program
Overture from West Side Story Leonard Bernstein with musicians from the Music in Schools Initiative
Vltava from Má Vlast ˇ Bedrich Smetana
Piano Concerto No. 2 in B flat Major, Op. 19 Ludwig van Beethoven James Carrabino ’20, piano winner of the William Waite Concerto Competition Ian Niederhoffer, guest conductor Intermission
Symphony No. 3 in F Major, Op. 90 Johannes Brahms Allegro con brio Andante Poco allegretto Allegro — un poco sostenuto
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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.
James Carrabino, Piano James Carrabino is currently in his Sophomore year at Yale and is a member of Trumbull College. He is from London, England, where he attended St Paul’s School as a John Colet Academic Scholar and Music Scholar. James began his piano studies at age 5 with Caroline Gowers and has given numerous recitals across the United Kingdom. He has soloed in venues including the Royal Festival Hall, Cadogan Hall and St. Martin-in-
the-Fields. Throughout his time at St Paul’s School James studied with Charles Owen at the Guildhall School of Music and Drama and Tessa Nicholson at the Royal Academy of Music. He was subsequently admitted to the Bachelor of Music program at the Royal College of Music to study Piano Performance under the tutelage of Niel Immelman. While a member of the Royal Academy of Music’s pre-college division James won both the Academy’s senior Piano Solo and Chamber Music competitions as well as a series of external competitions, including the overall Under-18 Piano Prize at the annual Oxford Music Festival. As a student at the Royal College of Music, he was chosen as the sole orchestral pianist to perform with the RCM Philharmonic Orchestra, and was the youngest student to represent the College in its annual masterclass with renowned British pedagogue Imogen Cooper. In the summer of 2016 James was awarded a place at the International Keyboard Institute and Festival in New York City, and was selected for masterclasses with some of the world’s most pre-eminent artists, including Jerome Rose and Alexander Kobrin. Since enrolling at Yale College, James has been a student in Wei-Yi Yang’s piano studio at the Yale School of Music, and during his second semester he won the 2017 William Waite Concerto Competition. He currently holds the United Kingdom’s Licentiate of the Royal Schools of Music and is looking to pursue an advanced degree in Piano Performance after graduating from Yale. James has always enjoyed collaborating with other musicians, pursuing violin as a joint study throughout his school years and serving as concertmaster of the St Paul’s School Symphony Orchestra. At Yale he is now a member of the Yale Collegium Musicum and has taken part in chamber music coached by Michael Friedmann. He also has an active role in the Yale University Guild of Carilloneurs and in the new Yale Undergraduate Piano Collective. In addition to music, James is involved with the Yale International Relations Association and the Yale Daily News, and his academic interests include Global Affairs and Classical Languages.
Ian Niederhoffer, guest conductor Ian Niederhoffer was born in New York City and is a music major at Yale University. He is Assistant Conductor of the Yale Symphony Orchestra, Founder and Music Director of the Yale Undergraduate Chamber Orchestra, Music Director of the Opera Theater of Yale College, and Assistant Conductor of the Berkeley College Orchestra. He recently made his U.S. professional debut with the Vermont Mozart Festival, after which he was invited back for the 2018 season. In 2016, he made his European debut conducting the Bacau Philharmonic in works by Rossini, Dvorak, and Ravel. He has served as Music Director for Galatea, a pastiche of Handel arias and excerpts from oratorios, with a new libretto set to the myth of Pygmalion. He has formerly held the positions of Assistant Conductor of the InterSchool Orchestras of New York and Apprentice Conductor of the New York Youth photo by Rebecca Fay Symphony. As an instrumentalist, Ian began his violin studies at the age of three, switching to viola at thirteen. He began studying piano at the age of ďŹ ve. He is Assistant Principal Viola of the Yale Symphony Orchestra and has recently performed in concert series including Summer Music from Greensboro and Burlington Evenings with Mozart. In May 2015, he performed a solo recital in Merkin Concert Hall. Drawn to conducting at an early age, Ian began his conducting studies with Jeffrey Grogan at the age of 15. He continued his studies with Joshua Gersen, current Assistant Conductor of the New York Philharmonic while studying score reading with Edith Kraft, a former Juilliard professor. He currently studies with Toshiyuki Shimada, Music Director of the Yale Symphony Orchestra and Eastern Connecticut Symphony Orchestra and has recently studied with Markand Thakar, Ovidiu Balan, and Robert Gutter.
