Dear friends,
Welcome to the Albany Symphony! Whether you are a longtime subscriber, a first-time attendee, or are watching one of our live digital streams from home, we are honored and thrilled to have you with us.
Our 2021-2022 season—David’s 30th as our Music Director—continues this winter with more of our favorite symphonic masterworks and enthralling newer pieces, all brought to life on stage by your Albany Symphony musicians and virtuoso guest artists. In January, Erina Yashima from the Philadelphia Orchestra conducts Scheherazade (page 21), Nikolai Rimsky-Korsakov’s symphonic setting of the evocative One Thousand and One Nights, on a program that also features violinist Maya Anjali Buchanan in Alexander Glazunov’s Violin Concerto. In February, David leads a special Valentine’s Weekend performance of Serge Prokofiev’s dazzling Piano Concerto No. 3 (page 31) with Wei Luo, and Pyotr Ilyich Tchaikovsky’s Pathétique—one of the most glorious, exquisitely beautiful symphonies of the Romantic Era. At the end of February,
ANNA KUWABARA Executive Director
pianist and longtime friend of the Symphony Kevin Cole returns for two performances of Gershwin in the Roaring 20s (page 37), a rollicking trip through the iconic Gershwin Songbook, including sizzling jazz-band versions of the Rhapsody in Blue and Concerto in F.
Convergence—our multiyear exploration of Black American art forms—also continues this winter with monthly events led by our nationally acclaimed Curating Artists: Spoken word artist and Kennedy Center Social Impact Director Marc Bamuthi Joseph, Afro-Haitian and contemporary dancer and choreographer Adia Tamar Whitaker, and acclaimed jazz and multi-genre violinist Regina Carter. To learn more and to join us as we bring our musicians, board, patrons, students, neighbors, and friends from across the region together for interactive workshops, food and fellowship, visit albanysymphony.com/convergence. This initiative is made possible in part with generous support from the Charles L. Touhey Foundation.
Thank you for joining us today.
Enjoy the concert!
JERRY GOLUB Chair, Board of Directors
DAVID ALAN MILLER Music Director
DAVID ALAN MILLER
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Heinrich Medicus Music Director
Two-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 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.
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
MISSION STATEMENT:
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.
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.
ORCHESTRA PERSONNEL
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VIOLIN
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.
Jill Levy + CONCERTMASTER LIFETIME CHAIR, GOLDBERG CHARITABLE TRUST
Eiko Kano + ASSISTANT CONCERTMASTER
Elizabeth Silver ^
Jamecyn Morey ^
Paula Oakes ^
Funda Cizmecioglu PRINCIPAL SECOND VIOLIN
Mitsuko Suzuki
ASSISTANT PRINCIPAL SECOND VIOLIN
Barbara Lapidus ^ ENDOWED BY MARISA AND ALLAN EISEMANN
Gabriela Rengel ^
Magdiell Antequera
Brigitte Brodwin
Ouisa Fohrhaltz
Heather Frank-Olsen
Emily Frederick
Rowan Harvey
Margret E. Hickey
Christine Kim
Sooyeon Kim
Aleksandra Labinska +
Myles Mocarski
Kae Nakano
Yinbin Qian +
Muneyoshi Takahashi
Harriet Dearden Welther
VIOLA
Noriko Futagami PRINCIPAL ENDOWED IN PERPETUITY BY THE ESTATE OF ALLAN F. NICKERSON
Sharon Bielik + ASSISTANT PRINCIPAL
Carla Bellosa
Daniel Brye
Ting-Ying Chang-Chien
Andrew Eng
Anna Griffis
Dana Huyge
Hannah Levinson
CELLO
Susan Ruzow Debronsky
PRINCIPAL
SPONSORED BY AL DE SALVO & SUSAN THOMPSON
Erica Pickhardt
ASSISTANT PRINCIPAL
Hikaru Tamaki ^
Kevin Bellosa
Matthew Capobianco +
Marie-Therese Dugre + Catherine Hackert
Li Pang
BASS
Bradley Aikman + PRINCIPAL
Philip R. Helm
ASSISTANT PRINCIPAL
Michael Fittipaldi ^
Luke Baker
James Caiello
Joshua DePoint
FLUTE
Ji Weon Ryu PRINCIPAL
Mathew Ross
OBOE
Karen Hosmer PRINCIPAL
Grace Shryock
ENGLISH HORN VACANT
CLARINET
Weixiong Wang PRINCIPAL IN MEMORY OF F.S. DEBEER, JR. -ELSA DEBEER IN MEMORY OF JUSTINE R.B. PERRY -DAVID A. PERRY
Bixby Kennedy
BASSOON
William Hestand PRINCIPAL ENDOWED IN PERPETUITY BY THE ESTATE OF RICHARD SALISBURY
HORN
William J. Hughes PRINCIPAL
Joseph Demko + Alan Parshley
Victor Sungarian
TRUMPET
Eric M. Berlin
PRINCIPAL
Eric J. Latini
TROMBONE
Greg Spiridopoulos
PRINCIPAL
Karna Millen
BASS TROMBONE
Charles Morris
TUBA
Derek Fenstermacher + PRINCIPAL
TIMPANI
Kuljit Rehncy + PRINCIPAL
PERCUSSION
Richard Albagli
PRINCIPAL
Mark Foster
HARP
Lynette Wardle PRINCIPAL
PERSONNEL MANAGER
Susan Debronsky
LIBRARIAN
Elizabeth Silver
HOUSING COORDINATOR
Daniel Brye
UNION STEWARD
Greg Spiridopoulos
SYMBOL KEY ^ STATIONARY CHAIR + ON LEAVE
At M&T Bank, we understand how important art is to a vibrant community. That’s why we offer our time, energy and resources to support artists of all kinds, and encourage others to do the same. Learn more at mtb.com.
SCHEHERAZADE!
SATURDAY | JANUARY 8, 2022 | 7:30 PM
PROCTORS THEATRE
ERINA YASHIMA, CONDUCTOR
MAYA ANJALI BUCHANAN, VIOLIN
Vivian Fung A Child’s Dream of Toys (B. 1975)
Alexander Glazunov Violin Concerto (1865-1936)
I. Moderato
II. Cadenza
III. Allegro
INTERMISSION (20 Minutes)
Nikolai Rimsky-Korsakov Scheherazade (1844-1908)
I. Largo e maestoso - Allegro non troppo “The Sea and Sinbad's Ship”
II. Lento - Andantino “The Legend of the Kalender Prince”
III. Andantino quasi allegretto “The Young Prince and the Young Princess”
IV. Allegro molto “The Festival at Baghdad”
POST-CONCERT TALK 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.
ERINA YASHIMA GUEST
CONDUCTOR
German-born conductor Erina Yashima is the Assistant Conductor of the Philadelphia Orchestra. Yashima has been in this role since September 2019, where she assists Music Director Yannick NézetSéguin, as well as other guest conductors, and leads the Philadelphia Orchestra in a variety of different concert programs.
As a rising star in the industry, Yashima has performed all over the world with acclaimed ensembles and orchestras. Recent highlights include her debut at the Arena di Verona and her return to the Chicago Symphony Orchestra, as well as debuts with the San Francisco Symphony, Aspen Chamber Symphony, Rostov State Philharmonic, and at the Colorado Music Festival.
This 2021-22 season will see Yashima’s debuts with the Seoul Philharmonic Orchestra, NDR Radiophilharmonie Hannover, Orchestra della Toscana, Orchestre Métropolitain de Montréal, Albany Symphony, Eugene Symphony, Royal Scottish National Orchestra, and Niederrheinische Sinfoniker, among others. On the opera platform, Yashima will conduct a new production of Mozart’s Così fan tutte in her debut with the Washington National Opera at the Kennedy Center, and lead a production of Rusalka at the Theater Krefeld und Mönchengladbach.
