Robert Blocker, Dean

artistic directorChristopher Theofanidis

featured composersEzra LadermanIngram Marshall

and music ofAndy AkihoReena EsmailChris Rogerson Omar SurilloJustin TierneyDaniel Wohl

march 24, 2011Sprague Memorial HallThursday at 8 pm

NEW MUSIC NEW HAVEN

| Love | (~*~) | Lost | Lust | (••) | Lone |

loadbangAlejandro T. Acierto, clarinetJeffrey Gavett, voiceAndy Kozar, trumpetWilliam Lang, trombone

Two Tones

Fabiana Gonzalez, voiceIsmail Degani, violinReena Esmail, piano

blanket

Reena Esmail, keyboardOmar Surillo, electric guitarJay Hurst, saxophone

Saint Arc

Mariel Roberts, cello

Authentic Presence

Timo Andres, piano

Andy Akiho

Reena Esmail

Omar Surillo

Daniel Wohl

Ingram Marshall

Chris Rogerson

Justin Tierney

Ezra Laderman

Intermission

Bradwell-on-the-SeaPreludeSarabandeGigue

Brook Speltz, cello

Chains

Yun-Chu Candy Chiu, marimba

Piano Sonata No. 2Adagietto – AllegroRomanzaScherzo furiosoAdagio espressivo – Allegro assai

Adela Hyeyeon Park, piano

March 24, 2011 · Sprague Memorial Hall

As a courtesy to others, please silence all cell phones and devices. Photography or recording of any kind is strictly prohibited. Please do not leave the hall during musical selections. Thank you.

PROFILES + NOTES

EZRA LADERMANcomposer

Ezra Laderman was born in Brooklyn, New York, in 1924. He studied composition with Stefan Wolpe and with Otto Luening and Douglas Moore at Columbia University, where he earned the Master of Arts degree. Laderman incorporates a lyrical style into a contemporary context, using tonal material in combination with atonal, polytonal or aleatoric elements, while seeking out unusual formal structures for his music. Many of his works deal with the transformation of musical material. Whether it be enigmatic or declarative at the outset, the initial musical structure is intrinsic to all that follows.

His eleven string quartets and eleven concer- tos for a variety of instruments are notable contributions to the repertory. His works for orchestra, including eight symphonies, have been conducted by Lawrence Leighton Smith, Eleazar de Carvalho, Riccardo Muti, André Previn, Carlo Maria Giulini, Mstislav Rostro- povich, Cristof Eschenbach, Sergio Commisiona, Herbert Blomstedt, Michael Tilson Thomas, André Kostelanetz, and Günter Herbig, among others. He has also written music for the Academy Award-winning films The Eleanor Roosevelt Story and Black Fox. In addition to six dramatic oratorios and music for dance, he has written seven operas, including Marilyn, based on the life of Marilyn Monroe, which had its premiere at New York City Opera in 1993.

Commissions have come from the orchestras of Chicago, Philadelphia, Minnesota, Pittsburgh, Dallas, Houston, Denver, Detroit, and New Haven, the New York and Los Angeles Phil- harmonic Orchestras, the National Symphony, and the American Composers Orchestra, among others. He has written for CBS TV, the Library of Congress, the Koussevitsky and Barlow Foundations, Meet the Composer, and the NEA in addition to commissions from such artists as David Shifrin, Ransom Wilson, Yo-Yo Ma, Emanuel Ax, Aldo Parisot, Jean- Pierre Rampal, Judith Raskin, Elmar Oliveira, and the Juilliard, Concord, Tokyo, and Audubon Quartets. He has written for the Connecticut Trio, DaCapo Chamber Players, New York Woodwind Quintet, and the Yale Cellos. In recent seasons, he has written pieces for Jesse Levine, Ransom Wilson, Yale Brass Trio, Miró Quartet, Philadelphia Singers, and the Pittsburgh Symphony.

