Masterworks IV: Portraits

MASTERWORKS IV:

PORTRAITS ANNAPOLIS SYMPHONY .ORG

SERIES @

MASTERWORKS IV Portraits

Elgar & Schumann with cellist Steven Isserlis

SUN MAR 3 | 3:00 PM

Strathmore

7

MASTERWORKS V

Roman Festivals

Respighi & Beethoven with pianist Awadagin Pratt

SUN APR 14 | 3:00 PM

Strathmore

2023-2024 BOARD OF TRUSTEES

MARY MCKIEL, PHD Immediate Past Chair

ROBERT ARIAS

GEORGIANNA CROSBY

WILLIAM DAVIS

GINGER FROM SONJA GLADWIN

SHELLEY ROW, PE, CSP Chair

OFFICERS

KATHERINE EDWARDS, MD Vice Chair

ANN WHITCOMB Vice President-Finance

TRUSTEES

CHARLES GRUDZINSKAS

COLLOT GUERARD

MICHELLE HELLSTERN

DEB HOWE

GERALDINE “MIMI”

LADD JONES

TRUSTEE EMERITUS

FLORENCE CALVERT

EX OFFICIO TRUSTEES

STEPHEN SOTACK Treasurer

MONIQUE LANGSTON, MD Secretary

JILL KIDWELL JERRAY SLOCUM

ELIZABETH MAXWELL-SCHMIDT, MD

MARIE TREANOR

CHRISTINE “TINA” YOUNG

JOSÉ-LUIS NOVO Artistic Director & Conductor

ANN TRAN FASO Board Representative

BARBARA RANDOLPH Interim Executive Director

ORCHESTRA REPRESENTATIVE

KRISTIN BAKKEGARD Musicians’ Representative, Players Committee

ABOUT THE ANNAPOLIS SYMPHONY ORCHESTRA

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

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

BARBARA RANDOLPH Interim Executive Director

NETANEL DRAIBLATE

ASA Director & Founder

ANNAPOLIS SYMPHONY ORCHESTRA STAFF

MIRIAM FOGEL Director of Artistic Operations

JULIE NOLAN Director of Ed & Community Outreach, Grants Manager

SHUN YAO

ASA Assistant Conductor

SARAH JOHANSEN Director of Business Operations

OLIVIA REN Orchestra Librarian

LAUREN SILBERMAN Director of Development

DAVID SCIANNELLA Operations Manager

DIANA LOVE Director of Marketing & Communications

MAYA MCATEE Office & Data Manager

HEATHER HAUGHN

ASA Department Head, Strings

KIMBERLY VALERIO

ASA Chair, Winds & Brass

ANTHONY VALERIO

ASA Conductor, Aquarius Wind Ensemble

A NOTE FROM THE BOARD OF TRUSTEES

Welcome to tonight’s unforgettable musical journey as the Annapolis Symphony Orchestra presents Masterworks IV, a concert brimming with orchestral delights.

Each time the ASO performs, I settle into my seat with eager anticipation. There’s a palpable energy in the air as the lights dim and a reverent hush falls over the audience, signaling the imminent commencement of a musical journey. One of the highlights for me is the arrival of the ASO’s Concertmaster, Netanel Draiblate, onto the stage. His presence heralds the beginning of a captivating evening filled with musical wonders. Then, there’s the moment when Principal Oboe Fatma Daglar meticulously tunes the orchestra to the resonant “A” note, setting the stage for the symphonic masterpiece about to unfold.

However, it’s the moment when Maestro José-Luis Novo steps onto the podium that my anticipation peaks. He readies the music score, and then pauses briefly, allowing the final whispers of the crowd to fade into silence before raising his hands, a silent cue for the musicians to ready their instruments. It’s a moment charged with promise, a precursor to the transformative power of music.

And what power it holds! Music has a profound ability to stir our souls, offering solace in times of sorrow and igniting joyous celebration in moments of triumph. It

transcends language and culture, speaking directly to the heart in a universal tongue. Yet, amidst its many wonders, perhaps the most enchanting aspect of music is its capacity to elicit genuine “Wow” moments. About four years ago, a young boy became a media sensation when he broke the silence at the end of a performance in Boston of Mozart’s Masonic Funeral March with an aweinspired exclamation: “Wow!” The unbridled excitement in the boy’s exclamation reminds us of the magic that music holds, eliciting awe in even the youngest of listeners.

Recently, I had the pleasure of sharing this enchantment with my nephew, a 14-yearold who from time to time accompanies me to ASO concerts. Last September, he attended the season’s opening concert featuring among other works, Carlos Simon’s new composition, This Land . As the music enveloped us, he slouched down into his seat and sat in quiet contemplation. I glanced at him apprehensively, worried that this modern work might not appeal. Yet, as the final notes faded away, his demeanor transformed, and he turned to me and whispered, “Wow! I felt that!”

In that moment, I realized the profound impact that music can have, transcending age and expectation to touch us in unexpected ways. It’s a testament to the enduring allure of the Annapolis Symphony Orchestra, whose performances continue to inspire and enchant audiences of all ages.

As we embark on another evening of musical splendor, let us embrace the anticipation, savor the magic, and remain open to the transformative power of music to evoke that timeless and cherished “Wow” moment.

Jill Kidwell

An ardent believer in the power of music, Jill serves as a Trustee on the Board of the Annapolis Symphony Orchestra.

Jill is co-founder of CareProvide, a partner in hiring qualified care providers for your loved ones in the Annapolis Area. CareProvide - “Inspired to Live Life Well”. Learn more at CareProvide.com.

2023-24 SEASON SCHEDULE

Masterworks IV Portraits

Elgar & Schumann with cellist

Steven Isserlis

March 3 at 3:00 pm

Strathmore

Masterworks

V Roman Festivals

Respighi & Beethoven with pianist

Awadagin Pratt

April 12 & 13 at 7:30 pm

Maryland Hall

April 14 at 3:00 pm

Strathmore

Masterworks

VI This Midnight Hour

Clyne & Sibelius

May 10 & 11 at 7:30 pm

Maryland Hall

CHAMBER MUSIC SERIES

Brass Quintet

March 10 at 5:00 pm

Bowie State University Fine & Performing Arts Center

Windwood Quintet

March 24 at 3:00 pm

Ss. Constantine & Helen Greek Orthodox Church

May 4 at 3:00 pm

Evangelical Presbyterian Church of Annapolis

ASA DAY

The Annapolis Symphony Academy presents a day of celebration of all things musical!

