WALTZ ALONG THE BLUE DANUBE
Welcome
About
January 14, 2024 @ 3:00 pm Saint Paul’s Syracuse 220 East Fayette Street Syracuse , NY 13202
Program
JACQUES OFFENBACH
Orpheus in the Underworld: Overture
JOHANN STRAUSS JR
Frühlingsstimmen, op.410 (Voices of Spring)
ERICH WOLFGANG KORNGOLD
Straussiana
JOHANN STRAUSS JR
Vergnügungszug, op.281 (Pleasure Train Polka)
JOSEF STRAUSS
The Dragonfly, Polka Mazurka, Op. 204
JOSEF STRAUSS
Plappermäulchen (Chatterbox) Polka, Op. 245
JOHANN STRAUSS JR & JOSEF STRAUSS
Pizzicato Polka
JOHANN STRAUSS JR
Unter Donner und Blitz, op.324 (Thunder and Lightning Polka)
JOHANN STRAUSS JR
An der schönen blauen Donau, op.314 (On the Beautiful Blue Danube)
Featured Artists
French conductor Mélisse Brunet, from Hispanic and Italian descent, is currently living in Philadelphia, PA. She is quickly gaining attention on both sides of that Atlantic as a “skilled and polished conductor with panache” (ClevelandClassical.com). In July 2022, she became the fifth Music Director of the Lexington Philharmonic, ...
French conductor Mélisse Brunet, from Hispanic and Italian descent, is currently living in Philadelphia, PA. She is quickly gaining attention on both sides of that Atlantic as a “skilled and polished conductor with panache” (ClevelandClassical.com). In July 2022, she became the fifth Music Director of the Lexington Philharmonic, KY, and the first woman to hold the position, she is also in her third season as the Music Director of the Northeastern Pennsylvania Philharmonic, PA.
Brunet is one of the five conductors featured in the documentary “Maestra” by the Director Maggie Contreras and produced by David Letterman and Melanie Miller (“Navalny”), among others. The world premiere was on June 9 at the Tribeca Festival, in NYC, and won the 2nd place to the 2023 Tribeca Audience Award – Documentary. It has received rave reviews in the press, including two articles in the New York Times, the Los Angeles Times, and the Hollywood Reporter.
During the 2023-24 season, besides her two orchestras, she will be conducting the Nashville Symphony Orchestra, the Eugene Symphony, the West Virginia Symphony, the Orchestre d’Avignon (France), the University of Illinois orchestra, and promoting “Maestra” in various festivals.
A protégée of Pierre Boulez, Brunet was one of the 14 finalists selected over 200 applicants for the second edition of the International Competition La Maestra in 2022 in Paris. She was one of six conductors selected for the 2018 Bruno Walter National Conductor Preview (Nashville Symphony Orchestra), chosen for their “experience, talent, leadership potential, and commitment to a career in service to American orchestras.”
As a dynamic advocate of contemporary music, Brunet has collaborated with composers such as T.J. Cole, Steven Stucky, Michael Daugherty, Shulamit Ran, James Barry, Mary D. Watkins, Loren Loiacono, and Jennifer Higdon, among others.
As an opera and music-theatre conductor, Brunet has conducted Dead Man Walking by Jake Heggie and Puccini’s Gianni Schicchi at the Power Center in Ann Arbor; four staged performances of Mozart’s Die Zauberflöte; and Bernstein’s Trouble in Tahiti, Menotti’s The Old Maid and the Thief, Sondheim’s Sweeney Todd, and Strauss II’s Die Fledermaus in Boone, NC, and two staged performances of Verdi’s La Traviata at the Coralville Center for Performing Arts, IA.
As a Pops conductor, Brunet has been collaborating with Spot-On Entertainment and Scott Coulter for several years, as well as with many other entertainment companies. She has been programming Pops concerts for Holiday Pops, Independence Day, Halloween, Valentine, and some thematic programs (notably a John Williams tribute), performing indoors and outdoors for up to 6000 people. Finally, she also conducted orchestras during live movie projections (without click track).
Brunet is a respected educator in both France and the USA. Most recently, she served as the first woman Director of Orchestral Studies at the University of Iowa-School of Music, where she conducted symphonic concerts, operas, and musical theater. In addition, she headed the orchestral conducting program at the Master’s and Doctoral levels, from which her students won major positions.
