WHAT’S INSIDE 3...... WELCOME FROM THE MUSIC DIRECTOR 5...... WELCOME FROM THE EXECUTIVE DIRECTOR 7...... WELCOME FROM THE BOARD CHAIR 8-11...... ABOUT THE ALBANY SYMPHONY OCTOBER 19, 2019: 15...... PICTURES AT AN EXHIBITION NOVEMBER 9, 2019: 25...... RACHMANINOFF SYMPHONY NO. 2 DECEMBER 7 & 8, 2019: 37...... MOZART’S “LINZ” SYMPHONY 46...... CONDUCTOR’S CIRCLE 47...... INDIVIDUAL GIVING 50...... IN HONOR, CELEBRATION, & MEMORY 51...... ENCORE SOCIETY 53...... 2019–2020 SPONSORS ALBANY SYMPHONY MUSICIAN 55...... HOUSING PROGRAM

ADVERTISING Onstage Publications Advertising Department 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. This program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business, Inc. Contents ©2019. All rights reserved. Printed in the U.S.A.

ALBANY SYMPHONY ORCHESTRA | 1 2 | ALBANY SYMPHONY ORCHESTRA In November, we’ll celebrate one of the most unusual musical instruments ever created—the theremin. This very first electronic instrument was invented 100 years ago by the Russian scientist, Leon Theremin. The world’s leading theremin virtuoso, Carolina Eyck, will join us for a new concerto by Dalit Warshaw, the centerpiece of an evening that will also include Borodin’s Prince Igor Overture and Rachmaninoff’s gorgeous, deeply moving masterpiece, his Symphony No. 2. In December, we mark the beginning of the holiday season with Mozart’s festive “Linz” Symphony, Pachelbel’s Canon, and a thrilling work by Andre Myers in collaboration with Albany High School. We’re particularly excited to welcome back soprano Talise Trevigne to perform Barber’s luminous Knoxville: Summer of 1915.

Please also stay tuned for more information about our January festival weekend, celebrating the life and works of Clara Schumann. Clara was one of the most remarkable women of the 19th century: a towering piano virtuoso and international superstar, WELCOME FROM THE composer, teacher, astute business person, devoted wife and mother (of eight children!). In addition to our MUSIC DIRECTOR subscription concerts, we’ll feature curated recitals covering the breadth of Clara’s chamber and vocal Dear Friends, music, and a wide variety of other community events.

Welcome to our 2019-20 season! We’re so excited In addition to our beautiful subscription concerts, I to embark on this new musical journey with you. This hope you’ll bring your family and friends to the Palace year, we are featuring and celebrating phenomenal Theatre for our annual holiday spectacular, The Magic women in music—composers, performers, and of Christmas, on December 14. conductors who enrich our musical landscape, past and present. To all of you who attend our concerts and support us in so many ways, we want you to know how much we Our season opens with its namesake, Valerie cherish you and your participation with us. It is your Coleman’s Phenomenal Women, featuring the five support that makes our music possible, and we are dazzling musicians of the Imani Winds as guest immensely proud to serve you. We hope all of your soloists. Each of the five movements of Phenomenal concert experiences this season are PHENOMENAL! Women celebrates a significant woman in recent American history: Maya Angelou, Katherine Johnson, Warm Regards, Serena Williams, immigrant women from the southern border, Michelle Obama, and Claressa Shields. The program also includes Leonard Bernstein’s Suite from On the Waterfront, and Mussorgsky’s monumental Pictures at an Exhibition. Speaking of David Alan Miller pictures, you can take home some extraordinary, Music Director never-before-seen photographs of the orchestra by our principal trumpet, Eric Berlin, who is also a brilliant photographer. A catalogue of his art, Music for the Eyes: Albany Symphony Musicians at Work, is available for purchase at our CD sales table in the lobby.

ALBANY SYMPHONY ORCHESTRA | 3 4 | ALBANY SYMPHONY ORCHESTRA Bartók during his final years in New York City, mixes Bermel’s jazz colors with Bartók’s Balkan rhythms. Mar de Setembro is based on the work of Portuguese poet Eugénio de Andrade.

The CDs are available for sale in the lobby or you can order them from Amazon; the Bermel CD is available also in streaming and mp3 formats.

The Albany Symphony is busy in our schools and community: Symphony In Our Schools, where David Alan Miller and our musicians introduce instruments of the orchestra to students in the 20 elementary schools of the Albany, Troy, and Averill Park districts; Monday Music, a fun-filled education concert at the Palace for 1,500 young listeners; Literacy Through Songwriting, where our composer educator works with students on music composition, storytelling, and improvisation; and Tiny Tots, introducing wee ones to the wonders of orchestral music. This year, we also presented free concerts, © Gary Gold Photography mostly outdoors, in Albany, Schenectady, Schuylerville, WELCOME FROM THE Hudson, and Troy. We are in process of seeking funding to do more free community concerts in Spring/ EXECUTIVE DIRECTOR Summer 2020, so stay tuned! Thank you for supporting and embracing the diversity Dear Friends, of Albany Symphony offerings and our commitment to “AND” not just “OR.” Familiar warhorses AND brand Thank you for joining us for the start of the Albany new works. Brilliant performances AND top-notch Symphony 2019–20 season! I’d like to use this space recordings. Phenomenal Women AND Phenomenal to let you know about some Albany Symphony activities Men. European AND Latin AND Jazz AND Bluegrass off the concert hall stage. AND Jazz AND Hip-Hop AND Classical AND Contemporary influences. Concert halls AND schools The Albany Symphony is busy in the recording AND outdoor venues. Longtime subscribers AND first- studio, committed to giving further voice to the time concertgoers. composers and music of our time. I am pleased to announce two new CD releases: When the world often seems divided, I hope that our concerts provide a time for you to experience new Sky (Albany Records), a disc of works by perspectives AND cherish the familiar, to escape to Michael Torke, takes its name from the bluegrass an inner world AND enjoy the fellowship of listening violin concerto you may remember from Tessa Lark’s to music together. joyful performance in January. The disc also includes West, South, and East, three concertinos featuring Thank you for Listening Adventurously with us. Peter Kolkay (bassoon), Ryan Roberts (oboe), and Albany Symphony’s principal clarinet, Weixiong All best wishes, Wang. Migrations (Naxos) is a disc of works by Derek Bermel. Migration Series, commissioned by Wynton Marsalis, takes its inspiration from Jacob Lawrence’s 60-painting series on the movement of African Americans from the South of the United Anna Kuwabara States to the North during the World Wars I and II. Executive Director A Shout, a Whisper, and a Trace, a tribute to Béla

ALBANY SYMPHONY ORCHESTRA | 5 6 | ALBANY SYMPHONY ORCHESTRA As you might have already guessed, diversity, equity, and inclusion (DEI) is an essential component of the Albany Symphony’s strategic vision. It’s extremely important to us that our programs and events are open to everyone—listeners of all ages, backgrounds, and abilities—and just as vital that our concerts and educational programs represent a broad and diverse spectrum of artists. Because we are deeply committed to DEI, the Symphony has created a Diversity, Equity, and Inclusion Task Force. This group has initiated a thoughtful process with expert resources to help us determine how we can better serve our community and the orchestral world. I firmly believe that our work in this area will not only improve our connections throughout our local and orchestral communities, but will also serve as a model as to how an orchestra can remain relevant in our changing world. If you have your own suggestions as to how the Albany Symphony can be a more welcoming place, please feel free to contact us!

All of this would not be possible without the support WELCOME FROM THE of patrons like you. Your ticket purchases and donations create a foundation for a future of exciting BOARD CHAIR and engaging programs on and off the stage. We are sincerely grateful for your continued participation.

Welcome to our new season! We believe that music is a gift that should be accessible to everyone—and we will continue to If this is your first time at the Albany Symphony, do our best to share that gift throughout our region. welcome! We hope you will enjoy our orchestra’s Whether the Albany Symphony has been part of your distinctive sound, and return many times to experience life for many years or you are only just beginning to our wide range of repertoire, programming, and learn about this wonderful organization, we hope our special events. Those of you who are subscribers concerts and programs will inspire you to think and or regular concert-goers will already recognize our feel deeply, and motivate you to introduce others to orchestra’s trademark combination of brand new the beauty of this art form. Thank you for being a part works and time-honored classics, which carries of our cultural journey! through to every program featured this year.

Our theme this season, Phenomenal Women, celebrates the centennial of women’s suffrage in the United States and the wide range of women musicians, composers, guest artists, and community leaders that make our art form great. At nearly every Jerry Golub concert, you’ll discover—or rediscover—one or more for the Albany Symphony Board of Directors featured artists, including powerful women of our past, great voices of our time, and the rising stars of our future. In addition, we’re excited to collaborate with other community organizations to create cross- disciplinary events celebrating these women and their contributions to orchestral music and our overall quality of life.

ALBANY SYMPHONY ORCHESTRA | 7 ABOUT THE ALBANY SYMPHONY

BIOGRAPHY DAVID ALAN MILLER, MUSIC DIRECTOR

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

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

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

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

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

ALBANY SYMPHONY ORCHESTRA | 9 10 | ALBANY SYMPHONY ORCHESTRA The Albany Symphony Orchestra’s string sections use ABOUT THE revolving seating. Players behind the stationary chairs change seats systematically and are listed alphabetically. ALBANY SYMPHONY ORCHESTRA PERSONNEL DAVID ALAN MILLER, HEINRICH MEDICUS MUSIC DIRECTOR

