Masterworks I: Music to Remember

MASTERWORKS I: MUSIC TO REMEMBER

ANNAPOLIS SYMPHONY .ORG

What’s Up? Media has been a proud supporting partner of the Annapolis Symphony Orchestra for over 25 Years.

Mary McKiel, PhD, Immediate Past Chair

Robert Arias

Georgianna Crosby

William Davis

Ginger From

Sonja Gladwin

Shelley Row, PE, CSP, Chair

OFFICERS

Katherine Edwards, MD, Vice Chair

Ann Whitcomb, Vice President-Finance

TRUSTEES

Charles Grudzinskas

Collot Guerard

Michelle Hellstern

Deb Howe

Geraldine “Mimi” Ladd Jones

Stephen Sotack, Treasurer

Shaun Mathis, Secretary

Jill Kidwell

Monique Langston, MD

Jerray Slocum

Elizabeth Maxwell-Schmidt, MD

Marie Treanor

Christine “Tina” Young

TRUSTEE EMERITUS

Florence Calvert

EX OFFICIO TRUSTEES

José-Luis Novo, Artistic Director & Conductor

Ann Tran, FASO Board Representative

Barbara Randolph, Interim Executive Director

ORCHESTRA REPRESENTATIVE

Kristin Bakkegard Musicians’ Representative, Players Committee

ABOUT THE ANNAPOLIS SYMPHONY ORCHESTRA

The mission of the Annapolis Symphony Orchestra is to inspire, educate and enrich lives near and far by creating extraordinary musical experiences with uncompromising artistic excellence.

With a 62-year history of artistic excellence, the Annapolis Symphony Orchestra is recognized as the largest and most distinguished performing arts organization in Maryland’s capital city. Under the direction of José-Luis Novo, the Symphony continues to rise in excellence and national reputation, performing Masterworks, Pops, Family Concerts and special events. The Symphony reaches thousands annually with its free Pops in the Park concert, performances in partnership with the United States Naval Academy and the Annapolis Opera, and collaborative projects with other arts organizations and touring headliners. Additionally, we sponsor award-winning education concerts and outreach programs in community schools, sharing the joy of music-making with thousands of school children.

ANNAPOLIS SYMPHONY ORCHESTRA STAFF

Miriam Fogel

Director of Artistic Operations

Diana Love Director of Marketing & Communications

Olivia Ren Orchestra Librarian

Shun Yao

Annapolis Symphony Academy Assistant Conductor

Barbara Randolph Interim Executive Director

Sarah Johansen Director of Business Operations

Netanel Draiblate

Annapolis Symphony Academy Director & Founder

David Sciannella Operations Manager

Heather Haughn

Annapolis Symphony Academy

Department Head, Strings

Lauren Silberman Director of Development

Julie Nolan

Director of Education & Community Outreach, Grants Manager

Maya McAtee Office & Data Manager

Kimberly Valerio

Annapolis Symphony Academy

Department Head, Winds & Brass

ANNAPOLIS SYMPHONY ORCHESTRA

801 CHASE STREET, SUITE 204

ANNAPOLIS, MD 21401

410-263-0907 (BOX OFFICE) | 410-269-1132 (ADMIN)

Elizabeth Richebourg Rea, in honoring the legacy of her father as co-founder and first board president of the Annapolis Symphony Orchestra, has created her own legacy with the ASO. Her continued support, beginning with the largest single gift in the history of the orchestra for the 50th Anniversary Season in 2011, has been noted as transformational in inspiring future donations of substantial amounts, in addition to gifts by pledge over multiple years. She has pioneered new levels of giving and today an expanded ASO continues to thrive to greater heights. Elizabeth is sponsor of the The Artistic Director and Conductor’s Chair in her father’s name and in addition is the founding member of the annual Philip Richebourg Encore Circle.

My father Philip Richebourg conducted his own orchestra every day of his life. He personified exactitude and precision in business; in service to his community and in leadership on numerous Boards. He was meticulous in his passions as pilot, musician, archivist. Dedicated to each task at hand my father approached all things in life as if resolute in achieving one goal, that of perfect harmony.

Elizabeth Richebourg Rea is a fine art photographer and curator. Rea’s art career began in the 1970s working for The Museum of Modern Art and Leo Castelli. Curator of numerous exhibitions of Joseph Cornell, she was also catalogue editor and research consultant for two Roy Lichtenstein Museum Retrospectives. Elizabeth is President of the Dungannon Foundation, sponsor of The Rea Award for the Short Story. She is active on the Peggy Guggenheim Advisory Board in Venice and is Honorary Trustee of the Solomon R. Guggenheim Foundation. Elizabeth Rea lives in Connecticut.

The Annapolis Symphony Orchestra is indebted to Philip Richebourg, Co-Founder and First Board President (1967-1974). Philip Richebourg’s stalwart support, organizational vision and strong leadership during its formative years helped solidify the orchestra financially and administratively, ensuring its longevity and signature as one of Maryland’s most distinguished performing arts organizations. Philip passionately supported the Annapolis Symphony Orchestra as it sought to enrich the lives of the community through classical music and educational programs. From the modest beginnings of a small community ensemble to the present acclaimed professional orchestra, Philip was at the helm every step of the way. Philip Richebourg’s commitment, dedication and passion for musical awareness leaves an indelible mark on the history of the ASO. The Annapolis Symphony Orchestra would not be what it is today without him.

On Sale Now!

THE 2023-2024 SEASON IS BRIMMING WITH EXTRAORDINARY SYMPHONIC MUSIC, INCLUDING:

United States Première of composer Boris Pigovat’s Holocaust Requiem

7

World Première of composer Nicky Sohn’s ASO/GLFCAM Co-commission

7

World’s greatest classical guitarist Pepe Romero visits Annapolis from Spain

7

Award-winning cellist Steven Isserlis brings his music from London to the ASO

7

ASO musicians take on Respighi, Schumann, Beethoven, Elgar & Sibelius

2023-2024 SEASON SCHEDULE

Masterworks II

Pepe Plays Ponce

Ravel, Revueltas & Ponce with guitarist Pepe Romero

November 3 & 4 at 7:30 pm

Maryland Hall

Holiday Pops

December 15 at 7:30 pm

Maryland Hall

Family Concert

January 20 at 11:00 am

Maryland Hall

Masterworks III

Raging Fire

Tchaikovsky & Sibelius with violinist Elissa Lee Koljonen

February 2 & 3 at 7:30 pm

Maryland Hall

February 4 at 3:00 pm

Strathmore

Masterworks IV

Portraits

Elgar & Schumann with cellist Steven Isserlis

March 1 & 2 at 7:30 pm

Maryland Hall

March 3 at 3:00 pm

Strathmore

Masterworks V

Roman Festivals

Respighi & Beethoven with pianist Awadagin Pratt

April 12 & 13 at 7:30 pm

Maryland Hall

April 14 at 3:00 pm

Strathmore

Masterworks VI

This Midnight Hour

Clyne & Sibelius

May 10 & 11 at 7:30 pm

Maryland Hall

Steven Isserlis

Elissa Lee Koljonen

Gabriela Montero

Peter Minkler

Pepe Romero Awadagin Pratt

A NOTE FROM THE INTERIM EXECUTIVE DIRECTOR

Dear Patrons of the ASO,

We are excited to present to you the Annapolis Symphony Orchestra’s 62nd performance season!

