Purchase Symphony Orchestra - Concert Program III

Umojoa - Anthem of Unity for Orchestra

by Valerie Coleman (b.1970)

- Intermission -

Symphony No. 9 in D Minor, Op. 125

by Ludwig van Beethoven (1770–1827)

1. Allegro ma non troppo, un poco maestoso
2. Scherzo: Molto vivace – Presto
3. Adagio molto e cantabile
4. Finale: An die Freude (Ode to Joy)

Soloists

• Juliet Papadopoulos, soprano
• Heather Petrie, contralto
• Joshua Benevento, tenor
• Bryan Murray, bass

Westchester Chamber Soloists

Westchester Chamber Soloists (WCS) Based just minutes north of New York City, WCS 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. Our smaller and mid-sized chamber ensembles - including strings, winds, brass and percussion - bring a diverse and exciting repertoire to the concert stage. WCS also welcomes select high school and college-age student performers to join us onstage who have demonstrated exceptional talent and musical promise.

The New Choral Society

Dr. John T. King, Artistic Director & Conductor

Erica Westcott Kelly - Executive Director

The New Choral Society was formed in 1994 by Dr. John T. King, and is an all auditioned, volunteer chorus of 48 singers from Westchester and surrounding areas.  The mission of the New Choral Society is to promote a greater interest in classical choral works within the immediate Westchester area.  We strive to program a standard classical repertoire, as well as include innovative and unique offerings.   We collaborate with professional artistic organizations to showcase new talent in addition to introducing and promoting local Westchester artists.

Purchase Chorus

David Recca, Director

The Purchase Chorus brings together students from the Conservatory of Music and the campus community to present choral masterworks in styles ranging from the Renaissance to the present day.

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 I

• Elsie Baldwin**
• Lori Horowitz (WCS)
• Lucie Onderwyzer (WCS)
• Zhiman Sun
• Bob Plotkin (WCS)
• Clare Detko (WCS)
• Joshua Daniels (WCS)
• Namiko Martin (WCS)
• Yang Sun Kim

Violin II

• Emily Hyun (WCS)
• David Lane (WCS)
• Lenin Villano
• Laura Macbeth (WCS)
• John Voularis (WCS)
• Carly Berndt
• Dana Villarreal (WCS)
• Karen Chow (WCS)

Viola

• Alexandra Mena-Jiménez*
• Monica Gerard (WCS)
• Bodin (Bo) Muschinsky (WCS)
• Matthew Killen
• Anne-Marie Mott (WCS)
• Paula Washington (WCS)
• Yasmine Tetenbaum (WCS)
• Joyce Suarez

Cello

• Aidan Saltini*
• Laura Mead*
• Jonathan Kantor (WCS)
• Allison Smith
• Jacqueline Bergson (WCS)
• Lisa Olsson (WCS)
• Seth Jacobs (WCS)
• Anthony Pabellon

Bass

• Alexander Kapopoulos*
• Antonio Suarez
• Fabien du Chateau
• John Schroeder

Piccolo

• Gabriel Rosado-Bauza*

Flute

• Stella Kahnis*
• Honoko Saeki*
• Julius Lagoa-Iacono
• Denilson Bowen

Oboe

• Angelina D’Souza*
• Hank McPhillips*
• Saige Valentino

English Horn

• Hank McPhillips*

Clarinet

• Alba Morales-Millan*
• Zexuan Liu*

Bass Clarinet

• Jasper Biski*

Bassoon

• Rosemary Dellinger (WCS)*
• Corey Booth (WCS)

Contra Bassoon

• Thomas Sefcovic (WCS)

Horn

• Tressa Cortright*
• Marc Wager (WCS)*
• Kathryn Davis (WCS)
• Susan Davidson (WCS)

Trumpet

• Benjamin Alarcon*
• Russ Ebersole (WCS)*
• Kelly Oram (WCS)

Trombone

• Jacob Fesili*
• Samuel Riss (WCS)*

Bass Trombone

• Ella Rubin

Tuba

• Bradley Armand

Timpani

• Nicholas Esposito
• Christopher Robinson

Percussion

• Krista DiMaggio
• Christopher Atkins
• Nicholas Esposito
• Christian McCarthy
• Christopher Robinson

Harp

• Gordon Conner

Piano

• Brody Ajemian

Orchestra Personnel

• Alba Morales-Millan, PSO Manager
• Angelina D’Souza, PSO Production Coordinator
• Zexuan Liu, PSO Librarian
• Saige Valentino, Chorus Project Manager
• Gemma Hinson, Special Project Librarian for Beethoven Symphony No.9
• Materials provided with the assistance of the Orchestra Collection, New York Public Library for the Performing Arts at Lincoln Center. Special thanks to Mr. Connor Bowman.

