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2013 - 2014 SEASON

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José-Luis Novo, Music Director 2013 - 2014

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The ASO performs at Maryland Hall for the Creative Arts 801 Chase Street, Annapolis, Maryland, 21401. Artists and programs are subject to change.

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The Annapolis Symphony Orchestra 2013-2014 Season

A MESSAGE FROM THE CHAIRMAN 2013 – 2014 Board of Trustees

2013 - 2014 SEASON

Dear ASO Patron, As Annapolis anticipates the exodus of the 2014 Polar Vortex, the ASO also begins preparation for the warmth of spring. Tonight, let’s imagine it is a warm evening in Vienna, as the ASO performs Austrian Melodies. Not only are Wolfgang Amadeus Mozart and Anton Bruckner both of Austrian heritage, we also look to Austria as the birthplace of the symphony. We are very excited to showcase the beauty and grace of our entire Symphony this weekend. This weekend’s performance will be attended by Anne Arundel Community College musicians, who are preparing for their upcoming trip to Europe to perform. The complexities of both Mozart and Bruckner will provide ample material for them to discuss on their trip AND at intermission on social media. We would like to thank these students for their attendance and wish them well as they travel abroad. I also invite you to join us on social media: Like us on Facebook and follow @annapsymphony on Twitter! In addition to this evening’s performance, we look forward to the Annapolis Symphony Orchestra’s gala, Roman Holiday on March 15th. This year, we are thrilled to honor Joyce Pratt and Jeff Harris, who have been very gracious with their time and support of this big event. You can buy tickets to the eagerly anticipated Roman Holiday by calling 410-263-0907. We would like to appeal to our patrons and sponsors as we gather momentum for the conclusion of this 2013-2014 season. We rely on our audience and sponsors’ support of the music and programming produced by the Annapolis Symphony Orchestra. Additionally, the ASO could not exist without the support of volunteers. We have remarkable support from the Friends of the Annapolis Symphony Orchestra, volunteers, our staff, and Board of Trustees. Moving forward, Maestro José-Luis Novo is busy planning inspiring repertoire for the 2014-2015 season. As you may have read, we are excited with the work Maryland Hall is doing to advance their renovations for upcoming seasons. Additionally, the ASO continues to enjoy the leadership, resourcefulness, and innovative thinking of our new Executive Director Jeth Mill. We look forward to your feedback and patronage through the rest of the season. Cheers!


Harley E. Flack Chairman of the Board

Geoffrey Voigt Vice Chair, Finance

Karen W. Smith Vice Chair, Personnel

Laurie H. Berman Secretary

David A. Huggins Treasurer Trustees Martha O. Blaxall Douglas Brandt Byerly Faye Currie Peter Evans Adrian Fremont Al From John S. Goldthwait, Jr. Julie Grudzinskas Gay Wood Henriksen Clay Henry Jonathan P. Kagan Laird Lott Peter Martino William Moulden Jessica Jordon Paret Joyce E. Pratt Joseph Rubino Barbara Sophios Santos Constance L. Scott Russell B. Stevenson, Jr. J. Steven Wise Ex Officio Trustees

José-Luis Novo Music Director

Jeth Mill Executive Director The Patricia Edwards Chair

Paula Abernethy President, Friends of the ASO Lysiane Gravel-Lacombe Orchestra Representative

Harley E. Flack Chairman, Board of Trustees Annapolis Symphony Orchestra 2013 - 2014




ith a 52 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 Maestro José-Luis Novo, the ASO continues to rise in excellence and national reputation, performing Classic, Pops, Family concerts, and special events. The ASO reaches thousands annually with its free Pops in the Park concert, joint concerts with the United States Naval Academy, and collaborative projects with other arts organizations and touring headliners. Additionally, the ASO sponsors numerous award-winning education concerts and outreach programs in community schools, sharing the joy of music-making with thousands of school children.

Youth Education Programs The ASO serves a growing population of Anne Arundel County school children with several initiatives designed to increase the awareness, enjoyment, and appreciation of music among the future generations of both musicians and audiences. The ASO operates three programs: Education Concerts, introducing students to professional symphonic performances; the Music Van, encouraging hands on participation in music in the classroom; and the Adopt-a-School program, enhancing students’ musical development through direct interaction with professional musician mentors. The ASO reaches a broad range of students who would otherwise be unable to experience live classical music. All of these programs are made possible through the generosity of corporate and individual donors. To learn more about how you can support these programs, please call Jeth Mill at 410-269-1132.

Annapolis Symphony Orchestra Staff José-Luis Novo

Marshall Mentz

Music Director

General Manager

Lois Sowell, CPA Accountant

Jeth Mill Executive Director The Patricia Edwards Chair

Heather McMunigal

Carol Patterson

Box Office and Business Manager

Music Librarian

Kirsten Striegel

Fred Geil

Patron Services Coordinator

Recording Engineer

Annapolis Symphony Orchestra 801 Chase Street Annapolis, MD 21401 410-263-0907 (Box Office) 410-269-1132 (Admin) | 410-263-0616 (Fax)





Annapolis Symphony Orchestra 2013 - 2014




French Horn

Netanel Draiblate, Concertmaster The Peggy Peach Chair

Todd Thiel, Principal The Hildegard Strothman Martin Chair

James Rester, Principal

Nicholas Currie, Associate Concertmaster Julie Ahn Susan Benac Sarah Dudas

April Chisholm, Acting Associate Principal Diana Curtis

Colin Dorman, Acting Associate Principal Steven Barzal Jonathan Clark Anthony Valerio

Diana Flesner Doug Jameson

Wagner Tuba

Elizabeth Meszaros

Ken Bell

Mary Ann Perkel

Jeanne Getz

Abby Oliver

Dan Shomper

Michael Hall

Christof Richter


David Smith

Sara Schneider

Robert Kurz, Principal


Rachael Stockton

Jeremy Barth, Associate Principal

Drew Fremder, Acting Principal The Philip Richebourg Chair

Heather Haughn Marissa Murphy Laura Norris

Violin II Christian Tremblay, Principal Lysiane Gravel-Lacombe, Associate Principal

Peter Cohn Adriane Irving Joshua Lebar Broc Mertz

Glenn Angus


Lorraine Combs

Kimberly Valerio, Principal

Gavin Fallow

Genevieve Eichman

Paul Herman Karin Kelleher Nicholas Montopoli

Viola Sarah Hart, Principal Derek Smith, Associate Principal Daphne Benichou Louise Elder Chestnut Susan Taylor Dapkunas Michele DeHaven

