Faculty Profiles

Ole Akahoshi, cello, began his early studies with Georg Donderer and Wolfgang Boettcher in Berlin. At the age of eleven he was the youngest pupil ever to be accepted by the late Pierre Fournier. In 1989 he moved to the United States to further his studies with János Starker at Indiana University and Aldo Parisot at Yale University. With violinist Edna Michell, he premiered works by Iannis Xenakis and Shulamit Ran with the Orchestra of St. Luke’s under the direction of Sir Yehudi Menuhin in Avery Fisher Hall. Mr. Akahoshi has also been soloist with the Symphonisches-Orchester-Berlin, Czechoslovakian Radio Orchestra, Zilina Symphony Orchestra, and Paraiba Orchestra. His international recital engagements have included concerts at the Kammermusiksaal der Berliner Philharmonie, at Tsuda Hall in Tokyo, and at the Weill Recital Hall at Carnegie Hall in New York, as well as in Israel, Italy, the Czech Republic, Slovak Republic, Korea, Canada, Brazil, Taiwan, Spain, Portugal, and the United States. He has been a prizewinner in numerous competitions, including Concertino Prague, Wettbewerb Jugend Musiziert, and the Luis Sigall International Cello Competition. He was also awarded a generous fellowship grant by Mrs. Charlotte White’s Salon de Virtuosi and has served on the faculties of the Banff Centre for the Arts, Festival des Artes de Itu, and the Norfolk Chamber Music Festival, where he is often a featured guest artist. He is principal cellist of the International Sejong Soloists in New York and has been a member of Seiji Ozawa’s Saito Kinen Orchestra since 1999. He joined the School of Music faculty in 1997.

Syoko Aki, violin, studied in Japan at the Toho Academy of Music and in the United States at Hartt College and the Yale School of Music. She has taught at the Eastman School of Music and the State University of New York at Purchase. She has appeared as soloist with such leading conductors as Seiji Ozawa, Gerard Schwarz, Krzysztof Penderecki, and Kenneth Schermerhorn. Ms. Aki has been concertmaster and soloist with the New York Chamber Symphony, the New Japan Philharmonic, the Waterloo Festival Orchestra, and the New Haven and Syracuse symphony orchestras. She has appeared in concerto and chamber music performances with Szymon Goldberg, Henryk Szeryng, Broadus Erle, Leon Fleisher, Jaime Laredo, and many others. Ms. Aki has been a member of the Yale faculty since 1968.

Boris Berman, piano, is well known to the audiences of more than forty countries on six continents. He regularly appears with leading orchestras, on major recital series, and in important festivals. He studied at the Moscow Tchaikovsky Conservatory with the distinguished pianist Lev Oborin. Mr. Berman was the founding director of the Music Spectrum concert series in Israel from 1975 to 1984 and of the Yale Music Spectrum series in the United States from 1984 to 1997. An active recording artist, Mr. Berman was the first pianist to record the complete solo works by Prokofiev (Chandos). Other acclaimed releases include all piano sonatas by Alexander Scriabin (Music and Arts) and a recital of Shostakovich piano works (Ottavo), which received the Edison Classic Award in Holland, the Dutch equivalent of the Grammy. The recording of three Prokofiev concertos with the Royal Concertgebouw Orchestra, Neeme Jarvi conducting (Chandos), was named the Compact Disc of the Month by CD Review. Other recordings include works by Mozart, Beethoven, Franck, Weber, Debussy, Stravinsky, Schnittke, and Cage. In 1984, Boris Berman joined the faculty of the Yale School of Music, where he is professor of piano and coordinator of the piano department. He has been the founding director of the Yale Summer Piano Institute and of the International Summer Piano Institute in Hong Kong. He also gives master classes throughout the world. In 2000, Yale University Press published Mr. Berman’s book, Notes from the Pianist’s Bench.

Robert Blocker, the Lucy and Henry Moses Dean of Music, is acknowledged as one of the nation’s leading arts administrators. He has previously served as dean of the UCLA School of the Arts and Architecture, the University of North Texas College of Music, and the Baylor University School of Music. Dean Blocker is a frequent speaker at national and international conferences on the arts and higher education, and he regularly contributes articles to several journals. A pianist, Mr. Blocker earned M.M. and D.M.A. degrees under the tutelage of Richard Cass at the University of North Texas and has performed concerts and presented master classes throughout the United States, Europe, China, the Pacific Rim, Canada, and Mexico. Dean Blocker joined the School of Music in 1995.

The music of Martin Bresnick has been performed in festivals and concerts throughout the world. He has composed in virtually every medium from chamber and symphonic music to film and computer music. He has won numerous prizes including the Rome Prize, the Stoeger Prize for Chamber Music from the Chamber Music Society of Lincoln Center, the first Charles Ives Living Award from the American Academy of Arts and Letters, the Aaron Copland Award for teaching from ASCAP, a Berlin Prize Fellowship from the American Academy in Berlin, and a Guggenheim Fellowship. He has been commissioned by the Koussevitzky and Fromm foundations, Chamber Music America, Meet-the-Composer, the National Endowment for the Arts as well as individual ensembles and performers. His work is represented by Carl Fischer Music Publishers, and is recorded by CRI, New World, Centaur, and Artifact Music. He joined the Yale faculty in 1981 and is currently Professor of Composition and Coordinator of the Composition Department.

Jeffrey Brillhart, organ improvisation, has performed throughout the United States and Europe as organist and conductor. He earned the master of music degree from the Eastman School of Music, and was awarded first place at the American Guild of Organists National Competition in Organ Improvisation in 1994. Mr. Brillhart is director of music and fine arts at Bryn Mawr Presbyterian Church, where he oversees music, education and arts programs that involve more than 500 children, youth, and adults each week. He is also music director of Philadelphia’s acclaimed Singing City Choir, one of the first integrated community choirs in the United States. Under his direction, Singing City has performed with the Philadelphia Orchestra, with jazz great Dave Brubeck, and on tours to Cuba and Northern Ireland. Mr. Brillhart maintains an active schedule as conductor, organist, and clinician, most recently at the Eastman School of Music, Westminster Choir College, The Curtis Institute of Music, and Baylor University.

Marguerite Brooks, choral conductor, holds degrees from Mount Holyoke College and Temple University. She has served on the faculties of Smith and Amherst College and was also director of choral music at the State University of New York at Stony Brook. The conductor of the Yale Camerata and Yale Pro Musica, Brooks joined the Yale faculty in 1985 as the director of the choral conducting program at the School of Music and the director of choral music at the Institute of Sacred Music. She is active as a guest conductor and gives master classes sponsored by the American Choral Directors Association, the Music Educators National Conference, and the American Guild of Organists, and is director of music at the Church of the Redeemer in New Haven.

Simon Carrington, choral conductor, joined the Yale faculty in 2003 from New England Conservatory, where he directed the choral activities from 2001 to 2003 and was selected by the students for the Krasner Teaching Excellence Award. From 1994 to 2001, Professor Carrington served as director of choral activities at the University of Kansas following a twenty-five-year career as a creative force with the internationally acclaimed British vocal ensemble, The King’s Singers, which he co-founded while at Cambridge University. He gave 3,000 performances at many of the world’s most prestigious festivals and concert halls, made more than seventy recordings, and appeared on countless television and radio programs. Professor Carrington now maintains an active schedule as a freelance conductor and choral clinician, and has led workshops and master classes all over the world, most recently at the Florilège Vocal de Tours, France; Marktoberdorf Chamber Choir Competition, Germany; the World Symposium on Choral Music in Rotterdam, Holland; the International Choral Convention in Singapore; the American Choral Directors National Convention in New York; and the Franz Liszt Conservatory of Music in Budapest, Hungary. In July 2003 he conducted the Monteverdi Vespers in Barcelona, Spain, sung by some of the finest youth choirs from all over Europe, and in 2004 he conducted the Fauré Requiem in places as far apart as Orchestra Hall, Chicago, and Dornoch Cathedral, Scotland. He received his M.A. degree from the University of Cambridge.

