A Taste of Spain with Pepe Romero: Masterworks II

MASTERWORKS II:

A TASTE OF SPAIN AN NAP O LISSYM PH O NY.O RG

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2023 -2024 BOAR D O F TRUSTEES

OFFICERS Shelley Row, PE, CSP

Katherine Edwards, MD

Chair

Vice Chair

Stephen Sotack Treasurer

Ann Whitcomb

Shaun Mathis

Vice President-Finance

Secretary

TRUSTEES Mary McKiel, PhD, Immediate Past Chair

Charles Grudzinskas

Robert Arias

Collot Guerard

Georgianna Crosby

Michelle Hellstern

William Davis

Deb Howe

Ginger From

Geraldine “Mimi” Ladd Jones

Sonja Gladwin

Jill Kidwell Monique Langston, MD Jerray Slocum Elizabeth Maxwell-Schmidt, MD Marie Treanor Christine “Tina” Young

TRUSTEE EMERITUS Florence Calvert

José-Luis Novo Artistic Director & Conductor

EX OFFICIO TRUSTEES Ann Tran Barbara Randolph FASO Board Representative

Interim Executive Director

ORCHESTRA REPRESENTATIVE Kristin Bakkegard Musicians’ Representative, Players Committee

A N N A P O L I S S Y M P H O N Y.O R G

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A BOUT TH E AN NAP O LI S SY M PH O N Y O RC H ESTR A 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, ASO sponsors award-winning education concerts and outreach programs in community schools, sharing the joy of music-making with thousands of school children, including through the Annapolis Symphony Academy.

ANNAPOLIS SYMPHONY ORCHESTRA STAFF Barbara Randolph Interim Executive Director

Miriam Fogel

Sarah Johansen

Lauren Silberman

Director of Artistic Operations

Director of Business Operations

Director of Development

Diana Love

Netanel Draiblate

Julie Nolan

Director of Marketing & Communications

Annapolis Symphony Academy Director & Founder

Director of Education & Community Outreach, Grants Manager

Olivia Ren

David Sciannella

Maya McAtee

Orchestra Librarian

Operations Manager

Office & Data Manager

Shun Yao

Heather Haughn

Kimberly Valerio

Annapolis Symphony Academy Assistant Conductor

Annapolis Symphony Academy Department Head, Strings

Annapolis Symphony Academy Department Head, Winds & Brass

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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.

SERIES @

M A S T E R W O R K S III

Raging Fire

Tchaikovsky & Sibelius with violinist Elissa Lee Koljonen

SUN FEB 4 | 3:00 PM Strathmore

7

M A S T E R W O R K S IV

Portraits

Elgar & Schumann with cellist Steven Isserlis

SUN MAR 3 | 3:00 PM Strathmore

7

MASTERWORKS V

Roman Festivals

Respighi & Beethoven with pianist Awadagin Pratt

SUN APR 14 | 3:00 PM Strathmore

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2023 -24 S E A SO N SC H EDU LE

Masterworks II A Taste of Spain:

Ravel, Revueltas & Rodrigo

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:

Pepe Romero

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:

Elissa Lee Koljonen

Respighi & Beethoven with pianist Awadagin Pratt April 12 & 13 at 7:30 pm Maryland Hall April 14 at 3:00 pm Strathmore

Steven Isserlis

Masterworks VI

This Midnight Hour: Clyne & Sibelius May 10 & 11 at 7:30 pm Maryland Hall

Awadagin Pratt

Anna Clyne

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AN NAP O LI S SY M PH O N Y O RC H ESTR A

MASTERWORKS SERIES November 3, 7:30 pM | November 4, 7:30 pM M A RY L A ND H A LL José-Luis Novo, Artistic Director & Conductor The Philip Richebourg Chair Pepe Romero, guitar

Overture to Il barbiere di Siviglia (The Barber of Seville)

Gioachino Rossini (1792–1868)

Fantasía para un gentilhombre Joaquín Rodrigo (Fantasia for a gentleman) (1901–1999) I. Villano y Ricercare II. Españoleta y Fanfare de la Caballería de Nápoles (Españoleta and Fanfare for the Cavalry of Naples) III. Danza de las Hachas (Dance of the Hatchets) IV. Canario Pepe Romero, guitar ~ INTERMISSION ~ Homenaje a Federico García Lorca (Homage to Federico García Lorca) I. Baile (Dance) II. Duelo (Sorrow) III. Son (Sound)

Silvestre Revueltas (1899–1940)

Ma mère l’Oye (Mother Goose) – Music for the Ballet Maurice Ravel I. Prélude (Prelude) (1875–1937) II. Danse du rouet (Dance of the Spinning Wheel) III. Pavane de la Belle au bois dormant (Pavane of the Sleeping Beauty) IV. Les entretiens de la Belle et de la Bête (Conversations of the Beauty and the Beast) V. Petit Poucet (Tom Thumb) VI. Laideronnette, Impératrice des Pagodes (Laideronnette, Empress of the Pagodas) VII. Le jardin féerique (The Fairy Garden)

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

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A N OTE FRO M TH E BOAR D O F TRUSTEES

W

elcome to the second masterworks concert of the Annapolis Symphony Orchestra’s 62nd season. We are pleased to have you here and welcome you as part of our musical community.

Tonight’s concert reminds me that music is personal.

Music can transport you to another time and place. A familiar melody can surface long forgotten memories of a special moment in your life. A crescendo can touch emotions in ways nothing else can.

For me, the Barber of Seville is personal. It’s my magic carpet. Tonight’s overture will take me back to my early teenage years and our home in a small, rural town in Texas. We didn’t have access to orchestral music. That’s why it was a special night when my dad took me to hear the Barber of Seville. It was my first opera and first time hearing a live orchestra. It was just him and me driving into the big city with the libretto on my lap. The Barber of Seville is personal.

