Season 63 Serenade

Photo By: Michael Ventura

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

A NOTE FROM THE BOARD OF TRUSTEES

Fresh Start at the ASO

We are pleased to welcome Erica Bondarev Rapach as the permanent Executive Director of the Annapolis Symphony Orchestra (ASO). In collaboration with our Artistic Director, Maestro José-Luis Novo, Erica will position the ASO for new growth and relevance in our community and beyond. When you meet Erica, you’ll see she has the energy, smarts, and skills necessary to help propel our continued growth and sustainability. She’s excited to use her talents for the ASO.

It’s easy to revel in the artistry of our professional musicians without fully understanding the behind-thescenes work that makes the magic happen. Imagine what it takes to get 70 contract musicians in the same place at the same time, reading off the same sheet of music. Our musicians arrive to performances prepared like the pros they are, but this is just the beginning of what it takes to bring music to our ears. The Artistic Operations team has scheduled the space, rented instruments, organized the sheet music, and planned rehearsals. To be here today, you engaged with our Box Office for a subscription or ticket. You know about the concert because of our Marketing staff. Our Development staff works closely with donors whose contributions keep our musicians on stage, and our grant writer finds, writes, and reports on every grant opportunity. And we haven’t even touched on the Annapolis Symphony Academy!

Managing all this takes knowledgeable, skilled leadership. That is Erica’s strength.

A healthy, vibrant ASO relies on both quality artistry and quality administration. We can’t grow one without the other. The best way to demonstrate our confidence in Maestro Novo’s vision and Erica’s leadership is to provide them with funding flexibility through an unrestricted gift to position the ASO for the future. Most of our funding comes from individuals like you, so thank you! Please consider donating or increasing your gift today. Any amount counts!

Warm regards,

Shelley Row

2024-2025 BOARD OF TRUSTEES

SHELLEY ROW, PE, CSP Chair

OFFICERS

KATHERINE EDWARDS, MD Vice Chair

ANN WHITCOMB Vice President-Finance

TRUSTEES

ROBERT ARIAS

GEORGIANNA CROSBY

WILLIAM DAVIS

GINGER FROM SONJA GLADWIN

CHARLIE GRUDZINSKAS

COLLOT GUERARD

MICHELLE HELLSTERN

WILLIAM HOFF

DEB HOWE

TRUSTEE EMERITUS

MONIQUE Y. LANGSTON Secretary

STEPHEN SOTACK Treasurer

GERALDINE “MIMI” LADD JONES

JEANNE KELLY

ELIZABETH MAXWELL-SCHMIDT, MD

MARY MCKIEL, PHD Immediate Past Chair

MARIE TREANOR

FLORENCE CALVERT JILL KIDWELL

EX OFFICIO TRUSTEES

JOSÉ-LUIS NOVO

Artistic Director & Conductor

ANN TRAN FASO Board Representative

ORCHESTRA REPRESENTATIVE

ALEXANDRA MIKHLIN

Musicians’ Representative, Players’ Committee

SYMPHONY ORCHESTRA

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

With a 63-year history of artistic excellence, the Annapolis Symphony Orchestra is recognized as the largest and most distinguished performing arts organization in Maryland’s capital city. Under the direction of José-Luis Novo, the Symphony continues to rise in excellence and national reputation, performing Masterworks, Pops, Family Concerts, and special events. The Symphony reaches thousands annually with its free Pops in the Park concert, performances in partnership with the United States Naval Academy and the Annapolis Opera, and collaborative projects with other arts organizations and touring headliners. Additionally, ASO sponsors award-winning education concerts and outreach programs in community schools, sharing the joy of music-making with thousands of school children, including through the Annapolis Symphony Academy (ASA).

ANNAPOLIS SYMPHONY ORCHESTRA STAFF

ERICA BONDAREV RAPACH

Executive Director

JULIE NOLAN

Director of Education, Community Outreach, and Grants

SARAH JOHANSEN Director of Business Operations

OLIVIA REN Orchestra Librarian

MIRIAM FOGEL Director of Artistic Operations

MAYA MCATEE Office & Data Manager

DIANA LOVE Director of Marketing & Communications

DAVID SCIANNELLA Operations Manager

ANNAPOLIS SYMPHONY ACADEMY STAFF

NETANEL DRAIBLATE

ASA Director

HEATHER HAUGHN

ASA Department Head, Strings

JULIE NOLAN

ASA Assistant Director

KIMBERLY VALERIO

ASA Chair, Winds & Brass

ANTHONY VALERIO

ASA Conductor, Aquarius Wind Ensemble

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

ANNAPOLIS SYMPHONY .ORG

E LI ZA BETH RICHEBO U RG R E A

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

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

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

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

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

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

Co-Founder and First Board President Annapolis Symphony Orchestra

1972

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

The Annapolis Symphony Orchestra is indebted to Philip Richebourg, Co-Founder and First Board President (1967-1974). Philip Richebourg ’s stalwart support, organizational vision and strong leadership during its formative years helped solidify the orchestra ﬁnancially and administratively, ensuring its longevity and signature as one of Maryland’s most distinguished performing arts organizations. Philip passionately supported the Annapolis Symphony Orchestra as it sought to enrich the lives of the community through classical music and educational programs. From the modest beginnings of a small community ensemble to the present acclaimed

