Pops in the Park Sept 5, 2026 | 11:30am
Downs Park
Sept 6, 2026 | 5:00pm
Quiet Waters Park
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SI X T Y- FI F TH SE A SO N
POPS IN THE PARK
THANK YOU FOR JOINING US AS WE KICK OFF THE 2026-27 SEASON!
September 5, 2026 at 11:30am | Downs Park September 6, 2026 at 5:00pm | Quiet Waters Park
Join us this season for music that will move, restore, and connect you to nature.
SYMPHONY STEREOTYPES?
José-Luis Novo, Artistic Director & Conductor The Philip Richebourg Chair
Lady Brion, Poet and Narrator
Annapolis Symphony Academy (At Quiet Waters Park only)
Chris Thomas Mark Ronson & Bruno Mars (arr. Marshall & Phillips) Michael Jackson & Lionel Richie (arr. Longfield)
Baile de Lila Uptown Funk We Are the World
Annapolis Symphony Orchestra John Stafford Smith (arr. Luck) Adolphus Hailstork Charles Ives (arr. Schuman) Louis W. Ballard Aaron Copland Gabriela Lena Frank George Gershwin (arr. Brubaker) John Philip Sousa Leonard Bernstein (arr. Peress) John Williams Samuel A. Ward (arr. Dragon)
Star Spangled Banner
Let’s Dispel Some Myths.
“It's too expensive.”
Think again. Tickets start at $15 for students, $25 for Signature Series and Matinees, plus free concerts all season. Cost shouldn’t stand between you and the music.
“I won't understand it.”
There’s no test at the door. No musical background or homework required— just come, listen, and enjoy.
“It's stuffy and formal.”
Fanfare on “Amazing Grace” Variations on “America”
Only if you want it to be. From sequins to sweats, dress comfortably. What matters is what you’re feeling.
Blood and War, from Incident at Wounded Knee Lincoln Portrait Lady Brion, narrator The Mestizo Waltz, from Three Latin American Dances Overture to Crazy for You
“I'll feel out of place.”
Hands Across the Sea Overture to West Side Story Harry’s Wondrous World from Harry Potter and the Sorcerer’s Stone America, the Beautiful
Silence all electronic devices during the performance. Thank you. Please note: tonight’s program will only be available in digital format.
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Not here. We welcome you. From the moment you walk through the doors at Maryland Hall, a Chamber concert, an Academy performance, or The Music Center at Strathmore, you're part of something shared. The ASO is a community—open, curious, and united by the simple act of listening together.
GET TO KNOW US THIS SEASON!
TE X T O F
Lincoln Portrait When standing erect he was six feet four inches tall. And this is what he said. He said:
“Fellow citizens, we cannot escape history.” That is what he said. That is what Abraham Lincoln said. “Fellow citizens, we cannot escape history. We of this Congress and this administration will be remembered in spite of ourselves. No personal significance or insignificance can spare one or another of us. The fiery trial through which we pass will light us down, in honor or dishonor, to the latest generation. We—even we here—hold the power and bear the responsibility.” He was born in Kentucky, raised in Indiana, and lived in Illinois. And this is what he said. This is what Abe Lincoln said. He said: “The dogmas of the quiet past are inadequate to the stormy present. The occasion is piled high with difficulty, and we must rise with the occasion. As our case is new, so we must think anew and act anew. We must disenthrall ourselves, and then we will save our country.”
“It is the eternal struggle between two principles—right and wrong—throughout the world … It is the same spirit that says ‘You toil and work and earn bread—and I’ll eat it.’ No matter in what shape it comes, whether from the mouth of a king who seeks to bestride the people of his own nation and live by the fruit of their labor, or from one race of men as an apology for enslaving another race, it is the same tyrannical principle!” Lincoln was a quiet man. Abe Lincoln was a quiet and a melancholy man. But when he spoke of democracy, this is what he said. He said: “As I would not be a slave, so I would not be a master. This expresses my idea of democracy. Whatever differs from this, to the extent of the difference, is no democracy.” Abraham Lincoln, sixteenth President of the United States, is everlasting in the memory of his countrymen. For on the battleground at Gettysburg, this is what he said: He said: “… that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion: that we here highly resolve that these dead shall not have died in vain; that this nation, under God, shall have a new birth of freedom; and that government of the people, by the people, and for the people, shall not perish from the earth.”
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PROGRAM NOTES
with chorus and / or soloists). He has also composed pieces for unaccompanied chorus, often with sacred texts.
ADOLPHUS HAILSTORK (Rochester, NY, 1941 –)
Fanfare on “Amazing Grace”
Adolphus Hailstork demonstrated his musical aptitude at an early age, with training on the violin, followed by the piano and organ. His initial foray into composition took place while he was still in high school, but he began to pursue the craft more seriously under the tutelage of Mark Fax at Howard University. After graduation, the young composer had the opportunity to study in France with the esteemed Nadia Boulanger, who had also mentored Aaron Copland some forty years prior. Hailstork earned master’s degrees at the Manhattan School of Music and his doctorate from Michigan State University. Often citing Copland’s style as influential to his own, Hailstork has been recognized for his desire to create music that appeals to broad audiences. His compositional output spans the gamut, from instrumental and vocal solos to those for small chamber groups and large orchestras (sometimes
A recipient of numerous commissions, Hailstork was asked by the Nashville Symphony (Thor Johnson, conductor) to write a piece for the United States Bicentennial. The work – Celebration! – was then featured in the New York Philharmonic’s Celebration of Black Composers concert under the baton of Paul Freeman in 1977. A recording of Celebration! (with Freeman conducting) was included in the original CBS Records’ Black Composers Series, which released the works of 15 composers active over the course of three centuries in Africa, the Americas, and Europe. More recent commissions have responded to issues and events of historical significance, including the Underground Railroad in Rise for Freedom, (2007, Cincinnati Opera), Hurricane Katrina in Set Me on a Rock (premiered 2008, Houston Choral Society), and the murder of George Floyd in Knee on the Neck (premiered 2022, National Philharmonic), among others. Over the course of his lengthy career, Hailstork has continued to expand his compositional palette to showcase even the most well-known tune or subject in a new way. In his Fanfare on “Amazing Grace,” for example, the orchestra has two tasks: convey a sense of “fanfare” without losing the melodic line of “New Britain,” which is the name of the tune to which John Newton’s late eighteenth-century poem
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“Amazing Grace” was ultimately set. The fanfare is conveyed unequivocally by the trumpets, whose “call to attention” is often answered by the trombones. The woodwinds are present, too, but in a supporting role. Meanwhile, the upper strings render the melody, soaring above the rest of the ensemble. Listeners may discern slight rhythmic variations, with certain syllables of “Amazing Grace” drawn out more than anticipated, but therein lies the power of Hailstork, delivering a new and powerful version to this traditional song.
