YSM Alumni News | July 2018

Samuel Adams

Composer Samuel Adams ’10MM had a new chamber concerto premiered by violinist Karen Gomyo and the Chicago Symphony Orchestra. His Movements (for us and them) will be performed by the Australian Chamber Orchestra on tours of Australia and the United States this summer.

Guitarist Trevor Babb ’12MM ’14MMA was appointed adjunct artist in guitar at Vassar College and will begin that role in the fall.

Hornist Luke Baker ’18MM, bassoonist Matthew Gregoire ’17MM, and double bassist Kaden Henderson ’17MM ’18MMA will join The Orchestra Now at the beginning of the 2018-2019 season.

Composer, pianist, and organist Calvin Bowman ’99MMA ’05DMA was signed to Decca/Universal Music Australia, which will release a recording of his songs called Real and Right and True in July.

Sarah Boxmeyer ’16MM won the position of associate principal/third horn of the Hawaii Symphony Orchestra. Boxmeyer played with the orchestra for much of the 2017-2018 season and will begin her first full season in September.

Conductor John Concklin ’08MM received a one-year appointment as associate professor of conducting at the Blair School of Music at Vanderbilt University.

Kevin Dombrowski ’14MM won the position of second trombonist of the Illinois Symphony Orchestra and will begin playing with the orchestra in October.

Percussionist Timothy Feeney ’01MM ’02MMA ’07DMA was appointed to a full-time faculty position as a percussion artist at the Herb Alpert School of Music at California Institute of the Arts.

Timothy Gocklin ’14MM ’15AD was appointed artist-in-residence in oboe at the University of Northern Colorado.

Romie de Guise-Langlois

Romie de Guise-Langlois ’06MM ’07AD was appointed assistant professor of clarinet at the University of Massachusetts Amherst.

Violinist Ethan Hoppe ’16MM ’18MMA will join the New World Symphony for the 2018-2019 season.

Guitarist Sharon Isbin ’78BA ’79MM is serving as director of classical guitar at the Aspen Music Festival this summer, teaching, giving master classes, and performing.

Organist Paul Jacobs ’02MM AD recently joined the Philadelphia Orchestra on its tour of Europe and Israel. Jacobs’ recent solo engagements also include performances with the Chicago Symphony Orchestra and The Cleveland Orchestra.

Conductor Farkhad Khudyev ’10MM, the third prize-winner at the eighth annual Sir Georg Solti International Conducting Competition in 2017, received a 2018 Solti Foundation Career Assistance Award.

Pianist Henry Kramer ’13AD ’19DMA was named the L. Rexford Whiddon Distinguished Chair in Piano at the Joyce and Henry Schwob School of Music at Columbus State University.

Violinist Cheuk Yin Luu ’18MM won a position in the first violin section of the Buffalo Philharmonic and will begin playing with the orchestra in September.

Missy Mazzoli ’06MM was named the Chicago Symphony Orchestra’s new Mead Composer-in-Residence. Music Director Riccardo Muti appointed Mazzoli to a two-year term.

Bassoonist Marissa Olegario ’15MM was appointed assistant professor of music at the University of Arizona’s Fred Fox School of Music for the 2018-2019 academic year. Olegario will teach bassoon and perform in the Arizona Wind Quintet, a faculty ensemble.

Choral conductor Sarah Paquet ’16MM was appointed assistant director of choral activities and lecturer in music in the Smith College Music Department and will begin in the fall.

Trombonist Matthew Russo ’12MM joined the S. E. Shires Company’s artist roster.

Kate Sheeran

Hornist Kate Sheeran ’04MM was named executive director of the Kaufman Music Center, effective in August 2018. Sheeran previously served as provost and dean at the San Francisco Conservatory of Music.

James Austin Smith ’08MM joined the faculty at Stony Brook University as interim visiting artist-in-residence of oboe.

Flutist Leo Sussman ’18MM will join Ensemble Connect in September.

Guitarist An T. Tran ’16MM was awarded first prize at the University of Rhode Island’s Rising Stars Competition.

