From Renaissance Inspirations to Russian Brilliance
Ancient Dances and Airs for Lute, Suite No.1 (1917)
Ottorino Respighi (1879-1936)
Simone Molianaro: Balletto detto “Il Conte Orlando” (1599)
Vincenzo Galilei: Gagliarda (1550s)
Ignoto: Villanella (fine del sec. XVI)
Ignoto: Passo mezzo e Mascherada (fine del sec. XVI)
Brandenburg Concerto No.5 in D Major, BWV 1050 (1721)
Johann Sebastian Bach (1685-1750)
Allegro
Affettuoso
Allegro
Soloists:
Paul Ostrovsky, Piano
Inna Langerman, Violin
Nicole Peters, Flute
Intermission
Scheherazade, Symphonic Suite, op.35 (1888)
Nikolay Rimsky-Korsakov (1844-1908)
The Sea and Sinbad’s Ships
The Story of the Kalendar Prince
The Young Prince and the Young Princess
Festival at Baghdad – The Sea – The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior - Conclusion
Performers
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.
**Denotes Concertmaster
*Denotes Principal Players
Violin
Sarah-Anne Fried**
David Rubertone
Everett Borman*
Daniel Karpf
Christina Shari**
Mekhi Noble*
Jade Hattori-Hamilton**
Nicholas Trevits
Elsie Baldwin
Claire O’Connell
Jada Miller
Nadal Fadli
Inna Langerman
Sun Young Hwang
Viola
Emma Musial*
Everett Borman
Amy Selig
Concetta Abbate
Cello
Hanna Walker*
Frida Rahmani*
Scarlette Hashimoto
Allison Smith
Bass
Christopher Wygonik*
Jack Corcoran
Aidan Phipps
Piccolo
Taylor Daniels
Flute
Eni Karahoda*
Jessica Ringston*
Gabriel Rosado-Bauza*
Honoko Saeki
Oboe
Angelina D’Souza*
Yolanda Donald*
Hank McPhillips*
English Horn
Yolanda Donald
Clarinet
Alba Morales-Millan*
Issac Wood
Bassoon
DeAnna Santiago*
Yuki Higashi
Horn
Tressa Cortright*
Nicholas Nerone
Adam Schommer
William de Vos
Trumpet
Nicholas Vest*
Stefan Dinkel*
Trombone
Justin Schoeneck
Samuel Brown*
Cara Rozas
Constantin Farinaccio
Bass Trombone
Philip Fletcher
Tuba
Matthew Styrna
Timpani
Daniel Knipscher
Percussion
Diego Zavaleta*
Christian McCarthy
Christopher Atkins
Nicholas Esposito
Mani Jones
Harp
Karen Stern
Piano/Organ
Naseer Ashraf
Orchestra Personnel
Henry Fernandez, PSO Manager
Eni Karahoda, PSO Librarian
Program Notes
Ancient Dances and Airs for Lute, Suite No.1 (1917)
Ottorino Respighi (1879-1936)
Ottorino Respighi, an eminent composer of the early 20th century, was renowned for his orchestral compositions as well as his scholarly work in musicology. Born in Bologna, he studied at the Liceo Musicale and his subsequent studies in Germany and Russia under Rimsky-Korsakov were pivotal in the development of his distinctive compositional voice.
With “Ancient Airs and Dances,” Respighi pays tribute to the delicate textures of Renaissance lute compositions, transforming them into rich orchestral suites. The first suite is a particularly striking example of his dedication to reinvigorating the music of bygone days for the audiences of his time. It interweaves melodies crafted by Renaissance luminaries such as Simone Molinaro and Vincenzo Galilei, father of the noted astronomer, with pieces by composers whose fame has not endured.
Each movement is a celebration of the Renaissance’s choreographic heritage. “Balletto detto” encapsulates the elegance of a noble dance, while the “Gagliarda” brings the spirited rhythms of a popular dance form to life. In contrast, the “Villanella” emerges as a soulful interlude, its plaintive oboe lines and the nuanced conversation between the strings drawing the listener into a serene contemplation. Finally, the “Passo mezzo e mascherada” rekindles the exuberance and festivity of the era’s dance traditions.
Brandenburg Concerto No.5 in D Major, BWV 1050 (1721)
Johann Sebastian Bach (1685-1750)
German composer Johann Sebastian Bach is one of the most famous composers of European-tradition music. He is most famously known for his mechanical-like knowledge of voice leading and harmonic progression, becoming the standard for modern day music theory. His most widely known works include, of course, the Brandenburg Concertos as well as Toccata and Fugue in D minor. With the end of his life marked the end of the Baroque Period, classifying him as a Baroque composer.
