Brentano String Quartet to perform Martin Bresnick’s “The Planet on the Table”

Brentano String Quartet

The Brentano String Quartet, left to right: violinist Serena Canin, cellist Nina Lee, violinist Mark Steinberg, and violist Misha Amory. Photo by Ian Christmann

Faculty composer Martin Bresnick’s String Quartet No. 4 was inspired—instigated is perhaps a better word—by the poetry of Wallace Stevens, including The Planet on the Table. “In this string quartet, also entitled The Planet on the Table, my planet is made of the music and sounds of a remembered time or of something heard that I liked,” Bresnick explains, borrowing from and sharing the first stanza of the title poem’s text:

Ariel was glad he had written his poems,
They were of a remembered time
Or of something seen that he liked.

“The quartet has five movements, each headed by a quotation from one of Stevens’ poems as a point of departure or pathway into those remembered sounds and music,” Bresnick explains.

In The Planet on the Table, “Stevens … speaks through the character of Ariel from The Tempest,” Brentano String Quartet violinist Mark Steinberg writes in his program notes. “Martin Bresnick’s quartet is a ‘musical meditation’ on this poem, on the transformational value of art, the power of the creative act.” The piece was commissioned for the Brentano String Quartet and received its premiere in March.

Martin Bresnick. Photo by Nina Roberts

Bresnick tells us: “Stevens wrote [that] it was not important that his poetry survive, which is also true of my work.” Stevens’ poetry did survive, of course, as it was read and shared, just as Beethoven’s music has survived through performance and as Bresnick’s work will through the musicians, organizations, and audiences with whom it resonates.

The Brentano String Quartet, the Yale School of Music’s ensemble-in-residence, will perform The Planet on the Table on a September 24 Oneppo Chamber Music Series program that also includes Beethoven’s String Quartet No. 15 in A minor, Op. 132. The program will also feature readings of Stevens’ work by the poet (by way of a recording) and by writer and editor Christian Wiman, who teaches at the Yale Institute of Sacred Music and the Yale Divinity School. During the Beethoven, lines of text from Steven’s poems will be projected above the stage.

Just as Bresnick has found inspiration in the work of Wallace Stevens, among others, Stevens, as countless artists have before and since, felt connected to Beethoven’s music. Thus the pairing on this concert program of The Planet on the Table with Beethoven’s String Quartet No. 15. It’s a program that explores “the power of the creative act,” as Steinberg describes the artistic process—the reach, across time and discipline, of inspiration. Countless artists have lit fires under countless others. Here, the Brentano String Quartet presents three who are connected by, and connect us to, the “transformational value of art.”

DETAILS & TICKETS

Published September 24, 2019
Share This Comments

Martin Bresnick receives Samuel Simons Sanford Medal

Martin Bresnick

During Convocation 2019, Yale School of Music Dean Robert Blocker awarded the School’s highest honor, the Samuel Simons Sanford Medal, to Martin Bresnick, “a colleague who has given distinguished service to music, to intellect, and to repairing the world.” Bresnick, who in 1976 joined the faculty of Yale’s Department of Music and in 1981 joined the faculty of the School of Music, is the Charles T. Wilson Professor in the Practice of Composition.

The award’s namesake, Blocker said, “was the first professor of applied music at Yale and one of the founding professors of the Yale School of Music. A gifted pianist, Sanford was also one of Yale’s most generous patrons.” Blocker explained that “after receiving an anonymous gift in 1972 honoring Sanford’s dedication to Yale and music, the School of Music established the Samuel Simons Sanford Medal. Initially awarded to recognize the appointment of teaching fellows, the Sanford Medal is today … the most prestigious award conferred by the School.” Blocker described Bresnick as a “master teacher, a professor who has taught many of the people that adorn our own faculty and other faculties around this country and indeed throughout the world.”

