5 Fun Facts: Schoenberg Edition

1.  Irving Thalberg once sent an emissary to persuade Arnold Schoenberg to produce a score for The Good Earth. The man, finding Schoenberg indifferent at best, launched into an animated discussion of the potential for music to complement the film. “Think of it,” he enthused. “There’s a terrific storm going on, the wheat field is swaying in the wind, and suddenly the earth begins to tremble. In the midst of the earthquake, Oo-Lan gives birth to a baby.” “With so much going on,” Schoenberg drily replied, “what do you need music for?”

Schoenberg never did score a Hollywood film. “I will write the music,” he once offered, “and then you will make motion pictures to correspond to it.” Unsurprisingly, the producers declined.

2.  Following his arrival in the United States, Arnold Schoenberg was forced to teach music courses at all levels to make ends meet. He once found himself instructing a class of kindergarten music teachers. “You are teachers?” he asked, bewildered. “You mean there are people who know less than you do about music?”

3.  George Gershwin often sought advice and lessons from other composers (Ravel and Stravinsky among them). While playing tennis with Arnold Schoenberg one day, Gershwin asked him for some lessons as well. Schoenberg declined: “I would only make you a bad Schoenberg,” he explained, “and you’re such a good Gershwin already!”

4.  “My music is not modern,” Schoenberg once remarked. “It is only badly played.”

5.  Reluctant Modernist

In 1917, the forty-three-year-old Arnold Schoenberg was conscripted into the Austro-Hungarian army. Though he was careful to conceal his civilian identity, he was often asked by fellow soldiers: “Aren’t you that controversial modernist composer?” Eventually he was forced to come clean: “I must admit that I am,” he declared, “but it’s like this: somebody had to be, and nobody else wanted to, so I took it upon myself.”

“I am a conservative,” Schoenberg declared on another occasion, “who was forced to become a revolutionary.”

Revolution

The upcoming concert, Revolution, on March 25th at Woolsey Hall and March 26th at the Quick Center on the campus of Fairfield University, features Beethoven’s masterful Symphony No. 3, “Eroica” and Arnold Schoenberg’s Verklärte Nacht (Transfigured Night). While every classical music aficionado, and many classical music novices know the Eroica, Schoenberg’s work remains unexplored terrain for many. Schoenberg’s upending of traditional harmony with his pioneering of the twelve-tone system of composition has meant that many listeners have rejected Schoenberg outright. This is a shame because Transfigured Night owes far more to Wagner and Brahms than to Schoenberg’s later works. While there are hints of the atonality that he would eventually embrace fully, Schoenberg is romantic, lush and lyrical in this work. Based on the poem of the same name by Richard Dehmel, Schoenberg’s Transfigured Night is in five parts that mirror the five stanzas of the poem. Each part of musical work evokes the same emotional ground as its corresponding stanza.

So why is Eroica paired with Transfigured Night under the moniker Revolution? We know that Schoenberg was a revolutionary figure in 20th Century music. He fundamentally changed, for better or worse, the musical landscape; not just classical music but all western music. Beethoven, too, closed the book on the Classical era and ushered in the Romantic era, fundamentally changing the symphonic form in the process. But again, why these two particular works, especially in light of the fact that Schoenberg’s truly revolutionary work was to come much later with the spiky, and perhaps harsh, strains of atonalism?

The Eroica is revolutionary on several levels. It was penned in homage to the revolutionary Napoleon (when the revolutionary Napoleon became the Emperor Napoleon Beethoven stripped the dedication to his once democratic hero.) More than that, though, is the nature of the work itself.  As Maestro Boughton has pointed out, the Eroica introduced the notion that symphonic music could be the vehicle to express specific ideas and emotions. Thus, 100 years later (and only separated by an intermission on the NHSO program!) Schoenberg took Beethoven’s revolutionary romantic ideal to heart in Transfigured Night, though the emotions and ideas expressed are quite different.  Following is an English translation of the poem and when you come to the concert hall on March 25th or March 26th you can decide how well Schoenberg described the poem in musical terms and how true to Beethoven’s revolutionary ideals he was.