Music can grab us and remind us of important lessons that help guide us in the present. It can center us. This is what you will experience with our performance of Masterworks I: Music to Remember. Thank you for sharing this special evening with us!

The Annapolis Symphony Orchestra is the treasured jewel in our region. Under the direction of our Artistic Director and Conductor José-Luis Novo, our musicians will deepen our exposure to both new and classical symphonic styles. Over the course of this season, we will explore music that defines a national identity, a celebration of Mediterranean culture and flair, a juxtaposition of creation and destruction, and a three-part portrayal of genius, all in the company of extraordinary guest artists. We will travel in time, extrapolate lessons, reflect, and experience many moments of joy and camaraderie.

I would like to take a moment to emphasize that everything we do is in service to the community. We work to uplift those in need and in our last season more than 1,800 hours were spent by ASO musicians out in our community, directly providing comfort and joy to others where they are, in addition to the 32.5 hours of music presented in a concert hall. Our community partnerships

are forged by Julie Nolan, our Director of Community Engagement & Outreach.

We endeavor to provide music education to all youth in our area. The Annapolis Symphony Academy is led by ASO Concertmaster, Netanel Draiblaite, who is founder and co-Director of the Annapolis Symphony Academy with Julie Nolan, also co-Director. Professional musicians Heather Haughn, Tony Valerio, and Kimberly Valerio lend their talents as directors of ensembles and sections. ASO musicians work side-byside with Annapolis Symphony Academy students and teachers and mentors. Maestro Novo conducts the Orion Youth Orchestra, an elite group of aspiring young musicians who benefit greatly from these singular and unique experiences. We could not achieve our community outreach and programming goals without these community leaders.

The support you provide goes directly to the initiatives just mentioned and to the artistry that you will witness and experience throughout the year. We could not be more grateful for that support. We rely on your sustaining donations to continue the legacy of an orchestra that remains amongst the best in its tier.

It is important to remind everyone that students can purchase a ticket for just $10. Active duty and retired service members, first responders, and law enforcement can purchase single tickets at a 25% discount. Remember: Masterworks Subscribers receive special discounts on single tickets to Masterworks, Chamber, and Pops concerts. We want to see folks avail themselves of these opportunities. The more the merrier!

We look forward to seeing you in Maryland Hall and Strathmore. It is our honor to bring you Season 62, and we thank each and every one of you!

Warmest regards, Barbara

Interim Executive Director

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This Land

ANNAPOLIS SYMPHONY ORCHESTRA

MASTERWORKS SERIES

September 29, 7:30 pM |

September 30, 7:30 pM

MARYLAND HALL

José-Luis Novo, Artistic Director & Conductor

The Philip Richebourg Chair

Gabriela Montero, piano

Peter Minkler, viola

Piano Concerto in A minor, Op. 16

I. Allegro molto moderato

II. Adagio

III. Allegro moderato molto e marcato

Gabriela Montero, piano

~ INTERMISSION ~

Holocaust Requiem (US Premiere)

I. Requiem aeternam

II. Dies irae

III. Lacrimosa

IV. Lux aeterna

Peter Minkler, viola

Carlos Simon (b. 1987)

Edvard Grieg (1843-1907)

Boris Pigovat (b. 1953)

P hotography and video/audio recording are not permitted in the concert hall. Please silence all electronic devices. Thank you.

Annapolis Symphony Orchestra 2023-24

VIOLIN I

Netanel Draiblate, Concertmaster

Nicholas Currie, Associate Concertmaster

Hanbing Jia, Acting Assistant Concertmaster

Yoon Young Bae

Susan Benac

Abby Armbruster

Heather Haughn

Qian Zhong

Rachael Stockton

William Wang

Jennifer Rickard

Yan Izquierdo

VIOLIN II

Christian Tremblay, Principal

Kristin Bakkegard, Associate Principal

Natalia Merezhuk

Karin Kelleher

Alexandra Mikhlin

Megan Gray

Sally Stallings Amass

Amelia Giles

Sara Schneider

Paula Sweterlitsch

VIOLA

Sarah Hart, Principal

Kate Zahradnik, Acting Associate Principal

Susan Taylor Dapkunas

Louise Elder Chestnut

Rachel Holaday

Daphne Benichou

Ben Freedman

Christof Huebner

MUSICIAN ROSTER

CELLO

Todd Thiel, Principal

Pei Lu, Associate Principal

Alison Bazala Kim

April Studeny

Catherine Mikelson

MaryAnn Perkel

Lavena Johanson

Peter Kibbe

BASS

Patrick Raynard, Principal

Benjamin Crofut, Associate Principal

Brandon Smith

Broc Mertz

Adriane Irving

Jason Gekker

FLUTE

Kimberly Valerio, Principal

Lauren Sileo

Lori Kesner

OBOE

Fatma Daglar, Principal

Rick Basehore

CLARINET

Rober t DiLutis, Principal

Brian Eldridge

Sara Reese

BASSOON

Georg e Sakakeeny, Acting Principal

Patricia Morgan

Lynn Moncilovich

HORN

Alex Kovling, Principal

Shane Iler, Associate Principal

Joy Hodges

Chandra Cervantes

Anthony Valerio

TRUMPET

Christopher Sala, Principal

Christopher Buchanan

Andrew Fremder

TROMBONE

David Perkel, Principal

David Sciannella

Jay Heltzer

TUBA

Jake Fewx, Principal

TIMPANI

Curt Armbruster, Principal

PERCUSSION

Robert Jenkins, Acting Principal

Aubrey Adams

Thomas Maloy

Gerald Novak

HARP

Astrid Walschot-Stapp, Acting Principal

PIANO

Diane Kinsley, Acting Principal

ARTISTIC DIRECTOR & CONDUCTOR

JOSÉ-LUIS NOVO

Spanish-born José-Luis Novo has instilled a new and vibrant artistic vision into the Annapolis Symphony Orchestra since his appointment as Artistic Director and Conductor of the Maryland-based symphony in 2005. Highlights of Novo’s tenure include numerous appearances at the Music Center at Strathmore with violinists James Ehnes, Anne Akiko Meyers, Leticia Moreno and Chee-Yun, pianist Olga Kern, late cellist Lynn Harrell, guitarist Manuel Barrueco,

pipa virtuoso Wu Man and the Naval Academy Glee Club. Also remarkable are a 2012 return appearance at the Clarice Smith Performing Arts Center with mezzo-soprano Denyce Graves, national broadcasts on NPR’s Performance Today, debut TV broadcasts on Washington’s WETA Metro PBS, the launching of the ASO’s award-winning streaming platform Symphony+, the creation of the Annapolis Symphony Academy and the ASO’s first commercial CD commemorating the 300th anniversary

Annapolis Symphony Orchestra 2023-24

The Artistic Director’s Chair is graciously underwritten by Elizabeth Richebourg Rea, daughter of Philip Richebourg, Annapolis Symphony Orchestra Co-Founder and First Board President (1967-1974).

“My father conducted every day of his life as if resolute in achieving perfect harmony. I can think of no greater legacy than naming the Artistic Director’s Chair after my father, Philip Richebourg.”

