Edition 2 | 2018-2019

Did You Know? Young people who participate in the arts for at least three hours on three days each week through at least one full year are: • 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance

• 4 times more likely to win an award for writing an essay or poem

WHAT’S INSIDE III...... MESSAGE FROM THE MUSIC DIRECTOR V...... MESSAGE FROM THE EXECUTIVE DIRECTOR VII...... MESSAGE FROM THE BOARD CHAIR X...... DAVID ALAN MILLER XIII...... ORCHESTRA PERSONNEL JANUARY 5-6, 2019: XIX...... BEETHOVEN’S SEVENTH FEBRUARY 9-10, 2019: XXVII...... ROMANTIC CHOPIN MARCH 9, 2019: XXXV...... BOLÉRO XLV...... 2018-2019 SPONSORS XLIX...... CONDUCTOR’S CIRCLE L...... INDIVIDUAL GIVING LIII...... IN HONOR, CELEBRATION, & MEMORY LIV...... ENCORE SOCIETY FOUNDATIONS, CORPORATIONS & LV...... GOVERNMENT AGENCIES LV...... IN-KIND DONATIONS LVII...... BOARD & STAFF ALBANY SYMPHONY MUSICIAN LXIII...... HOUSING PROGRAM

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ALBANY SYMPHONY ORCHESTRA | I

and a true collaboration with Tessa, who brings her Kentucky bluegrass roots to each note of the piece. In January, we’ll also present the Chamber Concerto of Steven Stucky, our 2015-16 Composer Mentor and a wonderful artist and teacher who sadly passed away in 2017. The Chamber Concerto’s unique sound world explores magical musical colors and sonorities, which we will capture in its first-ever commercial recording. Annika Socolofsky joins us in February for the premiere of her romantic new work for orchestra and voice, just in time for Valentine’s Day. And in March, we’ll present a sparkling new percussion concerto by Robert Honstein, featuring international superstar Colin Currie as guest soloist. We are so excited to bring all of these fascinating and beautiful new works to you.

In addition to these exciting new works, we will also bring you some of the greatest “standards” in the orchestral repertoire by Beethoven, Chopin, Schumann, and Ravel, along with slightly less-well- WELCOME FROM THE known masterpieces by Hindemith and Gould. We hope you’ll join us for all three concerts to hear MUSIC DIRECTOR how these great creative voices from the past interact with, and seem to be in dialogue with, today’s leading Dear Friends, musical creators. To learn more about these pieces before we perform them, we hope you’ll join us the Happy New Year! Long after the glow of the holiday Friday before each concert at noon for our Vanguard season has faded, I continue to feel the warmth and “Prevue” library talks. Check the WMHT website for love of our Albany Symphony “family”–our patrons, program broadcasting specifics. subscribers, musicians, and friends–each time I step on the podium. Thank you for sharing the gift of Thank you for taking the journey with us, as our music with us through the year. orchestra continues its thrilling musical adventure in the new year! After three larger-than-life, spectacular performances in the fall, we turn to a series of beautiful, somewhat Warm Regards, more intimate concerts, also filled with glorious works new and old. I am particularly excited to embark with the orchestra on three brand new world premiere compositions by some of our favorite living American composers. David Alan Miller Music Director Michael Torke, our good friend and partner for more than twenty years, will premiere his new violin concerto, SKY, based on Bluegrass Fiddling, with the brilliant violinist Tessa Lark on our January concert. SKY is equal parts soulful and sparkling,

ALBANY SYMPHONY ORCHESTRA | III IV | ALBANY SYMPHONY ORCHESTRA Sunday Symphony & Monday Music Our Superheroes Sunday Symphony concert takes place on March 17 at the Palace Theatre. On Monday the day after, school bus loads of elementary school students–including those from the Troy, Albany, and Averill Park school districts, our “Symphony In Our Schools” partners–will uncover their secret superpower with the Albany Symphony’s team of musical heroes!

Diversity, Equity, Inclusion (DEI) One of our strategic priorities is to “incorporate diversity, equity, and inclusion best practices in all aspects of the organization.” We are at the learning and planning phase in this area of growth; I welcome any thoughts or feedback you might have on this topic. DEI is an important part of our organization’s viability–to ensure the Albany Symphony is here to serve the community through our 100th anniversary (2030) and beyond! In part, that means attracting

EXECUTIVE DIRECTOR Behind the Titles By the time this program book reaches you, we will likely have announced or be very close to announcing Dear Friends, our 2019-20 concerts. Given the limited space on our brochure, we give our programs short titles linked to Thank you for joining us for our first concerts one of the works or a general concept. I realize this of 2019! I want to share with you some Albany means there is a certain amount of risk for you in Symphony activities not otherwise captured in this attending our concerts. I assume you, like me, go program book: into a concert (or a movie, or a restaurant, etc.) with certain expectations of what you’ll encounter. I hope Recording Torke Violin Concerto you, like me, are surprised from time to time by the Part of championing new music is a commitment to discovery of a new composer, or piece, or soundscape giving the work as much exposure as possible. Thus, that speaks to you. At the very least, I hope you are the Albany Symphony is recording for commercial amenable to having your horizons broadened! release Michael Torke’s Violin Concerto, which is getting its world premiere at the January 5 & 6 Thank you for being bold, Listening Adventurously, concerts. After the January performances, David and coming to this concert. Enjoy the program! Alan Miller and the orchestra will record the works in session with the phenomenal violinist Tessa Lark at the Troy Savings Bank Music Hall, renowned for its excellent acoustics. Anna Kuwabara Executive Director

ALBANY SYMPHONY ORCHESTRA | V VI | ALBANY SYMPHONY ORCHESTRA If our music moves you to do more, here are some ways you can deepen your involvement with the orchestra:

• Upgrade your occasional tickets to a full or partial season subscription to enjoy a wide variety of artists, composers, and musical experiences year-round • Make an added gift to “round-up” your next ticket order • Volunteer for the orchestra as a member of our Vanguard sister organization (vanguard-aso.org) • Double the impact of your annual gift with a matching contribution from your employer • Invite a neighbor or new friend to join you at a Symphony concert for the first time • Send us a letter or email with your feedback about how to make our concert experiences better WELCOME FROM THE • Join us for a special event or community activity (see our latest events at albanysymphony.com) BOARD CHAIR • Consider naming the orchestra in your will to ensure the future of music in our Capital Region The Albany Symphony is well into our 2018-19 • Attend our Friday noon “Preview” library talks season, with so much to report from our activities this and onstage pre-concert talks fall and winter. I hope you have already had a chance to experience one of our concerts or community • Follow us on Facebook, Twitter, and Instagram programs. If this is your first concert this season, @albanysym welcome! We are so glad to have you with us. As you consider how to best express your support Whether you are experiencing the orchestra for the for the Symphony, we want to thank you again for first time, or have been a regular subscriber for many all that you already do to keep our orchestra going. years, your participation and investment in us makes Knowing that our music makes a difference in your a tremendous difference. Although I have been a life is our best possible gift! Board member and patron for many years, I continue to be surprised at how many ways there are for me Sincerely, to be a part of the organization’s vitality and our diverse range of community services.

Jerry Golub for the Albany Symphony Board of Directors

ALBANY SYMPHONY ORCHESTRA | VII VIII | ALBANY SYMPHONY ORCHESTRA ALBANY SYMPHONY ORCHESTRA | IX BIOGRAPHY DAVID ALAN MILLER, MUSIC DIRECTOR

Grammy Award-winning conductor David Alan Miller has established a reputation as one of the leading American conductors of his generation. Music Director of the Albany Symphony since 1992, Mr. Miller has proven himself a creative and compelling orchestra builder. Through exploration of unusual repertoire, educational programming, community outreach and recording initiatives, he has reaffirmed the Albany Symphony’s reputation as the nation’s leading champion of American symphonic music and one of its most innovative orchestras. He and the orchestra have twice appeared at “Spring For Music,” an annual festival of America’s most creative orchestras at New York City’s Carnegie Hall. In 2018, they appear at the “SHIFT Festival” at the Kennedy Center in Washington D.C. Other accolades include Columbia University’s 2003 Ditson Conductor’s Award, the oldest award honoring conductors for their commitment to American music, the 2001 ASCAP Morton Gould Award for Innovative Programming and, in 1999, ASCAP’s first-ever Leonard Bernstein Award for Outstanding Educational Programming. In July, 2017, he and the Albany Symphony commemorated the Bicentennial of the Erie Canal with “Water Music NY,” an epic, week-long orchestral barge journey from Albany to Buffalo, NY, performing seven major collaborative works for orchestra and collaborating arts groups in seven Canal-side communities.

X | ALBANY SYMPHONY ORCHESTRA Frequently in demand as a guest conductor, Mr. Miller has worked with most of America’s major orchestras, including the orchestras of Baltimore, Chicago, Cleveland, Detroit, Houston, Indianapolis, Los Angeles, New York, Philadelphia, Pittsburgh and San Francisco, as well as the New World Symphony, the Boston Pops and the New York City Ballet. In addition, he has appeared frequently throughout Europe, Australia and the Far East as guest conductor.

Mr. Miller received his Grammy Award in January 2014 for his Naxos recording of John Corigliano’s “Conjurer,” with the Albany Symphony and Dame Evelyn Glennie. His extensive discography also includes recordings of the works of Todd Levin with the London Symphony Orchestra for Deutsche Grammophon, as well as music by Michael Daugherty, Kamran Ince, and Michael Torke for London/Decca, and of Christopher Rouse and Luis Tinoco for Naxos. His recordings with the Albany Symphony include discs devoted to the music of John Harbison, Aaron J. Kernis, Roy Harris, Morton Gould, Peter Mennin, and Vincent Persichetti on the Albany Records label.

A native of Los Angeles, David Alan Miller holds a bachelor’s degree from the University of California, Berkeley and a master’s degree in orchestral conducting from The Juilliard School. Prior to his appointment in Albany, Mr. Miller was Associate Conductor of the Los Angeles Philharmonic. From 1982 to 1988, he was Music Director of the New York Youth Symphony, earning considerable acclaim for his work with that ensemble. Mr. Miller lives with his wife and three children in Slingerlands, New York.

MISSION STATEMENT: The Albany Symphony celebrates our living musical heritage. Through brilliant live performances, innovative educational programming, and engaging cultural events, the Symphony enriches a broad and diverse regional community. By creating, recording, and disseminating the music of our time, the Albany Symphony is establishing an enduring artistic legacy that is reshaping the nation's musical future.

