Yale Philharmonia to perform Shakespeare-inspired program

Peter Oundjian. Photo by Sian Richards

Programming a Yale Philharmonia concert is always about providing context for each piece. To open the 2018-2019 Philharmonia season, Principal Conductor Peter Oundjian has put together a program of repertoire inspired by the words and works of Shakespeare: Berlioz’s Overture to Béatrice et Bénédict, based on the Bard’s Much Ado About Nothing; Vaughan Williams’ Serenade to Music, which uses text from Shakespeare’s The Merchant of Venice to celebrate the power of music; and selections from Prokofiev’s Romeo and Juliet. “There is a lot of extraordinary music that was inspired by arguably the greatest poet of all time,” Oundjian pointed out, explaining that “it’s the element of curiosity and adventure that make this kind of program so interesting.”

The challenge members of the Philharmonia have taken up with this program is, in Oundjian’s words, “to basically sound like many different orchestras in one evening. You need to be able to be many, many characters and describe many scenes.” For the Berlioz, he said, the musicians “need sheer virtuosity.” The Serenade to Music, for which the Yale Glee Club and the Yale Voxtet will join the orchestra, is intense in its serenity and introspection. (Reportedly, Rachmaninoff, who performed on the same program in 1938 that featured the premiere of the Serenade to Music, was reduced to tears by the piece’s beauty.) “This piece is magical,” Oundjian said, looking forward to collaborating with the Glee Club and Voxtet. “It’s a thrill to hear wonderful vocal groups. There’s nothing more immediate or direct than the singing voice.”

Prokofiev’s Romeo and Juliet, “one of his absolute masterpieces,” Oundjian offered, carries the listener from the tender to the tragic. For this performance, the Philharmonia will use Oundjian’s arrangement of the composer’s ballet score, whereas most orchestras perform one of the three concert suites that Prokofiev created. “The order of events, in the suites, is not respected,” Oundjian explained. “(Prokofiev) didn’t try to make the suites chronologically correct.” In creating his arrangement, Oundjian sought to offer a symphonic expression of the ballet. “I wanted people to be able to follow the story,” he said. The Philharmonia will tell that story, and those being told by Berlioz and Vaughan Williams with inspiration (and words) from the Bard.

Members of the Philharmonia, Oundjian said, are “extremely sensitized to deep human emotions. They’ve had to find a way to connect with deep human emotions because they play an instrument.” Together, they are able to convey and express what a composer—three composers, in the case of this program—sought to share with concertgoers. They enjoy the process of putting a program together and letting it take on a life of its own on stage in Woolsey Hall. “By the time the concert comes, there’s a camaraderie that they’ve discovered in a very short time,” Oundjian said. “There’s absolutely a sense of discovery and spontaneity.”

Principal Conductor Peter Oundjian leads the Yale Philharmonia in a program of music inspired by Shakespeare on Friday, September 28, at 7:30 pm, in Woolsey Hall.

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Published September 20, 2018
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Marin Alsop to lead Yale Philharmonia in program of Bernstein, Beethoven

Marin Alsop. Photo by Adriane White

Yale Philharmonia Principal Conductor Peter Oundjian has described Marin Alsop as “one of the greatest conductors of her generation.” A 2005 MacArthur Fellowship (“Genius Grant”) recipient, Alsop has served since 2007 as the music director of the Baltimore Symphony Orchestra. She has also led the Bournemouth Symphony Orchestra and São Paulo Symphony Orchestra and has appeared with many of the world’s most celebrated ensembles. Alsop was recently appointed chief conductor of the Vienna Radio Symphony Orchestra, the latest in a series of “firsts” as a woman conductor.

“I’m very honoured to be the first, but I’m also rather shocked that we can be in this year, in this century, and there can still be ‘firsts’ for women,” Alsop told The Guardian. She made similar comments, at greater length, at the final concert of the 2013 BBC Proms.

