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Photo By: Michael Ventura

Dear Annapolis Symphony Orchestra patrons and friends,

As I write, it’s night time in snowy Montreal. I flew here earlier today, and just finished a practicing session for the concerts we will perform this weekend. This is what my days are usually like - a combination of my passion for flying, and my passion for music, so I can’t complain!

The ASO will perform not one, but TWO of my favorite pieces, one of which I have played since I was a young boy, so I’m very excited! I am thrilled to perform with Maestro Novo and my amazing ASO colleagues.

Camille Saint-Saëns’ Violin Concerto No. 3 is not performed as often as it should be. I think after hearing it you will agree that it is full of charm, flowing melodies, and gratifying harmonic transitions that will rival any major violin concerto.

We will also perform Modest Mussorgsky’s Pictures at an Exhibition which continues the picturesque nature of the violin concerto and builds on it. There will be so many melodies you will recognize; My favorite is saved for last, “The Great Gate of Kyiv”. At one point, if you close your eyes, you will hear the prevalent melody in the movement that might remind you of the holiday season. When I hear it I imagine snow and bells. After this buildup, the entire orchestra joins to play that same melody two more times, with the last time finally resolving in a huge E flat Major chord played by everyone on stage. I guarantee you the ASO will blow the roof off, in a great way.

The program for this weekend’s concerts opens with Samuel Coleridge-Taylor’s Overture from The Song of Hiawatha . It is a piece I was not familiar with before I started preparing for this concert. I can share the importance of playing his overture with you both because of the artistic excellence evident in The Song of Hiawatha, a piece that was as popular as Handel’s Messiah and Mendelssohn’s Elijah when it premiered, but more wholistically, because of the vital need to include more composers of color in our symphonic programming. We also know Maestro Novo enjoys programming exceptional yet lesser known compositions which are important for all of us to get to know alongside the favorite pieces we are familiar with and love. No doubt The Song of Hiawatha is one of those exceptional pieces.

Speaking of Maestro Novo, did you know this year marks his 20th anniversary with the Annapolis Symphony Orchestra? I am incredibly proud to say I have served as the Concertmaster of this great orchestra for 15 of the 20 years Maestro Novo has

been our Music Director. It has been an honor and a pleasure to work with him, as I know it will continue to be in the future. If you run into Maestro Novo before or after a concert, or perhaps around town, take a minute to stop and share with him your favorite Annapolis Symphony Orchestra moment(s), and how thankful we are to have a growing orchestra in Annapolis, greatly due to his dedicated vision and hard work.

Following our performances at Maryland Hall, we will perform this program at the Strathmore Music Center on February 2nd. While we love our home at Maryland Hall, Strathmore showcases the caliber and talent of our ASO musicians to a whole different level. If you are a regular Maryland Hall patron, I highly recommend changing your Sunday plans and coming to hear the same concert at Strathmore. You will be blown away, guaranteed!

After we conclude this concert week, we still have a few more performances this year, and we hope we will see you at Maryland Hall, Strathmore, and at concerts with the Annapolis Symphony Academy. The Academy is a project I envisioned seven years ago with the support of the Annapolis Symphony Orchestra Board of Trustees, then Board Chair Laurie Berman, Maestro Novo, ASO’s former Executive Director, Patrick J. Nugent, my friend and colleague Julie Nolan, our awesome staff, and generous donors and sponsors. Little did we know that the project would grow into a multiple-location, multi-orchestra program with 150+ students that supports the community, promotes equity, helps those who cannot afford music lessons, and provides more opportunities for our ASO musicians. Don’t forget to follow the Academy’s concert schedules, especially ASA Day on May 18th. The Academy’s recitals, concerts, and events are an inseparable part of the vision and mission of the Annapolis Symphony Orchestra.

One last special shout out to my incredible sponsor, Jill Kidwell, who alongside the late David Kidwell supports me and the concertmaster chair for such a long time. Thank you Jill for years of friendship and support.

Did you know you can sponsor a musician? Ask one of our team members at (or after) the concert about that possibility.

Please enjoy tonight’s performance. We enjoyed preparing it for you. I would like to thank all of you for your continued patronage and support of the Annapolis Symphony Orchestra and all it does in our community.

See you at the concerts or maybe in the air one of these days, who knows! Wherever it may be, it will always be great fun.

Warm regards,

Netanel Draiblate

2024-2025 BOARD OF TRUSTEES

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

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

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 of the signing of the City of Annapolis’ Royal Charter. In July of 2022, Maestro

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.”

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

Photo By: David Trozzo

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.

MASTERWORKS SERIES

January 31, 7:30 PM | February 1, 7:30 PM

MARYLAND HALL

February 2, 3:00 PM

MUSIC CENTER AT STRATHMORE

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

Netanel Draiblate, violin

Overture from The Song of Hiawatha, Op. 30, No. 3 Samuel Coleridge-Taylor (1875–1912)

Violin Concerto No. 3 in B minor, Op. 61 Camille Saint-Saëns (1835–1921)

I. Allegro non troppo

II. Andantino quasi allegretto

III. Molto moderato e maestoso

- INTERMISSION -

Pictures at an Exhibition Modest Mussorgsky (1839–1881) Promenade (orch. Maurice Ravel)

I. Gnomus (The Gnome) Promenade

II. Il vecchio castello (The Old Castle) Promenade

III. Tuileries

IV. Bydło (Cattle) Promenade

V. Ballet of the Unhatched Chicks

VI. Samuel Goldenberg und Schmuÿle

VII. Limoges—Le marché (Limoges—The Market)

VIII. Catacombae: Sepulcrum romanum (Catacombs: Roman Tomb) Cum mortuis in lingua mortua (With the Dead in a Dead Language)

