Sarah Hart, Principal Viola Todd Thiel, Principal Cello
Netanel Draiblate, Concertmaster
Robert DiLutis, Principal Clarinet
Asha Kline, Principal Bassoon
William Kan, Principal Percussion
José-Luis Novo, Artistic Director & Conductor
Fatma Daglar, Principal Oboe
Patrick Raynard, Principal Bass
Curt Armbruster, Principal Timpani
Christian Tremblay, Principal Second Violin
ASO's Debut Performance at The Meyerhoff
JUNE 1, 2026, 8:00 PM
JOSEPH MEYERHOFF SYMPHONY HALL
Annapolis Symphony Academy Orion Youth Orchestra
Nancy Galbraith
Midnight Stirring , conducted by ASA Assistant Conductor Claire Lewis
Annapolis Symphony Orchestra Shostakovich Symphony No. 5 Reinaldo Moya Polo Romanesco
conducted by ASO Artistic Director, Maestro José-Luis Novo
The Annapolis Symphony Orchestra makes its debut performance at Baltimore’s Meyerhoff Symphony Hall during the League of American Orchestras’ Annual Conference. The concert is also open to the public.
The evening begins with Nancy Galbraith’s Midnight Stirring , with the Annapolis Symphony Academy Orion Youth Orchestra performing side-by-side with their ASO musician-mentors - a powerful symbol of music’s ability to inspire across generations. The program culminates with Shostakovich’s Symphony No. 5, as the ASO alone takes the audience on a journey from its hauntingly somber opening to a triumphant finale—a timeless testament to resilience and the endurance of the human spirit.
Tickets for this performance must be purchased through the Meyerhoff Symphony Hall website
Dear Friends,
It is a great pleasure to welcome you to Darkness to Light, a program that invites us to experience two deeply moving works of transformation and transcendence.
Mahler’s Symphony No.5 is a journey through every corner of the human soul—from struggle and despair to radiant joy and redemption. It is a work of immense scale and emotional depth, demanding an orchestra that can summon both power and refinement. These performances feature the largest number of musicians on stage all season, promising an experience both profound and unforgettable. I am deeply honored to lead our wonderful musicians through this insightful journey, and I look forward to showcasing their exceptional talent to our audiences. From the searinag trumpet fanfare that launches the symphony to the soaring voice of the principal horn in the Scherzo and the luminous harp in the Adagietto, each musician plays a vital role in bringing to you Mahler’s extraordinary voyage from darkness to light.
I am especially proud of our ASO principals— Christopher Sala, Alex Kovling, and Katherine Ventura whose artistry illuminates pivotal moments of Mahler’s Fifth. Christopher’s commanding trumpet announces the symphony’s first breath and carries its spirit through triumph and reflection. Alex’s horn brings both strength and tenderness to the great turning point in the Scherzo. And Katherine’s harp, featured so beautifully in her premiere season with the ASO, lends the Adagietto its glowing intimacy—a love letter expressed in sound.
We open tonight’s program with Sibelius’s The Swan of Tuonela, featuring another distinguished ASO musician, Rick Basehore, whose lyrical English horn solo captures the haunting stillness of this Finnish legend. Together, these works remind us that from silence and struggle can emerge music of profound beauty and hope. I thank you for joining us in this shared journey of discovery.
Finally, I want to express my deepest appreciation to our patrons and donors. Throughout my more than twenty years with the ASO, their steadfast support and friendship have sustained this orchestra. I am continually moved by their generosity—it is because of them that we can bring this music to you. Please consider joining their efforts by visiting annapolissymphony.org/support
Wtih warm regards,
JOSÉ-LUIS NOVO Artistic Director & Conductor
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Dear Friends,
We’ve had an extraordinary start to our 2025–26 season! Opening weekend of our Signature Series, A New World, brought record-breaking attendance — a clear sign that the Annapolis Symphony Orchestra’s music continues to inspire and unite our community. To those who joined us, thank you for making it such a memorable celebration. And to all our supporters, please help us keep the momentum going by spreading the word about the remarkable music being made right here in Annapolis.
As we gather tonight for Darkness to Light, we are reminded of music’s power to illuminate, to carry us through shadow into hope, and to reveal beauty even in moments of struggle. That same spirit of resilience and renewal has been alive across all corners of our ASO family. At the request of Delegate Sandy Bartlett, faculty from our Annapolis Symphony Academy (ASA) offered an Instrument Petting Zoo to attendees of the Laurel Community Health and Resource Fair a few weeks ago. The Academy also has a strong partnership with the Wellness House, where faculty recently performed at their Great Fall Fundraiser. Our ASO musicians and Academy students are honored to support Wellness House throughout the entire season with patients and family members from Wellness House invited to attend all ASO dress rehearsals. Through performances at hospitals, mental health facilities, senior homes, and substance abuse centers, we are here to help musicians advance community health and well-being. Our music touches lives far beyond the concert hall where you sit tonight.
Many of our orchestra musicians also lent their artistry to the Annapolis Opera last weekend, performing in the pit for Don Giovanni here at Maryland Hall. Their versatility and dedication to our region’s cultural life make us proud every day.
Thank you for joining us on this journey and for being part of this growing, generous community. Together, we find our way forward.
Warmly,
ERICA BONDAREV RAPACH Executive Director Annapolis Symphony Orchestra
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.
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
NOVEMBER 7 & 8, 2025 AT 7:30PM | MARYLAND HALL
José-Luis Novo, Artistic Director & Conductor
The Philip Richebourg Chair
The Swan of Tuonela, Op. 22, No. 2 Jean Sibelius (1865–1957)
Symphony No. 5 Gustav Mahler (1860–1911)
I. Trauermarsch
II. Stürmisch bewegt, mit größter Vehemenz
III. Scherzo
IV. Adagietto
V. Rondo-Finale
This concert will be performed without an intermission.
Because of our contractual agreement with our musicians, photography and video/audio recording are not permitted in the concert hall. Please silence all electronic devices. Thank you.
VIOLIN I
Netanel Draiblate, Concertmaster
Nicholas Currie, Associate Concertmaster
Heather Haughn, Acting Assistant Concertmaster
Susan Benac
Qian Zhong
Abby Armbruster
Katelyn Lyons Peaden
Leila Fanien
Yan Izquierdo
CELLO
Pei Lu, Acting Principal
Nicole Boguslaw, Acting Associate Principal
Daniel Shomper
MaryAnn Perkel
April Studeny
Catherine Mikelson
Alison Bazala Kim
Peter Kibbe
BASS
Brandon Smith, Acting Principal
HORN
Alex Kovling, Principal
Shane Iler, Associate Principal
Ho Hin Kwong
Anthony Valerio
Mark Hughes
Chandra Cervantes
Elena Varon
TRUMPET
Christopher Sala, Principal
Amelia Giles
Heather Lambert
Robin Tozzie
VIOLIN II
Christian Tremblay, Principal
Kristin Bakkegard, Associate Principal
Musician Roster
Alexandra Mikhlin
Zoe Kushubar
Sally Stallings Amass
Glen Kuenzi
Megan Gray
Karin Kelleher
Paul Bagley
Sara Schneider
VIOLA
Derek Smith, Acting Principal
Kate Zahradnik, Acting Associate Principal
Brian Shoop
Rachel Holaday
Susan Taylor Dapkunas
Heidi Remick
Nikki Ponticelli
Michael Sinni
Kimberly Parillo, Acting Associate Principal
Peter Cohn
Kevin Thompson
Jessica Powell Eig
Jason Gekker
FLUTE
Kimberly Valerio, Principal
Stephanie Ray
Lori Kesner
Jennifer Zhou
OBOE
Fatma Daglar, Principal
Joseph DeLuccio
Rick Basehore
CLARINET
Robert DiLutis, Principal
Brian Eldridge
Sara Reese
BASSOON
Jimmy Ren, Acting Principal
Patricia Morgan
Lynn Moncilovich
Christopher Buchanan
Andrew Fremder
Thomas Bithell
TROMBONE
David Perkel, Principal
David Sciannella
Jay Heltzer
TUBA
Jake Fewx, Principal
TIMPANI
Curt Armbruster, Principal
PERCUSSION
William Kan, Principal
Anthony Asero
Andrew Henry
Robert Jenkins
HARP
Katherine Ventura, Principal
A A A Z Z ZZ Z Z
E X P E R I E N C E O F A J A Z Z
L E G E N D .
