Purchase Symphony Orchestra - Concert Program I

Petite Suite

by Claude Debussy (1862-1918)

1. En bateau (Sailing): Andantino
2. Cortège (Retinue): Moderato
3. Menuet: Moderato
4. Ballet: Allegro giusto

Aria: Per Questa Bella Mano, K.612

by Wolfgang Amadeus Mozart (1756-1791)

• Robert Frazier, Baritone (2023 Concerto Competition Winner)
• Christopher Wygonik, Double Bass

Carnival Overture, Op.92

by Antonín Dvořák (1841-1904)

-  Intermission  -

Symphony No.8 in G major, Op.88

by Antonín Dvořák (1841-1904)

1. Allegro con brio
2. Adagio
3. Allegretto grazioso — Molto vivace
4. Allegro ma non troppo

The Purchase Symphony Orchestra:

** Denotes Concert Master

* Denotes Principal Players

Violin

• Sarah-Anne Fried**
• Everett Borman**
• Mekhi Noble**
• David Rubertone
• Daniel Karpf
• Jade Hattori-Hamilton
• Christina Shari
• Nicholas Trevits
• Elsie Baldwin
• Claire O’Connell
• Jada Miller
• Inna Langerman
• SunYoung Hwang

Viola

• Emma Musial*
• Everett Borman
• Concetta Abbate

Cello

• Hannah Walker*
• Frida Rahmani
• Allison Smith
• Scarlette Hashimoto

Bass

• Christopher Wygonik*
• Antonio Suarez
• Jack Corcoran
• Fabien duChateau

Piccolo

• Kian Tortorello-Allen
• Jessican Ringston

Flute

• Eni Karahoda*
• Jessica Ringston*
• Taylor Daniels*
• Kian Tortorello-Allen*
• Gabriel Rosado-Bauza
• Honoko Saeki

Oboe

• Angelina D’Souza*
• Yolanda Donald
• Hank McPhillips*

English Horn

• Yolanda Donald

Clarinet

• Alba Morales-Millan*
• Isaac Wood

Bassoon

• DeAnna Santiago*
• Yuki Higashi

Horn

• Tressa Cortright*
• Nicholas Nerone*
• Adam Schommer
• Steve Sherts

Trumpet

• Stefan Dinkel*

• Nicholas Vest*

Trombone

• Justin Schoeneck*
• Cara Rozas*
• Constantin Farinaccio
• Samuel Brown

Tuba

• Matthew Styrna

Timpani

• Diego Zavaleta
• Daniel Knipscher

Percussion

• Diego Zavaleta
• Daniel Knipscher
• John Porcelli
• Christian McCarthy
• Chris Atkins
• Nicholas Esposito
• Mani Jones

Harp

• André Tarantiles

Orchestra Personnel

• Henry Fernandez, PSO Manager
• Eni Karahoda, PSO Librarian

About the Purchase Symphony Orchestra

The Purchase Symphony Orchestra is composed of the dedicated and talented students of the Conservatory of Music. Students rehearse six hours a week as a large group and spend additional time in studio classes and sectionals. The Orchestra is proud to present the works of classical composers from the Age of Enlightenment to the present day.

Petite Suite

by Claude Debussy (1862-1918)

Claude Debussy, though he himself rejected the label, is frequently recognized as a French Impressionist composer. Born in 1862, Debussy spent his early years on the outskirts of Paris, growing up alongside his four younger siblings. His musical journey began with piano lessons at the age of seven, and by ten, he had earned a place at the prestigious Conservatoire de Paris, specializing in piano.
Despite his evident potential and acknowledgment from his professors, Debussy’s somewhat indifferent attitude at this phase of his life resulted in his ineligibility to continue focusing on piano at the conservatory. This led him to shift his focus to composition.

“Petite Suite” is a charming composition encompassing four movements, originally scored for piano four hands. Conceived in 1886, the suite made its inaugural appearance in 1889 at a salon. Over the years, it has been transcribed and arranged for a plethora of instruments and ensembles, including orchestra, with the movements listed as:

1. 1. En bateau (Sailing): Andantino
   2. Cortège (Retinue): Moderato
   3. Menuet: Moderato
   4. Ballet: Allegro giusto

Though equally enchanting, the composition style of “Petite Suite” diverges considerably from the majority of Debussy’s oeuvre. This deviation was possibly intentional, potentially at the behest of Jacques Durand, to render the piece more approachable to adept amateurs. The suite’s captivating simplicity and elegance highlight Debussy’s versatility and his ability to weave different musical textures, ensuring its enduring appeal to audiences and musicians alike.

