TCHAIKOVSKY & MAHLER’S FIFTH
Welcome
About
March 9, 2024 @ 7:30 pm Oncenter Crouse Hinds Theater 421 Montgomery St. Syracuse , NY 13202
Program
PIOTR ILYICH TCHAIKOVSKY
Variations on a Rococo Theme, op.33, TH 57
Julian Schwarz, cello
INTERMISSION
GUSTAV MAHLER
Symphony No.5 in C-sharp Minor
PART I
1. Trauermarsch
2. Stürmisch bewegt
PART II
3. Scherzo: Kräftig, nicht zu schnell
PART III
4. Adagietto
5. Rondo-Finale
Thanks to our sponsors for this performance!
David & Cheryl Abrams
Thanks to our media sponsor.
Featured Artists
Described as bringing an “artisan storyteller’s sensitivity… shaping passages with clarity and power via beautifully sculpted dynamics… revealing orchestral character not seen or heard before” (Arts Knoxville) Lawrence Loh enjoys a dynamic career as a conductor of orchestras all over the world.
After an extensive two ...
Described as bringing an “artisan storyteller’s sensitivity… shaping passages with clarity and power via beautifully sculpted dynamics… revealing orchestral character not seen or heard before” (Arts Knoxville) Lawrence Loh enjoys a dynamic career as a conductor of orchestras all over the world.
After an extensive two year search, Lawrence Loh was recently named Music Director of the Waco Symphony Orchestra beginning in the Spring of 2024. Since 2015, he has served as Music Director of The Syracuse Orchestra (formerly called Symphoria), the successor to the Syracuse Symphony Orchestra. “The connection between the organization and its audience is one of the qualities that’s come to define Syracuse’s symphony as it wraps up its 10th season, a milestone that might have seemed impossible at the beginning,” (Syracuse.com) The Syracuse Orchestra and Lawrence Loh show that it is possible to create a “new, more sustainable artistic institution from the ground up.”
Appointed Assistant Conductor of the Pittsburgh Symphony in 2005, Mr Loh was quickly promoted to Associate and Resident Conductor within the first three years of working with the PSO. Always a favorite among Pittsburgh audiences, Loh returns frequently to his adopted city to conduct the PSO in a variety of concerts. Mr. Loh previously served as Music Director of the West Virginia Symphony Orchestra, Music Director of the Northeastern Pennsylvania Philharmonic, Artistic Director and Principal Conductor of the Syracuse Opera, Music Director of the Pittsburgh Youth Symphony Orchestra, Associate Conductor of the Dallas Symphony Orchestra, Associate Conductor of the Colorado Symphony Orchestra and Music Director of the Denver Young Artists Orchestra.
Mr. Loh’s recent guest conducting engagements include the San Francisco Symphony, Dallas Symphony, North Carolina Symphony, Baltimore Symphony, Sarasota Orchestra, Florida Orchestra, Pensacola Symphony, Atlanta Symphony, National Symphony, Detroit Symphony, San Diego Symphony, Seattle Symphony, National Symphony (D.C.), Utah Symphony, Rochester Philharmonic, Indianapolis Symphony, Calgary Philharmonic, Buffalo Philharmonic, Albany Symphony and the Cathedral Choral Society at the Washington National Cathedral. His summer appearances include the festivals of Grant Park, Boston University Tanglewood Institute, Tanglewood with the Boston Pops, Chautauqua, Sun Valley, Shippensburg, Bravo Vail Valley, the Kinhaven Music School and the Performing Arts Institute (PA).
As a self-described “Star Wars geek” and film music enthusiast, Loh has conducted numerous sold-out John Williams and film music tribute concerts. Part of his appeal is his ability to serve as both host and conductor. “It is his enthusiasm for Williams’ music and the films for which it was written that is Loh’s great strength in this program. A fan’s enthusiasm drives his performances in broad strokes and details and fills his speaking to the audience with irresistible appeal. He used no cue cards. One felt he could speak at filibuster length on Williams’ music.” (Pittsburgh Tribune)
Mr Loh has assisted John Williams on multiple occasions and has worked with a wide range of pops artists from Chris Botti and Ann Hampton Callaway to Jason Alexander and Idina Menzel. As one of the most requested conductors for conducting Films in Concert, Loh has led Black Panther, Star Wars (Episodes 4-6), Jaws, Nightmare Before Christmas, Jurassic Park, Casablanca, The Wizard of Oz and Singin’ in the Rain, among other film productions.
