YSM faculty trumpeter Allan Dean to retire

Allan Dean

Over the course of 30 years at the Yale School of Music, faculty trumpeter Allan Dean has shared with students, colleagues, and audiences alike the yield of his vast musical experience. His career has been marked as much by excellence as it has by curiosity. Today, as Dean makes plans to retire at the end of the academic year, we celebrate what he has meant to our community and to the wider musical world.

“My gratitude for his collegiality and personal friendship is boundless,” YSM Dean Robert Blocker told the School of Music community. “Allan has contributed significantly to the artistic and academic maturation of the School of Music and to the discipline of music.”

Dean has played with the most venerated brass ensembles, including the New York Brass Quintet, of which he was a member for nearly two decades, as well as the American Brass Quintet, Summit Brass, St. Louis Brass Quintet, and Yale Brass Trio, alongside faculty hornist William Purvis and faculty trombonist Scott Hartman. For more than 20 years in New York City, Dean performed and recorded extensively, appearing on dozens of major-label releases of repertoire from early music to contemporary works.

A founding member of Calliope: A Renaissance Band and the New York Cornet and Sacbut Ensemble, Dean’s exploration of early music and period instruments has included performances with the Waverly Consort and the Smithsonian Chamber Players.

“This is a profoundly sad moment for me, but also an extraordinarily inspiring moment,” Purvis wrote on Facebook. “Allan has pursued a remarkably independent life in music that has epitomized curiosity and excellence in every aspect, every corner of music, to an extent that continues to inspire and instruct me on a daily basis.”

As a teacher, Dean has mentored musicians at such respected institutions as Indiana University, the Manhattan School of Music, and the Eastman School of Music. He has also taught and performed at festivals in the United States and abroad including the Spoleto and Casals festivals, and the Yale Summer School of Music/Norfolk Chamber Music Festival. Trumpeter and Yale School of Music alumna Jean Laurenz ’13MM ’14AD said that Dean, “more than anything, created an environment of camaraderie that allowed each of our individual artistic voices to flourish.”

Dean arrived at YSM in 1988, succeeding longtime faculty trumpeter Robert Nagel Jr., with whom Dean worked in the New York Brass Quintet. In that respect, Dean continued a legacy at Yale while bringing his unique personality to his work. Dean has “transformed the lives of his students, his colleagues, and indeed those fortunate enough to have heard his performances on stage and through recordings,” Blocker said.

Allan Dean’s next concert at Yale will be with his colleagues in the Yale Brass Trio. A date for that performance will be announced soon.

Published October 12, 2018
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YSM Student News | October 2018

Ethan Braun

Organist David von Behren ’19MM toured the U.K. this past summer, performing recitals at St. George’s Chapel, Windsor Castle, Clare College, Cambridge University, and Chester Cathedral. Von Behren also joined the teaching faculty of this year’s American Guild of Organists’ Pipe Organ Encounter Plus program in Rockford, Ill.

Two major works by composer Ethan Braun ’21DMA were premiered this fall including an evening-length work performed by Ensemble Klang and the Gaudeamus Muziekweek in The Netherlands, and a work for brass quintet and electronics performed by the Los Angeles Philharmonic. An opera commissioned by the City of Berlin’s Hauptstadtkulturfonds will be premiered in December.

Tubist Jake Fewx ’18MM ’19MMA won first prize in the Tuba Artist division at the 2018 Leonard Falcone International Euphonium and Tuba Festival Competition in August.

Violinist Bora Kim ’16MM ’17MMA ’23DMA successfully auditioned for the chance to borrow a 1747 Palmason Januarius Gagliano violin (valued at $425,000) for three years from the Canada Council for the Arts’ Musical Instrument Bank.

Composer Alexis C. Lamb ’20MM will have her first work for orchestra premiered in March 2019 by the Arizona State University Symphony Orchestra. Lamb will also perform with the world music sextet Projeto Arcomusical in the premiere of a new concerto by Elliot Cole.

Ingram Lee ’19MM won the position of Second Trombone with the Bangor Symphony Orchestra in Maine.

Composer Aaron Israel Levin ’19MM had two pieces performed as part of the National Conference of the Society of Composers: Springbokkie was performed in Tacoma, Wash., last March, and Operating Room was performed at Indiana University in September.

Violinists Gregory Lewis ’19MM and Marianne di Tomaso ’17MM ’19MMA participated in the Violin Competition at the Virtuoso & Belcanto Festival in Lucca, Italy, in July. Tomaso earned first prize and Lewis earned second prize.