Laderman was Dean of the Yale School of Music from 1989 to 1995 and is currently Professor of Music. He has been chairman of the NEA’s composer-librettist program, president of the

American Music Center, director of the music program of the NEA, president of the National Music Council, chairman of the board of the American Composers Orchestra, and president of the American Academy of Arts and Letters. He has taught at Sarah Lawrence College and at suny-Binghamton. He has received three Guggenheim fellowships and the Rome Prize, and has had residencies at the Bennington Composers Conference, the American Academy in Rome, and at the Rockefeller Foundation at Bellagio. He was the director of the Bennington Composers Conference, and was in residence with the Israel Philharmonic.

Ezra Laderman’s extensive discography in- cludes orchestral music recorded for the New World, CRI, Desto, and First Editions labels and chamber and piano music for Connoisseur, RCA Victor, and Albany. His music is now published exclusively by G. Schirmer.

PIANO SONATA NO. 2notes The four-movement Piano Sonata No. 2, which was composed in 1956, reconsiders motivic material from Laderman’s 1952 first piano so- nata. The first three notes of the first sonata, transposed up a sixth, are the beginning of a four-note motive which unfurls in the right hand into a long cantabile line. The introduc- tion, marked Adagietto – with tenderness and simplicity, is only sixteen measures long, but it is packed with transformations of this four- note motive, D-B-E-F.

In the body of the first movement, Laderman breaks this motive into the outer notes of each hand. The flow is faster and more mer-curial than many first movements; it has the obsessions and rhythmic deceptions of a finale or scherzo. The tops and bottoms of rapid figurations wedge apart to new points of ar-rival. Capped by two headlong plunges to the instrument’s depths, the body of the move- ment gives way to a return of the Adagietto music, now marked With mystery. The opening music returns in the right hand, rhythmically decompressed.

In the Romanza, the slow second movement, Laderman deepens existing relationships among pitches. The three notes which opened the work are twice re-ordered: once to begin the slow, strokes in the right hand marked bell- like, another for the faster melody below them. In the first and last thirds of the movement, collections of notes that comprise the G major scale give way to harmonically more stable passages in G minor. D-flat major can be found in the harmonic mix wherever G minor has not taken root.

The music opens with a beautiful stillness. After two bars, the bell-like right hand chords are replaced with filigree. When the music moves to G minor, this filigree material is slower and more substantial. After a reprise of the opening material, the right hand em- broiders an arching melody over the bass. Laderman engineers a return to the opening material just as this melody reaches its climax.

INGRAM MARSHALLcomposer

Composer Ingram Marshall lived and worked in the San Francisco Bay Area from 1973 to 1985 and in Washington State, where he taught at Evergreen State College, until 1989. His current base is Connecticut. He studied at Columbia University and the California Institute of the Arts, where he received an MFA degree, and has been a student of Indonesian gamelan music, the influence of which may be heard in the slowed-down sense of time and use of melodic repetition found in many of his pieces. In the mid-seventies he deve- loped a series of “live electronic” pieces such as Fragility Cycles, Gradual Requiem, and Alcatraz in which he blended tape collages, extended vocal techniques, Indonesian flutes, and key- boards. He performed widely in the United States and Europe with these works. In recent years he has concentrated on music combining tape and electronic processing with ensembles and soloists. His music has been performed by ensembles and orchestras such as the Theater of Voices, Kronos Quartet, Bang on a Can All-Stars, Los Angeles Philharmonic, San Francisco Symphony, St. Louis Symphony, and American Composers Orchestra. He has received awards from the NEA, Rockefeller Foundation, Fromm Foundation, Guggenheim Foundation, and the American Academy of Arts and Letters. Recent recordings are on Nonesuch (Kingdom Come) and New Albion (Savage Altars). Among recent chamber works are Muddy Waters, which was commissioned

PROFILES + NOTES

As the recapitulation progresses, the two hands are increasingly synchronized in a series of the bell-like chords. Chords drawn from G major, with D-flat major arpeggios underneath, bat- tle with G minor triads. The minor mode wins out, and the movement concludes peacefully.