IX. The Hut on Hen’s Legs: Baba Yaga

X. The Great Gate of Kyiv

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

VIOLIN I

ANNAPOLIS SYMPHONY ORCHESTRA MUSICIAN ROSTER

Netanel Draiblate, Concertmaster

Nicholas Currie, Associate Concertmaster

Hanbing Jia, Assistant Concertmaster

William Wang

Qian Zhong

Rachael Stockton

Abby Armbruster

Wan-Chun Hu

Susan Benac

Heather Haughn

Jennifer Rickard

Claudia Chudacoff

VIOLIN II

Chri stian Tremblay, Principal

Alexandra Mikhlin, Acting Associate Principal

Karin Kelleher

Sally Stallings Amass

Megan Gray

Katelyn Lyons Peaden

Sara Schneider

Angela YuTing Chew

VIOLA

Sarah Hart, Principal

Brian Shoop, Acting Associate Principal

Kate Zahradnik

Rachel Holaday

Susan Taylor Dapkunas

Kunjing Dai

Heidi Remick

Michael Sinni

CELLO

Todd Thiel, Principal

Pei Lu, Associate Principal

Nicole Boguslaw

Daniel Shomper

Alison Bazala Kim

MaryAnn Perkel

Catherine Mikelson

Jes sica Albrecht

BASS

Pat rick Raynard, Principal

Benjamin Crofut, Associate Principal

Adriane Irving

Brandon Smith

Kimberly Parillo

Jason Gekker

FLUTE

Ki mberly Valerio, Principal

Lauren Sileo

Lor i Kesner

OBOE

Fat ma Daglar, Principal

Amanda Dusold

Mich ael Homme

CLARINET

Brian Eldridge, Acting Principal

David Drosinos

Sara Reese

BASSOON

Asha Kline, Principal

Jimmy Ren

Lynn Moncilovich

SAXOPHONE

Tim Powell

HORN

Alex Kovling, Principal

Shane Iler, Associate Principal

Ho Hin Kwong

Anthony Valerio

Kevi n Grasel

TRUMPET

Chri stopher Sala, Principal

Christopher Buchanan

Andrew Fremder

TROMBONE

David Sciannella, Acting Principal

Myles Blakemore

Jay Heltzer

TUBA

Jake Fewx, Principal

TIMPANI

Cu rt Armbruster, Principal

PERCUSSION

Wil liam Kan, Principal

Anthony Asero

Andrew Henry

Robert Jenkins

Eva n Saddler

HARP

Ma ryanne Meyer, Acting Principal

Astrid Walschot-Stapp

CELESTE

Tomoko Kanamaru, Acting Principal

Arthur Miller’s

HE CRUCIBLE HE CRUCIBLE

Cole Porter, Guy Bolton, and P.G. Wodehouse’s

ANYTHING

William Shakespeare’s

PROGRAM NOTES

Overture from The Song of Hiawatha, Op. 30, No. 3

SAMUEL COLERIDGE-TAYLOR

Born Aug. 15, 1875, London

Died Sep. 1, 1912, London

Composer Samuel Coleridge-Taylor, named after the English Romantic poet Samuel Taylor Coleridge, was born to a white mother and a Black father. His father returned to his native Sierra Leone in 1876—and therefore took no part in Coleridge-Taylor’s upbringing— because he was unable to establish an independent medical practice because of his race. This is indicative of just some of the barriers to Black Englishmen at the time. Coleridge-Taylor was interested in his African heritage, leading him to what was then perceived as a “folk” compositional style. The use of folk styles, especially in development of a particular ethnic or national idiom, was common in the late nineteenth century, and Coleridge-Taylor was both influenced by and compared to composers such as Antonín Dvorˇák, Edvard Grieg, and Edward Elgar. In his

interest to highlight African culture, Coleridge-Taylor was also influenced by the African-American activists W.E.B. DuBois and Booker T. Washington, poet Paul Laurence Dunbar (with whom he was friends), and the Fisk Jubilee Singers.

Having studied music and sung as a chorister throughout his childhood, Coleridge-Taylor enrolled in the Royal College of Music in 1890 to study violin and piano. He quickly showed talent as a composer, publishing his first piece at age 16, and he eventually switched his focus to composition. In 1898—a year after completing his studies at the Royal College of Music—Elgar recommended Coleridge-Taylor for a commissioning project, naming him “far and away the cleverest fellow going amongst the young men.” Later that year, ColeridgeTaylor completed Hiawatha’s Wedding Feast , the first cantata in the eventual trilogy The Song of Hiawatha , which is based on and sets texts from the epic poem of the same name by American poet Henry Wadsworth Longfellow. Coleridge-Taylor’s interest in the mythological character of Hiawatha (who is not based on the sixteenthcentury Iroquois chief) is logical when considering the Romantic conflation of communities perceived as “ethnic.”

While writing the second cantata for The Song of Hiawatha , Coleridge-Taylor decided to compose an instrumental overture to complete the epic work. Conducted by the composer, the overture premiered at the Norwich Music Festival on October 7, 1899, and received rave reviews that added to Coleridge-Taylor’s popularity. The work begins with the harp accompanying motives that are pulled from the spiritual “Nobody Knows the Trouble

I’ve Seen,” which Coleridge-Taylor heard performed by the Fisk Jubilee Singers. After detached chords in the low register, the strings take over with a full statement of the melody. The rhythmic changes to the melody—grace notes, exaggerated dotted figures, and trills— were quintessential markers of “folk” music in the nineteenth century, and often used by classical music composers when trying to evoke a non-Western culture or musical style.

