2022-2023 Masterworks IV

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Friends of Annapolis Symphony Orchestra

A MESSAGE FROM THE FASO

The Friends of the Annapolis Symphony Orchestra (FASO) was organized in 1964 to complement and strengthen the endeavors of the Annapolis Symphony Orchestra through social fundraising events, education and outreach. Our activities are designed to enhance the musical development of the community, and to encourage an interest in classical music, especially in young people.

The continuing development of a first class symphony orchestra depends on many things, with the most important being the consistent support of the community. This support includes attending concerts and related events nurturing a love of classical music in people of all ages, and providing financial backing. FASO promotes and provides this support.

In the 59 years since FASO was organized, membership has grown to over 200 people who enjoy the fellowship of the other members and the opportunity to make a difference for the ASO and our community.

JOIN US! Become a FASO member — it is rewarding, fun, and offers many opportunities. Annual member dues are $50 per person and $75 per couple.

You can find more information and pay dues online at: annapolissymphony. org. Look for the Friends tab.

You can see FASO in action at our upcoming Mardi Gras in March fundraiser on March 18. Check it out!

See the information here and on the ASO website.

Best Regards and thank you for your support!

Paula Abernethy FASO President

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

Bill 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

Ex Officio Trustees

José-Luis Novo

Artistic Director & Conductor The Philip Richebourg Chair

Paula Abernethy

FASO Representative

Orchestra Representative

Kristin Bakkegard

Musicians’ Representative, Players Committee

ABOUT THE ANNAPOLIS SYMPHONY ORCHESTRA

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

With a 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.

Barbara Randolph Interim Executive Director

Sarah Johansen

Director of Business Operations

Miriam Fogel Director of Artistic Operations

Diana Love

Director of Marketing & Communications

Netanel Draiblate

Annapolis Symphony Academy Director & Founder

Julie Nolan Director of Education & Community Outreach Grants Manager

Erica Johnson Accountant

Olivia Ren Orchestra Librarian

Dave Sciannella Operations Manager

Maya McAtee Office & Data Manager

Shun Yao

Assistant Conductor, Annapolis Symphony Academy

Kimberly Valerio

Annapolis Symphony Academy

Department Head, Winds & Brass

Heather Haughn

Annapolis Symphony Academy Department Head, Strings

Annapolis Symphony Orchestra

Annapolis Symphony Orchestra Staff

THANK YOU

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

Businesses & Foundation Sponsors

J.M. Kaplan Fund

JosuahOneNine Fund

The Dealy Foundation, Inc.

Old Fox Books & Coffeehouse

Janney Montgomery Scott LLC

Pledgeling Foundation

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

TO OUR SPONSORS!

The Philip Richebourg Chair

A generous gift from Elizabeth Richebourg Rea names the Artistic Director and Conductor'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

ANNAPOLIS SYMPHONY ORCHESTRA

SIXTY-FIRST SEASON

MASTERWORKS SERIES

March 3, 8PM | March 4, 8PM

Maryland Hall

José-Luis Novo, Artistic Director & Conductor

The Philip Richebourg Chair

Symphony No. 6 in A minor, “Tragic”

I. Allegro energico, ma non troppo

II. Andante moderato

III. Scherzo: Wuchtig

IV. Finale: Allegro moderato

Gustav Mahler (1860 1911)

This concert is approximately 85 minutes long and will be performed without an intermission.

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

ABOUT THE ARTWORK: Samuel Colman’s “The Edge of Doom”, oil on canvas (18361838) depicts the ultimate disaster: the destruction of the world. Lightning strikes erratically, blasting classical buildings, carriages, paintings, and even Time (a figure with an hourglass and scythe) to create a central glowing void. The colors, lightening, and looming clouds are suited for evoking the emotions of awe and terror associated with the Sublime notion of nature.

Mahler's Symphony No. 6 includes three blows of a specially crafted instrument, called Mahler's Hammer. Mahler used the hammer to create a unique sound to evoke a particular emotion: “It is the hero, on whom falls three blows of fate, the last of which fells him as a tree is felled.”

