program
Piano Concerto No. 10 in E-flat Major for Two Pianos, K. 365 Wolfgang Amadeus Mozart Peter Frankl and Eva Virsik, piano Allegro Andante Rondo - Allegro
Intermission
Symphony No. 5 in F Major, Op. 68 Gustav Mahler Trauermarsch (Funeral March). In gemessenem Schritt. Streng. Wie ein Kondukt (At a measured pace. Strict. Like a funeral procession.) Stürmisch bewegt, mit größter Vehemenz (Moving stormily, with the greatest vehemence) Scherzo. Kräftig, nicht zu schnell (Not too fast, strong) Adagietto. Sehr langsam (Very slow) Rondo-Finale. Allegro – Allegro giocoso. Frisch (Fresh)
{Please silence all portable electronic devices}
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 Photo by Harold Shapiro Philharmonic 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.
Peter Frankl, Piano Pianist Peter Frankl made his London debut in 1962 and his New York debut with the Cleveland Orchestra under George Szell in 1967. Since that time he has performed with many of the world’s finest orchestras, including the Berlin Philharmonic, Concertgebouw, Israel Philharmonic, Orchestre de Paris, all the London orchestras, and the major American orchestras. He has collaborated with such eminent conductors as Abbado, Boulez, Davis,
Haitink, Maazel, Masur, Muti, Salonen, and Solti, and his world tours have taken him to Japan, Korea, Australia, New Zealand, and South Africa. He has appeared over twenty times at London’s BBC Promenade Concerts and has been a regular participant at the Edinburgh, Cheltenham, Aldeburgh, Verbier, Kumho, and Casals Festivals. In the United States, Peter Frankl has been a regular guest artist at festivals including Aspen, Chautauqua, Marlboro, Norfolk, Ravinia, Santa Fe, and Yellow Barn. For many years the Frankl-Pauk-Kirshbaum Trio traveled the world. His many chamber music partners have included Kyung Wha Chung, Peter Csaba, Ralph Kirshbaum, and the Tokyo, Takács, Photo by Bob Handelman Guarneri, Bartók, Fine Arts, and Lindsay quartets. He has given master classes all over the world, including the Royal Academy and Royal College in London, the Liszt Academy in Budapest, Van Cliburn Institute in Texas, and in Beijing, Hong Kong, and Seoul. Among his recordings are the complete works for piano by Schumann and Debussy, Bartók and Chopin solo albums, a Hungarian anthology, concertos and four-hand works by Mozart, the two Brahms piano concertos, the Brahms violin and clarinet sonatas, the Brahms trios, Bartók pieces for violin and piano, and the piano quintets by Brahms, Schumann, Dvorák, Martinu, and both Dohnányis. In recognition of his artistic achievements, Mr. Frankl was awarded the Officer’s Cross by the Hungarian Republic and on his seventieth birthday he was given one of the highest civilian awards in Hungary for his lifetime artistic achievement in the world of music. He is an honorary professor of the Liszt Academy and has been on the Yale School of Music faculty since 1987.
Eva Virsik, Piano Internationally acclaimed pianist and Steinway Artist Eva Virsik has appeared as a recitalist and orchestra soloist throughout Europe and the United States. She performed in major cities throughout Germany, France, Austria, Russia, Greece, the Czech Republic, and Slovakia with such orchestras as the Berlin Radio Symphony Orchestra in Germany, the
National Orchestra of Lille, France, major orchestras in the Czech Republic and all leading orchestras of Slovakia, including the Slovak Philharmonic, Slovak Radio Symphony Orchestra, and the State Philharmonic Košice. In the United States, she has toured along the East Coast, including Portland, Boston, Washington, D.C. and New York City, where she debuted at Carnegie Hall. Her appearances at international festivals include the “Russian Winter,” a tour that spanned north of the Arctic Circle, the Festival of Contemporary Music “Berolina Concerts” in Germany, the Bratislava Music Festival “BHS” in Slovakia, and the summer festival in Karlsbad, Czech Republic, to name a few. Eva Virsik recorded for permanent archives and was heard live on radio and television networks such as SWR (ARD) radio in Germany, including a Berlin Radio live broadcast from the Robert Schumann house in Zwickau, as well as the Czech radio and RTVS, the largest network in Slovakia. In the United States she performed live on WGBH radio in Boston in “Morning Pro Musica”, and her orchestra performances were aired via PBS on the Maine Public Broadcasting and Connecticut Broadcasting networks. Her latest album, Piano Encores, received a rave review from the Washington Post critic Patrick Rucker in the classical magazine Fanfare. Most recently, Ms. Virsik appeared in Europe with the Slovak Sinfonietta and conductor Oliver von Dohnányi, and in recitals at the Mozarthaus in Vienna and the historic Mirbach Palace series in Bratislava. In the United States she was the featured artist at the Robert Schumann Festival in Elmira, New York, and at events of the United Nations in New York, she performed for two consecutive presidents of Slovakia, her former homeland. Eva Virsik was born in Bratislava, Czechoslovakia, where she became known as child prodigy, debuting on Slovak Television at the age of four, performing also her own compositions, and winning first prizes at numerous youth competitions. Upon winning at age fiften the first prize at the international Smetana Competition, she played her orchestra debut with West Czech Symphony Orchestra and Maestro Libor Pešek, and was featured at the Rudolfinum Hall in Prague and the Reduta Hall in Bratislava. She studied at Moscow Tchaikovsky Conservatory with the dis-
tinguished pianists Yakov Zak and Stanislav Neuhaus, where she completed eight years of study and earned Doctor of Musical Arts degree. She is also a silver medal laureate of the Maria Callas Piano Competition in Athens, Greece. Ms. Virsik has taught at German Music Universities in Frankfurt and Freiburg, the Bratislava Academy in Slovakia, at Bowdoin College, and the University of New Haven. She appeared in recitals at many major music institutions, and held master classes in Europe and in the United States.