Kevin Businsky Kevin Maloney

Sally Stallings Amass

Megan Gray

2013 - 2014 SEASON

Violin I


Oboe Fatma Daglar, Principal Amanda Jury

David Perkel, Principal David Sciannella

Bass Trombone Jay Heltzer

Tuba Edward Goldstein, Principal

Clarinet Marlena Dillenbeck, Principal


Lauren Angert

Curt Armbruster, Principal



Bryan Young, Acting Principal

Donald Spinelli, Principal

Patricia Dusold

Gerald Novak

Rachel Holaday Maggie Rojas Seay

Annapolis Symphony Orchestra 2013 - 2014




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Annapolis Symphony Orchestra 2013 - 2014



AUSTR IAN M E LO D I ES February 28, 2014 8:00pm

March 1, 2014 8:00pm

José-Luis Novo, conductor

Symphony No. 36 in C Major, K. 425, “Linz”

Wolfgang Amadeus Mozart (1756-1791)

Adagio – Allegro spiritoso Andante Menuetto – Trio Presto ~ INTERMISSION ~

Symphony No. 7 in E Major

Anton Bruckner

Allegro moderato Adagio. Sehr feierlich und sehr langsam Scherzo. Sehr schnell Finale. Bewegt, doch nicht schnell


2013-2014 guest artist accommodations provided by The O’Callaghan Hotel, the official hotel of the Annapolis Symphony Orchestra. 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.

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Photography and video/audio recording are not permitted in the concert hall. Please turn off all electronic devices. Thank you. Annapolis Symphony Orchestra 2013 - 2014



José-Luis S

ince his appointment as Music Director and Conductor of the Annapolis Symphony Orchestra in 2005, José-Luis Novo has instilled a new and vibrant artistic vision. Maestro Novo’s continuous drive for artistic excellence, innovative thematic programming, and collaborations with some of today’s most respected guest artists, have resulted in unprecedented artistic growth, praising audiences, and enthusiastic reviews. Some of the ASO’s highlights during Maestro Novo’s tenure include a 2006 debut concert appearance at Strathmore Hall, a 2008 ASCAP Adventurous Programming Award, a national broadcast on NPR’s Performance Today, a 2012 return appearance at the Clarice Smith Performing Arts Center with world-renowned mezzosoprano Denyce Graves for the ASO’s 50th Anniversary Gala Concert, and the launching of the ASO’s first commercial CD commemorating the 300th anniversary of the signing of Annapolis’ Royal Charter. Additionally, the League of American Orchestras recognized the ASO’s potential and selected it nationwide as one of only five participants in the Institutional Vision Leadership Initiative two-year seminar (2005–2007). The successful partnership between Mr. Novo and the ASO has received consistent critical acclaim: “Not only did he have an outstandingly clear 6

Annapolis Symphony Orchestra 2013 - 2014


view of Ravel’s piece, but he was able to bring his musicians to the peak of instrumental execution as they kept up with his every nuance and inflection. The end result was one of the most extraordinary readings of Ravel’s wellknown piece that I have even encountered: fast without blurring instrumental lines; sinuous and alluring without distortion or over-statement; and just plain wonderful.” The Capital Gazette. “Novo’s feeling for Bartók’s arch form unified it all and gave this performance a sweep and power that were truly memorable.” The Washington Post. “…the Annapolis Symphony Orchestra unleashed a nasty, unremittingly exciting Shostakovich 10th that showed off the strengths of the ensemble that already has been reconfigured during Novo’s brief tenure.” The Baltimore Sun. In addition to his post at the helm of the ASO, Maestro José-Luis Novo has been Music Director and Conductor of the Binghamton Philharmonic (New York) since 2003. Prior to these appointments, he served as Assistant Conductor of the Cincinnati Symphony Orchestra under the direction of both Music Director Emeritus Jesús López-Cobos and former Music Director Paavo Järvi, and the Cincinnati Pops Orchestra under the late Erich Kunzel.  Recent and upcoming guest conducting engagements include return appearances

MUSIC DIRECTOR continued and on tour in Luxembourg and Germany. A committed advocate of contemporary music, Maestro Novo has led more than a dozen world premieres of commissioned compositions. In the operatic field, he made his debut conducting a production of Smetana’s The Bartered Bride in collaboration with Maestro Julius Rudel and subsequently has conducted productions of Britten’s Albert Herring, Menotti’s Old Maid and the Thief, and Vaughan Williams’ Riders to the Sea. While maintaining a relevant professional conducting career, Mr. Novo has also developed a reputation as a keen educator of young musicians. He has held the positions of Music Director of the Cincinnati Symphony Youth Orchestra and the Miami University Symphony Orchestra, Associate Conductor of the National Repertory Orchestra, and Assistant Conductor of the National Youth

Annapolis Symphony Orchestra 2013 - 2014


2013 - 2014 SEASON

with the Baltimore Symphony, Symphoria (former Syracuse Symphony), Tulsa Symphony Orchestra, and an impressive Kimmel Center debut in Philadelphia conducting the Curtis Institute Orchestra in a last minute replacement for an ailing Maestro Otto Werner Mueller. Prior guest conducting engagements have included, among others, appearances with the Symphony Silicon Valley, the Minnesota Orchestra, the Syracuse, Modesto, Tulsa, Windsor, Stamford, and Tallahassee Symphonies; the Cincinnati Chamber Orchestra; the Cleveland and Abilene Philharmonics; the Tenerife, Principado de Asturias, and Castilla y León Symphony Orchestras; the City of Granada Orchestra; the Andrés Segovia Chamber Orchestra at the National Auditorium in Madrid, the Vallés Symphony Orchestra at the Palau de la Música in Barcelona, and the Echternach Festival Orchestra at the Kennedy Center

Official Hotel of the Annapolis Symphony Orchestra Official Hotel of the Annapolis Symphony Orchestra

Early Bird Menu available Early Bird Menu available ASO Special - Free Glass of wine ASO Special - Free Glass of wine with every Dinner Entrée. every Dinner Entrée. Validwith on concert nights only, present concert

Valid on nights and only,conditions present concert ticket on concert arrival. Terms apply. ticket on arrival. Terms and conditions apply.

