
FOLK MUSIC INSPIRED
About
March 1, 2026 @ 3:00 pm Saint Paul’s Syracuse 220 East Fayette Street Syracuse , NY 13202
Program
BÉLA BARTÓK
Romanian Folk Dances, BB 76
I. Jocul cu bâta (Stick Dance)
II. Brâul (Waistband Dance)
III. Pe loc (Stamping Dance, or On the Spot)
IV. Buciumeana (Hornpipe Dance)
V. Poarga româneasca (Romanian Polka)
VI. Maruntel (Quick Dance)
ZOLTÁ KODÁLY
Dances of Marosszek
ANTONÍN DVOŘÁK
Czech Suite in D Major, Op. 39, B.93
I. Praeludium (Pastorale): Allegro moderato
II. Polka: Allegretto grazioso
III. Menuetto (Sousedská): Allegro giusto
IV. Romanze: Andante con moto
V. Finale (Furiant): Presto
GEÖRGY LIGETI
Concert Românesc (Romanian Concerto)
1. Andantino
2. Allegro vivace
3. Adagio ma non troppo
4. Molto vivace–Presto
This concert will be performed without intermission
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“…the playing of the IPO under Stilian Kirov was consistently impressive—polished, strongly projected, and bristling with virtuosic energy. As Kirov begins his third season as music director, it is clear that the young maestro is taking his southwest suburban orchestra to a new and exciting level.”
– ...
“…the playing of the IPO under Stilian Kirov was consistently impressive—polished, strongly projected, and bristling with virtuosic energy. As Kirov begins his third season as music director, it is clear that the young maestro is taking his southwest suburban orchestra to a new and exciting level.”
– Lawrence A. Johnson | Chicago Classical Review
First Prize Winner of the “Debut Berlin” Concert Competition, prizewinner at Denmark’s 2015 Malko Competition as well as the 2010 Mitropoulos Competition, Stilian Kirov made his debut at the Berlin Philharmonie in 2017. He is currently Music Director of the Illinois Philharmonic and the Bakersfield Symphony. A former Music Director of Symphony in C in New Jersey (2015-2020), he is also a recipient of numerous Solti Foundation U.S. Career Assistance Awards (2016-2019).
Highlights of Mr. Kirov’s guest performances include appearances worldwide with the Israel Camerata, Xi’An Symphony, Minas Gerais Philharmonic Orchestra, Sofia Philharmonic, Leopolis Chamber Orchestra/Ukraine, Orchestra of Colors/Athens, Orchestre Colonne/Paris, Sofia Festival Orchestra, State Hermitage Orchestra/St. Petersburg, Thüringen Philharmonic Orchestra, the Zagreb Philharmonic, the Musical Olympus International Festival in St. Petersburg, and the Victoria Symphony/British Columbia, among others.
In the United States, Mr. Kirov has collaborated with the symphonies of Seattle, Memphis, Chautauqua, Omaha, West Virginia as well as the Amarillo Symphony, National Repertory Orchestra/Breckenridge, and the Tucson Symphony and the Pacific Northwest Ballet.
Stilian Kirov assisted distinguished conductors such as the late Bernard Haitink with the Chicago Symphony Orchestra as well as Stéphane Denève, the late Rafael Frühbeck de Burgos, Christoph von Dohnányi, and the late Andrew Davis, all with the Boston Symphony Orchestra.
Mr. Kirov is a graduate of The Juilliard School’s orchestral conducting program, where he was a student of James DePreist. He has also studied with the late Kurt Masur, Michael Tilson Thomas, the late Gianluigi Gelmetti, George Manahan, Robert Spano and Asher Fisch, among others.
Also a gifted pianist, Stilian Kirov was Gold Medalist of the 2001 Claude Kahn International Piano Competition in Paris.
Program Notes
At least since the medieval period, folk music has been an important influence on—and ingredient in—what we’ve come to call “classical music.” But it has played different roles at different historical periods. You can certainly find some references to folk music in Mozart and especially Haydn, but it’s usually a matter of adding a bit of local color to the work. Folk music became more prominent starting in the Romantic period—especially as the nineteenth century wore on—when it was caught up in politics (including nation-building) and cultural identity.
Even here, though, ...
At least since the medieval period, folk music has been an important influence on—and ingredient in—what we’ve come to call “classical music.” But it has played different roles at different historical periods. You can certainly find some references to folk music in Mozart and especially Haydn, but it’s usually a matter of adding a bit of local color to the work. Folk music became more prominent starting in the Romantic period—especially as the nineteenth century wore on—when it was caught up in politics (including nation-building) and cultural identity.
