PROTECTING THE WILDEST JUNGLES ON THE PLANET.

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2 PROTECTING THE WILDEST JUNGLES ON THE PLANET. MAIN STREET. PRESCHOOL. THE PLAYGROUND. The environment isn t just some far off place. It s the lawn under our feet, the food on our plate, and the air we breathe. To learn more, go to NRDC.org. And help protect the jungle creatures in your backyard. Because the environment is everywhere.

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5 From the Executive Director III Tonight s Performance V Program Notes VI Artist Biography X Orchestra Personnel XI Annual Fund XII MUSIC DIRECTOR Jed Gaylin EXECUTIVE DIRECTOR Meg Sippey ADMINISTRATIVE ASSISTANT & EDUCATION COORDINATOR Lacey Wood ORCHESTRA PERSONNEL MANAGER Christopher Di Santo Cover design and cover artwork by Kathy Cavallero. Website: The use of photographic or recording devices is strictly prohibited. For the enjoyment of all patrons, please silence all cell phones, pagers and electronic devices. ADVERTISING Onstage Publications korlowski@onstagepublications.com ORCHESTRA LIBRARIAN Lesa Hornaday-Kurtz BOARD OF TRUSTEES Aaron Cohen Robert Dragotta Loretta P. Finnegan, MD Lori DiMatteo-Fiocchi Thomas A. Giegerich DMD, MS, Vice President Charles Shy Kramer Dana Dunn Lisicki, Secretary Maria Jimena Mento Alyce Parker Mark Soifer, Esq. Carmine J. Tagliatella Robert A. Woodruff, Sr., Treasurer ADVISORY BOARD Ray Ciccone, CPA Gary Hill Leo Schoffer, Esq. Robert Watters This program is published in association with Onstage Publications, 1612 Prosser Avenue, Dayton, Ohio This program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business, Inc. Contents All rights reserved. Printed in the U.S.A. BAY ATLANTIC SYMPHONY I

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7 executive director s message Welcome to our opening concert of the season subscription series! From Rachmaninoff to Mozart, Brahms Beethoven and more we are very excited to start this classical season in our two homes, the Landis Theater and Stockton University s Performing Arts Center. In addition to music from these iconic composers, this year we are looking forward to welcoming world renowned guest artists Tomer Gewirtzman (who you are listening to today!), Juho Pohjonen, Cecelia Hall and Alexi Kenney all making their debuts! In addition to getting your next tickets for our next subscription concert in December, we hope you will follow us on our website and on social media to get up-to-date information on all of our upcoming events in South Jersey, including our efforts in our public schools! Finally, over the last 35 years, the Bay Atlantic Symphony has relied on the leadership and support of loyal patrons like you. Similar as other orchestras, your individual donations comprise nearly 50% of our budget. In addition to the tax benefits you will receive, we have many other ways in which you can be recognized as a valued contributor and patron of your symphony orchestra. We invite you to contact us on our website, ( ) or membership@bayatlanticsymphony.org to find out more. We look forward to seeing you this season and thank you for being a valued patron! Meg Sippey Executive Director BAY ATLANTIC SYMPHONY III

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9 Debussy Prélude à L après-midi d un faune ( ) (Afternoon of a Faun) De Falla Three Cornered Hat: Suite No. 1 ( ) Introduction Afternoon Dance of the Miller s Wife (Fandango) The Corregidor The Grapes De Falla Three Cornered Hat: Suite No. 2 The Neighbors Miller s Dance (Farruca) Final Dance INTERMISSION Rachmaninoff Concerto, Piano No. 2, op. 18, C minor ( ) Moderato Adagio sostenuto Allegro scherzando Tomer Gewirtzman, piano Please take a moment and silence all phones, watches, and pagers. Thank you. BAY ATLANTIC SYMPHONY V

