friday, november 8, 2013 | 7:30 pm

john c. borden auditorium

MSM Philharmonia

Click here to listen to the complete

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

David Gilbert, Conductor

Clara Warnaar, Marimba
PROGRAM
VIRGIL THOMSON

(18961989)

Three Pictures for Orchestra

The Seine at Night
Wheat Field at Noon
Sea Piece with Birds

Marimba Concerto No. 1

(b. 1947)
Allegro
Adagio
Andante

ANDERS KOPPEL

Ms. Warnaar, Marimba

Intermission
JOHANNES BRAHMS

(18331897)

Symphony No. 1 in C Minor, op. 68

Un poco sostenuto; Allegro
Andante sostenuto
Un poco allegretto e grazioso
Adagio; Allegro non troppo, ma con brio

Program Notes
Three Pictures for Orchestra
Virgil Thomson
Virgil Thomson originally composed and published his Three Pictures for
Orchestrasome of his most highly regarded symphonic musicas 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 Seines watery surface, fine rain hangs in the air.
The composer also gave clues about his technical means for creating his
sonic landscape:

The delicate rain at the end is unmistakable.

program notes

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.

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 variationsactually on two alternating twelve-tone
themesfollowed 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 Thomsons direction on December 10, 1952.
According to the composer, the pieceactually a seascape rather than a
landscapeis 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
Thomsons surging and ebbing music aptly captures the ever-changing
aspect of the sea.

Marimba Concerto No. 1

Anders 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 Bartk 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 fathers 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 tonalitymajor
and minor harmoniesas well as the element of improvisation, which has
always been part of his identity as a performer/composer. Koppel made
a conscious decision in 1997possibly fueled in part by the success of his
Marimba Concerto No. 1 in 1995to 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.

The solo marimba launches the first movements 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

program notes

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 composerwhen 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.

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 longshortlongshort
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 orchestras longshortlong rhythms and a
plaintive violin solo precede the final drive to a tossed-off ending.

Symphony No. 1 in C Minor, op. 68

Johannes 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 Beethovens 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 Rgen 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.

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 Brahmss feelings for Clara, which had been
particularly intense during 1855 when some of it was sketched. Brahmss
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 movementa 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 voicesthe bass line for the treblewhich 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 Symphonyalso in C minorof
his teacher Eduard Marxsen.

program notes

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.

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 scherzotrio
scherzo pattern, but the typical agitatedlyricalagitated 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 Beethovens
Ninth. Brahmss famous retort, Any ass can see that! only emphasizes
that what matters is how such building materials are treatedthese two
movements develop along their own ingenious lines. Brahmss 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

About the Artists

David Gilbert, Conductor
As 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
Martinus Mirandolina and Brittens A Midsummer Nights Dream. He has
led the New York premieres of Shostakovichs The Nose and Hans Werner
Henzes The English Cat; productions of Ned Rorems Miss Julie (released
on Newport Classics), Busonis Arlecchino, Stravinskys Le Rossignol, and
Brittens Albert Herring (released on Vox); William Mayers A Death in
the Family and the world premiere of Scott Eyerlys The House of the Seven
Gables (both released on the Albany label); as well as Robert Wards
Roman Fever and Thomas Pasatieris 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, Marimba

about the artists

Clara 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 Montral Symphonys 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 Yorks ensemble mise-en and

has recently performed with Montrals 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 Schicks 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 cole, New Yorks 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 Philharmonia

David Gilbert, Conductor
Violin 1
Hannah Choi,
Concertmaster
Zi-Wei Yang
Ke Zhu
Noemi Gasparini
Tian Qiu
Jin Young Song
Jae Young Bea
Hyunjoon Shin
Eunhye Dong
Woo Jin Park
Turkkan Osman
Hyein Beom
Huijie Gao
Wei-Ni Hung
Jihye Sung
Sun Young Hwang