In 1907, Mahler received three “hammer blows” to his own life: the death of his oldest daughter, Maria, losing his job as music director at the Vienna Opera that he had held for ten years, and onset of a heart condition that would cause his death in 1911 (the last hammer blow that hits the hero as if a tree were felled, so to speak).

Although Colman painted “The Edge of Doom” almost 70 years before Mahler composed his Symphony No. 6, we love how this painting so surrealistically and yet beautifully seems to paint a picture of Mahler's “Tragic” music.

Special thanks to Olivia Ren, ASO librarian, for her help with this research and support of our effort to match masterful visual art to our 2022-2023 Masterworks series.

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

MUSICIANS – MASTERWORKS IV

VIOLIN I

Nicholas Currie, Acting Concertmaster

Hanbing Jia, Acting Associate Concertmaster

Heather Haughn, Acting Assistant Concertmaster

William Wang

Abby Armbruster

Rachael Stockton

Susan Benac

Minjin Lee

Freya Creech

Kei Sugiyama

Katelyn Lyons Peaden

Paul Bagley

VIOLIN II

Christian Tremblay, Principal

Kristin Bakkegard, Associate Principal

Alexandra Mikhlin

Natalia Merezhuk

Qian Zhong

Karin Kelleher

Sally Stallings Amass

Yalira Walker

Yan Izquierdo

VIOLA

Sarah Hart, Principal

Kate Zahradnik, Acting Associate Principal

Susan Taylor Dapkunas

Heidi Remick

Ben Freedman

Adelya Shagidullina

Maksymilian Krzak

Sinan Wang

CELLO

Todd Thiel, Principal, The Philip Richebourg Chair

Pei Lu, Associate Principal

April Studeny

Daniel Shomper

Nicole Boguslaw

MaryAnn Perkel

Alison Bazala Kim

Diana Curtis

BASS

Patrick Raynard, Acting Principal

Broc Mertz, Acting Associate Principal

Peter Cohn

Aaro Paavo Heinonen

Mark Stroud

Lee Philip

FLUTE

Kimberly Valerio, Principal

Genevieve Eichman

Stephanie Ray

Sarah McIver

Elisabeth Plunk

OBOE

Trevor Mowry, Acting Principal

Amanda Dusold

Michael Homme

Janice Kim

Dana Newcomb

CLARINET

Robert DiLutis, Principal

Rucha Trivedi

Olivia Meadows

Elise Bond

Matt Rynes

BASSOON

Joseph Grimmer, Acting Principal

Patricia Morgan

Catherine Lindquist

Matt Lano

Lynn Moncilovich

HORN

Alex Kovling,

Principal

Shane Iler, Associate Principal

Conor Jensen, Acting Assistant Principal

Steven Barzal

Anthony Valerio

Kevin Grasel

Patrick Furlo

Cecilia Kozlowski

Emily Hagee

TRUMPET

Christopher Buchanan, Acting Principal

Andrew Fremder

Thomas Bithell

Amy McCabe

Kevin Paul

Davy DeArmond

TROMBONE

David Perkel, Principal

David Sciannella

Katie Thigpen

Jeff Cortazzo

TUBA

Jake Fewx, Principal

TIMPANI

Jonathan Rance, Acting Principal

PERCUSSION

Robert Jenkins, Acting Principal

Aubrey Adams

Joseph Connell

Dane Krich

Eric Plewinski

HARP

Anna Ellsworth, Acting Principal

Cambria Van de Vaarst

PIANO

Tomoko Kanamaru, Acting Principal

IN MEMORY

EDWARD ROSS GOLDSTEIN | July 29, 1954 – January 6, 2023

Edward Goldstein received his Bachelor of Music Education and Master of Music degrees from the Peabody Conservatory of Music of the Johns Hopkins University. In addition to being a founding member of the Peabody Ragtime Ensemble in 1974, he was also the founder and director of the Baltimore Jazz Orchestra, the Swanee River Ragtime Band, the Brass Menagerie Brass Quintet and the Bourbon Street Ramblers. Ed was the principal tubist with the Annapolis Symphony Orchestra since 1974 and performed with the Baltimore Symphony Orchestra. Ed was co-author of the definitive, 656-page, scholarly work on his instrument, The Tuba Source Book, published by Indiana University Press. Ed was the Music Contractor for Center Stage and Everyman Theater in Baltimore, MD. In addition to private teaching, Ed was on the music faculties of Loch Raven High School in Baltimore County and the Peabody Institute Preparatory Department. On April 3, 2022, Ed received a Lifetime Achievement Award from Baltimore Musicians Union. Contributions in his memory may be made to Shaarei Tfiloh Synagogue, 2001 Liberty Heights Avenue, Baltimore, MD 21217 or the Peabody Preporatory General Scholarship Fund, www.peabody.jhu.edu/preparatory/.