THE PHILIP RICHEBOURG CHAIR

of the signing of the City of Annapolis’ Royal Charter. In July of 2022, Maestro Novo and the ASO stunned audiences on both sides of the Atlantic in a debut international tour to Spain with guitar virtuoso Pepe Romero as guest soloist. Maestro Novo’s continuous drive for artistic excellence, innovative thematic programming, and collaborations with some of today’s most respected guest artists keeps generating unprecedented artistic growth and enthusiastic reviews from publications such as The Washington Post and The Baltimore Sun .

In addition to his directorship of the ASO, Maestro Novo held an impressive thirteen-year tenure as Music Director and Conductor of the Binghamton Philharmonic in New York state from 2003 to 2016. Prior to this, he served as Assistant Conductor of the Cincinnati Symphony Orchestra under both late Music Director Emeritus Jesús LópezCobos and former Music Director Paavo Järvi, and the Cincinnati Pops Orchestra under the late Erich Kunzel.

Recent and upcoming guest conducting engagements include debut appearances with the Rochester Philharmonic, the Grand Rapids, Hilton Head, Palm Beach, Alexandria and South Bend Symphony Orchestras, and return appearances with the Baltimore Symphony, the Fresno Philharmonic, Symphoria, and a Kimmel Center debut in Philadelphia conducting the Curtis Institute Orchestra. After a successful debut with the Thailand Philharmonic Orchestra (TPO) for the Thailand International Composition Festival in 2015, Maestro Novo has been invited back regularly to guest conduct the TPO on several occasions. Other guest conducting engagements have included appearances with the Symphony Silicon Valley; the Minnesota Orchestra; the Syracuse, Modesto, Windsor, Stamford, Tulsa, and Tallahassee Symphonies; the Cincinnati Chamber Orchestra; the Cleveland and Abilene Philharmonics; and most of the major Spanish orchestras.

CONDUCTOR continued

José-Luis Novo has also fostered a reputation as a keen educator of young musicians. He has held conducting positions with the Cincinnati Symphony Youth Orchestra, University of Maryland Symphony Orchestra, Miami University Symphony Orchestra and National Repertory Orchestra, and has been on the conducting faculty at the Eastern Music Festival in Greensboro, North Carolina since 1999. In addition, he has conducted many noteworthy college and youth orchestras such as the Curtis Institute Orchestra, the Cleveland Institute of Music Orchestra, the Bard Conservatory Orchestra, the Ithaca College Symphony Orchestra, and the Portuguesa State Youth Orchestra of the Venezuelan El Sistema. Last season, under the auspices of the Annapolis Symphony Academy, he presided over

the debut of its Orion Youth Orchestra, conducting the inaugural concert in June 2022.

Maestro Novo was featured in the League of American Orchestras Symphony magazine in “Podium Powers,” an article about emerging Hispanic conductors in the United States of America. He holds music degrees from the Cleveland Institute of Music, Yale University and the Royal Conservatory of Music in Brussels, and is the recipient of a 2010 Annie Award in Performing Arts from the Arts Council of Anne Arundel County, a 2008 American Society of Composers, Authors, and Publishers Adventurous Programming Award, and a 2005 Broome County Arts Council Heart of the Arts Award.

177 DEFENSE HIGHWAY, #1 ANNAPOLIS, MD 21401 410-440-7938

WWW.ANNAPOLISBOWS.COM

Annapolis Symphony Orchestra 2023-24

GABRIELA MONTERO PIANIST

Gabriela Montero’s visionary interpretations and unique compositional gifts have garnered her critical acclaim and a devoted following on the world stage.

Recipient of the 2018 Heidelberger Frühling Music Prize, Ms. Montero’s recent and forthcoming highlights include debut invitations to perform with the Royal Concertgebouw Orchestra, San Francisco Symphony, Minnesota Orchestra, New World Symphony, New Zealand Symphony, and the Orchestre National de France; an extensive European tour with the City of Birmingham Symphony and Mirga Gražinyte -Tyla; residencies with the São Paolo, Prague Radio, and Basel symphonies; and regular appearances at the National Arts Centre of Canada where she was appointed Creative Partner for four years from the 2021–2022 season.

The 2022–2023 season saw the launch of “Gabriela Montero at Prager”, a new ongoing artistic residency established at the Prager Family Center for the Arts in Easton, Maryland. Ms. Montero also made venue debuts in Paris at the Seine Musicale and at the Philharmonie, the latter featuring the ORF Vienna Radio Symphony Orchestra and Marin Alsop. Ms. Montero re-joined forces with Alsop for performances of Ms. Montero’s “Latin” Concerto with the Chicago Symphony at the Ravinia Festival and the Dallas Symphony, while bringing her 2018 composition Babel to the Oregon Symphony.

Celebrated for her exceptional musicality and ability to improvise, Ms. Montero has performed with many of the world’s leading orchestras to date, including: the New York, Royal Liverpool, Rotterdam, Dresden, Oslo, and Netherlands Radio Philharmonics; Gewandhausorchester Leipzig, NDR Sinfonieorchester Hamburg, NDR Radiophilharmonie Hannover, Zürcher Kammerorchester, Academy of St Martin in the Fields, Belgian National Orchestra, Cleveland

Annapolis Symphony Orchestra 2023-24

Orchestra, Komische Oper Berlin Orchestra, and Residentie Orkest; and Vienna Radio, Yomiuri Nippon, Pittsburgh, Detroit, Houston, Atlanta, Toronto, Baltimore, Vienna, Barcelona, Lucerne, and Sydney Symphony Orchestras.

An award-winning and bestselling recording artist, her most recent album, released in 2019 on the Orchid Classics label, features her own “Latin” Concerto and Ravel’s Piano Concerto in G Major. Her previous recording on Orchid Classics features Rachmaninoff’s Piano Concerto No. 2 and her first orchestral composition, Ex Patria , winning Ms. Montero her first Latin Grammy for Best Classical Album. Others include Bach and Beyond , which held the top spot on the Billboard Classical Charts for several months and garnered her two Echo Klassik Awards.

She was also awarded the 2012 Rockefeller Award for her contribution to the arts and was a featured performer at Barack Obama’s 2008 Presidential Inauguration. Born in Venezuela, Gabriela Montero started her piano studies at age four, making her concerto debut at age eight in her hometown of Caracas. This led to a scholarship from the government to study privately in the USA and then at the Royal Academy of Music in London with Hamish Milne.

PETER MINKLER VIOLIST

Peter Minkler is heralded by the Baltimore Sun as an inspiring artist who “makes the viola sing.…” Having firmly secured his reputation as a musician of rare communicative warmth and possessing eloquent depth of expression, he was awarded Baltimore’s prestigious Mary Sawyers Baker Prize, and is a two-time recipient of both the William G. Baker, Jr. Memorial Fund Grant and the Maryland State Arts Council Individual Artist Award in Classical Music Solo Performance. Mr. Minkler began his undergraduate studies with Robert Vernon at the Cleveland Institute of Music and earned his Bachelor of Music degree from the Eastman School of Music, where he was a student of Francis Tursi. Intensive master classes with mentor William Primrose offered additional guidance, enduring wisdom, and inspiration. A longtime member of the Baltimore Symphony Orchestra, he also holds the position of Principal Viola of the Baltimore Choral Arts Society Orchestra. Prior to his arrival in Baltimore, he served as Associate Principal Viola with the Buffalo Philharmonic Orchestra.

