20142015
SEASON
DAVID ALAN MILLER, MUSIC DIRECTOR
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DAVID ALAN
MILLER
p16
O
R
G
I
N
The OppOrTuniTies
Are There if YOu KnOw
where TO LOOK
WHAT’S INSIDE
12 _ _ _ _ _ _ _ _ MESSAGE FROM THE MUSIC DIRECTOR
13 _ _ _ _ _ _ _ _ _ _ MESSAGE FROM THE BOARD CHAIR
16 _ _ _ _ _ _ _ _ _ _ _ _ DAVID ALAN MILLER BIOGRAPHY
23 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ORCHESTRA PERSONNEL
28 _ _ _ _ "WE'RE ALL FROM SOMEWHERE ELSE" PROJECT
29 _ _ _ _ _ _ _ _ _ _ _ _ "MENDELSSOHN'S 'SCOTTISH'
SYMPHONY" PROGRAM
COLIN
CURRIE
p34
31 _ _ _ _ _ _ _ _ _ _ _ _ "MENDELSSOHN'S 'SCOTTISH'
SYMPHONY" PROGRAM NOTES
34 _ _ _ _ _ _ _ _ _ _ _ _ _ _ COLIN CURRIE BIOGRAPHY
37 _ _ _ _ _ _ _ "BRAHMS THIRD SYMPHONY" PROGRAM
We’ll guide you to success across Upstate New York and Massachusetts.
39 _ _ _ _ _ _ _ _ _ _ _ _
"BRAHMS THIRD SYMPHONY"
PROGRAM NOTES
44 _ _ _ _ _ _ _ _ _ _ _ _ _ CAROL JANTSCH BIOGRAPHY
CAROL
JANTSCH
p44
46 _ _ _ _ _ _ _ _ _ _ _ _ _ 2014-2015 CONCERT SERIES
50 _ _ _ _ _ _ _ _ _ _ _ _ CONDUCTOR’S CIRCLE BENEFITS
51 _ _ _ _ _ _ _ _ _ _ _ _ 2014-2015 SEASON SPONSORS
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The Albany Symphony 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.
52 _ _ _ _ _ _ _ _ _ _ _ _ _ CONDUCTOR’S CIRCLE LISTING
54 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ INDIVIDUAL GIVING
57 _ _ _ _ _ _ _ _ _ IN HONOR, CELEBRATION & MEMORY
58 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ENCORE SOCIETY
59 _ _ _ _ _ _ _ _ _ _ _ _ FOUNDATIONS, CORPORATIONS
& GOVERNMENT SUPPORT
60 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ SPECIAL THANKS
61 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ IN-KIND DONATIONS
63 _ _ _ _ _ _ _ _ _ _ _ _ _ _ BOARD & ADMINISTRATION
To advertise in the program:
chuckK@albanysymphony.org
2014-2015 SEASON / 9
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at Schenectady County
Community College
• A.S. Program for Transfer in
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For information regarding auditions, programs and
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School of Music
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78 Washington Avenue • Schenectady, NY 12305
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Schenectady County Community College is an accredited institutional
member of the National Association of Schools of Music.
The 16,000 hands of
A L B A N Y M E D I CA L C E N T E R ’ S
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MESSAGE FROM THE
MUSIC DIRECTOR
a searing, achingly beautiful evocation of 1940s
jazz. We'll be announcing many new and exciting
features of the Festival throughout the season, so
stay tuned! Also, don't miss our glorious celebration
of community and the holidays in early December,
"The Magic of Christmas," in which the orchestra
will be joined onstage by literally hundreds of our
region's most gifted young performers. Our series
of three award-winning Sunday Symphonies for
Families kicks off at the Palace Theater on November
23rd. If you haven't brought your children,
grandchildren or young friends to enjoy these
joyous, fun-filled programs, I hope you'll give
them a try.
Thanks to the generosity of our dear friend, Dr.
Heinrich Medicus, our season opened with a very
special evening with one of the world's greatest
Dear Friends,
performing artists, Joshua Bell. In addition, all of
We are so excited to welcome you to our 2014-15
our Albany Symphony concerts now regularly feature
season. Every concert features timeless masterpieces the music world's most significant established and
and extraordinary new works, dazzling solo artists
emerging artists as soloists. If you don't yet know
and our own magnificent Albany Symphony
the names of Caroline Goulding, Amy Porter or Carol
musicians. From our mainly-Russian concert in
Jantsch, you are in for a great treat! We are also
October to a haunting and beautiful reimagining
delighted to welcome back audience favorites Colin
of Mozart's Requiem in March, from a celebration
Currie, Joyce Yang, Julie Albers and our very dear
of that unsung hero of the orchestra, the tuba, in
friends in Albany Pro Musica.
February to a roots-music celebration featuring the
Without a doubt, the most exciting aspect of all
amazing cross-over artists of "Time for Three" in April,
our concerts is the opportunity to hear our brilliant
I promise you an unforgettable season of glorious
Albany Symphony musicians, live! The orchestra has
music new and old. We will be performing many of
become a world-class ensemble, as is evident from
the greatest works in the repertoire, by Beethoven,
last season's Grammy win. The sound our orchestra
Tchaikovsky, Mendelssohn, Brahms, Dvořák and
makes is absolutely gorgeous. I hope you'll come
many others, while introducing thrilling new pieces
back over and over again throughout the season to
by many of today's very best composers, including
experience the sheer sonic glory of our extraordinary
Michael Torke, Michael Daugherty, Jennifer Higdon,
musicians.
Derek Bermel and Clint Needham. We will also be
embarking on an exciting new residency project
To all of you who attend our concerts and support
with the six brilliant young composers of "Sleeping
us in so many ways, thank you. You make our music
Giant." And we'll be pursuing our next Grammy win possible. We love our sophisticated, passionate
by recording important, never-before-recorded works Albany Symphony audience, and we are very proud
by Torke, Daugherty and Bermel.
to serve you. I hope you will join us for all of our
concerts this season, as we continue our thrilling
As always, our season will end with our monumental
new musical adventure.
American Music Festival, which this year explores
Warm Regards,
the theme of "Migrations." We will be partnering
with the Juilliard Jazz Orchestra for Derek Bermel's
amazing "Migration Series," which celebrates the
David Alan Miller, Music Director
African-American migrations of the 1940s through
12 / albanysymphony.org
Our Celebration Continues
at the Albany Symphony!
We celebrate our 85th anniversary with a brilliant
season, which began with a dazzling opening
night concert with Joshua Bell made possible by
Dr. Henrich Medicus and by you. We celebrate
and thank you, our long-standing patrons and
also our newest friends. Your loyalty, generosity,
adventurous spirit, and sheer love of music fuel
our enduring success.
We celebrate the artistry and skill of our
outstanding musicians, and we will highlight
their stories and accomplishments throughout
the year. We celebrate our artistic triumphs, from
our first Grammy award in January to our 31st
ASCAP award in June — more than any orchestra
has received. This national recognition has
strengthened our commitment to champion new
work by America’s most celebrated composers,
including this year’s mentor composer Michael
Daugherty, composer-educator Clint Needham,
and the amazing six-composer collective Sleeping
Giant. At the same time, we have been awarded
significant grants to support these composer
residencies and our American Music Festival,
recording projects, and education programs by the
Mellon Foundation, New York’s REDC, New Music
USA, and other foundations.
This influx of creative talent and nationwide
support energizes and renews the cultural
landscape of the Capital Region, all thanks
to the inspired vision of our beloved Maestro
David Alan Miller. This season focuses on a
theme of Migrations, prompted by the concerto
“Migration Series,” a centerpiece of this year’s
Festival. Composer Derek Bermel was inspired
by Jacob Lawrence’s paintings expressing the
hope, struggle, and perseverance of millions of
African Americans who left the rural south during
the Great Migration in search of a better life.
David Alan Miller has envisioned a season that
encourages us to explore and share our ancestral
heritage and personal stories. Together, we will
celebrate the rich tapestry created by our own
diverse and colorful experiences.
MESSAGE FROM THE
BOARD CHAIR
You can feel the pulse of this creative energy
beyond our concert halls — at lively, engaging
pre-concert talks with composers and guest artists,
with fellow music lovers at our social gatherings,
with Albany Symphony musicians during
classroom visits, at songwriting workshops where
guest composers empower middle school students
to tell their stories — in all of the synergistic
collaborations we have with arts, educational,
social service, and business partners across
our community.
Throughout this season — full of treasured classics
and cutting-edge world premieres, with a bit of
bluegrass, baroque, and jazz — the music will
energize us, weave through us, and connect us.
Thank you for joining us on the adventurous
musical journey through our 85th season!
Marisa Eisemann, MD
2014-2015 SEASON / 13
When the arts succeed,
we all succeed.
At M&T Bank, we know how important it is to support artists of all kinds.
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New York City Ballet. In addition, he
has appeared frequently throughout
Europe, Australia and the Far East as
guest conductor. He made his first
guest appearance with the BBC Scottish
Symphony in March, 2014.
Mr. Miller received a Grammy Award in
January, 2014 for his Naxos recording
of John Corigliano’s “Conjurer,” with
the Albany Symphony and Dame Evelyn
Glennie. His extensive discography
also includes recordings of the works of
Todd Levin with the London Symphony
Orchestra for Deutsche Grammophon,
as well as music by Michael Daugherty,
Kamran Ince, and Michael Torke for
London/Decca, and of Luis Tinoco for
Naxos. His recordings with the Albany
Symphony include discs devoted to the
BIOGRAPHY
DAVID ALAN MILLER
MUSIC DIRECTOR
Grammy Award-winning Conductor
David Alan Miller has established
a reputation as one of the leading
American conductors of his generation.
Music Director of the Albany Symphony
since 1992, Mr. Miller has proven
himself a creative and compelling
orchestra builder. Through exploration
of unusual repertoire, educational
programming, community outreach and
recording initiatives, he has reaffirmed
the Albany Symphony’s reputation
as the nation’s leading champion of
American symphonic music and one of
its most innovative orchestras. He and
the orchestra have twice appeared at
“Spring For Music,” an annual festival
of America’s most creative orchestras
at New York City’s Carnegie Hall. Other
16 / albanysymphony.org
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
music of John Harbison, Roy Harris,
Morton Gould, Don Gillis, Peter Mennin,
and Vincent Persichetti on the Albany
Records label.
A native of Los Angeles, David Alan Miller
holds a bachelor’s degree from the
University of California, Berkeley and a
master’s degree in orchestral conducting
from The Juilliard School. Prior to his
appointment in Albany, Mr. Miller was
Associate Conductor of the Los Angeles
Philharmonic. From 1982 to 1988, he
was Music Director of the New York
Youth Symphony, earning considerable
acclaim for his work with that ensemble.
Mr. Miller lives with his wife and three
children in Slingerlands.
March 28, 8 PM
Jim Brickman
Thu, Dec 11
Linda Eder
Memory Lane
Sat, Feb. 7
The Bridge
Jazz Festival
Fri, Feb. 27
Sat, Feb. 28
An Evening with
Lily Tomlin
Sat, Mar. 27
Caladh Nua
Wed, Mar 11
Gibson Brothers
Fri, Mar. 27
Troy Savings Bank Music Hall
Corner of State & Second Sts, Troy, NY
518.273.0038
troymusichall.org
2014-2015 SEASON / 17
Keeping Your Health in Harmony
Community Care Physicians, P.C.
