Friday, november 8, 2013 | 7:30 pmJohn C. borden auditorium

mSm philharmoniadavid Gilbert, ConductorClara Warnaar, Marimba

proGram

VIRGIL THOMSON Three Pictures for Orchestra(1896–1989) The Seine at Night

Wheat Field at NoonSea Piece with Birds

ANDERS KOPPEL Marimba Concerto No. 1(b. 1947) Allegro

Adagio Andante

Ms. Warnaar, Marimba

Intermission

JOHANNES BRAHMS Symphony No. 1 in C Minor, op. 68(1833–1897) Un poco sostenuto; Allegro

Andante sostenutoUn poco allegretto e graziosoAdagio; Allegro non troppo, ma con brio

Click here to listen to the complete concert; or choose a work or movement from the program below to listen to only that selection.

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Program NotesThree Pictures for Orchestravirgil thomson

Virgil Thomson originally composed and published his Three Pictures for Orchestra—some of his most highly regarded symphonic music—as a result of commissions from three different orchestras over a five-year period. Yet perhaps because of their common connection as what he called “landscape pieces,” the composer himself conducted them together as a suite on a recording, and relatively recently they were published collectively under the present title.

Thomson completed The Seine at Night on the last day of 1947 for the Kansas City Philharmonic, which gave the first performance, led by Efrem Kurtz, two months later, on February 24. The composer wrote that he had spent his “second twenty years” in Paris writing music about Kansas City so that Parisians would understand “how we like to think and feel.” Now, he said, he wanted to “offer to the other city that I love, and the only other one where I have ever felt at home, a sketch, a souvenir, a postcard of the Seine, as seen from the front of my own house, a view as deeply a part of my life and thought as Wabash Avenue, where I spent my first twenty years.”

In describing the piece in the preface to the score, Thomson situated his view “nocturnally from one of the bridges to the Louvre” (presumably in front of his house), where “the stream is so deep and its face so quiet that it scarcely seems to flow. Unexpectedly, inexplicably a ripple will lap the masonry of its banks. In the distance over Notre Dame or from the top of faraway Montmartre, fireworks, casual rockets flare. Later, between a furry sky and the Seine’s watery surface, fine rain hangs in the air.”

The composer also gave clues about his technical means for creating his sonic landscape:

The melody that represents the river is heard in three different orchestral colors. Between the second and third hearings there are surface ripples and distant fireworks. At the end there is a beginning of quiet rain. . . . [T]he melodic contours are deliberately archaic, with memories of Gregorian chant in them; . . . the harmony, for purposes of perspective, is bitonal and by moments polytonal; . . . the rockets’ effects involve exclusive four-note chords, and . . . there are references to organ sonorities.

The delicate rain at the end is unmistakable.

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In the fall of 1948 Thomson composed Wheat Field at Noon for the Louisville Orchestra, which he led in the first performance on December 7. As with the first of his pictures, he employed very technical means to depict this Midwestern landscape, though the result sounds far from mechanical.

“Formally,” wrote Thomson, the piece is

a series of variations on a theme containing the twelve notes of the chromatic scale arranged as four mutually exclusive triads. The freer variants of this theme employ a device that may be called the rising bass . . . the lower line of each variation becomes the upper line of the next. The stricter variants are canons, or rounds, in four parts. Each part in these is accompanied in parallel motion by voices of identical timbre arranged in major and minor triads constantly present to the ear. Melody, in other words, moves within a harmonic continuum that is static because it is acoustically complete. The only aid that has been provided to the listener for perceiving motion is a clear differentiation of color among the four real parts.

Following an expressive flute introduction over somber bass, Thomson presents four strict variations—actually on two alternating twelve-tone themes—followed by five free variations with “rising bass” and one final canonic variation on the second theme. The wheat field then disappears quietly in a brief coda for strings, winds, and harp.

The Dallas Symphony was the recipient of his Sea Piece with Birds, which they premiered under Thomson’s direction on December 10, 1952. According to the composer, the piece—actually a seascape rather than a landscape—“is an attempt to portray the undertow of the sea, the surface tension of the waves, and the flight of birds as they sail back and forth above the sea. Toward the end trumpets imitate the cry of sea gulls. The musical texture is that of double, and sometimes triple, chromatic harmonies. The form, which is free, contains no thematic repetition.” Thus Thomson’s surging and ebbing music aptly captures the ever-changing aspect of the sea.

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marimba Concerto no. 1anders Koppel

Anders Koppel comes from a rich and varied background in music. His father, Hermann D. Koppel, was one of the most respected Danish composers and pianists of his generation, and Anders grew up with the music of Bach, Beethoven, Brahms, Stravinsky, and Bartók in the home. He studied piano with his sister and then his father, sang in the Copenhagen Boys’ Choir, and studied clarinet. He also painted, studied silent films, wrote a novel, and collaborated on texts for his father’s works, yet he first made a name for himself as a rock musician. In 1967 he and his brother formed the band Savage Rose, which gained a large audience and toured Europe and the U.S. for the next seven years.

