The Musicians of the Westchester Philharmonic

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More New Yorkers with voice disorders are heading north — and getting better at Phelps. Under the care of a specialist in voice disorders, and supported by a team of speech pathologists with music and theater backgrounds, more professional singers are raising their voices. And singing our praises. Visit phelpshospital.org/sing or call 914 366-3636 for a free voice screening today and see how Phelps can help you. Get better. Here. Phelps_WestPhil_Soprano:Layout 1 9/20/10 11:03 AM Page 1

Board of Directors & Administration

2011-12 Season 123 Main Street, Lobby Level White Plains, New York (914) 682-3707 www.westchesterphil.org

Board of Directors & Administration Officers Administration Neil D. Aaron, Joshua Worby, President Executive Director Lisa A. Tibbitts, Lenore Eggleston, Vice President Director, Marketing and Tony Aiello, Development Secretary Jennifer Kugelmas, Murray Stahl, Manager, Education and Treasurer Operations Jonathan Taylor, Artistic Administrator Directors and Personnel Manager David Cox David Carp, Millicent Kaufman Librarian Benjamin Kursman Leszek Wojcik, Production Manager Ira J. Levy Burton Greenhouse, Karen Palmieri Bookkeeping Elliott F. Peters Richard G. Baccari & Co., Mary D. Neumann Accounting Hannah Shmerler Julian Ham, Ruth B. Toff Graphic Design More New Yorkers with voice disorders are heading north — and getting better at Phelps. Under the care of a specialist in voice disorders, and supported by a team of speech pathologists Program Produced By Media Two, The Custom Communications Division Of Today Media with music and theater backgrounds, more 100 Clearbrook Road, Elmsford, NY 10523, (914) 345-3055 professional singers are raising their voices. And Published by Today Media, which managed design, production and advertising sales. singing our praises. Visit phelpshospital.org/sing Program Notes: Robert Hollahan or call 914 366-3636 for a free voice screening Cover photography by: Hideki Shiozawa Artist Image Credits: Raymond Leppard by Thomas J. Russo, Lynn Harrell by Christian Steiner, Tomomi Nishimoto today and see how Phelps can help you. by Hideki Shiozawa, Ann Hobson Pilot by Bachrach Photography, Ted Sperling by Laura Marie Duncan, Kelli O’Hara by Jimmi Ryan, Nadja Salerno-Sonnenberg by Christian Steiner, George Manahan by Richard Bowditch, Get better. Here. and Branford Marsalis by Palma Kolansky.

www.westchesterphil.org | 914-682-3707 5 FOR TEXTURE AND COLOR AT THE WINDOW.

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AD Gemini 1-2.indd 1 8/30/06 4:53:53 PM Greetings from the Executive Director

t our benefit dinner held on September 18th, we heard perform a young soprano, Enas Massalha, who is a member of the tiny minority of Israeli-born Muslims. (She was accompanied by a South African pianist.) Along with operatic selections by Verdi and Puccini, she sang popular favorites by Arlen and Loewe. Then she sang, incantation-style, a stirring prayer in Arabic that left Ano dry eyes in the room. We later learned it was Ya Mariam, a song of praise to the Virgin Mary.

The thematic title for the evening was The Power of Music. For months leading up to the event, we had wrestled with exactly how to explain what we meant by that, because although the idea is widely understood, it tends to defy particular description. But in the silent moments following the final strains of Ya Mariam, we knew exactly what had eluded us. And it still defies description.

In the coming year, we will make music for you that can be described, analyzed, critiqued, and placed in historical and musicological perspective. Of course, we earnestly hope you enjoy it. And yet for each of us in our own way, the power of music will be internalized and indescribable: A private and deeply felt revelation about ourselves and how we interact with the world, a newfound connection with our neighbors, an acquired wisdom about our past, or a renewed faith in our future. We can never be quite sure how music will affect us once it enters our ears. All we can do is keep listening.

Thank you for joining us.

Joshua Worby Executive Director

JOB INFORMATION SPECIFICATIONS NOTES PROJ. NO.: 6838492 TRIM SIZE: 4.875" × 7.625" FINISHED SIZE: 4.875" × 7.625" MECH JOB NAME: CA Luongo Philharmonic Ad BLEED: N/A BINDERY: INK: CMYK DESCRIPTION: CREATIVE SERVICES PANTONE #: APPROVALS 1221 Avenue of the Americas, 3rd Floor CREATIVE DIR.: New York, NY 10020 CLIENT NAME: MODIFIED BY PROJECT MGR.: PROJECT MGR.:

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DUE DATE: m1 CLIENT: FILENAME: 6838492 Phil Ad m1 LAST MODIFIED: August 11, 2011, 1:45 PM Greetings from the President of the Board

s President of the Westchester Philharmonic’s Board of Directors for the past seven years, I have been in the fortunate position to hear frequent and high praise for our wonderful musicians; for their artistry, their passion, and for their dedication to an institution that continues to stand the test of time. I am grateful that musicians who boast Grammy Awards and Along-standing Broadway gigs, and who have shared the stage with greats as varied as Barbra Streisand, Luciano Pavarotti, Michael Jackson and Leonard Bernstein, still prioritize the Westchester Philharmonic over other engagements, just as many of you do.

The common thread that runs through our 29-year history is quality, a goal that is easy to state but incredibly difficult to achieve consistently, requiring constant and untiring dedication, from day to day, concert to concert, and note to note. This singular focus permeates our entire organization. No one is willing to accept anything less.

Along with unwavering passion and dedication, and a great deal of raw talent (which our musicians have in spades), the goal of making great music finally relies on you: Your ears, and your generous support.

Thank you for joining us! Enjoy the music.

Neil Aaron

www.westchesterphil.org | 914-682-3707 9 Why do THE The Musicians of the ARTS Westchester Philharmonic MATTER to Westchester?

“There is no  ourishing business community without a thriving arts environment.” -Robert Weisz President, RPW Group

Why do the arts matter? Because the arts touch everyone. Orchestra Roster Why do THE The Musicians of the ARTS Westchester Philharmonic MATTER VIOLIN Eliana Mendoza TRUMPET Robert Chausow, Maxine Neuman Lowell Hershey, Principal to Westchester? Concertmaster Lanny Paykin The Martin and Millicent The Mary Ann Liebert Chair Kaufman Chair Robin Bushman, BASS Lorraine Cohen Assistant Concertmaster Jordan Frazier Wayne duMaine Michael Roth, The Marilyn and John Principal Second Heimerdinger Chair TROMBONE The Gayle and Neil Aaron Gregg August Rick Chamberlain, Principal Chair Jered Egan The Mary Sano Chair Martin Agee Ron Wasserman Hugh Eddy Diane Bruce Jack Wenger Mark Johansen Victor Heifets Elizabeth Kleinman FLUTE TUBA Barbara Long Laura Conwesser, Principal Marcus Rojas Wende Namkung The Joy Henshel Chair The Liz and Tony Aiello Chair Elizabeth Nielsen Rie Schmidt Laura Oatts Sheryl Henze TIMPANI Dorothy Strahl Ben Herman Sander Strenger OBOE The Dorothy Cooper Chair Moira Tobey Melanie Feld, Principal David Tobey The Hannah and Walter PERCUSSION Carlos Villa Shmerler Chair James Saporito, Principal Carolyn Wenk-Goodman Kelly Peral The Worby Family Chair Mary Whitaker D. Paul Woodiel CLARINET HARP John Moses, Principal Sara Cutler VIOLA The Anita D. Goodman Chair The Lee and Jacqueline Kyle Armbrust, Principal Stephen Hart Bellsey Starr Chair “There is no  ourishing The Melinda Holtz, Marianne Schuit and Jeffrey and Dennis Smylie, Bass Clarinet KEYBOARD business community without Frédérique Zacharia Chair Chris Oldfather a thriving arts environment.” Ah Ling Neu BASSOON The Peter S. Liebert, M.D. Sandra Robbins Frank Morelli, Principal Chair Liuh Wen Ting The Stephen Ucko Chair -Robert Weisz Leslie Tomkins Harry Searing LIBRARIAN President, RPW Group Jessica Troy David Carp FRENCH HORN CELLO Peter Reit, Principal PERSONNEL MANAGER Gene Moye, Principal The Stephen Ucko Chair Jonathan Taylor The Joan Arnow Chair Will De Vos Sarah Carter Larry DiBello Roberta Cooper Nancy Billmann Maureen Hynes

The Benjamin F. Kursman and Denise L. Blau Podium

We thank all of our 2011-12 named chair donors for their support of the orchestra. To name a chair please contact the Why do the arts matter? development office at 914-682-3707 ext. 15.

Because the arts touch everyone. www.westchesterphil.org | 914-682-3707 11 Did You Know? <

Nearly 2,000 elementary school students participate in the Phil’s annual classroom music education program which includes curriculum guides aimed at integrating music into academic lessons, visits from musicians and a culminating experience in the concert hall with the full orchestra. < Each season < through generous underwriting support, the Phil invites hundreds of music-loving adults and students to our concerts, who otherwise would not have the means to attend.

12 Westchester Philharmonic | 2011-2012 Season <

Events throughout the season like our free lunch-time concerts with Downtown Music at Grace and chamber events throughout the County offer audiences an opportunity to experience our musicians in more intimate settings. <

Free open rehearsals before main stage events draw a diverse crowd of music lovers who benefit from the opportunity to learn about the rehearsal process. Pre-concert discussions and events deepen the concert-going experience for our patrons <

The Philharmonic is dedicated to providing performance opportunities to emerging performers early in their careers like pianist Orion Weiss who performed with the orchestra in May 2011.

www.westchesterphil.org | 914-682-3707 13 WESTC HESTER’S PREMIER RESO RT

Escape to Doral Arrowwood for a Getaway Weekend. Treat yourself to a refreshing weekend at Doral Arrowwood. Located on 114 acres in the heart of Westchester County, you’ll feel like you are a world away. There’s plenty to keep you busy: a round of golf, a game of tennis or a workout in our Sports Center. We also offer plenty of ways to relax: sauna, massage or lounging by the indoor/outdoor heated pool. In the evening, you can dance the night away at our Saturday Night Dinner Dance, or go al fresco at Mulligans. If you want to stay in the sports loop, drop by The Pub, where the big screen TVs will keep you on top of the action. Next time you’re thinking of getting away, think Doral Arrowwood.

Packages include a luxurious guestroom and a delicious breakfast. Call Today. 866-312-0401 T OLL FREE

• WHERE GREAT THING S BEG IN• 975 Anderson Hill Road • Rye Brook • New York 10573 • www.doralarrowwood.com

DA059 Resort_WPhil.indd 1 5/19/08 9:27:20 AM WESTC HESTER’S PREMIER RESO RT Concert I Saturday, October 1, 2011 at 8pm Sunday, October 2, 2011 at 3pm Raymond Leppard, conductor Lynn Harrell, cello

Ludwig van Beethoven (1770-1827) Leonore Overture No. 3 in C Major, Op.72b (1806)

Pyotr iLyich tchaikovsky (1840-1893) Variations on a Rococo Theme for Cello and Orchestra, Op.33 (1876) Theme: Moderato assai quasi Andante-Moderato semplice

Variation I: Tempo della Thema Variation V: Allegro moderato Variation II: Tempo della Thema Variation VI: Andante Variation III: Andante sustenuto Variation VII and Coda: Allegro vivo Variation IV: Andante grazioso Mr. harrell

antonin dvořák (1841-1904) Rondo for Cello and Orchestra in G Minor, Op.94 (1893) Mr. harrell Escape to Doral Arrowwood Intermission for a Getaway Weekend. edward eLgar (1857-1934) Treat yourself to a refreshing weekend at Doral Arrowwood. Located on 114 Variations on an Original Theme (“Enigma”), Op.36 (1899) acres in the heart of Westchester County, you’ll feel like you are a world away. Theme: Andante There’s plenty to keep you busy: a round of golf, a game of tennis or a workout in our Sports Center. We also offer plenty of ways to relax: sauna, Variation I: L’istesso tempo (“C.A.E”) Variation IX: Adagio (“Nimrod”) massage or lounging by the indoor/outdoor heated pool. In the evening, you Variation II: Allegro (“H.D.S.-P.”) Variation X: Intermezzo: Allegretto can dance the night away at our Saturday Night Dinner Dance, or go al fresco at Variation III: Allegretto (“R.B.T.”) “Dorabella”) Mulligans. If you want to stay in the sports loop, drop by The Pub, where the big Variation IV: Allegro di molto (“W.M.B.”) Variation XI: Allegro di molto “G.R.S.”) screen TVs will keep you on top of the action. Variation V: Moderato (“R.P.A.”) Variation XII: Andante (“B.G.N.”) Next time you’re thinking of getting away, think Doral Arrowwood. Variation VI: Andantino (“Ysobel”) Variation XIII: Romanza: Moderato (“***”) Variation VII: Presto (“Troyte”) Variation XIV: Finale: Allegro presto Packages include a luxurious guestroom and a delicious breakfast. Variation VIII: Allegretto (“W.N.”) (“E.D.U.”) Call Today. 866-312-0401 T OLL FREE The Westchester Philharmonic is deeply grateful to Robert Arnow for his generous support, in loving memory of Joan.

