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Table of Contents

02 Philadelphia Youth Orchestra 2012-2013 05 PYO 73rd Annual Festival Concert 07 Louis Scaglione: Music Director & Conductor 11 Michelle Johnson: Soprano 13 Chrystal E. Williams: Mezzo Soprano 15 Mendelssohn Club of Philadelphia 21 PYO Festival Concert Program Notes 29 Section Leaders of the Philadelphia Youth Orchestra 30 Philadelphia Youth Orchestra Graduating Seniors 31 History of the Philadelphia Youth Orchestra 34 Master Class & Advanced Orchestral Training Program 35 Helen T. Carp Distinguished Service Award 36 Season Repertoire 2012–2013 38 Philadelphia Young Artists Orchestra 2012-2013 40 PYAO 18th Annual Festival Concert 41 Geoffrey McDonald: Director & Conductor 42 PYAO Festival Concert Program Notes 50 Section Leaders of the Philadelphia Young Artists Orchestra 52 Bravo Brass 2012-2013 54 Bravo Brass 10th Annual Festival Concert 55 Paul Bryan: Director & Conductor 56 Barry McCommon & Robert Skoniczin: Associate Conductors 58 Bravo Brass Faculty 60 PRYSM 2012-2013 62 PRYSM Young Artists 2012-2013 63 PRYSM 6th Annual Festival Concert 65 Gloria dePasquale: Director & Conductor 66 Jessica Bowman: Assistant Director & Conductor, PRYSM Young Artists 67 PRYSM Faculty 70 Tune Up Philly 2012-2013 72 Tune Up Philly 3rd Annual Festival Concert 73 Delia Raab-Snyder: Director 73 Paul Smith: Assistant Director & Conductor 74 Tune Up Philly Faculty 76 In Appreciation 2012-2013 86 Season Performance Schedule 2012-2013 87 Auditions 2013-2014 88 Open Rehearsals 2 3

Philadelphia Youth Orchestra • 2012–2013

Louis Scaglione Lawrence Weizhong Feng Clarinet/Bass Clarinet Music Director & Conductor Dagny Moll Barone Sean Bailey* Brian Monroe Moser Rachel Elizabeth Bates Violin I Anita Tenjarla Gareth Thomas Haynes Austin Haley Berman, Viola David Kim Concertmaster Justine Zhang Mike Congzhou Sha Michael Stanley* Helenmarie Vassiliou Chason Elliot Goldfinger Bassoon/Contra Bassoon Weijia Wang Beatrice Jane Ferreira Rebecca Gayle Krown* Jason Frederic Herrmann Joseph Burke Zachary Spector Daniel J. Kim Natalie Easton Loughran French Horn Jessica C. Schmidt Andrea Jin Ryan Michael Dinon Andrea Sylvia Biscoveanu Francco L. Yugga Sara Michelle Dornblaser* Timothy James Holland Bria Nicole Blackshear Gregory G. Greene Jingning Zhang Puneeth Guruprasad Derek Jacob Maseloff Alexis D. Meschter Violoncello Rafael DeJarnatt Schneider Patrick Fei Cameron Christopher Clarke* Trumpet Sophie Mae Fortunato Andres Eduardo Sanchez Manuel O. Jimenez Clare Sooyeon Choi Anne Catherine Lin Nathan Peter Korsen Asher Edward Wulfman Elizabeth Y. Lee Lucas Ty Ranieri* Daniel Joseph Angstadt Edward Pyun Di Yue Allan W. Wang Ariel W. Sotirescu Da Young Rachel Lim Jake Solomon Aronchick Trombone Asher Samuele Goldfinger Margaret Loughran Jeremy S. Cohen* Samuel W. Wang Andrew Ge Jeffrey Dennis Costello May Wang Michael Yuanxin Gu James B. Tobias Daniel H. Jang Double Bass Tuba Violin II Brittany Alyse Conrad* Jeffrey David Stewart Benjamin Warren Biffis* Christopher William Perron Carolyn Marie Tillstrom* Alexandra M. Zhang Patrick Paul Nugent Percussion Joo Hyun Lee Andrew Schwartz Peter Charles Hillinck Sean Alexander Bennett Troy Rudy Thomas Anthony Kolakowski Grace Lee Christopher J. Cute Gregory Martin LaRosa Bartholomew Frederick Shields Flute/Piccolo David W. Lu* Ethan Zhao Jodie Barasatian Harp Alberta Douglas Colin MacLaine Fadzen* Ruth Sophie Boyajian Michelle Cheng Jessica Emily Herrmann Helen Gerhold* Nathan H. Lowman Nicholas R. Ioffreda Piano/Celeste H.A. Isaac Linton James William Rose Elizabeth Carmen Morgan Christine Yeji Kim* Dennis Woo Oboe/English Horn Andrew Z. Guo Jonathan S. Cohen* Jeffrey Chang Christopher Daniel Dinon * Section Leader Allison Chiang Julie Anne Kress Winds, brass, percussion rotate seating. Maria Terese Dell’Orefice Tanavi Prabhu Abraham Isaac Smith 4 5

Philadelphia Youth Orchestra 73rd Annual Festival Concert

Louis Scaglione • Conductor

Michelle Johnson • Soprano Chrystal E. Williams • Mezzo Soprano

Mendelssohn Club of Philadelphia Alan Harler • Artistic Director

The Kimmel Center for the Performing Arts • Verizon Hall Sunday, June 2, 2013 • 7:30 p.m.

PROGRAM

Symphony No. 2, Resurrection Gustav Mahler I. Allegro maestoso II. Andante moderato III. In ruhig fließender Bewegung IV. Urlicht. Sehr feierlich, aber schlict V. Im Tempo des Scherzos

Latecomers will not be seated until an appropriate time in the concert. The use of photographic and recording equipment is strictly prohibited. As a courtesy to the performers and fellow concert-goers, please silence all cell phones prior to the performance. 6 7

Louis Scaglione: President & Music Director

Maestro Scaglione has taken the Philadelphia Youth Orchestra on several international concert tours, including The World Youth Music Forum in Moscow, Russia in 1998; Czech Republic and Italy in 2000; and China in 2002. In 2004, the Philadelphia Youth Orchestra per- formed in eastern and central Europe. In 2007, Maestro Scaglione conducted the Philadelphia Youth Orchestra during its tour of Brazil, where they performed to sold-out venues in São Paulo and Rio de Janeiro. Maestro Scaglione has also arranged musical collaborations for the orches- tras with such accomplished soloists Maestro Louis Scaglione is the President as William dePasquale, former Co- and Music Director of the Philadelphia Concertmaster of The Philadelphia Youth Orchestra organization and has Orchestra; Gloria dePasquale, cellist, The extensive experience as a musician, educa- Philadelphia Orchestra; Michael Ludwig, tor, conductor and administrator. He over- former Associate Concertmaster of The sees all of the organization’s programs and Philadelphia Orchestra; Ellen dePasquale, is principal conductor of the Philadelphia former Associate Concertmaster, The Youth Orchestra. Cleveland Orchestra; pianists David Pasbrig and Kenneth Drake; vocal soloists Laura Maestro Scaglione and PYO Heimes, Serena Benedetti, Phyllis Lewis- Through his leadership, Maestro Scaglione Hale, Richard Zuch, Todd Thomas, Brian has grown and transformed a youth Chu, Sandra Carney, James Longacre, Steven orchestra that was created in 1939 Brenfleck, and Monica Ziglar; leading jazz from an all-volunteer organization to a artists Regina Carter, Diane Monroe and nationally recognized, professionally man- John Blake, Jr.; and internationally renowned aged institution. His tenure with the soloists Sarah Chang (violinist), Susan Starr PYO organization began in 1997 when (pianist), Eric Owens (vocalist) and Sylvia Joseph Primavera, who served as PYO’s Thereza (pianist). Music Director for 51 years, appointed Maestro Scaglione as Conductor of PYO’s Philadelphia Young Artists Orchestra. In 1999, Maestro Scaglione was appointed Associate Conductor of the PYO organiza- tion and became the organization’s first Executive Director in 2001. In 2003, his title was changed to President and after Maestro Primavera retired in 2005, Maestro Scaglione became the PYO organization’s Music Director, President and CEO. 8 9

Louis Scaglione: President & Music Director

Philanthropy Performing Arts Center; Trustee to the Philanthropy is paramount to Maestro Andalusia Foundation; Advisor to the Arts Scaglione. For the past 16 years, many Advisory Council of The Society for the performances from the Philadelphia Youth Performing Arts of the Media Theater; and Orchestra organization have helped raise on the Arts and Cultural Advisory Board, funds for charitable organizations such as Bensalem Township (Pa.). For many years, Reach Out and Read at The Children’s he has served as grant review panelist for Hospital of Philadelphia; MANNA the Pennsylvania Council on the Arts and (Metropolitan AIDS Neighborhood the Philadelphia Cultural Fund. Nutritional Alliance); the Voices for Children Additionally, Maestro Scaglione’s involve- Foundation; St. James School, Philadelphia; ment with the greater Philadelphia cultural and the Youth Work Foundation of The and social community includes services Union League of Philadelphia. as member of the Board of Director’s of Encore Series, Inc., The Philly Pops; Professional Affiliations, Appointments The Archbishop’s Cabinet, Archdioceses and Honors of Philadelphia; and Treasurer of Studio Because of his work with the PYO program, Incamminati. Most recent appointments also Maestro Scaglione was elected by his peers included Director of The Union League of in 2006 to serve as Chairman of the Youth Philadelphia; and Vice Chairman of Orchestra Division Board of the League The Youth Work Foundation of The Union of American Orchestras, and served on the League of Philadelphia. League’s Board of Directors concurrent with his chairmanship. Professional Studies Maestro Scaglione is Executive Vice Maestro Scaglione’s professional studies President & Chief Operating Officer of as a conductor have taken him to the Encore Series, Inc., the presenter of Oregon Bach Festival in Eugene, Oregon; The Philly Pops; a position he has held the Internationale Bachakademie and since July 2012. the Europäische Musikfest in Stuttgart, Germany; the Classical Music Seminar in Maestro Scaglione served as Artistic Eisenstadt, Austria; and master classes at the Director of the Choral Society of conservatory in Saint Petersburg, Russia. Montgomery County in residence at Montgomery County Community College Maestro Scaglione graduated with hon- from 2002 to 2012. From 2006 through ors from The University of Illinois with a 2010 he was Resident Music Director and Bachelor of Science in music education Conductor for the Luzerne Music Center and also holds a Master of Music degree (N.Y.). He is a former member of the fac- from Temple University. His scholarship and ulty of Temple University Music Preparatory academic excellence have been recognized Division. From 1995 to 2002, he served by the top honor societies in the country as Artistic Director of “Arts at Andalusia” including the Golden Key National Honor a free, outdoor, summer, concert series Society, Kappa Delta Pi Honor Society in held on the grounds of the Andalusia Education and Pi Kappa Lambda Honor Estate. He has served as Board member of Society in Music. the Pennsylvania Institute of Technology’s 10 11

Michelle Johnson: Soprano

During the 2012/13 season, Ms. Johnson will make her debut with Opera Santa Barbara as Aida. She will return to Houston’s Opera in the Heights to sing Alice Ford in Falstaff. In the spring and summer of 2012 she made her debut with Glimmerglass Music Festival as Aida and Leonora in Il Trovatore with Opera in the Heights. Noted with success in numerous vocal competitions, Ms. Johnson was a Grand Prize winner of the 2011 Metropolitan Opera National Council Auditions Winner; Top Prize and Grant Winner, William Matheus Sullivan Foundation; Second Soprano Michelle Johnson has been praised Place and Audience Favorite, Giargiari Bel for her “extraordinary breath control and Canto Competition, 2011; Grant, Licia flawless articulation. Her voice is velvety Albanese-Puccini Foundation International and pliant a dulcet dream.” A highlight of Vocal Competition, 2011; First Prize, Ms. Johnson’s 2011/12 season, was her Gerda Lissner Foundation International debut with Opera Company of Philadelphia Vocal Competition, 2011; Encouragement as the title role in Puccini’s Manon Lescaut. Award, George London Foundation The Philadelphia Inquirer acknowledged Vocal Competition, 2011; Second Place, “Johnson’s singing has magnetic imme- Giargiari Bel Canto Competition, 2009; diacy thanks to clean vocal lines and word Encouragement Award, Gerda Lissner coloring that made her singing speak in Foundation International Vocal Competition, beautifully formed musical sentences, similar 2009; Finalist, Houston Grand Opera to young Renata Tebaldi.” A graduate of Eleanor McCollum Competition, 2007; the prestigious Academy of Vocal Arts in Encouragement Award, Marilyn Horne Philadelphia, PA she was seen as the title Foundation, 2007; Jan de Gaetani Award, role of Suor Angelica, Leonora in Oberto, Orpheus National Vocal Competition, 2006. Donna Anna in Don Giovanni, the Countess in Capriccio, and Alice Ford in Falstaff. 12 13

Chrystal E. Williams: Mezzo Soprano

Hansel and Gretel (cover), with the Aspen Music Festival. Chrystal has performed the Secretary in The Consul, Lilianne La Fleur in Nine, Bradamante in Alcina, and the title role in La Cenerentola (scenes), all with Carnegie Mellon University. Upcoming engagements include Olga in Tchaikovsky’s Eugene Onegin and Dulcinée in Massenet’s Don Quichotte with The Academy of Vocal Arts. Chrystal was a soloist in Beethoven’s Ninth Symphony and Mozart’s Requiem with the New Jersey Master Chorale in April 2012. She has been featured as a soloist in J. S. Bach’s St. Matthew Passion Chrystal E. Williams is a third-year resi- with the American Classical Orchestra, dent artist at The Academy of Vocal Arts Beethoven’s Ninth Symphony with the New in Philadelphia, PA where she studies Haven Symphony Orchestra, Catfish Row voice with William Stone. She earned her (Selections from Porgy and Bess) and Jack Master’s Degree in Opera Performance Stamps’ Four Maryland Songs, both with from Yale University School of Music in the Yale University Concert Band. 2010, and her Bachelor’s of Fine Arts Chrystal’s competitions won include 2012 Degree in Voice Performance from New England Region Finalist Metropolitan Carnegie Mellon University in 2008. She Opera National Council Auditions; was a 2002-2004 STAR participant with Regional Winner, National Association of the Virginia Opera House where she sang Negro Musicians, Inc., 2011; Second Place, in the chorus and covered the role of Washington International Competition for Bersi in Andrea Chenier. Chrystal recently Voice through the Friday Morning Music performed Linda in Lost in the Stars Club, 2010; Second Place, Metropolitan with the Glimmerglass Festival, and has Opera National Council Auditions (New performed Giannetta in L’Elisir d’Amore, England), 2009; First Place, VA/NC Chapter Cuniza in Oberto, Nicklausse and La Muse of the National Society of Arts - Letters in Les Contes d’Hoffmann, Zerlina in Don Career Award in Voice Competition, 2008, Giovanni, Kartenaufschlägerin in Arabella, among others. La Maestra delle Novizie in Suor Angelica, Chrystal E. Williams was a 2012 young and Mistress Stone in The Scarlet Letter artist with The Glimmerglass Festival, all at The Academy of Vocal Arts. She has Cooperstown, NY, and has participated in also performed Death in Le Rossignol, such festivals as Oberlin in Italy, Arezzo, Italy, Cherubino in Le Nozze di Figaro, Anita in La the Opera Theatre and Music Festival of Navarraise, Dritte Dame in Die Zauberflöte, Lucca, Lucca, Italy, the University of Miami and Charlotte in Werther (scenes), all with Frost School of Music at Salzburg, Salzburg, Yale School of Music. Chrystal performed Austria, as well as the Aspen Music Festival Fidalma in Il Matrimonio Segreto, with and School, Aspen, Colorado. Oberlin in Italy, and performed Hansel in 14 15