Lawrence Loh received his Artist Diploma in Orchestral Conducting from Yale, his Masters in Choral Conducting from Indiana University and his Bachelor of Arts from the University of Rochester. Lawrence Loh was born in southern California of Korean parentage and raised in Carlisle, Pennsylvania. He and his wife Jennifer have a son, Charlie, and a daughter, Hilary. Follow him on instagram @conductorlarryloh or Facebook at @lawrencelohconductor or visit his website, www.lawrenceloh.com
Born in Seattle into a musical family, cellist Julian Schwarz is already being recognized as a cellist destined to rank among the finest of the 21st century.
Mr. Schwarz made his orchestral debut at the age of 11 playing the Saint-Saens Concerto No. 1 with the Seattle Symphony with ...
Born in Seattle into a musical family, cellist Julian Schwarz is already being recognized as a cellist destined to rank among the finest of the 21st century.
Mr. Schwarz made his orchestral debut at the age of 11 playing the Saint-Saens Concerto No. 1 with the Seattle Symphony with his father, Gerard Schwarz, on the podium. Since then, he has appeared with the Seattle, San Diego, Puerto Rico, Hartford, Charlotte, Columbus (OH), Sarasota, Grand Rapids and Wichita symphonies, as well as with the Louisville Orchestra, Chicago Camerata and the Symphony Silicon Valley among others.
Internationally, he made his Australian debut with the Queensland Symphony in Brisbane as well as his debut in Hong Kong at the Intimacy of Creativity Festival. He has also made two appearances with the Boca del Rio Orchestra in Veracruz, Mexico and made his debut with the Mexico City Philharmonic in May 2016. In August 2013, Mr. Schwarz was awarded first prize in the professional cello division of the inaugural Alice and Eleonore Schoenfeld International String Competition in Hong Kong.
Equally active as a recitalist and chamber musician, Mr. Schwarz has performed recitals at the Casals Festival in Puerto Rico, Palm Springs, Washington DC and Halifax, Nova Scotia. He also appears regularly on the stage of Bargemusic in New York City playing chamber music and recitals with his regular collaborative partner, pianist Marika Bournaki, and on chamber music series such as Frankly Music in Milwaukee. He is a member of the ensemble Frisson, a nonet for strings and winds, and has his own piano trio, Mile-End Trio, with violinist Jeff Multer and Ms. Bournaki. In November 2016, he and Ms. Bournaki were awarded First Prize in the Boulder International Chamber Music Competition’s “The Art of the Duo” and in March 2017, the duo traveled to China for a ten concert recital tour.
During the 17/18 season, Julian Schwarz gave the world premiere of a new cello concerto written for him by Lowell Liebermann, which was premiered with the Toledo Symphony and had subsequent performances with four other orchestras. Additional recent and upcoming performance highlights include his debuts with the Buffalo Philharmonic and the Jacksonville, Winston-Salem, Galveston, Springfield, OH, Springfield MA and Tucson symphonies; re-engagements with the Virginia and Des Moines symphonies, Symphoria in Syracuse and the Boca Symphoria in Boca Raton; and recitals in Hartford, Boulder and New York City.
No stranger to summer music festivals, Julian Schwarz has attended and performed at the Aspen, Cape Cod and Eastern festivals and was chosen to study and perform at the prestigious Verbier Festival in Switzerland. Now a member of the cello faculty at the Eastern Music Festival in North Carolina, he has performed the Brahms Double, the Dvorak Cello Concerto and the premiere of a concerto by Richard Danielpour, “A Prayer For Our Time,” with the festival orchestra.
Mr. Schwarz’s recordings for Naxos include the Saint-Saens No. 1 and Haydn C Major cello concertos with the Seattle Symphony, “In Memoriam” for the Music of Remembrance series, and the Samuel Jones Cello Concerto with the All Star Orchestra, founded by Gerard Schwarz. His most recent recording is the six Rossini String Quartets, which was recording in Nova Scotia in November 2017.
Julian Schwarz started piano lessons at the age of five and began his cello studies the following year with the late David Tonkonogui; subsequent teachers include Toby Saks, Lynn Harrell, Neal Cary and Ronald Leonard. He received his Bachelor of Music degree from The Juilliard School in New York City in May 2014 where he studied with Joel Krosnick, and his Master of Music degree, also at Juilliard, in May 2016. During the 16/17 season, he served as Mr. Krosnick’s teaching assistant. He also served as Artist-In-Residence at the Lunenburg Academy of Music Performance and since September 2017 has been an Assistant Professor of Cello at Shenandoah Conservatory of Shenandoah University in Virginia.