This season is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

This season is also made possible, in part, by ArtsWestchester with funds from Westchester County Government. • WHERE GREAT THING S BEG IN• 975 Anderson Hill Road • Rye Brook • New York 10573 • www.doralarrowwood.com

www.westchesterphil.org | 914-682-3707 15

DA059 Resort_WPhil.indd 1 5/19/08 9:27:20 AM Program Notes – Concert I

Toward the middle of the 19th century, a presented his opera in four different versions rift began to develop among the Romantic between 1805 and 1814, each time with a composers. Pitted against each other were the different overture. Of the four overtures, traditionalists, centered around Brahms, who Léonore No. 3 is the longest and most venerated earlier generations of composers, dramatic. and the radicals, spearheaded by Liszt, who A conventional opera overture sets the sought to break free from the influence of mood for the ensuing work and sometimes the past. Chief among their disagreements introduces key musical themes. The Léonore was the question: what genres are best suited No. 3, by contrast, encapsulates Fidelio’s for musical expression? Traditionalists entire plot. The triumph of a hero over preferred forms pioneered in the 18th century, adversity was Beethoven’s favorite musical including the symphony, quartet, and theme trope, and this overture follows that narrative and variations. The radicals found these arc closely. Following an apprehensive forms lacking, and created new genres to extended introduction, the strings play accommodate their musical ideas. the soaring hero theme. Amid the stormy The Westchester Philharmonic’s 2011-2012 development section, an offstage trumpet season will begin with a two-month exploration solo mirrors the dramatic turning point of both sides of this aesthetic debate. This of the opera, in which an identical fanfare concert features the work of the traditionalists. announces the arrival of the Minister of Justice. A sparkling flute solo leads to the Léonore overture no. 3 in c Major, recapitulation of the heroic theme, but op.72b (1806) Beethoven saves the ultimate triumph for the coda, when the strings take flight with a Ludwig van Beethoven relentless stream of notes. (Baptized December 17, 1770 in Bonn, Electorate of Cologne; died March 26, 1827 in Vienna) variations on a rococo theme for cello and orchestra, op.33 (1876) Instrumentation: two flutes, two oboes, two Pyotr iLyich tchaikovsky clarinets, two bassoons, four horns, two (Born May 7, 1840 in Votkinsk, Russia; died trumpets, three trombones, timpani, and strings. November 6, 1893 in Saint Petersburg)

Beethoven’s lone opera, Fidelio (1805), was Instrumentation: two flutes, two oboes, two adapted from the play Léonore, ou L’Amour clarinets, two bassoons, two horns, and strings, conjugal by Jean-Nicolas Bouilly (1763- in addition to the solo cello. 1842). In Bouilly’s work, the heroine Leonore disguises herself as a man, aptly named Tchaikovsky wrote his Rococo Variations Fidelio, in order to infiltrate the prison where for the German cellist Wilhelm Fitzenhagen her husband Florestan is being held. Through (1848-1890) who, like Tchaikovsky, held her ingenuity, she is able to delay Florestan’s a professorship at the Saint Petersburg wrongful execution until the arrival of the Conservatory. A flamboyant performer, Minister of Justice guarantees his freedom. Fitzenhagen decided that Tchaikovsky’s Beethoven was actually the third composer to composition was not sufficiently tailored write an operatic treatment of this material, to his virtuosic ability. Consequently, he naming his work Fidelio rather than Léonore reworked the cello part and rearranged the to avoid confusion with the others. He variations, improving the piece’s showiness

16 westchester philharmonic | 2011-2012 season Program Notes – Concert I

at the expense of Tchaikovsky’s carefully (Born September 8, 1841 in Nelahozevez, constructed thematic plan. Caught off-guard Austrian Empire (now in the Czech Republic); by these unsolicited changes, Tchaikovsky died May 1, 1908 in Prague) was furious with Fitzenhagen. Nevertheless, he withdrew from the argument and Instrumentation: two oboes, two bassoons, despondently permitted the Variations to timpani, and strings. be published with Fitzenhagen’s alterations included. Researchers in the 20th century were Dvořák composed the chamber version of able to recreate Tchaikovsky’s original score, his Rondo for Cello in 1891 shortly before but the Rococo Variations are almost always leaving Europe to take up the directorship of performed using the Fitzenhagen edition. the National Conservatory of Music in New Following a short orchestral introduction, York. He first performed the piece with its the solo cello plays the charming, Rococo- dedicatee, the cellist Hanuš Wihan (1855-1920), style theme. The “Rococo period” is a term during his farewell tour of Bohemia. Two more frequently used when discussing mid- years later, in New York, Dvořák completed 18th century art and architecture, but it can the version for soloist and orchestra, calling also refer to contemporaneous late-Baroque for a rather strange ensemble of double- period music, best exemplified by the music reed woodwinds, timpani, and strings. Some of J.S. Bach’s sons, Carl Philipp Emanuel Bach scholars believe that the Rondo was intended and Johann Christian Bach. Tchaikovsky was as a study piece for Dvořák’s Cello Concerto a devoted admirer of 18th century music, and in B Minor (1895), which was also written for he composed his Rococo theme in homage to Wihan. Nevertheless, the Rondo was a popular the period. addition to the solo cello repertoire. Variations I and II feature the cello The main theme of the Rondo consists of presenting transformations of the theme in a sinuous neighbor note phrase followed by running triplets and in call-and-response with a pointed, rhythmic phrase. As is expected the orchestra, respectively. Tchaikovsky slows in a traditional rondo form, this recurring the tempo and modulates the key for Variation theme links together a series of contrasting III, permitting the soloist the opportunity for episodes, which are frequently reminiscent of lyricism. In Variation IV, the cellist pauses the Bohemian folk music Dvořák cherished. between each phrase of the theme to offer a Unexpectedly for a piece with a soloist, the mini-cadenza. The fifth variation hands the Rondo concludes not with a virtuoso flourish, theme over to a solo flute and then the full but with a series of pianissimo chords. orchestra, leading into a full, virtuosic cadenza for the soloist. The expressive Variation VI is variations on an original theme the prime reason that Fitzenhagen rearranged (“enigma”), op.36 (1899) Tchaikovsky’s original order. He wanted this, the most passionate rendition of the theme, edward eLgar to be in the penultimate position. The final (Born June 2, 1857 in Lower Broadheath, variation presents the theme at a breakneck England; died February 23, 1934 in Worcester) speed, as the soloist and the orchestra race to the finish. Instrumentation: two flutes (one doubling piccolo), two oboes, two clarinets, two bassoons, rondo for cello and orchestra in g Minor, contrabassoon, four horns, three trumpets, three op.94 (1893) trombones, tuba, timpani, side drum, triangle, bass drum, cymbals, organ, and strings. antonín dvořák

www.westchesterphil.org | 914-682-3707 17 Program Notes – Concert I

Although Edward Elgar was regarded as the Jaeger (1860-1909), Elgar’s publisher and close preeminent English composer for 20 years of musical advisor (Nimrod is a Biblical hunter; his career, he always considered himself an “jaeger” is the German word for “hunter”). outsider. Born into a lower-class family, the In an illustrative letter to Jaeger, Elgar devout Catholic disliked London and settled explained his design: “I’ve written the there only out of professional necessity. variations each one to represent the mood of Elgar was also a self-taught composer, and the ‘party’ – I’ve liked to imagine the ‘party’ interested in neither the music of other English writing the [variation] him (or her) self composers nor English folk music, drawing and have written what I think they [would] influence, instead, chiefly from continental have written – if they were asses enough to composers such as Dvořák, Wagner, and compose – it’s a quaint idea and the result is Brahms. From 1872 until 1899, Elgar earned amusing to those behind the scenes and won’t a living but not fame as a performer, music affect the hearer who ‘nose nuffin.’” Tongue-in- teacher, and composer. Periodically afflicted by cheek humor aside, it is fitting that Elgar paid self-doubt, he received needed encouragement musical tribute to his friends in what proved to from his wife Alice (née Roberts) (1848-1920) be his breakthrough work. and a devoted circle of friends. Along with the personal allusions, Elgar On the evening of October 21, 1898, Elgar wove a much trickier riddle into the Variations. was noodling around on the piano after a long According to the composer, each variation day spent giving violin lessons. He recalled is based not only on the initial theme but later, “Suddenly my wife interrupted by saying, on another unheard melody: the Enigma. ‘Edward, that’s a good tune.’ I awoke from The identity of the Enigma has been widely the dream ‘Eh! tune, what tune!’ and she said, debated, but remains unknown. Elgar claimed ‘Play it again, I like that tune.’” With a little that it is a well-known tune, but seems to have refinement, that tune became the theme for taken the answer to his grave. Some of the more Variations on an Original Theme, which Elgar frequently proposed candidates for the Enigma completed the following year. are Auld Lang Syne, “Dido’s lament” from Theme and variations form is often Henry Purcell’s Dido and Aeneas, and the slow considered one of the more transparent movement from Mozart’s Prague Symphony. musical genres, but the Enigma Variations At any rate, the Enigma Variations is stands in stark contrast to this concept. As musically engrossing whether Elgar’s puzzles

suggested by the nickname “Enigma,” Elgar’s are understood or not. The variations are work contains several layers of meaning. uniformly innovative, and Elgar has a firm First, each of the fourteen variations is a command of late-Romantic musical language representation of one of Elgar’s confidantes. and orchestration style. As Elgar jokingly In the score, Elgar indicated the identity of the predicted, the listener can be blissfully variations with initials or coded nicknames. ignorant of the piece’s hidden meaning and be Variation I (“C.A.E”) is his wife, (Caroline) Alice moved just the same. Elgar, while Variation XIV (“E.D.U.”) is Elgar himself, the initials coming from “Eduard,” as © Robert Hollahan 2011 he ironically styled himself at times. “Nimrod,” the nickname of Variation IX, is August

18 westchester philharmonic | 2011-2012 season

Raymond Leppard, conductor

n exceptional and York Philharmonic on numerous occasions, versatile musician, toured with the Chicago Symphony and Raymond Leppard is Detroit Symphony and has conducted many one of the most respected other major orchestras including the Boston international conductors Symphony, The Philadelphia Orchestra, Los of his time. In four decades Angeles Philharmonic, Pittsburgh Symphony, on the podium, he has Israel Philharmonic, and the BBC Symphony conducted nearly all of (including the Last Night of the Proms), as the world’s leading orchestras, made more well as in all European capital cities and in thanA 150 recordings, written two books, Japan. created legendary realizations of Cavalli In the great opera houses of the world, and Monteverdi, and composed several film highlights include Britten’s Billy Budd at scores. the Metropolitan and San Francisco operas, In addition to his fourteen-year tenure Alceste and Alcina at the New York City as Music Director of the Indianapolis Opera, and the world premiere of Nicholas Symphony Orchestra and long association Maw’s Rising of the Moon at Glyndebourne with the English Chamber Orchestra, Mr. Opera, where he has been a frequent Leppard has an impressive list of conducting guest. He has also appeared at the Royal credits: He has appeared with the New Opera House, Covent Garden and in Paris,

20 westchester philharmonic | 2011-2012 season Hamburg, Santa Fe, Stockholm, and Geneva. Indianapolis Symphony. Mr. Leppard has In the late 1950s, Mr. Leppard accepted a composed a number of film scores, including post at Cambridge as University Lecturer the music for Lord of the Flies, Laughter in in Music, beginning a distinguished joint the Dark and Hotel New Hampshire. His career as academician and performer. During second book, Raymond Leppard on Music: An his tenure at Cambridge, he was responsible Anthology of Critical and Personal Writings, for bringing the operas of Monteverdi and was published by Resources in 1993. Cavalli back to the professional stage where The Queen of England has honored they had not been seen for 300 years. Mr. Leppard with the title Commander A prolific recording artist, Mr. Leppard of the British Empire (CBE). For his has earned such international prizes as the services to Italian music, the Republic of Deutsche Schallplattenpreis, a Grammy® Italy has conferred upon him the title of Award, a Grand Pro/Am Music Prix du Commendatore della Republica Italiana. In Disque, and the Edison Prize. Recent America, he has received honorary degrees recordings include works for organ and from Purdue University, Butler University, orchestra with Gillian Weir and the English and the University of Indianapolis. Chamber Orchestra, two recordings with the Born in London, Mr. Leppard was educated Royal Philharmonic Orchestra and a disc at Trinity College, Cambridge. He currently of 20th century American music with the resides in the United States. CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC CCCCCCCC

Let the arts heal your soul. We’llW WWWWWWWWWWWWWWW take care ofWWWWWWWWWWWW the rest.

Greenwich Hospital proudly supports the arts in this community. Come visit us at www.greenwichhospital.org.

Real life. Real care. �

www.westchesterphil.org | 914-682-3707 21 Lynn Harrell, cello

ynn Harrell’s presence orchestras of London, Leipzig, Munich, Berlin, is felt throughout the Tonhalle, Israel, and the Concergebouw. musical world. A He has also toured extensively to Australia consummate soloist, and New Zealand, as well as the Far East, chamber musician, recitalist, including Japan, Korea, Malaysia, Taiwan, and conductor, and teacher, his Hong Kong. In Hong Kong, Mr. Harrell was work throughout the featured in a three-week Lynn Harrell Cello Americas, Europe and Asia Festival with the Hong Kong Philharmonic. has placed him in the highest echelon of He has collaborated with such noted today’sL performing artists. conductors as James Levine, Sir Neville Mr. Harrell is a frequent guest of many Marriner, Kurt Masur, Zubin Mehta, André leading orchestras including Boston, Chicago, Previn, Sir Simon Rattle, Leonard Slatkin, Yuri New York, Philadelphia, San Francisco, Temirkanov, Michael Tilson Thomas, and Ottawa, Pittsburgh, and the National David Zinman. In recent seasons, Mr. Harrell Symphony. In Europe, he has worked with the has particularly enjoyed collaborating with

22 westchester philharmonic | 2011-2012 season violinist Anne-Sophie Mutter performing trio Mr. Harrell has also recorded Tchaikovsky’s concerts with Ms. Mutter and pianist, André Variations for Cello and Orchestra on a Previn, as well as violist Yuri Bashmet. An Rococo Theme, Shostakovich’s Cello Concerto important part of Mr. Harrell’s life is summer No. 2, and Prokofiev’s Sinfonia Concertante music festivals, which include appearances at with the Royal Liverpool Philharmonic, the Verbier Festival in Switzerland, the BBC Gerard Schwarz conducting (Classico). His Proms in London, and the Aspen and Grand most recent recording, The Known Unknowns, Tetons festivals. is a collection of masterpieces from the On April 7, 1994, Mr. Harrell appeared at Baroque period. the Vatican with the Royal Philharmonic Mr. Harrell’s experience as an educator is in a concert dedicated to the memory of wide and varied. From 1985-93, he held the the six million Jews who perished in the International Chair for Cello Studies at the Holocaust. The audience for this historic Royal Academy in London. Concurrently, event, which was the Vatican’s first official from 1988-92, he was Artistic Director of the commemoration of the Holocaust, included orchestra, chamber music and conductor Pope John Paul II and the Chief Rabbi of training program at the LA Philharmonic Rome. That year, Mr. Harrell also appeared Institute. In 1993, he became head of the Royal live at the Grammy® Awards with Itzhak Academy in London, a post he held through Perlman and Pinchas Zukerman, performing 1995. He has also given master classes at the an excerpt from their Grammy®-nominated Verbier and Aspen festivals and in major recording of the complete Beethoven String metropolitan areas throughout the world. Trios (Angel/EMI). From 2002-08, Mr. Harrell taught cello at Rice Highlights from an extensive discography University’s Shepherd School of Music. of more than 30 recordings include the In June 2010, along with his wife, complete Bach Cello Suites (London/Decca), violinist Helen Nightengale, he founded the the world-premiere recording of Victor HEARTbeats Foundation. A 501(c) charity Herbert’s Cello Concerto No. 1 with the based in Los Angeles, the HEARTbeats Academy of St. Martin in the Fields led by Sir Foundation strives to help children in Neville Marriner (London/Decca), the Walton need harness the power of music to better Concerto with Sir Simon Rattle and the City cope with, and recover from, the extreme of Birmingham Symphony Orchestra (EMI), challenges of poverty and conflict, in hope of and the Donald Erb Concerto with Leonard creating a more peaceful, sustainable world Slatkin and the Saint Louis Symphony for generations to come. Mr. Harrell serves (New World). Together with Itzhak Perlman as a board officer and Artist Ambassador, a and Vladimir Ashkenazy, Mr. Harrell was capacity that allows him to work directly with awarded two Grammy® Awards—in 1981 for children in need. the Tchaikovsky Piano Trio and in 1987 for Mr. Harrell was born in New York to the complete Beethoven Piano Trios (both musician parents. He began his musical Angel/EMI). A recording of the Schubert studies in Dallas and proceeded to the Trios with Mr. Ashkenazy and Pinchas Juilliard School and the Curtis Institute of Zukerman (London/Decca) was released Music. He is the recipient of numerous awards, in February 2000. His May 2000 recording including the first Avery Fisher Award. with Nigel Kennedy, Duos for Violin & Cello, Mr. Harrell plays a 1720 Montagnana. He received unanimous critical acclaim (EMI). makes his home in Santa Monica, CA.

