Edition 1 | 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 VIII...... DAVID ALAN MILLER XI...... ORCHESTRA PERSONNEL OCTOBER 13, 2018: OPENING NIGHT CONCERT & GALA XVII...... RIDE OF THE VALKYRIES! NOVEMBER 10, 2018: XXXI...... ARMISTICE CENTENNIAL DECEMBER 15-16, 2018: XL...... VIENNESE CLASSICS LI...... 2018-2019 SPONSORS LIII...... CONDUCTOR’S CIRCLE LIV...... INDIVIDUAL GIVING LVII...... IN HONOR, CELEBRATION, & MEMORY LVIII...... ENCORE SOCIETY FOUNDATIONS, CORPORATIONS & LIX...... GOVERNMENT AGENCIES LIX...... IN-KIND DONATIONS LXI...... BOARD & STAFF ALBANY SYMPHONY MUSICIAN LXIV...... HOUSING PROGRAM

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ALBANY SYMPHONY ORCHESTRA | I

of the most exciting operatic works in the repertoire by Bizet, Verdi, and Wagner. For our grand gala conclusion, we’ll transform the Palace Theatre into a celestial paradise, inspired by the Valkyries of Norse (and grand opera) lore.

November 11 marks the 100th anniversary of Armistice Day, the end of World War I. We commemorate this significant milestone with a performance of Benjamin Britten’s poignant masterpiece, his War Requiem for full orchestra, chamber orchestra, full chorus, boyschoir, and three vocal soloists, including Capital Region native, soprano Emalie Savoy. This colossal 80-minute work alternates movements of the Latin mass with poems by Wilfred Owen, a soldier-poet who died late in World War I, to create an absolutely overwhelming statement on war and the fragile beauty of life. We hope you’ll join us for this unique concert, as well as for the many advance lectures, recitals, and other events with our community partners that will help create context for the work MESSAGE FROM THE and the period.

MUSIC DIRECTOR Our December concerts close the calendar year with a hundredth birthday tribute to the memory Dear Friends, of our dear friend and champion, Dr. Heinrich Medicus, a towering figure in our community and Welcome to our thrilling 2018-19 season. a lover of Bruckner, holiday cheer, and all things I hope you had as wonderful a summer as I did. Swiss, especially chocolate. Fitting, then, that we’ve I traveled to Paris, Portugal, and across America programmed pieces that celebrate all of the above! guest conducting, working on a film documentary, visiting family and friends, and dropping my three In addition to these beautiful subscription concerts, beautiful kids off at college (the best part!). After I hope you’ll bring the whole family and friends to the all the excitement of my summer travels, it feels Palace Theatre for our annual holiday spectacular, so good to be back home in my favorite place in The Magic of Christmas, on December 2. the world–New York’s Capital Region–making music with my magnificent colleagues, our brilliant To all of you who attend our concerts and support us Albany Symphony musicians. in so many ways, we want you to know how much we cherish you and your participation with us. It is your While each of this season’s concerts features a support that makes our music possible, and we are dazzling array of great music new and old, the immensely proud to serve you. We hope all of your first three are really monumental in scope. Our concert experiences this season are deeply satisfying, Opening Night concert and gala evening is a feat perhaps even life-altering! of engineering on and off the stage. First, we’ll present Sandbox Percussion as soloists in the world Warm Regards, premiere of the orchestral version of Viet Cuong’s Re(new)al, a piece that features incredible pyrotechnics (and calisthenics) on every imaginable percussion instrument: snare drum, vibraphone, and even water glasses! We then welcome Stefan David Alan Miller Jackiw, who joins us for Brahms’ magnificent Violin Music Director Concerto, followed closely by selections from some

ALBANY SYMPHONY ORCHESTRA | III IV | ALBANY SYMPHONY ORCHESTRA how things should be done on and off stage, who nonetheless come together to collaborate and strive to create a unified, unique, and wonderful experience for our audience members.

Similarly, in this experience, for a few hours, there is potential for us to come together, set aside all that might divide us, and enter a space of expression, meaning, and beauty. While we may have differences of opinions and beliefs, the capacity for wonder and to appreciate expression and artistry is something we have in common.

The Albany Symphony values the collaborations that are key to our performances. In this program book, you will see we are at three different venues: The Palace in Albany, the Troy Savings Bank Music Hall, and Proctors in Schenectady. Each of these organizations (and EMPAC at RPI in June) are rich cultural resources, invaluable jewels for not only our

MESSAGE FROM THE The Britten War Requiem in November is perhaps the first performance of this major work in the Capital EXECUTIVE DIRECTOR Region. I want to highlight and thank our artistic partners, Albany Pro Musica and the Cathedral of All Saints Boychoir, who have made monumental Dear Friends, efforts to include this very challenging repertoire in their seasons. I would also like to thank Proctors Welcome to the first concerts of the Albany and the Musicians of Ma’alwyck for their wonderful Symphony season! partnership in planning and presenting many intriguing and exciting programs exploring the 100th While making dinner this week, I caught an episode of anniversary of Armistice Day in conjunction with our World of Dance on WNYT. They were doing “Duels,” War Requiem performance. where two dance troupes competed against each other. The success of one group intrinsically meant Finally, for those of you seeing this program book the elimination of the other; yet, when the camera before November 10: please participate in our cut to the dancers watching their rivals perform, they food drive in partnership with the Regional Food were cheering and whooping for the amazing work of Bank of Northeastern New York for local veterans their opponents. organizations. See page 30 for more information.

This reminded me of what happens on stage with Thank you for being here and partaking in this the orchestra. While each musician is focused concert experience. intently on their own playing, they are also very much supportive of their colleagues. During a performance, Sincerely, you will often see a musician tap a hand on their thigh (or shuffle a foot on the floor if hands are otherwise occupied) in silent applause for their fellow musician who has just executed a solo or challenging passage of music. Anna Kuwabara Executive Director The nature of a symphony orchestra is to bring together dozens of musicians—individuals who have their own personalities and differing ideas of

ALBANY SYMPHONY ORCHESTRA | V VI | ALBANY SYMPHONY ORCHESTRA Averill Park public schools to exceptional music, and that encourage these young artists to express themselves through their own compositions and listening experiences. We also regularly collaborate with other community organizations to create cross- disciplinary events that celebrate our time and place, highlighting the history and cultural heritage of our Capital Region. Because we believe that arts education is for everyone at every stage of life, we also continue our commitment to provide programs for adults and seniors, including our pre-concert talks at the Albany Public Library and on stage.

Community engagement is a central pillar of our new strategic plan, and we look forward to growing our current programs and expanding into new ways of engaging the broader community over the coming season and beyond. We are particularly excited by the community collaborations planned around our performance of Benjamin Britten’s monumental War Requiem at Proctors Theatre this November, which marks the 100th anniversary of the end of MESSAGE FROM THE World War II in 1918. Planned events include an art exhibition, film screenings, recitals, lectures, and BOARD CHAIR more! You can see the listing of our commemoration events on page 30 of your program, or find us online at albanysymphony.com/armisticecentennial Welcome to our new season! for the most up-to-date information and full event descriptions. While many of us have been away on summer vacation, our musicians, staff, board members, We believe that music is a gift that should be volunteers, and Music Director have been hard at accessible to everyone–and we will continue to do work preparing a phenomenal series of concerts for our best to share that gift throughout our region. you. Those of you who are subscribers or regular Whether the Albany Symphony has been part of your concert-goers will already recognize our orchestra’s life for many years or you are only just beginning to trademark combination of brand new works and learn about this wonderful organization, we hope our time-honored classics, which carries through to concerts and programs will make you think and feel almost every program featured this year. If this is deeply, and inspire you to introduce others to your first time at the Albany Symphony, welcome! the beauty of this art form. If you have your own We hope you will enjoy our orchestra’s distinctive suggestions as to how the Albany Symphony can sound and come back many times to experience add more value to our community, please feel free our wide range of repertoire, programming, and to contact us! special events. Sincerely, Many of you may think of the Albany Symphony as a performing group that offers classical concerts at our region’s finest venues. While all of this is true, we provide many other programs and services that extend far beyond the boundaries of the concert hall. For more than a decade, the orchestra Jerry Golub has offered in-school educational programs that for the Albany Symphony Board of Directors introduce elementary students in Albany, Troy, and

ALBANY SYMPHONY ORCHESTRA | VII 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.

VIII | 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 | IX X | ALBANY SYMPHONY ORCHESTRA The Albany Symphony Orchestra’s string sections use ALBANY SYMPHONY revolving seating. Players behind the stationary chairs changeseats 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 VIOLA PRINCIPAL PRINCIPAL LIFETIME CHAIR, ENDOWED IN Jake Chabot Eric J. Latini GOLDBERG PERPETUITY BY CHARITABLE TRUST THE 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 ^ VIOLA Nathaniel Fossner Jamecyn Morey ^ Carla Bellosa BASS TROMBONE Paula Oakes ^ Daniel Brye ENGLISH HORN Charles Morris Funda Cizmecioglu Ting-Ying Chang-Chien Nathaniel Fossner PRINCIPAL SECOND Anna Griffis TUBA VIOLIN Dana Huyge CLARINET Derek Fenstermacher Mitsuko Suzuki Hannah Levinson 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 CELLO -ELSA DEBEER PRINCIPAL MARISA AND ALLAN SPONSORED BY IN MEMORY OF EISEMANN AL DE SALVO & JUSTINE R.B. PERRY PERCUSSION Gabriela Rengel ^ SUSAN THOMPSON -DAVID A. PERRY Richard Albagli John Bosela Erica Pickhardt VACANT PRINCIPAL Brigitte Brodwin ASSISTANT Mark Foster Ouisa Fohrhaltz PRINCIPAL CELLO BASSOON Scott Stacey * Heather Frank-Olsen Petia Kassarova ^ Stephan Walt Emily Frederick Kevin Bellosa PRINCIPAL HARP Rowan Harvey Matthew Capobianco ENDOWED IN Lynette Wardle Margret E. Hickey Marie-Thérèse Dugré PERPETUITY BY THE PRINCIPAL Christine Kim Catherine Hackert ESTATE OF RICHARD Aleksandra Labinska Hikaru Tamaki SALISBURY PERSONNEL MANAGER Yinbin Qian William Hestand Susan Debronsky Kae Nakano BASS Muneyoshi Takahashi Bradley Aikman HORN LIBRARIAN Harriet Dearden Welther PRINCIPAL BASS William J. Hughes Elizabeth Silver Philip R. Helm PRINCIPAL ASSISTANT Joseph Demko UNION STEWARD PRINCIPAL BASS Alan Parshley Nathaniel Fossner Michael Fittipaldi ^ Victor Sungarian Luke Baker SYMBOL KEY James Caiello ^ STATIONARY CHAIR Jeffrey Herchenroder + ON LEAVE * SUBSTITUTE FOR 2018-2019 SEASON

OPENING NIGHT CONCERT & GALA RIDE OF THE VALKYRIES! DAVID ALAN MILLER, CONDUCTOR STEFAN JACKIW, VIOLIN SANDBOX PERCUSSION JONATHAN ALLEN VICTOR CACCESE IAN ROSENBAUM TERRY SWEENEY

Viet Cuong Re(new)al* (b. 1990) Sandbox Percussion

Johannes Brahms Violin Concerto, Op. 77 (1833 – 1897) Stefan Jackiw, violin I. Allegro non troppo II. Adagio III. Allegro giocoso, ma non troppo vivace

INTERMISSION

Giuseppe Verdi Overture to La Forza del Destino (1813 – 1901)

Georges Bizet Selections from Carmen (1838 – 1875) Les Toreadors Prelude Habanera Chanson du Toreador Danse Boheme