An avid and versatile musician, Mr. Minkler is highly sought both locally and nationally as soloist, recitalist, and chamber musician and has performed extensively throughout the Baltimore region as guest artist on numerous established local series.

Mr. Minkler has released two solo CDs on the Centaur Records label, both garnering exceptional reviews. The first, Viola Seul: Works for unaccompanied

Annapolis Symphony Orchestra 2023-24

viola, is a compilation of seven works that showcase the extraordinary qualities of the oft-maligned viola and was praised by allmusic: “Minkler’s playing is…thoroughly musical, insightful, witty, and highly nuanced…this album is likely to please anyone interested in solo string works or just solid, unpretentious, musical artistry.” Inner Voice, recorded in collaboration with pianist Lura Johnson, features four major 20th-century compositions and it was this recording of Arvo Pärt’s Spiegel im Spiegel that was used in multiple trailers for the Academy Award-winning film, Gravity. Of this CD, critic Carlos María Solare of The Strad writes, “Britten’s Lachrymae …is given an unusually well-structured performance that goes beyond superficial tonal beauties to reveal the score’s constitutive elements. While listening I felt that this is how William Primrose—the piece’s dedicatee—might have played it….” This as well as other critical acclaim continues to affirm his artistry and command of the instrument. As John Peter Thompson of the Prince Georgian writes, “If you get a chance to hear Mr. Minkler perform, you need to grab it.”

CARLOS SIMON COMPOSER

“My dad, he always gets on me. He wants me to be a preacher, but I always tell him, ‘Music is my pulpit. That’s where I preach,’” Carlos Simon reflected for The Washington Post ’s ‘Composers and Performers to Watch in 2022’ list.

Having grown up in Atlanta, with a long lineage of preachers and connections to gospel music to inspire him, Simon proves that a well-composed song can indeed be a sermon. His compositions span genres—jazz, gospel, and contemporary classical music are noticeable influences—and can be found everywhere from film scores to concert music.

Simon is the current Composer-in-Residence for the John F. Kennedy Center for the Performing Arts and frequently writes for the National Symphony Orchestra and Washington National Opera, with the 2022–23 season seeing premieres with Boston Symphony Orchestra, Detroit Symphony Orchestra, Brooklyn Art Song Society, and Minnesota Orchestra: a large-scale tribute to George Floyd and the ongoing movement for racial justice.

These follow recent other commissions from the likes of New York Philharmonic and Los Angeles Philharmonic, and performances from Baltimore Symphony Orchestra, London Symphony Orchestra, and American Ballet Theatre.

A “young composer on the rise, with an ear for social justice” (NPR), Simon’s latest album, Requiem for the Enslaved , is a multi-genre musical tribute to commemorate the stories of the 272 enslaved men, women, and children sold in 1838 by Georgetown University, and was nominated for a 2023 Grammy

Annapolis Symphony Orchestra 2023-24

award for Best Contemporary Classical Composition. Released by Decca in June 2022, this work sees Simon infuse his original compositions with African American spirituals and familiar Catholic liturgical melodies, performed by Hub New Music Ensemble, Marco Pavé, and MK Zulu.

Acting as music director and keyboardist for Grammy Award-winner Jennifer Holliday, Simon has performed with the Boston Pops Symphony, Jackson Symphony, and St. Louis Symphony. He has also toured internationally with soul Grammy-nominated artist Angie Stone and performed throughout Europe, Africa, and Asia.

Simon earned his doctorate degree at the University of Michigan, where he studied with Michael Daugherty and Evan Chambers. He has also received degrees from Georgia State University and Morehouse College. He is an honorary member of Phi Mu Alpha Music Sinfonia Fraternity and a member of the National Association of Negro Musicians, Society of Composers International, and Pi Kappa Lambda Music Honor Society. He has served as a member of the music faculty at Spelman College and Morehouse College in Atlanta, Georgia and now serves as Assistant Professor at Georgetown University. Simon was also a recipient of the 2021 Sphinx Medal of Excellence, the highest honor bestowed by the Sphinx Organization to recognize extraordinary classical Black and Latinx musicians, and was named a Sundance/Time Warner Composer Fellow for his work for film and moving image.

BORIS PIGOVAT

COMPOSER

Boris Pigovat (b. 1953, Odessa, USSR) studied at the Gnessin Music Institute (Academia of Music) in Moscow. Between 1978 and 1990 he lived in Tajikistan. In 1988 he won the special distinction diploma at the International Composers Competition in Budapest for his composition Musica dolorosa No. 2 for trombone quartet.

Boris Pigovat immigrated to Israel in 1990. In 1995 he received the Prize of ACUM (Israeli ASCAP) for his composition Holocaust Requiem . In 2000 he was honored by Prime Minister of the State of Israel. In 2002 he received his Ph.D. degree from Bar-Ilan University (Israel).

Many of his works have been performed throughout the world. His composition Massada was performed at ISCM World music days 2000 festival in Luxembourg and at WASBE 2003 Conference in Jönköping (Sweden).

The world premiere of Holocaust Requiem for Viola and Symphony Orchestra took place at the Memorial evening dedicated to the Babyn Yar tragedy (in Kiev in February 2001, with soloist Rainer Moog). In 2008 this work was performed in Wellington, New Zealand at the Concert of Remembrance of the 70th Anniversary of Kristallnacht with soloist Donald Maurice. The CD of this performance was released in 2010 by the label ATOLL (New Zealand). In 2012 the CD received the prestigious Supersonic Award from the Pizzicato Magazine.

The symphonic poem Wind of Yemen was performed at the Asian Music Festival 2003 in Tokyo and at the WASBE 2009 (Cincinnati) and 2015 (San Jose) conferences. Three of his pieces were performed in New York’s Carnegie Hall: Prayer, Song of the Sea (world premiere, 2005), and Voices of Jerusalem . He was awarded the 2005 ACUM Prize for Song of the Sea .

Annapolis Symphony Orchestra 2023-24

His work Music of Sorrow and Hope (2011) was commissioned and premiered by the Israel Philharmonic Orchestra and conductor Zubin Mehta at the IPO’s 75th Anniversary Festival. In 2013 Maestro Mehta and the Israel Philharmonic Orchestra performed this work again in two concerts of the subscription series.

His work Poem of Dawn for Viola and Symphony Orchestra was premiered by Anna Serova and Croatian Radio Television Symphony Orchestra (ZagrebHRT Symphony Orchestra), conducted by Nicola Guerini, at Il Settembre

dell’Accademia 2013, Teatro Filarmonico di Verona. These same artists later recorded Holocaust Requiem for NAXOS, released in 2015. Later that year, the CD received the Supersonic Award from the Pizzicato Magazine and was nominated for the 2016 International Classical Music Awards. At 2017 Anna Serova performed the Poem of Dawn again at 44th International Viola Congress, Wellington, NZ, with New Zealand Symphony Orchestra with conductor Hamish McKeich.

His work Therefore Choose Life was commissioned by the Pittsburgh Symphony Orchestra in honor of Manfred Honeck‘s 10th season as Music Director, and premiered in Heinz Hall on September 22, 2017.

