
AWADAGIN PLAYS MOZART
About
March 7, 2026 @ 7:30 pm Oncenter Crouse Hinds Theater 421 Montgomery St. Syracuse , NY 13202
Program
GUILLAUME CONNESSON
Celephais from Les Cités de Lovecraft
WOLFGANG AMADEUS MOZART
Concerto No. 23 in A major for Piano and Orchestra, K. 488
I. Allegro
II. Adagio
III. Allegro assai
Awadagin Pratt, piano
INTERMISSION
SERGE PROKOFIEV
Symphony No.5 in B-flat major, op.100
I. Andante
II. Allegro marcato
III. Adagio
IV. Allegro giocoso
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DAVID ABRAMS
Featured Artists
Currently serving as the Associate Conductor of the Pittsburgh Symphony Orchestra and the Music Director of the Pittsburgh Youth Symphony Orchestra, Jacob Joyce, age 31, is quickly gaining recognition as a dynamic and innovative presence on the podium. Joyce recently stepped in on short notice for performances on the PSO’...
Currently serving as the Associate Conductor of the Pittsburgh Symphony Orchestra and the Music Director of the Pittsburgh Youth Symphony Orchestra, Jacob Joyce, age 31, is quickly gaining recognition as a dynamic and innovative presence on the podium. Joyce recently stepped in on short notice for performances on the PSO’s subscription series of Sibelius’s Symphony No. 5 and Bernstein’s Serenade with James Ehnes, to widespread critical acclaim. He also recently concluded his tenure as the Resident Conductor of the Indianapolis Symphony Orchestra, and has made his debut with several American orchestras in past seasons, including the Detroit, St. Louis, Houston, Colorado, Florida, Ann Arbor, and Baton Rouge symphonies. Abroad, Mr. Joyce has conducted the London Symphony Orchestra, the NDR-Sinfonieorchester, the hr-Sinfonieorchester Frankfurt, and the Frankfurt Museumsorchester. For his work in Indianapolis and around the world, he was awarded a Solti Career Assistance Award in 2020.
Mr. Joyce previously served as the Conducting Fellow for the Fort Worth Symphony, with whom he collaborates frequently, and has also held positions as the Associate Conductor of the Yale Symphony Orchestra, Music Director of the Berkeley College Orchestra, Music Director of the Opera Theater of Yale College, and Cover Conductor of the Handel and Haydn Society of Boston. An avid promoter of contemporary music, he has conducted several premieres of orchestral and operatic works. Mr. Joyce is also an advocate for bringing classical music to new audiences. He is the host and creator of the podcast Attention to Detail: The Classical Music Listening Guide, which provides people of all backgrounds with basic techniques for listening to classical music. He also works extensively with educators, music teachers, and orchestra directors, providing career advice and instruction to students across the country.
Mr. Joyce studied Orchestral Conducting with Hugh Wolff at the New England Conservatory. He has also received instruction at the Tanglewood Music Center and the American Academy of Conducting at Aspen. In recognition of his work, Joyce was awarded the Robert Spano Conducting Prize at Aspen, and was a semifinalist in the LSO Donatella Flick Conducting Competition and the Solti International Conducting Competition. Mr. Joyce graduated from Yale College in 2014, with a B.A. in Music and Economics. He also received a M.M. in Violin Performance from the Yale School of Music in 2015, studying with Syoko Aki.
As a violinist, Mr. Joyce has performed with several orchestras nationwide, and was awarded the Broadus Erle Prize for an Outstanding Violinist at the Yale School of Music. He served as the concertmaster of the Yale Symphony Orchestra, and performed regularly with the Boston Philharmonic and the Atlantic Symphony. He has previously attended the Tanglewood Music Center, the Bowdoin International Music Festival, and Encore School for Strings.
Among his generation of concert artists, pianist Awadagin Pratt is acclaimed for his musical insight and intensely involving performances in recital and with symphony orchestras.
Born in Pittsburgh, Awadagin Pratt began studying piano at the age of six. Three years later, having moved to Normal, Illinois with ...
Among his generation of concert artists, pianist Awadagin Pratt is acclaimed for his musical insight and intensely involving performances in recital and with symphony orchestras.
