YALE›››NYYALE GUITAR MUSIC TODAY Benjamin Verdery, director

Yale in New York David Shifrin, artistic director Preview Concert World premieres by Ezra Laderman, Kathryn Alexander, Jack Vees + Samuel Adams + music by Martin Bresnick, Aaron Jay Kernis, Ingram Marshall, David Lang + Benjamin Verdery

Robert Blocker, Dean

FanFare-Esque *

Steffen Besser, guitar (’12mm)Arash Noori, guitar (’12mm) Alan Pawlowicz, guitar (’12mm)Hermelindo Ruiz, guitar (’12mm)

On Vineyard Sound *With rhythmic drive and propulsionAndantinoBrusque, stridentWith rhythmic drive and proplustion – Coda

Benjamin Verdery, guitar

Tension Study No. 1 *

Max Zuckerman, electric guitar (’11mm)John Corkill, percussion (’11ad)Yun-Chu Candy Chiu, percussion (’11mm)

100 Greatest Dance Hits

Simon Powis, guitar (’10mma)

Linden String QuartetSarah McElravy, violin (’12ad) Catherine Cosbey, violin (’12ad)Eric Wong, viola (’12ad)Felix Umansky, cello (’12ad)

Intermission

* world premiere

yale in new york · preview concertDavid Shifrin, Artistic Director

kathryn alexander b. 1960

ezra laderman b. 1924

samuel adams b. 1985

aaron jay kernis b. 1960

YALE GUITAR MUSIC TODAYBenjamin Verdery, Director

Joaquin Is Dreaming (Joaquin Soñando) I. Joaquin Imagines a Part of His HistoryII. Joaquin Foresees a FutureIII. Joaquin is Sleeping, Joaquin is Dreaming

Ian O’Sullivan, guitar (’11mm)

The Mentioning Of Love

Arash Noori, guitar (’12mm)Dariya Nikolenko, alto flute (’11mm)

warmth

Graham Banfield, electric guitar (’12mm)Trevor Babb, electric guitar (’12mm)

National Anthem for electric guitar and tape *Benjamin Verdery, electric guitar

GiveIan O’Sullivan, guitar (’11mm)Max Zuckerman, guitar (’11mm) Steffen Besser, guitar (’12mm) Trevor Babb, guitar (’12mm) Graham Banfield, guitar (’12mm) Arash Noori, guitar (’12mm) Alan Pawlowicz, guitar (’12mm) Hermelindo Ruiz, guitar (’12mm)

november 8, 2010 · 8 pmMorse Recital Hall in Sprague Memorial Hall

martin bresnick b. 1944

ingram marshallb. 1942

david lang b. 1957

jack vees b. 1955

benjamin verdery b. 1955

As a courtesy to others, please silence all cell phones and devices. Photography of any kind is strictly prohibited. Please do not leave the hall during musical selections.

Tension Study # 1

Tension study # 1 is a work about the release of tension. Perhaps the most transparent manifes-tation of ‘tension’ in this composition is the guitarist’s revealing of the bass line by the gradual detuning of the instrument. However, the primary concern of the work is the physical acoustic ten-sion between the dominant and the tonic. Emotionally and instrumentally, I hear this music as connected to the music of the English Renaissance, particularly the music of composer and lutenist John Dowland. I would like to thank the following: Benjamin Verdery, Andrew Meyerson and Travis Andrews for commissioning this piece, Adrian Freed at CNMAT in Berkeley for the resonant filters, and Robert Blocker and David Shifrin for facilitating the wonderful Yale in New York series. I would like to give special thanks to Max Zuckerman, John Corkill, and Yun-Chu Chiu for providing energy, emotion, and enthusiasm to the first couple of performances. I wrote the guitar processing exclusively in Max/MSP. I created samples exclusively with a Kolkata pump Harmonium. This work is dedicated to guitarist and composer Paul Dresher.

SAMUEL ADAMS

Artist Profile

Samuel Adams (b. 1985) is an active composer, conductor, and multi-instrumentalist from the San Francisco Bay Area. He received a bachelor’s degree from Stanford University, where he stu- died composition with Mark Applebaum and Erik Ulman and electroacoustic music with Jean-Claude Risset and Christopher Chafe at the Center for Computer Research in Music and Acoustics (CCRMA). He recently completed his master’s degree at the Yale School of Music, where he studied primarily with Martin Bresnick.