May 19

Maryland Hall

Anna Clyne

Awadagin Pratt

Steven Isserlis

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

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

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

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

Music SeriesCHAMBER

Brass Quintet

SUNDAY, MARCH 10 AT 5:00 PM

Bowie State University Fine & Performing Arts Center

Windwood Quintet

SUNDAY, MARCH 24 AT 3:00 PM

Ss. Constantine & Helen Greek Orthodox Church

SATURDAY, MAY 4 AT 3:00 PM

Evangelical Presbyterian Church of Annapolis

MASTERWORKS IV MUSICIAN ROSTER

VIOLIN I

Netanel Draiblate, Concertmaster

Nicholas Currie, Associate Concertmaster

Hanbing Jia, Assistant Concertmaster

William Wang

Susan Benac

Heather Haughn

Angela YuTing Chew

Claudia Chudacoff

Yan Izquierdo

Katelyn Lyons Peaden

Minjin Lee

Essena Setaro

VIOLIN II

Christian Tremblay, Principal

Kristin Bakkegard, Associate Principal

Natalia Merezhuk

Karin Kelleher

Alexandra Mikhlin

Megan Gray

Kei Sugiyama

Amelia Giles

Paul Bagley

Sara Schneider

VIOLA

Sarah Hart, Principal

Derek Smith, Associate Principal

Kate Zahradnik

Rachel Holaday

Louise Elder Chestnut

Susan Taylor Dapkunas

Christof Huebner

Heidi Remick

CELLO

Todd Thiel, Principal

Pei Lu, Associate Principal

Catherine Mikelson

Alison Bazala Kim

MaryAnn Perkel

Nicole Boguslaw

Daniel Shomper

April Studeny

BASS

Patrick Raynard, Principal

Benjamin Crofut, Associate Principal

Peter Cohn

Brandon Smith

Adriane Irving

Broc Mertz

FLUTE

Kimberly Valerio, Principal

Genevieve Eichman

OBOE

Fatma Daglar, Principal

Rick Basehore

CLARINET

Robert DiLutis, Principal

Brian Eldridge

BASSOON

Jimmy Ren, Acting Principal

Patricia Morgan

Lynn Moncilovich

HORN

Alex Kovling, Principal

Chandra Cervantes

Shane Iler

Anthony Valerio

Joy Hodges

TRUMPET

Christopher Sala, Principal

Christopher Buchanan

Andrew Fremder

Thomas Bithell

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

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ANNAPOLIS SYMPHONY ORCHESTRA

MASTERWORKS SERIES

March 1, 7:30 pM | March 2, 7:30 pM

MARYLAND HALL

March 3, 3:00 pM

MUSIC CENTER AT STRATHMORE

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

Steven Isserlis, cello

Le Carnaval romain (The Roman Carnival) Hector Berlioz Overture, op. 9 ( 1803–1869)

Cello Concerto in A minor, op. 129 Robert Schumann (1810–1856)

I. Nicht zu schnell—

II. Langsam—

III. Sehr lebhaft

Steven Isserlis, cello

- INTERMISSION -

Variations on an Original Theme, Edward Elgar op. 36, “Enigma” (1857–1934)

Theme

Variation I (C.A.E.)

Variation II (H.D.S-P.)

Variation III (R.B.T.)

Variation IV (W.M.B.)

Variation V (R.P.A.)

Variation VI (Ysobel)

Variation VII (Troyte)

Variation VIII (W.N.)

Variation IX (Nimrod)

Variation X (Dorabella: Intermezzo)

Variation XI (G.R.S.)

Variation XII (B.G.N.)

Variation XIII (***: Romanza)

Variation XIV (E.D.U.: Finale)

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

PROGRAM NOTES

Le carnaval romain (The Roman Carnival) Overture, op. 9

HECTOR BERLIOZ

Born Dec. 11, 1803, La Côte-Saint-André

Died Mar. 8, 1869, Paris French composer Hector Berlioz’s first introductions to music were childhood lessons on the flageolet (a small wind instrument), flute, and guitar. These early lessons on a variety of instruments may have had a permanent influence on Berlioz, as he is now known for exploring new timbres and expanding the role of winds in the orchestra. Much to Berlioz’s chagrin, his father ruled that he should become a doctor, and so in 1821 Berlioz left southeastern France for Paris to study medicine. He dutifully studied until 1824, but even during this time Berlioz began taking lessons with Jean-François Le Sueur, a composition teacher at the Conservatoire de Paris. Berlioz formally matriculated at the Conservatoire in 1826, and soon after applied to the Prix de Rome for the first of three failed attempts. He finally

won the Prix de Rome in October 1830 and though he tried to delay (and even avoid) the required study in Italy due to increasing success in Paris, he did live and work in Italy for 15 months during 1831–1832. One of the works to obviously be influenced by this residency was the opera Benvenuto Cellini

Inspired by the passionate autobiography of Italian Renaissance sculptor Benvenuto Cellini, the opera tells the love story between Cellini and Teresa and the dramatic challenges— including an antagonistic father, sword fights and murder, disguises, bribery, and more—that are overcome to fulfill their love. The libretto and music were first written as a comic opera, which was rejected for performance in 1834. After revisions to make it more serious, it was accepted to the Opéra de Paris in 1836 but had an infamously unsuccessful premiere in 1838. Berlioz later reworked some material from the opera into the concert overture Le carnaval romain (The Roman Carnival ), which he conducted for its premiere on February 3, 1844. Unlike the operatic source material, Le carnaval romain has remained a success in the orchestral world.

Le carnaval romain imitates the general structure—fast introduction, slow section, fast section—of the original overture to Benvenuto Cellini , but it does not have the same musical material. Like the operatic overture, Le carnaval romain begins with a tutti allegro introduction that grabs the audience’s attention, and after a pause it transitions to an andante sostenuto led by the English horn, an example of how

Berlioz revolutionized the use of winds. The English horn plays the yearning melody from a duet between Cellini and Teresa in Benvenuto Cellini , in which Cellini sings of his adoration for Teresa (ma chère vie / my dear life) and Teresa struggles with her passion (non, je ne dois plus vous revoir / no, I must not see you again). Berlioz then puts the melody in the violas, another example of how he experimented with instrument roles. After woodwind flourishes, the tempo shifts to vivace, and a lively saltarello Italian folk dance begins. The saltarello rhythm is introduced in muted strings and piano flutes and oboes, creating a sense of hushed anticipation. As the brass and percussion join, the orchestra crescendos to a fortissimo statement of the dance theme, and we can imagine the riotous celebrations of the carnival season in Rome. The dance seems to slow as the texture thins and rhythmic pulse relaxes, preparing the bassoons to play the love duet melody, accompanied by the second violins playing the saltarello dance. Berlioz called this technique of combining two previously separate themes a “réunion de deux themes,” and it is one of his typical compositional features. The dance then builds to an imitative fugato section leading to a tutti that is dominated by the full brass section, bringing the overture to a frenzied, celebratory close.

