Fire & Rebirth - March 19, 2022

PIONEER VALLEY

SYMPHONY

SATURDAY, MARCH 19, 2022

SATURDAY, MARCH 19, 2022

TIANHUI NG, MUSIC DIRECTOR
FREDERICK C. TILLIS HALL
RANDOLPH C. BROMERY CENTER FOR THE ARTS
AMHERST, MA

Proud Printer for The Pioneer Valley Symphony

FROM THE PRESIDENT

Dear Friends,

Welcome to the Pioneer Valley
Symphony’s spring concert, Fire and
Rebirth. This concert feels very much
like a rebirth for us, as it is our first
live, full-orchestra concert since before
the pandemic. But, the words “fire
and rebirth” ring differently as I write
this letter mere days after Russia has
invaded Ukraine. The Firebird Suite
is a Russian masterpiece by a Russian
composer, written for the Ballet Russes. While Igor Stravinsky himself
had nothing to do with today’s crisis, we are all aware of this cognitive
dissonance. Ukraine did not ask for fire, nor need rebirth. It did ask for
peace, and for solidarity. We stand with the brave people of Ukraine.

Kara Peterman
President

2021 / 2022 A season of rebirth 1

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FROM THE MUSIC DIRECTOR

Dear Friends,

In many ways, this concert was meant to
be one of the pivotal moments of our
season. Last fall, we eagerly anticipated
performing in public again, being with
our audiences, and experiencing live
music together as a community.

For this occasion, I felt that Stravinsky’s
Firebird was absolutely symbolic of this
hoped-for turning point in our history.
Like the defeat of King Kashchei in the
original ballet, I dreamed of us all waking
up from a magically-induced slumber to rediscover our lives in the flesh again.

With all the work that the orchestra has done to explore musics beyond the
European canon that we had inherited, it seemed fitting that this moment of
rebirth should be accompanied with new music. We are delighted to have
the privilege of presenting the world premiere of Andrés Martín’s new cello
concerto, especially with such an esteemed solo cellist as Amos Yang. The
music is rich with the influence of Romanian folk fiddling, the Tango, and the
Milonga, and, like the Firebird, is an enchanting work of music.

In solidarity with those who desire peace for all peoples, I am inspired at this
moment to share some music by the composer Thomas de Hartmann, coined
the “forgotten Ukrainian master” by the Ukrainian press in their coverage of a
festival of his music in Lviv I conducted earlier this season. Stravinsky also had
a deep connection with Ukraine; his mother was from Kyiv and he maintained
his roots there as a child.

De Hartmann was born in a region that is in present-day Ukraine into a family
of Russian nobility. His music is rich with musical references to his birthplace
and, in his Third Symphony, inspiration from Ukrainian tales and legends. We
humbly offer the Prologue and Epilogue from that symphony to express our
desire that peace prevail.

I cannot but hear the wistful memory of a bygone time in de Hartmann’s
music, the yearning, and the profound sense of loss that he no doubt felt
as a refugee in the United States, like Stravinsky. May this music grant us the
space to reflect on the complex histories of their beautiful land and ours, and
express what we cannot sufficiently say with words.

Tianhui Ng
Music Director

2021 / 2022 A season of rebirth 3

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FROM THE COMPOSER

Dear Friends,

It’s easy to feel lost when surrounded by
chaos, illness, death, and uncertainty.
This feeling is far worse when we
experience it alone, in isolation. I
believe that passion is the greatest
strength of being human. When live
audiences were impossible, passion is
what drove me to sit down and write
music for months. Passion is what made
the great Roger Arvid Anderson support my work, despite the uncertainty
of not knowing if or when it could ever be performed. Passion is what kept
so many musicians making music, sometimes risking their lives to rehearse
and perform. When the darkness is all around and wants to silence us all,
it is the voice of Passion that must be raised up, fed, and shared.

Andrés Martín
Composer, Vox: Concerto for Violoncello

2021 / 2022 A season of rebirth 5

NOTES ON THE PROGRAM

A. Martín (b. 1981): Vox: Concerto for Violoncello
World Premiere

1. Introduction—Moderato—Slow—Cadenza—Moderato
2. Adagio—Moderato—Adagio
3. Mysterioso—Milonga—Lento y dramatico—Cadenza—
Milonga—Slow

Buenos Aires native Andrés Martín is a virtuoso double bassist,
influential teacher, and prolific, award-winning composer. Based in
Tijuana, Mexico, where he moved two decades ago to assume the
post of solo bassist with the Orquesta de Baja California, Martín
has provided the impetus for an explosion of interest in the bass in
Mexico that, like Martín himself, has had an important influence on
the world of classical music writ large. Originally a guitarist, Martín
took up the bass at age thirteen at the urging of his father who
thought it would be a good idea to play an instrument that would
give him a path in classical music. The only classical bassist in the
entire Mexican state of Baja California when he arrived to join the
orchestra (which had until then depended on bassists from San
Diego), Martín soon attracted a robust studio of bass students. To
provide inspiration and camaraderie for his students, he began a
small summer meeting for double bassists. Soon the meeting grew
into The Latin American Double Bass Encounter, which became a
major international event for bassists.