Music in Schools Initiative As part of the Yale School of Music’s mandate of cultural leadership, the Music in Schools Initiative explores how music can be used as a tool of inclusion and social transformation in the City of New Haven and beyond. It
gives the School and its graduate students the opportunity to think, create, design, and implement new ways of connecting the city’s students, teachers, families, and communities. Music in Schools Initiative is a workshop in which graduate teaching artists can develop their personal teaching style as well as their social consciences. Our activities are based on a mentorship model founded in personal relationships. We partner with the New Haven Public Schools to support music educators as they develop broader and more robust programs in their schools. A relationship based on a deep commitment to collaboration and respect, that connects music educators and their programs with other teachers and programs, arts organizations, and teaching artist. Music in Schools Initiative provides opportunities for its participants to contribute in a meaningful way to the construction of a more inclusive society. Elijah Baldwin – Trombone (Wilbur Cross High School) Bryan Carrera – Tuba (Coop High School) Jason Lampo – French Horn (Wilbur Cross High School) David Rodriguez – Trombone Wilbur Cross High School) Gabriel Rodriguez – Trumpet (Worthington Hooker School) Juan Pablo Rodriguez – Trumpet (Wilbur Cross High School)
notes on the program
Overture to West Side Story Leonard Bernstein Bursting onto global attention after taking over the podium of the New York Philharmonic from a sick Bruno Walter in 1943, Leonard Bernstein, affectionately known as Lenny to many, proceeded to dominate the musical world as conductor, composer and pianist for next 50 years. The first American-born conductor to achieve international acclaim, he pioneered
bringing classical music to the masses, particularly through the Emmy award winning “Young People’s Concerts” that aired on television from 1959 to 1972. A prolific composer, with a wide range of works spanning from 3 symphonies, 2 operas and the Prelude, Fugue and Riffs for jazz ensemble, to numerous other smaller pieces. Bernstein is best remembered for his theatre works, particularly the enduring West Side Story, which opened on Broadway in 1957. The work, a modern day ‘Romeo and Juliet’ story between the Jets and the Sharks set amidst gang warfare on Manhattan’s West Side, dazzled audiences with memorable and uncommon musical material. The influences of jazz, Latin, ballet and 12 tone rows could be heard in songs which quickly acquired fame, like Maria, Somewhere, Mambo and America. This tragic love story between Maria and Tony was adapted for film in 1961 and the film version went on to win Best Picture and 9 other Academy Awards. Wen Yu Ho ’10
Vltava from Má Vlast Bedrich ˇ Smetana Under Austrian rule, public activity in Bohemia such as education and artistic pursuits had been carried out in German. After Bohemian independence was gained in 1860, a group of younger artists worked to create a national music identity, and to establish a national opera house in Prague where works would be performed in Czech. Bedrich Smetana, the best composer of this group, is now considered the founder of Czech nationalist music. His musical style is particularly Czech in its lyric tone and in its use of harmony. Yet in the partisan atmosphere of the nationalist movement in the arts he was sometimes considered a “German.” To Smetana, nationalism meant pursuing his career in his native country, and writing in his own individual style. Smetana did not incorporate Bohemian folksongs into his compositions, feeling that imitating the melodic turns and rhythms of our folksongs will not create a national style, still less an authentic drama. but at the most a shallow imitation of those very folksongs. He had known Liszt when they were both at Weimar in 1850, and he was such an admirer of Beethoven that he offered as a key to pronunciation of his own name