Cello Concerto in A Minor, op. 129 ROBERT SCHUMANN

Born Jun. 8, 1810, Zwickau

Died Jul. 29, 1856, Endenich

A musician who lived and worked in what became Germany, Robert Schumann is known for his musical compositions as well as his contributions to musicological literature. Schumann wrote biographies of famous composers in his teenage years, and he eventually founded Die Neue Zeitschrift für Musik (The New Journal of Music) in 1834, a periodical that would have a lasting influence on other contemporaneous composers’ careers as well as the formation of the Western art music canon.

Schumann studied music at a young age, and he had his first public appearances as a pianist in 1821 and 1822, when he also started composing. He moved to Leipzig in May of 1828 in preparation to study law at the University, but he would continue his musical studies at the same time. By August 1828 he was studying piano under Friedrich Wieck, who became an important mentor and colleague. Wieck was a co-founder of the Neue Zeitschrift and he was the

father and professional manager of the internationally-famous pianist Clara Wieck, who would in 1840 become Schumann’s wife. Any of Schumann’s aspirations for being a concert pianist ended when he injured his finger in 1831, made worse by his use (against the advice of Clara) of a rigid device to help train wrist, hand, and finger placement. By 1832 Schumann’s injury was incurable and so, in addition to the Neue Zeitschrift , composition became his focus. He composed the Cello Concerto in A Minor in October 1850, and Clara wrote three weeks later that “[the piece] pleases me very much and seems to me to be written in true violoncello style.” Robert cancelled a performance planned for spring 1852 and did not send the work to be published until 1854. That same year, he attempted suicide and was subsequently admitted to a psychiatric hospital where he died two years later. His Cello Concerto premiered posthumously, in 1860, in honor of what would have been the composer’s fiftieth birthday. In a deviation from the established form for a concerto, Schumann’s cello concerto is meant to be played continuously, without pauses between sections that are often today indicated as separate movements. The first section, marked Nicht zu schnell (not too fast), begins with three chords in the winds, a motive which is then echoed in the cello’s solo line. This three-note motive, an inversion of the A minor arpeggio, is the basis for the piece’s main theme and recurs throughout the work. As the cello takes center stage, the melody is masterfully

woven between the soloist and the orchestra, which Clara described in 1851 as “ravishing.” After transitioning to A major, the first section finishes with rising sixteenth notes passed around the tutti orchestra, stopped by the three chords in the winds that prepares for a plaintive solo line in the cello, transitioning to F major. Then begins the slow Langsam section, where the cello sings above wind solos, the repeated three chords, and pianissimo pizzicato strings. In the final Sehr lebhaft (very lively) section, the meter shifts and a sprightly dance begins, with accented chords and flourishes in the cello and orchestra. The soloist’s virtuosity is on display in this movement, highlighted especially in the accompanied cadenza. The tempo becomes even faster, and the piece ends with rousing tutti chords led by the soloist.

Variations on an Original Theme, op. 36, “Enigma” EDWARD ELGAR

Born Jun. 2, 1857, Broadheath

Died Feb. 23, 1934, Worcester Edward Elgar never received formal music training. He received sporadic violin lessons in 1877–78, but his musical

skill was enough that he was able to work as a freelance musician, playing mainly violin but also the organ and bassoon. By the early 1880s, Elgar had given up the idea of being a concert violinist and turned his attention to composition, though he struggled to get recognition. In 1886 Elgar married Caroline Alice Roberts, a former piano student, and they moved to London for a year where he tried and failed to establish himself within the London music scene; they were only supported by Caroline’s money. The family returned to the midlands and, slowly but surely, Elgar became known as a composer throughout the 1890s.

The piece that rocketed Elgar to fame was Variations on an Original Theme, often referred to as the “Enigma” Variations. Composed 1898–99, the piece premiered in London on June 19, 1899, and Elgar himself conducted the piece, with an extended finale and an additional organ part, in Worcester on September 13, 1899. The extended version of the piece was published in 1899, making it Elgar’s first work to be published in full score. Variations was a stunning success and hailed—then and now—as a British masterpiece.

While the main theme of the piece is entitled “Enigma,” Elgar also revealed in a program note for the premiere that there was an enigma—a puzzle—within the piece. He wrote that “its ‘dark saying’ must be left unguessed […] further, through and over the whole set another and larger theme ‘goes,’ but it is not played.” Because of this revelation, musicians have since tried to solve the

puzzle, often thought to be a hidden melody.

The main Enigma theme is established at the beginning of the piece in the strings, the first six measures providing the main material for the rest of the work. The next fourteen “illustrative movements” are all variations of the Enigma theme, each of them also labeled for one of Elgar’s friends. In each movement, Elgar aimed to “represent [their] mood” and write the music that he “[thought] they would have written.” The fourteen variations are as follows:

I: (C.A.E.) In honor of his wife, Caroline Alice Elgar, the composer considered this movement to be “really a prolongation of the theme,” demonstrated in the attacca connection as the violins play a syncopated transition. When the winds take over and the rhythmic pulse increases, the C.A.E. variation begins. Sweet woodwinds and strong brass show different sides of love, and the strings remove their mutes as the movement builds to a beautiful climax.

II: (H.D.S-P.) Named for amateur pianist Hew David Steuart-Powell, with whom Elgar played in a piano trio, this variation has disjunct, chromatic, contrapuntal lines, meant to be a humorous parody of Powell’s “characteristic diatonic run over the keys before beginning to play.” The variation ends with a comedic flourish in the clarinet.

III: (R.B.T.) A somewhat lumbering dance, the third variation imitates

the eccentric character of Richard Baxter Townshend, who was a scholar, former gold prospector, wore odd clothes, and whose preferred method of transportation was a tricycle.

IV: (W.M.B.) In this short variation, Elgar represents a time when William Meath Baker, who enjoyed music and often hosted parties, once “ forcibly read out the arrangement for the day and hurriedly left the music-room, with an inadvertent band of the door.” The middle section of lighthearted woodwind solos is the “teasing attitude” of the other guests of the party.