An important part of Martín’s spreading of the gospel of the bass
is his compositions for the instrument—particularly his Concerto
para Contrabajo y Orquestra
(2012). This work, the first of
his three concertos for bass,
has been played in more than
twenty-five countries and has
become a staple of the bass
repertoire—a required work
in the prestigious Bradetich
Foundation International
Double Bass Competition
Photo courtesy Andrés Martín

6 PIONEER VALLEY SYMPHONY 83RD SEASON

and, for the last three years, in the Sphinx Strings Competition.
Vox, Martín’s first concerto for cello, owes its existence to the
San Francisco-based artist and patron of the arts Roger Arvid
Anderson who commissioned the work. The commission is part
of The Concerto Initiative, a project funded and administered by
Anderson since 2013 with the goal of commissioning substantial
concerti for violin, cello, and bass from composers whose
“inventive and compelling use of melody” has the potential “to
win back audiences lost by atonal music.” Long-time PVSO first
violinist Ron Weiss, a former classmate of Anderson, brought the
work to Maestro Ng’s attention, which led the orchestra to take on
the world premiere of Vox in tonight’s concert.
The Music
Martín prefaces the score to Vox (Latin: voice) with a quote
embodying the main subject of the work: “…During one of
the darkest and most silent times in the history of humanity, a
powerful voice rose up from isolation…” The work reflects Martín’s
meditation on artistic expression during the pandemic. Its title is
inspired by the Latin line Vox clamantis in deserto (A voice crying
out in the wilderness), which appears in the Bible (Isaiah 40:3; Mark
1:3; and John 1:23) and serves as the motto of Dartmouth College,
the commissioner’s Alma Mater.
Movement 1 is built around four climactic outpourings. The first
occurs in the slow introduction, which begins with a tentative
melody in the violins with pizzicato accompaniment in the lower
strings, and soon explodes into a passage of high volume and
emotion. The outburst brings back the tentative melody with
conviction and presages the weight and emotional scope of the
work. The second climax comes at the end of the first moderato, a
section introduced by the solo cello playing a series of fast repeated
notes that leads to a long-breathed melody for the soloist over a
rhythmically active accompaniment. Increasingly virtuosic writing
for the cello brings the second climax in which the soloist plays
the melody along with the upper strings and piano. Following this
climax, the cello introduces a slow interlude featuring a mid-range
melody against steady eighth notes in the piano right hand. This
section builds in intensity until the full orchestra enters with the

2021 / 2022 A season of rebirth 7

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third climax, a repetition and elaboration of the climactic music of
the slow introduction. A cello cadenza leads the music to the final
moderato, which brings back the playful music of the first moderato
over which the violins sing out the melody from the introduction
one last time.
Movement 2 acts as a bridge between the intense emotions of
the first movement and the lighter, dance-inflected mood of the
third. The transition occurs in the middle of the movement when
the orchestra, aided by three snare drums, imitates the sound
of a steam locomotive gradually gaining speed. This sonic train
delivers the music from what could be described as a dark pastoral
in 4/4-time to a lighter, brighter section in 3/4. The ending of the
movement deserves special mention—after the lighter section in
3/4, a cadenza for the solo cello leads to a full-throated, sweeping
Romantic outpouring from the orchestra followed by a quiet
reminiscence of the opening of the movement in the solo cello,
which brings the movement to a peaceful conclusion.
Movement 3 begins with a dramatic orchestral introduction marked
mysterioso, but soon gives way to the cello playing a milonga,
the lighter and more playful cousin of the Argentine tango. The
emotional world of the first movement is not, however, forgotten.
The texture of the milonga gets more complex until the full
orchestra plays a melody “lento y dramatico” (slow and dramatic)
reminiscent of the climax of the first movement. This gives way
to the longest of the three movement’s cadenzas, which includes
nods to both Bach’s suites for solo cello and the cadenza of the
first movement of Mendelsohn’s Violin Concerto. A return to the
milonga and a final declaration of the climactic theme from the first
movement bring the work to a rousing conclusion.

2021 / 2022 A season of rebirth 9

I. Stravinsky (1882–1971): Suite from The Firebird (1910/1919)
1. Introduction—The Firebird and Its Dance—The
Firebird’s Variation
2. The Princesses’ Khorovod (Round Dance)
3. Infernal Dance of King Kashchei
4. Berceuse (Lullaby)
5. Finale
Prior to June 25, 1910, the date of the premiere performance of
the ballet The Firebird by the Ballets Russes (Russian Ballet) in Paris,
the name Igor Stravinsky was known outside of St. Petersburg only
by those Parisians and Londoners keen enough to have examined
the fine print on their programs for the 1909 production of Les
Sylphides. Sergei Diaghilev, founder of the Ballets Russes and
perhaps the greatest impresario of the twentieth century, had
commissioned his fellow countrymen Alexander Glazunov, Anatoly
Lyadov, Sergei Taneyev, Nikolai Tcherepnin, and Igor Stravinsky
to orchestrate piano pieces by Chopin for the version of Les
Sylphides performed by his new ballet company in their inaugural
season. Even in St. Petersburg, Stravinsky was not widely known
as he had only a handful of short pieces performed at concerts
of contemporary music, and his orchestral works had only begun
to get hearings—the Symphony in E-flat in 1908, and two other
shorter works in February 1909. After the premiere of The Firebird,
Stravinsky was well on his way to becoming among the most
important composers of the twentieth century.
This is what we know about the story behind Stravinsky being asked
to write the music to The Firebird:
Nikolai Tcherepnin, a member of Diaghilev’s inner circle and the
conductor of the Ballets Russes’ first season, was Diaghilev’s first
choice as a composer. Tcherepnin began work on the score, but
abandoned it after several months. Why Tcherepnin stopped working
on the ballet is unknown. With only five months to complete the
score, Diaghilev approached another of the orchestraters of music
for Les Sylphides, Anatoly Lyadov. Why Lyadov did not take on the
assignment is also unclear, but the time taken by his indecision left
even less time for a composer to write the work. Finally, Diaghilev

10 P I O N E E R VA L L E Y SY M P H O N Y 8 3 RD S E ASO N

got around to asking Stravinsky, whom he considered a risky
choice because of his youth and inexperience, but nevertheless
better than Glazunov whose conservatism did not align well with

Diaghilev’s aesthetics.

Legend has it that Stravinsky wrote
the score to The Firebird in record
time. Indeed, he did work quickly,
but not as quickly as has often been
reported. Sensing that an opportunity
might come his way—after all, like
Tcherepnin and Lyadov, Stravinsky had
already worked for Diaghilev as an
orchestrator—Stravinsky had begun
composing The Firebird approximately
two months before Diaghilev asked
him to take it on.