L E G E N D . S O U N D T H E
S U N D A Y N O V 1 6 7 P M
JEAN SIBELIUS
Born December 8, 1865, Hämeenlinna
Died September 20, 1957, Järvenpää
By the late nineteenth century, the world of European concert music was deeply entrenched in the project of nationalism. Riding the wave of political revolutions in the past century, musicians sought to participate in the fostering of new national consciousness—by composing in styles inspired by the traditional music of their region of origin and adapting folktales for song and stage.
In Finland, music became a crucial site of resistance in the late-nineteenth-century national struggle against Russification. Since 1809, the Grand Duchy of Finland had existed as an autonomous state within the Russian Empire; however, at the turn of the twentieth
century, the Russian government endeavored to strip Finland of its autonomy and culture. Music was an audible means of preserving and elevating the histories, art, and literature of Finnish people. Jean Sibelius was at the forefront of this charge. Born in Hämeenlinna, a small town roughly sixty miles north of Helsinki, Sibelius grew up in the midst of a cultural struggle already in motion. Finland was home to two linguistic populations: an urbane, Swedish-speaking minority who controlled the government, education, commerce, and fine arts; and a Finnish-speaking majority who resided inland and held virtually no political power. The Fennicization movement encouraged folks to change their names back to Finnish spellings from Swedish, reclaiming their language as a powerful source of group identity. Sibelius, who was born into a Swedish-speaking family, had little interaction with the Finnish language—that is, until 1889, when he secretly became engaged to a proFinnish woman, Aino Järnefelt. This same year, following his graduation from Helsinki Music Institute at the age of 23, Sibelius moved to Vienna. While working to improve his compositional craft, he wound up turning his full attention to Finnish-language culture. In December of 1890, he wrote to Aino of his latest fascination: the Finnish national epic, the Kalevala. A compilation of collected folk poetry,
the Kalevala begins with the creation of the world, and encompasses the adventures of heroic figures, magical creatures, and a mysterious object called the Sampo that holds up the center of the world and brings fortune and prosperity to whomever possesses it. The Kalevala is written in trochaic tetrameter (lines of four feet, comprised of a stressed and then unstressed syllable—what William Shakespeare uses to depict the dialogue of the fairies in A Midsummer Night’s Dream). In place of stanzas and rhymes, the Kalevala uses alliteration, parallelism, and repetition. Sibelius regarded the poetic style as “pure music,” comparing the recurring patterns to “themes and variations” in contemporary Western concert music. Sibelius was equally inspired by Finnish folk music. In 1896, he delivered a lecture, “Some Perspectives on Folk Music and its Influence on the Art of Music.” Folk music, he declared, was instinctive—not beholden to artificial or intellectual rules of harmony or counterpoint. Furthermore, Finnish folk music revolved around the minor pentachord (D-E-F-G-A). Unlike a major or minor scale, the pentachord does not have a prescribed final note; melodies are unmoored, free to begin or end where they please, and move through cycles of repetition and embellishment. Striving to compose in an authentically Finnish idiom, Sibelius implemented these principles in his musical style. Musicologists James Hepokoski and
Fabian Dahlström call Sibelius’s writing an “intensely personalized, non-academic treatment of harmony, melody, orchestral color and musical continuity” that “claimed to uncover a deeper human truth than that afforded by the complacent conservatory traditions.”
It was in the 1890s that Sibelius decided to compose a collection of tone poems—pieces for orchestra, meant to represent a story, poem, or painting—based on the hero Lemminkäinen from the Kalevala. Lemminkäinen, a notorious womanizer, was tasked with completing three impossible deeds in order to win the hand of Louhi, the Daughter of the North, in marriage. The last, and most daunting task, was to slay the mystical swan residing in Tuonela, the underworld. In the end, Lemminkäinen does not succeed; he himself is slain by a poisoned arrow in his reckless, lust-driven mission.
The myth of Lemminkäinen and the swan compelled Sibelius for another reason. By the mid1890s, Sibelius was part of a circle of pro-Finnish intellectuals who enjoyed debating contemporary art aesthetics (normally over a drink or two). This group of friends included fellow composers Robert Kajanus and Armas Järnefelt, controversial novelist Adolf Paul, and Symbolist painter Akseli Gallen-Kallela. Symbolism was a nineteenth-century art movement that originated in France. A rejection of realism and naturalism, Symbolism claimed to communicate
archetypal truths through imagery with esoteric connotations. The swan—which has been associated varyingly with love, death, purity, and sensuality—was a popular motif in Symbolist artwork. And Sibelius’s new style, with its ability to “uncover a [deep] human truth,” aligned perfectly with the Symbolist ethos.
Early editions of the score included the following inscription: “Tuonela, the Kingdom of Death, the Hades of Finnish mythology, is surrounded by a broad river of black water and rapid current, on which the Swan of Tuonela glides in majestic fashion and sings.” A solo English horn melody represents the swan, floating atop the orchestra’s long, held notes. Special techniques such as mutes and tremolo help to create the impression of moving water. The music does not convey a narrative; rather, it directly conjures an image.
The poet Stéphane Mallarmé wrote that the symbol should “evoke an object, gradually in order to reveal a state of the soul.” Perhaps by evoking the mythological swan, Sibelius hoped to speak directly to a sense of Finnish identity and inspire national consciousness.
Born July 1, 1860, Kališteˇ, Bohemia
Died May 18, 1911, Vienna
Gustav Mahler grew up in Iglau (Jihlava), a market town in Bohemia. Iglau was a major trade center in the Austrian Empire. Culturally, the city was as much German as it was Czech, and German culture was seen as a mark of high social status. Gustav’s father, a distiller and a tavern keeper, kept a small German library and a piano, on which Gustav achieved proficiency at a young age. As a teenager, Mahler travelled to Vienna to study piano and composition at the Conservatory. By his early twenties, he had established himself as a professional conductor, working mainly at opera houses throughout central Europe. In 1897 he was appointed conductor of the Vienna Opera. Mahler, who was born into a Jewish family, was required to convert to Catholicism in order to take the position. He held additional appointments with the Vienna Philharmonic, and as conductor of German opera at the Metropolitan Opera in New York. As a conductor, he was known for his near-dictatorial
perfectionism. In one rehearsal, he stopped and repeated the opening of Beethoven’s Fifth Symphony so many times that the orchestra put their instruments down in anger. He told them, “Gentlemen, save your fury for the performance; then at least we shall have the opening played as it should be.”
