BACH, COPLAND, AND SHOSTAKOVICH
Welcome
About
April 28, 2024 @ 3:00 pm Saint Paul’s Syracuse 220 East Fayette Street Syracuse , NY 13202
Program
DMITRI SHOSTAKOVICH
Chamber Symphony, op.110a
I. Largo
II. Allegro molto
III. Allegretto
IV. Largo
V. Largo
AARON COPLAND
Quiet City
Monica Fosnaugh, english horn
John Raschella, trumpet
JOHANN SEBASTIAN BACH
Suite No.4 in D Major, BWV 1069
I. Overture
II. Bourrée I & II
III. Gavotte
IV. Minuet
V. Rejouissance
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
Monica Fosnaugh joined the Detroit Symphony Orchestra in 2012, appointed as the orchestra’s English Horn by Music Director Laureate Leonard Slatkin. Prior to joining the DSO, Fosnaugh held positions with the New Haven Symphony, the Syracuse Symphony, the Rochester Philharmonic, and the Kalamazoo ...
Monica Fosnaugh joined the Detroit Symphony Orchestra in 2012, appointed as the orchestra’s English Horn by Music Director Laureate Leonard Slatkin. Prior to joining the DSO, Fosnaugh held positions with the New Haven Symphony, the Syracuse Symphony, the Rochester Philharmonic, and the Kalamazoo Symphony Orchestra, as well as the Colorado Music Festival in Boulder. She was also an oboe fellow at the New World Symphony in Miami Beach where she played under the baton of Michael Tilson Thomas. Fosnaugh has been featured as a soloist with the DSO performing works by Aaron Copland and Leonard Slatkin.
A native of Lima, Ohio, Fosnaugh began playing the oboe at age 10 and spent eight years studying with Patricia Nott. She attended the Cleveland Institute of Music where she studied with John Mack, the former Principal Oboe of The Cleveland Orchestra. Fosnaugh continued her studies with Robert Atherholt at Rice University in Houston, Texas. While in school, she spent summers at the Chautauqua Institute, the Kent/Blossom Music Festival, and the National Repertory Orchestra.
In addition to her work with the DSO, Fosnaugh regularly performs in solo and chamber recitals on both oboe and english horn. She also provides instruction through private coaching and giving masterclasses around the metro Detroit-area and throughout the US.
John Raschella is currently Principal Trumpet with Symphoria. Prior to that for 30 years he was Principal Trumpet and Associate Principal trumpet of the Syracuse Symphony Orchestra. He has performed as Co Principal trumpet with the Pittsburgh Symphony and has performed with the Philadelphia Orchestra along with the symphony orchestras ...
John Raschella is currently Principal Trumpet with Symphoria. Prior to that for 30 years he was Principal Trumpet and Associate Principal trumpet of the Syracuse Symphony Orchestra. He has performed as Co Principal trumpet with the Pittsburgh Symphony and has performed with the Philadelphia Orchestra along with the symphony orchestras of Houston, Minnesota, Buffalo, Rochester and Jacksonville. He has also been a featured performer at the International Trumpet Guild Conference and has recorded with the Pittsburgh and Syracuse Symphony Orchestras. In the summers he has performed as principal trumpet of the Eastern Music Festival in N Carolina and the Spoleto festival in Italy as well as a frequent performer at the Skaneateles festival.
Mr. Raschella attended the Manhattan School of Music and the Curtis Institute of Music where he received an artist diploma. Mr. Raschella has taught at Ithaca College and is on the faculties of Hamilton College and Syracuse University. He has given master classes at The Curtis Institute, Ithaca College and Nazareth College.
Mr. Raschella is a native of Syracuse having grown up in Dewitt and remembers his first musical experience as going to a young persons concert at the war memorial and hearing the Syracuse Symphony at the age of 9. It changed his life and turned him on to classical music! His children are also musicians with daughter Mary (violin) a string teacher in the Williamsville school district and son David (french horn) who is attending the Juilliard school.
When not playing the trumpet you will find he and his wife Bonnie aboard their boat “BonGiovanni” where they love to cruise the Erie Canal and the great lakes!
