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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 Mr. Miller has received 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 those of Baltimore, Chicago, Cleveland, Detroit, Houston, Indianapolis, Los Angeles, New York, Philadelphia, Pittsburgh, and San Francisco, as well as the New World Symphony, the Boston Pops, and the New York City Ballet. In addition, he has appeared frequently throughout Europe, the UK, Australia, and the Far East as guest conductor. Since 2019, Mr. Miller has served as Artistic Advisor to the Little Orchestra Society in New York City, and, from 2006 to 2012, served as Artistic Director of “New Paths in Music,” a festival of new music from around the world, also in New York City.
Mr. Miller received his most recent Grammy Award in 2021 for his recording of Christopher Theofanidis’ Viola Concerto, with Richard O’Neill and the Albany Symphony, and his first Grammy in 2014 for his Naxos recording of John Corigliano's "Conjurer," with the Albany Symphony and Dame Evelyn Glennie.
His extensive discography also includes recordings of the works of Todd Levin with the London Symphony Orchestra for Deutsche Grammophon, as well as music by Michael Daugherty, Kamran Ince, Michael Torke (London/Decca), Luis Tinoco, and Christopher Rouse (Naxos). His recordings with the Albany Symphony include discs devoted to the music of John Harbison, Roy Harris, Morton Gould, Don Gillis, Aaron J. Kernis, Peter Mennin, and Vincent Persichetti on the Albany Records label. He has also conducted the National Orchestral Institute Philharmonic in three
acclaimed recordings on Naxos.
A native of Los Angeles, David Alan Miller holds a bachelor’s degree from the University of California, Berkeley and a master’s degree in orchestral conducting from The Juilliard School. Prior to his appointment in Albany, Mr. Miller was associate conductor of the Los Angeles Philharmonic. From 1982 to 1988, he was music director of the New York Youth Symphony, earning considerable acclaim for his work with that ensemble. Mr. Miller lives in Slingerlands, New York, a rural suburb of Albany.
MISSION STATEMENT: The Albany Symphony Orchestra celebrates our living musical heritage. Through brilliant live performances, innovative educational programming, and engaging cultural events, the Albany Symphony enriches a broad and diverse regional community. By creating, recording, and disseminating the music of our time, the Albany Symphony is establishing an enduring artistic legacy that is reshaping the nation’s musical future.
ORCHESTRA PERSONNEL
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DAVID ALAN MILLER
Heinrich Medicus Music Director
The Albany Symphony Orchestra’s string sections use revolving seating. Players behind the stationary chairs change seats systematically and are listed alphabetically.
VIOLIN
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 ^+
Brigitte Brodwin
Ouisa Fohrhaltz
Heather Frank-Olsen
Emily Frederick Rowan Harvey
Margret E. Hickey
Christine Kim
Sooyeon Kim + Aleksandra Labinska
Kae Nakano
Yinbin Qian
Harriet Dearden Welther
VIOLA
Noriko Futagami
PRINCIPAL
ENDOWED IN PERPETUITY BY THE ESTATE OF ALLAN F. NICKERSON
Sharon Bielik
ASSISTANT PRINCIPAL
Daniel Brye^
Carla Bellosa
Ting-Ying Chang-Chien
Anna Griffis
Hannah Levinson
CELLO
Susan Ruzow Debronsky
PRINCIPAL SPONSORED BY AL DE SALVO & SUSAN THOMPSON
Erica Pickhardt
ASSISTANT PRINCIPAL
Kevin Bellosa
Marie-Thérèse Dugré
Catherine Hackert
Hikaru Tamaki
BASS
Bradley Aikman
PRINCIPAL
Philip R. Helm
ASSISTANT PRINCIPAL
Michael Fittipaldi ^
Luke Baker
James Caiello
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 VACANT
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
JJ Johnson
UNION STEWARD
Greg Spiridopoulos
SYMBOL KEY ^ STATIONARY CHAIR + ON LEAVE
BEETHOVEN’S NINTH
SATURDAY | APRIL 22, 2023 | 7:30 PM
SUNDAY | APRIL 23, 2023 | 3:00 PM TROY SAVINGS BANK MUSIC HALL
DAVID ALAN MILLER, CONDUCTOR ANNE AKIKO MEYERS, VIOLIN ALBANY PRO MUSICA
Michael Daugherty
Blue Electra (1954-)
I. Courage (1928)
II. Paris (1932)
III. From an Airplane (1921)
IV. Last Flight (1937)
INTERMISSION
Ludwig van Beethoven
Symphony No. 9 “Choral” (1770-1827)
I. Allegro ma non troppo, un poco maestoso
II. Molto vivace
III. Adagio molto e cantabile
IV. Presto - "O Freunde nicht diese Töne”
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.