Transfigured Night (Verklärte Nacht) by Richard Dehmel
Translated by Stanley Appelbaum
Reprinted from the website oldpoetry.com

Two people walk through a bare, cold grove;
The moon races along with them, they look into it.
The moon races over tall oaks,
No cloud obscures the light from the sky,
Into which the black points of the boughs reach.
A woman’s voice speaks:

I’m carrying a child, and not yours,
I walk in sin beside you.
I have committed a great offense against myself.
I no longer believed I could be happy
And yet I had a strong yearning
For something to fill my life, for the joys of
Motherhood
And for duty; so I committed an effrontery,
So, shuddering, I allowed my sex
To be embraced by a strange man,
And, on top of that, I blessed myself for it.
Now life has taken its revenge:
Now I have met you, oh, you.

She walks with a clumsy gait,
She looks up; the moon is racing along.
Her dark gaze is drowned in light.
A man’s voice speaks:

May the child you conceived
Be no burden to your soul;
Just see how brightly the universe is gleaming!
There’s a glow around everything;
You are floating with me on a cold ocean,
But a special warmth flickers
From you into me, from me into you.
It will transfigure the strange man’s child.
You will bear the child for me, as if it were mine;
You have brought the glow into me,
You have made me like a child myself.

He grasps her around her ample hips.
Their breath kisses in the breeze.
Two people walk through the lofty, bright night.

My Irish Valentine

A wonderfully romantic musical time was had by all last weekend at the New Haven Symphony Pops My Irish Valentine at East Haven High School, Hamden Middle School and Shelton Intermediate School. Soloist Michael Zegarski wowed the crowd with romantic standards such as Delovely and Some Enchanted Evening while conductor Jerry Steichen led the orchestra in beautiful favorites including the Suite from Titanic and Tchaikovsky’s Romeo and Juliet Overture-Fantasy.

Here’s what one of our patrons had to say: “My Irish Valentine concert was GREAT!  As are all of Gerald Steichen’s concerts. The orchestra is great.  Gerald Steichen is my very favorite conductor.  Please be sure he is coming back in the fall. There was no mention of the next season fall 2010-2011 but please let those in power know that we want Jerry back. We have been coming to the NHSO for many many years and have learned so much from Gerald Steichen.  We love him dearly.  He is the best conductor!”

Once again we would like to thank all of our patrons for coming out and our sponsors, Whitney Center, Tweed New Haven Regional Airport, Town Fair Tire, R.D. Scinto, Newtown Savings Bank and Saint Raphael Healthcare System for making our performances possible.

Fiddle Faddle Follow-up

Hard to believe Fiddle Faddle was already 10 days ago. Thank you to all the parents, greandparents, and children who came out to this fantastic show! If you missed it, watch this fantastic video created by photographer Monika Szymanska!

Click here: Fiddle Faddle

My Irish Valentine and Leroy Anderson

The New Haven Symphony Pops! season culminates with My Irish Valentine on February 12th at East Haven High School, February 13th at Hamden Middle School and February 14th at Shelton Intermediate School. Some of our favorites of the featured pieces are from Leroy Anderson’s Irish Suite. Anderson, who lived in Woodbury, CT until his death in 1975, practically invented the symphonic “Pops” sound.

Anderson came along just in time to provide the perfect music for classical orchestra “pops” concerts. A talented musician, Anderson graduated with honors from Harvard and worked as an organist, bassist, and choirmaster and began arranging for Arthur Fiedler’s Boston Pops Orchestra in the mid-1930s. Fiedler encouraged him to write his own pieces for the Pops. Finally, in 1938, Anderson complied, with Jazz Pizzicato and Jazz Legato, both immediate audience favorites.

Over the next 25 years he composed some 50 more light classics, which virtually defined the sound of the American pops orchestra. Most of these works are humorous–like The Waltzing Cat, which turns schmaltzy string sighs that are standard fare in a Strauss waltz into meows–or show pieces, like Bugler’s Holiday, in which three trumpeters show off (although the parts are actually written to sound more difficult than they actually are–high school orchestras with three good trumpters often play it), or simply light and listenable, like Blue Tango, his most-covered song. Anderson is best-known for his works incorporating gadgets as solo instruments, such as Sandpaper Ballet, The Syncopated Clock, and The Typewriter, which features the sounds of that venerable machine–tapping keys, grinding shifts, tinkling margin bell–although these are probably unfamiliar to today’s computerized generation.