Mahler composed his nine symphonies mainly during summers between conducting seasons. Like many nineteenth-century composers, he drew great inspiration from the symphonies of Beethoven, known for their dramatic contrasts and deeply personal narratives. Mahler’s self-professed goal was to write a symphony “so great that the whole world is actually reflected therein.” In addition to his symphonies, Mahler composed lieder —German-language songs for voice and piano that were popular all throughout the nineteenth century.
In February of 1901, Mahler suffered a sudden and severe hemorrhage; his doctor later informed him that had he waited another hour to receive treatment, the blood loss would have been fatal. He relocated to an idyllic lakeside villa in the Carinthian mountains for the summer to recover, and upon returning to Vienna for the new opera season he met his soon-to-be wife, Alma Schindler. Nevertheless, the near-death experience impacted Mahler profoundly. Indeed, many of his compositions that summer were preoccupied with death, including three of his Kindertotenlieder (a collection of songs dealing with the
death of children) and the Fifth Symphony.
Mahler’s Fifth Symphony opens with a stark, solo trumpet call that evokes the famous “fate” motive at the beginning of Beethoven’s Fifth Symphony. After a dramatic fanfare that utilizes the full range of instruments in the orchestra, the music descends into a solemn, stately funeral march (Trauermarsch). The movement alternates between plaintive but measured melodies, and explosive chromatic passages punctuated by echoes of the opening trumpet call. The second movement can be heard as an extension of the Trauermarsch . Aptly titled “Stürmisch bewegt, mit größter Vehemenz” (moving stormily, with the greatest vehemence), the movement begins with a frenzied, minor-key motive played by the strings and low woodwinds. This passage is reminiscent of the Sturm und Drang (“storm and stress”) movement in late-eighteenth century German art and music. Composers such as Christoph Willibald Gluck and Wolfgang Amadeus Mozart used musical techniques such as minor keys, tremolo, unpredictable changes in tempo, and sudden dynamic contrasts to frighten and stun listeners with the terrible and the macabre. The music then eases into an almost coquettish melody that harkens back to the first movement. Like the Trauermarsch, the second movement alternates between Sturm und Drang-like intensity, and moments of relative restraint. The movement reaches its peak in a
homophonic brass and woodwind chorale.
The Scherzo is a behemoth; Mahler himself said it was “enormously difficult to work out because of the structure and the highest level of artistic mastery that it demands in all interconnections and details.” The word scherzo is Italian for “joke”; traditionally, the title denotates a fun, light-hearted dance in a triple meter. Here, Mahler uses the format to explore a range of moods: first, a bright, merry dance presented in the woodwinds; then, a stylized Austrian waltz; moments of arresting stillness pierced by a lone French horn; and fugue-like passages where a single melody is traded among various instrument groups, reminiscent of Baroque music. Ultimately, the movement erupts into a fortissimo frenzy that recalls moments in the Trauermarsch. Mahler’s friend, Willem Mengelberg, wrote in his conducting score: “Forced joyfulness, he wants to forget it, the sorrow, but cannot yet, it has a forced effect— cloudy ground coating, here and there even a dance of death.”
The Adagietto is, today, the most famous piece of music that Mahler ever wrote, owing in large part to its use in ballets and films—notably, Luchino Visconti’s 1971 adaptation of Thomas Mann’s novella Death In Venice. In fact, Mahler did not conceive of the Adagietto as a funeral lament. He composed it as a love song to his wife, Alma, and is rumored to have sent it to her in manuscript form in the
manner of a love letter. The opening is similar in melody and pacing to one of Mahler’s 1901 German songs, “Ich bin der Welt abhanden gekommen” (I am lost to the world), which proclaims: “I live alone in my heaven, in my love, in my song.” This pairing of themes was not at all unusual in music of this time period. In fact, the concept Liebestod (love-death) is central to Richard Wagner’s famous 1859 opera, Tristan und Isolde, whose titular star-crossed lovers are only truly united in death. The final movement is a rondo— alternating between a main theme that serves as a refrain, and several contrasting themes. The first bassoon melody is borrowed from one of Mahler’s own songs, “Lob des hohen Verstandes,” which depicts a singing contest between a nightingale and a cuckoo, judged by a long-eared donkey. The musical quotation sets a playful mood for the movement. Like the Scherzo, the Finale shifts rapidly between themes, cycling through excerpts from previous movements, including an up-tempo version of the Adagietto The nearceaseless momentum culminates in a grandiose reprise of the secondmovement chorale, but it peters out almost as quickly, and is usurped by rollicking coda of cymbal crashes and triangles—epitomizing what musicologist Stephen E. Hefling calls the Fifth’s “ambivalent, even flippant entangling of the quotidian with the transcendent.”
Program notes by James Ace, Ph.D.
José-Luis Novo, Philip Richebourg Artistic Director Chair, is in his 21st season as Artistic Director and Conductor of the Annapolis Symphony Orchestra (ASO). Since his appointment in 2005, Maestro Novo has shaped the ASO with a bold artistic vision, fostering continuous growth, dynamic collaborations, and adventurous programming. His leadership has earned the orchestra widespread acclaim, including a 2008 ASCAP Adventurous Programming Award, a national broadcast on NPR’s Performance Today, and regular features on Baltimore’s WBJC classical station.
Artistic Director & Conductor
Under his baton, the ASO has collaborated with many of the world’s leading musicians, including cellists Steven Isserlis and Lynn Harrell; violinists James Ehnes, Midori, Anne Akiko Meyers, Noah BendixBalgley, Vadim Gluzman, CheeYun, and Esther
Yoo; guitarists Pepe Romero and Manuel Barrueco; and pianists
Leon Fleisher, Peter Serkin, Pascal Rogé, Gabriela Montero, Olga Kern, Brian Ganz, and Jon Nakamatsu. Milestone performances were the orchestra’s 50th Anniversary Gala Concert in 2012 with mezzo-soprano Denyce Graves and an astounding international tour to Spain in 2022.
A strong advocate for contemporary music, Maestro Novo has championed numerous premieres, including works commissioned through Embracing 21st Century Voices , a multi-year initiative with the Gabriela Lena Frank Creative Academy of Music. Born in Valladolid, Spain, José-Luis Novo earned the degree of Profesor Superior de Violín with honors before receiving a Spanish Ministry of Culture scholarship to study at the Royal Conservatory of Music in Brussels, where he won a First Prize in violin. In 1988, he came to the U.S. as a Fulbright Scholar, completing master’s degrees at Yale University with top honors, followed by conducting studies at the Cleveland Institute of Music and the University of Cincinnati College-Conservatory of Music.