MICHAEL DAUGHERTY
Multiple Grammy Award-winning composer Michael Daugherty has achieved international recognition as one of the 10 most performed American composers of concert music, according to the League of American Orchestras. His orchestral music, recorded by Naxos over the last two decades, has received six Grammy Awards, including Best Contemporary Classical Composition in 2011 for Deus ex Machina for piano and orchestra, and in 2017 for Tales of Hemingway for cello and orchestra. Since 2020, new commissions include orchestral works for the Pittsburgh Symphony Orchestra and the Omaha Symphony, and a concerto for violinist Anne Akiko Meyers, who gave its world premiere with the National Symphony at the Kennedy Center in 2021.
Michael Daugherty was born in Cedar Rapids, Iowa in 1954 and is the son of a dance-band drummer and the oldest of five brothers, all professional musicians. As a young man, Daugherty studied composition with many of the preeminent composers of the 20th century including Pierre Boulez at IRCAM in Paris (1979), Jacob Druckman, Earle Brown, Bernard Rands and Roger Reynolds at Yale (1980-'82), and György Ligeti in Hamburg (1982-'84).
Daugherty was also an assistant to jazz arranger Gil Evans in New York from 1980 to 82. In 1991, Daugherty joined the University of Michigan School of Music, Theatre & Dance as Professor of Composition, where he is a mentor to many of today’s most talented young composers. He is also a frequent guest of professional orchestras, festivals, universities and conservatories around the world.
Daugherty’s music is published by Peermusic Classical/Faber Music, Boosey & Hawkes and Michael Daugherty Music. For more information on Michael Daugherty and his music, see his publisher’s websites.
BLUE ELECTRA FROM THE COMPOSER
Blue Electra (2022) for solo violin and orchestra was commissioned by and written for violinist Anne Akiko Meyers, who premiered the violin concerto with the National Symphony Orchestra conducted by Gianandrea Noseda at the Kennedy Center on November 10, 2022.
Blue Electra is inspired by the sensational life and mysterious disappearance of aviation pioneer Amelia Earhart (1897-1937), who vanished without a trace when she was flying her “Electra” airplane over the Pacific Ocean. Celebrated around the world as “Queen of the Air,” she was also an advocate for women’s rights, an aviation professor at Purdue University, and the author of three books and numerous poems.
The concerto is in four movements:
The first movement, “Courage (1928),” is a musical reflection on a poem written by Earhart before her first transatlantic flight across the Atlantic:
Courage is the price that Life exacts for granting peace, The soul that knows it not, knows no release From little things; Knows not the livid loneliness of fear,
MICHAEL DAUGHERTY
Nor mountain heights where bitter joy can hear
The sound of wings
After her pioneering flight as the first woman to fly nonstop solo across the Atlantic, Earhart received the Legion of Honor from the French Government. In the second movement, "Paris (1932)," I imagine Earhart as a guest of honor celebrating at a high society “Hot Jazz” soirée in Paris.
