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DAVID ALAN MILLER, Heinrich Medicus Music Director

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14 MEET DAVID ALAN MILLER

38 INDIVIDUAL GIVING

16 ORCHESTRA ROSTER

42 IN HONOR, CELEBRATION

34 BOARD & STAFF 35 OUR SUPPORTERS

AND MEMORY

44 ENCORE SOCIETY

DECEMBER PROGRAM

18 DECEMBER 9 & 10 • YEFIM BRONFMAN

PLAYS BRAHMS

JANUARY PROGRAM

25 JANUARY 13 & 14 • STEINKE + MOZART

& MORE FROM 1784

FEBRUARY PROGRAM

29 FEBRUARY 1O• SIMON + RHAPSODY IN BLUE @100 Program created by saratoga living/CAPITAL REGION LIVING 10 | ALBANY SYMPHONY ORCHESTRA

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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.

wo-time Grammy Award–winning conductor David Alan Miller has established a reputation as one of the leading American conductors of his generation. As 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, and at the SHIFT Festival at the Kennedy

14 | 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, the UK, Australia, and the Far East as guest conductor. Since 2019, Mr. Miller has served as Artistic Advisor to the Little Orchestra Society in New York City, and, from 2006 to 2012, served as Artistic Director of “New Paths in Music,” a festival of new music from around the world, also in New York City. Mr. Miller received his most recent Grammy Award in 2021 for his recording of Christopher Theofanidis’ Viola Concerto, with Richard O’Neill and the Albany Symphony, and his first Grammy in 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, Michael Torke (London/Decca), Luis Tinoco, and Christopher

Rouse (Naxos). His recordings with the Albany Symphony include discs devoted to the music of John Harbison, Roy Harris, Morton Gould, Don Gillis, Aaron J. Kernis, Peter Mennin, and Vincent Persichetti on the Albany Records label. He has also conducted the National Orchestral Institute Philharmonic in three acclaimed recordings on Naxos. A native of Los Angeles, David Alan Miller holds a bachelor’s degree from the

University of California, Berkeley and a master’s degree in orchestral conducting from The Juilliard School. Prior to his appointment in Albany, Mr. Miller was associate conductor of the Los Angeles Philharmonic. From 1982 to 1988, he was music director of the New York Youth Symphony, earning considerable acclaim for his work with that ensemble. Mr. Miller lives in Slingerlands, New York, a rural suburb of Albany.

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MISSION STATEMENT: The Albany Symphony Orchestra celebrates our living musical heritage. Through brilliant live performances, innovative educational programming, and engaging cultural events, the Albany 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.

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ALBANY SYMPHONY ORCHESTRA | 15

ORCHESTRA PERSONNEL

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DAVID ALAN MILLER

Heinrich Medicus Music Director

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The Albany Symphony's string sections use revolving seating. Players behind the stationary chairs change seats systematically and are listed alphabetically. VIOLIN VACANT CONCERTMASTER LIFETIME CHAIR, GOLDBERG CHARITABLE TRUST

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OBOE Karen Hosmer PRINCIPAL

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YEFIM BRONFMAN PLAYS BRAHMS SATURDAY | DECEMBER 9, 2023 | 7:30 PM SUNDAY | DECEMBER 10, 2023 | 3:00 PM TROY SAVINGS BANK MUSIC HALL DAVID ALAN MILLER, CONDUCTOR YEFIM BRONFMAN, PIANO Loren Loiacono Beanie’s Chapbook (world premiere) I. Beanie and Mirror-Cat II. A Lullaby for Puffies III. Outside Friends with Very Long Ears Robert Schumann Symphony No. 4 (1810-1856) I. Ziemlich langsam - Lebhaft II. Romanze: Ziemlich langsam III. Scherzo: Lebhaft IV. Langsam - Lebhaft INTERMISSION Johannes Brahms Piano Concerto No. 2 (1833-1897) I. Allegro non troppo II. Allegro appassionato III. Andante IV. Allegretto grazioso CONCERT SPONSOR

All programs and artists are subject to change. During the performance, please silence mobile devices. Recording and photographing any part of the performance is strictly prohibited. ® I LOVE NEW YORK is a registered trademark and service mark of the New York State Department of Economic Development; used with permission.

ALBANY SYMPHONY ORCHESTRA | 19

OVERVIEW John Birge, host of the radio program Composers Datebook, always reminds us that “All music was once new.” It’s a good reminder as we listen to tonight’s program, for in 1853 Robert Schumann wrote in a magazine article about his new acquaintance, 20-year-old Johannes Brahms, “There must… suddenly appear one who should utter the highest ideal expression of his time, who should claim the Mastership by no gradual development, but burst upon us fully equipped, as Minerva sprang from the brain of Jupiter…And he has come.” Over time, of course, Brahms and Schumann himself have become pleasurably familiar to us, and now Dr. Loren Loiacono is becoming so: This is her fourth appearance with the ASO, and she also utters the “highest ideal expression of her time.”

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The music of Dr. Loren Loiacono has been described as “plush...elusive” (New York Times), “vivid and colorful” (Albany Times Union), “dreamy, lilting” (Pioneer Press), and “quirky and fun” (Bad Entertainment, Twin Cities). An emerging orchestral voice, Loiacono has received commissions and performances from such nationally esteemed ensembles as the Detroit Symphony, St. Louis Symphony, Minnesota Orchestra, Sacramento Philharmonic, Lexington Philharmonic and the American Composers Orchestra. She frequently collaborates with the Albany Symphony, partnering with them to create new concerti for Sandbox Percussion (2022) and pianist Vicky Chow (2018). Loiacono also served as the Albany Symphony’s Mellon ComposerEducator-in-Residence for the 2017-18 season. A native of Long Island, New York, she holds degrees from Cornell University (D.M.A.) and Yale University (M.M./B.A.). She has held teaching positions at Colgate University, SUNY Purchase, and the Kaufman Music Center, and currently serves as Assistant Teaching Professor at Syracuse University’s Setnor School of Music. To learn more about Loren Loiacono, visit lorenloiacono.com

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DR. LOREN LOIACONO

BEANIE’S CHAPBOOK

Beanie’s Chapbook is a collection of miniature tone-poems, inspired by the long tradition of self-published chapbooks. With a history dating back to the 16th century, chapbooks are short collections of poems, songs, nursery rhymes, religious tracts and other forms of folk and popular literature. While their origins are humble, the tradition persists today as a realm for poets and artists to collect, share and experiment with ideas. The “poems” in Beanie’s Chapbook are not meant to be the ones I might write, but those that I imagine would be written by my very small, very anxious, very loud cat, Beanie.

The first movement, “Beanie and Mirror Cat” depicts Beanie’s nightly romp with the mysterious cat who appears in the bedroom mirror. The second movement, “A Lullaby for Puffies” is Beanie’s song for her collection of small stuffed toys (her “puffies”), which she lovingly cradles and bathes as if they’re her own kittens. The final movement, “Outside Friends with Very Long Ears”, depicts Beanie’s daily staring contest with the rabbits outside our dining room window, and her constant struggle to decide if they’re food, foes, or friends.

JOHANNES BRAHMS

With the exception of opera, Johannes Brahms (1833-1897) wrote successfully in every musical genre. Over 40 years he composed 120 catalogued works, the vast majority of superb quality. (He was his own worst critic and tore up many pieces he considered lacking.) He achieved enormous fame during his lifetime, but he was modest. “The fact that people in general do not know how to value the best—for example, Mozart’s concertos—is what we others live and grow famous on. If only people realized that what they get in drops from us, they can drink to the full from others!” A little tongue-in-cheek? I think so. He could not have gone on composing all that time if he had not had a modicum of confidence.

