Jon Manasse - Top of any list of the World`s Great Clarinetists

TCO Newsletter
Spring 2011
The Chappaqua Orchestra is dedicated to
producing high quality music, promoting
local musicianship and creating music
lovers for the next generation.
Inside this issue:
Letter from the
President
2
What’s Bad About
New Music?
2
Notes from the
Conductor
3
What’s on for Next
Season
3
TCO Board Member
and Violinist Aaron
Lockwood
4
What’s New at the
Chappaqua Library
4
TCO Advertiser of the
Year: Rocky’s Deli 6
Alan Bramson
7
Mark Your Calendar:
Sunday, May 15:
Soprano Deborah
Horne, 3 pm at
Chappaqua Library
Sunday, May 22:
Love’em and
Libermann with
clarinet soloist, Jon
Manasse, 3 pm at
Horace Greeley High
School.
Jon Manasse - Top of any list of the
World’s Great Clarinetists
By Matt Lanna
One of the world’s greatest clarinetists will be
performing with The Chappaqua Orchestra, at the
Horace Greeley High School Auditorium in
Chappaqua, New York on Sunday, May 22nd, 2011,
3:00 PM.
How can this be, you ask? I suppose I’d like to
believe I had something to do with it, like being
around when he was born (don’t worry, Jon, I’m not
showing your baby pictures), and then watching him
grow, as a young child devoted to camping trips in
national parks with his family and my family.
Though his parents slept in the VW Camper and
though Corinne and I had a pop-up trailer for
sleeping, Jon and his siblings (Gigi and Paul)
preferred the ground tents with my children (Lisa and
Paolo). And they all preferred peanut butter and jelly sandwiches for dessert.
But then Jon discovered the clarinet and that became his love, from the age of eleven. No
sports, no TV (and no texting?), thanks to his parents, Gus and Helen, but Jon was selfmotivated to pursue his career goals. He almost missed out on a major audition in his early
teens because this writer was his piano accompanist. I think Jon was told he was selected
“despite your pianist’s struggles through the Mozart Clarinet Concerto.”
Perhaps that’s why Jon agreed to play it again with the Chappaqua Orchestra in 1998 at
Greeley High School, following a request from this writer--by that time his unofficial sponsor
and humorist. Also at that time, Jon’s wife Pamela (a cellist) had just presented him with their
second child, Alec, who is following dad in studying the clarinet. The first child, Madeline, is
now an outstanding violinist, enrolled in the Juilliard pre-college program along with Alec.
The third child, Jordan, is seriously studying piano, at age five. Do genes work?!
Jon’s Manasse’s accomplishments could fill several pages, but here are a few highlights:
Soloist with major orchestras (Mostly Mozart Festival, New York’s Lincoln Center; St. Louis;
Seattle; Tokyo; Jerusalem; Tel Aviv; etc.). Principal clarinetist, American Ballet Theater and
Mostly Mozart Festival Orchestra; one year principal clarinetist Metropolitan Opera
Orchestra. Chamber music guest soloist with leading chamber ensembles (Amadeus,
Borromeo, Shanghai, etc.). Faculty, Eastman School of Music, and Juilliard School of Music.
Co-Artistic Director, Cape Cod Chamber Music Festival. Recording artist for almost all major
clarinet concertos and clarinet chamber literature. Half of the acclaimed Manasse/Nakamatsu
Duo (the “two Jons”), with Jon Nakamatsu having won the Cliburn piano competition, and
Jon Manasse having won the Juilliard concerto competition upon graduation.
(Continued on page 7)
Page 2
THE CHAPPAQUA ORCHESTRA
TCO Newsletter
Spring 2011
Letter from the President
There has never been a more exciting time in classical music culture than now. Young
instrumentalists and vocalists are displaying an increasing level of virtuosity in concert halls
throughout the country. Audiences benefit from this high caliber of musicianship and need not
look beyond their own backyards to experience the thrill of a live performance.
Weekly, we read about the musical world and the financial hardships that ravage orchestral
institutions. Iconic symphonic orchestras, such as the Philadelphia Orchestra and the
Cleveland Orchestra, are confronted with the possibility of bankruptcy. The Dallas and Detroit
Symphonies may also fall due to financial problems, and our very own New York Philharmonic is operating at a deficit
despite its strong endowment. Simply put, the cost of running top quality orchestras exceeds the revenues generated by
these organizations.
