Friday, December 3, 2010, at 7:30 p.m.Woolsey Hall, Yale University

“Cole Porter and Glenn Miller Return

to New Haven!”

Yale Concert Band and Yale Jazz EnsembleThomas C. Duffy, Music Director

present

featuring Steve Rosspiano and vocals

“Yale Concert Band Remembers the Music of Cole Porter”featuring Steve Ross, piano and vocals

Tonight’s Cole Porter retrospective is the Yale Band’s third collaboration with Steve Ross. Mr. Ross and the Bands first paired up in 1991 to celebrate the centennial of Cole Porter’s birth, and performed together again in Woolsey Hall in 2002. Steve has performed all over the world and appears tonight to commemorate one of Yale’s and America’s musical icons. The New Yorker magazine called Steve Ross “the personi-fication of the spirit of Cole Porter.” We couldn’t agree more! His performance this evening captures the essence of Porter, and features, among others, such hits as Night and Day, Anything Goes, I Love Paris, and In the Still of the Night. This is exactly the kind of “Cole” one would be happy to find in a Christmas stocking. We hope you enjoy the show.

- Intermission -

“I Sustain the Wings”Re-enactment:

Captain Glenn Miller & the 418th Army Air Forces Technical Training CommandBand Radio Broadcast from Yale University’s Woolsey Hall, May/June 1943

St. Louis Blues March, American Patrol, At Last, Volga Boatman, Perfidia,Radio Play: “Uncle Sam’s Armorers,” Moonlight Becomes You, Anvil Chorus

FinaleBBC Propaganda Broadcast from EMI Studios, Abbey Road,

London, England, with Ilse Weinberger and Major Glenn MillerStardust, In The Mood, Moonlight Serenade

• Tuesday, Feb 1: Yale Jazz Ensemble. Program TBA. 7:30 p.m. Morse Recital Hall in Sprague Memorial Hall, free.• Friday, Feb 11: Yale Concert Band. “Ask the Sky and the Earth: A Cantata for the Sent-down Youth.” World pre-miere of the wind band version of Tony Fok’s commemoration of the 40th anniversary of China’s Cultural Revolution. Libretto by Su Wei. With Chinese choruses. 7:30 p.m. Woolsey Hall, free.• Saturday, Feb 26: Yale Concert Band at Carnegie Hall. Repeat of February 11 program. Also featuring the world premiere of Yale Band commission Concerto for Horn and Wind Ensemble by Paul Lansky, William Purvis,Yale School of Music Professor of Horn, soloist. 8:00 p.m. Carnegie Hall, New York. Tickets available in January at www.carnegiehall.org or CarnegieCharge: 212-247-7800.• Sunday, Apr 3: Yale Jazz Ensemble Fourth Annual Stan Wheeler Memorial Jazz Concert. Program TBA. 2:00 p.m.Levinson Auditorium,Yale Law School, 127 Wall Street, free.• Friday, Apr 15: Yale Concert Band. Repeat of Concerto for Horn and Wind Ensemble by Paul Lansky, William Pur-vis, Yale School of Music Professor of Horn, soloist. 7:30 p.m. Woolsey Hall, free.• Sunday, May 22: Yale Concert Band Annual Twilight Concert. Ceremonial music on the eve of Yale’s Commence-ment. 7:00 p.m., outside on the Old Campus, free.

Upcoming Yale Bands Performances

Born in Peru, Indiana in 1891, Cole Porter – whose name was derived from the surnames of his parents, Kate Cole and Sam Porter – was destined to leave be-hind the quiet streets of the Midwest for a more fast-paced life. An extremely talented young boy, Porter began his study of both the

violin and the piano at age six. He became good at both, but disliked the violin’s harsh sound and soon chose to devote all of his energy to the piano. During his formative years, he played the piano for two hours each day. While Cole practiced, he and his mother would often parody popular tunes of the day on the piano in order to increase Cole’s pa-tience with such long practice sessions.

Porter began to compose songs as early as the age of ten, and published his first piece –The Bobolink Waltz – in 1902 at the age of eleven. Also talented academically, Porter was valedic-torian of his class at the prestigious Worcester Academy, in Worcester, Massachusetts, which he attended from 1905 to 1909.