Richard Wagner Ride of the Valkyries (1813 – 1883) *World Premiere, Orchestral Version 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. OCTOBER 13 7:00PM PROGRAM NOTES

Viet Cuong

alled “alluring” and “wildly inventive” by The New York Times, the “ingenious” and C“knockout” (Times Union) music of Viet Cuong (b. 1990) has been performed on six continents by musicians and ensembles such as S-o Percussion, Alarm Will Sound, Sandbox Percussion, the PRISM Quartet, JACK Quartet, Gregory Oakes, Albany at the Mizzou International Composers Festival, Eighth Symphony, Jacksonville Symphony, Kaleidoscope Blackbird Creative Lab, Cabrillo Festival’s Young Chamber Orchestra, and Cabrillo Festival Orchestra, Composer Workshop, Copland House’s CULTIVATE among others. Viet’s music has been featured in emerging composers workshop, and was also a venues such as Carnegie Hall, Lincoln Center, the scholarship student at the Aspen, Bowdoin, and Kennedy Center, Cabrillo Festival of Contemporary Lake Champlain music festivals. Additionally, he Music, Aspen Music Festival, New Music Gathering, has received artist residencies from Yaddo, Copland Boston GuitarFest, International Double Reed House, Ucross Foundation, and Atlantic Center for the Society Conference, US Navy Band International Arts (under Melinda Wagner, 2012 and Christopher Saxophone Symposium, and on American Public Theofanidis, 2014). Radio’s Performance Today. He also enjoys composing for the wind ensemble medium, and his Viet is a recipient of the Barlow Endowment works for winds have amassed over one hundred Commission, Copland House Residency Award, performances by conservatory and university ensembles ASCAP Morton Gould Composers Award, Suzanne worldwide, including at Midwest, WASBE, and and Lee Ettelson Composers Award, Theodore Presser CBDNA conferences. Foundation Music Award, Kaleidoscope Chamber Orchestra Call for Scores, Cortona Prize, New York Viet holds the Curtis Institute of Music’s Daniel W. Youth Symphony First Music Commission, Boston Dietrich II Composition Fellowship as an Artist Diploma GuitarFest Composition Competition, Dolce Suono student of David Ludwig and Jennifer Higdon. Viet Ensemble Young Composers Competition, Walter received his MFA from Princeton University as a Beeler Memorial Prize, Atlantic Coast Conference Naumburg and Roger Sessions Fellow, and he is Band Directors Association Grant, National Band currently finishing his PhD there. At Princeton he Association Young Composer Mentor Project, the studied with Steve Mackey, Donnacha Dennehy, Dan Prix d’Été Composition Competition, and the Trio Trueman, Dmitri Tymoczko, Paul Lansky, and Louis La Milpa Composition Competition. In addition, he Andriessen. Viet holds Bachelor and Master of Music received honorable mentions in the 2013 Harvey degrees from the Peabody Conservatory of the Johns Gaul Composition Competition and the 2010 and Hopkins University, where he studied with Pulitzer 2012 ASCAP/CBDNA Frederick Fennell Prizes. Prize-winner Kevin Puts and Oscar Bettison. While Scholarships include the Evergreen House Foundation at Peabody, he received the Peabody Alumni Award scholarship at Peabody, a 2010 Susan and Ford (the Valedictorian honor) and the Gustav Klemm Award Schumann Merit Scholarship from the Aspen Music for excellence in composition. Viet has been a fellow Festival and School, and the 2011 Bachrach Memorial Gift from the Bowdoin International Music Festival.

XVIII | ALBANY SYMPHONY ORCHESTRA OCTOBER 13 7:00PM PROGRAM NOTES

Sandbox Percussion there they coached students on some of the most pivotal works in the percussion repertoire including auded by The Washington Post as “revitalizing Steve Reich’s Drumming, György Ligeti’s Síppal, the world of contemporary music” with “jaw- dobbal, nádihegedüvel, and John Cage’s Third Ldropping virtuosity,” Sandbox Percussion has Construction. These teaching experiences have established themselves as a leading proponent in inspired the quartet to pursue a role of pedagogy this generation of contemporary percussion chamber and mentorship for today’s young generation of music. Brought together by their love of chamber musicians. This season Sandbox Percussion will music and the simple joy of playing together, Sandbox present the third annual NYU Sandbox Percussion Percussion captivates audiences with performances Seminar. This week long seminar invites percussion that are both visually and aurally stunning. Through students from across the globe to rehearse and compelling collaborations with composers and perform some of today’s leading percussion chamber performers, Jonathan Allen, Victor Caccese, Ian music repertoire. A culminating performance is held Rosenbaum and Terry Sweeney seek to engage a at the iconic Brooklyn venue, National Sawdust. wider audience for classical music. Most recently has marked the quartet’s growing Last season Sandbox Percussion presented 35 interest in composition. Last season Jonathan Allen’s performances throughout the United States. During a Sonata and Victor Caccese’s A Part, Apart were tour through California they gave the world premiere featured on ten separate programs throughout the of Thomas Kotcheff’s percussion quartet not only U.S. Sandbox also worked closely with composer that one but that one & that too, and were presented David Crowell on a marimba arrangement of his on the Festival of New American Music in Sacramento, saxophone sextet, Point Reyes. They gave the world CA. In collaboration with Ensemble HOWL they gave premiere in November 2014 in Brooklyn, NY. the world premiere of Amy Beth Kirsten’s Quixote at Montclair State University’s Peak Performances This season Sandbox will collaborate with The Industry, concert series. During the Albany Symphony’s an opera company in Los Angeles, for the world American Music Festival at the Experimental Media premiere of Galileo, a 90-minute theatre piece by and Performing Arts Center (EMPAC) in Troy, NY, Andy Akiho. Other highlights will include a performance Sandbox gave the world premiere of a concerto by of Jerome Begin’s Wilderness in collaboration with Viet Cuong entitled Re(new)al. During the festival they the Brian Brooks Moving Company at Choregus also gave a recital which featured works by American Productions in Tulsa, OK; the first ever percussion composers Steve Reich, Christopher Cerrone, and quartet concert at the Cosmos Club in Washington, David Crowell. DC; a performance of Gyorgy Ligeti’s Síppal, dobbal, nádihegedüvel with mezzo-soprano Elspeth In addition to keeping a busy concert schedule, Davis at the Percussion Arts Society International Sandbox has also participated in various Convention in Indianapolis, IN; and a second west masterclasses and coachings at schools such as coast tour including 11 performances from Seattle the Peabody Conservatory, Curtis Institute, the to Los Angeles. Sandbox Percussion endorses Pearl/ University of Southern California, Kansas University, Adams musical instruments, Vic Firth drumsticks Cornell University, and Furman University. While and Remo drumheads.

ALBANY SYMPHONY ORCHESTRA | XIX The piece is constructed of three continuous movements, each inspired by the transcendent OCTOBER power of hydro, wind, and solar energies. The hydro movement transforms tuned crystal glasses into ringing handbells, the second movement turns each 13 member of the quartet into a blade of a dizzying 7:00PM wind turbine, and the closing movement evokes the brilliance of sunlight with metallic percussion PROGRAM NOTES instruments. Heartfelt thanks to David Alan Miller, the Albany Symphony, and Sandbox Percussion for their dedication to this music, and GE for their generous support. Re(new)al World Premiere, Orchestral Version Program note by Viet Cuong Commissioned by the Albany Symphony’s Dogs of Desire ensemble and GE Renewable Energy Dedicated to Sandbox Percussion

have tremendous respect for renewable energy initiatives and the commitment to creating a new, Ibetter reality for us all. Re(new)al is a percussion quartet concerto that is similarly devoted to finding unexpected ways to breathe new life into traditional ideas, and the quartet therefore performs on several “invented” instruments, including crystal glasses and compressed air cans. And while the piece also features more traditional instruments, such as snare drum and vibraphone, I looked for ways to either alter their sounds or find new ways to play them. For instance, a single snare drum is played by all four members of the quartet, and certain notes of the vibraphone are prepared with aluminum foil to create buzzy, nearly electronic sound effects. The entire piece was conceived in this way, and it was a blast to discover all of these unique sounds with the members of Sandbox Percussion. Stefan Jackiw

In addition to the spirit of reinvention, ideas of iolinist Stefan Jackiw is recognized as one of his cooperation and synergy are at the core of the piece, generation’s most significant artists, captivating as I believe we all have to work together to move Vaudiences with playing that combines poetry forward. All of the music played by the solo quartet is and purity with an impeccable technique. Hailed comprised of single musical ideas that are distributed for playing of “uncommon musical substance” between the four players (for those interested, the that is “striking for its intelligence and sensitivity” fancy musical term for this is a hocket). Therefore, (Boston Globe), Jackiw has appeared as soloist the music would be completely dysfunctional without with the Boston, Chicago, Cleveland, New York, the presence and dedication of all four members. Philadelphia, and San Francisco symphony orchestras, Midway through the piece the quartet divvies up among others. lighting-fast drum set beats, but perhaps my favorite example of synergy is in the very opening, where the Following his performance with the Cleveland four members toast crystal glasses. We always toast Orchestra this Summer, Stefan Jackiw reunites with glasses in the presence of others, and oftentimes Juraj Valcuha for performances with the Detroit to celebrate new beginnings. This is my simple way Symphony and Luxembourg Philharmonic. He also of celebrating everyone who is working together to makes his debut with the National Symphony in create a cleaner, more efficient future. Washington, DC, performing Bruch’s Violin Concerto

XX | ALBANY SYMPHONY ORCHESTRA with Marek Janowski. In recital, he will appear on tour throughout the US, including Baltimore, Houston, Philadelphia, and the Boston Celebrity Series. His OCTOBER recitals include performances of all the Ives violin sonatas with acclaimed pianist Jeremy Denk, with whom he has also recorded the Sonatas for Nonesuch 13 Records. Abroad, Stefan appears on tour performing 7:00PM the Tchaikovsky Concerto with l’Orchestre National d’Île-de-France in Europe and Asia, including his PROGRAM NOTES debut at the Philharmonie de Paris; he also returns to the Bournemouth Symphony playing Korngold with Andrew Litton, and Amsterdam’s Concertgebouw, performing Tchaikovsky with Residentie Orkest. chamber music with Gidon Kremer and Kremerata Baltica. In Australia, Stefan toured with the Australian Last season, Stefan returned to the Netherlands Chamber Orchestra play-directing Mendelssohn. He radio Symphony, playing Mozart’s Concerto No. 5 also gave the world premiere of American composer with Ludovic Morlot at the Concertgebouw. He also David Fulmer’s Violin Concerto No 2, “Jubilant Arcs”, returned to the Cleveland Orchestra, Kansas City written for him and commissioned by the Heidelberg Symphony, and Oregon Symphony, and played with Festival with the Deutsche Kammerphilharmonie the Grand Rapids Symphony, New Jersey Symphony, under Matthias Pintscher. and Vancouver Symphony under Jun Markl. Highlights in Europe included his performances of Mendelssohn Jackiw is also an active recitalist and chamber with the Munich Chamber Orchestra; appearances musician. He has performed in numerous festivals and with the Philharmonia and RAI Turin Orchestra and concert series, including the Aspen Music Festival, Juraj Valcˇuha; and performances with the Helsinki Ravinia Festival, and Caramoor International Music Philharmonic and Bern Symphony, Orquesta Sinfonia Festival, the Celebrity Series of Boston, New York’s de Galicia, and on tour with the Royal Flemish Mostly Mozart Festival, the Metropolitan Museum of Philharmonic and Philippe Herreweghe. Recitals Art, the Washington Performing Arts Society and the included his performance of the complete Brahms Louvre Recital Series in Paris. As a chamber musician, violin sonatas at the Aspen Festival, which he has Jackiw has collaborated with such artists as Jeremy recorded for Sony. He also recorded the Beethoven Denk, Steven Isserlis, Yo-Yo Ma, and Gil Shaham, Triple with Inon Barnatan, Alisa Weilerstein, Alan and forms a trio with Jay Campbell and Conrad Tao. Gilbert and Academy St. Martin in the Fields. At the opening night of Carnegie Hall’s Zankel Hall in New York, Jackiw was the only young artist invited Highlights of recent seasons include a performance to perform, playing alongside such artists as Emanuel of Prokofiev’s Second Violin Concerto at Carnegie Ax, Renée Fleming, Evgeny Kissin, and James Levine. Hall with Mikhail Pletnev, and a multi-city tour with the Russian National Orchestra; performances with Born in 1985 to physicist parents of Korean and the St. Louis Symphony under Nicholas McGegan, German descent, Stefan Jackiw began playing the and with the Rotterdam Philharmonic under Yannick violin at the age of four. His teachers have included Nézet-Séguin, and performances with the Indianapolis Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. Symphony under Krzysztof Urbanski, and the Pittsburgh He holds a Bachelor of Arts from Harvard University, Symphony under Juraj Valcuha. In Asia, Stefan recently as well as an Artist Diploma from the New England appeared for the first time with the Tokyo Symphony Conservatory, and is the recipient of a prestigious at Suntory Hall under the direction of Krzysztof Avery Fisher Career Grant. He lives in New York City. Urbanski, and returned to the Seoul Philharmonic under Mario Venzago. He also toured Korea, playing