notes on the program
Concerto No. 10 for Two Pianos in E-flat Major, K.365/316a Wolfgang Amadeus Mozart In Mozart’s day, performances on multiple keyboards were not uncommon, but works written for such forces were. Mozart’s father Leopold said of his son that he had written the first sonata for piano four-hands ever. Wolfgang, of course, had the ideal keyboard partner in his beloved sister, Maria Anna – or “Nannerl” as she was affectionately known. Five years his senior and nearly as talented as Wolfgang, Nannerl had been part of the early tours which had made the young Mozart famous, performing duets of amazing dexterity together. It was his sister who was the intended partner for Mozart’s E-flat Major Concerto for Two Pianos, but it turned out to be one of his students, Josepha Auernhammer, who joined Wolfgang for the work’s premiere. The obstacles of such a “cooperative concerto” are considerable. Though not as strong or powerful as today’s pianos, two keyboards of Mozart’s time would still be enough to drown out the classical-sized orchestra. As well, equal thought must be put to the virtuoso considerations of each piano
part, so as to put them on equal footing with each other. The word which one reads time after time in descriptions of this concerto is “seamless.” The piano parts intermingle and weave around each other with such utter smoothness that it is nearly impossible to tell which piano is playing exactly which part. The E-flat Major home key lends a sense of strength and verve to the opening orchestral statement, an ambitious one both in terms of its length and the number of musical ideas it puts forth. The pianos enter together, a sparkling new take on the opening theme, with neither piano part overshadowing the other. In fact, the two keyboards have the advantage of some surprising harmonies and unexpected turns of phrase during their extended opening passage. While there are moments of contrast, occasional darker tones, the main material of the opening dominates the long first movement, with Mozart brilliantly finding new ways for both orchestra and pianos to expound on it. A dashing cadenza for both pianos deftly alternates dark and light elements. The second movement begins as a slow, tender Minuet in the orchestra. The pianos enter rhapsodically, each nudging the other along in an alternating dialog. The orchestra’s gentle rhythms join, and the music’s hushed, unhurried beauty is beguiling. Listen particularly in the middle section of this eight-minute movement for some unexpectedly dissonant leaps and chords in the pianos’ solo flights of fancy (Mozart was 25 when he wrote the work). The work ends on a hushed orchestral cadence. The finale is a vigorous and excitable Rondo, again with the orchestra given the first say. The music for the pianos is effervescent and marvelously balanced, the contrasting sections in between restatements of the main theme often take surprising twists and turns, mostly stemming from the unusual chord which finishes each statement of the main theme. With the previous Piano Concerto No. 9 “Jeunehomme” and Concerto No. 10 for Two Pianos, Mozart showed a new maturity and mastery of form that would colour his concerto output from then on. ©D. T. Baker for the Edmonton Symphony Orchestra
Symphony No. 5 in F Major, Op. 68 Gustav Mahler Only a handful of conductors championed Gustav Mahler’s music before the 1950’s. But since then, Mahler has become widely regarded as the last great Romantic symphonist. Yale University and the city of New Haven have played a special role in the Mahler revival. In the late 1960’s, the university acquired two Mahler manuscripts which had been considered lost: Waldmärschen from the cantata Das Klagende Lied, and the Blumine movement from the original version of the First Symphony. The New Haven Symphony sparked worldwide interest in these early works by performing them. The YSO celebrates the historic association between a legendary composer and this culturally vibrant community. The Fifth Symphony marks a turning point in Gustav Mahler’s compositional development. In this work, Mahler declares his independence from the extra-musical elements that pervaded his first four symphonies. He employs no vocalists, song texts, or descriptive programme. In fact, when the work was presented in 1905 at a contemporary music festival in Alsace, Mahler wrote no dramaturgical explanations for the program, even though all the other composers at the festival had done so for their own compositions. Instead, Mahler presented his symphony as “pure music” which could be understood only in terms of itself. The opening funeral march begins with a solemn soliloquy in c-sharp minor for trumpet. After a