VIOLIN VIOLA OBOE BASS TROMBONE Jill Levy Noriko Futagami + Karen Hosmer Charles Morris CONCERTMASTER PRINCIPAL PRINCIPAL LIFETIME CHAIR, ENDOWED IN Grace Shryock TUBA GOLDBERG PERPETUITY BY THE Nathaniel Fossner Derek Fenstermacher + CHARITABLE TRUST ESTATE OF ALLAN F. PRINCIPAL Eiko Kano NICKERSON ENGLISH HORN ASSISTANT Sharon Bielik Nathaniel Fossner TIMPANI CONCERTMASTER ASSISTANT PRINCIPAL Kuljit Rehncy Elizabeth Silver ^ Daniel Brye ^ CLARINET PRINCIPAL Jamecyn Morey ^ Carla Bellosa Weixiong Wang + Paula Oakes ^ Ting-Ying Chang-Chien PRINCIPAL PERCUSSION Funda Cizmecioglu Anna Griffis IN MEMORY OF F.S. Richard Albagli PRINCIPAL Dana Huyge + DEBEER, JR. PRINCIPAL SECOND VIOLIN Hannah Levinson ELSA DEBEER Mark Foster Mitsuko Suzuki IN MEMORY OF Scott Stacey * ASSISTANT PRINCIPAL CELLO JUSTINE R.B. PERRY SECOND VIOLIN Susan Ruzow Debronsky -DAVID A. PERRY HARP Barbara Lapidus ^ PRINCIPAL Bixby Kennedy Lynette Wardle ENDOWED BY SPONSORED BY AL PRINCIPAL MARISA AND ALLAN DE SALVO & SUSAN BASSOON EISEMANN THOMPSON William Hestand PERSONNEL MANAGER Gabriela Rengel ^ Erica Pickhardt PRINCIPAL Susan Debronsky Brigitte Brodwin ASSISTANT PRINCIPAL ENDOWED IN Ouisa Fohrhaltz Petia Kassarova ^ PERPETUITY BY THE LIBRARIAN Heather Frank-Olsen Kevin Bellosa ESTATE OF RICHARD Elizabeth Silver Emily Frederick Matthew Capobianco SALISBURY Rowan Harvey Marie-Thérèse Dugré + VACANT HOUSING COORDINATOR Margret E. Hickey Catherine Hackert Daniel Brye Christine Kim Hikaru Tamaki HORN Sooyeon Kim William J. Hughes UNION STEWARD Aleksandra Labinska BASS PRINCIPAL Nathaniel Fossner Kae Nakano Bradley Aikman + Joseph Demko + Yinbin Qian PRINCIPAL Alan Parshley SYMBOL KEY Yue Sun Philip R. Helm Victor Sungarian ^ STATIONARY CHAIR Muneyoshi Takahashi ASSISTANT PRINCIPAL + ON LEAVE Harriet Dearden Welther Michael Fittipaldi ^ TRUMPET * SUBSTITUTE FOR Luke Baker Eric M. Berlin 2019-2020 SEASON James Caiello PRINCIPAL Jeffrey Herchenroder Eric J. Latini

FLUTE TROMBONE Ji Weon Ryu Greg Spiridopoulos PRINCIPAL PRINCIPAL Matthew Ross Karna Millen +

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OCTOBER 19 7:30PM PALACE THEATRE

PICTURES AT AN EXHIBITION DAVID ALAN MILLER, CONDUCTOR IMANI WINDS BRANDON PATRICK GEORGE, FLUTE TOYIN SPELLMAN-DIAZ, OBOE JEFF SCOTT, FRENCH HORN MARK DOVER, CLARINET MONICA ELLIS, BASSOON

Leonard Bernstein Symphonic Suite from “On the Waterfront” (1918 – 1990)

Valerie Coleman Phenomenal Women (B. 1970) Imani Winds I. Maya Angelou II. Katherine Johnson III. Serena Williams IV. Caravana V. Michelle Obama VI. Claressa Shields

INTERMISSION (20 Minutes)

Modest Mussorgsky Pictures at an Exhibition (1839 – 1881) Promenade I. Gnomus Promenade II. The Old Castle Promenade III. Tuileries IV. Bydlo Promenade V. Ballet of the Chicks in Their Shells VI. Samuel Goldenberg and Schmuyle VII. Limoges VIII. Catacombs Cum mortuis in lingua mortua IX. The Hut on Fowl’s Legs X. The Great Gate of Kiev Opening night is generously sponsored by:

All programs and artists are subject to change. During the performance, please silence and refrain from using mobile devices. Recording and photography any part of the performance is strictly prohibited. OCTOBER 19 7:30PM PROGRAM NOTES

Leonard Bernstein

eonard Bernstein (1918–1990) was a dynamic quadruple threat: pianist, conductor (the New L York Philharmonic, 1958–1969), composer, and teacher. He was also a clever crossover who was both An up-tempo section, replete with bluesy saxophone, urban and urbane, whose temperament came along follows—the pulse of a great city waking up. But the at the right time for American artists and audiences energy is tense, and rightly so: the film is a study of to embrace in person and on television. He was union corruption and violence and the courage of photogenic, garrulous, hip, passionate, and intelligent. one man to stand up to the boss, ironically named Schooled in the European and contemporary American Johnny Friendly. musical traditions at Harvard, he added to his academic The next section is melancholy; strings dominate. learning with stints at Tanglewood; undertook Broadway In the context of the movie, this passage evokes Terry’s collaborations with choreographer Jerome Robbins conflict with his conscience. Should he rat on the union (Fancy Free and West Side Story), and wordsmiths because he knows what they’ve done, or should he just Betty Comden & Adolph Green (On the Town and continue to go along? Wonderful Town) and Stephen Sondheim (West Side Story); and explored his Jewish roots in serious works Then a new melody emerges, emblematic of Terry and like the Jeremiah and Kaddish symphonies. Edie’s deep but difficult love. It gets a lavish treatment in the next part—dramatic, unresolved, heartbreaking. Symphonic Suite from “On the Waterfront” The familiar opening tune, transformed, and almost eonard Bernstein wrote the score for the 1954 self-mocking, is a bridge to the last two sections of movie, directed by Elia Kazan and starring Marlon the suite. In the first a fragment of the love music Brando (Terry) and Eva Marie Saint (Edie), all of L appears, but the instrumentation and the hesitations whom won Oscars. The music was nominated for an are unsettling. Then something magnificent occurs in Academy Award but lost to Dimitri Tiomkin’s work for the final section: the love music and the dock music The High and the Mighty. become intertwined, an apt musical move because The suite opens with a haunting horn solo, one that Terry now has stood up to Johnny Friendly and achieved suggests the quiet mornings along the Hudson River integrity (wholeness) as both a working man and a man just before the dock workers arrive for the day. Listen capable of romantic love. It is a stunning conclusion. carefully to this tune; it reappears throughout the suite. Program notes by Paul Lamar

16 | ALBANY SYMPHONY ORCHESTRA OCTOBER 19 7:30PM PROGRAM NOTES

her music is considered to be standard repertoire. She is perhaps best known for UMOJA, a composition that is widely recognized and was listed by Chamber Music America one of the “Top 101 Great American Ensemble Works.” Valerie Coleman With over two decades of conducting masterclasses, escribed as one of the “Top 35 Female Composers lectures and clinics across the country, Valerie is a in Classical Music” by critic Anne Midgette of highly sought-after clinician and recitalist. Recently, Dthe Washington Post, Valerie Coleman (B. 1970) she has immensely enjoyed being the featured guest is among the world’s most played composers living artist of flute fairs around the country, such as Mid- today. Whether it be live or via radio, her compositions South, South Carolina, Colorado, New Jersey, and are easily recognizable for their inspired style and can Mid-Atlantic, and was also featured as an artist in be throughout venues, institutions and competitions residence at Boston University Tanglewood Institute, globally. The Boston Globe describes Coleman as LunArts Festival, and the National Women’s Music a having a “talent for delineating form and emotion Festival. Future appearances include Florida Flute with shifts between ingeniously varied instrumental Society, Portland, Seattle, Long Island and North combinations” and The New York Times observes her Carolina Flute Fairs, and residencies at Yale, University compositions as “skillfully wrought, buoyant music.” of North Dakota, Virginia Tech, and many more. With With works that range from flute sonatas that recount her ensemble, she was recently an artist-in-residence the stories of trafficked humans during Middle Passage at Mannes College of Music, served on the faculty of and orchestral and chamber works based on nomadic Banff Chamber Music Intensive and was a visiting Roma tribes, to scherzos about moonshine in the lecturer at the University of Chicago. Mississippi Delta region and motifs based from Morse Valerie is known among educators to be a strong Code, her body of works have been highly regarded advocate and mentoring source for emerging artists as a deeply relevant contribution to modern music. and ensembles around the country. In 2011, she A native of Louisville, Kentucky, Valerie began her created a summer mentorship program in New York music studies at the age of eleven and by the age City for highly advanced collegiate and post-graduate musicians, called Imani Winds Chamber Music Festival. of fourteen, had written three symphonies and won th several local and state performance competitions. Now in it’s 9 season, the festival has welcomed She is the founder, creator, and former flutist of the musicians from over 100 institutions both national and Grammy® nominated Imani Winds, one of the world’s abroad. ​Her works are published by Theodore Presser, premier chamber music ensembles, and is currently an International Opus, and her own company, V Coleman Assistant Professor of Performance, Chamber Music, Music. Her music can be heard on labels: Cedille and Entrepreneurship at the University of Miami. Records, BMG France, Sony Classics, Eone (formerly Through her creations and performances, Valerie has Koch International Classics) and Naxos. carved a unique path for her artistry, while much of

ALBANY SYMPHONY ORCHESTRA | 17 OCTOBER 19 7:30PM PROGRAM NOTES

Imani Winds composer Paquito D’Rivera and pianist and composer Jason Moran. Their ambitious project, “Josephine elebrating 20 years of music making, the Baker: A Life of Le Jazz Hot!” featured chanteuse Grammy® nominated Imani Winds has led René Marie in performances that brought the house Cboth a revolution and the evolution of the wind down in New York, Pittsburgh, San Francisco, quintet through their dynamic playing, adventurous Los Angeles and St. Louis. programming, imaginative collaborations and outreach endeavors that have inspired audiences of Imani Winds’ commitment to education runs deep. all ages and backgrounds. The group participates in residencies throughout the U.S., giving performances and master classes The ensemble’s playlist embraces traditional chamber to thousands of students each year. Academic and music repertoire, and as a 21st century group, Imani institutional residencies include the Chamber Music Winds is devoutly committed to expanding the wind Society of Lincoln Center, Duke University, the quintet repertoire by commissioning music from new University of Chicago, Curtis Institute of Music, the voices that reflect historical events and the times in University of Michigan, Da Camera of Houston and which we currently live. numerous others across the country.

Present and future season performances include a The ensemble launched its annual Imani Winds Jessie Montgomery composition inspired by her great- Chamber Music Festival in 2010, bringing together grandfather’s migration from the American south to the young instrumentalists and composers from across north; and, socially conscious music by Andy Akiho North America and abroad for exploration and designed to be performed both on the concert stage performance of the standard repertoire and newly and in front of immigrant detention centers throughout composed chamber music. Festival participants also the country. take part in workshops devoted to entrepreneurial and outreach opportunities, with the goal of creating the Imani Winds regularly performs in prominent complete musician and global citizen. international concert venues, including Carnegie Hall, Lincoln Center, the Kennedy Center, Walt Disney Imani Winds has six albums on Koch International Hall and the Kimmel Center. Their touring schedule Classics and E1 Music, including their Grammy® has taken them throughout the Asian continent, Brazil, Award nominated recording, The Classical Australia, England, New Zealand and across Europe. Underground. They have also recorded for Naxos and Blue Note and released Stravinsky’s “Rite of Spring” Their national and international presence include on Warner Classics. performances at chamber music series in Boston, New York, Washington, D.C., San Francisco, Philadelphia Imani Winds is regularly heard on all media platforms and Houston. Festival performances include Chamber including NPR, American Public Media, the BBC, Music Northwest, the Santa Fe Chamber Music SiriusXM, the New York Times and the Wall Street Journal. Festival, the Ravinia Festival, Chautauqua, Banff Centre and Angel Fire. In 2016, Imani Winds received their greatest accolade in their 20 years of music making: a permanent Imani Winds travels through the jazz world are presence in the classical music section of the highlighted by their association with saxophonist Smithsonian’s National Museum of African American and composer Wayne Shorter, woodwind artist and History and Culture in Washington, D.C.

