The Christopher Seaman Chair, Supported by Barbara and Patrick Fulford and The Conductor Laureate Society
JHERRARD HARDEMAN, ASSISTANT
The Louise and Henry Epstein Family Education and Community Engagement Chair
The safety of patrons, musicians, and staff is of the utmost importance. Following the University of Rochester masking protocols and guidelines, masking is currently optional at Eastman Theatre.
Juliana Athayde+, Concertmaster
The Caroline W. Gannett & Clayla Ward Chair, funded in perpetuity
Angelina Phillips, Associate Concertmaster
The Fred M. and Lurita D. Wechsler Chair, funded in perpetuity
Shannon Nance, Assistant Concertmaster
Jeongwon Claire An
Tigran Vardanyan
James Zabawa-Martinez
Thomas Rodgers
Anna Leunis
Molly McDonald
Kurt Munstedt
Perrin Yang
Jeremy Hill
An-Chi Lin
Jeanelle Thompson, Principal
The Dr. Ralph F. Jozefowicz Chair, funded in perpetuity
Daryl Perlo, Assistant Principal
The James E. Dumm Chair, funded in perpetuity
Patricia Sunwoo
John Sullivan
Lara Sipols
Sooyeon Kim
Petros Karapetyan
Liana Koteva Kirvan
Margaret Leenhouts
Heidi Brodwin
Ellen Stokoe
Joshua Newburger, Principal
The William L. Gamble Chair, funded in perpetuity
Marc Anderson, Assistant Principal
Rebecca Christainsen
James Marshall
Olita Povero
Neil Miller
Melissa Matson
Ye In Son
David Hult
Ahrim Kim, Principal
The Clara and Edwin Strasenburgh Chair, funded in perpetuity
Lars Kirvan, Assistant Principal
Samuel Pierce-Ruhland
Christopher Haritatos
Benjamin Krug
Jennifer Carpenter
Ingrid Bock
Cory Palmer, Principal
The Anne Hayden McQuay Chair, funded in perpetuity
Michael Griffin, Assistant Principal
Daniel Morehead
Edward Castilano
Fred Dole
Jeff Campbell+
Eric Polenik
FLUTE
Rebecca Gilbert, Principal
The Charlotte Whitney Allen Chair, funded in perpetuity
Sean Marron
Elise Kim
PICCOLO
Sean Marron
Elise Kim
OBOE
Erik Behr, Principal
The Dr. Jacques M. Lipson Chair, funded in perpetuity
Anna Steltenpohl
Megan Kyle
Anna Steltenpohl
CLARINET
Kenneth Grant, Principal
The Robert J. Strasenburgh Chair, funded in perpetuity
Kamalia Freyling
Andrew Brown
E-FLAT CLARINET
Kamalia Freyling
BASS CLARINET
Andrew Brown
BASSOON
Matthew McDonald, Principal
The Ron and Donna Fielding Chair, funded in perpetuity
Karl Vilcins
Martha Sholl
CONTRA-BASSOON
Karl Vilcins
HORN
Michael Stevens, Principal
The Cricket and Frank Luellen Chair
YiCheng Gong, Associate/Assistant/Utility
Maura McCune Corvington
Nathan Ukens
Stephen Laifer
Douglas Prosser, Principal
The Elaine P. Wilson Chair, funded in perpetuity
Wesley Nance
Herbert Smith
Paul Shewan
TROMBONE
David Bruestle, Principal
The Austin E. Hildebrandt Chair, funded in perpetuity
Lisa Albrecht
Jeffrey Gray
BASS TROMBONE
Jeffrey Gray
TUBA
W. Craig Sutherland, Principal
The Rob W. Goodling Chair, funded in perpetuity
TIMPANI
Charles Ross, Principal
The Harold and Joan Feinbloom Chair, funded in perpetuity
PERCUSSION
Brian Stotz
The Barbara and Patrick Fulford Chair, funded in perpetuity
Grace Browning, Principal
The Eileen Malone Chair. A Tribute to Mr. and Mrs. Harcourt M. Sylvester
Rosanna Moore
KEYBOARD
Chiao-Wen Cheng+, Principal
The Lois P. Lines Chair, funded in perpetuity
PERSONNEL MANAGER
Fred Dole
PRINCIPAL LIBRARIAN
Kimberly Hartquist
Kathalee & Ian Hodge Library Operation Endowment
STAGE MANAGERS
Danielle Suhr
Cederick Martinez + Eastman faculty
The Rochester Philharmonic Orchestra’s 24/25 season marks a milestone for Music Director Andreas Delfs, whose debut with the RPO was November 17, 1994. Many return appearances and more than 25 years later, Maestro Delfs was announced as the RPO’s 13th music director in January 2021.
Since then, Delfs has been pivotal in leading the orchestra out of the depths of the pandemic through the RPO’s history-making 23/24 Centennial Season: breaking box-office records with blockbuster programming and A-list special guests, while also climbing to new artistic heights with world-premiere commissions and acclaimed community collaborations.
Not one to rest on the laurels of those successes, Delfs is using them to inspire the orchestra to thrive into its second century. “You always have to move forward,” he explained. “And the only way to follow a breath-taking anniversary season is to build on its momentum.”
Born in Flensburg, Germany, Delfs began studying piano and music theory at age five. By 20, he became the youngest music director in the history of the Hamburg University Orchestra. Following graduation from Hamburg Conservatory, he followed the recommendation of legendary German conductor Christoph von Dohnányi, and took off for New York, where he earned his master’s degree at Juilliard School of Music, studying under such legendary conductors as Jorge Mester, Sixten Ehrling, and Leonard Bernstein.
Delfs soon landed posts at the Pittsburgh Symphony Orchestra and the Swiss Youth Symphony Orchestra (SYSO). He served as general music director of Hannover, Germany, conducting the city’s renowned symphony orchestra and opera company.
As music director and conductor of the Milwaukee Symphony Orchestra, Delfs led the orchestra on its historic 1999 tour of Cuba, the first by an American orchestra in more than 37 years. During his tenure at the Milwaukee Symphony, he was instrumental in the symphony’s rise to national prominence.
Andreas Delfs has led scores of distinguished ensembles such as the London Philharmonic, Frankfurt Radio Symphony Orchestra, Los Angeles Philharmonic, and Chinese National Symphony Orchestra. He has partnered with world-renowned artists including Philip Glass, André Watts, Emanuel Ax, Joshua Bell, Hilary Hahn, Yo-Yo Ma, Lang Lang, and Renée Fleming.
His passionate and dramatic interpretations of the late romantic repertoire with orchestras in both North America and Europe have drawn critical acclaim, reflecting a constantly evolving artistic maturity marked by the insight, depth and integrity he brings to the podium.
While Delfs’ approach to conducting has been forged by decades of experience, his love of new music is undeniable. Over the last two seasons alone, he has overseen RPO commissions by such highly regarded composers as Derrick Skye, Roberto Sierra, James Lee III, and Aaron Jay Kernis.
He and wife Amy live east of Rochester in the hamlet of Pultneyville, surrounded by their children, a grandchild, and Casper the Spitz.
Grammy Award winner Jeff Tyzik is one of America’s most innovative and sought after pops conductors. Tyzik is recognized for his brilliant arrangements, original programming, and engaging rapport with audiences of all ages. Tyzik is celebrating 31 years as Principal Pops Conductor of the Rochester Philharmonic Orchestra and also serves as Principal Pops Conductor of the Dallas Symphony Orchestra and Oregon Symphony. Tyzik made his debut with the New York Philharmonic in September 2023 and closed the 23/24 season conducting the Philadelphia Orchestra.
Frequently invited as a guest conductor, Tyzik has appeared with over 100 orchestras including the Boston Pops, Cincinnati Pops, New York Philharmonic, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, and the Royal Scottish National Orchestra. In May 2007, the Harmonia Mundi label released his recording of works by Gershwin with pianist Jon Nakamatsu and the RPO which stayed in the Top 10 on the Billboard classical chart for over three months. Alex Ross of The New Yorker called it “one of the snappiest Gershwin discs in years”.
In 2023, Jeff Tyzik launched his new publishing company TyzikMusic.com. This digital site features over 150 arrangements, orchestrations and compositions for Symphony Orchestra, Chamber Music ensembles, and Wind Ensemble.
Committed to performing music of all genres, Tyzik has collaborated with such diverse artists as Leslie Odom Jr., Megan Hilty, Chris Botti, Matthew Morrison, Wynonna Judd, Sutton Foster, Tony Bennett, Art Garfunkel, Dawn Upshaw, Marilyn Horne, Arturo Sandoval, The Chieftains, Mark O’Connor, Doc Severinsen, and John Pizzarelli. He has created numerous original programs that include the greatest music from jazz and classical to Motown, Broadway, film, dance, Latin, and swing. Tyzik holds Bachelor of Music and Master of Music degrees from the Eastman School of Music.