Movement I
Starting the Concerto with D Major, Bach introduces us to a textural peaceful world. Throughout the movement, we have the principal violinist and the solo flutist stating and completing each other’s melodic lines, using polyphonic texture between the two during their duet. It is evident from the start of the Concerto based only off the first movement alone that the two soloists will have a relationship of call-and-response, where they hardly ever play the same line or rhythmic pattern at the same time, but rather one of the two will start a phrase and the other will come in a few beats later. However, when they do land together, it rarity of it adds to the sweetness of the phrase.
Movement II
Bach moves into a more somber mood with the second movement, deciding to have the violinist and flutist be accompanied by only the harpsichord, cutting the entirety of the supporting string ensemble. This decision adds to the thinness of the piece, making it feel more brittle as he plays with B harmonic minor. The flutist and violinist in this movement still follow the call-and-response technique, however, they also utilize more homophonic texture, harmonizing to create a stunning harmonic progression throughout the piece.
Movement III
To end off the Concerto, Bach brings us back with a more dance-like tune, using polyrhythmic gestures such as triplets over dotted eighths and sixteenth notes. This rhythmic difference makes this movement stand out among the rest, as the principal violinist and flutist seem to duel with their opposing lines that fit together so well as the string ensemble’s and harpsichordist’s accompaniment dances beneath the two.
Scheherazade, Symphonic Suite, op.35 (1888)
Nikolay Rimsky-Korsakov (1844-1908)
The “Mighty Five” was a collective of pioneering Russian composers with Rimsky-Korsakov as its youngest member. They sought to redefine music education, distancing themselves from the Germanic focus on compositional techniques like fugue and counterpoint. Instead, they valued the inherent musical expression found in the songs of the peasantry over the rigid frameworks taught in conservatories. Rimsky-Korsakov’s career trajectory is particularly noteworthy; while never abandoning his interest in folk themes, he became a pivotal music educator, leading the composition department at the St. Petersburg Conservatory from 1871 to 1905. Among his distinguished students were Stravinsky, Prokofiev, Glazunov and Respighi and his own compositions demonstrate a sophisticated command of musical artisanship, notably in orchestration and thematic innovation.
“Scheherazade” is a lavish orchestral work that exemplifies Rimsky-Korsakov’s intricate structural design, melodious depth, and colorful orchestration. It also reflects the period’s Orientalist curiosity of “The Arabian Nights.” These stories had been integrated into European consciousness since the 18th century and enjoyed renewed popularity in Rimsky-Korsakov’s era, influencing an array of creative works and intriguing the minds of writers like Tolstoy and Pushkin.
The suite’s four movements are not bound by traditional symphonic structure but instead flow with a versatility that allows thematic elements to reappear with varying tempos and moods, echoing the narrative ebb and flow of storytelling. The solo violin represents Scheherazade, its motifs serving as narrative interludes. Nautical images reminiscent of Sinbad’s seafaring adventures pay homage to Rimsky-Korsakov’s own naval service. The Sultan’s unwavering intent is symbolized by a robust unison motif, with a pronounced trombone presence.
The opening movement features a calming oscillating theme, highlighting Rimsky-Korsakov’s proficiency in key transitions. A playful bassoon line, buttressed by four double basses, characterizes the second movement before more dramatic elements emerge. The third movement radiates a calm repose, while the final movement recapitulates the musical themes, creating an energetic tapestry that mirrors a dervish’s fervent dance. Ultimately, the music resolves into tranquility, symbolizing the Sultana’s earned safety and the Sultan’s enduring respect.
“Scheherazade” was never conceived as a ballet by Rimsky-Korsakov. However, its balletic potential was realized when Vaslav Nijinsky and Serge Diaghilev’s Ballets Russes posthumously introduced it on the stage of the Paris Opera in 1910, thus expanding the composition’s artistic influence beyond
Performer Profiles
Mina Kim
Orchestra Director
The 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.
Paul Ostrovsky
Piano
Paul Ostrovsky is a Professor Emeritus of Music, and the founding member of the Moscow Conservatory Trio. He was born in Moscow and earned his master’s degree at the Moscow Conservatory, where he studied with the pre-eminent Yakov Flier and Emil Gilels.
Highly regarded as a chamber music performer and soloist, Ostrovsky was hailed by the The New York Times as “a bedrock of cultivation and control.” He has appeared on the world’s most prestigious concert stages, including Carnegie Hall, the Concertgebouw (Amsterdam), Queen Elizabeth Hall (London), La Scala (Milan), Bunka Kaikan and Santori Hall (Tokyo), and the Sydney Opera House. He also performed at many great international festivals: Mostly Mozart, Tanglewood, Ravinia, Schleswig-Holstein (Hamburg), Salzburg Festival, Louvre Festival (Paris), St. Moritz Festival, to name a few.
