October 3, 2015 Toshiyuki Shimada Music Director

program

Anniversary Fanfare (World Premiere) Brian Samuel Robinson

Dedicated to Toshiyuki Shimada on his 10th Anniversary as Music Director of the Yale Symphony Orchestra

Pomp and Circumstance No. 1 Sir Edward Elgar

Thomas C. Duff y, Guest Conductor

Pulcinella Suite Igor Stravinsky

Sinfonia (Overture) Serenata Scherzino - Allegretto - Andantino Tarantella Tocatta Gavotta (con due variazioni) Vivo Minuetto - Finale

Intermission Symphony No. 4 in F minor, Op. 36 Pyotr Ilyich Tchaikovsky

Andante sostenuto — Moderato con anima — Moderato assai, quasi Andante — Allegro vivo Andantino in modo di canzona Scherzo: Pizzicato ostinato Finale: Allegro con fuoco

{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 Direc- tor 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. Since 1998, he has also served as Principal Conductor of the Vienna Modern Masters record label in Austria. Photo by Harold Shapiro Maestro Shimada continues to be active with his three orchestras, as well as his teaching duties at Yale University. He will also be guest conducting for the Bilkent Symphony Orchestra in Ankara, Turkey; the Izmir State Orchestra in Izmir, Turkey; and the Knoxville Sym- phony Orchestra in Tennessee. In May and June of 2010, the Yale Symphony Orchestra and Maestro Shimada made a highly successful tour to the Republic of Turkey, perform- ing in Istanbul, Ankara, and Izmir. The trip garnered extensive media cov- erage, including CNN and Turkish National Television. In 2008 the YSO toured Italy, performing in Rome, Florence, Bologna, and Milan. This past spring Maestro Shimada was invited to conduct the United States Coast Guard Band, following guest conductor Leonard Slatkin. He has collaborated with distinguished artists such as Itzhak Perlman, Andre Watts, Peter Serkin, Emanuel Ax, Yefi m Bronfman, Idil Biret, Peter Frankl, Janos Starker, Joshua Bell, Hilary Hahn, Nadjia Salerno- Sonnenberg, Cho-Liang Lin, Sir James Galway, Evelyn Glennie, and Barry Tuckwell. In the Pops fi eld 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 dis- tinguished conductors of the past and the present, including Leonard Bernstein, Herbert von Karajan, Herbert Blomstedt, Hans Swarovsky, and Michael Tilson Thomas. He was a fi nalist in the 1979 Herbert von Kara- jan 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, North- ridge, 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 with the Mora- vian Philharmonic, and currently has fi ft een albums on the label. He also records for Capstone Records, Querstand-VKJK (Germany), and Albany Records. His recording of Gregory Hutter’s Skyscrapers has been released through the Naxos label, and his Hindemith CD project with pianist Idil Biret was released in 2013. 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 Associ- ate 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 is a favorite guest conductor with the orchestras of Ithaca College, Purchase College, and the University of Connecticut. He has conducted All State Honor and Regional Honor Orchestras for Con- necticut, California, New York, Maine and Massachusetts. He was one of the distinguish speakers at the Chopin Symposium 2010, at Hacettepe University in Ankara, Turkey. He resides in Connecticut with his wife, concert pianist Eva Virsik.