www.westchesterphil.org | 914-682-3707 23 Flentrop Organ

he magnificent Flentrop the ground when air casters underneath are organ housed at the inflated. It then takes several stagehands to Performing Arts Center push the instrument into place. weighs 21,000 pounds, is Built in 1966 at the Flentrop Orgelbouw made of African mahogany Company in the Netherlands, the organ was and has some 3,721 pipes. originally destined for Carnegie Hall. Legend Stamped “‘D.A. Flentrop has it that the organ was three inches too 1966’” in gold lettering tall for the intended space, and Isaac Stern, above its three keyboards, the organ is one the guiding light of Carnegie Hall for many Tof the largest Flentrop instruments in the years, was not fond of organ music, so it was eastern United States. Unlike most Flentrop sent back to the Netherlands. organs, whose pipes are lead and pewter, its Through the efforts of Esther Simon, a pipes are copper (most likely an aesthetic philanthropist and member of the Carnegie choice). The organ contains 61 ranks, or sets Hall Board of Trustees from 1965 to 1983, the of pipes that produce a specific timbre, and organ was later given to Purchase College. 49 stop controls, which enable the organist It was installed in 1978 when the Performing to control what ranks are played and thus Arts Center was completed, not far from Mrs. produce different sounds. Simon’s home in Rye. A portion of the stage The organ is only eight feet deep to was redesigned to accommodate it, as was facilitate its portability, but moving the the separate, temperature- and humidity- instrument onto the stage requires close to controlled Organ Room adjacent to the stage six hours and is undertaken only two or three where the instrument now lives. times a year. The organ and the custom- This marks the sixth time that the designed steel platform on which it rests Westchester Philharmonic has used the are buoyed hydraulically one-half inch off Flentrop Organ.

24 westchester philharmonic | 2011-2012 season Concert II Saturday, November 12, 2011 at 8pm Sunday, November 13, 2011 at 3pm Tomomi Nishimoto, conductor Ann Hobson Pilot, harp

Franz Liszt (1811-1886) Les Préludes, S 97 (1848, pub. 1856)

John wiLLiaMs (b. 1932) On Willows and Birches, Concerto for Harp (2009) I. On Willows II. On Birches Ms. Pilot Intermission nikoLai riMsky-korsakov (1844-1908) Scheherazade, Op.35 (1888) I. The Sea and Sinbad’s Ship II. The Kalendar Prince III. The Young Prince and The Young Princess IV. Festival at Baghdad. The Sea. Shipwreck on a Rock Surmounted by a Bronze Warrior.

Major support provided by the SVM Foundation and Mrs. Vivian Milstein.

This season is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

This season is also made possible, in part, by ArtsWestchester with funds from Westchester County Government.

www.westchesterphil.org | 914-682-3707 25 Program Notes – Concert II

Last month, the Westchester Philharmonic transformed and reinterpreted throughout presented pieces written by tradition- the sections of a piece. The source for minded Romantic composers. This concert Les Préludes was a poem by Alphonse de investigates the other side of that aesthetic Lamartine (1790-1869), from the collection debate, with two pieces by self-conscious Nouvelles méditations poétiques (‘New musical radicals. Although they had different Poetic Meditations’). When Les Préludes reasons for doing so, both Liszt and Rimsky- was published, it included an explicit Korsakov worked to reject traditional models program, freely adapted from Lamartine to and to reinvent musical expression on their fit the music: own terms. “What else is our life but a series of preludes to that unknown Hymn, the first Les Préludes, s 97 (1848, pub. 1856) and solemn note of which is intoned by Death? – Love is the glowing dawn of all Franz Liszt existence; but in whose fate are the first (Born October 22, 1811 in Doborján, Kingdom of Hungary (now Raiding, Austria); delights of happiness not interrupted by died July 31, 1886 in Bayreuth, Germany) some storm, the mortal blast of which dissipates its fine illusions; the fatal Instrumentation: three flutes (one doubling lightning of which consumes its altar; and piccolo), two oboes, two clarinets, two where is the cruelly wounded soul which, bassoons, four horns, two trumpets, three on issuing from one of these tempests, does trombones, tuba, timpani, harp, and strings. not endeavor to rest his recollection in the calm serenity of life in the countryside? In 1848, Franz Liszt “retired” from his career Nevertheless man hardly gives himself up as a virtuoso pianist and settled in the for long to the enjoyment of the beneficent German city of Weimar. There, he reinvented stillness which at first he has shared in himself as a conductor and composer of Nature’s bosom, and when ‘the trumpet avant-garde music. Liszt’s celebrity attracted sounds the alarm,’ he hastens to the like-minded musicians and critics to Weimar, dangerous post, whatever the war may be, and in the ensuing decades this group would which calls him to its ranks, in order at last be named the New German School. Liszt to recover in combat the full consciousness and his colleagues were dedicated to the of himself and the entire possession of his proposition that in order to express grand energy.” poetic and philosophical ideas, music needed After two quiet pizzicato pulses, to break free from the aesthetic norms of the unison strings play the main theme of Les past. In particular, Liszt wanted to replace Préludes, a musical seed that will be used traditional symphonic construction – four to generate material throughout the piece. movements, sonata form – with a new, In this first iteration, the theme represents formally flexible scheme. To this end, he the program’s introductory question. The created a new genre, the symphonic poem. ensuing episodes depict the scenes outlined Les Préludes is the third of Liszt’s thirteen in Liszt’s program. A gushing love song is symphonic poems. Like the others, it is a followed by a colorful evocation of a storm. self-contained, single movement work that Woodwinds introduce a relaxed Nature is given structural unity by cyclic form scene, complete with the obligatory bird- rather than sonata form. In cyclic form, calls. Finally, a brass fanfare ushers in the the principal thematic idea is continuously heroic battle march. Liszt concludes the

26 westchester philharmonic | 2011-2012 season Program Notes – Concert II

work with a restatement of the all-important conductor of the Boston Pops (1980-1993). question. Ms. Pilot has had works written for her before, among them Thomas Oboe Lee’s 1985 Harp © Robert Hollahan 2011 Concerto; and she recently commissioned and premiered a concerto by Kevin Kaska. She On Willows and Birches, concerto for harp is also the harpist for the Boston Symphony (2009) Chamber Players, for whom, along with the Nash Ensemble, Elliott Carter wrote his harp- John wiLLiaMs and-ensemble piece Mosaic (she gave the (Born February 8, 1932 in Queens, New York) American premiere of that work in July 2008 This essay appeared originally in the program at Tanglewood). book of the Boston Symphony Orchestra It was Ms. Pilot who first suggested to in 2009 and is written by Robert Kirzinger, Williams that he write a concerto for her Assistant Director of Program Publications for to play, beginning with casual suggestions the Boston Symphony Orchestra. It is printed years ago. He demurred, given his schedule here by permission of the author and the BSO. and his awareness of the difficulty of writing for the harp as a solo instrument with Instrumentation: solo harp, 2 flutes and orchestra. (On top of the complexities of harp- piccolo, 2 oboes, English horn, 2 clarinets, bass playing technique, balancing the orchestral clarinet, 2 bassoons, three horns, timpani, accompaniment so the harp can be heard is percussion (glockenspiel, vibraphone, crotales, a notoriously tricky task.) Ms. Pilot’s earnest marimba, small triangle, small glass bowl, request last year, linked with her impending tambourine, small tambourine, high suspended retirement, caused Williams to change his cymbal, tom-toms, tuned drums [medium, mind: “I thought about it, and thought about low]), celesta, and strings. English horn, horns, the privilege of being asked to do this for bassoons, and double basses do not play in this truly great woman.” He then embraced “On Willows.” Bass clarinet and piccolo do not the opportunity to pay tribute to one of the play in “On Birches.” orchestral world’s most admired performers. By November 2008, it had been decided that Ann Hobson Pilot’s remarkable career with the concerto would be the centerpiece of the the Boston Symphony Orchestra will resonate BSO’s gala concerts for the orchestra’s own in the orchestral world for a long time to Symphony Hall opening night this season come, as will her continuing life as a musician (September 23) and for Carnegie Hall’s outside the orchestra, as a soloist, teacher, and opener. Williams began the piece in fall of researcher into the history of her instrument. 2008, largely finishing the second movement She began her tenure with the BSO in 1969, by the end of the year and the first sometime and in 1980 was named principal harp. She later. Further tweaking has taken place over has frequently performed as soloist with the the course of 2009 after conversations and orchestra, and now, for the first time, on the read-throughs with his soloist. occasion of her retirement from the BSO, she John Williams is, of course, the composer plays a piece specifically written for her—a of perhaps the greatest body of film gift from someone who knows her playing music in history, particularly in his many especially well, composer/conductor John collaborations with Steven Spielberg. This Williams, a colleague of thirty years’ standing aspect of the five-time Oscar®-winner’s career who got to know her during his years as needs little introduction. Film music, at

www.westchesterphil.org | 914-682-3707 27 Program Notes – Concert II

least in the classic sense, is a collaboration- To contrast that—more trees, really—I’ve intensive pursuit, requiring great trust always loved the Frost poem “On Birches,” between director and composer and the and the idea of, as I remember in my latter’s close understanding of what and mind, the picture of the little boy swinging how his music envelopes, underlines, and on the birch branches. Musically, the idea enhances. The preexisting story, images, and of the second movement … is to contrast mood are there to trigger the imagination, and Willows, in the sense that it would offer in Williams’ scores the music goes further, a rhythmic vitality, in contrast to this becomes virtually a character in itself. It impressionistic or diaphanous kind of shouldn’t be surprising, then, that his concert quality of the first movement, and show music similarly draws on the inspiration of the rhythmic brilliance of Ann Hobson collaboration and occasion. Most of Williams’ Pilot and what the harp can contribute major concert works are concertos, taking to that. And also, the idea of “swinger” their cue from his interactions with many of birches [“One could do worse than be great musicians with whom he has worked a swinger of birches”—Robert Frost]— as composer and conductor, including Yo-Yo “swinger” in our language has a lot of Ma and Gil Shaham. Because of Williams’ connotations; it might suggest a dance, relationship to the BSO and Boston Pops, it some movement, some light feeling of follows that many of his concerted works have choreographic activity. originated with BSO players. Most recently his Concerto for Viola, written for Boston Psalm 137, which famously begins, “By the Pops principal violist Cathy Basrak, received waters of Babylon we sat down and wept,” is its premiere with Williams conducting the a song of the Hebrew exile in Babylon. When Pops this past spring. their captors ask for a song, the heartbroken The title of Williams’ new harp concerto people are silent, and instead hang their relates it to many others of Williams’ works instruments among the weeping willows. with its reference to trees, which are an On Willows takes this mood and image ongoing fascination for the composer. In a and evokes the sorrow of the exile and the recent interview about writing this work for wind in the trees and in the strings of the Ann Hobson Pilot, he related, hanging harps. The soloist shifts seamlessly between clearly ringing pitches and free, In thinking about what to write for her, gestural glissandos. The orchestral scoring in the process of my reading about trees, is atmospheric, and in particular the celesta which I do fairly frequently, I came upon plays the role of creating a kind of sonic halo a quote from the Biblical Psalm 137, “We around the soloist. The movement ends with a hanged our harps upon the willows.” … short notated cadenza. The second movement This fascinated me, the picture of harps marked Allegro “Con gioia”—“with joy”—is hanging on the trees with the wind dancelike, full of syncopation and distinct wafting through the strings of the harps changes of meter. The orchestra is far more making, one can imagine, a beautiful, very assertive, joining in the celebration whose delicate, subtle sound. I thought, what a “main purpose,” says the composer “is to wonderful idea for a movement for the celebrate a great woman and a great career.” harp, and so the first movement is called © Robert Kirzinger 2009 “On Willows.”

28 westchester philharmonic | 2011-2012 season Program Notes – Concert II

Scheherazade, op.35 (1888) including the octatonic and whole-tone scales. Influenced by Liszt and the New German nikoLai riMsky-korsakov School, many of The Five’s compositions did (Born March 18, 1844 in Tikhvin, Russia; died June 21, 1908 in Luga, Russia) not follow traditional Classical forms. Perhaps the most important element, however, was Instrumentation: two flutes, piccolo, two oboes the pervasive reliance on Russian history and (one doubling English horn), two clarinets, folklore for musical subject matter. two bassoons, four horns, two trumpets, three Rimsky-Korsakov’s symphonic suite trombones, tuba, timpani, bass drum, snare Scheherazade embodies each of these three drum, cymbals, triangle, tambourine, tam-tam, characteristics. The piece features boldly harp, and strings. inventive music, Rimsky-Korsakov’s colorful use of the orchestra in particular. Although it While Liszt rejected traditional models for is cast in four movements, Scheherazade does aesthetic reasons, Nikolai Rimsky-Korsakov’s not attempt to satisfy the formal mandates of prime motivation was nationalism. In the a symphony. Most significantly, the suite is a 1860s, the Saint Petersburg Conservatory defining work of Russian Orientalism. To the had a decidedly pro-German musical 19th century Russian mind, the Middle East orientation. Conservatory students based was much like the West to an American: an their compositional studies on a curriculum of alluring, exotic place, ideal to be romanticized. Bach, Haydn, and Mozart, with little attention Rimsky-Korsakov was determined to compose to Russian music. Outside the influence of a musical treatment of this setting after the academy, however, an upstart group of reading excerpts from an illustrated version self-taught Russian nationalist composers of Arabian Nights. Although Scheherazade sought a different approach. Known as does not express a specific narrative from “The Mighty Handful” (or “The Five”), Mily that work, it borrows the main characters and Balakirev, Cesar Cui, Alexander Borodin, themes. Modest Mussorgsky, and Nikolai Rimsky- Scheherazade is dominated by two Korsakov were united in their dislike for the principle melodies. The Sultan’s theme, old masters. In his autobiography, Rimsky- introduced in the suite’s opening bars by Korsakov recalled: “I visited Balakirev every snarling brass, represents the tyrannical Saturday evening, often meeting there with Persian ruler who kills each of his wives the Mussorgsky and Cui. ... The tastes of the morning after their wedding. Played first by circle leaned towards Glinka, Schumann, a shimmering solo violin, Scheherazade’s and Beethoven’s last quartets. ... Mozart and theme depicts the titular Queen who escapes Haydn were considered out of date and naive; death at the Sultan’s hands by telling him J.S. Bach was held to be petrified, yes, even stories. Rimsky-Korsakov weaves both of a mere musico-mathematical, feelingless, these characters into numerous dramatic and deadly nature, composing like a very episodes across all four movements, leading machine.” ultimately to a peaceful resolution. “The Five” created and popularized a distinctly Russian musical style with several © Robert Hollahan 2011 defining characteristics. Setting themselves apart tonally, they infused their works with novel harmonic devices and scales,

www.westchesterphil.org | 914-682-3707 29 Tomomi Nishimoto, conductor

omomi Nishimoto, through the Agency for Cultural Affairs and currently Principal the Idemitsu Music Award. Guest Conductor with As a talented conductor, Ms. Nishimoto the State Symphony has held various appointments in her Orchestra of Russia career, including several seldom granted (Svetlanov Symphony to those of non-Russian background. From Orchestra), is a graduate 2004 to 2006, she served as the Principal of the Osaka College Guest Conductor for the St. Petersburg of Music with a Bachelor of Music in Mussorgsky State Academic Opera and Composition.T Upon graduation, Ms. Ballet Theatre. She has also served as the Nishimoto went abroad to the Saint Chief Conductor and Artistic Director for Petersburg State Conservatory in Russia the Russian Symphony Orchestra of the and pursued further study in opera and Tchaikovsky Foundation from 2004 to conducting. She is a recipient of numerous 2007. Other accomplishments during her awards and scholarships, including Japan’s time in Russia include performances with Internship in Arts and Music scholarship the Moscow City Symphony Orchestra

