Purchase Symphony Orchestra - Concert Program II

Concertino for Trombone and Orchestra in E-flat Major, Op. 4

by Ferdinand David

Christopher Wygonik, Trombone Soloist

1. Allegro moderato
2. Andante marcia funebre
3. Allegro maestoso

Intermission

Symphony No. 1 in D Major, “Titan”

by Gustav Mahler

1. Langsam, Schleppend (Slowly, dragging) – Immer sehr gemächlich (Very restrained throughout)
2. Kräftig bewegt, doch nicht zu schnell (With powerful movement, but not too fast)
3. Feierlich und gemessen, ohne zu schleppen (Solemn and measured, without dragging)
4. Stürmisch bewegt (Stormily agitated)

Westchester Chamber Soloists

Westchester Chamber Soloists is Westchester County’s premier chamber orchestra and chamber ensemble network, comprised of seasoned professional and advanced avocational musicians dedicated to performing the Concerto literature for piano and for all other solo symphonic instruments, as well as diverse and exciting selections from the chamber music (for all instrumental combinations) and symphonic repertoire.   Purchase Symphony Orchestra is very grateful to be able to collaborate with the WCS to produce this concert.

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

(WCS) Denotes Westchester Chamber Soloist

Violin

• Christina Shari**
• Lori Horowitz (WCS)
• David Lane (WCS)
• Everett Borman*
• Mekhi Noble
• Clare Detko (WCS)
• Karen Chow (WCS)
• Nadim Selesnick
• John Voulgaris (WCS)
• Raphael Hendrick-Baker (Sarah Lawrence College/ SLC)
• Sarah-Anne Fried*
• Jade Hattori-Hamilton
• Dana Villarreal (WCS)
• Nicholas Trevits**
• Joshua Daniels (WCS)
• Daniel Karpf
• Bob Plotkin (WCS)
• Jada Miller

Viola

• Emma Musial*
• Monica Gerard (WCS)
• Anne-Marie Mott (WCS)
• Jeffrey Chasnow (WCS)
• Silo Onikura
• Amy Selig

Cello

• Hannah Walker*
• Frida Rahmani
• Sachi Patitucci (WCS)
• Aidan Saltini*
• Claire Stancarone
• Jackie Bergson (WCS)
• Scarlette Hashimoto
• Lisa Olsson (WCS)
• Allison Smith
• Laura Mead

Bass

• Christopher Wygonik*
• Alexander Kapopoulos*
• Colin Waldron
• Fabien DuChateau
• Kevin Wulf

Piccolo

• Eni Karahoda*
• Julius Lagoa-Iacono
• Paul-Lucien Kulka (WCS)
• Taylor Daniels
• Bella Bausano

Flute

• Eni Karahoda*
• Julius Lagoa-Iacono
• Paul-Lucien Kulka (WCS)
• Taylor Daniels
• Bella Bausano
• Gabriel Rosado-Bauza*
• Honoko Saeki

Oboe

• Angelina D’Souza*
• Justin Stewart (WCS)
• Hank McPhillips*
• Joseph Sdao

English Horn

• Hank McPhillips

Clarinet

• Alba Morales-Millan*
• Alan Schaffer (WCS)
• Zexuan Liu
• Akari Yamamoto

Bass Clarinet

• Jasper Biski
• Gordon Connor

Bassoon

• DeAnna Santiago*
• Rosemary Dellinger (WCS)
• Maria Palacios-Sandoval*
• Jonathan Stark (WCS)

ContraBassoon

• Jonathan Stark (WCS)

Horn

• Luis Montesdeoca*
• Tressa Cortright
• Benjamin Hommowun
• Marc Wager (WCS)
• Susan Davidson (WCS)
• Daniel Infranco (WCS)
• Peter Huitzacua (WCS)

Trumpet

• Stefan Dinkel*
• Joe Sabia
• Robert Patrick
• Russ Ebersole (WCS)
• William Schaeffer (WCS)

Trombone

• Justin Schoeneck*
• Cara Rozas

Bass Trombone

• Anthony Santiago
• Timothy Warner

Tuba

• Lucia Vysohlid
• Timothy Warner

Timpani

• Diego Zavaleta*
• Daniel Knipscher
• Nicholas Esposito*

Percussion

• Christopher Atkins
• John Porcelli
• Mani Jones

Harp

• Liann Cline (WCS)

