2022-2023 Masterworks V

4 Annapolis Symphony Orchestra 2022-23

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

801

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

Maryland State Arts Council

J.M. Kaplan Fund

JosuahOneNine Fund

The Dealy Foundation, Inc.

Old Fox Books & Coffeehouse

Janney Montgomery Scott LLC

Pledgeling Foundation

The Council Family 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 31, 8PM | April 1, 8PM

Maryland Hall

April 2, 3 PM | Music Center at Strathmore

José-Luis Novo, Artistic Director & Conductor

The Philip Richebourg Chair

Esther Yoo, Violin

Esther Behzad Ranjbaran (b. 1955)

I. The Seven Trumpets of the Gates of Susa

II. The Enchanting Gardens of Susa

III. The Morning Star

Violin Concerto No. 1 in D major, op. 19

I. A ndantino

II. Scherzo: Vivacissimo

III. Moderato—Allegro moderato

Esther Yoo, violin

~ INTERMISSION ~

Symphony No. 2 in D major, op. 73

I. Allegro non troppo

II. Adagio non troppo

Sergei Prokofiev (1891 1953)

Johannes Brahms (1833 1897)

III. Allegretto grazioso (quasi andantino) Presto ma non assai

IV. Allegro con spirito

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

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

MUSICIANS – MASTERWORKS V

VIOLIN I

Nicholas Currie, Acting Concertmaster

Heather Haughn, Acting Associate Concertmaster

Abby Armbruster, Acting Assistant Concertmaster

Qian Zhong

William Wang

Angela Chew

Yan Izquierdo

Kei Sugiyama

Amelia Giles

Freya Creech

Lydia Miller Choorapuzha

Dana Bevard

VIOLIN II

Christian Tremblay, Principal

Kristin Bakkegard, Associate Principal

Natalia Merezhuk

Alexandra Mikhlin

Paul Bagley

Haerin Jee

Minjin Lee

Paula Sweterlitsch

Kimberly McCollum

Yalira Walker

VIOLA

Sarah Hart, Principal

Derek Smith, Associate Principal

Kate Zahradnik

Rachel Holaday

Daphne Benichou

Susan Taylor Dapkunas

Maggie Seay

Heidi Remick

CELLO

Todd Thiel, Principal, The Philip Richebourg Chair

Pei Lu, Associate Principal

Nicole Boguslaw

Daniel Shomper

Alison Bazala Kim

Jihea Choi

Rachel Sexton

Peter Kibbe

BASS

Broc Mertz, Acting Principal

Patrick Raynard, Acting Associate Principal

Adriane Irving

Peter Cohn

Shawn Alger

Edward Leaf

FLUTE

Kimberly Valerio, Principal

Lauren Sileo

Lori Kesner

OBOE

Fatma Daglar, Principal

Rick Basehore

Joseph DeLuccio

CLARINET

Robert DiLutis, Principal

Brian Eldridge

BASSOON

George Sakakeeny, Acting Principal

Patricia Morgan

HORN

Alex Kovling, Principal

Shane Iler, Associate Principal

Ken Bell, Acting Assistant Principal

Steven Barzal

Anthony Valerio

TRUMPET

Thomas Bithell, Acting Principal

Davy DeArmond

Justin Juarez

TROMBONE

David Perkel, Principal

David Sciannella

Kaz Kruszewski

TUBA

Jake Fewx, Principal

TIMPANI

Jonathan Rance, Acting Principal

PERCUSSION

Robert Jenkins, Acting Principal

Gregory Herron

Thomas Maloy

HARP

Anna Ellsworth, Acting Principal CELESTE

Tomoko Kanamaru, Acting Principal

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.

ESTHER YOO VIOLIN

Esther began playing the violin at four years old and made her concerto debut aged eight. At 16 she became the youngest prizewinner of the International Jean Sibelius Violin Competition and two years later was one of the youngest ever prizewinners of the Queen Elisabeth Competition. In 2014 she became a BBC Radio 3 New Generation Artist and in 2018 was selected as one of Classic FM’s Top 30 Artists under 30. In 2020 WQXR named her one of 20 “Artists to Watch.”

She performs with leading conductors—including Vladimir Ashkenazy, Gustavo Dudamel, Esa-Pekka Salonen, Myung-Whun Chung, Vasily Petrenko, Thierry Fischer, Karina Canellakis, and Andrew Davis—and orchestras such as the Los Angeles Philharmonic, Philharmonia, Seoul Philharmonic Orchestra, Deutsche Radio Philharmonie, BBC Symphony Orchestra, and the Royal Liverpool Philharmonic. She has performed at a range of prominent festivals, including BBC Proms and Aspen Music Festival, and has appeared in recital at Lincoln Center and Wigmore Hall.