Even here, though, it was incorporated in several different ways. One distinction is especially important. On the one hand, we have settings or quotations of pre-existing material (songs, dances) with new harmonies, colors, and elaborations: Vaughan Williams’s orchestral version of “Greensleeves,” for instance, or Tchaikovsky’s quotation of “The Marseillaise” in the 1812 Overture. On the other hand, we have inventions of folk-sounding material. The main theme of the slow movement of the “New World” Symphony, composed entirely by Dvořák, is often mistaken for a pre-existing folk song. (It was, in fact, later turned into the song “Goin’ Home” by one of Dvořák’s pupils.)
This concert of nineteenth- and twentieth-century music from Eastern Europe—what our Bulgarian-born conductor Stilian Kirov is offering as “a little bouquet from home”—represents both types of folk influence. At the same time, it offers us a program that “is very close to the human soul in so many different ways, whether it be a nostalgic, beautiful melody, or a fun, energetic dance.” Stilian also hopes you’ll feel the “ritual” and “mystical” aspects of Eastern European folk music: “The music is tightly related to the spiritual element of chanting, meditation, dancing together, the rhythms that repeat again and again that create this loop of immersiveness.”
The folk flavor of the Czech Suite (1879) by Antonín Dvořák (1841–1904) had at least a double motivation. First, there was an economic factor. Music with an ethnic flavor was popular with listeners, not only in the concert hall but also at home; the market for four-hand piano music was especially profitable. Dvořák’s mentor Brahms had a hit on his hands when he published his first set of Hungarian Dances in 1869 (it was followed by a sequel in 1880); and he was able to use his influence to get his publisher Simrock to commission a similar set from Dvořák in 1878, a set that had a similar success. The Czech Suite came in its wake a year later.
But there was a second reason for Dvořák’s mining of folk music: He was very much a nationalist composer in the sense that he saw folk music—of whatever country a composer happened to inhabit—as an important source of musical vitality and character. (He brought that philosophy to the United States when he lived here briefly at the end of the century, encouraging American composers to draw on the spirit of African-American and Native American music to create their own artistic culture, free from European domination).
Oddly, despite his commitment to Czech folk music, Dvořák wrote the tunes for the Czech Suite (and the Slavonic Dances, for that matter) himself, relying not on pre-existing music but rather on his distillation of the spirit of Czech folk music. (In contrast, Brahms—who had no ethnic, philosophical, or political commitment to advancing Hungarian music—used pre-existing tunes for most of his Hungarian Dances). But Dvořák did catch that Czech spirit well, just as he was able to catch the spirit of America in his “New World” Symphony.
The Czech Suite has five movements. Two of them—the Prelude and the Romance—are pictorial evocations of the Czech landscape (you may hear bird calls in the Prelude) and spirit. The remaining three are specific dances (a polka, a sousedská, and a furiant to close) of his own devising, incorporating the gestures of Czech folk music. This is, in other words, idealized folk music with polish—more “authentic” than the Middle Eastern music we heard in Rimsky-Korsakov’s Scheherazade at our last concert, but still well-dressed and sporting company manners.
The two works by Béla Bartók (1881–1945) and Zoltán Kodály (1882–1967) are a bit rougher than Dvořák’s (although not as rough as some of Bartók’s other music could be). Certainly, as Stilian puts it, they reveal less “influence from Western European music.” Indeed, while both men respected the great Austro-German composers who dominated the concert halls (Bartók, in fact, made piano recordings of Bach, Beethoven, Liszt, and Brahms, among others), as composers they wanted to escape from the strictures of that tradition—and their interest in Eastern European folk music helped them do that. That interest was not casual. Both were, in fact, ethnomusicologists, among the pioneers of rigorous phonograph-based field study. These works are the result of serious research.
Bartók’s brief set of Romanian Folk Dances, one of his most popular works, was originally composed for piano in 1915 and arranged for orchestra in 1917. (There are many other versions as well, most notably one for violin and piano, arranged by his good friend and chamber-music partner, Zoltán Székely). Mostly fast and upbeat in spirit, these are settings of dances that Bartók himself collected, keeping their original melodies intact, but providing his own harmonic support, instrumental coloring (except for the final pair—which form a single movement in the piano original—each has a slightly different orchestration), and a certain amount of elaboration.
Kodály’s Dances of Marosszék also began as a piano piece. In fact, says Stilian, “it’s a very special piece to me, because when I was living in France, I played it on the piano for my graduation piece.” The work was later orchestrated at the request of Arturo Toscanini for the New York Philharmonic and premiered in 1930. Like the Bartók, it is based on pre-existing tunes, but they’re earlier in origin (in the preface to the score, Kodály contrasts these tunes “from a former epoch” with the more urban music Brahms set in his Hungarian Dances.) More specifically, says Stilian, “the piece was inspired by old Transylvanian (Erdély) folk music of the region around Marosvásárhely/Târgu Mure? (which today is in Romania), particularly melodies played on the shepherd’s flute or violin.”