With the third movement Scherzo furioso, the music rushes forward in the key of F minor, with the D-flat from the previous movement now used as a counterweight and dissonance. Individual phrases bound up from a low C. The phrases become more insistent and ex-plode in a barrage of C major arpeggios, and then everything repeats. A second theme of-fers fresh rhythmic complexities. A shattering climax leads to a middle section in which the bass line from the Molto Allegro becomes the tune. The roles of the hands are reversed time and again in the recapitulation.

The finale is a return home. Almost all of the ideas from the first movement are taken apart and reassembled. An introductory passage presents a simplified version of the Adagietto, with all canonic imitation eliminated. Next, Laderman dresses the Adagietto tune in G major and then C major, with broad, comfor- table accompaniment. This alternates with new versions of the Molto Allegro music, with the broad theme getting the last word.

Eugene List commissioned but never per-formed the work.– adapated from program notes by Harold Meltzer

and performed by the Bang on a Can All-Stars, and In Deserto (Smoke Creek), commissioned by Chamber Music America for the ensemble Clogs. January 2004 saw the premiere of Bright Kingdoms, commissioned by Magnum Opus/Meet the Composer, and performed by the Oakland-East Bay Symphony under Michael Morgan. The American Composers Orchestra in New York premiered his new concerto for two guitars and orchestra, Dark Florescence, at Carnegie Hall in February 2005.

AUTHENTIC PRESENCEnotes

“The cause or the virtue that brings inner au-thentic presence is emptying out and letting go.” – Chögyam Tungpa

This solo piano work, composed in 2000, is based on ideas from my earlier Piano Quartet, In My End Is My Beginning (EvenSongs – New Albion 112), although there is also a significant amount of new material in it as well. It is de-

dicated to the memory of Justin Blasdale, who was the pianist in the Dunsmuir Quartet, for whom I wrote the original work.

This music attempts to project a continuous state of mind or presence; it has an underlying motoric forward motion, but with stops and starts, moody diversions and reflections. About halfway through there is a stasis, a kind of reflective quiet section; I realized, quite after the fact, that this particular music was based on the civil rights anthem, “We Shall Overcome.”– Ingram Marshall

ANDY AKIHOcomposer

Andy Akiho is an eclectic composer whose interests run from steel pan to traditional classical music. His compositions have won prestigious awards, including a 2010 Horatio Parker Award at the Yale School of Music, a 2009 ASCAP Morton Gould Young Composers Award, and a 2008 Brian M. Israel Prize. Akiho’s works have been featured on PBS’s News Hour with Jim Lehrer and by organiza-tions such as Meet the Composer, Bang on a Can, American Composers Forum, and the Syracuse Society for New Music. He has com- posed for the Bang on a Can Marathon, Red Line Saxophone Quartet, and the Playground Ensemble. Akiho’s compositions have been heard in venues such as John Zorn’s The Stone, Jazz at Lincoln Center, Merkin Hall, Mass MOCA, the Tank (NYC), and the St. James

PROFILES + NOTES

Theater (Port of Spain, Trinidad). A graduate of the University of South Carolina (BM, performance) and the Manhattan School of Music (MM, contemporary performance), Akiho is currently a master’s degree student in composition at the Yale School of Music. He has recently studied composition with Julia Wolfe and percussion with John Ferrari and Jeffrey Milarsky. At Yale, he has studied composition with Christopher Theofanidis and Ezra Laderman and is currently studying with Martin Bresnick.

As a percussionist Akiho has performed with numerous professional ensembles, and his immersion in various genres has given him a unique approach to his primary instrument, the steel pan. Recent engagements include the South Carolina Philharmonic Orchestra, Ethos Percussion Group, Djoliba Don West African Drum and Dance Ensemble, Gamelan Lila Muni, and Island Close By Steel Band. He has participated in the world’s premier steel pan event, Panorama, and won second prize in the 2002 World Steelband Music Festival solo competition, where he premiered his own composition, Macqueripe. Since 2003, he has performed and taught steel pan extensively in New York City. As an educator, he serves as a lead teaching artist for ArtsConnection in New York. Akiho plans to continue his career as a performer while placing an emphasis on his chamber and orchestral compositions.

