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Sunday, March 4, 2007- - 3:00 PM

Alumni Hall - Quinnipiac University Hamden, CT

Suggested Donation - Family -$10.00 Individual - $5.00 Seniors & Children - $3.00

For more information: http://members.aol.com/HSOrch

PJG

featuring

Alexis Zingale, piano

Beethoven - Piano Concerto No. 5 in E Flat Major, Op. 71 - “Emperor”

Brahms - Academic Festival Overture Wolf-Ferrari - Secret of Suzanne Overture Enesco - Rumanian Rhapsody No. 1 in A

Anderson - Balladette, The Captains and The Kings, Promenade

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Compliments

of the

Robinson Family

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PROGRAM

Overture to the Secret of Suzanne

Ermanno Wolf-Ferrari (1876–1948)

Vivacissimo Piano Concerto No. 5 in E-flat Major, Op. 73 "Emperor"

Ludwig van Beethoven (1770-1827)

Allegro Adagio un poco mosso Rondo: Allegro - Piu Allegro

Alexis Zingale, piano

I N T E R M I S S I O N

Academic Festival Overture, Op. 80

Johannes Brahms (1833-1897)

Allegro - Maestoso

Promenade (1945) Balladette (1962) The Captains and the Kings (1962)

Leroy Anderson (1908-1975) Rumanian Rhapsody No. 1 in A Major, Op. 11 No. 1

Georges Enesco (1881-1955) Modere - Plus vite - Tres vif - Allegrement - Tres vif

4 Paul Gacek continues his thirty-eighth season as Music Director of

the Hamden Symphony Orchestra at Quinnipiac. As an under-graduate at Yale University, he was founder, first president, and principal violist of the Yale Symphony Orchestra. Also at Yale, Mr. Gacek studied orchestral conducting with Gustav Meier and choral conducting with Fenno Heath. In addition, he has studied violin with Peter Salaff of the Cleveland Quartet, and viola with David Schwartz, formerly with the NBC Symphony.

Mr. Gacek has served as Music Director for many theatrical productions in the greater New Haven area, including Man of la Mancha, Fiddler on the Roof, Cabaret, Applause and A Funny Thing Happened on the Way to the Forum at the Yale Dramatic Association, New Haven Jewish Community Center and Southbury Playhouse. In past summers he has toured Switzerland, Italy, Spain, Greece, Portugal and France as Associate Music Director of the American Community Orchestra. Mr. Gacek is also an Honorary Member of the Union Musical of Liria, Spain.

In addition to his musical interests, Mr. Gacek is also an avid wreck diver and has explored shipwrecks such as the Andrea Doria, the EM Clark, the USS Monitor and the SS Republic.

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Alexis Zingale began her piano studies at the age of four and pre-sented her first solo recital program at age nine. Ms. Zingale has per-formed throughout the U.S. and Canada as soloist and collaborator, and is now one of the most actively sought-after collaborators in New Eng-land. She has won numerous awards and competitions, including the Hamden Symphony Orchestra competition in 1991. Ms. Zingale studied with Leena Kareoja-Crothers and Edward Auer, and has had significant coaching with Vladimir Feltsman. She has performed in masterclasses with such artists as Boris Berman, Peter Frankl, Claude Frank and John Perry, and in collaborative masterclasses with such artists as Graham Johnson, Melvin Chen, Wendy Sharp and the Lydian String Quartet. Her recent performance experiences vary from accompanying entrants to the Naumberg International and Young Concert Artists International competitions, to solo and collaborative performance on the University of Maryland New Music Maryland series, and numerous performances on Neighborhood Music School’s Bach’s Lunch and Faculty Fridays series. Notable venues for her performances include the Miller Theatre in New York City, Ed Landreth Hall at Texas Christian University, Kil-bourn Hall at the Eastman School of Music, and Sprague Hall, Woolsey Hall and Battell Chapel in New Haven. Ms. Zingale has performed as soloist and collaborator with the Wallingford Symphony Orchestra and the Brevard Music Center Festival Orchestra, and with the Brevard Mu-sic Center faculty chamber ensemble. She performed on harpsichord with acclaimed new music ensemble Alarm Will Sound, and reed organ with the New Haven Oratorio Chorus. Ms. Zingale has recorded for Peer Music Classical and the Charles Ives Society, and her perform-ances have been broadcast on Connecticut Public Radio. She is cur-rently a piano faculty member and staff accompanist at the Neighbor-hood Music School in New Haven, CT. This is her second performance as soloist with the Hamden Symphony Orchestra.