Violin Concerto No. 3 in B minor, Op. 61

CAMILLE SAINT-SAËNS

Born Oct. 9, 1835, Paris

Died Dec. 16, 1921, Algiers

The young Camille Saint-Saëns began piano lessons at age three and made an impressive public debut, performing concertos by Mozart and Beethoven, in Paris at age ten. Saint-Saëns entered the Paris Conservatoire in 1848, studying organ, composition, and orchestration. Although he did not win the famed Prix de Rome, he won a different

composition prize in 1852, as well as a prize for organ performance in 1851. In his professional career, Saint-Saëns was at various points an organist, pianist, conductor, impresario, critic, and composer. As a composer, Saint-Saëns was influenced by the programmatic pieces of Liszt as well as by the Classical Viennese style as defined by Haydn, Mozart, and Beethoven. Saint-Saëns helped to revive the music of these three composers in France as well as the music of Bach, Handel, and seventeenth-century Baroque dance forms. His interest in historical music and the Classical style is evident in the Violin Concerto No. 3 in B minor, composed in 1880.

Saint-Saëns uses the traditional concerto form for his third violin concerto: a faster sonata form first movement, slower second movement, and a fast finale third movement. The first movement begins with an appassionato violin solo, immediately showing off the soloist’s range, dexterity, and emotion: the main goal of a solo concerto. As the tonality shifts to major, the solo violin introduces the lyrical and flowing second subject, marked dolce espressivo, accompanied by chords in the strings. After the development and recapitulation of the two subjects, the movement ends with an extended coda. The peaceful second movement is a barcarolle, a Venetian folk song sung by gondoliers, their rowing and the water’s movement imitated by the 6/8 meter. This form was also popular in Romantic opera, a common genre for Saint-Saëns, and the exchange of melody between soloist and woodwinds shows an influence from Mozart. At the very end of the movement, the soloist plays arpeggio runs using harmonics in a masterful

display of skill. A unique timbre is created as the clarinet accompanies the arpeggios in octaves. The third movement opens with an accompanied cadenza before settling into the marchlike theme for the finale. This mood is contrasted by the interjection of the second theme, which is graceful with a slower rhythmic pulse. At the end of the work is a majestic chorale— characteristic of Saint-Saëns during this period of composition—in B major. The violin echoes the brass in a final coda that shows off the soloist’s virtuosity.

Pictures

at an Exhibition

MODEST MUSSORGSKY, ORCH. RAVEL

Born Mar. 21 (O.S. Mar. 9), 1839, Karevo

Died Mar. 28 (O.S. Mar. 16), 1881, St. Petersburg

Born in west of Moscow, Russian composer Modest Mussorgsky had a keen interest in Russian culture and history, and would eventually become known for his participation in the circle of composers including Mily Balakirev,

César Cui, Nikolai Rimsky-Korsakov, and Alexander Borodin—known with Mussorgsky as “The Five” or the “Mighty Handful”—who were dedicated to creating and promoting a Russian compositional style. Mussorgsky studied piano as a child and continued studying music throughout his secondary school training in St. Petersburg, as well as during his time at the Cadet School of the Guards where he trained to be a military officer, a typical career path for someone of the gentry. He was commissioned as an officer in the Russian Imperial Guard in 1856 and met Borodin that same year. As Mussorgsky became more involved in the musical circles of St. Petersburg, he was introduced to Cui (also a military officer) as well as Balakirev, with whom Mussorgsky took composition lessons. Russian places, landmarks, myths, and historical figures were common inspirations for Mussorgsky, demonstrating his interest in Russian nationalism. His famous opera Boris Godunov, for example, is based on a late sixteenth-century tsar. Kartinki s vïstavki ( Pictures at an Exhibition) was composed for piano in June 1874, shortly after the completion and success of Boris Godunov. Pictures at an Exhibition is based on a memorial exhibit of works by Russian painter Viktor Hartmann, a friend of Mussorgsky’s who had died in 1873. Mussorgsky’s own struggles with alcoholism and mental health led to a steady decline, and he died at just 42 years old, eight years after composing Pictures . His penchant for leaving works unfinished—as well as his colleagues’ opinion that his technique was unrefined—led to numerous posthumous editions, especially by Rimsky-Korsakov, often with substantial revisions of Mussorgsky’s works.

Pictures at an Exhibition was published in 1886, largely intact to Mussorgsky’s manuscript. The piano suite was orchestrated several times beginning in the late nineteenth century, but the most well-known version that has become the standard orchestral score was completed by Maurice Ravel in 1922.

Pictures at an Exhibition musically depicts walking through the art exhibit honoring Hartmann and his artwork:

Promenade: The opening section is unnumbered in the manuscript piano score, demonstrating that the music does not correlate to a painting by Hartmann. Rather the Promenade creates the action of walking through the exhibit, with a moderate tempo with regular rhythms. The melody is modal, evoking Russian folk music, and has similarities to a melody used in the coronation scene of Boris Godunov. The Promenade theme returns throughout the work, interspersed between the different movements, as the viewer (or listener) takes in the different paintings.

I. Gnomus (The Gnome): While Hartmann’s sketch of this is lost, the critic Vladimir Stasov, who knew both Hartmann and Mussorgsky, describes it as a child’s wooden toy with “crooked little legs.” The opening sforzando melody suggests menace, and its irregular interruptions throughout the movement depict the uneven gait. Chromaticism and other non-functional harmonies are used throughout, again demonstrating an influence in folk music.