The third movement, “From an Airplane (1921),” is a musical rumination on a poem written by a young Earhart dreaming of the day she will be in the pilot seat of an airplane as it spirals through the clouds:
Even the watchful, purple hills
That hold the lake Could not see so well as I The stain of evening Creeping from its heart
Nor the round, yellow eyes of the hamlet Growing filmy with mists.
The fourth movement, “Last Flight (1937),” refers to Earhart’s attempt to fly around the world in her “Electra” airplane. Running out of fuel on the last leg of her flight, she and her plane disappeared somewhere over the Pacific never to be found.
ANNE AKIKO MEYERS
Anne Akiko Meyers regularly performs around the world as soloist with leading orchestras, in recital, and is a prolific recording artist with more than 40 recordings. A muse and champion of living composers, she recently premiered and performed "Fandango" by Arturo Márquez with Gustavo Dudamel and the Los Angeles Philharmonic at The Hollywood Bowl, Carnegie Hall, Walt Disney Hall and the Auditorio Nacional in Mexico City, and Blue Electra by Michael Daugherty at the Kennedy Center with Gianandrea Noseda and the National Symphony Orchestra to massive critical and audience acclaim.
Meyers' many television appearances include The Tonight Show Starring Johnny Carson, Evening At Pops with John Williams, CBS News Sunday Morning, Great Performances and Countdown with Keith Olbermann (in a segment that was the third most popular story of that year). John Williams personally chose Meyers to perform the main theme from Schindler's List for a Great Performances PBS telecast, and Arvo Pärt invited her to perform at the opening ceremony concerts of his new center and concert hall in Estonia. Meyers premiered Samuel Jones’ Violin Concerto with the All-Star Orchestra led by Gerard Schwarz in a nationwide PBS broadcast special and Naxos DVD release. Her recording of Somei Satoh’s "Birds in Warped Time II" was used by architect Michael Arad for his award-winning design submission that became The World Trade Center Memorial in lower Manhattan.
Meyers has been featured in commercials and advertising campaigns including J.Jill, Northwest Airlines, DDI Japan and TDK, and was the inspiration for the main character’s career path in the novel The Engagements written by popular author J. Courtney
ANNE AKIKO MEYERS
Sullivan. She collaborated with children’s book author and illustrator Kristine Papillon on Crumpet the Trumpet, appearing as the character Violetta the violinist, and recently appeared in a documentary about legendary radio personality Jim Svejda. Outside of traditional classical, Meyers has collaborated with a diverse array of artists including jazz icons Chris Botti and Wynton Marsalis, avantgarde musician Ryuichi Sakamoto, electronic music pioneer Isao Tomita, pop-era act Il Divo, and singer Michael Bolton.
She performed the national anthem in front of 42,000 fans at T-Mobile Park in Seattle and at Dodger Stadium, and she was featured on CBS’s The Good Wife, was profiled on NPR's Morning Edition with Linda Wertheimer and All Things Considered with Robert Siegel, and she curated “Living American” on Sirius XM Radio’s Symphony Hall. Meyers was the top-selling traditional classical instrumental soloist of the year in 2014 and the only classical artist for NPR’s 100 best songs list in 2017.
Meyers was born in San Diego and grew up in Southern California where she and her mother traveled eight hours roundtrip from the Mojave Desert to Pasadena for lessons with Alice and Eleonore Schoenfeld at the Colburn School of Performing Arts. She continued her studies with Josef Gingold at Indiana University and, at the invitation of legendary teacher Dorothy DeLay, moved to New York at the age of 14 to study with her, Felix Galimir and Masao Kawasaki at The Juilliard School. She has received the Avery Fisher Career Grant, the Distinguished Alumna Award from the Colburn School of Music, and is a member of the Board of Trustees of The Juilliard School.
Meyers performs on the Ex-Vieuxtemps Guarneri del Gesù, which is dated 1741 and considered by many to be the finest sounding violin in existence, and endorses Larsen Strings.