With co-producers Greenberg Artists and Schirmer Theatrical, Jeff Tyzik has created 20 new orchestra pops programs that have been presented by 150 orchestras in the past three seasons.
For more information about Jeff Tyzik, please visit www.TyzikMusic.com
The Christopher Seaman Chair, supported by Barbara and Patrick Fulford and The Conductor Laureate Society
Christopher Seaman was music director of the RPO from 1998-2011, and was subsequently named conductor laureate. During his 13-year tenure, the longest in RPO history, he raised the Orchestra’s artistic level, broadened its audience base, and created a new concert series. This contribution was recognized with an award from the American Society of Composers, Authors, and Publishers. In May 2009, the University of Rochester made him an honorary doctor of music.
Previous positions include music director of the Naples Philharmonic Orchestra (Florida) for 10 years, conductor-in-residence with the Baltimore Symphony Orchestra, and artistic advisor of the San Antonio Symphony.
He is recognized for his wealth of repertoire, which ranges from baroque to contemporary, and in particular the works of Bruckner, Brahms, and Sibelius. Seaman also is highly regarded for his work with younger musicians, and he served as course director for the Symphony Services International Conductor Development Program (Australia) for many years.
Recent conducting engagements include the Aspen Music Festival, Detroit, Houston, St. Louis, Cincinnati, Milwaukee, and Seattle symphony orchestras; the Warsaw Philharmonic Orchestra, Kristians Symphony Orchestra, Orchestra of Opera North, and Orquestra Filarmônica de Minas Gerais in Brazil. He frequently visits Australia and Asia where he has conducted the Hong Kong Philharmonic Orchestra and the National Taiwan, Sydney, Melbourne, Adelaide, and Singapore symphony orchestras, among others.
The Louise and Henry Epstein Family Education and Community Engagement Chair Jherrard Hardeman begins his second season with the RPO as Assistant Conductor (The Louise and Henry Epstein Family Education and Community Engagement Chair). Hardeman serves as Music Director of the Rochester Philharmonic Youth Orchestra (RPYO).
A rising star in the symphonic world, Hardeman leads the RPO’s signature OrKIDStra family series, education concerts at Kodak Hall, concerts for the community and beyond, and our July summer series.
By his mid-teens, Detroit native Hardeman was already attracting national attention as a classical conductor, composer, and violinist. He studied orchestral conducting under internationally renowned conductor David Robertson at The Juilliard School. Hardeman notes he cannot overstate the importance of mentorships by conductors
Mei-Ann Chen, Music Director of the Chicago Sinfonietta, and Kevin Noe, Executive Artistic Director of the Pittsburgh New Music Ensemble.
Hardeman has appeared with the Seattle Symphony, Grosse Pointe Symphony, Juilliard Orchestra, Juilliard Jazz Orchestra, Baldwin Wallace Conservatory Symphony Orchestra, and the Longy Conservatory Orchestra. An innate leader, he has also formed and/or conducted orchestras at such prestigious institutions as the New England Conservatory of Music, Interlochen Center for the Arts, Blue Lake Fine Arts Camp, and the AVANTI Summer MusicFest.
Maintaining and operating the Rochester Philharmonic Orchestra (Founded in 1923 —Incorporated in 1930)
Diana Clarkson, Esq., Chair of the Board
Curtis S. Long, President & CEO
Cindy Yancey, Vice Chair of the Board
Kathy Lindahl, Vice Chair of the Board
Karen Kessler, Secretary
Richard Stein, Treasurer
Ross P. Lanzafame, Esq., Immediate Past Chair
TERM EXPIRES JUNE 2025
James Fulmer
Laurie A. Haelen
Ralph F. Jozefowicz. M.D.
Karen Kessler
Ross P. Lanzafame, Esq.
Deborah Onslow
Ronald E. Salluzzo
Jason Thomas
TERM EXPIRES JUNE 2026
Daisy R. Algarin
Diana Clarkson, Esq.
George Daddis
Catherine Frangenberg
Allyson Hiranandani
Dr. Diane Lu
Sujatha Ramanujan
Elizabeth F. Rice
Dr. Eva P. Sauer
George J. Schwartz, M.D.
Richard Stein
Thomas Warfield
Dr. James Watters
JUNE 2027
Brian Bennett
Kimberly Gangi
Catherine Gueli
Emerson Fullwood
Paulette Gissendanner
Zuzanna Kwon
Katherine Lindahl
Jack McGowan
Sidney Sobel, M.D.
Cindy Yancey
Patrick Fulford
Chairperson, Honorary Board
Lars Kirvan
Orchestra Representative
Erik Behr
Orchestra Representative
Ross P. Lanzafame, Esq., Immediate Past Chair
Curtis S. Long
President & CEO
Kate Sheeran
Dean, Eastman School of Music
Patrick Fulford, Chairperson, Honorary Board
Stephen B. Ashley
Nancy Beilfuss*
James M. Boucher
Paul W. Briggs*
William L. Cahn
Louise Epstein
Joan Feinbloom
Ilene Flaum
Betsy Friedman
Ronald A. Furman*
Mary M. Gooley*
Suzanne Gouvernet*
David C. Heiligman
A. Thomas Hildebrandt
Harold A. Kurland, Esq.
Dr. Dawn F. Lipson
Jacques M. Lipson, MD*
Cricket and Frank Luellen*
Elizabeth F. Rice
Nathan J. Robfogel, Esq.
Jon L. Schumacher, Esq.
Katherine T. Schumacher
Ingrid Stanlis
Betty Strasenburgh*
Josephine S. Trubek
Suzanne D. Welch
Patricia Wilder*
Deborah Wilson
Robert Woodhouse
The RPO expresses its gratitude to all those who have served as Honorary Board members in the past.
1930–32: Edward G. Miner*
1932–34: Simon N. Stein*
1934–38: George E. Norton*
1938–41: Leroy E. Snyder*
1941–42: Frank W. Lovejoy*
1942–43: Bernard E. Finucane*
1943–46: L. Dudley Field*
1946–48: Edward S. Farrow, Jr. *
1948–51: Joseph J. Myler*
1951–52: Joseph F. Taylor*
1952–55: Raymond W. Albright*
1955–57: Arthur I. Stern*
1957–59: Thomas H. Hawks*
1959–61: Walter C. Strakosh*
1962–63: Ernest J. Howe*
1963–65: O. Cedric Rowntree*
1965–67: Frank E. Holley *
1967–69: Thomas C. Taylor*
1969–71: Thomas H. Miller*
1971–72: Mrs. Frederick J. Wilkens*
1972–73: Edward C. McIrvine
1973–74: Robert J. Strasenburgh*
1974–75: John A. Santuccio
1975–76: Robert J. Strasenburgh*
1976–78: Dr. Louis Lasagna*
1978–80: Edward C. McIrvine
1980–82: Peter L. Faber
1982–84: Paul F. Pagerey*
1984–85: Peter L. Waasdorp*
1986–89: Robert H. Hurlbut*
1989–91: Paul W. Briggs*
1991–93: Karen Noble Hanson*
1993–95: Ronald E. Salluzzo
1995–98: A. Thomas Hildebrandt
1998–00: Harold A. Kurland, Esq.
2000–04: David C. Heiligman
2004–06: Ingrid A. Stanlis
2006–09: James M. Boucher
2009–11: Suzanne D. Welch
2011–13: Elizabeth F. Rice
2013–15: Dr. Dawn F. Lipson
2015-17: Jules L. Smith, Esq.
2017-19: Ingrid A. Stanlis
2019-24: Ross P. Lanzafame, Esq.
* Deceased
Emanuel Ax, piano SAT MAR 1
8 PM SUN MAR 2 2 PM
KODAK HALL AT EASTMAN THEATRE
CARLOS
LUDWIG VAN
BEETHOVEN
Peter Oundjian, conductor
Piano Concerto No. 4
I. Allegro moderato
II. Andante con moto
III. Rondo (Vivace)
Emanuel Ax, piano
NIKOLAI
Scheherazade, op. 35 42:00 RIMSKY-KORSAKOV
The Sea and Sinbad’s Ship (Largo e maestoso - Allegro non troppo)
The Tale of the Kalendar Prince (Lento - Allegro molto)
The Young Prince and Princess (Andantino quasi allegretto)
The Festival at Baghdad - The Sea - The Shipwreck (Allegro molto)
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CONNECT
Peter Oundjian is currently Music Director of the Colorado Symphony, where he served previously as Principal Conductor. He is also Music Director of the Colorado Music Festival (CMF), where he has continued to program and conduct concerts that delight audiences with beloved masterpieces alongside music written by living composers. Over the course of his 14-year tenure as Music Director of the Toronto Symphony Orchestra, which concluded in 2018, he reinvigorated the orchestra with acclaimed innovative programming, artistic collaborations, extensive audience growth, national and international tours, and several outstanding recordings, including Vaughan Williams’ Orchestral Works, which garnered a Grammy nomination and a Juno Award. Under his leadership, the Symphony underwent a transformation that significantly strengthened its presence in the world.