From there, Cole Porter went on to attend Yale University from 1909 to 1913. Embrac-ing his new surroundings, he quickly became immersed in the extracurricular life of Yale. Porter sang with and conducted the Yale Glee Club and served as the group’s president during his senior year. Also a member of both the Yale Dramatic Society and the famed Yale Whiffen-poofs, Porter was very busy musically. Perhaps the biggest influence in his musical develop-ment, however, were the full-scale productions that he would help design for the Delta Kappa Epsilon fraternity. Despite his heavy Ivy-league academic workload and many social obliga-tions, Porter composed several full productions per year. Most of the shows for the Yale student groups were zany musicals which were always complicated but full of zeal and electricity. Of the many songs he wrote during his time at Yale, Bingo Eli Yale and Bulldog are perhaps the best

known, as they have remained popular as two of Yale’s best-known fight songs. All in all, Porter left Yale with a legacy of approximately 300 songs, in-cluding six full-scale productions.

For a time after his graduation from Yale, Porter read law at Harvard University. This was a struggle for Porter though, and he soon turned to music as a career. In 1915, two of his songs were performed on Broadway (“Esmerelda” in Hands Up and “Two Big Eyes” in Miss Information) and in 1916 he had his first Broadway show, See America First, a “pa-triotic comic opera” that was modeled after Gilbert and Sullivan productions of the time. All of these, however, were failures.

In July of 1917, Porter set out for Paris and war-engulfed Europe, where he promptly joined the French Foreign Legion. For almost three years he

Notes on Cole Porter

served in Paris and Fontaineb-leau, and after his discharge in 1919 remained in Paris, mar-ried a socialite, and gained a reputation for giving fashion-able parties in Paris, Venice, and on the Riviera.

Porter was musically one of the most thoroughly trained pop-ular songwriters of the twentieth century. He was perhaps better known, however, as a lyricist. His texts were in the height of fashion, seldom sentimental, and filled with double entendres and witty rhymes, even at times re-ferring to sex and drugs.

He frequently performed his own songs at parties; they matched the chic, esoteric mood of his social circle. However, they were slow to find accep-

tance in the theater, although a few did appear in revues such as Greenwich Village Follies (1924) and Paris (1928). He first achieved popular success in 1929 with Wake Up and Dream in London and Fifty Million Frenchmen in New York. There fol-lowed Gay Divorce (1932) with Fred Astaire and Panama Hattie (1940) with Ethel Merman. For these and other song and dance musicals (some of which were later filmed) he wrote songs combin-ing witty, often cynical words with what were to become some of his best-known melodies (Let’s Do It, Night and Day, I Get a Kick Out of You, Begin the Beguine, etc.)

After an injury caused a personal setback in 1937, Porter returned in 1948 with a final master-piece, producing Kiss Me Kate. This musical play, based on Shakespeare’s Taming of the Shrew, was a departure from the song-and-dance musicals he usually wrote, but it included some eight songs that became extremely popular.

In 1960, Yale bestowed Porter with an honorary doctorate. He died four years later in 1964.

Glenn Miller at Yale Universityby Robert A. Ronzello

Musicians and fans to this day still marvel at the unique assemblage of talent which invaded the Yale cam-pus in the Spring of 1943. Officially, they were the 418th Army Air Forces Band from the Technical School of the AAF Technical Training Command stationed at Yale University. In non-military jargon, and to the delight of area residents, it meant that Glenn Miller was in town. A man possessed of deep and genuine patriotic senti-ment, Miller broke up his enormously successful civilian band the previous year to join the armed forces. Now, as Captain Glenn Miller in the Army Air Corps, he was placed in charge of organizing bands for the AAFTTC. At a time when so many of the country’s finest musi-cians were entering the service – some voluntarily, some not so – scores of nationally known instrumentalists found themselves in Atlantic City for basic training. From here, Miller was in a position to assign them to various AAF bands throughout the Unites States. As one might expect, he reserved the cream of the crop for the band he, personally, would lead at Yale. On March 30, 1943, the 418th AAF Band settled into their quarters at 58 Lake Place, the former dormitories of Yale art students. (Three months later, they moved to Durfee Hall in the Old Yale Quadrangle.) A twenty-four piece marching band, which later grew to forty pieces, accompanied the cadets to the New Haven Green for morning review and evening retreat ceremonies.

