ITHACA COLLEGE SYMPHONY ORCHESTRA
Dr. Ho-Yin Kwok, director
If you’re a composer and pianist with the prodigious chops of Sergei Prokofiev, you can be forgiven for showing off a little. It was a transparently flashy move for the 22-yearold, still studying at the St. Petersburg Conservatory, to enter a piano concerto competition in 1912...and perform one of his own. Hoping to win a grand piano and the Rubinstein Award, the gambit worked; he took the grand prize. The composer had premiered this, his first concerto, a few months earlier in Moscow, and in both situations the critical response was mixed. Some judges wanted to throw the kid out for such a brazen move, some critics thought the piece was a bunch of noise. But no one could deny the lightning fingerwork of the young man on the bench.
The Piano Concerto in D-flat was a clear showcase for the performer-composer, ignoring traditional form in favor of ratcheting up the interval-leaping, key-jetting potential. The opening bars introduce a grand, romantic theme – and a deception, because Prokofiev largely abandoned it thereafter in favor of keyboard athletics. The sheer talent and brilliance of his brain is all there — and also it’s very humorous.” The soaring opening melody, with piano and strings playing in unison, only lasts a minute before the Concerto goes into its rapid, staccato workout. All along, the orchestra subtly supports the star, and even as the music turns dramatic and even a little sinister, the piano can’t help staying mischievously light on its feet. A dreamy, almost melancholy string passage begins the second movement (the lines between movements are especially thin here), and for a moment the piano gives into this wistful mood with hints of jazz. But the scampering returns in the third, and the orchestra responds with flirtatious fire. A serious search ensues, the piano sprinting in one direction as strings race in another, the whole thing frothing up into a glittery volcano and back into the opening theme for a bombastic finale.
Premiered in 1859, Charles Gounod’s 5-act opera Faust is a tragic tale of vanity, seduction, and ultimate redemption. It begins with the aging scholar Faust, who, disillusioned by his life’s work, makes a pact with the devilish Méphistophélès. In exchange for his soul in the afterlife, Faust is granted youth and the chance to pursue the innocent Marguerite. Guided by the Devil’s cynical manipulations, Faust seduces Marguerite, eventually leading to her social ruin, the death of her child, and the murder of her brother, Valentin. While Faust is whisked away to the supernatural revelry of Walpurgis Night, Marguerite is imprisoned for her crimes. In the final act, Faust attempts to rescue her, but Marguerite rejects his help and the Devil’s influence, calling upon divine mercy instead. As she dies, her soul is carried to heaven by angels, leaving Faust to face his infernal debt. Gounod’s masterpiece remains a staple of grand opera, celebrated for its soaring melodies and romantic drama. The aria “Faites-lui mes aveux” (Gentle flowers in the dew) opens act 3 when Siebel, a young man (and a breeches role) in love with Marguerite, is picking flowers for Marguerite, but, as Méphistophélès predicted, they all fade in his hands. Happily, however, when he dips his hand in a nearby font of holy water, the flowers he picks remain fresh, and he exhorts them to express his love to Marguerite.
In his book, “The Great Good Place”, sociologist Ray Oldenburg coined the term “third place”, a location where people go to have informal, impromptu, and regular gatherings and make community. I have observed recently that many people no longer have these gatherings in person, but exist in exclusively online third spaces. This piece explores the spaces we inhabit (our homes, our workplaces, our online communities) and dreams of a reinvigoration of in person community spaces.
About the composer:
J. S. (John Stewart) Oliver (he/him) is a 22 year old composer, performer and educator based out of Indianapolis, Indiana. Oliver works as freelance drummer and bassist specializing in jazz and musical theatre but has also performed with and composed for orchestras, wind ensembles, marching bands, choirs, saxophone quartets, and trombone troupes. In March of 2025, Oliver premiered Viridian, a 45 minute piece for jazz quintet and spoken word. Oliver holds a B.M. in Jazz Studies from Ithaca College.
- Program notes by the composer
Czech composer Antonin Dvořák composed his masterpiece Cello Concerto in 1895 during his final year as the Director of the newly formed National Conservatory of Music in New York City. This was the first great concerto to convincingly use the cello as soloist, exploiting its ability for long, lyrical lines, as well as being a work filled with lush and tuneful themes.