More music for more people in more places!

For our musicians, playing with Pepe Romero is personal. They will be transported to the summer of 2022 when they toured Spain playing with Pepe.

Through four beautiful concert halls, they played to standing room only crowds who demanded encore after encore. Tonight, they relive that magic as Pepe, the greatest living classical guitarist, travels to Annapolis to reunite with our symphony. For those on stage, tonight is personal, and we are the happy beneficiaries of this special moment.

We invite you to find your own personal moment tonight or in future masterworks at Maryland Hall or in our performances at Strathmore or in our chamber series, or in our other performances around the area.

You are part of the music community who believes as we do in the power of music to transform lives and enhance the quality of life in Annapolis and Anne Arundel County. The Annapolis Symphony Orchestra is the orchestra in your backyard.

Shelley Row, Chair, Board of Trustees Annapolis Symphony Orchestra For information on becoming a Friend of the Annapolis Symphony Orchestra, please go to: annapolissymphony.org/support/faso

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M USI C IAN ROSTER VIOLIN I

CELLO

TROMBONE

Netanel Draiblate, Concertmaster Nicholas Currie, Associate Concertmaster Hanbing Jia, Acting Assistant Concertmaster Heather Haughn Wan-Chun Hu Susan Benac Rachael Stockton Yoon Young Bae William Wang Qian Zhong Katelyn Lyons Peaden Amelia Giles

Todd Thiel, Principal Nicole Boguslaw, Acting Associate Principal MaryAnn Perkel Alison Bazala Kim Daniel Shomper Jessica Albrecht Jihea Choi Gabriel Hightower

David Perkel, Principal

VIOLIN II Kristin Bakkegard, Acting Principal Alexandra Mikhlin, Acting Associate Principal Karin Kelleher Sally Stallings Amass Yan Izquierdo Angela YuTing Chew Paul Bagley Sara Schneider Glen Aaron Kuenzi Paula Sweterlitsch

VIOLA Derek Smith, Acting Principal Rachel Holaday, Acting Associate Principal Louise Elder Chestnut Susan Taylor Dapkunas Heidi Remick Ben Freedman Maksymilian Krzak Nina Kiken

BASS Patrick Raynard, Principal Benjamin Crofut, Associate Principal Adriane Irving Peter Cohn Broc Mertz Brandon Smith

FLUTE

TUBA Jake Fewx, Principal

TIMPANI Curt Armbruster, Principal

PERCUSSION Gerald Novak, Acting Principal Aubrey Adams Anthony Asero Joseph Connell

HARP Madeline Jarzembak, Acting Principal

PIANO Tomoko Kanamaru, Acting Principal

Kimberly Valerio, Principal Genevieve Eichman

OBOE Fatma Daglar, Principal Rick Basehore

CLARINET Robert DiLutis, Principal Edna Huang

BASSOON George Sakakeeny, Acting Principal Lynn Moncilovich

HORN Alex Kovling, Principal Anthony Valerio

TRUMPET Christopher Sala, Principal Christopher Buchanan

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ARTISTI C D I R EC TO R & CO N DUC TO R

JOSÉ-LUIS

NOVO THE PHILIP RICHEBOURG CHAIR

S

panish-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

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.”

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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.

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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. 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.

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GU GUEST EST ARTIST ARTIST

P E P E ROMERO G U I TA R I S T

O

ne of the most celebrated and versatile musicians of his generation on any instrument, the Spanish-born guitarist Pepe Romero has enjoyed a varied and illustrious career.

Together with his father, the legendary Celedonio Romero, and his brothers Celin and Angel, Pepe established the Romeros Quartet—the “Royal Family of the Guitar”— as the leading guitar ensemble in the world. Known for classical performances of dazzling virtuosity, compelling interpretations, and flawless technique, Pepe is also a passionate advocate of the traditional flamenco of his native Andalusia. He has appeared as featured soloist with the world’s greatest orchestras and ensembles, in collaboration with the most celebrated conductors and composers.

Since his first recording, Flamenco Fenómeno!, released when he was only 15, Pepe has made more than 60 recordings, including over 40 concertos with the Academy of St. Martin in the Fields, conducted by Sir Neville Marriner and Iona Brown.

Among his recent releases are Torroba: Guitar Concertos Vol. I and Vol. II. Both CDs are part of a series of recordings (shared with guitarist Vicente Coves and conducted

by Manuel Coves) for Naxos of the complete guitar concertos by Federico Moreno Torroba. Released in October 2016 by Dacapo Records is a historic live performance

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of Rodrigo’s Concierto de Aranjuez with Rafael Frühbeck de Burgos conducting the Danish National Symphony Orchestra. A new Spanish solo collection entitled Spanish Nights (which includes a premiere recording of Suite Madrileña No. 1 by Celedonio Romero) was released by Deutsche Grammophon. In November 2012, Pepe Romero received a Latin Grammy Nomination for “Best Classical Album” for his recording of Concierto Festivo by Ernesto Cordero.

In 2004, Pepe Romero was named Distinguished Artist in Residence at the University of Southern California’s Thornton School of Music; he also teaches master classes at USC, Salzburg Summer Academy, Schleswig-Holstein Musik Festival, and the Córdoba Guitar Festival. Among other honors, Pepe has been knighted into the Order of “Isabel la Católica”; awarded honorary doctorates in music from the San Francisco Conservatory of Music and the University of Victoria; the “Premio Andalucia de Música,” the highest recognition given by his native land for contribution to the arts; and in 2018 he received the Medalla de Honor from the Real Academia de Bellas Artes de Granada for his lifelong achievement in performance and pedagogy. Pepe is featured in the award-winning film documentary Shadows and Light: Joaquín Rodrigo at 90; and the Romeros have been the subject of biographical documentaries on PBS television and the German television channel NDR. In 2007, the Romeros received the President’s Merit Award from the Recording Academy, producers of the Grammy Awards, for their significant contributions to the music world and professional career achievements.