Julian Schwarz currently performs on a cello made in Naples by Gennaro Gagliano in 1743. He is a Pirastro artist and uses the “Perpetual mittel” set of cello strings exclusively.
Program Notes
We ended last season in spectacular fashion with the Second Symphony of Gustav Mahler (1860–1911). This year, we take up his Symphony No. 5, written nearly a decade later (1901–1902). There are striking similarities between them. Both are, unconventionally, in five movements rather than four. Both move from the darkness of an opening funeral march to an optimistic close that leans heavily on a chorale. And in both works, that journey is full of shocking juxtapositions.
But that decade brought a change in Mahler’s vision. The Second takes its inspiration (or ...
We ended last season in spectacular fashion with the Second Symphony of Gustav Mahler (1860–1911). This year, we take up his Symphony No. 5, written nearly a decade later (1901–1902). There are striking similarities between them. Both are, unconventionally, in five movements rather than four. Both move from the darkness of an opening funeral march to an optimistic close that leans heavily on a chorale. And in both works, that journey is full of shocking juxtapositions.
But that decade brought a change in Mahler’s vision. The Second takes its inspiration (or more accurately, its challenge) from Beethoven, his Ninth Symphony in particular; the Fifth, with its heavy reliance on counterpoint, is an homage to Bach. The joy at the end of the Second, supported by words as well as music, is spiritually transcendent; the joy at the end of the Fifth, purely instrumental, is more down to earth. (Indeed, it almost seems as if Bach had replaced whatever complex and ambiguous spirituality had fueled the Second. As Mahler said, “In Bach, all the seeds of music are found, as the world is contained in God. It’s the greatest polyphony that ever existed.”)
Most important, the Second is firmly placed in the 19th century; in fact, it seems intended as its culmination. The Fifth—even though its Bach inspiration looks further back, to the Baroque—launches the new century. Not that it’s forbidding—it is an easily accessible piece. But it’s surely wild: with its off-kilter phrasing, unexpected dissolves, odd changes in sonority, and swerves in direction, the Fifth promotes formal disruption to a central position in the music’s aesthetic. In a letter to his wife Alma after the first rehearsal, Mahler described it as a “foaming, roaring, raging sea of sound” in which “new worlds are forever being engendered, only to crumble to ruins the moment after.”
The work’s five movements are organized into three parts. Part One consists of a pair of hyper-intense movements. The first, introduced by a stark trumpet solo, is what conductor Larry Loh calls a “stately” funeral march. It’s followed by a movement which might seem to be a tumultuous response. The opening is marked Stürmisch bewegt. Mit grösster Vehemenz (Turbulently emotional. With the greatest vehemence)—and it’s a whirlwind of emotions, bursts of fury frequently interrupted by moments of sublime tenderness. The movement seems ready to conclude majestically as it builds to an affirmative chorale—but it suddenly collapses, and the movement lurches to its end, where, all energy spent, it expires with a single pp tap on the timpani.
Part Two begins after a long pause. It’s a single movement, but it’s the symphony’s longest, a Scherzo, with major obligato (solo) passages for the first-desk horn. It brings a substantial shift in mood, as we move from minor to major. In fact, it brings multiple shifts in mood. As our principal horn Jon Garland says, “One of the most challenging things about the obligato part is the wide variety of expression that is required. The opening passages are quite strong, and then the music transitions to these extended lyrical passages. But not for long, because it then transitions back to those opening passages, but this time with a somewhat more athletic take.” The careening movement is brimming with waltzes and ländler (the waltz’s rural predecessor)—and since these dances often sound inebriated, the music stumbles in a way that throws you off balance. As Mahler put it, its “the very devil of a movement.”