10 program notes Debussy: Prélude à L après-midi d un faune (Afternoon of a Faun) Revolutions are messy bloody affairs. Whether they be French, Russian, or American it s hard to get through one unscathed. I m proud to say that in the province of Quebec, where I happened to grow up, there was an extensive revolution in the 1960 s that changed the province dramatically and yet was bloodless. They called it La Revolution Tranquil The Quiet Revolution and Claude Debussy s Prelude to the afternoon of a Faun is exactly that. You don t have to believe me take it from Pierre Boulez the spectacular conductor and Avant Guard composer. Mysterious and spellbinding the flute of the Faun breathes a new air into musical art: Here it is not so much the art of development that is upset, but the concept of form itself, freed from all the impersonal constraint of a preordained scheme, lending wings to a lithe and mobile expressiveness This score has a potential of youthfulness that defies exhaustion or decrepitude; one is justified in saying that modern music awakes with the premiere of L après-midi d un faune. Claude Debussy was among the most innovative French musical minds of the late 19 th and early 20 th centuries. He entered the Paris conservatory at age ten and showed himself to be an extremely fine pianist. He won the prestigious Prix De Rome but found the Italian musical atmosphere stifling and even loathed the food only a true Frenchman could feel this way! From the very beginning of his career Debussy was less than interested in preserving the musical status quo. Even as a child, he was intrigued by new harmonies and rhythms. He delighted in Wagner s extreme chromaticism, exotic Balinese Gamelan Music and eschewed conventional musical forms. The Prelude To The Afternoon of a Faun was inspired by Stephane Malarme s poem of the same name which was written in 1876 and was well known to the composer. Debussy was both an admirer and friend of the poet and had first set Mallarme s poetry to music in In Mallarme s poem the faun has just awakened from his afternoon nap and is describing the real or imagined encounters with various nymphs and niads. Like most symbolist poetry, Afternoon of a Faun is extremely sensual, non representational and dreamlike. No! Through the swoon, heavy and motionless Stifling with heat the cool morning s struggles No water, but that which my flute pours, murmurs To the grove sprinkled with melodies: and the sole breeze Out of the twin pipes, quick to breathe Before it scatters the sound in an arid rain, Is unstirred by any wrinkle of the horizon, The visible breath, artificial and serene, Of inspiration returning to heights unseen. Debussy was not trying to set the poem to music but to convey the general impression and more importantly feeling of Mallarme s words. When Debussy says heat he really means it. I can t think of any other music in the repertoire which represents the word sultry more that the opening theme. The flute is obviously front and center but the complete chromaticism of the music destroys any feeling of key or tonality we might have. The faun s theme outlines the interval of a tritone which splits the octave in two, creating unresolved dissonance. It s only a bit of an exaggeration, but in some ways and with this one ten minute piece, Claude Debussy has wrested control of music away from the stranglehold of the Austro/German establishment and opened the door for a completely new approach to composition. I would call that a revolution Quiet or otherwise. VI BAY ATLANTIC SYMPHONY