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CLUB

Donors of $1000 or more are invited to a meeting of the Crescendo Club in Maryland Hall, Room 206 after the performance!

e c r t n o C School Concert

PRO GR AM N OTES

Overture to Il barbiere di Siviglia GIOACHINO ROSSINI 1792–1868 Both of Gioachino Rossini’s parents were theater musicians. His father was a horn player and occasional impresario, and his mother was a prima donna who performed throughout Italy. The young Rossini traveled with his parents and joined as a performer, playing viola, at just nine years old. He began horn, singing, and composition lessons soon after, and began singing professionally as well as leading theater ensembles from the harpsichord at age twelve. With this background steeped in theater, it is no surprise that his compositions quickly turned to the opera genre, writing his first in 1810. Fifteen more operas followed before Il barbiere di Siviglia (The Barber of Seville).

Of those fifteen, it was Tancredi (1813) and L’italiana in Algeri (1813) that would start Rossini’s international fame. By the time Il barbiere di Siviglia was composed in 1816, Rossini was the leading Italian composer of his time.

Living and working in an Italy that was not yet united, and therefore without central copyright laws, Rossini only earned money from operatic performances in which he was involved. As such, he was an extremely active member and prolific composer for the theater world. He wrote quickly, and Il barbiere di Siviglia is no exception. Rossini signed the contract on December 27, 1815, and delivered the first act in skeleton score on February 6, 1816. The opera premiered at the Nobil Teatro di Torre Argentina in Rome just two weeks later. Such a fast pace of writing—and therefore his financial security—was aided by the standard practice of reusing music multiple times in different works. (J.S. Bach, Haydn, and Mozart also recycled their music.) Rossini did just this for Il barbiere di Siviglia, using the overture from his 1813 opera seria Aureliano in Palmira.

Given the time crunch, compounded by the fact that Rossini had to write vocal parts first (to provide singers with their music), it is logical that Rossini recycled an overture for this new work and savvy that he turned to a work that premiered in a different city.

Because he used the overture score written for Aureliano in Palmira, which premiered in Milan, the score does not reflect the instruments available for Il barbiere di Siviglia’s premiere in Rome. For the premiere, there was no timpani, and there were only two players for the combined flute and oboe parts; the oboist had to double on both flute and piccolo.

Another tool that Rossini used to speed the composition process was to establish a clear formula, into which he would simply insert new melodies and instruments. All of his operatic overtures follow the same exact structure: a three-part slow introduction followed by a modified sonata form at a faster tempo. Fortissimo chords grab the audience’s attention and begin the Il barbiere di Siviglia overture. The oboe and French horn prepare for a cantabile (singing) section, led by lyrical violins joined by flutes. Short, repeated notes in the strings alternating with tutti resolutions recalls the opening section, and the introduction ends with

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another loud declamation. Violins play the sprightly first theme of the Allegro, which quickly builds in intensity as the full ensemble joins and the key shifts to major.

The wind instruments dominate the light, dancing second theme. What follows is a slow build of instruments, sections, and timbral intensity as the melody shifts to the brass; this is a hallmark of Rossini’s compositional style and is now known as the “Rossini crescendo.” A short transition (no development) leads right into the recapitulation of the first theme in the violins and the second theme in the winds.

Another Rossini crescendo sets up an even faster coda, which brings the overture to a grandiose close.

Fantasía para un gentilhombre JOAQUÍN RODRIGO 1901–1999 Joaquín Rodrigo Vidre, born on the east coast of Spain, suffered from diphtheria as a toddler and became blind at age three as a result. Having lost his sight, he recounts that he logically connected more with things he could hear, such as the organ in the church at Sagunto, and thus his disability led him

to music. He began piano, violin, and voice lessons at age eight, studying with Eduardo López-Chávarri, a famed composer from Valencia (about 15 miles south of Sagunto).

At age fourteen, Rodrigo began composition lessons with Francisco Antich in Valencia and during his twelve years in Valencia, Rodrigo began to establish himself as a composer. Rodrigo would first type his compositions in Braille musical notation and then dictate them to a copyist. In 1927 Rodrigo moved to Paris for a few years, where he would study with Paul Dukas and meet fellow Spanish composer Manuel de Falla. Rodrigo eventually based himself in Madrid and became a celebrated composer in Spain and throughout the world, partly because of his works for guitar.

The guitar concerto Fantasía para un gentilhombre, or Fantasia for a Gentleman, was inspired by the works of Gaspar Sanz, a seventeenth-century Spanish composer.

Rodrigo and his wife, pianist Victoria Kamhi, searched through Sanz’s 1667 publication of popular songs and dances to find themes that would provide material for Rodrigo to compose a dance suite. Fantasía was written for and dedicated to the Spanish guitarist Andrés Segovia, who had a close friendship with Rodrigo. The piece is therefore a celebration of both historical and contemporaneous Spanish music, representative of Rodrigo’s general style.

Rodrigo notes that the title of gentilhombre is due to both Segovia’s high status as well as the courtly origin of Sanz’s source material.

The piece was completed in 1954 and received its premiere by Segovia and the San Francisco Symphony in March 1958.