PIANO CONCERTO NO. 2

Piano music bookends and anchors Brahms’s career. Opus 1 is a piano sonata in C major; opus 119 is a set of four piano pieces. In between he wrote songs and chamber music with brilliant piano accompaniment. This concerto follows the first by 22 years. It was premiered in 1881 by the composer, a formidable pianist, and the Budapest Philharmonic Orchestra, under the direction of Alexander Erkel. What distinguishes this concerto from virtually all others in the repertoire is its four-movement form, as opposed to the three-movement arrangement. Critic Eduard Hanslick called

JOHANNES BRAHMS

it a “symphony with piano obbligato.” But, of course, the soloist plays too central a role to be merely decorative. The piece clocks in at about 45 minutes. About its size Brahms puckishly wrote to Clara Schumann, “I have written a tiny little piano concerto, with a tiny little wisp of a scherzo.” Composed after two sunny sojourns in Italy, this Lilliputian effort begins with the French horn, an instrument Brahms played as a child and used beautifully throughout his career. (If you don’t know the astonishing Trio for Piano, Violin, and Horn, look it up.) The horn’s tune, which simply explores the B-flat major scale, and the brief woodwind melody that follows form the heart of the entire movement. Right off the bat the piano has a knuckle-busting cadenza, an announcement of the kind of spread-fingered playing expected from the soloist throughout. The movement is about 17 minutes long, and it is full of brilliant development of the themes, clanging trills and tremolos, sudden outbursts, glittering arpeggios, and Brahms’s signature use of three-against-two rhythms. The second movement is the unusual addition to the conventional fast-slow-fast arrangements of most concertos up to that point in time. It’s a scherzo (literally, “joke”), pulsing with energy as the piano slashes its way through ALBANY SYMPHONY ORCHESTRA | 21

an opening motive that covers one-and-a-half octaves in three measures. It’s soon followed by a sweet melody in the strings. Partway through the movement, the mood changes, an approximation of the typical trio section. In D major, it’s declamatory and slower than what has come before. It’s brief, however, and soon the orchestra picks up that aggressive first theme again, thus giving the movement an ABA structure. The cello was another instrument Brahms learned as a child, and he wrote beautifully for it in the Double Concerto, in two sonatas, and many chamber music pieces. Here it introduces the third movement, marked andante (“walking”). Despite a foray into more dramatic music, with fistfuls of tremolos, the two clarinets and the reappearance of the cello solo give the movement a tender quality, one that is in contrast to everything else in the concerto. The finale was once characterized by Brahms’s biographer Alfred von Ehrmann “as gracious as a ballet, as witty as a comedy, sensitive as a pastoral play, as intoxicating as champagne.” It’s a movement made up of three tunes, in “a fusion of rondo form with sonata-allegro techniques,” according to Edward Downes. What this arrangement means to the listener is a frequent reappearance of the buoyant opening melody that links episodes, with interesting development of that tune. The pianist must skitter up and down the 88s, in octaves, trill like crazy, crank out arpeggios, punctuate rhythms, and steadily increase the speed. The concerto ends, all forces together, on a decisive B-flat major chord—the key of the piece and the place from which we started. Concert notes by Paul Lamar

YEFIM BRONFMAN

Internationally recognized as one of today’s most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors and recital series. His commanding technique, power and exceptional lyrical gifts

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YEFIM BRONFMAN

are consistently acknowledged by the press and audiences alike. Born in Tashkent in the Soviet Union, Yefim Bronfman immigrated to Israel with his family in 1973, where he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, he studied at The Juilliard School, Marlboro School of Music, and the Curtis Institute of Music, under Rudolf Firkusny, Leon Fleisher and Rudolf Serkin. A recipient of the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists, in 2010 he was further honored as the recipient of the Jean Gimbel Lane prize in piano performance from Northwestern University and in 2015 with an honorary doctorate from the Manhattan School of Music. To learn more about Yefim Bronfman, visit yefimbronfman.com

ROBERT SCHUMANN

Unlike Chopin, whose music he liked very much, Robert Schumann (1810-1856) was a polymath. He started out to be a pianist, but an injury put an end to a career as a virtuoso. However, he wrote brilliantly for the

ROBERT SCHUMANN

instrument—a piano concerto, song cycles whose accompaniment is nonpareil, and chamber music—not only because of his own gifts at the keyboard but because he was married to the concert pianist Clara Schumann. He founded and edited a music magazine, Neue Zeitschrift fur Musik, which gave him a platform to welcome new talent (like Chopin and Brahms) to the composing community. He was a conductor in Dusseldorf, though apparently not a particularly good one because his initial contract was not renewed. And he accomplished all of these activities while suffering throughout most of his life from some sort of nervous condition. He died in an asylum two years after throwing himself into the Rhine in a suicide attempt, leaving, nevertheless a remarkable legacy of the aforementioned works plus four symphonies, overtures and even an opera.

SYMPHONY NO. 4

Schumann’s glorious Symphony No. 4, nominally his last, was actually the composer’s second symphonic utterance. It was composed and debuted in 1841, shortly after the completion of the Symphony No. 1. Schumann and his wife, Clara, also appeared on the program in a

Liszt show-stopper for two pianos, Hexameron; unfortunately, the audience was more impressed by this piece than the symphony. Dissatisfied with the work, Schumann tucked it away in a drawer and only returned to it 10 years later, in 1851. After major revisions the piece was ready for a new premiere, In March, 1853. The work is in four distinct movements, but they are played without pause, an arrangement that bespeaks the symphony’s original title, Symphonic Fantasy. The opening is a deliberate and dramatic walking figure, which shortly gives way to, as Edward Downes calls it, a “swirling figure of sixteenth notes,” one which appears with frequency here and in the fourth movement. Listen for Schumann’s clever way of having one orchestral section begin a phrase and another complete it, or one section simply echo what another has just done. Listen, too, for the trombones forceful announcing of the conclusion of the movement. The second movement (section), a beautiful romance, is in ABA form. The winds offer a plaintive melody in A, a solo violin spins out a sweet tune in B, and A returns. The third movement is in ¾. The first part is characterized by a heavily accented melody, which contrasts with a delicate section. Each part is then repeated. The fourth movement emerges from a dramatic bridge, with brass and tremolo strings suggesting that something momentous is about to happen. It does: D major is on the way! The tunes, many of which are made up of material familiar to us from before, are sunny; there is the hint of a fugue; and the tempo goes from lebhaft (lively) to presto, making for a slambang conclusion. Schumann dedicated the final version of this symphony to the great violin virtuoso Joseph Joachim. The inscription reads, “When the first tones of this symphony were awakened, Mr. Joachim was still a little fellow (ten years old). Since then the symphony and still more the boy have grown bigger, wherefore I dedicate it to him.” Concert notes by Paul Lamar ALBANY SYMPHONY ORCHESTRA | 23

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STEINKE + MOZART & MORE FROM 1784 SATURDAY | JANUARY 13, 2024 | 7:30 PM SUNDAY | JANUARY 14, 2024 | 3:00 PM TROY SAVINGS BANK MUSIC HALL DAVID ALAN MILLER, CONDUCTOR YI-HENG YANG, PIANO W.A. Mozart (1756-1791)

Overture from The Marriage of Figaro Vocal Selections from The Marriage of Figaro

W.A. Mozart (1756-1791)

Piano Concerto No. 19 I. Allegro II. Allegretto in C Major III. Allegro assai INTERMISSION

Harriet Steinke

new work (world premiere)

W.A. Mozart (1756-1791)

Vocal Selections from The Marriage of Figaro

F.J. Haydn (1732-1809)

Symphony No. 80 I. Allegro spiritoso II. Adagio III. Menuetto IV. Finale: presto

ALBANY SYMPHONY ORCHESTRA | 25

HARRIET STEINKE

Harriet Steinke is an American composer from Detroit, Michigan. Her music has been described as “a sonorous space of tender moodiness and a patient disquiet” (pianist Lisa Moore) as well as “the antidote to those who say all new music is about struggle and strife, fearful of expression and especially of tenderness” (composer Piers Hellawell). She has received composition fellowships from the Norfolk and Tanglewood summer festivals and she earned undergraduate degrees in English and music at Butler University where her primary mentor was the composer Michael Schelle. She is currently in her third year of graduate studies at the Yale School of Music where her mentors are composers Chris Theofanidis, Aaron Jay Kernis, Martin Bresnick and David Lang. To learn more about Harriet Steinke, visit harrietsteinke.com

THE MARRIAGE OF FIGARO

Wolfgang Amadeus Mozart wrote 18 operas, in various sizes, languages and styles. Idomeneo is an opera seria; Don Giovanni and The Marriage of Figaro are examples of opera buffa; and The Magic Flute is considered a singspiel, that is, a musical entertainment with spoken dialogue and arias. 26 | ALBANY SYMPHONY ORCHESTRA

