CARMINA BURANA
Welcome
About
November 18, 2023 @ 7:30 pm Oncenter Crouse Hinds Theater 421 Montgomery St. Syracuse , NY 13202
Program
QUINN MASON
A Joyous Trilogy
MAURICE RAVEL
La Valse, Poème Chorégraphique
INTERMISSION
CARL ORFF
Carmina burana (Songs of Beuren)
FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World)
1. O Fortuna
2. Fortune plango vulnera
I. PRIMO VERE (In Springtime)
3. Veris leta facies
4. Omnia Sol temperat
5. Ecce gratum
UF DEM ANGER (On the Green)
6. Tanz
7. Floret silva
8. Chramer, gip die varwe mir
9. Reie
10. Were diu werlt alle min
II. IN TABERNA (In the Tavern)
11. Estuans interius
12. Cignus ustus cantat
13. Ego sum abbas
14. In taberna quando sumus
III. COUR D’AMOURS (The Court of Love)
15. Amor volat undique
16. Dies, nox et omnia
17. Stetit puella
18. Circa mea pectora
19. Si puer com puellula
20. Veni, veni, venias
21. In trutina
22. Tempus est iocundum
23. Dulcissime
BLANZIFLOR ET HELENA (Blanziflor and Helena)
24. Ave formosissima
FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World)
25. O Fortuna
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Featured Artists
Katherine Whyte has performed on opera and concert stages across her native Canada, the United States and Europe. Opera Today has hailed her for her “keen artistic sensibility” while the San Francisco Classical Voice has praised her “her glamorous, vibrato-rich voice”. The 2019-2020 season included her return to the ...
Katherine Whyte has performed on opera and concert stages across her native Canada, the United States and Europe. Opera Today has hailed her for her “keen artistic sensibility” while the San Francisco Classical Voice has praised her “her glamorous, vibrato-rich voice”. The 2019-2020 season included her return to the Metropolitan Opera to cover Despina in Così fan tutte and her debut with Heartbeat Opera as Agathe in Der Freischütz. This season, she sings Fiordiligi in Così fan tutte with Opera Grand Rapids and makes her debut with Intermountain Opera Bozeman as the Countess in Le nozze di Figaro.
The 2018-19 season for Ms. Whyte included Beethoven’s Ninth Symphony with the Louisiana Symphony, joining Opera Hong Kong as Donna Anna in Don Giovanni, Adina in L’elisir d’amore with Grand Junction Symphony Orchestra, and returning to the Metropolitan Opera for productions of Suor Angelica and Don Giovanni. The 2017-2018 season saw her return to the Metropolitan Opera for Parsifal as well as appearing in concert with the Mountain View International Festival of Song and the Orquesta Sinfonica Mineria for Beethoven’s Ninth Symphony. Additionally, she appeared with both Charlottesville Opera and the Norwalk Symphony as the Countess in Le nozze di Figaro. Additional recent engagements include her Vancouver Opera debut as Donna Anna in Don Giovanni, Beethoven’s Mass in C Major and Stravinsky’s Pulcinella with the Houston Symphony, Carmina Burana with the National Chorale, Mozart’s Requiem with the Alabama Symphony Orchestra, and Handel’s Messiah with the New Choral Society.
Stillwater, Minnesota native Jack Swanson is quickly becoming one of the most sought-after young tenors in the opera world. His distinctive high lyric voice is known for singing the acrobatic arias of Rossini and the legato melodies of Donizetti.
This season Mr. Swanson makes some much-anticipated debuts ...
Stillwater, Minnesota native Jack Swanson is quickly becoming one of the most sought-after young tenors in the opera world. His distinctive high lyric voice is known for singing the acrobatic arias of Rossini and the legato melodies of Donizetti.
This season Mr. Swanson makes some much-anticipated debuts with the Lyric Opera of Chicago as Don Ramiro in La Cenerentola, with the Houston Grand Opera as Fenton in Falstaff and returns to the Norwegian Opera for Ferrando in Così Fan Tutte and Don Ramiro in La Cenerentola, as well as to the Rossini Opera Festival in Pesaro for his signature-role of Almaviva in Il Barbiere di Siviglia. Mr. Swanson can also be heard in recital in Montreal and with the Sag Harbor Song Festival. Future engagements include debuts with the Metropolitan Opera and the Staatsoper Hamburg and returns to the Rossini Opera Festival in Pesaro and the Houston Grand Opera, all in leading roles.
Last season Mr. Swanson premiered the title-role in Paola Prestini’s Edward Tulane with the Minnesota Opera, made debuts with the Austin Opera as Almaviva in Il Barbiere di Siviglia, the Utah Opera as Tonio in La Fille du Régiment (a role debut, as well), the Atlanta Opera as the title-role in Candide and Opera Maine for Don Ramiro in La Cenerentola. In concert the tenor joined the Utah Symphony for Carmina Burana, the Mercury Chamber Orchestra in Houston for the tenor solo in Handel’s Messiah and performed in recital with Matinee musicale in Duluth, MN.
Last season, Jack Swanson debuted with a number of European companies: first with the Teatro Regio in Torino as Almaviva in Il Barbiere di Siviglia, then with the Opéra National du Rhin in Strasbourg as Ferrando in Così Fan Tutte (a role he had just debuted for his return to the Oper Frankfurt). He also sang a concert of Mozart, Bel Canto and Romantic Italian songs in Beirut, Lebanon. In the summer he returned to the Santa Fe Opera in his signature-role of Almaviva in Il Barbiere di Siviglia and in recital before singing the title-role in Candide with the Lausitz Festival.
Prior to that Jack Swanson returned to the Norwegian Opera for Almaviva in a new production of Il Barbiere di Siviglia and to the Oper Köln for the same role before returning to the Garsington Opera for the title-role in Rossini’s Le Comte Ory. He then finished the season by making his Rossini Opera Festival debut as Florville in Il Signor Bruschino. In concert he was heard as the tenor soloist in Rossini’s Stabat Mater with the Accademia di Santa Cecilia in Rome and Myung Whun Chung. He also appeared in solo recitals in Frankfurt and in Pesaro.
Previously, Mr. Swanson debuted with new companies in new roles: first in Frankfurt as Rodrigo in a new production of Rossini’s Otello, then as Belmonte in Die Entführung aus dem Serail with Opera Omaha. In concert, the tenor was heard in Paris in Rossini’s Messa di Gloria and at New York’s Alice Tully Hall for a concert of pieces by sons of J.S. Bach.
The previous season Jack Swanson made several role and company debuts, first as Nemorino in L’Elisir d’Amore with the Norwegian Opera, later as Sam Kaplan in Street Scene with Oper Köln. He returned to the title-role in Candide for concert performances in Paris and Marseille and to his celebrated portrayal of Count Almaviva in Il Barbiere di Siviglia with Portland Opera. In concert, he performed music by Leonard Bernstein at the Moab Music Festival and by John Musto (his Bastianello) with Festival Napa Valley.