that the rhythm should be the same as the opening motive of the Fidelio overture. It was during a period in the early 1870’s when the administration of the Prague opera house was hostile to him that Smetana conceived the idea of composing a huge cycle of six symphonic poems on the subject of the Bohemian land. The programmatic content of these works is unambiguous. The individual tone poems of the cycle Ma Vlast (My Country) were composed between 1874 and 1879. The most familiar to us is the second symphonic poem of the cycle, Vltava (The Moldau). The Vltava is the 270-mile-long river that originates in the Sumava Mountains on the Bohemian/Bavarian border, flows north through the Bohemian Forests to Prague, and finally joins the Elbe. In Smetana’s symphonic poem, the Vltava is identified with a musical theme which, like the river, is constant yet mutable. This melody vacillates freely between major and minor, as does the supporting harmony. The lyric tone of Vltava is narrative, tracing the life of the river in melody. The form is episodic. The first and last of the four sections represent the river itself. It is born from a murmuring motive in the flute soon to be joined by a second stream of clarinets. This leads directly to the main river theme, in which the flute/clarinet figuration accompanies a sweeping string melody. Each of the four sections also describes an aspect of the land and life along the banks of the Vltava, from which the river seems to draw strength and character. After the Vltava theme is developed in the first section, sustained brass fanfares and leave-rustling violin figuration create an impression of the space and depth of the Bohemian Forest. Then, a set of variations on a Polka theme convey a village wedding celebration. In the third section, a languid string melody, shimmering woodwind figuration (sixteenths in the flutes against triplets in the clarinets), and a glimmer of harp correspond to a scene in which water nymphs rise from the waves and dance in the moonlight. The fourth section begins with a restatement of the river theme, then a crashing fragmented passage dominated by brass and percussion portrays the Rapids of St John. This turbulent energy is added to the final exalted statement of the river theme. Finally, a broad chorale theme identified in the first symphonic poem with the Vysehrad, the domed rock rising over the Vltava where the ancient Bohemian kings built their castles, serves as a coda to this episodic composition. Kathleen O’Brien
Piano Concerto No. 2 in B-flat Major, Op. 19 Ludwig van Beethoven The “Piano Concerto No. 2 in B flat Major” by Ludwig van Beethoven seems always to be prefaced with the anecdote that it was really Beethoven’s first piano concerto. Indeed, there is evidence that he embarked upon the work first in 1787 at the age of sixteen(!) and it was premiered in a performance by the composer himself in Vienna by early 1795. The current form of this concerto, however, constitutes a different finale to the one performed in 1795 and was only published at length in December of 1801, nine months after its C Major counterpart. While it may be youthful in character, the composer’s melodic innovation and mastery of classical form is already evident. Influences of Mozart and their mutual mentor Josef Haydn nevertheless feature rather prominently in the stylish outlook of Beethoven’s earliest major symphonic endeavor. A forthright commencement to the work, the first movement has a military energy in its dotted rhythms. With the late piano