Melvin Chen, piano, holds double master’s degrees in piano and violin from the Juilliard School, where he studied with Seymour Lipkin and Glenn Dicterow. Previously he attended Yale University, where he received a B.S. in chemistry and physics. In addition, he has a doctorate in chemistry from Harvard University. At Yale he studied with Boris Berman, Paul Kantor, and Ida Kavafian. After winning the William Waite concerto competition as a freshman, he performed as piano soloist with the Yale Symphony Orchestra. He later won the same competition again, this time as violin soloist. He has performed as a piano soloist with many ensembles, including the Salisbury and Nashville symphony orchestras. As a violinist, he has been active as the concertmaster of the Yale Symphony, the Tanglewood Music Center Orchestra, and the Juilliard Orchestra. An avid chamber musician, Mr. Chen has collaborated with such artists as Ida Kavafian, Steven Tenenbom, David Shifrin, Robert White, Pamela Frank, Peter Wiley, and members of the St. Lawrence, Mendelssohn, Borromeo, and Arditti quartets. Mr. Chen is currently a member of Chamber Music Society of Lincoln Center: Chamber Music Society Two. He has been heard both in recital and in chamber music appearances at Carnegie Hall, Alice Tully Hall, Merkin Concert Hall, Weill Recital Hall, the Frick Collection, Boston’s Jordan Hall, as well as other venues in the United States, Canada, and Asia. He has appeared at the Bravo! Colorado, Chamber Music Northwest, and Music from Angel Fire festivals, among others. He is a performer on Wynton Marsalis’s series on music education, “Marsalis on Music,” and can also be heard on Discover, Nices, and KBS label compact discs with violinist Juliette Kang. Mr. Chen joined the School of Music faculty in the fall of 2000.

Lili Chookasian, contralto, made her Metropolitan Opera debut in 1962. In this country, she has appeared with the Chicago Lyric, New York City, and San Francisco opera companies, among others. Abroad, she has performed in Bayreuth, Salzburg, Hamburg, Florence, Buenos Aires, Montreal, and Barcelona. She has sung with all of the major symphony orchestras in the United States, as well as with the Berlin Philharmonic, under the world’s most distinguished conductors. Miss Chookasian has recorded for CBS Masterworks, RCA, Columbia, Decca, MGM, and Deutsche Grammophon. In March 1985 she was selected by the American Vocal Academy to be in the newly initiated Hall of Fame of American Opera Singers. She taught voice at Northwestern University School of Music and in 1985 joined the faculty of the Yale School of Music, where she was awarded the Sanford Medal in 2002.

Kendall Crilly, the Andrew W. Mellon Foundation Music Librarian, holds degrees in music history, organ, and library science from Yale, Drake, and Southern Connecticut State Universities. He has published articles and reviews on a number of musical and bibliographical topics and has presented papers in the United States and Europe. A member of the Board of Governors of the American Organ Archive and the Board of Directors of the Charles Ives Society, he recently served as consultant to the Library of Congress for its Leonard Bernstein Digital Archive. His current research focuses on incidental music composed for the American Shakespeare Festival Theatre. He became an instructor at the School of Music in 1994.

Richard Cross, bass, made both his European and his New York debuts in 1958. He has appeared with numerous opera companies, including those of San Francisco, Frankfurt am Main, Berlin, Madrid, Cologne, Hamburg, Budapest, and Washington, as well as with the New York City Opera. Mr. Cross has appeared at the Glynebourne Festival, the Festival of Two Worlds in Spoleto, Italy, and the Schwetzingen Festival. He has sung with many of the major symphony orchestras, including Philadelphia, San Francisco, Seattle, and Pittsburgh. Mr. Cross has recorded for London Records, RCA, and Columbia. He is currently on the faculties of the Juilliard School and State University of New York at Stony Brook. He joined the Yale faculty in 1997.

Allan Dean, trumpet, is a member of the Summit Brass and the St. Louis Brass Quintet and was with the New York Brass Quintet for eighteen years and the Contemporary Chamber Ensemble for ten years. Involved in Baroque and Renaissance music performed on original instruments, Mr. Dean is a founding member of Calliope: A Renaissance Band as well as the New York Cornet and Sacbut Ensemble. Mr. Dean performs and teaches each summer at the Mendez Brass Institute and the Norfolk Chamber Music Festival. He has appeared at the Casals and Spoleto (USA) festivals, the Banff Centre and the Orford Arts Centre in Canada, Musike Belinge in Sweden, and the Puebla Instrumenta in Mexico. He can be heard playing both modern trumpet and early brass on over eighty recordings on major labels including RCA, Columbia, Nonesuch, Pro Arte, CRI, Musical Heritage, and Summit. He joined the Yale faculty in 1988.

Douglas Dickson, piano, received his B.A. degree from Princeton University and his M.M.A. from the Yale School of Music. He has performed in Europe, Asia, South America , and throughout the United States. As part of Duodecaphonia, a prize-winning piano duo, he has performed at the Kennedy Center and elsewhere. As a vocal accompanist he has played for the master classes and studios of Sherrill Milnes, Renata Scotto, Régine Crespin, Carlo Bergonzi, and Licia Albanese. Mr. Dickson has been accompanist or music director for productions at Quinnipiac College, the Yale School of Drama, Opera Theater of Connecticut, Connecticut Experimental Theater, and Shubert Opera. He was music director and conductor for Yale Opera’s spring 2000 production of Britten’s The Rape of Lucretia. In 1997 and 1998 he performed and taught at the Itu Festival of Arts in Brazil. He has served for seven years on the faculty of Quinnipiac College, where he founded the Young Voices Competition. Mr. Dickson joined the Yale faculty in 1998.

Jeffrey Douma, choral conductor, is director of the Yale Glee Club. Before coming to Yale in 2003, he was Director of Choral Activities at Carroll College and was on the conducting faculty at Interlochen National Arts Camp. Previously Mr. Douma taught at Smith College and St. Cloud State University (Minnesota), and he served as chorus master and guest conductor of the Windsor Symphony Orchestra and Chorus in Ontario. A professional singer, Jeffrey Douma is a member of Chicago’s prestigious Chamber Choir, Bella Voce. His vocal performances have been under the baton of such eminent conductors as Helmut Rilling, Sir Neville Mariner, Robert Shaw, and Dale Warland. He earned a Bachelor of Music degree from Concordia College, nationally renowned for its choral music program. He holds both Master of Music and Doctor of Musical Arts degrees in Choral Conducting from the University of Michigan. At both Concordia and Michigan he held choral conducting assignments.

Gregory Dubinsky, music history, received his B.A. from Brown University and is completing his PH.D. in music history from the University of California, Berkeley. From 1998 to 2000, and in the spring of 2002, he was a Visiting Lecturer in Yale’s Department of Music. His current research focuses on the musical, cultural, and political contexts surrounding the dissemination of twelve-tone composition. He has published on Ernst Krenek and Austrian nationalism and prepared biographical entries for the New Grove Dictionary of Music.

Thomas Duffy, composer and conductor, is deputy dean of the School of Music and the director of bands at Yale University. In the School of Music he is a member of the D.M.A. and M.M.A. committees and serves as director of undergraduate studies. He has served as president of the New England College Band Directors Association, and the College Band Directors National Association (CBDNA) Eastern Division, editor of the CBDNA Journal, publicity chair for the World Association of Symphonic Bands and Ensembles, chair of the Connecticut Music Educators Association’s Professional Affairs and Government Relations committees, and has represented music education in Yale’s Teacher Preparation Program. He is a member of American Bandmasters Association, American Composers Alliance, Connecticut Composers Incorporated, and BMI. An active composer with a D.M.A. in composition from Cornell University, where he was a student of Karel Husa and Steven Stucky, he has accepted commissions from the American Composers Forum, the United States Military Academy at West Point, the U.S. Army Field Band, and many bands, choruses, and orchestras. He joined the Yale faculty in 1982.

Patrick Evans, senior lecturer in the practice of sacred music, comes to Yale from the University of Delaware, where he is associate professor of music. As a singer, he has been a Fellow of the Tanglewood Music Center, the Cleveland Art Song Festival, and the Pacific Music Festival, Sapporo, Japan. He appears regularly in opera, oratorio, and recital performances, and has sung All the Way Through Evening: Songs from the AIDS Quilt Songbook, a recital/liturgical event, throughout the United States. During a recent sabbatical year, he served as artist-in-residence at Union Theological Seminary, and currently serves in the same capacity at Broadway Presbyterian Church in Manhattan. Minister of music for ten years at Hanover Street Presbyterian Church in Wilmington, Delaware, Professor Evans has worked with many urban congregations seeking to renew their musical worship traditions, embracing the changing cultural contexts of their cities. He is interested in the interaction of the traditional Western canon with global hymnody, African-American gospel traditions, and other musical and liturgical artistry in multicultural communities of faith. Mr. Evans earned his B.M. and B.M.E. from the University of Montevallo and his M.M. and D.M. from Florida State University.