Prior to that Mr. Swanson made notable debuts with Glyndebourne Opera as Almaviva in Il Barbiere di Siviglia, the Los Angeles Opera in the title role of Candide, the Lyric Opera of Kansas City as Almaviva, and his mainstage debut with the Santa Fe Opera as Lindoro in L’italiana in Algeri. On the concert stage, Mr. Swanson was heard in Bernstein on Broadway concerts with the Orchestre National de Lille and in Rossini’s Stabat Mater with the Choral Arts Society of Washington.
In 2016-2017, Mr. Swanson was heard as Camille in The Merry Widow with Winter Opera St. Louis, Frederic in The Pirates of Penzance with Opera Memphis, Ramiro in La Cenerentola with Opera Delaware, and Albazar in Il Turco in Italia with Garsington Opera. In concert he sang Messiah with the Indianapolis Symphony Orchestra, Bruckner’s Te Deum, with the Houston Symphony Orchestra, and Mozart’s Requiem with the Oregon Symphony Orchestra. Other appearances included Washington Concert Opera’s 2017 gala, the Rising Stars of Opera concert series with the Richard Tucker Music Foundation, and on a recital program at the Caramoor Center for Music and the Arts.
In the 2015-2016 season, Mr. Swanson made his Des Moines Metro Opera debut singing the role of Fenton in Verdi’s Falstaff and performed the role of Ramiro in La Cenerentola with Opera Fort Collins. Mr. Swanson earned a Bachelor of Music in Vocal Performance from the University of Oklahoma, where he performed the roles of Don Ottavio in Don Giovanni and Nemorino in L’Elisir d’Amore. In May of 2016 he received his Masters of Music in Vocal Performance at Rice University. While at Rice, Mr. Swanson performed the roles of Almaviva in il Barbiere di Siviglia and Eurimaco in Monteverdi’s Il Ritorno d’Ulisse in Patria. Additional opera roles include Tonio in La Fille du Régiment and Count Belfiore in Mozart’s La Finta Giardiniera, and two years as an apprentice at the Santa Fe Opera. Mr. Swanson spent two summers as a young artist with The Seagle Music Colony, where he performed the roles of Tobias Ragg in Sweeney Todd and the title role in Britten’s comedic opera Albert Herring.
Also known for his concert work, Mr. Swanson’s credits include Handel’s Messiah, Dubois’ The Seven Last Words of Christ, Mozart’s Requiem and Carl Orff’s Carmina Burana. Other engagements include Holiday Favorites with the Arizona Opera and Birmingham Opera, and the Houston Grand Opera’s 60th anniversary gala where Mr. Swanson performed alongside HGO’s studio artists and world-renowned mezzo-soprano, Joyce DiDonato. Swanson made his Kennedy Center debut singing selections from Schumann’s Dichterliebe.
Mr. Swanson is the competition winner and recipient of several prestigious awards including first place in Florida Grand Opera’s Young Patroness Competition, The San Antonio Music Club Competition, The National Opera Association Competition and The Hal Leonard Art Song Competition. He twice received the Richard Tucker Memorial award from the Santa Fe Opera. He was a finalist in both Houston Grand Opera’s Eleanor McCollum competition and Fort Worth Opera’s McCammon Competition. Recently, Mr. Swanson was featured on National Public Radio’s Young Artist in Residence program, Performance Today.
Baritone Benjamin Taylor begins the 23/24 season with a return to Opera Philadelphia for Simon Boccanegra (Paolo). Other season engagements include his debut with Austin Opera for Pagliacci (Silvio), and returns to The Metropolitan Opera for Carmen (Moralès), Detroit Opera for Breaking The Waves (Jan), and Bayerische Staatsoper for ...
Baritone Benjamin Taylor begins the 23/24 season with a return to Opera Philadelphia for Simon Boccanegra (Paolo). Other season engagements include his debut with Austin Opera for Pagliacci (Silvio), and returns to The Metropolitan Opera for Carmen (Moralès), Detroit Opera for Breaking The Waves (Jan), and Bayerische Staatsoper for La fanciulla del West (Bello). He will also debut with Symphoria and Northwest Florida Symphony in Carmina Burana.
Last season he debuted at Boston Lyric Opera in La bohème (Schaunard) followed by debuts with Bayerische Staatsoper for La fanciulla del West (Bello), OperaDelaware/Opera Baltimore for La traviata (Germont), and Opera Philadelphia for La bohème (Schaunard). He returned to The Metropolitan Opera for The Magic Flute (Papageno) and Dialogues des Carmélites and Berkshire Opera Festival for La bohème (Marcello). On the concert stage he will made his debut with The Cleveland Orchestra in La fanciulla del West (Bello).
Recent engagements include his debut at The Metropolitan Opera in Fire Shut Up in My Bones (Chester) followed by debuts with Michigan Opera Theatre and Spoleto Festival USA in La bohème (Schaunard), Cincinnati Opera for the world premiere of Castor and Patience (West), North Carolina Opera for Sanctuary Road (William Still), Baltimore Concert Opera for Adriana Lecouvreur (Michonnet), and a return to Pittsburgh Opera for The Magic Flute (Papageno). Additionally, he workshopped Factotum (Garby) at the Lyric Opera of Chicago.
Past highlights include a visit to Opera Theatre of Saint Louis for Opera on the Go – Digital followed by debuts with Fargo-Moorhead Opera for Il barbiere di Siviglia (Figaro), Opera Orlando for The Secret River (Augustus), and Des Moines Metro Opera for Pique Dame (Tomsky), Platée (Satyre), and Fellow Travelers(Tommy McIntyre).
Mr. Taylor is a graduate of the Pittsburgh Opera Resident Artist Program where some of his assignments included La bohème (Schaunard), Glory Denied (Older Thompson), and Tosca (Sciarrone). He debuted at Madison Opera in I pagliacci (Silvio) and was an Apprentice Artist at The Santa Fe Opera where his assignments included covering in Les pêcheurs de perles (Zurga). As a Gerdine Young Artist and Richard Gaddes Festival Artist at Opera Theatre of Saint Louis where he seen in The Barber of Seville (Fiorello), Shalimar the Clown (Cowardly Giant), and Madam Butterfly (Prince Yamadori) and covered in The Barber of Seville (Figaro), La bohème (Marcello), Ariadne auf Naxos (Music Teacher), Madam Butterfly (Sharpless), and The Trial (Lawyer Huld). Additional performances include La bohème (Marcello) with Crested Butte Festival and Madama Butterfly (Prince Yamadori) for Berkshire Opera’s inaugural season.