V: (R.P.A.) Written for his friend Richard Penrose Arnold, the fifth variation’s weighty main theme in the strings uses a 12/8 meter, accompanied by the main Enigma theme in 4/4. It

is interrupted by sprightly, staccato woodwinds and French horns.

VI: (Ysobel) Played attacca from the fifth, the sixth variation begins with a viola solo, accompanied by the bassoons. The prominence of the viola helps the variation represent Isabel Fitton, a former viola student of Elgar.

VII: (Troyte) The movement for architect, artist, and stage designer Arthur Troyte Griffith begins with pounding timpani playing the main theme, the accented fortissimo brass making this variation a stark contrast to the surrounding ones.

VIII: (W.N.) Titled for Winifred Norbury, secretary of Worcestershire Philharmonic Society (for which Elgar had been a violinist in 1879), Elgar meant this variation to evoke an idyllic countryside. The rolling hills near

Worcester are perhaps depicted in the arc shape of the theme, rising then falling with dotted, rocking rhythms.

IX: (Nimrod) This variation, representing Elgar’s close friend, confidant, and publisher August Johannes Jaeger, is the most famous of the piece. The pianississimo strings sing a lush melody that builds to emotional peaks as more instruments join. After a powerful and satisfying resolution, the movement quickly fades with a sustained diminuendo.

X: (Dorabella: Intermezzo) The tenth variation is for Dora Penny, nicknamed Dorabella by Elgar. In an 1899 letter to her, Elgar called this movement the “most cheerful” and that “everybody says it is the prettiest,” but Dora herself believed Elgar to be making fun of her stammer. The light, staccato notes in the higher register permit either interpretation.

XI: (G.R.S.) Suddenly faster with whirling strings and frenzied bassoon solos, Elgar said this variation was about organist George Robertson Sinclair playing fetch with his bulldog, Dan, whose name is lightly penciled in the manuscript score.

XII: (B.G.N.) Opening with a cello solo playing the Enigma theme, the twelfth variation is in honor of Basil Nevinson, the cellist of the same piano trio as H.D.S-P. (variation II). The rich melody seems to evoke the spirit of Nevinson’s instrument.

XIII: (***: Romanza) A pastoral clarinet solo that references Felix Mendelssohn’s Calm Sea and Prosperous Voyage begins the Romanza, and the clarinet returns to conclude the movement. The elusive meaning of (***) has been long thought to be Lady Mary Lygon, but it is worth noting that the stories that say she was on a sea voyage during the time of the movement’s composition are false: Lygon in fact was at the Elgar home the day the score was completed. The mystery of (***) has only added to the enigma of the piece.

XIV: (E.D.U.: Finale) Representing Elgar himself, the final movement is a boisterous allegro. Elgar described it as “bold and vigorous” and the allusions to variation II (his wife) and IX (Nimrod/ Jaeger) are due to their “great influences on [Elgar’s] art and life.” The piece concludes with majestic fortissimo chords.

Program notes by:

Elizabeth Massey, Ph.D.

Experience this performance again at the music center

SUN MAR 3 | 3:00 PM

MASTERWORKS IV

Portraits

Elgar & Schumann with cellist Steven Isserlis

SCAN HERE FOR TICKETS

ARTISTIC DIRECTOR & CONDUCTOR

JOSÉ-LUIS NOVO

THE PHILIP RICHEBOURG CHAIR

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

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

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.”

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

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

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

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

Academy, he presided over the debut of its Orion Youth Orchestra, conducting the inaugural concert in June 2022. Maestro Novo was featured in the League of American Orchestras Symphony magazine in “Podium Powers,” an article about emerging Hispanic conductors in the United States of America. He holds music degrees from the Cleveland Institute of Music, Yale University, and the Royal Conservatory of Music in Brussels, and is the recipient of a 2010 Annie Award in Performing Arts from the Arts Council of Anne Arundel County, a 2008 American Society of Composers, Authors, and Publishers Adventurous Programming Award, and a 2005 Broome County Arts Council Heart of the Arts Award.

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Guest Artist

GUEST ARTIST

ASTEVEN ISSERLIS CELLO

cclaimed worldwide for his profound musicianship and technical mastery, British cellist Steven Isserlis enjoys a uniquely varied career as a soloist, chamber musician, educator, author, and broadcaster. He appears with the world’s leading orchestras and conductors, and gives recitals in major musical centers. As a chamber musician, he has curated concert series for many prestigious venues, including London’s Wigmore Hall, New York’s 92nd St Y, and the Salzburg Festival. Unusually, he also directs chamber orchestras from the cello in classical programs.

With a strong interest in historical performance, Steven has worked with many period-instrument orchestras and has performed and recorded recitals with harpsichord and fortepiano. Also a keen exponent of contemporary music, he has given many premieres of new works, including Sir John Tavener’s The Protecting Veil and many other works, Thomas Adès’ Lieux retrouvés , three works for solo cello by György Kurtág, and pieces by Heinz Holliger and Jörg Widmann.

Steven’s extensive and award-winning discography includes JS Bach’s complete Solo Cello Suites (Gramophone ’s Instrumental Album of the Year), Brahms’ Double Concerto with Joshua Bell and the Academy of St Martin in the Fields, and—as director and soloist—concertos by Haydn and CPE Bach with Deutsche

Kammerphilharmonie Bremen. His recording of works by John Taverner won the 2021 BBC Music Magazine Award.

Since 1997, Steven has been Artistic Director of the International Musicians Seminar at Prussia Cove, Cornwall. He also enjoys playing for children, and has created three musical stories with the composer Anne Dudley. His two books for children, published by Faber & Faber, have been translated into many languages; his latest book for Faber is a commentary on Schumann’s “Advice to Young Musicians.” His most recent book about the Bach Cello Suites appeared in 2021. He has also devised and written two evenings of words and music, one describing the last years of Robert Schumann, the other devoted to Marcel Proust and his salons, and has presented many programs for radio, including documentaries about two of his heroes—Robert Schumann and Harpo Marx. The recipient of many awards, Steven’s honors include a CBE in recognition of his services to music, the Robert Schumann Prize of the City of Zwickau, Piatigorsky Prize and Maestro Foundation Genius Grant in the US, Glashütte Award in Germany, Gold Medal awarded by the Armenian Ministry of Culture, and the Wigmore Medal.

Steven Isserlis plays the “Marquis de Corberon” Stradivarius of 1726, on loan from the Royal Academy of Music.