Rodrigo flouts the convention of a concerto having three movements, choosing instead to have four to make the concerto more like a suite, or a collection of dances. The first movement Villano y Ricercare is divided into two sections. In Spanish, villano refers to a peasant, and so the use of that term to title a dance indicates that it is an imitation of a peasant dance. For the Renaissance courts in which Sanz worked, this meant evoking an

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PROGRAM NOTES continued idealized pastoral atmosphere. In Rodrigo’s version, the idyllic countryside is painted with a continual pattern of major harmonies, cheerful winds, and rich strings echoed by the solo guitar. After the villano ends with a tutti chord, the contrasting ricercare begins with the solo guitar introducing the subject. A ricercare is a canonic composition, or a work in which musical lines imitate the main motive. In this movement, the motive is played first in the higher register of the guitar, then in the bass strings while the upper strings continue with a countermelody. The motive is then repeated throughout the orchestra and the movement concludes with guitar figuration over an orchestral decrescendo. Marked adagio, the Españoleta section of the second movement, Españoleta y Fanfare de la Caballería de Nápoles, begins with a haunting 6/8 melody in the bass strings of the guitar. The dance puts the guitar on display, the soloist varying the melody with each iteration. A sudden, dissonant allegretto marks the beginning of the fanfare section, the name Caballería de Nápoles perhaps referring to either the Spanish acquisition of the Kingdom of Naples in the sixteenth century, or Spain’s loss of Naples in the eighteenth. In ABA form, the military fanfare is followed by a restatement of the españoleta dance.

Entitled Danza de las Hachas, the rapid third movement refers to a dance done at tree cutting. With a sprightly tempo, rising grace notes in the strings, and call and response between the solo guitar and the tutti orchestra, the music creates a folk character, recalling the rustic work. The final Canario movement references a dance from the Canary Islands that was introduced to Spain in the sixteenth century. The dance’s quintessential jumps and stamping are musically imitated with the orchestra’s disjunct motion and staccato articulation.

A virtuosic cadenza showcases the soloist as well as flamenco strumming technique, again celebrating Spanish traditions.

Homenaje a Federico García Lorca SILVESTRE REVUELTAS 1899–1940 Silvestre Revueltas Sánchez was a leading Mexican composer of the mid-twentieth century. Revueltas was born in North Central Mexico and studied violin and composition at the Conservatorio Nacional in Mexico City starting at age fourteen, and then traveled to the United States to continue his studies. After his graduation from Chicago Musical College in 1919, Revueltas established himself as a violinist and a conductor, working in Mexico and the United States. In 1929, he started teaching and conducting at the Conservatorio Nacional as well as the Orquesta Sinfónica de México. It was during the 1930s—what would turn out to be the last decade of his life—that Revueltas wrote most of his orchestral works.

This same decade also saw the Spanish Civil War. Replacing the dictator Miguel Primo de Rivera and puppet king Alfonso XIII, the Spanish Republic was established in 1930.

An attempted coup d’état by right-wing Nationalists in July 1936 sparked the Civil War between the Republicans, supported by

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the liberal Popular Front, and the fascists, led by Francisco Franco. In the years that followed, the factions battled for territory, resources, and political power. When the fascists gained control of Granada in August 1936, the poet and playwright Federico García Lorca, whose political plays marked him as a loud Republican supporter, was executed by firing squad. Lorca became a banner figure for the Republicans and the inspiration for Homenaje a Federico García Lorca (Homage to Federico García Lorca).

While the fascists were allied with the Axis powers, the Republicans were supported by first Mexico and then the Soviet Union. The Mexican government secretly funded the Liga de Escritores y Artistas Revolucionarios (LEAR), a group of left-leaning Mexican writers and artists founded in 1933.

Revueltas joined the group in 1935, and LEAR supported the Republicans, whose tactics included using cultural messaging to further their cause, during the Spanish Civil War. LEAR, including Revueltas, toured Valencia, Madrid, and Barcelona in 1937 to produce concerts consisting of classical music, patriotic songs, poetry, and political speeches. Homenaje premiered as part of this tour on September 17 in Madrid, ecstatically received by audiences.

The first movement, Baile (Dance), begins with an unmetered trumpet introduction, acting as a herald. A sprightly, staccato melody is heard in the flute and then brass.

As the dance turns heavier, dominated by the low brass, the strings use rapid glissandos to give the ostinato a somewhat comical timbre. Different tunes and keys are layered in a collage—a feature of Revueltas’s compositional style—and the cacophony grows before the solo trumpet returns to conclude the movement. In the second movement, unsettling harmonies in the strings and an octatonic trumpet melody immediately create a state of anxiety, evoking the title Duelo (Sorrow). The third movement, Son (Sound), is an extreme juxtaposition, another favorite technique of Revueltas. Strong accents and shifting

meters create a sense of instability before the piano provides a foundation for the folkinfluenced melody.

Ma mère l’Oye MAURICE RAVEL 1875 –1937 French composer Maurice Ravel is known for his symbolist, impressionistic, and later neoclassical style. He struggled with formal schooling, getting dismissed from the Conservatoire de Paris twice, and failed to win prizes that were considered benchmarks of success. Even so, he gained national recognition as a composer, arranger, and orchestrator. The ballet version of Ma mère l’Oye is an example of his orchestration skill. Ravel first composed this fivemovement work for piano four-hands in 1910.

The dedicatees were two young children, hence the title (Mother Goose) and fairytale theme. He orchestrated the suite in 1911 and added new material to create a ballet, which premiered January 29, 1912 at the Théatre des Artes in Paris.

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PROGRAM NOTES continued Just as fairy tales begin with “once upon a time” to signal fantasy and myth, so does the Prélude, newly composed for the full ballet. The opening motive in the flutes and bassoons features rising fifths (and falling sevenths), and the French horn’s muted and inverted fanfare features a falling fourth.

Ravel often used this specific combination of intervals to designate myth or imagined history. Twirling chromatic lines and harp glissandos help to set the stage for a world of childhood fantasy.

Quiet woodwinds and plucked strings evoke the deep sleep, with muted strings and harp harmonics creating the magic of the Good Fairy.