Mendelssohn Club Chorus • 2012–2013

Soprano Alto Tom Mercer Ashley Elisabeth Alden Brenda B. Bary Daniel Ojserkis Joan Dwyer Aspan Jennifer Beattie Mark Pinzur Elizabeth Benjamin Julie Thompson Bender Bob Rodgers Barbara Berry Sonja Bontrager Eric Sampson Erin Brown Linda D. Carpenter Roy Schmidt Caitlin Butler Christine Chaapel Joseph Scholl Maura Caldwell Christine Cofield John E. Spitko, Jr. Rachel Castro-Diephouse Robin Eaton Daniel Sprague Rosetta Chapman Ellie Elkinton Christopher Stearns Katherine Chmelko Sara Ying Gao Jared Susco Lillie Claitt Karen H. Gildea Matthew Stranick Judy Ann Curtis Anne F. Gold Evan Towle Jean Dowdall Emily Guendelsberger Cory O’Niell Walker Angelica Feliciano Katherine Haas Bass Roberta Fischer Jennifer Hay David G. Alpern Jennifer Hayman Amber Nicole Johnson Chris Barron Kat Hinkel Bobbie Konover Stephen F. Barsky Anna Juliar Elissa Kranzler Justin Birdsong Emily Grace Kane Allison Levine Evan Birnholz Julianna Kelley Erin Elizabeth Levine John Curtis Lynn Kirby Susan M. Lin Tom Elkinton Carolyn Linarello Priscilla Lo Donald Gilchrist Rebecca Marx Margaret Oravetz Steven Glasser Ilene Miller Kristen Phillips Philip H. Jones Faith Moynihan Terri Radway Moshe Kam Amy C. Offner Kelly C. Seymour Jon Kochavi Sybille V. Pierre Jennifer Sheffield John Kohlhas Cheryl Platco Maria Sisto Changho Lee Jacqueline Powell Jean L. Sugars Martin Levitas Rebekah Reddi Jayne Swank Nicholas S. Marini Sophie Reid Rebecca C. Test Nicholas May Roberta L. Rote Gladys M. Thonus Brian Middleton Julia Richie Sammin Jane Uptegrove Michael Moore Margaret C. Satell Tenor Jeffrey Nemeth Lizzy Schwartz Geoffrey L. Arnold Sean O’Connor Johanna Schweitzer Alan Drew Baldridge Larry Passmore Linda A. Shashoua Stephen Bennett Bob Ranando Christina King Smith Frank Cassel Sameer Krishna Rao Linda W. Spitko Mark Davidson Cleveland Rea Erin E. Swanson Josh Dearing Ted K. Serota Nyssa Taylor Joshua Edwards Joel Sheffield Rebecca Thornburgh Ethan D. Fogel Daniel Simpson Becky Tkacs Nathan P. Gibney David Simpson Sallie Van Merkensteijn Brad Gragilla Thomas D. Sutton Christina Vuono Benjamin Harbold Luke Taylor Kathryn Wadsworth William J. Horan Ryan Tibbetts Lori Wolf Gabor Kari Richard Tolsma John Michael Lapetina Nathan Wainstein John P. Leonard Jonathan Wald John H. Luttenberger, III Andy Webber 16 17

Alan Harler: Artistic Director

including such major works as David Lang’s battle hymns (2009), Jennifer Higdon’s On the Death of the Righteous (2008), Andrea Clearfield’s The Golem Psalms (2006), James Primosch’s Fire-Memory/River-Memory (1998), Roberto Sierra’s Lux æterna (1996), Charles Fussell’s Specimen Days (1992) and Robert Moran’s Requiem: Chant du Cygne (1990). He conducted Mendelssohn Club in a critically acclaimed recording of the Moran Requiem for Argo/London Records in 1994. In 2012, Innova Records released a CD featuring the Higdon, Primosch, and Clearfield commissions for large chorus and orchestra. With the Temple University Concert Choir, he presented many Alan Harler became Mendelssohn Club’s Philadelphia premieres, including Moran’s twelfth Music Director in 1988 and was Hagoromo, Alfred Schnittke’s Requiem, and named Artistic Director in 2009. Maestro Arvo Pärt’s Passio Domini Nostri Jesu Christi Harler served for three decades as Laura Secundum Joannem. Maestro Harler has pre- H. Carnell Professor and Chairman of pared choruses for many of the country’s Choral Music at Temple University’s Esther leading conductors, including Riccardo Muti, Boyer College of Music. He has appeared Klaus Tennstedt, Charles Dutoit, Zubin at the Festival Casals in San Juan, Puerto Mehta, Rafael Frühbeck de Burgos, Lorin Rico and the Aspen Choral Institute, and Maazel, David Robertson, and Wolfgang has given master classes and conducted Sawallisch. performances in Taiwan, China and South Africa. He currently serves as a Conducting In 2004, Alan Harler received the Emanuel Mentor with the Conductors Guild, making Kardon Foundation Award for “contribut- himself available for consultation with young ing to the vitality and excellence of the conductors internationally. Philadelphia arts community.” In 2007, Harler received the Elaine Brown Award Alan Harler is a strong advocate for for Lifelong Service to Choral Music, new American music. He was founder given by the American Choral Director’s and director of the Contemporary Vocal Association. In 2009, he was honored with Ensemble of Indiana. During his tenure with Chorus America’s prestigious Michael Korn Mendelssohn Club, he has commissioned Founders Award for Development of the and premiered 55 new compositions Professional Choral Art, and the Musical Fund Society of Philadelphia’s Honorary Lifetime Membership for a Distinguished Contribution to the Musical Life of Philadelphia. 18 19

Mendelssohn Club of Philadelphia • 2012–2013

Under the dynamic leadership of Artistic Director Alan Harler, the 150-voice Mendelssohn Club is known for its profes- sional productions of choral/ orchestral programs, as well as performances in guest engagements with prominent area orches- tras. Harler’s programs combine new or rarely heard works with more traditional works in order to enhance the presenta- tion of each and to provide the audience with a familiar context for the new experi- ence. Dedicated to the ongoing vitality of the choral art, Mendelssohn Club and Alan Harler have made a significant com- mitment to the commissioning of new choral music, and have commissioned and Mendelssohn Club of Philadelphia, one of premiered fifty-five new works since 1990. America’s oldest musical ensembles, is per- This commitment has earned Mendelssohn forming in its 139th consecutive season. It Club an ASCAP/Chorus America Award for began in 1874 as an eight-voice male cho- Adventurous Programming. Mendelssohn rus founded by William Wallace Gilchrist, Club has also been honored with an award one of the most important musical figures from the Philadelphia Commission on in nineteenth century Philadelphia. The cho- Human Relations for bringing the com- rus rapidly expanded, and was able to pro- munity together in song through Harler’s vide more than three hundred singers for multicultural concert programming. the 1916 American premiere of Mahler’s Eighth Symphony with the Philadelphia Mendelssohn Club also explores interdisci- Orchestra under the direction of Leopold plinary concert presentations and, in May Stokowski. Since then, Mendelssohn Club 2005, presented the Philadelphia premiere has earned a prestigious reputation by of Richard Einhorn’s 1994 cantata Voices of giving the first performance outside the Light with the 1928 silent film masterpiece Soviet Union of Shostakovich’s Thirteenth by Carl Dreyer, The Passion of Joan of Arc. Symphony and the Philadelphia premieres The November 2006 co-production of of Brahms’ German Requiem, Prokofiev’s Carmina Burana with the Leah Stein Dance Ivan the Terrible, Scriabin’s First Symphony, Company was the first dance collabora- Bartók’s Cantata Profana, and the full tion in Mendelssohn Club’s recent history. orchestral version of Britten’s War Requiem, This collaboration continued with the 2008 among many others. Urban ECHO: Circle Told, featuring an impro- visational vocal score by Pauline Oliveros and choreography for the entire chorus by Stein, and battle hymns, with a score by David Lang and a choreography for the full chorus and nine professional dancers. 20 21

Philadelphia Youth Orchestra Program Notes

Symphony No. 2 in C minor, Resurrection About the Composer Gustav Mahler “Whoever listens to my music intelligently Born: Kalit, Bohemia, 7 July 1860 will see my life transparently revealed.” Died: Vienna, Austria, 18 May 1911 Gustav Mahler’s telling remark not only Mahler’s Resurrection Symphony is scored offers a clue to his own life but also for four flutes (all doubling on piccolo), four reveals that, for Mahler, the composer’s life oboes (two doubling on English horn), five and art were absolutely inseparable. clarinets (one doubling on bass clarinet and two doubling on E-flat clarinet), four bassoons Born in a village on the border of Bohemia (two doubling on contra bassoon), ten horns, and Moravia, Mahler grew up in a German- eight trumpets, four trombones, tuba, seven speaking Jewish home, the son of an timpani played by three players, cymbals, enterprising, self-educated father, who bass drum, triangle, snare drum, glockenspiel, acquired a successful brandy distillery, and chimes, bells, high tam-tam, low tam-tam, a well-to-do mother. By the age of ten, organ, two harps, divided strings, soprano solo, Mahler gained the notice of his town after mezzo soprano solo and divided chorus. performing a piano recital and by fifteen he Duration: 93 minutes entered the Conservatory in Vienna where he achieved honors. Later in life Mahler Parallel Events of 1895 claimed that his parents were ill-matched • Cuban War of Independence due to the ambitious nature of his father. against Spain begins Yet it was from Bernhard Mahler’s drive and pertinacity that the young Gustav • First Sino-Japanese War acquired his practical shrewdness and tire- • Guglielmo Marconi invents the radio less energy. • First public display of a movie As a child, Mahler seemed to dwell in a • Tchaikovsky’s ballet Swan Lake premieres dream world, isolating himself from fam- ily tensions, brutality (Mahler witnessed • Oscar Wilde’s final play The Importance the brutal rape of a young girl by soldiers of Being Earnest premieres when he was only 11), and from the • H.G. Wells’ The Time Machine all-too-familiar pain of bereavement. Of Mahler’s eleven siblings, five died in infancy; • Stephen Crane’s his youngest brother died at the age of 13; The Red Badge of Courage and one of his closest brothers committed • Paul Degas paints Jockeys suicide at the age of 25. From childhood, • Gillette invents safety razor Mahler was acutely aware of death and yet equally conscious of the beauty that • First American football game remained for the living. • Abolitionist Frederick Douglas dies A patient of Sigmund Freud’s in his later • Actor Buster Keaton, Choreographer years, as a composer Mahler used his Martha Graham, Baseball great Babe Ruth, personal experiences more than most Boxer Jack Dempsey, FBI Director J. Edgar artists would dare. In almost every work Hoover, Lyricists Oscar Hammerstein and Mahler composed there exists the conflict Composer Carl Orff are born between life and death, the search for 22

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Playing chamber music on Lake Dunmore in Vermont since 1963 23

Philadelphia Youth Orchestra Program Notes

eternal beauty amidst the suffering and After the death of the older of his two pains of everyday life. In Mahler’s mind, the daughters in 1907, Mahler learned of his world was a glorious place in which ecsta- own chronic heart condition, inherited sy and human suffering were closely linked. from his mother. Mahler died before his Despite Mahler’s academic successes as fifty-first birthday, ending a lifelong romance a student in Vienna, he realized that he with death. was unlikely to earn a living as a com- About Mahler’s Music poser. After failing to win a composition competition, Mahler turned to conducting As a composer, Mahler stood in the shad- and found immediate success. Living in a ow of his contemporary, friend, and artistic city strongly influenced by the operas of rival, Richard Strauss. While Strauss’ tone Richard Wagner, Mahler mostly conducted poems such as Also Sprach Zarathustra and opera, serving as music director of the operas such as Elektra and Salome were Vienna Opera and, for a brief time, New widely acclaimed in Europe, Mahler’s com- York’s Metropolitan Opera. He also con- positions remained controversial; however, ducted in Leipzig and Prague, and was as music critic Ernst Otto Notnagel said, the first music director of the New York “Strauss reigned at the time, but the future Philharmonic. Even as his career as a com- belonged to Mahler.” If Mahler the conduc- poser began to take shape, Mahler was tor was a celebrity, Mahler the composer best known internationally as a conductor. was a prophet, rejected in his own time, who anticipated the future of music. Georg By his late thirties Mahler abandoned his Göhler, a conductor and contemporary of Jewish faith and converted to Catholicism. Mahler’s, suggested that “Mahler was not a Some critics suggest that Mahler’s conver- man of his time, because he made no con- sion was in part a pragmatic response to cessions to taste or the fashions of the day. widespread anti-Semitism in the Viennese He offered nothing to his world, but would music world. In any case, Mahler was a offer that much more to the future.” deeply spiritual individual, although he did not deeply embrace any organized religion, For his part, Mahler believed in the sig- but like many artists, he was preoccupied nificance of his work and was frustrated to the point of obsession with the afterlife. that his time had not yet come. “Must we always die before the public allows us to Though Mahler required total freedom and live?” Mahler wrote. long periods of silence and solitude, he did eventually marry. Alma Schindler, a woman Today’s audiences identify with Mahler’s noted in Vienna for her beauty and intel- music because it offers answers to their lect, was 19 years Mahler’s junior. Alma was search for eternal beauty, for the mean- the object of Mahler’s affection until his ing of life, and for a better world. Mahler’s death nine years after they were married, works have a powerful appeal to a wide but their relationship was a tumultuous range of emotions, from the serene to one. Mahler insisted on Alma surrendering the passionate; they range in tone from her own career as a composer, while for the ironic to the sublime. Mahler wrote in her part, Alma eventually sought out other a letter to his conducting protégé Bruno lovers. After Mahler’s death, Alma remar- Walter: ried twice, but always prided herself as the widow of the famous composer until her death in 1964 at the age of 86. 24

Philadelphia Youth Orchestra Program Notes

There is no doubt that our music involves About the Resurrection Symphony everything human, including the intellect. The Second Symphony took some six years When we make music we do not paint or tell of writing and rewriting, and was actually stories. Music represents the whole human the first symphony that Mahler took on. being feeling, thinking, breathing, and suffering. Unlike most symphonies, the Symphony While Mahler tackled the ideal and the No. 2 is not an abstract, purely musical otherworldly in his works, he was also work; rather, its music serves a larger pur- concerned with the exploitation and pose: a spiritual, quasi-religious declaration destruction of the natural world around and perhaps the most explicit spiritual us. Especially in his early symphonies, “the message the composer ever made. A Jew sound of music always expresses nature,” who was strongly attracted to the tenants Mahler explained. of the Catholic Church (he was eventually Mahler vowed to live to complete his baptized Roman Catholic, but never felt tenth symphony, thereby avoiding the fate secure in his faith), Mahler was intensely of Beethoven, Schubert, and Dvoˇrák who concerned with religious questions, namely died after their ninth symphonies. As fate the issue of mortality. While images of would have it, Mahler died after complet- death open the work, the Second Symphony ing only the first movement of his Tenth becomes Mahler’s most optimistic view of Symphony. Mahler asked for no monument an afterlife as the Symphony is far more and his tomb bears nothing but his name. concerned with the destruction of death than death itself coupled with a struggle As difficult as it is to resist reading his life for discovering what lies beyond death, all in his artistic achievements, Mahler speaks of which ultimately culminates with a vision. best when questions of biography are suspended and we merely listen. Norman In many ways Mahler’s Second Symphony Lebrecht summarizes: is the conclusion or answer to the First Symphony. Since they were both, in a sense, A hero to some, to others a sick neurotic, of simultaneous genesis, it is worth cit- the man and his music are central to our ing Mahler’s comments that it is the hero understanding of the course of civilization of the First Symphony who is mourned and the nature of human relationships. in the Second, and that the real climax [His music] is a voyage of discovery that of the First Symphony comes only in the combines self-revelation, consolation, and Second. Overall the first movement of the renewal. Mahler’s remedy is there whenev- Resurrection Symphony celebrates a dead er we need it. Each symphony is a search hero. The second and third movements engine for inner truths. To know Mahler is represent retrospect, the former being ultimately to know ourselves. innocent and nostalgic, the latter being more ironic and containing elements of the grotesque. The fourth and fifth movements serve as the resolution, as they deal with the Last Judgment, redemption, and resur- rection. 25

Philadelphia Youth Orchestra Program Notes

Like Beethoven’s Ninth Symphony, Mahler’s The next two movements present quasi- Second Symphony suggests a choral finale flashbacks to a recently ended life. Mahler by employing poetic text, and Mahler artic- describes the second movement as a “ray ulates his vision of the struggle for eternal of sunlight and a nostalgic reflection of life as the ultimate triumph over death by earlier days of shared happiness with the using an ode by German poet Friedrich departed. “The second movement asserts Klopstock (1724-1803) titled Auferstehung memories of happiness and innocence (Resurrection). Klopstock’s words provide from the life recently deceased in a very the text for the Second Symphony’s cho- Haydn or Mozart type fashion. Intentionally ral finale and the dramatic focus of the nostalgic of the musical period from the entire work. Yet the great exultation of past (the Classical period 1750-1820), Klopstock’s poem occurs after no less Mahler uses the musical nostalgia to sug- than an hour of music that precedes it. gest the fortunate life of the composers of The unusually complex and richly textured the past who composed without having to Resurrection Symphony does not merely bare their souls in their works and free to conclude with Klopstock’s words, but write music with simplicity and grace. Mahler offers his own poetry to conclude The scherzo-like third movement is the entire work. While Mahler’s musical more of a cynical look at life. Adapted resurrection does not clearly embrace a from Mahler’s song cycle, Des Knaben Christian or a Jewish resurrection, Mahler Wunderhorn (The Youth’s Magic Horn), the does allude to St. Paul’s First Letter to the third movement is a musical setting of the Corinthians: “I will die, so that I might live” Parable of the Senselessness, where St. (Mahler’s poem); whereas St. Paul writes Anthony arrives to preach to his congrega- “what you sow does not come to life tion, but finding no one present, he offers unless it dies.” a futile sermon to the fish, which, like the The first of the five movements of Mahler’s pleasure-seekers of Mahler’s world, hear Resurrection Symphony is, by the composer’s but not heed calls to virtue. Moreover, the own description, a Todetenfeier (a funeral third movement is a humorous, lyrical, sol- rite). Mahler’s characterization, however, emn, and almost sinister look at life. Mahler hardly conveys the tremendous drama of suggests that life and the meaning of exis- the opening movement; it is much more of tence cannot be understood without the a desperate struggle with mortality. Mahler possibility of an afterlife. He describes it expresses all perceptions of death devel- as the image of a dance that is seen but oped by mankind, from judgment to the not heard suggesting the life is senseless journey towards any possible resurrection without the ability to love. The movement or eternal life. The spine-chilling, richly dark ends with an outcry by a martyred soul opening is wonderfully juxtaposed with from the cruel nightmare of a senseless a second, more comforting theme in a life, as a tam-tam (gong) concludes with a major tonality. The two contrasting themes sinister crash. develop with a sense of uncertainty as to which will triumph. It is not until the last few bars of the first movement does a final optimistic moment cruelly plummet to its initial opening of death as all-triumphant. 26