Chorus Performers

• NCS – New Choral Society
• PC – Purchase Chorus
• V/O – Purchase Voice & Opera Students

Soprano

• Jeanete Gonzalez (V/O)
• Sephtis Gorcos (V/O)
• Teddy Jimenez (V/O)
• Maya Villanueva (V/O)
• Halle Brickman (PC)
• Samantha Burgio (PC)
• Rachel Eaton (V/O)
• Hannah Mikita
• Abigail Henning (PC)
• Niyle Naughton (PC)
• Mia Reynoso (PC)
• Caitlin Rossbotham (PC)
• Lamia Wright (PC)
• Margaret Black (NCS)
• Amanda Burrows-Fowler (NCS)
• Jessica Doolan (NCS)
• Yuko Kingsbury (NCS)
• Emera LaSalle (NCS)
• Lesley Mazzotta (NCS)
• Noelys Montilla (NCS)
• Soyeong Park (NCS)
• Lisa Pell (NCS)
• Eui Pfeffer (NCS)
• Valerie Samn (NCS)
• Kyung Scalia (NCS)
• Abbey Spurrell (NCS)
• Lisa Waterworth (NCS)

Alto

• Zora Abaquin (V/O)
• Nadia Alalou (V/O)
• Kiera Masci (V/O)
• Kierra Pizzaro (V/O)
• Saige Valentino (V/O)
• Maya Alexander (PC)
• Anthony Atristain (PC)
• Aria Bartholomew (PC)
• Jade Cetrulo (PC)
• Kiyala LaSalle (PC)
• Jolie Mankuski (PC)
• Niara Omowale (PC)
• Victoria Pierre-Louis (PC)
• Aurora Seery (PC)
• Lola Shub (PC)
• Joyce Suarez (PC)
• Sara Assalone (NCS)
• Betsy Bush (NCS)
• Pat Buxton (NCS)
• Patricia Chalifoux (NCS)
• Meg Doty (NCS)
• Susan Halpern (NCS)
• Debra Hess (NCS)
• Anli Hsu (NCS)
• Erica Kelly (NCS)
• Sara Lehman (NCS)
• Giselle Vagnini (NCS)
• Christie Virtue-Herman (NCS)
• Janelle Walhout (NCS)

Tenor

• Damian Headley (V/O)
• James Hernandez (V/O)
• Denilson Bowen (PC)
• Eric Buchanan (PC)
• Itiya Mason (PC)
• Arkady Rakchev (PC)
• David Salazar Pomahualica (PC)
• Rhys Stermer (PC)
• Hoh Koon Au Yeong (NCS)
• Steven Bush (NCS)
• Raymond Cheung (NCS)
• Joshua Gubitz (NCS)
• Eric Hernández Rivera (NCS)
• Tom Ice (NCS)
• John Koulos (NCS)
• Jeffrey Kroutil (NCS)
• Kirk Petrie (NCS)
• Leander Tanner (NCS)

Bass

• Theodore Perrington (V/O)
• Aidan White (V/O)
• Timothy Berry (PC)
• Derek Donnelly (PC)
• Gerry Hecht (PC)
• Gregor Hocknull (PC)
• Thomas Keegan (PC)
• Kalev Methot (PC)
• Kevin O’Brien (PC)
• David Recca (PC)
• Evan Rodriguez (PC)
• Jadiel Rodriguez (PC)
• Riley Sullivan (PC)
• Jim Anderson (NCS)
• Charles Blowe (NCS)
• Randy Heller (NCS)
• Hans Khimm (NCS)
• Steven Schnur (NCS)
• Zach Vaughan (NCS)

Umojoa - Anthem of Unity for Orchestra

by Valerie Coleman (b.1970)

In its original form, Umoja, the Swahili word for Unity and the first principle of the African Diaspora holiday Kwanzaa, was composed of a simple song for women’s choir. It embodied a sense of ‘tribal unity’, through the feel of a drum circle, the sharing of history through traditional “call and response” form and the repetition of a memorable sing-song melody. It was rearranged into woodwind quintet form during the genesis of Coleman’s chamber music ensemble, Imani Winds, with the intent of providing an anthem that celebrated the diverse heritages of the ensemble itself.

