Metamorphosis of Peace

FROM THE MUSIC DIRECTOR

Dear Friends,

We are so excited to be able to welcome you
to the PVS’ 2022-2023 season, as we refocus
on our love for music! Having now carefully
returned to in-person performances, we are
grateful to channel more of our energies
into making music and sharing it with our
community and gather together as we have
always done—even when the orchestra was
founded in the midst of the second world
war back in 1939.

Thank you for being such encouraging
partners and allies as we navigated the
often murky passages of the pandemic. Your
reassuring support gave us the ability to
press forwards in the many innovations that the orchestra has embarked on since
2020!

Like in 1939, the world is again clouded with shades of war in Europe. Fittingly, we
begin with Sibelius’s Finlandia, with words that counter the ugly nationalism that led
to stohemvainrtyucoosnicfliacntsdinenthtreanpcaisntg. InmMuseictaomf oBrrpuchho’ssisfirostf Pvieoalicnec, othnicsemrtuos.icThisefoclolonwceerdt
by
closes with Hindemith’s seminal Symphonic Metamorphosis. Written in 1943, when
Hindemith was a new refugee from Germany living in New Haven, CT, it serves as a
symbol of hope and transformation for the many who have been displaced and now
live among us in our community.

ItnribNeosvienmthbeewr, aRkeesiolifetnhceeTTrahirloouf gTehaSrse.rWeneithyarveecothuenrtasrteheoptrpiuomrtpuhniotyf American Indian
to hear the work
of one of the 19th century’s most notable female composers, Emilie Mayer, in her
fourth symphony, juxtaposed against the wistful elegance of Elgar’s Serenade. That
same month, the oPfVBSlaCchkocrousmipnvoisteesrsyaocurotossCcheeneturrtiehse. Weary Traveller, celebrating
the choral music

For the holiday season, we are excited to premiere a fabulous new Christmas
Extravaganza by Puerto Rican composer Ivan Rodriguez and a flashback to the past
with a new commission from Pioneer Valley’s very own Jerry Noble. Join us as we
recreate—and create anew—our holiday traditions.

In the spring, we join the Springfield Symphony, UConn Storrs, and UMass Amherst
in a mini-festival of tshyemmphuosincyoafnUdkrtahieniraengcioonmalpposreemr Tiehroemoaf sa dneewHaerdtimtioannno.fWdee
will present his first
Hartmann’s Piano Concerto. These masterworks sit at the crossroads of Ukraine,
Russia, and the U.S.—of lost worlds and new homes. Also in the spring, the PVS
Chorus hosts a summit of regional choruses for a joyous celebration of singing.

Lastly, we draw on the most popular Classical opera of modern times, Hiawatha’s
Feast, together with Mozart’s ggroeragteMouasssmiunsiCc aMndinoorppinoratusntiitrireinsgfoarncdoemvmocuantiitvye-
finale to a season filled with
making.

As we revitalize our shared love for music, may we all experience peace, renewal,
and comfort in community.

Tianhui Ng

2022 / 2023 FOR THE LOVE OF MUSIC 3

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4 PIONEER VALLEY SYMPHONY 84th SEASON

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2022 / 2023 FOR THE LOVE OF MUSIC 7

TIANHUI NG

Music Director

Tianhui Ng has emerged as one of
the leading advocates for new music,
with a rare understanding of the
voice and Romantic expression. He
has conducted more than 60 world
premieres, including numerous
operas and multimedia works. His
unique gifts for communication
and intercultural work have borne
fruit in several unusual firsts,
including the first operas in Yoruba
and Chickasaw, alongside award-winning programming, drawing
on his deep knowledge of canonic repertoire in dialogue with the
issues of our time.

Since his appointment as Music Director of White Snake Projects
in 2020, Tian has led the world premieres of Death By Life by
Leila Adu Gilmore, Jacinthe Greywoode, David Sanford, Jonathan
Bailey Holland, and Mary D. Watkins, A Survivor’s Odyssey by Mary
Prescott, Elena Ruehr’s Cosmic Cowboy, and Jorge Sosa’s Alice in
the Pandemic, identified by the Library of Congress as one of the
most significant works of American art in the pandemic

In 2022, Tian’s first album with the Lviv National Philharmonic of
Ukraine on Nimbus Alliance has been lauded internationally as a
major contribution to a previously unknown legacy of symphonic
music in Ukraine and Russia. Hailed by the Boston Globe as
“unforgettable,” Tian will celebrate his appointment as Music
Director of the New England Philharmonic with his trademark
programming in the 2022-2023 season. Tian’s debuts and new
collaborations this season include appearances with the GBH
Music in Boston, National Public Radio, New England Public
Media, Borromeo Quartet, Pro Arte Musical, and the Springfield
Symphony.

8 PIONEER VALLEY SYMPHONY 84th SEASON

Tian has conducted orchestras around the world, including the
Savaria Symphony Orchestra (Hungary), Moravian Philharmonic
Orchestra (Czech Republic), Dartington Festival Orchestra (UK),
Orchestra of the Royal Opera of Wallonie (Belgium), and the Oregon
Bach Festival Orchestra (USA). A versatile musician, he is equally at
home in the realm of choral music and has conducted ensembles
like the Stuttgart Chamber Choir (Germany), Carnegie Hall Festival
Chorus (USA), Oregon Bach Festival Chorus (USA), Yale Schola
Cantorum (USA), and the Young Person’s Chorus of New York
(USA). Tian has collaborated with internationally renowned artists
such as Dashon Burton, Tyler Duncan, Marcus Eiche, Jamie-Rose
Guarrine, Ayano Kataoka, Ilya Polataev, Gary Steigerwalt, Astrid
Schween, Sara Davis Buechner, Hanna Elisabeth Müller, Nicholas
Phan, James Taylor, Gilles Vonsattel, and Soyoung Yoon.

Tian holds a B.M. in Music from the University of Birmingham, UK,
with a focus on conducting and composition, and he earned an
M.M. in Conducting from the Yale School of Music. His conducting
teachers and mentors have included Helmuth Rilling, Masaaki
Suzuki, Paolo Arrivabeni, John Carewe, Peter Eötvös, Kurt Masur,
and Michel Tabachnik.

Tian is the Music Director of the Pioneer Valley Symphony, New
England Philharmonic, the Victory Players, and White Snake
Projects.