Philadelphia Youth Orchestra Program Notes

The final two movements of the Second brings “The Great Summoning,” the Last Symphony offer contrasting visions of res- Trump to a climax in the distance while urrection. The Urlicht song of the fourth in the foreground a solitary bird call flut- movement, performed by the mezzo ters across the scene of destruction until soprano soloist, expresses the faith of silence prevails. a child, simple and serene, singing “I am The chorus finally enters with Klopstock’s from God, and to God I will return.” It is poem and reveals mankind’s final reward one of Mahler’s loveliest songs and full of of forgiveness, love, and eternal life. The Mahlerian paradox, too, in that its hymn- “resurrection” theme swells in the orches- like simplicity is achieved by a metrical tra, leading to another vocal episode in flexibility so complex that the opening which the mezzo soprano and soprano thirty-five bars have twenty-one changes of soloists are featured. Slowly the hymn that meter. The peace that the chamber music- the chorus and soloists proclaim grows in like fourth movement spreads over the sheer power until it reaches an enormous entire work is shattered by an outburst of climatic affirmation: “You shall rise, again, the opening of the final movement whose yes rise again, My heart, in an instant! What ferocity refers to the final movement of you have fought for shall lead you to God!” Beethoven’s Ninth Symphony. Mahler draws on music heard earlier in the work not Ironically, despite all its musical threat at to reject it as Beethoven did in his Ninth times, there is no Biblical judgment in Symphony finale, but to build upon it. Mahler’s Resurrection Symphony. While the title “Resurrection” was a title not given by “The Day of Judgment has arrived, but the composer, Mahler’s Second Symphony what happens now is far from expected,” perhaps is best described as a work that Mahler describes. “Everything has ceased struggles for eternal life and rejects the to exist. The gentle sound of a chorus of notion of a final judgment. saints and heavenly hosts is then heard. Soft and simple, the words gently swell Why have you lived? up: Rise again, yea, thou will rise again.’ Why have you suffered? Then the glory of God comes into sight. There is no sinner, no righteous one, no A wondrous light strikes us to the heart. one great and no one small there is no All is quiet and blissful.” Using the centu- punishment and no reward! ries-old melody of the funeral rite Dies An almighty feeling of love fills us with irae (Day of doom), all those who have blissful and illuminates our existence. perished are called to life again. Mahler — Gustav Mahler refers to the off stage horns as the “Caller Mahler spent his entire life searching for in the Wilderness” who summon the dead God and believed he never found Him; yet, to rise and prepare us all for eternal life. through his music he gave us, if nothing In addition to the horns in the distance, else, a path that may lead us to find the other moments are saturated in angst comfort he sought, no matter how difficult through more trumpet calls, marches, and to journey. a chorale. The result is a great march of the dead, rich and poor, righteous and god- less, that becomes an awe-inspiring and at times terrifying parade. Mahler ultimately Program Notes are written by Allan R. Scott 27

Texts and Translations

Movement IV Movement V Urlicht Auferstehung Primordial Light Resurrection

CONTRALTO SOLO CHORUS and SOPRANO SOLO O Röschen rot! Auferstehn, ja auferstehn wirst du, O red rose! Rise again, yea, thou shalt rise again, Der Mensch liegt in größter Mein Staub, nach kurzer Ruh! Not! Man lies in direst need! my dust, after brief rest! Der Mensch liegt in größter Pein! Unsterblich Leben Man lies in deepest pain! He who called thee Je lieber möcht ich im Himmel sein! Wird, der dich rief, dir geben. I would rather be in heaven! will grant thee immortal life. Da kam ich auf einen breiten Weg; Wieder aufzublühn, wirst du gesät! I came upon a broad path: Thou art sown to bloom again! Da kam ein Engelein und wollt mich abweisen. Der Herr der Ernte geht an angel came and sought to turn me back. The Lord of the harvest goes Ach nein! Ich ließ mich nicht abweisen! Und sammelt Garben Ah no! I would not be sent away! and reaps us who died Ich bin von Gott und will wieder zu Gott! Uns ein, die starben! I am from God, and to God I will return! like sheaves! Der liebe Gott wird mir ein Lichtchen geben, — Friedrich Klopstock Dear God will give me a light, Wird leuchten mir bis in das ewig selig Leben! will light me to eternal, blessed life! — aus Des Knaben Wunderhorn — from The Youth’s Magic Horn 28

Texts and Translations

CONTRALTO SOLO SOPRANO and CONTRALTO SOLOS O glaube, mein Herz, o glaube: O Schmerz! Du Alldurchdringer! O believe, my heart, believe: O all-piercing pain, Es geht dir nichts verloren! Dir bin ich entrungen. all is not lost with thee! from thee have I been wrested! Dein ist, ja dein, was du gesehnt, O Tod! Du Allbezwinger! Thine, yea, thine is what thou have longed for, O all-conquering death, Dein, was du geliebt, was du gestritten! Nun bist du bezwungen! thine what thou hast loved, hast fought for! now thou art conquered! Mit Flügeln, die ich mir errungen, SOPRANO SOLO With wings that I have gained O glaube: Du wardst nicht umsonst geboren! In heißem Liebesstreben O believe: thou were not born in vain, shall I soar aloft Hast nicht umsonst gelebt, gelitten! Werd ich entschweben thou hast not lived and suffered in vain! in love’s ardent striving Zum Licht, zu dem kein Aug gedrungen! to the light to which no eye has pierced! CHORUS and CONTRALTO SOLO Was enstanden ist, das muß vergehen! What was created must perish, CHORUS Was vergangen, auferstehen! Mit Flügeln, die ich mir errungen, what has perished, rise again! With wings that I have gained Hör auf zu beben! Werde ich entschweben! Cease trembling! shall I soar aloft! Bereite dich zu leben! Sterben werd ich, um zu leben! Prepare thyself to live! I shall die, so as to live! Auferstehn, ja auferstehn wirst du, Rise again, yea, thou shalt rise again, Mein Herz, in einem Nu! my heart, in the twinkling of an eye! Was du geschlagen, What thou hast fought for Zu Gott wird es dich tragen! shall lead thee to God! — Gustav Mahler 29

Philadelphia Youth Orchestra Section Leaders

Back Row (left to right) Michael Stanley, viola Cameron Clarke, violoncello Christine Kim, piano Benjamin Biffis, violin II Brittany Conrad, double bass Rebecca Krown, bassoon Jonathan Cohen, oboe David Lu, percussion Colin Fadzen, flute Helen Gerhold, harp Sean Bailey, clarinet Jeremy Cohen, trombone Carolyn Tillstrom, tuba Front row (left to right) Sara Dornblaser, french horn Austin Berman, Concertmaster Lucas Ranieri, trumpet 30

Philadelphia Youth Orchestra Graduating Seniors

Maestro Scaglione and The Board Chason Goldfinger, viola of Trustees of the Philadelphia Youth Columbia University/The Juilliard School Orchestra congratulate our graduating Exchange Program seniors. Best of luck in your Michael Gu, violoncello future endeavors! University of Pennslvania Philadelphia Young Artists Orchestra Jessica Herrmann, flute Angela Chang, violoncello Harvard University University of California, Berkeley Peter Hillinck, percussion Joshua Collins, trumpet Davidson College Princeton University Andrea Jin, viola Elizabeth Hawkes, violin Cornell University The Johns Hopkins University Christine Kim, piano Lily Lin, violin Swarthmore College New York University Gregory LaRosa, percussion Bronwyn Livezey, violin The Juilliard School West Chester University Joo Hyun Lee, violin Amanda Marotto, flute Swarthmore College University of Alabama Derek Maseloff, horn Philadelphia Youth Orchestra Cornell University Jake Aronchick, violoncello Alexis Meschter, violin Boston College Peabody Institute of The Johns Hopkins University Benjamin Biffis, violin Oberlin College Christopher Perron, double bass Princeton University Sylvia Biscoveanu, violin Pennsylvania State University Andres Sanchez, violoncello The Curtis Institute of Music Cameron Clarke, violoncello Harvard University Jessica Schmidt, violin Eastern University Jonathan Cohen, oboe Swarthmore College Rafael DeJarnatt Schneider, horn Macalester College Brittany Conrad, double bass The Colburn School Ariel Sotirescu, violoncello Temple University Jeffrey Costello, trombone Boston University Jeffrey Stewart, tuba Ithaca College Sara Dornblaser, horn Temple University Weijia Wang, violin Case Western Reserve University Colin Fadzen, flute Harvard University Alexandra Zhang, violin Boston University Sophie Fortunato, violin Peabody Institute of The Johns Hopkins University * List complete as of May 01, 2013 31

Philadelphia Youth Orchestra Organization

Louis Scaglione Philadelphia Youth Orchestra President & Music Director The Philadelphia Youth Orchestra, the The Philadelphia Youth Orchestra is the organization’s flagship ensemble, is cred- Tri-State region’s premier youth orchestra ited as one of the best in the nation with organization for gifted, young, classical more than 100 highly skilled, young classi- musicians and one of the oldest and most cal musicians. Unmatched repertoire and highly regarded youth orchestra organiza- concerts in Verizon Hall at The Kimmel tions in the United States. For over 73 Center for the Performing Arts make years, the Philadelphia Youth Orchestra this ensemble incomparable. Fourteen organization has been providing profes- international concert tours since 1981 sional-caliber musical experiences to young have offered hundreds of talented young instrumentalists, thrilling discriminating musicians the opportunity to perform in audiences in the Greater Philadelphia many of the world’s great concert halls, region and across the globe. where their performances have often been The organization has five programs: judged comparable to those of profes- Philadelphia Youth Orchestra (PYO), sional orchestras. PYO was established Philadelphia Young Artists Orchestra in 1939 and is led by PYO organization (PYAO), Bravo Brass, Philadelphia Region President and Music Director, Maestro Youth String Music (PRYSM), and Tune Up Louis Scaglione. Philly, an after-school program modeled Philadelphia Young Artists Orchestra after Venezuela’s El Sistema. The Philadelphia Young Artists Orchestra Ranging in age from 6 to 21 years, the is PYO’s sister orchestra, offering sym- musicians of the Philadelphia Youth phonic experience and orchestral training Orchestra organization are selected by to younger classical music students, link- competitive audition and come from a ing repertoire and theory, and provid- seventy-plus-mile radius of Philadelphia ing the context to learning the standard encompassing nearly 20 counties within orchestral repertoire. For over a decade, Pennsylvania, New Jersey and Delaware. PYAO has raised money through perfor- Through advanced orchestra repertoire, mances to support organizations including students are challenged to perform at Reach Out and Read at The Children’s professional levels, to strive for advanced Hospital of Philadelphia and the Youth musicianship and to achieve superior tech- Work Foundation of The Union League of nical, musical, and personal application. Philadelphia. PYAO was established in 1996 Former PYO musicians currently hold under a grant from the Pew Charitable chairs in most of the top twenty profes- Trusts and is conducted by Maestro Geoff sional orchestras in the United States, McDonald. with 15 PYO alumni currently serving in The Philadelphia Orchestra. Recent alumni credit the PYO organization in helping them gain admittance to some of the best universities, colleges, and conservatories in the United States. 32

Philadelphia Youth Orchestra Organization

Bravo Brass Tune Up Philly Bravo Brass is a youth brass ensemble that Tune Up Philly’s mission is to nurture was created in 1997 to provide advanced children in economically disadvantaged musical education and performance oppor- and vulnerable neighborhoods by keeping tunities to talented high-school brass stu- them engaged in success through weekday dents in the Tri-State region. It is the only out-of-school hours music instruction. The ensemble of its kind in the area and one of PYO organization believes that music edu- few in the country. cation is a powerful vehicle for children to Bravo Brass offers repertoire that chal- master skills and acquire valuable tools for lenges advanced brass students to improve cooperative learning, teamwork, academic their individual and ensemble playing skills. success and to build self-esteem. The pro- The Bravo Brass teaching faculty, led by gram launched in 2010 at St. Francis de Maestro Paul Bryan, Associate Dean of the Sales School in southwest Philadelphia. The Curtis Institute of Music, provides valu- second year of the program commenced able musical training through side-by-side in October 2011 at the People for People rehearsals. Charter School in North Philadelphia, part of the School District of Philadelphia. Tune PRYSM Up Philly is directed by Delia Raab-Snyder PRYSM (Philadelphia Region Youth String with Paul Smith, Assistant Director, and Music) is a string music education program several professional teaching artists serving created in 2007 to offer a unique introduc- as faculty. tion and preparation for string students to PYO Organization Leadership acquire and build skills. PRYSM and PRYSM Young Artists provide string ensemble and The 2012/2013 Season is Maestro Louis sectional master class instruction for inter- Scaglione’s 16th anniversary with the mediate and beginning students. Graduates Philadelphia Youth Orchestra organization. of PRYSM have matriculated successfully He was appointed the PYO organization’s into other PYO organization ensembles. Music Director in 2005, joined the artistic The program is directed by Gloria staff in 1997 as Conductor of the PYAO dePasquale, current cellist for and member and was appointed Associate Conductor of the board of directors and executive of PYO in 1999. In addition to his work board of The Philadelphia Orchestra. as a member of the artistic staff, Maestro Scaglione was appointed President of the PYO organization in 2004, having served as the program’s Executive Director for three years. Extraordinary artistic leadership is a hall- mark of the Philadelphia Youth Orchestra organization. Adolph Sorian (1940–1941), J.W.F. Leman (1941–1952), William R. Smith (1952–1954), and Joseph Primavera (1954–2005) served as Music Directors, with Maestro Primavera having had the extraordinary distinction of being the longest-serving active conductor of any orchestra in the world. 33

The Board of Trustees of the Philadelphia Youth Orchestra congratulates Philadelphia Youth Orchestra, Philadelphia Young Artists Orchestra, Bravo Brass, PRYSM, PRYSM Young Artists and Tune Up Philly on their outstanding contributions to the PYO organization in 2012–2013.

We are honored and delighted to work in support of such talented students and dedicated faculty, and look forward to an equally riveting 2013-2014 season.

Thank you for all you do to enrich the cultural fabric and music education scene of our City ...Philadelphia loves YOU! 34

Master Class & Advanced Orchestra Training Program

The purpose of the Master Class and Artistic Advisor Advanced Orchestra Training Program is Gloria dePasquale to provide advanced training in orchestra playing techniques, instrumental tech- Violin niques and musicianship to all members Hirono Oka of the Philadelphia Youth Orchestra and William Polk Philadelphia Young Artists Orchestra. This Viola is accomplished through the engagement Renard Edwards of master teachers from The Philadelphia Kerri Ryan Orchestra, who collectively serve as the faculty, through the implementation of Violoncello a formalized schedule, and by setting the Gloria dePasquale highest levels of performance expectations. The aim is to provide excellent orchestral Bass training opportunities with internationally Joseph Conyers renowned faculty in order to elevate PYO’s Dominick Fiore status as an exceptional training and Mary Javian performing ensemble. Woodwinds Jonathan Blumenfeld Samuel Caviezel David Cramer Mark Gigliotti Loren Lind Peter Smith Mimi Stillman

Brass Blair Bollinge Jeffry Kirschen Shelley Showers Eric Schweingruber

Percussion Don Liuzzi Anthony Orlando William Wozniak 35

Helen T. Carp Distinguished Service Award

The Distinguished Service Award honors 1981-82 Joseph Lanza, violin PYO musicians who demonstrate excep- 1982-83 Stephen Rhindress, tuba tional effort, reliability, assistance to others, 1983-84 Elizabeth Kaderabek, violin positive attitude, and devotion to the ideals Richard Rhindress, percussion of the Philadelphia Youth Orchestra. The award is announced at the Annual Festival 1984-85 Edith Bradway, violin Concert. The DSA was renamed in 1999 Robert Rhindress, bass trombone to honor the memory of Helen T. Carp, 1985-86 David Schast, oboe who served as a volunteer and member of 1986-87 Sarah Kaderabek, violin the Board with intelligence, optimism, and Francesco Narducci, violin a generous and welcoming spirit for more 1987-88 Paul Hewitt, viola than 30 years. 1988-89 Karyn Park, percussion 1989-90 Robert Birman, percussion 1960-61 Robert E. Lee, horn 1990-91 Troy Peters, viola Robert Riccardi, double bass 1992-93 Robert Wilkowski, percussion 1961-62 Dorothy Lerner Richards, oboe 1993-94 Elizabeth A. Kell, flute 1962-63 Bernard Berman, violin Rachel Lubov Segal, violin James P. McIlvaine, IV, horn 1994-95 Gabriel J. Kovach, horn 1963-64 Richard Giangiulio, trumpet 1995-96 Mechelle Lee Chestnut, viola 1964-65 May Nicholas, violin Kim A. Kelter, oboe 1965-66 John Kunkel, viola 1996-97 Andrew Koehler, violin 1966-67 David Gillis, violin 1997-98 Steven A. VanName, violin 1967-68 Wayne P. Lauser, trumpet 1998-99 Sabrina Goldberg, horn Diane Bale, violin 1999-00 Nathanael F. Primrose-Heaney, cello 1968-69 Mary Laycock, cello 2000-01 Eleanor Miriam Kaye, viola 1969-70 Geraldine Fink, flute 2001-02 Sheridan Alexander Seyfried, violin 1970-71 Allison Herz, clarinet 2002-03 Larissa Mika Koehler, cello 1971-72 Anne Marie Gerlach, double bass 2003-04 Peter Schiller, trumpet 1972-73 Paul Dowling, timpani 2004-05 Eric J. Huber, percussion 1973-74 Jeff Zimmer, horn 2005-06 Ben Odhner, violin 1974-75 Thomas Jackson, violin 2006-07 Harrison Schley, double bass 1975-76 Alan Abel, timpani 2007-08 Patrick Bailey, percussion Sandra Packer, violin Stephanie Hollander, horn 1976-77 Joseph Morrow, double bass 2008-09 Charlotte Nicholas, violin Jeffery Schnitzer, timpani Ryan Jin Touhill, violin 1977-78 Joanne DiMaria, double bass 2009-10 Lucinda Olson, horn Leland Hauslein, clarinet James Warshaw, percussion 1978-79 Joan Hudson, violin 2010-11 Alexandra Cantalupo, violin Richard Vanstone, violin Sarah Segner, violin 1979-80 Steven Belczyk, bassoon 2011-12 Matthew Angelo, flute 1980-81 Jacqueline Grasso, horn Benjamin Wulfman, horn 36