A native of Paris, Brunet began her studies on the cello, and learned to play the trumpet, French horn, and piano. She holds six diplomas from the Paris Conservatory (Analysis, Harmony, Counterpoint, Renaissance Counterpoint, Orchestration, and a Masters in Orchestral Conducting), a bachelor’s in music from the Université la Sorbonne, a Professional Studies diploma from the Cleveland Institute of Music, and a Doctorate in conducting from the University of Michigan. Aside from Pierre Boulez, her mentors have included Kenneth Kiesler, Lawrence Loh, Carl Topilow, Zsolt Nagy, and Joel Smirnoff. Brunet also took part in international workshops where she studied with Marin Alsop, Gustav Meier, David Stern, Peter Eötvös, and Jorge Mester. She has studied French, English, German, and Italian lyric diction, and speaks English, French, Italian, Chinese, and a rusty Spanish, Hebrew, and German.
Program Notes
When Adele Strauss—the third wife of Johann Strauss II (1825–1899)—asked Brahms for an autograph, he wrote out the opening of The Blue Danube Waltz (1866), adding the comment, “Unfortunately, not by Johannes Brahms.” The anecdote may seem apocryphal, especially since it has circulated in several slightly different versions. But it’s probably true. Brahms was a tremendous admirer of the music of Johann II. (I’ll use that nickname in these notes, not only to honor his status as “The Waltz King,” but also to distinguish him from the other Strausses ...
When Adele Strauss—the third wife of Johann Strauss II (1825–1899)—asked Brahms for an autograph, he wrote out the opening of The Blue Danube Waltz (1866), adding the comment, “Unfortunately, not by Johannes Brahms.” The anecdote may seem apocryphal, especially since it has circulated in several slightly different versions. But it’s probably true. Brahms was a tremendous admirer of the music of Johann II. (I’ll use that nickname in these notes, not only to honor his status as “The Waltz King,” but also to distinguish him from the other Strausses I’ll be mentioning). And vice-versa. Johann II’s waltz Seid umschlungen Millionen (Be Embraced, You Millions—a phrase taken from Schiller’s Ode to Joy which Beethoven set in the finale of his Ninth Symphony) was dedicated to Brahms.
At first glance, this mutual admiration is surprising. Even though Brahms dabbled in music with commercial appeal (for instance, the Hungarian Dances), he is generally considered among the heaviest and most severe of the great 19th-century composers. Johann II, the most successful and prolific of a dynasty of composers and performers, is the epitome of the suave musician who speaks to popular tastes.
Johann II was so popular, in fact, that at the peak of his fame in Vienna, there were sometimes multiple “Strauss Orchestras” performing at the same time in different parts of the city, with the Waltz King himself rushing from one to another to make an appearance before his adoring admirers. But Johann II was anything but tawdry. Rather, he was an enormously skilled composer, an accomplished orchestrator with the kind of melodic gift we find in Schubert and Tchaikovsky; and Brahms was not the only “serious” classical composer of the times to be seduced by his music. Even Wagner and Liszt, leaders of the musical avant-garde at the end of the 19th century, were among his many contemporaries who adapted (and influenced) his music.
The Blue Danube is the most ubiquitous of Johann II’s waltzes—showing up in a variety of contexts ranging from the soundtrack of Stanley Kubrick’s 2001 and the ads for Rival Dog Food to the finale of New York City’s Big Apple Circus. Its character and quality are immediately evident in its introduction, which not only incorporates some subtly surprising harmonies but also reveals what today’s conductor Mélisse Brunet calls his “amazing orchestration.” It’s followed by five different waltzes (wandering through a number of different keys), concluding with a lengthy coda that gathers up much of the main thematic material. If the major symphonic works of Beethoven and Brahms develop ideas, this work (like many of Johann II’s waltzes) drifts through ideas—much like the river itself.
The waltz is such an effective voyage, in fact, that for many of us—especially those who do not live nearby—it has defined our image of the Danube. Or perhaps I should say distorted our image. In reality, the river is not blue (there are, as with most major waterways, serious pollution problems) and, at the time, it did not even flow through Vienna’s city limits. In fact, the waltz—in its original form as a choral work—was slightly satirical, chiding Vienna after its defeat in the Austro-Prussian war. There’s a darker strain as well: Johann II’s grandfather drowned—possibly by suicide—in the Danube in 1816. This sparkling work has helped erase all that, and the work now stands as a monument to the city and the river—a testament to the power of music to evoke our imaginations and help us escape from mundane reality.
Voices of Spring also began as a vocal work—in this case, a virtuoso coloratura display piece for solo voice and orchestra—before it was transformed into the purely orchestral work that’s more famous today. It, too, glides through a number of waltz tunes before it reaches its summary coda.
