Yale ConCert BandThomas C. Duffy, Music Director

Woolsey Hall, Yale UniversitySaturday, April 11, 2015, at 7:30 pm

WILLIAM SCHUMAN

ELIZABETH KELLY

CHARLES IVEStrans. William E. Rhoads

THOMAS C. DUFFY

MIKALOJUS KONSTANTINAS ČIURLIONIS

arr. Ugnius Vaiginis

CHARLES IVES arr. James B. Sinclair

New England Triptych (1956)I. Be Glad Then, America

II. When Jesus WeptIII. Chester

Ice (2008)I. Prelude to Freezing

II. Frozen AriaIII. Meltdown March

Trevor Babb, electric guitar

Variations on “America” (1891)

Corpus Callosum (1999)

Miške (In the Forest) (1901) Ugnius Vaiginis, guest conductor

Here’s to Good Old Yale (1896)

~ INTERMISSION ~

Music of Lithuaniaand America

About Tonight’s MusicNew England Triptych (1956)WILLIAM SCHUMANWilliam Schuman wrote New England Triptych as a tribute to the music of William Billings, an early American composer. In subsequent years, he transcribed the music for band, greatly enlarging the score. The first movement, Be Glad Then, America, highlights timpani and a two-part chordal counterpoint. Typical of Billings’ music, it is noble and exciting. The second part of the triptych is a development of When Jesus Wept, a round by Billings. This movement contains a sacred theme that is particularly sen-sitive, beginning with low skin drums and a single cornet and euphonium. Chester, the third section, is based on a famous American Revolutionary hymn and marching song of the same name. It was practi-cally the unofficial national anthem during the war. After the initial introduction of the hymn tune in the woodwinds and then brasses, Schuman presents the main melody in a wonderful contemporary setting.

Ice (2008)ELIZABETH KELLY“As a native Californian, Northeastern winters came as a shock to me. However, eventually I fell in love with the change of seasons and the different states of water that typify each season. The first move-ment of Ice, Prelude to Freezing, depicts the flowing water of fall before slowing down to freeze in the final moments. The pure electric guitar comes to the fore. In a cadenza of evolving timbres, the electric guitarist soars like a figure skater over the slowly shifting icy chords in the ensemble. Towards the end of the movement, there are hints of fissures in the ice as different instruments in the ensemble enter into a bluesy dialogue with the guitar. In the final movement, water bursts forth from these fissures as the distorted guitar and wind ensemble join for a springtime Meltdown March.” – Elizabeth Kelly Ice was commissioned by the Robert G. Boehmler Foundation for premiere by the Eastman Wind Ensemble in January 2010. The piece was recognized with an honorable mention in the 2008 ASCAP/CBDNA Frederick Fennel competition. Elizabeth A. Kelly, an alumna of the Yale Concert Band, has had her works commissioned and performed by diverse ensembles including the Ann Arbor Symphony, Cabrillo Festival Orches-tra, Janacek Philharmonic Orchestra, New York Youth Symphony, Netherlands Youth Orchestra, Al-bany Symphony Dogs of Desire, Liverpool Philharmonic Ensemble 10/10, ASKO Schoenberg, Aspen Contemporary Ensemble, and California EAR Unit. Her compositions have been performed at venues throughout the U.S. and Europe including Carnegie Hall and the Aspen, Bang on a Can Banglewood, Bowdoin, Brevard, Cabrillo, CCM Music03, Gaudeamus, Huddersfield, and Ostrava Days Festivals. Her work has been recognized with two ASCAP Morton Gould Young Composer Awards and honor-able mentions in the ASCAP Frederick Fennell and Rudolf Nissim competitions. She won second prize at the 2009 Apeldoorn Young Composers Meeting Final Competition and 1st prize at the 2011 Young Masters XXI competition in the Netherlands. Kelly (b. 1982) earned a Ph.D. in composition from the Eastman School of Music with the support of a Jacob Javits fellowship from the United States Department of Education and a Robert and Mary Sproull fellowship from the University of Rochester. She was awarded a Frank Beebe Fellowship

for studies at The Hague Royal Conservatory, where she earned a Master’s degree. She holds an M.M. in composition from the University of Michigan School of Music, where she was awarded the Ellen Marin Memorial and full merit scholarships. Kelly completed her B.A. in music summa cum laude, Phi Beta Kappa at Yale. Her work has been supported by a MacDowell Colony Fellowship, published by Donemus and released by Huddersfield Contemporary and Centaur Records. She is an Assistant Profes-sor of Music Composition and Theory at Texas Woman’s University in Denton, Texas.