Born in Pittsburgh, Awadagin Pratt began studying piano at the age of six. Three years later, having moved to Normal, Illinois with his family, he also began studying violin. At the age of 16 he entered the University of Illinois where he studied piano, violin, and conducting. He subsequently enrolled at the Peabody Conservatory of Music where he became the first student in the school’s history to receive diplomas in three performance areas – piano, violin and conducting. In recognition of this achievement and for his work in the field of classical music, Mr. Pratt received the Distinguished Alumni Award from Johns Hopkins as well as an honorary doctorate from Illinois Wesleyan University after delivering the commencement address in 2012.
In 1992 Mr. Pratt won the Naumburg International Piano Competition and two years later was awarded an Avery Fisher Career Grant. Since then, he has played numerous recitals throughout the US including performances at Lincoln Center, the Kennedy Center, Dorothy Chandler Pavilion in Los Angeles, Chicago’s Orchestra Hall and the NJ Performing Arts Center. His many orchestral performances include appearances with the New York Philharmonic, Minnesota Orchestra and the Pittsburgh, Atlanta, Baltimore, St. Louis, National, Detroit and New Jersey symphonies among many others. Summer festival engagements include appearances at Ravinia, Blossom, Wolftrap, Caramoor and Aspen and the Hollywood Bowl. Internationally, Mr. Pratt has toured Japan four times and performed in Germany, Italy, Switzerland, Poland, Israel, Columbia and South Africa.
Recent and upcoming appearances include recital engagements in Baltimore, La Jolla, Los Angeles, Pittsburgh, Ravinia, Lewes, Delaware, Duke University and at Carnegie Hall for the Naumburg Foundation; as well as appearances with the orchestras of Cincinnati, Indianapolis, North Carolina, Utah, Richmond, Grand Rapids, Memphis, Fresno, Winston-Salem, New Mexico, Rockford, IL and Springfield, OH. He also serves on the faculty of the Eastern Music Festival in Greensboro, North Carolina where he coaches chamber music, teaches individual pianists and performs chamber music and concertos with the festival orchestra.
Also an experienced conductor, Mr. Pratt has conducted programs with the Toledo, New Mexico, Vancouver WA, Winston-Salem, Santa Fe and Prince George County symphonies, the Northwest Sinfonietta, the Concertante di Chicago and several orchestras in Japan.
A great favorite on college and university performing arts series and a strong advocate of music education, Awadagin Pratt participates in numerous residency and outreach activities wherever he appears; these activities may include master classes, children’s recitals, play/talk demonstrations and question/answer sessions for students of all ages. He is also frequently invited to participate on international competition juries, such as the Rubinstein International Piano Master Competition in Israel, the Cleveland International Piano Competition, Minnesota e-Competition, the Unisa International Piano Competition in International Competition for Young Pianists in Memory of Vladimir Horowitz in the Ukraine.
In November 2009, Mr. Pratt was one of four artists selected to perform at a classical music event at the White House that included student workshops hosted by the First Lady, Michelle Obama, and performing in concert for guests including President Obama. He has performed two other times at the White House, both at the invitation of President and Mrs. Clinton.
Mr. Pratt’s recordings for Angel/EMI include A Long Way From Normal, an all Beethoven Sonata CD, Live From South Africa, Transformations and an all Bach disc with the St. Lawrence String Quartet. His most recent recordings are the Brahms Sonatas for Cello and Piano with Zuill Bailey for Telarc and a recording of the music of Judith Lang Zaimont with the Harlem Quartet for Navona Records.
Mr. Pratt is currently a Professor of Piano at the College-Conservatory of Music at the University of Cincinnati. He also served as the Artistic Director of the World Piano Competition in Cincinnati and is currently the Artistic Director of the Art of the Piano Festival at CCM.
Program Notes
“He’s one of the most phenomenal orchestrators alive—and maybe ever, full stop.” Strong words from tonight’s conductor Jacob Joyce about French composer Guillaume Connesson (b. 1970)—but after listening to Céléphaïs (the first tone poem in his triptych, Les Cités de Lovecraft), you’re liable to agree. The work, composed in 2017, is a musical description of the city Celephaïs, a dream city that appears in the writings of the early twentieth-century science-fiction and fantasy writer H.P. Lovecraft. It’s a place ...