His music exists on the fringe between rigid formal structures and the impulsivity of impro- visation. His works have been commissioned and performed by the Paul Dresher Ensemble, ACJW (The Academy – Carnegie, Juilliard, Weill), MATA (Music at the Anthology), Lisa Moore, Simon Carrington and the Norfolk Chamber Music Festival, Andy Meyerson, and the Stanford New Ensemble.

Sam is also an active educator. While at Yale, he co-directed the undergraduate Yale Jazz Ensemble; taught electronic music, multimedia, music theory, and analysis at Yale College; and assisted several private students in the New Haven community. He is currently the director of music at Achievement First Crown Heights High School. Recent activity includes Speaker for large chorus, percussion, har-monium, strings, and electronics; The Piano Trio for Lisa Moore, Ashley Bathgate, and Karen Bentley- Pollick; a recording of the music of Astor Piazzolla for naxos; and a publication in Perspectives of New Music about the music of Thomas Adès. Sam currently lives in Crown Heights, Brooklyn.

» www.oddbrand.com

KATHRYN ALEXANDER

FanFare-Esque

FanFare-Esque is the first movement of a larger, multi-movement work for guitar quartet, but may also stand alone as a single, introductory movement. Historically, a fanfare was a short piece of music traditionally played by trumpets and/or other brass that was often accompanied by percussion, and was commonly performed for ceremonial purposes. The genre is thought to have originated in the Middle Ages, but was very popular in Europe in the 18th and 19th centuries. Today, fanfares are heard at parades, in concert music settings, as theme music for television and radio programs, and in video game music.

In FanFare-Esque, the generative material is stated in the opening flourish of extended chords, then re-quoted and re-knit throughout the piece, thus extending the original material as a primary compo-sitional process of the piece. The musical syntax I employ is a pitch-centric ‘iconicism,’ in which 8-, 9-, and 10-note pitch collections are used as pitch source material ranging from chromatic to modal treatments to realize the harmonic syntax and binary structure of the movement. In affect, Fanfare-Esque reflects a ‘giocoso’ nature, whimsical and mischievous in character, which is realized in the music through vernacular music appropriations, including using the guitar instruments for their percussive capabilities to create a ‘beatbox,’ as well as in their more traditional melodic, rhythmic and accompaniment roles.

Artist Profile

Composer Kathryn Alexander was the 2009 win-ner of the Roger Sessions Memorial Bogliasco Fellowship in Music, for which she resided as Composer-in-Residence at the Liguria Study

Center in Bogliasco, Italy in March and April, 2009. She was a 2007-08 winner of the Aaron Copland Award and a 2006 recipient of a Guggenheim Fellowship. Her pieces draw upon a range of disciplines, including literature, the visual and plastic arts, the sciences, and technology to develop formal schema that distill from the abstract rather than from literal, programmatic meaning. The result is a repertoire described variously by critics as music in which “...the gestures were bolder, the moods more volatile, the climaxes more clearly marked and – most significant – the sounds enormously more colorful,” and where “...the instrumentalists out-Bartoked Bartok in their extramusical pursuits.” Alexander has been awar- ded a Radcliffe Fellowship, a Computerworld Laureate Award, a Composer’s Fellowship from the NEA, and the Rome Prize. She has won numerous awards from ASCAP and has held residencies at the MacDowell Colony, Millay Colony, Virginia Center for the Arts, Yaddo, Atlantic Center for the Arts, and Tanglewood. Alexander studied with Donald Erb and Eugene O’Brien at the Cleveland Institute of Music and later earned her DMA in composition at Eastman, working with Samuel Adler, Barbara Kolb, Allan Schindler and Joseph Schwantner, and pursued additional study with Leon Kirchner at Tanglewood. She has taught at Oberlin, Dartmouth College, and the University of Oregon, and currently teaches composition and music technology at Yale University.

Joaquin is Dreaming (Joaquin Soñando)

Commissioned by Benjamin Verdery and dedicated to Benjamin Verdery and Joaquin Bresnick-Arrias.

Joaquin Bresnick-Arias, my grandson, was born on June 3, 2007, in New Haven. The child of Johanna Bresnick and Dimitry Arias, his wonder-fully complex human inheritance (American, Ecuadorean, Jewish, Catholic, Russian, German, Spanish, native South American, and more) in- spired me to reflect in a musical way on this joyful new person and his intricate place in a brave new world. Joaquin is Dreaming is dedicated to Ben Verdery, whose impassioned musical artistry has been a consistent and stirring inspiration to me. I am deeply grateful to him for making this com- positional opportunity possible.