As an independent musician and composer since 1974, Koppel has embraced not only classical and rock idioms but the influence of jazz, Argentine tango, Cuban dance music, Brazilian choro, and Balkan folk music. Other key elements of his music include a basis in tonality—major and minor harmonies—as well as the element of improvisation, which has always been part of his identity as a performer/composer. Koppel made a conscious decision in 1997—possibly fueled in part by the success of his Marimba Concerto No. 1 in 1995—to focus on “scored music” on a large scale (rather than live improvisation) and his compositional output has mushroomed. In particular he has written some twenty concertos for diverse instruments.

Koppel composed his Marimba Concerto No. 1 in 1995 as a set piece for the finals of the International Percussion Competition of Luxembourg. He writes: “I was named a member of the jury and it was a great experience for me to hear the many gifted young talents during the first two rounds. Four participants made it to the finals: two extremely skillful Japanese musicians, a Bulgarian, and a young Polish girl studying in Stuttgart and Salzburg. She amazed everybody in the audience as well as on the jury—especially me, the composer—when she premiered my Concerto in the finals. That was Katarzyna Mycka.” Since that time the Concerto has become a staple of mallet players around the world and Koppel has gone on to compose three more marimba concertos.

The solo marimba launches the first movement’s jaunty, syncopated main theme, which the full orchestra soon restates. A contrasting section includes more flowing music, but also chirping interjections based on motives from the opening section. A brief wide-ranging cadenza leads to

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introspection, which, however, grows energetic again with the infusion of the syncopated opening section. Koppel also brings back material of the second section, which concludes brightly.

Out of lovely sustained orchestral chords the solo marimba plays delicate rising motives with a brief falling tag to open the slow movement. Trills and shimmering timbres add to the tranquil, nocturnal atmosphere. A gentle marchlike section provides contrast before the opening music returns in varied guise with a poignant violin solo and “walking bass” adding to the delicate sonority.

The last movement takes off from a jolly Neoclassic-style marimba theme, interspersed with contrasting orchestral ideas. A long–short–long–short–long rhythmic idea becomes prominent in the orchestra while the marimba provides running commentary. Occasional suspensions of the forward motion serve to bring back the main theme with renewed vigor. One such pause brings on an extended cadenza, which Koppel added to the piece in 1999. The soft return of the orchestra’s long–short–long rhythms and a plaintive violin solo precede the final drive to a tossed-off ending.

Symphony no. 1 in C minor, op. 68Johannes brahms

“I shall never write a symphony,” Brahms said to his conductor-friend Hermann Levi. “You have no idea how the likes of us feel when we hear the tramp of a giant like him behind us.” By “him” Brahms of course meant Beethoven. As a young man Brahms had destroyed many attempted symphonies because they were not yet up to his high standards. A hearing of Beethoven’s Ninth Symphony in 1854 apparently inspired Brahms to attempt a symphony in the same key, but the parts that survived eventually wound up in his D minor Piano Concerto and his German Requiem.

The following year, when Brahms was twenty-two, he sketched some ideas that later appeared in his C minor Symphony; in 1862 he apparently demonstrated an early version of the first movement for Clara Schumann. Yet it was not until the summer of 1876, while Brahms was sojourning on the Isle of Rügen in the Baltic Sea, that he completed the work. He was forty-three by this time and in his maturity as a composer. The sixty-seven works he had published up to this time did include orchestral compositions (serenades, variations, and concertos), just not a symphony. His waiting for the right time paid off: Brahms is one of the few composers whose first symphony is as good as his last.

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As soon as the First Symphony was completed Brahms wrote to Otto Dessoff in Karlsruhe: “It was always my cherished and secret wish to hear the thing first in a small town that possessed a good friend, a good conductor, and a good orchestra.” Dessoff was naturally thrilled to conduct the first performance, which took place on November 4, 1876. The success, though not overwhelming, was enough for Brahms to schedule several more performances, which he conducted himself, in various cities.

It is tempting to speculate that much of the anguish and turmoil of the first movement had to do with Brahms’s feelings for Clara, which had been particularly intense during 1855 when some of it was sketched. Brahms’s impressive, surging introduction begins over insistent timpani beats, reinforced by bass and contrabassoon, and presents several motives that take shape in the main body of the movement—a remarkable feat given that the introduction was apparently something of an afterthought. In this, Brahms was right in step with Beethoven, who often came up with a stroke of genius in the late stages of a work. Brahms creates the illusion that his introduction is returning near the end of the coda by reducing the tempo and recalling the timpani beats and rising half steps in the winds. If the introduction was an afterthought, when did he conceive of this unifying closing device?

Two other first-movement features deserve brief mention. First, just before the exposition ends, Brahms treats us to one of his ingenious signature devices: he “repeats” a short stormy passage, but with a simple exchange of voices—the bass line for the treble—which gives the eight measures an entirely new cast. Second, at the start of the development he makes an unusual plunge into a remote key. This commentator has discovered a remarkable precedent for this move in exactly the same place in the first movement of the recently unearthed First Symphony—also in C minor—of his teacher Eduard Marxsen.