CL UB

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

A NOTE FROM THE DIRECTOR OF DEVELOPMENT

The Annapolis Symphony Orchestra was honored to receive a significant gift from the estate of Dr. Michael Kurtz to establish The Dr. Michael J. Kurtz and Cherie Loustaunau Endowment Fund for Music and Education. The gift was presented by immediate past-President of the Board of Trustees Mary McKiel to current Board President Shelley Row, interim Executive Director Barbara Randolph, and Artistic Director JoséLuis Novo.

We greatly miss Michael and Cherie, who were incredible supporters of the ASO. We will work diligently to steward their legacy.

Michael and Cherie were members of the ASO’s Legacy Circle. Their generosity will ensure the joy of music continues for generations to come. If you are interested in learning more about the Legacy Circle, please visit the Planned Giving page on our website.

In addition to supporting the long-term success of the ASO, as a member of the Legacy Circle, you’ll also enjoy special benefits, such as invitations to our donor events and recognition in our Masterworks programs.

Interested in joining the Legacy Circle? Let me know at development@annapolissymphony.org or 410-267-3645.

Warm regards,

Lauren Silberman, Director of Development

DR. MICHAEL KURTZ

MUSICIAN SPONSORS

Join us in a campaign to get all 55 of our tenured musicians sponsored! Sponsoring a musician 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 to 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 Armbuster

Sponsored by Mimi Jones

Susan Benac

Sponsored by Herb* & Sallie Abeles

Heather Haughn

Sponsored by William & Constance Scott

Rachael Stockton

Sponsored by Tara Balfe Clifford

VIOLIN II

Christian Tremblay, Principal

Sponsored by Peter & Sarah Evans

Kristin Bakkegard, Associate Principal

Sponsored by Stephen A. Sotack

Karin Kelleher

Sponsored by Prudence Clendenning

Alexandra Mikhlin

Sponsored by Anna E. Greenberg

VIOLA

Sarah Hart, Principal

Sponsored by Julie & Charles Grudzinskas

Derek Smith, Associate Principal

Sponsored by Al & Ginger From

Daphne Benichou

Sponsored by Mr. Arthur Edwards & Dr. Katherine Edwards

Viola cont.

Susan Taylor Dapkunas

Sponsored by Amy & Joe Rubino

Rachel Holaday

Sponsored by Millard & Barbara Firebaugh

CELLO

Todd Thiel, Principal

The Philip Richebourg Chair

Alison Bazala Kim

Sponsored by Elizabeth MaxwellSchmidt & Steve Schmidt

Nicole Boguslaw

Sponsored by Thomas J.

DeKornfeld & Nina A. Fisher

Catherine Mikelson

Sponsored by Patrick M. Green

MaryAnn Perkel

Sponsored by Florence Calvert

Daniel Shomper

Sponsored by Paula Abernethy

April Studeny

Sponsored by Judith Templeton

BASS

Peter Cohn

Sponsored by Anne S. Potter

FLUTE

Kimberly Valerio, Principal

Sponsored by William Seale & Marguerite Pelissier

Genevieve Eichman

Sponsored by Russ Stevenson & Margie Axtell

OBOE

Fatma Daglar, Principal

Sponsored by Collot Guerard

Rick Basehore

Sponsored by William & Renata Davis

CLARINET

Robert DiLutis, Principal

Sponsored by Shelley Row

Brian Eldridge

Sponsored by Pat Mager

BASSOON

Patricia Morgan

Sponsored by Ann and Robert Whitcomb

HORN

Anthony Valerio

Sponsored by Carole & Richard Falk

TRUMPET

Christopher Sala, Principal

The Philip Richebourg Chair

Christopher Buchanan

Sponsored by Jan and David Hoffberger

TROMBONE

David Perkel, Principal

Sponsored by David & Eleanor Huggins

David Sciannella

Sponsored by Robert & Kathleen Arias

Jay Heltzer

Sponsored by Peter Bungay & Joy Chambers

TIMPANI

Curt Armbuster, Principal

Sponsored by Fred Stielow & Susan Rosenfeld

* Deceased

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

Ensuring a Legacy of Musical Excellence for Future Generations

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

Anonymous (3)

Melvin & *Judy Bender

Bud & *Bee Billups

Elana Rhodes Byrd

James W. Cheevers

Elizabeth Colandro

Ronald E. Council

*Forbes Leland & *Marilyn Eason

*Patricia Edwards

*Colonel Allan & *Audrey English

Patrick M. Green

Anna E. Greenberg

*Nancie Kennedy

*Dr. Michael Kurtz & Cherie Loustaunau

Dr. Mary C. McKiel

Mr. John P. McKim

Anne S. Potter

Susan Rosenfeld

Shelley Row

Stephen A. Sotack

MEMORIAL AND HONORARY GIFTS

In honor of Herb* & Sallie Abeles

June Cohen

In memory of Herb Abeles

Adele Baron

Pauline Blumenstock

James W. Cheevers

Susanne Lieberman

Anne Potter

Stephen A. Sotack

In memory of Barry Amass

Sally Stallings Amass

In honor of the Annapolis Symphony Academy

JoshuaOneNine Fund

In memory of John Auer

James W. Cheevers

In honor of Kristin Bakkegard

Yvonne Higgins

In memory of Mary Jean Boguslaw

Annapolis Symphony Academy

Annapolis Symphony Orchestra

Musicians

In memory of Ralph Bluntschli

Elizabeth Gordon-Blutschli

In memory of Marian Jones

Brennan

Sheila LoCastro

In memory of Pamela F. Bush

David Bush

In honor of James W. Cheevers

Don* & Keren Dement

Peter Eareckson

Melissa Yanowitz & John Robey

In honor of Keren & Don* Dement

Eric Smith

In memory of Don Dement

Sandra Altherr

Peter Bungay & Joy Chambers

James W. Cheevers

Tara Balfe Clifford

Deborah Coons

Richard & Lisa Hillman

David & Jan Hoffberger

Marilyn E. Lyons

Joan Machinchick

Christopher Nelson & Joyce Olin

Michael P. Parker

Anne Potter

Barbara & Sam Santos

Stephen A. Sotack

Melissa Yanowitz & John Robey

In honor of Sylvia Earl

Anna E. Greenberg

In memory of Peggy Ertlmeier

Bob Sherer

In honor of Jackie Ewing

Marzella & Family

Janet & David Ewing

In honor of Ted Ewing & Family

Janet & David Ewing

In honor of Miriam Fogel

Beth D. Jacob

In memory of Louis O. Follett

Eleanor Menosky

In honor of Anna E. Greenberg

Don* & Keren Dement

Gregory Stiverson

Melissa Yanowitz & John Robey

In memory of Julie Hall

Monica Kaiser

In memory of Clarence Harris

Carolyn Cassidy

In memory of Annie Hobson

Glynis Long

In memory of Michael Kurtz

Thomas & Maria Blohm

Patrick M. Green

Constance & William Scott

Pat Zeno & Frank Parent

Many supporters to FASO in his memory

In memory of Numma Lavy

James W. Cheevers

Music Educators of Greater Annapolis Household

In honor of Thea Lindauer

David & Winnie Lindauer

James W. Cheevers

In memory of Susan M. MacDonald, M.D.