The Royal Philharmonic Orchestra appointed her as their inaugural Artist-in-Residence in 2018, through which she participated extensively in educational and outreach projects, alongside concert performances in London and across the UK.

Esther has recorded the Sibelius, Glazunov, Tchaikovsky, and—most recently—Barber and Bruch concertos for Deutsche Grammophon. She featured prominently on the soundtrack and accompanying disc of the feature film On Chesil Beach and is a guest artist on pianist Chad Lawson’s album breathe, both released by Decca Records and recorded at Abbey Road Studios.

Deutsche Grammophon has also released two recordings by the Z.E.N. Trio, which she founded together with fellow BBC Radio 3 New Generation Artists Zhang Zuo and Narek Hakhnazaryan, and which tours widely in North America, Europe, Asia, and Australia. The first album includes works by Brahms and Dvo ˇ rák, and is followed by Burning Through the Cold featuring piano trios by Shostakovich, Babajanyan, Rachmaninoff, and Khachaturian.

Esther has curated a two-hour special programme for BBC Radio 3 and is a frequent contributor to BBC Music Magazine, Gramophone, The Arts Desk, and The Strad, which featured her on the cover of its August 2021 edition. She writes not only about repertoire and practice techniques, but also about less commonly explored areas, such as the mental health and wider wellbeing of musicians.

ESTHER BEHZAD RANJBARAN, B. 1955

Violinist and composer Behzad Ranjbaran began his formal music education at age nine when he entered the Tehran Conservatory of Music. Although he describes the mid-20th century under the Shah as “the golden age of classical music,” he was imprisoned for a short while because he possessed books with “wrong” ideas. He left Iran for the United States in 1974 to pursue his violin studies at Indiana University, continuing at Juilliard for a doctorate in performance and composition. In an interview, he admitted that his politics had made it difficult for him, even before the Islamic revolution of 1979: “I was politically active so I had difficulty staying in Iran. I was very concerned about social justice and political freedom, and was actually imprisoned for a few months as a political prisoner. I met other political prisoners who were brutally tortured and eventually executed, so that made a great impression on me.”

Now on the faculty at Juilliard, Ranjbaran teaches Music Theory and Analysis. He has been a recipient of a National Endowment for the Arts grant, as well as a Charles Ives Award from the American Academy of Arts and Letters.

While Ranjbaran's music is rooted in neo-Romanticism, it is strongly influenced by non-Western, especially Persian, classical music. Ranjbaran composed Esther in 2015 on commission from the Binghamton Philharmonic Orchestra. He found inspiration in the Biblical story of Esther, in which cunning and bravery saved Persia's Jews.

In an interview at the time of the premiere, Ranjbaran commented that “...in modern societies, science has to validate much of our concepts, but I find legends and ancient stories—biblical and non-biblical—reflect a sense of mysticism that is a fine line between visible and invisible. So as much as I value the scientific approach to events and social interactions, the ancient stories and legends have more room for interpretation.”

In his program notes, Ranjbaran writes: “According to the Bible, Es-

ther was a Jewish queen of the Persian king Ahasuerus. She is known for saving the Jewish people from a genocidal plot concocted by Haman, a high court official. Her successful appeal to King Ahasuerus stopped the impending massacre and resulted in punishment for the conspirators.” Esther's heroism during this event became the basis for the Feast of Purim, a Jewish tradition which continues to be observed in the present day.

“Much of the story of Esther takes place in Susa, the ancient capital of Persia famed for its magnificent buildings and beautiful gardens. My music doesn’t follow the Biblical narrative scene by scene; rather it is a reflection on Susa, Esther's character, the Feast of Purim, and the story's themes of bravery, tolerance, conspiracy, and compassion.

“The first movement, The Seven Trumpets of the Gates of Susa, refers to the splendid city of Susa mentioned in the Bible and many historical sources. Seven is a mythological number, for example: the seven seas, skies, and the days of the week. This symbolic number plays an important role in the organization of the musical materials, rhythm, and the structure of

the piece. New sections often begin with a simultaneous stroke of tam-tam [large gong] and bells, each time a step higher. The movement culminates with a brass fanfare again emphasizing the number seven.