Since 2015, Yashima has been studying with Riccardo Muti. As winner of the Chicago Symphony Orchestra’s Sir Georg Solti Conducting Apprenticeship, Yashima assisted Maestro Muti and
worked closely with the Civic Orchestra of Chicago. During this period, Yashima collaborated with cellist Yo-Yo Ma and assisted conductors such as Esa-Pekka Salonen, Christoph Eschenbach, and Edward Gardner.
In opera, Yashima made her debut at the Salzburg Festival in 2017 with a production of Der Schauspieldirektor for children. She conducted Mozart’s Le Nozze di Figaro in Novara and Ravenna in February 2019, and Rossini’s La Cenerentola, both in 2017 in Lucca and again in 2018 in Piacenza with the Luigi Cherubini Youth Orchestra. At the Pfalztheater Kaiserslautern, Yashima served as répétiteur with conducting duties, leading performances of My Fair Lady.
As a pre-college piano student of Bernd Goetzke, Yashima began her musical studies at the Institute for the Early Advancement of the Musically Highly Gifted (IFF) in her hometown of Hannover and had her first conducting lessons at the age of 14. After studying conducting in
ERINA YASHIMA
Freiburg with Scott Sandmeier and in Vienna with Mark Stringer, she completed her studies at the Hanns Eisler School of Music, Berlin under the guidance of Christian Ehwald and Hans-Dieter Baum
To learn more about Erina Yashima, visit erinayashima.com.
VIVIAN FUNG
A CHILD’S DREAM OF TOYS
JUNO Award–winning composer Vivian Fung has a unique talent for combining idiosyncratic textures and styles into largescale works, reflecting her multicultural background. NPR calls her “one of today’s most eclectic composers.”
Highlights of upcoming performances include the world premiere of two operatic scenes with librettist Royce Vavrek, part of Edmonton Opera’s The Wild Rose Opera Project; a UK tour of new work with the Tangram Collective; the premiere of Fung’s fifth String Quartet in Canada; the French premiere of Earworms; and the UK premiere of String Sinfonietta. Mary Elizabeth Bowden tours her Trumpet Concerto and is recording it for future release on Çedille Records. Fung is currently at work on a new project about identity with soprano Andrea Nunez and Royce Vavrek, an expanded version of her Flute Concerto, and upcoming percussion works for Katie Rife and Ensemble for These Times.
Recent season highlights include the world premiere of new flute concerto, Storm Within, by the Vancouver Symphony Orchestra and principal flutist Christie Reside; the UK premiere of Birdsong,
performed by violinist Midori at Kings Place in London; the world premiere of a new trumpet concerto with trumpeter Mary Elizabeth Bowden and the Erie Philharmonic; and the world premiere of String Quartet No. 4 “Insects and Machines,” performed by the American String Quartet. In July 2020, the CBC and Toronto Symphony’s Virtual Orchestra gave the world premiere of Fung’s Prayer, a work recorded in isolation during the pandemic for an online performance led by conductor Yannick Nézet-Séguin.
With a deep interest in exploring different cultures, Fung has traveled to Cambodia, Southwest China, North Vietnam, Spain, and Bali to connect with her roots and collect research for her compositions. Passionate about fostering the talent of the next generation, Fung has mentored young composers in programs at the American Composers Forum, San Francisco Contemporary Chamber Players, San José Youth Chamber Orchestra, and Cabrillo Festival of Contemporary Music. Born in Edmonton, Canada, Fung received
VIVIAN FUNG
her doctorate from The Juilliard School. She currently lives in California and is on the faculty of Santa Clara University. To learn more about Vivian Fung, visit vivianfung.ca.
Vivian Fung’s A Child’s Dream of Toys is inspired both by Fung’s 3-year-old son and by an oil painting by Grant Maxwell, Fung’s late piano teacher from Edmonton, who passed away from a brain tumor in 1993 while Fung was still a student. The piece is fast-paced and virtuosic and moves along at a clip evoking a child’s seemingly unlimited energy. The piece is organized as a series of episodes—short sections that morph and change as often as a child’s moods. The softest section in the middle of the piece features a very short and somewhat hidden quote of Twinkle, Twinkle Little Star, but is bent out of shape with a sliding glissando that pulls the tune downwards in key. The title of the work is taken from Maxwell’s painting, which he gave to Fung shortly before his death. It is a small abstract rendition of a child’s imagination in bright yellow and primary colors.
ALEXANDER GLAZUNOV CONCERTO FOR VIOLIN AND ORCHESTRA
Among the non-contemporary composers featured this season, Alexander Glazunov (1865-1936) is one less often featured by the Albany Symphony—records show that he has not appeared on an ASO concert in the last 25 years. Who was he? At an early age, Glazunov was taught and acclaimed by Rimsky-Korsakov; his opus numbers go to 110, including eight symphonies and a
saxophone (!) concerto; he was a teacher at, and director of, the St. Petersburg Conservatory for about 30 years; and he received honorary degrees from Oxford and Cambridge. Certainly in his 70 years he found artistic satisfaction and critical success.
Perhaps tonight’s performance of his Violin Concerto will pique your interest in the many Glazunov performances to be found on YouTube.
The concerto was premiered by noted violinist Leopold Auer and the Russian Musical Society, with the composer conducting, on February 15, 1905.
The 20-minute concerto is really one long, uninterrupted movement, but in it there is much variety, of the sort found in three distinct movements. Unusually, the soloist enters almost immediately with a brooding, wandering line in A minor: the first interval is from tonic A to E, the dominant. Then comes a second lovely melody, a descending figure, and the
ALEXANDER GLAZUNOV
movement picks up steam in terms of tempo and jocoseness.
Yet a third beautiful tune, introduced by the violin, opens the long andante section. It’s a big, warm motif, one which the entire orchestra takes up as the violin weaves attractive filagree. Violas then herald a section that develops the themes we have already heard.
A cadenza shows off the soloist, with pizzicato work, double stops, and trills, leading to the jaunty allegro, in 6/8. The skipping tune in A major begins in the trumpets, is echoed by the violin, and then is passed around the orchestra. A second melody by the violin appears, and the two tunes get a thorough workout on the way to a rollicking ending.
MAYA ANJALI BUCHANAN
Recognized for her spirited performances and exceptional bel canto-like lyricism, Indian-American violinist Maya Anjali Buchanan is gaining wide appeal as an enchanting young artist with a unique musical voice. Named Yamaha’s 2020 Young Performing Artist for Classical Music/Violin, she has performed on three continents and garnered enthusiastic reviews.
Buchanan has performed in recital and as the featured soloist with numerous orchestras throughout the United States and China and Europe. “The incredibly difficult Sibelius concerto performed flawlessly and with a passion one might expect from a veteran player twice her age, ," blogger Li Zhivong wrote of her Chengdu debut with the Sichuan Philharmonic Orchestra Opening
the concerto with a silvery magical tone she forged forward with a deep understanding…A powerful performance not to be soon forgotten.” blogger Li Zhicong, raved of her Chengdu debut with the Sichuan Philharmonic Orchestra. Buchanan has appeared as a guest artist at the Peninsula Music Festival, Harpa International Academy Festival, and made her Aspen Music Festival debut as the recipient of the prestigious 2019 Dorothy DeLay Fellowship Award, performing the Glazunov Violin Concerto with the Aspen Philharmonic Orchestra.