Margot E. Fassler, Director, Yale Institute of Sacred Music, and Robert S. Tangeman Professor of Music History. Professor Fassler was named Robert S. Tangeman Professor of Music History in 1999. She holds joint appointments at the Divinity School, the School of Music, and in the Department of Music. A historian of music and liturgy, her special fields of interest are medieval and American sacred repertories. She offers courses in medieval and contemporary liturgics, sacred repertories of music from early Christianity to the present, Christian hymnody, and liturgical drama (with Jaime Lara). Her book Gothic Song won the Nicholas Brown Prize of the Medieval Academy and the Otto Kinkeldey Prize of the American Musicological Society. She has recently finished a book on the Virgin of Chartres (Yale University Press) and is writing a book on Hildegard of Bingen. Psalms in Community: Jewish and Christian Textual, Liturgical, and Artistic Traditions, which she co-edited with Harold W. Attridge, was published in 2004 by the Society of Biblical Literature. B.A., State University of New York; M.A., Syracuse University; M.A., PH.D., Cornell University.

During one of the most distinguished careers of any pianist, Claude Frank has repeatedly appeared with the world’s foremost ensembles, at major festivals, and in major recital halls around the globe. Born in Nuremberg, Mr. Frank studied at the Paris Conservatoire, and also worked in New York with Artur Schnabel, for whom he first played in Europe. He studied composition and conducting at Columbia University. At Tanglewood he studied with Serge Koussevitzky. He has performed worldwide as a soloist with distinguished orchestras, touring the Orient, Australia, Europe, Israel, and South America, and in chamber music concerts. A milestone in his career was RCA’s release of his recordings of the thirty-two Beethoven sonatas and his worldwide performances of the cycle. He has appeared in joint concerts with his wife, pianist Lillian Kallir, and, in recent years, with his daughter, the renowned violinist Pamela Frank. Mr. Frank serves on the faculty of the Curtis Institute of Music in Philadelphia and presents master classes at Yale University, Duke University, the University of Kansas, and the North Carolina School of the Arts, among many other institutions. He has been on the piano faculty of the Yale School of Music since 1973.

Peter Frankl, piano, made his London debut in 1962 and his New York debut with the Cleveland Orchestra under George Szell in 1967. Since that time he has performed with many of the world’s finest orchestras, including the Berlin Philharmonic, Concertgebouw, Israel Philharmonic, Orchestre de Paris, all the London orchestras, and the major American orchestras. He has collaborated with such eminent conductors as Abbado, Boulez, Davis, Haitink, Maazel, Masur, Muti, Salonen, and Solti. His world tours have taken him to Japan, Korea, Australia, New Zealand, and South Africa, and he also frequently appears at European and American festivals. His many chamber music partners have included Kyung Wha Chung, Peter Csaba, Ralph Kirshbaum, and the Tokyo, Takacs, Guarneri, Bartok, and Lindsay quartets. Among his recordings are the complete works for piano by Schumann and Debussy; Bartok and Chopin solo albums; a Hungarian anthology; concerti and four-hand works by Mozart; the two Brahms piano concerti; the Brahms violin and clarinet sonatas; the Brahms trios; Bartok pieces for violin and piano; and the piano quintets of Brahms, Schumann, Dvorak, and Martinu. In recognition of his artistic achievements, Professor Frankl was awarded the Order of Merit by the Hungarian Republic. He joined the Yale faculty in 1987.

Michael Friedmann, theory and piano, received his B.A. from Brandeis University and his PH.D. in composition from Harvard University. He has served on the music faculties of the New England Conservatory of Music, the University of Pittsburgh, and the Hartt School of Music, and he was Valentine Visiting Professor at Amherst College in the fall of 1990. More recently he taught at the Steans Institute for Young Artists of the Ravinia Festival, the Anlade Musicà of the University of Alcalà in Spain, and was assistant director of the International Summer Piano Institute of Hong Kong. Mr. Friedmann’s articles in theoretical journals and his presentations at theory conferences have dealt with a broad spectrum of subjects, and his book Ear Training for Twentieth-Century Music was given a special citation by the Society for Music Theory. His frequent piano recitals have found a special focus in the music of the Second Viennese School, late Beethoven, and Schumann. In three recent performances in Virginia and Minnesota, Mr. Friedmann lectured on Schoenberg’s Ode to Napoleon and performed its vocal part. He joined the Yale faculty in 1985.

Shinik Hahm, conductor and music director of the Philharmonia Orchestra of Yale, joined the Yale faculty in 1995 as conductor of the Yale Symphony Orchestra, a post he held until 2004. He has conducted major orchestras and opera companies in North and South America, Europe, and Asia. Since 1988 he has been music director of various orchestras including the Green Bay Symphony Orchestra and Abilene Philharmonic. He is currently the music director of the Daejeon Philharmonic and the Tuscaloosa symphony orchestras. An active opera conductor, he has performed numerous times with the Silesian State Opera in Poland. Since 1992, he has made annual appearances with the Korean Radio and Television Symphony Orchestra, and led that orchestra in its 1995 tour of the United States in celebration of the fiftieth anniversary of Korean independence. In June 2004, he brought the Daejeon Philharmonic to Carnegie Hall, the Kimmel Center in Philadelphia, and other major American cities. He has conducted the orchestras of Los Angeles, Warsaw, Fort Worth, Atlanta, Boulder, Bangkok, Louisville, Toronto, Omaha, Hartford, Prague, Bilbao, St. Petersburg, Russia, and many others. Among numerous distinctions, he has won the Gregorz Fitelberg International Conducting Competition as well as the Korean Cultural Medal, Korea’s highest civilian honor. He has earned degrees at Rice University and at the Eastman School of Music.

Born to Korean diplomat parents, June Han, harp, lived in Belgium, Indonesia, Ivory Coast, The Netherlands, and France prior to her arrival in the United States in 1994. Ms. Han holds a Premier Prix for Harp and Chamber Music from the Conservatoire National Supérieur de Musique de Paris, a Master of Music degree and Artist Diploma from the Yale School of Music, and a Doctorate of Musical Arts degree from the Juilliard School. An active proponent of chamber and contemporary music, she has performed in major venues in New York City with the Chamber Music Society of Lincoln Center, Sea Cliff Chamber Players, Speculum Musicae, Orpheus Chamber Orchestra, Ensemble Sospeso, Sequitur Ensemble, and Ensemble 21, of which she has been a member since 1998. Ms. Han is also an active orchestral player and has worked with the Orchestre de Paris, participating in their North American tour in January 2002; the Kirov Opera Orchestra; and the New York Philharmonic. Her appearances at summer music programs include the Aspen, Tanglewood, and OK Mozart festivals, and she has been a member of the faculty of the Bowdoin Summer Music Festival since 1996. She was a featured soloist with the Colonial Symphony Orchestra in Morristown, N.J., and the Durham-Oshawa Symphony Orchestra in Canada. Her recordings include works by Anton Webern, Arnold Schoenberg, Elliott Carter (Bridge), Thea Musgrave, Jean Françaix, Carolyn Steinberg, and Ronald Caltabiano. She has premiered works by her mother, Young-Ja Lee, Charles Wuorinen, and Hyo-Shin Na, among many others. Ms. Han joined the Yale faculty in 2003 and also teaches at Columbia University.

Thompson Hanks, Jr., tuba, has been a member of the San Antonio Symphony, the Minnesota Symphony, and the former New York Brass Quintet and Contemporary Chamber Ensemble. He regularly performed with the American Composers Orchestra and was a member for thirty-three years of the New York City Ballet Orchestra. As a conductor, Mr. Hanks has led the Manhattan School of Music Wind Ensemble and is the director of the Yale Brass Ensemble. Mr. Hanks participates in a number of festivals and has been a member of the Chautauqua Symphony for thirty years. In addition, he has made several solo and chamber music recordings which were greeted with generous critical acclaim. Mr. Hanks has been a member of the Yale faculty since 1972.

