Season 63 Pasajes

MASTERWORKS I: PASA J ES

ANNAPOLIS SYMPHONY .ORG

By:

Photo

Michael Ventura

Welcome to the 63rd Season of the ASO!

As we embark on this exciting season, I am thrilled to invite you to join us for a journey that celebrates music’s power to connect us across time, places, and experiences. This year is particularly special as it is filled with anniversaries and milestones that highlight the transformative nature of music and its enduring relevance.

Among the many anniversaries, we honor the 200th of Anton Bruckner, 190th of Camille Saint-Saëns, 150th of Samuel Coleridge-Taylor and Maurice Ravel, and 135th of William Grant Still’s birth, alongside the 50th anniversary of Dmitri Shostakovich’s passing. These composers have shaped the history of music, and we are proud to share their timeless works with you. As you might have noticed, I am also celebrating a personal milestone—my 20th anniversary as conductor of this orchestra—an honor that has only deepened my commitment to the artistic and cultural mission we carry forward together.

This season, the most significant anniversary we mark is the 60th of the Civil Rights Act, a piece of legislation that codified core humanitarian values that have enriched our society immeasurably. It serves as the central theme of this year’s concerts, guiding us in our exploration of diversity, inclusion, and equity. Many of the composers and artists featured this season have long championed these values in their music, often foreshadowing the conversations we continue today. Through their works, we pay tribute to the ideals that move us toward a more just and harmonious world.

There is much to look forward to in our upcoming performances. We welcome back beloved ASO guest artists Brian Ganz, Noah Bendix-Balgley, and our own Netanel Draiblate. We are proud to present the American première of Óscar Navarro’s Connection, a French Horn Concerto featuring our talented Alex Kovling, as well as the world première of a new work by Roydon Tse, a continuation of our multi-year collaboration with the Gabriela Lena Frank Creative Academy of Music. This cocommissioning project brings fresh voices to the stage, in this instance, showcasing the Hispanic Dalí Quartet as soloists.

In addition to timeless masters like Mozart, Beethoven, and Ravel, the ASO will be bringing you the powerful music of Tania León, William Grant Still, Adolphus Hailstork, Alberto Ginastera, Samuel Coleridge-Taylor, Sonia Morales-Matos, and many others. These diverse voices offer a rich tapestry of musical expression that speaks to the very core of our mission. And of course, we’ll take a moment to relax and have some fun during our ever-popular Holiday Pops concert, now with an additional performance in Severna Park.

On a personal note, this season allows me to share music that is deeply meaningful to me. Mozart’s Piano Concerto No. 23, the first piece I ever played in an orchestra, left an indelible mark on me as a young musician. Many of our featured artists— Noah Bendix-Balgley, Netanel Draiblate, and members of the Dalí Quartet—are musicians I have had the privilege of mentoring, watching their careers blossom. I am particularly proud of the continued partnership with the Gabriela Lena Frank Creative Academy of Music, which has been a cornerstone in fostering emerging talent.

At the heart of this season is the belief that art leads the way in creating a better world. The music we present this year bridges past and present, light and dark, and diverse perspectives, reminding us of art's essential role in shaping our understanding of humanity. ASO’s 63rd season is a celebration of connection— between composers, artists, and audiences—creating a path forward to a more inclusive and harmonious future.

On behalf of the Annapolis Symphony Orchestra, I extend my heartfelt gratitude for your support and look forward to sharing with you the joy and inspiration of this extraordinary season.

Warm regards,

José-Luis Novo

Artistic Director and Conductor

The Philip Richebourg Chair

What’s Up? Media has been a proud supporting partner of the Annapolis Symphony Orchestra for over 25 Years.

A NOTE FROM THE BOARD OF TRUSTEES

“Music Matters” is not just a tag line. It is why we do what we do at the Annapolis Symphony Orchestra (ASO) and the Annapolis Symphony Academy (ASA).

Music matters because it connects us as we sing along at a concert. Music matters when we hear the tone of a favorite instrument, the melody of a grandmother’s beloved hymn, the chant of a cantor, or the memory of a wedding dance.

At the ASO, we believe that music matters to our culture. That’s why our 63rd season honors the year of Maryland civil rights and the 60th anniversary of the Civil Rights Act. This landmark legislation reshaped our nation, influencing our culture, including music. This upcoming season features works from composers and artists whose music continues to inspire and unite us.

Music matters to health. That’s why the ASO brings music to those in rehabilitation facilities, frontline workers, and volunteers at hospitals, to hospice, community centers, and The Wellness House.

Music matters to education. ASO makes music and music education accessible through free concerts in the community, school visits, discounted Masterworks tickets, and its ASA, which is entering its seventh year. The ASA has provided over $400K in need-based scholarships to local kids for private instruction on instruments, and it offers four ensembles free for all students. The ASO and ASA partnered with our community to bring 83 performances last season (23,125 attendees) with 56 performances free (14,220 attendees).

Music matters to community. Take the ASO’s Pops in the Park concert last month. I was in awe as 5,000 people clapped to Hoe Down as our esteemed maestro, Jose-Luis Novo, played the harmonica! Who knew? That’s when the music took me back. My late husband loved that concert. We went every year. He made an elaborate meal, tucked it into the trunk of the scooter, and off we went with a blanket under my arm. That memory still makes me smile.

Why does music matter to you? Does it sooth your soul, relax you after a hectic day, make you dance, fill you with cultural pride? If you share our belief that music matters, join us. Buy a ticket, donate, join the Friends of the Annapolis Symphony (FASO), attend a dress rehearsal (it’s free), join the pre-concert lecture, post your experience on Facebook or Instagram (#ASOAwesome, #MusicMatters). Whatever it is, we want to know. With your help, we can spread the word because…music matters.