ALBANY SYMPHONY ORCHESTRA | XXI OCTOBER 13 7:00PM PROGRAM NOTES

Johannes Brahms

hen speaking of Johannes Brahms (1833- 1897), many music historians point to Whis curious place in 19th- century musical development. About his genius–in symphonic, concerto, chamber music, and vocal forms (though not opera)–there is little debate: he is one of the masters. But, these observers suggest, he is hard was, perhaps, the great virtuoso of his day, and to peg. Ever mindful of the Classical tradition from others, like Dvoˇrák and Schumann, wrote concertos which he sprang, Brahms worked in the accepted with him in mind. Brahms and Joachim had a life- structures of Mozart’s and Beethoven’s times. He did long friendship, marred at one point by Brahms’s not abandon forms or even explode them. siding with Joachim’s wife after she left him. To make amends Brahms composed his Concerto for Violin He was not, however, as Hugo Wolf dubbed him, a and Cello in 1887, and it was, indeed, Joachim who “mere copyist.” From the beginning of his career he premiered that work in the same year. was considered special. Indeed, when, in the early 1850s, he arrived at the home of Robert Schumann, This concerto opens with an orchestral outlining of that great composer was prompted to write in an 1853 a D-major chord. A second theme, somewhat agitated, magazine article, “…(T)here must… suddenly appear rumbles along until the violin enters passionately and one who should utter the highest ideal expression spins out roulades above the now-familiar D-major of his time, who should burst upon us fully equipped, chords in the orchestra. The violin also introduces as Minerva sprang from the brain of Jupiter…And yet another motive, a sweet tune that begins with he has come…His name is Johannes Brahms.” a G-sharp leading to A, the dominant of the key of D, in which the piece is written. These three melodies Throughout a nearly 50-year career, he did not get a workout in the development section. disappoint, so beautiful were his melodies, inventive his rhythms, and imaginative his harmonies. The recapitulation appears, during which the soloist gets a challenging cadenza (by Joachim), playing with the familiar themes in a kind of internal dialogue. Concerto for Violin and Orchestra Listen for this call-and-response approach, with remarkable double-stopping and playing in the highest t is interesting to note the relationship between register. And—following the customary trill—the coda a composer and the performer who often gives starts off with the D-major chord but soon goes off advice about the instrument in question. For I into realms as beautiful as anything Brahms ever example, Benjamin Britten wrote much of his vocal wrote. A big-bang D-major chord brings this music for the man who was both his personal and movement—half as long as the whole concerto, by professional partner, Peter Pears. And tonight’s the way—to a rousing close. piece certainly benefited from the knowledge of violinist Joseph Joachim (1831-1907). Interestingly, That oboe! Those horns! Those clarinets and those it was Joachim who introduced Schumann to bassoons! The virtuoso violinist Pablo de Sarasate Brahms, and it was Joachim for whom Brahms wrote said this about the adagio: “I will not deny that it is this concerto, who provided the cadenza in the first quite good music, but does anyone think that I am movement, and who premiered it in 1879. Joachim so devoid of taste that I will take my stand on the

XXII | ALBANY SYMPHONY ORCHESTRA OCTOBER 13 7:00PM PROGRAM NOTES

80, he produced an extraordinary number of operas that are famous and firmly lodged in the repertory: La Traviata, Rigoletto, Il Trovatore, and Aida, among them.

Verdi (1813-1901) was born in Le Roncole, a village near Busseto. His musical training was modest, indeed not enough to get him into the conservatory in Milan. But private lessons and the encouragement rostrum, violin in hand, in order to listen to the oboe of La Scala’s manager gave him a boost, and he playing the only melody in the adagio?” Well, that’s was on his way to a remarkable career, critically, not quite true, but the soloist does, at first, merely popularly, and financially. That career was capped by imitate what someone else has already said. The two monumental contributions to the vocal literature, glories of the movement, however, continue to works based on Shakespeare plays: Otello and Falstaff, reveal themselves: the dialogue between soloist and the latter composed when Verdi was 80. Music orchestra, the lightly spun lines of the violin that history does not offer a comparable circumstance play with the tunes, the pizzicato in the violins of a composer’s return to brilliance so late in life. and violas, the mini-solos in the oboe, horn, clarinet, and bassoon. Overture to La Forza del Destino The third movement is a barn-burner. Early in his career Brahms was the accompanist for a Hungarian he overture to an opera usually presents the violinist named Eduard Remenyi. This friendship, listener with melodies from the work to follow, coupled with Brahms’s connection to the Hungarian Tpresumably to set the mood of the piece and Joachim, made the German Brahms keenly interested to stimulate the musical appetite. From the opening in this music, and many of his later compositions, brass motive (Fate knocking at the door) and the like the four-hand Hungarian Dances, reveal this passionate orchestral writing, we know that this passion. So, too, does this third movement, which is going to be a serious and, probably, tragic story. is in rondo form, meaning that the opening tune Indeed, it is, one that the librettist, Francesco Maria comes back repeatedly between sections of new Piave, borrowed from a Spanish play. It involves melodies. The gypsy/folk color comes, in part, from forbidden love, a curse, disguises, devoted friendship, the syncopation, the double-stopping, and the bow vengeance, forgiveness, and the deaths of the attacks. Is there a cadenza here? No. The whole soprano and the baritone. movement is virtuosic enough. We also know that we’ll be able to whistle half a Program notes by Paul Lamar dozen tunes. One after another is begun and then abandoned, teasing us, promising more. Listen for the contrasts to the main melodies by the secondary Giuseppe Verdi voices, hinting at hidden motives. When will we hear these ravishing tunes again? Sung by whom? berto? Un giorno di regno? La battaglia di Legnano? Familiar? No, but they are three The opera had its premiere in St. Petersburg, on O operas by the great Giuseppe Verdi, Oberto November 10, 1862. being the first (1839). Until 1893, when he was Program notes by Paul Lamar

ALBANY SYMPHONY ORCHESTRA | XXIII OCTOBER 13 7:00PM PROGRAM NOTES

Georges Bizet

eorges Bizet (1838-1875) was beset by heart problems throughout his life. The bodily one Gultimately did him in before he was 36; the emotional ones revolved around money, a wife and a mother-in-law who were unstable, and inconsistent, critical reception of his music. Carmen A star at the Paris Conservatoire, Bizet capitalized early on his gifts by winning the Prix de Rome in et in Spain, this four-act opera is full of flirtatious 1857. He had already written two one-act operas young women, fawning young men, jealousy, as a student, so it was not surprising that his first Srevenge, lawbreakers, soldiers, and murder. A composition during his three-year stay in Italy was fully staged production features colorful costumes, a third opera, Don Procopio. For the rest of his life, seductive dancing, a rose, a few fans, and tunes he concentrated chiefly on music for the theater, that are earworms in the best sense. “Habanera”? including incidental music he wrote for a stage play, Check. “Flower Song”? Absolutely. “Toreador Song”? music that was subsequently fashioned into two Need you ask! Enjoy. popular suites we now know as L’Arlesienne. Program notes by Paul Lamar Alas, his efforts were not always satisfying to him or the public, perhaps because he wavered uncertainly Richard Wagner between opera comique and grand opera. While The Pearl Fishers (1863) is fairly popular now, it was hen you say Richard Wagner (1813-1883), once scorned. He started, but never finished, other you might immediately think of Bayreuth. opera projects. La jolie fille de Perth and Djamileh WBayreuth is the name of the Bavarian town enjoyed only mild praise. that became home to the Wagner Festival in 1876, which continues to this day. But the Festspielhaus It was only his last opera, Carmen, that gained him at Bayreuth was not finished until seven years a real toehold with critics and operagoers. Before he before the composer’s death, and he did not, in life, died, just shortly after the first performances of this live to hear most of his operas played there. staple of the repertory, he wrote, “They (the critics) make out that I am obscure, complicated, tedious, It was probably Wagner who made the most original more fettered by technical skill than lit by inspiration. contributions to the world of opera in the 19th century. Well, this time I have written a work that is all clarity How? For starters, he called his works “music and vivacity, full of color and melody.” Over 140 dramas” because of his insistence that all elements years later, we can say, “Amen.” of theater be present and working integrally with each other. No pretty set pieces, interrupted by applause; rather, a continuous flow of music, action, and ideas.

XXIV | ALBANY SYMPHONY ORCHESTRA OCTOBER 13 7:00PM PROGRAM NOTES

from one key to the next, he immeasurably extended the capacities of the art for emotional expression and tone painting.”

The Ride of the Valkyries

his thrilling music that opens Act III of Wagner’s Die Walkure is built on a B-minor chord. The He delved into the world of mythology for the stories Valkyries are sisters to Brunnhilde, and they and themes of these music dramas and wrote the T are tasked with ferrying the bodies of slain heroes libretti himself, an unusual undertaking. And, as to Valhalla. Yes, they do carry spears and shields, critic Edwin John Stringham noted, “Through the and the brass section of the orchestra is prominently use of new orchestral combinations, particularly in featured: in other words, it’s a heavy metal piece! the brass and woodwind, through new harmonic progressions and the use of a restlessly chromatic Program notes by Paul Lamar and contrapuntal idiom that modulated ceaselessly

ARMISTICE CENTENNIAL DAVID ALAN MILLER, CONDUCTOR ALBANY PRO MUSICA JOSÉ DANIEL FLORES-CARABALLO, ARTISTIC DIRECTOR THE CATHEDRAL OF ALL SAINTS BOYCHOIR WOODROW BYNUM, MUSIC DIRECTOR EMALIE SAVOY, SOPRANO TYLER NELSON, TENOR HUBERT ZAPIÓR, BARITONE

Benjamin Britten War Requiem (1913 – 1976) Albany Pro Musica The Cathedral of All Saints Boychoir Emalie Savoy, Soprano Tyler Nelson, Tenor Hubert Zapiór, Baritone I. Requiem Aeternam “Anthem for Doomed Youth” II. Dies Irae “But I was Looking at the Permanent Stars” “The Next War” “Sonnet On Seeing a Piece of our Heavy Artillery Brought into Action” “Futility” III. Offertorium “The Parable of the Old Man and the Young” IV. Sanctus “The End” V. Agnus Dei “At a Calvary near the Ancre” VI. Libera Me “Strange Meeting”

This concert will be performed without intermission.