On the home front, I can happily report that currently The Chappaqua Orchestra is not experiencing financial hardships and
will continue to provide a high level of professional musicianship in our area. We continue to offer commissioned works
with the highest caliber of soloists and musicians available in the New York area. However, we count on your support to
do so.
As an orchestra, we strive to provide the quality sound that Westchester deserves. We want you to continue to read about
the Chappaqua Orchestra and learn about its superb interpretation of musical scores and the balance heard between the
strings and the woodwinds. Your generosity is essential to our financial future and we greatly appreciate all your efforts.
Joph Steckel
The Same Old, Same Old…
What’s so Bad About New Music? By Marjorie Perlin
Michael Shapiro with Marin Alsop
“Come to the concert hall and hear the world premiere of…” Are you making a
face? What is it about new music that gives us that not-so-sure feeling? Even back
in the day, composers like Wagner, Brahms, Tchaikovsky, Debussy, and
Stravinsky received less than stellar reviews the first time around. But there’s
something about new music, isn’t there? Something that makes you think the new
guys (and gals) will never live up to the masters of the past. Why is that?
Familiarity is one reason. Certainly we have a fondness for the familiar. Mmmmm, Mozart: just like milk and cookies.
Philip Glass and John Adams? I don’t think I’m hungry anymore. Mendelssohn: heartfelt splendor. Elliot Carter and
Steve Reich? Can we still get out of here before they turn the lights down???
New styles can be difficult. In Haydn’s time, symphonic composers were the creators of popular music. Today,
symphonic music and “popular music” have come to mean vastly different things. Modern symphonic composers often
feel pressure to create something new or unique. When composing becomes an intellectual endeavor to avoid anything
derivative, the result can be a piece of music that is both hard to play and hard to listen to. Today’s composers face
dwindling audiences, limited rehearsal time, and an uncertain market. With a small and diminishing window of
opportunity, composers often feel they have to pack too much into each piece, sacrificing simplicity and missing their
opportunity to connect with the average listener.
IT DOESN’T HAVE TO BE LIKE THIS! There is a place in Santa Cruz, California, where new music is what everyone
is excited about. It’s called the Cabrillo Festival of Contemporary Music, and it succeeds on so many levels it’s hard to
(Continued on page 5)
TCO Newsletter
Spring 2011
THE CHAPPAQUA ORCHESTRA
Page 3
Notes from our Conductor
Love ’em and Liebermann – The Challenge
For me, every concert is a challenge, a musical life and death. As a composer, I know what it
takes for a piece to be written, every note and rhythm felt, for the expression to be born. As a
conductor, the challenge is the attempt to recreate in a dramatic fashion on a stage with dozens
of musicians playing in concert the composer’s act of creation.
As important as all of the rehearsals and the performance are the many months of preparation.
As a music director, it’s my job to work with management to develop both program and
budget.
Like words and music in opera, it’s not readily clear always which comes first, programming or budgeting. If the orchestra
is living in lean times, a grandiose Mahler symphony with eight French Horns and a thousand-member chorus won’t be
possible. But sometimes, programming choices occur in more personal ways. Our upcoming concert of Tchaikovsky,
Prokofiev, and Lowell Liebermann developed not from traditional repertoire choices but rather from friendship and
coincidence. Many of us have wanted to bring clarinetist Jon Manasse back to perform with the orchestra. Board member
Matt Lanna has known Jon since his birth and is a great fan of his remarkable talents. In the past few years I have
developed a friendship with Lowell through my cousins and patrons Louis and Susan Meisel, attending performances of
Lowell’s music in their loft and elsewhere (including Caramoor), and spending enjoyable social gatherings with him. We
were approached by Lowell’s agent to join a consortium of orchestras throughout the country commissioning a new
clarinet concerto to be performed by Jon Manasse about the same time we learned through Mort Ross that Lowell was a
Greeley graduate. A concert centered around his music seemed a natural fit for our community. An event was born!
Now what works to fit around the Liebermann premiere? In working up possible pieces to accompany Lowell’s premiere,
I couldn’t ignore Lowell’s lovely style of composing and that fact that he is a Liebermann or literally a “lovely man.”