Thomas C. Duff y, Guest Conductor

Thomas Duff y is Professor (Adjunct) of Music and Director of Univer- sity Bands at Yale University, where he has worked since 1982. He has established himself as a composer, a conductor, a teacher, an administrator, and a leader. His interests and research range from non-tonal analysis to jazz, from wind band history to creativity and the brain. Under his direc- tion, the Yale Bands have performed at conferences of the College Band Directors National Association and New England College Band Associa- tion; for club audiences at NYC’s Village Vanguard and Iridium, Ronnie Scotts’s (London), and the Belmont (Bermuda); performed as part of the inau- gural ceremonies for President George H.W. Bush; and concertized in nineteen countries in the course of sixteen international tours. Duff y produced a two-year lecture/performance series, Music and the Brain, with the Yale School of Medicine; and, with the Yale School of Nursing, de- veloped a musical intervention to train nursing stu- dents to better hear and identify body sounds with the stethoscope. He combined his interests in music and science to create a genre of music for the bilateral conductor - in which a “split-brained conductor” must conduct a diff erent meter in each hand, sharing down- beats. His compositions have introduced a generation of school musicians to aleatory, the integration of spoken/sung words and “body rhythms” with instrumental performance, and the pairing of music with political, social, historical and scientifi c themes. He has been awarded the Yale Tercenten- nial Medal for Composition, the Elm/ Ivy Award, the Yale School of Music Cultural Leadership Citation and certifi cates of appreciation by the United States Attorney’s Offi ce for his Yale 4/Peace: Rap for Justice concerts – music programs designed for social impact by using the power of music to deliver a message of peace and justice to impressionable middle and high school students. From 1996 to 2006, he served as associate, deputy and acting dean of the Yale School of Music. He has served as a member of the Fulbright National Selection Committee, the Tanglewood II Symposium planning committee, the Grammy Foundation Music Educators Award Screening Committee, and completed the MLE program at the Harvard University Institute for Management and Leadership in Education. He has served as: president of the Connecticut Composers Inc., the New England Col- lege Band Directors Association and the College Band Directors National Association (CBDNA); editor of the CBDNA Journal, publicity chair for the World Association of Symphonic Bands and Ensembles; and chair of the Connecticut Music Educators Association’s Professional Aff airs and Government Relations committees. For nine years, he represented music education in Yale’s Teacher Preparation Program. He is a member of Ameri- can Bandmasters Association, American Composers Alliance, the Connecti- cut Academy of Arts and Sciences, Connecticut Composers Incorporated, the Social Science Club, and BMI. Duff y has conducted ensembles all over the world and most recently was selected to conduct the 2011 NAFME National Honor Band in the Kennedy Center, Washington, D. C.

notes on the program

Anniversary Fanfare (World Premiere) Brian Samuel Robinson

This is a fanfare frought with contradiction. Where most fanfares are heralding something to arrive, this fanfare commemorates a notable career. Where most fanfares are written for brass ensembles, this is a full sym- phony orchestra with organ. Musically, most themes are introduced and then developed, while here are four minutes of development, leading to the single and fi nal pronouncement of the theme - in the cadence. Yet the unorthodox is there to convey a celebratory nature in the present-day, and any oddness is used with intent; a necessary adaptation to an old form. Written to commemorate the 10th Anniversary of Maestro Toshiyuki Shimada’s career as Music Director of the Yale Symphony Orchestra, this anniversary occassion heralds Maestro Shimada as the longest-standing music director in the history of the YSO. I would like to off er my own admiration of his willingness to experiment, openness to trying the un- orthodox, and enthusiasm to include the new with the old. I have been a frequent recipient of his generosity, and I hope that admiration is refl ected in this work.

Pomp and Circumstance No. 1 Sir Edward Elgar

The Pomp and Circumstance Marches take their name from Act III of Shakespeare’s seminal tragedy, Othello. In the play’s third act, the titular Othello, a military hero, invokes the “pride, pomp, and circumstance of glorious war” whilst contemplating his wife’s alleged betrayal. Though the speech emerges at a point of tragedy in the play, Sir Edward Elgar evidently uses Othello’s words to inspire a giddy tone of triumph in his composi- tions. True to their title, Sir Elgar’s marches embody the pageantry and valor attributed to war in an optimistic, pre-World War I England. Sir Elgar composed six total Pomp and Circumstance marches, each of which are dedicated to a friend. In 1901, Sir Elgar premiered “Pomp and Circumstance March No. 1 in D” whilst conducting the Liverpool Orchestra Society. March No. 1 consists of an Allegro and the more famous Trio. A deeply patriotic piece, the Trio features the English tune called the “Land of Hope and Glory” and was played during the coronation of King Edward VII, the son of Queen Victoria. Traditionally, the Trio has been sung and performed during the last night of the BBC Proms, an eight-week summer series of daily orches- tral concerts founded in 1895 and held in the Royal Albert Hall of central London. Additionally, the tune has served as a strong contender for acting as the national anthem for England. Currently, England has no offi cial na- tional anthem, though the national anthem of the United Kingdom, “God Save the Queen,” is oft en used to introduce England during international sporting events. In the United States, Sir Elgar’s “March No. 1” is known in popular culture as “The Graduation March.” Throughout the country, the march is almost universally played as the processional tune for high school and university commencement ceremonies. Interestingly enough, “March No. 1” also plays a signifi cant role in Yale University’s own history. The tune fi rst became implicated with graduation during Yale’s 1905 commence- ment ceremony, when it was performed as a recessional to honor Sir Elgar. During the ceremony, Sir Elgar received an honorary doctorate of music, thus establishing a deep, life-long rapport with Yale’s illustrious history.