Sidney Harth, violin, has enjoyed a prolific career as a performer and educator that has brought him countless honors and accolades. A graduate of the Cleveland Institute of Music, he later went to New York, where he studied with Michel Piastro and Georges Enesco. Mr. Harth attained international recognition when he became the first American to be awarded the Laureate Prize in Poland’s Wieniawski Violin Competition in 1957. He served as concertmaster of the New York and Los Angeles Philharmonic Orchestras, both under Zubin Mehta, concertmaster of the Chicago Symphony under Fritz Reiner, and concertmaster of the Louisville Orchestra under Robert Whitney, where he was also assistant conductor. His solo engagements have taken him to virtually every musical capital, and he has appeared with the major symphony orchestras of North America, Europe, Israel, China, South America, and Russia. Mr. Harth is a familiar figure at leading summer music festivals including the Aspen Music Festival, the Banff Music Festival in Western Canada, the Vancouver Summer Festival, and many more. His extensive discography includes recordings on the RCA, Vanguard, Musical Heritage, Phillips, Koch, and Stradivari labels. As a conductor, his numerous appointments have included the post of associate conductor of the Los Angeles Philharmonic, music director of the Jerusalem Symphony Orchestra, music director of the Puerto Rico Symphony Orchestra, music director of the Northwest Chamber Orchestra in Seattle, and principal conductor of the Natal Symphony Orchestra in Durban, South Africa. He has served as director of the conducting programs at Mannes College of Music in New York, the University of Texas in Houston, and Hartt College of Music at the University of Connecticut in Hartford. Mr. Harth’s notable academic career is marked by his appointment as the Andrew W. Mellon Permanent Professor of Music at Carnegie Mellon University, where he was also the Music Department chair, and professor of violin at Yale University, a seventeen-year tenure he left in 1999. In September of 2001, Mr. Harth accepted the post of director of orchestral activities at Duquesne University. He returns to Yale as visiting professor for the 2004–2005 academic year.

Scott Hartman, trombone, received his B.M. and M.M. degrees from the Eastman School of Music and began his career by joining the Empire Brass Quintet and the Boston University faculty in 1984. As a trombone soloist and with his various chamber groups, Mr. Hartman has taught and played concerts throughout the world and in all fifty states. He has been featured with the Boston Esplanade Pops, Philadelphia Orchestra, Chicago Symphony, Minnesota Orchestra, BBC Radio Orchestra, Dallas Symphony, St. Louis Symphony, and National Symphony. Mr. Hartman now performs and records with Proteus 7, the Millennium Brass, the Brass Band of Battle Creek, the Hollywood Brass, and the trombone quartet Four of a Kind. He has recorded for the Angel EMI, Sony, Telarc, Summit, and Dorian labels. He coordinates the trombone and chamber brass programs at Boston University and leads a two-week workshop for trombone and coaches brass chamber music at the Boston University Tanglewood Institute. He is a clinician for the Bach musical instrument company and has served as a member of the faculties of Indiana University and the New England Conservatory. He joined the Yale faculty in 2001.

Paul Hawkshaw, music history, received his PH.D. in musicology from Columbia University in 1984. His principal area of research has been the music of Anton Bruckner. He has coedited six volumes of Bruckner’s Collected Works Edition, and is currently working on a biography of the composer for Yale University Press. He has coedited two volumes of essays, Perspectives on Anton Bruckner, and his latest book on Bruckner’s psalms was published by the Musikwissenschaftlischer Verlag, Vienna, in the spring of 2002. In October 1996 Professor Hawkshaw had the honor of being invited by the Austrian National Library, Vienna, to give the keynote address at the ceremony commemorating the one hundredth anniversary of Bruckner’s death. Professor Hawkshaw was appointed director of the Norfolk Chamber Music Festival and the Yale Summer School of Music in 2003. He joined the Yale faculty in 1984.

Martin Jean, organ, has performed widely throughout the United States and Europe and is known for his wide repertorial interests. He was awarded first place at the international Grand Prix de Chartres in 1986 and, in 1992, at the National Young Artists Competition in Organ Performance. A student of Robert Glasgow, in the fall of 1999 he spent a sabbatical with Harald Vogel in North Germany. In 2001 he completed a cycle of the complete organ works of Bach at Yale and is soon to release compact discs of The Seven Last Words of Christ by Charles Tournemire and the complete Six Symphonies of Louis Vierne, both recorded in Woolsey Hall. He holds a D.M.A. from the University of Michigan, and he was an associate professor and university organist at Valparaiso University before coming to Yale in the fall of 1997.

Ani Kavafian, violin, has performed with virtually all of America’s leading orchestras including the New York Philharmonic, the Philadelphia Orchestra, the Cleveland Orchestra, the Pittsburgh Symphony, the Minnesota Orchestra, and the symphony orchestras of Detroit, San Francisco, Atlanta, Seattle, Minneapolis, Phoenix, and Rochester. Her numerous recital engagements include performances at New York’s Carnegie Hall and Alice Tully Hall; Orchestra Hall in Minneapolis; and the Krannert Center in Illinois. As a chamber musician, Ms. Kavafian appears frequently as an Artist-Member of the Chamber Music Society of Lincoln Center. She is also a member of the Walden Horn Trio with pianist Anne-Marie McDermott and hornist Robert Routch. She is in demand at numerous festivals including the Santa Fe Chamber Music Festival, Chamber Music Northwest, and the Bridgehampton Chamber Music Festival. Ms. Kavafian’s list of prestigious awards includes the Avery Fisher Prize and the Young Concert Artists International Auditions. She has appeared at the White House on three occasions and has been featured on many network and PBS television music specials. Her recordings can be heard on the Nonesuch, RCA, Columbia, and Musical Heritage Society labels.

Aaron Jay Kernis, one of the youngest composers ever to be awarded the Pulitzer Prize, has become among the most esteemed musical figures of his generation. He has written works for many of America’s foremost musical institutions and artists, including the New York Philharmonic, the San Francisco Symphony, the Birmingham (England) New Music Group, the Birmingham Bach Choir, the Minnesota Orchestra, the Saint Paul Chamber Orchestra, Aspen Music Festival, and Los Angeles Chamber Orchestra, Christopher O’Riley, Renée Fleming Pamela Frank, Paul Neubauer, Carter Brey, Joshua Bell, Nadja Salerno-Sonnenberg, and Sharon Isbin. Mr. Kernis was born in Philadelphia and began his musical studies on the violin; at age twelve he began teaching himself piano, and in the following year, composition. He continued his studies at the San Francisco Conservatory of Music, the Manhattan School of Music, and the Yale School of Music, working with composers as diverse as John Adams, Charles Wuorinen, and Jacob Druckman. In addition to the 1998 Pulitzer Prize for his String Quartet No. 2 (musica instrumentalis), his many awards have included the 2002 Grawemeyer Award in Music Composition for the cello and orchestra version of Colored Field, the Stoeger Prize from the Chamber Music Society of Lincoln Center, a Guggenheim Fellowship, the Rome Prize, an NEA grant, a Bearns Prize, a New York Foundation for the Arts Award, and three BMI Student Composer Awards. Currently he serves as the Minnesota Orchestra’s New Music Advisor. Mr. Kernis joined the Yale faculty in 2003.

Richard Killmer, oboe, has been principal with the St. Paul Chamber Orchestra, the Aspen Music Festival, the Mainly Mozart Festival in San Diego, the Lake Placid Sinfonietta, and the Oklahoma City Symphony. He has appeared as soloist at the Aspen Music Festival, and with the orchestras of Omaha, El Paso, St. Paul, Oklahoma City, and the National Arts Centre in Ottawa. He has performed chamber music with the New York Woodwind Quintet, the Cleveland and Ying Quartets; with pianists Emanuel Ax, Barry Snyder, Lee Luvisi, and Gilbert Kalish; with the Boston Chamber Music Society and the American Reed Trio; and has appeared at the Killington, Aspen, Utah, Sarasota, and Banff festivals. Mr. Killmer studied with Robert Bloom at the Yale School of Music, where he received his M.M. in 1967 and his D.M.A. in 1975. He has been professor of oboe at the Eastman School of Music since 1982 and joined the Yale faculty in 2000.