From 2003 to 2016, Maestro Novo was Music Director and Conductor of the Binghamton Philharmonic Orchestra in New York. He has guest-conducted leading orchestras across the U.S. and Europe and made a highly acclaimed debut with the Thailand Philharmonic Orchestra at the 2015 Thailand International Composition Festival, returning multiple times. His operatic work includes The Bartered Bride with the late Julius Rudel, as well as productions of Britten’s Albert Herring , Menotti’s The Old Maid and the Thief, and Vaughan Williams’ Riders to the Sea.
An accomplished educator, Maestro Novo has held conducting positions with the Cincinnati Symphony Youth Orchestra, University of Maryland Symphony Orchestra, Miami University Symphony Orchestra, and National Repertory Orchestra. He has been on the faculty of the Eastern Music Festival since 1999, and has led ensembles at institutions such as the Curtis Institute, Cleveland Institute of Music, Bard Conservatory, and Venezuela’s El Sistema.
In 2017, he helped establish the Annapolis Symphony Academy (ASA) and continues to guide its development as Director of Orchestral Activities. He led the debut of the ASA’s Orion Youth Orchestra in 2022 and, in 2025, served as resident conductor of Carnegie Hall’s National Youth Orchestra (NYO2), preparing the ensemble for performances at Carnegie Hall and on tour at the Edinburgh International Festival.
His honors include the 2010 Annie Award in Performing Arts from the Arts Council of Anne Arundel County, the 2008 ASCAP Adventurous Programming Award, and the 2005 Broome County Arts Council Heart of the Arts Award.
By Caitlin Wright & Diana Love
Before he ever played for a symphony, Annapolis Symphony Orchestra (ASO) Principal Trumpet Christopher Sala was a kid with a cornet and a like-minded best friend, together discovering that brass instruments could make magical music. In 10th grade, he switched from the cornet to the trumpet, growing his passion for music with every beat of Hooked on Classics, a pop disco album produced in the 1980s by the UK’s
Royal Philharmonic Orchestra. While Hooked on Classics made its way to the top of Billboard charts around the world, it exposed classical music to Christopher and an entire new generation of young musicians like him. “I loved it! I was just starting to play the trumpet at the time and I got to know all the major themes of the symphony orchestra from Hooked on Classics,” Christopher chuckled.
ASO Principal Trumpet Christopher Sala
In high school. Christopher earned a coveted position in the Albany, New York Empire State Youth Orchestra. Then his family moved to Massachusetts. While disappointing, his foray into a serious exploration of orchestra music marked the beginning of Christopher’s trajectory as a performing artist, and was the first of many moves, each one a step forward in his decades-long career.
In Boston, Christopher’s love for the trumpet only grew. He played in the Springfield Youth Symphony and the Greater Boston Youth Symphony. He discovered another musical passion in the Springfield library, which homed an extensive collection of records and hard copies of sheet music. “I was fascinated with music manuscripts. I would check out scores…and get a recording of it... It was kind of my way of just closing out the rest of the word… I would
just sit in the corner with scores and classical music blasting on my parents stereo.”
After graduating from the Eastman School of Music with a Bachelor of Music in Trumpet Performance and Music Education, Christopher went on to receive his Master of Music in Trumpet Performance from Florida State University. He then moved back to Boston when he won a position with Epic Brass, a Boston-based quintet. He also played with Atlantic Brass, performing in recitals and as featured guest artist with symphony orchestras across the country.
Following his education, he was invited to perform in a variety of competitions, where he proved to be highly successful. He was the first place winner of the International Trumpet Guild (ITG) Solo Competition, the ITG Mock Orchestra Competition, and the second place winner of
the National Trumpet Competition.
Joyce Davis, Professor Emeritus of Trumpet at Florida State University, invited Christopher to attend the Vassily Brandt Competition in Saratov, Russia as the sole American player. “As the only American, I was very aware that I stood out in many ways. The Europeans, especially the Russians played with a very fiery style that was extremely vibrato-forward. My playing was more subtle and clear-toned…I definitely borrowed a bit of their musical style when I returned to the US.”
In 2002, Christopher auditioned for the ASO and was awarded the role of third chair in the trumpet section. Since then, he’s worked his way up to Principal Trumpet. It is his willingness to learn and grow, to absorb and appreciate the music, that has made Christopher so successful on stage with the ASO. Principal Trombone David Perkel said, “I have been fortunate to call Chris a friend and colleague for over twenty years. He is not only an incredible musician and trumpet player, but also one of the most genuine and kind people you will ever meet.”
José-Luis Novo said, “For more than two decades, Christopher has set the standard for excellence in our brass section. His mastery of the trumpet is matched only by his musical sensitivity and leadership—qualities that have defined the strength and spirit of the Annapolis Symphony since 2003.”
Members of the audience at the ASO’s second Signature Series concert of the 2025–26 season, Darkness to Light, will have the unique opportunity to experience Christopher’s talent, craft, and passion firsthand in what will be a monumental moment for any trumpet player: Mahler’s Symphony No. 5. “I feel truly honored that, in Mahler’s Fifth Symphony—with one of
In 2001, Christopher auditioned successfully for the United States Navy Band, where he is Concert Band Unit Leader and Principal Trumpet of the Concert Band. In September 2025, he was promoted to Master Chief Musician, the highest rank of enlisted musicians in the Navy Band. In his Navy Band career, Christopher has performed for Presidents Obama, Biden, and Trump, and has often played for foreign dignitaries and government officials. Christopher says he is honored to serve his country as a musician and to play for veterans and active duty troops.
the most iconic openings in the entire symphonic repertoire—Christopher will quite literally set the tone, with confidence and determination, for a mesmerizing musical journey of monumental proportions,” said Novo.
The entire audience will be focused on and ultimately thrilled by Christopher’s role in bringing Mahler’s composition to life.
“Mahler’s Fifth is very powerful to me,” he said. “Sorrow, and grief, and desperation—you can draw on those things. That’s where I’m going to be. That’s where I’m coming from,” he said. “Listening to Mahler’s Fifth is one thing. But performing it is a different thing. You have to be the one who shows that emotion.”
Christopher is honored to hold The Philip Richebourg Chair, an endowment established by Elizabeth Richebourg Rea, whose father Philip co-founded the ASO Association, the foundations of the ASO as you experience it today, in 1967. Ms. Rea said, “The Annapolis Symphony Orchestra was near and dear to my father’s heart. Going to the concerts provided him with such joy and pride. I feel privileged to be able to honor his passion and such a talented orchestra at the same time.”
“When someone endows a chair, they make a lasting investment in the heart of our orchestra. It’s more than a gift—it’s a commitment to artistic excellence and to the musicians who bring our music to life. An endowed chair connects a patron’s
“My father, Philip Richebourg, conducted his own orchestra every day of his life with consistency and order. The sound of the trumpet has been associated with light and festivity; it empowers the ability to revive or represent closure, it is a medium portraying clarity, precision and purity. These characteristics are emblematic of everything my father endeavored to achieve. Listening to the trumpet represents for me a conduit to my father.”
- Elizabeth Richebourg Rea
generosity with a musician’s talent in a way that sustains both. It ensures that the artistry we cherish today will continue to inspire audiences for generations to come,” said Erica Bondarev Rapach, Executive Director of the Annapolis Symphony Orchestra.