18 | ALBANY SYMPHONY ORCHESTRA Ekphrasis

dna St. Vincent Millay found the inspiration for OCTOBER one of her sonnets in a symphony by Beethoven. EAuden gave us “Musee des Beaux Arts” after looking at a Brueghel painting. Lorraine Hansberry 19 knew the Langston Hughes poem that contains the line 7:30PM “a raisin in the sun.” And Granados left us a group of piano pieces called Goyescas, inspired by the Spanish PROGRAM NOTES painter Francisco Goya.

Tonight’s pieces are in the same vein, exemplifying ekphrasis, that is, the creation of a work of art based on another work of art. Coleman’s title comes from a poem by Maya Angelou; Mussorgsky was inspired by paintings; and Bernstein came up with a score for a movie.

Phenomenal Women

HENOMENAL WOMEN is a concerto for Wind Quintet and Chamber Orchestra, premiered by PImani Winds and American Composers Orchestra on November 2nd, 2018, with a following performance by Orpheus Chamber Orchestra at the Library of Congress in 2019. Inspired by Maya Angelou’s poem and book, PHENOMENAL WOMAN, the Concerto is intended to shout an empowered tone as the arc of the multi-movement work leaps through storied moments of adversity and achievement. Modest Petrovich Mussorgsky

Musical motifs are drawn from Angelou’s sensuous ussian composer Nikolai Rimsky-Korsakov once and peppery verses, carrying emboldened harmonies said that Mussorgsky’s opera Boris Godunov and improvisational-stylized riffs from the soli, evolving Rcontained “absurd, disconnected harmony, ugly into virtuoso exchanges between forces. part-writing, sometimes strikingly illogical modulation, a depressing lack of modulation, unsuccessful Each movement contains an overview of pivotal scoring.” That observation might be an apt description moments and characteristics found within the lives of stretches of Mussorgsky’s life itself, fragmented as of each ‘shero’, that serve as catalysts from which it was by financial insecurity, bouts of alcoholism, main movements emerge and develop. The spirit and periods of dementia, and the various demands of process behind the movements are informed by the civil service jobs and music. At his death in 1881 in efforts of phenomenal women who have energized me St. Petersburg at the age of 42, he left behind a through their transcendental efforts: the struggles that number of unfinished works. poet Maya Angelou faced her life and her impact in the lives of women globally; how Olympic Gold medalist He seems, however, to have been generally certain Boxer Claressa Shields is making a difference in of his artistic philosophy throughout, which was the her hometown of Flint, Michigan, a town ravaged by celebration of Russian national culture. He believed contaminated water; athlete Serena Williams’ ongoing that art should reveal the life of the common people, perseverance on the tennis court to become one the that musical utterance should reflect the speech greatest athletes of all time; Michelle Obama’s grace intonation of the people, and that this speech intonation under pressure as the First Lady, mom and advocate superseded musical form. for families and children; and the courage of immigrant mothers who have risked their lives to enter the United Rimsky-Korsakov probably thought he was being States and are fighting to reclaim their children. helpful when he undertook a radical editing of The segments are written with the capabilities and Mussorgsky’s compositions, so that they would personalities of each Imani Winds member in mind. – Valerie Coleman ALBANY SYMPHONY ORCHESTRA | 19 somber tones; quarreling children in the Tuileries; slow-moving cattle in a Polish village; lively chicks; OCTOBER two Polish Jewish men; a noisy French marketplace; gloomy Paris catacombs; the hut of a malevolent witch; and the Heroes’ Gate at Kiev, a project that was only 19 designed but never executed. 7:30PM Mussorgsky even gets into the scene by writing PROGRAM NOTES a promenade depicting him wandering through the exhibit. This is the first music we hear, and it reappears from time to time. We, the listeners, thus look at Mussorgsky looking at the pictures: whenever be shapely and performance-ready. But there was we heard the promenade section, we seem to be riding ultimately a backlash in 1928 against this prettying on the composer’s shoulders, strolling from painting up of things when a complete collected edition of the to painting. The promenade gets shorter and shorter original manuscripts was undertaken in Russia. Today each time it reappears as if to suggest that Mussorgsky we have Mussorgsky raw. (and we) are becoming more and more caught up in the artwork. At one point the music describes four Pictures at an Exhibition pictures in a row.

ictures at an Exhibition is Mussorgsky’s response Various composers have transcribed these piano to a memorial showing in 1874 of 400 sketches pieces for other combinations of instruments, but it P by his friend, artist Viktor Hartmann, who had is Maurice Ravel’s orchestration from 1922 that is the died suddenly the previous year at the age of 39. most famous and the one that is being played tonight.

These 10 musical descriptions came quickly to the Program notes by Paul Lamar composer. Within two months of seeing the exhibition, he had completed a set of piano pieces which capture the spirit of, in the following order, a gnome (an awkward little scherzo); a medieval castle, drawn in

20 | ALBANY SYMPHONY ORCHESTRA ALBANY SYMPHONY ORCHESTRA | 21 22 | ALBANY SYMPHONY ORCHESTRA ALBANY SYMPHONY ORCHESTRA | 23

NOVEMBER 9 7:30PM PALACE THEATRE

RACHMANINOFF SYMPHONY NO. 2 DAVID ALAN MILLER, CONDUCTOR CAROLINA EYCK, THEREMIN

Alexander Borodin Overture to Prince Igor (1833 – 1887)

Dalit Warshaw Sirens: A Concerto for Theremin (B. 1974) and Orchestra I. Clara’s Violin II. Ulysses III. Fugal Horn

INTERMISSION

Sergei Rachmaninoff Symphony No. 2 in E minor, Op. 27 (1873 – 1943) I. Largo-Allegro moderato II. Allegro molto IV. Adagio V. Allegro vivace This concert is generously sponsored by:

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

ALBANY SYMPHONY ORCHESTRA | 25 NOVEMBER 9 7:30PM PROGRAM NOTES

Alexander Borodin

merican composer Charles Ives was a successful insurance salesman, as was poet A Wallace Stevens. Playwright Anton Chekhov was a physician. And Russian composer Alexander Borodin And like the other members of The Five, he was (1833–1887) was a chemist and doctor. interested in the literature of Russia. Prince Igor is th Borodin was born and died in St. Petersburg. During based on a 12 -century poem about a prince who is his nearly 54 years he achieved renown in both his captured by the Mongols, held prisoner, and tempted profession and his hobby, music, though his musical with attractive women, but who ultimately escapes and output was small: two symphonies, one opera, a returns home to his wife. symphonic poem, and some chamber music. In fact As with all overtures, this one presages music to be he seemed often to be scrambling to accommodate heard later in the opera. his interest in both fields. As Bagar and Biancolli point out, in Borodin’s attempts to satisfy certain professional An ascending scale from the low voices in the obligations, he misplaced the manuscript of part of orchestra suggests drama lies ahead. Brass—royal his Symphony No. 2 just days before the premiere in instruments—command our attention and pivot us to a 1870. In the nick of time he prepared another copy. brisk section, followed by a lovely French horn lick that Were it not for the help of fellow composers Rimsky- the flute and winds and, ultimately, the strings take up. Korsakov and Liadov, he would not have been ready for the premiere of the “Polovetsian Dances” from the A colorful dance-like passage ensues, followed by opera Prince Igor in 1879. Finally, when he died with familiar sweeping melodies, and the whole thing ends the opera unfinished, Rimsky-Korsakov and Alexander with pell-mell playing to a conclusive D. Glazunov (to whom we owe the Overture, based on Borodin’s sketches) had to finish it. Program notes by Paul Lamar

No matter how the work was done: we have it. Judge Dalit Warshaw for yourself in Franz Liszt’s hearty stamp of approval— “You Russians are indispensable to us! Without you I n internationally acclaimed composer, pianist am powerless. You have a quick and vital spring within and thereminist, Dalit Warshaw’s works have you; the future belongs to you”—is as convincing today A been performed by numerous orchestral as it was when he and Borodin met in 1877. ensembles, including the New York and Israel Philharmonic Orchestras (Zubin Mehta conducting), Overture to Prince Igor the Boston Symphony, the Cleveland Orchestra, the Houston Symphony, the Albany Symphony and the orodin was one of The Five, a group of young, Grand Rapids Symphony. mid-19th-century Russian composers who Bwanted to create a particular Russian music. As After becoming the youngest winner of the BMI the editors of World Music suggest, Borodin reveled in Award for an orchestral work written at the age of “rich and varied rhythm and remarkable melody. eight, Warshaw’s music has been widely praised He owed much of this distinctive character to his for its lyricism, unique orchestral palette, distinctive predilection for Oriental rhythms and tones.”