In addition to his conducting duties in Colorado, during the 2024-2025 season Oundjian leads subscription weeks with the Sarasota Orchestra, the Rochester Philharmonic Orchestra, the Seattle Symphony, and the Atlanta Symphony Orchestra.
Oundjian has been a visiting professor at Yale University’s School of Music since 1981, and has received honorary doctorates from the San Francisco Conservatory of Music and The Royal Conservatory of Music in Toronto.
Born to Polish parents in what is today Lviv, Ukraine, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. Mr. Ax made his New York debut in the Young Concert Artists Series, and in 1974 won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the Avery Fisher Prize.
The 2024/25 season begins with a continuation of the Beethoven For Three touring and recording project with partners Leonidas Kavakos and Yo-Yo Ma which takes them to European festivals including BBC Proms, Dresden, Hamburg, Vienna, and Luxembourg. As guest soloist he will appear during the New York Philharmonic’s opening week which will mark his 47th annual visit to the orchestra. During the season, he will return to the Cleveland and Philadelphia Orchestras; National, San Diego, Nashville, and Pittsburgh Symphonies; and Rochester Philharmonic. A fall recital tour from Toronto and Boston moves west to include San Francisco, Seattle, and Los Angeles culminating in the spring in Chicago and his annual Carnegie Hall appearance. A special project in duo with clarinetist Anthony McGill takes them from the west coast through the mid-west to Georgia and Carnegie Hall and in chamber music with Itzhak Perlman and Friends to Los Angeles, Santa Barbara, and San Francisco. An extensive European tour will include concerts in Paris, Oslo, Cologne, Hamburg, Berlin, Warsaw, and Israel.
Mr. Ax is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Skidmore College, New England Conservatory of Music, Yale University, and Columbia University. www.EmanuelAx.com.
CARLOS OLIVER SIMON
This piece was inspired by a journal entry from Ludvig van Beethoven’s notebook written in 1815: “Iliad. The Twenty-Second Book But Fate now conquers; I am hers; and yet not she shall share In my renown; that life is left to every noble spirit And that some great deed shall beget that all lives shall inherit.”
Using the beautifully fluid harmonic structure of the 2nd movement of Beethoven’s 7th symphony, I have composed musical gestures that are representative of the unpredictable ways of fate. Jolting stabs, coupled with an agitated groove with every persona. Frenzied arpeggios in the strings that morph into an ambiguous cloud of free-flowing running passages depicts the uncertainty of life that hovers over us.
We know that Beethoven strived to overcome many obstacles in his life and documented his aspirations to prevail, despite his ailments. Whatever the specific reason for including this particularly profound passage from the Iliad, in the end, it seems that Beethoven relinquished to fate. Fate now conquers.
-Carlos
LUDWIG VAN BEETHOVEN
Piano Concerto No. 4 in G major, Op. 58
B. BONN, GERMANY
December 17, 1770
D. VIENNA, AUSTRIA March 26, 1827
The public premiere of Beethoven’s Fourth Piano Concerto on December 22, 1808 in Vienna was a do-it-yourself event. Although Beethoven was in a period of heightened productivity, supported by aristocratic patrons and sales from publishing his works, he had no stable income (i.e., a court position). And so, he sought to mount a public concert of his works. Securing space was not an easy proposition: most concerts at the time were private, upper-class affairs, or else were charity events. After some dead ends, he booked the Theater an der Wien. In a four-hour concert of nearly all new music, Beethoven conducted, among other works, the premieres of his Fifth and Sixth symphonies, portions of his Mass in C, a quickly composed “Choral Fantasy,” and the premiere of his Fourth Piano Concerto, where he was also the soloist. It was the last of his piano concertos he would premiere, due to his hearing loss.
Although many of the works on the program would have piqued the audience’s ears due to Beethoven experimenting with motivic relationships and forms for new heights of expression—which characterized his so-called middle period—the Fourth Piano Concerto would have been a surprise from the very start. Concertos were a form of theater, where the orchestra sets the scene (themes) before the leading actor makes a grand entrance. In contrast, in the Fourth Piano Concerto, the piano begins alone, exposed, with a calm phrase marked “dolce” or “sweet.” The orchestra responds in a new key before the work picks up steam and sets out on its thematic journey. It would have been shocking to hear. In the second movement, Andante con moto, the piano and orchestra (strings only) seem to be on different planes of existence, the strings with demanding demarcated dotted rhythms, and the piano responding back in a serene plea for salvation, eventually quieting the strings to a whisper. Scholars have suggested that the movement was inspired by Christoph Willibald Gluck’s opera Orfeo ed Euridice, in which Orpheus appeals to the Furies of the Underworld to join Euridice. Initially, they shout back “no!” but eventually soften and allow entrance to the underworld. The back and forth between orchestra and piano continues into the final Rondo movement, which is equal parts virtuosic and romantic.
Program notes by Anna Reguero, PhD, a Rochester-based arts writer and music scholar.
NIKOLAY ANDREYEVICH RIMSKY-KORSAKOV Scheherazade
B. TIKHVIN, RUSSIA
Mar 18, 1844
D. LYUBENSK, RUSSIA June 21, 1908
“I fell in love with the sea, conceived a passion for it, without ever having seen it,” wrote Rimsky-Korsakov about his childhood in his biography. The sea was the common thread of his aristocratic family; several members served in the navy. Rimsky-Korsakov, who grew up hearing of their tales at sea, was also destined for naval service. However, a budding interest in music, which he studied on the side, combined with his raw musical talent earned him notice from major movers in music in Russia, such as composer Mily Balakirev. Balakirev and others convince him to focus on composition, even while serving at sea. Eventually, Rimsky-Korsakov swapped careers and accepted a teaching post at the St. Petersburg Conservatory, where he also doubled down on learning composition more formally. “Having undeservedly become a Conservatory professor, I soon became one of its best students,” admitted Rimsky-Korsakov.
With Balakirev, Modest Mussorgsky, César Cui, and Alexander Borodin, Rimsky-Korsakov became known in the 1860s as one of The Mighty Five, a group of young Russian composers interested in creating a distinctly national style of music using folk tunes and a rejection of Western techniques. Rimsky-Korsakov is celebrated for his orchestration—the ability to use instrumental timbres in newly evocative and expressive ways—and he was even known to help orchestrate works for his ‘Mighty Five’ friends, to the point where Rimsky-Korsakov’s voice is the hallmark of the Russian sound. Despite this, he was lukewarm on the idea of nationalist music, and he did not reject Western techniques. “In my opinion,” he later wrote, “a distinctively ‘Russian music’ does not exist. Both harmony and melody are pan-European. Russian songs introduce into counterpoint a few new technical devices, but to create a new, unique kind of music – this they cannot do.”
Rimsky-Korsakov’s time in the navy partially inspired his orchestral suite Scheherazade, which is based upon the tale One Thousand and One Nights, also known as The Arabian Nights. The story begins with an angry sultan who is incensed upon learning of his wife’s infidelity. Overtaken by a knee-jerk response, the sultan decides to marry a new virgin each day, killing them the next morning before they have the chance to wrong him. However, one of his wives, Scheherazade, was as clever as she was beautiful and schemed to tell the sultan a gripping tale with cliffhangers each night. This postponed her death for one thousand and one nights, ultimately sparing her life. Rimsky-Korsakov gave the tale a musical setting in 1888, right around the time of his other best-known orchestral suite, Capriccio Espagnol. As in Capriccio Espagnol, Scheherazade features some of Rimsky-Korsakov’s most evocative instrumental writing.
The first movement, “The Sea and Sinbad’s Ship,” opens with a foreboding brass statement, an easy correlation with the angry sultan. Following a woodwind chorale, a solo violinist sings out with a sinuous melody that is Scheherazade weaving her influence on the sultan. The orchestra then breaks out into expansive waves as the work heads off to sea on its adventures. A true showpiece for orchestra, the principal players all get chances to shine. The violin, as Scheherazade, starts each movement with her charming tales, and the themes throughout, which are very much leitmotivs, reappear in various guises and unite the four movements. The second movement, “The Story of the Kalendar Prince,” is a rollicking scherzo. A long, passionate melody in the strings opens the third movement, “The Young Prince and the Young Princess,” which is interspersed by a jocular, march-like melody. The final movement, “Festival at Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman,” is a tour-de-force that brings in themes from all prior four movements and, with all available orchestral forces, expresses the scale and grandeur of the One Thousand and One Nights. Scheherazade, however, has the final say.