30 westchester philharmonic | 2011-2012 season (Russian Philharmonic). Ms. Nishimoto has Ms. Nishimoto is also a renowned opera been invited to numerous music festivals conductor. Her work includes successful including the Split Summer Festival, collaborations with the Hungarian State Dubrovnik Summer Festival, Prague Proms, Opera House and the Prague State Opera. and Vilnius Music Festival. Ms. Nishimoto has also been working In 2007, Ms. Nishimoto established herself as a Young Global Leader for the World in Europe with a successful performance at Economic Forum, which hosts its annual the Bruckner Orchestra Linz concert held at meeting in Davos, Switzerland. Through Brucknerhaus in Austria. Capitalizing on her her endeavors to serve as a leader, she has newly gained notoriety in Europe, she later attracted attention from around the world. performed with various European ensembles In 2010, Ms. Nishimoto concluded her including the Monte Carlo Philharmonic successful first tour in the United States Orchestra, Budapest Philharmonic Orchestra, by conducting the American Symphony British Royal Philharmonic Orchestra, Orchestra at Carnegie Hall. This year, she Romanian State Philharmonic Orchestra is scheduled to be promoted to Executive (George Enescu), Lithuanian National Producer of the Olympus Hall Hachioji, a Symphony Orchestra, and the Latvian recently constructed classical music hall in National Symphony Orchestra. Hachioji City, Japan. In addition to her orchestral activities,

AD Kensico 1/2h.indd 1 www.westchesterphil.org9/14/09 | 914-682-3707 4:17:05 PM 31 Ann Hobson Pilot, harp

fter 40 years with the Orchestra, the Harp Concerto by the young Boston Symphony American composer Kevin Kaska, a work that Orchestra, legendary she commissioned. principal harpist Ann In May of 2010, Ms. Pilot was the recipient Hobson Pilot retired at the of an honorary Doctor of Music degree from end of the Tanglewood Tufts University. She has received numerous 2009 season. awards including the Distinguished Alumni Ms. Pilot is a graduate of Award from the Cleveland Institute of Music the Cleveland Institute of Music under Alice in 1993 and again in 2010 and the Lifetime Chalifoux.A She became principal harp of the Achievement Award from the Boston Boston Symphony Orchestra in 1980, having Musicians Association in 2010. She was joined the BSO in 1969 as assistant principal awarded an honorary Doctor of Fine Arts harp and principal with the Boston Pops. degree from Bridgewater State College in Before that, she was substitute second harp 1988. with the Pittsburgh Symphony and principal In 1997, she traveled to South Africa to harp of the Washington National Symphony. record a video documentary, A Musical Ms. Pilot has had an extensive solo career. Journey, sponsored by the Museum of Afro- She has performed with many American American History and WGBH. The film orchestras as a soloist, as well as with aired nationwide on PBS for three years. orchestras in Europe, Haiti, New Zealand, and While there, she performed with the National South Africa. She has several CDs available Symphony of Johannesburg and visited the on the Boston Records label, as well as on the San people of Namibia. The video is about Koch International and Denouement labels. the concert and her personal musical journey, In September 1999, she traveled to London and tells the story of her African journey to to record, with the London Symphony find the roots of the harp.

32 westchester philharmonic | 2011-2012 season Ms. Pilot is on the faculties of the New is more than a great harpist, she really is a England Conservatory of Music, Boston great woman—it has to do with the inner University, Tanglewood Music Center, ear or the inner soul, but she has it all.” On and the Boston University Tanglewood October 3, the orchestra paid tribute to her Institute. She has performed with the Boston by dedicating the entire concert in her honor Symphony Chamber Players, and the Ritz and featuring her in two other works for solo Chamber Players, and at the Marlboro harp in addition to the Williams piece. Music Festival, Newport Music Festival, and Ms. Pilot says she looks forward to a lot of Sarasota Music Festival. performances, master classes and recordings After the 2009 Tanglewood concerts and in the years ahead. She recently completed her official retirement, Ms. Pilot returned a new half-hour documentary, A Harpist’s to the stage as soloist opening the Boston Legacy – Ann Hobson Pilot and the Sound of Symphony season and the Carnegie Hall Change, with producer Susan Dangel. The season with the premiere of On Willows and film tells the story of her life in music and Birches, a concerto for harp and orchestra began airing on PBS stations nationwide written for her by John Williams. Of the this past spring. Ms. Pilot and her husband, work, John Williams said, “The exciting Prentice Pilot, are residents of Osprey, thing for me about writing concertos is that Florida. you are writing for a person—someone. Ann

Noonday Getaway Concerts Featuring Members of the Westchester Philharmonic

Wednesday, November 9, 2011 at 12:10 pm Wednesday, November 16, 2011 at 12:10 pm

Take a break from the office or shopping and let yourself be inspired by a free half-hour of beautiful chamber music.

For more information call 914-949-0384 or visit www.dtmusic.org.

Noonday Getaway Concerts are presented at

Grace Church | 33 Church Street | White Plains, NY

www.westchesterphil.org | 914-682-3707 33 ENTERGY

and its staff at the

Indian Point Energy Center salute Winter Pops The 2011 – 2012 SeaSon of thE WeSTcheSTer Philharmonic.

We congratulate the Philharmonic

for its important contribution to the cultural life of Westchester County

and the entire region.

Safe. Secure. Vital. Indian Point Energy Center Concert III

Sunday, December 18, 2011 at 3pm

Winter Pops

Kelli O’Hara Ben Davis

Ted Sperling

Major corporate sponsors: Safe. Secure. Vital. Indian WESPointTCHE EnergySTER MAGAZINE Center

This season is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

This season is also made possible, in part, by ArtsWestchester with funds from Westchester County Government.

www.westchesterphil.org | 914-682-3707 35 Ted Sperling, conductor

ne of today’s leading the Tony® and Drama Desk Awards (with theater artists, Ted Adam Guettel and Bruce Coughlin) for his Sperling is a conductor, orchestrations of The Light in the Piazza, for music director, arranger, which he was also music director. singer, pianist, and Mr. Sperling has an active conducting violinist. He was Music career, performing with Audra McDonald, Director and Conductor Victoria Clark, Patti LuPone, Kelli O’Hara, of the first Broadway Paulo Szot, and Deborah Voigt. He has revival of South Pacific, which won seven conducted performances regularly with the O2008 Tony® Awards and played to sold-out New York Philharmonic, for Live from Lincoln Lincoln Center Theater houses since its Center, the American Songbook series at opening. Moreover, in 2005, Mr. Sperling won Lincoln Center, the Lyrics and Lyricists series

36 westchester philharmonic | 2011-2012 season at the 92nd Street Y, and recently conducted Importance, Wise Guys, A New Brain, Saturn to rave reviews the New York Philharmonic Returns, Floyd Collins, Falsettoland, and with Kelli O’Hara and Nathan Gunn as well Romance in Hard Times. as a concert presentation of Ricky Gordon’s Mr. Sperling’s work as a stage director opera, The Grapes of Wrath, at Carnegie Hall. includes the world premieres of four Mr. Sperling was Music Director and musicals: See What I Wanna See, V-Day, Conductor of the 2009 Tony® Award- Charlotte: Life? Or Theater?, and Striking 12, nominated revival of Guys and Dolls. as well as a revival of Lady in the Dark. He Other Broadway credits as music director/ has conducted the scores for the films The conductor/pianist include Dirty Rotten Manchurian Candidate and Everything Is Scoundrels, The Full Monty, How to Succeed Illuminated, and directed the short film, Love in Business Without Really Trying, Kiss of Mom, starring Tonya Pinkins, which has been the Spider Woman, Angels in America, My shown in five international festivals. Favorite Year, Falsettos, The Mystery of Edwin Mr. Sperling was a recipient of the 2006 Drood, Les Misérables, Roza, and Sunday Ted Shen Family Foundation Award for in the Park with George. Mr. Sperling was leadership in musical theater and is the an original cast member of the Broadway Director of the Music Theater Initiative at the musical Titanic. Off-Broadway credits Public Theater, as well as Creative Director of as music director include A Man of No the 24-Hour Musicals.

Thanks to the Westchester Philharmonic for warming our hearts and homes with your superb, melodious music!

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www.westchesterphil.org | 914-682-3707 37 Kelli O’Hara, soprano

elli O’Hara has from one huge critical and commercial unequivocally success to another when she joined Harry established herself as Connick Jr. on Broadway in the 2006 Tony® one of Broadway’s great Award-winning production of The Pajama leading ladies. She Game, for which Ms. O’Hara received Tony®, starred in the Tony® Drama Desk, and Outer Critics Circle Award-winning revival of Award nominations. Ms. O’Hara has worked South Pacific at regionally and Off Broadway in Sunday in Lincoln Center, enrapturing audiences and the Park with George at Reprise, My Life With Kcritics alike with her soulful and complex Albertine at Playwright’s Horizons, Beauty interpretation of Nellie Forbush and at the La Jolla Playhouse and most recently garnering a third Tony® nomination. as Ella Peterson in Bells Are Ringing at City A native of Oklahoma, Ms. O’Hara Center’s acclaimed Encores! series. received a degree in opera, and, after In addition to her critically acclaimed winning the State Metropolitan Opera performance as Eliza Doolittle in the New Competition, moved to New York and York Philharmonic production of My Fair enrolled in the Lee Strasberg Institute. Lady, Ms. O’Hara has performed a solo She made her Broadway debut in Jekyll concert at Carnegie Hall with the New York & Hyde and followed it with Sondheim’s Pops conducted by Rob Fisher. She has Follies, Sweet Smell of Success opposite John sung at Carnegie Hall with Barbara Cook Lithgow, and Dracula. In 2003, Ms. O’Hara and with the New York Pops under Steven committed to a production of The Light Reineke, at the Kennedy Center with Marvin in the Piazza at Seattle’s Intiman Theatre. Hamlisch and the National Symphony The show landed on Broadway in 2005 Orchestra, with the New York Philharmonic and earned Ms. O’Hara her first Tony® and also under Hamlisch, the Boston Pops under Drama Desk Award nominations. She moved Keith Lockhart, Lincoln Center, Town Hall,

38 westchester philharmonic | 2011-2012 season Soundview Preparatory School the Kennedy Center, Cooper Union, Joe’s Grades 6 - 12 Pub, the Philly Pops conducted by Peter Nero, the Seattle Symphony, OCPAC, Broad A rigorous college preparatory Stage, Ravinia Festival and sold-out runs at program in a uniquely personalized Café Carlyle and Feinstein’s. She sang “God learning community with Bless America” at Yankee Stadium before small classes where students achieve Game 6 of the World Series and performed their personal goals. on PBS’s Memorial Day concert live from Washington, DC. She performed at the 2008 Kennedy Center Honors as part of the Barbra Streisand tribute and again at the 2010 Kennedy Center Honors as part of the Jerry Herman tribute. Additional engagements have taken her to Town Hall, Ravinia, Tanglewood, Bethel Woods and Hyannis with the Boston Pops and to Washington, DC for the July 4th televised concert which aired 370 Underhill Avenue recently on PBS. Yorktown Heights, NY 10598 Among her film and television credits are 914.962.2780 Sex & The City 2, Martin Scorsese’s short www.SOUNDVIEWPREP.org The Key to Reserva opposite Simon Baker; The Dying Gaul starring Patricia Clarkson THE FRANCHISE KING and Campbell Scott; Blue Blood (NBC pilot), DO YOU NEED AN MBA? Applebee's Zane Tankel All Rise (NBC pilot), Alexander Hamilton (Maria Reynolds) starring Brian F. O’Byrne (PBS), NUMB3RS (CBS), All My Children, PUBLISHED BY WESTCHESTER the upcoming animated series Car Talk, and MAGAZINE numerous live performances on national television shows. Ms. O’Hara’s recordings include South Pacific (Sony), The Light in the Piazza

(Nonesuch records; Grammy® nomination), 10 (thriving, local) The Pajama Game (Sony; Grammy® FAMILY BUSINESSES nomination), The Sweet Smell of Success THE ELDERBOOM Turning a (Sony), My Life with Albertine (PS Classics), Silver Population Into a Gold Mine Dream True (PS Classics), Jule Styne Goes BOATING on the Hudson & Sound CAPTAIN HAPPY HOUR LAWRENCE Hollywood (PS Classics), and her solo album Fabulous Frozen Drinks How It Bottles Its Success

Wonder in the World on Ghostlight Records. westchestermagazine.com GREAT ESCAPES Q3 Off-the-Grid Ms. O’Hara recently recorded her second Weekends Dating Your Employee Are you playing with ﬁ re? solo album entitled Always, which was TODAY MEDIA $4.99 released in May. CoverQ3 8.indd C1 7/19/11 11:48:59 AM Ms. O’Hara resides in New York with her For more information husband, Greg, and their son, Owen. Sam Wender, Associate Publisher 914.345.0601, ext 112 westchestermagazine.com

www.westchesterphil.org | 914-682-3707 39

AD 914INC promo 1-4.indd 1 9/15/11 2:53:02 PM Ben Davis, baritone

en Davis is quickly Ovation Award for his work as Marcello in developing a reputation as a Baz Luhrmann’s Broadway production of crossover artist, able to La Bohème and can be heard on the cast bridge the worlds of recording. He also portrayed Papageno in Broadway and Opera. He a film adaptation of Mozart’s The Magic made his Lincoln Center Flute directed by Kenneth Branagh with a debut opposite Kelli new English translation by Stephen Fry and O’Hara and Victor Garber in conducted by James Conlon. The Magic Kurt Weill’s Knickerbocker Holiday, directed Flute had premieres at both the Venice and Bby Ted Sperling. He was most recently seen Toronto Film Festivals. He has performed on Broadway in A Little Night Music with at The Hollywood Bowl as Older Patrick in Bernadette Peters and Elaine Stritch, where Mame and as a Street Singer in Bernstein’s he covered and performed the role of Count Mass with the LA Philharmonic. Other Carl Magnus. Other Broadway credits include TV/Film credits include Numb3rs and both productions of Les Misérables as Miriam. Symphony engagements include Enjolras and Javert as well as Trevor Graydon performances with the LA Philharmonic and in Thoroughly Modern Millie opposite Sutton Indianapolis Symphony Orchestra. All this Foster. Mr. Davis earned a Tony Honor and because of his wife, Annie.