Shelley Row, Chair, Board of Trustees Annapolis Symphony Orchestra

SHELLEY ROW, PE, CSP Chair

OFFICERS

KATHERINE EDWARDS, MD Vice Chair

ANN WHITCOMB Vice President-Finance

TRUSTEES

ROBERT ARIAS

GEORGIANNA CROSBY

WILLIAM DAVIS GINGER FROM SONJA GLADWIN

CHARLIE GRUDZINSKAS

COLLOT GUERARD

MICHELLE HELLSTERN

WILLIAM HOFF

DEB HOWE

TRUSTEE EMERITUS

MONIQUE Y. LANGSTON Secretary

STEPHEN SOTACK Treasurer

GERALDINE “MIMI” LADD JONES

JEANNE KELLY

ELIZABETH MAXWELL-SCHMIDT, MD

MARY MCKIEL, PHD Immediate Past Chair

MARIE TREANOR

FLORENCE CALVERT JILL KIDWELL

EX OFFICIO TRUSTEES

JOSÉ-LUIS NOVO

Artistic Director & Conductor

ANN TRAN FASO Board Representative

ORCHESTRA REPRESENTATIVE

ALEXANDRA MIKHLIN

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 63-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).

ANNAPOLIS SYMPHONY ORCHESTRA STAFF

ERICA BONDAREV RAPACH

Interim Executive Director

JULIE NOLAN Director of Community Outreach, Grants Manager

SARAH JOHANSEN Director of Business Operations

OLIVIA REN Orchestra Librarian

MIRIAM FOGEL Director of Artistic Operations

MAYA MCATEE Office & Data Manager

DIANA LOVE Director of Marketing & Communications

DAVID SCIANNELLA Operations Manager

ANNAPOLIS SYMPHONY ACADEMY STAFF

NETANEL DRAIBLATE

ASA Director

HEATHER HAUGHN

ASA Department Head, Strings

KIMBERLY VALERIO

ASA Chair, Winds & Brass

JULIE NOLAN Director of Education

ANTHONY VALERIO

ASA Conductor, Aquarius Wind Ensemble

ANNAPOLIS SYMPHONY ORCHESTRA 801 CHASE STREET, SUITE 204| ANNAPOLIS, MD 21401 410-263-0907 (BOX OFFICE) | 410-269-1132 (ADMIN)

SHUN YAO

ASA Assistant Conductor

E LI ZA BETH RICHEBO U RG R E A

Under writer, The Philip Richebourg Ar tistic Director and Conductor ’s Chair

THE PHILIP RICHEBOURG ENCORE CIRCLE honors multi-annual pledges of $100,000+

Elizabeth Richebourg Rea, in honoring the legacy of her father, Co-Founder of the Annapolis Symphony Orchestra, created a legacy of her own. In 2011, she donated the largest single contribution in the history of the orchestra for the 50th Anniversary Season. This generosity transformed giving by inspiring future endowments of substantial amounts in addition to pledges spanning multiple years. Her pioneering leadership has created new levels of support, enabling the A SO to expand our work on stage and in the community. Elizabeth is underwriter of the Artistic Director and Conductor’s Chair in her father’s name and in addition is the founding member of the Philip Richebourg Encore Circle.

Elizabeth Rea is a ﬁne ar t photographer and curator She has curated numerous Joseph Cornell exhibitions and two Roy Lichtenstein Retrospectives. Elizabeth is President of the Dungannon Foundation, sponsor of the Rea Award for the Shor t Stor y. She ser ves on the Peggy Guggenheim Advisor y Board and is an Honorar y Trustee of the Solomon R Guggenheim Foundation.

Photo: Thomas MacDonald, The N e w Y ork Times

PHILI P RI C H E BO U R G | 1919-201 1

Co-Founder and First Board President Annapolis Symphony Orchestra

1972

“My father Philip Richebourg conducted his own orchestra ever y da y of his life. He personiﬁed exactitude and precision in business; in ser vice to his community and in leadership on numerous Boards. He was meticulous in his passions as pilot, musician, archi vist. Dedicated to each task at hand my father approached all things in life as if resolute in achieving one goal, that of per fect harmony ” professional orchestra, Philip was at the helm every step of the way. His commitment, dedication, and passion for musical awareness leaves an indelible mark on the history of the A SO. The Annapolis Symphony Orchestra would not be what it is today without him.

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

Photo:

Elizabeth Richebourg Rea

Photo By: David Trozzo

The Season 63 Masterworks Series is made possible by the Brian and Patricia Giese Foundation

MASTERWORKS I PASAJES

Tania León, Mozart, Bruckner, Still with pianist Brian Ganz

Oct 4 & 5 | 7:30 pm

Maryland Hall

Oct 6 | 3:00 pm

Music Center at Strathmore

MASTERWORKS II CONNECTIONS

Adolphus Hailstork, Óscar Navarro, Shostakovich with hornist Alex Kovling

Nov 1 & 2 | 7:30 pm

Maryland Hall

MASTERWORKS III PICTURES AT AN EXHIBITION

Coleridge-Taylor, SaintSaëns, Mussorgsky with violinist Netanel Draiblate

Jan 31 & Feb 1 | 7:30 pm

Maryland Hall

Feb 2 | 3:00 pm

Music Center at Strathmore

MASTERWORKS IV SERENADE

Beethoven, Bernstein, Ginastera with violinist Noah BendixBalgley

Feb 28 & Mar 1 | 7:30 pm

Maryland Hall

Mar 2 | 3:00 pm

Music Center at Strathmore

MASTERWORKS V FIESTA

Roydon Tse (world première ASO Co-commission), Sonia Morales-Matos, Ravel with the Dalí Quartet

Apr 4 & 5 | 7:30 pm

Maryland Hall

Holiday Pops

Masterworks Series and Series @ Strathmore subscribers receive 20% off single tickets to the Maryland Hall performance!