Program Notes
The Chamber Symphony, op. 110a is an adaptation for full string orchestra, by Rudolf Barshai, of the String Quartet No. 8 by Dmitri Shostakovich (1906–1975). The official story behind the original work is straightforward. In 1960, Shostakovich was in Dresden, working on the score for Five Nights and Five Days, a film celebrating the Soviet rescue of art works buried in the rubble after the Allied bombing in 1945. Devastated by the massive destruction of the city, he was inspired to interrupt his primary task in order to write ...
The Chamber Symphony, op. 110a is an adaptation for full string orchestra, by Rudolf Barshai, of the String Quartet No. 8 by Dmitri Shostakovich (1906–1975). The official story behind the original work is straightforward. In 1960, Shostakovich was in Dresden, working on the score for Five Nights and Five Days, a film celebrating the Soviet rescue of art works buried in the rubble after the Allied bombing in 1945. Devastated by the massive destruction of the city, he was inspired to interrupt his primary task in order to write a five-movement quartet (played without pause) dedicated it to “the victims of fascism and the war.” He wrote it quickly but with unusual intensity; it has since become one of his most frequently performed compositions—probably the most recorded post-War piece of chamber music.
But like everything having to do with Shostakovich, it’s more complicated than the official story suggests—and it gets more complicated the more we learn about his experiences. Yes, the Eighth Quartet is clearly a response to the destruction of Dresden—but it’s also an autobiographical outcry. It’s not only that it makes significant use of the musical motif DSCH (D-E flat-C-B, using traditional German nomenclature) which Shostakovich used frequently to refer to himself (using the German spelling of his name, D. Schostakowitsch). More striking, it quotes extensively from a large number of his earlier works. But what’s the slant of that autobiography? It’s not easy to be sure, since the Quartet is a multi-layered work laced with ironies and contradictions.
First, it bears witness to Shostakovich’s own suffering in the Soviet Union. Among the quotations, we find a well-known Russian prison song (“Tortured by grievous bondage”) as well as music from Lady Macbeth of Mtsensk—the opera that so enraged Stalin that Shostakovich, formerly a Soviet Hero, found himself fearing arrest. Indeed, the composer described “this ideologically flawed quartet,” in a letter to his friend Isaak Glikman, in somewhat self-pitying tones: “I started thinking that if some day I die, nobody is likely to write a work in memory of me, so I had better write one myself. The title page should carry the dedication: ‘To the memory of the composer of this quartet.’” But in typical Shostakovich fashion, he mocks that self-pity in the very same letter, calling the Quartet a pseudo-tragedy and disparaging his own tears (“I shed the same amount of tears as I would have to pee after half-a-dozen beers”). To further complicate matters, he suggests wryly that what he really admires about the work is not its programmatic content but its “superlative unity of form.”
Second, at the same time—and there is no irony here—it’s a declaration of his opposition to Soviet anti-Semitism. Shostakovich strongly identified with Jews, an identification announced in a great deal of his music (most strongly in his Thirteenth Symphony, written two years later, which sets Yevtushenko’s poem Babi Yar, a poem about the Nazi massacres near Kyiv). In the Eighth Quartet, we can hear it in his quotation of music from his Second Piano Trio, music with a strong Jewish flavor.
Need another strand of meaning? The work may also be an expression of Shostakovich’s own sense of guilt, for it’s haunted by recollections of Richard Strauss’s Metamorphosen for strings—also written in the response to the destruction of the war—in a way that ties the two composers together. And once you notice that connection, it’s hard not to hold Shostakovich’s compromises with Stalinism up against Strauss’s concessions to the Nazi regime. That comparison is all the more painful since while Strauss resisted joining the Nazi Party, Shostakovich did surprisingly join the Communist Party—under pressure—just around the time he wrote this Quartet.
In sum, it’s a dizzying work that resists easy interpretation—especially as we discover more about the composer. Yet, paradoxically, the immediacy of its impact has been consistent. Audiences never fail to be shaken by the experience of hearing it.
As I’ve suggested, over the years, the historical and personal context of its composition has become ever more central to discussions of the Shostakovich Eighth Quartet. At the same time, the opposite has been happening to Quiet City (1939) by Aaron Copland (1900 –1990): it has become increasing detached from its original context. It started out as part of the incidental music that Copland wrote for Irwin Shaw’s play of the same name. But once the composer recast it as an independent piece for strings, solo trumpet, and solo English horn, “it kind of abandoned its original meaning,” as tonight’s soloist Monica Fosnaugh puts it, and took on a life of its own—especially after the play (which had a total of two performances) disappeared from our collective memory.