DR. MICHAEL J. KURTZ | May 8, 1949 - December 17, 2022

Dr. Kurtz served at the National Archives and Records Administration (NARA) for 37 years, during which time he held significant leadership positions, supervised hundreds of staff in multiple locations, and led national efforts in electronic records preservation and management, declassification, and transparency of government records. Dr. Kurtz was the author of several highly cited publications in the areas of archives management and administration. His 2006 book, "America and the Return of Nazi Contraband: The Recovery of Europe’s Cultural Treasures" (Cambridge University Press, 2006) was the key inspiration for the 2014 film "The Monuments Men” (directed by George Clooney).

A longtime supporter of the ASO, Michael Kurtz served as Trustee and Vice Chair of the Annapolis Symphony Orchestra (ASO) Board of Trustees and President of the Friends of the Annapolis Symphony Orchestra (FASO). Michael's passion for music was evident in his financial leadership and organizational drive behind the ASO's international tour to Spain (2021) and his ongoing support for the Annapolis Symphony Academy. Michael was preceded in death by his wife Cherie, who passed away in November 2019.   Both Michael and Cherie were very fond of the piano.  Michael's friends and colleagues from FASO believe it is fitting to honor his memory at this Masterworks concert, which features guest artist Jon Nakamatsu playing the piano in Beethoven's "Emperor" Concerto.  FASO will underwrite a portion of Mr. Nakamatsu's fee in Michael's memory. FASO requests that memorial contributions to this purpose can be made by sending a tax-deductible check payable to Friends of the Annapolis Symphony Orchestra, PO Box 1974, Annapolis, MD 21404 by the end of February.

ARTISTIC DIRECTOR & CONDUCTOR

JOSÉ-LUIS NOVO

THE PHILIP RICHEBOURG CHAIR

Spanish born José-Luis Novo 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 com-

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.”

memorating the 300th anniversary 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 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, 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.

José-Luis Novo has also fostered a reputation as a keen educator of young musicians. He has held conducting positions with the Cincinnati Symphony Youth Orchestra, University of Maryland Symphony Orchestra, Miami University Symphony Orchestra and National Repertory Orchestra, and has been on the conducting faculty at the Eastern Music Festival in Greensboro, North Carolina since 1999. In addition, he has conducted many noteworthy college and youth orchestras such as the Curtis Institute Orchestra, the Cleveland Institute of Music Orchestra, the Bard Conservatory Orchestra, the Ithaca College Symphony Orchestra, and the Portuguesa State Youth Orchestra of the Venezuelan El Sistema. Last season, under the auspices of the Annapolis Symphony Academy, he presided over the debut of its Orion Youth Orchestra, conducting the inaugural concert in June 2022.