Wounded Knee burial site, Pine Ridge Reservation, South Dakota. by Jimmy Emerson, Flickr
LOUIS W. BALLARD (Quapaw Nation, 1931 – Santa Fe, New Mexico, 2007)
“Blood and War” from Incident at Wounded Knee
Louis W. Ballard, also known as Honganozhe (Quapaw: “Stands with Eagles,”) was born to a Cherokee father and Quapaw mother in Ottawa County,
Oklahoma. He received his early education at a boarding school known, like many others at the time, for championing assimilation. Typically, Native American pupils were prohibited from practicing their cultural traditions or speaking their mother tongues at such schools. But Ballard eventually left the boarding school and, as he grew older, he managed to stay connected– especially to the Quapaw culture– all the while taking piano lessons. He earned his bachelor’s and master’s degrees in music from the University of Tulsa, and became the Music Curriculum Specialist for the Bureau of Indian Affairs. In this capacity, he published a major article in the Music Educators Journal, in which he advocated for the inclusion of Native American musical practices (vocal and instrumental) in the nation’s music education curriculum. His efforts, especially his monograph American Indian Music Curriculum for the Classroom, have been praised for their ability to address Native American musical practices in a factual manner that supports educators seeking a more holistic and accurate perspective of American musics. Moreover, Ballard drew much-needed attention to these practices, which, heretofore, had been glossed over, inaccurately described, or omitted entirely from mainstream music textbooks. “Blood and War” is the third movement of Incident at Wounded Knee, a four-movement work for chamber orchestra commissioned by the Saint Paul Chamber Orchestra in 1973 and premiered the following year. During the year of the commission, Wounded Knee, South Dakota, had been the site of a 71-day standoff between
followers of the American Indian Movement (AIM) and United States federal agents. The activists of the AIM, a Native American civil rights organization, had taken hostages while protesting corruption within tribal government and criticizing the United States government for breaking treaties with Native American tribes. Marred by conflict, Wounded Knee was also the site of an historic massacre of Lakota in 1890. At the time, the federal government outlawed the practice of certain Native American traditions, and when the military was dispatched to the region, it corralled perceived offenders and confined them to a camp at Wounded Knee. During an exchange between the Lakota and the military, a gun was discharged and the military opened fire, resulting in the loss of 300 Lakota lives. Deeply moved by the ongoing turmoil in the region, Ballard composed Incident at Wounded Knee to evoke the violence thrust upon the Lakota. This movement “Blood and War” opens with a short, but pensive, solo in the English horn. Immediately, a charged scene unfolds–one characterized by rhythmic pulsing and different instruments battling against each other. Ballard seems to depict different perspectives among the persons experiencing the war. As an example, the wailing of the piccolo appears to emulate anguish, and the open chords in the horns give the sense of a war cry. Unmistakable, however, is the intense conclusion of the movement with a series of sixteen sharp chords, followed by a final two in rapid succession.
AARON COPLAND (Brooklyn, New York, 1900 – Cortlandt Manor, New York, 1990)
Lincoln Portrait
During W WII, the Russian-born conductor and arranger André Kostelanetz envisioned a “project for creating a gallery of portraits of great Americans [while] thinking of symbolizing the spirit of America in music.” He hoped that, by honoring notable Americans, the resultant body of orchestral works would “mirror some phases of democratic America.” Indeed, Kostelanetz revealed much about the impetus for this project in “Portraits in Tone”—an aptly titled article published in the New York Times on July 19, 1942. His primary concern had been “to mirror in music the spirit of a people suddenly thrust into the war.” In collaboration with three composers, the project yielded four commissions, including Aaron Copland’s Lincoln Portrait, which had been premiered earlier that year by the Cincinnati Symphony Orchestra with Kostelanetz conducting. At the time of the commission, Aaron Copland’s compositional output included pieces for piano and a handful of orchestral works, the latter accompanying ballet and
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Program Notes cont.
Lincoln Portrait employs a standard orchestral body, supplemented by the use of auxiliary woodwinds (piccolo, bass clarinet, English horn and contrabassoon) and a full battery of percussion, including tam-tam, sleigh bells, and glockenspiel. Of particular importance, however, is the presence of a speaker, whose scripted text weaves together information about Lincoln and orations delivered by Lincoln. Such an inclusion was relatively rare, but contemporary examples do exist. In 1936, for example, the Russian composer Sergei Prokofiev featured a narrator in Peter and the Wolf, his symphonic tale for children, which is often used to introduce audiences to the instruments of the orchestra. Copland also infused snippets of two American folksongs, “Camptown Races” and “Springfield Mountain,” into the otherwise classical construct embodied by Lincoln Portrait. In so doing, he strove to portray the spirit of Americana through reference and inference–that is, without focusing the entire piece on either tune. As for selecting relevant excerpts from Lincoln’s speeches, Copland reported to Kostelanetz that he “avoided the temptation to use well-known passages, permitting myself only once the luxury of quoting from a worldfamous speech. The order and arrangement of the selections
are my own.” Wanting to make his intentions clear, Copland issued a “note for the speaker,” which is printed in conjunction with the speaker’s text within the score. Here, the composer advises “against undue emphasis in the delivery of Lincoln’s words [as] the words are sufficiently dramatic in themselves.” Additional insight can be gleaned from the annotations accompanying the Columbia Masterworks recording from 1946 (Artur Rodzinski, conductor). Here, Copland asserted that, in the opening part of the Lincoln Portrait, which is marked misterioso, he “wanted to suggest something of the mysterious sense of fatality that surrounds Lincoln’s personality.” Slow and measured, the initial three- and four-note melodic figures appear among the winds and strings, culminating in successive statements of the tune “Springfield Mountain,” issued first by the clarinet. A sudden shift in tempo and character foreshadows a reference to “Camptown Races,” whose jaunty rhythm guides this part of the piece. With repeated strokes of the tam-tam, the mood of the piece changes, once again, and the speaker commences the oration. When the speaker concludes, the orchestra brings the piece to a triumphant close. The Annapolis Symphony Orchestra’s 2026 performance of Lincoln Portrait coincides with the United States Semiquincentennial celebration. As you listen, consider how you would respond to the concern Kostelanetz posed in the New York Times: “... whether the composers [he had commissioned] have written works that are significant and lasting will be ascertained only in retrospect.”
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Photo credit: Mariah Tauger
film. Throughout his career, he supplemented his deep knowledge of historically significant musical genres by exploring the latest compositional techniques in the United States and Europe, thereby expanding the concept of what orchestral music could be.
GABRIELA LENA FRANK (Berkeley, California, 1972 –)
“The Mestizo Waltz” from Three Latin American Dances
Winner of the 2026 Pulitzer Prize in Music, composer Gabriela Lena Frank is no stranger to the Annapolis Symphony Orchestra. From 2011 to 2013, she served as the ASO’s composer-in-residence, during which time she composed a piece, Raíces (Roots) to celebrate the orchestra’s 50th anniversary. A decade later, the ASO and Frank’s organization, Gabriela Lena Frank Creative Academy of Music (GLFCAM), launched a project titled “Embracing 21st Century Voices,” which promotes new works by rising composers who have participated in the GLFCAM program. Frank earned her bachelor’s and master’s degrees from Rice University and her doctorate in composition from the University of Michigan. Over the course of her career, she has received commissions from major orchestras and chamber groups, served as composer-in-residence for ensembles across the United States, and received distinguished awards, including a Latin GRAMMY and a Guggenheim Fellowship.