Kristen Lee ’16

Pulcinella Suite Igor Stravinsky

“Pulcinella was my discovery of the past,” Stravinsky wrote in his Exposi- tions, “...the fi rst of many love aff airs in that direction.” Pulcinella (1920) signaled Stravinsky’s forays into neoclassicism, a return to the stylistic austerities of the classical period, which Stravinsky is largely credited with founding. Having upended musical decorum with the revolutionary Rite of Spring seven years prior, Stravinsky now subverted expectations with evocations of the traditional. In 1914, while on holiday in Viareggio, the Russian choreographer Léonide Massine chanced upon a production of Pulcinella in an open-air marionette theater. Further research upon Massine’s second visit to Italy revealed the play’s source material: Les Quatre Polichinelles sembables (The Four Similar Polichinelles), a 16th-century Neapolitan commedia dell’arte text. Inspired, Massine and ballet impresario Sergei Diaghilev began work on the Pulcinella ballet in 1917 with their erstwhile collaborator Picasso as costume and set designer. Diaghilev, hoping to heal his fraying rela- tionship with the composer who had orchestrated his productions of The Firebird and The Rite of Spring, approached Stravinsky in 1919 to compose a take on the works of Pergolesi, an 18th-century Italian composer whose contemporaries were in vogue among choreographers. Stravinsky, though initially uninterested in Pergolesi, perused Diaghilev’s bundles of presum- ably Pergolesi scores and became gradually smitten with the project. Critics in attendance at the London and Paris premieres praised Stravin- sky’s ability to craft a piece that was identifi ably his while maintaining the integrity of the Pergolesi original — what the approving London reviewer dubbed a “curious contention” of two essentially diff erent composers in which the Stravinsky style emerged victorious. Unbeknownst to Stravinsky and Diaghilev at the time, was that Pulcinella is a palimpsest in more ways than they were intending: Only a portion of the Diaghilev bundles were actually composed by Pergolesi, while the rest were by minor composers, including Domenico Gallo and Count von Wassenaer. Pulcinella was Stravinsky’s second look at the stock character, the fi rst be- ing Petrouchka (1911), as Pulcinella is known in Russia. As is typical, Pul- cinella in the ballet is a diabolical trickster, quick to anger and recognizing no master. The plot begins with Pulcinella being pursued by two infatuated townswomen. When the women’s incensed fi ancés vow to murder Pulcinel- la, he switches places with a double, who fakes his own death at the fi ancés’ hands while Pulcinella goes free. Later, Pulcinella, with the magician Furbo, stages his “resurrection” and returns to arrange the townswomen’s mar- riages and to wed Pimpinella, his long-suff ering girlfriend. As is typical of Pulcinella stories, he escapes from his hijinks unscathed.

In the orchestral suite, composed in 1922, Stravinsky substituted the ballet’s vocal solos with solo instrumental passages and reduced the move- ments from 18 to 11. The suite comprises eight movements unrelated to the plot but evocative of Pulcinella’s cavalier, convivial spirit.

Jennifer Gersten ’16

Symphony No. 4 in F minor, Op. 36 Pyotr Ilyich Tchaikovsky

When Tchaikovsky was in his mid-thirties he decided to settle down. He declared to his brother Modest, “I have made a fi rm decision, starting today, to enter into lawful matrimony with anyone prepared to have me.” Tchaikovsky’s intentions were far from romantic. The composer wanted to silence the mounting gossip about his sexual orientation. He also naively believed that marriage would ensure his fi nancial and emotional stability. As fate would have it, a prospect for a wife soon emerged. In May 1877 Tchaikovsky received a letter from Antonina Milyukova, a former student of his at the Moscow Conservatory. Tchaikovsky scarcely remem- bered who she was, but Antonina professed her love for the composer and begged to see him. Determined to become his wife at any cost, Antonina threatened to kill herself should Tchaikovsky refuse her advances. More- over, when Tchaikovsky made inquiries about Antonina’s character, her former piano teacher could only describe her with “an unprintable profan- ity.” Tchaikovsky faced a horrible dilemma: “To preserve my own freedom at the cost of this girl’s death…or to marry?” He confessed his homosexual- ity to Antonina, but her resolve did not dampen. Beset by guilt and a sense of obligation, Tchaikovsky opted for marriage. The two met on June 1, Tchaikovsky proposed several days later, and the couple wed on July 18. The union was an immediate disaster. Tchaikovsky and Antonina were totally incompatible and a mere fi ve days aft er the wedding the com- poser was at his wit’s end:

Physically, my wife has become totally repugnant to me…Yesterday morning, while she was taking a bath, I went to mass at St. Isaac’s Cathedral. I was feeling an urgent need to pray.

Tchaikovsky tried to drink away his sorrows, longing for the “blissful moments of oblivion” alcohol could provide. In August Tchaikovsky fl ed to his sister’s estate in the Ukraine, fearing for his sanity. He rejoined his wife in Moscow the following month, but his misery only worsened. Tchai- kovsky attempted suicide and even contemplated murder. He suff ered a nervous attack and lay unconscious for two weeks, whereupon a doctor ordered him to begin life anew without Antonina. This period of intense despair gave birth to Tchaikovsky’s greatest symphonic undertaking to date, the Fourth Symphony. Antonina Mi- lyukova drove Tchaikovsky to the brink of madness, but another woman brought the composer artistic and personal salvation. Some months earlier, a wealthy widow named Nadezhda von Meck undertook to become Tchai- kovsky’s patroness, providing him with commissions and a regular stipend. Von Meck’s emotional and fi nancial support allowed Tchaikovsky to devote his energy to composition and recuperate from his tumultuous marriage. It is to her, Tchaikovsky’s “best friend,” that the Fourth Symphony is dedi- cated. Tchaikovsky had blamed his disastrous marriage on fate. His experi- ence with Antonina and obsession with destiny were at the forefront of his mind while composing the symphony. Tchaikovsky reveals the importance of Fate in a letter to von Meck:

The introduction is the seed of the whole symphony, undoubtedly the main idea. This is fate…it is invincible, and you will never overcome it. You can only reconcile yourself to it, and languish fruitlessly. This resignation is depicted by the strings, who enter with a halting, tortuous theme in a new tempo. Constant rhythmic repetitions suggest a hopeless inability to escape destiny. Two contrasting melodies, the fi rst in the clarinet, the second in the violins, retreat into a world of daydreams. However, the Fate motive intrudes once again, and “thus all life is an un- broken alternation of hard reality with swift ly passing dreams and visions of happiness…That, roughly, is the program of the fi rst movement.” The second movement, with its hauntingly simple oboe melody,

…expresses another phase of depression…Many things fl it through the memory. There were happy moments when young blood pulsed warm and life was gratifying. There were also moments of irrepa- rable loss. It is all remote in the past. It is both sad and somehow sweet to lose oneself in the past.

The third movement is a “capricious arabesque,” with pizzicato strings, woodwinds, and brass entering in turn. Here Tchaikovsky depicts “fl eeting apparitions that pass through the imagination when one has begun to drink a little wine and is beginning to experience the fi rst phase of intoxication.” The fi nale explodes with bombast and spirit, but the Fate motive returns to render the victory incomplete:

If you cannot discover the reasons for happiness in yourself, look at others. Get out among the people. Look, what a good time they have, surrendering themselves to joy! A picture of popular merri- ment on a holiday. You have scarcely had a chance to forget yourself when indefatigable Fate appears once more and reminds you of herself. But the others pay no attention to you. They do not even turn around, do not even look at you, do not notice that you are alone and sad. Oh, how gay they are! How fortunate they are that their emotions are direct and uncomplicated! Upbraid yourself and do not say that all the world is sad. Strong, simple joys exist. Take happiness from the joys of others. Life is bearable aft er all. Yale Symphony Orchestra

Toshiyuki Shimada, Music Director Brian Robinson, Managing Director Elias Brown, Assistant Conductor Ken Yanagisawa, Assistant Conductor