Highlights of forthcoming engagements include performances with the Highland Park Strings, Northpark and Evanston Symphony Orchestras, Albany Symphony, Symphony Orchestra of India in Mumbai, and recital debuts at the Dame Myra Hess Memorial Concert Series in Chicago and Salon de Virtuosi recital series in NYC.
At 16, Buchanan captured First Prize in the 2017 Crain-Maling Foundation Chicago Symphony Orchestra Young
MAYA ANJALI BUCHANAN
Artist Competition and made her solo debut with the Chicago Symphony Orchestra. She is a top medalist of the 2018 Washington International Competition, 2018 Stulberg International String Competition, 2016 Stradivarius International Violin Competition, 2015 Johansen International Competition, and participated in the 2021 Menuhin International Violin Competition, the “Olympics of the Violin.”
Buchanan has performed at many diverse venues including Harpa Concert Hall in Reykjavík, Carneige Hall in New York City, The Kennedy Center Terrace Theater, Chicago Symphony Center, Ravinia’s Bennett-Gordon Hall, Aspen’s Harris Hall and Benedict Music Tent, The Kimmel Center for Performing Arts in Philadelphia, Deluxe Music Hall in Chengdu, China, Door Country Auditorium in Wisconsin, and historic Chenery Auditorium in Michigan. Selected as an “exceptional young artist” worldwide to perform at the Starling-DeLay Symposium in NYC, Maya has been featured on numerous radio broadcasts including multiple performances on NPR’s “From the Top,” WFMT Chicago “Introductions,” South Dakota Public Broadcasting, WCLV Cleveland and KJAX Aspen Public Radio.
In the effort to broaden Western classical music traditions, Maya unveils the music of her heritage by presenting pieces unique to her Indian ancestry, bridging her Eastern roots with her Western classical training. She enjoys showcasing works of Indian influence that reflect the form and improvisational quality of Eastern music, blending
techniques of both cultures. An alumna of the Music Institute of Chicago Academy, she studied with Almita and Roland Vamos. She currently attends the famed Curtis Institute of Music in the studio of pedagogue Ida Kavafian. Maya performs with a c. 1730 Guarneri ‘del Gesù’ through the generous efforts of the Stradivari Society of Chicago.
NIKOLAI RIMSKY-KORSAKOV SCHEHERAZADE
Acceding to his family’s wishes, Rimsky-Korsakov (1844-1908) first had a career in the navy, but by the time he was 27 he had developed his musical skills enough to be counted as one of “The Five” (along with composers Balakirev, Borodin, Cui, and Mussorgsky) and hired as a teacher at the St. Petersburg Conservatory. He taught and composed until his death, earning a national and international reputation for, among other compositions, tonight’s work; Russian Easter Overture ; Capriccio Espagnole ; and two operas, Sadko and The Golden Cockerel .
Nikolai Rimsky-Korsakov composed Scheherazade in the summer of 1888 and conducted its first performance on November 3rd of the same year, in St. Petersburg. It is Rimsky-Korsakov’s most extended orchestral composition, and the one in which he reached his greatest heights in the fusion of arresting themes, rich orchestral color and evocative atmosphere in a context of symphonic programming.
The source of the program which prefaces the score is the “One Thousand and One Nights.” The preface reads:
The Sultan Schahriar, convinced of the duplicity and infidelity of all women, vowed to kill each of his wives a er their wedding night. The Sultana Scheherazade, however, saved her life by telling the Sultan a succession of stories over a period of a thousand-and-one nights.
Consumed with curiosity, the Sultan postponed the execution of his wife from day to day and ended by renouncing altogether his bloody resolution. Scheherazade recounted many marvels to Schahriar, drawing upon verses of the poets and the words of folk songs and tales, connecting her stories one with another.
The four movements originally had the following titles: I-The Sea and Sinbad’s Ship; II-The Tale of the Kalender Prince; III-The Young Prince and Princess; IV-Festival at Bagdad-The Sea-The Ship Is Wrecked on a Rock Surmounted by a Bronze Warrior. After the first performance, Rimsky-Korsakov withdrew the titles; this passage from his autobiography explains why he did so: “In composing Scheherazade I meant to direct but slightly the hearer’s fancy on the path which my own fancy had traveled, and to leave more minute and particular conceptions to the will and mood of each listener. All I had desired was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an Oriental narrative of some numerous and varied fairytale wonders, and not merely
four pieces played one after the other and composed on the basis of themes common to all four movements.”
The structural plan of Scheheraz ade follows the cyclic idea adumbrated by Beethoven and firmly established by Berlioz, Liszt, and Wagner in the middle years of the 19th Century: two basic themes, representing the Sultan and Scheherazade respectively, are stated at the beginning of the first movement and reappear from time to time throughout the work, often varied. The unifying effect is enhanced by the usual appearance of the Scheherazade theme in the solo violin. The new themes introduced in the second and third movements are brought back in the finale, a la Gotterdammerung, and the work ends in a quiet dialogue between the Sultana and her subdued lord.
Glazunov and Rimsky-Korsakov program notes by Paul Lamar.
Scheherazade concert note by Russell F. Locke, from the Albany Symphony concert of October 24, 1970, Julius Hegyi conducting.
NIKOLAI RIMSKY-KORSAKOV
TCHAIKOVSKY'S PATHÉTIQUE
SATURDAY | FEBRUARY 12, 2022 | 7:30 PM
PALACE THEATRE
DAVID ALAN MILLER, CONDUCTOR
WEI LUO, PIANO
Hannah Kendall
The Spark Catchers (B. 1984)
Sergei Prokofiev
Piano Concerto No. 3 (1891-1953)
I. Andante – Allegro
II. Tema con variazioni
III. Allegro ma non troppo
INTERMISSION (20 Minutes)
Pyotr Ilyich Tchaikovsky
Symphony No. 6, “Pathétique” (1840-1893)
I. Adagio – Allegro non troppo
II. Allegro con grazia
III. Allegro molto vivace
IV. Finale: Adagio lamentoso – Andante
CONCERT SPONSOR POST-CONCERT TALK 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.
HANNAH KENDALL
THE SPARK CATCHERS
Known for her attentive arrangements and immersive world-building, Hannah Kendall’s music looks beyond the boundaries of composition. Her work bridges gaps between different musical cultures, both honouring and questioning the contemporary tradition while telling new stories through it. Contrasting fine detail with limitless abandon, she has become renowned both as a composer and a storyteller, confronting our collective history with narrative-driven pieces centered on bold mission statements.
Marked by striking and often polarizing dynamics, her large-scale work simmers on the surface, and is upturned by the briefest moments of bombast. Ensemble pieces subvert audience expectations of "quiet and loud" and "still and moving," scattering those musical opposites unexpectedly. The sounds are visceral, but their placement is complicated, disclosing the detail that exists beneath. While hinging on intense moments, Kendall’s music is also staggeringly intricate, maneuvering tiny decisions that reveal themselves on further listens.
Kendall’s work has been widely celebrated. She has created pieces such as Disillusioned Dreamer (2018), which the San Francisco Chronicle praised for having a “rich inner life,” as well as The Knife of Dawn (2016), a chamber opera that received critical acclaim for its involving and claustrophobic representation of the incarceration of Guyanese political activist Martin Carter. Her work has been performed extensively, and across many platforms. She has worked with
ensembles including London Symphony Orchestra, BBC Symphony Orchestra, Boston Symphony Orchestra, Seattle Symphony Orchestra, The Hallé, Ensemble Modern, and London Sinfonietta, but you’ll also find her collaborating with choreographers, poets and art galleries; crossing over to different art forms, and celebrating the impact these unique settings have on sound. She is currently composing an Afrofuturist opera for experimental vocalist and movement artist Elaine Mitchener.