Stay in touch with Tian via Instagram @ngtianhui

2022 / 2023 FOR THE LOVE OF MUSIC 9

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ALLEGRA MARTIN

Chorus Director
Dr. Allegra Martin serves as the
Interim Director of Music at First
Unitarian Worcester, the Music
Director of Convivium Musicum, and
teaches conducting at Berklee School
of Music. Previous positions have
included Director of College Choirs
and Interim Orchestra Director at the
College of the Holy Cross, Director of
Music at First Parish Cohasset, Artistic
Director of the Cantilena Women’s
Chorale, and Chorus Director at

Lasell College. Allegra holds degrees from Williams College and
Westminster Choir College, and a doctorate from the University of
Illinois. At the University of Illinois, she founded and conducted the
University Mixed Chorus. Her research specialty is the choral music
of Margaret Bonds. She has presented on Margaret Bonds and on
the topic of diversity and inclusion in the choral canon at ACDA
Northeastern, NCCO, and the Oxford Conducting Institute.
Allegra is also an active professional singer, and was one of the
founders of Anthology, a women’s vocal quartet that performed in
the greater Boston area for six years and commissioned 22 works of
new music in that time. She currently sings with the Schola Cantorum
of Boston and in the past has sung with such ensembles as Cappella
Clausura and the Video Game Orchestra. While at the University
of Illinois, she performed Julia Wolfe’s award-winning Anthracite
Fields with Bang on a Can and Vivaldi’s Juditha Triumphans with the
Venice Baroque Orchestra. While at Westminster, she sang with the
New York Philharmonic and the Philadelphia Orchestra, as well as in
opera productions at the U.S. Spoleto Festival.

12 P I O N E E R VA L L E Y SY M P H O N Y 8 4th S E ASO N

NELL WIENER

YOUTH ORCHESTRA DIRECTOR

Nell Wiener is an educator, musician,
and arranger based in southwestern
New Hampshire. She brings 15 years
of experience teaching instrumental
and choral music across elementary,
middle, and high school levels,
working with students from their
very beginning moments all the
way through their development into
confident, capable musicians. She
enjoys weaving in elements of history
and music theory into her teaching, inviting students to broaden
their contextual understanding and engage more deeply with the
music. Young musicians appreciate the upbeat and collaborative
environment of her ensembles, along with the engaging musical
programming she brings. Playing in orchestras has been a constant
presence in Nell’s life since childhood; she’s been a proud member
of the viola section in many youth and community ensembles over
the years, and with the Pioneer Valley Symphony Youth Orchestra
she is honored to work with the next generation of musicians within
one of the oldest community orchestra organizations in the country!

Nell holds a BA in Music from Wellesley College, where she studied
music theory with Martin Brody and conducting with Lisa Graham.
She worked for many years at Monadnock Waldorf School in
Keene, NH, teaching music as well as serving in faculty leadership.
Currently she teaches music at Gathering Waters Charter School
in Keene and maintains a private studio teaching violin and viola.

2022 / 2023 FOR THE LOVE OF MUSIC 13

Pioneer valley symphony presenTS

METAMORPHOSIS OF PEACE

Saturday, OctOBER 8, 2022 7PM

Greenfield High School Auditorium
Greenfield, Massachusetts

Tianhui Ng, Conductor

Finlandia (Hymn to Peace) Jean Sibelius (1865-1957)

Violin Concerto No.1 in G Minor, Op. 26 Max Bruch (1838-1920)
I. Vorspiel: Allegro moderato
II. Adagio
III. Finale: Allegro energico

Samuel Vargas, Violin

Symphonic Metamorphosis Paul Hindemith (1895-1963)
of Themes by Carl Maria von Weber

I. Allegro
II. Scherzo (Turandot)
III. Andantino
IV. Marsch

Pioneer Valley Symphony Orchestra
Tianhui Ng, Music Director

Anthony Ferreira, Assistant Conductor

Pioneer Valley Symphony Chorus
Allegra Martin, Chorus Director

With a pre-concert talk from Dr. Adeline Mueller

This Concert Is Sponsored In Part By:

PIONEER VALLEY ORCHESTRA

SYMPHONY

VIOLIN I VIOLONCELLO HORN

Diana Peelle, assistant Philip Helzer, Erin Lylis,
concertmaster principal principal

Zoe Nordquist Alisa Beaver Joshua Vinocour
Mari Gottdiener Nancy Rich Rebecca Krause-
John Wcislo Susan Young Hardie
Elaine T. Holdsworth Kate Walker Stanley R. Light
Ronald Weiss Daniel Brandon Christine Mortensen
Mark Mason Nancy Pond
Jolina McConville Su Auerbach TRUMPET
Myra Ross Robin Luberoff
Mari Gottdiener Karen Atherton,
Reiko Sono BASS co-principal

VIOLIN II Patricia Cahn, Melissa Griffin,
principal co-principal
Cecilia R. Berger,
principal Lynn Lovell Wendy LaValley
Sue Keller
Nancy Ramsey Lauren C. Ostberg TROMBONE
Brian Whetstone Jeff Knox
Marilyn Richards Scott Pemrick,
Barbara Wald Freed FLUTE principal
Laurie Israel
Meredith Roll Quitno Nancy Shinn, Caroline Cole
Maya Guzman principal Joseph Sabol
Leibowitz
Margie Kierstead Beckie Markarian TUBA
Carol Baker Meghan MacFadden
Wendy Foxmyn Nick Lawrence
OBOE
VIOLA TIMPANI
Aaron Lakota,
Mandi Jo Hanneke, principal Daniel Albert,
principal principal
Abigail Haines
Sonya R. Lawson Jessica Murrow PERCUSSION
Roy Rudolph
Peter J. Haas CLARINET Dustin Patrick
Piper Prolago Andrew Armstrong
Robert McGuigan Kara Peterman, Madeline Dethloff
Pamela Skinner principal
BASSOON
Kathryn Scott
Elizabeth Orchulek Alex Meade,
principal

