MSM SYMPHONY ORCHESTRA

George Manahan (BM ’73, MM ’76), Conductor

Friday, September 13, 2019 | 7:30 PM Neidorff-Karpati Hall Friday, September 13, 2019 | 7:30 PM Neidorff-Karpati Hall

MSM SYMPHONY ORCHESTRA

George Manahan (BM ’73, MM ’76), Conductor

PROGRAM MAURICE RAVEL Pavane pour une infante défunte (Pavane for a (1875–1937) Dead Princess)

CLAUDE DEBUSSY La Mer (1862–1918) De L’Aube à midi sur la mer (From Dawn to Midday at Sea) Jeux des vagues (Play of the Waves) Dialogue du vent et de la mer (Dialogue of Wind and Sea)

Intermission

BÉLA BARTÓK Concerto for Orchestra, BB 123 (1881–1945) Introduzione: Andante non troppo; Allegro vivace Giuocco delle coppie: Allegretto scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Pesante; Presto MSM SYMPHONY ORCHESTRA

VIOLIN 1 Yunjung Ko Paul Moskalew I-jung Huang, Seoul, South Korea Muncie, Indiana concertmaster Clara Jeon Yu Yu Liu Taoyuan, Taiwan Daejeon, South Korea Tainan, Taiwan Jennifer Ahn Fang-Chun Hsieh May Endy Omaha, Nebraska Tainan City, Taiwan Tel Aviv, Israel Nuri Lim Elizabeth Beck Georgia Seoul, South Korea Oil City, Louisiana Bourderionnet Ruben Rengel Maomao Huang New Orleans, Louisiana Cardona Wuhu, Anhui, China Camille Dietrich Caracas, Venezuela Jeeyoon Kim West Nyack, New York Yena Lee Seoul, South Korea Li Pang South Korea Chenxiang Wang Shanghai, China Vlad C. Hontilă New York, New York Elizabeth Fath Cluj-Napoca, Romania Fairfield, Connecticut Guolong Wang VIOLA Magali Toy Beijing, China Ramon Carrero Toronto, Canada JiaYin Liu Martinez, principal Minjin Kim Shanghai, China Caracas, Venezuela Seoul, South Korea Shiqi Luo En-chi Cheng Rei Otake Shanghai, China Kaohsiung City, Taiwan Tokyo, Japan Yujing Ming Xue Ding Mingyue Zhao Shenzhen, China Changchun, China Beijing, China Yerin Kim Tal Mcgee Bucheon, South Korea Spring, Texas DOUBLE BASS Yuanxinyue Gao Joshua Gomberoff Zachary Merkovsky, Nanjing, China Vancouver, Canada principal Dong Suk Lee Dudley Raine Lawrence, New York Seoul, South Korea Lynchburg, Virginia Jakob Messinetti Kunbo Xu New Orleans, Louisiana VIOLIN II Changsha, Hunan, China Eunsol Jo Saki Kaneko, principal Mookun Jang Seoul, South Korea Tsukuba-shi, Japan Haeundae, Jwa Dong, Conor O’Hale Christine Wu South Korea Maplewood, New Jersey Plano, Texas Kenny Wang David Lester Jeehyun Park New York, New York Frederick, Maryland Seoul, South Korea Hanxiao Deng Eunyoung Kim CELLO Xiamen, Fujian, China Seoul, South Korea Marcie Kolacki, TaTan Huang principal Phoenix, Arizona Tainan, Taiwan + FLUTE Pinghua Ren TUBA Julie NahKyung Lee* Shanghai, China Brandon Cazden^+ *^ Seoul, South Korea Cyd Scott Dorval, Canada Francesca Leo Carmel, New York Pleasant Ridge, Michigan TIMPANI Yeji Shin HORN Hamza Able+ Ulsan, South Korea Luke Breton Jacksonville, Florida Lucija Stilinovic^ Birdsboro, Pennsylvania Arthur Dhuique- ^ Varazdin, Croatia Torrin Ha llett Mayer^ Shannon Vandzura+ Oconomowoc, Wisconsin Paris, France * Minotola, New Jersey Liana Hoffman Coral Springs, Florida PERCUSSION OBOE Eli Pandolfi+ Cooper Martell Andres Ayola Webster Groves, Missouri Albany, New York New York, New York Tae McLoughlin Yawen Guan TRUMPET South Orange, New Jersey Beijing, China Sean Alexander William Richards Rajan Panchal*+ Washington DC Wheaton, Illinois + Los Gatos, California Changhyun Cha Madison Shake^+ Christian Tran^ Busan, South Korea Indianapolis, Indiana Las Vegas, Nevada Imani Duhe Mitchell Vogel Atlanta, Georgia Oviedo, Florida CLARINET Brandon Eggert Chun Yip Ho Sarasota, Florida HARP ^ Hong Kong Caleb Laidlaw Frances Konomi Tyler Hsieh^ Levittown, New York Kuala Lampur, Malaysia San Jose, California Sam Jones Minyoung Kwon*^+ Kyoungmin Lee+ St. Petersburg, Florida Seoul, South Korea Seoul, South Korea Ki-Deok Park* TROMBONE Chicago, Illinois Kenton Campbell Shogo Urahata Lawrenceville, Georgia + Tokyo, Japan Kevin Casey Winter Park, Florida ^ BASSOON Julia Dombroski Brass & Wind Principals Wenchao Fang Ontario, New York * R AV EL Pavane pour une Qingdao, China David Farrell infante défunte West Footscray, Australia Cheryl Fries ^ DEBUSSY La Mer Red Creek, New York Maxine Troglauer + BARTÓK Wiesbaden, Germany Concerto for Orchestra PROGRAM NOTES

