2022-2023 Masterworks I

A MESSAGE FROM THE EXECUTIVE DIRECTOR

Dear Patron of the ASO,

When I became the Executive Director of the Annapolis Symphony Orchestra in May 2020, I worked with the Board, the Artistic Director & Conductor, the Musicians and the ASO Team to make our vision a reality: To become a modern 21st century American Orchestra. The result was an ambitious 5-Year plan to bring More Music for More People in More Places.

As we all face the challenges of inflation and economic uncertainty, the ASO continues to offer $10 student tickets. In addition to our annual free outdoor concert at Quiet Waters Park, we are adding at least one more free performance by ASO Musicians at Downs Park (Pasadena), thanks to the support of Anne Arundel County Recreation & Parks.

I am especially proud of the fact that the ASO was able to increase compensation to our musicians, who will receive a 19.1% raise over the next three seasons, with an immediate 8% increase. Every time an ASO musician performs with us at Maryland Hall and Strathmore, or is hired to play a chamber concert, or visits a school, teaches a lesson at the Academy, goes on tour with us or is part of a digital concert, that musician now enjoys better pay from the ASO.

These significant milestones and goals are only possible because of the support from people like you. Thank you for all that you do to make the ASO such a great Orchestra for this community.

Let’s enjoy the great concert season that José-Luis has prepared for us: ¡Música Maestro!

Sincerely,

Edgar Herrera

Executive Director & Chief Development Officer - The Patricia Edwards Chair P.S. We love to hear from you.

Please send your feedback at eherrera@annapolissymphony.org

more music for more people in more places

ABOUT THE ANNAPOLIS SYMPHONY ORCHESTRA

2022-2023 Board of Trustees

Officers

Mary McKiel, PhD Chair

Shelley Row, PE, CSP Vice Chair

Jerray Slocum Treasurer

Ann Whitcomb Assistant Treasurer & VP-Finance

Katherine Edwards, MD Secretary

Elizabeth MaxwellSchmidt, MD Assistant Secretary

Robert Arias

Florence Calvert

Georgianna Crosby

William Davis

Ginger From

Trustees

Charles Grudzinskas

Michelle Hellstern

Deb Howe

Geraldine “Mimi” Ladd Jones

Trustees Emeritus

Jill Kidwell

Monique Langston, MD

Shaun Mathis

Stephen A. Sotack

Marie Treanor

Peter Evans | David Anthony Huggins | Joe Rubino | Constance L. Scott

José-Luis Novo

Artistic Director & Conductor The Philip Richebourg Chair

D @AnnapSymphony

Q @annapolis_symphony

Ex Officio Trustees

Paula Abernethy FASO Representative Edgar Herrera Executive Director & Chief Development Officer Orchestra Representative

E facebook.com/annapolissymphony

M Annapolis Symphony Orchestra

h Annapolis Symphony Orchestra

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 61-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 Jose-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, joint concerts with the United States Naval Academy, accompanying 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.

Edgar Herrera

Executive Director & Chief Development Officer

The Patricia Edwards Chair

Netanel Draiblate

Annapolis Symphony Academy Director & Founder

Denise Rosson Development Manager

Sarah Johansen Director of Business Operations

Diana Love Director of Marketing & Communications

Miriam Fogel Director of ArtisticOperations

Julie Nolan Director of Education & Community Outreach Grants Manager

Maya McAtee Office & Data Manager

801 Chase Street, Annapolis, MD 21401

410-263-0907 (Box Office)

410-269-1132 (Admin)

Olivia Ren Orchestra Librarian

Erica Johnson Senior Accountant

Dave Sciannella Operations Manager

Shun Yao

Assistant Conductor, Annapolis Symphony Academy

Annapolis Symphony Orchestra

Annapolis Symphony Orchestra Team

THANK YOU

The Annapolis Symphony Orchestra offers a very special thank‑you to the following sponsors and donors.

Major Funding provided by William Seale and Marguerite Pelissier, and Jeff Harris and Joyce Pratt

TO OUR SPONSORS!

The Philip Richebourg Chair

A generous gift from Elizabeth Richebourg Rea names the Music Director’s Chair in her father’s honor.

Concertmaster

The Concertmaster, Dr. Netanel Draiblate, is sponsored by a generous grant from Jill and David Kidwell.

Education Sponsors

Friends of the Annapolis Symphony Orchestra

Annapolis Musicians Fund for Musicians

The Helena Foundation

Dean Douglas

Elville Center for the Creative Arts

Laird Lott and Linda Gooden

The Annapolis Symphony’s residency at Maryland Hall is made possible in part by a generous grant from Laird Lott and Linda Gooden.

Sixty-First Season

MASTERWORKS SERIES

September 30, 8PM | October 1, 8PM

José-Luis Novo, Artistic Director & Conductor The Philip Richebourg Chair

Janice Chandler-Eteme, soprano

Greg Jones Ellis & Nancy Krebs, actors from Classic Theatre of Maryland

El Salón México A. Copland (1900 1990)

Knoxville: Summer of 1915, op. 24 S. Barber

Janice Chandler-Eteme, soprano (1910 1981)

“Zion’s Walls” from Old American Songs, Set 2 A. Copland

Janice Chandler-Eteme, soprano (1900 1990)

“This Little Light of Mine” from Four Negro Spirituals H. Smith

Janice Chandler-Eteme, soprano (1925 2009)

~ INTERMISSION ~

Ellis Island: The Dream of America Peter Boyer

Greg Jones Ellis & Nancy Krebs, actors (b.1970)

2022-2023 Masterworks Season sponsors: Faith Goldstein and Jesse Cunitz.