Part Three of the symphony returns to the two-movement structure, although the relation between the two is different this time. First we get an Adagietto—Mahler’s most famous single movement, often played alone. In contrast to the other four movements, this one—which cuts the orchestra down to strings and harp—is patient and luminous. Yet despite its relative straightforwardness, it has, over the years, generated the most varied interpretive responses. Conductors have chosen dramatically divergent tempos: a normal performance lasts anywhere from seven to twelve minutes (an unusually wide range), and there are outliers that stretch out to a quarter of an hour. There are radical differences in affect, as well. On the one hand, it’s had an honored role at ceremonies of mourning, especially since Leonard Bernstein played it at Robert Kennedy’s funeral—after which Jacqueline Kennedy, in a letter to the conductor, described it as “this strange music of all the gods who were crying,” adding “[it] was everything in my heart, … peace and pain and such drowning beauty.” Yet the work had a fundamentally different origin: it did not emerge from grief but was rather written, according to Mahler’s good friend Willem Mengelberg, as a love letter to Alma. Viewed from this perspective, it reflects not only Mahler’s longing, but also premonitions of the anguish that came to characterize their difficult marriage. For Larry, it’s definitely a love letter, but “it is a beautiful and contemplative work that could be taken in many different ways other than what was intended.” As for tempo, says Larry, “finding the right tempo is difficult You have to find that balance of stillness, but also enough direction, so that you can take in the phrases.”
“Of course, it’s always special to listen to the very beautiful Adagietto movement,” adds Jon, “but for the first horn, it’s particularly special because you are also simultaneously thinking quite a bit about playing the first note of the fifth movement.” That upbeat movement, which comes without a break, begins transparently, first with a horn call, then with a conversation among solo winds. But despite the easy-going opening, we soon find ourselves in a vigorous fugue for full orchestra, and the music hurtles ahead—characteristically, with a lot of sharp turns (and reminiscences from earlier movements)—until we realize that we are heading toward a reprise of the failed chorale from the second movement. Will it succeed this time? Yes—but in a uniquely Mahlerian way. I won’t spoil the effect by telling you precisely what happens; rest assured that it is both surprising and fulfilling, and that it leads to the most rambunctiously joyful ending in the entire Mahler canon.
This is the first time Larry has conducted the entire work (he’s conducted the Adagietto often), but it’s hardly new to him. In fact, it has “obsessed” him since his student days. “To me it has incredible depth and emotion. I would listen to it in the dark, thinking it was the pinnacle of what you can do with an orchestra emotionally. And I would study it and dream about the day that I would get to do it.” Listening tonight, you’ll understand that dream.
What can you program before the Mahler Fifth? On our one previous performance of the work, it was coupled with Saint-Saëns’s delightfully light-weight Second Piano Concerto. At the time, soloist Jon Nakamatsu quipped that it would be “overkill” to pair it with something that put equal demands on the listener: “You’re going to get a huge steak and potatoes, you don’t want ham right before. You want something that will prepare you, like salad.” Tonight we’ve chosen another deft work, the 1877 Variations on a Rococo Theme by Peter Ilyich Tchaikovsky (1840–1893)—and coincidentally, tonight’s soloist Julian Schwarz offers a similar metaphor, suggesting it was an “apéritif” that avoided the problem of “two main courses.”
The work was written for the virtuoso cellist Wilhelm Fitzenhagen—who not only inspired it, but also gave Tchaikovsky advice and introduced some alterations (including removing one of the variations and reordering others) that made their way into the first edition and became standard for decades. Usually, in a case like this—say, Bruckner’s Ninth Symphony, which was “improved” by his friend, conductor Ferdinand Löwe—the composer’s original score eventually takes over. Not so here. The Fitzenhagen version is still widely performed—and, in fact, that’s the version that Julian will offer tonight. Why? Perhaps some of it is nostalgia—it’s the version he first learned, and he still has a certain “bias” toward it. More important, he says, he has “a tremendous respect for Fitzenhagen as a cellist. There are obviously no recordings of him; but we know from his editorial markings and his own compositions the kind of techniques that he was good at, the kind of approach he had to playing. Tchaikovsky wasn’t a cellist; and as is the case with Joseph Joachim and the Brahms Violin Concerto, the piece is inseparable from the advocacy of the player.”
Most important, though, he believes that Fitzenhagen’s changes improve the work. Julian is “not a great fan” of the original Eighth Variation which Fitzenhagen—who was clearly not a great fan, either—removed; and Julian believes that the exciting variation that was originally in fourth place works much better at the end (where Fitzenhagen moved it) than buried in the middle.