Pianist Yevgeny Yontov ’14MM ’20DMA was appointed to a one-year assistant professorship as instructor of piano in the College of Musical Arts at Bowling Green State University. Yontov will begin in mid-August and will teach piano and collaborative piano and coach chamber music.

Pianist Joon Yoon ’16MM was awarded the Guildhall School’s (London) Gold Medal, the school’s most prestigious prize for outstanding soloists.

Published July 9, 2018
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YSM Student News | June 2018

Ji Su Jung

NeoArctic, a large-scale multimedia work by composer Krists Auznieks ’16MM ’22DMA, was staged at the Southbank Center in London, in May.

Composers Ethan Braun ’21DMA and Liliya Ugay ’16MM ’22DMA have been named 2018 CULTIVATE fellows and are currently participating in the emerging composers institute at Copland House, in Cortlandt Manor, NY.

Tubist Jake Fewx ’18MM ’19MMA will compete in August as a semifinalist in the Leonard Falcone International Euphonium and Tuba Festival competition, in Twin Lake, Mich.

Percussionist Ji Su Jung ’19MM won the Houston Symphony’s Ima Hogg Competition in early June. In addition to receiving the Grace Woodson Memorial Award, which comes with a $25,000 cash prize, Jung took home the Herman Shoss Audience Choice Award. As the winner of the competition, Jung will perform in July as a soloist with the Houston Symphony.

Flutist Benjamin Morency ’18MM won the Boston Woodwind Society’s Doriot Anthony Dwyer Merit Award Competition in April.

The New York Times described composer Peter S. Shin ’20MMA as “a composer to watch” in “The Week in Classical Music,” which includes a review of the premiere of his orchestral piece Slant.

Violist Marlea Simpson’19MM has earned a tenured position in the Grant Park Orchestra, in Chicago, Ill.

Published June 6, 2018
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Prizes awarded at annual Honors Banquet

Dean Robert Blocker

On Sunday, May 6, YSM Dean Robert Blocker told graduating students that he looks forward to hearing their music in venues around the world. The occasion was the School’s annual Honors Banquet, which was held this year at the Omni New Haven Hotel at Yale. Attendees included students and alumni, faculty and staff, YSM board members Mary Beth Buck, Walter Buck, and Stephanie Yu Lim, and emeritus staff and faculty members Rosemary Gould, Gene Kimball, Judy Long, and Mary-Jo Warren. Aimlee Laderman, whose late husband Ezra Laderman was a longtime member of the School’s composition faculty and from 1989 to 1995 served as Dean, was also in attendance.

Blocker announced that the Ian Mininberg Distinguished Service Award would be presented at Commencement, as this year’s recipient, composer Lori Laitman ’76MM, was unable to attend the Honors Banquet, at which the award is traditionally conferred. Blocker congratulated students who won or placed at competitions this year and acknowledged YSM’s Music in Schools Initiative, whose leadership — Director Rubén Rodríguez ’11MM, Associate Dean Michael Yaffe, and Yaffe’s assistant, Rachel Glodo — was recognized by the University in April with an Ivy Award for the work the program does at Yale and in the New Haven community. “Yale has no finer community engagement program than Music in Schools,” Blocker said.

At the end of the night, Blocker expressed his gratitude to students, faculty, and staff for a wonderful year. “As one who at different moments has been touched by your talent and compassion,” he said, “I want to thank you on behalf of a wider audience.”


The following student prizes were presented during the Honors Banquet.

Brass and Woodwinds

The Thomas Daniel Nyfenger Memorial Prize, which is awarded to a graduating student who has demonstrated the highest standard of excellence in woodwind playing, was presented to oboist Lauren Williams. The John Swallow Prize, which is given to an outstanding brass player whose artistry and dedication have contributed to the department, was awarded to trombonist Zachary Haas.

Left to right: Dean Robert Blocker, Director of Choral Conducting Marguerite Brooks, Joseph Kemper, and Professor of Choral Conducting Jeffrey Douma

Left to right: Dean Robert Blocker, Director of Choral Conducting Marguerite Brooks, Joseph Kemper, and Professor of Choral Conducting Jeffrey Douma

Choral Conducting

The inaugural Robert Shaw Prize, given in honor of the renowned American choral conductor and awarded to a choral conducting major in the School of Music chosen by the choral conducting faculty for distinguished achievement, was presented to Joseph Kemper.