“He’s one of the most phenomenal orchestrators alive—and maybe ever, full stop.” Strong words from tonight’s conductor Jacob Joyce about French composer Guillaume Connesson (b. 1970)—but after listening to Céléphaïs (the first tone poem in his triptych, Les Cités de Lovecraft), you’re liable to agree. The work, composed in 2017, is a musical description of the city Celephaïs, a dream city that appears in the writings of the early twentieth-century science-fiction and fantasy writer H.P. Lovecraft. It’s a place where time stands still and nothing corrodes; and in describing it, Lovecraft favored extravagant prose and garish imagery, which takes their cues from a wide range of writers from Poe through the French Symbolists on to Oscar Wilde.
Connesson, who has been a fan of the writer since his teenage years, took full advantage of, as Jacob puts it, “his ability to write for specific sections of the orchestra in a way that’s very idiomatic, very Ravel-like. It also reminds me a little bit of the Stravinsky ballets, especially Firebird.” According to the score, Céléphaïs takes us through bronze gates along onyx streets to a turquoise temple and “The Rose Crystal Palace of Seventy Delights,” ending with a long crescendo that marks the “Seven Processions of Priests crowned in Orchids.” And the music is just as luxurious, as rich, as sparkling, and as colorful as the imagery, full of infectious dance rhythms and sumptuous melodies. In sum, it’s an extremely alluring work, both sophisticated and listener-friendly, and it’s hard to understand why it’s not better known.
The Symphony No. 5 by Sergei Prokofiev (1891-1953) is superbly orchestrated too. But while Prokofiev could, as Jacob says, write “sparkling orchestration that you find in Connesson”—and while he was capable of magic and enchantment (as in Cinderella)—the sound of the Fifth, for reasons that will be clear, is much more grounded in the grit of the real world. Even so, says Jacob, “It has moments where the real draw, or the real attraction, is the orchestration and his unique choices and combinations of instruments, playing techniques, and the like.” But besides the color, Jacob points out, there are two other important lenses through which you can approach the piece: the political and the formal.
With the permission of the Soviet government, Prokofiev had been living in Europe (especially Paris) and the United States for nearly two decades, but he chose to return to the Soviet Union at the height of Stalinism in 1936. In so doing, he willingly backed off from his earlier edgy style, instead committing himself to writing more accessible music aimed at a broader public. He found the circumstances in Russia less congenial than he had hoped (in fact, even with his softened style, he was excoriated by the powers-that-be in 1948 for excessive modernism). Nonetheless, many of his most popular compositions were written under those harsh and often oppressive circumstances: Peter and the Wolf, Alexander Nevsky, and Romeo and Juliet were among them, as was the Fifth Symphony.
The Fifth was written in 1944, during the Second World War, while Prokofiev was living at the Ivanovo Composers’ House about 150 miles from Moscow. Two years earlier, Dmitri Shostakovich—Prokofiev’s rival as the Great Soviet Composer—had composed his massive Seventh Symphony during the German siege of Leningrad. As with all of Shostakovich’s music, there’s some doubt about its inner meanings, but it certainly served as a musical symbol of resistance and resilience, both in the Soviet Union and in the West, where it was taken up immediately by conductors like Toscanini (who was not normally sympathetic to new music) and Stokowski (who was). By the time Prokofiev got around to his Fifth—his first symphony in sixteen years—the military situation had changed. Indeed, the premiere, the last time the composer conducted, took place at almost the exact moment that the Red Army pushed across the Vistula into German-held territory. Pianist Sviatoslav Richter, a close friend of the composer, described Prokofiev waiting on the podium for artillery salvoes celebrating the event to recede, bathed in a mysterious “light [that] poured down on him from on high.” That description testifies to the power of the occasion; no surprise, then, that the work overwhelmed its first audience, who saw in it a kind of transcendence.
Lots of works that are connected to specific occasions, of course, are quickly forgotten once the occasion has passed. Prokofiev’s Fifth, however, has continued to inspire audiences for over eighty years, standing with Beethoven’s Fifth as one of the great victory symphonies. It has survived, I think, because it does more than simply celebrate victory—in a sense, it enacts it. Here’s where the formal elements become important. Structurally, the symphony relies on traditional forms that are fairly well marked; and each of the four movements begins relatively simply. Each, however, finds its path obstructed. As Jacob puts it, “A lot of the things that you expect to get concluded end up crashing in on themselves instead. It’s kind of a symphony of deferral of any resolution.”