[Promenade]: Unnamed in the original manuscript, this shorter section recalls the first two phrases of the Promenade.

II. Il vecchio castello (The Old Castle): According to Stasov, the corresponding painting showed a castle and a troubadour, or a poetsinger from medieval southern France. The medieval era is evoked with the modal Aeolian melody; the addition of the saxophone to the orchestra shows the orchestrator Ravel’s interest in timbre. There is a persistent pedal tone throughout the movement, a compositional characteristic of Mussorgsky.

[Promenade]: This quick section prepares for the next movement by changing the key.

III. Tuileries: Set in the famed Tuileries Gardens in Paris, this painting (now lost) and movement illustrates young children playing. Their cheerful energy is evoked through the quick and gentle lines in the high woodwinds and use of the high register.

IV. Bydło (Cattle): This movement begins suddenly, and according to Stasov, references a Polish cattle cart. However, no such image appeared in the exhibit of Hartmann’s works, and so there is speculation as to the inspiration for the movement. No matter the scenario, the low brass and regular rocking rhythms create the plodding movement of the cattle, and the strings sing a folk melody.

[Promenade]: Continuing the darker mood from the previous movement, Mussorgsky recalls the Promenade theme with a slower tempo and in a minor key.

V. Ballet of the Unhatched Chicks: Referencing Hartmann’s costume sketches for the ballet 1870 Trilby, performed in Moscow, the movement

depicts children who are dressed up as hatching canaries. The plucked strings and grace notes in the high winds create the effect of little beaks trying to tap open a shell and small flaps of wings. Quick, small bird steps are heard in the walking line in the bassoon and strings.

VI. Samuel Goldenberg and Schmuÿle: This movement references two pencil sketches by Hartmann, one entitled “A Rich Jew in a Fur Hat,” and the other “A Poor Jew.” They were done when Hartmann visited Sandomierz, Poland, including the Jewish ghetto. The unison modal, ornamented melody evokes Yiddish music, and the difference in economic status is perhaps heard in the sharply contrasting brass melody.

VII. Limoges—Le marché (Limoges— The Market): While it is not clear which of Hartmann’s 75 works of Limoges were in the exhibition, the hustle and bustle of the French marketplace is heard immediately in the music. The accents and quick features of different instruments create the effect of dialogue.

VIII. Catacombae (Sepulcrum romanum) (Catacombs: Roman Tomb): Suddenly, the low brass introduce the Roman catacombs underneath Paris. Hartmann’s watercolor shows stacks of skulls, and the theme of death is heard in the spaced chords that create harmonic ambiguity. These chords, instead of a melody, dominate the movement.

Cum mortuis in lingua mortua: Translating to “with the dead in a dead language,” this iteration of the Promenade theme is not a separate movement in the original piano score.

IX. The Hut on Hen’s Legs: Baba Yaga: The movement’s title references Hartmann’s sketch for a clock that realizes the house of Baba Yaga, an evil witch of Russian folk tales. The accents, sharp timbre, low register, and tonal ambiguity create a threatening atmosphere, fitting for a witch who was told to eat children and crush their bones as she travels around in her house built on chicken legs.

X. The Great Gate of Kyiv: In this fantastic finale, Mussorgsky references the watercolor Hartmann entered in the competition for a design to rebuild the city gates of Kyiv, Ukraine, which was controlled by Russia at the time. The movement begins with a bright processional, which is interrupted by a quiet Russian Orthodox hymn, “As You Are Baptized in Christ,” in the bassoons and clarinets. Strings joyfully enter and after another hymn, the pulsating chords that layer atop each other imitate specifically Russian bell ringing. The layers build to a percussiondominated climax, bringing the piece to a majestic close.

Program notes by Elizabeth Massey, Ph.D.

HNETANEL DRAIBLATE Violin

ailed as “an extremely gifted violinist with a strong stage personality and charisma,” Netanel Draiblate has concertized across four continents. The versatile artist performs as a soloist, chamber musician, and recording artist and the Washington Post has recognized him as “a violinist who combines confidence and virtuosity with a playful musical personality.”

Recent highlights include performances of the Tchaikovsky Violin Concerto with the Annapolis Symphony Orchestra, James Stephenson’s violin concerto Tributes with the Lake Forest Symphony, Mendelssohn’s Violin Concerto with the Baltimore Chamber Orchestra featuring his own cadenza, and Lou Harrison’s Suite for Violin, Piano and Chamber Orchestra with the PostClassical Ensemble in Washington, DC. Previous engagements include appearances with

the American Symphony Orchestra at Carnegie Hall, Israel Chamber Orchestra, Brasília Concert Society Orchestra, and Turkey’s Bursa State Symphony Orchestra.

Active as a chamber musician, Mr. Draiblate has collaborated with Pinchas Zukerman, Yo-Yo Ma, Itzhak Perlman, Jaime Laredo and Cho Liang Lin, performing in many of the world’s premiere venues. He recently made his Ravinia debut, performed with members of the New York Philharmonic as part of the Lancaster International Piano Festival, made his Canadian debut, performed on the Friday Music Series at Georgetown, was featured in special performances at the Holocaust Museum LA and in Maryland for the America-Israel Cultural Foundation, and for the last three seasons served as artist in residence at the Nuevo Mundo

Festival in Aruba. He also led a string quartet in a special program celebrating the 50th anniversary of GermanIsraeli diplomatic relations at Carnegie Hall, with an encore performance in Washington, DC for the Embassy Series. Mr. Draiblate tours with his duo partner, pianist Lura Johnson, as Times Two, and they also recorded the album Perspectives (Azica).