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Annapolis Symphony Orchestra 2013 - 2014

MUSIC DIRECTOR continued Superior de Violín with honors in solfege, harmony, and violin. A scholarship from the Spanish Ministry of Culture allowed him to continue his studies at the Royal Conservatory of Music in Brussels, where he earned a First Prize in violin. In 1988, he came to the United States as a Fulbright Scholar, obtaining both Master of Music and Master of Musical Arts degrees from Yale University, where he was also bestowed the Frances G. Wickes Award and the Yale School of Music Alumni Association Prize. In 1992, the Spanish foundation La Caixa awarded him a fellowship to study at the Cleveland Institute of Music where he completed a Master of Music degree in orchestral conducting. He concluded his conducting studies at the University of Cincinnati College-Conservatory of Music. His conducting teachers have included Gerhard Samuel, Carl Topilow, Louis Lane, Edmon Colomer, James Ross, and Charles Bruck (at the Pierre Monteux School in Maine). In addition, Mr. Novo has attended seminars and master classes with Günther Herbig, Lorin Maazel, Cristoph von Dohnänyi, Leonard Slatkin, Larry Rachleff, Daniel Lewis, and Victor Yampolsky. Mr. Novo is the recipient of a 2010 Annie Award in Performing Arts from the Arts Council of Anne Arundel County, a 2008 ASCAP Adventurous Programming Award, and a 2005 Broome County Arts Council Heart of the Arts Award.

Annapolis Symphony Orchestra 2013 - 2014


2013 - 2014 SEASON

Orchestra of Spain and the Yale Symphony Orchestra. Since 1999 he has been on the conducting faculty at the Eastern Music Festival in Greensboro, North Carolina, where he currently holds the position of Associate Conductor. In addition, he has conducted many noteworthy college and youth orchestras. Among these are the Curtis Institute Orchestra, the National Repertory Orchestra, the University of Maryland Symphony, 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. In the summer of 1998 he took the National Youth Orchestra of Spain on a concert tour of Spain and Portugal, with performances at the Teatro Real in Madrid and the World Exposition in Lisbon. As a violinist, Mr. Novo has appeared in concerts and recitals in Europe and in the United States and has made recordings for the Spanish and Norwegian National Radios. He is a founding member of several important ensembles in which he has held leading positions: as concertmaster and soloist with the Youth Chamber Orchestra of Spain, as principal second violin of the New Amsterdam Sinfonietta, and as concertmaster of the National Youth Orchestra of Spain. José-Luis Novo began his musical studies at the conservatory of Valladolid—his hometown, obtaining the degree of Profesor


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ASO Premiere In March of 1781, Mozart left forever his native Salzburg where he had squirmed under the watchful eye of his father Leopold and the strict demands of his employer, the Prince Archbishop Hieronymus Colloredo. Eager to try his hand at an appointment at the Imperial Court in Vienna, he was also making his first stab at independence. In May he took up residence with a widow Maria Cäcilia Weber, mother of three eligible daughters, flirted with them all, moved out again to avoid gossip, and gradually set the stage in a spate of letters to his father for his marriage to Constanze Weber – although he had

originally set his cap for her older sister Aloysia, a talented soprano. Leopold was not amused. While raising the understandable parental objection to the marriage based on his son’s lack of regular gainful employment, it is clear that Leopold had a hidden agenda as well. Marriage and a family would permanently remove his son from his influence and a source of income. Angry letters, the silent treatment, a fat commission for the “Haffner” Symphony and other forms of manipulation were to no avail. Wolfgang and Constanze were married on August 4, 1782, and for a while father and son maintained a chilly professional civility from a distance. In July 1783 Wolfgang finally made a return visit to Salzburg to introduce Constanze to his family, leaving their brand-new baby son in Vienna. But the trip was too little too late, and, to add insult to injury, Mozart had christened the child Raimund Leopold with a lame

2013 - 2014 SEASON

Symphony No. 36 in C Major, K. 425, “Linz” Wolfgang Amadeus Mozart 1756 - 1791

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PROGRAM NOTES continued 2013 - 2014 SEASON

excuse for not having named Leopold the godfather. Although the young couple attempted to make peace, Mozart’s father and sister behaved ungraciously, especially to Constanze, precipitating a major family rift. Tragically – as if Leopold had played the evil fairy Carabosse at the Princess Aurora’s christening – little Raimund died while his parents were away. At the end of October the Mozarts set out to return to Vienna via Linz, Austria’s time Full- 976 1 since

third-largest city, where they arrived on the 30th. What followed is best described in Mozart’s own words in a letter to his father: “When we arrived at the gates, we found a servant waiting there to drive us to old Count Thun’s [an old family friend], at whose house we are now staying. I really cannot tell you what kindness the family is showering on us. On Tuesday, the 4th of November I am giving a concert in the theater here, and since I do not have

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Annapolis Symphony Orchestra 2013 - 2014

PROGRAM NOTES continued introduction. The absence of introductions in his symphonies is one of the factors that differentiates them from those of Franz Josef Haydn, who nearly always made use of this device. In No. 36, Mozart follows his older contemporary’s lead in creating considerable suspense before the “surprise” of a festive first theme in the Allegro. On only one subsequent occasion did he employ a slow introduction: Symphony No. 39, composed eight years later.

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2013 - 2014 SEASON

a single symphony with me, I am writing a new one at break-neck speed…” Even a Mozart would have been hard pressed to write a 25-minute symphony, have the parts copied and musicians rehearsed in four days. He must have had the symphony in his head, or perhaps even some sketches on paper. In spite of the phenomenal speed of composition, no trace of hasty writing can be found in the work. Symphony No. 36 is something of an orphan; there was simply not that much call for the genre in Vienna. A year and a half had passed since the “Haffner,” K. 385 and another three years would pass until Mozart composed No. 38, K. 504 for Prague in 1786. During the intervening years, Mozart concentrated on chamber music, composed primarily for publication rather than performance, and the piano concerto, a genre he virtually invented. For the first time in his symphonies, Mozart opens the “Linz” with a slow

PROGRAM NOTES continued 2013 - 2014 SEASON

Other features of this Symphony where Mozart draws on the influence of Haydn is in the Minuet and Trio. Normally, Mozart’s minuets are flowing and elegant while Haydn’s tend to be drawn with heavier strokes, recalling the peasant Ländler. The use of the timpani in all the movements creates a more celebratory air; in the parlance of today’s parents, Mozart definitely used his “outside voice.”