The final movement, Allegro moderato, begins with a rustic Czech folkdance-like theme in the orchestra, vigorous but lyrical. The soloist joins the merriment quickly, and from here, this finale alternates between moments of majesty and moments of magic – the soloist must be equally a poet and a pyrotechnist. Originally, the ending was to be continual virtuosic energy that built up explosively to the final bars, but when Dvořák learned in May 1895 of his sister-in-law, Josefina Kaunitzová’s death, he rewrote the Concerto’s ending. In this revised ending, at about ten minutes, everything quiets down into a beautiful section of hushed reverence in a touching memorial to his departed friend. And then the very final bars build up quickly again and conclude this great Concerto with a flash of magisterial triumph.
In 1955-57, Bernstein wrote the musical West Side Story, the work that would ensure his fame as a composer. Then—after a New York run of almost two years (772 performances) and a national tour—in the opening weeks of 1960, Bernstein revisited his score for West Side Story and extracted nine sections to assemble into the Symphonic Dances. They premiered at a “Valentine for Leonard Bernstein” gala concert by the New York Philharmonic (a fundraiser for the orchestra’s pension fund) under Lukas Foss’ direction, on February 13, 1961.
The stylistic diversity within the Symphonic Dances is partially created by the juxtaposition of classical techniques (fugue, etc.) with dance rhythms and jazz syncopations. However, the essence of the entire score is that most prominent opening melodic figure of “Maria” (C-F sharp-G), with its characteristic tritone interval. The suite ends, like the musical itself, on edge, with an evocative chord containing the same interval.
The crucial role of dance in West Side Story added to the challenge of adapting the music for the concert platform. The orchestrations call for vibrant instrumental combinations and a huge percussion section (not to mention the vocal talents of the orchestra members!) to enhance the kinetic quality of the rhythms. More deeply, they tilt the narrative weight from a love story to gang conflict. We hear first the rivalry between the Jets and the Sharks, then the utopian opposite; their juxtaposition creates a dramatic tension that shapes the entire work. The printed score includes the following descriptions:
Prologue (Allegro moderato)—The growing rivalry between two teenage street gangs, the Jets and Sharks.
“Somewhere” (Adagio)—In a visionary dance sequence, the two gangs are united in friendship.
Scherzo (Vivace e leggiero)—In the same dream, they break through the city walls and suddenly find themselves in a world of space, air, and sun.
Mambo (Meno presto)—Reality again; competitive dance between the gangs.
Cha-cha (Andantino con grazia)—The star-crossed lovers [Tony and Maria] see each other for the first time and dance together.
Meeting Scene (Meno mosso)—Music accompanies their first spoken words.
Cool Fugue (Allegretto)—An elaborate dance sequence in which the Jets practice controlling their hostility.
Rumble (Molto allegro)—Climactic gang battle during which the two gang leaders are killed.
Finale (Adagio)—Love music developing into a procession, which recalls, in tragic reality, the vision of “Somewhere.”
Described by Classical Voice of North Carolina (CVNC) as an “impressive conductor…outstanding in his attention to detail and his command of the big picture”, Hong Kong-born conductor Ho-Yin Kwok is a three-time winner of The American Prize, 2021, winner of 2017-2018 Vincent C. LaGuardia, Jr. Conducting Competition and 2021 International Conductors Workshop and Competition. Recently concluded an 8-year tenure as Artistic Director and Conductor of the Mississippi Valley Orchestra, Kwok is the Director of Orchestras at Ithaca College, New York. He also serves as Music Director of Lake Superior Chamber Orchestra in Duluth, Minnesota.
Having established a nationwide reputation, Ho-Yin Kwok’s recent guest conducting engagements include the New World Symphony, the Syracuse Orchestra, Duluth Superior Symphony Orchestra, Arapahoe Philharmonic, Cayuga Chamber Orchestra, Gwinnett Symphony Chamber Orchestra, Eastern Festival Orchestra, and Collegium Musicum Hong Kong. He also has been invited to serve as cover conductor for the Minnesota Orchestra, Atlanta Symphony Orchestra, and Kansas City Symphony. In the 2025-2026 season, he will make his debut with the Rochester Philharmonic Orchestra as well as conducting the season opener for Syracuse Orchestra at the Masterworks Series.
An avid music educator, Ho-Yin Kwok directs the Symphony Orchestra, Chamber Orchestra, Sinfonietta, and Contemporary Chamber Ensemble at Ithaca College. He has previously served as the Director of the Duluth Superior Youth Symphony and in the faculty of Eastern Kentucky University and University of Minnesota Duluth. His recent educational guest conducting engagements include All-State Orchestras, Greater Twin Cities Youth Symphonies, University of Wisconsin-Madison Summer Music Clinic, and Foster Music Camp. He was invited as adjudicator for concerto competitions such as those of Minnesota Orchestra Young People's Symphony Concert Association, University of Minnesota, University of Kentucky, and Cornell University. In the 2025-2026 season, he will conduct the All-state Orchestras of California and Maine.