Lorenzo Da Ponte (1749-1838) used PierreAugustin Caron de Beaumarchais's stage play of the same name as a springboard for his libretto for tonight’s opera. As Jane Glover notes in her book Mozart’s Women, “Above all, Mozart and Da Ponte were both prepared to take risks, and were therefore profound innovators. Before they agreed to collaborate, Mozart had trawled disconsolately through more than 100 librettos, and found nothing to fire his imagination. What Da Ponte put before him was utterly different. No longer were they to concern themselves with the remote classical plots of opera seria; no longer would they bother with rescue operas set in exotic Eastern harems…The three librettos (on which they collaborated) were all effectively portraits of society in they both were living, of the people who inhabited it…” The opera received its premiere on May 1, 1786, in Vienna. The 4’ 15” overture, with its zip and sforzandi, promises merriment. The opera then begins with Figaro and Susanna discussing wedding plans and measuring the room they will inhabit after the ceremony. But it will be a rocky road they must travel before they can actually get the bed in there. Before the close of Act IV, Count and Countess Almaviva (for whom Figaro and Susanna work), Cherubino, Marcellina and Dr. Bartolo will, among other things, flirt, cross-dress, scheme and lament, all for the sake of lust—er, love. Figaro will even discover who his parents are! And, as with all comedies, these kerfuffles will give way to self-knowledge, repentance, forgiveness and a wedding, the ultimate guarantee that life will go on: comedy comes from the Greek word “comus,” which means fertility.

MOZART PIANO CONCERTO NO. 19

If you tally up the number of the 27 piano concertos written by Wolfgang Amadeus Mozart (1756-1791) that receive frequent performances, you arrive at, approximately, 13. Ludwig van Beethoven composed five; Brahms, two. Even the two master pianists/composers

of the 19th century, Frédéric Chopin and Franz Liszt, produced but two each. Thus, Mozart’s cultivation of this genre is both unparalleled and extraordinary. The orchestra opens the allegro vivace with a repeated F (the tonic—key—of the piece), jumps to a C (the dominant of F), and slides down the scale. In short it’s the simplest opening, but Mozart will make magic of it. The piano enters with the same little restrained figure. What to listen for? The charming flute color, the dialogue between piano and orchestra, the frequent reappearance of the opening motive, the dramatic harmonic turns in the development section, and the soloist’s bravura playing. The second movement, in ¾, is conventional in its orchestral introduction and reply by the piano, and it’s built on three conventional ingredients: appoggiaturas, broken chords, and passagework. The mood darkens in the middle of the movement as the cheerful C major slips into C minor, but all is restored in C major at the end. The upbeat third movement begins in the piano, not the orchestra. The soloist lays down a perky tune in eighth notes, taken up with alacrity by the orchestra. The pianist offers a second theme, but then the first bright melody comes back, repeatedly in a rondo-sonata form. Then a fugue, whose origins we heard briefly near the beginning of the movement but are now fully developed. Add a cadenza by Mozart himself, with the pianist purling up and down the keyboard with the right hand, outlining harmonies with a firm left hand, and producing sustained and masterful trills that must show no strain, and you have a 28-year-old master at his effervescent best.

YI-HENG YANG

As a soloist and collaborator, Dr. Yi-Heng Yang has appeared at festivals and series such as The Boston Early Music Festival, The New York Philharmonic Ensembles Series at Merkin Hall, The Serenata of Santa Fe Series, Sunday Chatter Albuquerque, The Dayton Early Music Series, The Frederick Collection, The

WOLFGANG AMADEUS MOZART

Finchcocks Collection, The Cobbe Collection, The Metropolitan Museum of Art, the Apple Hill Chamber Music Festival, and the Utrecht Early Music Festival Fringe. Yang holds a doctorate in piano from the Juilliard School, and studied there with Veda Kaplinksy, Robert McDonald and Julian Martin. She studied fortepiano with Stanley Hoogland at the Amsterdam Conservatory. Yang is on the faculty at The Juilliard School Preparatory and College Divisions, where she teaches piano, fortepiano, chamber music, keyboard skills and improvisation. She has also taught at The Mannes School of Music and Rutgers University. She is a director of The Academy for Fortepiano Performance in Hunter, NY, and the creator of their International Fortepiano Salon Series. To learn more about Yi-Heng Yang, visit yihengyangpianist.com

FRANZ JOSEPH HAYDN SYMPHONY NO. 80

It’s the Symphony No. 94 by Franz Joseph Haydn (1732-1809) that is known as “The Surprise,” but tonight’s symphony is packed with unexpected gestures! The first movement that runs a little more than five minutes has everything you could want by way of novelty, even if it is in the traditional sonata-allegro form: ALBANY SYMPHONY ORCHESTRA | 27

DR. YI-HENG YANG

FRANZ JOSEPH HAYDN

two contrasting themes, a development section, a recapitulation, and a coda. A fiery sturm-und-drang in D minor and ¾ time, with heavy accents, first commands our attention. Silences? Another surprise. The second tune is suddenly upon us, and it’s a quiet landler, an almost amusing answer to the first melody’s drama. Haydn also surprises us with dynamic shifts. The movement then switches to D major and concludes with two emphatic chords. The second movement is an adagio in B-flat, though Haydn wanders through other keys in the development section. Rhythmically, we are reminded of the first movement in terms of dotted notes and grace notes, but there is real warmth— pathos even—here, achieved often through

lines descending by half steps. Listen for the conversation between the strings and the winds and note an extraordinary moment when the flute surprisingly holds onto a high C while the other forces chug along. Invention everywhere! The 3’ 30” third movement is, characteristically, a heavy-footed menuetto/trio/menuetto. It’s in ¾ and D minor. The chief pleasure here is the graceful trio, featuring the winds and horn, each of which has a solo moment over accompanying strings. The symphony concludes with a breathless fourand-a-half minute allegro in D major. Off-beats, flashy sixteenth-note runs, unusual silences, and sweet duetting in the oboes are the surprises Hayn has in store for us. Concert notes by Paul Lamar Looking to make a statement in your kitchen? Shop in-store, by phone or online at www.marcellasappliance.com.

WE’RE HERE FOR YOU! Shoppers World, 15 Park Ave, Clifton Park 518.952.7700 560 Broadway, Schenectady 518.381.1957 28 | ALBANY SYMPHONY ORCHESTRA

SIMON + RHAPSODY IN BLUE @ 100 SATURDAY | FEBRUARY 10, 2024 | 7:30 PM PROCTORS THEATRE DAVID ALAN MILLER, CONDUCTOR GREG SPIRIDOPOULOS, TROMBONE KEVIN COLE, PIANO Carlos Simon

AMEN!

George Gershwin (1898-1937)

Selections

George Gershwin (1898-1937)

An American in Paris INTERMISSION

Jack Frerer Simon Says (Concerto for Trombone and Orchestra) (world premiere) George Gershwin (1898-1937)

Selections

George Gershwin Rhapsody in Blue (1898-1937) CONCERT SPONSOR

ALBANY SYMPHONY ORCHESTRA | 29

OVERVIEW Tonight’s concert is Maestro Miller’s homage to a singular event in American musical history: the premiere 100 years ago of the jazz band version of Rhapsody in Blue. But, of course, as with virtually every ASO outing, the evening is about not only looking back but also looking forward; consequently, we’ll hear Carlos Simon’s thrilling AMEN!, commissioned by the University of Michigan Symphony Band, featuring the trombone; and Jack Frerer’s brand new concerto for that same instrument, premiered by Albany Symphony’s own principal Greg Spiridopoulos, two works by composers nearly as young as George Gershwin was when he penned this iconic piece.