Pavane pour une infante défunte (Pavane for a Dead Princess) Maurice Ravel

The Pavane pour une infante défunte (Pavane for a Dead Princess), originally a piano piece composed in 1899, was Ravel’s first widely known work. It was commissioned by Princess Edmond de Polignac, at whose elegant salons Ravel regularly performed. The immense popularity of the Pavane surprised and annoyed the composer; he later criticized the salon piece, saying “the influence of Chabrier is much too glaring, and the structure is rather poor. The remarkable interpretations of this inconclusive and conventional work have, I think, in great measure contributed to its success.” Ravel alluded sarcastically here to the many attempts by critics to “explain” the unusual title and to the thousands of awkward amateur performances the piece received. He nevertheless continued to perform the Pavane, possibly as a counterweight to tasteless performances. He also returned to it in 1910 to make an orchestral version, which only strengthened its popularity. Despite or because of the many “remarkable interpretations” the title had elicited, Ravel frequently insisted that it had no significance for him other than “the pleasure of alliteration.” In 1925 he was quoted as saying, “Do not attach to the title any more importance than it has. Do not dramatize it. It is not a funeral lament for a dead child but rather an evocation of the pavane which could have been danced by such a little princess as painted by Velasquez at the Spanish court.” A pavane was a stately Renaissance court dance often played on the lute, an instrument Ravel could represent more easily in the orchestral version (pizzicato strings) than on the piano. It remains difficult to determine what faults Ravel found with its structure, an elegant rondo form that can be mapped as A, B, B1, A1, C, C1, A2. In addition, its gentle lyricism, initiated by a celebrated horn solo, seems entirely appropriate for the piece. Other instruments take up the melodic line in this delicate soundscape, which never pretended profundity and which rendered forgettable any Chabrier influence that once concerned Ravel. La Mer Claude Debussy Debussy wrote to his friend André Messager in 1903: You may not know that I was destined for a sailor’s life and that it was only quite by chance that fate led me in another direction. But I have always retained a passionate love for her [the sea]. You will say that the ocean does not exactly wash the Burgundian hillsides . . . and my seascapes might be studio landscapes; but I have an endless store of memories and, to my mind, they are worth more than the reality, whose beauty often deadens thought. In addition to Debussy’s own experiences with the ocean, there were Turner’s sea pictures that had recently impressed him, and he must have been acquainted with Edgar Allan Poe’s vivid descriptions of the sea, since he later based operatic scenes upon Poe’s Fall of the House of Usher. Debussy was also influenced by seascapes of Ando Hiroshige and Katsushika Hokusai; the latter’s print The Hollow of the Wave off Kanagawa was reproduced on the cover of the first publication ofLa Mer. The composer worked on what he called a trilogy of “symphonic sketches” for two years, and completed the score in 1905. La Mer was first performed by Camille Chevillard conducting at the Concerts Lamoreaux on October 15 that year. Though the work gained popularity during the composer’s lifetime, the first performance was received poorly; Debussy later told Stravinsky that “the violinists flagged the tips of their bows with handkerchiefs at the rehearsals, as a sign of ridicule and protest.” The first movement introduces several motives, some of which recur throughout the work, such as the final brass chorale in D-flat major. Debussy’s novel orchestrational ideas are ever present: one passage features horns and cellos divided into four different parts in a combination unique at the time; another polyphonic passage contains seven independent rhythmic lines in three simultaneous dynamic schemes. The first movement also shows his fascination with what he considered Asian sonorities, such as melodies harmonized in fourths or fifths moving in parallel motion, which lend a certain exoticism to his music. The second movement features themes constructed from whole-tone scales, another favorite device of the composer. The lighter orchestration and quick tempos have led some to liken the middle movement to a scherzo, though the music does not follow the traditional scherzo-trio-scherzo form. The last movement contains some of the most dramatic passages of the work, swelling to a conclusion that recalls the climax of the first movement.

La Mer is not program music in the sense of literal depiction, but rather an abstract sound-picture representing the essence of what the sea meant to Debussy. Nevertheless, Erik Satie could not resist a facetious remark to the composer referring to the title of the first movement (“From dawn to midday at sea”), saying that he “particularly liked the part at a quarter to eleven.”

Concerto for Orchestra, BB 123 Béla Bartók The stimulation provided by the commission from the Koussevitzky Foundation for the Concerto for Orchestra may well have prolonged Bartók’s life. Ill, weak, and with no means of financial support in sight, Bartók received a visit in his hospital room in 1943 from conductor Serge Koussevitzky, acting on a suggestion by Joseph Szigeti and Fritz Reiner. Koussevitzky offered him a $1,000 commission—$500 to begin with, the remainder on completion of the score. Worried that Bartók would refuse anything resembling charity, and, unwilling to consider that Bartók might be too ill to complete it, Koussevitzky told him he couldn’t refuse as the board of trustees had made an irrevocable decision. Recuperating from treatment for blood and lung disorders, Bartók spent the summer at Saranac Lake, New York, where he completed the work. Koussevitzky conducted the Boston Symphony Orchestra in the premiere on December 1, 1944. The composer, whose doctor permitted him to attend rehearsals and the performance, was thrilled by the great success of the work and by Koussevitzky’s enthusiasm for it. Bartók quoted the conductor as saying that the Concerto was “‘the best orchestral piece of the last twenty-five years’ (including the works of his idol Shostakovich!).” The turnabout in his fortunes that the work occasioned sadly came too late. He grew weaker and died less than a year after its first performance.