A sought-after teacher, Mr. Draiblate is the Founder and Director of the Annapolis Symphony Academy and was the Director of Chamber Music at Georgetown University. He has held

faculty positions and led master classes at schools and festivals across the globe. Mr. Draiblate is currently concertmaster of the Annapolis Symphony Orchestra and the Washington, DC-based PostClassical Ensemble. He has also served as concertmaster of Lake Forest Symphony, Tel-Aviv Soloists Ensemble, World Youth Orchestra, Young Israel Philharmonic Orchestra, and held a leading position with the historic WestEastern Divan Orchestra under the direction of Maestro Daniel Barenboim.

FROM MUSIC TO MASTERPIECE

A Student Art Exhibition

Inspired by Mussorgsky

In an extraordinary fusion of art and music, APEX Arts and ArtFarm Studios partnered to create a unique visual experience for the Annapolis Symphony Orchestra’s upcoming performance of Modest Mussorgsky’s celebrated composition, Pictures at an Exhibition .

This creative initiative reverses the inspiration that birthed Mussorgsky’s 1874 masterpiece, which was originally inspired by the works of Russian painter Viktor Hartmann. Students from APEX Arts and ArtFarm Studios listened to Mussorgsky’s evocative music and translated its emotional and visual energy into stunning original artworks. These student-created pieces will serve as a stunning visual accompaniment during the live January 2025 performances at Maryland Hall.

Pictures at an Exhibition A

In the spring of 2024, FASO was approached with the idea of pairing the music of Modest Mussorgsky’s Pictures at an Exhibition with visual arts. As a very brief background, Mussorgsky composed the piece as a 10-movement piano suite in memory of his friend, the architect and painter Viktor Hartmann. The composition is a musical depiction of some of Hartmann’s works.

Nurturing young talents has always been a mission of ASO and FASO, exemplified by the growth and success of the Annapolis Symphony Academy. So featuring student visual artists is a natural extension of our work. FASO accepted the challenge. It was indeed a challenge, and more than once I wondered if the project would ever get off the ground. Alison Harbaugh and Art Farm jumped on board at once. But we suffered delays due to the school summer break. Many emails and phone calls later, we got our core group of collaborators to the table. Alison’s enthusiasm was infectious and soon director David Kauffman, Senior Manager of AACPS Apex Arts magnet program threw in his support. Alison organized the workshop, and gathered and supervised the student artists. I defer to Alison to fill in the artistic process. Needless to say, the resulting artwork revealed youthful imaginations and incredible creativity.

FASO is once again thrilled to be part of a community-wide project. In addition to managing the artistic components of this endeavor, Alison and Art Farm also took on the task of display and photography. We thank Anne Arundel County Public Libraries, especially Christine Feldmann, Director of Marketing and Communications, and Diane Benner, Manager of the Michael E. Busch Annapolis Library, for showcasing the art works in a large wall display so the public can enjoy the art and listen to the music. We thank Jackie Coleman and her staff for facilitating display space at Maryland Hall. Please be sure to visit the exhibit in the display space near the ASO offices during intermission or after the show. FASO is most grateful for the generous financial support from Whole Lotta Love. What makes this donation special is that it’s coming from a student group created by Gemma Love that supports other students. Vice president Marguerite Cole and I took on this task with much trepidation. We put out the call for participation and a whole lotta folks answered. So many in the greater Annapolis area contributed to produce what you see tonight. I hope you enjoy our version of Pictures at an Exhibition .

Sincerely,

Ann A. Tran

A NOTE FROM ALISON HARBAUGH, ART FARM STUDIOS

Leading this collaborative project between the Friends of the Annapolis Symphony Orchestra and young artists in our community has been a joy. When asked to bridge classical music and visual art, I knew we had an exciting opportunity to challenge students to explore creativity in a new way.

We invited students from Anne Arundel County Public Schools’ APEX Arts middle and high school programs to experience Mussorgsky’s Pictures at an Exhibition with fresh eyes and ears. ArtFarm teachers assigned one movement of the composition to each student to listen to, intentionally without any context about its inspiration. This blank slate approach was essential – we wanted their interpretations to flow purely from their emotional response to the music.

The creative process began with students creating word lists of their feelings and impressions while listening. These stream-of-consciousness responses then evolved into preliminary sketches as they translated their written thoughts into visual elements. At ArtFarm, we believe deeply in the importance of process, so we provided a variety of materials – charcoal, alcohol inks, watercolor, pencils, paint markers, and collage supplies – allowing each artist to choose their preferred medium.

What emerged on their wooden canvases was remarkable. Their artwork often aligned surprisingly well with both Mussorgsky’s musical intentions and Hartmann’s original paintings that inspired the composition, despite the students having no prior knowledge of either. Watching them deeply engage with classical music, many for the first time, and translate those auditory experiences into visual art was fascinating. Their concentration was intense, their interpretations both personal and profound.

The resulting exhibition showcases not just finished artworks, but the power of cross-disciplinary arts education. The synchronicity between the students’ artwork and the original inspirations behind Mussorgsky’s composition validates our faith in young artists’ intuitive abilities. It demonstrates beautifully how art speaks across centuries, mediums, and generations when we create space for genuine exploration and interpretation.