This concert is generously sponsored by:

ALBANY SYMPHONY ORCHESTRA | XXXI NOVEMBER 10 7:30PM PROGRAM NOTES

Albany Pro Musica

lbany Pro Musica (APM) is the preeminent choral ensemble in New York’s vibrant Capital ARegion and is renowned for its distinctive artistic style and mastery of a wide range of musical genres. Critically acclaimed for its performances and recordings of intimate a cappella pieces and large- scale choral works alike, APM is led by Artistic and performance in the area, embracing challenging Executive Director Dr. José Daniel Flores-Caraballo musical programming, innovative national and and is Chorus-in-Residence at the historic Troy Savings international partnerships, and a renewed commitment Bank Music Hall. Maestro Flores-Caraballo has led to civic and educational initiatives. APM since 2014 and has elevated the ensemble through ambitious programming, prestigious national Dr. Flores-Caraballo also serves as Conductor-In- and international collaborations, a renewed commitment Residence at the University at Albany (SUNY) and to civic and educational engagement, and a bold Chorus Director for the Vermont Symphony Orchestra vision for the future. albanypromusica.org Chorus. He has prepared his choirs for prominent orchestral conductors, including Bramwell Tovey and Stéphane Dèneve, of The Philadelphia Orchestra, José Daniel Flores-Caraballo Andrews Sill of the New York City Ballet, David Alan Artistic Director, Albany Pro Musica Miller of the Albany Symphony Orchestra, and Anthony Princiotti of the Vermont Symphony Orchestra. osé Daniel Flores-Caraballo is a widely acclaimed conductor and musical director recognized for Dr. Flores-Caraballo came to the Capital Region from his artistry and integrity in stylistic performance J Vero Beach, Florida, where he was a musical force for of choral literature, his methodical and uncompromising more than a decade. There, he founded and directed approach to music learning, and his gifts as a patient three auditioned, community choral groups that and inspiring teacher. Dr. Flores-Caraballo brings that transformed the musical landscape in the Treasure unique combination—along with an ambitious and Coast: the Atlantic Symphonic Chorus, the Atlantic energizing vision—to Albany Pro Musica (APM) as Schola Cantorum, and the Atlantic Children’s Chorale. its Artistic and Executive Director, a role he has held A native of Puerto Rico, Dr. Flores-Caraballo served since 2014. as Dean of Academic Affairs at the Conservatory of Music in San Juan and has led prize-winning As a trained organist as well as a celebrated orchestral school- and church-based choral programs in Puerto and choral conductor, Dr. Flores-Caraballo places strong Rico and across the mainland United States. He emphasis on technical precision as the fundamental holds a Doctorate in Sacred Music with an emphasis seed from which musical artistry can grow. Dr. Flores- on Choral and Instrumental Conducting from the Caraballo joined Albany Pro Musica with the goal of Graduate Theological Foundation, a Master’s in building upon the group’s impressive and cherished Choral Conducting and Organ from the University legacy and elevating APM to be among the best of Illinois, and a Bachelor’s in Music Education and choirs in the nation. Through Dr. Flores-Caraballo’s Instrumental Conducting from the Conservatory of leadership, APM is pushing the boundaries of choral Music in San Juan.

XXXII | ALBANY SYMPHONY ORCHESTRA NOVEMBER 10 7:30PM PROGRAM NOTES

Albany Pro Musica Roster The Cathedral of All Saints Boychoir

SOPRANO ALTO Robert Gosselink stablished in 1872, The Cathedral Choir of Men Tonya Burandt Christine Armao Karen Hitchcock and Boys is the oldest continuously performing Hansen* Hana Askren Brendan Echoir of its kind in the country. As the principal Martha J. Bond Marie Bosman Hoffman choir of The Cathedral of All Saints, the Choir of Men Ann Bullock Alison Calvagno Tom Johnston and Boys sings choral services in the Cathedral during Shana Clark Abigail Cowan* Clifford S. Joyce Mary Katherine Morrison the academic term. The choir enjoys an international Cockerham Daly Benjamin reputation for musical excellence and acts as a Marie Cox ^ Sally Deinzer Pomerance vital link to the ancient choral traditions of England and Diane Deacon Meghan Larry Post Europe; all the while remaining distinctly American. Mary Dickson, Gallagher David Rudnick* In addition to its liturgical role, the choir is heard Compton Christine Gervasi John Spinelli regularly in concert and has performed with The Genevieve Diller Beth Gurzler David Wagner Albany Symphony, The Boston Symphony, and at The Patricia Dillon Katharine Harris Merle Winn Tanglewood Music Festival. In recent years, the Choir Valerie Donovan Christine Kielb has made two tours of England. Lisa Fesmire Barbara BASS Ann Filiault MacLean Bill Bott Meg Gallien Debbie Reep Dean Bennett The choir is made up of trebles (boys ages 7-14 with Anik Gibeau MacLeod David Billmeyer unchanged voices) who sing the soprano line, while Jill Harbeck Linda Mayou Corey Cerullo a dedicated group of professional men sing the alto, Rose Hunsberger Lisa Miller Stephen Davies tenor and bass parts. Boys rehearse twice weekly Lauren Susan Moyle Evan DeFilippo during the academic term, and the gentlemen join Jurczynski Lynch Siddharth Dubey them once each week for musical preparation. Choir Kate Kilmer Deborah Pavlus Joseph Farrell members come from all parts of the Capital region, Nina Kryzak Sharon Roy Tyler Harwell and represent a wide variety of backgrounds, faiths, Jean Leonard Meredith Russell Tom Johnson Mialisa Lindholm Grosshandler David Loy and cultures. The quality of their music making, Herron Dawn Snay Jack Magai coupled with their uncommon dedication to excellence Kathleen Emily Sturman David Metz has helped make The Cathedral Choir of Men and McCarty Valene Steve Murray Boys “Albany’s Boy Choir” for more than 145 years. Katie McNally Synakowski Noah Palmer Taylor Methe Christine B. David Roberts The choristers are trained according to the standards set Diane B. Szczepanek John Rodier forth by The Royal School of Church Music. As they Petersen Nancy Tellier Gary Salmon move through the training scheme, they earn ribbons Patricia Reilly Irina Tikhonenko Eugene Sit of various colors that represent their rank in the Marcie Reiter Margery Rex Smith Jane W. Rose Whiteman George Trimarco ensemble. The boys not only work hard, but they also Sandra Lisa Wloch William Tuthill play hard. Choir parents organize weekly dinners for Schujman Mary Zarnowski Russ Ward the full choir, and the boys enjoy regular non-musical Gloria Sleeter Daniel outings, giving them a chance to enjoy a lighter side of Teresa Maria TENOR Washington* the chorister experience. Solé Colum Amory Michael Amy Jane Joe Badore Whiteman If you know a boy who likes to sing, please tell him Steiner Jason Boemio Michael Wolff about the choir. The choirmaster, Woodrow Bynum, Zian Taylor Andrew Burger is always happy to meet with prospective choristers Lydia Walrath Dick Dana * SECTION John Favreau LEADER ALBANY SYMPHONY ORCHESTRA | XXXIII NOVEMBER 10 7:30PM PROGRAM NOTES

and their families. Auditions are held throughout the year by appointment, and no previous musical training is necessary or expected. For more information, call 518.465.1342.

Emalie Savoy, Soprano

raised for the “gleaming richness” of her voice by the New York Times, soprano Emalie Savoy Pis a compelling and dynamic vocal artist. The lyric beauty of her voice and the singular passion she brings to her performances have touched audiences worldwide. Ms. Savoy has performed to great acclaim in both operatic and concert repertoire, making her Metropolitan Opera debut in 2012 as Kristina in Leoš Janáˇcek’s The Makropulos Case, conducted by Jiˇrí Bˇelohálovek. In recognition of her outstanding artistic achievement and potential, she was a recipient of a 2013 Leonore Annenberg Fellowship, the 2012 Hildegard Behrens Foundation Young Artist Humanitarian Award, and she was awarded the 2011 Leonie Rysanek Grand Prize at the George London Foundation Competition. Woodrow Bynum Music Director, The Cathedral Choir of Men and Boys Recent engagements have included performances of the role of Sylviane in the Metropolitan Opera’s new aritone Woodrow Bynum, a native of Arkansas, production of Die lustige Witwe conducted by Sir trained at Interlochen, The University of Michigan, Andrew Davis, and broadcast worldwide as part of Band The Juilliard School, and served as a lay the Met’s Live in HD series in January 2015; Erste clerk at Saint Thomas Church Fifth Avenue and Dame in Mozart’s Die Zauberflöte at the Salzburger has appeared as soloist with the Handel and Haydn Landestheater with the Mozarteum. Orchestra Society, most recently as baritone soloist in Bach Salzburg, conducted by Mirga Gražinyte-Tyla; the role Magnificat in D Major, BWV 243. He serves as of Anna in the world premiere of Schubertstrasse 200 director of music at The Cathedral of All Saints in at the Salzburger Landestheater with the Mozarteum Albany, New York, where he conducts The Cathedral Orchestra Salzburg, conducted by Adrian Kelly; Choir of Men and Boys, the oldest continuously soprano soloist in Handel’s Messiah with the Oratorio performing choir of its kind in the United States. Society of New York at Carnegie Hall, conducted by Bynum studied singing with Lorna Haywood, Rita Kent Tritle; a performance of selections from Britten’s Shane, and Beverley Peck Johnson.

XXXIV | ALBANY SYMPHONY ORCHESTRA Russian language cycle, “The Poet’s Echo”, at Weill Recital Hall with pianist Natalia Katyukova; Céphise in Rameau’s Pygmalion with On Site Opera, conducted NOVEMBER by Jennifer Peterson; and Ms. Savoy was featured in recital by the BIG ARTS foundation on Sanibel Island, Florida, with pianist Nathan Brandwein. 10 7:30PM Notable appearances in recent seasons have also included the role of Socrate in Satie’s Socrate with PROGRAM NOTES the MET Chamber Ensemble in Zankel Hall, conducted by James Levine; performances with cellist Yo-Yo Ma, dancer Damian Woetzel, and the Silk Road Ensemble on New York City’s SummerStage and in Alice Tully Hall; appearances with The Oratorio Society of New York as soprano soloist in Mendelssohn’s Elijah, and Mendelssohn’s Paulus at Carnegie Hall; featured vocalist on the Marilyn Horne Foundation’s “The Song Continues” Annual Recital in Zankel Hall; Armide in Gluck’s Armide as part of a co-production between the Lindemann Young Artist Program and The Juilliard School, conducted by Jane Glover, and directed by Fabrizio Melano; soprano soloist in Beethoven’s Choral Fantasy with the Boston Symphony Orchestra, conducted by David Zinman, in a gala performance celebrating Tanglewood’s 75th anniversary in July 2012, televised on PBS “Great Performances” series; Queen Isabella in Manuel de Falla’s Atlántida with the New York Philharmonic, conducted by the late Rafael Frühbeck de Burgos; Ariadne in Strauss’ Ariadne auf Naxos, at the Tanglewood Music Center, conducted by Christoph von Dohnányi; and a performance of Samuel Barber’s Knoxille: Summer of 1915 with Tyler Nelson, Tenor the Juilliard Orchestra as part of Juilliard’s FOCUS Festival, conducted by Jeffrey Milarsky. Ms. Savoy’s yler Nelson is one of America’s most promising additional operatic highlights include performances young tenors. Already enjoying success in a wide as the Countess in Mozart’s Le nozze di Figaro; Tvariety of concert repertoire, recent engagements Giulietta in Offenbach’s Les Contes d’Hoffmann; have included debuts with New Orleans Opera as Don Madame Lidoine in Poulenc’s Dialogues des Ottavio in Don Giovanni, Dayton Opera as Belmonte in Carmélites; Susan B. Anthony in Virgil Thomson’s Die Entführung aus dem Serail, the Utah Symphony & The Mother of Us All; Doriclea in Cavalli’s La Doriclea; Opera as Le théière/Le petit vieillard in L’enfant et les Norah in William Shield’s The Poor Soldier; and sortileges, Opera Naples as Alfred in Die Fledermaus, Anne Sexton in Conrad Susa’s Transformations. Opera Omaha as Trin in La fanciulla del West, Wide Open Opera in Ireland as Almaviva in Il barbiere di A native of Albany, New York, Ms. Savoy completed Siviglia, and in Handel’s Messiah with Augustana The Metropolitan Opera’s Lindemann Young Artist College as well multiple performances with Le Festival Development Program and holds Bachelor and Lyrique International de Belle-Île en Mer as Nemorino Master of Music degrees in Vocal Performance from in L’elisir d’amore, Ferrando in Così fan tutte and as the The Juilliard School. In addition, she studied at the tenor soloist in Beethoven’s Mass in C and Mozart’s Gerard Mortier International Opera Studio at the Vesperae solennes de confessore and Requiem. Salzburg State Theater, the Chautauqua Institution, and the Internationale Meistersinger Akademie in His 2017-2018 season included Don Ottavio in Neumarkt, Germany with soprano Edith Wiens. Don Giovanni with Opera on the James, Almaviva in Il barbiere di Siviglia with Opera Tampa, Handel’s Messiah with the Mormon Tabernacle Choir, and Paul in Rocking Horse Winner and the Magician in