Roger F. Clapp
Debbie Chen

2 Pioneer Valley Symphony 84th Season

PIONEER VALLEY CHORUS

SYMPHONY

SOPRANO TENOR

Ananda Bagjackas Lisa Evans
Nadine Benzaia Henry Gibson,
Judy Case
Carol Coan section leader
Nina DaDalt-Korza, Leo Goodman
David Halloran
section leader Robert Kidder
Meiju Hwang Jim Mead
Tinka Lunt Roy Williams
Shirley Pelletier
Lola Reid BASS
Lex Salomone
Nancy Slator Duane Dale
Anna Smith Dan Grubbs,
Hetty Startup
section leader
ALTO Craig Machado
William Sawyer
Patricia Appelbaum
Magda Bartkowska
Amy Bernier
Amanda Ferron
Heidi Frantz-Dale
Marsha Hertel
Kristen Hipsky
Kay Holt,

section leader
Erin Klett
Kathryn Koegel
Maureen Lahti
Cherryl McLaughlin
Alethea O’Donnell
Elizabeth Orchulek
Julie Orvis
Marilyn Paterno
Gretchen Plotkin
Pat Powers
Susan Schaeffer
Lucy Shrenker

O ctobe r 8, 202 2 M eta m orph osi s of Peac e 3

TEXT AND TRANSLATION

Finlandia
Oi Suomi, katso, sinun päiväs koittaa
Yön uhka karkoitettu on jo pois.
Ja aamun kiuru kirkkaudessa soittaa
Kuin itse taivahan kansi sois
Yön vallat aamun valkeus jo voittaa
Sun päiväs koittaa, Oi synnyinmaa
Oi nouse Suomi, näytit maailmalle
Pääs seppelöimä suurten muistojen
Oi nouse Suomi, näytit maailmalle
Sä että karkoitit orjuuden
Ja ettet taipunut sä sorron alle
On aamus alkanut Oi synnyinmaa

- Veikko Antero Koskenniemi (1885–1962)
Finland, behold, your day is dawning,
Daylight has banished the menace of the night.
The lark’s song rings out in the morning light,
It fills the air and the blue skies,
Morning vanquishes the darkness of the night:
Your day has come, my native land!
Finland arise, face the nation with pride,
thy head now crowned with mighty memory.
Finland, arise, for to the world thou criest
That you have cast off the shackles of slavery.
Beneath oppression’s yoke thou never liest.
Thy morning’s come, my native land!

4 Pioneer Valley Symphony 84th Season

SAMUEL VARGAS

VIOLIN
Violinist Samuel Vargas Teixeira
has received wide recognition for
his powerful artistry and awards
including First Prize of the Sphinx
Competition (2021), Yamaha Young
Performing Artist (2019), Grand
Prize of the Jefferson Symphony
Orchestra Concerto Competition
(2019), First Prize in Atlanta’s GA
Philharmonic Competition (2017),
and Concertmaster Ambassador of
the United Nations (2014).

Vargas holds the Pin Artistic Merits from City Key of Prince Georgeand
Central Bank in Canada and has performed on tours in 40 countries,
collaborating with acclaimed artists like Gustavo Dudamel, Simon
Rattle, Daniel Barenboim, Claudio Abbado, and Christian Vasquez.
Vargas began his violinistic journey through Venezuela’s El Sistema
Program. In 2017 Samuel won the prestigious Woodruff Award
enabling him to study with his current mentor and professor Sergiu
Schwartz at the Schwob School of Music at Columbus State University.
He is the founder and president of the Samuel Vargas International
Music Foundation, an organization that is enriching communities
and society through the power of classical music, emphasizing a
holistic approach to music education, and supporting students in all
areas of studies and well-being. Through his passionate work and
entrepreneurship, he has founded eight active Venezuelan chamber
orchestras as well as mentored students across South America Vargas
recently published his first book, The Art of Giving and Receiving;
The Person Behind the Violin, which encompasses the art of teaching
and focuses on establishing a relationship between the musician and
their inner being.
Samuel plays on a Wojciech Topa 2020 Guarneri del Gesu model.

O ctobe r 8, 202 2 M eta m orph osi s of Peac e 5

NOTES ON THE PROGRAM

J. Sibelius (1865–1957): Finlandia, Op. 26 (1899, rev. 1900)
Andante sostenuto–Allegro moderato–Allegro

From the late middle-ages until the
early nineteenth century, Sweden
ruled Finland. This changed in 1809
when the Russian Empire defeated
the Kingdom of Sweden and made
Finland (at that time, the easternmost
third of Sweden) a Grand Duchy of the
Russian Empire. Finnish nationalism
intensified significantly in the course
of the nineteenth century due to Tsar
Nicholas II’s attempts to Russify the
territory and reign in its independence.
A signal moment in this effort was the
Tsar’s proclamation in 1899 known
as The February Manifesto, which
severely limited Finland’s autonomy
from Russia.
Among Jean Sibelius’s contributions to the national cause was incidental
music for a dramatic work written in 1899 in protest against the Tsar’s
proclamation: Days of the Press (tableaux by Kaarlo Bergbom, texts
by Eino Leino and Jalmari Finne). Sibelius’s contribution consisted of
seven musical numbers depicting scenes related to Finnish history
intended to increase Finnish national pride and buoy the Finnish press
whose freedom and autonomy the Tsar was curtailing. In the following
months, Sibelius lightly re-worked the music for the last of these scenes,
originally entitled “Finland Awakens,” as a free-standing work. Variously
performed under the titles Finland, The Awakening of Finland, La Patrie,
and Vaterland, Sibelius finally settled on Finlandia: A Tone Poem for
Orchestra in time for the publication of a piano-four-hand version of the
score in 1901.
Sibelius composed Finlandia out of well-chiseled building blocks.
The slow introduction (Andante sostenuto) consists of three sections
corresponding to the three main sections of the orchestra: first the brass
blast imposing, threatening chords; then the woodwinds enter playing
together in a texture reminiscent of a hymn; finally the strings appear
in a similar texture, which gradually becomes more entwined with the
woodwinds.
6 Pioneer Valley Symphony 84th Season

Sibelius returns to the brass for the opening of Allegro moderato, which
introduces a rhythmic tattoo in the trumpets, trombones, and timpani
that develops into the accompaniment of a victory march for the whole
orchestra (Allegro). At the conclusion of the boisterous march comes
the music for which Finlandia is best known—a gentle hymn-like tune.
In Sibelius’s original version the high woodwinds play the tune first then
pass it on to the strings with the melody doubled in octaves in the first
violins and ‘cellos. Although Sibelius composed this melody himself, it
has always struck audiences as a folksong-like expression of their national
character. Thus, despite Sibelius’s initial objections, the melody has been
set to words numerous times in several languages. This evening, Maestro
Ng uses a text written by the Finnish poet and literary scholar V. A.
Koskenniemi (1885–1962) in 1940, the only text to have been approved
by the composer to be sung as part of the work. A return to the march
after the hymn-like section brings Finlandia to a rousing, patriotic close.