MUSICIANS – MASTERWORKS 1

VIOLIN I

Netanel Draiblate, Concertmaster

Nicholas Currie, Associate Concertmaster

Heather Haughn

Abby Armbruster

Susan Benac

William Wang

Wan-Chun Hu

Hanbing Jia

Amelia Giles

Paul Bagley

Jennifer Rickard

Freya Creech

VIOLIN II

Christian Tremblay, Principal

Kristin Bakkegard, Associate Principal

Megan Gray

Sally Stallings Amass

Karin Kelleher

Qian Zhong

Alexandra Mikhlin

Yan Izquierdo

Paula Sweterlitsch

Tong Li

VIOLA

Sarah Hart, Principal

Derek Smith, Associate Principal

Susan Taylor Dapkunas

Daphne Benichou

Rachel Holaday

Katherine Zahradnik

Heidi Remick

Maggie Seay

CELLO

Todd Thiel, Principal, The Philip Richebourg Chair

Nicole Boguslaw

Alison Bazala Kim

April Studeny

Catherine Mikelson

Daniel Shomper

Mary Ann Perkel

Ismar Gomes

BASS

Broc Mertz

Patrick Raynard

Adriane Irving

Edward Leaf

Shawn Alger

Mark Stroud

FLUTE

Kimberly Valerio, Principal

Genevieve Eichman

Lori Kesner

OBOE

Fatma Daglar, Principal

Amanda Dusold

Amy Houck

CLARINET

Robert DiLutis, Principal

Brian Eldridge

Matt Rynes

Sara Reese

BASSOON

George Sakakeeny

Patricia Morgan

Lynn Moncilovich

HORN

Shane Iler, Associate Principal

Shona Goldberg-Leopold

Chandra Cervantes

Nathaniel Willson

Anthony Valerio

TRUMPET

Christopher Sala, Principal, The Philip Richebourg Chair

Christopher Buchanan

Drew 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

Rebecca Smith

PIANO/CELESTE

Tomoko Kanamaru

ELIZABETH RICHEBOURG REA

Underwriter, The Philip Richebourg Music Director’s Chair

My father Philip Richebourg conducted his own orchestra every day of his life. Dedicated to each task at hand whether in business or in service to his community, in his lifepassions as pilot, musician, archivist, my father approached all things in life as if resolute in achieving one goal, that of consistency, precision and perfect harmony. As ASO’s First Board President and for seven consecutive years, my father’s mission in the formative years was to solidify the orchestra financially and administratively with bold and creative ideas, ensuring its longevity. Today the Annapolis Symphony Orchestra has soared to the heights that my father dreamed would one day come true. I can think of no greater legacy than naming the ASO Music Director’s Chair after my father Philip Richebourg. ERR

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 and Rea Visiting Writers/Lecturers series at the University of Virginia. She is active on the Peggy

Trustee of

Annapolis Symphony Orchestra 2022-23

Photo: Thomas MacDonald,The New York Times

Elizabeth Rea, daughter of Philip Richebourg (portrait on mantel)

Guggenheim Advisory Board in Venice and is Honorary

the Solomon R. Guggenheim Foundation. Elizabeth lives in Connecticut.

ARTISTIC DIRECTOR & CONDUCTOR

JOSÉ-LUIS NOVO

Now in his seventeenth season as Artistic Director and Conductor of the Annapolis Symphony Orchestra, José-Luis Novo, holder of The Philip Richebourg Artistic Director Chair, is the longest-serving music director in the history of the ASO. Since his appointment in 2005 Maestro Novo has instilled a new and vibrant artistic vision. His continuous drive for artistic excellence, innovative thematic programming,

and collaborations with some of today’s most respected guest artists, has resulted in unprecedented artistic growth, praising audiences, and enthusiastic reviews.

Some of the ASO’s highlights during Maestro Novo’s tenure include numerous appearances at the Music Center at Strathmore with violinists James Ehnes, Vadim Repin, Anne Akiko Meyers, Leticia Moreno and Chee-Yun, pianist Olga Kern,

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

late cellist Lynn Harrell, guitarist Manuel Barrueco, pipa virtuoso Wu Man and the Naval Academy Glee Club, a 2012 return appearance at the Clarice Smith Performing Arts Center with mezzo-soprano Denyce Graves, a 2008 ASCAP Adventurous Programming Award, national broadcasts on NPR’s Performance Today, local broadcasts on Baltimore’s Classical Station WBJC, the launching of the ASO’s award-winning streaming platform Symphony+ and the ASO’s first commercial CD commemorating the 300 th anniversary of the signing of Annapolis’ Royal Charter. The successful partnership between Mr. Novo and the ASO has received consistent critical acclaim: “Under its music director, José-Luis Novo, the ASO blazed its way through music by Handel, Falla and Nielsen.” The Capital Gazette. “Novo’s smart programming showed the orchestra in

full unison and as individual players ready to attempt the best.” The Washington Post. “Novo’s taut tempos and flair for building crescendos paid off handsomely.” The Baltimore Sun.

In addition to his directorship of the ASO, in 2016 Maestro JoséLuis Novo concluded an impressive thirteen-year tenure as Music Director and Conductor of the Binghamton Philharmonic in New York State. Prior to these appointments, he served as Assistant Conductor of the Cincinnati Symphony Orchestra under the direction of both late Music Director Emeritus Jesús López-Cobos 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 Orchestra, the Hilton Head, Palm Beach, Alexandria and South Bend Symphonies, return appearances with the Fresno Philharmonic, Baltimore Symphony, Symphoria, and a striking Kimmel Center debut in Philadelphia conducting the Curtis Institute Orchestra in a last minute replacement for an ailing Maestro Otto Werner Mueller. After a successful debut with the Thailand Philharmonic Orchestra (TPO) for the Thailand International Composition Festival in Bangkok in 2015, Maestro Novo has been invited back regularly to guest conduct the TPO in several occasions. Prior guest conducting engagements have included, among others, appearances with the Symphony Silicon Valley, the Minnesota Orchestra, the Syracuse, Modesto, Tulsa, Windsor, Stamford, and Tallahassee Symphonies; the Cincinnati Chamber Orchestra; the Cleveland and Abilene Philharmonics; the Tenerife, Principado de Asturias, and Castilla y León Symphony Orchestras; the City of Granada Orchestra; the Andrés Segovia Chamber Orchestra at the National Auditorium in Madrid, the Vallès Symphony Orchestra at the Palau de la Música in Barcelona, and the Echternach Festival Orchestra at the Kennedy Center and on tour in Luxembourg and Germany.

A committed advocate of contemporary music, Maestro Novo has worked with some of today’s

most talented composers and has led numerous orchestral world premieres, many of which were commissioned through his own initiative. In the operatic field, he made his debut conducting a production of Smetana’s The Bartered Bride in collaboration with the late Maestro Julius Rudel and subsequently has conducted productions of Britten’s Albert Herring, Menotti’s Old Maid and the Thief, and Vaughan Williams’ Riders to the Sea.

While maintaining a distinguished professional conducting career, Mr. Novo has also developed a reputation as a keen educator of young musicians. He has held the positions of Music Director of the Cincinnati Symphony Youth Orchestra and the Miami University Symphony Orchestra, Associate Conductor of the National Repertory Orchestra, and Assistant Conductor of the National Youth Orchestra of Spain and the Yale Symphony Orchestra. From 2017 to 2019 he was Interim Director of Orchestral Activities at the University of Maryland School of

Music, College Park, 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. Among these are the Curtis Institute Orchestra, the National Repertory Orchestra, the University of Maryland Symphony, 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. In the summer of 1998 he took the National Youth Orchestra of Spain on a concert tour of Spain and Portugal, with performances at the Teatro Real in Madrid and the World Exposition in Lisbon. This season, under the auspices of the Annapolis Symphony Academy, he will preside the debut of its Orion Youth Orchestra conducting the inaugural concert in January 2022.