Dec 13 | 7:30pm at Maryl and Hall

Dec 14 | 3:00pm at Severna Park High School

Family Concert

Our annual concert for families promises to inspire a love for classical music and performing arts for students grade 3-12, and their family, friends, and caregivers. Tickets are $10.

May 10 | 11:00am

Maryland Hall

Music for Dance

Join us for an exciting field trip concert that will take your students on a rhythmic journey through the world of dance! Tickets are just $5 per student or adult. To purchase tickets call our Box Office at 410-263-0907

May 8 | 10am & 11:30am

Maryland Hall

May 9 | 10am & 11:30am

Chesapeake Arts Center

ALEX KOVLING

NOAH BENDIX-BAL GLEY

DALÍ QUARTET

NETANEL DRAIB LATE

BRIAN GANZ

Photo By: Jay Mallin

Photo By: Nikolaj Lund

Photo By: Ryan Brandenberg

SERIES @

MASTERWORKS I Pasajes

Tania León, Mozart, Bruckner, Still with pianist Brian Ganz

SUN OCT 6 | 3:00 PM

Music Center at Strathmore

MASTERWORKS III Pictures at an Exhibition

Coleridge-Taylor, Saint-Saëns, Mussorgsky with violinist Netanel Draiblate

SUN FEB 2 | 3:00 PM Music Center at Strathmore

MASTERWORKS IV Serenade

Beethoven, Bernstein, Ginastera with violinist Noah Bendix-Balgley

SUN MAR 2 | 3:00 PM Music Center at Strathmore 7 7

ANNAPOLIS SYMPHONY .ORG

ANNAPOLISSYMPHONY.ORG/SUBSCRIBE

Masterworks SERIES

MASTERWORKS I PASAJES

MOZART PIANO CONCERTO NO. 23 WITH BRIAN GANZ

FRI OCT 4, 2024

SAT OCT 5, 2024 7:30 pm | Maryland Hall

SUN OCT 6, 2024

3 pm | Music Center at Strathmore

MASTERWORKS II CONNECTIONS

CONNECTION WITH ALEX KOVLING, HORN

FRI NOV 1, 2024

SAT NOV 2, 2024 7:30 pm Maryland Hall

MASTERWORKS IV SERENADE

BEETHOVEN, BERNSTEIN, AND BENDIX-BALGLEY

FRI FEB 28, 2025

SAT MAR 1, 2025 7:30 pm | Maryland Hall

SUN MAR 2, 2025 3 pm | Music Center at Strathmore

MASTERWORKS III PICTURES AT AN EXHIBITION

SAINT-SAËNS VIOLIN CONCERTO NO.3, WITH NETANEL DRAIBLATE

FRI JAN 31, 2025

SAT FEB 1, 2025

7:30 pm | Maryland Hall

SUN FEB 2, 2025

3 pm | Music Center at Strathmore

MASTERWORKS V FIESTA

RAVEL DAPHNIS ET CHLOÉ WORLD PREMIÈRE BY ROYDON TSE WITH DALÍ QUARTET

FRI APR 4, 2025

SAT APR 5, 2025 7:30 pm Maryland Hall

EXPLORE OUR SUBSCRIPTIONS AND TICKET OPTIONS NOW ON OUR WEBSITE AT ANNAPOLIS SYMPHONY .ORG

BUY A FLEXPASS FOR AS LITTLE AS

The ASO FlexPass lets you choose 3 or 4 Friday or Saturday Masterworks Concerts.

ALEX KOVLING

Masterworks II Connections

Adolphus Hailstork, Óscar Navarro, Shostakovich with hornist Alex Kovling

CHOOSE AND KEEP YOUR FAVORITE SEAT WHEN YOU BUY YOUR FLEXPASS TODAY! BUY

NETANEL DRAIBLATE

Masterworks III Pictures at an Exhibition

Coleridge-Taylor, Saint-Saëns, Mussorgsky with violinist

Netanel Draiblate NOAH BENDIX-BALGLEY

Masterworks iV Serenade

Beethoven, Bernstein, Ginastera with violinist Noah Bendix-Balgley

DALÍ QUARTET

Masterworks v Fiesta

Roydon Tse, Sonia MoralesMatos, Ravel with Dalí Quarte t

Pasajes

MASTERWORKS SERIES

October 4, 7:30 PM | October 5, 7:30 PM

MARYLAND HALL

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

Brian Ganz, piano

Tania León (b. 1943)

Piano Concerto No. 23 in Wolfgang Amadeus Mozart A major, K. 488 (1756–1791)

I. Allegro

II. Adagio

III. Allegro assai

Brian Ganz, piano

- INTERMISSION -

Symphony No. 3 in D minor (1889 version) Anton Bruckner (1824–1896)

II. Adagio, bewegt, quasi Andante

Symphony No. 1, “Afro-American”

I. Moderato assai

II. Adagio

III. Animato

IV. Lento, con risoluzione

William Grant Still (1895–1978)

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

The Season 63 Series @ Strathmore is made possible by an anonymous donor. Thank you for your support and generosity. If you are interested in supporting the ASO financially, please email Development@AnnapolisSymphony.org