Many know his tunes as they were incorporated for TV shows and commercials. The Syncopated Clock later became the theme of many a late-late movie show. He recorded a number of collections of his own tunes, and his single of Blue Tango was a #1 hit in 1951. His holiday season instrumental number, Sleigh Ride, has, over the years, become a standard piece for Christmas concerts and has become his most-covered composition. He also wrote a number of serious contemporary compositions, including the Irish Suite, Suite of Carols and the Concerto in C for Piano and Orchestra, and the score of a Broadway musical, Goldilocks, in 1958, but putting words to music wasn’t his forte.

Anderson continued to compose, almost exclusively for the Boston Pops, until his death. His works are still in print and a staple of pops orchestras around the world.

(Excerpted from spaceagepop.com)

For tickets to the NHSO Pops! please click here: https://www.choicesecure01.net/mainapp/eventschedule.aspx?Clientid=NewHavenSymphony

Fiddle Faddle: from the mouths of the artists

On January 30th at 2:00pm in the Omni Hotel Ballroom in downtown New Haven, the NHSO will present Fiddle Faddle as part of our Family Concert Series. The program features traditional Appalachian fiddle music played by the duo Moonshine Holler and are joined by NHSO musicians Artemis Simerson (violin and NHSO Assistant Concertmaster) and Jim Andrews (bass). Here is what Artemis, Jim, and one-half of Moonshine Holler, Paula Bradley, had to say about the program when they performed back in September.

Artemis: When NHSO Education Director, Hauk Graham, first contacted me about playing with Moonshine Holler, it didn’t take me long to decide what piece of music to play – the Romanian Folk Dances by Bela Bartok! Although this collection is normally treated as part of the “classical” genre, it’s really a crossover piece as the name implies. It’s also a real crowd pleaser…I went nuts when I heard it as a kid, and I still love it after all these years.

I’m also looking forward to playing once again with Paula, Bill, and of course my double bassist friend Jim. They’re really fun folks, and their creative energy is contagious! It was a real thrill when, at the end of our last performance, Paula turned to me and said “Why don’t you join us for this one? We’re in A major – let’s go!”

Jim: I cross over to jazz, blues and country all of the time so it wasn’t that unfamiliar. I enjoy playing in all venues of music and enjoyed playing with the group.

Paula: When the NHSO first asked us to team up with classical musicians to present a children’s music performance showcasing the fiddle/violin, we were intrigued. Although we know the differences, which really involve how the instrument is played and its context, this was our first opportunity to collaborate with classical musicians for a “hands-on” (pun intended!) exploration. By teaming up with Artemis (violin) and Jim (bass fiddle) we were both delighted and enlightened at the same time!

Moonshine Holler’s aim is to give children, through sing-alongs, clap-alongs and other participation, a sense of the fiddle’s place as primarily a dance instrument in American folk music. With the fiddle playing the melody, and joined by banjo, guitar, ukulele, fiddlesticks, triangle and clog dancing, as well as Jim’s fine bass, we explore the Scots-Irish and African influences on traditional American fiddling, as well as regional differences, such as Cajun and Southern Appalachian.

This, demonstrated alongside Artemis playing pieces from the classical composer Bela Bartok, who often used folk rhythms as his inspiration, highlights the parallels and differences between “folk violin” and “classical violin”. Artemis also does a great job of demonstrating classical technique and contrasting it with traditional fiddling.

One instrument: two approaches–and a lot of fun!

 

 

 

The baritone who forgot his pants, and other crazy classical music stories of 2009

Happy New Year friends! We hear at the NHSO hope you all enjoyed the holiday season and had a happy and safe new year. We are back from holiday recess and are gearing up for the remainder of the 2010. Check back often for up-to-the-minute information.

With 2009 behind us, here’s a recap of classical music’s greatest blunders and follies last year.

This article was originally publised in “The Seattle Times,” written by columnist Melinda Bargreen

As 2009 slips away, it’s once again time for … the Classical Music Believe It or Not! And while the calendar marches toward 2010, may you enjoy the follies of the past year, with tidbits gleaned from actual news items, just as much as we’ve enjoyed collecting them for you. Here goes:

Leaping from the stage: It’s been quite a year for spectacular stage accidents. Conductor David Ott survived a 14-foot fall at the University of West Florida in September, returning to the orchestra pit after a performance when the lights were off and plummeting into the basement below the pit. He miraculously avoided serious injuries.