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orchestration there from 2000 to 2005. Additional awards include five ASCAP Foundation Grants to Young Composers, a Fulbright Scholarship to Israel, a Charles Ives Scholarship from the American Academy of Arts and Letters, and two BMI Awards. Warshaw has held harmonic vocabulary, sense of drama, emotional multiple residencies at the Yaddo and MacDowell Artist intensity and vivid portrayal of character. After being Colonies, and is a graduate of Columbia University awarded a Guggenheim Fellowship in 2016, she and the Juilliard School. She currently teaches on the then received an OPERA America Discovery Grant for composition faculties of CUNY–Brooklyn College and her monodrama The Letters of Mademoiselle C., in the Juilliard Evening Division. Her CD, Invocations, addition to the Goddard Lieberson Fellowship from the was released in January 2011 and is available on American Academy of Arts and Letters, given to mid- Albany Records. career composers of exceptional gifts. Sirens: A Concerto for Theremin and Orchestra As a pianist, Warshaw has performed widely as both Note from the composer: soloist and chamber player, in venues as diverse as Avery Fisher Hall, Miller Theater, Alice Tully Hall and first met theremin virtuoso Clara Rockmore when I the Stone, her repertoire ranging from the piano was a very young girl, during one of my frequent visits concerti of Mozart, Schumann and Grieg to her own I to her sister, the brilliant pianist Nadia Reisenberg. compositions and improvisations. She has soloed with Nadia was a significant mentor during my early the Rockland Symphony, Cheyenne Symphony, and the musical development as a pianist and composer Misgav Chamber Players under the direction of Lukas until her passing in 1983. When I first heard Clara Foss, and premiered Conjuring Tristan, her “narrative play her theremin, I was immediately struck by her concerto for piano and orchestra,” with the Grand incomparable tone that suggested a sonic mélange Rapids Symphony in 2015. She was described by the of violin and voice merged with the otherworldly. My Grand Rapids Press as “a graceful and sensitive pianist affinity for the instrument led Clara to begin teaching [and] an intriguing orchestrator who draws a wealth of me in 1991, when I was 16 years old, inviting Bob colors from an ensemble.” Moog to study her theremin (custom-built for her by the inventor, Leon Theremin) so that he could build a Having studied theremin with the renowned Clara replica for me, my Moog 91W model. Rockmore from an early age, she has appeared as theremin soloist with the Boston Modern Orchestra Upon Clara’s death in 1998, I resolved to realize her Project, the New York Festival of Song, and the San vision of the theremin’s admittance onto the roster Francisco Symphony, also performing with the New of serious classical instruments, by creating for it a York Philharmonic, the Boston Symphony, the American repertoire of art music that would reveal its hidden Symphony Orchestra and the Royal Stockholm yet innate expressive potential and highlight the Philharmonic, among other ensembles. many various potential dramatic and technical facets of the instrument, aside from more obvious novelty A full-time faculty member of the composition/theory effects such as large multiple-octave glissandi, heavy department at the Boston Conservatory from 2004 vibrato and capacity for dynamic extremes. While I to 2014, Warshaw obtained her doctorate in music have featured the theremin in works for instrumental composition from the Juilliard School, also teaching ensembles of varying sizes and varieties for years, my

ALBANY SYMPHONY ORCHESTRA | 27 lilting evocations of pianistic Romanticism in the first NOVEMBER movement), her violin, her theremin (also the basis of a “Thera-fugue” in the last movement), even the KGB (responsible for the mysterious and sudden kidnapping of Termen from his New York apartment by the Soviets 9 in 1938). 7:30PM The piece begins from the depths, as the theremin PROGRAM NOTES emerges in slow glissando from a smoky orchestral drone of low B, alighting upon certain notes punctuated by pizzicato in the orchestra, like sparks among embers. The following names arise from the dark: “CLARA” ultimate goal was to compose a concerto for theremin (B-G#-A-D-A, the first—and foremost—leitmotif to and orchestra that would feature its timbral versatility unfold), “ROCKMORE,” along with the musical iteration and capability to blend within—and solo above—an of my own name. A crescendo leads to an arrival on C# orchestral music context. (spanning a three-octave leap), and the proclamation of the leitmotif “THEREMIN.” A waltz wanders in, a second The theremin has many paradoxical qualities. It is theme based upon Clara’s name. Her sister, “NADIA,” an electronic instrument, yet can sound profoundly puts in an appearance, along with her instrument, musical, even human. While it is the forerunner for “PIANO,” as theremin and piano play a duet, in tribute so many subsequent technological inventions ranging to the sisters’ close relationship and collaboration. from high security alarm systems to the synthesizer, it also remains the electronic instrument most sensitive The beginning of the development section marks to human presence, despite the fact that it is played a return to the opening abyss, in which the earlier without being touched. Playing the theremin presents leitmotifs are further explored, ultimately leading to its highly unique challenges and marvels, among them the appearance of the “KGB” leitmotif, as it happens, dealing with its imaginary, fluctuating aerial fingerboard represented aptly by a bleak Ab minor triad. From the (for which having absolute pitch is preferable). Also, depths of the “KGB,” the theremin commences its dynamics and articulations are achieved inversely, cadenza (also entitled “The Emergence”), an emotive as the default state of the instrument—when at exploration of previous material. After the theremin rest—is sound, the hand carving away at its negative gives up its ghost, “Clara’s Violin” theme returns once space much like a sculptor chisels at stone, through again, as a duet with the piano prominently figured, interference within the electromagnetic field. To although the solo violin has taken the theremin’s place. perform the theremin as the inventor intended was to imprint the human musical capacity and technique Movement II: “Ulysses” onto the non-human: it was to lend soul to a machine. he second movement, “Ulysses,” enacts Kafka’s Movement I: “Clara’s Violin” parable “The Silence of the Sirens,” based on THomer’s tale from the Odyssey. Kafka presents he fascinating tale of this instrument, its inventor, a unique, alternative theory regarding the nature of and the various historical personalities involved the musical torment inflicted by the deadly Sirens Tin its development begged to be addressed upon the sailors’ ears: he maintains that even more through music. The first movement of Sirens, entitled lethal than their song was, in fact, their punishing “Clara’s Violin,” highlights Clara’s deep and early interruptions of silence. I gravitated toward this story relationship with the violin then sublimated into her in part as it presented the perfect opportunity to explore theremin playing. It is also a musical depiction of the breathtakingly seductive lyrical quality of the Clara’s own personal and musical story, the narrative theremin, awakened when given the opportunity to sing created through an interaction of leitmotifs derived melodically. I also sought to instate a self-challenge as from the names of the related characters and the a composer: to create an atmosphere so unsettlingly instruments they played. In addition to the leitmotif for beautiful as to tantalize the listener, the Sirens’ melody Clara Rockmore, included are the inventor (and her (and corresponding leitmotif) interrupted at odd suitor) Lev Termen, her sister Nadia (invoked, alongside moments with increasingly deafening silences. Finally, another leitmotif derived from the word “piano,” in the

28 | ALBANY SYMPHONY ORCHESTRA after the most climactic—and ecstatic—expression of yearning, we hear the anguished cries of Ulysses NOVEMBER (along with the introduction and development of his leitmotif). The Sirens’ ultimate response, of mystery and irresolution, is in the form of a loop canon in two voices (as the Sirens were a pair!). We are left alone, 9 facing our own silence with an ethereal high F. 7:30PM Movement III: “Fugal Horn” PROGRAM NOTES ur trance is interrupted by the third movement, “Fugal Horn,” a romping, scherzando fugue Othat degenerates into the final type of “siren” presented in this concerto: an alarm, evoked by the wide glissando effect that is one of the instrument’s trademarks (not unlike the orchestral “siren” utilized frequently by composers of the early-mid-20th century, notably Varese). This “Thera-fugue” is based upon the following leitmotifs: “THEREMIN” (as fugue subject), “DALIT” (as countersubject #1), and “CLARA” (as countersubject #2). A large crescendo leads to a climactic standoff between theremin and orchestra, as the two entities parry back and forth in dramatic, widely spanned glissandi. They finally join forces as a “meta-theremin,” playing the “thera-fugue” subject, disguised via large, swooping octave displacements, in complete unison. After a climactic shriek on high F (the ultimate alarm, or horn!), we are catapulted down to a last resolution on the original tonal center of the piece (the note B), above which leitmotifs bearing the Carolina Eyck composer’s name (excepting one last wink from the C-minor “KGB” leitmotif) sign off the work. Finally, arolina Eyck is a German-Sorbian musician and leitmotifs based upon my own signature conclude composer, largely recognized as the world’s the piece. Cleading theremin virtuoso. She was awarded the Echo Klassik Prize for “Concert Recording of the Many thanks to the Guggenheim Foundation, which Year” in 2015. Of her 2019 Tiny Desk concert, NPR provided me the Fellowship that enabled composition reports, “to play the theremin like Eyck does, with her of this work. Sirens is dedicated in memoriam to lyrical phrasing and precisely ‘fingered’ articulation, Clara Rockmore. takes a special kind of virtuosity.” Electronic Musician reports, “Eyck modernizes the theremin, merging it Program note by Dalit Warshaw within the classical tradition like child’s play,” while Cicero calls her the “queen of the theremin.”

Carolina Eyck was a child prodigy, beginning her studies at age seven with Lydia Kavina and developing her own eight-finger-position playing technique by age 16. She published The Art of Playing the Theremin, which teaches her technique, at just 17 years old. Her method is now being used by thereminists around the world and has revolutionized how the instrument is played.

As a chamber musician, Eyck has collaborated with Heinz Holliger, Robert Kolinsky, Gerhard Oppitz, the conductors Andrey Boreyko, Michael Sanderling,

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Gürer Aykal, John Storgårds and Brad Lubman. She has performed in concert halls around the world and has been a soloist with the Berlin Radio Symphony Orchestra, Brussels Philharmonic, Argentine National Symphony Orchestra, the Dresden Philharmonic, the Bern Symphony Orchestra, the Lapland Chamber U.S. highlights include performances presented by Orchestra, and the Heidelberg Symphonic Orchestra. the National Gallery of Art, Strathmore Mansion, and Concertos for theremin and orchestra have been San Francisco Ballet. written for Eyck by Kalevi Aho, Andrew Norman, Dalit Warshaw, and Régis Campo. She was also For more information, visit www.carolinaeyck.com. featured in the premiere of Fazil Say’s Universe and Mesopotamia Symphonies. Sergei Rachmaninoff