Artist Profile

Composer Martin Bresnick was born in New York City in 1946 and he is presently a professor of composition and coordinator of the composition department at the Yale School of Music. He was

MARTIN BRESNICK

educated at the High School of Music and Art, University of Hartford (B.A. ‘67), Stanford (M.A. ‘68, D.M.A. ‘72), and the Akademie für Musik, Vienna (‘69-’70). His principal teachers include György Ligeti, John Chowning, and Gottfried von Einem. Mr. Bresnick has taught at the San Francisco Conservatory (1971-72), Eastman (2002- 2003), New College in Oxford (2004), and the Royal Academy of Music in London (2005), among others. In 2006, Mr. Bresnick was elected to membership of the American Academy of Arts and Letters.

Mr. Bresnick’s orchestral music has been performed by major symphonies around the world, including the San Francisco Symphony, St. Paul Chamber Orchestra, Münster Philharmonic, Orquestra Sinfonica do Estado de Sao Paulo, and Izumi Sinfonietta Osaka. His chamber music has been performed by the Chamber Music Society of Lincoln Center, Da Capo Chamber Players, and Bang on a Can All Stars, among others. His music has been heard at festivals including Prague Spring, Tanglewood, Banff, New Music America, and New Horizons. He has received commissions from the NEA, Fromm Foundation, Lincoln Center Chamber Players, Meet-the-Composer, and Chamber Music America. His most recent prizes are the Chamber Music Society of Lincoln Center Stoeger Prize (1996), Charles Ives Living Award from the American Academy of Arts & Letters (1998), the ASCAP Foundation’s Aaron Copland Prize for teaching (2000), and a Guggenheim Fellowship (2003). Mr. Bresnick’s music has been recorded by Cantaloupe, CRI, Centaur, New World, Artifact, and Albany and is published by Carl Fischer Music (NY), Bote and Bock (Berlin), and CommonMuse (New Haven).

» www.martinbresnick.com

AARON JAY KERNIS

100 Greatest Dance Hits

100 Greatest Dance Hits (1993) is an affectionate tribute to various sorts of popular music that I heard when I was growing up or came to know as I lived in New York City as an adult. It is chan-neled from influences ranging from the African drumming roots of rock-and-roll in the short introductory movement, to the salsa accents from the streets of Washington Heights where I’ve lived since the early 1990s, the unshakeable remnants of middle-of-the-road easy-listening music that my parents gravitated towards and I detested as a teenager (only to succumb to the charms of the memories of singing strings, Muzak, and Atlantic City club-dates that still bring back the image of my parents) – and wraps up with a ’70s disco and gently funk-based final movement that barrels on through diatonic hints of Soul Train, crunchy and scratchy New Complexity climaxes, to a final moment of early rap vocal percussion.

The work was commissioned for Music From Angel Fire and is dedicated to guitarist David Tanenbaum and Ida Kavafian.

Artist Profile

Aaron Jay Kernis, winner of the 2002 Grawemeyer Award and one of the youngest composers ever awarded the Pulitzer Prize, has taught composition at the Yale School of Music since 2003. His music figures prominently on orchestral, chamber, and recital programs worldwide, and he has been com- missioned by artists including sopranos Renee Fleming and Dawn Upshaw, violinists Joshua Bell and Nadja Salerno-Sonnenberg, and guitarist Sharon Isbin, and by institutions including the New York Philharmonic, San Francisco Symphony,

Birmingham Bach Choir, Minnesota Orchestra, Los Angeles and Saint Paul Chamber Orchestras, Walt Disney Company, Ravinia Festival, Chamber Music Society of Lincoln Center, and Rose Center for Earth and Space at the Museum of Natural History in New York, among others. Recent recordings include a disc of his song cycles by soprano Susan Narucki (Koch) and orchestral works by the Grant Park Festival Orchestra (Cedille). His music is available on Nonesuch, Phoenix, New Albion, Argo, and CRI.

One of America’s most honored composers, Mr. Kernis been awarded the Stoeger Prize from the Chamber Music Society of Lincoln Center, a Guggenheim Fellowship, and the Rome Prize, and received Grammy nominations for Air and the Second Symphony. He has served as Composer-in-Residence for the St. Paul Chamber Orchestra, Minnesota Public Radio, and the American Composers Forum, and, since 1998, as New Music Advisor to the Minnesota Orchestra. He is chair- man and co-director of the Minnesota Orchestra Composer Institute.