Eugene Kimball has served as recording engineer at the Yale School of Music since 1972. He regularly records Yale concerts for broadcast on National Public Radio and has engineered more than 250 commercial recordings. His recording of the Yale Cello Ensemble was nominated for a Grammy award in 1988. He became a lecturer at the School of Music in 1981.

Ezra Laderman is a distinguished and widely performed composer. His commissions have included works for the New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, Pittsburgh Symphony; for the orchestras of Minnesota, Dallas, Louisville, Houston, Detroit, Albany, Denver, New Jersey, Indianapolis, Syracuse, and New Haven; and for the New York City, Turnau, and Tri-Cities operas. He has written works for such chamber ensembles as the Tokyo, Juilliard, Concord, Colorado, Lenox, Vermeer, Audubon, and Composers quartets and for soloists Yo-Yo Ma, Judith Raskin, Elmar Oliveira, Jean-Pierre Rampal, Samuel Baron, Sherrill Milnes, Emanuel Ax, Eugene List, Ronald Roseman, Bernard Garfield, and Ilana Vered, among many others. In February 2003 the Pittsburgh Symphony with Gunter Herbig conducting and Richard Page as soloist premiered Mr. Laderman’s Concerto for Bass Clarinet and Orchestra. Mr. Laderman is the recipient of three Guggenheim Fellowships, the Prix de Rome, and Rockefeller and Ford Foundation grants. He has served as president of the National Music Council, chair of the American Composers Orchestra, director of the NEA Music Program, and president of the American Music Center. Mr. Laderman was elected to the American Academy and Institute of Arts and Letters in 1989. From 1989 to 1995 he served as dean of the Yale School of Music, where he is currently professor of composition.

Jesse Levine was principal violist of the Buffalo, Dallas, Baltimore, and New Jersey symphony orchestras. As soloist, recitalist, chamber musician, and conductor, he has performed in Europe, South America, Mexico, Israel, Australia, and throughout the United States. Mr. Levine regularly offers master classes in Paris, Barcelona, Madrid, and other major musical centers. He served as music director of the Norwalk Symphony Orchestra in Connecticut for twenty years, and was music director of the Orquesta del Principado de Asturias (Spain) from 1991 to 1994. He has served on the faculties of the State University of New York at Buffalo and at Stony Brook, and the Peabody Conservatory of Music in Baltimore. Mr. Levine joined the Yale faculty in 1983.

Judith Malafronte, mezzo-soprano, has an active career as a soloist in opera, oratorio, and recital. She has appeared with the San Francisco Symphony, the Los Angeles Philharmonic at the Hollywood Bowl, the St. Louis Symphony, the St. Paul Chamber Orchestra, the Handel and Haydn Society, and Mark Morris Dance Group. She has sung at the Tanglewood Festival, the Boston Early Music Festival, the Utrecht Early Music Festival, and the Göttingen Handel Festival. Winner of several top awards in Italy, Spain, Belgium, and the United States, including the Grand Prize at the International Vocal Competition in Hertogenbosch, Holland, Ms. Malafronte holds degrees with honors from Vassar College and Stanford University, and studied at the Eastman School of Music, in Paris and Fontainebleau with Mlle. Nadia Boulanger, and with Giulietta Simionato in Milan as a Fulbright scholar. She has recorded for major labels in a broad range of repertoire, from medieval chant to contemporary music, and her writings have appeared in Opera News, Stagebill, Islands, Early Music America Magazine, Schwann Inside, and Opus.

Frank Morelli, bassoon, studied with Stephen Maxym at the Manhattan and Juilliard schools of music, and holds the distinction of being the first bassoonist to be awarded a doctorate by the Juilliard School. He has appeared as a soloist in New York’s Carnegie Hall on eight occasions, and Mr. Morelli has been heard internationally as a soloist and with chamber and orchestral ensembles. One of the most active bassoonists recording today, he has well over one hundred recordings for major record labels to his credit. His performances and recording of the Mozart bassoon concerto with the Orpheus Chamber Orchestra on the Deutsche Grammophon label met with international critical acclaim, and his recording of Mozart’s Sinfonia Concertante for Winds and Orchestra with Orpheus for Nonesuch Records was named Recording of Special Merit by Stereo Review. Mr. Morelli’s recording with Orpheus of Copland’s Appalachian Spring won a 1990 Grammy nomination for best classical recording, and his recording with Orpheus of music by Stravinsky, Shadow Dances, won a Grammy in 2001. Mr. Morelli has appeared often with the Chamber Music Society of Lincoln Center and is principal bassoonist of the New York City Opera Orchestra, Orpheus, Brooklyn Philharmonic, and the American Composers Orchestra. He is a member of the acclaimed woodwind quintet Windscape. He is the editor of Stravinsky: Difficult Passages, a collection of excerpts published by Boosey and Hawkes. He also serves on the faculties of the Juilliard School, S.U.N.Y. Stony Brook, and the Manhattan School of Music. Mr. Morelli joined the Yale faculty in 1994.

Thomas Murray is chair of the program in organ. A graduate of Occidental College, Professor Murray has been a member of the Yale faculty since 1981 and was appointed University organist in 1990. Successor to Charles Krigbaum and Robert Baker as the senior professor of organ, he teaches the Organ Literature Seminar and gives instruction to graduate organ majors. His performing career has taken him to all parts of Europe, to Japan, Australia, and Argentina. He has appeared as a soloist with the Pittsburgh, Milwaukee, and New Haven symphony orchestras, the National Chamber Orchestra in Washington, D.C., and the Moscow Chamber Orchestra during their tour of Finland in 1996. The American Guild of Organists named him International Performer of the Year in 1986; as a recipient of this distinction he joined such luminaries as Marie-Claire Alain, Jean Guillou, and Dame Gillian Weir. The Royal College of Organists in England awarded him an FRCO diploma honoris causa in 2003. During his years at Yale he has at times been active as a choral conductor, and prior to joining the faculty he was organist and choirmaster at the Cathedral Church of St. Paul (Episcopal) in Boston.

Peter Oundjian, violin, studied at the Royal College of Music in London, England. After winning the Gold Medal there, he went on to the Juilliard School in 1973 to study with Ivan Galamian. He also worked with Itzhak Perlman, Dorothy DeLay, and members of the Juilliard String Quartet. In 1980 Mr. Oundjian won first prize in the International Violin Competition in Vina del Mar, Chile. He performed as recitalist throughout North America under the sponsorship of the Pro Musicis Foundation, making his New York recital debut in 1981. He has soloed with the Boston Pops and the Toronto, Montreal, and Winnipeg symphony orchestras, the National Arts Center Orchestra, and the Calgary Philharmonic. He was first violinist of the Tokyo String Quartet from 1981 to 1995. His formal conducting debut was in 1995 with the Orchestra of St. Luke’s. Since then he has conducted the St. Louis, Houston, and Cincinnati symphony orchestras, the Minnesota Orchestra, the Philadelphia Orchestra, and the St. Paul Chamber Orchestra, to name a few. Mr. Oundjian is the music director of the Toronto Symphony Orchestra, artistic director of the Caramoor Festival, and principal guest conductor of the Colorado Symphony. He has been on the School of Music faculty since 1981.

Donald Palma, double bass, is a graduate of the Juilliard School. His teachers were Frederick Zimmermann, Robert Brennand, Orin O’Brien, and Homer Mensch. A former member of the Los Angeles Philharmonic, he has also been principal bass of Canada’s National Arts Centre Orchestra, the Brooklyn Philharmonic, and the American Composers Orchestra. He is currently solo bassist of the Orpheus Chamber Orchestra with which he has toured Europe, Asia, South America, and the United States, and recorded over fifty compact discs for Deutsche Grammophon. Mr. Palma has performed with the Juilliard Quartet, the Nash Ensemble, the Chamber Music Society of Lincoln Center, the Da Camera Society of Houston, and in recital with Dietrich Fischer-Dieskau, Jean-Pierre Rampal, and Jan DeGaetani. He was music director of the San Francisco Contemporary Music Players and is currently bassist and conductor of Speculum Musicae. Mr. Palma records extensively for CRI, Bridge, New World, Nonesuch, Sony, and Koch International. He has given master classes at the Toho School, the Juilliard School, Rice University, the San Francisco Conservatory, and the Manhattan School of Music. Mr. Palma joined the Yale faculty in 1992.