The vocal background of these waltzes is significant. In fact, according to Mélisse, it provides a crucial key to capturing the music’s spirit. As she puts it, the music is notable for its “lightness, its atmosphere of partying and celebrating and dancing”—a Viennese spirit analogous to the American spirit heard in John Philips Sousa marches. And when playing Johann II’s music, it’s necessary to avoid any “heavy bratwurst and beer sound.” As is well known, part of its intended effect comes from subtle application of rhythmic inflections—in particular, the “Viennese tradition that puts the second beat slightly closer to the first and that puts the third beat slightly closer to the next first beat. It’s comparable to playing jazz—you need to find the groove.” But Mélisse believes that paying attention to the vocal implications of the music is even more important than conveying the rhythm. “This is the only way, in my opinion, for an interpreter to be right on spot with the elegance and the style of the music. If you play the notes as if you’re singing them, then you’ll find all the elegance and it will sound natural.”
Beyond his large-scale waltzes, Johann II wrote several operettas (including Die Fledermaus)—and a vast number of slighter works which, as the two and a half polkas included this afternoon demonstrate, show the same craftsmanship and imagination as his more substantial works. Both Thunder and Lightning (1868) and the Excursion Train (1864) have some delightful sound effects—and like The Blue Danube, Excursion Train serves as a musical flight from reality. Listening to it, you’d never guess that Johann II detested train travel.
As for the half polka: the popular Pizzicato Polka (1869), like several other works, was a collaboration between Johann II and his brother Josef Strauss (1827–1870). Josef may have been the most talented of the Strauss family—or, at least, the most wide-ranging. A true polymath, he was an engineer (he invented a rotary street cleaning machine that was used in Vienna for years), a painter, a playwright, a pianist, a mathematician …. He tried to resist the siren call of the Strauss Orchestra—popular and lucrative as it was—but stepped in for his ailing brother in 1853, and eventually became a regular conductor. Like Johann II, he reached out across the “popular/serious” divide. He championed music by Beethoven, Mendelssohn, and Liszt, and brought much of Wagner’s music to concerts in Vienna before the operas made their way there. The Dragonfly Polka Mazurka and the Little Chatterbox Polka are, after the Pizzicato Polka, among his most popular compositions.
There were many other composers of light music at the time, some of whom are still occasionally played (Lanner and Waldteufel, for instance) and some of whom are forgotten. The Strauss family, and especially Johann II, remained popular—and valuable, both financially and culturally. In a particularly sinister twist, he was taken up by the Third Reich’s propaganda efforts, which included the institution of the Vienna Philharmonic New Year’s Strauss concerts in 1939 as a fund-raiser for the German war effort. (In fact, he was so valuable a commodity to the Nazis that records were altered to hide the family’s Jewish origins.) Fortunately, the music has managed to transcend the purposes to which it was put in those dark years.
The music also continued to resist the increasingly bold line drawn between serious and popular music. As we’ve seen, the Strauss family was entangled with the high art (especially the modernists) of their day; and that entanglement continued into the 20th century. Richard Strauss (no relation) was a fan and sometimes an imitator. Ravel’s La Valse, performed at our last Masterworks concert, began as an homage to Johann II (although it eventually shifted direction). The three key radicals of the so-called Second Vienna School—Schoenberg, Berg, and Webern, the composers who pioneered the twelve-tone system—all made Strauss arrangements. So did Shostakovich.
Even more closely tied to Johann II, though, was Erich Wolfgang Korngold (1897–1957). A child prodigy, Korngold went on to a two-pronged career. In Vienna in the 1920s, he was one of the most important post-romantic opera composers of his day, best remembered for such over-the-top shockers as Die Tote Stadt and Das Wunder der Heliane (with a nude scene that makes Strauss’s Salome seem modest). Later on, especially once he moved permanently to the United States after the Nazi annexation of Austria, he increasingly turned his attention to producing lush scores for films like Captain Blood and The Sea Hawk. His success would be hard to overestimate. Indeed, he’s largely responsible for the “Hollywood Sound.”
Throughout his life, Korngold wrote concert music as well (his Violin Concerto has become his most famous concert work). More surprisingly, in both Vienna and the United States, he adapted several of Johann II’s operettas, taking up Die Fledermaus more than once. In fact, it was in part his work on Johann II that led to his first invitation to Hollywood. It’s therefore fitting that Johann II served as the inspiration for his final concert work, Straussiana (1953), based on tunes from three of Johann II’s lesser-known theater works.
Korngold also engaged in successful adaptations of the music of Jacques Offenbach (1819–1880)—as did Josef Strauss, who wrote a number of quadrilles based on tunes from his work. If Johann II was the Waltz King, Offenbach, says Mélisse, is the King of Operetta; and even though he was actually born in Cologne, he has much the same position in French culture and the Strausses do in Viennese culture. There are stylistic similarities, too, in the lightness that requires the performer to remember that it’s “music to be sung.” “Everything,” she says, “needs to be refined.”