Variations on “America” (1891)CHARLES IVES (Trans. William E. rhoDEs)Charles Ives, the son of a Civil War bandmaster, is regarded as the first truly American composer of the twentieth century. Ives’ father encouraged his son to experiment with all kinds of music and acoustic sounds. A church organist at thirteen, Ives later entered Yale University and studied composition with Horatio Parker, but chose to become an insurance executive instead of a professional musician. In his compositions, Ives employed techniques such as polytonality, atonality, polymetric pat-terns, tone clusters , and microtones. Subjects of these innovations were hymn tunes, patriotic melodies, and ragtime, mixed together in a style which is both imaginative and daring. Variations on “America” is a witty, irreverent piece for organ composed in 1891 when Ives was sixteen. According to Ives’ bi-ographers, Henry and Sidney Cowell, Ives played this piece in organ recitals in Danbury, Connecticut and Brewster, New York in the same year. Variations on “America” is the earliest surviving piece using polytonality (melodies in more than one key simultaneously). William Schuman wrote the orchestral transcription in 1949, and William E. Rhodes wrote the concert band transcription in 1964.

Corpus Callosum (1999)THOMAS C. DUFFYCorpus Callosum was written for and dedicated to Colonel Jack H. Grogan on the occasion of his retirement from the United States Army Field Band. This short musical collage is constructed from snippets of the music Colonel Grogan would have worked with over the course of his musical career. The musical excerpts fall into two categories, each of which roughly corresponds to one half of the human brain. The martial music represents discipline, order, drill, and precision, each of which re-flects the quantitative qualities of the left hemisphere of the brain. The more lyrical musical excerpts represent nostalgia, humor, honor, duty and patriotic affection for country and state (in particular, Texas and Maryland), all attributes associated with the right hemisphere of the brain. The corpus callosum is the nerve system that connects the two hemispheres of the brain. Imagine, in this case, a conductor whose corpus callosum has been severed, creating a bilaterally independent conductor. Frequently, the hands are in different meters, for without the communication network between the brain’s hemispheres, each half of the conductor proceeds without respect to the other. The left hand shapes the nostalgic music in one meter while the right hand directs patriotic marches in another, creating a four-minute musical collage.

YALE CONCERT BAND

Miške (In the Forest) (1901)MIKALOJUS KONSTANTINAS ČIURLIONIS(arr. ugnius Vaiginis)Artist and composer Mikalojus Konstantinas Čiurlionis (1875-1911) is an exceptional figure not only in the Lithuanian, but also in the European cultural tradition. Čiurlionis wrote around three hundred mu-sical compositions, among them two large-scale symphonic poems, a cantata for choir and orchestra, works for choir, string quartet, organ and piano, in his decade-long musical career. His late composi-tions were considered ground-breaking and radical for his period. At the same time, Čirulionis earned even more recognition as an artist. In 1903, he devoted himself to painting, creating over three hundred paintings. In his later paintings, Čiurlionis created a unique blend of musical compositional principles and free treatment of elements of visual representation. In 1900, while living in Warsaw, Čiurlionis entered a composition competition announced by Count M. Zamoisky and composed a full sketch of the symphonic poem, “In the Forest,” in eleven days. He orchestrated the work and submitted it to the judges in early spring of 1901. Even though the work received high praise from the judges, no prize was awarded. The first performance of “In the For-est” took place in 1912 in Saint Petersburg, one year after the composer’s untimely death. Composed in the tradition of late Romanticism, the work reveals one of the composer’s major sources of inspira-

tion – his love for the old pine forest around Druskininkai, his childhood town. In a letter he wrote from Leipzig to his childhood friend, Petras Markievicz, Čiurlionis describes the opening lines of the poem: “I won-der if you remember anything from that composition? If I remember it correctly, I played for you excerpts, do you remember? It begins with soft, wide chords, reminding of the soft and wide rustling of our Lithu-anian pines.” In May 2013, the Yale Concert Band toured Lithuania, Latvia, and Estonia. While in Lithuania, the group had the opportunity to perform with Trimitas, the Lithuanian State Wind Instrument Orchestra, and its