» www.andyakiho.com

| Love | (~*~) | Lost | Lust | (· ·) | Lone | notes

“Love | (~*~) | Lost | Lust | (••) | Lone |” is a cycle of six haikus commissioned by loadbang, a new music quartet featuring Jeffrey Gavett, baritone; Andrew Kozar, trumpet; William Lang, trombone; and Alejandro Acierto, bass clarinet. Loadbang premiered four of the haikus at the Yale Club in New York City on February 23, 2011. Tonight’s performance will be the world premiere of the cycle in its entirety.

TWO TONEStext

Everything that touches us, me and you,Takes us together like a violin’s bowWhich draws one voice out of two separate stringsUpon what instrument are we two spanned?And what musician holds us in his hand?O, sweetest song!

– Rainer Maria Rilkeexcerpt from Love Song

PROFILES + NOTES

REENA ESMAILcomposer

Reena Esmail’s compositions have been heard in performances and festivals in the United States, Canada and Europe. She holds a ba-chelor’s degree from Juilliard and has studied composition with Susan Botti, Christopher Rouse, and Samuel Adler. She has won two ASCAP Morton Gould Young Composer Awards and was the inaugural recipient of the Milton and Sylvia Babbitt Scholarship for Women Composers at Juilliard. Esmail is currently pursuing a master’s degree in com-position at the Yale School of Music, where she is a student of Christopher Theofanidis. As a pianist, Esmail was a winner in the mtac-wla Chamber Music Competition. She collaborates with Indian Carnatic singer Shobana Raghavan. Esmail is currently on the composition faculty at the Manhattan School of Music.

OMAR SURILLOcomposer

Omar Surillo (b. 1979, San Juan, PR) is a composer and multi-instrumentalist from the Orlando area. He has participated in various ensembles nationally and internationally, ranging from classical and jazz to rock music.

Omar began taking piano lessons at the age of five. Soon after, he learned to play the guitar, followed by alto and baritone saxophone and drum set. He went on to pursue his under- graduate degree at Stetson University (2006), where he studied composition with Sydney Hodkinson and Manuel DeMurga. While at Stetson, Omar was awarded the title of Stetson Piano Scholar (2006), selected as an associate artist for the Atlantic Center for the Arts (2007), and inducted into the music honor society, Pi Kappa Lambda (2007).

After graduating magna cum laude in December of 2008, Omar went on to teach music theory fundamentals at Stetson University, along

with a composition and songwriting course at Valencia College. Currently, he is a student at the Yale School of Music, where he studies with Martin Bresnick. Previous teachers in- clude Ingram Marshall, Aaron Jay Kernis, and Christopher Theofanidis.

BLANKETnotes

blanket, my first work for this ensemble, came to me as an experiment in pitch sustainability. I have always enjoyed the sound of an electric guitar with bow and its ability to sound like feedback with infinite sustain. After I fleshed out some ideas, warm, slow, and sustained seemed like an appropriate mood for the piece.The work has the guitar and saxophone ex- changing musical lines throughout, similar in contour and pitch content, that are interlocked with each other in order to assimilate a timbral blanket of sound. A scissoring effect occurs in the middle of the work, fairly thick in texture, tearing apart any preconceived notions in-stilled by the beginning of the piece.

DANIEL WOHLcomposer

Daniel’s work draws on his background in electronic music and delves into sounds produced by decayed audio and pre-recorded media. His pieces have been commissioned and/or performed by ensembles including the American Symphony Orchestra, eighth blackbird, California E.A.R Unit, Calder Quartet, New York Youth Symphony, Dither electric guitar quartet, Mantra, and St. Luke’s Chamber Ensemble, among others. His music has been heard internationally in venues such as Carnegie Hall, Le Poisson Rouge, Symphony Space, Disney Hall’s Redcat, Chelsea Art Museum, Mass MoCA, and Dia Beacon, and over media outlets such as PBS, TF1, CANAL+, and France 2. Upcoming and recently completed projects include commissions from the Jerome Foundation, Meet the Composer, the Albany Symphony, So Percussion, and TwoSense.