Season Repertoire • 2012–2013

Philadelphia Youth Orchestra Beethoven Symphony No. 6 Bruckner Symphony No. 4 Copland Lincoln Portrait Dvoˇrák Carnival Glass Icarus at the Edge of Time Haydn Cello Concerto in C Major Ives Variations on America Mahler Symphony No. 2 Ravel Bolero Rimsky-Korsakov Capriccio espagnol Schuman New England Triptych Schumann Symphony No. 3

Philadelphia Young Artists Orchestra J.S. Bach Brandenburg Concerto No. 3 J.S. Bach Excerpts from Christmas Oratorio J.S. Bach “Herz und Mund und Tat und Leben” from Cantata 147 Balakirev Overture on Three Russian Folk Songs Dvoˇrák Symphony No. 8 Mendelssohn Symphony No. 1 Mendelssohn Verleih uns Frieden Mozart Symphony No. 40 Schubert Symphony No. 8 37

Season Repertoire • 2012–2013

Bravo Brass Anderson Suite of Carols Blane & Martin Have Yourself a Merry Little Christmas Byrd / Allen Selections from the Fitzwilliam Virginal Book Byrd / Cecil Retire My Soul Dowland / Kelly John Dowland Suite Franck / Szilágyi Intrada Frescobaldi / Allen Capriccio Sopra La Battaglia Gesualdo / Hickman Moro, lasso, al mio duolo Hammerschmidt / Bollinger Machet die Tore weit Handel “Hallelujah” from Messiah Holst Christmas Day Kelly Of Lights, Nights, and Brass Leontovich Carol of the Bells Palestrina / Szilágyi Madrigal Schutz / Hoffman Motette – Herr wen ich nur dich habe Tchaikovsky / Allen Suite from The Nutcracker Victoria / Hoffman Missa Pro Defunctis Victoria / Self O Vos Omes Whitacre Lux Aurumque

PRYSM & PRYSM Young Artists Arensky Variations on a Theme by Tchaikovsky, Op. 35a J.S. Bach / Latham Brandenburg Concerto No. 3 Beethoven / Meyer “Finale” from Symphony No. 5 Britten Simple Symphony for String Orchestra Corelli / Paradise Concerto Grosso No. 4 in D Major Dvoák / McCashin “Largo” from Symphony No. 9 – From The New World Elgar / Dabczynski “Andantino and March” from Six Easy Pieces Grieg Suite for String Orchestra, Op. 40 Joplin / Zinn The Entertainer Mussorgsky / Gruselle Pictures at an Exhibition 38 39

Philadelphia Young Artists Orchestra • 2012–2013

Louis Scaglione Viola French Horn Music Director & Conductor Michael A. Flynn* Gregory Greene• Andrew David Michie Lawrence Jay Robinson* Geoffrey McDonald Puneeth Guruprasad• Director & Conductor Trumpet Michael Stanley• Joshua Michael Collins* Violin I Franco Yugga• Donald Jackson Jason C.S. Vassiliou Violoncello James K. McAloon, Jr. Concertmaster Daniel J. Kim* Trombone Yinan Zheng Jay Zhou Jeremy S. Cohen• Austina Carolyn Lin Angela Chang Jeffrey Costello• Avyay Kuchibotla Noah Gabriel Diggs James B. Tobias• Caleb Siyuan Wang Sonia Kim Philip Rudolph Johnson Michael Li Tuba Kyle Joseph Michie Daniel Kim Carolyn Tillstrom• Luke Kyungchon Kim Brendan Michael Buoni Percussion Molly Lee Doman Chad Matthew Porreca Heidi H. Chu Bronwyn Beth Livezey Alexandra Elizabeth Jain Daden Goldfinger* Clara Elizabeth Bouch Kamran Darnell Foy Violin II Torin Li Annalee Lauren Althouse* Double Bass Fiyi Adebekun Olivia Rae Steinmetz* * Section Leader • PYO Member Daniel Liu Flute/Piccolo Tristan D. Maidment Girim Angela Choi Winds, brass, percussion Evelyn Z. Bravo Lavi Ben-Dor* rotate seating. Lily Alexandra Mell Audrey Emata Lily Lin Amanda Maria Marotto Rachel Allison Minkovitz Elizabeth Hawkes Oboe/English Horn Kathryn Song Hannah Michal Cohen Sophia Mei Maloney Amy Siegel Danoff Alexzandria Robbins Kaitlin Kan Shannon Sheu Alexander Kim Delia Li* Clarinet/Bass Clarinet Matthew No* Elizabeth S. Qian Bassoon/Contra Bassoon Lauren Milewski* Miles Joseph Shore John Dewey Parker 40

Philadelphia Young Artists Orchestra 18th Annual Festival Concert

Geoffrey McDonald • Conductor

The Kimmel Center for the Performing Arts • Perelman Theater Sunday, May 19, 2013 • 7:30 p.m.

PROGRAM

Overture on Three Russian Folk Songs Mily Balakirev

Symphony No. 8 in B minor, Unfinished Franz Schubert I. Allegro moderato II. Andante con moto

INTERMISSION

Symphony No. 8 in G major, Op. 88 Antonín Dvoˇrák I. Allegro con brio II. Adagio III. Allegretto grazioso – Molto vivace IV. Allegro ma non troppo

Latecomers will not be seated until an appropriate time in the concert. The use of photographic and recording equipment is strictly prohibited. As a courtesy to the performers and fellow concert-goers, please silence all cell phones prior to the performance. 41

Geoffrey McDonald: Director & Conductor

Last April, he made his Carnegie Hall debut as one of the conductors of George Crumb’s Star-Child with the American Symphony Orchestra, and has since appeared with the ASO in Carnegie Hall in performances of works by Charles Ives Photo: Jonathan Nimerfroh and John Cage. An advocate of new music, McDonald recently appeared as conduc- tor in the American Opera Projects New Works Forum, and lead the premiere of Wolf-in-Skins, a dance-opera by com- poser Gregory Spears and choreographer Christopher Williams. While earning his Masters in Conducting at Mannes College of Music, McDonald Geoffrey McDonald has served as was conductor of the Mannes Repertory the music director of the Philadelphia Orchestra and Mannes Brass Ensemble, and Young Artists’ Orchestra since the fall of guest conducted the Mannes Orchestra. 2010. He is currently music director of He also served as assistant to Sir Gilbert the Bard College Orchestra, where he is Levine on his acclaimed series of televised an instructor in the graduate conducting concerts. As an undergraduate at Princeton program, and assistant conductor of the University, he was assistant conductor of American Symphony Orchestra. From 2009 the Princeton University Orchestra, con- to 2012 he served as music director of ductor of the Princeton Sinfonia, and music the Columbia University Bach Society, as director of the Princeton Katzenjammers, well as assistant conductor of the Gotham the nation’s oldest co-ed collegiate a cap- Opera and The New Amsterdam Singers. pella group and an award-winning cham- McDonald has participated in the prepara- ber choir. McDonald was the inaugural tion of Bard Summerscape’s productions recipient of Princeton’s Edward T. Cone of rare operas and guest conducted in the Memorial Prize, for excellence in combin- Bard Music Festival since 2010. ing music scholarship with performance; at Mannes he was awarded the Alma Askin Scholarship, the Felix Salzer Techniques of Music Award, and the Mannes Theory Essay Prize. An advocate of diverse musical styles and genres, McDonald plays the cello in the indie-rock band Miracles of Modern Science, and is an active composer of instrumental and vocal music. 42

Philadelphia Young Artists Orchestra Program Notes

Mily Balakirev While Tchaikovsky, Rimsky-Korsakov, Born: Nizhniy Novgorod, Russia and Borodin are commonly recognized 21 December 1836 composers, it is their predecessor Mily Died: St. Petersburg, Russia Balakirev who paved the way and provided 29 May 1910 much of their influence and inspiration. Born into a family of a poor clerk, Balakirev Overture on Three Russian Folk Songs began studying piano at the age of four The Overture on Three Russian Folk Songs is from his mother. Never formally educated composed for two flutes, two oboes, two clari- in music at a conservatory, Balakirev nets, two bassoons, two horns, two trumpets, entered post-secondary education as a three trombones, timpani, and divided strings. mathematics student; however, his musical Duration: 8 minutes career began to take meaningful strides when he met famed Russian composer Parallel Events of 1858 Mikhail Glinka. Minnesota becomes 32nd U.S. state Glinka taught Balakirev the art of using Great Britain assumes control over India traditional Russian folk music fused with classical music techniques. Not only did this Russian Czar Alexander II frees the surfs lead Balakirev to compose music that had John Brown raids arsenal at Harper’s Ferry distinctly Russian sounds, but he adopted New York’s Central Park opens to the the idea that Russia must have its own public unique school of music, free from the tra- ditional Southern and Western European New York Symphony Orchestra gives first influences. Politically liberal, a free thinker, performance and an atheist, Balakirev’s passion for England’s Covent Garden Royal Opera promoting Russian music caused him to house is built form the legendary group of composers U.S. President Theodore Roosevelt, opera known as “The Five” or the “mighty five.” composer Giacomo Puccini, and engineer While Balakirev was the only professional Rudolf Diesel are born musician at the time, “The Five” included future well known composers Modest R.H. Macy & Company opens its first store Mussorgsky, Nikolai Rimsky-Korsakov, Mailbox and the pencil with eraser are Alexander Borodin, and lesser known patented César Cui and Alexander Serov. Balakirev provided inspiration for the other four to evolve their compositional techniques. He vehemently discouraged formal academic training, as he considered it an impediment to creativity and imagination. Expecting the other members (as well as his own students) to adopt his own musical tastes, Balakirev was also seen as a heavy-handed meddler and eventually left “The Five.” 43

Philadelphia Young Artists Orchestra Program Notes

Some criticize some of Balakirev’s works Even though the Overture on Three Russian as overly detailed to the point where the Folks Songs is less sophisticated then his music seems overdone or lacking the fresh- Second Overture and still maintains the ness of inspiration. The bigger problem, structure of a German work, the overall however, was Balakirev took enormous sound has the rich and distinct colors of amounts of time to finish some of his Russian music music that would highly most important works, such as his First influence nearly every Russian composer Symphony which took over three decades for over a century. In addition, Balakirev to complete. So by the time he completed must be remembered for encouraging a work that used original ideas which Rimsky-Korsakov and Borodin to complete influenced other major composers, includ- their first symphonies; conducting the pre- ing Tchaikovsky, the ideas were already mieres of several of Mussorgsky’s works; used by others, leaving Balakirev’s work and helping Tchaikovsky to produce his unnoticed at times. Part of his procrastina- Romeo & Juliet overture. tion stemmed from his periods of severe When Balakirev was thirty-five years old depression, suicidal feelings, and thoughts he suffered a nervous breakdown, and the of destroying his compositions. energy and drive that he had was replaced Using Glinka’s ideas of orchestrating with a withdrawn and lethargic personality. Russian folk songs, Balakirev composed Living as a recluse, he exhibited extreme his Overture on Three Russian Folk Songs. behaviors, such as eating bad fish, captur- Balakirev opened the work with a long ing and freeing insects, and filling his house introduction set to the tune “The Silver with dogs, cats, and religious icons. He took Birch” using delicate shadings of wood- a five year break from music, and distanced winds and strings. The body of the work himself from his musical friends. He refused takes the themes from two other folk to accept employment as a musician, and songs. In the Fields Stands a Birch Tree, a after considerable financial distress, he took melody that Tchaikovsky used for the finale a job as a clerk for a railroad company in of his Symphony No. 4, first appears in Warsaw. A terribly sad ending to such a the clarinets until the full orchestra plays pivotal figure. a robust version of it. An oboe solo intro- duces the final folk song, “And Then There was at the Feast,” (used by Stravinsky in his ballet Petrushka) until the work quietly ends as after returns to the luminous sounds of the introduction. Balakirev’s thoughtful orchestration creates a short work that has surreal moments of quiet beauty as well as rich, explosive sections. 44

Philadelphia Young Artists Orchestra Program Notes

Franz Schubert Music is the production of my genius Born: Lichtenthal, Austria and my misery. 31 January 1797 — Franz Schubert Died: Vienna, Austria 19 November 1828 About the Composer By the time Franz Schubert died at the Symphony No. 8 in B minor, D. 759, young age of thirty-one he had left almost Unfinished one thousand compositions of music, Schubert’s Unfinished Symphony is scored including sixteen operas, nine symphonies, for two flutes, two oboes, two clarinets, six masses, a piano quintet, violin sonatas, two bassoons, two horns, two trumpets, three incidental music to plays, and dozens of trombones, timpani, and divided strings. works for solo piano. Moreover, Schubert’s Duration: 25 minutes legacy can easily rest on the 600 plus In 1978 Schubert’s symphonies were songs he composed. renumbered to reflect the actual order of The son of an amateur musician and composition, making the Unfinished school teacher, Franz Schubert was one Symphony officially become Schubert’s of only three of eleven children who sur- Seventh and not the Eighth but few use vived at infancy. Franz’s father taught him the renumbering. violin and his older brother instructed him in piano before he took up more formal Parallel Events of 1822 training from the local church organist. • Boston incorporates as a city Schubert’s quick musical progression led him to study with Michael Holzer and • U.S. pays off entire national debt Mozart contemporary Antonio Salieri. • California becomes part of Mexico By the age of fourteen Schubert, com- • Chemist Louis Pasteur and U.S. posed his first song, and it was his skill of Presidents Ulysses S. Grant and perfect, brief melodies that allowed his Rutherford B. Hayes are born career to take shape, using his recogni- tion as a song writer to build his career as a composer. The year after his mother’s death, Schubert (still under eighteen years of age), took up a position as an assistant teacher and composed in his spare time. During 1814-1815 Schubert made his first significant artistic output, setting over 150 poems to music and composing several symphonies, dances, sonatas, choral music, and a staggering five operas in quick succession. 45

Philadelphia Young Artists Orchestra Program Notes

By his twenty-first year, Schubert took Schubert. Despite that Schubert produced up the position as music teacher at the an incredible output of music, like Camille Esterházy estate in Hungary (a position Saint-Saëns, Schubert seemed to have no that Haydn also had occupied). Composing revolutionary effect. in his spare time, Schubert had several Today, Schubert is recognized as the equal other periods of productive artistic out- of and successor to Haydn, Mozart, and puts during which times he often traveled Beethoven, and as a strong link leading to throughout Europe and collaborated with Bruckner, Mahler, and the second Viennese his poet and singer friends. school of Schoenberg, Berg, and Webern. Schubert embarked upon his last year in Schubert was the most quintessential poor health and spirits, yet miraculously Viennese of the great Viennese composers that year he produced his final symphony, and was born, lived, and died in the city known as The Great, the beautiful Quintet which was the music capital of the world in C major, the final three piano sonatas, until the twentieth century. and a song cycle containing fourteen songs. Some of Schubert’s music reaches exalted He eventually was stricken with typhoid heights; some of it is content to inhabit and after three weeks died. more sociable earthly domains, but most The neglect that Franz Schubert’s music of all he is one of those few composers suffered for most of the nineteenth cen- who, as musicologist Charles Osborne puts, tury now seems incredible. Not one of his “is for all moods and for all seasons.” symphonies were performed during his own lifetime (except for readings of the About the Work works at private concerts), and not one of Soon after his election as a member to the his major works was published until fifty music society of Graz at the age of twenty- years after his death. Even a music diction- five, Schubert composed the work that ary printed in 1827 makes no reference to has since become known as his Unfinished the composer. Symphony. To show his gratitude to the Part of the problem, perhaps, was that society, Schubert sent the score to the Schubert (unlike Mozart or Beethoven) Symphony to a friend at the society. This was not a virtuoso performer on any was essentially the last the work was heard instrument, so he found no other means of of until long after Schubert’s death. One musically promoting himself. Living most of of Schubert’s early biographers, Heinrich his life in poverty, Schubert received only Kreissel von Hellborn, finally tracked down sporadic performance opportunities, which the score in 1865 forty-three years after he and his friends referred to these private the work was composed and thirty-seven concerts as “Schubertiads” to raise money. years after the composer’s death! The first performance was given on 17 December Ironically all the signs of a great composer 1865 in Vienna and since its performance were there for Schubert. His musical abili- has become Schubert’s most popular ties were evident at the age of ten and symphony and one of the most familiar his mentor Michael Holzer stated that if symphonies in all of music. he wished to teach Schubert “anything fresh, the boy already knew it.” Unlike Beethoven, composing came naturally to 46