11 program notes De Falla: Three Cornered Hat: Suite No. 1 & 2 In the late 19 th and early 20 th centuries it was all the rage for French composers to write in the Spanish idiom. Composers like Debussy, Bizet, Lalo and Chabrier portrayed their neighbor to the west in song, symphony and opera. But what of native Spanish composers? Who in Spain was writing music not of ersatz Spain, but of Spain itself. Three outstanding composers emerged. Isaac Albeniz was a fabulous virtuoso pianist and composer. Enrique Granados was also a fine pianist and wrote beautiful pieces for that instrument in addition to fine stage works. Manuel De Falla did it all. We have great operas, fabulous instrumental works and exquisite ballets. If you are looking for a composer who represents Spain in music, look no further. Manuel De Falla was born in 1876 in the Andalusian city of Cadiz. As a child he had literary ambitions but soon turned to music. His pianistic skills were solid enough to move him to the center of the country and enroll him in the Madrid Conservatory. He graduated in 1899 and over the next 8 years tried his best to ply his craft in the nation s capital. Sadly he wasn t virtuosic enough to take the concert stage and his four attempts at writing Zarzuelas (a local form of operetta) were unsuccessful. In 1907 Falla, realizing he was far from the epicenter of musical culture, moved to Paris. There he met among others Maurice Ravel, Claude Debussy, Paul Dukas and Igor Stravinsky. Falla spent seven years in Paris, leaving at the outbreak of World War 1. He returned to Madrid and this time the capital was much more welcoming. Falla had learned the lessons of impressionism and quickly combined them with his beloved music of Andalucia to produce Spanish art music never heard before. The Three Cornered hat began life as a ballet entitled El corregidor y la molinera (The Magistrate and the Miller s Wife). The work was based on a popular novella written in 1874 by Pedro Antonio de Alarcón. Falla had wanted to set it as an opera but the Alarcón estate strictly forbid it. Serge Diaghilev, the impresario of the ballet Russe was in Madrid and saw the work a number of times. He suggested to Falla that he enlarge the piece and the orchestra. The composer agreed and changed the title to El Sombrero de Tres Picos or The Three Cornered Hat. The title comes from the headwear worn by the magistrate as a symbol of his authority. The story is one of village life and revolves around three characters. The corregidor or magistrate, the miller and his wife. The couple are very much in love with each other, so much so, that they are unaffected by their extra marital flirtations. The old magistrate tries his hand at seducing the miller s wife who leads him on by feeding him grapes. Her husband watches from a distance but eventually chases the codger away. That night as everyone celebrates the feast of St. John the police arrive and take the miller away. The magistrate then appears and tries to continue his seduction. While chasing the miller s wife he falls down and ends up in the mill stream. He returns to the Miller s house and finding no one at home, removes his clothes to dry them. He dons the miller s nightshirt and sleeps. The miller escapes his captors and returns home. He sees the magistrates clothes laid out (including the three cornered hat) and assumes that his wife has given in to her seducer. The miller then decides that he will seduce the magistrate s wife. He puts on the magistrates clothes and sets off. The magistrate wakes and finding nothing of his own to wear, dresses in the miller s clothes. The police arrive and thinking he is the escaped miller quickly arrest him. The villagers enter and soon all is mended, the Jota is danced and the magistrate, as punishment for his misdeeds, is thrown into the air in a blanket. BAY ATLANTIC SYMPHONY VII

12 program notes The premiere took place on July 22, 1919 at the Alhambra Theater in London. As usual Diaghilev assembled an artistic dream team. The choreography was by Léonide Massine who also danced the premiere accompanied by Tamara Karsavina. Pablo Picasso did the costumes and sets and Ernest Ansermet conducted. Falla s combination of Spanish folk music and impressionistic harmonies electrified the audience. The music was so solid that Falla created two suites from the ballet which have remained deservedly in the concert repertory ever since. If after listening to The Three Cornered Hat you need any more reasons to love Manuel de Falla I will provide you with one more. Falla left Spain for Argentina in 1939, following Franco s victory in the civil war. Franco offered the composer a generous pension to return. He refused. Rachmaninoff: Concerto, Piano No. 2, op. 18, C minor When Sergei Rachmaninoff graduated from the Moscow Conservatory on May 29, 1892 he was well on his way to becoming a star in the Russian musical firmament. Not only was Rachmaninoff a fine composer he was an outstanding pianist both technically and interpretively. What could possibly go wrong for our young artist? I ll tell you what his first symphony and its disastrous premiere conducted by Alexander Glazunov on March 28, Rachmaninoff referred to the premiere as the most agonizing hour of my life. The audience was a bit mystified by the piece, but it was the review of fellow composer and music critic Cesar Cui that hurt the most. If there were a conservatory in Hell, and if one of its talented students were to compose a programme symphony based on the story of the seven Plagues of Egypt, and if he were to compose a symphony like Mr. Rachmaninoff s, then he would have fulfilled his task brilliantly and would delight the inhabitants of Hell. What can one say but ouch! The symphony was withdrawn, and Rachmaninoff fell into a profound depression. A paralyzing apathy possessed me. I did nothing at all and found no pleasure in anything. Half my days were spent on a couch sighing over my ruined life. My only occupation consisted in giving a few piano lessons to keep myself alive. While Rachmaninoff was able to do some conducting he was unable to compose. It was finally decided that he needed medical help to conquer his depression. His Aunt Varvara Satina had been successfully treated for emotional distress by a Dr. Nikolai Dahl. Dr. Dahl was a Moscow physician who was well acquainted with recent psychiatric advances in Paris and Vienna and agreed to treat the composer. He began treatment in January of 1900 and visited the Dr. once a day. Dr. Dahl asked Rachmaninoff what kind of piece he wanted to write. The composer replied, he was trying to write a piano concerto. Rachmaninoff described the treatment as follows. I heard repeated, day after day, the same hypnotic formula, as I lay half somnolent in an armchair in Dr. Dahl s consulting room: You will start to compose a concerto You will work with the greatest of ease The composition will be of excellent quality. Always it was the same, without interruption Although it may seem impossible to believe, this treatment really helped me. I started to compose again at the beginning of the summer. VIII BAY ATLANTIC SYMPHONY