Composition

The Woods Chandler Memorial Prize for the best composition in a larger form written during the year was awarded to Krists Auznieks. The Rena Greenwald Memorial Prize for the best piano composition written during the year went to Alishan Gezgin. The John Day Jackson Prize for outstanding chamber music compositions written for strings with or without other instruments was presented to Fjóla Evans. The Frances E. Osborne Kellogg Memorial Prize for the best composition written in a contrapuntal style was given to Liliya Ugay. And the Ezra Laderman Prize for the best compositions written for musical theater or voice was awarded to Sophie Cash-Goldwasser and Eli Greenhoe.

Dean Robert Blocker, Sophie Cash-Goldwasser, Eli Greenhoe, and Professor of Composition Martin Bresnick

Left to right: Dean Robert Blocker, Sophie Cash-Goldwasser, Eli Greenhoe, and Professor of Composition Martin Bresnick

Guitar

The Eliot Fisk Prize, which is given to an outstanding guitarist whose artistic achievement and dedication have contributed greatly to the department, was awarded to Gunnlaugur Björnsson.

Organ

The Charles Ives Prize, which is awarded to an outstanding organ major, went to Diana Chou. The Julia R. Sherman Memorial Prize for excellence in organ playing was awarded to Matthew Daley.

Piano

The Charles S. Miller Prize, which is given to a gifted pianist who has done outstanding work during the first year of study, was awarded to Gabriele Strata. The Elizabeth Parisot Prize, which goes to outstanding pianists in the School of Music, was awarded to Dong Won Lee and Yannick Van de Velde.

Strings

The Georgina Lucy Grosvenor Memorial Prize, which is awarded to the violist in the graduating class whose performances while at Yale have exhibited the highest potential for success as a soloist or chamber musician in the field, was given to Julia Clancy. The Aldo Parisot Prize, which is awarded to gifted cellists who show promise for a concert career, was presented to Samuel DeCaprio and Bitnalee Pong. The Broadus Erle Prize, which is given to outstanding violinists in the School of Music, went to Laura Park, Alyssa Blackstone, and Dhyani Heath.

Voice

The David L. Kasdon Memorial Prize, which is awarded to an outstanding singer in the School of Music, went to Stephen Clark. The Smriti Deb Memorial Prize, which is given to an outstanding graduating singer who best reflects and exemplifies the ideals and values of Smriti Deb and her commitment to teaching low-income and underrepresented children, was awarded to Sylvia D’Eramo. And the Phyllis Curtin Career Entry Prize, whose purpose is to assist in launching the career of a graduating voice student who demonstrates exceptional talent as an artist and promise for professional success, was awarded to Bryan Murray.

Doctor of Musical Arts

The Friedmann Thesis Prize, which is awarded to a DMA candidate whose thesis is notable for its distinguished research, original perspective, in-depth engagement with its subject, and well-crafted presentation, was presented to composer Krists Auznieks.

Left to right: Dean Robert Blocker, Deputy Dean Melvin Chen, Sophiko Simsive, Leo Sussman, Scott Leger, Liliya Ugay, Director of Admissions and Alumni Affairs Donna You, Bora Kim, Sarah Saturnino, and James Simon Lee

Left to right: Dean Robert Blocker, Deputy Dean Melvin Chen, Sophiko Simsive, Leo Sussman, Scott Leger, Liliya Ugay, Director of Admissions and Alumni Affairs Donna Yoo, Bora Kim, Sarah Saturnino, and James Simon Lee

School

The Malcolm L. Mitchell and Donald M. Roberts, Class of 1957 Prize, which is given to an outstanding graduating teaching artist in the Music in Schools Initiative, was awarded to flutist Helen Hye Jin Park. The Philip Francis Nelson Prize, which is awarded to a graduating student whose musicianship is outstanding and who demonstrates curiosity, talent, and the entrepreneurial spirit in the many dimensions of the music profession, was presented to violist Florrie Marshall. The Presser Foundation Music Award, which is awarded to an outstanding returning student to advance his or her music education, went to Shawn Hutchison. And the Yale School of Music Alumni Association Prize, which is awarded to graduating students who have not only excelled in their respective fields but have also made important contributions to the general life of the School, was presented to clarinetist Graeme Johnson, violinist Bora Kim, choral conductor James Simon Lee, hornist Scott Leger, mezzo-soprano Sarah Saturnino, pianist Sophiko Simsive, flutist Leo Sussman, and composer Liliya Ugay.