Many of Frank’s works broaden the general framework of classical music by infusing, or even showcasing, what would be considered non-classical idioms or instruments into otherwise classical constructs. In particular, Frank, who was born to a mother with indigenous Peruvian/ Chinese ancestry and a father whose heritage is Lithuanian Jewish, makes references to Latin American cultures in her pieces. “The Mestizo Waltz” is the third of three movements in Frank’s Three Latin American Dances, which was premiered by the Utah Symphony Orchestra under the baton of Keith Lockhart in 2004. Frank describes the movement as follows: As if in relief to the gravity of the previous movement [“Highland Harawi”], this final movement is a lighthearted tribute to the “mestizo,” or mixed-race, music
of the South American Pacific coast. In particular, it evokes the “romancero” tradition of popular songs and dances that mix influences from indigenous Indian cultures, African slave cultures, and western brass bands. It exists in its original version as the final movement of my string quartet, Leyendas: An Andean Walkabout (2001). From the very beginning of this movement, the trio of trumpets transports the listener from the concert hall with their sensuous melodic lines that rise and fall, defying a strict rhythmic pulse. As their announcement-like introduction gives way, the flute and clarinets emerge, with the clarinet guiding the ensemble into a new section, punctuated by extensive percussion, including the chekeré (a hollow gourd covered externally by shells, beads, other
small items that make rattling noise). Indeed, Frank’s work calls for four percussionists, who are tasked with playing standard orchestral instruments, such as the bass drum and crash cymbals, and those typical of Latin American musical traditions, including the conga, claves, bongo, and chekeré. The movement continues as a patchwork of musical scenes, propelled by lively juxtapositions of the woodwinds, trumpets, and strings. In one brief section, the clarinets and English horn offer a mellow contrast to the trumpets, who reappear and usher the ensemble to a dramatic flourish. Notes by Melanie Zeck
AN EXHIBITION OF SIGHT & SOUND Ego Alley’s construction fencing is now a 180foot outdoor gallery. Experience large-scale photography from the Annapolis Symphony Orchestra’s In Nature’s Realm season.
VISIT ANYTIME! FREE & OPEN TO THE PUBLIC www.annapolissymphony.org/events | Box Office: 410-263-0907 | 7
Photo: “TriColor Heron” by Emily Carter
Celebrate the Severn OCTOBER 21, 2026 5–8 PM SKIPJACK ROOM, ANNAPOLIS YACHT CLUB Learn about Severn River restoration projects and e xplore local photography that represents the ASO’s 2026–27 season, In Nature’s Realm. SPEAKERS:
FEATURED ARTISTS:
Annapolis Yacht Club Rear Commodore, Gary Jobson ASO Artistic Director & Conductor, José-Luis Novo Severn River Association E xecutive Director, Jesse Iliff Photographer, Jay Fleming
Emily Carter, Pam Ehrenfried, Jennifer Casey, Alison Harbaugh, Arden Haley, and Jay Fleming.
RESERVE YOUR TICKETS Light Fare, Beer and Wine will be served. Tickets are $50 per person. S ponsorships of this event are available, and donations are appreciated. Please email Friends@annapolissymphony.org with interest.
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SCAN OR CLICK HERE TO RESERVE
MUSICIAN ROSTER VIOLIN I Nicholas Currie, Acting Concertmaster Heather Haughn, Acting Associate Concertmaster Rachael Stockton, Acting Assistant Concertmaster Qian Zhong Claudia Chudacoff Justin Gopal Evan Ducreay Robin Tozzie Tong Li Amelia Giles VIOLIN II Christian Tremblay, Principal Kristin Bakkegard, Associate Principal Karin Kelleher Madalyn Navis Glen Kuenzi Zoe Kushubar Paul Bagley Jennifer Rickard
VIOLA Derek Smith, Acting Principal Brian Shoop, Acting Associate Principal Susan Taylor Dapkunas* Daphne Eller Nikki Ponticelli Michael Sinni CELLO Todd Thiel, Principal Pei Lu, Associate Principal Nicole Boguslaw Daniel Shomper Catherine Mikelson MaryAnn Perkel
OBOE Fatma Daglar, Principal Rick Basehore Joseph DeLuccio
TROMBONE David Perkel, Principal David Sciannella Daniel Brady
CLARINET Robert DiLutis, Principal Dennis Strawley Emma Selmon
TUBA Jake Fewx, Principal
BASSOON Patricia Morgan, Acting Principal Matt Lano Jeff Ward
BASS Brandon Smith, Acting Principal Broc Mertz, Acting Associate Principal Jessica Powell Eig Kimberly Parillo
HORN Alex Kovling, Principal Kevin Grasel Shane Iler Anthony Valerio Nathaniel Willson
FLUTE Genevieve Eichman, Acting Principal Lori Kesner Sarah McIver
TRUMPET Christopher Sala, Principal Christopher Buchanan Andrew Fremder
TIMPANI Jonathan Milke, Acting Principal PERCUSSION William Kan, Principal Anthony Asero Elizabeth Kan Jerry Noble HARP Madeline Jarzembak, Acting Principal KEYBOARD Tomoko Kanamaru, Acting Principal
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GUEST ARTIST
Lady Brion
L
ady Brion is an international spoken word artist, activist, organizer and educator. Lady Brion currently serves as the executive director of the Black Arts District, an organization she founded in 2019. In 2024 she was appointed by Governor Wes Moore as the Poet Laureate of Maryland, making her the youngest Poet Laureate in Maryland’s history and the only spoken word artist to ever hold this position. She received her B.A. in Communication and Culture from Howard University and her MFA in Creative Writing & Publishing Design from the University of Baltimore. During her slam career she has won the 2016 and 2021 National Poetry Slam, the 2017 and 2019 Southern Fried Regional Slam, and the 2019 Rustbelt Regional Slam. In 2021 she became the Women of the World Poetry Slam Champion making her the number one ranked woman slam poet in the world.
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ARTISTIC DIRECTOR & CONDUCTOR
José-Luis Novo TH E PH I LI P R IC H EBOU RG C HAI R
J
osé-Luis Novo, Philip Richebourg Artistic Director Chair, is in his 22nd 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. 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 Bendix-Balgley, Vadim Gluzman, Chee-Yun, 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 MusicBorn 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.
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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.
New! Matinee Performances at Maryland Hall
SUNDAY AFTERNOONS WITH TH E A SO
Discover 3 PM Matinees. Elevate your afternoon with our 1 hour concerts that start at 3 PM. Savor the Day Your Way. Explore Annapolis before the show, and have time to enjoy dinner afterwards. While your morning might be full of sports, classes, and chores, your afternoon can be filled with music. Effortless at Maryland Hall. Our matinees will be performed at Maryland Hall, which offers free parking, easy access to the show, and close proximity to USNA, Annapolis Arts District, West Street, and historic downtown Annapolis. RICHARD STRAUSS, AN ALPINE SYMPHONY March 7, 2027 at 3pm | Maryland Hall FERDE GROFÉ, GRAND CANYON SUITE May 9, 2027 at 3pm | Maryland Hall Join Us for the Perfect Mother’s Day Experience!