Philadelphia Young Artists Orchestra Program Notes

Many scholars speculate why Schubert The two movements of the Unfinished only composed two movements instead Symphony are broad enough to be of the conventional four. The romantic “symphonic” and stand on their own mer- notion that Schubert died before finishing its. The hauntingly beautiful opening offers the work has been convincingly proven to a dark, brooding introductory melody in be false (even though he was diagnosed the lower strings and sets the nostalgic, with syphilis at the time). Others suggest reflective tone for the entire movement. that the very sheer power and majesty The main theme played by the oboe of the first two movements discouraged and clarinet soon emerge above a tense Schubert from adding the final two, and string accompaniment until a more lyrical another theory explains that Schubert line (one of Schubert’s most recognized had always intended to write a two move- melodies) is introduced by the cellos. The ment symphony. The most likely reason, movement develops into an extended and however, is that Schubert struggled with stormy middle section until the opening the symphonic form that was invented by nostalgia returns to close the first half of Haydn, perfected by Mozart, and advanced the Symphony. by Beethoven. Schubert composed his first In contrast to the opening movement, the six symphonies fairly quickly (all before second, slower movement is set in a fairly he was twenty-one years old). The first simple form, alternating two contrasting six were clearly more in the style of the sections of music. The movement begins Classical structuralism patented by Mozart with an interchange between the horns, and Haydn. upper strings, and the basses until a brief Schubert then seemed to halt his sym- moment of tension interjects. After the phonic compositions for about four years. more relaxed theme returns, a second and He made several abortive attempts on melancholy melody emerges by a solo clar- large-scale symphonies before writing the inet and then expanded on by the oboe two movements of what is thought to be and flute. The movement eventually blends his Eighth Symphony. Given the influence elements of both themes and closes with of Beethoven’s symphonies and the size, a curiously regretful mood. Musicologist scope, and concept of them, Schubert was Richard Freed suggests that the brightest after something much more profound than moments Schubert allows in his Eighth his earlier symphonies. The same angst Symphony are nothing more of a “twilight and goal is what caused Brahms to wait afterglow.” until he was forty to compose his first Schubert finally did reach his goal with symphony. In short, Schubert (and as later his Symphony No. 9 (The Great), and the with Brahms) was trying to cope with the Eighth Symphony perhaps proved to be a formidable legacy of Beethoven. kind of experiment along the way. Even though Schubert may not have recognized it when he wrote the two movements of the Eighth, time has allowed us to under- stand that the glorious second movement can only be the final movement as it needs no response. 47

Philadelphia Young Artists Orchestra Program Notes

Antonín Dvoˇrák About the Composer Born: Nelahozeves, Czechoslovakia Antonín Dvoˇrák is without question one 8 September 1841 of the most prolific symphony composers Died: Prague, Czechoslovakia of all time and the greatest of all Czech 1 May 1904 composers. His contribution to symphonic Symphony No. 8 in G major, Op. 88 and chamber music ranks alongside that of (formerly known as Symphony No. 4) the most commanding nineteenth century masters. Dvoˇrák’s Eighth Symphony is scored for piccolo, two flutes, two oboes, English horn, Born in a small Bohemian Czech village two clarinets, two bassoons, four horns, to an innkeeper and part-time butcher, two trumpets, three trombones, tuba, timpani, Dvoˇrák’s upbringing instilled in him a love and divided strings. for the countryside and its people; a love Duration: 35 minutes that he never lost, and a love that would be his greatest inspiration. As a small boy Parallel Events of 1890 he learned the violin, sang in the local • Ellis Island, NY becomes church choir, played in orchestras, and immigration station composed marches and waltzes for the town orchestras. • German Chancellor Otto von Bismarck is fired As his compositional studies progressed, Dvoˇrák became highly proficient on the • Tchaikovsky’s opera Queen of Spades piano, organ, and viola. He quickly suc- premieres cumbed to the spell of Richard Wagner’s • Artist Vincent Van Gogh commits suicide music and ideas, like most of the late- • Idaho and Wyoming become 43rd Romantic composers. Dvoˇrák’s career as a and 44th U.S. states composer began slowly, so he served as an organist at a church in Prague and played • Dwight Eisenhower, Rose Kennedy, viola in several orchestras. After the per- Charles de Gaulle, Ho Chi Minh, formance of his Seventh Symphony (original- Agatha Christie, and Julius Henry ly numbered No. 2), several string quartets, “Groucho” Marx are born and a few operas, Dvoˇrák became well • Peanut butter is invented for people respected as a major composer through- with missing teeth out Czechoslovakia. • First Army-Navy football game 48

Philadelphia Young Artists Orchestra Program Notes

As several other nationalist movements About the Work in music took shape, such as in Russia, Closeness with nature was as vital for Hungary, England, Italy, and France, Dvoˇrák Dvoˇrák as it was for Beethoven, Mahler, assumed the role of the leader of the Delius, and Sibelius. Dvoˇrák’s Symphony Czech nationalist movement that was No. 8, like Beethoven’s Pastoral Symphony, started by Smetana. As Dvoˇrák began to presents the artist as more of a poet than benefit from his celebrity status, honors a composer. Sketching the work in his were heaped on him at home and abroad. Bohemian summer home, Dvoˇrák’s Eighth The University of Prague presented him Symphony has a cheerful manner in the with an honorary degree and the Prague style of Brahms’ Second Symphony, yet is Conservatory named him Professor of also Dvoˇrák’s most self-consciously “Czech” Composition. symphony. In England the composer conducted In a sense Dvoˇrák took the symphony, his works for several years, and he was a very structured form of composing, invited to head the newly founded New and transformed it into a tone poem or York National Conservatory of Music. program music, which is something much After giving in to much persuasion, Dvoˇrák more abstract that takes its inspiration embarked for the United States in 1892. from something more tangible, like a paint- The next three years would become ing or poem, or for Dvoˇrák, a summer day one of his most productive periods as a in his beloved homeland. On one level the composer. Upon witnessing the growth Eighth Symphony appears to uphold the of music in America, Dvoˇrák asked the traditional form American composers, “What is American music? What are its origins?” This question The variety and number of thematic ideas would shape American artists for the next in the opening bars of the exposition is century, particularly Aaron Copland. expansive as it is creative there are eight separate melodies in the first 126 bars. An Being away gave Dvoˇrák perspective on introductory idea on the cello is followed his homeland, and during his tenure in the by a flute solo (perhaps suggesting a bird United States the composer made his own song) that passes into a rhythmically alert attempt to identify the roots of American violin line answered by the violas and cel- music. His internationally-loved Symphony los with their own independent motif. The No. 9, was titled From the New World and large number of themes and the succinct- this work, along with his cello concerto ness of the musical ideas lend the music and two more string quartets, secured an eloquence that seems to speak directly Dvoˇrák’s place among the greatest to the listener. Every section and player of composers of the late-Romantic era. the orchestra is used to the fullest extent, as the composer allows the work to flow freely from the players, passing melodies from different sections along with vary- ing tempos and different musical colors of a symphony; in as much as it is writ- ten in four movements using the sonata form in the first movement, the slower 49

Philadelphia Young Artists Orchestra Program Notes

and serenade-like second movement, the After hearing Dvoˇrák “pastoral” work in reflective scherzo third movement, and the the Eighth Symphony we as listeners expe- exuberant and exciting final movement set rience surprise, an element of the surreal, to a theme and variations. In its substance, and certainly a real sense of satisfaction however, the Eighth Symphony explores a as the work ends swiftly and resound- more poetic vein. ingly amid a burst of high spirits. Once The second movement is another highly we look back beyond Dvoˇrák’s popular original movement. Despite being marked Ninth Symphony, we are able to experience with the slower tempo indication of Dvoˇrák, “the great symphonist,” and we not Adagio, in reality, the movement moves only come to realize how brilliant Dvoˇrák along at quite a pace, alternating poignant works are, but we also discover how much introspection with cheerful innocence and we have been missing. celebration. The contrasts are great, yet Dvoˇrák manages to join them so naturally that the differences are hardly noticeable. The captivating and melancholy waltz- Program Notes are written by Allan R. Scott © like third movement is set in a minor key and contrasts with the alternating section (trio) using a folk style dance until it viva- ciously concludes similarly to the second movement’s ending. After a summons from the trumpet, the finale begins a masterful theme and variations presented by the cellos. Like much of the Eighth Symphony, the variations vary in mood: thoughtful, triumphant, skittish, and earthy. The original theme returns and drifts away until it is interrupted with a rousing and triumphant climax that is almost manic in its joy. 50

Philadelphia Young Artists Orchestra Section Leaders

Back Row (left to right) Matthew No, clarinet Michael Flynn, viola Delia Li, oboe Daden Goldfinger, percussion Lavi Ben-Dor, flute Front Row (left to right) Olivia Steinmetz, double bass Lauren Milewski, bassoon Annalee Althouse, violin II Jason Vassiliou, Concertmaster Daniel Kim, violoncello Not Pictured: Joshua Collins, trumpet Lawrence Robinson, french horn 51 52 53

Bravo Brass • 2012–2013

Louis Scaglione Trumpet Trombone Music Director & Conductor Michael Bell Jacob Deschler Nathan Constans James Tobias Paul Bryan Joseph Dallas Ehren Valme Director & Conductor Patrick Gardner David Lee Bass Trombone James McAloon Barry McCommon * Nicholas Pignataro Frank Rein Robert Skoniczin * Euphonium French Horn Joshua Doyle James Ashbrook Jennifer A’Harrah Tuba Jeremy Middleman Brian Brown * Karen Schubert * Carolyn Tillstrom

* Bravo Brass Faculty 54

Bravo Brass 10th Annual Festival Concert

Music of the Masters

Paul Bryan • Conductor Barry McCommon and Robert Skoniczin • Associate Conductors

Saint Mark’s Church • Philadelphia Saturday, June 1, 2013 • 7:30 p.m.

PROGRAM

Triumphal March from Aida Giuseppe Verdi Arranged by Angus Armstrong Barry McCommon • Conductor

“Air” from Orchestral Suite No. 3 J.S. Bach Arranged by Michael Allen Nicholas Pignataro • Conductor

“Urlicht” from Das Knabben Wunderhorn Gustav Mahler Arranged by Michael Allen

Cantata No. 118 J.S. Bach – O Jesu Christ, mein’s Lebens Licht Edited by Robert King

INTERMISSION

“Allegretto” from Symphony No. 7 Ludwig van Beethoven Transcribed by Robert King

Capriol Suite Peter Warlock I. Basse – Danse Transcribed by James Haynor II. Pavane III. Tordion IV. Bransles V. Pieds-en-l’air VI. Mattachins (Sword Dance)

Latecomers will not be seated until an appropriate time in the concert. The use of photographic and recording equipment is strictly prohibited. As a courtesy to the performers and fellow concert-goers, please silence all cell phones prior to the performance. 55

Paul Bryan: Director & Conductor

As a trombonist, Paul has been heard in a variety of groups in the Delaware Valley. He has performed with the Philadelphia Orchestra, Delaware Symphony, Reading Symphony, Orchestra 2001, Chamber Orchestra of Philadelphia and the Opera Company of Philadelphia. In addition to his trombone students at Temple, Paul has an extensive private studio. Trombone students of his have sat first chair in the Pennsylvania All-State Band and Orchestra, Pennsylvania All-State Jazz Band, New Jersey All-State Wind Ensemble and Orchestra and New Jersey All-State Jazz Band, as well as many other honor Paul Bryan is a graduate of the Curtis ensembles. Paul’s students have gained Institute of Music and Temple University acceptance to the finest schools including where he studied trombone with Glenn the Eastman School of Music, the Oberlin Dodson and Eric Carlson and conducting Conservatory of Music, the New England with David Hayes, Arthur Chodoroff, and Conservatory of Music, the Peabody Lawrence Wagner. He currently serves as Conservatory and the music schools of Orchestra Conductor at Drexel University, Northwestern University, Indiana University, Conductor and Music Director of Philos Boston University, Catholic University, the Brass, Music Director of Symphony in C’s University of Southern California, and the Summer Symphony Camp and a faculty University of Michigan. member at Temple University and the One of Paul Bryan’s graduating students Curtis Institute of Music. writes, “More than anything, I admire his Paul has also conducted performances passion and commitment to music. with The Chamber Orchestra of Paul has always helped me see farther and Philadelphia wind and brass ensembles, deeper into the music. He has shown me the Curtis Institute of Music Brass and the infinite possibilities of any given note or Percussion Ensemble, 20/21– the Curtis phrase, and he is constantly pushing me to Institute of Music Contemporary Music take risks and to “make music” as opposed Ensemble, the Play On, Philly! Orchestra, to just playing it.” the wind ensembles of the New York Following a Curtis Brass and Percussion Summer Music Festival, and numerous Ensemble performance of his Symphony in district and region honor ensembles. Brass, composer Eric Ewazen wrote, Previously, he served as Director of Bands “I was thrilled—genuinely thrilled—with your at St. Joseph’s Preparatory School in performance of my piece! Your interpreta- Philadelphia. tion was stunning! The energy—the riveting momentum and heartfelt lyricism that you brought out was a joy for me to hear!” Paul is the Interim Dean of the Curtis Institute of Music. 56

Barry McCommon: Associate Conductor

A member of the genre-bending Nu Directions Chamber Brass, he is to some the tuxedo-clad classical bass trom- bonist for The Chamber Orchestra of Philadelphia—to others he’s the jazz musician they’ve seen backing the likes of Herbie Hancock—in another realm, he regularly can be seen on the r&b/funk circuit of Philly and Atlantic City with luminaries such as Pattie Labelle. In addition to his work as a performer, he is a Senior Lecturer at the University of the Arts where he teaches lessons and directs the UArts Trombone Ensemble. Barry is an Associate Conductor of Bravo Barry is a musician that defies categoriza- Brass and is on faculty of the Philadelphia tion. Having begun his career while still International Music Festival, where he enrolled at the Curtis Institute of Music, he teaches chamber music and solo perfor- also cut his teeth in the clubs of Philly and mance classes. Rather than accept the Atlantic City. His versatility has earned him parameters that so many try to place on respect as a “crossover” artist, performing musicians, Barry plays what he wants to in venues ranging from Lincoln Center to play—his love of rock, jazz, r&b, pop, and the House of Blues with anyone from the classical show every time he hits the stage. Royal Ballet, to the Jaco Pastorius Big Band, to R&B legend Aretha Franklin. 57

Robert Skoniczin: Associate Conductor

Rob has played for numerous tour- ing Broadway shows in Philadelphia and Wilmington. He has backed various star attractions such as Martina McBride, Anne Murray, Pete Fountain, Aretha Franklin, Marvin Hamlisch, Mannheim Steamroller, and performed for such dignitaries as Mother Teresa and former Chinese President Jiang Zemin during their visits to the United States. Rob can be heard on several recordings including Manhattan Transfer’s DVD The Christmas Concert, American Anthems with the Gramercy Brass Orchestra, and numerous spots for NFL Films. An active freelance musician, Rob performs Rob is an instructor of trumpet at the in a variety of settings and locales. He is University of Delaware and is a member Principal Trumpet with OperaDelaware of the National Band Association, the and has performed with The Chamber International Trumpet Guild, the American Orchestra of Philadelphia, Delaware Federation of Musicians, and Phi Beta Symphony Orchestra, Bach Choir (and Kappa. Festival Orchestra) of Bethlehem (PA), New Jersey Opera Theatre, Opera Company of Philadelphia, Pennsylvania Ballet, Peter Nero and the Phillly Pops, Philadelphia Orchestra Community Outreach, Reading Symphony, Ocean City Pops, Wilmington String Ensemble, Gramercy Brass Orchestra, Sammy Kaye Orchestra, and Brian Pastor Big Band. 58

Bravo Brass Faculty • 2012-2013

Karen Schubert Brian Brown Horn Tuba Karen Schubert is a graduate of Brian Brown earned his Bachelor and The Curtis Institute of Music. She is Master degrees from the Juilliard School. currently principal horn with the His major teachers include Paul Krzywicki, Delaware Symphony Orchestra, Opera Don Harry, Donald Harwood and Vincent Delaware, and the Kennett Symphony of Penzarella. He is currently principal tuba Chester County, and second horn with of the Philly Pops, Delaware Symphony The Chamber Orchestra of Philadelphia. Orchestra and The Stamford (Conn.) Recently appointed third horn of the Symphony Orchestra. As an active Opera Company of Philadelphia, she has freelance musician, Mr. Brown has per- also performed with, the Pennsylvania formed with the Philadelphia Orchestra, Ballet, and the New Jersey Opera. Karen The Pennsylvania Ballet, and the Opera is also a member of The Fairmount Brass Company of Philadelphia among others. Quartet, and has performed as soloist with He is the tuba player for NFL Films. The Chamber Orchestra of Philadelphia He is a member of the Westminster Brass and The Kennett Symphony of Chester and the Rowan University Faculty Brass County. She has been on the faculty Quintet. Mr Brown is Adjunct Professor of Immaculata University and Philadelphia of Tuba and Euphonium at the College of Biblical University, and well as teaching New Jersey, Rowan University, University privately throughout the area. of Delaware and instructor of tuba at Princeton University. 59

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We are honored to be associated with the talented musicians of the Philadelphia Youth Orchestra Organization.

paone design associates brand identity + visual communication 60 61

PRYSM • 2012–2013

Louis Scaglione Violin I Viola Music Director & Conductor Fiyi Adebekun * Kristy Wong * Steven Zhang Catherine Castelli Gloria dePasquale Haley Richardson Katie Sharbaugh Director & Conductor Melody Yu Isabella Maloney Shannon McTaggart Kendall Scott Nicholas Hsieh Angelina Phillips Violoncello Jolade Adebekun Jessica Zhang * Alexander Zhang Shangen Lu Jenna Kim Caroline Castelli Sophia Maloney Neal Chan Victoria Smith Alexander Peters Eric Zhao Kamran Kara-Pabani Evan Johnson Aiden Trainer Alexander Lee Eugenia Feng Siddharth Parameswar Carly Soll Ryan Schiller Bass Ali Zerafati *

Violin II David Clarke * Emma Lo * Section leader Boglárka Kearney Portia Maidment Helen Hu Esther Kim Ashley Geisler Kevin Ouyang Mitchell Taylor Autumn Geisler 62

PRYSM Young Artists • 2012–2013

Louis Scaglione Violin I Viola Music Director Joshua Baw * Lyric Scott * Sarah Gano Nicole Slaats Gloria dePasquale Anne-Sophie Bilello Director Chloe Castelli Violoncello Jessica Bowman Marco Porras Sarah Yoon * Conductor Amy Ouyang Anya Chan Pheobe Howse Isaac Kim Feyi Abedekun Violin II David Kim Christina Wang * Caleb Yee Bowen Ying Sierra Wei Brian Williams Heidi Suh Alexa Richards Nicolette Sullivan Cozza * Section leader John Neary Madison Li Lily Schwalb Kallam Kara-Pabani 63

PRYSM Philadelphia Region Youth String Music 6th Annual Festival Concert

PRYSM Gloria dePasquale • Conductor

PRYSM Young Artists Jessica Bowman • Conductor

Centennial Hall • The Haverford School • Haverford Saturday, May 18, 2013 • 3:00 p.m.