Alison Harbaugh, ArtFarm Studios

Alison Harbaugh 410-570-1581 (c) Photographer, Filmmaker, Teacher

Dear Audience, Members,

When I was about 5 years old, my mother introduced me to a famous Hawaiian maker of ukeleles. It was our family’s Jack Johnson era, and I was hooked on the sounds I could produce from the strings of my first instrument. Later, my music teacher at West Annapolis Elementary School, Clair Stein, encouraged me to play viola, another string instrument. That year my mother bought me several vinyl recordings of famous symphonies, and I grew a love for classical music. When I was 12 years old, struggling with the drama of the pre-teen years, she cuddled up on my bed with me to watch endless YouTube videos of Led Zeppelin. I was entranced with the artistry (and hair) of Robert

Plant and the mastery of Jimmy Page, so much so that I took up guitar. Last year I was gifted an amplifier and electric guitar, and now my entire family is sharing the joy of music with me.

I’ve always had a string instrument at hand, and I’ve always had a deep love for music. At the same time, I’ve loved visual art. My mother will tell you that I sat for hours even as young as age 2 while she worked, doodling, drawing, coloring, crafting, and then painting. My art teacher at West Annapolis, Danielle Shuey, always encouraged me, and allowed me to create works that were shown in exhibits like the one we are presenting this weekend. Alison Harbaugh has also supported my art, always encouraging me to welcome my

artistic spirit in the inviting and safe spaces she creates for young people.

For all these reasons - my love for music and art, and my love for visual art in particular - I was very happy to offer FASO a grant to help pay for art supplies and teacher instruction for this project. I founded Whole Lotta Love in 2020 in hopes that I could help other students. Whole Lotta Love has engaged the entire community - students, teachers, business people, politicians, and others - in service to young people. Our signature projects include the Annapolis Angel Tree, which has paired children in need with generous sponsors for five years, and has helped more than 1200 children to date. We’ve collected period products that were distributed to three schools, paid for bus transportation for unified sports teams, sent hundreds of school supplies to Paschal Sherman Indian School, collected new cold weather clothing for students who needed it for nature immersion field trips, and organized book drives so elementary aged kids could pick and choose as many books as they could hold for free. We are students helping other students, with love.

I’m very blessed to have been allowed access to art, in all its forms, for all of my life. Growing a love and affinity for the arts includes workshops exactly like this collaboration, which fosters exposure to the wonder of art, and importantly, stirs imagination and curiosity. The confidence that this one project might impart to a young artist will last a lifetime, and can make

all the difference in their decision to hone their craft and learn even more about art and culture. They deserve your appreciation of their artwork, and they have my congratulations. I am so impressed with their pieces, and hope they had fun in the process.

Thank you to Mr. Kauffman, for engaging APEX Arts Students in the project, to Mrs. Feldmann for facilitating the show at the Annapolis library, to Alison for bringing this exhibit to life so beautifully, and to Ann Tran and Maggie Cole for pushing forward to completion despite many obstacles. Ann and Maggie personally donated funds, effectively doubling the donation of Whole Lotta Love, and thereby making this small dream a reality.

Respectfully,

Gemma Love Founder, Whole Lotta Love

PICTURES AT AN EXHIBITION STUDENT ART PIECES

The Gnome by Isabella V.

The Gnome by Josephine K.

The Gnome by Pearl (2nd)

The Old Castle by Zoey D.

The Old Castle by Margaret B. (2nd)

The Old Castle by Karis V.

The Old Castle by Aireen C.

Bydlo by Isaac S

Bydlo by Nora W.

“Sa muel” Goldenberg & “Schumuyle” b y Graham H.

Ballet of Unhatched Chicks by Mary T.

Ballet of Unhatched Chicks by Kaelyn W.

“Samuel” Goldenberg and “Schumuyle” by Madison M.

Catacombs by John C.

Limoges. The Market by Maggie B.

Limoges. The Market by Pearl A.

Tuileries by Sunny M.

The Hut on Hen’s Legs (Baba Yaga) by Karis V (2nd)

Catacombs by Quinten H.

The Hut on Hen’s Legs (Baba Yaga) by Briarlee G.

Tuileries by Cate V.

Catacombs by Anne B.

The Bogatyr Gates (in the capital in Kiev) by Nora W & Kaelyn G

The Bogatyr Gates (in the capital in Kiev) by Mia M. (2nd)

The Bogatyr Gates (in the capital in Kiev) by Ink M.

The Bogatyr Gates (in the capital in Kiev) by Seneca

The Hut on Hen’s Legs (Baba Yaga) by Mia M.

The Bogatyr Gates (in the capital in Kiev) by Easton G.

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

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

TRUMPET

Christopher Sala, Principal

The Philip Richebourg Chair

TROMBONE

David Perkel, Principal

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

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

To discuss including the Symphony in your Estate Plans, please contact development@annapolissymphony.org

*Deceased

SUPPORTERS OF THE ASO

We gratefully acknowledge these generous donors to the Annapolis Symphony Orchestra who have contributed to this fiscal year as of November 15th, 2024

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 +

Friends of the Annapolis Symphony Orchestra

Collot Guerard

William H. Hoff + Deb Howe +

Dr. Elizabeth MaxwellSchmidt and Mr. Steve Schmidt +

Judith Templeton + Ann & Robert Whitcomb + Cecelia Wyatt

GIFTS OF $5,000 – $9,999

Peter Bungay, Joy Chambers & Ellen Posten

Susan Byrom and Robert Thomas

Hugh D. Camitta

Prue Clendenning

Council Family Foundation

+ 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.