55555555555555555555555555555555555555555555555555 AMEN!

CARLOS SIMON

Grammy-nominated Carlos Simon is a multigenre composer and performer who is a passionate advocate for diversity in music. As winner of the Sphinx Medal of Excellence 2021 and Composer-in-Residence at the Kennedy Center, Simon is a unique voice and sought-after cultural ambassador for new music globally as well as an important spokesperson for the Black community and new audiences. Simon is passionate about social outreach and his work addresses complex themes that include migration, belonging and community—especially illuminating the transatlantic slave trade, the Jim and Jane Crow era, and the injustice people of African ancestry face today. His unique upbringing and journey into music has resulted in his music possessing both classical textures and structures in a contemporary aesthetic alongside strong jazz, hip-hop and heavy gospel influences as well as branching out in to the world of film— Simon’s music transcends genre. To learn more about Carlos Simon, visit carlossimonmusic.com. 30 | ALBANY SYMPHONY ORCHESTRA

AMEN! (2017) was commissioned by the University of Michigan Symphony Band and is a homage to my family’s four generational affiliation with the Pentecostal church. My intent is to re-create the musical experience of an African American Pentecostal church service that I enjoyed being apart of while growing up in this denomination. Pentecostal denominations, such as: Church of God in Christ (C.O.G.IC.), Pentecostal Assemblies of God, Apostolic and Holiness Church, among many others, are known for their exuberant outward expressions of worship. The worship services in these churches will often have joyous dancing, spontaneous shouting, and soulful singing. The music in these worship services is a vital vehicle in fostering a genuine spiritual experience for the congregation. The three movements in AMEN!! are performed without break to depict how the different parts of a worship services flows into the next. In the first movement, I’ve imagined the sound of an exuberant choir and congregation singing harmoniously together in a call and response fashion. The soulful second movement quotes a gospel song, “I’ll Take Jesus For Mine” that I frequently heard in many services. The title, AMEN!, refers to the plagal cadence or “Amen” cadence (IV-I), which is the focal point of the climax in the final movement. Along with heavily syncopated rhythms and interjecting contrapuntal lines, this cadence modulates up by half step until we reach a frenzied state, emulating a spiritually heightened state of worship.

JACK FRERER

Described as “exciting…combining boomcrash orchestration with woozy portamenti and jazz elegance” by The New York Times, and “a theatrical spectacle” by Vogue, the music of Australian composer Jack Frerer (b. 1995) has been commissioned and performed by New York City Ballet, the Albany, Nashville, Sarasota and New Jersey symphony orchestras, the Kennedy Center Opera Orchestra, the Australian and Metropolitan youth orchestras, the Tanglewood Music Center, and the wind ensembles of UT Austin, UNT, Michigan and Cornell, among others. Frerer is the recipient of a Charles Ives Scholarship from the American Academy of Arts and Letters, a Morton Gould Composers Award from ASCAP, the Suzanne and Lee Ettelson Composers Award, and the Brian Israel Prize from the Society for New Music. He holds degrees from The Juilliard School and Yale School of Music, where he studied with John Corigliano, Chris Theofanidis, David Lang, Aaron Jay Kernis and Martin Bresnick, and currently teaches at the Frost School of Music at the University of Miami. To learn more about Jack Frerer, visit jackfrerer.com.

SIMON SAYS

(Concerto for Trombone and Orchestra) “Those who can’t do, teach”—this maxim couldn’t be further from the truth in the world of classical music, where many at the top of the field serve as teachers. Greg Spiridopoulos, for whom this concerto was written, teaches. Marin Alsop and Itzhak Perlman teach. Haydn taught Beethoven, who taught Carl Czerny, who taught Liszt. “Doing” and teaching are inseparable in this career path, which leads to an interesting dynamic in music conservatories: students strive to work their way out of school, only to find that they’ve worked their way back in. This piece is about the pressures, challenges and joys of teaching, and invites you to imagine the trombonist as a teacher instructing an orchestra of students. Classroom teaching can be deeply frustrating and exhausting for all

JACK FRERER

GREG SPIRIDOPOULOS

involved, but is made worthwhile by the small victories: finding the perfect words to convey a complex idea, or seeing a struggling student grasp a challenging concept. It’s an endless cycle of exasperation and pride, one that I’m lucky to be part of.

GREG SPIRIDOPOULOS

Described by The Boston Globe as an “exemplary” musician, trombonist Greg Spiridopoulos is one of the most sought-after trombonists in New England. He holds Principal Trombone positions with the Albany Symphony Orchestra, Glimmerglass Opera Festival, Rhode Island Philharmonic, and Boston Philharmonic Orchestra, as well as membership in the Portland Symphony Orchestra and the Empire Brass Quintet. Spiridopoulos has appeared as soloist with the Albany Symphony, Harvard Summer Pops, The Valley Winds, and other New England ensembles. Before joining the faculty at the University of Massachusetts Amherst in 2010, Spiridopoulos led a distinguished freelance career, with regular appearances with the Boston Symphony and ALBANY SYMPHONY ORCHESTRA | 31

Boston Pops Orchestras, Boston Ballet Orchestra, Boston Lyric Opera, and the Handel and Haydn Society. As an educator, Spiridopoulos has presented numerous solo recitals and master classes, including Yale University, Eastman School of Music, McGill University, University of North Texas, Michigan State University, New Hampshire University, Ithaca College and Boston University. Utilizing his position as Professor of Trombone at UMass, Spiridopoulos commissioned and recorded four new works for solo trombone and wind ensemble with the UMass Wind Ensemble and Symphony Band, which was released on the MSR Classics record label in October 2022. Fanfare magazine described the CD, entitled Synchronous: New Works for Trombone and Wind Ensemble, as “a superbly entertaining disc performed to the very highest standard. Spiridopoulos is a true virtuoso.” Spiridopoulos also recorded the solo album Along the Continuum: Music for Trumpet, Trombone and Piano, with ASO Principal Trumpet Eric Berlin, which was released in 2020. A native of Vienna, Virginia, Spiridopoulos attended Michigan State University and received his Master of Music degree from Boston University. He is a Stephens Brass Instruments Performing Artist.

GEORGE GERSHWIN

In his famous song from 1971, “American Pie,” Don McLean referred to “the day the music died,” meaning February 3, 1959, when Buddy Holly, Ritchie and The Big Bopper perished in a plane crash. For music lovers of a previous generation, the day the music died might have been July 11, 1937, the day George Gershwin died of a brain tumor. Indeed, the writer John O’Hara said, “George Gershwin died on July 11, 1937, but I don’t have to believe it if I don’t want to.” That’s how important Gershwin was to the American musical scene. He was a boy wonder who, according to George Gershwin, by Howard Pollack, “made his known debut as a composer and pianist…playing (a) somewhat raggy tango on March 21, 1914, as part of an evening’s entertainment at the Christ32 | ALBANY SYMPHONY ORCHESTRA

GEORGE GERSHWIN

odora House…on the Lower East Side” (220). Five years later his music was on Broadway, and though he never abandoned musicals, he became increasingly interested in more than popular entertainments. The Concerto in F (1925) premiered about a year after Rhapsody in Blue because he wanted to write something serious, not jazz-related. And when, according to Gershwin biographer Edward Jablonski, 52-year-old French composer Maurice Ravel arrived in New York City in 1928 and asked to meet Gershwin and see a show by the 29-year-old music sensation, Gershwin turned around and petitioned Ravel for composition lessons; but the great man said no because Gershwin would only compromise his unique gifts and end up writing “’bad’ Ravel.” When, later, with a recommendation from Ravel in hand, Gershwin arrived in Paris, teacher Nadia Boulanger rebuffed Gershwin for the same reason. Indeed, the two French artists clearly recognized the power of Gershwin to contribute to, as Ravel put it, “a noble heritage in music.” Gershwin’s lone opera, Porgy and Bess, premiered in 1935, and though it was built on blues and African American folk elements, it was an opera nonetheless. Had Gershwin not died at the age of 38, no doubt he would have continued branching out into serious music.

AN AMERICAN IN PARIS

Saint-Saens left France for Egypt and wrote his Piano Concerto No. 5 (the Egyptian). Antonín Dvořák left Czechoslovakia for the U.S. and wrote his Symphony No. 9 (From the New World). Edward Elgar left England for Italy and wrote In the South. And George Gershwin went to France in 1928 and composed this tone poem, the far-from-home

impressions of a young man, who, in this case was always a young man, so brief was his life. What do you hear/see? A jaunty stroll through the streets of Paris on a spring day. Car horns. A reference to the Spanish song “La Sorella,” which some of us know as the tune about a nickel, a pickle, and some chewing gum. A meditative section with violin solo, flute and celesta. A big tune introduced by the trumpet—some suggest that it depicts Gershwin’s homesickness. Whatever the prompt, it’s a sweeping melody that comes back a couple of other times, as piquantly as the familiar passage in Rhapsody in Blue. There’s jazz. There’s syncopation. There’s joie de vivre!