Proud Sponsor of the Albany Symphony Orchestra.
CDPHP® helps members take control of their
health by offering personal support and wellness
programs throughout the community.
We proudly support the
Albany Symphony Orchestra.
www.cdphp.com
Primary Care - Specialty Care - Urgent Care - Wellness
Make a note to contact us for your healthcare needs.
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to G ood
Capital District Physicians’ Health Plan, Inc.
Capital District Physicians’ Healthcare Network, Inc.
CDPHP Universal Benefits,® Inc.
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WWW.COMMUNITYCARE.COM
The Albany Symphony string sections use revolve seating. Players
behind the stationary chairs change seats systematically and are
listed alphabetically.
VIOLIN
Jill Levy
ALBANY SYMPHONY
ORCHESTRA PERSONNEL
TRUMPET
Eric M. Berlin
Matthew Capobianco
Marie-Thérèse Dugré
Guy Fishman
Catherine Hackert
Eric J. Latini
BASS
Bradley Aikman
TROMBONE
Greg Spiridopoulos
Philip R. Helm
Karna Millen
ASSISTANT PRINCIPAL
SECOND VIOLIN
Michael Fittipaldi ^
Luke Baker
James Caiello
Jeffrey Herchenroder
BASS TROMBONE
Patrick James Herb
SPONSORED BY DR. MARISA
EISEMANN & DR. ALLAN EISEMANN
FLUTE
Albert Brouwer
CONCERTMASTER
LIFETIME CHAIR, GOLDBERG
CHARITABLE TRUST
Eiko Kano
ASSISTANT CONCERTMASTER
Elizabeth Silver ^
Jamecyn Morey ^
Paula Oakes ^
Funda Cizmecioglu
PRINCIPAL SECOND VIOLIN
Mitsuko Suzuki
Barbara Lapidus ^
Gabriela Rengel ^ +
John Bosela
Brigitte Brodwin
Natalie Favaloro
Ouisa Fohrhaltz
Heather Frank-Olsen
Margret E. Hickey
Shenghua Hu
Christine Kim
Aleksandra Labinska
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
Daniel Brye ^
Carla Bellosa +
Ting-Ying Chang-Chien +
Dana Huyge
Susan Saint-Amour
PRINCIPAL
ASSISTANT PRINCIPAL
PRINCIPAL
OBOE
Karen Hosmer
PRINCIPAL
Grace Shryock
Nathaniel Fossner
SPONSORED BY ANONYMOUS
ENGLISH HORN
Nathaniel Fossner
CLARINET
Susan Martula
PRINCIPAL
IN MEMORY OF F.S. DEBEER, JR.
-ELSA DEBEER
IN MEMORY OF JUSTINE R.B. PERRY
-DAVID A. PERRY
PRINCIPAL
TIMPANI
Kuljit Rehncy
PRINCIPAL
PERCUSSION
Richard Albagli
PRINCIPAL
Mark Foster
Scott Stacey *
HARP
Lynette Wardle
PRINCIPAL
PERSONNEL MANAGER
Susan Ruzow Libby
BASSOON
Stephan Walt
UNION STEWARD
Nathaniel Fossner
PRINCIPAL
ENDOWED IN PERPETUITY BY THE
ESTATE OF RICHARD SALISBURY
William Hestand
Erica Pickhardt
Joseph Demko
Alan Parshley
Victor Sungarian
ASSISTANT PRINCIPAL
TUBA
Nathan Turner
LIBRARIAN
Elizabeth Silver
HORN
William J. Hughes
Petia Kassarova ^
Kevin Bellosa +
PRINCIPAL
Weixiong Wang
CELLO
Susan Ruzow Libby
PRINCIPAL
PRINCIPAL
SYMBOL KEY
^ STATIONARY CHAIR
+ ON LEAVE
* SUBSTITUTE FOR
2014-2015 SEASON
PRINCIPAL
2014-2015 SEASON / 23
For more information, visit www. albanysymphony.com or www.vanguard-aso.org
Free Lunchtime
Music Series
Albany Symphony Orchestra
& Vanguard-Albany Symphony, Inc. present
Bring your lunch and join us
on FRIDAYS at Noon
PreVue
Music Director David Alan Miller conducts
lively interviews with Albany Symphony
guest artists on Fridays at noon prior to
symphony concerts.
Join us at the Albany Public Library at 161
Washington Ave as we get "Up Close and
Personal" with the amazing guests that
grace the Symphony’s stages.
September 5
October 17
November 21
December 19
January 16
February 21
March 21
April 17
May 15
Free and open to the public
Complimentary coffee, tea,
and cookies provided.
Music novices and symphony buffs are all
welcome! Enjoy your lunch as you learn
more about our exciting guest artists and
the music they make.
rd
a
Soundc
ASON
15 SE
14-20
20
ent
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S
5
$2
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Mem TICKETS
REE
*GET F
We take so much for granted.
We trust the sun will rise in the morning, the moon will come up at night and
the live music performed by the Albany Symphony Orchestra will always be
available for an evening’s entertainment or a children’s concert. Well we can
be as sure as we are of anything that the sun will rise and the moon will light
the evening skies. Whether the enchanting, inspiring live music of the Albany
Symphony Orchestra will always be available for an evening out or a children’s
concert depends on you and me and so many more like us.
Vanguard helps to raise funds to make that music possible. Dedicated
women and men spend countless hours planning and executing a myriad of
fundraising activities throughout the year. Our members usher at concerts,
provide gift bags to visiting artists, and house musicians. They secure muchneeded funds to pay for tickets and transportation for children who might not
otherwise ever be exposed to the thrill of a live performance orchestrated just
for them. Vanguard collects gently used instruments and has them refurbished
for local schools to utilize in their music programs. Maybe the next Joshua
Bell or Yo-Yo Ma will be inspired by an instrument that he or she might never
had access to. Vanguard also provides and serves food to the musicians on
the night of concerts. But those things are just a few of the wonderful services
Vanguard offers to the Symphony and the community.
All of these wonderful activities that Vanguard engages in help to defray the
costs that might otherwise burden the Orchestra.
If you have not joined and would like to know more about upcoming
trips, social events or volunteer opportunities please go to our website,
vanguard-aso.org, or watch for our newsletter for details.
Soundcard is our NEW student
membership program. Students
can become members for only
$25 and book free tickets to our
Classical Subscription concerts
throughout the year!
JOIN TODAY!
518.694.3300
albanysymphony.org
Current students only. Must show valid student ID
or class schedule. 1 free ticket per membership per
show. Quantity limited. Tickets can be booked 2
weeks prior to each concert only. Students will be
notified via email when reservations can be made.
Come join us, meet like-minded people,
and keep the music alive.
-Suzanne Waltz, President, Vanguard-Albany Symphony, Inc.
Defining the Face of Tech Valley
40 Beaver Street • Albany, New York • (518) 432-4500
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www.omnimanagement.com | www.omnihousing.com
AWARD_4.875x7.625.indd 1
1/3/12 12:03 PM
JAN.
17
7:30 PM
"We’re All From Somewhere" Else Project
At the American Music Festival in May, Clint Needham will debut a new piece, "We’re All From
Somewhere Else”. The capstone of our season—the American Music Festival—celebrates the music of
our time, showcasing the work of living composers. This year, the Festival will illustrate our country's
colorful, sometimes sad, yet vibrant endurance through the theme of “Migrations.” The “We’re All From
Somewhere Else” Project is our effort to make subscribers part of the story! We all have a rich history,
whether it begins here in the Capital Region, or somewhere else. We will highlight patron, staff, and
musician stories in our programs leading up to the Festival. Enjoy the stories, and please share yours
with us! We will display all submitted stories at the American Music Festival this spring.
“I’m From Somewhere Else.
My Journey to the World of Classical Music.”
by Edwin Osterhout
Being born in 1932 to a very poor family in a very small village, I was never exposed to any
cultural pursuits including literature and classical music; but even though there were no books
nor recordings in our home, my mother took me to get a library card as soon as I entered first
grade. This, with encouragement from my parents and teachers, led me to appreciate the value
of a good education. Upon graduation from high school in 1950, I was accepted to New York
State College for Teachers at Albany (the only college I could afford sincere there was no tuition
and I could commute by trains and bus). Even though Valley Falls was less than 30 miles north
of Albany, the only other time I had been there was to attend Albany Senators games at Hawkins
Stadium. When I got off the United Traction bus my first day of classes, I recall looking at those
buildings and thinking, “What the hell am I doing here?”
In my freshman year I was befriended by an upper class girl who lived in Albany and had
graduated from Albany Academy for Girls. She had a wealth of cultural knowledge (literature,
classical music, travel, etc.) and also had a collection of classical recordings and a phonograph
on which to play them. She first introduced me to the ballet music of Copland and gradually
introduced me to Elgar, Beethoven, Sibelius and others, and eventually Wagner’s operas (her
favorites). Looking back, I realize now that she was leading me from lighter classical to heavier
works. Elfrieda died a few years ago, but I’ll always remember her as the one who introduced
me to good music.
Sixty years have passed since my college graduation, and my wife, Carol, and I have
attended performances in Royal Albert Hall, the Sydney Opera House, Paris Opera House, St.
Martin in the Fields Church, the Met, Carnegie Hall, and venues in Vienna, Prague, Budapest,
Peking, Florence, Buenos Aires, and others, including seeing Turandot in the Olympic Stadium
in Rome. (Not bad for a poor boy from a small town!) On our travels, as soon as we arrive in
a city, we check to see what classical music is being performed, and immediately see the hotel
concierge to get tickets. Our classical music exposure has been greatly enhanced by attending
the Albany Symphony concerts and David Miller’s preconcert lectures. Thank The Albany
Symphony—and Elfrieda.
28 / albanysymphony.org
PALACE
THEATRE
MENDELSSOHN'S "SCOTTISH" SYMPHONY
David Alan Miller, conductor
Colin Currie, percussion
David Weeda, highland piper
Sir Peter Maxwell Davies
An Orkney Wedding, With Sunrise
Julia Wolfe
riSE and fLY
(B. 1934)
David Weeda, highland piper
(B. 1958)
Colin Currie, percussion
WORLD PREMIERE
INTERMISSION
Felix Mendelssohn
Symphony No. 3, “Scottish”
(1809 – 1847) I. Andante con moto - Allegro un poco agitato II. Vivace non troppo III. Adagio IV. Allegro vivacissimo - Allegro maestoso assai THIS CONCERT IS SPONSORED BY:
All programs and artists are subject to change. During the performance, please silence and refrain from using mobile devices.
Recording and photographing any part of the performance is strictly prohibited.
2014-2015 SEASON / 29
the whole real estate story
17
Sir Peter Maxwell Davies
College Suites & The Shoppes at City Station
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Ce l e b ra t i n g
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50
Ye a r s
a hearty conversation. More alcoJAN.
hol? Yup. A swooping violin solo
says as much.