LUDWIG
VAN BEETHOVEN
“What makes Beethoven (1770-1827) so supremely popular a composer is that his music embodies something of universal human experience, and his triumph (for he is always ultimately triumphant) is the final hope of men.”
So wrote the conductor Sir Malcolm Sargent. We tend not to use such terms with other composers. “Universal human experience”? “Triumph”? “Final hope of men”? These are phrases we associate only with Beethoven, because of particular circumstances in his life that made him struggle and that made his struggle evident in his music. We might also note that there is a seriousness of purpose— not grimness—that colors most of his work. It is an almost palpable intensity, one that
LUDWIG VAN BEETHOVEN
comes out most obviously in the piano sonatas and the string quartets, those most intimate forms.
What were those circumstances? They seem chiefly to have been his cantankerous personality (Sargent refers to Beethoven’s “almost total incapacity to divine the feelings of others”); his deafness, which became noticeable to him at the age of 28, in 1798; and his powerful and complex relationship with his nephew, Karl, for whom Beethoven had responsibility after the death of his brother in 1815. Add to these tensions the natural inquisitiveness of his mind about matters political and philosophical and a belief that he existed “to convey in music what he had learned from life,” and we have, perhaps, some understanding about why this enormous body of work—nine symphonies, seven concertos, an opera, choral music, chamber music—seems to convey such a strong sense of purpose and a no-nonsense attitude.
Symphony No. 9 “Choral”
It took Johannes Brahms quite a few years to produce his Symphony No. 1, and one of the reasons this highly self-critical composer gave was that he could always hear the footsteps of a “giant” behind him. That giant was, of course, Beethoven. In homage to tonight’s symphony, the young Brahms wrote two movements of a symphony, also in D minor, before giving up the project and turning those movements into, first, a two-piano sonata, and then the Concerto for Piano and Orchestra No. 1. It wasn’t until he was 43, in 1876, that he was confident enough to complete the first of his four symphonies, and that one was in C minor. After all of Brahms’ worries, his friend Hans von Bulow still dubbed it Beethoven’s 10th!
Interestingly, Beethoven himself took a long time to let this symphony cook. He first
became attracted to Friedrich Schiller's poem “Ode to Joy” in 1796, and he thought he might use it in an overture. He didn’t. He flirted with the text again in 1813, but nothing came of those sketches. It wasn’t until 1822 that he undertook the whole work in earnest, which was finally premiered in Vienna in 1824.
That premiere was evidently quite an event. By this time, of course, Beethoven was stone deaf. When the audience burst into applause, the alto soloist had to turn the composer towards the crowd for recognition. The concertgoers, suddenly touched by the scope of his disability, produced, as George Grove called it, “a volcanic explosion of sympathy and admiration….”
How to navigate this monumental, 65-minute work? In their book The Concert Companion, Robert Bagar and Louis Biancolli refer to musicologist Marion Scott’s succinct appraisal of the chief ideas of the four movements: destiny, physical exuberance/ energy, love, and joy. That blueprint is a place to start.
The opening movement begins with descending fourths and fifths, first mysteriously, then furiously. What follows is a series of strenuous declarations by the lower voices, interrupted by brief, lyrical phrases in, say, the flutes or upper strings. But tension is the operative word, and it’s maintained by sforzandi, crescendo, dotted rhythms, dissonances, and the layering of one orchestral section on another. The movement ends with a mighty unison statement of the opening theme.
Traditionally, the scherzo is the third movement, not the second, but there is little that’s traditional in this symphony. Elements—elements of “physical exuberance”— to enjoy here are the driving dotted rhythms; the fugal gestures; that
kettledrum that echoes five times, with the fifth time starting a beat “late”; and a number of dramatic silences. The middle section, called the trio, presents a contrasting mood. Here the bassoon kicks off some charming playing by the winds and brass. Back comes the scherzo, lively and insistent. The trio tries to reemerge, but the strings deny its return, a technique that foreshadows the strings’ control at the beginning of the fourth movement.