RHAPSODY IN BLUE

There were 22 players in Paul Whiteman’s (18901967) jazz band on February 12, 1924, to play the new Gershwin piece whose orchestration (by Ferde Grofe) had been completed just eight days before and whose piano part was not even fully written out: That was to be improvised by the young composer himself. The composition had come about rather unusually, when Whiteman announced in the newspaper in January of that year that Gershwin was going to premiere a new jazz concerto at a February concert of modern music. Gershwin had already declined Whiteman’s request for such a work because he and brother Ira were working on a new musical, but as Gershwin biographer Walter Rimler notes, Whiteman “did not want to be beaten to the punch by Vincent Lopez, another band leader who wanted to be the first to present jazz in a highbrow setting.” Whiteman prevailed. What was Gershwin’s intent with this composition? He said, “I heard it as a sort of musical kaleidoscope of America—of our vast melting pot, of our unduplicated national pep, of our blues, our metropolitan madness.” Did he succeed? Check out the bluesy glissando of the clarinet at the beginning; the propulsive rhythms of—where else?—New York City; the gorgeous saxophone theme that makes your heart ache; the sudden, jazzy variation of a straight-forward phrase in the piano; and the bright color of every instrument,

KEVIN COLE

sometimes muted just for sass. It’s a one-movement, 16-minute work of remarkable vitality. Or “pep”! Gershwin concert notes by Paul Lamar

KEVIN COLE

Kevin Cole is an award-winning musical director, arranger, composer, vocalist and archivist who garnered the praises of Irving Berlin, Harold Arlen, E.Y. Harburg, Hugh Martin, Burton Lane, Stephen Sondheim, Marvin Hamlisch and members of the Jerome Kern and Gershwin families. Engagements for Cole include: sold-out performances with the Los Angeles Philharmonic at the Hollywood Bowl; BBC Concert Orchestra at Royal Albert Hall; National Symphony at the Kennedy Center; San Francisco Symphony, Chicago Symphony, Philadelphia Orchestra, Minnesota Orchestra, Pittsburgh Symphony, Philharmonia Orchestra (London); Hong Kong Philharmonic; Vietnam National Symphony Orchestra; New Zealand Symphony, Adelaide Symphony Orchestra (Australia) Ravinia Festival, Wolf Trap, Savannah Music Festival, Castleton Festival, Chautauqua Institute, Carnegie Hall with Albany Symphony and many others. Cole was featured soloist for the PBS special "Gershwin at One Symphony Place" with the Nashville Symphony. He has shared the concert stage with William Warfield, Sylvia McNair, Lorin Maazel, Audra McDonald, Barbara Cook, and friend and mentor Marvin Hamlisch. In addition to his busy touring and performing schedule, Cole is currently Artist in Residence in Musical Theatre and Voice at Saginaw State University. To learn more about Kevin Cole, visit kevincolemusic.com. ALBANY SYMPHONY ORCHESTRA | 33

5555555555555 ALBANY SYMPHONY 5555555555555 BOARD & STAFF

BOARD OFFICERS Faith A. Takes, Chair Marisa Eisemann, MD, Vice Chair John Regan, Vice Chair Daniel Kredentser, MD, Vice Chair Dush Pathmanandam, Treasurer Nicholas Faso, Secretary BOARD OF DIRECTORS Kaweeda Adams Melody Bruce, MD Christopher Canada Dr. Benjamin E. Chi Marcia Cockrell Ellen Cole, Ph. D. Becky Daniels Nicholas Faso Maureen Geis (Ex Officio) Alan Goldberg Jerel Golub Joseph T. Gravini Catherine Hackert (Ex Officio) Anthony P. Hazapis Jahkeen Hoke Edward M. Jennings Judith Kahn Mark P. Lasch Steve Lobel Cory Martin Daniel P. McCoy (Ex Officio) Anne Older Henry Pohl Barry Richman David Rubin Hon. Kathy M. Sheehan (Ex Officio) Rabbi Scott Shpeen Louis Solano Christopher R. Stager Deshanna Wiggins

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DIRECTORS’ COUNCIL Rhea Clark Denise Gonick Sherley Hannay Judith B. McIlduff John J. Nigro

STAFF EXECUTIVE LEADERSHIP Anna Kuwabara, Executive Director FINANCE Scott Allen, Finance Director DEVELOPMENT & MARKETING Alayna Frey Patron Services Manager Keynola Russell Development Coordinator EDUCATION & COMMUNITY ENGAGEMENT Jae Gayle, Director of Education & Community Engagement ARTISTIC OPERATIONS Derek Smith Director of Operations & Programming JJ Johnson, Personnel Manager Daniel Brye, Housing Coordinator Jessica Bowen, Librarian Myles Mocarski, Librarian

555555555555 CORPORATE SPONSORS 555555555555 The Albany Symphony acknowledges the support of our corporate sponsors whose contributions recognize the importance of the Albany Symphony in building civic pride, educating our youth, and contributing to the cultural life of all people in the Capital Region. Updated October 30, 2023.

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.

MEDIA PARTNERS

HOSPITALITY PARTNER

ALBANY SYMPHONY ORCHESTRA | 35

5555555 FOUNDATIONS, CORPORATIONS, 5555555 & GOVERNMENT AGENCIES

The Albany Symphony is deeply grateful to the foundations, corporations, and government agencies whose ongoing support ensures the vitality of our orchestra. Updated September 8, 2023.

$100,000+

New York State Council on the Arts

AllSquare Wealth Management Atlas Wealth Management Discover Albany Howard & Bush Foundation The Hershey Family Fund The Maurice D. Hinchey Hudson River Valley National Heritage Area

$25,000+

$2,500+

Empire State Development Capital Region Economic Development Council Carl E. Touhey Foundation

$50,000+

Aaron Copland Fund for Music Faith Takes Family Foundation League of American Orchestras National Endowment for the Arts

$10,000+ Amphion Foundation The Bender Family Foundation Hannay Reels, Inc. Lucille A. Herold Charitable Trust May K. Houck Foundation Nielsen Associates New Music USA The City of Amsterdam The John D. Picotte Family Foundation M & T Charitable Foundation Price Chopper’s Golub Foundation Sano-Rubin Construction Stewart’s Shops Vanguard-Albany Symphony

$5,000+ Capital Bank Alice M. Ditson Fund Graypoint, LLC

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Alfred Z. Solomon Charitable Trust Charles R. Wood Foundation Hudson River Bank & Trust J.M. McDonald Foundation NYS Canal Corporation and the Erie Canalway National Heritage Corridor The Business for Good Foundation The Peckham Family Foundation The Robison Family Foundation Fenimore Asset Management, Inc.The Troy Savings Bank Charitable Foundation The David and Sylvia Teitelbaum Fund,Inc.

$1,500+ John Fritze Jr., Jeweler Pioneer Bank

$1,000+ Courtyard by Marriott Schenectady at Mohawk Harbor Dr. Gustave & Elinor Eisemann Philanthropic Fund Firestone Family Foundation Hippo’s Pearl Grant Richmans Repeat Business Systems Inc. Whiteman Osterman and Hanna LLP

WHERE ART & IDEAS INTERSECT

Tang Teaching Museum at Skidmore College Tuesday – Sunday: Noon – 5 PM Thursday: Noon – 9 PM tang.skidmore.edu

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5555555555555 INDIVIDUAL GIVING 5555555555555 The Albany Symphony is grateful to the following individuals for their vital ongoing support. Updated October 30, 2023 *in memoriam

ALBANY SYMPHONY AMBASSADORS $25,000+ Charlotte Buchanan Dr. Benjamin Chi Daniel & Celine Kredentser

Karen & Chet Opalka Opalka Family Donor Advised Fund of the Community Foundation for the Greater Capital Region

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CONDUCTORS CIRCLE GOLD $10,000-$24,999 Rhea Clark Marcia & Findlay Cockrell Al De Salvo & Susan Thompson* Drs. Marisa & Allan Eisemann Jerel Golub A.C. Riley David M. Rubin & Carole L. Ju Mitchell & Gwen Sokoloff Dennis & Margaret Sullivan Ms. Faith A. Takes