Born in London in 1984, Kendall is based in New York City as a Doctoral Fellow in composition at Columbia University. To learn more about Hannah Kendall, visit hannahkendall.co.uk.
FROM THE COMPOSER
The Spark Catchers: Lemn Sissay’s incredibly evocative poem “The Spark Catchers” is the inspiration behind this work. I was drawn to its wonderful dynamism, vibrancy, and drive. Specific words and phrases from the text have established the structure of the work, and informed the contrasting musical characteristics created within the piece’s main components.
HANNAH KENDALL
The opening “Sparks and Strikes” section immediately creates vigour and liveliness, with the piccolo and violins setting-up a swelling rhythmic drive, interjected by strong strikes from the rest of the ensemble. This momentum continues into “The Molten Madness,” maintaining the initial kinetic energy, whilst also producing a darker and brooding atmosphere introduced in the bass lines. A broad and soaring melodic line in the french horns and first violins overlays the material, moving into a majestic episode led by the full string section, accentuated by valiant calls in the woodwind, brass and percussion; culminating in a sudden pause. A lighter variation of the opening rhythmic material in the clarinets, harp, and strings follows, creating a feeling of suspense. The texture builds up through a jazzy figure led by the brass, leading to powerful and surging interplay between the flutes, oboes, and violins.
The lighter, clearer, and crystalline “Beneath the Stars/In the Silver Sheen” section follows. Quiet and still, it is distinguished by its gleaming delicacy through long interweaving lines, high pitch range and thin textures. An illuminating strike, underpinned by the glockenspiel and harp, signifies the climax of this section. Subsequently, the opening zest comes back again through dance-like material which culminates in “The Matchgirls March” with its forceful and punchy chords.
The Spark Catchers ends with a coda-like section, which carries over the power of the “March,” whilst also incorporating variations on musical motives from “Sparks and Strikes” and “The Molten Madness”; finally concluding on a sparkling flourish. —H.K.
SERGEI PROKOFIEV
CONCERTO FOR PIANO NO.
3
Sergei Prokofiev’s son once said that “his father wrote quite ordinary music and then prokofievized it.”
What does this clever statement mean? Except, perhaps, for the Symphony No. 1 (“Classical”) and Peter and the Wolf, a lot of Prokofiev's other works are full of gorgeous melodies that eventually “go off.” The pretty tune becomes distorted, and conventional tonality gives way to harmonic dissonance.
Nevertheless, Prokofiev (1891-1953) seemed always to write according to his own creative lights even when, in 1948, the Communist Party censured his work and demanded a new style. The 20th Century master counts the ballets Romeo and Juliet and Cinderella, seven symphonies, a film score for Alexander Nevsky, and a number of concertos for piano, violin, and cello among his enormous output, and many of his works, some critics’ comments notwithstanding, have become staples of the modern canon.
SERGEI PROKOFIEV
In June 1970, Ronald Edwin Lewis wrote: “One critic in the Peteburgsky Listak of August 18, 1913, attempts to mark Prokofiev’s place in Russian music: ‘Prokofiev may even mark a state in the development of Russian music: the first stage being Glinka and Rubinstein, the second Tchaikowsky and Rimsky-Korsakov, the third Glazunov and Arensky, the fourth Scriabin and…and…Prokofiev, Why Not?’
The innovations and popularity of the Scriabin movement were slowly beginning to fade. Scriabin’s main concern was harmony with very little rhythmic interest. Prokofiev, as many composers in the past had the fortune to do, came on the scene at an opportune time. His music reflects an intense rhythmic drive in addition to his own unique harmonic idiom.”
Lewis continues: “Prokofiev’s way of writing for the piano arose from his own distinctive manner of playing it.” Harold Schonberg states: “As a pianist Prokofiev was the New Man of the century. He had little in common with the past, and his playing was completely original… This was the kind of approach needed to play Bartok, Stravinsky and the other moderns. Therefore, Prokofiev’s pianism not only influenced his style of writing for the piano but was also to influence the performance styles required to play other twentieth century composers. Bartok, Stravinsky and Prokofiev treated the piano basically as a percussive instrument in opposition to the ‘hammerless’ piano suggested by Debussy’s music.”
This thrilling concerto was about 10 years in the making. The first movement starts off with a solo clarinet, playing, almost improvisationally, a little melody that comes
back from time to time. Then a second clarinet joins. Other winds enter, and finally the piano comes in, pushing past all of the sweetness and declaring another mood altogether. Thus, except for some lyrical passages from the soloist, the music, like a great, oiled machine, drives along. Everything a pianist can do is done: cross-hand work, glissandos, two-hand scale passages (one almost thinks of Bach), crashing chords, reaches to both ends of the keyboard, and staccato playing. There is no cadenza because there is nothing more to be shone off! And the orchestral color is vivid: wood blocks, piccolo, brass.
The second movement is a theme and variations, the theme announced in the flute and receiving many permutations in terms of instrumentation, speed, and volume. It is everywhere apparent, if always slightly disguised.
Just as the first movement’s tune was introduced by the clarinet and the second movement’s by the flute, so is the third movement’s by the bassoon. The movement, in 3/4, chugs along until the strings offer a ravishing melody, but soon Prokofiev presents us with a section that Lewis calls a “cat’s meow,” citing Prokofiev’s wit. The piano introduces the figure, and then the winds have fun with it. The lush tune returns, full-throated, followed by the jaunty bassoon motif that opened the movement. Fireworks ensue, as the pianist scrambles all over the keyboard, pounding out chords and syncopated rhythms, and cruising through glissandi. And the piece ends on a walloping C, the piece’s key.
Prokofiev premiered the concerto with the Chicago Symphony, under Frederick Stock, on December 16, 1921.
WEI LUO
Pianist Wei Luo, one of the most promising students of legendary Gary Graffman, was recognized by American classical radio station WQXR as one of the 19 artists to watch in 2019. In August of that year, Luo released her self-titled debut album under DeccaGold, Universal Music Group. The album was recommended and featured by “Gramophone” magazine online as an exciting new release. Soon after, it was featured on both Apple Music (classical), and Amazon Music (classical) front pages. Spotify alone reached around 30,000 listeners.
Luo's recitals have been featured and broadcasted nationwide, including WHYY Pennsylvania, Minnesota Public Radio, Michigan WCMU, Texas Rio Grande, and North Carolina's The Classical Station WCPE among others.
Luo received the Gilmore Young Artist Award at age 17 in 2018, and was the winner and recipient of the “Salon de Virtuosi” Career Grant in New York at age 16. She made her orchestra debut at age 11 with the Shanghai Philharmonic where, along with artistic director Muhai Tang, they opened the 2011 season by performing Prokofiev Concerto No. 3 at the Shanghai Oriental Art Center.
Born in Shenzhen, China, Luo showed great interest in music and began piano lessons at age 5. She gave her debut recital in Hong Kong at age 6. Winner of numerous competitions in China, Luo also claimed first prize in the 11th Chopin International Competition for Young Pianists in Poland and the second Rachmaninov International Piano Com-
petition for Young Pianists in Frankfurt, both in 2010.
In 2012, at age 13, Luo was accepted to the prestigious Curtis Institute of Music in Philadelphia where she studies with Gary Graffman and Robert McDonald. Before that, Wei entered the Shenzhen Arts School with the highest score at age 8. She was accepted with the highest score again to the middle school of the Shanghai Conservatory of Music with Tang Zhe at age 9.
To learn more about Wei Luo, visit weiluopiano.com.
