Performance

Fall 2022

Dartmouth Symphony Orchestra

November 12, 2022

This event occurred as part of the 22/23 Hop Ensemble season. This is an archived view.

22/23 Hop Ensemble

This year, as the Hop turns 60, we launch into reimagining and expanding our iconic building. This concert and the Arts District Open House coincide with the reopening of Dartmouth Hall and the college's 50th anniversary of co-education.

DSO takes part in the two-day celebrations as the orchestra welcomes pianist Karen Walwyn to play Piano Concerto in One Movement. Price was the first black woman composer to have a symphony performed by a major American orchestra. She was also a prodigy, playing her first piano recital at the age of 4. Walwyn is a concert pianist, composer, recording artist and a Florence Price scholar.

The program also includes Berlioz's astounding Symphonie Fantastique and Aaron Copland's Lincoln Portrait, featuring a powerful narration by our special guest—actress and member of the Hop Board of Advisors, Sharon Washington '81.

Generously supported by the Roesch Family Fund in Support of Instrumental Ensembles, Friends of the Symphony Orchestra and the Benjamin Schore '51a Fund for Excellence in Piano Performance.

karen-walwyn-4x5.jpg

Karen Walwyn
Karen Walwyn, concert pianist, composer, recording artist and a Florence Price scholar, is the first female African American pianist/composer to receive the International Steinway Artist Award. Walwyn began her journey with Price when she was invited to perform and record the world premiere of the Concerto in One Movement by Florence Price with the New Black Music Repertory Ensemble by the Center of Black Music Research. Continuing the journey, Walwyn just released her Florence Price solo piano music including a number of world premieres on the birthday of Price on April 9, 2022. As a composer, she received the Global Award: Gold Medal Award of Excellence for her recording of her composition entitled Reflections on 9/11. A Mellon Faculty Fellow, Walwyn continuously receives numerous commissions for solo, chamber and orchestral works. Dr. Walwyn, Area Coordinator of Keyboard Studies at Howard University, is in constant concert demand nationally and internationally for both her repertoire from Frédéric Chopin to Florence
Price, as well as for performances of her own works. Learn more.

sharon-washington-4x5.jpg

Sharon Washington
Sharon is a proud member of Dartmouth's Class of 1981. She is celebrating over 30 years as a working actress and her new journey as a writer. Her most recent television appearances include guest star roles on Bull and Power Book III; the award-winning short film Birdwatching co-starring Amanda Seyfried, and Down with The King which premiered at Cannes ACID; Other film/television work: Joker, The Kitchen, On The Basis of Sex, Michael Clayton, Long Kiss Goodnight, Malcolm X, Die Hard With A Vengeance, and all the NY Law & Order franchises where she can still occasionally be seen on the bench as Judge Virginia Hayes. You may also recognize her voice as the narrator of several documentary series for Animal Planet, Discovery, NOVA and TV One. Sharon made her debut as playwright at City Theatre with the world premiere of her solo play Feeding The Dragon which was nominated for an Outer Critics Circle Award for Outstanding Solo Performance, a Lucille Lortel Award for Outstanding Solo Show and won an Audelco Award for Solo Performance. Sharon completed Feeding the Dragon at Dartmouth during her New York Theatre Workshop summer writing residency in 2015. Sharon is Co-Writer/Executive Producer of the screenplay adaptation of Feeding the Dragon which has been optioned by a major Hollywood studio and is currently in development. Sharon is currently co-writing the libretto for the new musical New York New York with music by Kander & Ebb, directed & choreographed by Susan Stroman, and set to premiere on Broadway in the Spring of 2023. Learn more.

Program

The Project

Hopkins Center for the Arts
presents

Dartmouth Symphony Orchestra

Filippo Ciabatti, director

with special guests

Karen Walwyn, piano

Sharon Washington ’81, narrator

Saturday, November 12, 7:30 pm

Spaulding Auditorium • Dartmouth College • 2022

Generously supported by the Roesch Family Fund in Support of Instrumental Ensembles, Friends of the Symphony Orchestra and the Benjamin Schore ’51a Fund for Excellence in Piano Performance.

Spaulding Auditorium’s Hamburg Steinway concert grand piano was purchased with generous gifts from Members of the Hopkins Center and Members of the Hood Museum of Art; the class of 1942, in memory of Allan Dingwall ’42; and anonymous donors. Its New York Steinway concert grand piano was restored with a generous gift by Huntley Allison ’42 P’74.