Bartók’s Concerto for Orchestra was not the first, but his work launched a creative outburst. More than twenty noted composers have since added substantial contributions—Witold Lutosławski, Thea Musgrave, Elliott Carter, Roger Sessions, Michael Tippett, Karel Husa, Gunther Schuller (with three), Shulamit Ran, and many others—but it is Bartók’s work that orchestras continually strive to perform and record as a symbol of achievement.

8 Bartók shows off not only individual instruments, but an entire realm of innovative combinations, as well as the power of the whole orchestra. The work’s tunefulness and combined force make it readily accessible to audiences, while its masterful construction has given analysts a field day—at least two entire monographs are devoted to this one work. Bartók’s own description for the premiere began: “The general mood of the work represents, apart from the jesting second movement, a gradual transition from the sternness of the first movement and the lugubrious death song of the third to the life assertion of the last one.” He later told Hungarian colleagues that he wrote the Concerto as a personal expression “of homesickness and hope for his country, and of peace and brotherhood for the world.” Bartók’s program note continued with a matter-of-fact recital of some of the work’s details but naturally couldn’t gush about some of its great wonders. One of these is the masterful overall symmetry of the five- movement structure: two outer movements, which carry most of the structural weight, surround the lighter-textured, more relaxed movements two and four, which in turn encircle the central slow movement. “The first and fifth movements,” he wrote, “are written in a more or less regular sonata form. The development of the first fugato contains sections for brass; the exposition in the finale is somewhat extended, and its development consists of a fugue built on the last theme of the exposition.” We should add that the first movement’s opening features intervals of a fourth, which he favored throughout his life, followed by sections beginning in half-steps, fanning out to clusters, and retracting again. Other marvels of the first movement include the three-measure groupings near the beginning of the movement, which return in the coda in a new metrical pattern that makes them seem extended; the folklike rhythms in tiny patterns that suggest the folk tunes he so diligently collected in the field; and the wonderful sonority of the harp clusters. The composer continued, “Less traditional forms are found in the second and third movements. The main part of the second movement consists of a chain of independent short sections; I used here wind instruments, which are consecutively introduced in five pairs. . . . A kind of trio—a short chorale for brass instruments and side drum—follows, after which the five sections are repeated in a more elaborate instrumentation.” Bartók ingeniously treats his pairs of instruments in parallel motion, each pair maintaining a different set interval against a constantly shifting backdrop. This lighthearted “Game of Pairs” originally bore the title “Presenting the Couples,” referring to a Hungarian dance tradition. 9 “The structure of the third movement is also chain-like,” wrote Bartók; “three themes appear successively. These constitute the core of the movement, which is enframed by a hazy texture of rudimentary motives. Most of the thematic material of the movement derives from the introduction of the first movement.” This nostalgic elegy—said to be the composer’s lament over the loss of Transylvania—contains a wonderful example of his celebrated “night music”— atmospheric flutterings, whisperings, and rustlings—in its middle section.

Bartók’s brief structural outline of the fourth movement, Intermezzo interrotto, is helpful—“A-B-A-Interruption-B-A”—but it cannot transmit the loveliness of his nostalgic treatment of his second theme. Based on a popular song containing the line “You are lovely, you are beautiful, Hungary” from a 1926 operetta by Zsigmond Vincze, the melody unfolds in what could be called Bartók’s own take on the harmonic circle of fifths. The interruption that ensues is an intentionally raucous theme that Shostakovich had used in the first movement of his Seventh Symphony, which Bartók heard while working on the Concerto and decided to burlesque here. Péter Bartók later wrote that, listening to the radio broadcast of the Shostakovich, they had thought the theme sounded like a Viennese cabaret song (some commentators have noted Danilo’s song about the girls at Maxim’s from The Merry Widow by another Hungarian, Franz Lehár). Peter insisted that his father was burlesquing the cabaret song and not specifically Shostakovich, but the matter is still under debate. In either case, Bartók used the raucous music, he reportedly told his friend György Sándor, as the violent interruption by “rough, booted men” of an artist’s serenade to his beloved country. Of the finale—a wonderful tour-de-force for the orchestra—Bartók briefly describes the virtuosity of the perpetual motion–like passage of the principal theme and the fugue of the development section. Also striking are the string repeated-note interruptions at the end of the fugue, the “wind” effects of the strings playing sul ponticello (on the bridge), and the great brass chorale—based on the fugue theme in longer note values. After the premiere Bartók provided a slightly longer ending for the Concerto, which adds an upsurge of triumph.