Lowell’s music is full of warmth, deep expression, and immaculate construction. Audiences jump out of their seats after
every performance. For good reason, as Lowell’s music is simply beautiful. It didn’t take long to imagine that Tchaikovsky
and Prokofiev would fit nicely, but which pieces? Which of their pieces is obviously about lovely things or love? Eureka,
Romeo and Juliet!!! Our funny title for the concert followed in an almost Freudian slip moments later… But would the
budget work?
Turns out the instrumentation for Lowell’s new concerto included many of the instruments required in the Prokofiev suites
(including piano and harp and much brass). So the budget initially worked out. Setting the performance date with Jon’s
agent over a year before the performance, hiring the best possible musicians many months in advance, calendaring the
number and dates of rehearsals, and ordering the scores and parts, all come before the first downbeat falls. Then and only
then does the music preparation begin.
We typically schedule three rehearsals before every performance. But the challenge of the premiere of a new concerto
demands more preparation. We have therefore scheduled four rehearsals, two with the soloist. The Russian works,
although familiar, are demanding and need careful work. So there goes the budget! But in defense of our great artistic
enterprise, the path to ultimate achievement is putting every note in its proper loving place!
Michael Shapiro, Music Director
What’s on for Next Season?
A Celebration of the Life and Works of Mark Twain with the Chappaqua Library - works by Charles Ives, Stephen
Foster, selections from Show Boat and other “Mississippi River” music.
New Castle Community Sing – We hope to rock the house with the special appearance of a Gospel Choir.
Oh Beautiful! – Really gorgeous music on the theme of nature, including Debussy’s L'après-midi d'un faune,
Beethoven’s Symphony No. 6 (Pastoral) and the world premiere of Michael Shapiro’s Harp Concerto.
Page 4
THE CHAPPAQUA ORCHESTRA
TCO Board Member and Violinist Aaron Lockwood
TCO Newsletter
Spring 2011
By Michael Shapiro
Aaron Lockwood, first violin and member of the Board of Directors of The Chappaqua
Orchestra, is remarkably multi-faceted and naturally gifted. Director of Orchestral Studies
at Byram Hills High School, Aaron gained national attention in his early teens when he
debuted as violin soloist with the Chicago Symphony. (Visit www.chappaquaorchestra.org
for a link to Aaron’s stunning performance.)
When did you first start playing violin?
My Mom started me when I was three and a half in the Suzuki method. At that time there
was a very strong Suzuki program in the Chicago area. We even toured in Europe and
played in Carnegie Hall. At eight years of age I started studying with Cyrus Forough, with
whom I remained until I started advanced studies at Indiana University with Miriam Fried. I
later studied violin with Peter Oundjian at Yale for my Master's.
When was your first solo recital?
Well, one advantage about growing up in the Chicago area when I did was the number of competitions and the wonderful
other string players such as Jennifer Koh and Wendy Warner who were around at the same time I was, a very strong group
of players. When I was nine, I started winning competitions. Through those competitions I started performing in concerts
throughout the Chicago area. When I was twelve, I won the Illinois Bell Young Performers competition and got to play as
a soloist with the Chicago Symphony, Michael Morgan conducting.
What happened after college?
I started to go down some very interesting paths. After Yale I did heavy freelancing as a violinist and teacher. But I've
always had other interests. So I pursued them. I worked as a stock broker for two years. The greatest benefit from that
experience was that that's how I met my wife! My love for playing and teaching, a different kind of teaching, however, led
me back to music. I got my teaching certification and was fortunate to get a position at Byram Hills where I've taught for
the past six years.
Haven't you left out one of your other great passions?
Oh, yes. When I'm not playing violin - since I was a kid - I love athletics, especially baseball. I played in Little League of
course, but also was a high school varsity pitcher and third baseman. And I coach Freshman baseball at Byram Hills.
And your other interests?
The other thing that takes up my time is creating wrist practice aids for musicians. I invented a patent pending product
called the "Virtuoso Wrist Practice Aid," which is unique. It is distributed retail and wholesale worldwide by Shar. It's
been on the market for a year and a half and is selling briskly (Readers are directed to virtuosowrist.com). Students can
learn good posture from this product. There's nothing like it in the marketplace!
And your family?
I can't believe our son Nate's a year already, and he can hold a violin the right way!
What’s New at the Chappaqua Library?
TCO donated the following items to the Chappaqua Library to augment your enjoyment of our 2011/2012 concert season.
Look for them in the CD section at the Chappaqua Library, or reserve them at a Westchester public library near you. For
more details, visit www.chappaquaorchestra.org.