She enjoys collaborating with contemporary artists lthough it may sound incredible, this cure from a variety of genres, and has performed or really helped me. By the beginning of the recorded with rock legend Steve Vai, singer-songwriter “A summer, I again began to compose.” Gotye, DJ Jeff Mills, guitarist Jim Moginie, Tangerine Dream, multi-instrumentalist Jacob Colliert, and The cure was hypnosis; the summer was that of 1900; vocalist Theo Bleckmann, among others. Eyck has the composer was Sergei Rachmaninoff (1873–1943), also performed in a duo with pianist and composer then 27; the composition was the Piano Concerto No.2. Christopher Tarnow since 2013, producing two records. The treatment, provided by Dr. Nikolai Dahl, was for In 2016, she released an album featuring her own Rachmaninoff’s depression and creative paralysis, composition Fantasias for Theremin and String Quartet brought on by the disastrous premiere of the Symphony with the American Contemporary Music Ensemble. No. 1 and, some aver, an unhappy meeting with a Eyck’s next album, Elegies for Theremin and Voice, crotchety and belittling Tolstoy. Dahl, an amateur features her original compositions and improvisations string player, was so long and prominently associated and will be released in September 2019 in connection with Rachmaninoff’s recovery that in 1928, while with the 100th anniversary of the invention of performing in the viola section of an orchestra in Beirut, the theremin. he was prevailed upon by colleagues and the audience to stand and take a bow. Carolina Eyck regularly conducts theremin workshops, lectures, and master classes worldwide. She is the Of course, by that time Rachmaninoff had become artistic director of the Theremin Academy in Colmar fabulously famous as both piano virtuoso and (France), Leipzig, and Berlin (Germany). In 2018, she composer. He had traveled the world; he was wealthy gave a TEDx Talk about the symbiosis of self‑control and living in exile from his beloved Russia in Beverly and freedom while playing the theremin. A documentary Hills. His reputation was firmly based on the Piano about her work, Carolina and the Waves, is currently Concerto No. 3, composed for a U.S. tour in 1909; in production. tonight’s piece, the Symphony No. 2 ; and many piano pieces. In other words, Dahl’s bow was well-deserved. Highlights for Eyck’s 2019–2020 season include solo performances with the BBC Philharmonic, Boston Three more major works were yet to be written: the Modern Orchestra Project, and Albany Symphony, as Rhapsody on a Theme of Paganini, for piano and well as a U.S. tour in connection with the release of orchestra; the Symphony No. 3; and, in 1940, his last her album, Elegies for Theremin and Voice. Recent composition, one which many critics count among his best, the Symphonic Dances. Rachmaninoff remained an unabashed romantic throughout his professional career; while other NOVEMBER composers explored dissonance in general or atonality in particular, he stayed the course laid out by the masters of the 19th century. Also, the three symphonies and the four piano concertos are in minor 9 keys, emblematic of his rather soulful spirit. 7:30PM Symphony No. 2 PROGRAM NOTES his, the second and most often played of Rachmaninoff’s three symphonies, was Tpremiered in 1908 in St. Petersburg, the and you grow older…and you think, consider. When composer conducting. you hear such as this, there are no years.” “The third movement simply tears your heart apart…so sad, so In his commentary about the first movement of this deep, so soulful…” work, Edward Downes says, “This is developed to a series of climaxes.” The phrase might be the key to OK, how does Rachmaninoff achieve such beauty in the why everyone likes Rachmaninoff’s works: he seems third movement, marked adagio? Instrumentation, for to toy with our emotions by building up to one climax one. The strings play the opening phrase (basically a after another, each seemingly more tension-packed six-note phrase that returns again and again) with great and beautiful than the previous one. There is a kind of warmth. Then a lone voice—here the clarinet—unfurls push me/pull you effect, brought about by changes in a long line that seems to have no end. tempi and volume. And the tunes are always ravishing. The phrases climb and descend. The first movement, in sonata-allegro form, begins hauntingly in the low strings. A wind choir follows, and The volume swells and diminishes. then the violins take over with a wandering theme, often by half-steps, that can only be described as “yearning.” The silences are powerful.

Soon, and almost imperceptibly, two new things The conversation between two winds of great happen: the tempo increases and the searching line poignance—the English horn and the oboe—speak hits, here and there, sweet major chords. profoundly about grief.

The English horn provides a bridge to a second theme, Just when you thought there were no greater tunes a little lighter and more animated. The two themes are than the ones in the first two movements, here comes developed, rising and falling, swelling and contracting, that third movement. Unbelievable. till the recapitulation brings back the opening violin melody, and the movement, clocking in at about 18 The fourth movement, marked allegro vivace, opens minutes long, comes to a decisive close. with a kind of laughing figure, a clamorous and extroverted bit of business. The second movement is, for all intents and purposes, in rondo form; that is, the initial material—galloping But what’s this? After the bumptious beginning comes along with strong accents—returns between other another soaring melody. Another? Or is it one we’ve sections of different character. For example, after the heard before. The former, but in short order we DO opening, the clarinet provides a bridge to a passionate hear a snippet of that adagio tune, and later, in the outpouring of melody in the strings. After a return to the flute, there’s a reference to the first movement melody. opening material, a section is announced with a wallop The overall character of the movement is, however, in the bass drum and a clash of cymbals, heralding rough-and-tumble, with staccato and pizzicato playing. a fugue-like passage. After more back and forth, the And then Rachmaninoff’s creative genius takes over movement simply evaporates! in an ending that miraculously honors the puckish and One of the pleasures of watching YouTube is to the lyrical, with all forces playing full-out. read the comments of other listeners. Here are a What a glorious hour it has been. few observations: “The adagio is musical bliss.” “An absolute master of his craft.” “The years pass over you, Program notes by Paul Lamar

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MOZART’S “LINZ” SYMPHONY DAVID ALAN MILLER, CONDUCTOR TALISE TREVIGNE, SOPRANO

Samuel Barber Knoxville: Summer of 1915, Op. 24 (1910 – 1981)

Andre Myers Studies in Hope: Frederick Douglass (B. 1973) I. Introduction II. Lamp Post III. Permission to Rise IV. He Sang Over Me

INTERMISSION (20 Minutes)

Johann Pachelbel Canon in D (1653 – 1706)

Wolfgang Amadeus Mozart Symphony No. 36 in C major, (1756 – 1791) K.425 (“Linz”) I. Adagio–Allegro spiritoso II. Poco adagio III. Menuetto IV. Presto

This concert is generously sponsored by:

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

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Samuel Barber

urtis Institute-trained Samuel Barber (1910– 1981) enjoyed a critically acclaimed career Cfrom his earliest compositions in the 1930s until his death. He worked successfully in every medium, What a text and what a setting! The words evoke the capturing Pulitzer Prizes in Music for his opera memories of a small boy—you have those childhood Vanessa, in 1958, and the Concerto for Piano and memories, don’t you?—with his family, outside on a Orchestra, in 1962. summer night, as he listens to and observes the world In his biography of Aaron Copland, Howard Pollack around him. The music captures that quiet time, with discusses the relationship between Barber and the the oboe, clarinet, and bassoon sweetly setting the slightly older composer. Early in their friendship scene. Soon the strings come in with a gently rocking Copland said, “Barber writes in a somewhat outmoded ¾ meter: a lullaby. The soprano’s vocal line is almost fashion, making up in technical finish what he lacks in stream of consciousness as the child pours out his musical substance.” Almost 50 years later, and after spontaneous observations of the larger world (“People hearing more of Barber’s pieces in the interim, Copland go by; things go by”). echoed those same thoughts: “He chose to write in a Nearly four minutes in, the music becomes agitated as fairly conventional romantic idiom, but if his music is Barber introduces the sounds and sights of a passing unadventurous, it is always beautifully made, is often streetcar (“raising its iron moan”), a fascination for affecting, and sometimes dashing…” any child. Knoxville: Summer of 1915 Then the boy begins to look from the world outside to hough we know Samuel Barber in the concert his own world (“My father has drained, he has coiled hall for such pieces as his concertos for piano, the hose”). In an extraordinary evocation of Eden (“On Tviolin, and cello; his Adagio for Strings; and his the rough, wet grass of the backyard my father and Overture to The School for Scandal, it was for the mother have spread quilts”), Agee zeroes in on the voice that he had a particular affinity. His aunt was innocence of childhood. the noted soprano Louise Homer; he himself had a The rocking music is shortly interrupted by a touch of fine baritone; his life partner was opera composer Gian dissonance, and then it explodes in a kind of painful Carlo Menotti; and he wrote two opera and many works recognition that life is strange (“By some chance here for voice and accompaniment of one sort or another. they are”) and—most terribly—impermanent. One Tonight’s piece, for soprano and orchestra, was thinks here of Dylan Thomas’s poem “Fern Hill.” composed in 1947 and premiered in 1948 by Eleanor Thus, when the rocking music returns yet again as Steber and the Boston Symphony Orchestra. The text the boy is put to bed, briefly comforted and carried off is a prose poem by James Agee, written in 90 minutes, by sleep, a new idea—that he is, in the end, alone in Agee said, and published in the Partisan Review in the world—has colored his thinking, and the music 1938. It was subsequently used as the prologue to concludes with a twinge. Agee’s posthumous novel, A Death in the Family. Program notes by Paul Lamar

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Minnesota public radio, and presented in conferences across the United States and in Europe. Honors include the University of Michigan’s Rackham Merit Fellowship and King Spirit Award, the inaugural awarding of the University of Michigan’s Willis Andre Myers Patterson Medal, and an associate artist residency at the Atlantic Center for the Arts. ndre Myers (b.1973) is an artist and instructor of piano, composition and theory based in Andre received his B.Mus. in composition from ACalifornia’s Inland Empire. He serves on the the Eastman School of Music, and his M.Mus. and faculty at the Academy of Universal Arts & Music A.Mus.D. in composition from the University of in Yucaipa. Intense and lyrical, his music mixes Michigan. His principal teachers in composition were narrative drama, poetry, and meditations on color William Banfield, Warren Benson, Samuel Adler, to create work that aspires to moments of honesty, Joseph Schwantner, David Liptak, Robert Morris, poignancy, and depth. A native of Ann Arbor, Michigan, Bright Sheng, William Bolcom, Evan Chambers and Andre has three times been commissioned by the Erik Santos. He has served on the faculty at Occidental Michigan Philharmonic Orchestra, where he served College, University of Redlands, and Renaissance Arts as composer-in-residence for the Philharmonic’s Academy in Los Angeles. Andre currently lives in CLASSical music outreach program. His second Redlands, California with his wife Andrea, their dogs commission from the Philharmonic, a musical Charlotte & Walter, and their cat, Jean-Paul. adaptation of Holling C. Holling’s picture book Paddle Studies in Hope: Frederick Douglass to the Sea, has been performed regularly since 2005 as a part of the orchestra’s “Koncert for Kids” series, cored for Flute, Oboe, Clarinet, Alto Saxophone, and the composer has narrated the work for tens of Tenor Saxophone, Bassoon, Horn, Trumpet, thousands of school children. STrombone, Drum Kit, Two Sopranos, High School Choir, Hip-Hop MCs, Piano, Two Violins, Viola, ‘Cello, Other commissions include Partita for Solo Violin for and Double Bass/Electric Bass. the celebrated Los Angeles Philharmonic violinist and MacArthur Fellow Vijay Gupta, Cadenza & Aria Commissioned by the Dogs of Desire, for international viola soloist Brett Deubner, and David Alan Miller, conductor Quilting: Poems by Countee Cullen for the acclaimed countertenor Darryl Taylor and Orchestra Santa Monica. Duration: about 20 minutes His piece BOP! for two flutes and piano, was selected for performance by the MAN Trio as a part of the I. Introduction group’s collaboration with new music presenters Vox II. Lamp Post Novus, and received its premiere in November 2015 III. Permission to Rise in Bosnia and Herzegovina. IV. He Sang for Me

Andre has composed for orchestra, choir, solo and The first movement of Good Fred introduces the chamber ensembles, as well as for theater and dance. premise of the composition: that the abolitionist His works have been featured at the Videmus@25 Frederick Douglass, whose instagram handle I Academic Conference, performed by the symphony imagined to be “Good Fred,” was the most adroit social orchestras of Detroit, University of Michigan, media influencer of his time, utilizing print media, Occidental/Cal-Tech, and Santa Monica, featured on

ALBANY SYMPHONY ORCHESTRA | 39 DECEMBER 7/8 7:30PM PROGRAM NOTES photography, autobiography, religious exhortation & public oratory, voluminous written correspondence, and coalition building to further his political agenda and moral imagination. The second movement features a quartet of young MCs who outline a narrative of his life. His struggle was a fundamentally American one, Johann Pachelbel and it is important we draw courage from it in our time. The third movement features the Dogs of Desire, ne way to learn how to do something well is and reflects on how Douglass recognized the rights to imitate those who already do it well. In and liberties of women and African Americans to be Othe era of Bach and Handel, learning how to deeply connected. “Permission to Rise” asserts that compose often meant simply copying the works of intersectional thinking about the struggle of blacks, the masters—copying and absorbing, of course. women, and LGBTQ+ persons is as important today as Both Bach and Handel went to school on the music it was during Douglass’ days of coalition building with of Johann Pachelbel (1653–1706). In Bach’s case the suffragette movement in Reconstruction. The fourth the tie was even direct. Bach’s oldest brother, Johann and final movement features the Albany High School Christoph, studied organ with Pachelbel, became choir, and asserts the legacy of Frederick Douglass to an organist himself, and then taught J.S., 14 years be for everyone. As our world gets more connected, his junior. and the challenges of our time grow increasingly intense, Frederick Douglass’ call to community action Among Pachelbel’s works are six suites for two violins, is as prescient as ever. variations on chorales, and numerous other suites.