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PROGRAM NOTES

Ermanno Wolf-Ferrari was born in Venice, January 12, 1876, the son of August Wolf, a German painter, and an Italian mother. At first self-taught in music, he studied later with Rheinberger in Munich. From 1902-09 he was director of the conservatory Licio Benedetto Marcello. He composed, to words by Dante, the oratorio “La Vita Miova.” His operas, “Le Donne Curiose,” “Il Segreto di Susanna,” and “L’Amore Medici,” are works of the utmost delicacy. They had not, however, been able to hold their own on the operatic stage of English-speaking coun-tries. This may explain the composer’s plunge into so exaggerated and “manufactured” a blood and thunder work as “The Jewels of the Madonna.” In American opera this has held its own in the repertoire of the Chicago Opera Company. It has at least some substance, some ap-proach to passion, even if this appears worked up when compared with such spontaneous productions as “Cavalleria Rusticana” and “I Pagli-acci,” which it obviously seeks to outdo in sordidness and brutality.

The failure of Wolf-Ferrari’s other operas to hold the stage in Eng-lish-speaking countries disappointed many who regarded him as, next to Puccini, the most promising contemporary Italian composer of opera. The trouble is that the plots of his librettos are mere sketches, and his scores delicate to the point of tenuity so that, even with good casts, they are futile attempts to re-invoke the Spirit of Mozart behind the mask of a half-suppressed modern orchestra.

“Il Segreto di Susanna” (The Secret of Suzanne), the scene a draw-ing-room in Piedmont, time 1840, is in one act. Countess Suzanne (Soprano) smokes cigarettes. The aroma left by the smoke leads Count Gil (Baritone) to suspect his wife of entertaining a lover. He discovers her secret - and all is well. The third character, a servant, Sante, is an acting part

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Ludwig van Beethoven was born in Bonn, Germany December 16, 1770 and died in Vienna, Austria on March 26, 1827. Beethoven’s early career centered around his astounding mastery as a pianist. His first four piano concertos, each more exquisite than the last, were written specifi-cally to display these extraordinary gifts. Recognized as the most pro-foundly talented musician and composer of his time, when he wrote his fifth piano concerto Beethoven had only recently admitted to a choice few that his hearing was almost completely gone. Unsurprisingly, the Fifth is Beethoven’s final essay in the piano concerto genre and the only one in which he did not perform the solo role at its premiere.

Beethoven began work on Piano Concerto No. 5 during the fall of 1808 and completed the work around the end of the following year. Its first performance was in Leipzig on November 28, 1811. In addition to the solo piano, the score - which was dedicated to Beethoven’s long-time friend and supporter, Archduke Rudolph, - calls for pairs of flutes, oboes, clarinets, bassoons, horns and trumpets along with timpani and strings.

Much about this work was revolutionary. Where concertos by

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As the Hamden Symphony Orchestra continues its 45th season, we are pleased to have a home at Quinnipiac University. We must continue to rely on contributions from individuals and organizations to cover the operating expenses of the orchestra. Program ads are an essential part of our financial base and we hope that you will support the orchestra by placing your program ad. Rates are based on size and include insertion in three concert programs. Additional contributions are gratefully accepted and will be recognized in our HSOQ Booster section.