M. Bruch (1838–1920): Violin Concerto No. 1 in G Minor, Op. 26 (1866)

I. Vorspiel (Prelude): Allegro moderato
II. Adagio
III. Finale: Allegro energico

Among the most popular and important German composers and
conductors of the second half of the nineteenth century, Max Bruch
saw himself as proponent of what, by the mid-nineteenth century was
considered a conservative style in opposition to the “modern” style of
the day propagated by the likes of Richard Wagner and Franz Liszt. Like
his friend and near contemporary Johannes Brahms, Bruch composed
in a wide variety of instrumental genres—chamber music, symphonies,
concertos, songs, and a large number of choral works. Despite his robust
output and good reputation, only three of his works remain widely
performed today: the Violin Concerto No. 1, the Scottish Fantasy for violin
and orchestra, and Kol Nidre for ‘cello and orchestra. His works might have
survived on concert programs in greater number, especially in Germany,
had he not written Kol Nidre and Hebräische Gesänge (Hebrew Songs).
These works made Nazi authorities suspect Bruch of being Jewish or at
least sympathetic to Jews—the first claim, entirely untrue, the second,
debatable—and resulted in a ban on his works in much of Central Europe
from 1933 until 1945.

We owe the survival of the Violin Concerto No. 1 in the standard repertoire
both to its beauty and to the violinist Joseph Joachim to whom Bruch
dedicated the work after consulting with him on revising the concerto
after the work’s premiere by another violinist. In revised form and in
Joachim’s hands, the concerto gained popularity. As one of the most

O ctobe r 8, 202 2 M eta m orph osi s of Peac e 7

influential violin teachers of the second half of the nineteenth century,
Joachim propagated Bruch’s first Violin Concerto not only through his
own performances but also through those of his students who in turn
passed it on to succeeding generations of violinists.
In the nineteenth century, composers increasingly departed from
the formal conventions of genres established in the late eighteenth
century. Late eighteenth-century convention dictated that a concerto
be structured as a three-movement (fast-slow-fast) form, with the first
movement laid out according to the principles of sonata form. In his Violin
Concerto No. 1, Bruch adheres to the overall fast-slow-fast arrangement
of movements, but departs from the convention of using sonata form for
the first movement, which he casts as a Vorspiel or prelude. Self-conscious
of this departure, he asked Joachim if the work merited the designation
concerto or might be better described by a more flexible term such as
fantasy. Joachim assured Bruch that the overall weight and contrast of the
three movements merited the title concerto.

The first movement begins with a gentle descending line in the clarinets
followed by a cadenza-like rhapsodic rise in the solo violin. Stated twice
at the beginning of the movement and again twice at the end, these
juxtapositions of measured orchestral statements and tempestuous solo
outbursts articulate the dynamic relationship between the soloist and
orchestra, making this concerto highly dramatic. That said, many of the
most beautiful moments in the concerto stem not from a competition
between the forces, but from collaboration—the horn emerging from the
orchestra to double a particularly beautiful line in the solo violin in the

first movement, or the violin adopting
the penitential tone of the orchestra’s
opening of the first movement in
the body of the second movement.
The beauty of this movement almost
defies description—it serves as one
of the greatest examples of orchestra
and soloist inspiring each other to
ever greater heights of expression
and intimacy. The third movement
introduces rhythmic vitality in the form
of a rondo theme with a Hungarian-
style lilt—perhaps a nod to Joachim’s
Hungarian roots.

8 Pioneer Valley Symphony 84th Season

P. Hindemith (1895–1963): Symphonic Metamorphosis on Themes by
Carl Maria von Weber (1943)

I. Allegro
II. Turandot, Scherzo
III. Andantino
IV. March

The 1940s found the German-born composer Paul Hindemith in the
United States in self-imposed exile from Hitler’s Germany. Although he
had defenders in high positions who thought that his style could represent
the future of German music, he fell out with the regime and many of his
works had been banned as “degenerate.” For a time, Hindemith thought
that his stature and his supporters would allow him to thrive under the
National Socialists. In retrospect, he regretted his less than straightforward
relationship to Hitler’s regime. As he confessed to his diary in 1939:

I see myself as a mouse who recklessly danced in front of the
trap and even ventured inside; quite by chance, when [the mouse]
happened to be outside, the trap closed!

Before beginning a teaching position at Yale in the winter of 1940,
Hindemith got his feet wet in the American musical scene as an instructor
of composition at the Berkshire Music Center, the summer home of the
Boston Symphony. Hindemith’s exposure to the Bostonians at a time when
they were playing a number of big, optimistic, and technically demanding
symphonic works may well have inspired him to accentuate these aspects
of his style when writing his own works for American orchestras in the
1940s.

The roots of Symphonic Metamorphosis go back to a project that the
choreographer Léonide Massine hoped would result in a work for his
Les Ballets Russes de Monte Carlo (the successor company to Sergei
Diaghilev’s Les Ballets Russes). Likely inspired by Franz Liszt’s orchestration
of Carl Maria von Weber’s piano piece Invitation to the Dance, which had
been made into the ballet Le Spectre de la Rose for Diaghilev’s company
in 1911, Massine suggested that Hindemith write a ballet based on some
other piano pieces by Weber. Initially the project appealed to Hindemith,
and he worked on it for a time in early 1940. From a modernist perspective,
it might at first seem strange that Massine’s idea was to use pieces by
Weber for piano four-hands—that is, music intended not for public
performance, but for the domestic drawing room. It is entirely possible,
however, that the straightforward approach to meter and phrase length in
these unremarkable pieces provided precisely the right accompaniment
for Massine’s classical ballet. Hindemith’s approach was to take the

O ctobe r 8, 202 2 M eta m orph osi s of Peac e 9

mediocrity of his source material as a particular challenge that required
a creative re-working of Weber’s music. The collaboration between
composer and choreographer ended when Hindemith recognized that
Massine wanted nothing more than straightforward orchestrations and
Massine realized that Hindemith’s approach was ill-suited to his project.