Quiet City is a gentle work, often compared to Charles Ives’s The Unanswered Question. The title seems, at first, to be a contradiction, since cities (especially New York, where the play is set) are generally noisy. “So he’s talking about a very specific moment in time when the city is actually quiet,” says Monica, “when the quietness outside in the city is the quietness inside, the loneliness of being a single individual amongst a crowd.” The music also exhibits a slight sense of unease (perhaps a reflection of the shadow of war haunting Europe).
In a way, then, it’s a descriptive work. But it’s descriptive in its own way. Once again, Strauss is useful as a point of comparison—although with respect to Copland, it’s his differences that matter, not (as was the case with Shostakovich) his similarities. As Monica points out, many of Strauss’s works are “written so specifically about a certain thing; they tell a story, and it’s hard to imagine anything else happening.” Quiet City, in contrast, is more “open ended”—and, she says, like much of Copland’s music, with “its use of open intervals and the expansive quality of his writing, it allows the listener and the performer to bring their own experiences to the piece.” It’s a short work, with a slightly ambiguous ending; but in its ten minutes, it draws you in completely.
Quiet City depends heavily on the subtle interactions between the English horn and the solo trumpet (played today by principal trumpet John Raschella), who often exchange material, but who, says Monica, “can’t quite meet, like two ships in the night.” Monica, who played briefly here as a member of the orchestra, is especially “excited to get to come back to Syracuse and perform the piece with John. It’s going to be an incredible experience.” John is similarly enthusiastic about the prospect: “Quiet City has always been one of my favorite pieces. I haven’t performed it in at least 30 years but I have a favorite memory of doing it numerous times with a chamber group including Dan Carno, our English horn player, along with the late, great Calvin Custer playing the string parts on the synthesizer. It’ll be amazing to perform it with the full string section and our wonderful guest soloist Monica Fosnaugh!”
In their different ways, both the Shostakovich and the Copland are dark pieces. For our final selection, we move from into the light with the Suite No. 4 in D for Orchestra by Johann Sebastian Bach (1685–1750). No one knows how many orchestral suites Bach wrote, or what their exact chronology was. Four of them survive, each with a different instrumentation. The Fourth—with three oboes, bassoon, three trumpets, and timpani joining the strings—is the most spectacular, with an especially rich treatment of the winds, which get plentiful opportunities to shine. Like the other Suites, this one consists of an overture and a set of dances—in this case, filled with especially high spirits and rhythmic ingenuity. Check out, for instance, the syncopations that enliven the Minuet (a dance that can easily turn turgid). But it’s the closing “Rejouissance” (“Rejoicing”)—with its refusal of metrical regularity, reflected in the way its confrontation between triple and quadruple meter obscures the barlines—that would be most likely to trip up anyone trying to dance to it. For listeners sitting in the audience, though, it’s unalloyed joy.
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.
A Message from St. Paul’s Church
St. Paul’s is honored to be partnering with the Syracuse Orchestra by hosting its casual concert series in our beautiful sanctuary. Here at St. Paul’s, Open Doors, a long-awaited construction project is underway, and we appreciate your patience with the mess of construction around the sanctuary. We anticipate this project wrapping up in the late fall! Open Doors will make several changes to our spaces that will improve accessibility and help preserve our historic buildings. We are replacing roofs and restoring windows in our parish house, installing an elevator to the second floor, building a new entrance from the parking lot and rebuilding and enlarging all our restrooms! These changes will make our buildings more welcoming and accessible to everyone including those coming to Syracuse Orchestra concerts. To learn more about Open Doors, including how you may donate to this project, 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 the Syracuse Orchestra.
Upon the completion of Open Doors, we will be entering into a partnership with A Tiny Home for Good who will build 10 tiny apartments on the second floor of the parish house for those facing homelessness. 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
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
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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Anonymous
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Estate of Robert W. Daly, M.D.
Charles Woods &
Gail Azeredo-Woods
$100 – $499
Anonymous (8)
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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