Eager to see others succeed as she has, Alsop established the Taki Concordia Conducting Fellowship, which helps prepare women conductors for work on the podium and in offstage leadership areas, and the Baltimore Symphony Orchestra’s OrchKids program, which was “designed to create social change and nurture promising futures for youth in Baltimore City neighborhoods,” according to the organization’s website.

Alsop has not been shy about using her position in the music world to point out inequities. Her social activism was inspired in part by her mentor, the late Leonard Bernstein, whose 100th birthday, which falls on August 25, the performing arts community has been celebrating.

“He was a very generous human being who believed in access and inclusion and equity for all people,” Alsop said of Bernstein, with whom she studied at Tanglewood. That legacy, she said, “inspires me to try to use the opportunities I have to create a more just landscape for people.”

On Friday, April 20, Alsop will lead the Yale Philharmonia, Yale Glee Club, and Yale Camerata in a performance of Beethoven’s monumental Ninth Symphony, on a program that also includes Bernstein’s Opening Prayer and Chichester Psalms. Beethoven’s Ninth, she said, “was a critical piece for Bernstein,” one that represented possibility and hope. It’s a piece he famously conducted in Berlin, just after the fall of the Berlin Wall, in a performance that featured musicians from East and West Germany, Britain, France, the Soviet Union, and the United States. It was the hope that Bernstein found in Beethoven’s Ninth Symphony that Alsop is eager to celebrate, along with Bernstein’s birthday and his music.

In addition to Bernstein’s Opening Prayer, which was composed for the 1986 reopening of Carnegie Hall and eventually became part of his Concerto for Orchestra, the April 20 Yale Philharmonia program includes Chichester Psalms. Like Beethoven’s Ninth, Alsop said, Chichester Psalms is “a piece about hope and possibility.”

Having worked closely with Bernstein certainly informs Alsop’s performances of his music. “Knowing a composer as a human being gives us that added dimension, that added insight” into the motivation for writing a piece, she said. It is her responsibility, and the Philharmonia’s, to tell the music’s story. And that’s the same wherever she’s conducting. “I approach every orchestra as professional musicians whom I respect,” she said. While more might be expected of her, in terms of providing insight or direction, from a younger orchestra than from a veteran ensemble, “I don’t think about it any differently.”

On Wednesday, April 18, Alsop will join School of Music Dean Robert Blocker for a conversation about Leonard Bernstein’s legacy and music, the pursuit of diversity in our field, Beethoven’s revolutionary Ninth Symphony, and working with the next generation of orchestral musicians.

On Friday, April 20, guest conductor Marin Alsop will lead the Yale Philharmonia, Yale Glee Club, and Yale Camerata in a performance of Beethoven’s Ninth Symphony, on a program that also includes Bernstein’s Opening Prayer and Chichester Psalms.

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Published April 13, 2018
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Winners of 2018 Woolsey Hall Concerto Competition announced

The 2018 Woolsey Hall Concerto Competition took place on Sunday, April 8. This year’s competition yielded three winners: tubist Jacob Fewx ’18MM, who performed Arild Plau’s Concerto for Tuba and Strings; pianist Sophiko Simsive ’18MM, who performed Johannes Brahms’ Piano Concerto No. 1 in D minor, Op. 15; and flutist Jungah Yoon ’19MM who performed Carl Reinecke’s Flute Concerto in D major, Op. 283. As winners, these students will perform with the Yale Philharmonia during the 2018-19 season. Cellist Samuel DeCaprio ’18MMA was selected as an alternate, and violinist Ariel Horowitz ’19MM received an honorable mention.

The judges were violinist Solomiya Ivakhiv, who serves as assistant professor of violin and viola and coordinator of strings at the University of Connecticut, André-Michel Schub, who is on the piano and chamber music faculty at the Manhattan School of Music, and New York Philharmonic bass trombonist George Curran, who is a faculty member at Rutgers University and the Manhattan School of Music.