Aria: Per Questa Bella Mano, K.612

by Wolfgang Amadeus Mozart (1756-1791)

“Per questa bella mano” is a concert aria by Mozart, is set in D major and is scored for a solo bass accompanied by an obbligato double bass. Composed in Vienna in 1791, this piece is renowned for the challenges it poses to the double bass player, particularly due to the alterations in bass tuning since Mozart’s time.

The arrangement features one flute, two oboes, two bassoons, two horns in D, a solo double bass, a bass singer, and strings. It is theorized that this piece may have been intended as an interlude for an opera buffa, a genre characterized by its comedic elements. The composition is segmented into two parts: an andante in 6/8 time, followed by an allegro in common time. The aria’s lyrical content in Italian articulates a proclamation of love, resonating with expressive profundity.

Listening to “Per questa bella mano,” one can distinctly identify Mozart’s compositional style marked by pronounced cadential structures and rhythmic precision. The harmonious integration of these elements with the Italian legato articulation renders this piece a quintessential embodiment of Mozart’s musical articulation, allowing listeners to delve into the emotional depth and structural brilliance characteristic of his works.

Carnival Overture, Op.92

by Antonín Dvořák (1841-1904)

Antonín Dvořák (1841-1904), a composer steeped in the Romantic tradition, drew considerable inspiration from folk music’s essence. Despite an early life marked by grief - losing his first three children, and resource constraints - Dvořák’s career flourished in the 1880s with increased recognition and numerous honors. It was during this period that he composed his trilogy of Overtures, “Nature, Life and Love” (Op. 91, 92, 93), depicting human experiences. The second, initially titled Life, was later renamed, “Carnival.”

The Carnival Overture, Op. 92 (1891), is a vibrant orchestral piece spanning approximately ten minutes, embodying the dynamic essence of life. It serves as a musical reflection of life’s vitality and myriad experiences, interspersed with both joyful and poignant moments. Dvořák skillfully intertwines elements of light and shadow, creating a journey from celebratory vibrancy to profound melancholy.

The overture is structured into three primary sections, each distinguished by harmonic variations and tempo modifications. The first is marked by a rapid tempo and jubilant energy, creating a celebratory aura. The subsequent section, with its shift to a softer 3/8 time signature, unfolds more legato, allowing for exploration of romantic sonorities, unencumbered by brass or percussion. The finale revisits themes from the initial section, culminating in a climactic closure that brings the piece full circle.

Symphony No.8 in G major, Op.88

by Antonín Dvořák (1841-1904)

Antonín Dvořák was a composer steeped in the Romantic tradition, who drew considerable inspiration from folk music’s essence. Despite an early life marked by grief - losing his first three children, and resource constraints - Dvořák’s career flourished in the 1880s with increased recognition and numerous honors. It was during this period that he composed his trilogy of Overtures, “Nature, Life and Love” (Op. 91, 92, 93), depicting human experiences. The second, initially titled Life, was later renamed, “Carnival.”

The Carnival Overture, Op. 92 (1891), is a vibrant orchestral piece spanning approximately ten minutes, embodying the dynamic essence of life. It serves as a musical reflection of life’s vitality and myriad experiences, interspersed with both joyful and poignant moments. Dvořák skillfully intertwines elements of light and shadow, creating a journey from celebratory vibrancy to profound melancholy.

The overture is structured into three primary sections, each distinguished by harmonic variations and tempo modifications. The first is marked by a rapid tempo and jubilant energy, creating a celebratory aura. The subsequent section, with its shift to a softer 3/8 time signature, unfolds more legato, allowing for exploration of romantic sonorities, unencumbered by brass or percussion. The finale revisits themes from the initial section, culminating in a climactic closure that brings the piece full circle.

Dvořák’s Carnival Overture encapsulates the diverse facets of life in a harmonious blend of celebration and contemplation, portraying the multifaceted nature of human existence in a concise musical narrative.

Mina Kim Mina Kim, Director of the Purchase Symphony Orchestra

Orchestra Director. 

