new music for orchestra

NEW MUSIC NEW HAVENChristopher Theofanidis, artistic director

YALE PHILHARMONIAShinik Hahm, conductor

DECEMBER 112009

MUSIC OFDavid LangSamuel AdamsRichard HarroldRobert HonsteinJordan KuspaPolina NazaykinskyaFeinan Wang

Robert Blocker, Dean

As a courtesy to the performers and to other audience members, turn off cell phones and pagers. Please do not leave the theater during selections. Photography or recording of any kind is not permitted.

200 OKFarkhad Khudyev, conductor

Winter BellsFarkhad Khudyev, conductor

IterationsAdrian Slywotzky, conductor

Monks! Monks! Monks!I. Branle/MarchIV. SerenadeII. Canario/Tourdion Adrian Slywotzky, conductorSteven Feis, tenorNathaniel Calixto, tenorKyle Sherman, tenor

INTERMISSION

International Business MachineShinik Hahm, conductor

PareShinik Hahm, conductor

Red Cheongsam @ MidnightShinik Hahm, conductor

grind to a haltShinik Hahm, conductor

ROBERT HONSTEIN

POLINA NAZAYKINSKAYA

JORDAN KUSPA

RICHARD HARROLD

DAVID LANG

SAMUEL ADAMS

FEINAN WANG

DAVID LANG

NEW MUSIC FOR ORCHESTRA

Woolsey Hall · Philharmonia Orchestra of Yale · Shinik Hahm, conductorFarkhad Khudyev and Adrian Slywotzky, assistant conductors

PHILHARMONIA ORCHESTRA OF YALE

Violin 1Alexander Read, concertmasterYu-Ting HuangHyerin KimDavid SouthornMarjolaine LambertMarc Daniel van BiemenIgor PikayzenSoo Ryun BaekNaria KimYoungsun KimHana HlozkovaQi Cao

Violin 2Domenic Salerni, principalSun Min HwangJae-in ShinXi ChenEdson Scheid de AndradeYeseul AnnEvan SchallcrossJiyun HanRuby ChenKa Chun Gary Ngan

ViolaAmina Myriam Tebini, principalColin MeineckeRaul GarciaEve TangMathilde Geismar RousselEren TuncerKristin ChaiEdwin Kaplan

CelloSoo Jin Chung, principalMo MoJung Min HanSunhee JeonJee Eun SongWonsun KeemSifei WenAlvin Yan Ming Wong

KRISTA JOHNSONManaging Director

ROBERTA SENTORE Production Assistant

FARKHAD KHUDYEVADRIAN SLYWOTZKYAssistant Conductors

SHINIK HAHM Music Director

RENATA STEVELibrarian

Double BassMichael Levin, principalAlexander SmithNathaniel ChaseAleksey Klyushnik

Flute & Piccolo Mindy Heinsohn Itay LantnerChristopher Matthews Dariya Nikolenko

OboeCarl Oswald Andrew Parker, English hornJoseph Peters

Clarinet & Bass ClarinetSoo Jin HuhIn Hyung HwangSara Wollmacher

BassoonSaMona BryantJennifer Hostler Scott Switzer, contrabassoon

HornKatherine HermanScott HolbenChristopher JacksonElizabeth Upton

TrumpetPaul FlorekRyan OlsenKyle ShermanAndreas StoltzfusDavid Wharton

TromboneBrian ReeseRuben RodriguezTed Sonnier

Bass TromboneJay RobertsCraig Watson

TubaBethany Wiese

PercussionYun-Chu ChiuJohn CorkillLeonardo GorositoIan RosenbaumMichael Zell

HarpKeturah BixbyMaura Valenti

PianoStephen WhaleLu Yang

Winds, brass, and percussion are listed in alphabetical order

AssistantsAndrew Parker Christopher Matthews

Music LibrariansScott Holben Holly Piccoli Kathryn SalfelderLiesl SchoenbergerElizabeth UptonChristopher WilliamsSara Wollmacher