MASTERWORKS I MUSICIAN ROSTER

VIOLIN I

Nicholas Currie, Acting Concertmaster

Hanbing Jia, Acting Associate Concertmaster

Heather Haughn, Acting Assistant Concertmaster

Abby Armbruster

Susan Benac

Rachael Stockton

Wan-Chun Hu

Katelyn Lyons Peaden

Amelia Giles

Justin Gopal

Claudia Chudacoff

Jennifer Rickard

VIOLIN II

Christian Tremblay, Principal

Kristin Bakkegard, Associate Principal

Megan Gray

Alexandra Mikhlin

Karin Kelleher

Angela YuTing Chew

Kei Sugiyama

Sara Schneider

Laura Knutson

Essena Setaro

VIOLA

Sarah Hart, Principal

Derek Smith, Associate Principal

Brian Shoop

Kate Zahradnik

Heidi Remick

Ji young Nam

Michael Sinni

Nikki Ponticelli

CELLO

Todd Thiel, Principal

Pei Lu, Associate Principal

Nicole Boguslaw

April Studeny

Catherine Mikelson

Daniel Shomper

MaryAnn Perkel

Katie McCarthy

BASS

Patrick Raynard, Principal

Benjamin Crofut, Associate Principal

Brandon Smith

Peter Cohn

Adriane Irving

Jason Gekker

FLUTE

Kimberly Valerio, Principal

Lauren Sileo

Lori Kesner

OBOE

Fatma Daglar, Principal

Rick Basehore

Amanda Dusold

CLARINET

Brian Eldridge, Acting Principal

David Drosinos

Edna Huang

Sara Reese

BASSOON

Asha Kline, Principal

Patricia Morgan

Lynn Moncilovich

HORN

Alex Kovling, Principal

Shane Iler, Associate Principal

Ho Hin Kwong

Anthony Valerio

Kevin Grasel

TRUMPET

Andrew Fremder, Acting Principal

Thomas Bithell

Kristopher Westrich

TROMBONE

David Sciannella, Acting Principal

Katie Thigpen

Jay Heltzer

TUBA

Jake Fewx, Principal

TIMPANI

Curt Armbruster, Principal

PERCUSSION

Robert Jenkins, Acting Principal

Aubrey Adams

Thomas Maloy

HARP

Maryanne Meyer, Acting Principal

KEYBOARD

Tomoko Kanamaru, Acting Principal

BANJO

Christopher Peterson

HOLIDAY Pops

A delightful program of holiday music for all ages

DECEMBER 13

MARYLAND HALL

DECEMBER 14

SEVERNA PARK HIGH SCHOOL

Masterworks Series and Series @ Strathmore subscribers receive 20% off single tickets to our Holiday Pops performance at Maryland Hall only.

Connect young listeners to a lifelong love for music

MUSIC DANCE for

Our annual concert for families promises to inspire a love for classical music and performing arts for students grade 3-12, and their family, friends, and caregivers.

MAY 10, 2025 | 11 AM

PROGRAM NOTES

Pasajes

TANIA LEÓN

Born May 14, 1943, Havana

Born in Cuba, Tania León credits her grandmother’s radio for her introduction to music, as she would dance and sing to any station, no matter the musical genre. Her family noticed her talent and quickly enrolled her in lessons, and her grandfather bought her a used piano when she was five. After receiving degrees from the Peyrellade Conservatorio de Música, León moved to the United States to begin her career as a pianist. Though she originally intended to eventually move to France, León stayed in the US, settling in New York as she studied composition and working as a pianist, conductor, and composer.

León describes her musical education in Cuba as “inclusive;” it was rooted in improvisation and focused on a wide variety of genres and styles. This background

remains evident in León’s compositions, which pull from a diverse set of classical and popular music traditions, especially those from African American, African, and Cuban cultures. She explores a large palette of harmonic and rhythmic structures in each of her works as well as her entire oeuvre. Instead of thinking of harmony as a rigid structure, León thinks of it as an atmosphere or a “background that envelops whatever is happening in the piece,” as if “each piece has their own habitat, their own planet.” The majority of León’s works have programmatic titles, or titles that suggest a story, revealing her interest in creating a relationship between herself, the sounds she encodes in her music, and listeners. León thinks of music as “organic, something alive,” for even though she has written notes on a page, she recognizes that each performance—with a different conductor and different musicians— will sound unique.

Pasajes , or “passages,” refers to the different vignettes and sound worlds evoked in the piece. León describes Pasajes (2022) as a series of “postcards […] as though you were observing an album of photographs, and that each passage [has] a different atmosphere.” What those photographs depict is up to the listener; León prefers to leave her descriptions vague, recognizing that each audience member can hear different stories. The piece beings with a slow, “haunting” melody in the muted strings that León hears as her “interpretation of the spirit of Latin America.” The piano and vibraphone change the tone, and the piccolo enters with a flutter tongue, a technique that changes the timbre of the instrument. This piccolo and flute line recurs throughout the piece, like a thread that comes and disappears, always weaving the different pictures together. León describes this thread as a bird, reminiscent of birdsong but also flying over the different passages to take us through the journey. In the different sections of the piece, we hear the diverse influences on her style in the exploration of timbre, jazzy trumpets, and Afro-Cuban interlocking dance rhythms in the strings. An extended timpani solo leads

Photo By: Gail Hadani

into a loud brass fanfare, underscored by a rhythmic drive in the percussion. León views the “bombastic” ending as “happiness or discovery that all these events made her grow into something that she appreciates [… and] of the spirit, witnessing the marvelous picture of earth, of life.”