As the popularity of Hindemith’s music in the United States began to
increase in the early ’40s, Hindemith
sought to take advantage of the
situation by composing an orchestral
showpiece that would appeal
to American orchestras and the
American public. He developed
his sketches for the unrealized
ballet into a four-movement suite:
Symphonic Metamorphosis on
Themes of C. M. von Weber. Artur
Rodzinski premiered the work with
the New York Philharmonic on 20
January 1944. Olin Downes, critic for
the New York Times, gave it a rave
review—praising especially its joyful
ebullience. Thanks to the success of
the New York premiere, Symphonic
Metamorphosis found its way onto P. Hindemith

concert programs throughout the country. Although played less frequently
in recent decades than in the 1940s and ’50s, Symphonic Metamorphosis
is generally regarded as Hindemith’s most successful orchestral work. (An
arrangement of the fourth movement by Keith Wilson, a colleague of
Hindemith’s at Yale, has become a standard repertoire item for American
ssymphonic bands.)

Although Hindemith labels only the fourth movement a march, all but the
third movement are marches, albeit of contrasting characters. In the march
of the first movement, Hindemith tends to treat the brass, woodwinds, and
strings as separate units, each providing its own set of gestures to create
an overall texture, which, while driven by melody (derived from Weber), is
almost always also rife with counterpoint. About halfway through the four-
minute-long movement, the texture thins in a manner associated with a
trio (a sub-section of a march or dance in which the volume and textural
complexity are reduced): the brass rest while pizzicato strings accompany
an oboe solo. In addition to solos for the principal woodwinds, this
section features a comic gesture in the bassoons (with contra-bassoon),
which answer the higher woodwinds with a bouncy figure that begins in
the instrument’s depths. Hindemith rounds off the movement by bringing
10 Pioneer Valley Symphony 84th Season

back the brass for a rousing conclusion.
The main tune of the second movement comes from the appendix of Jean
Jacques Rousseau’s Dictionary of Music (1768) under the appellation Air
Chinois (Chinese melody). Although of dubious authenticity, its use of a
pentatonic scale made it stand out from most eighteenth-century European
music. Weber used the melody in a “Chinese Overture” for orchestra in
1804 as well as in the 1809 incidental music to Turandot, an Italian play on
a nominally Persian subject by Carlo Gozzi. Rousseau and Weber treat the
theme as a march, and Hindemith maintains the approach—borrowing
from Weber not only the tune (albeit a bit transformed), but its initial
orchestration in the flute. Hindemith also seems to have been inspired by
the large role for percussion Weber used to accompany the theme—an
“exotic” touch in the early nineteenth century that also fit the modernist
sensibilities of the mid-twentieth century.
The third movement, Andantino, is the only section of the work to depart
from the topic of the march. Here Hindemith’s plentiful wind solos and
sections of clear melody with accompaniment provide contrast to the
often busy counterpoint of the other movements. The virtuosic obbligato
line in the flute in the last third of the movement may be a nod to the
flute solo in the scherzo of Mendelssohn’s music for A Midsummer Night’s
Dream. The fourth movement returns to the topic of the march, now
featuring the woodwinds, brass, and percussion in a manner reminiscent
of a marching band. At times ominous, the movement ends with a catchy
victory march that for audiences of today may recall part of John Williams’s
score to the soundtrack of Star Wars.

© 2022 David E. Schneider. All rights reserved.
David E. Schneider is the Georges Lurcy Professor of Music History and
Theory at Amherst College, and the PVS’ resident musicologist since
2013.

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O ctobe r 8, 202 2 M eta m orph osi s of Peac e 11

12 Pioneer Valley Symphony 84th Season

FROM THE PRESIDENT

Dear Friends,

Welcome to the Pioneer Valley
Symphony’s 84th season! We’re glad
you are here, and hope you leave
inspired by what you see and hear.

Finlandia represents defiance and
strength in the face of oppression; its
music and sentiments are timeless.
Even 122 years after it was written, it
continues to resonate universally and
powerfully. As a musician, it is a joy and
honor to bring this meaningful music to
our local community. As I play tonight, my inspiration will be the personal
connection to Finlandia of my Finnish-American friends who changed
their travel plans to be able to hear the PVS perform this work live.

As I play Hindemith’s Symphonic Metamorphosis, my inspiration will
be the Pioneer Valley Symphony. The PVS organization has had our
own metamorphosis in recent years, and we are very proud of what we
have accomplished. We have added organizational capacity so we can
respond to new performance opportunities like this past May’s concert
at Symphony Hall to benefit the people of Ukraine, and this September’s
concert with bestselling author Dan Brown; initiated novel thrusts in
educational programming; hired excellent new directors for our choir and
youth orchestra; and programmed an exceptionally beautiful and diverse
season.

Our evolution is thanks to the dedication and hard work of Music Director
Tianhui Ng and our wonderful staff; the service and volunteerism of the
PVS community; the trust of our collaborators and business sponsors;
and, crucially, the encouragement and financial gifts we receive from
you. We need your continued help. Please consider becoming a member
of our Continuo Society, which provides foundational support through
automated monthly gifts. If you have included the PVS in your estate
planning you are a member of our Da Capo Society. Please let us know
so we can appropriately acknowledge your investment in music for future
generations. You can find out more about giving to the PVS in the lobby,
pvsoc.org/donate, or by phone at 413.773.3664.

On behalf of the PVS board of directors, thank you for coming this evening,
and for your support of the arts in our shared community.

Kara Peterman

O ctobe r 8, 202 2 M eta m orph osi s of Peac e 13

ADELINE MUELLER

Pre-concert lectureR

Dr. Adeline Mueller is Associate
Professor of Music at Mount Holyoke
College, where she teaches music
history. She specializes in Mozart and
eighteenth-century opera, ballet,
and art song, particularly in German-
speaking Europe, with additional
research interests in music and
childhood, marginalized composers,
and silent film music. She has
published articles on Mozart in the
journals Eighteenth-Century Music
(2013) and Opera Quarterly (2013),
and guest edited an issue of Opera Quarterly (2012) on Mozart’s Singspiel
The Magic Flute. Adeline also contributed chapters to the edited volumes
Mozart in Context (Cambridge, 2019), The Works of Monsieur Noverre
Translated from the French: Noverre, His Circle, and the English Lettres
sur la danse (Pendragon, 2015), and Wagner and Cinema (Indiana, 2010).
Adeline’s book, Mozart and the Mediation of Childhood (University of
Chicago Press, 2021) examines Mozart’s role in the social and cultural
construction of childhood during the Austrian Enlightenment, using
evidence from his early career, his compositions for the young, early
biographies, and posthumous (including spurious) music prints. She is
also contributing chapters to the forthcoming Cambridge Companion to
“The Magic Flute” and Cambridge History of German Opera to 1820.
Adeline has presented papers at such conferences as the American
Musicological Society, the Mozart Society of America, and the American
and British Societies for Eighteenth-Century Studies. Previous academic
appointments include Brown University (Visiting Assistant Professor,
2014-15) and New College, University of Oxford (Weston Junior Research
Fellow in Music, 2011-14).
In her research and in courses such as History of Western Music,
Shakespeare and Music, Music and Childhood, and Women and Music:
Sounding Community, Adeline focuses on the ways music circulates
among performers, consumers, and audiences, especially through print,
and on musical practices as sites of social reflection and experimentation.