—Program notes ©Jane Vial Jaffe

10 ABOUT THE ARTIST George Manahan (BM ’73, MM ’76), Conductor George Manahan is in his 10th season as Director of Orchestral Activities at Manhattan School of Music, as well as Music Director of the American Composers Orchestra and the Portland Opera. He served as Music Director of the New York City Opera for 14 seasons and was hailed for his leadership of the orchestra. He was also Music Director of the Richmond Symphony (VA) for 12 seasons. Recipient of Columbia University’s Ditson Conductor’s Award, Mr. Manahan was also honored by the American Society of Composers and Publishers (ASCAP) for his “career-long advocacy for American composers and the music of our time.” His Carnegie Hall performance of Samuel Barber’s Antony and Cleopatra was hailed by audiences and critics alike. “The fervent and sensitive performance that Mr. Manahan presided over made the best case for this opera that I have ever encountered,” said the New York Times. Mr. Manahan’s guest appearances include the Orchestra of St. Luke’s, Atlanta, San Francisco, Hollywood Bowl, and New Jersey, where he served as acting Music Director for four seasons. He has been a regular guest with the Curtis Institute and the Aspen Music Festival and has appeared with the opera companies of Seattle, Philadelphia, San Francisco, Chicago, Santa Fe, Paris, Sydney, Bologna, St. Louis, the Bergen Festival (Norway), and the Casals Festival (Puerto Rico). His many appearances on television include productions of La bohème, Lizzie Borden, and Tosca on PBS. The Live from Lincoln Center telecast of New York City Opera’s production of Madama Butterfly, under his direction, won a 2007 Emmy Award. George Manahan’s wide-ranging recording activities include the premiere recording of Steve Reich’s Tehillim for ECM; recordings of Edward Thomas’s Desire Under the Elms, which was nominated for a Grammy; Joe Jackson’s Will Power; and Tobias Picker’s Emmeline. He has conducted numerous world premieres, including Charles Wuorinen’s Haroun and the Sea of Stories, David Lang’s Modern Painters, Hans Werner Henze’s The English Cat, Tobias Picker’s Dolores Claiborne, and Terence Blanchard’s Champion. He received his formal musical training at Manhattan School of Music, studying conducting with Anton Coppola and George Schick, and was appointed to the faculty of the school upon his graduation, at which time the Juilliard School awarded him a fellowship as Assistant Conductor with the American Opera Center. Mr. Manahan was chosen as the Exxon Arts Endowment Conductor of the New Jersey Symphony the same year he made his opera debut with the Santa Fe Opera, conducting the American premiere of Arnold Schoenberg’s Von Heute auf Morgen. 11 The Centennial Project Manhattan School of Music’s Centennial Project was an ambitious program of improvements to the School’s architecturally distinguished campus coinciding with MSM’s 100th anniversary. The centerpiece of the Project was the renovation of Neidorff-Karpati Hall, MSM’s principal performance space, which has been transformed into a state-of-the-art venue to showcase our talented students. Built in 1931 and designed by Shreve, Lamb & Harmon, the architects of the Empire State Building, the hall has been called “one of the Art Deco treats in the city” by the New York Times. The Project also included a dramatic and welcoming new campus entrance on Claremont Avenue, new practice rooms, and an expansion of the main entryway and lobby.