After a brief interlude, Les entretiens de la Belle et de la Bête (Conversations of the Beauty and the Beast) comes from Marie Leprince de Beaumont’s 1757 Magasin des enfants, Contes moraux (Children’s Collection of Moral Tales), which Ravel quotes at the top of the movement and then summarizes in his own scenario:

The Danse du rouet (Dance of the Spinning Wheel) comes with the scenario that originated from Charles Perrault’s 1697 Histoires ou contes du temps passé, or Contes de ma mère l’Oye (Stories or Tales from Past Times, or Mother Goose Tales): An enchanted garden. An old woman is seated at her spinning wheel. Princess Florine enters, skipping with a rope. She stumbles and falls against the spinning wheel, whose spindle pricks her. The old woman calls for help. Gentlemen and maids-of-honor run up. They try vainly to revive the Princess. They then recall the fairies’ curse. Two ladies-in-waiting prepare the Princess for her century-long night.

This story of Sleeping Beauty is precisely heard in the music, swirling chromatic lines creating the motion of the spinning wheel. As she stumbles and is pricked, the orchestra decrescendos and the strings have a descending pizzicato line. The fortissimo slides in the violins are the old woman calling for help and the attendants run with rapid woodwind lines.

Beauty enters. She takes her mirror, powders her face. The Beast enters. Beauty notices him and stops petrified. She rejects, horror-struck, the declarations of the Beast who falls to his knees, sobbing. Reassured, Beauty trifles with him coquettishly.

The Beast falls down, faint with despair.

Touched by his great love, Beauty helps him up again and offers him her hand. She sees at her feet none other than a prince more handsome than Love, who thanks her for having ended his spell.

Beauty—the clarinet—and the Beast—the contrabassoon—at first alternate, but then play together as they fall in love.

Another interlude precedes the fourth tableau, Petit Poucet (Tom Thumb), may remind modern audiences of Hansel and Gretel: A forest, night falls. The woodcutter’s seven children enter. Tom Thumb is crumbling a piece of bread. He looks around him but cannot make out any dwelling. The children cry, Tom Thumb reassures them by showing them the bread that he has scattered along the way. They lie down and go to sleep. Birds come and eat all the bread.

When they wake up the children cannot find a single crumb, and they go away sadly.

The second tableau, Pavane de la Belle au bois dormant (Pavane of the Sleeping Beauty), continues the story: Florine falls asleep. The old woman stands up. She throws off her shabby cape and adopts the sumptuous clothing and charming features of the Good Fairy. Two little négrillons appear. The fairy entrusts them with guarding Florine and the task of entertaining her slumber.

As the children walk through the forest with steadily moving eighth notes, the birds come with harmonic glissandos in the violins echoed by rapid flutes. The movement is followed by an interlude.

Laideronnette, Impératrice des Pagodes (Laideronnette, Empress of the Pagodas),

26 Annapolis Symphony Orchestra 2023-24

originating from Comtesse D’Aulnoy’s 1698 Serpentin vert (The Green Serpent), is the fifth scene: A tent draped in Chinese style. Male and female ‘pagodins’ enter. Dance.

Laideronnette appears, dressed in the Chinese style of [painter François] Boucher.

The Green Serpent slithers amorously nearby. ‘Pas de deux,’ then general dance.

Lush strings guide the entrance of the Prince, the woodwinds again representing the Princess. Dawn arrives with the violin solo, accompanied by the harp and celesta.

The tutti orchestra reaches a climax as they celebrate.

Program notes by: Elizabeth Massey, Ph.D.

Expressive of Debussy’s interest in exoticism, the interlocking rhythms at the start of this movement imitate the gamelan; the use of percussion and the flute’s pentatonic melody refer to the Chinese setting.

After a final interlude, the last tableau, Le jardin féerique (The Fairy Garden) returns to Perrault’s Sleeping Beauty tale: Prince Charming enters, guided by a Cupid. He notices the sleeping Princess.

She awakens at the same time that day is dawning. All the ballet characters gather around the Prince and the Princess, united

by Cupid. The Good Fairy springs up and blesses the couple. Apotheosis.

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Julia Bullock

23 24 SUNDAYS @ 5:30PM AT SHRIVER HALL

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A N OTE FRO M D I R EC TO R O F D E V ELO PM ENT

DOUBLE YOUR HARMONY WITH THIS MELODIOUS MATCHING GIFT CAMPAIGN! Three generous donors are matching all gifts to the Annapolis Symphony Orchestra up to $100,000 - but only through December 31st!

Please join us in this incredible campaign by making a donation today. Your gift will immediately become twice as powerful in providing “more music in more places to more people.”

For 62 seasons, the ASO has offered extraordinary classical music experiences that stir souls and uplift spirits. Our performances, educational programs, and community outreach initiatives have struck chords of joy in the hearts of thousands.

We cannot compose this symphony of excellence without you!

Here are just a few examples of how your gift, when matched, will bring sweet melodies to our community:

$50 BECOMES $100: Covers the cost of 20 students to attend our school concert

$500 BECOMES $1,000: Subsidizes tuition for an Annapolis Symphony Academy student

$100 BECOMES $200: Brings our Discovery Class to an under-resourced neighborhood

$1,500 BECOMES $3,000: Sponsors a talented section musician

$250 BECOMES $500: Funds performances in hospitals and assisted living centers

$5,000 BECOMES $10,000: Welcomes a guest artist for a Masterworks performance

Donate today at annapolissymphony.org/support. Questions?

Contact development@annapolissymphony.org or 410-267-3645.

No matter the cadence of your donation, every gift will be matched, taxdeductible, and celebrated. Let’s come together to create a harmonious chorus of support that will resound for years to come, ensuring the timeless legacy of music. Thank you for your generosity.