PYTOR ILYICH
TCHAIKOVSKY
SYMPHONY NO. 6, “PATHETIQUE”
The music of Pytor Ilyich Tchaikovsky (1840-1893) is indispensable in virtually every genre: ballet (think The Nutcracker, excerpts of which we heard in December, and Swan Lake); concertos (one for violin, three for piano, and Rococo Variations for Cello and Orchestra); operas (Eugene Onegin and The Queen of Spades are staples); overtures (Romeo and Juliet
WEI LUO
and 1812); songs and chamber music; and six symphonies. In all of these works, Tchaikovsky is the consummate romantic. His melodies are passionate; his orchestrations are colorful; his gestures are bold. Some discredit him for wearing his heart on his sleeve, but he was inventive enough not to be merely an exhibitionist.
As Wilson Strutte notes, “The real tragedy of Tchaikovsky is that he spent a great part of his life under the shadow of imaginary horrors created by his own sensitive nature and tortured nature.” Part of that torture originated in his fear of being exposed as gay, so perhaps the horrors were not entirely imaginary, given the attitudes toward homosexuality at the time.
The symphony—dedicated to his nephew, Vladimir (Bob) Davidov, with whom Tchaikovsky was in love—was premiered on October 28, 1893, in St. Petersburg, the composer conducting. The title was reportedly given to it by the composer’s brother Modest. The performance received mixed reviews.
But Tchaikovsky himself was proud of this work, whose plan, he said in his sketchbook, was “LIFE. First part—all impulsive passion, confidence, thirst for activity. Must be short. (Finale DEATH— result of collapse). Second part, love; third, disappointments; fourth ends dying away (also short).” When it was finished, he said, “I give you my word of honor that never in my life have I been so contented, so proud, so happy, in the knowledge that I have written a good piece.”
Nine days after the symphony’s debut, Tchaikovsky was dead. Modest claimed that his brother knowingly, and cava-
lierly, drank a glass of unboiled water during a cholera epidemic, contracted the disease, and died. Others say that Tchaikovsky was basically in a sunny mood, so why would he wish to kill himself? In any case the symphony’s final movement is a fitting dirge for a complex man who, over 53 years, survived life’s strains and produced music that moves, charms, and consoles.
The first movement begins in the depths of the orchestra, with a brooding bassoon solo that sets up the character of this work in B minor. About four-and-ahalf minutes into the movement comes a poignant melody in the strings. It is followed by a lighter section, and then the tune returns with great drama. The clarinet picks up the melody, creating a bridge to a development section that plays with the material from the beginning in an extroverted fashion, with the theme now echoed by one section of the orchestra after another. Suddenly the mood turns mournful again, preparing the way for the recapitulation of the chief theme of heartbreak. The last minute features plucked strings and chordal
PYTOR ILYICH TCHAIKOVSKY
statements in the brass and the winds.
The second movement is odd because you can’t quite find the beat. It has the earmarks of a lilting, elegant waltz, but the meter is, in fact, 5/4, not 3/4. While the marking is Allegro con grazia, the lightness of the tempo is somewhat compromised by the darkness of the material itself.
The strings get the third movement off to a pell-mell start. The tune of this march is jaunty at times, martial at others. But clearly everything is winding up to a thrilling apotheosis. Tempos are double-timed and winds and strings sail up and down the scale. Strings provide a running commentary under all the sprightly punctuation by various instruments. What a terrific ending to a symphony!
Of course, this is not the end. What follows is one of the most heart-wrenching slow movements in the symphonic literature. How shocking it must have been for the opening night orchestra to encounter a finale which thwarted their expectations. The movement begins with a cry from the strings, in the form of a descending scale, the line is divided between first and second violins. Nearly three minutes into the movement a breathtakingly beautiful theme appears, perhaps a reaffirmation of life in the face of death. As the work draws to a close, however, the music descends through the parts of the orchestra, extinguished, finally, by the bass section (remember the opening?), which fades away into nothingness.
Prokofiev and Tchaikovsky program notes by Paul Lamar.
KEVIN COLE RETURNS
GERSHWIN IN THE ROARING 20s
SATURDAY | FEBRUARY 26, 2022 | 7:30 PM
TROY SAVINGS BANK MUSIC HALL
DAVID ALAN MILLER, CONDUCTOR
KEVIN COLE, PIANO
Repertoire to be announced.
Kevin Cole performs the original jazz band version of Gershwin’s iconic Rhapsody in Blue, classic Gershwin songs, Broadway overtures and more!
CONCERT SPONSOR
Pianist Kevin Cole’s appearance is made possible in part by a generous gift from Al DeSalvo, in loving memory of Susan Thompson.
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.
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 Valens, 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 the biography 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 Christodora House…on the Lower East Side.” 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.
Gershwin program note 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
GEORGE GERSWIN
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 per-
forming schedule, Cole is currently Artist in Residence in Musical Theatre and Voice at Saginaw Valley State University.
To learn more about Kevin Cole, visit kevincolemusic.com.
KEVIN COLE
ALBANY SYMPHONY BOARD & STAFF
BOARD
OFFICERS
Jerel Golub, Chair
Faith A. Takes, Vice Chair
David Rubin, Treasurer
John Regan, Secretary
BOARD OF DIRECTORS
Kaweeda Adams
Gemma Allen
Guha Bala
Beth Beshaw
Melody Bruce, MD
Charles Buchanan
Dr. Benjamin E. Chi
Judith Ciccio (Ex Officio)
Marcia Cockrell
Ellen Cole, Ph. D.
David Duquette
Marisa Eisemann, MD
Nicholas Faso
Alan Goldberg
Joseph T. Gravini
Catherine Hackert (Ex Officio)
Anthony P. Hazapis
Jahkeen Hoke
Edward M. Jennings
Daniel Kredentser
Mark P. Lasch
Steve Lobel
Cory Martin
Anne Older
Henry Pohl
Dush Pathmanandam
Barry Richman
Hon. Kathy M. Sheehan (Ex Officio)
Rabbi Scott Shpeen
Micheileen Treadwell
Darrell P. Wheeler
DIRECTORS’ COUNCIL
Rhea Clark
Denise Gonick
Sherley Hannay
Charles M. Liddle III
Judith B. McIlduff
John J. Nigro
STAFF
EXECUTIVE LEADERSHIP
Anna Kuwabara, Executive Director
FINANCE
Scott Allen, Finance Director
DEVELOPMENT & MARKETING
Robert Pape
Director of Development & Marketing
Alayna Frey
Box Office & Marketing Coordinator
Amanda Irwin
Annual Fund & Grants Manager
Tiffany Wright