13 program notes And compose he did! The second and third movements were completed by the Fall of 1900 and performed on December 2 of that year to great acclaim. The completed work was premiered the following year on November 9, Rachmaninoff would never look back after this and the work became one of his most popular pieces and one of the most performed concertos of the 20 th century. Rachmaninoff never forgot Dr. Dahl who became the dedicatee of the work. The second piano concerto delivers everything we have come to expect in Rachmaninoff. We have a surplus of extraordinary melodies that begins with tolling bells and ends with a tune that eventually became the pop song Full Moon and Empty Arms. We have first rate orchestration. Rachmaninoff learned well at the Moscow Conservatory how to make effective use of the orchestra as not just an accompaniment to his virtuosic soloist but a full partner. Speaking of the piano part If Liszt, Tchaikovsky and Chopin had had a love child this would be it. It is no exaggeration that the great piano experiments that Chopin and Liszt began in the 1830 s receive their ultimate and final expression in Rachmaninoff s Piano Concerto No. 2. BAY ATLANTIC SYMPHONY IX

14 artist biography TOMER GEWIRTZMAN, Pianist Hailed by The Washington Post as an artist of formidable virtuosity and stylistic sensitivity, Israeli pianist Tomer Gewirtzman has impressed audiences around the world. He has performed in recitals in London at Steinway Hall and in Paris in the Salle Cortot of the École Normale. Mr. Gewirtzman played with Nikolai Petrov s Kremlin Festival in cities throughout Russia and has appeared as soloist with orchestras in Israel including the Israel Philharmonic Orchestra, Israel Symphony Orchestra, Jerusalem Symphony Orchestra, the Israeli Chamber Orchestra, the New Haifa Symphony Orchestra, and the Buchmann-Mehta School of Music Symphony Orchestra. This season s highlights include the Bartok Concerto No. 3 at Carnegie Hall with the Juilliard Orchestra conducted by David Robertson, as winner of Juilliard s Concerto Competition; debut recitals at the Isabella Stewart Gardner Museum, Paradise Valley United Methodist Church, Morning Musicales, at the Aaron Copland School of Music at Queens College, and on the Dame Myra Hess Memorial Concerts; the Brahms Piano Concerto in D minor with the Bucks County Symphony, and the Medtner Piano Concerto No. 2 with Russia s Mariinsky Orchestra in St. Petersburg. Last season, Mr. Gewirtzman made his New York recital debut on the Young Concert Artist Series and in Washington D.C. on the YCA and Washington Performing Arts Series. Other performances included recitals at Saint Vincent College, the Buffalo Chamber Music Society, the Harvard Musical Association, the Harriman- Jewell Series, at Congregation Rodef Shalom, and at the Virginia Arts Festival. He also performed at Weill Hall for the American Friends of the Israel Philharmonic and at Lincoln Center s Rose Theater in the America-Israel Cultural Foundation Gala honoring the memory of Vera Stern, and as soloist with the Charlottesville Symphony. Mr. Gewirtzman s busy career has also included performances with Symphony Silicon Valley, the Aspen Concert Orchestra, the Shreveport Symphony Orchestra, the North- West Florida Symphony Orchestra, and the South Arkansas Symphony Orchestra. Mr. Gewirtzman has performed at festivals in the U.S. including Bravo! Vail, Yellowbarn, the Aspen Music Festival, PianoFest, PianoTexas, Summit Music Festival, and New York s International Keyboard Institute Festival, and abroad at the International Academy of Music in Italy, the Musica Mundi Chamber Music Festival in Belgium, Tel-Hai International Master Classes in Israel, and Germany s Usedom Music Festival. At the 2015 Young Concert Artists International Auditions, he was awarded First Prize as well as five performance prizes. Other accolades include First Prize at the 2014 Wideman International Piano Competition in Louisiana, the Piano Prize and Audience Prize at the 2013 America Israel Cultural Foundation s Aviv Competition, Third Prize at the inaugural Midwest Piano Competition in Iowa in 2014, First Prize and a special prize for a commissioned piece at the 2010 Clairmont Competition in Israel, and First Prize at the 2010 Piano Forever competition in Ashdod, which gave him a full scholarship to attend master classes in the U.S. and an opportunity to perform as soloist with the Ashdod Symphony Orchestra. He has also won First Prizes at the Chopin Competition for Young Pianists in Tel-Aviv, the Rig ey See Piano Competition in Ashdod, the Pnina Zaltzman Piano Competition for Young Pianists in Kfar-Sava, and the Tel-Hai International Piano Masterclasses Concerto Competition. After winning Second Prize at the International Russian Music Piano Competition in San Jose, he captured First Prize at the Aspen Music Festival Concerto Competition. He has received Top Prizes in other international competitions such as the International Keyboard Institute Festival Piano Competition in New York, Arte Con Anima Piano Competition in Greece, and the International Baltic Piano Competition in Poland. Tomer Gewirtzman started his musical education at the age of 8, with Ms. Raaya Shpol at the Rubin Conservatory in Haifa, and continued his studies with Vadim Monastirski from the Rubin Academy in Jerusalem. From 2008 to 2011, he served in the Israeli Defense Forces, in the Outstanding Musician program, where he combined regular military service, with extensive music studies at the University. He completed his bachelor s degree at the Buchmann-Mehta school of music in Tel-Aviv, in the studio of Arie Vardi. He earned his Master s degree at the Juilliard School, working with Sergei Babayan, where he received the Kovner Fellowship award, and he continues his studies at Juilliard in the Artist Diploma program. X BAY ATLANTIC SYMPHONY

