MOZART WITH HANNAH WHITE
Welcome
About
November 12, 2023 @ 3:00 pm Saint Paul’s Syracuse 220 East Fayette Street Syracuse , NY 13202
Program
JESSIE MONTGOMERY
Strum
WOLFGANG AMADEUS MOZART
Concerto for Violin in G major, No. 3, K.216 (Strassburg)
I. Allegro
II. Adagio
III. Rondo: Allegro
ROBERT SCHUMANN
Symphony No.1 in B-flat major, Op. 38 (Spring)
I. Sostenuto assai; Allegro ma non troppo
II. Scherzo: Allegro vivace
III. Adagio espressivo
IV. Allegro molto vivace
This concert will be performed without intermission
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
Violinist Hannah White has soloed extensively throughout the United States and Europe. Hannah has been described by The New York Times as, “terrific… expressive… enthusiastic”, and NY Concert Review wrote “phenomenal…blaze… commanded … perfect intonation and flair”, and Cleveland.com as “clinched her Severance Hall debut…razor-sharp… future is ...
Violinist Hannah White has soloed extensively throughout the United States and Europe. Hannah has been described by The New York Times as, “terrific… expressive… enthusiastic”, and NY Concert Review wrote “phenomenal…blaze… commanded … perfect intonation and flair”, and Cleveland.com as “clinched her Severance Hall debut…razor-sharp… future is bright”.
Hannah began her solo career at age nine with Milwaukee Symphony Orchestra, and since then performed with Cleveland Symphony Orchestra, New World Symphony Orchestra, Albany Symphony Orchestra, South Bend Symphony Orchestra, Ann Arbor Symphony Orchestra, Buffalo Philharmonic Orchestra, Sphinx Symphony Orchestra, and Madison Symphony Orchestra among others. She has performed at numerous prestigious venues including: Carnegie Hall, Severance Hall, Kennedy Center, Rock and Roll hall of fame, Ordway Center, Harris Theater, New World Center, Disneyland, National Gallery of Art Museum, and Aspen Summer Camp. She has performed in England, Ireland, Scotland, and Switzerland. Recently, Hannah performed at the World Economic Forum in front of world leaders and business leaders.
Hannah has earned First Prize at dozens of competitions for solo and chamber at the local, national and international level.
Hannah has been admitted into the renowned studio of Robert Lipsett, with whom she presently studies at the Colburn Conservatory of Music.
Program Notes
Violinist Hannah White’s previous appearance with Symphoria was in 2021, on our “Spring in April” concert. This year, she joins us in November—but spring is still in the air.
Of the three works this afternoon, the one with the most obvious connection to spring is the Symphony No. 1(known as the “Spring Symphony”) by Robert Schumann (1810–1856). Familiar nicknames for famous pieces (for instance, Mozart’s “Jupiter” Symphony) are regularly coined by someone other than the composer, often after his or her death. In this case, the sobriquet comes ...
Violinist Hannah White’s previous appearance with Symphoria was in 2021, on our “Spring in April” concert. This year, she joins us in November—but spring is still in the air.
Of the three works this afternoon, the one with the most obvious connection to spring is the Symphony No. 1(known as the “Spring Symphony”) by Robert Schumann (1810–1856). Familiar nicknames for famous pieces (for instance, Mozart’s “Jupiter” Symphony) are regularly coined by someone other than the composer, often after his or her death. In this case, the sobriquet comes from Schumann himself. (In fact, each movement originally had a subtitle referring to the season, although Schumann removed them from the score before it was published.) Like much of Schumann’s best music, it burst forth in an astonishing surge of activity. He wrote the Cello Concerto, which we performed at our last Masterworks concert, in just two weeks; the First Symphony is even more remarkable, sketched out in a mere four days. Surprisingly, given its sunny spirit, it was composed in the dead of winter, in January 1841. But Schumann was elated by his recent marriage to Clara Wieck, and the result was a vernal character that would be evident even without hia verbal hints.
The Symphony begins with a luminous introduction, perhaps an announcement of the coming of spring, with the trumpets calling from “on high” (as Schumann put it in a letter to conductor Wilhelm Taubert), leading to “the world’s turning green.” Yes, there are shadows here and there, especially in the more regretful moments of the lyrical second movement Larghetto (“fairly slow’); there are also momentary flashes of severity in the dynamic Scherzo that follows. But the work as a whole is open-hearted and optimistic. Schumann often distinguished two aspects of his personality with the names Eusebius (representing his pensive, more melancholy side) and Florestan (his bright, extroverted side). In this work, Florestan is clearly dominant, especially in the uplifting finale.
One of the most striking aspects of the First is its apparent effortlessness. Especially for composers living in Germany and Austria, writing symphonies in the shadow of Beethoven was no easy matter. Beethoven provided inspiration, revealing what could be done within the genre. At the same time, he created an obstacle by setting a standard that was hard to meet. Brahms, famously, waited until he was in his forties before he could write his First Symphony. Liszt turned to symphonic poems rather than symphonies modeled after Beethoven (the two pieces he wrote with the title “symphony” were both programmatic works that resisted the Beethoven paradigms). The young Wagner made a couple of paltry symphonic efforts (only one was completed) and then turned to opera.