After the weight of the first movement, the Andante sostenuto enters like a breath of fresh air with a lovely opening melody in a distant new key. The movement, which is not without its tinges of melancholy, again takes much of its motivic material from its opening. Two matching sections frame a middle section signaled by the first violins alone. Partway through this centerpiece Brahms introduces a new idea with a poignant oboe solo. He concludes his ternary form by adding a coda from which horn and solo violin emerge in ethereal sweetness.

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The third movement is a type of relaxed scherzo alternative that Brahms favored in many of his four-movement works. This graceful, tightly organized movement contains a trio in the traditional scherzo–trio–scherzo pattern, but the typical “agitated–lyrical–agitated” characteristics are turned inside out. Brahms indulges in his love of unusual phrase lengths right at the outset with the two opening five-bar phrases (four-bar phrases being the norm); when the same phrases return he ingeniously extends them into seven-bar phrases, and at their last appearance to eleven (although the eleven bars are so long as to be thought of in two parts).

Brahms gave added weight to the end of his symphony by prefacing the finale with a dramatic slow introduction. As in the first movement, its motivic material spawns the main themes. The famous “liberating” horn theme in C major dates from 1868 when Brahms sent a birthday postcard to Clara from Switzerland saying, “Today the Alpenhorn blew thus.” This negates the suggestion that Brahms intended it to sound like the tower chimes at Cambridge University, which had offered Brahms a doctoral degree just before the Symphony was completed. This melody is followed by an equally arresting solemn, hymnlike phrase for trombone choir and bassoons. The celebrated main theme of the exposition prompted helpful souls to point out to the composer its similarity to the finale of Beethoven’s Ninth. Brahms’s famous retort, “Any ass can see that!” only emphasizes that what matters is how such building materials are treated—these two movements develop along their own ingenious lines. Brahms’s symphonic edifice is crowned by a substantial coda in which the gathering momentum is interrupted by the majestic reappearance of the trombone hymn, which then touches off the jubilant drive to the close.

—Program notes ©Jane Vial Jaffe

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About the Artists

david Gilbert, ConductorAs resident conductor at Manhattan School of Music, composer and flutist David Gilbert, a faculty member since 1983, has conducted many orchestral and opera performances, including the U.S. premiere of Martinu’s Mirandolina and Britten’s A Midsummer Night’s Dream. He has led the New York premieres of Shostakovich’s The Nose and Hans Werner Henze’s The English Cat; productions of Ned Rorem’s Miss Julie (released on Newport Classics), Busoni’s Arlecchino, Stravinsky’s Le Rossignol, and Britten’s Albert Herring (released on Vox); William Mayer’s A Death in the Family and the world premiere of Scott Eyerly’s The House of the Seven Gables (both released on the Albany label); as well as Robert Ward’s Roman Fever and Thomas Pasatieri’s The Seagull.

Formerly principal conductor of American Ballet Theatre, he has also been guest conductor of the New York Philharmonic and is currently music director of the Greenwich Symphony in Connecticut, the Bergen Philharmonic in New Jersey, and the Senior Concert Orchestra of New York. He spent two seasons as principal guest conductor at the Central Philharmonic in Beijing in 1980, the first American to hold such a post. After winning first prize in the Dimitri Mitropoulos Competition for Conductors, Mr. Gilbert was assistant conductor of the New York Philharmonic from 1970 to 1979 and in 1976 was selected by Pierre Boulez to be chief assistant conductor for the Bayreuth Festival. He has also guest-conducted the Pittsburgh, Rochester, Nashville, Oakland, Louisville, and Lexington symphonies, as well as the St. Paul Chamber Orchestra and the Pro Arte of Boston. In 2004 and 2006, Mr. Gilbert represented Manhattan School of Music as the United States judge for the Pedrotti International Conducting Competition in Trento, Italy.

Clara Warnaar, MarimbaClara Warnaar is an American-Canadian percussionist hailing from a musical family in Los Angeles. In addition to winning the Eisenberg–Fried Competition at Manhattan School of Music in 2012, Clara won second prize at the Montréal Symphony’s Standard Life Competition, both in 2009 and 2012, and the Interlochen Arts Academy Concerto Competition in 2007. An active player and composer of contemporary music, Ms. Warnaar is a member of New York’s ensemble “mise-en” and

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has recently performed with Montréal’s renowned Nouvel Ensemble Moderne. She has also been invited to participate in a number of summer festivals, including the So Percussion Summer Institute, the Banff Festival Orchestra, Steve Schick’s “Roots and Rhizomes,” Music X with eighth blackbird, and New Music at le Domaine Forget.