Eventually, the night gives way
7:30 PM
to morning. The flute/bird twitters.
PROGRAM
The horn heralds dawn. And the
NOTES
sun, in the person of a piper, arrives. The piece ends with a hymn
to Aurora, as everyone goes home: the last photo
in the album.
Born in England in 1934, Peter Maxwell Davies
studied with numerous modern composers in the
UK and the United States, among them Earl Kim,
Milton Babbitt, and Rogers Sessions. Of particular
help was the Italian modernist Goffredo Petrassi
(1904-2003), who gave him a thorough grounding in Serialist techniques.
But Davies looked not only to cutting edge
musical ideas for his inspiration; he also looked
back, at sacred choral music of the Renaissance,
for example; and over time, he forged his own
voice. For more than 60 years he has produced a
huge body of music in virtually all forms—opera,
symphony (10, as of this writing), ballet, chamber
music, children’s pieces, etc. — and for his work as
composer, conductor, and teacher, he was made
Master of the Queen’s Music in 2004.
An Orkney Wedding, with Sunrise
Scoring: 2 flutes, 2 oboes, 2 clarinets (1 and 2 doubling as bass clarinet), 2 bassoons, 4 horns, 2 trumpets, 2 trombones, 1 tuba, timpani, percussion,
strings. Performance Time: approximately 13 minutes.
Davies moved to the Orkney Islands, which lie off
the northwest coast of Scotland, in 1971. He composed this brief depiction of a wedding in 1984,
and it received its premiered by the Boston Pops
in 1985, John Williams conducting.
The 13-minute work is like an uninterrupted
perusal of a wedding photo album, the snapshots
chronicling the nuptials and subsequent celebration. The guests arrive, and the cheeriness of the
occasion is augured by a skipping tune in the
oboe (which sounds like a bagpipe), followed by
the clarinet and flutes. A full-out hoedown (a la
Aaron Copland, in spots!) ensues, with allusions in
the horn and trumpet to a little tipsiness. More arrivals: clans, people on horseback. There’s a dance
in duple meter, with the horn and trumpet having
-CONCERT NOTE BY PAUL LAMAR
Julia Wolfe
Drawing inspiration from folk, classical, and rock
genres, Julia Wolfe's music brings a modern
sensibility to each while simultaneously tearing
down the walls between them. Her music is distinguished by an intense physicality and a relentless
power that pushes performers to extremes and demands attention from the audience. In the words
of The Wall Street Journal, Wolfe has "long inhabited a terrain of her own, a place where classical
forms are recharged by the repetitive patterns of
minimalism and the driving energy of rock."
Her most recent composition, Anthracite
Fields, was premiered in Philadelphia and performed at the New York Philharmonic Biennial in
the spring of 2014 and was hailed by Mark Swed
of the Los Angeles Times as “a major, profound
work.” Wolfe blended oral histories, interviews, geography, local rhymes, and coal advertisements to
create an oratorio about the coal-mining community of her native Pennsylvania. Wolfe’s interest in
labor history has informed her recent work, including Steel Hammer, an evening-length art-ballad
that was a finalist for the 2010 Pulitzer Prize. The
text is culled from more than 200 versions of the
John Henry ballad and based on hearsay, recollection, and tall tales exploring the subject of human
2014-2015 SEASON / 31
versus machine. Premiered by the
Trio Mediaeval and the Bang on a
Can All-Stars, Steel Hammer will
be presented in a fully-staged
7:30 PM
version by director Anne Bogart
PROGRAM
and her SITI company in the U.S. in
NOTES
the fall of 2015. A recording of the
work was released in spring 2014
to critical acclaim and highlighted by NPR on
its “Best of 2014” list. Wolfe’s interest in urban folk
music informed her most recent work for orchestra: riSE and fLY, a body concerto for the Scottish
percussionist Colin Currie. Premiered in 2012 by
Keith Lockhart and the BBC Concert Orchestra, riSE
and fLY features Currie on rapid-fire body percussion rhythms against the backdrop of a rhythmic
driving orchestra. Wolfe has written a major body of work for
strings, from quartets to full orchestra. Her quartets, as described by The New Yorker, "combine the
violent forward drive of rock music with an aura of
minimalist serenity [using] the four instruments as
a big guitar, whipping psychedelic states of mind
into frenzied and ecstatic climaxes." Wolfe's Cruel
Sister for string orchestra, released on Cantaloupe
Music in 2011, is inspired by a traditional English
ballad of a love rivalry between sisters. It was commissioned by the Munich Chamber Orchestra and
received its U.S. premiere at the Spoleto Festival.
Her string quartet concerto My Beautiful Scream,
composed shortly after September 11, 2001, is
inspired by the idea of a slow-motion scream; it
was written for Kronos Quartet with the Orchestre National de France and was premiered in the
U.S. at the Cabrillo Festival under the direction of
Marin Alsop. The influence of pop culture can be
heard in many of Wolfe's works, including Believing and Lick — based on fragments of funk, Lick has
become a manifesto for the new generation of
pop-influenced composers. The raucous my lips
from speaking for six pianos was inspired by the
opening riff of the Aretha Franklin tune “Think,”
and Wolfe's Dark Full Ride is an obsessive and
relentless exploration of four drum sets. In Lad,
she creates a kaleidoscopic landscape for nine
bagpipes. Wolfe has collaborated with theater artist
Anna Deveare Smith, choreographer Susan Marshall, designers Jeff Sugg and Jim Findlay, and
director Francois Girard, among others. Along with
architects Diller Scofidio+Renfro, Wolfe created
JAN.
17
32 / albanysymphony.org
the city-wide spectacle Traveling Music in Bordeaux, France, filling the streets of the old city with
100 musicians walking and riding in pedicabs.
Her work with film includes Fuel for the Hamburg-based Ensemble Resonanz with filmmaker
Bill Morrison, and both Impatience and Combat
du Boxe for the Asko-Schöenberg Ensemble using
films by 1920s experimentalist Charles De Keukeleire.
Wolfe’s music has been heard at venues
throughout the world, including the Sydney
Olympic Arts Festival, LG Arts Center (South Korea), Settembre Musica (Italy), Theatre de la Ville
(France), BAM, Lincoln Center, and Carnegie Hall,
among others, and has been recorded on Cantaloupe Music, Teldec, Point/Universal, Sony Classical, and Argo/Decca. In 2009, Wolfe joined the
NYU Steinhardt School composition faculty. Wolfe
is co-founder of New York's music collective Bang
on a Can. riSE and fLY, a body concerto Scoring: 2 flutes (1 doubling as piccolo), 2 oboes,
2 clarinets (1 doubling as bass clarinet), 2 bassoons,
4 horns, 3 trumpets, 3 trombones, 1 tuba, percussion,
piano, harp , strings.
Performance Time: approximately 25 minutes.
riSE and fLY was inspired by New York City street
beats and the rhythm of American work song. In
New York there is an amazing array of live street
musicians gracing subway platforms and street
corners: accordion players, singers, Chinese erhus,
and more. But perhaps the most amazing music
comes from the street drummers. Banging out
grooves on plastic tubs and pots and pans, they
speak the rhythm of the city. They make me smile
and I am one of their most attentive listeners. When Colin Currie asked for a new work, I
thought of them. I also thought Colin is amazing.
He can do anything. But I don't want to just write
him another percussion concerto. I wanted to take
him to a new place and to bring something earthy
and visceral to the orchestra - to break with formality and get down and dirty. It is urban folk music
for the orchestra. riSE and fLY connects to my love
of American folk as does much of my recent work
including my art ballad, Steel Hammer, telling the
story of the story of the John Henry legend. While
there is no direct narrative in riSe and fLY it is in
a sense its own short history - moving from the
American folk tradition of body percussion to the
contemporary urban "folk" rhythms of the street.
The title, riSe and fLY, is taken from a phrase of a
chain gang work song from the collection of Alan
Lomax, the great American folksong collector.
Felix Mendelssohn
To read the biography and the criticism of Felix
Mendelssohn (1809-1847) is to be left with mixed
feelings. Chief among them is admiration for a
prodigious composer, a restorer of interest in Bach
with a renowned performance of the St. Matthew
Passion, and a conductor of the highly regarded
Gewandhaus Orchestra of Leipzig. There’s also sadness at his early death and the lingering feeling of
“if only.” Rage? His music was banned by the Nazis
on the basis of his Jewish background. And there’s
even a little perplexity about the slight hesitation
to accord him a lofty place among composers because, as Curt Sachs opined, “His music has nothing to tell of passion, struggle and despair…His
works were born of a loving, not a bleeding heart.”
(Small wonder then, that Edward Downes was
prompted to say, “Perhaps the time has even come
to forgive him for being happy.”) Why shouldn’t
we? “Felix” means “happy.” If one listens to the
music, there is no mistaking the largeness of spirit,
the feeling of joy, and the unfettered breathlessness of a perpetually youthful heart, all qualities
which, by their authenticity, make any reservations
a piffle. A Midsummer Night’s Dream? Elijah? The
Octet? The Symphony No. 4? Who can fail to be impressed and grateful.
Symphony No. 3, “Scottish”
Scoring:2 flutes, 2 oboes, 2 clarinets, 2 bassoons,
4 horns, 2 trombones, timpani, strings.
Performance Time: approximately 40 minutes.
Inspired by trips to Italy and
JAN.
Scotland in 1829-30, Mendelssohn composed two symphonies
and an overture. Symphony No.
7:30 PM
4 (“Italian”) was first performed
PROGRAM
in 1833, and this symphony—deNOTES
spite its being called the third—in
1842.
Commentators are quick to point out that there
aren’t a lot of things Scottish in these four movements. Mendelssohn’s reactions to the sights and
sounds seem general. But the first movement does
open with an eerie slow introduction that captures
the mood of his tour of Holyrood Chapel, the site
of Queen Mary of Scotland’s coronation. He wrote
to his sister Fanny that in this spot, with “everything ruined and decayed,” he had “found…the
beginning of (his) ‘Scottish” Symphony.” After
this lengthy introduction, the movement charges
along with dotted rhythms, sections in a minor
mode, and swirling string figures. Dramatic urgency, indeed. And then that haunting opening in the
winds returns, the fitting conclusion to a turbulent
scenario.
The perky second movement, which, by the
way, opens with the first four intervals of the first
movement, but disguised, is initially a showcase
for the clarinet. Then the brisk tune, somewhat
folkish, is passed around the orchestra. You might
hear echoes of the playful strains of the Overture
to a Midsummer Night’s Dream. The little melody
darts from voice to voice; repeated staccato notes
maintain the momentum; the texture, at times, is
mere tissue.
The third movement is Mendelssohn at his singing best, which is to you can’t beat it. A ravishing
string melody soars over pizzicato strings. After this
section comes a march (note the dotted rhythms)
that contrasts with the first tune. Then Mendelssohn brilliantly alternates these two motives,
push-pulling the listener between the dramatic
and the sublime. Every return of each little tune
has a new feature---orchestration, a slight change
in the line, or dynamic variations.
Commentator James Chater has referred to the
last movement as depicting a battle because a
secondary marking for the first part is Allegro guerriero (warlike). The listener might try to trace the
music through a military contest, replete with the
dotted rhythm suggesting an army on the move.