THIS LAND CARLOS SIMON B. 1986

Born in Washington, D.C. but raised in Atlanta, GA, Carlos Simon began his musical education and career in his father’s church; Simon played piano, organ, and composed gospel songs. His heritage and personal experience with African American musical traditions is reflected in his oeuvre, and his desire to “use music as a platform for discussion and ultimately, change” has often led Simon to write works based on current events or historical themes of the United States.

Composed in 2019, This Land is described by Simon in his own program note to the piece as influenced by the text on the Statue of Liberty:

This piece is inspired by Emma Lazarus’ gentle, welcoming words in her poem “New Colossus.” Lush, bright harmonies in the strings are used to represent hope and unity. I’ve also incorporated the anthems of the many countries of the immigrants (State Anthem of the Russian Federation, Himno Nacional Mexicano, La Marseillaise, etc.) under a dissonant bed of pulsating harmonies.

The dissonance is heard immediately in the strings, playing sul ponticello (bow near the

bridge) and sul tasto (bow over the fingerboard) to change the timbre and harmonics. This scratching sound then transforms into a romantic melody echoed by pastoral woodwinds. Bells toll in the chimes and muted brass, calling forth the tutti strings’ “lush, bright harmonies” that Simon describes as epitomizing “hope and unity.” After the tempo and volume increase, a joyful climax is reached with a burst of percussion. The joy is seemingly threatened with the return of the eerie, scratching strings and a melody in the chimes and brass that references “My Country ‘Tis of Thee” (and “God Save the King”), changed to a minor key. After this patriotic song of America, the idea of diversity within unity is sonically represented in the many other national anthems that are heard. Most audible are the dotted, martial rhythms of the “Himno Nacional Mexicano” in the clarinets and the trumpets rising above with “La Marseillaise.” The cacophony is brought to a sudden close, and the piece ends with tranquil strings.

The sonnet that appears on the pedestal of the Statue of Liberty, written in 1883 by Emma Lazarus, describes the goddess of liberty—and through her, America—as a beacon of strength and refuge:

Not like the brazen giant of Greek fame, With conquering limbs astride from land to land;

Here at our sea-washed, sunset gates shall stand

A mighty woman with a torch, whose flame Is the imprisoned lightning, and her name Mother of Exiles. From her beacon-hand Glows world-wide welcome; her mild eyes command

The air-bridged harbor that twin cities frame. “Keep, ancient lands, your storied pomp!” cries she

With silent lips. “Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tost to me, I lift my lamp beside the golden door!

The dissonance in Simon’s piece seems to emulate the struggles of the “huddled masses yearning to breathe free,” with the different national anthems directly referring to specific, and representing more broadly, immigrant populations. The intermittent unifying strings, which draw the piece to a hopeful close, helps to portray the goddess of liberty welcoming all with her “mild eyes” and her “lamp beside the golden door.” Images of the Statue of Liberty were projected behind the Arizona State University orchestra in the world premiere of the piece.

second piano teacher, Ernst Ferdinand Wenze, instilled in Grieg a love for Robert Schumann’s music which would prove very influential. He heard Schumann’s Piano Concerto in A minor, Op. 54, performed at the Leipzig Gewandhaus (which also housed the conservatory) by Schumann’s widow, Clara Wieck Schumann (1819–1896), who was an internationally famous pianist as well as a composer.

After completing his study in 1862, Grieg returned to Norway and quickly gained recognition as a pianist. Beginning in 1864, Grieg turned his attention to nationalistic composition, joining with three other composers to form the society Euterpe (after the ancient Greek Muse of music) to promote Scandinavian music. He began to establish himself as one of Norway’s leading composers, and it was the Piano Concerto in A minor, Op. 16 that would bring Grieg international fame as a composer. This piano concerto—the only one Grieg would complete—was begun in June 1868 while Grieg (along with his wife and infant daughter) were in Denmark for one of his many convalescent trips to help his recurring respiratory problems. The concerto premiered in Copenhagen on April 3, 1869, featuring Norwegian pianist Edmund Neupert, and was an immediate success. Virtuoso pianist Franz Liszt praised the concerto after reading it in 1870, and it was revised before its publication in 1872. Grieg would perform it himself in 1879 and revised it several more times before his death.

PIANO CONCERTO IN A MINOR, OP. 16 EDVARD GRIEG

1843-1907

Known today for his contribution to the development of a Norwegian style of composition, Edvard Grieg first learned the music of continental European composers as he studied piano. Upon the recommendation of virtuoso violinist and composer Ole Bull, a fifteen-year-old Greig enrolled at the Conservatorium der Musik, founded in Leipzig by Felix Mendelssohn. Grieg’s time at the conservatory was not entirely pleasant, but his

Considering Grieg’s deep appreciation for Robert Schumann’s music, it is not surprising that Grieg used Schumann’s piano concerto as a framing model for his own. Like Schumann’s, Grieg’s concerto begins with flashy, flamboyant chords, descending across the range of the piano. Grieg inserts his own style into this passage by using intervals found in Norwegian folk music. This opening keeps the original function of the concerto genre: to show off the soloist’s skill and talent and make the soloist the center of attention. The winds then introduce the quiet yet declamatory primary theme, which is then stated by the pianist. Grieg maintains the tradition established in

the Classical era of using sonata form for the first movement, modulating to the relative C major for the flowing second theme first heard in the cellos. After a brief development, both the primary and secondary themes are repeated in the recapitulation, with the latter in the parallel A major. A tutti fortissimo statement of the primary theme leads into the cadenza, a virtuosic display for the soloist. The orchestra rejoins the soloist in a statement of the second theme before a forceful close. In the Adagio second movement, the peaceful major key melody is suddenly interrupted by loud and rapid figuration, signaling that the middle movement, while still different in character, is not one of static quiet. The third movement begins like a march, but after the piano enters it quickly transitions into a fast folk dance, with accented downbeats accompanied by offbeat strings. A pastoral flute introduces a contrasting singing theme, the trills still showing a folk influence, which allows the pianist to explore a range of styles and emotions in this final movement. The upbeat folk dance returns and builds to a dramatic finale.

trio, also received their premieres in Moscow. Pigovat immigrated to Israel in 1990 and he expresses his Jewish faith and culture in many of his works, including the Holocaust Requiem: For years, I felt the necessity to write a work dedicated to the Holocaust. After my immigration to Israel, I started to consider different ideas for such a work. At first, I wanted to write a requiem for the standard orchestration: soloists, choir, orchestra, and, maybe, narrator […] I [decided to] write the work without the text, without the choir and solo singers, but I would try to save the tragic atmosphere of a traditional requiem. I dedicated  Requiem  to my father, whose family was murdered in Babi [Babyn] Yar by Nazis in September of 1941. It took me about two years to write it, during which I felt that he was waiting for me to complete it. The day after I finished writing  Requiem , my father passed away.

The world premiere was held in 2001 at Babyn Yar, Kyiv, where Pigovat’s grandparents (Chaim and Basya-Chaya Pigovat) and aunt (Hannah Pigovat) were murdered in the massacre.