Jenna Sobolewski
Aline Vartanian
Dilyana Zlatinova

Cello
Christopher Irvine,
Principal
Li Pang
Sunmin Park
Zhuxi Wang
Hyelim Kwon
Jinsun Choi
Ting-Yu Yang
Frederick Chu
Irene Han
Seung Jin Park
Eun Ji Lee
Yoobin Chung

Double Bass

Siyu Zhang, Principal

Zhongyu Ren
Wei Lu
Alexandros Petrin
Jacob Bass
Da Yeon Choi
Haegee Chung
Ji Yeon Kim
Kyulee Seo
Yoonkyung Pai
Nam Hoon Kim
Jihyeon Min
Yu Wang
Hye Bin Kim
Tsz Ho Sit
Jisu Choi

Luke Stence, Principal

Kassandra Ferrero
Kyle Colina
Avery Cardoza
Evan Cannon
Christopher Jones
Stephen Feld
Griffin Meinbresse

Viola

Marco Danesi
Samuel Sparrow
Jingjing Wang
Ruogu Wang

Laila Zakzook, Principal

Daniel Lamas
Margaret Dixon
Tia Allen
Yitong Guo
Michael Davis
Jen-Hsuan Liao
Michael Davis
Hannah Levinson

Flute
Ashley Hunter
Coreisa Lee
Zuoliang Liu
Imogen Morrall
Yi Xiang

Clarinet

Oboe
Lindsay Hogan
Cathryn Jones
Danielle McBryan
Beatriz Ramirez

Jamie Yoon Ji Kang

Eric Killen
Travis Larson
Benjamin Ungar
Nathaniel Velasquez

Horn
Corbin Castro
Alex Depew
Sarah Everitt
Andrew Johnson-Scott
Keith Kirkpatrick
Victoria Matthews

Trumpet
Frank Gyeabour
Emilio Martinez
Sa Ng
Baldvin Oddsson

Trombone
Joseph Hudson
Willem De Koch
Michael Stanton
Cameron Strine

Tuba
Ethan Morrison

Timpani
Kevin Ritenauer
Wai Chi Tang

Percussion
Michelle Cozzi
Eric Goldberg
John Ringor

Harp
Yeon Hwa Chung
Luo Qian Qian He

Celesta
Willa Darias

MSM Philharmonia

Violin 2

Bassoon

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Manhattan 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 worlds bestknown artists. Manhattan School of
Music contributes to the citys musical
life through an active community
outreach program and with concerts and
performances that are recognized as
some of the finest events in New Yorks
musical calendar. Manhattan School
of Musics 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.

Introducing

About Manhattan
School of Music

Joans Closet

at Manhattan School of Music

Providing donations
of gently used
womens formal
audition and recital
attire exclusively for
MSM students.
Please help us with
your donation.
For more info visit
www.msmnyc.edu/joanscloset

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Contributions to Manhattan School of Music

20122013
Manhattan School of Music recognizes the following donors who made
contributions during our most recently completed fiscal year.
Annual gifts
$100,000 to $499,999
Joan Taub Ades and
Alan M. Ades
Carla Bossi-Comelli
Mr. and Mrs. William
R. Miller
Nomi and Michael
Neidorff and the Centene
Charitable Foundation
New York State Higher
Education Capital
Matching Grant Board
Virgil Thomson Foundation,
LTD
$50,000 to $99,999
Donald and Marcia
Hamilton
Anna-Maria and Stephen
Kellen Foundation, Inc.
Linda and Tobia Mercuro
Harold and Helene
Schonberg Trust
$25,000 to $49,999
Augustine Foundation
Estate of Elizabeth
G. Beinecke
The Sidney E. Frank
Foundation
Lorraine Gallard and
Richard H. Levy
The Gordon and Harriet
Greenfield Foundation, Inc.
Jephson Educational Trusts
Ilene and Edward Lowenthal
Audrey Love Charitable
Foundation
A. L. and Jennie L. Luria
Foundation
The Ambrose Monell
Foundation
National Endowment for
the Arts
The Arthur and Mae Orvis
Foundation
Pegasus Holdings
The Fan Fox and Leslie R.
Samuels Foundation