Program

Approximate duration: 90 minutes with intermission

Piano Concerto in One Movement Florence Price (1887-1953)
Andantino–Adagio cantabile–Allegretto
Karen Walwyn, piano

Lincoln Portrait Aaron Copland (1900-1990)
Sharon Washington ’81, narrator

Intermission

Symphonie fantastique, Op. 14 Hector Berlioz (1803-1869)
     Rêveries – Passions (Daydreams – Passions)
     Un Bal (A Ball)
     Scène aux champs (Scene in the Fields)
     Marche au supplice (March to the Scaffold)
  Songe d’une Nuit du Sabbat (Dream of a Witches’ Sabbath)

Program Notes

Florence Price
Piano Concerto in D minor in one movement

Florence Price was born in Little Rock, Arkansas, on April 9, 1887, and died on June 3, 1953, in Chicago. She wrote her one-movement piano concerto in 1934. It premiered in Chicago that year with Price herself at the piano. To accompany the solo piano, the score calls for flute, oboe, two clarinets, bassoon, two horns, two trumpets, two trombones, timpani, bass drum, snare drum, cymbals and strings.

Compared to its Harlem counterpart in African American history, the Black Renaissance in Chicago is often overlooked. But the movement’s impact on Black literature, visual art and music, and on American culture as a whole, was enormous. With a nexus on Chicago’s South Side and a heyday spanning the 1920s, ’30s and ’40s, its star-studded network included such luminaries as Lorraine Hansberry, Richard Wright, Archibald Motley, Katherine Dunham, Thomas Dorsey, Mahalia Jackson and Louis Armstrong. Connected as it was to its New York sibling, this was no mere outpost of the Harlem Renaissance, but a thriving local scene with a distinct history and character.

If William Grant Still championed classical music for the Harlem Renaissance, in Chicago its leading light was Florence Price. Price was the first Black woman composer to gain national recognition as a symphonist, a breakthrough sparked in 1933 by the Chicago Symphony’s premiere of her prize-winning Symphony in E minor. Even more successful were her songs for voice and piano or orchestra. These included arrangements of spirituals as well as settings of poetry by Langston Hughes, with whom she collaborated closely. Celebrated vocalists Leontyne Price (no familial relation) and Marian Anderson championed her works on stage; together with Price’s student, close friend and fellow composer Margaret Bonds, the four formed the core of a small-but-robust network of Black women in American art music in the early 20th century. Price’s music was performed widely, her output was enormous (comprising over 300 compositions), and she wrote and taught actively until her death in 1953.

During her lifetime, Price’s success in the art music scene was undeniable; for a Black woman composer, it was unthinkable. But like so many African American composers before and since, after her death she and her work fell into obscurity. Barely a handful of those 300-odd works were ever published, and none entered the canon. Only in recent decades has a revival of interest in the study and performance of Florence Price’s music slowly gathered steam, helmed in the main by Black musicians.

In part (and only in part), the classical establishment’s abandonment of Price’s work might be chalked up to her conservative style. Certainly she was influenced by the ideals of the Harlem Renaissance and its valorization of Black musics from antebellum spirituals to modern jazz; blues idioms and ragtime syncopation are seamlessly interwoven with classical forms even in instrumental works such as tonight’s sumptuous D-minor piano concerto. But the predominant character of her music is Romantic nationalism of the American sort modeled by Dvořák in his New World Symphony, a style she stuck to until her death. Her Black heritage and her womanhood were two strikes against her from the start; her refusal to fit neatly within the progress-driven narrative of modernist music history was a third. In the end, as with other Black composers of the era, we must grapple with the uncomfortable fact that Florence Price’s music enjoyed greater success during the depths of Jim Crow segregation than it does today.

Aaron Copland
Lincoln Portrait

Aaron Copland was born on November 14, 1900, in Brooklyn, and died in North Tarrytown, New York, on December 2, 1990. He wrote Lincoln Portrait in 1942. It premiered in May of that year in Cincinnati with William Adams in the speaking role. The score calls for a narrator accompanied by two flutes (both also piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, and contrabassoon; four horns, three trumpets, three trombones and tuba; timpani, snare drum, cymbals, bass drum, tam-tam, glockenspiel, sleigh bells and xylophone; celesta; harp and strings.

