Violinist Sophia Mockler ’17MM ’18MMA joins the Minnesota Orchestra

Violinist Sophia Mockler ’17MM ’18MMA recently won a position in the second violin section of the Minnesota Orchestra. It was her first professional orchestra audition.

Asked about her preparation for the audition, Mockler, who studied with Ani Kavafian at YSM, talked about the value of position-specific instruction. “Since this was my first orchestral audition, I wanted to get as much help from my mentors as I could before the audition,” she said. “I had the opportunity to work on the excerpts with a string player from the New York Philharmonic, which was invaluable. His suggestions were extremely helpful and specific to the variety of things a jury would be listening for.”

As “extensive” as the audition process was—it was described that way on the Minnesota Orchestra’s website—Mockler found more opportunity in each round to concentrate on musicality. “In the audition I tried to play as musically and imaginatively as possible so that the jury could hear my personality through the screen,” she said. “With each audition round that was added, I continued to focus on being musical, confident, and free.”

While Mockler is excited to begin playing with the orchestra in September, she is most looking forward to getting to better know the ensemble’s musicians, calling them an “outstanding group of people.”

“The sheer level of enthusiasm and encouragement that I felt from everyone in the orchestra during my trial was amazing,” she said, “and I am grateful to play alongside them.”

Published June 25, 2019
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Carolyn Kuan to conduct the Yale Philharmonia

Carolyn Kuan

On Friday, April 5, Carolyn Kuan, the Music Director of the Hartford Symphony Orchestra, will lead the Yale Philharmonia in a performance of Igor Stravinsky’s Symphony in Three Movements, Aaron Copland’s Fanfare for the Common Man and the suite from Appalachian Spring, and Arild Plau’s Concerto for Tuba and Strings with Woolsey Hall Concerto Competition winner Jake Fewx ’18MM ’19MMA. We spoke with Kuan about the repertoire and the experience she wants the audience to have.

Q: The works by Copland and Stravinsky on this program were all composed during World War II, though with different inspirations and motivations. Copland’s Fanfare for the Common Man celebrates the everyday American, and his Appalachian Spring, a ballet (and, later, the orchestral suite) for Martha Graham, is a musical portrait of new beginnings. Stravinsky’s Symphony in Three Movements is a more direct and personal effort to capture and share impressions of war. What went into your thinking, from a musical standpoint, in putting this program together?

A: I fell in love with Stravinsky’s Symphony in Three Movements at my first job as a conductor-in-residence at the New York City Ballet. It is one of George Balanchine’s most striking ballets and an impressive piece of the company’s core repertoire. Balanchine’s choreography comes from an in-depth understanding of the music, and for a long time I associated the piece more as a ballet than a symphonic work. Stravinsky wrote the piece in his early 60s and was revising TheRite of Spring around the same time. Influences from TheRite of Spring (written when Stravinsky was 31) can certainly be heard in the symphony, blended with elegance, maturity, life experiences, and world events. Interestingly, Stravinsky and Copland were writing their respective pieces at the same time. As artists, we are influenced by the world around us. It is fascinating to hear these two pieces in the same evening, especially in the chaotic world we live in today.

I am very excited to work with Jake Fewx and to share with the audience Arild Plau’s Tuba Concerto. Since it is just under 20 minutes, we thought preceding the concerto with Fanfare for the Common Man, which highlights the majestic brass sounds, and following it with Appalachian Spring, would be a fascinating and rare auditory journey for the audience.

Q: What background information if any do you want the audience to have before hearing these pieces performed?