“The second movement, “The Enchanting Gardens of Susa”, is mostly nocturnal in character with a seven-note motif heard at the beginning. Some of the movement's highlights are the improvisational characteristics exhibited in the extended solo passages played by the English horn, trumpet, and the harp.

“The third movement, “The Morning Star”, begins with the brass fanfare from the end of the first movement. Some sources indicate that Esther was considered to be a derivative of Ishtar, an ancient Mesopotamian goddess and the morning star. The sound of shofar (ram’s horn) played by the horns and the joyous character of the Purim celebration permeate throughout the movement.”

VIOLIN CONCERTO NO. 1 IN D MAJOR, OP. 19 SERGEI PROKOFIEV, 1891-1953

The year 1917 was a traumatic one for Russia. The February Revolution deposed the Tsar, and the October Revolution brought the Bolsheviks to power. Russia was losing disastrously in its war against the central powers, Germany and Austria. Sergei Prokofiev, shutting himself off from the earthshattering turmoil around him, distanced himself physically as much as possible from the political turmoil. It was for him an exceptionally fruitful year, one of the products being the Violin Concerto No. 1. The Concerto had been one of the few things the composer took with him when he left Russia early in 1918, leaving most of his manuscripts for safekeeping either in Moscow with conductor Serge Koussevitzky or with his mother in Petrograd. Still, most of these works were lost during the desperate times of the civil war.

Envisioned as a modest violin concertino two years earlier, the Concerto gradually grew in scope and complexity. Prokofiev combined the harsh

dissonances and spiky melodies that had so scandalized his professors at the Moscow Conservatory with romantic passages of elegant lyricism. Because of the political upheaval, however, he was forced to shelve it until 1923 when it premiered in Paris.

The first movement, during which the violin plays almost continuously, is designed as an arch. It opens on a tremolo in the middle strings, over which the soloist soon enters with the movement’s long, serpentine first theme, accompanied first by a solo flute, then by a pair of clarinets, and finally the strings and the orchestra. With a gradual increase in tempo, the Concerto spins out a series of subsidiary themes, some of them recalling Russian folk melodies and dances. Then, the tremolo—now in the cellos and basses—and the first theme is repeated with altered orchestration to gently conclude the movement.

The Scherzo represents the “savage” Prokofiev of the piano works of the period. It has two trios, between which the Scherzo theme is used as a refrain. In the Scherzo proper the soloist plays a jagged theme high in its range against a rapid “clockwork” accompaniment in the pizzicato violins. The first trio drops the range suddenly for both soloist and orchestra, now against a pizzicato accompaniment in the low strings. The brass announce the second trio, in which the violin again plays low in its range.

The finale takes up the “clockwork” accompaniment from the Scherzo, only this time with staccato bowing and a return to the more lyrical tone of the opening of the Concerto. The Concerto concludes not with the expected flourish, but with gentle conversations among the violin, harp, and solo winds and a whisper on the flute.

SYMPHONY NO. 2 IN D MAJOR, OP. 73 JOHANNES BRAHMS, 1833-1897

Unsure of his ability to compose symphonies, Brahms took 14 years to finish his first in 1876. Its critical and popular success, while far from overwhelming, gave him the confidence to try his hand at a symphony again, and this time with much greater assurance; thus, it took him just a few months in the summer and fall of 1877 to compose his Second Symphony. Brahms spent the summer of 1877 in Pörtschach, an out-of-the-way village in the Austrian countryside, from where he wrote to Vienna’s chief music critic, Eduard Hanslick, “So many melodies fly about, one must be careful not to step on them.” The symphony’s sunny spirit—especially the last two movements—and relatively transparent orchestration harks back to the young Brahms of the two orchestral Serenades (1856–60) and has less of the dense orchestration that permeates much of Brahms’s symphonic writing. It induced one of the composer’s friends to exclaim: “It is all rippling streams, blue sky, sunshine, and cool green shadows. How beautiful it must be at Pörtschach!”

Brahms kept all but his closest friends in the dark about the character of the new work, hinting that it was tragic, somber, dirge-like, and—adding facetiously—would require the orchestra members to wear black crêpe armbands. The premiere in Vienna on Dec. 30, 1877, under the baton of Hans Richter, was an unqualified success, and the ebullient third movement had to be repeated at the insistence of the enthusiastic audience.