David Herron

In memory of Paige Miller

The Paige Miller Memorial Scholarship

Brandon Owens

Linda Miller Neff

In memory of John B. Moore

Don* & Keren Dement

In honor of Patricia Morgan

Jayne & Donald Morgan

In memory of Jim Morris

Amy Morris

Charles Converse

Joanne & Arthur Corbin

Arnold Henderson

Elizabeth Mainiero

Joan Odell

In honor of José-Luis Novo

Marvin & Nina Kesner

In memory of Philip Patterson

Carol B. Patterson

In memory of Howard & Thea Pinskey

Pamela & James Chaconas

In memory of Catherine Reistrup

James W. Cheevers

In memory of Damon Santos

Barbara & Everett Santos

In memory of Robert Schirmer

Vanessa Andris

In memory of Irwin Silber

Susan Amsterdam

Jerome Hudak

In memory of Louise Snyder

Hugh D. Camitta

In memory of Annie Thornton

Kathryn Kent

In memory of Sharie Lacey Valerio

Annapolis Symphony Academy

Annapolis Symphony Orchestra Musicians

James W. Cheevers

In memory of Bonnie Watlington

Susan Gilson

In honor of The Rev. Mary Fish

Walton

Phil Costello & LuAnn McKinney

In memory of Ellen C. Winner

James & Leighton Krips

Sterling Moms

*Deceased

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

SUPPORTERS OF THE ASO

We gratefully acknowledge these generous donors to the Annapolis Symphony Orchestra who have generously contributed since 7/1/22. The Annapolis Symphony Orchestra is sustained through your generous support. We are indebted to you for supporting our music making, education programs, and community initiatives.

GIFTS OF $1 MILLION +

Joyce Pratt & Jeff Harris +

William Seale & Marguerite Pelissier

THE PHILIP RICHEBOURG CIRCLE

GIFTS OF $500,000 – $999,999

Elizabeth Richebourg Rea +

GIFTS OF $250,000 – $499,999

Robert & Kathleen Arias +

Laird Lott & Linda Gooden

Michael Kurtz *

GIFTS OF $150,000 – $249,999

Jillinda Kidwell +

Maryland State Arts Council

GIFTS OF $50,000 – $149,999

Anonymous +

Paula Abernethy +

Jane Campbell-Chambliss & Peter Chambliss +

Mr. Arthur & Dr. Katherine Edwards+

Mrs. Ralph C. Graber*

Anne S. Potter +

Shelley Row+

Stephen A. Sotack+

GIFTS OF $25,000

–$49,999

Anne Arundel County Recreation & Parks

Arts Council of Anne Arundel County

Elville Center for the Creative Arts +

+ MULTIYEAR PLEDGES

Gifts of $25,000 - $49,999 cont. Gifts of $5,000 - $9,999 cont.

Peter & Sarah Evans +

Friends of the Annapolis Symphony Orchestra

Sylvia and James Earl

Al & Ginger From +

David & Eleanor Huggins

Patricia & David Mattingley + Dr. Mary C. McKiel +

Martha & John T. Schwieters +

GIFTS OF $10,000 – $24,999

Florence Calvert +

James W. Cheevers +

Community Foundation of Anne Arundel County

Collot Guerard

Jan & David Hoffberger

Deb Howe +

Mimi Jones +

Katherine Lantz

Elizabeth Maxwell-Schmidt & Steve Schmidt +

Diane Steed

Judith Templeton +

GIFTS OF $5,000 – $9,999

Anonymous

In Memory of Louise A. Snyder

Herb* & Sallie Abeles

Bay Radiology

Peter Bungay & Joy Chambers

Susan Byrom & Robert Thomas

Prudence Clendenning

Ken Code, Dea Code Foundation

Enser & Marguerite Cole

Council Family Foundation

William & Renata Davis

Norman & Doris Fisher

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

Thomas J. DeKornfeld & Nina

A. Fisher

Anna E. Greenberg

Capt. Mark & Michelle

Hellstern (USN Retired) +

Pierre & Danalee Henkart

Higherschool, LLC

Karl & Marge Hoke

David & Tove Irving

JoshuaOneNine Fund

The J.M. Kaplan Fund

Steve Root & Nancy Greene

Ann & Robert Whitcomb +

Dawne Widener-Burrows

GIFTS OF $2,500 – $4,999

Anonymous (3)

Ann Burchard

Betsy & Arthur Chotin

Richard & Dorothy D`Amato

Drs. Mark C Davis & Ann A Tran

The Dealy Foundation, Inc

Carole & Richard Falk

Mr. & Mrs. Millard Firebaugh

Patrick M. Green

Scott Gregory & Angela

Eggleston-Howard

Richard & Lisa Hillman

Pat Mager

Elizabeth Mainiero

Paige Miller Memorial Scholarship

National Philanthropic Trust

José-Luis Novo & Lori Kesner

James E & Cheryl H Painter

James D. Parker, M.D.

Clay & Carol Richards

Joan Ruhl

Fred Stielow & Susan Rosenfeld

Rotary of Annapolis

Richard & Martha Schoenfeld

William & Constance Scott

Doug & Karen Smith +

Bill & Marilynn Sweetser

ANNUAL GIVING 2023-2024

Gifts of $100 to $999 cont.