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“BALTIMORE’S FINEST IMPORTER OF CLASSICAL MUSIC TALENT.” — THE BALTIMORE SUN
SECURE YOUR SEATS FOR 2026-27 SUN, OCT 11, 5:30PM
PABLO FERRÁNDEZ CELLO SUN, NOV 1, 5:30PM
IGOR LEVIT PIANO
SUN, NOV 22, 5:30PM
HÉLÈNE GRIMAUD PIANO SUN, DEC 6, 5:30PM
VERONA QUARTET STEVEN BANKS SAXOPHONE SUN, FEB 7, 5:30PM
MIDORI VIOLIN ÖZGÜR AYDIN PIANO SUN, FEB 28, 5:30PM
TRIO AFIORI
ANTHONY MCGILL, CLARINET FLEUR BARRON, MEZZO-SOPRANO GLORIA CHIEN, PIANO
SUN, MAR 14, 5:30PM
LES VIOLONS DU ROY AVI AVITAL MANDOLIN SUN, MAY 2, 5:30PM Pablo Ferrández
CALIDORE STRING QUARTET
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IN NATURE'S REALM
Join Us for Season 65 Signature Series
All New Matinees Special Events
Echoes of the Earth
Richard Strauss,
Jennifer Higdon’s Cello Concerto, with Cellist Julian Schwarz OCT 2-3, 2026 | 7:30PM Maryland Hall
Forces of Nature
Shostakovich Violin Concerto No. 1 with Violinist Vadim Repin NOV 6-7, 2026 | 7:30PM Maryland Hall
The Call of the Wild Strauss, An Alpine Symphony
Mar 5-6, 2027 | 7:30pm Maryland Hall
Myths & Mountains
Bruch Violin Concerto No. 1, with Violinist Esther Yoo
APR 9-10, 2027 | 7:30PM Maryland Hall APR 11, 2027 | 3:00PM Strathmore
Shaped by Nature
Prokofiev Piano Concerto No. 3, with Pianist Stewart Goodyear
AN ALPINE SYMPHONY MAR 7, 2027 | 3:00PM Maryland Hall
Ferde Grofé,
GRAND CANYON SUITE MAY 9, 2027 | 3:00PM Maryland Hall
Pops Concerts Holiday Pops
with Stephanie Waters
DECEMBER 18, 2026 | 7:30PM Maryland Hall DECEMBER 19, 2026 | 3:00PM Severna Park High School
Maryland Hall Presents
Isidore String Quartet
Mendelssohn’s String Octet in E-flat major with ASO Principal Musicians
Stay tuned DATES, ARTISTS, AND PROGRAM DETAILS COMING SOON.
Vadim Repin
Mar 25, 2027 | 7:30pm Maryland Hall
School Field Trip Concert
Peter & The Wolf/ Pedro y el Lobo
Esther Yoo
bilinguë español with Really Inventive Stuff
Apr 15-16, 2027 | 10:00am & 11:30am Maryland Hall Call the Box Office to reserve seats 410-263-0907
Family Concert
Chamber Concerts
Julian Schwarz
Stewart Goodyear
Peter & The Wolf/ Pedro y el Lobo
bilinguë español with Really Inventive Stuff
Apr 17, 2027 | 11:00am Maryland Hall All tickets $15 We recommend that you reserve your ticket as soon as possible, as our family concerts often sell out.
Stephanie Waters
MAY 7-8, 2027 | 7:30PM Maryland Hall
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Isidore String Quartet
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Photo of Julian Schwartz by Matt Dine
ECHOES OF THE EARTH Jennifer Higdon’s Cello Concerto with cellist Julian Schwarz
FRIDAY, OCTOBER 2, 2026 SATURDAY, OCTOBER 3, 2026 MARYLAND HALL | 7:30 PM Antonín Dvořák In Nature’s Realm, Op. 91 Jennifer Higdon Cello Concerto Julian Schwarz, cello Manuel de Falla El sombrero de tres picos (The Three-Cornered Hat) This concert is approximately 2 hours in length, with a 20 minute intermission.
T
he season opens with music that reconnects us to the natural world and to one another. Antonín Dvořák’s In Nature’s Realm invites listeners into the Bohemian countryside he loved, unfolding from a hushed opening into radiant, folk-inspired melodies that echo birdsong, hymns, and rustic dances. A simple, recurring “nature theme” weaves through the work, evoking both innocence and wonder. Both lyrical and rhythmic, it offers a sense of renewal and sets the tone for a season shaped by nature’s energy and calm.
that is both intimate and electrifying. The program concludes with Manuel de Falla’s The Three-Cornered Hat, a vivid and theatrical ballet brimming with humor, color, and Spanish flair. Rooted in the rhythms of village life—harvest, work, and celebration—the score captures the spirit of the land while unfolding a witty tale of power, mischief, and resilience. Featuring a mezzo-soprano and performed in its entirety, this rarely heard presentation culminates in an exuberant final dance of irresistible energy and joy.
At the center of the program is Jennifer Higdon’s Cello Concerto, a powerful new work written for acclaimed cellist Julian Schwarz, who returns to Annapolis for his third appearance with the ASO. Structured in four movements—Poet, Dances, Fervent, and Lines—the concerto reflects Higdon’s signature style: rhythmically vibrant, emotionally direct, and richly orchestral. One of today’s most celebrated composers, Higdon brings a fresh, compelling voice to the stage, while Schwarz’s artistry—marked by depth, clarity, and expressive range—promises a performance
Together, these works celebrate nature, community, and the enduring power of music to move, connect, and inspire. The performance will include supertitles to help the audience follow the plot of the ballet.
“A Rare Glow Visits Maryland” by Jennifer Casey
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Photo of Vadim Repin by Gela Megrelidze
FORCES OF NATURE
Shostakovich Violin Concerto No. 1 with violinist Vadim Repin FRIDAY, NOVEMBER 6, 2026 SATURDAY, NOVEMBER 7, 2026 MARYLAND HALL | 7:30 PM Luke Soneral An Overture: The Mouse and its Shadow Dmitri Shostakovich Violin Concerto No. 1 in A minor, Op. 77 (99) Vadim Repin, violin Pyotr Ilyich Tchaikovsky The Tempest, Op. 18 Igor Stravinsky Divertimento from Le baiser de la fée (The Fairy’s Kiss) This concert is approximately 2 hours in length, with a 20 minute intermission.
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hostakovich’s Violin Concerto No.1 is one of the most powerful concertos of the 20th century. Written under the shadow of Stalinist repression, the concerto speaks in coded language — dark introspection, biting irony, and searing virtuosity. The work reveals the psychological damage the Soviet regime inflicted on Shostakovich, and calls on listeners to reject the politics of division, revenge and hate. Russian violinist Vadim Repin is celebrated for a rare combination of technical perfection, depth, and musical authority. His expertise in the Shostakovich repertoire is unsurpassed.
Tchaikovsky’s The Tempest transforms Shakespeare’s play into a sweeping symphonic seascape, where storm-tossed drama, glowing lyricism, and the eternal presence of nature unfold in richly colored sound. The physical storm brought to life by the music is a metaphor for human nature.
Igor Stravinsky’s The Fairy’s Kiss was conceived as a tribute to his country-man Pyotr Ilyich Tchaikovsky on the 35th anniversary of the great composer’s death. It was inspired by Hans Christian Andersen’s The Ice-Maiden and functions as a poetic allegory for Tchaikovsky’s artistic life. Icy textures and glittering sonorities evoke nature as an elemental, even fateful force. Luke Soneral’s An Overture: The Mouse and Its Shadow is a brand-new work by a collegiate composer already earning national recognition. The inclusion underscores the ASO’s commitment not only to iconic classical music, but to the next generation of composers shaping the orchestral world.
“Blackwater Stumps” by Jay Fleming
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Photo of ASO musicians by Richard Brown
THE CALL OF THE WILD Strauss, An Alpine Symphony
FRIDAY, MARCH 5, 2027 SATURDAY, MARCH 6, 2027 MARYLAND HALL | 7:30 PM
Claude Debussy “Fêtes” from Nocturnes Maurice Ravel Alborada del gracioso (Morning Song of the Jester) Tan Dun Passacaglia: Secret of Wind and Birds Richard Strauss Eine Alpensinfonie (An Alpine Symphony), Op. 64 This concert is approximately 2 hours in length, with a 20 minute intermission.