We congratulate our outstanding students and look forward to hearing them perform next season with the Yale Philharmonia.

Published April 9, 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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YSM Dean Robert Blocker to perform with colleagues, Yale Philharmonia

Robert Blocker

Faculty pianist and YSM Dean Robert Blocker

If there is one composer whose music has always resonated deeply with School of Music Dean Robert Blocker, it is Mozart. “From my earliest memories I loved Mozart,” Blocker said. As a young musician, he said, “there was something magical about the sound.”

On Wednesday, March 7, Blocker will share his love of Mozart’s music with the Horowitz Piano Series audience in a concert featuring members of the School’s piano faculty — including recently retired professor Peter Frankl — and members of the Yale Philharmonia, led by YSM lecturer-in-music and New Haven Symphony Orchestra Music Director William Boughton.

The all-Mozart program, a study in collaboration, to be sure, will begin with a performance, with faculty pianists Boris Berman and Wei-Yi Yang, of Carl Czerny’s piano-six-hands arrangement of the Overture to Le nozze di Figaro. Blocker will then be joined by members of the Yale Philharmonia for a performance of Piano Concerto No. 23 in A major, K. 488.

Blocker has played K. 488 more than any other concerto. “I truly love that piece,” he said. “I learned it with my first and only piano teacher before I went to college. I always learn new things in the piece.”

While the Sonata for Piano Four-Hands in B-flat major, K.358/186c, which he will perform with faculty pianist and School of Music Deputy Dean Melvin Chen, is new repertoire for Blocker. The Concerto No. 10 for Two Pianos in E-flat major, K. 365/316a, which he will perform with Frankl and the Philharmonia, is one that holds special significance.

“When Peter Frankl celebrated his 70th birthday” in 2005, Blocker said, “he invited me to play the Double Concerto with him.” For this occasion, he said, “it just seems like the most wonderful thing to do — create a program and have Peter be part of that.”

The concert, for Blocker, is a celebration of the education he receives every day at YSM. “Colleagues have given me the kind of musical fabric that makes every day better than it deserves to be. The best thing about this job,” he said, “is learning from students and faculty. I don’t even pretend to know what they know. That’s the joy in this.” As he sees it, the March 7 program offers a chance to have all involved “touching the hem of Mozart’s coat.” It is also an opportunity for Blocker to share with an audience the music that for him remains “a musical compass.”

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Published March 5, 2018
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Violist Josip Kvetek ’18MM, on being a soloist with an orchestra of his peers

Josip Kvetek ’18MM

When violist Josip Kvetek ’18MM played Paganini’s Sonata per la Grand Viola on a recital here at YSM last year, it wasn’t with an eye on performing the piece with the Yale Philharmonia, which he’ll do on Friday, Jan. 26. “It’s not very serious music,” Kvetek said, explaining that the Paganini sonata is a fun piece of music, a quirky sonata that just happens to be, in the words of principal conductor Peter Oundjian, “probably the most difficult piece ever written for viola.” After Kvetek’s recital performance last year, his teacher, Ettore Causa, suggested that he enter the Woolsey Hall Concerto Competition, which Kvetek won in April 2017.

The sonata, Kvetek said, is “not standard repertoire for viola.” Paganini, he explained, “commissioned a piece from Berlioz” to be played on a five-string viola. Berlioz, in response, composed Harold in Italy, an orchestral piece with viola solos. “Paganini didn’t like the first draft of the piece,” Kvetek said, “so he decided to write his own piece.” The result is “a sonata for solo instrument and orchestra, which is very odd.”

Kvetek will perform the piece on a standard viola, an instrument without an added E string, which means “I have to play with an improvised thumb position” to execute passages in the instrument’s upper register. In terms of interpretation, Kvetek said, “it’s very simple, harmonically and melodically. It’s just simple from every angle.” Still, it’s a piece that can easily feel like blocks of virtuoso passages arranged without much cohesion. “It starts becoming 50 little tasks,” Kvetek said, “and not one, coherent story. The part that helps with that is it’s very operatic. It’s much easier if you let go of the classical way of thinking.”