1/4 page (4 1/2” w x 1 7/8” h) $50.00/three concerts

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Vivaldi and many of his followers introduced the soloist with a long orchestral section, Beethoven prefaces the initial entrance of the soloist with a single orchestral chord. The soloist seemingly surveys his realm by playing a series of three cadenza-like arpeggios and broken scale pas-sages - virtuosic displays that had heretofore been reserved for the con-cluding moments of a concerto movement. Each time the orchestra in-terrupts, eventually leading into its grand statement of the assertive first theme. Orchestra and pianist seem to converse; at one moment they trade majestic, almost militant proclamations: at the next we hear in-tensely intimate, tender exchanges between piano and various wind in-struments. The movement’s overall impression is of exuberance tinged with militaristic grandeur.

This mix of emotions may reflect the conflicting events of Beetho-ven’s own life. Napoleon’s troops had begun their second siege of Vi-enna in May 1809, and the loud mortar explosions throughout that sum-mer gave particular pain to the increasingly deaf Beethoven. He wrote in July 1809 “since May 4th I have produced very little coherent work, at most a fragment here and there. The whole course of events has in my case affected both body and soul. …. What a destructive, disorderly

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life I see and hear around me, nothing but drums, cannons, and human misery in every form.” And yet, at the same time, Beethoven’s fortunes were rising. In March 1809 three of his most generous aristocratic pa-trons pledged him their financial support for the rest of his life. Beetho-ven was free for the first time from financial cares, at least momentarily (war eventually worsened his situation). These contrasting experiences may help to illuminate the concerto’s shifts between militaristic pomp and quiet moments of hymn-like thanksgiving.

Another remarkable aspect of this concerto is that, for the first time, Beethoven wrote out the cadenza - traditionally a free, improvised mo-ment for the pianist to display his musicality and virtuosity - and in-cluded it as an integral part of the score. He even appended the note “Do not make a cadenza [i.e. do not improvise on your own] but attack the following immediately.”

The strongly assertive opening movement is followed by the second movement’s hushed mood of serene simplicity. The solo piano emerges from the extremes of the instrument’s registers to move almost rever-ently into an exquisite melody with the quality of a hymn. In this lyri-

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cally idyllic movement, the piano predominates in one of the most ten-der, intimate melodic statements Beethoven ever created. A rhythmic bridge passage sounds over a long, dominant pedal tone to bind seam-lessly the second and third movements. In another shift, the final move-ment is a boisterous rondo with a jubilant, almost imperial spirit, and gives the soloist many passages of exceptional brilliance.

Although, as with so many of Beethoven’s works from this period, contemporaries considered the work to be too difficult, it was nonethe-less greeted rapturously. Following its performance, the Allgemeine musikalische Zeitung, Austria’s primary outlet for music criticism, re-ported that “[the audience] could hardly content itself with ordinary ex-pressions of recognition.” In the Piano Concerto No.5, Beethoven raised the stature of both soloist and orchestra within the concerto format to a level unknown before and rarely surpassed since. He did not give his work its famous nickname, but few terms could be better chosen to sug-gest the work’s stature.

Johannes Brahms never went to college. When he was 20, however, he had the opportunity to indulge in the perks of student life for several weeks, without having to do a stitch of academic work. This serendipi-tous state of affairs resulted after he got “laid off” while on tour with the flamboyant 25-year-old Hungarian violinist, Eduard Reményi. Early in July of 1853, Reményi and Brahms were guests at the home of Franz Liszt during an extended stopover in Weimar. Reményi worshipped at the shrine of Liszt, but Brahms wanted nothing to do with their host’s artistic goals and the “New German School.” Incensed that his reticent accompanist wasn’t according the great master proper respect, Reményi sent Brahms on his way.