ALBANY SYMPHONY ORCHESTRA | XXXV Recent seasons have included debuts with Chicago Opera Theater in the role of Delfa for their production NOVEMBER of Giasone, and a return for their production of Médée. Of his performance in Giasone, Mark Thomas Ketterson of Opera News commented: Tyler Nelson 10 was hilarious as a travesti Delfa, managing the 7:30PM passaggio of his tenor with notable skill and looking for all the world like Mollie Sugden’s Mrs. Slocombe PROGRAM NOTES on Are You Being Served?” Venus Zarris of Chicago Stage Review stated: “Tyler Nelson commits comic operatic highway robbery by embodying all that is hysterical about drag, as Delfa the maidservant to The Consul, both with Opera Saratoga. Upcoming Medea, while simultaneously delivering some of the engagements include Alfredo in La Traviata with Opera production’s most superb singing.” on the James and Elijah with Salt Lake Choral Artists.

A frequent performer at the Castleton Festival, Mr. Nelson has performed Gonzalve in L’heure espagnole, and under the baton of Maestro Lorin Maazel: Male Chorus in Rape of Lucretia, Gherardo and Rinuccio in Gianni Schicchi, the Mayor in Albert Herring, Maese Pedro in El retablo del Maese Pedro, Father in 7 Deadly Sins, La Rainette in L’enfant et les sortilèges, Don Ottavio in Don Giovanni, and Almaviva in Il barbiere di Siviglia, which he performed at the Castleton Festival and with the National Center for the Performing Arts in Beijing, China.

Mr. Nelson has a wide range of operatic experience. During successive seasons with Ohio Light Opera, Arts blog CoolCleveland.com commented of his performance: “Tyler Nelson, as that erstwhile clergyman, could steal the show if he tried. As it was, he nearly brought down the house with I Aim to Please.” Opera News, reviewing a recording of Maytime, called his singing “mellifluous”. Additional highlights include Hubert Zapiór, Baritone performances of the Britten Serenade with the Utah Valley Symphony, Beethoven’s 9th Symphony with ubert Zapiór, baritone from Brzesko, Poland, is the Saginaw Bay Symphony, Mozart’s Requiem and an Artist Diploma in Opera Studies student at Bach’s St. John Passion with Salt Lake City Choral HThe Juilliard School in New York City, where Artists, and Orff’s Carmina Burana with the California he studies with Edith Wiens. He graduated from and Reno Symphonies. He has also appeared as a Fryderyk Chopin University of Music and Aleksander soloist on the stages of the Kennedy Center and at Zelwerowicz National Academy of Dramatic Art Carnegie Hall. in Warsaw, Poland. He was also a participant of The Opera Academy–Young Talents Development His international debut was in Mazatlan, Mexico, Program at The Teatr Wielki–Polish National Opera. performing the role of Shallow in Gordon Getty’s Plump Jack, under the direction of the composer. Mr. Zapiór is a recipient of various international Robert Commanday of San Francisco Classical Voice competition awards: First Prize Winner at The Giulio said of Mr. Nelson’s performance: “Tyler Nelson, a Gari Foundation International Vocal Competition, young tenor living in Florida, did a captivating number First Prize Winner at the Gerda Lissner Foundation on Justice Shallow. His diction was impeccable and International Voice Competition 2018, Winner of The his animation as the silly, ridiculous squire won for Career Bridges 2018, Second Prize and Special Prize him alone laughs that were independent of the lines. for the best young talent at the 3rd International Giulio His bright, keenly focused, vibrant tenor invites Perotti Vocal Competition in Ueckermuende, Germany Mozart. He has a big future.”

XXXVI | ALBANY SYMPHONY ORCHESTRA (2013), Second Prize at the 7th Halina Halska- Fijałkowska International Vocal Competition in Poland (2015), Third Prize and Royal Opera House Jette NOVEMBER Parker Young Artists Programme Special Award at the 8th Leyla Gencer Voice Competition in Turkey (2015), and Special Distinction and prize for the 10 youngest finalist at the Ada Sari International Vocal 7:30PM Artistry Competition in Nowy Sacz, Poland (2015). PROGRAM NOTES Since his operatic debut in the title role of J.J. Rousseau’s Der Dorfwahrsager at the Rheinsberger Schlosstheater in 2013, he has appeared in the Polish premieres of J.F. Handel’s Agrippina as Lesbo and S. Sciarrino’s Luci mie traditrici as Servo. He performed the title role in W.A. Mozart’s Don Giovanni, sang as Conte in Le nozze di Figaro and as Prosdocimo in Il Turco in Italia by G. Rossini at the Warsaw Chamber Opera. Last season Mr. Zapiór made his debut as Papageno in Barrie Kosky’s production of Die Zauberflöteat The Teatr Wielki–Polish National Opera in Warsaw, and as Herr Fluth in Otto Nicolai’s Die lustigen Weiber von Windsor and as Neptune in Rameu’s Hippolyte et Aricie at the Juilliard Opera in New York City.

In the season 2018/2019 Mr. Zapiór returns to The Juilliard School in New York City for his last year of the Artist Diploma in Opera Studies program and to The Teatr Wielki–Polish National Opera in Warsaw, Poland where he will sing role of Papageno in Mozart’s Die Zauberflöteand make his debut as Marullo in Verdi’s Rigoletto. the Russian Galina Vishnevskaya (soprano), chosen, of course, for their superb vocal qualities but also Benjamin Britten because these different nationalities represented the participants in World War I. Because of contemporary enjamin Britten (1913-1976) usually comes Cold War politics, however, Vishnevskaya was not to one’s musical consciousness through his permitted by the Soviets to take part, so when the Bpopular Young Person’s Guide to the Orchestra. premiere took place in May, 1962, the soprano But those who want to dig a little more deeply into soloist was Englishwoman Heather Harper. The his output might listen to the following pieces: A War Requiem is dedicated to four English friends of Ceremony of Carols; the rich and moody Serenade for Britten and Pears who died in World War II. Britten Tenor, Horn, and Strings; or one of his many operas, himself was a pacifist and was awarded that status like Death in Venice, Billy Budd, or Peter Grimes. during World War II.

War Requiem In Greek literature, there are two character types known as the alazon (boastful character) and the n 1958, Britten was approached to write a large- eiron (the undercutter), foils for each other. They may scale work celebrating the consecration of the new appear in tragedy or comedy. As I listened to this ICoventry Cathedral, which was to replace the 14th- piece again and studied the poetry, I came away century structure that had been bombed in World thinking that these two terms might apply to the War II. As Neil Powell notes in his biography of two texts. On the one hand is the sacred language Britten, he had three solo voices in mind: those of of a requiem mass in the Roman Catholic tradition, his partner, the English Peter Pears (tenor); the language that demands solemnity, contrition, gratitude, German Dietrich Fischer-Dieskau (baritone); and and hope. On the other hand is the savage poetry of Wilfred Owen (1892-1918), an acclaimed British

ALBANY SYMPHONY ORCHESTRA | XXXVII DIES IRAE

NOVEMBER “And the trumpet shall sound, and the dead shall be raised.” (I Corinthians) Devoutly to be wished. But these trumpets and horns and the staccato line in the 10 tenors and basses, followed by the sopranos and altos, 7:30PM are terrifying, for they announce the day of judgment. PROGRAM NOTES Of course, army life is full of trumpets, for reveille and taps, for example. In this portion of an Owen poem, soldiers prepare for the night before battle. Hear the twittering of birds; note the use of the poet who was killed one week before the November word “boys”; catch the metaphorical choice of the 11 Armistice. The tension created by the rather verb “mother.” Indeed, a day of wrath is coming for civilized celebration of the dead with Owen’s in-your- these homesick young men. face remarks about how soldiers die in the most uncivilized fashion runs through the entire work. In a The soprano then sings that the world will be judged, way, then, the mass is the alazon, while the poetry and while the text is referring specifically to Christian is the eiron. Owen “corrects” our assumptions about souls, one can’t help but think of the judgment death and our reverence for ceremony. by historians of our warring ways. The tenor and the baritone swagger through Owen’ sonnet (a REQUIEM AETERNAM combination of the English and Italian forms), a kind of hallucinatory take on the soldiers’ relationship The piece begins in the bowels of the orchestra, with a personified Death, whom they call “old chum” with a half-step climb from C# to D: disturbing, because they have come to know him so well. The sluggish. Listen for the bells, which sound a tritone: Recordare is for women’s chorus, asking for Jesus’s an augmented fourth or a diminished fifth, known as intervention on behalf of sinners. The line is mournful, the “diabolus in musica” (the devil in music). It’s a a keening, really. discordant sound, and it appears throughout the work to emphasize the upsetting nature of the events. It Suddenly, the men enter and create a vivid picture appears, too, right at the beginning of what the chorus of the fires of hell, the destination of the damned. sings, especially noticeable on “et lux perpetua,” This section is followed by the baritone’s apostrophe perhaps the first example of irony here: grant them to a cannon, asking the piece of artillery to do its perpetual peace, but, oh, that shocking interval! awful job before condemning it for doing so! Owen’s sense of irony is almost palpable. The light, high voices of the boys’ choir break in. How apt, for these are the boys who will grow into After a return to the music and text of the Dies Irae, the young soldiers. And, indeed, the tenor bursts out the soprano transforms the “irae” into “lacrimosa,” with a bitter English sonnet, one that dismisses the preparing the way for the moving Owen poem trappings of a typical requiem mass. The choirs for “Futility.” The poet puts us right in the midst of the fighting dead are “wailing shells,” he says. battlefield as a soldier looks at a fallen comrade Despite the confines of the sonnet structure, both and thinks about the process of death: “are sides Owen’s words and Britten’s music are agitated and full-nerved—still warm—too hard to stir?” Then explosive, as if to say, “War is hell.” amazement turns to bitterness: Was it for death in war that this young man grew up in the first place? The chorus returns with the Kyrie eleison, but Suddenly, the “kind old sun” that had produced already we feel the tension between the niceties of the life-giving heat is really the source of “fatuous a church funeral and the awful death a soldier suffers. sunbeams” because the entire enterprise of the It is difficult not to be cynical. human race is a silly one, a horrible joke. Once again whatever human beings ever thought they were doing by way of being noble creatures is called into question: alazon vs. eiron.