“I know of no one,” Blocker said, “who is truer to his own belief and truer to his own heart than Martin. I know of no one who has been more compassionate to students, to faculty, and to the well-being of music and our University and … our School.” Blocker told Bresnick, “Your teaching and your musicianship and your creative work was so inspired that we could not help but appoint your students—David Lang, Hannah Lash, Chris Theofanidis—to come and join you as you and your former students, who are now your colleagues, continue that legacy.”

“The School has give me so much more than I could ever give back,” Bresnick said. “The School of Music, to me, has been my Esterházy, a place where I try things, I learn things, things were taught to me and I just try to return them as much as possible to these wonderful students. I just need to remind people … the secret of being a great teacher is to choose really great students.”

Sharing an “inverted version” of an expression he’s passed on to students, Bresnick said, “When the student is ready, the teacher appears. I was happy to appear.”

Published September 16, 2019
Share This Comments

Alumni nominated for 2019 Emmy Awards

Marco Beltrami. Photo courtesy of the artist

In the National Geographic documentary film Free Solo, by Elizabeth Chai Vasarhelyi and Jimmy Chin, Alex Honnold attempts to climb El Capitan—a 3,000-foot, perfectly vertical granite wall in Yosemite National Park—without ropes or safety gear of any kind. The music for Free Solo, by YSM alumnus Marco Beltrami ’91MM and Brandon Roberts, is full of tension and solemnity and connects viewers to the determination Honnold has in surplus and the protective fear he seems inexplicably not to have. The film’s cinematography offers all the perspective a viewer needs to appreciate that there is absolutely no room for error in the challenge Honnold has undertaken, while the music is full of the consequences he faces. For their contributions to the film, Beltrami and Roberts have been nominated for a 2019 Emmy Award in the “Outstanding Music Composition for a Documentary Series or Special (Original Dramatic Score)” category.

Thomas Newman. Photo courtesy of the artist

Thomas Newman ’77BA ’78MM is also up for a 2019 Emmy Award. Newman’s score for the Hulu series Castle Rock, created by Sam Shaw and Dustin Thomason and inspired by the fictional setting Stephen King created for many of his stories, was nominated in the “Outstanding Original Main Title Theme Music” category. Newman’s foreboding music is a confirmation of what’s already known: that uncomfortable and frightening things await the viewer in Castle Rock.

Beltrami and Newman work in the world of film and television scoring, adding dimensions to stories that aim at the visceral. In addition to Free Solo, Beltrami has scored the Scream movies, A Quiet Place, and the 2019 TV series The Twilight Zone, to name just a handful. This Emmy nomination is his second. Newman has composed music for The Shawshank RedemptionRevolutionary RoadThe Help, and many other films. This Emmy nomination is his third. He won an Emmy in 2002 for his theme music for HBO’s Six Feet Under. For Beltrami and Newman, whose often-anonymous music has its audiences in movie theaters and living rooms around the world, awards like the Emmy are a public round of applause.

Winners of the 2019 Emmy Awards will be announced on Sunday, September 22.

Featured photo: Alex Honnold makes the first free solo ascent of El Capitan’s Freerider in Yosemite National Park, Calif. (National Geographic/Jimmy Chin)

Published August 2, 2019
Share This Comments

Composer Andrew Norman ’09AD is named a 2019 Pulitzer Prize finalist

Andrew Norman

Composer and School of Music alumnus Andrew Norman 09AD was named a finalist for the 2019 Pulitzer Prize in Music for his orchestral work Sustain. The Pulitzer judges described the piece as “an absorbing orchestral work rich with mesmerizing textures and color, including washes of clustered string sounds and cascading winds, creating a virtual sound installation in which perceptions of time are suspended.”

Sustain was commissioned by the Los Angeles Philharmonic for the opening of the orchestra’s centennial season and received its premiere on October 4, 2018, under the baton of Music and Artistic Director Gustavo Dudamel. The Los Angeles Times’ Mark Swed described Sustain as “a near out-of-body acoustic experience that sounds like, and feels like, the future we want, sans dystopia.” Sustain, Swed wrote, “has done the most to redefine the modern-day orchestral experience. Its … composer has already easily become the leading L.A. (and arguably leading American) composer of his generation.” The New Yorker’s Alex Ross wrote, in November 2018, “Norman has always been a deft orchestrator, but in Sustain he reveals himself as a magician of the art.”