Whereas Bartók keeps his chosen dances distinct, Kodály combines them, as Stilian notes, into a “single continuous movement.” More specifically, it’s a modified rondo, where a mournful main theme (varied on each return) weaves around the three following dances, before a brilliant finale—a device that reminds Stilian of the Promenade that holds Mussorgsky’s Pictures at an Exhibition together. On the whole, it’s a somewhat slower and darker piece than the Bartók is, but it has much the same spirit.
We close with the Concert Românesc by György Sándor Ligeti (1923–2006). Ligeti led a troubled and peripatetic life. He’s generally described as a “Hungarian” composer, although the region where he was born was part of Romania at the time. A member of a Jewish family, he lost his father and brother in the Holocaust and was himself sent to a forced labor camp. Even after the war, living in Hungary behind the Iron Curtain, he suffered both from anti-Semitism and from the artistic strictures imposed by the Soviets, until he emigrated to Vienna in 1956 after the Hungarian Uprising. Yet through it all, he maintained both his integrity and his imagination—as well as a certain rebellious spirit that was suspicious of all musical dogmas, including the conservative dogmas of the Soviet authorities and the more radical serial dogmas in the post-war West.
Even if you think you don’t know his music, you may well have heard it. More than a half hour of it was used, to the composer’s surprise, by Stanley Kubrick in the soundtrack for 2001: A Space Odyssey. His fame has only grown since then. His Études, for instance, are widely regarded as the most significant since Debussy’s and have been taken up by such luminaries as Yuja Wang and Jeremy Denk.
For all that later acclaim as an innovator, however, Concert Românesc shows him at an early stage of development. He had, in fact, done a fair amount of folkloric study himself, which shows up clearly in this score. For some reason, it ran afoul of the authorities at the time, but it’s an approachable work very much in the line of Bartók and Kodály (who was in fact one of his teachers).
The Ligeti makes an especially good closer to the concert for three reasons. First, it combines the treatment of folk melodies found in the Bartók and Kodály with that found in Dvořák, intermingling real folk melodies with others drawn from Ligeti’s imagination. Second, the title suggests that it’s a concerto—and although there’s no dominant soloist, you can sense a similarity to the Concertos for Orchestra by Bartók and Kodály. Every piece on the program, as you’ll see, gives individual players solo turns; but this one offers the greatest opportunities for display. Finally, in purely sonic terms, it’s the splashiest piece on the program. The ending, with its striking dynamics, its unusual colors, and its antiphonal effects, may leave you speechless. Says Stilian: “In a way, Concert Românesc already hints that this composer is going to be an innovator, showing the teeth of the little monster that he will evolve into being.”
Peter J. Rabinowitz
Have any comments or questions? Please write to me at prabinowitz@SyracuseOrchestra.org
The Orchestra
FLUTE
Vacant, Principal
Supported by Dr. Paul E. Phillips & Sharon P. Sullivan, in memory of Frederick B. Parker, M.D.
Kelly Covert
PICCOLO
Kelly Covert
Supported by Susan Moran
OBOE
Eduardo Sepúlveda, Principal
The Philip R. MacArthur Chair
Mickenna Keller
ENGLISH HORN
Mickenna Keller
CLARINET
Allan Kolsky, Principal
John Friedrichs, Assistant First Chair
BASS CLARINET
John Friedrichs
BASSOON
Rachel Koeth, Principal
Jessica Wooldridge King
CONTRABASSOON
Jessica Wooldridge King
HORN
Jon Garland, Principal
Nancy & David Ridings Chair
Supported by Johanna Ames
Jonathan Dozois
Supported by Paul Brown & Susan Loevenguth
^Julie Bridge, Associate Principal
Tyler Ogilvie
TRUMPET
John Raschella, Principal
Robert C. Soderberg Chair
Supported by Elsa & Peter Soderberg
Roy Smith
TROMBONE
Benjamin Dettelback, Principal
Supported by Sharye Skinner
David Seder
Jackson Murphy
Bass Trombone supported by an anonymous friend
TUBA
Justin Benavidez
TIMPANI
Glenn Paulson
Supported by Mary Ann Tyszko
PERCUSSION
Michael W. Bull, Principal
Supported by Alice & Michael Kendrick
Ernest Muzquiz
Supported by Cherry & Peter Thun
Laurance Luttinger
VIOLIN I
Peter Rovit, Concertmaster
Supported by Robert & Vicki Lieberman
Sonya Stith Williams, Associate Concertmaster
Supported by Virginia Parker, in memory of Frederick B. Parker, M.D.