Jim Harwood was a nineteen year-old trombonist with the Miller band at Yale. He recently reflected on the Captain’s mod-ernized approach to martial music. “We would march past the buildings where the guys were taking classes. The windows looked right out into the street and they could see our band parad-ing by. I remember talking to one of those cadets and he said, ‘One day, this wall of sound clapped out like a thunderbolt. There was absolute pandemonium in that classroom. Everything broke up. All the guys - even the instructors – ran to the windows and watched the band go down the street!’ “Well, we were playing ‘St. Louis Blues March’ for the first time and that’s the kind of impression that made when it was first sprung on them.” To the young admirers of the day’s popular bands, many of these musicians were already household names. There was Ray McKinley, the celebrated drummer/vocalist who played with Jimmy Dorsey and co-led a band with Will Bradley. McKinley had just disbanded his own short-lived dance band and

came to Yale with four of his sidemen. “Peanuts” Hucko, formerly with the Bradley/McKinley band, came into the outfit on clarinet and tenor. Piano star Mel Powell, baritone saxophonist Chuck Gen-try and trumpeter Steve Steck all had played with Benny Goodman. From Artie Shaw came lead alto player and New Ha-ven native Hank Freeman and eventually jazz trum-pet soloist Bernie Privin. Guitarist Carmen Mastren had spent three years with Tommy Dorsey. From

Miller’s own civilian crew were trombonist Jimmy Priddy, lead trumpeter “Zeke” Zarchy, arranger Jerry Gray and bassist “Trigger” Alpert, for whose services Captain Miller had to surrender ten other musicians! As additional personnel filtered into New Haven, it became evident that Miller’s motives extended far beyond simply updating the marches he played for the Training Command. Movie star Tony Martin was as-signed to the unit as a vocalist. A highly professional string section was assembled. Actors, writers, announc-ers – in short, an entire radio production staff were soon at Miller’s disposal. It was his ambition to return to the airwaves with a program showcasing his topnotch or-chestra, combined with a brief dramatic segment aimed at recruiting men into the Air Force. On May 29, 1943, the first of six “test” broadcasts of “I Sustain The Wings” was aired throughout New Eng-land over WEEI, Boston. (All but one of these shows emanated from Woolsey Hall.) Broderick Crawford, now a regular member of the unit, served as announcer and acted in the playlet. According to trumpeter Whitey Thomas, a drinking companion to the late actor, “We’d go out in New Haven and he’d teach me how to hit him Hollywood style. You know, making that slapping sound but actually missing his face. Then he’d just lie there on the floor in front of everybody like I knocked him out cold!” In July, “I Sustain The Wings” was picked up by CBS and broadcast over the network’s 106 stations. In Sep-tember, it switched to the even larger NBC hookup, where they remained until Miller took the band overseas. Cellist Bob Ripley is a thirty-eight year veteran of the Boston Symphony Orchestra. He recently shared his reaction to the Miller experience. “I knew of Glenn Miller as a kid growing up in high school. I wasn’t that