On Vineyard Sound

On Vineyard Sound was composed in November 2009. Its four movements reflect on some of the characteristics that make the guitar so unique. Each movement stays within a specific sound world, with the last section being an extension of the first movement. As with so many of my works, the opening phrase of each movement becomes the foundation for all that will follow. It lays out a sequence of notes that will be ex-plored, transformed, and illuminated. As for the title, our boat “Molto Tortissimo” has sailed the waters of Vineyard Sound since 1975.

Artist Profile

Ezra Laderman was born in Brooklyn in 1924. He studied composition with Stefan Wolpe and with Otto Luening and Douglas Moore at Columbia University, where he earned the Master of Arts degree. Laderman incorporates a lyrical style into a contemporary context, using tonal material in combination with atonal, polytonal, or aleatoric elements.

His works for orchestra have been conducted by Riccardo Muti, André Previn, Carlo Maria Giulini, Mstislav Rostropovich, Cristof Eschenbach, Herbert Bloomstedt, and Michael Tilson Thomas, among others. In addition to music for two Academy Award-winning films, six dramatic oratorios, and music for dance, he has written seven operas. Commissions have come from the orchestras of Chicago, Philadelphia, Minnesota, Pittsburgh, Houston, Saint Paul, Detroit, and New Haven, the New York and Los Angeles Philharmonic Orchestras, National Symphony, and American Composers Orchestra, among others. He has written works for CBS TV, the Library of Congress, the Koussevitsky and Barlow Foundations, Meet the Composer, and the NEA, in addition to commissions from such distin-guished artists as David Shifrin, Ransom Wilson, Yo-Yo Ma, Emanuel Ax, Aldo Parisot, Jean-Pierre Rampal, and the Juilliard, Concord, Lenox, Composers, and Tokyo Quartets.

Ezra Laderman was Dean of the Yale School of Music from 1989 to 1995 and is currently a pro-fessor of music. He has been chairman of the National Endowment for the Arts composer-librettist program, president of the American Music Center, director of the NEA’s music program, president of the National Music Council, chair of the board of the American Composers Orchestra, and president of the American Academy of Arts and Letters. He has received three Guggenheim fellowships and the Rome Prize. Laderman’s ex-tensive discography includes orchestral music recorded for the New World, CRI, Desto, and First Editions labels and chamber and piano music for Connoisseur, RCA Victor, and Albany. His music is now published exclusively by G. Schirmer.

EZRA LADERMAN

warmth

warmth was commissioned by the ensemble Cygnus for their classical guitarists William Anderson and Oren Fader, and they let me write for electric guitars. One of the cool but often problematic things about electric guitar is that all the amps and boxes make possible an almost infinite variety of tone quality. I imagined that making the tone quality I wanted the title of the piece might help the players decide what sounds to choose. And so I called it warmth.

Artist Profile

The music of David Lang has been performed by major musical, dance, and theatrical organizations throughout the world, including the Santa Fe Opera, the New York Philharmonic, the San Francisco Symphony, the Cleveland Orchestra, the Kronos Quartet, the Nederlands Dans Theater, and the Royal Ballet, to name a few, and has been performed in the most renowned concert halls and festivals in the United States and Europe.

Lang is well known as co-founder and co-artistic director of New York’s legendary music festival, Bang on a Can. In 2008, Lang was awarded the Pulitzer Prize in Music for the little match girl passion, commissioned by Carnegie Hall for Paul Hillier’s vocal ensemble, Theater of Voices. He has also has been honored with the Rome Prize, the BMW Music-Theater Prize (Munich), a Kennedy Center/ Friedheim Award, the Revson Fellowship with the New York Philharmonic, a Bessie Award, a Village Voice OBIE Award, and grants from the Guggenheim Foundation, Foundation for Contemporary Performance Arts, National Endowment for the Arts, New York Foundation

for the Arts, and American Academy of Arts and Letters. His work is recorded on the Sony Classical, Teldec, BMG, Point, Chandos, Argo/Decca, Caprice, Koch, Albany, CRI, and Cantaloupe labels.