Certain competing lines and harmonic strains do
17
2014-2015 SEASON / 33
JAN.
17
7:30 PM
Colin Currie
Recognized for his “athletic percussionism, compulsive showmanship and deep musicality”
(Guardian), Colin Currie is a solo
and chamber artist at the peak of his powers. Championing new music at the highest level, Currie is
the soloist of choice for many of today’s foremost
composers and he performs regularly with the
world’s leading orchestras and conductors.
From his earliest years Currie forged a pioneering path in creating new music for percussion.
He was awarded the Royal Philharmonic Society
Young Artist Award in 2000 for his inspirational
role in contemporary music-making and received
a Borletti-Buitoni Trust Award in 2005. Currie has
premiered works by composers such as Elliott Carter, Einojuhani Rautavaara, Jennifer Higdon, Kalevi
Aho, Kurt Schwertsik, Simon Holt, Alexander Goehr,
Dave Maric, Julia Wolfe and Nico Muhly. He recently had the privilege of premiering a new work from
Elliott Carter: a double concerto performed with
Pierre-Laurent Aimard and commissioned by the
New York Philharmonic, Aldeburgh Festival and
Orchestre Philharmonique de Radio France. Upcoming commissions include new works by Steve
Reich, James MacMillan, Louis Andriessen, Andrew
Norman and Anna Clyne.
Currie is Artist-In-Residence at London’s
Southbank Centre, a role which allows him to develop relationships with artists and ensembles
across a variety of art forms, as well as take part in
collaborative and educational projects. In autumn
2013, as part of this residency Currie performs
seminal works by Stockhausen and Steve Reich
within Southbank Centre’s major festival The Rest is
Noise. Other highlights of Currie’s 2013-14 season
include two world premieres: Tapdance by Louis Andriessen with Asko-Schoenberg/Reinbert de Leeuw
and a new Percussion Concerto by Andrew Norman
with the Utah Symphony/Thierry Fischer. Currie
also makes debuts with the Cleveland Orchestra,
São Paulo Symphony, and Nagoya Philharmonic,
and returns to Bergen Philharmonic, BBC Scottish
Symphony, Scottish Chamber Orchestra, MDR
Leipzig, Houston Symphony, Toronto Symphony
and Cincinnati Symphony among others. In April
2014, Currie launched an adventurous new solo
recital programme at the Wigmore Hall which includes a new work for solo marimba by Rolf Wallin,
David Weeda
17
At age 5, in his hometown of Leavenworth, Kansas, David heard his Scottish-Canadian aunt play
her Highland Bagpipe. "I knew immediately that
I would make that sound someday!" In 1981 he
acquired his Music Education degree (Voice/Choral
Conducting) from Emporia (Kansas) State University. He began studying the pipes in 1983, with the
Kansas City Caledonian Pipe Band. He performed,
competed and taught with the band for 15 years. Since 2004, thousands of visitors to Acadia National Park have heard David piping on the cliff overlooking Frenchman Bay or atop Cadillac Mountain
at sunset. He played the Davies piece with the
Bangor Symphony Orchestra in 2013. David often
pipes for his guests at Williams Pond Lodge Bed
& Breakfast in Bucksport, Maine . . .and he busks
wherever he travels in the world!
ARTIST
BIOGRAPHY
34 / albanysymphony.org
JAN.
co-commisisoned by Wigmore Hall, Bergen Festival
and Sound Festival Aberdeen.
Currie’s dynamic percussion ensemble, The
Colin Currie Group, continues to receive critical acclaim for its performances of numerous Steve Reich
works. In 2013, the group made its European debut
at the Concertgebouw, Amsterdam, following their
hugely successful international debut with two
performances at Tokyo Opera City in 2012, and this
season, The Colin Currie Group extends it repertoire
performing Reich’s Music for 18 Musicians at the
Royal Festival Hall. Currie regularly collaborates in
recital and chamber music with a number of major
artists, including Nicholas Hodges, Håkan Hardenberger and the Pavel Haas Quartet.
Currie has recorded many concerto, recital
and chamber works including most recently Alexander Goehr’s Since Brass, nor Stone released on
NMC in September 2013. His recording of Rautavaara’s Incantations with the Helsinki Philharmonic/Storgårds (Ondine) was released to critical
acclaim and won a 2012 Gramophone Award. Previous releases by Currie include MacMillan’s Veni,
Veni, Emmanuel with the Netherlands Radio
Chamber Philharmonic/MacMillan on Challenge
Classics, Jennifer Higdon’s Percussion Concerto
with the London Philharmonic/Alsop, which won
a 2010 Grammy Award, and a recital discBorrowed
Time featuring music by Dave Maric (Onyx).
7:30 PM
ARTIST
BIOGRAPHY
ALBANY PRO MUSICA
Music
CHORAL
THAT TOUCHES THE HEART
For our 2014-2015 Performance Schedule visit
www.albanypromusica.org
2014-2015 SEASON / 35
FEB.
21 22
7:30 PM
3:00 PM
TROY SAVINGS
BANK MUSIC HALL
BRAHMS THIRD SYMPHONY
David Alan Miller, conductor
Carol Jantsch, tuba
Edward Elgar
Serenade, Op.20
(1857 - 1934)
I. Allegro piacevole II. Larghetto III. Allegretto
Ralph Vaughan Williams
Concerto in F minor for Bass Tuba and Orchestra
(1872 - 1958)
I. Allegro moderato II. Romanza: Andante sostenuto III. Finale; Rondo alla tedesca: Allegro Carol Jantsch, tuba
INTERMISSION
Michael Daugherty
Reflections on the Mississippi:
(B. 1954)
Concerto for Tuba and Orchestra
I. Mist
II. Fury
III. Prayer
IV. Steamboat
Carol Jantsch, tuba
Johannes Brahms
Symphony No. 3
(1833 - 1897) I. Allegro con brio II. Andante III. Poco allegretto IV. Allegro THESE CONCERTS ARE SPONSORED BY:
SUNDAY MATINEE SERIES:
All programs and artists are subject to change. During the performance, please silence and refrain from using mobile devices.
Recording and photographing any part of the performance is strictly prohibited.
2014-2015 SEASON / 37
1893) is the briefest and most
FEB.
modest in scope. Three movements add up to about 12 minutes of music. Particular appeal 7:30 PM 3:00 PM
here lies in the restrained opening
PROGRAM
with pulsing strings that underNOTES
gird the allegro; the prominence
of viola color; the vanishing of
the first movement into thin air; the noble, and
ultimately yearning, melody of the second movement; the reference to the first movement in the
last; and the gentlest conclusion to a composition
that never promises more than a discreet peek
into sentiment.
The Albany Symphony Orchestra last played this
piece on February 13, 2000, at Troy Savings Bank
Music Hall, David Alana Miller conducting.
21 22
Edward Elgar
How you take the commentary you read about
Sir Edward Elgar (1857-1934) depends on your
predisposition toward his music. If you like him,
you will defend against charges of sentimentality; rather, his music seems warm and heartfelt.
You won’t care that some have suggested he
was too much under the influence of Brahms
and Wagner; what’s wrong with great melodies?
You will refute that he’s so English he’ll never be
universal; across the pond the Albany Symphony
has often programmed him. And you will positively resent one Adolfo Salazar’s contention that
Elgar’s symphonies “possess a faint perfume of
the drawing-room, an aristocratic air which made
appropriate Elgar’s appointment as Master of the
King’s Musick.”
If you enjoy Elgar, it might be because you
stepped gravely down the aisle at your high school
graduation to the beat (almost) of his Pomp and
Circumstance No. 1. Or perhaps it’s because he
has proven himself over and over to you in the two
symphonies (1900 and 1911); the super-scaled
Violin Concerto; the ravishing song cycle Sea Pictures; the haunting post-World War I Cello Concerto; or tonight’s marvelous work, the one that put
him on the composing map in 1899. For you, the
Elgar lovers, he is now, 80 years after his death,
one of the old masters.
Serenade for Strings
Scoring: strings only
Performance Time: approximately 12 minutes.
Add this piece to string serenades by Dvořák and
Tchaikovsky, and the Octet by Mendelssohn, and
you have a terrific collection of Romantic string
ensemble showpieces.
However, of the four, Elgar’s contribution (from
-CONCERT NOTE BY PAUL LAMAR
Ralph Vaughan Williams
Ralph Vaughan Williams (1872-1958) received a
sound musical education from the most prominent English composers of the day, Hubert Parry
and Charles Stanford. But it was his interest in old
English folk music and religious music that captured his artistic imagination. He joined the newly
formed English Folk Song Society in 1904; and
in 1906 he became music editor for the English
Hymnal, a task that led him to look closely at such
composers as Thomas Tallis, on whose themes
Vaughan Williams ultimately wrote a fantasia.
Vaughan Williams lived to his mid-80s, writing
successfully in almost every genre for nearly all
that time. His nine symphonies are, according to
some, the cornerstone of his contributions to the
literature, but brief pieces, like The Lark Ascending
and Serenade to Music, have also found their way
to the concert hall.
2014-2015 SEASON / 39
FEB.
21 22
7:30 PM
3:00 PM
PROGRAM
NOTES
Concerto in F minor for
Bass Tuba and Orchestra
fingering. And the entire work ends abruptly, with
a great swoop in the tuba.
-CONCERT NOTE BY PAUL LAMAR
Scoring: 2 flutes (1 doubling as
piccolo), 1 oboe, 2 clarinets, 1 bassoon,
2 horns, 2 trumpets, 2 trombones,
timpani, percussion, strings, solo tuba.
Performance Time: approximately 12
minutes.
What is a tuba? The Harvard Dictionary of Music
says, “a generic name loosely used for any basspitched brass instrument other than the trombones…(Among them are) the euphonium, helicon, sousaphone, and baritone.” They’re the big
ones, usually upstage left.
Tonight’s piece is for the bass tuba. Vaughan
Williams composed it in 1954, when he was 82,
and the first soloist was Philip Catelinet, who
played it with the London Symphony Orchestra,
Sir John Barbirolli conducting.
Suggestion: do not be afraid to smile when
you listen to this concerto, sometimes at the funny
sounds made in the lower register, and frequently
at the gorgeous singing line you probably never
thought the instrument could make. The first
movement (in a general ABA form) starts out in a
jaunty fashion, with the soloist backed by plucked
strings and staccato winds. There’s a section when
the strings sound like one of Shostakovich’s off-kilter tunes. The duple meter switches to triple (section B) and then returns to duple. Because this is a
concerto, there’s a cadenza, where the tuba shows
off its range and speed by recapping some of the
material. The movement evaporates, quietly.
The second movement is ravishing, beginning
with strings that evoke—what? the English countryside?--in an uninterrupted flow of sound. The soloist introduces a lush melody, reminding us that we
are accustomed to beautiful horn passages in the
classical repertoire, so why shouldn’t we imagine
that the tuba—pitched lower—could move us in the
same way? Vaughan Williams makes a case for
such an idea. The strings and the tuba pair up in a
section over chugging winds: nice contrast.