15 orchestra personnel VIOLIN I Ruotao Mao, concertmaster Nancy Jan, associate concertmaster Amanda Hockenberger Rodolfo Leuenberger Lisa Chippendale Mary Greening, emeritus VIOLIN II Genaro Medina, Nina Vieru, assistant Lela Tsinadze Rachel Massey Lily Wu Heather Kite VIOLA Ana Tsinadze, Renee Steffy-Warnick, assistant Steven Heitlinger Ashley Vines CELLO Elizabeth Mendoza, Nancy Stokking, assistant Ross Beauchamp Maud Fried-Goodnight BASS Michael Egan, Lesa Hornaday-Kurtz, assistant FLUTE Kimberly Reighley, Beverly Pugh-Corry, piccolo Janet Somers OBOE David Schneider, Cheryl Tirpak Laura Yawney, english horn CLARINET Christopher Di Santo, Karen Di Santo BASSOON Ping Liang, Richard Carroll HORN Jonathan Clark, Amy G. Bland Seth Hanes Joan Dowlin TRUMPET Bryan Appleby- Wineberg, Brian Cook George Rabbai TROMBONE Richard Linn, Catherine Bridge Jonathan Schubert, bass trombone TUBA David J. Laird, TIMPANI Malavika Godbole, PERCUSSION Phillip O Banion, William Trigg Peter Saleh Jennifer Cho KEYBOARD Chuck Butler, HARP Rong Tan, BAY ATLANTIC SYMPHONY XI