In May 2013, Clara received her Bachelor of Music degree from Manhattan School of Music, where she was the Ann and Gordon Getty Foundation Scholarship recipient. Her teachers have been Erik Charlston, Christopher Lamb, Duncan Patton, and She-e Wu. As a student at MSM, Clara spent a semester in Amsterdam, where she studied with percussionists from the Concertgebouw Orchestra. Clara is currently musician-in-residence at La Petite École, New York’s only francophone preschool, and a newly appointed teaching artist with the nonprofit company, Associated Solo Artists. Her recent and future multimedia projects, which draw on her earlier training in non-Classical music, dance, and the visual arts, aim to create a sense of curiosity and wonder for her audiences.

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manhattan School of music philharmoniadavid Gilbert, Conductor

violin 1Hannah Choi,

ConcertmasterZi-Wei YangKe ZhuNoemi GaspariniTian QiuJin Young SongJae Young BeaHyunjoon ShinEunhye DongWoo Jin ParkTurkkan OsmanHyein BeomHuijie GaoWei-Ni HungJihye SungSun Young Hwang

violin 2Siyu Zhang, PrincipalZhongyu RenWei LuAlexandros PetrinJacob BassDa Yeon ChoiHaegee ChungJi Yeon KimKyulee SeoYoonkyung PaiNam Hoon KimJihyeon MinYu WangHye Bin KimTsz Ho SitJisu Choi

violaLaila Zakzook, PrincipalDaniel LamasMargaret DixonTia AllenYitong GuoMichael DavisJen-Hsuan LiaoMichael DavisHannah Levinson

Jenna SobolewskiAline VartanianDilyana Zlatinova

CelloChristopher Irvine,

Principal Li PangSunmin ParkZhuxi WangHyelim KwonJinsun ChoiTing-Yu YangFrederick ChuIrene HanSeung Jin ParkEun Ji LeeYoobin Chung

double baSSLuke Stence, PrincipalKassandra FerreroKyle ColinaAvery CardozaEvan CannonChristopher JonesStephen FeldGriffin Meinbresse

FluteAshley HunterCoreisa LeeZuoliang LiuImogen MorrallYi Xiang

ClarinetMarco DanesiSamuel SparrowJingjing WangRuogu Wang

oboeLindsay HoganCathryn JonesDanielle McBryanBeatriz Ramirez

baSSoonJamie Yoon Ji KangEric KillenTravis LarsonBenjamin UngarNathaniel Velasquez

hornCorbin CastroAlex DepewSarah EverittAndrew Johnson-ScottKeith KirkpatrickVictoria Matthews

trumpetFrank GyeabourEmilio MartinezSa NgBaldvin Oddsson

tromboneJoseph HudsonWillem De KochMichael StantonCameron Strine

tubaEthan Morrison

timpaniKevin RitenauerWai Chi Tang

perCuSSionMichelle CozziEric GoldbergJohn Ringor

harpYeon Hwa ChungLuo Qian Qian He

CeleStaWilla Darias

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About Manhattan School of MusicManhattan School of Music is a preeminent international conservatory of music granting Bachelor of Music, Master of Music, and Doctor of Musical Arts degrees. Established in 1918 by pianist and philanthropist Janet Daniels Schenck, the School is dedicated to the personal, artistic, and intellectual development of its students, who range from the precollege through the postgraduate level. Offering both classical and jazz training, Manhattan School of Music trains students in performance and composition and provides a core curriculum in music theory, music history, and the humanities. Students come from all over the world, drawn by a rigorous program that reflects the highest standards of musical heritage, and by the faculty, which includes some of the world’s best-known artists. Manhattan School of Music contributes to the city’s musical life through an active community outreach program and with concerts and performances that are recognized as some of the finest events in New York’s musical calendar. Manhattan School of Music’s alumni are active in every aspect of contemporary musical life. Many are among the most distinguished artists performing in concert halls, opera houses, and on jazz stages throughout the world today.

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WWW.mSmnyC.edu/JoanSCloSet

Providing donations of gently used

women’s formal audition and recital attire exclusively for

MSM students. Please help us with

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Introducing

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Contributions to Manhattan School of Music 2012–2013Manhattan School of Music recognizes the following donors who made contributions during our most recently completed fiscal year.

annual GiFtS

$100,000 to $499,999Joan Taub Ades and

Alan M. AdesCarla Bossi-ComelliMr. and Mrs. William

R. MillerNoémi and Michael

Neidorff and the Centene Charitable Foundation

New York State Higher Education Capital Matching Grant Board

Virgil Thomson Foundation, LTD

$50,000 to $99,999Donald and Marcia

HamiltonAnna-Maria and Stephen

Kellen Foundation, Inc.Linda and Tobia MercuroHarold and Helene

Schonberg Trust$25,000 to $49,999Augustine FoundationEstate of Elizabeth

G. BeineckeThe Sidney E. Frank

FoundationLorraine Gallard and

Richard H. LevyThe Gordon and Harriet

Greenfield Foundation, Inc.Jephson Educational TrustsIlene and Edward LowenthalAudrey Love Charitable

FoundationA. L. and Jennie L. Luria

FoundationThe Ambrose Monell

FoundationNational Endowment for

the ArtsThe Arthur and Mae Orvis

FoundationPegasus HoldingsThe Fan Fox and Leslie R.