XXXVIII | ALBANY SYMPHONY ORCHESTRA OFFERTORIUM

The boys’ choir, with organ accompaniment, NOVEMBER sweetly asks that the souls of believers be delivered from eternal torment. The adult choir follows with clamorous, overlapping lines, suggesting that such a 10 convenant has been in place for centuries (“Abraham 7:30PM and his seed”). But Britten imaginatively uses Owen’s great poem about Abraham and Isaac to suggest that PROGRAM NOTES human beings have, by their proud and murderous ways, violated the pact (“but slew his son and half the seed of Europe one by one”). The heart-breaking conversation between father and son, replete with a LIBERA ME harp-accompanied angel, is essentially negated. The innocent voices of the boys’ choir (the Isaacs), trusting What a mournful line, pivoting on half-steps. Feel, their fathers to protect them and do the right thing, too, the march of a funeral procession. The chorus return. Alas: history is doomed to repeat itself. and the soprano sing of the terror the newly dead experience on the day of judgment (“die illa tremenda”). SANCTUS Owen’s extraordinary “Strange Meeting” is a Xylophone, bells, brass, and voices at the upper conversation between two soldiers on opposing reaches of their registers, fortissimo: “Heaven and sides, spoken over the barest accompaniment, as if earth are full of thy glory.” But Owen sees the skies time itself were standing still. How moving: “I am the full “lightning” and “loud clouds.” The baritone enemy you killed, my friend.” And its slant rhyme responds to the chorus’s celebration with the question, at the end of each couplet is spot-on, as if the men “Will He…fill the void veins of Life again with youth?” are close to speaking the same language. That is, will these fallen soldiers be revived, not resurrected in Heaven but, rather, brought back to this Finally, a sort of coda. All of the vocal forces ask earthly life which they so early lost? The concluding for eternal rest for the dead. The bells return, with three couplets answer in the negative. (Incidentally, the tritone. But the concluding “Amen” is resolved words from this poem are on Owen’s tombstone.) as it was back at the beginning of the piece: a hopeful sign. AGNUS DEI Program notes by Paul Lamar Built on a line that rises and falls, this tender section celebrates Jesus’s sacrifice on the cross—and compares it to the sacrifice of the soldiers near the Ancre, a stream that flows into the Somme River, site of the horrible 1916 battle. Both Jesus and these soldiers stand in sharp contrast to “the state.”

ALBANY SYMPHONY ORCHESTRA | XXXIX DECEMBER 15/16 7:30PM & 3:00PM TROY SAVINGS BANK MUSIC HALL VIENNESE CLASSICS DAVID ALAN MILLER, CONDUCTOR

Concerts in memory of Dr. Heinrich Medicus on his 100th birthday

Johann Strauss, Jr. Overture to Die Fledermaus (1825 – 1899) Wine, Women, and Song

Benjamin Wallace Chocolate Waltzes* (b. 1989)

Johann Strauss, Jr. Champagne Polka (1825 – 1899)

INTERMISSION

Anton Bruckner Symphony No. 6 (1824 – 1896) I. Maestoso II. Adagio: Sehr feierlich III. Scherzo: Ruhig bewegt (etwas gemessen) IV. Finale: Bewegt, doch nicht zu schnell

*World Premiere,

This concert is generously sponsored by:

XL | ALBANY SYMPHONY ORCHESTRA DECEMBER 15/16 7:30PM & 3:00PM PROGRAM NOTES

Overture to Die Fledermaus

he opera received its premiere in Vienna on April 5, 1874. While it was not a success, the Tpiece soon gained traction in Berlin, and since then, both the overture and the entire opera have been crowd pleasers.

Johann Strauss II The story? It concerns Gabriel von Eisenstein; his wife, Rosalinde; the vengeful Dr. Falke; a costume ball; have never had, as my opponents maintain, any mistaken identity; and romantic indiscretions. In short, desire to question my father’s superior ability. there’s enough dramatic irony, all in the service of a “IFather died, and I am alone among his sorrowing good laugh, to satisfy any audience. dear ones. I intend to make myself deserving of some of the favour my father so deservedly won…” The music? A tasty whipped confection. As is true of most overtures, the one to Die Fledermaus alerts the After reading even a brief biography of Johann audience to the melodies of the full score—and what Strauss II (1825-1899), one has to admire these kind melodies! These ravishing tunes, in the form of waltzes, remarks about his famous composer father, who died a polka, a czardas (Hungarian dance), romances, and at 45 in 1849. The old man was, his musical popularity a drinking song, come pouring out of the pit, all held notwithstanding, a bad lot. He tried to prevent his together by the quick, rising half-step figure that children from entering the music profession and begins the piece. Listen for its reappearance, a kind of abandoned his wife for another woman. He and his rondo arrangement. Listen, too, for the elegant rubatos eldest son were also at odds politically. and spot-on instrumentation—the melting oboe, for example. History has, of course, judged that the son had the nicer personality and the superior ability; for the next On a personal note: the overture also alerts the 50 years he turned out 479 dances and 16 operettas, performers backstage to be ready. Nearly five decades the most famous of which is Die Fledermaus. By dint ago, I stood in the wings of a theater in Cambridge, of his remarkable industry, which from time to time Massachusetts, listening for the modulation that challenged his health, and a gift for a good melody, he signals the imminent opening of the curtain and my made the waltz Vienna’s biggest export since sausage. appearance in the chorus—a little while later— at K.B. Sandved cites one critic who said, “(Strauss) has Count Orlovksy’s party. I can never hear that part of done more for humanity than 100,000 doctors,” the score without a feeling of nervous anticipation. a hyperbolic statement that is sure to resonate with those who believe in the healing powers of the arts.

ALBANY SYMPHONY ORCHESTRA | XLI DECEMBER 15/16 7:30PM & 3:00PM PROGRAM NOTES

Wine, Women, and Song and Champagne Polka

n January 2014, Maestro Miller and the Albany Symphony played a waltz and a polka by Johann IStrauss II. The following notes for those two pieces, slightly edited, might serve for tonight’s waltz and polka. Am I suggesting that both are slightly New Haven, San Francisco, Switzerland, Cardiff, formulaic? Sure. But the pleasure is always in the Beijing, and Shanghai. He is a founding member of imaginative details. and the percussionist for INVISIBLE ANATOMY, a Brooklyn-based new music ensemble. He is also Waltz: Try dancing to this piece: it ain’t easy. First of all a member and arranger for the video game funk it starts off in 2/4, and it sounds brassy, declamatory, band DiscoCactus. square. Oh, sure, there follow long stretches of predictable ¾ that might allow you to sail across In May of 2017, Ben received the premiere of his the floor, but in these six or so minutes of music are work “Chopin’s Superstar Throwdown” for 6 pianos, enough accelerandos and ritardandos to confound all performed by Lisa Moore’s Grand Band at St. but the most practiced terpsichorean. In other words, David’s Hall in Cardiff, Wales. The work was this waltz is really a concert piece. commissioned by John Metcalf for the 2017 Vale of Glamorgen Festival. Later that summer, The Albany Polka: Now this one you might dance to, if you have Symphony premiered his work “The Little Falls the stamina. It’s quick, as polkas are in general, Lock” for chamber orchestra and choir as a part of those 2/4 dances that promise unmitigated fun and, the Symphony’s Eerie Canal bicentennial festival perhaps, a potent potable at the end. In the case of titled “Water Music.” The work was a collaboration tonight’s polka, you can even hear the corks popping! between the Symphony and the Mohawk Valley Choral Arts Society. In November of 2017, Ben Program notes by Paul Lamar performed the collaborative show TRANSFIGURE with INVISIBLE ANATOMY on tour in Guangzhou, Benjamin Wallace Hangzhou, and Beijing, China. The show included his three-part work “The Quintessence” written for escribed as “Brilliant, humorous, and the ensemble. rhythmically complex,” (Tacoma Symphony DBlog) Ben Wallace is a composer, percussionist, Ben received his Bachelor of Music from the and keyboard player based in New York City. Ben’s College-Conservatory of Music at the University of music spans a wide range of styles from chamber Cincinnati in both Composition and Percussion and and orchestral, to disco and samba, and occasionally his Masters of Music from the Yale School of Music into the video game remix world. He has written in Composition. He is currently pursuing a Doctorate works for The Albany Symphony, The Shanghai of Musical Arts in Composition from the Yale School Symphony Orchestra, Grand Band, and The String of Music. Orchestra of New York City, and his works have been performed in New York, Tacoma, Utah, New Mexico,

XLII | ALBANY SYMPHONY ORCHESTRA DECEMBER 15/16 7:30PM & 3:00PM PROGRAM NOTES

Movement I: The Drama of Inner Conflict. Movement II: Adagio. The Song of Faith. Movement III: Scherzo: The Dance of Life. Movement IV: Finale: The soul’s decisive struggle and the triumph over all opposition.

Judge for yourself if Engel’s observations are a useful blueprint for comprehending tonight’s work. Anton Bruckner Symphony No. 6 ven a cursory glance at the life of Austrian composer Anton Bruckner (1824-1896) reveals s K.B. Sandved notes, “Bruckner’s music was a number of major influences on his life. E a decisive success in the 1880s, but there is still disagreement on its quality. His melodic The first was the organ. He earned money as an A richness, lively rhythms and ability to compose organist long before he became a symphonic effectively contrasting tunes are generally composer in his early 40s, and even after he turned acknowledged, but many find his form too loose, his attention to writing, he was admired for his his mode of expression too loquacious and his organ playing. In fact, music historian Edward ideas lacking in drama.” Kershaw notes that “some commentators…liken the sudden changes in texture found in his symphonies If Bruckner does nothing else, he destabilizes our to an organist changing manuals.” See if you agree expectations in this opening movement. From the as you listen to tonight’s symphony. dark, martial rumblings in 4/4 at the beginning (heavy in the brass) through a big, swinging waltz in A second influence was Richard Wagner (1813- the strings; from massed sounds to lovely solo licks 1883), with whose music Bruckner fell in love. in the flute and clarinet; from fortissimo passages Bruckner conducted Die Meistersinger; he also to—suddenly—soft stretches; from one key to the dedicated his Symphony No. 3 to the Bard of next—it’s almost as if the only thing we can count Bayreuth. The scope of a Bruckner symphony, like the on is counting on nothing. Contrasts, then. It’s scope of a Wagner opera, is enormous. For example, as if he is grabbing us by the collar and saying, tonight’s clocks in at about one hour. And finally, in “Pay attention!” The movement concludes with a his seventh and ninth symphonies, Bruckner used collision of the military and the playful. the famous Wagner tuba, an instrument designed especially for Wagner’s masterworks. The second (and longest) movement gets quickly down to business, preparing us for a ravishing Finally, to read about Bruckner’s life is to read melody, in stages. First, the low strings. Then an oboe about a man of deep faith. He was a devout Roman carves out a tune. Soon oboes take front and center, Catholic, having been trained as a child at the St. and in short order the entire orchestra puts forth Florian Monastery. And Bruckner biographer Gabriel this passionate melody. A meditative section follows, Engel suggests that the composer modeled all of his with a return—through key modulations—to the symphonic work on Beethoven’s Symphony No. 5, big tune. with the following pattern:

ALBANY SYMPHONY ORCHESTRA | XLIII In the fourth movement we are back, in a way, to the emotional journey of the first movement. DECEMBER (Remember Engel’s thoughts on Bruckner’s symphonic structure.) For example, after a quiet opening, the brass assault us. Then the orchestra 15/16 plays all out as if we have already arrived at the 7:30PM & 3:00PM conclusion of the symphony. But, no: Bruckner continues pushing and pulling, tightening and PROGRAM NOTES relaxing. The two recognizable motives here are a little dotted rhythm and a big legato tune in the violins. Finally, as Edward Downes notes, the main tune of the first movement returns in the trombones. The third movement, in ABA form, feels almost light, save for the preponderance of brass. But it is Program notes by Paul Lamar a decidedly skittery line in 3/4, basically playful. The B section in 4/4 is more homophonic than the polyphonic A sections. It’s a reflective respite from the exuberance of the waltz material.