interested in jazz or popular music but I did go to dances and I knew about top bands. Of all of them, the only one I really liked was the Glenn Miller Band. To find out that he was in the army and that I was going to be in his outfit was just incredible.” “We would rehearse with the arrangers early in the week for our weekend broadcast from New York. Glenn would come in on a Thursday. He wouldn’t touch the thing until the arrangers had worked with us the first two or three days. I’ll never forget that first Thursday morn-ing. In walked Glenn Miller while we were playing. Oh, boy, my heart jumped a beat! I was really nervous but excited by it. Just the way he walked into the room. You could feel he was taking charge instantly. Here was the boss. No question about it. And he worked so fast. He made corrections and changed things without hesitation. ‘Bring this up an octave. Change this part here.’ He probably couldn’t have written the arrange-ments himself, though from what he heard he knew exactly what he wanted.” Throughout 1943, the unit continued to expand in size and reputation. Johnny Desmond, often referred to as the “G.I. Sinatra,” replaced Tony Martin who left for Officer Candidate School. The orchestra recorded their first V-Discs at the end of October. These twelve inch 78’s were recorded exclusively for distribution to servicemen and were not sold to the public. A sixteen piece dance band, led by Cpl. Ray McKinley, began a series of broadcasts direct from Byers Hall entitled, “Wings For Tomorrow.” The string section followed suit a month later with their fifteen minute, “Strings With Wings” program. In addition to radio work the Miller band also appeared at numerous War Bond rallies where they helped raise countless sums of cash for Uncle Sam.

With Yale as their base, they traveled to other towns in Connecticut and neighboring states where the price of admission was the purchase of a war bond. According to Jim Harwood, “we were pretty busy during that year and a half at Yale. A lot of that stuff was after we’d done our full day’s work in New Haven. Aside from our weekend trips to New York for the radio show, we seldom stayed out overnight. We’d get in army trucks and go as far as eighty or ninety miles away to do a bond rally, WAC recruiting drive or hospital ap-pearance. Then we’d come back to Yale and be up at the crack of dawn for the first parade.” The outfit’s official designation changed from the 418th AAF Band to the 2nd AAFTTC Radio Unit to the 2001st AAF Base Unit for Radio Production. Regardless of its military moniker, this remained an uncanny collec-tion of premier players under the baton of the man who, in civilian life, was America’s most beloved bandleader. “Glenn was sort of business like,” recalls saxophon-ist Hank Freeman. “It was like he was the head of a big corporation. He had that kind of mind. But Glenn did an awful lot for musicians during the war. I don’t think he turned anybody down. He would find an AAF band for all the guys that contacted him.” Freeman should know. He was in the 102nd Infan-try, stationed at Camp Blanding, Florida. “It was like a nightmare. We were on maneuvers in Louisiana and found ourselves sleeping with snakes and scorpions. I wrote home to New Haven and told my folks I was go-ing to shoot myself if they didn’t get me out of there.” In the meantime, Miller was organizing his band and, knowing that Hank was in the service, called his family to learn of the sax player’s whereabouts. A grateful Hank Freeman adds, “Right after I wrote that letter home, I got a wire from Glenn. It said ‘Don’t shoot yourself, sweetheart. You’re coming with me!’” Similar circumstances prevailed with violinist Fredy Ostrovsky, a friend of Bob Ripley’s since their days at Tanglewood. “I was in the 95th Infantry Division. They eventually went to Italy with very heavy casualties. But I’ve always felt, quite seriously, that in many ways Robert saved my life because he was the one that was able to get me into the band.” By the Spring of 1944, the string section had swol-len to an even twenty with the addition of Sgt. David Sackson on violin. (Could Glenn really tell the differ-ence between fourteen and fifteen violins?) The former conductor of the Charleston Symphony, Sackson was quite impressed with the musicianship he found at his

new assignment. “Coming from a concert world to the Glenn Miller Band, I was absolutely floored,” says Sackson. “Now, I’m a naive guy. I know exactly what it’s all about when you mention Beethoven, Brahms and so forth. In a quartet, all you do is work for preci-sion—four people playing as one. Well, here I see six saxes and a five-man trumpet section whose precision is just unbelievable. And the sound of four muted trombones taking half a chorus on ‘Blue Champagne’? Why, I almost swooned!” On June 6, 1944, Captain Glenn Miller and the full orchestra left New Haven for a tour of major American cities, in connection with the Fifth War Loan Drive. Simultaneously, across many miles of open sea, a drive of much greater magnitude had begun on the beaches of Normandy. Perhaps coincidentally, Miller’s tour was cut short after appearing in St. Louis and Chicago and the band was ordered back to New Haven. After many months of waiting for permission to take his band overseas, Miller finally received his orders. “Glenn was very patriotic,” says Bob Ripley. “He felt he wasn’t doing his bit unless he was up as close to the front as he could get playing for the guys who were getting shot.” On the morning of June 19th, the Miller bandsmen vacated their quarters at Yale. For fifteen months, New Haven had been the home of what many consider the greatest band ever assembled. Lt. Don Haynes and sixty-one enlisted men left to board the jam-packed “Queen Elizabeth,” en route to the ETO where they would en-tertain hundreds of thousands of Allied soldiers. As for Captain Miller, he left New York by plane to secure accommodations for his incoming orchestra. It would be a flight without incident.