Benjamin received his Master of Music from Boston University and his Performer’s Certificate with Boston University’s Opera Institute. While at BU, he performed in A Midsummer Night’s Dream (Demetrius), Così fan tutte (Guglielmo), La Tragédie de Carmen (Escamillo), Angels in America (Prior Walter), Florencia en el Amazonas (Alvaro), Owen Wingrave (Coyle), and Le Portrait de Manon (Des Grieux). He received his Bachelor of the Arts at Morgan State University where he sang in Blue Monday (Tom) with the Baltimore Symphony Orchestra.
Founded in 1975, the Syracuse University Oratorio Society is a large chorus comprised of Syracuse University students and community members that regularly performs choral-orchestral masterworks with the Syracuse Orchestra. The Oratorio Society has been directed by John Warren, professor of music and director of choral activities, since 2011.
Founded in 1975, the Syracuse University Oratorio Society is a large chorus comprised of Syracuse University students and community members that regularly performs choral-orchestral masterworks with the Syracuse Orchestra. The Oratorio Society has been directed by John Warren, professor of music and director of choral activities, since 2011.
The mission of the Syracuse Youth Chorus (SYC) is to give every young person in CNY the opportunity to be a part of a choir that will not only teach them about music, but help them grow into greater citizens ...
The mission of the Syracuse Youth Chorus (SYC) is to give every young person in CNY the opportunity to be a part of a choir that will not only teach them about music, but help them grow into greater citizens of the world.
Led by founders Katie Webber and Sabine Krantz, the SYC is a community music organization where young singers can come to better their musicianship, music leadership, and mental fortitude. SYC performs in meaningful collaborations, bringing choral excellence and a stronger sense community through music to CNY. Our students are given the space to move towards their bright and shining futures.
The SYC is a brand new chorus, whose origin and philosophies are heavily influenced by Syracuse Children’s Chorus founder Dr. Barbara Marble Tagg. When SCC was dissolved in 2018, a large hole was left in the area’s music community for our children. The SYC aims to bring choral singing back to the youth in our beloved CNY.
Quinn Mason (b. 1996) is a composer and conductor based in Dallas, TX. As a composer, Quinn has been described as “a brilliant composer just barely in his 20s who seems to make waves wherever he goes.” Quinn writes music for professional and collegiate orchestras, bands and chamber ensembles. His ...
Quinn Mason (b. 1996) is a composer and conductor based in Dallas, TX. As a composer, Quinn has been described as “a brilliant composer just barely in his 20s who seems to make waves wherever he goes.” Quinn writes music for professional and collegiate orchestras, bands and chamber ensembles. His symphonic music has been performed in concert by the Dallas Symphony Orchestra, South Bend Symphony Orchestra, Orchestra Seattle, New Texas
Symphony Orchestra, and the Mission Chamber Orchestra. His compositions for winds has been performed by the Cobb Wind Symphony, Metropolitan Winds, bands of Southern Methodist University, University of North Texas, Texas Christian University, Purdue University and Seattle Pacific University. His chamber music has been performed by the American Composer’s Forum, Voices of Change, Loadbang, Atlantic Brass Quintet, MAKE trio, UT Arlington Saxophone Quartet, and the Cézanne, Julius and Baumer quartets.
Quinn’s mission is to compose music for various mediums “Based in western art music and reflecting the times in which we currently live”. Quinn has received numerous awards from such organizations as The American Composer’s Forum, Voices of Change, Texas A&M University, the Dallas Foundation, the Philadelphia Youth Orchestra, the Heartland Symphony Orchestra and the Arizona State University Symphony Orchestra. Upcoming world premieres
include his Symphony in C Major with the Heartland Symphony Orchestra and his Symphony No. 4 “Strange Time” by the Meadows Wind Ensemble. Quinn has studied with Dr. Lane Harder at the SMU Meadows School of the Arts and has also worked with renowned composers David Maslanka, Libby Larsen, David Dzubay and Robert X. Rodriguez.
As a conductor, Quinn has led Orchestra Seattle, the Brevard Sinfonia, and the Texas Christian University Symphony Orchestra in concert. Currently, Quinn serves as Apprentice Conductor of the Greater Dallas Youth Orchestra and Assistant Conductor of the New Texas Symphony Orchestra. Upcoming guest conducting appearances include concerts with the MusicaNova Orchestra and the Greater Dallas Youth Orchestra. Quinn has studied conducting with Miguel Harth-Bedoya (Fort Worth Symphony Orchestra), Dr. Germán Gutiérrez (TCU), Will White (Orchestra Seattle), and Jack Delaney and Paul Phillips (SMU). He has conducted world premieres of his own works as well as several world premieres written by his composer colleagues.
An avid and passionate writer, Quinn maintains his own classical music blog and contributes guest articles to other blogs, such as the Women’s Philharmonic Advocacy. Quinn is a member of ASCAP and the Conductor’s Guild.
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
Program Notes
“The Apotheosis of the Dance”: That’s how Richard Wagner described Beethoven’s Seventh Symphony. Had he lived another half century, he might well have transferred the epithet over to La Valse by Maurice Ravel (1875–1937). Ravel began the piece in 1906 as a tribute to Johann Strauss II called Vienna—but by the time he finished it in 1920, the name had changed. It might seem slightly arrogant to title a work “The Waltz,” as if it were the only one. Still, with its continual succession of archetypal waltz gestures in ...
“The Apotheosis of the Dance”: That’s how Richard Wagner described Beethoven’s Seventh Symphony. Had he lived another half century, he might well have transferred the epithet over to La Valse by Maurice Ravel (1875–1937). Ravel began the piece in 1906 as a tribute to Johann Strauss II called Vienna—but by the time he finished it in 1920, the name had changed. It might seem slightly arrogant to title a work “The Waltz,” as if it were the only one. Still, with its continual succession of archetypal waltz gestures in unvarying 3/4 waltz meter, with its regular dance-friendly phrases, with its sweeping gestures, with its glittery orchestration (plenty of lift from the harps), with its seductive glissandos (slides), La Valse is such a flawless distillation of the genre that the title seems appropriate. A perfect gem.
Except…
There was a profound reason Ravel switched gears between 1906 and 1920—World War I, and his experience as an ambulance driver amid its horrors. After the War, the whipped cream of Vienna had soured—and Ravel’s work turned from an innocent homage to something that seems, to many listeners at least, closer to a warning. There are hints of menace in the dark shadows of the beginning; and although at first they are brushed aside by the music’s brilliance, they are harder to ignore as the work continues. Right before the end, the music turns unmistakably violent and the dance collapses (much as the bolero collapses at the end of Bolero), bringing down with it the whole waltz-and-Sacher-torte innocence of Johann Strauss II. That warning turns out to have been on the mark. Just over a decade later, the Third Reich was established in Germany—and the occupation of Austria followed soon thereafter.