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38 | ALBANY SYMPHONY ORCHESTRA

Mark & Lori Lasch Mr. & Mrs. Bruce Maston Karen Melcher Drs. Karl Moschner & Hannelore Wilfert Bob & Alicia Nielsen Dr. Henry S. Pohl Larry & Clara Sanders William Tuthill & Gregory Anderson

CONDUCTORS CIRCLE BRONZE $2,500-$4,999 Wallace & Jane Altes Sharon Bedford & Fred Alm Peter & Debbie Brown Drs. Ellen Mary Cosgrove & Thomas Evans Mr. & Mrs. Ephraim & Elana Glinert Alan Goldberg Dr. & Mrs. Robert J. Gordon Joseph Gravini & Beth Cope Edward & Sally S. Jennings Mr. & Mrs. E. Stewart Jones Jr. Mary Jean & William Krackeler Charles M. Liddle III* Alan & Karen Lobel Steve & Vivian Lobel The Massry Family Hilary & Nicholas Miller Vaughn Nevin Robert & Samantha Pape Dr. Nina Reich Mark J. Rosen Alan & Leizbeth Sanders Rabbi Scott Shpeen Paul & Janet Stoler Mrs. Jeanne Tartaglia Barbara & Stephen Wiley Daniel Wulff

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Peg & Bob Schalit Harriet B. Seeley Peggy & Jack Seppi David Shaffer Ms. Ronnye B. Shamam Herb & Cynthia Shultz Dwight* & Rachel Smith Robert P. Storch & Sara M. Lord I. David & Lois Swawite Dr. and Mrs. Frank Thiel Anders & Mary Ellen Tomson Avis & Joseph Toochin Ms. Judith (Josey) Twombly Mrs. Candace King Weir Michael & Margery Whiteman Lawrence & Sara Wiest

FRIENDS OF THE ALBANY SYMPHONY $500-$999

Dr. Kenneth S. & Rev. Elizabeth D. Allen Linda Anderson Mr. Leslie Apple Anonymous John Bohrer-Yardley Paul & Bonnie Bruno Mr. David Clark Ms. Maureen Conroy Dr. and Mrs. William J. Cromie Mr. Wilson Crone Pernille AEgidius Dake Mary DeGroff and Robert Knizek Mary Beth Donnelly Robert & Marjorie Dorkin Herb and Annmarie Ellis Hope Engel Greenberg & Henry Greenberg Ben & Linda English Robert Frost Roy and Judith Fruiterman Ms. Mary McCarthy and Mr. David Gardam Lynn Gelzheiser Mr. David Gittelman Mr. Paul J. Goldman Susan M. Haswell Charitable Fund Lynn Holland Ruth Killoran William Lawrence Keith C. Lee David and Tanyss Martula Tom McGuire & Barbara Bradley Patricia Meredith Richard & Beverley Messmer Stewart C. Myers Mrs. Deborah Onslow David M. Orsino Sarah M. Pellman Mr. Robert Reilly Nancy Ross and Robert Henshaw Donna Sawyer Richard Scarano Cynthia Serbent Gloria & David Sleeter

Sandra & Charles Stern Marie Sturges James Sullivan Michael L Wolff

$250-$499

Shirley R. Anderson & Robert Fisher Anonymous James Ayers & Miriam Trementozzi Jeevarathnam Ayyamperumal Richard & Susan Baker Donald and Rhonda Ballou The Bangert-Drowns Family Anne & Hank Bankhead Elmer & Olga Bertsch Susan & Gus Birkhead Rachel Block Sharon Bonk Ruth Bonn Mrs. Naomi Bradshaw Robert G. Briggs Diane & William Brina Wesley R. & Shelley W. Brown The Bruckner Society of America, Inc. Michael Buckman Carol Butt Carol F. Bullard & Worth Gretter Richard & Lorraine Carlson Jim Cochran & Fran Pilato Deanna Cole Ann & William Collins Ruiko K. Connor Janet R. Conti Jane & John Corrou Bonnie & Steven Cramer Mr. Robert S. Drew Ronald Dunn & Linda Pelosi-Dunn Ilze Earner Hope Engel Greenberg & Henry Greenberg Mr. and Mrs. John J. Ferguson Pam Fernandez Paul & Noreen Fisk Kellie Fredericks The Community Foundation for the Capital Region’s Marvin and Sharon Freedman Advised Fund Christina Galante Ms. Maureen Geis Mr. Ronald C. Geuther Barbara P. Gigliotti David & Janice Golden Bo Goliber Mr. & Mrs. Allen S. Goodman Shirley & Herbert Gordon Robert and Mary Elizabeth Gosende Chris & Shirley Greagan Lois Griffin John Gross Stephen Halloran Katharine B. Harris John Hawn Justin Heller

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$250-$499 CONTINUED Robert R. Henion III Joel & Elizabeth Hodes Martin Atwood Hotvet Karen Hunter & Todd Scheuermann Ms. Caitlin Ippolito Mrs. Ann M Jeffrey Mr. Charles Kimball Karl Bendorf & Patricia Lacey John M Lawrence Mr. James Levine Bennett and Deborah Liebman David and Elizabeth Liebschutz Benjamin and Ruth Facher Mendel Anne Messer and Daniel Gordon Barbara Metz Michelle Miller-Adams Marcia & Robert Moss Sarah & Rana Mukerji Stephen & Mary Muller William and Elizabeth Nathan Lee & Heidi Newberg Fund Dr. Arlene E. Nock Ms. Diane O’Brien Carol and Ed Osterhout Cynthia Platt & David Luntz Paul and Margaret Randall Alexandria Richart Marin Wyatt Ridgeway & Don Ruberg Jill and Richard Rifkin Steven and Janice Rocklin Frank L. Rose Ms. Julia Rosen Rosemarie V. Rosen Mr. & Mrs. Steven & Tammy Sanders Paul & Kristine Santilli Mr. & Mrs. David & Susan Sawyer Mr. Robert Scher and Ms. Emilie Gould Jim and Janie Schwab Walter Scott Anne-Marie Serre Patricia Shapiro Mrs. Joanne Shay Michael & Monica Short Sharon Siegel Stephen J. Sills, M.D. Louis Solano Drs. Susan Standfast and Theodore Wright Donald and Morag Stauffer Ms. Amy Jane Steiner John & Sally Ten Eyck Paul Toscino Linda Demattia Underwood Mrs. Candice Van Roey Jeff Vandeberg Jeff & Barbara Walton Larry Waterman Dawn Stuart Weinraub Wheelock Whitney III Paul Wing Dayle Zatlin and Joel Blumenthal Dr. & Mrs. David H. Zornow

40 | ALBANY SYMPHONY ORCHESTRA

$100-$249

Wilfred Ackerly Mrs. Anne Aleertin Camille & Andrew Allen Rabbi Laurence Aryeh Alpern Thomas Amyot Ms. Gayle Anderson Ms. Janet Angelis Martin Anneling ANONYMOUS Elizabeth & John Antonio Elizabeth A Arden Katherine Armstrong Mr. William V Arneth III Jeffrey Asher Chip Ashworth Steven Axelrod Susan & Ronald Backer Phyllis Bader-Borel Dr. Ronald A. Bailey Mrs. Laura Barron Diane Bartholdi Richard & Peggy Becker Sitso Bediako Dr. & Mrs. Thomas & Adrienne Begley Anita Behn Mr. Justin Belanger Dr. & Mrs. Robert Ivan Beretvas Samuel Berg Valerie Bok & Joseph Lomonaco Joseph and Patricia Boudreau Doug and Judy Bowden E. Andrew Boyd Mary J. Brand Mrs. Anne Brewster David Brickman & Karen Ciancetta Ms. Ellen Brickman Hon. Caroline Evans Bridge Dr. Rachelle Brilliant Elisabeth Brown Cynthia S Brown-Lafleur Crescentia & Bruce Brynolfson Mr. James Louis Buzon Stanley Michael Byer Michael A. Byrne Victor L. Cahn Charles and Eva Carlson Ms. Karen E. Carlson Sarah & Patrick Carroll Paul Castallani Lois & Patrick Caulfield Mr. Michael J. Cawley Mrs. Jenny Charno Lonnie Clar Ms. Rae Clark David O. Clements, Jr. Mr. Aaron R Coble Ms. Lavonda Collins Jim Conroy Phyllis Cooney Miriam Cooperman Mr. Leslie Craigue