Piano Concerto No. 23 in A Major, K. 488

WOLFGANG AMADEUS MOZART

Born Jan. 27, 1756, Salzburg

Died Dec. 5, 1791, Vienna

Wolfgang Amadeus Mozart is now considered one of the most canonic composers of Western art music and of the Classical era. A child prodigy, the young Wolfgang was educated alongside his elder sister Maria Anna “Nannerl” Mozart, who was also a prodigy. The siblings were taught by their father, Leopold, who was a violinist, composer, teacher, and the manager of his children’s early careers. Beginning in 1762, the young Nannerl and Wolfgang toured Germany and Austria, performing for Empress Maria Theresa and other

notable figures. Next came an international tour—covering Germany, France, the Low Countries, England, and Switzerland—that lasted for over three years, followed by an extended stay in Vienna. After this, Nannerl was prohibited from continuing her public career, due to the contemporaneous expectations on women and her parents’ enforcement of them. Wolfgang, just entering his teenage years, therefore became the musical focus of his father and family.

As he gained international renown as a keyboardist, Mozart also composed, learning from the musicians he met on his travels and developing his own style. Mozart was highly prolific in several genres, including the symphony, string quartet, sonata, opera, mass, and, of course, the solo concerto. While he wrote a few in his hometown of Salzburg, the majority of Mozart’s concertos were composed in Vienna, where he moved in 1781. The Piano Concerto No. 23 in A Major, completed in March 1786, was composed during perhaps the most successful period of Mozart’s career.

Mozart’s piano concertos helped to standardize a new form in the genre, merging the Baroque alternation between soloist and orchestra with the Classical sonata form. In the Allegro first movement of Piano Concerto No. 23, the strings introduce the primary theme, followed by the woodwinds. These two sections go through a full sonata form, but the second theme—introduced by the violins and then the bassoons and flutes—stays in the home key instead of following the expected modulation of sonata form. The solo piano enters to create a “double exposition,” restating the same themes already introduced by the orchestra, but this time modulating into E major for the second theme. A tutti transition leads into the development section that showcases the solo piano with episodic exploration of new themes and keys. The recapitulation alternates between the orchestra and the solo piano, leading into the cadenza. Unusual for Mozart, who would have typically improvised his cadenzas in performance,

he wrote out this concerto’s cadenza in the manuscript score. The Adagio second movement also has ornaments notated in the manuscript score, again atypical for the time. Continuing the Baroque solo concerto structure of having three movements with fast—slow—fast tempos, the Allego assai third movement gives a stark contrast to the second. Throughout the final movement, we can hear how Mozart treats the concerto orchestra as having three sections—strings, woodwinds, and solo piano—that engage in conversation with each other. The soloist is put on display with rapid figures at a fast tempo, ending the work with excitement.

Symphony No. 3 in D minor (1889): Movement II

ANTON BRUCKNER

Born Sep. 4, 1824, Ansfelden Died Oct. 11, 1896, Vienna

Austrian composer Anton Bruckner’s home village of Ansfelden was small, so his parents sent him to nearby towns to expand his education and musical studies. When Bruckner’s father died in 1837, his mother sent him to Sankt Florian, about five miles east, to be a chorister at the St. Florian monastery. In this position, Bruckner regularly performed music by Michael Haydn, Joseph Haydn, and Mozart, getting

a firm grounding in Classical music. In 1840 he began training to be a teacher and eventually returned to St. Florian as a teacher, remaining there for ten years. Bruckner continued his music studies throughout these years and became known as an organ virtuoso; organ became his main profession in 1855 when he became the cathedral organist in Linz. Even as a professional musician, Bruckner continued taking lessons in counterpoint, form, and orchestration. In the 1860s, he was introduced to Richard Wagner’s music, which would remain a strong influence on Bruckner. Bruckner moved to Vienna in 1868 to teach at the Vienna Conservatory (and part-time at the University of Vienna), and it is during this time that he began to compose symphonies.

Symphony No. 3 in D minor exists in multiple versions, the first of which was composed October 1872–December 1873. In August 1873, Bruckner visited Wagner in Bayreuth and dedicated the symphony to—as Bruckner called him—the “Meister aller Meister.” Along with many other works, Symphony No. 3 was substantially revised 1876–1877. Unfortunately, the December 16, 1877, premiere of the work was a disaster, the audience even leaving the hall during the last movement. The press, led by critic Eduard Hanslick, derided Bruckner for being influenced by Wagner instead of just the First Viennese School of Classical composers. Despite the bad press and the failed premiere, Symphony No. 3 was set to be published in 1879, prompting more revisions to the second version. In the mid-1880s, Bruckner’s reputation was somewhat restored due to the increasing popularity of Wagner. In this more positive era of his career, Bruckner yet again revised Symphony No. 3 from 1887–89, with additional slight revisions in 1890. In this final version the second movement was substantially altered.

In the context of the full symphony, the slow second movement fits within the standard format, sitting between a sonata form first movement and a dance third movement. In the first two versions (1872–73; 1876–77, rev. 1878), the second movement has ABABA

form, but in the third version (1887–89), heard tonight, the movement is throughcomposed. In every version, the second movement begins with lush strings, the harmonic movement revealing Wagner’s influence. Bruckner’s dedication to Wagner is heard throughout the movement in the chromaticism, sudden dynamic changes, and the sustained tension before a climatic release. Bruckner also subtlety quotes Wagner’s Die Walküre as well as Tristan und Isolde , and—in the first version only— Lohengrin . The movement explores tension and release, ending in a peaceful pianississimo.