The damage, of course, was incalculable—and it hit music as well as everything else. True, music was central to the Nazi propaganda machine (Strauss waltzes had, in fact, a special role to play), so it got plenty of state support. But that support could hardly compensate for the devastating effects of Nazi policies. Since so many performers and composers either fled or were killed—and since there were tight restrictions on what could and could not be performed—the musical world of Germany and Austria deteriorated dramatically. Certainly, the Nazi regime produced little lasting music. Even Richard Strauss, the reigning German composer, seemed to fade during the decade between 1933 and 1942.
The 1936 choral work Carmina Burana by Carl Orff (1895-1982) emerged out of this horrific environment. The work is an anomaly—in fact, a double anomaly. First, it’s the only real hit to emerge from the Third Reich—and it’s a tremendous hit, at that. Aside from being the most widely performed choral work of the twentieth century, it has shown up in films, in advertisements, at sporting events, serving as a stunning example of how a work of art can transcend the conditions of its composition. Second, it’s the only successful work that Orff produced. He had a long life; he was an influential teacher, especially important for his music for children; he was a significant musicologist with several editions of Monteverdi to his credit; he was a prolific composer who wrote, among other things, substantial settings of three Greek tragedies. But of his stage and concert music, only Carmina has held the public’s attention. Orff is the exemplar of the one-hit wonder.
It’s hard to explain why nearly everything else in Orff’s catalog (other than his pedagogical work) has essentially vanished; but the success of Carmina is easily understood. John Warren—director of the Syracuse University Oratorio Society, which joins Symphoria tonight—points to several factors, in particular the colors (“the orchestration is fantastic”) and the catchy rhythmic and harmonic ostinatos (repeated patterns) “that just pound away at you,” producing a very “visceral response.” The result is music of tremendous immediacy that has extremely broad appeal. “Dynamic and energy filled, it’s hard to resist. You don’t have to have a lot of deep training to comprehend it.” Yet it’s got its “moments of respite,” too—especially in the “Court of Love” section—that serve to increase the power of the more forceful moments. The use of a children’s chorus (tonight, the Syracuse Youth Chorus, making its Masterworks Concert debut with the orchestra) only adds to the color and sense of elation.
Then there are the texts. The work is based on a 19th-century collection that gathered up secular medieval poems in Latin, Middle High German, and Old French. That might seem a bit dry, but it’s assuredly not. Although the outer sections (“Oh, Fortuna”) focus on the power of fate in our lives, for the most part the texts are less concerned with abstract philosophy than with the more immediate aspects of everyday life: food, drink, and sex. That produces a rich variety of musical genres: love songs, drinking songs, and—at the center of the piece—a curious lament in which a swan bewails its fate while being roasted. John points out that even for a chorus used to singing in multiple languages, those in Carmina (“some in quasi-Latin and some in this middle high German, neither of which makes total sense to us”) are a challenge, especially since “there’s a lot of it, and a lot of it is very fast.” But like the music, the poetry speaks directly to the audience.
Our opening work, despite a dramatic difference in style, speaks directly to the audience as well—and with a similarly enlivening spirit. By now, Quinn Mason (b. 1996) is familiar to Symphoria regulars. His poignant Reflection on a Memorial, originally commissioned by the Dallas Symphony for a concert honoring victims of racial violence, was performed in 2021; his very different Toast of the Town popped the cork as we entered 2022. Tonight’s Joyous Trilogy(2019, revised 2021) is closer in mood to the second of these—the result of a desire “to create a composition that was the very embodiment of happiness and cheerfulness, an accessible work that would put any listener in a good mood.” It’s celebratory in nature—no surprise, since it was written for the fiftieth anniversary of the Harmonia Orchestra of Seattle and its conductor Will White, one of Quinn’s mentors. Quinn describes him as “one of the most joyous people I know!”
The work consists of two energetic and forward-pressing movements flanking “a gentle and introspective meditation.” Although its placement right before La Valse is a coincidence, it turns out to be a fortuitous one. La Valsewas one of the first orchestral pieces Quinn heard, one of the works that encouraged him to become a composer. And there are profound connections between the two pieces, even if La Valse was not a conscious model. Joyous Trilogy is, he says, “a concerto for orchestra in everything but name, a virtuoso piece designed to show off not only the skills of the conductor, but also many instruments of the orchestra” (including the principal trombone, who is featured in the second movement). “And that’s what the Ravel does: It’s a marvel of orchestration.”
As an added bonus, Joyous Trilogy will be conducted by the composer himself—the first time Symphoria has had a composer perform his or her own music. All in all, an ideal lift-off for the concert.
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.
CARMINA BURANA TEXT & TRANSLATION
| FORTUNA IMPERATRIX MUNDI 1. O FORTUNA O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem.Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.Sors salutis et virtutis michi nunc contraria est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite! |
FORTUNE EMPRESS OF THE WORLD 1. O FORTUNE O Fortune, Like the moon You are changeable, ever waxing and waning. Hateful life, first oppresses, and then soothes as fancy takes it; poverty, and power it melts them like ice.Fate-monstrous and empty, you whirling wheel, you are malevolent, well-being is in vain and always fades to nothing, shadowed and veiled you plague me too; now through the game I bring my bare back To your villainy.Fate is against me in health and virtue, driven on and weighted down, always enslaved. So at this hour without delay pluck the vibrating strings; since Fate strikes down the strong man, everyone weep with me! |