Almost two decades later from the original, the orchestral version brings an expansion and sophistication to the short and sweet melody, beginning with sustained ethereal passages that float and shift from a bowed vibraphone, supporting the introduction of the melody by solo violin. Here the melody is sweetly singing in its simplest form with an earnestness reminiscent of Appalachian style music. From there, the melody dances and weaves throughout the instrument families, interrupted by dissonant viewpoints led by the brass and percussion sections, which represent the clash of injustices, racism and hate that threatens to gain a foothold in the world today. Spiky textures turn into an aggressive exchange between upper woodwinds and percussion, before a return to the melody as a gentle reminder of kindness and humanity. Through the brass led ensemble tutti, the journey ends with a bold call of unity that harkens back to the original anthem.
Umoja has seen the creation of many versions that are like siblings to one another, similar in many ways, but each with a unique voice that is informed by Coleman’s ever evolving creativity and perspective.

​“This version honors the simple melody that ever was, but is now a full exploration into the meaning of freedom and unity. Now more than ever, Umoja has to ring as a strong and beautiful anthem for the world we live in today.”

Program note by Valerie Coleman, adapted from the composer’s website.

Symphony No. 9 in D Minor, Op. 125

by Ludwig van Beethoven (1770–1827)

Few works in the history of music carry the symbolic power of Beethoven’s Ninth Symphony. Completed in 1824, this monumental work represents both a personal triumph for Beethoven and a profound message to humanity. By the time he wrote the symphony, Beethoven was almost completely deaf, yet he continued to imagine music of extraordinary scale and vision.

The Ninth Symphony is famous for its final movement, which introduces voices into a symphony for the first time in major orchestral repertoire. Beethoven sets Friedrich Schiller’s poem An die Freude (“Ode to Joy”), a text celebrating universal brotherhood, hope, and the shared humanity of all people. With this bold decision, Beethoven transformed the symphony from a purely instrumental form into something that speaks directly through both music and words.

The symphony unfolds in four movements, each expanding the emotional journey. The first movement opens dramatically, emerging from a mysterious whisper of sound and building into music of great tension and power. The second movement, a driving scherzo, pulses with rhythmic energy and intensity, contrasted by a lyrical trio section. In the third movement, Beethoven offers a moment of deep reflection with music of extraordinary beauty and serenity.

The final movement breaks with tradition. After recalling themes from the earlier movements, the orchestra introduces the famous “Ode to Joy” melody—simple, noble, and unforgettable. The theme grows gradually, passing through the orchestra before the baritone soloist enters, inviting humanity to join in song. The chorus and soloists expand the music into a grand celebration of unity, joy, and shared humanity.

For nearly two centuries, Beethoven’s Ninth Symphony has stood as a musical symbol of hope and connection across cultures and generations. Its message remains timeless: that through music and shared human spirit, people can come together in celebration of freedom, dignity, and joy.

Text and Translation

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.

Juliet Papadopoulos, soprano

Praised by the Greek National Herald as having a “powerful and clear voice that dazzles audiences,” young Greek-American soprano Juliet Ariadne Papadopoulos has performed solo in most of the major halls in New York City, including Carnegie Hall, Alice Tully Hall, David Geffen Hall, and Symphony Space. Her “jewel-toned” voice (operatoday.com) and “compelling stage presence” (nick-Holmes-music.com) have led her to several international engagements; in 2024, Juliet enjoyed performing in Austria, Scotland, Greece, and England. Special recent career highlights include performing Pierrot Lunaire in Vienna as part of the “Schönberg 150” celebration and singing under Sir John Rutter’s baton as soprano soloist three times at Carnegie Hall. In August of 2024, Juliet made her professional operatic debut singing the role of Donna Anna in Mozart’s Don Giovanni with the Opera Theater of Connecticut. Juliet is a rising interpreter of new music; she has sung solo on two world premieres by award-winning Yale faculty member Aaron J. Kernis and she won the Grand Prize in the CSU Bakersfield Music Performance Award for her recording of Family Portraits, a song cycle by Doug Davis. In 2025, she won second place in the NY Oratorio Solo Competition. Juliet graduated with her Masters in Music from the Yale School of Music and Yale ISM and she holds a Bachelor of Music degree, Summa cum laude, from Purchase Conservatory (State University of New York.) She is a native New Yorker and a proud graduate of the Fiorello H LaGuardia High School of Music & Art, class of 2018. This season includes an appearance as soprano soloist for Sir John Rutter’s Requiem at Carnegie Hall, soloing for Beethoven’s Ninth Symphony at her Alma mater, and performing in 13 operas at the Metropolitan Opera Company as a full time member of the Chorus.