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Gottschalk Dr. and Mrs. Arkady Aronov Holzman Moss Bottino Architecture Joanne Greenspun Mr. Sean Bae Bright Power Hansoree The Bagby Foundation for the Michael R. and Nina I. Douglas Ruth Harf Musical Arts, Inc. Patricia Falkenberg Sylvia Hemingway Ms. Susan Barbash and Dr. Eric Katz Fidelity Charitable Gift Fund Paulus Hook Music Foundation LLC Paul J. Beck Richard Gaddes Peter Horvath Wayne Bellet Hans Gesell Maureen D. Hynes Alison P. Brown General Plumbing Corporation IBM Ronald and Mary Carlson Kimberly D. Grigsby Ilse Gordon and Neil Shapiro Mr. Xilun Chen Jane A. Gross Warren Jones† Lubrano Ciavarra Architects, PLLC 14 Jill and Bob Cook Elizabeth A. Browne Martine and Ronan Wicks Michael R. Douglas Charitable Dr. Vincent Celenza Earle Yaffa Fund Charitybuzz Elda and Eduardo Zappi Mignon Dunn† Steven Connell Noreen and Ned Zimmerman Laura Falb Stephanie R. Cooper, Esq. Dianne Flagello Edward and Annette Cornelius $100 to $249 Judith Friedman Toby and Les Crystal Anonymous Donors (7) Loraine F. Gardner James J. Dale Peter Abitante Patti Eylar and Charles Gardner Allan J. Dean Eileen C. Acheson-Bohn The John and Marianne Gunzler Dr. Susan E. Deaver Lauren Aguiar Fund Gwendolyn DeLuca Meg Lowenthal Akabas Larry and Diane Hochman Gale Epstein Charitable Fund Donald Albrecht Susan Anne Ingerman Mr. Daniel Epstein Philip Anderson Mr. Herve Jacquet Everest Scaffolding Inc. Giorgio Poma & Family Cecile R. Jim Mr. and Mrs. Aldo Fossella Ronald and Gail Asinari Dr. and Mrs. Peter K. Kang Allan Dodds Frank and Dr. and Mrs. Victor O. Bacani Harriet Kaplan Lilian M. King Charles and Miranda Barker Chung Nung and Bik-Lam Lee Jerry and Leah Garchik Gensler Denise and Benjamin Battat Jeehyoun H. Lee Philip and Karen Glick Linda Dupree-Bell The George A. Long Foundation Pam Goldberg Yvette Bendahan Alta T. Malberg Dr. Richard A. Gradone Lawrence O. Benjamin Susan Olsen Maren Madelon and Jerald Grobman James Bennett Oren Michels Laurie Hamilton Avis Berman Christopher and Elissa Morris Carl Hanson Patricia Berman and Harvey Singer Mr. Anthony Napoli Dr. Mary H. Harding Susan Biskeborn Marjorie Neuwirth Caroline and Rodney Hine Kevin M. Bohl Patrick O’Connor Ilene Jacobs Dr. Louis M. Bonifati, Ed. D. Yahui Olenik Julie Jacobs Frank Bookhout Dr. John Pagano† JPMorgan Chase & Co. Mr. and Mrs. Stanley Borowiec Henry Pinkham Richard Kayne Agnes and Carl Boxhill Dr. Kariné Poghosyan† Mr. and Mrs. Matt Kim Julianne Boyd Susan Quittmeyer and James Morris† Kathy King Mr. and Mrs. Peter A. Boysen Mary Radcliffe The Kocan Family Joy Hodges Branagan Dr. Maria Radicheva† Kranzdorf Family Foundation Anthony N. Brittin Lisa Raskin Dr. and Mrs. Eugene Krauss David Britton Mary S. Riebold Gary Trout and Kenneth Latsch Frank Bruno Esther Rosenberg and Michael Jay Lesenger Ivy and Ian Bukzin Ostroff Stuart E. Liebman Raymond J. Burghardt Ed Rubin Kathy Liu Hugh Burritt Dr. and Mrs. Eduardo Salvati Xin Liu and Hong Chen Mabel A. Campbell Saremi Health and Wellness James P. McCarthy Alexander and Filis Cardieri Foundation Linda McKnight Norman and Nadine Carey Eve M. Schooler Ruth Meints Mr. and Mrs. Dalmo Carra Marc Scorca† William H. Meyer Martha Chapo Family Gift Fund Dr. Marc Silverman† Michelle and John Morris Min Kyung M. Cho The Skylark Foundation Florence Meisels Nelson Jung Sun Chung Ted Smith Myrna Payne Annette Coco Alex Solowey Kane Pryor Sue Ann and Tony Converse Kathleen Byrum Suss Raul S. Quines Prudence Costa Jenkins Mimi Tompkins† Bruno Quinson Jeffrey Cox Lucie Vippolis Noa Rafimayeri Dr. David Karl Davis The Cecilia and Mark Vonderheide Mr. and Mrs. Kanti Rai Anthony J. de Mare† Charitable Fund Irwin L. Reese Anaar Desai-Stephens Ms. Xiayin Wang Judy Reiner Platt and Roger Platt Nancy Zipay DeSalvo Rachel B. Weinstein Dora and Patrick Rideout Thanne Dispenza Daniel E. Weiss David and Judith Rivkin Marjory M. Duncalfe Michael Ytterberg Laura