Stage CrewNathaniel Chase Joseph PetersMark Wallace Craig Watson

ROBERT HONSTEIN200 OK

: Notes

Servers are the twenty-first century utility. Hid- den in warehouses, underground, and in other discreet locations around the world, countless computers hold the physical record of our data. The Internet behemoths – Microsoft, Google, Amazon, Facebook – rely on these machines to power their information empires. The rest of us rely on these servers to preserve our collective digital memories. I began this piece out of a specific interest in how my computer talks to the body of computers storing what we call the Internet. I quickly learned there is a precise set of rules and procedures governing this type of user/server communication. This is called the Hyper-Text Transfer Protocol (HTTP), other- wise known as the “http” that precedes many web addresses. According to HTTP, whenever we open a web browser our computer communi- cates with a server through a series of simple messages. Upon receiving our request, the server acknowledges the query with the message “200 OK.” The connection has been established and data will be transmitted.

: Biography

Robert came to music via the piano, the voice, and the bass guitar. He sang in choirs, played in rock bands, and tinkled the ivories throughout his youth. Robert received a BA in music from Yale University and an MM in composition from UT Austin. He is currently enrolled at the Yale School of Music, working towards the MMA degree in composition. Robert’s works have been performed around the country and have received numerous awards and honors. Recent projects include a commission from the Norfolk Summer Music Festival for his chorus and chamber orchestra piece Hello World, I Love You. Over the coming year he hopes to finish a video music-drama about voyeurism, the law, and internet dating. When not at school Robert plays piano for dance classes at the Educational Center for the Arts and is a teaching fellow in the Yale College Department of Music, where he has taught courses on electronic music and composition.

: Notes

Each piece of music that I write comes from the depths of my heart, from the inner ocean of emotions and possibilities that are carried by the waves of memories. Just as a sculptor frees the elusive figures from marble by cutting away all that is unnecessary, I find myself carving out the musical notes from the block of inspiration that calls me to compose. Perhaps, for the composer, the writing of music is a divine act, a meditative experience that opens the gates to the paradise lost and brings out the nostalgia for the infinite.

This is what I felt while writing the symphonic poem Winter Bells. Last summer, in search of material or ideas for an orchestra piece, I went back to Russia and visited an Old Russian village. There I connected with my roots and rekindled my imagination by visiting a sacred place in the wilderness: three mountain peaks that, when seen from above, appear to form a giant goblet. I was all alone, with the vastness of space and rocks stretching in all directions. And then it came to me, a choral, religious motif. I sat on a fallen tree and wrote it in my scratch book.

After multiple starts, I finally found the right path, and it felt like the symphony wrote itself. Inspiration was unleashed as I worked non-stop for several days. When I started the piece, I found myself reaching for that place within where everything surrenders to the whispers of nature and divine harmony. This symphonic poem is one of my most cherished compositions. Creating it has been both a challenge and an enchanting delight.

The symphony begins with a fleeting image. A Russian winter filled with void, bleakness and an eerie feeling. A traveler on a long journey and on

the brink of madness and desperation, fighting his way through the deadly blizzard.

A vision from the past, joyous and wondrous, materializes and disappears, as a mirage in the middle of a snowy dessert. Will the traveler sur- vive? For whom shall the bells toll, when their ringing resonates at a distance? Will he be spared or will he perish before completing his journey?

: Biography

Polina Nazaykinskaya was born in Togliatti, Russia, in 1987, and has been studying music from the age of four. She graduated with honors from the Music Academic Gymnasium in Togliatti in 2004. In 2008 she graduated from the Moscow State Conservatory Music College as a violinist and composer. Currently she is a graduate student at the Yale School of Music, studying composition with Ezra Laderman and Christopher Theofanidis and violin with Kyung Hak Yu. She is the winner of several composers’ competitions such as the Dmitriy Kabalevskiy Competition and the International Composers Competition named for Vyacheslav Zolotarev. Her music had been performed at the Music Academy of the West, Classic Music Festival on the Volga River, Cadiza Festival, and throughout Europe. Polina was included in the 2008 Golden Book of the Samara Region as an outstanding violinist and composer. In 2009 she was among the finalists of ASCAP’s young composers’ competition and the Missouri New Music Festival. As a participant in the New Music Workshop at the Norfolk Chamber Music Festival, she had a premiere of a new cycle of songs.