The final movement—the shortest—displays
some thrilling trilling. Everyone is on board in
a movement that also shifts from duple to triple
meter (a la tedesca refers to a dance in quick triple
meter) and back again. Again, the soloist gets to
play a tour de force cadenza, passages of which
are made up of broken chords, showing off fleet
40 / albanysymphony.org
Michael Daugherty
Grammy® award winning composer Michael
Daugherty is one of the most commissioned, performed, and recorded composers on the American
concert music scene today. His music is rich with
cultural allusions and bears the stamp of classic
modernism, with colliding tonalities and blocks
of sound; at the same time, his melodies can be
eloquent and stirring. Daugherty has been hailed
by The Times (London) as “a master icon maker”
with a “maverick imagination, fearless structural
sense and meticulous ear.”
Daugherty first came to international attention when the Baltimore Symphony Orchestra,
conducted by David Zinman, performed his Metropolis Symphony at Carnegie Hall in 1994. Since
that time, Daugherty’s music has entered the orchestral, band and chamber music repertory and
made him, according to the League of American
Orchestras, one of the ten most performed living
American composers. In 2011, the Nashville Symphony’s Naxos recording of Daugherty’s Metropolis Symphony and Deus ex Machina was honored
with three GRAMMY® Awards, including Best Classical Contemporary Composition. Born in 1954 in Cedar Rapids, Iowa, Daugherty is the son of a dance-band drummer and the
oldest of five brothers, all professional musicians.
He studied music composition at the University of
North Texas (1972-76), the Manhattan School of
Music (1976-78), and computer music at Pierre
Boulez’s IRCAM in Paris (1979-80). Daugherty received his doctorate from Yale University in 1986
where his teachers included Jacob Druckman,
Earle Brown, Roger Reynolds, and Bernard Rands.
During this time, he also collaborated with jazz arranger Gil Evans in NewYork, and pursued further
studies with composer György Ligeti in Hamburg,
Germany (1982-84). After teaching music composition from 1986-90 at the Oberlin Conservatory
of Music, Daugherty joined the School of Music at
the University of Michigan (Ann Arbor) in 1991,
where he is Professor of Composition and a mentor to many of today’s most talented young composers.
Daugherty has been Composer-in-Residence with, among others, the Louisville Symphony Orchestra (2000), Detroit Symphony Orchestra
(1999-2003), Colorado Symphony Orchestra
(2001-02), Cabrillo Festival of Contemporary Music (2001-04, 2006-08, 2011, 2014), Westshore
Symphony Orchestra (2005-06), Eugene Symphony (2006), Henry Mancini Summer Institute
(2006), the Music from Angel Fire Chamber Music
Festival (2006), Pacific Symphony (2010), New
Century Chamber Orchestra (2014), and Albany
Symphony (2015).
Orchestras who have commissioned Daugherty include the Albany Symphony Orchestra,
American Composers Orchestra, Ann Arbor Symphony Orchestra, Baltimore Symphony Orchestra, Bournemouth Symphony Orchestra (United
Kingdom), Cabrillo Festival Orchestra, Charlotte
Symphony Orchestra, Detroit Symphony Orchestra, New Century Chamber Orchestra, New Jersey
Symphony Orchestra, Phiharmonia Orchestra
(London), RAI Symphony Orchestra (Italy), Nashville Symphony Orchestra, National Symphony
Orchestra, Pacific Symphony Orchestra, Pittsburgh
Symphony, Philadelphia Orchestra, Phoenix Symphony, Rochester Symphony Orchestra, San Antonio Symphony, San Francisco Symphony, Spokane
Symphony, St. Paul Chamber Orchestra and Syracuse Symphony.
Bands who have commissioned Daugherty
include the University of Miami (Coral Gables),
University of Michigan, Michigan State University,
San Diego State University and University of Texas.
Conductors who have directed world premieres of Daugherty’s orchestral music include
Marin Alsop, Neal Gittleman, Giancarlo Guerro,
David Kawaka, Mariss Jansons, Neemi Järvi, David
Alan Miller, Leonard Slatkin, Carl St.Clair, Markus
Stenz, Michael Tilson Thomas, Hugh Wolff and David Zinman.
Conductors who have directed world pre-
mieres of Daugherty’s band music
FEB.
include Gary Green, Jerry Junkin,
Shannon Kitelinger, Michael
Haithcock, H. Robert Reynolds, 7:30 PM 3:00 PM
Emily Threinen and John WhitPROGRAM
well.
NOTES
Performing artists and ensembles who have given world
premieres of Daugherty’s music include Zuill Bailey (cello), Bash Ensemble (percussion), Chamber
Music Society of Lincoln Center, Paul Crossley
(piano), Dogs of Desire, Manuel Barrueco (classical guitar), Ethos Percussion Ensemble, Greg Fulkerson (violin), Dame Evelyn Glennie (percussion),
Thomas Hampson (baritone), Paul Jacobs (organ),
Carol Jantsch (tuba), Kronos Quartet, Ida Kavafian (violin), Hila Plitmann (soprano), Amy Porter
(flute), Present Music (Milwaukee), Mike Rowe
(narrator), London Sinfonietta, DJ Sparr (electric
guitar), Nadja Salerno-Sonnenberg (violin), Michael Wayne (clarinet), Terrence Wilson (piano)
and Chuck Ullery (bassoon).
Daugherty has received numerous awards,
distinctions, and fellowships for his music, including a Fulbright Fellowship (1977), the Kennedy
Center Friedheim Award (1989), the Goddard Lieberson Fellowship from the American Academy
of Arts and Letters (1991), fellowships from the
National Endowment for the Arts (1992) and the
Guggenheim Foundation (1996), and the Stoeger
Prize from the Chamber Music Society of Lincoln
Center (2000). In 2005, Daugherty received
the Lancaster Symphony Orchestra Composer’s
Award, and in 2007, the Delaware Symphony
Orchestra selected Daugherty as the winner of
the A.I. DuPont Award. Also in 2007, he received
the American Bandmasters Association Ostwald
Award for his composition Raise the Roof for Timpani and Symphonic Band. Daugherty has been
named “Outstanding Classical Composer” at the
Detroit Music Awards in 2007, 2009 and 2010.
His GRAMMY® award winning recordings can be
heard on Albany, Argo, Delos, Equilibrium, Klavier,
Naxos and Nonesuch labels.
Recent recordings include the 2013 Naxos
release of Mount Rushmore with the Pacific Symphony Orchestra and Chorale conducted by Carl
St. Clair. Current commissions include a concerto
for violinist Nadja Salerno-Sonnenberg and the
New Century Chamber Orchestra (2013), a concerto for percussionist Evelyn Glennie and the WDR
21 22
2014-2015 SEASON / 41
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21 22
7:30 PM
3:00 PM
PROGRAM
NOTES
Sinfonieorcheste Köln (2014) and
a cello concerto for Zuill Bailey and
the Nashville Symphony (2015).
Reflections on the
Mississippi for Tuba and
Orchestra
Scoring: 3 flutes, (1 doubling as piccolo), 2 oboes,
2 clarinets, 2 bassoons, 4 horns, 3 trumpets, timpani,
percussion, piano, strings, solo tuba. Performance
Time: approximately 20 minutes.
Reflections on the Mississippi (2013) for tuba
and orchestra was commissioned by the Temple
University Boyer College of Music and Dance.
The world premiere was given by the Temple
University Symphony Orchestra under the
direction of Luis Biava, with Carol Jantsch, solo
tuba, at Verizon Hall, Philadelphia, Pennsylvania,
on March 24, 2013.
This concerto, composed in memory of my
father, Willis Daugherty (1929-2011), is a musical
reflection on family trips during my childhood to
the Mississippi River near McGregor, Iowa. In July
and October 2012, I returned to the Mississippi to
make two road trips from McGregor to Hannibal,
Missouri. Along the “Great River Road,” I explored
small river towns and snapped photographs of
scenic river vistas. Local boat owners also guided
me to the secluded wildlife havens and murky
backwaters of the Mississippi River. All the while, I
was collecting sounds, musical ideas and an emotional framework for my tuba concerto.
The tuba concerto is 20 minutes in duration,
and in four movements:
In the first movement of the concerto, “Mist,”
I reflect on sunrise as seen and heard through a
misty haze over the Mississippi River. After an
opening ripple, the tuba intones a mystical melody that ascends through shimmering orchestral
chords. An ostinato is introduced in a musical canon by percussion, piano and tuba, followed by a
dark second theme that rises from the depths of
the string section punctuated by woodwinds. At
the end of the movement, the ostinato returns in
the timpani and is combined with the misty opening melody of the tuba.
The title of the second movement, “Fury,”
recalls the turmoil of the Mississippi River in the
fiction of William Faulkner and in the history of the
“Great Mississippi Flood” of 1927. Like the jarring
42 / albanysymphony.org
time shifts in Faulkner’s 1927 novel, The Sound
and the Fury, the music I have created consists of
dissonant harmonies, turbulent polyrhythms, and
clashing 3/4 and 5/4 time signatures performed
simultaneously. In “Prayer,” the third movement, I meditate
on the calm mood of the Mississippi River seen
from a high vista, overlooking the water as far as
the eye can see, as sunset turns into a clear and
starry night. Glockenspiel, vibraphone, chimes
and piano echo like distant church bells down in
the valley, while the tuba plays a lyrical, soulful
melody. In a musical flashback, I evoke material
from the first movement to remind us of the timeless currents of the Mississippi River.
The final movement, “Steamboat,” conjures
up colorful tales from Life on the Mississippi by
Mark Twain (1835-1910). Traveling down the Mississippi River, I have composed lively music that
follows the gambling steamboats from Twain’s
hometown in Hannibal, Missouri, to the final stop
in New Orleans. Much as the tuba plays a central
role in Zydeco and Second line music of New Orleans, the tuba soloist in my concerto leads a “second line” of syncopated rhythms that propel the
concerto to a virtuosic conclusion. -CONCERT NOTE BY COMPOSER, MICHAEL DAUGHERTY
Johannes Brahms
“As long as the West wants to uphold the deepest,
broadest, and finest part of its musical tradition,
Brahms will be with us. For that long, we will know
the Brahms Effect: music at once warmly, lyrically,
Romantically expressive, and at the same time, remote, Olympian. Only in a few moments does his
work have that miraculous quality of Beethoven,
the sense of an individual grasping our lapels and
talking to us passionately and intimately, even if at
times in a voice of thunder.” (Johannes Brahms: A
Biography, by Jan Swafford)
This observation will probably resonate with
anyone who loves the music of this German master, who was born in Hamburg in 1833, and died
in Vienna, of liver cancer, in 1897. If he somehow
has managed to say everything about the human
condition—to encompass the dramatic in life in,
say, the Symphony No. 1; the quotidian, in many
of his charming folk songs; the amorous, in the
Liebeslieder Waltzes; the spiritual, in his ironically secular treatment of the mass for the dead in
the German Requiem; the reflective, in the slow
movements of many of his chamber music works;
and the joyous, in the last movement of the Piano
Concerto No. 2 —if he has done all of these things,
he seems to have accomplished them without apparent effort.