entrance come many soloistic fragments of melody, and yet melodic material and texture is shared judiciously with the orchestra. It is in fact not until after the development section that the second subject material first appears in the piano. Tonight’s cadenza is the most popular for the second concerto, penned by Beethoven significantly later in 1809. Although it makes ample use of the movement’s thematic material, experimental and stylistic differences are immediately evident in its contrapuntal nature and sudden dynamic changes. The Adagio is a beautiful collaboration between piano and orchestra, a slow but mobile theme that is interspersed with thoughtful rests and ornamentation. Particularly delightful is when the piano dissolves into a peaceful arpeggiated accompaniment, punctuated by pizzicato from the strings. This allows the sustained oboe melody to float over the top and prepare the ecstatic piano re-emergence. The quasi-recitative coda marked con gran expressione is quite remarkable; Beethoven’s specific marking not to release the pedal throughout creates an eerily potent effect, incredibly alluring and unique. Composed originally as an independent Rondo in B flat Major for Piano and Orchestra in 1795, the 3rd movement is quirky and brilliant, full of quintessentially Beethovenian accentuation and sweeping scalar flour-
ishes. One of the most audibly amusing moments in the whole work is the return of the theme in the wrong key (G major) and on the wrong beat of the bar… before swiftly correcting itself. A rapid and thoroughly cheerful finale, displaced only briefly by a middle section in the relative minor, this sonata-rondo movement maintains a familiar short-long rhythmic motif throughout and feels as if it is over almost as soon as it has begun. The second is the least programmed of Beethoven’s five piano concerti – many would say unfairly so. While some of Beethoven’s later music has been deemed more mature and profound, this work is the chronicle of a bold teenage spirit that is not aiming to copy his celebrated predecessor Wolfgang Amadeus Mozart, but, with its flair and relentless energy promises to better him – and indeed it is notably charming throughout! James Carrabino ’20
Symphony No. 3 in F major, Op. 90 Johannes Brahms The third symphony was written in 1883 and first performed in Vienna that December. Here, as in Brahms’ other symphonies, two smaller intermezzo-like movements are flanked by outer movements which are larger and more dramatic. In contrast to the Beethovenesque first symphony, and the genial but somewhat rambling second, the third symphony is compact and has the more direct and intimate quality of Brahms’ chamber music. All four of the movements end quietly, forsaking and kind of dramatic concluding gesture, and the mood throughout is intensely lyrical. Brahms achieves a remarkably cohesive structure through the use of a “motto” theme which is heard at the very beginning in the winds. The motto introduces a sweeping triadic theme in the violins and supplies its harmonic foundation deep in the bass. The second subject — a one-bar folk-like theme — is an example of Brahms’ technique of continuous variation. Following a closing section charged by a displaced sense of meter, the development begins with an angry transformation of this second subject. The heart of the development is and intensely serious section in Eb in which the motto theme in the horn is heard against a somber background of the contrabassoon and string bass. The principal theme gropes through eb minor to the distant key of Cb