As a violinist, Mr. Novo has appeared in concerts and recitals in Europe and in the United States and has made recordings for the Spanish and Norwegian National Radios. He was a founding member of several important ensembles in which he held leading positions: as concertmaster and soloist with the Youth Chamber Orchestra of Spain, as principal second violin

of the New Amsterdam Sinfonietta, and as concertmaster of the National Youth Orchestra of Spain.

José-Luis Novo began his musical studies at the conservatory of Valladolid—his hometown—obtaining the degree of Profesor Superior de Violín with honors in solfege, harmony, and violin. A scholarship from the Spanish Ministry of Culture allowed him to continue his studies at the Royal Conservatory of Music in Brussels, where he earned a First Prize in violin. In 1988, he came to the United States as a Fulbright Scholar, obtaining both Master of Music and Master of Musical Arts degrees from Yale University, where he was also bestowed the Frances G. Wickes Award and the Yale School of Music Alumni Association Prize. In 1992, the Spanish foundation La Caixa awarded him a fellowship to study at the Cleveland Institute of Music where he completed a Master of Music degree in orchestral conducting. He concluded his conducting studies at the University of Cincinnati College-Conservatory of Music. His conducting teachers have included Gerhard Samuel, Carl Topilow, Louis Lane, Edmon Colomer, James Ross, and Charles Bruck (at the Pierre Monteux School in Maine). In addition, Mr. Novo has attended seminars and master classes with Günther Herbig, Lorin Maazel, Christoph von Dohnänyi,

Leonard Slatkin, Larry Rachleff, Daniel Lewis, and Victor Yampolsky.

Maestro Novo was featured in the League of American Orchestra’s Symphony magazine in “ Podium Powers ,” an article about emerging Hispanic conductors in the United States of America. He 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.

Orion Youth Orchestra

Annapolis Symphony Orchestra Returns From a Triumphant Tour of Spain

By Rick Hutzell

It’s been José-Luis Novo’s dream for years to lead the Annapolis Symphony Orchestra on an overseas concert tour, to share with the world what’s been building in Annapolis.

And from the moment the longtime artistic director of the orchestra lifted his baton for rehearsals in the Auditorio Nacional de Música in Madrid, to the final ovation and calls for yet another encore at the Auditorio Manuel de Falla in Granada, it was all he hoped for and more.

“After two encores they still would not stop clapping, and I had to take the orchestra off stage pretty much in

every concert…” Novo said. “For the orchestra to feel that kind of support from an audience that didn’t know us, it was a huge deal.”

The ASO launched its groundbreaking tour of four Spanish cities on July 8 with its concert in Madrid and continued over the next 11 days in Zaragoza, Valencia, and Granada. The concerts featured soloist Pepe Romero, the renowned Spanish classical and flamenco guitarist.

It was the orchestra’s first overseas concert tour and was accomplished flawlessly, drawing large crowds during a record-setting heatwave that

shut down much of working Europe over the summer.

“In places like Valencia, where they have several beautiful beaches, it’s hard to bring people indoors in the summer. Everybody wants to be outside,” said Edgar Herrera, executive director of the symphony orchestra. “It was a nice surprise that we got good audiences at every concert. And then the last concert was actually sold out.

“People really liked the concerts. … They wanted more.”

Moving 76 musicians, their instruments and equipment plus support staff – as well as Friends of the Annapolis Symphony Orchestra who paid to travel along – was no small undertaking. Minor hiccups, like having to change hotel rooms when the air conditioning was insufficient or figuring out a

better way to move the cellos, were dealt with swiftly.

That allows the tour to focus on making good music together and enjoying a tour of Spain.

The trip was Kimberly Valerio’s first trip to Europe, and the orchestra’s principal flutist tried to make the most of it. As the orchestra moved between cities, she got to visit the Museo Nacional del Prado in Madrid and the Alhambra palace in Granada.

“I could have stayed there forever,” she said.

While the purpose of the trip was More Music for More People in More Places – the five-year goal of the orchestra – some like Valerio were able to fit tourism into the tour.

“We actually had a lot of breathing

Pepe Romero

room between concerts,” said Netanel Draiblate, concertmaster of the orchestra and a lead violinist. “People could sightsee a little bit, relax, have a day off most of the time in the new cities that we went to. So, it was really nice that way to not have to chase a

“And when we had the audience at the concert that evening and they would not stop clapping, we got the confirmation that they also liked what we were doing.”

When the orchestra rehearsed with Romero, a beloved musical performing for the first time since the beginning of the pandemic, Novo said he was delighted with the level of professionalism and talent.

“We knew the program and we were ready for it,” Draiblate said.

The ASO was able to book the concerts in Spain in part because British orchestras that have often filled summer music festivals are touring less often in post-Brexit Europe. That also meant there was a great hunger among audiences in Spain.

concert every other day. And I think people really appreciated it.”

Yet the business of the tour was the music.

“For me, one of the most special moments was when we had the dress rehearsal at the National Auditorium in Madrid, and the orchestra started playing and I could tell from the faces of our musicians they were thinking, oh my god, we sound so good,” Novo said. “They got so self-motivated because it was so, so invigorating to be in such a wonderful hall and realize how good our orchestra sounded.

The music Novo selected for the tour was intended as a Pan American program, including works by Russian Sergei Rachmaninoff, Mexican composer Manuel Ponce, Spanish composer Joaquín Rodrigo and others. The idea was to highlight an American orchestra’s ability to accept and embrace musical traditions from around the world and produce something unique.

The most sensitive piece was Rodrigo’s Concierto de Aranjuez with Romero, a musical piece that Spanish audiences feel strongly about.

“

”

People really liked the concerts … They wanted more.

– Edgar Herrera

“There was an immediate connection between our musicians, our soloist and our audience in Spain,” Novo said. “And that was fabulous because everyone realized that there was some kind of magic that only happens in live music, and it happened pretty much in each concert.”

That magic resulted in a sense of pride among the members of the orchestra.

Herrera recalls getting on the tour bus on one of those days when the group had to be on the road for three hours. He got a phone notification that the newspaper in the town they’d

just left had posted a review by its music critic of the previous evening’s concert. He shared it with the musicians and the others on their WhatsApp message group.

“Everybody was reading the review and you know when you start reading something that somebody else wrote to criticize, or to give a critique of your performance, you know, you kind of get a little nervous about it,” he said. “But the review was so good. I mean, it literally said that the ASO had been the best concert of the season: of the whole season.

That sent a positive vibe through

Auditorio Nacional, Madrid

the buses… That’s just one example of how much energy was present.”

One of the major goals of the trip was to come home with a better orchestra, one that has bonded through shared musical experiences. That’s already proving to be true.

Valerio, the principal flutist, said she’s decided to drop a commitment

The music Novo selected for the tour was intended as a Pan American program, including works by Russian Sergei Rachmaninoff, Mexican composer Manuel Ponce, Spanish composer Joaquín Rodrigo and others.

“They’re playing more and in more places,” she said. “I decided I can make this work.”