Earlier, soprano Ana Maria Martinez fell headfirst into the orchestra pit during a performance of “Rusalka” at Britain’s illustrious Glyndebourne Opera, landing on a luckless cellist. Martinez also suffered no ill effects.

Less fortunate, however, was mezzo-soprano Joyce DiDonato, whose tumble at London’s Royal Opera House during “The Barber of Seville” ended in a broken fibula. She gamely carried on to finish the performance, later continuing in a wheelchair and cast for the remaining shows.

Singing to the cows: Italian tenor Marcello Bedoni has been singing operatic selections to cows in Lancashire, England, on the theory that “soothing sounds or music can reduce stress” (according to the National Farmers’ Union). Bedoni calls the cows “a great audience.” Presumably they remember to shut off their cellphones beforehand.

Watch those batons: A 17-year-old California girl used her marching-band baton to beat off two muggers who grabbed her coat and demanded money several months ago. She punched one in the nose, kicked the other in the groin, and beat them both with her band baton before running away. You don’t mess with the marching band.

Really Terrible Orchestra: You don’t mess with the Really Terrible Orchestra, either, without incurring the wrath of founder (and novelist) Alexander McCall Smith. The Edinburgh-based orchestra, founded in 1995 and billed as the world’s worst, has trademarked its name to fend off attempts by rival tribute orchestras to cash in on its reputation. The RTO claims its success is due to short performances and free wine for listeners. McCall Smith says, “It does not matter that on more than one occasion members of the orchestra have been discovered to be playing different pieces of music by different composers, at the same time. We are The Really Terrible Orchestra and we shall go on and on.”

An opera about … Sarah Palin? The much-parodied voice of Sarah Palin has inspired composer Curtis Hughes to write an opera (“Say It Ain’t So, Joe”), for the Boston-based Guerilla Opera. Based on “the exact pitches that were spoken” during the Palin-Biden debates in last year’s Presidential campaign, the opera also features Joe the Plumber, for whom Hughes says his “word-painting tends to get a little more crass.” Hughes told one interviewer, “One of [Palin's] arias concludes with her informing the audience, ‘I am your future.’ I’d like to think that the music at this moment could be understood as either ominous or joyful, or perhaps both.” Perhaps.

“Twitterdammerung”: Yes, it’s billed as “the first Twitter opera,” premiered in September at London’s Royal Opera House, based on some 900 tweets and predictably panned as “a cheap gimmick” — though one reviewer cited “humour by the bucket load.” One can only imagine.

We can hardly wait: China is planning a new opera version of Marx’s 1,000-page “Das Kapital,” with an economist overseeing the project to “ensure that it remains intellectually respectful of Marxist doctrine.” Count us in for opening night!

Another violin left in the cab: Psychologists might have a field day with the long list of major musicians who have left ultravaluable instruments behind in taxicabs. To that list we now add New York Philharmonic concertmaster Glenn Dicterow, who left the orchestra’s 1727 Guarneri del Gesù violin in a New York taxi last February. The cabbie quickly arranged for the violin’s return. Not to be outdone, South Korean-born virtuoso Hahn-Bin left his 18th-century Giovanni Francesco Pressenda violin in a Manhattan yellow cab after an August performance. Fortunately, the cab had a GPS tracker, and the instrument returned to Hahn-Bin, who cried, “My baby!”

The baritone forgets … his pants?: Yes, noted baritone Bryn Terfel set out for the concert hall from his Seoul hotel wearing a pair of shorts, but forgetting to pack his concert trousers for the evening’s performance last April. Arriving with just minutes to spare, and with no time to return to the hotel for his clothes, Terfel was saved by a speedy loan from a South Korean opera lover the same size as the 6’4″ singer. Sort of gives a new meaning to the phrase, “Flying by the seat of one’s pants.”

 

The curse of the Ring: The Metropolitan Opera had its hands full this past spring with Wagner’s four-opera epic, “The Ring of the Nibelung,” when the company had to find three substitute singers for the key role of Brünnhilde. It also needed last-minute replacements for four other important roles, as well as a last-minute conductor when James Levine got sick.

Los Angeles also experienced unpleasant Ringing sensations, when the $32 million production suffered a computer glitch, causing a malfunction in the Nibelungs’ cavern. And at Seattle Opera’s “Ring,” another computer problem twice delayed the start of scenes in the finale, “Götterdämmerung.” Opera fans were heard to utter “Götterdämmerit.”

