program
Unraveling (World Premiere) Max Vinetz ’18
Violin Concerto in A minor, Op. 82 Alexander Glazunov Cameron Daly ’18, violin Moderato — Andante — Allegro
Intermission
Symphony No. 11 in G Minor, Op. 103 The Year 1905 Dmitri Shostakovich Adagio (The Palace Square) Allegro (The 9th of January) Adagio (Eternal Memory) Allegro non troppo (Tocsin “Alarm”)
{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.
Cameron Daly, Violin Cameron Daly, 21, is a senior at Yale University studying Global Affairs, with a specialization in international security. A student of Wendy Sharp and a former student of Alexander Treger, Mr. Daly was a first violinist in the American Youth Symphony and is currently co-concertmaster of the Yale Symphony Orchestra. In 2017, Mr. Daly was awarded Yale’s Terry E. and Irene A. Sharp Prize for musical performance and was a winner of the
William Waite Concerto Competition. Mr. Daly spent three summers as a student at the Aspen Music Festival and School, where he studied with Paul Kantor, Cornelia Heard, David Halen, and Alex Kerr on an orchestral fellowship. A 2017 Tanglewood Music Center violin fellow, Mr. Daly spent the past summer performing in the Tanglewood Music Center Orchestra and studying with members of the Boston Symphony Orchestra. During Tanglewood’s String Quartet Seminar, he performed works by Haydn and Beethoven under the tutelage of Juilliard String Quartet members Ronald Copes and Roger Tapping. Mr. Daly’s academic work focuses primarily on Soviet history and U.S.-Russian relations. For his senior capstone project, he is working, alongside a small team of Yale undergraduates, for the International Finance Corporation with the goal of developing a quantitative framework to analyze and anticipate the development impact of private equity fund managers in Sub-Saharan Africa. Upon graduating from Yale College, Mr. Daly plans to pursue a Master of Music in violin performance.
notes on the program Unraveling Max Vinetz Unraveling draws its structural foundation from the interplay between “large sounds” and “small sounds.” A large sound could be a sharp percussion attack or a full-blown brass chorale; a small sound could be a wispy solo violin or a gentle pad of sustained strings. While writing this piece, I imagined a dramatic interplay between these two opposing gestures, where large sounds could possibly crack open small sounds, releasing energy in the process. Entropy plays an active role in this piece. As small sounds are
opened, they begin to spin apart and eventually overwhelm entire sections of the orchestra. This is where unraveling happens: solid lines dissolve into sonic webs; sections of the orchestra fall apart and fight against one another until the orchestra fractures into 70 soloists, shortly before releasing the remaining energy in one final breath. I offer my tremendous gratitude to Maestro Shimada, the musicians of the Yale Symphony Orchestra, and Brian Robinson for their time, patience, and generosity. Thank you for this opportunity, and more importantly, thank you for believing in me! Max Vinetz ’18
Violin Concerto in A minor, Op. 82 Alexander Glazunov “His musical development progressed not by the day, but literally by the hour.” So spoke Rimsky-Korsakov of his 15-year-old student Alexander Glazunov. The teacher-pupil relationship that began in 1882 lasted less than two years, but the friendship between the youth and the 20-year-older master lasted until the latter died in 1908. At about the time his tutelage with Rimsky ended, the young student composer aroused the interest of an extremely wealthy art patron, Mitrofan Belyayev. To state it crassly, Belyayev put his money where his mouth was in the effort to develop the careers of the new generation of musicians headed by Glazunov. The Belyayev Circle, as it came to be known, was the natural successor to The Mighty Five. But whereas The Five (Rimsky, Balakirev, Borodin, Mussorgsky, and Cui) had to fight the good fight to install nationalism into Russian art music, The Circle could reap the benefits of that victorious battle, take them for granted, and then slip effortlessly into the mainstream of Western European music. Armed with a complete mastery of the craft of composition, Glazunov wrote in a traditional, colorful style in which were combined elements of Russian nationalism and those of the German Romantic school. It was a style that won for him wide success throughout Europe and America. In fact, Glazunov enjoyed a triplefaceted career — as a conductor (whose mastery did not, however, go unquestioned), as a respected professor (among his students at the St. Petersburg Conservatory was Shostakovich) and scholar (he received honorary doctorates from