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

William and Renata Davis +

Norman J. Fisher and Doris Fisher Foundation

Harley Flack

Capt. Mark & Michelle

Hellstern (USN Retired) + JosuahOneNine Fund

Lawrence and Jeanne Kelly

Evelin Reynolds*

Russ Stevenson and Margie Axtell

GIFTS OF $2,500 – $4,999

Herb* and Sallie Abeles

Dea Code Family Foundation

Drs. Mark Davis & Ann Tran

Carole & Richard Falk

Patrick M. Green

Anna E. Greenberg

Scott Gregory and Angela Eggleston-Howard

Pierre and Danalee Henkart

Richard and Lisa Hillman

Jan and David Hoffberger

Karl and Marge Hoke

ANNUAL GIVING 2024-2025

Gifts of $2,500 - $4,999 cont. Gifts of $100 - $999 cont.

Elizabeth Mainiero

Dr. Mary C. McKiel

Music Educators of Greater Annapolis

José-Luis Novo and Lori Kesner

Steve Root and Nancy Greene

Jeffrey Scherr and Wendy Jachman

Constance and William Scott

Doug & Karen Smith + Fred Stielow and Susan Rosenfeld

Joan Ruhl

Bill and Marilynn Sweetser

GIFTS OF $1,000 - $2,499 Anonymous (8)

Michael Alin and Ann Carroll

Jack and Leslie Andryszak

Annapolis Musicians Fund for Musicians

Melvin and Judy Bender

Renee Ehler and George Bentley

Ann Burchard

Ms. Sandy Cohen

Community Foundation of Anne Arundel County

Mr. and Mrs. Andrew Lynch Cole

Enser and Marguerite Cole

Jesse Cunitz and Faith Goldstein Cunitz

Jane Danowitz

Mr. and Mrs. Robert Demoyer

Elizabeth Gordon-Bluntschli

Bonnie Gorman

Bob and Diane Heaney

Mr. and Mrs. Robert M. Hecht

Gifts of $1,000 - $2,499 cont.

David R. Herron, Ph.D.

Hugh and Deborah Houghton

The Johansen Family

Ted and Karen Kirakawa

Jim & Deb Laite

Katherine Lantz

Rosalie Lijinsky

Janet Little

Lynn Maichle

David McGill

Laura Murray

Jan O’Connor

James E and Cheryl H Painter

Beth Penn

Patricia Petrou

Barbara W. Pittman

Pamela Roeming

Rotary of Annapolis

Cynthia Scruggs

Bob Sherer

Jill Simon

Kathy Sorci

Mrs. Tamara and Dr.

Stephan Tymkiw

Barbara Wing

GIFTS OF $100 - $999

Anonymous (2)

Michael and Judy Ackerman

Anne Agee

Linda Allen

Sandra Collyear Altherr

Sally Amass

Ms. Susan Armstrong

Ann J. Baker

Adele Baron

Jess and Susan Behringer

Julie Belkin

Randall Bell

Edward Bergman

Randal Billingsley

Martha Blaxall and Joe Dickey

Ms. Jeannie Block Bessmer

Elaine Bower

Elizabeth Bowers

Pat and Karen Brown

Carmen and Nancy Brun

Carole Burchette

David Bush

Rebecca A Byrd

Cindy Carlton

Deborah Chin

Dr. Mark Cinnamon

Elizabeth Colandro

Petey Cosby

Susan Craig

Laudine Creighton

Dr. Albert A. Del Negro, M.D., FACC, and Ms. Patrisha C. Creevy, PA-C

Carl DeVore

James and Debra Dillon

Fred and Susan Eckert

Pauline Farmer

Mr. and Mrs. Millard Firebaugh

James R. Fitzpatrick

Ted and Anne Foster

David and Cindy Fox

Frederick R. Galloway

Charitable Trust

Sonja Gladwin & Rod Straw

Michael J. Gray

Frances R. Hall

Georgina Hammond

Patty Harris

Jeffrey Harvey

D. Gayle Hensley

Gretchen Herdt

Paul Herman and Karen Goldman

Maureen Hess

Marian Holt

Mr. and Mrs. Jerry Hoot

Dr. and Mrs. William Hunter

Kevin Hurley and Kathleen McDevitt

Sally W. Iadarola

Beth Jacaruso

Beth D. Jacob

Bruce and Danna Jones

Mr. and Mrs. Jordan

Kurt Karsten and Michelle Smith

Christine Kelsey

Nicholas Kemp & Kay Osburnsen

Leon and Barbara Kestenbaum

Getha Klejnot

Julia Krause

Alice F. Kurs

Dr. Monique Langston

Drs. Frank LaScala and Gladys Rivera-LaScala

Dr. and Mrs. Norman Lerner

Ellen Levin

Susanne Lieberman

Timothy and Katherine Lynch

Joan Machinckick

ANNUAL GIVING

Robert W Madden Jr

Lynne Malley

Elaine Mines

Priscilla Mitchell

Francisco Montero

Betty Morganstern

Don and Carol Nelson

David & Carol Newman

Ed and Jeanne Paglee

Stanton D. Palmer

William and May Parks

Fariba Partawi

Bob and Cookie Pollock

John T. Quinn

Michael and Margret Rauh

Ken and Maureen Reightler

Clay and Carol Richards

Christopher and Anita Rizek

Jack Roadhouse

John and Constance Robinson

Paul and Joan Rosenberg

Janet & Michael Rowan

Amy and Joe Rubino

Joan Russell

Ellen von Seggern Richter

Mr. and Mrs. Russ Rosenberger

Chris & Donna Schein

Ken and Elaine Schmidt

Mr. and Mrs. Randy Schmitt

Scott and Virginia Schollenberger

Mr. and Mrs. Michael T. Schuncke

Leslie Skibo

Bruce Slaff

Anne Sloan

*Deceased

Roderick & Joann Smith

Bernadette Solomon

Anne K. Stratton

Brian Thiel

Paula Thistle

Peter Threadgill

Barbara Torreon

Joan Townshend

Christine Trapnell

Laura and Jack Van Geffen

Mr. and Mrs. Damien Wanner

Cynthia Wells

Mr. and Mrs. Earl S. Wellschlager

Jeffrey Williams

Claire Winestock

Bradley Wirz

Mr. & Mrs. Clifford

Woodward, Jr.