What began as a childhood passion with his best friend, playing the trumpet, has become a long and successful career for Christopher. Beyond music, Christopher enjoys time with his wife and family and is an avid cook. We can only hope his kitchen soundtrack is Hooked on Classics, and imagine that Christopher still grooves to the music, as joyfully inspired as he was all those years ago.
SUN, NOV 16 | 5:30 PM
TESSA LARK VIOLIN
JOSHUA ROMAN CELLO
EDGAR MEYER DOUBLE BASS
SUN, JAN 11 | 5:30 PM
EMANUEL AX PIANO
SUN, FEB 22 | 5:30 PM ANGELA HEWITT PIANO
SUN, MAR 8 | 5:30 PM ISIDORE STRING QUARTET
JEREMY DENK PIANO
SUN, MAR 22 | 5:30 PM
GOLDA SCHULTZ SOPRANO
JONATHAN WARE PIANO
SUN, APR 26 | 5:30 PM
STEVEN ISSERLIS CELLO
CONNIE SHIH PIANO
GET YOUR TICKETS TODAY!
Legends WITH CHRISTINE GOERKE, SOPRANO
FEBRUARY 1, 2026
Richard Strauss Vier Ietzte Lieder “Four Last Songs”
WITH OLGA KERN, PIANO
MARCH 1, 2026
Sergei Rachmaninoff Piano Concerto No. 2
What’s Up? Media has been a proud supporting partner of the Annapolis Symphony Orchestra for over 25 Years.
with Bowie State University Concert Choir
DECEMBER 19, 2025
MARYLAND HALL | 7:30PM
DECEMBER 20, 2025
SEVERNA PARK HIGH
SCHOOL | 3:00 PM
DECEMBER 21, 2025
BOWIE STATE UNIVERSITY | 3:00 PM
This festive season, join the Annapolis Symphony Orchestra and our 70 world-class musicians as we bring the joy, beauty, and warmth of the holidays to life with a dazzling mix of classic carols and heartwarming holiday tunes. This year the ASO is joined by the Bowie State University Concert Choir, directed by Brandon J. Felder. Signature Series Subscribers get 20% off tickets. Get your tickets today!
RESERVE YOUR SEAT NOW
* Bowie State University Concert Choir, Brandon J. Felder, Director
Engelbert Humperdinck
Léon Jessel
Samuel Coleridge-Taylor
Prelude from Hansel and Gretel
The Parade of the Tin Soldiers
Christmas Overture from orch. S. Baynes
Nikolai Rimsky-Korsakov
Terry Mizesko
The Forest of Wild Thyme , Op. 74
Dance of the Buffoons from The Snow Maiden
A Chanukah Celebration
Bob Krogstad Christmas at the Movies
Lowell Mason Joy to the World*
Tony Small O’ Happy Holiday Sing*
Traditional /
Anita Watkins-Stevens
James Beckel
Come Thou Fount—And He Blessed* Brandon J. Felder, piano
A Christmas Fanfare
Mel Tormé / Robert Wells Christmas Song
James Stephenson A Holly and Jolly Sing-Along*
Various Hallelujah Forevermore*
Build Your Own season and enjoy total flexibility with our FlexPass Subscription. Choose between 3 or 4 Signature Series concerts on Friday or Saturday and enjoy the benefits! Purchasing your 2025-2026 season FlexPass is easy!
FlexPass subscriptions are available through their respective deadlines — 4-concert by Friday November 7, 3-concert by Friday, January 30.
Signature Series Concert Dates
FRIDAYS | 7:30 PM
SUTURDAYS | 7:30 PM JAN 30 FEB 27 APR 10
NOV 8 JAN 31 FEB 28 APR 11
To subscribe, please visit AnnapolisSymphony.org/subscribe or contact the Box Office at: 410-263-0907.
A Chamber Concert for Piano & Strings
SAT, NOV 22, 2025
Selections from Bilingual Marshall Choir
Johannes Brahms
Piano Quartet No. 3 in C minor, Op. 60
Mark O’Connor
Appalachian Waltz
3:00 PM AT THE EVANGELICAL PRESBYTERIAN CHURCH OF ANNAPOLIS ALL TICKETS $25! RESERVE YOUR SEATS NOW.
* Enjoy FREE ice cream after the show. Made possible by Storm Bros. Ice Cream Factory
A Chamber Orchestra Concert C onducted by José-Luis Novo SUN, APR 26, 2026 3:30 PM AT THE BYZANTIUM EVENT
Joaquín Turina La oración del torero (The Bullfighter’s Prayer), Op. 34
Malcolm Arnold Sinfonietta No. 1, Op. 48
Wolfgang Amadeus Mozart Symphony No. 29 in A major
ALL TICKETS $25! RESERVE YOUR SEATS NOW.
*Enjoy FREE cookies after the show
One of our favorite ASO Pops performances, this concert, narrated by NASA Goddard, is one you don’t want to miss!
MARCH 18 & 19, 2026
MARYLAND HALL | 10:00 AM & 11:30 AM
This concert makes the perfect field trip for ages 5+. Public, private, homeschool and virtual students are welcome. Choose your preferred date and time. Tickets are $5. Limited financial assistance is available Title 1 schools. Call 410-263-0907 or email info@annapolissymphony.org to reserve.
MARCH 21, 2026
MARYLAND HALL | 11:00 AM
All tickets $10. Reserve your tickets online at annapolissymphony.org or call the Box Office at 410-263-0907.
Bedrˇich Smetana
Gustav Holst
James Horner
John Williams
The Moldau with stunning NASA Goddard footage of Earth’s waterways
The Planets (Neptune, Mars, Jupiter, Mercury) featuring NASA visuals of our solar system
Music from Apollo 13 featuring NASA imagery of deep space and astrophysics
Adventures on Earth (from E.T. the Extra-Terrestrial )
Discover the future of classical music with Annapolis Symphony Academy.
The Academy is transforming lives by providing world-class musical training to students of all cultural and economic backgrounds— building a new generation of artists who reflect the diversity of our community. Half of our student body comes from groups underrepresented in U.S. orchestras, and thanks to generous donor support, need-based scholarships open doors for all who aspire. Orion Youth Orchestra performances include ASO musicians who perform side-by-side with the students, providing instruction and mentorship. We offer programs and ensembles for every aspiring young musician. Join us for FREE concerts showcasing the extraordinary talent of our young musicians.
December 14, 2025 | 4:00 pm
Lyra and Aquarius Winter Concert Temple Beth Shalom, Arnold, MD
January 11, 2026 | 5:00 pm
Aries and Orion Winter Concert Maryland Hall
March 22, 2026 | 4:00 pm
The Cecilia Wyatt Honors Recital Temple Beth Shalom, Arnold, MD
May 17, 2026 | 9 am-5 pm
ASA Day at Maryland Hall, including Lyra, Aquarius, Aries & Orion performances
June 1, 2026 | 8:00 pm
Orion Youth Orchestra debuts at Meyerhoff Symphony Hall with the ASO. This is a ticketed event, open to the public and members of the League of American Orchestras.
All ASA recitals are FREE and open to the public. Please check our website for event updates.