The first part of the third movement is marked adagio molto e cantabile: very slow and singing. As Edward Downes notes, it
PORTALS
THE VISIONARY ARCHITECTURE OF PAUL GOESCH
MARCH 18–JUNE 11, 2023
WILLIAMSTOWN, MASSACHUSETTS
CLARKART.EDU
is in “Beethoven’s beloved variation form, actually double variations, for there are two basic themes…” After a brief introduction, the first theme emerges in the strings. It’s built on that familiar falling fourth. Then, to signal the beginning of the second theme, Beethoven conjures up a surprising transitional chord, a device he employs to great effect throughout this movement. This second theme, announced in the second violins, is marked andante moderato: steady walking. The yearning mood of both themes is broken about two-thirds of the way through the movement with a few outbursts, but they finally melt into the glories of the two melodies. Love, indeed.
The fourth movement starts with a clever stroke. The orchestra repeats melodic snatches from the previous movements, each of which is rejected by the double basses. The winds then proffer a new motive, the melody over which Schiller’s words will ultimately be sung, and this one wins the day.
It’s a congenial tune, and when the violent opening of the movement tries to insert itself into the proceedings again, a human voice intercedes, beginning a remarkable celebration of Joy, “the God-descended daughter of Elysium.” The stately motive is soon transformed into a Turkish march (an exotic touch much employed by composers in Beethoven’s day). Orchestral passages, choral sections, and vocal solos alternate, each taking up the battle cry for joy and the unity of all humankind. There are staggeringly original moments here: the high tessitura of the voices, the abrupt alternations in tempi, and the rhythmic accents. Of course, there is a mighty fugue. And when this torrent of sound concludes, you realize what a crowded place Beethoven’s head must have been.
Beethoven note by Paul Lamar
This exhibition is organized by the Clark Art Institute and is based on the Paul Goesch collection at the Canadian Centre for Architecture, Montreal. Portals: The Visionary Architecture of Paul Goesch is made possible by Katherine and Frank Martucci.
Paul Goesch, Visionary design for a gateway (detail),
DAVID ALAN MILLER, Heinrich Medicus Music Director
SOUNDTRACK NEW YORK:
MUSICAL SCENES FROM A CINEMATIC STATE
Saturday, Oct. 7, 2023
7:30pm • Palace Theatre
David Alan Miller, conductor • Kevin Cole, piano
Featuring selections from such cinematic scores as West Side Story (Leonard Bernstein), The Lord of the Rings (Howard Shore), Taxi Driver (Bernard Herrmann), King Kong (Max Steiner), Breakfast at Tiffany’s (Henry Mancini), George Gershwin’s Rhapsody in Rivets, and much more!
DAUGHERTY + TCHAIKOVSKY & THE BLUE DANUBE
Saturday, Nov. 11, 2023 • 7:30pm
Sunday, Nov. 12, 2023 • 3:00pm
Troy Savings Bank Music Hall
David Alan Miller, conductor
Johann Strauss Jr.: The Blue Danube Waltzes
Michael Daugherty: Last Dance at the Surf •
To the New World
P.I. Tchaikovsky: Symphony No. 3, “Polish”
YEFIM BRONFMAN PLAYS BRAHMS
Saturday, Dec. 9, 2023 • 7:30pm
Sunday, Dec. 10, 2023 • 3:00pm
Troy Savings Bank Music Hall
David Alan Miller, conductor • Yefim Bronfman, piano
Loren Loiacono: new work
Johannes Brahms: Piano Concerto No. 2
Robert Schumann: Symphony No. 4
STEINKE + MOZART & MORE FROM 1784
Saturday, Jan. 13, 2024 • 7:30pm
Sunday, Jan. 14, 2024 • 3:00pm
Troy Savings Bank Music Hall
David Alan Miller, conductor
Wolfgang Amadeus Mozart: Overture & selections from The Marriage of Figaro
Wolfgang Amadeus Mozart: Piano Concerto No. 19
Harriet Steinke: new work
Franz Joseph Haydn: Symphony No. 80
STEINKE
BRONFMAN
DAUGHERTY
SIMON + RHAPSODY IN BLUE @
100
Saturday, Feb. 10, 2024 • 7:30pm
Proctors in Schenectady
David Alan Miller, conductor • Kevin Cole, piano
Greg Spiridopoulos, trombone
Carlos Simon: AMEN!