Program notes by Anna Reguero, PhD, a Rochester-based arts writer and music scholar.
KODAK HALL
ELTON
Jeff Tyzik, conductor
Donna
Emily
FRI MAR 7
8 PM SAT MAR 8
8 PM
KODAK HALL AT EASTMAN THEATRE
ALAN MENKEN
Jeff Tyzik, conductor For Jeff Tyzik’s biography, please see page 6. Josh Young, vocals
Donna Vivino, vocals
Emily Padgett, vocals
Beauty and the Beast Overture 3:00 (ARR./ORCH. KOSARIN/ BESTERMAN)
ALAN MENKEN If I Can’t Love Her from 4:00 (ORCH. DANNY TROOB) Beauty and the Beast
Josh Young
JOHN KANDER And All That Jazz from Chicago 3:00 (ORCH. PAUL MCKIBBINS)
Donna Vivino, vocals
Emily Padgett, voice
JASON ROBERT BROWN Stars and the Moon from 4:30 Songs For A New World
Emily Padgett, vocals
ANDREW LLOYD
Jesus Christ Superstar 7:00 WEBBER (MANCINI, HENRY)
ANDREW LLOYD
Gethsemane from 6:00 WEBBER
Jesus Christ Superstar
Josh Young, vocals
STEPHEN SCHWARTZ Defying Gravity (ARR STEPHEN SCHWARTZ)
Emily Padgett, vocals
Donna Vivino, vocals
Josh Young , vocals
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Prior to his Tony-nominated Broadway debut as Judas in Jesus Christ Superstar, Josh played Marius in Les Misérables in more productions than any other actor. He won the Theatre World Award for Best Debut Performance in Superstar and originated John Newton in Broadway’s Amazing Grace. Josh received the Broadway World Award for Best Actor in a Musical as Che in the North American Tour of Evita.
As a concert artist, he has performed as a guest soloist for major symphonies worldwide, recently headlining for The Toronto Symphony Orchestra and The Detroit Symphony Orchestra under Steven Reineke. Equally at home in intimate venues, Josh has written five solo cabarets, selling out venues from New York City to Ho Chi Minh City. He frequently headlines Crystal Cruises’ “Crystal on Broadway” voyages with his solo shows.
Donna Vivino was most recently seen starring on Broadway in the Alicia Keys’ musical Hell’s Kitchen in the lead role of Jersey. She made her Broadway debut originating the role of Young Cosette in Les Misérables (cast recording). Since then, she has built her career playing iconic leading ladies, including Elphaba in Wicked, Grizabella in CATS, Diana in Next to Normal, Adelaide in Guys and Dolls and Mary in Merrily We Roll Along. A veteran of the stage, Donna’s extensive additional Broadway and National Tour credits include Hairspray, Saturday Night Fever, and Fame Becomes Me opposite Martin Short. She was nominated for a 2023 Grammy Award as a lead vocalist on the album “Sondheim Unplugged”. Her solo album “Beautiful Dreamer” is available on iTunes and Spotify. She will be a featured vocalist on the upcoming album “Broadway Sings Billy Joel”. On screen, she has appeared in The Sopranos, Law & Order, the film Ezra with Robert De Niro and Bobby Cannavale, and FBI: Most Wanted on CBS.
Emily Padgett’s career spans two decades and six Broadway shows, most recently as the original Mrs. Bucket in the musical adaptation of Roald Dahl’s Charlie and The Chocolate Factory, directed by Jack O’Brien. She played a key role in Steve Martin and Edie Brickell’s Bright Star from the Kennedy Center to its Tony-nominated Broadway run. She starred as Daisy Hilton in Bill Condon’s reimagined revival of Side Show from La Jolla Playhouse to Broadway, earning a San Diego Critics Circle Award and a Helen Hayes Award nomination.
She was in the original cast of Broadway’s Grease revival, played Sandy on its first National Tour, and toured as Demeter in CATS. She originated Alex in Flashdance and was nominated for a Chita Rivera Award for her role as Helene in Sweet Charity alongside Tony Award Winner, Sutton Foster.
Emily has lent her voice to cast albums including Side Show, Bright Star, and Charlie and The Chocolate Factory. A concert artist, she has performed at 54 Below, Joe’s Pub, and with symphony orchestras nationwide. She frequently shares the stage with her husband, Tony Award nominee Josh Young, and recently headlined for The Toronto and Detroit Symphony Orchestras under Steven Reineke.
SUN MAR 9 3 PM
KODAK HALL AT EASTMAN THEATRE
The Louise and Henry Epstein Family Education and Community Engagement Chair
For Jherrard Hardeman’s biography, please see page 7.
REINHOLD GLIÈRE
DMITRI
SHOSTAKOVICH
“Russian Sailor’s Dance” 3:00 from The Red Poppy
Symphony No. 11 in G minor, op. 103, 1:00:00
“The Year 1905”
The Palace Square (Adagio)
The 9th of January (Allegro)
Eternal Memory (Adagio)
The Tocsin (Allegro non troppo)
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“Russian Sailors’ Dance” from The Red Poppy
B. KIEV, UKRAINE January 11, 1875
D. MOSCOW, RUSSIA June 23, 1956
Following the Russian Revolution of 1917 that overthrew the Imperial government and established a communist state in Russia, the Bolshoi State Theatre in Moscow sought stories and subjects to use as propaganda to drum up support for Vladimir Lenin and his Soviet leadership. It found just the story in The Red Poppy, a tale about Soviet sailors who rescue overworked and exploited Chinese dockworkers. In addition to shining a heroic light on Soviet leadership, the story also supported the secondary cause of showing solidarity with China as an international ally. (Unfortunately, the Chinese, portrayed as needing rescuing, were unhappy with the plot.). The work was commissioned as a ballet, choreographed by Lev Lashchiline and Vasily Thikhomirov, with music written in 1926 and later revised by the Kiev-born composer Reinhold Glière, whose music adhered to the Russian Romantic tradition. The Red Poppy became known as the first Soviet-themed ballet, and the music was Glière’s most famous work.
The “Russian Sailors’ March” appears at the end of Act One, titled in the score as “Dance of the Sailors from the Soviet Ship,” and exudes the fortitude and strength of the Soviet sailors. The melody is based upon a familiar Russian Revolution folk song called “Yblochko,” which translates to “Little Apple” and featured lyrics that embraced the new communist regime. Musically, Glière’s version is a theme with variations that gradually builds in loudness and speed, reaching raucous levels at a prestissimo tempo. Due to Glière’s exciting, appealing music, the “Sailors’ Dance” is frequently performed as a standalone dazzling display for orchestra.
As for Glière, he managed to avoid artistic censorship by aligning with the Soviet government, resulting in a fate far different than composers like Rachmaninov and Shostakovich.
Symphony No. 11 in G minor, Op. 103, “The Year 1905”
B. S. PETERSBURG, RUSSIA
September 25, 1906
D. MOSCOW, RUSSIA
August 9, 1975
For most of Shostakovich’s career in communist Russia, he avoided the government’s ire. But there were a couple of notable exceptions. In November 1936, the Soviet leader Joseph Stalin attended a performance of Shostakovich’s opera Lady Macbeth of Mtsensk and walked out. The next day, a government-issued newspaper criticized the work’s formalism, a coded term for Western influence and modernism. Shostakovich’s future was on thin ice, but he managed a fairly quick turnaround with his celebrated Fifth Symphony. The second time was in 1948, when he and composers such as Sergei Prokofiev and Aram Khachaturian were again criticized by a major member of the communist party for their formalism. This time, Shostakovich’s works were banned, he lost his teaching position at the Moscow Conservatory, and he feared for his life overall. The campaign against Shostakovich softened slightly in 1949 when Stalin needed to send cultural representatives to New York and chose Shostakovich; Shostakovich didn’t dare to say anything to offend the Soviet Union despite being asked directly about his feelings. The biggest pressure lift, however, was in 1953 when Stalin died. However, his livelihood remained dependent on the Communist Party. So, with the events of 1948 still fresh in his mind, he set out in 1957 to write a Soviet symphony for the 40th anniversary of the 1917 Russian Revolution that depicted the “Bloody Sunday” events of January 9, 1905. “Bloody Sunday” was a date in which police fired on protesters of the Tsar in St. Petersburg, killing several hundred people. It was seen as one of the earliest events that led up to the 1917 Russian Revolution, in which Vladimir Lenin took over as leader of the new communist Soviet Union.