Herrera said the Zaragoza performance is already available online at Symphony+, and a recording of the tour finale in Granada is in production. More is in the works.

A videographer from the University of Maryland traveled with the orchestra and is now editing what he captured as a documentary.

“He was able to film backstage and just regular daily life of the orchestra during the tour,” Herrera said. “So, we’re putting that together and we’re hoping we can release that before the end of the year.”

Additional overseas tours are being discussed. One of the reasons the tour was so successful was that it was a cooperative venture with The European Guitar Foundation, which was holding its annual Granada Guitar Festival while the ASO was in the city for its final concert.

to another orchestra so she can focus more of her time on the Annapolis Symphony. She’s seen the orchestra grow tremendously in her 20 years as a performer, but the tour and the addition of another concert in the Masterworks Series helped her make the decision.

“It makes sense for us to go back and be part of festivals that are already happening because they already have their own marketing going on. They have so much more infrastructure,” Herrera said.

As for locations, it could be the United States, it could be back to Europe, or it could be another part of the world.

ASO TOUR OF SPAIN

“But honestly, I think we like Europe,” Herrera said.

Novo said audiences in Annapolis and during its Series@Strathmore will see a renewed sense of camaraderie when the orchestra opens its Masterwork Series on Sept. 30 and Oct. 1 with “Celebrate America” with works by Copland, Barber, Smith and Boyer.

“I think that one of the things that I observed on the tour was how well and quickly our musicians were adjusting to each other, from the first concert in Madrid to the last concert in Granada,” he said. “The last

concert was magical, not only because it was the last one, but it was special also because I was taking the orchestra on different routes – very subtle but different routes – and the orchestra was following so nicely with full trust.

“It’s something that is very difficult to explain. But we’ve reached a point where we know who we are, we trust each other. And we trust that we’re going to find our path together. And that’s a wonderful place to be in.”

SPAIN TOUR

‘Magnifico’: Annapolis Symphony, supporters tour Spain, receive rave

review in Madrid”

— Headline from the Annapolis Capital July, 2023

Thanks to the overwhelming generosity of our ASO sponsors, the orchestra’s international tour to Spain was a smashing success. The Symphony had a whirlwind tour with much fanfare to some of the most beautiful concert halls in the country. Traveling to Madrid, Zaragoza, Valencia and Granada by bus, the 70+ musicians and 20 FASO patrons stayed in high spirits, enjoyed fabulous Spanish cuisine and scenery and, of course, magnificent performances by our very talented orchestra. The only question that remains is “Where next?” Congratulations to all of the musicians, Jose Luis Novo and all of the people who worked tirelessly behind the scenes to make this dream a reality.

Tour Sponsors

Paula Abernethy

David Huggins

Michael Kurtz

Katherine Lantz

Herb and Sallie Abeles

Joanne Barnes

Joseph Bellanca

James Cheevers

Mary Jean Davidge

Laura Davis

Mary McKiel

Marguerite Pelissier and Bill Seale

Stephen Sotack

Tour Patrons

Mark Davis and Ann Tran

Elizabeth GordonBluntschli

Michael Gray

Collot Guerard

Jill Kidwell

Denise Tray Rosson

Bob Sherer

Kathy Sorci

Richard Sullivan

Mary Thanh Hai

JANICE CHANDLER - ETEME SOPRANO

American soprano Janice

Chandler-Eteme’s astonishing range of concert literature includes Strauss’ Four Last Songs (Reading, Baltimore, Syracuse, Harrisburg, and Utah symphony orchestras; Florida Orchestra; Fort Wayne Philharmonic; and Grand Teton and Texas music festivals); Philip Glass’ Passion of Ramakrishna (Pacific Symphony); Mahler’s Second Symphony (San Diego, Baltimore, Nashville, Cincinnati, Colorado, and Pacific symphonies; and Rome’s Santa Cecilia Orchestra); Haydn’s Die Schöpfung (Atlanta, Pittsburgh, and Cincinnati symphonies); Mendelssohn’s

Lobgesang Symphony (San Diego Symphony); Lokumbe’s Dear Mrs. Parks (Detroit Symphony Orchestra) and Can You Hear God Crying? (Chamber Orchestra of Philadelphia); Brahms’ A German Requiem (San Diego, Baltimore, and Colorado symphonies); Mahler’s Eighth Symphony (Milwaukee, Grand Rapids, American, and Montreal symphonies); Beethoven’s Ninth Symphony (Cleveland Orchestra, and the New Jersey and Houston symphonies), Barber’s Knoxville: Summer of 1915 (Festival Miami, Baltimore Symphony Orchestra), Tippett’s A Child of Our Time (Dallas and Santa Rosa symphonies) and Britten’s War

Requiem (Lincoln and Santa Rosa symphonies and Evansville Philharmonic). She remains among the most in-demand sopranos for Gershwin’s Porgy and Bess , and has performed in staged performances of the complete work at the Opéra de Lyon and Dallas Opera; the Bennett concert version under Jeff Tyzik with the Milwaukee, Seattle, Detroit, and Vancouver symphonies, Florida Orchestra, and at the Vail Music Festival; and in Andrew Litton’s version with Litton conducting the Colorado Symphony. Other forays into operatic literature have included a first-ever Donna Elvira in Mozart’s Don Giovanni with the National Philharmonic.

Ms. Chandler-Eteme first came to international prominence as a favorite of Robert Shaw and has in the years since collaborated with many renowned and respected conductors, among them Marin Alsop, James Conlon, Andreas Delfs, Christoph von Dohnányi, Charles Dutoit, Claus Peter Flor, Hans Graf, Jeffrey Kahane, Carlos Kalmar, Raymond Leppard, Jahja Ling, Andrew Litton, Keith Lockhart, David Lockington, Stuart Malina, Peter Oundjian, Christof Perick, Esa-Pekka Salonen, Stefan Sanderling, Vladimir Spivakov, Yuri Temirkanov, Edo de Waart and Hugh Wolff. She has been guest soloist with the Los Angeles and Saint Paul chamber orchestras; Boston,

NHK (Japan), Phoenix, and Kansas City symphonies; Los Angeles, Hong Kong, and Rochester Philharmonics; and the Philadelphia Orchestra. Festival invitations include Bard, Grant Park, Aspen, Prague Autumn, and Blossom. Ms. Chandler-Eteme’s recordings include an inspirational solo disc ( Devotions ), and the Dvoˇrák Te Deum with Zden ˇ ek Mácal and the

New Jersey Symphony. She holds degrees from Oakwood College and Indiana University and has studied with Virginia Zeani, Margaret Harshaw, Ginger Beazley, and Todd Duncan.