Early in 1942, not long after the bombing of Pearl Harbor and the United States’ entrance into World War II, conductor Andre Kostelanetz commissioned Aaron Copland for a musical portrait of an eminent historical American, intended as the capstone of a whole wartime program of spirit-rousing stuff. Though Kostelanetz turned down Copland’s first choice of subject (Walt Whitman—not political enough, he said), they soon settled on the nation’s sixteenth president. The result, completed in April of that year, was the Lincoln Portrait for narrator and orchestra. Popular since its premiere, it is Copland’s most straightforwardly nationalist work and perhaps his most accessible, too.

The spoken text interlaces excerpts from three Lincoln speeches (the 1862 Annual Message to Congress, one of the 1858 Lincoln-Douglas debates, and the 1863 Gettysburg Address) with Copland’s own easygoing verbal commentary. The tone of the composer’s remarks, somehow conversational and reverent all at once, has its exact musical counterpart in the orchestral writing, which provides a short-and-sweet exemplar of Copland’s populist style. As in the ballet scores for Billy the Kid, Rodeo and Appalachian Spring, folk tunes from Anglo-American song traditions are freely blended here with convincingly folksky counterfeits, not-too-spiky modernist rhythm and dissonance, and plenty of appropriately noble passages for brass and woodwinds.

For Lincoln Portrait, the borrowed melodies include Stephen Foster’s enduring “Camptown Races” and a tune associated with the regional American ballad “On Springfield Mountain” (that’s Laws G16 for you ballad-heads). Each one has a sneaky relevance to Copland’s presidential subject. “Camptown Races” was sung, with new words, by Lincoln supporters as a campaign song in 1860. As for “On Springfield Mountain”, not only does the setting evoke Honest Abe’s hometown (wrong Springfield, though—the ballad’s origins are in Massachusetts), but the narrative itself, which elegizes a young man killed in his prime by a snakebite, also calls to mind Lincoln’s assassination.

We’ll leave off with Copland himself, who summarized the piece’s form thus:
The composition is roughly divided into three main sections. In the opening section I wanted to suggest something of the mysterious sense of fatality that surrounds Lincoln’s personality. Also, near the end of that section, something of his gentleness and simplicity of spirit. The quick middle section briefly sketches in the background of the times he lived. This merges into the concluding section where my sole purpose was to draw a simple but impressive frame about the words of Lincoln himself.

Hector Berlioz
Symphonie fantastique (Fantastical Symphony: Episode in the Life of an Artist…in Five Parts), Op. 14

Hector Berlioz was born in La Côte-Saint-André, Isère, on December 11, 1803; he died in Paris on March 8, 1869. He wrote the Symphonie fantastique in 1830; François Habeneck conducted its premiere on December 5 of that year at the Paris Conservatory. The score calls for two flutes (second also piccolo), two oboes (second also English horn), two clarinets (first also E-flat clarinet), and four bassoons, four horns, two cornets, two trumpets, three trombones, and two ophicleides (today usually performed on tuba); four timpani, cymbals, snare drum, bass drum, and low bells; 2 harps and strings.

On September 11, 1827, Hector Berlioz attended a performance of Hamlet by an English company at the Odéon-Théâtre in Paris. Though he didn’t speak a word of English, he was (somehow) quite moved by the production, and by Anglo-Irish actor Harriet Smithson’s performance of Ophelia in particular, writing: “The impression made on my heart and mind by her extraordinary talent, nay her dramatic genius, was equaled only by the havoc wrought in me by the poet she so nobly interpreted.” His infatuation with Smithson was immediate, obsessive, and disastrous. For nearly three years, Berlioz penned unanswered and increasingly desperate letters to her, never able to secure an introduction. Predictably, his frustrated preoccupation soon darkened into a nasty brew of masculine entitlement and unrighteous anger, precipitated by his hearing (false) rumors that Smithson was romantically involved with her troupe’s manager. In a letter to his friend Humbert Ferrand written soon after the spurious scandal broke, Berlioz wrote cruelly:
I pity her and despise her. She is an ordinary woman, gifted with an instinctive genius for expressing lacerations of the human soul that she has never felt, and incapable of conceiving a great and noble passion such as mine for her.

In the crucible of Berlioz’s fixation, a perfectly vitriolic sample of Romantic-era misogyny was distilled. And when it boiled over, the musical decoction left was the Symphonie fantastique. The symphony’s program, meticulously written and rewritten by the composer, is a surreal and obviously autobiographical five-act drama in which the artist dreams no less than the murder of his beloved by his own hand.