1. Cassatt String Quartet, music by Ravel and Dvorak
2. Barber’s Adagio, featuring James Galway, Tokyo String Quartet, Canadian Brass, and others.
(Continued)
TCO Newsletter
Spring 2011
THE CHAPPAQUA ORCHESTRA
Page 5
New at the Chappaqua Library (Continued from page 4)
3. Stars and Stripes: Canadian Brass, with former TCO Principal Trumpet, Christopher Coletti.
4. Lowell Liebermann, Chamber Music, with TCO clarinet soloist Jon Manasse, David Korevaar, piano, and Patrick
Mason, baritone.
5. Lowell Liebermann, Second Symphony, with the Dallas Symphony Orchestra, conducted by former TCO conductor
Andrew Litton. Also includes Concerto for Flute and Orchestra performed by former TCO soloist, Eugenia Zuckerman.
6. American Music for Clarinet and Piano, works by Bernstein, Gershwin, Novacek, and D’Rivera performed by
clarinetist Jon Manasse and pianist Jon Nakamtsu.
New Music (Continued from page 2)
know where to begin. This summer, Michael Shapiro and I, along with a small entourage of loyal fans, traveled to Santa
Cruz to hear the West Coast premiere of Michael Shapiro’s Roller Coaster. Yes, the same Roller Coaster premiered by
The Chappaqua Orchestra during its fiftieth anniversary season in May of 2008. Here is what we discovered:
New music is everything. Rather than treating new music like some awful medicine that has to be swallowed with a
spoonful of sugar (like a Thomas Ades piece with a Brahms symphony), new music is the only thing on the program at
Cabrillo. Composers travel from all over the world to meet, compare notes, discuss their projects, and of course, hear
each other’s music. For some this is a rare opportunity and for others this is more or less old hat, but they will all go
through the process together, and they will each have an opportunity to be heard. This creates a unique experience:
composers undergo critical examination and competition while experiencing nurture and support. The adrenaline rush is
palpable to all in attendance.
Vetting is important. How can a composer grow as an artist without hearing his creations played over and over again?
With new music we have to get past the first time to the again. Cabrillo is all about again. Many of the pieces on the
program have been played and interpreted before. Rehearsal time (though limited by financial considerations) is fairly
apportioned and highly effective. Marin Alsop is one of the most efficient rehearsal conductors I have ever seen. She
arrives at rehearsal extremely prepared, honing in on areas that need work like a fine tuned laser beam. She makes
lightening quick decisions and provides succinct directions to support her vision of the piece. She places the composer
front and center, fostering a collaborative environment while keeping the focus firmly on the task at hand. To watch the
process is to witness genius in the making.
True fans are created. At Cabrillo, the audience is invited to attend rehearsals… and they come! How can a listener hear
something once and understand it, let alone form a critical opinion? This harkens back to the familiarity issue. We love
our classics because we know what’s coming. Listening to a piece take shape during rehearsal gives the listener a point
of reference for the performance. Suddenly, the audience has a stake in what’s happening and can share the thrill of the
creative moment. One leaves the auditorium wanting more.
Under the baton of Marin Alsop, and in the hands and breaths of the talented musicians of the Cabrillo Festival of
Contemporary Music, Roller Coaster was a thrill ride extraordinaire! The experience for us was an uphill climb, some
breathtaking falls, lots of sharp turns, and a few maintenance breaks for retooling. We felt refreshed, invigorated, and
indebted to an organization that exists to remind us that symphonic music must remain a living art form. Without new
works, symphonic music becomes a museum piece, and our great orchestras become cover bands.
The Chappaqua Orchestra offers you a chance to experience the thrill of new music. Attend the New York State
Premiere of Lowell Liebermann’s Clarinet Concerto to be performed by world-renowned clarinetist Jon Manasse and
The Chappaqua Orchestra on Sunday, May 22 at the Horace Greeley High School. Take the time to familiarize yourself
with Liebermann’s work via YouTube or recordings. The Westchester Library system has several great recordings of
both Liebermann and Manasse. Also, look for new additions to The Chappaqua Orchestra Collection at the Chappaqua
Library. If you’re really a music lover, come to the rehearsal on Saturday morning, May 21 at the Horace Greeley High
School. You can experience the piece as it takes shape. You can be part of the evolution of symphonic music. You can
have a voice in defining the classics of the future and the masters of tomorrow!