POLINA NAZAYKINSKAYAWinter Bells

JORDAN KUSPAIterations

: Notes

Iterations opens with a blast from the four horns, sounding a jagged, syncopated motive that will become the basis of much of the musical material. Soon, however, a more fluid, lyrical idea comes into focus, heard first in the muted trumpets and piano. As the jagged syncopations spin themselves into an energetic counterpoint, the lyrical material is recast as a triumphant chorale in the full brass section. After a series of episodes in which the angular motive saturates the texture further and further, the chorale returns, more restrained this time, as the solo clarinet plays a leaping melody around it. Again the jagged motive froths up, this time into an ebullient canon in which three tempi occur at the same time. But something goes wrong — the joyous canon devolves into a frenzied clash of compet- ing rhythms, timbres, and incredibly dissonant sounds. The music has no choice but to cease immediately and fall into . . . silence? Not quite, as the cellos, basses, and xylophone hold a chord over from the edge of disaster. Gradually, the musical ideas seem to take stock of themselves, before building up to a final triumphant return of both the brass chorale and the angular syncopations. A final sounding of the opening idea in the full orchestra leads to an exuberant ending, with some instruments perhaps more exuberant than others....

: Biography

Jordan Kuspa’s compositions have been performed and workshopped by the New York New Music Ensemble, Speculum Musicae, California E.A.R. Unit, Third Wheel Trio, Gang of Two, Duo Scordatura, organist Chelsea Chen, violist Brett Deubner, the Enso and Kailas String Quartets, the Kensington Sinfonia (Canada), the Young Artists Chamber Players (Utah), and the Woodlands Symphony (Texas), among others. His music has been performed in venues such as Carnegie Hall’s Weill Recital Hall and the Kimmel Center’s Verizon Hall, and his works have been commissioned by the Greater Bridgeport Symphony, the Norfolk Chamber Music Festival, and the American Festival for the Arts Summer Conservatory.

At age 16, Jordan founded the Houston Young Musicians, a group that sought to broaden in-terest in classical music among new listeners as well as promote the works of American and other contemporary composers. Jordan was also co-founder and artistic director of the Sonus Chamber Music Society, an organization that presented an interactive concert series in the Houston museum district. Educational and community engagement, in schools, churches, and hospitals, was a central component of each of these programs.

Jordan was homeschooled his entire life before entering Rice University’s Shepherd School of Music. Currently, he is a graduate student in composition at the Yale School of Music, studying with Martin Bresnick, Ingram Marshall, and Christopher Theofanidis.

: Notes

Over the last year, as I have become more in- terested in music of the Renaissance, I have experimented with incorporating rhythmic, harmonic, and stylistic traits idiomatic of the Renaissance into my own writing, to differing extents. July 18, 2009 marked the 500th anniversary of the coronation of King Henry VIII of England, and I was drawn to the idea of using the opportunity of writing for the Yale Philharmonia to create a piece which, through integrating dance forms popular in Henry’s court with my own contemporary musical language, would try to capture in an abstract way something of the dark ironies of the King’s character. 72,000 people are estimated to have been executed during Henry VIII’s reign. His legendary struggle with the Pope and ultimate founding of the Church of England, during which thousands of Roman Catholics were martyred, was a brutal attempt to seize land, wealth and power, and was in no small part motivated by the temptation of trading in an aging wife for a more exotic younger model. Yet Henry was an accomplished author, poet and musician, and a firm supporter of the arts.

Monks! Monks! Monks! (alleged to be the last words of Henry VIII) is a five-movement suite; due to time constraints, three movements will be presented tonight. The first combines a French branle with a march, the second (performed last tonight) combines a canario – a dance from the Canary Islands – with a French tourdion, and the fourth movement (performed second tonight), a serenade, sets one of Henry’s poems, Without Discord, sung by three tenors.

: Text

Without discord And both accord, Now let us be. Both harts alone To set in one, Best seems me. For when one sole Is in the dole Of love's pain, Then help must have Himself to save And love to obtain.

RICHARD HARROLDMonks! Monks! Monks!

Where for now we That lovers be, Let us now pray: Once love sure For to procure Without denial. Where love so sues There no heart rues, But condescend. If contrary, What remedy? God it amend.