Read about other Yale-affiliated 2019 Pulitzer Prize awardees.

 

Published April 18, 2019
Share This Comments

Christopher Theofanidis’ “Drum Circles” to be premiered by YSM percussionists

Christopher Theofanidis

On March 9, the Oregon Symphony, led my Music Director Carlos Kalmar, will premiere Drum Circles, a concerto for percussion quartet and orchestra by YSM faculty composer Christopher Theofanidis. Drum Circles was commissioned by a consortium of six organizations, including the Aspen Music Festival, Baltimore Symphony Orchestra, Colorado Symphony, Curtis (Institute) Symphony Orchestra, Hartford Symphony Orchestra, and Oregon Symphony.

“Much of Drum Circles centers around the joy of sound and collaboration,” Theofanidis said. The title of the five-movement work stems from its stage setup, which will feature the quartet—YSM alumni Ji Hye Jung ’09MM, Matthew Keown ’16MM ’22DMA, Svet Stoyanov ’07MM, and Sam Um ’17MM ’18MMA—and three of the orchestra’s percussionists surrounding the full ensemble in a large circle. One of the challenges Theofanidis faced in composing Drum Circles was keeping audiences’ attention on the percussion quartet throughout the piece. While composers of any concerto must work to maintain such a balance, “having many players potentially decentralizes that focus,” Theofanidis said.

The sound qualities of the percussion instruments the piece utilizes also came into play. Theofanidis observed that a potential imbalance between soloists and orchestra might be “even more pronounced with a percussion-quartet concerto with orchestra, where many of the sounds of the soloists are not pitch oriented, but the sounds of the orchestra all around them are.” In navigating these challenges while writing the piece, Theofanidis “kept coming back to the idea of dialogue and delight.”

Theofanidis decided from the beginning that the piece should be accessible to orchestras — “portable” in the sense that it would require instruments that most orchestras already have. “To have four players on the road with an enormous amount of gear didn’t make sense either artistically or economically and would have probably limited the opportunities for the work to get done,” he said. Still, the piece calls for some nonconventional instruments including an amplified typewriter, wooden slats, and spring coils — “plenty of bells and whistles, so to speak,” Theofanidis said.

While composing Drum Circles, Theofanidis checked in periodically with percussionists at YSM, incorporating their feedback into the writing and part-distribution process. “More than any other musicians, percussionists are collaborators,” Theofanidis said. “They were careful to let me know that they wanted their orchestral-percussion colleagues to very much be a part of the piece, not just a background group of players.”

Once the piece is performed with an orchestra for the first time, Theofanidis will be able to add any finishing touches the work might call for. “The great thing about having a consortium of six orchestras as part of the premiere is that we can continue to tailor the piece and get it ‘just so,’” he said.

CHRISTOPHER THEOFANIDIS

Published March 7, 2019
Share This Comments

Pianist and composer Renee Rosnes to perform Ellington Jazz Series concert

Renee Rosnes

Jazz pianist and composer Renee Rosnes comes to Yale this week to perform an Ellington Jazz Series concert with her quartet, which includes vibraphonist Steve Nelson, bassist John Patitucci, and drummer Lenny White. The group will play music from Rosnes’ two most recent albums, Beloved of the Sky and Written in the Rocks. We spoke with Rosnes, whom DownBeat has described as “a virtuoso jazz composer,” about the music on those recordings, and more.

