yikyiu Wong Alev Sibel Yorulmaz Alayah Zanders * President
About the Orchestra Founded in 1965 by a group of students who saw the growing potential for a large ensemble to thrive on campus, the Yale Symphony Orchestra has become one of the premier undergraduate ensembles in the United States. The largest orchestra in Yale College, the YSO provides a means for students to perform orchestral music at a conservatory level while taking advantage of all Yale, as a liberal-arts institution, has to offer. The YSO boasts and impressive number of alumni who have gone on to successful musical careers, but for a conservatory-level musician seeking a strong liberal arts or STEM education, we are one of the few – if not the only – opportunity for a talented orchestra musician to maintain the trajectory of their musical studies in a non-conservatory environment. As a result, most of YSO musicians are non-music majors. That said, the YSO numbers among its alumni members of the New York Philharmonic (Sharon Yamada, 1st violin), the Boston Symphony Orchestra (Haldan Martinson, principal 2nd violin, and Owen Young, cello), the Los Angeles Philharmonic (David Howard, clarinet), the San Francisco Symphony (the late William Bennett, oboe), Philadelphia Orchestra (Jonathan Beiler, vioin), Toronto Symphony (Harry Sargous, oboe, ret.) and the Israel Philharmonic (Miriam Hartman, viola), as well as music director of the Baltimore Symphony Orchestra Marin Alsop, National Public Radio commentator Miles Hoffman, composers, Michael Gore, Robert Beaser, Conrad Cummings, Stephen Paul Hartke, Robert Kyr, and more. Although the YSO is an extracurricular ensemble within a liberal arts university, its reputation and output rival those of conservatories worldwide. Throughout its history the YSO has been committed to commissioning and performing new music. Notably, the YSO presented the European premiere of Leonard Bernstein’s Mass in 1973, the world premiere of the definitive restoration of Charles
Photo by Harold Shapiro
Ives’ Three Places in New England, the U.S. premiere of Debussy’s Khamma, and the East Coast premiere of Benjamin Britten’s The Building of the House. In every season the YSO works to program and perform orchestral works written by new and emerging composers, as well as lesser-heard works by established and obscure composers. The YSO has performed with internationally recognized soloists, including Yo-Yo Ma, Frederica von Stade, Emmanuel Ax, David Shifrin, Thomas Murray, and Idil Biret. Each year the YSO is proud to present student winners of the William Waite Concerto Competition the opportunity to perform major solo works alongside the orchestra. Outside New Haven’s Woolsey Hall, the YSO have performed at New York City’s Carnegie Hall, Avery Fisher Hall at Lincoln Center, and St. Patrick’s Cathedral. In 2011, the YSO joined the Yale Glee Club at Carnegie Hall in celebration of their 150th anniversary, and was hailed by New York Times music critic Zachary Woolfe as “the excellent Yale Symphony Orchestra.” Under the baton of music director Toshiyuki Shimada, the YSO has toured domestically and internationally, including a 2010 tour of Turkey with acclaimed pianist Idil Biret. Ms. Biret rejoined the orchestra for a recording of Paul Hindemith’s piano concerti, which were released in 2013 on the Naxos label. Past tours have brought the orchestra to Portugal, Korea, Central Europe, Italy, and most recently Brazil. Beyond its season concerts, the YSO is famous for its legendary Halloween Show, a student-directed and -produced silent movie, whose score the orchestra performs at midnight in full costume. Long a Yale tradition, the Halloween Show sells out Woolsey Hall days in advance, and the production remains a closely guarded secret until the night of performance; recent cameo appearances include James Franco, Woody Allen, Alanis Morisette, Rosa DeLauro, and Jimmy Kimmel. Former music directors include Richmond Browne, John Mauceri, C. William Harwood, Robert Kapilow, Leif Bjaland, Alasdair Neale, David Stern, James Ross, James Sinclair, Shinik Hahm, and George Rothman.
