Skip to main content

The Glee Club in The New York Times!

The YGC received a rave review of its April 8 performance with the Yale Symphony in Carnegie Hall. Read the full review and the feature story about our concert and reunion weekend that ran as a preview. Some highlights:

"exciting, beautifully sung,"


"one of the best collegiate singing ensembles, and one of the most adventurous,"

"[The Glee Club] is to the television show 'Glee' approximately what the Metropolitan Opera National Council Auditions are to 'American Idol.'"

The YGC Blog would also like to attest that, indeed, our "director, Jeffrey Douma, didn’t settle for an evening of chestnuts." This concert - the sustained high notes in "Nemo", the rhythms of "Partition" - was extremely tricky, some of the most difficult music we've sung. And some of the most beautiful. At Carnegie, the audience came with us every step (and half-step) of the way, from Dominick Argento's "Dover Beach Revisited," James MacMillan's "Nemo Te Condemnavit," Michael Gilbertson's "Weep You No more," and Robert Vuichard's "Zephyr Rounds" through Ted Hearne's "Partition," and finally Vaughan Williams' "Dona Nobis Pacem." We'd like to thank them for that, to thank the composers of these works, many of whom were in attendance at Carnegie, and to thank Jeff -- for pushing us musically to be the best that we can be, and for teaching us to love it.

Popular posts from this blog

"Yale found its Glee 150 years ago," New Haven Register

An article from Donna Doherty in today's New Haven Register. All photos Arnold Gold/New Haven Register... and a video in the original article here.

NEW HAVEN — It has sung all over the world, survived wars and co-education. Its alums include legendary songwriter Cole Porter, former senators Prescott Bush and James Symington, and peace activist Rev. William Sloane Coffin, so reaching 150 years old seemed cause for celebration.

The Yale Glee Club, the oldest musical organization on campus, has big plans for that occasion, ones which embrace the community and continue through May, including two specially commissioned works, each composer and writer, unbeknownst to the other, choosing to honor the city of New Haven.

“City Song,” by Pulitzer Prize-winning composer and former Yale Glee-er Lew Spratlan and renowned Yale poet Elizabeth Alexander, will have its world premiere at a gala free concert at 5 p.m. Saturday at Woolsey Hall, featuring current Glee Club members and five decades of…

Dead Week Shenanigans

Just in case you were wondering what Glee Club members do during dead week, here is just a glimpse of the festivities! This occurred during a lovely spring afternoon after a bit too much happy frappuccino hour at Starbucks.

Ten Songs of Yale you didn't know about

Bram Wayman '09 delves into the depths of songbooks past. The views shared here in no way represent the official opinion of the YGC Blog nor the YGC... & c. & c. & c.*

Though clear favorites stand the test of time, and the old song books of Yale are full of the high stupidity of yesteryear, a few gems that aren't often — if ever — sung today stand out for me. Some of these songs are beautiful, some hilarious, and some downright offensive, but they all deserve a second look, and I'm not convinced all of them should have fallen out of use. I'm no expert on the history of Yale songs, and have only picked from a few books, but here are ten songs of Yale that still bring a smile to my face.

1. "Old Tom Wilson." TTBB. One of Barty's cleverest arrangements, this piece is a song from the Appalachian mountains of Kentucky. It features vocal banjos, vocal beer-chugging that gets longer each time the jug goes around, lyrics such as "Big fat gals…

War Dreams Concert (Written by Victoria Pierre)

While I thoroughly enjoyed the Bernstein, I decided to make this blog post an extended version of the pep talk I gave before our concert on Friday, in which I talked about Vaughan Williams. Enjoy!


I first encountered this piece when I was 16, as part of a northern Virginia choral association concert. They mailed me the score (which I still have) and gave me a few weeks to learn it before having two rehearsals and then a concert. I still remember trying to learn the music note by note (since I couldn’t sight read back then) listen to a midi file of the soprano I part on repeat. So this is how I encountered Vaughan Williams--a piano midi file. My first impression, especially once I got to “Beat! Beat! Drums!” was….what the heck is this music. I didn’t really understand the poetry, or the war, or any of the context surrounding this piece. All I knew was there was something about a solemn church and a bridegroom and bugles, and something about snorting horses in Dan…the piece was a mys…