conductor Ugnius Vaiginis. After the tour, Mr. Duffy invited Mr. Vaiginis to guest conduct at Yale, and two years later, we are pleased to welcome Maestro Vaiginis to conduct his arrangement of Miške (In the Forest). This first-ever adaptation of Miške (In the Forest) for wind orchestra, arranged by Ugnius Vaiginis in 2015, proves once again that even after more than a hundred years, the work inspires new approaches. Adapted to modern performing forces, this symphonic poem blossoms with new nuances and colors. Today, the piece will reach wider audiences and allow more musicians to delve into the magical world of Čiurlionis’ music.

Here’s to Good Old Yale (1896)CHARLES IVES Charles Ives (Yale Class of 1898) wrote Here’s to Good Old Yale during his first two years at Yale Uni-versity. This unusually shaped quick march spins out a simple melody known as “Bingo,” a fight song that is still played and sung at Yale today.

American guitarist/composer Trevor Babb is a versatile guitarist based in New Haven, CT. Mr. Babb has received several awards and recognitions including a Fulbright Award, the Yale School of Music’s Eliot Fisk Prize, and Second Prizes in the Denver Classical Guitar Competition in 2014 and 2011. He has performed as a soloist and chamber musician throughout the United States, as well as in Swit-zerland and Spain. A passionate advocate of contemporary music, he has given first performances of works by several young and well-established living composers. His recent engagements have included a solo electric guitar performance at Clark University in Worcester, MA, a concert with acclaimed tenor Steven Soph in Boulder, CO, a solo electric guitar set at New Haven’s “Uncertainty Music Series,” and a residency at the Norfolk Chamber Music Festival New Music Work-shop. Upcoming projects include a week-long solo tour throughout

Maryland and Virginia, performances at the Bang on a Can 2015 Summer Music Festival, and his forthcoming debut solo recording of works for multiple overdubbed electric guitars. Mr. Babb holds degrees from the Eastman School of Music and the Yale School of Music. He also studied for a year at the Haute École de Musique de Genève in Geneva, Switzerland under a Fulbright Scholarship and is currently working toward the Doctor of Musical Arts degree at the Yale School of Music. His principal teachers have been Nicholas Goluses, Benjamin Verdery and Dusan Bogdanovic.

About the Soloist

• Sunday, May 17, 2015: Yale Concert Band Annual Twilight Concert. Celebratory music on the eve of Yale’s Commencement. 7:00 pm, outside on the Old Campus. Free.

Upcoming Yale Bands Performance

YALE CONCERT BAND

liz Jones, Br ’15, Clarinet

In the four years I have played with the Yale Concert Band, two experi-ences stand out in my memory. The first was during a concert in our re-cent tour to Ghana: it was evening, an outdoor performance in the village of Yamoransa, and we were halfway through a subtly lyrical piece when the electricity suddenly went out. In the dark, visually divorced from the sheet music, the band didn’t falter for a second, continuing until those who were not playing in this number – myself, and some of the percus-sionists – lit the space with our phones. The lights, the music, the night sky, the audience – this was one of the most powerful collective musical experiences I’ve ever had. The second memory came later, in our first performance of my senior year. Then, I played my first and only piano

concerto at Yale: Ballade for Piano and Winds, by Byron Adams. It was a great challenge, and a great honor, and allowed me to grow immensely as both a person and a musician. As my time at Yale winds to a close, I cannot thank Mr. Duffy and the Yale Concert Band enough for giving me a comfortable space to continue making music.