[Robert Ronzello is a resident of Terryville, CT, and an authority on the life and music of Glenn Miller.]

Translation for the Propaganda BroadcastEMI Studios, St. John’s Wood, Abbey Road, London, England

October 30, 1944

Segment OneIlse Weinberger: “German soldiers, this is Ilse speaking. For the next half hour I have arranged something special for you, a rendezvous with the bandleader of one of the best known orchestras. Today he is the leader of the American Band of the Allied Expeditionary Forces, Major Glenn Miller. Before I call Major Miller to the microphone, I want to say somethign about his personality. Glenn Miller is a magician of swing dance music. A musician who has enchanted for years all of America on the dance floor, on records, and on the radio. The rhythm of his music goes into your legs, but it also goes into your heart. When the war started Glenn Miller left all his success behind and enlisted in order to let the Allied troops enjoy his music. Soldiers, here is Glenn Miller in person.”Glenn Miller: “Thank you, Ilse. You speak German very well. I can only speak very little German.”Ilse Weinberger: “Go ahead, I will help you.”Glenn Miller: “Good evening, I mean Guten Abend, Deutsche Soldaten.”Ilse Weinberger: “May I suggest that you now play ‘Star Dust’ (‘Sternschnuppen’)?”Glenn Miller: “‘Sternschnuppen?’ Who has a cold (Schnupfen)?”Ilse Weinberger: “Nein, Herr Major, nobody has a cold, I mean the song ‘Star Dust.’ ‘Star Dust!’”Glenn Miller: “Oh, ‘Sternschnuppen’ is ‘Star Dust!’”Ilse Weinberger: “Yes, and ‘Star Dust’ is ‘Sternschnuppen,’ and played by the American Band of the Allied Expeditionary Forces of Glenn Miller.”Glenn Miller: “Very good.”

[Stardust]

Segment TwoGlenn Miller: “Good evening, I mean Guten Abend, German soldiers. When speaking I always make it very short, because I always follow the saying, ‘Let flowers speak.’”Ilse Weinberger: “I think that you mean to say, ‘Let music speak.’”Glenn Miller: “Oh yes. I always prefer to let music do the talking for me. Ilse, you’d better an-nounce our second number in German, it’s ‘In The Mood.’”Ilse Weinberger: “Glenn Miller and his orchestra will play the American hit ‘In The Mood.’”

[In The Mood]

Segment ThreeGlenn Miller: “Oh well, I know by this time, German language, difficult language!”Ilse Weinberger: “Don’t worry. Our listeners will surely understand you well. But to my regret, I see our time is up. Unfortunately your musical rendezvous must now come to an end. But next week we will see each other again at the same time. Isn’t that true, Major?”Glenn Miller: “Yes indeed.”Ilse Weinberger: “And what do you say to us in parting, Major? In German, I mean.”Glenn Miller: “I know, I know. See you again.”Ilse Weinberger: “Excellent and I say, hear you again.”

[Moonlight Serenade]

Captain Glenn Miller and the418th Army Air Forces Technical Training Command Band – 1943

Clarinet: Corporal Peanuts Hucko (Vincent Oneppo YSM ’73) – formerly with Bob Chester,Charlie Spivak, Bradley McKinley

Alto Saxophones: Sergeant Hank Freeman (Alyssa Hasbrouck MC ’14) – formerly with Artie Shaw; Private Jack Ferrier (Thomas Sorrentino SM ’14) – formerly with Woody Herman, Bob Crosby

Tenor Saxophone: Private Vince Carbone (Zoe LaPalombara SM ’13) – formerly with Teddy Powell; Corporal Peanuts Hucko (Paul Wainer TC ’11)