I moved to Rochester, New York when I was 18, and Canon taught myself very little about Douglass’ life, work, or local significance during my six years living downtown. he first part of an organ composition called I do not remember once visiting his grave, or reading “Canon and Gigue in D,” the canon has become any of his works. Perhaps if I had, I would have felt Ta much-loved piece in its own right. less alone and less afraid on my own. I composed Good Fred thinking about young people today who If one can hear it fresh, there are a great many may not be familiar with his extraordinary life and pleasures here. It opens with the simple playing of legacy. I hope the piece illustrates how History is not a descending D major scale. The canon—a steadily static, but dynamic and fluid as water; how one life repeated motive—actually begins on F#, descends lived in community can inspire, edify, and bring solace step by step to A, then rises by whole step to C#, the to a generation of folks that too often feel isolated leading tone to D. This plain canon is the anchor for a from their past, and lonely in their present. I believe piece that gains complexity and power by the addition Frederick Douglass can be a friend to us all. of voices going in different directions, and a gradual crescendo. The effect is an aural illusion: we seem Andre Myers to be going somewhere, but because of that canonic 13 April 2019 device, it’s around, not forward. Redlands, CA Program notes by Paul Lamar

40 | ALBANY SYMPHONY ORCHESTRA DECEMBER 7/8 7:30PM PROGRAM NOTES

There was not a musical genre in which he was unsuccessful. His operas (The Magic Flute and Don Giovanni, for example) appear somewhere every season. His 41 symphonies represent an astounding output of high quality, as do the 27 piano concertos. Wolfgang Amadeus Mozart Chamber music? For all combinations of instruments. German dances and music for the Masons, an ozart’s father, Leopold, was a singer, violinist, organization of which he was proud to be a member, are and teacher; in fact, he was the primary other examples of his industry and lively imagination. Minstructor of both Wolfgang (1756–1791) and his older sister, Nannerl (1751–1829). The Symphony No. 36 “Linz” accomplishments of both children took the family ozart and his wife, Constanza, arrived in Linz, on a tour of Europe that lasted nearly three-and-a- Austria, in the fall of 1783, on their way home half years. An announcement of their piano concerts from a visit to Salzburg. They were met at in London read like this: “Miss Mozart of eleven and M the city gates by a servant of Count Johann Thun- Master Mozart of seven years of age, prodigies of Hohenstein, an old friend of the Mozart family. Count nature; taking the opportunity of representing to the Thun informed them that he had scheduled a concert public the greatest prodigy that Europe or that human for the following Tuesday. Since Mozart did not have a nature has to boast of…” symphony with him, he sat down and, in the span of Despite the sideshow tone of this broadside, the four days, wrote tonight’s symphony. Thun’s excellent children were the real goods, of course. Subsequently, orchestra premiered it on November 4, 1783. Leopold took Mozart alone on an Italian tour. As The piece begins with a stately, dramatic adagio, hardly Wolfgang matured, however, even his father became boding C major. Listen for the mournful, descending dispensable, and in 1781, Mozart set off for Vienna chromatic lines. After a slight tempo change, the alone, where he lived for the rest of his brief life. movement takes on a sunny quality. What gives this When he arrived in Vienna, he had already written about first movement its zip are repeated notes (a device 370 published works; in the next decade he wrote noticeable in all four movements, by the way); sudden about 250 more. As an adult he won the admiration outbursts; climbing scale sections; strong accents; and of Franz Joseph Haydn (1732–1809), who said to a hint of syncopation. This movement, as well as the Leopold, “Before God and as an honest man I tell you second and fourth, are in sonata form, with exposition, that your son is the greatest composer known to me development, recapitulation, and a coda. either in person or by name. He has taste and, what is The second movement is lovely and restrained. The more, the most profound knowledge of composition.” andante marking—with its slight hesitation or skip—is While Mozart achieved remarkable fame in his lifetime, appropriate because the mood is informal, as though he was plagued off and on by financial difficulties. two friends are strolling in conversation. It is not a bland When he died, he had a modest burial, one unmarked conversation, however, but rather one punctuated at by a headstone. His wife, Constanze, had to raise times by comments in a minor key and small outbursts, money to pay off the family’s debts by putting on reminiscent of the timpani statements of the first concerts of his music. movement. The conversation seems about to end a

ALBANY SYMPHONY ORCHESTRA | 41 DECEMBER 7/8 7:30PM PROGRAM NOTES number of times, but the endings are harmonically false. It takes one final declamatory comment to bring the movement to a close.

The brief third movement is a minuet, with the typical emphasis on the first beat, but the oomph seems less in Porgy & Bess at The Metropolitan Opera the artist that of the drawing room than the outdoors. Not so ends the season as she returns to the role of Mimi the trio section, which has some lovely writing for the La Boheme at Fort Worth Opera. winds. There’s a perky quality at times, but it is always elegant. The minuet returns. Last season saw the artist at Opera Omaha in the role of Ma Proving Up and at Madison Opera she sang the The fourth movement is characterized by sharp role of Nedda Pagliacci. She made her house debut at contrasts—in voices and volume—but the presto Theater Basel in one of her signature roles Cio-Cio-san marking is appropriate to the whole movement. Indeed, Madama Butterfly, a role which has also brought her there’s an inexorable drive that carries the material great success at Kentucky Opera and North Carolina forward, no matter what any individual moment is Opera. She finished the season at Cincinnati Opera in about. Mozart accomplishes this by writing music of the title role in Porgy & Bess. quicksilver speed and, at times, by having one group sustain a note, while the rest of the orchestra plays Recent highlights include the role of Micaëla Carmen at above it, as though that sustained note itself contains Hawaii Opera Theatre and in Canada she created the the pulse of the piece. Needless to say, the movement role of Clara JFK at Opéra de Montréal. At the University comes to a rousing conclusion. of Michigan, Trevigne gave further performances as Bess. With CBSO in the UK she sang Strauss’s Four Program notes by Paul Lamar Last Songs, and appeared in Jake Heggie’s world Talise Trevigne premiere It’s a Wonderful Life at Houston Grand Opera. Other highlights include the role of Leila Les merican soprano Talise Trevigne begins the Pêcheurs de Perles at North Carolina Opera, and at 2019-20 Season in a return engagement Glimmerglass Festival the role of Bess Porgy and Bess Awith CBSO for performances of Tippett’s A in a new production by Francesca Zambello. Child of our Time in UK and Germany conducted by Mirga Gražinytė-Tyla. Back in the U.S. she makes Other recent successes include the title role Iris at her Lyric Opera of Chicago debut as Kitty Hart Dead Bard SummerScape Festival, both of which brought Man Walking before traveling to Albany Symphony her unprecedented accolades from critics. Additionally to perform in Barber’s work for voice and orchestra she was greatly honored to be nominated for a 2016 Knoxville: Summer of 1915. After covering the title role Grammy Award in the category Best Solo Classical CD for her rendition of Christopher Rouse’s masterpiece Kabir Padavali with Albany Symphony.

42 | ALBANY SYMPHONY ORCHESTRA

ALBANY SYMPHONY BOARD & STAFF

OFFICERS DIRECTOR’S COUNCIL Jerry Golub, Chair Matthew Bender IV, Chair Beth Beshaw, Vice Chair Rhea Clark Faith Takes, Vice Chair Denise Gonick David Rubin, Treasurer Sherley Hannay John Regan, Secretary Charles M. Liddle III Judith B. McIlduff BOARD OF DIRECTORS John J. Nigro Gemma Louise Allen Guha Bala STAFF Melody Bruce, MD Anna Kuwabara, Executive Director Charles Buchanan Benjamin E. Chi FINANCE Judith Ciccio, Scott Allen, Director of Finance Ex-Officio, President, Vanguard ASO Marcia Cockrell DEVELOPMENT Ellen Cole, Ph.D. Sophie Moss, Director of Development Marisa Eisemann, MD, Immediate Past Chair Tiffany Wright, Development Assistant Nicholas J. Faso Amanda Irwin, Development & Alan P. Goldberg, Chairman Emeritus Patron Services Coordinator Joseph T. Gravini Catherine Hackert, Ex-Officio, Chair, MARKETING & PATRON SERVICES Albany Symphony Orchestra Committee Justin Cook, Marketing & Anthony P. Hazapis Patron Services Manager Edward M. Jennings Alayna Frey, Box Office & Marketing Coordinator Daniel Kredentser Mark P. Lasch EDUCATION & COMMUNITY ENGAGEMENT Steve Lobel Jenae Gayle, Director of Education & Cory Martin Community Engagement Marcia Nickerson Anne Older OPERATIONS Dush Pathmanandam Derek Smith, Operations & Barry Richman Programming Manager John L. Riley Susan Ruzow Debronsky, Personnel Manager Hon. Kathy M. Sheehan, Ex-Officio, Elizabeth Silver, Music Librarian Mayor, City of Albany Dan Brye, Housing Coordinator Rabbi Scott Shpeen Micheileen Treadwell Darrell Wheeler, Ph.D.

ALBANY SYMPHONY ORCHESTRA | 45 ALBANY SYMPHONY The Albany Symphony is grateful to the following individuals for their vital ongoing support. This list represents gifts received during the CONDUCTOR’S CIRCLE period between July 1, 2018 and September 20, 2019.