: Biography

Richard Harrold was born in 1984 and was brought up in Manchester, England. He graduated with First Class Honours from the Royal Academy of Music in 2007, where he studied composition with Philip Cashian and jazz piano with Tom Cawley. Upon graduating he was awarded the Evan Senior Scholarship. Since graduation he has been commissioned by the Britten Sinfonia, the Catch ensemble, and Keynote+, and has been broadcast on BBC Radio.

Richard is currently in his second year at the Yale School of Music, studying composition with Martin Bresnick.

SAMUEL ADAMSPare (2009)

: Notes

If I could control the contrast, saturation, and brightness of an orchestra, I would gradually turn all its ‘knobs’ clockwise so as to push the music—lurid and brilliant and glowing like a radioactive beast—off the stage and into the hall, and it would dance, and it would dance, and it would dance...

: Biography Samuel Carl Adams (b. 1985) is a composer, conductor, and multi-instrumentalist from the San Francisco Bay Area. His music is an out- growth of his experiences as a jazz bassist in and around San Francisco and as a student of experimental and non-vernacular musicians. He received a bachelor’s degree from Stanford University, where he studied primarily with Mark Applebaum and Erik Ulman. His works have been performed by the Paul Dresher Electroacoustic Band, Beta Collide, The Stan- ford Symphony Orchestra, Lisa Moore, and Karen Bentley-Pollick. He is currently a student at the Yale School of Music, where he studies with Martin Bresnick. He also teaches electronic music at Yale College and assists the Yale Jazz Ensemble.

: Notes

After passing through the crowd and into the subway, I walked across several lanes and came to a big hotel. I put on the dress, sat down, and had a dream. I dreamed I was a singer in old Shanghai, wearing a gorgeous cheongsam and singing old songs. I saw the stories of the people in the audience on their faces: the skater boy playing in the alley, the rich man who likes eat- ing at roadside stands, the old lady living in the central courtyard who likes playing mahjong, the chef of the imperial kitchen, the punk girl smok- ing on the Bell and Drum Tower, the beautiful Beijing Opera actress dancing with an attractive jazz player. Then I woke up: I saw the cocktails held in the hands of the audience. The city's color was blurred by the great change of times and the blended culture that was like the colors of the cocktails. Walking in the midnight city, I felt the eternal spirit and strong passion buried underground. This feeling flowed through my body and infected my life. Those ancient red city walls and modern skyscrapers were running in the opposite direction, and there was only red in front of my eyes. Red Cheongsam @ Midnight uses timbres that reflect the quality of the cheongsam: gorgeous and elegant, neither flirtatious nor conservative. Various instruments depict the colorful patterns on the red background of the cheongsam. The cheongsam is both a fashion of old Shanghai and a symbol of Chinese urban culture: it re-presents traditional Chinese culture but has absorbed some western elements. I’ve chosen my theme from fragments of Beijing Opera and the harmonies and rhythms from jazz and funk. In this way I portray the clash between Eastern and Western cultures which is often experienced by the people in modern society.

: Biography

Born into a musical family in Beijing, Feinan (Fay) Wang began to learn piano at the age of four. She debuted at age five and won first prize in the Hope Cup Piano Competition for Children. In 2008 Fay graduated from Beijing’s Central Conservatory of Music, where she studied composition with Professor Xiaogang Ye. She is currently studying at the Yale School of Music with Martin Bresnick, Ezra Laderman, and Christopher Theofanidis.

Fay’s numerous prizes include the Bronze Prize in the China National Music Competition (Golden Bell Award), Best Composition Award in the China National Competition for Art Song (New Century Cup), Governmental Award for Music Composition, and third prize in the Palatino Cup. Fay was commissioned by the Austrian new music ensemble Die Reihe to compose Drunk Cat in the Ancient City Wall, which was performed at the Arnold Schoenberg Center and broadcast in Australia. Other com- missions include Fei Bu for the Cantonese Song and Dance Troupe, and Hou Yi Shoots down the Suns and Taichi Dance in Space from the Art Center of the National Defense Commission of Science, Technology, and Industry. Her works were selected by the Beijing Modern Music Festival for three consecutive years.