Warm regards,

Lauren Silberman, Director of Development

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2023 – 2024 LEGAC Y C I RC LE

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)

*Fobes Leland & *Marilyn Eason

*Dr. Michael Kurtz

*Patricia Edwards

Mr. John P. McKim

Elana Rhodes Byrd

*Colonel Allan & *Audrey English

Anne S. Potter

James W. Cheevers

Patrick M. Green

Elizabeth Colandro

Anna E. Greenberg

Ronald E. Council

*Nancie Kennedy

Melvin & *Judy Bender Bud & *Bee Billups

Dr. Mary C. McKiel

Susan Rosenfeld Stephen A. Sotack

Make your mark... ...leave your legacy 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

*Deceased

30 Annapolis Symphony Orchestra 2023-24

M EM O R IAL AN D H O N O R ARY GI F TS

In honor of Herb & Sallie Abeles June Cohen

In memory of Clarence Harris Carolyn Cassidy

In memory of Philip Patterson Carol B. Patterson

In honor of the Annapolis Symphony Academy JoshuaOneNine Fund

In memory of Michael Kurtz Thomas & Maria Blohm Constance & William Scott Pat Zeno & Frank Parent Many supporters to FASO in his memory

In memory of Howard & Thea Pinskey Pamela & James Chaconas

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 memory of Don Dement Tara Balfe Clifford Eric Smith In honor of Sylvia Earl Anna E. Greenberg In memory of Peggy Ertlmeier Bob Sherer

In memory of Numma Lavy James W. Cheevers Music Educators of Greater Annapolis Household In honor of Thea Lindauer David & Winnie Lindauer James W. Cheevers In memory of Paige Miller The Paige Miller Memorial Scholarship Brandon Owens Linda Miller Neff In memory of John B. Moore Don & Keren Dement

In memory of Louis O. Follett Eleanor Menosky

In honor of Patty Morgan Jayne & Donald Morgan

In honor of Anna E. Greenberg Don & Keren Dement

In memory of Jim Morris Joanne & Arthur Corbin

In memory of Julie Hall Monica Kaiser

In honor of José-Luis Novo Marvin & Nina Kesner

In memory of Catherine Reistrup James W. Cheevers In memory of Damon Santos Barbara & Everett Santos In memory of Irwin Silber Susan Amsterdam Jerome Hudak In memory of Louise Snyder Hugh D. Camitta In memory of Annie Thornton Kathryn Kent In honor of The Rev. Mary Fish Walton Phil Costello & LuAnn McKinney In memory of Ellen C. Winner James & Leighton Krips Sterling Moms

Generous friends of Howard & 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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Flexpass

SUBSCRIPTION Get maximum flexibility when you craft your own season!

Purchase a subscription to any 3, 4, or 5 Masterworks performances.

M A S T E RWO R K S I I A TA S T E O F S PA I N

M A S T E RWO R K S I I I R AG I N G F I R E

R AVEL , REVUELTAS & RODRIGO WITH GUITARIST PEPE ROMERO 7:30 pm FRI NOV 3 , 2023 SAT NOV 4 , 2023 Mar yland Hall

TC HAIKOVSK Y & SIB ELIUS WITH VIOLINIST ELISSA LEE KOLJONEN 7:30 pm FRI FEB 2 , 2024 SAT FEB 3 , 2024 Mar yland Hall

M A S T E RWO R K S I V P O RT R A I T S

M A S T E RWO R K S V RO M A N F E S T I VA L S

SC HUMANN & ELGAR WITH CELLIST STEVEN ISSERLIS 7:30 pm FRI MAR 1, 2024 SAT MAR 2 , 2024 Mar yland Hall

RESPIGHI & B EETHOVEN WITH PIANIST AWADAGIN PR AT T 7:30 pm FRI APR 12 , 2024 SAT APR 13 , 2024 Mar yland Hall

M A S T E RWO R K S V I THIS MIDNIGHT HOUR ANNA C LYNE & SIB ELIUS 7:30 pm FRI MAY 10, 2024 SAT MAY 11, 2024 Mar yland Hall

Purchase subscriptions online 24/7 at ANNAPOLISSYMPHONY.ORG/SUBSCRIBE 32 Annapolis Symphony Orchestra 2023-24

CHAMBER

Music Series 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

BOX OFFICE 410-263-0907 A N N A P O L I S S Y M P H O N Y. O R G / E V E N T S Annapolis Symphony Orchestra 2023-24

33

M US I C IAN S P O NSO R S 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 Sponsored by William & Constance Scott Hanbing Jia 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 Rachel Holaday sponsored by Mr. & Mrs. Millard Firebaugh

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 aula Abernethy

BASS

Peter Cohn Sponsored by Anne S. Potter

FLUTE

Kimberly Valerio, Principal Sponsored by William Seale & Marguerite Pelissier Genevieve Eichman Sponsored by Russ Stevenson & Margie Axtell

OBOE

Fatma Daglar, Principal Sponsored by Collot Guerard Rick Basehore Sponsored by William & Renata Davis

BASSOON

Patricia Morgan Sponsored by Ann and Robert Whitcomb

CLARINET

Robert DiLutis, Principal Sponsored by Shelley Row

HORN

Anthony Valerio Sponsored by Carole & Richard Falk

TRUMPET

Christopher Sala, Principal The Philip Richebourg Chair Christopher Buchanan Sponsored by Jan and David Hoffberger

TROMBONE

David Perkel, Principal Sponsored by David & Eleanor Huggins David Sciannella Sponsored by Robert & Kathleen Arias Jay Heltzer, Bass Trombone 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.

Annapolis Symphony Orchestra 2023-24

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SU PP O RTER S O F TH E A SO 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.

