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**
Mekhi Noble
Everett Borman
Nicholas Trevits
Christina Shari
Daniel Karpf
Nadim Selesnick
Jade Hattori-Hamilton
Elsie Baldwin
Inna Langerman
Arianna Behrendt
Curtis Klippel
Lizzie Klippel
Viola
Emma Musial*
Amy Selig
Sharon Gunderson
Andrew Knebel
Jennifer Frantz
Cello
Aidan Saltini*
Hannah Walker
Frida Rahmani
Scarlette Hashimoto
Allison Smith
Laura Mead
Bass
Christopher Wygonik*
Alexander Kapopoulos
Fabien DuChateau
Kevin Wulf
Piccolo
Eni Karahoda
Taylor Daniels
Bella Bausano
Flute
Julius Lagoa-Iacono*
Eni Karahoda*
Honoko Saeki*
Taylor Daniels
Sophie Jung
Stella Kahnis
Denilson Bowen
Bella Bausano
Oboe
Angelina D’Souza*
Hank McPhillips*
Joseph Sdao
Saige Valentino
English Horn
Hank McPhillips
Clarinet
Alba Morales-Millan*
Zexuan Liu
Bass Clarinet
Jasper Biski
Gordon Connor
Bassoon
DeAnna Santiago*
Maria Palacios-Sandoval*
ContraBassoon
Yuki Higashi
Alto Saxophone
Adam Jonkman
Horn
Rusty Robinson*
Luis Montesdeoca
Peter Reit
William de Vos
Trumpet
Stefan Dinkel*
Joe Sabia
Richard Fields
Trombone
Justin Schoeneck*
Leor Arbel
Bass Trombone
Jake Lawless
Justin Schoeneck
Tuba
Lucia Vysohlid
Timpani
Daniel Knipscher*
Percussion
John Porcelli
Christian McCarthy
Mani Jones
Chris Atkins
Nick Esposito
Krista DiMaggio
Oliverio Bosi
Harp
Joy Plaisted
Piano
Naseer Ashraf
Orchestra Personnel
Drew Sennett, PSO Manager
DeAnna Santiago, PSO Librarian
Program Notes
Concertino for Two Horns in E-flat Major, Op. 45
Friedrich Kuhlau (1786–1832) was a Danish composer of German origin, widely recognized for his significant contributions to flute music and his role in introducing Beethoven’s influence to Denmark. However, beyond his reputation as a composer for wind instruments, Kuhlau’s music reflects a deep understanding of classical and early Romantic forms, often characterized by lively thematic material, lyrical expressiveness, and virtuosic demands.
His Concertino for Two Horns in E-flat Major, Op. 45 is a brilliant showcase of the instrument’s capabilities at a time when the horn was undergoing rapid evolution. In the early 19th century, the natural horn remained dominant, requiring performers to manipulate pitch through hand-stopping techniques. The virtuosic writing in this work reflects the composer’s awareness of these challenges while also highlighting the noble and lyrical qualities of the instrument.
The work follows a five-movement structure, a rather unusual format for concertante works of this period:
I. Adagio ma non troppo
The concertino opens with a solemn and stately Adagio ma non troppo, immediately setting an atmosphere of grandeur and anticipation. The two horns present broad, sustained lines in dialogue, supported by a delicate orchestral accompaniment. This movement is reflective, almost operatic in its expressiveness, reminiscent of Beethoven’s slow introductions that lead into bold and energetic themes.
II. Allegro alla Polacca
A striking contrast follows with the Allegro alla Polacca, a movement in the lively and dance-like polonaise rhythm. The characteristic triple meter propels the music forward with a sense of elegance and bravura. The soloists exchange playful yet technically demanding passages, featuring rapid arpeggios, trills, and dynamic leaps that emphasize the horn’s agility. This movement exudes joy and spirited energy, allowing the soloists to showcase their command over the instrument’s high and low registers.
III. Larghetto
The heart of the concertino lies in the Larghetto, a moment of sublime lyricism and expressive depth. Here, Kuhlau crafts a song-like melody, allowing the horns to blend in warm, sustained harmonies. This movement contrasts the extroverted character of the surrounding sections, highlighting the singing quality of the horn, which was often associated with pastoral and melancholic themes. The orchestration remains light, providing a delicate and supportive backdrop for the soloists.