david Molina, td ’15, Piano

I had no plans to audition for YCB. As a freshman, I attended a Yale Bands information session because I wanted to play jazz. But Mr. Duffy had some words for us: “It never hurts to audition -- you can’t get in if you don’t try.” Four years later, I can say that trying was one of the best decisions I ever made. I was accepted to YCB on third clarinet, which I have played for the entirety of my time here. The thirds sit in the back row, mostly doubling other instruments and rarely being noticed (except when we do something wrong, of course). Within a few months, I realized that I had been admitted to a special community. YCB travels the world together. We play countless concerts,

inaugurations, processions, and benefits. We spend hours at lunch and dinner chittering about our rep-ertoire; our instruments; our lives; our musical and nonmusical pasts, presents, and futures. The other day I was tallying the number of hours I must have spent with this group over the past four years. I’m not a math major, so I lost track pretty quickly, but it’s safe to say that those hours have been some of the most enjoyable and enriching of my college career. As graduation approaches, I reflect on how thankful I am for the YCB, and how much it has shaped my experience at Yale. I can say with sincerity that I am humbled by the musicians who have become my best friends, and deeply gratified to have spent the past four years sitting in the back of the band with you.

Senior Reflections

I am so proud to be a member of the Yale Concert Band. This amazing group of musicians has really become my family over the past four years. We've traveled the world together! Our tour to the Baltics my sophomore year was my first experience abroad and I am elated that I got to share that adventure with the band. Touring old castles, trying to determine if the tourist shops were selling real amber or fakes, tying our shoes together into a massive knot on the boat tour, getting lost in the beauti-ful historic cities like Vilnius, eating dinner at 9 at night because the sun wouldn't really set and we had no idea what time it was, geocaching (with varying degrees of success), all the while humming the Overture to Candide, which was stuck in everyone's head.

Certainly we came back from tour with photos and stories, a closer band than before, but looking back I am really going to miss the more routine aspects of band life. I am going to miss BLunch (Band Lunch) in Commons, fighting over the delicious cookies at BDinner (Band Dinner) in the Slifka Center, Deadweek shenanigans, Mr. Duffy's anecdotes when the percussion are setting up, and of course making music with you all. Playing music with you all has meant the world to me, and thank you so much for letting me be a part of it.

alex PaPPas, sM ’15, alto SaxoPhone

The Yale Concert Band has been like a family to me in my four years at Yale. I have been a part of YCB since my freshman year, and through the band, I have had some incredible experiences. Musically, I got to play the loudest (or most annoying) instrument in the band, the piccolo. (Thanks to Mr. Duffy for letting me continue to play piccolo through my four years in YCB!) The band also took part in performances for commencement and inauguration – something that I couldn’t have imagined being a part of if it wasn’t for the band. The most exciting (and scary) musical experience was having the oppor-tunity to play the famous piccolo solo from Stars and Stripes Forever with the West Point Army Band.

Besides music, band has given me the chance to become a global citizen through our tours to the Baltics and Ghana. We learned to not only “manage our expectations,” but also how to appreciate different cultures through its history and music. I will always remember staying up until the sun rose, watching the sunrise, playing in pitch darkness, and countless number of other memories. I am very thankful for Mr. Duffy for letting me into the YCB my freshman year, Stephanie, for keeping all of us together and being the best manager, and all of the members of the YCB. Joining the band was the best decision I made at Yale. From our concerts to post-concert receptions to BDin-ner to tours and Mr. Duffy’s jokes, band has given me memories that I will cherish forever.

Joohee son, sY ’15, PiCColo

YALE CONCERT BAND

I joined the band as soon as I arrived on campus my freshman year, so the only Yale organization I’ve been involved in for longer is my residential college. As a student, Saybrook has been my home. Saybrook is where I’ve met some of my closest friends, taken my meals, and retreated to recover my equilibrium after a difficult week. The band has been my musical home on campus; while I’ve worked with many other ensembles, each Tuesday and Thursday has been band day. Performing in the band has been a criti-cal grounding force – it has helped set the tempo of college life. Of course, the band has also changed my Yale experience. The post-rehearsal dinners I’ve taken with band friends, the chamber groups we’ve started together, and the adventures we’ve had – like traveling to the Tuba

Christmas celebration at Rockefeller Center – will stay with me. Finally, my membership in the band has granted me the opportunity to do things at Yale I simply could not have done otherwise. I performed in Beinecke Plaza for the reinstatement of the Yale NROTC program. I walked the streets of New Haven with a sousaphone to celebrate President Salovey’s inauguration. I joined the Yale Symphony and the Yale Glee Club to perform Ive’s wild 4th Symphony. And, last December, I was 20 feet from stardom: I joined African mega-star An-gelique Kidjo for an amazing concert in Woolsey Hall. The band has made my Yale life so much richer: I’m grateful to my band mates, to Stephanie, and to Mr. Duffy for making it so.