We know, however, that he often agonized over
his pieces and was his own worst critic, tearing up
pieces he considered lacking. We know he hid his
insecurities by gently underestimating his works’
qualities when explaining the pieces to friends. For
example, when writing to Clara Schumann about
his mammoth Piano Concerto No. 2, he referred
to it as “a tiny little piano concerto with a tiny little
wisp of a scherzo.” Of course, nothing could have
been further from the truth. Yet another comment
that gives us understanding of his modesty, albeit
tongue-in-cheek, is this one: “The fact that people
in general do not know how to value the best—for
example, Mozart’s concertos—is what we others
live and grow famous on. If only people realized
that what they get in drops from us, they can drink
to the full from others!”
But that he got it right time after time in over
45 years of steady composition becomes most
apparent to us right in the middle of any piece of
his we happen to be listening to. That is, in those
moments, we never see the threads of his craft
showing. We might call him Apollonian, while we
reserve for Beethoven the term Dionysian.
Symphony No. 3
Scoring: 2 flutes, 2 oboes, 2 clarinets, 3 bassoons
(1 doubling as contrabassoon), 4 horns, 2, trumpets,
3 trombones, timpani, strings. Performance Time:
approximately 33 minutes.
In 1880 Hans von Bulow was appointed Music
Director of the Court of Meiningen. Enthusiastic
about Brahms and his music, he offered Brahms
the chance to have his new comFEB.
positions carefully rehearsed and
performed by the orchestra of the
court. Brahms seized the chance, 7:30 PM 3:00 PM
and the arrangement benefited
PROGRAM
the Piano Concerto No. 2, the two
NOTES
overtures, and the Symphonies
Nos. 3 and 4. Though Hans Richter gave the premiere of tonight’s symphony, in
1883, it was, subsequently, von Bulow who secured for it its reputation.
The first and third symphonies have dramatic
openings, while the other two have rather sweet
beginnings. Here, the first three chords, with
both F major and F minor about them, establish
the piece as serious business. A falling phrase follows, distinctively outlining an F major chord. It is
from this material that the movement is made. A
second theme, slightly more breezy than the first,
emerges in the winds. Both themes then get a
standard development and recapitulation, and
the movement, as do the other three movements,
ends quietly.
The second movement (in C major, the dominant of F major) starts off with a dialogue between
the clarinets and the celli, two friends in conversation on a stroll (andante). The five-note motive
which begins the conversation returns again and
again throughout the movement. The mood then
becomes increasingly passionate, but not heated.
There is a wonderful section featuring a characteristic Brahms device—three against two—so two
melodies (voices) can be heard simultaneously.
The most ravishing moment, however, comes
about a minute before the end, when the movement’s opening tune returns, threatening to run
its predictable course. But Brahms doesn’t land on
a cadence; rather, he delivers a chord that promises—requires—more. It’s as if a new thought has
occurred to one of the speakers, who utters it with
poignant lyricism. The moment blossoms in the
most unexpected way. Was Brahms thinking, perhaps, of Hermine Spiers, a young singer he had
recently met? She was later to be the inspiration
for some of his songs, so maybe this romantic
flowering, so brief, comes from that warm regard.
(Note: A cursory glance at all of the 120+ works of
Brahms reveals his ongoing interest in vocal writing. Op. 89, the one before this symphony, and the
next eight opus numbers are songs, after which
comes the glorious Symphony No. 4.)
21 22
2014-2015 SEASON / 43
The third movement, in ¾, with
its minor flavor, begins with a
yearning melody in the celli, soon
taken up by the winds. Note the
7:30 PM 3:00 PM
appoggiatura near the end of the
ARTIST
tune, the elegant little turn in the
BIOGRAPHY
phrase. This menuet is followed
by the trio section, which features
charming and restrained work for the winds. After
a decisive pause, the menuet melody returns, the
French horn and the oboe taking center stage.
The last movement recaptures the grandeur
of the first. It begins with a wandering line that
seems to be searching for a harmonic home. Sudden dynamic contrasts, jagged lines, rhythmic
FEB.
21 22
punctuations, and overlapping phrases are some
of this movement’s characteristics. Then two most
extraordinary things happen. First, the piece simply quiets down. All of the excited polyphony becomes homophony, hymn-like. And then the last
notes we hear, so softly uttered, are the opening
descending outline of the F major chord from the
first movement. How beautifully Brahms comes
full circle!
The Albany Symphony Orchestra last played
this symphony on September 11, 2010, at Troy
Savings Bank Music Hall, David Alan Miller conducting.
-CONCERT NOTE BY PAUL LAMAR
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Carol Jantsch
Praised by the Philadelphia Inquirer as having “a
sound as clear and sure as it [is] luxurious,” Carol
Jantsch has been principal tuba of The Philadelphia
Orchestra since 2006. She won the position during
her senior year at the University of Michigan, becoming the first female tuba player in a major symphony orchestra. In addition to her duties in the Philadelphia Orchestra, Ms. Jantsch is a renowned tuba
soloist. She gives solo recitals regularly, and has
appeared as a concerto soloist with various ensembles, including the Philadelphia Orchestra, the Columbus Symphony, the St. Petersburg Symphony in
Russia, the Henry Mancini Institute Orchestra, and
the United States Marine Band. She has performed
in Carnegie’s Zankel Hall with the Musical Olympus
Festival, and has appeared on the radio on NPR’s
series From the Top and Interlochen Public Radio’s
Live From Studio A. In 2009 she was honored with
a “Best of Philly” award from Philadelphia magazine. She has also won prizes in several international solo tuba competitions, and alumni awards from
both Interlochen Arts Academy and the University
of Michigan. ​​
Ms. Jantsch is in increasing demand as a
teacher worldwide, having given master classes
in Europe, Asia, and North America. She enjoys
working with young musicians, and has been a featured artist at various brass festivals in Finland, Germany, Canada, and the United States. She is on the
faculty at the Yale University School of Music and
Temple University’s Boyer College of Music.Raised
in a musical family, Ms. Jantsch began piano lessons at age six and began studying euphonium at
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Interlochen Arts Camp at age nine. After switching
to tuba, she attended the prestigious arts boarding
high school Interlochen Arts Academy, graduating
as salutatorian of her class. She continued her studies at the University of Michigan under the tutelage
of Fritz Kaenzig. After winning her position with The
Philadelphia Orchestra in February of 2006, she returned to Michigan to complete her Bachelor of
Music degree, graduating with highest honors.
Ms. Jantsch can be heard on numerous
Philadelphia Orchestra recordings, including the
2010 release of Ewald Quintets no. 1 and 3 with fellow Philadelphia Orchestra principal brass. She released her first solo recording, Cascades, in 2009.
In 2013 she premiered Reflections on the Mississippi, a new tuba concerto written for her and the
Temple University Symphony Orchestra by Grammy
Award-winning composer Michael Daugherty. The
recording of this work was recently released on the
Temple University label, and during the 2014-15
season she will perform the concerto with the Philadelphia Orchestra, and the University of Michigan
Symphony Band. ​​
Carol is a Yamaha Performing Artist. S​ he plays
a Yamaha YFB-822 F tuba and a B&S Perantucci PT6PS CC tuba.
ALBANY SYMPHONY
2014-2015 CONCERT SERIES
CONCERT 4: Mendelssohn’s “Scottish”
Symphony
SAT., JAN. 17 AT 7:30 PM
PALACE THEATRE, ALBANY
Colin Currie, percussion
SIR PETER MAXWELL DAVIES:
Orkney Wedding, with Sunrise
JULIA WOLFE: rISE and fLY
for Percussion and Orchestra
[United States Premiere]
MENDELSSOHN : Symphony No. 3, “Scottish”
CONCERT 7: An Evening with Time for Three
SAT., APR. 18 AT 7:30 PM
PALACE THEATRE, ALBANY
Time for Three: Zachary DePue, violin;
Nick Kendall, violin; Ranaan Meyer, double bass
COPLAND: Billy the Kid Suite
JENNIFER HIGDON: Concerto 4-3
DVOŘÁK: Symphony No. 9, “From the New World”
CONCERT 5: Brahms’ Third Symphony
SAT., FEB. 21 AT 7:30 PM
SUN., FEB. 22 AT 3 PM
TROY SAVINGS BANK MUSIC HALL, TROY
Carol Jantsch, tuba
ELGAR: Serenade for Strings
VAUGHN WILLIAMS: Tuba Concerto
MICHAEL DAUGHERTY*: Reflections on the
Mississippi, Concerto for Tuba and Orchestra
BRAHMS: Symphony No. 3
CONCERT 6: All Mozart
SAT., MAR. 21 AT 7:30 PM
SUN., MAR. 22 AT 3 PM
Troy Savings Bank Music Hall, Troy
Albany Pro Musica, chorus
MOZART: Requiem
New setting of Requiem in collaboration with Sleeping Giant
composer consortium. Residency funded by New Music USA.
DOGS OF DESIRE
FRI., MAY 15 AT 7:30 PM
EMPAC
Theo Bleckmann, vocals
Classical chamber orchestra meets rock band
as the Albany Symphony’s “Dogs of Desire”
breaks new musical ground. Composer collective
Sleeping Giant will collaborate with the Dogs on a
brand new multimedia production featuring their
own music.
Cafe Capriccio
Salutes Maestro David Alan Miller
and His Fantastic
Albany Symphony Orchestra
Join Us For Dinner and Then To Tuscany with
Someone You Love
Make Reservations on Open Table
49 Grand St., Albany, NY 12207--518-4650439
www.cafecapriccio.com--
GENEROUS FUNDING FOR THIS CONCERT PROVIDED BY
ANDREW W. MELLON AND NEW MUSIC USA.
CONCERT 8: American Music Festival
"Migrations"
SAT., MAY 16 AT 7:30 PM
EXPERIMENTAL AND MEDIA PERFORMING ARTS
CENTER, RPI CAMPUS, TROY
Amy Porter, Flute
Juilliard Jazz Orchestra, James Burton III, Director
ANDREA REINKEMEYER:
New work [World Premiere]
DEREK BERMEL: Migration Series for Jazz Orchestra
MICHAEL DAUGHERTY*: Trail of Tears,
Concerto for Flute and Orchestra
CLINT NEEDHAM^: We Are All From Somewhere
Else [World Premiere]
*Andrew W. Mellon Mentor Composer
^Andrew W. Mellon Composer Educator
Programs & guest artists subject to change.