Heather Petrie, alto

Heather Petrie is “a true contralto, with a big, deep, resonant projection that can fill a hall.” (New London Day) She made her Carnegie Hall solo debut with the Oratorio Society of New York in 2019, after winning second place in the Lyndon Woodside Oratorio Competition that year. Highlights of the 2025-2026 season include twelve productions with the Metropolitan Opera, Karl Jenkins Stabat Mater, and Bach St. Matthew Passion. Recent seasons have included multiple performances at Carnegie Hall, Alice Tully Hall and David Gefen Hall in New York, as well as several concerts throughout South Korea with the American Soloists Ensemble and National Chorus of Korea. As a soloist Heather has appeared with the American Symphony Orchestra, Voices of Ascension, Musica Sacra, Helena Symphony, Sacred Music in a Sacred Space, the Cathedral of the Madeleine, and the New Orchestra of Washington. She performs frequently with the NY Philharmonic, the Choir of St. Ignatius Loyola, Musica Viva NYC, Essential Voices USA, and the Cathedral Choir of Saint John the Divine. She holds degrees from Bard College and SUNY Purchase Conservatory, and is represented by Wade Artist Management. More information can be found at www.heatherpetriecontralto.com

Joshua Benevento, tenor

Praised by Opera News as a “substantial tenor” and described by The New York Times as “a large-voiced tenor,” Joshua Benevento has earned acclaim for his commanding performances across a wide-ranging repertoire that spans the heroic, dramatic, and lyric traditions. A 14-season veteran of the Metropolitan Opera, Benevento has appeared in numerous productions with the company and contributed to its Grammy Award–winning 2013 recording of Wagner’s Ring Cycle. He is currently in his third season with the Lyric Opera of Chicago, continuing his long association with two of America’s leading opera houses. As a regional soloist, Benevento has performed leading roles in Fidelio, Ariadne auf Naxos, Cavalleria Rusticana, Pagliacci, Aida, Turandot, Carmen, Hansel und Gretel, Siegfried, Götterdämmerung, and La Gioconda. He received critical praise for his portrayal of Judge Danforth in a studio recording of Robert Ward’s The Crucible, named Opera News’ Critics’ Choice, and for his vivid interpretation of Caliban in the New York premiere of Lee Hoiby’s The Tempest, recorded by Albany Records. Beyond the opera stage, he has appeared as a soloist in major orchestral and choral works including Beethoven’s Missa Solemnis and Ninth Symphony, the Requiems of Verdi and Mozart, and Dvořák’s Stabat Mater.