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

SPAIN TOUR SPONSORS

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

ROCKY MOUNTAIN TRAIN TRIP SPONSORS

Tour Sponsors

Martha Blaxall & Joe Dickey

Diana & Kazmieras Campe

Marguerite & Enser Cole

Richard and Dorothy D`Amato

Mark Davis and Ann Tran

Michael Kurtz

Katherine Lantz

Barbara Lazar

Pat Mager

Lee Mueller

Elizabeth Mainiero

Cheryl & Jim Painter

Beth Penn

Kathryn Porter

Paula Abernethy

Stephen A. Sotack

Arthur Chotin

SYMPHONY NO. 6 IN A MINOR, “TRAGIC” GUSTAV MAHLER, 1860-1911

“My Sixth seems to be yet another hard nut, one that our critics' feeble little teeth cannot crack.” (Mahler, in a letter to conductor Willem Mengelberg)

Gustav Mahler was, and remains, a controversial composer. As a conductor, he was the dominant figure in Vienna’s music scene — celebrated as a musician but reviled for his difficult and neurotic personality as well as for his Jewish heritage, despite the fact that he converted to Catholicism. As a composer, he wore his emotional heart on his sleeve, transforming his psychological peculiarities into brilliant, emotionally charged music. Today, he elicits extreme responses on the love/hate spectrum.

Born in a small town in what is now the Czech Republic, Mahler showed early musical gifts. He entered the Vienna Conservatory at 15 and in the summer of 1880, at 20, he landed the first of a series of minor conducting jobs in a summer theater in Austria, an obligatory apprenticeship for advancement in opera, the most prestigious genre of the time. From 1891 to 1897 he was conductor at the Hamburg Opera and from 1894, of the subscription concerts there as well. By 1897 he was named Kapellmeister and then Director of the Vienna Hofoper, at the time one of the most prestigious posts in the musical world. He left the post in acrimony in 1907, the result of Vienna’s virulent anti-Semitism and the composer’s abrasive personality.

Such a meteoric rise and hectic schedule left him little time for composing, usually only during the summer recess. Mahler nevertheless completed nine massive symphonies and numerous songs and song cycles. These works, especially the symphonies, were innovative and challenging, and for nearly 50 years were only occasionally performed. Only in the 1960s did they finally become standard fare on orchestra programs, championed by Leonard Bernstein. As late as 1972, however, Bernstein had to cajole and browbeat the Vienna Philharmonic to take Mahler’s music seriously.

Mahler composed the Symphony No. 6 between 1903 and 1905, originally giving it the title “Tragic,” although he withdrew the title before going to print. Composers have traditionally had to accept, or even en-

dure, publishers’ or audiences’ nicknames for their great achievements.

Mahler’s symphonies, however, are all narrative — and autobiographical — in nature; such titles, whether originally conceived and withdrawn or appended by third parties, give some insight into the composer’s fundamental conception of his work. Nevertheless, the title is ironic to a work written when the composer was at the happiest point in his life.

Mahler’s earlier five symphonies may have opened tragically, but they all close in triumph. In the Sixth, the happy denouement never comes. The tragedy lies in the composer’s monumental struggle with fate, which denotes physical and psychological suffering against intransigent barriers, as opposed to mere death. This theme forms the narrative of all his symphonies. Without giving his musical symbols Wagnerian names, he already had established a vocabulary and grammar with which — he would have insisted — we should be familiar.

Mahler’s symphonies can break today’s financially beleaguered orchestras with the need to hire the greatest complement of pick-up players in the

repertory, and the Sixth demands one of the largest orchestras of all: doubling and redoubling of all the conventional instruments plus a percussion section consisting of no fewer than 14 different instruments — many in multiple sets as well. His orchestration frequently enhances the emotive and narrative contradictions by pitting the most blaring tutti against delicate chamber ensembles.

The first movement of the Sixth introduces the battle between strife and resolution, made conveniently clear in the first and second themes. It opens with the emblematic Mahler funeral march, punctuated by a twochord, major-to-minor motive on the trumpets and oboes. This chord progression recurs throughout the symphony as a condensed symbol of the existential dichotomy. The second theme, played by the violins, is a gentle, almost loving melody, which also recurs and has been thought by some musicologists to represent Alma, Mahler’s wife. Its mood dominates although not without strife — the slow movement.