As the grand prize winner of the New York Youth Symphony’s First Music program, Ryan Lindveit ’19MM was commissioned to write an orchestral piece that will be premiered in Carnegie Hall in May 2019 and performed by Interlochen’s World Youth Symphony Orchestra in July 2019.

Liliya Ugay

Trumpeter Chloe Swindler ’19MM was selected to tour as an Associate Artist with the Rodney Marsalis Philadelphia Big Brass for its 2018-2019 season. The tour includes performances in New York, Vermont, Arizona, Philadelphia, Wisconsin, Texas, and Iowa.

Composer Liliya Ugay ’16MM ’22DMA was a Baumgardner Fellow at the Norfolk Chamber Music Festival’s Choral Workshop. Ugay was also selected as a composer-in-residence at the American Lyric Theater, where she will work on a full-length opera in 2018-2020.

As the first-prize and audience-prize winner in the Young Artist Division at the 2017 Albert Schweitzer Organ Festival, organist Grant Wareham ’20MM performed at St. John’s Episcopal Church in Hartford in September.

Published October 10, 2018
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YSM faculty mezzo-soprano Janna Baty, on collaborating with faculty pianist Peter Frankl

Janna Baty

On Wednesday, Nov. 8, YSM faculty pianist Peter Frankl will give one of his last performances at Yale before retiring at the end of the semester. He’ll be joined for an all-Schumann program by faculty mezzo-soprano Janna Baty and baritone Randall Scarlata. We asked Prof. Baty about collaborating with Prof. Frankl, and about her colleague’s contributions to the Yale community and beyond.

Q: What about working with Peter Frankl is inspiring and artistically nourishing?

JB: He is utterly engaged and dedicated to getting the music right. He is exacting in his own work, which inspires me in mine. He is also deeply in love with vocal literature, which (alas!) cannot be said of all pianists, and understands its conventions and techniques. He has a Geiger counter-like sensitivity to the placement of consonants and an in-depth knowledge of every inch of the poetry, which means he colors his accompaniments perfectly. Schumann is especially good with Peter, as the singer and pianist are effectively two sides of the character’s brain. It’s an immersive and even overwhelming experience to work with him, one for which I’m enormously grateful.

Q: What are your conversations about music like?

JB: They range from matter-of-fact (tempi, rubati, choices of repertoire) to gossipy! We both adore opera and spend a disproportionate amount of time talking about this production and that, this singer and that. It’s always so much fun. Our musical conversations — meaning, poetry — are mostly just that, expressed in the music. When you get it, you get it.

Q: What do you learn — and what have you learned — about music and your own artistry from working with Peter? (In a sense, what kind of teacher is he?)

JB: My first collaboration was with Peter and Claude Frank singing Brahms’ Liebeslieder-Walzer as a graduate student (calling it a collaboration is a stretch … it was a public recital at the Norfolk Chamber Music Festival, but for us singers it was a master class!) and, more than 25 years later, this recital is the most recent. I’ve learned that sincerity, dedication, honesty, and passion onstage are all that matter. The other junk — egos, publicity, the public reaction — just doesn’t matter. When you are completely committed onstage, the audience comes with you.

Q: What do you hope audiences take away from the concerts you perform with Peter Frankl?

JB: That vocal chamber music is every bit as viable an art form as any other type of piano repertoire. It is, in so many ways, the most important form of chamber music of all, because it includes words. Peter treats collaborations with singers no differently than he treats collaborations with other artists, which is validating to singers like myself and so important for the public to see. I wish all pianists had this dedication to and skill with the repertoire!

Q: How would you describe Peter’s artistic contribution to the YSM community and beyond?

JB: Immeasurable. He is a treasure and will be missed profoundly. But I have a feeling we’ll see him around here again someday! Are you listening, Peter?

Peter Frankl will perform a Horowitz Piano Series recital on Wednesday, Nov. 8, at 7:30 pm, in Morse Recital Hall. He’ll be joined by faculty mezzo-soprano Janna Baty and baritone Randall Scarlata in an all-Schumann program. Learn more and buy tickets.

Published November 7, 2017
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YSM faculty pianist Peter Frankl to retire after 30 years, having inspired generations

Peter Frankl

By Lucile Bruce

Peter Frankl will retire at the end of this semester, concluding his remarkable 30 year career at the Yale School of Music, where he has touched the minds — and more important, the hearts — of hundreds of students.A virtuoso performer and beloved teacher, Frankl was born in Budapest, Hungary, in 1935, into a musical family. His parents were semi-professional musicians who played piano at home. They took their son to many concerts and he remembers hearing “many great artists like Klemperer, Bernstein, and my idol, the pianist Annie Fischer.”