Orchestra Personnel

• Drew Sennett, PSO Manager
• DeAnna Santiago, PSO Librarian

Concertino for Trombone and Orchestra in E-flat Major, Op. 4

by Ferdinand David

Ferdinand David, born in 1810, was a celebrated German violinist and composer whose career intertwined with some of the most significant musical figures of the Romantic era. David’s early training under composer Louis Spohr and violinist Moritz Hauptmann quickly led him to success as the first violinist of the Königstädter Theater in Berlin. Known for his technical prowess and expressive playing, David went on to join the Gewandhaus Orchestra in Leipzig as concertmaster, a position he held alongside his close friend and colleague Felix Mendelssohn. Their collaboration was profound, with David contributing to the completion of Mendelssohn’s Violin Concerto in E minor, a staple of the violin repertoire to this day.

In 1837, David composed his Concertino for Trombone and Orchestra in E-flat major, Op. 4, a piece dedicated to his friend and trombonist Karl Traugott Queisser. Originally, Queisser had approached Mendelssohn to write a trombone concerto; however, Mendelssohn’s busy schedule made it unfeasible. David, recognizing the potential of the instrument and Queisser’s artistry, composed this Concertino, which premiered under Mendelssohn’s baton and was met with wide acclaim. The piece brought the trombone into the Romantic solo repertoire, highlighting its expressive and technical capacities beyond its traditional orchestral role.

The Concertino consists of three contrasting sections: an opening Allegro moderato, marked by lively exchanges between the trombone and orchestra; a central Andante marcia funebre with a more solemn, lyrical quality; and a spirited Allegro maestoso finale that showcases the trombone’s brilliance and range. The work requires both agility and lyrical sensitivity from the soloist, pushing the trombone’s expressive boundaries and emphasizing its versatility.

Tonight’s performance, featuring PSO’s own Christopher Wygonik as soloist, brings this landmark work to life, celebrating the unique voice of the trombone in a piece that is both technically challenging and emotionally resonant. Sit back and enjoy the Concertino, a true Romantic-era gem that continues to showcase the trombone’s full potential.

Symphony No. 1 in D Major,  “Titan”

by Gustav Mahler

Mahler’s Symphony No. 1 in D major was composed between late 1887 and March 1888 while he was serving as the second conductor at the Leipzig Opera in Germany. This period marked a turning point in Mahler’s career, not only for the development of his unique symphonic style but also as the foundation of his lifelong pursuit of blending music with the philosophical and emotional narratives he held deeply. Mahler initially conceived the work as a “symphonic poem in two parts” and drew from music he had written earlier, notably incorporating material from his Lieder eines fahrenden Gesellen (Songs of a Wayfarer).

Although the symphony is now widely known as the “Titan,” this nickname was only used briefly for early performances and was later dropped by Mahler. The title refers to the novel Titan by Jean Paul (1763-1825), a German Romantic writer whose work influenced Mahler’s sense of cosmic scale and existential exploration.

Structurally, Symphony No. 1 is composed of four movements:

1. Langsam, Schleppend (Slowly, dragging) – Immer sehr gemächlich (Very restrained throughout)  The first movement opens with a quiet, mystical atmosphere, evoking the natural world at dawn. Mahler employs a “sound of nature” motif, blending bird calls and distant fanfares to create an expansive pastoral scene. This movement follows a modified sonata form, gradually building from the stillness to a joyful main theme derived from Songs of a Wayfarer, capturing both the beauty and complexity of life.

2. Kräftig bewegt, doch nicht zu schnell (With powerful movement, but not too fast)   The second movement is a lively scherzo in the style of a Ländler, an Austrian folk dance that predates the waltz. This section brims with rustic energy, contrasting with a gentler trio section that provides a brief respite. The earthy rhythms and dance-like character reflect Mahler’s fascination with rural folk culture, often seen in his works as symbolic of simplicity and innocence.