As biographer Laurel Fay wrote of the symphony, “A more monumental, accessible, or effective tribute in commemoration of the fortieth anniversary could scarcely have been imagined.” The symphony weaved in about a dozen revolutionary songs, including one Shostakovich heard as a kid on the occasion of the 1917 Revolution, a funeral march called “You Fell a Victim.” Even though the symphony could be analyzed as a well-constructed appeal to the Soviet propaganda machine, its themes about tyranny and oppression were general enough to be heard with a broader moral character. And although the timing has been debunked, some even thought to hear the work as supporting the 1956 Hungarian uprising, where Hungary revolted against Soviet control. However, any potential correlations weren’t enough to raise eyebrows, as the work was awarded the Lenin Prize in 1958.
The symphony is written for a full battery of strings, winds, and percussion—including two harps and a celesta (a small keyboard instrument that sounds like bells). Always inventing within the confines of his political situation, Shostakovich wrote the symphony’s four movements without pause and diverted away from the expected symphonic movement tempos. He begins with an Adagio movement depicting “The Palace Square” on the morning of “Bloody Sunday.” The timpani’s pounding serves as foreboding foreshadowing for the events ahead. The second movement is an Allegro, subtitled “The 9th of January,” which lays out the scene of the protesters’ increasing anger and the subsequent burst of bullet rounds fired at them by the police in the snare drum. The third movement, “Memory Eternal,” is an Adagio based on the tune “You Fell a Victim,” mentioned above. The final movement, Allegro non troppo, “Tocsin,” paves the path for the eventual October Revolution of 1917.
Program notes by Anna Reguero, PhD, a Rochester-based arts writer and music scholar.
ROCHESTER PHILHARMONIC YOUTH ORCHESTRA
IN ASSOCIATION WITH THE EASTMAN COMMUNITY MUSIC SCHOOL
In Alphabetical Order by Instrument
VIOLIN 1
Weston Brown
Claire Chen
Friana Engineer
Evan Hoefen
Jason Hsu
George Huang
Vasundhara Jaligama
Xavier Joseph
Sharon Lin
Helena Lu
Alyssa Millar
Timothy Seo
Elise Spurling
Alyssa Yang+
VIOLIN 2
Matthew Belous
Eva Chadwick
Charles Chang
Leixi Chen
Cailey Huang
Jayliana Jenkins
Nevaeh Joseph
Lily McGowan
Olivia Ofori
Jay Schreiber
Ryan Shaffer
Benjamin Song*
Evan Yip
Emma Zhang
Selina Zhuo
VIOLA
Peyton Crony*
Sophie Gagnier
Myles Hammond
Karthik Jaligama
John Luger
Isabella Mamo
Tianze Qiu
Eva Yip
CELLO
Juliet Besch-Turner
Rebecca Camilleri
Daniel Chadwick
Ben Doyley
Henry Gagnier
Felicia Garnot
Jiahn Han
Haolin Jin
Adalyn Kelly
Morgan Kerr*
Hannah Shim
DOUBLE BASS
Annie Dodge*
Ethan Olmstead
Faith Williams
FLUTE
Lilianna Fietkiewicz*
Raeha Khazanchi
Camryn Wlostowski
PICCOLO
Camryn Wlostowski
OBOE
Jiwoo Han
Kimberly Wang
Tristan Zhang*
ENGLISH HORN
Jiwoo Han
CLARINET
Mathew Atalla*
Daniella Miller
Michael Shi
Jemma Wallis
BASS CLARINET
Jemma Wallis
BASSOON
Quinn Feldman
Frances Lovett*
Raylan Trapani
HORN
Lucas Childs
Zach Johnson
Liam Keeney
Benjamin Watson*
TRUMPET
Leah Cashin
Alexandra Foley*
Nate France
Nathaniel Ying
TROMBONE
Ryan Ferrer*
Joel Rucci Jr.
BASS TROMBONE
James Tolleson
TUBA
Evy Sibley
PERCUSSION
Renee Groesbeck*
William Harrington
Jacob LaDolce
Oscar Libman-Lee
Ben Roller
HARP
Lilia Nadir-Abraham
+Concert Master
*Principal
SUN MAR 16 2 PM
NAZARETH
COLLEGEBESTON HALL, GLAZER MUSIC PERFORMANCE CENTER
Andreas Delfs, conductor
For Andreas Delfs’ biography, please see page 5.
David Bruestle, trombone
Sean Marron, flute
JOHANN SEBASTIAN
Suite No. 2 in B minor for Orchestra, 19:00 BACH
BWV 1067
I. Overture
II. Rondeau
III. Sarabande
IV. Bourrée I
Bourrée II
V. Polonaise/Double
VI. Menuet
VII. Badinerie
Sean Marron, flute
LARS-ERIK LARSSON
Concertino for Trombone and 10:45 String Orchestra, Op. 45, No. 7
Prelude: Allegro pomposo
Aria: Andante sostenuto
Finale: Allegro giocoso
David Bruestle, trombone
INTERMISSION
FELIX MENDELSSOHN
Symphony No. 1 in C minor, Opus 11 27:00
I. Allegro di molto
II. Andante
III. Menuetto: Allegro molto
V. Allegro con fuoco
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Principal, The Austin E. Hildebrandt Chair
A native of Cincinnati, Ohio, David Bruestle joined the Rochester Philharmonic Orchestra in May 2017 as Principal Trombone, after serving as Acting Principal Trombone since October 2016.
David previously studied at the Eastman School of Music where he received a Bachelor of Music with High Distinction and was awarded the Performer’s Certificate. At Eastman, David had the privilege of studying with Dr. John Marcellus, international recording artist and former principal trombone of the National Symphony Orchestra. He then received his Master of Music degree from the Manhattan School of Music in New York City, where he studied with Dr. Per Brevig, a 26-year member of the Metropolitan Opera Orchestra.
David returned to Eastman to pursue the degree of Doctor of Musical Arts, studying with Mark Kellogg, his predecessor as principal trombone of the RPO, completing his course of study in May 2015. Before joining the RPO, David held the position of second trombone with the Virginia Symphony Orchestra and principal trombone with the Erie Philharmonic. He has performed with the Buffalo Philharmonic Orchestra and Symphoria (Syracuse). David is honored to have participated in multiple recordings with the Eastman Wind Ensemble and the Buffalo Philharmonic Orchestra.
David resides in the Browncroft neighborhood with his wife Katie, an Eastman graduate in horn performance, who is currently pursuing an MD/PhD degree at the University of Rochester. In addition to playing the trombone, David enjoys cooking, birding, and cycling.
Sean Marron joined the Rochester Philharmonic in 2022 as 2nd Flute and Piccolo. He is currently a student at the Eastman School of Music, where he studies with Bonita Boyd and Anne Harrow. In 2022, Sean attended the Aspen Music Festival, where he was a finalist in the woodwind concerto competition. While in Aspen, Sean was invited to perform with the Philadelphia Orchestra at the Bravo! Vail Music Festival. Sean has also attended the National Symphony Orchestra Summer Music Institute, and he was the piccolo fellow at the 2021 Virtual Flute Music Festival. He has worked with conductors such as Robert Spano, Miguel Harth-Bedoya, Lionel Bringuier, Marin Alsop, Stephane Deneve, and Xian Zhang, among others. Outside of the orchestra, Sean has given numerous recitals at Eastman, and his woodwind quintet, the Barbershop quintet, has appeared on Eastman’s Honors Chamber Music Recital as well as at numerous other venues in the Rochester area. A native of Ridgewood, New Jersey, Sean studied with Bart Feller at the Juilliard Pre-College Division.
Orchestral Suite No. 2 in B Minor, BWV
B. EISENACH, GERMANY March 21, 1685
D. LEIPZIG, GERMANY July 28, 1750
Bach’s orchestral suites date to his time in Leipzig, where he served as the cantor for the St. Thomas Church in Leipzig. Although it was a prestigious job— one he only received because other prominent musicians turned it down—his duties were relegated to teaching music and Latin to the church boys and writing music for church services. It meant he had few opportunities to write music for public consumption. But he gained such an opportunity in 1729 when he became the music director of the secular Collegium Musicum, a young group of skilled musicians who convened and performed in a local coffee garden.