ALBANY SYMPHONY ORCHESTRA | XI XII | ALBANY SYMPHONY ORCHESTRA The Albany Symphony Orchestra’s string sections use ALBANY SYMPHONY revolving seating. Players behind the stationary chairs change seats systematically and are listed alphabetically. ORCHESTRA PERSONNEL

DAVID ALAN MILLER, HEINRICH MEDICUS MUSIC DIRECTOR

VIOLIN VIOLA FLUTE TRUMPET Jill Levy Noriko Futagami Ji Weon Ryu Eric M. Berlin CONCERTMASTER PRINCIPAL PRINCIPAL PRINCIPAL LIFETIME CHAIR, ENDOWED IN Jake Chabot Eric J. Latini GOLDBERG PERPETUITY BY THE CHARITABLE TRUST ESTATE OF OBOE TROMBONE Eiko Kano ALLAN F. NICKERSON Karen Hosmer Greg Spiridopoulos ASSISTANT Sharon Bielik + PRINCIPAL PRINCIPAL CONCERTMASTER ASSISTANT PRINCIPAL Grace Shryock + Karna Millen Elizabeth Silver ^ Carla Bellosa Nathaniel Fossner Jamecyn Morey ^ Daniel Brye BASS TROMBONE Paula Oakes ^ Ting-Ying Chang-Chien ENGLISH HORN Charles Morris Funda Cizmecioglu Anna Griffis Nathaniel Fossner PRINCIPAL Dana Huyge TUBA SECOND VIOLIN Hannah Levinson CLARINET Derek Fenstermacher Mitsuko Suzuki Charlotte Malin Weixiong Wang PRINCIPAL ASSISTANT PRINCIPAL PRINCIPAL SECOND VIOLIN CELLO IN MEMORY OF TIMPANI Barbara Lapidus ^ Susan Ruzow Debronsky F.S. DEBEER, JR. Kuljit Rehncy ENDOWED BY PRINCIPAL -ELSA DEBEER PRINCIPAL MARISA AND SPONSORED BY IN MEMORY OF ALLAN EISEMANN AL DE SALVO & JUSTINE R.B. PERRY PERCUSSION Gabriela Rengel ^ SUSAN THOMPSON -DAVID A. PERRY Richard Albagli John Bosela Erica Pickhardt Bixby Kennedy PRINCIPAL Brigitte Brodwin ASSISTANT PRINCIPAL Mark Foster Ouisa Fohrhaltz Petia Kassarova ^ BASSOON Scott Stacey * Heather Frank-Olsen Kevin Bellosa Stephan Walt Emily Frederick Matthew Capobianco PRINCIPAL HARP Rowan Harvey Marie-Thérèse Dugré ENDOWED IN Lynette Wardle Margret E. Hickey Catherine Hackert PERPETUITY BY THE PRINCIPAL Christine Kim Hikaru Tamaki ESTATE OF Sooyeon Kim RICHARD SALISBURY PERSONNEL MANAGER Aleksandra Labinska BASS William Hestand Susan Debronsky Kae Nakano Bradley Aikman Yinbin Qian PRINCIPAL HORN LIBRARIAN Yue Sun Philip R. Helm William J. Hughes Elizabeth Silver Muneyoshi Takahashi ASSISTANT PRINCIPAL PRINCIPAL Harriet Dearden Welther Michael Fittipaldi ^ Joseph Demko UNION STEWARD Luke Baker Alan Parshley Nathaniel Fossner James Caiello Victor Sungarian Jeffrey Herchenroder SYMBOL KEY ^ STATIONARY CHAIR + ON LEAVE * SUBSTITUTE FOR 2018-2019 SEASON

BEETHOVEN’S SEVENTH

DAVID ALAN MILLER, CONDUCTOR TESSA LARK, VIOLIN

Steven Stucky Chamber Concerto (1949 – 2016) II. Moderato, fluido II. Allegro energico III. Lento IV. Largo V. Presto

Michael Torke SKY, Concerto for Violin* (b. 1961) Tessa Lark, violin I. Lively II. Wistful III. Spirited

INTERMISSION

Ludwig van Beethoven Symphony No. 7 (1770 – 1827) I. Poco sostenuto – Vivace II. Allegretto III. Presto IV. Allegro con brio

*World Premiere

This concert is generously sponsored by:

All programs and artists are subject to change. During the performance, please silence and refrain from using mobile devices. Recording and photographing any part of the performance is strictly prohibited.

ALBANY SYMPHONY ORCHESTRA | XIX JANUARY 5/6 7:30PM & 3PM PROGRAM NOTES

Steven Stucky

teven Stucky (1949–2016) was one of America’s most highly regarded and frequently performed Scontemporary composers. Winner of the 2005 Pulitzer Prize for his Second Concerto for Orchestra, he was a trustee of the American Academy in Rome, a director of New Music USA, a board member of the Koussevitzky Music Foundation, and a member of New York’s Juilliard School. He was also permanently the American Academy of Arts and Letters and the employed as Composer-in-Residence of the Aspen American Academy of Arts and Sciences, besides being Music Festival and School, where he served as director active as a conductor, writer, lecturer, and teacher. As of composition studies and, in 2005, as director of the he told the Aspen Times in 2013, “I don’t think music Aspen Contemporary Ensemble. Recently announced teaches about mundane, everyday life. It teaches us as director of the Festival of Contemporary Music at what it is to be a human being. I’m trying to do the Tanglewood, he was the first Barr Institute Composer exact thing Verdi or Mendelssohn did–open up that Laureate at the University of Missouri at Kansas City, spiritual space where we can all be fully ourselves.” Ernest Bloch Professor at the University of California, Berkeley, and a visiting professor at the Eastman School At 21 years, Stucky’s relationship with the Los of Music and Temple University. His students included Angeles Philharmonic is the longest on record composers David Conte, Hannah Lash, Joseph Phibbs, between a composer and an American orchestra. and Sean Shepherd. Consequently, as the Los Angeles Times notes, he “proved indispensable to the L.A. Philharmonic’s Stucky was a leading authority on the music of Witold rise,” and to the “new music ascendancy nationally Lutoslawski, and the Polish composer was his friend and internationally” of the West Coast itself. His and mentor as well as a major influence on his work. association with the orchestra dated from 1988, His definitive critical biography, Lutoslawski and His when André Previn appointed him Composer-in- Music (1981), was recognized with the Lutoslawski Residence. Later, as its Consulting Composer for New Society’s medal and an ASCAP Deems Taylor Music, he worked closely with Esa-Pekka Salonen Award. He served on the Warsaw jury of the Witold on contemporary programming, the awarding of Lutoslawski Competition for Composers and as commissions, and programming for nontraditional consultant to the Philharmonia Orchestra’s 2013 audiences, besides founding the orchestra’s Lutoslawski centennial celebrations in London. Composer Fellowship Program for high school- aged composers. Among a host of other prominent Born on November 7, 1949 in Hutchinson, Kansas, orchestral residencies, Stucky hosted the New York Steven Stucky was raised in Kansas and Texas, Philharmonic’s acclaimed “Hear & Now” pre-concert and studied at Baylor and Cornell Universities with programs for several seasons, introducing important Richard Willis, Robert Palmer, Karel Husa, and Burrill works and premieres to Philharmonic audiences. Phillips. His numerous honors include a Guggenheim Fellowship, a Bogliasco Fellowship, the Goddard An eminent composition teacher, Stucky’s longest Lieberson Fellowship of the American Academy of affiliation was with Cornell University, where he taught Arts and Letters, the ASCAP Victor Herbert Prize, and from 1980 to 2014, chairing the Music Department fellowships from the National Endowment for the Arts, from 1992 to 1997. He was named professor emeritus the American Council of Learned Societies, and the in 2014, when he left to join the composition faculty at National Endowment for the Humanities.

XX | ALBANY SYMPHONY ORCHESTRA Chamber Concerto

teven Stucky’s most celebrated music explores JANUARY individual sounds within larger bodies. He wrote Sa number of concertos for one or more solo instruments, plus two concertos for orchestra, the 5/6 second of which earned Stucky the 2005 Pulitzer 7:30PM & 3PM Prize. (The first was a finalist for the award in 1989.) He returned to that winning genre, on a slightly smaller PROGRAM NOTES scale, in the Chamber Concerto commissioned by The St. Paul Chamber Orchestra in 2009.

A key to Stucky’s success was that he wrote the kind of parts performers love to play. Each line is idiomatic and sonorous, demanding individual artistry while avoiding grueling toil. In the Chamber Concerto, the clarinet’s first solo turn, for example, shows Stucky’s keen understanding of that instrument’s ability to leap and swell. Flutes join in, playing related material, and then bassoons, until the separate woodwinds amass into a flurry of swooping lines that quickly dissolve in a sputtering staccato array. There is ample virtuosity on display, individually and collectively, but there are also understated colorations that simply showcase the characteristic tones of particular instruments, such as when the horns dwell in their dark low range in the somber Largo section near the end.

The Chamber Concerto progresses in six connected sections, alternating slow and fast. Each successive slow section is slower and longer, and each new Tessa Lark fast section is faster and shorter, so that the piece arcs toward its most extreme and intense material iolinist Tessa Lark, recipient of a 2018 Borletti- at the end. Stucky provided this illuminating outline Buitoni Trust Fellowship and a 2016 Avery of the piece: VFisher Career Grant, Silver Medalist in the 9th Quadrennial International Violin Competition of Moderato, fluido: Pastoral, introductory. Indianapolis, and winner of the 2012 Naumburg International Violin Competition, is one of the most Allegro energico: Mostly brilliant and scherzando. captivating artistic voices of our time. She has Prominent soloists, especially oboe. consistently been praised by critics and audiences Lento: Lyrical. Prominent soloists, especially flute. for her astounding range of sounds, technical agility, Vivo: Scurrying. and musical elegance. Also the recipient of a career grant from the Leonore Annenberg Fellowship Fund Largo: Darker, ultimately even perhaps tragic. for the Performing and Visual Arts in 2014, Ms. Lark The emotional center. Prominent soloists, continues to expand her relationships with orchestras especially horns. and presenters on stages worldwide. Presto: Very short but brilliant finale. Ms. Lark has been a featured soloist at numerous Program note by Aaron Grad U.S. orchestras since making her concerto debut with the Cincinnati Symphony Orchestra at age sixteen. She performed at Carnegie Hall’s Weill Recital Hall in 2017 on Carnegie's Distinctive Debuts series, and again the following year as part of APAP’s Young Performers Career Advancement showcase. Ms. Lark has appeared at such venues as Amsterdam’s

ALBANY SYMPHONY ORCHESTRA | XXI JANUARY 5/6 7:30PM & 3PM PROGRAM NOTES

Concertgebouw, the Isabella Stewart Gardner Museum in Boston, the Perlman Music Program, San Francisco Performances, Dame Myra Hess Memorial Concerts, Ravinia’s Bennett-Gordon Classics series, Troy Chromatic Concerts, Chamber Music Tulsa, Caramoor’s Wednesday Morning Concerts, the Seattle Chamber Music Society, and the Marlboro, Yellow Barn, Olympic, and Music@Menlo festivals. Michael Torke Keeping in touch with her Kentucky roots, Ms. Lark he music of Michael Torke has been called “some performs and programs bluegrass and Appalachian of the most optimistic, joyful and thoroughly music regularly and collaborated with Mark O’Connor uplifting music to appear in recent years” on his CD “MOC4,” released in June 2014. She also T (Gramophone). Hailed as a “vitally inventive composer” plays jazz violin, most recently performing with the (Financial Times) and “a master orchestrator whose Juilliard Jazz Ensemble at Dizzy’s Club Coca Cola in shimmering timbral palette makes him the Ravel of New York City. She premiered her own Appalachian his generation” (New York Times), Torke has created Fantasy as part of her Distinctive Debuts recital at a substantial body of works in virtually every genre. Carnegie Hall, where she also gave the world premiere of Michael Torke’s Spoon Bread, written specifically Career highlights include: Color Music (1985–89), for her stylistic capabilities. a series of orchestral pieces that each explore a single, specific color; Javelin, recorded both for In addition to her busy performance schedule, Ms. Argo and for John William’s Summon the Heroes, Lark has served on the faculty of the Great Wall the official 1996 Olympics album; Four Seasons, an International Music Academy in Beijing, and, as a oratorio commissioned by the Walt Disney Company From the Top alumna, is active in their arts leadership to celebrate the millennium; Strawberry Fields, whose program as a performer and educator. Ms. Lark’s “Great Performances” broadcast was nominated for primary mentors include Cathy McGlasson, Kurt an Emmy Award; and two evening-length story ballets, Sassmannshaus, Miriam Fried, and Lucy Chapman. The Contract, and An Italian Straw Hat, for James She is a graduate of New England Conservatory Kudelka and the National Ballet of Canada. and completed her Artist Diploma at The Juilliard School, where she studied with Sylvia Rosenberg, In 1998 Torke was Composer in Residence for the Ida Kavafian, and Daniel Phillips. Ms. Lark plays the Royal Scottish National Orchestra, for which he wrote 1683 “ex-Gingold” Stradivari violin on generous loan and recorded Rapture, his percussion concerto, and from the Josef Gingold Fund for the International Violin An American Abroad, a tone poem. In 2003 Torke Competition of Indianapolis. founded Ecstatic Records and re-issued the Decca/ Argo catalog of his works. Recent recordings include Tessa Lark is represented worldwide by New York- Blue Pacific, Tahiti, Miami Grands, Concerto for based Sciolino Artist Management, www.samnyc.us. Orchestra, and the upcoming Unconquered, featuring The Philadelphia Orchestra. Three Manhattan Bridges, along with Winter’s Tale—new concertos for piano and cello respectively—was released by Albany Records featuring Joyce Yang and Julie Albers as soloists, led by David Alan Miller and the Albany Symphony.