PROGRAM

“Allegro” from Concerto Grosso Arcangelo Corelli No. 4 in D Major Arranged by Paul Paradise

Pictures at an Exhibition Modest Mussorgsky I. Promenade Arranged by Carrie Gruselle II. The Gnome III. The Old Castle VI. The Hut of Baba-Yaga VII. The Great Gate of Kiev PRYSM Young Artists

Brandenburg Concerto No. 3 J.S. Bach II. Allegro Arranged by Lynne Latham PRYSM & PRYSM Young Artists

continued on page sixty-four 64

PROGRAM

Suite for String Orchestra, Op. 40 Edvard Grieg I. Praelude II. Sarabande III. Gavotte IV. Air V. Rigaudon

Simple Symphony for String Orchestra Benjamin Britten I. Boisterous Bourée II. Playful Pizzicato III. Sentimental Saraband IV. Frolicsome Finale PRYSM

Latecomers will not be seated until an appropriate time in the concert. The use of photographic and recording equipment is strictly prohibited. As a courtesy to the performers and fellow concert-goers, please silence all cell phones prior to the performance. 65

Gloria dePasquale: Director & Conductor

Mr. and Mrs. dePasquale were frequent soloists with area community and youth orchestras, performing both the Brahms Double Concerto and the Saint Saens La Muse et Le Poet. Their last public perfor- mance together as soloists was in June of 2010 in Verizon Hall at the Kimmel Center in Philadelphia performing with The Philadelphia Youth Orchestra. This season, Mrs. dePasquale will be fea- tured soloist with The Philadelphia Youth Orchestra, February 17th , 2013 in Verizon Hall at the Kimmel Center in Philadelphia, performing Haydn’s Concerto in C. Mrs. dePasquale is an advocate for Gloria dePasquale joined the Philadelphia music education both at The Philadelphia Orchestra ‘cello section in 1977 at the Orchestra where she chairs the musician invitation of Eugene Ormandy. Prior to education committee and in The becoming a member of the Philadelphia Philadelphia Youth Orchestra where she Orchestra, Mrs. dePasquale served as is artistic advisor to the organization Associate Principal ‘cellist of The Buffalo and artistic advisor and conductor of Philharmonic Orchestra under Michael the PRYSM and PRYSM Young Artist Tilson Thomas and was also a substitute Orchestras, founded six years ago with player for the Boston Symphony Orchestra her late husband, William. and Boston Pops Orchestra. Mrs. dePasquale maintains a large private Born in Evansville, Indiana, Mrs. dePasquale studio and runs monthly masterclass and credits the public school music program performance classes for her students. Her of her home town for her introduction to graduating students regularly are accepted the ‘cello. She graduated with honors with into the nation’s finest conservatories, both her BM and MM degrees at The New colleges, and universities. Mrs. dePasquale England Conservatory of Music in Boston teaches for the New York State School of where she was a student of Stephen Geber. Orchestral Studies at Saratoga Springs New ‘Cellist of the dePasquale String Quartet York every August and also is on the faculty for more than two decades, the quartet of Luzerne (NY) Music Center and the was in residence at Villanova University Philadelphia International Music Festival. and presented a highly acclaimed chamber music series performing with such artists as Yo-yo Ma, Emanuel Ax, Christoph Eschenbach, Yefim Bronfman, Wolfgang Sawallisch, and Andre Watts. Ms. dePasquale was also ‘cellist in the dePasquale trio, performing alongside her late husband William, and daughter, Francesca. 66

Jessica Bowman: Conductor, PRYSM Young Artists

Jessica Bowman has been playing the violin since the age of five and has performed throughout the United States and Puerto Rico. She graduated Magna Cum Laude, Phi Beta Kappa from Temple University with Bachelors of Music degrees in both violin performance and in music education with an emphasis on strings. While at Temple University, she studied violin with William dePasquale. Jessica has been a coach with PRYSM since its inception in 2007; this year marks her second as conductor of PRYSM Young Artists. Jessica is currently employed at Harriton and Lower Merion High schools, where she teaches strings, music theory, music history, and orchestra. In addition, Jessica maintains a private stu- dio, is music director at St. John’s Episcopal Church, and is an active free-lance violinist in the greater Philadelphia area. 67

PRYSM Faculty • 2012–2013

Matthew Barrell, viola coach, is enjoying Soloists, Philly Pops, and The Philadelphia his second season with PRYSM. He is a Orchestra, as winner of the Greenfield graduate of Temple University with degrees senior competition. She has appeared with in Viola Performance and Music Education. Sasha and Misha Schneider, Isadore Cohen, Mr. Barrell has performed with the Temple David Soyer, Felix Galimir and Arnold University Symphony Orchestra, the Steinhardt. Reading Pops Orchestra, and the Optimis Quartet. He is looking forward to another exciting season with these talented Robert dePasquale was a member of the young musicians. New York Philharmonic before joining The Philadelphia Orchestra in 1964, where he served as Associate Principal Second Derek Barnes joined The Philadelphia Violin until his retirement in 1997. He Orchestra in February 1995. A native studied at the New School of Music with of Philadelphia, he had previously held Jascha Brodsky, and gave many recitals in the post of Co-Principal Cello of the Philadelphia and Washington while he was Concerto Soloists of Philadelphia (now a member of the US Navy Band. He is now the Chamber Orchestra of Philadelphia) currently Music Director of the Academy of and he has been a member of the Santa Community Music, which he co-founded in Fe Opera Orchestra and the New York 1983 with his wife, Ellen Fisher. He is a very String Orchestra. Mr. Barnes has performed sought after teacher and maintains a large chamber music with Christoph Eschenbach, studio in the Philadelphia area. Nadja Salerno-Sonnenberg, Isaac Stern, and Sarah Chang. He has appeared on tele- vision in “Yo-Yo Ma at Tanglewood”. Hannah Doucette, violin, earned a Master A graduate of The Curtis Institute of Music of Music degree in pedagogy from Temple in 1991, his teachers have included Orlando University and a Bachelor of Music in vio- Cole, David Soyer, and former Philadelphia lin performance from The Hartt School. Orchestra Principal Cello William Stokking. She was a student of William dePasquale. He performs regularly with his wife, Hannah has been trained and certified in Meichen Barnes, Associate Concertmaster the Suzuki Method by Teri Einfeldt and of The Chamber Orchestra of Philadelphia. Edward Kreitman. She is currently a Suzuki violin teacher at Temple Music Preparatory Division, Ambler Music Academy, and Meichen Liao-Barnes is Associate Moravian College Music Institute. Hannah Concertmaster of the Chamber Orchestra is on the adjunct faculty at both Temple of Philadelphia. She is a graduate of the University and Ursinus College. Curtis Institute of Music and the Juilliard School. Upon graduation from the Juilliard School, she was awarded a recital in Town Hall New York. Meichen has per- formed with the Lincoln Chamber players, Brandenburg ensemble, and toured with Music from Marlboro. Solo appearances include the Hartford Symphony, Concerto 68

PRYSM Faculty • 2012–2013

Jennifer S. Horne is a graduate of Temple Herold Klein was a member of The University’s Esther Boyer College of Philadelphia Orchestra from 1971 until Music and Dance with a degree in Music his retirement in 2011. He began study- Education, where she studied violin with ing the violin at the age of four with pri- Helen Kwalwasser. Proudly the full time vate teachers in Detroit, and was playing Orchestra Director at the Fisher Middle with community orchestras, including the School of Ewing Public Schools in New South Oakland Symphony, by the time Jersey, Jennifer conducts two large orches- he was nine. He has studied with Mischa tras, several smaller auditioned ensembles, Mischakoff, Ivan Galamian, Josef Gingold along with teaching general music classes. and Rafael Druian.Mr. Klein entered Wayne Jennifer is expanding her private studio State University in 1962, and while there in the Princeton New Jersey area. She joined the Indianapolis Symphony and later currently holds positions with Sinfonietta the Detroit Symphony Orchestra. Mr. Klein Nova, The Arcadian Chorale, Monmouth has been a member of the United States Symphony Orchestra, and two opera com- Army Band Strolling Strings, and since 1987 panies in New York City (Amore Opera served as concertmaster of the Greater Company and the North Shore Music Trenton Symphony Orchestra. Festival). She is an active freelance violinist, vocalist and violist in PA, NJ and NY. Kelly Kleinmann, double bass coach, is a junior at Temple University. Ms. Kleinmann Dr. Solomiya Ivakhiv is a graduate of the is an avid performer, having performed with world-renowned Curtis Institute of Music, Symphony in C, the Lansdowne Symphony, where she served as Concertmaster of and the Philadelphia Youth Orchestra. She Curtis Symphony Orchestra and holds is the owner and founder of Bassbibs.com, a Doctorate of Music Arts degree from a company providing hand-sewn bibs to Stony Brook University. Her principal teach- bassists and cellists everywhere. Aside from ers have been Joseph Silverstein, Pamela her entrepreneurial interests, Kelly loves Frank, the late Rafael Druian, and Philip traveling, teaching, and being a part of the Setzer. Ms. Ivakhiv has been, for several PRYSM family. seasons, guest concertmaster with the Fresno Philharmonic in California, a prin- cipal violinist of the Chamber Orchestra of Philadelphia and Peter Nero and the Philly Pops and a visiting concertmaster of the Symphony Orchestra of Augusta, Georgia. Ms. Ivakhiv frequently performs in the Philadelphia Orchestra and Baltimore Symphony. 69

PRYSM Faculty • 2012–2013

Although primarily a violinist, David Michie Angela Sulzer studied violin performance at is a viola coach for PRYSM. He is an alum Temple University as a student of William of the Philadelphia Youth Orchestra under dePasquale. She has been a member Maestro Primavera, a former member of the PRYSM violin faculty since 2007. of the Trenton Symphony, the Delaware Angela is currently a string instructor at Valley Philharmonic, Concerto Soloists the Agnes Irwin School, and Teaching Artist of Philadelphia and the Philly Pops. He for Maestro’s Friends After School Music. has performed at the Hollywood Bowl, An avid performer and orchestral musician, Carnegie Hall, Alice Tully Hall and at music Angela has spent many summers studying festivals in Italy, Great Britain, Australia and at Eastern Music Festival in North Carolina, Canada. Currently he is Concertmaster of Festival of the Youth Symphony Orchestra the Philharmonic of Southern New Jersey. of the Americas in Puerto Rico, and most Mr. Michie is the founder of David Michie recently the National Orchestral Institute in Violins, L.L.C. of Philadelphia, specializing Maryland. in fine violins, violas and cellos. Along with his wife, Denise and sons Andrew and Kyle (both members of PYAO), he resides in Andrea Weber, Cellist and Teaching Artist, Ardmore, PA. has been working with the Philadelphia Youth Orchestra in several capacities since 2007. She began as a sectional coach with Anthony Pirollo attended the Philadelphia PRYSM Young Artists, and in 2010 became Musical Academy where he studied with a teaching artist with Tune Up Philly. She Claus Adam, George Harpham, and William has enjoyed teaching cello, violin, and string dePasquale. Mr. Pirollo has appeared as ensemble with Tune Up Philly and for the solo cellist with the Houston Opera, solo program’s summer sessions. Andrea also cellist in the United States and Europe for works as a cello coach with the Musicopia the world premiere of Meredith Monks String Orchestra and maintains a private opera Atlas, as well as principal cellist studio for beginning and intermediate for such artists as Luciano Pavarotti, Jose students. She has performed with the Carreras, Placido Domingo, Frank Sinatra, Lancaster Symphony and Symphony in C, Tony Bennett, and Johnny Mathis. Mr. and is a founding member of the Elysium Pirollo has composed for such groups as M. String Quartet. In her spare time Andrea is Stewart Dance and The Society of Ancient a rock cellist, performing and recording with Instruments. Mr. Pirollo is assistant conduc- many of Philadelphia’s rising songwriters. tor of The Bel Canto Opera Company. He Her work can be heard on several record- currently sits as president of the Atlantic ings and has brought her to such national City Musicians Union. venues as World Cafe Live. 70 71

Tune Up Philly • 2012–2013

Louis Scaglione Makayla Love Clarinet Music Director Jaleya Martin Marneisha Cottle Keith Mazzucca Turae Gordon Delia Raab–Snyder Saniah Mckenzie Immanuel Holloway Director Ayanna Melvin Ta’Asia Math-Earth Paul Smith Tamir Mills Marcus Torres Assistant Director & Tyerra Murphy French Horn Conductor Xavier Scott Divinity Blackwell Sarah Torrence Toni Cooper Violin Zhymir Tucker Jessica Gbai Jayden Alexander Bahajj Void Sebastian Williams Hadas Ali Natasha Ward Kayla Young Kiyanni Atkinson Amaya Warren Kanyah Atkinson Michael Watson Trumpet Qaadir Aziz-Dawkins Juwon Williams Suniya Gordon Lydia Blackwell Jaheim Woodbury Kennya Harrison-Sharper Ayanna Brown Janiyah Woodson Khalif Winn Angel Cooper Terrence Young Viola Tinaya Davis Janae Bryant Trombone Mikal Davis Ashley Cook Nasirah Bailey Aaziya Davis Jordyn Morris Hasan Grant Najalese Delacruz Aaliyah Singleton Inez Sanders Amyah Delacruz Emmanuel Williams-Bey Rashiyah Wright Faith Dubose Dayvontre Ferguson Violoncello Rasheema Foster Arrayah Brown Wyneef Foster Bobbie Brown Joshua Gibbs Divine Epps Jevonte Giddings Gloria Harley Jayden Goodson-Sample Badirah Harper Brielle Hall Shimani Ramsey Jaiyla Hardy Siani Richardson-Green Noleani Hill Flute Anyhae Jackson Camillah Cury Breanna Jones Anita Johnson Sabriyah Jordon Minyan Ladson I’esa Math-Earth Clarissa McNeill 72

Tune Up Philly 3rd Annual Festival Concert

Delia Raab–Snyder • Director Paul Smith • Assistant Director and Conductor The Free Library of Philadelphia • Main Branch Saturday • May 18, 2013 • 1:00 p.m.