Guillermo Vogel and Family

Anonymous
$15,000 to $24,999
The ASCAP Foundation
Ervika Foundation, Inc
Cecilia and John Farrell
Kurt Weill Foundation for
Music
$10,000 to $14,999
Alfredo and Mita Aparicio
Delin C. Bru
Alejandro Cordero
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First Initiative Foundation
Dr. James Gandre and
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Ruth M. Knight Foundation
Prospect Hill Foundation
Mrs. Linda McKean
Chiona X. Schwartz
Solon E. Summerfield
Foundation, Inc.
Anonymous
$5,000 to $9,999
Margot Alberti de Mazzeri
The Louis Armstrong
Educational Foundation,
Inc.
The Theodore H. Barth
Foundation, Inc.
William S. Beinecke
The DAddario Foundation
for the Performing Arts
Constance de Balmann
George London Foundation
for Singers
Carolyn Marlow and
William A. Teltser
Linda B. McKean
Gary Mercer
Sue Mingus
The Shoe Charitable
Foundation
Stanley R. Stangren

$2,500 to $4,999
Pedro Chomnalez and Maria
Herrera-Chomnalez
The Presser Foundation
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of America
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$1,000 to $2,499
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Memorial Fund
Blue Ridge Capital
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Robert
Ellen C. Cook
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Captain Kenneth Force,
USMS
Thomas F. Frank
Goreff/Neuwirth Charitable
Trust
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Hansoree
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Lawrence R. Indik
Warren Jones
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Phillip N. Kawin
Rita and Herbert Kay
Nancy Kissinger
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Stacy Lewis
The Arthur Loeb
Foundation
George and Mary Lou
Manahan
Dr. Marjorie Merryman
Dr. Solomon Mikowsky
Alicia H. and Jason J. Moran
Daniel B. Morgan
Dr. and Mrs. James A.
Newcomb
13

Jim Petercsak
Sabian LTD
Marc Silverman
Annaliese Soros
Mr. and Mrs. Michael A.
Varet
The Widder Foundation
Eric Wong
Dr. Lisa Yui
Carolyn Zepf Hagner
$500 to $999
Richard Elder Adams
The Bagby Foundation
for the Musical Arts

Louise Basbas
John K. Blanchard
Ronald J. Foote
Freeport- McMoRan
Foundation
Hans and Gloria Gesell
Nigel J. Hawkins
Marlene and Paul Herring
Adam Inselbuch
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The Irene Levoy Foundation
Inc.
Gordon F. Ostrowski
Park-Chan Foundation

Adolfo and Margarita

Patron
Regina Rheinstein
Daniel Savin
Ted Smith
Adrienne Stetson Forrest
Dona D. Vaughn and Ron
Raines
Dace Udris
Felicia Warshawsky
The John L. & Sue Ann
Weinberg Foundation
Dr. and Mrs. Nils Vigeland

ENDOWMENT gifts
We wish to thank those donors who have contributed to Manhattan School
of Musics 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.

14

Academic Federal Credit

Union
Dr. Arthur and Sari
Agatston
Ralph and Joanne Allen
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Elsa Jean Davidson and

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Patrizia di Carrobio
The Baisley Powell Elebash
Fund
Stephen Faninelli and
Yie-Hsin Hung
Flushing Violin Shop, Inc.
Captain Kenneth Force,
USMS
Marvin Ross Friedman and
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Lorraine Gallard and
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Gold
Estate of Herbert Gold
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Geneva Wealth
Management
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The Gordon and Harriet
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Inc.
Carol B. Grossman
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Skip and Meg Herman

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Alfred and Claude Mann
Joseph F. McCrindle
Foundation
Estate of Clement
Meadmore Foundation
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Nomi and Michael
Neidorff and the Centre
Charitable Foundation
The Arthur and Mae Orvis
Foundation
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Adolfo and Margarita
Patron