The scenario for the ballet had
been worked out by the artist and
Costume design for The set designer Alexandre Benois and
Firebird (1910) by Leon Bakst the choreographer Mikhail Fokine,

members of Diaghilev’s artistic team. They combined archetypal
elements from a variety of Russian fairy tales—the largely positive
character of the magical firebird and the archetypal male antagonist
Kashchei. In Benois and Fokine’s version of the tale, the firebird
is half woman and half bird. Captured by the tale’s hero, Prince
Ivan, she rewards him for freeing her by giving him a magic feather.
Ivan then uses the feather to call her to help him defeat Kashchei’s
magical power and free the thirteen princesses the evil magician
had been holding captive. In true fairytale fashion, Prince Ivan
marries the most beautiful of the princesses.

The Music
Diaghilev likely knew that the combination of human and magical
characters in The Firebird would give the composer the opportunity
to incorporate music based on Russian folk songs for the depiction
of human characters and more experimental musical techniques
that had been used by the recently deceased Rimsky-Korsakov for
magical creatures. Both the Russian folk tunes and the experimental

2021 / 2022 A season of rebirth 11

techniques contributed to the music’s exotic appeal. Stravinsky,
a student of Rimsky-Korsakov, did not disappoint. He used folk
melodies taken from Rimsky-Korsakov’s own arrangements of
Russian songs for voice and piano to depict the Prince, Princess,
and the music of thanksgiving in the finale. These tunes give
the score its hummable “ear worms.” He also turned to Rimsky-
inspired “fantastic” harmonies and scales to lend a magical aura to
the magical characters: the firebird and Kashchei.
The Suite heard on tonight’s concert dates from 1919 and includes
a bit less than half of the music to the complete ballet. The 1919
version eliminates the most modernistic music intended to follow
almost every gesture in the work’s pantomimes, but retains the
ballet’s orchestral introduction and main dance numbers. It also
significantly reduces the size of the orchestra required, but in a
manner that artfully preserves most of the colorful effects of the
original score.
The Introduction begins softly with eerie wandering figures in
the low strings to which Stravinsky adds menacing chords in the
trombones. In the ballet, this leads to the curtain opening on
Prince Ivan on a hunting expedition in the woods where he spies
the firebird and follows her to an enchanted garden. The Firebird
and Its Dance introduces the title character—her music expresses
her radiant colors and electrifying flight. The Firebird’s Variation
uses virtuosic writing for woodwinds as a means of depicting the
firebird’s quixotic gestures. In the ballet, the prince captures the
firebird, but releases her when she promises to give him one of her
feathers with which to summon her in times of need.
The Princesses’ Round Dance shows off the thirteen princesses
held captive by Kashchei. He allows them to roam his garden
by day, but turns them into stones at night. Forced to return to
Kashchei’s castle, the princesses, one of whom Ivan has fallen
in love with, warn the prince not to follow them. Ignoring their
warning he does and is captured by Kashchei’s guards. The Infernal
Dance of King Kashchei is the dance Kashchei and his guards
dance while spellbound by the firebird’s magic. At the end of the
dance, Kashchei and his minions fall asleep.

12 P I O N E E R VA L L E Y SY M P H O N Y 8 3 RD S E ASO N

During the Lullaby the firebird shows Ivan
the secret to Kashchei’s power—an egg in
which he has hidden his soul. As long as
his soul is enclosed in the egg, Kashchei
is invincible. Ivan smashes the egg, which
brings about the destruction of Kashchei
and the release of the princesses. The
Finale depicts the wedding procession
of Ivan and his princess bride. One last
fleeting reference to the music of the
firebird appears just before the final
chords.

© 2022 David E. Schneider. Costume design for The
All rights reserved. Firebird (1910) by Leon Bakst

David E. Schneider is the Georges Lurcy Professor of Music History
and Theory at Amherst College.

2021 / 2022 A season of rebirth 13

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T. de Hartmann (1885-1956): Third Symphonie-Poeme, Op. 85
(1953)
According to the notes of Olga Arkadievna de Hartmann, wife
of Thomas, de Hartmann’s third Symphonie-Poeme deals with
“impressions from a novel of [Andrey] Pechersky,” referring to the
alias of author Pavel Ivanovich Melnikov (1818-1883), a Russian
writer best known for his novels depicting life in the Transvolga
region which runs along the Volga river from Moscow to the Caspian
Sea. Attached to the score, Thomas de Hartmann describes the
themes that correspond to the three movements:
Three Ancient Legends from the Region of Volga
I. Bolotniza (the swamp girl)
In a green swamp on a huge waterlily, a swamp girl is sitting, more
beautiful than you can find in the whole world. Only her lips and
face are strangely white, as if there were not a drop of blood in her
body. She is sly and wishes to deceive men. This is why she hides
her black webbed feet in the beautiful Lilly. As soon as she sees
a man, she begins to implore him to release her from this dismal
swamp, promising him with her tender, tearful voice all imaginable
delights and mountains of gold and precious jewels.
Let the man beware who is seduced by her beauty and believes her
words. Only one step into the swamp and she will encircle him with
her white arms and sink into the bottomless gulf of the swamp.
II. Stroka (the wicked fly)
Sometimes in the hot summer there is a swarm of flies hovering
around a herd of horses or cattle or poor wild deer, a wicked fly
appears.
The animals sense the presence of this fly in the air and run madly
in all directions in indescribable fear. They kick with their hind legs,
raise their tails, mew, but nothing can save them from the wicked
fly, who zooms about them til one of the beasts becomes her victim
and falls in exhaustion.
Then the wicked fly will look for another victim over and over again.