After he was promoted to court composer, Bach took a couple year break from the Collegium, but ultimately returned to lead it again in 1739. Upon his return, he wrote his second orchestral suite. Bach’s orchestral suites are influenced by French court music, which he was likely to have heard in Germany despite never visiting France. The music would have accompanied intricate court dances. After a C major overture, the second orchestral suite gets underway with several French dances, including a Rondeau, Bourrée, and Menuet. But Bach often reached for less conventional dances, and this suite included the Spanish Sarabande and the Polish Polonaise. But it is the final movement, an Italian Badinerie (otherwise known as a Scherzo), that is his best-known movement from this suite and possibly one of his most famous works more broadly. Bach used the movement to show off the flutist in the ensemble by writing bouncy, driving sixteenth notes without much pause or time to breathe.
Concertino for Trombone and String Orchestra, Op. 45 No. 7
B. ÅKARP, SWEDEN May 15, 1908
D. HELSINGBORG, SWEDEN December 27, 1986
Larsson is a Swedish composer who studied at Sweden’s Royal Conservatory of Music before traveling to Vienna, where he worked with composer Alban Berg. Berg was one of the Second Viennese School members, a group of composers (including Arnold Schoenberg and Anton Webern) who eschewed tonality and composed by ordering the twelve chromatic pitches of the octave, yet maintained a link to earlier music for the ways they developed their themes and motives. Although Larsson didn’t wholesale adopt twelve-tone composition, atonality more generally became part of a sonic palate that included everything from neo-classicism—the use of classical forms with modern language—to Nordic Romanticism—a type of Romanticism that uses Nordic folk music as its source. Given these various threads of influence, it’s safe to call Larsson’s music eclectic.
Among other works, Larsson wrote nearly 12 concertino—small concertos for solo instruments with orchestral accompaniment. This concertino for trombone uses a smaller string orchestra as its accompanimental force and pauses between movements. The first movement opens ambiguously but with a hint of melody that is almost Ivesian. The trombone then enters with a jazzy lick, which launches the trombone into one of several free cadenzas between the orchestral interludes. The second movement features long lyricism from the trombonist against an intensifying quarter note accompaniment in the strings. The final movement is fast and folksy, with the orchestra mirroring and answering the trombone’s more pointed, staccato passages and arpeggios in a quick romp to the finish line.
Symphony No. 1 in C minor, Op. 11
B. HAMBURG, GERMANY February 3, 1809
D. LEIPZIG, GERMANY November 4, 1847
Despite the title, Mendelssohn’s first symphony wasn’t even close to his first symphony. It was his 13th. All 13 were written by the time Mendelssohn turned 15 years old. This one, however, is the first to include woodwinds and strings, which may be what elevated it to first-symphony status. The symphony is marked by youthful exuberance, yet the writing is highly developed, especially for a teen, which only makes sense after knowing it wasn’t Mendelssohn’s first rodeo. Perhaps his prolific writing was spurred on by some innate knowledge that he would only live until the age of 38.
Mendelssohn and his sister Fanny—an equally if not more talented performer and composer who was denied music as a profession due to her gender—were granted music lessons as children with several prominent teachers in Paris and Berlin with more than passing connections to great composers such as Clementi and Williem Friedemann Bach (one of Johann Sebastian Bach’s 20 children and one of four who became composers in their own right). The young Mendelssohn’s works showed the influence of the First Viennese School of Haydn, Mozart, and Beethoven. He was also taken with opera composer Carl Maria von Weber, a fascination that is easy to hear in this symphony’s lively themes. Mendelssohn’s early studies of Bach’s music are also apparent in the contrapuntal fugue of this symphony’s final movement.
The symphony, written initially for Fanny Mendelssohn’s birthday, was publicly premiered in Leipzig in 1827 without much fanfare. But it was reprised in 1829 when the new London Philharmonic Society invited Mendelssohn to conduct his symphony. For the concert, Mendelssohn swapped out the third movement minuet with the Scherzo from his Octet, Op. 20 to such success that it had to be repeated as an encore. Still, when he finally published the work in 1831, he kept the original, irreverent minuet with its contrasting, lyrical trio section as the version of record.
Program notes by Anna Reguero, PhD, a Rochester-based arts writer and music scholar.
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David and Grace* Strong
Glen and Lynne Suckling
Margaret and Charles Symington
Mark and Lois Taubman
Mimi and Sam Tilton
Michael and Beverly* Tomaino
John Urban
Gary and Marie VanGraafeiland
Skip and Karen Warren
Stephen R. Webb
Mr. and Mrs. David K. Weber
David and Julie Weinstein
Kitty J. Wise&L
Bill Prest
Susan and Donald Pritchard
Sujatha Ramanujan and James Chwalek
Dick and Cathy Rasmussen
Cary Ratcliff
Marcia Rausch
Rene Reixach
Josh Reynolds
Mr. and Mrs. Thomas S. Richards
Nancy and Art Roberts
Dr. Gerald and Maxine Rosen
Hannah and Arnold Rosenblatt
Joan and James* Ryan, Sr.
Paul and Barbara Schmied
Peter Schott and Mary Jane Tasciotti
Mr. and Mrs. William Schultz
Anthony and Gloria Sciolino
Catherine and Richard Seeger
Dr. Jenny C. Servo and Mr. John Servo
David and Susan Sharp
Thomas and Sandra Shaw
Kate Sheeran
Hezekiah and Ann Marie Simmons
Kathie Snyder
Phillip and Karen Sparkes
David Spector
Mr. Richard R. Spellicy
Ms. Maureen A. Stables
Eleanor Stauffer
Sandra and Richard Stein&
Ann H. Stevens and William J. Shattuck
Nancy Stevens and David Williams
David and Christine Sage Suits
Sally Turner
Wayne and Anne Vander Byl
James and Barb* Walker
James Watters
Jean and Sterling L.* Weaver
Philip and Marilyn Wehrheim Fund
Mr. and Mrs. Fred Weingarten^
Joyce and William Weir
Sue A. Whan
Ed and Wilma Wierenga
Elise and Joseph Wojciechowski
Beatrice and Michael Wolford
Grace Wong
Norman J. Wright
Laura and Joel Yellin
Bill and Wende Young
Marsha Young
Helen A. Zamboni
Barbara and David AckroydS
Barbara Agor
Anonymous
Barbara and E. David* Appelbaum
Karen Bancroft
Jim and Linda Baroody
Richard J. Bell
Hays and Karen Bell
Suzanne Bell and Chris Brown
Kate Bennett
James and Lynette Blake
Donald and Mary BoydS
James and Lynette Blake
Paula and James* Briggs
Henra S. Briskin
Eileen Buholtz
Brendan and Suzanne Casey
Victor Ciaraldi and Kathy Marchaesi
Alan Cohen and Nancy Bloom
Jane R. Colucci
Cathleen Combs
Elison and Donald Cramer
Janice and Robert Daitz
Jacqueline Davis
Mr. and Mrs. Gabriel Delvecchio
Gary DeWitt
Kathleen Dill
Michael DiSalle
Donald and Stephanie Doe
Jane Durham
Mohsen Emami, M.D.
Julia B. Everitt
Sherman and Anne Farnham
Udo Fehn and Christine Long
Joan and Harold* Feinbloom
Evan and Elvira* Felty
Almon Fisher
Gail R. Flugel
George and Marie Follett
Susan and Leslie Foor
Ann and Steve Fox
Ruth Freeman
Laura L. Fulton and Martin Zemel
Kimberly and Lou Gangi
John and Miriam Ganze
M. Lois Gauch
Paulette GissendannerS
Mr. and Mrs. Julian Goldstein
Dr. John W. and Mrs. Heather Goodbody
Dr. and Mrs. William Grace
Russell and Kathleen Green
Gay Greene and Robert Goeckel
Michael D. Grossman
Catherine Gueli
Mr. and Mrs. Robert J. Guerin
William and Cathy Haller
David and Edna F. Hamlin
Barbara and A. Michael Hanna
Mr. and Mrs. Joseph R. Hanna
Carol Hardy
Gil and Judy Hawkins
Michael R. Herzog
Dr. Florence M. Higgins and Mr. John Lebens
James and Betsy Hoefen
Sheila Hollander
Audrey W. Holly
Philip and Eleanor Hopke
Dr. Dewey Jackson
Bruce Jacobs
Lyle Jenks
Mr. Gilbert F. Jordan
Connie KaminskiS
Lori and Frank Karbel
Barbara and Robert Kay
Michael and Joann Keefe
Mr. and Mrs. James E. Keenan
Mary Kerr
Mr. Edward Klehr
Ken Knight and Ann Curtin-Knight
Mark and Mona Friedman Kolko
Mrs. Ellen Konar
Mr. and Mrs. Leon Kopf, Jr.