Joan Panetti, piano and composer, garnered first prizes at the Peabody Conservatory and the Conservatoire de Musique in Paris. She received her B.A. from Smith College before coming to the Yale School of Music, where she received the D.M.A. in 1974. Her principal mentors were Olivier Messiaen, Yvonne Loriod, Wilhelm Kempff, Alvin Etler, Mel Powell, and Donald Currier. She has toured extensively in the United States and Europe and performs frequently as a soloist and in chamber music ensembles. Her recent compositions include three fantasies (violin and piano, oboe and piano, and cello and piano) as well as songs for mezzo-soprano and piano. In early 2004, she performed her piano quintet, In a Dark Time, the Eye Begins to See, with the Tokyo Quartet in Pasadena, in San Francisco, and at Lincoln Center in New York. The work, commissioned by Music Accord, received wide acclaim. She is completing a piano trio, The Instant Gathers, commissioned by the St. Luke’s Chamber Ensemble. Ms. Panetti has served for the past thirty years on the faculties of Yale College and the Yale School of Music, where she developed her own course emphasizing the interaction between performers and composers, for which she has received national acclaim. She was also on the faculties of Swarthmore College and Princeton University. Ms. Panetti was director of the Norfolk Chamber Music Festival and the Yale Summer School of Music and Art from 1981 to 2003. In 2004, she was awarded the Ian Mininberg ’34 Distinguished Service Award from the Yale School of Music and the Nadia Boulanger Award from the Longy School in Boston, and was named the Sylvia and Leonard Marx Jr. Professor of Music at Yale University.

Aldo Parisot, long acknowledged as one of the world’s master cellists, has led the career of a complete artist—as concert soloist, chamber musician, recitalist, and teacher. He has been heard with the major orchestras of the world, including Berlin, London, Paris, Amsterdam, Stockholm, Rio, Munich, Warsaw, Chicago, Los Angeles, and Pittsburgh, under the batons of such eminent conductors as Stokowski, Barbirolli, Bernstein, Mehta, Monteux, Paray, de Carvalho, Sawallisch, Hindemith, and Villa-Lobos. As an artist seeking to expand his instrument’s repertoire, Mr. Parisot has premiered numerous works for cello, written especially for him by such composers as Carmago Guarnieri, Quincy Porter, Alvin Etler, Claudio Santoro, Joan Panetti, Ezra Laderman, Yehudi Wyner, and Heitor Villa-Lobos, whose Cello Concerto No. 2, written for and dedicated to him, was premiered by Mr. Parisot in his New York Philharmonic debut. Since then he has appeared with the Philharmonic on nearly a dozen occasions. He created a sensation when he introduced Donald Martino’s Parisonatina al’Dodecafonia at Tanglewood. Mr. Parisot has recorded for RCA Victor, Angel, Westminster, and Phonodisc. His Yale Cello Ensemble recording for Delos, Bach Bachianas, was nominated for a Grammy Award in 1988. He was awarded an honorary Doctor of Music from Shenandoah University in 1999, an honorary Doctor of Fine Arts from Penn State University in 2002, and the Award of Distinction from the Royal Northern College of Music in Manchester, England, in 2001. A Yale faculty member since 1958, Mr. Parisot was named the Samuel Sanford Professor of Music at Yale in 1994 and received the Gustave Stoeckel Award in 2002.

Elizabeth Sawyer Parisot, piano, received her D.M.A. degree from the Yale School of Music in 1973 and has served on the faculty since 1977. She has performed in solo and chamber music concerts, performing at such prestigious venues as Carnegie Hall and Alice Tully Hall in New York, Kennedy Center and the National Gallery in Washington D.C., Queen Elizabeth Hall in London, the Hispanic Institute in Madrid, and the Jerusalem Music Center in Israel. In Brazil she served as coordinator and performing artist at the Also Parisot International Competitions, and has also been a guest artist at the International Music Institute in Santander, Spain; the Banff Festival of the Arts in Alberta, Canada; and at the Norfolk Chamber Music Festival. Recent tours to Asia have included concerts in Taiwan with her husband, Brazilian cellist Also Parisot, in sonata performance as well as in chamber music. She has also performed recently with renowned artists Yo-Yo Ma, Janos Starker, and Ralph Kirshbaum. She can be heard on Albany Records in The Music of Ezra Laderman and has recorded the Strauss and Prokofieff sonatas with violinist Kyung Hak Yu.

Vivian Perlis, a historian in American music, specializes in twentieth-century composers and is known for her publications, lectures, recordings, and film productions. On the faculty of the Yale School of Music, Perlis is founding director of Oral History, American Music, a unique archive of recorded interviews with leading figures in the music world. Among her publications are Charles Ives Remembered: An Oral History, which was awarded the Otto Kinkeldey Prize of the American Musicological Society, and two volumes with Aaron Copland, Copland: 1900 Through 1942, which garnered a Deems Taylor/ASCAP award, and Copland: Since 1943. Among her productions are recordings of the music of Leo Ornstein and Charles Ives, and television documentaries on Ives, Eubie Blake, Aaron Copland, and John Cage. Vivian Perlis received the Charles Ives Award from the National Institute of Arts and Letters (1972); a Grammy nomination for “Charles Ives 100th Anniversary” (1974); the Harvey Kantor Award for excellence in the field of oral history (1984); a Guggenheim Fellowship (1987); the Irving Lowens Award for distinguished scholarship in American Music from the Society for American Music (1991); and a Letter of Distinction from the American Music Center (2004). She is the co-author of a forthcoming book and CD publication, Voices of America’s Musical Century, to be published by Yale University Press.

William Porter, organ improvisation, taught organ, music history, and music theory at the New England Conservatory in Boston from 1985 to 2002. He holds degrees from Oberlin College, where he also taught harpsichord and organ from 1974 to 1986, and from Yale University, where he received the D.M.A. degree in 1980 and where he was director of music at Yale Divinity School from 1971 to 1973. Widely known as a performer and teacher in the United States and in Europe, he is a leader among keyboardists working toward a recovery of an historical and instrument-based approach to musical performance, and has achieved international recognition for his skill in improvisation in a wide variety of styles, ancient and modern. He has taught and performed at major international academies, including the North German Organ Academy, the Italian Academy of Music for the Organ, the Göteborg International Organ Academy, the Dollart Festival, the Lausanne Improvisation Festival, the Festival Toulouse les Orgues, the Smarano Organ and Clavichord Academy, the Boston Early Music Festival, and the National Convention of the American Guild of Organists. He is a senior researcher at the Göteborg Organ Arts Center in Göteborg, preparing a book on improvisational practice in seventeenth-century Germany. He is a co-founder of Affetti Musicali and of Musica Poetica, Boston-based ensembles that have received critical acclaim for their performances of baroque repertoire. An active church musician, from 1985 to 1997 he was director of music at the Church of St. John the Evangelist in Boston, and was Artist in Residence at Boston’s First Lutheran Church from 1999 until 2002. He has recorded on the Gasparo, Proprius, BMG, and Loft labels. Professor Porter, who joined the Yale faculty in 2002, also teaches organ improvisation and harpsichord at the Eastman School of Music in Rochester, New York.

William Purvis, French horn, pursues a multi-faceted career in the United States and abroad as soloist, recitalist, chamber musician, and conductor. He is principal French horn of the Orpheus Chamber Orchestra, hornist and conductor of Speculum Musicae, and a member of the New York Woodwind Quintet and the Orchestra of St. Luke’s. He is also a member of Mozzafiato, an original-instrument wind octet. His numerous festival appearances include Tanglewood, Caramoor, Norfolk, Salzburg, Schleswig-Holstein, Perelada, Kuhmo, Kitakyushu, and Hong Kong. A frequent guest artist with the Chamber Music Society of Lincoln Center and Chamber Music Northwest, Mr. Purvis has performed with the Tokyo, Mendelssohn, Sibelius, Fine Arts, and Orion string quartets. Among Mr. Purvis’s many recordings are Mozart’s second and fourth horn concertos for Deutsche Grammaphon; more than forty recordings with the Orchestra of St. Luke’s on Telarc and Music Masters; Horn Trios of Brahms and Ligeti on Bridge; and Peter Lieberson’s King Gesar with Yo-Yo Ma, Peter Serkin, and Emanuel Ax for Sony. As conductor, William Purvis is mainly associated with contemporary music, and his recent recordings as conductor include works of Elliott Carter, Stefan Wolpe, Hans Abrahamsen, and George Crumb, among others. Mr. Purvis is a graduate of Haverford College, and studied with Forrest Stanley and James Chambers. He is a performing artist in residence at the State University of New York, Stony Brook, and serves on the faculties of the Juilliard School, Columbia University, and the Hochschule für Musik in Karlsruhe, Germany. Mr. Purvis joined the Yale faculty in 1999.