16 P I O N E E R VA L L E Y SY M P H O N Y 8 3 RD S E ASO N

III. Radoniza (the Feast of Spring)
In the countries near the Volga, The Feast of Spring begins in the
holy week after Easter and sometimes until the Feast of St. John.
It corresponds to the ancient
Feast of Spring in the times of
the Pagans, which was called
“Radoniza”.

During these festivals, there is
dancing and singing, deriving
from the Pagan traditions. The
youth of the country run through
the woods, fields, and rivers to
praise Jar-Hmal, the Pagan god
of the joy of living. The joyful
songs and captivating dances Olga and Thomas de Hartmann (1906)
resound until dawn.
Courtesy De-Hartmann-Archiv / T.C. Daly

© 2022 Evan A. MacCarthy. All rights reserved. Evan A. MacCarthy
is Five College Visiting Assistant Professor of Music History at
UMass Amherst.

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FIRE & REBIRTH

Saturday, March 19, 2022 • 7PM

6PM • Pre-concert talk with Professor David E. Schneider
Frederic C. Tillis Hall, Randolph C. Bromery Center for the Arts

Amherst, Massachusetts

Vox: Concerto for Violoncello (2021) Andrés Martín (b. 1981)

World Premiere Commissioned by Roger Arvid Anderson

I. Introduction—Moderato—Slow—Cadenza—Moderato
II. Adagio—Moderato—Adagio
III. Mysterioso—Milonga—Lento y dramatico—Cadenza—
Milonga—Slow

Amos Yang, Cello

Suite from The Firebird (1919) Igor Stravinsky (1882-1971)

I. Introduction—The Firebird and Its Dance—The Firebird’s Variation
II. The Princesses’ Khorovod (Round Dance)
III. Infernal Dance of King Kashchei
IV. Berceuse (Lullaby)
V. Finale

Symphonie-Poème, Op. 50 (1934) Thomas de Hartmann (1885-1956)
Intrada
Epilogue
Performance courtesy of Tom Daly and the Thomas de Hartmann Project

Pioneer Valley Symphony Orchestra
Tianhui Ng, Music Director

Anthony Ferreira, Assistant Conductor

This Concert Is Sponsored In Part By:

2021 / 2022 A season of rebirth 21

PIONEER VALLEY ORCHESTRA

SYMPHONY

VIOLIN I VIOLA FLUTE

Janet Van Blerkom Mandi Jo Hanneke Jan Puchalski
principal principal Nancy Shinn

Dennis Townsend Sonya Lawson OBOE
Ronald Weiss Robert McGuigan
Mark Mason Roy Rudolph Aaron Lakota
John Wcislo Jeff Ramsey Larry Masterson
Elaine Holdsworth
Diana Peelle Violoncello CLARINET
Romina Kostare
Annierose Klingbeil Philip Hart Helzer Kara Peterman
Rose Baker principal principal

VIOLIN II Jennifer Allen Kathryn Scott
Alisa Beaver Elizabeth Orchulek
Cecilia R. Berger Daniel Brandon
principal Kate Walker BASSOON
Su Auerbach
Nancy Ramsey Nancy Rich Alex Meade
Brian Whetstone Susan Young Roger F. Clapp
Margie Kierstead
Carol Baker BASS HORN
Meredith Quitno
Maya Guzman Patricia Cahn Erin Lylis
Leibowitz principal principal
Marilyn Richards
Maureen Carney Lynn Lovell Joshua Vinocour
Kathleen Mahoney Timothy Burns
Sue Keller Sarah Perrin
David Glassberg
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The Pioneer Valley Symphony wishes to thank:

Ayano Kataoka, UMass Amherst Department of Music and Dance
Bass rentals by Lynn Lovell
Northampton Community Music Center
Reverend Peter Mosijchuk and Bethesda Ukrainian Pentecostal Church
Roger Arvid Anderson
Smith College Department of Music
Tom Daly and The Thomas de Hartmann Project
UMass Amherst Hillel

THANK YOU TO OUR
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2021 / 2022 A season of rebirth 25

TIANHUI NG

Music Director
Tianhui Ng is the music director
of the Pioneer Valley Symphony,
Boston Opera Collaborative, the
Victory Players, and White Snake
Projects.
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). He 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.
Well known for bringing new music to fresh audiences, he has
premiered new works by numerous composers, including Pulitzer
and Rome Prize winners Curt Cacioppo, Aaron Jay Kernis, Robert
Kyr, David Sanford, and Joan Tower. These include unusual firsts,
like Irin Ajo, the first Nigerian opera by Olabode Omojola, and
Chaya Czernowin’s ephemeral Once I Blinked, Nothing was the
Same.
Tian’s irrepressible musical spirit first expressed itself when
he conducted a choir of kindergarten children in his native
Singapore at the age of five. A pianist, singer, and trombonist,
he later studied composition and early music at the University of

26 P I O N E E R VA L L E Y SY M P H O N Y 8 3 RD S E ASO N

Birmingham (UK) where he discovered his love for Stravinsky and
contemporary music. Returning home, he helped found one of the
first contemporary music ensembles in the country and was soon
composing for animation, dance, film, chorus, and orchestra. It was
during this time that he discovered his affinity for interdisciplinary
work and created the groundbreaking, site-specific, community-
based arts festival, NOMAD, with which he has won awards from the
Singapore National Arts Council. His works have since been heard
in diverse settings such as the Hong Kong Film Festival, Animation
World Magazine (USA), and Apsara Asia Dance (Singapore). Tian
continued his education at the Yale School of Music (USA), where
he helped start a new tradition with the music of his graduation
recital reflecting on war and conflict. There, he fed his passion
for the masterworks of the choral-orchestral repertoire, assisting
such renowned interpreters as Nicholas McGegan, Masaaki Suzuki,
Dale Warland, Simon Carrington, Marguerite Brooks, and Jeffrey
Douma. He is indebted to his teachers, including Paolo Arrivabeni,
John Carewe, Peter Eötvös, Kurt Masur, and Michel Tabachnik,
who have incalculably enriched his musical life.