Photo:

Elizabeth Richebourg Rea

Foundations & Organizations

Maryland State Arts Council

Arts Council of Anne Arundel County

Elville Center for the Creative Arts

Friends of the Annapolis Symphony Orchestra (FASO)

Community Foundation of Anne Arundel County

Impact 100 Chesapeake Chapter

Ken Code, Dea Code Foundation

Council Family Foundation

JoshuaOneNine Fund

The J.M. Kaplan Fund

The Dealy Foundation, Inc

Paige Miller Memorial Scholarship

National Philanthropic Trust

Murray, McGehrin & Shiery at

Rotary of Annapolis

Annapolis Musicians Fund for Musicians

Lewis Family Fund Grant

Pew Foundation

Progress Family Foundation

Charities Aid Foundation America

Frederick R. Galloway Charitable Trust

The Links, Incorporated

Loaves & Fish 247 Fund

Music Educators of Greater Annapolis

Pledgeling Foundation

Schmidt Family Charitable Fund

U.S. Charitable Gift Trust

United Way of Central Maryland

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JOSÉ-LUIS NOVO

THE

PHILIP RICHEBOURG CHAIR

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

Academy Glee Club. Also remarkable are a 2012 return appearance at the Clarice Smith Performing Arts Center with mezzo-soprano Denyce Graves, national broadcasts on NPR’s Performance Today, debut TV broadcasts on Washington’s WETA Metro PBS, the launching of the ASO’s award-winning streaming platform Symphony+, the creation of the Annapolis Symphony Academy, and the ASO’s first commercial CD commemorating the 300th anniversary of the signing of the City of Annapolis’ Royal Charter. In July of 2022, Maestro

The Artistic Director’s Chair is graciously underwritten by Elizabeth Richebourg Rea, daughter of Philip Richebourg, Annapolis Symphony Orchestra Co-Founder and First Board President (1967-1974).

“My father conducted every day of his life as if resolute in achieving perfect harmony. I can think of no greater legacy than naming the Artistic Director’s Chair after my father, Philip Richebourg.”

Novo and the ASO stunned audiences on both sides of the Atlantic in a debut international tour to Spain with guitar virtuoso Pepe Romero as guest soloist.

Maestro Novo’s continuous drive for artistic excellence, innovative thematic programming, and collaborations with some of today’s most respected guest artists keeps generating unprecedented artistic growth and enthusiastic reviews from publications such as The Washington Post and The Baltimore Sun

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

Recent and upcoming guest conducting engagements include debut appearances

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

José-Luis Novo has also fostered a reputation as a keen educator of young musicians. He has held conducting

Photo By: David Trozzo

positions with the Cincinnati Symphony Youth Orchestra, University of Maryland Symphony Orchestra, Miami University Symphony Orchestra, and National Repertory Orchestra, and has been on the conducting faculty at the Eastern Music Festival in Greensboro, North Carolina since 1999. In addition, he has conducted many noteworthy college and youth orchestras such as the Curtis Institute Orchestra, the Cleveland Institute of Music Orchestra, the Bard Conservatory Orchestra, the Ithaca College Symphony Orchestra, and the Portuguesa State Youth Orchestra of the Venezuelan El Sistema. Under the auspices of the Annapolis Symphony Academy, he presided over the debut of its Orion Youth Orchestra, conducting the inaugural concert in June 2022.

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

MASTERWORKS SERIES

February 28, 7:30 PM | March 1, 7:30 PM MARYLAND HALL

March 2, 3:00 PM MUSIC CENTER AT STRATHMORE

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

Noah Bendix-Balgley, violin

Overture to The Creatures of Prometheus, Op. 43

Ludwig van Beethoven (1770–1827)

Serenade (after Plato’s Symposium) Leonard Bernstein (1918–1990)

I. Phaedrus—Pausanias (Lento—Allegro marcato)

II. Aristophanes (Allegretto)

III. Eryximachus (Presto)

IV. Agathon (Adagio)

V. Socrates—Alcibiades (Molto tenuto—Allegro molto)

Noah Bendix-Balgley, violin

- INTERMISSION -

Symphony No. 8 in F major, Op. 93

I. Allegro vivace e con brio

II. Allegretto scherzando

III. Tempo di menuetto

IV. Allegro vivace

Ludwig van Beethoven (1770–1827)

Four Dances from Estancia, Op. 8a Alberto Ginastera (1916–1983)