Would that the story ended there, though. Two years (nearly to the day) after the premiere of his symphony, Berlioz finally met Harriet Smithson. And in 1833, in one of the most sordid moments in music history, he forced Smithson into marriage by taking a lethal dose of opium in front of her, refusing to take a life-saving emetic until she promised her hand. They wed in October of that year, remaining together until their 1844 divorce.

Too easily in discussions of the life and music of Hector Berlioz have writers dehumanized Harriet Smithson, painting her as merely a muse, a font of inspiration for the composer’s genius. In the same gesture, Berlioz is absolved and deified, his violence dismissed (at best) as a necessary evil towards the greater good of artistry. The story is all too familiar.

As a starting point, let’s not lose sight of Smithson the human being and her very real victimization, nor of Berlioz the stalker and abuser. From that critical vantage, we can weigh important questions: What does it mean to consume music made by abusers, especially when that music is so compelling? When it seizes us and transports us so vividly to the ball, the meadows, the scaffold, and the ghostly sabbath-dance? I’m not sure, myself, but I think guarded listening, when paired with honest talk, has something to offer.

Provided below are Berlioz’s own notes for Symphonie fantastique, in the version eventually published with the score in 1845.

“The composer’s aim has been to develop, to the extent that they have musical possibilities, various situations in the life of an artist. The plan of the instrumental drama, which is deprived of the help of words, needs to be outlined in advance. The following program should therefore be thought of like the spoken text of an opera, serving to introduce the musical movements, whose character and expression it calls into being.

“Part One: Reveries, Passions—The author imagines that a young musician, afflicted with that moral disease that a celebrated writer calls ‘the surge of passions,’ sees for the first time a woman who embodies all the charms of the ideal being of whom he has dreamed, and he falls hopelessly in love with her. Through a bizarre trick of fancy, the beloved image always appears in the mind’s eye of the artist linked to a musical thought whose character, passionate but also noble and reticent, he finds similar to the one he attributes to his beloved.

“The melodic image and its human model pursue him incessantly like a double idée fixe. This is the reason for the constant appearance, in every movement of the symphony, of the melody that begins the first allegro. The passage from this state of melancholic reverie, interrupted by a few fits of unmotivated joy, to one of delirious passion, with its movements of fury and jealousy, its return of tenderness, its tears, its religious consolation—all this is the subject of the first movement.”

“Part Two: A Ball—The artist finds himself in the most varied situations—in the midst of THE TUMULT OF A FESTIVITY, in the peaceful contemplation of the beauties of nature; but wherever he is, in the city, in the country, the beloved image appears before him and troubles his soul.

“Part Three: Scene in the Fields—Finding himself in the country at evening, he hears in the distance two shepherds piping a ranz des vaches in dialogue. This pastoral duet, the scenery, the quiet rustling of the trees gently disturbed by the wind, certain hopes he has recently found reason to entertain—all these come together in giving his heart an unaccustomed calm, and in giving a brighter color to his ideas. He reflects upon his isolation; he hopes that soon he will no longer be alone. . . . But what if she were deceiving him! . . . This mixture of hope and fear, these ideas of happiness disturbed by black presentiments, form the subject of the ADAGIO. At the end, one of the shepherds again takes up the ranz des vaches; the other no longer replies. . . . The distant sound of thunder . . . solitude . . . silence.

“Part Four: March to the Scaffold—Having become certain that his love goes unrecognized, the artist poisons himself with opium. The dose of the narcotic, too weak to kill him, plunges him into a sleep accompanied by the most horrible visions. He dreams that he has killed the woman he had loved, that he is condemned, led to the scaffold, and that he is witnessing HIS OWN EXECUTION. The procession moves forward to the sounds of a march that is now somber and fierce, now brilliant and solemn, in which the muffled noise of heavy steps gives way without mediation to the most noisy clangor. At the end of the march, the first four measures of the IDÉE FIXE reappear like a last thought of love interrupted by the fatal blow.