A few weeks earlier, at the end of May, Reményi had introduced Brahms to violinist-composer Joseph Joachim during a concert stop in Hanover. Foreseeing a personality clash between the ill-matched duo, Joachim had invited Brahms – if the opportunity arose – to join him at Göttingen where he would be taking some summer courses in philoso-phy and history at the local university. For two glorious months that summer, Brahms hung out with Joachim and his circle, enjoying read-ing, debates, pleasant walks, beer-drinking sessions and song fests at the local beer-halls, and general student camaraderie. By doing a recital with Joachim, he raised enough money to finance a long-held dream to take a walking tour of the Rhineland. Thus, the young composer packed his knapsack and bid peripheral university life adieu.

Brahms’ next brush with academe occurred 23 years later in 1876. Cambridge University offered him an honorary Doctorate in Music,

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which required his presence at the ceremony – but Brahms had a para-lyzing distaste for sea travel. Then, he learned that Londoners were hatching lavish plans to celebrate his sojourn in England. Harboring an innate horror of fuss and lionization, and unwilling to face the Channel crossing, the composer stayed home and relinquished the honor.

It was in 1879 that the University of Breslau conferred upon him the degree of Doctor of Philosophy. Brahms was flattered and sent a postcard of thanks to the faculty. However, a subsequent letter from his friend Bernhard Scholz, Director of Music in Breslau, made it clear that the university expected him to express his gratitude in musical form. While vacationing at Bad Ischl during the summer of 1880, Brahms penned his musical “thank you” – the Academic Festival Overture.

With a masterful balance of serious and light-hearted elements, the emphasis is on the “festival” rather than the “academic” in an overture that brims with an irrepressible sense of fun. The work also sports the most extravagant orchestral forces the composer ever employed. Brahms himself described the piece as “a very boisterous potpourri of

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THE HAMDEN SYMPHONY BOOSTERS

2006-2007

BENEFACTORS

PHILIP BONDY

SPONSORS

ELLA & LOUIS FIERMAN CAROLE & ROBERT LAMOTTE MATTHEW & SUSAN PAISLEY

MARIA & ENZO SELLA MARY WEIGAND

DONORS

EILEEN M. BENOIT & JANICE BENOIT FODERO** BARBARA COMSTOCK

JAMES & MARIANNA DIDRIKSEN DANIEL C. GACEK*

PAUL J. GACEK* PHILOMENA GAMBARDELLA

JIM & JAN JEKEL *** †† ††† HARRY & RHETA KRUGER

CHERYL & ANDREW MARTIN VIVIAN MILSTONE ROBERTA MOUHEB

JOANNE RONDESTVEDT DR. & MRS. MARK H. WEINSTEIN

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PATRONS

Richard M. Burgess *** Barbara Comstock *** ††

Arnold DeMaio DeMaio Insurance

Robert Dwyer Greenberg Rhein & Margolis Inc.

Neil & Marilyn Hauck Ivan R. Hubbard

Frances & Morry LoPinto

Susan & Ray Mancinelli Raymond A. Mazan ***

Donald L. Perlroth & Co., CPA Barry & Millie Piekos

Pamela Rendeiro Bruce & Constance White

Whitney Flowers Joseph & Elly Zimerman

Jim Beach Daniel Fierman Lauren Fierman

P. J. Hall Karen Johnson

Janet Perkes Lisa M. & Danial A.Philbrick

Bernice Schnitman Betty Schomer Joyce Snyder

OTHER

the BEDOCS family Celeste Barham

Eileen M. Benoit *** †† ††† Leatrice Brodner †

Carmel Gardens Flower Shoppe Alicia M Clapp

Lindy Hatch Richard & Sarah Jaynes

Rheta & Harry Kruger †† Jeffrey & Kathy Pooler

Jane Short Derek & Alexandra Slap

FRIENDS

* John & Mary Gacek † Regina and Aladar Lowi ** Maxime & Blanche Benoit †† Marie Flynn *** Charlene Morton ††† Sante Graziani

IN MEMORY OF

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A T Q U I N N I P I A C Welcome to each member of our audience! Your encouragement and support are very much appreciated. We look forward to your presence at future concerts and hope you will bring others to share in these programs.