I. Los trabajadores agrícolas (The Farm Workers)

II. Danza del trigo (Wheat Dance)

III. Los peones de hacienda (The Ranch Hands)

IV. Danza final: Malambo (Final Dance)

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

Hanbing Jia, Assistant Concertmaster

Abby Armbruster

Yoon Young Bae

Qian Zhong

Susan Benac

William Wang

Heather Haughn

Justin Gopal

Jennifer Rickard

Paula Sweterlitsch

VIOLIN II

Christian Tremblay, Principal

Alexandra Mikhlin, Acting Associate Principal

Megan Gray

Sally Stallings Amass

Sara Schneider

Angela YuTing Chew

Paul Bagley

Joseph Smith

Yan Izquierdo

Glen Kuenzi

VIOLA

Sarah Hart, Principal

Derek Smith, Associate Principal

Susan Taylor Dapkunas

Kate Zahradnik

Rachel Holaday

Brian Shoop

Michael Sinni

Kunjing Dai

CELLO

Pei Lu, Acting Principal

Nicole Boguslaw, Acting Associate Principal

MaryAnn Perkel

Alison Bazala Kim

April Studeny

Peter Kibbe

Lavena Johanson

Erin Snedecor

BASS

Patrick Raynard, Principal

Benjamin Crofut, Associate Principal

Broc Mertz

Adriane Irving

Brandon Smith

Peter Cohn

FLUTE

Lauren Sileo, Acting Principal

Genevieve Eichman

OBOE

Amelia Merriman, Acting Principal

Amanda Dusold

CLARINET

Robert DiLutis, Principal

Brian Eldridge

BASSOON

Jimmy Ren, Acting Principal

Stephen Rudman

HORN

Alex Kovling, Principal

Shane Iler, Associate Principal

Ho Hin Kwong

Anthony Valerio

Kevin Grasel

TRUMPET

Christopher Sala, Principal Christopher Buchanan

TIMPANI

Curt Armbruster, Principal

PERCUSSION

William Kan, Principal

Anthony Asero

Gustavo Barreda

Andrew Henry

Robert Jenkins

Gerald Novak

HARP

Madeline Jarzembak, Acting Principal

PIANO

Tomoko Kanamaru, Acting Principal

PROGRAM NOTES

Overture to The Creatures of Prometheus, Op. 43

LUDWIG VAN BEETHOVEN

Baptized Dec. 17, 1770, Bonn | Died Mar. 26, 1827, Vienna

A musical prodigy, Ludwig van Beethoven learned piano and violin from his father as a young child, and he made his first public appearance at age seven. Beethoven also learned organ, viola, musical theory, and composition; a 1783 public notice of Beethoven described him as a “youthful genius” with “promising talent.” As Beethoven began publishing compositions and performing internationally, he gained important patrons who supported his career, and he eventually established himself in Vienna.

Though today, Beethoven is most known for his symphonies, concertos, and string quartets—works for the private or public concert hall—he did write some works for the theater. Beethoven first composed music for a ballet in 1791; Ritterballet ( Knight’s Ballet) was produced by Beethoven’s friend and patron Count Ferdinand von Waldstein. Because his name was not publicly announced with

the work, Beethoven’s composition of this music is still not widely known today. Beethoven’s only other foray into ballet was for Die Geschöpfe des Prometheus (The Creatures of Prometheus), composed 1800–1801, on commission from Italian ballet master Salvatore Viganò, who would present the ballet to Empress Maria Theresa. The Creatures of Prometheus premiered at the Burgtheater in Vienna on March 28, 1801. A ballet in two acts, The Creatures of Prometheus tells of the god’s gift of fire, as well as his gifts of science and art through other deities. Viganò called the work “heroicallegorical,” as the lessons parallel the values of the Enlightenment.

The sudden fortissimo start of the Overture serves the function of grabbing the audience’s attention, signaling the beginning of the ballet. In how the opening C chord leads away from C major into F major, the Overture is reminiscent of Beethoven’s first symphony, which premiered a year before The Creatures of Prometheus . Beethoven also alludes to the form of the French Overture (the standard introduction to ballets and dance suites in the Baroque era) with the slower, Adagio first section followed by a faster, Allegro molto con brio section. The driving, lively theme of the quick section suggests flickering fire, and Beethoven would return to this theme in a brief fugato in the finale of the ballet. The Overture is full of Beethoven’s characteristic compositional features; especially audible is his use of sforzandos , triadic melodies, and the minor mode Sturm und Drang style.

Serenade (after Plato’s Symposium)

LEONARD BERNSTEIN

Born Aug. 25, 1918, Lawrence ǀ

Died Oct. 14, 1990, New York

American composer Leonard Bernstein was born in Massachusetts to a family of Jewish immigrants from Ukraine. He began playing music at age ten, when his aunt gave the family an old piano, and he began taking lessons at 14. Bernstein was also involved with opera and jazz during high school and—to his father’s chagrin—majored in music at Harvard. He then attended the Curtis Institute of Music and, in the summer of 1940, attended the Tanglewood Music Festival where he studied conducting with the famed Serge Koussevitzky. One of the first American conductors of international renown, Bernstein would eventually become the music director of the New York Philharmonic.