XXII | ALBANY SYMPHONY ORCHESTRA Upcoming projects include a recording of wind concertos alongside a bluegrass concerto for violinist Tessa Lark, and the continuing development of SENNA, JANUARY an opera about the Formula-1 racing legend. SKY, Concerto for Violin 5/6 7:30PM & 3PM he inspiration for this concerto came from Tessa Lark, who will be premiering, recording, PROGRAM NOTES Tand touring the piece among the consortium of orchestras that are supporting this project. Tessa is a unique artist, in that not only is she deeply immersed in the classical field but comes from Kentucky, with a father who is a veteran Bluegrass musician, and has this style in her blood. Tessa and I worked together on an earlier piece of mine, Spoon Bread—a duo for violin and piano commissioned by Carnegie Hall— and it was during that period that the idea to write a concerto for her clicked.

Banjo-picking technique given to the solo violin was the departure point in the first movement. For the second movement my source material was Irish reels, the forerunner of American Bluegrass. The template for the third movement was fiddle licks with a triplet feel. In each case I wrote themes of my own in these styles, and developed the ideas into a standard, “composed” violin concerto. Everything is written out, nothing improvised.

Just as when one looks up and sees the open expanse of the sky, I felt an openness when writing this piece, a renewed freshness to putting notes together. I thank For all the honors that came his way during his Tessa for opening this door and working so closely lifetime and the prominent place in music history he with me on this project. holds for us, Beethoven had it rough, and he needed the kindness and guidance that he received from Program note by Michael Torke people like these. He apparently had a cantankerous personality (Sir Malcom Sargent refers to his “almost Ludwig van Beethoven total incapacity to divine the feelings of others”). He began to grow deaf at the age of 28, a circumstance ven a cursory glance at the biography of that prompted such despair that he contemplated Beethoven (1770-1828) will yield a few suicide in the famous letter to his brothers, the Eunfamiliar names for which we should be document known as the Heiligenstadt Testament. And grateful: Stephan von Breuning, Christian Neefe, and when his brother Karl died in 1815, Beethoven took the Elector of Cologne. Why? The von Breunings were over the care of his nephew, Karl, a relationship that a well-to-do and educated family in Bonn who took was often stormy and complex. Add to these tensions Beethoven under their wing when his home life the natural inquisitiveness of his mind about matters was especially chaotic; Stephan became a life- political and philosophical and a belief that he existed long friend. Neefe was Beethoven’s boyhood music “to convey in music what he had learned from life,” teacher, influential enough to elicit this comment from and we have, perhaps, some understanding about Beethoven: “If I should ever be great, it will no doubt why his body of work always seems to display such be partly through your assistance.” And the Elector drive and such a no-nonsense attitude. of Cologne, impressed by the young Beethoven’s abilities, packed him off to Vienna, free of charge, to take music lessons.

ALBANY SYMPHONY ORCHESTRA | XXIII end the movement. He modulates from one key to another. Note the work of the basses in particular just JANUARY before the powerful ending.

The second movement, allegretto variations in 5/6 A minor, is darker than the first. Again the rhythm is the most notable feature, a rhythm the basses and 7:30PM & 3PM celli maintain. Throughout, the main tune shifts PROGRAM NOTES from major to minor, creating harmonic ambiguity. In the middle section the clarinets and the horns are prominent, so you must listen intently to hear that insistent rhythmic pattern that never completely Nine symphonies, five piano concertos, a violin disappears. At one point a little fugue—played concerto, 32 piano sonatas, violin sonatas, cello so delicately—pokes its head in. Then the whole sonata, the opera Fidelio, choral works, and more: the orchestra explodes just before the final minute with list is staggering in its range and excellence. the familiar tune appearing all over the place.

Program note by Paul Lamar What unfettered joy characterizes the opening scherzo section of the third movement, marked presto, in 3/4 Symphony No. 7 time. It’s a whirlwind of sound in F major, all parts of the orchestra fully involved. Note the sforzandi his symphony had its premiere in Leipzig on and the sharp contrasts in range, from low to high. December 8, 1813, with Beethoven, completely The trio section, in D major, plods along in a rather T deaf, conducting. pompous fashion, but the sustained notes in the strings suggest they’re impatient to get back to Earlier that year Beethoven had written, “Almighty the presto. And they do, as a good ABA movement One, in the woods I am blessed. Happy everyone should. But wait a minute: the trio comes back twice in the woods. Every tree speaks through thee, O more! However, the scherzo finally puts paid to the God! What glory to the woodland! On the heights is proceedings, and the movement ends. peace—peace to serve Him.” To one commentator these words and the music itself suggest Beethoven Edward Downes has come up with a wonderful phrase at his most joyful, free of previous struggles of the to describe this movement: a “cosmic commotion.” spirit: “Conflict and anguish, to say nothing of despair, Those opening chords, with dramatic silences, give are completely absent from this symphony.” About the way immediately to a fortissimo theme (again with fourth movement another says, “There is something sforzandi) full of sixteenth notes and scale passages. so terrifying about the display of force…that it is not The exposition is repeated, and then the tune gets a surprising that Beethoven’s contemporaries believed workout in the development section, with modulations, it to have been composed in a drunken fury.” Wagner changes in dynamics, the highlighting of various called the whole work “the apotheosis of the dance,” orchestral voices, and heavy accents. When the an observation with which, as Bagar & Biancolli note, recapitulation and the coda arrive, one wonders what d’Indy disagreed: “[It’s] nothing else than a pastoral more there is to say. symphony. The rhythm of the piece has truly nothing of the dance about it; it would seem, rather, to have But here’s what Charles Latshaw, conductor of the come from the song of a bird.” Bloomington (Indiana) Symphony, said about the fourth movement in response to an online post by a listener Hmmm. You be the judge. of Latshaw’s YouTube version: “To me the genius of this movement is its relentlessness. Several times Beethoven uses an old technique to get this symphony Beethoven continues to push the orchestra more and going: he begins with a triad, in this case the A major more, well beyond what seems the musical breaking triad. But it’s in descending order, going from A to E point. (Example, measures 319-465 is ALL forte and to C#. He continues to play with these notes in the above, with many ‘sempre piu forte’ reminders). That subdued introduction, shifting between major and sort of hysteria is exactly what I’m after. Conductors minor. About four minutes in, an insistent, repeated E of the older Germanic tradition, like Furtwangler, in the flutes and strings announces the playful second certainly had less tolerance for hysteria!” theme in 6/8. Soon the entire orchestra joins in a lively romp in dotted rhythm. The first theme returns loudly It sounds as though Messrs. Downes and Latshaw are in the recapitulation, but Beethoven does not simply on the same page. Program note by Paul Lamar ALBANY SYMPHONY ORCHESTRA | XXV XXVI | ALBANY SYMPHONY ORCHESTRA FEBRUARY 9/10 7:30PM & 3PM TROY SAVINGS BANK MUSIC HALL

ROMANTIC CHOPIN

DAVID ALAN MILLER, CONDUCTOR ORION WEISS, PIANO

Annika Socolofsky New Work* (b. 1990)

Frédéric Chopin Piano Concerto No. 2 (1810 – 1849) Orion Weiss, piano I. Maestoso II. Larghetto III. Allegro vivace

INTERMISSION

Robert Schumann Symphony No. 2 (1810 – 1856) I. Sostenuto assai – Allegro, ma non troppo II. Scherzo: Allegro vivace III. Adagio espressivo IV. Allegro molto vivace

*World Premiere

This concert is generously sponsored by: SWYER COMPANIES

ALBANY SYMPHONY ORCHESTRA | XXVII FEBRUARY 9/10 7:30PM & 3PM PROGRAM NOTES

Orion Weiss, piano

ne of the most sought-after soloists in his generation of young American musicians, the Opianist Orion Weiss has performed with the major American orchestras, including the Chicago Symphony, Boston Symphony, Los Angeles Philharmonic, and New York Philharmonic. His deeply felt and exceptionally crafted performances go far beyond his technical mastery and have won him worldwide acclaim.

His 2018-19 season sees him beginning that season with the Lucerne Festival and ending with the Annika Socolofsky Minnesota Orchestra, with performances for the Denver Friends of Chamber Music, the University of Iowa, the nnika Socolofsky is a composer and avant-folk Chamber Music Society of Lincoln Center, the Albany vocalist. Her music stems from the timbral Symphony, the Kennedy Center’s Fortas Series, the A nuance and inwards resonance of the human 92nd Street Y, and the Broad Stage in between. voice, and is communicated through mediums In 2017-18 Orion performed Beethoven's Triple ranging from orchestral works to unaccompanied Concerto with the Saint Paul Chamber Orchestra, folk ballads. Projects for the 2018 – 2019 season toured with James Ehnes, and soloed with twelve include new works for the Albany Symphony, So orchestras around the United States. Other highlights Percussion, Contemporaneous, Carnegie Mellon of recent seasons include his third performance with Contemporary Ensemble, Girlnoise, and Shepherdess. the Chicago Symphony, a North American tour with Her research focuses on physiology in contemporary the world-famous Salzburg Marionette Theater in a vocal music, using the music of Dolly Parton to performance of Debussy’s La Boîte à Joujoux, the create a pedagogical approach to composition that release of his recording of Christopher Rouse’s Seeing, is inclusive of a wide range of vocal qualities and and recordings of the complete Gershwin works for colors. Annika is a Mark Nelson Doctoral Fellow in piano and orchestra with his longtime collaborators composition at Princeton University. the Buffalo Philharmonic and JoAnn Falletta.