Symphony No. 1, “Afro-American”

WILLIAM GRANT STILL

Born May 11, 1895, Woodville

Died Dec. 3, 1978, Los Angeles

William Grant Still, Jr. was born in Mississippi in his father’s hometown, where his parents had moved after marrying. Still’s mother—Carrie Fambro, an 1886 graduate of Atlanta University, a lifelong teacher, and a civil rights activist—was the

main influence in his life as his father died when Still was just four months old. In Still’s words, his mother “impressed [him] with the thought that [he] should achieve something worthwhile in life.” Though he enrolled in Wilberforce University to study medicine in obedience to his mother, Still was more interested in music, teaching himself multiple instruments and leading school ensembles. He withdrew from college in his senior year and began work as a professional musician, taking composition lessons at Oberlin Conservatory and working for W.C. Handy (the “Father of the Blues”), who introduced Still to African American musical genres that remained a permanent fixture in his music.

While his early style is extremely modernist, most of Still’s works, including the “AfroAmerican” Symphony, fall in what he called his “racial” style, which was consciously influenced by African American idioms. Still believed that the “natural practices” of African American musical traditions offered rich material for classical music and would allow new sounds and styles to develop. Still’s goal for the “Afro-American” Symphony was to write a symphony based on the blues, a distinctly African American musical genre. He stated that “[he placed] stress on a motif in [the] Blues idiom. It is employed originally as the principal theme of the first movement. It appears also in various forms in the succeeding movements, where [he] sought to present it in a characteristic (style) manner.” The English horn immediately introduces the melody, the lowered “blue” notes indicating the stylistic influence. A muted trumpet picks up the tune, accompanied by the traditional blues harmonic structure as the theme is passed through the orchestra. Entitled “Longing” in Still’s manuscripts, the first movement’s theme evokes a yearning and sorrowful feeling that is associated with the blues.

The Adagio second movement (“Sorrow” in the manuscript) has call and response between the strings and winds, showing an influence from spirituals. Still’s interest

in chromaticism is also heard in this movement, especially at the end of phrases. The Animato third movement has puzzled listeners and scholars alike for its quote of George Gershwin’s “I Got Rhythm,” unexpected in a symphony entitled “AfroAmerican.” Some have argued that Still was the original creator of that distinctive tune, which Gershwin heard as Still improvised within the pit orchestra of Shuffle Along. Still entitled the third movement “Humor” in his manuscript, perhaps hinting at some story but also drawing on the traditional scherzo (“joke”) for a symphony’s third movement. The final movement (“Aspiration” in the manuscript), is heavily modal, avoiding typical cadences. The woodwinds are the first to recall the first movement’s primary blues theme, echoed throughout the orchestra. In the published score of the work, each movement is also accompanied by

excerpts of poems by African American poet Paul Laurence Dunbar, who worked in the late nineteenth century and whose writings grapple with African-American identities.

The “Afro-American” Symphony premiered in 1931 by the Rochester Philharmonic Orchestra, becoming the first symphony composed by an African American to be performed by a major symphony orchestra, just one of many racial barriers Still broke in his lifetime. Now known as the “Dean of African American composers,” Still was active in the civil rights movement and worked against the overt and covert racism in the music industry and wider culture.

Program notes by Elizabeth Massey, Ph.D.

BRIAN GANZ PIANO

Brian Ganz is widely regarded as one of the leading pianists of his generation. A top prizewinner of the Marguerite Long–Jacques Thibaud Competition and laureate of the Queen Elisabeth Competition in Belgium, Mr. Ganz has appeared as soloist with orchestras throughout the United States, Europe, and Asia, including the St. Louis Symphony Orchestra, Baltimore Symphony Orchestra, National Symphony Orchestra, National Philharmonic, City of London Sinfonia, Orchestre Lamoureux, Orchestre Philharmonique de Monte-Carlo, St. Petersburg Philharmonic Orchestra, and the Taipei Philharmonic Orchestra. He has performed with notable

conductors such as Leonard Slatkin, Marin Alsop, Mstislav Rostropovich, and Yoel Levi, and has performed in some of the world’s major concert halls including the Beaux-Arts in Brussels, De Doelen in Rotterdam, Arena di Verona, Sibelius Academy in Helsinki, and Suntory Hall in Tokyo.

In January of 2011, Mr. Ganz began a monumental, multi-year project in partnership with the National Philharmonic to perform the complete works of Frédéric Chopin at the Music Center at Strathmore, concerts that have been widely hailed and performed before regularly sold out audiences. His February 2024 recital marks the

Photo By: Jay Mallin

13th concert of the series. Other recent concert highlights include Chopin’s Piano Concerto No. 2 at the Alba Music Festival in Italy and with the National Philharmonic at Strathmore, Mozart’s Piano Concerto No. 20 with the Annapolis Symphony Orchestra, and Beethoven’s “Emperor” Concerto with the Billings Symphony. In September 2019 he made his theatrical debut at the Smithsonian’s Freer and Sackler Galleries in Whistler, Debussy and the Lecture that Changed Art, an imagined dialogue between artist James Whistler and a musician, played by Mr. Ganz. The theater piece explored connections between Debussy’s music and the artist’s “Ten O’Clock” lecture, and included excerpts from the lecture, dialogue written by Ganz, and live performances of works by Debussy and others. More

recently Mr. Ganz performed Mozart’s Piano Concerto No. 23 with the Virginia Chamber Orchestra at the new Capital One Hall in Virginia and appeared on the Distinguished Artists Concert Series of Santa Cruz, California.

Mr. Ganz made his recording debut on the Gailly label in Belgium. His recordings of Chopin and Dutilleux have been released on the Accord label in Paris. In 2001 he began a project to record the complete works of Frédéric Chopin for Maestoso Records. Mr. Ganz is artist-in-residence at St. Mary’s College of Maryland, and for 21 years was on the faculty at the Peabody Conservatory.

Artist Biography by Donald E. Osborne

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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.