The slow movements of Mahler’s later symphonies always present a respite from the funereal atmosphere of the rest of the movements. If, indeed, they represent Alma, they suggest that through her — and love in general — can existential pessimism be attenuated. The movement contains restricted thematic material, which Mahler constantly redefines and transforms.

The Scherzo, marked Wuchtig (massive, bulky), is a lumbering waltz, a partner to the march of the first movement. The major/minor motive introduces the trio, a somewhat more delicate minuet that, nevertheless, trips over its own feet. But the movement ends in blaring, percussive chaos. Mahler never settled on the order of the middle movements. But it makes a real difference to the narrative, creating either some respite from the battle of the first movement, or continuing it in an almost satirical gesture.

The final movement, the longest of the four, returns to the battle, seesawing between resolution and disaster. In fact, it has been pointed out that every melody Mahler invents he eventually distorts or ridicules — a characteristic of his previous symphonies as well.

The symphonies usually contain one or more unconventional gestures — for which he was vigorously criticized — such as cowbells in the Fourth

and the Sixth, or oboe glissandi in the Third (which sound like the principal oboe is having a bad reed day). The final movement of the Sixth is punctuated by three ominous hammer blows, which Mahler described in the score as: “Short, powerful, but with muffled resonance, of nonmetallic character (like the stroke of an axe).” The superstitious Alma interpreted the third blow as a harbinger of death and demanded that he remove it, initiating a heated and protracted argument. Mahler, who had his own superstitions, eventually excised the third hammer blow in a later edition. (How two versus three would have substantively neutralized the omen is unclear, probably having something to do with the symbolladen number 3.) Today, most conductors put the third blow back, citing various musical reasons, but probably also because the swinging of a giant wooden mallet on a huge wooden block makes for good theater.

Program notes by:

Joseph & Elizabeth Kahn

Wordpros@mindspring.com

www.wordprosmusic.com

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 & *Judith Bender

Bud & *Bee Billups

Elana Rhodes Byrd

James W. Cheevers

Ronald E. Council

Patrick M. Green

Anna E. Greenberg

Make your mark...

*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 Lauren Silberman at LSilberman@annapolissymphony.org

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

Annapolis Symphony Orchestra 2022-23

*Deceased

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 memory of Ralph Bluntschli

Elizabeth Gordon-Bluntschli

In memory of Peggy Ertlmeier

Bob Sherer

In honor of Jim Cheevers

Don and Keren Dement

In honor of Anna E. Greenberg

Don and Keren Dement

In memory of John B. Moore

Don and Keren Dement

In memory of Julie Hall

Monica Kaiser

In memory of Michael Kurtz

Pat Zeno and Frank Parent

In memory of Michael Kurtz

William and Constance Scott

In memory of Pamela F. Bush

David Bush

In memory of Paige Miller

The Paige Miller Memorial Scholarship

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.

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 Jones

Susan Benac

Sponsored by Herb and Sallie Abeles

Rachel Stockton

Sponsored by Tara Balfe Clifford

Hanbing Jia

Sponsored by Capt. Mark & Michelle Hellstern

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

VIOLA

Sarah Hart, Principal

Sponsored by Charles & Julie Grudzinskas

Derek Smith, Associate Principal

Sponsored by Ginger & Al From

Susan Taylor Dapkunas

Sponsored by Amy & Joe Rubino

CELLO

Todd Thiel, Principal

The Philip Richebourg Chair

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 & Margie Axtell

OBOE

Fatma Daglar, Principal

Sponsored by Collot Guerard

Rick Basehore

Sponsored by Bill and Renata Davis

CLARINET

Robert DiLutis, Principal

Sponsored by Shelley Row

FRENCH HORN

Steven Barzal

Sponsored by Florence Calvert

TRUMPET

Christopher Sala, Principal

The Philip Richebourg Chair

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

We’re so grateful to our generous sponsors. If you are interested in sponsoring a musician, we still have spaces available. Please view our website, which explains more about our Musician Sponsorship Program and has a full list of musicians available to sponsor. If you have questions, please email info@annapolissymphony.org to learn more.