As for the spirit of the piece: although it is based on a pseudo-rococo theme of Tchaikovsky’s own invention (there’s a similar pastiche of 18th-century music in his late opera Queen of Spades), and although it contains a certain amount of “prim and proper” music that evokes “people in white wigs,” Tchaikovsky’s “lush, heart-on-the-sleeve” romanticism still comes through. In fact, Julian sees it as closely related to Tchaikovsky’s ballet music. Yes, Tchaikovsky’s work is made up of true variations—that is, manipulations of an initial theme. But the term “variation” also refers to a solo number in a ballet—and Julian takes that as encouragement to “represent different characters in the piece.” For those who miss hearing The Nutcracker during the off-season, this may be the next-best thing.
Peter J. Rabinowitz
Have any comments or questions? Please write to me at prabinowitz@SyracuseOrchestra.org
Leaving a Musical Legacy: Evelyn Brenzel
Music was central to Evelyn Brenzel’s life. A longtime math teacher at HW Smith High School and devoted caretaker for her beloved Doberman Pinschers, Evelyn was a committed member of the Symphoria Family.
Evelyn’s friend shares how much music meant to Evelyn: “When Maestro Loh spoke the words “Beethoven’s Seventh” at the 2020 Symphoria reveal party, Evelyn turned to me with a look of such joy on her face that it still gives me goosebumps. We continued to attend live concerts with her until the very night before the state shut it all down in March.
We were worried about how she would cope, but technology saved the day. After Symphoria’s very moving streamed performance of the Seventh last fall, she emailed me to say ‘I’m in heaven.’”
Not only did Evelyn attend as many performances as possible as an audience member, but she was also a musician. As a college student, Evelyn had the opportunity to sing the Brahms Requiem with the Philadelphia Orchestra on a live broadcast as the nation mourned the assassination of President Kennedy in November 1963. Sadly, Evelyn passed away in December 2020.
We were honored to learn that she generously included Symphoria in her will, making sure that future audiences will have access to the beautiful music she loved so much.
Your legacy gift can keep Symphoria playing beautiful music. If you would like to learn more about how you can create your own musical legacy in Central New York, or if Symphoria is already in your plans, please contact Pamela Murchison in the Symphoria Office at (315) 299-5598.
The Orchestra
VIOLIN I
Peter Rovit, Concertmaster
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
Liviu Dobrota
Asher Wulfman
Laura Smith
Yoojin Lee
Bin Gui
VIOLIN II
Amy Christian, Principal
Anita Gustafson, Assistant Principal
Yurie Mitsuhashi
Sara Silva
Linda Carmona
Minjoo Moon
Adam Jeffreys
VIOLA
Heejung Yang, Principal
Supported by an Anonymous Friend
Carol Sasson
Arvilla Wendland
William Ford-Smith
CELLO
Heidi Hoffman, Principal
Lindsay Groves, Assistant Principal
Gregory Wood, Assistant Principal
Walden Bass
George Macero
Supported by William & 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
FLUTE
Xue Su, Principal*
Supported by Dr. Paul E. Phillips & Sharon P. Sullivan, in memory of Frederick B. Parker, M.D.
Leanna Ginsburg, Principal^
Kelly Covert
PICCOLO
Kelly Covert
OBOE
Eduardo Sepúlveda, Principal
The Philip R. MacArthur Chair
Patricia Sharpe
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
Jonathan Dozois
Supported by Paul Brown & Susan Loevenguth
Julie Bridge, Associate Principal
Tyler Ogilvie
TRUMPET
John Raschella, Principal
Robert C. Soderberg Chair
Roy Smith
TROMBONE
Benjamin Dettelback, Principal
David Seder
Gabriel Ramos
Bass Trombone supported by an Anonymous Friend
TUBA
John Caughman
TIMPANI
Patrick Shrieves
Supported by Mary Ann Tyszko
PERCUSSION
Michael W. Bull, Principal
Supported by Alice & Michael Kendrick
Ernest Muzquiz
Laurance Luttinger
PERSONNEL MANAGER
Arvilla Wendland
LIBRARIAN
Ben Dettelback
*On Leave
^One-Year
Donor List
We are grateful to the following donors for their generous gifts received between January 1, 2023 and February 12, 2024. Every effort has been made to ensure the accuracy in the listing below, but if you find a discrepancy please contact Kelly Covert at kcovert@experiencesymphoria.org or (315) 434-5645.
Onward, Symphoria Donors
Gifts received as part of this major gift campaign. Donors making campaign gifts of
$20,000+ receive recognition for underwriting a musician’s chair or sponsoring ...