3. Feierlich und gemessen, ohne zu schleppen (Solemn and measured, without dragging)    The third movement is a funeral march, famously beginning with a minor-key rendition of the children’s song Frère Jacques. This macabre, ironic transformation gives the melody a haunting quality, underscoring Mahler’s theme of tragedy within the human experience. The movement incorporates klezmer-like music and a sentimental tune that juxtaposes humor with solemnity, conveying Mahler’s characteristic blending of the grotesque and the poignant.

4. Stürmisch bewegt (Stormily agitated)    The symphony culminates in a dramatic, stormy finale that swings between despair and triumph. The music progresses through intense emotional struggles, ultimately reaching a climactic resolution with blazing brass fanfares and soaring strings. Mahler’s finale serves as an expansive journey towards transcendence, reflecting his deeply personal exploration of joy and suffering, life and death.

Interestingly, Symphony No. 1 originally included a fifth movement titled Blumine, a delicate and lyrical piece. However, Mahler removed Blumine for the symphony’s final publication in 1899, choosing to focus the work’s trajectory on a tighter, four-movement structure. Despite this, some modern performances and recordings reincorporate Blumine, offering audiences a glimpse of Mahler’s early ideas for the symphony.

The premiere of Symphony No. 1 in its final form took place in 1899, but Mahler himself conducted the United States premiere a decade later with the New York Philharmonic Orchestra in December 1909. This work, combining pastoral themes, folk influences, and existential questioning, has since become a cornerstone of the symphonic repertoire, embodying Mahler’s revolutionary approach to the symphony as a vast, expressive journey through the complexities of the human soul.

Mina Kim A portrait of Mina Kim, Director of the Purchase Symphony Orchestra

Orchestra Director 

Mina Kim is the Artistic Director of the Purchase Symphony Orchestra (PSO) and the Woodstock Symphony Orchestra (WSO). Known for her emotionally resonant interpretations and innovative programming, she has directed the PSO in a range of dynamic performances, aiming to inspire students and audiences alike through carefully curated musical experiences. Now in her second season with WSO, Ms. Kim also brings a strong commitment to community engagement, fostering connections between the orchestra and the local community through accessible and inspiring programs.

Beyond her work with WSO, Ms. Kim has guest-conducted notable ensembles across the U.S. This season, she will lead the Mannes Orchestra in a program featuring Adolphus Hailstork’s Ndemara and Jean Sibelius’s Skogsrået. Additionally, she is spearheading a collaboration between PSO and the Westchester Chamber Soloists for Mahler’s Symphony No. 1 on November 15, 2024.

Ms. Kim’s repertoire is both broad and versatile, spanning symphonic, operatic, and contemporary works. She has collaborated with renowned artists, including Joshua Bell—who invited her to rehearse Thomas de Hartmann’s Violin Concerto No. 66—as well as Daniel Phillips and GRAMMY-nominated Black Violin. Her performances have been featured at prestigious venues such as Carnegie Hall and the Kennedy Center, along with major festivals in the U.S. and Europe.

A passionate educator, Ms. Kim has been on the faculty at Purchase College’s Conservatory of Music since 2006, where she currently serves as Chair of Classical Studies. She holds degrees in Piano Performance, Vocal Collaborative Piano, and Orchestral Conducting from Busan National University, Purchase College, and Mannes School of Music. While at Mannes, she was Assistant Conductor of the Mannes American Contemporary Ensemble (MACE) and Chorus Master for the 2018 Mannes Opera production of Stravinsky’s The Rake’s Progress.

Ms. Kim is dedicated to nurturing the next generation of musicians, serving as both an inspiring leader on the podium and a mentor to aspiring artists.

Christopher Wygonik Christopher Wygonik

Trombone

Christopher Wygonik is currently a senior at Purchase College’s Conservatory of Music. He is pursuing a dual major in Tenor Trombone and Double Bass performance, in which his primary teachers are Jack Schatz and Timothy Cobb.

Along with being one of the winners of the 2024 Concerto Competition, he also won the 2024 Molnar-Harris Chamber competition on the double bass, and previously performed as a soloist playing Mozart’s Per Questa Bella Mano with the Purchase Symphony Orchestra last season.

Christopher is very excited to get the chance to play with the orchestra again and is looking forward to pursuing a professional career after he graduates in the spring!

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.