A: Many people are familiar with the song “Simple Gifts,” with its opening lyrics “’Tis the gift to be simple, ’tis the gift to be free.” I love how Copland was inspired by the melody and borrowed it for use in Appalachian Spring. Ultimately, both Copland and Stravinsky encouraged the audience to appreciate their music without thinking too much about any potentially relevant programs or stories. For its 1946 premiere, Stravinsky insisted that the Symphony in Three Movements was absolute music, although inspired “by this arduous time of sharp and shifting events, of despair and hope, of continual torments, of tension, and at last, cessation and relief.” He wrote in one of his letters that “if passages from the program notes are used to imply extramusical connotations in my work, I have to disclaim any responsibility for such interpretations.” Supposedly, Stravinsky later provided detailed comments about the symphony, and we know he used music from a previous piano concerto, as well as music for a movie. Nevertheless, it is always wonderful to just listen to the music, and let it move you and take you on a journey. For Appalachian Spring, either before or after coming to our concert, it is fascinating to explore Martha Graham’s original choreography. Understanding Graham’s original ballet, her movements, and dance languages has certainly influenced my approach to the piece.

Guest conductor Carolyn Kuan and the Yale Philharmonia in rehearsal.

Q: Arild Plau’s Tuba Concerto—any tuba concerto, for that matter—will be a new experience for most audience members. Does that place any extra responsibility on you? 

A: For me, when it comes to a concerto, my job is to accompany and support the soloist, not unlike a piano accompanist. Almost always, soloists have spent countless hours shaping their vision and relationship with the concerto. I love sharing new sounds with the audience—sometimes in the form of unusual solo instruments such as the tuba, koto, pipa, sheng, bagpipe, etc; other times in the form of unusual sounds created by composers through fascinating instrumentation.

Q: Do you take a different approach to conducting a student ensemble than you do a more seasoned orchestra?

A: The Yale Philharmonia is an impressive orchestra, and in many ways stronger than many professional orchestras. All the orchestras I work with, including the Yale Philharmonia, play at an incredibly high level. For me, the approach is always the same, which is to make music and give everything we have in the pursuit of excellence, passion, depth, and exploration.

Q: Many recordings have been made of the works by Copland and Stravinsky that you’ll be performing with the Yale Philharmonia. Why are live performances of this music important? Why should people seek out concerts like this?

A: There are so many reasons! Attending live performances is a shared experience that is completely different than listening to music on Spotify, Pandora, or on a CD. Audience members often don’t realize they are an active and integral part of a concert experience. As performers, we can feel the energy of an audience. There is often an unspoken chemistry—as the energy between performers and audience builds, it sometimes becomes electrifying, and there is nothing quite like it. Technology has come a long way. However, watching a movie on TV is still a very different experience than seeing it in the movie theater. Even with the best sound system, there is no comparison to hearing these great symphonic works live—the glorious full strings, the exquisite beauty of a flute, the magnificent brass, the powerful drums, and so much more!

Guest conductor Carolyn Kuan leads the Yale Philharmonia in a performance of Stravinsky’s Symphony in Three Movements, Copland’s Fanfare for the Common Man and the suite from Appalachian Spring, and Arild Plau’s Concerto for Tuba and Strings with Woolsey Hall Concerto Competition Jake Fewx, on Friday, April 5, at 7:30 p.m. in Woolsey Hall.

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Published April 2, 2019
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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
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Yale Philharmonia Principal Conductor Peter Oundjian on Mahler’s Ninth Symphony

Peter Oundjian. Photo by Sian Richards

On Friday, April 6, the Yale Philharmonia will perform Mahler’s Ninth Symphony in Woolsey Hall. We spoke with Principal Conductor Peter Oundjian about the piece and the context in which it was composed.

Q: What is worth thinking about as an audience member listening to Mahler’s Ninth Symphony?

A: One thing that is pretty clear is that it has so much finality in it. Maybe we can even think of it as the final statement in what we might call the traditional language of classical music. This idea that it’s almost a prophecy of what’s to come is I think essential to understanding and listening to the Ninth Symphony of Mahler. He’s (also) taking you on a journey of contradiction, which is so important to Mahler’s whole world, because he had so many areas in which he was conflicted. Is he a conductor? Is he a composer? Is he cosmopolitan? Is he provincial? All these things tore him apart his whole life. His religion and hiding the fact that he was Jewish — so many things created this feeling of enormous conflict inside him. And so I think that in some ways the Ninth Symphony doesn’t need so much explaining, because it’s so accessible at the beginning and you realize that you are in between a kind of sense of fear and terror and great tenderness, and that it is a struggle to understand the meaning of life and the meaning of love, particularly.