JaMes volz, sY ’15, tuba

YALE CONCERT BAND

Ugnius Vaiginis (b. 1968) earned his Masters Degree from the Lithuanian Academy of Music and Theatre, where he studied trumpet, conducting, and educology under Eduardas Kuskinas and Romas Balčiūnas (Lithuanian State Conservatory). Since 1986, he has worked with Jovaras Children and Youth Orchestra. Since 1993, he has been the concertmaster and conductor’s assistant of the Lithuanian State Wind Instru-ment Orchestra Trimitas, and in 2009, he became the orchestra’s principal conduc-tor. In 2010, Vaiginis created Trimitas Lithuanian State Wind Instrument Orchestra Festival Resound Your Trumpets. In 2006, Vaiginis led Trimitas at the International Festival of Musical Bands in Giulianova (Italy). Since 2008, the orchestra has regularly participated in Musikparade International Festival (Germany). In 2010, Vaiginis was the principal conductor of Berlin Tattoo Festival of the World Orchestras (Germany). In the same year, Trimitas won Grand Prix at the Chopin International Festival (Poland). In 2011,

Trimitas earned recognition at the International Band Festival (Norway). Under Vaiginis, Trimitas has performed a variety of music programs, including original classical, con-temporary, sacred, jazz, and popular music, featuring James Morrison (Australia), Steven Mead (Great Britain), Sergei Nakariakov (France), and Johnatan Warburton (Great Britain). Trimitas also collaborated with composers and conductors Jacob de Haan (The Netherlands), Jan van der Heide (The Netherlands), John Linch (USA), Bert Langeler (The Netherlands), Janis Purins (Latvia), Thomas C. Duffy (USA), Viacheslav Mikhnevich (Belarus), and Jorgen Jansen (Denmark). Vaiginis has presented projects with leading Lithuanian performers including Virgilijus Noreika, Vytautas Juozapaitis, Algirdas Budrys, Asta Krikščiūnaitė, Eduardas Kaniava, Rasa Juzukonytė, Judita Leitaitė, Edmundas Seilius, Merūnas Vitulskis, Vaidas Vyšniauskas and Marius Balčytis, collaborated with composers such as Algimantas Raudonikis, Teisutis Makačinas, Mikalojus Novikas, Rimantas Giedraitis, Zita Bružaitė, Antanas Kučinskas, Loreta Narvilaitė and Linas Rimša. In 2009, Trimitas recorded works by contemporary Lithuanian composers. In 2013, leading Lithuanian soloists and Trimitas recorded Kur aukštas klevas (Where the High Maple Tree), featuring Algimantas Raudonikis’ most beautiful songs. Vaiginis takes active part in international seminars and master classes in Lithuania, Estonia, The Neth-erlands, Germany, Switzerland, and Austria. He is a member of the Lithuanian Musicians’ Union and the World Association for Symphonic Bands and Ensembles. Vaiginis regularly organizes educational concerts, creative camps and workshops for children and youth in Lithuania. In 2011, for his contributions to education, Vaiginis received a note of gratitude from Dalia Grybauskaitė, President of the Republic of Lithuania. The same year he received a note of gratitude from Gin-taras Steponavičius, the Minister of Education of the Republic of Lithuania, for his active and genuine involve-ment in the 16th Baltic Countries Student Song and Dance Fest Gaudeamus. In 2012, for his leadership and ac-tive creative work, Vaiginis received a note of gratitude from Gintaras Steponavičius, the Minister of Education of the Republic of Lithuania. In the same year, he also received a note of gratitude from Arūnas Gelūnas, the Minister of Culture of the Republic of Lithuania, for his creative work, outstanding programmes, promulgation of stage art, and contributions to Lithuanian culture. In 2013, Vaiginis created Europos Fanfaros 2013 (European Fanfares 2013). The fanfares were performed on July 5 at the Vilnius University’s St. Johns’ Church Courtyard to mark the opening of the Lithu-ania’s Presidency of the Council of the European Union. For this initiative Dalia Grybauskaitė, President of the Republic of Lithuania, extended a note of gratitude and Medal of the President to Vaiginis.