Schiller Jane Emery June Zaccone Susan F. Sekulow Michael and Marjorie Engber Kira Sergievsky Carolyn J. Enger $250 to $499 Elizabeth and Robert C. Sheehan Elaine Enger An Anonymous Donor Walter F. and Margaret M. Siebecker Jeffrey Epstein and Renee C. Epstein Paul Baer Paul Sperry† ExxonMobil Foundation Louise Basbas Brian Suntken Grace A. Feldman Dr. Hayes Biggs† and Ms. Susan Tchaikovsky Marion Feldman† Orzel-Biggs Gordon Turk Warren Feldman Etty and Jacob Bousso Marlene and Marshall Turner Robert Felicetti John S. Britt Elizabeth R. Van Arsdel Dr. Fenichel Angela Brown Nils Vigeland Elsa Honig Fine 15 *Deceased †MSM Faculty/Staff M & M Firestone Charitable Fund Dr. Michael and Mrs. Rachel Kollmer Carol Robbins Harry First and Eve Cole First Nadine Kolowrat Wendy Rolfe Dr. John Foster and Dr. Cheryl Gene B. Kuntz Alex Romanov Bunker Ursula Kwasnicka Roger F. Rose Miriam Frieden Paul and Denise Lachman Amy S. Rosen Edith Hall Friedheim David Law Stanley Rosenberg Charles Gallagher Diane H. Lee Mary Jaccoma Rozenberg David Geber† and Julia Lichten† Esther O. Lee Reto A. Ruedy Barbara D. Gholz Suzanne Lemakis June Sadowski-Devarez Stephen A. Gilbert Michelle Lin Frank E. Salomon Christine and Peter Glennon Xiaoting Liu Carol Sue S. Sandler David M. Goldberg Julie E. Livingston and Peter Dr. Anthony Scelba Frederick T. and Wendy M. Goldberg Gordon Stanley Scheller Morris and Jean Goldberg Carmel Lowenthal and Eric Schwab Charitable Fund Lisa K. Gornick and Kenneth Tirschwell Nanette Seidenberg Hollenbeck Mr. and Mrs. Mort Lowenthal Ari Selman David W. Granger Weier Lu Sybil Shainwald Daniel Green Carol P. Lyon Ariel Shamai Eric Green Susan A. Madden† Marsha Shapiro Laura Greenwald Gunther Marx Angela A Sherzer Louis R. Grimaldi Lucille Mastriaco Ruth Siegler Robert Haddock George Mathew William and Claire Sit Holly Hall Julia M. McCall-Mboya James Stalzer Sarah Hall and Edward Keough Meredith Wood McCaughey Thomas P. Stapp Dr. Heather A. Hamilton Barbara McCrane Matthew Starobin Mr. and Mrs. Patrick J. Hannan Richard McGeehan Allen Steir Patricia Jacob Hannemann Bob McGrath Susan Stern Michael Harrison Andy McQuery Toni Stern Janne and Daniel Heifetz Kim and Ingrid Meacham Donna and James Storey Dr. Andrew E. Henderson and Julie C. Mech Kwong Sum Charity Fund Mary W. Huff Joan and Scott Merlis Mark Suozzo Rita K. Herber Lee Middlebrook Moore Nina Svetlanova† Deborah Herschel David Miller Felice E. Swados Amy Hersh Florence Miller Sondra Tammam Betty Himmel Nadine Nozomi Mitake Gary Thalheimer Eric T. Houghton Joe Morrison Richard Tietze Dr. Warren P. Howe Ruth Mueller-Maerki Jacquelyn Tomlet Judith T. Hunt Frank W. Munzer Dawn Upshaw DeeAnne Huntstein Lee E. Musiker Mark Vandersall and Laura Judith and Leonard Odette C. Muskin Mendelson Hyman Family Fund Ms. Freda Zeiguer Maria Pia P. Viapiano Leon Hyman Norma Nelson Karen Victoria Marcie Imberman Blair Deborah Newcomb Mary Vinton Lawrence Indik Ruth and Harold Newman Dr. Katharina Volk Carol K. Ingall, Ed.D Yuka Nishino Vos Family Fund Jonathan and Rheva Irving Rebecca J. Noreen Doris Joy Warner John Jensen and Thomas Bellezza Dr. Abby O’Neil and Dr. Carroll Joynes Patricia S. Weiss Ingyu Jeon Kay Outwin Fawn Wiener Jennifer Jones Duncan Patton† Cherisse Williams Peter H. Judd Doralynn Pines Barbara Wilson Mr. and Mrs. Joseph Jurden Arthur Plutzer Michael C. Wimberly Steven and Carey Kane Jill M. Pollack LCSW BCD Margo and Charles Wolfson Joanna and John Kapner Anek and Evelyn Pooviriyakul Eve J. Wolinsky Phyllis Katz Maya Radiconcini Dr. Roy Wylie Debra Kenyon and Peter Hess Odin Rathnam Barbara Yahr Eunbi Kim Anthony A. Rayner Zhendai Yang Minjung Kim Mona Reisman Schoen Ellen and Bill Yeckley Daniel Kirk-Foster Dr. Barbara L. Reissman Velia Yedra-Chruszcz Shirley Kirshbaum Joyce Richardson Zhi L Yu Lorinda Klein Amy Franklin Richter Ji-Ming Zhu Rhoda Knaff Mr. and Mrs. Anthony Rios Pinchas Zukerman† Kenneth H. Knight Howard G. Rittner