The Yale Symphony Orchestra would like to thank the following for their support: $5,000 or more The William Bray Fund for Music Yale Symphony Orchestra Director’s Resource Fund Daniel B. Feller, M.D. ’74 Azamat Kumykov ’15 M.A.S. Judy Glickman Lauder Dr. David Lobdell Dr. Robert Perkel ’72 Mary and Richard Radcliffe Dr. Jennifer Shin ’99
Mr. Jonathan J. Taylor ’74 Kara Unterberg ’ George Yanagisawa
$100—499 Mr. Trevor Warren Auman ’13 Ms. Susan Biniaz ’80 Dr. David B. Bittleman ’84 Ms. Jean S. Brenner ’71 John Carlson Prof. Lori Fisler Damrosch ’73 B.A., ’76 J.D. Richard Dumas
$1,000—4,999 Lee A. Chaden Shelby L. Chaden Dr. Elizabeth Petri Henske ’81 Mr. Robert C. Henske ’81 Ms. Bee-Seon Keum ’06 B.A., ’06 Mus.M. Mr. Jonathan Lewis Yen-Wen Lu Dr. Laura P. Meyer Mr. D. Scott Wise ’74 Ling Zhu
$500—999 Barbara Doyle Mr. Charles D. Ellis ’59 B.A., ’97 M.A.H. Dr. James M. Ford, M.D., ’84 B.A., ’89 M.D. Mr. Paul J. Gacek ’67 B.A., ’70 Mus Mr. Seth R. Johnson ’76 Mrs. Alfred Loeffler Jonathan Lewis Ms. Linda Koch Lorimer ’77 J.D. Mr. Benjamin I. Nathans ’84 Mr. Alan R. Petersburg
Prof. Edwin M. Duval ’71 M.Phil.,’73 Ph.D. Professor Judith L. Elder ’77 LLM, ’79 JSD James M. Ford, M.D. ’84 B.A., ’89 M.D. Sarah Fortier Ms. Mayumi Fukui ’77 B.A., ’83 M.B.A. Mr. Paul J. Gacek ’67 B.A., ’70 Mus Ms. Pamela J. Gray ’74 B.A. Phyllis I. Hanson, M.D., Ph.D. ’85 Miwa Hashimoto Mr. Scott Hempling ’78 Dr. Arlene M. Rosenberg Henick Mr. Vincent Chi-Chien Hou ’99 Mr. David J. Howard ’77 Mr. David A. Ifkovic Mr. Andrew D. Jones ’93 Mr. William P. Kane Mr. John W. Karrel ’75 Mr. Steven M. Kaufman ’81 Mrs. Beth Kaufman Zachary Klett, M.D. ’84 B.A., ’89 M.D. Ms. Alison Melick Kruse ’82 Ms. Kathrin D. Lassila ’81 Karl R. Laskowski, M.D. ’03 B.A., ’08 M.D. Mr. Parker R. Liautaud ’16 Mr. Kevin G. Lawrence Ms. Cynthia Yuan Lee ’94
Mr. Philip Henry Lima ’83
Donald Redmond
Mr. Christopher Lin-Brande ’10
Mr. John Y. Rhee
Mrs. Maryanne Lombardo
Mr. Charles Michael Sharzer ’12
Mr. Samuel Benjamin Luckenbill ’02
Zeyu Shen ’22 GRD
Mr. Anthony Longboat Lydgate ’10
Dr. Richard M. Siegel ’85
Ms. Miriam Mayerson
Mr. Justin Daniel Stilwell ’09
Tania Moore-Barrett
Mr. & Mrs. Edward T. Sydlik
Mr. Benjamin I. Nathans ’84
Mr. & Ms. Andrew F. Veitch
Dr. Natalia Neparidze
Joann & George Vosburgh
Ms. Isabel Padien O’Meara ’99
Mr. Nathaniel O. Wallace ’69 GRD
Mr. James R. Potochny ’86
Mr. Benjamin B. Warfield ’00 Rosemary Wharton
Professor Sarah C. Pratt ’72 Mr. Robert Reed
Tax-deductible contributions to the Yale Symphony Orchestra make up a significant part of our total operating budget. Your donations are vital to us, and are very much appreciated. Please consider making a donation to the Yale Symphony Orchestra. Yale Symphony Orchestra c/o Yale University Office of Development—Contributions Processing P.O. Box 2038 New Haven, CT 06521-2038 http://yso.yalecollege.yale.edu/support-us