40 westchester philharmonic | 2011-2012 season Concert IV Saturday, April 14, 2012 at 8pm Sunday, April 15, 2012 at 3pm Nadja Salerno-Sonnenberg, soloist-leader gioachino rossini (1792-1868) Sonata for strings in G Major (1804) I. Moderato II. Andante III. Allegro

ástor PiazzoLLa (1921-1992) Las estaciones porteñas (1970, arr. 1999) (“The Four Seasons of Buenos Aires”) Arranged by Leonid Desyatnikov (b. 1955)

I. Primavera porteña II. Verano porteño III. Invierno porteño IV. Otoño porteño

Intermission dMitri shostakovich (1906-1975) Chamber Symphony in C Minor, Op.110a (1960) Arranged by Rudolf Barshai (1924-2010) I. Largo III. Allegro molto III. Allegretto IV. Largo V. Largo

Johannes BrahMs (1833-1897) Hungarian Dances, WoO.1 (1858-1879)

This concert is made possible in part with generous underwriting from Charles and Elaine Petschek.

This season is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

This season is also made possible, in part, by ArtsWestchester with funds from Westchester County Government.

www.westchesterphil.org | 914-682-3707 41 Program Notes – Concert IV

Since the introduction of the double bass concludes with a jaunty, 6/8 Allegro. With in the 18th century, the string section of the a wink, Rossini includes a reiteration of the symphony orchestra has remained essentially first movement’s ‘laughter phrase’ in the the same. While the woodwind, brass, and closing measures. percussion sections have had an evolving roster of instruments and significant Las estaciones porteñas (“the Four technical refinements to the instruments seasons of Buenos aires”) (1970, arranged themselves, the violin family is the epitome 1999) of continuity, with the replacement of gut ástor PiazzoLLa strings by synthetic strings being the most (Born March 11, 1921 in Mar del Plata, significant change. Such continuity is the Argentina; died July 4, 1992 in Buenos Aires) result of versatility, and the works in this Arrangement by Leonid Desyatnikov concert’s program put the versatility of the (Born October 16, 1955 in Kharkov, Ukraine strings on display. SSR) sonata for strings in g Major (1804) Instrumentation: solo violin and strings. gioachino rossini (Born February 29, 1792 in Pesaro, Italy; died During his career, the Argentine composer November 13, 1868 in Paris) Ástor Piazzolla achieved a synthesis of popular and classical styles akin to George Instrumentation: strings. Gershwin’s. In his autobiography, Piazzolla invited the comparison: “We never ran into While Rossini is best known as a prolific each other in our lives, but I always felt composer of opera, he also produced a sizable there was a certain affinity between George amount of vocal, choral, and instrumental Gershwin’s work and mine. Perhaps it is music during his career. This G Major sonata because his music represents New York and was the first in a set of six sonatas that mine Buenos Aires. Perhaps it is because Rossini wrote at the age of 12. Oddly, these both of us, starting out with very traditional pieces were originally written for a string styles – jazz for him, tango for me – wanted to quartet consisting of two violins, cello, and raise the level of what we liked.” double bass. Despite this bottom-heavy Born in Argentina to Italian immigrants, ensemble, the sonatas demonstrate the young Piazzolla spent his formative years in New Rossini’s mastery of the musical language of York, where he was exposed to both jazz Classical composers Haydn and Mozart. and classical music. The most important The opening movement, Moderato, ingredient in his musical development was begins with a one measure violin phrase that the bandoneón, a relative of the accordion sounds like playfully mocking laughter. This traditionally used in Argentine tango. recurring figure epitomizes the light-hearted Piazzolla became a virtuoso performer on quality of this movement. Rossini gives each the instrument, and upon coming of age he of the string sections the opportunity to carry returned to Argentina to perform tangos in the melody, while the others dutifully offer nightclubs. There he studied composition accompaniment. The Andante movement is with Alberto Ginastera (1916-1983), who characterized by a languorous feeling, with recommended Piazzolla for a grant to study descending chromatic lines in the violins in Paris with Nadia Boulanger (1887-1979), suggesting drooping eyelids. The sonata the celebrated teacher of Copland and many

42 westchester philharmonic | 2011-2012 season Program Notes – Concert IV

others. With Boulanger’s help, Piazzolla during Buenos Aires’ summer. The main refined his composition skills, and for the theme of Invierno (“Winter”) is a nostalgic remainder of his life was a prolific composer reverie that is intermittently interrupted by of stylistically innovative tangos. bursts of stormy weather, while a surprise The four tangos that make up Las appearance by one of the Baroque period’s estaciones porteñas are indicative of most recognizable sequences brings the Piazzolla’s myriad influences. Each contains piece to a relaxed finish. The last season, the dramatic melodies, rhythmic syncopation, Otoño (“Autumn”), is notable for an extended and 4/4 meter associated with traditional cello solo accompanied by ethereal violin tango. To these basic elements Piazzolla adds harmonics. Not to be outdone, the soloist harmonic dissonances, counterpoint, and, in responds with a frenetic cadenza before homage to Vivaldi’s Four Seasons, passages leading the orchestra into a percussive coda. of Baroque-inspired music. Composed between 1964 and 1970, each of Piazzolla’s chamber symphony in c Minor, “Seasons” was written for his own tango op.110a (1960) quintet, consisting of violin, electric guitar, dMitri shostakovich bass, piano, and, of course, bandoneón. (Born September 25, 1906 in Saint Leonid Desyatnikov’s arrangement for Petersburg, Russia; died August 9, 1975 in violin soloist and string orchestra expands Moscow, Soviet Union) upon Piazzolla’s original pieces, but also Arrangement by Rudolph Barshai tightens them into a more cohesive suite. (Born September 28, 1924 in Labinskaya, The solo violin part is raised to virtuosic USSR; died November 2, 2010 in Basel, levels with many additional ornaments and Switzerland) cadenzas. The allusions to Vivaldi’s Baroque style are brought to the foreground. Most Instrumentation: strings. strikingly, the arrangement exploits string players’ extended technique to create a Dmitri Shostakovich composed his String menagerie of sonic effects, from percussive Quartet No. 8 while visiting East Germany, scratching tones to shrieking glissandi up where he was sent to write a score for the and down the fingerboard. Soviet film Five Days-Five Nights. The Piazzolla never specified any particular subject matter of the movie, the firebombing order for his “Seasons” when played as a of Dresden by the Allies in WWII, appears suite, so performers mix and match as they at first glance to be the inspiration for the please. Primavera (“Spring”) commences quartet, which Shostakovich dedicated to with an incisive contrapuntal dance melody. “the memory of the victims of fascism and The violin soloist duels against resounding war.” The emotionally intense quartet was orchestral chords in a dramatic display of an immediate success, and Rudolph Barshai, force. In Verano (“Summer”), the soloist then conductor of the Moscow Chamber makes an unforgettable entrance in which Orchestra, was authorized by Shostakovich each phrase ends on a smeared double-stop, to arrange the work for string orchestra. sounding as if the violin were betraying its The Chamber Symphony, as Barshai’s owner. The soloist eventually gains control, arrangement of the quartet was named, was conducting the orchestra through contrasting also popularized as a musical memorial. A excited and subdued passages. This dance closer analysis of the piece, however, reveals concludes with a passage from Vivaldi’s considerable ambiguity about its meaning. Winter—after all, it is winter in Venice

www.westchesterphil.org | 914-682-3707 43 Program Notes – Concert IV

The first movement, Largo, begins with an piece, which hauntingly fades to silence. ominous four-note theme, played first by the But what do these quotations mean? Why cellos and then by the other sections in canon. would Shostakovich write a piece so infused These four notes—D, E-flat, C, B—comprise with his own persona unless he meant it to Shostakovich’s musical signature. In German, be a musical autobiography? What about E-flat is represented by “S” and B-natural by the dedication? Some have suggested that “H,” so these notes spell out Shostakovich’s Shostakovich was being subversively ironic: initials: ”D. SCH” (the C being necessary Given the artistic denunciations and terrors he in Russian-to-German transliteration). The had suffered at the hands of the Soviet regime, so-called “DSCH motif” appears in many Shostakovich himself was a “victim of fascism of Shostakovich’s compositions from this and war.” Others believe that Shostakovich period, such as his Symphony No. 10 (1953) intended the string quartet as a musical and Cello Concerto No. 1 (1959), but never suicide note, but ultimately did not act on his more pervasively than in the Chamber intentions. As with much music written under Symphony. In this piece, Shostakovich uses the shroud of totalitarianism, interpretations the “DSCH motif” as a jumping-off point for are many, but concrete answers are few. self-quotation. The first movement includes mournful excerpts from both his Symphony hungarian dances, woo.1 (1858-1879) No. 1 (1925) and Symphony No. 5 (1937). Johannes BrahMs (Born May 7, 1833 in the Free City of Hamburg; died April 3, 1897 in Vienna)

Instrumentation: strings.

Alongside his career as a composer of large- Without warning, Shostakovich launches scale symphonies, concertos, and chamber into the Allegro molto second movement. music, Johannes Brahms moonlighted as This aggressive movement continues to a collector of folk songs and dances. He obsessively restate the “DSCH motif,” while delighted in visiting small villages throughout also borrowing a theme from Shostakovich’s Germany and Austria-Hungary, transcribing Piano Trio No. 2 (1944). The sarcastically the best tunes he heard. In all, he published playful third movement, Allegretto, is eight collections of German folks songs and similarly constructed: the “DSCH motif” four books of Hungarian dances. Brahms serves as a springboard for quotations from wrote his twenty-one Hungarian dances for the Cello Concerto No. 1. Surprisingly, the piano four-hands or solo piano, but only serene cello solo in the fourth movement orchestrated three of the dances himself. is not a Shostakovich self-quote, but rather As the short pieces proved to be extremely a melody borrowed from one of Lenin’s popular, other composers including, Ántonin favorite revolutionary songs, “Exhausted by Dvořák, took up the task of orchestrating the hardships of prison.” This is followed by the rest. Over the years, the Hungarian a similarly themed aria from Shostakovich’s dances have been rearranged for numerous opera Lady Macbeth of the Mtsensk District ensembles. The string orchestra versions were (1932). The desolate final movement does prepared by French-Canadian arranger Léon not include any overt quotations. Instead, Bernier (b. 1936). Shostakovich elaborates on the DSCH canon first introduced in the opening bars of the © Robert Hollahan 2011

44 westchester philharmonic | 2011-2012 season Nadja Salerno-Sonnenberg, soloist-leader

nternationally acclaimed soloist in North America, and with the NHK and chamber musician Nadja Symphony Orchestra in Japan. Duo recitals Salerno-Sonnenberg is best with pianist Anne-Marie McDermott include known for her exciting performances in Colorado, Indiana, Illinois, performances, passionate and California. Following the success of interpretations, and charismatic their first U.S. tour together last season, Ms. personality. An innovative artist, Salerno-Sonnenberg leads the New Century her daring, dedication, and Chamber Orchestra on an East Coast Tour enthusiasm for all facets of her career have this fall as part of the 19-member string resultedI in her becoming one of today’s orchestra’s 20th anniversary season, which leading violinists, renowned for her work on also includes the world premiere of Featured the concert stage, in the recording studio Composer, Pulitzer Prize-winner Ellen Taaffe and in her role as Music Director of the San Zwilich’s violin concerto in May 2012, written Francisco-based New Century Chamber specifically with Ms. Salerno-Sonnenberg’s Orchestra, which she joined in January 2008. distinctive artistry in mind. This will be Ms. Her first three seasons have been hailed as a Salerno-Sonnenberg’s fourth season at the tremendous success by audiences and critics helm of the New Century Chamber Orchestra. alike—“a marriage that works,” in her words, A powerful and creative presence on the and for renewing enthusiasm for “one of the recording scene, Ms. Salerno-Sonnenberg most burnished and exciting ensembles in the continues to enrich the collection of her Bay Area,” according to Rich Scheinin of the record label, NSS Music, which she started San Jose Mercury News. in 2005. The label’s roster of artists includes Ms. Salerno-Sonnenberg continues to Ms. Salerno-Sonnenberg, pianist Anne-Marie divide her time between solo and chamber McDermott, horn player John Cerminaro, performances. This 2011-12 season, she pianist/composer Clarice Assad, conductor appears as soloist with the Minnesota, Marin Alsop, the American String Quartet, Philadelphia, National, Seattle, Vancouver, the Colorado Symphony, Orquestra Sinfonica Oregon, and Baltimore symphony orchestras do Estado de Sao Paulo, and the New Century

www.westchesterphil.org | 914-682-3707 45 Nadja Salerno-Sonnenberg, violin (cont.)