Fay’s interests incorporate jazz, electronic music, and world music. She was awarded Best Female Singer in a contest at CCOM and won the Silver Prize in the Chinese National Campus Singer Contest. She sang jazz in the Sino-Russia University Students Art Festival at Beijing University and was the lead singer in an indie- pop band whose EP recording was distributed in Beijing and Sydney.

FEINAN WANGRed Cheongsam @ Midnight

DAVID LANGInternational Business Machinegrind to a halt

: Notes

International Business Machine was commissioned by the Boston Symphony and was premiered by them at Tanglewood, in the summer of 1990, conducted by Leonard Slatkin. In 1990 I had just gotten my first personal computer – one of those Apples that had a screen about the size of a postage stamp. I was amazed and terrified by my new computer. What was most amazing was that each of the keys did something, but I didn’t necessarily know what. It seemed that you could press one key down and the letter “j” would appear on the screen, or you could press another key down and erase your entire hard drive. The same motion, the same action could have dras- tically different results.Needless to say, I lived in fear. When I started my piece for the BSO I wondered if I could use this as a model. What if I made a series of hits and pops and accents and then went back and filled them in, making some of those accents start things and some end them? Some of these things would be tiny and some would be loud. But they would all be made the same way – a key pressed down to start them and another pressed down to turn them off. In the spring of 1996 I was working on a piece for the San Francisco Symphony. I had decided to call it grind to a halt and it would be a kind of relentless machine that eventually ran itself into the ground. I didn’t intend it to be a serious piece, but something happened that changed it completely. While working on the piece I got a call from my teacher Jacob Druckman, with whom I had studied composition at Yale from 1981-1983. Jacob told me that he was very ill and needed to go into the hospital so that the doctors could take better care of him, and that it was impossible for him to finish out the semester. Would I take over his classes, so that he could concentrate on getting better? Of course I said yes, and I came

up to Yale to teach, and I continued to work on my piece. And then, Jacob died. I didn’t realize that when he asked me to take over his classes that that would be the last time I would ever speak to him. And so a very strange thing hap-pened to me. I got very sad, and then I got very angry – angry at myself, for not recognizing how sick he was; angry at God, for messing with us all; and, I am ashamed to say it, angry at Jacob, for not giving me the chance to say a proper goodbye. I had no place for this anger to go, and so it went into the piece. What had been a light- weight study now became a grief object of rage and despair, a piece that shakes its fist at fate. A musician’s relationship with his or her teacher may not always be smooth, but it can be powerful and very deep. Now that I am teaching at Yale for real, I think of Jacob all the time, and I would like to dedicate this performance to his memory.

: Biography

The music of David Lang has been performed by major musical, dance, and theatrical organiza-tions throughout the world, including the Santa Fe Opera, New York Philharmonic, San Francisco Symphony, Cleveland Orchestra, Kronos Quartet, Nederlands Dans Theater, and the Royal Ballet,

to name a few, and has been performed in the most renowned concert halls and festivals in the United States and Europe. Lang is well known as co-founder and co-artistic director of New York’s legendary music festival, Bang on a Can. In 2008, Lang was awarded the Pulitzer Prize in Music for The Little Match Girl Passion, commissioned by Carnegie Hall for Paul Hillier’s vocal ensemble, Theater of Voices. He has also has been honored with the Rome Prize, the BMW Music-Theater Prize (Munich), a Kennedy Center/ Friedheim Award, the Revson Fellowship with

the New York Philharmonic, a Bessie Award, a Village Voice OBIE Award, and grants from the Guggenheim Foundation, Foundation for Contemporary Performance Arts, National Endowment for the Arts, New York Foundation for the Arts, and the American Academy of Arts and Letters. His work is recorded on the Sony Classical, Teldec, BMG, Point, Chandos, Argo/Decca, Caprice, Koch, Albany, CRI and Cantaloupe labels. Born in Los Angeles in 1957, David Lang holds degrees from Stanford University and the University of Iowa, and received the DMA degree from the Yale School of Music in 1989. He has studied with Jacob Druckman, Hans Werner Henze, and Martin Bresnick. His music is pub-lished by Red Poppy (ASCAP) and is distributed worldwide by G. Schirmer, Inc. David Lang joined the Yale faculty in 2008.