Oxford and Cambridge Universities), and as composer. Glazunov seems to have run out of creative steam after he completed his Eighth Symphony in 1906, when he was only 41. Irreversibly conservative, he must have realized that he was about to be swamped by the tides of the radical waters flooding Europe at the time, by the likes of his countrymen Scriabin, Stravinsky, and Prokofiev, and by Schoenberg, Bartók, and others. Perhaps better to stand on his distinguished accomplishments than to fly in the face of the new wave. Of those accomplishments, little is heard now in the concert hall, much more on recordings; a reassessment of his worth would seem to be in order. Even his once popular Violin Concerto does not have as much currency as it once did. The work, composed in 1904, has about it a deep-hued Romanticism, its lyricism tinged with a hint of world-weariness, the melodies bittersweet. The first movement’s chromatic, pensive main theme, given buoyance by an accompaniment of Mendelssohnian repeated notes in clarinets and bassoons, and the sweet-sad secondary theme bear out this observation. The second movement, with the burnished broadness of the main theme, has a poignance that is heightened by the warm ministrations of harp and French horn. The Concerto, filled with virtually every technical trick in the book, is in three movements played without pause — with no final cadences at the ends of the first and second movements. In fact, one could say there are only two movements: in an unusual structural procedure, Glazunov in effect combines the first and second movements, the second taking the place of a development section and the main and subordinate themes of the first movement returning as recapitulation. The slow movement has a whirlwind middle section that separates its own main theme from the return of the first movement’s themes, after which there is a knotty cadenza that goes directly into the finale. Here, Glazunov is ebullient (the main “hunt” theme, introduced by trumpets), charming (the light-as-air second theme), and rustic (the third, out-in-the-country theme, complete with peasant pedal points). He is also the maker of a wonderfully attractive ending to a colorful, bravura showpiece. The late Orrin Howard, written for the Los Angeles Philharmonic and reprinted with permission
Symphony No. 11 in G minor, Op. 103 “The Year 1905” Dmitri Shostakovich Spanning an hour in length and performed without pause, Symphony No. 11 ranks among Shostakovich’s most monumental compositions. Though the composer wrote the symphony between 1956 and 1957, Symphony No. 11 was conceived to commemorate the fiftieth anniversary of the Russian Revolution of 1905, hence its subtitle, “The Year 1905.” In this year, the infamous “Bloody Sunday” massacre turned workers into revolutionaries. On January 22nd (recorded as January 9th in the old Russian calendar), thousands of strikers and their families gathered in the Palace Square to present a petition to Tsar Nicholas II, who had discreetly left Saint Petersburg in an attempt to avoid conflict. In preparation for the demonstration, the government assembled 10,000 soldiers to control the crowds. While there was no order to fire, shots were heard at a number of entry points to the center city. Unaware of the violence, promenading families—as was customary on Sunday afternoons—unknowingly mixed with demonstrators at the edges of the Alexander Garden. A legion of 2,300 soldiers fired four volleys into this crowd in a particularly devastating episode. Throughout the day, the gunfire and ensuing panic killed at least 1,000 citizens, though anti-government sources estimated the number to be closer to 4,000. More importantly, the massacre became a catalyst for revolution, spread strikes across Russia, and forced the Tsar to implement a constitutional monarchy. Shostakovich’s premiere of the work in 1957 was also postured to celebrate the fortieth anniversary of the Revolution of 1917, crucial to the establishment of the Soviet Union. Despite his outward support of the Soviet government, many of Shostakovich’s passages are thought to have dual appeal, satisfying Soviet officials while also criticizing the harsh regime. The Soviet government particularly favored Symphony No. 11, with its raw emulation of Soviet doctrine; simultaneously, Western audiences debased it as “a film score without the film.” In the years since, scholars and critics have suggested a link to the Hungarian Uprising of 1956, with Shostakovich condemning the Soviet leaders for forcefully suppressing the Hungarian protesters, mirroring the violence their predecessors experienced in 1905. Though its veracity is disputed, Shostakovich states in his autobiographical Testimony “that many things repeat themselves in Russian history … I