James Kraus
John and Lisa Lacci
Carolyn Leccese
Philip and Susan Lederer
Janet and James Leone
Doris and Austin Leve
Ellen C. Lewis
Sarah F. Liebschutz, PhD
Dr. and Mrs. Norman R. Loomis
Mr. Robert Lowenthal
Daniel J. Lukach
John and Judy Lynd
David J. Mack
Frank Maley
James and Rosa Mance
Janice D. Manning
Bryan Maslin and Jane Flasch-Maslin
David and Dorcas McCartney
Dick and Sandra McGavern
Virginia McHugh
J. Scott and Susan L. Miller
Jonathan Mink and Janet Cranshaw
Mary E. Miskell and Terrance Clar
Charles Morgan
L. Janet Lawrence-Morse
David and Monika M. MullenS
Thomas C. Munger
Rita Myers
Michael D. Nazar
Maureen and Steve Neumaier
Mr. and Mrs. John Norris
Peggy and David Oakes
Jason Oaks
Mr. Donald W. and Jo-Ann R. O’Brien
Marcia O’Brien
W. Smith and Jean O’Brien
Margie O’jea
Debra and George Orosz
Tom Parker
Jonathan R. Parkes and Dr. Marcia Bornhurst
Parkes
Marian Payson and Helen Wiley
Glen Pearson
Jerry Peters
Robert and Penny Peterson
Thomas W. Petrillo and William R. Reamy
Everett Porter
Harry J. and Margaret H. Price
Dr. and Mrs. Edwin Przybylowicz
Jerry and Janice Rachfal
Richard and Susan Reed
Stan and Anne Refermat
Ray and Judy Ricker
Linda and Michael Riordan Family Fund at the RACF
Richard and Margery Rosen
Jamal and Pam Rossi
Dr. and Mrs. G. Theodore Ruckert
Tom and Ellen Rusling
Hon. Franklin T. and Cynthia Russell
Dr. Alvani D. and Carol M. Santos
Ed and Gabriel Saphar
Nancy and David Schraver
David and Naomi Schrier
Mrs. Arthur W. Schuster, Jr.
Heidi B. Schwarz, M.D.
David Segal
Theresa A. Seil and Debra Celestino
Robert E. and Susan H. Shapiro
Mrs. Caroline Shipley
Donna Broberg Shum
Christina Sickelco
Harvey Simmons
Daniel and Sarah Singal
Janet H. Sorensen
Jim and Dora Stauffer
Berl Stein
Abby and David Stern
David B. Stong
Anne Sullivan
Steve and Cheryl Swartout
Yoshiko Tamura and Bruce M. Lee
David and Carol Teegarden
Darbbie J. Thomas
Jeffrey J. Thompson
Celia and Doug Topping
Adam and Catherine Towsley
John* and Janet Tyler
Jeff and Jill Tyzik
Eugene and Gloria Ulterino
Dr. William M. Valenti
Lorraine Van Meter-Cline and Doug Cline
Vic Vinkey
Robert Vosteen
Stephen H. and Jody Waite
Brian and Jean Waldmiller
John and Anne Walker
Mr. and Mrs. William Wallace
Lawrence and Diane Wardlow
Marsha Walton
Betsy and Peter Webster
Warren Welch
Kathleen Whelehan
Charles and Carolyn Whitfield
Rick and Yvonne Whitmore
Dale and Lorraine Whittington
Susan and Paul Wilkens
Amy and Brent Williams
Molly Willner-Boucher
David and Donna Willome
Lois Wolf and William Hall
Les and Wanda Wood
Jim* and Barb Woods
Jeff Wright and Betty Wells
Caroline and Richard Yates
Robert and Carol Zimmerman
& Denotes donor(s) has/have contributed to the RPO& Comprehensive Capital Campaign S Denotes donor(s) has/have a recurring Sustaining Circle contribution to the RPO * Denotes donor(s) is/are deceased. ^ Denotes donor(s) has/have contributed to the Rochester Philharmonic Youth Orchestra (RPYO).
Scan to view the full listing from July 1, 2024 through January 31, 2025
Dr. E. David Appelbaum
Barbara Appelbaum
Elizabeth Affolter
Don and Jeanne Worboys
Richard and Sharon Ahlman
The Rochester Philharmonic Orchestra gratefully acknowledges the following individuals and organizations for their generous support by honoring or remembering in memory of, the individuals listed below. Listings are in recognition of our current donors in the 202425 Concert Season (July 1, 2024 through January 31, 2025).
Tribute gifts are a special way to remember loved ones or commemorate special occasions such as birthdays, anniversaries, weddings, births or graduations. If you would like to make a memorial or honorarium gift, please visit www.rpo.org/donate or contact the Development office at 585/454-7311 ext. 249 or email development@rpo.org.
Mrs. Polly Hunsberger
Margaret M. Joynt
Anne M. Jones
Robert K. Jones
Dr. Anthony Leone, Jr.
Norma Leone
Gregory Lombardo
George Smith and Diane Ahlman
Joanne Anderson
Dolores Young
Marisa Ballatori
Albert Ballatori
Jean Boyle
Joe Viola
Paul W. Briggs
Beatrice Briggs
Wilma C. Chadwick
Barbara Chadwick
Tina J. Cichanowicz
Ted and Peggy Cichanowicz
Eleanor Conte
George Conte
Dr. Roy Czernikowski
Jason and Janelle Gutman
Dr. Salvatore Dalberth
Joan Dalberth
Valera D’Esopo
Barbara Grajewski
William Dixon
Jan Dixon
Bud Feinen
Catherin O. Feinen
Elvira R. Felty
Evan Felty
Johanna M. Gambino
Jerry J. Gambino, Jr.
Jane L. Garrett
Michael Garrett
Ian M. Harvey
Elizabeth K. Stevens
Richard C. Hastings
Glenda Hastings
Donald Heinle
Stephen and Ann Martin
Lillian Howk
Cynthia L. Howk
David L. Hunley, Sr.
Karen Stafford
Steven and Betsy Lombardo
Edna Lovell
Carol Lovell
Dr. Edward Maruggi
Carolyn Maruggi
Robert Marx
Frances Marx
Vera McCune
William and Erin McCune
Hon. Michael Miller
Edward Doherty and Patrice Mitchell
Evelyn Frazee and Thomas Klonick
H. Robert and Joyce Herman
John and Tobie Olsan
Eric and Elizabeth Rennert
Nathan and Susan Robfogel
Nellie J. Rosenberg
Anthony and Gloria Sciolino
Sue Thering
Joseph T. Pagano, Jr.
Nancy Pagano
Eileen Ramos
Maria C. Leonardo
Peggy Savlov
Jeff and Jill Tyzik
Albert Serenati
Nancy Snyder and Family
Carol Simmons
Harvey Simmons
Kenneth Slining
David Hathaway
Beverly A. Tomaino
Michael Tomaino
James E. Woods
Barbara Woods
Edna Yates
Helen M. Gordon
Christine R. Spaker
IN HONOR OF…
James Boucher
Margaret Boucher
Molly Willner-Boucher
Maura McCune Corvington
John and Lisa Lacci
Meghan Dewan and Kyle Rosales’ Wedding
Stephen and Julia Smith
Dr. Giuseppe Erba
John Williams
Paulette Gissendanner
Eric Logan and Anne Kingston
Laurie Haelen’s Birthday
Donna Cator
John Frost
Dean Hutchinson
Kevin D. Kinney
Catherine D. Noble
James P. Terwilliger
Jennifer A. Yance
Elizabeth Zammit
James Henderson
Elizabeth Updaw and James R. Henderson
Dr. Harold Kanthor
Jill B. Freeman
Ross P. Lanzafame, Esq.
Dr. William Valenti
Maura McCune Corvington
John and Lisa Lacci
Neil Miller
Dr. Etta Eskridge
Deborah Onslow
Paul Gardella
Miriam Iker
Daniel Lukach
Joanne Prives
Mary Elaine Pierce
Nancy E. Scher
Harvey Simmons
Georgine and James Stenger
Mary Anne Fox
Craig Sutherland
John and Anne Walker
Jeff Tyzik
Sally B. Bush
Jean Webster
Kathleen VanOrden
Catherine J. “Kitty” Wise
J. Michael and Alice Smith
Reyton Wojnowski
Julie Weinstein
Don and Anna Womack
Daniel and Edith Rice
Scan to view the full listing from July 1, 2024 through January 31, 2025
Anonymous
Marie Aklin*
Betty Jane Altier*
Alva Angle*
Catherine N. Asmuth*
Jean Boynton Baker*
John B. and Margaret Barnell*
Members of the RPO George Eastman Legacy Society are true believers in the power of music. The RPO George Eastman Legacy Society honors those individuals who remember the Rochester Philharmonic Orchestra through a planned gift. The RPO’s team of development professionals are available to work with you and your advisors to create a plan that will help you meet your financial and philanthropic goals. For more information, please contact the Development Office at 585.454.7311.