THESE CONCERTS
ARE SPONSORED BY:
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The Albany Symphony Classical Performance Series is made possible with
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2014-2015 SEASON / 47
Gary
David
Gold
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James B. Ayers
Susan & Ronald Backer
Nancy Bader
Mr. & Mrs. Joseph Baggott
Dr. & Mrs. Ronald Bailey
Dr. Richard Balsam
The Bangert-Drowns Family
Cindy & James Barford
Betty & Lyle Barlyn
Joanne & James Barnard
Ann Barrett
William Bechtel
Sharon Bedford & Fred Alm
Dr. & Mrs. Salvatore Belardo
Diane & Don Bell
Christine Berbrick
Olga & Elmer Bertch
Joseph P. Bevak
Susan & Gus Birkhead
Christina & Edward Blanchard
Dayle Zatlin & Joel Blumenthal
Judy & Doug Bowden
Mary Bowen & Donald Lipkin
Ann & David Brandon
Dorice Brickman
Ellen B. Brickman
Mary & David Briggs
Robert G. Briggs
Marianne Bross
Peter Brown
Nancy & William Brown
Lois & Everett Brownell
Bruce Brynolfson
Timothy Burch
Elizabeth L. Burns
Carolyn Callner
Sister Carolyn Alice Cancelliere
Lorraine & Richard Carlson
Beth Davies & George Carpinello
Ann Carrozza
William L. Cassell
Roger Charbonneau
Anne Church
Rae Clark
Mr. & Mrs. Richard Coe
Mr. & Mrs. Bruce & Ellen Cohen
ALBANY SYMPHONY
INDIVIDUAL GIVING
Ann & William Collins
David Connolly
Joan H. Connolly
James Conroy
Hon. Richard Conti
Steluta Cristian
Wilson Crone
Gary Cunningham
Shirley Jean Curtis
Grace Defries
Ellen deLalla
Anne Deprez
Dr. & Mrs. Anthony J. DeTommasi
Christine & Larry Deyss
Dr. & Mrs. Frank Dimase
Marilyn & Peter Douglas
Robert S. Drew
Marcia & Jack Easterling
Dorothy & DeWitt Ellinwood
David Emanatian
Deborah Esrick
Linda & Joseph Farrell
Jean & Greg Farrington
Mr. & Mrs. John J. Ferguson
James Ferris
Susan & Hugh Fisher
Jean M. Fogarty
Roseanne Fogarty & Perry Smith
Dr. Arthur Fontijn
Mr. & Mrs. Allan D. Foster
Muriel Frank
Nancy T. Frank
Marie G. Franke
Robert Frost
Marjory & William Fuller
Robert J. Gallati
Eugene Garber
Dr. Janet E. Gargiulo
Carolyn Gaynor
Mr. & Mrs. Lewis Gershman
Ronald C. Geuther
Carol Gillespie & Marion E.
Huxley
Anthony Giordano
Michael C. Glover
Karen & Charles Goddard
Gary Gold Photography
Shirley Gordon
Emilie Gould & Robert Scher
Jane Graham
B. H. Green
Betty & Larry Gross
Judy Grun
Susan & Thomas Hager
Trudy Hall
Joan Ham
David Harris
Dr. & Mrs. Joseph J. Hart
Kathleen R. Hartley
Lee Helsby & Joseph Roche
Daniel Hills
Susan Hollander
Stu Horn
Martin Hotvet
Lucinda Huggins
Sister Patricia Conron & Rev.
Dominic Ingemie
Colleen James
Mary & Robert James
Michael K. Jensen
Eric & Priscilla Johnson
Laura H. Jonas
Amber Jones
Eileen C. Jones
Jeff Jones
Dr. Grace Jorgensen-Westney
Carol Juneau & Gail Bouck
Marilyn Kaltenborn
Susan & James Kambrich
Kathleen & Charles Keese
Christine Miles Kelliher & John
J. Kelliher
Christine Kelly
Tracy Kennedy
Judy & Gordon Kilby
Rosemarie & John Kinum
Doris & Frederick Kirk
Edith Kliman
Arnulf Koeppen
Cheryl Gelder-Kogan & Barry A.
Kogan, MD
Nancy & Ronald Kohn
Beatrice Kovasznay MD
Doreen D. Knudsen
James Kraft
Diane & David Kvam
2014-2015 SEASON / 55
ALBANY SYMPHONY
INDIVIDUAL GIVING
Kasey Laboy
Dan Lamont
Mary Anne & Robert Lanni
Ann Lapinski & Fred Barker
The Law Office of Alexander
Powhida
Barbara Lawrence
Judy LeCain
Eugene J. Leff
Karen B. Levy
Elizabeth & David Liebschutz
Lawrie & Alvin Lierheimer
Karen Lipson
Sara M. Lord
Christine & Eugene Lozner
Alexandra Lusak
Mr. & Mrs. Robert E. Lynk
Bessie Malamas Frank & Gladys
Maley
Mr. & Mrs. John Maloy
Frank Manderville
Patricia & Joseph Mascarenhas
Dr. & Mrs. Appleton Mason III
Susan B. & James T. McClymonds
Lillie McLaughlin
Kathleen McNamara & Larry
Litchenstein
Matthew McTygue
Dr. & Mrs. Alan Miller
Alan Miller
Victoria Miller
Patricia Mion
Barbara P. Mladinov
Adelaide Muhlfelder
Reid Muller
David Musser
Judith Mysliborski
Elizabeth & William Nathan
Maria & Michael Neal
Alan Parshley & David Neiweem
Willard Nelson
Arlene Nock
Toni Norton
Connie & Ned O'Brien
Donald R. Odell
Claire Olds
Jeanette Oppedisano
Kathy Ordway
56 / albanysymphony.org
ALBANY SYMPHONY
The Albany Symphony is deeply grateful to the following individuals
whose ingoing support insures the vitality of the Albany Symphony. The list
represents gifts received from July 1, 2013 through November 4, 2014.
Joyce & Bill Panitch
Jean Pellerin
Sarah M. Pellman
Eric Peterson
Bob & Lee Pettie
Cynthia A. Platt & Mr. David T.
Luntz
Connie Powell
Ellen Prakken & John Smolinsky
Alma L. Pusateri
David Quist
Barbara Raskin & Robin Tarnas
John L. Reber
Mary Redmond
Elaine & James Regilski
Dr. Nina Reich
Margaret M. Rendert
Teresa Ribadeneyra & Joseph
Lalka
Gail & George Richardson
Marin Ridgeway & Don Ruberg
Jill & Richard Rifkin
John Riopelle
Nancy Roberts
Eric S. Roccario, MD
Janice & Steven Rocklin
Nancy & John Rodgers
Ellen & David Rook
Julia Rosen & Charles Braverman
Rosemarie Rosen
Christina Ryba
Robert Sanders
Lucille Sarkissian
Donna Sawyer
Lois & Barry Scherer
Dorothy & Ralph Schultz
Martha D. Schroeder
Margaret & John A. Seppi
Ann Shapiro & Barry Pendergrass
Mr. & Mrs. Bryan Shanley
Dolores A. Shaw
Angela Sheehan & Franklin
Laufer
Monica & Michael Short
Elizabeth Siedhoff
Donna D. Simms
Marianne & Manfred Simon
Paula & Len Sippel
Mary Skidmore
Joyce A. Soltis
James Sprenger
Olaf Stackelberg
Sandra & Charles Stern
William Stewart
Jeannette & Larry Storch
Nancy Streeter
Adele & Norman Strominger
Marie & Harry Sturges
Dennis Sullivan
Christopher Suozzo
Matthew Suozzo
Carole & Richard Sweeton
Mary & Richard Tennant
Elizabeth A. Thornton
Donald Thurston & Robert
Englebach
Linda Toohey
Sara & Dave Torrey
Monica Trabold
Alice Trost
Terry & Daniel Tyson
Hazel A. van Aernam
Jaime Venditti
Jimmy Vielkind
Jennifer & Bryan Viggiani
Janet Vine
Dr. David A. Wasser
Enid Watsky
Maryann & Gerhard Weber
David Weinraub
Dawn Stuart Weinraub
Natalie Weinstein
John & Dorothy Whitlock
Renee Whitman
Joan Wick-Pelletier
Jean & John Wilkinson
Priscilla & Paul Wing
Dr. Carl & Caroline Wirth
George Wise
John Wood
Elizabeth & Frank Woods
Susan Standfast Wright &
Theodore Wright
Anne & Art Young
Barbara Youngberg
Michael & Barbara Zavisky
IN HONOR, CELEBRATION, & MEMORY
In Honor of David Alan Miller
Lois & Barry Scherer
Martha D. Schroeder
Susan St. Amour
In Honor of Miranda, Elias, and Ari Miller
Bonnie Friedman & Gerald Miller
In Honor of Faith A. Takes
Maria & Michael Neal
In Loving Memory of Hilde Bloch
Nancy Bader
Steluta Cristian
In Loving Memory of Adella Cooper
Eileen C. Jones
In Loving Memory of Frederick S. deBeer Jr.
Adelaide Muhlfelder
In Loving Memory of Allan D. Foster
Lois V. Foster
In Loving Memory of Paul Gershman
Mr. & Mrs. Lewis Gershman
In Memory of the Gochigian and
Sarkissian Families
Lucille Sarkissian
In Loving Memory of Robert S. Herman
Dr. & Mrs. Neil Lempert
In Loving Memory of F. William Joynt
Dr. & Mrs. Donald Bourque
In Loving Memory of Audrey P. Kaufmann
Judith & Herbert Katz
In Loving Memory of Thornton Littlefield
Elsa G. deBeer
In Loving Memory of Don B. O’Connor
Helen J. O’Connor
In Loving Memory of Jim Panton
Bonnie & Paul Bruno
Dr. Marisa Eisemann & Dr. Allan Eisemann
Alan Goldberg
Mary Anne & Robert Lanni
C. Ursula W. MacAffer
Dr. & Mrs. Thomas Older
Andrea Oser & David Alan Miller
In Loving Memory of Justine R. B. Perry
Dr. David A. Perry
In Loving Memory of Vera Propp
Dr. Richard Propp
In Loving Memory of Donald S. Rubin
Bernice Rubin
In Loving Memory of Felix Shapiro
Jacqueline & Paul Shapiro
In Loving Memory of Dick Speers
Claire Olds
In Loving Memory of Steve Wiley
S. H. George Allen
Cindy & James Barford
Joanne & James Barnard
Mr. & Mrs. Matthew Bender IV
Nancy & William Brown
Ann Carrozza
William L. Cassell
Ellen & Bruce Cohen
John Cordo, Esq.
Elsa G. deBeer
Anne Deprez
Marcia & Jack Easterling
Dr. Marisa Eisemann & Dr. Allan Eisemann
Emma Willard School
Jean & Greg Farrington
Featherstonhaugh, Wiley & Clyne
Colleen James
Carol Juneau & Gail Bouck
Kathleen & Charles Keese
Key Private Bank
Dan Lamont
Christine & Eugene Lozner
Dr. & Mrs. Appleton Mason, III
Kathleen McNamara & Larry Litchenstein
Matthew McTygue
Willard Nelson
New York State Association of Cemetaries
John L. & A.C. Riley
Donna D. Simms
Christopher Suozzo
Matthew Suozzo
The James W. Taylor Revocable Living Trust
Linda Toohey
UHY Advisors Ny, Inc.
Jaime Venditti
David Weinraub
Dorothy & John Whitlock
Barbara Wiley
2014-2015 SEASON / 57
We invite you to create
your own legacy and join
the following members
of The Encore Society:
The Encore Society
THE FUTURE IS IN YOUR HANDS!
To keep orchestral music alive in our community, and to
ensure that future generations experience the joy of this
art form, won’t you please consider the Albany Symphony
when planning your estate? In addition to naming the
Albany Symphony in your will, there are several ways you
can do this:
Charitable Bequest: Several types are possible including
Charitable Remainder Trusts, Pooled Income Funds,
Charitable Lead Trusts, Charitable Gift Annuities and Annual
Exclusion Gifts.