Frankl began playing the piano at age 5. “It has been my passion in life ever since,” he said.

He made his London debut in 1962 and his New York debut with the Cleveland Orchestra under George Szell in 1967. Since then, he has played on the world’s top stages with the most celebrated orchestras and eminent conductors, including Abbado, Boulez, Davis, Haitink, Maazel, Masur, Muti, and Solti. His world tours have taken him to Japan, Korea, Australia, New Zealand, and South Africa. He has appeared more than 20 times at London’s BBC Proms and at many major festivals. Inspired as a young musician by the legendary Leó Weiner, his chamber music teacher, Frankl is also a well- known chamber music performer. For years, the Frankl-Pauk- Kirshbaum Trio traveled the world, and Frankl’s many chamber music partners include the world’s most renowned artists.

It was Boris Berman, professor of piano and coordinator of the piano department at YSM, who invited Frankl to come to Yale, first in 1987 as a visiting teaching artist.

Until that time, Frankl’s occupation was mainly concertizing; he rarely taught, even master classes. “It never occurred to me to teach on a regular basis,” he said. “However, Yale’s reputation attracted me greatly and I decided to give it a try.”

He harbored a deeper reason, however, for teaching. “By then I was 52 years old,” he explained. “I had the impression that the young generation of pianists were more interested in reaching technical perfection than in involving themselves in the emotional and spiritual meaning of what each composer wanted to express in their works.

“Somehow I started feeling responsible towards the future of music-making,” he continued. “Instead of grumbling about this, I wanted to do something positive.”

He thoroughly enjoyed the atmosphere at YSM, including the School’s “relatively intimate size.” As two esteemed piano faculty members were approaching retirement, Yale offered to extend Frankl’s appointment. He gladly accepted.  MORE

Published November 6, 2017
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New oratorio by Martin Bresnick to be premiered at International Festival of Arts & Ideas

Martin Bresnick. Photo by Nina Roberts

A new oratorio by School of Music faculty composer Martin Bresnick will be premiered at Yale on June 20 as part of the International Festival of Arts & Ideas, which commissioned the piece. The oratorio, Whitman, Melville, Dickinson — Passions of Bloom, will be performed again on June 21 at the Yale Summer School of Music/Norfolk Chamber Music Festival. The oratorio, which celebrates the work of its namesakes — Walt Whitman, Herman Melville, Emily Dickinson, and distinguished literary critic Harold Bloom, the Sterling Professor of the Humanities and English at Yale — will be performed by the Yale Choral Artists and members of the Yale Philharmonia. Vocal soloists include YSM faculty tenor James Taylor, who’ll sing Bloom’s words. The oratorio is modeled on Bach’s St. John Passion. Bresnick assembled the libretto using poems by Whitman, Melville, and Dickinson and excerpts from Bloom’s The Daemon Knows: Literary Greatness and the American Sublime.

Talking about the poetry of the 19th century writers he’s celebrating, Bresnick said, “These particular works have been part of my mental universe since I was a young student. Still others I only recently got more closely acquainted with.” He’s been familiar with Bloom’s work for many years. In the mid-1980s, Bresnick composed music for the PBS series Voices & Visions, which, through interviews with such experts as Bloom, explored the lives of American poets. At that moment, Bresnick said, he felt that Bloom, who earned his Ph.D. from Yale in 1956, had established himself as a kind of Marlon Brando of critics, inasmuch as the “degree of passion and devotion he brought to his explanations” was “almost poetic.” It was while working on For the Sexes: The Gates of Paradise, based on the William Blake poem, that Bresnick got to know Bloom and appreciate the shared “commonalities in our origins and points of departure.” In incorporating excerpts from The Daemon Knows into his oratorio, Bresnick had permission from Bloom to use “anything I wanted.”

Modeling the oratorio on Bach’s St. John Passion was a logical step considering that Bloom’s voice in the piece is not unlike that of the Evangelist — the narrator — in Bach’s passions. And Taylor, Bresnick pointed out, is a “well-known Evangelist in the world of the two Bach passions.” In addition to Taylor, Bresnick said, “I needed some very special singers.” Enter the Yale Choral Artists.