HOLOCAUST REQUIEM BORIS PIGOVAT

B. 1953

Originally from Ukraine when the nation was a constituent Soviet Socialist Republic, Pigovat attended Gnessin Music Institute, one of the most prestigious music schools in Russia. His earliest works, a string quartet and a piano

Modeled after the Catholic Mass for the dead, the Holocaust Requiem takes inspiration from the traditional Latin Requiem text. The first movement is entitled Requiem aeternam, for the incipit Mass Introit text “Requiem aeternam dona eis, Domine’’ (eternal rest give unto them, O Lord), which frames what is to follow as a prayer. Grief is immediately established with the low sustained strings, over which a quiet clarinet plays a theme framed by weeping minor seconds. This theme recurs throughout the movement, heard next in the flute and then in the solo viola. When the viola—and the accompanying orchestra—play the same note repeatedly, the resulting rhythm is an intentional evocation of chanting the “Requiem aeternam” text; this rhythm becomes the second foundational theme of the movement. The descending minor seconds become frenzied in the development section, with the increased tempo and loud, biting brass and percussion creating an atmosphere of

panic and confusion. After a tutti statement of the first theme, the solo viola reenters and brings the movement to a meditative close.  The second movement, Dies irae, takes inspiration from several sources, the first being the text from the fifth movement of the Latin Requiem: “Dies irae, dies illa, solvet saeclum in favilla” (This day of wrath shall turn the world to ashes). After disjointed strings, the brass enters as if a chorale, imitating the chant of the Latin text and establishing a guiding melody for the movement. Pigovat combined the Dies irae’s theme of destruction with a verse from the Lamentations of Jeremiah (Lamentations 1:20) that states, “Outside, the sword brings bereavement; inside, it is like death,” as well as the Yizkor, the Jewish memorial prayer for the dead, to evoke his inner horror. Throughout the movement there are sarcastic dances that seem at odds with the idea of a requiem; however, the dance macabre reflects the grotesque dehumanization of the Holocaust and the repeated rhythms imitate the Nazi machine of death.

After the horror of the Dies irae, the Lacrimosa evokes what comes from the world turning to ashes: pain and despair. The inspiring text for the third movement, “Lacrimosa dies illa, qua resurget ex favilla judicandus homo reus” (That day is one of

weeping, on which shall rise again from the ashes the guilty man, to be judged), comes from the end of the Latin Mass Dies irae text. Screaming in the higher register, the opening viola solo continues the frenzied horror of the previous movement. As the angry crying fades away in confusion, the viola recalls the rapid descending minor second theme from the first movement. Exhausted from rage, lush, sustained strings create a weeping lament.

A horn solo connects the third and fourth movements with the melody of the Shema, one of the most recited Jewish prayers: “Hear O Israel, the Lord is our God, the Lord is One, Blessed is the name of his glorious kingdom for ever and ever.” The sense of hope in the Shema is also found in the Lux aeterna text (the ninth of twelve movements of the Latin Requiem Mass), which asks for peace. Harp arpeggios, soaring major harmonies, and an emphasis on the higher register create a calm, dream-like atmosphere, bringing peace and light to the victims of Babyn Yar and the Holocaust. The solo viola concludes with a final intonation of the Shema, supported by a dissonant chord that remembers the horror while praying for peace.

Program notes by Elizabeth Massey, Ph.D.

SUNDAYS @ 5:30PM AT SHRIVER HALL

OCT 15

ANGELA HEWITT PIANO

Bach: Goldberg Variations

NOV 19

TAKÁCS QUARTET

Works by Haydn, Nokuthula Ngwenyama (Baltimore premiere), Beethoven

DEC 3

KALEIDOSCOPE CHAMBER COLLECTIVE

Works by Schubert, Beach, Walker, Price

JAN 14

JULIA BULLOCK SOPRANO

BRETTON BROWN PIANO

Works by Schubert, Wolf, Weill, Berio, Rossini, Cage, Holiday, Simone, and others

FEB 4

GARRICK OHLSSON PIANO

Works by Beethoven, Mamlok, Schubert, Chopin

MAR 10

MARK PADMORE TENOR

MITSUKO UCHIDA PIANO

Schubert: Winterreise

APR 7

QUATUOR ÉBÈNE

Works by Mozart, Schnittke, Grieg

APR 21

JOHANNES MOSER CELLO

MARC-ANDRÉ HAMELIN PIANO

Works by Boulanger, Hamelin, Debussy, Franck

The Sun

Angela Hewitt

“Baltimore’s finest importer of classical music talent.”

A NOTE FROM DIRECTOR OF DEVELOPMENT

Thank you for your unwavering support of the Annapolis Symphony Orchestra. Behind every note played and every crescendo reached, there’s a symphony of dedication and hard work required. I want to take a moment to recognize not only our generous donors but also the incredible efforts of the Friends of the Annapolis Symphony Orchestra, the Development Committee, and the Opening Night Celebration Committee. As a 501(c)(3) non-profit organization, your generosity has been instrumental in our mission to provide “More Music In More Places For More People.”

Donor Benefits

I’m excited to unveil our updated donor benefits, designed to enhance your connection with the Symphony and the music we all hold dear. Please note that all donors receive access to our e-newsletter and an acknowledgement of your gift for tax purposes.

Program Recognition: $100+

Public recognition for your generosity in our Masterworks concert programs.

Dress Rehearsal: $500+

Exclusive invitations to Thursday night dress rehearsals before select Masterworks performances, beginning with Masterworks II on Thursday, November 2.

Crescendo Club: $1,000+

Access to our post-concert donor lounge, where you can mingle with other supporters, Symphony musicians, and our leadership.

Music at Midmorning: $2,500+

Intimate performances with our guest artists on Thursday mornings before Masterworks concerts. These exclusive events, frequently hosted in donors’ homes, offer a unique way to engage with our talented guest performers.

Musician Dinner: $2,500+

Sponsor a Musician to receive an invitation to our exclusive dinner with Symphony musicians in the winter of 2024.

Legacy Circle

All members of our Legacy Circle receive invitations to all of our exclusive donor events. Join the Legacy Circle by including the ASO in your estate plans. As a Certified Fund Raising Executive (CFRE), I look forward to working with you directly on this important opportunity.

Become a donor or increase your current level of support by visiting www.annapolissymphony.org/support. Please feel free to reach out to me directly at development@annapolissymphony.org or 410-267-3645.

Thank you for bringing music to life in our community and ensuring that the Annapolis Symphony Orchestra remains a source of inspiration for generations to come!

Warm regards,

Lauren Silberman, Director of Development

Ensuring a Legacy of Musical Excellence for Future Generations

It is with our deepest gratitude that we acknowledge the following Legacy Circle Members for their commitment to the future of the Annapolis Symphony Orchestra and its place in our community.