From 1953–1957 Bernstein worked almost concurrently on four works that today are considered some of his best:

Serenade (after Plato’s Symposium), the score to On the Waterfront , Candide , and West Side Story Serenade was written for violinist Isaac Stern, who edited the violin part. Stern performed the premiere of the piece with Bernstein conducting the Israel Philharmonic Orchestra in Venice on September 12, 1954. The piece was dedicated to Koussevitzky, who passed three years prior, and his former wife. Even though Bernstein stated that “there is no literal program for the Serenade ,” Bernstein himself supplied the program note for the premiere, which describes the relationship between his music and the ancient Greek philosopher’s Symposium , a dialogue about love:

Phaedrus—Pausanias

Phaedrus opens the symposium with a lyrical oration in praise of Eros, the god of love. Pausanias continues by describing the duality of the lover as compared with the beloved. This is expressed in a classical sonataallegro, based on the material of the opening fugato.

Aristophanes

Aristophanes does not play the role of clown in this dialogue, but instead that of the bedtime-storyteller, invoking the fairy-tale mythology of love. The atmosphere is one of quiet charm.

Eryximachus

The physician speaks of bodily harmony as a scientific model for the workings of love-patterns. This is an extremely short fugato-scherzo, born of a blend of mystery and humor.

Agathon

Perhaps the most moving speech of the dialogue, Agathon’s panegyric embraces all aspects of love’s powers, charms, and functions. This movement is a simple three-part song.

Socrates—Alcibiades

Socrates describes his visit to the seer Diotima, quoting her speech on the demonology of love. Love as a [spirit] is Socrates’ image for the profundity of love; and his seniority adds to the feeling of didactic soberness in an otherwise pleasant and convivial after-dinner discussion. This is a slow introduction of greater weight than any of the preceding movements and serves as a highly developed reprise of the middle section of the Agathon movement, thus suggesting a hidden sonataform. The famous interruption by Alcibiades and his band of drunken revelers ushers in the Allegro, which is an extended rondo ranging in spirit from agitation through jig-like dance music to joyful celebration. If there is a hint of jazz in the celebration, I hope it will not be taken as anachronistic Greek party-music, but rather the natural expression of a contemporary American composer imbued with the spirit of that timeless dinner party.

Symphony No. 8 in F Major, Op. 93

LUDWIG VAN BEETHOVEN

Baptized Dec. 17, 1770, Bonn Died Mar. 26, 1827, Vienna

Ludwig van Beethoven is now known as one of the three composers of the “First Viennese School,” the other two being Wolfgang Amadeus Mozart and Joseph Haydn, who both influenced Beethoven’s compositions. In 1792, Beethoven moved to Vienna to study with Haydn; his patron Count Ferdinand von Waldstein wrote that Beethoven would “receive Mozart’s spirit from Haydn’s hands.” It was Haydn’s final symphonies, brought back to Vienna when Haydn returned in 1795 from his second visit to London, that first inspired Beethoven to try his own hand at the genre.

Though Symphony No. 8 uses wellknown Classical era idioms, the work had a mixed reception, puzzling many audience members. Its inner movements are notably short, and

curiously, there is no real slow movement, which is standard in the genre. Beethoven called Symphony No. 8 his “smaller symphony,” as it is the shortest symphony he composed. The symphony was completed in 1812 and received its premiere in Vienna on February 27, 1814.

The Allegro vivace e con brio first movement starts with a motive that is woven throughout the piece, creating unity across the entire composition. Following tradition, the first movement uses sonata form, introducing themes in the exposition, exploring those themes as well as new keys in the development, and then returning to the original key and theme for a dramatic recapitulation followed by a coda. The second movement is not the typical slow movement but instead a lively Allegretto scherzando. Repeated staccato woodwind chords perhaps allude to Haydn’s “Clock” Symphony, and many interpret this to also be a reference to the metronome, which was in development in 1812, when the symphony was completed. The Menuetto third movement opens with heavy sforzandos in the lower strings, creating a peasant-like atmosphere that contrasts with the flowing melody. French horns and a solo clarinet accompanied by triplets in the cellos signal the start of the trio, and the movement closes by returning to the first section. The final Allegro vivace movement is by far the longest, which is a deviation from the typical Classical symphony that emphasized the first movement.

Beethoven combines sonata form and rondo form in this movement, giving two developments and two recapitulations. Sudden fortissimo C-sharp interjections—a completely unexpected note for the key—are examples of how Beethoven explored dynamic changes and remote keys in his compositions.