In 2021–2022, Tian looks forward to a season of premieres with the
Pioneer Valley Symphony, White Snake Projects, including Elena
Ruehr’s Cosmic Cowboy and Mary Prescott’s Survivors’ Odyssey;
and Mt Holyoke Orchestra, including the world’s first opera sung

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National PhilhWarXmOoJ-nLiPc1o0f3.U3 kFrMaine.
NOW STREAMING AT

Stay in touchVwALiLtEhYFTRiaEEnRvAiDaIOIn.OsRtGagram @ngtianhui

2021 / 2022 A season of rebirth 27

AndysOak.com
AndysOak.com

HomespunbyAndys.com
Home4s1p3u-7n7b3y-A31n3d9ys.com

413-773-3139

ANTHONY FERREIRA

ASSISTANT CONDUCTOR
Anthony C. Ferreira (ASCAP) is a
composer, conductor, educator,
and filmmaker. He has written and
produced six albums of varied genres
and enjoys an active career writing
and producing for local singers
and rappers. He holds a B.Mus. in
Composition from UMass Amherst
and a M.Mus. in Choral Conducting
from the Indiana University Jacobs
School of Music. Anthony currently
serves as the Director of Choral

Music and Theater Teacher at Chicopee High School. He is thrilled
to be joining the vibrant and deeply committed PVS community
and is honored to be able to work with both Tianhui Ng and Dr.
Abercrombie.

28 P I O N E E R VA L L E Y SY M P H O N Y 8 3 RD S E ASO N

AMOS YANG

soloist, Vox: Concerto for Violoncello
Watching San Francisco Symphony
Assistant Principal Cello Amos Yang
onstage, you’d never guess that
his introduction to the cello was
anything less than love at first sight.
“My mother and I were going to
sign up for violin lessons when we
bumped into a family friend whose
daughter had just auditioned for
a wonderful new cello teacher,”
he says. “My mom asked me if I
wanted to try the cello, I shrugged

my shoulders indifferently and off we went to the audition. It turns
out the audition consisted of ‘bear hugging’ a tiny cello. As soon
as I did that I was accepted into the studio and here I am forty plus
years later still playing and hugging my cello most mornings.”

Amos’s is a uniquely San Francisco story. He studied with Irene
Sharp at the San Francisco Conservatory and played with the
San Francisco Youth Orchestra in its early days. “I was a bit of a
challenge as an easily distracted eleven-year-old, but I’m glad they
stuck with me. It was a terrific experience and training ground.”
Amos’s studies weren’t limited to orchestral playing, however. “The
San Francisco Boys Chorus also helped develop my physical and
musical voice. I am constantly encouraging my students to sing
and most of them are too embarrassed and inhibited to do this. If
you can sing it you can play it!”

He went on to earn degrees from the Juilliard School before landing
a post with the Seattle Symphony and performing as a member of
the Maia String Quartet. Winning a position with the SF Symphony
in 2006 offered a rare and prized opportunity to join the orchestra
he listened to as a child. Amos also teaches at the San Francisco
Conservatory.

2021 / 2022 A season of rebirth 29

ANDRÉS MARTÍN

composer, Vox: Concerto for Violoncello
Native of Buenos Aires, Argentina,
bassist, arranger, and composer
Andrés Martín has performed with
orchestras, chamber ensembles, and
as a soloist in Argentina, Costa Rica,
Venezuela, Uruguay, Chile, Brazil,
Mexico, England, Germany, Italy,
Spain, Denmark, and the United
States. Since his arrival in Tijuana,
Mexico, Andrés has been immersed
in teaching as well as performing as
a soloist and chamber musician.

He has been a member of the Orquesta de Baja California since
2002. He also organizes and directs Contrabajos de Baja California
A.C., a double bass academy that celebrates a yearly international
double bass festival and chamber music course held in Tijuana.
Along with his work as a soloist and chamber musician, Andrés
has a full-time schedule as a composer, with works commissioned
and performed by renowned soloists, chamber ensembles, and
orchestras around the world.
​
2020 was a very challenging year for all artists, but Andrés spent
most of his time locked in recording, writing new music, and
coaching musicians to help them clear their mindset and elevate
their careers. As a result, he finished Resilientes (for double bass
and clarinet), Unstoppable (a four-movement suite for flute, violin,
and double bass), Pegasus (for bass quartet), and two new bass
concertos and two cello concertos. Some of these works had
recent world premieres in different parts of the world (streamed
and in-person). Three albums will be released during the next 6
months and will be available on all digital platforms.
The signature series double bass Andrés designed for Eastman
Strings was officially introduced to the market during the fall of 2021.

30 P I O N E E R VA L L E Y SY M P H O N Y 8 3 RD S E ASO N

Amherst Rd, Sunderland MA 01375

The music he composes reflects a diverse

ridgesidegrille.com (413) 397-8a1n0d1eclectic range of influences.

Noble’s works are published by Subito Music, Warner Chappell, and

ArtistTec, Inc., a company founded and managed with his wife, writer and

editor Kara Noble. His compositions have been recorded by artists

including saxophonist Lynn Klock, the Brigham Young University

Women’s Chorus, Anima: The Glen Ellyn Children’s Chorus, and violinist

Joel Pitchon. From 1986 until his retirement in 2020, Noble accompanied

faculty, staff, students, and ensembles in the Smith College Music

Department as a collaborative pianist. He has written classical music

features and reviews for the Springfield Republican newspapers since
C194o183l98-le97.9gP6Hr-eo8eu1(5ty10h9Sot8rale8dtet)tys,stwaaSnphlBreeiynAlrgiegffhierthl@ode,mhMostAmtA0ua1mid1l1.c9ihoemedrsctoCmoplloesgiteio(n19w83it)hanMd.
ty an MA from Smith
l Lewis Spratlan and

Donald Wheelock. Photo credit; Jon Crispin.