George Gershwin: An American in Paris
Jack Frerer: Trombone Concerto
George Gershwin: Rhapsody in Blue
THE FOUR SEASONS + ESMAIL
Saturday, March 16, 2024 • 7:30pm
Sunday, March 17, 2024 • 3:00pm
Troy Savings Bank Music Hall
David Alan Miller, conductor
Reena Esmail: The History of Red
Edward Elgar: Serenade for Strings
Derek Bermel: Sailing over Algiers
Antonio Vivaldi: The Four Seasons
CUONG + BEETHOVEN
Saturday, April 13, 2024 • 7:30pm
Sunday, April 14, 2024 • 3:00pm
Troy Savings Bank Music Hall
David Alan Miller, conductor
Justin Benavidez, tuba • Sandbox Percussion
Viet Cuong: Next Week’s Trees • Re(new)al • Tuba Concerto
Ludwig van Beethoven: Symphony No. 4
SEASON FINALE! AMERICAN MUSIC FESTIVAL
Saturday, June 8, 2024 • 7:30pm
EMPAC in Troy
David Alan Miller, conductor • Clarice Assad, piano
PROGRAM INCLUDES:
Joan Tower: 1920/2019
Clarice Assad: Piano Concerto
Christopher Theofanidis: On the Bridge of the Eternal
Sunday, Dec. 3, 2023 • 3:00pm Palace Theatre
THE MUSIC OF STAR WARS
SATURDAY | MAY 6, 2023 | 7:30 PM
PALACE THEATRE
DAVID ALAN MILLER, CONDUCTOR
Be transported to a land far, far away as David Alan Miller and your Albany Symphony play John Williams’ iconic music from Star Wars. Don’t miss this special event featuring memorable moments from the original trilogy and the more recent blockbuster additions to the intergalactic canon.
CONCERT
SPONSOR
All programs and artists are subject to change. During the performance, please silence mobile devices. Recording and photographing any part of the performance is strictly prohibited.
JOHN WILLIAMS
In a career that spans seven decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage. He has served as music director and laureate conductor of one of the country’s treasured musical institutions, the Boston Pops Orchestra, and he maintains thriving artistic relationships with many of the world’s great orchestras, including the Boston Symphony Orchestra, the New York Philharmonic, the Chicago Symphony and the Los Angeles Philharmonic. Williams has received a variety of prestigious awards, including the National Medal of Arts, the Kennedy Center Honor, the Olympic Order, and numerous Academy Awards, Grammy Awards, Emmy Awards and Golden Globe Awards.
Williams has composed the music and served as music director for more than 100 films. His almost-50-year artistic partnership with
director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T.: The Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, four Indiana Jones films, Saving Private Ryan, Amistad, Munich, Hook, Catch Me if You Can, Minority Report, A.I.: Artificial Intelligence, Empire of the Sun, The Adventures of Tintin and War Horse. Williams has composed the scores for Star Wars, the first three Harry Potter films, Superman: The Movie, JFK, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone, Nixon, The Patriot, Angela’s Ashes, Seven Years in Tibet, The Witches of Eastwick, Rosewood, Sleepers, Sabrina, Presumed Innocent, The Cowboys and The Reivers, among many others. In addition to his activity in film and television, Williams has composed numerous works for the concert stage, among them two symphonies, and concertos for flute, violin, clarinet, viola, oboe and tuba.