Weiss’s impressive list of awards includes the Gilmore Young Artist Award, an Avery Fisher Career Grant, the Gina Bachauer Scholarship at the Juilliard School and the Mieczyslaw Munz Scholarship. A native of Lyndhurst, OH, Weiss attended the Cleveland Institute

XXVIII | ALBANY SYMPHONY ORCHESTRA FEBRUARY 9/10 7:30PM & 3PM PROGRAM NOTES

Piano Concerto No. 2

s is sometimes the case, the numbering of musical works is misleading. Tonight’s concerto A was composed first (1829), but because it was PUBLISHED after the concerto in E minor written in 1830, this one is known as the second concerto. (Beethoven’s first two piano concertos are of Music, where he studied with Paul Schenly, Daniel other notable examples.) Shapiro, Sergei Babayan, Kathryn Brown, and Edith Reed. In February of 1999, Weiss made his Cleveland Characteristically, the opening movement begins Orchestra debut performing Liszt’s Piano Concerto with a brisk, tuneful tutti. A second melody emerges No. 1. In March 1999, with less than 24 hours’ in the oboe. notice, Weiss stepped in to replace André Watts for a performance of Shostakovich’s Piano Concerto Three minutes in, the piano announces itself, then No. 2 with the Baltimore Symphony Orchestra. He launches into the opening tune. But very soon we was immediately invited to return to the Orchestra realize that Chopin, the melody-meister, cannot be for a performance of the Tchaikovsky Piano Concerto explained without reference to everything that happens in October 1999. In 2004, he graduated from the BETWEEN the notes of the tune: turns, trills, quick Juilliard School, where he studied with Emanuel Ax. passage work up and down, arpeggios, and tuplets of all sorts. It is these embellishments, which must Frédéric Chopin be delivered with seeming effortlessness, that make Chopin, Chopin. rédéric Chopin (1810-1849) was born in Poland and early on, thanks to interested parents, The two themes return again and again, with bold Fdeveloped prodigious musical talents as a pianist strokes and tender touches. Is there a cadenza? Nope. and composer. His brilliant playing throughout obviates the need to show off anymore. The orchestra alone concludes Though the sounds of his native Poland were always the movement with reference to the opening material. evident in his music, after 1831 his entire musical life was spent in France, where he concertized briefly, The sweet second movement (in ABA form) has a but soon turned his attention to composing only; story. Chopin wrote to a friend that he had composed and from his pen flowed nocturnes, scherzos, waltzes, this movement while thinking about Constantia ballades, preludes, and sonatas, pieces that are in Gladkowska, a woman with whom he was in love the repertoire of every great pianist. The International in Poland 1829. But by the time the concerto was Chopin Piano Competition, founded in Warsaw in 1927, published in 1836, he had fallen in love with Countess is one of just a few devoted exclusively to the works Delphine Potocka and thus dedicated the entire work of a single composer. to her. (His long love affair with George Sand, the pseudonym of Amantine Dupin, was to begin the next Chopin’s health was always sketchy, and he died year. Chopin was certainly a romantic, and not just at 39 on October 17, 1849, in Paris, probably artistically speaking.) from tuberculosis.

Program note by Paul Lamar

ALBANY SYMPHONY ORCHESTRA | XXIX FEBRUARY 9/10 7:30PM & 3PM PROGRAM NOTES

After a brief dialogue between the strings and the winds, it’s all piano, playing a languid tune that gets full-fledged embellishment the second time around. A dramatic central section in octaves changes the mood, with the string tremolos adding to the tension. Then the first melody returns, with ravishing accompaniment by the bassoon just before the entire movement evaporates. which gave him a platform to welcome new talent The final movement in 3/4 has, as Edward Downes (like Chopin and Brahms) to the composing community. says, “a hint of the wayward Polish mazurka rhythm.” He was a conductor in Dusseldorf, though apparently Sure does. It opens with a climbing tune in C minor that not a particularly good one because his initial contract sails up the scale, and as the pianist tosses off bushels was not renewed. And he accomplished all of these of notes, the winds provide some color underneath. activities while suffering throughout most of his life from some sort of nervous condition. A new section appears, abruptly, and the pianist now sails down the keyboard in two bravura moves. He died in an asylum two years after throwing himself Again, lovely playing by the winds reminds us that into the Rhine in a suicide attempt, leaving, nevertheless this is a piece for piano AND orchestra, a feeling that a remarkable legacy of the aforementioned works can get lost, so intent are we on watching the plus four symphonies, overtures, and even an opera. unbelievable handiwork of the soloist. Program note by Paul Lamar At last the opening melody returns. When the horn makes a statement, we might think as before that a Symphony No. 2 cadenza is coming, but no: the orchestra is always present even as the pianist glitters up and down the his symphony is a mighty work, produced after 88s one last time. a particularly severe breakdown Schumann Texperienced in 1844-1845. Abandoning some Program note by Paul Lamar of his writing and teaching work, Schumann moved his family to Dresden, which provided quiet and rest. Robert Schumann He wrote the outlines for the symphony quickly, but he took more time to finish it. It wasn’t until November 5, obert Schumann (1810-1856) was a polymath. 1846, that the symphony received its premiere, under He started out to be a pianist, but an injury put the baton of none other than Felix Mendelssohn. Ran end to a career as a virtuoso. However, he wrote brilliantly for the instrument—a piano concerto, This is another example of mis-numbered compositions. song cycles whose accompaniment is nonpareil, and The Symphony No. 4 was actually composed in 1841, chamber music—not only because of his own gifts four years before this symphony, but because the at the keyboard but because he was married to the Symphony No. 4 was revised 10 years later, it is concert pianist Clara Schumann. He founded and known as his final symphony. edited a music magazine, Neue Zeitschrift fur Musik,

XXX | ALBANY SYMPHONY ORCHESTRA A slow introduction in 3/4, with trumpet prominent, playing a clarion C (tonic) to G (dominant) and wandering strings searching for, perhaps, something to say of FEBRUARY equal importance, gives way to a moderately paced section with decisive chords, that, in turn yields to an even faster section, characterized by a skipping, dotted 9/10 rhythm and colorful syncopation. 7:30PM & 3PM At the heart of the entire movement is the outlining of PROGRAM NOTES the C-major chord and a little four-note figure of climbing half-steps. Listen to the way Schumann achieves a kind of chugging, propulsive effect: the strings play legato while the winds play staccato. C-minor chord. It is begun in the strings, taken up by The opening trumpet motto returns as everyone else the oboe, then the clarinet, the bassoon & flute, and plays all-out, ending on a might C-major chord. finally the entire orchestra. A flirtation with a fugue (the walking figure) ensues, but it’s almost as if Schumann The second movement is as light as the first can’t wait to return to the little melody, which he movement is noble. The arrangement is ABACA. does. Melting. The violins lead the way with tissue-thin lines at a fantastic pace. The B section slows things down a The last movement is—well, confident, starting bit and features a charming conversation between with a C-major scale. But what’s this? A loud and the winds and the strings. The A material returns, straightforward echo of the third-movement tune? followed by the C, a muted chorale-like passage We also hear that same C-minor chord inverted, and which threatens to become a fugue. The A section there’s even a reference to the little climbing motive makes a final appearance, with the coda played at from the first movement. And near the conclusion breakneck speed. is the trumpet motto from the beginning of the symphony, 40 minutes earlier, followed by a decisive Give yourself over to the third movement, whose heart outlining of a chummy C-major chord. is as lovely a tune as Schumann ever wrote. The four notes—G, up to an E-flat, down to a B-natural, which Program note by Paul Lamar is the leading tone to C—are, of course, parts of a

ALBANY SYMPHONY ORCHESTRA | XXXI XXXII | ALBANY SYMPHONY ORCHESTRA ALBANY SYMPHONY ORCHESTRA | XXXIII XXXIV | ALBANY SYMPHONY ORCHESTRA MARCH 9 7:30PM PALACE THEATRE

BOLÉRO

DAVID ALAN MILLER, CONDUCTOR COLIN CURRIE, PERCUSSION

Paul Hindemith Mathis der Maler (1895 – 1963) I. Engelkonzert II. Grablegung III. Versuchung des heiligen Antonius

Robert Honstein Juvenilia (b. 1980) Colin Currie, percussion

INTERMISSION

Morton Gould Fall River Legend (1913 – 1996) I. Prologue and Waltzes II. Elegy III. Church Social IV. Hymnal Variations V. Cotillon VI. Epilogue

Maurice Ravel Boléro (1875 – 1937)

*World Premiere

This concert is generously sponsored by:

ALBANY SYMPHONY ORCHESTRA | XXXV MARCH 9 7:30PM PROGRAM NOTES

Paul Hindemith

aul Hindemith (1895-1963) was born in Germany and, at a young age, took up violin Pand composition studies at the conservatory in Frankfurt am Main. He fled Nazi Germany in the late 1930s and taught at Yale from 1941-1953, at which time he moved to Switzerland, where he continued composing and conducting until his death 10 society in times of upheaval and stress. Hindemith, years later. who wrote his own libretto, made Grunewald the analogue in war-torn 16th-century Germany of the His output—opera, chamber music, concertos, contemporary artists living in pre-war Nazi Germany. ballets, orchestral works—numbers over 400 pieces, The movements of the Symphony derive their titles with Symphonic Metamorphosis on Themes by Weber from three paintings in the monumental altarpiece and Der Schwanendreher being two of the most which Grunewald executed for a church in Issenheim popular ones. between 1513-15.

Style? According to an article in The World of Music, “The Angelic Concert” is a Nativity scene in which “he looked with skepticism on the 19th century’s the holy mother and child are serenaded by angels. one-sided romantic idea of music. But “he also The beginning rocks gently like a cradle song, built, came to the conclusion that the music of our time as Edward Downes notes, around a familiar German was too abstract.” So perhaps we should listen for hymn tune, “Three Angels Sang.” The polyphonic “expressions of the art of the line, form and rhythm nature of the rest of the movement implies the while harmony is well kept in the background.” If overlapping lines of the trio of choristers. you’re not particularly familiar with Hindemith’s music, keep these thoughts in mind as you listen to In “The Entombment” the dead Christ is about to be tonight’s piece, about 25 minutes long. laid to rest. A funeral procession? The halting musical line suggests one. The solo work for flute, clarinet, Program note by Paul Lamar oboe, and horn are quiet voices of lamentation. Mathis der Maler In “The Temptation of St. Anthony,” the bearded patriarch is being set upon by all manner of he following note is based on the Albany demons and indescribable monsters. In Hindemith’s Symphony program note by Russell F. Locke, elaboration of the few details known of Grunewald’s Tfrom the February 16/17, 1973, concerts. life, he has Mathis, struggling to understand his place in the world as either a political activist or an Hindemith’s symphony consists of three instrumental artist, also beset by torturing demons. The music is movements taken from his opera Mathis der Maler thus often quite loud and wild, with other passages (Matthew the Painter) in 1934, though the complete suggesting quiet despair, relieved near the end by opera was not performed until 1939. The opera a jaunty fugue, overlaid by a chorale tune, “Praise uses the German Renaissance painter Matthis thy Savior, O Zion,” in the winds. And the brass Grunewald as protagonist in a story which concerns have the optimistic last word. the relationship of the artist and his art to the rest of Program note by Paul Lamar

XXXVI | ALBANY SYMPHONY ORCHESTRA MARCH 9 7:30PM PROGRAM NOTES

of The Crime, which is a collection of works performed by Colin Currie and Håkan Hardenberger in their duo recital.