James & Theodore Pedas

Family Foundation
Darryl Pitt, Depth of Field
Management Inc.
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Prager & Co., LLC
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Proskauer
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Shahriar and Noa
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Ted Rosenthal
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Construction, Inc
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Stroock & Stroock & Lavan

LLP
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Xerox Corporation
Anonymous (3)

2013 Gala leadership

Alfred and Claude Mann
Nomi and Michael
Neidorff and
the Centene Charitable
Foundation

Guillermo Vogel and

Family
Wells Fargo
Lorraine Gallard and
Richard H. Levy

Donald and Marcia

Hamilton
Ilene and Edward
Lowenthal
Larry and Hazel Rosen

FACULTY GIFTS
We wish to recognize those generous faculty members who have contributed
financially to Manhattan School of Music this past year.
Angela Beeching
Joan Caplan
Laurie Carney
Erik Charlston
Miriam Charney
Linda Chesis
Jeffrey Cohen and
Lucie Robert
Susan Deaver
Casey Molino Dunn
Sylvia Rosenberg Diamand
Marion Feldman
Zenon Fishbein*
Amelia Gold
Larry Guy
Cynthia Hoffmann

Orin OBrien
Gordon Ostrowski
Mark Oswald
Dr. Karin Poghosyan
Dr. Maria Radicheva
Chris Rosenberg
Ted Rosenthal
Kelly Sawatsky
Dr. Marc Silverman
Paul Sperry
William Tracy
Dona D. Vaughn
Dr. Nils Vigeland
Dr. Lisa Yui

General Mills Foundation

The Guardian Life
Insurance Company
IBM
Macys Foundation

Prospect Hill Foundation,

Inc.
Qualcomm Foundation

Matching Gifts
Bristol-Myers Squibb
Foundation
Exxon Mobil Foundation
Freeport-McMoRan
Corporation

* Deceased

Our Generous Supporters

Warren Jones
Grigory Kalinovsky
Phillip N. Kawin
Patinka Kopec
Dr. Jeffrey Langford and
Dr. Joanne Polk
Carmel Lowenthal
Dr. Curtis Macomber
Catherine Malfitano
Isaac Malkin
George Manahan
Nicholas D. Mann
Carolyn Marlow
Dr. Marjorie Merryman
Dr. Solomon Mikowsky
Dr. James Noyes

15

Legacy Gifts
We extend our gratitude to those supporters who have made strategic
investments in Manhattan School of Musics long-term vitality.
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.
Joan Taub Ades and
Alan M. Ades
G. Chris Andersen and
SungEun Han-Andersen
The Baisley Powell Elebash
Fund
Carla Bossi-Comelli
Nancy Terner Behrman*
Lillian R. Berkman*
Cecilia and John Farrell
Herbert* Z. and Rita* Gold
The Gordon and Harriet
Greenfield Foundation
Charles* and Carol
Grossman

Michael W. Greene
Eugene Istomin Endowed
Scholarship in Piano
Estate of Kellog Johnson
Ilene and Edward
Lowenthal
Alfred and Claude Mann
Paul* and Frances
Martinson
The Joseph F. McCrindle
Foundation
Jason and Debra McManus
Dr. Solomon Mikowsky
The Miller Family
Foundation

Murray L.* and Belle*

Nathan
Nomi and Michael
Neidorff and the Centene
Charitable Foundation
Judge Richard Owen and
Mrs. Lynn Owen
Susan and David Rahm
The Peter Jay Sharp
Foundation
The Evelyn Sharp
Foundation
Patrick N.W. Turner
Anonymous (3)

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 Schools motto, Macte Virtute
Sic Itur Ad Astra (Those who excel thus reach the stars).
Richard E. Adams
Joan Taub Ades and
Alan M. Ades
Gabrielle Bamberger
Frank Bamberger
Peter Basquin
William S. Beinecke
Yvette Benjamin
Blanche Heisler Blitstein
Ellen D. Charney
Leonard Davis