Bryan Murray, bass

Bryan Murray has graced stages around the world from New York to Tokyo.
He has won numerous awards including third prize in Melodie at Concours de Montreal in 2022 and first prize at the Mildred Miller, Talents of the World, and Premiere Opera competitions. His recent notable performances include portraying Ford in Falstaff and Danilo in Die lustige Witwe at Geneva Light Opera, Tonio in Pagliacci at New Rochelle Opera, Jupiter in Orpheus in the Underworld with Opera Ithaca, and the priest and fisherman in Kaija Saariaho’s Only the Sound Remains at renowned venues such as The Biennale in Venice, the Strasbourg Festival, and Tokyo Bunka Kaikan.
Before the Covid-19 pandemic, Bryan held a one-year contract with the Deutsche Oper Berlin, where he performed comprimario roles in 12 different productions during the 2018/19 season. His memorable portrayals included Fiorello in Il barbiere di Siviglia, Moralès in Carmen, and Marullo in Rigoletto.
On the concert stage, Bryan recently debuted in China with the Philadelphia Orchestra and the iSING! Festival for their Echoes of Ancient Tang Poems concert. He had his Carnegie Hall debut as the baritone soloist in the world premiere of Everyone, Everywhere by Daron Hagen in 2023. Bryan has also performed alongside esteemed ensembles such as NY Baroque Inc. and Teatro Grattacielo in Manhattan, as well as the Deutsche Oper Berlin Orchestra, the Yale Philharmonia, the Jacksonville Symphony, the New Haven Symphony, and the Yale Camerata. You can hear Bryan on two records: The Crucible by Robert Ward on Albany Records and Everyone, Everywhere by Daron Hagen on Naxos.
Bryan received a Bachelor of Arts from Stony Brook University, a Master of Music and Artist Diploma from Purchase College, and a Master of Musical Arts from Yale University.

David Recca

Director, Purchase Chorus and New York City Master Chorale
David J. Recca is currently a lecturer at the Conservatory of Music of Purchase College, SUNY. There he directs the Purchase Chorus and Purchase Chamber Singers, he is a regular guest conductor of the Purchase Symphony Orchestra, and he teaches a variety of undergraduate courses including music history, music theory, ear training, and conducting. He is also the newly appointed Artistic Director of the New York City Master Chorale; the Artistic Director of the Southern Connecticut Camerata, a Norwalk-based early music ensemble celebrating its 64th season; and the Assistant Music Director of the New Amsterdam Singers, a fixture in Manhattan’s choral scene which has been championing new works by living composers for over 50 seasons.
He has served as assistant conductor to Mercury Opera Rochester, principal assistant conductor to the Yale Camerata, and artistic director to Madrigalia Via, whose performances were hailed as “sinfully blissful” by the Wall Street Journal. He has prepared choirs for conductors such as Helmuth Rilling, David Hill, Masaaki Suzuki, Simon Carrington, Erwin Ortner, and Sir Gilbert Levine.
He holds a Doctorate of Musical Arts degree in Choral Conducting from the Yale School of Music, a Master of Music degree in Choral Conducting from the Eastman School of Music, and a Performer’s Certificate in Vocal Coaching and a Bachelor of Music degree in Composition from Purchase College.

Dr. John King

Artistic Director & Conductor, The New Choral Society
Dr. King founded The New Choral Society in 1994. He has performed and guest conducted for several American Guild of Organists workshops and choral festivals. He has been responsible for two choral commissions from Stephen Paulus, Mass for Chorus and Orchestra and You Shall Love for chorus and organ, having conducted their world premieres.
Dr. King has worked with renowned conductors Dennis Keene, Gregg Smith, Joseph Flummerfelt and Vance George, and conducted the Gregg Smith Singers and the Adirondack Chamber Orchestra. His CD recordings include Handel’s Messiah, Mozart’s Requiem, Bach’s Cantata No. 147 Herz und Mund und Tat und Leben, Haydn’s Utrecht Te Deum, Gounod’s St. Cecilia Mass, Brahms’ Requiem, Rossini’s Stabat Mater and the world premiere recording of Paulus’ Mass for Chorus and Orchestra. Equally accomplished as an organist, Dr. King has given concerts throughout the United States and Europe. His performances have been heard in St. Paul’s Cathedral, London, St. John the Divine, New York City, and St. James’ Cathedral, Chicago.
Dr. King currently serves as full-time Minister of Music at Hitchcock Presbyterian Church, Scarsdale, where he administers and conducts the multiple choir program. He holds a bachelor of music degree from University of Louisville, a master of music degree from Yale University and doctor of musical arts from Manhattan School of Music, all in organ. He has been the recipient of a number of prizes in organ performance, and has served as an adjunct lecturer at Concordia College, Bronxville, New York. He is a lecturer with the Scarsdale Adult School where he teaches classes on a variety of music subjects. Dr. King is active in many service organizations as a member of Chorus America, American Choral Directors Association, Choristers Guild, and American Guild of Organists. He served as a former Dean of the Westchester Chapter of the American Guild of Organists, and served as a member of the Music Committee of Yale Westchester Alumni Association.