The HAMDEN SYMPHONY ORCHESTRA AT QUINNI-PIAC is a volunteer orchestra of more than 50 members affiliated with Quinnipiac University. Founded in 1962 by Ruth Brooks, it provides cultural enrichment to the Hamden and Quinnipiac communities through its series of free concerts, its annual Young Musicians Concerto Competition, and by the orchestral experience it offers to area musicians and soloists. Quinnipiac students and faculty can participate and students can earn college credit. Membership is open to all qualified musicians, subject to openings in a particular section. For information, call 248-3770 or fill out the form below and mail to:

HSOQ c/o Jan Jekel 112 Wayland St

North Haven, CT 06473

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student songs.” Indeed, excerpts from four student beer-hall tunes play a significant role in the orchestral texture in what is, perhaps, a fond back-ward look to the carefree summer days of 1853. The Overture has been one of Brahms’ most often played works, ever since the composer him-self conducted the premiere in Breslau on January 4, 1881.

American composer Leroy Anderson was born in Cambridge, Mas-sachusetts on June 29, 1908. He began his musical studies at the age of 11 at the New England Conservatory of Music in Boston. While in the Cambridge High and Boston Latin School orchestra he composed and conducted the class song for his graduation ceremonies. He entered Har-vard University as a music major, and graduated magna cum laude. He continued at Harvard to complete his MA in music, studying orchestra-tion and composition with Georges Enesco and Walter Piston. While at Harvard he played trombone in the Harvard University Band. After fin-ishing his MA in 1930 he was appointed Director of the Harvard Uni-versity Band, which he served until 1935 when he moved to New York. In this capacity he had the opportunity to create many clever composi-tions and arrangements which ultimately caught the attention of Arthur Fiedler, then the Conductor of the Boston Pops.

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Anderson’s first arrangement for the Pops was a medley of Harvard songs in 1936. Fiedler encouraged Anderson to write many additional original compositions for the Pops concerts given every summer in Bos-ton. His first original work for the Pops was Jazz Pizzicato, in 1938.

During his tenure with the Harvard University Band Anderson con-tinued graduate studies in German and Scandinavian languages, which resulted in his eventual assignment as a translator for the US Army dur-ing World War II. After his discharge from the army Anderson became the arranger and orchestrator for the Boston Pops from 1946 to 1950. In 1949 the Andersons moved to Woodbury, Connecticut, where they raised four children.

Although he wrote a piano concerto and a Broadway musical, Goldi-locks, with Jean and Walter Kerr, Anderson is probably best remem-bered for his light classical compositions, which Fiedler continued to premier with the Boston Pops, including Trumpeter's Lullaby, Synco-pated Clock, Fiddle Faddle, and the 1952 number one hit Blue Tango. He continued to compose and conduct orchestral concerts through the country until his death in 1975. In 1988 he was elected posthumously to the Songwriters Hall of Fame.

Composed for orchestra, Promenade was completed in April of 1945. It is exactly 3 minutes long. It was written in Arlington, Virginia while the composer was stationed at the Pentagon in Washington, D.C during World War II. Promenade was first performed at Boston Pops “Army Night” on May 28, 1945, with the composer conducting. It was first recorded on June 18, 1950 in mono analog sound by Arthur Fiedler conducting the Boston Pops.

Composer quote: “On the other hand, other compositions of mine started with a fragment of melody, as in “Serenata” or “Promenade.” From the first notes the melodic line grew into a full melody with har-monic and rhythmic background, then other sections were added, and introduction and a coda were worked out to make a well-rounded com-position - - - and finally I added a title that seemed best to identify the music.” The repeated “walking theme,” played first by a muted trumpet, is interrupted by a flowing middle section and is then resumed with the full orchestra to a broad finale.”