Q: Beloved of the Sky includes music that celebrates the Pacific Northwest (where you’re from) and laments the environmental destruction that has scarred the region. …

A: There is one piece from the recording that deals with this subject and that is “Scorned as Timber, Beloved of the Sky,” which is the name of a painting by Canadian artist Emily Carr (1871-1945). Having grown up in British Columbia and seeing her work frequently, Carr’s paintings evoke a strong emotional response in me. Her canvases of the Canadian coastal landscapes and deep woods are familiar territory. She was an environmentalist ahead of her time and created several paintings that deal with her concern for the environment, and specifically the clear-cutting of forests (Odds and Ends, Above the Gravel Pit, Loggers Culls, Stumps and Sky, A Forest Clearing).

Q: To what degree do you hope audiences come to this music with an understanding of its origins, and to what degree can that information exist as your compositional motivation, without necessarily being a programmatic element?

A: I have no expectations with regard to the listener coming to the music with any background knowledge. It is not necessary that one understands the inspiration in order to enjoy it. With that said, I’m happy to illuminate or motivate people to learn about the various subjects that have inspired my music.

Q: For Written in the Rocks, you explored evolution, the earth’s—and various species’— beginnings. Technology specialist Dino Rosati’s liner notes informed your writing for this album, specifically for “The Galapagos Suite.” Would you talk about finding inspirations for new projects and how you go about conceiving and developing music from there?

A: Picasso once said, “The artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a scrap of paper, from a passing shape, from a spider’s web.” This is a true statement, although often the inspiration simply comes from within—with the music coming first: a short melodic phrase, a rhythmic motif or an unusual chord progression. The sounds themselves evoke a theme or a feeling that inspires a title.

Recently, I was commissioned by Aaron Schwebel, the artistic director of Echo Chamber Toronto, to compose a jazz chamber piece for string quartet, flute, and piano. It is part of a performance series that brings musicians and contemporary dancers together on stage in collaboration with each other, and the composition will be choreographed and performed later on this year. I have never worked with dancers before, and am really enjoying the challenge of composing with movement in mind.

Q: “Goodbye Mumbai” is autobiographical in nature. Would you share briefly how this tune came to be and how you approach playing it?

A: In 1994, I was very fortunate to have discovered by maternal biological family and consequently learned of my Punjabi heritage. In 1996, I released a recording entitled Ancestors (Blue Note Records), in which many of the pieces reflected that experience. Since that time, I’ve had the opportunity to visit India once, and my trip inspired this particular piece, which feels celebratory in nature. “Goodbye Mumbai” was composed with the hope that I’ll someday return.

Q: In recording Beloved of the Sky and Written in the Rocks, to what extent did you share the above-mentioned background information with the musicians with whom you recorded (and with whom you perform) the music?

A: I always share any stories or thoughts that might accompany my compositions with the band. Sometimes there is a direct musical outcome, such as at the beginning of “Galapagos.” You can hear a musical representation of ocean waves and bird calls during the introduction. Another example is in the piece “Scorned as Timber, Beloved of the Sky.” The “cry of the tree’s heart” that Emily Carr spoke of is sonically depicted by the “tall” dissonant chords with which the piece begins and ends. To whatever ends an individual musician embraces the narrative as a part of their improvisational statement is a free choice.

Q: We think a lot around here about the artist’s role in society and what that looks like from one individual to the next. What are your thoughts on the subject?

A: On the face of the old Canadian $20 bill there used to be a quote—in very fine print—by author Gabrielle Roy. It read, “Could we ever know each other in the slightest without the arts?” Art is necessary because it reflects society. It is an expression of who we are and where we’ve been and where we’re headed. It is an act of human liberation, inspired by the whole spectrum of human emotion. With regard to my work, I hope that people lose themselves in the listening and allow the sounds to take them to a place of spiritual fulfillment.

The Renee Rosnes Quartet will perform an Ellington Jazz Series concert on Friday, March 1, at 7:30 p.m., in Morse Recital Hall. The performance will showcase music from Rosnes’ two most recent albums, Beloved of the Sky and Written in the Rocks.

DETAILS & TICKETS

Published February 25, 2019
Share This Comments

YSM faculty composer Aaron Jay Kernis wins Grammy Award

Aaron Jay Kernis

Several Yale School of Music alumni took home Grammy Awards on Sunday, Feb. 10. Please join us in congratulating the following musicians on this exciting accomplishment.