Q: What is the story of this piece?

A: There’s a lot of death that is referred to in this music, and there’s very good reason for that. In his own personal situation, the fact that he’d just lost his daughter. The fact that he had this heart arrhythmia — there’s kind of a description of that uneven heartbeat at the opening. So there’s all of that, but there is also this death that a lot of people talk about, which is that tonality was ending and Mahler knew it.

Q: To what degree do you work with the members of the Philharmonia to get on the same page about the history and background of the work? 

A: I approach this a little bit like a director approaches a play. I think that they should come with some understanding of their role and certainly with the ability to play it. Part of what I enjoy (about) working with these wonderfully talented students is to engage them in discussion (about) the concepts and the philosophies behind it and the history and particularly that moment in Mahler’s life and how special it was.

Q: What are the challenges that an ensemble faces with this piece?

A: What we have to do is apply an incredible discipline to be able to play together while also allowing ourselves to have extremely spontaneous energy. That’s one of the things I value most about being on stage, that this is the moment and we’re going to lay it all out there. It doesn’t mean we lose discipline, but we take an enormous amount of risk. And that can be risk of great virtuosity and the risk of making yourself extremely open and vulnerable to very profound and tragic kind of feelings, which will only be projected into the concert hall and shared with our public if we all are in touch with those feelings.

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Published March 28, 2018
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Guest conductor David Robertson, on leading the Yale Philharmonia

David Robertson. Photo by Jay Fram

On Friday, October 13, guest conductor David Robertson, music director of the St. Louis Symphony Orchestra, will lead the Yale Philharmonia and violinist Laura Park in performances of William Walton’s Violin Concerto, Christopher Rouse’s Rapture, and Richard Strauss’ breathtaking tone poem Ein Heldenleben. We recently reached Mr. Robertson in St. Louis and asked him about championing American music and working with ascendant artists.

Q: You’ve conducted a lot of Christopher Rouse’s music. Would you talk about the importance of programming Rapture (and Rouse’s work) and bringing it to our audience here in New Haven?

A: I think that Chris’ music is really unique in the way that he has taken his experience of popular music culture, which is inescapable in the United States … I think it’s universal now. But it was possible to hold it at arm’s length in certain cultures that maintain the sort of strong roots of classical music in Europe – whereas in the United States, there’s never been this strict dividing line that the Germans have, say, between ernste Musik and Unterhaltungsmusik or serious music and entertainment music, translated loosely. So the interesting thing is that each American composer from Ives on out has really had to deal with How do they feel about this? How does it influence them? And the fascinating thing with Rouse is that it has allowed him to gain a certain amount of energy from the current and popular music, and at the same time keep all of the refinements that we know from sophisticated forms of music. And so the result is really a personal amount of or fusion of these things at a far deeper level that you can really point to and say, “Oh, well, you see this is the popular influence,” which you might be able to do, say, in a composer like Copland or possibly Virgil Thomson. With Rouse, they are fused in the same way that they are fused with Steve Reich or with John Adams. And I find that his particular take on the almost naïve emotional content that one often associates with the American experience, naïve in the best sense of the word – in the sense of pure, and unadulterated – is something that he brings out. And in Rapture it is the constant exploration of that sort of feeling of joy and autonomous peace. And the sort of feedback loop that this gives within the work. And so it’s this extraordinary build, which I don’t know that you could do in quite the same way and not have it be allied say as Ravel does with Bolero, with an actual dance form. He manages to make this cumulative in a number of remarkable ways. And so it felt like it was a great way to start a program that contains the other two works, both of which being emotional expression and storytelling in their own way. MORE

Published October 4, 2017
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Yale Philharmonia principal conductor Peter Oundjian on “The Rite of Spring”

Peter Oundjian. Photo by Sian Richards

On Friday, September 15, the Yale Philharmonia will perform Stravinsky’s revolutionary Rite of Spring, which was written for the Ballets Russes and whose 1913 premiere in Paris sparked protests. We spoke to principal conductor Peter Oundjian about the piece, its place in history, and what the audience can expect to experience.