Greg Jones Ellis appeared as Mr. Bumble in the Classic Theatre of Maryland production of Oliver! Other recent area stage appearances include Titanic (Theatre Lab guest artist) as doomed architect Thomas Andrews, as the evil Judge Turpin in Sweeney Todd (Opera AACC) and kindly Scottish minister Mr. Lundie in Brigadoon (Compass Rose Theater). His skills with dialects have led to several roles in the ongoing “noir” podcast entitled Quorum: The Gambler’s Tale and as an offstage BBC reporter in In Praise of Love (Washington Stage Guild). Greg appeared this summer in New York in his own cabaret act for which he wrote several original songs, and this fall he also provides musical consultation for

GREG JONES ELLIS ACTOR

the Washington Stage Guild’s first production of this season: Neil Simon’s The Good Doctor. The Stage Guild also showcased Greg’s talents as playwright by premiering his award-winning comedy/drama All Save One. He holds a B.A. in Drama from Catholic University and an M.A. in English (Literature) from Salisbury University and currently teaches a popular “series” at the Osher Lifelong Learning Institute at Towson University entitled “Eight Plays Everyone Should Know.” Greg is a life member of the Dramatists Guild and the Alliance of Los Angeles Playwrights and is a former board member of the National Academy of Television Arts and Sciences. www.gregjonesellis.com.

Na ncy Krebs’ CTM Voice/Dialect Coaching credits began in 2010 and have continued to this present day, and her acting credits include: film adaptations of Spoon River Anthology, The Secret Garden, A Christmas Carol, and Macbeth. Coming up, she is performing as Fräulein Schneider in Cabaret. Other theater credits include: Quilters, Diamond Studs, Two for the Road, This Is My Play, The Black, the Blue, and the Gray, Life with Father, Where There’s a Will, Cabaret, A Flea in Her Ear, and Mame. Her television credits include: Officer Monica Burnett in One Life to Live, host of The Bloomin’ Place (series), and co-host of Once

NANCY KREBS ACTOR

Upon a Town (PBS series), Consumer Survival Kit, Women & the Law, Read the Authors (series host), and A Promise of Light (national commercial).

PROGRAM NOTES

and even commercials.

El Salón México Aaron Copland 1900-1990

During his long career, Aaron Copland composed in many diverse styles. Among his output were scores for films (The Red Pony, Our Town, The Heiress ), works incorporating jazz (Piano Concerto, Music for the Theater) and the 12-tone technique (Piano Quartet, Piano Fantasy). But in the mid-1930s he began to feel “an increasing dissatisfaction with the relation of the music-loving public and the living composer.” In order to reach a wider audience, he began simplifying his style to make it more accessible, but without sacrificing sound artistic values. The first work in this more popular vein was El Salón México, completed in 1936. Then followed the works for which he is best known today: his three American ballets Billy the Kid, Rodeo and Appalachian Spring. Copland’s “American” sound has become iconic, making its way into Hollywood and TV westerns,

Copland was uneasy about tampering with Mexican folk music. He wrote to Mexican composer Carlos Chávez: “I am terribly afraid of what you will say of the Salón México – perhaps it is not Mexican at all, and I would feel so foolish. But in America del Norte it may sound Mexican.” But Chávez asked to conduct the piece once the orchestration was finished. El Salón México was premiered in Mexico City in 1937 to great critical and popular acclaim, one critic stating that “Copland had composed Mexican music…embodying the very elements of our folk song in the purest and most perfect form.” El Salón México incorporates a couple of authentic Mexican melodies as well as the atmosphere of a lively bar where the partying has been in progress for some time.

1910–1981

Composed in 1947 on commission from soprano Eleanor Steber,

Knoxville: Summer of 1915, Op. 24 Samuel Barber

Knoxville: Summer of 1915 sets to music a text by James Agee chosen from a collection of prose and poetry, The Partisan Reader: Ten Years of “Partisan Review,”1934-1944: An Anthology. Agee’s text subsequently became the prologue to his autobiographical novel, A Death in the Family, which was published posthumously and awarded a Pulitzer Prize.

Agee describes an idyllic scene from his childhood: the sights, sounds and smells on a lazy summer afternoon and evening while he was sitting on the porch or lying in the backyard of his family’s home in Knoxville,

Tennessee. Barber set Agee’s prose text as poetry, adjusting it into lines that clarify the rhythmic pattern. He wrote to his uncle and mentor, the composer Sidney Homer: “…the summer evening he describes in his native southern town reminded me so much of similar evenings when I was a child at home…it expresses a child’s feeling of loneliness, wonder and lack of identity in that marginal world between twilight and sleep.” Shortly after he had finished the work, Barber met Agee, and the two discovered numerous coincidences in their lives, starting with the fact that

they were born in the same year.

Barber gives the text a simple syllabic setting, appropriate to the character of childhood. Although it is Agee’s reverie, Barber composed Knoxville for a high tessitura more readily imitative of the young boy’s voice. Knoxville is more than a set of fleeting images; rather, it comprises a small but intense drama as the child passes from innocence to a realization of the sorrows of life.

After a short instrumental introduction, the meter shifts to a rocking melody that becomes the unifying musical element in the monologue. The idyll, however, is suddenly interrupted by the excitement of the modern world of automobiles and streetcars, their horns and bells imitated in the orchestra. As the boy’s attention turns back to the intimacy of the family and his own backyard, the opening theme returns but blends into a new lyrical melody as he lovingly describes his family. The reverie is again interrupted upon a sudden intuition of the cares and dangers of adulthood. He mouths an anxious prayer to God for his family. As he describes the ritual of bedtime, the opening theme returns, almost as if lulling him out of his fears and into sleep. Yet, once touched by the image of sorrow, he is permanently changed as he falls asleep questioning his own fate and identity.

Knoxville: Summer of 1915 by

James Agee

We are talking now of summer evenings in Knoxville Tennessee in that time that I lived there so successfully disguised to myself as a child.

...It has become that time of evening when people sit on their porches, rocking gently and talking gently and watching the street and the standing up into their sphere of possession of the trees, of birds’ hung havens, hangars.

People go by; things go by.

A horse, drawing a buggy, breaking his hollow iron music on the asphalt; a loud auto; a quiet auto; people in pairs, not in a hurry, scuffling, switching their weight of aestival body,

talking casually, the taste hovering over them of vanilla, strawberry, pasteboard and starched milk,

the image upon them of lovers and horsemen, squared with clowns in hueless amber.

A streetcar raising its iron moan; stopping, belling and starting; stertorous; rousing and raising again its iron increasing moan

and swimming its gold windows and straw seats

on past and past and past, the bleak spark crackling and cursing above it

like a small malignant spirit set to dog its tracks;

the iron whine rises on rising speed; still risen, faints; halts; the faint stinging bell; rises again, still fainter, fainting, lifting, lifts, faints foregone: forgotten.

Now is the night one blue dew. Now is the night one blue dew, my father has drained, he has coiled the hose.

Low on the length of lawns, a frailing of fire who breathes....

Parents on porches: rock and rock. From damp strings morning glories hang their ancient faces.