Markus Rathey, music history, has studied musicology, Protestant theology, and German philology in Bethel, where his received his B.A. from the Kirchliche Hochschule and in Münster, where he received his PH.D. from Westfälische Wilhelms-Universität. Following his graduation, he held a postdoctoral position at the research institute for the study of sacred song and hymnody (Graduiertenkolleg “Geistliches Lied and Kirchenlied”) at the Johannes Gutenberg University in Mainz. In 2000–2001 he was lecturer at the department of musicology at the University of Mainz. Most recently he has been employed as a Research Fellow at the Bach-Archiv, Leipzig. Professor Rathey has focused his research especially on the life and work of Johann Sebastian Bach, as well as on music of the early seventeenth century. He has published a book on German baroque music in the seventeenth century and is now writing a book on the use of sacred music by nineteenth-century composers of symphonies and other concert repertories.

Richard Rephann, harpsichord, is a graduate of the Peabody Institute of Music and the Yale School of Music, where he was a student of Ralph Kirkpatrick. He is a specialist in French music of the baroque and his annual recitals of seventeenth- and eighteenth-century music performed on restored instruments of the period are widely acclaimed. His interest in contemporary music is well known, and he has given European premieres of works by contemporary American composers Douglas Allanbrook and Rudy Shackelford. Mr. Rephann appears frequently as a recitalist and lecturer, and he has performed with the National Symphony and the New Haven Symphony. As a lecturer, Mr. Rephann has presented papers on a wide variety of subjects, and as an author he has published articles and catalogues about musical instruments. He is the director of the University’s collection of historical musical instruments. Mr. Rephann joined the faculty in 1964.

American bass Mark Risinger maintains an active schedule of performances in both opera and oratorio throughout the United States. In recent seasons, he has performed regularly with companies including New York City Opera, Boston Lyric Opera, Baltimore Opera, Arizona Opera, Fort Worth Opera, Connecticut Opera, Kentucky Opera, and Toledo Opera, among others. His concert performances have included engagements with the Boston Symphony Orchestra, the Fort Worth Symphony, the Charlotte Symphony, the New York Choral Society, the Orchestra of St. Luke’s, Boston Baroque, and the Choral Arts Society of Philadelphia, in repertoire ranging from the Passions and cantatas of J.S. Bach to Beethoven’s Ninth Symphony and Missa Solemnis, Rossini’s Stabat Mater, and the requiem masses of Verdi and Mozart. He most recently appeared as the Watchman in the U.S. premiere of Sergei Tanayev’s Agamemnon with the Manhattan Philharmonic at Carnegie Hall. Mr. Risinger currently serves on the American Committee of the Handel House Trust and is preparing the edition of Handel’s Semele for the Hallische Händel-Ausgabe. He earned a PH.D. degree from Harvard University, and joined the Yale faculty in 2004.

Willie Ruff, horn and bass, received both his B.M. and his M.M. at Yale. With pianist Dwike Mitchell as the Mitchell-Ruff Duo, he performs extensively in the United States, Asia, Africa, and Europe. In addition to the Interdisciplinary Seminar on Rhythm, Instrumental Arranging, and other courses at the School of Music, he has taught Yale College courses in ethnomusicology and folklore, and he is the founding director of the Duke Ellington Fellowship program. Mr. Ruff has been a member of the Yale faculty since 1971.

Wendy Sharp, violin and chamber music, performs frequently as a recitalist and a chamber musician. In demand as a teacher and chamber music coach, she is on the faculties of the Yale School of Music and California Summer Music. For nearly a decade, Ms. Sharp was the first violinist of the Franciscan String Quartet. As a member of the quartet, she toured the United States, Canada, Europe, and Japan, and was honored with many awards including first prize in the Banff International String Quartet Competition and the Press and City of Evian Prizes at the Evian International String Quartet Competition. A native of the San Francisco Bay area, she attended Yale University, graduating summa cum laude with Distinction in Music and received her Master of Music degree from the San Francisco Conservatory of Music. Ms. Sharp has served on the faculties of Mannes College, Dartmouth College, the San Francisco Conservatory of Music, and Choate Rosemary Hall, and has participated in the Aspen, Tanglewood, Chamber Music West, Norfolk, and Music Academy of the West festivals. She is currently a member of the Blue Elm Trio, a string trio based in the New Haven area. She has been a faculty member at the Yale School of Music since 1985.

Winner of the 2000 Avery Fisher prize, David Shifrin, clarinet, has appeared with the Philadelphia and Minnesota orchestras and the Dallas, Seattle, Houston, Milwaukee, Detroit, and Denver symphonies. He has appeared in recital at Alice Tully Hall, Weill Recital Hall at Carnegie Hall, and the 92nd Street Y in New York City, and at the Library of Congress in Washington, D.C. In addition he has appeared in recital and as soloist with orchestra, throughout Europe and Asia. A three-time Grammy nominee, he has been the artistic director of Chamber Music Northwest since 1980 and a faculty member at Yale since 1987. An artist member of the Chamber Society of Lincoln Center since 1989, he served as its artistic director from 1992 to 2004.

Frank Tirro, history, was dean of the Yale School of Music from 1980 to 1990. A specialist in both the history of jazz and music of the Renaissance, he is the author of Jazz: A History, Living With Jazz, Renaissance Musical Sources in the Archive of San Petronio in Bologna; coauthor of The Humanities: Cultural Roots and Continuities; and editor of Medieval and Renaissance Studies. Before coming to Yale, Professor Tirro served as chairman of the Department of Music at Duke University, where he taught and conducted the Collegium Musicum. In addition to many scholarly articles and reviews in his special fields, he also wrote, for young students, the entry on “Jazz” for The World Book Encyclopedia and many of the individual biographical entries for jazz musicians. He has served as an associate editor for the new American National Biography, sponsored jointly by Oxford University Press and the American Council of Learned Societies. Dr. Tirro received his bachelor’s degree from the University of Nebraska, his master’s from Northwestern University, and his PH.D. from the University of Chicago. He was a Fellow of Villa I Tatti, the Harvard University Center for Italian Renaissance Studies in Florence, Italy, and he has also served as director of the Southeastern Institute of Medieval and Renaissance Studies. He lectures frequently in his fields of study, and his professional responsibilities have taken him across the United States and to Europe, China, and South America.

The Tokyo String Quartet—Martin Beaver and Kikuei Ikeda, violin; Kazuhide Isomura, viola; Clive Greensmith, cello. Officially formed in 1969 at the Juilliard School of Music, the Tokyo String Quartet traces its origins to the Toho School of Music in Tokyo, where the founding members were profoundly influenced by Professor Hideo Saito. Soon after its creation, the quartet won first prizes at the Coleman Competition, the Munich Competition, and the Young Concert Artists International Auditions, and signed an exclusive contract with Deutsche Grammophon. The quartet first performed and coached at the Yale Summer School of Music and Art in Norfolk, Connecticut, in 1976. The following fall they joined the Yale School of Music faculty as quartet in residence. They have released more than thirty landmark recordings, including the complete quartets of Beethoven, Schubert, and Bartók. The ensemble’s recordings of works by Brahms, Debussy, Dvorák, Haydn, Mozart, Ravel, and Schubert have earned numerous honors, including seven Grammy nominations. The Tokyo has also been featured on PBS’s Sesame Street and Great Performers and on CNN’s This Morning. In Yale’s chamber music program the members of the quartet work intensively as coaches with all the student string ensembles.