“Several of the soloists for this performance also happen to be YSM alumni, from both the Institute of Sacred Music’s voice program and from Yale Opera, including two former students of Jimmy’s — Paul Tipton and Sherezade Panthaki,” YCA founding director and YSM professor of choral conducting, Jeffrey Douma, said. School of Music alumni who’ll be performing include mezzo-soprano Katherine Maroney ’06MM, soprano Megan Chartrand ’13MM, soprano Sarah Yanovitch ’15MM, tenor Colin Britt ’10MM, tenor Gene Stenger ’15MM, and tenor Steven Soph ’12MM. Bass-baritone Tipton ’10MM will sing Melville’s words, while Maroney and soprano Panthaki ’11AD will sing text by Dickinson. Additional vocal soloists include tenor Brian Giebler, who’ll sing words by Whitman, bass Glenn Miller, who’ll sing the words of Captain Ahab, from Melville’s Moby-Dick, and baritone Thomas McCargar, who’ll sing the words of Melville’s Ishmael.

“During his composition process,” Douma said, “Martin often showed me excerpts of the solo writing he was developing, and would describe the kinds of voices he was hearing. This helped me choose singers from within the ranks of the Choral Artists best suited to each role.”

Bresnick’s oratorio, Douma said, “references not only Bach but also Brahms and other composers. People who know the St. John Passion will hear distinct echoes of its opening chorus (“Herr, unser Herrscher”) in Martin’s opening chorus (“Shine! Shine! Shine!”). For me as conductor, knowing that Bach was a starting point for Martin has influenced my thinking about the melodic writing in the piece and its relationship to the text. Martin may not be quoting Bach, but his careful attention to the natural rise and fall of the language and his singularly expressive way of emphasizing particular words reminds me very much of Bach’s use of melody, especially in the extended recitatives we hear in his passions. It has reinforced how important it will be for the audience to connect with the language in a very direct way.”

Of the literary works that inspired the oratorio, Douma said, “I love all three of the writers who inhabit this piece, but I will admit that my understanding of each of them — especially Melville — has been enriched greatly by the process of preparing this music.”

Originally, Bresnick said, he conceived a piece that would celebrate Bloom’s writings on Whitman. “I found that that wasn’t congenial for me,” he said. “That wasn’t enough.” The piece “needed more contrast.”

Bloom, Bresnick said, is “very shy about the fact that this whole thing, in some ways, is about him.”

Whitman, Melville, Dickinson — Passions of Bloom will receive its world-premiere performance, as part of the International Festival of Arts & Ideas, on Tuesday, June 20, at 8 pm, in Morse Recital Hall at the Yale School of Music. The oratorio will be performed again on Wednesday, June 21, at 7:30 pm, at the Norfolk Chamber Music Festival.

INTERNATIONAL FESTIVAL OF ARTS & IDEAS PERFORMANCE
NORFOLK PERFORMANCE

Published June 15, 2017
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Rolston String Quartet named YSM’s new fellowship quartet-in-residence

Rolston String Quartet | Photo by Tianxiao Zhang Photography

The Rolston String Quartet ’16Norfolk has been named the new fellowship quartet-in-residence at the Yale School of Music. The group, whose previous residencies include the Yale Summer School of Music/Norfolk Chamber Music Festival in the summer of 2016, will begin their tenure at YSM this fall. While at Yale, the quartet will work closely with the Brentano String Quartet — YSM’s quartet-in-residence — perform recitals, and participate in education-outreach programs.

“The Rolston String Quartet is very eager to come to New Haven as the Yale School of Music’s fellowship quartet-in-residence,” the group said in a statement. “We are incredibly optimistic about the possibilities for development and growth provided by Yale’s stimulating environment. We can’t wait to meet the Yale students and faculty who will illuminate and influence this new experience. Working closely with the Brentano Quartet is a dream come true. They are endlessly generous and inspiring people whose artistic spirits are to be admired. We look forward to deepening our musical understandings, refining our interpretations, and benefiting from their extensive professional experience.

“We will be so lucky to be able to coach chamber ensembles made up of Yale (undergraduate) students; this opportunity is a rare one that will yield immense insight into the complexities of teaching music. The fellowship program at Yale will aid our growth as we cultivate an ensemble that reflects the values of community, the highest levels of artistic and academic excellence, and the important traditions of chamber music,” the group said.

MORE

Published May 16, 2017
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Inside YSM: Noah Kay ’18MM, oboe

Noah Kay

Oboist Noah Kay ’18MM recently talked with us about being drawn to YSM and Prof. Stephen Taylor’s studio by his experiences at the Yale Summer School of Music / Norfolk Chamber Music Festival, and about his time, so far, here at Yale. Here’s what Noah had to say.