The two main themes of the opening Andante, for instance, are flavored with the honey that characterizes Prokofiev’s most lyrical music—but almost before we’ve gotten accustomed to them, each theme is attacked by acid, leading to an especially tense development. And while the tension eventually resolves in an unusually prolonged coda, for much of the movement we are on the edge of our seats wondering whether the music will end in a whimper or in triumph.
There’s a similar disruption in the second movement. It begins in a jaunty way, with an almost jazzy feel, and the opening section leads to a contrasting section that makes clear we are in a standard ABA form. But there’s plenty of disorientation in that B section, and when the A section returns, it’s almost nightmarish in its mechanistic advance. Then, too, notes Jacob, “For the end of the third movement, you would expect a beautiful major final chord that’s been set up for 10 minutes. You kind of get it, but it’s voiced very oddly, and it’s clearly not a full resolution.” As a result, by the time we reach the closing pages of the finale, we feel the thrill of a truly hard-won victory.
In between these two overwhelming and brilliantly orchestrated works, we have something less explosive: the Piano Concerto No. 23 in A, K. 488 by Wolfgang Amadeus Mozart (1756–1791). Composed in Vienna in 1786, it aims for a fairly intimate sound— dispensing with oboes, trumpets, and drums, but emphasizing the dark sound of the clarinets, with which he was increasingly fascinated. It has come to be one of Mozart’s most oft-performed and recorded piano concertos—although its character is slightly elusive. It was, for instance, the only Mozart concerto recorded by the super-virtuoso Vladimir Horowitz, but it’s neither an intensely dramatic piece nor in any way a show-off piece for the pianist. And while the Concerto No. 23 has also been championed by numerous jazz artists (Chick Corea, Keith Jarrett, Jacques Loussier), nothing in it quite matches the screwball finale of the Concerto No. 19 for syncopated uplift.
It may be the concerto’s proximity to The Marriage of Figaro (finished less than two months later) that provides the strongest clue to its character. Mozart’s concertos are often known for their operatic qualities, with the soloist taking on the qualities of a singer, and that certainly happens in the slow movement here. Specifically, the concerto’s breathtaking central Adagio—in the key of F-sharp minor, rare for Mozart—may bring to mind “Porgi, amor, qualche ristoro,” the famous aria from Figaro, in which the abandoned countess mourns over the Count’s infidelities. Certainly, the Concerto’s slow movement is similar in spirit: poignant but not tragic, regretful but not self-pitying. If there’s any movement in Mozart’s concertos that can bring tears, it’s this one.
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
George Bain: Lindsay Groves, Assistant Principal Cello
Bill & Nancy Byrne: George Macero, Section Cello
Barbara Davis, in memory of Leslie Davis: Michael Fittipaldi, Assistant Principal Bass
Martin Hewitt & Katarína Óladóttir: Amy Christian, Principal Second Violin
Alice & Michael Kendrick: Michael W. Bull, Principal Percussion
Susan R. Klenk: Walden Bass, Section Cello
Lou & Kathy Lemos: Spencer Phillips, Principal Bass
Robert & Vicki Lieberman: Peter Rovit, Concertmaster
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
Cherry & Peter Thun: Ernest Múzquiz, Percussion
Mary Ann Tyszko: Principal Timpani
Donors Contributing to the Frederick B. Parker, M.D. Memorial Gala:
Conductor’s Podium in memory of Frederick B. Parker, M.D.
The Syracuse Orchestra Legacy Society
The Syracuse Orchestra Legacy Society honors individuals who are providing for the future of symphonic music in Syracuse and Central New York through their will or estate plans.
Anonymous (3)
David & Cheryl* Abrams Kathleen Bice
Susan Boettger
William & Ruth Bradner*
Evelyn Brenzel* & Anne Marie Cronin*
Larry* & Mary Frances Comfort
Kelly & Kelly Covert
Cissie Fairchilds*
Joshua & Gloria Goldberg*
Richard R. Hall
William Hanley*
Nan Haylor*
Harold L Husovsky MD & Susan E Stred MD
Helen Jennings*
Molly King*
Susan R. Klenk
Fritz & Virginia Parker*
Robert Scheer*
Mary Ellen Trimble*
Donald Waful*
Michael Waters*
Jannie Woo*
*Deceased
The Syracuse Orchestra Lifetime Giving Society
The Syracuse Orchestra celebrates the exceptional leadership and generous support of donors who have contributed significantly to the Orchestra’s mission since its origin in 2012. These individuals have played a vital role in sustaining The Syracuse Orchestra’s artistic and outreach programs, nurturing its musicians, empowering its staff, and enriching the cultural landscape of Central New York.