Individual Gifts in the current fiscal year, as of Jan 15, 2023, 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 +

Marguerite Pelissier & Bill Seale

Joyce Pratt & Jeff Harris +

The Philip Richebourg Circle

GIFTS OF $500,000

– $999,000

Elizabeth Richebourg Rea

GIFTS OF $250,000 – $499,999

Michael Kurtz +

Laird Lott & Linda Gooden

GIFTS OF $150,000 – $249,999

Kathleen & Robert Arias +

Jillinda Kidwell +

GIFTS OF $50,000 – $149,000

Jane Campbell-Chambliss & Peter Chambliss +

Shelley Row +

Stephen A. Sotack +

GIFTS OF $25 K –$49,999

Tara Balfe Clifford +

Al & Ginger From +

Julie & Charles Grudzinkas

Dr. Mary C. McKiel+

Martha & John Schwieters

Patricia & David Mattingley+

Peter & Sarah Evans+

GIFTS OF $10,000 – $24,999

Paula Abernethy

Peter Bungay & Joy Chambers +

Florence M. Calvert +

James W. Cheevers

Jesse Cunitz & Faith Goldstein

Cunitz

Deborah Howe +

David & Eleanor Huggins

Mimi Jones +

Katherine Lantz

Diane Steed

Ann & Robert Whitcomb +

GIFTS OF $5,000 TO $9,999

Herb & Sally Abeles

Susan Byrom & Robert Thomas

Mr. & Mrs. Arthur Edwards Jr.

Collot Guerard

David Irving

Fred Stielow & Susan Rosenfeld

GIFTS OF $2,500 TO $4,999

Betsy & Arthur Chotin

Prudence Clendenning

Ken Code

Marguerite & Enser Cole

Dorothy D’Amato

William & Renata Davis

Thomas DeKornfeld

Anna E. Greenberg

Capt. Mark & Michelle

Hellstern

Pierre & Danalee Henkart

Jan & David Hoffberger

Karl & Marge Hoke

Ms. Lori Kesner

Paige Miller Memorial Scholarship

Anne S. Potter

Steve Root and Nancy Greene

Amy & Joe Rubino

William and Constance Scott +

Doug and Karen Smith +

Russ Stevenson and Margie

Axtell

Judith Templeton

+ Multiyear Pledges

GIFTS OF $1,000 TO $2,499

Anonymous

Bill and Lisa Abercrombie

Martha Blaxall and Joe Dickey

Hugh Camitta & Louise Snyder

Diana Campe

Joseph & Patricia Casey

Jane Danowitz

Mark Davis and Ann Tran

Don and Keren Dement

Angela Eggleston-Howard

Renee Ehler and George

Bentley

Dr. Richard and Carole Falk

Bob and Diane Heaney

Richard and Lisa Hill man

The Johansen Family

Barbara Lazar

Janet Little

Elizabeth Mainiero

Pat Mager

David McGill

Lee Mueller

Rob & Patti Muir

Laura Murray

Cheryl and Jim Painter

Beth Penn

Kathryn Porter

Clay and Carol Richards

Pamela Roeming

Richard and Martha

Schoenfeld

Bob Sherer

Kathy Sorci and Ross Sorci

Dr. Rodney Tomlinson and Ms.