| 2. FORTUNE PLANGO VULNERA Fortune plango vulnera stillantibus ocellis, quod sua michi munera subtrahit rebellis. Verum est, quod legitur fronte capillata, sed plerumque sequiturOccasio calvata.In Fortune solio sederam elatus, prosperitatis vario flore coronatus; quicquid enim florui felix et beatus, nunc a summo corrui gloria privatus.Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice caveat ruinam! nam sub axe legimus Hecubam reginam. |
2. I BEMOAN THE WOUNDS OF FORTUNE I bemoan the wounds of Fortune with weeping eyes, for the gifts she made me she perversely takes away. It is written in truth, that she has a fine head of hair, but, when it comes to seizing an opportunity, she is bald.On Fortune’s throne I used to sit raised up, crowned with the many-colored flowers of prosperity; though I may have flourished happy and blessed, now I fall from the peak deprived of glory.The wheel of Fortune turns: I go down, demeaned; another is raised up; far too high up sits the king at the summit – let him fear ruin! for under the axis is written Queen Hecuba. |
| I. PRIMO VERE 3. VERIS LETA FACIES Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur, in vestitu vario Flora principatur, nemorum dulcisono que cantu celebratur.Flore fusus gremio Phoebus novo more risum dat, hoc vario iam stipate flore Zephyrus nectareo spirans in odore; certatim pro bravio curramus in amore.Cytharizat cantico dulcis Philomena, flore rident vario prata iam serena, salit cetus avium silve per amena, chorus promit virginum iam gaudia millena. |
I. SPRING 3. THE MERRY FACE OF SPRING The merry face of spring turns to the world, sharp winter now flees, vanquished; bedecked in various colors Flora reigns, the harmony of the woods praises her in song. Ah!Lying in Flora’s lap Phoebus once more smiles, now covered in many-colored flowers, Zephyr breathes nectar- scented breezes. Let us rush to compete for love’s prize. Ah!In harp-like tones sings the sweet nightingale, with many flowers the joyous meadows are laughing, a flock of birds rises up through the pleasant forests, the chorus of maidens already promises a thousand joys. Ah. |
| 4. OMNIA SOL TEMPERAT Omnia Sol temperat purus et subtilis, novo mundo reserat facies Aprilis, ad Amorem properat animus herilis, et iocundis imperat deus puerilis.Rerum tanta novitas in solemni vere et veris auctoritas iubet nos gaudere; vias prebet solitas, et in tuo vere fides est et probitas tuum retinere.Ama me fideliter! fidem meam nota: de corde totaliter et ex mente tota sum presentialiter absens in remota. quisquis amat taliter, volvitur in rota hinc equitavit, eia, quis me amabit?Floret silva undique, nah mime gesellen ist mir wê. Gruonet der walt allenthalben, wâ ist min geselle alse lange? der ist geriten hinnen, owî, wer soll mich minnen? |
4. THE SUN WARMS EVERYTHING The sun warms everything, pure and gentle, once again it reveals to the world April’s face, the soul of man is urged towards love and joys are governed by the boy-god.All this rebirth in spring’s festivity and spring’s power bids us to rejoice; it shows us paths we know well, and in your springtime it is true and right to keep what is yours.Love me faithfully! See how I am faithful: With all my heart and with all my soul, I am with you Even when I am far away. Whoever loves this much turns on the wheel. He has ridden off! Oh! Who will love me? Ah!The woods are burgeoning all over, I am pining for my lover, The woods are turning green all over, why is my lover away so long? Ah! He has ridden off, Oh woe, who will love me? Ah! |
| 8. CHRAMER, GIP DIE VARWE MIR Chramer, gip die varwe mir, die min wengel roete, damit ich die jungen man an ir dank der minnenliebe noete.Seht mich an, jungen man! lat mich iu gevallen!Minnet, tugentliche man, minnecliche frouwen! minne tuot iu hoch gemuot unde lat iuch in hohen eren schouwen.Seht mich an…Wol dir werlt, das du bist also freudenriche! ich will dir sin undertan durch din liebe immer sicherliche.Seht mich an… |
8. SHOPKEEPER, GIVE ME COLOR Shopkeeper, give me color to make my cheeks red, so that I can make the young men love me, against their willLook at me, young men! Let me please you!Good men, love women worthy of love! Love ennobles your spirit and gives you honor.Look at me, etc. Hail, world, so rich in joys! I will be obedient to you because of the pleasures you afford.Look at me, etc. |
| 9. REIE Swaz hie gat umbe, daz sint allez megede, die wellent an man alle disen sumer gan.Chume, chum, geselle min, ih enbite harte din.Suzer rosenvarwer munt, chum unde mache mich gesunt. Swaz hie gat umbe, |
9. ROUND DANCE Those who go round and round are all maidens, they want to do without a man all summer long. Ah! Sla!Come, come, my love, I long for you.Sweet rose-red lips, come and make me better. Those who go round, etc |
| 10. WERE DIU WERLT ALLE MIN Were diu werlt alle min von dem mere unze an den Rin, des wolt ih mih darben, daz diu chünegin von Engellant lege an minen armen. Hei! |
10. IF ALL THE WORLD WERE MINE If all the world were mine from the sea to the Rhine, I would do without it if the Queen of England would lie in my arms. Hey! |
| II. IN TABERNA 11. ESTUANS INTERIUS Estuans interius ira vehementi in amaritudine loquor mee menti: factus de materia, cinis elementi similis sum folio, de quo ludunt venti.Cum sit enim proprium viro sapienti supra petram ponere sedem fundamenti, stultus ego comparor fluvio labenti, sub eodem tramite nunquam permanenti.Feror ego veluti sine nauta navis, ut per vias aeris vaga fertur avis; non me tenent vincula, non me tenet clavis, quero mihi similes et adiungor pravis.Mihi cordis gravitas res videtur gravis; iocus est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis, que nunquam in cordibus habitat ignavis.Via lata gradior more iuventutis, inplicor et vitiis immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis. |
I. IN THE TAVERN 11. BURNING INSIDE Burning inside with violent anger, bitterly I speak my heart: Created from matter, of the ashes of the elements, I am like a leaf played with by the winds.If it is the way of the wise man to build foundations on stone, then I am a fool, like a flowing stream, which in its course never changes.I am carried along like a ship without a steersman, and in the paths of the air like a light, hovering bird; chains cannot hold me, keys cannot imprison me, I look for people like me and join the wretches.The heaviness of my heart seems a burden to me; it is pleasant to joke and sweeter than honeycomb; whatever Venus commands is a sweet duty, she never dwells in a lazy heart.I travel the broad path as is the way of youth, I give myself to vice, unmindful of virtue, I am eager for the pleasures of the flesh more than for salvation, my soul is dead, so I shall look after the flesh. |