Retirement or Pension Plan: You can name the Albany
Symphony as a beneficiary of your pension plan or IRA. This
can help reduce estate and income taxes which might be
due on these investments.
Life Insurance: You can name the Albany Symphony as the
beneficiary of a new or existing insurance policy.
Add a POD or TOD Designation: Add a “pay on death”
(POD) or “transfer on death” (TOD) designation to a bank
or brokerage account, naming the Albany Symphony
to receive the assets.
To discuss these or other planned giving options,
please contact:
Rachel Jason
Marketing and Development Associate
(518) 465-4755
rachelj@albanysymphony.com
Dr. Heinrich Medicus
Matthew Bender IV
Charlotte & Charles
Buchanan
Adella S. Cooper
Marisa Eisemann
Alan Goldberg
Edward M. Jennings
Steve Lobel
John L. Riley
Gretchen A. & Lewis C.
Rubenstein
Harriet & Edward Thomas
Paul Wing
The Albany Symphony is deeply grateful to
the foundations, corporations, & government
agencies whose ingoing support insures the
vitality of the Albany Symphony. Donors from:
July 1, 2013 through November 4, 2014.
$100,000+
Andrew W. Mellon Foundation
Capital Culture
$50,000+
Capital District Regional
Economic Development
Council
City of Albany / Palace Theatre
$25,000+
Aaron Copland Fund for Music
CDPHP
General Electric Company
NYSCA
Vanguard-Albany Symphony
$10,000+
Amphion Foundation
Averill Park Education
Foundation
Community Care Physicians
Featherstonhaugh, Wiley,
Clyne & Cordo
GE Foundation
Omni Development Company
M&T Charitable Foundation
National Endowment for the Arts
Naxos Rights USA, Inc.
New Music USA
(Formerly Meet the Composer)
Nigro Companies
John D. Picotte Foundation
Price Chopper /
Golub Foundation
Prufrock Ventures, LLC
$5,000+
Albany Medical Center
Alice M. Ditson Fund
Ann & Gordon Getty Foundation
ALBANY SYMPHONY
FOUNDATIONS, CORPORATIONS,
& GOVERNMENT AGENCIES
Armory Automotive Group
Barry Alan Gold Memorial Fund
Bouchey Financial Group, Ltd
Charles R. Wood Foundation
E. Stewart Jones Law Firm PLLC
May K. Houck Foundation
J. M. McDonald Foundation Inc.
KeyBank Foundation
Lucille A. Herold Charitable Trust
The Robison Family Foundation
Sano-Rubin Construction
Saratoga Arts Fest, Inc.
The Swyer Companies
TD Charitable Foundation
United Group of Cos.
Wine and Dine for the Arts
$2,500+
Academy of Holy Names
Albany County Convention
Bureau
Albany Fund for Education
American Society of Composers,
Authors and Publishers
(ASCAP)
Ameriprise Financial &
Micheileen Treadwell
Comfortex Corporation
Drs. Bruce, Elacqua, Ford &
Bloomfield of OB/GYN Health
Center Associates
Lingualinx
Macy's Corporate Services, Inc.
MVP Health Care
Pioneer Bank
SaxBST
Stewart's Shops
St. Peter's Health Partners
Whiteman Osterman
& Hanna LLP
Woodland Hill Montessori
School
$1,000+
BBL Construction Services
CS Architects
IBM Corporation
Janney Montgomery Scott
The Music Studio
Renaissance Corporation
of Albany
Rifenburg Construction Inc.
Southern Vermont College
$500+
Dechants, Fuglein & Johnson
DST Systems, Inc.
Fenimore Asset
Management, Inc.
Firestone Family Foundation
Morgan Stanley
Parkview Community
The Rockefeller Foundation
$250+
Tiny Tots Tea Room
Grafton Community Library
Susan Odell Taylor School
UHY Advisors NY, Inc.
$100+
Key Private Bank
New York State Association of
Cemeteries
2014-2015 SEASON / 59
ALBANY SYMPHONY
SPECIAL THANKS
Camille & Andrew Allen
Concetta Bosco
Mimi Bruce & David Ray
Charles Buchanan
Charlotte & Charles Buchanan
The Carlson/Lee Family
Ben Chi
Star Donovan
Bonnie Edelstein
Catherine & Carl Hackert
Debra & Paul Hoffman
Susan Jacobsen
Nettie Lamkey & Robert Pastel
The Albany Symphony extends a very special thank you to patrons who are
generously providing housing for musicians during the 2014-2015 season.
Eric Latini
Bill Lawrence & Alan Ray
Susan Libby
Janet & Bryan Marler
Susan Martula & David Perry
Mary & Steve Muller
Deb Onslow
Nina Pattison
Marlene & Howard Pressman
Jan & Reese Satin
Joan Savage
Dodie & Pete Seagle
Julie & Bill Shapiro
PROUD SUPPORTERS OF THE 2015-2016 MAHLER CONCERT
Steven Einhorn
Eileen LaCorte,
LaCorte Companies, Inc.
Thomas Marusak,
Comfortex
Daniel P. Nolan,
Hugh Johnson Advisors
Onnolee & Larry Smith
Lois & John Staugaitis
Andrea & Michael Vallance
Marjorie & Russ Ward
Barbara Wiley
Hannelore Wilfert & Karl
Moschner
ALBANY SYMPHONY
IN-KIND DONATIONS
City of Albany / The Palace Theatre
Jim Rua, Café Capriccio
Hill and Markes
McNamee, Lochner
Hampton Inn
John Keal Music
Preville Technology
Old Daley Inn
Surroundings Floral
Barry Richman & Pearl Grant
Richmans
Edward Swyer,
The Swyer Companies
OB/GYN Health Center Associates
Proudly Supporting the Albany Symphony Orchestra.
MelodyA.BruceMD•MaryS.ElacquaMD•JockularB.FordMD•NaomiT.BloomfieldMD
ChristopherA.BlossMD•ChristopherC.MedinaMD•LauraN.SlavinMD
MargaretA.GriffinNP,MS•StevenF.DeSerreCNM•MichelleN.GallantCNM•ColleenM.MurtaghCNM
•Welcomingfemalepatientsofallages.
•OnsiteservicesincludeMinimallyinvasivesurgeries,
Mammography,UltrasoundandBoneDensity.
•ThreeConvenientLocations:
North Greenbush • Clifton Park • Delmar
60 / albanysymphony.org
(518) 274-0476
www.communitycare.com
2014-2015 SEASON / 61
ALBANY SYMPHONY
!
BOARD & ADMINISTRATION
SARATOGA CHAMBER PLAYERS!
!
JILL LEVY, ARTISTIC DIRECTOR!
!
BOARD OFFICERS
Marisa Eisemann, MD
BOARD OF DIRECTORS
Gemma Louise Allen
Matthew Bender IV
Melody Bruce, MD
Benjamin E. Chi
Marcia Cockrell
Elsa G. deBeer
Ann Errichetti, MD
Nicholas J. Faso
Joseph T. Gravini
Pradeep Haldar
Anthony P. Hazapis
Edward M. Jennings
Spencer B. Jones
Mark P. Lasch
Cory Martin
Heinrich Medicus
John J. Nigro
Anne Older
Deb Onslow
Emily Preceruti
John Regan
Barry Richman
John L. Riley
David Rubin
ADMINISTRATION
Lawrence J. Fried
MARKETING & DEVELOPMENT
Ella Golding Montelone
OPERATIONS & EDUCATION
Jenene Cherney
DIRECTOR OF
FINANCE
Scott Allen
Rachel Jason
Derek Smith
Erica Sparrow
Justin Cook
Susan Libby
CHAIRMAN
Jerel Golub
VICE CHAIR
Marc H. Paquin
VICE CHAIR
Beth Beshaw
VICE CHAIR
Christine Standish
VICE CHAIR
Spencer B. Jones
SECRETARY
David Rubin
TREASURER
Alan P. Goldberg
!!
WWW.SARATOGACHAMBERPLAYERS.ORG!
28th season : 2014 - 2015!
These concerts made possible, in part, by a grant from NYSCA!
Union College Concert Series
43 International Festival of Chamber Music
rd
CHAIRMAN EMERITUS
Steven Lobel
IMMEDIATE PAST CHAIR
EXECUTIVE DIRECTOR
Rabbi Scott Shpeen
Faith A. Takes
Anthony P. Tartaglia, MD
Micheileen Treadwell
EX-OFFICIO DIRECTORS
Hon. Kathy Sheehan
MAYOR, CITY OF ALBANY
Suzanne Waltz
PRESIDENT, VANGUARD-ALBANY
SYMPHONY, INC.
DIRECTORS CIRCLE
Karol Gordon
Andrew W. Halliday, JD
Sherley Hannay
John B. Kinum
Jim Lenden
Charles M. Liddle III
Judith B. McIlduff
James K. Reed, MD
DIRECTOR OF MARKETING
& COMMUNICATIONS
ARTISTIC OPERATIONS
MARKETING &
DEVELOPMENT ASSOCIATE
FINANCE DIRECTOR
FINANCE ASSISTANT
EDUCATION COORDINATOR
& GRANTS ADMINISTRATOR
PATRON SERVICES
& BOX OFFICE MANAGER
PERSONNEL MANAGER
Liz Silver
Chuck Kraus
Leading classical musicians.
Only 25 minutes away.
$25, $11 by subscription.
B e l c e a •B l e c h a c z •E b è n e •D o r i c •S h a o
B o s t o n C a m e r a t a •F i n c k e l & H a n
B r e n t a n o •Z o r m a n •G r o s v e n o r •M i r ó
L e w i s •B i s s •B o s t r i d g e •E m e r s o n
To advertise in the program, contact: program@albanysymphony.org.
STAGE MANAGER
“Bravo!”
OPERATIONS & EDUCATION
Bausback & McGarry
F
a M i l y
Debra G. bausback, D.M.D.
Gabriel J. McGarry, D.D.s.
unioncollegeconcerts.org • 518-388-6080
MUSIC LIBRARIAN
Brian Larvia
GROUP SALES MANAGER
D
e n t a l
c
a r e
840 Kenwood Ave. / Slingerlands, NY 12159
518-439-9939 / fax 518-439-0577
www.whbdental.com
2014-2015 SEASON / 63
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As an Ameriprise financial advisor, I remain true to our
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Micheileen J. Treadwell
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4 Atrium Drive, Suite 200
Albany, NY 12205
518.438.5500 x106
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For more information,
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Providing Construction Services to the Capital Region
since 1912
Building
Our Community
Proud supporter of the Albany Symphony Orchestra
Providing Construction Services to the Capital Region
since 1912
Proud supporter of the Albany Symphony Orchestra
Investment advisory products and services are made available through Ameriprise
Financial Services, Inc., a registered investment adviser.
Ameriprise Financial Services, Inc. Member FINRA and SIPC.
© 2014 Ameriprise Financial, Inc. All rights reserved. (8/14)
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(518) 462-6471 www.sano-rubin.com
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