14 Pioneer Valley Symphony 84th Season

OUR GENEROUS CONTRIBUTORS

We offer our deepest thanks to the individuals, businesses, and
foundations who support the Pioneer Valley Symphony through financial
gifts. Your trust, support, and encouragement inspire us and make the
music possible. The following represents gifts made to the PVS or to
other charitable causes via PVS benefit events, July 1, 2021 - June 30,
2022. To learn more about giving, visit pvsoc.org/donate or contact us at
413.773.3664 or [email protected].

Conductor’s circle
Platinum Baton | $10,000 +

Mary Stuart Rogers Foundation
Mass Mutual Foundation
U.S. Small Business Association

Gold Baton | $5,000-$9,999
Sydney Cushman
Greenfield Cooperative Bank
Efrem Marder
Mass Cultural Council, a state agency

Silver Baton | $2,500-$4,999
Anonymous
Commonwealth of Massachusetts
Ruah Donnelly and Steve Dinkelaker

Bronze Baton | $1,000-$2,499

Alex Meade Bikeworks, LLC Lathrop Communities
Anonymous Mark Mason and John Shea^
Marilyn Pryor
in honor of Tianhui Ng Myra and David Ross*
and Janna Walters-Gidseg John Thomas and Dennis Coffey*
Julia Bady Dennis Townsend
Dartmouth Class of 1968 Janet Van Blerkom
Greenfield Cultural Council Ronald and Janet Weiss
GSB Investments and Insurance Gary Wendlandt
Mandi Jo and David Hanneke*
Elaine and Robert Holdsworth in memory of Naomi Franklin
Kathleen Holt
* member of the Continuo Society
^ member of the Da Capo Society

O ctobe r 8, 202 2 M eta m orph osi s of Peac e 15

Music Lovers

Music Director | $500-$999

Anonymous Mary and George Lunt
in honor of Tuyet Linh Lafleur, William MacKnight
Tianhui Ng, and Janet Van Blerkom Beckie Markarian*

Andy’s & The Oak Shoppe in honor of Janna Walters-Gidseg
Channing and Marie Bete Alex Meade and Clarissa Spawn
Elizabeth Brown and Stanley Morris Grant Moss
Maureen Carney*
in memory of Elizabeth Bowdan
in memory of John and Madelyn Newmarket Dentistry
Carney New Salem Cultural Council
Barbara Davis and George Howard* Northfield Cultural Council
Finck & Perras Alexandra Ottaway
Florence Bank Davin and Jennifer Peelle
Franklin First Federal Credit Union
Paul Friedmann in memory of Priscilla and Jerold
in memory of Nicholas P. W. Coe, Mann
M.D. and in honor of Efrem Marder Nancy and David Pond
Richard Gaberman in honor of Owen and Tyler
Jean and William Jeffries Jan Puchalski
Jones Whitsett Architects Stu & Betsy Reese Family Foundation
Catherine and Edward Lamoureux River Valley Co-op Market
Attorney Stanley Light Nancy Shinn
in memory of Elizabeth Bowdan in memory of Tom Shinn Jr.
Long Island Youth Orchestra Alumni Pamela Skinner and Wayne Glaser
Robin Luberoff and Neal Pruchansky Yeshvant and Jean Talati
in memory of Peggy Freedman

concertmaster | $250-$499

Anonymous Mary Collins
in honor of Janice Kreitner Colrain Cultural Council
Curtiss, Carey, Gates & Goodridge LLP
Ashfield Cultural Council Esser Kent Family Law
Patricia Auchard and Joseph Sabella Debbie Felton and Jim Miller
Paul Benjamin Andrew Ferguson & Nang Edwards
Bernardston Cultural Council Frank Labelle’s Sales & Service
Cecilia and Joseph Berger Gill Cultural Council
Mari Gottdiener
in honor of Maureen Carney Donald Graham and Barbara Loh
Bridgeside Grille Lisa Kent and David Glassberg*
Bulkley, Richarson & Gelinas LLP Hope & Olive
Patricia Cahn* Judy and Alfred Hudson^
Liz Carney
in memory of Elizabeth Bowdan
in honor of Katie MacGregor
Robert Cherdack

16 Pioneer Valley Symphony 84th Season

Alison Locke Ryan & Casey Liquors
in honor of Evelyn Locke Shelburne Cultural Council
Shutesbury Cultural Council
Evelyn Locke Ilene Stahl
Mark Marshall and Helen Leung Stamell Stringed Instruments
Robert McGuigan JoAnne Stultz
Oberlin Alumni Tuesday Morning Music Club
Diana and Paul Peelle Umass Amherst Dept of Biology
Brenda and Scott Peterman
Kara Peterman in honor of George Drake
Nancy and Jeff Ramsey West Branch Capital
Renfrew Real Estate Whately Cultural Council
Wallis and Cornelia Reid

First chair | $125-$249 Eugene and Mary Hanneke
Peter Haas
Anonymous Deborah Haas-Wilson
in memory of Moira Brady Hitchcock Brewing
Judith Holmes
Suzanne Auerbach and Matt Kaplowitz HomeLight
Hugh Barrett Spencer and Lorma Hopton
Paula Barry Joyce Huber
Berkshire Facial Surgery Laurie Israel and Elaine Sidney
Janet Bowdan Shirley Keech and Mary King
Newton Bowdan Robert Kidder
Susan Bowman Deborah Leopold and David Sacks
Stephen Broll and Dvora Cohen
Buckland Cultural Council in memory of Mark Mason’s mother
Karen Burkinshaw and Laurel Quirk Carol and Peter Letson
Charlemont-Hawley Cultural Council Mark and Polly Lindhult
Roger and Joanne Clapp
Carol Coan and David Nixon in memory of Julius Gy. Fabos
Karen Cole* Lynn Lovell and John Darrow
Peter and Giovanna Contuzzi Gary MacCallum*
Robert Corry Lisa Middents
Devine Overhead Doors Dana Muller and Gary Steigerwalt
Catherine Dodds*
Gordon Dodge in memory of Elizabeth Bowdan
Jay Ducharme John Nuhibian
Richard Engelman Alethea O’Donnell and Scott Tulay
Stein Feick Lynne Page
Steve Ferrarone
Kristen Fossum* in memory of Roland Ratté
Goff Media Gretchen Plotkin
Bruce Goldstein Nancy Rich
Claire Griffin Marilyn Richards and Jon Steinberg
Zach Ruhl
in memory of John and Madelyn Elizabeth and Robert Schmitt
Carney Martin Shell
Jeffrey Gurski Ben Smar