The dry and exalted noise of the locusts from all the air at once enchants my eardrums.

On the rough wet grass of the backyard my father and mother have spread quilts.

We all lie there, my mother, my father, my uncle, my aunt, and I too am lying there....

They are not talking much, and the talk is quiet, of nothing in particular, of nothing at all in particular, of nothing at all.

The stars are wide and alive, they seem each like a smile of great sweetness, and they seem very near.

All my people are larger bodies than mine,... with voices gentle and meaningless like the voices of sleeping birds.

One is an artist, he is living at home. One is a musician, she is living at home. One is my mother who is good to me. One is my father who is good to me. By some chance, here they are, all on this earth;

and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night.

May God bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away. After a little I am taken in and put to bed.

Sleep, soft smiling, draws me unto her; and those receive me, who quietly treat me, as one familiar and well-beloved in that home:

but will not, oh, will not, not now, not ever; but will not ever tell me who I am.

From Old American Songs

“Zion’s Walls”

Arr. Aaron Copland 1900-1990

Like his idol Charles Ives before him, Aaron Copland was enchanted by the folksy nature of American ballads, hymns and minstrel tunes. In contrast to Ives, however, he only occasionally used folk melodies as themes in his compositions, preferring original themes and giving them a folk-like flavor.

The two sets of Old American Songs are an exception. Copland used authentic folk melodies, giving them an unmistakable “Copland flavor.” The five of Set I were composed in 1950 at the request of Benjamin Britten, and were premiered by Britten and his partner, tenor Peter Pears; the five of Set II came two years later. Originally composed for voice and piano, Copland orchestrated them soon after and also reset some of them for chorus.

The melody for Zion’s Walls was composed by mid-19th century composer John McCurry. Copland also used it in his opera The Tender Land.

“Zion’s Walls”

Come fathers and mothers, Come sisters and brothers, Come join us in singing the praises of Zion.

O fathers, don’t you feel determined

To meet within the walls of Zion?

We’ll shout and go round

The walls of Zion.

From Four Negro Spirituals

“This Little Light of Mine”

Arr. Hale Smith 1925-2009

Composer, pianist and arranger Hale Smith studied music at the Cleveland Institute of Music. During World War II he worked as arranger for army shows, then as editor for music publishers and as a free-lance composer for radio, TV and theater. The origin of the melody of “This Little Light of Mine” is obscure, although there are claims that was written around 1920 as a children’s song by Harry Dixon Loes; but Loes never claimed it. It became an important protest song in the Civil Rights movement of the 1960s.

Ellis Island: The Dream of America

Peter Boyer b. 1970

Ellis Island: The Dream of America was born out of my fascination with the relationship between history and music. I’m drawn to good stories—especially stories which come from the past but are relevant to the present—and as an orchestral composer, I’m intrigued by the potential of the orchestra as a storytelling medium. Of course, orchestral music cannot tell stories in a literal way, but its ability to suggest scenes and emotions, and evoke responses in listeners, has challenged and stimulated composers for centuries.

–Peter Boyer

Between 1892 and 1954, Ellis Island was the gateway for over 12 million European immigrants to

the USA (Immigrants from other parts of the world came in through different ports of entry). In 1973, in an attempt to preserve the history of this epic migration, there began the Ellis Island Oral History Project, recording interviews with immigrants who had passed through this gateway. Over the years, the project has collected about 2,000 interviews, housed in the Ellis Island National Immigration Museum.

Peter Boyer composed Ellis Island in 2001-02 on commission from the Bushnell Center for the Performing Arts in Hartford, Connecticut, using seven interview excerpts from the Oral History Project read by actors, coupled with projections of historical images from the Ellis Island Archive.

Although Boyer’s work began before 9/11, the work takes on an emotional intensity in light of the tragedy. The music is recognizably American, with echoes of Aaron Copland and the more lightweight Morton Gould. Muted orchestral accompaniments support the recitations, and interludes follow each recitation.

Most of the accounts follow the same trajectory, represented in a few minutes in the Prologue: from the voyage from the old world into the ominous of the unknown, to the sight of land, and finally, to arrival and hope in the new – although

experiences with immigration personnel on the island are sometimes as frightening as the ocean trip itself. The interludes echo the same trajectory: initially reflecting the narrator’s reason for emigrating and ending with the arrival. Boyer makes little attempt to reflect the musical traditions of the speakers’ home countries, although he does capture the emotional tone of their individual testimonies. For example, Interlude 3, following Sicilian immigrant Lillian Galleta’s account of a storm off the straits of Gibraltar, is a violent musical seascape.

After the seven immigrants have safely landed and processed for a new life, Boyer concludes Ellis Island with the words of Emma Lazarus carved on the plaque from neighboring, welcoming Liberty Island.

Composer and conductor Peter Boyer is a native of Rhode Island who received his Doctor of Musical Arts degree from the Hartt School of the University of Hartford. He has also studied with noted composer John Corigliano. His numerous compositions have been performed and praised worldwide. Currently he works as a freelance composer and conductor, and was on the conducting faculty at UCLA.

Program notes by: Joseph &

Elizabeth Kahn

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 and *Judith Bender

Bud and *Bee Billups

Elana Rhodes Byrd

James W. Cheevers

Ronald E Council

Patrick M Green

Anna E. Greenberg

*Nancie Kennedy

Dr. Michael Kurtz

Dr. Mary C. McKiel

John P. McKim

Anne S. Potter

Stephen Sotack

Susan Rosenfeld

Daniel and Mary Walton

To discuss including the Symphony in your Estate Plans, please contact Edgar Herrera at 410-269-1132.