Francis and Maureen Wright

Bernard and Louis Wulff

Mark Wynn

Marion and Norbert Zacharias

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.

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

In memory of Evelin Reynolds

Ann J. Baker

In memory of Ronald Bower

Elaine Bower

In memory of David Kidwell

Dr. Mark Cinnamon and Ms. Doreen Kelly

In honor of James Cheevers Anonymous

In memory of Susan David R. Herron, Ph.D.

In honor of Illa Nelson Anonymous

In memory of Barry Amass

Sally Amass

In memory of Charlie L. Byrd

Rebecca A. Byrd

In honor of Mrs. Marguerite Cole Anonymous

In honor of Miriam Fogel

Beth D. Jacob

In memory of Marc and Kirk Elvy Cecelia Wyatt

Generous friends of Howard and Thea Pinskey established a scholarship fund in their memory dedicated to providing financial assistance to students in the Annapolis Symphony Academy. The Annapolis Symphony will also add funds given in memory of Howard and Thea Pinskey to this scholarship fund in their memory. 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

OUR COMMUNITY ENGAGEMENT PARTNERS

Learn more about the impact we make in our community

In 2023, the ASO sold nearly 9,000 tickets, generating approximately $350,000 in revenue. According to a study by Americans for the Arts, each attendee spends an additional $31.47 per event on meals, parking, and lodging, contributing over $270,000 to local businesses. Concertgoers from outside the county spend even more, underscoring the ASO’s significant economic impact.

The ASO's influence extends beyond the concert hall. In Season 62, we performed 68 live concerts, with over 10,000 people enjoying our free performances at community hubs like churches, schools, hospitals, and museums. We proudly partner with local medical facilities, bringing music to front-line workers, patients, and their families. Our collaborations include Luminis Health/Anne Arundel Medical Center, Hospice of the Chesapeake, and The Wellness House of Annapolis.

The ASO frequently performs at community events, including memorial services, the downtown Annapolis Christmas Tree lighting, and holiday celebrations at the Maryland State House. Our educational initiatives reached over 2,600 Maryland students last year, with many experiencing orchestral music for the first time. We subsidize tickets for school and family concerts, ensuring accessibility for all. We’re thankful to our community partners and sponsors, who enable us to continue this important work.

COMMUNITY ENGAGEMENT PARTNERS:

Maryland Hall

Music Center at Strathmore

Bowie State University

Kerr Center for the Performing Arts

The City of Annapolis

Anne Arundel County

Department of Parks and Recreation

Quiet Waters Park

Downs Park

St. John’s University

Banneker Douglass-Tubman Museum

Maryland State House

Chesapeake Arts Center

Luminis Health Anne Arundel Medical Center

The Wellness House of Annapolis

Anne Arundel County Public Schools

AACPS APEX Arts

Magnet Program

Bates Middle School

Brooklyn Park Middle School

The Salvation Army of Annapolis

Marshall Hope Learning Center

Robin Wood Community Center

Housing Authority of the City of Annapolis

USNA Music Department

The Annapolis Opera Hospice of Chesapeake

Luminus Health Pathways Alcohol and Drug Treatment Center

Luminus Health J. Kent McNew Family Medical Center

Elville Center for the Arts

Temple Beth Shalom

The Wellness House of Annapolis

Foundations & Organizations

Maryland State Arts Council

Arts Council of Anne Arundel County

Elville Center for the Creative Arts

Friends of the Annapolis Symphony Orchestra (FASO)

Community Foundation of Anne Arundel County

Impact 100 Chesapeake Chapter

Ken Code, Dea Code Foundation

Council Family Foundation

JoshuaOneNine Fund

The J.M. Kaplan Fund

The Dealy Foundation, Inc

Paige Miller Memorial Scholarship

National Philanthropic Trust

Rotary of Annapolis

Annapolis Musicians Fund for Musicians

Lewis Family Fund Grant

Pew Foundation

Progress Family Foundation

Charities Aid Foundation America

Frederick R. Galloway Charitable Trust

The Links, Incorporated

Loaves & Fish 247 Fund

Music Educators of Greater Annapolis

Pledgeling Foundation

Schmidt Family Charitable Fund

U.S. Charitable Gift Trust

United Way of Central Maryland

Advertisers

Murray, McGehrin & Shiery at OLD

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.

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

Season 63 Pictures at an Exhibition

Dear Annapolis Symphony Orchestra patrons and friends,

2024-2025 BOARD OF TRUSTEES

OFFICERS

TRUSTEES

EX OFFICIO TRUSTEES

E LI ZA BETH RICHEBO U RG R E A

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

JOSÉ-LUIS NOVO

MASTERWORKS SERIES

- INTERMISSION -

ANNAPOLIS SYMPHONY ORCHESTRA MUSICIAN ROSTER

CELLO

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