Ho-Yin Kwok is a first prize winner of The American Prize in opera conducting. He had served as Music Director of the Opera Theatre at University of Minnesota Twin-Cities. He enjoys conducting operas of a wide range of periods and styles, including those by Mozart, Puccini, Britten and Menotti. He was the instigating artistic force behind the formation of opera orchestra at Eastern Kentucky University and has collaborated professionally with Arbeit Opera Theatre and Lyric Opera of the North. In the 2021-22 season, Kwok gave one of the first performances of Laura Kaminsky’s new opera, Hometown to the World. He is looking forward to conducting Béla Bartók’s Bluebeard's Castle in the spring of 2026.
Known for his passion in diversifying the orchestral concert repertoire, Ho-Yin Kwok has been involved in multiple initiatives and special projects. With the Mississippi Valley Orchestra, he created the annual Foreground Composers Series, a year-round celebration and in-depth research on an underrepresented composer. This ongoing project has led to numerous US premieres of works by Samuel Coleridge-Taylor, Ruth Gipps, Ina Boyle, and Bao Yuankai, along with many other neglected composers. Kwok is also a panel member of …And we were heard, a national initiative to promote contemporary music and composers of underrepresented backgrounds.
Ho-Yin Kwok studied conducting at the University of Minnesota Twin-Cities and the University of Iowa. His principal teachers are Mark Russell Smith and William LaRue Jones. His other important mentors are Gerard Schwarz, Kevin Noe, Cristian Măcelaru, Giancarlo Guerrero, the Ensō String Quartet, Brentano Quartet, Joel Krosnick, David Shifrin, Kathy Saltzman Romey, and Grant Cooper. He is a Marquis Who’s Who biographical listee.
VIOLIN I
Val Connor, concertmaster
Marie Nemeth, assistant concertmaster
Kaitlyn Murray
Cristian Rodriguez
Rachel Berger
Marisol McDowell
Jonas Chen
Maxwell Lines
Andrew Neal
Julia Chu
Jaxon Yeagy
Sarah Chruscicki
Max Detzer
VIOLIN II
Maya Connolly, principal
Mackenzie VanVoorhis, assistant principal
Naveen Tomlinson
Lily Lemery-Allen
Imogene Zybala
Katalena Hume
Paige Wilkins
Jade Vadeboncoeur
Abby Marchesani
Lily Huwer
Katie Hayes
Joshua Chang
Deandre Simmons
VIOLA
Zoe Galgoczy, principal
Breanna Annonio, assistant principal
Elijah Shenk
Sasha Narea
Leo Maring
Zoe Link
Andrei Popovici
CELLO
Eli Jort, principal
Ariel Alejandro, co-principal
Natalie Bryan, assistant principal
Tom Bowstead
Jonah Harley
Emily Donohue
Ian Croker
Emilia Lyons
Molly Davey
Nina Hughes
Miles Summerlin
DOUBLE BASS
Sophia Gates, principal
Alexa Markowitz, assistant principal
Nellie Cordi
Garrett Jorgensen
Matt Argus
Jack Bradway
Jake Smith
FLUTE
Madi Connor, principal
Tori Hollerbach, co-principal
Hannah McAlpine
PICCOLO
Madi Connor
Tori Hollberbach
OBOE
Reid Canham, principal
Cole Trenkelbach
Amanda Haussman
ENGLISH HORN
Cole Trenkelbach, principal
CLARINET
Christian Laughlin, principal
Liam Kearney, co-principal
Joseph Carrero
BASS CLARINET
Joseph Carrero, principal
E-FLAT CLARINET
Phoebe Donaghy-Robinson, principal
ALTO SAXOPHONE
Bryson Sauer, principal
BASSOON
Meg Moriarty, principal
Dylan Frey, co-principal
Nearah Sanon
CONTRABASSOON
Nearah Sanon, principal
HORN
Eliza Ferrara, co-principal
Finny Keefe, co-principal
Kate Martin
Madison Stolarski
TRUMPET
Juliet Arau, principal
Lizzy Carvell, co-principal
Alessio Vega
TENOR TROMBONE
Gabriel Ramos, principal
Estelle Kamrass
BASS TROMBONE
Isiah Owens, principal
TUBA
Nick Smith, principal
TIMPANI & PERCUSSION
Nicole Galicia, principal
Tommy Anzuini
Jack Foley
Brayden Reed
DRUMSET
Peter Stenberg
KEYBOARD
Jamie Decker, principal
HARP
Elizabeth Mayo, principal