Faculty composer Aaron Jay Kernis ‘83MM won a Grammy Award in the “Best Contemporary Classical Composition” category for his Violin Concerto, which was performed by violinist James Ehnes, conductor Ludovic Morlot, and the Seattle Symphony. Ehnes won a Grammy in the “Best Classical Instrumental Solo” for his performance.

Violinist Sheila Fiekowsky ’75MM and cellist Owen Young ’87MM earned Grammy Awards as members of the Boston Symphony Orchestra in the “Best Orchestral Performance” category for the ensemble’s recording of Shostakovich Symphonies Nos. 4 and 11. For that recording, which was engineered by Shawn Murphy, Nick Squire, and Tim Martyn, the Boston Symphony Orchestra also won in the “Best Engineered Album, Classical” category.

Erica Brenner ’89MM earned a Grammy Award for producing Songs of Orpheus, a recording that features tenor Karim Sulayman and Apollo’s Fire, conducted by Jeannette Sorrell, in a performance of music by Monteverdi, Caccini, d’India, and Landi. The recording won in the “Best Classical Solo Vocal Album” category. Brenner, who studied flute at YSM, is a member of the Recording Academy.

Published February 11, 2019
Share This Comments

YSM composer presents “Stinney: An American Execution” in New York

Baltimore premiere of Stinney: An American Execution. Photo by Will Kirk, Homewood Photography

While pursuing degrees and performing at the Yale School of Music, students also actively engage in collaborations outside of Yale, and work to affect change in their communities and beyond. YSM composer Frances Pollock ’19MM has worked in conjunction with the Prototype Festival, French Institute Alliance Française, and Harlem Stage to present the opera Stinney: An American Execution, for which she wrote the score and co-wrote the libretto. Stinney was originally premiered in Baltimore in 2015, where Pollock earned a master’s degree from the Peabody Conservatory. Speaking about the premiere, Pollock said, “Part of our audience came to the show because of their profound dedication to new music. The other part came out of a profound dedication to the fight for human rights. I caught my first glimpse of how art can be a powerful unifier in a moment when there doesn’t seem to be a way to move forward.” Hailed by the Baltimore Sun as a “bold, bracing opera that pulls no punches and never flinches,” Stinney will be performed this weekend at Flourence Gould Hall in New York City.

Stinney tells the story of George Junius Stinney Jr., who was executed at age 14 for a crime he didn’t commit. According to the Prototype Festival website, “Having been wrongly accused and convicted of the rape and murder of two white girls in Alcolu, SC, in 1944, George became the youngest person legally executed in 20th-century America. Stinney tells the story of George, his family, his community, and the jury of ten white men that sent an innocent black boy to the electric chair. A new opera with roots in both gospel and electronic techniques, Stinney: An American Execution spotlights the anger and agony of the entire populous of Alcolu, connecting the dots to our own socio-political climate in 2019 and the pervasive ‘fear of the other.’”

We recently spoke with Pollock and the production’s music director, Alex Blake, about the opera and its importance in today’s world.

Q. What do you think is the role of an artist in tackling issues of racism and oppression? 

Blake: I feel like art should reflect the times that we are in and should reflect the struggles of a people. Art allows artists to reach people, a way to present difficult topics, and a way for audiences to enter into a conversation without feeling defensive or feeling like they have to respond to a topic in the moment. We tell stories and we open up dialogue in an emotional sense that push beyond the academic or intellectual spaces.

Pollock: The thing that I’m most interested in right now is challenging the systems in which art is created. In telling charged stories, we as artists must be aware of our limited perspective and make sure we are working with collaborators who will challenge that perspective in the creative process. For this project, it was crucial to decentralize the role of the composer and focus on establishing a team that is invested in crafting the story. For me personally, being in touch with the Stinney family and including them at every step was the only way to make sure that we were telling the story in a way that truly listened.