Department of operatic excesses: A Berlin production of Gluck’s “Armida” in April featured scenes of bondage, rape, simulated sex, murder, a live python and several naked bodybuilders. Meanwhile, over in Cologne, a third of the cast walked out of rehearsals for a violent staging of “Samson and Delilah,” reportedly claiming that “the scenes of rape and massacre [were] making them sick.” The Berlin patrons, accustomed to the outré, responded with “polite applause,” according to news reports, but in Cologne many ticketholders wanted their money back.

Roll on, Beethoven: A Caltech computer-systems grad student named Virgil Griffith has used Facebook data to measure the musicians most often listed as a user’s “favorite music” against the average SAT score for the school the user attended. At the top: Beethoven (average SAT score 1371, out of a possible 1600); at the bottom: Lil Wayne (889). Don’t tell us you’re surprised.

The hazards of teaching: Last February, a 13-year-old Italian schoolboy stabbed his violin teacher with a kitchen knife during a lesson at a middle school near Venice, leaving the knife embedded in the teacher’s back when he ran away after the attack. Music teachers, it may be time for those Kevlar vests.

Aric’s Holiday Music List

When I think of great music for the “Holiday Season,” I take a very ecumenical approach. I like what I like. From the secular to the religious, it doesn’t matter to me the style or genre of the music. The music or performance needs to speak to me or be evocative in a personal way. So, in no particular order here are my favorites (for this year at least.)

Ocho Candelikas – A Landino Chanukah song. It’s fun to listen to, but even more fun to sing. Landino is the Sephardic version of Yiddish. This is a pretty cool version with a nice Latin Rock Santanaesque feel. “UNO, DOS, TRES…!” http://www.youtube.com/watch?v=9MF30McVzBY&feature=related

Merry Christmas From the Family by Robert Earl Keen – OK, so some stereotypes about Texas (my adopted second home) are true. Robert Earl Keen comes from a long line of Texas Troubadors and his version of a certain segment of the Texas populace is spot on. Here’s a tip for budding singer-songwriters: if you’re going to be a one-hit wonder (which Mr. Keen certainly is not) it might as well be a Christmas song – people will hear it every year. http://www.youtube.com/watch?v=P37xPiRz1sg

Bach’s Christmas Oratorio Schlafe, mein Liebster – Just a beautiful piece of music that is sung so well in this version. http://www.youtube.com/watch?v=F3sBCuK1CIQ

I’ll Be Home for Christmas by Frank Sinatra – If it’s going to be any version it might as well be Ol’ Blue Eyes. The sentiment is so pure and heartfelt and remains timeless. My only wish is that this song, which was written during wartime, didn’t have the same meaning this Christmas. http://www.youtube.com/watch?v=v83gbfiKAms

Sweet Li’l Jesus by Leontyne Price – It’s Leontyne. She could sing the phone book and I’d be happy. Unfortunately, I couldn’t find an online link, but if you come across the song and/or album buy it immediately.

God Rest Ye merry Gentlemen – I remember being fascinated by this song as a child. Despite the uplifting message of ultimate salvation, there’s something very dark and ominous that lurks beneath the surface. This version is by the great Giorgio Tozzi who was a longtime Basso with the Metropolitan Opera.  http://www.youtube.com/watch?v=iDsp08-KidQ

I Want To Come Home for Christmas by Marvin Gaye – Like I’ll be Home for Christmas, the sentiment gets me every time. Knowing now the personal demons and strained familial relations Marvin battled, the song is a heart-breaker. http://www.youtube.com/watch?v=X6rpnKZR02o
Father Christmas by The Kinks – The greatest statement about the true spirit of Christmas in the face of our consumer driven culture. http://popup.lala.com/popup/504684715144199565

Caccini’s Ave Maria by Denyce Graves – Guilio Caccini was a late renaissance Italian composer and one of the first progenitors of opera. His Ave Maria, unlike the more well known Schubert version, has all the trappings of early baroque that let singers stretch out with ornamentation. This version, sung by Denyce Graves, is a little schmaltzy in the arrangement but she is so wonderful I can forgive the orchestration.
http://www.youtube.com/watch?v=XSEYFdXQsVQ&feature=PlayList&p=13162362836AB34B&playnext=1&playnext_from=PL&index=14