PHILHARMONIA ORCHESTRA OF YALE

The Philharmonia Orchestra of Yale is one of America’s foremost music school ensembles. The largest performing group at the Yale School of Music, the Philharmonia offers superb training in orchestral playing and repertoire. Performances include an annual series of concerts in Woolsey Hall, as well as Yale Opera productions in the Schubert Performing Arts Center. In addition to its New Haven appearances, the Philharmonia Orchestra of Yale has performed on numerous occasions in Carnegie Hall and Alice Tully Hall in New York City and at the Kennedy Center in Washington, D.C. The Philharmonia recently undertook its first tour of Asia, with acclaimed performances in the Seoul Arts Center, the Forbidden City Concert Hall and National Center for the Performing Arts (Beijing), and the Shanghai Grand Theatre. The beginnings of the Yale Philharmonia can be traced to 1894, when an orchestra was organized under the leadership of the School’s first dean, Horatio Parker. The orchestra became known as the Philharmonia Orchestra of Yale in 1973, with the appointment of Otto- Werner Mueller as resident conductor and William Steinberg, then music director of the Pittsburgh Symphony, as Sanford Professor of Music. Brazilian conductor Eleazar di

Carvalho became music director in 1987, and Gunther Herbig joined the conducting staff as guest conductor and director of the Affiliate Artists Conductors program in 1990. Lawrence Leighton Smith, music director of The Louisville Symphony Orchestra, conducted the Philharmonia for a decade, and upon his retirement in 2004, Shinik Hahm was appointed music director.

SHINIK HAHM: conductor

: Biography

A dynamic and innovative conductor, Shinik Hahm is sought after among the top North American, South American, European, and Far Eastern orchestras. Recent seasons include debuts in Amsterdam, Geneva, Besançon, and Bolshoi Hall, and with the China Philharmonic, Guang-zhou Symphony Orchestra, Mexican National Symphony, and Xalapa Symphony Orchestra. In 2009 he conducted a European tour with Germany’s Nordwestdeutsche Philharmonie, including concerts in Detmold, Herford, Bad Salzuflen, Amsterdam, and Minden.

Maestro Hahm was the Artistic Director and Principal Conductor of the Daejeon Philharmonic Orchestra (Korea), with which he toured the United States in 2004 and Japan in 2005. He also served as Music Director of the Abilene Philharmonic Orchestra from 1993 to 2003. Hahm is currently Music Director of the Philharmonia Orchestra of Yale, which he has led to Carnegie Hall, Boston Symphony Hall, Seoul Arts Center, Shanghai Grand Theatre, and the Forbidden City Concert Hall (Beijing). He is also Professor of Conducting at Yale, where he is director of the orchestral conducting program.

A popular guest conductor, Hahm has led the orchestras of Atlanta, Los Angeles, St. Petersburg,

Geneva, Seoul, Beijing, Besancon, Warsaw, Prague, Bilbao, New York, Bangkok, Fort Worth, Louisville, Toronto, Mexico City, Omaha, Hartford, Alabama, Lincoln, Erie, Memphis, Boulder, and Colorado Springs. The Korean National Radio and Television Symphony Orchestra have engaged Maestro Hahm annu- ally since 1992. He directed the orchestra’s 1995 North America tour in celebration of the fiftieth anniversary of Korean independence. Hahm is also an active opera conductor and has performed in numerous productions with the Silesian National Opera in Poland.

Maestro Hahm has collaborated with some of the world’s great musicians and soloists including Salvatore Accardo, Emanuel Ax, Joshua Bell, Yefim Bronfman, Sarah Chang, Stephen Hough, Krzysztof Penderecki, Pascal Roge, Jean-Yves Thibaudet, the Tokyo String Quartet, Peter Wispelwey, among others. In addition, he has made recordings with the Polish National Radio Symphony Orchestra for the Vision and Britstar labels. Hahm has completed or is underway in conducting the cycles of Mahler, Stravinsky, Debussy, Berlioz, Brahms, R. Strauss, and Beethoven’s complete symphonic works and major choral-orchestral compositions.