16

Alex Davis
Michael P. Devine
Capt. Kenneth R. Force,
USMS
Rabbi Mordecai Genn
Heather Amlin Hamilton
Carolyn Zepf Hagner
Phillip N. Kawin
Alan M. and Karen
Schiebler Knieter
Ursula Mamlok

Charlotte Mayerson
Claire A. Meyer
Charles B. Nelson, Jr.
Evelyn Ronell
Amy R. Sperling
Carleton B. Spotts
Jonathan Sternberg
Hetty Te Korte
Keith L. Wiggs
Anonymous

* Deceased

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 above
G. Chris Andersen and
SungEun Han-Andersen
$2,500,000 and above
Estate of Jacqueline Kacere
Estate of Dora Zaslasky
Koch
Alfred and Claude Mann
Mr. and Mrs. William
R. Miller
The Peter Jay Sharp
Foundation
$1,000,000 and above
Joan Taub Ades and Alan
M. Ades
The ASCAP Foundation
Mary Owen Borden
Foundation
The Gordon and Harriet
Greenfield Foundation
The Joseph F. McCrindle
Foundation and
the Estate of Joseph
F. McCrindle
Estate of Homer Mensch
The Octavian Society
Susan and David Rahm
The Helen F. Whitaker
Fund
$500,000 and above
Altman Foundation
The Baisley Powell Elebash
Fund

Carla Bossi-Comelli
Estate of Ruth Chatfield
Ann and Gordon Getty
Foundation
Michael W. Greene
Jewish Foundation for
Education of Women
Estate of Kellogg Johnson
Estate of Marga King
Estate of Edith Kriss
Ilene and Edward
Lowenthal and Family
Estate of Viola Marcus
The Andrew W. Mellon
Foundation
Dr. Solomon Mikowsky
The Ambrose Monell
Foundation
Nanas Way/Nancy Terner
Behrman*
Nomi and Michael
Neidorff and the Centene
Charitable Foundation
The Arthur and Mae Orvis
Foundation
Harold and Helene
Schonberg Trust
$250,000 and above
Annie Laurie Aitken
Charitable Trust
Anthony 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
Foundation
Carnegie Corporation of
New York
Edgar Foster Daniels
Cecilia and John Farrell
Estate of Ellen G. Fezer
Jephson Educational Trusts
Anna-Maria and Stephen
Kellen Foundation, Inc.
Ruth Morgenthau Knight
Foundation
A. L. and Jennie L. Luria
Foundation
Estate of Anna Case
Mackay
Jody and Peter Robbins
The Fan Fox and Leslie
R. Samuels Foundation,
Inc.
The Evelyn Sharp
Foundation
The Starr Foundation
Surdna Foundation
Gabe 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.

Our Generous Supporters

17

Manhattan School of Music

Board of Trustees
Peter G. Robbins, Chairman
Lorraine Gallard, Vice Chairman
Edward Lowenthal, Treasurer and Secretary
Carla Bossi-Comelli
Linda Chesis
Glenn Dicterow
Loren R. Douglass
Peter Duchin
James Gandre, President
Marcia Clay Hamilton
Thomas Hampson
Marta Istomin
David Knott
Claude Mann
Linda Bell Mercuro
Nomi K. Neidorff
David A. Rahm, Chairman Emeritus
Ted Rosenthal
Leonard Slatkin

Trustees Emeriti
Alan M. Ades
Robert G. Simon
William R. Miller
The Honorable Richard Owen

International Advisory Board

Carla Bossi-Comelli, Chairwoman, Switzerland
Mita Aparicio, Mexico
Delin Bru, United States
Alejandro Cordero, Argentina
Margot Alberti de Mazzeri, Italy
Brian C. McK. Henderson, United States
Carl Kanter, United States
JeeHyun Kim, South Korea
Adolfo Patron, Mexico
Chiona X. Schwarz, Germany
Guillermo Vogel, Mexico
Satoko Yahata, Japan