Chamber Orchestra. With New Century, even talking to Big Bird on Sesame Street. She Ms. Salerno-Sonnenberg has released was the subject of the 2000 Academy two records for NSS Music. The 2010 live Award®-nominated film, Speaking in Strings, recording featuring Strauss’s Metamorphosen, which premiered at the Sundance Film Barber’s Adagio for Strings and Mahler’s Festival. Released in theaters nationwide Adagietto from Symphony No. 5 has been and subsequently premiered on HBO’s praised as “brilliant” by Oregon Music News Signatures channel in 1999, this intensely and allmusic.com said: “For those who like personal documentary on her life is available orchestral music for strings that takes nothing on VHS and DVD through New Video. The less than revelation as its goal, this is a must- CD of music from the film was released in have.” Together, the first CD recorded by 1999 by Angel/EMI. Ms. Salerno-Sonnenberg Ms. Salerno-Sonnenberg and New Century, appeared on ABC’s primetime comedy features Piazzolla’s Four Seasons of Buenos Dharma & Greg in 2001, and she has also been Aires and Gershwin’s “Bess You is My interviewed and profiled on CBS’ 60 Minutes, Woman Now” from Porgy and Bess, arranged 60 Minutes II, and Sunday Morning; CNN’s for string orchestra, both with Ms. Salerno- Newsstand; NBC’s National News and The Sonnenberg as soloist; Impressions by Clarice Tonight Show with Johnny Carson; A&E’s Assad (which was given its world premiere Artist of the Week with Elliot Forrest; Bravo’s by New Century in 2008), and Bartók’s Arts & Minds and The Art of Influence; PBS’ Romanian Folk Dances arranged for string Live from Lincoln Center; The Charlie Rose orchestra. In addition to her more than twenty Show; and City Arts. On the publishing front, releases on the EMI and Nonesuch labels, Nadja: On My Way, her autobiography written Ms. Salerno-Sonnenberg has also recorded for children and discussing her experiences for NSS Music: Origins, Live from Brazil, a as a young musician building a career, was recording which honors the Italian heritage published by Crown Books in 1989. of Ms. Salerno-Sonnenberg and the Brazilian Ms. Salerno-Sonnenberg’s professional heritage of her collaborators, guitarists Sérgio career began in 1981 when she won the and Odair Assad; Merry (a compilation of Walter W. Naumburg International Violin Christmas favorites); Nadja (Tchaikovsky Competition. In 1983, she was recognized and Assad violin concertos); and Live with with an Avery Fisher Career Grant, and in pianist Anne-Marie McDermott. Also on Ms. 1988 was Ovations Debut Recording Artist Salerno-Sonnenberg’s label are The American of the Year. In 1999, she was honored with String Quartet’s Schubert’s Echo (August the prestigious Avery Fisher Prize, awarded 2010), Love, All That It Is (NSS Music’s first to instrumentalists who have demonstrated jazz album featuring The Clarice Assad Trio), “outstanding achievement and excellence in Anne-Marie McDermott’s Bach, and John music.” In May of that same year, Ms. Salerno- Cerminaro’s John Cerminaro, A Life of Music. Sonnenberg was awarded an honorary Master Ms. Salerno-Sonnenberg’s exceptional of Musical Arts from the New Mexico State artistry is paired with great musical University, the first honorary degree the intelligence, which, along with her unique University has ever awarded. An American personality, have served her well in numerous citizen, Ms. Salerno-Sonnenberg was born in environments—on camera, in a commercial Rome and immigrated to the United States for Signet Bank, hosting a Backstage/ at the age of eight to study at The Curtis Live from Lincoln Center program for PBS, Institute of Music. She later studied with appearing in the PBS/BBC series The Mind, Dorothy DeLay at the Juilliard School.

46 westchester philharmonic | 2011-2012 season You can make a difference! Create a lasting legacy that will provide for what you care most about and receive the maximum tax benefit, all through the Westchester Community Foundation. How Do You Create a CHaritable FunD? 1. Think about your charitable passions 2. Decide when and what to give 3. Contact Us

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Concert V Saturday, May 19, 2012 at 8pm Sunday, May 20, 2012 at 3pm George Manahan, conductor Branford Marsalis, saxophone woLFgang aMadeus Mozart (1756-1791) Symphony No. 38 in D Major (“Prague”), K. 504 (1786)

I. Adagio—Allegro II. Andante III. Finale: Presto aLexander gLazunov (1865-1936) Concerto for Alto Saxophone in E-flat Major, Op.109 (1934) Mr. Marsalis Intermission

Modest Mussorgsky (1839-1881) Pictures at an Exhibition (1874, orch. 1922)

Orchestrated by Maurice Ravel (1875-1937)

Promenade I Gnomus (“The Gnome”) Promenade II Il vecchio castello (“The Old Castle”) Promenade III Tuileries (Dispute d’enfants après jeux) (“Tuileries (Dispute between Children at Play)”) Bydlo (“Oxen”) Promenade IV Ballet of the Unhatched Chicks Samuel Goldenberg and Schmuÿle Limoges le marché (The Market at Limoges) Catacombae (Sepulcum romanum) (‘Catacombs (Roman Sepulcher)’) The Hut on Hen’s Legs (Baba-Yaga) The Hero’s Gate at Kiev

We are deeply grateful to Gayle and Neil Aaron, Millicent and Martin Kaufman, Ms. Mary Neumann, Hannah and Walter Shmerler, Teddi and Murray Stahl, and Mrs. Ruth Toff for their generous support of the 2011-12 season.

This season is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

This season is also made possible, in part, by ArtsWestchester with funds from Westchester County Government.

www.westchesterphil.org | 914-682-3707 49 Program Notes – Concert V

In the 1840s, the Belgian instrument of Prague understand me”), he was soon manufacturer Adolphe Sax developed a commissioned to produce a new opera, new family of instruments that combined which became Don Giovanni and was staged favorable aspects of both woodwinds and in Prague the following October. brass. The saxophone features a single The Prague symphony’s opening reed and keys like a clarinet, but its movement includes a slow introduction, a brass construction lends it greater sound tactic which Mozart employed in only three projection. Although the saxophone spent symphonies, the others being No. 36 (“Linz”) its first half-century serving a niche role in and No. 39. This portentous Adagio creates French military bands, French composers, dramatic contrast by alternating between starting with Berlioz, perceived the quiet violin figures and powerful chords for instrument’s potential for use in orchestral the full orchestra, complete with heartbeat- music. In this concert, we hear that like timpani. The Allegro begins sneakily, potential realized. with an off-beat accompaniment pattern. Creating the pulse from which the lively symphony no. 38 in d Major (“Prague”), main theme emerges. Mozart develops this k. 504 (1786) theme with exquisitely crafted counterpoint, the trademark of his later symphonies. This woLFgang aMadeus Mozart Adagio-Allegro configuration presages (Born January 27, 1756 in Salzburg; died the form of Mozart’s overtures to Don December 5, 1791 in Vienna) Giovanni and The Magic Flute and in fact, the repeated eighth note figures of the Instrumentation: two flutes, two oboes, two Prague symphony’s Allegro bear a striking bassoons, two horns, two trumpets, timpani, resemblance to the melody of the latter and strings. opera’s overture. The Andante movement not only serves In the winter of 1786-87, Mozart was growing as a graceful interlude, but demonstrates frustrated with the Viennese concert-going Mozart’s increasing interest in exploring new public. After The Marriage of Figaro opened harmonic territory in his slow movements. to lukewarm reviews and only received nine With effortless transitions between major and performances, he sought opportunities minor key episodes, the movement suggests for his music to be heard elsewhere in a hidden layer of tension. Mozart notably Europe. When Figaro premiered in Prague eschews a Minuet movement in the Prague on December 10th, Mozart was elated to symphony, proceeding straight ahead to the learn that the Bohemian audience had Finale. A spirited Presto, this movement is given his opera a rapturous reception. He characterized especially by the prominent quickly agreed to make the 150-mile journey roles offered to the woodwinds. to present his newly completed D Major symphony in that city the following month. On January 19th, Mozart conducted the concerto for alto saxophone in e-Flat symphony’s first performance. It was so Major, op.109 (1934) well-received that the audience compelled aLexander gLazunov him to give a half hour’s worth of encores: (Born August 10, 1865 in Saint Petersburg; he played a keyboard improvisation based died March 21, 1936 in Neuilly-sur-Seine, on “Non più andrai” from Figaro. Declaring France) “meine Prager verstehen mich” (“the people

50 westchester philharmonic | 2011-2012 season Program Notes – Concert V

Instrumentation: solo saxophone and strings. Pictures at an Exhibition (1874, orch. 1922) Modest Mussorgsky Alexander Glazunov belonged to the (Born March 21, 1839 in Toropets, Pskov generation of Russian composers that region, Russia; died March 28, 1881 in Saint followed after Mussorgsky and Rimsky- Petersburg) Korsakov. A student of the latter, Glazunov Orchestration by Maurice Ravel was famous for having an incredible (Born March 7, 1875 in Ciboure, France; died ability to absorb and remember music, December 28, 1937 in Paris) once memorizing an entire symphony on only one hearing. As a composer, he wrote Instrumentation: three flutes (one doubling well-regarded symphonies and ballets that piccolo), two oboes (one doubling English still see occasional performance. He also horn), two clarinets, bass clarinet, two served as director of the Saint Petersburg bassoons, contrabassoon, alto saxophone, four Conservatory from 1905 to 1928, shepherding horns, three trumpets, three trombones, tuba, the school through the tumult of revolution. timpani, glockenspiel, chimes, triangle, tam- Whether due to wanderlust or frustrations tam, rattle, whip, cymbal, snare drum, bass with communism, Glazunov left Russia drum, xylophone, celesta, harp, and strings. forever in 1928 and spent his final years in Paris. Although he was a notoriously Among the canonical works in the orchestra conservative composer who disliked the repertoire, Pictures at an Exhibition was music of Stravinsky (a former student and shaped by an unusually large number the most popular Russian composer in of artistic contributors. The spark that Paris), Glazunov demonstrated a willingness inspired Modest Mussorgsky to compose to explore new ideas during his brief years the original piano suite was the unfortunate in Paris. At the request of the German passing of his friend, Russian artist Viktor saxophonist Sigurd Raschèr (1907-2001), he Hartmann (1834-1873), who died of an produced his saxophone concerto, one of his aneurysm. Mussorgsky and Hartmann shared last compositions. similar aesthetic views about the need for Glazunov cast his saxophone concerto distinctively Russian art. The composer in a single movement that transitions owned several of Hartmann’s paintings, between several distinct sections. Unlike which he gladly offered for display at the much music composed in the 1930s, the memorial exhibition that was staged at piece is consistently tonal and uses late- Saint Petersburg’s Academy of Fine Arts Romantic harmonic language. After a string in Hartmann’s honor. The exhibition ran introduction, the saxophone enters playing a from February through March of 1874, and mellifluous theme. This warm, legato melody Mussorgsky completed his manuscript of exquisitely captures the instrument’s unique Pictures at an Exhibition that June. quality. A darker middle section leads into a The suite was never publicly performed cadenza which allows the soloist to explore during Mussorgsky’s lifetime. Although he the full extent of the alto saxophone’s range. was a talented pianist, Mussorgsky wrote Next, the soloist leads the orchestra into very little music for the instrument, and he the energetic fugato of the final section. did not consider Pictures at an Exhibition A retrospective coda recalls the concerto’s to be among his important compositions. earlier themes as the saxophone brings the After his death, the unpublished manuscript piece to an ebullient close. was entrusted to his fellow composer

www.westchesterphil.org | 914-682-3707 51 Program Notes – Concert V

Nikolai Rimsky-Korsakov, who set about but observes attentively.” preparing it for publication. The edition In this way, the Promenade theme in its that Rimsky-Korsakov sent to the printers varied iterations serves as the link between in 1886 features numerous amendments the twelve pictures on display. The pictures to Mussorgsky’s original piece: Rimsky- themselves were organized by Mussorgsky Korsakov was responsible for many changes into contrasting pairs. The thrashing in dynamics and articulation, in addition to a tantrums of Gnomus are balanced by the small but significant number of corrections to mysterious song of the troubadour in Il Mussorgsky’s notes. vecchio castello, rendered so memorably by As the piano suite gained admirers in Ravel with an alto saxophone solo. Similarly, the ensuing decades, several composers the sprightly children in the Tuileries are endeavored to provide orchestrations. juxtaposed with the trudging laborers of Commissioned by Serge Koussevitzky (1874- Bydlo. In the latter picture, Rimsky-Korsakov 1951), Maurice Ravel completed the definitive replaced the original opening double-forte orchestration of Pictures at an Exhibition in with a dramatic, extended crescendo. Ravel’s 1922. Although the French composer went to orchestration of Bydlo uses a tuba playing in great lengths to obtain Mussorgsky’s original the upper reaches of its range in one of the version of the suite, only the Rimsky-Korsakov instrument’s most transparent moments. edition was available at the time. Ravel’s In the second half of Pictures at an meticulous orchestration did not attempt to Exhibition, a strange thing happens. The imitate Russian instrumental style. Despite Promenade interludes disappear, and this, his version of Pictures at an Exhibition Mussorgsky moves seamlessly from one is considered to be one of the quintessential picture to the next. Did he abandon the pieces of Russian orchestral music. pretense of actually being at the exhibition? In Mussorgsky’s suite begins with the fact, the Promenade theme is still an important Promenade theme, embodied by a resplendent part of the piece, but it has been transformed. solo trumpet in Ravel’s orchestration. First in Catacombae and then in The Hero’s In alternating 5/4 and 6/4 measures, Gate at Kiev, the theme re-emerges within the this theme is characteristically Russian. paintings themselves, depicting Mussorgsky’s Mussorgsky’s friend Vladimir Stasov (1824- total immersion in Hartmann’s works. Amid 1906), an important Russian critic, provided the triumphant chords and crashing bells of programmatic annotations for the first The Hero’s Gate, Mussorgsky reveals that publication of Pictures at an Exhibition. Pictures at an Exhibition is about not just the According to Stasov, the Promenade depicts paintings, but the emotional experience of “[Mussorgsky] as he strolled through the viewing them. exhibition; joyfully or sadly recalling the talented deceased artist. ... He does not hurry, © Robert Hollahan 2011

52 westchester philharmonic | 2011-2012 season George Manahan, conductor

n his second season as Music and enabled concert music both at home Director of the American and abroad.” His recent Carnegie Hall Composers Orchestra, performance of Samuel Barber’s Antony and the wide-ranging and versatile Cleopatra was hailed by audiences and critics George Manahan has had an alike, “What a difference it makes to hear esteemed career embracing the piece performed by an opera conductor everything from opera to who palpably believes in it,” said The New the concert stage, the York Times. “The fervent and sensitive traditional to the contemporary. In addition performance that Mr. Manahan presided over toI his work with ACO this season, Mr. made the best case for this opera that I have Manahan continues his commitment to encountered.” working with young musicians as Director Mr. Manahan’s guest appearances include of Orchestral Studies at the Manhattan the Orchestra of St. Luke’s, the Jerusalem School of Music as well as guest conductor Symphony Orchestra, as well as the at the Curtis Institute of Music. symphonies of Atlanta and San Francisco, He served as Music Director of the New the Hollywood Bowl Orchestra, and New York City Opera for fourteen seasons and was Jersey Symphony, where he served as acting hailed for his leadership of the orchestra where Music Director for four seasons. He is a he “gets from his players the kind of heartfelt regular guest with the Music Academy of the involvement unthinkable in the City Opera West, and the Aspen Music Festival, and has orchestra pit 20 years ago. … These musicians also appeared with the Opera Companies operate with such consistent energy and of Seattle, Chicago, Santa Fe, Portland, the involvement” (The New York Times). Opera Theatre of St. Louis, Opera National In May 2011, Mr. Manahan was honored by du Paris, Teatro de Communale de Bologna, the American Society of Composer, Authors the Bergen Festival (Norway), the Casals and Publishers (ASCAP) for his “career- Festival (Puerto Rico) and Minnesota Opera, long advocacy for American composers and where he was Principal Conductor. the music of our time which has enriched His many appearances on television

www.westchesterphil.org | 914-682-3707 53 George Manahan, conductor (cont.)