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ebussy’s “Fêtes” is a luminous celebration of Parisian festivities with shimmering orchestration. It bursts with joyous celebration.
Maurice Ravel’s Alborada del gracioso (Morning Song of the Jester) bursts with Spanish flair, from virtuosic strings and fiery castanets to the jester’s tender bassoon “song of the dawn,” blending wit, charm, and radiant orchestral color. Tan Dun’s Passacaglia: Secret of Wind and Birds is a modern marvel that transforms smartphones into instruments. By merging ancient Chinese musical heritage, the natural world, and contemporary sound, Tan Dun crafts a transcendent encounter with the rhythms, colors, and secrets of the world around us. Richard Strauss’ An Alpine Symphony paints the ascent of a mountain—from nightfall through sunrise, storm, and triumphant summit. Scored for nearly 100 players, including wind and thunder machines, organ, cowbells, and offstage horns, Strauss creates a breathtaking, cinematic world that captures both nature’s grandeur and the human spirit. 18 | We Are Annapolis Symphony Orchestra
“TriColor Heron” by Emily Carter
MYTHS & MOUNTAINS Photo of Esther Yoo by Richard Brown
Bruch Violin Concerto No. 1 with violinist Esther Yoo
FRIDAY, APRIL 9, 2027 SATURDAY, APRIL 10, 2027 MARYLAND HALL | 7:30 PM SUNDAY, APRIL 11, 2027 MUSIC CENTER AT STRATHMORE | 3:00 PM
Jean Sibelius Tapiola, Op. 112 Max Bruch Violin Concerto No. 1 in G minor, Op. 26 Esther Yoo, violin Ludwig van Beethoven Symphony No. 7 in A major, Op. 92 This concert is approximately 1 hr 50 min with a 20 minute intermission.
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ean Sibelius’ Tapiola opens the performance with the mystical and magical setting of an ancient Nordic forest. Inspired by Finnish legends of Tapio, a mythical spirit, the composition unfolds from a single, austere motif into a vast sonic landscape — dark pines, icy winds, distant echoes. The music grows organically, like branches reaching through twilight, brooding and atmospheric, culminating in a conclusion that feels both modern and timeless. From that northern hush emerges one of the most beloved violin concertos: Max Bruch’s Violin Concerto No. 1. Lyrical, ardent, and richly Romantic, the concerto sings from its very first entrance. The soaring Adagio is among the most heartfelt slow movements in the repertoire, while the finale dances
with fire and virtuosity. Internationally acclaimed violinist Esther Yoo, praised for her depth of expression and dazzling technique, brings luminous artistry to this audience favorite. The program culminates in Beethoven’s Symphony No. 7. Driven by irresistible rhythmic vitality, each movement surges forward with mounting energy and exhilaration. The haunting Allegretto pulses with solemn intensity, while the outer movements blaze with unstoppable momentum. Composed amid personal struggle and political upheaval, the Seventh stands as a triumph of motion, resilience, and pure musical joy.
“A Young Sika Deer Buck” by Arden Haley
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Photo of Stewart Goodyear by Andrew Garn
SHAPED BY NATURE Prokofiev Piano Concerto No. 3 with pianist Stewart Goodyear
FRIDAY, MAY 7, 2027 SATURDAY, MAY 8, 2027 MARYLAND HALL | 7:30 PM
Benjamin Britten Four Sea Interludes from Peter Grimes, Op. 33a Sergei Prokofiev Piano Concerto No. 3 in C major, Op. 26 Stewart Goodyear, piano Ferde Grofé Grand Canyon Suite This concert is approximately 1 hr 50 min with a 20 minute intermission.
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his program explores three vivid sound worlds — the restless English coast, the electric pulse of modern virtuosity, and the vast, cinematic sweep of the American West — each shaped by composers who transformed landscape into legend. Benjamin Britten’s Four Sea Interludes from the opera Peter Grimes, tells the story of a psychological storm. Divided strings and shimmering textures suggest a vast, indifferent sea that will outlast every human drama. Beneath the sound lies the aching question sung by the opera’s tragic outsider: What harbor shelters peace? Sergei Prokofiev’s Piano Concerto No. 3 is one of the most brilliant and beloved concertos of the 20th century. The music blends razor-sharp wit, romantic sweep, and machine-age energy. Deceptive lyricism explodes into percussive sparkle and sardonic bite.
Castanets snap. Harmonies shift sideways without warning. The finale bristles with rhythmic argument between piano and orchestra, culminating in a dazzling, hard-won triumph. Performing this “devilishly difficult” concerto is Stewart Goodyear. Returning to Annapolis for the third time, Goodyear bridges tradition and innovation with rare fluency. His interpretations are an ideal match for Prokofiev’s mercurial brilliance. Ferde Grofé’s Grand Canyon Suite defines the sound of American symphonic storytelling. Each movement is a musical postcard of the West: “Sunrise,” the “Painted Desert,” hoofbeats “On the Trail,” “Sunset,” and “Cloudburst,” complete with wind machine and thunder sheet, describe the majesty of this striking landscape.
“Stormking” by Alison Harbaugh
20 | We Are Annapolis Symphony Orchestra
PROKOFIEV’S PETER AND THE WOLF/PEDRO Y EL LOBO WITH REALLY INVENTIVE STUFF | BILINGUË ESPAÑOL
FAMILY CONCERT
Claude Debussy “Golliwogg's Cakewalk” from Children’s Corner
SATURDAY APRIL 17, 2027 MARYLAND HALL | 11:00 AM
Edward Elgar
All tickets $15. Tickets for Prokofiev’s Peter and the Wolf will be available to the public starting August 1, 2026. The timeless musical tale of Prokofiev’s Peter and the Wolf comes to life with the ASO and Really Inventive Stuff. Hailed by The Philadelphia Inquirer as “immensely like-able,” this bilingual fully-staged vaudeville-inspired performance is guaranteed to engage and inspire imaginations of all ages.
Minuet, Op. 21
Antonio Vivaldi “Spring” from The Four Seasons, Op. 8, No. 1: Allegro Sergei Prokofiev Peter and the Wolf, Op. 67, with Really Inventive Stuff Running time 1 hour. This bilingual presentation of Peter and the Wolf / Pedro y el Lobo premiered with the Music Academy of the West in Santa Barbara, California on July 19, 2025 at the Lobero Theatre.
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A C HAM B ER CO N C ERT
S E P T 20, 2026 418 Fourth St., Annapolis, MD
𝄐 Fermata
Forward Brewing x ASO collaboration introducing:
HEFEWEIZEN
THIS CONCERT IS SOLD OUT, but you can experience Fermata, a custom-brewed hefeweizen dedicated to the ASO at Forward Brewing, starting this September. Fermata will also be available in area stores where Forward Brewing products are sold.
ANNAPOLISSYMPHONY.ORG/EVENTS | INFO@ANNAPOLISSYMPHONY.ORG | BOX OFFICE: 410-263-0907
22 | We Are Annapolis Symphony Orchestra
Photo: Jay Fleming, Chesapeake March
ASO at Forward Brewing
DISCOVER THE FUTURE OF CL ASSICAL MUSIC.