Simultaneously composed for orchestra and string orchestra, Bal-ladette was completed on April 9, 1962. It is 2 minutes and 51 seconds long. It was first performed when recorded for full orchestra by the com-poser on June 19, 1962, in analog stereo sound.

Composer Quote: “In both numbers (Arietta and Balladette) the string part of the orchestra and string orchestra editions are identical,

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19 THE HAMDEN SYMPHONY BOOSTERS are a group of civic clubs, businesses, and individuals who donate money and services to the Hamden Symphony Orchestra in order to make possible its series of concerts and concerto competition. Our $3,500 per concert cost is dependent totally on these gifts. Please help! Program ads are also available for our business supporters. Donations may also be targeted toward the Ruth Thompson Brooks Scholarship Award presented annually to a qualified young musician. Please complete the form on page 16 in the program and return it with your tax-deductible contribution to:

HSOQ c/o ?????????????? ?????????????

??????????????????????

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HAMDEN SYMPHONY ORCHESTRA A T Q U I N N I P I A C

Paul Gacek, Music Director

Board of Directors 2006-2007

President Bill Gambardella Vice-President Bruce White Secretary Jan Jekel Treasurer ????????????? Librarian Barry Piekos Elective Directors David Doolittle Rheta Kruger Susan Paisley Joanne Rondestvedt Immediate Past President Louis Fierman Legal Counsel Bill Gambardella

Visit the Hamden Symphony on the World Wide Web

http://members.aol.com/HSOrch

Today’s presentation bouquet is provided courtesy of

Glen Terrace Flower and Gift Shop

1960 Whitney Avenue, Hamden, CT 06517 (203) 288-3511

The Hamden Symphony Orchestra would like to express appreciation for the use of rehearsal and concert facilities to:

Quinnipiac University Town of Hamden Whitney Center

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since the music is complete with strings alone. Wind parts of the orches-tra editions double the strings for added color and may be used as avail-able.”

Composed for orchestra, The Captains and the Kings was com-pleted June 16, 1962. It is 2 minutes and 45 seconds long. It was re-corded and first performed by the composer on June 19, 1962 in analog stereo sound.

Composer Quote: “It's (The Captains and the Kings) a quote from Kipling's Recessional, “The tumult and the shouting dies, the Captains and the Kings depart, Still stands Thine ancient sacrifice, An humble and a contrite heart, Lord God of Hosts, be with us yet, Lest we forget.” It's unusual for a march. It goes from 2/4 into 3/4. Most marches are two beats to a measure. It's in two parts, Captains first, Kings second.”

Georges Enesco, famous Romanian violinist, conductor, teacher and composer, was born in Liveni-Virnav on August 19, 1881. He began playing the piano when he was 4, taking lessons with a Gypsy violinist, Nicolas Chioru, and composing when he was 5.

On August 5, 1889, Enesco made his formal debut as a violinist in Slanic, Moldavia. At the time he was studying violin with S. Bachrich, J. Grun, and J. Hellmesberger, Jr. at the Conservatory of the Gesellschaft der Musikfreunde in Vienna. He also studied piano with L. Ernst; har-mony, counterpoint and composition with R. Fuchs; chamber music with J. Hellmesberger, Sr.; and music history with A. Prosnitz. He won first prizes in violin and harmony in 1892. After his graduation from the Conservatory in 1894, he enrolled at the Paris Conservatory where he studied violin with Marsick and J. White, harmony with Dubois and Thomas, counterpoint with Gedalge, composition with Faure and Massenet, and early music with Diemer, and graduating with the pre-mier prix for violin in 1899.

On June 11, 1897, he presented in Paris a concert of his works. It attracted the attention of Colonne, who brought out the composer's Op.1, Poeme roumain, the following year. Enesco also launched his conduct-ing career in Bucharest in 1898.