ALBERTO GINASTERA

Born Apr. 11, 1916, Buenos Aires ǀ

Died Jun. 25, 1983, Geneva

Argentine composer Alberto Ginastera studied music as a young child and enrolled in the Conservatorio Williams, graduating in 1935 with the composition prize. Ginastera then enrolled in the Conservatorio Nacional de Música to study harmony, counterpoint, and composition. While he was still a student, Ginastera composed the music for the ballet Panambí about an

Four Dances from Estancia, Op. 8a

indigenous Guaraní legend, as well as a suite of dances from the ballet. The suite’s premiere in 1937 was so wellreceived that it established Ginastera’s reputation as a leading Argentine composer, even before he graduated in 1938. In 1940 the full ballet Panambí received its premiere, and its success led to a commission for Ginastera to compose music for another ballet, Estancia . Ginastera completed Estancia in 1941, and that same year excerpted four dances from it for a suite. Because the commissioning ballet troupe disbanded in 1942, the ballet’s premiere was delayed for ten years. The suite of four dances premiered in 1943, and this work, along with others around the same time, quickly cemented Ginastera as one of the best composers associated with the Argentine musical nationalist movement. This movement was focused on celebrating Argentine identity and pride by using cultural traditions, especially those connected to history or with the “folk.”

Estancia is based on the nineteenth century Argentine epic poem Martín Fierro by José Hernández. The poem tells of a gaucho (a nomadic horseman) named Martín Fierro and his bravery, honor, and strength throughout a series of adventures. Martín Fierro is written in the gauchesco style, drawing on the payada tradition of sung poetry and using language connected to the rural gaucho. These layers of “folk” traditions—the nineteenth century epic poem, gaucho figure, gauchesco literature, and payada music—make Estancia a rich example of Argentine nationalism.

The first dance in the suite, Los trabajadores agrícolas (The Farm Workers), depicts the harvest workers, lowly farmhands. Recurring rhythms imitate strumming, and the sonority references the specific tuning of gaucho guitar, therefore creating a sound world that evokes the “folk.” In Danza del trigo (Wheat Dance), the opening flute solo again uses the gaucho guitar tuning as inspiration for the sonority. The lyrical melody paints a pastoral picture, celebrating the Argentine countryside. Los peones de hacienda (The Ranch Hands), the third dance in the suite, has the same punching, repeated chords as the first movement, but this time with more hemiolas, therefore creating the zapateo step common in many folk dances. Just as the music parallels the first movement, so does the title; this movement depicts the low-status cattle workers on grand hacienda estates. The Danza final: Malambo is really a twopart dance: the first section evokes the gato dance, and the second section is the malambo. High woodwinds and glissandos are typical of Ginastera’s use of the flirtatious gato dance, in which a couple circles without touching, the man stomping in a zapateo step and the woman twirling her skirt. The high winds and xylophone begin the malambo with a melody of continual regular eighth notes, imitating the regular dance steps of the gaucho.

Program notes by Elizabeth Massey, Ph.D.

NOAH BENDIXBALGLEY Violin

Noah Bendix-Balgley enjoys a wideranging musical life as a violinist. He is First Concertmaster of the Berliner Philharmoniker and tours both as a chamber musician and as a soloist. His clear and heartfelt personal sound has reached and moved listeners around the world.

As soloist, Mr. Bendix-Balgley appears frequently with leading international orchestras, as well as in recital at the world’s finest concert halls. Recent highlights include his concerto debut at Carnegie Hall as the featured soloist on the Berliner Philharmoniker USA tour under the direction of Kirill Petrenko, as well as concerto appearances with the Philharmonic Orchestras of Berlin, Dresden, Auckland, Nagoya, and Oklahoma City. He has also performed with the Verbier Festival Chamber Orchestra and the Shanghai, Utah, Quebec, Adelaide, and Pittsburgh

Symphony Orchestras. He has toured with Apollo’s Fire performing on period instruments, performed the Brahms Double Concerto with Alisa Weilerstein and the Aspen Music Festival Orchestra, toured with the Stuttgart Chamber Orchestra, and given recitals at the Philharmonie Berlin, Beethoven-Haus Bonn, National Forum of Music in Wrocław, and the National Concert Hall in Taipei. In the 23–24 season, he was Artist-in-Residence with his hometown Asheville Symphony, and also returned to the Guangzhou Symphony Orchestra and made his debuts with the NHK Symphony Orchestra and the Armenian State Symphony Orchestra.

Noah Bendix-Balgley is a renowned performer of traditional klezmer music. He has performed with groups such as Brave Old World, and has taught at many klezmer workshops. In 2016, he composed and premiered

his own klezmer violin concerto, Fidl-Fantazye, with the Pittsburgh Symphony Orchestra, where he was concertmaster from 2011 to 2015. Since the premiere, he has also performed the work with the Baltimore Symphony, China Philharmonic, and the Buffalo Philharmonic Orchestras; and a chamber orchestra version with Kammerakademie Potsdam and members of the Berliner Philharmoniker.

A passionate chamber musician, Noah performs in several ensembles: in a trio with pianist Robert Levin and cellist Peter Wiley, with the Rosamunde String Quartet, and with the multigenre septet Philharmonix, which features members of both the Berlin and

Vienna Philharmonics. His other recent chamber highlights include performances at the Seattle Chamber Music Society’s Summer Festival, Bergen International Festival, Sarasota Music Festival, ChamberFest Cleveland, Zermatt Music Festival, Festival d’Aixen-Provence, and La Jolla Summerfest.