Photos by Harold Shapiro.

Published May 8, 2018
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Anteo Fabris ’19MM premieres “Ocean Beach Cypher” at sustainability event

Anteo Fabris

School of Music student composer Anteo Fabris ’19MM premiered his piece Ocean Beach Cypher at Yale’s 2018 State of Sustainability Breakfast. Fabris described the work as being “about loss” and said “it allows us to ponder the sounds of the beautiful ocean we are destroying.” Accompanied by projected visuals created by Fabris, Ocean Beach Cypher was performed by YSM bassists Kelvin Ng ’19MM, Amy Nickler ’19MM, and Kohei Yamaguchi ’18MM. The breakfast, held in celebration of Earth Day, honored outstanding contributions to sustainability at Yale and featured Pericles Lewis, vice president for global strategy and deputy provost for international affairs, as the keynote speaker.

The Yale Office of Sustainability’s mission is to “advance sustainability within the Yale community by acting as a catalyst for information exchange and facilitating capacity building, innovation, streamlined operations, and preparation of tomorrow’s sustainability leaders,” according to its website. Part of the outgrowth of that mission is the Yale Sustainability Plan 2025, which “demonstrates [Yale’s] commitment to building a more sustainable world.”

As part of its participation in the University’s efforts, YSM crafted a School-wide action plan centered on enhancing and improving the myriad ways in which music can intersect with sustainability. The School’s plan speaks to the greening of music materials, such as how instrument parts are made, replaced, and recycled; how music is composed, published, and distributed; and other innovations that can reduce YSM’s environmental impact.

YSM SUSTAINABILITY ACTION PLAN

Published April 24, 2018
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Two Yalies win Pulitzer Prize; finalists include professor, alumni

YaleNews

Yale professors and alumni were among the individuals honored by the 2018 Pulitzer Prize committee for their works. School of Music alumni Michael Gilbertson ’13MM ’21DMA and Ted Hearne ’08MM ’09MMA ’14DMA were named co-finalists for the music category.

Michael Gilbertson

Michael Gilbertson

Gilbertson ’13MM is a 2021 DMA candidate at the music school. “Quartet” premiered February 2, 2017 at Weill Recital Hall, Carnegie Hall, New York City. The Pulitzer judges described the work as “a masterwork in a traditional format, the string quartet, that is unconstrained by convention or musical vogues and possesses a rare capacity to stir the heart.”

Ted Hearne

Ted Hearne

The recording of Hearne’s “Sound from the Bench” was released on March 24, 2017 by The Crossing. The Pulitzer judges describe it as “a five-movement cantata for chamber choir, electric guitar and percussion that raises oblique questions about the crosscurrents of power through excerpts from sources as diverse as Supreme Court rulings and ventriloquism textbooks.”

Read on to learn more about other Yale professors and alumni who were honored by the 2018 Pulitzer Prize committee.

 

Media Contact:

Office of Public Affairs & Communications: opac@yale.edu, 203-432-1345

Published April 19, 2018
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YSM Student News | April 2018

The Bonus Quartet

Composer Krists Auznieks ’16MM ’21 DMA had his piece And Flowers Showered, an immersive concert-length work, premiered by the New York City-based ensemble Contemporaneous at National Sawdust in February.

The Bonus Quartet, an ensemble of YSM trombonists, was named a semifinalist in the Senior Winds category at the M-Prize Chamber Arts Competition at the University of Michigan School of Music, Theatre & Dance. The quartet, which includes Zachary Haas ’18MM, Grant Futch ’18MMA, Hillary Simms ’18MM, and Wil Wortley ’18MM, will compete in the finals in Ann Arbor in May.