“Attending Norfolk in the summer of 2014 definitely fueled my interest in Yale and what it has to offer. Having the opportunity to work in close quarters with such great faculty and students in such a great environment was really beneficial, and it opened my eyes to how enriching an experience playing chamber music can be. Prof. Taylor’s attitude toward music is something that really attracted me to his studio. Having spent a semester here, I can say that I really value the fact that he approaches everything with humor. The oboe can be a tremendously stressful instrument (mostly because of our reed-making plight), and he has taught me how to stay upbeat and positive even when things are not going as smoothly as I’d like. Lessons with him are all about diving deep into the music and figuring out how to polish an interpretation even further, and my mental process when practicing or learning a piece has taken on much more refinement as a result. MORE

Published March 24, 2017
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Juliana Hall ’87MM premieres song-cycle at Norfolk

Juliana Hall

Juliana Hall

O Mistress Mine, a song-cycle for countertenor by composer Juliana Hall ’87MM, received its world-premiere performance on Aug. 5 at the Norfolk Chamber Music Festival. The piece, which is set to texts from Shakespeare’s plays, was performed by Darryl Taylor with the composer at the piano. The song-cycle was written for countertenor Brian Asawa, who was to perform the premiere but died in April. The Norfolk performance honored Asawa’s memory and recognized the 400th anniversary of the Bard’s death.

The Aug. 5 performance of O Mistress Mine kicked off a season in which Hall’s vocal works Christina’s WorldRoosters, The Bells, and How Do I Love Thee?; and Upon This Summer’s Day will be premiered in programs of the Cincinnati Song Initiative, the Contemporary Undercurrent of Song Project in Princeton, New Jersey, and the London Festival of American Music, respectively. Other song-cycles by Hall have been programmed for performances this season in Boston, New York, and Washington, D.C.

Hall studied composition at the Yale School of Music with Martin Bresnick, Leon Kirchner, and Frederic Rzewski. She was awarded a Guggenheim Fellowship in 1989. Hall has composed works for such acclaimed vocalists as Asawa, baritone David Malis, and soprano Dawn Upshaw and has had her music performed around the world.

JULIANA HALL

Published September 16, 2016
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Rolston String Quartet wins Banff International String Quartet Competition

Rolston String Quartet | Photo by Tianxiao Zhang Photography

Rolston String Quartet | Photo by Tianxiao Zhang Photography

The Rolston String Quartet (’16 Norfolk) has been named the First Prize Laureate of the 2016 Banff International String Quartet Competition, which concluded after five rounds on Saturday, September 4. “In addition to a generous cash prize of $25,000,” the Banff Centre for Arts and Creativity announced, “the Rolston String Quartet will benefit from a comprehensive custom-designed three-year career development program including a professional recording at Banff Centre and a performance tour in over 50 North American and European cities.” The ensemble also won the Esterházy Foundation Prize and the Lunenburg Academy of Music Performance Prize.

“This young quartet now has the opportunity to share their artistry with the world,” Barry Shiffman, the competition’s executive director, was quoted as saying.

The Tesla Quartet, whose members—including violist Edward Kaplan ’10MM ’11AD—attended Norfolk in 2011, earned Second Prize at the BISQC, receiving a $12,000 award. The Tesla Quartet also won the R.S. Williams & Sons Haydn Prize and the Canadian Commission Prize, each of which came with a $3,000 award. MORE

Published September 6, 2016
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Paul Hawkshaw to retire as Director of Norfolk Chamber Music Festival

Music Shed at the Norfolk Chamber Music Festival

Music Shed at the Norfolk Chamber Music Festival

Robert Blocker, Dean of the Yale School of Music, announced today that the School of Music and the Yale Summer School of Music/Norfolk Chamber Music Festival will have a major leadership transition in 2016. Paul Hawkshaw, who has served as the festival’s director since 2004, will retire after the 2016 season. Melvin Chen, Deputy Dean of the Yale School of Music, has been appointed as Hawkshaw’s successor.

Under Hawkshaw’s leadership, the program has flourished. Audiences perennially flock to the bucolic setting, with ticket sales continuing to grow even while other classical music organizations around the world suffer from declining attendance. Ambitious restoration projects are ensuring that Norfolk’s buildings will endure: Whitehouse has been restored to its former beauty after its recovery from devastating water damage, and the first phase of the Music Shed restoration has provided a new roof, siding, and a beautifully reconstructed cupola atop the 1906 acoustic gem.

“Paul Hawkshaw has been a transformative and visionary leader for the Norfolk program,” noted Dean Blocker. “Perhaps even most significant is the warmth with which Hawkshaw has established close relationships between the festival and the surrounding community.” The Hartford Courant has hailed the “unity between the Norfolk Chamber Music Festival and the town where the Yale program is located.… these days there’s plenty of outreach by the Yale Summer School of Music and the Yale Summer School of Art on the estate.” In that same article, Hawkshaw noted the “symbiotic relationship” between the festival and the town. MORE

Published January 15, 2016
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