GIFTS OF $1,000 – $2,499

Anonymous (5)

Bill & Lisa Abercrombie

Sherla Alberola

Annapolis Musicians Fund for Musicians

Renee Ehler & George Bentley

Martha Blaxall & Joe Dickey

Carmen & Nancy Brun

David Bush

Diana Campe

Joseph & Patricia Casey

Ms. Sandy Cohen

Elizabeth Colandro

Jane Danowitz

Don* & Keren Dement

Mr. & Mrs. Robert Demoyer

Elizabeth Gordon-Bluntschli

Bob & Diane Heaney

Mr. & Mrs. Robert M. Hecht

Hugh & Deborah Houghton

The Johansen Family

Lawrence & Jeanne Kelly

Nicholas Kemp & Kay

Osburnsen

Ms. Sari Kiraly

Dr. Monique Langston

Barbara Lazar

Dr. and Mrs. Norman C. Lerner

Lewis Family Fund Grant

Janet Little

Mr. & Mrs. Andrew Lynch Cole

David McGill

Amy Morris

Helen (Lee) Mueller

Rob & Patti Muir

Laura Murray

Ed & Jeanne Paglee

Pew Foundation

Progress Family Foundation

Kathryn Porter

Christopher & Anita Rizek

Mr. & Mrs. Michael T. Schuncke

Robert Sherer

Lisa & Chris Smith

Betty L. Thompson

Marie & Richard Treanor

Mrs. Tamara & Dr. Stephan

Tymkiw

Mr. & Mrs. Damien Wanner

George & Charlotte West

Cecelia Wyatt

Christine & Robert Young

GIFTS OF $100 – $999

Anonymous (7)

Anne Agee

Margaret Alaxanian

Michael Alin & Ann Carroll

Linda Allen

Sandra Collyear Altherr

Sally Amass

Mr. & Mrs. Ward Anderson

Vanessa Andris

Jack & Leslie Andryszak

Lillian Armstrong

Ms. Susan Armstrong

Karen Bakkegard

Adele Baron

Susan & Jess Behringer

Julie Belkin

Susan Benac

Pam Benitez

Patricia Bertsche

Mary Jo Bieberich

James Biggins

Peter Bittner & Margaret

Keegan

Marjie & Frank Blanco

Mary Bloom

Paul Bollinger Jr

Bernard Bradpiece

Pat & Karen Brown

Ms. Rebecca A. Byrd

Matthew Caldwell

MS. Cynthia Carlton

Carolyn Cassidy

Pamela & James Chaconas

Charities Aid Foundation

America

Patrick & Nancy Clagett

Rosemary Claire

Ms. Kathy Clatanoff

Brad Clink & Linda Sexton

June L. Cohen

David Cohn

Dr. Charles & Mrs. Martha

Converse

Joanne & Arthur Corbin

Petey Cosby

B.S. Creighton

Laudine L. Creighton

Barbara & James Cyr-Roman

Mary Jean Davidge

Christian Davis

Tresha Davis

Dr. Albert Del Negro and Ms.

Patrisha Creevy

Carl DeVore

James & Debra Dillon

Fred & Susan Eckert

Robert & Gloria Ellsworth

Diana Elson

Earl & Sharon Engelhard

Mrs. Julia Erickson

Janet & David Ewing

Pauline Farmer

Karen Fisher-Nguyen

James R. Fitzpatrick

Gabby Fong

Ted Foster

Cynthia Fox

Patricia Frese

Sheila Gagen

Frederick R. Galloway

Charitable Trust

Leah Garner

Beth Garraway

George Geneaux

Ann Gere

Steven Gilbert

Susan Gilson

Sonja Gladwin & Rod Straw

Michael J. Gray

Charles Green

Diane W. Green

Sophia Green

Megan Greenwell

Rob Greve & Carroll McGillinGreve

Carol Gruen

Valerie & David Gutterson

Andrew Haire

Frances R. Hall

Georgina Hammond

Brian Hanks & Judy CrewsHanks

Alicia Hardisky

Patty Harris

Robert Haywood

Tylar & Carol Ann Hecht

D. Gayle Hensley

Gretchen Herdt

Paul Herman & Karen Goldman

David R. Herron, Ph. D.

Maureen Hess

Yvonne Higgins

Rochelle & Ronald Hollander

Marian Holt

Mr. & Mrs. Jerry Hoot

Margaret Hosmer

Dr. & Mrs. William Hunter

Kevin Hurley & Kathleen

McDevitt

Sally W. Iadarola

Beth D. Jacob

Mark & Barbara Jacobs

D. Randolph Johnson & Terry Berg

La-Royce Jordan

Christopher Junker

Michael & Sally Kaiser

Monica Kaiser

Ms. Tomoko Kanamaru

James Kaper & Carol Tacket

Margaret Keegan

Christine Kelsey

Ernie & Chris Kent

Jack & Maria Kersh

Marvin & Nina Kesner

Leon & Barbara Kestenbaum

Drs. Charles King & Mary

O’Connor

Getha Klejnot

Irma Kolosky

Linda Kolosky

ANNUAL GIVING

continued

Gifts of $100 to $999 cont.

Dan & Sue Konick

Mr. James & Mrs. Leighton Krips

Ralph Kuncl

Alice F. Kurs

Ray Langston

Carol Laurenzano

J. E. Leanos & Company

Ellen & Joseph Levin

Susanne Lieberman

Rosalie Lijinsky

Loaves & Fish 247 Fund

Glynis D. Long

Edward A. & Sandra J.