We are also trying out a new model for royalties on this opera. As the opera goes on, most of the royalties will go directly to the Stinney family. The cast and creative team will also continue to receive collaborative royalties as the show progresses. This model ensures that the team is recognized for role in the creative process even as the show goes forward.

Q. Why is this opera important? Do you think it is particularly important now, in our current social and political climate? 

Blake: This opera is extremely important. We have seen more and more cases of the struggles and interactions between police and people of color, including Black children. From a socio-political sense this piece definitely brings up questions that we need to respond to as a population in these times right now.

Musically, this opera is important because it involves a story of a community that rarely feels represented in classical music and more specifically in opera. To hear the story of someone in the community and to see members of that community represented on stage is an experience that has not been offered to people of color, and that representation is essential when we talk about the relevance of opera to an American populous.

The status quo for opera is dominated by heteronormative caucasian stories told from a singular perspective. This story about this African American boy and the American systems that have been detrimental to the success and progression of marginalized populations are beautifully represented in Stinney.

Pollock: I totally agree with Alex. It’s also important to challenge the spaces of western art music—spaces that are still predominantly white and predominantly wealthy. There is nothing wrong with canonic repertoire itself nor the audiences that attend these performances, but often these spaces pride themselves on being elite. Elitism often leads to exclusion, and the history of elitism in opera manifests in whole communities being excluded from classical music spaces.

Q. What led you to begin this project? 

Blake: Frances Pollock called me and told me about this opportunity to perform Stinney in New York. I had already read about the first run-through and was both elated and horrified to be asked to be a part of it—you see, this is my first experience conducing an opera, and I remember asking if she was sure that I would be a good fit. I’m very honored and excited to be a part of telling this story.

Pollock: I have been interested in the conversation that surrounds race relations in the South since I was in high school. In college, I spent a little while working with the Innocence Project in North Carolina and became profoundly aware of systemic racism in the prison system. When I moved to Baltimore and began teaching in the public schools, I was faced with the reality that many of my students lived with daily—that low-income communities of color were chronically under-supported and over policed, which perpetuated the cycle of the school-to-prison pipeline. At the same time, I was confronted with the status quo of classical music training, training that felt wholly unaware of the social injustices that were taking place right outside the ivory walls of the conservatory. (Co-librettist) Tia [Price] and I started writing Stinney to start having a conversation with our colleagues.

Stinney: An American Execution will be performed on January 12, at 5 p.m., and January 13, at 3 p.m, with tickets starting at $30. On January 10, at 7:30 p.m., co-presenter Harlem Stage will host a moderated panel discussion, Democratic Ideals and Racism: An Examination of the Cradle to Prison Pipeline, on the creative responses of artists as they witness, experience, and analyze the collective trauma of being Black in America. The discussion will feature members of the creative team of Stinney, and tickets start at $5.

Published January 10, 2019
Share This Comments

Members of YSM community earn Grammy nominations

Missy Mazzoli. Photo by Marylene Mey

Grammy Award nominations were announced on Friday, Dec. 7, and several members of the Yale School of Music community made the list. Please join us in congratulating these outstanding musicians.

Composer Missy Mazzoli ’06MM was nominated in the Best Contemporary Classical Composition category for her work Vespers for Violin, performed by Olivia de Prato. In the same category, faculty composer Aaron Jay Kernis ’83MM received a nomination for his Violin Concerto, performed by violinist James Ehnes, conductor Ludovic Morlot, and the Seattle Symphony.

Yale Philharmonia Principal Conductor Peter Oundjian was nominated in the Best Classical Compendium category for Vaughan Williams: Piano Concerto, Oboe Concerto, Serenade to Music, Flos Campi, on which he conducted. The recording was produced by Blanton Alspaugh.

Conductor Martin Pearlman ’71MM was nominated in the Best Classical Instrumental Solo Category for Biber: The Mystery Sonatas, on which he conducted. The recording features violinist Christina Day Martinson and Boston Baroque.