Samuels Foundation

Guillermo Vogel and FamilyAnonymous$15,000 to $24,999The ASCAP FoundationErvika Foundation, IncCecilia and John FarrellKurt Weill Foundation for

Music$10,000 to $14,999Alfredo and Mita AparicioDelin C. BruAlejandro CorderoThe Enoch FoundationFirst Initiative Foundation Dr. James Gandre and

Dr. Boris ThomasMr. and Mrs. Carl KanterRuth M. Knight FoundationProspect Hill Foundation Mrs. Linda McKean Chiona X. SchwartzSolon E. Summerfield

Foundation, Inc.Anonymous$5,000 to $9,999Margot Alberti de MazzeriThe Louis Armstrong

Educational Foundation, Inc.

The Theodore H. Barth Foundation, Inc.

William S. BeineckeThe D’Addario Foundation

for the Performing ArtsConstance de BalmannGeorge London Foundation

for SingersCarolyn Marlow and

William A. TeltserLinda B. McKeanGary MercerSue MingusThe Shoe Charitable

FoundationStanley R. Stangren

$2,500 to $4,999Pedro Chomnalez and Maria

Herrera-ChomnalezThe Presser FoundationThe Max Reger Foundation

of AmericaMichelle Winfield$1,000 to $2,499ACMP FoundationGiancarla BertiThe Cornelius N. Bliss

Memorial FundBlue Ridge CapitalElizabeth A. BrownAnna BulgariStephen BurkeTheodore C. ChuJeffrey Cohen and Lucie

RobertEllen C. CookJack S. EllenbergerCaptain Kenneth Force,

USMSThomas F. FrankGoreff/Neuwirth Charitable

TrustJane A. GrossHansoreePeter L. HorvathLawrence R. IndikWarren JonesRobert and Susan KaplanPhillip N. KawinRita and Herbert KayNancy KissingerPhilip B. KnappMichael J. KokolaStacy LewisThe Arthur Loeb

FoundationGeorge and Mary Lou

ManahanDr. Marjorie MerrymanDr. Solomon MikowskyAlicia H. and Jason J. Moran Daniel B. MorganDr. and Mrs. James A.

Newcomb

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Jim PetercsakSabian LTDMarc SilvermanAnnaliese SorosMr. and Mrs. Michael A.

VaretThe Widder FoundationEric WongDr. Lisa YuiCarolyn Zepf Hagner$500 to $999Richard Elder AdamsThe Bagby Foundation

for the Musical Arts

Louise BasbasJohn K. BlanchardRonald J. FooteFreeport- McMoRan

FoundationHans and Gloria GesellNigel J. HawkinsMarlene and Paul Herring Adam InselbuchJack KatzThe Irene Levoy Foundation

Inc.Gordon F. OstrowskiPark-Chan Foundation

Adolfo and Margarita Patron

Regina RheinsteinDaniel SavinTed SmithAdrienne Stetson ForrestDona D. Vaughn and Ron

RainesDace UdrisFelicia WarshawskyThe John L. & Sue Ann

Weinberg FoundationDr. and Mrs. Nils Vigeland

endoWment GiFtS

We wish to thank those donors who have contributed to Manhattan School of Music’s Endowment Fund. These contributions are critical in allowing the School to plan for its future and ensure its long-term success by creating sources of income in perpetuity.

Academic Federal Credit Union

Dr. Arthur and Sari Agatston

Ralph and Joanne AllenDimitris Anastassiou-

SpyridakiThe ASCAP FoundationClarence BealeGordon BairShirley BairChristina BarkanMs. Gabrielle BambergerMr. and Mrs. Michael

BambergerAngela BeechingWayne Bellet, Bellet

Construction Co.Claudia Benack and Ben E.

Benack, Jr.The Allen H. Berkman

and Selma W. Berkman Charitable Trust

Carol and Myles BerkmanBMITom and Meredith BrokawDelin and Abelardo BruJoan and Vince CarosellaChartwells Dining ServicesXi Lun and Katie ChenLinda ChesisPedro Chomnalez and

Maria Herrera-ChomnalezMr. and Mrs. Paul CohenMr. and Mrs. Stanley CohenGeoffrey and Marcia ColvinSue Ann and Tony Converse

Elsa Jean Davidson and Dr. Francis Brancaleone

Patrizia di CarrobioThe Baisley Powell Elebash

FundStephen Faninelli and

Yie-Hsin HungFlushing Violin Shop, Inc.Captain Kenneth Force,

USMSMarvin Ross Friedman and

Adrienne bon HaesLorraine Gallard and

Richard H. LevyDr. James Gandre and

Dr. Boris ThomasDrs. Arnold and Sandra

GoldEstate of Herbert GoldJeff and Susan GoldenbergGeduld Cougar FoundationGeneva Wealth

ManagementGoldman SachsDavid GoodmanTom and Bobbie GottschalkThe Gordon and Harriet

Greenfield Foundation, Inc.