Major. In the midst of the gloom the opening chords burst forth in a new harmonic setting and wee are plunged into the recapitulation. Following a final impassioned outburst, the movement closes with the first theme, now a calm, distant echo. The principal theme of the second movement is another folk-like melody with a hint of the motto theme in its tail. The mood of quiet, almost religious, contemplation extends to the second theme, scored for clarinet and bassoon. The first two notes of this theme are echoed hesitantly by the strings and usher in a richly harmonized variation of the main theme. A final reminder of the opening melody over a tonic pedal brings the movement to a peaceful close. As in the first two symphonies, a relaxed pace replaces the usual scherzo tempo in the third movement. The celli intone a simple theme in c minor over a chamber music like accompaniment in the upper strings. After a repetition in the violins, the celli continue with a smoother and more flowing secondary theme. The “trio” which follows is quite short, with woodwinds phrasing a simple theme across the bar, while the celli add a syncopated accompaniment. A repeat of the first section is differently orchestrated but the themes are unchanged. The final allegro is a more complex structure: a stormy sonata allegro movement in f minor. It opens with a unison theme which chromatically surrounds the dominant and reappears throughout the movement in many of ingenious rhythmic transformations. Soon it is interrupted by a solemn episode which we recognize as the secondary theme of the second movement. But the religious atmosphere is quickly swept away by the impetuous first subject. The second subject in C Major is played by the horns and celli. This is followed by a very dramatic development in which the theme from the second movement grows to huge proportions. The recapitulation begins with a condensed statement of the theme, now in an impassioned forte. Soon the fury dies down and the second movement theme returns, accompanied by a warm halo from the strings. the motto soars gently, and with a quiet remembrance of the principal theme of the first movement, the symphony comes to a peaceful close. Leif Bjaland
Yale Symphony Orchestra Toshiyuki Shimada, Music Director Brian Robinson, Managing Director Ian Niederhoffer, Assistant Conductor Henry Shapard, Assistant Conductor President Noah Stevens-Stein Jacob Sweet Librarians Shiori Tomatsu, Head Librarian Annabel Chyung Dennis Zhao Publicity Mary Martin Kai-Lan Olson Social Sonali Durham Spencer Parish Alumni Laura Michael Amanda Vosburgh Alex Wang Stage Crew Evan Pasternak, Manager Cameron Daly Sonali Durham Mary Martin Spencer Parish Poster Design Sida Tang
First Violin Cameron Daly ’18, Co-Concertmaster Evan Pasternak ’19, Co-Concertmaster Annabel Chyung ’19, Asst. Concertmaster Julia Carabatsos ’20 Jennifer Cha ’18 Allison Chun ’21 Laura Clapp ’21 James Lin ’19 Sophie Luyten ’21 Vivian Mayers ’21 Jasmine Stone ’20 Stephen Tang ’18 Chie Xu ’21 Andrew Zhang ’20 Second Violin Alexander Wang ’19, Principal Serena Shapard ’20, Asst. Principal Epongue Ekille ’21 Julia Hossain ’21 Hannah Lawrence ’19 Emma Mueller ’21 Taishi Nojima ’18 Eileen Norris ’20 Sam Panner ’21 Isaiah Schrader ’21 Alice Tao ’20 Margo Williams ’20 Julia Zhu ’19
Viola Sarah Switzer ’19, Principal Ian Niederhoffer ’19 Asst. Principal Ella Belina ’18 Sonali Durham ’20 Ethan Gacek ’18 George Gemelas ’18 Wei Li ’19 Linus Lu ’19 Jacob Miller ’21 Timothy White ’20 Grant Young ’20 Violoncello Harry Doernberg ’19, Co-Principal Amanda Vosburgh ’19, Co-Principal Henry Shapard ’20 , Asst. Principal Sofia Checa ’20 Emery Kerekes ’21 Kimberly Lai ’18 Paul Lee ’18 Allison Park ’21 Gabriel Rainey ’20 Mac Taback ’21
Contrabass Connor Reed ’19, Principal Aedan Lombardo ’20 Spencer Parish ’20 Noah Stevens-Stein ’18 Arvind Venkataraman ’19 Alice Zhao ’21
Trumpet Megan Ahern ’21 Ryan Petersberg GRD ’21
Flute and Piccolo Shiori Tomatsu ’18 Principal Monica Barbosa ’19 Beatrice Brown ’19 Benjamin Tillinger ’21