Annapolis Bows & Violins
Annapolis Friends of Lafayette
Annapolis Heritage Society
Annapolis Moms Media
Annapolis Musicians Fund for Musicians
Anne Arundel County Public Schools (AACPS) -
APEX Arts Magnet Program
Anne Arundel Recreation & Parks Department
Arts Council of Anne Arundel County
Ballet Theatre of Maryland
Banneker DouglassHarriett Tubman Museum
Baywoods of Annapolis
Bowie State University
Chesapeake Arts Center
Chesapeake Inspired & Donna Jefferson
City of Annapolis Heritage Commission
City of Laurel Health & Wellness Fair
Community Foundation of Anne Arundel County
Cultural Office of the Embassy of Spain
Elville Center for the Arts
Friends of Annapolis Symphony Orchestra (FASO)
Ginger Cove Retirement Community
Historic Annapolis Hospice of Chesapeake
Luminis Health Anne Arundel Medical Center
Luminis Health Doctors
Community Medical Center, Lanham
Luminis Health McNew Mental Health Center
Luminis Health Pathways
Substance Use Services
Marshall Hope Learning Center
Maryland Commission on Middle Eastern Affairs
Maryland Council for Civic & History Education
Maryland Hall for the Creative Arts
Maryland State Arts Council
Maryland State Government House
Naptown Sings
Park Rangers & Staff at Quiet Waters Park & Downs Park
St. John’s University
Temple Beth Shalom
The Annapolis Opera
The Salvation Army
The Talent Machine Company, Inc
Wellness House of Annapolis What’s Up Media
The Annapolis Symphony Orchestra is more than music. When you support the ASO, you’re investing in a cultural institution that educates, heals, inspires, invests in our youth, reaches out to those struggling, and connects with our community.
While your subscription lays the foundation, additional gifts further the ASO’s mission to inspire, educate, and connect.
By making a tax-deductible donation, you can enjoy exclusive benefits:
$100+ – Program Recognition
Be acknowledged in our Signature Series concert programs.
$500+ – Dress Rehearsal Invitations
Attend select Thursday night rehearsals for an insider’s view.
$1,000+ – Crescendo Club Access
Join our post-concert donor lounge to mingle with musicians and leadership.
$2,500+ – Music at Midmorning & Musician Dinner
Enjoy intimate performances and dine with ASO musicians, deepening your connection to the orchestra.
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
Evelin Reynolds*
Susan Rosenfeld
Shelley Row
Stephen A. Sotack
Marion & Norbert Zacharias
To discuss including the Symphony in your Estate Plans, please contact development@annapolissymphony.org Annapolis Symphony Orchestra Inc. Tax I.D. 23-7001357
*Deceased
We gratefully acknowledge these generous donors to the Annapolis Symphony Orchestra who have contributed within the last calendar year as of Sept 15, 2025.
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
GIFTS OF
$25,000–$49,999
Anonymous
Anne Arundel County
Gifts Of $10,000–$24,999 cont.
Stella May Contracting Inc.
THE PHILIP RICHEBOURG
CIRCLE GIFTS OF $500,000–$999,999
Elizabeth Richebourg Rea +
GIFTS OF $150,000–$249,999
Robert & Kathleen Arias
Jillinda Kidwell + Maryland State Arts Council
Michael J. Mumma, Peter R. Mumma, & Amy Mumma Raskopf +
GIFTS OF $50,000–$149,999
Anonymous + Anonymous
Paula Abernethy + James W. Cheevers +
Sylvia & James* Earl
Mr. Arthur Edwards & Dr. Katherine Edwards + Impact100
Anne S. Potter + Shelley Row +
Stephen A. Sotack +
Recreation & Parks
Arts Council of Anne Arundel County
Steve Cohen
Peter & Sarah Evans +
Friends of the Annapolis Symphony Orchestra
Al & Ginger From +
David & Eleanor Huggins
Patricia & David Mattingley + Joan Ruhl
Martha & John T. Schwieters +
GIFTS OF $10,000–$24,999
Anonymous
Susan & Jess Behringer
Peter Bungay, Joy Chambers & Ellen Posten
Florence Calvert + Jane Campbell-Chambliss & Peter Chambliss
Enser & Marguerite Cole
Collot Guerard
William H. Hoff +
Deb Howe & Nati Draiblate +
Elizabeth MaxwellSchmidt & Steve Schmidt + Clay & Carol Richards
Diane Steed
*Deceased
Judy Templeton + What's Up Media, Inc
Ann & Robert Whitcomb + Cecelia Wyatt
GIFTS OF $5,000–$9,999
Anonymous
Herb* & Sallie Abeles
Richard Brown Council Family Foundation
William & Renata Davis + Capt.Mark & Michelle Hellstern (USN Retired) +
Lawrence & Jeanne Kelly
Elizabeth Mainiero
Mary C. McKiel
In Memory of Louise A. Snyder
Russ Stevenson & Margie Axtell +
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 $2,500–$4,999
Anonymous
Annapolis Moms Media
Carole & Richard Falk
Dea Code Family Foundation
Patrick M. Green
Anna E. Greenberg + Pierre & Danalee Henkart
Richard & Lisa Hillman
Karl & Marge Hoke
José-Luis Novo & Lori Kesner
Steve Root & Nancy Greene
Joan Ruhl
Raymond R. Ruppert & Molly M. Ruppert
Jeffrey Scherr & Wendy Jachman
Constance & William Scott
Doug & Karen Smith + Bill & Marilynn Sweetser
Drs. Mark C Davis & Ann A Tran
GIFTS OF $1,000–$2,499
Anonymous (3)
Michael Alin & Ann Carroll
Laura Amodei
Ann Burchard
David Bush
Dr. Mark Cinnamon
Ms. Sandy Cohen
Mr. & Mrs. Andrew
Lynch Cole
Jane Danowitz
Norman J.Fisher & Doris Fisher Foundation
Scott Gregory & Angela Eggleston
Renee Ehler & George
Bentley
Mary Anne Felger
Scott Gregory &
Angela Eggleston
Elizabeth
Gordon-Bluntschli
Patty Harris
Bob & Diane Heaney
Mr. & Mrs. Robert M.
Hecht
David R. Herron, Ph.D.
Hugh & Deborah
Houghton
James Laite
Dr. Monique Y. Langston
Rosalie Lijinsky
Janet Little
David McGill
The Johansen Family
Laura Murray
Music Educators of Greater Annapolis
James D. Parker, M.D.