| 12. OLIM LACUS COLUERAM
Cignus ustus cantat: Olim lacus colueram, Miser, miser! Girat, regirat garcifer; Miser, miser! etc. Nunc in scutella iaceo, Miser, miser! etc. |
12. ONCE I LIVED ON LAKES
The roasted swan sings: Once I lived on lakes, Misery me! The servant is turning me on the spit; I am burning fiercely on the pyre; the steward now serves me up. Misery me! etc. Now I lie on a plate, Misery me! etc. |
| 13. EGO SUM ABBAS Ego sum abbas Cucaniensis et consilium meum est cum bibulis, et in secta Decii voluntas mea est,et qui mane me quesierit in taberna, post vesperam nudus egredietur, et sic denudatus veste clamabit: Wafna, wafna! quid fecisti sors turpissima? Nostre vite gaudia abstulisti omnia! Haha! |
13. I AM THE ABBOT I am the abbot of Cockaigne and my assembly is one of drinkers, and I wish to be in the order of Decius,and whoever searches me out at the tavern in the morning, after Vespers he will leave naked, and thus stripped of his clothes he will call out:Woe! Woe! what have you done, vilest Fate? The joys of my life you have taken all away! Haha! |
| 14. IN TABERNA QUANDO SUMUS In taberna quando sumus, non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus. Quid agatur in taberna, ubi nummus est pincerna, hoc est opus ut queratur, sic quid loquar, audiatur.Quidam ludunt, quidam bibunt, quidam indiscrete vivunt. Sed in ludo qui morantur, ex his quidam denudantur, quidam ibi vestiuntur, quidam saccis induuntur. Ibi nullus timet mortem, sed pro Baccho mittunt sortem:Primo pro nummata vini ex hac bibunt libertini: semel bibunt pro captivis, post hec bibunt ter pro vivis, quater pro Christianis cunctis, quinquies pro fidelibus defunctis sexies pro sororibus vanis, septies pro militibus silvanis.Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus, undecies pro discordantibus, duodecies pro penitentibus, tredecies pro iter angentibus. Tam pro papa quam pro rege bibunt omnes sine lege.Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servus cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger,bibit constans, bibit vagus,bibit rudis, bibit magus.Bibit pauper et egrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit presul et decanus, bibit soror, bibit frater, bibit anus, bibit mater, bibit iste, bibit ille, bibunt centum, bibunt mille.Parum sexcente nummate durant cum immoderate bibunt omnes sine meta, quamvis bibant men te leta, sic nos rodunt omnes gentes et sic erimus egentes. Qui nos rodunt confundantur et cum iustis non scribantur.Io, io, io! … |
14. WHEN WE ARE IN THE TAVERN When we are in the tavern, we do not think how we will go to dust, but we hurry to gamble, which always makes us sweat, What happens in the tavern, where money is host, you may well ask, and hear what I say.Some gamble, some drink, some behave loosely. But of those who gamble, some are stripped bare, some win their clothes here, some are dressed in sacks. Here no-one fears death, but they throw the dice in the name of Bacchus.First of all it is to the wine-merchant that the libertines drink, one for the prisoners, three for the living, four for all Christians, five for the faithful dead. six for the loose sisters, seven for the footpads in the wood.Eight for the errant brethren, nine for the dispersed monks, ten for the seamen, eleven for the squabblers, twelve for the penitent, thirteen for the wayfarers. To the Pope as to the king they all drink without restraint.The mistress drinks, the master drinks, the soldier drinks, the priest drinks, the man drinks, the woman drinks, the servant drinks with the maid, the swift man drinks, the lazy man drinks, the white man drinks, the black man drinks, the settled man drinks, the wanderer drinks, the stupid man drinks, the wise man drinks,The poor man drinks, the sick man drinks, the exile drinks, and the stranger, the boy drinks, the old man drinks, the bishop drinks, and the deacon, the sister drinks, the brother drinks, the old lady drinks, the mother drinks, this man drinks, that man drinks, a hundred drink, a thousand drink.Six hundred pennies would hardly suffice, if everyone drinks immoderately and immeasurably. However much the cheerfully drink we are the ones whom everyone scolds, and thus we are destitute. May those who slander us be cursed and may their names not be written in the book of the righteous.Io, io, io! |
| III. COUR D’AMOURS 15. AMOR VOLAT UNDIQUE Amor volat undique, captus est libidine. Iuvenes, iuvencule coniunguntur merito. Siqua sine socio, caret omni gaudio, tenet noctis infima sub intimo cordis in custodia: fit res amarissima. |
III. THE COURT OF LOVE 15. CUPID FLIES EVERYWHERE Cupid flies everywhere seized by desire. Young men and women are rightly coupled. The girl without a lover misses out on all pleasures, she keeps the dark night hidden in the depth of her heart; it is a most bitter fate |
| 16. DIES, NOX ET OMNIA Dies, nox et omnia michi sunt contraria, virginum colloquia me fay planszer, oy suvenz suspirer, plu me fay temer.O sodales, ludite, vos qui scitis dicite, michi mesto parcite, grand ey dolur, attamen consulite per voster honur.Tua pulchra facies, me fey planszer milies, pectus habens glacies, a remender statim vivus fierem per un baser. |
16. DAY, NIGHT, AND EVERYTHING Day, night, and everything is against me, the chattering of maidens makes me weep, and often sigh, and, most of all, scares me.O friends, you are making fun of me, you do not know what you are saying, spare me, sorrowful as I am, great is my grief, advise me at least, by your honor.Your beautiful face, makes me weep a thousand times, your heart is of ice. As a cure, I would be revived by a kiss. |
| 17. STETIT PUELLA Stetit puella rufa tunica; si quis eam tetigit, tunica crepuit. Eia.Stetit puella, tamquam rosula; facie splenduit, os eius floruit. Eia. |
17. A GIRL STOOD A girl stood in a red tunic; if anyone touched it, the tunic restled. Eia!A girl stood like a little rose: her face was radiant and her mouth in bloom. Eia! |
| 18. CIRCA MEA PECTORA Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere. Ah!Manda liet, manda liet, min geselle chumet niet.Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris. Ah!Mandaliet, etc. Vellet deus, vellent dii, quod mente proposui: ut eius virginea reserassem vincula. Ah!Mandaliet, etc. |