SAINT ARCnotes

White noise was the basis around which this piece was conceived. The bow silently brushing against the strings provides a constant back- ground out of which harmonics and other gestures emerge. I would like to thank cellist Mariel Roberts for her involvement in the creation of Saint Arc. She and I worked closely on both the cello part and the electronics, which consist entirely of her pre-recorded cello sounds. Saint Arc was commissioned by Meet the Composer and premiered at the Diapason Gallery in New York.

PROFILES + NOTES

Mr. Tierney has studied composition with Jeffrey Johnson and Douglas Townsend at the University of Bridgeport, John McDonald at Tufts University, and privately with Ryan Vigil.

–Bio by Roberto Toscano

CHAINSnotes

Chains is a short composition for solo ma-rimba. The work maintains a chorale texture, one of the most basic yet beautiful manners of marimba playing. The title refers to the configuration of tones as well as the register, which begins brightly, but is inexorably drawn downward into deeper darker regions. (duration: ca. 3’30”)

—Justin Tierney

JUSTIN TIERNEYcomposer

Justin Tierney (b. 1984, New Haven, Conn.) is pursuing an artist diploma in music com-position at the Yale School of Music under the guidance of Ezra Laderman, Martin Bresnick, and Christopher Theofanidis.

His recent projects include The God Script, a music drama based on the short story “La Escritura del Dios” by Jorge Luis Borges. The fifty-minute work relates the cosmic revelations of an imprisoned Aztec mystic who deciphers the words of God embedded in the spots of a jaguar.

Regarding his aesthetic, Tierney has stated that “the nightly stars can be admired from either a scientific or aesthetic view, yet the coupling of the two modalities creates an ap-preciation greater than their sum. Attractive mechanics buttressing beautiful surfaces that coalesce into poignant experiences: this is what I strive for as a composer.”

CHIRS ROGERSONcomposer

22-year old Chris Rogerson’s music has been praised for its “haunting beauty” (New York Times). Rogerson has already received commi- ssions and performances from ensembles such as the Buffalo Philharmonic Orchestra, the Curtis Symphony Orchestra, and the JACK Quartet, at venues including the Library of Congress and the Kennedy Center in Washing- ton, DC, and Lincoln Center, Merkin Hall, and the 92nd Street Y in New York City.

Chris has won awards from ASCAP, the Aspen Music Festival, National Foundation for the Advancement of the Arts, National Association for Music Education, New York Art Ensemble, and the Theodore Presser Foundation. He re-ceived his B.M. degree from the Curtis Institute of Music and is pursuing his M.M. degree at the Yale School of Music. Chris is represented by Young Concert Artists, Inc. and is their composer-in-residence. YCA has commis-sioned two works, the first of which was

premiered by pianist Charlie Albright. The second is for violinist Benjamin Beilman for premieres at the Kennedy Center, Merkin Hall, the Philadelphia Museum of Art, and the Isabella Gardner Museum in Boston. Rogerson’s music has been featured at the Aspen, Bowdoin, Norfolk, and Ravinia festivals, and on NPR’s Performance Today, CBC Canadian National Radio, Radio France, Italian National Radio, Radio New Zealand, WQXR in New York, and WHYY in Philadelphia.

BRADWELL ON THE SEAnotes

Bradwell-on-the-Sea was written for the cellist Brook Speltz, a phenomenal player and my good friend from the Curtis Institute, where we both did our undergraduate degrees. The title comes from a small town in Essex, England that is the site of the oldest active church in all of Great Britain. In the piece, I try to incorpo- rate both very old and new musical techniques and gestures. The form of a piece is sort of a truncated solo Bach suite, with a Prelude, Sarabande, and finally, a Gigue.