We are grateful to the following donors for their generous gifts received between January 1, 2023 and February 12, 2024. Every effort has been made to ensure the accuracy in the listing below, but if you find a discrepancy please contact Kelly Covert at kcovert@experiencesymphoria.org or (315) 434-5645.
Onward, Symphoria Donors
Gifts received as part of this major gift campaign. Donors making campaign gifts of
$20,000+ receive recognition for underwriting a musician’s chair or sponsoring a concert for 3 years.
Anonymous: Principal Viola Chair
Anonymous: Bass Trombone Chair
David & Cheryl Abrams: One Masterworks Concert each year
Estates of Evelyn Brenzel & Ann Marie Cronin: Choral Concerts
Robert & Vicki Lieberman: Concertmaster Chair
Paul Brown & Susan Loevenguth: Second Horn Chair
William & Nancy Byrne: Fifth Cello Chair
Barbara Davis: Assistant Principal Bass Chair in memory of Leslie Davis
Michael & Alice Kendrick: Principal Percussion Chair
Lou & Kathy Lemos: Principal Bass Chair
Dr. Paul E. Phillips & Sharon P. Sullivan: Principal Flute Chair in memory of Frederick B. Parker, M.D.
David A. A. Ridings: Assistant Concertmaster Chair
Estate of Mary Ellen Trimble
Mary Ann Tyszko: Timpani Chair
Donors Contributing to the Frederick B. Parker, M.D. Memorial Gala: Conductor’s Podium in memory of Frederick B. Parker, M.D.
________________________________________________________________________________________________________
Annual Fund Donors
Gifts received annually from individuals to support Symphoria’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
$20,000+
Anonymous
The Feng Family
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$500 – $999
Anonymous
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Estate of Robert W. Daly, M.D.
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$100 – $499
Anonymous (8)
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Ilonka Salisbury
Anthony Scalzo
Steven & Kelly Scheinman
Mr. & Mrs. Henry Schoeneck
Mr. & Mrs. William Schu
Larry & Connie Semel
Suzanne Shapero
Alexandra & Jeff Shaw
Sharye Skinner
Frank Smith
Mark & Beth Steigerwald
H. Paul Steiner
CJ Strickland
Carter H. & Nan Strickland
Peter & Cherry Thun
Amy Tucker
Dr. David & Mrs. Ruth Tyler
Mary Ann Tyszko
Patrick VanBeveren
Marcus Webb & Ashley Homer
Howard & Anita Weinberger
Leonard Weiner & Kathryn Kelly
Miriam Weiner
Ruth Weinstock
George & Joyce Welitschinsky
Lynda Wheat
Jeremy Winston & Tina Maxian
Gregory & Rita Wood
Charles Woods & Gail Azeredo-Woods
David Wormuth
William & Mary Wormuth
IN MEMORY OF VIRGINIA PARKER
Joyce Homan
Linda Imboden
IN MEMORY OF SAMUEL PELLMAN
Colleen Pellman
IN MEMORY OF EDITH K. PENNINGTON
Douglas & Elisabeth Anderson
Carolyn & Dennis Lardy
Paul J. MacArthur
The Lardieri Family
Lawrence J. Lardy
IN MEMORY OF CARL PESKO
Thomas Krahe
Michele C. Smith
IN HONOR OF SPENCER PHILLIPS & NOEMI MILORADOVIC
Hannah & Christopher Douglass
IN MEMORY OF ELIZABETH PIZZUTO
Joseph Sauve & Jeanne Pizzuto-Sauve
IN MEMORY OF BETTY REESE
Allan & Cheryl Maxian
IN MEMORY OF ROGER REID
Margaret Reid
IN MEMORY OF TIM RICE
Judith Dehn Oplinger
IN HONOR OF DAVID A.A. RIDINGS
Robert & Alice Andrews
Thomas Bersani & Joan Christy
Suzanne Congel
Grant & Margaret Cooper
Richard & Sarah Furlow
Gary & Bonnie Grossman
Barbara Ellen Kay
Ronald & Cynthia Kowalski
Candace & John Marsellus
Michael & Rissa Ratner
Ilonka Salisbury
Peter & Elsa Soderberg
Carol & Dirk Sonneborn
George & Ronna Treier
Howard & Anita Weinberger
IN MEMORY OF DAVID ROGERS
Marion Rogers
IN MEMORY OF ERNEST S. ROSE
Patricia Sharpe
IN MEMORY OF HENRY & EDITH SCHMITZ
David & Anne Schmitz
IN MEMORY OF JOHN V. SCOTT JR.