About the Guest Conductor

About the Music Director

Thomas C. Duffy (b. 1955) is Professor (Adjunct) of Music and Direc-tor of University 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 direction, the Yale Bands have performed at confer-ences of the College Band Directors National Association and New England College Band Association; for club audiences at NYC’s Vil-lage Vanguard and Iridium, Ronnie Scotts’s (London), and the Belmont (Bermuda); performed as part of the inaugural ceremonies for President George H.W. Bush; and concertized in nineteen countries in the course of sixteen international tours.

Duffy produced a two-year lecture/performance series, Music and the Brain, with the Yale School of Medicine; and, with the Yale School of Nursing, developed a musical intervention to train nursing students 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 different meter in each hand, sharing downbeats. His compositions have introduced a generation of school musicians to aleatory, the integration of spo-ken/sung words and “body rhythms” with instrumental performance, and the pairing of music with political, social, historical and scientific themes. He has been awarded the Yale Tercentennial Medal for Composition, the Elm/ Ivy Award, the Yale School of Music Cultural Leadership Citation and certificates of appreciation by the United States Attorney’s Office for his Yale 4/Peace: Rap for Jus-tice 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 College Band Directors Association and the College Band Directors National As-sociation (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 Affairs and Government Relations committees. For nine years, he represented music education in Yale’s Teacher Preparation Program. He is a member of American Bandmasters Asso-ciation, American Composers Alliance, the Connecticut Academy of Arts and Sciences, Connecti-cut Composers Incorporated, the Social Science Club, and BMI. Duffy 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.

YALE CONCERT BAND 2014-2015THOMAS C. DUFFY, Music DirectorSTEPHANIE T. HUBBARD, Business Manager

PiCColoJoohee Son SY 15*

fluTENeyén Romano BK 18 PrincipalPaige Breen SY 16Emma Platoff MC 17Catherine Lacy BR 18Jamar Williams SY 17

oboEMason Ji MC 16 PrincipalAlexandra Detyniecki YSM 13

English hornAlexandra Detyniecki YSM 13

Eb ClarinETAndrew Brod BK 17

ClarinETEugene Kim BK 16 Keith L. Wilson Principal Clarinet ChairAlexander Ringlein BR 18Jacob Neis SY 17Anson Wang DC 17Daniel Hwang TC 16Ellie Handler ES 18Liz Jones BR 15*Betsy Li SY 18Andrew Brod BK 17

bass ClarinET Libby Dimenstein MC 17

bassoonBenjamin Lawrence ES 17 PrincipalLily Sands BR 18Grant Laster JE 18

alTo saxoPhonE Alex Pappas SM 15* PrincipalMichael Hoot BR 17

TEnor saxoPhonE Hayley Kolding SY 17

bariTonE saxoPhonEAlec Mukamal SY 18

CornET/TrumPETAaron Krumsieg YSM 16Patrick Durbin YSM 15Adé Ben-Salahuddin PC 18Benjamin Rudeen MC 17Holt Sakai BR 18Katie Trimm BK 18

frEnCh hornJohn McNamara CC 17 PrincipalNishwant Swami SM 17Derek Boyer BR 18Brandon Wanke MC 17

TrombonERichard Liverano YSM 16 PrincipalCurtis Biggs YSM 15Johnathan Weisgerber YSM 16

EuPhoniumBror Okerblum Audrey Garcia §

TubaJames Volz SY 15*Stevie Roets PC 17 § sTring bassLevi Jones YSM 15

synThEsizErDavid Molina TD 15*§

PErCussionJonathan Roig ES 18Rebecca Leibowitz TC 18Colum O’Connor BR 18 Kramer Milan YSM 16

musiC librarianJacob Neis SY 17

* = senior§ = performing on Miške only

YALE CONCERT BAND OFFICERS PrEsiDEnT: Libby Dimenstein gEnEral managErs: Rebecca Leibowitz, Brandon Wanke soCial Chairs: Ellie Handler, Anson Wang PErsonnEl managEr: Catherine Lacy PubliCiTy Chair: Mason Ji

Yale University BandsP.O. Box 209048, New Haven, CT 06520–9048

ph: (203) 432–4111; fax: (203) 432–7213stephanie.hubbard@yale.edu; www.yale.edu/yaleband