Photo By: David Trozzo

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

Annapolis Symphony Orchestra 2024-25

MUSICIAN UPDATES FROM SEASON 2023/2024

RETIRED

The following musicians retired from the ASO after the 2023-2024 season following decades of service. We thank them for bringing their skill and passion in so many memorable performances!

LOUISE ELDER CHESTNUT

Viola (31 years)

TENURED

DONALD SPINELLI

Principal Percussion (34 years)

Congratulations to the following musicians, who earned their tenure during Season 62!

PATRICK RAYNARD

Principal Bass

BENJAMIN CROFUT

Associate Principal Bass

BRANDON SMITH Bass

HIRED

WAN-CHUN HU

First Violin

Following a series of rigorous auditions, the following professional musicians joined our roster. We’re very excited to welcome them to the ASO family!

ASHA KLINE

Principal Bassoon

HO-HIN KWONG Second Horn

GLENN ELDON ANGUS

OCTOBER 31, 1947 –MARCH 18, 2024

KEVIN GRASEL

Assistant

Principal / Utility Horn

IN MEMORIAM

ANDREW ENG Viola

BRIAN SHOOP

Viola

Glenn Angus was a violinist in the Annapolis Symphony Orchestra for nearly 40 years, first joining ASO under Music Director Leon Fleischer – and played with the orchestra from 1970-77 and 1984-2014.

Glenn grew up in Long Beach, California in a highly musical family and began studying the violin at age 11. He received his Bachelor of Music Education Degree from Eastern Kentucky University, and his Master’s in Liberal Arts from Johns Hopkins University. He taught instrumental music in the Anne Arundel County Public Schools for 32 years and maintained a private violin studio in his home. He expanded into playing jazz around 2007, leading his own jazz ensemble, The Glenn Angus Jazz Quartet. He was a violinist with the Londontowne Symphony Orchestra until his death.

In addition to music, Glenn was also passionate about cycling. He rode with various cycling groups and was a recognized member of the Anne Arundel County Trail Blazers.

MUSICIAN SPONSORS

Join us in a campaign to get all 55 of our currently 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 personally connect 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

CELLO

Todd Thiel, Principal

The Philip Richebourg Chair

Alison Bazala Kim

Sponsored by Dr. Elizabeth Maxwell-Schmidt & Mr. Steve Schmidt

Nicole Boguslaw

Sponsored by Norman J. Fisher & Doris Fisher Foundation

Catherine Mikelson

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

*Joe Bales Gruber

*Nancie Kennedy

*Dr. Michael Kurtz

Dr. Mary C. McKiel

*Mr. John P. McKim

Anne S. Potter

Susan Rosenfeld

Shelley Row

Stephen A. Sotack

To discuss including the Symphony in your Estate Plans, please contact development@annapolissymphony.org Annapolis Symphony Orchestra Inc. Tax I.D. 23-7001357 Make your

SUPPORTERS OF THE ASO

We gratefully acknowledge these generous donors to the Annapolis Symphony Orchestra who have contributed to this fiscal year.

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 + John McKim*

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 +

GIFTS OF $150,000 – $249,999

The Brian & Patricia Giese Foundation

Jillinda Kidwell + Maryland State Arts Council

Michael J. Mumma, Peter R. Mumma, & Amy Mumma R askopf +

GIFTS OF $50,000 – $149,999

Anonymous + Paula Abernethy + Jane Campbell-Chambliss & Peter Chambliss

James W. Cheevers +

Mr. Arthur & Dr. Katherine Edwards +

Laird Lott & Linda Gooden

Impact100 +

Anne S. Potter + Shelley Row + Stephen A. Sotack +

GIFTS OF $25,000 –$49,999

Anonymous

Anne Arundel County

Recreation & Parks

Arts Council of Anne Arundel County

Elville Center for the Creative Arts +

Peter & Sarah Evans + Al & Ginger From +

David & Eleanor Huggins

Mimi Jones + Patricia & David Mattingley +

Martha & John T. Schwieters +

GIFTS OF $10,000 – $24,999

Florence Calvert + Deb Howe + Dr. Elizabeth MaxwellSchmidt & Mr. Steve Schmidt + Judith Templeton + Ann & Robert Whitcomb +

GIFTS OF $5,000 – $9,999

Peter Bungay, Joy Chambers & Ellen Posten

Hugh D. Camitta

Prue Clendenning

William & Renata Davis + Norman J. Fisher & Doris Fisher Foundation

Collot Guerard

Capt. Mark & Michelle Hellstern (USN Retired) +

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

Lawrence & Jeanne Kelly

Evelin Reynolds*

Russ Stevenson & Margie Axtell

GIFTS OF $2,500 – $4,999

Herb* & Sallie Abeles

Dea Code Family Foundation

Carole & Richard Falk

Patrick M. Green

Anna E. Greenberg

Pierre & Danalee Henkart

Jan & David Hoffberger

Constance & William Scott

Doug & Karen Smith + Fred Stielow & Susan Rosenfeld

Bill & Marilynn Sweetser

Judith Templeton + MULTIYEAR PLEDGES

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

ANNUAL GIVING 2024-2025

GIFTS OF $1,000 – $2,499

Anonymous (2)

Michael Alin & Ann Carroll

Annapolis Musicians Fund for Musicians

Renee Ehler & George Bentley

Enser & Marguerite Cole

Mr. & Mrs. Robert Demoyer

Elizabeth Gordon-Bluntschli

Bob & Diane Heaney

Mr. & Mrs. Robert M. Hecht

Hugh & Deborah Houghton

Katherine Lantz

David McGill

James E &

Cheryl H Painter

Patricia Petrou

Ms. Barbara Pittman

Rotary of Annapolis

Cynthia Scruggs

Mrs. Tamara & Dr. Stephan Tymkiw

GIFTS OF $100 – $999

Linda Allen

Sandra Collyear Altherr

Ms. Susan Armstrong

Adele Baron

Randal Billingsley

Pat & Karen Brown

Carmen & Nancy Brun

Carole Burchette

Elizabeth Colandro

Petey Cosby

Susan Craig

Laudine Creighton

Dr. Albert A. Del Negro, M.D., FACC, &

Ms. Patrisha C. Creevy, PA-C

Carl DeVore

Fred & Susan Eckert

James R. Fitzpatrick

David & Cindy Fox

Frances R. Hall

Georgina Hammond

Patty Harris

D. Gayle Hensley

Gretchen Herdt

Paul Herman & Karen Goldman

David R. Herron, Ph.D.