Baritone/Alto Saxophone: Private First Class Chuck Gentry (Garth Neustadter YSM ’12) – formerlywith Jimmy Dorsey, Harry James, Benny Goodman

Trumpets: Thomas Bergeron YSM ’09, Carlisle Runge DC ’13, Abe Bekele DC ’13, Drew Mazurek SM ’02Solos: American Patrol: Sergeant Whitey Thomas (Carlisle Runge) – formerly with Isham Jones, Tommy Reynolds Volga Boatman: Private First Class Steve Steck (Abe Bekele) – formerly with Benny Goodman Anvil Chorus: Staff Sergeant Rubin “Zeke” Zarchy (Carlisle Runge) Stardust: Staff Sergeant Rubin “Zeke” Zarchy (Carlisle Runge) In the Mood: Private First Class Jack Steele (Thomas Bergeron)

Trombones: Josh Lubner, Melvin Loong SY ’14, Grant Gonzales TD ’14, Benjamin Firer YSM ’12

Horn: Katherine McDaniel JE ’14

Rhythm: piano, Corporal Mel Powell (Nathan Prillaman JE’13) – formerly with Benny Goodman; guitar, Private Carmen Mastren (Ishan Sinha BR ’14); bass, Corporal Trigger Alpert (AlexanderPlatt LAW ’12); drums, Corporal Ray McKinley (Zach Simao JE ’13)

“The Crew Chiefs”: Katy Naples-Mitchell SY ’13, Stasha Rosen SM ’11, Mitchel Kawash CC ’12,Keiji Ishiguri SM ’11, Jerry Lieblich SM ’11,Harry James: Thomas Bergeron YSM ’09Private Bob Houston: Keiji Ishiguri SM ’11Radio Script: Kelsey Sakimoto ES ’12 (announcer), MatthewHoffer-Hawlik CC ’13, Anthony Hsu ES ’12, Alan Hutchison TD ’11, Jared Bard BK ’12, Josh Stein TD ’13

Jane Doe: Kate Gonzales CC ’11Ilse Weinberger: Samantha Dixon TC ’12WAC Announcer: Kate Carter SM ’12

Sound effects: Leah Latterner CC ’14 Julia Rogers PC ’11

performed by the Yale Jazz Ensemble, Thomas C. Duffy, Music Director

Steve Ross rose to fame as a cabaret entertainer during his lengthy sojourns at New York’s fabled Algonquin Hotel and Ted Hook’s Backstage in the late 1970s. He has spent the ensu-ing decades singing and playing in smart clubs and at swank parties all over the world. The London Ritz, the Paris Ritz, the Imperial Hotel in Tokyo in addition to festivals in Hong Kong, Perth, Sydney and Adelaide – these are but highlights of Steve’s appearances on six continents. In 1997 he made his Broadway debut in the acclaimed revival of Noel Coward’s Present Laughter, performing at the keyboard as well as portraying the role of Fred, the Cockney valet, opposite Frank Langella. On the airwaves Steve has been a performer/host for radio series for both the BBC and National Public Radio. In 1992 he made his Off-Broadway debut in his own tribute to Fred Astaire, I Won’t Dance. He’s taken this show in various forms to London, Australia, and most recently, earlier this year, to his home in

Manhattan, the Oak Room of the Hotel Algonquin. This vintage boite has been the scene of his tributes to, among others, Noel Coward, Cole Porter and Irving Berlin.

Steve is proud to be on the Concerts and Lectures roster at the Metropolitan Museum of Art and continues his interest in passing on the legacy of his talent and his knowledge to younger audiences in master classes at universi-ties and schools of performing arts.