But there’s neither hesitency nor strain in Schumann’s First. How did he manage it? One widespread theory is that Schumann’s success with the genre was boosted by his discovery of Schubert’s “Great” C Major Symphony, nowadays usually counted as his Ninth. Schumann was largely responsible for the revival of this once-forgotten work, bringing back a copy for Mendelssohn to premiere in 1839, and writing a review in 1840 that helped cement its reputation. In particular, it was Schubert’s reliance on large-scale lyricism that seems to have inspired Schumann and given him a way of getting past Beethoven’s ghosts. In any case, the First Symphony is struck through with undeniable confidence.
Schumann’s technical skill as a writer for the keyboard has never been in doubt; but as I mentioned in my notes for the Cello Concerto, his orchestration has often come under attack—and several conductors (most notably Weingartner and Mahler) made efforts to “improve” it. Nowadays, such interventions are normally avoided (except when a conductor is specifically trying to celebrate Mahler). True, Schumann may not have the orchestral transparency of his good friend Mendelssohn, much less the quirkiness of Berlioz or the flashiness that Liszt was to develop. Still, the music is filled with orchestral marvels, from that annunciatory opening, through the conversational play among the instrumental groups in the Scherzo, on to the magical flute cadenza ushered in by bucolic horns that interrupts the finale. And as in his beloved Schubert Ninth, the trombones are given a major role.
The Violin Concerto No. 3, K. 216 (1775) by Wolfgang Amadeus Mozart (1756–1791) has an equally solid connection to spring, although it’s slightly more circuitous, grounded in the reciprocal relation between Mozart’s operas and his orchestral works. Regular audience members may remember how frequently soloists bring up the operatic qualities of Mozart’s concertos. Talking about the Clarinet Concerto in 2018, David Shifrin pointed to the way Mozart mixed “virtuosic instrumental qualities” with “operatic, lyric vocal qualities.” And when Sarah Vonsattel performed Mozart’s Fifth Violin Concerto in 2021, she noted how her experience performing the composer’s operas in the Metropolitan Opera Orchestra influenced her understanding of the piece.
The Third Violin Concerto is operatic, too, in an even more direct sense: The opening theme of the first movement is lifted from an aria in his sightly earlier opera Il Re Pastore, K. 208. Sung by a king who believes he is a shepherd, the text (“Aer tranquillo e dì sereni, Freschi fonti e verdi prati”/“Tranquil air and serene days, cool streams and green meadows”) is a clear evocation of spring, one that inspires clearly springlike music. Does Mozart’s decision to plunder an earlier tune suggest that his imagination had stalled? Hardly. The violin version is more inventive, and launches a work notable for its melodic abundance. The finale, in particular, is a rondo (a form in which a recurring section called the “refrain” is interrupted by contrasting “episodes”), one where the shifts in tone and spirit are almost dizzyingly rich.
On Hannah’s earlier visit to Syracuse, she performed the First Violin Concerto by Joseph Bologne, Chevalier de Saint-Georges. The Saint-Georges and the Mozart Third were written at about the same time by composers sharing a strong classical aesthetic who were often associated with each other (indeed, Saint-Georges was misleadingly nicknamed “The Black Mozart”). But the concertos are very different in style. The Saint-Georges is a show-offy piece, extremely difficult to play because of what Hannah calls its “random licks, jumps and leaps.” In contrast, the Mozart is an epitome of a “classical concerto”, a work that, despite its melodic profligacy, is marked by its “stability.” In contrast to the Saint-Georges, it fits under the fingers very well.”
Hannah certainly feels its springy character: “There’s definitely a little bit that’s carefree in there, maybe even childlike.” One special feature of today’s performance: As is traditional in concertos of the period, Mozart left performers the opportunity to improvise. Nowadays, when improvisation is less common among classical performers, soloists are more likely to rely on pre-composed cadenzas. In this case, there are numerous choices, mostly written by prior violinists including Eugene Ysaÿe, David Oistrakh, and Joshua Bell. In previous performances, Hannah has used a cadenza by Rachel Barton Pine (who will, incidentally, be performing Vivaldi’s Four Seasons with Symphoria on January 27). This afternoon, she’ll be playing one by her friend John Fawcett—extremely virtuosic, but still staying close to the spirit of the rest of the Concerto.
Like the Schumann First Symphony, however, this Concerto has its less chipper side: The slow middle movement, marked Adagio (very slow), is more inner-directed. In terms of sonority, it’s softer than the rest of the Concerto, maybe even withdrawn: Mozart mutes the strings and replaces the plangent oboes with the sweeter flutes (in Mozart’s day, they would probably have been played by the same musicians). This is Hannah’s favorite movement. From her perspective, it has more depth—and, more important, it fits her character. You might not have guessed it if you heard her blazing performance of the Saint-Georges, but in fact, she says, “I’m really a quiet, introspective person, an introvert.” Hence, she says, she’s “most comfortable with what I’m doing” in music like the middle movement of the Mozart.