Symphony No. 7 in E Major Anton Bruckner

1824 - 1896

ASO Premiere Great talent does not necessarily ensure great self-confidence. Many composers have revised their music after a premiere upon the advice – or interference – of colleagues. But Anton Bruckner’s insecurity as a composer went to extremes. He was forever revising his scores

at the demand of conductors, publishers, musicians and music critics, fueled by his own sense of inferiority. As a result, most of his symphonies exist in so many versions that it is often difficult to decide which version to perform. A child of brilliant precocity, Bruckner was born in the small Austrian town of Ansfelden, the eldest of 11 children. After the death of his father in 1836, he was sent to the abbey school of St. Florian, where he received excellent musical training and continued on as a teacher until he was 32. When Bruckner moved to Vienna in 1868, he was the true image of the country bumpkin: awkward, graceless, with a thick small-town accent. A provincial organist by profession, he felt most secure sitting hidden from view at an organ bench. His social gracelessness was legendary and his clothes a source of jokes and cartoons; it was said that his trousers looked as if built by a carpenter. He was given to bouts of severe depression and was extremely

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Annapolis Symphony Orchestra 2013 - 2014

PROGRAM NOTES continued At first glance, Bruckner’s music seems to owe little to his idol. He never wrote opera, nor any programmatic music. But his expansive use of orchestration, his themes and harmonic language reveals his debt to Wagner. Paradoxically, in spite of his general conservatism and lack of sophistication he was an innovator, particularly in his expansive transitional passages that flesh out his movements in sonata form. His symphonic movements, therefore, take on a slow, some say static, quality. To Bruckner’s admirers, however, the symphonies are regarded as massive granite structures, edifices to his intense and unquestioning belief in God. After eight previous symphonies (there is a No. 0 and a student symphony, sometimes referred to as No. 00, both first performed in the 1920s), which reaped Bruckner no end of derision, his fortune changed dramatically. Symphony No. 7 was an immediate and unqualified success. Composed between 1881 and 1883, it was premiered in Leipzig a year later and soon made its way to Vienna, where even Hanslick had to admit that the Bruckner tide had turned. As a result, the composer made only minor alterations in the score, and the different versions vary only in details. In what seemed to Bruckner a good omen, the soaring main theme of the opening movement came to him in a dream, played on a viola. In the symphony, it is introduced by the horns (Wagner

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Annapolis Symphony Orchestra 2013 - 2014


2013 - 2014 SEASON

deferential to intellectual and professional authority. His naïve adoration of Richard Wagner – he called him “Meister aller Meister” (master of all masters) and fell to his knees before him at their first meeting – made him the pawn of a musical maelstrom. He became entangled in the great battle between Wagner and his followers, on the one hand, and Brahms and Vienna’s musical establishment, spearheaded by the influential music critic Eduard Hanslick, on the other. The story that Bruckner gave a tip of a Thaler to Wagner after the premiere of Tristan is probably malicious gossip. But he did give one to famed conductor Hans Richter after a successful rehearsal for the premiere of the Fourth Symphony with the comment “Take it and drink a mug of beer to my health.” Richter later recalled, “The Thaler is a memento of a day when I wept. I conducted a Bruckner symphony for the first time.“ Richter kept it on his watch chain.


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Annapolis Symphony Orchestra 2013 - 2014

PROGRAM NOTES continued in the strings that also appears in the end of Bruckner’s Te Deum, a work he was composing at the same time. Symbolizing the triumph over death, this theme leads to the spectacular climax (with or without the cymbals), about which the composer wrote, “Please take at a very slow and solemn tempo.” He ends the movement in a serene threnody to his dead idol. There is a brassy, almost raucous quality to Bruckner’s scherzos, especially in this Symphony where it contrasts so sharply with the worshipful second movement. The trumpet theme on the sixth bar was suggested by a rooster’s crowing. The Trio is slower, mournful and more lightly scored, but it cannot suppress the mood. The Finale is one of those massive Bruckner hallmarks, a tour de force of modulation with everything evolving slowly and steadily although the rhythm is march-like. The main theme is derived from the opening theme of the symphony and together with a second, hymn-like theme, gradually builds to a triumphal conclusion with the reappearance of the symphony’s opening bars in the extensive coda. Program notes by: Joseph & Elizabeth Kahn Visit our audio enhanced program notes before the concert at

Annapolis Symphony Orchestra 2013 - 2014


2013 - 2014 SEASON

tubas, or euphoniums) over a whispering tremolo on the violins. In spite of a number of other themes, it dominates the movement in various guises until the grand fanfare at its conclusion. The slow movement is an elegy to Wagner, who was gravely ill when Bruckner began work on the movement and died before it was completed. It opens with a dirge-like refrain on the four Wagner tubas, answered by a theme rising stepwise

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Annapolis Symphony Orchestra 2013 - 2014


Board Members

Paula Abernethy, President

Join the Friends of the Annapolis Symphony Orchestra (FASO) for our 50th Anniversary season as we continue to support our superb Annapolis Symphony Orchestra. FASO raises funds to support the ASO and to develop the next generation of musicians, by sponsoring major fundraising events including the Concert of Tastes in November and Champagne Sunday in the spring. FASO members also host several smaller events such as “Guess Who’s Coming to Dinner”, evenings and a New Year’s Eve party, all designed to raise money for the ASO and to foster a spirit of fun and enjoyment. FASO actively participates in the ASO’s music education and outreach programs, including volunteering to work with local schools through the orchestra’s award-winning Music Van program. In addition, FASO awards scholarships for private music lessons to local, young musicians who may otherwise be unable to acquire lessons. Join FASO, support our great Symphony Orchestra, and help us foster the next generation of young musicians.

Champagne Sunday photo by Don Dement

Tessie Ballard, Vice President, Membership James W. Cheevers, Recording Secretary Marthena Cowart, Treasurer Renee Ehler, Corresponding Secretary Ginger From, Vice President, Ways and Means Lorraine Carren Bernadine Crosby Virginia DeLuca Donald K. Dement Patricia Duvall Robert Foye Karen Gonzalez Anna E. Greenberg Valerie Gutterson Cindy Hooper Michael Kurtz Lois A. McGovern Carol Richards Joan Russell Theodora Schulman Joyce Spotz The Friends of the Annapolis Symphony Orchestra supports the ASO and its programs through fundraising and volunteer work and encourages and fosters an interest in music of young people. FASO is a 501 (c) (3) organization. Dues and donations are tax deductible to the fullest extent of the law, provided no goods or services are realized by joining.