Anne Cronin Barb & Gary Cunningham Mr. Robert Dandrew Carol Davis Garrett & Michele Degraff Ms. Joan Dennehey Ms. Sharon Desrochers Michael Devall Mr. Larry Deyss Mr. & Mrs. Paul Dichian Dr. & Mrs. Frank Dimase Linda Dirga Donna Dixon Mr. Young R. Do Mr. Mark Doherty Kevin P. Donovan Marianne Donovan Terrell Doolan Jan & Lois Dorman Jill Dorsi Marilyn & Peter Douglas Kevin Dubner Susan J. Dubois Kate & Jerry Dudding Ann & Don Eberle Mr. Seth Edelman Don Edmans & Debra Piglivento Ms. Tanja Eise Mr. & Mrs. Lynn Ellsworth David Emanatian Anne Eppelmann Tony and Lu Esposito Donna Faddegon Lawrence & Susan Flesh Anne E Fortune Nancy T. Frank Robert Frost Robert J Gallati Barbara & Eugene Garber Lynne L. Gelber Chuck and Sally Jo Gieser Chandlee Gill Sandra & Stewart Gill Carol Gillespie and Marion E. Huxley Charles & Karen Goddard Deborah & Gary Goldstein Edward J. Gorman Mr. Judson L Graham Mark Harris & Melanie Greenspan Mr. Jim Guidera David E. Guinn Theresa Tomaszewska & James Gumaer Mr. & Mrs. Carlton & Susan Gutman Mr. Arthur Haberl Charles Hagelgans Ms. Barbara Diane Haines Henry & Pauline Hamelin Phil & Dianne Hansen Helen Harris Ms. Teresa Harrison Dr. and Mrs. Joseph J. Hart Kathleen R. Hartley

$100-$249 CONTINUED Leif and Claudia Hartmark Mr. and Mrs. Richard S. Hartunian Mr. Drew Hartzell Audrey T. Hawkins Linda Haynes Hardy Mrs. Gail D. Heim Mr & Mrs Frederic & Laura Hellwitz Lee Helsby & Joseph Roche Mr. William J. Hetzer Phyllis & Stephen Hillinger Susan Hoff-Haynes Susan Hollander Mr. Richard Allan Horan Ms. Helen House Barbara Hrachian Chuong Huang Mr. Robert B Hubbell Lucinda Huggins Mr. R. Daniel Hurwitz John and Janet Hutchison Hon. Irad & Jan Ingraham Ms. Caitlin Ippolito Susan Jacobsen Jean Jagendorf Mr. Scott B Jelstrom Eric & Priscilla Johnson Victor Juhasz Ms. Deborah Karnes Mr. Robert A. Katz John & Marcia Rapp Keefe Joe & Mary Kelly Lori Kenney Kent Family Fund Ms. Margaret Kirwin Mr. Adam C. Knaust Cheryl Gelder-Kogan and Barry A. Kogan, MD Dr. Beatrice Kovasznay Mrs. Margaret Kowalski Reina Kurrelmeyer David and Diane Kvam Ms. Barbara LaMarche Dr. & Mrs. Jeremy & Jodi Lassetter Peter & Lori Lauricella Sally Lawrence Joan A. Lipscomb Karen Lipson Carlos Lluch Timothy & Judith Looker Kersten Lorcher & Sylvie Brownw Ms. Karyn Loscocco Monica Mackey Mr. & Mrs. Stephen & Mary Madarasz William & Gail Madigan Marybeth Maikels Elise Malecki Claire Malone Susanna Martin Louise and Larry Marwill Wilson & Marilyn Mathias Mr. Arthur Mattiske Mrs. Theresa C. Mayhew

Mr. James McClymonds Elena McCormick Felton McLaughlin & Anna Taaffe Kathleen McNamara Fred & Pauline Miller Pat Mion Mr. David E Mollon Ms. Ruth Anne Moore Mary Moran & Tom Benoit Ms. Cheryl Mugno & Mr. William Trompeter Dr. Reid T. Muller & Dr. Shelley A. Gilroy Judith Ann Mysliborski, Md Mrs. and Mr. Judith V. Nestlen David Nichols Ken Jacobs and Lisa Nissenbaum Connie & Ned O’Brien Jeremy Olson Mr. Anthony Opalka Peter & Kathleen Ordway Brad and Barbara Oswald Mr. John Paduano Mr. Peter Pagerey William Panitch James and Georgiana Panton Robert & Loretta Parsons Eleanor and William Pearlman Mr. & Mrs. Robert Edward Pett Bob & Lee Pettie Christian & Carol Pfister Mrs. Ruth L Pierpont Agatha Pike Roberta Place John Smolinsky and Ellen Prakken Diana Praus Rosemary Pyle Mrs. Tina W. Raggio Laura Y. Rappaport Barbara Raskin Cheryl V. Reeves Rand & Barb Reeves Gail Rheingold Susan Riback Ms. Sabrina Eve Ricci Mr. Steven Rich Mr. and Mrs. George P. Richardson Wayne and Monica Raveret Richter Kenneth & Susan Ritzenberg George & Ingrid Robinson Eric S. Roccario MD Ramon & Mary Rodriguez H. Daniel Rogers Mr. & Mrs. Harlan & Catherine B. Root Mrs. Rosenfeld Ms. Karen Elsa Roth Andy Roy Martha Rozett Gretchen A. Rubenstein Daniel and Meris Ruzow Mr. John Paul Ryan Ms. Margaret M. Ryan

Mr. William D. Salluzzo Mary Kay Sawyer William Schanck & Gail Haulenbeek Joanne Scheibly Dr. Harvey & Happy Scherer Mr. Lawrence Schell Lois & Barry Scherer Kendra Schieber Ralph & Dorothy Schultz Mr. John Schwarz Dodie & Pete Seagle Ms. Pamela Selover Wayne A. Senitta & Dan Washington Ann Shapiro & Barry Pendergrass Mrs. Dolores A. Shaw Mr. John Sheppard Susan V. Shipherd Mr. Kenneth Singer Mr. Norman Solomon Ms. Nancy Spiegel Mr. Ian R. St. George John & Lois Staugaitis Mr. Rudy Stegemoeller Dr. & Mrs. Yaron & Katie Sternbach David H. Steward Hon. & Mrs. Larry G Storch Ms. Katherine Storms Nadine Stram Norman and Adele Strominger Sheila Sullivan Andrew Swartz Prof. Ben G. Szaro Edwin and Pamela Taft Ms. Jacqueline Tenney Ms. Martha Teumim Joseph Thatcher Mr. Michael Tobin Doris Tomer Ms. Monica Trabold Terry and Daniel Tyson Michele Vennard and Gordon Lattey Mr. James Vielkind-Neun Maria Vincent Janet Vine Marc Violette and Margaret Lanoue Martha von Schilgen Dr. Dick Vosko Rex W & Marion R Smith Stephanie H. Wacholder & Ira Mendleson III Mr. James Fleming & Lawrence Tyler Waite Mr. Wolfgang Wehmann Jerry & Betsy Weiss Mr. Eric Dean Weiss Sharon Wesley Ms. Elizabeth F. Williams Mr. David Wood Ms. Susan Wood Barbara Youngberg Barbara Zavisky

ALBANY SYMPHONY ORCHESTRA | 41

5555 IN HONOR, CELEBRATION & MEMORY 5555 Updated October 30, 2023. *In Memoriam In Memory of Virginia Adams Linda Dirga In Memory of Sharon Bamberger Joe Bamberger In Memory of Jeanne Bourque Chris Edwards In Memory of Charles Buchanan Anne & Thomas Older In Memory of Neil C. Brown, Jr. Thomas Cheles John Davis Dominick DeCecco Robert & Pauline Grose Gary Jones Elinor & Michael Kelliher Kersten Lorcher & Sylvia Brown Deborah Mazzone Dr. & Mrs. Thomas Older Joseph & Patricia Potvin Robert Joseph & Rosemarie Rizzo Stuart Rubinstein Mary Kay Sawyer Patricia & Roger Swanson Lisa Trubitt & Spiro Socaris Maryalice & Bruce Svare Jody & John Van Voris Sharon A. Wesley Mr. Meyer J. Wolin Anne & Art Young