“Part Five: Dream of a Witches’ Sabbath—He sees himself at the sabbath, in the midst of a frightful assembly of ghosts, sorcerers, monsters of every kind, all come together for his funeral. Strange noises, groans, outbursts of laughter, distant cries which other cries seem to answer. The beloved melody appears again, but it has lost its character of nobility and reticence; now it is no more than the tune of an ignoble dance, trivial and grotesque: it is she, come to join the sabbath. . . . A roar of joy at her arrival. . . . She takes part in the devilish orgy. . . . Funeral knell, burlesque parody of the DIES IRAE, SABBATH ROUND-DANCE. The sabbath round and the Dies irae combined.”

Listeners interested in learning more about the relationship between Hector Berlioz and Harriet Smithson are encouraged to read Peter Bloom's 2013 article, "Berlioz and Liszt 'in the Locker Room,'" published in volume 54 of the journal Studia Musicologica.

About the Artists

The recipient of the 2020 American Prize in Conducting (college/university division), Filippo Ciabatti, a native of Florence, Italy, is the Director of Orchestral and Choral Programs at the Hopkins Center for the Arts, Dartmouth College, and the Artistic Director of the Upper Valley Baroque Ensemble. Additionally, in 2022, he will serve as Interim Music Director of Opera Company Middlebury.

As guest conductor, Mr. Ciabatti has appeared with numerous opera companies and orchestras in Europe and North and South America, including Opera North (New Hampshire), Lyric Theatre at Illinois, Aurora Festival Orchestra (Sweden), Vermont Symphony Orchestra, Orchestra Toscana dei Conservatori (Italy), Park ICM Orchestra (Missouri), Universidad Central Orchestra (Colombia), and the Concord Orchestra (Massachusetts). In 2020, he served as cover conductor for the Music Director of the Portland Symphony Orchestra (Maine). At the Hopkins Center, he conducted members of the Dartmouth Symphony Orchestra in a collaboration with the Martha Graham Dance Company.

As a conductor, Mr. Ciabatti has collaborated with artists including Philadelphia Orchestra concertmaster David Kim, baritone Nathan Gunn, cellist Gabriel Cabezas, pianist Sally Pinkas, flutist Luciano Tristaino, and mandolinist Carlo Aonzo. An advocate for contemporary music and collaborations between musical genres, he premiered a secular oratorio composed by renowned jazz composer Taylor Ho Bynum and commissioned a cello concerto by composer Noah Luna, aired during the NPR show From the Top. In 2018, he led a Dartmouth Symphony Orchestra tour to Italy, performing Mahler’s Fifth Symphony in prominent venues and festivals, in collaboration with the Orchestra Toscana dei Conservatori. In 2018, he was invited to be a Conducting Fellow at the Aurora Music Festival (Sweden), under the direction of Jukka-Pekka Saraste. During the festival, he conducted Hannah Kendall’s 2017 composition, The Spark Catchers, in the Konserthuset Stockholm.

As a collaborative pianist and vocal coach, Mr. Ciabatti is on the faculty of Camerata de’ Bardi, the Young Artists Program of Teatro Grattacielo in New York City, and the summer opera programs “Opera Viva!” in Verona (Italy) and “Scuola Italia per Giovani Cantanti Lirici” in Sant’Angelo in Vado (Italy). In 2021-2022, he served as Music Director of the Young Artists Program of Opera Middlebury. He has played for masterclasses of Renée Fleming, Nathan Gunn, Isabel Leonard, William Matteuzzi and Donald George. In Italy, he worked as vocal coach for the Cherubini Conservatory, Maggio Musicale Fiorentino and Florence Opera Academy.

Mr. Ciabatti holds advanced degrees in piano, choral conducting and orchestral conducting from Italy and the United States.

Karen Walwyn, concert pianist, composer, recording artist and a Florence Price scholar, is the first female African American pianist/composer to receive the International Steinway Artist Award. Walwyn began her journey with Price when she was invited to perform and record the world premiere of the Concerto in One Movement by Florence Price with the New Black Music Repertory Ensemble by the Center of Black Music Research. Continuing the journey, Walwyn just released her Florence Price solo piano music including a number of world premieres on the birthday of Price on April 9, 2022. As a composer, she received the Global Award: Gold Medal Award of Excellence for her recording of her composition entitled Reflections on 9/11. A Mellon Faculty Fellow, Walwyn continuously receives numerous commissions for solo, chamber and orchestral works. Dr. Walwyn, Area Coordinator of Keyboard Studies at Howard University, is in constant concert demand nationally and internationally for both her repertoire from Frédéric Chopin to Florence.