Patricia Petrou
Barbara W. Pittman
Colin & Valerie Rees
Pamela Roeming
Robert W Sherer
Jill Simon
Mrs. Tamara & Dr. Stephan Tymkiw
GIFTS OF $100–$999
Anonymous (3)
Michael & Judy Ackerman
Anne Agee
Jacqueline Agnew
Linda Allen
Philip Allen
Sandra Collyear Altherr
Sally Amass
Jack & Leslie Andryszak
Ms. Susan Armstrong
Ann J. Baker
Adele Baron
Julie Belkin
Randall Bell
Susan Benac
Edward Bergman
Mary Jo Bieberich
Randal Billingsley
Martha Blaxall & Joe Dickey
Mary Beth Blessing
Ray Boedecker
Elaine Bower
Sunny Bowers
Daniel Bowler
Carmen & Nancy Brun
Kathleen & Robert Burke
Barbara Burroughs
Rebecca A Byrd
Cindy Carlton
Barbara Ceruzzi
Brad Clink &
Linda Sexton
Elizabeth Colandro
Steven Collier &
Elizabeth Jones
Petey Cosby
Laudine Creighton
Mr. & Mrs. Robert
Demoyer
James & Debra Dillon
David Doetschman
Marc Donohue
Judith Duckett-Winnefeld
Anonymous
Fred & Susan Eckert
Earl & Sharon Engelhard
Pauline Farmer
Mr. & Mrs. Millard
Firebaugh
Ted & Anne Foster
Frederick R. Galloway
Charitable Trust
Laura & Jack Van Geffen
Ann Gere
Susan Gilson
Sonja Gladwin & Rod Straw
Michael J. Gray
Carol Gruen
Frances R. Hall
Georgina Hammond
Alicia Hardisky
Jeffrey Harvey
D. Gayle Hensley
Arturo Hervada
Jan & David Hoffberger
Jerry* & Lynne Hoot
Margaret Hosmer
Andrew House
Dr. & Mrs. William Hunter
Sally W. Iadarola
Beth Jacaruso
Beth D. Jacob
Bruce & Danna Jones
Matthew Jones
Mr. & Mrs. Jordan
Ms. Tomoko Kanamaru
Kurt Karsten
Christine Kelsey
Nicholas Kemp & Ms.Kay Osburnsen
Marvin & Nina Kesner
Leon & Barbara Kestenbaum
Getha Klejnot
Alice F. Kurs
Drs. Frank LaScala & Gladys Rivera-LaScala
Dr. & Mrs. Norman Lerner
Ellen Levin
Susan Levine
Jennifer Lewis
Diana Love
Timothy & Katherine Lynch
Robert W Madden Jr
Pat Mager
Lynne Malley
David Marcic
The Martinson Family
Sandra Mayo
Philip Meredith
Elaine Mines
Priscilla Mitchell
Francisco Montero
Betty Morganstern
Don & Carol Nelson
David & Carol Newman
Nancy Nicoll & Richard Wagner
Patrick J. Nugent & Mary Kay Rehard
Mr. John O`Connell
Erin O'Neill & Richard
Bernstein
Ed & Jeanne Paglee
James E & Cheryl H
Painter
Stanton D Palmer
William & May Parks
Fariba Partawi
Anonymous
Bob & Cookie Pollock
Alison Porter
Michael & Margret Rauh
Marilyn Rees
Ken & Maureen Reightler
Phil & Ilse Reynolds
Mr. & Mrs. Daniel Risher
Curtis Ritter & Cory Amron
Jack Roadhouse
John & Constance
Robinson
Mr. & Mrs. Russ
Rosenberger
Lorraine Ross
Amy & Joe Rubino
Joan Russell
Michael & Anne Saul
Chris & Donna Schein
Ken & Elaine Schmidt
Mr. & Mrs. Randy Schmitt
Bob Schnabel
Scott & Virginia
Schollenberger
Mr. & Mrs. Michael T.
Schuncke
Allison Shobe
Catherine Shultz
Leslie Skibo
Bruce Slaff
Gwynneth Smith
Julie Snyder &
Shawn Messer
Bernadette Solomon
Julia Stoshak
Anne K Stratton
Harvey Stromberg
Tom Taneyhill
Michael Taylor
Brian Thiel
Paula Thistle
Peter Threadgill
Barbara Torreon
Ellen von Seggern Richter
Mark Walter
Mr. & Mrs. Damien
Wanner
Cynthia Wells
Mr. & Mrs. Earl S.
Wellschlager
Anonymous
Mr. & Mrs. Clifford
Woodward, Jr.
Martha Wooldridge
Francis & Maureen
Wright
Bernard & Louis Wulff
Barbara & Mark Wynn
Marion & Norbert
Zacharias
Pat Zeno & Frank Parent
In memory of Barry Amass
Sally Amass
In honor of Argie & Angela
Catherine Shultz
In memory of Ronald Bower
Elaine Bower
In memory of Charlie L Byrd
Rebecca A Byrd
In honor of James W. Cheevers
Anonymous
In honor of Betsy Chotin & Carol Richards
Curtis Ritter & Cory Amron
In honor of Mrs. Marguerite Cole
Enser & Marguerite Cole
In memory of James Earl
James W. Cheevers
In memory of Marc & Kirk Elvy Remembrance
Cecelia Wyatt
In memory of Ralph Bluntschli
Elizabeth Gordon-Bluntschli
In honor of Mimi Jones
Pat Zeno & Frank Parent
In memory of David Kidwell
Dr. Mark Cinnamon
In memory of Don Lee
James W. Cheevers
In honor of Illa Nelson Anonymous
In honor of Jose-Luis Novo
Marvin & Nina Kesner
In honor of Jose-Luis Novo
Patrick J. Nugent & Mary Kay Rehard
In memory of Evelin Reynolds
Ann J. Baker
In memory of Lorraine Sotack
Michael Assad
In memory of Mrs. Sotack
James W. Cheevers
In memory of Lorraine Mary Sotack
Shelley Row
In memory of Susan David R. Herron, Ph.D.
In memory of Mary Walton Anonymous
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.
The Novo Visionaries Fund honors Maestro José-Luis Novo’s extraordinary 20-year artistic leadership with the Annapolis Symphony Orchestra. This fund fuels bold artistic ideas and special projects that extend his vision, ensuring the ASO continues to inspire, innovate, and flourish for years to come.
Anonymous
Mr. Arthur Edwards & Dr. Katherine Edwards
Jillinda Kidwell
William Seale & Marguerite Pelissier
Robert & Kathleen Arias
Stella May Contracting Inc
Anonymous
David Bush
Florence Calvert
James W. Cheevers
Tara Balfe Clifford
Anna E. Greenberg
Russ Stevenson & Margie Axtell
Dr. Mark Cinnamon
Ms. Tomoko Kanamaru
Patrick J. Nugent & Mary Kay Rehard
James E & Cheryl H Painter
Join us in a campaign to get all 55 of our tenured musicians sponsored! Sponsoring a musician is a transformative way to show your support for the Annapolis Symphony Orchestra. It is a special opportunity to personally connect with an individual musician and deepen your connection to the symphony.