18. IN MY HEART In my heart there are many sighs for your beauty, which wound me sorely. AhMandaliet, mandaliet, my lover does not come.Your eyes shine like the rays of the sun, like the flashing of lightening which brightens the darkness. Ah!Mandaliet, etc. May God grant, may the gods grant what I have in my mind that I may loose the chains of her virginity, Ah!Mandaliet, etc. |
| 19. SIE PUER CUM PUELLULA Sie puer cum puellula moraretur in cellula, felix coniunctio. Amore sucrescente, pariter e medio propulso procul tedio, fit ludus ineffabilis membris, lacertis, labiis. |
19. IF A BOY WITH A GIRL If a boy with a girl tarries in a little room, happy is their coupling. Love rises up, and between them prudery is driven away, an ineffable game begins in their limbs, arms and lips. |
| 20. VENI, VENI, VENIAS Veni, veni, venias, ne me mori facias, hyrca, hyrca, nazaza, trillirivos!Pulchra tibi facies, oculorum acies, capillorum series, o quam clara species!Rosa rubicundior, lilio candidior, omnibus formosior, semper in te glorior! |
20. COME, COME, O COME Come, come, O come, do not let me die, hyrca, hyrce, nazaza, trillirivos!Beautiful is your face, the gleam of your eye, your braided hair, what a glorious creature!Redder than the rose, whiter than the lily, lovelier than all others, I shall always glory in you! |
| 21. IN TRUTINA In trutina mentis dubia fluctuant contraria lascivus amor et pudicitia. Sed eligo quod video, collum iugo prebeo; ad iugum tamen suave transeo. |
21. IN THE BALANCE In the wavering balance of my feelings set against each other lascivious love and modesty. But I choose what I see, and submit my neck to the yoke; I yield to the sweet yoke. |
| 22. TEMPUS EST IOCUNDUM Tempus est iocundum, o virgines, modo congaudete vos iuvenes. Oh, oh, oh! totus floreo, iam amore virginali totus ardeo! novus, novus novus amor est, quo pereo!Mea me confortat promissio, mea me deportant negatio. Oh, oh, oh! etc. Tempore brumali vir patiens, animo vernali lasciviens. Oh, oh, oh! etc. Mea mecum ludit virginitas, mea me detrudit simplicitas. Oh, oh, oh! etc. Veni domicella, cum gaudio, veni, veni, pulchra, iam pereo. Oh, oh, oh! etc. |
22. THIS IS THE JOYFUL TIME This is the joyful time, O maidens, rejoice with them, young men! Oh, oh, oh! I am bursting out all over! I am burning all over with first love! New, new love is what I am dying of!I am heartened by my promise, I am downcast by my refusal. Oh! oh! oh! etc. In the winter man is patient, the breath of spring makes him lust. Oh! oh! oh! etc. My virginity makes me frisky, my simplicity holds me back. Oh! oh! oh! etc. Come, my mistress, with joy, come, come, my pretty, I am dying! Oh! oh! oh! etc. |
| 23. DULCISSIME Dulcissime, Ah! totam tibi subdo me! |
23. SWEETEST ONE Sweetest one! Ah! I give myself to you totally! |
| BLANZIFLOR ET HELENA 24. AVE FORMOSISSIMA Ave formosissima, gemma pretiosa, ave decus virginum, virgo gloriosa, ave mundi luminar ave mundi rosa, Blanziflor et Helena, Venus generosa! |
BLANCHEFLEUR2 AND HELEL 24. HAIL, MOST BEAUTIFUL ONE Hail, most beautiful one, precious jewel, Hail, Pride among virgins, glorious virgin, Hail, light of the world, Hail, rose of the world, Blanchefleur and Helen, noble Venus! |
| FORTUNA IMPERATRIX MUNDI 25. O FORTUNA No. 1 repeated |
FORTUNE, EMPRESS OF THE WORLD 25. O FORTUNE No. 1 repeated |
The Orchestra & Chorus
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
SYRACUSE UNIVERSITY ORATORIO SOCIETY
John Warren, director
| Leeya Abraham Marie-Elise Ambroise Dylan Badillo Joshua Bartolotta Rachel Bass Gerard F Beritela Edie Berndt Lida Black Harriet Brown Andrea Cass Marybeth Carlberg Joan Christy Maria Constantine Andrew Corrigan Liz Corrigan CC Cosenza Katherine Craig Gina Damico Martha Kalnin Diede Paul Doody Tracy Wait Dowd Virginia Drake Joyce Dunn John Dwyer Ryan Edwards Betty Feng Theresa Frackelton Susan Gifford Beth Goldberg Irwin Goldberg Beverly Halderman Andrew Hanrahan Katryn Hansen Sagan Harris Sky Harris Alice Dickerson Hatt Norman Hatt Liam Hines Megan Hook Cynthia Hoxie Paul Jutzeler Elise Jutzeler Sebastian Karcher Maren King John King Stephanie Ladd Todd Laffer Michaela LeBlond Kathy Lemos Lou Lemos Arthur Lewis Jennifer Loh Micayla MacDougall David Malecki |
Edgar Mao Hannah Marcote Alison Jo McCauley Abigail Meade Young David Mitchell Alanna Moonan Lauren Mossotti-Kline Beth Oddy Bob Oddy Justin Oei Joseph Ossei-Little Ken Pease Nancy Pease D.J. Pickell Emma Pitts Nicky Radford Melissa Rashford Fred Ringwald Connor Ritchie Ellen Robb Aaron Ruiz Linda Saul Rob Sawyer Olivia Scanzera Virginia Schechter Rebecca Shell Noah Sherman Darcy Smith Lauren Smith Colleen Snow Julianne Stein Lucy Steinmier Campbelle Stencel Anita Sterns Joan Stevens Gary Stewart Timothy M Stogsdill Cynthia Stogsdill Mariah Storie Susan E Stred Norma Tippett Lisa Uzdilla Matthieu van der Meer Kimberly Ventura Connie Walters Hannah Warren Jeff Welcher Hannah Williams Emily Wolff Margaret Wood Kate Woodle David Yaw Jieun Yeon Kathryn Zubal-Storrings |
SYRACUSE YOUTH CHORUS
Katie Weber, director
Sabine Kranz, pianist
| Junior Choir Georgia Ball Clara Bazzano Ava Bellucci Alyse Cleghorn Beya Cleghorn Livia Diez Jaala Ellis Kaala Ellis Ethan Furze Graham Hagar Ethan Hahn Nathan Hahn Maddie Kandel Libby Kilmartin Sophia Mei Riley Rogers Ruby Sallie-Seitz Nanki Sanders Kayla Short Evelyn Simmons Grace Simmons Fiona Torelli Eleanor Westpfal |
Senior Choir Elizabeth Allport Grace Anderson Hazel Bazzano Anika Das Flavio E. Flores Segarra Flynn Johnston Layla Kandel Ben LaVerne Jenna Loomis Ismira Mamakaziyeva Ella Rogers Nora Rovit Simran Sanders Juliette Varnowatts Katherine Westpfal |
Donor List
We are grateful to the following donors for their generous gifts received between June 1, 2022 and June 29, 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 June 1, 2022 and June 29, 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
Annual Fund Donors
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
$7500+
Estate of Evelyn Brenzel & Ann Marie Cronin
William & Nancy Byrne
Craig & Kathleen Byrum
Barbara Davis
David Halleran
Alice & Michael Kendrick
Leslie Kohman & Jeffrey Smith
Kathy & Lou Lemos
Paul & Vivian Mosbo
Virginia Parker
Dr. Paul E. Phillips & Sharon P. Sullivan
Peter & Nancy Rabinowitz
David A.A. Ridings
Dr. Ellen Runge
James L. & Marilyn A. Seago
Margaret Shields
Peter & Cherry Thun
Mary Ann Tyszko
$5000-7499
Anonymous (1)
David & Cheryl Abrams
George Bain
Michael Barkun
James & Joanne Beckman
Estate of Ruth Bradner
Jonathan & Michele Chai
Lewis & Elaine Dubroff
Robert & Vicki Feldman
Linda Grigoleit
Harold Husovsky, M.D. & Susan E. Stred, M.D.