Born in Asheville, North Carolina, Noah Bendix-Balgley began playing the violin at age four. At age nine, he played for Lord Yehudi Menuhin. He graduated from the Indiana University Jacobs School of Music and the Munich Hochschule. His principal mentors were Mauricio Fuks, Christoph Poppen, and Ana Chumachenco.

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Join us in a campaign to get all 55 of our currently tenured musicians sponsored! Sponsoring a musician is a transformative way to show your support for the Annapolis Symphony Orchestra. It is a special opportunity to personally connect with an individual musician and deepen your connection to the symphony.

ARTISTIC DIRECTOR & CONDUCTOR

José-Luis Novo

The Philip Richebourg Chair

VIOLIN I

Netanel Draiblate, Concertmaster

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

Excellence for Future Generations

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

Anonymous (3)

Melvin &

*Judy Bender

Bud & *Bee Billups

Elana Rhodes Byrd

James W. Cheevers

Elizabeth Colandro

Ronald E. Council

*Forbes Leland & *Marilyn Eason

*Patricia Edwards

*Colonel Allan &

*Audrey English

Patrick M. Green

Anna E. Greenberg

*Joe Bales Gruber

*Nancie Kennedy

*Dr. Michael Kurtz

Dr. Mary C. McKiel

*Mr. John P. McKim

Anne S. Potter

Susan Rosenfeld

Shelley Row

Stephen A. Sotack

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*Deceased

SUPPORTERS OF THE ASO

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

The Annapolis Symphony Orchestra is sustained through your generous support. We are indebted to you for supporting our music making, education programs, and community initiatives.

GIFTS OF $1 MILLION +

John McKim*

Joyce Pratt & Jeff Harris + William Seale & Marguerite Pelissier

THE PHILIP RICHEBOURG CIRCLE

GIFTS OF $500,000 – $999,999

Elizabeth Richebourg Rea +

GIFTS OF $250,000 – $499,999

Robert & Kathleen Arias +

GIFTS OF $150,000 – $249,999

The Brian & Patricia Giese Foundation

Jillinda Kidwell + Maryland State Arts Council

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

GIFTS OF $50,000 – $149,999

Anonymous +

Paula Abernethy + Jane Campbell-Chambliss & Peter Chambliss

James W. Cheevers +

Mr. Arthur & Dr. Katherine Edwards +

Laird Lott & Linda Gooden

Impact100 +

Anne S. Potter + Shelley Row +

Stephen A. Sotack +

GIFTS OF $25,000

–$49,999

Anonymous

Anne Arundel County

Recreation & Parks

Arts Council of Anne Arundel County

Elville Center for the Creative Arts +

Peter & Sarah Evans + Al & Ginger From +

David & Eleanor Huggins

Mimi Jones +

Patricia & David Mattingley + Martha & John T. Schwieters +

GIFTS OF $10,000 – $24,999

Florence Calvert +

Friends of the Annapolis Symphony Orchestra

Collot Guerard

William H. Hoff + Deb Howe + Dr. Elizabeth MaxwellSchmidt & Mr. Steve Schmidt +

Clay & Carol Richards

Judith Templeton + Ann & Robert Whitcomb + Cecelia Wyatt

GIFTS OF $5,000 – $9,999

Peter Bungay, Joy Chambers & Ellen Posten

Susan Byrom & Robert Thomas

Hugh D. Camitta

Prue Clendenning

+ MULTIYEAR PLEDGES

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

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

Council Family Foundation

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

Harley Flack

Capt. Mark & Michelle Hellstern (USN Retired) + JosuahOneNine Fund

Lawrence & Jeanne Kelly

Evelin Reynolds*

Russ Stevenson & Margie Axtell

GIFTS OF $2,500 – $4,999

Herb* & Sallie Abeles

Dea Code Family Foundation

Drs. Mark Davis & Ann Tran

Carole & Richard Falk

Patrick M. Green

Anna E. Greenberg

Scott Gregory & Angela

Eggleston-Howard

Pierre & Danalee Henkart

Richard & Lisa Hillman

Jan & David Hoffberger

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

ANYTHING G ES

ANNUAL GIVING 2024-2025

Karl & Marge Hoke

Elizabeth Mainiero

Dr. Mary C. McKiel

Music Educators of Greater Annapolis

José-Luis Novo & Lori Kesner

Steve Root & Nancy Greene

Raymond R.Ruppert, Molly M. Ruppert

Jeffrey Scherr & Wendy Jachman

Constance & William Scott

Doug & Karen Smith + Fred Stielow & Susan Rosenfeld

Joan Ruhl

Bill & Marilynn Sweetser

GIFTS OF $1,000$2,499

Anonymous (8)

Michael Alin & Ann Carroll

Jack & Leslie Andryszak

Annapolis Musicians Fund for Musicians

Melvin & Judy Bender

Renee Ehler & George Bentley

Ann Burchard

Ms. Sandy Cohen

Community Foundation of Anne Arundel County

Mr. & Mrs. Andrew Lynch

Cole

Enser & Marguerite Cole

Jesse Cunitz & Faith Goldstein Cunitz

Jane Danowitz

Mr. & Mrs. Robert Demoyer

Elizabeth GordonBluntschli

Bonnie Gorman

Bob & Diane Heaney

Mr. & Mrs. Robert M. Hecht

David R. Herron, Ph.D.