Annapolis Symphony Orchestra 2013 - 2014


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Proud to Support the Annapolis Symphony Orchestra

Annapolis Symphony Orchestra 2013 - 2014

SUPPORTERS OF THE ANNAPOLIS SYMPHONY ORCHESTRA he Board of Trustees of the Annapolis Symphony Orchestra gratefully acknowledges T the generosity of the following businesses, foundations, community organizations, and individuals for their support of the ASO’s artistic and education programs. Names in bold type indicate new contributors, or those who increased their gifts to the Annual Fund by a minimum of one level over the previous season. Members of the Golden Baton Society have committed to a five year Annual Fund pledge. These donors are distinguished by the next to their listing. Philip Richebourg Encore Circle ($50,000 +) Organizations

Concertmaster Circle ($2,500 - $4,999) Organizations BB&T Pennsylvania Performing Arts on Tour

Baltimore Annapolis Lexus Dealers Association Maryland State Arts Council


Individuals Patricia and Arthur* Edwards Elizabeth Richebourg Rea, founding member

Stradivarius Circle ($25,000 - $49,999) Organizations Arts Council of Anne Arundel County

Maestro Circle ($10,000 - $24,999) Organizations Paul M. Angell Family Foundation CFG Community Bank Friends of the Annapolis Symphony Orchestra PNC Wealth Management

Individuals Gay and Lars Henriksen Laird Lott and Linda Gooden Joyce Pratt, Jeff Harris and the Martin Family

Virtuoso Circle ($5,000 - $9,999) Organizations Anonymous Baldwin, Kagan and Gormley, LLC Bank of America Foundation M&T Bank The Severn Companies Wells Fargo Foundation

Individuals Dr. and Mrs. Lou Berman Martha Blaxall and Joe Dickey James W. Cheevers David and Eleanor Huggins Thea and Howard Pinskey Anne S. Potter Barbara and Everett Santos Martha and John T. Schwieters

* Deceased

Anonymous Bee and Bud Billups Dr. Jesse Cunitz and Mrs. Faith Goldstein Cunitz Marilyn Eason and Forbes Leland Al and Ginger From John and Sandra Goldthwait Charles and Julie Grudzinskas Jonathan and Marnie Kagan Peter and Manelle Martino Mr. John P. McKim Michael and Sage Mumma Russell Stevenson and Margaret Axtell

Platinum Circle ($1,000 - $2,499) Organizations The Dealy Foundation The J. M. Kaplan Fund The Ditti and Ronald Morse Fund


¯ Anonymous Paula Abernethy Sergio and Ellenor Alvarez Joe and Tessie Ballard Melvin and Judy Bender Prue and Robert Clopp Ms. Angela Eggleston-Howard Peter and Sarah Evans Adrian and Eric Fremont David and Susan Green ¯Mrs. Anna E. Greenberg Joanna Hanes-Lahr and Jack Lahr Pierre and Danalee Henkart David and Jan Hoff berger Mr. and Mrs. Kevin Keelty Pat Krzeminski Mary M. Melvin Mrs. Linda Osburn Mr. and Mrs. Philip A. Patterson Kathy and Chris Potter ¯William and Constance Scott Admiral and Mrs. Guy H. B. Shaffer Chris and Lisa Smith Douglas and Karen Smith Ray and Patricia Strong Mr. Rodney Tomlinson and Ms. Sari Kiraly Geoffrey Voigt Mr. and Mrs. J. Steven Wise

Annapolis Symphony Orchestra 2013 - 2014


2013 - 2014 SEASON


ANNUAL GIVING continued 2013 - 2014 SEASON

Gold Circle ($500 - $999) Individuals

Anonymous Lisa Abercrombie Drs. William Adler and Rebecca Elon Marilyn Bockman ¯ Mrs. Elana Byrd Harley and Kristina Flack ¯ Mr. Mark Fontaine Mrs. Ralph C. Graber Clarence and Patricia Harris Mr. and Mrs. Clay T. Henry Janet Little William and Barb Moulden Anita and Christopher Rizek Mrs. Barbara Simerl Richard and Mary Stead Mr. and Mrs. David R. Tanner

Silver Circle ($250 - $499) Organizations David and Betsy Lewis Foundation

Individuals Dr. Jacqueline Agnew Elizabeth and Richard Almeida Mr. and Mrs. Martin Beer Mr. and Mrs. Robert C. Clark Katie and Jib Edwards Mr. and Mrs. Robert O. Felter Patricia Frese Jane and Gerald Garbacz Mr. and Mrs. Robert M. Hecht Tylar and Carol Ann Hecht D. Gayle Hensley Dale and Joyce Hutchins Ben and Margaret Hutchinson ¯ Nancy Kennedy Cherie Loustaunau and Michael Kurtz Leon and Elizabeth McKenzie George and Barbara Muller Diane Oksanen-Gooden and Mike Gooden Jean Opilla Ralph C. and Margene V. Reeder Bill and Lois Ross Theodora Schulman Maxine and Irwin Silber Lois I. Sowell Larry V. and Betty Thompson Peter Threadgill ¯ Mrs. Tamara and Dr. Stephan Tymkiw Mr. and Mrs. Damien Wanner Bernard Warshaw and Liat Miller Nicole R. Wolf Frederick and Nancy Zimmerman Dr. Elliot Zuckerman

Bronze Circle ($100 - $249) Individuals Anonymous Anne Agee


Annapolis Symphony Orchestra 2013 - 2014

Mr. Don Alexander Ms. Linda R. Allen Philip Allen Robert and Kathleen Arias Lillian S. Armstrong Susan E. Armstrong Adele Baron Elsie L. Beardmore Mr. and Mrs. Charles W. Bennett Dr. Nicholas and Janet Berry Mrs. Ted Blumenstock Kier and Bertina Boyd Jack Brandenburg Dr. Barbara Dwyer Brown Pat and Karen Brown Mardy Burgess and Albert Brown Douglas Brandt Byerly Ytta and Glenn Carr Dr. and Mrs. Don Carren Leonard and Barbara Ceruzzi Charles and Naomi Cline Col. and Mrs. George W. Curran II Faye Currie Dr. Timothy Dangel Peter W. D’Anna Margaret Darden Mr. and Mrs. W. Douglas Davidson Thomas J. Dekornfeld Don and Keren Dement Ann L. Dixon Arlene T. Drewes Fred and Susan Eckert Edith Edson Linda Epstein Nancy M. Ermenidis Svend Esborg Mrs. Harlow G. Farmer Betty H. Feldmann Janet Fischer Jeff Ford David and Cindy Fox William B. and Sarah Garrett Al and Rhoda Goldman Vincent Gooden Frank and Karen Gould Basil and Joanne Green Jerry Green Patrick M. Green Arnold and Phyllis Gruber Brian Hanks and Judy Crews-Hanks Bob and Diane Heaney Shelley and John Henderson Paul Herman and Karen Goldman Don and Diana Hirsch Margaret Hosmer Victoria Hutchins Mrs. Kate Hutchinson Mr. and Mrs. Richard L. Irvine Ms. Joanne Johnson Jack and Carolyn Kammeier

for stealing the show. Inspiring. Thought Provoking. PNC is proud to sponsor the Annapolis Symphony Orchestra. Because we appreciate all that goes into your work.