16 *Deceased †MSM Faculty/Staff Endowed Named Scholarships College Marga and Arthur King Scholarship Precollege Joan Taub Ades Scholarship for Kraeuter Violin Scholarship An Anonymous Jazz Precollege Musicial Theatre Edith Kriss Piano Scholarship LADO Scholarship Licia Albanese Scholarship Scholarship Fund Alex Assoian Music Project Cynthia Auerbach Memorial Fund Marquis George MacDonald Precollege Scholarship Augustine Guitar Scholarship Scholarship Dr. Michelle Solarz August Herbert R. and Evelyn Axelrod Robert Mann Scholarship in Violin & Precollege Scholarship in Piano Scholarship Chamber Music Kate Bamberger Memorial Violin Frances Hall Ballard Scholarship Viola B. Marcus Memorial Scholarship Artur Balsam Scholarship Scholarship Fund (Graduate) Jordan Berk Scholarship Hans and Klara Bauer Scholarship Viola B. Marcus Memorial Matilda Cascio Precollege Berkman-Rahm Scholarship Fund Scholarship Fund (Undergraduate) Scholarship Selma W. Berkman Memorial Clement Meadmore Scholarship in Cuker/Stern Precollege Scholarship Scholarship Jazz Studies Marion Feldman Scholarship Vera Blacker Scholarship in Piano Homer and Constance Mensch Dianne Danese Flagello Precollege Carmine Caruso Memorial Scholarship Scholarship Scholarship Edgar Foster Daniels Scholarship Samuel and Mitzi Newhouse Rosetta Goodkind Precollege in Voice Scholarship Scholarship Helen Airoff Dowling Scholarship Birgit Nilsson Scholarship Andrew Goodman Memorial Baisley Powell Elebash Scholarship Scott Oakley Memorial Scholarship Precollege Scholarship Gart Family Foundation Scholarship in Musical Theatre Dorothy Hales Gary Scholarship Lloyd Gelassen Scholarship Mae Zenke Orvis Opera Scholarship Jocelyn Gertel Precollege Rita and Herbert Z. Gold Scholarship Paul Price Percussion Scholarship Scholarship Michael Greene Scholarship Judith Raskin Memorial Scholarship Constance Keene Precollege Piano Charles Grossman Memorial Rodgers and Hammerstein/Richard Scholarship Endowment Scholarship Rodgers Scholarship Patinka Kopec† Precollege Violin Grusin/Rosen Jazz Scholarship Jay Rubinton Scholarship Scholarship Adolphus Hailstork-Mary Weaver Leon Russianoff Memorial Mary B. Lenom Scholarship Scholarship Scholarship Sassa Maniotis Endowed Precollege William Randolph Hearst Foundation Scott Shayne Sinclair Scholarship Piano Scholarship Scholarship in Guitar Nana’s Way Precollege Division Margaret Hoswell van der Marck Joseph M. Smith Scholarship Scholarship Memorial Scholarship in Opera Elva Van Gelder Memorial Carl Owen Memorial Scholarship Helen Fahnestock Hubbard Scholarship Maitland Peters† and Karen Beardsley Family Scholarship Dona D. Vaughn† Voice Scholarship Precollege Voice Scholarship Alexandra Hunt Endowed Vocal Emily M. Voorhis Scholarship Prep Parents Scholarship Scholarship Rachmael Weinstock Scholarship Rita and Morris Relson Scholarship Deolus Husband Memorial in Violin Paul Stebbins Precollege Scholarship Scholarship for Composition Avedis Zildjian Percussion in Bassoon Eugene Istomin Scholarship Scholarship Jonathan and Conrad Strasser in Piano Memorial Scholarship Peter J. Kent Scholarship Elva Van Gelder Memorial Scholarship Galaxy Society Members of the Galaxy Society ensure the future of Manhattan School of Music through inclusion of the School in their long-range financial and estate plans. We are grateful for their vision and generosity, which helps ensure that MSM continues to thrive into the next century and enables aspiring young artists to reach for the stars. Anonymous Donors (2) Capt. Kenneth R. Force, USMS (ret.) Regina Rheinstein Richard E. Adams Rabbi Mordecai Genn Melody Sawyer Richardson Joan Taub Ades Ruth Golden† Mary S. Riebold Louis Alexander Luisa Guembes-Buchanan Evelyn Ronell Frank Bamberger Dr. Heather A. Hamilton Lesley & Ted† Rosenthal Gabrielle Bamberger Shirley Katz-Cohen Alex Shapiro Renee Bash Phillip N. Kawin† Dr. Marc Silverman† Peter Basquin Diane Kettering Amy R. Sperling William S. Beinecke Alan M. & Karen Schiebler Knieter Carleton B. Spotts Yvette Benjamin Doris Konig Jonathan Sternberg Blanche H. Blitstein Dr. Robert Ira Lewy Sondra Tammam Louis M. Bonifati, Ed. D. Shigeru Matsuno Hetty Te Korte Carla Bossi-Comelli Charlotte Mayerson Flavio Varani James B. Coker Claire A. Meyer Dona D. Vaughn† & Ron Raines Alex Davis Dr. Solomon Mikowsky† Keith L. Wiggs Michael P. Devine Warren R. Mikulka Dr. Theo George Wilson J. S. Ellenberger Charles B. Nelson Jr. Carolyn Zepf Hagner Jonathan Fey Barbara & Dermot O’Reilly 17 Dianne & Nicolas* Flagello Duncan Pledger *Deceased †MSM Faculty/Staff Founder’s Society The Founder’s Society honors the extraordinary generosity of the following individuals and institutions whose cumulative giving to Manhattan School of Music exceeded $250,000 (as of June 30, 2019). These exceptional donors enable MSM to provide world-class conservatory training to immensely talented students. We are deeply grateful for their special dedication to the School’s mission and culture of artistic excellence and musicianship. $5 million and above Mary Owen Borden Foundation Carnegie Corporation of New York Michael & Noémi K. Neidorff/ Estate of Ruth Chatfield Edgar Foster Daniels Centene Charitable Foundation Baisley Powell Elebash Fund Ervika Foundation G. Chris Andersen & Lorraine Gallard & Richard H. Levy Cecilia & John Farrell SungEun Han-Andersen Gart Family Foundation Estate of Ellen G. Fezer Ann and Gordon Getty Foundation Yveta S. Graff* $1 to $5 million Michael W. Greene Estate of Rea F. Hooker Joan Taub Ades & Alan M. Ades* Marcia & Donald Hamilton Jephson Educational Trusts The ASCAP Foundation Jewish Foundation for Stanley Thomas Johnson Carla Bossi-Comelli Education of Women Foundation ELMA Philanthropies Estate of Kellogg Johnson Anna-Maria and Stephen Kellen Gordon K. Greenfield* Estate of Marga King Foundation Gordon and Harriet Greenfield Estate of Edith Kriss Ruth M. Knight Trust Foundation Peter Luerssen/Maecenata David G. Knott, PhD & Estate of Jacqueline Kacere Foundation Françoise Girard Estate of Dora Zaslavsky Koch A. L. and Jennie L. Luria Foundation Estate of Anna Case Mackay Ilene & Edward Lowenthal Estate of Viola B. Marcus Dr. Linda Mercuro & Toby Mercuro Alfred* & Claude Mann Andrew W. Mellon Foundation National Endowment for the Arts Joseph F. McCrindle Foundation Dr. Solomon Mikowsky† New York State Higher Education and Estate of Joseph F. McCrindle Ambrose Monell Foundation Capital Matching Grant Board Estate of Homer Mensch Miller Fan Fox and Leslie R. Samuels Henry Nias Foundation Family Foundation Foundation Bill & Patricia O’Connor William R. Miller (HonDMA ’11) Estate of Harold Schonberg Estate of Rosalie Weir Octavian Society Sceneworks Studio Arthur and Mae Orvis Foundation $250,000 to $499,999 Melody Sawyer Richardson Susan & David Rahm An Anonymous Donor Jody & Peter Robbins Peter Jay Sharp Foundation Annie Laurie Aitken Charitable Trust Evelyn Sharp Foundation Helen F. Whitaker Fund Estate of C. J. Stuart Allan Harold and Helene Schonberg Trust Amato Opera Theater Starr Foundation $500,000 to $999,999 Rose L. Augustine* and Augustine Surdna Foundation Altman Foundation Foundation Patrick N. W. Turner Nancy Terner Behrman*/ Herbert R. & Evelyn Axelrod Gabe Wiener Foundation Fund for Individual Potential Michael R. Bloomberg William S. Beinecke Bristol-Myers Squibb Foundation