Events & Partnerships Associate
Nyla McKenzie-Isaac
Marketing & Development Assistant
EDUCATION & COMMUNITY ENGAGEMENT
Jae Gayle
Director of Education & Community Engagement
ARTISTIC OPERATIONS
Derek Smith
Director of Operations & Programming
Susan Ruzow Debronsky
Personnel Manager
Liz Silver, Music Librarian
Daniel Brye, Housing Coordinator
CONDUCTOR’S CIRCLE
The Albany Symphony is grateful to the following individuals for their vital ongoing support. Updated December 10, 2021. *In Memoriam
PLATINUM BATON LEVEL
($25,000+)
Dr. Benjamin Chi
Jerel Golub
Sherley Hannay
Ms. Faith A. Takes
GOLD BATON LEVEL
($10,000-$24,999)
Eric Berlin
Marcia & Findlay Cockrell
Daniel & Celine Kredentser
David & Tanyss Martula
Karen & Chet Opalka
Dush & Kelly Pathmanandam
A.C. Riley
David M. Rubin & Carole L. Ju
Dennis & Margaret Sullivan
Merle Winn*
SILVER BATON LEVEL
($5,000-$9,999)
Charles & Charlotte Buchanan
Drs. Marisa & Allan Eisemann
Malka & Eitan Evan
Al De Salvo & Susan Thompson*
Mr. David Duquette
The Hershey Family Fund
Edward & Sally S. Jennings
Anna Kuwabara & Craig Edwards
Bob & Alicia Nielsen
Dr. Henry S. Pohl
Dale Thuillez
Drs. Karl Moschner & Hannelore
Wilfert
BRONZE BATON LEVEL
($2,500-$4,999)
Drs. Melody A. Bruce & David A. Ray
Drs. Ellen Mary Cosgrove & Jeffrey Fahl
Dr. Thomas Freeman & Mrs. Phyllis
Attanasio
Alan Goldberg
Mrs. Ellen Jabbur
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Steve & Vivian Lobel
Dr. & Mrs. Thomas Older
The Massry Family
Mr. & Mrs. Bruce Maston
Hilary & Nicholas Miller
Larry & Clara Sanders
Rabbi Scott Shpeen
Robert P. Storch & Sara M. Lord
Mrs. Jeanne Tartaglia
Bonnie Taylor* & Daniel Wulff
William Tuthill & Gregory Anderson
Barbara & Stephen Wiley
CONDUCTOR’S CIRCLE VIRTUOSO LEVEL
($1,500-$2,499)
Mr. & Ms. John Abbuhl
Mr. & Mrs. Robert Allen
Hermes & Linda Ames
Sharon Bedford & Fred Alm
Michael & Linda Barnas
Peter & Debbie Brown
Dr. A. Andrew Casano & Bella Pipas
Drs. Ellen Cole & Doug North
Kirk Cornwell & Claire Pospisil
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Mrs. Joy Emery
Thomas Evans
Joseph & Linda Farrell
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Holly Katz & William Harris
Gerald Herman
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Drs. Matthew Leinug & Cyndi Miller
Karen & Alan Lobel
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Ted & Judy Marotta
Mr. Cory Martin
Judith B. McIlduff
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Susan Picotte
Dr. Nina Reich
Alan & Leizbeth Sanders
Dwight & Rachel Smith
Mitchell & Gwen Sokoloff
Paul & Janet Stoler
Dr. Micheileen Treadwell
Mrs. Jane A. Wait
Mrs. Candace King Weir
Michael & Margery Whiteman
Harry & Connie Wilbur
CONDUCTOR’S CIRCLE FRIEND LEVEL
($1,000-$1,499)
Albany Medical Center
Dr. Richard & Kelly Alfred
Wallace & Jane Altes
Mr. and Mrs. Matthew Amodeo
Paul & Bonnie Bruno
Timothy Burch
Dr. & Mrs. William J. Cromie
Ms. Ruth Dinowitz
Ann & Don Eberle
Herb & Annmarie Ellis
Jack M. Firestone
Roseanne Fogarty & Perry Smith
Lois Foster
John & Linda Fritze
David Gardam & Mary McCarthy
Mary Gitnick
The Family of Morton Gould
Michael & Katharine Hayes
Margaret Joynt
Mr. & Mrs. E. Stewart Jones Jr.
Mr. Robert J. Krackeler
Sara Lee & Barry Larner
William Lawrence
Dr. & Mrs. Neil Lempert
Robert & Jean Leonard
Mr. Donald Lipkin & Mrs. Mary Bowen
Richard & Barbara MacDowell
Mrs. Jill Goodman & Mr. Arthur Malkin
Mrs. Nancy McEwan
Stewart Myers
Vaughn & Hugh Nevin*
Patricia & Kevin O’Bryan
Sarah M. Pellman
Henry & Sally Peyrebrune
Lee & Donna Rosen
Lewis C.* & Gretchen A. Rubenstein
Hiroko Sakurazawa
Harriet B. Seeley
Peggy & Jack Seppi
Herb & Cynthia Shultz
Ronald & Nadine Stram
Alexandra Jane Streznewski & Robert Reilly, Jr.
I. David & Lois Swawite
Anders & Mary Ellen Tomson
Avis & Joseph Toochin
Virginia E. Touhey
F. Michael & Lynette Tucker
Darrell Wheeler & Donovan Howard
Lawrence & Sara Wiest
Austin & Nancy Woodward
FOUNDATIONS, CORPORATIONS, & 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 December 10, 2021.
$100,000+
Empire State Development
Capital Region Economic
Development Council
Carl E. Touhey Foundation
$50,000+
New York State Council on the Arts
$25,000+
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 John D. Picotte Family Foundation
Price Chopper’s Golub Foundation
Sano-Rubin Construction
Stewart’s Shops
Vanguard-Albany Symphony
$5,000+
Alice M. Ditson Fund
AllSquare Wealth Management
Atlas Wealth Management
Discover Albany
Howard & Bush Foundation
The Hershey Family Fund
M & T Charitable Foundation
$2,500+
Alfred Z. Solomon Charitable Trust
Capital Bank
Charles R. Wood Foundation
Hudson River Bank & Trust
J.M. McDonald Foundation
The Business for Good Foundation
The Peckham Family Foundation
The Robison Family Foundation
The Troy Savings Bank Charitable Foundation
The David and Sylvia Teitelbaum Fund,Inc.
$1,500+
John Fritze Jr., Jeweler Pioneer Bank
$1,000+
Dr. Gustave & Elinor Eisemann
Philanthropic Fund Firestone Family Foundation
Hippo’s
Pearl Grant Richmans
Repeat Business Systems Inc.
Whiteman Osterman and Hanna LLP
CORPORATE SPONSORS
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 September 1, 2021.
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
Celine & Daniel Kredentser
John D. Picotte Family Foundation
Carl E. Touhey Foundation
Courtyard by Marriott Schenectady at Mohawk Harbor
INDIVIDUAL GIVING
The Albany Symphony is grateful to the following individuals for their vital ongoing support. Updated December 10, 2021.
SYMPHONY CIRCLE
($500-$999)
Dr. Kenneth S. & Rev. Elizabeth D. Allen
Susan & Gus Birkhead
Mrs. Anne Brewster
Pernille Aegidius Dake
Drs. Paul J. & Judith B. Davis
Mary DeGroff & Robert Knizek
Ann & Don Eberle
Ben & Linda English
John Engster
David & Janice Golden
Jim Caiello & Marcia Goldfeder
Susan M. Haswell Charitable Fund
Paul Hohenberg
Howard & Mary Jack
Marilyn & Stan Kaltenborn
Marylouise Ledduke
Mr. James Levine
Susan Limeri
Tom & Sue Lyons
C. Ursula W. MacAffer
Dr. Christopher John Maestro
Richard & Anne Martula
Karen Melcher
Lee & Heidi Newberg Fund
Mrs. Deborah Onslow
Jim & Miriam Parmelee
Sarah M. Pellman
Mrs. Tina W. Raggio
Dr. Joseph Peter Lalka & Teresa
Ribadenerya
Alexandria Richart
Jay & Adrienne Rosenblum
Donna Sawyer
Anne-Marie Serre
Kevin M. Shanley Ph.D
Marie & Harry Sturges
Dr. & Mrs. Frank Thiel
Jeff & Barbara Walton
APPLAUSE CIRCLE
($250-$499)
Mr. David Scott Allen
Dr. Linda E. Anderson
Mr. Lawrence Snyder & Mrs. Lynn
Ashley
James Ayers & Miriam Trementozzi
Jeevarathnam Ayyamperumal
Richard & Susan Baker
Donald & Rhonda Ballou
Dr. & Mrs Beehner
Dawn Benson
Dr. George Bizer & Dr. Ana Sobel
Charles Braverman & Julia Rosen
Dorice Brickman
Robert G. Briggs
Diane & William Brina
Wesley Brown
Timothy Burch
Mr. Eric Chan Chan
Mr. David Clark
Sandy Clark
Lynda & Robert G. Conway, Jr.