Carol B. GrossmanDonald and Marcia

HamiltonBrian C. and Vivian

Henderson Victor Herbert Foundation,

Inc.

Skip and Meg HermanBarbara Zomlefer HerzbergAnne and Stephen HoffmanSusan Anne IngermanKPMGDr. Michael and Joyce KatzPatinka KopecDr. Jeffrey Langford and Dr.

Joanne PolkBennett and Gerri LeBow

FoundationStacy LewisMr. and Mrs. Michael

LizarragaEstate of Sidney LovasThea LorberSivia LoriaIlene and Eward LowenthalJeffrey and Tondra Lynford The Marquis George

MacDonald FoundationEstate of Viola B. MarcusAlfred and Claude MannJoseph F. McCrindle

FoundationEstate of Clement

Meadmore FoundationLinda and Tobia MercuroMarjorie MerrymanNoémi and Michael

Neidorff and the Centre Charitable Foundation

The Arthur and Mae Orvis Foundation

Marilyn OstrowAdolfo and Margarita

Patron

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matChinG GiFtS

Bristol-Myers Squibb Foundation

Exxon Mobil FoundationFreeport-McMoRan

Corporation

General Mills FoundationThe Guardian Life

Insurance CompanyIBMMacy’s Foundation

Prospect Hill Foundation, Inc.

Qualcomm Foundation

FaCulty GiFtS

We wish to recognize those generous faculty members who have contributed financially to Manhattan School of Music this past year.Angela BeechingJoan CaplanLaurie CarneyErik CharlstonMiriam CharneyLinda ChesisJeffrey Cohen and

Lucie RobertSusan DeaverCasey Molino DunnSylvia Rosenberg DiamandMarion FeldmanZenon Fishbein*Amelia GoldLarry GuyCynthia Hoffmann

Warren JonesGrigory KalinovskyPhillip N. KawinPatinka KopecDr. Jeffrey Langford and

Dr. Joanne PolkCarmel LowenthalDr. Curtis MacomberCatherine MalfitanoIsaac MalkinGeorge ManahanNicholas D. MannCarolyn MarlowDr. Marjorie MerrymanDr. Solomon MikowskyDr. James Noyes

Orin O’BrienGordon OstrowskiMark OswaldDr. Kariné PoghosyanDr. Maria Radicheva Chris RosenbergTed RosenthalKelly SawatskyDr. Marc SilvermanPaul SperryWilliam TracyDona D. VaughnDr. Nils VigelandDr. Lisa Yui

Alfred and Claude MannNoémi and Michael

Neidorff and the Centene Charitable Foundation

Guillermo Vogel and Family

Wells FargoLorraine Gallard and

Richard H. Levy

Donald and Marcia Hamilton

Ilene and Edward Lowenthal

Larry and Hazel Rosen

2013 Gala leaderShip

James & Theodore Pedas Family Foundation

Darryl Pitt, Depth of Field Management Inc.

Linda and Irwin PotashPrager & Co., LLCSheila and Peter PrimontProskauerCassie and Billy RahmShahriar and Noa

RafimayeriSusan and David RahmCarl and Toni RandolphJeanne and Nicolas Rohatyn

Larry and Hazel RosenTed RosenthalDr. Carolyn Runowicz and

Dr. Sheldon CherryFrank Mosomillo, Ryder

Construction, IncDavid and Sarah SchnietgerFred and Ruth SchwalbeBeth and Bob SheehanDr. Marc SilvermanRichard W. Southwick,

FAIASteinway & SonsMarla Stewart

Stroock & Stroock & Lavan LLP

Hao Jiang Tian and Martha Liao

Christine N. TredwaySusan Weeks and

David CoulterWells Fargo BankGeorge WeinRonald G. WeinerKarl J. Wiemer, Esq.Dr. Theodore and Amy WestXerox CorporationAnonymous (3)

* Deceased

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GalaXy SoCiety

We are indebted to the members of the Galaxy Society, who have chosen to support Manhattan School of Music beyond their lifetimes. Their planned gifts create a living legacy that will influence both music and musicians for generations to come. The name of the Society comes from the School’s motto, Macte Virtute Sic Itur Ad Astra (Those who excel thus reach the stars).

Richard E. AdamsJoan Taub Ades and

Alan M. AdesGabrielle BambergerFrank BambergerPeter BasquinWilliam S. BeineckeYvette BenjaminBlanche Heisler BlitsteinEllen D. CharneyLeonard Davis

Alex DavisMichael P. DevineCapt. Kenneth R. Force,

USMSRabbi Mordecai GennHeather Amlin HamiltonCarolyn Zepf HagnerPhillip N. KawinAlan M. and Karen

Schiebler KnieterUrsula Mamlok

Charlotte MayersonClaire A. MeyerCharles B. Nelson, Jr.Evelyn RonellAmy R. SperlingCarleton B. SpottsJonathan SternbergHetty Te KorteKeith L. WiggsAnonymous

Legacy GiftsWe extend our gratitude to those supporters who have made strategic investments in Manhattan School of Music’s long-term vitality.