Š2013 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC

Annapolis Symphony Orchestra 2013 - 2014


ANNUAL GIVING continued 2013 - 2014 SEASON

Peter and Carol Katz Mr. and Mrs. H. Hunter Kennard Leon and Barbara Kestenbaum Dr. and Mrs. Stephen Killian Julie and Bill Krause Florence Beck Kurdle Alice F. Kurs Mr. and Mrs. Joseph Labrum Mr. and Mrs. James Leanos Don and Carol Lee Norman and Susanne Lieberman Ms. Patricia Lilek and Mr. David Demers Michael and Deborah Lynch Margaret MacAdam Steven and Lynn Malley Ms. Linda McKeough Marshall Mentz Dr. Gregory Mestanas Donna Mikelson Mr. and Mrs. Richard J. Miles Jim and Marci Miller Mr. and Mrs. Michael Miller, Jr. Len and Eileen Mitchard Bill and Priscilla Mitchell Amy and Jim Morris Ed Moses Clarene Mullin Susan Okula Bruce and Gail Olmstead Mr. and Mrs. Richard O’Sullivan Mr. and Mrs. Gerald Oudens Mr. and Mrs. Edgar H. Paglee Mary Petricoin Mr. and Mrs. Robert M. Pollock Donna Porricelli Ms. Lee Posner

In Recognition of Gifts Individuals Ytta and Glenn Carr, In Memory of Ernest H. Halpern James W. Cheevers, In Memory of John and Helen Ford and Robert Peach Patricia Edwards, In Memory of Joan Kehler Vincent Gooden, In Honor of Laird Lott F. Joan McMahon, In Memory of Grant Striegel Diane Oksanen-Gooden and Mike Gooden, In Honor of Laird Lott Mr. and Mrs. Richard O’Sullivan, In Memory of Blanche Lussier Bill and Lois Ross, In Memory of Joan Kehler

Arian Ravanbaksh Ken and Maureen Reightler Mr. and Mrs. Daniel Risher Eveline and Stanley Robbins Carolyn Robertson and Earl Kelly Paul and Joan Rosenberg Susan Rosenfeld and Fred Stielow Mr. and Mrs. Meade Rudasill Mr. and Mrs. Ronald C. Sander Monty and Susan Schumpert Mr. and Mrs. Thomas J. Scott Linda Settle and Frank Elward Robert Sherer Mr. and Mrs. Robert N. Slawson Art and Angela Smookler Mr. and Mrs. Clifford Stein Susan and Gary Storm Victoria Stright Judy Templeton Louis Terenzoni Mr. and Mrs. Frederick J. Tower D. Romaine Towers Harriet Underwood Ms. Norma Underwood Laura and Jack Van Geffen Victoria C. Waidner Dr. Frederic and Mrs. Irene Weinfeld Rick and Dona Weingarten Glenn S. and Ann E. S. Wolfgang Mr. and Mrs. Clifford W. Woodward, Jr. Mr. and Mrs. Francis D. Wright Bernard and Louise Wulff Mrs. Cecelia Wyatt Mr. John D. Yarbro Ms. Sue Youngs Dr. and Mrs. Norbert Zacharias


ontribution listings reflect all gifts and pledges received between May 1, 2013 and February 7, 2014. While we make every effort to ensure accuracy, we regret any errors or omissions in the above listings. The Annapolis Symphony Orchestra greatly appreciates all contributors of any amount. We regret that limited space permits us to only list those who have contributed $100 or more to our Annual Fund. The Annapolis Symphony Orchestra is supported by a grant from the Maryland State Arts Council, an agency funded by the State of Maryland and the National Endowment for the Arts; and also by a grant from the Cultural Arts Foundation of Anne Arundel County, Inc., which receives contributions from Anne Arundel County, the City of Annapolis, and the Maryland State Arts Council.

In Kind Donations Annapolis Mobile Power CPS Gumpert Giant Foods Maryland Hall for the Creative Arts Michael Designs Florist MicroPerformance, Inc.


Annapolis Symphony Orchestra 2013 - 2014

Music & Arts Centers The O’Callaghan Hotel Annapolis RCI Sound Shawe Rosenthal, LLP Shoppers Food & Pharmacy What’s Up Publishing


James W. Cheevers, ASO Legacy Circle Member

“It has been an honor and a thrill to be a part of the ASO’s evolution over the last thirty years. Because of the immense enjoyment and sense of fulfillment I have received from my experience with the ASO, I have planned a gift for the Symphony as a way to invest in its future so that future generations may benefit as well.” – James W. Cheevers

Annapolis Symphony Orchestra 2013 - 2014



Ensuring a Legacy of Musical Excellence for Future Generations.

Building upon a solid foundation of community support, the Annapolis Symphony Orchestra has grown in its 50-year history to become the premiere musical organization that it is today in Marylandâ&#x20AC;&#x2122;s beautiful capital. The ASO Legacy Circle helps to guarantee a secure future for ASOâ&#x20AC;&#x2122;s performances as well as education and outreach programs for future generations of music lovers. For more information on the ASO Legacy Circle or to become a member, please contact the ASO office at 410-269-1132.



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

Anonymous Anonymous Anonymous Bud and Bee Billups


Captain James H. Carman* Jack* and Lois Carr James W. Cheevers

Ronald E. Council Patricia and Arthur* Edwards Audrey English*

Annapolis Symphony Orchestra 2013 - 2014

Anna E. Greenberg Forbes Leland Anne S. Potter *Deceased



ponsoring a musician chair is a wonderful way to show your support not only for the orchestra but for the musicians themselves. Musician Chairs sponsorships are $2,500 and will be accompanied by the following distinguished benefits and recognition: • • • •

Selection of the instrument or musician of your choice Your name prominently listed by the musician’s name in 2013-2014 ASO programs Recognition at the Concertmaster Circle giving level in 2013-2014 ASO programs Invitation to the 2014 ASO Annual Major Donor Party

If you would like to sponsor a musician chair for the 2013-2014 season, please contact the ASO office at 410-269-1132. Chairs are sponsored on a first come, first served basis and therefore subject to availability. If you prefer, the ASO can select a musician on your behalf.