$100,000-$500,000
David Abrams
The Feng Family
Alice & Michael Kendrick
Robert & Vicki Lieberman
David Pida
Peter & Nancy Rabinowitz
David A. A. Ridings
James & Marilyn Seago
Mary Ann Tyszko
$50,000-$99,999
Paul G. Brown & Susan Loevenguth
William & Nancy Byrne
Craig & Kathleen Byrum
Robert & Vicki Feldman
Harold L Husovsky MD & Susan E Stred MD
Lou & Kathy Lemos
John MacAllister & Laurel Moranz
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Joel Potash & Sandra Hurd
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Anonymous (4)
George S. Bain
Michael Bull & Deborah Cunningham
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Barbara Davis
Patricia DeAngelis
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Shaila Wood & Ramesh Gaonkar
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Gifts received monthly from members of The Conductor’s Circle, our monthly giving community, whose recurring contributions provide steady, year-round support for The Syracuse Orchestra.
Anonymous
Carol Bryant
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Jaime & Evelyn Garcia
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Cyrus Grant
Patrick Hahn & Susan Drummond
Patricia W. Infantine
Phyllis McKaig
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Annual Fund Donors
Gifts received annually between January 27, 2025 to January 27, 2026 from individuals to support The Syracuse Orchestra’s mission to engage and inspire all community members throughout Central New York with outstanding orchestral and ensemble performances, and innovative education and outreach initiatives.
$50,000+
David Abrams
Betty Feng
The Feng Family
David Pida
$20,000-$49,999
Anonymous
George S. Bain
Stephen Byer & Mary Driscoll
Paul G. Brown & Susan Loevenguth
William & Nancy Byrne
Guy & Nancy Easter
Alice & Michael Kendrick
Robert & Vicki Lieberman
Joel Potash & Sandra Hurd
David A. A. Ridings
Mary Ann Tyszko
$10,000-$19,999
Robert & Alice Andrews
Laurence & Lauri Bousquet
Craig & Kathy Byrum
Mark Costaldi & Glenn Forsythe
Martin Hewitt & Katarína Óladóttir
Susan R. Klenk
Lou & Kathy Lemos
Sue Moran
Mihael Puc &
Kimberly Flomerfelt-Puc
Peter & Nancy Rabinowitz
James & Marilyn Seago
Sharye Skinner
Peter & Elsa Soderberg
Peter & Cherry Thun
$5,000-$9,999
Anonymous
Aminy Audi
Jonathan & Kathy Bowen Jr.
Cecelia Broton
Barbara Davis
Robert & Vicki Feldman
- Lindsay Groves
Peter & Mary Huntington
Harold L. Husovksy, MD & Susan E. Stred, MD
Richard Jaeger
Young & Kelly Lee
Zahi & Marion Makhuli
Amy & Matthew Parker
David Rankert
Michael & Rissa Ratner
Ellen Runge
Mark & Beth Steigerwald
Ed & Louise Stevens
Shaila Wood & Ramesh Gaonkar
$2,500-$5,000
Michael Barkun
Kathleen Bice
Donald C. Blair & Nancy L. Dock
Joseph Cerroni & Linda Tassa
Willson Cummer & Michelle Breidenbach
Mark Cywilko & Marianne Moosbrugger
Christopher & RoAnn Destito Family Fund of Community Foundation of Herkimer & Oneida Counties
David Driesen & Jeanne Otten
John & Janet Dwyer
Thomas & Cindy Giffin
Gary & Kathy Gilbert
Lawrence & Dorothy Gordon
Barbara Haas
Daniel & Julia Harris
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John MacAllister & Laurel Moranz
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David Mirabito
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Robert & Elizabeth Oddy
Mary Pat Oliker
John Riley
Gwen Sykes
William & Margaret Thickstun
$1,000-$2,499
Neville Sachs & Carol Adamec
Carolyn & Anna Audi-Fischi
Walden Bass
Marcus & Elizabeth Cerroni
Somak Chattopadhyay & Pia Sawhney
Shiu-Kai Chin & Linda Milosky
George & Deborah Coble
Linda & Bill Cohen
Richard & Marjorie Cohen
Kelly & Kelly Covert