Joan Taub Ades and Alan M. Ades

G. Chris Andersen and SungEun Han-Andersen

The Baisley Powell Elebash Fund

Carla Bossi-ComelliNancy Terner Behrman*Lillian R. Berkman*Cecilia and John FarrellHerbert* Z. and Rita* GoldThe Gordon and Harriet

Greenfield FoundationCharles* and Carol

Grossman

Michael W. GreeneEugene Istomin Endowed

Scholarship in PianoEstate of Kellog JohnsonIlene and Edward

LowenthalAlfred and Claude MannPaul* and Frances

MartinsonThe Joseph F. McCrindle

FoundationJason and Debra McManusDr. Solomon MikowskyThe Miller Family

Foundation

Murray L.* and Belle* Nathan

Noémi and Michael Neidorff and the Centene Charitable Foundation

Judge Richard Owen and Mrs. Lynn Owen

Susan and David RahmThe Peter Jay Sharp

FoundationThe Evelyn Sharp

FoundationPatrick N.W. TurnerAnonymous (3)

CornerStone SoCiety

We salute the members of the Cornerstone Society who have supported capital improvements at Manhattan School of Music with a gift of $50,000 or more to ensure that students have the highest quality facilities, instruments, and equipment with which to pursue their studies.

* Deceased

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FounderS SoCiety

We are deeply indebted to those who have demonstrated their philanthropic partnership with Manhattan School of Music over the years through the substantial commitments below.

$5,000,000 and aboveG. Chris Andersen and

SungEun Han-Andersen$2,500,000 and aboveEstate of Jacqueline KacereEstate of Dora Zaslasky

KochAlfred and Claude MannMr. and Mrs. William

R. MillerThe Peter Jay Sharp

Foundation$1,000,000 and aboveJoan Taub Ades and Alan

M. AdesThe ASCAP FoundationMary Owen Borden

FoundationThe Gordon and Harriet

Greenfield FoundationThe Joseph F. McCrindle

Foundation and the Estate of Joseph F. McCrindle

Estate of Homer MenschThe Octavian SocietySusan and David RahmThe Helen F. Whitaker

Fund$500,000 and aboveAltman FoundationThe Baisley Powell Elebash

Fund

Carla Bossi-ComelliEstate of Ruth ChatfieldAnn and Gordon Getty

FoundationMichael W. GreeneJewish Foundation for

Education of WomenEstate of Kellogg JohnsonEstate of Marga KingEstate of Edith KrissIlene and Edward

Lowenthal and FamilyEstate of Viola MarcusThe Andrew W. Mellon

FoundationDr. Solomon MikowskyThe Ambrose Monell

FoundationNana’s Way/Nancy Terner

Behrman*Noémi and Michael

Neidorff and the Centene Charitable Foundation

The Arthur and Mae Orvis Foundation

Harold and Helene Schonberg Trust

$250,000 and aboveAnnie Laurie Aitken

Charitable TrustAnthony Amato,*

Founder and Director, The Amato Opera

Rose L. Augustine and The Augustine Foundation

Herbert R. and Evelyn Axelrod

Elizabeth G. Beinecke*Bristol-Myers Squibb

FoundationCarnegie Corporation of

New YorkEdgar Foster DanielsCecilia and John FarrellEstate of Ellen G. FezerJephson Educational TrustsAnna-Maria and Stephen

Kellen Foundation, Inc.Ruth Morgenthau Knight

FoundationA. L. and Jennie L. Luria

FoundationEstate of Anna Case

MackayJody and Peter RobbinsThe Fan Fox and Leslie

R. Samuels Foundation, Inc.

The Evelyn Sharp Foundation

The Starr FoundationSurdna FoundationGabe Wiener Foundation

Please contact us at 917 493 4434 or visit www.msmnyc.edu and click on the “Give to MSM” tab to learn more about supporting the next generation of leading musicians. We look forward to partnering with you to realize your goals for music education in the 21st century.

18

Manhattan School of Music

Board of TrusteesPeter G. Robbins, ChairmanLorraine Gallard, Vice ChairmanEdward Lowenthal, Treasurer and Secretary

Carla Bossi-ComelliLinda ChesisGlenn DicterowLoren R. DouglassPeter DuchinJames Gandre, PresidentMarcia Clay HamiltonThomas HampsonMarta IstominDavid KnottClaude MannLinda Bell MercuroNoémi K. NeidorffDavid A. Rahm, Chairman EmeritusTed RosenthalLeonard Slatkin

Trustees EmeritiAlan M. AdesRobert G. SimonWilliam R. MillerThe Honorable Richard Owen