President First Violin Second Violin Joan Rhee Jennifer Gersten, Cameron Daly, Co-Concertmaster Principal Librarians Emily Switzer, Jasper Han, Asst. Jeff rey Guo, Co-Concertmaster Principal Head Librarian Ana Barrett Vanessa Ague Emily Switzer Albert Cao Madeline Bauer Shiori Tomatsu Jennifer Cha Miriam Gerber Annabel Chyung Jeff rey Guo Publicity Virginia Doyle Lori Kaufman Lauren McNeel Jaclyn Freshman Susan Ke Leah Meyer Yumi Koga James Lee Stephen Tang Brian Lei James Lin Jessie Li Tomaso Mukai Social Kay Nakazawa Solomon Oak Jessie Li Evan Pasternak Rita Rangchaikul Dimitrios Lippe Joan Rhee Han Saem Rue Cooper Sullivan Sarah Switzer Cindy Xue Stephen Tang Elsie Yau Stage Crew Alex Wang Julia Zhu Benjamin Healy, Manager Samuel Faucher Leah Meyer Samuel Nemiroff Jacob Sweet Viola Contrabass Trumpet Abigail Elder, principal Benjamin Healy, Eli Brown, Morgan Belina principal Principal Madeline Fortier Hans Bilger Daniel Chenevert Ethan Gacek Gabriel Nathans Liam Arnade-Colwill George Gemelas Connor Reed Samuel Becker Nayeon Kim Noah Stevens-Stein Kristen Lee Arvind Venkataraman Trombone Samantha Lichtin Jeff ery Arredondo Linus Lu Flute/Piccolo Richard Liverano Lauren McNeel Helen Caldwell Alexander Walden Ian Niederhoff er Michelle Peters Aaron Shim Eve Roth Tuba Brian Tien-Street Shiori Tomatsu Steven Lewis

Violoncello Oboe Harp Devon Breton- Collum Freedman Caroline Zhao Pakozdi, co-principal Lauren McNeel Benjamin Fleischaker, Ken Yanagisawa Organ co-principal Weston Jennings Harry Doernberg Clarinet Samuel Faucher Albert Jiao Timpani and Shea Ketsdever Douglas Wong Percussion Kimberly Lai Jacob Sweet Benjamin Dimitrios Lippe Dennis Zhao Houston-Edwards, Bonnie Rhee Principal David Shin Bassoon Christopher Chow Han-Ah Lee Sumner Dennis Brooker Sean Guo Amanda Vosburgh Miguel Goncalves, Adrian Lin Robert Wharton Daniel Henick Christian Schmidt Cooper Sullivan

French Horn Derek Boyer Alicia Ding Morgan Jackson Leah Meyer Nishwant Swami About the Orchestra

Founded in 1965 by a group of students, the Yale Symphony Orchestra (YSO) is one of the premier undergraduate ensembles in the United States. The largest orchestra in Yale College and the only one with a full time man- ager and music director, 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 off er. 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, John McCain, Rosa DeLauro, and Jimmy Kimmel. The YSO numbers among its alumni members of the New York Phil- harmonic (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), and the Israel Philharmonic (Miriam Hartman, viola), as well as music director of the Baltimore Sym- phony Orchestra Marin Alsop, National Public Radio commentator Miles Hoff man, and others. 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 commission- ing and performing new music. Notably, the YSO presented the European premiere of Leonard Bernstein’s Mass in 1973, the world premiere of the Photo by Harold Shapiro

defi nitive restoration of Charles 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 with the Yale School of Music and the undergraduate Department of Music to pro- gram and perform orchestral works written by Yale faculty, graduate, and undergraduate composers. The YSO has performed with internationally recognized soloists, includ- ing Yo-Yo Ma, Frederica von Stade, Emmanuel Ax, David Shifrin, Thomas Murray, and Idil Biret. Each year the YSO also performs with student winners of the William Waite Concerto Competition. Recent performance venues include 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; the album is Ms. Biret’s 100th. Past tours have brought the orchestra to Portugal, Korea, Central Europe, Italy, and most recently Brazil. 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:

$5000 or more Parker Liautaud Antonio Magliocco Jr. Peri Pearson The William Bray Fund for Music Caterina Zoubek James R. Meehan ’71 Yale Symphony Orchestra Music Director’s Discretionary Fund Dr. David Lobdell $10—$99 Mary and Richard Radcliff e Richard M. Schwartz ’72 Daria Ague Evan Bly Dante Bolzan $1,000—4999 Jean S. Brenner ’71 Victor-Emmanuel Brunel Steven Ritz Hilary Cain Wendy Sharp ’82 and Dean Takahashi Joseph Crosson ’80, ’83 SOM Jerome Delamater D. Scott Wise Vic Dvorak Kendra Farrell $500—999 Hunter Ford James Freeman Jeff erson Freeman Barbara Doyle Kenneth M. Freeman ’71 Richard H. Dumas Alvin Gao In Memory of Alfred Loeffl er Connie Gersick Kara Unterberg Ariela Gugenheim George and Yuriko Yanagisawa Richard W. Hadsell, Ph.D ’71 M.Phil, ’75 Ph.D. $100—499 Benjamin Jacobs Greg Judd Dr. Kenneth Berv Charlotte and Ted Killiam Michael A. Carrier ’91 Elise Knapp Prof. Edwin M. Duval ’71 M.Phil., Michael Knorr ’73 Ph.D. Daniel Kops Vincent Chi-Chien Hou ’99 Jospeh Lanzone Hull’s Art Supply & Framing Juri Lee David A. Ifk ovic Suzanna Lengyel Steven M. Kaufman ’81 Chloe Lizotte Erika Lynn-Green Laurie Robinson Raul Madriz Cano Melissa Rose Yasat Berk Manav Nicholas Sajda Rebecca Marvin Muriel Schwab Conor McKenna Anthony Scruse Isabel Mendia Josephine Shepard David S. Miller Jane Soetiono Tania Moore-Barrett Sara Speller Jack Mulrow Andrew Stein David Murphy Alfred Stone Hachiro Nakamura Lei Sun Nikita Neklyudov John Taniskidis Alison Nordell Deniz Tanyolac Deanna Okun Anthony Tokman Daniel Packard Yunus Tuncbilek Jonah Pearl Sarah Tunney Sanka Perera Mitzi Unda-Susa Holger Petermann James Whitney Lavinia Ptrache Nicola Wilson Alexander Posner Rachel Wiseman Bonnie Pozarlik Qiwei Claire Xue ’14 Bradford Purcell Cindy Yang

Tax-deductible contributions to the Yale Symphony Orchestra make up a signifi cant 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 Offi ce of Development—Contributions Processing P.O. Box 2038 New Haven, CT 06521-2038 http://yso.yalecollege.yale.edu/support-us Concerts 2015–2016

November 14, 2015 8pm in Woolsey Hall

Eric Nathan This Old Place (World Premiere) Gustav Mahler Symphony No. 6

February 13, 2016 8pm in Woolsey Hall John Mauceri, Guest Conductor

J. S. Bach/ Arnold Schoenberg Prelude and Fugue in E-Flat Major “St. Anne” Richard Wagner/ Leopold Stokowsky Symphonic Synthesis from Parsifal, Act III Richard Strauss Ein Heldenleben

April 2, 2016 8pm in Woolsey Hall Ole Akahoshi, Cello Scarlett Tong Zuo, Piano

Loren Loiacono TBA (World Premiere) Aaron Jay Kernis Air for Cello and Orchestra Viktor Ullmann Symphony No. 2 featuring photography by Judy Glickman Lauder Einojuhani Rautavaara Piano Concerto No. 1 Ludwig van Beethoven Symphony No. 8 April 16, 2016 8pm in Woolsey Hall

April 21, 2016 8pm at Carnegie Hall Idil Biret, Piano John Mauceri, Guest Conductor Yale Glee Club

Daniel Schlosberg TBA (World Premiere) Charles Ives The Unanswered Question Paul Hindemith Piano Concerto (1945) Sir Edward Elgar Land of Hope and Glory from “Coronation Ode” Adam Guettel Overture to a Fairy Tale Leonard Bernstein (Arr. Mauceri) Celebration from “Mass” Richard Strauss Festival Prelude

$12/$17 General Admission | $3/$6 Student To purchase tickets, visit www.yalesymphony.com

Carnegie Hall tickets available through CarnegieCharge on February 1, 2016 For more information about the YSO, visit yalesymphony.com

For live recordings of the YSO, visit yalesymphonyorchestra.bandcamp.com

For videos of past YSO events and concerts, visit youtube.com/yalesymphony

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