Q: How have stories and reports of the audience’s reaction to the premiere of The Rite of Spring framed the work’s place in the repertoire? And what should today’s audiences understand and take away from that reaction?

A: The “riot” which occurred is one of the reasons the piece achieved such prominence. If anything, it had more to do with Vaslav Nijinsky’s choreography than the music, as far as we can tell. Just imagine this first audience witnessing dancers stomping their feet for long durations, strange costumes … it was just bizarre! Stravinsky was unhappy about it; however, the events of that night stimulated him to promote the piece and make sure its excellence was appreciated.

Q: In what ways, musically, does The Rite of Spring represent a watershed moment in music history?

A: The piece is the antithesis of 300 years of development of Western art music. Everything that had come before was relatively uniform. Style and musical forms had been created. What Stravinsky did with this symphonic arch was annihilated by his new concepts. We should also remember that Czech composer Leoš Janáček’s music was radical, as well, and he was Stravinsky’s contemporary. The Rite of Spring was completely fresh and new. Harmonically, is it polytonal … it was all quite dissonant. Rhythmically, it was quite a departure from the musical norms of the day.

Q: What are your reasons for programming The Rite of Spring as part of the Yale Philharmonia’s season? In what ways and to what degree is the piece a unique teaching tool?

A: I am sure some of our students have played it before. It is, after all, one of the most important pieces in the repertoire. It is not only for the students in the orchestra, but also for our audience, who are bound to be curious to hear and witness a live performance of such a masterpiece.

Q: How do you approach the work each time you conduct the piece?

A: I think I approach it as though the pagan ritual were occurring before my eyes, and the sacrificial virgin is about to dance herself to death. It’s a new girl each time.

Q: What if anything is lost (or gained) by performing The Rite of Spring as a concert work as opposed to a fully produced ballet?

A: There is not a performance of this piece that is not ballet, in some aspects. If you come, you’ll see some sense of spectacle. The omission of the visual aspect allows people to focus on the inventiveness of the music and the power and drama behind it.

Q: Besides the obvious, what can audiences experience through a live performance of the piece that they can’t by listening to a recording?

A: To see all these musicians playing off the beat of the conductor, from an audience perspective, it’s alarming to see this being reproduced in front of your eyes. It is an extraordinary experience!

The September 15 Yale Philharmonia program includes Stravinsky’s Rite of Spring, as well as Mozart’s Symphony No. 40, Vaughan Williams’ Fantasia on a Theme by Thomas Tallis, and Tallis’ “Why Fum’th in Fight,” performed by the Yale Voxtet. Learn more and purchase tickets.

Published September 8, 2017
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Joseph Guimaraes ’18MM receives Soros Fellowship

Tubist Joseph Guimaraes ’18MM has received one of 30 Paul & Daisy Soros Fellowships for New Americans. Each year, the program, according to language on the organization’s website, “supports thirty New Americans, immigrants or the children of immigrants, who are pursuing graduate school in the United States.”

“Selected from 1,775 applicants, each of the recipients was chosen for their potential to make significant contributions to U.S. society, culture, or their academic fields,” the Soros Fellowships website indicates. Each awardee receives up to $90,000 to help with costs associated with graduate school.

“I am both hopeful and confident that this lifelong platform will afford me the network needed to achieve my goal of national music-education reform in the United States,” Guimaraes said. “Music is so much more than an auditory art form; it can be seen and felt as a working construct of the human condition. Through music, we can learn to listen, instruct, be instructed, be critiqued, work as​ ​a team, lead, follow, and so much more. These are skills that go far beyond the realm of just music-making, skills that should not be seen as extra-curricular or secondary, but rather as the fundamental building blocks of society. If we​ ​allow every child the opportunity to learn these skills in the proven model of a functional music ensemble, we will instill a greater sense of self, community, and a place in the world. I hope that myself, alongside the greater community of ​Paul & Daisy Soros Fellows, will be able to reach far and wide to the towns, cities, states, and eventually the federal government to … give every child​ the ability to be stronger members of society through music.”