wanted to show this recurrence in the Eleventh Symphony.” Throughout the work, Shostakovich cites melodies from numerous revolutionary folk tunes, many of which originated in the mid-19th century and were appropriated to suit the needs of the revolutionaries. At the premiere, the public was divided: “He has sold himself down the river. Nothing but quotations and revolutionary songs,” said some. Those who had lived during the Revolution described the songs as “white birds flying against a terrible black sky … they flare up like lightning … That’s the way it was in 1905.” A Closer Listen: I. Adagio ‘The Palace Square’ - The first movement opens quietly; the strings and harps illustrate the Palace Square and frozen Neva River an hour before dawn on January 22nd, 1905, where thousands of striking workers and families will gather. The quiet is broken by “Reveille,” played by solo trumpet, and purportedly heard at Alexander Garden before the massacre. Shostakovich introduces two revolutionary melodies: “Listen!”— a convict describing a fellow prisoner being led to execution, played by two flutes and “The Arrested Man”—in which a sentry longs to help the imprisoned, first played by the cellos and basses, but later offered to the flute and clarinet. We hear a dialog between prisoner and jailer, made especially poignant considering the prisoners then held in the Peter-Paul Fortress immediately opposite the Winter Palace. II. Allegro ‘The 9th of January’ - Barrelling into the second movement, Shostakovich turns from revolutionary folk tunes to a composition of his own, an unaccompanied choral rendition of a poem written in the aftermath of Bloody Sunday by Arkady Kotz. The shots are fired; here, the music ebbs and flows, reaching fortissimo but often returning to the softer piano of the first movement. Two passages are quoted, a plea to the Father Tsar for help: “We have nothing to live on, your servants give us no help,” and more bombastically, “Bare your heads,” repeated as the movement climaxes. In a particularly violent passage, the entire orchestra plays at full volume, dropping out several times to allow the percussion to march alone, preceding an unexpected return to the eerie calm of the first movement, signifying an end to the massacre. III. Adagio ‘Eternal Memory’ - In a moment of respite, Shostakovich
remembers those who lost their lives in the violent events of Bloody Sunday. The lower strings’ pizzicato introduces a slow dirge, as the violas enter playing “You fell as a victim,” a revolutionary funeral march. “You gave everything that you could for them,” they sing, “For their lives, their honor and their freedom.” Grief morphs into resolve as Shostakovich adds elements of two more revolutionary marches, and also quotes the previous movement in places. IV. Allegro non troppo ‘Tocsin’ (Alarm) - The quiet is challenged by a fanfare in the brass; “Rage, you tyrants, and mock at us, threaten us with prison and with chains,” originates from a fiery revolutionary march. An extended passage carried by the strings introduces the “Warsaw Song”—a particularly famous anthem of the revolution: “March, march onwards, you working people!” Following an exhaustingly aggressive passage, we return to the Palace Square where an extended english horn solo seems to imagine a past—or future—reconciled. The beauty forces us to remember the tragedy, how a government turned its back and slaughtered its people. Thus, the revolutionaries are reinvigorated by a dark and furious passage played by the bass clarinet, and the full orchestra returns to the theme from his choral composition, “Bare your heads!” repeated at fortissimo. The energy and ringing bells suggests triumph but this ending is anything but happy—as revolutions seldom are. ‘The Year 1905’ would only lead to more violence and lives lost. Noah Stevens-Stein ’18
Yale Symphony Orchestra Toshiyuki Shimada, Music Director Brian Robinson, Managing Director Ian Niederhoffer, Assistant Conductor Henry Shapard, Assistant Conductor Presidents 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 Sonali Durham Mary Martin Spencer Parish Poster Design Sida Tang
First Violin 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 Flute and Piccolo Shiori Tomatsu, ’18 Principal Monica Barbosa ’19 Beatrice Brown ’19 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 Gabriel Mairson MUS ’19 Mary Martin ’20
Trumpet Megan Ahern ’21 Ryan Petersberg GRD ’21 Chloe Swindler MUS ’19 Trombone Eli Mennerick ’21 Mitchell Ostorow ’21 Bass Trombone Zachary Haas MUS ’18 Tuba Steven Lewis ’18, Principal Josef Lawrence ’20 Harp Caroline Zhao ’19, Principal Kai-Lan Olson ’20 Piano and Celesta Thomas Shen ’20 Timpani and Percussion Adrian Lin ’18, Principal Alvin Chung ’21 Charles Comiter ’20 Sean Guo ’19 Dylan Lesko ’19
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, violin), 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
$100—499
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
Anonymous 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 Mr. Darryl 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
$1,000—4,999 Anonymous Anonymous 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 Richard 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
Mr. Anthony Longboat Lydgate ’10 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 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. William McHenry Strom ’05 Mr. & Mrs. Edward T. Sydlik Lynn R. Tanou, M.D. ’82 M.D. 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 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 and Jessica Pray, soprano Maurice Ravel Caroline Shaw Gustav Mahler
Mother Goose Suite In Common Time (World Premiere) Symphony No. 4
April 14, 2018 8pm in Woolsey Hall With Lauren McQuistin, soprano 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