O ctobe r 8, 202 2 M eta m orph osi s of Peac e 17

Snow & Sons Landscaping Peter Van Pelt
Dr and Mrs Speth Martha and Ihor Voyevidka
Surner Heating Western Mass. Horn Society
Margot Thomas Martha Wilson
Jean Pittman Turner Susan Young

in memory of E. Wayne Turner

Friend | Up to $124

Anonymous Tony Brackett
Jordan Abbott Maria Brandriff
Linda Abbott Monica Braunstein
Noreen Acconcio Bruce and Mary Brown
Rev. Stanley Aksamit Robert Brown
Pamela Albertson Theodore Brown
Barbara Allan Jill Bussiere
Jennifer Allen
Jion Allen in honor of Eudice Glassberg
Bridget Ambers Katherine Buttolph
Lea Appel and Sebastian Gutwein Ana Caicedo
Patricia Appelbaum
Oscar Arce in honor of George Drake
Barbara and James Cappello
in honor of Ronald S. Languedoc Virginia Caputo
Bryan Armington Eileen Carney
Alyssa Arnell Craig Carr
Glenn and Heidi Arnold Meghan Carroll
Thomas Casartello
in honor of the PVS Youth Orchestra Judith and Joe Case
George Arwady Pauline Casey
Gwendolyn Ashley Tama Chambers
Janet Chayes
in honor of Judy Case Eliza Childs
Margot Atkinson Arne Christensen & Stephanie Allen
Lori Austin Dustin Christensen
Barbara Baatz Deborah Chrzanowski
Lana Babij Kendall Clark
Mollie Babize and Mary Quigley Betsey Clifford
Gary Bacchiocchi Madeleine Cohen
Ananda Bagiackas Michael Cohen
Carol Baker Susan Cole
Jacki Barden Elizabeth Contant
Steven Bathory-Peeler David-Michael Cook
Alisa S Beaver Laurie Coursin
Yvonne Crevier
in memory of Estelle Beaver Eileen Crosby
Ana Ben Patricia H Crosby
Geraldine Berenson Regis Crosby
Colleen Currie*
in memory of Julius Fabos Emilie Czupryna
Anne Berkley Nina DaDalt-Korza and Edward Korza
Catherine Berry Christopher Daly
Timothy Berry Mildred and Carl Darrow
Masako Bogin* Keith Davis
Joyce Bosworth
Bernice Bowler
Sarah Boy and Charles Thompson

18 Pioneer Valley Symphony 84th Season

Martin Daye and Linda Woodall Douglas Gnepp
Betsy and Viktor Decyk Matt Godfrey
Yolanda and David Goff
in honor of our relatives in Ukraine Timothy Golden
Ellen and Charles Dickinson Alan Goldsmith
Patricia Donahue Leitch Susan Grant Rosen
Lea Douville Joseph Green and Erin Lylis
Gerald Downes Kate Green and Philip Helzer
Linda Greenebaum
in honor of George Drake Shirley Griffin
Helen Drake Barbara Guardione
Maria Duncan Nancy Haines
Maurita Eaton Margo Halton
Theresa Eckert Denzel Hankinson
Marcia and Russell Edes Brenda Hannon
Thomas Eisenman Christine Hannon
Barbara Elkins Maia Hansen
Roger Harris
in memory of Arthur Elkins Lauren Hartley
Claudia Ellet Danielle and Christopher Hartner
Susan Ellis Maryann Hayes
Emily Dickinson Museum Peter Hepler
Helen Engeseth
Lisa Evans in honor of George Drake
Edith Fabos Marsha Hertel
Christine Farley Paul and Jane Hetzel
Patricia Farrington and Jim Ellis Mary Hocken
Jim and Diana Holdsworth
in memory of Julius Fabos Danielle and Clay Holdsworth
Federal Street Books Julie Holt
Anthony Ferreira Thomas Housten
Laurie and Jeffrey Ferreira Linda Howell
Amanda Ferron Mathilde Hunting
Theodore Fijal Alfred Hutt
Debbie Finney Sam Icklan
Lucia Foley Andy Jaffe
Diane Forman Judd Mary Jaffee
Andrea and Zachary Fox Paul Jellinek
Jill Franks and David Neelon Dorothy Janke
Heidi Frantz-Dale and Duane Dale Caroline Jennings
Friends of Leverett Library Jeremy Jetzon
Christine Johnson
in honor of Library Family Passes Karen and Bill Johnston
Ashala Gabriel Candice Jones
David Gang and Roberta Hillenberg- Suzette and Thomas Jones
Julie Jones
Gang Peter Jones
Denise Gendron Sue and Cary Jubinville
Orca and Julio Giarrusso Michelle Kaskey
Henry Gibson Barbara Kautz
Eric Gidseg Kathleen Keene
Pauline Keener
in honor of Janna Walters-Gidseg Rachel Kelley
Michael Gilbert
Constance and William Gillen
Dan and Cheryl Gillman
Deborah Glassberg