We have made every effort to list MSM donors accurately. If your name is not listed as you wish, or if you notice an inaccuracy, please contact Nina Delgado in the Advancement Office at 917-493-4490, or at [email protected].

18 *Deceased †MSM Faculty/Staff Manhattan School of Music Leadership Board of Trustees Lorraine Gallard, Chair Warren Jones Edward Lowenthal, Vice Chair Han Jo Kim David G. Knott, Treasurer Linda Bell Mercuro Noémi K. Neidorff (BM ’70, MM ’72, HonDMA ’17), Bebe Neuwirth (HonDMA ’15) Secretary Bill O’Connor Terence Blanchard (HonDMA ’17) Leonard Slatkin (HonDMA ’13) Carla Bossi-Comelli Trustees Emeriti Susan Ennis Marta Istomin (HonDMA ’05), President Emerita James Gandre, President William R. Miller (HonDMA ’11) Marcia Clay Hamilton David A. Rahm (HonDMA ’07), Chair Emeritus Thomas Hampson (HonDMA ’09) Robert G. Simon Nancy Freund Heller International Advisory Board Carla Bossi-Comelli, Chair, Switzerland Margot Alberti de Mazzeri, Italy Mita Aparicio, Mexico Margot Patron, Mexico Delin Bru, United States Maria Elvira Salgar, Colombia/United States Alejandro Cordero, Argentina Chiona X. Schwarz, Germany Raul M. Gutierrez, Mexico/Spain Angel Sosa, Mexico Lori Harris, United States Guillermo Vogel, Mexico Michelle Ong, Hong Kong Artistic Advisory Council Terence Blanchard (HonDMA ’17) Marta Istomin (HonDMA ’05), President Emerita Anthony Roth Costanzo (MM ’08) Bernard Labadie (HonDMA ’18) Glenn Dicterow Lang Lang (HonDMA ’12) Peter Duchin Bebe Neuwirth (HonDMA ’15) Richard Gaddes (HonDMA ’17) Leonard Slatkin (HonDMA ’13) Thomas Hampson (HonDMA ’09) Pinchas Zukerman (HonDMA ’93) Stefon Harris (BM ’95, MM ’97) President’s Council James Gandre, President Joan Gordon, Interim Dean of Enrollment Management Joyce Griggs, Executive Vice President and Provost Bryan Greaney, Director of Facilities and Gary Meyer, Senior Vice President and CFO Campus Safety Susan Madden, Vice President for Advancement Christianne Orto, Dean of Distance Learning Jeff Breithaupt, Vice President for Media and Recording Arts and Communications Kelly Sawatsky, Dean of the Precollege Carol Matos, Vice President for Administration Alexa Smith, Chief of Staff and Human Relations Henry Valoris, Dean of Performance and Monica Coen Christensen, Dean of Students Production Operations Department Chairs and Program Directors Linda Chesis, Chair, Woodwinds Christopher Lamb, Chair, Percussion Glenn Dicterow, Chair, Graduate Program in Jeffrey Langford, Associate Dean of Doctoral Orchestral Performance Studies and Chair, Music History Casey Molino Dunn, Director, Center for David Leisner, Chair, Guitar Music Entrepreneurship George Manahan, Director of Orchestral Activities John Forconi, Chair, Collaborative Piano Nicholas Mann, Chair, Strings Reiko Fueting, Chair, Theory John Pagano, Chair, Humanities Stefon Harris, Associate Dean and Director, Liza Gennaro, Associate Dean and Director, Jazz Arts Program Musical Theatre Program Andrew Henderson, Chair, Organ Maitland Peters, Chair, Voice Michelle Baker, Chair, Brass Marc Silverman, Chair, Piano Margaret Kampmeier, Artistic Director and Chair, J. Mark Stambaugh, Acting Chair, Composition Contemporary Performance Program Kent Tritle, Director of Choral Activities Kathryn LaBouff, Assistant Chair, Voice Dona D. Vaughn, Artistic Director of Opera

19 ABOUT MANHATTAN SCHOOL OF MUSIC Founded as a community music school by Janet Daniels Schenck in 1918, today MSM is recognized for its more than 960 superbly talented undergraduate and graduate students who come from more than 50 countries and nearly all 50 states; its innovative curricula and world- renowned artist-teacher faculty that includes musicians from the New York Philharmonic, the Met Orchestra, and the top ranks of the jazz and Broadway communities; and a distinguished community of accomplished, award-winning alumni working at the highest levels of the musical, educational, cultural, and professional worlds. The School is dedicated to the personal, artistic, and intellectual development of aspiring musicians, from its Precollege students through those pursuing doctoral studies. Offering classical, jazz, and musical theatre training, MSM grants a range of undergraduate and graduate degrees. True to MSM’s origins as a music school for children, the Precollege program continues to offer superior music instruction to 475 young musicians between the ages of 5 and 18. The School also serves some 2,000 New York City schoolchildren through its Arts-in-Education Program, and another 2,000 students through its critically acclaimed Distance Learning Program.

Your gift helps a young artist reach for the stars! To enable Manhattan School of Music to continue educating and inspiring generations of talented students and audiences alike, please consider making a charitable contribution today.

Contact the Advancement Office at 917-493-4434 or visit msmnyc.edu/support

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