THE ANNAPOLIS SYMPHONY ACADEMY
Enroll Here! SCAN OR CLICK HERE TO APPLY
AUDITION ANYTIME, VIRTUALLY OR IN PERSON! Apply today at TunedToYouth.org
The ASO established the Annapolis Symphony Academy (ASA) to provide accessible music education to students in Annapolis and Anne Arundel communities, including in areas where access to music education is limited. Now in its ninth year, the ASA offers private lessons, ensemble rehearsals, and solo performance opportunities to 170 students.
holiday open house for Governor Wes Moore and First Lady Dawn Moore, the Michelle Obama Awards in honor of Women’s History Month, for doctors and patients at Luminis Health, at Pops in the Park, and at the downtown Annapolis Christmas Tree lighting.
ASO musicians comprise 85% of ASA faculty. They join ASA Ensemble performances, serving as mentors and teachers. ASO musicians perform side-by-side with ASA students at major concerts throughout the academic year.
We offer programs and ensembles for every aspiring young musician:
The ASA offers several youth ensemble programs, enabling students to learn from professional musicians, hone their skills through lessons and discipline, and perform in professional, public settings. ASA concerts are free and open to the public. The ASA performed at 24 events in Annapolis and Anne Arundel County in the 2025-26 season. Performances included important events like the
In total, Academy students performed for over 7,000 people at free concerts throughout our community.
Discovery Early Music Classes Group & Private Instrument Classes Lyra Youth Chamber Orchestra Aquarius Wind Ensemble Orion Youth Orchestra Learn more about the Annapolis Symphony Academy’s history, mission, and approach to learning and teaching at TunedtoYouth.org.
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DONOR RECOGNITION
2025 -26
Ensuring a Legacy of Musical Excellence for Future Generations
2025-26 Legacy Circle
LEGACY CIRCLE
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)
*Patricia Edwards
*Mr. John P. McKim
Melvin & *Judy Bender
*Colonel Allan & *Audrey English
Anne S. Potter *Evelin Reynolds
Bud & *Bee Billups Patrick M. Green
Susan Rosenfeld
Elana Rhodes Byrd Anna E. Greenberg
Shelley Row
James W. Cheevers *Joe Bales Gruber
Stephen A. Sotack
Elizabeth Colandro *Nancie Kennedy Ronald E. Council *Dr. Michael Kurtz *Forbes Leland & *Marilyn Eason
Marion & Norbert Zacharias
Dr. Mary C. McKiel
MAKE YOUR MARK...
...LEAVE YOUR LEGACY
To discuss including the Symphony in your Estate Plans, please contact development@annapolissymphony.org Annapolis Symphony Orchestra Inc. Tax I.D. 23-7001357 *Deceased
24 | We Are Annapolis Symphony Orchestra
DONOR RECOGNITION We gratefully acknowledge these generous donors to the Annapolis Symphony Orchestra who have contributed within the twelve months as of August 9, 2026 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 $25,000 - $49,999
GIFTS OF $5,000–$9,999
Joyce Pratt & Jeff Harris
Peter & Sarah Evans +
Gifts of $5,000 - $9,999
William Seale & Marguerite Pelissier
Al & Ginger From +
Anonymous (2)
David & Eleanor Huggins
Richard Brown
THE PHILIP RICHEBOURG CIRCLE GIFTS OF $500,000 - $999,999
Patricia & David Mattingley + Friends of the Annapolis Symphony Orchestra
Peter Bungay, Joy Chambers & Ellen Posten
Elizabeth Richebourg Rea +
Martha & John T. Schwieters +
Council Family Foundation
GIFTS OF $250,000 - $499,999
GIFTS OF $10,000 - $24,999
William & Renata Davis +
Robert & Kathleen Arias +
Herb* & Sallie Abeles
Jillinda Kidwell +
Collot Guerard
Russ Stevenson & Margie Axtell
Jan & David Hoffberger
GIFTS OF $150,000 - $249,999
Susan & Jess Behringer
Jeffrey Scherr & Wendy Jachman
Florence Calvert +
The Earl Family
Stella May Contracting, Inc.
Jane Campbell-Chambliss & Peter Chambliss
Dawne Widener-Burrows
Donor Recognition
GIFTS OF $1 MILLION +
Michael J. Mumma, Peter R. Mumma, & Amy Mumma Raskopf + GIFTS OF $50,000 - $149,999
Hugh D. Camitta
Patrick M. Green
Prue Clendenning Enser & Marguerite Cole Mary Anne Felger
Anonymous
Norman J.Fisher & Doris Fisher Foundation
Paula Abernethy +
Deb Howe & Nati Draiblate +
James W. Cheevers +
Mimi Jones
Mr. Arthur Edwards & Dr. Katherine Edwards +
Clay & Carol Richards
Anne S. Potter +
Elizabeth Maxwell-Schmidt & Steve Schmidt +
Shelley Row +
Diane Steed
Joan Ruhl
Judy Templeton +
Stephen A. Sotack +
Ann & Bob Whitcomb +
+ 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.
Cecelia Wyatt *Deceased
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DONOR RECOGNITION GIFTS OF $2,500 - $4,999 Karen Bell-Wright Carole & Richard Falk Anna E. Greenberg + Steve Root & Nancy Greene Pierre & Danalee Henkart Richard & Lisa Hillman Karl & Marge Hoke Jeane & Larry Kelly Dr. Monique Y. Langston Pat Mager Mary C. McKiel James D. Parker, M.D. Fred Stielow & Susan Rosenfeld Constance & William Scott Drs. Mark C Davis & Ann A Tran Marie & Richard Treanor GIFTS OF $1,000 - $2,499 Anonymous (2) Jack & Leslie Andryszak Renee Ehler & George Bentley Michael Alin & Ann Carroll Ms. Sandy Cohen Elizabeth Colandro Earl & Sharon Engelhard James R. Fitzpatrick Anne Foster Elizabeth Gordon-Bluntschli Scott Gregory & Angela Eggleston Patty Harris Bob & Diane Heaney Mr. & Mrs. Robert M.
Gifts Of $1000–$2499 cont.
Gifts Of $100–$999 cont.