John & Jane Corrou
Mr. Wilson Crone
Mrs. Carol Decker
Mr. Robert S. Drew
Kate & Jerry Dudding
Elena Duggan
Hope Engel Greenberg & Henry
Greenberg
Sid Fleisher & Gayle Anderson
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Advised Fund
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Friedman
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Mr. Michael Halloran
Martin Atwood Hotvet
Karen Hunter & Todd Scheuermann
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Ms. Amber Jones
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Dr. & Mrs. Jeremy & Jodi Lassetter
Sally Lawrence
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Ms. Deirdre Leland
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Frances T. McDonald
Patrick McNamara
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Jonathan & Sigrin T. Newell
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Ms. Cynthia Platt
Rider, Weiner & Frankel, P.C.
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Howard A Segal
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Kevin M. Shanley Ph.D
Mrs. Patricia Shapiro
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Euan F.C. & Patricia Somerscales
Elizabeth A. Sonneborn
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Jeff Vandeberg
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Mendleson III
Wheelock Whitney III
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Barbara Youngberg
Dayle Zatlin & Joel Blumenthal
PATRON CIRCLE ($100-$249)
Wilfred Ackerly
Mrs. Carol Ackerman
Jack Alexander
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Suzanne Anderson
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Susan Antos
Ms. Katherine Armstrong
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Sitso Bediako
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Susan Dubois
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Chandlee Gill
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Mr. David Gittelman
Dr. G. Jeffrey Glikes, D.D.S.
Ms. Jordan Gobrecht
Charles & Karen Goddard
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Sonja Goodwin
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Mr. Robert F. Guerrin
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Nancy Ross & Robert Henshaw
Nancy Hershey
Mr. William J. Hetzer
James C. Hicks
Phyllis & Stephen Hillinger
Joel & Elizabeth Hodes
Debra & Paul Hoffmann
Edward Joseph Holcomb
Susan Hollander
Mr. Richard Allan Horan
Robert & Ellen Hotz
Heather Diddel & Sam House
Chuong Huang
Marilyn Hunter
W. Robert Hunziker
Paul Hyams & Lisa Kwong
Patricia Ilnicki
Hon. Irad & Jan Ingraham
Paul Jamison
Annette Johnson
Eric & Priscilla Johnson
Mr. Gary Jones
Heather Joralemon
Victor Juhasz
Shelley Justa
Mr. Steven Kamenir
Mrs. Diane M Karol
John & Marcia Rapp Keefe
Mr. & Mrs. William Kennedy
Roger & Barbara Kessel
Frederick & Doris Kirk
Edward J. & Andrea E. Kish
Lisa Kissinger
Edith Kliman
Mr. Adam C. Knaust
Dr. Beatrice Kovasznay
Mrs. Margaret Kowalski
Michael Krempa
Mr. Charles Anthony Kristel
David & Diane Kvam
Patricia Lacey & Karl Bendorf
Paul Lamar & Mark Eamer
Mary Lampi & Bernard Melewski
Jennifer Lange
Barbara Lapidus
Ann Lapinski & Fred Barker
Roy & Elizabeth Lasky
Angela Sheehan & Franklin Laufer
Peter & Lori Lauricella
Jennifer & Tod Laursen
Mr. Bryan F. Lavigne
John M Lawrence
Martha Lazarus
Ms. Laura Leeds
Linda Leue
Ms. Patricia J. Liddle
Mr. Thomas Locke
Jill Loew
Timothy & Judith Looker
Enrique Lopez
Mr. Rudy Stegemoeller
Ms. Susan Moyle Lynch
Bob & Nancy Lynk
Marguerite MacDonald
William & Gail Madigan
Beverly & Richard Magidson
John Magill
Marybeth Maikels
Mr. Hani Marar
Louise & Larry Marwill
Ms. Joan Mastrianni
Mr. Arthur Mattiske
Mrs. Theresa C. Mayhew
Mr. James McClymonds
Elena McCormick
Thomas McGuire
Robert McKeever
Thomas McNutt
Benjamin & Ruth Facher Mendel
Patricia Meredith
John Mesch
Mr. Raymond W. Michaels
Mr. Vernon H. Mihill
Michelle Miller-Adams
Elizabeth & Bill Moll
Ms. Ruth Anne Moore
Alice & Richard Morse
Helen Murphy
Judith Ann Mysliborski, MD
Nancy Newkirk
Donna W. Newsome
Ken Jacobs & Lisa Nissenbaum
Dr. Arlene E. Nock
Christopher Nolin
Mr. Andrew Obernesser
Timothy O'Brien
Connie & Ned O'Brien
Jeremy Olson
Darren Oneill-Knasick
David Orsino
Mrs. Jan Oser
Mr. Stephen Pagano
William Panitch
Mr. E. Parran
Ms. Kathleen Patentreger
Lucia Peeney
Mr. & Mrs. Robert Edward Pett
Bob & Lee Pettie
Christian & Carol Pfister
Roberta Place
Julia Popova
Debra Possidente
Maryann Postava-Davignon
Joseph Potvin & Patricia Potvin
John Smolinsky & Ellen Prakken
Diana Praus
Donald Preuninger
Rosemary Pyle
Ms. Brin Quell
Craig & Dale Raisig
Paul & Margaret Randall
Laura Y. Rappaport
Barbara Raskin
Lenore & Jack Reber
Mark & Cheryl Reeder
Cheryl V. Reeves
Dr. Christopher & Kendall Reilly
Ms. Lynn Rhodes
Susan Riback
Mr. Steven Rich
George & Gail Richardson
Wayne & Monica Richter
Jill & Richard Rifkin
Kenneth & Susan Ritzenberg
John Roberts
Eric S. Roccario MD
Steven & Janice Rocklin
Nancy & John Rodgers
Mr. Havidan Rodriguez
Caleb Rogers
H. Daniel Rogers
Marilyn & Roger Rooney
Harlan & Catherine B. Root
Frank L. Rose
Rosemarie V. Rosen
Mr. & Mrs. Harry Rosenfeld
Marin Wyatt Ridgway & Don Ruberg
Dorothy A. Russell
John Ryan
Ms. Margaret M. Ryan
Mr. William D. Salluzzo
Clara & Larry Sanders
Paul & Kristine Santilli
Mary Kay Sawyer
Henry Scarton
Peg & Bob Schalit
William & Gail Haulenbeek Schanck
Joanne Scheibly
Mr. Robert Scher & Ms. Emilie Gould
Lois & Barry Scherer
Dr. & Mrs. Harvey & Happy Scherer
Jackie Scholten
Jim & Janie Schwab
Dominic Scialdone
Jason Scruton
George Jolly & Caroline Seligman
Peggy & Jack Seppi
Valerie Shafer
David Shaffer
Taimi Shanley
Julie & William Shapiro
Ms. Ann Shapiro
Ms. Dolores Ann Shaw
Mrs. Joanne Shay
Jacob Shen
Mr. Yung Shen
Ms. Susan V. Shipherd
Kathryn Sikkink
Stephen J. Sills, M.D.