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

In memory of John Auer

James W. Cheevers

In memory of Catherine Reistrup

James W. Cheevers

In memory of Thea Lindauer

James W. Cheevers

In honor of Stephen Holt

Anna E. Greenberg

In memory of Silber

Susan Amsterdam

In memory of Ralph Bluntschli

Elizabeth Gordon-Bluntschli

In memory of Peggy Ertlmeier

Bob Sherer

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

José-Luis Novo

The Philip Richebourg Chair

VIOLIN 1

Netanel Draiblate, Concertmaster

Sponsored by Jillinda Kidwell

Nicholas Currie, Associate Concertmaster

Sponsored by Laird Lott & Linda Gooden

Abby Armbruster

Sponsored by Mimi Jone s

Susan Benac

Sponsored by Herb and Sallie Abele s

Heather Haughn

Sponsored by William and Constance Scott

Rachel Stockton

Sponsored by Tara Balfe Clifford

VIOLIN II

Christian Tremblay, Principal

Sponsored by Peter and Sara Evans

Kristin Bakkegard, Associate Principal

Sponsored by Stephen Sotack

Karin Kelleher

Sponsored by Prudence Clendenning

Sarah Hart, Principal

Sponsored by Charles & Julie Grudzinskas

Derek Smith, Acting Principal

Sponsored by Ginger & Al From

Susan Taylor Dapkunas

Sponsored by Amy & Joe Rubino

CELLO

Todd Thiel, Principal

The Philip Richebourg Chair

Pei Lu, Associate Principal

Sponsored by Jane & Robert Casey

Nicole Boguslaw

Sponsored by Thomas DeKornfeld

Daniel Shomper

Sponsored by Michael Kurtz

BASS

Peter Cohn

Sponsored by Anne Potter

FLUTE

Kimberly Valerio, Principal

Sponsored by Mary McKiel

Genevieve Eichman

Sponsored by Russ Stevenson

OBOE

Fatma Daglar, Principal

Sponsored by Collot Guerard

CLARINET

Robert DiLutis, Principal

Sponsored by Shelley Row

FRENCH HORN

Steven Barzal

Sponsored by Florence Calvert

TRUMPET

Christopher Sala, Principal

The Philip Richebourg Chair

Christopher Buchanan

Sponsored by George and Carol Ellis

TROMBONE

David Perkel, Principal

Sponsored by Eleanor and David Huggins

David Sciannella

Sponsored by Robert & Kathleen Arias

Jay Heltzer, Bass Trombone

Sponsored by Peter Bungay & Joy Chambers

TIMPANI

Curt Armbruster, Principal

Sponsored by Fred Stielow & Susan Rosenfeld

Many thanks to our generous sponsors. We are planning to connect all of our sponsored musicians with their sponsors at an exclusive event in February.

If you are interested in sponsoring a musician, we still have spaces available. Please contact Denise Tray Rosson at 410.269.1132 or email at info@annapolissymphony.org to learn more.

Individual Support

Gifts in the current fiscal year, as of September 14, 2022, to support the Orchestra’s 5-Year Strategic Vision to “play more music in more places for more people.”

The Annapolis Symphony Orchestra is sustained through the continuous support of hundreds of generous patrons. The leadership of those listed on these pages (with gifts of at least $100) shows an extraordinary depth of support for the Orchestra’s music making, education programs, and community initiatives.

GIFTS OF $1 MILLION AND MORE

Marguerite Pelissier and Bill Seale

Joyce Pratt and Jeff Harris+

GIFTS OF $250,000 TO $499,999

Michael Kurtz+

Laird Lott and Linda Gooden

Patricia Edwards Estate

GIFTS OF $150,000 TO $249,999

Kathleen and Robert Arias +

Jillinda Kidwell +

Elizabeth Richebourg Rea

GIFTS OF $50,000 TO $149,000

Jane Campbell-Chambliss and Peter Chambliss +

Shelley Row +

Stephen A. Sotack +

+ Multiyear Pledges

Multiyear pledges support the Orchestra’s 5 Year Strategic Vision while helping to ensure a sustained level of funding. We salute those extraordi nary donors who have signed pledge commitments of three years or more. These donors are recognized with this sym bol next to their name: +

GIFTS OF $25,000 TO $49,999

Al and Ginger From +

Julie and Charles Grudzinkas

Mary C. McKiel+

Martha and John Schwieters

Barbara Simerl

GIFTS OF $10,000 TO $24,999

Florence M. Calvert +

Deborah Howe +

David and Eleanor Huggins

Mimi Jones +

Martha and John Schwieters +

Diane Steed

Ann and Robert Whitcomb +

Dawne Widener-Burrows +

GIFTS OF $5,000 TO $9,999

Herb and Sally Abeles

Peter Bungay and Joy Chambers +

James W. Cheevers

Mr. and Mrs. Arthur Edwards Jr.

GIFTS OF $2,500 TO $4,999

Prudence Clendenning

Marguerite and Enser Cole

Pierre and Danalee Henkart

Anne S. Potter

Doug and Karen Smith +

GIFTS OF $1,000 TO $2,499

Anonymous

Bill and Lisa Abercrombie

Hugh Camitta & Louise Snyder

Angela Eggleston-Howard

Renee Ehler and George

Bentley

Dr. Richard and Carole Falk

Anna E. Greenberg

Bob and Diane Heaney

David McGill

Rob & Patti Muir

William and Contance

Scott +

Bob Sherer

Judith Templeton

Dr. Rodney Tomlinson and Ms. Sari Kiraly

Mrs. Tamara and Dr. Stephan Tymkiw

George and Charlotte West

GIFTS OF $100 TO $999

Michael Alin and Ann Carroll

Linda Allen

Hugh and Deborah Houghton

Lillian Armstrong

Ms. Susan Armstrong

Adele Baron

Pat and Karen Brown

Carmen Brun

Carolyn Cassidy

Pamela and James Chaconas

Patrick and Nancy Clagett

Rosemary Claire

Elizabeth Colandro

B.S. Creighton

Judy Crews-Hanks and Brian Hanks

Mr. and Mrs. Robert Demoyer

C. DeVore

Allison and Patrick Durbin +

Fred and Susan Eckert

Mr. Michael Eckhart

Sharon Engelhard

Mr. and Mrs. Donald C. Erickson

James R. Fitzpatrick

Elizabeth Gordon-Bluntschli

Arthur Greenbaum

Valerie Gutterson

Georgina Hammond

Patty Harris

Mr. and Mrs. Robert M. Hecht

D. Gayle Hensley

Gretchen Herdt

Margaret Hosmer

Dr. and Mrs. William Hunter

La-Royce Jordan

Nick Kemp and Kay Osburnsen

Norman & Doris Lerner

Ellen and Joseph Levin

Lynne Malley

Colin McIntosh & Robert Smith

Teresa McKenna

Don and Carol Nelson

David & Carol Newman

Susan Okula

Bob and Cookie Pollock

Fred Probeck

Margret Rauh

Ken and Maureen Reightler

Constance Robinson

Paul and Joan Rosenberg

Jeffrey Scherr

Scott Schollenberger

Janney Montgomery Scott LLC

Walton Stallings

Thomas Taneyhill

Philip W. Tawes and Edwards Adams

Paula Thistle

Larry and Betty Thompson

Peter Threadgill

Laura and Jack Van Geffen

Matt Venhaus

Mr. and Mrs. Damien Wanner

Francis Wright

Bernard and Louis Wulff

David Zinnamon

Anonymous (2)

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.

MEMORIAL AND HONORARY GIFTS

In memory of Gerard Valerio

Tabitha Bathras

Lucy Harris

Glenn & Judy Jones

In memory of David Kidwell

Dr. Mark Cinnamon and Ms.