Hecht Mark & Barbara Jacobs The Johansen Family Rosalie Lijinsky Janet Little David McGill Laura Murray Cathryn O’Donovan Patricia Petrou Pamela Roeming Mr. & Mrs. Michael T. Schuncke Jill Simon Bruce Slaff Adm & Mrs. William O. Studeman M & L Sullivan Giving Fund David Trivett Mrs. Tamara & Dr. Stephan Tymkiw George & Charlotte West David Zinnamon
Betty Bengtson Dr. Louis & Laurie Berman Mary Jo Bieberich Ray Boedecker Elizabeth Bollinger Stephen Booth Elaine Bower Timothy Brosnahan Pat & Karen Brown Kathleen & Robert Burke Charlotte Byrd Joseph & Patricia Casey William Cassidy Mr. & Mrs. Robert J. Caverly Barbara Ceruzzi Erin Checking Betsy & Arthur Chotin David Clawson William Conrad Sharon R. Cook Petey Cosby Community Foundation of Anne Arundel County Laudine Creighton Mr. & Mrs. Raymond Curry Janet Curtis Dorothy D`Anna Barry Dalnekoff Cynthia Danjczek Joan Darby Mr. & Mrs. Samuel Davies Joanne Davis Mr. & Mrs. Robert Demoyer Martha Blaxall & Joe Dickey Douglas Doerfler David Doetschman
GIFTS OF $100 - $999 Anonymous (3) Michael & Judy Ackerman Linda Allen Sandra Collyear Altherr Sally Amass Laura Amodei Curtis Ritter & Cory Amron Music Educators of Greater Annapolis Karen Bakkegard Pinchas Balsam Adele Baron Julie Belkin Marcia Belmont Susan Benac
26 | We Are Annapolis Symphony Orchestra
Marc Donohue Fred & Susan Eckert Mrs. Julia Erickson Emily Van Essen Janet & Dave Ewing Robert Ferrante Miriam Fogel Karen Fort Patti & Bob Foye Richard Friedrich Robert & Catherine Fuller TJ Furlong Frederick R. Galloway Charitable Trust Laura & Jack Van Geffen Ann Gere Susan Gilson Sonja Gladwin & Rod Straw Paul Herman & Karen Goldman Michael J. Gray Charles Green Robert Gruber Carol Gruen Valerie Gutterson Frances R. Hall Raleigh Schein & John Hamm Georgina Hammond Yasuko Hanaoka Alicia Hardisky Jeffrey Harvey Ronald Havelock D. Gayle Hensley Arturo Hervada Dr. Bruce E. Hillner Kevin Hillock Barbara Hoffstein
DONOR RECOGNITION Marian Holt Stephen Holt Elaine Holtzman Mr. & Mrs. J. Lawrence Hosmer Margaret Hosmer Hugh & Deborah Houghton Andrew House John Uldrich Household Suzann Barthold Household Neff Hudson Beth D. Jacob Jeanne Jehl Mona Johnson D. Randolph Johnson Steven Collier & Elizabeth Jones Mr. & Mrs. Jordan Chris Judy & Deborah Judy Kurt Karsten Steven Keefe Christine Kelsey Jack Kersh Marvin & Nina Kesner Leon & Barbara Kestenbaum Mary Kay Kisseberth Getha Klejnot Murray Korman Julia Krause Donna Krizman Scott Kuenzi Alice F. Kurs Don & Carol Lee & Donald Lee Dr. & Mrs. Norman Lerner Ellen Levin Susan Levine
Prudence Lyle Robert W Madden Jr Elizabeth Mainiero Lynne Malley Kathleen McDermott Kevin Hurley & Kathleen McDevitt Ms. Jane W. McWilliams Hanan Miklasz Mark Miller Elaine Mines Carlos & Linda Miranda Priscilla Mitchell Bradley Monger Francisco Montero Cheryl & James Morgan Betty Morganstern Ms. Barbara Morris Rob & Patti Muir Don & Carol Nelson Maureen & Glen Nemecek David & Carol Newman Becky Sunday & Chris Nickas Lisa Nolan Mr. John O`Connell Jeremiah Olsen Erin O’Neill & Richard Bernstein Gail Orgelfinger Nicholas Kemp & Ms.Kay Osburnsen. Amanda Weathersby & Tom Paci Ed & Jeanne Paglee James E & Cheryl H Painter Fariba Partawi Lawrence Noel & Carol Patterson Laura Pinto
Bob & Cookie Pollock Scott Pomeroy Mary & William Powell Fred Probeck John T. Quinn Anne Randall Michael & Margret Rauh Colin & Valerie Rees Marilyn Rees Ken & Maureen Reightler Phil & Ilse Reynolds Mrs. Karen Risher Christopher & Anita Rizek Jack Roadhouse John & Constance Robinson Paul & Joan Rosenberg Lorraine Ross Glen L. Rotner Barbara & Everett Santos Michael & Anne Saul Elizabeth Saunders Ms. Nancy Sawyer Chris & Donna Schein John Schiller Ken & Elaine Schmidt Mr. & Mrs. Randy Schmitt Scott & Virginia Schollenberger Paul Serini Brad Clink & Linda Sexton Robert W Sherer Cheryl Shettel Allison Shobe Leslie Skibo Anne Sloan Roderick & Joann Smith Carol & David Stern Julia Stoshak
Anne K Stratton Harvey & Susan Stromberg Dr. & Mrs. Albert Strunk Judy Sullivan Tom Taneyhill David Taylor Brian Thiel Paula Thistle Carol Thompson William Thompson Peter Threadgill Barbara Torreon Mrs. Jeanne Townsend Joan Townshend Mark Venable Nancy Nicoll & Richard Wagner Mark Walter Mr. & Mrs. Damien Wanner Robert & Susan Warren Janet Weller Cynthia Wells Elisabeth Wells Christopher K. White Jeffrey Williams Sibyl B. Wisch Peter Wolfe Mr. & Mrs. Clifford Woodward, Jr. Francis & Maureen Wright Bernard & Louis Wulff Michael Yanchulis Nancy Osius Zimmerman
*Deceased
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DONOR RECOGNITION
2025 -26
In memory Barry Amass Sally Amass In tribute John Andryszak & Carol Richards Curtis Ritter & Cory Amron In honor Melvin Bender, James W. Cheevers, & Richard L. Hillman Anonymous In memory Ralph Bluntschli Elizabeth Gordon-Bluntschli In memory Ronald Bower Elaine Bower In honor James W. Cheevers Anonymous In honor James W. Cheevers Jack Kersh In honor Betsy Chotin & Carol Richards Curtis Ritter & Cory Amron In memory Mark & Kirk Elvy Cecelia Wyatt In honor Miriam Fogel Beth D. Jacob In honor Anna Greenberg Barbara Hoffstein
In honor Anna Greenberg Georgina Hammond In honor Anna Greenberg Jack Kersh In honor Anna E. Greenberg James W. Cheevers In honor Anna Greenberg Marcia Belmont In honor Anna Greenberg Mary & William Powell In memory Joyce Ramsey Kersh Jack Kersh In memory Maria Baker Kersh Jack Kersh In honor Beth Maniero Amy Morris In honor Marilyn David Trivett In honor José-Luis Novo MarvIn & Nina Kesner In honor Stephen Sotack Steven Keefe On behalf Stephen Sotack Cristian Erazo
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. 28 | We Are Annapolis Symphony Orchestra
2025-26 Memorial and Honorary Gifts
MEMORIAL AND HONORARY GIFTS
Novo Visionary Fund
DONOR RECOGNITION
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DONOR RECOGNITION
2026 -27
MUSICIAN SPONSORS 2025-26 Musician Sponsors
ARTISTIC DIRECTOR & CONDUCTOR 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
VIOLA Sarah Hart, Principal Sponsored by Julie & Charles Grudzinskas 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 MaxwellSchmidt & Mr. Steve Schmidt Nicole Boguslaw Sponsored by Norman J.Fisher & Doris Fisher Foundation 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 Benjamin Crofut Sponsored by James W. Cheevers Broc Mertz Sponsored by Fred Stielow & Susan Rosenfeld FLUTE 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 Brian Eldridge Sponsored by Pat Mager 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 TRUMPET 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 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. *Deceased
Thank you to our generous sponsors. If you’re interested in sponsoring a musician, please visit www.annapolissymphony.org/support or email development@annapolissymphony.org. 30 | We Are Annapolis Symphony Orchestra
MUSICIAN SPONSORSHIPS When you sponsor an Annapolis Symphony Orchestra musician, you become an essential part of sustaining our community.