Highlights of the 2018/19 season include the world premiere of Helen Grime's Percussion Concerto with the London Philharmonic Orchestra and Marin Alsop in January 2019, followed by the U.S. premiere with Colin Currie, percussion Alsop and the Baltimore Symphony Orchestra later that month. The season is marked by a number of ailed as "the world's finest and most daring other premieres including new works for string quartet percussionist" (Spectator), Colin Currie is a solo and percussion by Simon Holt and Suzanne Farrin Hand chamber artist at the peak of his powers. with the JACK Quartet at the BBC Proms, a new Championing new music at the highest level, Currie Percussion Concerto by Robert Honstein with Albany is the soloist of choice for many of today's foremost Symphony, and the US premiere of Turnage Martland composers, and he performs regularly with the Memorial with Minnesota Orchestra and Oslo Vanska. world's leading orchestras and conductors. 2018/19 also sees the launch of Currie's new A dynamic and adventurous soloist, Currie's percussion quartet, Colin Currie Quartet. A dominant commitment to commissioning and creating new premiere is a substantial new work for four music was recognised in 2015 by the Royal marimbas by Kevin Volans, and appearances in their Philharmonic Society, who awarded him the debut season include the NCPA Beijing, Wigmore Instrumentalist Award. From his earliest years, Currie Hall and East Neuk Festival among others. Currie's forged a pioneering path in creating new music for orchestral engagements include appearances with percussion, winning the Royal Philharmonic Society the Philharmonia Orchestra, Seoul Philharmonic, Young Artist Award in 2000 and receiving a Borletti- Lahti Symphony, BBC Scottish Symphony, Scottish Buitoni Trust Award in 2005. Currie has premiered Chamber Orchestra, Indianapolis Symphony, works by composers such as Steve Reich, Elliott Cincinnati Symphony, Florida Orchestra, Fort Worth Carter, Louis Andriessen, HK Gruber, Mark-Anthony Symphony, Zagreb Philharmonic, Boston Modern Turnage, James MacMillan, Brett Dean, Sir Harrison Orchestra and GAIDA Festival. Birtwistle, Einojuhani Rautavaara, Jennifer Higdon, Kalevi Aho, Rolf Wallin, Kurt Schwertsik, Andrew Currie's dynamic ensemble, the Colin Currie Group, Norman, Julia Wolfe and Nico Muhly. Looking ahead, was formed in 2006 to celebrate the music of in the coming season Currie will premiere new works Steve Reich and made its five-star debut at the by Helen Grime, Simon Holt and Andy Akiho. BBC Proms. Since then, with Reich's personal endorsement, Currie and his ensemble have In October 2017, Currie launched Colin Currie taken on the role of ambassadors of Drumming, Records in conjunction with LSO Live, as a platform for which they have performed at many venues and recording his diverse projects celebrating the festivals internationally. extraordinary developments for percussion music in recent times. The label's first release was the Currie is Artist in Association at London's Southbank Colin Currie Group's debut recording, Steve Reich's Centre where he was the focus of a major percussion Drumming, which was hailed as "thunderously festival, Metal Wood Skin, in 2014. He continues to exciting" (The Times). In October 2018, Currie perform there every season. www.colincurrie.com releases the second disc in this catalogue, The Scene

ALBANY SYMPHONY ORCHESTRA | XXXVII MARCH 9 7:30PM PROGRAM NOTES

Robert Honstein

elebrated for his “roiling, insistent orchestral figuration” (New York Times) and “glittery, Cpercussive pieces” (Toronto Globe and Mail ), composer Robert Honstein (b. 1980) is a composer of orchestral, chamber, and vocal music.

Robert’s music has been performed by leading Robert co-founded Fast Forward Austin, an annual orchestras and ensembles around the country, marathon new music festival in Austin, TX. Described including the American Composers Orchestra, as “the first ever classical music event in Austin Cabrillo Festival Orchestra, the Albany Symphony, to make its own beer koozies” (Austin American the New York Youth Symphony, eighth blackbird, the Statesmen), Fast Forward Austin features local and Pittsburgh New Music Ensemble, Ensemble Dal national, cutting-edge artists in a “welcomingly Niente, Ensemble ACJW, the Mivos Quartet, the relaxed venue… [that] tapped into what is so Del Sol Quartet, the Deviant Septet, Present Music, great about the Austin vibe: a community of people New Morse Code, TIGUE, Concert Black, and the who are artistically curious, non- doctrinaire, and Sebastians, among others. unpretentious” (NewMusicBox).

He has received awards, grants and recognition Upcoming projects include commissions from the from Carnegie Hall, Copland House, the New York Albany Symphony, Third Angle, and Hub New Music. Youth Symphony, ASCAP, the Minnesota Orchestra His debut album RE: You was released by New Composer Institute, the Albany Symphony, New Music Focus Recordings in 2014 and his second album, USA, and the League of American Orchestras. His Night Scenes from the Ospedale, a collaboration work has been featured at numerous festivals with the Sebastians, was released on Soundspells including the The Tanglewood Music Center, the Productions in 2015. In April 2016, Hand Eye, Cabrillo Festival of Contemporary Music, the Bang on Sleeping Giant’s evening length collaboration a Can Summer Institute, and the Bowling Green New with eighth blackbird, will be released on Music Festival. He has also received residencies at Cedille Records. the MacDowell Colony, Copland House, and I-Park. Morton Gould Robert is a founding member of the New York-based composer collective Sleeping Giant, a group of “five orn in Richmond Hill, New York, on December talented guys” (The New Yorker ) that are “rapidly 10, 1913, Gould was recognized early on as gaining notice for their daring innovations, stylistic Ba child prodigy with the ability to improvise range and acute attention to instrumental nuance” and compose. At the age of six he had his first (WQXR). Recent seasons have seen collaborations composition published. He studied at the Institute of with Ensemble ACJW and the Deviant Septet. For the Musical Art (now the Juilliard School), but his most 2014–15 and 2015–16 seasons, Sleeping Giant were important teachers were Abby Whiteside (piano) and composers in residence with the Albany Symphony Vincent Jones (composition). During the Depression, as part of New Music USA’s Music Alive program. teenaged Gould found work in New York's vaudeville and movie theaters.

XXXVIII | ALBANY SYMPHONY ORCHESTRA MARCH 9 7:30PM PROGRAM NOTES

and marketing of music forever: digital recording. As a conductor, Gould led all the major American orchestras as well as those of Canada, Mexico, Europe, Japan, and Australia.

A member of the American Society of Composers, Authors, and Publishers since 1939, Gould served on the board from 1952 until his death and was president Gould’s childhood experience of watching parades of from 1986 until 1994. He also served on the board military veterans marching through his city’s streets of the American Symphony Orchestra League and on to the cheers of thousands of spectators, engendered the National Endowment for the Arts music panel. a lifelong admiration of those who serve in our armed Morton Gould was a firm believer in the intellectual forces and a special attachment to marching band rights of all artists and as the dawn of the internet music. When he was rejected by the Army for health took shape, he used his position at ASCAP to actively reasons, he turned his talents to writing memorable lobby on behalf of the rights of all creative people to music for concert and marching bands. be recognized and paid for their works.

When Radio City Music Hall opened, the young His music is published by G. Schirmer, Inc. Gould’s Gould was its staff pianist. By the age of 21 he was more than 100 LPs were recorded for many labels, conducting and arranging a series of orchestral including RCA and Columbia. Most recently, many programs for WOR Mutual Radio. He attained national of his works have been recorded by the Albany prominence through his work in radio, as he appealed Symphony on Albany Records. to a wide-ranging audience with his combination of classical and popular programming. During the 1940s Fall River Legend Gould appeared on the "Cresta Blanca Carnival" program and "The Chrysler Hour" (CBS), reaching an izzie Borden was tried for, and exonerated of, the audience of millions. axe murders of her father and her stepmother in L1892 in Fall River, Massachusetts. At a time before the term “crossover music” was even an idea, Gould’s music transcended and However, Choreographer Agnes DeMille believed, as crossed the set lines that separated “serious” from did others, that Borden was guilty, so she and Morton “pop”, orchestral from band, ballet from chorus, Gould created a 1948 ballet with that conclusion. Broadway from television, doing so when it was not Gould didn’t object, calling it “poetic license” and only rare, but not always deemed acceptable. He declaring it was easier to write a dramatic ending than integrated jazz, blues, gospel, country-and-western, “acquittal music.” Gould subsequently extracted a and folk elements into compositions which bear his number of movements for this suite. unequaled mastery of orchestration and imaginative formal structures. Thanks to Albany Records, and Susan Bush, for permission to use the following liner notes, slightly Gould was always open to innovative forms of edited, by Andrew Kazdin: creating music. As early as 1978, he made records for the Chalfont and Varese Sarabande labels using The music opens with an unforgettable shriek from a new technology that would change the creating the orchestra which instantly informs us of the black

ALBANY SYMPHONY ORCHESTRA | XXXIX MARCH 9 7:30PM PROGRAM NOTES deeds that are to follow. This will not be a comedy. The Pastor later arrives with a bouquet of flowers We see Lizzie standing before the Gallows. After this to formally deliver the “Invitation to the Church brief “Prologue,” the Speaker for the jury reads the Social.” Lizzie seems happy about this as they briefly indictment against “The Accused.” dance together.

The speaker then addresses Lizzie herself and takes The “Church Social” itself boasts a musical fabric us back into the past, where the major developments that magically invokes the atmosphere of a small, of the plot take place. In “Waltzes,” Lizzie turns to church-oriented, New England town at the turn of see herself as a child living in peace with her Father the century. Somehow, Morton Gould has pulled off and real Mother. Against the background of the this trick without quoting any indigenous musical score's sumptuous waltzes, Lizzie's Mother collapses material; it's all original. and must be taken home. The evil woman who will eventually become Lizzie's Stepmother is seen The “Hymnal Variations” follow almost without pause among the Townspeople. and Gould has provided a setting for the Pas de Deux of Lizzie and the Pastor in the form of a set of variations Wasting no time, the “other woman” slips into the that continually grow in intensity. Agnes de Mille has house to console the grieving Father. To add insult said that this is not a pretty dance. It is a “knock down, to injury, she commandeers the Mother's shawl from drag out fight” wherein the Pastor is battling the Devil Lizzie and we sadly realize that she will soon become for Lizzie's soul. By the time the storm subsides, it the second Mrs. Borden. appears as though the clergyman has won—not only the battle, but Lizzie's heart as well. Lizzie’s sorrow now seems replaced by a cold, emotionless resignation. The Young Lizzie fades from When the “Cotillion” begins, she and the Pastor are the scene and now, for the first time, Lizzie herself finding great joy in their relationship. But suddenly enters the house and takes her place in the story with the Stepmother appears and once again does her her new family. “whispering” bit. Lizzie is distraught. The Stepmother has finally convinced the Pastor that Lizzie is, Eventually Lizzie cannot stand the pressure and indeed, mentally disturbed and that the two women goes outside for relief. Here she accidentally meets should go home together. At first hesitating, the with the understanding Pastor and it is clear that Pastor soon acquiesces. his tenderness makes him attractive to her. As soon as the parents sense that Lizzie is forming this Beaten, but with a calm born of fulminating retribution, relationship, her Father summons her back inside the Lizzie slowly returns home (“Cotillion Coda”). She house. Lizzie goes directly for the door at the rear of goes straight for the Axe and there is no doubt that the sitting room and re-appears with the Axe. The she knows exactly what she is doing. music reaches a sinister climax as the elder Bordens recoil in fear, but Lizzie merely goes outside, chops We never see the actual murder. some firewood, and leaves the Axe imbedded in a The music stops. In dead silence we are returned to tree stump. We see her face straighten and we realize reality and the Borden home. Little by little, people are that the Bordens' reaction has planted a dreadful gathering outside, obviously attracted by what must seed in Lizzie's mind. have been a rather noisy event.