Tonight’s Guest Artist

Thomas C. Duffy (b. 1955), composer and conductor, is Professor (adjunct) of Music and Director of Bands at Yale University. He served as Acting Dean of the School of Music in 2005-2006, having served as Associate Dean since 1996 and Deputy Dean since 1999. He has served as a member of the Fulbright National Selection Committee and was a member of the historic Tanglewood II Symposium (2007). He attended the Harvard University Institute for Management and Leadership in Education in 2005. He has served as president of the New England College Band Association, editor of the CBDNA Journal, publicity chair for the World Association of Symphonic Bands and Ensembles, and 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 president of the College Band Directors National Association and a member of American Bandmasters Association, American Composers Alliance, Connecticut Composers Inc., the Connecticut Academy of Arts and Sci-ences, 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 numerous bands, choruses and orchestras. He joined the Yale faculty in 1982. In 2009 Duffy received an award from the United States Attorney’s Office for his innovative program with the Yale Concert Band (Yale 4Peace Rap for Justice) which, through the integration of clasical and rap music, addressed gangs, crime and violence in Connecticut’s cities. In 2010 he received the Citation of Excellence from the National Band Association.

About the Music Director

We wish to thank Bill Tower, Joseph Dzeda, Rob Ronzello, Sean Maher, and Yale University’s Office of New Haven and State Affairs. We also wish to thank Forrest Doten, official USAAF photographer, for donating the historic Army Air Force Technical Training Command photographs contained in this program. Our eternal thanks to Mr. Norman Leyden ’38, Yale School of Music ’39 – arranger for Glenn Miller, composer, clarinetist, conductor – for his advice, counsel, and the original arrangements of American Patrol, Anvil Chorus, Volga Boatman and Moonlight Serenade. The Newberry Memorial Organ’s historic flag is provided through the courtesy of the organ curators’ archives.

YALE CONCERT BAND 2010-2011THOMAS C. DUFFY, Music Director

STEPHANIE HUBBARD, Business Manager

PICCOLORosa Jang YSM ’12

FLUTELeah Latterner CC ’14 PrincipalHannah Perfecto SY ’12Julia Rogers PC ’11Hayden Hashimoto JE ’12Kerri Lu PC ’14Corinna Li JE ’11Shira Calamaro GSAS ’14

OBOEJoseph Peters YSM ’12Emily Holum YSM ’11

BASSOONNick Baskin ES ’14Scott Switzer YSM ’11

Eb CLARINETVincent Oneppo YSM ’73

CLARINETMatthew GriffithTC ’14* PrincipalColin Alexander CC ’11Anthony Hsu ES ’12Kate Carter SM ’12Molly Haig DC ’14Nathan Prillaman JE ’13James Mandilk SY ’13Vincent Oneppo YSM ’73

BASS CLARINETJared Bard BK ’12

ALTO SAXOPHONEAlyssa Hasbrouck MC ’14 PrincipalMika Sumida BR ’13

TENOR SAXOPHONEWilliam Gearty BR ’14

BARITONE SAXOPHONEKelsey Sakimoto ES ’12

CORNET Alex Schurman ES ’14 PrincipalMatthew Hoffer-Hawlik CC ’13Josh Stein TD ’13

TRUMPET Elliot Eaton JE ’11Ezra Baraban BR ’11

FRENCH HORNKatherine McDaniel JE ’14Mimi Zhang YSM ’12Alan Hutchison TD ’11

TROMBONEJustin Hudak MC ’12 PrincipalMelvin Loong SY ’14Emily Massey JE ’14Jason Kappa BR ’11

EUPHONIUMAbigail Lawlor BK ’11 PrincipalRodney Evans PC ’14

TUBAQuinn White BR ’14

STRING BASSJohn Greenawalt SY ’12

PERCUSSIONSkylar Brooks CC ’11Kate Gonzales CC ’11Chase Young CC ’13

DRUM SETJohn Corkill YSM ’11

HARPLara Zipperer MC ’14

PIANO/CELESTESijia Cai TD ’11

MUSIC LIBRARIANJulia Rogers PC ’11

For further information, please contact:Yale University Bands

P.O. Box 209048New Haven, CT 06520–9048

ph: (203) 432–4113fax: (203) 432–7213

stephanie.hubbard@yale.eduwww.yale.edu/yaleband

*Keith L. Wilson Principal Clarinet Chair

AAFTCC troops march up Hillhouse Avenue into Payne Whitney Gymnasium in 1943.