A native of Recife, Brazil, Guimaraes is currently pursuing his master of music degree at the Yale School of Music, where he studies with Carol Jantsch. He has served as principal tubist at the Pacific Music Festival in Sapporo, Japan, and of the Chautauqua Institution’s Music School Festival Orchestra in New York and the AIMS Festival Orchestra in Graz, Austria. Guimaraes is the founder of The Valve Beanie and the Mouthpieces for All Initiative, whose mission, according to his website, is “to furnish musical tools and services to underserved community members with which they may develop a sense of hope, empowerment and self-worth through engagement in the performing arts.”

JOSEPH GUIMARAES

YALE NEWS

Published April 24, 2017
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Peter Oundjian conducts the Yale Philharmonia Oct. 16

Peter OundjianThe Yale School of Music presents the Yale Philharmonia with principal conductor Peter Oundjian and violinist Adelya Nartadjieva in a concert on Friday, October 16 at 7:30 pm. Oundjian will lead the orchestra in an evening of music by Bartók, Tchaikovsky, and Berlioz.

The program will open with Bartók‘s Divertimento for String Orchestra. Written in 1939 but interweaving elements of Baroque styles, the three-movement work features contrasts of both texture and dynamics.

Adelya Nartadjieva, a second-year violin student at YSM, will be the featured soloist in Tchaikovsky’s Violin Concerto in D major. Nartadjieva, a winner of the 2015 Woolsey Hall Concerto Competition, is the first of the three winners to perform with the Yale Philharmonia this year. MORE

Published October 2, 2015
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Wai Lau ’12AD wins position with Hong Kong Philharmonic

Clarinetist Wai Lau ’12AD was recently appointed to a position with the Hong Kong Philharmonic. She will play bass clarinet with the orchestra.lau_wai

Wai Lau, clarinet (Beijing, China), has appeared in concerts at the Bari International Music Festival, Festival of the Sound, Banff Centre, Norfolk Music Festival, and Lachine Music Festival, collaborating with Russell Braun, James Campbell, Ettore Causa, Mark Fewer, Marc Johnson, Joel Quarrington, David Shifrin, James Sommerville, and Stephen Taylor, among others. She has performed throughout the United States, Canada, China, Germany, Italy, Poland, and South Africa. MORE

Published August 2, 2013
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Alumna Yoobin Son wins position with New York Philharmonic

Yoobin Son ’09MM will soon join the New York Philharmonic as second flute.

Currently a fellow in The Academy/Ensemble ACJW, Yoobin Son teaches at PS 207K in Brooklyn. Yoobin Son earned her Master of Music degree from the Yale School of Music, where she studied with Ransom Wilson. She earned her bachelor’s degree from the Curtis Institute of Music, where she studied with Jeffrey Khaner, and received the Artist Diploma from the Manhattan School of Music. She is a native of Seoul, Korea.

Yoobin Son was principal flutist of the 2010 Mostly Mozart Festival Orchestra and served as acting principal flutist of the New Haven Symphony Orchestra. Yoobin participated in Japan’s Pacific Music Festival, led by Maestro Valery Gergiev. In addition to recitals in the U.S. and in Korea, Yoobin has performed as a soloist with the New Jersey Symphony Orchestra, Florida Orchestra, Orchestra at William Paterson University, and Seoul Philharmonic Orchestra. She is a winner of the Olga Koussevitzky International Winds Competition, National Flute Association Soloist Competition, New Jersey Symphony Orchestra Young Artist Auditions, and the Florida Orchestra Concerto Competition.

Published November 15, 2012
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