JOHN WILLIAMS
PUBLIC GOLF, PRIVATE QUALITY
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VACATION HOMES & BOAT RENTALS
COPAKE COUNTRY CLUB & THE GREENS RESTAURANT
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CAPITAL REGION LIVING
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
Melody Bruce, MD
Dr. Benjamin E. Chi
Judith Ciccio (Ex Officio)
Marcia Cockrell
Ellen Cole, Ph. D.
Becky Daniels
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
Louis Solano
Micheileen Treadwell
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
Nyla McKenzie-Isaac
Marketing & Development Assistant
Keynola Russell
Individual Giving Coordinator
EDUCATION & COMMUNITY ENGAGEMENT
Jae Gayle, Director of Education & Community Engagement
ARTISTIC OPERATIONS
Derek Smith
Director of Operations & Programming
JJ Johnson, Personnel Manager
Daniel Brye, Housing Coordinator
Myles Mocarski, Librarian
Jessica Bowen, Librarian
CONDUCTOR’S CIRCLE
The Albany Symphony is grateful to the following individuals for their vital ongoing support. Updated March 15, 2023. *In Memoriam
PLATINUM BATON LEVEL
($25,000+)
Dr. Benjamin Chi
Jerel Golub
Sherley Hannay
Daniel & Celine Kredentser
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($10,000-$24,999)
Rhea Clark
Marcia & Findlay Cockrell
Al De Salvo & Susan Thompson*
Drs. Marisa & Allan Eisemann
Karen & Chet Opalka
Dush & Kelly Pathmanandam
A.C. Riley
David M. Rubin & Carole L. Ju
Mitchell & Gwen Sokoloff
Dennis & Margaret Sullivan
Ms. Faith A. Takes
SILVER BATON LEVEL
($5,000-$9,999)
Mr. David Duquette*
Malka & Eitan Evan
Arthur Herman
The Herman Family
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The Hershey Family Fund
Mark & Lori Lasch
Anna Kuwabara & Craig Edwards
Bob & Alicia Nielsen
Karen Melcher
Dr. Henry S. Pohl
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BRONZE BATON LEVEL
($2,500-$4,999)
Sharon Bedford & Fred Alm
Peter & Debbie Brown
Drs. Melody A. Bruce & David A. Ray
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Jeffrey Fahl
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Alan Goldberg
Edward & Sally S. Jennings
Judith & William Kahn
Sara Lee & Barry Larner
Charles M. Liddle III*
Steve & Vivian Lobel
The Massry Family
Mr. & Mrs. Bruce Maston
Hilary & Nicholas Miller
Vaughn Nevin
Robert & Samantha Pape
Larry & Clara Sanders
Rabbi Scott Shpeen
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
Hermes & Linda Ames
Linda & Michael Barnas
Paul & Bonnie Bruno
Charles & Charlotte Buchanan*
Drs. Ellen Cole & Doug North
Kirk Cornwell & Claire Pospisil
Dr. & Mrs. Harry DePan
Dr. Joyce J. Diwan
David Ernst
Joseph & Linda Farrell
Dr. & Mrs. Reed Ference
Dr. & Mrs. Robert J. Gordon
The Family of Morton Gould & Eric Gould
Joe Gravini & Beth Cope
Holly Katz & William Harris
Karen S. Hartgen-Fisher
Mr. & Mrs. E. Stewart Jones Jr.