Violinist Ariel Horowitz ’19MM was awarded second prize in the age 18-21 category at the 2018 International Arthur Grumiaux Competition for Young Violinists in Brussels, Belgium. Horowitz also received the prize for Best Interpretation of a Work by Belgian Composer.

Clarinetist Graeme Johnson ’18MMA won first prize at the Hellam Young Artists’ Competition in Springfield, Mo. Johnson was awarded a monetary prize and will perform the Mozart Clarinet Concerto with the Springfield Symphony Orchestra in January 2019.

Composer Aaron Israel Levin ’19MM had his sextet Springbokkie selected for the Society of Composers Inc.’s 2018 National Conference. It was performed at the University of Puget Sound in Tacoma, Wa., in March.

Pianist Szymon Nehring ’19AD received the International Classical Music Awards’ Outstanding Young Polish Artist award. Each year, the ICMA honors exceptional artists and recordings that are selected by an international jury of music critics.

Cellist Justin Park ’18MM won first prize at the Eastern Connecticut Symphony Orchestra’s 59th Annual Instrumental Competition. Park will be featured as a guest soloist with the orchestra in the 2018-2019 season.

Congratulations to these and all of our outstanding students.

Published April 16, 2018
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Robert van Sice to perform with current YPG members and alumni

Robert van Sice

Yale Percussion Group Director Robert van Sice recently said that Garth Neustadter’s Seaborne “is the best piece anyone’s written for me since [James Wood’s] Spirit Festival with Lamentations.” Neustadter’s piece, which will be premiered on Saturday, March 3, as part of a concert billed as Robert van Sice & Friends, was commissioned to be a sort of companion piece to Steve Reich’s Sextet.

The March 3 program is built around Seaborne, which is fitting given that Neustadter ’12MM is a YSM alum and the concert will feature current YPG members and a host of alumni. In addition to Seaborne, which includes a film component created by van Sice’s son, Kjell van Sice, the program includes Thierry De Mey’s Musique de tables, “Story” from John Cage’s Living Room Music, and Reich’s Sextet.

Current YPG member YoungKyoung Lee ’18MM said the concert “represents the most important part of Bob’s teaching, which is learning from your peers and having the community together.” Percussionists are told when they arrive at YSM, “You will learn more from the other five students here than you will learn from me,” van Sice said. During the March 3 concert, several generations of YSM-trained percussionists will share the Morse Recital Hall stage, introducing the audience to some of the students who have passed through the School since van Sice joined the faculty in 1997.

While he’s looking forward to celebrating his time on the YSM faculty, van Sice is quick to recognize those who were here before him: Fred Hinger and Gordon Gottlieb. “These are really significant people who I have the privilege of succeeding,” van Sice said.

The March 3 concert, van Sice said, is “going to look way more like a party than a concert.”

DETAILS

Published February 28, 2018
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Ascendant composers prepare new works for Yale Philharmonia performance

Left to right: Alishan Gezgin, Krists Auznieks, Eli Greenhoe, Fjola Evans, Liliya Ugay

On Thursday, Dec. 7, conducting fellow David Yi will lead the Yale Philharmonia in a program of new orchestral works by several of YSM’s graduate-student composers. We spoke recently with composers Alishan Gezgin (The Passage), Krists Auznieks (Grace), Eli Greenhoe (Wrest), Fjola Evans (Lung), and Liliya Ugay (To the Lost World) about composing and preparing their pieces for performance.

Q: What does it mean to you that the orchestra performing your piece is an ensemble of your peers? 

Gezgin: For me, being a composer is most meaningful when I can connect sounds and ideas to real human beings I know and care about. It’s a gift, how deeply embedded this piece feels in the Yale community. Everything in the piece emerges from my time here, the conversations and experiences I’ve shared with friends and teachers, and the countless new ideas those exchanges have brought me.

Auznieks: It is always a pleasure working with people who share your life experience; they are the ones who are most likely to understand the cultural context of where the piece is coming from, and in that sense they are also the best judges of the music.

Greenhoe: I already feel so lucky to have the opportunity to attend YSM and study among friends and colleagues who are some of the finest musicians I know of. To have the opportunity to write a piece specifically for them to play, and knowing the profound depth of musicality among the student body here, is a rare opportunity and (to borrow a cliché) a total dream-come-true.