Born in Los Angeles in 1957, David Lang holds de-grees from Stanford University and the University of Iowa, and received the D.M.A. from the Yale School of Music in 1989. He has studied with Jacob Druckman, Hans Werner Henze, and Martin Bresnick. His music is published by Red Poppy (ASCAP) and is distributed worldwide by G. Schirmer, Inc. David Lang joined the Yale School of Music faculty in 2008.

» www.davidlangmusic.com

DAVID LANG

INGRAM MARSHALL

The Mentioning of Love

In 2007, when I attended a concert of the Yale University Javanese Gamelan (‘Suprabanggo’), I heard a piece by my old teacher, K.R.T. Wasitodipura, who had recently passed away. Pak Tjokro, as he was affectionately known to his students, had been a real inspiration to me and other composers involved in Indonesian music activities in California in the early ’70s.

Hearing Pak Tjokro’s music that night gave me a strong impulse to get to work on a piece for alto flute and guitar, which had ben commis- sioned by my dear friend and colleague Ben Verdery. I decided to compose the piece as an homage to Pak Tjokro. Thus there are melodic quotes from his composition, and scales close to the modes of the Indonesian gamelan orchestras.

At the outset, the flute and guitar seem to be playing together, sharing the same scale material, but there are clashes and disconnects, despite commonalities of pitch and durational patterns. Towards the middle of the piece, however, they settle down and cooperate more; there are even

some playful moments. But the tenor of the piece is mostly reflective and meditational. The music is dedicated to Ben and his wife, the flutist Rie Schmidt.

Artist Profile

Ingram Marshall lived and worked in the San Francisco Bay Area from 1973 to 1985 and in Washington State, where he taught at Evergreen State College, until 1989. His current base is Connecticut. He studied at Columbia University and California Institute of the Arts, where he received an M.F.A., and has been a student of Indonesian gamelan music, the influence of which may be heard in the slowed-down sense of time and use of melodic repetition found in many of his pieces. In the mid-seventies he developed a series of “live electronic” pieces such as Fragility Cycles, Gradual Requiem, and Alcatraz in which he blended tape collages, extended vocal techniques, Indonesian flutes, and keyboards. In recent years he has concentrated on music combining tape and electronic processing with ensembles and soloists. His music has been performed by ensem- bles and orchestras such as the Theater of Voices, Kronos Quartet, Bang on a Can All-Stars, Los Angeles Philharmonic, San Francisco Symphony, St. Louis Symphony, and American Composers Orchestra. He has received awards from the National Endowment for the Arts, Rockefeller Foundation, Fromm Foundation, Guggenheim Foundation, and the American Academy of Arts and Letters. Recent recordings are on Nonesuch (Kingdom Come) and New Albion (Savage Altars). Orphic Memories, commissioned by the Cheswatyr Foundation, was composed for the Orpheus Chamber Orchestra and premiered at Carnegie Hall in April 2007.

JACK VEES

National Anthem

When Ben Verdery asked me to come up with a new piece for him, I jumped at the chance. I knew I wanted to compose a piece that had pre-recorded backing tracks, and I wanted those to come from an album that Ben considered one of his favor-ites. The album he picked was High Violet by The National. (Bryce Dessner ’98ba, ’98mm, one of Ben’s former students, is the guitarist in the band.) That choice led to some interesting, if unexpected possibilities. I took several isolated sound clips from the CD and ran them through a process with electronic and acoustic elements. I played my sound clips into a grand piano with the sus-tain pedal held down. The resultant sound is not so much like reverb, but more of a tuned resonance of the original sound that went into the piano. It carries a lot of the harmonic content, along with echoes of whatever voice or instrumen- tal sound went into it. This provides a big, soft- edged, ambient backdrop over which there is space to give Ben lots of wide open melodies, and even a spot for a good, old-fashioned guitar solo.

Tonight Ben performs this piece on a guitar that I designed and produced in collaboration with Bruno Jacquet. I am grateful to Bruno for his skill and care, which have produced an instrument beautiful in both look and sound.

I dedicate this premiere performance to the me-mory of my dear friend Art Jarvinen, who passed away while I was in the midst of composing this piece. He loved the sound of surf guitar, and there are sections of this piece that evoke that idiom in its melancholy mode.