Lovinguth

Lisa Lower

Timothy & Katherine Lynch

Joan Machinchick

Robert Madden

Lynne Malley

Suzanne Mangan & Ed Mangan

Lesley Margerrison

The Martinson Family

Mrs. Shaun Mathis

Ms. Ellen McBride

Jeannette McGuire

Colin McIntosh & Robert Smith

Teresa McKenna

Mr. John P. McKim*

Alexandra Mikhlin

Elaine Mines

Priscilla & Bill Mitchell

Francisco R. Montero

Cheryl & James Morgan

Jayne & Donald Morgan

Betty Morganstern

Ed Moses

Mr. & Mrs. George P. Muller III

James Murray Boughton

Music Educators of Greater Annapolis

Chris, Linda, Emily Eric & Evan

Neff & Gram

Don & Carol Nelson

Christopher Nelson

David & Carol Newman

Susan Nugent

Nancy Nicoll & Richard Wagner

Joan Odell

Mr. & Mrs. Richard O`Sullivan

Susan Okula

Old Fox & Coffeehouse

Sheila Onuska

Lily Openshaw & Dave

Openshaw

Pat Zeno & Frank Parent

Mr. Michael P. Parker

Fariba Partawi

Michelle L. Paschal

Carol B. Patterson

Patricia Petrou

Kristen Pironis

Pledgeling Foundation

Bob & Cookie Pollock

Alison Porter

Nancy Prendergast

Fred Probeck

Caroline Purdy & John Gudas

Barbara Randolph

Michael & Margret Rauh

Ken & Maureen Reightler

Phil & Ilse Reynolds

Mr. & Mrs. Daniel Risher

Drs. Frank LaScala and Gladys

Rivera-LaScala

Jack Roadhouse

James and Kathleen Roahen

Constance Robinson

Ann Rose

Paul & Joan Rosenberg

Glen L. Rotner

Janet & Michael Rowan

Barbara & Everett Santos

Kimberly Satterthwaite

Herman

Elizabeth Saunders

Jeffrey Scherr

Schmidt Family Charitable Fund

Mr. & Mrs. Randy Schmitt

Scott & Virginia Schollenberger

Janney Montgomery Scott LLC

Tom & Laurel Scott

Jill Simon

Anne Sloan

Gwynneth Smith

Roderick & Joann Smith

Mr. & Mrs. Eric Smith

Patricia Stallings

Walton Stallings

Carol & David Stern

Mr. & Mrs. Robert Stern

Gregory Stiverson

Gabrielle Strandquist

Anne K Stratton

Dr. & Mrs. Albert Strunk

Becky Sunday & Chris Nickas

Mark Sylvester

Tom Taneyhill

Philip W. Tawes & Edward Adams

Michael and Melanie Teems

Emily Tevault

Brian Thiel

Paula Thistle

Peter Threadgill

Barbara Torreon

Sterling Moms

U.S. Charitable Gift Trust

United Way of Central Maryland

Laura & Jack Van Geffen

Matt Venhaus

Cynthia Wells

Mr. & Mrs. Ken Wexley

Virginia White

Jeffrey Williams

Claire Winestock

Barbara Wing

Judith Duckett-Winnefeld

Sibyl B. Wisch

Tara Wittig

Mr. & Mrs. Clifford Woodward, Jr.

Francis & Maureen Wright

Bernard & Louis Wulff

Mark Wynn

Melissa Yanowitz & John Robey

Marion & Norbert Zacharias

Rosalie Zaia

Anne Zanazzi

David Zinnamon

* Deceased

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.

AQUARIUS WIND ENSEMBLES

Almost one year ago, ASA staff began considering the possibility of adding a wind band to the existing family of ASA ensembles. Following initial advertising and recruitment visits, the idea came closer to reality with the first round of live auditions in June of 2023, followed by acceptance of additional applicants via virtual auditions over the summer. Aquarius Wind Ensemble held its first rehearsal in September with a group of over 20 young musicians! Aquarius performed its inaugural concert in December, joining Aries and Lyra String ensembles for an exciting performance for well over 200 enthusiastic audience members at Temple Beth Shalom.

Primarily conceived as a Middle Schoollevel ensemble, Aquarius consists of a wide and diverse spectrum of students, from as young as 5th Grade through High School-age players. As they advance in playing level, many Aquarius members will naturally gain opportunities to audition for Orion Youth Orchestra as members of the Wind, Brass and Percussion sections. Aquarius is building on its initial success and has started rehearsals working toward its next goal of the Spring Concert performance on ASA Day at Maryland Hall on May 19th!

Aquarius has added new members in recent months and is continually recruiting enthusiastic young musicians to join its ranks! We are especially focused on expanding our low Brass and Winds, so all interested players are encouraged to visit the ASA website (www.tunedtoyouth.org) for more information. Through the generous support of our amazing doors, all ASA ensembles are tuition-free this year, so it’s a terrific time to join us!

FRIENDS OF THE ANNAPOLIS SYMPHONY ORCHESTRA

invite YOU to become a friend!

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

Become part of the fun while helping to benefit the Annapolis Symphony Orchestra and rising artists.

IT IS EASY TO JOIN, VISIT

ANNAPOLIS SYMPHONY.ORG

Membership: $50 per person | $75 per couple

Contact info: 410-267-3646

friends@annapolissymphony.org

2023-2024 Board of Directors

Officers:

Ann A. Tran, M.D., President

Marguerite Cole, Vice President Ways & Means

Paula Abernethy, Vice President Membership

Julie S. Grudzinskas, Treasurer

Kathy Clatanoff, Recording Secretary

Carol Richards, Corresponding Secretary

Directors:

Thelma Bass

Adele Baron

David Bush

Jim Cheevers

Betsy Chotin

Renee Ehler

Robert Foye

Elizabeth Gordon-Bluntschli

Diane Green

Patrick Green

Anna Greenberg

Valerie Gutterson

Marilyn Lyons

Lynn Maichle

Mary McKiel

Stephen Sotack

Rick Sullivan

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

Champagne Sunday photo by Don Dement

FROM FRIENDS OF ANNAPOLIS SYMPHONY ORCHESTRA

As an avid attendee at Annapolis Symphony concerts for many years, I was delighted to learn of the Friends of Annapolis Symphony Orchestra (FASO). The Annapolis Symphony has grown in stature and excellence under the baton of Maestro José-Luis Novo. I wanted to show support for that growth and reputation. Mostly, I wanted to join a group determined to ensure that Annapolis maintains a high-caliber, professional orchestra. We at FASO are very proud of the ASO!

FASO commits to organizing many events throughout the year, including group travel, that benefit the Annapolis Symphony Orchestra. These events allow like-minded music lovers to enjoy time together. It is a great sharing experience with dedicated music fans who love different kinds of music and appreciate the varied programs offered through ASO performances, including Masterworks, Chamber performances, our annual Pops concerts, and even the School and Family concerts.

One of the most rewarding aspects of volunteering with FASO is participating in community and volunteer work. Designing and decorating the downtown Annapolis Christmas Tree was one of our recent highlights. We have previously worked with local artists for our Painted Violins exhibition, which raised over $40,000 for the ASO.

One of my favorite activities is volunteering to help the Annapolis Symphony Academy. Many students attend the Academy on scholarships that help with all aspects of music education—solo and ensemble. FASO raises funds specifically for these scholarships. FASO members immensely enjoy helping on ASA study evenings, when we can listen to the students play. We’re very proud of Academy students and do our best to attend the student concerts. And we love supporting the Academy faculty, who are among the best musicians and teachers in the region!

I continue to enjoy time in FASO, making good friends and supporting a great cause. Please consider joining. Scan the QR code to watch this short video with my friends Paula and Ann describing their time with FASO. Join us at an event this spring. I promise you will have a great time!

Marguerite “Maggie” Cole, FASO Vice President, Ways & Means Committee

SAVE THE DATE

FRIENDS OF ANNAPOLIS SYMPHONY ORCHESTRA

JOIN US FOR OUR 60TH ANNIVERSARY CELEBRATION!

A FRENCH COUNTRY

EVENING

SATURDAY APRIL 27TH 6PM AT LE CAFE

HERON BLEU, QUIET WATERS PARK

Stay tuned to annapolissymphony.org/support/faso/ for more information and tickets.

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.