in honor of David Glassberg
Robin Gline

O ctobe r 8, 202 2 M eta m orph osi s of Peac e 19

Sue Keller Jeffery Machado
in memory of Morris Youngdahl Margot Maddock
Ronald Maggio
Lucinda Kidder Dorothy Maloney
Cheryl and Micah Kieffer Barbara Marder
Margie Kierstead Elissa Marder
Shersten Killip Eve Marder
Susan Kimball Gabrial Marder
Brian King Ursa Marder
Mary B. King Yuri Marder
Rebecca King Audrey Markarian
Nancy Klatt
in honor of Beckie Markarian
in honor of Nancy and Jeff Ramsey Jane and Ken Markarian
Barbara Klaus Laurie Marks
Alice Klingener Mary and Herb Marsh
Susan Knightly David Martel
Paul Martin
in honor of Tianhui Ng Mary Maxwell
Karis Knoll Richard Mayer and Joan Spalding
Mara Kohls Annie McCollum
Maria Kohulka Green Andrea McDermott
Christina Kopp Cherryl McLaughlin
Sarah Kraaz Robert Meade
Jennifer Kramer Ellen Mehlhorn
Rebecca and John Krause-Hardie Jone Messmer
Peter Kravetz Sarah Metcalf
Patricia Krol Suzanne and Norman Metz
Ed Kubosiak Amy Metzger
Bo and Karen Kukil Arthur Meyer
Alexander Kuzma Meyers Brothers Kalicka, PC
Denise Lafountain Meredith Michaels
John LaFrance Sophie Michaux
Daniel Miller
in honor of Efrem Marder David Miller
Melanie Lahti Joseph Misterka
Maureen and Paul Lahti Tanisha Mitra
Paul Lambert Nona Monahin
Kathy Lanza Mary Moriarty
Janet Laprade Athena Morris
Diane Lawler Gretchen Morris
Bee Leake Anna Morrison and Norman Albert
Christine Lee Janice Murphy
Maya and Sue Leibowitz Mary Murphy
Leo’s Table Patrice Moskow
Danielle Lochhead Albert Mussad
Rebecca Lombardi Chet Myslinski
Richard Loomis Ladimer Nagurney
Louise Lopman Cynthia Nazzaro
Erica Lorentz Nancy Nelkin
Susan and Richard Lovelace
in memory of Cathy Vollinger
in memory of Elizabeth Bowdan Robyn Newhouse
James Lowe Dominik Niceva
Daniel Lynch
Craig Machado

in honor of Wayne Abercrombie

20 Pioneer Valley Symphony 84th Season

Andrew Noble Tom and Margot Rowland
in honor of Ben Smar Richard Ruane
Roy Rudolph
Jane O’Connor Elena Ruehr
Lori O’Neil Helve Saarela
Paula Olson Patrick Sabbs
Elizabeth Orchulek Emily Samuels
Debra Orgera and George Kohout David Sanborn
Julie Orvis Sattva Center for Archery Training
Marta Ostapiuk Annita and William Sawyer
Robert K Ostberg Susan Schaeffer
Richard Page David Schneider
Louis Paparazzo Barbara Schulze
John Paresky Susan Schwarz
Marilyn Paterno Kathryn and Russell Scott
Andrea Patt Russell Seelig
John Pearson* Susan Sensemann
Lorraine Pearson Marguerite Serkin
Adam Peck
Shirley Pelletieri in memory of Peter Serkin
Connie Shea
in memory of Jack Ramey Thomas and Elaine Shea
Dale and Lorna Peterson Mary Sharma
Larry Picard Karen Sheingold
Lawrence D. Picard Deborah Sherr and William Feinstein
Emily and John Pietras David and Esther Short
Barbara Pilarcik Mickey Shrair
Rutherford Platt Michael And Elizabeth Shuipis
Jacqueline Pleet Nancy Shumate
Natalie Pollock Elan Sicroff
Rebecca Pond Jeffrey Siegel
Carol Pope
Kimball Prentiss in memory of Naomi Franklin
Kyle Pruett Frank Sikora
John Rager Dick and Jean Simmons
Maria Ramsey
Jennifer Rao in honor of Jan Puchalski
Wallace Rapalus Mary Sirum
Tom Redmond Nancy Slator and Daniel Grubbs
Gail Reiner Serghei Sleptov
Deborah Reiter Virginia Smilack
Timothy Relyea and Lee-Ellen Strawn Linda and Harlan Smith
Mark Rentschler Vanessa M. Smith and Elizabeth L. Lehman
Alison Rex Anna Smith and Jim Mead
Rachael Rheaume Carol Smith
Margaret Rich Judith Solsken
Justin Richardson Dorothea Sotiros
Lucy and John Robinson Maria-Lydia Spinelli
Ronald Robinson Susan Sprung
Hope Rogers Adrian Stair
Timothy Rooke Henrietta Startup
Lorraine Rosenberg Homer Stavely*
Steven Ross Jane and Peter Stein
Jamie and Steven Rousseau Gerald Steinberg
Stacey Street

O ctobe r 8, 202 2 M eta m orph osi s of Peac e 21

Amanda Strout William Walsh
Maryellen Sullivan Janna Walters-Gidseg
Kathleen Swaim
Kevin and Maggie Sweeney in honor of Beckie Markarian
Alice Szlosek Catherine Wanat
John Tassinari Daniel Warner
The Bement School Carol Waskiewicz
The Button Box John and Bridget Wcislo
Cynthia Thibeau Judith Wermuth-Atkinson
Kathleen Thibeault James Whetstone
Leanne Whetstone
in honor of Maureen Carney Warren Whitaker
Thomson Financial Management Pamela White
Emily Whitted
in memory of Julius Fabos Roy and Janet Williams
David and Ivana Toone Susan Wilson
Natalie Torkelson Amy Wilson-Stayton
Calin Trenkov-Wermuth Patricia Wisch
Jessica Tuttle
Elaine Ulmay in memory of Julius Fabos
Susan Urban Richard Wizansky
Kate Ussailis John and Ann Wood
Daniel Van Blerkom Heather Wrisley
Gail Vivian Emily Young
Tanya Voyevidka Jeanne Young
Cheryl Wadsworth John Yount
Lotus Yu
in honor of Janet Van Blerkom Marya Zilberberg
Benjamin Wald Jean Zimmer
Kate Walker
ILLUMINATI

vocal arts ensemble
Arianne Abela, Interim Director

In IllAot TTehmat pToimree

7:30 PM October 15, 2022, Our Lady of the Valley Easthampton

J.S. Bach, ‘Komm, Jesu, komm,’ BWV 229 • ‘Jesu, meine Freude,’ BWV 227
Monteverdi, Missa ‘In illo tempore’ • Victoria, Missa ‘O quam gloriosum’

Mercy TthheeSFcoyutnhteaainnd

Herbert Howells Requiem and music by
Gjello, Holst, Thompson, Whittacre and Tavener

Lang, ‘the little match girl passion’
Schütz, ‘Musikalische Exequien’

tickets, season tickets with preferred seating, and details: illuminatiensemble.org

22 Pioneer Valley Symphony 84th Season