Artist Profile

Jack Vees was born in Camden, New Jersey in 1955. He attended Glassboro State College and received his M.F.A. from California Institute of the Arts, where he studied with Morton Subotnick, Stephen Mosko, Louis Andriessen, Vinko Globokar, and Bernard Rands. Vees’s works have been performed by Ensemble Modern, California Ear Unit, Zeitgeist, and Hemispheres, among others. He performs with his own ensemble, Chez Vees. His mastery of extended techniques on the bass led him to write the Book on Bass Harmonics (Alfred, 1981). Vees is the operations director and instruc- tor of electronic music at Yale’s Center for Studies in Music Technology. Major performances of Vees’s works include New Music America, Neue Musik New York/Cologne, Bang On A Can, and Soundings. He has been commissioned by Ensemble Modern, Music In Motion (with the California Ear Unit), Minnesota Composers Forum, Zeitgeist, and Corn Palace Productions, and has been in re-sidence at Duke University and the Yellow Springs Institute. Vees has participated in numerous col- laborations with choreographers and video artists.

Give

Give, for eight guitars, is dedicated to the late Senator Ted Kennedy. The work was commissioned by Thomas Offermann and the guitar ensemble of the Hochschule for Music and Theatre (HMT) in Rostock, Germany, where it was premiered in October, 2009. The piece develops material from Verdery’s previous composition Peace, Love, and Guitars, which was written for classical guitarist John Williams and jazz guitarist John Etheridge. Give is in three contrasting sections with a coda that restates the opening rhythm and ostinato. It has been performed at the Boston Classical Guitar Festival, the Perpignon International Guitar Festival in France, and several times in Germany.

Artist Profile

Distinguished as “one of the classical guitar world’s most foremost personalities” by Classical Guitar Magazine and “iconoclastic” and “inventive” by the New York Times, Benjamin Verdery enjoys an innovative and eclectic musical career. Since his 1980 New York debut with his wife, flutist Rie Schmidt, Benjamin has performed worldwide,

including the International Guitar Festival (Cuba); Festival International de Agosto (Venezuela); Theatre Carré (Amsterdam); Chichester Cathedral (England); Chamber Music Society of Lincoln Center, Metropolitan Opera, Ambassador Theater (Los Angeles), and concerts in Europe, Asia, and Australia. He has recorded and performed with such diverse artists as Frederic Hand, William Coulter, Leo Kottke, Anthony Newman, Jessye Norman, Paco Peña, Hermann Prey, and John Williams. Benjamin has released over fifteen albums, most recently Branches on Mushkatweek. Start Now (Mushkatweek) won the 2005 Classical Recording Foundation Award, and Some Towns & Cities won Guitar Player Magazine’s Best Classical Guitar Recording in 1992.

Since 1985, Benjamin has been chair of the guitar department at the Yale School of Music. In 2004, the Yale University Music Library commissioned Ingram Marshall to compose a work for classical and electric guitars. Dark Florescence premiered at Carnegie Hall in 2005 and had its European premiere at the Belfast Festival (Ireland), with electric guitarist Andy Summers of The Police. Benjamin and Andy have since recorded First You Build A Cloud.

A prolific composer, Benjamin Verdery has had many compositions performed, recorded, and published over the years, most recently Now and Ever for David Russell (Telarc) and Peace, Love and Guitars for John Williams and John Etheridge (Sony). Verdery is the artistic director of Art of the Guitar at the 92nd Street Y and the Yale Guitar Extravaganza and is an honorary board member of the Suzuki Association of the Americas. Each summer Benjamin holds his annual international master class on the Island of Maui, Hawaii.

BENJAMIN VERDERY

COMING UP

Wei-Yi Yang, pianoNovember 10 | 8 pm | Wed

The Horowitz Piano Series presents the “untiring, passionate and poetic” (Classics Today) Wei-Yi Yang in a recital of Schubert, Schubert-Liszt, and Chopin’s 24 Préludes.

On Common Ground IINovember 12 | 8 pm | Fri

With Ben Allison, bassist and composer; the St. Luke’s and Yale Steel Bands, directed by Deborah Teason; and the Common Ground Ensemble performing music by steel pan virtuoso Andy Akiho, Samuel Adams, Teason, and more.Tickets $12–$22 / Students $7

Yale Percussion GroupDecember 10 | 8 pm | Fri

The Yale Percussion Group, directed by Robert Van Sice. Thierry de Mey: Musique de Tables; Steve Reich: Sextet; James Wood: Village Burial with Fire; Mauricio Kagel: Dressur.

Yale School of Music203 432-4158concerts@yale.edumusic.yale.edu/media

Yale Percussion

Group

December 10: New HavenDecember 12: New York City

YALE›››NY