Page 6
THE CHAPPAQUA ORCHESTRA
TCO Newsletter
Spring 2011
Rocky’s Deli: TCO Advertiser of the Year By Matt Lanna
If you have not as yet experienced the courtesy, friendliness and cordiality
of the staff at Rocky’s Deli, in Millwood, you still have that treat awaiting
you. Stop in anytime, seven days per week, 24 hours each day, with
convenient parking out front. Approximately forty alert employees rotate
through the various shifts every week, always ready to attend to your
needs and to make you feel welcome.
Rocky’s has been a landmark in New Castle since 1961 when Rocco
Cambariere first opened it, with Greg Santone as one of the first
employees (40 years). “Rocky” eventually turned it over to his son, Tom,
in 1980, when it became co-owned with Greg Santone (the current owner now, since 2004). Greg’s wife Cheri manages the
office, and his two sons, Ryan, 17, and Taylor, 14, pitch in at the Deli when needed. Otherwise, Ryan is doing his guitar
and Taylor is doing his ice hockey, in addition to absorbing a great education at Horace Greeley High School in
Chappaqua.
Greg is happy to be partnering with another Tom - Tom Dickinson - in running the Deli. And he is especially happy to
have Rocky’s Deli be an annual sponsor of The Chappaqua Orchestra - in its 52nd season - providing food and drink at
special occasions when the musicians are rehearsing or performing at various locations in and around Chappaqua and New
Castle.
Some people have time and energy to contribute to their communities. Greg Santone is one of those generous persons,
serving with the Volunteer Fire Company for thirty-five years; as a chief, nine years; and as a commissioner, seven years.
In addition he serves as an Elder at his church, Jehovah’s Witnesses, and he endeavors to bring his ethical and moral
beliefs to his work setting. For example, in coming to the realization that nicotine provides virtually nothing positive to the
lives of people, he has declined to sell cigarettes since June of 2005, accepting significant loss of income as a result of his
commitment. All across America, small towns benefit from special people like Greg Santone, a role model for caring
about, and contributing to, one’s fellow citizens.
This writer has his own special recollection of Rocky’s Deli. In 1984, Vanessa Williams won the Miss America crown one
Saturday night (she was a resident of Millwood, on Route 100). The following Sunday morning, this writer was preparing
to buy the New York Times at Rocky’s at about 8:00 AM. Tom Gollogy must have been there, collecting the sections of
The Times. Three television network vans were in the parking lot in front of Rocky’s - NBC, CBS and ABC - and the
commentators wanted to know where Millwood was and whether I knew anyone who lived in Millwood and knew
Vanessa (the baby who played on the floor while my daughter Andrea took piano lessons with her mother, Helen
Williams). They were finally persuaded that “Main Street” in Millwood was in front of Rocky’s Deli and the Millwood
Post Office (in 1984, the Millwood P.O. was located in what is now part of the Millwood Hardware store). The
enthusiastic favorable interview which followed was televised on the evening news with Rocky’s in the background. Even
today, for many people, the commercial heart of Millwood is still Rocky’s Deli.
It’s almost unnecessary to mention that Rocky’s Deli provides catering, with many special presentations - all of which are
also available at almost any time of day or night. The phone usually gets answered by the second or third ring: (914) 9412165. Someone is always prepared to put together a menu for your special occasion, at a price within your budget.
Finally, if you can, thank Greg for all he does for Millwood and New Castle - if you can find him in the “secret” basement
of Rocky’s where he does all the important financial books so that Rocky’s Deli will continue to retain its celebrity
status after its first 50 years in business!
ShopNewCastle.net
The TCO Newsletter
Spring 2011
THE CHAPPAQUA ORCHESTRA
Alan Bramson 1926 – 2008
Page 7
By Marjorie Perlin
Few people have done more to fill our lives and homes with music. Alan Bramson was a
performer, teacher, employer of musicians, supplier of sheet music, renter of instruments,
producer of recitals and concerts… what didn’t he do? If you endeavored to make music in
Northern Westchester, chances are you had the pleasure of knowing Alan Bramson.