Doreen Kelly

Anna E. Greenberg

In Honor of Jose Luis Novo’s

Birthday

Nina Kesner

In memory of Dr. Norman

Lieberman

Barbara and Leon

Kestenbaum

David Noss & Sarah Crim

The Meyer Family

In memory of Katherine “Kathy”

Carpenter

James W. Cheevers

John & Martha Schwieters

In honor of Marshall Mentz

Julie and Charles Grudzinskas

In memory of Sherif Elsisi

Stephen A. Sotack

In memory of Robert Clopp

Kathleen & Robert Arias

In memory of Ann Byers

James W. Cheevers

Richard and Lisa Hillman

In honor of Billy Moulden

Nancy Prendergast

In memory of Cherie Loustaunau

Renee Loustaunau

In honor of Daniel Shomper

Betty Shomper

Genevieve Marshall

Jon Balk

Phyllis Crossen-Richardson

In honor of Elizabeth Brown

Nancy Olins

Philip Breen and Mindy

Portnoy

In honor of Family Members

Dan Shomper

In honor of Fatma Daglar

Susan Ricci Rogel

Theodore Raphael

In memory of Forbes Leland

James W. Cheevers

In memory of Howard and Thea Pinskey*

Anna E. Greenberg

Anne S. Potter

Elizabeth Gordon-Bluntschli

James W. Cheevers

Patrick J. Nugent and Mary

Kay Rehard

Paul and Joan Rosenberg

In memory of Judith Bender

Sibyl Wisch

In honor of Karen Bakkegard

Jamie Wright

Robert Lauver

In honor of Laird Lott

Herb and Sallie Abeles

In memory of Leon Fleisher

Hazel Bell

Linda Harris

In memory of Martha Edgar Wheeler

Ann Glenn

Anna E. Greenberg

In honor of Michael Kurtz

Paula Abernethy and Rick Sullivan

Renee Loustaunau

In memory of Natalie Lobe

Esther Slaff

In memory of Pat Edwards Alliance Francaise

D’Annapolis

Anna E. Greenberg

Anne S. Potter

Barbara and Everett Santos

Bob and Diane Sherer

David and Joanna Loughlin

David R. Lewis Family Foundation

Emily Joyce

Ginger Woolridge

H. Christine Pirrung

James W. Cheevers

John and Martha Russell

Judith Templeton

Kelley Chaney

M.A. Schermerhorn

Ms. Donna Cole

Nancie Kennedy

Paul Herman

Paula Abernethy and Rick Sullivan

Phil Greenfield

Richard and Lisa Hillman

Robert and Mary Felter

Robert Libson

Ronald E. Council, Esq.

Sally W. Iadarola

Sonia and Jerome Feldman

Anonymous

In honor of Paula Abernethy’s Birthday

Paula Abernethy and Rick Sullivan

In honor of Rachel Stockton

Julian and Susan Aaron

In memory of Ralph Bluntschli

Elizabeth Gordon-Bluntschli

In memory of Richard Costello

Barbara Lupero

James W. Cheevers

Joan Russell

John McGinley

Mr. and Mrs. Gerald Bechtle

Mr. Arthur A. Augustin

Kenneth A. Hook

Carolyn Shutler

Donald and Carol Lee

Connie and Bill Scott

Emory Anderson

In honor of Rickie Pelle

Sally J. Malamphy

In memory of Robert Casey

Anna E. Greenberg

In honor of The Academy

JosuahOneNine Fund

In support of The Pinskey Scholarship Fund*

Amy Applestein Anonymous (2)

Rignal and Mary Baldwin

Gregory A. Chauncey

FASO

Claudia Pardo

Dr. and Mrs. James W. Ross

Dr. Louis and Laurie Berman

Ed and Jeanne Paglee

Elizabeth and Tom Munz

Hyatt & Weber, P.A.

Joe and Jeanne Morris

Julie and Charles Grudzinskas

Martha Blaxall and Joe Dickey

Melvin Bender

Mr. and Mrs. Alan J. Hyatt

Mr. and Mrs. David Bush

Annapolis Musicians Fund

Pamela and James Chaconas

Richard and Jill Garrity

Richard and Lisa Hillman

Severn Savings Bank

Susan Steele and Marshall Steele

Thea and Howard Pinskey

David & Janet Hoffberger

Carole and Richard Falk

In memory of Thea Pinskey*

Alicia Berlin

Amira & Jody Goldsmith

Anonymous

Barbara Snyder

Barbara Ward

Cheryl Castner

Claudia Hakala

David and Cindy Fox

Donna Ross

Dr. and Mrs. S. David Krimins

Dr. Donna L. Kahn

Elizabeth Benson

Emily Joyce

Francene Sevcik

Frances and William Schwartz

Jesse Cunitz and Faith Goldstein Cunitz

Jessica and Rick Bird

Judi and Allen Cohen

June L. Cohen

Lynn Cohen

Maxine and Irwin Silber

Mr. and Mrs. John Hopkins

Mr. and Mrs. Ross Cohen

Mr. and Mrs. Stephen Sutton

Ms. Leslie Gradet

Ms. Mildred Rosenthal

Nancy Schwartz

Polly Blumenstock

Robert and Mary Felter

Rona Finkelstein

Samantha Miller

Sandra Collyear Altherr

Leslie F. Tilghman

*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.

FRIENDS OF THE ANNAPOLIS SYMPHONY ORCHESTRA

invite YOU to become a friend!

This dynamic group of music lovers raises funds to support the Annapolis Symphony Orchestra and its outreach programs. Events are held throughout the year and range from the traditional Concert of Tastes to Dine to Donates with local restaurants, Movie and Trivia Nights, wine tastings at vineyards, and much more. Become part of the fun, raise funds, and meet new friends.

It is easy to join - visit

ANNAPOLISSYMPHONY.ORG

Membership: $50 per person $75 per couple

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

2022-2023 Board of Directors

Officers:

Paula Abernethy, President

Dr. Ann Tran, Vice President

Ways and Means

Lynn C. Maichle, Vice President

Membership

Stephen A. Sotack, Treasurer

Carol Richards, Recording Secretary

Renee Ehler, Corresponding Secretary

Directors:

Adele Baron

Thelma Blass

James W. Cheevers

Betsy Chotin

Kathy Clatanoff

Diane Green

Patrick M Green

Anna Greenberg

Jane Grundzinskas

Stephen Holt

Marilyn Lyons

Kathleen J. McInnis

Mary McKiel

Cat Marruci

Barbara Merke

Joseph (Joe) Minieri

Joan Russell

Susan Z. Sams

Rick Sullivan

Judi Tanner

Ann Tran

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 206. 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.

Subscribe to Symphony+ All Access Houshold

Pass for ASO

Encore streaming content plus ASO Chats and ASO Archive of previous performances!

ASO Encore

Tonight’s concert is being recorded live and will be available to stream on Symphony+ starting Friday, October 14th

ASO Chats

Insightful and enlightening discussion with Artistic Director & Conductor JoséLuis Novo about the evening’s program. You will always learn something new about the composer, orchestra, music–or all three!

ASO Archives

ASO Archive is a collection of past ASO streams including ASO Chats & ASO Live!

SYMPHONYPLUS.ORG