PLATINUM BATON BRONZE BATON LEVEL Mrs. Joy Emery Charles L. & Elizabeth P. Gerli LEVEL ($25,000+) ($2,500) David Ernst Dr. & Mrs. Robert J. Gordon Matthew Bender IV Gemma Allen Thomas Evans The Family of Morton Gould Dr. Benjamin Chi Sharon Bedford & Fred Alm Nicholas Faso & Holly Katz & William Harris Jerel & Geraldine Golub Joseph Gravini & Beth Cope Meaghan Murphy Michael Hayes Celine & Daniel Kredentser Dr. & Mrs. Ephraim Glinert Dr. & Mrs. Reed Ference Mr. & Mrs. F. William Joynt Marcia Nickerson Alan Goldberg Karen Hartgen-Fisher Dianne & Peter Kansas Ms. Faith A. Takes Mrs. Ellen Jabbur Judy & Bill Kahn Robert J. Krackeler Mary Jean & Ruth & Don Killoran Dr. & Mrs. Neil Lempert GOLD BATON LEVEL William Krackeler Sara Lee & Barry Larner Alan & Karen Lobel ($10,000+) Mark & Lori Lasch Mr. & Mrs. Bruce Maston Jill Goodman & Arthur Malkin Charles & Georgia & David Lawrence Mrs. Nancy McEwan Charles & Barbara Manning Charlotte Buchanan Charles Liddle III Judith B. McIlduff Hilary & Nicholas Miller Marcia & Findlay Cockrell Steve & Vivian Lobel Sophie Moss Marcia & Robert Moss Drs. Marisa Eisemann & Norman & Micki Massry Patricia & Kevin O’Bryan Hugh & Vaughn Nevin Allan Eisemann Dr. & Mrs. Thomas Older Henry & Sally Peyrebrune Ms. Deborah Onslow Sherley Hannay Dr. David A. Perry & William & Susan Picotte Dr. Nina Reich The Herman Family Susan Martula Sara & John Regan Lee & Donna Rosen Edward & Sally Jennings Dr. & Mrs. Henry Pohl Richard D. Ruby Lewis C. & Gretchen A. Bob & Alicia Nielsen I. David & Lois Swawite Alan & Leizbeth Sanders Rubenstein Karen & Chet Opalka Clara & Larry Sanders Robert P. Storch & Dr. Nancy Barhydt-Rutledge John & A.C. Riley Rabbi Scott Shpeen Sara M. Lord & Mr. Harry Rutledge David M. Rubin & Dennis & Margaret Sullivan Micheileen Treadwell Peg & Bob Schalit Carole L. Ju Mr. Dale Thuillez Barbara Wiley Herb & Cynthia Shultz Ms. Christine Standish & Lee Smith Darrell Wheeler & CONDUCTOR’S Mr. Chris Wilk Donovan Howard Dwight & Rachel Smith Harriet Thomas CIRCLE FRIEND LEVEL F. Michael & Lynette Tucker CONDUCTOR’S CIRCLE ($1,000) Mrs. Jane A. Wait SILVER BATON LEVEL VIRTUOSO LEVEL Dawn & John Abbuhl Mrs. Candace King Weir ($5,000) ($1,500) Mr. & Mrs. Robert Allen Michael & Margery Whiteman Mr. Guha V. Bala Anonymous Wallace & Jane Altes Harry & Connie Wilbur Rhea Clark Shannon & Matthew Amodeo Hermes & Linda Ames Austin & Nancy Woodward Susan & Bill Dake Linda & Michael Barnas Donald Lipkin & Mary Bowen Bonnie Taylor & Daniel Wulff Malka & Eitan Evan Beth & Rob Beshaw Mrs. Anne Brewster Dr. Thomas Freeman Peter & Debbie Brown Kirkham Cornwell & Anna Kuwabara & Drs. Melody A. Bruce & Claire Pospisil Craig Edwards David A. Ray Ruth Dinowitz John J. Nigro Paul & Bonnie Bruno Dr. Keith Edwards Dush & Kelly Pathmanandam Dr. A. Andrew Casano Jack & Marsha Firestone Mrs. Jeanne Tartaglia Drs. Ellen Cole & Doug North Nathaniel & Virginia Fossner Al De Salvo & Dr. & Mrs. Harry DePan Lois V. Foster Susan Thompson Dr. Joyce J. Diwan Drs. Hannelore Wilfert & Karl Moschner Merle Winn

46 | ALBANY SYMPHONY ORCHESTRA The Albany Symphony is grateful to the following individuals for their vital ALBANY SYMPHONY ongoing support. This list represents cumulative annual gifts received during the period between July 1, 2018 and September 20, 2019. INDIVIDUAL GIVING

SYMPHONY CIRCLE Ilze Earner Wheelock Whitney III Joy Devita ($500-$999) Herb & Annmarie Ellis Dayle Zatlin & Mr. Paul Dichian Dr. Richard & Kelly Alfred Ms. Judith Fetterley Joel Blumenthal Dr. & Mrs. Frank Dimase Mr. James Fortino Marianne Donovan Rabbi Laurence PATRON CIRCLE Aryeh Alpern Mary McCarthy & Terrell Doolen David Gardam ($100-$249) Jill Dorsi Jim Caiello & Wilfred Ackerly Marcia Goldfeder Ms. Barbara Gigliotti Marilyn & Peter Douglas Mr. & Mrs. David Golden Dr. Edith Agnes Allen Ms. Mary Durgee Dr. & Mrs. William J. Elizabeth & John Antonio Cromie Allen S. Goodman Loretta Ebert Shirley & Herbert Gordon Jeffrey Asher Mrs. Dorothy Ellinwood Dr. Paul J. Davis Christopher Aviza Samuel & Patricia Fallek Robert & Mary Elizabeth Ben & Linda English Gosende Susan & Ronald Backer Dr. Lawrence H. Flesh Janice & Robert Frost Mr. & Mrs. Joseph Baggott William Tuthill & Katharine B. Harris Nancy T. Frank Nancy Ross & The Bangert-Drowns Family Roy & Judith Fruiterman Gregory Anderson Anne & Hank Bankhead Susan M. Haswell Robert Henshaw Mr. Ronald C. Geuther Martin Hotvet Floyd Barber Mr. Gilbert E Gier Charitable Fund Laurence Beaudoin Ms. Lynn Holland John & Janet Hutchison Shelley Gilroy & Howard & Mary Jack Christine Berbrick Reid Mueller Ms. Marilyn Kaltenborn Susan & Gutherie Birkhead Deborah Roth & Ms. Amber Jones Alba & Tony Giordano Keith C. Lee Dr. Murray H. Block Mary Gitnick Alan Kaufman Peter Bogyo Roger & Barbara Kessel Mr. Matthew Leinung Dr. Virginia Giugliano Dr. Martha L. Lepow Sarah & E. Andrew Boyd Charles & Karen Goddard Jean & Rob Leonard Mrs. Kathleen Bragle James Levine David & Elizabeth Chris & Shirley Greagan Liebschutz Charles Braverman & B. H. Green Tom & Sue Lyons Julia Rosen Mr. & Mrs. Wendy Jordan & C. Ursula W. MacAffer Diane & John Grego Frances T. McDonald Dorice Brickman Lois Griffin Frank Murray Miss Caroline Evans Bridge David Orsino Patrick McNamara John & Fran Gross Benjamin & Ruth Robert G. Briggs Dr. David E. Guinn Sarah M. Pellman Mr. & Mrs. John Brilling John & Maggie Picotte Facher Mendel Wilma Gundersen Sarah & Rana Mukerji Ms. Marianne Bross Henry J. Hamelin Mr. John Sciuto Dr. & Mrs. Neil C. Brown Jr. Roseanne Fogarty & Stephen & Mary Muller Helen Suderley Harris Heidi & Lee Newberg Tim & Patty Burch Dr. & Mrs. Joseph J. Hart Perry Smith Victor L. Cahn Jean Stevens-Lauria Helen J. O’Connor Kathleen R. Hartley Carol & Ed Osterhout Iggy & Claudia Calabria Mr. & Mrs. Richard S. Alexandra Jane Ian Campbell Streznewski Cynthia A. Platt & Hartunian David T. Luntz Mr. & Mrs. Richard Carlson Audrey T. Hawkins Marie & Harry Sturges Charles & Eva Carlson Virginia E. Touhey Marlene & Howard John Hawn Pressman Kenneth & Janice Carroll Mr. William Hetzer Matie Flowers & Patrick & Sarah Carroll Joseph Visalli Lenore & Jack Reber Phyllis & Stephen Hillinger Adrienne & Jay Rosenblum Paul & Donna Castellani Susan Hollander Mr. & Mrs. Lawrence & Lois & Patrick Caulfield Sara Wiest Steven & Tammy Richard Howard Jo Sanders Michael Cawley Karen Hunter Anthony Wildman Mrs. Jenny Charno Arthur & Anne Young Dr. John Schroeder Dorothy & Donald Peggy & Jack Seppi Dr. & Mrs. Samuel S. Ciccio Ingebritsen APPLAUSE CIRCLE Cynthia Serbent Ms. Rae Clark John Smolinsky & ($250-$499) Lynn Ashley & Mr. David Clark Ellen Prakken Donald & Rhonda Ballou Lawrence Snyder Mr. Aaron R. Coble Eric & Priscilla Johnson Mrs. Naomi Bradshaw Ms. Elizabeth Sonneborn Fran Pilato & Jim Cochran Lee Helsby & Joseph Roche Diane & William Brina Drs. Susan Standfast & Mr. & Mrs. Thomas P. James & Susan Kambrich Drs. Wanda Casseaux & Theodore Wright Connolly John & Marcia Keefe Bruce Caster Lois M. Staugaitis Ms. Ellen-Deane Cummins Paul & Judith Kehoe Janet R. Conti Amy J. Steiner Barb & Gary Cunningham Christine Miles & Jane & John Corrou Mr. & Mrs. William Swire Clifford & June Danielson John Kelliher Mr. Wilson Crone Avis & Joseph Toochin Carol Davis Ms. Patricia A. Kennedy Pernille Aegidius Dake Patrick & Candice Van Roey Philip Degaetano Mrs. Julia Kilby Mary DeGroff and Stephanie Wacholder Sharon Desrochers Mrs. Elinor S.C. King Robert Knizek Lois D. Webb Dr. & Mrs. Anthony J. Doris S. Kirk Mr. Robert S. Drew Gerhard & Maryann Weber DeTommasi Edith Kliman Michael Devall

ALBANY SYMPHONY ORCHESTRA | 47 ALBANY SYMPHONY The Albany Symphony is grateful to the following individuals for their vital ongoing support. This list represents cumulative annual gifts received during INDIVIDUAL GIVING the period between July 1, 2018 and September 20, 2019.