GIFTS OF $1 MILLION + Joyce Pratt & Jeff Harris + William Seale & Marguerite Pelissier

THE PHILIP RICHEBOURG CIRCLE

GIFTS OF $500,000 – $999,999

Elizabeth Richebourg Rea + Maryland State Arts Council

GIFTS OF $250,000 – $499,999

Robert & Kathleen Arias + Laird Lott & Linda Gooden Michael Kurtz *

GIFTS OF $150,000 – $249,999

Arts Council of Anne Arundel County Jillinda Kidwell +

GIFTS OF $50,000 – $149,999

Anne Arundel County Recreation & Parks Anonymous (2) + Paula Abernethy + Jane Campbell-Chambliss & Peter Chambliss + Mrs. Ralph C. Graber* Anne S. Potter + Shelley Row+ Stephen A. Sotack+

GIFTS OF $25,000 –$49,999

Elville Center for the Creative Arts + Peter & Sarah Evans +

Friends of the Annapolis Symphony Orchestra Sylvia and James Earl Al & Ginger From + David & Eleanor Huggins Patricia & David Mattingley + Dr. Mary C. McKiel + Martha & John T. Schwieters +

GIFTS OF $10,000 – $24,999

Florence Calvert + James W. Cheevers Community Foundation of Anne Arundel County Collot Guerard Deb Howe + Mimi Jones + Katherine Lantz Elizabeth Maxwell-Schmidt & Steve Schmidt + Diane Steed

GIFTS OF $5,000 – $9,999

Anonymous In Memory of Louise A. Snyder Herb & Sallie Abeles Bay Radiology Peter Bungay & Joy Chambers Susan Byrom & Robert Thomas Council Family Foundation William & Renata Davis Norman & Doris Fisher Thomas J. DeKornfeld & Nina A. Fisher Capt. Mark & Michelle Hellstern (USN Retired) + Pierre & Danalee Henkart Higherschool, LLC Jan & David Hoffberger Karl & Marge Hoke

+ MULTIYEAR PLEDGES 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 name.

38 Annapolis Symphony Orchestra 2023-24

David & Tove Irving JoshuaOneNine Fund The J.M. Kaplan Fund Steve Root & Nancy Greene Ann & Robert Whitcomb + Dawne Widener-Burrows

GIFTS OF $2,500 – $4,999

Ann Burchard Betsy & Arthur Chotin Prudence Clendenning Ken Code, Dea Code Foundation Richard & Dorothy D`Amato Drs. Mark C Davis & Ann A Tran Carole & Richard Falk Anna E. Greenberg Richard & Lisa Hillman Paige Miller Memorial Scholarship National Philanthropic Trust José-Luis Novo & Lori Kesner James E & Cheryl H Painter James D. Parker, M.D. Fred Stielow & Susan Rosenfeld Rotary of Annapolis William & Constance Scott Doug & Karen Smith + Bill & Marilynn Sweetser Judith Templeton

GIFTS OF $1,000 – $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 David Bush Diana Campe Joseph & Patricia Casey Elizabeth Colandro Enser & Marguerite Cole

A N N UAL GIVI N G 2023 -2024 Gifts of $1,000 to $2,499 cont.

Jane Danowitz The Dealy Foundation, Inc. Don* & Keren Dement Mr. & Mrs. Robert Demoyer Angela Eggleston-Howard Elizabeth Gordon-Bluntschli Bob & Diane Heaney Mr. & Mrs. Robert M. Hecht The Johansen Family Lawrence & Jeanne Kelly Nicholas Kemp & Kay Osburnsen Ms. Sari Kiraly Barbara Lazar Lewis Family Fund Grant Janet Little Pat Mager Elizabeth Mainiero David McGill Helen (Lee) Mueller Rob & Patti Muir Laura Murray Pew Foundation Progress Family Foundation Kathryn Porter Clay & Carol Richards J. Ruhl Richard & Martha Schoenfeld Mr. & Mrs. Michael T. Schuncke Robert Sherer Marie and Richard Treanor Mrs. Tamara & Dr. Stephan Tymkiw Mr. & Mrs. Damien Wanner George & Charlotte West Cecelia Wyatt

GIFTS OF $100 – $999

Anonymous (7) In memory of: Mary Jean Boguslaw Anne Agee Margaret Alaxanian Michael Alin & Ann Carroll Linda Allen Sandra Collyear Altherr Vanessa Andris Jack & Leslie Andryszak Lillian Armstrong

Ms. Susan Armstrong Karen Bakkegard Adele Baron Susan & Jess Behringer Julie Belkin Susan Benac Pam Benitez James Biggins Peter Bittner & Margaret Keegan Marjie & Frank Blanco Mary Bloom Bernard Bradpiece Pat & Karen Brown Carolyn Cassidy Pamela & James Chaconas Charities Aid Foundation America Patrick & Nancy Clagett Rosemary Claire Ms. Kathy Clatanoff Brad Clink & Linda Sexton David Cohn Mr. & Mrs. Andrew L. Cole B.S. Creighton Barbara & James Cyr-Roman Mary Jean Davidge Christian Davis Carl DeVore Fred & Susan Eckert Robert & Gloria Ellsworth Diana Elson Earl & Sharon Engelhard Mrs. Julia Erickson Janet & Dave Ewing Pauline Farmer Mr. & Mrs. Millard Firebaugh Karen Fisher-Nguyen James R. Fitzpatrick Gabby Fong Ted Foster Cynthia Fox Patricia Frese Sheila Gagen Frederick R. Galloway Charitable Trust Beth Garraway George Geneaux Ann Gere

Steven Gilbert Susan Gilson Sonja Gladwin & Rod Straw Charles Green Diane W. Green Sophia Green Rob Greve Valerie & David Gutterson Andrew Haire Frances R. Hall Georgina Hammond Brian Hanks & Judy CrewsHanks Alicia Hardisky Patty Harris Robert Haywood Tylar & Carol Ann Hecht D. Gayle Hensley Gretchen Herdt Paul Herman & Karen Goldman David Herron Rochelle & Ronald Hollander Marian Holt Mr. & Mrs. Jerry Hoot Margaret Hosmer Hugh & Deborah Houghton Dr. & Mrs. William Hunter Kevin Hurley & Kathleen McDevitt Sally W. Iadarola Beth D. Jacob La-Royce Jordan Monica Kaiser Ms. Tomoko Kanamaru James Kaper & Carol Tacket Margaret Keegan Christine Kelsey Ernie & Chris Kent Jack & Maria Kersh Marvin & Nina Kesner Leon & Barbara Kestenbaum Getha Klejnot Irma Kolosky Linda Kolosky Dan & Sue Konick Mr. James & Mrs. Leighton Krips Alice F. Kurs Dr. Monique Langston

Annapolis Symphony Orchestra 2023-24

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ANNUAL GIVING continued Gifts of $100 to $999 cont.