Alan Murray

Pianist Alan Murray has appeared extensively in solo and chamber music recitals and as concerto soloist with orchestras in the United States and Europe, under the auspices of Arista International Music Enterprises in New York. Over the course of his performing career, he has presented more than fifty piano concertos, including major works by Bartók, Beethoven, Brahms, Chopin, Dvořák, Gershwin, Grieg, Liszt, Mozart, Prokofiev, Ravel, Rachmaninoff, Saint-Saëns, Schumann, Scriabin, Strauss, and Tchaikovsky. His performances include a wide range of repertoire from Mozart’s complete piano concerto cycle to Rachmaninoff’s four concertos and the Rhapsody on a Theme of Paganini.
During the 2020–21 pandemic period, Mr. Murray presented an “At-Home Concert Series,” performing the complete cycles of Mozart and Beethoven piano concertos. These performances grew out of the inaugural public concert of the Westchester Chamber Soloists, the chamber orchestra he founded and serves as Executive and Artistic Director.
An active chamber musician, Mr. Murray has performed a wide range of repertoire for violin and piano, cello and piano, and chamber ensembles, including complete sonata cycles by Beethoven and Brahms. His chamber performances feature works by composers including Arensky, Brahms, Debussy, Dohnányi, Dvořák, Fauré, Franck, Grieg, Piazzolla, Poulenc, Prokofiev, Rachmaninoff, Ravel, Shostakovich, Schubert, Schumann, Thuille, and Tchaikovsky.
In previous seasons, Mr. Murray presented the Masters Series and Sunrise Series concerts in the New York area, performing more than one hundred solo recital programs. His repertoire includes major piano cycles by Chopin, Schumann, Debussy, Ravel, and J.S. Bach, as well as Beethoven’s complete 32 piano sonatas and the Diabelli Variations. He has also performed large-scale works by Schubert, Brahms, Liszt, Albéniz (Iberia), Granados (Goyescas), Rachmaninoff, Prokofiev, and Stravinsky.
Mr. Murray also conceived Collectanea, a multidisciplinary performance series developed with the Hudson Valley arts organization RiverArts. These programs combine classical piano repertoire with visual art, poetry, and live dance, creating a collaborative artistic experience. The inaugural program featured Bach-Busoni’s Chaconne, Ravel’s Gaspard de la Nuit, Liszt’s Vallée d’Obermann, and selections from Granados’ Goyescas.
In addition to his musical career, Mr. Murray is a professional in finance and risk management. He is an executive at the global insurance ratings and research firm AM Best, and previously served as a member of the Global Financial Institutions Group management team at Moody’s Investors Service in New York. Earlier in his career, he worked as an actuary at American International Group (AIG).
Mr. Murray lives in Westchester County, New York with his wife Amada and daughter Celia. For more than twenty-five years, the family also owned and operated the specialty bookstore Galápagos Books. He is the founder and Executive & Artistic Director of the Westchester Chamber Soloists, a chamber orchestra that performs seven concerts each season and serves as the resident orchestra at Sarah Lawrence College in Bronxville, New York.
Mr. Murray began his musical studies in the New York area with Frances Wazeter and Allen Weiss. His longtime performance coach is Robert Preston, concert pianist and chamber musician. He holds diplomas in concerto and chamber music performance from the International Musicians Academy in Europe and a degree in theoretical physics, cosmology, and languages from Cornell University, where he received a special university award as distinguished piano soloist.

Erica Westcott Kelly

Executive Director, The New Choral Society
Erica has been singing in choirs since the age of 4 and has a passion for supporting choral music.
In addition to her position with the New Choral Society, she is currently the Assistant to the CFO at Purchase College (SUNY). She previously served on the board of the New York Choral Consortium and worked as the Director of Operations for the Westchester Children’s Chorus, the Executive Director of the New York City Master Chorale, as well as in the education departments at Carnegie Hall, the John F. Kennedy Center for the Performing Arts, and the Orchestra of St. Luke’s. Before moving to New York, Erica was the Executive Director of the Tallahassee Community Chorus under the direction of Dr. André J. Thomas, as well as Camp Director for Shrine Mont’s Music and Drama camp.
Erica holds a Master of Arts degree in Arts Administration from Florida State University and a Bachelor of Music degree in Vocal Music Education from James Madison University in Virginia.

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.