IV. Allegro alla Polacca
Returning to the buoyant polonaise rhythm, Kuhlau’s second Allegro alla Polacca builds on the spirit of the earlier dance movement but with increased complexity and interaction between the soloists. The interplay between the two horns becomes more intricate, featuring cascading sequences and call-and-response figures that create a dazzling dialogue. The energy of this movement is infectious, maintaining a balance between grace and virtuosic display.
V. Allegro assai - Presto
The concertino reaches its thrilling conclusion with the Allegro assai, a fast-paced and exhilarating finale. This movement demands impressive technical control from the horn players, with rapid articulations, bold dynamic contrasts, and sweeping melodic gestures. The rhythmic drive propels the music toward an electrifying finish, leaving audiences with a lasting impression of both the composer’s ingenuity and the horns’ remarkable capabilities.
Kuhlau’s Concertino for Two Horns remains a delightful and rewarding work for performers and listeners alike. It captures the dual nature of the horn—its heroic grandeur and lyrical charm—while offering an engaging blend of Classical elegance and early Romantic expressiveness.
Symphonic Dances, Op. 45
Sergei Rachmaninoff (1873–1943) composed his Symphonic Dances, Op. 45 in 1940, marking his final major work and serving as a reflective summation of his compositional style. Having emigrated from Russia following the Revolution of 1917, Rachmaninoff spent his later years in exile, where he struggled with nostalgia for his homeland and his identity as a composer in an era increasingly dominated by modernist trends.
Originally conceived as a ballet, Symphonic Dances quickly evolved into a concert work that blends rhythmic vitality, lush orchestration, and deep emotional introspection. The piece features echoes of Rachmaninoff’s earlier works, along with references to Russian Orthodox chant and the Dies Irae, the medieval plainchant associated with death and judgment.
Each movement explores a different mood and character, making Symphonic Dances a powerful farewell statement from the composer.
I. Non allegro
The opening movement begins with a bold and rhythmic gesture, immediately establishing an air of mystery and urgency. The strings and woodwinds trade syncopated phrases, creating an unsettled yet driving momentum. One of the most striking features of this movement is the prominent alto saxophone solo, an unusual timbral choice for Rachmaninoff, which introduces a melancholic, almost jazz-inflected melody.
Throughout the movement, the composer juxtaposes brooding harmonies with sweeping lyricism, reflecting both tension and nostalgia. The interplay between sharp rhythmic figures and expansive themes is a hallmark of Rachmaninoff’s late style, evoking a sense of both struggle and triumph.
II. Andante con moto (Tempo di valse)
The second movement is a spectral waltz, a departure from Rachmaninoff’s traditionally grand, Romantic gestures. Instead of a lush, Viennese-style dance, this waltz has an eerie and unsettling quality, reminiscent of a ghostly ballroom scene. The rhythmic hesitations and shifting tonal centers give the movement an elusive, almost hallucinatory effect.
Hints of Ravel’s and Prokofiev’s waltzes can be heard in this movement, yet Rachmaninoff infuses it with his own harmonic language and orchestral color. The waltz theme builds in intensity before dissolving into an ambiguous, whispering conclusion, leaving an air of mystery and unease.
III. Lento assai – Allegro vivace
The final movement is both a dramatic climax and a deeply personal statement. It begins with a solemn, chant-like theme that evokes Russian Orthodox liturgical music. As the movement unfolds, Rachmaninoff introduces the Dies Irae motif, a theme associated with death, which he had quoted in many of his previous works.
However, in this context, the Dies Irae is transformed. Rather than serving as a purely ominous omen, it becomes part of an intense and ultimately triumphant musical journey. Near the end of the movement, Rachmaninoff introduces a contrasting Russian Orthodox chant from his own All-Night Vigil (Vespers), Op. 37, seemingly countering the fatalistic Dies Irae with a moment of spiritual affirmation.
The piece concludes with a sweeping orchestral flourish, marked in the score with the word “Alléluia”, suggesting a sense of transcendence and resolution. This final movement can be seen as a confrontation between fate and faith, ultimately leaning toward an affirmation of life and legacy.
Though Rachmaninoff never heard Symphonic Dances performed in his lifetime, the work has since become one of his most celebrated orchestral compositions, admired for its fusion of rhythmic vitality, orchestral color, and deep emotional expression. It remains a testament to the enduring power of his music.