Stephen & Nancy Knoll William & Elizabeth Nathan Mr. Robert Scher & Norman & Adele Strominger Beatrice Kovasznay Raymond Newkirk & Ms. Emilie Gould Andrew & Kathleen Sullivan David & Diane Kvam Christy D’Ambrosio Lois & Barry Scherer Mr & Mrs John & Mrs. Mary P. LaFleur Mr. David Nichols Dr. Harvey & Happy Scherer Sally Ten Eyck Ms. Rosemary Lamb Ms. Lisa Nissenbaum Alice Schrade Dr. & Mrs. Maurice Ann Lapinski & Fred Barker Chris Nolin Martha Schroeder Thornton Jennifer Laursen Mrs. Kathy Ordway Ralph & Dorothy Schultz Donald R. Thurston Sally Lawrence Brad & Barbara Oswald Mr. Jim & Mrs. Janie Mr. Michael A. Tobin Karen B. Levy Ruth & Peter Pagerey Schwab Cheryl Mugno & Patricia J. Liddle Mr. William Panitch Linda Segreto William Trompeter Bessie Malamas & Edward Parran Thomas Semkow Janet Vine Robert Limage Mrs. Cathleen Peckham April Seney James Fleming & Michele & Michael Litty David & Deborah Phaff Julie & William Shapiro Lawrence Waite Mr. Rudy Stegemoeller Rev. Roberta H. Place Patricia & Edward Shapiro Mr. & Mrs. Jeffrey Walton Elise Malecki Diana Praus Mrs. Dolores A. Shaw Wendy B. Wanninger Irene Marshall John & Jennifer Quinn Aaron & Nina Sher Dr. David A. Wasser Ms. Susan B. Martula Mrs. Tina W. Raggio Susan V. Shipherd Wolfgang Wehmann Louise & Larry Marwill Paul & Margaret Randall Stephen J. Sills MD Dawn Stuart Weinraub Tom McGuire Laura Rappaport Stephen C. Simmons Jerry & Elizabeth Weiss Ann & Nixon McMillan Mr. & Mrs. George P. Family Dorothy Whitney Ms. Kathleen McNamara Richardson Manfred & Marianne Simon Frederick & Winnie Wilhelm Peter Meixner Richard & Jill Rifkin Mr. Dennis Walter Skidmore Paul Wing John & Marney Mesch Kenneth & Susan Gloria and David Sleeter Russell Wise Anne Messer & Ritzenberg Martha & Arnold Slowe Meyer J. Wolin Daniel Gordon Eric S. Roccario Marilyn Smith Ms. Susan Wood David & Barbara Metz Steven & Janice Rocklin Marion & Rex Smith Frank & Elizabeth Woods Raymond Michaels H. Daniel Rogers Roger & Rosalie Sokol Mr. & Mrs. Peter & Karen L. Miller Harlan D. Root Joyce A. Soltis Sheila Wrede Alan D. Miller Paul Dennis & Mr. James Sprenger Estelle Yarinsky Michelle Miller-Adams Jane W. Rose Mrs. Susan St. Amour Barbara Youngberg Patricia Mion Rosemarie Rosen Mr. Olaf & Cora Stackelberg Shelley Zansky Mr. & Mrs. John Moroney Mr. Paul Rosenberg John & Lois Staugaitis Michael & Barbara Zavisky Mrs. Sheila Mosher Marin Ridgeway & Charles & Sandra Stern Michael & Katherine Zdeb Stewart C. Myers Don Ruberg William Stewart Dr. David & Iva Zornow Judith Mysliborski Ann L. Stewart

48 | ALBANY SYMPHONY ORCHESTRA ALBANY SYMPHONY ORCHESTRA | 49 ALBANY SYMPHONY IN HONOR, CELEBRATION, & MEMORY

In Loving Memory of In Honor of Dr. Gustave In Loving Memory of In Memory of Adella Cooper Eisemann Beatrice & Paul Pagerey Miss Eileen C. Jones Alan Goldberg Robert Herman Peter & Ruth Pagerey Dr. & Mrs. Neil Lempert In Memory of In Honor of In Loving Memory of Elsa deBeer Marisa Eisemann In Loving Memory of Jim Panton Jo Ann & Buzzy Hofheimer Dr. Heinrich Medicus F. William Joynt Bonnie & Paul Bruno Susan Thompson Dr. & Mrs. Donald Bourque Marcia & Findlay Cockrell Peter & Rose-Marie Ten Eyck In Memory of Nancy Goody Sarah & Patrick Carroll Dr. Alvin K. Fossner In Loving Memory of Mary Anne & Robert Lanni Charlotte & Charles Buchanan Carl & Cathy Hackert Dr. Heinrich Medicus Drs. Marisa & Allan Eisemann Carol & Ronald Bailey John J. Nigro In Memory of David Alan Miller New York Council of Nonprofits Paul & Bonnie Bruno Allan D. Foster Elsa deBeer In Memory of David Scott Allen Mrs. Lois V. Foster Greta Berkson Alan Goldberg Justine R. B. Perry Mary & Tom Harowski In Memory of Harry G. Taylor Dr. David A. Perry Mary James Rachel Galperin In Honor of In Loving Memory of Margaret & Robert Schalit Sally & Edward Jennings David Alan Miller Vera Propp Leigh & Louis Lazaron In Memory of Jane Golub Lois & Barry Scherer Dr. Richard Propp Susan Limeri Albany Symphony Susan St. Amour In Memory of Ann Silverstein Orchestra Committee Anna Taglieri In Honor of Miranda, Felix Shapiro Enid Watsky In Honor of Jerry Golub Elias, and Ari Miller Jacqueline & Paul Shapiro Sara & Barry Lee Larner Bonnie Friedman & In Loving Memory of Gerald Miller In Memory of Frederick S. deBeer, Jr. In Loving Memory of Nancy Winn David Scott Allen Roger Hannay In Loving Memory of Merle Winn Elsa G. deBeer Alan Goldberg Don B. O’Connor Helen J. O’Connor Adelaide Muhlfelder As of September 3, 2019

The Albany Symphony is deeply grateful to ALBANY SYMPHONY the foundations, corporations, and government agencies whose ongoing support ensures the FOUNDATIONS, CORPORATIONS, vitality of our orchestra. This list represents gifts received during the period between AND GOVERNMENT AGENCIES July 1, 2018 and September 20, 2019.

$100,000+ May K. Houck Foundation Omni Development The David and Sylvia Empire State Development M & T Charitable Company Teitelbaum Fund, Inc. Capital Region Economic Foundation Pearl Grant Richmans Wine and Dine for the Arts Development Council Nielsen Associates The John D. Picotte Price Chopper’s Golub Family Foundation $1,500+ $50,000+ Foundation Rivers Casino City of Amsterdam New York State Council Sano-Rubin Construction Stewart’s Shops Dawn Homes Management on the Arts Stuyvesant Plaza Upstate Coalition Janney Montgomery Vanguard-Albany The Swyer Companies/ for a Fairgame Scott LLC Symphony Stuyvesant Plaza John Fritze Jr., Jeweler Carl E. Touhey Foundation $2,500+ Pioneer Bank $25,000+ William Gundry Broughton Alfred Z. Solomon Albany Chefs’ Food & Aaron Copland Charitable Private Charitable Trust Wine Festival Fund for Music Foundation BST and Co. CPAs, LLP. Faith Takes CAP COM Federal $1,000+ Family Foundation $5,000+ Credit Union Adirondack Trust Insurance/ League of American Alice M. Ditson Fund Capital Bank Amsure Orchestras AllSquare Wealth Charles R. Wood Albany Medical Center National Endowment Management, LLC Foundation Arthur J. Gallagher & Co. for the Arts Barry Alan Gold Discover Albany Firestone Family Nigro Companies Memorial Fund Ellis Medicine Foundation Beekman 1802 Hippo’s Lia Infiniti $10,000+ Café Capriccio Hudson River Bank & Trust National Grid Amphion Foundation CDPHP LaCorte Companies, Inc. NBT Bank Averill Park Education Galesi Group McNamee Lochner Titus Nolan and Heller, LLP Foundation General Electric and Williams, P.C. Repeat Business The Bender Family Lucille A. Herold MVP Health Care Systems Inc. Foundation Charitable Trust The Peckham Family Whiteman Osterman and Fenimore Asset The Hershey Family Fund Foundation Hanna LLP Management, Inc. Hugh Johnson The Robison Family GE Foundation Advisors, LLC Foundation Hannay Reels, Inc. Mohawk Honda Schuyler Companies Howard & Bush Foundation New Music USA Sequence Development

ALBANY SYMPHONY IN-KIND DONATIONS

City of Albany/The Palace Crisan Bakery Nicole’s Special Events & Pearl Grant Richmans Theatre Enchanted Florist of Albany Catering Surroundings Floral Jim Rua, Café Capriccio Gary Gold Photography The Photography Center of Yono’s/dp Clement Frame Shop & Hampton Inn the Capital District Art Gallery John Keal Music Preville Technology

52 | ALBANY SYMPHONY ORCHESTRA The Albany Symphony acknowledges the support ALBANY SYMPHONY of our corporate sponsors whose contributions recognize the importance of the Albany Symphony in building civic pride, 2019-2020 educating our youth, and contributing to the cultural life of all people in the Capital Region. As of September 20, 2019. CORPORATE SPONSORS

Courtyard by Marriott Schenectady at Mohawk Harbor

LeChase Construction

Adirondack Trust

Hawthorne Valley Association

CELINE AND DANIEL KREDENTSER

MEDIA PARTNERS EDUCATION PARTNER HOSPITALITY PARTNER

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

ALBANY SYMPHONY ORCHESTRA | 53 54 | ALBANY SYMPHONY ORCHESTRA ALBANY SYMPHONY MUSICIAN HOUSING PROGRAM Did you know that many of the musicians of the Albany Symphony do not live in the Capital region? Musicians travel from New York, Boston, Montreal, Nashville, Ft. Lauderdale; even as far as Texas, to play with the Albany Symphony. Typically, a musician is here from Thursday to Sunday of concert week. Through the generosity of local host families, The Albany Symphony Musician Housing Program was created. Without the generosity and support of our host families, we would not be able to maintain the high caliber of musicians who are members of our orchestra. Many of our hosts have created strong bonds with musicians that stay with them, creating friendships that will last a lifetime.

The Albany Symphony Orchestra extends a very special thank you to patrons who are generously providing housing for musicians during the 2019–2020 season. Please contact Dan Brye, ASO Housing Coordinator, at [email protected], for information on how to host ASO musicians!

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

ALBANY SYMPHONY ORCHESTRA | 55