Evans: I’m really excited to have written this piece for an orchestra of my classmates. Getting to attend the Yale Philharmonia concerts in Woolsey Hall while writing my piece was great. It’s rare that you get to see the ensemble you are writing for perform in the same hall your piece will be premiered — being there helped me to viscerally imagine what I wanted my piece to sound and feel like.

Ugay: It means that the musicians of the orchestra are able to connect to my music in a personal way, as many of them know me as a person and/or have already worked with me/played my music before. It deepens the mutual understanding and eases communication between the orchestra and the composer, something a composer can (usually) achieve only by working with one orchestra for years. MORE

Published November 30, 2017
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Faculty composer Hannah Lash, on YSM’s annual New Music for Orchestra program

Hannah Lash

On Dec. 7, conducting fellow David Yi will lead the Yale Philharmonia in a program of new orchestral works by the School of Music’s graduate-student composers. The annual New Music for Orchestra program is part concert and, to the composers whose music is performed, part workshop.

“The only way to learn orchestration is to hear your own work,” faculty composer and New Music New Haven Artistic Director Hannah Lash said. “You can study scores all you want, but there’s nothing like having that hands-on experience.” Part of that experience is hearing, in person and in context, what works and what may not. “There’s nothing like learning from your own mistakes.”

For Lash and her faculty colleagues in YSM’s composition program, the annual program reflects the work students have done throughout the semester and in some cases before that. It’s also a snapshot of work that will continue. The School’s faculty composers mentor students in conceptual and practical areas. “We feel really compelled to share our experience,” Lash said.

And while the graduate-student composers are the beneficiaries of that wisdom, members of the Yale Philharmonia become ambassadors of the music that’s being composed today. “For any player who has any anticipation of potentially playing in an orchestra,” Lash said, “it’s really, really important that they have a first-hand experience (with music) that has been written by their contemporaries” — in part to help dispel the notion that orchestras are simply vehicles for music of the past. “They, too, are benefiting from this,” Lash said of the instrumentalists, “not just their composer peers.”

The New Music for Orchestra program presents an opportunity for audience members, too. Each year, Lash sits among them without identifying herself. “Optimistically,” she said, “the response has been positive. They’re curious and sort of don’t know what to make of (watching) the next generation of composers find their legs a little bit.”

On Dec. 7, that next generation of composers will add new music to the orchestral repertoire.

Stay tuned for interviews with the graduate-student composers whose work will be performed as part of the Dec. 7 New Music for Orchestra program.

DETAILS & TICKETS

Published November 29, 2017
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YSM percussionists to perform faculty composer’s double marimba concerto

Sam Um, left, and Georgi Videnov

On Friday, October 27, percussionists and Woolsey Hall Concerto Competition winners Sam Um ’17MM ’18MMA and Georgi Videnov ’15MM ’17MMA will perform YSM faculty composer Martin Bresnick’s concerto for two marimbas, Grace, with principal conductor Peter Oundjian and the Yale Philharmonia. We spoke recently with Sam and Georgi about preparing and performing Bresnick’s concerto.

Q: Grace was composed in 2000 for Yale Percussion Group Director Robert van Sice. How has working with Prof. van Sice informed your approach to the concerto? Has the piece changed at all since Prof. van Sice first performed it?

SU: Working with Prof. van Sice is always an exciting and illuminating experience. From the stories of how this piece came to life to his experiences of playing this piece in various places in the world, those stories influenced a lot of perspective and gave us more of a sense of attachment to the piece.

GV: In the case of Grace, Prof. van Sice usually uses it as a teaching tool by playing the first marimba part himself and giving the other to a student. This time, by working on it from the outside, he focused our attention on issues such as balance, stylistic approach, and interpretation. Even though the piece itself hasn’t changed, I believe that the relationship between each of the performers creates a unique version of it every time it’s played.

Q: Have you talked at all with Prof. Bresnick about the piece and, if so, what have those conversations yielded?

GV: Sam and I had the pleasure of playing it for Prof. Bresnick in a coaching and during my recital. One of the important aspects for him was to differentiate the “roles” of the two soloists — such as there is clearly a puppeteer and a puppet — as Heinrich von Kleist reflects on this relationship in his essay The Puppet Theatre.