include productions of La Bohème, Lizzie Richmond Symphony (VA) for twelve years, Borden, and Tosca on PBS. The “Live from he was honored four times by the American Lincoln Center” telecast of New York City Society of Composer, Authors and Publishers Opera’s production of Madame Butterfly won (ASCAP) for his commitment to new music. a 2007 Emmy® Award under his direction. He received his formal musical training George Manahan’s wide-ranging recording at the Manhattan School of Music, studying activities include the premiere recording of conducting with Anton Coppola and George Steve Reich’s Tehillim for ECM; recordings Schick, and was appointed to the faculty of of Edward Thomas’s Desire Under the Elms, the school upon his graduation, at which which was nominated for a Grammy® Award; time The Juilliard School awarded him a Joe Jackson’s Will Power; and Tobias Picker’s fellowship as Assistant Conductor with Emmeline. His enthusiasm for contemporary the American Opera Center. Mr. Manahan music continues today; he has conducted was chosen as the Exxon Arts Endowment numerous world premieres, including Conductor of the New Jersey Symphony Charles Wuorinen’s Haroun and the Sea of and he made his opera debut with the Stories, David Lang’s Modern Painters, Hans Santa Fe Opera, conducting the American Werner Henze’s The English Cat, and the premiere of Arnold Schoenberg’s Von Heute New York premiere of Richard Danielpour’s Auf Morgen. Margaret Garner. As Music Director of the

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25 School Lane, Scarsdale, NY 10583 www.hms.org • [email protected] • Tel: (914) 723-1169 Joan Behrens Bergman, Executive Director

54 westchester philharmonic | 2011-2012 season Branford Marsalis, saxophone

EA Jazz Master, Original Score (Music and/or Lyrics) Written renowned Grammy for the Theatre” and a 2010 Drama Desk Award®-winning Award® for “Outstanding Music in a Play” for saxophonist and recent his participation. Tony Award® nominee Leader of one of the finest jazz quartets Branford Marsalis is today, and a frequent soloist with classical one of the most revered ensembles, Branford has become increasingly instrumentalists of his sought-after as a featured soloist with such time. The three-time Grammy Award®-winner acclaimed orchestras as the Chicago, Detroit, hasN continued to exercise and expand his skills Düsseldorf, and North Carolina symphonies as an instrumentalist, a composer, and the and the Boston Pops, with a growing head of Marsalis Music, the label he founded repertoire that includes compositions by in 2002 that has allowed him to produce both Copland, Debussy, Glazunov, Ibert, Mahler, his own projects and those of the jazz world’s Milhaud, Rorem, and Vaughn Williams. His most promising new and established artists. propensity for innovative and forward thinking Mr. Marsalis made his Broadway debut as compels him to seek new and challenging the composer of original music for the Tony works by modern classical composers such Award®-winning Broadway revival of August as modern Scottish composer Sally Beamish, Wilson’s play “Fences.” Mr. Marsalis received who, after hearing Mr. Marsalis perform a Tony nomination in the category of “Best her composition The Imagined Sound of

www.westchesterphil.org | 914-682-3707 55 Branford Marsalis, saxophone (cont.)

Sun on Stone at the 2006 North Sea Jazz the Grateful Dead and Bruce Hornsby. His Festival, was inspired to re-conceive a piece in expansive interests are further reflected in progress, Under the Wing of the Rock, which his explorations in film, radio and television, he premiered as part of Scotland’s Celtic including his role as the musical director of Connections festival in Beamish’s home The Tonight Show with Jay Leno for two years country in January 2009. in the early 1990s. Mr. Marsalis has also acted Making his first appearance with the New in such popular movies such as Throw Mama York Philharmonic in the summer of 2010, from the Train and School Daze, provided Mr. Marsalis was again invited to join them as music for Mo’ Better Blues and other films and soloist in their 2010-2011 concert series where hosted National Public Radio’s syndicated he unequivocally demonstrated his versatility program “Jazz Set”. Dedicated to changing the and prowess, bringing “a gracious poise and future of jazz in the classroom, Mr. Marsalis supple tone … and an insouciant swagger” has shared his knowledge at such universities (The New York Times) to the repertoire. as Michigan State, San Francisco State, In 2011, the National Endowment for Stanford and North Carolina Central, with the Arts conferred the prestigious Jazz his full Quartet participating in an innovative Masters Fellowship on the Marsalis Family, extended residency at the NCCU campus. a celebration and acknowledgement of a Beyond these efforts, he is also bringing a family described by The New York Times new approach to jazz education to student as “jazz’s most storied living dynasty”, who musicians and listeners in colleges and high have made an indelible mark, collectively and schools through Marsalis Jams, an interactive individually, on the history and the future of program designed by Mr. Marsalis in which jazz, America’s art form. leading jazz ensembles present concert/jam Embodying expressiveness, melody, sessions in mini-residencies. Marsalis Jams and emotion; those elements of music that has visited campuses in the Northeast, Mid- transcend genre and period and speak to us of Atlantic, Southeast and Southwest, and later inspiration and beauty, Mr. Marsalis’ upcoming established an ongoing Marsalis Berklee Jams release, Songs of Mirth and Melancholy is series with the Berklee College of Music. a spectacular duo collaboration with his In the aftermath of Hurricane Katrina, Quartet’s longtime pianist, Joey Calderazzo. the New Orleans native joined forces with Comprised of seven original compositions friend Harry Connick, Jr. to conceive the New plus a cover of Wayne Shorter’s Face On the Orleans Habitat Musicians’ Village, the newly Barroom Floor and Brahms’s Die Trauernde— constructed community in the city’s historic like all of Mr. Marsalis’ nearly two dozen Upper Ninth Ward that provides new homes recordings in various styles—Songs of Mirth for displaced residents, including musicians and Melancholy is born of an ever-evolving and their families. At the heart of the Village love of music which has marked his career. stands Ellis Marsalis Center for Music, Having gained initial acclaim through a magnificent facility with performance, his work with Art Blakey’s Jazz Messengers instructional and practice spaces and a and his brother Wynton’s quintet in the recording studio. early 1980s, Mr. Marsalis also performed Whether on the stage, in the recording and recorded with a who’s-who of jazz giants studio, in the classroom or in the community, including Miles Davis, Dizzy Gillespie, Herbie Branford Marsalis embodies a commitment Hancock, and Sonny Rollins. He has also to musical excellence and a determination to collaborated with such diverse artists as Sting, keep music at the forefront.

56 westchester philharmonic | 2011-2012 season Our Supporters Thank You …for your vision and generosity in supporting the Westchester Philharmonic. The following list represents gifts totaling $100 or more made between March 1, 2010 and september 16, 2011. We thank all of our donors for gifts at any level. To make a contribution, call 914-682-3707, ext. 11, or mail your gift using the envelope included in this program.

$50,000 and above New York Community Trust Hon. Nita and Mr. Stephen Lowey Mrs. Vivian Milstein John and Amy Peckham Karen and Dennis Mehiel Mr. and Mrs. Murray Stahl Mr. and Mrs. Elliott Peters Alfred Petschek St. Vincent De Paul Foundation Mr. Paul Pomerantz $25,000-$49,999 TD Charitable Foundation Barbara and Jeffrey Schlein Robert Arnow Ruth Toff Margaret Sheppe ArtsWestchester Stephen Ucko Patricia C. Stix Carol and Daniel Strickberger Mr. and Mrs. Richard B. Rudyard and Emanuella Reimss Dannenberg Fund of the Westchester William Schuman Music Trust Community Foundation New York State Council on the Arts Jeff and Frédérique Zacharia Diana and Louis Worby $10,000-$24,999 Rory and Joshua Worby $500-$999 Gayle and Neil Aaron Richard Baccari Jane and Donald Cecil $2,500-$4,999 Renee and Eric Brandeis David and Madeleine Arnow Entergy Nuclear Lisa Camerino Astoria Federal Savings Mrs. Anita Goodman Dorothy Cooper Janie and Thomas Bezanson Mrs. Leona Kern Marios and Anna Damianides Cumulus Fund of the Westchester George and Mary Ann Eggleston Benjamin F. Kursman and Community Foundation Denise L. Blau Eric Emory Mr. and Mrs. Elliot Gewirtz Ira and Deborah Levy Gladys Field Eugene and Emily Grant Mary Ann Liebert and Mr. and Mrs. James Flood Dr. Peter S. Liebert, MD Marilyn and John Heimerdinger Esther Frishman Mary D. Neumann Lee and Jacqueline Bellsey Starr Mr. and Mrs. Elliot Gewirtz in The Estate of the late Mr. Jonathan Taylor and Memory of Robert Goldberg Babette Newman Dr. Mary Sano Mr. Frederick Haas Charles and Elaine Petschek Lisa A. Tibbitts Marcella Kahn Hannah and Walter Shmerler Yvonne Tropp and Alan Epstein Mr. and Mrs. Raina Lindholm Westchester Magazine/ David E. Worby Mr. Leonard Lowy Ralph Martinelli Jonathan Mardirossian, M.D. $1,000-$2,499 Mr. and Mrs. Bruce Milliken $5,000-$9,999 John and Hope Furth Barry Moss Anonymous Marilyn and Sheldon Gaylin in Mr. and Mrs. Lawrence J. Nokes Karyn and Wayne Aaron Memory of Joan Arnow Betty and Al Osman Liz and Tony Aiello GE Foundation Lilly Port Dr. and Mrs. Chester M. Edelmann Ann and Gordon Getty Rockefeller Financial Services Foundation Elmwood Charity Fund in Honor Mrs. Seymour Romney of Neil and Gayle Aaron Sarah and Seth Glickenhaus Rye Arts Center Friends of Westchester County Juliet Gopoian Keri and Brian Schnapper Parks Dr. and Mrs. Gerald Greitzer Steven Singer The Gilder Foundation Lowell Hershey Mr. and Mrs. Robert Smith Mrs. Joy Henshel Phyllis and Peter Honig Jennifer Solomon and Martin and Millicent Kaufman Cynthia Hope Bill Feingold Sylvia and Leonard Marx, Jr. IBM Matching Gifts Program The Hon. Andrew and McGraw Hill Companies Keith Kearney and Deborah Brenda Spano Morgan Stanley Community Mc Lean Susan and Larry Tolchin Affairs Dr. and Mrs. Lester Klein Mr. Michael Zeller

www.westchesterphil.org | 914-682-3707 57 Our Supporters

$250-499 Ms. Faith Saunders Ms. Linda Colessey Anonymous Mr. and Mrs. Tom Scheuer Mary Elizabeth Coll James J. Aucone Silvia Schnur Mrs. Janet C. Crohn Bernard and Lois Bacharach Marianne Schui Toby and Les Crystal Marlene and Gary Bauman Mr. and Mrs. Sy J. Schulman Borina Dalby Mr. and Mrs. Joseph Berger Mr. and Mrs. Harold Schwartz Alexandra H. Davies Mr. Lowell Bergman and Gerrie Shapiro Marjorie B. Davies Ms. Sharon Tiller Mr. and Mrs. Edward Slap Mr. and Mrs. Richard A. De Sevo Charles and Rachel Bernheim Mr. and Mrs. Abe Stenberg Ms. Jo-Ann N. Dierks James and Judy Boyle Dr. and Mrs. Anton Stenzler Joan Dipalma Del H. Brand and James A. Stern Miriam and Paul Douglas Frank J. Santisario, Jr. Richard M. Steuer Mr. Emil Draitser Mr. Terence M. Corcoran David and Moira Tobey Gladys Dubin Steven Dreyer Terry Toll and Eric Marcus Shoshana Dweck Jay and Stephanie Elkin Ralph and Jennifer Watts Daphne M. Dyce Mr. and Mrs. Jeff Elliott Mr. and Mrs. John Werner The Economides Family John and Karolyn Fava Mr. Fred Wistow and Jerry and Francine Ehrlich Selma Feinberg Ms. Stacey Greene Adrienne Eisman Mr. Stanley D. Friedman Peter D. Wolfson and Dr. and Mrs. Paul Elkins Jean and John Garment Laura L. Butterfield Marian and Joel Engel Mitchell and Marjorie Glick Dorothy and Arthur Zuch Valerie Dalwin Etra Elihu and Minette Gorelik Anita Feldman Mrs. Louella Gottlieb $100-$249 Gloria Fields Burton Greenhouse Mr. and Mrs. Stanley Aaron Phylis Fink Mr. and Mrs. Bob Harrison Mr. and Mrs. Robert Albertson Eleanor Fishbein Mr. and Mrs. Robert Heit John Arents Ms. Rita Fisher Melinda Holtz Mr. and Mrs. David L. Auerbach Lester and Nancy Forest Ms. Nancy F. Houghton Rae Baczek Maureen Foulke Ms. Halina Jamner Susan and John Baer Lucille S. Frand and Mel Usdan Boine Johnson Sadie Bagnoni Mickey and Steven Frankel John and Ann Kaufman Ms. Beatrice Bartner Margaret A. Frisch Dr. and Mrs. Harold Keltz Barbra F. Baum Arthur Gallagher Stuart and Isabel Kessler Mr. and Mrs. Louis W. Bauman Ms. Muriel Gantz Lois Laemle and Peter Gelblum Mr. and Mrs. Steven Bear Bruce and Jean Gavril Herbert and Linda Levine Pauline Berger Marilyn and Sheldon Gaylin in Mr. and Mrs. Paul Lubliner Mr. and Mrs. Bob Bischoff Memory of Joan Arnow Pedro Maymi Mr. Michael Blatt Tom and Marge Gilbert Mr. and Mrs. Judah Maze Carl and Lynn Bloom Barbara Gluss Mr. Mark McVey Richard Bobbe and Carol Bobbe Ms. Mary Goldblatt Essie and Jerome Newman Mr. and Mrs. Warren A. Dr. and Mrs. James Golub Helmut and Barbara Norpoth Breakstone Dr. and Mrs. Arnold J. Gordon Mr. Sean O’Donnell Ms. Jane Bridges and Marsha and Eli Gordon Mr. and Mrs. Robert S. Olsen Mr. Robert Dennard Mr. Arthur Graham Karen Palmieri Bristol-Myers Squibb Foundation Fredric and Amy Green Mr. John Pasquale Fay and Norman Burger Leon and Irene Greenspan Patricia R. Peeler H. Case Ms. Patricia Grunenwald Ms. Marianne J. Phiebig Ms. Anne Casey Elizabeth Hall Mr. and Mrs. Henry Pollak Nicholas and Barbara Castrataro Patricia A. Hammer Mr. and Mrs. Rene Prochelle Caterpillar Foundation Mr. and Mrs. Philip Heidelberger Matching Gifts Susan and Lewis Rapaport Mr. and Mrs. Thomas Herzfeld Jack Chachkes Mr. and Mrs. Mills Ripley, Jr. Mr. Aaron Hill Michael Chang Mr. and Mrs. Toby Ritter Eleanor Holman Dr. and Mrs. Constantine Christos Mr. and Mrs. Norton A. Roman Daniel Horowitz Richard and Barbara Cody Mr. and Mrs. Victor Romley Lori Horowitz Linda Coffey Mrs. Frances Rosenfeld HSBC Community and Mr. and Mrs. Julian L. Cohan Mr. and Mrs. Jerome Rossman Philanthropic Programs Mr. and Mrs. H. Rodgin Cohen Mr. and Mrs. Robert Roth Ms. Roberta Hyde Mrs. Dusty Cohn Jim and Jennifer Sandling Barbara Jackson