PROGRAM

The Star-Spangled Banner John Stafford Smith Arranged by Paul Smith Orchestra

“Chorale” from Jupiter Gustav Holst Arranged by Paul Smith French Horn Studio

Ceilito Lindo Traditional Orchestra Joined by members of the Settlement Music School Junior String Orchestra Guest Conductor, Monique Johnson

Folk Dance Franz Joseph Haydn Arranged by Paul Smith

Themes from Beethoven’s Ludwig van Beethoven Fifth and Seventh Symphonies Arranged by Paul Smith

“Largo” from Xerxes G.F. Handel Arranged by Paul Smith

Oye Como Va Tito Puente Arranged by Paul Smith Orchestra

73

Tune Up Philly Faculty • 2012–2013

Delia Raab-Snyder Paul Smith Director Assistant Director & Conductor Delia Raab-Snyder is an alumna of the Mr. Smith is an active composer, performer Philadelphia Young Artists Orchestra, and educator. As a performer, Mr. Smith Settlement Music School, and the School has premiered dozens of works to District of Philadelphia. She holds a BM include the premiere of Robert Cuckson’s in clarinet performance from The Mannes “Concerto for Guitar” with the Mannes College of Music, where she studied Orchestra under David Hayes and with Mark Nuccio, and an MM from The the premiere recording on the Vienna University of Southern California where Modern Masters label of David Loeb’s she was a student of Yehuda Gilad. She “Asian Fantasias” for solo guitar. He has attended the Aspen Music Festival received his Bachelors of Music from the and The Bowdoin International Music Mannes College of Music studying under Festival, and studied the Orff Method Frederic Hand where he was awarded the at Villanova University. Ms. Raab-Snyder Associated Music Teacher’s award. has worked extensively with children in Mr. Smith received a Masters Degree from New York, Philadelphia, The Los Angeles The Juilliard School where he studied Unified School District, and El Centro de under Sharon Isbin and was a recipient of Esperanza Infantil in Oaxaca, Mexico. In the McCabe Fellowship award, specializing spring 2012, Ms. Raab-Snyder travelled in creating performance based educational with a group of American musicians to outreach programs. He has performed Campos, Brazil and spent two weeks with with The New Juilliard Ensemble, ICE, Orchestrando La Vida, a twenty year old and has received intensive baroque El Sistema program. She resides in West performance coaching from Lionel Party. Philadelphia, and continues her strong Mr. Smith’s compositions have been commitment to education in Philadelphia featured in venues ranging from Alice Tully by volunteering at her neighborhood Hall, to Seoul, Korea, and receives regular public school and participating in Mastery commissions for new works. His voice Charter School’s tenth grade mentoring and guitar ensemble, The Spoon River program. Duo, specializes in works for the classical guitar and voice medium and has also premiered numerous commissions. Mr. Smith has developed after school enrichment programs at The School at Columbia University and instrumental instruction at Settlement Music Schools in Philadelphia. 74

Tune Up Philly Faculty • 2012–2013

Elysa DiMauro returns for her second year Agnes Marchione is a clarinetist. Her as a French Horn instructor. She has played extensive orchestral playing includes with the Wisconsin Chamber Orchestra, groups such as The Philadelphia Orchestra, the Madison Symphony Orchestra, and the Delaware Symphony, Iris Chamber Central Wisconsin Symphony Orchestra. Orchestra, and The Knights Chamber Ms. DiMauro currently plays second horn Orchestra. Ms. Marchione has attended with the Philadelphia Wind Symphony and numerous festivals that include Sunflower is a founding member of the Philadelphia Music Festival, Bellingham Festival of Music, Chamber Brass, a local brass quintet. She Saratoga Chamber Music Festival, and also plays outreach concerts through the Tanglewood Music Festival. Her training Symphony in C (Camden, NJ). Ms. DiMauro includes undergraduate studies at the is an alumnae of PYO’s Philadelphia Curtis Institute of Music with Donald Young Artists Orchestra. She received her Montanaro and graduate studies with Bachelor of Music from Northwestern Yehuda Gilad at University of Southern University in 2007 and a Master of Music California. from the University of Wisconsin-Madison..

Daniel Sharp, age 26, recently won the Lawrence Major, 35, is a graduate of the Second Flute position with Symphony in Esther Boyer College of Music at Temple C, a professional training orchestra based University. Mr. Major’s former violin teach- in New Jersey. He is a devoted orchestra ers include Helen Kwalwasser, Raymond musician and held the piccolo position Montoni, Kevin Lawrence, and Taras with Symphony in C for three consecutive Gabora, with whom he studied with while seasons previously. This past summer, attending the Oberlin Conservatory of Daniel performed at the Music Academy Music. He plays frequently with various of the West, in Santa Barbara, CA. orchestras in the Delaware Valley and has There he won the Festival’s Concerto performed in master classes with Pamela Competition with a performance of the Frank and Lisa Beth-Lambert of the Jolivet Flute Concerto. In 2011, he won the Philadelphia Orchestra. piccolo position for the YouTube Symphony Orchestra, which performed at the Sydney Opera House in Sydney Australia. As an active chamber musician, Daniel co-founded the Philadelphia Harp Trio in 2004. His teachers have included Ilya Ovrutsky, Kazuo Tokito, and Timothy Day. . This is Daniel’s first year teaching with Tune Up Philly. 75

Tune Up Philly Faculty • 2012–2013

Jason Stein is a Teaching Artist for the Mandy Wolman, violinist, has been a part Philadelphia Youth Orchestra’s Tune Up of several world premieres by New York Philly program, and is on faculty at the based composers Michael Beharie and Luzerne Music Center Summer Music Steven Long at the Issue Project Room Festival in the New York Adirondack’s. in Brooklyn, NY. She soloed with the Los From 2009 to 2011 he was a member Angeles Jewish Symphony premiering of Civic Orchestra of Chicago, and he works by Philadelphia-based composer, performed with the Chicago Symphony Andrea Clearfield and has performed Orchestra. He has performed with many chamber music recitals in Massachusetts other orchestras, including Jacksonville and Pennsylvania, performing with the early Symphony Orchestra, Monterrey music groups Tempesta di Mare and Vox Symphony Orchestra, and Symphony in Amadeus. Ms. Wolman is also a private C. He is also plays trombone with the instructor. Philadelphia Chamber Brass. Jason earned degrees at Boston University (BM) and at Northwestern University (MM). Daniel Wright, trumpeter, brass teacher, and clinician received a Bachelors Degree in music performance from the Eastman Andrea Weber, cellist, returns for her School of Music in Rochester, NY. Daniel third year with PYO’s Tune Up Philly. After regularly performs at a variety of venues receiving her Master’s Degree in Cello in Greater-Philadelphia area. Currently he Performance from Temple University, is the leader of “The Swagg Quartet”, Ms. Weber has also worked with PYO’s he is a member of the “Don’t Call Me Musicopia String Orchestra and PRYSM Francis” band, and he can also be heard Young Artists Orchestra. Ms. Weber is playing in the pit orchestra for venues such also a teaching artist for Symphony in C’s as The Arden or The Forrest Theatre. educational outreach program, Symphony As well as running his own Private Studio and Strings. She has performed with the in Bristol PA, Daniel teaches at a number Lancaster Symphony, Symphony in C, of music programs in the region. and is a founding member of the Elysium String Quartet. 76

In Appreciation • 2012–2013

Louis Scaglione Officers The Philadelphia Youth President & Music Director Frank Giordano Orchestra organization and Geoffrey McDonald Chairman the Board of Trustees thank the following individuals, Director & Conductor, W. Matthew Skilton PYAO corporations, foundations Vice Chairman and government agencies Paul Bryan David R. McShane for their generous Director & Conductor, Treasurer contributions during the Bravo Brass past year. MaryTeresa Soltis, Esq., Barry McCommon Secretary & Robert Skoniczin Associate Conductors, This list acknowledges Bravo Brass Board of Trustees donations from April 1, 2012 through March 31, 2013. Andrew Abruzzese Gloria dePasquale If a name, company, Kenneth Blank, Ph.D. Director & Conductor, foundation or government Michael Blackstone PRYSM agency has been omitted or Michael Devine misprinted, please accept our Jessica Bowman Joseph F. DiMauro, VMD apologies and notify us by Conductor, Trude Haecker, MD calling 215.545.0502. PRYSM Young Artists Renée Dillon Johnson Delia Raab-Snyder James Matour, Esq. Director, Sharon McGinley Tune Up Philly David Michie Paul Smith Nancy Moses Assistant Director & Walter Strine, Esq. Conductor, Rick Touhill Tune Up Philly Colleen Hood General Manager & Librarian Maria Newman Director of Development 77

In Appreciation • 2012–2013

Foundations Corporations Benefactor D’Addario Music America’s Charities $5,000 and above Foundation Bristol-Myers Squibb Drs. Trude Haecker The H.O. West Foundation Employee Giving Program & Robert Day Jean & David Soll Cozen O’ Connor Dorothy & Frank Giordano Philanthropic Fund of the David Michie Violins, LLC Frances & James Maguire Jewish Federation of Give With Liberty Lisa Kabnick Greater Philadelphia & John McFadden GlaxoSmithKline Judith Haskell Brewer Sharon & Joseph McGinley Fund of The Community Foundation Matching Foundation Serving Gifts Program David R. McShane Richmond and Central Horsham Veterinary Louis Scaglione, Virginia Hospital in memory of Louis F. The Little Red Violin Microsoft Matching & Sharon L. Scaglione Foundation Gifts Program MaryTeresa Soltis, Esq. The Maguire Foundation Nomad Alice & Walter Strine, Esqs. McGinley Family Foundation PNC Foundation Steve Weiss, The McLean Matching Gift Program in memory of Michael Contributionship Power of Giving Campaign Bookspan Norman Raab Foundation Republic Bank Guarantor The Presser Foundation SAP Matching Gift Program $2,500 - $4,999 The Robinson Family Susquehanna International Dr. & Mrs. Joseph DiMauro Foundation of the Jewish Group Renée & Phil Johnson Communal Fund TE Connectivity Leroy Kean The Samantha Fund of the Matching Gift Program Susan & James Matour Community Foundation of The Air Products New Jersey Denise Houghton Foundation Matching Gifts & David Michie Program Matthew Skilton The GE Foundation Mr. & Mrs. W. Frank Skilton Union Benevolent Association Dr. John M. Templeton Jung Ja Kwon Government & Richard Touhill Pennsylvania Council Melody & Jimmy Woo on the Arts The Philadelphia Cultural Fund 78

In Appreciation • 2012–2013

Patron Barbara R. Reeves-Cohen, Trina Kan $1,000 - $2,499 in memory of Dr. Phillip R. Judge Samuel Lehrer, in Anonymous Reeves memory of Erica Sommers Doris E. Abelson Geraldine & Ernest Smith Gero Donna Murasko Mr. Jeffrey & Dr. Nancy William A. Loeb & Dr. Kenneth Blank Spector Denise & Romero Lundy Nancy Moses Josephine Templeton, Rochelle & Barry Magarick, & Myron Bloom in memory of Sharon L. in honor of “Maestro” Dottie Scaglione Pam & Terry Brennan Giordano Mr. & Mrs. Stanton Triester Lois & Julian Brodsky Catherine M. Baggiano Dr. & Mrs. Michael Warhol & Joseph E. Milewski Barbara Burtness Kerri Ryan & William Polk Sarah Chang Donor $500 - $999 William Quinn Claudia & Joseph Curcio, in honor of Robert Blair Althouse Merle Raab & Andrew Day William Bennington Karen & David Smith Barbara & Michael Devine Berman Family, in memory Dr. David & Jean Soll Marie & Joseph Field of William J. dePasquale Martha & Ronald Stang Jayne & Walter Garrison Timothy Blevins Karen & Sheldon Lori & Jim Goldfinger Elissa Cogan Thompson, in memory of & Barry Chester William J. dePasquale Penelope P. Harris Gloria dePasquale, in memo- Leah & William D. Vare, Dorothy & George Hawke ry of William J. dePasquale in memory of William J. Lynn Hewitt, in memory of Rodney Finalle, in honor of dePasquale Joseph Primavera Dr. Trude Haecker Weiqing Xuan Jin Seung Jang, in honor of Dr. Morton Drs. Danyi & James Zhang Daniel HyungBin Jang & Mrs. Sondra Friedman Jane Koh, in memory of Yuan Lin & David Gerhold Joseph Primavera Kim R. Bloom Susan & Graham McDonald & Peter H. Gistelinck Mr. Michael M. Petrone Josephine & Edward & Mrs. Susan E.T. Petrone Hueber, in memory of Dr. Phillip R. Reeves Robert Jennings Joyce & Charles Johnson, in memory of William J. dePasquale 79

In Appreciation • 2012–2013

Contributor Mr. & Mrs. Werner Koller Friend $250 - $499 Kenneth J. Kubacki up to $249 Romeo Abella Robert Laskowski Nora Adelmann, in memory of Dr. Phillip R. Reeves Andrew Abruzzese Tessi & David Lee Kelly A’Harrah Chris & Darin Adebekun Drs. Lynn & Lawrence Marcia & Christopher Barone Levine, in honor of “Maestro” Eunice & Henry Alexander Yan Huang & Michael Barras Dottie Giordano David Arben, in memory of William J. dePasquale Julie & Michael Blackstone H. Craig Lewis Annette & Andrew Lin Mrs. Leslie Bahler, in memo- Marjorie & Howard Bleiman ry of William J. dePasquale Barbara & John Susan Ng & Andrew Maidment Jane W. Barton, in memory Blickensderfer, in honor of of Dr. Phillip R. Reeves Frank Giordano Sandy & Rich Marcucci Sara Becker, in memory of Susan & David Bravo Barbara J. Mitnick, in memo- William J. dePasquale ry of Howard J. Mitnick Tracy & Joseph Castelli Kathleen & William Bell Shobana & Ed Chan Cynthia Haines & Edward Mueller Marcia L. Berner Connie & James Clarke Nasreen Kara Rita Bevilacqua, in memory Sarah & Frank Coulson, & Akber Pabani of Richard Bevilacqua Jr. in memory of William J. Mary Bobolis dePasquale Elizabeth & Dewey Parker Kelly & Michael Perron Paula & Scott Booth, Diane & Theodore Danoff in memory of Dr. Phillip R. Thomas K. Flagg Manena Contreras Reeves & Omar Porras Katherine & Reginald Foy Ann & Scott Botel-Barnard Lyette & Bruce Richards Rich Goldberg Patrice M. Bove Betty Sherman Mandi Jo & David Hanneke Gertrude S. Brenner Kathryn M. Slaats Connor Haynes Caryn R. Brocklebank Susan Bleiman-Soll Rebecca Horner & Adam Soll Amanda & John Buoni & Chase Howse Dana Spain Edythe & John Cannon, Gladis & Richard Hwang in memory of William J. Heather & Richard Steinmetz Gisela & Herold Klein, dePasquale in memory of William J. Lisa & Greg Warshaw Stacey & Joseph Cannon, dePasquale Jennifer & David Wasserman in memory of William J. Jim Webster, in memory of dePasquale Dr. Phillip R. Reeves Sarah & Sean Williams Christopher Wolfington James Wyper 80

In Appreciation • 2012–2013

Deborah & Jonathan Carp, Margaret & Stephen Dana Joan M. Gaughens, in in memory of Helen T. Carp Monica & Willam memory of Phillip R. Reeves Giovanna Cavaliere, in DeGrandis, in memory of Geisler Family memory of William J. William J. dePasquale Yehuda Gilad, in honor of dePasquale Elizabeth DePeters, in mem- Delia Raab-Snyder Dr. Angelin Chang, in memo- ory of William J. dePasquale Marguerite & Stephen Goff, ry of William J. dePasquale Joel Derstine in memory of Dr. Phillip R. Beverly & Bertram Larry Deschler Reeves Channick, in memory of Jacqueline & Joel Goldfinger William J. dePasquale Dr. Joseph & Patricia DiLisi Judi Goldstein Benita & Anthony Checchia, Anne Marie Dimino in memory of William J. Joan Doyle Lara Gonzales dePasquale Cristin Dziekonski Paramesh Gopalakrishnan Jin Choi Eleanor V. Eason, in memory Phyllis Gosfield Min Chang & Dan Chu of William J. dePasquale Eileen Grafenstine, in Marjie & Tom Clement, in Christine & Paul Emata memory of Dr. Phillip R. Reeves honor of Julian Bell Clement, Elizabeth Engelman PYO Alumna John Granozio, in memory John B. Eurell, Esq. Rebecca Clement, in memo- of William J. dePasquale ry of William J. dePasquale Maria & Joseph Fabiano, Pearl & Larry Grika, in memory of William J. Dr. Walter Cohen in memory of William J. dePasquale dePasquale Manfred Collado Rita Ferrandino, in memory Sara Gubins Diane Collins of Dr. Phillip R. Reeves Brett B. Gutsche, MD Janet E. Conway Jane & Phillip Ferreira Louis K. Habina Joseph Conyers, in memory Barbara & Thomas of William J. dePasquale Finacchio, in memory of Elizabeth S. Harper, in honor of J.W.F. Lehman Regina Coyne, in memory of Dr. Phillip R. Reeves Richard Touhill Catherine Fish, in memory Lucinda & Roland Harper Carolina Cozza of William J. dePasquale Nancy G. Harris, in memory of William J. dePasquale John Crowther, in memory Beverly Flynn of William J. dePasquale Michael Foster Roth Catherine Hawkes Alysson Cwyk Linda Franklin, in memory of Dr. Phillip R. Reeves Willard E. Gandy, Jr., in honor of Joan F. Gandy Lily Gano 81