SU: Prof. Bresnick and Prof. van Sice’s attention to the sound of the instrument was crucial in our process because we came to realize that the sound world of this piece is just so beautiful and complex. The idea of echo, nostalgia, and groove made us view the piece in an entirely different way.

Q: What unique aspects of the instrument and mallet technique does the piece exploit?

 GV: The piece exploits a number of techniques utilizing the entire five-octave range of the marimba. In its climactic points, Sam plays in the low register of the instrument, while I cover its high register, allowing the marimba to express its sonorous qualities to its fullest potential. What I find particularly interesting is the interlocking gestures that both marimbas have between each other to create a continuous texture.

SU: In order to achieve a huge sound without being aggressive requires a mature approach to the instrument. Trying to find that balance of making it sound weighty was a special technique, which was very challenging.

Q: What are the most challenging aspects (either technically or musically) of the piece? And what are the challenges of performing the piece with an orchestra?

GV: Due to its nature and the fact that we fill each other’s rests, it is almost harder to play and practice the piece on your own. Early on in the process, Sam and I started rehearsing it together before we even had fully mastered our individual parts to get a sense of how it fits together.

SU: Again, the sound has to be one of the most challenging parts about this piece. To create the beautiful texture and to almost tag-team with different groups of instruments to become one super-instrument will be challenging.

Q: How have you gone about ensuring a consistency of sound and color (between you)?

SU: We did lot of counting work and breathing together whenever we had entrances together. With such responsive instruments like percussion, we have to focus a lot on each other’s ictus and try to match our strokes. In the third movement, where we have passing, flowing lines, we sang those lines out loud to match our dynamics and tempi.

GV:  The marimbas are set up in such a way (facing each other) that allows us to constantly check in with each other, both visually and aurally, on our sound and color. As Sam mentioned, we are quite aware of our stroke preparations and how we feel the groove, both when we are playing and when we have rests.

Q: How would you introduce the piece to audiences who might be new to marimba concerti and even to contemporary music?

GV: Despite the fact that the marimba has found its place in the contemporary solo concerto repertoire, the choices for a double marimba concerto are quite limited. Here is an example that doesn’t try to impress with virtuosity (even though it requires such), but with grace.

SU: I’d love to say that just because it’s new music, it’s not all complicated and difficult to listen to. Contemporary composers are mostly influenced by great musicians people are familiar with such as Bach, Beethoven, and Brahms, and they all share the same vision of making music important in their culture. I strongly believe that experiencing and being exposed to new music can be beautiful, nostalgic, and heartwarming, as well.

Q: What are your thoughts about performing a concerto by a YSM faculty composer here, at YSM, with an orchestra of your peers?

GV: Even though I’d like to share this piece with audiences outside of YSM in the future, I don’t think there is a better place for it than where the piece was conceived and having the opportunity to work on it with our professors and Maestro Oundjian — especially at Yale’s Woolsey Hall!

SU: I am very happy to have this opportunity where we can perform a piece by Martin Bresnick, who is undoubtedly one of the greatest composers and pioneers of today’s music. And to say that I am part of the same community (YSM) as him defines the great experience that students can have here at Yale. Performing this concerto has become so much more than giving a great concert. As percussionists, we unkowningly become ambassadors of new music and percussion. With this concert, I hope that we’ll be able to soften some opinions and break any barriers and fears that people have toward new music. I am grateful to be a part of the Yale School of Music, where the School provides its full support for the new music scene with concert series and opportunities like this.

Principal conductor Peter Oundjian and the Yale Philharmonia will perform in Woolsey Hall on Friday, October 27, at 7:30 pm. The program features the world premiere of the International Bruckner Society’s new edition of the composer’s Eighth Symphony, which was created by Yale School of Music Professor of Musicology and International Bruckner Society editorial board member Paul Hawkshaw. Special offer: tickets are free for all students.

LEARN MORE ABOUT AND BUY TICKETS TO THE OCTOBER 27 YALE PHILHARMONIA CONCERT

Published October 24, 2017
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