As the “Epilogue” begins, the crowd slowly disperses, leaving only Lizzie and the Pastor. Finally it is Lizzie

XL | ALBANY SYMPHONY ORCHESTRA MARCH 9 7:30PM PROGRAM NOTES

Biancolli note in their book The Concert Companion, “A craftsman among craftsmen, a fastidious and tireless worker, a consummate scholar, Maurice Ravel…recognized only one art, not several, in that music, painting, and literature differ from one another only as regards means of expression…One of his excelling talents was his understanding of styles…” alone. Just as it is said that at the moment of death, a Program note by Paul Lamar person's life “passes before their eyes,” Morton Gould has provided the musical equivalent. In this slowly Boléro building Death March, themes from the key moments in Lizzie's life are woven into the structure: The Pastor's n 1931 Ravel declared publicly that this work Hymn, the Cotillion, the Dream Sequence, the Rocking “constitutes an experiment in a very special and Chairs, and finally the shriek of the Gallows itself. With Ilimited direction…consisting wholly of ‘orchestral a final timpani roll, Lizzie faces her punishment and tissue without music’…folk-tunes of the Spanish- the Ballet is ended. American kind…and it is for the listener to take it or leave it.” Many might just as soon leave it at this point Program note by Andrew Kazdin (ed. Paul Lamar) in their musical experience. This ballet music from 1928 has, perhaps, worn out its welcome, at least on Maurice Ravel recordings or over the radio, but the pleasure of hearing AND seeing it performed live may bring around those o know the music of Maurice Ravel (1875-1937) who have grown tired of its hypnotic familiarity. is to discover the numerous artistic paths he took After all, it is a piece notable for its orchestral color, Tduring his career. He had the last word on the and what better way to appreciate it than to see how waltz with his wild, ironic La Valse. He wrote charming the sounds are being made. piano music, like Ma Mère l’Oye. He loved things Spanish: in addition to Boléro, he penned Rapsodie The work opens with a solo snare drum that beats espagnole and Alborada del gracioso. Ballet? Try insistently throughout, over which instruments, one the sumptuous music to Daphnis and Chloe. And after the other, play a sinuous tune on a descending of all the composers who wrote concertos for the C major scale. Watch the members of the orchestra left-handed pianist Paul Wittgenstein (a casualty as they continuously add each layer of sound. of WWI), Ravel was the most successful: his effort is standard repertory fare. Indeed, as Bagar and Program note by Paul Lamar

ALBANY SYMPHONY ORCHESTRA | XLI

ALBANY SYMPHONY ORCHESTRA | XLIII XLIV | ALBANY SYMPHONY ORCHESTRA The Albany Symphony acknowledges the support ALBANY SYMPHONY of our corporate sponsors whose contributions recognize the importance of the Albany Symphony in building civic pride, 2018-2019 educating our youth, and contributing to the cultural life of all people in the Capital Region. As of December 1, 2018. CORPORATE SPONSORS

MEDIA PARTNERS EDUCATION PARTNER HOSPITALITY PARTNER

This concert season has also been made possible with public funds from the New York State Council on the Arts, a state agency, the City of Albany, grants from the National Endowment for the Arts, the Aaron Copland Fund for Music, the Capital District Economic Development Council, Vanguard-Albany Symphony, and the support of our donors, subscribers, and patrons.

ALBANY SYMPHONY ORCHESTRA | XLV XLVI | ALBANY SYMPHONY ORCHESTRA ALBANY SYMPHONY ORCHESTRA | XLVII XLVIII | ALBANY SYMPHONY ORCHESTRA The Albany Symphony is grateful to the following individuals for their vital ongoing support. This list represents ALBANY SYMPHONY gifts received during the period between July 1, 2017 & November 8, 2018. CONDUCTOR’S CIRCLE

LEGACY BATON LEVEL Dush Pathmanandam Sara Lee & Barry Larner Ruth & Don Killoran ($200,000+) Dwight & Rachel Smith Georgia & David Lawrence Robert J. Krackeler Dr. Heinrich Medicus * I. David and Lois Swawite Dr. & Mrs. Bruce Maston Dr. & Mrs. Neil Lempert Mrs. Jeanne Tartaglia Judith B. McIlduff Mr. Donald Lipkin & PLATINUM BATON Mrs. Harriet Thomas Nicholas Normile & Mrs. Mary Bowen LEVEL ($25,000+) Drs. Hannelore Wilfert & Elizabeth Kauffman Alan & Karen Lobel Mr. and Mrs. Matthew Karl Moschner Henry & Sally Peyrebrune Tom & Sue Lyons Bender IV Merle Winn William & Susan Picotte Dr. & Mrs. Richard Dr. Benjamin Chi Paul & Janet Stoler MacDowell The Estate of BRONZE BATON LEVEL Robert P. Storch & Judy & Ted Marotta Ms. Adella Cooper ($2,500+) Sara M. Lord Mrs. Nancy McEwan Jerel & Geraldine Golub Gemma & Jason Allen Barbara Wiley Richard & Beverly Messmer Marcia Nickerson Dr. Melody A. Bruce & Mr. Scott A Wilson Hilary & Nicholas Miller John J. Nigro Dr. David A. Ray Marcia & Robert Moss David M. Rubin & Mrs. Sally Mott Carter * CONDUCTOR’S CIRCLE Hugh & Vaughn Nevin Carol L. Ju Elsa G. DeBeer* MEMBER LEVEL The O'Bryan Family Faith A. Takes Dr. and Mrs. Ephraim ($1,000+) Foundation Glinert Anonymous (2) Dr. & Mrs. Thomas Older GOLD BATON LEVEL Alan Goldberg John & Dawn Abbuhl Deborah Onslow ($10,000+) Joseph T. Gravini & Robert & Susan Allen Marc & Melissa Paquin Charles & Charlotte Elizabeth M. Cope Wallace & Jane Altes Miriam & Jim Parmelee Buchanan Anthony P. Hazapis Hermes & Linda Ames John & Maggie Picotte Marcia & Findlay Cockrell Darrell Wheeler & Linda & Michael Barnas Henry & Joni Pohl Drs. Marisa & Donovan Howard Sharon Bedford & Fred Alm Dr. Richard Propp Allan Eisemann Ellen Jabbur Dr. & Mrs. Donald Bourque Dr. Nina Reich Sherley Hannay Anna Kuwabara & Dr. A. Andrew Casano Lee & Donna Rosen Kip & Douglas Hargrave Craig Edwards Drs. Ellen Cole & Richard D. Ruby The Herman Family Charles M. Liddle III Douglas North Harry Rutledge & Daniel & Celine Kredentser Steve & Vivian Lobel Kirk Cornwell & Nancy Barhydt-Rutledge Bob & Alicia Nielsen John R. Peckham Claire Pospisil Jacqueline & Paul Shapiro Mrs. Louise W. Marshall Dr. David A. Perry & Dr. Harry & Ellen DePan Herb & Cynthia Shultz Chet & Karen Opalka Ms. Susan Martula Mary DeGroff & Lee Smith John L. & A.C. Riley John & Sara Regan Robert Knizek Ronald & Nadine Stram Mark J. Rosen & Ruth Dinowitz Marie D. Takes SILVER BATON LEVEL Leslie Newman Dr. Keith Edwards Bonnie Taylor & ($5,000+) Larry & Clara Sanders David Ernst Daniel Wulff Anonymous (2) Rabbi Scott Shpeen Mrs. Patricia Fallek Mr. & Mrs. Anders & Dr. Thomas Freeman & Dale Thuillez Dr. & Mrs. Reed Ference Mary Ellen Tomson Ms. Phyllis Attanasio Micheileen Treadwell Steven & Lucia Fischer Lila Touhey Susan & Bill Dake Mrs. Lois M. Foster Michele Vennard & Al DeSalvo & CONDUCTOR’S CIRCLE Mr. Paul J. Goldman Gordon Lattey Susan Thompson MEMBER LEVEL Jill Goodman & Candace Weir Eitan & Malka Evan ($1,500+) Arthur Malkin Mrs. Jane Wait Ms. Judith Grunberg Beth & Rob Beshaw Dr. & Mrs. Robert J. Gordon Michael & Margery The Hershey Family Paul & Bonnie Bruno The Family of Morton Gould Whiteman Tom Freeman Dr. Joyce J. Diwan Karen Hartgen-Fisher Harry & Connie Wilbur Edward M. & Sally S. Mrs. Joy Emery Mrs. Margaret Joynt Austin Woodward Jennings Nicholas Faso & Judy & Bill Kahn Mr. & Mrs. E. Stewart Meaghan Murphy Dr. & Mrs. Peter G. Kansas *asterisk represents Jones Jr. Susan Jacobsen Holly Katz & William Harris deceased individuals Lori & Mark Lasch Spencer & Stacy Jones

ALBANY SYMPHONY ORCHESTRA | XLIX ALBANY SYMPHONY The Albany Symphony is grateful to the following individuals for their vital ongoing support. This list represents cumulative annual gifts received during INDIVIDUAL GIVING the period between July 1, 2017 & November 5, 2018.