Charles Lutz
Zahi & Marion Makhuli
Walter & Elizabeth Merriam
Joel Potash & Sandra Hurd
$3000-4999
Donald C. Blair & Nancy L. Dock
Deborah A. Cunningham & Michael W. Bull
Mark Costaldi
Willson Cummer & Michelle Breidenbach
Roger & Naomi Demuth
Daniel & Karen Fuleihan
Lawrence & Dorothy Gordon
Robin & Diane Jones
Dr. Young & Kelly Lee
Robert & Vicki Lieberman
David Rankert
Ron Ferguson & Helen H. Reed
Paula Rosenbaum & Jacques Lewalle
Sharye Skinner
$1000-2999
Neville Sachs & Carol Adamec
Thomas & Pamela Antonini
Walden & Emily Bass
Richard & Lynne Bennett
William & Sandra Bennett
Dr. & Mrs. William P. Berkery
Carolyn Bernstein
Thomas Bersani & Joan Christy
Renate BeVard
Kathleen Bice
Marion & Elizabeth Bickford
Jonathan & Kathy Bowen
William & Audrey Boyd
David Brittain
Cecelia Broton
Paul G. Brown & Susan Loevenguth
Joseph Byrne
Andrea Calarco
Joseph Cerroni & Linda Tassa
Brian & Judith Chanatry
Amy & Rob Christian
Linda & Bill Cohen
Bob & Bobbie Constable
Michael & Wendy Cynamon
Mark Cywilko & Marianne Moosbrugger
Patricia DeAngelis
Patricia Callahan & David Dee
Mantosh & Anita Dewan
Becky Dodd
Michael Lee & Deborah Donahue
Katheryn Doran
David Driesen & Jeanne Otten
Bill & Betsy Elkins
Betty Feng
Jim & Shari Freyer
Adam Gagas
Chris C. Gagas
Jon Garland
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George Bain
Dennis & Gail Baldwin
Kirsten & Jonathan Basch
James & Joanne Beckman
Richard & Lynne Bennett
William & Sandra Bennett
Dr. & Mrs. William P. Berkery
Thomas Bersani MD & Joan Christy RD
Renate BeVard
Donald C. Blair & Nancy L. Dock
Patricia Blochowiak
Dr. Michael & Melanie Bowser
Paul G. Brown & Susan Loevenguth
Craig & Carol Buckhout
William & Nancy Byrne
Joseph Byrne
Craig & Kathleen Byrum
Andrea Calarco
Anthony Catsimatides
Brian & Judith Chanatry
Amelia & Rob Christian
Linda & Bill Cohen
Carol Colvin
Robert & Lorrie Cooney
R. Patrick & Margaret Corbett
Toby Cosgrove
Kelly & Kelly Covert
Michael & Wendy Cynamon
Mantosh & Anita Dewan
Mr. & Mrs. Manfried Diflo
Rebecca Downing
Lewis & Elaine Dubroff
Nan Eaton
William Eberhardt
Bill & Betsy Elkins
Michele & Jack Estabrook
Caragh Fahy
Robert & Vicki Feldman
John & Patricia Fey
Daniel & Karen Fuleihan
Jon Garland
Jacki & Michael Goldberg
Lawrence & Dorothy Gordon
Michael & Wendy Gordon
Winifred Greenberg
Jonathan & Elisabeth Groat
Gary & Bonnie Grossman
Gary Quirk & Charlotte Haas
David Halleran
Bryce & Judith Hand
Daniel & Julia Harris
Laurence & Ann Harris
Thomas & Melanie Hartzheim
Suzanne Heiligman
Joyce Homan
Harold L. Husovsky, M.D. &
Susan E. Stred, M.D.
Nicki & Brian Inman
Mike & Mary Kate Intaglietta
Lewis & Julie Johnson
Robin & Diane Jones
John & Gwenn Judge
George & Gloria Kilpatrick
Kiyoshi & Yasuko Kimura
Leslie Kohman & Jeffrey Smith
Allan Kolsky & Ellen Somers
Donna L. Korol
Barbara E. Krenzer & John Stone
Charles & Stephanie Ladd
Linda Land
Robert & Vicki Lieberman
Robert & Shelly Liedka
Charles Lutz
James MacKillop
Zahi & Marion Makhuli
Rocco Mangano
Suzanne & Kevin McAuliffe
Lowell McBurney & Carrie Penner
Barbara Beckos & Art McDonald
Tom & Mary Lou Mees
Walter & Lauren Melnikow
Walter & Elizabeth Merriam
Fritz Messere & Nola Heidlebaugh
David & Beth Mitchell
Paul & Vivian Mosbo
Pamela & Matthew Murchison
Ned & Linda Merrell
Fran & Sally Lou Nichols
Dr. & Mrs. Anis I. Obeid
Drs Wale & Bimpe Oguntola
John & Sheila Parker
Virginia Parker
Amy M. Parker & Paul S. Stein
Mary Pat Oliker
Harvey & Dorothy Pearl
Deborah Pellow
Jackie & Chuck Penfield
Dr. Paul E. Phillips & Sharon P. Sullivan
Pemala & Suhas V. Pradhan
John W. Przepiora & Carolyn Stark
Mihael & Kimberly Puc
Mary Purcell
Anna Putintseva
Robert R. Quinn
Peter & Nancy Rabinowitz
Selma Radin
David Rankert
Michael & Rissa Ratner
Donnaline Richman
David A.A. Ridings
Dr. & Mrs. William H. Roberts
David Ross & Martha Sutter
Arnold & Libby Rubenstein
Elaine Rubenstein
Dr. Ellen Runge
Ilonka Salisbury
Anthony Scalzo
Kelly & Steven Scheinman
Margery Rose & Henry Schoeneck
Mr. & Mrs. William Schu
Larry & Connie Semel
Suzanne Shapero
Alexandra & Jeff Shaw
Sharye Skinner
Frank Smith
Mark & Beth Steigerwald
H. Paul Steiner
Nan & Carter Strickland
Peter & Cherry Thun
Amy Tucker
David & Ruth Tyler
Mary Ann Tyszko
Patrick VanBeveren
Marcus Webb & Ashley Homer
Howard & Anita Weinberger
Leonard Weiner & Kathryn Kelly
Miriam Weiner
Ruth S. Weinstock
George & Joyce Welitschinsky
Terry D. & Lynda Wheat
Lynda Wheat
Estate of Robert W. Daly, M.D.
Jeremy Winston & Tina Maxian
Gregory & Rita Wood
Charles Woods & Gail Azeredo-Woods
David & Emily Wormuth
William & Mary Wormuth
IN MEMORY OF ROBERT PAYNE
Richard & Susan Heimerman
IN MEMORY OF SAMUEL PELLMAN
Colleen Pellman
IN MEMORY OF CARL PESKO
Glenna & Frank Nolan
Thomas Krahe
Michele C. Smith
Sandra Stone
Martha Stone
Olivia Taylor
JoAnn Wallace
IN MEMORY OF ELIZABETH PIZZUTO
Joseph Sauve & Jeanne Pizzuto-Sauve
IN MEMORY OF JOHN PRITCHETT
Mary Lou Pritchett
IN MEMORY OF TIM RICE
Judith Dehn Oplinger
IN MEMORY OF ERNEST S. ROSE
Patricia Sharpe
IN HONOR OF SANDY ROZMARIN & JOE SCHLESINGER
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
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