Anonymous (3)

Melvin & *Judy Bender

Bud & *Bee Billups

Elana Rhodes Byrd

James W. Cheevers

Elizabeth Colandro

Ronald E. Council

Fobes Leland & Marilyn Eason

*Patricia Edwards

*Colonel Allan & *Audrey English

Patrick Green

Anna E. Greenberg

*Nancie Kennedy

*Dr. Michael Kurtz

Dr. Mary C. McKiel

Mr. John P. McKim

Anne S. Potter

Susan Rosenfeld

Stephen A. Sotack

To discuss including the Symphony in your Estate Plans, please contact Lauren Silberman at development@annapolissymphony.org

Annapolis Symphony Orchestra Inc. Tax I.D. 23-7001357

In honor of Herb and Sallie Abeles

June Cohen

In honor of the Annapolis Symphony Academy

JoshuaOneNine Fund

In memory of John Auer

James W. Cheevers

In memory of Ralph Bluntschli

Elizabeth Gordon-Blutschli

In memory of Pamela F. Bush

David Bush

In honor of Jim Cheevers

Don & Keren Dement

In honor of Karen & Don Dement

Eric Smith

In honor of Sylvia Earl

Anna E. Greenberg

In memory of Peggy Ertlmeier

Bob Sherer

In memory of Louis O. Follett

Eleanor Menosky

In honor of Anna E. Greenberg

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Monica Kaiser

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In memory of Michael Kurtz

Thomas & Maria Blohm

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Pat Zeno & Frank Parent

In memory of Numma Lavy

James W. Cheevers

Music Educators of Greater Annapolis Household

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David & Winnie Lindauer

James W. Cheevers

In memory of Paige Miller

The Paige Miller Memorial Scholarship

Brandon Owens

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In memory of John B. Moore

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Jayne and Donald Morgan

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Walton

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James & Leighton Krips

Sterling Moms

In memory of Mary Jean Boguslaw

Annapolis Symphony Academy

Annapolis Symphony Orchestra

Musicians

Generous friends of Howard and Thea Pinskey established a scholarship fund in their memory dedicated to providing financial assistance to students in the Annapolis Symphony Academy. The Annapolis Symphony will also add funds given in memory of Howard and Thea Pinskey to this scholarship fund in their memory. If you would like to contribute to this fund, visit www.annapolissymphony.org/support.

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MASTERWORKS I MUSIC TO REMEMBER W ITH PIANIST GABRIELA MONTERO & VIOLIST PETER MINKLER

7:30 pm

FRI SEPT 29, 2023

SAT SEPT 30, 2023

Maryland Hall

MASTERWORKS IV PORTRAITS

SCHUMANN & ELGAR WITH CELLIST STEVEN ISSERLIS

7:30 pm

FRI MAR 1, 2024

SAT MAR 2, 2024

Maryland Hall

MASTERWORKS II

PEPE PLAYS PONCE RAVEL, REVUELTAS & PONCE WITH GUITARIST PEPE ROMERO

7:30 pm

FRI NOV 3, 2023

SAT NOV 4, 2023

Maryland Hall

MASTERWORKS V ROMAN FESTIVALS RESPIGHI & BEETHOVEN WITH PIANIST AWADAGIN PRATT

7:30 pm

FRI APR 12, 2024

SAT APR 13, 2024

Maryland Hall

MASTERWORKS III RAGING FIRE TCHAIKOVSKY & SIBELIUS WITH VIOLINIST ELISSA LEE KOLJONEN

7:30 pm

FRI FEB 2, 2024

SAT FEB 3, 2024

Maryland Hall

MASTERWORKS VI THIS MIDNIGHT HOUR

ANNA CLYNE & SIBELIUS

7:30 pm

FRI MAY 10, 2024

SAT MAY 11, 2024

Maryland Hall

Music SeriesCHAMBER

SUNDAY, OCTOBER 15 AT 3:00 PM Bowie State University

SUNDAY, MARCH 24 AT 3:00 PM

Ss. Constantine & Helen Greek Orthodox Church

SATURDAY, MAY 4 AT 3:00 PM

Evangelical Presbyterian Church of Annapolis

MUSICIAN SPONSORS

Sponsoring or endowing a chair is a transformative way to show your support for the Annapolis Symphony Orchestra. It is a special opportunity to make a personal connection with an individual musician and deepen your connection with the symphony.

ARTISTIC DIRECTOR & CONDUCTOR

Jose-Luis Novo

The Philip Richebourg Chair

VIOLIN I

Netanel Draiblate, Concertmaster

Sponsored by Jillinda Kidwell

Nicholas Currie, Associate Concertmaster

Sponsored by Laird Lott & Linda Gooden

Abby Armbuster

Sponsored by Mimi Jones

Susan Benac

Sponsored by Herb & Sallie

Abeles

Heather Haughn

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Sponsored by Capt. Mark & Michelle Hellstern (USN Retired)

Rachael Stockton

Sponsored by Tara Balfe

Clifford

VIOLIN II

Christian Tremblay, Principal

Sponsored by Peter & Sarah Evans

Kristin Bakkegard, Associate Principal

Sponsored by Stephen A. Sotack

Karin Kelleher

Sponsored by Prudence Clendenning

VIOLA

Sarah Hart, Principal

Sponsored by Julie & Charles Grudzinskas

Derek Smith, Associate Principal

Sponsored by Al & Ginger From

Susan Taylor Dapkunas

Sponsored by Amy & Joe Rubino

CELLO

Todd Thiel, Principal

The Philip Richebourg Chair

Alison Bazala Kim

Sponsored by Elizabeth Maxwell-Schmidt & Steve Schmidt

Nicole Boguslaw

Sponsored by Thomas J. DeKornfeld & Nina A. Fisher

MaryAnn Perkel

Sponsored by Florence Calvert

Daniel Shomper

Sponsored by Paula Abernethy

BASS

Peter Cohn

Sponsored by Anne S. Potter

FLUTE

Kimberly Valerio, Principal

Sponsored by Dr. Mary C. McKiel

Genevieve Eichman

Sponsored by Russ Stevenson & Margie Axtell

OBOE

Fatma Daglar, Principal

Sponsored by Collot Guerard

Rick Basehore

Sponsored by William & Renata Davis

CLARINET

Robert DiLutis, Principal

Sponsored by Shelley Row

FRENCH HORN

Anthony Valerio

Sponsored by Carole & Richard Falk

TRUMPET

Christopher Sala, Principal

The Philip Richebourg Chair

TROMBONE

David Perkel, Principal

Sponsored by David & Eleanor Huggins

David Sciannella

Sponsored by Robert & Kathleen Arias

Jay Heltzer

Sponsored by Peter Bungay & Joy Chambers

TIMPANI

Curt Armbuster, Principal

Sponsored by Fred Stielow & Susan Rosenfeld

Thank you to our generous sponsors. If you’re interested in sponsoring a musician, please visit www.annapolissymphony.org/support or email development@annapolissymphony.org.

SUPPORTERS OF THE ASO

We gratefully acknowledge these generous donors to the Annapolis Symphony Orchestra. The Annapolis Symphony Orchestra is sustained through your generous support. We are indebted to you for supporting our music making, education programs, and community initiatives.