PATRON CIRCLE Mr. John S. Harris Sarah M. Pellman Dr. Edith Agnes Allen ($250+) Katharine B. Harris Charles Pinckney Suzanne Anderson Anonymous (3) Susan M. Haswell Cynthia Platt Elizabeth & John Antonio Kay & John Abbuhl Charitable Fund Michiyo & Chris Powhida Elizabeth Arden Kelly & Richard Alfred Nancy Ross & Marlene Pressman Mark L. Aronowitz Mr. & Mrs. S. H. Robert Henshaw Mr. David W. Riedman Jeffrey Asher George Allen Lee Helsby & Joseph Roche Tammy Jo & Rita & Bob Auriett Ms. Jennifer Amstutz Ms. Lynn Holland Steven Sanders Janet R. Axelrod Francis Armenia Karen Hunter Ms. Emilie Gould & Miriam Trementozzi & Mr. Lawrence Snyder & Janet & John Hutchison Mr. Robert Scher James Ayers Mrs. Lynn Ashley Mary & Howard Jack Dr. John Schroeder Mr. & Mrs. Joseph Baggott Donald & Rhonda Ballou Craig Jacksland Jim & Janie Schwab Mr. Frederick Baily Diana Bangert-Drowns Ms. Amber Jones Margaret & John A. Seppi The Bangert-Drowns Family Anne & Hank Bankhead Judith & Herbert Katz Cynthia Serbent Floyd Barber Mr. & Mrs. James Barba Ms. Marilyn Kaltenborn Nina & Aaron Sher Laurence Beaudoin Larry H. Becker Deborah Roth & Mrs. Monica Short Anita Behn Greta B. & Alan Kaufman Stephen J. Sills MD Christine Berbrick Richard S. Berkson Timothy J. Keegan Mrs. Elizabeth J. Silver Olga & Elmer Bertch John Borel Barbara & Roger Kessel Mr. Arnold Slowe Christopher Betts Diane & William Brina Doris S. Kirk Mr. Robert J Sneeringer Joseph P. Bevak Dr. & Mrs. Neil C. Brown Jr. Samuel Kirschner Mr. Eugene M. Susan & Gus Birkhead Timothy Burch Debra J. Lambek Sneeringer, Jr. Diane Bischoff Marcia Goldfeder & Keith C. Lee Kim Hart & Randy Snyder Peter Bogyo Jim Caiello Jean & Rob Leonard Ms. Elizabeth Sonneborn Alexandra Bolton-Schultes Ann & Tony Cantore Dr. Martha L. Lepow Drs. Susan Standfast & Mrs. Patricia Boudreau Mr. Michael D. Carroll Carolyn & James Levine Theodore Wright Judy & Doug Bowden Drs. Wanda Casseaux & Paula Levine Amy J. Steiner Mary Bradley Bruce Caster Jeffrey Levy Alexandra Jane Mrs. Naomi Bradshaw David Clark Susan G. Limeri Streznewski Mrs. Kathleen Bragle Janet R. Conti Mrs. Athena V. Lord Marie & Harry Sturges Mrs. Mary J. Brand Jane & John Corrou Alexandra Lusak Mr. & Mrs. William Swire Ann & David Brandon Mr. Wilson Crone C. Ursula W. MacAffer Dr. & Mrs. Maurice Ms. Julia Rosen & Drs. Paul J. & Faith B. Davis Elise Malecki Thornton Charles Braverman Pernille Aegidius Dake Charles & Barbara Manning Avis & Joseph Toochin Dorice Brickman Edward De Cosmo Mr. Cory Martin Virginia E. Touhey Miss Caroline Evans Bridge Dr. & Mrs. Samuel S. Ciccio Louise & Larry Marwill Cheryl Mugno & Mary M. & David C. Briggs Caitlin A. Drellos Patricia & Joseph William Trompeter Mr. Kevin Michael Mr. Robert S. Drew Mascarenhas Kevin B. Tully Bronner Jr. Mr. Michael Edelman Hon. Daniel McCoy John Vagianelis Marianne Bross Annmarie & Herb Ellis Frances T. McDonald Candice & Patrick Van Roey L Bryce Linda & Ben English Patrick McNamara Jody & John van Voris William Bub Barbara & Edward Evans John & Marney Mesch Matie Flowers & Mr. Simon J. Butler Thomas Evans Mary & Stephen Muller Joseph Visalli Stanley M. Byer Werner Feibes Sophie Moss Stephanie Wacholder Victor L. Cahn Ms. Judith Fetterley Mr. & Mrs. Wendy Jordan James Fleming & Claudia & Iggy Calabria Ms. Jean M. Fogarty & Frank Murray Lawrence Waite Ms. Alison V. Calvagno Nathaniel & Ginny Fossner Stewart C. Myers Mrs. June Wallace Ian Campbell Janice & Robert Frost Jessie A. Myers Wolfgang Wehmann Eva & Charles Carlson Mary McCarthy & Mr. Lee Newberg Mr. & Mrs. Lawrence Wiest Mr. & Mrs. Richard Carlson David Gardam Mr. Joseph Nicolla Anthony Wildman Janice & Kenneth Carroll Allen S. Goodman Arlene Nock, M.D. Katherine W Wiley Sarah Carroll Dr. & Mrs. Robert J. Gordon Helen J. O’Connor Anne & Art Young Donna & Paul Castellani Shirley & Herbert Gordon Michele O’Neal Lois & Patrick Caulfield Mary Elizabeth & Deborah Hrustich & APPLAUSE CIRCLE Michael Cawley Robert Gosende Paul Osterdahl ($75+) Dr. & Mrs. Samuel S. Ciccio Tom Gough Carol & Ed Osterhout Anonymous (7) Suzanne & Lonnie Clar Betty & Larry Gross Ruth & Peter Pagerey Wilfred Ackerly Mr. David Clark Dr. & Mrs. Pradeep Haldar Patricia Patrick Dr. & Mrs. Michael Adler Ms. Rae Clark

L | ALBANY SYMPHONY ORCHESTRA The Albany Symphony is grateful to the following individuals for their vital ALBANY SYMPHONY ongoing support. This list represents cumulative annual gifts received during the period between July 1, 2017 & November 5, 2018. INDIVIDUAL GIVING

John Clarkson Mary Gitnick Nancy & Stephan Knoll Sean Moloney Scott Clugstone Dr. Virginia Giugliano Beatrice Kovasznay MD Mr. & Mrs. John Moroney Mr. Aaron R Coble Karen & Charles Goddard Margaret Kowalski Mrs. Sheila Mosher Fran Pilato & Jim Cochran Mrs. Elizabeth Goldstein Charles J. La Gattuta, Jr. Bill Murphy Lillian Cohen Ms. Sonja Krause Goodwin Mr. Philip W Labatte Elizabeth Muthersbaugh Ann & William Collins Christine Govin Mary LaFleur Judith Mysliborski Mr. & Mrs. Thomas P. Susanna Grannis Rosemary Lamb Elizabeth & William Nathan Connolly Deborah & Wayne Gray Dr. Joann Lamphere Christy D’Ambrosio & David Connolly B. H. Green Rebecca & Richard Langer Raymond Newkirk Steven Cramer Mr. & Mrs. Walter Ann Lapinski & Fred Barker Glenn Newkirk Mr. Joseph Culella Greenberg Angela Sheehan & Norman Nichols Ms. Ellen-Deane Cummins Shirley & Chris Greagan Franklin Laufer Mr. David Niles Barb & Gary Cunningham Diane & John Grego Lori & Peter Lauricella Ms. Lisa Nissenbaum David A. Danner Lois Griffin Ms. Amy Carol & Thaaeus Obloy Clifford Danielson Dr. David E Guinn Lauterbachpokorny Mr. Donald R. Odell Michele & Garrett Degraff Wilma Gundersen Jeannine Laverty Mrs. Kathy Ordway Philip Depietro Henry J Hamelin Sally Lawrence Barbara & Brad Oswald Sharon Desrochers Thomas D. Hamill Dorothy Kim Lee Mr. William Panitch Dr. & Mrs. Anthony J. Philip Hansen Eunju Lee Edward Parran DeTommasi Mrs. Beverly A. Harrington Ms. Laura Leeds Mr. Steven M. Parsons Michael Devall David Harris Mr. Matthew Leinung Stephen Pennell Mrs. Kathleen L. DeWeese Helen Suderley Harris Elizabeth & David Lee & Bob Pettie Mr. Paul Dichian Dr. & Mrs. Joseph J. Hart Liebschutz Deborah & David Phaff Heather Diddel Kathleen R. Hartley Bessie Malamas & Jacqueline & Dr. & Mrs. Frank Dimase Claudia & Leif Hartmark Robert Limage Thomas Pillsworth Marianne Donovan Michele & David Hasso Karen Lipson Rev. Roberta H. Place Terrell Doolan John Hawn Mr. Michael Litty Ellen Prakken & John Robert Dorkin Robert R. Henion III Jill Loew Smolinsky Lois & Jan Dorman Mr. William Hetzer Pat & Mike Loudis Diana Praus Marilyn & Peter Douglas Phyllis & Stephen Hillinger Mr. Rudy Stegemoeller Jennifer & John Quinn Mrs. Deslyn Dyer Karen Hitchcock Mr. & Mrs. Robert E. Lynk Mrs. Tina W. Raggio Dr. & Mrs. Frederick A. Susan Hollander Marguerite MacDonald Margaret & Paul Randall Eames Martin Hotvet William Madigan Laura Rappaport Mr. & Mrs. Eberle Lucinda Huggins Beverly & Richard Lenore & Jack Reber Loretta Ebert Marilyn Hunter Magidson Ms. Mary Redmond Joan & Carl Ekengren Janet & John Hutchison Irene Marshall Elaine & James Regilski Mrs. Dorothy Ellinwood Patricia Ilnicki Mr. Charles Martin Mr. H. Juergen Reiche Mrs. Ann Eppelmann Donald Ingebritsen Ms. Susan B. Martula Kendall & Christopher Reilly Donna Faddegon Mr. Harold Iselin Tanyss & David Martula Margaret M. Rendert Patricia Fahy Mary James Ms. Dawn Maynus Mr. Thomas E. Rice Mr. Daniel D. Fariello Mr. Edward K. Jennings Mr. James McClymonds Mr. & Mrs. George P. Lisa & Jason Fesmire Priscilla & Eric Johnson Beth Rowl McLaughlin Richardson Lina Milagros Finlan Brigitte & Philip Johnson Ann & Nixon McMillan Monica & Wayne Richter Paul Fisk Lee Helsby & Joseph Roche Patrick McNamara Jill & Richard Rifkin Dr. Arthur Fontijn Phil Kahn Peter Meixner Susan & Kenneth Ms. Susan Forster Ms. Marilyn Kaltenborn Marney & John Mesch Ritzenberg Anne & Ricky Fortune Susan & James Kambrich Anne Messer & Kate Robertson Efrosini & Julius Frankel Silva & Laurence Kaminsky Daniel Gordon Eric S. Roccario MD Nancy Frank Marcia & John Keefe Barbara & David Metz Janice & Stephen Rocklin Judith & Roy Fruiterman Christina & John J. Mr. & Mrs. Meuwissen Brigid Rockwell Marjory Fuller Miles Kelliher Raymond Michaels Joan Rogers Mr. John J. Gable Ms. Tracy Kennedy Alan Miller Harlan D. Root Barbara & Eugene Garber Ms. Patricia A Kennedy Reid Muller Mr. Richard A. Rosen Mr. Ronald C. Geuther Judy & Gordon Kilby Carol Bianco-Miller Rosemarie Rosen Ms. Barbara Gigliotti Melissa & Robert Kind & Daniel Miller Karen & Michael Rosen Gilbert Gier Mrs. Elinor S.C. King Dorothy Whitney Jay Rosenblum Shelley Gilroy Edith Kliman Michelle Miller-Adams Marin Ridgeway & Alba & Tony Giordano Adam Knaust Pat Mion Don Ruberg

ALBANY SYMPHONY ORCHESTRA | LI ALBANY SYMPHONY The Albany Symphony is grateful to the following individuals for their vital ongoing support. This list represents cumulative annual gifts received during INDIVIDUAL GIVING the period between July 1, 2017 & November 5, 2018.