In 1902 he appeared as a violinist in Berlin, and on March 8, 1903, he conducted the premiere of his 2 Rumanian Rhapsodies in Bucha-rest, the first becoming his most celebrated work. He was appointed court violinist to the Queen of Rumania soon thereafter. After World War I, he made major tours as a violinist and conductor and taught vio-lin in Paris. He made his American debut as a conductor, violinist and composer with the Philadelphia Orchestra in New York in 1923 and re-turned to conduct the New York Philharmonic in 1937. He conducted

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Sunday, November 12, 2006 3:00 PM – Alumni Hall Quinnipiac University Hamden, CT

Beethoven - Consecration of the House Overture, Op. 124 Bruch - Symphony No. 3 in E Major, Op. 51

Brahms - Violin Concerto in D Major, Op. 77

Jeanine Wynton, violin

ANNUAL GOLDENBELLS FESTIVAL CONCERT

Sunday, May 6, 2007 3:00 PM – Alumni Hall Quinnipiac University Hamden, CT

Thirty-Eighth Annual Concerto Competition Winners

Jennifer Ge, piano Katherine Scahill, violin

Yuqi Zhang, piano

Brahms - Symphony No. 4 in E Minor, Op. 98

HAMDEN SYMPHONY ORCHESTRA 2006-2007 Season

ANNUAL POPS CONCERT

Sunday, March 4, 2007 3:00 PM – Alumni Hall Quinnipiac University Hamden, CT

Brahms - Academic Festival Overture Enesco - Rumanian Rhapsody No. 1 in A

Anderson - Balladette, The Captain and The Kings, Promenade Wolf-Ferrari - Overture to the Secret of Suzanne

Beethoven - Piano Concerto No. 5 in E Flat Major. Op.71

Alexis Zingale, pianoforte

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two concerts at the New York World's Fair in 1939. During WWII he returned to live on his farm near Bucharest. In 1950, during the 60th anniversary season of his debut as a violinist, he gave a farewell con-cert with the New York Philharmonic. The program included his first Romanian Rhapsody (conducting the orchestra). He returned to Paris and on July 1954 he suffered a stroke and remained incapacitated until his death in 1955.

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OBOE Nancy Sylvestre, Principal Kathy Clark Mariel Updegrove ENGLISH HORN Kathy Clark CLARINET Robert LaMotte, Principal Ivan Hubbard Mark Weinstein BASSOON ** Jan Jekel, Principal Erica Holahan ALTO SAXOPHONE Elizabeth Markman Tricia Palluzzi TENOR SAXOPHONE Ivan Hubbard FRENCH HORN Sheila Doherty, Principal ** Louis Fierman * Barry Piekos Matthew Paisley TRUMPET Michael Eskenazi, Principal Kenneth Kramer Mike Roche Shawn Ackerman TROMBONE * Bill Gambardella, Principal Jose Lara Chris Schrock TUBA ** Jim Didriksen * Bruce White TYMPANI & PERCUSSION Jim Beach, Principal Ray Mancinelli Leonard Engel Elizabeth Markman

* Board Of Directors ** Past President

HAMDEN SYMPHONY ORCHESTRA PERSONNEL VIOLIN I Roberta Mouheb, Concertmaster Elynor Bedocs Emily Canella Alice Leishman Joey Robinson Ayano Satoh Jane Short Robert Sibley Leslie Tracey VIOLIN II * Susan Paisley, Principal Monique Leone Raymond Mazan Danielle Salerno Chihiro Tsukamoto ??????????????? VIOLA ** Ruth Brooks Jillian Churchill?? Mark Kuss Margaret Liddell Rob Livolsi Rebecca Williams VIOLONCELLO Cheryl Martin, Principal Gene Feldman David Fritzinger Sarah Papsun Kristin Yuzuik CONTRABASS Andrew Martin, Principal Jesse Raccio Albert Van Leuvan KEYBOARDS Helen Smith FLUTE Alexandra Tucker Slap, Principal Maria Mangino Tricia Quinto PICCOLO Tricia Quinto