climax, strings and then woodwinds play a lament over a plodding bass line. The somberness of these themes is thrown into relief during two turbulent sections in which the solo trumpet struggles to assert itself against the scurrying lines played by the woodwinds and strings. The movement’s eerie conclusion suggests that the foregoing tensions still await resolution. In the violent opening section of the A minor second movement, the strings push through frantic scale passages while the woodwinds screech out a rising minor ninth motive taken from a counter melody in the first movement. A series of plummeting runs leads to a reprise of the threnodies heard previously in the funeral march The second movement also features a chorale-like tune in the brass which will prove important in the final movement. The huge D major Scherzo which comprises Part Two of the symphony explores the possibilities of two related dance styles, the rustic Ländler
and the urbane Viennese waltz. A solo obbligato horn acts as a mediator between these two genres. The Ländler is introduced at the outset by the horn and continues by woodwinds and strings. The world of the Viennese waltz is ushered in by the strings alone. The two styles vie for supremacy. The Ländler emerges the victor when, at the end of the movements, the waltz tune is rendered in the spirited manner of its country cousin. The Adagietto which begins Part Three of the symphony leaves the celebratory world of the Scherzo far behind. Scored only for strings and harp, this movement possesses such tender lyricism that it is often performed as an independent piece. The ensuing finale represents one of the most internally divided movements in the symphonic repertory. In this boisterous movement, Mahler inclides three different genres – rondo, fugue, and chorale – and numerous contrasting themes. And since there are virtually no transitional sections, the musical train of thought shifts continually. A lesser composer could not make such a divided house stand. However, Mahler holds the edifice together by maintaining a sturdy-as-steel contrapuntal texture throughout. He also binds the movement to the rest of the symphony by recalling elements from earlier movements. For example, the adagietto ends with the pitch A in the top voice. Without pause, a solo horn then introduces the finale by intoning the same A. The finale also extensively employs a these which is heard only briefly in the adagietto. The priminent horn parts, rustic ambiance, and D major key of the rondo recall the scherzo. Moreover, the symphony concludes with a full rendition of the brass chorale which was given only a modest hearing in the second movement. By the time the last chord has sounded, the work’s limitlessly diverse parts have coalesced into a compelling symphonic whole. Jonathan D. Flowers ’91
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 Sonali Durham Evan Pasternak Spencer Parish Jasmine Stone Henry Shapard Poster Design Sida Tang
First Violin Cameron Daly ’18, Co-Concertmaster Emily Switzer ’17, Co-Concertmaster Annabel Chyung ’19, Asst. Principal Julia Carabatsos ’20 Miriam Gerber ’19 Jessie Li ’17 James Lin ’19 Kay Nakazawa ’17 Serena Shapard ’20 Andrew Zhang ’20 Second Violin Evan Pasternak ’19, Principal Alex Wang ’19, Asst. Principal Vanessa Ague ’17 Madeleine Bauer ’17 Hannah Lawrence ’19 John McKissack ’20 Taishi Nojima ’18 Eileen Norris ’20 Patrida Rangchaikul ’17 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 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
Bassoon Daniel Henick ’17, Principal Dennis Brookner ’19 Lily Sands ’18
Flute and Piccolo Michelle Peters ’17 Co-Principal Shiori Tomatsu ’18 Co-Principal Monica Barbosa ’19 Beatrice Brown ’19
French Horn Leah Meyer ’18, Principal Matthew Gray MUS ’17 Morgan Jackson ’18 Mary Martin ’20 Samuel Nemiroff ’16 Nishwant Swami ’17 Joshua Thompson MUS ’17
Oboe and English Horn Collum Freedman ’17, Co-Principal Lauren McNeel ’18, Co-Principal Jake Houston ’19 Laura Michael ’20
Trumpet Elias Brown ’17, Principal Joseph Blumberg ’19 Noah Montgomery ’19 Ryan Petersberg GRD ’21
Clarinet Jacob Sweet ’18, Principal Allen Chang ’19 Dennis Zhao ’19
Trombone Grant Futch MUS ’18 Hillary Simms MUS ’18 Bass Trombone Eliud Domingo Garcia MUS ’17 Tuba Josef Lawrence ’20 Timpani and Percussion Adrian Lin ’18, Principal Charles Comiter ’20 Sean Guo ’17 Ephraim Sutherland ’20
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 ’05 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
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May 24 - June 3, 2017 With performances in
St. Petersburg Novgorod Moscow Yaroslavl visit www.yalesymphony.com for tour updates, pictures and more!