Barbara Jean Gray-Gottorff*
George Greer*
Jean Groff*
Sue C. Habbersett*
William B. Hale*
Mrs. Laura J. Hameister
Marilyn* and Dick Hare
Walter J.* and Jeanne M. Beecher
Walter S. Beecher
Nancy and Harry Beilfuss**
Carol and John Bennett
Jack and Carolyn Bent
Donald Berens*
Ellen S. Bevan*
Stuart* and Betsy Bobry
James R. Boehler*
Marilyn Bondy
Beverly T. Bowen*
John W.* and Margaret Z.* Branch
William and Ruth Cahn
Mary Allison Callaway and Paul R. Callaway*
Catherine B. Carlson*
Norris F. Carlson*
Margaret J. Carnall*
Susann* and Terence Chrzan
Nancy A. Clemens*
Barbara Colucci
Christine Colucci
Mary Consler*
Judy and Joe Darweesh
Alfred L. Davis*
Barbara Dechario*
Paul Donnelly
Marilyn A. Drumm*
Amelia N. Dunbar*
Frederick Dushay
Richard and Harriet Eisenberg*
James T. and Ellen Englert
John R. Ertle*
Glenn and Rebecca Fadner
Ruth H. Fairbank*
Joan and Harold* Feinbloom
Albert Fenyvessy*
Donald C.* and Elizabeth Fisher
Catherine and Elmar Frangenberg
Carolyn and Roger Friedlander
Betsy Friedman
Karyl P. Friedman
Linda and David Friedman
Patrick and Barbara Fulford
William L. Gamble*
Sharon Garelick
Rob W. Goodling
Mary M. Gooley*
Karen G. Hart*
Monica R. Hayden*
Warren* and Joyce Heilbronner
David W. Hinz*
Jean Hitchcock
Norman L. Horton*
Mrs. Samter Horwitz*
H. Larry and Dorothy C. Humm
Mr. and Mrs. Robert D. Hursh*
Carol A. Jones
Dr. Ralph F. Jozefowicz
Nancie R. Kennedy*
Robert T. Kimbrough*
Marcella Klein and Richard Schaeffer
Glenn and Nancy Koch
Ross P. Lanzafame, Esq.
Jeanne Lareau*
Marshall and Lenore* Lesser
Drs. Jacques* and Dawn Lipson
Sue and Michael Lococo
William C.* and Elfriede K. Lotz
Mr. and Mrs. Daniel Mahar
Linda Malinich*
Joseph J. Mancini*
Gerard Mayer*
John T. McAdam*
Pete* and Sally Merrill
Donald R. Messina*
Robert J. and Marcia Wishengrad Metzger
Dan Meyers
Mrs. Elizabeth O. Miller*
Jane E. Miller*
Mary L. Mitchell*
Deanne Molinari
Eleanor Morris*
Mrs. Marjorie Morris*
Patricia McCurdy Morse*
John S. Muenter
Diane F. Nelson*
Paul Marc and Pamela Miller Ness
Carolyn Noble*
Deborah Onslow
Margaret Paaschen*
Mary Anne Palermo
Ms. Lydia Susan Palmer
Eleanor T. Patterson*
Suzanne F. Powell
Robert and Ann Quivey
Ernest Rashiatore*
Eileen D. Ramos*
Marjorie Cohen Relin*
Doris Repenter*
Dr. Ramon L. and Judith S. Ricker
Dr. Suzanne H. Rodgers*
Dick* and Bea Rosenbloom
Elise and Stephen* Rosenfeld
Pearl W. Rubin*
Wallace R. Rust
Ron and Sharon Salluzzo
Wesley Saucke
Peggy W. Savlov*
James G. Scanzaroli*
David G. and Antonia T. Schantz
William and Susan Schoff
Peter Schott and Mary Jane Tasciotti
Jon L. and Katherine T. Schumacher
Laura M. Seifferd*
Libba and Wolf Seka
Gretchen Shafer*
Virginia Durand Shelden*
Elbis A. Shoales, M.D.
Carol Shulman
Anna Rita Staffieri*
Ingrid Stanlis
Abby and David Stern
Patricia E. Stott
Betty Strasenburgh*
Martha Ann* and Daniel Tack
Amanda Tierson
Ivan Town*
Carol Van Hoesen*
Elizabeth Van Horn*
Harry and Ruth Walker
Patricia Ward-Baker
Margaret Webster*
Robin and Michael* Weintraub
Jean B. Wetzel*
Mildred Wischmeyer*
Kitty J. Wise
John and Laurie Witmeyer
Helen W. Witt*
Mary Alice and Robert Wolf*
Susan and Lawrence Yovanoff
Nancy and Mark Zawacki
Alan Ziegler and Emily Neece
Mr. and Mrs. Ted Zornow
* Denotes donor(s) is/are deceased.
^Denotes donor(s) has/have contributed to the Rochester Philharmonic Youth Orchestra (RPYO).
Since its founding by George Eastman in 1922, the Rochester Philharmonic Orchestra has been committed to enriching and inspiring our community through the art of music. Currently celebrating our Centennial Season, the RPO is dedicated to maintaining its deep commitment to artistic excellence, educational opportunity, and community engagement.
Today, the RPO presents up to 120 concerts per year, serving nearly 170,000 people through ticketed events, education and community engagement activities, and concerts in schools and community centers throughout the region. Nearly one-third of all RPO performances are educational or community-related. In addition, WXXI 91.5 FM rebroadcasts approximately 30 RPO concerts each year. For more information, visit rpo.org.
TICKETS: The RPO Patron Services Center is located at 255 East Avenue in the back of the Farash Place building in downtown Rochester. Free parking is available in a small lot between the parking garage and building. Open Monday through Friday 10 AM–5PM.
NIGHT-OF-CONCERT PURCHASES: RPO will-call tickets and concert tickets are available at the RPO tables in the Eastman Theatre Box Office lobby starting 90 minutes prior to concert time.
PARKING: Paid parking for Kodak Hall at Eastman Theatre is available at the East End Garage, located next to the theatre. Open entrances/exits change frequently while the garage is under construction. Visit rpo.org/parking for the most recent updates. Paid parking for the Performance Hall at Hochstein is available at the Sister Cities Garage, located behind the school at Church and Fitzhugh Streets.
PRE-CONCERT TALKS: All ticketholders are welcome to attend free pre-concert talks held one hour before all Philharmonics concerts and all Jeff Tyzik-conducted Pops concerts. Ticketholders are asked to sit anywhere they would like in the orchestra level of the theatre, then head to their reserved seat for the concert.
SERVICES FOR PATRONS WITH DISABILITIES: Wheelchair locations and seating for those with disabilities are available at all venues; please see the house manager or an usher for assistance. Elevators are located in the Eastman Theatre Box Office lobby. A wheelchair-accessible restroom is available on the first floor.
SERVICES FOR HARD-OF-HEARING PATRONS: Audio systems are available at Kodak Hall at Eastman Theatre; headsets may be obtained from an usher prior to the performance.
CHANGING SEATS: If you find it necessary to be reseated for any reason, please contact an usher who will bring your request to the House Manager.
LOST AND FOUND: Items found in Kodak Hall will be held at the Eastman Theatre Box Office, 433 E. Main Street. For more info, call 585-274-3000.
ELECTRONIC DEVICES: The use of cameras or audio recording equipment is strictly prohibited. Patrons are asked to silence all personal electronic devices prior to the performance.
REFRESHMENTS: Food and drink are not permitted in the concert hall, except for bottled water. Refreshments are available for purchase in Betty’s Café located on the orchestra level of Kodak Hall at Eastman Theatre.
TICKET DONATION: If you are unable to attend a concert, please consider donating your tickets to us as a tax-deductible contribution. Return your tickets to the RPO no later than 2 PM the day of the performance to make them available for resale.
GROUP SALES: Groups of 10 or more are eligible for discounts starting at 20%! Contact Group and Corporate Sales Manager: Sal Uttaro at suttaro@ rpo.org | Office: (585) 454-7311 ext. 267 | Mobile: (585) 530-0865
Bravo is published cooperatively by the Rochester Philharmonic Orchestra and Buffalo Spree
Joyce Tseng| Editor, Rochester Philharmonic Orchestra
Meg Spoto | Creative Director, m dash studio
Anna Reguero | Program Annotator, Anna Reguero ©
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