In Appreciation • 2012–2013

Eric J. Heidelberger, in mem- Elizabeth Klinger, in honor of Maureen & James McCabe, ory of Dr. Phillip R. Reeves Laura Hammons in memory of William J. Ellen & Joel Henkin, in Kathy Korsen dePasquale memory of Dr. Phillip R. Srinvas Kuchibotla Joseph McGovern Reeves Julianne Labrum, in memory Theresa & Robert McLaren Mr. & Mrs. Herbert Henze of Dr. Phillip R. Reeves Mrs. Wiliam L. McLean, Margaret Higgins, in memory Jay S. Lee III, in memory of William J. of Dr. Phillip R. Reeves dePasquale Kwangwoo Lee Louise & Harry Hill Jean McMurray, in memory Leslie & Cliff Lee, in memo- of Dr. Phillip R. Reeves Sharon & Isidore Hofferman ry of Dr. Phillip R. Reeves Mrs. & Mrs. William Hoffman Warren Medina-Riutort, Mi Lee in memory of Dr. Phillip R. Colleen M. Hood Yeanling Feng & Ninyun Lee Reeves Alexander Ioffreda Susan Lester, in memory of David Meketon Nicholas Ioffreda William J. dePasquale Sheri & Michael Melcher, Sherri Ioffreda Stan Levin, in honor of in memory of Sharon L. Florence Itoh Dorothy Giordano Scaglione Howard M. Janssen Doris Levine, in memory of Frederick Ifft & Thomas William J. dePasquale Mendicino, in memory of Dr. Joanne & Walter Jenkins Shuling Li Phillip R. Reeves Elizabeth & Benjamin Johns, Margaret & William Metz in memory of William J. Hillary Lichtenstein, in mem- dePasquale ory of William J. dePasquale Kathleen & Arthur Moffa Barbara & Charles Kahn, Jr., Qin Lin Amy Oshiro & Ricardo in honor of Nancy Hess Patricia O’Rourke Morales, in memory of William J. dePasquale Anne Kaplan & Loren Lind Richard A. Mulford Mauri & Andrew Kassner Wiliam Love, in memory of Dr. Phillip R. Reeves Dr. Steven J. Munzer Michael Kearney Cirel & Howard Magen, in Heather Murray, in memory Mary Kenly Gall, in memory honor of “Maestro” Dottie of Dr. Phillip R. Reeves of William J. dePasquale Giordano Frances Myers O’Brien, Eun Kim Lois & John Mair, in honor of in honor of Nanette Ruth Amy L. Kitzen Mr. & Mrs. Jim Newell O’Brien Robert F. Marvin Elizabeth Starr Masoudnia, in memory of William J. dePasquale Elizabeth & Joseph McAnally 82

In Appreciation • 2012–2013

Jessica Nataupsky, in memo- Deborah Reeder, in memory Carolyn Sica, in memory of ry of William J. dePasquale of Dr. Phillip R. Reeves William J. dePasquale Nancy & Michael Neary Llyod Z. Remick, Esq., in Robert H. Simpson Maria L. Newman honor of Louis Scaglione Rheta R. Smith Spiridoula & Angelo Donna Richardson Richard D. Smith Nicolaou, in memory of Dr. Jeanne Robin, in memory of Mr. & Mrs. Craig Snyder, Phillip R. Reeves Dr. Phillip R. Reeves in memory of Dr. Phillip R. Tracy & William Nugent Pamela & David Robinson, Reeves Nanette Ruth O’Brien, in memory of Dr. Phillip R. Fran Sorin, in memory of in memory of Maestro Reeves William J. dePasquale Primavera Suzanne S. Robinson, Ann & Gregory Sprissler in memory of William J. Hirono Oka, in memory of David Stedman William J. dePasquale dePasquale Gregory Rosenberg Suzin Steerman, in honor of Elizabeth Oliphant Philip & Evan Johnson Sharon Roszkowski, Kathleen Oliver, in memory Qiaongong Su of Dr. Phillip R. Reeves in memory of Sharon L. Scaglione Helen L. Swain Dr. & Mrs. Theodore Oslick Karl Rugart S.M. Long & A.J. Szabo Faye Peel Joan K. Ryan, in memory of Sara Tabby, in memory of Mrs. Lucille Penza William J. dePasquale William J. dePasquale Anna Marie Petersen, Rita & Charles Schedel, in Chik-Kwun Tang in memory of William J. honor of Margaret A. Schedel, Charles Taylor dePasquale DMA Elijiah Thomas Janet & James Peterson Clarence W. Scheuren Lisa & Roland Thompson Edward Petrone, in memory Debbie Schiller, in memory of Dr. Phillip R. Reeves of William J. dePasquale Tommy Tomlinson Angela Phillips Gertrude Schneider Laura, Pete & Gian Torrano Jacobs Janice & Robert Piazza, Gilda & Allan Schwalb in memory of William J. Nancy & Eric Trainer dePasquale Yumi & Henry Scott, in memory of William J. Mary Vare, in memory of Ann Marie Pocklembo dePasquale William J. dePasquale Marcia Prezioso Kathy Sellers Kathleen & David Vito Philip Mossburg Catherine Sharbaugh Carol & Joseph Voicheck & Edwin Probert Rebecca & Michael Sheldon Deborah Volker Nancy Minugh-Purvis & Robin & Philip Sheldon Ramona & Jack Vosbikian, Dougls Purvis, in memory of in memory of William J. William J. dePasquale Norman Shore dePasquale 83

In Appreciation • 2012–2013

Michael Wang Instrument Donations Trina Kan Christine Ward, in memory Amanda Buoni Michael Kearney of William J. dePasquale David Michie Violins, LLC Hyoung Kim Calvin Lee Lesley & Mark Weber Cynthia Gingrich Anne Hall Kristen Lee Cissie & Fred Weitzman Sheila Kles Annette & Andrew Lin Jerome Wigler, in memory of Shu Kot Qin Lin William J. dePasquale Roberto Lorenzo Alison & Jeffrey Linton Cynthia O’Neil Lisa Livezey Catherine Harper & Roy Naomi Maloney Winnick Lisa Shiota Elaine Spangler Crystal McTaggart Edward Yarwood Joan Sparks Lily & Andrew Mell Mia Chung-Yee & John Yee Cynthia Minkovitz Volunteers Nancy Neary Sandy Yoon Shirley Ouyang The PYO program could Elizabeth & Dewey Parker Louisa & Robert Young, not exist without the tireless Sue Patterson in memory of Dr. Phillip R. contributions of numerous Kelly Perron Reeves dedicated volunteers. The Angela Phillips Elizabeth Zechenter Administration and the Board Ann Porreca of Trustees wish to thank all Nancy Zehler Donna Richardson those listed below. Bradley Robinson Paul Zhang We apologize to anyone Deborah Schmidt Harriet Zilber, in honor of whose name has been inad- Gilda Schwalb Annabella Leslie & Benjamin vertently omitted Debi Scott Zilber or misspelled. Kathy Sellers Iris & John Zook Cindy Althouse David Smith Joy Bates Heather & Richard Steinmetz Baruch Ben Dor Qiaogong Su Mindyjane Berman Eric Trainer Susie Bleiman-Soll Tiffany Wang Amanda Buoni Rebecca & John Wells Christopher Burke Kimberly Wright Wenwen Cai Amy Wulfman Min Chang Sherry Xuan Connie Clarke Tina Xuan Diane Danoff Yao Yao Diane Doman Danyi Zhang Christine Emata Yong Zhao Lily Gano Diana Geisler Lori Goldfinger Becky Horner Steve Hsieh Renée Johnson 84

In Appreciation • 2012–2013

Special Thanks Free Library of Philadelphia Little Baby’s Ice Cream We thank the many special Chris Kottcamp, Pete Angevine, Owner individuals and organizations Library Coordinator Music in Philadelphia who supported our program Greater Exodus Baptist Charter Schools Festival in important ways, apart Church Musicopia from financial contribution, Rev. Herbert H. Lusk, II, Denise Kinney, in the past year. Founding Pastor Executive Director Benjamin Franklin Elizabeth Grimaldi Daniela Pierson, High School The Haverford School Conductor & Artistic Bryn Mawr College Steve Stephenson, Coordinator, Musicopia Lisa Zernicke, Director, Managing Director, String Orchestra Conferences and Events Centennial Hall Paone Design Associates Debra Chadwick, Stephan Didizian, Gregory Paone, Principal Secretary, Conferences Assistant Director, Joshua Bankes, Associate and Events Centennial Hall Ben Dickinson, Associate Camden Sophisticated Sisters Independence Visitor David Hanas, Associate Tawanda Jones, Director Center Parkway Corporation Chilly Philly Tiffany Weber, People for People Coleman Poses, Owner Marketing Manager Charter School Comcast Cable Company Indre Recording Studios Rev. Hebert H. Lusk, II, Michael Comstock, Founder Curtis Institute of Music Engineer Andre Williams, CEO Paul Bryan, Interim Dean Kimmel Center for the Pri Seebadri, Principal Nan Alderson, Director Dr. Gregory Allen, of Facilities Operations Performing Arts David Thiele, Vice Development Director Dad’s Hat Distillery President, Facilities, Philadelphia Chamber Music David Michie Violins, LLC Operations Society Joseph Dillon, Director, Early Head Start Philadelphia Festival of Production at The Children’s Hospital Young Musicians Casey Rodger, of Philadelphia Director, Facility Sales and Philadelphia Science Festival Donna Bibbs, Director Independent Presentations The Philadelphia Orchestra EducationWorks Jay Wahl, Director Robert M. Grossman, Craig Heim, Pennsylvania of Public Events & Festival Principal Librarian Assistant Director Partnerships Jason Shadle, Manager, First Presbyterian Church of King Roger, Production Education and Community Philadelphia Manager, Verizon Hall Partnerships Nicole Thornton, Emily Anastasi, Flutronix Production Manager, Coordinator, Education Perelman Theater and Community Beth Koenig, Partnerships Catering Sales Manager, Garces Catering 85

In Appreciation • 2012–2013

Philly in Focus Studio Incamminati The University of Please Touch Museum Nelson Shanks, Pennsylvania Heather Boyd, Founder & Artistic Director Molly McGlone, Assistant Literary Coordinator Jay Pennie, Dean for Advising Executive Director Upper Darby High School P.W. Graphics Andrew Yanelli, Paul Welde, Principal Encore Singers Director of Education Barbara Benglian, Director Saint James School Programming David Kasievich, Bill Wedo, Village of Arts and Head of School Communications Manager Humanities Aviva Kapust, Saint Mark’s Church, Temple Performing Executive Director Philadelphia Arts Center Rev’d Sean E. Mullen, Sean Roche, Event Whole Foods Market, Rector Service Manager Callowhill Jason De La Roi, Sexton Kerry Shepski, Marketing Temple University Esther Team Leader Saint Patrick’s Church Boyer College of Music and Father Daniel E. Mackle, Dance Windworks Studio Rector Dr. Vladimir Dyo, Sam Ash Music Chamber Ensembles Coordinator San Francisco Dr. Emily Threinen, Conservatory of Music Director of Bands, Jeffret Andrele, Associate Professor Adjunct Professor of Music School District of Elijah Thomas Philadelphia Dennis Creedon, Ed.D., Trinity Center for Urban Administrator, Office Life of Arts Education Robert Mann, Virginia Lam, Administrator Lead Academic Coach The Union League of John Zisk, Teacher Philadelphia Support Specialist Jeffrey McFadden, Settlement Music School General Manager Helen Eaton, Abby Kanak, Catering Executive Director Sales Coordinator Lucy Myers, Activities Director John Meko, Director, Youth Work Foundation Sabatino Tomeo, Food & Beverage Director Martin Hamann, Executive Chef 86

Season Performance Schedule • 2012–2013

Saturday, December 8, 2012 – 7:30 p.m. Friday, March 22, 2013 – 6:30 p.m. Bravo Brass Philadelphia Youth Orchestra Saint Mark’s Church, Philadelphia Philadelphia Young Artists Orchestra Bravo Brass Saturday, December 15, 2012 – 2:00 p.m. PRYSM Tune Up Philly Tune Up Philly The Greater Exodus Baptist Church 2013 PYO Gala Reception and Concert The Kimmel Center for the Performing Arts Tuesday, December 18, 2012 – 8:00 p.m. Philadelphia Young Artists Orchestra Sunday, April 14, 2013 – 7:30 p.m. Holiday Benefit Concert for St. James School Philadelphia Youth Orchestra Saint Mark’s Church, Philadelphia Temple University Performing Arts Center

Saturday, February 2, 2013 – 3:00 p.m. Wednesday, April 24, 2013 – 8:00 p.m. PRYSM & PRYSM Young Artists Philadelphia Youth Orchestra Centennial Hall, The Haverford School Philadelphia Science Festival Philadelphia International Festival of the Arts Sunday, February 17, 2013 – 7:30 p.m. The Kimmel Center for the Performing Arts Philadelphia Youth Orchestra The Kimmel Center for the Performing Arts Saturday, May 18, 2013 – 1:00 p.m. Tune Up Philly Sunday, February 24, 2013 – 6:00 p.m. 3rd Annual Festival Concert Philadelphia Young Artists Orchestra Free Library of Philadelphia Benefit Concert for the All-Philadelphia High School Music Festival Saturday, May 18, 2013 – 3:00 p.m. PRYSM & PRYSM Young Artists Philadelphia High School for Girls 6th Annual Festival Concert Centennial Hall, The Haverford School Saturday, March 2, 2013 – 7:30 p.m. Bravo Brass Sunday, May 19, 2013 – 7:30 p.m. Saint Mark’s Church, Philadelphia Philadelphia Young Artists Orchestra 18th Annual Festival Concert Sunday, March 3, 2013 – 4:00 p.m. The Kimmel Center for the Performing Arts Philadelphia Young Artists Orchestra Trinity Center for Urban Life Saturday, June 1, 2013 – 7:30 p.m. Bravo Brass Saturday, March 9, 2013 – 2:00 p.m. 10th Annual Festival Concert Tune Up Philly Saint Mark’s Church, Philadelphia Benjamin Franklin High School Sunday, June 2, 2013 – 7:30 p.m. Philadelphia Youth Orchestra 73rd Annual Festival Concert The Kimmel Center for the Performing Arts 87

PYO Organization Auditions • 2013

PYO and PYAO Bravo Brass Auditions are open to musicians from 10 Auditions are open to musicians from through 21 years of age. Advance registra- 12 through 21 years of age. tion is required. Visit us on the web for Advance registration is required. more information and online registration: Monday, June 10, 2013 www.pyos.org. Brass, Percussion Saturday, June 8, 2013 5:30 p.m. – 8:30 p.m. Strings, Harp, Keyboard Location: Saint Patrick Hall 9:00 a.m. – 5:00 p.m. Twentieth & Locust Streets Sunday, June 9, 2013 Philadelphia, PA 19103 Woodwinds, Brass, Percussion Contact: Paul Bryan, Director & Conductor 1:00 p.m. – 5:00 p.m. Phone: 215.435.1698 Location: Saint Patrick Hall Twentieth & Locust Streets Philadelphia, PA 19103 PRYSM & PRYSM Young Artists Contact: Colleen Hood, General Manager Auditions are open to student string play- Phone: 215.545.0502 ers ranging in age from 6 through 17 years. Email: [email protected] Advance registration is required. Friday, May 24, 2013 6:30 p.m. – 8:30 p.m. Location: Bryn Mawr College 101 North Merion Avenue Bryn Mawr, PA 19010 Contact: Colleen Hood, General Manager Phone: 215.545.0502 Email: [email protected] 88

Philadelphia Youth Orchestra Organization

Give to PYO Open Rehearsals The Philadelphia Youth Orchestra is a Philadelphia Youth Orchestra 501(c)3 non-profit charitable organization Saturdays, 8:30 a.m. – 12:00 p.m. which relies on the generous support Philadelphia Young Artists Orchestra of donors and foundations. If you would Sundays, 2:00 p.m. to 5:00 p.m. like to make a tax-deductible contribution, Bravo Brass please visit our website or mail your Mondays, 6:00 p.m. – 8:30 p.m. donation payable to: Saint Patrick Hall Philadelphia Youth Orchestra Twentieth & Locust Streets P.O. Box 41810 Philadelphia, Pennsylvania 19103 Philadelphia, PA 19101-1810 PRYSM Office: 215 545 0502 Fridays, 6:30 p.m. – 8:30 p.m. Bryn Mawr College Email: [email protected] 101 North Merion Avenue www.pyos.org Bryn Mawr, Pennsylvania 19010 Tune Up Philly Follow us on: Monday – Friday, 3:00 p.m. – 6:00 p.m. People for People Charter School 800 North Broad Street Member: Philadelphia, Pennsylvania 19130 • League of American Orchestras • Arts & Business Council of Greater Philadelphia PYO Annual Festival Program Book • Greater Philadelphia Cultural Alliance Editor: Colleen Hood, General Manager, • Pennsylvania Association Philadelphia Youth Orchestra Organization of Nonprofit Organizations Principal photography: Mark Garvin Program printing: Garrison Printing Kimmel Poster printing: Fidelity Graphics The PYO organization receives support Program book & poster design: from the Pennsylvania Council on the Paone Design Associates, Ltd. Arts, a commonwealth agency funded by the Commonwealth of Pennsylvania, As part of PYO’s commitment to the the National Endowment for the Arts, environment, this program was printed on the U.S. Department of Education and an FSC certified paper which is acid free, The Philadelphia Cultural Fund. elemental chlorine free and contains 50% recycled content including 25% from post consumer waste. The Forest Stewardship Council (FSC) is an international organization that brings people together to find solutions which promote responsible stewardship of the world’s forests. Learn more at www.fsc.org

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