Still, for all the musical similarities, there are significant differences. In particular, Offenbach’s operettas are much edgier and sexier than Johann II’s, full of political barbs and attacks on the “decency” enforced by bourgeois public opinion. A smack at respectability lies at the core of his first multi-act operetta, Orpheus in the Underworld (1858, revised 1874). In the original myth, of course, Orpheus is so deeply in love with Eurydice that when she dies, he ventures into the Underworld to rescue her. This retelling transforms them into a bickering couple happy to be rid of each other. Orpheus only makes his journey when he’s forced to do so by Public Opinion. The most famous number is the Can-Can, a work as recognizable as the Blue Danube, which is previewed at the end of the rousing Overture.
Or that’s what public opinion has to say about the Overture. In fact, the work that usually shows up as the Overture to Orpheus in the Underworld is not the operetta’s real overture, but a concoction made by Carl Binder for a production in the Strausses’ home territory, Vienna. And the dance we know so well is not a can-can, but a galop—it only became associated with the can-can when it was repurposed, eventually becoming a staple of French cabarets. None of that flattens the champagne that flows through the work that opens our concert this afternoon.
Peter J. Rabinowitz
Have any comments or questions? Please write to me at prabinowitz@ExperienceSymphoria.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 Katie Kaczorowski, Director of Development at 315-434-5279 or KKac@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 January 14, and we hope you enjoy this concert of music by Offenbach, Strauss and Korngold. 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 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
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 September 1, 2022 and September 26, 2023. 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: ...
We are grateful to the following donors for their generous gifts received between September 1, 2022 and September 26, 2023. 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
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
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Gifts received annually 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
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Mike Rozmarin & Holly Edwards
IN HONOR OF CAROL SASSON
Frances Toni Richardson
IN HONOR OF ANNI SCUDERI
Anne Scuderi
IN HONOR OF EDUARDO SEPULVEDA
Richard & Chris Lightbody
IN HONOR OF PATRICIA SHARPE & WALDEN BASS
Terri & Kip Hargrave
IN MEMORY OF ROBERT B. SHIELDS
Margaret Shields
IN MEMORY OF SORIANO UY SO
Ursula Kwasnicka
IN MEMORY OF MARION STANISLAW
Nancy Freeborough & Swiat Kaczmar
Winifred Greenberg
Cheryl Patrice Scullion
Linda & Richard Smernoff
IN HONOR OF SYMPHORIA’S TALENTED KEYBOARD PLAYERS
Joseph Cerroni & Linda Tassa
IN HONOR OF SYMPHORIA’S 10TH ANNIVERSARY
Robert & Vicki Feldman
IN HONOR OF SYMPHORIA YOUTH ORCHESTRA MUSICIANS
Ruth Pass Hancock
IN HONOR OF KAREN TIETJEN
Christopher Erat
IN MEMORY OF OTTO & ELEANOR TREIER
George & Ronna Treier
IN HONOR OF EDGAR TUMAJYAN
Dr. Young & Kelly Lee
IN MEMORY OF SYLVIA BASKERVILLE TURNER
Eugene Turner
IN HONOR OF MARY ANN TYSZKO
Mark Greene & Cynthia Dowd Greene
IN MEMORY OF KAREN VENDETTI
Stephen & Michaeline Driscoll
IN MEMORY OF DORIS WEBSTER
Sally Webster
IN MEMORY OF BILL WEST
Alan Fischler & Karen McDonold
IN MEMORY OF DAVID WHYTE
Anne Whyte
IN HONOR OF SONYA STITH WILLIAMS
Franklin & Kathleen Stith
IN MEMORY OF KAREN WILSON
David & Jayne Wilson
IN MEMORY OF MARY WYSKIDA
Paul & Sue Ellen Romanowski
IN MEMORY OF KATHLEEN ZIELINSKI
Edmund Zielinski
Board of Directors
Mary Ann Tyszko, President
President & CEO, SRCTec (retired)
Anna Putintseva, Secretary
Partner, Bousquet Holstein
Frank Messere, Treasurer
Dean Emeritus, School of Communication, Media and the Arts, SUNY Oswego
Violet Bundi
Attorney, Interfaith Works
Amy Christian
Symphoria Musician (Violin)
Kelly Covert
Symphoria Musician (Flute/Piccolo) & Corporate Giving & Annual Fund Manager
Caragh Fahy
Owner & President, Madison Financial Planning Group
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
Ergo Blydenburgh ✉
Orchestra Manager
Nicky Radford ✉
Education & Youth Orchestra Manager
Emily Bass ✉
Box Office 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
Brian Pope ✉
Data & Patrons Services Associate
Paul McShee ✉
Youth Orchestra Music Director
Jessica Tumajyan
Youth Strings Conductor