Brad Silver
Jiyoon Simcoe
Mr. Stephen Simmons
Manfred & Marianne Simon
Gloria & David Sleeter
Dr. & Mrs. Arnold Slowe
John & Jacalyn Smith
Rosalie & Roger Sokol
Dr. Norman Solomon
Joyce A. Soltis
Dr. Clara E. Somoza
Mr. Ian R. St George
Donald & Morag Stauffer
John Matthew Staugaitis
Deborah Stayman & Jonathan Carp
Dr. & Mrs. Yaron & Katie Sternbach
Joann Sternheimer
Ms. Margaret A Stevens
David H. Steward
Dr. Doris A. Stoll
Ms. Katherine Storms
Dolores & Martin Strnad
Norman & Adele Strominger
Dr. Erica M. Sufrin
James Sullivan
Sheila Sullivan
Kathy Sullivan
Amy & Robert Sweet
Ben Szaro
Thomas D Taber
John & Sally Ten Eyck
Glen Tesch, CPA
Mr. Michael Tobin
Paul Toscino
Lisa Trubitt & Spiro Socaris
Alta Turner
Ms. Josey Twombly & Dr. Ian Porter
Terry & Daniel Tyson
Linda Demattia Underwood
Jody & John Van Voris
Mr. James Vielkind-Neun
Maria Vincent
Dr. Elisabeth Vines
Marc Violette & Margaret Lanoue
Linda M. Wagner
William A. Wallace & Patricia K. Herman
Wendy Wanninger
Larry Waterman
Mrs. Lois D. Webb
Mr. Gerhard Weber
Mr. Wolfgang Wehmann
Dawn Stuart Weinraub
Jerry & Betsy Weiss
Ms. Sharon A Wesley
Dan Wilcox
Frederick & Winnie Wilhelm
Ms. Elizabeth F. Williams
Elliott & Lisa Wilson
Paul Wing
Russell Wise & Ann Alles
Mr. Meyer J. Wolin
Ms. Susan Wood
Ron Wygant
Irene Wynnyczuk
Michael Zavisky
Michael & Katherine Zdeb
Julia Zhu
Mark Zielinski & Lynn Momrow
Zielinski
IN HONOR, CELEBRATION & MEMORY
As of December 10, 2021. *In Memoriam
In Memory of Sharon Bamberger
Joe Bamberger
In Memory of Jeanne Bourque
Chris Edwards
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
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*
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 Loving Memory of Frederick S. deBeer, Jr.
David Scott Allen
Elsa G. deBeer
Adelaide Muhlfelder
In Honor of Dr. Gustave Eisemann
Alan Goldberg
In Honor of Marisa Eisemann
Dr. Heinrich Medicus
In Memory of Dr. Alvin K. Fossner
Carl & Cathy Hackert
In Memory of Allan D. Foster
Mrs. Lois V. Foster
In Memory of Rachel Galperin
Margaret & Robert Schalit
In Memory of Shirley Gardam
Maryann Jablonowski
Reg Foster
Mary McCarthy
David Gardam
Doris Tomer
Stephanie Wacholder
In Memory of Jane Golub
Albany Symphony Orchestra Committee
In Honor of Jerry Golub
Sara & Barry Lee Larner
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
Dr. & Mrs. Neil Lempert
Louise & Larry Marwill
In Memory of Petia Kassarova
Julie & William Shapiro
Larry Waterman
In Memory of Audrey Kaufmann
Judith & Herbert Katz
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
David & Tanyss Martula
Elena Duggan
Megumi Hemann
Edward Kish
Paul Lamar & Mark Eamer
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 Loving Memory of Dr. Heinrich Medicus
Carol & Ronald Bailey
Paul & Bonnie Bruno
Elsa deBeer
Alan Goldberg
Harry G. Taylor
In Honor of David Alan Miller
Lois & Barry Scherer
Susan St. Amour
Celine & Daniel Kredentser
In Honor of Miranda, Elias, and Ari Miller
Bonnie Friedman & Gerald Miller
In Honor of Candida R. Moss
Marcia & Robert Moss
In Memory of Marcia Nickerson
Philip & Penny Bradshaw
Irene Wynnyczuk
In Loving Memory of Don B. O’Connor
Helen J. O’Connor
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 Justine R. B. Perry
Dr. David A. Perry
In Loving Memory of Vera Propp
Dr. Richard Propp
In Honor of Carole Rasmussen
Elizabeth Williams
In Honor of Nancy & Barry
Richman
Jan & Lois Dorman
In Honor of Jill Rifkin
Matthew Collins
In Memory of John Leon Riley
Anne & Thomas Older
Chet & Karen Opalka
Jane Wait
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 John Leon Riley
Lois Foster
ENCORE SOCIETY
To keep orchestral music alive in our community, and to ensure that future generations experience its joy, 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 and innovation and community engagement for generations to come.
There are many options to make a planned gift to the Albany Symphony 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:
Robert Pape | Director of Development & Marketing (518) 465-4755 x144 | Robertp@albanysymphony.com
WE INVITE YOU TO CREATE YOUR OWN LEGACY AND JOIN THE FOLLOWING MEMBERS OF ENCORE SOCIETY
Anonymous
Matthew Bender IV
Melody Bruce, MD
Charlotte & Charles Buchanan
Adella S. Cooper
Susan Thompson & Al De Salvo
Marisa Eisemann, MD
David Emanatian
Alan P. Goldberg
Edward M. Jennings
William Harris & Holly Katz
Charles Liddle III
Steve Lobel
Dr. Heinrich Medicus
Marcia Nickerson
John L. Riley
Harry Rutledge
Gretchen A. & Lewis C. Rubenstein
Ruth Ann Sandstedt
Rachel & Dwight Smith
Harriet & Edward Thomas
Micheileen J. Treadwell
Paul Wing
ALBANY SYMPHONY
MUSICIAN HOUSING PROGRAM
Did you know that many of the musicians of the Albany Symphony do not live in the Capital Region? Musicians travel from New York, Boston, Montreal, Nashville, Ft. Lauderdale, and even as far as Texas to perform with the Albany Symphony. Typically, our musicians are here from Thursday through Sunday of a concert week. Through the generosity of local host families, the Albany Symphony Musician Housing Program was created. Without the support of our host families, we would not be able to maintain the high caliber of musicians who perform with our orchestra. Many of our hosts have created strong bonds with the musicians that stay with them, creating friendships that last a lifetime.
Right now, due to the pandemic, musicians are not staying with our generous host families. Instead, the Albany Symphony is providing hotel rooms for our musicians.
The Albany Symphony Orchestra extends a very special thank you to patrons who generously provided housing for musicians during the 2019-20 season, and we look forward to reuniting our musicians with our hosts when it is once again safe to do so.
Camille & Andrew Allen
Jenny Amstutz
Dan Bernstein & Efrat Levy
Concetta Bosco
Mimi Bruce & David Ray
Charles Buchanan
Barbara Cavallo
Ben Chi
Diane Davison
Susan & Brian Debronsky
Michelle DePace & Steven Hancox
Nancy & John DiIanni
Star Donovan
Bonnie Edelstein
Lynn Gelzheizer
David Gittelman & Tom Murphy
Catherine & Carl Hackert
Debra & Paul Hoffmann
Susan Jacobsen
Marilyn & Stan Kaltenborn
Nettye Lamkay & Robert Pastel
Barb Lapidus
Eric Latini
Bill Lawrence & Alan Ray
Eunju Lee & Brian Fisher
Susan Martula & David Perry
Anne Messer & Dan Gordon
Jon & Sigrin Newell
Helen J. O’Connor
Marlene & Howard Pressman
Reese Satin
Joan Savage
Dodie & Pete Seagle
Julie & Bill Shapiro
Elizabeth & Aaron Silver
Lorraine Smith
Onnolee & Larry Smith
Lois & John Staugaitis
Harriet Thomas
Andrea & Michael Vallance
Marjorie & Russ Ward
Margery & Michael Whiteman
Carol Whittaker
Dan Wilcox
Barbara Wiley
Merle Winn*
PatrickL.Seely,Jr.