Mr. & Mrs. Jerry Hoot

Hugh & Deborah Houghton

The Johansen Family

Ted & Karen Kirakawa

Jim & Deb Laite

Katherine Lantz

Rosalie Lijinsky

Janet Little

Lynn Maichle

David McGill

Laura Murray

Jan O’Connor

James E & Cheryl H Painter

Beth Penn

Patricia Petrou

Barbara W. Pittman

Pamela Roeming

Rotary of Annapolis

Cynthia Scruggs

Bob Sherer

Jill Simon

Kathy Sorci

Mrs. Tamara & Dr. Stephan Tymkiw

Barbara Wing

GIFTS

OF $100 - $999

Anonymous (2)

Michael & Judy Ackerman

Anne Agee

Linda Allen

Sandra Collyear Altherr

Sally Amass

Ms. Susan Armstrong

Ann J. Baker

Adele Baron

Jess & Susan Behringer

Julie Belkin

Randall Bell

Edward Bergman

Randal Billingsley

Martha Blaxall & Joe Dickey

Ms. Jeannie Block Bessmer

Elaine Bower

Elizabeth Bowers

Pat & Karen Brown

Carmen & Nancy Brun

Carole Burchette

David Bush

Rebecca A Byrd

Cindy Carlton

Deborah Chin

Dr. Mark Cinnamon

Elizabeth Colandro

Petey Cosby

Susan Craig

Laudine Creighton

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

C. Creevy, PA-C

Carl DeVore

James & Debra Dillon

Fred & Susan Eckert

Pauline Farmer

Mr. & Mrs. Millard

Firebaugh

James R. Fitzpatrick

Ted & Anne Foster

David & Cindy Fox

Frederick R. Galloway

Charitable Trust

Sonja Gladwin & Rod Straw

Michael J. Gray

Frances R. Hall

Georgina Hammond

Patty Harris

Jeffrey Harvey

D. Gayle Hensley

Gretchen Herdt

ANNUAL GIVING

Lynne Malley

Paul Herman & Karen Goldman

Maureen Hess

Marian Holt

Dr. & Mrs. William Hunter

Kevin Hurley & Kathleen McDevitt

Sally W. Iadarola

Beth Jacaruso

Beth D. Jacob

Bruce & Danna Jones

Mr. & Mrs. Jordan

Kurt Karsten & Michelle Smith

Christine Kelsey

Nicholas Kemp & Kay Osburnsen

Leon & Barbara Kestenbaum

Getha Klejnot

Julia Krause

Alice F. Kurs

Dr. Monique Langston

Drs. Frank LaScala & Gladys Rivera-LaScala

Dr. & Mrs. Norman Lerner

Ellen Levin

David R. Lewis Family Foundation

Susanne Lieberman

Timothy & Katherine Lynch

Joan Machinckick

Robert W Madden Jr

Sandra Mayo

Elaine Mines

Priscilla Mitchell

Francisco Montero

Betty Morganstern

Don & Carol Nelson

David & Carol Newman

Ed & Jeanne Paglee

Stanton D. Palmer

William & May Parks

Fariba Partawi

Bob & Cookie Pollock

John T. Quinn

Michael & Margret Rauh

Ken & Maureen Reightler

Christopher & Anita Rizek

Jack Roadhouse

John & Constance Robinson

Paul & Joan Rosenberg

Janet & Michael Rowan

Amy & Joe Rubino

Joan Russell

Ellen von Seggern Richter

Mr. & Mrs. Russ Rosenberger

Chris & Donna Schein

Ken & Elaine Schmidt

Mr. & Mrs. Randy Schmitt

Scott & Virginia Schollenberger

Mr. & Mrs. Michael T. Schuncke

Catherine Shultz

Leslie Skibo

Bruce Slaff

Anne Sloan

Roderick & Joann Smith

Bernadette Solomon

Anne K. Stratton

Harvey Stromberg

Brian Thiel

Paula Thistle

Peter Threadgill

Barbara Torreon

Joan Townshend

Christine Trapnell

Laura & Jack Van Geffen

Mr. & Mrs. Damien Wanner

Cynthia Wells

Mr. & Mrs. Earl S.

Wellschlager

Jeffrey Williams

Claire Winestock

Bradley Wirz

Mr. & Mrs. Clifford Woodward, Jr.

Francis & Maureen Wright

Bernard & Louis Wulff

Mark Wynn

Marion & Norbert

Zacharias

We make every effort to ensure accuracy. If you notice an error, omission or would like to be recognized in a different way, please let the Symphony staff know at your earliest convenience. The Annapolis Symphony Orchestra greatly appreciates all contributors of any amount.