16 2018 annual fund contributors We acknowledge with grateful appreciation the following contributions made from October 27th, 2017 through October 27th, Thank you for helping us spread the power and joy of classical music throughout South Jersey. Symphony Emerald Circle ($10,000 and Above) Ann B. Hayes Trust Borgata Hotel Casino and Spa Frank and Lydia Bergen Foundation Geraldine R. Dodge Foundation NJ State Council on the Arts PNC Arts Alive Stockton University Woodruff Energy Symphony Diamond Circle ($5,000 - $9,999) Cilento Family Foundation Friends of The Music Foundation South Jersey Industries Robert & Merry Woodruff Symphony Platinum Circle ($2,500 - $4,999) AtlantiCare Century Savings Bank Cooper Levenson Aaron Cohen Alan & Peggy Kligerman Symphony Gold Circle ($1,500 - $2,499) Cumberland Insurance Group Cumberland Mutual Insurance Ocean First Foundation The Schultz-Hill Foundation Dr. Thomas Giegerich William & Virginia Gormley Cheryl & Charles O Hara Symphony Silver Circle ($500 - $1,499) Anonymous Robert Dragotta Loretta P. Finnegan Rita Gaylin Charles Shy Kramer Elizabeth Kratovil Dennis & Carole Krill Maria Mento Jill Mortensen William & Lenore Smythe Arthur & Martha Snellbaker Lillie Sollish Stephen & Ellen Strauss J. Alan & Grace Woodruff Symphony Bronze Circle ($100 - $499) The Benevity Community Impact Fund Metropolitan Business and Citizens Association (MBCA) Thomas & Jane Ashworth Bill Benton & Margaret Perryman Helen Boyd Jeffrey T. Contino Ray & Virginia Dethy Julie Donatelli Burt & Jeanne Doremus Sheldon Gaylin Caleb & Lois Harris Robert & Monica Heinly James Higbee Leo Hogan Judith Holst-Hall & Melanie Flynn Phillip & Mary Ingraham Edward Jones David & Deborah Kern B.S. Kimmel Paul & Bethanne Macrie Ted & Suzanne Marx Billie Jane Maul George & June Merrifield Rose Marie Nolan Jim & Sally Parsly Paul & Marlene Rigby Maryann Robson Larry Sieg Mark Soifer Paul & Janet Somers Tom & Jane Verba Daniel & Maria Walters Bob Watters Barbara Wheeler George Wimberg George A. Zitnay Sustainer of the Symphony ($50 - $99) Bernhard Abrams Irene Bird Tula Christopoulos Joseph & Michele D Agostino Carol L. Gaffney Anna Gargantiel Robert & Kim Garner Jennifer Gaylin Lyndsay Hannah William Kirby Claire Moyer Thomas & Sherry Pickle Joseph & Audrey Scarpa Frederick & Constance Schuchard Cary & Dorothy Stone Stephen Wajada We would also like to thank the following sponsors for making this evening s performance possible: AtlantiCare Century Savings Bank Cooper Levenson Cumberland Insurance Group Cumberland Mutual Insurance Ocean First Foundation PNC Arts Alive The Schultz-Hill Foundation South Jersey Industries Woodruff Energy XII BAY ATLANTIC SYMPHONY