Mina Kim, celebrated Director of the Purchase Symphony Orchestra (PSO), radiates a magnetic energy, hailed as a “spirited conductor” by Brooklyn Discovery. New accolades decorate her already notable journey, with Ms. Kim recently being appointed the Music Director of the Woodstock Symphony Orchestra for the 2023-2024 season. As a distinguished guest conductor, her baton has found resonance across a spectrum of ensembles including Westchester Chamber Soloists, Chappaqua Symphony Orchestra, and the WSCMA Area All-State Symphony Orchestra.

The upcoming 2023-2024 season promises a dynamic repertoire under her guidance, encompassing symphonic, operatic, and contemporary masterpieces. A key highlight will be the fusion of the Purchase Soul Voices with the PSO in a moving celebration of Black History Month. Furthermore, in an innovative cross-genre endeavor, she and the PSO will synergize with the School of Film and Media Studies at Purchase College to sculpt a novel exhibition, adorned with the ethereal compositions of Philip Glass. Her career pinnacle moments comprise collaborations with virtuosos like Joshua Bell on Thomas de Hartmann’s Violin Concerto and the GRAMMY-nominated artist, Black Violin.

Beyond the conductor’s podium, Ms. Kim is an active concert pianist, vocal coach, and chamber musician. Her keyboard has echoed in concert halls worldwide, from the Kennedy Center to Carnegie Hall’s Weill Recital Hall. Renowned music festivals like the Vienna Music Seminar in Austria and Kneisel Hall Chamber Music Festival in Maine have been graced by her artistry, as have international opera programs in Italy and France.

Rooted in a solid academic foundation, Ms. Kim possesses a B.M, M.M., and Artist Diploma in Piano Performance from Busan National University and Purchase College. She has also been conferred with the Professional Studies Diploma in Vocal Collaborative Piano from the Mannes School of Music, where she shone as the recipient of the Newton Swift Award. Her academic sojourn at Mannes deepened with orchestral conducting studies supported by the President’s Scholarship Award. During her tenure there, she served as Assistant Conductor of the Mannes American Contemporary Ensemble (MACE) and Chorus Master of The Mannes Opera.

Since 2006, the Conservatory of Music at SUNY Purchase College has been home. Currently at the helm as Chair of Classical Instrumental Studies, she continues to illuminate young minds, acting not just as a professor, but a cherished mentor, guiding students through the mosaic world of music.

Robert Frazier Robert Frazier, Bass Baritone

Bass-Baritone.  Robert is currently pursuing his Masters degree at Curtis Institute where he studies with Mark Schnaible. Some of Robert’s recent operatic engagements include the title role in Le Nozze di Figaro, Guglielmo in Cosí fan tutte, both Sarastro and Specher in Die Zauberflöte, Colline in La boheme, and Gremin in Eugene Onegin. He has performed numerous recitals throughout the capital region with pianist Mark Evans. Robert has had the honor of premiering both Quarry Songs by Brett L. Wery and the role of Rory in Troubleshooting, a new micro opera, by John Carroll. His solo concert experience includes Brahms’ Liebeslieder, Fauré’s Requiem, Mozart’s Requiem, and Händel’s Messiah. This spring he will be singing le Directeur in Curtis Institute’s production of Les Mamelles de Tiréias as well as the roles of Parson, Harašta, Badger in The Cunning Little Vixen.

Christopher Wygonik

Double Bass.  Christopher is currently a third year student pursuing a dual major at the Purchase Music Conservatory. Christopher studies the double bass under the tutelage of Timothy Cobb as well as studying the tenor trombone under Jack Schatz.

He hopes to pursue a musical career after Purchase and to one day play in a professional orchestra.

The Conservatory of Music

Play a part in this extraordinary musical community!

For the serious, developing musician, the Conservatory of Music in the School of the Arts at Purchase College offers a distinctive educational experience — an intensive education within the context of a lively supportive community.

Create, integrate, grow, explore, transform

Your artistry will thrive here among other remarkable musicians, all preparing for professional careers while focused on excellence.

Work closely with world-class musicians and educators

Our proximity to New York City makes it possible for you to study with many of the most respected names in music today—and to benefit from their extensive professional experience as performers, composers, and producers. Through private lessons and small-group study, our faculty will guide and mentor you in your career choice. And because the Conservatory of Music limits its enrollment to only 400 students, including undergraduate and graduate candidates, you will receive personal attention and opportunities to perform and hear your music right from the start.

Classical, Jazz, Music and Technology

No matter what program you pursue in the Conservatory of Music, you will be encouraged to play music that spans all genres and to perform in ensembles of all sizes and styles. Let us prepare you to meet the challenges of the music world in the 21st century.