Born in Omaha, Nebraska on January 26, 1926, Alan Bramson showed an early interest in
music and took up the clarinet. He played during WWII in the 234th AGF Band, writing
arrangements and directing the band briefly. After the war he went to New York City to study
at Juilliard. In 1950 he married Omaha native Berenice Sommer. The couple performed
together over four decades. With the founding of the Mount Kisco School of Music in 1957,
and Bramson’s Music Land in 1964, countless students, working musicians, and teachers were given a place to work,
meet, learn, and discover.
Alan Bramson was a founding member of TCO, where he served as principal clarinetist for many years and also served on
the Board of Trustees. He was featured as a soloist with TCO three times between 1960 and 1970 in Chanson’s
Perpetuelle, Opus 37, Wagner’s Adagio for Clarinet and String Orchestra, and his beloved Clarinet Concerto in A Major
by Mozart, the slow movement of which was performed at his memorial service by his student Selena Bordeaux. Berenice
Bramson was also a featured soloist with TCO, performing five times: three times with conductor Boris Koutzen, once
with conductor Jesse Levine, and once with conductor Andrew Litton. In 1962 she performed Barber’s Knoxville:
Summer of 1915 with the composer Samuel Barber in the audience. Barber was tremendously moved by her performance.
Alan Bramson passed on February 8, 2011. He is survived by his brother Bob, his daughter, Bobbe, his son Steve, and his
grandson, Josh. As fate would have it, TCO’s May 22nd concert features the New York premiere of Lowell Liebermann’s
Clarinet Concerto, commissioned by the orchestra in celebration of the TCO’s 50th Anniversary. TCO will dedicate this
concert to the memory of Alan Bramson.
Jon Manasse (Continued from page 1)
A short selection of comments from reviews around the country: “...his tone is consistently ravishing.” “...a player of
incomparable skill and technique... a liquid tone over the entire range of the instrument.” “...almost as if we were hearing
the human voice.” “...exquisite sound and unmatched lyricism and control... few soloists have his remarkable command
and expressive sincerity.”
Now, back to the beginning. Jon Manasse is performing again in Chappaqua, in a clarinet concerto commissioned by
The Chappaqua Orchestra. It has taken three years to finally schedule this new work. A Horace Greeley High School
graduate, Lowell Liebermann, a very well-known composer and pianist, has written a new clarinet concerto, just for Jon
Manasse. It has been premiered in a couple of cities in the U.S., but this is the New York premiere. Here are a few
quotations from recent reviews:
“Soloist Jon Manasse’s performance sucked all the oxygen out of the room...we had heard a piece that
will remain in the repertoire for decades to come. But it will take a player of Manasse’s caliber to do
justice to Liebermann’s work. This bravura work requires not merely a professional player, but a
virtuoso.”
“Jon Manasse, clearly at the top of any list of the world’s great clarinetists...an astonishingly eloquent
player...displayed virtually all of the clarinet’s possibilities in the concerto by Lowell Liebermann.”
What more do you need to know to convince you that you don’t want to miss this very special concert, one of the most
anticipated events in New Castle since the arrival of the Clintons. Perhaps the President will be there, escorted by the
current Secretary of State? They will want you to be there, with your children, your friends, and your grandchildren. I
plan to do the same, and I’ll be looking for my friends and music lovers who are reading this.
THE
CHAPPAQUA
ORCHESTRAL
ASSOCIATION
NONPROFIT ORG.
U.S. POSTAGE
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WHITE PLAINS, NY
P.O. Box 461, Chappaqua, NY 10514
The Chappaqua Orchestra Newsletter Spring 2011
Love’em and Liebermann
Sunday, May 22, 2011 at 3:00 pm
Horace Greeley High School Auditorium
70 Roaring Brook Road, Chappaqua, NY
Tickets $20 (Students Free)
Mail your ticket order before May 1, 2010
and receive reserved seats. All other seats
will be general admission.
♥
Prokofiev’s Romeo and Juliet
ballet music
♥
Tchaikovsky’s Romeo and Juliet
Overture-Fantasy
New York Premiere of
Lowell Liebermann’s Clarinet Concerto
performed by Jon Manasse
* This concert is dedicated to the memory of Alan Bramson
While you’re in Town, The Chappaqua Orchestra
recommends you ShopNewCastle.net
Town of New Castle
The 2010-2011 Season is made possible, in part, by the Basic Program Support Grant of
ArtsWestchester with funds from Westchester County Government.
Make checks payable and mail to:
The Chappaqua Orchestra
P.O. Box 461
Chappaqua, NY 10514