17 the music director JED GAYLIN Generous is the word listeners and performers use time and again to describe conductor Jed Gaylin s approach to the orchestra, the score, and the audience. His joyful abandon and probing intellect join together in powerful programs, compelling interpretations, and evenings that are fresh and exuberant. George Szell said, In music one must think with the heart and feel with the mind, a maxim Jed Gaylin embodies abundantly and passionately. Orchestra members throughout the world, soloists, and opera singers often recount how Jed Gaylin s rehearsals and performances elicit their very best, not only individually but collectively. He seeks connections not only within a piece, but also between seemingly disparate and wide-ranging works to sculpt a concert of surprising, captivating juxtapositions. His dedication to exploring the music s fullest potential in a collaborative spirit reaches beyond the stage to draw the audience into the creative act. Listeners feel far more than just welcomed by words from the podium they feel engaged as participants in a wordless musical conversation that is spontaneous, big-hearted, and eloquent. As Music Director, Jed Gaylin leads the Bay Atlantic Symphony, Hopkins Symphony Orchestra, and Two Rivers Chamber Orchestra with the same creative depth and an open spirit that he brings to the podium. The Bay Atlantic Symphony is now not only consistently praised for its astonishing level of artistry and precision, it is also viewed throughout New Jersey as a model for how professional orchestras can become a vital focus and source of identity in their communities. As a sought-after creative partner throughout the region, the Bay Atlantic Symphony has forged residencies with three area colleges, numerous towns, music festivals such as Cape May, and even casinos. Atlantic City s Borgata has hosted the Symphony for an all-classical summer series, begun in In 2012, Jed Gaylin was named Artist in Residence at Stockton Univeristy. This position is a part of an innovative model in which Bay Atlantic Symphony is integrated into the music curriculum. Symphonic rehearsals and presentations have become focal points for coursework and seminars. Also in 2012, he was named Music Director of the Two Rivers Chamber Orchestra, in Shepherdstown, West Virginia. Mr. Gaylin makes his home in Baltimore where he lives with his wife, poet and essayist Lia Purpura. He has been Music Director of Hopkins Symphony since 1993, during which the orchestra has grown in size, prominence, and artistry into one of the country s most accomplished university orchestras. The high standards of the orchestra and Jed Gaylin s belief in art s ability to knit together and ignite new energy in our communities have resulted in collaborations with arts groups throughout the city, as well as with other non-profit and civic organizations. Also in Baltimore, Jed Gaylin was a regular conductor of Opera Vivente, where his interpretations of Mozart, Verdi, Donizetti, and Jonathan Dove were regularly praised for their nuance and power. Mr. Gaylin served as Director of Orchestras of the Cervera International Music Festival and Summer Course (Spain). He has been Principal Guest Conductor of the National Film and Radio Philharmonic (Beijing, China) as well as the Principal Guest Conductor of the Sibiu State Philharmonic (Romania). Mr Gaylin has led numerous orchestras, including the Saint Petersburg State Symphony, Shanghai Conservatory Orchestra, Xinjiang Philharmonic, Bucharest Radio Orchestra, Academia del Gran Teatre del Liceu (Barcelona, Spain), Eastman School of Music Broadband Ensemble, Lodz Philharmonic and Pomorska Philharmonic (Poland), Gnessin Institute Orchestra and Moscow Chamber Symphony (Russia), Orquesta Sinfonica de Guanajuato (Mexico), Orvieto Festival Orchestra (Italy), Naples Philharmonic (Florida), Symphony New Hampshire, and Wheeling Symphony (West Virginia). He has taught master classes and lectured throughout the world including at the Shanghai Conservatory, the Peabody Conservatory, and Eastman School of Music. Among Jed Gaylin s television and radio broadcasts have been National Public Radio s Weekend Edition airing of the Bay-Atlantic Symphony to more than four million listeners, Voice of America presentations throughout Europe and the former Soviet Union, as well as Bucharest Radio Orchestra, and the National Radio and Film Philharmonic in Beijing. Mr. Gaylin and the Bay-Atlantic Symphony broadcasted a fulllength concert performed at the Cape May Music Festival on WWFM in New Jersey and have been aired repeatedly on WYPR in Baltimore. Such soloists as Hilary Hahn, Yuja Wang, Eugenia Zukerman, Shai Wosner, and Stefan Jackiw have performed with Jed Gaylin leading the Bay Atlantic and Hopkins Symphonies. Composers he has commissioned include Carlos Sanchez-Gutierrez, Lee Pui Ming, James Grant, Russell Steinberg, and James Lee. He recorded She Comes to Shore concerto for improvised piano and orchestra, by pianist/composer Lee Pui Ming (Naxos/Innova). The recording features the Bay Atlantic Symphony, with the composer at the piano. He also conducted for a two-album CD played by the Xinjiang Philharmonic in Northwest China. Mr. Gaylin earned both a Bachelor of Music in piano and a Master of Music in conducting at the Oberlin Conservatory, and a Doctor of Musical Arts in conducting at the Peabody Conservatory. He attended the Aspen Music Festival as a Conducting Fellow. Among other honors, he has received a National Endowment for the Arts grant and the Presser Music Award. His conducting teachers have included Frederik Prausnitz, Leonard Slatkin, Jahja Ling, Murry Sidlin, Paul Vermel, and Michel Singher, and, for piano, Lydia Frumkin. Find out more about Jed Gaylin at jedgaylin.com.

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