2013 - 2014 Sponsored Musician Chairs VIOLIN I


Netanel Draiblate, Concertmaster The Peggy Peach Chair Nicholas Currie, Associate Concertmaster Sponsored by Laird Lott and Linda Gooden Heather Haughn Sponsored by Dr. Jesse Cunitz and Mrs. Faith Goldstein Cunitz Rachael Stockton Sponsored by Tara Clifford

Fatma Daglar, Principal Sponsored by Michael and Sage Mumma

Christian Tremblay, Principal Sponsored by Jonathan and Marnie Kagan Lysiane Gravel-Lacomb, Associate Principal Sponsored by Martha Blaxall and Joe Dickey Glenn Angus Sponsored by Martha Blaxall and Joe Dickey Sarah Hart, Principal Sponsored by Charles and Julie Grudzinskas

CELLO Todd Thiel, Principal The Hildegard Strothman Martin Chair Natalie Naquin, Associate Principal Sponsored by Joyce Pratt and Jeff Harris

FLUTE Kim Valerio, Principal Sponsored by Mr. and Mrs. John S. Goldthwait Genevieve Eichman Sponsored by Russ Stevenson and Margaret Axtell

Marlena Dillenbeck, Principal Clarinet Sponsored by Peter and Manelle Martino Kathleen Mulcahy Sponsored by Al and Ginger From





Patricia Dusold Sponsored by Laird Lott and Linda Gooden

HORN Anthony Valerio Sponsored by Pat Edwards

TRUMPET Christopher Sala, Principal The Philip Richebourg Chair

TROMBONE Dave Perkel, Principal Trombone Sponsored by Eleanor and David Huggins

TIMPANI Curt Armbruster, Principal Timpani Sponsored by Thea and Howard Pinksey

PERCUSSION Donald Spinelli, Principal Sponsored by Lou and Laurie Berman

Annapolis Symphony Orchestra 2013 - 2014


 ymphony Study Course Wednesday evenings from 7:00 - 8:30pm at Maryland Hall for the Creative Arts March 12 - April 2, 2014. The course fee is $80 per person, limited enrollment.

“A great film score gets under your skin, triggers your subconscious, enhances the drama and helps drive the emotional power train of the movie.” –A  lan Parker, Director Mississippi Burning, Birdy

Magnificent Movie Music!

Join Dr. Rachel Franklin in the first Symphony Study Course devoted to movie music. Experiencing a great film score can have a life-long impact. Composers such as Bernard Herrmann, Dimitri Tiomkin, Ennio Morricone and John Williams have engraved iconic scenes into our collective memory with their extraordinary music, even if the rest of the movie might have faded. Please join us as we watch fascinating film clips and discuss some of the greatest film scores ever composed, delving into the history and craft behind their success.

F Week 1 – March 12, 2014: Getting Under Our Skin We begin our conversation by playing Spot the Score and exploring why most of the answers are so well known to everyone. We’ll examine the evolution of the movie soundtrack from silent films onwards (these were never actually silent), and dip into some of the most famous moments in movie music history.

F Week 2 – March 19, 2014: Beethoven Goes to Hollywood “The marriage of the moving image and music is perhaps the most powerful visual communication we have.” – Norman Jewison, Director In the Heat of the Night, Moonstruck

(and so do Rachmaninoff, Strauss, Bartok etc.) Judging by the enormous amount of historic classical concert music used in movies, some directors don’t want to mess with success! Beethoven, Mozart, Rachmaninoff, Richard Strauss, Mascagni, Bach…works of almost every famous composer over the last three centuries can be found adding emotional depth to hundreds of films. Is this just piggybacking on the power of classical music or can such use be justified consistently?

F Week 3 – March 26, 2014: Six of the Great Masterpieces We go in depth with six exceptional movie scores that have influenced all subsequent film music. Hint – one of them involves a shower scene…

F Week 4 – April 2, 2014: Epics and Oscars, Art and Irony “Almost every picture is improved by a good musical score.” –S  idney Lumet, Director Network, Serpico


Film scores are almost too numerous to categorize, but we’ll skim the surface by looking at examples of Oscar winners and should-have-been-winners (always good for debate!), how does music indicate irony, successful scores by 20th century “art-music” composers, and other aspects of this unique and endlessly compelling art-form. We’re confident you will find the ASO Symphony Study Course to be an unforgettable experience! Should you have any questions, please call the ASO office at 410-269-1132.

Annapolis Symphony Orchestra 2013 - 2014

The mission of the Annapolis Symphony Orchestra is to produce, present and promote memorable symphonic music that increases awareness, enjoyment, and appreciation of music for all ages throughout the region.

Give a gift …

The Annapolis Symphony is your symphony. For over 50 years it has been our privilege to present symphonic music and music education of the highest quality to our community, adding to the cultural vitality of our schools and our region. We look forward to playing for you this season and engaging and inspiring the next several generations of music lovers.

But did you know that ticket sales cover only 21% of operating expenses? Generous private donors help make up the difference enabling us to produce and present first class concerts for all to enjoy. Gifts enhance the artistic advancement and help build the next generation of artists and music-lovers by supporting programs like ASO’s free summer concert, the Music Van and Adopt-a-School community outreach. Donors enjoy a variety of benefits especially a sense of closeness to our orchestra and musicians.

As a 501(c)(3) organization, gifts to the ASO are tax deductible as allowed by law. Please consider making a gift to the ASO today. We invite you to join the Legacy Circle. The Legacy Circle consists of those who have made provisions for the ASO in their estate planning to perpetuate the gift of music for generations to come. If you have made plans to remember the ASO, please let us know so that you may be honored in the Legacy Circle. If you wish to receive more information about the Legacy Circle, please contact the ASO Office at 410-269-1132.

… leave a le gac y


Subscription Tickets:

Receive advance purchase discounts, seating priority, and unlimited Subscriber Guest Passes, which allow you to buy half price tickets to any Lexus Classic Series concert. Contact the ASO Box Office at 410-263-0907 for more information or visit our website at Single Tickets:

Advance purchases are always recommended. If available, tickets may be purchased at the door one hour prior to each concert. Tickets may be purchased through the ASO Box Office at 410-263-0907 or online at All single tickets are non-exchangeable and non-refundable. Group Sales:

Bring your group to the ASO and receive up to 20% off your total order. Rooms may be reserved for your private pre- or post-concert receptions or for your child’s birthday party. Call 410-263-0907 for more information. Gift Cards:

Call 410-263-0907 to purchase gift cards in any denomination. Ticket Exchanges:

Subscribers may exchange their tickets for the alternate performance of the same concert only. Exchanges are subject to availability. Bring your tickets to the Box Office at least 24 hours prior to the scheduled performance, or mail them at least 10 days prior to the scheduled performance to ASO, 801 Chase St., Annapolis, MD 21401. Ticket Release/Donation:

If unable to use tickets, patrons may donate them to the “Ticket to Health” ticket bank as a tax-deductible contribution. The Ticket to Health program offers complimentary tickets for caregivers, patients, and families of Hospice of the Chesapeake and the Annapolis Wellness House. Bring your tickets to the Box Office at least 24 hours prior to the schedule performance, or mail them at least 10 days prior to the scheduled performance to ASO, 801 Chase St., Annapolis, MD 21401. We will mail you a receipt for your tax purposes. Tickets released after 6:00pm on concert night will not be eligible for a deduction.