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Pelissier

THE PHILIP RICHEBOURG CIRCLE

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Elizabeth Richebourg Rea +

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$499,999

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Anonymous (2) +

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Mrs. Ralph C. Graber*

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Anne Arundel County

Recreation & Parks

Elville Center for the Creative

Arts +

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+ MULTIYEAR PLEDGES

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Sylvia & James Earl

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Dr. Mary C. McKiel +

Martha & John T. Schwieters +

GIFTS OF $10,000 – $24,999

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Community Foundation of Anne Arundel County

Collot Guerard

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Elizabeth Maxwell-Schmidt & Steve Schmidt +

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GIFTS OF $5,000 TO $9,999

Anonymous

In Memory of Louise A. Snyder

Herb & Sallie Abeles

Peter Bungay & Joy Chambers

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William & Renata Davis

Norman & Doris Fisher

Thomas J. DeKornfeld & Nina

A. Fisher

Capt.Mark & Michelle

Hellstern (USN Retired) +

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Higherschool, LLC

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JoshuaOneNine Fund

The J.M. Kaplan Fund

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Dawne Widener-Burrows

Bay Radiology

GIFTS OF $2,500 TO $4,999

Ann Burchard

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Ken Code, Dea Code Foundation

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Drs. Mark C Davis & Ann A Tran

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Paige Miller Memorial Scholarship

National Philanthropic Trust

José-Luis Novo & Lori Kesner

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James D. Parker, M.D.

Steve Root & Nancy Greene

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Rotary of Annapolis

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Judith Templeton

GIFTS OF $1,000

TO $2,499

Anonymous (7)

Bill & Lisa Abercrombie

Sherla Alberola

Annapolis Musicians Fund for Musicians

Renee Ehler & George Bentley

Martha Blaxall & Joe Dickey

Carmen & Nancy Brun

Multiyear pledges support the Orchestra’s strategic vision while ensuring a sustained level of funding. Thank you to everyone for signing pledge commitments of three years or more. These donors are recognized with a + beside their na me.

David Bush

Diana Campe

Joseph & Patricia Casey

ANNUAL GIVING 2023-2024

Gifts of $1,000 to $2,499 cont.

Elizabeth Colandro

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Jane Danowitz

The Dealy Foundation, Inc.

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Elizabeth Gordon-Bluntschli

Bob & Diane Heaney

Mr. & Mrs. Robert M. Hecht

Richard & Lisa Hillman

The Johansen Family

Lawrence & Jeanne Kelly

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Osburnsen

Ms. Sari Kiraly

Barbara Lazar

Lewis Family Fund Grant

Janet Little

Pat Mager

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Progress Family Foundation

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Mrs. Tamara & Dr. Stephan

Tymkiw

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GIFTS OF $100 TO $999

Anonymous (7)

In memory of: Mary Jean

Boguslaw

Anne Agee

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Michael Alin & Ann Carroll

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We make every effort to ensure accuracy. If you notice an error, omission or would like to be recognized in a different way, please let the Symphony staff know at your earliest convenience. The Annapolis Symphony Orchestra greatly appreciates all contributors of any amount.

The Annapolis Symphony Orchestra is funded by operating grants from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive, and the Arts Council of Anne Arundel County, which receives public support from Anne Arundel County, the City of Annapolis, and the Maryland State Arts Council. Funding for the Maryland State Arts Council is also provided by the National Endowment for the Arts, a federal agency which believes that a great nation deserves great art.

Donors of $2500 or more are invited to a meeting of the Crescendo Club in Maryland Hall Room 206 | after the performance!

FRIENDS OF THE ANNAPOLIS SYMPHONY ORCHESTRA

invite YOU to become a friend!

FASO is a dynamic group of music lovers who support the Annapolis Symphony Orchestra. FASO fundraising events include the Concert of Tastes, Historical Happy Hour, themed dinners, Dine-toDonate, Movie & Trivia Nights, wine tastings at local vineyards, international trips and much more. FASO collaborates with the ASO Academy to provide grants that expand programming and provide scholarships. FASO efforts expand beyond Annapolis. FASO recently sponsored the feature-length film ‘Sing to Me Sylvie’, which won the Spotlight Award from the Volunteer Council of the League of American Orchestras. Join us! Become part of the fun while helping to benefit the Annapolis Symphony Orchestra and rising artists.

IT IS EASY TO JOIN - VISIT

Membership: $50 per person | $75 per couple

Contact info: 410-267-3646

friends@annapolissymphony.org

2023-2024 Board of Directors

Officers:

Dr. Ann Tran President

Marguerite Cole Vice President

Paula Abernethy Vice President

Julie S. Grudzinskas Treasurer

Kathy Clatanoff Recording Secretary

Carol Richards

Corresponding Secretary

Directors:

Adele Baron

Thelma Blass

James W. Cheevers

Betsy E. Chotin

Renee Ehler

Elizabeth GordonBluntschli

Diane Green

Anna E. Greenberg

Valerie Gutterson

Marilyn Lyons

Mary McKiel

Lynn C. Maichle

Barbara Merke

Colleen Smith

Stephen Sotack

The Friends of the Annapolis Symphony Orchestra is a 501(c)(3) organization. Dues and donations are tax deductible to the fullest extent of the law, providing no goods or services are realized by joining.

Champagne Sunday photo by Don Dement

CONCERT & TICKET INFORMATION

ELECTRONIC DEVICES

Use of cameras or recording devices during the performance is strictly prohibited.

LATECOMERS

Latecomers will only be seated at the conclusion of a musical selection.

CHILDREN

Annapolis Symphony Family Concerts are designed for ages four and up. The Symphony recommends that children be at least age eight to attend a Masterworks or Pops concert.

IN CASE OF FIRE

Please note the nearest exit to your seat. In the event of fire or another emergency, WALK — do not run — to that exit.

INCLEMENT WEATHER

In the event of severe weather, every effort will be made to continue with scheduled concerts. No refunds will be given if a concert is performed during severe weather but not attended by the ticket holder.

NO SMOKING

Maryland Hall is a smoke-free facility. Smoking is prohibited in and on the grounds of the building.

MARYLAND HALL BAR

Enjoy a beer or glass of wine before the concert and at intermission in room 208. Cash and credit cards are accepted and drinks are allowed in the concert hall.

ACCESS FOR PERSONS WITH DISABILITIES

Parking, ramp, and elevator facilities are available at the entrance nearest Spa Road. Wheelchair accessible seating is also available. Please call 410-263-0907 to make arrangements.

SUBSCRIPTION TICKETS

Subscribing to the Masterworks Series at the Annapolis Symphony Orchestra is the best deal around! As a subscriber you get exclusive access to a 20% discount on single tickets, priority seating, and free exchanges. Subscriptions are available for all 6 Masterworks concerts as a full series or 3, 4 or 5 concerts as a Flex Pass. Learn more at annapolissymphony.org/ subscribe.

SINGLE TICKETS

Whether it’s your first or fifth time at the Symphony, single tickets are always available for purchase! Tickets can be purchased online at annapolissymphony. org/events or by calling the Symphony Box Office at 410-263-0907. Tickets start as low as $29.

GROUP SALES

We are dedicated to making your group‘s visit to the Annapolis Symphony a memorable experience. With a group of 10 or more, receive a 15% discount on all tickets.

TICKET EXCHANGES

Subscribers may exchange their tickets for the alternate performance of the same concert only. Exchanges are subject to availability.

TICKET DONATIONS

Subscribers may donate tickets back to the Symphony as a tax-deductible contribution. We will mail you an acknowledgement letter for your donation.

There are no refunds and all ticket sales are final unless there are further pandemic related cancellations or postponements. If there are changes to the program, ticket holders will be contacted with options.

Annapolis Symphony Orchestra 2023-24