Eric Trudel, opera and diction coach, is a native of Quebec, Canada. A graduate of the Quebec Conservatory of Music, he won the prestigious Prix d’Europe competition, which enabled him to study with pianists Garrick Ohlsson, Jean-Claude Pennetier, Marc Durand, and Louis Lortie. He has performed throughout Canada, including recitals at the Montreal and Banff festivals, and in Weill Recital Hall and Alice Tully Hall in New York. He has been on the faculties of the Banff Centre for the Performing Arts, the Conservatoire de Musique du Québec in Trois-Rivières, Montreal Opera’s Atelier Lyrique, and the Université du Québec-Montréal where he was music director of the opera workshop from 1993 to 1995. He has also taught in the United States, France, Spain, and the Netherlands. Mr. Trudel has participated in the making of several film soundtracks, and his long association with the CBC includes numerous television and radio performances as a soloist, chamber musician, and accompanist. Mr. Trudel joined the faculty in 2001.

Robert Van Sice, percussion, has premiered more than one hundred works, including concertos, chamber music, and solos. He has made solo appearances with symphony orchestras and given recitals in Europe, North America, Africa, and the Far East. In 1989 he gave the first full-length marimba recitals at the Concertgebouw in Amsterdam and has since played in most of Europe’s major concert halls, many of which have been broadcast by the BBC, Swedish Radio, Norwegian Radio, WDR, and Radio France. He is frequently invited as a soloist with Europe’s leading contemporary music ensembles and festivals, including the London Sinfonietta, Ensemble Contrechamps, and L’Itinéraire and the Archipel, Darmstadt, and North American new music festivals. From 1988 to 1997 he headed Europe’s first diploma program for solo marimbists at the Rotterdam Conservatorium. Mr. Van Sice has given master classes in more than twenty countries and frequently visits the major conservatories in Europe as a guest lecturer. He joined the Yale faculty in the fall of 1997.

Jack Vees, composer and electric bassist, is operations director of the Center for Studies in Music Technology. He received his M.F.A. in composition from the California Institute of the Arts, where he studied with Louis Andriessen, Vinko Globokar, and Morton Subotnik. He is active in the international arena as both a performer and a composer, having works played at sites from CBGB’s of the downtown New York scene to such festivals as the Berlin Biennale and New Music America. Many contemporary music groups like Ensemble Modern, Zeitgeist, and the California Ear Unit have commissioned pieces from him. A collection of his works entitled Surf Music Again is available on the CRI/ Emergency Music label. He is also the author of The Book on Bass Harmonics, which has become a standard reference for bassists since its publication in 1979. Mr. Vees joined Yale in 1988.

Benjamin Verdery, guitar, has performed and taught master classes throughout Europe, Mexico, Canada, Cuba, Japan, and South America, and has recorded and performed with such diverse artists as Frederic Hand, Leo Kottke, Anthony Newman, Jessye Norman, Paco Peña, Hermann Prey, and John Williams. He regularly gives flute and guitar concerts with the Schmidt/Verdery Duo and with his ensemble Ufonia. Workshop Arts has published the solo works from Mr. Verdery’s recording Some Towns and Cities, which won the 1992 Best Classical Guitar Recording in Guitar Player magazine. In 1996, John Williams recorded Mr. Verdery’s duo version of Capitola, CA for Sony Classical. His Scenes from Ellis Island, for guitar orchestra, has been extensively broadcast and performed at festivals and universities in America, Canada, New Zealand, and Europe, and the Los Angeles Guitar Quartet performs it on their CD Air and Ground (Sony Classical). Workshop Arts (distributed by Alfred Music) has released Mr. Verdery’s book Easy Classical Guitar Recital as well as his instructional video, Essentials of Classical Guitar. His recordings include Bach: Transcriptions for Guitar (GRI), Reverie: French Music for Flute and Guitar (Sony Classical), Some Towns and Cities (Sony Classical), Ride the Wind Horse: American Guitar Music (Sony Classical), The Enchanted Dawn (GRI), Ben Verdery Ufonia, and Soepa: American Guitar Music (Mushkatweek). He joined John Williams on the Sony Classical CD John Williams Plays Vivaldi for a recording of the Concerto in G Major for two mandolins. Mr. Verdery joined the faculty of the Yale School of Music in 1985.

Marc Verzatt, stage director, maintains an active career directing opera, operetta, and musical theater throughout the United States and Europe. Mr. Verzatt began his theatrical career as a dancer with the Metropolitan Opera after studying drama at Rutgers University and ballet with New Jersey’s Garden State Ballet. After several seasons as a soloist with the MET ballet, he left to continue his education in production as a stage manager with the Cincinnati Opera and Pittsburgh Opera companies. He made his professional directing debut with a production of Offenbach’s Tales of Hoffmann with Opera Columbus. He has since directed productions with Chicago Lyric Opera, Houston Grand Opera, Florida Grand Opera, and the opera companies of Fort Worth, Lake George, Madison, Arizona, Toledo, Atlanta, Kansas City, Baltimore, Idaho, and Mississippi. In Austin, he directed both Puccini’s La Bohème and Shakespeare’s Much Ado About Nothing. Mr. Verzatt has taught and directed at Philadelphia’s Academy of Vocal Arts and Notre Dame University. Mr. Verzatt is currently resident director of the Opera Company of Brooklyn. He has directed several Yale Opera productions, including opera scenes, recitals, Puccini’s Gianni Schicchi and Suor Angelica at the Shubert Theatre, and Gounod’s Le médecin malgré lui in Sprague Hall. He joined the Yale faculty in 2002.

Ransom Wilson, flute, was educated at the North Carolina School of the Arts and the Juilliard School, and continued his postgraduate studies as an Atlantique Scholar in France with Jean-Pierre Rampal. As flute soloist he has appeared with the Israel Philharmonic, the English Chamber Orchestra, the London Symphony Orchestra, I Solisti Veneti, the Prague Chamber Orchestra, the Orpheus Chamber Orchestra, and the chamber orchestras of Nice, Stuttgart, Cologne, and the Netherlands. He is an artist member of the Chamber Music Society of Lincoln Center. As a conductor, Mr. Wilson is the music director and principal conductor of Solisti New York, which he founded in 1981. He is music director of Opera Omaha and the San Francisco Chamber Symphony, and is artistic director of the OK Mozart Festival in Oklahoma. He was honored by the Austrian government with the Award of Merit in Gold in recognition of his efforts on behalf of Mozart’s music in America. A strong supporter of contemporary music, Mr. Wilson has had works composed for him by Steve Reich, Peter Schickele, Joseph Schwantner, John Harbison, Jean Francaix, Jean-Michel Damase, George Tsontakis, Tania Léon, and Deborah Drattel. He joined the Yale faculty in 1991.

Doris Yarick-Cross, chair of the voice and opera department, has appeared with most of the major opera companies in the United States, including the San Francisco, Chicago Lyric, and New York City operas, as well as companies in Europe, Australia, and Canada. She spent sixteen years in Germany, where she sang leading roles in major opera houses. She has sung with the symphony orchestras of Pittsburgh, Minnesota, Quebec, Toronto, and San Francisco, and with the New York Philharmonic. She is well known as a recitalist and has appeared in hundreds of concerts across the country. Before coming to Yale in 1983, she served on the faculty of the University of Texas and was head of the voice department at the University of Connecticut.

Kyung Hak Yu, violin, holds B.M. and M.M. degrees from the Juilliard School and an M.M. from the Yale School of Music. She has studied with Dorothy DeLay, Paul Kantor, and Emanuel Zetlin. Ms. Yu was concertmaster of the New Haven Symphony Orchestra from 1988 until 1999. She has appeared as a soloist with the Seattle Symphony, the New Haven Symphony, and the Yale Philharmonia, and has performed numerous recitals in New York City, Seattle, Aspen, and throughout Korea. She gave a debut concert in Weill Recital Hall in Carnegie Hall as a winner of the Artists International Competition. She currently performs violin-piano duo recitals with fellow Yale School of Music professor Elizabeth Sawyer Parisot. Ms. Yu has taught at the Aspen Music Festival and was an assistant to Dorothy DeLay at Juilliard. She has served on the Fulbright Scholarship Screening Committee for Strings since 1999 and has been on the Yale faculty since 1988.

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