Bass Trombone Zachary Haas MUS ’18
Oboe and English Horn Lauren McNeel ’18, Principal Jake Houston ’19 Laura Michael ’20 Clarinet Jacob Sweet ’18, Principal Allen Chang ’19 Dennis Zhao ’19 Bassoon Dennis Brookner ’19 Brian Kirkman ’21 Lily Sands ’18 Kenny Wang ’20 French Horn Leah Meyer ’18, Principal Steven Harmon MUS ’19 Morgan Jackson ’18 Mary Martin ’20
Trombone Eli Mennerick ’21 Mitchell Ostorow ’21
Tuba Steven Lewis ’18, Principal Josef Lawrence ’20 Harp Caroline Zhao ’19, Principal Kai-Lan Olson ’20 Piano Miles Walter ’18 Timpani and Percussion Adrian Lin ’18, Principal Alvin Chung ’21 Charles Comiter ’20 Sean Guo ’17 Dylan Lesko ’19 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 Brazil. The YSO just completed its first tour of Russia in May of 2017. 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 Azamat Kumykov ’15 M.A.S. Judy Glickman Lauder Dr. David Lobdell Ms. Wendy S. Sharp ’82
$1,000—4,999 Mr. Jonathan Lewis Lucille Lombardo Yen-Wen Lu Drs. Klemens Meyer and Laura Perlo Meyer Mr Kevin Oluwole Olusola ’11 Ms. Sarah P. Payne ’98 Mr. Feng Wang Mr. Ling Zhu
$500—999 Ricahrd Dumas Dr. James M. Ford, M.D., ’84 B.A., ’89 M.D. Nancy Gutman Mr. Seth R. Johnson ’76 Mr. Benjamin I. Nathans ’84 Mr. Alan R. Petersburg Mr. Charles Michael Sharzer ’12
$100—499 Mr. Trevor Warren Auman ’13 Ms. Susan Biniaz ’80 Dr. David B. Bittleman ’84
Ms. Jean S. Brenner ’71 Yichun Chung Prof. Lori Fisler Damrosch ’73 B.A., ’76 J.D. Prof. Edwin M. Duval ’71 M.Phil.,’73 Ph.D. Mr. Phillip H. Falk ’10 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. David J. Howard ’77 Mr. David A. Ifkovic Michel Jackson Mr. Andrew D. Jones ’93 Mr. Christopher T. Joseph ’98 Mr. William P. Kane Mr. Kenneth Kato ’11 Zachary Klett, M.D. ’84 B.A., ’89 M.D. Karl R. Laskowski, M.D. ’03 B.A., ’08 M.D. Ms. Kathrin D. Lassila ’81 Mr. Kevin G. Lawrence Ms. Cynthia Yuan Lee ’94 Jonathan Lewis Ms. Sharon B. Like Mr. Philip Henry Lima ’83 Mr. Christopher Lin-Brande ’10 Mrs. Maryanne Lombardo Mr. Samuel Benjamin Luckenbill ’02 Mr. Anthony Longboat Lydgate ’10 Ms. Miriam Mayerson Ms. Alison Melick Kruse ’82 Tania Moore-Barrett Ms. Isabel Padien O’Meara ’99 Mr. Richard E. Osgood, Jr. ’69 B.S., ’71 M.A.R. Prof. Sarah C. Pratt ’72 Carolee Rainey
Mr. Philip L. Raphals
Lynn R. Tanou, M.D. ’82 M.D.
Donald E. Redmond Mr. Robert Reed Mr. Junesoo Seong ’15 Zeyu Shen ’22 GRD Ms. Manjula Shyam Dr. Richard M. Siegel ’85 Mr. Daniel A. Simon ’85 Mr. Justin Daniel Stilwell ’09 Mr. & Mrs. Edward T. Sydlik
Mr. Chi-Young Tschang ’98 Mr. & Ms. Andrew F. Veitch Joann & George Vosburgh Mr. Kenneth D. Walter, Jr. ’77 Mr. Benjamin B. Warfield ’00 Ms. Sharon H. Yamada ’85 B.A., ’87 Mus. M. Lawrence Young Ms. Rachel S. Zamsky ’98
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
Concerts 2017–2018 October 31, 2017 11pm in Woolsey Hall YSO Halloween Show Tickets go on sale October 16 at 10:31pm
November 4, 2017 7:30pm in Woolsey Hall Family Weekend Concert Admission is free
November 11, 2017 8pm in Woolsey Hall Cameron Daly, Violin Max Vinetz Alexander Glazunov Dmitri Shostakovich
Unraveling (World Premiere) Violin Concerto Symphony No. 11 (The Year 1905)
December 10, 2017 1:30pm in Battell Chapel With Yale Glee Club $10 suggested donation George Frederick Handel
Selections from Messiah
February 10, 2018 8pm in Woolsey Hall With Yale Glee Club Maurice Ravel Caroline Shaw miere) Gustav Mahler
Mother Goose Suite In Common Time (World PreSymphony No. 4
April 14, 2018 8pm in Woolsey Hall Richard Strauss Richard Strauss Igor Stravinsky
Till Eulenspiegels lustige Streiche Vier Letzte Lieder Petrushka (1947)
May 18, 2018 6pm in Battell Chapel Commencement Concert Admission is free
$12/$17 General Admission | $3/$6 Student To purchase tickets, visit www.yalesymphony.com