XLIV | ALBANY SYMPHONY ORCHESTRA

XLVI | ALBANY SYMPHONY ORCHESTRA ALBANY SYMPHONY ORCHESTRA | XLVII XLVIII | ALBANY SYMPHONY ORCHESTRA ALBANY SYMPHONY ORCHESTRA | XLIX L | ALBANY SYMPHONY ORCHESTRA TheAlbany Symphony acknowledges the support of our corporate, citizen,and other concert sponsors whose contributions recognize theimportance of the Albany Symphony in building civic pride, ALBANY SYMPHONY educating our youth, and contributing to the cultural life of all people in the Capital Region. As of August 10, 2018. 2018-2019 SPONSORS

THE SWYER STEVE THE HERMAN CELINE & DANIEL COMPANIES EINHORN FAMILY KREDENTSER

SHERLEY & ROGER THE FAITH A. TAKES HANNAY FAMILY FOUNDATION

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, the Andrew W. Mellon Foundation, the May K. Houck Foundation, Vanguard-Albany Symphony, and the support of our donors, subscribers, and patrons. ALBANY SYMPHONY ORCHESTRA | LI LII | ALBANY SYMPHONY ORCHESTRA The Albany Symphony is grateful to the following individuals for their vital ongoing support. ALBANY SYMPHONY This list represents cumulative annual gifts received during the period between July 1, 2017 & August 10, 2018. CONDUCTOR’S CIRCLE

LEGACY BATON LEVEL Lois & David Swawite Dr. A. Andrew Casano Hugh & Vaughn Nevin ($200,000+) Mrs. Jeanne Tartaglia Claire Pospisil & Elizabeth Kauffman & Dr. Heinrich Medicus * Merle Winn Kirkham Cornwell Nicholas Normile Dr. & Mrs. Harry DePan Drs. Ellen Cole & PLATINUM BATON BRONZE BATON LEVEL Mary DeGroff & Douglas North LEVEL ($25,000+) ($2,500+) Robert Knizek Patricia & Kevin O’Bryan Dr. Benjamin Chi Mrs. Sally Mott Carter * Ruth Dinowitz Dr. & Mrs. Thomas Older The Estate of Elsa G. DeBeer* Dr. Joyce J. Diwan Deborah Onslow Ms. Adella Cooper Elana & Ephraim Glinert Mrs. Joy Emery Melissa & Marc Paquin Geraldine & Jerry Golub Alan Goldberg David Ernst Miriam & Jim Parmelee Marcia Nickerson Beth Cope & Mrs. Patricia Fallek Sally & Henry Peyrebrune John J. Nigro Joseph Gravini Meaghan Murphy & Maggie & John Picotte Carole Ju & David Rubin Anthony P. Hazapis Nicholas Faso Susan & William Picotte Faith A. Takes Darrell Wheeler & Dr. & Mrs. Reed Ference Henry & Joni Pohl Donovan Howard Lucia & Steven Fischer Dr. Richard Propp GOLD BATON LEVEL Ellen Jabbur Mrs. Lois V. Foster Nina Reich ($10,000+) Sally & Edward Jennings Charles L. Gerli Lee & Donna Rosen Charlotte & Anna Kuwabara & Mr. Paul J. Goldman Richard D. Ruby Charles Buchanan Craig Edwards The Family of Morton Gould Nancy & Harry Rutledge Marcia & Findlay Cockrell Charles M. Liddle III Holly Katz & William Harris Jacqueline & Paul Shapiro Drs. Marisa & Vivian & Steve Lobel Karen Hartgen-Fisher Cynthia & Herb Shultz Allan Eisemann Dr. Melody A. Bruce & The Higgins Family Rachel & Dwight Smith Sherley Hannay Dr. David A. Ray Dr. & Mrs. Richard Jacobs Lee Smith Kip & Douglas Hargrave Sara & John Regan Susan Jacobsen Janet & Paul Stoler The Herman Family Leslie Newman & Stacy & Spencer Jones Sara Lord & Robert Storch Celine & Daniel Kredentser Mark Rosen Margaret Joynt Nadine & Ronald Stram Mrs. Louise W. Marshall Dr. David A. Perry & Judy & Bill Kahn Marie D. Takes A.C. & John Riley Ms. Susan Martula Dr. & Mrs. Peter G. Kansas Bonnie Taylor & Clara & Larry Sanders Ruth & Don Killoran Daniel Wulff SILVER BATON LEVEL Rabbi Scott Shpeen Robert J. Krackeler Harry Taylor ($5,000+) Mrs. Harriet Thomas Sara Lee & Barry Larner Dale Thuillez Anonymous (2) Micheileen Treadwell Georgia & David Lawrence Mr. & Mrs. Anders & Gemma & Jason Allen Dr. & Mrs. Neil Lempert Mary Ellen Tomson Dr. Thomas Freeman & CONDUCTOR’S CIRCLE Karen & Alan Lobel Lila Touhey Ms. Phyllis Attanasio MEMBER LEVEL Sue & Tom Lyons Michele Vennard & Mr. & Mrs. Matthew ($1,000+) Barbara & Richard Gordon Lattey Bender IV Anonymous (2) MacDowell Candace Weir Susan & Bill Dake Mr. & Ms. John Abbuhl Jill Goodman & Mrs. Jane Wait Susan Thompson & Susan & Robert Allen Arthur Malkin Margery & Michael Al De Salvo Sharon Bedford & Fred Alm Judy Marotta Whiteman Malka & Eitan Evan Jane & Wallace Altes Dr. & Mrs. Bruce Maston Connie & Harry Wilbur Ms. Judith Grunberg Linda & Hermes Ames George E. Martin Barbara Wiley The Hershey Family Linda & Michael Barnas Mrs. Nancy McEwan Mr. Scott A Wilson Mr. & Mrs. E. Stewart Beth & Rob Beshaw Judith B. McIlduff Austin Woodward Jones Jr. Dr. & Mrs. Donald Bourque Beverly & Richard Messmer Mr. Daniel Wulff Lori & Mark Lasch Mr. Donald Lipkin & Hilary & Nicholas Miller Drs. Hannelore Wilfert Mrs. Mary Bowen Hedi K. Moore *asterisk represents & Karl Moschner Debbie & Peter Brown Ms. Sophie Moss deceased individuals Karen & Chet Opalka Bonnie & Paul Bruno Marcia & Robert Moss

ALBANY SYMPHONY ORCHESTRA | LIII ALBANY SYMPHONY The Albany Symphony is grateful to the following individuals for their vitalongoing support. This list represents cumulative annual gifts received INDIVIDUAL GIVING during the period between July 1, 2017 & August 10, 2018.

PATRON CIRCLE Betty & Larry Gross Sarah M. Pellman Elizabeth Arden ($250+) Dr. & Mrs. Pradeep Haldar Charles Pinckney Mark L. Aronowitz Kay & John Abbuhl Mr. John S. Harris Michiyo & Chris Powhida Jeffrey Asher Dr. Richard & Kelly Alfred Katharine B. Harris Marlene Pressman Rita & Bob Auriett Mr. & Mrs. S. H. Susan M. Haswell Mr. David W. Riedman Mr. & Mrs. Joseph Baggott George Allen Charitable Fund Tammy Jo & Mr. Frederick Baily Ms. Jennifer Amstutz Nancy Ross & Steven Sanders The Bangert-Drowns Family Francis Armenia Robert Henshaw Ms. Emilie Gould & Floyd Barber Mr. Lawrence Snyder & Ms. Lynn Holland Mr. Robert Scher Laurence Beaudoin Mrs. Lynn Ashley Karen Hunter Dr. John Schroeder Anita Behn Donald & Rhonda Ballou Janet & John Hutchison Margaret & John A. Seppi Christine Berbrick Diana Bangert-Drowns Mary & Howard Jack Cynthia Serbent Olga & Elmer Bertch Anne & Hank Bankhead Craig Jacksland Nina & Aaron Sher Christopher Betts Mr. & Mrs. James Barba Ms. Amber Jones Mrs. Monica Short Joseph P. Bevak Larry H. Becker Judith & Herbert Katz Stephen J. Sills MD Susan & Gus Birkhead Greta B. & Deborah Roth & Mrs. Elizabeth J. Silver Diane Bischoff Richard S. Berkson Alan Kaufman Mr. Arnold Slowe Peter Bogyo John Borel Timothy J. Keegan Mr. Robert J Sneeringer Alexandra Bolton-Schultes Diane & William Brina Barbara & Roger Kessel Mr. Eugene M. Sneeringer, Jr. Mrs. Patricia Boudreau Dr. & Mrs. Neil C. Brown Jr. Doris S. Kirk Kim Hart & Randy Snyder Judy & Doug Bowden Timothy Burch Samuel Kirschner Ms. Elizabeth Sonneborn Mary Bradley Marcia Goldfeder & Debra J. Lambek Drs. Susan Standfast & Mrs. Kathleen Bragle Jim Caiello Keith C. Lee Theodore Wright Mrs. Mary J. Brand Ann & Tony Cantore Mr. & Mrs. Rob & Amy J. Steiner Ann & David Brandon Mr. Michael D. Carroll Jean Leonard Alexandra Jane Ms. Julia Rosen & Drs. Wanda Casseaux & Dr. Martha L. Lepow Streznewski Charles Braverman Bruce Caster James Levine Marie & Harry Sturges Dorice Brickman Janet R. Conti Carolyn Levine Mr. & Mrs. William Swire Miss Caroline Evans Bridge Jane & John Corrou Paula Levine Dr. & Mrs. Maurice Mary M. & David C. Briggs Mr. Wilson Crone Jeffrey Levy Thornton Mr. Kevin Michael Bronner Jr. Dr. Paul J. & Susan G. Limeri Avis & Joseph Toochin Marianne Bross Dr. Faith B. Davis Mrs. Athena V. Lord Virginia E. Touhey L Bryce Edward De Cosmo Alexandra Lusak Cheryl Mugno & William Bub Caitlin A. Drellos C. Ursula W. MacAffer William Trompeter Mr. Simon J. Butler Mr. Robert S. Drew Elise Malecki Kevin B. Tully Stanley M. Byer Mr. Michael Edelman Charles & Barbara Manning John Vagianelis Victor L. Cahn Annmarie & Herb Ellis Mr. Cory Martin Candice & Patrick Van Roey Claudia & Iggy Calabria Linda & Ben English Louise & Larry Marwill Jody & John van Voris Ms. Alison V. Calvagno Barbara & Edward Evans Patricia & Joseph Matie Flowers & Ian Campbell Thomas Evans Mascarenhas Joseph Visalli Eva & Charles Carlson Werner Feibes Hon. Daniel McCoy Stephanie Wacholder Mr. & Mrs. Richard Carlson Ms. Judith Fetterley Frances T. McDonald James Fleming & Janice & Kenneth Carroll Ms. Jean M. Fogarty Alan D. Miller Lawrence Waite Sarah Carroll Elaine & Nathaniel Fossner Mary & Stephen Muller Mrs. June Wallace Donna & Paul Castellani The Community Foundation Mr. & Mrs. Wendy Jordan Wolfgang Wehmann Lois & Patrick Caulfield for the Capital Region's & Frank Murray Mr. & Mrs. Lawrence Wiest Michael Cawley Marvin & Sharon Stewart C. Myers Anthony Wildman Dr. & Mrs. Samuel S. Ciccio Freedman Advised Fund Jessie A. Myers Katherine W Wiley Suzanne & Lonnie Clar Ms. Mary McCarthy & Mr. Lee Newberg Anne & Art Young Mr. David Clark Mr. David Gardam Mr. Joseph Nicolla Ms. Rae Clark Allen S. Goodman Arlene Nock, M.D. APPLAUSE CIRCLE John Clarkson Dr. & Mrs. Robert J. Gordon Helen J. O'Connor ($75+) Scott Clugstone Shirley & Herbert Gordon Michele O'Neal Anonymous (6) Mr. Aaron R Coble Mary Elizabeth & Deborah Hrustich & Wilfred Ackerly Lillian Cohen Robert Gosende Paul Osterdahl Dr. & Mrs. Michael Adler Ann & William Collins Tom Gough Carol & Ed Osterhout Dr. Edith Agnes Allen Mr. & Mrs. Thomas P. William Tuthill & Ruth & Peter Pagerey Suzanne Anderson Connolly Gregory Anderson Patricia Patrick Elizabeth & John Antonio David Connolly