58 westchester philharmonic | 2011-2012 season Our Supporters

Arthur and Marcia Jacobs Michael and Evelyne Otten Mr. and Mrs. John R. Stern Ms. Sandy Jamieson Nancy and Kevin Pegels Ms. Rosalyn Sternbach Mr. and Mrs. Morton Joselson Dr. and Mrs. Norman C. Pfeiffer Ms. Beatrice Steyer Shirley D. Kalb Pfizer, Inc. Carol Stix Laura Kaminsky and Irving and Sharon Picard Carol Sturtz Rebecca Allan Mr. and Mrs. Edward R. Plant Mr. and Mrs. Ronald Switzer Mr. Adam Kaplan Laura Politi Mrs. Francine Tancer Rita Kaplan Mr. and Mrs. Lowell Pollack Samuel Tatnall Ms. Deborah E. Karp Mr. and Mrs. Andrew Potash Stephen and Lynda Tepperman Howard and Helene Katz The late Milton Prystowsky Neil and Mary Tergesen Greta Katzauer Sylvia Rackear Ruth Toff in Honor of James and Mr. and Mrs. Joshua Jay Kaufman Lawrence and Harriet Rader Ana Lasser Ms. Sally E. Kellock Mr. and Mrs. Lawrence Reich Ms. Marilyn Tushman Dorothy Kirsch Mr. and Mrs. David Reichman Catherine Censor and Mrs. Marie Kish Denise A. Rempe Anthony Uzzo Ms. Estelle Klein Marianne and Arnold Rich Henri Van Dam Lynn Klein and Anthony Riotto Roaring Brook Art Company, Inc. Robert and Kyla Voltmer Mr. and Mrs. Howard Klein Michael and Tanya Romanoff Ms. Susan M. Wackerow Dr. and Mrs. Mark Korsten Edith Rosenbaum Natalie Waller Joyce Koyner Linda L. Rosenbaum Alan and Jacqueline Wapnick Mr. and Mrs. Ed Krass Phillis Rosenthal Joan M. Warburg Mr. Irwin P. Labadorf Mr. and Mrs. Robert Rosenthal Mr. and Mrs. Burton Wasserman David and Claudia Lampel Mr. and Mrs. Numa Rousseve Mr. and Mrs. Frederick Waterman Betty Landauer Ms. Gerda Roze Mr. L. Sanford Waters Mrs. Rosemarie Lanza Phillip and Marla Salomon Gloria Weil Leason Ellis LLP Mr. and Mrs. Gerald Sanders Mr. and Mrs. Charles Weiser Dick and Julie Leerburger Robert and Barbara Sandler Mrs. Mary Whigham Ms. Harriet Leibowitz Ms. Myra Saul Mary Whitaker Mrs. Doris Leonard Jack and Carole Scarangella John Wilson Mr. and Mrs. Joel Lesnick Elaine Schenkerman Bruce Winston Irwin and Vivienne Levenson J. Lew Schepps Carl Winterrose and Lois Lindberg Adele and Len Lewis Dr. and Mrs. Nathan Schifrin Richard and Joan Yoken Ms. Binnette Lipper and Stuart P. Schirota Mr. Alvin Begleiter Robert Schloss Mr. and Mrs. Ronald Litowitz Mr. and Mrs. Andrew Schon A hearty bravo to the Christopher Lovergine Elon and Patrice Schwartz following individuals and Macy’s Matching Gift Foundation Gene and Sue Sekulow organizations for in-kind Mr. and Mrs. Donald R. Mahaney Mr. and Mrs. Stanton Selbst donations of items or services: John and Judith Mann Sheila Seldin Gayle Aaron Mr. Ramon Maseda Frances Shahar Doral Arrowwood Eva C. May Ms. Sara Sheperd Michael Boriskin Mrs. Eva Mayer Cynthia Shmerler and Ford Levy Matt Dine Patricia McGuire David and Louise Shulman Fairway Markets Ms. Helen F. Mecs Ms. Heda Silverstein Susan Farley Samuel Meisler Suzanne Siskel Foley Graphics Men’s Council of Congregation Mr. and Mrs. George Skoler Elvia Gobbo Kol Ami David Smith and Jane Nozell Millicent Kaufman Mrs. Leah Mendelsohn Mrs. Lucille Smith Leros Limos Joan Meyer Mr. and Mrs. Roger C. Smith New York Power Authority Mr. and Mrs. Stephen Meyers Martin and Grace Soloway Joseph W. Polisi Mr. and Mrs. George Miles Mr. and Mrs. Alan Stahl Tony Schuman Peter and Starr Moesel Rosalind Starkman Frank Soriano and Mr. and Mrs. Stanley Newhouse Stanley and Elizabeth Starr House of Flowers Orly Nobel Norman and Nancy Steiger Gregory K. Squires Productions John and Eileen O’Brien Mr. Howard Steinman Jonathan Taylor and Mary Sano Kathleen O’Brien Bernard Steinweg in Honor of Today Media/Ralph Martinelli David and Lori Okun Walter Shmerler Rory Worby Suzi and Martin Oppenheimer

www.westchesterphil.org | 914-682-3707 59 Our Supporters

We thank the following for their thoughtful gifts in memory of our esteemed board member Stanley Goodman. Anonymous Bruce Klatsky Judie Raff Martin Blackman Dick Kohn Mrs. Seymour Romney Eric Caslow Lois Laemle and Peter Gelblum Harriet Sadow Albert Dworkin Elaine Lee Joseph Sandello Mimi Feinberg Louise Levy Joyce Sanders Gladys Field Harley Lewis Mr. and Mrs. Stanton Selbst Judith Friedman James Lewis Marcia Shiller Harvey Furgatch Thomas Lewis Edwin Shmerler Paul Furgatch Todd Lichtenstein Carol Smith Mrs. Anita Goodman Elaine Mainthow Lee and Jacqueline Bellsey Starr Margie Granik Patti Mittleman Barbara Stern Elinor Jay Wanda Napolitano Bernard Tofany Millicent and Martin Kaufman Marc Paulina Ruth Toff Mrs. Lee Kern Felice Prensky Milton Wittels

We gratefully acknowledge the following named chair donors for their support of the orchestra. Gayle and Neil Aaron Melinda Holtz Mr. Jonathan Taylor and Liz and Tony Aiello Martin and Millicent Kaufman Dr. Mary Sano David and Madeleine Arnow Mary Ann Liebert and Dr. Peter Steven Ucko Dorothy Cooper S. Liebert, MD The Worby Family Mrs. Anita Goodman Marianne Schuit Jeff and Frédérique Zacharia Marilyn and John Heimerdinger Hannah and Walter Shmerler Mrs. Joy Henshel Lee and Jacqueline Bellsey Starr

Our Volunteers In addition to the work of our Board of Directors, the Philharmonic is fortunate to have a dedicated group of volunteers who donate their time in our administrative offices and at events. We are grateful for the essential support they provide.

Gayle Aaron Roberta Hyde Marcia Rodman David & Phyllis Amerling Millicent Kaufman Numa Rousseve Vicki Bennett Jared Kursman Linda Straus Mitzy Colletes Marlene & Armand Lerner Stephen Ucko Barbara Feldman Katherine Nathan Brian Wegner John & Jeanne Garment Rosanne O’Reilly Carolyn Williams Gehry Hines Judith & Lowell Pollack Andrea Worby Kathleen Humphreys Roslynne Reichgott Rory Worby

60 westchester philharmonic | 2011-2012 season Paul Lustig Dunkel, Music Director Emeritus

t its founding in 1983 and for the works, notably Concerto for Flute, Strings and ensuing quarter-century, Percussion by Melinda Wagner, which was the Westchester Philharmonic premiered by the Westchester Philharmonic was led by Paul Lustig Dunkel, and won the 1999 Pulitzer Prize. who became Music Director His passion for music education Emeritus in May 2008. Under focused on accessibility and demystifying Maestro Dunkel the orchestra the art form among children. Dunkel gained national prominence for and the orchestra received the 2000 the excellence of its programming, education Leonard Bernstein Award for Educational programs,I outreach and performance. Programming from the American Society of Dominant in shaping the orchestra’s Composers, Authors and Publishers and the virtuosic playing, Dunkel invited the finest American Symphony Orchestra League. musicians from around the New York Dunkel remains an active conductor, metropolitan area to join the orchestra, many composer/arranger, educator and flutist. of whom are still members of the ensemble He is the longtime principal flutist for the today. His reputation as a peerless musician New York City Ballet, and co-founded the attracted top-tier soloists such as Garrick American Composers Orchestra. He has Ohlsson, Itzhak Perlman, André Watts, and been the Music Director of the Denver Isaac Stern. With his impeccable eye and ear Chamber Orchestra, Principal Conductor of for emerging talent, Dunkel tapped little- the Vermont Mozart Festival, appeared as known teenagers Midori, Joshua Bell, and guest conductor with the Baltimore, Buffalo, Gil Shaham, to appear with the Philharmonic. Richmond, and American Symphonies, Paul Dunkel’s dedication to new music Brooklyn Philharmonic, and the Orchestra of made the Westchester Philharmonic a St. Luke’s, at the Kremlin and in Taiwan. He favorite destination for contemporary is a Grammy® nominee for his recordings as composers, having commissioned numerous a flutist.

www.westchesterphil.org | 914-682-3707 61 About the Westchester Philharmonic In the Concert Hall, the Classroom, and the Community

Itzhak Perlman performed and conducted Beethoven with the Westchester Philharmonic in October 2010. matt dine matt

62 westchester philharmonic | 2011-2012 season About the Westchester Philharmonic SuSan Farley

Nearly 2,000 elementary school students participate in Twenty-eight year-old violinist Giora Schmidt performed the Phil’s annual classroom music education program. with the Perlman/Bailey/Schmidt Trio in May 2010.

he Westchester become renowned concert stars received early Philharmonic is opportunities as guests of the Westchester the only fully-professional Philharmonic. Among them have been Midori, symphony orchestra Joshua Bell, and Gil Shaham. New works devoted to serving the people premiered at the Philharmonic have included of Westchester County. Thracian Echoes, an orchestral work by Derek In 1983, the orchestra was Bermel that was awarded the Westchester established as the New Prize during the Philharmonic’s 20th season Orchestra of Westchester under the leadership and, most notably, Melinda Wagner’s Pulitzer Tof Paul Lustig Dunkel, and, a few years later, Prize-winning Concerto for Flute, Strings and re-christened the Westchester Philharmonic. Percussion and The Yellow Wind by Tamar Created to enhance the quality of life in Muskal in 2005. This commitment to the the community and provide educational new continues in the 29th season with John opportunities for local schoolchildren, the Williams’ On Willows and Birches conducted by orchestra has grown to become one of the most young Japanese maestra Tomomi Nishimoto influential cultural institutions in the region— and the performances of Kelli O’Hara and Ben with a broad reach well beyond its immediate Davis as part of our annual Winter Pops event. geography. From 2008–2010 the orchestra was As a leading community resource, the under the artistic leadership of world-renowned Westchester Philharmonic partners with Itzhak Perlman. Westchester County government and local The Westchester Philharmonic’s opening organizations to present free and low-cost concert in 1983 featured White Plains native chamber concerts for area residents. Youngsters Garrick Ohlsson as guest artist. Already an in classrooms across the region are treated established star on international concert to the orchestra’s award-winning education stages, his participation set a high standard of program, which reaches thousands of artistry that continues into the organization’s elementary school students each year. current season. Ohlsson paved the way for For twenty-nine seasons the Westchester other stellar artists who have been guests of the Philharmonic has made the musical arts Philharmonic in recent years, including Isaac accessible to the community: providing the Stern, Leon Fleisher, Jean-Yves Thibaudet, highest quality educational programming in Frederica von Stade, and André Watts. the classroom; enhancing the quality of life Since the beginning, the Philharmonic has in the region through innovative professional been committed to introducing audiences performances; and showcasing the finest new to the new: new artists, new composers, new artistry in the concert hall. compositions. Young artists who would quickly

www.westchesterphil.org | 914-682-3707 63 General Info

GENERAL INFORMATION QUIET, PLEASE Emergency exits are indicated by red signs Please be sure that beepers, pagers and above the doorways. For your safety, please cell phones are turned off during the check the location of the exit nearest your seat. performance. Restrooms and pay phones are in the lower Patrons expecting calls should leave their lobby at the foot of the stairs. names and seat locations with the box office and provide their telephone service with Assistive listening devices are available the Public Safety Office emergency number, from the house management. 914-251-6900. Lost items are held in the lost and found; As a courtesy to other concert-goers, please please check with the house manager or call do not talk during the performance and 914-251-6209 please keep unnecessary noise, such as Latecomers will be seated at the discretion the unwrapping of candy or lozenges, to a of the management. minimum. Please do not use recording devices or take photographs in the concert hall. All programs, artists, dates and times are subject to change.

TICKET SALES AND THANKS FOR RETURNING EXCHANGES YOUR TICKETS! Tickets to upcoming performances may be We are grateful that so many of you GreGory AllAn CrAmer purchased by calling the Philharmonic box remember to return your tickets on those office at 914-682-3707 ext. 10 Monday through rare occasions when you can’t be with Friday between 10 am and 5:30 pm. us. There is always a demand for seats, Interior Design and and your thoughtfulness allows more We accept cash, check, MasterCard, listeners to enjoy our concerts. To show Visa, Discover, and American Express. Construction Management our appreciation we will provide you with Westchester Philharmonic subscribers may exchange their tickets by mail or fax for the a written acknowledgement allowing the alternate performance of the same concert value of returned tickets as a tax-deductible Since 1986 program no later than 48 hours in advance contribution. of an event; for assistance please call the box To return tickets, please call the Westchester 914-772-6716 office at 914-682- 3707 ext. 10. Philharmonic box office at 914-682-3707 On performance days only tickets are avail- ext. 10 or mail the tickets to: 123 Main Street, Free In-Home Consultation able through The Performing Arts Center Lobby Level, White Plains, NY 10601. We During the Month of October box office. Payment is accepted by check, must receive your returned tickets (by fax or MasterCard, Visa, and American Express. mail) and a phone call or letter by 5 pm the Tickets purchased at The Performing Arts Friday prior to the performance in order to View the fabulous interior design Center are subject to additional fees. let others benefit from your return. photography gallery at: gregoryallancramer.com

64 westchester philharmonic | 2011-2012 season GreGory AllAn CrAmer Interior Design and Construction Management

Since 1986 914-772-6716

Free In-Home Consultation During the Month of October

View the fabulous interior design photography gallery at: gregoryallancramer.com The Diamond Opera Necklace from