Now in the second year of YSM’s master of music degree program, studying with Causa, and with Steven Tenenbom while Causa is on sabbatical, Kvetek has done his share of playing with the Yale Philharmonia as a member of the orchestra’s viola section. On Jan. 26, he’ll be out front, next to guest conductor Ignat Solzhenitsyn, who’ll lead a program that also includes Stravinsky’s Firebird Suite (1919 version) and Franck’s Symphony in D minor. Performing as the soloist with an orchestra of his peers is “a little bit more stressful,” Kvetek said, “because you do know all the people. The benefit is that they’re very supportive and very helpful in the process. Everybody is hoping or cheering that you play the best you can. It becomes much easier to play in that environment.” The stress, he said, comes from wanting “to present yourself well” in front of one’s peers.

Given the operatic nature of the Paganini sonata, Kvetek said, “The majority of it is on me to deliver a performance that other people can follow.” Part of that responsibility, to be sure, falls on Solzhenitsyn, with whom Kvetek hasn’t worked. Basing his impressions on YouTube videos, Kvetek described Solzhenitsyn as an expressive conductor, which “will help me connect with the orchestra and will help bring this piece together.” Because there’s no “prescribed way of how you perform” the Paganini, Kvetek said, “It’s up to me to play it just the way I want to play it.”

On Friday, Jan. 26, guest conductor Ignat Solzhenitsyn leads the Yale Philharmonia in a program that includes Stravinsky’s spellbinding Firebird Suite (1919 version), Paganini’s Sonata per la Grand Viola, with 2017 Woolsey Hall Concerto Competition winner Josip Kvetek ’18MM, and Franck’s inventive and affecting Symphony in D minor.

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Published January 18, 2018
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Ignat Solzhenitsyn, on “Firebird” and working with young musicians

Ignat Solzhenitsyn

Principal conductor Peter Oundjian has said that guest conductor Ignat Solzhenitsyn, who’ll lead the Yale Philharmonia in a performance of Stravinsky’s Firebird Suite (1919 version, from the composer’s ballet score) on Friday, Jan. 26, “particularly wanted to do this piece with our students.” Solzhenitsyn recently pointed out that it’s “one of the very, very greatest orchestral paintings in our repertoire and a piece that, of course, is predicated upon the limitlessness of imagination.” Imagination, Solzhenitsyn said, is most fertile and open to influence during one’s youth. The Firebird Suite “is really a piece that, more than anything, is for young people,” he said. “It will showcase the Yale Philharmonia to beautiful effect.” The orchestra, in turn, will provide a capable vehicle for the stuff of Stravinsky’s imagination — and for the Russian legend that the composer explored — which will no doubt inspire the Woolsey Hall audience, just as it has long captivated audiences around the world.

With Solzhenitsyn, who serves as principal guest conductor of the Moscow Symphony Orchestra and conductor laureate of the Chamber Orchestra of Philadelphia, the Yale Philharmonia will also perform Paganini’s Sonata per la Grand Viola, with 2017 Woolsey Hall Concerto Competition winner Josip Kvetek ’18MM, and Franck’s Symphony in D minor. Kvetek recently said that the Paganini is “not standard repertoire for the viola,” and that while it’s “very simple, harmonically and melodically,” it’s not a piece that on its own tells “one coherent story.”

“The part that helps with that,” Kvetek said, “is it’s very operatic.” Kvetek “nailed it,” Solzhenitsyn agreed, saying the Paganini is a show piece, one that’s very difficult for the soloist. What makes it fun, Solzhenitsyn said, is the very notion that Paganini, a virtuoso violinist, produced such a piece for the viola. “Charm, wit, teasing, easy grace — those kind of words inform this work,” he said.