Peter & Rose-Marie Ten Eyck Sarah & Patrick Carroll Charlotte & Charles* Buchanan John J. Nigro New York Council of Nonprofits David Scott Allen Greta Berkson Mary & Tom Harowski Mary James Sally & Edward Jennings Leigh & Louis Lazaron Susan Limeri Ann Silverstein Anna Taglieri Enid Watsky In Memory of Edna deBeer Thomas & Ann Connolly In Loving Memory of Frederick S. deBeer, Jr. David Scott Allen Elsa G. deBeer Adelaide Muhlfelder In Honor of Craig Edwards and Anna Kuwabara Karen & Chet Opalka In Honor of Dr. Gustave Eisemann Alan Goldberg In Honor of Marisa Eisemann Dr. Heinrich Medicus

In Honor of David Ray & Mimi Bruce Dorothy Seagle

In Loving Memory of Mary Rita Flanagan Michael A. Byrne

In Memory of Charles Buchanan Tom McGuire & Barbara Bradley Dr. & Mrs. Thomas Older

In Memory of Dr. Alvin K. Fossner Carl & Cathy Hackert

In Memory of Jim Cark Rhea Clark In Honor of Elaine Conway Elaine Verstandig In Loving Memory of Adella Cooper Miss Eileen C. Jones In Memory of Elsa deBeer Jenny deBeer Charno Jo Ann & Buzzy Hofheimer Susan Thompson*

42 | ALBANY SYMPHONY ORCHESTRA

In Memory of Jane Golub Albany Symphony Orchestra Committee In Honor of Jerry Golub Sara & Barry Lee Larner Mr. & Mrs. Gary & Deborah Goldstein In Loving Memory of Roger Hannay Alan Goldberg In Memory of Jeffrey Herchenroder Linda Anderson Robert Akland Ann-Marie Barker-Schwartz Paula Brinkman Elizabeth Bunday Joseph Demko Gary & Sandy Gnirrep Guilderland Central Teachers Assoc. Guilderland Music Parents and Friends Assoc. Leif & Claudia Hartmark Kelly Hill Geneva Kraus Lynwood Elementary Marybeth Maikels Sharen M. Michalec Timothy & Kathleen M. Owens Jocelyn Salada Jacqueline West Farbman In Loving Memory of Beatrice & Robert Herman Arthur Herman Dr. & Mrs. Neil Lempert Lawrence Marwill Louise & Larry Marwill

In Memory of Allan D. Foster Mrs. Lois V. Foster

In Memory of Petia Kassarova Julie & William Shapiro Larry Waterman

In Memory of Rachel Galperin Margaret & Robert Schalit

In Memory of Audrey Kaufmann Judith & Herbert Katz

In Memory of Shirley Gardam Maryann Jablonowski Reg Foster Mary McCarthy David Gardam Doris Tomer Stephanie Wacholder

In Memory of Louise Marshall Kimberly Arnold Gloria MacNeil Jennifer Marshall Susan Marshall Ricki Pappo & Caleb Rogers Ann & Mark Rogan Beth Rosenzweig

In Memory of Susan Martula Alex Wirth-Cauchon Elena Duggan Megumi Hemann Edward Kish Paul Lamar & Mark Eamer David & Tanyss Martula Thomas McGuire Marsha Lawson Anne & Thomas Older Rider, Weiner & Frankel, P.C. Margaret Schalit Richard & Anne Martula William & Julie Shapiro Robert Sweet Dawn Weinraub In Memory of Frances McDonald Ms. Barbara LaMarche Mrs. Marcia F Serafin Cynthia Serbent In Loving Memory of Dr. Heinrich Medicus Carol & Ronald Bailey Paul & Bonnie Bruno Elsa deBeer Alan Goldberg Dr. & Mrs Thomas Older Harry G. Taylor In Honor of David Alan Miller Phyllis Cooney Bonnie & Steven Cramer Arthur Herman Celine & Daniel Kredentser Lois & Barry Scherer Susan St. Amour In Honor of Miranda, Elias, and Ari Miller Bonnie Friedman & Gerald Miller

In Honor of Anne Older Shannon Older-Amodeo & Matthew Amodeo In Memory of Clyde Oser Janice Oser In Memory of Paul Pagerey Peter & Ruth Pagerey In Loving Memory of Jim Panton Bonnie & Paul Bruno Marcia & Findlay Cockrell Nancy Goody Mary Anne & Robert Lanni Drs. Marisa & Allan Eisemann David Alan Miller In Memory of David Perry Steven Fischer William Hughes Frederick Luddy Richard & Anne Martula James McGroarty & The NYCPGA Robin Seletsky Amy & Robert Sweet Dawn Weinraub

In Memory of Lewis Rubenstein Mark Aronowitz August Costanza Gina Costanza Marcia Dunn Susan & Stewart Frank Arthur & Maxine Mattiske Barbara Poole Kathleen Pritty In Memory of Pearl Sanders Larry & Clara Sanders In Honor of Ronnye Shamam Samuel Berg Ms. Barbara L Nelson Mrs. Ruth L Pierpont In Honor of Alice M. Trost Don Edmans & Debra Pigliavento

In Memory of Sally & Henry Peyrebrune Mr. Steven Ainspan Anonymous Thomas & Ann Connolly Jane Hargraft Claire Malone Mr. Jim and Mrs. Janie Schwab

In Memory of Gael Casey Vecchio Aimee Allaud Margaret Skinner

In Loving Memory of Vera Propp Dr. Richard Propp In Loving Memory of Anne Posner Dr. David Posner

In Memory of Marcia Nickerson Philip & Penny Bradshaw Irene Wynnyczuk

In Honor of Carole Rasmussen Elizabeth Williams

In Loving Memory of Don B. O’Connor Helen J. O’Connor

In Memory of John Leon Riley Anne & Thomas Older Chet & Karen Opalka Jane Wait

In Memory of Justine R. B. Perry Dr. David A. Perry

In Honor of Candida R. Moss Marcia & Robert Moss

In Honor of Connie and Ned O'Brien, long time Capitol Region music lovers Ms. Diane O'Brien

Natalie Mantley Roberta Sandler Brad Smith Katherine Wentworth-Ping

In Honor of Nancy & Barry Richman Jan & Lois Dorman

In Memory of Gerry Weber Janet Angelis Theresa Mayhew In Memory of Dr. Manuel Vargas Lois Foster In Honor of Barbara and Steve Wiley Paul Lamar In Honor of Barbara Wiley Elaine Walter In Memory of George William "Bill" Zautner John King

In Honor of Jill Rifkin James Bilik Mary Brown Matthew Collins Mikaila Espera Ellen Kelly Deborah Liebman

ALBANY SYMPHONY ORCHESTRA | 43

ENCORE SOCIETY To keep orchestral music in our community and ensure future generations experience its joys, please consider joining the Albany Symphony Encore Society. Gifts of all sizes make it possible for the Albany Symphony to maintain our tradition of artistic excellence, innovation and community engagement for generations to come. There are many options to make a planned gift that enable anyone to leave a legacy of music: Charitable bequests IRA or 401(k) beneficiary designation Gifts of life insurance or appreciated stocks A bequest in a will or living trust

TO LEARN MORE ABOUT THE ENCORE SOCIETY, PLEASE CONTACT: Keynola Russell | (518) 465-4755 x145 | KeynolaR@AlbanySymphony.com

JOIN THE MEMBERS OF THE ENCORE SOCIETY IN CREATING YOUR OWN LEGACY * in memoriam

Kaweeda G. Adams Anonymous Melody Bruce, MD Charlotte & Charles* Buchanan Susan Bush Susan Thompson* & Al De Salvo Marisa Eisemann, MD David Emanatian Alan P. Goldberg

Jerel Golub Robert & Monica Gordon Edward M. Jennings Judith Gaies Kahn William Harris & Holly Katz Steve Lobel Harry Rutledge Gretchen A. & Lewis* C. Rubenstein Rachel & Dwight* Smith Paul Wing

44 | ALBANY SYMPHONY ORCHESTRA

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Join us for the 2023-24 season!! www.albanypromusica.org 46 | ALBANY SYMPHONY ORCHESTRA

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