Composer John Adams ’MUSHD received a nomination in the Best Opera Recording category for Adams: Dr. Atomic.

The Boston-based chamber orchestra A Far Cry, which includes alumni violinists Liesl Schoenberger Doty ’11AD and Miki-Sophia Cloud ’08MM, was nominated in the Best Chamber Music/Small Ensemble Performance category for Visions and Variations.

In the Best Orchestral Performance category, three nominations have ties to YSM. The Boston Symphony Orchestra’s recording Shostakovich: Symphonies Nos. 4 & 11, conducted by Andris Nelsons, includes alumni violinist Sheila Fiekowsky ’75MM and cellist Owen Young ’87MM. The San Francisco Symphony’s recording Schumann: Symphonies Nos. 1-4, conducted by Michael Tilson Thomas, includes alumni violinists Gina Cooper ’87MM and John Young ’MM. And the Pittsburgh Symphony Orchestra’s recording Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1, conducted by Manfred Honeck, includes alumni violinists Irene Cheng ’94MM and Louis Lev ’90MM and alumni trombonist Rebecca Cherian ’81MM.

Published December 10, 2018
Share This Comments

Yale Philharmonia to perform music by student composers

The Yale Philharmonia, in rehearsal.

On Dec. 6, guest conductor and YSM alumnus Julian Pellicano ’07MM ’09MM will lead the Yale Philharmonia in a program of new orchestral music by the School’s student composers. As part of the New Music New Haven series, New Music for Orchestra is an annual occurrence, but each performance is distinctly different and offers audiences the opportunity to see brand-new works by YSM’s innovative and talented composition students.

Every year the concert features the orchestral works of different student composers, each of whom has a unique musical style. Tanner Porter ’19MM, whose work Here Comes the Rain will be performed on Dec. 6, said, “One of the things that makes the Yale composition department so particularly wonderful is the fact that everyone is working in largely different sound worlds. While musical tastes and interests overlap, the ways in which we internalize our influences and create from our experiences renders totally diverse works. Our many compositional styles are sure to give this concert a fantastic array of soundscapes to experience.”

New Music for Orchestra presents an exciting program to its audience, but it also provides YSM’s composition students an invaluable learning tool by enabling them to work closely with an orchestra throughout the rehearsal process. “The only way to learn orchestration is to hear your own work,” faculty composer and New Music New Haven Artistic Director Hannah Lash has said. “You can study scores all you want, but there’s nothing like having that hands-on experience.”

There is also something very special about having music performed by an orchestra of one’s peers, in this case the Yale Philharmonia. Ryan Lindveit ’19MM, who will present his piece Pray Away on the concert, said, “I love working with musicians who are around my age, because they are more likely to understand the particular set of cultural circumstances that led to my creating the music on their stands.” About his piece, Lindveit said, “Taking for granted my deeply held belief that music can be a vehicle for emotional transformation, Pray Away is a musical metaphor for unpeeling layers of personal shame to find authenticity.”

The concert on Dec. 6 will feature works by Porter, Lindveit, Aaron Levin, Grant Luhmann, Frances Pollock, Anteo Fabris, and Nate May. Asked about the importance of presenting new music in live performance settings, Porter said, “In my experience, the orchestra is one of the most powerful engines a listener can inhabit. Many of my most meaningful musical memories are from live concerts, where I witnessed the music I’d loved in recordings take shape as it reverberated through the space. But there’s nothing like falling in love with a new piece as you hear it for the first time, and in an orchestra hall—where you can not only listen to but sit inside of and feel the music as it forms.”

Guest conductor and YSM alumnus Julian Pellicano ’07MM ’09MM leads the Yale Philharmonia in a program of new orchestral music by the School’s student composers on Thursday, Dec. 6, at 7:30 p.m., in Woolsey Hall. This New Music for Orchestra program, presented by New Music New Haven, is free and open to the public.

Published November 30, 2018
Share This Comments