The first movement begins gently, only gradually building in dramatic intensity. The opening three notes in the cellos and basses represent a three-note motivic element (motto) that pervades the first movement sometimes in the melody, at other times as an accompanying figure. Yet, offsetting this persistent kernel is a considerable array of themes, some of which find the little motive embedded within them. The second theme is one of the symphony's darker moments and becomes the heart of the development section. Nevertheless, good weather prevails by the end with

a gentle coda recalling the motto and ending with a restatement of the first theme.

Like the preceding movement, the Adagio non troppo is packed with melodies, but this time the sunshine pretty much stays behind the clouds from the start. Here Brahms breaks down his longer themes into fragments, using the three-note motto from the first movement as well.

The third movement opens with a beautiful Allegretto grazioso solo for the reed woodwinds, accompanied by pizzicato cellos. In an unusual move, Brahms uses the main theme again in the trio – only speeded up to presto and in 2/4 time instead of 3/4. The repeat of the first part is a free variation with only brief reprises of the original woodwind melody.

The finale, the most festive movement Brahms ever wrote, begins with a gray sotto voce (subdued) rhythmic variation of the three-note motto from the opening movement, once again in the cellos and basses. Here Brahms incorporates it into the beginning of the principal theme. The mood becomes gradually more excited, and the Symphony concludes in blazing optimism with a trumpet fanfare.

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

*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 memory of Ralph Bluntschli

Elizabeth Gordon-Bluntschli

In memory of Peggy Ertlmeier

Bob Sherer

In honor of Jim Cheevers

Don & Keren Dement

In honor of Anna E. Greenberg

Don & Keren Dement

In memory of John B. Moore

Don & Keren Dement

In memory of Julie Hall

Monica Kaiser

In memory of Michael Kurtz

Pat Zeno & Frank Parent

In memory of Michael Kurtz

William & Constance Scott

In memory of Pamela F. Bush

David Bush

In memory of Paige Miller

The Paige Miller Memorial Scholarship

In memory of Damon Santos

Barbara & Everett Santos

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 I

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

Rachael Stockton

Sponsored by Tara Balfe Clifford

Hanbing Jia

Sponsored by Capt. Mark & Michelle Hellstern

VIOLIN II

Christian Tremblay, Principal

Sponsored by Peter and Sarah 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 William and Renata Davis

CLARINET

Robert DiLutis, Principal

Sponsored by Shelley Row

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

Capt. Mark and Michelle

Hellstern +

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

Drs. Mark C. Davis & Ann A. Tran

Thomas DeKornfeld

Anna E. Greenberg

Pierre & Danalee Henkart

Jan & David Hoffberger

Karl & Marge Hoke

Ms. Lori Kesner

Paige Miller Memorial Scholarship

Anne S. Potter

Steve Root & Nancy Greene

Amy & Joe Rubino

William & Constance Scott +

Doug & Karen Smith +

Russ Stevenson & Margie Axtell

Judith Templeton

+ Multiyear Pledges

GIFTS OF $1,000 TO $2,499

Anonymous

Bill & Lisa Abercrombie

Martha Blaxall & Joe Dickey

Ann Burchard

Hugh Camitta & Louise Snyder

Diana & Kazmieras Campe

Joseph & Patricia Casey

Jane Danowitz

Don & Keren Dement

Angela Eggleston-Howard

Renee Ehler & George Bentley

Dr. Richard & Carole Falk

Bob & Diane Heaney

Richard & Lisa Hillman

The Johansen Family

Barbara Lazar

Janet Little

Elizabeth Mainiero

Pat Mager

David McGill

Lee Mueller

Rob & Patti Muir

Laura Murray

Cheryl & Jim Painter

Beth Penn

Kathryn Porter

Clay & Carol Richards

Carolyn Robertson

Pamela Roeming

Mr. & Mrs. Michael T. Schuncke

Richard & Martha Schoenfeld

Bob Sherer

Dr. Rodney Tomlinson & Ms. Sari Kiraly

Mrs. Tamara & Dr. Stephan Tymkiw

George & Charlotte West

Anonymous

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 & 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

Christian Davis

Mr. & Mrs. Robert Demoyer

C. DeVore

Peter Eareckson

Sylvia & James Earl

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

Diane W. Green

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

Tomoko Kanamaru

James Kaper & Carol Tacket

Lawrence & Jeanne Kelly

Nick Kemp & Kay Osburnsen

Ernie & Chris Kent

Jack & Maria Kersh

Marvin & Nina Kesner

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

Ed Moses

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

ANNAPOLIS SYMPHONY.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.