Maestro Hahm has received several honors and awards, including the Fourth Gregor Fitelberg International Competition for Conductors, the Walter Hagen Conducting Prize from the Eastman School of Music, and the Shepherd Society Award from Rice University. In 1995 Maestro Hahm was decorated by the Korean Government with the Arts & Culture Medal. He studied conducting at Rice University and the Eastman School of Music. He enjoys gardening, cooking, and playing soccer.

ADRIAN SLYWOTZKY: assistant conductor

Conductor Adrian Slywotzky has been active as a musician in the New Haven area since 1998. For the last three years he has been the director of the New Haven Chamber Orchestra, and he is the founding conductor of the Yale Medical Symphony Orchestra. Following his passion for teaching, Adrian has worked as an educator throughout New England. Since 2005 he has been on the conducting staff of the Boston Youth Symphony Orchestras, and he is serving as inter- im conductor of the Greater New Haven Youth Orchestra for the 2008-2010 seasons. For five years he was Director of Instrumental Music at Hopkins School in New Haven, and he has taught at Neighborhood Music School, Elm City ChamberFest, and the Southern Maine String Camp. As a violinist, Adrian has participated in festivals including Tanglewood Music Center, California Summer Music, and the Norfolk Contemporary Music Festival. Adrian holds a BA in Architecture from Yale College, where he studied violin with Kyung Hak Yu, and an MM in violin performance from the Yale School of Music, where he studied with Wendy Sharp. He is currently pursuing a Master of Music degree in orchestral conducting at the Yale School of Music, where he studies with Shinik Hahm.

FARKHAD KHUDYEV: assistant conductor

Farkhad Khudyev is originally from Ashgabad, Turkmenistan, where he studied violin and composition with Zinaida Ahmedzhanova and Vera Abaeva at the Special Music School. At 10, he became the youngest performer ever selected to play with the National Violin Ensemble of Turk- menistan, and at 12 he won a scholarship to the New Names Festival (Suzdal, Russia), where he was named the most promising young musician and earned the top award. Mr. Khudyev has performed in Ashgabad, Suzdal, Moscow, and Odessa as both a soloist and a member of the Violin Ensemble of Turkmenistan. He came to the U.S. in 2001 on a scholarship to the Interlochen Arts Academy, where he studied with Paul Sonner and Michael Albaugh, and then completed his B.M. at the Oberlin Conservatory with Milan Vitek. Currently a second-year M.M. student at Yale, he is studying with Shinik Hahm. Mr. Khudyev won the Grand Prize and the Gold Medal at the Fischoff Chamber Music Competition in 2007 as a member of the Prima Trio. He also received an honorable mention in the 2004 ASCAP Foundation Morton Gould Young Composer awards for his symphonic work Turkmenistan. His other awards include a prize at the 30th Annual Glenn Miller Competition and the Neil Rabaut Composition Prize from the Interlochen Arts Academy. He has served as the assistant conductor of the NOYO Orchestra and has conducted the Chamber Orchestra of Ashgabad.

YALE PHILHARMONIA PATRONS2009-10 Season

Charles Ives Circle$600 or aboveRichard H. DumasSusan & Ronald NetterThomas G. Masse & Dr. James M. Perlotto in honor of Dorothy A. Hayes

Paul Hindemith Circle$250 to $599Serena & Robert BlockerWilliam CurranMrs. Lory French-MullenJudith P. FisherJohn & Evelyn Kossak FoundationDr. & Mrs. James KupiecCarleton & Barbara LoucksSusan E. Thompson

Horatio Parker Circle$125 to $249Brenda & Sheldon BakerAnn BlissJoan K. DreyfusEdwin M. & Karen C. DuvalPaul GacekWinifred & Shinik HahmJune & George HigginsFrancesco IachelloRobert & Mary KeaneDr. David LobdellJudy LongHelen & Doug MacRaeSusan B. Matheson & Jerome J. PollittPatty & Tom PollardMrs. Jane RocheMartha Stephens & Judith StelboumDavid & Lisa Totman

Samuel Simons Sanford Circle $50 to $124Nancy AhlstromL. S. AuthDwight & Lois BakerMyrna F. BaskinBlake & Helen BidwellNina Binin & Greg BergPeter & Nancy BlomstromMuriel & Ernest BodenweberProf. Michael B. BrackenDerek & Jenny BriggsMindy & Stan BrownsteinJoyce & Jim ChaseJoel Cogen & Beth GilsonMimi & John Cole