International Advisory BoardCarla Bossi-Comelli, Chairwoman, Switzerland

Mita Aparicio, MexicoDelin Bru, United StatesAlejandro Cordero, ArgentinaMargot Alberti de Mazzeri, ItalyBrian C. McK. Henderson, United StatesCarl Kanter, United StatesJeeHyun Kim, South KoreaAdolfo Patron, MexicoChiona X. Schwarz, GermanyGuillermo Vogel, MexicoSatoko Yahata, Japan

Artistic Advisory BoardCharles BergmanJohn CoriglianoGlenn DicterowRichard GaddesThomas HampsonLang LangRobert MannEalan WingatePinchas Zukerman

19

preSident’S CounCil

James Gandre, PresidentMarjorie Merryman, Provost and Dean

of the CollegePaul Kelleher, Executive Vice President for

Finance and AdministrationDavid Geber, Vice Provost and Dean of

Artistic AffairsAmy Anderson, Dean of EnrollmentElsa Jean Davidson, Dean of StudentsDebra Kinzler, Director of CommunicationsCarol Matos, Director of Administration

and Human Relations/Special Assistant to the President

Christianne Orto, Dean of Distance Learning and Recording Arts

Luis Plaza, Director of FacilitiesKelly Sawatsky, Dean of the Precollege

adminiStratorS

Wadner Auguste, Director of Residence LifeAngela Beeching, Director of the Center for

Music EntrepreneurshipJohn Blanchard, Director of Alumni Affairs

and Development OperationsMary Kathryn Blazek, Interim Director of

ProductionRonnie Boriskin, Director of Foundation

RelationsKevin Boutote, Chief Recording EngineerPeter Caleb, Director of Library ServicesRebecca Charnow, Director of Community

Partnerships and Camp MSMMelanie Dorsey, Director of Student LifeSusan Fink, Director of Accounting and

ControllerJohn Hagen, Director, ESL ProgramJeffrey Langford, Assistant Dean for

Doctoral StudiesMichael Lockhart, Director of International

Student ServicesVict0ria Manley, Director of Major Gifts David L. McDonagh, RegistrarLynne Normandia, Manager of Chamber

Music and EnsemblesMarjean Olson, Assistant Dean of Academic

AffairsStephen O’Brien, Director of Information

Technology/Website Technical ManagerGordon Ostrowski, Assistant Dean of Opera

Programs

Majel Peters, Director of Design and Publications

Joanne Polk, Director of Strategy and Development for Precollege Division

Elizabeth Young, Director, MSM Sunday and Coordinator, Summer Voice Festival

proGram ChairS

Erik Charlston, Co-Chair, Percussion Department

Linda Chesis, Chair, Woodwind DepartmentMark Delpriora, Co-Chair, Guitar

DepartmentJustin DiCioccio, Associate Dean and Chair,

Jazz Arts ProgramGlenn Dicterow, Chair, Graduate Program

in Orchestral PerformanceHeidi Stubner, Assistant Dean of

Performance Operations and the Graduate Program in Orchestral Performance

John Forconi, Chair, Accompanying Department

Reiko Fueting, Chair, Theory DepartmentMark Gould, Chair, Brass DepartmentDeborah Hoffman, Chair, Harp DepartmentKathryn LaBouff, Assistant Chair,

Voice DepartmentJeffrey Langford, Assistant Dean for

Doctoral Studies and Chair, Music History Department

David Leisner, Co-Chair, Guitar DepartmentNicholas Mann, Chair, Strings DepartmentJeffrey Milarsky, Artistic Director,

Contemporary Performance ProgramJohn Pagano, Chair, Humanities DepartmentDuncan Patton, Co-Chair, Percussion

DepartmentMaitland Peters, Chair, Voice DepartmentMcNeil Robinson, Chair, Organ DepartmentMarc Silverman, Chair, Piano DepartmentMark Stambaugh, Acting Chair, Composition

DepartmentDona D. Vaughn, Artistic Director of

Opera Programs

ConduCtorS

Justin DiCioccio, Conductor, Jazz Philharmonic Orchestra

David Gilbert, Conductor in ResidenceGeorge Manahan, Director of Orchestral

ActivitiesKent Tritle, Director of Choral Activities

Administration

122ND & BROADWAY | 917 493 4428 | WWW.msmNYc.eDU

Leonard slatkin, ConductorGlenn Dicterow, ViolinSIERRA Fandangos BERNSTEIN Serenade after Plato’s Symposium MUSSORGSKY Pictures at an Exhibitionstern Auditorium / Perelman stage at carnegie Hall 57th street & 7th Avenue

$15–$30 (available mid-February) For tickets visit carnegiehall.org, call CarnegieCharge at 212 247 7800, or visit the Box Office at 57th Street & 7th Avenue

Leonard Slatkin

Glenn Dicterow

SAVE ThE DATE

sUNDAY, APRiL 13, 2014 At 2 Pm

MSM Symphony at Carnegie Hall

Carnegie Hall by Jeff G

oldberg/Esto; Slatkin by Steve J. Sherman.