All ticket sales are final. No refunds.


Annapolis Symphony Orchestra 2013 - 2014


Please turn off cell phones and tablets. Use of cameras or recording devices during the performance is strictly prohibited. Latecomers:

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

ASO Family Concerts are designed for ages four and up. The ASO recommends that children be at least age eight to attend a Lexus Classic or Pops concert. Candies or Lozenges:

Please help yourself to one of the cough drops made available in the lobby. Please remember to unwrap candies or lozenges before the concert begins. In Case of Fire:

Please note the exit nearest to your seat. In the event of fire or other emergency, WALK—do not run—to that exit. Pre-Concert Lectures:

All ticket holders are invited to attend at 6:45pm, before each Lexus Classic Series Concert, a free 45-minute discussion about the evening’s program. Lectures take place in the auditorium. Patrons should sit as close to the stage as possible. 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 for the Creative Arts is a SMOKE-FREE Facility. Smoking is PROHIBITED in and on the grounds of the building. Lexus Preferred Parking:

The first row of spaces in the first parking lot on the right upon entering from Spa Road will be reserved as Lexus Lane. Parking spaces are available on first-come, first-served basis to any Lexus owner who drives their vehicle to a Lexus Classic Series performance. Lexus Lounge:

ASO’s Lexus Lounge is available at all Lexus Classic Series Concerts, for all Gold Circle donors ($500 and up). Patrons can enjoy a complimentary glass of wine or soft drink, snacks and conversation. The Lounge will be open one hour prior to each concert and during intermission. The Lexus Lounge is also available to any Lexus owner who shows their Lexus key. 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.

Annapolis Symphony Orchestra 2013 - 2014



Nicholas Montopoli


ne of the newest members of the ASO, Nicholas Montopoli grew up in the DC area and currently lives in College Park. Like many musicians, Mr. Montopoli started playing at a young age and he was surrounded by a musical family. “My parents both play instruments and read music, as do my two sisters, so it was a noisy house growing up! But having a family that understands and appreciates music has been a great help in my career.” Mr. Montopoli’s road to the ASO began with the DC Youth Orchestra when he was five. He continued his violin studies and received a Bachelors and Masters of Music from University of Maryland College Park. It was during his undergraduate studies in 2010 that he played with the ASO for the first time during a side-by-side concert with the University of Maryland Symphony Orchestra. Since that time, he has substituted with the ASO and won a permanent position at the beginning of the 2013-2014 season. “It’s a good feeling to know that I’ll be regularly working alongside such fantastic players, and under a great conductor.” When Nick isn’t playing or listening to classical music, he plays in a glam rock band, a jazz trio, a folk trio and 32


his contemporary string quartet, invoke. “I have a taste for contemporary music, so today I’m listening to Philip Glass quartets, but tomorrow might be Bach, or Shostakovich, or Schwantner, or someone who I haven’t discovered yet! I love meeting young composers and working with them to realize new works.” Besides that, he enjoys archery and keeping his house plants alive. In addition to his busy performing schedule, Nick also has a studio of students. “I sometimes think that I learn more from my students than they learn from me! Having to explain how to do what I do, and have been doing since a very early age, is often difficult and requires a particular type of creativity.” Nicholas shares a similar sentiment about the power of music with many other musicians. “I believe that music is the simplest and yet most powerful art form. There’s no emotion that cannot be described in music, and music can draw these emotions out of anyone, regardless of their education or musical background. As a musician, I love the prospect of a lifetime of exploration… I’ll never run out of new things to learn, projects to complete, or experiences to have!”

Annapolis Symphony Orchestra 2013 - 2014

1919 - 2011 Annapolis Symphony Orchestra Founder and First Board President The city is built To music, therefore never built at all, And therefore built forever Alfred Tennyson

My father Philip Richebourg conducted his own orchestra every day of his life with consistency and order; he applied an exact Science, a common thread, to numerous Board memberships and Presidential appointments, serving sixty-five years in his community. This same exactitude and precision was reflected in his life-passions as pilot, musician, and as a master archivist. My father approached all things in life as if resolute in achieving one goal, that of perfect harmony. The very essence and purposeful The future enters into us, in order to transform itself in us, long before it happens. Rainer Maria Rilke meaning the trumpet represents is symbolic of a devout spiritual vision that carried my father through all aspects of his life.The sound of the trumpet has been called on to glorify God; it empowers the ability to revive or to represent closure; it is a medium portraying clarity, precision and purity. These characteristics are emblematic of everything my father endeavored to achieve. As Founder and First Board President, my fatherâ&#x20AC;&#x2122;s mission for the Annapolis Symphony during the formative years was to solidify the orchestra financially and administratively, insuring its longevity. Today the Annapolis Symphony Orchestra has soared to the heights my father dreamed would one day come true. For me, listening to music now represents a conduit to my father as if he never left. He is standing in the wings with quiet dignity and pride and we are resoundingly singing his praises. Elizabeth Richebourg Rea

Š Don Dement Thomas McDonald/ The New York Times


Elizabeth Richebourg Rea

Maestro Novo and the musicians of the Annapolis Symphony Orchestra applaud Elizabeth Richebourg Rea for her continued support honoring the legacy of her father Philip Richebourg ASOâ&#x20AC;&#x2122;s Founder and First Board President. The Annapolis Symphony Orchestra, performing since 1962.

2013–2014 SEASON W H E R E T H E S TA R S A L I G N A N D P E R F O R M F O R Y O U




Sunday, October 6, 2013 » 5:30 pm

MUSICIANS FROM MARLBORO Sunday, October 20, 2013 » 5:30 pm


Sunday, November 17, 2013 » 5:30 pm


Sunday, December 15, 2013 » 5:30 pm



Sunday, February 23, 2014 » 5:30 pm

SCHAROUN ENSEMBLE BERLIN Sunday, March 16, 2014 » 5:30 pm



Sunday, May 11, 2014 » 5:30 pm

ORDER ALL 9 CONCERTS! 9-CONCERT SUBSCRIPTION Regular $249 // Students $129 INDIVIDUAL-CONCERT TICKETS Regular $39 // Students $19 For more information about Shriver Hall Concert Series call 410.516.7164 or visit


2013 Yale Gordon Concerto Competition Winner Saturday, November 2, 2013 » 3 pm


Saturday, March 8, 2014 » 3 pm

YEVGENY SUDBIN, PIANO Saturday, May 3, 2014 » 3 pm


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Austrian Melodies Program Book  
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February 28, 2014 - March 1, 2014