Sally & John CooneyLeo Cristofar & Bernadette DiGiulianProf. & Mrs. Donald R. CurrierBarbara & Frank DahmR. R. D'AmbruosoNigel W. DawAnthony P. DeLioBernardine & Richard Di VecchioElizabeth M. DockMartin & Katie GehnerSaul & Sonya GoldbergMarbelia GonzalezRosamond & Cyrus HamlinDr. Victoria HofferMargaret Lord & A.J. KoverLori & Sean LeBasAgnieszka LibinNancy C. & William R. LiedlichRev. Hugh MacDonaldJames MansfieldJon & Donna MeineckeThomas J. OpladenIrving H. PerlmutterDr. E. Anthony PetrelliJames M. PhillipsJames V. PocockRocco & Velma PuglieseDavid & Mary Ellen RoachFred & Helen RobinsonArthur RosenfieldAnne SchenckDennis ShrockSuzanne Solensky & Jay RozgonyiMr. & Mrs. Gregory D. TumminioRoger & Beth WardwellEmily Aber & Robert WechslerMr. & Mrs. Robert WheelerRansom Wilson & Walter FoeryMr. & Mrs. Werner P. Wolf

Gustave Jacob Stoeckel Circle$25 to $49Anonymous (3)Antje ArndtEdward & Joanne BlairMrs. Dorothy BlausteinJennifer BonitoRose & Frank BonitoWilliam BowieAnna Broell BresnickAntonio CavaliereRosemarie S. ChavesBeatriz CordovaLouis & Beatrice Dalsass

Bruce DanaEugene J. DelgrossoBill & Barbara DickersonJack EvansKathryn FeidelsonThomas & Judith FoleyMr. & Mrs. Charles FormanDolores M. GallRichard & Evelyn GardMrs. Ken L. GrubbsMary Ann HarbackJoyce HirschhornSusan HolahanLynette JordanJennifer L. JulierMrs. Bruno JurgotJeffrey KentTom & Fran KingPeter & Suzanna LengyelJoel MarksMelachrina D. MayBetty MettlerElizabeth S. MillerMr. & Mrs. Walter R. MillerMr. & Mrs. Seif MozayeniAllan R. SilversteinJoseph C. StevensThe Rev. Dr. Michael TessmanJames N. TrimbleDavid VecchiaEdward WeisDeborah Weiss & Zvi Goldman

YALE SCHOOL OF MUSICRobert Blocker, Dean

203 432 4158 Box Office

[email protected] Us

CONCERTS & MEDIA

Vincent Oneppo Director

Dana AstmannAssistant Director

Monica OngDesign Manager

Danielle HellerBox Office Coordinator

Elizabeth Fleming MartignettiProduction Assistant

UPCOMING

LIEDERABENDDec 14 / Mon / 8pm

VISTADec 15 / Tues / 8pm

PETER FRANKL & WEI-YI YANGDec 16 / Wed / 8pm

Yale OperaFree admission / Sprague HallAn evening of German song featuring the singers of Yale Opera. With Timothy Shaindlin and Kyle Swann, piano. Music by Brahms, Mahler, Mendelssohn, J. Marx, Schubert, Schumann, R. Strauss, and Wolff.

Vista SeriesFree admission / Sprague HallA fresh look at chamber music. Selected students from the Yale School of Music will discuss and perform Kodaly's Duo for Violin and Cello, Haas's Wind Quintet, and Schubert's “Trout” Quintet. Wendy Sharp, director.

Horowitz Piano SeriesTickets $12-20 / Students $6 / Sprague HallMusic for two pianos and piano four-hands by Schumann and Debussy, performed by renowned faculty pianists Peter Frankl and Wei-Yi Yang.

OPERATIONS

Tara DemingOperations Manager

Christopher MelilloOperations Coordinator

Brian DaleyWilliam HaroldPiano Curators

RECORDING STUDIO

Eugene KimballDirector / Recording Engineer

Jason RobinsAssistant Recording Engineer

For a complete listing of all our concerts: http://music.yale.edu

new music for orchestra

Documents