Sharon Washington is a proud member of Dartmouth’s Class of 1981. She is celebrating over 30 years as a working actress and her new journey as a writer. Her most recent television appearances include guest star roles on Bull and Power Book III; the award-winning short film Birdwatching co-starring Amanda Seyfried, and Down with The King which premiered at Cannes ACID; Other film/television work: Joker, The Kitchen, On The Basis of Sex, Michael Clayton, Long Kiss Goodnight, Malcolm X, Die Hard With A Vengeance, and all the NY Law & Order franchises where she can still occasionally be seen on the bench as Judge Virginia Hayes. You may also recognize her voice as the narrator of several documentary series for Animal Planet, Discovery, NOVA and TV One. Sharon made her debut as playwright at City Theatre with the world premiere of her solo play Feeding The Dragon which was nominated for an Outer Critics Circle Award for Outstanding Solo Performance, a Lucille Lortel Award for Outstanding Solo Show and won an Audelco Award for Solo Performance. Sharon completed Feeding the Dragon at Dartmouth during her New York Theatre Workshop summer writing residency in 2015. Sharon is Co-Writer/Executive Producer of the screenplay adaptation of Feeding the Dragon which has been optioned by a major Hollywood studio and is currently in development. Sharon is currently co-writing the libretto for the new musical New York New York with music by Kander & Ebb, directed & choreographed by Susan Stroman, and set to premiere on Broadway in the Spring of 2023.

Dartmouth Symphony Orchestra

Filippo Ciabatti, director
Marcia Cassidy, assistant
Leslie Sonder, librarian

Violin I
Marcus Chang ’23, concertmaster
Sophia Chang Stauffer ’22, G, assistant concertmaster
Ida Claude ’22
Jessica Jiang ’25
Annie Mills ’26
Joshua Piesner ’26
Helena Seo ’25
Omar Chen Guey F
Kathy Andrew
EmmaLee Holmes-Hicks
David Horak
Ira Morris
Tim Yip

Violin II
Teddy Glover ’25
Jackson Spurling ’23
Jessica Wang ’23
James Park ’24
Julia Lee ’24
Marcia Cassidy F
Matthew Kim ’25
Greg Diehl
Melanie Dexter
Kenna Tuggle
Randy Hiller

Viola
Jehan Diaz ’22, TH
Jason Pak ’24
Elaine Chi ’24
Leslie Sonder F
Carrol Lee
Rebecca Hallowell
Ana Ruesink
Amanda Wilson
Noralee Walker
Elaine Leisinger

Cello
Hannah Kim ’23
Woojin Chung ’23
Ava Rosenbaum ’26
Elizabeth Lee ’24
Tyler Grubelich ’26
Hannah Spindler ’23
Ethan Hodess ’25
Liam Tassiello ’26
Aidan Lee ’25
Perri Morris
Eli Kaynor
Jennifer Minnich
Dilshod Narzillaev

Bass
Alex Ponasik ’26
Nick Browne F
Paul Horak TH ’94
Taylor Brown
Evan Premo
Ed Allman

Harp
Sorana Rus
Greta Richardson ’26

Flute
Ashley Addington (+ piccolo)
Zuoliang Liu (+ piccolo)

Oboe
Michelle Farah
Christa Robinson (+ English horn)

Clarinet
Bill Kirkley (+ E-flat clarinet)
Sunny Chen ’25

Bassoon
Janet Polk F
Sally Merriman
Nicholas Pitcher
Brian Shaw

Horn
Michael Lombardi
Patrick Kennelly F
Joy Worland
Adam Shommer

Trumpet
Russell Devuyst
Liz Jewell
Cheryl Przytula
Seelan Manickam

Trombone
Michael Tybursky
Chloe Park ’25
Zachary Haas

Tuba
Jobey Wilson
Chase Harvey ’25

Timpani
Nicola Cannizzaro
Jeremy Levine

Percussion
Greg Simonds
Mike Laven
Dylan Barber
Thomas Schmidt

F = Dartmouth faculty
G = Graduate student
Italics = Guest musician
TH = Thayer

Connecting Artists to the Community

Dartmouth Symphony Orchestra Director Filippo Ciabatti gives a preview of the performance at the pre-show talk, The Hop: tonight and beyond, at 6:15 in the Top of the Hop. In the talk, Executive Director Mary Lou Aleskie discusses a new vision for the building, as part of our two-day celebrations of the Hop’s 60 anniversary and upcoming renovations.

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