PROFILES + NOTES

TIMOTHY ANDRES

Timothy Andres (b. 1985, Palo Alto, Calif.) is a composer and pianist. He grew up in rural Connecticut and lives in New York City. His compositions meld a classical-music upbring- ing with diverse interests in the natural world, graphic arts, technology, cooking, and photo-graphy. He has been praised for his “acute ear” by the New York Times’s Anthony Tommasini and “stubborn nose” by the New Yorker’s Alex Ross. An avid pianist from an early age, Timothy (Timo for short) performs widely, focusing especially on music by his contem- poraries. “New music cannot be intimidating when played with this degree of skill and zest,” proclaimed Boston Globe critic Richard Dyer.

Timo’s début album, Shy and Mighty, was re- leased in May 2010 on Nonesuch. The disc comprises ten interrelated pieces for two pianos, performed by co-pianist David Kaplan and the composer. Shy and Mighty was an immediate critical success; Alex Ross wrote in the New Yorker that “the music achieves an

unhurried grandeur that has rarely been felt in American music since John Adams came on the scene... more mighty than shy, [Andres] sounds like himself.” Andres per- formed sections from the work with pianist Brad Mehldau at Zankel Hall this March. Recent commissions include new works for Metropolis Ensemble, an octet for members of New World Symphony (Some Connecticut Gospel), a violin/viola concerto for Owen Dalby and the Albany Symphony (Look Around You), and a chamber orchestra work for the Los Angeles Philharmonic (Nightjar), conducted by John Adams. The coming season will fea-ture new pieces for Ensemble ACJW and the ACME quartet, among others.

Timo earned his bachelor’s and master’s de- grees from Yale. He first studied composition during high school, at Juilliard’s pre-college division, and has since worked with Martin Bresnick, Ingram Marshall, Aaron Jay Kernis, Chris Theofanidis, John Halle, Matthew Suttor, Kathryn Alexander, Michael Klingbeil, and Orianna Webb. Eleanor Hancock was his piano teacher for many years; later, he studied with Frederic Chiu, Boris Berman and Elizabeth Parisot. He has received awards from the American Academy of Arts and Letters, bmi, and ascap, as well as grants from Meet the Composer and the American Music Center.

» www.andres.com

GUEST ARTISTS

Photo by Mingzhe Wang

GUEST ARTISTS

ADELA HYEYEON PARK

Praised for her “very sensitive” (Washington Post) and “highly nuanced” (Lucid Culture) playing, pianist Adela Hyeyeon Park is rapidly gathering attention for her flawless technique and poetic lyricism. Since making her debut at the age of ten with the Seoul Symphony Orchestra, Ms. Park has performed extensive-ly as a recitalist and chamber musician, as well as a soloist with major orchestras such as the Seoul Philharmonic and KNUA Chamber Orchestra. In recent seasons, she has performed in Zankel Hall at Carnegie Hall, Merkin Hall, Steinway Hall, Chicago Cultural Center, Kennedy Center, Palacio de Festivales de Santander, Melbourne Hammer Hall, and Seoul Arts Center, among others. Her solo and chamber performances have been broadcast on KBS and EBS television (Korea), WFMT (Chicago), WBJC (Baltimore), and WETA (Washington, D.C.) radio, channel LOOP in the U.S., and television in Spain and Mexico.

Ms. Park has received major honors in Korea, including being named the Most Promising Young Artist after winning first prize in the Chosun Competition. She is a prizewinner at international competitions including Oberlin, Ettlingen (Germany), Maria Canals (Spain), Prix Amadeo (Germany), and Hugo Kauder (USA). An active chamber musician, Ms. Park has collaborated with Alan Kay, Nicholas Mann, Donald Weilerstein, Maria Piccinini, Paul Katz, and Amit Peled. She has appeared at the Yellow Barn Music Festival, Salzburg Mozarteum

Summer Academy, Santander Music Festival (Spain), and Music@Menlo. Ms. Park has won prizes at the Chamber Music Competition of New England, as a member of the Atapine-Park Duo, and the Plowman Chamber Music Competition, as a member of the Atria Ensemble. Park’ s two recordings for cello and piano were released by Naxos on the Urtext Digital label.