MEMBER MA & RI BAR
Best wishes to the Pioneer Valley Symphony on your 83rd season!

eld TEL: 413-796-8150
m 99 Prouty Street FAX: 413-214-6952

Springfield, MA 01119

[email protected]

An die Musik ON VALLEY
FREE RADIO

Hosted by Lucy & Lary

Wednesdays 8-9am

WXOJ-LP 103.3 FM

NOW STREAMING AT
VALLEYFREERADIO.ORG

2021 / 2022 A season of rebirth 31

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 inspires us and makes the
music possible. To learn more about giving, visit pvsoc.org/donate or
contact us at 413.773.3664 or [email protected]. The following represents
gifts pledged January 1 - December 31, 2021.

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

Mary Stuart Rogers Foundation

Gold Baton | $5,000-$9,999

Greenfield Cooperative Bank
Mass Cultural Council, a state agency

Silver Baton | $2,500-$4,999

Commonwealth of Massachusetts

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

Alex Meade Bikeworks, LLC
George Drake and Roberta Lombardi
Greenfield Cultural Council
GSB Investments and Insurance
Mandi Jo and David Hanneke*
Elaine and Robert Holdsworth
Kathleen Holt
Jones Whitsett Architects
Julia Bady
Lathrop Communities
William MacKnight
Mark Mason and John Shea^
Marilyn Pryor
Janet Van Blerkom and Dennis Townsend
Ronald and Janet Weiss

32 P I O N E E R VA L L E Y SY M P H O N Y 8 3 RD S E ASO N

Music Lovers

Music Director | $500-$999

Andy’s & The Oak Shoppe Long Island Youth Orchestra Alumni
Channing and Marie Bete Robin Luberoff and Neal Pruchansky
Newton Bowdan
Maureen Carney* in memory of Peggy Freedman
Mary Lunt
in memory of John and Grant Moss
Madelyn Carney
Catherine Dodds* in memory of Elizabeth Bowdan
Finck & Perras Newmarket Dentistry
Florence Bank Alexandra Ottaway
Franklin First Federal Credit Union Davin and Jennifer Peelle
Peter Haas Nancy Pond
Marvin and Carol Kelley
in honor of Beckie Markarian in honor of Owen and Tyler
Attorney Stanley Light Jan Puchalski
in memory of Elizabeth Bowdan River Valley Co-op Market
Pamela Skinner and Wayne Glaser
Dennis Townsend

concertmaster | $250-$499

Paul Benjamin Robert Kidder
Cecilia and Joseph Berger Alison Locke
Mark Marshall and Helen Leung
in honor of Maureen Carney Carl Nelke and Janet Gerry
Bernardston Cultural Council
Bridgeside Grille in memory of Janice Kreitner
Elizabeth Brown and Stanley Morris Oberlin Alumni
Bulkley, Richardson & Gelinas LLP Diana and Paul Peelle
Liz Carney Kara Peterman
Brenda and Scott Peterman
in honor of Katie MacGregor Nancy and Jeff Ramsey
Roger and Joanne Clapp Renfrew Real Estate
Dennis Coffey Ryan & Casey Liquors
Mary Collins Nancy Shumate
Curtiss, Carey, Gates & Goodridge LLP Shutesbury Cultural Council
Barbara Davis and George Howard* Stamell Stringed Instruments
Esser Kent Family Law John Thomas*
Frank Labelle’s Sales & Service Tuesday Morning Music Club
Hope & Olive Umass Amherst Department of Biology
Judy and Al Hudson^
in honor of George Drake
in memory of Elizabeth Bowdan West Branch Capital
IBM
Lisa Kent and David Glassberg*

* indicates members of the Continuo Society.
^ indicates members of the Da Capo Society.
Learn more about giving societies at pvsoc.org/donate.

2021 / 2022 A season of rebirth 33

First chair | $125-$249 Lynn Lovell and John Darrow
Beckie Markarian*
Suzanne Auerbach and Matt Kaplowitz
Berkshire Facial Surgery in honor of Janna Walters-Gidseg
Masako Bogin* Robert McGuigan and Julia Bady
Susan Bowman Lisa Middents
Judith and Joe Case Dana Muller and Gary Steigerwalt
Carol Coan and David Nixon Richard Page
Dvora Cohen and Stephen Broll Lynne Page and Roland Ratte
Karen Cole* John Pearson*
Peter and Giovanna Contuzzi Dale and Lorna Peterson
Devine Overhead Doors Wallis and Cornelia Reid
Jay Ducharme Myra and David Ross*
Arthur and Barbara Elkins David Schneider
Nancy Shinn
in memory of Arthur Elkins Ben Smar
Debbie Felton and Jim Miller Snow & Sons Landscaping
Kristen Fossum* Ilene Stahl
Goff Media Homer Stavely*
Mari Gottdiener Surner Heating
E Lary Grossman and Moira Brady Margot Thomas
Jean Pittman Turner
in memory of Moira Brady
Eugene and Mary Hanneke in memory of E. Wayne Turner
Linda and Zeke Hecker Peter Van Pelt
John and Bridget Wcislo
in honor of Janet van Blerkom Western Mass. Horn Society
Hitchcock Brewing Susan Young
Judith Holmes
HomeLight
Aaron Lakota
Carol and Peter Letson