Carol Laurenzano J. E. Leanos & Company Ellen & Joseph Levin Susanne Lieberman Loaves & Fish 247 Fund Lisa Lower Timothy & Katherine Lynch Robert Madden Lynne Malley Suzanne Mangan & Ed Mangan Lesley Margerrison Mrs. Shaun Mathis Ms. Ellen McBride Colin McIntosh & Robert Smith Teresa McKenna Mr. John P. McKim Elaine Mines Priscilla & Bill Mitchell Francisco Montero Jayne & Donald Morgan Ed Moses Mr. & Mrs. George P. Muller III Music Educators of Greater Annapolis Chris, Linda, Emily Eric & Evan Neff & Gram Don & Carol Nelson David & Carol Newman Nancy Nicoll & Richard Wagner Mr. & Mrs. Richard O`Sullivan Susan Okula Old Fox & Coffeehouse Sheila Onuska Lily Openshaw & Dave Openshaw Ed & Jeanne Paglee

Pat Zeno & Frank Parent Fariba Partawi Carol B. Patterson Patricia Petrou Kristen Pironis Pledgeling Foundation Bob & Cookie Pollock Alison Porter Nancy Prendergast Fred Probeck Caroline Purdy & John Gudas Michael & Margret Rauh Ken & Maureen Reightler Phil & Ilse Reynolds Mr. & Mrs. Daniel Risher Christopher & Anita Rizek Jack Roadhouse Constance Robinson Ann Rose Paul & Joan Rosenberg Glen L. Rotner Barbara & Everett Santos Elizabeth Saunders Jeffrey Scherr Schmidt Family Charitable Fund Mr. & Mrs. Randy Schmitt Scott Schollenberger Janney Montgomery Scott LLC Jill Simon Anne Sloan Gwynneth Smith Lisa & Chris Smith Mr. & Mrs. Eric Smith Walton Stallings Mr. & Mrs. Robert Stern Gabrielle Strandquist

Anne K Stratton Dr. & Mrs. Albert Strunk Becky Sunday & Chris Nickas Mark Sylvester Tom Taneyhill Philip W. Tawes & Edward Adams Emily Tevault Brian Thiel Paula Thistle Betty L. Thompson Peter Threadgill Sterling Moms U.S. Charitable Gift Trust United Way of Central Maryland Laura & Jack Van Geffen Matt Venhaus Cynthia Wells Mr. & Mrs. Ken Wexley Virginia White Jeffrey Williams Claire Winestock Judith Duckett-Winnefeld Sibyl B. Wisch Tara Wittig Francis & Maureen Wright Bernard & Louis Wulff Mark Wynn Christine & Robert Young Marion & Norbert Zacharias Anne Zanazzi David Zinnamon

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. * Deceased

40 Annapolis Symphony Orchestra 2023-24

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 ANNAPOLISSYMPHONY.ORG Membership: $50 per person | $75 per couple

Contact info: 410-267-3646 friends@annapolissymphony.org

Champagne Sunday photo by Don Dement

42 Annapolis Symphony Orchestra 2023-24

2023-2024 Board of Directors Officers: Dr. Ann Tran, President Marguerite Cole, Vice President Ways & Means Paula Abernethy, Vice President Membership Julie S. Grudzinskas, Treasurer Kathy Clatanoff, Recording Secretary Carol Richards, Corresponding Secretary Directors: Thelma Bass Adele Brown David Bush Jim Cheevers Betsy Chotin Maggie Cole Renee Ehler Elizabeth Gordon-Bluntschli Patrick M. Green Anna Greenberg Valerie Gutterson Marilyn Lyons Lynn Maichle Mary McKiel Colleen Smith Stephen Sotack Rick Sullivan 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.

ARTS & ENTERTAINMENT EVENTS EVERYDAY We have something for everyone: Performing Arts, Concerts. Live Music, Theatre, Film, Festivals, Public Art, Museums, Galleries, Artist Studios, Art Classes, Professional Creatives, Parades, Restaurants, Hotels, and more.

WE SUPPORT ECONOMIC DEVELOPMENT THROUGH ARTS AND CULTURE CREATING A VIBRANT ARTS DESTINATION FOR THE 2 MILLION VISITORS TO THE ANNAPOLIS ARTS DISTRICT THIS YEAR. Visit us online and on Facebook for a calendar of events and to join our email newsletter

www.AnnapolisArtsDistrict.org

Shopping, Dining, Culture,

Events, & Sailing in a Historic Setting DOWNTOWN ANNAPOLIS HAS A HISTORY OF HAVING FUN WWW.DOWNTOWNANNAPOLISPARTNERSHIP.ORG

CO NC ERT & TI C K E T I N FO R M ATI O N ELECTRONIC DEVICES

SUBSCRIPTION TICKETS

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

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.

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.

SINGLE TICKETS

Please note the nearest exit to your seat.

In the event of fire or another emergency, WALK — do not run — to that exit.

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.

INCLEMENT WEATHER

GROUP SALES

IN CASE OF FIRE

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.

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

Maryland Hall is a smoke-free facility.

Smoking is prohibited in and on the grounds of the building.

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

MARYLAND HALL BAR

TICKET DONATIONS

NO SMOKING

Enjoy a beer or glass of wine before the concert and at intermission in room 205.

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.

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.

46 Annapolis Symphony Orchestra 2023-24

What’s a home without music?

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