Ms. Park received her BM degree from the Korean National University of the Arts, where she was a student of Daejin Kim, and her MM and artist diploma from the Yale School of Music, where she studied with Peter Frankl. She is a recipient of the Charles Miller Prize and the Elizabeth Parisot Prize. Ms. Park has participated in master classes with Leon Fleisher, Richard Goode, Menahem Pressler, Piotr Paleczny, and Alicia de Larrocha, among others. Currently, she is a DMA candidate at the Peabody Conservatory under the guidance of Yong Hi Moon.

» www.hyeyeonpark.com

Photo by Mingzhe Wang

Tickets: $15 / $8 students at www.yale.edu/music or 203.432.4158. Presented with support from Yale Glee Club

saturday · march 26 · 8 pmwoolsey hall (corner college & grove)

preconcert talk by markus rathey · 7 pm

bach collegium japan

masaaki suzuki artistic director and conductor

J.S. Bach: Mass in B Minor, bwv 232

yale institute of sacred music presents

Benefit concert for

Yale’s relief efforts in Japan

NEW MUSIC NEW HAVEN

artistic directorChristopher Theofanidis

managing directorKrista Johnson

librarian and production assistantRoberta Senatore

assistant Joseph Peters

music librarians Yeseul AnnHolly PiccoliWai LauLiesl SchoenbergerKaitlin TaylorElizabeth UptonSara Wollmacher

stage crew Landres Bryant Paul FuterMichael Levin Cameron McPhailBrian Reese Ruben RodriguezHermelindo Ruiz Andreas Stoltzfus Craig WatsonDavid Wharton

Thursdays at 8 pmFree admission

APR 14MORSE RECITAL HALL

Yehudi Wyner, featured guest composer: On This Most Voluptuous Night (1982) for soprano, flute, horn, string quartet, and piano. Plus music by Andy Akiho, Adrian Knight, Jordan Kuspa, Hannah Lash, and Justin Tierney.

APR 28TRINITY LUTHERAN CHURCH

Aaron Jay Kernis, featured faculty composer: String Quartet No. 2, performed by the Jasper Quartet. Plus new music by Andy Akiho, Reena Esmail, Adrian Knight, Jordan Kuspa, and Justin Tierney. With the Yale Camerata, directed by Marguerite L. Brooks.

Yale School of Music203 432-4158concerts@yale.edumusic.yale.edu/media

COMING UP

Kyung Yu and Elizabeth ParisotMarch 25 | Fri | 8 pm | Sprague | FreeThe Faculty Artist Series presents Kyung Yu, violin, and Elizabeth Parisot, piano, in music by Handel, Beethoven, and Saint-Saëns.

Boris Berman and Ettore CausaMarch 26 | Sat | 5 pm | Sprague | FreeThe Faculty Artist Series presents Ettore Causa, viola, and Boris Berman, piano, in music of Schumann and Brahms.

Benefit Concert: Bach Collegium JapanMarch 26 | Sat | 8 pm | Woolsey Tickets $15 | Students $8Bach Collegium Japan, directed by Masaaki Suzuki, performs J.S. Bach’s Mass in B minor. All proceeds benefit earthquake relief in Japan.

Miró QuartetMarch 29 | Tue | 8 pm | SpragueTickets $20–$30 | Students $10String quartets of Haydn and Brahms, plus Gunther Schuller’s Horn Quintet with guest artist Julie Landsman.

Yale Philharmonia: Mahler 5April 1 | Fri | 8 pm | Woolsey | Free Peter Oundjian guest conducts the Yale Philharmonia in Smetana’s Sarka; Strauss’s Nottorno, with bass-baritone Tyler Simpson; and Mahler’s Symphony No. 5.

concerts & mediaDana AstmannMonica Ong ReedDanielle HellerRichard Henebry

operationsTara DemingChristopher Melillo

piano curatorsBrian DaleyWilliam Harold

recording studioEugene KimballJason Robins

Yale School of Music203 432-4158concerts@yale.edumusic.yale.edu/media