34 P I O N E E R VA L L E Y SY M P H O N Y 8 3 RD S E ASO N

Friend | Up to $124 Yvonne Crevier
Patricia H Crosby
E. Wayne Abercrombie Regis Crosby
Rev. Stanley Aksamit Eileen Crosby
Jion Allen Emilie Czupryna
Jennifer Allen Nina Dadalt-Korza and Edward Korza
Lea Appel and Sebastian Gutwein Mimi and Carl Darrow
Oscar Arce Keith Davis
Martin Daye and Linda Woodall
in honor of Ronald S. Languedoc Ellen and Charles Dickinson
Bryan Armington Lea Douville
Heidi and Glenn Arnold Gerald Downes
Margot Atkinson
Patricia Auchard and Joseph Sabella in honor of George Drake
Barbara Baatz Marcia and Russell Edes
Mollie Babize and Mary Quigley Claudia Ellet
Kayte Bak Emily Dickinson Museum
Carol Baker Helen Engeseth
Ben and Mary Jane Barnard Lisa Evans
Aina and David Barten Edith and Julius Fabos
Steven Bathory-Peeler Christine Farley
Alisa S Beaver Federal Street Books
Stein Feick
in memory of Estelle Beaver Anthony Ferreira
Anne Berkley Laurie Ferreira
Bernice Bowler Amanda Ferron
Tony Brackett Theodore Fijal
Paul Brandon Debbie Finney
Monica Braunstein Carol and Timothy Flouton
Robert Brown Diane Forman Judd
Bruce and Mary Brown Andrea and Zachary Fox
James Brown Heidi Frantz-Dale and Duane Dale
Jill Bussiere Paul Friedmann

in honor of Eudice Glassberg in memory of Nicholas P. W. Coe, M.D.
Katherine Buttolph Friends of Leverett Library
Patricia Cahn*
Ana Caicedo in honor of Library Family Pass Program
Friends of the Arms Library
in honor of George Drake Wayne and Marilyn Gass
Virginia Caputo Catherine Gasteyer and Gene Westlink
Eileen Carney Denise Gendron
Mark Carol Orca and Julio Giarrusso
Meghan Carroll Henry Gibson
Pauline Casey Eric Gidseg
Kimberly Castine Michael Gilbert
Tama Chambers Constance and William Gillen
Robert Cherdack Dan and Cheryl Gillman
Eliza Childs Deborah Glassberg
Arne Christensen and Stephanie Allen
Dustin Christensen in honor of David Glassberg
Ellen Cogen Robin Gline
Michael Cohen Douglas Gnepp
Madeleine Cohen
Laurie Coursin

2021 / 2022 A season of rebirth 35

Friend | Up to $124 Susan Knightly
in honor of Tian Ng
Matt Godfrey
Yolanda and David Goff Karis Knoll
Joseph Green and Erin Lylis Mara Kohls
Kate Green and Philip Helzer Christina Kopp
Linda Greenebaum Sarah Kraaz
Claire Griffin Rebecca and John Krause-Hardie
Peter Kravetz
in memory of John and Patricia Krol
Madelyn Carney Maureen and Paul Lahti
Shirley Griffin Melanie Lahti
Nancy Haines Thomas Lake
Denzel Hankinson Kathy Lanza
Christine Hannon Bee Leake
Brenda Hannon Maya and Sue Leibowitz
Maia Hansen Leo’s Table
Lauren Hartley Rebecca Lombardi
Danielle and Christopher Hartner Sharon Long
Maryann Hayes Richard Loomis
Peter Hepler Louise Lopman
in honor of George Drake Susan and Richard Lovelace
Jim and Diana Holdsworth James Lowe
Danielle and Clay Holdsworth Gary MacCallum
Faye Hollender Craig Machado
Thomas Housten
Katherine Hudson in honor of Wayne Abercrombie
Alfred Hutt Jeffery Machado
Sam Icklan Margot and Steve Maddock
Laurie Israel and Elaine Sidney Audrey Markarian
in honor of David Glassman
Mary Jaffee in honor of Beckie Markarian
Dorothy Janke Jane Markarian
Jeremy Jetzon Laurie Marks
Karen and Bill Johnston Mary and Herb Marsh
Candice Jones Mary Maxwell
Peter Jones Annie McCollum
Michelle Kaskey Mary McDermott
Kathleen Keene Andrea McDermott
Pauline Keener Cherryl McLaughlin
Sue Keller Alex Meade
in memory of Morris Youngdahl Robert Meade
Rachel Kelley Ellen Mehlhorn
James Kelly Sarah Metcalf
Lucinda Kidder Suzanne and Norman Metz
Margie Kierstead Amy Metzger
Susan Kimball Arthur Meyer
Mary King and Shirley Keech Meredith Michaels
Brian King Ann Mileski
Rebecca King Daniel Miller
Barbara Klaus Nona Monahin
Alice Klingener Gretchen Morris
Anna Morrison and Norman Albert
Mary Murphy

36 P I O N E E R VA L L E Y SY M P H O N Y 8 3 RD S E ASO N

Janice Murphy Marguerite Serkin
Albert Mussad in memory of Peter Serkin
Chet Myslinski
John Nuhibian Mary Sharma
Bernard Oconnor Karen Sheingold
Elizabeth Orchulek David and Esther Short
Debra Orgera and George Kohout Frank Sikora
Julie Orvis Dick and Jean Simmons
Robert K Ostberg
Marilyn Paterno in honor of Jan Puchalski
Andrea Patt Mary Sirum
Lorraine Pearson Virginia Smilack
Shirley Pelletier Vanessa M. Smith and Elizabeth L. Lehman
Melinda Smith
in memory of Jack Ramey Carol Smith
David and Elaine Pesuit Judith Solsken
Lawrence D. Picard Dorothea Sotiros
Emily Pietras and John E. Pietras Maria-Lydia Spinelli
Barbara Pilarcik Henrietta Startup
Gretchen Plotkin Jane and Peter Stein
Rebecca Pond Stacey Street
Carol Pope Amanda Strout
John Rager Kathleen Swaim
Maria Ramsey Kevin and Maggie Sweeney
Wallace Rapalus Alice Szlosek
Deborah Reiter Elizabeth Teta
Timothy Relyea and Lee-Ellen Strawn The Bement School
Alison Rex The Button Box
Richard Rice Kathleen Thibeault
Nancy Rich
Margaret Rich in honor of Maureen Carney
Marilyn Richards and Jon Steinberg David Toone
Justin Richardson Natalie Torkelson
Michael Robbins Scott Tulay and Alethea O’Donnell
Lucy and John Robinson United Way of Greater Philadelphia and
Ronald Robinson
Hope Rogers Southern New Jersey
Lorraine Rosenberg Daniel Van Blerkom
Eric Roth and Ann Werry Gail Vivian
Jamie and Steven Rousseau Elizabeth Vizentin
Tom and Margot Rowland Benjamin Wald
Richard Ruane Kate Walker
Roy Rudolph William Walsh
Elena Ruehr Catherine Wanat
Mary-Lou Rup Daniel Warner
Sandy and Gene Salvador Carol Waskiewicz
Emily Samuels Leanne Whetstone
Annita and William Sawyer Warren Whitaker
Susan Schaeffer Pamela White
William and Ilana Schmidt Roy and Janet Williams
Barbara Schulze Martha Wilson
Susan Sensemann John and Ann Wood
Heather Wrisley
John Yount