LIV | ALBANY SYMPHONY ORCHESTRA TThe Albany Symphony is grateful to the following individuals for their ALBANY SYMPHONY vitalongoing support. This list represents cumulative annual gifts received during the period between July 1, 2017 & August 10, 2018. INDIVIDUAL GIVING

Steven Cramer Philip Hansen Bessie Malamas & Jacqueline & Thomas Mr. Joseph Culella Mrs. Beverly A. Harrington Robert Limage Pillsworth Ms. Ellen-Deane Cummins David Harris Karen Lipson Rev. Roberta H. Place Barb & Gary Cunningham Helen Suderley Harris Mr. Michael Litty Ms. Cynthia A. Platt & David A. Danner Dr. & Mrs. Joseph J. Hart Jill Loew Mr. David T. Luntz Michele & Garrett Degraff Kathleen R. Hartley Pat & Mike Loudis Joanne & Richard Porter Philip Depietro Claudia & Leif Hartmark Mr. Rudy Stegemoeller Ellen Prakken & Sharon Desrochers Michele & David Hasso Mr. & Mrs. Robert E. Lynk John Smolinsky Dr. & Mrs. Anthony J. John Hawn Marguerite MacDonald Diana Praus DeTommasi Robert R. Henion III William Madigan Jennifer & John Quinn Michael Devall Mr. William Hetzer Beverly & Richard Mrs. Tina W. Raggio Mrs. Kathleen L. DeWeese Phyllis & Stephen Hillinger Magidson Margaret & Paul Randall Mr. Paul Dichian Karen Hitchcock Irene Marshall Laura Rappaport Heather Diddel Susan Hollander Mr. Charles Martin Lenore & Jack Reber Marianne Donovan Martin Hotvet Ms. Susan B. Martula Ms. Mary Redmond Terrell Doolan Lucinda Huggins Ms. Dawn Maynus Elaine & James Regilski Robert Dorkin Marilyn Hunter Mr. James McClymonds Mr. H. Juergen Reiche Lois & Jan Dorman Janet & John Hutchison Beth Rowl McLaughlin Kendall & Christopher Reilly Marilyn & Peter Douglas Patricia Ilnicki Ann & Nixon McMillan Margaret M. Rendert Mrs. Deslyn Dyer Mr. Harold Iselin Patrick McNamara Mr. Thomas E. Rice Dr. & Mrs. Frederick A. Mary James Peter Meixner Mr. & Mrs. George P. Eames Mr. Edward K. Jennings Marney & John Mesch Richardson Mr. & Mrs. Eberle Priscilla & Eric Johnson Anne Messer & Monica & Wayne Richter Joan & Carl Ekengren Brigitte & Philip Johnson Daniel Gordon Jill & Richard Rifkin Mrs. Dorothy Ellinwood Lee Helsby & Joseph Roche Barbara & David Metz Susan & Kenneth Mrs. Ann Eppelmann Phil Kahn Mr. & Mrs. Meuwissen Ritzenberg Donna Faddegon Ms. Marilyn Kaltenborn Raymond Michaels Kate Robertson Mr. Daniel D. Fariello Susan & James Kambrich Alan Miller Eric S. Roccario MD Lisa & Jason Fesmire Silva & Laurence Kaminsky Carol Bianco-Miller & Janice & Stephen Rocklin Lina Milagros Finlan Marcia & John Keefe Daniel Miller Brigid Rockwell Paul Fisk Christina & John J. Dorothy Whitney Joan Rogers Dr. Arthur Fontijn Miles Kelliher Michelle Miller-Adams Harlan D. Root Ms. Susan Forster Ms. Tracy Kennedy Pat Mion Mr. Richard A. Rosen Anne & Ricky Fortune Ms. Patricia A Kennedy Sean Moloney Rosemarie Rosen Efrosini & Julius Frankel Judy & Gordon Kilby Mr. & Mrs. John Moroney Karen & Michael Rosen Judith & Roy Fruiterman Melissa & Robert Kind Mrs. Sheila Mosher Jay Rosenblum Marjory Fuller Edith Kliman Reid Muller Marin Ridgeway & Mr. John J. Gable Adam Knaust Bill Murphy Don Ruberg Barbara & Eugene Garber Nancy & Stephan Knoll Elizabeth Muthersbaugh Christina Ryba Mr. Ronald C. Geuther Beatrice Kovasznay MD Judith Mysliborski Ann L. Rymski Ms. Barbara Gigliotti Margaret Kowalski Elizabeth & William Nathan Atef Saleh Alba & Tony Giordano Charles J. La Gattuta, Jr. Christy D'Ambrosio & Mrs. Pearl Sanders Mary Gitnick Mr. Philip W Labatte Raymond Newkirk Mr. Robert Sanders Dr. Virginia Giugliano Dr. Joann Lamphere Glenn Newkirk Mr. Joal Savage Karen & Charles Goddard Rebecca & Richard Langer Norman Nichols Lois & Barry Scherer Mrs. Elizabeth Goldstein Ann Lapinski & Fred Barker Mr. David Niles Alice Schrade Ms. Sonja Krause Goodwin Angela Sheehan & Ms. Lisa Nissenbaum Martha Schroeder Christine Govin Franklin Laufer Carol & Thaaeus Obloy Dorothy & Ralph Schultz Susanna Grannis Lori & Peter Lauricella Mr. Donald R. Odell Janie & Jim Schwab B. H. Green Ms. Amy Lauterbachpokorny Mrs. Kathy Ordway Howard A Segal Mr. & Mrs. Walter Jeannine Laverty Barbara & Brad Oswald Maureen & Dennis Selzner Greenberg Sally Lawrence Mr. William Panitch Mr. & Mrs. Bryan Shanley Diane & John Grego Dorothy Kim Lee Edward Parran Julie & William Shapiro Lois Griffin Eunju Lee Mr. Steven M. Parsons Patricia & Edward Shapiro Dr. David E Guinn Ms. Laura Leeds Stephen Pennell Judy Shapiro Wilma Gundersen Mr. Matthew Leinung Lee & Bob Pettie Mr. & Mrs. Robert & Henry J Hamelin Elizabeth & David Deborah & David Phaff Kathy Sheehan Thomas D. Hamill Liebschutz Angie L. Gardner Sherman

ALBANY SYMPHONY ORCHESTRA | LV ALBANY SYMPHONY The Albany Symphony is grateful to the following individuals for their vital ongoing support.This list represents cumulative annual gifts INDIVIDUAL GIVING received during the period between July 1, 2017 & August 10, 2018.

Glenna G. Shiflett Mrs. Sue St. Amour Patricia & Joseph Thatcher Jean & John Wilkinson Susan V. Shipherd Biria D. St. John Donald R. Thurston Paul Wing Mrs. Ethel R. Silverberg Mr. & Mrs. Stackelberg Mr. Michael Tobin Russell Wise Ann & Clara Silverstein Dr. Laura Staff Sara & Dave Torrey Meyer J. Wolin Stephen C. Simmons Family Mr. Kenneth L Stahl Alice Trost Mr. John Wood Donna Simms Lois & John Staugaitis Terry & Daniel Tyson Elizabeth & Frank Woods Marianne & Manfred Simon Sandra & Charles Stern Ms. Linda Ulrich Alice Woods Mr. & Mrs. David & Ann L. Stewart Ms. Linda Underwood Rain Worthington Gloria Sleeter Heather Stewart Janet Vine Mr. & Mrs. Peter & Roseanne Fogarty & William Stewart Mr. & Mrs. Jeffrey Walton Sheila Wrede Perry Smith Jeannette & Larry Storch Wendy B Wanninger Barbara Youngberg Kathy Snow Hon. & Mrs. Larry G Storch Dr. David A. Wasser Mr. & Mrs. G. William Zautner Rosalie & Roger Sokol Martha S Strohl Lois D. Webb Barbara & Michael Zavisky Deborah & Richard Sokoler Dennis Sullivan Maryann & Gerhard Weber Katherine & Michael Zdeb Joyce A. Soltis Carole & Richard Sweeton Dawn Stuart Weinraub Ms. Linda R. Zenner Mr. Euan Somerscales Rose-Marie Weber & Mrs. Renee Whitman Nurit Sonnenschein Peter Ten Eyck Winnie & Frederick Wilhelm

LVI | 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 March 15, 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 | LVII We invite you to create your own legacy and join the following members of The Encore Society: DR. HEINRICH MEDICUS The Encore Society MATTHEW BENDER IV THE FUTURE IS IN YOUR HANDS! CHARLES & CHARLOTTE BUCHANAN To keep orchestral music alive in our community, and to ensure that future generations experience the joy of ADELLA S. COOPER this art form, won’t you please consider the Albany AL DE SALVO & Symphony when planning your estate? In addition to SUSAN THOMPSON naming the Albany Symphony in your will, there are several ways you can do this: MARISA EISEMANN

CHARITABLE BEQUEST: Several types are possible STEVE LOBEL including Charitable Remainder Trusts, Pooled Income MARCIA NICKERSON Funds, Charitable Lead Trusts, Charitable Gift Annuities and Annual Exclusion Gifts. JOHN L. RILEY

RETIREMENT OR PENSION PLAN: You can name ASO LEWIS C. & GRETCHEN A. as a beneficiary of your pension plan or IRA. This can RUBENSTEIN help reduce estate and income taxes which might be RUTH ANN SANDSTEDT due on these investments. EDWARD & HARRIET THOMAS LIFE INSURANCE: You can name ASO as the beneficiary of a new or existing insurance policy. ALAN GOLDBERG EDWARD M. JENNINGS ADD A POD OR TOD DESIGNATION: Add a “pay on death” (POD) or “transfer on death” (TOD) designation to a bank PAUL WING or brokerage account, naming ASO to receive the assets. MICHEILEEN J. TREADWELL DAVID EMANATIAN

To discuss these or other planned giving options, please contact: Geoffrey Miller Director of Development (518) 465-4755 x151 [email protected]

LVIII | ALBANY SYMPHONY ORCHESTRA The Albany Symphony is deeply grateful to thefoundations, corporations, and government ALBANY SYMPHONY agencies whose ongoing support ensures the vitality of our orchestra.This list represents FOUNDATIONS, CORPORATIONS, cumulativeannual gifts received during the period between July 1, 2017 and August 10, 2018. AND GOVERNMENT AGENCIES

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

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 | LIX LX | 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 Geoffrey Miller, Director of Development 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

ALBANY SYMPHONY ORCHESTRA | LXI LXII | ALBANY SYMPHONY ORCHESTRA ALBANY SYMPHONY ORCHESTRA | LXIII ALBANY SYMPHONY MUSICIAN HOUSING PROGRAM

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

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.