Like the Schumann, too, Mozart’s Third Violin Concerto has a nickname picked by the composer himself. In this case, though, its meaning is unclear. Mozart called it his “Strassburg” Concerto, but the work was neither written nor performed there. In fact, Mozart didn’t set foot in that city until three years later. It’s possible that the name comes from a tune in the finale, which may be a folk-tune of Alsatian origin—but there’s been some debate on the issue.
Our concert begins with a brief, appropriately sunny work, Strum, by Jessie Montgomery (b. 1981). Montgomery is a Symphoria favorite, having appeared every season since 2020-2021. Her knotty but affirmative Banner (2014)—which superimposes the National Anthem with a number of other folk songs and patriotic tunes to create a sense of multi-cultural community—opened our 2020-2021 season; Starburst (2012), a more self-consciously brilliant piece, opened a Casual in January 2022; and last year, we performed the New York premiere of her substantial and multifaceted Rounds, with pianist Awadaggin Pratt. Strum, originally for string quintet (2006), but later arranged for both string quartet and string orchestra (as we’ll be hearing it tonight), is one of her most widely performed compositions (in fact, you may have heard the quartet version performed by the Harlem String Quartet at a Syracuse Friends of Chamber Music Concert in April 2022). Like Rounds, it depends heavily on ostinatos (repeated musical patterns)—in this case repetitions of layered rhythmic and harmonic patterns that, as the composer puts it, “string together to form a bed of sound for melodies to weave in and out.” She continues: “Drawing on American folk idioms and the spirit of dance and movement, the piece has a kind of narrative that begins with fleeting nostalgia and transforms into ecstatic celebration.” Although the idiom is less thorny, it has a spiritual connection with Banner: Strum, too, celebrates music as “a meeting place at which all people can converse about their unique differences and common stories.”
Peter J. Rabinowitz
Have any comments or questions? Please write to me at prabinowitz@ExperienceSymphoria.org
A Message from St. Paul’s Church
St. Paul’s is thrilled to have Symphoria performing in our beautiful sanctuary for the Casual Concert on Nov 12, and we hope you enjoy this lovely concert of music by Montgomery, Mozart, and Schumann. We ask that you forgive our construction “mess” as we have begun our long-awaited Open Doors building project. Open Doors will make several changes to our spaces that will improve accessibility and help preserve our historic buildings. In the coming months we will replace roofs and restore windows, install an elevator to the second floor, build a new entrance into the parking lot and rebuild and enlarge all our restrooms. These changes will make our buildings more welcoming and accessible to everyone including those coming to Symphoria concerts. To learn more about Open Doors, we invite you to visit our website: www.stpaulsyr.org We may also offer some updates for you in future program notes for the casual series at St. Paul’s. When our construction is complete, we look forward to resuming our post-concert receptions for Symphoria.
St. Paul’s intention is to enter into a partnership with A Tiny Home for Good in the coming months. Upon completion of Open Doors, A Tiny Home for Good plans to build 10 apartments on the second floor of the parish house to meet the critical need for accessible, respectful, supportive housing for low-income members of our community. Visit this website to learn more about A Tiny Home for Good and the work they are doing in Syracuse to end homelessness: www.atinyhomeforgood.org
The Rev. Philip Major, St. Paul’s Church.
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 Katie Kaczorowski, Director of Development at 315-434-5279 or KKac@ExperienceSymphoria.org.
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
Symphoria appreciates all the generous gifts received September 1, 2022 through September 26, 2023 from the supporters listed below. Every effort is made to ensure listed accuracy, but if you have a question, please contact Kelly Covert at (315) 434-5645 or kcovert@experiencesymphoria.org.
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
David &...
Symphoria appreciates all the generous gifts received September 1, 2022 through September 26, 2023 from the supporters listed below. Every effort is made to ensure listed accuracy, but if you have a question, please contact Kelly Covert at (315) 434-5645 or kcovert@experiencesymphoria.org.
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
David & Cheryl Abrams: One Masterworks Concert each year
Estates of Evelyn Brenzel & Ann Marie Cronin: Choral Concerts
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
Robert & Vicki Lieberman: Concertmaster Chair
Virginia Parker: Associate Concertmaster Chair in memory of Frederick B. Parker, M.D.
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
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
$25,000+
Estate of Evelyn Brenzel
The Feng Family
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$100 – $499
Anonymous (5)
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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
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
Peter Rabinowitz
Professor, Hamilton College
Martha Sutter
Interim Associate Dean of Academic Affairs & Teaching Professor of Voice, Syracuse University
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
Sabrina DeVos ✉
Orchestra Manager
Nicky Radford ✉
Education & Youth Orchestra Manager
Emily Bass ✉
Box Office Manager
Arvilla Wendland ✉
Personnel Manager
Ben Dettelback ✉
Librarian
Katie Kaczorowski ✉
Director of Development
Lara Mosby ✉
Senior Manager for Advancement and Community Engagement
Kelly Covert ✉
Corporate Giving and Annual Fund Manager
Brian Pope ✉
Data & Patrons Services Associate
Paul McShee ✉
Youth Orchestra Music Director
Jessica Tumajyan
Youth Strings Conductor