Marian Holt

Mr. & Mrs. Jerry Hoot

Dr. & Mrs. William Hunter

Kevin Hurley & Kathleen McDevitt

Christine Kelsey

Leon & Barbara Kestenbaum

Julia Krause

Susanne Lieberman

Elizabeth Mainiero

Lynne Malley

Dr. Mary C. McKiel

Don & Carol Nelson

David & Carol Newman

Stanton Palmer

Fariba Partawi

Bob & Cookie Pollock

Michael & Margret Rauh

Ken & Maureen Reightler

John & Constance Robinson

Janet & Michael Rowan

Joan Russell

Bob Sherer

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.

Anne Sloan

Paula Thistle

Peter Threadgill

ANNUAL

GIVING continued

Christine Trapnell

Laura & Jack Van Geffen

Mark Wynn Gifts of $100 - $999 cont.

Joan Townshend

Mr. & Mrs. Damien Wanner

Cynthia Wells

Claire Winestock

Bradley Wirz

Francis & Maureen Wright

Bernard & Louis Wulff

MEMORIAL AND HONORARY GIFTS

In memory of Marion Borsodi

Sandra Collyear Altherr

In memory of Louise A. Snyder

Hugh D. Camitta

In memory of Ralph Bluntschli

Elizabeth Gordon-Bluntschli

In honor of Rachael Stockton Rene Shumate

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 Academy 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.

We 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 Annapolis Symphony Academy to provide grants that expand programming and provide scholarships. FASO efforts expand beyond Annapolis. FASO recently sponsored the featurelength 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

2024-2025 Board of Directors

Officers/Executive Committee:

Ann A. Tran, President

Marguerite Cole, Vice President

Ways & Means

Paula Abernethy, Vice President

Membership

Julie S. Grudzinskas, Treasurer

David Bush, Recording Secretary

Carol Richards, Corresponding Secretary

Directors:

Adele Baron

John Andryszak

Adele Baron

Jim Cheevers

Betsy Chotin

Kathy Clatanoff

Renee Ehler

Robert Foye

Elizabeth

Gordon-Bluntschli

Diane Green

Patrick Green

Anna E. Greenberg

Valerie Gutterson

Stephen Holt

Marilyn Lyons

Lynn Maichle

Mary McKiel

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

SANTA FE FASO Tour - May 2024

With an easy flight from BWI to Albuquerque we set off on our Domestic tour to Santa Fe. The tour included so many highlights that the Southwest offers, with clear blue skies and stunning landscapes. The music component included a memorable concert with the Santa Fe Symphony playing Beethoven’s 9th Symphony; a visit to a Pueblo to visit the famed guitarist Cipriano Vigil with private musical performance and an evening recital with the soloist Ana María Martínez singing with the Santa Fe Symphony String Quartet.

Artistic and cultural visits included a tour of Georgia O’Keeffe’s ranch followed by a private docent led tour of the Georgia O’Keeffe art museum; Centinela Traditional Arts gallery showcasing traditional weavers; a Pueblo San Ildefonso visit and lunch at the home of renowned potter Russell Sanchez with a behind-the-scenes attendance at the firing of his prepared pots and the ancient cave dwellings in the Bandelier National Park.

Visits to Santa Fe’s gourmet restaurants and stunning shopping streets rounded out this first rate fantastic tour that was thoroughly enjoyed.

UNITED KINGDOM

FASO Proms & Glyndebourne August 2024

In August, seventeen music lovers and Maestro José-Luis Novo hopped across the pond for ten memorable days in London and Sussex. It was the much-anticipated BBC Proms that drew Maestro, members of FASO, and their guests to the United Kingdom. We were treated to Benjamin Britten’s “War Requiem” and “Lahav Shani Plays & Direct Prokofiev” at the Royal Albert Hall, both curated by Maestro Novo. We even chanced upon Evensong at Westminster Abbey before heading south to the Glyndebourne Festival for a poignant contemporary staging of Bizet’s “Carmen”. We all loved the peoplewatching. While we Annapolitans were not decked out in black ties and glitzy gowns, we had our own private corner for pre-concert champagne and canapés, then a three course dinner during the 90-minute long intermission.

The musical treats went behind the scenes with private backstage tours of the Royal Opera House and Royal Albert Hall. At the Royal Academy of Music Museum, we were entertained by students playing on centuries old instruments. Finally, one cannot visit England without seeing Stonehenge, the Magna Carta, gardens and of course Chartwell, home of Winston Churchill. Wine tasting at Denbies Vineyard, afternoon tea, picnic and dinners pulled us all together, enhancing the camaraderie while sharing in the joy of music.

MARYLAND HALL 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 5 Masterworks concerts as a full series or 3 or 4 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.

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. If there are changes to the program, ticket holders will be contacted with options.

SYMPHONY . ORG

ANNAPOLIS