He has collaborated with several famous artists, namely Isaac Stern, Shlomo Mintz, James Galway, and Vladimir Feltsman. After a performance with Isaac Stern, the Los Angeles Times called him a “fiery keyboard partner” and went on to comment “His keyboard skill is of virtuosic ease and scope, he has an instant command and extensive range of tone color, and each phrase is shaped with irresistible rhythmic vitality.” In chamber music, he performed with members of the Tokyo String Quartet, Shanghai String Quartet, Australian Quartet, and St. Petersburg Quartet. He soloed with the Chicago Sinfonietta, Richmond Symphony, and New Jersey Symphony.
Ostrovsky has a long and distinguished teaching career. In addition to his present position at SUNY Purchase, he has been teaching at the Piano Summer Festival at SUNY New Paltz for many years and gives master classes throughout the world. Some of the institutions he taught at are Moscow Conservatory (pre-college division), Catholic University of America (D.C.), and Aspen Music Festival.
The pianist has recorded for Melodiya, and Vox. In addition, his recording for Deutsche Grammophon of the Mendelssohn Sonatas for Violin and Piano (with Shlomo Mintz) won the Grammophon award for chamber music in 1988. His Moscow Conservatory Trio recordings for CMH were highly acclaimed as well.
Inna Langerman
Violin
Inna Langerman is a versatile Belarusian-American violinist renowned for her contributions as a freelance chamber and orchestral musician in the New York metropolitan area, with a presence across the five boroughs and the tri-state region.
Her musical journey began at home in a musically rich environment at the age of five, which led to a pursuit of the violin at Fiorello H. LaGuardia High School. Inna’s dedication is underscored in her educational achievements, including dual Master’s degrees in Violin Performance and Arts Entrepreneurship from SUNY Purchase College, where she also earned an Artist Diploma. In addition, she holds a Bachelor
of Music degree from Queens College’s Aaron Copland School of Music. Having been guided by distinguished teachers, including Daniel Phillips, Joey Corpus, Cal Wiersma, and Deborah Buck, Inna values lifelong development and continues to learn from notable artists, including Nathan Cole, Richard Amoroso, and the vibrant community on the digital platform Tonebase.
In the realm of orchestral engagements, Inna has performed at eminent venues, including Merkin Hall, Isaac Stern Auditorium and Zankel Hall of Carnegie Hall, David Geffen Hall, Alice Tully Hall, and the Rose Theater of Lincoln Center. Her global reach includes performances at Tokai University in Japan. Inna performs with an eclectic mix of ensembles, such as the National Yiddish Theater Folksbiene, the MostArts Festival Orchestra, New Amsterdam Opera, Binghamton Philharmonic, and
The Chelsea Symphony. Previously, she held pivotal roles as principal second violinist, librarian, and assistant to the conductor with One World Symphony, as well as concertmaster positions with Utopia Opera and the Purchase Symphony & Opera.
As a vibrant pedagogue, Inna currently serves on the faculty for violin and chamber music at Third Street Music School Settlement. Her commitment to music education extends to roles with organizations such as Interschool Orchestras of New York (ISO) and the Harmony Program. Her advocacy for public music education found a platform in 2014 when she appeared as a guest on CUNY TV.
In the digital sphere, Inna leverages technology to connect with a global audience, maintaining a private online studio and producing educational content on YouTube and her website, www.violinna.live. Her dedication to community enrichment through music has been acknowledged through accolades, including the Discimus Ut Serviamus award and the Miranda Arts Project grant.
Nicole Peters
Flute
“Just choose the one that fits in your backpack,” she was told, and thus began Nicole Peters’ flute career at age seven. In these seventeen years, Nicole has been a part of a wide variety of ensembles including various sized orchestras, bands, klezmer groups, and pit orchestras. She has worked as an orchestra member with the College Light Opera Company where she played principal flute for nine different operettas and musicals. Amidst the COVID-19 pandemic, Nicole also participated in numerous virtual music projects with this opera company. She earned her undergraduate degree from the University of Colorado Boulder with Professor Christina Jennings and has recently graduated with her Master’s degree at SUNY Purchase in the studio of Tara O’Connor. She is now pursuing a doctoral degree at Stony Brook University with Ms. Carol Wincenc. She continues to teach students of all ages, constantly expanding her private flute studio. Beyond flute playing, Nicole finds great joy in caring for animals. Her mother runs a wildlife rehabilitation non-profit, Wild by Nurture, with which she has become increasingly involved.
About the Conservatory
The Conservatory of Music
Play a part in this extraordinarymusical 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-classmusicians 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.