Edgar Tumajyan, Assistant Concertmaster
Supported by David A. A. Ridings
Noemi Miloradovic
Laura Smith
Liviu Dobrota
Edwin Lok Hin Cheng
Christopher Stork
Asher Wulfman
Olivia Moaddel
VIOLIN II
Amy Christian, Principal
Supported by Martin Hewitt & Katarína Óladóttir
Anita Gustafson, Assistant Principal
Benjamin Mygatt
Sara Silva
Amanda Brin
Linda Carmona
Adam Jeffreys
Qiyue He
VIOLA
Michael Halbrook, Principal
Arvilla Wendland, Acting Assistant Principal
Carol Sasson
Supported by Madison Financial Planning Group
William Ford-Smith
Batmyagmar “Miga” Erdenebat
CELLO
Heidi Hoffman, Principal
Supported by David Abrams, in memory of Cheryl Abrams
Lindsay Groves, Assistant Principal
Supported by George Bain
^Gregory Wood, Assistant Principal
Lydia Parkington, Assistant Principal
Walden Bass
Supported by Susan R. Klenk
George Macero
Supported by Bill & Nancy Byrne
BASS
Spencer Phillips, Principal
Supported by Lou & Kathy Lemos
Michael Fittipaldi, Assistant Principal
Supported by Barbara Davis, in memory of Leslie Davis
Joshua Kerr
Marshall Henry
PERSONNEL MANAGERS
Arvilla Wendland
Jonathan Dozois
LIBRARIAN
Kyle Jones
^ on leave for the 2025-26 season
Donor List
We are grateful to the following donors for their generous gifts received between January 27, 2025 and January 27, 2026. Every effort has been made to ensure the accuracy in the listing below, but if you find a discrepancy, please contact Riley Farnham at RFarnham@SyracuseOrchestra.org or (315) 434-5647.
Onward Donors
Gifts received towards Onward over the course of 3 years totaling $20,000+ receive recognition for underwriting a ...
We are grateful to the following donors for their generous gifts received between January 27, 2025 and January 27, 2026. Every effort has been made to ensure the accuracy in the listing below, but if you find a discrepancy, please contact Riley Farnham at RFarnham@SyracuseOrchestra.org or (315) 434-5647.
Onward Donors
Gifts received towards Onward over the course of 3 years totaling $20,000+ receive recognition for underwriting a musician’s chair. The goal of this ongoing effort is to ensure that all musicians with The Syracuse Orchestra are fairly compensated for their time, talent, and expertise.
Anonymous, in memory of John R. Iannota: Jackson Murphy, Bass Trombone
David Abrams, in memory of Cheryl Abrams: Heidi Hoffman, Principal Cello
Johanna Ames: Jon Garland, Principal Horn
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Paul Brown & Susan Loevenguth: Jonathan Dozois, Second Horn
Madison Financial Planning Group: Carol Sasson, Section Viola
Susan Moran: Kelly Covert, Second Flute/Piccolo
Virginia Parker, in memory of Frederick B. Parker, M.D.: Sonya Stith Williams, Associate Concertmaster
Dr. Paul E. Phillips & Sharon P. Sullivan, in memory of Frederick B. Parker, M.D.: Principal Flute
David A. A. Ridings: Edgar Tumajyan, Assistant Concertmaster
Sharye Skinner: Ben Dettelback, Principal Trombone
Elsa & Peter Soderberg: John Raschella, Principal Trumpet
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Conductor’s Podium in memory of Frederick B. Parker, M.D.