Christina Ryba Ann & Clara Silverstein Sandra & Charles Stern Lois D. Webb Ann L. Rymski Stephen C. Simmons Ann L. Stewart Maryann & Gerhard Weber Atef Saleh Family Heather Stewart Dawn Stuart Weinraub Mrs. Pearl Sanders Donna Simms William Stewart Jerry & Elizabeth Weiss Mr. Robert Sanders Marianne & Manfred Simon Jeannette & Larry Storch Mrs. Renee Whitman Mr. Joal Savage Dennis Skidmore Hon. & Mrs. Larry G Storch Winnie & Frederick Wilhelm Lois & Barry Scherer Mr. & Mrs. David & Martha S Strohl Jean & John Wilkinson Alice Schrade Gloria Sleeter Adele & Norma Strominger Paul Wing Martha Schroeder Roseanne Fogarty & Dennis Sullivan Russell Wise Dorothy & Ralph Schultz Perry Smith Kathleen Sullivan Meyer J. Wolin Janie & Jim Schwab Rex Smith Carole & Richard Sweeton Mr. John Wood Howard A Segal Kathy Snow Rose-Marie Weber & Elizabeth & Frank Woods Maureen & Dennis Selzner Rosalie & Roger Sokol Peter Ten Eyck Alice Woods April Seney Deborah & Richard Sokoler Patricia & Joseph Thatcher Rain Worthington Mr. & Mrs. Bryan Shanley Joyce A. Soltis Donald R. Thurston Mr. & Mrs. Peter & Julie & William Shapiro Mr. Euan Somerscales Sara & Dave Torrey Sheila Wrede Patricia & Edward Shapiro Nurit Sonnenschein Alice Trost Barbara Youngberg Judy Shapiro Mrs. Sue St. Amour Terry & Daniel Tyson Mr. & Mrs. G. William Mr. & Mrs. Robert & Biria D. St. John Ms. Linda Ulrich Zautner Kathy Sheehan Mr. & Mrs. Stackelberg Ms. Linda Underwood Barbara & Michael Zavisky Angie L. Gardner Sherman Dr. Laura Staff Janet Vine Katherine & Michael Zdeb Glenna G. Shiflett Mr. Kenneth L Stahl Mr. & Mrs. Jeffrey Walton Ms. Linda R. Zenner Susan V. Shipherd Lois & John Staugaitis Wendy B Wanninger Mrs. Ethel R. Silverberg Donald and Morag Stauffer Dr. David A. Wasser

LII | ALBANY SYMPHONY ORCHESTRA ALBANY SYMPHONY IN HONOR, CELEBRATION, & MEMORY

In Loving Memory of In Honor of In Loving Memory of In Loving Memory of Adella Cooper Marisa Eisemann Dr. Heinrich Medicus Jim Panton Miss Eileen C. Jones Dr. Heinrich Medicus Carol and Ronald Bailey Bonnie & Paul Bruno Paul and Bonnie Bruno Marcia & Findlay Cockrell In Memory of In Memory of Elsa deBeer Nancy Goody Elsa deBeer Dr. Alvin K. Fossner Alan Goldberg Mary Anne & Robert Lanni Jo Ann & Buzzy Hofheimer Carl and Cathy Hackert Harry G. Taylor Drs. Marisa & Allan Susan Thompson Eisemann Peter & Rose-Marie In Memory of In Honor of David Alan Miller Ten Eyck Allan D. Foster David Alan Miller Sarah & Patrick Carroll Mrs. Lois V. Foster Lois & Barry Scherer In Memory of Charlotte & Charles Susan St. Amour Justine R. B. Perry Buchanan In Memory of Dr. David A. Perry John J. Nigro Rachel Galperin In Honor of New York Council Margaret & Robert Schalit Miranda, Elias, and In Loving Memory of of Nonprofits Ari Miller Vera Propp David Scott Allen In Honor of Bonnie Friedman & Dr. Richard Propp Greta Berkson Jerry Golub Gerald Miller Mary & Tom Harowski Sara & Barry Lee Larner In Memory of Mary James In Loving Memory of Felix Shapiro Sally & Edward Jennings In Loving Memory of Don B. O’Connor Jacqueline & Paul Shapiro Leigh & Louis Lazaron Roger Hannay Helen J. O’Connor Susan Limeri Alan Goldberg In Memory of Ann Silverstein In Memory of Nancy Winn Anna Taglieri In Loving Memory of Paul Pagerey Merle Winn Enid Watsky Beatrice & Peter & Ruth Pagerey Robert Herman As of November 5, 2018 In Loving Memory of Dr. & Mrs. Neil Lempert Frederick S. deBeer, Jr. David Scott Allen In Loving Memory of Elsa G. deBeer F. William Joynt Adelaide Muhlfelder Dr. & Mrs. Donald Bourque

ALBANY SYMPHONY ORCHESTRA | LIII LIV | ALBANY SYMPHONY ORCHESTRA The Albany Symphony is deeply grateful to the foundations, corporations, and government ALBANY SYMPHONY agencies whose ongoing support ensures the vitality of our orchestra. This list represents FOUNDATIONS, CORPORATIONS, gifts received during the period between July 1, 2017 and November 8, 2018. AND GOVERNMENT AGENCIES

$100,000+ Nielsen Associates Stewart's Shops $1,500+ East Acres Price Chopper's Golub St. Mary's Healthcare City of Amsterdam (Heinrich Medicus)* Foundation Vanguard-Albany Dawn Homes Management Empire State Development Sano-Rubin Construction Symphony Janney Montgomery Stuyvesant Plaza Scott LLC $50,000+ The Swyer Companies $2,500+ New York State Council BST & Co. CPAs, LLP. $1,000+ on the Arts $5,000+ CAP COM Federal Adirondack Trust Insurance Alice M. Ditson Fund Credit Union / Amsure $25,000+ AllSquare Wealth Depfa First Albany Albany Medical Center Aaron Copland Fund Management, LLC Securities LLC Arthur J. Gallagher & Co. for Music Barry Alan Gold Discover Albany Capital Bank & Trust Faith Takes Family Memorial Fund Ellis Medicine Company Foundation CDPHP Hippo's Cass Hill Development Nigro Companies General Electric Company McNamee Lochner Titus & Company Lucille A. Herold Williams, P.C. E. Evan Foundation $10,000+ Charitable Trust MVP Health Care Hampton Inn - Amphion Foundation The Hershey Family Fund The Peckham Family Syracuse/Clay Averill Park Education May K. Houck Foundation Foundation National Grid Foundation Hugh Johnson Advisors, The Robison Family NBT Bank The Bender Family LLC Foundation Nolan & Heller, LLP Foundation Nigro Companies Sequence Development Pioneer Bank Fenimore Asset Omni Development Alfred Z. Solomon Repeat Business Systems Inc. Management, Inc. Company Charitable Trust Whiteman Osterman & GE Foundation Picotte Family Foundation The David and Sylvia Hanna LLP Hannay Reels, Inc. The John D. Picotte Family Teitelbaum Fund, Inc. M&T Charitable Foundation Foundation Wine & Dine for the Arts *asterisk represents National Endowment Rivers Casino deceased individuals for the Arts

ALBANY SYMPHONY IN-KIND DONATIONS

City of Albany/The Palace Crisan Bakery Hampton Inn Pearl Grant Richmans Theatre Enchanted Florist of Albany John Keal Music Surroundings Floral Jim Rua, Café Capriccio Gary Gold Photography Preville Technology Yono’s/dp

ALBANY SYMPHONY ORCHESTRA | LV LVI | ALBANY SYMPHONY ORCHESTRA ALBANY SYMPHONY BOARD & STAFF

OFFICERS EX-OFFICIO DIRECTORS Jerry Golub, Chair Catherine Hackert, Chair, Albany Symphony Beth Beshaw, Vice Chair Orchestra Committee Faith A. Takes, Vice Chair Marilyn Hunter, Co-President, Vanguard- David Rubin, Treasurer Albany Symphony, Inc. John Regan, Secretary Susan Jacobsen, Co-President, Vanguard- Alan P. Goldberg, Chairman Emeritus Albany Symphony, Inc. Marisa Eisemann, MD, Immediate Past Chair Hon. Kathy Sheehan, Mayor, City of Albany

BOARD OF DIRECTORS DIRECTORS' COUNCIL Gemma Louise Allen Matthew Bender IV, Chair Melody Bruce, MD Karol Gordon Charles Buchanan Sherley Hannay Benjamin E. Chi John B. Kinum Marcia Cockrell Charles M. Liddle III Ellen Cole, Ph.D. Judith B. McIlduff Nicholas J. Faso John J. Nigro Joseph T. Gravini Pradeep Haldar, Ph.D. STAFF Anthony P. Hazapis Anna Kuwabara, Executive Director Edward M. Jennings Mark P. Lasch FINANCE Steve Lobel Scott Allen, Director of Finance Cory Martin Marcia Nickerson DEVELOPMENT Anne Older Jenifer Whiston, Interim Development Manager Deb Onslow Tiffany Wright, Development Assistant Dush Pathmanandam Barry Richman MARKETING & PATRON SERVICES John L. Riley Justin Cook, Marketing & Rabbi Scott Shpeen Patron Services Manager Micheileen Treadwell Tia Anderson, Box Office & Darrell Wheeler, Ph. D. Patron Services Coordinator

EDUCATION & COMMUNITY ENGAGEMENT Sophie Moss, Director of Education & Community Engagement

OPERATIONS Derek Smith, Operations & Programming Manager Susan Ruzow Debronsky, Personnel Manager Elizabeth Silver, Music Librarian

Did you know that many of the musicians of the Albany Symphony do not live in the Capital Region? Musicians travel from New York, Boston even as far as Montreal to play with the Albany Symphony. Typically when a musician comes to play here they are here Thursday night through Sunday. Through the generosity of local host families, The Albany Symphony Musician Housing Program was created. This is a critical part of our organization which enables us to attract musicians of the highest caliber. Without the generosity and support of our host families we would not be able to maintain the high caliber of musicians who are members of our orchestra. Many of our hosts have created strong bonds with the musicians that stay with them, creating friendships that will last a lifetime.

The Albany Symphony Orchestra extends a very special thank you to patrons who are generously providing housing for musicians during the 2018-2019 season. Please contact Susan Debronsky, housing coordinator, at [email protected], for information on how to host ASO musicians!

Jenny Amstutz Bill Lawrence & Alan Ray Camille & Andrew Allen Eunju Lee & Brian Fisher Dan Bernstein & Efrat Levy Susan Martula & David Perry Concetta Bosco Anne Messer & Dan Gordon Mimi Bruce & David Ray Helen J. O’Connor Charles Buchanan Marlene & Howard Pressman Charles & Charlotte Buchanan Debby Roth & Alan Kaufman Barbara Cavallo Reese Satin Ben Chi Joan Savage Diane Davison Dodie & Pete Seagle Susan & Brian Debronsky Julie & Bill Shapiro Michelle DePace & Julie Signitzer Steven Hancox Carolyn Smith Nancy & John DiIanni Lorraine Smith Star Donovan Onnolee & Larry Smith Lynn Gelzheizer Lois & John Staugaitis Catherine & Carl Hackert Harriet Thomas Debra & Paul Hoffman Andrea & Michael Vallance Frank Hughes Marjorie & Russ Ward Susan Jacobsen Carol Whittaker Marilyn & Stan Kaltenborn Dan Wilcox Nettye Lamkay & Robert Pastel Barbara Wiley Eric Latini Merle Winn

ALBANY SYMPHONY ORCHESTRA | LXIII LXIV | ALBANY SYMPHONY ORCHESTRA

PROTECTING THE WILDEST JUNGLES ON THE PLANET.

MAIN STREET. PRESCHOOL. THE PLAYGROUND. The environment isn’t just some far off place. It’s the lawn beneath our feet, the food on our plate, and the air we breathe. And it’s why the Natural Resources Defense Council is working to protect the most important places on Earth. Whether it’s the rainforest, the arctic, or your living room. To learn more, go to NRDC.org. And help protect the jungle creatures in your backyard.

Because the environment is everywhere.