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Patricia Callahan & David Dee
Wayne Dentino & Rose MacArthur
Michael Lee & Deborah Donahue
Katheryn Doran
Lewis & Elaine Dubroff
Bill & Betsy Elkins
Elizabeth Etoll
Silverwood Clarinet Choirand
Daniel & Karen Fuleihan
Jon Garland & Marc Ramos
Gary & Bonnie Grossman
Carol Sasson & Tim Guhl
Anita Gustafson
Haylor Family Charitable Fund
Donald & Donna Henry
Carol Watson Greenhouse
Joyce Homan
Wu-Teh Hsiang & Marjory Baruch
Steve & Elaine Jacobs
John & Maren King
David & Gloria Kreh
John A. Lang
Bob & Pat Lebel
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Zalie & Bob Linn
Christopher J. Mack & Catherine Diviney
Nels & Deborah Magnuson
John & Candace Marsellus
Jeremy & Michelle McKay
Fritz Messere & Nola Heidlebaugh
Edward & Alice Nanno
Barbara Nostrand
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John W. Przepiora & Carolyn Stark
Ronald Ferguson & Helen Reed
Bill & Karen Roche
Paula Rosenbaum & Jacques Lewalle
David Ross & Martha Sutter
Toni Salisbury
Edward & Lois Schroeder
Gracia Sears
Patricia Sharpe
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Frank Smith
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Susan Stowell
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Norma Tippett
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Miriam Weiner
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Katherine Woodle
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$500-$999
Anonymous
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David Allen
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James & Joanne Beckman
Thomas & Susan Bergemann
Ronald & Susan Berger
Richard & Tammy Berkowitz
Thomas Bersani & Joan Christy
A. Billingham
David Brittain
Ruth D. Brown
Joseph & Mary Browne
Alfred Kelly & Sharon Burke
Robert Sarason & Jane Burkhead
Frank Byrne & Mary McCune
Ronald Capone
Richard & Cynthia Cherny
Robert & Marsha Chopko
Joe & Nancy Clayton
Michael & Wendy Cynamon
Darrin Dayton
Mark Feldman & Christine Riley
Michael & Susan Fox
Adam Gagas
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Mary Elizabeth Haas
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IN MEMORY OF CHERYL ABRAMS
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IN HONOR OF MARTIN HEWITT
David Hewitt
IN HONOR OF MARTIN HEWITT & KATARÍNA ÓLADÓTTIR
Edward & Michele Alterman
IN HONOR OF THE JAMESVILLE-DEWITT MUSIC DIRECTOR
James & Eileen Clinton
IN MEMORY OF PETER KARAPIN
Nancy Karapin
IN MEMORY OF KAREN & JOE
Stephen & Michaeline Driscoll
IN HONOR OF JESSICA KING
Thomas Cantwell
IN MEMORY OF MARY KUHN
David Thomas
IN HONOR OF MARIE LANGE
James & Marilyn Seago
IN MEMORY OF ELOISE LATINO
Kenneth & Virginia Drake
IN HONOR OF ROBERT LIEBERMAN
Joshua W. & Rebecca Podkaminer
IN MEMORY OF WILLIAM LIGGIO
Tom Baron & Christine Liggio
IN HONOR OF LAWRENCE LOH
Barbara Bell
Patricia DeAngelis
David Rankert
IN MEMORY OF DOUG LYON
Cheryl & Aaron Sobol
Stacy Lyon
IN HONOR OF THE MACERO FAMILY
Mary Roberts Bailey
IN HONOR OF GEORGE MACERO
Charles Merulla & Jeanne Jonientz Merulla
IN MEMORY OF ELIZABETH MANN
James & Marilyn Seago
IN MEMORY OF LOUIS V. MARUCCI
Nanette & Thomas Pasquarello
IN HONOR OF NATASHA COOPER & TOM MATTERN
Jeffrey Cooper & Peggy Daub
IN HONOR OF MARY MCCAFFREY
Eileen McCaffrey
IN HONOR OF FRITZ MESSERE
Elizabeth Dugan
IN HONOR OF SPENCER PHILLIPS & NOEMI MILORADOVIC
Hannah & Christopher Douglass
IN MEMORY OF DR. EDWARD A. MONACO JR.
John & Annette Friedrichs
IN HONOR OF PAM MURCHISON
Robert & Vicki Lieberman
Linda Loomis
Ann L. Messenger
Irving & Ava Raphael
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)
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