Artistic Advisory Board

18

Charles Bergman
John Corigliano
Glenn Dicterow
Richard Gaddes
Thomas Hampson
Lang Lang
Robert Mann
Ealan Wingate
Pinchas Zukerman

Administration
Presidents Council
James Gandre, President
Marjorie Merryman, Provost and Dean
of the College
Paul Kelleher, Executive Vice President for
Finance and Administration
David Geber, Vice Provost and Dean of
Artistic Affairs
Amy Anderson, Dean of Enrollment
Elsa Jean Davidson, Dean of Students
Debra Kinzler, Director of Communications
Carol 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 Facilities
Kelly Sawatsky, Dean of the Precollege

ADMINISTRATORS
Wadner Auguste, Director of Residence Life
Angela Beeching, Director of the Center for
Music Entrepreneurship
John Blanchard, Director of Alumni Affairs
and Development Operations
Mary Kathryn Blazek, Interim Director of
Production
Ronnie Boriskin, Director of Foundation
Relations
Kevin Boutote, Chief Recording Engineer
Peter Caleb, Director of Library Services
Rebecca Charnow, Director of Community
Partnerships and Camp MSM
Melanie Dorsey, Director of Student Life
Susan Fink, Director of Accounting and
Controller
John Hagen, Director, ESL Program
Jeffrey Langford, Assistant Dean for
Doctoral Studies
Michael Lockhart, Director of International
Student Services
Vict0ria Manley, Director of Major Gifts
David L. McDonagh, Registrar
Lynne Normandia, Manager of Chamber
Music and Ensembles
Marjean Olson, Assistant Dean of Academic
Affairs
Stephen OBrien, Director of Information
Technology/Website Technical Manager
Gordon 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 Department
Mark Delpriora, Co-Chair, Guitar
Department
Justin DiCioccio, Associate Dean and Chair,
Jazz Arts Program
Glenn Dicterow, Chair, Graduate Program
in Orchestral Performance
Heidi Stubner, Assistant Dean of
Performance Operations and the Graduate
Program in Orchestral Performance
John Forconi, Chair, Accompanying
Department
Reiko Fueting, Chair, Theory Department
Mark Gould, Chair, Brass Department
Deborah Hoffman, Chair, Harp Department
Kathryn LaBouff, Assistant Chair,
Voice Department
Jeffrey Langford, Assistant Dean for
Doctoral Studies and Chair, Music History
Department
David Leisner, Co-Chair, Guitar Department
Nicholas Mann, Chair, Strings Department
Jeffrey Milarsky, Artistic Director,
Contemporary Performance Program
John Pagano, Chair, Humanities Department
Duncan Patton, Co-Chair, Percussion
Department
Maitland Peters, Chair, Voice Department
McNeil Robinson, Chair, Organ Department
Marc Silverman, Chair, Piano Department
Mark Stambaugh, Acting Chair, Composition
Department
Dona D. Vaughn, Artistic Director of
Opera Programs

Conductors
Justin DiCioccio, Conductor,
Jazz Philharmonic Orchestra
David Gilbert, Conductor in Residence
George Manahan, Director of Orchestral
Activities
Kent Tritle, Director of Choral Activities
19

SAVE ThE DATE

sUNDAY, APRiL 13, 2014 At 2 Pm

MSM Symphony
at Carnegie Hall
Carnegie Hall by Jeff Goldberg/Esto; Slatkin by Steve J. Sherman.

Leonard slatkin, Conductor

Glenn Dicterow, Violin
Leonard
Slatkin

SIERRA Fandangos
BERNSTEIN Serenade after Platos Symposium
MUSSORGSKY Pictures at an Exhibition
stern Auditorium / Perelman stage at carnegie Hall
57th street & 7th Avenue

Glenn
Dicterow

$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

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