Ma’oz Tzur – A traditional Chanukah song, the melody is apparently an adaptation of an old German folk song. The poem recalls the many times when Jewish communities were saved from the people around them. The second stanza tells of the exodus from Egypt. The third stanza tells of the end of the Babylonian captivity. The fourth retells the miracle of the holiday of Purim. The fifth tells of the Hasmonean victory that is commemorated by Hanukkah. Here’s a version with a sing along! http://www.youtube.com/watch?v=jrpXTVNZEFU&feature=related

Coal & Switches by Brave Combo – The Holidays are never complete without the Grammy winning Brave Combo. This is what happens when you’re bad. Play it for your rotten children so they know what they can expect this Christmas. http://www.lala.com/#song/1657606215956783684 For good measure here’s Must Be Santa: http://www.youtube.com/watch?v=YklHIk3tyZM

Favorite and Least Favorite Holiday Music by Education Director Hauk Graham

For me, the winter holidays are about the changing seasons, the darkest time of the year, when I remember all that is good in life. It’s a time for Family, for going home, and for reflecting on ones life and the blessings we all have. As such, my favorite “Christmas” songs for the most part aren’t really about Christmas per se…

Stan Rogers: First Christmas
Stan Rogers is just about the best thing to ever come out of Canada. A folk singer from the 70s, he wrote this song about the people who are struggling in life, and keep on going. The ones who have to go to work on Christmas Day so the rest of us can enjoy our lives. A heart wrenching song…

New Model Army: Trees in Winter
I love this song- “Remember the things that we said, the faith that we hold, the trees in winter.” About letting seeds lay dormant during the cold winter, with the faith that spring will come soon and things will grow.

Simon and Garfunkel: Silent Night
This is a traditional carol, but mixed with the evening news report. It’s rather haunting actually, listening to Art Garfunkel’s soulful voice mingling with reports of murder and war.

Tru Spirit: The Ancestor Song
One of my all time favorite songs- about remembering where you came from. Family is important, especially at this time of year.

Lee Greenwood: God Bless the USA
This was on Lee Greenwood’s Christmas album, ergo it is a Christmas song. And it is awesome.

In Extremo: Merseburger Zauberspruche
This was actually an ancient spell set to music. It is a charm for healing broken bones, but is also about community coming together when one of their own is hurt. It’s all about the Family.

Spinal Tap: Christmas with the Devil
Spinal Tap Rule! ‘Nuff Said.

Ozzy Osbourne: Mama I’m Coming Home
My brother and I listen to this one when we’re heading home to see our folks. A little sentimental, and you have got to love Randy Rhode’s guitar work.

Flogging Molly: Far Away Boys
A song about the Irish celebrating Christmas while building the railroad across America. My heritage is partially Irish, so this one always hits home.

Einherjer: Home
This is based on a part of the Havamal, the old Norse collection of wisdom, attributed to the God Odin. “Cattle die, Kinsmen die, but one thing never dies, the reputation of a great man.” A year ago, a very close friend of mine passed on, and I often think of this when I think of him. He may be gone, but his memory lives on, especially at this time of year, when we remember our loved ones, both with us and far away.

My least favorite Christmas music is a little easier to explain.

Kenny G: the Miracles Album
Seriously, I want the 40 something minutes I spent listening to this back. Some albums should not be made. Who records “The Little Drummer Boy” without using any percussion?

Worst. Christmas. Album. Ever.

I also give a dishonorable mention to Nsync- for their entire catalogue, and most importantly their Holiday album. I haven’t actually listened to it, but I’m assuming it was pretty bad. After all, how can you sing a song about Santa Claus when you’re incapable of not adding “Ooooh Baby yeah” to every other line? Seriously weak.

Happy Holidays to all!
-Hauk

Holiday Extravaganza!

The staff of the NHSO would like to thank everyone that made our Holiday Extravaganza concerts this past weekend a resounding success: The Elm City Girls Choir, Guest Soloist Lorraine Ernest, our volunteer ushers, members of our Jr. Board, the Junior League of Greater New Haven for help with the Holiday Food Drive and most of all to the NHSO musicians led by Jerry Steichen. We also could not have done it without the generous support of our sponsors: Tweed New Haven Airport and Town Fair Tire for East Haven; Southern Connecticut State University in Hamden; and Newtown Savings Bank and R.D. Scinto in Shelton. Here are just a few of the images that will stay with us long after the Holiday decorations are put away:

 

 

 

 

 

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