Asked about the Franck being a piece that’s gone in and out of favor with orchestras, Solzhenitsyn bristled. “It’s a concept I still have trouble wrapping my head around,” he said, pointing to the obvious fact that “the intrinsic worth of ‘X’ has nothing to do with if it’s popular or not, or has very little to do with it.” He’s among those who don’t understand why the Franck symphony is not performed more frequently, give that it is, undeniably, a “touchstone of the Romantic symphonic repertoire.”

“The beauty, the power, the innocence, the honesty of this music, I think, speaks for itself,” Solzhenitsyn said.

Seeing Solzhenitsyn on the podium will be a new experience for members of the Philharmonia. And working with Yale students, for Solzhenitsyn, will present a different opportunity than the experiences he’s had leading ensembles of more seasoned musicians. A collective sense of wonder and discovery that is at times diminished in a professional ensemble, he said, is right there, in all its glory, for everyone to see in a young ensemble.

On Friday, Jan. 26, guest conductor Ignat Solzhenitsyn leads the Yale Philharmonia in a program that includes Stravinsky’s spellbinding Firebird Suite (1919 version), Paganini’s Sonata per la Grand Viola, with 2017 Woolsey Hall Concerto Competition winner Josip Kvetek ’18MM, and Franck’s inventive and affecting Symphony in D minor.

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Published January 17, 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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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.

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Published October 24, 2017
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Violinist Ariel Horowitz ’19MM, on broadening her horizons and playing “Ein Heldenleben”

Ariel Horowitz

Violinist Ariel Horowitz’s first performance at the School of Music was the Yale Philharmonia’s season-opening concert, which included a performance of Stravinsky’s revolutionary Rite of Spring. “It was really an amazing experience,” she said. “The second I sat down, I felt like a professional. I felt like I needed to bring my best artistry, because my colleagues were bringing theirs.”

Horowitz ’19MM, who was born in Washington, D.C., and grew up in Bloomington, Indiana, earned a bachelor of music degree from The Juilliard School, where she studied with Itzhak Perlman and Catherine Cho, before enrolling at YSM. Here, Horowitz studies with Ani Kavafian while exploring what Yale University has to offer.

Studying at YSM, she said, was an “opportunity to … develop myself as a person and an intellectual and an artist.”

In addition to playing the violin, Horowitz’s artistic practice includes composition. Her Juilliard recital featured a performance of Woman, a performance “collage” she created that includes music, dance, and the recorded voices of various women in her life. For Horowitz, art is a vehicle through which she contributes to the needs of several communities. She’s a co-founder of The Heartbeat Project, which provides music training for Navajo schoolchildren in Crownpoint, New Mexico.

Horowitz hopes that being a student at Yale will “contribute to my understanding of global politics and global affairs.”

“To just be around people who are scholars, I think, is just going to be such a unique and different experience for me,” she said.

Still, she’s here at YSM to play and study the violin. And that includes playing in the Yale Philharmonia. When the orchestra performs Strauss’ tone poem Ein Heldenleben on Friday, Oct. 13, under the direction of guest conductor David Robertson, she’ll be the concertmaster, playing the solo part.

“I have never played it in context,” Horowitz said.

Talking about Strauss’ storytelling, she said, “I almost feel like Heldenleben is more of a dramatic work” than a piece of music. The violin solo “is a depiction of [Strauss’] wife, Pauline.” Having studied and read about the piece, Horowitz said, “I feel like I have a lot of insight into how Pauline was actually feeling,” and that the composer, “whether he intended to or not, shows how much power Pauline has.”

The solo part is challenging, particularly in terms of having “enough variation in my sound to be able to express the depths of Pauline’s character. Those character changes are so important to bring that story out.”

Practicing the part, Horowitz said, “really feels like learning lines to a play. I don’t want to be Ariel when I’m playing,” she said. “I want to be Pauline.”

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Published October 5, 2017
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