Sari Kiraly

Mrs. Tamara and Dr. Stephan

Tymkiw

George and Charlotte West

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

ANNUAL GIVING 2022-2023

GIFTS OF $100 TO $999

Anne Scrivener Agee

Margaret Alaxanian

Michael Alin & Ann Carroll

Linda Allen

Vanessa Andris

Jack & Leslie Andryszak

Lillian Armstrong

Ms. Susan Armstrong

Karen Bakkegard

Adele Baron

Susan & Jess Behringer

Julie Belkin

Pam Benitez

Peter Bittner & Margaret Keegan

Marjie & Frank Blanco

Bernard Bradpiece

Pat & Karen Brown

Carmen Brun

Nancy Brun

Mr. David Bush

Carolyn Cassidy

Pamela & James Chaconas

Patrick & Nancy Clagett

Rosemary Claire

Elizabeth Colandro

Mr. & Mrs. Andrew L. Cole

B.S. Creighton

Judy Crews-Hanks & Brian Hanks

Barbara & James Cyr-Roman

Mary Jean Davidge

Mr. & Mrs. Robert Demoyer

C. DeVore

Peter Eareckson

Fred & Susan Eckert

Mr. Michael Eckhart

Robert & Gloria Ellsworth

Sharon Engelhard

Mr. & Mrs. Donald C. Erickson

David & Janet Ewing

Pauline Farmer

Mr. & Mrs. Millard Firebaugh

James R. Fitzpatrick

David & Cindy Fox

Patricia Frese

Sheila Gagen

Julia Elizabeth Garraway

George Geneaux

Elizabeth Gordon-Bluntschli

Arthur Greenbaum

Arnold & Phyllis Gruber

Valerie Gutterson

Georgina Hammond

Patty Harris

Mr. & Mrs. Robert M. Hecht

Tylar & Carol Hecht

D. Gayle Hensley

Gretchen Herdt

David Herron

Margaret Hosmer

Hugh & Deborah Houghton

Dr. & Mrs. William Hunter

Sally W. Iadarola

Beth D. Jacob

La-Royce Jordan

Monica Kaiser

James Kaper & Carol Tacket

Lawrence & Jeanne Kelly

Nick Kemp & Kay Osburnsen

Ernie & Chris Kent

Jack & Maria Kersh

Getha Klejnot

Linda Kolosky

Alice Kurs

Carol Laurenzano

Norman & Doris Lerner

Ellen & Joseph Levin

Susanne Lieberman

Timothy & Katherine Lynch

Lynne Malley

Shaun Mathis

Colin McIntosh & Robert Smith

Teresa McKenna

Elaine Mines & Norman Mines

Francisco Montero

Don & Carol Nelson

David & Carol Newman

Nancy Nicoll & Richard Wagner

Susan Okula

Lily Openshaw & Dave

Openshaw

Ed & Jeanne Paglee

Nancy Prendergast

Kristen Pironis

Bob & Cookie Pollock

Fred Probeck

Caroline Purdy & John Gudas

Margret Rauh

Ken & Maureen Reightler

Mr. & Mrs. Daniel Risher

Christopher Rizek

Jack & Ida Roadhouse

Constance Robinson

Paul & Joan Rosenberg

Barbara & Everett Santos

Jeffrey Scherr

Ken & Elaine Schmidt

Mr. & Mrs. Randy Schmitt

Scott Schollenberger

Donald Silawsky

Jill & Joseph Simon

Anne Sloan

Mr. & Mrs. Eric Smith

Lisa & Chris Smith

Walton Stallings

Robert & Barbara Stern

Anne K. Stratton

Dr. & Mrs. Albert Strunk

Thomas Taneyhill

Philip W. Tawes & Edwards Adams

Emily Tevault

Brian Thiel

Paula Thistle

Larry & Betty Thompson

Peter Threadgill

Laura & Jack Van Geffen

Matt Venhaus

Mr. & Mrs. Damien Wanner

Cynthia Wells

Hans Wein & Jean Mitchell

Mr. & Mrs. Ken Wexley

Tara Wittig

Mr.&Mrs. Clifford Woodward Jr.

Francis Wright

Bernard & Louis Wulff

Cecelia Wyatt

Mark Wynn

Marion & Norbert Zacharias

Rosalie Zaia

Anne Zanazzi

Pat Zeno & Frank Parent

David Zinnamon

Anonymous (4)

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.

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-to-Donate, 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

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

Margaret Cole

Elizabeth Gordon-Bluntschli

Diane Green

Patrick M. Green

Anna Greenberg

Julie Grudzinskas

Valerie Gutterson

Marilyn Lyons

Kathleen J. McInnis

Mary McKiel

Cat Marucci

Barbara Merke

Joan Russell

Susan Z. Sams

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.

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.