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Michael & Rissa Ratner
Mary Ann Tyszko
IN HONOR OF MUSIC TEACHERS IN LIVERPOOL SCHOOLS, PAST & PRESENT
Holly Pratt
Pratt Family
IN HONOR OF GLORIA NOBLE
Leslie Noble
IN HONOR OF SEAN O’LOUGHLIN
Don & Loraine Ridall
IN MEMORY OF GINNY & FRITZ PARKER
Barbara Beckos & Arthur McDonald
Amy & Matthew Parker
IN MEMORY OF RAYMOND PARZYCH
Mary Rinaldi
IN MEMORY OF DEBORAH PELLOW
Albrecht Diem & Matthieu van der Meer
IN MEMORY OF DONNA PERRICONE
Barbara Genton
IN MEMORY OF NEVA PILGRIM
Richard Pilgrim
IN MEMORY OF ELIZABETH PIZZUTO
Joseph & Jeanne Pizzuto-Sauve
IN MEMORY OF BEVERLY POTTER
Karen Potter
IN MEMORY OF MARY LOU PRITCHETT
Anonymous
Chad & Jenna Arnold
Nicolina Bisson
Leslie Durant
Karli Sager
The Schardt & Buehren Families
Mary & Ronald Spohn
IN HONOR OF PETER & NANCY RABINOWITZ
Katheryn Doran
IN MEMORY OF BETTY REESE
Allan & Cheryl Maxian
IN HONOR OF DAVID A. A. RIDINGS
Robert & Alice Andrews
Ruth D. Brown
IN MEMORY OF CAROL F. ROHRER
Eden Rohrer & William Ryder
IN HONOR OF THE PEOPLE BEHIND THE SCENES
Harold Teller
IN HONOR OF EDUARDO SEPÚLVEDA
David Rankert
Gracia Sears
IN HONOR OF PAT SHARPE
Kip & Terry Hargrave
IN MEMORY OF ROBERT L. SLAVENS
Nancy Slavens
IN MEMORY OF REBA JANE SPENCER
Michael Jeffrey Spencer
IN HONOR OF LINDA TASSA
Christine Clay
IN MEMORY OF DAVID TATHAM
Cleota Reed
IN HONOR OF ALL THE MUSICIANS & CONDUCTORS, AS WELL AS DEDICATED SUPPORT STAFF OF THE SYRACUSE ORCHESTRA
David Rankert
IN MEMORY OF SUZANNE TODERO
Stephen & Doreen Bosch
IN MEMORY OF THELIE TROTTY-SELZER
Jon Selzer
IN HONOR OF MARY ANN TYSZKO
Cynthia Dowd Greene & Mark Greene
IN MEMORY OF CAROLE VALESKY
Joseph Valesky
IN MEMORY OF DORIS WEBSTER & SALLY GOULD
Sally Webster
IN MEMORY OF BILL WEST
Alan Fischler & Karen McDonold
IN MEMORY OF JOHN J. WHITTLE
The John & Judy Whittle Charitable Trust
IN MEMORY OF DAVID WHYTE
Anne Whyte
IN HONOR OF PETER ROVIT & GREGORY WOOD
Young & Kelly Lee
IN MEMORY OF RYAN P. WOOD
Greg & Rita Wood
Board of Directors
Martin Hewitt | President
Special Counsel, Fried Frank
Marcus Cerroni | Vice President & Treasurer
Principal & Co-Founder, Modali Consulting
John Riley | Secretary
Senior Counsel, Bond, Schoeneck, & King
Daniel Berkowitz
Associate Attorney, Bousquet Holstein PLLC
Amy Christian
Musician, The Syracuse Orchestra
Kelly Covert
Musician, Special Events Manager,
The Syracuse Orchestra
Daniel Feng
CTO, PEC, Inc.
Vicki Feldman
Community Volunteer
Kimberly Flomerfelt-Puc
Community Volunteer
Jon Garland
Musician, Director of Operations,
The Syracuse Orchestra
George Kilpatrick
Host, Inspiration for the Nation
Allan Kolsky
Musician, The Syracuse Orchestra
John Liddy
VP of Innovation & Entrepreneurship,
CenterState CEO
Robert Lieberman
Managing Partner, RAV Properties
Frank Messere
Dean Emeritus, School of Communication,
Media & the Arts, SUNY Oswego
Jackie Penfield
Director of Client Services, OneGroup
Michael Ratner, M.D.
Surgeon, Upstate Medical Center (retired)
Eduardo Sepúlveda
Musician, The Syracuse Orchestra
Martha Sutter
Associate Dean of Graduate Programs
& Teaching Professor of Voice, Syracuse University
Gwendolyn Sykes
Executive VP, Finance & CFO, SRC, Inc.
Pamela Murchison
Executive Director (ex officio)
The Syracuse Orchestra Staff
Pamela Murchison
Executive Director
Jon Garland
Director of Operations
Andrew Teller
Orchestra Manager
Arvilla Wendland
Personnel Manager
Jonathan Dozois
Assistant Personnel Manager
Kyle Jones
Librarian
Jon Mosbo
Stage Manager
Lara Mosby
Director of Community Engagement
Kelly Covert
Special Events Coordinator
Riley Farnham
Development Director
James Mehran
Marketing Director
Brian Pope
Marketing and Data Manager
Krystina Carnifax
Box Office Representative
Stephen Salem
Interim Youth Orchestra Music Director
Rob Auler
Interim Youth Repertory Orchestra Conductor
Jessica Tumajyan
Youth Strings Conductor