SP O NSO R A M USIC IAN AN D H ELP OU R O RC H ESTR A TH R IVE. 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/sponsor-a-musician SCAN OR CLICK HERE
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Friends of the Annapolis Symphony Orchestra
FRIENDS OF THE ANNAPOLIS SYMPHONY ORCHESTR A (FASO)
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-to-Donate, Movie and 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 32 | We Are Annapolis Symphony Orchestra
SCAN OR CLICK HERE TO JOIN
2025-2026 BOARD OF DIRECTORS Officers/ Executive Committee: Stephen Holt, president Bob Foye, vice president Ways and Means Maggie Cole, vice president Membership David Bush, recording secretary Renee Ehler, corresponding secretary Julie Grudzinskas, treasurer
Directors: Paula Abernethy Jack Andryszak Betsy Chotin Kathy Clatanoff Elizabeth-GordonBluntschli 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.
THANK YOU TO OUR COMMUNITY PARTNERS Luminis Health Anne Arundel Medical Center
Annapolis Bows & Violins Annapolis Heritage Society
Luminis Health Doctors Community Medical Center, Lanham
Annapolis Moms Media Annapolis Musicians Fund for Musicians
Luminis Health McNew Mental Health Center
Anne Arundel County Public Schools (AACPS) APEX Arts Magnet Program
Luminis Health Pathways Substance Use Services
Anne Arundel Recreation & Parks Department
Marshall Hope Learning Center
Arts Council of Anne Arundel County
Maryland Commission on Middle Eastern Affairs
Ballet Theatre of Maryland
Maryland Council for Civic & History Education
Banneker Douglass Harriett Tubman Museum
Maryland Hall for the Creative Arts
Baywoods of Annapolis
Maryland State Arts Council
Bowie State University
Maryland State Government House
Chesapeake Arts Center
Naptown Sings
Chesapeake Inspired & Donna Jefferson City of Annapolis Heritage Commission City of Laurel Health & Wellness Fair
Park Rangers & Staff at Quiet Waters Park & Downs Park Rotary of Annapolis St. John’s University
Community Foundation of Anne Arundel County
Temple Beth Shalom
Cultural Office of the Embassy of Spain
The Complete Player, Youth Empowerment
Elville Center for the Arts
The Light House
Friends of Annapolis Symphony Orchestra (FASO)
The Salvation Army
The Annapolis Opera
Ginger Cove Retirement Community
The Talent Machine Company, Inc
Historic Annapolis
Wellness House of Annapolis
Hospice of Chesapeake
What’s Up Media
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AN NAP O LIS SY M PH O N Y O RC H ESTR A AN D AC ADEM Y STAFF * KELLY M. BURDICK
NETANEL DRAIBLATE
Executive Director ebr@AnnapolisSymphony.org 410-267-3635
Development Manager kburdick@annapolissymphony.org
Founder and Director, Annapolis Symphony Academy ndraiblate@AnnapolisSymphony.org 443-454-0609
JAKE FEWX
MIRIAM FOGEL
HEATHER HAUGHN
Discovery Coordinator, Annapolis Symphony Academy
Director of Artistic Operations
Director of Artistic Operations, Annapolis Symphony Academy
jfewx@AnnapolisSymphony.org
mfogel@AnnapolisSymphony.org 410-267-3632
hhaughn@AnnapolisSymphony.org
SARAH JOHANSEN
DIANA LOVE
MAYA MCATEE
Director of Business and Finance Operations
Director of Marketing and Communications
sjohansen@AnnapolisSymphony.org 410-267-3637
dlove@AnnapolisSymphony.org 410-267-3621
Administrative Coordinator mmcatee@AnnapolisSymphony.org 410-267-3636
JULIE NOLAN
JOSÉ-LUIS NOVO
OLIVIA REN
Director of Community Engagement and Institutional Giving and Associate Director, Annapolis Symphony Academy jnolan@AnnapolisSymphony.org 443-223-8445
Artistic Director & Annapolis Symphony Academy Director of Orchestral Activities jlnovo@AnnapolisSymphony.org 410-267-3634
Orchestra Librarian
Annapolis Symphony Orchestra and Academy Staff
ERICA BONDAREV RAPACH
CAITLIN WRIGHT Sales and Marketing Manager cwright@annapolissymphony.org
34 | We Are Annapolis Symphony Orchestra
oren@AnnapolisSymphony.org 410-267-3647
ANNAPOLIS SYMPHONY ORCHESTRA 801 Chase Street, Suite 204 Annapolis, MD 21401 410-263-0907 Box Office | 410-269-1132 Admin * in alphabetical order
BOARD OF TRUSTEES* O FFIC ER S KATHERINE EDWARDS, MD Chair
ANN TRAN, MD Vice Chair
STEPHEN SOTACK Treasurer
ANN WHITCOMB Vice President-Finance
MONIQUE Y. LANGSTON, MD Secretary
TRUSTEES Immediate Past Chair
MAGGIE COLE
COLLOT GUERARD, ESQ.
JEANNE KELLY
ROBERT ARIAS
WILLIAM DAVIS
LISA HILLMAN
LISA NOLAN
KAREN BELL-WRIGHT
SONJA GLADWIN
WILLIAM HOFF
JEFF SCHERR
ANDY BIENSTOCK
CHARLES GRUDZINSKAS
MIMI JONES
SIENA SCOTT
ANN TRAN, MD
MARIE TREANOR
2026-27 Board of Trustees
SHELLEY ROW
E X O FFIC IO TRUSTEES ERICA BONDAREV RAPACH Executive Director
STEPHEN HOLT FASO Board Representative
JOSÉ-LUIS NOVO Artistic Director & Conductor
O RC H ESTR A R EPR ESENTATIVE DEREK SMITH Musicians’ Representative, Players’ Committee * As of April 1, 2026. Subject to change.
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TICKETING POLICIES & VENUE INFORMATION SINGLE TICKETS Single tickets for concerts in our 2026-27 season will be available for sale beginning August 1, 2026. Tickets can be purchased online at annapolissymphony.org/events or by calling the Symphony Box Office at 410-263-0907. GROUP SALES Groups of 10 or more receive a 15% discount on tickets. Please email or call the Box Office to arrange group sales. 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.
ADDITIONAL TICKETS Signature Series Subscribers can use their 20% off discount to save on additional tickets to select concerts. Please purchase tickets with the discount through your patron portal starting August 1, 2026. DISCOUNTS Student tickets are $15. Military, Law Enforcement, and First Responder ticket discounts are also available. Please call the Box Office to redeem these discounts starting August 1, 2026. HOLIDAY POPS TICKETS All subscribers can purchase Holiday Pops tickets starting April 10, 2026. Subscribers receive 20% off Holiday Pops tickets. To purchase Holiday Pops tickets online and receive the 20% discount, Signature Series Subscribers can log into their Patron Portal. FlexPass subscribers must call the box office. Tickets cannot be purchased online until August 1, 2026, when tickets go on sale to the public.
REFUNDS There are no refunds and all ticket sales are final. If there are changes to the program, ticket holders will be contacted with options.
ANNAPOLIS SYMPHONY ORCHESTRA Maryland Hall for the Creative Arts 801 Chase Street, Suite 204 | Annapolis, MD 21401 Box Office 410–263–0907 | Email info@annapolissymphony.org
Maryland Hall Hours Guest Services Tuesday & Thursday, 9 AM – 1 PM ASO Office (Room 205): Monday, 1 PM – 5 PM Photos of ASO Musicians by Richard Brown | Layout design by Christina Williams, Juxte Creative
36 | We Are Annapolis Symphony Orchestra
Join us for Season 65 IN NATURE'S REALM
EXPERIENCE THE ASO TODAY! TICKETS FROM JUST $25!
The ASO is grateful to the following partners for their steadfast support:
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