Wendy Jordan & Frank Murray
Marilyn & Stan Kaltenborn
Herbert & Judith Katz
Alexander & Gail Keeler
Mr. Robert J. Krackeler
Georgia & David Lawrence
Drs. Matthew Leinug & Cyndi Miller
Mr. Donald Lipkin & Mrs. Mary Bowen
Alan & Karen Lobel
Charles & Barbara Manning
Judy & Ted Marotta
Mr. Cory Martin
Judith B. McIlduff
Paul & Loretta Moore
Meaghan Murphy & Nicholas Faso
Stewart Myers
Dr. & Mrs. Thomas Older
Henry Peyrebrune
Dr. Nina Reich
Barry & Nancy Richman
Lee & Donna Rosen
Mark J. Rosen & Leslie Newman
Alan & Leizbeth Sanders
Peg & Bob Schalit
David Shaffer
Dwight & Rachel Smith
Paul & Janet Stoler
Ms. Judith (Josey) Twombly
Mrs. Candace King Weir
Michael & Margery Whiteman
CONDUCTOR’S CIRCLE FRIEND LEVEL
($1,000-$1,499)
Albany Medical Center
Dr. Richard & Kelly Alfred
Wallace & Jane Altes
Judith Ciccio
Dr. & Mrs. William J. Cromie
Drs. Paul J. & Faith B. Davis
Ruth Dinowitz
James Edgar
Jack M. Firestone
Roseanne Fogarty & Perry Smith
Lois Foster
John & Linda Fritze
David Gardam & Mary McCarthy
Terry Gitnick
Ms. Jill Goodman & Mr. Arthur Malkin
Michael & Katharine Hayes
Anthony P. Hazapis
Dr. Joseph Peter Lalka & Ms. Teresa Ribadenerya
Robert C. & Mary P. LaFleur
William Lawrence
Mrs. Agnes Leahy
Dr. & Mrs. Neil Lempert
Robert & Jean Leonard
Dr. & Mrs. Richard MacDowell
Mrs. Nancy McEwan
Patricia & Kevin O’Bryan
Sarah M. Pellman
Susan Picotte
Hiroko Sakurazawa
Harriet B. Seeley
Peggy & Jack Seppi
Ms. Ronnye B. Shamam
Herb & Cynthia Shultz
Ronald & Nadine Stram
Robert P. Storch & Sara M. Lord
I. David & Lois Swawite
Dr. and Mrs. Frank Thiel
Dale Thuillez
Anders & Mary Ellen Tomson
Avis & Joseph Toochin
Dr. Micheileen Treadwell*
F. Michael & Lynette Tucker
Lawrence & Sara Wiest
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 March 21, 2023.
$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 League of American Orchestras
National Endowment for the Arts
$10,000+
Amphion Foundation
The Bender Family Foundation
Broadview Federal Credit Union
Hannay Reels, Inc.
Lucille A. Herold Charitable Trust
May K. Houck Foundation
Nielsen Associates
Nigro Companies
New Music USA
The John D. Picotte Family Foundation
M & T Charitable Foundation
The Picotte family Foundation
Price Chopper’s Golub Foundation
Sano-Rubin Construction
Stewart’s Shops
Vanguard-Albany Symphony
$5,000+
Capital Bank
Alice M. Ditson Fund
Faith Takes Family Foundation
The Galesi Group Graypoint, LLC
AllSquare Wealth Management
Atlas Wealth Management
Discover Albany New York Industries for the Disabled
Howard & Bush Foundation
The Hershey Family Fund
$2,500+
Alfred Z. Solomon Charitable Trust
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
Fenimore Asset Management, Inc.
The Troy Savings Bank Charitable Foundation
The David and Sylvia Teitelbaum Fund,Inc.
$1,500+
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 March 21, 2023.
CELINE & DANIEL KREDENTSER
JOHN D. PICOTTE FAMILY FOUNDATION
CARL E. TOUHEY FOUNDATION
COURTYARD BY MARRIOTT SCHENECTADY AT MOHAWK HARBOR
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.
INDIVIDUAL GIVING
The Albany Symphony is grateful to the following individuals for their vital ongoing support. Updated March 10, 2023.
The largest LED screen in the region & full bar for your next celebration.
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
Susan Bush
Adella S. Cooper
Susan Thompson & Al De Salvo
Marisa Eisemann, MD
David Emanatian
Alan P. Goldberg
Robert & Monica Gordon
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, Fort 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.