José-Luis Novo
The Philip Richebourg Chair
VIOLIN I
Netanel Draiblate, Concertmaster
Sponsored by Jillinda Kidwell
Abby Armbruster
Sponsored by Mimi Jones
Yoon Young Bae
Sponsored by Drs. Mark Davis & Ann Tran
Susan Benac
Sponsored by Herb* & Sallie Abeles
Heather Haughn Sponsored by Constance & William Scott
Rachael Stockton Sponsored by Tara Balfe Clifford
William Wang
Sponsored by Dr. Mary C. McKiel
VIOLIN II
Kristin Bakkegard, Associate Principal Sponsored by
Stephen A. Sotack
Sally Stallings Amass Co-sponsored by Dr. Mary C. McKiel & Rosalie Lijinsky
Megan Gray
Sponsored by Lawrence & Jeanne Kelly
Karin Kelleher
Sponsored by Prudence Clendenning
Derek Smith, Associate Principal Sponsored by Al & Ginger From
Daphne Eller
Sponsored by Katherine Edwards
Susan Taylor Dapkunas
Sponsored by Beth Mainiero
Kate Zahradnik
Sponsored by Donald Silawsky
CELLO
Todd Thiel, Principal
The Hildegard Strothman
Martin Chair
Alison Bazala Kim
Sponsored by Dr. Elizabeth Maxwell-Schmidt & Mr. Steve Schmidt
Catherine Mikelson
Sponsored by Patrick M. Green
MaryAnn Perkel
Sponsored by Florence Calvert
Daniel Shomper
Sponsored by Paula Abernethy
April Studeny
Sponsored by Judith Templeton
BASS
Patrick Raynard , Principal Sponsored by Collot Guerard
Peter Cohn
Sponsored by Anne S. Potter
Broc Mertz
Sponsored by Fred Stielow & Susan Rosenfeld
Kimberly Valerio, Principal Sponsored by William Seale & Marguerite Pelissier
Genevieve Eichman
Sponsored by Russ Stevenson & Margie Axtell
OBOE
Fatma Daglar, Principal
The Sage Tower Mumma Endowed Chair
Rick Basehore
Sponsored by William & Renata Davis
CLARINET
Robert DiLutis, Principal Sponsored by Shelley Row
BASSOON
Patricia Morgan
Sponsored by Ann & Robert Whitcomb
HORN
Alex Kovling, Principal
Sponsored by Martha & John T. Schwieters
Anthony Valerio
Sponsored by Carole & Richard Falk
Christopher Sala, Principal
The Philip Richebourg Chair
TROMBONE
David Perkel, Principal
Sponsored by David & Eleanor Huggins
David Sciannella
Sponsored by Robert & Kathleen Arias
Jay Heltzer
Sponsored by Peter Bungay, Joy Chambers & Ellen Posten
Thank you to our generous sponsors. If you’re interested in sponsoring a musician, please visit www.annapolissymphony.org/support or email development@annapolissymphony.org.
*Deceased
When you sponsor an Annapolis Symphony Orchestra musician, you become an essential part of sustaining our community.
Your support ensures that the ASO continues to attract and retain exceptional, professional musicians who bring passion, artistry, and excellence to every performance. It is an investment in the long-term, artistic integrity of the orchestra.
What does sponsorship cost?
All sponsorships are 100% tax-deductible.
Section Musicians: $2,500
Associate Principal Musicians: $5,000
Principal Musicians: $7,500
Learn More and Sponsor Online at: annapolissymphony.org/sponsoramusician
FASO is a dynamic group of music lovers who support the Annapolis Symphony Orchestra. FASO fundraising events include the Concert of Tastes, Historical Happy Hour, themed dinners, Dine-to-Donate, Movie & Trivia Nights, wine tastings at local vineyards, international trips and much more. FASO collaborates with the Annapolis Symphony Academy to provide grants that expand programming and provide scholarships. FASO efforts expand beyond Annapolis. FASO recently sponsored the feature-length film Sing to Me Sylvie, which won the Spotlight Award from the Volunteer Council of the League of American Orchestras. Join us! Become part of the fun while helping to benefit the Annapolis Symphony Orchestra and rising artists.
It is easy to join! Visit annapolissymphony.org
Membership: $50 per person | $75/couple
Contact info: 410-267-3646 friends@annapolissymphony.org
Officers/Executive Committee:
Stephen Holt, president
Bob Foye, vice president
Ways & Means
Maggie Cole, vice president
Membership
David Bush, recording secretary
Renee Ehler, corresponding secretary
Julie Grudzinskas, treasurer
Directors:
Paula Abernethy
John Adryszak
Betsy Chotin
Kathy Clatanoff
Elizabeth-Gordon-Bluntschli
Diane Green
Patrick Green
Anna Greenberg, Emeritus
Valerie Gutterson
Marilyn Lyons
Barbara Merke
Lynne Maichle
Carol Richards
Rick Sullivan
Carol R. Richards
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.
ERICA BONDAREV RAPACH
Executive Director
ebr@AnnapolisSymphony.org 410-267-3635
JAKE FEWX
Discover Coordinator, Annapolis Symphony Academy
jfewx@AnnapolisSymphony.org
SARAH JOHANSEN
Director of Business & Finance Operations
sjohansen@AnnapolisSymphony.org 410-267-3637
JOSÉ-LUIS NOVO jlnovo@AnnapolisSymphony.org 410-267-3634
Artistic Director & Annapolis Symphony Academy Director of Orchestral Activities
CAITLIN WRIGHT
Sales & Marketing Manager
cwright@annapolissymphony.org
Development Manager
kburdick@annapolissymphony.org
Director of Artistic Operations
mfogel@AnnapolisSymphony.org 410-267-3632
DIANA LOVE
Director of Marketing & Communications
dlove@AnnapolisSymphony.org 410-267-3621
Founder & Director, Annapolis Symphony Academy
ndraiblate@AnnapolisSymphony.org 443-454-0609
Director of Artistic Operations, Annapolis Symphony Academy
hhaughn@AnnapolisSymphony.org
MAYA MCATEE
Administrative Coordinator
mmcatee@AnnapolisSymphony.org 410-267-3636
Assistant Director, Annapolis Symphony Academy, Director, Community Engagements & Grants
JULIE NOLAN jnolan@AnnapolisSymphony.org 443-223-8445
Orchestra Librarian OLIVIA REN oren@AnnapolisSymphony.org 410-267-3647
801 Chase Street, Suite 204 Annapolis, MD 21401 410-263-0907 Box Office | 410-269-1132 Admin
* in alphabetical order
KATHERINE EDWARDS, MD Chair
MICHELLE HELLSTERN Vice Chair
ANN WHITCOMB Vice President-Finance
ROBERT ARIAS
MARGUERITE (MAGGIE) COLE
GEORGIANNA CROSBY
WILLIAM DAVIS
GINGER FROM SONJA GLADWIN
STEPHEN SOTACK Treasurer
MONIQUE Y. LANGSTON Secretary
CHARLIE GRUDZINSKAS COLLOT GUERARD
WILLIAM HOFF
GERALDINE “MIMI” LADD JONES
JEANNE KELLY
ELIZABETH MAXWELL-SCHMIDT, MD
MARY MCKIEL, PHD
LISA NOLAN
SHELLEY ROW
JEFFREY H. SCHERR, ESQ.
ANN TRAN, MD
MARIE TREANOR
JOSÉ-LUIS NOVO
Artistic Director & Conductor
STEPHEN HOLT
FASO Board Representative
ERICA BONDAREV RAPACH Executive Director
ALEXANDRA MIKHLIN Musicians’ Representative, Players’ Committee
Use of cameras or recording devices during the performance is strictly prohibited.
Latecomers will only be seated at the conclusion of a musical selection.
Please note the nearest exit to your seat. In the event of fire or another emergency, WALK — do not run — to that exit.
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.
Maryland Hall is a smoke-free facility. Smoking is prohibited in and on the grounds of the building.
Enjoy a beer or glass of wine before the concert and at intermission in the Earl Gallery. Cash and credit cards are accepted and drinks are allowed in the concert hall.
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.
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.
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.
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.
Subscribers may exchange their tickets for the alternate performance of the same concert only. Exchanges are subject to availability.
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.