The Annapolis Symphony Orchestra is funded by operating grants from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive, and the Arts Council of Anne Arundel County, which receives public support from Anne Arundel County, the City of Annapolis, and the Maryland State Arts Council. Funding for the Maryland State Arts Council is also provided by the National Endowment for the Arts, a federal agency which believes that a great nation deserves great art.

In memory of Marion Borsodi

Sandra Collyear Altherr

In memory of Louise A. Snyder

Hugh D. Camitta

In memory of Ralph Bluntschli Elizabeth Gordon-Bluntschli

In honor of Rachael Stockton Rene Shumate

In memory of Evelin Reynolds

Ann J. Baker

In memory of Ronald Bower

Elaine Bower

In memory of David Kidwell

Dr. Mark Cinnamon and Ms. Doreen Kelly

In honor of James Cheevers Anonymous

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

In honor of Illa Nelson Anonymous

In memory of Barry Amass

Sally Amass

In memory of Charlie L. Byrd

Rebecca A. Byrd

In honor of Mrs. Marguerite Cole Anonymous

In honor of Miriam Fogel

Beth D. Jacob

In memory of Marc and Kirk Elvy Cecelia Wyatt

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

We invite YOU to become a friend!

FASO is a dynamic group of music lovers who support the Annapolis Symphony Orchestra. FASO fundraising events include the Concert of Tastes, Historical Happy Hour, themed dinners, Dine-toDonate, Movie & Trivia Nights, wine tastings at local vineyards, international trips and much more. FASO collaborates with the Annapolis Symphony Academy to provide grants that expand programming and provide scholarships. FASO efforts expand beyond Annapolis. FASO recently sponsored the featurelength film Sing to Me Sylvie, which won the Spotlight Award from the Volunteer Council of the League of American Orchestras. Join us! Become part of the fun while helping to benefit the Annapolis Symphony Orchestra and rising artists. IT IS EASY TO JOIN - VISIT ANNAPOLIS SYMPHONY.ORG

Membership: $50 per person | $75 per couple Contact info: 410-267-3646 friends@annapolissymphony.org

2024-2025 Board of Directors

Officers/Executive Committee:

Ann A. Tran, President

Marguerite Cole, Vice President

Ways & Means

Paula Abernethy, Vice President

Membership

Julie S. Grudzinskas, Treasurer

David Bush, Recording Secretary

Carol Richards, Corresponding Secretary

Directors:

Adele Baron

John Andryszak

Adele Baron

Jim Cheevers

Betsy Chotin

Kathy Clatanoff

Renee Ehler

Robert Foye

Elizabeth

Gordon-Bluntschli

Diane Green

Patrick Green

Anna E. Greenberg

Valerie Gutterson

Stephen Holt

Marilyn Lyons

Lynn Maichle

Mary McKiel

Rick Sullivan

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

Champagne Sunday photo by Don Dement

MARYLAND HALL CONCERT & TICKET INFORMATION

ELECTRONIC DEVICES

Use of cameras or recording devices during the performance is strictly prohibited.

LATECOMERS

Latecomers will only be seated at the conclusion of a musical selection.

IN CASE OF FIRE

Please note the nearest exit to your seat. In the event of fire or another emergency, WALK — do not run — to that exit.

INCLEMENT WEATHER

In the event of severe weather, every effort will be made to continue with scheduled concerts. No refunds will be given if a concert is performed during severe weather but not attended by the ticket holder.

NO SMOKING

Maryland Hall is a smoke-free facility. Smoking is prohibited in and on the grounds of the building.

MARYLAND HALL BAR

Enjoy a beer or glass of wine before the concert and at intermission in room 206. Cash and credit cards are accepted and drinks are allowed in the concert hall.

SUBSCRIPTION TICKETS

Subscribing to the Masterworks Series at the Annapolis Symphony Orchestra is the best deal around! As a subscriber you get exclusive access to a 20% discount on single tickets, priority seating, and free exchanges. Subscriptions are available for all 5 Masterworks concerts as a full series or 3 or 4 concerts as a Flex Pass. Learn more at annapolissymphony.org/subscribe.

ACCESS FOR PERSONS WITH DISABILITIES

Parking, ramp, and elevator facilities are available at the entrance nearest Spa Road. Wheelchair accessible seating is also available. Please call 410-263-0907 to make arrangements.

SINGLE TICKETS

Whether it’s your first or fifth time at the Symphony, single tickets are always available for purchase! Tickets can be purchased online at annapolissymphony.org/events or by calling the Symphony Box Office at 410263-0907.

GROUP SALES

We are dedicated to making your group‘s visit to the Annapolis Symphony a memorable experience. With a group of 10 or more, receive a 15% discount on all tickets.

TICKET EXCHANGES

Subscribers may exchange their tickets for the alternate performance of the same concert only. Exchanges are subject to availability.

TICKET DONATIONS

Subscribers may donate tickets back to the Symphony as a tax-deductible contribution. We will mail you an acknowledgement letter for your donation.

There are no refunds and all ticket sales are final. If there are changes to the program, ticket holders will be contacted with options.

SYMPHONY . ORG

ANNAPOLIS