2021 / 2022 A season of rebirth 37

HELP US THANK OUR
83RD SEASON SPONSORS

Community sponsors

Alex Meade Bikeworks, LLC Jones Whitsett Architects
An Die Musik Julia Bady
Andy’s & The Oak Shoppe Lathrop Communities
Attorney Stanley Light Long Island Youth Orchestra Alumni
Bass Rentals by Lynn Lovell Newmarket Dentistry
Bridgeside Grille Oberlin Alumni
Bulkley, Richarson & Gelinas LLP Renfrew Real Estate
CopyCat | Northampton, MA River Valley Co-op Market
Curtiss, Carey, Gates & Goodridge LLP Ryan & Casey Liquors
Devine Overhead Doors Silverthorne Theater
Esser Kent Family Law Snow & Sons Landscaping
Finck & Perras Stamell Stringed Instruments
Florence Bank Surner Heating
Frank Labelle’s Sales & Service Tuesday Morning Music Club
Franklin First Federal Credit Union West Branch Capital
GSB Investments and Insurance Western Mass Horn Society
Hitchcock Brewing
Hope & Olive

Youth Music sponsors

Bement School Giving Circle Thrift Shop
Berkshire Facial Surgery Goff Media
Brattleboro Music Center Hillside Pizza
Bridgeside Grille Home Light
The Button Box Leo’s Table
Emily Dickinson Museum Sattva Center for Archery Training
Federal Street Books Stamell Stringed Instruments

38 P I O N E E R VA L L E Y SY M P H O N Y 8 3 RD S E ASO N

free membership, classes, resources
to create what you want

keep us in existence
support us on patreon

patreon.com/northamptonopenmedia

2021 / 2022 A season of rebirth 39

BUILDING COMMUNITY
THROUGH MUSIC SINCE 1939

artTIiAsANRtHTUicIISNTGlIeCMaSUTdSAICeFDrFIRsEChTOipR

ANTHONY FERREIRA ASSISTANT CONDUCTOR

E. WAYNETiAaBnEhRCuRiONMgBIE INMTEuRIsMicCDHOirReUcStDoIrRECTOR
E. WaSTyEnVeENABbAeTHrGcORrRAoYNm-PTEbMEiOLeESRS CYOHInUOtTReHUrSOimRACCCHCOEhSMoTPRrAAuNsDISIDRTEiCreTOcRtor

Anthony Ferreira Assistant Conductor
Steven BatPhRoOrDy-UPCeTeIlOeNr CONYToRuItBhUOTrOcRhSestra Director
DAVLIaDrEr.ySCPHiNcEaIrDdER RECSIhDoENruT sMAUScICcOoLmOGpISaTnist
David EDJ.AASVMcIEDhSNnLEeEWGidRLAAeNNrDD LERGeRAsNidDeICnEtAMUDuIOsicologist

NORTHAMPTON OPEN MEDIA

& P. AL WILLIAMS

OoPEpReArTIaOtNiSoSnTAsFF

KAREN COLE USHER COORDINATOR

TCUYaEsKTeCLaAyIrNSeGHEnYLilGACmIFLoLaMElneAUNR ADUMsIhNIeSrTRCAToIVoErdASinSIaStToANr T
PE&ARPdSROmONDNinUEiCLsTtMIrOAaNNtiACvGOeEORARDsIsNiAsTtaOnR t &
ROBIN LUBEROFF ORCHYoESuTtRhA LOIBrRcAhReIAsNtra Manager
YEOXPEUrCToUHdTOIuVREcCtDHioIERSnETCRATAOsARsSisSItSaTnANt T& Education
JTAuNyNeAtWLAEinLMThEESRLESaN-fGElIeMDuESrTEHG Program Coordinator

Janna Robin LBuObAeRroDfOf F DPVIIRREOOCEEExSrreCccPIDRhhcTEEueeONStssTIRiDttvrrSEeaaNTDLLiiibbrerraacrrtiyoarnIntern
MonKrAoReA RPEaTnEdRMalAlN
Walters-GAMidYsPeAgTT
PETER KRAVETZ TREASURER

ANDREA MCDERMOTT CLERK

MAUREEN CARNEY

KRISTIN DONOHUE

BDOEBABIRE FDELTOOFN DIRECTORS

AARON LAKOTA

Kara JPOAeHLtNEeXTrHMmOEaMAnDAES President
AmROyN PWaEtItSS Vice President
DTIRrEeCaTsOuRreEMr ERITUS
PeTtEeRrRKY rRaUvGeGtLzES Clerk
Andrea McDermott

Maureen Carney

Kristin Donohue

Debbie Felton

Aaron Lakota

Alex Meade

John Thomas

Ron Weiss Director Emeritus
Terry Ruggles

239-R Main Street Greenfield MA 01301 413.773.3664 pvsoc.org

40 P I O N E E R VA L L E Y SY M P H O N Y 8 3 RD S E ASO N

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2021 / 2022 A season of rebirth 41