Performer Profiles
Mina Kim
Orchestra Director.
Hailed as a “spirited conductor” by Brooklyn Discovery, Mina Kim is the Music Director of the Purchase Symphony Orchestra (PSO) at Purchase College, SUNY, where she has been igniting her community’s passion for the arts. She also serves as the Artistic Director of the Woodstock Symphony Orchestra (WSO), leading performances throughout the Hudson Valley region. Recognized for her expressive interpretations and innovative programming, she is dedicated to expanding her orchestras’ artistic reach and strengthening their connection with the community.
A highly versatile musician, Ms. Kim’s work encompasses a broad spectrum of symphonic, operatic, and contemporary repertoire, leading performances with ensembles across the United States. This season, she conducted a landmark collaboration between PSO and the Westchester Chamber Soloists (WCS), presenting Mahler’s Symphony No. 1. She was also invited to conduct the Mannes Orchestra for its Black History Month celebration, featuring Adolphus Hailstork’s Ndemara, as well as their Spring Concert, which includes Scott McAllister’s X Clarinet Concerto, Martinu Prize-winner Alex Glass’s The World Inside, and Jean Sibelius’s Skogsrået.
Her artistry has been recognized by world-renowned musicians, including Joshua Bell, who personally invited her to rehearse and refine Thomas de Hartmann’s Violin Concerto No. 66, and the GRAMMY-nominated Black Violin, whom she conducted in a symphonic performance at the Performing Arts Center.
Peter Reit, Horn
Peter Reit was an original member of the pit orchestra for Phantom of the Opera on Broadway, retiring after 32 years. He also retired from his principal horn duties at the Westchester Philharmonic and Scandia Symphony orchestras where he played over 30 years. He continues to be the principal hornist at the Greenwich Symphony. Peter has performed with many ensembles such as the New York Philharmonic, Orpheus Chamber Ensemble, Orchestra of St. Luke’s, the American Ballet Theater, and the New York City Opera and Ballet Orchestras. He has also toured worldwide with the American Symphony and the Metropolitan Opera Orchestras. He performs in a duo with his wife, harpist Alyssa Reit, and plays regularly with the Greenwich Chamber Players. He is featured on recordings of all musical genres, and has been heard on television, radio, and movie soundtracks. Peter will be retiring from Purchase College at the end of this semester, and is pleased to be turning his position over to his long time colleague and friend, Will DeVos.
Will de Vos, Horn
With over two decades of experience as an accomplished professional musician based in New York City, Australian-born Will de Vos has built a distinguished career across a wide spectrum of musical genres, including classical orchestra, chamber music, musical theater, and recording. Widely regarded as one of the top players in his field, Will is celebrated for his versatility, artistry, and dedication to excellence.
Will is currently engaged with New York City Ballet Orchestra, where his performances contribute to the ensemble’s world-class reputation. He frequently collaborates with esteemed organizations such as the Metropolitan Opera, the New York Pops Orchestra, the American Symphony Orchestra, the New Jersey Symphony, the Vermont Symphony, and the Harrisburg Symphony, among others. His talents have taken him to prominent stages across the Northeast and beyond, including Carnegie Hall, where he had the distinct honor of performing with Vienna Philharmonic during their 2023 US tour - a proud milestone in his career.
In addition to his orchestral work, Will has made significant contributions to the world of musical theater. For over 20 years, he performed in the orchestra for The Phantom of the Opera on Broadway until its historic run concluded in 2023. His other Broadway credits include acclaimed productions such as Follies, On the Town, Ragtime, and Into the Woods, showcasing his adaptability and commitment to excellence in live performance. As a sought-after studio musician, Will’s artistry has been featured in numerous film, television, and commercial recording projects, solidifying his reputation as a highly skilled and versatile horn player. Some recent film credits include blockbuster scores such as Barbie, Maestro, The Greatest Showman, Joker, White Noise, Madam Web, Gemini Man, Collateral Beauty and many more.
Will began his musical journey at the Queensland Conservatorium of Music in Brisbane, Australia, where he earned a Bachelor of Music in French Horn Performance. He later completed his Master of Music at SUNY Purchase College Conservatory of Music in New York.
About the Conservatory
The Conservatory of Music
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