Daniel & Brandye Pisacano
IN HONOR OF ANNI SCUDERI
Anne Scuderi
IN HONOR OF PATRICIA SHARPE
Terri & Kip Terri & Kip Hargrave
Lilly Kuwashima
IN MEMORY OF ROBERT B. SHIELDS
Margaret Shields
IN MEMORY OF ROBERT L. SLAVENS, M.D.
Nancy Slavens
IN MEMORY OF MARILYN KENNEDY SMITH
Anonymous
IN MEMORY OF SORIANO UY SO
Ursula Kwasnicka
IN MEMORY OF MARION STANISLAW
Cheryl Patrice Scullion
IN HONOR OF SYMPHORIA
Alyse Holstein
IN HONOR OF SYMPHORIA YOUTH ORCHESTRA MUSICIANS
Ruth Pass Hancock
IN MEMORY OF OTTO & ELEANOR TREIER
George & Ronna Treier
IN HONOR OF EDGAR TUMAJYAN & PETER ROVIT
Young & Kelly Lee
IN MEMORY OF SYLVIA BASKERVILLE TURNER
Eugene Turner
IN HONOR OF MARY ANN TYSZKO
Mark Greene & Cynthia Dowd Greene
IN HONOR OF MARY ANN TYSZKO & PETER RABINOWITZ
Fritz Messere & Nola Heidlebaugh
IN MEMORY OF DORIS WEBSTER
Sally Webster
IN MEMORY OF VOLKER WEISS
Neville Sachs & Carol Adamec
IN MEMORY OF BILL WEST
Alan Fischler & Karen McDonold
IN MEMORY OF TERRY WHEAT
Lynda Wheat
IN MEMORY OF DAVID WHYTE
Anne Whyte
IN HONOR OF SONYA STITH WILLIAMS
Franklin & Kathleen Stith
IN MEMORY OF KATHLEEN ZIELINSKI
Edmund Zielinski
Board of Directors
Mary Ann Tyszko, President
President & CEO, SRCTec (retired)
Anna Putintseva, Secretary
Partner, Bousquet Holstein
Caragh Fahy, Treasurer
Owner & President, Madison Financial Planning Group
Violet Bundi
Attorney, Interfaith Works
Amy Christian
Symphoria Musician (Violin)
Kelly Covert
Symphoria Musician (Flute/Piccolo) & Corporate Giving & Annual Fund Manager
Vicki Feldman
Community volunteer and expert volunteer fundraiser
Kimberly Flomerfelt-Puc
Certified Legal Nurse Consultant
Jon Garland
Symphoria Musician (Horn) & Director of Operations
George Kilpatrick
Host, Inspiration for the Nation
Allan Kolsky
Symphoria Musician (clarinet)
Robert Lieberman
Managing Partner, RAV Properties
Frank Messere
Dean Emeritus, School of Communication, Media and the Arts, SUNY Oswego
Shelly Thompson-Liedka
Vice President & Commercial Banking Manager, M&T Bank
Wale Oguntola
Nephrologist, St. Joseph’s Health Hospital & Crouse Hospital
Jackie Penfield
Senior HR Consultant, OneGroup
Mike Ratner
Surgeon, Upstate Medical Center, retired
Martha Sutter
Interim Associate Dean of Academic Affairs & Teaching Professor of Voice, Syracuse University
Gwen Sykes
Executive Vice President, Finance and Chief Financial Officer, SRC, Inc.
Marcus Webb
Program Manager, Entrepreneurship at Columbia Technology Ventures
Gregory Wood
Symphoria Musician (Cello)
Symphoria Staff
Pamela Murchison ✉
Executive Director
Jon Garland ✉
Director of Operations
Ergo Blydenburgh ✉
Orchestra Manager
Nicky Radford ✉
Education & Youth Orchestra Manager
Arvilla Wendland ✉
Personnel Manager
Ben Dettelback ✉
Librarian
Lara Mosby ✉
Senior Manager for Advancement and Community Engagement
Kelly Covert ✉
Corporate Giving and Annual Fund Manager
Andrew Teller ✉
Stage Manager
Brian Pope ✉
Marketing and Data Manager
Paul McShee ✉
Youth Orchestra Music Director
Jessica Tumajyan
Youth Strings Conductor